[do35][j99]~~~~~~153842_A001[ep~[u1]~~~~153842[cmConcise Oxford Dic~~tionary of
Music[cmA1[cm35[cm~1[cm10-10-70[cm8[cm1[cm~GC[cm3[cm3-7-84[cm~U1[cm~~~~[PN1,0,0,
R,I0][ap[j3]~A[cm~~[j1]A. [fy75,1]Note of the scale ([sm6[nmth degree of natural
 scale of ~C). Hence A;Yh, A;Yh;Yh, A;Yj, A;Yi, A;Yi;Yi, A major, A ~minor, etc.
 A is note commonly used for tuning ~instr. (orchs. tune to the ob. A). A;eq[sm4
40[nm vibrations ~per second, internationally accepted since [sm1939[nm, ~althou
gh some orchs. still accept A;eq[sm435[nm and (in ~USA) A;eq[sm445[nm.[cm~A [fy7
5,1](It.), [fy65][cf3];AgA[fy75,1] (Fr.). At, by, for, with, in, to, in the ~man
ner of, etc. For expressions beginning with ~A or ;AgA, e.g. [cf2]A cappella, A
tempo, [cf1]see under their ~own entries.[ep~^`A [sm2[nm' in orch. scores and pa
rts directs (a) [sm2[nm instr. ~that normally play separate parts (e.g. the [sm2
[nm ob. or ~[sm2[nm fl.) to play in unison, or (b) [sm2[nm or more instr. that ~
normally play in unison (e.g. [sm1[nmst vns.) to divide ~to play
 the separate parts provided for them.[cm~A. [fy75,1]Analytical term used to des
cribe first section ~of a piece of music, i.e. [fy45,1]*[fy75,1]A B A;Eqfirst se
ction, ~different section, first section repeated, as in many ~songs.[cm~A. [fy7
5,1]Abbreviation for [cf2]accelerando[cf1] found particularly ~in Elgar's scores
.[cm~A.A.G.O. [fy75,1]Associate of the [fy45,1]*[fy75,1]American Guild of ~Organ
ists.[cm~Ab[fy75,1] (Ger.). Off. In org. mus., applied to a stop no ~longer requ
ired.[cm~ABA. [fy75,1]Term of analysis to describe form of a piece ~of mus., i.e
. [sm1[nmst section (A) followed by different ~section (B) followed by repeat of
 [sm1[nmst section (A). ~Many permutations possible.[cm~Abaco, Evaristo Felice d
all' [fy75,1]([cf2]b[cf1] Verona, [sm1675[nm; [cf2]d[cf1] ~Munich, [sm1742[nm).
It. violinist and composer at the ~Munich court; wrote sonatas and concs. for vn
., ~vc., etc.[cm~Abandonn;Aae[fy75,1] (Fr.). Negligent (in such an expres~~sion
as [cf2]Un rhythme un peu abandonn;Aae[cf1]=mrhythm ~rather free
-and-easy).[cm~Abb;aga-Cornaglia, Pietro[fy75,1] ([cf2]b[cf1] Alessandria, Pied~
~mont, [sm1851[nm; [cf2]d[cf1] Alessandria, [sm1894[nm). It. composer ~and organ
ist. Operas incl. [cf2]Isabella Spinola[cf1] ([sm1877[nm) ~and [cf2]Una partita
di scacchi[cf1] ([sm1892[nm). Also wrote a ~requiem and chamber mus.[cm~Abbado,
Claudio[fy75,1] ([cf2]b[cf1] Milan, [sm1933[nm). It. cond. ~Studied pf. and comp
., Verdi Acad., Milan, and ~cond. in Vienna. Won Koussevitzky Award at ~Berkshir
e Music Center, [sm1958[nm, Mitropoulos prize, ~[sm1963[nm. Cond. Berlin P.O. [s
m1964[nm and at Salzburg ~Fest. [sm1965[nm. Prin. cond., La Scala, Milan, [sm196
8[nm=n[sm86[nm; ~regular cond., Vienna P.O. from [sm1970[nm. Eng. ~d;aaebut Manc
hester [sm1965[nm. CG d;aaebut [sm1968[nm ([cf2]Don ~Carlos[cf1]). Prin. cond. L
SO from [sm1979[nm. Mus. dir., ~Vienna Opera from [sm1986[nm.[cm~Abbandono[fy75,
1] (It.). Abandon. Free, impassioned ~style. Hence the adverb [cf2]abbandonatame
nte, [cf1]vehe~~mently.[cm~A battuta [fy75,1](It.). With the bea
t, indicating return ~to strict tempo.[cm~Abbassare[fy75,1] (It.). To lower, e.g
. to tune down a str. ~of an instr. of the vn. family to obtain a note ~normally
 outside its compass.[cm~Abbatini, Antonio Maria [fy75,1]([cf2]b[cf1] Citt;aga d
i Castello, ~[cf2]c.[cf1][sm1609[nm; [cf2]d[cf1] Citt;aga di Castello, [sm1677[n
m). It. church ~musician and composer. Choirmaster at St John ~Lateran and other
 Roman churches. Helped to ~prepare new edn. of Gregorian hymns. Wrote ~several
operas, incl. the comedy [cf2]Dal male il bene[cf1] ~(Rome, [sm1653[nm).[cm~Abbe
llimenti[fy75,1] (It.). Ornaments, embellishments.[cm~Abbreviations. [fy75,1]Sig
ns whereby writing-out of ~phrases or groups of notes may be abbreviated. ~For e
xample, continued repetition of a note is ~indicated by crossing its stem with o
ne or more ~strokes to show the required sub-division into ~smaller values (for
triplets or groups of [sm6[nm the ~figures [sm3[nm or [sm6[nm are added above th
e notes); and a ~passage to be played in octaves may be written
as ~a single line, with the words [cf2]con ottave[cf1] or [cf2]con[sm 8[nmve.[cm
~Abd;Auampfen[fy75,1] (Ger.). To damp off. To mute, ~especially in connection wi
th timp.[cm~Abduction from the Seraglio, The[fy75,1] (Mozart). See ~[cf2]Entf;Au
uhrung aus dem Serail, Die[cf1].[cm~Abe, Komei [fy75,1]([cf2]b [cf1]Hiroshima, [
sm1911[nm). Japanese ~composer and cond. Studied vc. Tokyo Acad. of ~Mus., then
in Ger. with Pringsheim (comp. [sm1933[nm=n~[sm6[nm) and cond. with Rosenstock (
[sm1935[nm=n[sm9[nm). Prof. of ~comp., Kyoto Univ. of Arts [sm1969[nm=n[sm74[nm.
 Works incl.: ~[cf2]Theme and Variations[cf1], orch. ([sm1936[nm), vc. conc. ~([
sm1942[nm), pf. conc. ([sm1945[nm), Sym. No. [sm1[nm ([sm1957[nm), No. [sm2[nm ~
([sm1960[nm), [cf2]Serenade [cf1]([sm1963[nm), Sinfonietta ([sm1965[nm), [cf2]Va
ri~~ations on a Subject by Grieg[cf1], brass ens. ([sm1972[nm); [sm9[nm str. ~qt
s. ([sm1935[nm=n[sm55[nm), [sm2[nm fl. sonatas ([sm1948, 1949[nm), cl. ~quintet
([sm1942[nm), pf. sextet ([sm1964[nm), pf. sonatina ~([sm1970[nm
), choral mus., songs, film mus.[cm~Abegg Variations. [fy75,1]Schumann's Op. [sm
1[nm, for solo ~pf., comp. [sm1830[nm. Written on a theme made out of ~the notes
 A=nB;Yh (Ger. B;EqEng. B;Yh)=nE=nG=nG, and ~ded. to his friend Meta Abegg.[cm~A
bel, Karl Friedrich [fy75,1]([cf2]b[cf1] C;Auothen, [sm1723[nm; [cf2]d[cf1] Lond
on, ~[sm1787[nm). Ger. composer and player of viola da ~gamba. Pupil of J. S. Ba
ch at Leipzig; orch. player ~[PN2,0,0,L,I0]under Hasse at Dresden [sm1748[nm=n[s
m58[nm. Settled in ~London [sm1759[nm, becoming chamber musician to ~Queen Charl
otte. Associated with J. C. [fy45,1]*[fy75,1]Bach in ~promoting and directing su
bscription concerts ~[sm1764[nm=n[sm82[nm. Comps. incl. ov. to T. Arne's pasticc
io ~[cf2]Love in a village[cf1] ([sm1762[nm), syms., ovs., sonatas, etc.[cm~Aben
c;Aaerages, Les. [fy75,1]Opera in [sm3[nm acts by Cherubini ~to lib. by V. J. E.
 de Jouy, based on Florian's novel ~[cf2]Gonzalve de Cordove[cf1] (f.p. Paris, [
sm1813[nm; revived ~Florence, [sm1957[nm). Title refers to Moori
sh Abencer~~agi warriors.[cm~Abend[fy75,1] (Ger.). Evening; [fy65][cf3]Abendlied
[fy75,1]. Evening ~Song;  [fy65][cf3]Abendmusik. [fy75,1]Evening mus. perfs., us
ually ~religious and specifically those by [fy45,1]*[fy75,1]Buxtehude at ~L;auub
eck on the [sm5[nm Sundays before Christmas, ~started in [sm1673[nm. Continued a
fter his death until ~[sm1810[nm.[cm~Abercrombie, Alexander[fy75,1] ([cf2]b[cf1]
 London, [sm1949[nm). ~Eng. pianist and composer. Studied RCM. D;Aaebut ~London
[sm1972[nm. Gave f.ps. of pf. works by Finnissy, ~Xenakis, Skalkottas, etc.[cm~A
bert, Hermann[fy75,1] ([cf2]b[cf1] Stuttgart, [sm1871[nm; [cf2]d[cf1] Stuttgart,
 ~[sm1927[nm). Ger. mus. scholar. His recasting ([sm1919[nm=n[sm21[nm) ~of [fy45
,1]*[fy75,1]Jahn's standard life of Mozart was very ~important. Prof. at Univs.
of Leipzig ([sm1920[nm), ~Berlin ([sm1923[nm).[cm~Aberystwyth. [fy75,1]Hymn-tune
 by Joseph [fy45,1]*[fy75,1]Parry to ~which words `Jesu, lover of my soul' are s
ung. ~Tune pubd. [sm1879[nm. Words, by Charles Wesley, ~written
in [sm1740[nm for his [cf2]Hymns and Sacred Poems.[cm~Abide With Me. [fy75,1]Hym
n, words written by Rev. ~Henry Francis Lyte ([sm1793[nm=n[sm1847[nm) in [sm1820
[nm after ~attending death-bed of friend at Pole Hore, near ~Wexford, and first
pubd. in Lyte's [cf2]Remains[cf1] ([sm1850[nm). ~Tune, `Eventide', comp. by orga
nist William ~Henry Monk ([sm1823[nm=n[sm89[nm) for these words for [cf2]Hymns ~
Ancient and Modern [cf1]([sm1861[nm). Descant by Vaughan ~Williams in [cf2]Songs
 of Praise[cf1] ([sm1925[nm). Among most ~popular hymns, nowadays particularly a
ssoc. with ~FA Cup Final at Wembley where crowd sing it, ~movingly if incongruou
sly, before teams come ~on to the pitch.[cm~Abl;Auosen[fy75,1] (Ger.). To loosen
 from one another. ~There are various applications, e.g. to separate the ~notes
(i.e. to play [fy45,1]*[fy75,1]staccato).[cm~Abnehmend[fy75,1] (Ger.). Off-takin
g, i.e. [fy45,1]*[fy75,1]Dimi~~nuendo.[cm~Abraham and Isaac. [fy75,1]([sm1[nm) B
ritten's Canticle II for ~alto, ten., and pf., text from Chester
 miracle play, ~comp. [sm1952[nm for Kathleen [fy45,1]*[fy75,1]Ferrier and Peter
 ~[fy45,1]*[fy75,1]Pears.[ep~^([sm2[nm) Sacred ballad for bar. and chamber orch.
 by ~Stravinsky to Hebrew text. Comp. [sm1962[nm=n[sm3[nm and ~ded. to `people o
f the State of Israel'. F.p. Jerusalem ~[sm1964[nm.[cm~Abraham, Gerald[fy75,1] (
Ernest Heal) ([cf2]b[cf1] Newport, I. o. ~W., [sm1904[nm). Eng. mus. critic and
scholar, authority ~on Russ. mus.; ed. of [cf2]Monthly Musical Record[cf1] ~[sm1
945[nm=n[sm60[nm. On BBC staff [sm1935[nm=n[sm47[nm, again [sm1962[nm=n[sm7[nm;
~first Prof. of Mus., Liverpool Univ. [sm1947[nm=n[sm62[nm. ~C.B.E. [sm1974[nm.
Author of [cf2]Concise Oxford History of ~Music [cf1]([sm1979[nm).[cm~Abram, Jac
ques[fy75,1] ([cf2]b[cf1] Lufkin, Texas, [sm1915[nm). Amer. ~concert pianist and
 teacher. Studied Curtis Insti~~tute, [sm1927[nm=n[sm30[nm and at Juilliard Sch.
, NY, [sm1931[nm=n[sm8[nm. ~Schubert memorial award, [sm1938[nm. Professional ~d
;Aaebut Philadelphia [sm1938[nm. Toured Europe [sm1951[nm. ~Taug
ht at Juilliard Sch. [sm1934[nm=n[sm8[nm, at Oklahoma ~Coll. for Women, Chickash
a, [sm1955[nm=n[sm60[nm, and at ~Toronto Royal Cons. of Mus. from [sm1960[nm.[cm
~Abravanel, Maurice[fy75,1] ([cf2]b[cf1] Salonika, [sm1903[nm). Gr.-born ~cond.
Studied in Lausanne and Berlin (with Kurt ~[fy45,1]*[fy75,1]Weill). D;Aaebut Par
is [sm1932[nm. Cond. at Zwickau and ~in opera houses in Berlin and Rome. Cond. a
t NY ~Met. [sm1936[nm. Cond. of Utah S.O. [sm1947[nm=n[sm79[nm Special ~sympathy
 for Eng. mus., notably that of Vaughan ~Williams.[cm~Abruzzese[fy75,1] (It.). A
 song or dance in the style of ~the Abruzzi district, to the E. of Rome.[cm~Absc
hied[fy75,1] (Ger.). Farewell. Hence [fy45,1]*[fy75,2]Abschiedsym~~phonie[cf1] (
No. [sm45[nm in F;Yi minor) by Haydn. [sm6[nmth and ~last movement of Mahler's [
cf2]Das [fy45,1]*[fy75,2]Lied von der Erde[cf1] ~is named `Der Abschied'.[cm~Abs
chiedsymphonie[fy75,1] (Farewell Symphony). ~Nickname of Haydn's Sym. No. [sm45[
nm in F;Yi minor, ~[sm1772[nm (Hob. I:[sm45[nm) because of the f
ollowing ~incident: Prince Nikolaus, Haydn's employer, ~became so attracted to h
is lonely Esterh;Aaaza Castle ~that he spent longer there each year. Except for
~Haydn, the court musicians could not have their ~families with them and grew de
pressed. Haydn ~comp. this sym. with a final adagio during which ~one player aft
er another blew out the candle on ~his mus.-stand and crept away, leaving only [
sm2[nm ~vns., Tomasini and Haydn. As they too were ~about to leave, the Prince i
s supposed to have ~taken the hint by saying: `Well, if they all leave, ~we migh
t as well go too'=mand next day the court ~returned to Vienna.[cm~Absil, Jean[fy
75,1] ([cf2]b[cf1] Bonsecours, Belgium, [sm1893[nm; [cf2]d ~[cf1]Brussels, [sm19
74[nm). Belg. composer. Studied Brussels ~Cons. under Gilson. Prof. of harmony,
Brussels ~Cons. [sm1931[nm=n[sm59[nm. Many comps., incl. [sm5[nm syms., [sm3[nm
pf. ~concs., [sm2[nm vn. concs., [sm4[nm str. qts., and many instr. ~and choral
works.[cm~A.B.S.M.; A.B.S.M. (T.T.D.). [fy75,1]Associate of the
~Birmingham School of Music (Teachers' Training ~Diploma).[cm~Absolute Music. [f
y75,1]Instr. mus. which exists simply ~as such, i.e. not [fy45,1]*[fy75,1]`Progr
amme Music', or in any ~way illustrative.[cm~Absolute Pitch (Sense of=+=+). [fy7
5,1]That sense which ~some people possess of the actual pitch of any ~note heard
, as distinct from Relative Pitch, which ~implies the recognition of a note as b
eing a certain ~degree of the scale or as lying at a certain interval ~[PN3,0,0,
R,I0]above or below another note heard. The sense of ~relative pitch may readily
 be acquired by practice, ~but the sense of absolute pitch much less easily.[ep~
^Absolute pitch is really an innate form of ~memory: the possessor retains in hi
s or her mind ~(consciously or unconsciously) the pitch of some ~instr. to which
 he or she has been accustomed ~and instinctively relates to that pitch every so
und ~heard. Many good musicians possess this faculty; ~as many others do not.[ep
~^The possession of this sense is sometimes ~extremely useful, b
ut may also prove an embar~~rassment, as, for instance, when a singer with ~abso
lute pitch is called upon to read mus. ~accompanied by an instr. tuned to what i
s to him ~or her `the wrong pitch', necessitating a conscious ~transposition of
the vocal line.[cm~Abstossen[fy75,1] (Ger.). ([sm1[nm) To detach notes from one
~another, i.e. to play [fy45,1]*[fy75,1]staccato.[ep~^([sm2[nm) In org. playing,
 to cease to use a stop. ~([cf2]Abgestossen[cf1] is the past participle.)[cm~Abs
tract Music. [fy75,1]Same as [fy45,1]*[fy75,1]Absolute Music. As ~used by Ger. w
riters ([cf2]Abstrakte Musik[cf1]), the term ~has a different meaning=mmus. lack
ing in sensi~~tivity, `dry' or `academic'.[cm~Abt, Franz Wilhelm[fy75,1] ([cf2]b
[cf1] Eilenburg, [sm1819[nm; [cf2]d[cf1] ~Wiesbaden, [sm1885[nm). Ger. composer
of vocal mus. ~and pf. pieces (over [sm600[nm opus nos.). Also Kapell~~meister i
n various cities [sm1841[nm=n[sm82[nm.[cm~Abu Hassan. [fy45,1]*[fy75,1]Singspiel
 in [sm1[nm act by Weber to lib. ~by F. K. Hiemer after tale in
[cf2][sm1001[nm Nights. [cf1]Prod. ~Munich [sm1811[nm; London (with mus. adapted
) [sm1825[nm; ~NY [sm1827[nm.[cm~Abwechseln, Abzuwechseln[fy75,1] (Ger.). To cha
nge. ~Used of orch. instr. alternating with another in ~the hands of the same pl
ayer, etc.[cm~Abyngdon[fy75,1] (Abingdon, Habyngton, etc.), [fy65][cf3]Henry ~[f
y75,1]([cf2]b c.[cf1][sm1418[nm, [cf2]d[cf1] [sm1497[nm). Eng. singer, organist,
 and ~composer (none of whose works has yet been ~found). Precentor of Wells Cat
h. First person ~known to have taken a mus. degree at Cambridge ~(B.Mus., [sm146
4[nm).[cm~Academic Festival Overture[fy75,1] ([cf2]Akademische Fest~~[chouvert;A
uure[cf1]). Brahms's Op. [sm80[nm, f.p. [sm1881[nm at Breslau ~Univ. in acknowle
dgement of an honorary Ph.D. ~degree conferred on him there in [sm1879[nm. Makes
 ~fantasia-like use of [sm4[nm Ger. student songs, [cf2]Wir ~hatten gebauet ein
stattliches Haus[cf1] (We have built a ~stately house), [cf2]Der Landesvater[cf1
] (The Land Father), ~[cf2]Was kommt dort von der H;Auohe[cf1] (
What comes from ~afar), and [cf2]Gaudeamus igitur[cf1] (Therefore let us ~rejoic
e).[cm~Academy of Ancient Music. [fy75,1]London Soc. ~formed [sm1726[nm for perf
. and study of vocal and ~instr. works. For some time dir. [fy45,1]*[fy75,1]Pepu
sch. ~Survived until [sm1792[nm. Title revived in [sm1970[nm: for ~[fy75,1]early
 mus. ens. dir. by Christopher [fy45,1]*[fy75,1]Hogwood.[cm~Academy of St Martin
-in-the-Fields. [fy75,1]Chamber ~orch. founded [sm1958[nm and so called because
it gave ~concerts in the London church of that name. Dir. ~Neville [fy45,1]*[fy7
5,1]Marriner until [sm1978[nm, then Iona Brown.[cm~Academy of Vocal Music. [fy75
,1]Founded at St ~Clement Dane's, Strand, in [sm1725[nm/[sm6[nm and met ~fortnig
htly. Members incl. Pepusch, Greene, ~Bononcini, Geminiani, etc.[cm~A Cappella[f
y75,1] (It.). In the chapel style, which in ~choral singing has come to mean una
ccompanied. ~See [cf2]Cappella.[cm~Accardo, Salvatore[fy75,1] ([cf2]b[cf1] Turin
, [sm1941[nm). It. violinist. ~Gave concerts as child; studied N
aples Cons. and ~Siena (with Astruc). Professional d;Aaebut Naples, ~aged [sm13[
nm. First winner, Paganini Competition, ~[sm1958[nm. Wide repertory, but particu
larly assoc. with ~mus. of Paganini, of whose long-lost E minor ~conc. he gave f
irst modern perf.[cm~Accarezzevole, accarezzevolmente[fy75,1] (It.). Caress~~ing
, caressingly.[cm~Accelerando, accelerato[fy75,1] (It.). Accelerating, ac~~celer
ated; i.e. getting gradually quicker.[cm~Accent. [fy75,1]([sm1[nm) An emphasis o
n a particular note, ~giving a regular or irregular rhythmic pattern. ~For more
detail, see [cf2]Rhythm.[ep~^[cf1]([sm2[nm) The name is also applied to the simp
lest ~forms of plainsong tones (see [cf2]Plainsong[cf1]), i.e. very ~slightly in
flected monotones.[cm~Accento[fy75,1] (It.). Accent; hence [cf2]accentato, [cf1]
accented.[cm~Accentuation. [fy75,1]Emphasizing certain notes. In ~setting words
to mus., coincidence of natural ~accents in text with mus. results in good ~acce
ntuation.[cm~Accentus [fy75,1](Lat.). ([sm1[nm) The part of the
R.C. liturgy ~chanted only by the priest or his representative, ~as distinct fro
m the [cf2]Concentus[cf1], chanted by the ~congregation or choir.[ep~^([sm2[nm)
See [cf2]Accent[cf1] [sm2[nm.[cm~Acciaccato[fy75,1] (It.). Broken down, crushed.
 The ~sounding of the notes of a chord not quite ~simultaneously, but from botto
m to top.[cm~[bnAcciaccatura. [fy75,1]A species of [fy45,1]*[fy75,1]grace note,
indicated ~by a small note with its stem crossed through, ~viz.,[ep~[ol26][ep~[x
n^The prin. note retains its accent and almost all ~its time-value. The auxiliar
y note is theoretically ~timeless; it is just `crushed' in as quickly as ~possib
le before the prin. note is heard. Some ~renowned pianists even play the [sm2[nm
 notes simulta~~neously, immediately releasing the Acciaccatura ~and retaining t
he prin. note.[ep~^Sometimes [sm2[nm or more small notes are shown ~before the p
rin. notes, and then they generally ~amount to Acciaccature (being in most cases
 perf. ~[PN4,0,0,L,I0]on the `crushed-in', or timeless and accen
tless, ~principle), although they have no strokes through ~their tails, and alth
ough the names [cf2]Double[cf1] or ~[cf2]Triple Appoggiatura[cf1] are often give
n them.[ep~[ol32][ep~[bn^Note a combination of Acciaccatura with [fy75,1]Spread
~chord:[ep~[ol32][ep~[xn[ol0][ep~[bnperf. as though notated=m[ep~[ol32][ep~[xn^A
lthough the Acciaccatura is theoretically[fj~timeless, it nevertheless must take
 a fragment of ~time from somewhere. In the cases shown above ~(which may be con
sidered the normal ones) it ~takes it from the following note. In [sm2[nm other
cases, ~however, time is taken from the preceding note: ~([sm1[nm) when harmonic
ally and in context it is clearly ~attached to that note rather than the followi
ng ~note; ([sm2[nm) when, in pf. mus., it appears in the bass ~followed by a cho
rd in the left hand or in both ~hands=mthe composer's intention being to in~~cre
ase harmonic richness by sounding the bass ~note in a lower octave and then hold
ing it by the ~pedal whilst the chord is played; in this case th
e ~chord (as a whole) is to be heard on the beat, the ~Acciaccatura slightly pre
ceding it. See also [cf2]Mor~~dent.[cm~Accidental. [fy75,1]The sign indicating m
omentary ~departure from the key signature by the raising ~or lowering of a note
 by means of a sharp, flat, ~natural, etc. It holds good throughout the measure
~(bar) unless contradicted, and where it occurs ~attached to the last note of th
e measure and this ~note is tied to a note in the next measure, it holds ~good f
or that latter note also.[ep~^In some [sm20[nmth-cent. mus. any accidental which
 ~occurs is understood to affect only the note before ~which it is placed, as wa
s also often the case with ~mus. from the medieval period to the [sm17[nmth cent
.[xm[cm~[ol0][ep~[xp[te~



[do19][j99]~~~~~~153842_A002[ep~[u1]~~~~153842[cmConcise Oxford Dict. of ~Music[
cmA002[cm19[cm1[cm~10/10/79[cm8[cm59[cm~GC[cm2[cm3-7-84[cm~U1[cm~~~~[ap[j1]Accom
pagnato [fy75,1](It.). Accompanied. [cf1]In It. opera, ~from about the time of C
avalli, [cf2]recitativo accom~~pagnato [cf1]meant a dramatic type of recit., ful
ly ~written-out with ens. acc., as opposed to [cf2]recitativo ~secco[cf1], notat
ed with figured bass acc. only. In [sm18[nmth-~cent. opera, [cf2]acc. recit[cf1]
. was normally reserved for ~the most important dramatic scenes and intro~~duced
 the most brilliant arias.[cm~Accompaniment. [fy75,1]The term as sometimes used
~today implies the presence of a prin. perf. (singer, ~violinist, etc.) more or
less subserviently supplied ~with a background by another perf. or perfs. ~(pian
ist, orch., etc.). This is not the original use of ~the word, which carried no s
uggestion of subser~~vience, `Sonata for Harpsichord with Violin ~Accompaniment'
 being a common [sm18[nmth-cent. ~term.[ep~^However, to describe
 the orch. part of a Brahms ~conc. as a subservient acc. is obviously ridiculous
. ~Equally, the pf. part of songs by such composers ~as Schubert, Wolf, Strauss,
 Faur;Aae, and others is ~often of equal importance with the v. Thus, in ~the [s
m20[nmth cent., the art of pf. acc. has become ~highly developed, e.g. by Gerald
 [fy45,1]*[fy75,1]Moore, Benja~~min [fy45,1]*[fy75,1]Britten, and many others.[c
m~Accompaniment to a Film Scene [fy75,1]([cf2]Begleitungs~~musik zu einer Lichts
pielszene[cf1]). Orch. work by ~Schoenberg, Op. [sm34[nm, comp. Berlin [sm1929[n
m=n[sm30[nm. F.p. ~Berlin [sm1930[nm cond. Klemperer; f.Eng.p. BBC ~broadcast [s
m1931[nm cond. Webern. [sm3[nm movements are: ~[cf2]Drohende Gefahr [cf1](Danger
 threatens), [cf2]Angst [cf1](An~~guish), [cf2]Katastrophe[cf1]. No specific fil
m was in ~Schoenberg's mind, this being an example of ~`pure' film mus.[cm~Accop
piare [fy75,1](It.). To couple (org.). Hence [cf2]Accop~~piato[cf1], Coupled; [c
f2]Accoppiamento[cf1], Coupling (the ~noun).[cm~Accord [fy75,1](
Fr.). ([sm1[nm) Chord.[ep~^([sm2[nm) `Tuning'.[cm~Accordare [fy75,1](It.). To tu
ne.[cm~Accordato, accordati, accordata, accordate ~[fy75,1](It.). Tuned. (The wo
rd is sometimes used in a ~phrase indicating a particular instr. tuning, e.g. ~o
f the timps.) Hence [cf2]accordatura [cf1](It.), Tuning.[cm~Accorder [fy75,1](Fr
.). To tune. Hence [cf2]Accord;Aae[cf1], Tuned.[cm~Accordion (Accordeon). [fy75,
1]Small portable instr., ~shaped like a box, with metal reeds which are ~vibrate
d by air from bellows. The Accordion is ~similar in principle to the [fy75,1]mou
th org. but is ~provided with bellows and studs for producing ~the required note
s (or, in the [cf2]Piano-Accordion[cf1], a ~small kbd. of up to [sm3[nm;FD octav
es). It is designed to ~be held in both hands, the one approaching and ~separati
ng from the other, so expanding and ~contracting the bellows section, while melo
dy ~studs or keys are operated by the fingers of the ~right hand and studs provi
ding simple chords by ~those of the left hand. Invention credite
d to ~Damian of Vienna, [sm1829[nm.[cm~Accordo [fy75,1](It.). Chord.[cm~Accouple
r [fy75,1](Fr.). To couple (org.). So [cf2]accoupl;Aae, ~[cf1]coupled; [cf2]acco
uplement[cf1], coupling, coupler (nouns); ~[cf2]accouplez[cf1], couple (imperati
ve).[cm~Accursed Hunter, The [fy75,1](Franck). See [cf2]Chasseur ~maudit, Le.[cm
~Acht [fy75,1](Ger.). ([sm1[nm) Eight.[ep~^([sm2[nm) Care.[cm~Achtel, Achtelnote
 [fy75,1](Ger.). Eighth, Eighth-note, ~i.e. Quaver; hence [cf2]Achtelpause[cf1],
 [cf1]a quaver rest. ~[cf2]Achtstimmig[cf1], in [sm8[nm vv. (or parts).[cm~[PN5,
0,0,R,I0]Achucarro, Joaquin [fy75,1]([cf2]b [cf1]Bilbao, [sm1936[nm). Sp. pianis
t ~who studied in Madrid, Siena, and Saarbr;Auucken. ~D;Aaebut Masaveu, Spain, [
sm1950[nm. Won Liverpool Int. ~pf. competition, [sm1959[nm, making London d;Aaeb
ut ~same year.[cm~Acis and Galatea. [fy75,1]Masque, serenata, or pastoral ~in [s
m2[nm acts by Handel to text by John Gay with ~additions by Pope, Dryden, and Hu
ghes, based ~on Ovid's [cf2]Metamorphoses XIII. [cf1]Written and
 f.p. at ~Cannons, Edgware, seat of Earl of Carnarvon, ~later Duke of Chandos, M
ay [sm1718[nm; London f.p. ~[sm1732[nm, when part of [cf2]Aci, Galatea e Polifem
o[cf1], comp. ~Naples, [sm1708[nm, was incorporated. Rev. for larger ~forces and
 pubd. [sm1743[nm. Contains bass aria [cf2]O ~ruddier than the cherry. [cf1]Lull
y, Haydn, and Hatton ~were among other composers of dramatic works ~on this subj
ect.[cm~Ackermann, Otto [fy75,1]([cf2]b [cf1]Bucharest, [sm1909[nm; [cf2]d [cf1]
Berne, ~[sm1960[nm). Romanian-born cond. (later Swiss citizen) ~who worked in mo
st leading opera houses. ~Studied Bucharest Royal Acad. and Berlin Hoch~~[chschu
le f;Auur Musik. Cond. D;Auusseldorf Opera [sm1927[nm=n~[sm32[nm, Brno [sm1932[n
m=n[sm5[nm, Berne [sm1935[nm=n[sm47[nm, Z;Auurich [sm1949[nm=n~[sm55[nm, Cologne
 [sm1955[nm=n[sm8[nm. Noted for interpretation of ~operettas by J. Strauss II an
d Leh;Aaar.[cm~Ackt;Aae, A;Auino [fy75,1]([cf2]b[cf1] Helsinki, Finland, [sm1876
[nm; [cf2]d ~[cf1]Nummela, [sm1944[nm). Finn. sop., studied at P
aris ~Cons. [sm1894[nm=n[sm7[nm, d;Aaebut Paris Op;Aaera [sm1897[nm as Mar~~gu;A
aerite in [cf2]Faust[cf1], London d;Aaebut [sm1907[nm. First ~London Salome ([sm
1910[nm), a role in which she won ~special acclaim. Dir., Finn. Nat. Opera, [sm1
938[nm.[cm~Acoustic bass. [fy75,1]Org. stop with [sm2[nm rows of pipes, ~those m
entioned under [fy45,1]*[fy75,2]Quint[cf1].[cm~Acoustics. [fy75,1]In its true se
nse, anything pertaining ~to the sense of hearing, but, as commonly used, ~first
ly, the branch of physics concerned with the ~properties, production, and transm
ission of ~sound; and secondly, the quality of a building as ~regards its suitab
ility for the clear hearing of ~speech or mus.[ep~^Sound is due to the vibration
s of a source, such ~as a mus. instr., which are transmitted through ~the air to
 the ear-drum where they set up ~vibrations at the same rate.[ep~^The [cf2]pitch
 [cf1]of a sound depends on the speed of ~those vibrations, which if rapid produ
ce a `high' ~pitch and if slow a `low' pitch. The rate of ~vibra
tion per second is known as the `frequency' ~of the note.[ep~^The [cf2]loudness
[cf1]of a sound depends on the ~`amplitude' of the vibrations; for instance, a v
n. ~str. violently bowed will oscillate for a considera~~ble distance on either
side of its line of repose, ~thereby producing strong vibrations and a loud ~sou
nd, whereas one gently bowed will only ~oscillate a short distance on each side
and so ~produce small vibrations and a soft sound.[ep~^Smaller instr. produce mo
re rapid vibrations ~and larger ones slower vibrations: thus the ob. is ~pitched
 higher than its relative the bn., likewise ~a vn. than a vc., a stopped str. th
an an `open' str., ~a boy's v. than a man's v., etc. But other factors ~enter in
to the control of pitch. For instance, [cf2]mass ~[cf1](the thinner str. of a vn
. vibrate more quickly ~than the thicker ones and so possess a higher ~general p
itch) and [cf2]tension [cf1](a vn. str. tightened by ~turning the peg rises in p
itch).[ep~^The varying [cf2]quality [cf1]of the sound produced b
y ~different instr. and vv. is explained as follows. ~Almost all vibrations are
compound, e.g. a ~sounding vn. str. may be vibrating not only as a ~whole but al
so at the same time in various ~fractions which produce notes according to their
 ~varying lengths. These notes are not easily ~identifiable by the ear but are n
evertheless present ~as factors in the tonal ens.[ep~^Taking any particular note
 of the harmonic ~series (as G, D, or B), the numbers of its harmonics ~double w
ith each octave as the series ascends. The ~numbers attached to the harmonics re
present also ~the ratios of the frequencies of the various ~harmonics to the fun
damental. Thus if the ~frequency of the low G is [sm96[nm vibrations per ~second
, that of the B in the treble stave ([sm5[nmth ~harmonic) is [sm5[nm=+;Ts=+[sm96
[nm=+=+;Eq=+=+[sm480[nm vibrations per second.[ep~^Whilst these harmonics are no
rmally heard in ~combination some of them may, on some instr., ~be separately ob
tained. By a certain method of ~blowing, a brass tube, instead o
f producing its ~first harmonic, or fundamental, can be made to ~produce other h
armonics. By lightly touching a ~str. (i.e. a stopped str.), at its centre and t
hen ~bowing it, it can be made to produce (in a peculiar ~silvery tone-quality)
its [sm2[nmnd harmonic; by touch~~ing it at a [sm3[nmrd of its length it will si
milarly ~produce its [sm3[nmrd harmonic, etc. (Harmonics are ~notated in str. pa
rts as an `o' above the note. ~`Natural' harmonics are those produced from an ~o
pen str.; `artificial' harmonics those produced ~from a stopped str.).[ep~^The n
ormal [cf2]transmission of sound [cf1]is through the ~air. The vibrations of a s
tr., a drum-head, the ~vocal cords, etc. set up similar vibrations in the ~neare
st particles of air; these communicate them ~to other particles, and so on, unti
l the initial ~energy is gradually exhausted. This process of ~transmission of p
ressure to adjacent units of air ~creates what are known as [cf2]sound waves[cf1
]: unlike ~waves created by water-motion, there is no ~forward m
ovement, but each particle of air ~oscillates, setting up alternate pressure and
 ~relaxation of pressure which in turn produce ~similar effects on the human or
animal ear-drum ~(;Eq=+=+vibrations), so causing the subjective effect of ~`soun
d'.[ep~^To judge pitch differences, or intervals, the ~human ear obeys a law of
perception called the ~Weber-Fechner law, which states that equal ~increments of
 perception are associated with ~equal ratios of stimulus. Perception of the oct
ave ~pitch is a [sm2[nm=+:=+[sm1[nm frequency ratio. In judging the ~loudness of
 sound there are [sm2[nm `thresholds', those ~of hearing and of pain. If the int
ensity of sound ~[PN6,0,0,L,I0]at the threshold of hearing is regarded as [sm1[n
m, the ~intensity at the pain threshold is [sm1[nm million ~million. Acoustician
s' scale of loudness, following ~the Weber-Fechner law, is logarithmic and based
 ~on a ratio of intensities [sm10[nm=+:=+[sm1[nm. This is known as a ~[cf2]bel.
[cf1]The range of loudness perception is divided ~into [sm12[nm
large units. Each increment of a [cf2]bel [cf1]is ~divided into [sm10[nm smaller
 increments known as ~[cf2]decibels[cf1], i.e. [sm1[nm[cf2] bel=+=+;Eq=+=+[cf1][
sm10[nm [cf2]decibels[cf1]. A difference in ~loudness of [sm1[nm [cf2]decibel [c
f1]in the middle range of ~hearing is about the smallest increment of change ~wh
ich the ear can gauge.[ep~^When [sm2[nm notes near to one another in vibration ~
frequency are heard together their vibrations ~necessarily coincide at regular i
ntervals and thus ~reinforce one another in the effect produced. This ~is called
 a [cf2]beat[cf1]. When the pf. tuner is tuning [sm1[nm str. ~of a certain note
to another str. of the same note ~the beat may be heard to diminish in frequency
 ~until it gradually disappears with correct adjust~~ment. When the rate of beat
ing exceeds [sm20[nm per ~second, the sensation of a low bass note is ~perceived
.[ep~^When [sm2[nm loud notes are heard together they give ~rise to a [sm3[nmrd
sound, a [cf2]Combination [cf1]or [cf2]Resultant ~Tone[cf1], cor
responding to the difference between ~the [sm2[nm vibration numbers: this low-pi
tched note is ~called a [cf2]Difference Tone[cf1]. They also give rise to a ~[sm
4[nmth sound (another Combination Tone=mhigh ~and faint) corresponding to the su
m of the [sm2[nm ~vibration numbers: this is called a [cf2]Summation ~Tone[cf1].
[ep~^There is [cf2]reflection of sound[cf1], as of light, as we ~experience on h
earing an echo. Similarly there ~are [cf2]sound shadows[cf1], caused by some obs
truction ~which impedes the passage of vibrations which ~reach it. However, unli
ke light vibrations, sound ~vibrations tend to `diffract' round an obstruction,
~and not every solid object will create a complete ~`shadow': most solids will t
ransmit sound vibra~~tions to a greater or lesser extent, whereas only a ~few (e
.g. glass) will transmit light vibrations.[ep~^The term [cf2]Resonance [cf1]is a
pplied to the response of ~an object to the sound of a given note, i.e. its ~tak
ing up the vibrations of that note. Thus if [sm2[nm ~identical t
uning-forks are placed in close prox~~imity and one is sounded, the other will s
et up ~sympathetic vibrations and will also produce the ~note. The [sm1[nmst for
k is then a [cf2]Generator [cf1]of sound ~and the [sm2[nmnd a [cf2]Resonator[cf1
]. It is often found that a ~particular church window will vibrate in response ~
to a particular organ note, and that a metal or ~glass object in a room will sim
ilarly respond to a ~certain vocal or instr. note.[ep~^This phenomenon is true r
esonance (`re-sound~~[ching') in the strict scientific sense of the word. ~There
 is also a less strict use of the word, which is ~sometimes applied to the vibra
tion of floor, walls, ~and ceiling of a hall, not limited to a particular ~note,
 but in response to any note played or sung. ~A hall may either be too resonant
for the comfort ~of performers and audience, or too little so=mtoo ~`dead' (a ha
ll with echo is often described as `too ~resonant', but there is an obvious clea
r distinction ~to be made between the mere reflection of sounds
~and the sympathetic reinforcements of them). ~Reverberation time is defined as
the time it takes ~for sound to fall [sm60[nm decibels ([sm1[nm millionth of ~or
iginal intensity).[ep~^Materials of walls and ceiling should be neither ~too rev
erberatory nor too absorbent (`dead'). ~Acoustical engineers have worked out co-
effi~~cients of absorption for building materials, but ~absorption is rarely uni
form throughout the ~whole spectrum of pitch. Only wood and certain ~special aco
ustic materials show nearly even ~absorption in the total frequency range. Ampli
~~fiers and loud-speakers can be used (as they ~nowadays often are) to overcome
difficulties ~caused by original faulty design.[cm~Action. [fy75,1]The mechanism
 of a pf., org., or similar ~instr. which connects the kbd. and str., or the ~pi
pes and stops.[cm~Action, Ballet d' [fy75,1](Pas d'=+). A ballet with a dramatic
 ~basis.[cm~Act Tune (Curtain Tune, Curtain Music). [fy75,1]A ~[sm17[nmth- and [
sm18[nmth-cent. term for mus. between the ~acts of a play while
the curtain was down, similar ~to an [fy45,1]*[fy75,2]entr'acte [cf1]or [fy45,1]
*[fy75,2]intermezzo[cf1].[cm~Actus Tragicus. [fy75,1]Name for Bach's church cant
ata ~No. [sm106[nm, [cf2]Gottes Zeit ist die allerbeste Zeit [cf1](God's ~Time i
s the best). It appears to have been written, ~probably in [sm1707[nm, for an oc
casion of mourning ~on the death of some public personage.[cm~Adagietto [fy75,1]
(It.). ([sm1[nm) Slow, but less so than [cf2]Adagio[cf1].[ep~^([sm2[nm) A short
[cf2]adagio [cf1]comp. A famous example is ~the [cf2]Adagietto [cf1]for str. and
 harp, the [sm4[nmth movement ~of Mahler's Sym. No. [sm5[nm.[cm~Adagio [fy75,1](
It.). At ease. Slow (not so slow as [cf2]Largo[cf1], ~but slower than [cf2]Andan
te[cf1]). A slow movement is ~often called `an Adagio'. [cf2]Adagissimo[cf1], Ex
tremely ~slow. [cf2]Adagio assai[cf1], very slow.[cm~Adam, Adolphe [fy75,1](Char
les) ([cf2]b [cf1]Paris, [sm1803[nm; [cf2]d[cf1] Paris, ~[sm1856[nm). Fr. compos
er and critic. Studied Paris Cons. ~and with [fy45,1]*[fy75,1]Bo
ieldieu. Wrote [sm70[nm operas, mostly ~op;Aaeras comiques, of which best-known
are [cf2]Le ~Postillon de Lonjumeau [cf1]([sm1836[nm) and [cf2]Si j';Aaetais roi
 ~[cf1]([sm1852[nm). Also wrote church mus., songs, and several ~ballets, incl.
[fy45,1]*[fy75,2]Giselle [cf1]([sm1841[nm). Prof. of comp., Paris ~Cons. from [s
m1849[nm.[cm~Adam, Theo [fy75,1]([cf2]b [cf1]Dresden, [sm1926[nm). Ger. bass-bar
. ~Opera d;aaebut Dresden [sm1949[nm. Member of Berlin ~Staatsoper from [sm1952[
nm. Bayreuth d;aaebut [sm1952[nm, CG ~d;aaebut [sm1967[nm (Wotan), NY Met. [sm19
63[nm (Sachs). ~Notable in Wagner roles but also as Strauss's Ochs, ~Beethoven's
 Pizarro, Berg's Wozzeck, and Moz~~art's Don Giovanni.[cm~Adam de la Halle [fy75
,1](de la Hale, de la H;Agele) ([cf2]b ~[cf1]?Arras, [cf2]c[cf1].[sm1231[nm;[cf2
] d[cf1] Naples, [sm1288[nm). Fr. troubadour. ~His [cf2]Le Jeu de Robin et Mario
n[cf1], written for Fr. court ~at Naples, is regarded as precursor of op;Aaera ~
[PN7,0,0,R,I0]comique. Also wrote motets, chansons, and [cf2]Le
Jeu ~d'Adam [cf1](Arras, [sm1262[nm).[cm~Adam le Bossu [fy75,1](Adam the Hunchba
ck). Identical ~with [fy45,1]*[fy75,1]Adam de la Halle[cf1].[cm~Adamberger, Vale
ntin [fy75,1]([cf2]b [cf1]Munich, [sm1743[nm; [cf2]d ~[cf1]Vienna, [sm1804[nm).
Ger. ten., known in It. early in his ~career as Adamonti. Friend of Mozart, who
~greatly admired him and wrote for him the part ~of Belmonte in [cf2]Die Entf;au
uhrung aus dem Serail[cf1].[cm~Adamis, Michael George [fy75,1]([cf2]b [cf1]Pirae
us, Greece, ~[sm1929[nm). Gr. composer. Studied Athens Cons. [sm1947[nm=n~[sm59[
nm and at Brandeis Univ., Mass., [sm1962[nm=n[sm5[nm, where ~he was assoc. with
elec. mus. studio. Founded ~Athens Chamber Choir, [sm1958[nm.[cm~Adams, Stephen.
 [fy75,1]See [cf2]Maybrick, Michael[cf1].[cm~A.D.C.M. [fy75,1]Archbishop of Cant
erbury's Diploma ~in Church Mus., awarded only after examination ~to Fellows of
the Royal Coll. of Organists who ~hold the Ch.M. (Choirmaster) diploma.[xm[cm~[o
l0][ep~[xp[te~
[do19][j99]~~~~~~153842_A003[ep~[u1]~~~~153842[cmConcise Oxford Dict of ~Mus[cmA
003[cm19[cm1[cm~10/10/79[cm8[cm93[cm~GC[cm4[cm19/9/84[cm~U1[cm~~~~[ap[j1]Added [
sm6[nmth, Chord of. [fy75,1]In key of C, the chord F-~A-C-D and similarly in oth
er keys, i.e. the ~subdominant chord plus the [sm6[nmth from the bass ~(major [s
m6[nmth added to major or minor triad), or, ~looked at from another viewpoint, t
he first ~inversion of the (diatonic) supertonic [sm7[nmth. Fre~~quently used by
 Delius, Mahler, and in jazz.[cm~Addinsell, Richard [fy75,1]([cf2]b [cf1]Oxford,
 [sm1904[nm; [cf2]d [cf1]Chelsea, ~[sm1977[nm). Eng. composer. Trained Oxford, R
CM, ~and Vienna. Wrote songs and film mus., of which ~outstanding example is [cf
2]Warsaw Concerto[cf1], skilful ~pastiche of romantic pf. conc., written for [sm
1941[nm ~film [cf2]Dangerous Moonlight[cf1]. (See [cf2]Film Music[cf1]).[cm~Addi
tional Accompaniments. [fy75,1]New or rev. accs. ~written by a later composer or
 ed. for mus. of the ~early masters, where perhaps only a [fy75,
1]figured bass ~is provided in the original. An extravagant ~example of such add
itions is found in the instr. ~parts Mozart wrote into Handel's [cf2]Messiah [cf
1]for an ~occasion when no organ was available to provide ~the figured bass used
 in perf. of Handel's own ~time.[cm~Addolcendo [fy75,1](It.). Becoming [fy45,1]*
[fy75,2]dolce[cf1].[cm~Addolorato [fy75,1](It.). Grieved, i.e. in a saddened sty
le.[cm~Adelaide. [fy75,1]Song for high v. and pf. by Beethoven, ~Op. [sm46[nm, c
omp. [sm1795[nm/[sm6[nm to poem by F. von ~Matthisson.[cm~Ad;Aaela;Auide Concert
o. [fy75,1]Vn. conc. dubiously attrib. ~to the [sm10[nm-year-old Mozart, suppose
dly ded. to the ~Princess Ad;Aaela;Auide, daughter of King Louis XV of ~France.[
cm~Adeney, Richard [fy75,1]([cf2]b [cf1]London, [sm1920[nm). Eng. flautist. ~Stu
died RCM. Prin. flautist, LPO, [sm1941[nm=n[sm50[nm and ~[sm1960[nm=n[sm9[nm; an
d in Melos Ens. and ECO.[cm~[j1]Adeste Fideles [fy75,1](O come, all ye faithful)
. This ~hymn and tune probably date from the first half ~of the
[sm18[nmth cent. The late G. E. P. Arkwright ~detected that the first part of th
e tune closely ~resembled a tune which appeared in a Paris ~[cf2]vaudeville [cf1
]of [sm1744[nm (where it was described as `Air ~Anglais') and suggested that it
was probably an ~adaptation of some popular tune combined, in ~the hymn, with re
miniscences of the air `Pensa ~ad amare' from Handel's [cf2]Ottone [cf1]([sm1723
[nm). This view ~is supported by more recent researches, notably ~those of Dom J
ohn St;Aaephan, of Buckfast Abbey, ~Devon, who in [sm1947[nm discussed a newly-d
iscovered ~MS. of the tune in the handwriting of John ~Francis Wade, a Lat. teac
her and music copyist of ~Douai ([cf2]d[cf1] [sm1786[nm). St;aaephan believed th
is to be the ~`first and original version', dating from [sm1740[nm=n[sm43[nm, ~a
nd attrib. both words and mus. to Wade.[cm~;AgA deux cordes [fy75,1](Fr.). On [s
m2[nm strings.[cm~;AgA deux mains [fy75,1](Fr.). For [sm2[nm hands.[cm~;AgA deux
 temps [fy75,1](Fr.). In [sm2[nm/[sm2[nm time.[cm~Adieux Sonata.
 [fy75,1]Fr. title (in full, [cf2]Sonate caract;Aae~~[christique; les adieux, l'
absence et le retour[cf1]) given by ~publisher to Beethoven's Pf. Sonata No. [sm
26[nm in E;Yh ~major, Op. [sm81[nma, comp. [sm1809[nm=n[sm10[nm. Beethoven ~disa
pproved of the title, preferring the Ger. [cf2]Das ~[fy45,1]*[fy75,2]Lebewohl [c
f1](The Farewell). Ded. to Archduke ~Rudolph on his departure from Vienna for [s
m9[nm ~months.[cm~Adler, Guido [fy75,1]([cf2]b [cf1]Eibensch;Auutz, Moravia, [sm
1855[nm; [cf2]d ~[cf1]Vienna, [sm1941[nm). Austrian critic and musicologist; ~pr
of. of music history, Prague Univ., [sm1885[nm=n[sm97[nm. ~Succeeded [fy45,1]*[f
y75,1]Hanslick as prof. of music history, ~Vienna Univ. [sm1898[nm=n[sm1927[nm.
Author of books on ~Wagner ([sm1904[nm) and Mahler ([sm1916[nm), gen. ed. ~[cf2]
Handbuch der Musikgeschichte [cf1]([sm1924[nm).[cm~Adler, Kurt [fy75,1]([cf2]b [
cf1]Neuhaus, Cz., [sm1907[nm; [cf2]d [cf1]New Jersey, ~[sm1977[nm). Cz. cond., p
ianist, and scholar. Studied ~Vienna. Ass. cond. Berlin State Op
era [sm1927[nm=n[sm9[nm; ~cond. Ger. Opera, Prague, [sm1929[nm=n[sm32[nm, Kiev O
pera ~[sm1933[nm=n[sm5[nm. Settled in USA [sm1938[nm. Ass. cond. and ch. ~master
 NY Met. [sm1943[nm. On staff NY Met. [sm1943[nm=n[sm73[nm ~(ch. master from [sm
1945[nm, ass. cond. from [sm1951[nm).[cm~Adler, Kurt Herbert [fy75,1]([cf2]b [cf
1]Vienna, [sm1905[nm). Austrian-~born cond. and impresario. Studied Vienna Cons.
 ~Th. cond. in Vienna, Prague, etc. Ass. to Toscanini, ~Salzburg [sm1936[nm. Wen
t to USA as cond. Chicago ~Opera [sm1938[nm=n[sm43[nm. Cond., San Francisco Oper
a [sm1943[nm, ~art. dir. [sm1953[nm, gen. dir. [sm1956[nm=n[sm82[nm. Hon. C.B.E.
 ~[sm1980[nm.[cm~Adler, Larry [fy75,1](Lawrence Cecil) ([cf2]b [cf1]Baltimore, ~
[sm1914[nm). Amer. virtuoso on [fy45,1]*[fy75,1]harmonica (mouth ~org.). Has tou
red the world as mus.-hall artist and ~recitalist. Works written for him by Vaug
han ~Williams, Hindemith, Milhaud, Arnold, etc. Also ~writer for periodicals, re
views, etc. Settled in Eng. ~[sm1949[nm.[cm~Adler, Peter Herman
[fy75,1]([cf2]b[cf1] Jablonec, [sm1899[nm). Cz. ~cond. who became Amer. citizen.
 Studied in ~Prague with [fy45,1]*[fy75,1]Zemlinsky. Held posts in Bremen, ~Kiev
, and Prague. Helped Fritz [fy45,1]*[fy75,1]Busch to found ~[PN8,0,0,L,I0]New Op
era Co., NY, [sm1941[nm. Dir. NBC TV opera ~[sm1949[nm=n[sm60[nm. Cond., Baltimo
re S.O. [sm1959[nm=n[sm68[nm. NY ~Met. d;aaebut [sm1972[nm.[cm~Adler, Samuel [fy
75,1]([cf2]b [cf1]Mannheim, [sm1928[nm). Amer. ~composer and cond. Attended Bost
on Univ., USA, ~[sm1946[nm=n[sm8[nm. Teachers have incl. Copland, Piston, ~Hinde
mith, and Koussevitzky. Prof. of comp., ~Eastman Sch. of Mus., [sm1966[nm. Works
 incl. operas ~and syms.[cm~Ad libitum [fy75,1]([cf2]Ad lib[cf1].) (Lat.). Optio
nal or At will, ~with regard to (a) Rhythm, tempo, etc.; (b) ~Inclusion or omiss
ion of some v. or instr.; (c) ~Inclusion or omission of some passage; (d) The ~e
xtemporization of a cadenza.[cm~Adni, Daniel [fy75,1]([cf2]b [cf1]Haifa, [sm1951
[nm). Israeli pianist. ~Studied Paris Cons. with Perlemuter. D;A
aebut ~London [sm1970[nm. Specialist in romantic repertory. ~Settled in Eng.[cm~
Adriana Lecouvreur. [fy75,1]Opera in [sm4[nm acts by Cilea to ~lib. by Colautti
from play of same name by Scribe ~and Legouv;Aae ([sm1849[nm). Prod. Milan [sm19
02[nm; London ~[sm1904[nm; NY [sm1907[nm. Adriana was one of greatest [sm18[nm-~
cent. Fr. tragic actresses, much admired by ~Voltaire.[cm~Adson, John [fy75,1]([
cf2]b[cf1] late [sm16[nmth cent.; [cf2]d [cf1]London, [sm1640[nm). ~Eng. compose
r, member of King's Musick under ~Charles I in [sm1625[nm. Comp. [cf2]Courtly Ma
squing Ayres ~[cf1]for vns., consorts, and cornets in [sm5[nm and [sm6[nm parts
~([sm1611[nm, another edn. [sm1621[nm).[cm~A due corde [fy75,1](It.). On two str
.[cm~Adventures of Mr Brou;Akcek, The [fy75,1](=+=+=+Jan;aaa;Akcek). See ~[cf2]E
xcursions of Mr Brou;Akcek, The[cf1].[cm~Adventures of the Vixen Bystrou;Aksky [
fy75,1](=+=+=+Jan;Aaa;Akcek). ~See [cf2]Cunning Little Vixen, The[cf1].[cm~Aeoli
an Harp [fy75,1](from Aeolus, the mythological ~keeper of the wi
nds). An instr. consisting of a box ~about [sm3[nm;Po long, with catgut str. of
different ~thicknesses but tuned in unison attached to its ~upper surface. It co
uld be placed along a window ~ledge or elsewhere where the wind could catch it ~
and set the str. in vibration, thereby producing ~harmonics which varied with th
e thickness of the ~str. and the velocity of the wind to give a chordal ~effect.
 The Aeolian harp was popular from the ~late [sm16[nmth or early [sm17[nmth cent
s. to the late [sm19[nmth cent. ~Now made as a toy.[cm~Aeolian mode. [fy75,1]See
 [cf2]Modes[cf1].[cm~Aeolina. [fy75,1]Mouth org. or harmonica, comprising ~metal
 plates enclosing free reeds.[cm~Aeoline. [fy75,1]Soft org. stop of [sm8[nm;po l
ength and pitch, ~supposed to imitate [fy45,1]*[fy75,2]Aeolian harp[cf1].[cm~Aer
oforo [fy75,1](It.). [fy45,1]*[fy75,1]Aerophor.[cm~Aerophone. [fy75,1]Term for m
us. instrs. which produce ~their sound by using air as principal vibrating ~fact
or. These instr. are subdivided according to ~whether air is unc
onfined by the instr. (bull-~roarer, motor horn, etc.) or enclosed within a ~tub
e (wind instr. proper). One of [sm4[nm classifications ~of instr. devised by C.
Sachs and E. M. von ~Hornbostel and pubd. in [cf2]Zeitschrift f;auur Ethnologie[
cf1], ~[sm1914[nm. Other categories are [fy45,1]*[fy75,1]chordophones, [fy45,1]*
[fy75,1]idi~~ophones, and [fy45,1]*[fy75,1]membranophones, with [fy45,1]*[fy75,1
]electro~~phones recently added.[cm~Aerophor. [fy75,1]Device (invented by Ger. f
lautist ~Bernhard Samuel and patented [sm1912[nm) to help ~wind players. A small
 bellows, worked by foot, ~supplies wind by tube to a corner of the mouth, ~leav
ing the player free to breathe uninterruptedly ~through the nose. Richard Straus
s called for its ~use in his [cf2]Festliches Pr;Aualudium[cf1], Op. [sm61[nm, er
roneously ~describing it as [cf2]Aerophon[cf1], and in his [cf2]Alpensinfonie[cf
1], ~Op.|[sm64[nm.[cm~Aevia. [fy75,1]This `word' consists of the vowels of ~`All
eluia'. Used as an abbreviation in a similar ~way to [fy45,1]*[f
y75,2]Evovae[cf1].[cm~Affetto [fy75,1](It.). Affection. Hence, [cf2]Affettuoso[c
f1], [cf2]affet~~tuosa[cf1], affectionate, with tenderness; [cf2]affettuosa~~men
te[cf1], affectionately; [cf2]Affezione[cf1], affection.[cm~Affekt[fy75,1] (Ger.
 `fervour'). [cf2]Affektvoll[cf1], full of fervour; ~[cf2]mit Affekt[cf1], with
warmth or passion.[cm~Affretando[fy75,1] (It. `hurrying', `quickening'). Instruc
~~tion to increase tempo, implying also an increase ~in nervous energy.[cm~Afric
aine, L' [fy75,1](The African Woman). Opera in [sm5[nm ~acts by [fy45,1]*[fy75,1
]Meyerbeer to lib. by Scribe. Begun [sm1837[nm, ~but work on it intermittent owi
ng to constant ~alterations to lib., etc. Completed [sm1864[nm. Meyer~~beer died
 in Paris while supervising rehearsals. ~Orig. version lasts [sm6[nm hours. Prod
. Paris, London, ~and NY [sm1865[nm.[cm~African Sanctus. [fy75,1]Comp. by David
[fy45,1]*[fy75,1]Fanshawe ~for [sm2[nm sop., pf., org., ch., and perc. incl. roc
k-kit ~drummer, cymbals, congas, timp., bass and ten. ~drums, ta
m-tam, tom-tom, amplified lead and ~rhythmic guitars, and tape recordings made i
n ~Africa. F.p. London [sm1972[nm. Rev. version f.p. ~Toronto, Jan. [sm1978[nm,
f.p. in England BBC TV film. ~F. concert p. Worcester [sm1978[nm.[cm~Afternoon o
f a Faun, The [fy75,1](Debussy). See [cf2]Apr;ages-~midi d'une faune, Pr;aaelude
 ;aga l'[cf1].[cm~Agazzari, Agostino[fy75,1] ([cf2]b[cf1] Siena, [sm1578[nm; [cf
2]d[cf1] Siena, ~[sm1640[nm). It. composer of church mus. Treatise [cf2]La ~musi
ca ecclesiastica[cf1] ([sm1638[nm) discusses decrees of ~Council of Trent. Wrote
 influential treatise on ~thoroughbass.[cm~Age of Anxiety, The.[fy75,1] Sym. No.
 [sm2[nm by Leonard ~[fy45,1]*[fy75,1]Bernstein for pf. and orch. (Title from Au
den ~poem.) F.p. Boston, Apr. [sm1949[nm cond. Koussev~~itzky, soloist Bernstein
. As ballet, NY Feb. [sm1950[nm.[cm~Age of Gold, The[fy75,1] ([cf2]Zolotoy vek.[
cf1]). Ballet in [sm3[nm acts ~with mus. by Shostakovich, Op. [sm22[nm, lib. A.
~Ivanovsky, choreog. E. Kaplan and V. Vaynonen. ~Comp. [sm1927[n
m=n[sm30[nm. Prod. Leningrad [sm1930[nm. Also ~[PN9,0,0,R,I0]suite for orch., [s
m1929[nm-[sm32[nm. Some of the mus. used ~in ballet [cf2]The Dreamers,[cf1] [sm1
975[nm.[cm~Age of Steel, The [fy75,1]([cf2]Stalnoy skok[cf1]; Fr. [cf2]Le Pas d'
acier[cf1]). ~Ballet in [sm2[nm scenes with mus. by Prokofiev (Op. ~[sm41[nm, [s
m1925[nm), choreog. Massine, lib. Yakulov. Prod. ~Paris [sm1927[nm. Symphonic su
ite contains [sm4[nm move~~ments.[cm~Aggiustamente, aggiustatamente [fy75,1](It.
). Exact ~(in point of rhythm).[cm~Agiatamente [fy75,1](It.). Comfortably, freel
y, i.e. with ~suitable liberty as regards speed, etc. (not to be ~confused with
[cf2]Agitatamente[cf1]).[cm~Agilement [fy75,1](Fr.), [fy65][cf3]agilmente [fy75,
1](It.). In an agile ~manner, implying speed and nimble execution. ~[fy65][cf3]A
gilit;aae [fy75,1](Fr.), [fy65][cf3]agilit;Aga [fy75,1](It.). Agility.[cm~Aginco
urt Song. [fy75,1]A famous [sm15[nmth-cent. Eng. song ~commemorating the victory
 at Agincourt in ~[sm1415[nm, for [sm2[nm vv. and [sm3[nm-part c
h. Used by Walton in ~his film music for [cf2]Henry V[cf1] ([sm1944[nm).[cm~Agit
ato; agitatamente [fy75,1](It.), [fy65][cf3]agit;Aae [fy75,1](Fr.), [fy65][cf3]a
gitirt, ~agitiert [fy75,1](Ger.). Agitated, in an agitated manner. ~[fy65][cf3]A
gitazione, agitamento [fy75,1](It.). Agitation. Not to ~be confused with [fy45,1
]*[fy75,2]Agiatamente[cf1].[cm~Agnesi, Luigi [fy75,1](Louis Agniez) ([cf2]b [cf1
]Erpent, Namur, ~[sm1833[nm; [cf2]d [cf1]London, [sm1875[nm). Belg. bass especia
lly ~celebrated for his singing in Rossini's operas.[cm~Agnew, Roy [fy75,1](Ewin
g) ([cf2]b [cf1]Sydney, N.S.W., [sm1893[nm; [cf2]d ~[cf1]Sydney, [sm1944[nm). Au
stralian pianist and composer ~of pf. sonatas and smaller pieces, also chamber ~
and orch. mus., and songs. On staff N.S.W. State ~Cons., Sydney.[cm~Agnus Dei [f
y75,1](Lamb of God). Part of Ordinary of ~the [fy45,1]*[fy75,1]Mass. Many settin
gs by various composers.[cm~Agogic [fy75,1](from Gr. [cf2]Agoge[cf1], melody). (
[sm1[nm) An adjective ~indicating a variety of accentuation dema
nded by ~the nature of a particular mus. phrase, rather than ~by the regular met
ric pulse of the mus. The first ~note of a phrase, for instance, may be felt to
~suggest a slight lingering which confers the effect ~of an accent: similarly, a
 leap to note significantly ~higher or lower than the preceding notes, or a ~str
ong discord resolving to a concord, may convey ~an effect of accentuation (by me
ans of lingering, ~pressure etc.) and there are other examples.[ep~^The compleme
ntary term to `Agogic Accent' ~(accent of movement) is `Dynamic Accent' (accent
~of force), which implies the normal and regular ~rhythmic accentuation of a pie
ce of music.[ep~^([sm2[nm) In a wider sense, `Agogic' covers everything ~connect
ed with `expression', e.g. [cf2]rallentando[cf1], ~[cf2]accelerando[cf1], [cf2]r
ubato[cf1], pause, accentuation as des~~[chcribed above, etc.[cm~Agon [fy75,1](C
ontest). Ballet for [sm12[nm dancers by Stravin~~sky, choreog. [fy45,1]*[fy75,1]
Balanchine. Comp. [sm1953[nm=n[sm7[nm. F.p. as ~concert work Los
 Angeles, June [sm1957[nm; as stage ~work by NY City Ballet, Dec. [sm1957[nm.[cm
~Agostini, Paolo [fy75,1]([cf2]b [cf1]Vallerano, [sm1583[nm; [cf2]d [cf1]Rome, ~
[sm1629[nm). It. maestro of Vatican chapel, [sm1626[nm. Comp. ~church mus. incl.
 [cf2]Agnus Dei [cf1]in canon for [sm8[nm vv.[cm~Agrell, Johan[fy75,1] (Joachim)
 ([cf2]b[cf1] L;auoth, [sm1701[nm; [cf2]d[cf1] ~Nuremberg, [sm1765[nm). Swed. co
mposer, violinist, ~and harpsichordist. At court in Kassel [sm1734[nm=n[sm46[nm.
 ~Kapellmeister, Nuremberg, from [sm1746[nm. Wrote ~syms., concs., and many kbd.
 sonatas.[cm~Agr;Aaemens (agr;Aaements) [fy75,1](Fr.). Grace notes.[cm~Agricola,
 Alexander [fy75,1]([cf2]b [cf1]Netherlands, [sm1446[nm; [cf2]d ~[cf1]Valladolid
, [sm1506[nm). Flemish composer in service of ~Fr. and It. royalty and aristocra
cy. Wrote masses, ~motets, songs, etc.[cm~Agrippina. [fy75,1]Opera in [sm3[nm ac
ts by Handel to lib. by ~Grimani. Prod. Venice [sm1709[nm.[cm~A.G.S.M. [fy75,1]A
ssociate of [fy45,1]*[fy75,1]Guildhall School of Music ~and Dram
a (internal students only).[cm~Agthe, Karl Christian [fy75,1]([cf2]b [cf1]Hettst
edt, [sm1762[nm; [cf2]d[cf1] ~Ballenstedt, [sm1797[nm). Ger. organist and compos
er ~who wrote several [fy45,1]*[fy75,1]Singspiele. His son Wilhelm ~Johann ([sm1
790[nm=n[sm1873[nm) was a pianist, teacher, and ~composer for the pf.[cm~Agujari
, Lucrezia [fy75,1]([cf2]b [cf1]Ferrara, [sm1743[nm; [cf2]d [cf1]Parma, ~[sm1783
[nm). It. operatic sop., much admired by Mozart, ~with remarkable range and comp
ass. D;Aaebut ~Florence [sm1764[nm. Sang in London [sm1775[nm=n[sm7[nm. Because
~she was illegitimate, was known as `La Bastardella' ~or `Basterdina'. Retired o
n marriage, [sm1780[nm.[cm~;auAgyptische Helena, Die [fy75,1](The Egyptian Helen
). ~Opera in [sm2[nm acts, Op. [sm75[nm, by R. Strauss to lib. by ~Hofmannsthal,
 comp. [sm1923[nm=n[sm7[nm, f.p. Dresden and ~NY Met. [sm1928[nm. Rev. [sm1933[n
m.[cm~Ahna, Pauline de [fy75,1]([cf2]b [cf1]Ingoldstadt, [sm1863[nm; [cf2]d ~[cf
1]Garmisch, [sm1950[nm). Ger. sop. who married Richard ~[fy45,1]
*[fy75,1]Strauss in [sm1894[nm and became notable exponent of ~his Lieder, many
of which were written for her. ~Sang at Bayreuth. Created role of Freihild in ~S
trauss's [cf2]Guntram[cf1], Weimar [sm1894[nm. Christine in ~Strauss's [cf2]Inte
rmezzo [cf1]is a portrait of her, as (less ~directly) are several other of Strau
ss's operatic ~heroines. Known for her waspish tongue and ~massive (probably cal
culated) indiscretions; her ~coquettish nature is instrumentally portrayed in ~h
er husband's [cf2]Ein Heldenleben [cf1]and [cf2]Symphonia ~Domestica[cf1].[cm~Ah
ronovich, Yury [fy75,1]([cf2]b [cf1]Leningrad, [sm1932[nm). Israeli ~cond. of Ru
ss. birth. Studied Leningrad [sm1939[nm and ~after [sm1945[nm. Violinist, but st
udied cond. with ~[fy45,1]*[fy75,1]Sanderling. Cond. Saratov P.O. [sm1956=n7[nm,
 Yaroslav ~S.O. [sm1957=n64[nm, Moscow Radio S.O. [sm1964=n72[nm. Left ~Russia [
sm1972[nm, settling in Israel. Opera d;aaebut in ~Europe, Cologne [sm1973[nm. CG
 d;aaebut [sm1974[nm ([cf2]Boris ~Godunov[cf1]). Cond. G;auurzen
ich Concerts, Cologne, ~from [sm1975[nm.[cm~Aiblinger, Johann Kaspar [fy75,1]([c
f2]b [cf1]Wasserburg, [sm1779[nm; ~[cf2]d [cf1]Munich, [sm1867[nm). Ger. compose
r. Cond. of It. ~opera in Munich [sm1819[nm=n[sm23[nm. Comp. church mus. ~[PN10,
0,0,L,I0]and operas incl. [cf2]Rodrigo und Chimene [cf1](based on [cf2]Le ~Cid[c
f1]), [sm1821[nm.[cm~Aichinger, Gregor [fy75,1]([cf2]b [cf1]Regensburg, [sm1564[
nm; [cf2]d ~[cf1]Augsburg, [sm1628[nm). Ger. organist and composer. ~Spent some
years in It. and was influenced by ~Venetian sch., notably Gabrieli. His religio
us ~choral works are among the finest of their time ~in Ger.[xm[cm~[ol0][ep~[xp[
te~




[do35][j99]~~~~~~153842_A004[ep~[u1]~~~~153842[cmConcise Oxford Dic~~tionary of
Music[cmA4[cm35[cm~1[cm11-10-79[cm8[cm148[cm~GC[cm4[cm19.9.83[cm~U1[cm~~~[ap~[j1
]Aida. [fy75,1]Opera in [sm4[nm acts by Verdi to lib. by ~Ghislanzoni, being It.
 trans. from Fr. prose of ~Camille du Locle based on plot by Fr. Egyptologist ~A
uguste Mariette Bey (Verdi had major hand in ~lib. and wrote words of final duet
 `O terra, addio'). ~Metastasio's lib. [cf2]Nitteti[cf1] ([sm1756[nm) was major
source ~of plot. Commissioned by Khedive of Egypt (but ~not, as is often said, f
or opening of either Suez ~Canal or Cairo Opera House). Comp. [sm1870[nm. F.p. C
airo [sm1871[nm, ~Milan [sm1872[nm (with extra aria for Aida), NY [sm1873[nm, ~[
PN10,0,0,L,I0]London [sm1876[nm. Spelling A;Auida, with di;Jcresis, is ~incorrec
t in It.[cm~Aiglon, L'[fy75,1] (Fr. `The Eaglet'). Rare example of ~opera by two
 composers, [fy45,1]*[fy75,1]Ibert writing the first ~and [sm5[nmth acts and [fy
45,1]*[fy75,1]Honegger the middle [sm3[nm. Text ~by Cain after R
ostand. Comp. [sm1935[nm. (Prod. Monte ~Carlo [sm1937[nm.)[cm~Air. [fy75,1]([sm1
[nm) Melody.[ep~^([sm2[nm) Comp. of melodious character. See also [cf2]Aria[cf1]
 ~and [cf2]Ayre.[cm~Airborne Symphony. [fy75,1]Sym. for narrator, ten., ~bar., c
h., and orch. by [fy45,1]*[fy75,1]Blitzstein to composer's ~text on evolution of
 flying. Comp. [sm1945[nm, f.p. NY ~[sm1946[nm cond. [fy45,1]*[fy75,1]Bernstein.
[cm~Air de caract;Agere[fy75,1] (Fr.). In ballet, mus. for ~`characteristic' occ
asions, such as an entry of ~warriors.[cm~Air on the G String. [fy75,1]The name
given to an arr. ~for vn. and pf. by [fy45,1]*[fy75,1]Wilhelmj in [sm1871[nm of
the [sm2[nmnd ~movement (Air) of J. S. Bach's Suite No. [sm3[nm in D, ~in which
the melody is transposed from D to C, ~the violinist playing on his lowest (G) s
tr. Also ~heard in arr. for full str. orch., and for various ~other instr.[cm~Ai
s [fy75,1](Ger.). A;Yi. [fy65][cf3]Aisis[fy75,1], A;Yi;Yi.[cm~Akademische Festou
vert;Auure[fy75,1] (Brahms). See [cf2]Aca~~demic Festival Overtu
re.[cm~Akimenko[fy75,1] (Akimyenko, etc.), [fy65][cf3]Fyodor Stepa~~novich[fy75,
1] ([cf2]b[cf1] Kharkov, [sm1876[nm; [cf2]d[cf1] Paris, [sm1945[nm). Ukrain~~ian
 composer, pupil of Rimsky-Korsakov. On ~staff St Petersburg Cons. Comp. opera [
cf2]The Snow ~Queen[cf1], ballet, orch. works, chamber mus.[cm~Akkord[fy75,1] (G
er.). Chord. Also a set of several ~different-sized instr. of one type.[cm~Akkor
dieren[fy75,1] (Ger.). To tune.[cm~Al[fy75,1] (It.). At the, to the, in the, in
the style of, etc., ~i.e. the same as [fy45,1]*[fy75,2]A[cf1] with the article a
dded.[rf[xm[cm~[ol0][ep~[xp[te~





[do9][j99]~~~~~~153842_AB01[ep~[u1]~~~~153842[cmConcise Oxford Dic~~tionary of M
usic[cmAB01[cm9[cm~1[cm10.10.79[cm12[cm160[cm~GC[cm5[cm19-9-84[cm~U1[cm~~~[ap~[j
1]Ala and Lolly [fy75,1](Prokofiev). See [cf2]Scythian Suite[cf1].[cm~;agA la co
rde [fy75,1](Fr.). At the string. In str. playing, ~indication that the bow shou
ld be kept on the ~str., to ensure [cf2]legato[cf1] movement from note to note.[
cm~Alain, Jehan [fy75,1]([cf2]b [cf1]St Germain-en-Laye, [sm1911[nm; killed ~Pet
it-Puy, nr. Saumur, [sm1940[nm). Fr. organist and ~composer for org., pf., chamb
er combinations, ~etc.; in all, wrote [sm127[nm works. Pupil of Dupr;aae (org.)
~and Dukas (comp).[cm~Alain, Marie-Claire [fy75,1]([cf2]b [cf1]St Germain-en-Lay
e, ~[sm1926[nm). Fr. organist. Studied Paris Cons. (Dupr;aae ~for org., Durufl;a
ae for harmony). D;aaebut St Ger~~main-en-Laye [sm1937[nm. Org. prize, Geneva Co
mpe~~tition, [sm1950[nm. Worldwide tours as recitalist. ~Recorded complete org.
works of Bach and of her ~brother Jehan.[cm~Alal;aga. [fy75,1]Pl
ainsong-like type of Sp. folksong, in [sm4[nm-~line verses. The singer is at lib
erty to add melodic ~decorations to the vocal line.[cm~Alaleona, Domenico [fy75,
1]([cf2]b [cf1]Montegiorgio, [sm1881[nm; [cf2]d ~[cf1]Montegiorgio, [sm1928[nm).
 It. composer and teacher. ~His theories incl. splitting octave into unorthodox
~equal divisions and ways of combining the [sm12[nm ~notes of the chromatic scal
e into single chords.[cm~A.L.A.M. [fy75,1]Associate of the London Academy of ~Mu
sic.[cm~Alan, Hervey [fy75,1]([cf2]b [cf1]Whitstable, [sm1910[nm; [cf2]d[cf1] Cr
oydon, ~[sm1982[nm). Eng. bass-bar. in opera and oratorio. First ~sang with Glyn
debourne co. at Edinburgh Fest. ~[sm1949[nm, then regularly to [sm1960[nm. Prof.
 of singing, ~RCM. Pres. I.S.M. [sm1969[nm. O.B.E. [sm1974[nm.[cm~;agA la pointe
 d'archet [fy75,1](Fr.). At the point of the ~bow.[cm~Alard, Jean Delphin [fy75,
1]([cf2]b [cf1]Bayonne, [sm1815[nm; [cf2]d [cf1]Paris, ~[sm1888[nm). Fr. violini
st and vn. teacher, author of a ~[cf2]Violin  School[cf1], and e
d. and composer of vn. works. ~Among pupils was [fy45,1]*[fy75,1]Sarasate. Prof.
 of vn., Paris ~Cons., [sm1843[nm=n[sm75[nm.[cm~Albanese, Licia [fy75,1]([cf2]b
[cf1]Bari, [sm1913[nm). It.-born sop. ~(Amer. citizen from [sm1945[nm). D;aaebut
 Parma [sm1935[nm, ~as Butterfly, and at CG [sm1937[nm, NY Met. [sm1940[nm=n[sm6
6[nm. ~Recorded Mimi and Violetta with Toscanini.[cm~Albani, [fy75,1](Dame) [fy6
5][cf3]Emma [fy75,1]([cf2]b [cf1]Chambly, nr. Mon~~treal, [sm1847[nm; [cf2]d [cf
1]London, [sm1930[nm). Fr.-Canadian sop., ~born Marie Louise C;aaecilie Emma Laj
eunesse, ~taking professional name from Albany, NY, ~where she spent early life.
 Studied in Paris and ~Milan. D;aaebut Messina [sm1870[nm in [cf2]La sonnambula.
 [cf1]CG ~d;aaebut [sm1872[nm. First CG Senta ([cf2]Fliegende Holl;Auander[cf1])
, ~[sm1877[nm, first Desdemona at NY Met., [sm1894[nm. Sang ~Isolde, CG [sm1896[
nm, retiring from stage a month ~later, but continuing to sing in oratorio. Reti
red ~to teach in [sm1911[nm. D.B.E. [sm1925[nm.[cm~Alb;aaeniz, [
fy65][cf3]Isaac[fy75,1] (Manuel Francisco) ([cf2]b [cf1]Campro[chd;aaon, ~Catalo
nia, [sm1860[nm; [cf2]d [cf1]Camb;afo-les-Bains, France, ~[sm1909[nm). Sp. piani
st and composer. After studying ~in Paris, Madrid, Leipzig, and Brussels, he ~fo
llowed Liszt's tour of Weimar, Prague and ~[PN11,0,0,R,I0]Budapest, perfecting h
is piano technique with ~him. From [sm1880[nm toured widely, playing many of ~ow
n pf. works, of which he comp. [sm250[nm between ~[sm1880[nm and [sm1892[nm, mos
t of them employing Sp. ~rhythmic and melodic idioms. For his Eng. ~banker patro
n F. Money-Coutts (Lord Latymer) ~he set [sm3[nm opera libs., [cf2]Henry Cliffor
d [cf1](Barcelona ~[sm1895[nm), [cf2]Merlin, [cf1]and [cf2]Pepita Jim;aaenez [cf
1](Barcelona [sm1896[nm). ~Settled in Paris [sm1893[nm, being influenced by Faur
;aae ~and Dukas. His [fy45,1]*[fy75,2]Iberia, [cf1][sm12[nm pf. pieces, was pubd
. ~in [sm4[nm vols., [sm1906[nm=n[sm9[nm. Also wrote operettas, songs, ~orch. rh
apsody [cf2]Catalonia[cf1], pf. conc., and [sm5[nm pf. ~sonatas.
 [cf2]Iberia [cf1]was orch. by [fy45,1]*[fy75,1]Arb;aaos, and [cf2]Suite ~espa;a
tnola [cf1]by R. [fy45,1]*[fy75,1]Fr;auuhbeck de Burgos.[cm~Albert, Eugen d' [fy
75,1](really Eug;agene Francis Charles) ~([cf2]b [cf1]Glasgow, [sm1864[nm; [cf2]
d [cf1]Riga, [sm1932[nm). Scottish-born ~pianist and composer of Anglo-Fr. paren
tage, Ger. ~by adoption. Won scholarship at Nat. Training ~Sch. of Mus. (now RCM
). D;aaebut London [sm1881[nm; ~in same year won Mendelssohn Scholarship for ~st
udy abroad at Vienna and under Liszt. Added ~fresh reputation as composer of ope
ras, and wrote ~[sm2[nm pf. concs., vc. conc., sym., chamber mus., also ~ed. of
pf. classics. Succeeded Joachim as dir., ~Berlin Hochschule f;auur Musik, [sm190
7[nm. Of his [sm20[nm ~operas comp. [sm1893[nm=n[sm1932[nm, most successful were
 ~[fy45,1]*[fy75,2]Tiefland[cf1] (Prague [sm1903[nm), [cf2]Die Abreise [cf1](Fra
nkfurt ~[sm1898[nm), and [cf2]Die toten Augen [cf1](Dresden [sm1916[nm). [sm2[nm
nd of ~[sm6[nm wives was pianist Teresa [fy45,1]*[fy75,1]Carre;a
tno.[cm~Albert Hall, Royal [fy75,1](London). See [cf2]Royal Albert ~Hall[cf1].[c
m~Albert, Heinrich [fy75,1]([cf2]b [cf1]Lobenstein, Saxony [sm1604[nm; [cf2]d ~[
cf1]K;auonigsberg, [sm1651[nm). Ger. organist, poet and com~~poser, cousin and p
upil of [fy45,1]*[fy75,1]Sch;auutz. Comp. words ~and mus. of hymns and secular s
ongs. Pioneer of ~[fy45,1]*[fy75,1]basso continuo. His [cf2]Com;auodien-Musik [c
f1]([sm1644[nm) is ~early example of Ger. opera.[cm~Albert Herring. [fy75,1]Comi
c chamber opera in [sm3[nm acts, ~Op. [sm39[nm, by Britten to lib. by Eric Crozi
er freely ~adapted from short story by Maupassant ([cf2]Le Rosier ~de Mme. Husso
n[cf1], [sm1888[nm). Prod. Glyndebourne [sm1947[nm, ~Tanglewood, Mass., [sm1949[
nm.[cm~Albert, Prince, [fy75,1]Consort of Queen Victoria ([cf2]b ~[cf1]Rosenau,
Ger., [sm1819[nm; [cf2]d [cf1]Windsor, [sm1861[nm). Trained ~in mus. by his fath
er Ernest, Duke of Saxe-~Coburg, who himself comp. opera. Patron of ~many Eng. m
us. enterprises and friend of ~Mendelssohn. Wrote church mus. an
d some ~pleasant Lieder in style of Schubert and Mendels~~sohn.[cm~Albert, Steph
en [fy75,1]([cf2]b [cf1]NY, [sm1941[nm). Amer. composer. ~Studied Eastman Sch.,
Rochester, and later with ~Milhaud, Rochberg, and others. Amer. Prix de ~Rome [s
m1965[nm=n[sm6[nm, [sm1966[nm=n[sm7[nm. Works incl. [cf2]Bacchae[cf1], ch. ~and
orch. ([sm1969[nm), [cf2]Wolf Time, [cf1]sop. and instr., ~[cf2]Orchestrabook[cf
1], orch., [cf2]Voices Within, [cf1]orch. ([sm1975[nm), ~and chamber mus.[cm~Alb
erti Bass. [fy75,1]Simple (and often commonplace) ~acc. to a melody, consisting
of `broken chords', ~viz., broken triads of which the notes are played ~in the o
rder: lowest, highest, middle, highest. It ~takes its name from the It. composer
 who ~favoured it, Domenico [fy45,1]*[fy75,1]Alberti.[cm~Alberti, Domenico [fy75
,1]([cf2]b [cf1]Venice, [sm1710[nm; [cf2]d [cf1]Rome, ~[sm1740[nm). It. composer
 of operas, songs, and of hpd. ~sonatas in which his use of the formula known as
 ~[fy45,1]*[fy75,1]Alberti Bass occurs frequently.[cm~Albicastro
, Henrico [fy75,1](Heinrich Weissenberg[cf1]) ~[fy65][cf3]del Biswang[fy75,1] ([
cf2]b c.[cf1][sm1680[nm; [cf2]d c.[cf1][sm1730[nm). Swiss composer ~and violinis
t of Ger. orig. who served in army ~and later worked in Netherlands. His [sm12[n
m concs. ;aga ~[sm4[nm are still played.[cm~Albinoni, Tommaso [fy75,1]([cf2]b [c
f1]Venice, [sm1671[nm; [cf2]d [cf1]Venice, ~[sm1751[nm). It. composer of instr.
mus. and of over [sm70[nm ~operas. Bach made use of several of his themes ~and u
sed Albinoni bass parts for practice in ~thorough-bass. In recent years there ha
s been ~keen interest in his concs. for str., [cf2]concerti grossi[cf1], ~ob. an
d tpt. concs. The popular [cf2]Adagio[cf1] for org. ~and str. in G minor owes ve
ry little to Albinoni, ~having been constructed from a MS. fragment by ~the [sm2
0[nmth-cent. It. musicologist, Remo Giazotto, ~whose copyright it is.[cm~Alboni,
 Marietta [fy75,1](Maria Anna Marzia) ([cf2]b [cf1]Citt;aga ~di Castello, [sm182
3[nm; [cf2]d [cf1]Ville d'Avray, [sm1894[nm). It. cont. ~So impr
essed Rossini that he taught her the cont. ~roles in his operas. D;aaebut Bologn
a [sm1842[nm. Leading ~cont. CG [sm1847[nm, becoming rival attraction to Jenny ~
Lind, her salary being voluntarily raised over~~night from ;bp[sm500[nm to ;bp[s
m2[nm,[sm000[nm for the season. Sang ~in Paris and toured USA [sm1852[nm. Sang w
ith [fy45,1]*[fy75,1]Patti ~at Rossini's funeral, [sm1868[nm. Retired [sm1872[nm
.[cm~Alborada [fy75,1](Sp.). Dawn. Morning music (see also ~[cf2]Aubade[cf1]). T
his word has special application to a ~type of instr. mus. with a good deal of r
hythmic ~freedom and often played on bagpipe (or rustic ~ob.) and small drum.[cm
~Alborado del gracioso [fy75,1](Aubade of the Clown). ~[sm4[nmth of Ravel's pf.
pieces entitled [fy45,1]*[fy75,2]Miroirs [cf1]([sm1905[nm). ~Orch. [sm1918[nm.[c
m~Albrecht, Gerd [fy75,1]([cf2]b [cf1]Essen, [sm1935[nm). Ger. cond., ~pianist,
and violinist. Studied Kiel Univ., Ham~~burg Univ., and Hamburg Acad. of Mus. D;
aaebut ~Hamburg [sm1956[nm. Won Hilversum Cond. Compe~~tition [s
m1958[nm. Coach and cond., Stuttgart Opera ~[sm1958[nm=n[sm61[nm. Opera cond. Ma
inz [sm1961[nm=n[sm3[nm, L;auubeck ~[sm1963[nm=n[sm6[nm, Kassel [sm1966[nm=n[sm7
2[nm, Berlin (Deutsche Oper) ~[sm1972[nm=n[sm9[nm. Cond. Tonhalle orch., Z;auuri
ch, [sm1975[nm=n[sm80[nm.[cm~Albrechtsberger, Johann Georg [fy75,1]([cf2]b [cf1]
Klosterneu~~berg, nr. Vienna, [sm1736[nm; [cf2]d [cf1]Vienna, [sm1809[nm). Austr
ian ~organist at Viennese court ([sm1772[nm) and cath. ~([sm1791[nm); composer,
but best remembered as comp. ~teacher (pupils incl. Beethoven) and as author of
~many theoretical works, incl. important text-~book of comp. ([sm1790[nm, widely
 used in Eng. trans.).[cm~Albright, William [fy75,1]([cf2]b [cf1]Gary, Indiana,
[sm1944[nm). ~Amer. composer. Studied Juilliard Sch., NY [sm1959[nm=n~[PN12,0,0,
L,I0][sm62[nm, and later at Paris Cons. with Messiaen. Ass. ~dir. of elec. mus.
studio, Michigan Univ. [sm1970[nm. ~Many comps. for org. and for jazz ens.[cm~Al
bumblatt [fy75,1](Ger.). Album Leaf. Fanciful title for ~a brief
 instr. comp., usually for pf., and of a ~personal character (like an autograph
in an ~album).[cm~Albumbl;auatter [fy75,1](Album-leaves). Title of [sm20[nm pf.
~pieces by Schumann (Op. [sm124[nm, [sm1832[nm=n[sm45[nm, pubd. ~[sm1854[nm).[cm
~Alceste [fy75,1](Gr. [cf2]Alkestis[cf1]). Opera in [sm3[nm acts by Gluck, ~lib.
 by Calzabigi, after Euripides. Prod. Vienna ~[sm1767[nm, London [sm1795[nm; Fr.
 version rev. by Gluck ~with text by Du Roullet, prod. Paris [sm1776[nm.[fj~Pref
ace to score contains Gluck's famous declara~~tion on the nature of opera, which
 adumbrates ~mus.-drama. Other operas on this subject by ~Lully ([sm1674[nm), Sc
hweitzer ([sm1773[nm), Boughton ([sm1922[nm), ~and Wellesz ([sm1923[nm), among o
thers. Handel wrote ~a masque, [cf2]Alceste[cf1], to a lib. by T. Smollett.[cm~A
lcina. [fy75,1]Opera in [sm3[nm acts by Handel to lib. by ~Marchi after Ariosto'
s [cf2]Orlando furioso. [cf1](Prod. CG ~[sm1735[nm, revived London [sm1957[nm.)[
cm~A.L.C.M. [fy75,1]Associate of the London College of ~Music.[c
m~Alcock, [fy75,1](Sir) [fy65][cf3]Walter [fy75,1](Galpin) ([cf2]b [cf1]Edenbrid
ge, ~Kent, [sm1861[nm; [cf2]d [cf1]Salisbury, [sm1947[nm). Eng. organist. ~Ass.
organist Westminster Abbey; organist of ~Chapels Royal ([sm1902[nm), and Salisbu
ry Cath. from ~[sm1916[nm to death; composer of church mus. Knighted ~[sm1933[nm
. Played org. at coronations of Edward VII ~([sm1902[nm) and George V ([sm1911[n
m).[cm~Alcuin [fy75,1]([cf2]b [cf1]York, [cf2]c.[cf1][sm735[nm; [cf2]d [cf1]Tour
s, [cf2]c[cf1].[sm804[nm). Friend and ~counsellor of Charlemagne at Aix-la-Chape
lle; ~later Abbot of Tours. Author of treatise [cf2]De musica.[cf1][cm~Alcuno, a
lcuna, alcun' [fy75,1](plurals [cf2]alcuni, alcune[cf1], ~etc.) (It.). Some.[cm~
Alda, Frances [fy75,1](n;aaee Davis) ([cf2]b[cf1] Christchurch, N.Z., ~[sm1883[n
m; [cf2]d [cf1]Venice, [sm1952[nm). N.Z. operatic sop. who ~studied with Mathild
e Marchesi in Paris where ~she made d;aaebut as Manon in [sm1904[nm. From [sm190
8[nm to ~[sm1929[nm sang at NY Met., to whose dir., Gatti-~Casaz
za, she was married [sm1910[nm=n[sm28[nm. Much given ~to litigation.[cm~Aldeburg
h Festival. [fy75,1]Annual Fest. at Aldeburgh, ~Suffolk, since [sm1948[nm, revol
ving largely round mus. ~and personality of Benjamin [fy45,1]*[fy75,1]Britten an
d his ~circle. Has superb concert-hall, The Maltings, at ~near-by Snape. Several
 Britten works had first ~perf. at Fest., incl. operas [cf2]A Midsummer Night's
~Dream [cf1]([sm1960[nm) and [cf2]Death in Venice [cf1]([sm1973[nm). Berkeley's
~[cf2]A Dinner Engagement [cf1]([sm1954[nm), Walton's [cf2]The Bear ~[cf1]([sm19
67[nm), and Birtwistle's [cf2]Punch and Judy [cf1]([sm1968[nm) ~were also f.p. a
t Aldeburgh. After Britten's death, ~[fy45,1]*[fy75,1]Rostropovich became one of
 art. dirs., as did ~Murray Perahia and Oliver Knussen.[cm~Aldrich, Henry [fy75,
1]([cf2]b [cf1]London, [sm1648[nm; [cf2]d [cf1]Oxford, ~[sm1710[nm). Eng. musici
an, theologian, and architect. ~Successively undergraduate, tutor, canon, and ~d
ean of Christ Church, Oxford, and twice Vice-~Chancellor of the
Univ. Comp. church mus. and ~catches, incl. `Great Tom is cast'.[cm~Aldrich, Ric
hard [fy75,1]([cf2]b [cf1]Providence, R.I., [sm1863[nm; [cf2]d ~[cf1]Rome, [sm19
37[nm). Amer. mus. critic. On [cf2]NY Tribune ~[cf1][sm1891[nm=n[sm1902[nm, mus.
 critic of [cf2]NY Times [cf1][sm1902[nm=n[sm24[nm. ~Books incl. [cf2]Guide to P
arsifal [cf1]([sm1904[nm) and [cf2]Guide to ~the Ring [cf1]([sm1905[nm).[cm~Alea
tory Music [fy75,1](from Lat. [cf2]alea[cf1], dice; hence the ~throw of the dice
 for chance). Synonym for ~[fy45,1]*[fy75,2]indeterminacy[cf1], i.e. mus. that c
annot be predicted ~before perf. or mus. which was comp. through ~chance procedu
res (statistical or computerized). ~The adjective `aleatoric' is a bastard word,
 to be ~avoided by those who care for language.[cm~Aleko. [fy75,1]Opera in [sm1[
nm act by Rakhmaninov, lib. by ~V. Nemirovich-Danchenko, based on Pushkin's ~poe
m [cf2]Tsygany [cf1]([cf2]Gipsies[cf1]). Prod. Moscow [sm1893[nm, NY ~[sm1926[nm
, London [sm1972[nm.[cm~Alessandro [fy75,1](Alexander). Opera in
 [sm3[nm acts by ~Handel to lib. by Paolo Rolli (London [sm1726[nm). ~Revived as
 [cf2]Roxana, [cf1]with additions probably by ~another hand, London [sm1743[nm.[
cm~Alexander Balus. [fy75,1]Oratorio by Handel, text by ~Dr Thomas Morell. Comp.
 [sm1747[nm. F.p. CG [sm1748[nm.[cm~Alexander Nevsky. [fy75,1]Mus. by [fy45,1]*[
fy75,1]Prokofiev for film ~dir. by S. Eisenstein ([sm1938[nm), later developed i
nto ~cantata, Op. [sm78[nm, with text by V. Lugovskoy and ~Prokofiev, for mez.,
ch., and orch. (f.p. Moscow ~[sm1939[nm). Film mus. in adaptation for broadcast,
 f.p. ~Eng. [sm1941[nm.[cm~Alexander's Feast. [fy75,1]Setting by Handel of Dry~~
den's ode, with some changes and additions by ~Newburgh Hamilton, f.p. London [s
m1736[nm. Re-orch. ~by Mozart. Orig. setting for St Cecilia's Day, ~[sm1697[nm,
by Jeremiah Clarke.[cm~Alexandre, Jacob [fy75,1]([cf2]b [cf1]Paris, [sm1804[nm;
[cf2]d [cf1]Paris, [sm1876[nm). ~Fr. founder of Paris firm of harmonium makers.
~In [sm1874[nm introduced the [cf2]Alexandre Organ[cf1].[cm~Alex
androv, Alexander [fy75,1](Vasilyevich) [cf1]([cf2]b [cf1]Plak~~hino, [sm1883[nm
; [cf2]d [cf1]Berlin, [sm1946[nm). Russ. composer, ~pupil of Rimsky-Korsakov. Co
nd. from [sm1928[nm of ~Red Army Song and Dance Ens. Comp. [cf2]Hymn of ~the Bol
shevik Party, [cf1]adapted as Russ. nat. anthem, ~[sm1943[nm.[cm~Alexandrov, Ana
toly [fy75,1]([cf2]b [cf1]Moscow, [sm1888[nm; [cf2]d[cf1] ~Moscow, [sm1982[nm).
Russ. composer, studied with ~[fy45,1]*[fy75,1]Taneyev. Composer of operas, syms
., pf. mus., ~and incidental mus. for many plays.[cm~Alfano, Franco [fy75,1]([cf
2]b [cf1]Posilippo, Naples, [sm1875[nm; [cf2]d [cf1]San ~Remo, [sm1954[nm). It.
composer. Studied in Naples and ~Leipzig. Dir. of Bologna Cons. [sm1919[nm=n[sm2
3[nm, Turin ~[sm1924[nm=n[sm39[nm. Operas incl. [cf2]Risurrezione [cf1]([sm1902[
nm=n[sm3[nm) and ~[cf2]Sakuntala [cf1]([sm1914[nm=n[sm20[nm; rewritten [sm1952[n
m). Completed[fj[PN13,0,0,R,I0]Puccini's [cf2]Turandot [cf1]([sm1926[nm) from co
mposer's ~sketches. Also wrote syms., str. qts., sonatas, etc.[c
m~Alfonso und Estrella. [fy75,1]Opera in [sm3[nm acts ([sm1821[nm=n[sm2[nm, ~D[s
m732[nm) by Schubert to lib. by F. von Schober ~(Weimar [sm1854[nm, Vienna [sm18
82[nm). Its ov., possibly ~revised, was used by Schubert as the ov. to ~[fy45,1]
*[fy75,1][cf2]Rosamunde[cf1] at the latter's f.p. in Dec. [sm1823[nm.[cm~Alford,
 Kenneth J.[fy75,1] (real name Frederick Joseph ~Ricketts) ([cf2]b[cf1] Ratcliff
, London, [sm1881[nm; [cf2]d[cf1] Reigate, ~[sm1945[nm). Eng. composer and bandm
aster. Enlisted ~as bandboy [sm1895[nm, playing cornet, pf., and organ. ~Student
 bandmaster at Kneller Hall [sm1904[nm=n[sm8[nm, ~bandmaster Argyll and Sutherla
nd Highlanders ~[sm1908[nm. Dir. of mus., Royal Marines [sm1927[nm=n[sm40[nm. ~W
rote under pseudonym, Alford being mother's ~maiden name. Considered to surpass
Sousa in the ~quality of his march comps. These incl. [cf2]Colonel ~Bogey[cf1] (
[sm1914[nm), [cf2]The Thin Red Line[cf1] ([sm1925[nm), [cf2]Dunedin[cf1] ~([sm19
28[nm), and [cf2]Eagle Squadron[cf1] ([sm1942[nm).[cm~Alfred. [f
y75,1]Masque orig. in [sm2[nm acts about King Alfred ~by Thomas [fy45,1]*[fy75,1
]Arne, with words by J. Thomson ~and D. Mallet, prod. Cliveden, Bucks., [sm1740[
nm. ~Contains song [fy45,1]*[fy75,1]`Rule, Britannia!' Later revised ~extensivel
y both as oratorio and opera in [sm3[nm acts, ~with much new material. Perfs. in
 Dublin [sm1744, ~1756[nm; London [sm1751, 1753, 1754, 1755, 1759, ~1762,[nm and
 [sm1773[nm.[cm~Alfv;aaen, Hugo [fy75,1]([cf2]b [cf1]Stockholm, [sm1872[nm; [cf2
]d [cf1]Falun, ~[sm1960[nm). Swed. composer, violinist, and dir. of mus. ~at Uni
v. of Uppsala ([sm1910[nm=n[sm39[nm). Comp. [sm5[nm syms., ~choral works, and [s
m3[nm Swed. Rhapsodies of which ~the first, [cf2]Midsummer's Vigil [cf1]([cf2]Mi
dsommarvaka[cf1]), ~comp. [sm1904[nm, is well known.[cm~Algarotti, Francesco [fy
75,1]([cf2]b [cf1]Venice, [sm1712[nm; [cf2]d [cf1]Pisa, ~[sm1764[nm). It. author
 of notable treatise, [cf2]Saggio sopra ~l'opera in musica [cf1]([sm1755[nm) whi
ch made important ~criticisms of contemporary opera presentation
 ~and foresaw a th. not far short of Wagner's ~Bayreuth.[cm~Aliquot Scaling. [fy
75,1]Arr., devised by the Bl;auuthner ~firm, whereby the weak upper notes of a p
f. are ~provided with sympathetic str. tuned an octave ~higher, thus increasing
vol. of tone.[cm~Alison [fy75,1](Allison[cf1]), [fy65][cf3]Richard [fy75,1](=+=+
=+=+[cf2]fl. [cf1]late [sm16[nmth and early ~[sm17[nmth cents.). Eng. composer o
f madrigals and ~many instr. works, and compiler of famous book ~of metrical psa
lm tunes [cf1]([sm1599[nm).[cm~Alkan [fy75,1](pseudonym of Charles Henri Valenti
n ~Morhange) [cf1]([cf2]b [cf1]Paris, [sm1813[nm; [cf2]d [cf1]Paris, [sm1888[nm)
. Fr. ~pianist, composer, and teacher. Studied Paris ~Cons. under Zimmermann fro
m age [sm6[nm, winning ~pf. prize at [sm10[nm. His comps. for pf. (and for pedal
-~pf.) incl. chromatic harmonies well in advance of ~their time and are extremel
y difficult to perform.[cm~Alkestis. [fy75,1]Gr. tragedy by Euripides which has
~been the basis of many operas. See [cf2]Alceste[cf1].[cm~All',
alla [fy75,1](It.). To the, at the, on the, with the, in ~the manner of.[cm~Alla
 Breve [fy75,1](It.). Indicates [sm2[nm/[sm2[nm time when, in a ~[chmeasure of [
sm4[nm beats, the tempo is so fast that the ~measure may be considered to have [
sm2[nm beats. See ~also [cf2]Breve.[xm[cm~[ol0][ep~[xp[te~









[do9][j99]~~~~~~153842_AB02[ep~[u1]~~~~153842[cm024791[cm~AB02[cm9[cm1[cm~10.10.
79[cm12[cm222[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Allant [fy75,1](Fr.). (
[sm1[nm) Going, i.e. active, brisk.[ep~^([sm2[nm)^Going on, in sense of continui
ng, e.g. ~Debussy's [cf2]Allant grandissant[cf1]=mGoing on growing, ~continuing
to grow (i.e. getting louder).[cm~Allargando [fy75,1](It.). Enlarging. Getting s
lower and ~broadening, without loss of fullness in tone.[cm~Alldis, John [fy75,1
]([cf2]b [cf1]London, [sm1929[nm). Eng. cond. and ~chorusmaster. Founded John Al
ldis Choir, [sm1962[nm. ~On staff GSM. Chorusmaster, LSO [sm1966[nm=n[sm9[nm; co
nd., ~London Phil. Choir, [sm1969[nm; Leeds Fest. Ch. [sm1975[nm.[cm~Alle [fy75,
1](Ger.). All. Thus if [sm1[nm vn. has been playing ~alone all are now to enter.
 [cf2]Alle ersten [cf1]means all ~the first vns. and [cf2]Alle zweiten [cf1]all
the [sm2[nmnd.[cm~Allegramente [fy75,1](It.). [fy65][cf3]All;agegrement [fy75,1]
(Fr.). Brightly, ~gaily.[cm~Allegretto [fy75,1](It.). Moderately
 quick, pretty lively ~(but not so much as [cf2]allegro[cf1]). [fy65][cf3]Allegr
ezza. [fy75,1]Mirth, ~cheerfulness.[cm~Allegri, Gregorio [fy75,1]([cf2]b [cf1]Ro
me, [sm1582[nm; [cf2]d [cf1]Rome, [sm1652[nm). ~It. priest, ten. singer, and com
poser among other ~things of a celebrated [cf2]Miserere [cf1]in [sm9[nm parts, l
ong ~kept as exclusive possession of Sistine Chapel, ~where he served for the la
st part of his life. Mozart ~at the age of [sm14[nm secretly wrote out this work
 after ~[sm1[nm or [sm2[nm hearings.[cm~Allegri Quartet.[fy75,1] Brit. string qu
artet founded ~[sm1953[nm with Eli Goren (vn.), James Barton (vn.), ~Patrick Ire
land (va.), William Pleeth (vc.). Peter ~Thomas succeeded Barton [sm1963[nm. Re-
formed [sm1968[nm ~with Hugh Maguire (leader), David Roth (vn.), ~Ireland, and B
runo Schrecker (vc.). In [sm1977[nm Peter ~Carter became leader and Prunella Pac
ey violist. ~Keith Lovell succeeded Pacey in [sm1983[nm. In addition ~to classic
s, the Allegri has specialized in works by ~Brit. composers, e.g
. Britten, Maconchy, LeFanu, ~and S. Forbes.[cm~Allegro [fy75,1](It.). Merry, i.
e. quick, lively, bright. ~Often used as the title of a comp. or movement ~in th
at style. The superlative is [cf2]Allegrissimo[cf1].[cm~Allegro Barbaro. [fy75,1
]Work for solo pf. by Bart;aaok, ~comp. [sm1911[nm and f.p. by him in Budapest o
n [sm27[nm ~Feb. [sm1921[nm. Orch. transcr. by Kenessey, [sm1946[nm.[cm~Alleluia
. [fy75,1]This Lat. form of Hebrew exclamation, ~meaning `Praise Jehovah', was a
dded to certain of ~the responds of the R.C. Church, suitably joyful ~mus. for i
t being grafted on to the traditional ~plainsong and, in time, itself becoming t
radi~~tional.[cm~Alleluiasymphonie. [fy75,1]Title given to Haydn's Sym. ~No. [sm
30[nm in C (Hob. I:=+=+[sm30[nm), [sm1765[nm. Incorporates part ~of a plainsong
alleluia.[cm~Allemand [fy75,1](Fr.). [cf1]German.[cm~[PN14,0,0,L,I0]Allemande [f
y75,1](Almand, Almayne, Almain, etc.) ~(Fr.). The name of [sm2[nm distinct types
 of comp., both ~probably of Ger. origin.[ep~^([sm1[nm)^Dance, u
sually in [cf9]4=-=-=-=-=-=-=K=K=K[cf13]4[cf1], but sometimes in duple ~time, mu
ch used by [sm17[nmth- and earlier [sm18[nmth-cent. ~composers as the first move
ment of the suite, or ~the first after a prelude. It is serious in character ~bu
t not heavy, and of moderate speed: it is in ~simple [fy45,1]*[fy75,1]binary for
m.[ep~^([sm2[nm)^Peasant dance still in use in parts of Germany ~and Switzerland
. It is in triple time, and of waltz-~like character. Occasionally composers hav
e called ~a comp. of this type a [cf2]Deutscher Tanz [cf1](plural ~[cf2]Deutsche
 T;auanze[cf1]), or simply [cf2]Deutsch [cf1](plural ~[cf2]Deutsche[cf1]).[cm~Al
len, [fy75,1](Sir) [fy65][cf3]Hugh [fy75,1](Percy) ([cf2]b [cf1]Reading, [sm1869
[nm; [cf2]d ~[cf1]Oxford, [sm1946[nm). Eng. organist, cond., and teacher. ~Org.
scholar Christ's College, Cambridge, organist ~at caths. of St Asaph ([sm1897[nm
) and Ely ([sm1898[nm); then ~of New College, Oxford ([sm1901[nm=n[sm18[nm). Pro
f. of mus., ~Oxford Univ. ([sm1918[nm=n[sm46[nm), and general in
spirer of ~Oxford mus. activities; Dir. RCM ([sm1918[nm=n[sm37[nm). ~Cond., Bach
 Choir [sm1907[nm=n[sm20[nm. Knighted [sm1920[nm, ~G.C.V.O. [sm1935[nm.[cm~Allen
, Thomas [fy75,1]([cf2]b [cf1]Seaham Harbour, [sm1944[nm). Eng. ~bar. Opera d;aa
ebut with WNO [sm1969[nm. CG d;aaebut ~[sm1971[nm. Glyndebourne d;aaebut [sm1973
[nm (Papageno). Fine ~interpreter of Britten's Billy Budd (WNO) and of ~Mozart's
 Don Giovanni (Glyndebourne). Many ~concert appearances in Orff, Berlioz, etc.[c
m~Allende y Saron, Pedr;aao Humberto [fy75,1]([cf2]b [cf1]Santiago, ~Chile, [sm1
885[nm; [cf2]d [cf1]Santiago, [sm1959[nm). Chilean composer ~and violinist, who
also organized research into ~folk mus. Works incl. vn. conc., [sm12[nm [cf2]Ton
adas [cf1]for ~pf. ([sm3[nm of them orch.), and choral settings.[cm~Allentamento
, allentando [fy75,1](It.). Slowing.[cm~Allin, Norman [fy75,1]([cf2]b[cf1] Ashto
n-under-Lyne, [sm1884[nm; [cf2]d ~[cf1]Hereford, [sm1973[nm). Eng. bass. Trained
 RMCM ~[sm1906[nm=n[sm10[nm. Became member of Beecham Opera ~Co.
 in [sm1916[nm. D;aaebut CG [sm1919[nm. Leading bass and ~dir. BNOC [sm1922[nm=n
[sm9[nm. Member, Carl Rosa Co. [sm1942[nm=n~[sm9[nm. Sang in first Glyndebourne
[cf2]Figaro[cf1], [sm1934[nm. On ~staff RAM [sm1935[nm=n[sm60[nm and RMCM [sm193
8[nm=n[sm42[nm. C.B.E. ~[sm1958[nm.[cm~Allison, Richard. [fy75,1]See [fy65][cf2]
Alison, Richard.[cm~Allt, Wilfrid Greenhouse [fy75,1]([cf2]b [cf1]Wolverhampton,
 ~[sm1889[nm; [cf2]d [cf1]London, [sm1969[nm). Eng. organist and teacher. ~Ass.
organist, Norwich Cath., [sm1910[nm; organist St ~Giles's Cath., Edinburgh, [sm1
915[nm, and choral cond. ~in Edinburgh. Prin., TCL, [sm1944[nm=n[sm65[nm. Pres.
RCO ~[sm1962[nm=n[sm5[nm.[cm~All through the Night. [fy75,1]The tune usually kno
wn ~outside Wales by this title is that of the Welsh ~folk-song [cf2]Ar Hyd y No
s[cf1].[cm~Alma Redemptoris Mater. [fy75,1]See [cf2]Antiphons of the ~Blessed Vi
rgin Mary[cf1].[cm~Almeida, Antonio de [fy75,1]([cf2]b [cf1]Paris, [sm1928[nm).
Fr. cond. ~Studied in Buenos Aires with [fy45,1]*[fy75,1]Ginaste
ra. Later ~studied with Koussevitzsky and Szell. Held cond. ~posts in Portugal f
rom [sm1957[nm and has toured ~Europe and USSR. Chief guest cond. Houston ~S.O.
[sm1969[nm=n[sm71[nm.[cm~Almira. [fy75,1]Opera in [sm3[nm acts (his first) by Ha
ndel to ~lib. by Feustking after It. text by G. Pancieri. ~Contains [sm41[nm Ger
. and [sm15[nm It. airs. Prod. Hamburg ~[sm1705[nm.[cm~Alnaes, Eyvind [fy75,1]([
cf2]b [cf1]Fredriksstad, [sm1872[nm; [cf2]d [cf1]Oslo, ~[sm1932[nm). Norweg. com
poser and organist best ~known for songs (often sung by [fy45,1]*[fy75,1]Flagsta
d) though ~he wrote syms. and a pf. conc.[cm~Alpaerts, Flor [fy75,1]([cf2]b [cf1
]Antwerp, [sm1876[nm; [cf2]d [cf1]Antwerp, ~[sm1954[nm). Belg. composer and cond
. Studied at ~Antwerp Cons. where he later became prof. ~Wrote opera [cf2]Shyloc
k [cf1]([sm1913[nm), symphonic poems, ~and cantatas.[cm~Alpensinfonie, Eine [fy7
5,1](An Alpine Symphony). ~Orch. comp. by Richard Strauss (Op. [sm64[nm, [sm1911
[nm=n~[sm15[nm). [sm10[nmth and last of his tone-poems. In [sm22
[nm ~sections, it describes [sm24[nm hours in the mountains. ~Scored for very la
rge orch. incl. wind and thunder ~machines. F.p. Berlin [sm1915[nm, London [sm19
23[nm.[cm~Alphorn, Alpenhorn [fy75,1](Ger.), [fy65][cf3]Cor des Alpes [fy75,1](F
r.). ~The Alpine horn, a Swiss peasant instr. used for ~the evening calling of t
he cattle scattered over the ~summer pastures of the mountains (see also [cf2]Ra
nz ~des vaches[cf1]). It is made of wood and varies in length ~from about [sm7[n
m;po to [sm12[nm;po. It has a similar mouthpiece ~to that of the [fy45,1]*[fy75,
1]cornet, and is restricted to notes of ~the harmonic series. Strauss wrote a pa
rt for ~Alphorn in [cf2]Daphne[cf1], but it is usually played by tb. ~(except in
 Haitink's recording).[cm~Alpine Symphony, An. [fy75,1]See [cf2]Alpensinfonie, E
ine[cf1].[cm~Als [fy75,1](Ger.). As, like, when, than.[cm~Alsager, Thomas Massa
[fy75,1]([cf2]b [cf1][sm1779[nm; [cf2]d [cf1][sm1846[nm). Eng. ~newspaper manage
r and amateur musician par~~ticularly devoted to furtherance of
Beethoven's ~chamber mus. At his prompting [cf2]The Times [cf1]became ~first new
spaper to employ professional mus. ~critics.[cm~Al segno [fy75,1](It.). To the s
ign, meaning `Go to the ~sign ^=+=+=+=+'. This may mean `[cf2]Go back [cf1]to th
e sign', i.e. ~the same as [fy45,1]*[fy75,2]Dal segno[cf1], or it may mean `[cf2
]Continue ~[cf1]until you reach the sign'.[cm~Alsop, Ada [fy75,1]([cf2]b [cf1]Da
rlington, [sm1915[nm). Eng. sop. ~Specialist in oratorio, singing with all leadi
ng ~Brit. choral socs.[cm~Also sprach Zarathustra [fy75,1](Thus spake Zoroaster)
. ~Tone-poem by Richard Strauss, Op. [sm30[nm, comp. ~[sm1895[nm=n[sm6[nm and f.
p. Frankfurt [sm1896[nm. Freely based on ~Nietzsche's epic prose poem of same na
me. Delius ~set [sm11[nm sections of poem in his [fy45,1]*[fy75,2]Mass of Life[c
f1].[cm~Alt. [fy75,1]([sm1[nm) High. The note g;po;po marks the beginning ~of th
e range of vocal notes spoken of as [cf2]in alt[cf1], and ~from g;po;po;po as [c
f2]in altissimo[cf1].[ep~[PN15,0,0,R,I0]^([sm2[nm)^(Ger.). The a
lto (contralto) v.: prefixed to the ~name of an instr. (e.g. [cf2]Althorn[cf1]),
 it implies an alto ~pitch.[ep~^([sm3[nm)^(Ger.). Old.[cm~Alta [fy75,1](It.). Hi
gh, e.g. [cf2]Ottava alta[cf1], High octave, i.e. ~one octave higher than writte
n. Not to be ~confused with [fy45,1]*[fy75,2]alto[cf1].[cm~Altenberglieder [fy75
,1](Songs by Altenberg). [sm5[nm songs ~to picture-postcard texts by Peter Alten
berg ~(pseudonym of Richard Englander, [sm1862[nm=n[sm1919[nm), ~comp. by [fy45,
1]*[fy75,1]Berg for v. and orch. (Op. [sm4[nm). At f.p. in ~Vienna of [sm2[nm of
 the songs on [sm31[nm Mar. [sm1913[nm, a riot ~seriously disrupted the concert.
 Not perf. com~~plete until [sm1952[nm (Rome, cond. Horenstein).[cm~Altenburg, J
ohann Ernst [fy75,1]([cf2]b [cf1]Weissenfels, [sm1734[nm; ~[cf2]d [cf1]Bitterfel
d, [sm1801[nm). Ger. organist and virtuoso ~trumpeter who comp. works for the la
tter instr., ~incl. a conc. for [sm7[nm tpts., and wrote a treatise on ~tpt. pla
ying ([sm1795[nm). His father Johann Caspar ([cf2]d ~[cf1][sm176
1[nm) was also a noted trumpeter. Both had ~military careers.[cm~Altenburg, Mich
ael [fy75,1]([cf2]b [cf1]Alach, [sm1584[nm; [cf2]d [cf1]Erfurt, ~[sm1640[nm). Ge
r. theologian and composer, several of ~whose chorale melodies are still sung. P
ubd. ~important colls. of sacred mus.[cm~Altered Chord. [fy75,1]Amer. synonym fo
r Chromatic ~Chord.[cm~Alternativo [fy75,1](It.). Name applied in early [sm18[nm
th-~cent. mus. in dance style to a contrasting middle ~section (later called [fy
45,1]*[fy75,2]Trio[cf1]). Sometimes used of a ~whole comp., apparently implying
that the [sm2[nm ~sections may be alternated at will.[cm~Altfl;auugelhorn [fy75,
1](Ger.). Another name for the ~[fy45,1]*[fy75,2]fl;auugelhorn [cf1]in E;yh.[cm~
Altgeige [fy75,1](Ger.). Alto fiddle, i.e. the [fy45,1]*[fy75,2]viola[cf1].[cm~A
lthorn [fy75,1](Ger.). The alto [fy45,1]*[fy75,1]saxhorn in E;yh and the ~[fy45,
1]*[fy75,1]fl;auugelhorn in E;yh are sometimes referred to as ~[cf2]althorns[cf1
].[cm~Altissimo[fy75,1]. See [cf2]Alt[cf1].[cm~Altiste [fy75,1](
Fr.). ([sm1[nm) a player of the [cf2]alto[cf1], i.e. of the ~[fy45,1]*[fy75,1]vi
ola[cf1].[ep~^([sm2[nm)^An [fy45,1]*[fy75,1]alto singer.[cm~Altmeyer, Jeannine [
fy75,1]([cf2]b [cf1]Pasadena, [sm1948[nm). Amer. ~sop. of Ger. parentage. Studie
d Mus. Acad. of Santa Barbara [sm1968=n~71[nm, then with Lotte ~[fy45,1]*[fy75,1
]Lehmann, and at Salzburg Mozarteum. NY Met. ~d;aaebut [sm1971[nm (First Lady in
 [cf2]Die Zauberfl;auote[cf1]), Chicago ~[sm1972[nm (Freia in [cf2]Das Rheingold
[cf1]). European d;aaebut ~ [sm1973[nm, Salzburg Easter Fest. (Freia). Z;auurich
 Opera ~[sm1973=n5[nm, Stuttgart Opera [sm1975=n9[nm. Bayreuth d;aaebut ~[sm1976
[nm (Sieglinde). Sang role of Br;auunnhilde in ~[fy45,1]*[fy75,1]Janowski record
ing of [cf2]The Ring.[cf1][cm~Alto [fy75,1](It.). High. ([sm1[nm)^Usually high t
ype of falsetto ~male v., much used in Eng. church mus.; thus in ~SATB, A stands
 for alto.[ep~^([sm2[nm)^Low-register female v., usually referred to ~as [fy45,1
]*[fy75,1]contralto.[ep~^([sm3[nm)^Applied to instr., the [sm2[n
mnd or [sm3[nmrd highest of ~the family.[ep~^([sm4[nm)^(Fr.). [fy45,1]*[fy75,1]V
iola.[cm~Alto Clarinet. [fy75,1]The [fy45,1]*[fy75,1]clarinet in E;yh and in F.[
cm~Alto Clef. [fy75,1]Formerly used for alto v., now mainly ~used for viola. See
 [cf2]Clefs[cf1].[cm~[cj4,6,27]Alto fl;auugelhorn. [fy75,1]The B;yh [fy45,1]*[fy
75,1]fl;auugelhorn, also in E;yh.[cm~[nbAlto flute. [fy75,1]The fl. in G, transp
osing instr. notated ~[sm4[nmth above actual sound.[cm~Alto Moderne. [fy75,1]Als
o called `Viole-t;aaenor'. A large ~viola, played like the vc. and introduced in
 the ~[sm1930[nms by R. Parramon of Barcelona.[cm~Alto oboe. [fy75,1]The Eng. hn
. ([fy45,1]*[fy75,2]cor anglais[cf1]), pitched in ~F, a [sm5[nmth below the [fy4
5,1]*[fy75,1]oboe.[cm~Alto Rhapsody. [fy75,1]Name by which Brahms's ~Rhapsody fo
r cont. solo, male ch., and orch. (Op. ~[sm53[nm, [sm1869[nm) is known in Eng. T
ext taken from ~Goethe's poem [cf2]Harzreise im Winter[cf1]. Ger. title of ~comp
. is [cf2]Rhapsodie aus Goethes Harzreise im Winter[cf1].[cm~Alt
o saxhorn. [fy75,1]The sop. [fy45,1]*[fy75,1]saxhorn in B;Yh (or C), ~differing
little from the B;Yh cornet.[cm~Alto saxophone. [fy75,1]The E;Yh sax., usually p
layed in ~jazz (especially beautifully by Johnny Hodges of ~Duke Ellington's orc
h.).[cm~Alto Staff. [fy75,1]See [cf2]Great Staff.[cm~Alto Trombone. [fy75,1]Obso
lete type of [fy45,1]*[fy75,1]trombone, ~written for by Mozart, later replaced b
y ten. tb.[cm~Altposaune [fy75,1](Ger.). [fy45,1]*[fy75,1]Alto trombone.[cm~Altr
a, altre. [fy75,1]See [cf2]Altro.[cm~ Altra volta [fy75,1](It.). [fy45,1]*[fy75,
1]Encore.[cm~Altro, altri; altra, altre [fy75,1](It.). Another, others.[cm~Alva,
 Luigi [fy75,1]([cf2]b [cf1]Lima, [sm1927[nm). Peruvian ten., d;Aaebut ~Lima [sm
1949[nm, Milan [sm1954[nm, Edinburgh [sm1957[nm, CG ~[sm1960[nm. Specializes in
light, lyrical Mozart and ~Rossini roles.[cm~Alvary, Max [fy75,1](Maximillian Ac
henbach) ([cf2]b[cf1] D;Auus~~seldorf, [sm1856[nm; [cf2]d[cf1] Gross-Tabarz, Thu
ringia, [sm1898[nm). ~Ger. ten. Studied with J. Stockhausen and
~Lamperti. D;Aaebut Weimar. Sang Don Jos;Aae in ~[cf2]Carmen [cf1]at NY Met. [sm
1885[nm. Specialist in Wagnerian ~roles (Loge, Siegfried, Tristan, Tannh;Auauser
). Bay~~reuth [sm1891[nm. In CG [cf2]Ring [cf1]under Mahler, [sm1892[nm.[cm~Alwi
n, Karl [fy75,1]([cf2]b[cf1] K;auonigsberg, [sm1891[nm; [cf2]d[cf1] Mexico City,
 ~[sm1945[nm). Ger. pianist, cond., and composer. Held ~various operatic posts b
efore going to Vienna ~State Opera in [sm1920[nm. At one time married to the ~so
p. Elisabeth [fy45,1]*[fy75,1]Schumann. Arr. certain items by ~R. Strauss. Cond.
 first London perf. ([sm1924[nm) of [sm2[nmnd ~version ([sm1916[nm) of Strauss's
 [cf2]Ariadne auf Naxos[cf1]. ~Cond., Nat. Opera, Mexico City, from [sm1941[nm.[
cm~[PN16,0,0,L,I0]Alwyn, Kenneth [fy75,1]([cf2]b[cf1] London, [sm1925[nm). Eng.
cond. ~and composer. Studied RAM. Prin. cond. BBC ~Northern Ireland Orch. Assoc.
 cond. SW Th. ~Ballet [sm1952[nm=n[sm6[nm, Royal Ballet [sm1956[nm=n[sm9[nm.[cm~
Alwyn, William [fy75,1]([cf2]b [cf1]Northampton, [sm1905[nm). En
g. ~composer, pianist, flautist, poet, translator, and ~painter. Studied RAM. Be
gan career as orch. ~flautist with LSO. Prof. of comp., RAM, [sm1926[nm=n~[sm56[
nm. First orch. work ([cf2][sm5[nm Preludes for Orch.[cf1]) played ~at a Promena
de Concert, [sm1927[nm. [sm3[nm times chairman, ~Composers' Guild. Has written m
uch mus. for ~films, incl. wartime documentaries [cf2]Desert Victory ~[cf1]and [
cf2]The Way Ahead[cf1]. Has written several vols. of ~poetry and has trans. Fr.
poets. C.B.E. [sm1978[nm. Prin. ~comps.:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy75,2
]Miss Julie [cf1]([sm1961[nm=n[sm76[nm).[ep~[cf1][smorch[nm.: Syms. No. [sm1[nm
([sm1950[nm), No. [sm2[nm ([sm1954[nm), No. [sm3[nm ~([sm1956[nm), No. [sm4[nm (
[sm1960[nm), No. [sm5[nm ([sm1973[nm); symphonic ~prelude [cf2]The Magic Island
[cf1]([sm1953[nm), [cf2]Festival March ~[cf1]([sm1952[nm), [cf2]Conc. grosso [cf
1]No. [sm1[nm ([sm1952[nm), No. [sm2[nm, str. ~([sm1951[nm), No. [sm3[nm ([sm196
4[nm); [cf2]Elizabethan Dances [cf1]([sm1957[nm), ~ob. conc. ([s
m1951[nm), [cf2]Lyra Angelica[cf1], conc. for harp ~and str. ([sm1955[nm), [cf2]
Autumn Legend[cf1], cor anglais and ~str. ([sm1956[nm), [cf2]Derby Day [cf1]([sm
1962[nm), [cf2]Sinfonietta [cf1]for str. ~([sm1970[nm), No. [sm2[nm ([sm1976[nm)
.[ep~[smchamber music[nm: Str. trio ([sm1963[nm); Str. qts. No. [sm1[nm in ~D mi
nor ([sm1955[nm), No. [sm2[nm ([cf2]Spring Waters[cf1]) ([sm1976[nm); ~cl. sonat
a ([sm1962[nm); [cf2]Naiades, [cf1]fl. and harp sonata ~([sm1972[nm); [cf2]Diver
timento[cf1], fl. ([sm1940[nm).[ep~[smpiano[nm: [cf2]Fantasy Waltzes [cf1]([sm19
56[nm), [cf2]Sonata alla toccata ~[cf1]([sm1951[nm), [sm12[nm [cf2]Preludes [cf1
]([sm1959[nm).[ep~[smsong cycles[nm (all with pf.): [cf2]Mirages[cf1], bar. ([sm
1974[nm), [cf2][sm6[nm ~Nocturnes[cf1], bar. ([sm1976[nm), [cf2]A Leavetaking[cf
1], ten. ([sm1977[nm), ~[cf2]Invocations[cf1], sop. ([sm1978[nm).[cm~[j1]Alyabye
v, Alexander [fy75,1]([cf2]b [cf1]Tobolsk, [sm1787[nm; [cf2]d[cf1] ~Moscow, [sm1
851[nm). Russ. composer and precursor of ~nat. sch. Wrote famous
 song [cf2]The Nightingale, ~[cf1]utilized by Patti and others for lesson scene
of ~Rossini's [cf2]Il barbiere di Siviglia[cf1], and transcr. for pf. ~by Liszt.
[cm~Alzato, alzati; alzata, alzate [fy75,1](It.). Raised, lifted ~off (of a mute
 or mutes, etc.).[cm~Alzira. [fy75,1]Opera in prol. and [sm2[nm acts by Verdi to
 lib. ~by Cammarano based on Voltaire's play [cf2]Alzire ~[cf1]([sm1736[nm). Com
p. [sm1845[nm. Prod. Naples [sm1845[nm; revived ~Rome [sm1967[nm, NY (concert) [
sm1968[nm, London (stage) ~[sm1970[nm.[cm~Am [fy75,1](Ger.). At the, on the, to
the, by the, near the. ~As in [cf2]Am Meer[cf1], by the sea.[cm~Amabile [fy75,1]
(It.). Lovable, hence [cf2]amabilit;Aga, [cf1]lovable~~ness.[cm~Amadeus Quartet.
 [fy75,1]Highly successful and ad~~mired Brit. str. qt. which gave its first Lon
don ~concert in Jan. [sm1948[nm, though it had played, under ~various different
titles, for a year before then. Its ~membership has remained constant, viz., Nor
bert ~Brainin, Sigmund Nissel (vns.), Peter Schidlof ~(va.), Mar
tin Lovett (vc.). Britten's [sm3[nmrd qt. ([sm1975[nm) ~comp. for them. Brainin
O.B.E. [sm1960[nm, his three ~colleagues [sm1973[nm.[cm~Amahl and the Night Visi
tors. [fy75,1]Opera in [sm1[nm act ~by [fy45,1]*[fy75,1]Menotti to his own lib.
First TV opera (NBC ~NY [sm1951[nm). First stage perf. Indiana Univ., Bloom~~ing
ton, [sm1952[nm,  NY [sm1952[nm, BBC TV [sm1967[nm. The Night ~Visitors are the
Magi.[cm~Amati. [fy75,1]It. family of vn.-makers (also vas., vcs., and[fjdbs.) a
t Cremona. Comprised Andrea ([cf2]c[cf1].[sm1520[nm=n~[cf2]c.[cf1][sm1580[nm) wh
ose sons Antonio ([sm1550[nm=n[sm1638[nm) and ~Girolamo (Geronimus) ([sm1561[nm=
n[sm1630[nm) made many ~changes. Nicola ([sm1596[nm=n[sm1684[nm), son of Girolam
o, is ~reckoned the greatest of the Amatis. Among his ~pupils were Stradivari an
d Guarneri. The last of ~the line was Nicola's son Girolamo ([sm1649[nm=n[sm1740
[nm).[cm~Amato, Pasquale [fy75,1]([cf2]b [cf1]Naples, [sm1878[nm; [cf2]d[cf1] NY
, [sm1942[nm). ~It. bar. Studied Naples Cons. D;Aaebut Naples [s
m1900[nm. ~Career chiefly spent at NY Met. ([sm1908[nm=n[sm21[nm), where ~he cre
ated role of the Sheriff in Puccini's [cf2]La ~fanciulla del West [cf1]([sm1910[
nm). Became teacher and dir. ~of univ. opera prods.[cm~Amberley Wild Brooks. [fy
75,1]No. [sm2[nm of [cf2][sm2[nm Pf. Pieces[cf1] by ~[fy45,1]*[fy75,1]Ireland, c
omp. [sm1921[nm.[cm~Ambrosian Chant. [fy75,1]Type of plainsong now lost, ~assoc.
 with St Ambrose, Bishop of Milan [sm374[nm=n~[sm397[nm, who reorganized singing
 and tonality in the ~Christian church. See under [cf2]Modes [cf1]and [cf2]Plain
song.[cm~;afAme [fy75,1](Fr.). Soul. The [fy45,1]*[fy75,1]sound-post of the vn.,
 etc. ~The fanciful name doubtless comes from its ~importance to the whole tone-
quality of the ~instr., which depends much on its correct ~position. The Italian
s call it [cf2]anima, [cf1]which also ~means `soul'.[xm[cm~[ol0][ep~[xp[te~


[do25][j99]~~~~~~153842_AB03[ep~[u1]~~~~153842[cmCONCISE OXFORD ~DICT. OF MUSIC[
cmAB03[cm25[cm~1[cm11/10/79[cm12[cm~~292[cm~GC[cm3[cm3.7.83[cm~U1[cm~~~~[ap[j1]A
melia goes to the Ball [fy75,1]([cf2]Amelia al ballo[cf1]). Comic ~opera in [sm1
[nm act by [fy45,1]*[fy75,1]Menotti to It. lib. by composer ~(Eng. trans. by Geo
rge Meade). Prod. Berlin and ~Philadelphia [sm1937[nm, San Remo [sm1938[nm, Live
rpool ~[sm1956[nm.[cm~Ameling, Elly [fy75,1](Elisabeth) ([cf2]b [cf1]Rotterdam,
[sm1938[nm). ~Dutch sop. Studied The Hague Cons. and with ~Bernac. D;Aaebut Amst
erdam [sm1961[nm. London d;aaebut ~[sm1966[nm, Amer. [sm1968[nm. Specializes in
Lieder and ~oratorio, being particularly fine in Bach cantatas ~and Passions, an
d Schubert songs.[cm~Amen. [fy75,1]So be it. The Hebrew terminal word of ~prayer
 in Jewish, Christian, and Mohammedan ~worship. It has been extended by composer
s, ~many times, into a long comp., e.g. the `Amen ~Chorus' of Handel's [cf2]Mess
iah. [cf1]Shorter settings have ~been made for liturgical use, s
uch as Gibbons's ~Threefold Amen and Stainer's Sevenfold Amen. ~The [fy45,1]*[fy
75,2]Dresden Amen [cf1]comes from the Threefold ~Amen of the Royal Chapel of Dre
sden (common ~also throughout Saxony); its composer was J. G. ~[fy45,1]*[fy75,1]
Naumann.[cm~Amen Cadence. [fy75,1]See [cf2]Cadence.[cm~[PN17,0,0,R,I0]America [f
y75,1](`My Country, 'tis of thee'). Patriotic ~hymn with words by Rev. Samuel Fr
ancis Smith ~([sm1832[nm) sung to tune of `God save the King'. Also ~title of sy
mphonic rhapsody ([sm1928[nm) by E. [fy45,1]*[fy75,1]Bloch.[cm~American Academy
[fy75,1](Rome). Building in Rome, ~formerly Amer. Sch. of Architecture, where ~w
inners of Amer. Rome Prize live. See [cf2]Prix de ~Rome.[cm~American Federation
of Musicians. [fy75,1]Trade-~union organization for professional musicians in ~U
SA and Canada; founded [sm1895[nm and very active ~under the presidency ([sm1942
[nm=n[sm58[nm) of James C. ~Petrillo.[cm~American Guild of Organists. [fy75,1]Na
t. assoc. of ~Amer. church orgs., founded [sm1896[nm.[cm~America
n in Paris, An. [fy75,1]Orch. piece by [fy45,1]*[fy75,1]Gersh~~win, score of whi
ch incl. parts for [sm4[nm taxi-horns. ~F.p. NY [sm1928[nm.[cm~American Musical
Terminology [fy75,1](compared ~with Brit.). Certain divergences between Amer. ~a
nd Brit. mus. terminology sometimes cause ~confusion:[ep~^([sm1[nm) [smnote[nm a
nd [smtone[nm. Such expressions as `[sm3[nm tones ~lower', or `the scale of [sm5
[nm tones' have different ~meanings to the Amer. and the Brit. reader. A ~Brit.
reader, finding these expressions in an Amer. ~book or journal, must be careful
to understand ~by them `[sm3[nm notes lower' and `scale of [sm5[nm notes', ~whil
e an Amer. reader finding such expressions ~in a Brit. book must interpret them
as `[sm3[nm whole-~steps lower' or `a scale of [sm5[nm whole-steps'.[ep~^([sm2[n
m) Eng. [smbar[nm;eqAmer. [smmeasure[nm, the former term ~being often reserved i
n Amer. for the actual bar-~[cf2]line.[ep~^[cf1]([sm3[nm) Eng. [smsemibreve, min
im[nm, etc.;eqAmer. [smwhole[nm-~[smnote[nm, [smhalf[nm-[smnote[
nm, etc.[ep~^([sm4[nm) Eng. [smnaturals[nm, e.g. the white keys of a pf., ~etc.;
eqAmer. [smlong keys[nm.[ep~^([sm5[nm) Eng. [smnatural notes[nm (of brass instr.
);eqAmer. ~[smprimary tones[nm.[ep~^([sm6[nm) Eng. [smto flatten[nm and [smto sh
arpen[nm;eqAmer. [smto ~flat[nm and [smto sharp[nm.[ep~^([sm7[nm) Eng. [smorgan[
nm (=+=+generally);eqAmer. [smpipe[nm [smorgan[nm ~(to distinguish from the vari
ous reed organs).[ep~^([sm8[nm) Eng. [smgramophone[nm;eqAmer. [smphono[nm-[fj~[s
mgraph[nm.[ep~^([sm9[nm) Eng. [smconcert[nm-[smgiving[nm;eqAmer. [smcon[nm-[fj~[
smcertizing[nm.[ep~^([sm10[nm) Amer. [smapplied music[nm means perf. mus.; ~henc
e univ. courses in Applied Music are courses ~in instr. or vocal technique and i
nterpretation.[ep~^([sm11[nm) The Eng. term [smfolk song[nm is often used in ~th
e USA in a loose way, covering not only trad. ~peasant songs but also any songs
which have ~become widely known by people in general.[ep~^([sm12[nm) Eng. [smfir
st violin[nm or [cf2]Leader [cf1](of orch.);eq~Amer. [smconcert
master[nm.[ep~^([sm13[nm) Eng. [smconductor[nm (of orch.);eq(often) Amer. ~[smle
ader[nm (and Eng. [cf2]to conduct;eq[cf1]Amer. [cf2]to lead[cf1]).[ep~^([sm14[nm
) Eng. [smpart[nm-[smwriting[nm;eqAmer. [smvoice[nm-[smleading[nm.[ep~^([sm15[nm
) Eng. [smrecord sleeve[nm (container);eqAmer.[fj~[smdisc (disk) liner[nm.[cm~Am
erican Organ. [fy75,1]Called in USA the `cabinet ~org.', this is a type of reed
org. like the ~[fy45,1]*[fy75,1]harmonium in which air is sucked through ~reeds.
 Invented by workman in [fy45,1]*[fy75,1]Alexandre's ~factory but developed in B
oston, Mass.[cm~`American' Quartet. [fy75,1]Name by which Dvo;Akr;aaak's ~Str. Q
t. in F, Op. [sm96[nm, is generally known. Comp. ~in USA, [sm1893[nm and partly
inspired by Negro ~melodies, hence its former names, now frowned ~on, of `Negro'
 or `Nigger' Qt.[cm~American Society of Composers, Authors and ~Publishers [fy75
,1](`ASCAP'). Founded [sm1914[nm to protect ~copyrights, perf. rights, etc. Head
quarters in NY.[cm~Am;aaeriques [fy75,1](New Worlds). Comp. for
large orch. ~by [fy45,1]*[fy75,1]Var;agese, instr. incl. cyclone whistle, fire s
iren, ~crow-call, etc. Comp. [sm1918[nm=n[sm21[nm. F.p. Philadelphia ~[sm1926[nm
.[cm~Amfiparnaso, L'. [fy75,2]Comedia harmonica [cf1]by Orazio ~Vecchi. A string
 of pieces in madrigal style, in [sm3[nm ~acts with a prol.; not intended to be
staged. (Prod. ~Modena [sm1594[nm; pubd. [sm1597[nm; revived Florence ~[sm1933[n
m, London [sm1946[nm).[cm~Amico Fritz, L' [fy75,1](Friend Fritz). Opera in [sm3[
nm acts by ~Mascagni, lib. by P. Suardon (N. Daspuro), based ~on novel by Erckma
nn-Chatrian ([sm1864[nm). (Prod. ~Rome [sm1891[nm; London and Philadelphia [sm18
92[nm; NY ~[sm1894[nm).[cm~Amid Nature [fy75,1](or [cf2]In Nature's Realm, [cf1]
Cz. [cf2]Vp;Akr;Aairod;Ake[cf1]). ~Ov. for orch., Op. [sm91[nm, by Dvo;Akr;Aaak,
 comp. [sm1891[nm, as ~first of cycle of [sm3[nm ovs. called [fy45,1]*[fy75,2]Na
ture, Life, and ~Love[cf1], the others being [fy45,1]*[fy75,2]Carneval [cf1]and
[fy45,1]*[fy75,2]Othello.[cf1] Also ~title of Dvo;Akr;Aaak's [sm
5[nm chs. for mixed vv., Op. [sm63[nm, to ~words by H;Aaalek, comp. [sm1882[nm.[
cm~Amis, John [fy75,1]([cf2]b[cf1] London, [sm1922[nm). Eng. critic and ~adminis
trator, with prin. reputation as presenter ~of mus. programmes on radio and TV.
Studied to ~be professional singer and recorded ten. solo in ~Bernard Herrmann's
 [cf2]Moby Dick. [cf1]Secretary of ~Dartington Summer School since inception.[cm
~Ammerbach, Elias Nickolaus [fy75,1]([cf2]b [cf1]Naumberg, ~?[sm1530[nm; [cf2]d[
cf1] Leipzig, [sm1597[nm). Ger. organist and ~composer. At Thomaskirche, Leipzig
, from [sm1561[nm. ~His [cf2]Orgel-oder Instrument-tabulatur [cf1]([sm1571[nm) d
em~~onstrates progress in practice of tuning and kbd. ~fingering.[cm~Amner, John
[fy75,1] ([cf2]b [cf1]Ely, [sm1579[nm; [cf2]d [cf1]Ely [sm1641[nm). Eng. ~compos
er and organist. Studied at Oxford. Org. ~of Ely Cath. for [sm31[nm years. Wrote
 much sacred ~mus. and some kbd. variations on a psalm-tune.[cm~Amon, Johannes A
ndreas [fy75,1]([cf2]b[cf1] Bamberg, [sm1763[nm; [cf2]d[cf1] ~Wa
llerstein, [sm1825[nm). Ger. hn.-player and composer. ~Pupil of Punto. Dir. of m
us. at Heilbronn [sm1789[nm=n~[sm1817[nm. Composed syms., pf. conc., sonatas, ob
. qts., ~fl. and va. conc., etc.[cm~[PN18,0,0,L,I0]Amor brujo, El [fy75,1](Love,
 the Magician). Ballet in [sm1[nm ~act by Falla, based on Andalusian gipsy tale.
 ~Requires ballerina to sing as well as dance. Also ~exists as orch. suite (with
 cont.). The famous ~`Ritual Fire Dance' occurs in it. [cf2]Brujo [cf1]means `ma
le ~witch' and the title is best trans. as `Wedded by ~Witchcraft'. F.p. Madrid
[sm1915[nm; London in concert ~version [sm1921[nm, as ballet [sm1931[nm.[cm~Amor
e [fy75,1](It.), [fy65][cf3]Amour [fy75,1](Fr.). Love. A word often ~found in th
e names of certain forms of old instr., ~generally implying a lower pitch than t
he ~ordinary and a claim to sweeter tone, e.g. [cf2]va. ~d'amore, ob. d'amore. [
cf1]In bowed instr. it also ~indicates the possession of [fy45,1]*[fy75,1]sympat
hetic strings.[cm~Amore dei tre re, L' [fy75,1](The Love of the
Three ~Kings). Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Montemezzi to lib. ~ada
pted by Sem Benelli from his verse tragedy ~([sm1910[nm). Prod. Milan [sm1913[nm
; NY and London [sm1914[nm.[cm~Amoyal, Pierre [fy75,1]([cf2]b [cf1]Paris, [sm194
9[nm). Fr. violinist. ~Studied Paris Cons., won Ginette Neveu Prize ~[sm1963[nm,
 Paganini Prize [sm1964[nm, Enescu Prize [sm1970[nm. ~Pupil of [fy45,1]*[fy75,1]
Heifetz in Los Angeles [sm1966[nm=n[sm71[nm. ~Returned to Paris, giving [sm4[nm
perfs. of Berg conc. ~with [fy45,1]*[fy75,1]Solti and Orchestre de Paris, [sm197
2[nm. World~~wide tours.[cm~Amplifier.[fy75,1] A piece of electrical equipment w
hich ~`amplifies', i.e. increases, the vol. of sound. ~Voltage-controlled amplif
iers alter the vol. of the ~input signal. They can be used in [fy45,1]*[fy75,1]e
lectronic ~music in conjunction with voltage-controlled ~oscillators and filters
 and a kbd. to function as a ~monophonic mus. instr.[cm~Amram, David [fy75,1]([c
f2]b [cf1]Philadelphia, [sm1930[nm). Amer. ~hn.-player and compo
ser. Played in jazz groups ~and sym. orchs. Studied comp. with Giannini and ~hn.
 with G. Schuller. First composer-in-residence ~with NY P.O. Works incl.: incid.
 mus. for ~chamber orch. for nearly [sm20[nm Shakespeare prods., ~opera [cf2]Twe
lfth Night[cf1] ([sm1968[nm), [cf2]Shakespearean Concerto[cf1], ~[cf2]King Lear
Variations[cf1], incid. mus. to [cf2]Peer Gynt[cf1], ~triple conc., vn. conc., c
antata [cf2]A Year in our Land[cf1], ~vn. sonata, str. qt., and songs.[cm~A.Mus.
L.C.M. [fy75,1]Associate in Music ;obi.e. theory of ~mus.;cb of London College o
f Music.[cm~A.Mus.T.C.L. [fy75,1]Associate in Music, Trinity College ~of Music,
London.[cm~Amy, Gilbert [fy75,1]([cf2]b[cf1] Paris, [sm1936[nm). Fr. composer an
d ~cond. Studied Paris Cons. [sm1955[nm=n[sm60[nm under Mes~~siaen and Milhaud.
Cond. of [cf2]Domaine Musical, ~[cf1]Paris, [sm1967[nm=n[sm73[nm. Strongly influ
enced by Boulez ~and for [sm3[nm years attended Darmstadt summer ~courses. His c
omps. have moved from strict ~serialism to a more flexible use o
f the system and ~his later works, some employing tape, are of ~considerable poe
tic refinement. Prin. works:[xm[cm~[j2][smorch[nm: [fy75,2]Refrains [cf1]([sm197
2[nm), [cf2]Mouvements [cf1]([sm1958[nm), [cf2]Inven~~tions [cf1]([sm1959[nm=n[s
m61[nm), [cf2]Diaphonies [cf1]([sm1962[nm), [cf2]Iriade [cf1]([sm1963[nm=n~[sm4[
nm), [cf2]Chant pour orchestre [cf1]([sm1968[nm), [cf2]Jeux et formes, [cf1]ob.
~and chamber orch. ([sm1971[nm), [cf2][sm7[nm Sites[cf1], [sm14[nm instr. ~([sm1
975[nm), [cf2]Eclos XIII[cf1], [sm13[nm instr. ([sm1976[nm), [cf2]Adagio et ~Str
etto[cf1] ([sm1977[nm=n[sm8[nm).[ep~[smvocal[nm: [cf2]D'un Espace d;Aaeploy;Aae[
cf1], sop., [sm2[nm pf., [sm2[nm orch. ~groups ([sm1972[nm=n[sm3[nm); [cf2]Sonat
a pian'e forte[cf1], sop., mez., ~[sm12[nm players ([sm1974[nm); [cf2]Apr;ages `
d'un d;aaesastre obscur'[cf1], ~mez. and instr. ([sm1976[nm); [cf2]Shin'anim Sha
'ananim,[cf1] ~mez., cl., vc., and ens. ([sm1979[nm); [cf2]Messe[cf1], sop., con
t., ~ten., bass, opt. children's ch., ch., and orch. ~([sm1982[n
m=n[sm3[nm).[ep~[smunacc. chorus[nm: [cf2]R;Aaecitatif, air et variation [cf1]([
sm1970[nm).[ep~[smchamber music[nm: [cf2].|.|. d'un D;Aaesastre obscur[cf1], mez
. and ~cl. ([sm1976[nm); [cf2]Jeux, [cf1]ob. ([sm1976[nm); pf. sonata ([sm1957[n
m=n[sm60[nm); ~[cf2]Epigrammes [cf1]([sm1961[nm); [cf2]Quasi Scherzando[cf1], vc
. ([sm1981[nm).[cm~[j1]An [fy75,1](Ger.). On, by, to, at, as in [cf2]An die Musi
k, [cf1]`To ~Music'. In org. mus. it signifies that the stop in ~question is to
be drawn.[cm~Anacr;Aaeon, ou L'amour fugitif. [fy75,1]Opera-ballet in ~[sm2[nm a
cts by Cherubini, text by Mendouze. Prod. ~Paris [sm1803[nm.[cm~Anacreontic Soci
ety. [fy75,1]Aristocratic mus. soc. in ~London [sm1766[nm=n[sm94[nm, meeting for
tnightly during ~the season. Haydn attended a meeting. At each ~meeting, pres. s
ang constitutional song `To ~Anacreon in Heaven'. See [cf2]Star-Spangled Banner.
[cf1][cm~Anacrusis [fy75,1](plural [cf2]Anacruses[cf1]). Unstressed syllable ~at
 the beginning of a line of poetry or an ~unstressed note or gro
up of notes at the beginning ~of a mus. phrase.[cm~Analytical Notes. [fy75,1]Ano
ther name for `pro~~gramme-notes', the descriptions of comps. which ~appear in a
nnotated programmes. Possibly the ~earliest example is the programme of a Concer
t ~of Catches and Glees, given by Arne at Drury ~Lane Th. in [sm1768[nm. It has
a preface explaining the ~nature of the catch and the glee, and the various ~ite
ms are provided with historical interest. [sm15[nm ~years later ([sm1783[nm) Fre
derick the Great's Kapell~~meister, J. F. Reichardt, founded in Potsdam a ~regul
ar Tuesday perf. and provided in his ~programmes both the words of the songs and
 ~`historical and aesthetic explanations enabling the ~audience to gain a more i
mmediate under-[fj~standing'.[ep~^John Ella, prominent in London mus. life as di
r. ~of a chamber mus. organization, the Musical ~Union ([sm1845[nm=n[sm80[nm), i
s often spoken of in Britain as ~the introducer of annotated programmes: he had
~been anticipated, but it was probably the utility ~of his analy
tical notes over a long period that ~formally est. the practice which from then
on ~became widespread.[ep~^Some programme-notes have had a value beyond ~the occ
asion for which they were written, notably ~those by Sir George Grove for August
 Manns's ~orch. concerts at the Crystal Palace and those by ~Sir Donald [fy45,1]
*[fy75,1]Tovey for the Reid concerts in ~Edinburgh.[cm~An;akcerl, Karel [fy75,1]
([cf2]b [cf1]Tu;akcapy, Bohemia, [sm1908[nm; [cf2]d[cf1] ~Toronto, [sm1973[nm).
Cz. cond. Studied Prague Cons. ~[PN19,0,0,R,I0]and with H. Scherchen in Berlin (
[sm1929[nm=n[sm31[nm). Cond. ~for Prague radio [sm1933[nm=n[sm9[nm. Sent to conc
entration ~camp by Nazis. Cond. Cz. Radio Orch. [sm1947[nm=n[sm50[nm, ~Cz. P.O.,
 [sm1950[nm=n[sm68[nm; Toronto S.O., [sm1969[nm=n[sm73[nm.[cm~Ancient Concert [f
y75,1](Concert of Ancient Music). ~Important London subscription series ([sm1776
[nm=n~[sm1848[nm). The royal and noble `Directors' (e.g. George ~III, Prince Alb
ert, Duke of Wellington) took turns ~to choose programmes. Anoth
er name was `King's ~Concert' or, in Victorian times, `Queen's Concert'. ~(Somet
imes confused with [fy45,1]*[fy75,1]Academy of Ancient ~Music, [sm1726[nm=n[sm92
[nm.) From [sm1804[nm the concerts were ~given in Hanover Sq. Rooms.[cm~Ancora [
fy75,1](It.). Still, yet; i.e. [cf2]Ancora forte[cf1], still loud; ~[cf2]Ancora
pi;Agu forte[cf1], even louder. Also used to mean ~`Again', i.e. repeat. See als
o [cf2]Encore.[cm~Anda, G;aaeza [fy75,1]([cf2]b [cf1]Budapest, [sm1921[nm; [cf2]
d[cf1] Z;Auurich, [sm1976[nm). ~Hung.-born pianist and cond. Pupil of Dohn;Aaany
i ~and winner of Liszt Prize. Escaped from Hung. ~to Switzerland in [sm1943[nm,
becoming Swiss citizen ~[sm1955[nm. World-wide reputation as interpreter of ~Moz
art, Brahms, Beethoven, and especially Bar~~t;Aaok.[cm~Andaluz, andaluza [fy75,1
](Sp.), [fy65][cf3]andalouse [fy75,1](Fr.). Va~~guely applied to several Sp. dan
ces common in ~Andalusia, e.g. [fy45,1]*[fy75,1]Fandango, [fy45,1]*[fy75,1]Malag
ue;Atna, and ~[fy45,1]*[fy75,1]Polo.[cm~Andamento [fy75,1](It.).
 Going (i.e. running). A fugue ~subject of above average length, often of a ~run
ning character. See also [cf2]Attacco.[cm~Andante [fy75,1](It., from [cf2]andare
, [cf1]to go). Moving along, ~flowing (slowish but not slow). The word is often
~used for the title of a comp. [cf2]Andantino. [cf1]A ~diminution of [cf2]andant
e. [cf1]Some composers use it to ~mean a little slower than [cf2]andante, [cf1]b
ut the ~commonly accepted modern usage means a little ~quicker.[cm~Andante canta
bile. [fy75,1](It.). Flowing and songlike. ~A direction often used by composers.
 To a large ~section of the public, however, it means one ~work, the [sm2[nmnd m
ovement, [cf2]andante cantabile, [cf1]of ~Tchaikovsky's Str. Qt. No. [sm1[nm in
D ([sm1871[nm), Op. [sm11[nm.[cm~Andante favori. [fy75,1]Publisher's title for A
ndante in ~F, pf. solo by Beethoven comp. [sm1804[nm and intended ~for the Sonat
a in C (Waldstein), Op. [sm53[nm, but ~discarded and pubd. separately in [sm1806
[nm.[cm~Andante spianato. [fy75,1](It.). Flowing and smooth. ~Th
e title of Chopin's Op. [sm22[nm for pf. and orch., ~[sm1834[nm. Linked by Chopi
n to a Polonaise in E;Yh ~major.[cm~An den Baum Daphne [fy75,1](To the Daphne Tr
ee). ~Epilogue by R. Strauss to his opera [fy45,1]*[fy75,2]Daphne ~[cf1]([sm1936
[nm=n[sm7[nm) for unacc. [sm9[nm-part mixed ch., to words by ~J. Gregor, comp. [
sm1943[nm. This was the lib. for a ~choral finale to the opera which Strauss dis
carded ~in favour of an orch. transformation scene. He set ~the words later as t
his motet.[cm~Anders, Peter [fy75,1]([cf2]b [cf1]Essen, [sm1908[nm; [cf2]d[cf1]
Hamburg, [sm1954[nm). ~Ger. ten., specializing in lighter Mozart roles, ~notably
 at Berlin State Opera [sm1936[nm=n[sm48[nm, though ~later he sang Otello. CG d;
Aaebut [sm1951[nm as Walther ~in [cf2]Die Meistersinger [cf1]under Beecham.[cm~A
ndersen, Karsten [fy75,1]([cf2]b [cf1]Oslo, [sm1920[nm). Norweg. cond. ~and viol
inist. Studied in Norway and It. Cond. ~and mus. dir. Stavanger [sm1945[nm=n[sm6
4[nm, Bergen from ~[sm1964[nm. Chief cond. Iceland S.O. from [sm
1973[nm. Guest ~cond. of leading European orchs.[cm~Anderson, Emily [fy75,1]([cf
2]b[cf1] Galway, Ireland, [sm1891[nm; [cf2]d[cf1] ~London, [sm1962[nm). Eng. tra
nslator of the letters of ~Mozart and his family ([sm1938[nm) and of the letters
 of ~Beethoven ([sm1961[nm). Studied at Univs. of Berlin and ~Marburg and entere
d Brit. Foreign Office, being ~seconded to War Office [sm1940[nm=n[sm3[nm. O.B.E
.[cm~Anderson, Leroy [fy75,1]([cf2]b [cf1]Cambridge, Mass., [sm1908[nm; [cf2]d[c
f1] ~Woodbury, Conn., [sm1975[nm). Amer. composer of ~light mus., notably [cf2]S
leigh Ride [cf1]and [cf2]Blue Tango[cf1], but ~has also written more extended wo
rks.[cm~Anderson, Lucy [fy75,1](n;Aaee Philpot) ([cf2]b [cf1]Bath, [sm1797[nm; [
cf2]d[cf1] ~London, [sm1878[nm). Eng. pianist, the first woman to ~play at a Phi
l. Soc. concert in London ([sm29[nm April ~[sm1822[nm, in a Hummel conc.). Teach
er of Queen ~Victoria. Her husband, George Frederick Ander~~son ([cf2]b [cf1]Lon
don, [sm1793[nm; [cf2]d[cf1] London, [sm1876[nm) was a ~violinis
t and Master of the Queen's Musick, [sm1848[nm=n~[sm70[nm.[cm~Anderson, Marian [
fy75,1]([cf2]b [cf1]Philadelphia, [sm1902[nm). Amer. ~cont., mainly in concert r
epertory but became ~first black singer at NY Met. as Ulrica in [cf2]Un ballo ~i
n maschera, [cf1][sm1955[nm. Studied with Boghetti. Won ~competition to appear w
ith NY P.O. [sm1925[nm. Studied ~in Europe [sm1933[nm=n[sm5[nm, making d;Aaebut
in London. ~Sang at inauguration of Pres. J. F. Kennedy, [sm1961[nm.[cm~Anderson
, Ronald Kinloch [fy75,1]([cf2]b [cf1]Edinburgh, [sm1911[nm; ~[cf2]d[cf1] London
, [sm1984[nm). Scot. pianist, teacher, writer, ~and record producer. Studied Edi
nburgh Univ. ~D;Aaebut London [sm1938[nm. Pianist in Robert Masters ~Qt. [sm1946
[nm=n[sm58[nm, prof. of pf., TCL, [sm1946[nm=n[sm63[nm. Harpsi~~chordist with Me
nuhin Fest. Orch. [sm1957[nm=n[sm63[nm. ~Producer of many gramophone recordings,
 incl. ~operas with Barbirolli and Karajan.[xm[cm~[ol0][ep~[xp[te~

[do25][j99]~~~~~~153842_AB04[ep~[u1]~~~~153842[cmCONCISE OXFORD ~DICT. OF MUSIC[
cmAB04[cm25[cm~1[cm11/10/79[cm12[cm~~343[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~~[ap[j1]
An die ferne Geliebte [fy75,1](To the Distant Beloved). ~Song-cycle by Beethoven
, with pf. acc. (Op. [sm98[nm, ~[sm1816[nm), of [sm6[nm poems by Alois Jeitteles
. Not to be ~confused with Beethoven's songs [cf2]An die fernen ~Geliebten [cf1]
([sm1809[nm, words by Reissig) and [cf2]An die ~Geliebte [cf1]([sm1811[nm, words
 by J. L. Stoll, re-comp. [sm1814[nm).[cm~Andrade, Mario de [fy75,1]([cf2]b[cf1]
 S;Afao Paulo, [sm1893[nm; [cf2]d[cf1] S;Afao ~Paulo, [sm1945[nm). Brazilian mus
icologist, critic, and ~student of folk mus. Dir., Brazilian Dept. of ~Culture [
sm1935[nm=n[sm8[nm. His book [cf2]Musica do Brasil [cf1]was ~pubd. [sm1941[nm.[c
m~Andr;aae, Franz [fy75,1]([cf2]b [cf1]Brussels, [sm1893[nm; [cf2]d[cf1] Brussel
s, [sm1975[nm). ~Belg. cond. Prin. cond. Belg. Radio S.O. [sm1935[nm=n[sm58[nm.
~On staff Brussels Cons. [sm1920[nm=n[sm45[nm.[cm~[PN20,0,0,L,I0
]Andr;aae, Johann [fy75,1]([cf2]b [cf1]Offenbach-am-Main, [sm1741[nm; [cf2]d ~[c
f1]Offenbach-am-Main, [sm1799[nm). Ger. composer, but ~best-known for publishing
 firm he founded in ~[sm1774[nm. Among his own operas was the [sm4[nm-act ~[cf2]
Belmonte und Constanze, oder die Entf;Auuhrung aus ~dem Serail[cf1], prod. Berli
n [sm1781[nm, the year before ~Mozart's setting of the same opera. His son, ~Joh
ann Anton ([sm1775[nm=n[sm1842[nm) in [sm1799[nm acquired ~entire mus. relicta o
f Mozart from the composer's ~widow and also pubd. Mozart's own thematic ~catalo
gue of his works from [sm1784[nm to [sm1791[nm.[cm~Andr;aae, Maurice [fy75,1]([c
f2]b[cf1] Ales, Gard, [sm1933[nm). Fr. trum~~peter. Studied Paris Cons. D;Aaebut
 [sm1954[nm. Prof. of ~tpt., Paris Cons., from [sm1967[nm. Won Geneva Int. ~Comp
etition [sm1955[nm, Munich Int. Competition ~[sm1963[nm. Soloist with leading or
chs. Specialist in ~baroque and contemporary mus.[cm~Andrea Ch;aaenier. [fy75,1]
Fr. Revolution opera in [sm4[nm acts ~by Giordano to lib. by Ill
ica. Prod. Milan and NY ~[sm1896[nm; London [sm1903[nm.[cm~Andreae, Volkmar [fy7
5,1]([cf2]b [cf1]Berne, [sm1879[nm; [cf2]d[cf1] Z;Auurich, ~[sm1962[nm). Swiss c
ond. and composer. Dir. Z;Auurich ~sym. concerts [sm1906[nm=n[sm49[nm, head of Z
;Auurich Univ. ~mus. dept. [sm1914[nm=n[sm41[nm. Cond. f.p. of Walton's ~[cf2]Po
rtsmouth Point[cf1], [sm1926[nm. Comp. [sm2[nm operas, [sm2[nm syms., ~chamber m
us.[cm~Andreozzi, Gaetano [fy75,1]([cf2]b [cf1]Aversa, [sm1755[nm; [cf2]d[cf1] P
aris, ~[sm1826[nm). It. composer, pupil of Jommelli. Wrote [sm43[nm ~operas and
[sm6[nm str. qts.[cm~Andrews, Herbert [fy75,1](Kennedy) ([cf2]b [cf1]Comber, Co.
 ~Down, [sm1904[nm; [cf2]d [cf1]Oxford, [sm1965[nm). Irish organist and ~scholar
. Organist ([sm1938[nm=n[sm56[nm) New College, Oxford, ~and univ. lecturer there
. Author [cf2]Oxford Harmony[cf1], ~Vol. [sm2[nm, also books on Palestrina and B
yrd.[cm~Andrews, Hilda [fy75,1](Mrs. G. M. Lees) ([cf2]b[cf1] Birming~~ham, [sm1
900[nm; [cf2]d [cf1]Louth, Lincs., [sm1983[nm). Eng. musicol~~og
ist. Ed. of Byrd's [fy45,1]*[fy75,2]My Ladye Nevells Booke, ~[cf1]North's [cf2]M
usicall Grammarian [cf1](part of his [cf2]Memoires ~of Musick[cf1]), biography o
f Sir Richard [fy45,1]*[fy75,1]Terry, etc. ~Compiler of Catalogue of MS. Mus. in
 Buck~~ingham Palace Library.[cm~Andriessen, Hendrik [fy75,1]([cf2]b [cf1]Haarle
m, [sm1892[nm; [cf2]d[cf1] ~Heemstede, [sm1981[nm). Dutch composer and org., ~br
other of Willem [fy45,1]*[fy75,1]Andriessen. Studied Amster~~dam Cons. Organist
at Haarlem and Utrecht ~between [sm1916[nm and [sm1938[nm. Dir., Utrecht Cons. ~
[sm1937[nm=n[sm49[nm, and Royal Cons., The Hague, [sm1949[nm=n[sm57[nm. ~Comp. p
rincipally org. and choral mus. but also ~operas, syms., and sonatas.[cm~Andries
sen, Louis [fy75,1]([cf2]b [cf1]Utrecht, [sm1939[nm). Dutch ~composer, son of He
ndrik [fy45,1]*[fy75,1]Andriessen, with ~whom he studied comp., later becoming p
upil of ~Berio in Milan and Berlin. Comps. incl. th. and ~film scores and reflec
t influences of Cage, ~Stockhausen, and Stravinsky. Has made spe
cial ~critical study of Stravinsky. Mus. th. pieces incl. ~[cf2]Matthew Passion[
cf1], ([sm1976[nm), [cf2]Orpheus[cf1] ([sm1977[nm), [cf2]George ~Sand[cf1] ([sm1
980[nm). Other works incl. [cf2]The [sm9[nm Symphonies ~of Beethoven[cf1], orch.
 and ice-cream vendor bell ~([sm1970[nm), [cf2]Symphonies of the Netherlands[cf1
], [sm2[nm or more ~wind bands ([sm1974[nm), and [cf2]Velocity[cf1], orch. ([sm1
983[nm).[cm~Andriessen, Willem [fy75,1]([cf2]b [cf1]Haarlem, [sm1887[nm; [cf2]d
[cf1]Am~~sterdam, [sm1964[nm). Dutch pianist and composer. Dir. ~of Amsterdam Co
ns. [sm1937[nm=n[sm53[nm. Composer of ~choral and orch. works.[cm~Anerio, Felice
 [fy75,1]([cf2]b [cf1]Rome, [cf2]c[cf1].[sm1560[nm; [cf2]d [cf1]Rome, [sm1614[nm
). ~It. church musician. Palestrina's successor as ~composer to Papal Chapel. Wr
ote [sm4[nm masses, ~spiritual madrigals, and secular canzonettas.[cm~Anerio, Gi
ovanni Francesco [fy75,1]([cf2]b [cf1]Rome, [cf2]c. [cf1][sm1567[nm; ~[cf2]d[cf1
] Graz, [sm1630[nm). It. composer and priest, brother of ~Felice
 [fy45,1]*[fy75,1]Anerio. Mus. dir. to King of Poland and ~later active in Rome.
 Composed masses, [sm83[nm ~motets, and many madrigals. More progressive ~than h
is brother.[cm~Anfang [fy75,1](Ger.). Beginning. [cf2]Anfangs[cf1], at the begin
~~ning. [cf2]Wie anf;auanglich[cf1], as at the beginning. [cf2]Vom ~Anfang [cf1]
is Ger. equivalent of [cf2]Da capo[cf1].[cm~Anfossi, Pasquale [fy75,1]([cf2]b [c
f1]Taggia, nr. Naples, [sm1727[nm; [cf2]d ~[cf1]Rome, [sm1797[nm). It. composer
of over [sm70[nm operas and ~then of church mus. when he became maestro of ~St J
ohn Lateran in [sm1792[nm. Pupil of Piccinni. For ~Vienna prod. ([sm1783[nm) of
his opera [cf2]Il Curioso ~indiscreto[cf1], Mozart comp. [sm3[nm additional aria
s. Mus. ~dir., King's Th., London, [sm1782[nm=n[sm6[nm[cm~Angeles, Victoria de l
os. [fy75,1]See [cf2]De Los Angeles, ~Victoria[cf1].[cm~Angelica [fy75,1](It.),
[fy65][cf3]ang;aaelique [fy75,1](Fr.), [fy65][cf3]angel-lute [fy75,1](Eng.). ~In
str. of the lute type popular [cf2]c[cf1].[sm1700[nm. An archlut
e ~with long neck, [sm16[nm or [sm17[nm gut str. and [sm2[nm peg-boxes. ~Tuned d
iatonically.[cm~Angelus. [fy75,1]Prayer to the Virgin Mary offered at ~morning,
noon, and evening at the sound of the ~Angelus bell. Also title of opera by Edwa
rd ~Naylor ([sm1867[nm=n[sm1934[nm) which won Ricordi Prize ~and was prod. CG [s
m1909[nm.[cm~Angerer, Paul [fy75,1]([cf2]b [cf1]Vienna, [sm1927[nm). Austrian co
nd. ~and composer. Began career as orchestral violist. ~Kapellmeister, Bonn Stat
e Theatre [sm1964[nm=n[sm6[nm; opera ~dir. Salzburg Landestheater [sm1967[nm=n[s
m72[nm. Harpsi~~chordist and recorder-player in various baroque ~ens. Leader, S.
W. Ger. Chamber Orch. since [sm1971[nm. ~Comps. incl. va. conc., fl. conc., cham
ber works, ~and setting of Whitman's [cf2]Song of Myself.[cm~Anglais, Anglaise [
fy75,1](Fr.). English. Term of varia~~ble meaning sometimes used by [sm18[nmth-c
ent. ~composers as the title of a hornpipe or country ~dance; or of anything els
e thought to be Eng. in ~character.[cm~Anglican Chant. [fy75,1]S
imple type of harmonized ~melody used in the Anglican Church (and ~nowadays ofte
n in other Eng.-speaking Protestant ~churches) for singing unmetrical texts, pri
nci~~pally the Psalms and the Canticles (when these ~latter are not sung in a mo
re elaborate setting). ~The main principle is that of the trad. [fy45,1]*[fy75,1
]Gregorian ~[PN21,0,0,R,I0]tones, i.e. a short melody is repeated to each verse
~of the text (or sometimes to [sm2[nm or more verses; see ~below), the varying n
umbers of syllables in the ~different lines of the words being accommodated ~by
the flexible device of a [smreciting note[nm at the ~opening of each line=mthis
being treated as ~timeless and so capable of serving as the vehicle ~for many or
 few syllables, while succeeding notes ~are sung in time and (normally) take one
 syllable ~each. The [sm1[nmst part of the chant has [sm3[nm measures ~and the [
sm2[nmnd part [sm4[nm.[cm~Anhang [fy75,1](Ger.). A supplement, i.e. a Coda in th
e ~mus. sense, or in musicological terminology a ~section append
ed to a critical edn. of a work ~containing variant readings, material of doubtf
ul ~attribution, etc.[cm~Aniara. [fy75,1]Opera in [sm2[nm acts by Blomdahl. Lib.
 by E. ~Lindegren based on H. Martinson's fantasy about ~space travel. (Prod. St
ockholm and Edinburgh ~Fest. [sm1959[nm.)[cm~Anievas, Agustin [fy75,1]([cf2]b [c
f1]NY, [sm1934[nm). Amer. pianist of ~Sp.-Mexican descent. Studied Juilliard Sch
., NY. ~D;aaebut NY [sm1959[nm. Winner of Queen Elisabeth of ~the Belgians and M
itropoulos Int. prizes ([sm1961[nm).[cm~Anima [fy75,1](It.). Soul, i.e. the soun
d-post of a vn., etc. ~(See also [cf2];afAme, Sound-post.) Con anima, [cf1]with
feeling.[cm~Animando [fy75,1](It.). Animating. [cf2]Animandosi[cf1], becom~~ing
animated. [cf2]Animato [cf1](It.)., [cf2]anim;aae [cf1](Fr.). Animated.[cm~Animo
, animoso [fy75,1](It.). Spirit, spirited, [cf2]Animosa~~mente[cf1], spiritedly.
[cm~Animuccia, Giovanni [fy75,1]([cf2]b [cf1]Florence, [cf2]c[cf1]. [sm1500[nm;
[cf2]d ~[cf1]Rome, [sm1571[nm). It. composer. Predecessor of Pal
es~~trina as maestro of the Vatican and regarded as ~extraordinarily fertile inn
ovator. Comp. [cf2]Laudi, ~[cf1]some of which were pubd. in [sm1563[nm and [sm15
70[nm.[cm~Anna Bolena. [fy75,1]Opera in [sm2[nm acts by Donizetti to lib. ~by Ro
mani. Inaccurate but moving dramatization ~of life of Henry VIII's [sm2[nmnd wif
e Anne Boleyn. ~(Prod. Milan [sm1830[nm; London [sm1831[nm; New Orleans ~[sm1839
[nm.) Revived for Maria [fy45,1]*[fy75,1]Callas at Milan, [sm1957[nm, ~and at Gl
yndebourne [sm1965[nm.[cm~Anna Magdalena Books [fy75,1](=+=+=+J. S. Bach). [sm2[
nmnd and ~[sm3[nmrd of the [sm3[nm colls. of kbd. pieces by Bach known ~as [cf2]
Klavierb;auuchlein[cf1]. They were for the instruction ~of his [sm2[nmnd wife An
na Magdalena and were pubd. ~[sm1722[nm and [sm1725[nm.[cm~Ann;aaees de p;ageler
inage [fy75,1](Years of Pilgrimage). [sm23[nm ~pf. pieces by Liszt issued in [sm
3[nm books as follows: ~Book [sm1[nm ([sm1[nmst Ann;aaee, Switzerland). [sm1[nm.
 [cf2]La Chapelle de ~Guillaume Tell.[cf1] [sm2[nm.[cf2] Au lac
de Wallenstadt.[cf1] [sm3[nm. [cf2]Pastorale.[cf1] ~[sm4[nm. [cf2]Au bord d'une
source[cf1]. [sm5[nm. [cf2]Orage[cf1]. [sm6[nm. [fy45,1]*[fy75,2]Vall;aaee ~d'Ob
ermann.[cf1] [sm7[nm. [cf2]Eglogue.[cf1] [sm8[nm. [cf2]Le mal du pays[cf1]. [sm9
[nm.[cf2] Les ~Cloches de Gen;ageve.[cf1] Comp. [sm1848[nm=n[sm54[nm,  pubd. [sm
1855[nm. ~Nos. [sm1[nm=n[sm4[nm, [sm6[nm=n[sm8[nm, and [sm9[nm based on [cf2]Alb
um d'un ~Voyageur[cf1], [sm1835[nm=n[sm6[nm; Book [sm2[nm ([sm2[nmnd Ann;aaee, I
taly). [sm1[nm. ~[cf2]Sposalizio.[cf1] [sm2[nm. [cf2]Il Penseroso. [cf1][sm3[nm.
 [cf2]Canzonetta del Salvator ~Rosa[cf1]. [sm4[nm. [cf2]Sonetto [sm47[nm del Pet
rarca.[cf1] [sm5[nm. [cf2]Sonetto [sm104[nm del ~Petrarca.[cf1] [sm6[nm. [cf2]So
netto [sm123[nm del Petrarca.[cf1] [sm7[nm. [cf2]Apr;aaes une ~lecture du Dante,
 fantasia quasi sonata.[cf1] Comp. [sm1837[nm=n~[sm49[nm, pubd. [sm1858[nm. Book
 [sm3[nm ([sm3[nmrd Ann;aaee). [sm1[nm. [cf2]Angelus![cf1] ~[sm2[nm. [cf2]Aux cy
pr;ages de la Villa d'Este[cf1] ([sm3[nm/[sm4[nm). [sm3[nm. [cf2
]Aux cypr;ages ~de la Villa d'Este[cf1] ([sm4[nm/[sm4[nm). [sm4[nm. [cf2]Les jeu
x d'eau ;aga la Villa ~d'Este.[cf1] [sm5[nm. [cf2]Sunt lachrymae rerum.[cf1] [sm
6[nm. [cf2]Marche fun;agebre.[cf1] ~[sm7[nm. [cf2]Sursum corda.[cf1] Comp. [sm18
66[nm=n[sm77[nm, pubd. [sm1883[nm.[cm~Annibali, Domenico [fy75,1]([cf2]b [cf1]Ma
cerata, [cf2]c. [cf1][sm1705[nm; [cf2]d ~[cf1]Rome, [sm1779[nm). It. male sop. a
ssoc. with Handel ~operas in London [sm1736[nm=n[sm7[nm.[cm~Annie Laurie. [fy75,
1]The poem is by William Douglas ~of Fingland ([cf2]c[cf1]. [sm1880[nm), but has
 been much altered ~by various people, especially Lady John Douglas ~Scott ([sm1
810[nm=n[sm1900[nm, see [cf2]Loch Lomond[cf1]), who also ~wrote the air. First p
ubd. [sm1838[nm.[cm~Annunzio, Gabriele d' [fy75,1]([cf2]b [cf1]Pescara, [sm1863[
nm; [cf2]d ~[cf1]Vittoriale, [sm1938[nm). It. poet and dramatist who was ~keen s
tudent of mus. Worked in Rome as mus. ~critic; in [sm1917[nm ed. [cf2]National C
ollection of Italian ~Music [cf1]with help of Pizzetti and Malip
iero, among ~others. Debussy comp. incidental mus. for his ~play [cf2]Le Martyre
 de Saint-S;aaebastien [cf1]([sm1911[nm) and ~Zandonai's [cf2]Francesca da Rimin
i[cf1] is based on another ~of his plays.[cm~Anon in Love. [fy75,1]Sequence of [
sm6[nm love poems, ~anonymous [sm16[nmth- and [sm17[nmth-cent. lyrics, set for ~
ten. and guitar in [sm1959[nm by Walton. F.p. Aldeburgh ~[sm1960[nm (Peter Pears
 and Julian Bream). Version for ~ten. and small orch. [sm1971[nm.[cm~Anreissen [
fy75,1](Ger.). To tear at. Use a very forceful ~[cf2]pizzicato[cf1].[cm~Anschlag
 [fy75,1](Ger.). ([sm1[nm) Sometimes called a `Double ~Appoggiatura' but consist
ing of the notes imme~~diately below and above the prin. note.[ep~^([sm2[nm)^Tou
ch (pertaining to a kbd. instr.).[ep~^([sm3[nm)^`Attack', etc.[cm~Ansell, John [
fy75,1]([cf2]b [cf1][sm1874[nm; [cf2]d [cf1]Marlow, [sm1948[nm). Eng. ~composer.
 Trained GSM. Mus. dir. various Lon~~don ths. BBC [sm1925[nm=n[sm30[nm.[cm~Anser
met, Ernest [fy75,1]([cf2]b [cf1]Vevey, Switzerland, [sm1883[nm;
 ~[cf2]d [cf1]Geneva, [sm1969[nm). Swiss cond. Studied mus. with ~E. [fy45,1]*[f
y75,1]Bloch, among others. Became cond. at Kursaal, ~Montreux, [sm1911[nm. Cond.
 for Diaghilev's Russian ~Ballet from [sm1915[nm, touring widely. Cond. Buenos ~
Aires S.O., [sm1924[nm=n[sm7[nm. In [sm1918[nm founded L'Orchestre ~de la Suisse
 Romande, of which he remained ~cond. until [sm1966[nm. Noted as interpreter of
Stravin~~sky (cond. several f.ps.), Ravel, and Debussy. ~Cond. f.p. of Britten's
 [cf2]The Rape of Lucretia[cf1], ~Glyndebourne [sm1946[nm. Taught mathematics in
 his ~youth at a Lausanne school, not (as is often stated) ~at the University.[c
m~Anstimmen [fy75,1](Ger.). To tune.[cm~Anstrich [fy75,1](Ger.). Bow `stroke'. (
See also [cf2]Strich[cf1]).[cm~Answer in Fugue. [fy75,1]The [sm2[nmnd entry of t
he main ~theme (subject) of a [fy45,1]*[fy75,1]fugue a [sm5[nmth higher (or ~low
er) than the [sm1[nmst is called the Answer. If subject ~and answer are identica
l it is a Real Answer; if ~[PN22,0,0,L,I0]the intervals are chan
ged in the answer it is a ~Tonal Answer.[cm~Antar. [fy75,1]([sm1[nm) Orch. work
by Rimsky-Korsakov, Op. ~[sm9[nm, first described as his Sym. No. [sm2[nm when i
t ~appeared in [sm1868[nm. Rev. and re-orch. [sm1876[nm and ~[sm1897[nm and agai
n in [sm1903[nm when it was designated ~`oriental suite'. Based on an oriental t
ale by ~Sennkovsky.[ep~^([sm2[nm)^Opera by Gabriel [fy45,1]*[fy75,1]Dupont ([sm1
912[nm=n[sm13[nm).[cm~Antarctic Symphony [fy75,1](Vaughan Williams). See ~[cf2]S
infonia Antartica[cf1].[cm~Antecedent. [fy75,1]In a [fy45,1]*[fy75,1]Canon the v
. which first enters ~with the tune to be imitated is called the Dux or ~Anteced
ent.[cm~Antechrist. [fy75,1]Work for chamber ens. (incl. cowbell) ~by [fy45,1]*[
fy75,1]Maxwell Davies. Comp. and f.p. [sm1967[nm ~(London, Pierrot Players, cond
. composer).[cm~Antheil, George [fy75,1]([cf2]b [cf1]Trenton, NJ, [sm1900[nm; [c
f2]d [cf1]NY, ~[sm1959[nm). Amer. composer of Polish descent. Studied ~with Ster
nberg and Bloch. Caused furore in ~Europe in [sm1920[nms at his
pf. recitals with his comps. ~called [cf2]Airplane Sonata [cf1]and [cf2]Mechanis
ms. [cf1]His [cf2]Ballet ~m;aaechanique[cf1], comp. [sm1923[nm=n[sm4[nm and f.p.
 Paris [sm1926[nm, ~was designed as film mus. but was rev. for the ~concert hall
 (scored for [sm8[nm pf., pianola, [sm8[nm xylo~~phones, [sm2[nm doorbells, and
sound of aeroplane ~propeller). For NY premi;agere in [sm1927[nm he doubled ~the
 pfs., added car-horns and anvils, and used a ~real propeller. A final rev. ([sm
1953[nm) reduced the pfs. ~to [sm4[nm but incl. tape of a jet engine. Returned t
o ~USA [sm1933[nm and wrote Hollywood film scores from ~[sm1936[nm. Became more
conservative. Works incl. [sm6[nm ~syms., ballets, [sm3[nm-act opera [cf2]Volpon
e [cf1]([sm1950[nm=n[sm2[nm), and ~[sm2[nm earlier [sm3[nm-act operas, pf. conc.
, vn. conc., str. qts., ~and vn. sonatas. Also wrote detective stories, a ~study
 of the glandular abnormalities of criminals, ~and a daily column of advice to t
he lovelorn.[cm~Anthem. [fy75,1]The Eng.-speaking Protestant ~Ch
urches' equivalent of the Latin motet, from ~which it sprang. An Anglican creati
on, with a ~place in the C. of E. liturgy. It constitutes in ~ordinary churches
the one great occasion when ~the choir alone undertakes the duty of song, and ~w
hen an elaborate vocal setting impossible and ~unsuitable in other parts of the
service becomes ~proper and effective. It is usually but not ~necessarily acc. b
y organ, and frequently incl. ~passages for solo vv., individually or in combina
~~tion. The anthems of Purcell and Blow are like ~cantatas. S. S. [fy45,1]*[fy75
,1]Wesley was prolific composer of ~anthems nearer to the style favoured today.[
ep~^The term is also less strictly used, as in the phrase ~`National Anthem', to
 denote a solemn, hymn-~like song.[cm~Anticipation. [fy75,1]The sounding of a no
te of a chord ~before the rest of the chord.[cm~Antill, John [fy75,1]([cf2]b [cf
1]Sydney, N.S.W., [sm1904[nm). Australian ~composer and administrator on staff o
f Australian ~Broadcasting Commission. Comp. operas and ~orch. w
orks, and ballet [cf2]Corroboree [cf1]([sm1946[nm) (based ~on aboriginal dances)
. C.M.G. [sm1981[nm.[cm~Antiphon [fy75,1](from Gr., `sounding across'). ([sm1[nm
) A ~versicle or phrase sung by one choir in reply to ~another.[ep~^([sm2[nm)^In
 the R.C. Church the antiphon is intoned ~or sung during the recitation of Divin
e Office, ~before and after the psalm or canticle, which is ~itself responsively
 sung by the singers divided ~into two bodies. The antiphon may serve to ~reinfo
rce the meaning of the psalm, or to ~introduce a Christian application of the or
ig. ~Jewish text. The plainsong tune of the antiphon, ~though not the same as th
e `tone' of the psalm, is ~in keeping with it as to mode, etc.[ep~^([sm3[nm)^Man
y antiphons now exist without psalms ~and are sometimes sung to comp. settings,
rather ~than to the orig. plainsong, hence the Eng. word ~[fy45,1]*[fy75,1]`anth
em', derived from `antiphona'. Several ~composers have given the title [cf2]Anti
phon [cf1] to a ~comp., e.g. Vaughan Williams in [cf2][sm5[nm My
stical Songs[cf1].[cm~[fy65][cf3]Antiphonal, Antiphonary, Antiphoner[fy75,1]. Pr
op~~erly, the R.C. Church's coll. of trad. plainsong ~[fy45,1]*[fy75,1]antiphons
, but the word has come to be more ~comprehensively used as meaning the book ~co
ntaining all plainsong for the Divine Office, as ~distinct from the [fy45,1]*[fy
75,1]Gradual, which contains the ~plainsong for the Mass.[cm~Antiphonal Singing.
 [fy75,1]When [sm2[nm parts of a choir ~[cf1]([cf2]Decani [cf1]and [cf2]Cantoris
[cf1]) sing alternately, one answer~~ing the other. (Alternation between officia
nt and ~choir is `responsorial'.) The term `antiphonal' is ~generally used of th
e mus. effects drawn from ~groups of singers or instrumentalists stationed ~apar
t.[cm~Antiphons of the Blessed Virgin Mary. [fy75,1]There ~are [sm4[nm, each wit
h its season: [cf1]([cf2]a[cf1]) during Advent and ~until the Purification of th
e Virgin Mary, [cf2]Alma ~redemptoris mater[cf1]; ([cf2]b[cf1]) from then until
Wednesday ~in Holy Week, [cf2]Ave regina coelorum[cf1]; ([cf2]c[
cf1]) from then ~until Whitsun, [cf2]Regina coeli laetare[cf1]; ([cf2]d[cf1]) fr
om the ~Octave of Whitsun until Advent, [cf2]Salve regina, ~mater misericordiae[
cf1].[cm~Anvil. [fy75,1]Perc. instr., imitating real anvil, used in ~many works,
 usually operas. In [cf2]Das Rheingold ~[cf1]Wagner uses [sm18[nm in [sm3[nm siz
es to depict the activity in ~Nibelheim. In [cf2]Siegfried [cf1]Act I, Siegfried
 splits an ~anvil with the sword Nothung. Real anvils are ~used in [cf2]Il trova
tore [cf1](Verdi), [cf2]Benvenuto Cellini ~[cf1](Berlioz), Mahler's [sm6[nmth Sy
m., Bax's [sm3[nmrd Sym., ~Walton's [cf2]Belshazzar's Feast[cf1], and Britten's
[cf2]The ~Burning Fiery Furnace.[cf1][cm~Anwachsend [fy75,1](Ger.). Growing. Swe
lling out in ~tone.[xm[cm~[ol0][ep~[xp[te~



[do35][j99]~~~~~~153842_AC1[ep~[u1]~~~~153842[cmConcise Oxford Dic~~tionary of M
usic[cmAC1[cm35[cm~1[cm11-10-79[cm8[cm399[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~~[ap[j1
]Apel, Willi[fy75,1] ([cf2]b[cf1] Konitz, [sm1893[nm). Amer. (Ger.-born) ~musico
logist. Taught at various Ger. univs. and ~in [sm1936[nm settled in USA, joining
 staff of Harvard ~Univ. [sm1938[nm=n[sm42[nm and becoming prof. of musicol~~ogy
, Indiana Univ., [sm1950[nm=n[sm70[nm. Pubd. many works, ~[PN23,0,0,R,I0]incl. [
cf2]Harvard Dictionary of Music[cf1] ([sm1944[nm, rev. [sm1969[nm). ~Has also wr
itten books on fugue, medieval ~harmony, and Gregorian chant.[cm~Aperto[fy75,1]
(It.). Open. ([sm1[nm) Clear, distinct.[ep~^([sm2[nm)^Broad in style.[cm~ApIvor,
 Denis[fy75,1] ([cf2]b[cf1] Collinstown, Eire, [sm1916[nm). Irish-~born composer
 of Welsh parentage. Studied at ~choir schs. of Christ Church (Oxford) and ~Here
ford, and under Hadley and Rawsthorne ~[sm1937[nm=n[sm9[nm. Works incl. [sm2[nm
syms., operas [cf2]She Stoops to ~Conquer[cf1] ([sm1943[nm=n[sm7
[nm), [cf2]Yerma[cf1] ([sm1959[nm), [cf2]Ubu Roi[cf1] ([sm1966[nm); ~ballets [cf
2]A Mirror for Witches[cf1] ([sm1952[nm), [cf2]Blood Wedding[cf1] ~([sm1953[nm),
 and [cf2]Saudades[cf1] ([sm1955[nm); cantata[cf2] The Hollow ~Men[cf1] (T. S. E
liot, [sm1939[nm=n[sm46[nm) for bar., male ch., and ~orch., and concs. for cl.,
pf., and vn. Is qualified ~doctor of medicine.[cm~Apollo Musagetes [fy75,1](Apol
lo, Leader of the Muses; ~Fr. [cf2]Apollon Musag;Agete[cf1]). Ballet in [sm2[nm
scenes by ~Stravinsky, scored for str. ([sm1927[nm=n[sm8[nm). (Prod. Wash~~ingto
n, Paris, London, [sm1928[nm.) Choreog. Adolph ~Bolm for Washington, Balanchine
for Paris ~(Diaghilev).[cm~Apostel, Hans [fy75,1](Erich) ([cf2]b[cf1] Karlsruhe,
 [sm1901[nm; [cf2]d[cf1] ~Vienna, [sm1972[nm). Ger.-born Austrian composer. ~Stu
died with Schoenberg and Berg and settled in ~Vienna. Works incl. pf. conc., req
uiem, [sm2[nm str. qts., ~pf. pieces, songs, etc.[cm~Apostles, The. [fy75,1]Orat
orio by Elgar, Op. [sm49[nm, text ~compiled by Elgar from the Bi
ble and other ~sources. Comp. [sm1901=n3[nm. For [sm6[nm soloists, ch., and ~orc
h. (F.p. Birmingham [sm1903[nm, NY, London, and ~Cologne [sm1904[nm.) See [cf2]K
ingdom, The.[cm~Appalachia. [fy75,1]`Variations on an Old Slave Song' ~by Delius
, for orch. with bar. solo and ch. First ~version comp. [sm1896[nm, re-worked [s
m1902[nm=n[sm3[nm. (F.p. ~Elberfeld [sm1904[nm, London [sm1907[nm.)[cm~Appalachi
an Spring. [fy75,1]Ballet by Copland, comp. ~[sm1943[nm=n[sm4[nm, choreog. Marth
a Graham, [sm1944[nm. Scored ~for fl., cl., bn., [sm4[nm vn., [sm2[nm va., [sm2[
nm vc., db., and pf. ~Fuller orch. version of suite and of ballet [sm1945[nm.[cm
~Appassionata Sonata. [fy75,1]Publisher's apt title for ~Beethoven's Pf. Sonata
No. [sm23[nm in F minor, Op. [sm57[nm, ~comp. [sm1804[nm=n[sm5[nm.[cm~Appassiona
to, appassionata[fy75,1] (It.). Impassioned; ~so [cf2]appassionatamente, [cf1]pa
ssionately; [cf2]appassiona~~mento, [cf1]passion.[cm~Appeldoorn, Dina[fy75,1] ([
cf2]b[cf1] Rotterdam, [sm1884[nm; [cf2]d[cf1] The ~Hague, [sm193
8[nm). Dutch composer. Her works incl. ~symphonic poems, pf. pieces, and songs.[
cm~Appenzeller, Benedictine[fy75,1] ([cf2]b[cf1] Oudenaarde, ~[cf2]c.[cf1][sm150
0[nm; [cf2]d [cf1]after [sm1558[nm). Flemish composer. Wrote a ~[sm4[nm-part [fy
45,1]*[fy75,1]Nenia in memory of Josquin Despr;ages. ~Choirmaster to Netherlands
 regent [sm1537[nm=nafter ~[sm1551[nm. Composed nearly [sm50[nm [cf2]chansons[cf
1].[cm~Appia, Adolphe[fy75,1] ([cf2]b[cf1] Geneva, [sm1862[nm; [cf2]d[cf1] Nyon,
 [sm1928[nm). ~Swiss scenic artist who pioneered modern operatic ~trend for imag
inative lighting and minimum of ~scenery. Designed [cf2]The Ring[cf1] for Bayreu
th, [sm1899[nm ~and [cf2]Tristan [cf1]for Scala, Milan (Toscanini) [sm1923[nm.[c
m~Applied Music. [fy75,1]Amer. term for a study course ~in perf. as opposed to t
heory.[cm~Appoggiando; appoggiato[fy75,1] (It.). Leaning; ~leaned. ([sm1[nm) Eac
h note passing very smoothly to ~the next (i.e. [fy45,1]*[fy75,2]portamento[cf1]
).[ep~^([sm2[nm) Stressed.[cm~Appoggiatura[fy75,1] (It.). Leanin
g Note. A grace note ~or species of ornament of which the exact ~interpretation
has differed in various periods. In ~the [sm18[nmth cent. the appoggiatura was o
ften ~unwritten and left, e.g. in Handel and Mozart, to ~be inserted by the sing
er. Operatic appoggiatura ~was regarded as obsolete until its revival in certain
 ~operatic productions [cf2]c.[cf1][sm1960[nm. Its harmonic appli~~cation may be
 described as follows:[ep~^Properly an unprepared suspension (if such a ~contrad
ictory term may be allowed) whether it ~be shown in full-sized type as a part of
 the chord ~in which it momentarily appears, or as a small ~note printed just be
fore that chord. Having a ~harmonic status it is not an `ornament' in the ~same
sense as, for instance, the [fy45,1]*[fy75,1]Acciaccatura.[ep~[bn^(a) With Ordin
ary and Dotted Notes.[ep~[ol64][ep~[xnThe Appoggiatura is as important melodical
ly as ~the note on which it `leans', from which it takes ~normally half the time
-value (two-thirds the ~time-value if the supporting note is dot
ted).[ep~[bn^(b) With Tied Notes.[ep~[ol64][ep~[xnWhen the Appoggiatura `leans u
pon' two tied ~notes, it normally takes the whole of the time-~value of the firs
t of these to itself.[ep~[bn^(c) With a Chord.[ep~[ol37][ep~[xnAs the Appoggiatu
ra leans only upon one note of ~the chord the other notes are unaffected.[cm~App
renti Sorcier, L' [fy75,1](The Sorcerer's Apprentice). ~Symphonic poem (`Scherzo
') by Dukas, f.p. Paris ~[sm1897[nm, London and NY [sm1899[nm. `The Apprentice ~
Sorcerer' would be a more accurate trans. Based ~[PN24,0,0,L,I0]on a poem by Goe
the which, in turn, is based on ~a dialogue in Lucian ([sm2[nmnd cent. [sma.d.[n
m). The ~apprentice, in his master's absence, tries one of ~his spells and, to h
is consternation, cannot ~countermand it. In Disney film [cf2]Fantasia[cf1], the
 ~apprentice was represented by Mickey Mouse.[cm~Aprahamian, Felix[fy75,1] ([cf2
]b[cf1] London, [sm1914[nm). Eng. mus. ~critic and organist of Armenian descent.
 On staff ~of [cf2]Sunday Times[cf1] since [sm1948[nm. Authority
 on org. ~mus., Fr. mus., and works of Delius (mus. adviser, ~Delius Trust since
 [sm1961[nm).[cm~Apr;ages-midi d'un faune, Pr;aaelude ;aga l'[fy75,1] (`Prelude
~to the afternoon of a faun'=+). Tone-poem by ~Debussy, comp. [sm1892[nm=n[sm4[n
m and f.p. Paris [sm1894[nm ~(London [sm1904[nm), being an orch. `impression' of
 the ~poem by Mallarm;Aae. He intended a set of [sm3[nm pieces, ~[cf2]Pr;Aaelude
, Interlude[cf1], and [cf2]Paraphrase finale[cf1], but only ~the first was writt
en. It was the subject of a ballet ~by Nijinsky, Paris [sm1912[nm, for Diaghilev
.[cm~A punta d'arco [fy75,1](It.). At the point of the bow (in ~str. playing).[c
m~Aquarelle[fy75,1] (Fr.). Water-colour; sometimes musi~~cally applied to a piec
e of delicate texture, as in ~Eric [fy45,1]*[fy75,1]Fenby's arr. for str., as [c
f2]Aquarelles, [cf1]of Delius's ~[sm2[nm wordless chs. `To be sung of a summer n
ight on ~the water'.[cm~Arabella. [fy75,1]Opera in [sm3[nm acts by R. Strauss to
 lib. by ~Hofmannsthal based on a combination of his ~short stor
y [cf2]Lucidor[cf1] ([sm1909[nm) and his play [cf2]Der Fiaker ~als Graf[cf1] (Th
e Cabby as Count) ([sm1925[nm). Their last ~collaboration. Comp. [sm1930[nm=n[sm
2[nm. Prod. Dresden ~[sm1933[nm, CG [sm1934[nm, NY [sm1955[nm. Rev. [sm1939[nm (
Munich).[cm~Arabesque[fy75,1] (Fr., Eng.), [fy65][cf3]Arabeske[fy75,1] (Ger.). A
 florid ~element in Arabian architecture, hence a florid ~melodic section. The t
erm is sometimes applied ~to a piece of instr. mus. (not always in an ~appropria
te manner) as by Schumann for his pf. ~piece, Op. [sm18[nm, or by Debussy to his
 [cf2][sm2[nm Arabesques[cf1] ~for pf.[cm~Arada[fy75,1] (Sp.). Ploughed land. A
type of folk-song ~assoc. with ploughing.[cm~Aragonesa[fy75,1] (Sp.), [fy65][cf3
]aragonaise[fy75,1] (Fr.). Sp. dance ~deriving from Aragon.[cm~A.R.A.M., A.R.C.M
., A.R.C.O., A.R.M.C.M.[fy75,1] ~Assoc. of, respectively, [fy45,1]*[fy75,1]Royal
 Academy of Music, ~[fy45,1]*[fy75,1]Royal College of Music, [fy45,1]*[fy75,1]Ro
yal College of ~Organists, [fy45,1]*[fy75,1]Royal Manchester Col
lege of Music.[cm~Ar;Aaanyi, Jelly d'[fy75,1] ([cf2]b[cf1] Budapest, [sm1893[nm;
 [cf2]d[cf1] Florence, ~[sm1966[nm). Hung.-born violinist, great-niece of ~Joach
im. Trained at Royal High School for Mus., ~Budapest, under Hubay. D;Aaebut Vien
na [sm1909[nm. ~Settled in London and became Brit. subject. Gave ~f.ps. (in Lond
on) with Bart;Aaok of Bart;Aaok's [sm2[nm vn. ~sonatas ([sm1922[nm and [sm1923[n
m) both of which were ded. ~to her, as were Vaughan Williams's vn. conc. ~([sm19
25[nm) and Ravel's [cf2]Tzigane[cf1] ([sm1924[nm), in both of ~which she was als
o first soloist. Gave first Brit. ~perf. of Szymanowski [sm1[nmst Vn. Conc. ([sm
1930[nm). Her ~sister was Adila [fy45,1]*[fy75,1]Fachiri.[cm~Arbeau, Thoinot[fy7
5,1] (pen-name of Jehan Tabourot) ~([cf2]b[cf1] Dijon, [sm1520[nm; [cf2]d[cf1] L
angres, [sm1595[nm). Fr. priest. ~Author of famous book on the dance, [cf2]Orch;
Aaesogra~~phie[cf1] ([sm1588[nm=n[sm9[nm) which also contained mus. illustra~~ti
ons. See [cf2]Capriol Suite.[cm~Arb;Aaos, Enrique [fy75,1](Fern;
Aaandez) ([cf2]b[cf1] Madrid, [sm1863[nm; [cf2]d[cf1] ~San Sebasti;aaan, [sm1939
[nm). Sp. cond., composer, and ~violinist; pupil of Vieuxtemps and Joachim. ~Lea
der of Berlin P.O. and Boston S.O. Cond., ~Madrid S.O. from [sm1904[nm. Settled
in Eng. where he ~was on staff of RCM [sm1894[nm=n[sm1916[nm. Comp. opera ~and c
hamber mus. but best known for his orch. ~of several pieces from [fy45,1]*[fy75,
1]Alb;Aaeniz's [fy45,1]*[fy75,2]Iberia[cf1]: those he ~left unfinished were comp
leted in [sm1954[nm by ~[fy45,1]*[fy75,1]Surinach.[cm~Arcadelt[fy75,1] (Arkadelt
, Arcadet, Arcadente, etc.), ~[fy65,3]Jacob[fy75,1] ([cf2]b c.[cf1][sm1510[nm; [
cf2]d[cf1] Paris, [sm1568[nm). Flemish composer ~attached to St Peter's and Sist
ine Chapel, Rome; ~then in Paris. Wrote church mus. but is chiefly ~remembered f
or secular madrigals, [cf2]chansons[cf1], and ~motets, of which [sm5[nm books we
re pubd. before ~[sm1544[nm.[cm~Arcata[fy75,1] (It.). Stroke of bow (in str. pla
ying), often ~followed by the words [cf2]in gi;Agu[cf1] (down),
or [cf2]in su[cf1] (up).[cm~Arcato[fy75,1] (It.). Bowed (after a passage of [fy4
5,1]*[fy75,2]pizzicato[cf1]).[cm~A.R.C.C.O.[fy75,1] Assoc. of the Royal Canadian
 College ~of Organists.[cm~Archbishop of Canterbury's Degrees. [fy75,1]By a ~cus
tom begun in [sm13[nmth cent. the Archbishop of ~Canterbury may confer degrees,
among them a ~doctorate of mus., known as `Canterbury' or ~`Lambeth' degrees (La
mbeth being site of the ~Archbishop's London palace). In [sm1936[nm he insti~~tu
ted a diploma in church mus. granted on ~examination to F.R.C.O.s who hold a cho
irmas~~ter's diploma. Those who pass become ~[fy45,1]*[fy75,1]A.D.C.M.s.[cm~Arch
duke Trio. [fy75,1]Beethoven's Pf. Trio in B;Yh, Op. ~[sm97[nm ([sm1811[nm). So
nicknamed from ded. to Archduke ~Rudolph of Austria, who was pf. and comp. pupil
 ~of Beethoven.[cm~Arched Viall. [fy75,1]Instr. similar to a [fy45,1]*[fy75,2]Ge
igenwerk[cf1], a ~kind of hurdy-gurdy, mentioned by Pepys in ~[sm1664[nm (`It wi
ll never do', he said).[cm~Archet[fy75,1] (Fr.). Bow (of a str.
instr.).[cm~Archi[fy75,1] (It.). Bows (of str. instr.); the singular is ~[fy45,1
]*[fy75,2]Arco.[cm~Archlute. [fy75,1]Large double-necked lute or [fy45,1]*[fy75,
1]theorbo ~with extra bass strs.[cm~Arco [fy75,1](plural [cf2]archi[cf1]) (It.).
 Bow. Used alone or as [cf2]coll' ~arco[cf1] (with the bow) after a passage mark
ed ~[cf2]pizzicato[cf1] (plucked).[cm~Arden muss Sterben[fy75,1] (Arden must die
). Opera in ~[sm3[nm acts by A. Goehr to Ger. lib. by Erich Fried ~[PN25,0,0,R,I
0]based on anonymous play [cf2]Arden of Feversham ~[cf1]([sm1592[nm). Prod. Hamb
urg [sm1967[nm, London [sm1974[nm (in ~Eng. trans. by G. Skelton).[cm~Arditi, Lu
igi[fy75,1] ([cf2]b[cf1] Crescentino, [sm1822[nm; [cf2]d[cf1] Brighton, ~[sm1903
[nm). It. composer and cond. Toured widely as ~cond. of opera cos., e.g. Mapleso
n's. Settled in ~Eng., conducting regularly at CG. Cond. f.p. in ~London of [cf2
]Cavalleria Rusticana. [cf1]Remembered as ~composer for his waltz-song [cf2]Il b
acio[cf1] (The Kiss).[cm~Arend, Max[fy75,1] ([cf2]b[cf1] Deutz,
[sm1873[nm; [cf2]d[cf1] Cologne, [sm1943[nm). ~Ger. expert on mus. of Gluck and
founder ([sm1913[nm) ~of Gluck Soc. Studied at Leipzig under Riemann.[cm~Arensky
, Anton [fy75,1](Stepanovich) ([cf2]b[cf1] Novgorod, ~[sm1861[nm; [cf2]d[cf1] Te
rijoki, Finland, [sm1906[nm). Russ. composer. ~Studied in St Petersburg with Rim
sky-Korsakov. ~Prof. of harmony and counterpoint, Moscow ~Cons. [sm1882[nm. Comp
. [sm3[nm operas, [sm2[nm str. qts., and [sm2[nm ~syms., but best-known works ar
e the pf. conc., ~pf. trio in D minor (in memory of the cellist ~Davidov), [cf2]
Variations on a Theme of Tchaikovsky[cf1] for ~str., and many pf. pieces.[cm~Are
tino, Guido. [fy75,1]See [cf2]Guido d'Arezzo.[cm~Arezzo. [fy75,1]See [cf2]Guido
d'Arezzo.[cm~Argento, Dominick[fy75,1] ([cf2]b[cf1] York, Penn., [sm1927[nm). Am
er. ~composer. Studied Peabody Cons., Baltimore, ~with N. Nabokov and [fy45,1]*[
fy75,1]Cowell, later at Eastman ~Sch. with [fy45,1]*[fy75,1]Hovhaness and [fy45,
1]*[fy75,1]Hanson. Also studied ~in It. with Dallapiccola. Mus.
dir., Hilltop Opera, ~Baltimore, [sm1958[nm. Member of Dept. of Mus., ~Minnesota
 Univ., from [sm1958[nm. Primarily interested ~in opera. Works incl.:[xm[cm~[j2]
[smoperas[nm: [fy75,2]Colonel Jonathan the Saint[cf1] ([sm1958[nm=n[sm60[nm); [c
f2]The ~Boor[cf1] ([sm1957[nm); [cf2]Christopher Sly[cf1] ([sm1962[nm); [cf2]The
 Masque ~of Angels[cf1] ([sm1963[nm); [cf2]The Shoemaker's Holiday[cf1] ([sm1967
[nm); ~[cf2]Postcard from Morocco[cf1] ([sm1971[nm); [cf2]A Waterbird Talk[cf1]
~([sm1974[nm); [cf2]The Voyage of Edgar Allan Poe[cf1] ([sm1975[nm=n[sm6[nm); ~[
cf2]Miss Havisham's Fire[cf1] ([sm1978[nm=n[sm9[nm).[ep~[smballets[nm: [cf2]The
Resurrection of Don Juan[cf1] ([sm1956[nm); [cf2]Royal ~Invitation, or Homage to
 the Queen of Tonga[cf1] ([sm1964[nm).[ep~[smorch[nm: [cf2]From the Album of All
egra Harper, [sm1867[nm[cf1] ~(suite from opera [cf2]Colonel Jonathan[cf1]) ([sm
1961[nm); ~[cf2]Divertimento[cf1] for pf. and str. ([sm1955[nm); [cf2]Ode to the
 ~West Wind, [cf1]conc. for sop. and orch. ([sm1956[nm); [cf2]Su
ite, ~Resurrection of Don Juan[cf1] ([sm1956[nm); [cf2]Suite, Royal ~Invitation[
cf1] ([sm1964[nm); [cf2]Variations[cf1] ([cf2]The Mask of Night[cf1]) ~([sm1965[
nm); [cf2]Bravo Mozart![cf1] for vn., ob., hn., and ~chamber orch. ([sm1969[nm);
 [cf2]A Ring of Time[cf1] ([sm1972[nm).[ep~[smchoral[nm: [cf2]Revelation of St J
ohn the Divine[cf1], for ten., ~male ch., brass, and perc. ([sm1966[nm); [cf2]A
Nation of ~Cowslips[cf1], [sm7[nm Keats songs for unacc. ch. ([sm1968[nm); ~[cf2
]Tria Carmina Paschalia[cf1] for women's vv., harp, ~guitar ([sm1970[nm); [cf2]J
onah and the Whale[cf1], oratorio for ~ten., bass, narrator, ch., and chamber en
s. ([sm1973[nm).[ep~[smsong-cycles[nm: [cf2][sm6[nm Elizabethan Songs[cf1], ten.
 (or sop.) and ~baroque ens. ([sm1958[nm); [cf2]Letters from Composers[cf1], [sm
7[nm ~songs for ten. and guitar ([sm1968[nm); [cf2]To be Sung Upon ~the Water[cf
1], for high v., pf., cl., and bass cl. ([sm1972[nm); ~[fy45,1]*[fy75,2]From the
 Diary of Virginia Woolf[cf1], for medium ~v. and pf. ([sm1974[n
m).[cm~[j1]Argerich, Martha [fy75,1]([cf2]b [cf1]Buenos Aires, [sm1941[nm). Arge
n~~tinian pianist. Soloist with orch. in Buenos Aires ~at age of [sm8[nm. Studie
d with V. Scaramuzzo, F. Gulda, ~N. Magaloff, and Michelangeli. [sm1[nmst prize,
 Busoni ~Contest and Geneva international mus. competi~~tion [sm1957[nm, [sm1[nm
st prize international Chopin com~~petition, Warsaw, [sm1965[nm. Soloist with wo
rld's ~leading orchs. Remarkable vitality and power in ~her performances. London
 d;aaebut [sm1964[nm.[cm~Aria [fy75,1](It.). Air. From the time of A. Scarlatti
in ~the [sm18[nmth cent. onwards this has had the definite ~implication of a mor
e or less lengthy and well-~developed solo vocal piece in A-B-A form. The ~[sm19
[nmth-cent. operatic aria became more elaborate ~and complex. Arias used to be r
ather minutely ~classified as (a) [cf2]Aria cantabile[cf1], slow and smooth; ~(b
) [cf2]Aria di portamento[cf1], in long notes and dignified, ~to be sung in [fy4
5,1]*[fy75,2]legato[cf1] style; (c) [cf2]Aria di mezzo ~caratter
e[cf1], more passionate and with often elabo~~rate orch. acc.; (d) [cf2]Aria par
lante[cf1], declamatory; (e) ~[cf2]Aria di bravura[cf1] (or [cf2]d'agilit;aga[cf
1], or [cf2]d'abilit;aga[cf1]), requiring ~great v.-control; (f=+=+) [cf2]Aria a
ll'unisono[cf1], with acc. in ~unison or octaves with the vocal part; (g) [cf2]A
ria ~d'imitazione[cf1], imitative of bird-song, hunting hns., ~etc.; (h) [cf2]Ar
ia concertata[cf1] with elaborate acc.; and so ~on.[cm~[j1]Ariadne. [fy75,1]([sm
1[nm) Setting of poem by C. Day Lewis for ~sop. and orch. ([sm1970[nm) by [fy45,
1]*[fy75,1]Maconchy (f.p. King's ~Lynn Fest. [sm1971[nm).[ep~^([sm2[nm) [cf2]Con
certante [cf1]for ob. and [sm12[nm instrumentalists ~by [fy45,1]*[fy75,1]Crosse
(f.p. Cheltenham Fest. [sm1972[nm).[cm~Ariadne auf Naxos [fy75,1](Ariadne on Nax
os). Opera ~in prol. and [sm1[nm act by R. Strauss to lib. by ~Hofmannsthal. The
re are [sm2[nm versions. No. [sm1[nm was ~designed for perf. after Moli;Agere's
play [cf2]Le [fy45,1]*[fy75,2]Bourgeois ~Gentilhomme[cf1] (with
incidental mus. by Strauss). ~F.p. Stuttgart [sm1912[nm, London [sm1913[nm. [sm2
[nmnd version ~substituted an operatic prol. for the play, f.p. ~Vienna [sm1916[
nm, London [sm1924[nm, NY [sm1934[nm. Many ~other composers have based operas on
 the Ariadne ~legend. Naxos is the island on which Ariadne, ~awaiting death, is
consoled by Bacchus.[cm~Arianna a Naxos[fy75,1] (Ariadne on Naxos). Dramatic ~ca
ntata by Haydn, for sop. and hpd. or pf. (Hob. ~XXVIb:=+=+[sm2[nm), comp. [sm179
0[nm.[cm~Ariane et Barbe-bleue[fy75,1] (Ariadne and Bluebeard). ~Fantasy-opera i
n [sm3[nm acts by Dukas to lib. based on ~Maeterlinck's play. (Prod. Paris [sm19
07[nm; NY [sm1911[nm; ~London [sm1937[nm.)[cm~Arianna [fy75,1](Ariadne). Opera i
n prol. and [sm8[nm scenes ~by [fy45,1]*[fy75,1]Monteverdi to lib. by Rinuccini.
 Prod. ~Mantua [sm1608[nm. Score now lost, only surviving part ~being [fy45,1]*[
fy75,2]Lamento d'Arianna.[cm~Arienzo, Nicola d'[fy75,1] ([cf2]b[cf1] Naples, [sm
1842[nm; [cf2]d[cf1] Naples, ~[sm1915[nm). It. composer of opera
s prod. Naples and ~Milan, of which [sm2[nm ([cf2]Monzu Gnazio[cf1] and [cf2]I d
ue mariti[cf1]) ~were in Neapolitan dialect. Also wrote syms. and ~concs.[cm~[PN
26,0,0,L,I0]Arietta [fy75,1](It.). A shorter and simpler [fy45,1]*[fy75,1]Aria.
Usually ~lacks a middle section. Term sometimes applied ~to a piece of instr. mu
s.[cm~Ariettes oubli;Aaees[fy75,1] (Forgotten ariettas). Debussy's ~settings of
[sm6[nm poems by Verlaine ([sm1888[nm). The songs' ~titles are: [cf2]C'est l'Ext
ase langoureuse[cf1]; [cf2]Il Pleure dans ~mon coeur[cf1]; [cf2]L'Ombre des arbr
es[cf1]; [cf2]Chevaux de bois[cf1]; ~[cf2]Green[cf1]; [cf2]Spleen.[cm~Ariodante.
[fy75,1] Opera in [sm3[nm acts by Handel to It. ~libretto anonymously adapted fr
om [cf2]Ginevra, ~Principessa di Scozia[cf1] by Antonio Salvi (Pratolino, ~[sm17
05[nm) based on Ariosto's [cf2]Orlando furioso[cf1] (canti V ~and VI). F.p. Lond
on (CG) [sm1735[nm.[cm~Arioso. [fy75,1]([sm1[nm) A recitative of the more melodi
ous ~type.[ep~^([sm2[nm) A short melodious passage at the beginn
ing ~or end of an aria.[ep~^([sm3[nm) A short air in an opera or oratorio.[ep~^(
[sm4[nm) In instr. mus., a [fy45,1]*[fy75,1]cantabile passage.[cm~Ariosti, Attil
io[fy75,1] ([cf2]b[cf1] Bologna, [sm1666[nm; [cf2]d [cf1]?England, ~[sm1729[nm).
 It. composer, formerly monk who obtained ~dispensation to devote himself to mus
. and ~occupied various court positions in Ger. and ~Austria; colleague in Londo
n of Bononcini and ~Handel as dir. of opera enterprise (Royal Academy ~of Music,
 [sm1719[nm=n[sm27[nm), and composer of [sm20[nm operas ~etc.; perf. on and comp
oser for viola d'amore.[xm[cm~[ol0][ep~[xp[te~





[do35][j99]~~~~~~153842_AC2[ep~[u1]~~~~153842[cmConcise Oxford Dic~~tionary of M
usic[cmAC2[cm35[cm~1[cm11-10-79[cm8[cm458[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~[ap
~[j1]Arkadelt. [fy75,1]See [cf2]Arcadelt, Jacob.[cm~Arkwright, Godfrey [fy75,1](
Edward Pellen) ([cf2]b[cf1] Nor~~wich, [sm1864[nm; [cf2]d[cf1] Highclere, [sm194
4[nm). Eng. musicolo~~gist; ed. of comprehensive `Old English Edition' ~in [sm25
[nm vols. ([sm1889[nm=n[sm1902[nm), and a quarterly, [cf2]The ~Musical Antiquary
[cf1] ([sm1909[nm=n[sm13[nm). Ed. of Purcell's ~church mus.[cm~Arlecchinesco[fy7
5,1] (It.). In the spirit of a Harlequi~~nade.[cm~Arlecchino [fy75,1](Harlequin)
. Opera in [sm1[nm act by ~Busoni, Op. [sm50[nm, to his own lib. A `theatrical ~
capriccio', comp. [sm1914[nm=n[sm16[nm, prod. Z;Auurich [sm1917[nm, ~London (rad
io and TV) [sm1939[nm, Glyndebourne ~(stage) [sm1954[nm.[cm~Arl;aaesienne, L'[fy
75,1] (The Maid of Arles). Daudet's ~play, for which Bizet composed [sm27[nm ite
ms of ~incidental mus., Paris [sm1872[nm (later incorporating ~s
ome of it into the ballet of [cf2]Carmen[cf1]). There are [sm2[nm ~orch. suites,
 the first arr. Bizet, the [sm2[nmnd [fy45,1]*[fy75,1]Guiraud.[cm~Armide. [fy75,
1]Opera in [sm5[nm acts by Gluck. Lib. by ~Quinault, based on Tasso's [cf2]Jerus
alem Delivered. ~[cf1](Prod. Paris [sm1777[nm; Manchester, in concert version, ~
[sm1860[nm; NY [sm1910[nm.) Among [sm40[nm operas based on ~Tasso's story are th
ose by Lully, Handel, Jommelli, ~Salieri, Haydn, Rossini, and Dvo;Akr;Aaak.[cm~A
rmonia, armonica [fy75,1](It.). ([sm1[nm) `Harmony'.[ep~^([sm2[nm) `Wind band'.[
ep~^([sm3[nm) One of several names for the [fy45,1]*[fy75,1]hurdy-gurdy ~(also [
cf2]armonie[cf1]).[cm~Armstrong, [fy75,1](Daniel) [fy65,3]Louis (`Satchmo') [fy7
5,1]([cf2]b[cf1] New[fjOrleans, [sm1900[nm; [cf2]d[cf1] NY, [sm1971[nm). Amer. j
azz trumpeter ~and singer. From [sm1917[nm played on Miss. river ~boats. Joined
King Oliver's Creole Jazz Band [sm1922[nm. ~Played often with Fletcher Henderson
's orch. ~[sm1924[nm=n[sm8[nm, then formed own band. Became worl
d-~famous as result of recordings in [sm1920[nms in which ~his virtuoso trumpet-
playing and his idiosyncratic ~singing had enormous influence on jazz scene. ~Ni
ckname `Satchmo' a diminutive of `Satchel~~mouth'. Visited Eng. and Europe in [s
m1932[nm and ~[sm1934[nm. Made many films and appeared with big ~bands in `swing
' era. Formed his All Stars [sm1947[nm, ~touring Europe [sm1949, 1952,[nm and [s
m1956[nm. Particu~~larly remembered for his appearance with Bing ~Crosby and Fra
nk Sinatra in film [cf2]High Society[cf1] ~([sm1956[nm).[cm~Armstrong, Richard[f
y75,1] ([cf2]b[cf1] Leicester, [sm1943[nm). Eng. ~cond. Studied Cambridge Univ.
On mus. staff CG ~[sm1966[nm=n[sm8[nm. Ass. cond. WNO [sm1968[nm=n[sm73[nm, mus.
 dir. ~[sm1973[nm=n[sm86[nm. Jan;aaa;Akcek Medal [sm1979[nm. CG d;aaebut [sm1982
[nm ~([cf2]Billy Budd[cf1]).[cm~Armstrong, Sheila [fy75,1](Ann) ([cf2]b[cf1] Ash
ington, [sm1942[nm). ~Eng. soprano. Studied RAM, winning a Ferrier ~scholarship,
 [sm1965[nm. Opera d;aaebut SW [sm1965[nm (Despina ~in [cf2]Cos;
agi fan tutte[cf1]), Glyndebourne [sm1966[nm (Belinda in ~Purcell's [cf2]Dido an
d Aeneas[cf1]), CG [sm1973[nm (Marzelline ~in [cf2]Fidelio[cf1]). NY d;aaebut [s
m1973[nm. Sang in f.p. of ~McCabe's [cf2]Notturni ed Alba[cf1], [sm1970[nm. Nota
ble expo~~nent of Elgar oratorios, Vaughan Williams's [cf2]Sea ~Symphony, [cf1]e
tc.[cm~Armstrong, [fy75,1](Sir) [fy65][cf3]Thomas [fy75,1](Henry Wait) ([cf2]b[c
f1] ~Peterborough, [sm1898[nm). Eng. organist and teacher. ~Studied Oxford and R
CM. Organist Exeter Cath. ~[sm1928[nm=n[sm33[nm, Christ Church Cath., Oxford, [s
m1933[nm=n[sm55[nm. ~Choragus and lecturer in mus., Oxford Univ., ~[sm1937[nm=n[
sm54[nm. Prin., RAM, [sm1955[nm=n[sm68[nm. Composer of ~choral works, church mus
., chamber mus., etc. ~Knighted [sm1957[nm.[cm~Arne, Michael[fy75,1] ([cf2]b[cf1
] London, [cf2]c. [cf1][sm1740[nm; [cf2]d[cf1] London, ~[sm1786[nm). Eng. compos
er, illegitimate son of Thomas ~[fy45,1]*[fy75,1]Arne. Lived for a time in Hambu
rg. Comp. ~stage mus., etc.; his song [cf2]The Lass with a delic
ate ~air[cf1] is still heard.[cm~Arne, Thomas [fy75,1](Augustine) ([cf2]b[cf1] L
ondon, [sm1710[nm; [cf2]d[cf1] ~London, [sm1778[nm). The leading Brit. composer
of his ~day, notable for incidental mus. to plays, incl. ~Shakespeare's. His mas
que [cf2]Alfred[cf1] ([sm1740[nm) incl. song ~`Rule, Britannia!' Operas incl. [f
y45,1]*[fy75,2]Artaxerxes[cf1] ([sm1762[nm) ~and oratorio [fy45,1]*[fy75,2]Judit
h[cf1] ([sm1761[nm).[cm~Arnell, Richard [fy75,1](Anthony Sayer) ([cf2]b[cf1] Lon
don, ~[sm1917[nm). Eng. composer. Trained RCM [sm1935[nm=n[sm9[nm, ~studying com
p. with Ireland. Lived in USA [sm1939[nm=n~[sm47[nm. Comps. incl. [sm7[nm syms.,
 ballet [cf2]Punch and the Child[cf1] ~([sm1947[nm), symphonic portrait [cf2]Lor
d Byron[cf1], pf. conc., ~vn. conc., str. qts., and [sm3[nm operas. On staff TCL
 ~[sm1948[nm=n[sm64[nm.[cm~Arnim, Achim[fy75,1] (really Ludwig Joachim) [fy65][c
f3]von[fy75,1] ([cf2]b[cf1] ~Berlin, [sm1781[nm; [cf2]d[cf1] Wiepersdorf, [sm183
1[nm). Ger. poet ~[PN27,0,0,R,I0]who can claim inclusion in a mu
s. dictionary ~because of his co-editorship with his future ~brother-in-law Clem
ens Brentano of the anthol~~ogy of German folk poetry [cf2]Des knaben Wunderhorn
[cf1] ~(Youth's Magic Horn), [sm1805[nm=n[sm8[nm, extracts from ~which have been
 set by several composers, notably ~Mahler. In [sm1811[nm he married Elisabeth (
Bettina) ~[fy45,1]*[fy75,1]Brentano, a friend of Beethoven.[cm~Arnold, Denis [fy
75,1](Midgley) ([cf2]b[cf1] Sheffield, [sm1926[nm). Eng. ~critic and teacher. Ed
ucated Sheffield Univ. (M.A., ~B.Mus.). Senior lecturer, Hull Univ., [sm1964[nm=
n[sm9[nm; ~Prof. of Mus., Nottingham Univ. [sm1969[nm=n[sm75[nm; Prof. ~of Mus.,
 Oxford Univ. from [sm1975[nm. Author of ~books on Monteverdi and G. Gabrieli. S
pecialist ~on [sm16[nmth- and [sm17[nmth-cent. It. mus. Joint ed. [cf2]Music ~an
d Letters[cf1] [sm1976[nm=n[sm80[nm. Ed., [cf2]New Oxford Companion ~to Music[cf
1], [sm1983[nm. C.B.E. [sm1983[nm.[cm~Arnold, Malcolm[fy75,1] (Henry) ([cf2]b[cf
1] Northampton, ~[sm1921[nm). Eng. composer, trumpeter, and cond
. ~Studied RCM [sm1938[nm=n[sm40[nm. Trumpeter in LPO [sm1941[nm=n~[sm2[nm, BBC
S.O. [sm1945[nm, LPO (prin.) [sm1946[nm=n[sm8[nm. Studied in ~It. [sm1948[nm=n[s
m9[nm. C.B.E. [sm1970[nm. Works, in many genres, ~notable for melodic invention,
 colour, exuber~~ance, and craftsmanship. One of post-[sm1950[nm Eng. ~composers
 who has kept in touch with his ~audience without debasing his style or lowering
 ~his standards. Several film scores, incl. [cf2]The Bridge ~on the River Kwai[c
f1], [sm1957[nm. Prin. works:[xm[cm~[j2][smballets[nm: [fy45,1]*[fy75,2]Homage t
o the Queen[cf1], Op. [sm42[nm ([sm1953[nm); ~[cf2]Rinaldo and Armida[cf1], Op.
[sm49[nm ([sm1955[nm); [cf2]Electra[cf1], Op. ~[sm79[nm ([sm1963[nm).[ep~[smorch
[nm: [cf1]Syms: [cf1]No. [sm1[nm, Op. [sm22[nm ([sm1951[nm), No. [sm2[nm, Op. [s
m40[nm ~([sm1953[nm), No. [sm3[nm, Op. [sm63[nm ([sm1954[nm), No. [sm4[nm, Op. [
sm71[nm ~([sm1960[nm), No. [sm5[nm, Op. [sm74[nm ([sm1961[nm), No. [sm6[nm, Op.
[sm95[nm ~([sm1967[nm), No. [sm7[nm, Op. [sm113[nm ([sm1973[nm),
 No. [sm8[nm, Op. [sm121[nm ~([sm1979[nm); [fy45,1]*[fy75,2]Toy Symphony[cf1], O
p. [sm62[nm ([sm1957[nm); Sym. for ~Brass, Op. [sm123[nm ([sm1979[nm); [cf1]Conc
s.; [cf1]cl., No. [sm1[nm, Op. [sm20[nm ~([sm1951[nm), No. [sm2[nm, Op. [sm115[n
m ([sm1974[nm); fl., No. [sm1[nm, with ~str., Op. [sm45[nm ([sm1954[nm), No. [sm
2[nm, Op. [sm111[nm ([sm1972[nm); guitar, ~Op. [sm67[nm ([sm1961[nm); harmonica,
 Op. [sm46[nm ([sm1954[nm); hn., ~No. [sm1[nm, with str., Op. [sm11[nm ([sm1947[
nm), No. [sm2[nm, with str., ~Op. [sm58[nm ([sm1956[nm); ob. and str., Op. [sm39
[nm ([sm1952[nm); org., ~Op. [sm47[nm ([sm1954[nm); pf. duet and str., Op. [sm32
[nm ([sm1950[nm); ~[sm2[nm pf. ([sm3[nm hands), Op. [sm104[nm ([sm1969[nm); va.,
 Op. [sm108[nm ~([sm1971[nm), [sm2[nm vn. and str., Op. [sm77[nm ([sm1962[nm), [
cf2]Fantasy on ~Theme of John Field, [cf1]pf., Op. [sm116[nm ([sm1975[nm), [cf2]
Serenade[cf1], ~guitar and str., Op. [sm50[nm ([sm1957[nm); [cf2]Serenade, [cf1]
Op. [sm26[nm ~([sm1950[nm); [cf2]Symphony for Str., [cf1]Op. [sm
13[nm ([sm1947[nm); ~[cf2]Sinfonietta[cf1] No. [sm1[nm, Op. [sm48[nm ([sm1956[nm
), No. [sm2[nm, Op. [sm65[nm ~([sm1958[nm), No. [sm3[nm, Op. [sm81[nm ([sm1964[n
m); [cf2]A Grand Grand Ov. ~[cf1]([sm3[nm vacuum cleaners, floor polisher, [sm4[
nm rifles, and ~orch.) Op. [sm57[nm ([sm1956[nm); [cf2]Anniversary Ov.,[cf1] Op.
 [sm99[nm ~([sm1968[nm); [fy45,1]*[fy75,2]Beckus the Dandipratt, [cf1]Op. [sm5[n
m ([sm1948[nm); [cf2]The ~Fair Field Ov.,[cf1] Op. [sm110[nm ([sm1972[nm); [cf2]
Ov., Peterloo[cf1], Op. ~[sm97[nm ([sm1968[nm); [fy45,1]*[fy75,2]Tam O'Shanter[c
f1], Op. [sm51[nm ([sm1955[nm); ~[cf2]Divertimento[cf1] No. [sm2[nm, Op. [sm24[n
m ([sm1952[nm); [cf2]English Dances[cf1], ~Set I, Op. [sm27[nm ([sm1951[nm), Set
 II, Op. [sm33[nm ([sm1951[nm); [cf2]A ~Sussex Ov., [cf1]Op. [sm31[nm ([sm1951[n
m); Ov., [cf2]The Smoke[cf1], Op. ~[sm21[nm ([sm1948[nm); [cf2][sm4[nm Scottish
Dances[cf1], Op. [sm59[nm ([sm1957[nm); [cf2]Suite, ~Homage to the Queen[cf1], O
p. [sm42[nm ([sm1953[nm); [cf2]Little Suite[cf1] ~No. [sm1[nm, O
p. [sm53[nm ([sm1956[nm), No. [sm2[nm, Op. [sm78[nm ([sm1963[nm), [cf2]Little ~S
uite[cf1] for brass band, No. [sm1[nm, Op. [sm[sm80[nm ([sm1963[nm), No. [sm2[nm
,[fjOp. [sm93[nm ([sm1966[nm); [cf2]Water Music[cf1], Op. [sm82[nmb ([sm1965[nm)
; ~[cf2]Concerto for [sm28[nm Players[cf1], Op. [sm105[nm ([sm1970[nm); [cf2]Flo
urish[cf1], ~Op. [sm112[nm ([sm1973[nm); [cf2][sm4[nm Cornish Dances[cf1], Op. [
sm91[nm ([sm1966[nm); ~[cf2]Philharmonic Conc.,[cf1] Op. [sm120[nm ([sm1976[nm);
 [sm6[nm [cf2]Variations ~on a Theme of Ruth Gipps[cf1], Op. [sm122[nm ([sm1977[
nm).[ep~[smchoral[nm: Psalm [sm150[nm, ch. and org., Op. [sm25[nm ([sm1950[nm);
~[cf2]A John Clare Cantata[cf1], Op. [sm52[nm ([sm1956[nm); [cf2]The Return ~of
Odysseus[cf1], cantata, ch. and orch. (text by P. ~Dickinson), Op. [sm119[nm ([s
m1976[nm).[ep~[smchamber music[nm: [cf2]Divertimento[cf1], fl., ob., cl., Op. [s
m37[nm ~([sm1952[nm); Vn. sonatas No. [sm1[nm, Op. [sm15[nm ([sm1947[nm), No. [s
m2[nm, ~Op. [sm43[nm ([sm1953[nm); Quintet, fl., vn., va., hn.,
bn., Op. ~[sm7[nm ([sm1944[nm); Quintet, [sm2[nm tpts., hn., tb., tuba, Op. [sm7
3[nm ~([sm1963[nm); [cf2]Sonatina, [cf1]recorder and pf., Op. [sm41[nm ([sm1953[
nm); ~[cf2][sm3[nm Shanties[cf1], wind quintet, Op. [sm4[nm ([sm1943[nm); Trio,
fl., ~va., bn., Op. [sm6[nm ([sm1943[nm); Pf. Trio, Op. [sm54[nm ([sm1956[nm); S
tr. ~Qts., No. [sm1[nm, Op. [sm23[nm ([sm1951[nm), No. [sm2[nm, Op. [sm118[nm ([
sm1975[nm); ~ob. qt., Op. [sm61[nm ([sm1957[nm); [cf2]Trevelyan Suite[cf1], wind
 ~ens., Op. [sm93[nm ([sm1967[nm); [cf2]Fantasies[cf1] for solo wind and ~brass
([sm1965=n7[nm); [cf2]Fantasy[cf1], guitar, Op. [sm107[nm ([sm1970[nm); [cf2]Fan
tasy[cf1], ~harp, Op. [sm117[nm ([sm1975[nm); va. sonata, Op. [sm17[nm ~([sm1948
[nm); fl. sonatina, Op. [sm19[nm ([sm1948[nm); fl. sonata, Op. [sm121[nm ([sm197
7[nm); ob. sonatina, Op. [sm28[nm ([sm1951[nm); cl. ~sonatina, Op. [sm29[nm ([sm
1951[nm).[ep~[smpiano[nm: [cf2]Five by Ten[cf1], Books I=nV ([sm1952[nm); [cf2]V
ariations ~on a Ukrainian Folk Song[cf1], Op. [sm9[nm ([sm1948[n
m); [cf2]Children's ~Suite[cf1], Op. [sm16[nm ([sm1948[nm).[cm~[j1]Arnold, Samue
l[fy75,1] ([cf2]b[cf1] London, [sm1740[nm; [cf2]d[cf1] London, ~[sm1802[nm). Eng
. composer. Organist of Chapel Royal ~and Westminster Abbey; composer to CG Th.,
 ~proprietor of Marylebone Gardens, cond. of ~[fy45,1]*[fy75,1]Academy of Ancien
t Music. Comp. many ~popular operas, church mus., etc.; ed. Handel's ~works in [
sm36[nm vols. and a supplement to Boyce's ~[cf2]Cathedral Music[cf1] in [sm4[nm
vols. Comp. [sm4[nm numbers in ~pasticcio [cf2]The Maid of the Mill[cf1] (London
, [sm1765[nm).[cm~Aroldo [fy75,1](Harold). Opera in [sm4[nm acts by Verdi to ~li
bretto by Piave. Comp. [sm1856=n7[nm. Prod. Rimini [sm1857[nm. Most of ~mus. is
same as that for [fy45,1]*[fy75,2]Stiffelio[cf1] ([sm1850[nm), though ~Act [sm4[
nm was newly composed and lib. is new.[cm~Aronowitz, Cecil [fy75,1](Solomon) ([c
f2]b[cf1] King William's ~Town, S. Africa, [sm1916[nm; [cf2]d[cf1] Ipswich, [sm1
978[nm). Eng. va. ~player of Russo-Lithuanian parentage. Studied
 ~RCM with Vaughan Williams and G. Jacob ~(comp.), and A. Rivarde (vn.). After w
ar changed ~to va. Played in all London professional orchs. ~and was prin. violi
st of Boyd Neel Orch., London ~Mozart Players, and ECO. Founder member, ~Melos E
ns. Frequent chamber mus. player. Prof. ~of va., RCM [sm1948[nm=n[sm75[nm; Head
of Str. Sch., RNCM, ~[sm1975[nm=n[sm7[nm; Dir. of Str. Studies, Snape Maltings S
ch. ~[sm1977[nm=n[sm8[nm.[cm~Arpa[fy75,1] (It.). Harp.[cm~Arpa Doppia[fy75,1] (I
t. `double harp'). Name given in ~[sm16[nmth-cent. Italy to both double-strung a
nd triple-~strung harp, probably because of increased range ~and size. Incl. in
Monteverdi's [cf2]Orfeo[cf1] ([sm1607[nm).[cm~[PN28,0,0,L,I0]Arp;Agege[fy75,1] (
Fr., from [cf2]arpe[cf1], `harp'), [fy65][cf3]Arpeggio[fy75,1] (It., ~plural [cf
2]arpeggi[cf1]). A chord `spread', i.e. the notes ~heard one after the other fro
m the bottom ~upwards, or sometimes from the top downwards, ~as on the harp.[cm~
Arpeggiare[fy75,1] (It.). To play chords as arpeggios. ~(Present
 and past participles, [cf2]arpeggiando, arpeg~~giato[cf1].)[cm~Arpeggione [fy75
,1]([cf2]Guitare d'amour[cf1]). Type of guitar-~shaped 6-str. vc. with fretted f
ingerboard, played ~with a bow. Invented [sm1823[nm by G. Staufer. Schubert ~wro
te a sonata for it in [sm1824[nm which is normally ~played on the vc. (also tran
scr. for va.).[cm~Arrach;Aae[fy75,1] (Fr.). Torn. Extreme form of [cf2]pizzicato
.[cm~Arrangement[fy75,1] or [fy65][cf3]Transcription. [fy75,1]Adaptation of ~a p
iece of mus. for a medium other than that for ~which it was orig. comp. Sometime
s `Transcrip~~tion' means a rewriting for the same medium ~but in a style easier
 to play. (In the USA there ~appears to be a tendency to use `Arrangement' for ~
a free treatment of the material and `Transcrip~~tion' for a more faithful treat
ment. In jazz ~`Arrangement' tends to signify `orchestration'.)[cm~Arrau, Claudi
o[fy75,1] ([cf2]b[cf1] Chill;Aaan, Chile, [sm1903[nm). Chilean ~pianist. D;Aaebu
t Chill;Aaan [sm1908[nm. Studied Santiago ~Cons., then from [sm1
911[nm at Berlin with M. Krause. ~D;Aaebut Berlin recital, [sm1914[nm. Prof. of
pf., Stern ~Cons., Berlin, [sm1925[nm. Won Grand Prix de Gen;ageve ~[sm1927[nm.
London d;Aaebut [sm1922[nm, USA [sm1923[nm. Superb ~interpreter of Chopin, Liszt
, Beethoven, Mozart, ~Schumann, and Brahms. Played all Bach's kbd. ~mus. in [sm1
2[nm recitals in Berlin, [sm1935[nm=n[sm6[nm.[cm~Arriaga y Balzola, Juan Cris;aa
ostomo Jacobo ~Antonio de [fy75,1]([cf2]b[cf1] Rigoitia, Bilbao, [sm1806[nm; [cf
2]d[cf1] Paris, ~[sm1826[nm). Sp. composer of great but unfulfilled ~talent. Ope
ra [cf2]Los esclavos felices[cf1] (The Happy Slaves) ~prod. Bilbao, [sm1820[nm.
Studied Paris Cons. [sm3[nm str. qts. ~pubd. Paris, [sm1824[nm. Also comp. sym.[
cm~Arrigo, Girolamo[fy75,1] ([cf2]b[cf1] Palermo, [sm1930[nm). Sicilian ~compose
r. Studied in Palermo [sm1950[nm=n[sm4[nm (Bellini ~Cons.) and with Max Deutsch
in Paris, [sm1954[nm=n[sm7[nm. ~Settled in Paris. Vocal mus., film scores, chamb
er ~works and [cf2]Orden[cf1], a `collage opera'. Also [cf2]Epit
affi[cf1] ~for ch. and orch. ([sm1963[nm), settings of Michelangelo.[cm~Arroyo,
Martina[fy75,1] ([cf2]b[cf1] NY, [sm1936[nm). Amer. sop. Early ~training in NY.
D;Aaebut NY [sm1958[nm, then sang at ~Vienna State Opera and Deutsche Oper, Berl
in. ~Substituted for [fy45,1]*[fy75,1]Nilsson as Aida at NY Met. [sm1965[nm. ~CG
 d;aaebut [sm1968[nm (Aida). Noted Verdi singer.[cm~Ars Antiqua[fy75,1] (Lat.).
Old Art. The medieval W. ~European mus. style, based on plainsong and ~organum,
employed by composers (notably ~Leonin and P;Aaerotin) of the Notre Dame or ~Par
isian sch. in the [sm12[nmth and [sm13[nmth cents. See [cf2]Ars ~Nova.[cm~Arsin
et Thesin, Per. [fy75,1]See [cf2]Canon.[cm~Ars Nova[fy75,1] (Lat.). New art. The
 new style of mus. ~comp. in Fr. and It. in [sm14[nmth cent. Name derived ~from
tract ([cf2]c.[cf1][sm1320[nm) by Philippe de Vitry. Restric~~tions of [fy45,1]*
[fy75,2]Ars antiqua[cf1] were replaced by greater ~variety of rhythm, duple inst
ead of triple time, ~and increased independence in part-writing.
 In ~Fr. [fy45,1]*[fy75,1]Machaut was finest exponent of [cf2]Ars nova[cf1] and
~in Italy G. da Cascia, J. da Bologna, and Landini. ~The It. madrigal was a late
r flowering of [cf2]Ars nova.[cm~Artaria.[fy75,1] Austrian firm of mus. publishe
rs ~founded in Mainz [sm1765[nm, moving to Vienna [sm1766[nm. ~Founders were cou
sins, Carlo Artaria ([sm1747[nm=n~[sm1808[nm) and Francesco Artaria ([sm1725[nm=
n[sm97[nm). Pubd. ~work by Haydn in [sm1780[nm, leading to over [sm300[nm ~edns.
 of his comps. Mozart followed in [sm1781[nm and ~Beethoven in [sm1783[nm. The f
irm also pubd. Boccher~~ini, Clementi, Gluck, and Salieri. Firm closed ~[sm1858[
nm.[cm~Artaxerxes. [fy75,1]Thomas [fy45,1]*[fy75,1]Arne's most successful ~opera
, in [sm3[nm acts. Lib. is Eng. trans. of Metastasio. ~(Prod. London [sm1762[nm;
 Dublin [sm1765[nm; NY [sm1828[nm.) ~Many operas on this subject, e.g. by Hasse
([sm1730[nm), ~Galuppi ([sm1749[nm), Gluck ([sm1741[nm), Paisiello ([sm1771[nm),
 ~Piccinni ([sm1762[nm), Sacchini ([sm1768[nm), Cimarosa ([sm178
4[nm), ~and Isouard ([sm1794[nm).[cm~Art de toucher le clavecin, L'[fy75,1] (The
 Art of ~playing the Harpsichord). Method by F. [fy45,1]*[fy75,1]Cou~~perin ([sm
1716[nm), with instructions and [sm8[nm illustrative ~comps. Known to have influ
enced Bach.[cm~Articolato[fy75,1] (It.), [fy65][cf3]articul;Aae[fy75,1] (Fr.). W
ell-articulated; ~so [cf2]articolazione[cf1] (It.). Articulation.[cm~Art of Fugu
e, The[fy75,1] (=+=+=+J. S. Bach). See [cf2]Kunst der ~Fuge, Die.[cm~Art of Play
ing the Harpsichord[fy75,1] (Couperin). See ~[cf2]Art de toucher le clavecin, L'
.[cm~Art;Afot, Alexandre[fy75,1] (Montagney, Joseph) ([cf2]b[cf1] Brus~~sels, [s
m1815[nm; [cf2]d[cf1] Ville d'Avray, Paris, [sm1845[nm). Belg. ~violinist. Made
many world tours. Composer for ~vn. and for chamber combinations.[cm~Art;afot, D
;aaesir;aaee[fy75,1] ([cf2]b[cf1] Paris, [sm1835[nm; [cf2]d[cf1] Berlin, [sm1907
[nm). ~Belg. mez., later sop. Studied with Pauline ~Viardot-Garc;aaia. Sang in o
pera in London [sm1859[nm=n~[sm66[nm. In [sm1869[nm married Span
ish bar. Mariano Padilla ~y Ramos, with whom she often sang. Their ~daughter Lol
a Art;Afot de Padilla ([cf2]b[cf1] S;Agevres, [sm1876[nm; [cf2]d[cf1] ~Berlin, [
sm1933[nm) was member of the Berlin Hofoper ~company from [sm1909[nm and sang th
e role of Oktavian ~at the first Berlin perf. of [cf2]Der Rosenkavalier. ~[cf1]C
reated Vreli in Delius's [cf2]A Village Romeo and ~Juliet[cf1], Berlin [sm1907[n
m.[cm~Arts Council of Great Britain. [fy75,1]Independent ~body est. [sm1945[nm a
s successor to wartime Council ~for the Encouragement of Music and the Arts. ~In
corporated by Royal Charter [sm1946[nm `to preserve ~and improve standards of pe
rformance in the ~various arts'. New charter granted [sm1967[nm. Annual ~grant-i
n-aid is provided through Dept. of Educa~~tion and Science. Members, limited to
[sm20[nm, are ~[PN29,0,0,R,I0]appointed for periods not exceeding [sm5[nm years
by ~the Minister responsible after consultation with ~the Secretaries of State f
or Scotland and Wales. ~Professional staff, under secretary-gene
ral, incl. ~mus. dir. Specialist advisory panels incl. one for ~mus. Subsidies a
re disbursed to many organiza~~tions, being channelled through certain inde~~pen
dent bodies and regional arts assoc. ~Headquarters in London, but there are sepa
rate ~committees with executive powers for Scotland ~and Wales (Scottish and Wel
sh Arts Councils), ~each with dir. and ass. dirs. for individual arts, ~incl. mu
s.[cm~Arundell, Dennis [fy75,1](Drew) ([cf2]b[cf1] London, [sm1898[nm). Eng. ~ac
tor, author, translator, and composer, but best ~known as opera producer. Educat
ed Tonbridge ~and Cambridge (M.A., B.Mus.). Prod. first stage ~perf. of Handel's
 [cf2]Semele[cf1], Cambridge [sm1925[nm. Also ~Stravinsky's [cf2]The Soldier's T
ale[cf1] (Cambridge, [sm1928[nm), ~Honegger's [cf2]King David[cf1] (Cambridge, [
sm1929[nm), Pur~~cell's [cf2]Fairy Queen[cf1] ([sm1931[nm), and Vaughan Williams
's ~[cf2]The Pilgrim's Progress[cf1] (Cambridge [sm1954[nm). Many ~prods. for SW
 Opera incl. Jan;Aaa;Akcek's [cf2]K;Aaa;akta Kabanov;Aaa[cf1] ~(
[sm1951[nm). Radio prods. of Stravinsky's [cf2]The Rake's ~Progress[cf1] and Ben
jamin's [cf2]Tale of Two Cities. [cf1]Eng. ~trans. of Ravel's [cf2]L'Enfant et l
es sortil;Ageges[cf1] and ~Honegger's [cf2]Jeanne d'Arc au b;Afucher.[cm~A.S. [f
y45,1]*[fy75,2]Al segno.[cm~As [fy75,1](Ger.). The note A;Yh.[cm~Asaf=+=+=+'yev,
 Boris[fy75,1] ([cf2]b[cf1] St Petersburg, [sm1884[nm; [cf2]d[cf1] Moscow, ~[sm1
949[nm). Russ. composer, pupil of Lyadov and ~Rimsky-Korsakov. Chief reputation
as composer ~of ballets, but wrote [sm10[nm operas and [sm5[nm syms. Under ~pseu
donym Igor Glebov wrote criticism and ~books, incl. monograph on Stravinsky ([sm
1929[nm).[cm~Asas [fy75,1](Ases) (Ger.). The note A;Yh;Yh.[xm[cm~[ol0][ep~[xp[te
~



[do19][j99]~~~~~~153842_AC03[ep~[u1]~~~~153842[cmConcise Oxford Dict. of ~Music[
cmAC03[cm19[cm1[cm~11/10/79[cm8[cm505[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1
]Ascanio in Alba. [fy75,2]Serenata teatrale [cf1]in [sm2[nm acts by ~boy Mozart
to lib. by Parini (Milan, [sm17[nm Oct. [sm1771[nm).[cm~A.S.C.A.P. [fy75,1]Ameri
can Society of Composers, ~Authors and Publishers. Founded [sm1914[nm.[cm~Ascens
ion, L' [fy75,1](The Ascension). Comp. in [sm4[nm ~movements by [fy45,1]*[fy75,1
]Messiaen, for orch. ([sm1933[nm) and ~for org. ([sm1934[nm). The movements are
[sm1[nm. [cf2]Majest;Aae du ~Christ demandant sa gloire ;Aga son P;Agere[cf1]. [
sm2[nm. [cf2]All;Aaeluias ~sereins d'une ;Afame qui d;Aaesire le ciel[cf1]. [sm3
[nm. [cf2]All;Aaeluia sur la ~trompette, all;Aaeluia sur la cymbale[cf1]. [sm4[n
m. [cf2]Pri;Agere du Christ ~montant vers son P;Agere[cf1]. [sm3[nmrd movement o
f orch. ~version differs from that in the organ version, ~which is entitled [cf2
]Transports de Joie d'une ;Afame ~devant la gloire du Christ[cf1
]. F.p. orch. version, Paris ~[sm1935[nm.[cm~Ashdown Ltd., Edwin. [fy75,1]London
 mus. publishing ~firm (founded [sm1860[nm), successors to Wessel and ~Stodart (
dating from [sm1825[nm).[cm~Ashkenazy, Vladimir [fy75,1]([cf2]b[cf1] Gorky, [sm1
937[nm). Russ. ~pianist and cond. Studied at Moscow State Cons. ~with Lev Oborin
. Winner Queen Elisabeth Prize, ~Brussels, [sm1956[nm; joint winner Tchaikovsky
com~~petition, Moscow [sm1962[nm. Toured USA [sm1958[nm. ~London d;aaebut [sm196
3[nm. Later settled in Eng., but ~now divides time between Iceland and Switzer~~
land. One of finest pianists of post-[sm1950[nm genera~~tion.[cm~Ashton, Algerno
n [fy75,1](Bennet Langton) [cf1]([cf2]b [cf1]Durham, ~[sm1859[nm; [cf2]d[cf1] Lo
ndon, [sm1937[nm). Eng. composer, pianist, ~and teacher. Studied Leipzig Cons. w
ith Reinecke, ~and with Raff at Frankfurt. Prof. of pf. RCM ~[sm1885[nm=n[sm1910
[nm. Comp. [sm5[nm syms., concs., chamber mus. ~Also pubd. [sm2[nm vols. of his
letters to the press on ~every possible subject. Known also for
his ~exploration of London cemeteries, with frequent ~agitation for repair of to
mbstones of great men.[cm~Ashton, [fy75,1](Sir) [fy65][cf3]Frederick [fy75,1](Wi
lliam) [cf1]([cf2]b [cf1]Guayaquil, ~Ecuador, [sm1904[nm). Eng. choreog. Associa
ted with ~SW (now Royal) Ballet since [sm1936[nm. Ballets incl. ~[cf2]Symphonic
Variations[cf1], [cf2]La Fille mal gard;Aaee[cf1], [cf2]Fa;Alcade[cf1], ~[cf2]Ho
roscope[cf1], [cf2]Ondine[cf1], [cf2]Sylvia[cf1], [cf2]Romeo and Juliet[cf1], [c
f2]Cinder~~ella [cf1](first [sm3[nm-act ballet choreog. by Englishman), ~[cf2]En
igma Variations[cf1],[cf2] A Month in the Country[cf1]. C.B.E. ~[sm1950[nm, C.H.
 [sm1970[nm, O.M. [sm1977[nm. Knighted [sm1962[nm.[cm~Askenase, Stefan [fy75,1](
[cf2]b [cf1]Lw;Aaow, Poland, [sm1896[nm). Polish-~born pianist, later Belg. citi
zen. Trained in Lw;aaow ~and Vienna. Prof. of pf., Royal Cons., Brussels ~[sm195
4[nm=n[sm61[nm. Noted Chopin player.[cm~Asola, Giovanni Matteo [fy75,1]([cf2]b[c
f1] Verona, ?[sm1532[nm; [cf2]d[cf1] ~Venice, [sm1609[nm). It. c
omposer. Cath. appointments ~in Treviso [sm1577[nm, and Vicenza [sm1578[nm. Beca
me ~chaplain in Venice [sm1582[nm. Influenced by Giovanni ~Gabrieli and Palestri
na. Comp. book of madrigals ~for [sm2[nm vv. in strict canon throughout.[cm~Aspu
ll, George [fy75,1]([cf2]b [cf1]Manchester, [sm1813[nm; [cf2]d [cf1]Leaming~~ton
, [sm1832[nm). Eng. pianist who gave f.p. in Eng. of ~Weber's [cf2]Konzertst;Auu
ck[cf1].[cm~Asrael. [fy75,1]Title of Sym. in C minor, Op. [sm27[nm, by ~[fy45,1]
*[fy75,1]Suk, comp. [sm1906[nm. Asrael is the Angel of Death. ~Begun as memorial
 to Dvo;Akr;Aaak, Suk's father-in-~law, in [sm1904[nm, became memorial also to S
uk's wife ~who died [sm18[nm months after her father. Contains ~quotation from D
vo;Akr;Aaak's [cf2]Requiem[cf1].[cm~Assai [fy75,1](It.). Very, extremely (former
ly synony~~mous with Fr. [cf2]assez[cf1], but respective meanings ~have changed)
.[cm~Assassinio nella cattedrale, L' [fy75,1](Murder in the ~Cathedral). Opera i
n [sm2[nm acts by Pizzetti to lib. ~adapted by A. Castelli from
play by T. S. Eliot ~([sm1935[nm). Prod. Milan [sm1958[nm.[cm~Assemble All Ye Ma
idens. [fy75,1]No. [sm7[nm of Holst's [sm7[nm ~[cf2]Partsongs [cf1]Op. [sm44[nm
for female vv. and str. to words ~by Robert Bridges, and often perf. separately.
 Has ~part for solo sop. F.p. London [sm1927[nm.[cm~Assez [fy75,1](Fr.). Enough,
 but the usual and best ~translation is `fairly', e.g. [cf2]assez vite[cf1], Fai
rly quick.[cm~Associated Board of the Royal Schools of ~Music. [fy75,1]Founded [
sm1889[nm, partly to combat effect of ~numerous spurious examining bodies, being
 a ~[PN30,0,0,L,I0]combination, for the conduct of local and sch. ~examinations,
 of the RAM, RCM, and also (since ~[sm1972[nm) the RNCM, Manchester, and the RSA
M.[cm~Assoluto [fy75,1](It.). Absolute, free, alone. As in [cf2]prima ~donna [cf
1]([cf2]ballerina[cf1]) [cf2]assoluta[cf1].[cm~Aston [fy75,1](Ashton, Aystoun, e
tc.), [fy65][cf3]Hugh [fy75,1]([cf2]b c[cf1].[sm1485[nm; [cf2]d ~[cf1][sm1558[nm
). Eng. composer of church and virginal ~mus., and pioneer of tr
ue instr. style. Master of ~choristers, St Mary Newarke Coll., Leicester [sm1525
[nm=n~[sm48[nm. Kbd. writing well in advance of his time.[cm~Aston, Peter [fy75,
1](George) ([cf2]b [cf1]Edgbaston, [sm1938[nm). Eng. ~composer, cond., and teach
er. Lecturer, York ~Univ. [sm1964[nm=n[sm74[nm. Prof. of music, Univ. of E. Angl
ia, ~since [sm1974[nm. Cond. Aldeburgh Fest. Singers since ~[sm1975[nm. Ed. comp
lete works of George [fy45,1]*[fy75,1]Jeffreys. ~Works incl. [cf2]Sacrapane the
Sorcerer[cf1], children's ~opera ([sm1969[nm), [cf2]My Dancing Day[cf1], cantata
 ([sm1969[nm), [cf2][sm5[nm ~Songs of Crazy Jane [cf1](Yeats), for sop. solo ([s
m1960[nm), ~[cf2]Haec Dies[cf1], mixed vv. and org. ([sm1971[nm), [cf2][sm3[nm P
ieces [cf1]for ~ob. ([sm1968[nm), and many choral works and part-~songs.[cm~Asto
rga, Baron d' [fy75,1](Emanuele Gioacchino Cesare ~Rinc;Aaon) ([cf2]b [cf1]Augus
ta, Sicily, [sm1680[nm; [cf2]d [cf1]?Madrid, ~[cf2]c[cf1].[sm1757[nm). Sp.-It. s
inger, harpsichordist, and com~~poser, especially of chamber can
tatas and of a ~[cf2]Stabat Mater [cf1](f.p. London [sm1752[nm). His opera [cf2]
Dafni ~[cf1]was prod. Genoa [sm1709[nm.[cm~Atalanta in Calydon. [fy75,1]`Choral
sym.' for vv. only ~by Bantock (Manchester [sm1912[nm), poem by Swin~~burne ([sm
1865[nm). Comp. [sm1911[nm.[cm~A.T.C.L. [fy75,1]Associate of [fy45,1]*[fy75,1]Tr
inity College of Music, ~London.[cm~Atempause [fy75,1](Ger.). Breath pause. Very
 slight ~pause on a weak beat in order to give greater ~effect to the following
strong beat.[cm~A tempo [fy75,1](It.). In time. Denotes reversion to speed ~at b
eginning of piece or movement after a ~deviation.[cm~Athalia. [fy75,1]Oratorio b
y Handel to lib. by S. ~Humphreys, after Racine. Rev. [sm1735[nm and [sm1756[nm.
 ~(F.p. Oxford [sm1733[nm).[cm~Athalie. [fy75,1]Mendelssohn's incidental mus. to
 Ra~~cine's drama (Op. [sm74[nm; [sm1843[nm=n[sm5[nm). Ov. and [cf2]War ~March o
f the Priests [cf1]are the parts usually heard ~today.[cm~Atherton, David [fy75,
1]([cf2]b [cf1]Blackpool, [sm1944[nm). Eng. cond. ~Studied Cambr
idge Univ. D;Aaebut at CG [sm1968[nm, ~Scala, Milan [sm1976[nm, San Francisco [s
m1978[nm. Mus. dir. ~and founder London Sinfonietta [sm1968[nm=n[sm73[nm. Young~
~est ever cond. at Henry Wood Proms., [sm1968[nm. Prin. ~cond. RLPO [sm1980[nm=n
[sm3[nm. Mus. dir. San Diego S.O. ~from [sm1981[nm.[cm~Atkins, [fy75,1](Sir) [fy
65][cf3]Ivor [fy75,1](Algernon) ([cf2]b [cf1]Llandaff, [sm1869[nm; [cf2]d ~[cf1]
Worcester, [sm1953[nm). Eng. organist, composer, and ~cond. Organist Worcester C
ath. [sm1897[nm=n[sm1950[nm. ~Cond. Worcester Fests.; composer of choral works,
~e.g. [cf2]Hymn of Faith[cf1]. Ed. with Elgar of Bach's [cf2]St ~Matthew Passion
 [cf1]([sm1911[nm). Knighted [sm1921[nm.[cm~Atl;aaantida [fy75,1](Atlantis). [cf
2]Cantata esc;aaenica [cf1]by [fy45,1]*[fy75,1]Falla in ~prol. and [sm3[nm parts
, text being poem by Jacinto ~Verdaguer adapted by Falla. Begun [sm1926[nm and l
eft ~unfinished in [sm1946[nm. Rev. and completed in first ~version by Ernesto [
fy45,1]*[fy75,1]Halffter, Barcelona [sm1961[nm ~ (staged Milan [
sm1962[nm), Edinburgh [sm1962[nm. Halffter's ~[sm2[nmnd (concert) version f.p. L
ucerne [sm1976[nm.[cm~Atlas, Dalia [fy75,1]([cf2]b [cf1]Haifa, [sm1933[nm). Isra
eli cond. and ~pianist. Studied Haifa Cons., Israel Acad. of Mus., ~and with Cel
ibidache and Swarowsky. Cond., ~Haifa Chamber Orch. from [sm1963[nm. Guest cond.
 ~BBC Northern S.O. from [sm1964[nm, RLPO [sm1964[nm, ~Houston S.O. [sm1976[nm,
and other leading orchs.[cm~Atmosph;ageres [fy75,1](Atmosphere). Work for orch.
by ~[fy45,1]*[fy75,1]Ligeti, comp. [sm1961[nm, f.p. Donaueschingen, cond. ~Rosba
ud, [sm1961[nm.[cm~Atonal. [fy75,1]Not in any key, hence atonality. [fy45,1]*[fy
75,1]Schoen~~berg preferred the term pantonal, denoting ~synthesis of all keys.
Atonality is usually applied ~where there is no tonal centre and the notes of ~t
he chromatic scale are used impartially: the [sm12[nm ~notes of the octave funct
ion independently, ~unrelated to a key centre. Atonality is foresha~~[chdowed in
 the mus. of Debussy and Skryabin, even ~Liszt, but can perhaps
be dated from the finale of ~Schoenberg's [sm2[nmnd str. qt. ([sm1908[nm). From
atonality ~there developed the [fy45,1]*[fy75,1]twelve-note system. With ~atonal
ity, consonances and dissonances of trad. ~harmony no longer apply.[cm~A.T.S.C.
[fy75,1]Associate, Tonic Sol-fa College of Music.[cm~Attacca [fy75,1](It.). Atta
ck! (imperative). Used at the ~end of a movement to mean `Start the next ~moveme
nt without a break'.[cm~Attacco. [fy75,1]Very short [cf2]motif [cf1]used as mate
rial for ~imitation or as fugue subject (see [cf2]Andamento[cf1]).[cm~Attaignant
, Pierre [fy75,1]([cf2]b[cf1] ?Donai, [cf2]c[cf1].[sm1494[nm; [cf2]d[cf1] Paris,
 ~[sm1552[nm). Fr. mus. printer and publisher. Experi~~mented for years with mus
ic types. In [sm1527[nm=n[sm8[nm ~produced [cf2]Chansons nouvelles[cf1] in a dia
mond-shaped ~notation, with staff segments attached, which ~required only one im
pression. This halved the ~printing time and led to cheap printed mus. ~From [sm
1537[nm was official printer of the King's mus. ~First publisher
 to achieve a European distribution.[cm~Attaque [fy75,1](Fr.). Attack. The [cf2]
Chef d'attaque [cf1]in an ~orch. is the leader (Amer. `Concert-master').[cm~Atte
rberg, Kurt [fy75,1]([cf2]b[cf1] Gothenburg, [sm1887[nm; [cf2]d [cf1]Stock~~holm
, [sm1974[nm). Swed. composer and writer on mus., ~subsidized by the Swed. Govt.
 Mus. critic, ~[cf2]Stockholms Tidningen[cf1] [sm1919[nm=n[sm57[nm. Composer of
[sm5[nm ~operas, [sm5[nm concs., and [sm9[nm syms. of which the [sm6[nmth ~won t
he ;bp[sm2[nm,[sm000[nm prize offered by Columbia ~Graphophone Co. in the centen
ary year of ~Schubert's death ([sm1928[nm). Sec. RAM, Stockholm, ~[sm1940[nm-[sm
53[nm.[cm~[PN31,0,0,R,I0]Attey, John [fy75,1]([cf2]d [cf1]Ross-on-Wye, [sm1640[n
m). Eng. com~~poser who pubd. a book of lute songs in [sm1622[nm (the ~last of s
uch publications to appear).[cm~At The Boar's Head. [fy75,1]Opera in [sm1[nm act
 about Falstaff ~by Holst to lib. adapted by composer from ~Shakespeare's [cf2]H
enry IV Parts [sm1[nm and [sm2[nm. [cf1]Music based ~largely on
folk tunes. Comp. [sm1924[nm. (Prod. Man-[fj~chester [sm1925[nm; NY [sm1935[nm).
[cm~Attila. [fy75,1]Opera in [sm3[nm acts with prol., by Verdi to lib. ~by Soler
a. Verdi's [sm9[nmth opera. Comp. [sm1845=n6[nm. (Prod. ~Venice [sm1846[nm; Lond
on [sm1848[nm; NY [sm1850[nm). Revived ~in [sm1951[nm (concert perf.) after long
 neglect; staged ~Florence, [sm1962[nm, SW [sm1963[nm.[cm~Attwood, Thomas [fy75,
1]([cf2]b [cf1]London, [sm1765[nm; [cf2]d [cf1]London, ~[sm1838[nm). Eng. compos
er and org. Boy chorister in ~Chapel Royal; pupil in Vienna of Mozart; host ~and
 friend in London of Mendelssohn; org. St ~Paul's Cath., [sm1796[nm=n[sm1838[nm;
 composer of th. and ~church mus. One of first profs. at RAM, [sm1823[nm. ~Found
er-member of Philharmonic Soc., [sm1813[nm.[cm~Atzmon, Moshe [fy75,1]([cf2]b [cf
1]Budapest, [sm1931[nm). Hung.-born ~cond. Studied Tel Aviv Cons. and Acad. of M
us., ~and GSM. First prize, Liverpool Int. Cond. ~Competition, [sm1964[nm. Chief
 cond., Sydney S.O. ~[sm1969[nm=n[sm71[nm. Cond. N. Ger. Radio S
.O. [sm1972[nm=n[sm6[nm. Chief ~cond. Basle S.O. Guest cond. of world's leading
~orchs. Opera d;aaebut, Berlin [sm1969[nm.[cm~Aubade [fy75,1](Fr., from [cf2]Aub
e[cf1], dawn). Early morning ~music, likewise [fy45,1]*[fy75,2]Serenade[cf1]=mev
ening music.[cm~Aubade H;aaero;Auique [fy75,1](Heroic dawn). Orch. work ~by [fy4
5,1]*[fy75,1]Lambert, f.p. [sm1942[nm, inspired by composer's ~witnessing dawn i
nvasion of The Hague by Ger. ~parachutists in [sm1940[nm.[cm~Auber, Daniel [fy75
,1](Fran;Alcois Esprit) ([cf2]b [cf1]Caen, [sm1782[nm; [cf2]d ~[cf1]Paris, [sm18
71[nm). Fr. composer. Pupil of Cherubini. In ~youth, in business in London; then
 prominent in ~Paris as composer of instr. mus., and later of ~operas in which h
e collab. with the dramatist ~Scribe. Wrote in all [sm49[nm operas, of which the
 best ~known are [cf2]La Berg;Agere ch;Afatelaine [cf1]([sm1820[nm), [cf2]La Mue
tte ~de Portici [cf1]([fy45,1]*[fy75,2]Masaniello[cf1]) ([sm1828[nm), [fy45,1]*[
fy75,2]Fra Diavolo [cf1]([sm1830[nm), ~[cf2]Le Cheval de bronze
[cf1]([sm1835[nm), [cf2]Le Domino noir [cf1]([sm1837[nm), ~[cf2]Les Diamants de
la couronne [cf1]([sm1841[nm), and [cf2]Manon ~Lescaut [cf1]([sm1856[nm). From [
sm1842[nm to [sm1870[nm was head of ~Paris Cons. and in [sm1852[nm mus. dir. to
Napoleon III.[cm~Aubert, Jacques [fy75,1]([cf2]b [cf1]Paris, [sm1689[nm; [cf2]d
[cf1]Belleville, [sm1753[nm). ~Fr. violinist and composer of mus. for vn. and fo
r ~the stage. Wrote several vn. sonatas with bass, [sm10[nm ~concs. for [sm4[nm
vn. and bass, opera, and short pieces.[cm~Aubin, Tony [fy75,1](Louis Alexandre)
([cf2]b [cf1]Paris, [sm1907[nm; [cf2]d[cf1] ~Paris, [sm1982[nm). Fr. composer an
d cond., pupil of ~Dukas. Won [cf2]Prix de Rome [cf1][sm1930[nm. Prof. of comp.,
 ~Paris Cons., [sm1945[nm. [sm2[nm syms., choral works, film ~mus., str. qt., et
c.[cm~Auden, W[fy75,1](ystan) [fy65][cf3]H[fy75,1](ugh) ([cf2]b[cf1] York, [sm19
07[nm; [cf2]d [cf1]Vienna, ~[sm1973[nm). Eng.-born poet (later Amer. citizen) an
d ~librettist. Wrote lib. for Britten's first opera [fy45,1]*[fy
75,2]Paul ~Bunyan[cf1] ([sm1941[nm) and, with Chester Kallman, for ~Stravinsky's
 [cf2]The [fy45,1]*[fy75,2]Rake's Progress [cf1]([sm1951[nm), and ~Henze's [fy45
,1]*[fy75,2]Elegy for Young Lovers [cf1]([sm1961[nm) and [cf2]The ~[fy45,1]*[fy7
5,2]Bassarids [cf1]([sm1966[nm).[cm~Audran, Edmond [fy75,1]([cf2]b [cf1] Lyons,
[sm1840[nm; [cf2]d [cf1]Tierceville, ~[sm1901[nm). Fr. organist at Marseilles an
d composer ~first of church mus. and later (with great success) ~of comic operas
 such as [cf2]La Mascotte [cf1]([sm1880[nm), and ~[cf2]La Poup;Aaee [cf1]([sm189
6[nm).[cm~Auer, Leopold [fy75,1]([cf2]b [cf1]Veszpr;Aaem, Hung., [sm1845[nm; [cf
2]d ~[cf1]Loschwitz, Dresden, [sm1930[nm). Hung. violinist and ~teacher. Pupil o
f Joachim and others. Played in ~Ger. orchs. until in [sm1868[nm he became head
of the ~vn. dept. of St Petersburg Cons., a post he held ~until [sm1917[nm. Tcha
ikovsky dedicated his vn. conc. ~to him, but he refused it, saying the work was
~unplayable in its orig. form. Among his pupils ~were Heifetz, Z
imbalist, and Elman.[cm~Auf [fy75,1](Ger.). On, etc., e.g. [cf2]Auf der G [cf1](
like It. [cf2]Sul G[cf1]), ~means On the G (str.).[cm~[rfAuf einer Gondel [fy75,
1](On a gondola). Title given by ~[fy45,1]*[fy75,1]Mendelssohn to [sm3[nm of his
 [cf2]Lieder ohne Worte[cf1]: Op. ~[sm19[nm, No. [sm6[nm in G minor, Book I ([sm
1834[nm); Op. [sm30[nm, No. ~[sm12[nm in F;Yi minor, Book II ([sm1835[nm), and O
p. [sm62[nm, No. ~[sm29[nm in A minor, Book VI ([sm1843[nm).[cm~Aufforderung zum
 Tanz [fy75,1](Weber). See [cf2]Invitation ~to the Dance[cf1].[cm~Auff;Auuhrung
[fy75,1](Ger., from [cf2]Auff;Auuhren[cf1], to perform). ~Performance. [cf2]Auff
;Auuhrungspraxis[cf1] is the practicali~~ties of perf., particularly in relation
 to old mus. ~where a composer's directions were often lacking ~in explicit deta
il.[cm~Auflage [fy75,1](Ger.). Edition.[cm~Aufl;Auosen [fy75,1](Ger.). To loosen
, release, etc. ([sm1[nm) To ~resolve a discord.[ep~^([sm2[nm) In harp playing,
to lower again a str. which ~has been raised in pitch. (Hence th
e noun ~[cf2]Aufl;Auosung[cf1], [cf2]Aufl;Auosungszeichen[cf1], release-sign).[e
p~^([sm3[nm) The sign for the natural (;Yj).[cm~Aufschlag [fy75,1](Ger.). Up-bea
t (down-beat being ~[cf2]Niederschlag[cf1]).[cm~Aufschnitt [fy75,1](Ger.). Slit,
 i.e. portion omitted, a cut ~(in a score, etc.).[cm~Aufschwung [fy75,1](Ger.).
Up-soaring, flight, e.g. [cf2]Mit ~Aufschwung[cf1], in a lofty (impassioned) spi
rit.[cm~Aufstieg und Fall der Stadt Mahagonny ~[fy75,1](Weill). See [cf2]Rise an
d Fall of the City of Mahagonny[cf1].[cm~Aufstrich [fy75,1](Ger.). Up-bow (in st
r. playing; down-~bow being [cf2]Niederstrich[cf1]).[cm~Auftakt [fy75,1](Ger.).
Up-beat (down-beat being [cf2]Nied~~erschlag[cf1]).[cm~Aufzug [fy75,1](Ger.). Ra
ising (of curtain). Act (of stage ~work).[cm~Augengl;Auaser [fy75,1](Ger.). Eye-
glasses. Word used by ~Beethoven on title-page of his duet for vn. and ~vc.=m`mi
t [sm2[nm Augengl;auaser obbligato', being a ~[PN32,0,0,L,I0]jocular reference t
o the [sm2[nm spectacled players for ~whom it was comp.[cm~Augen
licht, Das [fy75,1](Eyesight). Setting by [fy45,1]*[fy75,1]Webern, ~Op. [sm26[nm
, for mixed ch. and orch. of text by ~Hildegard Jone. Comp. [sm1935[nm. Pubd. [s
m1938[nm. F.p. ~London [sm1938[nm, cond. Scherchen.[cm~Augmentation and Diminuti
on. [fy75,1]In melodic ~parts, the respective lengthening and shortening ~of the
 time-values of the notes. Thus, in a fugue, ~the subject may (especially toward
s the end) ~appear in longer notes, a device which adds ~dignity and impressiven
ess.[cm~Augmentation, Canon by. [fy75,1]When the imitating ~vv. in a [fy45,1]*[f
y75,1]canon are in longer notes than that ~which they are imitating. Canon by di
minution ~is the reverse process.[cm~Augmented Intervals. [fy75,1]If any perfect
 or major ~[fy45,1]*[fy75,1]interval is increased by a semitone it becomes ~augm
ented. Thus:[ep~[xp[ol0][xfAugmented|[sv1,1s][ep~2nd:|[sv2,1s][ep~C up to G^, wi
th harmonic[sv3,1s][ep~[va0,1,3][sv4,3s][vs5,4,29][vd0,2,5][ep~[cl8][rf[ap[dt5vg
,1v,2v,3v,][bt~Augmented[ep~[nt~[sm1[nmst:[ep~[nt~C up to C;Yi[e
p~[et~[bt~,,[qc~[nt~[sm2[nmnd:[ep~[nt~C up to D;Yi[ep~[et~[bt~,,[qc~[nt~[sm4[nmt
h:[ep~[nt~C up to F;Yi[ep~[et~[bt~,,[qc~[nt~[sm5[nmth:[ep~[nt~C up to G;Yi, with
 harmonic ~implication of major [sm3[nmrd, ~e.g. augmented [sm5[nmth chord ~on C
 ;Eq C =n E =n G;Yi[ep~[et~[bt~,,[qc~[nt~[sm6[nmth:[ep~[nt~C up to A;Yi.[ep~[et~
[bn^Chords of augmented [sm6[nmth are chromatic. The [sm3[nm ~most common are as
 follows (e.g. in key of C):[ep~[ol4][ep~_ _ (a)_ _ (b)_ _ (c) _ _[fj~[ep~[ol20]
[ep~[xn^(a)^Chord of the Italian [sm6[nmth: A;Yh =n C =n F;Yi[ep~^(b)^=+Chord of
 French [sm6[nmth: A;Yh =n C =n D =n F;Yi[ep~^(c)^=+=+Chord of the German [sm6[n
mth: A;Yh =n C =n E;Yh =n F;Yi[ep~[ep~The Ger. [sm6[nmth is the commonest and se
rves as a ~convenient pivot for modulation, since it may be ~approached as based
 on the flattened submediant ~in one key, and quitted as based on the flattened
~supertonic in another (or vice versa); also, by ~enharmonic change (see [cf2]In
terval[cf1]), it can be ~transformed into the chord of the Domin
ant [sm7[nmth ~of another key, and so quitted (e.g. the Ger. [sm6[nmth ~in key C
 (A;Yh =n C =n E;Yh =n F;Yi) can be treated as the ~chord [cj3,4,27]of the Domin
ant [sm7[nmth in key D;Yh (A;Yh =n C =n E;Yh =n ~G;Yh)).[ep~[nb_There are other
possibilities.[ep~^Augmented [sm8[nmth: C up to next C;Yi but one.[cm~Augmented
Triad. [fy75,1]A triad of which the [sm5[nmth is ~augmented (and so in a diminis
hed triad, the [sm5[nmth ~is diminished).[cm~Augusteo. [fy75,1]Rome concert-hall
, opened in [sm1908[nm, ~built on the ruins of the mausoleum of Augustus.[cm~Aul
d Lang Syne. [fy75,1]The poem is a re-casting by ~Robert Burns (pubd. in final f
orm [sm1794[nm) of a ~popular song (probably orig. a folk-song) then ~current in
 various versions. The tune now current ~is sometimes stated to be by [fy45,1]*[
fy75,1]Shield; something ~like it appeared in his opera [cf2]Rosina[cf1], as a p
art of ~the ov. (CG [sm1783[nm), where it is treated to imitate ~Scottish bagpip
e mus. [cf2]Sir Alexr. Don's Strathspey ~[cf1](issued possibly a
 year later than the perf. of ~Shield's opera) seems to have strong claim to be
~the orig.; it may have already been known to ~Shield, who was brought up at Dur
ham, not far ~from the Scottish border. The air, like many Scots ~tunes, is base
d on the pentatonic scale. It has been ~proposed as the `hidden theme' in Elgar'
s [fy45,1]*[fy75,2]Enigma ~Variations[cf1], but the composer denied it.[cm~Aulos
. [fy75,1]Ancient Gr. wind instr. with double reed, ~used to accompany the dithy
ramb in the orgiastic ~rites of Dionysus.[cm~Auric, Georges [fy75,1]([cf2]b [cf1
]Lod;Ageve, H;Aaerault, Fr., [sm1899[nm; [cf2]d[cf1] ~Paris, [sm1983[nm). Fr. co
mposer. Studied Paris Cons. ~and Schola Cantorum (pupil of d'Indy). Youngest ~me
mber of [cf2]Les [fy45,1]*[fy75,2]Six[cf1]. Wrote for Diaghilev ballet ~in [sm19
20[nms and worked as mus. critic. Gen. admin., ~Paris Op;Aaera and Op;Aaera Comi
que  [sm1962[nm=n[sm8[nm. Works ~incl. operas, ballets (notably [cf2]Les Matelot
s[cf1], [sm1925[nm), ~film mus., orch. works, pf. sonata, songs
etc.[cm~Aurora's Wedding. [fy75,1]The divertissement of the ~last act, perf. sep
arately, of ballet [cf2]The Sleeping ~Beauty [cf1](mus. by Tchaikovsky)  supplem
ented by ~extra numbers based on Diaghilev's London prod. ~[sm1921[nm. F.p. Pari
s [sm1922[nm.[cm~Aurresku. [fy75,1]A type of Basque folk dance. The ~[fy45,1]*[f
y75,1]zortziko [cf1]forms part of it.[xm[cm~[ol0][ep~[xp[te~








[do19][j99]~~~~~~153842_AC04[ep~[u1]~~~~153842[cmConcise Oxford Dict. of ~Music[
cmAC04[cm19[cm1[cm~11/10/79[cm8[cm577[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~~[ap[j1]Aus
 den Sieben Tagen [fy75,1](From the Seven Days). ~[sm15[nm comps. by [fy45,1]*[f
y75,1]Stockhausen ([sm1968[nm) for varying ~ens. for upwards of [sm3[nm musician
s. Each piece has a ~verse or text to suggest a mood the players must ~create, a
 way of playing, combinations of both, ~etc., e.g. No. [sm14[nm [cf2]Goldstaub [
cf1](Gold Dust) for small ~ens.: `Live completely alone for [sm4[nm days without
 ~food in complete silence, without much move~~ment. Sleep as little as necessar
y, think as little as ~possible. After [sm4[nm days, late at night, without ~tal
king beforehand, play single sounds WITH~~OUT THINKING what you are playing. Clo
se ~your eyes. Just listen.' The [sm15[nm items are [sm1[nm. [cf2]Richtige ~Daue
rn [cf1](Right Durations), about [sm4[nm players; [sm2[nm. ~[cf2]Unbegrenzt [cf1
](Unlimited), ens.; [sm3[nm. [cf2]Verbindung ~[cf1](Union), ens.
; [sm4[nm. [cf2]Treffpunkt [cf1](Rendezvous), ens.; [sm5[nm. ~[cf2]Nachtmusik [c
f1](Night Music), ens.; [sm6[nm. [cf2]Abw;Auarts [cf1](Down~~wards) ens.; [sm7[n
m. [cf2]Aufw;Auarts [cf1](Upwards), ens.; [sm8[nm. [cf2]Oben ~und Unten [cf1](Hi
gh and Low), th. piece for man, ~woman, child, [sm4[nm instr.; [sm9[nm.[cf2] Int
ensit;Auat [cf1](Intensity), ~ens.; [sm10[nm. [cf2]Setz die Segel zur Sonne [cf1
](Set sail for the ~Sun), ens.; [sm11[nm. [cf2]Kommunion [cf1](Communion), ens.;
 ~[sm12[nm. [cf2]Litanei [cf1](Litany), speaker or ch.; [sm13[nm. [cf2]Es [cf1](
E;Yh), ~ens.; [sm14[nm. [cf2]Goldstaub [cf1](Gold Dust), small ens.; ~[sm15[nm.|
[cf2]Ankunft [cf1](Arrival), speaker or speaking ch.[cm~Ausdruck [fy75,1](Ger.).
 Expression. Hence [cf2]ausdrucks~~voll[cf1], expressively.[cm~Ausf;Auullgeiger
[fy75,1](Ger.). Filling-out fiddler. A [fy45,1]*[fy75,2]Ri~~pieno [cf1]violinist
.[cm~[PN33,0,0,R,I0]Ausgabe [fy75,1](Ger.). Out-giving. Edition.[cm~Ausgehalten
[fy75,1](Ger.). Held out, i.e. Sustained.[cm~Aushalten [fy75,1](
Ger.). To hold out, i.e. To sustain; so ~[cf2]aushaltungszeichen[cf1], holding-o
ut sign, i.e. pause.[cm~Aus Italien [fy75,1](From Italy). Symphonic Fantasia in
~[sm4[nm movements by Richard Strauss, Op. [sm16[nm, his first ~orch. work with
pictorial background. Comp. ~[sm1886[nm. F.p. Munich [sm1887[nm. Finale quotes D
enza's ~[cf2]Funicul;agi, Funicul;aga[cf1].[cm~Aus meinem Leben [fy75,1](From my
 Life; Cz. [cf2]Z m;Aaeho ~;Akzivota[cf1]). Sub-title of Smetana's Str. Qt. No.
[sm1[nm in E ~minor ([sm1876[nm), an avowedly autobiographical ~work.[cm~Austin,
 Frederic [fy75,1]([cf2]b[cf1] London, [sm1872[nm; [cf2]d [cf1]London, ~[sm1952[
nm). Eng. bar. and composer. Opera d;aaebut CG ~[sm1908[nm as Gunther in [cf2]Th
e Ring [cf1]under Richter. Prin. ~bar., Beecham Opera. Sang Peachum in his own ~
highly successful version of [cf2]The [fy45,1]*[fy75,2]Beggar's Opera[cf1], ~[sm
1920[nm. Art dir., BNOC, [sm1924[nm. Comp. sym., ~symphonic poem, choral works.[
cm~Austin, Richard [fy75,1]([cf2]b [cf1]Birkenhead, [sm1903[nm).
 Eng. ~cond. Trained RCM under Boult and Sargent and ~in Milan [sm1922[nm=n[sm6[
nm. Cond. Carl Rosa Opera and ~then Bournemouth Municipal Orch. [sm1934[nm=n[sm4
0[nm. ~Mus. dir. New Era Concert Soc. [sm1947[nm=n[sm57[nm. Prof. ~RCM from [sm1
946[nm. Son of Frederic [fy45,1]*[fy75,1]Austin.[cm~Austin, Sumner [fy75,1](Fran
cis) ([cf2]b [cf1]Anerley, Kent, [sm1888[nm; ~[cf2]d[cf1] Oxford, [sm1981[nm). E
ng. bar. and opera prod. Carl ~Rosa [sm1919[nm, then with O'Mara Opera Co. Sang
at ~Old Vic and SW from [sm1920[nms to [sm1940[nm. Prod. many ~SW operas, also f
irst Eng. prod. of [fy45,1]*[fy75,2]Wozzeck [cf1]at ~CG [sm1952[nm.[cm~Austral,
Florence [fy75,1](n;Aaee Wilson) [cf1]([cf2]b[cf1] Richmond, ~Melbourne, [sm1894
[nm; [cf2]d [cf1]Newcastle, N.S.W., [sm1968[nm). ~Australian sop. Br;Auunnhilde
for BNOC in [cf2]Die ~Walk;Auure[cf1], CG [sm1922[nm, and later in complete [cf2
]Ring ~[cf1]cycles in London and on tour. Also a fine Isolde ~and Aida.[cm~Austr
ia. [fy75,1]Name under which the Austrian `Em~~peror's Hymn', co
mp. by Haydn, is found in ~many hymnals.[cm~Auszug [fy75,1](Ger.). ([sm1[nm) Ext
ract.[ep~^([sm2[nm) Arrangement.[cm~Authentic Cadence. [fy75,1]See [cf2]Cadence[
cf1].[cm~Authentic Modes. [fy75,1]See [cf2]Modes[cf1].[cm~Autoharp. [fy75,1]Type
 of easily-played [fy45,1]*[fy75,1]zither, played ~with the fingers or a plectru
m. Chords are prod. ~by depressing keys.[cm~Auxcousteaux [fy75,1](Hautcousteaux)
, [fy65][cf3]Artus [fy75,1]([cf2]b ~[cf1]?Amiens, [sm1590[nm; [cf2]d[cf1] Paris,
 [sm1654[nm). Fr. composer of ~church mus. and secular songs. Singer in chapel ~
of Louis XIII [sm1613[nm=n[sm27[nm and later dir. of mus., St ~Quentin Cath.[cm~
Auxiliary Note. [fy75,1]This may be described as a ~variety of [fy45,1]*[fy75,1]
Passing Note which, instead of passing ~[cf2]on [cf1]to another note, passes [cf
2]back [cf1]to the note it has ~just left. Such a note may, like a Passing Note,
 be ~either diatonic or chromatic. Shakes, [fy45,1]*[fy75,1]Mordents, ~and Turns
 offer examples of the Auxiliary Note ~applied decoratively.[cm~
Avant-garde [fy75,1](Fr. `vanguard'=+=+). Term used in the ~arts to denote those
 who make a radical departure ~from tradition. In [sm20[nmth cent. mus., Stockha
usen ~may be regarded as [cf2]avant-garde[cf1], but not Shosta~~kovich.[cm~Aveli
ng, Valda [fy75,1]([cf2]b [cf1]Sydney, N.S.W., [sm1920[nm). Aus~~tralian pianist
, harpsichordist, and teacher. Stud~~ied N.S.W. State Cons., Sydney. D;Aaebut Sy
dney ~[sm1938[nm. Settled in Eng. Duo with Evelyn [fy45,1]*[fy75,1]Barbi~~rolli,
 co-recitalist with Menuhin, Joan Sutherland, ~etc.[cm~Ave Maria [fy75,1](Hail M
ary). Prayer consisting partly ~of the biblical salutations of the Archangel Gab
riel ~and Elizabeth to the Virgin Mary, and partly of ~matter added in the [sm15
[nmth cent. Many settings, ~that by Schubert being to a Ger. trans. of Walter ~S
cott's poem from `The Lady of the Lake' ([sm1810[nm). ~That known as by `Bach-Go
unod' is the first ~prelude from Bach's [fy45,1]*[fy75,2]Wohltemperierte Klavier
 ~[cf1]with Gounod's [cf2]M;Aaeditation[cf1] as counterpoint, th
e ~words having been added by someone else.[cm~Ave Maris Stella [fy75,1](Hail, S
tar of the Sea). Hymn ~of R.C. Church.[cm~Ave Regina  Coelorum. [fy75,1]See [cf2
]Antiphons of the ~Blessed Virgin Mary[cf1].[cm~Ave Verum Corpus [fy75,1](Hail,
true body). Hymn ~(anonymous and of unknown date) possessing its ~own plainsong
and also frequently set by compos~~ers (Despr;Ages, Byrd, Mozart, Cherubini, S.
Wesley, ~Gounod, Elgar, etc.), such motet settings being ~frequently sung in the
 Roman office of Benedic~~tion. Translations sometimes begin [cf2]Jesu, Word of
~God Incarnate, Jesu, Blessed Word of God Incarnate, ~[cf1]or [cf2]Word of God I
ncarnate[cf1].[cm~Avidom, Menahem [fy75,1](orig. Mahler-Kalkstein) ([cf2]b ~[cf1
]Stanislawow, Poland, [sm1908[nm). Polish-born Israeli ~composer and sec.-gen. o
f Israel P.O. Studied in ~Beirut and Paris, settled Tel Aviv [sm1935[nm. Wrote [
sm9[nm ~syms., [sm5[nm operas, concs. Mus. critic, [cf2]Jerusalem Post ~[cf1][sm
1958[nm=n[sm73[nm.[cm~Avison, Charles [fy75,1]([cf2]b [cf1]Newca
stle upon Tyne, [sm1709[nm; ~[cf2]d [cf1]Newcastle upon Tyne, [sm1770[nm). Eng.
composer; ~pupil in London of [fy45,1]*[fy75,1]Geminiani; organist of ~parish ch
urch of his native town from [sm1736[nm; ~composer of [sm60[nm concs. for str. o
rch., [sm3[nm vols. of ~sonatas for hpd. and vn., and author of much-~discussed
[cf2]Essay on Musical Expression [cf1]([sm1752[nm).[cm~Avison Edition. [fy75,1]E
dn. of works by Brit. compo~~[chsers, prod. by certain publishers under the ausp
ices ~of Soc. of Brit. Composers between [sm1905[nm and ~[sm1918[nm.[cm~Avoided
Cadence. [fy75,1]See [cf2]Cadence[cf1].[cm~[PN34,0,0,L,I0]Ax, Emmanuel [fy75,1](
[cf2]b [cf1]Lw;aaow, [sm1949[nm). Polish-born ~Amer. pianist. Studied Warsaw and
 Juilliard Sch., ~NY. Has lived in USA since [sm1961[nm. [sm1[nmst prize, [sm1[n
mst ~Rubinstein comp., Israel, [sm1974[nm. NY d;aaebut [sm1975[nm, ~London [sm19
77[nm. Noted Chopin-player, also inter~~preter of Ravel, Bart;aaok, and Schoenbe
rg.[cm~Axman, Emil [fy75,1]([cf2]b [cf1]Ratay, Moravia, [sm1887[
nm; [cf2]d [cf1]Prague, ~[sm1949[nm). Cz. composer of [sm6[nm syms., sonatas, [s
m4[nm str. ~qts., choral works. Pupil of Nov;Aaak.[cm~Ayre. [fy75,1]Medieval spe
lling of `Air', a type of Eng. ~song written by [fy45,1]*[fy75,1]Dowland and oth
ers, less ~contrapuntal than a madrigal, being more like a ~strophic song, with
vocal or instr. (usually lute) ~acc., pubd. in a large book around which the ~pe
rformers could gather.[cm~Ayrton, Edmund [fy75,1]([cf2]b [cf1]Ripon, [sm1734[nm;
 [cf2]d [cf1]Westminster, ~[sm1808[nm). Eng. organist and composer. Master of ~C
hildren of Chapel Royal [sm1780[nm=n[sm1805[nm. His son ~William ([cf2]b [cf1]Lo
ndon, [sm1777[nm; [cf2]d [cf1]London, [sm1858[nm) was a ~mus. critic and a found
er of the Philharmonic ~Soc.[xm[cm~[j4]~[xp[te~



[do19][j99]~~~~~~[sm153842[nm_B[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmB[sm001[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm1[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[PN35,0,0,R,I0][ap[j3]~B[c
m~~[j1]B.[fy75,1] [sm7[nmth degree of natural scale of C. So B;Yh, B;Yh;Yh,[fj~B
;Yj, B;yi, B;Yi;Yi, B major, B minor etc. In Ger., B=+=+;Eq~=+=+B;Yh and B;Yh=+=
+;Eq=+=+B;Yh;Yh. The Eng. note B is represented ~in Ger. by H (hence composers c
an write fantasias ~on the name BACH, the notes being B;Yh-A-C-B;Yj.[fj~J. S. Ba
ch himself used these notes in the ~unfinished final fugue of [cf2]The Art of Fu
gue[cf1]).[cm~Baal Shem. [fy75,1]Suite for vn. and pf. by Bloch, comp. ~[sm1923[
nm, subtitled `[sm3[nm pictures of Chassidic Life'. Baal ~Shem Tov (Master of th
e Good Name) founded ~the Jewish sect of Chassidism in [sm17[nmth cent. ~Movemen
ts are [cf2]Vidui [cf1](Contrition), [cf2]Nigun [cf1](Improv~~isation), and [cf2
]Simchas Torah [cf1](Rejoicing). Version ~with orch., [sm1939[nm
.[cm~Babar le petit ;Aael;Aaephant, Histoire de [fy75,1](Story of ~Babar the lit
tle elephant). Narration for v. and pf. ~by Poulenc to text by Jean de Brunhof.
Comp. ~[sm1940[nm=n[sm5[nm. Version with orch. by [fy45,1]*[fy75,1]Francaix, [sm
1962[nm.[cm~Babbitt, Milton [fy75,1]([cf2]b [cf1]Philadelphia, [sm1916[nm). Amer
. ~composer and mathematician. Studied at Prince~~ton Univ. and with Roger [fy45
,1]*[fy75,1]Sessions. On staff at ~Princeton since [sm1938[nm, becoming Conant P
rof. of ~Mus. His comps. developed from the [sm12[nm-note ~system of Schoenberg
and Webern, later employ~~ing elec. devices such as synthesizers and tape. ~Auth
or of articles and monographs on Bart;Aaok ~qts., elec. mus., Var;Agese, and Sch
oenberg. Works ~incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Relata I [cf1]([sm1965[nm),
 [cf2]II [cf1]([sm1968[nm); [cf2]Concerti[cf1], vn., ~orch., tape ([sm1974[nm=n[
sm6).[ep~[smchamber music[nm: [cf2]Composition for [sm4[nm instruments ~[cf1]([s
m1948[nm); Str. Qts.: No. [sm1[nm ([sm1950[nm), No. [sm2[nm ([sm
1954[nm), ~No.|[sm3[nm ([sm1969[nm=n[sm70[nm), No. [sm4[nm ([sm1970[nm); Woodwin
d Qt. ~([sm1953[nm).[ep~[smchoral[nm: [cf2]Music for the Mass [cf1]([sm1941[nm);
 [sm4[nm [cf2]Canons ~[cf1]([sm1969[nm); [cf2]More Phenomena [cf1]([sm1977[nm).[
ep~[smpiano[nm: [cf2][sm3[nm Compositions [cf1]([sm1947[nm); [cf2]Partitions [cf
1]([sm1957[nm); ~[cf2]Post-Partitions [cf1]([sm1966[nm); [cf2]Reflections[cf1],
with tape ~([sm1974[nm).[ep~[smelectronic[nm: [cf2]Composition for Synthesizer [
cf1]([sm1961[nm); ~[cf2]Philomel[cf1], sop., recorded sop., and syn. ([sm1964[nm
); ~[cf2]Correspondences[cf1], string orch. and syn. ([sm1967[nm); ~[cf2]Phenome
na[cf1], sop. and tape ([sm1974[nm).[cm~[j1]Babell, William [fy75,1]([cf2]b [cf1
]Canonbury, [cf2]c[cf1].[sm1690[nm; [cf2]d [cf1]Can~~onbury, [sm1723[nm). Eng. o
rganist, harpsichordist, ~violinist, and composer for his instrs. Noted for ~his
 virtuoso hpd. arrs. of operatic arias and for the ~embellishments in his sonata
s.[cm~Babin, Victor [fy75,1]([cf2]b [cf1]Moscow, [sm1908[nm; [cf
2]d [cf1]Cleveland, ~Ohio, [sm1972[nm). Russ.-born pianist and composer. ~Studie
d in Berlin with Schnabel and Schreker. ~Settled in USA [sm1937[nm. Dir., Clevel
and Institute of ~Mus. from [sm1961[nm. Famous pf. duo with his wife, ~Vitya [fy
45,1]*[fy75,1]Vronsky, whom he married [sm1933[nm. Works ~incl. [sm2[nm-pf. conc
., [cf2]Konzertst;Auuck [cf1]for vn. and orch., ~str. qt., songs, etc.[cm~Babi-Y
ar. [fy75,1]Sub-title of Shostakovich's Sym. No. ~[sm13[nm in B;Yh minor, Op. [s
m113[nm, for bass, bass ch., and ~orch., to poems by Yevtushenko. Comp. and f.p.
 ~[sm1962[nm. Babi-Yar was site of grave of thousands of ~Russ. Jews, murdered b
y Germans in World War ~II.[cm~Baccaloni, Salvatore [fy75,1]([cf2]b [cf1]Rome, [
sm1900[nm; [cf2]d [cf1]NY, ~[sm1969[nm). It. operatic bass (Rome [sm1922[nm; La
Scala ~[sm1926[nm; CG [sm1928[nm; Chicago [sm1930[nm; Glyndebourne ~[sm1936[nm=n
[sm9[nm; NY Met. [sm1940[nm) outstanding as Leporello, ~Don Pasquale, Osmin, and
 similar comic roles.[cm~Bacchanale [fy75,1](Fr., from Lat. [cf2
]Bacchanalia[cf1], a feast of ~dancing and singing in honour of Bacchus, god ~of
 wine). An orgiastic comp., as in the Venusberg ~scene of Wagner's [cf2]Tannh;Au
auser [cf1]and in Saint-Sa;Auens's ~[cf2]Samson et Dalila[cf1].[cm~Bacchetta [fy
75,1](It.). Stick. ([sm1[nm) Drumstick. ([sm2[nm) Baton. ~The plural is [cf2]bac
chette[cf1]=me.g. [cf2]bacchette di legno[cf1], ~wooden drumsticks; [cf2]bacchet
te di spugna[cf1], sponge-~headed drumsticks.[cm~Bacchus et Ariane [fy75,1](Bacc
hus and Ariadne). Ballet ~in [sm2[nm acts with mus. by [fy45,1]*[fy75,1]Roussel,
 choreog. Lifar, ~comp. [sm1930[nm and prod. Paris [sm1931[nm. [sm2[nm orch. sui
tes ~were extracted, the [sm2[nmnd being the more popular.[cm~Baccusi, Ippolito
[fy75,1]([cf2]b[cf1] Mantua, [cf2]c[cf1].[sm1550[nm; [cf2]d[cf1] Verona, ~[sm160
9[nm). It. madrigalist and church musician. ~Choirmaster, Verona Cath. from [sm1
592[nm. One of ~first composers to recommend instr. doubling of ~vocal parts.[cm
~Bacewicz, Grazyna [fy75,1]([cf2]b[cf1] ;Ul;aaod;aaz, [sm1909[nm
; [cf2]d [cf1]Warsaw, ~[sm1969[nm). Polish violinist and composer. Studied ~Wars
aw Cons., Warsaw Univ., and in Paris with ~Nadia Boulanger. Vn. pupil of Flesch.
 Taught at ~;Ul;Aaod;Aaz Cons. [sm1934[nm=n[sm5, 1945[nm; Warsaw Acad. of Mus. ~
[sm1966[nm=n[sm9[nm. Wrote [sm4[nm syms., [sm7[nm vn. concs., [sm7[nm str. qts.,
 [sm2[nm ~vc. concs., va. conc., pf. conc., [sm5[nm vn. sonatas, [sm2[nm pf. ~qu
intets, etc.[cm~[j1]Bach (Family). [fy75,1]The Bach family lived from the ~early
 [sm16[nmth cent. in the Thuringian duchies of ~Saxe-Weimar-Eisenach, Saxe-Cobur
g-Gotha, and ~Saxe-Meiningen and the principality of Schwarz~~burg-Arnstadt. The
ir profession was mus.=mthere ~are records that [sm53[nm Bachs held posts as org
anists, ~cantors, or town musicians over a span of [sm300[nm ~years. J. S. Bach
himself compiled a genealogy of ~his family, which began, as far as his own line
 ~was concerned, with Veit Bach ([cf2]d[cf1] [sm1619[nm), a miller ~with a passi
on for lute-playing. Other prin. ~[PN36,0,0,L,I0]members of the
family up to J. S. Bach's time ~were:[ep~^Hans Bach ([cf2]b c[cf1].[sm1550[nm; [
cf2]d[cf1] [sm1626[nm). Violinist, son of ~Veit, and known as [cf2]Der Spielmann
 [cf1](The Player). ~Carpet-weaver by trade. Johann Bach ([cf2]b[cf1] [sm1604[nm
; [cf2]d ~[cf1][sm1673[nm). Eldest son of Hans. Organist at Schweinfurt ~and Erf
urt. Christoph Bach ([cf2]b [cf1][sm1613[nm; [cf2]d [cf1][sm1661[nm). [sm2[nmnd
~son of Hans. Organist and composer. Town-~musician at Eisenach. Heinrich Bach [
cf1]([cf2]b [cf1]Wechmar, ~[sm1615[nm; [cf2]d [cf1]Arnstadt, [sm1692[nm). [sm3[n
mrd son of Hans. Arnstadt ~church organist for [sm51[nm years. Johann Christian
~Bach ([cf2]b[cf1] Erfurt, [sm1640[nm; [cf2]d [cf1]Erfurt, [sm1682[nm). Eldest s
on ~of Johann. Served under his father among town ~musicians of Erfurt but becam
e first of family to ~settle at Eisenach where he married. Returned to ~Erfurt t
o succeed his father [sm1671[nm. Johann Egidius ~Bach ([cf2]b [cf1][sm1645[nm; [
cf2]d [cf1][sm1716[nm). [sm2[nmnd son of Johann. Organist ~at Er
furt and composer of church mus., also va.-~player. Georg Christoph Bach [cf1]([
cf2]b [cf1]Eisenach, [sm1642[nm; ~[cf2]d [cf1][sm1697[nm). Eldest son of Christo
ph. Cantor at ~Schweinfurt. Composer. Johann Christoph Bach ~([sm1[nm) ([cf2]b[c
f1] Arnstadt, [sm1642[nm; [cf2]d [cf1]Eisenach, [sm1703[nm). Eldest ~son of Hein
rich. Became organist at Eisenach at ~age [sm23[nm in [sm1665[nm. Considered by
C. P. E. Bach as ~`great and expressive' composer. Many elaborate ~and progressi
ve vocal works, also instr. comps. [sm2[nm ~motets for double ch., [cf2]Herr nun
 Lassest [cf1]and [cf2]Ich ~lasse dich nicht[cf1] are extremely fine. Johann Mic
hael ~Bach ([cf2]b[cf1] Arnstadt, [sm1648[nm;[cf2] d [cf1]Gehren, [sm1694[nm). B
rother ~of preceding. Organist and parish clerk of Gehren ~from [sm1673[nm until
 his death. Maker of vns. and ~hpds. His motets have high merit. The youngest ~o
f his [sm5[nm daughters, Maria Barbara ([cf2]b [cf1][sm20[nm Oct. [sm1684[nm) ~b
ecame J. S. Bach's first wife. Johann Ambrosius ~Bach [cf1]([cf2
]b [cf1]Erfurt, [sm1645[nm; [cf2]d [cf1]Eisenach, [sm1695[nm). [sm2[nmnd ~(twin)
 son of Christoph. Played vn. and va. in ~addition to org. One of Erfurt [cf2]co
mpagnie [cf1]of ~musicians from [sm1667[nm until Oct. [sm1671[nm when he ~succee
ded his cousin, Johann Christian, at Eisen~~ach. There the youngest of his [sm8[
nm children, Johann ~Sebastian, was born on [sm21[nm Mar. [sm1685[nm. Johann ~Ch
ristoph Bach [cf1]([sm2[nm) ([cf2]b [cf1]Erfurt, [sm1645[nm; [cf2]d [cf1]Arnstad
t, ~[sm1693[nm). Twin brother of Johann Ambrosius. Court ~violinist at Arnstadt,
 where he was [cf2]Hofmusikus ~[cf1]and [cf2]Stadtpfeifer[cf1]. Johann Jakob Bac
h ([cf2]b [cf1]Wolfsbeh~~ringen, [sm1655[nm; [cf2]d [cf1]Ruhla, [sm1718[nm). Org
. in Thal, cantor ~in Steinbach. Johann Bernard Bach ([cf2]b [cf1]Erfurt, [sm167
6[nm; [cf2]d ~[cf1]Eisenach, [sm1749[nm). Son of Johann Egidius. Organist ~at Er
furt and Magdeburg. In [sm1703[nm succeeded ~cousin Johann Christoph ([sm1[nm) a
t Eisenach and ~became [cf2]Kammermusikus [cf1]in court orch. of
 Duke of ~Saxe-Eisenach. Instr. comps. admired and perf. at ~Leipzig by Johann S
ebastian. Johann Nikolaus ~Bach [cf1]([cf2]b [cf1]Eisenach, [sm1669[nm; [cf2]d [
cf1]Eisenach, [sm1753[nm). Eldest ~son of Johann Christoph ([sm1[nm). University
 and town ~organist at Jena from [sm1695[nm until death. Org.-~builder and maker
 of hpds., to which he ~contributed some improvements. Comp. orch. ~suites, chur
ch mus. and opera. Johann Ludwig ~Bach ([cf2]b [cf1]Thal, [sm1677[nm; [cf2]d [cf
1]Meiningen, [sm1731[nm). Son of ~Johann Jakob. Composer and Kapellmeister at ~S
axe-Meiningen. Johann Christoph Bach ([sm3[nm) ([cf2]b ~[cf1]Erfurt, [sm1671[nm;
 [cf2]d [cf1]Ohrdruf, [sm1721[nm). Eldest son of ~Johann Ambrosius, and brother
of Johann Sebas~~tian. Pupil of Pachelbel at Erfurt. Organist at ~Ohrdruf. Taugh
t his brother the klavier. Johann ~Jakob Bach ([cf2]b [cf1]Eisenach, [sm1682[nm;
 [cf2]d [cf1]Stockholm, [sm1722[nm). ~Son of Johann Ambrosius and brother of Joh
ann ~Sebastian. Town musician at Eisenach. Entered ~Swed. army s
ervice in [sm1704[nm as oboist and in [sm1713[nm ~became [cf2]Hofmusikus [cf1] a
t Stockholm. It was for his ~joining the army that Johann Sebastian comp. ~the [
cf2]Capriccio on the departure of his beloved brother ~[cf1](BWV [sm992[nm).[cm~
Bach, Carl [fy75,1](Karl) [fy65][cf3]Philipp Emanuel [fy75,1]([cf2]b [cf1]Weimar
, ~[sm1714[nm; [cf2]d [cf1]Hamburg, [sm1788[nm). Ger. composer. [sm5[nmth ~child
 and [sm3[nmrd son of J. S. [fy45,1]*[fy75,1]Bach. Intended for legal ~career bu
t turned to mus. while at Frankfurt ~Univ. In [sm1738[nm became cembalist in Ber
lin at court ~of Frederick the Great, holding this post until ~[sm1767[nm, when
he succeeded [fy45,1]*[fy75,1]Telemann as dir. of ~church mus. at Hamburg. Appli
ed unsuccessfully ~in [sm1750[nm to succeed his father at Leipzig. His ~achievem
ent was to develop sonata-form and ~invest it with weight and imaginative qualit
y, ~most evidently in his kbd. sonatas, of which there ~are over [sm200[nm, but
also in his sinfonias, concs. (over ~[sm50[nm), and vn. sonatas.
 Also comp. [sm22[nm Passions, [sm2[nm ~oratorios, and many songs. Wrote celebra
ted ~treatise on klavier-playing.[cm~Bach, Johann Christian [fy75,1]([cf2]b [cf1
]Leipzig, [sm1735[nm; [cf2]d ~[cf1]London, [sm1782[nm). Ger. composer. [sm18[nmt
h child and ~[sm11[nmth (youngest) son of J. S. [fy45,1]*[fy75,1]Bach. Known as
`the ~English Bach'. Learned klavier-playing from his ~half-brother C. P. E. [fy
45,1]*[fy75,1]Bach in Berlin. Went to ~Bologna in [sm1754[nm to study counterpoi
nt with ~Padre [fy45,1]*[fy75,1]Martini. After becoming a Roman Cath~~olic was a
ppointed organist Milan Cath. in [sm1760[nm. ~His [sm3[nm-act opera [cf2]Artaser
se [cf1]was prod. at Turin in ~[sm1760[nm, followed by [cf2]Catone in Utica [cf1
]in Naples the ~same year and [cf2]Alessandro nell'Indie [cf1]in [sm1762[nm. The
se ~events were regarded in Milan as unduly frivo~~lous, and Bach accepted offer
 from Signora Mattei, ~dir., King's Th., London, to succeed Cocchi as ~composer
to the opera. His first London opera, ~[cf2]Orione[cf1], prod. [
sm1763[nm. On this occasion cls. were first ~used in an Eng. orch. Later the sam
e year his ~[cf2]Zanaida [cf1]was an equal success, and he was ~appointed music-
master to Queen Charlotte. In ~[sm1764[nm, when the boy Mozart visited London, B
ach ~perf. a sonata with him. Also in [sm1764[nm he ~inaugurated a series of con
certs with Karl ~Friedrich [fy45,1]*[fy75,1]Abel, who had been a pupil of J. S.
~Bach. These continued until [sm1782[nm. His later operas ~met with less success
. One of them, [cf2]Carattaco[cf1], ~was on an Eng. subject which later attracte
d ~Elgar. On visits to Ger., Bach prod. his [cf2]Temistocle ~[cf1]in [sm1772[nm
at Mannheim and his [cf2]Lucio Silla[cf1], which ~Mozart had already set, in [sm
1774[nm. Comp. an opera ~for Paris, [cf2]Amadis de Gaule[cf1], in [sm1779[nm, an
d his last ~London opera, [cf2]La Clemenza di Scipione[cf1], was ~successfully p
erf. in [sm1778[nm. He died in debt, and ~was buried in a mass grave in St Pancr
as ~churchyard. Queen Charlotte helped to meet ~expenses arising
 from his debts and enabled his ~[PN37,0,0,R,I0]widow to return to Italy. His de
ath went almost ~unnoticed by Londoners. There is a fine portrait ~of him by Gai
nsborough. Besides [sm11[nm operas, Bach ~wrote many instr. works=msinfonias, ov
s., nearly ~[sm40[nm pf. concs., sonatas, qts., trios, marches, etc. ~Their feli
citous scoring and melodic charm leave ~no doubt why Mozart admired Bach so much
 ~and why not only Mozart but also Haydn and ~Beethoven were fruitfully influenc
ed by his ~work. Most of his church mus. was written before ~he left Italy.[cm~B
ach, Johann Christoph Friedrich [fy75,1]([cf2]b[cf1] Leipzig, ~[sm1732[nm; [cf2]
d [cf1]B;Auuckeburg, [sm1795[nm). Ger. composer. [sm16[nmth ~child and [sm9[nmth
 son of J. S. [fy45,1]*[fy75,1]Bach. Attended Leipzig ~Univ. and in [sm1750[nm a
ppointed [cf2]Kammermusikus [cf1]to ~the court at B;Auuckeburg; Konzertmeister [
sm1756[nm. In ~[sm1778[nm visited his half-brother Emmanuel in ~Hamburg and his
brother Johann Christian in ~London. Comps. incl. [sm14[nm syms.
, [sm8[nm kbd. concs., ~sonatas, trios, oratorios, cantatas, secular songs.[cm~B
ach, Johann Sebastian [fy75,1]([cf2]b [cf1]Eisenach, [sm1685[nm; [cf2]d ~[cf1]Le
ipzig, [sm1750[nm). Ger. composer and organist. Son ~of Johann Ambrosius Bach, o
rganist and town ~musician, J. S. Bach was orphaned at the age of ~[sm10[nm and
went to live with his elder brother Johann ~Christoph at Ohrdruf where he had kl
avier and ~org. lessons. In [sm1700[nm was a chorister at St Michael's ~Church,
L;Auuneburg, staying for [sm3[nm years, learning ~much from the organist-compose
r Georg B;Auohm. ~Organist at Arnstadt, [sm1703[nm, and then M;Auuhlhau~~sen, [s
m1707[nm, when he married his cousin Maria ~Barbara Bach. In [sm1708[nm became o
rganist in the ~Kapelle of the Duke of Saxe-Weimar, where he ~remained for [sm9[
nm years, leaving in disappointment ~at not being appointed Kapellmeister in [sm
1717[nm. By ~this time he had comp. some of his finest org. ~works and church ca
ntatas.[ep~^In [sm1717[nm appointed Kapellmeister at the court o
f ~Anhalt-C;Auothen where the prince's interest was ~not in religious works but
in instr. comps. From ~this period date his vn. concs., sonatas, suites, and ~Br
andenburg concs. Also comp. many of his best ~klavier works at C;Auothen, probab
ly for his ~children's instruction. In [sm1720[nm his wife died and ~in Dec. [sm
1721[nm he married Anna Magdalena ~Wilcken, [sm20[nm-year-old daughter of the co
urt ~trumpeter. Now dissatisfied with life at C;Auothen, ~where the ruler's new
wife showed little interest ~in mus., Bach applied for the cantorship at St ~Tho
mas's, Leipzig, in Dec. [sm1722[nm. He was not ~selected, but the chosen candida
te, Graupner, ~withdrew and Bach was appointed in May [sm1723[nm, ~having in the
 meantime cond. his [cf2]St John Passion ~[cf1]in St Thomas's as evidence of his
 fitness for the ~post. Remained at St Thomas's for the rest of his ~life, not w
ithout several disputes with the ~authorities. During time there, comp. more tha
n ~[sm250[nm church cantatas, the [cf2]St Matthew Passion[cf1],
Mass ~in B minor, [cf2]Christmas Oratorio, Goldberg Variations[cf1], ~and many o
ther works incl. his last, the unfinished ~[cf2]Die Kunst der Fuge [cf1](Art of
Fugue). In [sm1740[nm began ~to have trouble with his eyesight and in the last ~
year of his life was almost totally blind.[ep~^Bach was famous as an org. virtuo
so. As a ~composer his reputation in his lifetime was ~restricted to a fairly na
rrow circle and his mus. ~was regarded by many as old-fashioned. His fame ~in no
 way approached that of, e.g., Telemann. ~His pubd. works today fill many vols.,
 but in his ~lifetime fewer than a dozen of his comps. were ~printed, and for ha
lf a century after his death this ~position was only slightly improved until in
[sm1801[nm ~the [cf2]Well-Tempered Klavier [cf1]was issued. The revival ~of inte
rest in Bach's mus. may be dated from the ~Berlin perf. of the [cf2]St Matthew P
assion [cf1]on [sm11[nm Mar. ~[sm1829[nm, cond. Mendelssohn. Systematic publicat
ion ~of his works by the [fy45,1]*[fy75,1]Bach Gesellschaft bega
n in ~[sm1850[nm to mark the centenary of his death. (See [cf2]Bach ~Revival[cf1
].)[ep~[cf1]^Bach's supreme achievement was as a polyphon~~ist. His N. Ger. Prot
estant religion was the root of ~all his art, allied to a tireless industry in t
he ~pursuit of every kind of refinement of his skill ~and technique. Sonata form
 was not yet developed ~enough for him to be interested in it, and he had ~no le
aning towards the (to him) frivolities of ~opera. Although some of the forms in
which he ~wrote=mthe church cantata, for example=mwere ~outdated before he died,
 he poured into them all ~the resources of his genius so that they have ~outlive
d most other examples. The dramatic and ~emotional force of his mus., as evidenc
ed in the ~Passions, was remarkable in its day and has spoken ~to succeeding gen
erations with increasing power. ~Suffice it to say that for many composers and f
or ~countless listeners, Bach's mus. is supreme=mto ~quote Wagner: `the most stu
pendous miracle in ~all music'. Prin. works:[xm[cm~[j2][smorch[n
m: [fy45,1]*[fy75,1]Brandenburg Concertos Nos. [sm1[nm=n[sm6[nm ~([fy45,1]*[fy75
,1]BWV[sm1046[nm=n[sm51[nm); [sm7[nm [cf2]Concertos [cf1]for hpd. and str. ~(BWV
[sm1052[nm=n[sm8[nm), No. [sm1[nm in D minor, No. [sm2[nm in E, ~No. [sm3[nm in
D, No. [sm4[nm in A, No. [sm5[nm in F minor, No. [sm6[nm ~in F, No. [sm7[nm in G
 minor; [sm3[nm concs. for [sm2[nm hpd. and ~str. (BWV[sm1060[nm=n[sm2[nm), No.
[sm1[nm in C minor, No. [sm2[nm in ~C, No. [sm3[nm in C minor; [sm2[nm concs. fo
r [sm3[nm hpd. and str. ~(BWV[sm1063[nm=n[sm4[nm), No. [sm1[nm in D minor, No. [
sm2[nm in C ~(No. [sm1[nm arr. for vn., fl., ob., No. [sm2[nm for [sm3[nm vn. or
 fl., ~ob., vn.); conc. for [sm4[nm hpd. and str. in A minor ~(BWV[sm1065[nm, tr
anscr. of Vivaldi conc. Op. [sm3[nm No. ~[sm10[nm); conc.for fl., vn., hpd., str
. (BWV[sm1044[nm), hpd., ~ob., str. (BWV[sm1059[nm), vn., str. in A minor ~(BWV[
sm1041[nm, same work as BWV[sm1058[nm), vn., str. ~in E (BWV[sm1042[nm, same wor
k as BWV[sm1054[nm), [sm2[nm ~vn. and str. in D minor (BWV[sm104
3[nm, same work ~as BWV[sm1062[nm), vn., ob., str., in D minor ~(BWV[sm1060[nm,
reconstr. of hpd. conc.); [sm4[nm [cf2]Suites ~[cf1](BWV[sm1066[nm=n[sm9[nm), No
. [sm1[nm in C, No. [sm2[nm in B minor, ~No. [sm3[nm in D, No. [sm4[nm in D.[ep~
[smchamber music[nm: [cf2]Die [fy45,1]*[fy75,2]Kunst der Fuge [cf1](The Art of ~
Fugue) (BWV[sm1080[nm); [cf2]Das Musikalische Opfer [cf1](The ~[fy45,1]*[fy75,1]
Musical Offering[cf1]) (BWV[sm1079[nm); [sm3[nm [cf2]Partitas[cf1], solo ~vn. (B
WV[sm1002[nm, [sm1004[nm, [sm1006[nm), No. [sm1[nm in B minor, ~No. [sm2[nm in D
 minor, No. [sm3[nm in E; [sm3[nm [cf2]Sonatas[cf1], solo vn. ~[PN38,0,0,L,I0](B
WV[sm1001[nm, [sm1003[nm, [sm1005[nm), No. [sm1[nm in G minor, No. ~[sm2[nm in A
 minor, No. [sm3[nm in C; [sm6[nm [cf2]Sonatas [cf1]for vn. and ~klavier (BWV[sm
1014[nm=n[sm9[nm), No. [sm1[nm in B minor, No. [sm2[nm ~in A, No. [sm3[nm in E,
No. [sm4[nm in C minor, No. [sm5[nm in F ~minor, No. [sm6[nm in G; [sm6[nm [cf2]
Sonatas [cf1]for vn./fl. and ~klavier (BWV[sm1020[nm=n[sm5[nm),
No. [sm1[nm in G minor, No. [sm2[nm ~in G, No. [sm3[nm in F, No. [sm4[nm in E mi
nor, No. [sm5[nm in C ~minor, No. [sm6[nm in A; [sm4[nm [cf2]Sonatas [cf1]for [s
m2[nm|vn./[sm2[nm|fl./[sm2[nm ob. ~and hpd. (BWV[sm1036[nm=n[sm9[nm), No. [sm1[n
m in D minor, No. ~[sm2[nm in C, Nos. [sm3[nm and [sm4[nm in G; [sm6[nm [cf2]Son
atas[cf1], for fl. and ~hpd. (BWV[sm1030[nm=n[sm5[nm), No. [sm1[nm in B minor, N
o. [sm2[nm in ~E;Yh, No. [sm3[nm in A, No. [sm4[nm in C, No. [sm5[nm in E minor,
 ~No. [sm6[nm in E; [sm3[nm [cf2]Sonatas [cf1]for viola da gamba (vc.) ~and klav
ier (BWV[sm1027[nm=n[sm9[nm), No. [sm1[nm in G (same as ~BWV[sm1039[nm), No. [sm
2[nm in D, No. [sm3[nm in G minor; sonata ~for fl. in A minor (BWV[sm1013[nm); [
sm6[nm [cf2]Suites [cf1]for vc. ~(BWV[sm1007[nm=n[sm12[nm), No. [sm1[nm in G, No
. [sm2[nm in D minor, ~No. [sm3[nm in C, No. [sm4[nm in E;Yh, No. [sm5[nm in C m
inor, No. [sm6[nm ~in D.[ep~[smkeyboard[nm: [cf2]Capriccio [cf1]in B;Yh (on the
departure of a ~beloved brother) (BWV[sm992[nm); [cf2]Chromatic
Fantasia ~and Fugue [cf1]in D minor (BWV[sm903[nm); [sm16[nm concs. for ~solo hp
d. (BWV[sm972[nm=n[sm87[nm), Nos. [sm1[nm, [sm2[nm, [sm3[nm, [sm4[nm, [sm5[nm, [
sm7[nm and ~[sm9[nm transcr. of Vivaldi, No. [sm3[nm of Marcello, Nos. [sm14[nm
~and [sm15[nm of Telemann; [sm6[nm [fy45,1]*[fy75,2]English Suites [cf1](BWV[sm8
06[nm=n~[sm11[nm), No. [sm1[nm in A, No. [sm2[nm in A minor, No. [sm3[nm in G ~m
inor, No. [sm4[nm in F, No. [sm5[nm in E minor, No. [sm6[nm in D ~minor; [cf2]Fa
ntasia [cf1]in A minor (BWV[sm922[nm); [cf2]Fantasia ~and Fugue [cf1]in A minor
(BWV[sm904[nm); [sm6[nm [fy45,1]*[fy75,2]French ~Suites [cf1](BWV[sm812[nm=n[sm1
7[nm), No. [sm1[nm in D minor, No. [sm2[nm in ~C minor, No. [sm3[nm in B minor,
No. [sm4[nm in E;Yh, No. [sm5[nm ~in G, No. [sm6[nm in E; [cf2]Fugue [cf1]in C (
BWV[sm952[nm); [fy45,1]*[fy75,2]Goldberg ~Variations [cf1](BWV[sm988[nm); [cf2][
sm15[nm Inventions [cf1]([sm2[nm-part) ~(BWV[sm772[nm=n[sm86[nm); [cf2][sm15[nm
Inventions [cf1]([sm3[nm-part) (BWV[sm787[nm=n~[sm801[nm); [fy45
,1]*[fy75,2]Italian Concerto [cf1](BWV[sm971[nm); [cf2][sm6[nm Partitas ~[cf1](B
WV[sm825[nm=n[sm30[nm); [cf2][sm9[nm Preludes for W. F. Bach ~[cf1](BWV[sm924[nm
=n[sm32[nm); [cf2][sm6[nm Preludes [cf1](BWV[sm933[nm=n[sm8[nm); [cf2][sm7[nm To
c~~catas [cf1](BWV[sm910[nm=n[sm16[nm), No. [sm1[nm in F;Yi minor, No. [sm2[nm ~
in C minor, No. [sm3[nm in D, No. [sm4[nm in D minor, No. [sm5[nm ~in E minor, N
o. [sm6[nm in G minor, No. [sm7[nm in G; ~[cf2]Variations in the Italian Style [
cf1](BWV[sm989[nm); [cf2]Das ~[fy45,1]*[fy75,2]Wohltemperierte Klavier [cf1](The
 Well-Tempered ~Klavier), [sm48[nm preludes and fugues (BWV[sm846[nm=n[sm93[nm).
[ep~[smlute[nm: [cf2]Suites[cf1]: in A (BWV[sm1007[nm), in E minor ~(BWV[sm996[n
m), in E (BWV[sm1006[nma, transcr. from ~BWV[sm1006[nm, vn. Partita No. [sm3[nm)
, in C minor ~(BWV[sm997[nm), in G minor (BWV[sm995[nm).[ep~[smorgan[nm: [sm6[nm
 concs. (BWV[sm592[nm=n[sm7[nm), all transcr. from ~other composers, incl. Vival
di); [sm4[nm[cf2] Duets ~[cf1](BWV[sm802[nm=n[sm5[nm); [cf2]Fant
asia and Fugue [cf1]in C minor ~(BWV[sm537[nm), in G minor (BWV[sm542[nm); [cf2]
Fantasias[cf1], in ~C (BWV[sm573[nm), in C minor (BWV[sm562[nm), in G ~(BWV[sm57
2[nm); [cf2]Fugues[cf1], in C minor (BWV[sm574[nm), in C ~minor (BWV[sm575[nm),
in G (BWV[sm577[nm), in G minor ~(BWV[sm578[nm); [cf2]Passacaglia and Fugue [cf1
]in C minor ~(BWV[sm582[nm); [cf2]Prelude and Fugue[cf1]: in A (BWV[sm536[nm), ~
in A minor (BWV[sm543[nm), in A minor (BWV[sm551[nm), ~in B minor (BWV[sm544[nm)
, in C (BWV[sm531[nm), in C ~(BWV[sm545[nm), in C (BWV[sm547[nm), in C minor ~(B
WV[sm546[nm), in C minor (BWV[sm549[nm), in D ~(BWV[sm532[nm), in D minor (BWV[s
m538[nm), in D minor ~(BWV[sm539[nm), in E minor (BWV[sm533[nm), in E minor ~([f
y45,1]*[fy75,2]Wedge[cf1]) (BWV[sm548[nm), in E flat (BWV[sm552[nm), in F ~minor
 (BWV[sm534[nm), in G (BWV[sm541[nm), in G ~(BWV[sm550[nm), in G minor (BWV[sm53
5[nm), in G minor ~(BWV[sm542[nm); [cf2][sm8[nm Preludes and Fugues [cf1](BWV[sm
553[nm=n~[sm60[nm), No. [sm1[nm in C, No. [sm2[nm in D minor, No
. [sm3[nm in E ~minor, No. [sm4[nm in F, No, [sm5[nm in G, No. [sm6[nm in G mino
r, ~No. [sm7[nm in A minor, No. [sm8[nm in B;Yh; [sm6[nm [cf2]Sonatas ~[cf1](BWV
[sm525[nm=n[sm30[nm), No. [sm1[nm in E;Yh, No. [sm2[nm in C minor, ~No. [sm3[nm
in D minor, No. [sm4[nm in E minor, No. [sm5[nm in C, ~No. [sm6[nm in G; [cf2]To
ccata, Adagio, and Fugue [cf1]in C ~(BWV[sm564[nm); [cf2]Toccata and Fugue [cf1]
in D minor ~([cf2]Dorian[cf1]) (BWV[sm538[nm), in D minor (BWV[sm565[nm), in ~E
(BWV[sm566[nm), in F (BWV[sm540[nm); [cf2]Trio [cf1]in D minor ~(BWV[sm583[nm),
in G (BWV[sm586[nm).[ep~[smchorale preludes[nm: [cf2]Orgelb;Auuchlein [cf1](Litt
le Organ ~Book) (BWV[sm599[nm=n[sm644[nm), containing [sm46[nm items; also ~many
 others of which only a brief selection is ~given here: [cf2]Ach, bleib bei uns
[cf1](BWV[sm649[nm), [cf2]Allein ~Gott in der H;auoh' sei Ehr [cf1](BWV[sm711[nm
), [cf2]An Wasserfl;auus~~sen Babylon [cf1](BWV[sm653[nmb), [cf2]Christum wir so
llen Loben ~schon [cf1](BWV[sm696[nm), [cf2]Ein' feste Burg [cf1
](BWV[sm720[nm), [cf2]Herr ~Jesu Christ, dich zu uns wend [cf1](BWV[sm709[nm), [
cf2]In dulci ~jubilo [cf1](BWV[sm729[nm), [cf2]Jesu, meine Freude [cf1](BWV[sm71
3[nm), ~[cf2]Jesus Christus, unser Heiland [cf1](BWV[sm688[nm), [cf2]Komm, ~Gott
 Sch;Auopfer [cf1](BWV[sm667[nm), [cf2]Komm, heiliger Geist ~[cf1](BWV[sm652[nm)
, [cf2]Kommst du nun, Jesu [cf1](BWV[sm650[nm), ~[cf2]Liebster Jesu, wir sind hi
er [cf1](BWV[sm706[nm), [cf2]Meine Seele ~erhebet den Herren [cf1](BWV[sm648[nm)
, [cf2]Nun danket alle ~Gott[cf1] (BWV[sm657[nm), [cf2]Nun komm, der Heiden Heil
and ~[cf1](BWV[sm659[nm),[cf2] O Gott, du frommer Gott [cf1](BWV[sm767[nm), ~[cf
2]O Lamm Gottes unschuldig [cf1](BWV[sm656[nm), [cf2]Schm;Auucke ~dich, O liebe
Seele [cf1](BWV[sm654[nm), [cf2]Vater unser in ~Himmelreich [cf1](BWV[sm682[nm/[
sm3[nm, [sm737[nm), [cf2]Vom Himmel hoch ~[cf1](BWV[sm700[nm, [sm701[nm fughetta
, [sm738[nm, [sm769[nm canonic ~variations), [fy45,1]*[fy75,2]Wachet auf [cf1](B
WV[sm645[nm), [cf2]Wer nur den ~lieben Gott [cf1](BWV[sm647[nm,
[sm690[nm, [sm691[nm), [cf2]Wo soll ich fliehen ~hin [cf1](BWV[sm646[nm).[ep~[sm
cantatas[nm: Merely a selection of these is given ~here, with dates of comp. whe
re known: No. [sm4[nm ~[cf2]Christ lag in Todesbanden [cf1]([cf2]c[cf1].[sm1707[
nm), No. [sm6[nm [cf2]Bleib bei ~uns [cf1]([sm1725[nm), No. [sm10[nm [cf2]Meine
Seele' erhebt den Herren ~[cf1][sm1724[nm, rev. [sm1744[nm=n[sm50[nm), No. [sm11
[nm [cf2]Lobet Gott ([cf2]c[cf1].[sm1735[nm), ~No. [sm12[nm [cf2]Weinen, Klagen,
 Sorgen, Zagen [cf1]([sm1714[nm), No. ~[sm20[nm [cf2]O Ewigkeit, du Donnerwort [
cf1]([sm1724[nm), No. [sm23[nm[cf2] Du ~wahrer Gott und Davids Sohn [cf1]([sm172
3[nm), No. [sm28[nm ~[cf2]Gottlob Nun geht das Jahr zu Ende [cf1]([sm1725[nm), N
o. [sm29[nm ~[cf2]Wir danken dir, Gott [cf1]([sm1731[nm), No. [sm34[nm [cf2]O ew
iger ~Feuer [cf1](? after [sm1742[nm), No. [sm40[nm [cf2]Dazu ist erschiene der
~Sohn Gottes [cf1]([sm1723[nm), No. [sm45[nm [cf2]Est ist dir gesagt [cf1]([sm17
26[nm), ~No. [sm51[nm [cf2]Jauchzet Gott [cf1]([sm1730[nm), No.
[sm60[nm [cf2]O Ewigkeit, ~du Donnerwort[cf1] ([sm1723[nm), No. [sm61[nm [cf2]Nu
n komm, der ~Heiden Heiland [cf1]([sm1714[nm), No. [sm68[nm [cf2]Also hat Gott d
ie ~Welt geliebt [cf1]([sm1725[nm), No. [sm78[nm [cf2]Jesu, der du meine Seele ~
[cf1]([sm1724[nm), No. [sm80[nm [cf2]Ein' feste Burg ist unser Gott [cf1]([sm172
4[nm), ~No. [sm82[nm [cf2]Ich habe genug [cf1]([sm1727[nm), No. [sm93[nm [cf2]We
r nur den ~lieben Gott [cf1]([sm1724[nm), No. [sm95[nm [cf2]Christus der ist mei
n ~Leben [cf1]([sm1723[nm), No. [sm106[nm [cf2]Gottes Zeit ist die allerbeste ~Z
eit [cf1]([cf2]c[cf1].[sm1707[nm), No. [sm140[nm [fy45,1]*[fy75,2]Wachet auf [cf
1]([sm1731[nm), No. ~[sm143[nm [cf2]Lobe den herrn [cf1]([sm1735[nm), No. [sm147
[nm [cf2]Herz und ~Mund [cf1]([sm10[nmth movement is [cf2]Jesu, bleibet meine ~F
reude, Jesu, joy of man's desiring[cf1]) ([sm1723[nm), No. [sm197[nm ~[cf2]Gott
ist unser Zuversicht [cf1]([cf2]c[cf1].[sm1728[nm), No. [sm201[nm [cf2]Der ~Stre
it zwischen [fy45,1]*[fy75,2]Phoebus und Pan[cf1] (?[sm1729[nm),
 No. [sm202[nm ~[cf2]Weichet nur, betr;auubte Schatten [cf1](?[sm1718=n23[nm), N
o. ~[PN39,0,0,R,I0][sm208[nm [cf2]Was mir behagt [cf1]([sm?1713[nm), No. [sm209[
nm [cf2]Non sa che[fjsia dolore [cf1](after [sm1740), No. [sm211[nm [cf2]Schweig
t stille, ~plaudert nicht[cf1] ([fy45,1]*[fy75,1]Coffee cantata, [sm1732[nm), No
. [sm212[nm ~[cf2]Mer hahn en neue Oberkeet [cf1]([fy45,1]*[fy75,1]Peasant canta
ta, ~[sm1742[nm). Canons [cf1]for [sm2[nm, [sm3[nm, [sm4[nm, and [sm7[nm voices
~(BWV[sm1075[nm, [sm1077[nm, [sm1073[nm, and [sm1078[nm respectively).[ep~[smora
torios [nmetc: [fy45,1]*[fy75,2]Christmas Oratorio [cf1]in [sm6[nm parts ~([cf2]
Weihnachtsoratorium[cf1]) (BWV[sm248[nm, [sm1734[nm); [cf2]Easter ~Oratorio [cf1
](BWV[sm249[nm, [sm1736[nm); [cf2]Magnificat [cf1]in E;yh ~(BWV [sm243[nma, perf
. Christmas Day [sm1723[nm incl. [sm4[nm ~Christmas texts), [cf2]Magnificat [cf1
]in D (BWV[sm243[nm, rev. ~of [cf2]Magnificat [cf1]in E;yh, [cf2]c.[cf1][sm1728=
n31[nm, omitting Christ~~mas texts); Mass in B minor (BWV[sm232[
nm, [sm1724[nm=n~[sm49[nm); Mass in G (BWV[sm236[nm, [cf2]c[cf1].[sm1738[nm); Ma
ss in G ~minor (BWV[sm235[nm, [cf2]c[cf1].[sm1737[nm); [sm6[nm Motets (BWV[sm225
[nm=n~[sm230[nm) [sm1[nm. [cf2]Singet dem Herrn ein neues Lied[cf1], [sm2[nm. [c
f2]Der ~Geist hilft[cf1], [sm3[nm. [cf2]Jesu meine Freude[cf1], [sm4[nm. [cf2]F;
auurchte dich ~nicht[cf1], [sm5[nm. [cf2]Komm, Jesu, komm[cf1], [sm6[nm. [cf2]Lo
bet den Herrn[cf1]; [fy45,1]*[fy75,2]St ~John Passion [cf1](=+=+=+=+[cf2]Johanne
spassion[cf1]) (BWV[sm245[nm, [sm1723[nm); ~[fy45,1]*[fy75,2]St Matthew Passion
[cf1]([cf2]Matth;auauspassion[cf1]) (BWV[sm244[nm, ~[sm1727[nm).[ep~[smsongs and
 arias[nm: [cf2]Notebook (No. [sm2[nm) of [fy45,1]*[fy75,2]Anna ~Magdalena Bach
[cf1](BWV[sm508[nm=n[sm18[nm), contains [sm11[nm ~songs, the first being [cf2]Bi
st du bei mir [cf1](With you ~beside me); Aria, [cf2]Gott lebet noch [cf1](BWV[s
m461[nm); [cf2]Jesus ~ist das sch;auonste Licht [cf1](BWV[sm474[nm); Aria, [cf2]
Komm, ~s;auusser Tod [cf1](BWV[sm478[nm); [cf2]O Jesulein s;Auus
s [cf1](BWV[sm493[nm); ~Song, [cf2]Vergiss mein nicht, mein allerliebster Gott ~
[cf1](BWV[sm505[nm).[cm~[ol0][ep~[xp[te~











[do19][j99]~~~~~~[sm153842[nm_B[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmB[sm002[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm16[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[ep~[ap[j1]Bach, Wilhelm
Friedemann[fy75,1] ([cf2]b[cf1] Weimar, [sm1710[nm; ~[cf2]d[cf1] Berlin, [sm1784
[nm). Ger. composer. [sm2[nmnd child and ~eldest son of J. S. [fy45,1]*[fy75,1]B
ach. Possibly also favourite ~son, but one who sadly failed to justify parental
~hopes. First part of [cf2]The Well-Tempered Clavier[cf1] was ~written for his i
nstruction. After Leipzig Univ., ~became a church organist in Dresden (he was ~r
egarded as one of the greatest organists of his ~day), and comp. many instr. wor
ks, such as kbd. ~concs. and sonatas. In [sm1746[nm resigned to become ~organist
 of the Liebfrauenkirche at Halle. In [sm1762[nm ~was invited to succeed Graupne
r at Darmstadt ~but does not seem to have taken up his duties. ~Left Halle in [s
m1764[nm. For the last [sm20[nm years of his life ~held no regul
ar post, giving occasional org. ~recitals in Brunswick, G;Auottingen, and Berlin
, and ~teaching. Befriended by his father's biographer, ~J. N. Forkel. Poverty l
ed him to sell several of his ~father's MSS. and also to pass off some of his ~f
ather's works as his own. In fact his own comps. ~have character and are today o
ften played.[cm~Bacharach, Burt[fy75,1] ([cf2]b[cf1] Kansas City, [sm1928[nm). A
mer. ~composer and pianist. Studied McGill Univ., ~Montreal. Night club pianist
and entertainer, ~accompanist to Marlene Dietrich. Composer, ~with lyrics by Hal
 David, of many popular songs ~and film scores. Best-known songs are [cf2]I'll n
ever ~fall in love again, What's new pussycat?[cf1] and ~[cf2]Raindrops keep fal
lin' on my head[cf1] (from film [cf2]Butch ~Cassidy and the Sundance Kid[cf1], [
sm1970[nm).[cm~Bachauer, Gina[fy75,1] ([cf2]b[cf1] Athens, [sm1913[nm; [cf2]d[cf
1] Athens, ~[sm1976[nm). Gr. pianist of Austrian parentage. Trained ~Athens Cons
. and ;AaEcole Normale, Paris; teachers ~incl. [fy45,1]*[fy75,1]
Cortot and [fy45,1]*[fy75,1]Rakhmaninov. D;Aaebut Athens ~[sm1935[nm. Recitalist
 and soloist at orch. concerts in ~Athens, Middle-Eastern centres, and Paris. Lo
n~~don d;Aaebut [sm1947[nm, NY [sm1950[nm.[cm~Bach Bow. [fy75,1]A curved (convex
) vn. bow invented ~by the violinist Emil [fy45,1]*[fy75,1]Telm;Aaanyi as partic
ularly ~suitable for performing the contrapuntal solo vn. ~mus. of J. S. Bach.[c
m~Bach Choir. [fy75,1]Formed permanently in London in ~[sm1876[nm following succ
ess of first [sm2[nm complete Brit. ~perfs. in Apr. and May [sm1876[nm of Bach's
 Mass in B ~minor by group of amateurs assembled in [sm1875[nm ~under the choral
 direction of Otto [fy45,1]*[fy75,1]Goldschmidt, ~who remained cond. until [sm18
85[nm. His successors ~have been [fy45,1]*[fy75,1]Stanford, Walford [fy45,1]*[fy
75,1]Davies, Hugh ~[fy45,1]*[fy75,1]Allen, [fy45,1]*[fy75,1]Vaughan Williams, [f
y45,1]*[fy75,1]Boult, Reginald ~[fy45,1]*[fy75,1]Jacques and David [fy45,1]*[fy7
5,1]Willcocks. Gives [sm2[nm annual ~perfs. of [cf2]St Matthew P
assion[cf1]; many modern works ~in its repertory. Choirs in several other cities
 and ~towns use the title preceded by their name, e.g. ~Oxford Bach Choir, Newca
stle Bach Choir.[cm~Bache, Walter[fy75,1] ([cf2]b[cf1] Birmingham, [sm1842[nm; [
cf2]d[cf1] London, ~[sm1888[nm). Eng. pianist and cond. Studied in Leipzig; ~fro
m [sm1862[nm to [sm1865[nm in Rome was a pupil of Liszt. ~In [sm1871[nm in Flore
nce had lessons from B;Auulow. For ~many years dir. concerts devoted to Liszt's
mus. ~at which several of Liszt's works ([cf2]Faust Symphony, ~[cf1]both pf. con
cs., [cf2]St Elizabeth[cf1] etc.) were f.p. in ~London. Prof. of pf. RAM. His br
other Francis ~Edward ([cf2]b[cf1] Birmingham, [sm1833[nm; [cf2]d[cf1] Birmingha
m, ~[sm1858[nm) was a composer and pianist of exceptional ~promise. Their sister
 Constance ([cf2]b[cf1] Birmingham, ~[sm1846[nm; [cf2]d[cf1] Montreux, [sm1903[n
m) trans. B;Auulow's letters ~([sm1896[nm).[cm~Bachelet, Alfred[fy75,1] ([cf2]b[
cf1] Paris, [sm1864[nm; [cf2]d[cf1] Nancy, [sm1944[nm). ~Fr. com
poser. Winner of Prix de Rome, [sm1880[nm, ~with cantata [cf2]Cl;Aaeopatre[cf1].
 His [sm3[nm-act opera [cf2]Scerno[cf1] ~(Paris [sm1914[nm) stimulated controver
sy at the time. ~Comp. songs, pf. pieces, and a ballet. Dir., Nancy ~Cons. from
[sm1919[nm.[cm~Bach Gesellschaft [fy75,1](Bach Society). Ger. soc. ~founded [sm1
850[nm to commemorate the centenary of ~the death of J. S. Bach by publishing co
mplete ~critical edn. of his works based mainly on the ~coll. of his MSS. in Ber
lin. The project, urged by ~Robert Schumann in an article in the [cf2] Neue ~Zei
tschrift f;Auur Musik [cf1](xix, [sm87[nm), was executed by ~Otto Jahn in assoc.
 with Schumann, Carl Friedrich ~Becker, Moritz Hauptmann, and the publishing ~fi
rm of Breitkopf und H;Auartel. Issued [sm46[nm annual ~publications in [sm59[nm
vols. between [sm1850[nm and [sm1900[nm. ~The achievement was a vast feat of sch
olarship ~but, understandably, not without error. Some ~works definitely or prob
ably not by Bach were ~incl.[ep~^With publication of the conclud
ing volume on ~[sm27[nm Jan. [sm1900[nm the Society was wound up and the ~[cf2]N
eue Bach Gesellschaft [cf1]founded under the presi~~dency of Herman Kretzschmar,
 Prof. at Leipzig ~[PN40,0,0,L,I0]Univ. Its objective was to publish Bach's mus.
 in ~practicable performing scores and to popularize ~it throughout Ger. by Bach
 fests. In [sm1904[nm the soc. ~began issue of a [cf2]Jahrbuch [cf1](Yearbook),
in which the ~latest Bach research is pubd., and in [sm1907[nm bought ~Bach's bi
rthplace at Eisenach and made it a ~museum.[ep~^A Bach Soc. was founded in Londo
n [sm1849[nm to ~collect a library of Bach's comps. either printed ~or in MS. Un
der its auspices took place the first ~Eng. perfs. of [cf2]St Matthew Passion [c
f1](Hanover Sq. ~Rooms, London, [sm6[nm Apr. [sm1854[nm) and [cf2]Christmas ~Ora
torio[cf1] (London, [sm13[nm June [sm1864[nm). [sm11[nm movements ~from the Mass
 in B minor were perf. on [sm24[nm July ~[sm1860[nm. Soc. dissolved in Mar. [sm1
870[nm and library ~given to RAM.[cm~[xm[ol0][ep~[xp[te~
[do35][j99]~~~~~~[sm153842[nmB[sm3[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford D
ic~~tionary of Music[cmB[sm3[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm17[nm-[sm10[nm-[sm79[
nm[cm[sm8[nm[cm[sm18[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Bachianas Brasile
iras. [fy75,1][sm9[nm pieces by [fy45,1]*[fy75,1]Villa-Lobos ~combining native B
razilian elements with the ~contrapuntal spirit of J. S. Bach's mus. They are: ~
[sm1[nm. for [sm8[nm vc. ([sm1930[nm); [sm2[nm. for small orch. ([sm1930[nm); [s
m3[nm. for ~pf. and orch. ([sm1938[nm); [sm4[nm. for pf. ([sm1930[nm=n[sm6[nm) o
rch. ~[sm1941[nm; [sm5[nm. for v. and vcs. ([sm1938[nm); [sm6[nm. for fl. and bn
. ~([sm1938[nm); [sm7[nm. for orch. ([sm1942[nm); [sm8[nm. for orch. ([sm1945[nm
); ~[sm9[nm.|for str. or unacc. ch. ([sm1944[nm).[cm~Bachmann, Anton[fy75,1] ([c
f2]b [cf1]Berlin, [sm1716[nm; [cf2]d[cf1] Berlin, ~[sm1800[nm). Ger. court music
ian who invented several ~improvements in construction of dbs. and vcs.[cm~Bachm
ann, Karl Ludwig[fy75,1] ([cf2]b[cf1] Berlin, [sm1743[nm; [cf2]d
[cf1] ~Berlin, [sm1809[nm). Son of Anton [fy45,1]*[fy75,1]Bachmann. Noted ~solo
va.-player in Berlin Royal Chapel. Later took ~over his father's business.[cm~Ba
ch Revival. [fy75,1]In the half-century after J. S. ~Bach's death only a handful
 of his works were ~pubd., though these incl. C. P. E. Bach's edn. of ~the compl
ete coll. of [cf2]Vierstimmige Choralges;Auange[cf1] ~(Choral Songs for [sm4[nm
Voices), issued by Breitkopf ~& H;Auartel ([sm1784[nm=n[sm7[nm). Nevertheless, M
ozart at the ~end of his life was a profound admirer of Bach, ~and at Bonn in [s
m1780[nm Beethoven was instructed in ~the `[sm48[nm' preludes and fugues, then s
till in MS. The ~revival gathered momentum with publication in ~[sm1801[nm in [s
m4[nm centres (Bonn, Z;Auurich, Vienna, and ~Leipzig,with a London reprint of th
e Bonn edn.) ~of the [cf2]Well-Tempered Klavier[cf1] ([fy45,1]*[fy75,2]Wohltempe
rierte ~Klavier[cf1]) and the appearance in [sm1802[nm of Forkel's ~biography [c
f2];AuUber Johann Sebastian Bachs Leben. [cf1]The ~[cf2]Magnific
at[cf1] was pubd. in [sm1811[nm, the [cf2]St Matthew ~Passion[cf1] in [sm1830[nm
, the Mass in B minor partially in ~[sm1833[nm, fully in [sm1845[nm, the [cf2]St
 John Passion[cf1] in [sm1830[nm ~(pf. score), vocal parts [sm1834[nm; many cant
atas, all ~the org. works, many works for klavier and much ~besides appeared bet
ween [sm1803[nm and [sm1850[nm. In the ~matter of perf., the critic Johann Fried
rich ~Rochlitz ([sm1769[nm=n[sm1842[nm) stimulated interest by his ~articles in
the [cf2]Allgemeine musikalische Zeitung, ~[cf1]which he founded in [sm1798[nm,
remaining ed. until ~[sm1818[nm. Publication of the motets led to their perf. ~i
n the [sm1820[nms by the Berlin Singakademie under ~Carl Friedrich [fy45,1]*[fy7
5,1]Zelter. At his house Mendelssohn ~and the Devrients met to study Bach's mus.
 On ~[sm11[nm Mar. [sm1829[nm Mendelssohn cond. the first perf. ~since Bach's da
y of the [cf2]St Matthew Passion[cf1] with ~the Singakademie. Two further perfs.
 followed ~within [sm5[nm weeks. In [sm1833[nm the Singakademie
perf. ~the [cf2]St John Passion[cf1] and a much-cut Mass in B ~minor. Other lead
ing Ger. mus. centres, incl. ~Leipzig, followed Berlin's lead.[ep~^In Eng., wher
e it might have been thought that ~J. C. Bach would have encouraged study of his
 ~father's work, little was done until Samuel ~[fy45,1]*[fy75,1]Wesley's concert
s of J. S. Bach's mus. in [sm1808[nm ~and [sm1809[nm. William [fy45,1]*[fy75,1]C
rotch also helped, but the ~main stimulus came from Mendelssohn's visits ~in [sm
1829[nm and [sm1832[nm, when he played Bach's org. ~works in St Paul's Cath. and
 elsewhere. In [sm1837[nm ~he had a section of the [cf2]St Matthew Passion[cf1]
incl. in ~the Birmingham Fest. But it was not until the ~later [sm19[nmth cent.
that regular perfs. of Bach's mus. ~in Eng. began. Sterndale Bennett cond. first
 ~complete Eng. perf. of [cf2]St Matthew Passion[cf1] (in ~English) on [sm6[nm A
pril [sm1854[nm, in London. It was f.p. ~at Three Choirs Fest. [sm1871.[nm[cm~Ba
ch Trumpet. [fy75,1]High-pitched natural (i.e. un~~valved) tpt.
used in late [sm17[nmth and [sm18[nmth cents. J. S. ~Bach and Handel wrote ornat
e passages for it in ~certain comps. In the late [sm1880[nms valved versions ~we
re prod. on which such passages could be ~played, but virtuoso players today hav
e recovered ~the art of playing the natural tpt. and need no ~such aids.[cm~Back
. [fy75,1]The lower or rear part of the resonant box ~of str. instr. The strings
 are extended across the ~upper part, the belly or `table'. The back has no ~sou
nd holes; its primary function is to be ~reverberated by the air waves generated
 by the ~belly as it vibrates under the str. Usually made of ~maple, pear, or ot
her hard wood.[cm~B;Auack, Sven-Erik[fy75,1] ([cf2]b[cf1] Stockholm, [sm1919[nm)
. Swed. ~composer, conductor, and violinist. Studied Royal ~Mus. Acad. Stockholm
 [sm1938[nm=n[sm43[nm; comp. pupil of ~Rosenberg and, in Rome [sm1951[nm=n[sm2[n
m, of Petrassi. ~Member of several str. qts. Comp. [sm2[nm chamber ~operas, [sm3
[nm str. qts., orch. works, elec. works.[cm~Backer-Gr;Auondahl,
Agathe Ursula[fy75,1] ([cf2]b[cf1] Holme~~[chstrand, Norway, [sm1847[nm; [cf2]d[
cf1] Orm;Upen, [sm1907[nm). Norweg. ~pianist, pupil of Hans von [fy45,1]*[fy75,1
]B;Auulow and Liszt, and ~popular composer of songs and pf. mus.[cm~Backfall. [f
y75,1]([sm1[nm) Part of an org., being the lever ~which connects the rods (stick
ers) to the kbd.[ep~^([sm2[nm) [sm17[nmth-cent. Eng. term for a type of upper ~[
fy45,1]*[fy75,1]appoggiatura in lute and hpd. mus.[cm~Backhaus [fy75,1](Bachaus)
, [fy65][cf3]Wilhelm[fy75,1] ([cf2]b[cf1] Leipzig, [sm1884[nm; ~[cf2]d[cf1] Vill
ach, Austria, [sm1969[nm). Ger. pianist. Trained ~Leipzig Cons. and under d'Albe
rt, etc. Made first ~concert tour age [sm16[nm; later toured world. Prof. of ~pf
., RMCM in [sm1905[nm. Noted as Beethoven inter~~preter, recording most of the s
onatas after his ~[sm80[nmth birthday.[cm~Bacon, Ernst[fy75,1] ([cf2]b[cf1] Chic
ago, [sm1898[nm). Amer. composer, ~cond., and critic. Works are mainly for v. wi
th ~[PN41,0,0,R,I0]various accs. and incl. settings of Walt Whit
man ~and Emily Dickinson. Also [sm4[nm syms., incl. [sm1[nm with ~narrator (No.
[sm3[nm, [sm1956[nm), and [sm2[nm-act `music play' [cf2]A ~Tree on the Plains[cf
1] ([sm1940[nm, rev. [sm1962[nm). Has written ~over [sm250[nm songs.[cm~Badajoz
[fy75,1]([cf2]=+=+=+fl. [cf1][sm15[nmth=n[sm16[nmth cent.). Sp. composer and ~or
ganist. Choirmaster to John III of Portugal.[cm~Badarczewska, Tekla[fy75,1] ([cf
2]b[cf1] Warsaw, [sm1834[nm; [cf2]d[cf1] ~Warsaw, [sm1861[nm). Polish composer o
f pf. pieces, ~among them [cf2]The Maiden's Prayer[cf1], pubd. Warsaw ~[sm1856[n
m and Paris [sm1859[nm.[cm~Badia, Carlo Agostino[fy75,1] ([cf2]b[cf1] Venice, [s
m1672[nm; [cf2]d[cf1] Vienna, ~[sm1738[nm). It. composer. First `official compos
er' to ~the Viennese court, [sm1694[nm. Comp. [sm25[nm operas, [sm42[nm ~oratori
os, and other works.[cm~Badinage, Badinerie[fy75,1] (Fr.). Playfulness. Used as
~title of movement in [sm18[nmth-cent. suite, e.g. ~[cf2]Badinerie[cf1] of J. S.
 Bach's Suite in B minor.[cm~Badings, Henk[fy75,1] ([cf2]b[cf1]
Bandoeng, Java, [sm1907[nm). Dutch ~composer. Began as engineer, but studied mus
. ~with Pijper and joined staff of Rotterdam Cons. ~in [sm1934[nm; co-dir., Amst
erdam Lyceum [sm1937[nm=n[sm41[nm; ~dir., Hague Cons. [sm1941[nm=n[sm5[nm; dir.,
 elec. mus. studio, ~Utrecht Univ., [sm1960[nm=n[sm4[nm; Prof. of comp., Musik~~
[chhochschule, Stuttgart, [sm1962[nm=n[sm72[nm. Comps. incl. ~several operas and
 [sm14[nm syms., [sm25[nm concs., chamber ~mus., and elec. works. His Sonata No.
 [sm2[nm for [sm2[nm vn. ~([sm1963[nm) is in [sm31[nm;Dhnote scale and his balle
t [cf2]Genesis[cf1] ~([sm1968[nm) for [sm5[nm tone-generators.[cm~Badura-Skoda,
Paul[fy75,1] ([cf2]b[cf1] Vienna, [sm1927[nm). Austrian ~pianist. Trained Vienna
 Cons. [sm1945[nm=n[sm8[nm and with ~Edwin [fy45,1]*[fy75,1]Fischer. D;Aaebut Vi
enna [sm1948[nm. Many ~recordings; specialist in Mozart and with musi~~cologist
wife Eva ([cf2]b [cf1]Munich, [sm1929[nm) author of ~book on interpretation of h
is pf. mus. ([sm1957[nm, Eng. ~trans. [sm1962[nm).[cm~Bagatelle[
fy75,1] (Fr., Ger.). Trifle. So a short unpreten~~tious instr. comp., esp. for p
f. (Beethoven wrote ~[sm26[nm bagatelles, of which [fy45,1]*[fy75,2]F;Auur Elise
[cf1] is one). Dvo;Akr;Aaak's ~[cf2]Bagatelles[cf1] Op. [sm47[nm ([sm1878[nm) ar
e for [sm2[nm vn., vc., and ~harmonium (or pf.).[cm~Bagpipe Family. [fy75,1]Form
s of the bagpipe have ~existed for at least [sm3[nm,[sm000[nm years and it is kn
own to ~many races in Europe and Asia. [fy45,1]*[fy75,1]Machaut ([sm1300[nm=n~[s
m77[nm) mentions bagpipes in a description of one of ~his own polyphonic works.
Its essentials are that ~([cf2]a[cf1]) It is a reed-pipe instr. and ([cf2]b[cf1]
) Interposed ~between the medium supplying the wind and ~the reed-pipe is a bag
serving as a reservoir and so ~preventing any undesired breaking of the flow of
~sound by the player's necessity to take breath.[ep~^Variable characteristics ar
e: ([cf2]c[cf1]) The source of the ~wind-supply to the reservoir may be either b
y ~mouth or by a small bellows held under the arm. ~([cf2]d[cf1]
) The reed-pipe ([cf2]Chanter[cf1]) from which the ~various notes of the tune ar
e obtained by means ~of a series of holes or keys may, or may not, be ~acc. by [
sm1[nm or more other reed-pipes each confined ~to a single note ([cf2]Drones[cf1
]), these being tuned to the ~Tonic or Tonic and Dominant of the key of the ~ins
tr. ([cf2]e[cf1]) The reed may be either single, like that ~of the cl. family, o
r double like that of the ob. ~family; in practice the chanter reed is usually ~
(perhaps always) double, while the drone reeds ~vary in different types of instr
.[ep~^The compass of nearly all bagpipes is limited to ~an octave but on some fe
w types a [sm2[nmnd octave can ~be obtained.[ep~^Brit. forms of the instr. are:
[sm1[nm. [cf2]Scottish Highland ~Bagpipe[cf1], or [cf2]Great Pipe[cf1], mouth-bl
own and possess~~ing a conical-bore chanter and [sm3[nm drones ([sm2[nm tuned ~t
o a;Po and [sm1[nm to a). The tone is penetrating and best ~heard in the open ai
r; the chanter scale is of D ~major but extends from a;Po with a
 G;Yj and with ~the C and F pitched between sharp and natural. ~[sm2[nm. [cf2]Sc
ottish Lowland Bagpipe[cf1] is much the same as ~the foregoing but bellows-blown
. [sm3[nm. [cf2]Northumbrian ~Bagpipe[cf1] is also bellows-blown but sweet and g
entle ~in tone and normal as to scale (G major); it has ~usually [sm4[nm drones;
 its chanter pipes are end-~stopped, so that when the player closes all the ~fin
ger-holes at once sound from them ceases, ~making possible a characteristic cris
p staccato. [sm4[nm. ~[cf2]Irish `Union' Bagpipe[cf1] (the assertion that the wo
rd ~is a corruption of [cf2]Uillean[cf1] is unfounded). This is ~bellows-blown a
nd sweet in tone; it has [sm3[nm drones. ~Its scale is nearly chromatic. Foreign
 terms for ~the bagpipe are: Fr. [cf2]musette[cf1]; Ger. [cf2]Dudelsack[cf1], ~[
cf2]Sackpfeife[cf1]; It. [cf2]piva[cf1], [cf2]zampogna[cf1]; Sp. [cf2]gaita.[cm~
Baguette[fy75,1] (Fr.). Stick. In mus. usage ([sm1[nm) Drumstick ~([cf2]baguette
s de bois[cf1], wooden drumsticks; [cf2]baguettes ~d';Aaeponge[c
f1], sponge-headed drumsticks).[ep~^([sm2[nm) Stick of bow of vn., etc.[ep~^([sm
3[nm) Conductor's baton.[cm~Bahr-Mildenburg, Anna von. [fy75,1]See [cf2]Mildenbu
rg, ~Anna von.[cm~Bailey, Lilian [fy75,1](June) ([cf2]b[cf1] Columbus, Ohio, [sm
1860[nm; ~[cf2]d[cf1] London, [sm1901[nm). Amer. sop. Studied in Paris ~[sm1878[
nm with Pauline [fy45,1]*[fy75,1]Viardot-Garc;aaia and later in ~London with Geo
rge [fy45,1]*[fy75,1]Henschel whom she ~married, [sm1881[nm. Gave many recitals
with her ~husband.[cm~Bailey, Norman[fy75,1] ([cf2]b[cf1] Birmingham, [sm1933[nm
). Eng. ~bass-bar. Studied in Vienna and made reputation ~in Austria and Ger. be
fore SW d;aaebut in [sm1967[nm (on ~tour) and in [sm1968[nm (London). D;aaebut C
G [sm1969[nm. ~Sang Hans Sachs at Bayreuth, [sm1969[nm. NY d;aaebut ~[sm1975[nm,
 Met. [sm1976[nm. Specialist in Wagner roles, e.g. ~Sachs, Dutchman, Wotan, Kurw
enal. Has ap~~peared with ENO, WNO, and Scottish Opera. ~C.B.E. [sm1977[nm.[cm~B
aillie, [fy75,1](Dame) [fy65][cf3]Isobel[fy75,1] (Isabella) ([cf
2]b[cf1] Hawick, ~Scotland, [sm1895[nm; [cf2]d[cf1] Manchester, [sm1983[nm). Sco
t.-born ~sop., noted for singing of oratorio (especially ~[cf2]Messiah[cf1]) and
 Lieder. Studied in Manchester with ~Sadler Fogg, later in Milan. D;Aaebut, Hall
;Aae Concert, ~Manchester [sm1921[nm, under name Bella Baillie, then ~at all chi
ef Eng. Fests. Chosen by Toscanini for ~perfs. of Brahms's [cf2]Requiem[cf1]. On
e of [sm16[nm orig. singers ~[PN42,0,0,L,I0]in Vaughan Williams's [cf2]Serenade
to Music[cf1] [sm1938[nm. ~Amer. d;Aaebut [sm1933[nm. Taught at RCM [sm1955[nm=n
[sm7[nm, ~Cornell Univ. [sm1960[nm=n[sm1[nm, Manchester Sch. of Mus. ~from [sm19
70[nm. C.B.E. [sm1951[nm, D.B.E. [sm1978[nm. Autobiog~~raphy pubd. [sm1982[nm.[c
m~Baillot, Pierre [fy75,1](Marie Fran;Alcois de Sales) ([cf2]b[cf1] Passy, ~nr.
Paris [sm1771[nm; [cf2]d[cf1] Paris, [sm1842[nm). Fr. vn. virtuoso and ~composer
 of [sm9[nm vn. concs. Prof., Paris Cons. from ~[sm1795[nm. Wrote [cf2]L'Art du
violon[cf1] ([sm1834[nm).[cm~Bainbridge, Simon[fy75,1] ([cf2]b[c
f1] [sm1952[nm). Eng. composer. ~Studied RCM, comp. with J. Lambert, cl. with S.
 ~Fell. Teacher, RCM junior dept. Works incl. [cf2]Music ~to Oedipus Rex[cf1] ([
sm1969[nm), [cf2][sm2[nm Pieces for Piano[cf1] ([sm1969[nm), ~[cf2]Heterophony[c
f1] for orch. ([sm1969[nm=n[sm70[nm), [cf2]Spirogyra[cf1] for ~chamber orch. ([s
m1970[nm), wind quintet ([sm1971[nm), str. ~qt. ([sm1972[nm), [cf2]Interlude Mus
ic (Heterophons) [cf1]([sm1973[nm, ~preliminary study for [cf2]Amoeba[cf1] for e
ns.), va. conc. ~([sm1977[nm), [cf2]Landscapes and Woods[cf1], sop. and ens. ([s
m1981[nm).[cm~Baines, William[fy75,1] ([cf2]b[cf1] Horbury, Yorks., [sm1899[nm;
[cf2]d[cf1] ~York, [sm1922[nm). Eng. composer and pianist. Mainly ~self-taught.
Worked as  cinema pianist. Few works ~pubd. in his lifetime, but his mother gave
 his ~musical effects to Brit. Mus. in [sm1960[nm. Wrote sym. ~([sm1917[nm), vn.
 sonata ([sm1917[nm), str. qt. ([sm1917[nm=n[sm18[nm), songs, ~and a large numbe
r of piano pieces, incl. sonatas,[cf2] ~Paradise Gardens[cf1] ([
sm1918[nm=n[sm19[nm), [cf2]Coloured Leaves[cf1] ~([sm1918[nm=n[sm21[nm), [cf2][s
m7[nm Preludes[cf1] ([sm1918[nm=n[sm19[nm), [cf2]Twilight Pieces ~[cf1]([sm1921[
nm), and [cf2][sm8[nm Preludes[cf1] ([sm1921[nm).[cm~Bainton, Edgar [fy75,1](Les
lie) ([cf2]b[cf1] London, [sm1880[nm; [cf2]d[cf1] ~Sydney, N.S.W., [sm1956[nm).
Eng. composer. Studied ~RCM under Stanford and Wood and then lived ~as pianist a
nd dir. of Cons. in Newcastle upon ~Tyne [sm1912[nm=n[sm34[nm, having been prof.
 of pf. and ~comp. there from [sm1901[nm. Dir., State Cons., Sydney, ~N.S.W. ([s
m1934[nm=n[sm47[nm). Comps. in many genres.[cm~Baird, Tadeusz[fy75,1] ([cf2]b[cf
1] Grodzisk, Poland, [sm1928[nm; [cf2]d[cf1] ~Warsaw, [sm1981[nm). Polish compos
er. Studied at ~Warsaw State Music Acad. [sm1947[nm=n[sm51[nm and Univ. ~[sm1948
[nm=n[sm52[nm. Several of post-[sm1956[nm works use [sm12[nm-note ~procedures. W
orks incl.:[xm[cm~[j2][smopera[nm: [fy75,2]Tomorrow[cf1] (=+=+=+=+[cf2]Jutro[cf1
]) (after J. Conrad) ([sm1966[nm).[ep~[smorch[nm: Syms: No. [sm1
[nm ([sm1950[nm), No. [sm2[nm ([sm1952[nm), No. [sm3[nm ~([sm1968[nm=n[sm9[nm);
[cf2]Sinfonietta[cf1] ([sm1949[nm); pf. conc. ([sm1949[nm); ~[cf2]Concerto for O
rchestra[cf1] ([sm1953[nm); [cf2]Cassation[cf1] ([sm1956[nm); [cf2][sm4[nm ~Essa
ys[cf1] ([sm1958[nm); [cf2]Espressioni varianti[cf1], vn. and orch. ~([sm1959[nm
); [cf2]Variations without a Theme[cf1] ([sm1962[nm); [cf2]Epi~~phany Music[cf1]
 ([sm1963[nm); [cf2]Sinfonia brevis [cf1]([sm1968[nm); ~[cf2]Psychodram[cf1] ([s
m1972[nm); ob. conc. ([sm1973[nm).[ep~[sminstr[nm: [cf2]Colas Breugnon[cf1], fl.
, chamber orch. ([sm1951[nm); [cf2][sm4[nm ~Dialogues[cf1], ob., chamber orch. (
[sm1964[nm); [cf2][sm4[nm Novelettes[cf1], ~chamber orch. ([sm1967[nm).[ep~[smvo
cal[nm: [cf2][sm4[nm [cf2]Shakespeare Love Sonnets[cf1], bar., chamber ~orch. ([
sm1956[nm); [cf2]Exhortation[cf1], narrator, ch., orch. ~([sm1960[nm); [cf2]Erot
ica[cf1], sop., orch. ([sm1961[nm); [cf2]Songs of ~Trouv;Ageres[cf1], mez., fl.,
 vc. ([sm1964[nm); [sm5[nm [cf2]Songs[cf1], mez., ~chamber orch.
 ([sm1967[nm=n[sm8[nm); [cf2]Goethe Letters[cf1], bar., ch., ~and orch. ([sm1970
[nm).[cm~[j1]Bairstow, [fy75,1](Sir) [fy65][cf3]Edward [fy75,1](Cuthbert) ([cf2]
b[cf1] Hudders~~field, [sm1874[nm; [cf2]d[cf1] York, [sm1946[nm). Eng. organist
and ~composer. Held various organist's positions, incl. ~Leeds Parish Church ([s
m1906[nm) and York Minster ~([sm1913[nm to death). V. trainer and choral cond. W
rote ~church mus. Prof. of mus., Durham Univ. from ~[sm1929[nm. Knighted [sm1932
[nm.[cm~Baiser de la f;aaee, Le[fy75,1] (The Fairy's Kiss). Ballet in [sm1[nm ~a
ct by Stravinsky, mus. based on pf. pieces and ~songs by Tchaikovsky with linkin
g passages by ~Stravinsky in Tchaikovsky's vein. Orch. [sm1928[nm, ~rev. [sm1950
[nm. Scenario based on Andersen's [cf2]Ice ~Maiden. [cf1]Choreog. Nijinskaya. Pr
od. Paris [sm1928[nm; ~London with choreog. by Ashton [sm1935[nm. A ~[cf2]Divert
imento [cf1]arr. from [cf2]Le Baiser de la F;aaee [cf1]was ~comp. [sm1934[nm, re
v. [sm1949[nm.[cm~Baker, George[fy75,1] ([cf2]b[cf1] Birkenhead,
 [sm1885[nm; [cf2]d[cf1] Hereford, ~[sm1976[nm). Eng. bar. especially but not ex
clusively ~assoc. with the Gilbert and Sullivan operettas. ~Studied RCM and Mila
n. Also writer and adjudi~~cator. BBC Overseas Music Dir. [sm1944[nm=n[sm7[nm. [
sm2[nmnd wife ~was sop. Olive Groves ([cf2]d[cf1] [sm1974[nm). C.B.E. [sm1971[nm
.[cm~Baker, [fy75,1](Dame) [fy65][cf3]Janet [fy75,1](Abbott) ([cf2]b[cf1] Hatfie
ld, Don~~caster, [sm1933[nm). Eng. mez. Sang in Leeds Phil. Choir ~(soloist in H
aydn's [cf2]Nelson Mass [cf1][sm1953[nm). Studied ~with H;Aael;Agene Isepp and M
eriel St Clair. Joined ~Ambrosian Singers [sm1955[nm; [sm2[nmnd prize Kathleen ~
Ferrier Competition [sm1956[nm; opera d;Aaebut [sm1956[nm ~Roza in Smetana's [cf
2]The Secret[cf1] with Oxford Univ. ~Opera Club. Glyndebourne Ch. [sm1956[nm. Qu
een's ~Prize [sm1959[nm. Wexford Fest. [sm1959[nm. Sang leading ~roles with Hand
el Opera Soc. [sm1959[nm; sang Dido in ~Purcell's [cf2]Dido and Aeneas[cf1], con
d. Anthony Lewis, ~Birmingham [sm1961[nm, followed by roles in [
cf2]Tamerlano[cf1] ~([sm1962[nm), [cf2]Ariodante[cf1] ([sm1964[nm), [cf2]Orlando
[cf1] ([sm1966[nm), [cf2]Admeto[cf1] ~([sm1968[nm), also in Rameau's [cf2]Hippol
yte et Aricie[cf1] ([sm1965[nm). ~Sang at Aldeburgh Fest. with Britten from [sm1
962[nm, ~giving f.p. of [cf2]Phaedra[cf1], [sm1976[nm. Sang Lucretia in ~EOG's R
uss. tour [sm1964[nm. Recorded Angel in Elgar's ~[cf2]Gerontius[cf1] with Barbir
olli [sm1964[nm. NY d;Aaebut [sm1966[nm. ~CG d;Aaebut Hermia in Britten's [cf2]M
idsummer Night's ~Dream[cf1] [sm1966[nm. Sang Dorabella ([cf2]Cos;Agi fan tutte[
cf1]) with ~Scottish Opera [sm1967[nm followed by Berlioz's Dido ~([sm1969[nm),
Oktavian ([sm1971[nm), Composer in [cf2]Ariadne auf ~Naxos[cf1] ([sm1975[nm), Or
pheus in Gluck's opera ([sm1979[nm); ~Diana in [cf2]La Calisto[cf1], Glyndebourn
e [sm1970[nm, followed ~by Pen[chelope in [cf2]Il ritorno d'Ulisse in patria[cf1
], [sm1972[nm. ~Sang Poppea for ENO in [cf2]L'incoronazione di Poppea[cf1] ~[sm1
971[nm, Mary Stuart (Donizetti) [sm1973[nm, Charlotte in ~Massen
et's [cf2]Werther[cf1], [sm1977[nm. Created role of Kate in ~Britten's [cf2]Owen
 Wingrave[cf1] (television [sm1971[nm, CG ~[sm1973[nm). Retired from operatic st
age [sm1982[nm, last ~appearance being as Orpheus in Gluck's opera at ~Glyndebou
rne. One of most intense and intelli~~gent of contemporary singers, as impressiv
e in ~operatic parts as in the realm of Lieder, Eng. and ~Fr. song, oratorio, an
d Mahler. C.B.E. [sm1970[nm. ~Hamburg Shakespeare Prize [sm1971[nm. D.B.E. [sm19
76[nm.[cm~Baker, Richard[fy75,1] (Douglas James) ([cf2]b[cf1] London, ~[sm1925[n
m). Eng. broadcaster and mus. presenter. ~Professional appearances on concert-pl
atform as ~narrator in [cf2]King David[cf1] (Honegger), [cf2]Fa;Alcade[cf1] (Wal
~~[PN43,0,0,R,I0]ton), [cf2]Peter and the Wolf[cf1] (Prokofiev), [cf2]Survivor f
rom ~Warsaw[cf1] (Schoenberg), etc. O.B.E. [sm1976[nm.[cm~Baker, Theodore[fy75,1
] ([cf2]b[cf1] NY, [sm1851[nm; [cf2]d[cf1] Dresden, [sm1934[nm). ~Amer. mus. sch
olar; after business training ~studied mus. in Leipzig; literary
 ed. ([sm1892[nm=n[sm1926[nm) ~for G. Schirmer; books incl. [cf2]Biographical Di
ctionary ~of Musicians[cf1] ([sm1900[nm; [sm6[nmth edn., [sm1978[nm, [sm7[nmth e
dn., [sm1984[nm, ~both ed. N. Slonimsky).[cm~Bakst, Ryszard[fy75,1] ([cf2]b[cf1]
 Warsaw, [sm1926[nm). Polish pianist ~and teacher. Trained Moscow State Cons. (p
f. ~with Neuhaus). Taught at Warsaw State Acad. of ~Mus., [sm1953[nm=n[sm68[nm;
RMCM, [sm1969[nm=n[sm72[nm; since [sm1972[nm ~RNCM, Manchester. Exponent of Chop
in and ~Szymanowski.[cm~Balakirev, Mily [fy75,1](Alexeyevich) ([cf2]b[cf1] Nizhn
y-Nov~~gorod, [sm1837[nm (old style [sm1836[nm); [cf2]d[cf1] St Petersburg, ~[sm
1910[nm). Russ. composer who made major contri~~bution to development of nationa
list school. ~Spent his formative years in the country home of ~Oulibichev, biog
rapher of Mozart, where he ~studied in the library and had practical instruction
 ~with private orch. At [sm18[nm went to St Petersburg, ~where [fy45,1]*[fy75,1]
Glinka, impressed by his nationalist ~ideals, encouraged him to
continue his own work. ~From [sm1861[nm Balakirev became centre of a group of ~n
ationalistically inclined composers known as ~`the [fy45,1]*[fy75,1]Five' (the o
thers being Cui, Borodin, ~Mussorgsky, and Rimsky-Korsakov). In [sm1862[nm ~foun
ded Free Sch. of Mus. At its sym. concerts ~Balakirev introduced many of the new
 works by ~his colleagues of `the Five' and later those by ~Lyadov and Glazunov.
 Nervous breakdown led ~to his retirement from music [sm1871[nm=n[sm6[nm, during
 ~which period he worked as a railway official. ~From [sm1883[nm was mus. dir. t
o the Russ. court. ~Himself a fine pianist, his [cf2]Islamey[cf1], like his othe
r ~pf. works, is a brilliant virtuoso showpiece. Prin. ~works:[xm[cm~[j2][smorch
[nm: Syms., No. [sm1[nm in C ([sm1893[nm=n[sm7[nm), No. [sm2[nm in D ~minor ([sm
1900[nm=n[sm08[nm); [cf2]Overture on Spanish Themes[cf1] ~([sm1857[nm, rev. [sm1
886[nm), [cf2]Overture on [sm3[nm Russian Themes[cf1] ~([sm1863[nm=n[sm4[nm, rev
. [sm1884[nm), [cf2]Overture on Czech Themes[cf1] ~([sm1867[nm,
rev. [sm1905[nm); sym.-poem [cf2]Tamara[cf1] ([sm1867[nm=n~[sm82[nm).[ep~[smpian
o[nm: Oriental fantasy, [fy45,1]*[fy75,2]Islamey[cf1] ([sm1869[nm, rev. ~[sm1902
[nm), [sm6[nm mazurkas, [sm3[nm scherzos, [sm3[nm nocturnes, [sm4[nm ~waltzes, [
cf2]Spanish Serenade[cf1]. Also many songs.[cm~[j1]Balalaika. [fy75,1]Russ. guit
ar, triangular in shape with ~(normally) [sm3[nm str., and a fretted fingerboard
. Exists ~in various sizes. Assoc. with it, in balalaika bands, ~are the [cf2]Do
mra[cf1], a somewhat similar instr. and the ~[fy45,1]*[fy75,2]Gusli.[xm[cm~[ol0]
[ep~[xp[te~





[do19][j99]~~~~~~[sm153842[nm_B[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmB[sm004[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm18510[nm/[sm79[nm[cm[s
m8[nm[cm[sm42[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[ap[j1]Balanchine[fy75,1] (n;Aa
e Balanchivadze), [fy65][cf3]George[fy75,1] ([cf2]b[cf1] St ~Petersburg, [sm1904
[nm; [cf2]d[cf1] NY, [sm1983[nm). Russ.-Amer. ~choreog. Thorough mus. training.
Imperial Sch. ~of Ballet [sm1914[nm=n[sm1921[nm. Left Russ. [sm1924[nm. After an
 ~appearance in Paris, was engaged by [fy45,1]*[fy75,1]Diaghilev ~as choreograph
er. Stravinsky's [cf2]Apollo Musagetes ~[cf1]had Balanchine choreog. for its fir
st Paris perf. ~([sm1928[nm). (Other Stravinsky works were later ~choreog. by Ba
lanchine, incl. [cf2]Orpheus, Jeu de ~Cartes, Baiser de la f;Aaee, Danses concer
tantes, Move~~ments, [cf1]and [cf2]Agon[cf1].) In [sm1932[nm became choreog. for
 ~Col. de Basil's Ballets Russes de Monte Carlo. In ~[sm1934[nm went to USA to c
reate Amer. Ballet Co., ~d;Aaebut [sm1935[nm. This was resident
ballet at NY Met. ~[sm1935[nm=n[sm8[nm, when it was disbanded. Balanchine then ~
worked as teacher and free-lance choreog. (incl. ~Hollywood films). Co-founder B
allet Soc. ([sm1946[nm) ~which became celebrated NY City Ballet, [sm1948[nm, ~wi
th Balanchine as art. dir. From this period dates ~his great and influential wor
k for modern dance. ~Among ballets he choreog. were: [cf2]The Prodigal Son ~[cf1
](Prokofiev) [sm1929[nm, [cf2]Ballet Imperial [cf1](Tchaikovsky) ~[sm1941[nm, [c
f2]Night Shadow [cf1](Bellini-Rieti) [sm1946[nm, [cf2]La Valse ~[cf1](Ravel) [sm
1951[nm, [cf2]Ivesiana [cf1](Ives) [sm1954[nm, [cf2][sm7[nm Deadly Sins ~[cf1](W
eill) [sm1958[nm, [cf2]Slaughter on [sm10[nmth Avenue [cf1](Rodgers) ~[sm1968[nm
, [cf2]Duo Concertante [cf1](Stravinsky) [sm1970[nm. Among ~musicals he choreogr
aphed were: [cf2]On your Toes ~[cf1]([sm1936[nm), [cf2]The Boys from Syracuse [c
f1]([sm1938[nm). Also worked ~as opera producer (Stravinsky's [cf2] Rake's Progr
ess[cf1], ~NY [sm1953[nm; Tchaikovsky's [cf2]Eugene Onegin[cf1],
 Hamburg ~[sm1962[nm).[cm~Balanchivadze, Andrey [fy75,1]([cf2]b [cf1]St Petersbu
rg, [sm1906[nm). ~Brother of G. [fy45,1]*[fy75,1]Balanchine and son of Meliton ~
Balanchivadze, composer of first Georgian nat. ~opera. Andrey's works incl. [sm4
[nm pf. concs., [sm2[nm syms., ~operas, ballets, and film mus. People's Artist o
f ~U.S.S.R., [sm1968[nm.[cm~Balart, Gabriel [fy75,1]([cf2]b[cf1] Barcelona, [sm1
824[nm; [cf2]d [cf1]Barcelona, ~[sm1893[nm). Sp. violinist and composer. Cond. B
arce~~lona Opera [sm1853[nm=n[sm4[nm. Wrote [sm5[nm syms., chamber ~mus., songs,
 and the zarzuela [cf2]Amor y Arte [cf1]([sm1868[nm).[cm~Balassa, S;aaandor [fy7
5,1]([cf2]b [cf1]Budapest, [sm1935[nm). Hung. ~composer. Studied Bart;Aaok Cons.
, Budapest. Mus. ~dir. Hung. Radio. Comps. incl. [cf2]Requiem for Lajos ~Kass;aa
ak [cf1]([sm1969[nm); [cf2]Xenia [cf1]([sm1970[nm); [cf2]Iris [cf1]([sm1971[nm)
for orch.; ~wind quintet; [cf2]Legend [cf1]for mixed ch; [cf2]Tabulae [cf1]for ~
chamber orch. ([sm1973[nm); [sm3[nm [cf2]Fantasies [cf1]for orch
. ([sm1984[nm).[cm~Balbi, Lodovico [fy75,1]([cf2]b [cf1]Venice, [sm1545[nm; [cf2
]d [cf1]Venice, ~[cf2]c[cf1].[sm1604[nm). It. church musician and composer in ~V
erona, Padua, and Venice. Also comp. madrigals.[cm~Baldi, Antonio[fy75,1] (=+=+=
+=+[cf2]fl[cf1]. [sm1722[nm=n[sm35[nm). It. counter-ten. ~who sang in London [sm
1725[nm=n[sm8[nm in operas by Handel ~([cf2]Alessandro, Ottone, Scipione, Radami
sto, [cf1]and [cf2]Serse[cf1]), ~and Bononcini.[cm~Baldwin Company. [fy75,1]Pf.
makers of Cincinatti. ~Founded [sm1862[nm by Dwight Hamilton Baldwin. ~Factories
 also in Canada, Eng., and W. Ger. ~Developed electronic org. [sm1947[nm.[cm~Bal
fe, Michael [fy75,1](William) [cf1]([cf2]b [cf1]Dublin, [sm1808[nm; [cf2]d ~[cf1
]Rowney Abbey, Herts., [sm1870[nm). Irish composer, ~violinist, and bar. Lived f
or a time in Paris and ~Berlin and prod. his operas there and in St ~Petersburg.
 Sang Figaro in Rossini's [cf2]Il Barbiere de ~Siviglia [cf1]in Paris, [sm1827[n
m, and sang at La Scala, Milan, ~with [fy45,1]*[fy75,1]Malibran
in [sm1830[nms. Sang Papageno in [cf2]The ~Magic Flute [cf1]in Eng. at Drury Lan
e, [sm1838[nm. First ~opera, [cf2]I rivali di se stessi[cf1], was prod. Palermo
[sm1829[nm. ~[PN44,0,0,L,I0]His [cf2]Falstaff [cf1]was prod. London [sm1838[nm a
nd his ~greatest success [cf2]The [fy45,1]*[fy75,2]Bohemian Girl [cf1]in [sm1843
[nm. Cond. ~of opera at His Majesty's, London, [sm1845[nm=n[sm52[nm.[cm~Balkwill
, Bryan [fy75,1](Havell) ([cf2]b[cf1] London, [sm1922[nm). Eng. ~cond. Trained R
AM. On cond. staff CG [sm1959[nm=n[sm65[nm; ~WNO [sm1963[nm=n[sm7[nm; SW (mus. d
ir.) [sm1966[nm=n[sm9[nm; Glynde~~bourne [sm1950[nm=n[sm8[nm; and posts in N. Am
er.[cm~Ball, [fy75,1](Sir) [fy65,3]George Thomas Thalben. [fy75,1]See [cf2]Thalb
en-~Ball, George Thomas[cf1].[cm~Ball, Eric [fy75,1]([cf2]b[cf1] Bristol, [sm190
3[nm). Eng. composer, cond., ~and arranger, principally of works for brass band.
 ~Also adjudicator of band competitions. Assoc. for ~many years with C.W.S. (Man
chester) Band. Arr. ~Elgar's [cf2]Enigma Variations [cf1]for bra
ss band (f.p. ~Warwick, [sm1984[nm).[cm~Ball, Ernest R. [fy75,1]([cf2]b [cf1]Cle
veland, Ohio, [sm1878[nm; [cf2]d [cf1]Santa ~Ana, Calif., [sm1927[nm). Amer. pop
ular composer, [sm3[nm of ~whose songs were in the regular repertory of John ~[f
y45,1]*[fy75,1]McCormack, namely [cf2]Mother Machree, When Irish ~Eyes are Smili
ng[cf1], and [cf2]Little Bit of Heaven[cf1].[cm~Ballabile [fy75,1](It.). In a da
nce style.[cm~Ballad. [fy75,1]([sm1[nm) Properly a song to be danced to (It. ~[c
f2]Ballare[cf1], to dance) but from the [sm16[nmth cent. or ~earlier the term ha
s been applied to anything ~singable, simple, popular in style, and for solo v.[
ep~^([sm2[nm) The word `ballad' was in the [sm19[nmth cent. also ~attached to th
e simpler type of `drawing-room ~song'=msometimes called `Shop Ballad', possibly
 ~to distinguish it from those hawked by the ballad-~seller on broadsheets. Henc
e the Eng. `Ballad ~Concerts' inaugurated by the mus. publisher, ~John Boosey, i
n [sm1867[nm.[ep~^([sm3[nm) Self-contained narrative song, such
as Loewe's ~[cf2]Edward [cf1]or Schubert's [cf2]Erlk;Auonig[cf1]. Also applied t
o ~certain narrative operatic arias, e.g. Senta's ballad ~in Wagner's [cf2]Der f
liegende Holl;Auander[cf1].[ep~^([sm4[nm) Term applied in jazz to sentimental so
ng.[cm~Ballade [fy75,1](Fr.). Ballad. A term given by [fy45,1]*[fy75,1]Chopin ~t
o a long, dramatic type of pf. piece, the mus. ~equivalent of a poetical ballad
of the heroic type. ~He wrote [sm4[nm=mG minor, Op. [sm23[nm; F major, Op. [sm38
[nm; ~A;Yh major, Op. [sm47[nm; and F minor, Op. [sm52[nm. Brahms, ~Liszt, Grieg
, Faur;Aae, and others later used the title.[cm~Ballad Horn. [fy75,1]Type of Sax
horn. Different makers ~apply the name to different varieties, but generally ~un
derstood as alto hn. in E;Yh or C with cup ~mouthpiece and [sm3[nm piston valves
.[cm~Ballad Opera. [fy75,1]Opera with spoken dialogue and ~using popular tunes o
f the day provided with ~new words. Form originated in England with ~Allan Ramsa
y's [cf2]The Gentle Shepherd [cf1]([sm1725[nm), but ~the success
 in [sm1728[nm of Gay's [cf2]The [fy45,1]*[fy75,2]Beggar's Opera ~[cf1]started t
he vogue for this type of entertainment ~which lasted for nearly [sm30[nm years.
 Charles Coffey's ~[cf2]The Devil to pay [cf1]([sm1731[nm) was adapted in Ger. i
n ~[sm1743[nm as [cf2]Der Teufel ist los [cf1]and est. the [cf2]Singspiel ~[cf1]
tradition which culminated in Mozart's [cf2]Die ~Entf;Auuhrung aus dem Serail[cf
1]. There are also wider ~definitions of the genre; and in the [sm20[nmth cent.
~Vaughan Williams's [cf2]Hugh the Drover [cf1]([sm1914[nm) is ~described as a `r
omantic ballad opera' by the ~composer although it has no spoken dialogue and ~d
oes not exclusively comprise traditional tunes.[cm~Ballata[fy75,1] (It.). One of
 poetic forms in It. secular ~songs of [sm14[nmth and early [sm15[nmth cents., t
he others ~being madrigal and caccia. Form comprised ~[cf2]ripresa[cf1] (refrain
), two [cf2]piedi, volta,[cf1] and [cf2]ripresa[cf1]. ~Landini was prolific comp
. of [cf2]ballate[cf1]. Was used ~by Dufay and then lost its app
eal.[cm~Ballerina, Ballerino [fy75,1](It.). Ballet dancer=mfemale ~and male resp
ectively, hence [cf2]prima ballerina[cf1], the ~leading female dancer of the co.
, and [cf2]prima ~ballerina assoluta[cf1], the undisputed leading female ~dancer
 of the co.[cm~Ballet. [fy75,1]Entertainment in which dancers, by use ~of mime,
etc., perform to mus. to tell a story or ~to express a mood. The ballet was larg
ely ~developed in the courts of Fr. and It. during the ~[sm16[nmth and [sm17[nmt
h cents. and especially in that of ~Louis XIV (reigned [sm1643[nm=n[sm1715[nm),
where [fy45,1]*[fy75,1]Lully ~was in charge of the mus. The ballets of this ~per
iod were danced by the court itself and were ~very formal (gavottes, minuets, ch
aconnes, etc.), ~heavy dresses being worn, with wigs, high heels, ~and other tra
ppings of court life. But the first ~ballet is generally held to have been the [
cf2]Balet ~comique de la Royne [cf1]given in Paris in [sm1581[nm.[ep~^Even in th
e days of the ballerina Camargo ~([sm1710[nm=n[sm70[nm), who int
roduced many innovations, ~dress was ample, skirts still falling below the ~knee
s; however, she introduced a more vigorous ~style involving high jumps. J. G Nov
erre ([sm1727[nm=n~[sm1810[nm) banished the conventions hitherto ruling ~as to t
he use of mythological subjects, set order of ~dances, elaborate dresses, etc.,
and thus made ~himself the founder of the dramatic ballet, or ~[cf2]ballet d'act
ion[cf1]. He est. the [sm5[nm-act ballet as an ~entertainment in its own right;
collab. with ~Gluck and Mozart in operatic ballets, and wrote ~an important trea
tise on the ballet. Other great ~masters of this period were Dauberval ([sm1742[
nm=n~[sm1806[nm), Gaetano Vestris ([sm1729[nm=n[sm1808[nm), and Pierre ~Gardel [
cf1]([sm1758[nm=n[sm1840[nm). Vestris was the founder of a ~family of [cf2]ma;Af
itres de ballet[cf1], active in [sm3[nm generations ~([sm1747[nm=n[sm1825[nm), a
nd of several important ballerinas. ~The Italian choreographer Salvatore Vigano
~([sm1769[nm=n[sm1819[nm), for whom Beethoven wrote [cf2]Die ~Ge
sch;Auopfe des Prometheus[cf1], continued Noverre's ~work.[ep~^By the end of the
 [sm18[nmth cent. the ballet had ~almost discarded the last of its stately court
 ~influences and had developed gymnastic virtuos~~ity, although movement was sti
ll mainly confined ~to the legs and feet. Dancing on the [cf2]pointe [cf1](on th
e ~tips of the toes) came in only about [sm1814[nm; it calls ~for arduous practi
ce, requires special shoes, and ~carries a danger of dislocation; Marie Taglioni
 ~(career from [sm1822[nm to [sm1847[nm) was its first notable ~exponent. The Ro
mantic Movement introduced ~[PN45,0,0,R,I0]into the ballet an attempt at etherea
l informality. ~Costumes grew shorter and the skin-tight [cf2]Maillot[cf1], ~nam
ed after its Parisian inventor, was daringly ~introduced.[ep~^From the mid-[sm19
[nmth cent., spectacular ballets, of ~a realistic and topical character, became
common, ~and much effective ballet mus. was written, esp. ~by Fr. composers: Ada
m's [fy45,1]*[fy75,2]Giselle [cf1]([sm1841[nm) has ~remained a c
lassic and the appearance of Delibes's ~[fy45,1]*[fy75,2]Copp;Aaelia [cf1]([sm18
70[nm) marks an epoch.[ep~^Ballet as an integral part of opera was at its ~heigh
t of popularity in the first half of the [sm19[nmth ~cent. Some of the operas of
 Rossini and Donizetti ~incl. ballets, and Verdi, bowing to the demands ~of Pari
s, where a ballet was [fy75,2]de rigueur [cf1]in opera, ~incl. ballets in many o
f his operas for that capital, ~even writing ballet mus. for [cf2]Otello [cf1]fo
r its Paris ~prod. ([sm1894[nm). The high priest of ballet-in-opera ~was Meyerbe
er, and even Wagner had to intro~~duce ballet into [cf2]Tannh;Auauser[cf1] to pl
acate his Paris ~audiences (but enraged the blades of the Jockey ~Club by refusi
ng to place it, as was customary, in ~the [sm2[nmnd act, by which time they woul
d have ~finished their coffee and cigars). The extent of the ~Parisian `craze' c
an be judged from the fact that ~Berlioz's orchestration of Weber's [cf2]Invitat
ion to the ~Dance [cf1]([cf2]Aufforderung zum Tanz[cf1], [sm1819
[nm) was com~~missioned for the [sm1841[nm prod. of [cf2]Der Freisch;Auutz[cf1],
 ~and dances from Bizet's incidental mus. to ~[cf2]L'Arl;Aaesienne [cf1]were int
erpolated into [cf2]Carmen[cf1].[ep~^Fr. influence on the Russ. Imperial court t
hs. ~also created a tradition of ballet in St Petersburg ~and Moscow to which na
tional traditions were ~added. Both cities had long had their royal schs. ~of ba
llet where technique was highly polished ~but there was little of mus. worth for
 them to ~dance until the masterpieces of Tchaikovsky: ~[fy45,1]*[fy75,2]Swan La
ke [cf1]([sm1876[nm), [cf2]The [fy45,1]*[fy75,2]Sleeping Beauty [cf1]([sm1889[nm
), ~and [fy45,1]*[fy75,2]Nutcracker [cf1]([sm1892[nm). The outstanding choreog.
~was Marius Petipa ([cf2]b [cf1]Marseilles, [sm1818[nm; [cf2]d [cf1]Gurzuf, ~Cri
mea, [sm1910[nm) who was principal ballet master in ~St Petersburg from [sm1862[
nm to [sm1903[nm.[ep~^The [sm20[nmth cent. saw reforms and revolutionary ~tenden
cies in the development of ballet which ~may be identified princ
ipally but not wholly ~with two individuals. The Amer. Isadora Duncan ~([sm1878[
nm=n[sm1927[nm) was inspired by Gr. classicism and ~by the natural movements of
the birds, the waves, ~etc., thereby rejecting many conventional choreo~~graphic
al formulae. She toured Russ. and was ~seen by the young dancer Mikhail [fy45,1]
*[fy75,1]Fokine ([sm1880[nm=n~[sm1942[nm) who was also working to free ballet fr
om ~its [sm19[nmth-cent. conventions, having been deeply ~impressed by the visit
 of Siamese dancers to Russ. ~in [sm1900[nm. He achieved his ambition in collab.
 with ~the impresario and opera producer Serge [fy45,1]*[fy75,1]Di~~aghilev ([sm
1872[nm=n[sm1929[nm). Taking advantage of the ~Franco-Russ. entente and realisin
g that radical ~reforms would not be allowed in the imperial ~ths., Diaghilev es
t. his Russian Ballet (Ballets ~Russes) in Paris, [sm1909[nm, bringing together
chore~~ogs. such as Fokine, and dancers such as [fy45,1]*[fy75,1]Nijinsky, ~Pavl
ova, and Karsavina. Ballet scores were com~~missioned from `prog
ressive' contemporary com~~posers, e.g. Ravel ([fy45,1]*[fy75,2]Daphnis et Chlo;
aae[cf1]), Stravinsky ~([fy45,1]*[fy75,2]Fire-Bird, [fy45,1]*[fy75,2]Petrushka,
[cf2]The [fy45,1]*[fy75,2]Rite of Spring[cf1]), Strauss ~([fy45,1]*[fy75,2]Josep
hslegende[cf1]), and Debussy ([fy45,1]*[fy75,2]Jeux[cf1]). The artists ~Bakst an
d Picasso were among those commis~~sioned to design scenery. Ballet mus. ceased
to be ~wholly subservient to the dancers' demands. The ~impact of these Diaghile
v prods. on Paris, London, ~Berlin, and other cities was electrifying and ~exerc
ised considerable influence on all the arts. ~Diaghilev introduced [sm1[nm-act b
allets, making an ~evening from [sm2[nm or [sm3[nm short ballets. In this way ~t
here came about the ballet based on the ~Polovtsian Dances from Borodin's [cf2]P
rince Igor[cf1], the ~famous [cf2]Spectre de la rose [cf1](to the Weber-Berlioz
~[cf2]Invitation to the Dance[cf1]) and, as a vehicle for ~Nijinsky, a ballet to
 the mus. of Debussy's [cf2]Pr;Aaelude ~;Aga l'apr;Ages-midi d'u
n faune[cf1]. Diaghilev frequently ~used re-workings of mus. not comp. for danci
ng ~as the basis of successful ballets, the most famous ~being [cf2]Les [fy45,1]
*[fy75,2]Sylphides [cf1]([sm1909[nm), from Chopin pieces. ~Other composers treat
ed in this way were Rossini, ~Cimarosa, Scarlatti, and Handel. Stravinsky was ~a
dept at these re-workings, as can be heard from ~[fy45,1]*[fy75,2]Pulcinella [cf
1](Pergolesi) and [cf2]Le [fy45,1]*[fy75,2]Baiser de la f;aaee ~[cf1](Tchaikovsk
y). After the [sm1914[nm=n[sm18[nm war, Stravinsky ~continued for a time to coll
aborate with Diaghilev ~but other composers who wrote ballets for him ~were Sati
e (=+[fy45,1]*[fy75,2]Parade[cf1]), Falla ([fy45,1]*[fy75,2]Three-Cornered Hat[c
f1]) ~and Prokofiev ([fy45,1]*[fy75,2]Chout, Le Pas d'acier[cf1], and [cf2]L'[fy
45,1]*[fy75,2]Enfant ~prodigue[cf1]). Most of the outstanding figures of ~ballet
 between [sm1918[nm and [sm1939[nm came from the ~Diaghilev co., Serge Lifar, L;
Aaeonide Massine and ~George [fy45,1]*[fy75,1]Balanchine among t
hem. The virtuosity ~of dancers and the constantly developing art of ~choreogs.
has successfully brought a vast range of ~non-ballet mus. into the ballet th. Ex
amples of ~scores to which ballets have been devised incl. ~Strauss's [fy45,1]*[
fy75,2]Till Eulenspiegel[cf1], Tchaikovsky's [sm5[nmth ~Sym., Brahms's [sm4[nmth
 Sym., Berlioz's [fy45,1]*[fy75,2]Symphonie ~fantastique[cf1], Elgar's [fy45,1]*
[fy75,2]Enigma Variations [cf1]and Mah~~ler's [cf2]Das [fy45,1]*[fy75,2]Lied von
 der Erde[cf1]. Nevertheless the ~comp. of orig. ballet scores has prospered. ~T
chaikovsky's heir was undoubtedly Prokofiev, ~whose [fy45,1]*[fy75,2]Cinderella
[cf1]and [fy45,1]*[fy75,2]Romeo and Juliet[cf1], for the ~Bolshoy Ballet, are su
perb, and distinguished ~scores have been written for ballet by Bart;Aaok, ~Copl
and, Shostakovich, Henze, Hindemith, Brit~~ten, and others.[ep~^In Brit. ballet
was imported after the days of the ~masque, but the impetus provided by the ~Dia
ghilev co. led to the formation of the Camargo ~Soc. in [sm1930[
nm, of whom the leading lights were ~the economist Maynard Keynes (married to Ly
dia ~Lopokova), his doctor brother Geoffrey Keynes, ~and Ninette de [fy45,1]*[fy
75,1]Valois. Among its first prods. ~was Vaughan Williams's [fy45,1]*[fy75,2]Job
[cf1], the first large-scale ~modern ballet score (though it is designated `a ~m
asque for dancing') by a Brit. composer. The ~Camargo Soc. became the Vic-Wells
Ballet, under ~the aegis of Lilian [fy45,1]*[fy75,1]Baylis at the Old Vic and SW
, ~later the SW Ballet, and eventually the Royal ~Ballet (based on CG). Leading
figures assoc. with ~[PN46,0,0,L,I0]Brit. ballet have incl. Constant [fy45,1]*[f
y75,1]Lambert, Fred~~erick [fy45,1]*[fy75,1]Ashton, John Cranko, Antony Tudor, ~
Anton Dolin, Alicia Markova, Robert Helpmann, ~Marie Rambert, Margot Fonteyn, Ru
dolf Nu~~reyev, and Kenneth MacMillan. Beside the Royal ~Ballet, leading cos. wo
rking regularly in Brit. are ~London Festival Ballet, Ballet Rambert, and the ~N
orthern Ballet Th. Orig. ballet scores by Brit. ~composers incl.
 Bliss's [fy45,1]*[fy75,2]Checkmate [cf1]and [fy45,1]*[fy75,2]Miracle in ~the Go
rbals[cf1], Britten's [fy45,1]*[fy75,2]Prince of the Pagodas[cf1], ~Walton's [cf
2]The Quest[cf1], Arnold's [fy45,1]*[fy75,2]Homage to the Queen ~[cf1]and [cf2]S
olitaire[cf1], and Maxwell Davies's [cf2]Salome.[cf1][ep~^In Europe after Diaghi
lev, and contemporary ~with him, leading influences in varying degrees ~were the
 Paris-based Ballets Su;Aaedois, under Rolf ~de Mar;Aae ([sm1886[nm=n[sm1964[nm)
, the Ger. choreog. Kurt ~Jooss's Ballets Jooss, (for which the mus. was ~writte
n by one composer, Frederick Cohen ([sm1904[nm=n~[sm67[nm)), Rudolf von Laban ([
sm1879[nm=n[sm1958[nm), Mary ~Wigman ([sm1886[nm=n[sm1973[nm), Ida Rubinstein ([
cf2]c[cf1].[sm1885[nm=n~[sm1960[nm), Emile Jaques-Dalcroze ([sm1865[nm=n[sm1950[
nm) and ~Maud Allan ([sm1883[nm=n[sm1956[nm). There has been a ~vigorous expansi
on of ballet and ballet potential~~ities in the USA. Ex-Diaghilev associates suc
h as ~Balanchine worked there and other pioneers of ~ballet ther
e incl. Ruth St Denis ([sm1877[nm=n[sm1968[nm), Ted ~Shawn ([sm1891[nm=n[sm1972[
nm), and Adolph Bolm ([sm1884[nm=n~[sm1951[nm). Later the chief figures were Mar
y Wigman ~and especially Martha Graham ([cf2]b[cf1] [sm1894[nm), Paul ~Taylor ([
cf2]b [cf1][sm1930[nm), and Louis Horst ([sm1884[nm=n[sm1964[nm) ~who was direct
or of the Denishawn Sch. [sm1915[nm=n~[sm25[nm and mus. dir. for the Graham co.
[sm1926[nm=n[sm48[nm. ~Amer. composers have been prolific in writing ~mus. speci
fically for dancing and while ballet has ~invaded the popular Broadway musicals
such as ~[cf2]On Your Toes, Oklahoma![cf1], and [cf2]Kiss Me, Kate, avant-~garde
 [cf1]ballet developments have kept pace with ~those in music. The collab. betwe
en the composer ~John [fy45,1]*[fy75,1]Cage and the choreog. Merce Cunningham ~(
[cf2]b[cf1] [sm1919[nm) pioneered new forms of presenting ballet ~as, to quote C
age, `an activity of movement, ~sound, and light', using non-sequential, non-~mi
metic movement. The aleatory trend in mus. ~has had its parallel
 in ballet, where all formal ~organization has been thrown overboard. Elec. ~sco
res have become commonplace, and slide and ~film projections are used. As mus. i
s now prod. ~without instr. or performers, ballet can be prod. ~without dancers,
 by means of electrocybernetic ~devices. Mention should also be made, if briefly
, ~of the influence on ballet of jazz, Latin-Amer. ~mus., African tribal dances,
 and the stylized ~ballets of China and Japan.[cm~Ballet de Cour [fy75,1](Fr.).
Fr. Court ballet of the [sm17[nmth ~cent. The [cf2]Balet comique de la royne[cf1
], comp. for the ~marriage festivities of the Duc de Joyeuse and the ~sister of
the queen of Fr. in [sm1581[nm is considered the ~first of its kind. Numerous ot
her ballets were ~comp. for the Fr. court up to the [sm1670[nms, when ~they were
 gradually superseded by Lully's operas.[xm[cm~[ol0][ep~[xp[te~


[do19][j99]~~~~~~[sm153842[nm_B[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmB[sm005[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm18[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm56[nmb[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Ballet Russe de M
onte Carlo. [fy75,1]Ballet co. formed ~in [sm1932[nm, and orig. called Ballets R
usses de Monte ~Carlo, in effort to continue [fy45,1]*[fy75,1]Diaghilev's work.
It ~was headed by Colonel Wassili de Basil and Ren;aae ~Blum, with Fokine, Massi
ne, and Balanchine as ~choreogs. Later de Basil split away from Blum ~and Massin
e and his co. disbanded in Paris in ~[sm1947[nm, though it was revived for a yea
r in London, ~[sm1951[nm. The Blum-Massine co., under the name ~Ballet Russe de
Monte Carlo, went to USA at ~outbreak of World War II where it toured N. ~Amer.
until disbandment in [sm1962[nm.[cm~Ballets Russes [fy75,1](Russian Ballet). See
 under [cf2]Ballet ~[cf1]and [cf2]Diaghilev[cf1].[cm~Balletomane. [fy75,1][sm20[
nmth-cent. term meaning one who ~is extremely enthusiastic about
 ballet, hence also ~`balletomania'.[cm~Ballett [fy75,1](Ballet). A form of [fy4
5,1]*[fy75,1]madrigal orig. so ~called because the performers also danced to the
 ~tune. Thought to have been invented by the It. ~[sm16[nmth-cent. composer Gast
oldi who in [sm1591[nm pubd. ~[cf2]Balletti a cinque voci [cf1]with instructions
 for dancing ~and instr. accs. In Eng. the ballett was popularized ~by [fy45,1]*
[fy75,1]Morley and [fy45,1]*[fy75,1]Weelkes, whose first colls. were ~pubd. resp
ectively in [sm1595[nm and [sm1598[nm. Balletts ~differ from madrigals in their
regular rhythm ~and (an indispensable feature) the singing of `fal-~lal-la' betw
een the clauses.[cm~Balliff, Claude [fy75,1]([cf2]b [cf1]Paris, [sm1924[nm). Fr.
 composer and ~teacher. Studied at Bordeaux [sm1942[nm=n[sm51[nm, Paris Cons. ~(
under Messiaen) and Berlin Hochschule (with ~Blacher). Taught in Berlin and Hamb
urg [sm1955[nm=n~[sm1958[nm. Worked at Fr. radio's [cf2]Groupe de Recherches ~Mu
sicales [cf1][sm1959[nm=n[sm61[nm. Teacher at Reims Cons. [sm196
5[nm=n~[sm8[nm, prof. of analysis Paris Cons. from [sm1971[nm. Author ~of book o
n Berlioz ([sm1968[nm). Works incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Voyage de mon
 oreille [cf1]([sm1957[nm); [cf2]Fantasio [cf1]([sm1957[nm[nm, ~rev. [sm1976[nm)
; [cf2]Ceci et cela [cf1]([sm1959=n65[nm); [cf2]A cor et ;Aga cri ~[cf1]([sm1962
[nm); [cf2]Po;Ageme de la felicit;Aae [cf1]([sm1978[nm).[ep~[sminstr[nm: [cf2]An
tienne No. [sm1[nm ;Aga la Ste. Vierge[cf1], [sm6[nm singers, [sm8[nm ~instr. ([
sm1952[nm, rev. [sm1956[nm); [sm3[nm str. qts. ([sm1955[nm, [sm1958[nm, ~[sm1959
[nm); [sm2[nm str. trios ([sm1956[nm, [sm1959[nm); vn. sonata ~([sm1957[nm); [sm
4[nm quintets ([sm1952=n60[nm); [cf2]Phrases sur le ~souffle[cf1], alto, [sm8[nm
 instr. ([sm1958[nm); quintet for fl., ob., ~str. trio ([sm1958[nm); fl. sonata
([sm1958[nm); [cf2]Mouvement pour ~[sm2[nm[cf1], fl., pf. ([sm1959[nm); double t
rio for fl., ob., vc., and ~vn., cl., hn. ([sm1961[nm); [cf2]Imaginaire I[cf1],
fl., cl., tpt., tb., ~vn., vc., harp ([sm1963[nm).[ep~[smpiano[n
m: Sonatas: Nos. [sm1=n5[nm ([sm1957=n60[nm).[ep~[smorgan[nm: [sm4[nm Sonatas ([
sm1956[nm).[ep~[smchoral[nm: [cf2]Requiem[cf1], [sm8[nm solo vv., [sm5[nm ch., o
rch. ([sm1953=n~68[nm); [cf2]Pri;ageres[cf1], ch. ([sm1971[nm); [cf2]Chapelet[cf
1], ch. ([sm1971[nm).[cm~[j1]Balling, Michael [fy75,1]([cf2]b [cf1]Heidingsfeld-
am-Main, ~[sm1866[nm; [cf2]d [cf1]Darmstadt, [sm1925[nm). Ger. cond. who began ~
as violist. Founded mus. sch. in N.Z., [sm1892[nm. Ass. ~cond. at Bayreuth, [sm1
896[nm=n[sm1924[nm. Cond., Karlsruhe ~Opera, [sm1903[nm=n[sm9[nm. Cond. Wagner's
 [cf2]Ring [cf1]in Eng. ~with Denhof Co., Edinburgh, [sm1910[nm. Cond., Hall;aae
 ~Orch., [sm1912[nm=n[sm14[nm; mus. dir., Darmstadt from [sm1919[nm.[cm~Ballo [f
y75,1](It.). Ball, dance; so [cf2]tempo di ballo[cf1], which ~can mean [cf1]([cf
2]a[cf1]) At a dancing speed, or ([cf2]b[cf1]) A dance-~style movement.[cm~[PN47
,0,0,R,I0]Ballo in Maschera, Un [fy75,1](A Masked Ball). Opera ~in [sm3[nm acts
by Verdi to lib. by Somma based on ~Scribe's lib. for Auber's [c
f2]Gustave III ou Le Bal masqu;Aae[cf1]. ~Prod. Rome [sm1859[nm, NY and London [
sm1861[nm. Events ~of the opera are based on assassination of King ~Gustavus III
 of Sweden in [sm1792[nm. The Naples ~censor forbade regicide on the opera stage
 and ~ordered Verdi to adapt his mus. to a new lib. He ~refused, but Rome agreed
 to stage the opera if ~the locale was moved outside Europe. Verdi and ~Somma th
ereupon changed Sweden to Boston, ~Mass., before the War of Independence. In [sm
1952[nm ~at CG the action was replaced in Sweden and the ~characters resumed the
ir orig. (and historical) ~names. These, with the Boston version equivalents ~in
 brackets, are: Gustavus (Riccardo, Earl of ~Warwick); Count Ankarstroem (Renato
); Mme ~Arvidson (Ulrica); Count Ribbing (Samuel); ~Count Horn (Tom). Only the h
eroine, Amelia, ~and the page Oscar were unaffected by the change. ~Other operas
 on this subject are [fy45,1]*[fy75,1]Auber's [cf2]Gustave ~III [cf1](Paris [sm1
833[nm), [fy45,1]*[fy75,1]Gabussi's [cf2]Clemenza di Valois ~[cf
1](Venice [sm1841[nm), and [fy45,1]*[fy75,1]Mercadante's [cf2]Il reggente ~[cf1]
(Turin [sm1843[nm).[cm~Balsam, Artur [fy75,1]([cf2]b [cf1]Warsaw, [sm1906[nm). P
olish-born ~pianist. Educated L;aaod;aaz Cons. and Berlin Hoch~~[chschule. D;Aae
but L;aaod;aaz [sm1918[nm. Settled in USA, where ~he has taught at various acade
mies. Distinguished ~chamber-mus. player.[cm~Baltsa, Agnes[fy75,1] ([cf2]b[cf1]
Lefkas, [sm1944[nm). Greek mezzo-~soprano. Studied Athens Acad., winning first ~
Callas Scholarship. Frankfurt Opera [sm1968[nm=n[sm71[nm, ~making d;aaebut as Ch
erubino. Sang Oktavian in ~Vienna [sm1970[nm. Deutsche Oper, Berlin, from [sm197
0[nm. ~La Scala d;aaebut [sm1976[nm, Amer. d;aaebut [sm1971[nm (Houston), ~CG [s
m1976[nm, NY Met. [sm1979[nm. Outstanding Carmen, ~Composer ([cf2]Ariadne auf Na
xos[cf1]), Dorabella, and ~Dido in Berlioz's [cf2]Les Troyens[cf1]. Sang Romeo i
n ~revival of Bellini's [cf2]I Capuleti e i Montecchi [cf1]at CG, ~[sm1984[nm.[c
m~Baltzar, Thomas [fy75,1]([cf2]b [cf1]L;auubeck, [cf2]c[cf1].[s
m1630[nm; [cf2]d [cf1]London, ~[sm1663[nm). Ger.-born violinist and the most acc
om~~plished up to his period heard in Eng., according ~to Evelyn and Anthony Woo
d. Appointed leader ~of band of Charles II, [sm1661[nm. Some comps. survive.[cm~
Bamberg Symphony Orchestra.[fy75,1] Orch. based in ~Bamberg, Bavaria, founded [s
m1946[nm from the Prague ~Deutsche Philharmonie. Prin. conds. have incl. ~Herber
t Albert ([sm1947[nm=n[sm8[nm), Eugen Jochum ([sm1948[nm=n~[sm9[nm), Joseph Keil
berth ([sm1949[nm=n[sm68[nm), Jochum ([sm1969[nm=n~[sm78[nm), James Loughran ([s
m1978[nm=n[sm83[nm), and Rafael ~Kubelik from [sm1983[nm. Has twice toured Brita
in.[cm~Bamberger, Carl [fy75,1]([cf2]b [cf1]Vienna, [sm1902[nm). Austrian-~born
cond. and teacher. Studied Vienna Univ., ~cond. opera in Danzig, Darmstadt, and
Russia ~[sm1924[nm=n[sm31[nm, before settling in USA in [sm1937[nm. Mus. ~dir.,
spring fest., Columbia, S.Car., [sm1942[nm=n[sm50[nm. ~Cond. Montreal Chamber Co
ncerts [sm1950[nm=n[sm2[nm. ~Founder-cond. Mannes College Orch.
[sm1938[nm=n[sm75[nm. ~Author of book on conducting.[cm~Bamboo Pipe. [fy75,1]Sim
ple instr. of the [fy45,1]*[fy75,1]recorder ~type, introduced into Amer. schs. i
n the [sm1920[nms ~and later into those of Brit., the players usually ~making th
eir own instr. Vaughan Williams wrote ~a [cf2]Suite [cf1]([sm1939[nm) for treble
, alto, ten., and bass pipes.[cm~Bamboula. [fy75,1]([sm1[nm) Primitive Negro tam
bourine in ~use in the West Indies.[ep~^([sm2[nm) Dance to which this is the acc
.[cm~Bampton, Rose [fy75,1]([cf2]b [cf1]Lakewood, Ohio, [sm1908[nm). Amer. ~oper
atic sop. (at first mez.). Trained Curtis ~Institute. D;Aaebut NY Met. [sm1932[n
m, member of Met. ~[sm1932[nm=n[sm50[nm. CG [sm1937[nm. Buenos Aires [sm1942[nm=
n[sm50[nm. ~Taught at Juilliard Sch. from [sm1974[nm.[cm~Banalit;aaes [fy75,1](B
analities). Song-cycle by Poulenc to [sm5[nm ~poems by Guillaume Appollinaire, c
omp. [sm1940[nm. ~Titles are: [cf2]Chanson d'Orkenise, H;Afotel, Fagnes de ~Wall
onie, Voyage ;Aga Paris, Sanglots[cf1].[cm~Banchieri, Adriano [f
y75,1]([cf2]b [cf1]Bologna, [sm1568[nm; [cf2]d[cf1] Bologna, ~[sm1634[nm). It. c
omposer, organist, and theorist. Org., ~S. Michele, Bosco, and of Monte Oliveto,
 where ~in [sm1613[nm he became abbot. His [cf2]L'organo suonarino[cf1], ~pubd.
Venice [sm1605[nm, contains first precise rules for ~accompanying from a figured
 bass. In [cf2]Moderna ~practica musicale [cf1](Venice [sm1613[nm) he discusses
~alterations necessary because of the influence of ~figured bass on ornaments in
 singing. Comp. ~much church mus., also `Intermedi' for comedies. ~His [cf2]La p
azzia senile [cf1]([sm1598[nm), regarded as almost the ~first comic opera, is a
sequence of madrigals,[fj~in the Vecchi manner, based on the [cf2]commedia[fj~de
ll'arte[cf1] character Pantaloon. He was pioneer of ~fantasies for instr. ens.[c
m~Band. [fy75,1]A numerous body of instr. players, e.g. ~brass, dance, military,
 steel, and perc. bands. ~Rarely now applied to full sym. orch except ~affection
ately (Hall;Aae Band). Also applied to ~sections of the orch., e
.g. str. band and, particu~~larly, wind band. Thus when Berlioz in his ~[cf2]Req
uiem [cf1]and Walton in [cf2]Belshazzar's Feast [cf1]require ~extra brass `bands
', they mean brass sections, not ~a full complement [cf2];Aga la [cf1]Black Dyke
 Mills.[cm~Bandoneon. [fy75,1]Argentinian type of [fy45,1]*[fy75,1]Accordion. ~I
nstead of a kbd. it has buttons producing single ~notes.[cm~Bandora. [fy75,1]Eng
. wire-str. mus. instr. similar to ~lute invented by John Rose of Bridewell in [
sm1561[nm. ~A bass instr.with sonorous quality of sound, it ~was used to acc. th
e v. by such composers as J. ~[fy45,1]*[fy75,1]Mundy and [fy45,1]*[fy75,1]Peerso
n and works for solo bandora ~survive. Orig. had [sm6[nm courses but a [sm7[nmth
 was added ~in [sm17[nmth cent. Name possibly derived from Sp. ~[fy45,1]*[fy75,2
]bandurria[cf1].[cm~Bandurria. [fy75,1]Sp. type of flat-backed guitar, known ~as
 early as [sm14[nmth cent. as [cf2]mandurria[cf1]. [sm3[nm-course ~(sometimes [s
m4[nm or [sm5[nm) instr. shaped like [fy45,1]*[fy75,1]rebec [cf1
]and ~played with plectrum.[cm~Banfield, Raffaello de [fy75,1]([cf2]b [cf1]Newca
stle upon Tyne, ~[sm1922[nm). It. composer whose works incl. [sm2[nm operas ~[PN
48,0,0,L,I0]based on stories by Tennessee Williams, [cf2]Lord ~Byron's Love Lett
er [cf1]and [cf2]Orpheus Descending[cf1].[cm~Banister, John [fy75,1]([cf2]b [cf1
]London, [cf2]c[cf1].[sm1625[nm; [cf2]d [cf1]London, ~[sm1679[nm). Eng. violinis
t, member of the band of ~Charles II, becoming leader in [sm1662[nm. Dismissed ~
for financial irregularities, [sm1667[nm. Composer and ~said to be Britain's fir
st organizer of public ~concerts (in London, [sm1672[nm).[cm~Banjo. [fy75,1]Inst
r. of the same general type as the ~[fy45,1]*[fy75,1]guitar, but the resonating
body is of parchment ~strained over a metal hoop and it has an open ~back. There
 are from [sm4[nm to [sm9[nm str. (usually [sm5[nm or [sm6[nm), ~passing over a
low bridge and `stopped' against a ~fingerboard, which is often without [fy45,1]
*[fy75,1]frets; one is ~a [cf2]melody string [cf1](thumb string,
 or [cf2]chanterelle[cf1]), the ~others providing a simple chordal acc. Some ~ex
amples have gut str. (played with the finger-~tips) and others wire str. (played
 with a plectrum). ~Used by Gershwin in [fy45,1]*[fy75,2]Porgy and Bess [cf1]and
 by ~Delius in [fy45,1]*[fy75,2]Koanga[cf1]. The origin of this instr. is ~suppo
sed to be Africa, and it was in use among ~the slaves of S. USA; then, in the [s
m19[nmth cent., it ~became the accepted instr. of `Negro [fy45,1]*[fy75,1]Minstr
els' ~and in the [sm20[nmth found a place in jazz bands. These ~last sometimes u
sed a [cf2]Tenor Banjo[cf1], with a different ~scheme of tuning (resembling that
 of the vn. ~family). The [cf2]Zither Banjo [cf1]is of small size and has ~wire
str.[cm~Banjolin. [fy75,1]Instrument of the banjo type, but with ~a short, frett
ed neck, like that of a mandoline. It ~has [sm4[nm single (or pairs of=+=+) str.
, played with a ~plectrum.[cm~Banks, Don [fy75,1](Donald Oscar) ([cf2]b[cf1] Mel
bourne, [sm1923[nm; ~[cf2]d[cf1] Sydney, N.S.W., [sm1980[nm). Au
stralian composer. ~Studied Melbourne Univ. Cons. of Mus., [sm1947[nm=n[sm9[nm,
~then privately with Seiber (London [sm1950[nm=n[sm2[nm) and ~Dallapiccola (Flor
ence [sm1952[nm=n[sm3[nm). Worked in Aus~~tralia as jazz pianist and arranger. S
everal film ~scores. Met Milton [fy45,1]*[fy75,1]Babbitt in [sm1952[nm and has ~
followed his excursions into elec. mus. Mus. dir., ~Goldsmiths' College, London
Univ., [sm1969[nm=n[sm71[nm. ~Head of comp. and elec. music studies, Canberra ~S
ch. of Mus. from [sm1974[nm. Prin. works incl. concs. ~for vn. ([sm1968[nm), hn.
 ([sm1965[nm), [cf2]Settings from Roget [cf1]for ~jazz singer and jazz qt. ([sm1
966[nm), [cf2]Assemblies [cf1]for orch. ~([sm1966[nm), [cf2]Tirade[cf1], mez., p
f., harp, perc. ([sm1968[nm), Psalm ~[sm70[nm, sop. and chamber orch., [cf2]Divi
sions [cf1]for orch., ~[cf2]Nexus[cf1], orch. and jazz quintet, [cf2]Commentary[
cf1], pf. ~and tape, [cf2]Prospects [cf1]([sm1973[nm).[cm~Banner of St George, T
he. [fy75,1]Ballad for ch. and ~orch., Op. [sm33[nm by Elgar. Te
xt by Shapcott Wensley. ~Comp. [sm1896=n7[nm. F.p. London [sm1897[nm.[cm~Bantock
, [fy75,1](Sir) [fy65][cf3]Granville [fy75,1]([cf2]b [cf1]Westbourne Park, ~Lond
on, [sm1868[nm; [cf2]d [cf1]London, [sm1946[nm). Eng. composer, ~cond., and educ
ationist. Trained at RAM [sm1889[nm=n~[sm93[nm, toured as cond. of a theatrical
co. and became ~mus. dir. at New Brighton, nr. Liverpool, where ~he gave remarka
ble concerts of mus. by contem~~porary Brit. composers. Was among first Eng. ~ch
ampions of mus. of Sibelius, whose [sm3[nmrd Sym. is ~ded. to him. From [sm1900[
nm Prin. of Sch. of Mus. in ~Birmingham and from [sm1908[nm Prof. of Mus., ~Birm
ingham Univ.; in [sm1934[nm became Chairman ~of Corporation of TCL. Knighted [sm
1930[nm.[ep~^His orch. mus. is extremely brilliantly scored in ~a romantic manne
r but has not held its place in ~the repertory apart from occasional perfs. of h
is ~ov. [cf2]Pierrot of the Minute [cf1][cf1]and his tone-poem after ~Browning [
cf2]Fifine at the Fair[cf1]. Prolific composer of ~part-songs fo
r competitive fests., and his most ~ambitious works were [sm2[nm unacc. choral s
yms. ~[cf2]Atalanta in Calydon [cf1](Manchester [sm1912[nm) and [cf2]Vanity ~of
Vanities [cf1](Liverpool [sm1914[nm) and a [sm3[nm-part setting ~for cont., ten.
, and bass soloists, ch., and orch. of ~[cf2]Omar Khayy;Aaam [cf1]([sm1906[nm, [
sm1907[nm, [sm1909[nm). Other comps. ~incl.:[xm[cm~[j2][smstage[nm: [fy75,2]Caed
mar[cf1], opera ([sm1893[nm); [cf2]The Pearl of Iran[cf1], ~opera ([sm1894[nm);
[cf2]Eugene Aram[cf1], unfinished opera ~([sm1896[nm); [cf2]Hippolytus[cf1], inc
id. mus. ([sm1908[nm); [cf2]Electra,[cf1] ~incid. mus. ([sm1909[nm); [cf2]The Gr
eat God Pan[cf1], ballet ~([sm1915[nm); [cf2]Salome[cf1], incid. mus. ([sm1918[n
m); [cf2]The Seal-~Woman[cf1], opera ([sm1924[nm); [cf2]Macbeth[cf1], incid. mus
. ~([sm1926[nm).[ep~[smorch[nm: [cf2]Elegiac Poem[cf1], vc. and orch. ([sm1898[n
m); [cf2]Helena ~Variations [cf1]([sm1899[nm); [cf2]English Scenes [cf1]([sm1900
[nm); Tone-~poems: [cf2]Dante[cf1] ([sm1901[nm, rev. as [cf2]Dan
te and Beatrice[cf1], ~[sm1910[nm), [cf2]Fifine at the Fair[cf1] ([sm1901[nm), [
cf2]Hudibras[cf1] ([sm1902[nm),[cf2] ~The Witch of Atlas[cf1] ([sm1902[nm), [cf2
]Lalla Rookh[cf1] ([sm1902[nm); ~[cf2]Sapphic Poem, [cf1]vc. and orch. ([sm1906[
nm); ov. [cf2]The Pierrot ~of the Minute[cf1] ([sm1908[nm);[cf2] From the Scotti
sh Highlands[cf1], ~str. ([sm1913[nm); [cf2]Dramatic Poem[cf1], vc. and orch. ([
sm1914[nm); ~[cf2]Hebridean Symphony[cf1] ([sm1915[nm); [cf2]Pagan Symphony ~[cf
1]([sm1923[nm=n[sm8[nm); [cf2]Celtic Symphony,[cf1] str., [sm6[nm hps. ([sm1940[
nm); ~[cf2]Overture to a Greek Comedy[cf1] ([sm1941[nm);[cf2] The Funeral[cf1] ~
([sm1946[nm).[ep~[smchorus and orch[nm: [cf2]The Fire Worshippers[cf1], soloists
, ~ch., and orch. ([sm1892[nm); [cf2]The Blessed Damozel[cf1], reciter ~and orch
. ([sm1892[nm); [cf2]The Time Spirit[cf1], ch. and orch. ~([sm1902[nm); [cf2]Fer
ishtah's Fancies[cf1], v. and orch. ([sm1905[nm); ~[cf2]Sappho[cf1], v. and orch
. ([sm1906[nm); [cf2]Sea Wanderers[cf1], ch. ~and orch. ([sm1906
[nm); [fy45,1]*[fy75,2]Omar Khayy;aaam[cf1], cont., ten., ~bass, ch., and orch.
([sm1906[nm=n[sm9[nm); [cf2]Song of Liberty[cf1], ch. ~and orch. ([sm1914[nm); [
cf2]Song of Songs, [cf1]soloists, ch., and ~orch. ([sm1922[nm); [cf2]Pagan Chant
s,[cf1] v. and orch. ([sm1917[nm=n~[sm26[nm); [cf2]The [fy45,1]*[fy75,2]Pilgrim'
s Progress[cf1], soloists, ch., and ~orch. ([sm1928[nm); [cf2]Prometheus Unbound
[cf1], ch. and orch. ~([sm1936[nm); [cf2]Thomas the Rhymer[cf1], v. and orch. ([
sm1946[nm).[ep~[smunacc. voices[nm: Mass in B;yh, male vv. ([sm1903[nm); ~[fy45,
1]*[fy75,2]Atalanta in Calydon[cf1], sym. for ch. ([sm1911[nm); [cf2]Vanity ~of
Vanities[cf1], sym. for ch. ([sm1913[nm);[cf2] A Pageant of ~Human Life[cf1], sy
m. for ch. ([sm1913[nm); [cf2][sm7[nm Burdens of ~Isaiah[cf1], male vv. ([sm1927
[nm); [cf2][sm5[nm Choral  Songs and Dances ~from The Bacchae[cf1], female vv. (
[sm1945[nm).[ep~[smchamber music[nm: Str. qt. ([cf2]c[cf1].[sm1899[nm); [cf2]Pib
roch[cf1], vc., hp. ~([sm1917[nm); va. sonata ([sm1919[nm); vc.
sonata ([sm1924[nm);[sm 3[nm ~vn. sonatas ([sm1929, 1932, 1940[nm); [sm2[nm vc.
sonatas ~([sm1940, 1945[nm).[ep~^Also many pf. pieces, [sm40[nm song-cycles, nea
rly [sm50[nm ~solo songs, works for brass band.[cm~[ol0][ep~[xp[te~










[do35][j99]~~~~~~[sm153842[nm_B[sm6[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmB[sm006[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm18[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm68[nmb[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Bar, Bar Line
. [fy75,1]The vertical line marked on a ~stave to denote the point of metrical d
ivision is ~actually the bar but in modern usage has come to ~[PN49,0,0,R,I0]be
called the bar line, while the space between ~such lines is the bar itself. Thus
, `[sm3[nm beats to the ~bar'. In Amer. parlance, a bar is called a measure, ~an
d a bar means a bar line. [sm2[nm vertical lines close ~together are, in Eng., a
 double bar, not double ~bar line.[cm~Barbarie, Orgue de. [fy75,1]Small mechanic
al org. ~played by turning a handle, at one time com~~monly found in Eng. street
s.[cm~Barber, Samuel[fy75,1] ([cf2]b[cf1] West Chester, Penn., [sm1910[nm; [cf2]
d[cf1] ~NY, [sm1981[nm). Amer. composer. Played pf. and vc. at ~age [sm6[nm. At
[sm14[nm entered Curtis Institute, Philadelphia, ~as one of firs
t charter students, studying comp. ~under Scalero, pf. under Isabelle Vengerova,
 and ~singing under Emilio de Gogorza. In [sm1928[nm formed ~a lasting and fruit
ful friendship with Gian Carlo ~[fy45,1]*[fy75,1]Menotti. From [sm1933[nm his co
mps. began to be ~played, notably his setting of Arnold's [cf2]Dover ~Beach[cf1]
, in which he sang the bar. part, and his Vc. ~Sonata, in which he played the pf
. In [sm1935[nm won a ~Pulitzer scholarship and in [sm1936[nm the Amer. ~Academy
's [cf2]Prix de Rome[cf1]. His first Sym. was given ~its f.p. in Rome that year.
 Toscanini cond. f.ps. of ~his [cf2]Adagio for Strings[cf1] (orig. the slow move
ment of ~his str. qt.) and the first [cf2]Essay for Orchestra[cf1] in ~[sm1938[n
m and in subsequent years f.ps. of his works ~were given in NY, Boston, and Phil
adelphia under ~Walter, Koussevitzsky, Leinsdorf, Mitropoulos, ~Ormandy, and Meh
ta. His [sm4[nm-act opera [cf2]Vanessa[cf1], to ~lib. by Menotti, was perf. at t
he NY Met. in [sm1958[nm ~and another opera [cf2]Antony and Cleo
patra[cf1] was ~commissioned for the opening of the new ~Metropolitan in the Lin
coln Center, NY, in Sept. ~[sm1966[nm.[ep~^Barber's mus. is in the European trad
itional line ~rather than specifically `American'. Conservative ~in idiom, it is
 melodic, elegant, and brilliant. His ~lyricism is best heard in [cf2]Knoxville:
 Summer of ~[sm1915[nm[cf1], for sop. and orch., and his romanticism in ~[cf2]Do
ver Beach[cf1], the Vc. Sonata, and the Sym. No. [sm1[nm. ~His Pf. Sonata, first
 played by Horowitz, is a ~bravura work. The operas met with a poor initial ~res
ponse, but the concs. and songs are highly ~effective. Prin. works:[xm[cm~[j2][s
moperas[nm: [fy75,2]Vanessa[cf1] ([sm1957[nm), [cf2]A Hand of Bridge[cf1] ([sm19
58[nm), ~[cf2]Antony and Cleopatra[cf1] ([sm1966[nm, rev. [sm1974[nm).[ep~[smbal
lets[nm: [cf2]Medea[cf1] ([sm1946[nm), [cf2]Souvenirs[cf1] ([sm1952[nm).[ep~[smo
rch[nm: Sym. No. [sm1[nm ([sm1936[nm), No. [sm2[nm ([sm1944[nm), [cf2]Overture ~
to School for Scandal[cf1] ([sm1933[nm); [cf2]Music for a Scene
from ~Shelley[cf1] ([sm1937[nm), [cf2]Essay No. [sm1[nm[cf1] ([sm1937[nm), [cf2]
No. [sm2[nm[cf1] ([sm1942[nm), ~[cf2]No. [sm3[nm[cf1] ([sm1978[nm); [cf2]Adagio
for Strings[cf1] ([sm1938[nm) (orch. ~from Str. Qt. Op. [sm11[nm).[ep~[smvocal a
nd choral[nm: [cf2]Dover Beach [cf1](bar. with str. qt. ~or str. orch.) ([sm1933
[nm), [cf2]Knoxville: Summer of [sm1915[nm[cf1], ~sop. and orch. ([sm1947[nm), [
cf2]Prayers of Kierkegaard[cf1] ~([sm1954[nm), [cf2]Andromache's Farewell[cf1] (
[sm1962[nm), and many ~solo songs, incl. [cf2]Hermit Songs[cf1] ([sm1953[nm) and
 [cf2]The ~Lovers[cf1], song-cycle of [sm9[nm poems of Neruda ([sm1971[nm).[ep~[
smconcertos[nm: Vn. ([sm1940[nm), Vc. ([sm1945[nm), Pf. ([sm1962[nm), ~[cf2]Capr
icorn Concerto[cf1] (for chamber orch.) ([sm1944[nm).[ep~[smchamber music[nm: Ce
llo Sonata ([sm1932[nm), [cf2]Excursions[cf1] ~for Pf. ([sm1944[nm), Piano Sonat
a ([sm1949[nm), String ~Quartet ([sm1936[nm), [cf2]Summer Music[cf1] (woodwind q
uin~~tet) ([sm1956[nm).[cm~[j1]Barber of Bagdad, The [fy75,1](Co
rnelius). See [cf2]Barbier ~von Bagdad, Der.[cf1][cm~Barber of Seville, The[fy75
,1] (Rossini; also Paisiello). ~See [cf2]Barbiere di Siviglia, Il.[cm~Barber's S
hop Music. [fy75,1]One of the regular haunts ~of mus. in the [sm16[nmth and [sm1
7[nmth cents. was the ~barber's shop. Here customers awaiting their turn ~found
some simple instr. on which they could ~strum. The barbers themselves, waiting b
etween ~customers, took up the instr. and thus came to ~possess some repute as p
erformers. In Eng. lit. of ~the [sm16[nmth and [sm17[nmth cents. allusions to ba
rbers as ~musicians are numerous.[ep~^The mus. proclivities of barbers ceased in
 Eng. ~in the earlier part of the [sm18[nmth cent. The tradition ~was maintained
 longer in Amer. where `barber-~shop harmony', implying a rather banal style of
~close harmony singing, has enjoyed a [sm20[nmth-cent. ~revival.[cm~Barbican. [f
y75,1]District in City of London where arts ~and conference centre is situated.
Arts centre, ~opened in [sm1982[nm at a cost of ;bp[sm143[nm mil
lion, includes ~concert-hall, theatre and studios, lending and ~reference librar
y, art gallery, sculpture court, and ~cinema. [fy45,1]*[fy75,1]Guildhall School
of Music and Drama ~housed on the site since [sm1977[nm.[cm~Barbier von Bagdad,
Der[fy75,1] (The Barber of ~Bagdad). Comedy-opera in [sm2[nm acts by Cornelius t
o ~his own lib. based on [cf2][sm1001[nm Nights. [cf1](Prod. Weimar, ~under Lisz
t, [sm1[nm perf. [sm1858[nm; NY and Chicago [sm1890[nm; ~London [sm1891[nm). Mos
t perfs. since [sm1884[nm have been ~of a rev. and re-orchestration by [fy45,1]*
[fy75,1]Mottl.[cm~Barbiere di Siviglia, Il[fy75,1] (The Barber of Seville).[fj~[
sm2[nm-act opera buffa by Rossini, to lib. by Sterbini ~based on Beaumarchais. T
o differentiate it from ~Paisiello's opera of the same name it was called ~[cf2]
Almaviva, ossia L'inutile precauzione[cf1] (Almaviva, or ~the Useless Precaution
) at its f.p. (Rome [sm1816[nm). ~Perf. London [sm1818[nm, NY [sm1819[nm. The fa
mous ov. ~had already been used by Rossini for [sm2[nm other ~op
eras ([cf2]Aureliano in Palmira[cf1] and [cf2]Elisabetta, Regina ~d'Inghilterra[
cf1]).[ep~^Paisiello's opera is in [sm4[nm acts to a lib. by Petrosellini. ~Prod
. St Petersburg [sm1782[nm, London [sm1789[nm. Several ~modern revivals. Operas
on this subject were also ~comp. by Elsperger ([sm1783[nm), Benda ([sm1785[nm),
Schulz ~([sm1786[nm), Morlacchi ([sm1816[nm), and Graffigna ([sm1879[nm).[cm~Bar
bieri, Fedora[fy75,1] ([cf2]b[cf1] Trieste, [sm1920[nm). It. mez. who ~made oper
atic d;aaebuts in Trieste and in Florence, ~[sm1941[nm. Sang in opera cos. at Ro
me [sm1941[nm=n[sm2[nm, Milan ~(La Scala) [sm1943[nm, Florence [sm1945[nm. CG [s
m1950[nm and ~[sm1957[nm=n[sm8[nm. NY Met. [sm1950[nm=n[sm4[nm (d;aaebut as Ebol
i in [cf2]Don ~Carlos[cf1]) and [sm1956[nm=n[sm75[nm.[cm~Barbirolli, [fy75,1](La
dy) [fy65][cf3]Evelyn[fy75,1] (n;aaee Rothwell) ([cf2]b[cf1] ~Wallingford, [sm19
11[nm). Eng. oboist and teacher. [sm2[nmnd ~[PN50,0,0,L,I0]wife of Sir John [fy4
5,1]*[fy75,1]Barbirolli whom she married ~[sm1939[nm. Trained at
 RCM. Oboist, CG Touring Orch. ~[sm1931[nm=n[sm2[nm, Scottish Orch. [sm1933[nm=n
[sm7[nm, Glyndebourne ~Opera Orch. [sm1934[nm=n[sm8[nm, LSO [sm1935[nm=n[sm9[nm.
 Thereafter ~soloist and recitalist, member of various ens. Gave ~f.p. in modern
 times of Mozart's oboe concerto ~(K[sm314[nm), Salzburg, [sm1948[nm. Author of
several books ~on ob. technique. Prof. of ob., RAM, from [sm1971[nm. ~O.B.E. [sm
1984[nm.[cm~Barbirolli, [cf1](Sir) [fy65][cf3]John[fy75,1] (Giovanni Battista) (
[cf2]b[cf1] ~London, [sm1899[nm; [cf2]d[cf1] London, [sm1970[nm). Eng. cond., of
 ~It.-Fr. parentage. Studied at TCL and RAM, being ~prominent as cellist. First
public appearance as ~conc. soloist, London [sm1911[nm. Member of Queen's ~Hall
Orch. [sm1916[nm. Served in army [sm1918[nm. After war, ~free-lance cellist and
member of str. qt. Formed ~own str. orch. to conduct, [sm1924[nm. Appointed staf
f ~cond., BNOC, [sm1926[nm. Cond at CG [sm1929[nm and became ~prin. cond. CG tou
ring co. [sm1929[nm=n[sm33[nm. Cond., ~Scottish Orch., Glasgow [
sm1933[nm=n[sm6[nm, NY Phil.-Sym. ~Orch. [sm1936[nm=n[sm42[nm. Returned to Eng.
[sm1943[nm as cond., ~Hall;aae Orch., Manchester, where he remained ~until his d
eath, lifting the orch. to new heights ~and taking it on several foreign tours.
Also prin. ~cond., Houston S.O. [sm1961[nm=n[sm7[nm. Guest cond. of orchs. ~thro
ughout the world, esp. Berlin P.O., Boston ~S.O., and Chicago S.O., etc. Famed i
nterpretations ~of Mahler, Elgar, Vaughan Williams, Sibelius, ~Puccini, and Verd
i, but successful in remarkably ~wide repertory. Also arr. mus. by Purcell, Core
lli, ~Pergolesi, and Elizabethan composers for orch. ~and as ob. concs. for his
wife Evelyn [fy45,1]*[fy75,1]Barbirolli ~whom he married [sm1939[nm. Knighted [s
m1949[nm, C.H. ~[sm1969[nm. Hon. Freeman of Manchester, [sm1958[nm.[cm~Barcaroll
e [fy75,1](Fr. from It.; Ger. [cf2]Barkarole[cf1]). Boat ~song or an instr. comp
. with a steady rhythm (in ~compound duple or compound quadruple time) ~reminisc
ent of songs of the Venetian gondoliers ~or [cf2]barcaruoli.[cm~
Barcarolle[fy75,1] from [cf2]Les Contes d'Hoffmann[cf1]. Retrieved ~by Offenbach
 from his much earlier opera, [cf2]Die ~Rheinnixen[cf1], [sm1864[nm (a failure).
 In this it figured as a ~Goblin's Song.[cm~Bard, The [fy75,1](Barden). Tone-poe
m for orch., Op. ~[sm64[nm, by [fy45,1]*[fy75,1]Sibelius, comp. [sm1913[nm, rev.
 [sm1914[nm. F.p. ~Helsinki [sm1913[nm, cond. Sibelius. F.p. in England ~[sm1935
[nm (broadcast, cond. Boult), (public [sm1938[nm, cond. ~Beecham).[cm~Bardgett,
Herbert[fy75,1] ([cf2]b[cf1] Glasgow, [sm1894[nm; [cf2]d[cf1] Leeds, ~[sm1962[nm
). Scot. choral trainer and cond. Nottingham ~Harmonic Soc.; ch. master Huddersf
ield Choral ~Soc., Hall;Aae Choir, Leeds Fest.[cm~Bardi, Count Giovanni[fy75,1]
([cf2]b[cf1] Florence, [sm1534[nm; [cf2]d[cf1] ~Rome, [sm1612[nm). It. nobleman
in whose palace in ~Florence a group of poets and musicians met ~regularly in th
e later years of the [sm16[nmth cent., this ~giving rise to what are considered
to have been ~the first operatic perfs. He wrote at least [sm2[n
m libs. ~and comp. madrigals. See [cf2]Camerata.[cm~Barenboim, Daniel[fy75,1] ([
cf2]b[cf1] Buenos Aires, [sm1942[nm). ~Israeli pianist and cond. Taught pf. by h
is mother, ~then his father. D;Aaebut Buenos Aires [sm1949[nm. Family ~moved to
Israel [sm1952[nm. Mus. training at S. Cecilia ~Acad., Rome. Studied privately w
ith Edwin ~Fischer and Nadia Boulanger, also attended Igor ~Markevitch's cond. c
lasses at Salzburg Mozart~~[cheum. D;Aaebut as conc. soloist, Paris [sm1955[nm,
in London ~[sm1956[nm (with RPO cond. Josef Krips), and NY [sm1957[nm ~(with Sto
kowski). Has several times given recital ~series of all Beethoven pf. sonatas (I
srael, S. Amer. ~[sm1960[nm, London [sm1967[nm, [sm1970[nm, NY [sm1970[nm). Work
ed as ~cond.-soloist with ECO [sm1966[nm and cond. New ~Philharmonia Orch. [sm19
67[nm, Hall;Aae and LSO (US ~tour) [sm1968[nm, Berlin Phil. Orch. [sm1969[nm, NY
 P.O. ~[sm1970[nm. Mus. dir. Orchestre de Paris from [sm1975[nm. ~Has recorded B
erlioz orch. and choral works. D;aaebut in ~opera, Edinburgh Fes
t. [sm1973[nm ([cf2]Don Giovanni[cf1]). Cond. ~[cf2]Tristan und Isolde[cf1], Bay
reuth, [sm1981[nm. Married cellist ~Jacqueline [fy45,1]*[fy75,1]du Pr;aae, [sm19
67[nm, and settled in Eng., ~pursuing highly successful career both as pianist ~
and cond. Has acc. Janet Baker and Fischer-~Dieskau in recitals and is chamber-m
us. player ~with Zukerman, Perlman, and (until [sm1976[nm) Piatigorsky. ~Awarded
 Bruckner Medal.[cm~B;Auarenh;Auauter, Der[fy75,1] (The Lazybones). Opera in [sm
3[nm ~acts by Siegfried [fy45,1]*[fy75,1]Wagner to his own lib. Prod. ~Munich, [
sm1899[nm.[cm~B;Auarenreiter-Verlag[fy75,1] (Kassel). Ger. publishers. ~Founded
Augsburg [sm1924[nm by Karl V;Auotterle. Em~~phasis on early mus.; many musicolo
gical publi~~cations including the monumental encyclopedia, ~[cf2]Die Musik in G
eschichte und Gegenwart[cf1] ed. [fy45,1]*[fy75,1]Blume. ~Moved to Kassel, [sm19
27.[nm[cm~Bargiel, Woldemar[fy75,1] ([cf2]b[cf1] Berlin, [sm1828[nm; [cf2]d[cf1]
 Berlin, ~[sm1897[nm). Ger. pianist, composer, and teacher, ~ste
pbrother of Clara [fy45,1]*[fy75,1]Schumann. Prof. of pf., ~Cologne Cons. [sm185
8[nm=n[sm74[nm, when he went to Berlin ~as prof. of pf. at Hochschule. Comp. sym
., ~chamber mus., and pf. pieces, much influenced ~by Schumann.[cm~Baring-Gould,
 Sabine[fy75,1] ([cf2]b[cf1] Exeter, [sm1834[nm; [cf2]d[cf1] Lew ~Trenchard, Dev
on, [sm1924[nm). Eng. author, folk-song ~collector, and rector. Compiled (with R
ev. H. ~Fleetwood Shephard) [cf2]Songs and Ballads of the West[cf1] ~([sm1889[nm
=n[sm91[nm). Wrote words of popular hymns (e.g. ~[cf2]Onward, Christian Soldiers
[cf1], [sm1865[nm).[cm~Bariolage[fy75,1] (Fr.). Rapid alternation of open and ~s
topped str. in vn.-playing. The word means `odd ~mixture of colours'.[cm~Bariton
e. [fy75,1]Male v. roughly midway in compass ~between ten. and bass and sometime
s combining ~elements of both. Normal range from A=nf;Yi;Po. But ~in It. and Fr.
 opera bars. are sometimes required ~to sing up to a;Yh;Po. The bass-bar. (e.g.
Wagner's ~Wotan and Hans Sachs) has a range A;Yh=nf;Po.[cm~Barit
one Horn. [fy75,1]See [cf2]Saxhorn.[cm~Barker, John [fy75,1](Edgar) ([cf2]b[cf1]
 Twickenham, [sm1931[nm). ~Eng. cond. Worked at Glyndebourne Opera ~[PN51,0,0,R,
I0][sm1958[nm=n[sm9[nm. Has cond. Wagner's [cf2]Ring[cf1] in London and ~on tour
 for ENO. Chorusmaster, CG, from [sm1978[nm.[cm~Barlow, Alan[fy75,1] ([cf2]b[cf1
] St Neots, [sm1927[nm). Eng. cond. ~Studied at GSM and Salzburg Mozarteum. Prin
. ~cond., Jacques Orch. [sm1967[nm=n[sm71[nm. Ed. suite from ~Elgar's mus. for [
cf2]Arthur[cf1].[cm~Barlow, David [fy75,1](Frederick) ([cf2]b[cf1] Rothwell, Nor
~~thants., [sm1927[nm; [cf2]d[cf1] Newcastle upon Tyne, [sm1975[nm). ~Eng. compo
ser and teacher. Studied Cambridge ~Univ., RCM with Jacob, and in Paris with ~Bo
ulanger. Senior lecturer Newcastle upon Tyne ~Univ. from [sm1968[nm. Comps. incl
ude [sm2[nm syms., prelude ~[cf2]The Tempest[cf1], church operas[cf2] David and
Bathsheba[cf1] ~([sm1969[nm) and [cf2]Judas[cf1] ([sm1974[nm), and chamber mus.[
cm~Barlow, Howard [fy75,1]([cf2]b[cf1] Plain City, Ohio, [sm1892
[nm; [cf2]d ~[cf1]Bethel, Conn., [sm1972[nm). Amer. cond. D;Aaebut Peter~~boroug
h, New Hampshire, [sm1919[nm. Cond. of CBS ~Sym. Orch. [sm1927[nm=n[sm47[nm.[cm~
Barlow, Wayne[fy75,1] ([cf2]b[cf1] Elyria, Ohio, [sm1912[nm). Amer. ~composer an
d author. Studied Eastman Sch. of ~Mus. [sm1930[nm=n[sm7[nm, having comp. lesson
s from Howard ~Hanson, among others. In [sm1935[nm studied comp. ~with Schoenber
g at Univ. of Southern California. ~Taught at Eastman from [sm1937[nm, becoming
dir. of ~elec. mus. studio. Comps. incl. religious choral ~works, orch. works ([
cf2]Sinfonietta[cf1], sax. conc.), and ~works incorporating pre-recorded tape ([
cf2]Sonic ~Pictures[cf1], [sm1971[nm; Psalm [sm97[nm, [sm1971[nm; [cf2]Dialogues
[cf1], [sm1969[nm; ~and [cf2]Moonflight[cf1], [sm1970[nm).[cm~B;Auarmann, Heinri
ch Joseph[fy75,1] ([cf2]b[cf1] Potsdam, [sm1784[nm; [cf2]d[cf1] ~Munich, [sm1847
[nm). Ger. clarinettist for whom We~~ber's cl. works were comp. Prin. cl. of Mun
ich ~Court Orch. Comp. especially for combinations ~incl. his in
str. His son Karl ([cf2]b[cf1] Munich, [sm1811[nm; [cf2]d[cf1] ~Munich, [sm1885[
nm), composer and clarinettist, toured ~with him and succeeded him in court orch
. ~Wrote [cf2]Clarinet Method[cf1]. Karl's son, also Karl ([cf2]b[cf1] ~Munich,
[sm1839[nm; [cf2]d[cf1] Boston, Mass., [sm1913[nm) was pianist ~and pupil of Lis
zt. Settled Boston [sm1881[nm.[cm~Barnard, Charlotte Alington [fy75,1](Claribel)
 ([cf2]b[cf1] Louth, ~Lincs., [sm1830[nm; [cf2]d[cf1] Dover, [sm1869[nm). Eng. c
omposer of ~songs, pubd. under her pseudonym, popular in ~their day but now repr
esented solely by [cf2]Come back ~to Erin [cf1]([sm1866[nm).[cm~Barnard's Collec
tion. [fy75,1]Valuable and distin~~guished coll. of mus. in use in Brit. cath. s
ervices ~in the [sm17[nmth cent., made by the Rev. John Barnard, ~a canon of St
Paul's Cath. during Charles I's reign. ~Mus. is in [sm10[nm parts for each side
of the ch., and ~incl. works by Tallis, Byrd, Gibbons, Morley, ~Weelkes, and oth
ers.[cm~Barnby, [fy75,1](Sir) [fy65][cf3]Joseph[fy75,1] ([cf2]b[
cf1] York, [sm1838[nm; [cf2]d[cf1] London, ~[sm1896[nm). Eng. organist, cond., a
nd composer, whose ~finest service to mus. was during his period as ~organist at
 St Anne's, Soho, [sm1863[nm=n[sm71[nm, when he ~gave yearly perfs. of Bach's [c
f2]St John Passion. [cf1]Cond. ~f.ps. in England of Dvo;Akr;Aaak's [cf2]Stabat M
ater [cf1]([sm1883[nm) ~and Wagner's [cf2]Parsifal[cf1] (in concert version, [sm
1884[nm). ~Precentor, Eton College, [sm1875[nm. Prin., GSM,[fj[sm1892=n~6[nm. Kn
ighted [sm1892[nm. Among his many comps., ~sacred and secular, the chief survivo
r has been ~the part-song [cf2]Sweet and Low.[cm~Barn Dance. [fy75,1]Amer. rural
 meeting where dances ~are performed, perhaps taking its name from the ~festivit
ies usual in the building of a new barn. ~But in Britain the name was applied in
 the late ~[sm1880[nms to a particular dance also known as the ~Military Schotti
sche.[cm~Baroque[fy75,1] (Fr.). Bizarre. Term applied to the ornate ~architectur
e of Ger. and Austria during the [sm17[nmth ~and [sm18[nmth cent
s. and borrowed to describe ~comparable mus. developments from about [sm1600[nm
~to the deaths of Bach and Handel in [sm1750[nm and ~[sm1759[nm respectively. It
 was a period in which ~harmonic complexity grew alongside emphasis ~on contrast
. So, in opera, interest was transferred ~from recit. to aria, and in church mus
. the ~contrasts of solo vv., ch., and orch. were developed ~to a high degree. I
n instr. mus. the period saw the ~emergence of the sonata, the suite, and partic
u~~larly the concerto grosso, as in the mus. of Corelli, ~Vivaldi, Handel, and B
ach. Most baroque mus. ~uses [fy45,1]*[fy75,1]continuo. By `baroque organ' is me
ant the ~[sm18[nmth-cent. type of instr., more brilliant in tone ~and flexible t
han its [sm19[nmth-cent. counterpart. Note ~that [sm18[nmth-cent. writers used `
baroque' in a ~pejorative sense to mean `coarse' or `old-fashioned ~in taste'.[c
m~Barraine, Elsa[fy75,1] ([cf2]b[cf1] Paris, [sm1910[nm). Fr. composer, ~pupil o
f Dukas at Paris Cons. Won [cf2]Prix de Rome ~[cf1][sm1929[nm. H
er works incl. [sm2[nm syms. ([sm1931[nm, [sm1938[nm), ~cantatas, th. and film m
us.[cm~Barraqu;aae, Jean[fy75,1] ([cf2]b[cf1] Puteaux, Seine, [sm1928[nm; [cf2]d
[cf1] Paris, ~[sm1973[nm). Fr. composer. Studied with [fy45,1]*[fy75,1]Messiaen
~[sm1948[nm=n[sm51[nm. Member of French Radio's [cf2]Groupe de ~Recherches music
ales[cf1] [sm1951[nm=n[sm3[nm. Serialist composer, ~developing `proliferating se
ries' (e.g. [sm2[nm series ~producing a [sm3[nmrd). Complex polyphonic writing i
s ~combined with irregular rhythms. Opposed to ~aleatory methods. Works incl. Pf
. Sonata ([sm1952[nm), ~Cl. Conc. ([sm1968[nm), and group of works comp. after ~
[sm1956[nm part of, or related to, large-scale dramatic ~cycle [cf2]The Death of
 Virgil.[cm~Barraud, Henry[fy75,1] ([cf2]b[cf1] Bordeaux, [sm1900[nm). Fr. com~~
poser. Studied Paris Cons. [sm1926[nm=n[sm7[nm; expelled ~because his comps. wer
e considered `a bad ~influence' and worked under Dukas, Aubert, etc. ~In charge
organization of mus., Paris Int. Exposi~~tion, [sm1937[nm. Mus.
dir., Paris Radio, [sm1944[nm=n[sm65[nm. ~Comps. incl. syms., opera, oratorio[cf
2] Le Myst;Agere des ~Saints Innocents[cf1] ([sm1946=n7[nm), pf. conc. ([sm1939[
nm), fl. conc. ~([sm1962[nm), [cf2]Symphonie concertante[cf1] for tpt. ([sm1966[
nm), [cf2];aaEtudes[cf1] ~for orch. ([sm1967[nm), [cf2]Rapsodie dionysienne[cf1]
, orch. ([sm1962[nm), ~[cf2]Une saison en enfer[cf1], orch. ([sm1969[nm), saxoph
one qt. ~([sm1972[nm), [cf2]Te Deum[cf1], ch., [sm16[nm winds ([sm1955[nm), and
[cf2]La ~Divine Com;aaedie [cf1](Dante), [sm5[nm solo vv., orch. ([sm1972[nm).[x
m[cm~[ol0][ep~[xp[te~





[do35][j99]~~~~~~[sm153842[nm_B[sm7[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmB[sm7[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm18[nm-[sm10[nm-[sm79
[nm[cm[sm8[nm[cm[sm87[nm[cm~Collier[cm7[cm9.4.85[cm~3[cm~~~~[ap[j1]Barr;aae[fy75
,1] (Fr.). Barred. Method of playing a chord on ~the guitar, etc., with one fing
er laid rigidly (like ~a bar) across all the str. raising their pitch equally.[c
m~[PN52,0,0,L,I0]Barrel Organ.[fy75,1] Popular misusage has conferred ~this term
 on the [fy45,1]*[fy75,1]street piano. The real barrel ~org., formerly used in c
hurches, was a genuine ~automatic pipe-org. in which projections on a ~hand-rota
ted barrel brought the required notes ~into play. It was restricted to a no. of
pre-~determined tunes, like a musical box.[cm~Barrett, Thomas A. [fy75,1]See [cf
2]Stuart, Leslie.[cm~Barri, Odoardo[fy75,1] (really Edward Slater) ([cf2]b[cf1]
Dublin, ~[sm1844[nm; [cf2]d[cf1] London, [sm1920[nm). Irish composer of Eng. ~dr
awing-room songs (e.g. [cf2]The Boys of the Old ~Brigade[cf1], [
sm1874[nm).[cm~Barrington, Daines[fy75,1] ([cf2]b[cf1] London, [sm1727[nm; [cf2]
d[cf1] London, ~[sm1800[nm). Eng. lawyer who wrote essays and books ~on mus. and
 musicians incl. [cf2]Crotch, Mornington, ~Mozart[cf1],[cf2] The Wesleys[cf1]; i
n [sm1773[nm pubd. [cf2]Experiments ~and Observations on the Singing of Birds.[c
m~Barrington, Rutland[fy75,1] (really George Rutland ~Fleet) ([cf2]b[cf1] Penge,
 [sm1853[nm; [cf2]d[cf1] London, [sm1922[nm). Eng. bass ~singer. D;Aaebut [sm187
3[nm. Joined D'Oyly Carte Co. and ~from [sm1877[nm a leading Gilbert and Sulliva
n expo~~nent.[cm~Barrios, Angel[fy75,1] ([cf2]b[cf1] Granada, [sm1882[nm; [cf2]d
 [cf1]Madrid, ~[sm1964[nm). Sp. violinist; composer for orch. and the ~stage, al
so of guitar mus.[cm~Barry, John[fy75,1] ([cf2]b[cf1] York, [sm1933[nm). Eng. co
mposer of ~film mus. Studied with Francis Jackson (York ~Minster) and Bill Russo
, Amer. arranger and ~composer. Has had much success with scores for ~films and
TV.[cm~Barsanti, Francesco[fy75,1] ([cf2]b[cf1] Lucca, [cf2]c.[c
f1][sm1690[nm; [cf2]d[cf1] London, ~[sm1772[nm). It. fl. and ob. player who sett
led in London ~[sm1714[nm, playing in opera orchs. Then in Scotland, ~returning
London [sm1743[nm and playing va. in orchs. ~Chamber comps. incl. recorder sonat
as.[cm~Barshay, Rudolf[fy75,1] ([cf2]b[cf1] Labinskaya, [sm1924[nm). Russ. ~cond
. Studied Moscow Cons. Founder and cond. ~Moscow Chamber Orch. [sm1956[nm=n[sm76
[nm. Left Russia ~[sm1976[nm and settled in Israel. Arr. Shostakovich's [sm8[nmt
h ~str. qt. for str. orch. Prin. cond. Bournemouth ~S.O. from [sm1982[nm.[cm~Bar
stow, Josephine [fy75,1](Clare) ([cf2]b[cf1] Sheffield, [sm1940[nm). ~Eng. sop.
Studied Birmingham Univ. and London ~Opera Centre. D;Aaebut Opera for All, [sm19
64[nm. Has ~sung at CG and with ENO, WNO, and Scottish ~Opera as well as oversea
s. CG d;aaebut [sm1969[nm. Created ~Denise and Gayle in Tippett's [cf2]The Knot
Garden ~[cf1]and [cf2]The Ice Break[cf1], Young Woman in Henze's [cf2]We ~Come t
o the River[cf1]. Fine Salome, Jen;Anufa, etc. Sang ~Gutrune in
[cf2]Ring[cf1], Bayreuth [sm1983[nm. C.B.E. [sm1985[nm.[cm~Bartered Bride, The [
fy75,1]([cf2]Prodan;Aaa Nev;Akest;aaa[cf1]; Ger. [cf2]Die ~verkaufte Braut[cf1])
. Opera in [sm3[nm acts by Smetana to ~lib. by Karel Sabina. (Prod. Prague [sm18
66[nm; Chicago ~[sm1893[nm; London [sm1895[nm; NY Met. [sm1909[nm). [sm1[nmst ve
rsion ~was in [sm2[nm acts, with ov. and [sm20[nm nos. ([sm1863[nm=n[sm6[nm), re
v. ~with ballet added [sm1866[nm; further rev. [sm1869[nm; [sm3[nm acts, ~with a
dditions, [sm1870[nm; fifth and final vers., with ~recitatives replacing spoken
dialogue, [sm1870[nm.[cm~Barth, Christian Samuel[fy75,1] ([cf2]b[cf1] Glauchau,
Saxony, ~[sm1735[nm; [cf2]d[cf1] Copenhagen, [sm1809[nm). Ger. oboist, who ~comp
. concs. for the instr. Studied Leipzig under ~J. S. Bach and became oboist in o
rchs. at Weimar, ~Hanover, Kassel, and Copenhagen. His son, ~Friedrich Phillipp
Karl August ([cf2]b[cf1] Kassel, [sm1774[nm; [cf2]d[cf1] ~Copenhagen, [sm1804[nm
) was also an oboist and wrote ~concs. for ob., fl., and [sm2[nm
 hn.[cm~Barth, Hans[fy75,1] ([cf2]b[cf1] Leipzig, [sm1897[nm; [cf2]d[cf1] Jackso
nville, ~Florida, [sm1956[nm). Ger.-born pianist and composer. ~Taken to USA at
age [sm10[nm. Became known as ~recitalist, etc., and held various teaching posit
ions. ~Comps. incl. opera, [sm2[nm syms., etc., some employing ~microtones. Inve
nted quarter-tone pf. for which ~he wrote [sm2[nm concs., [sm10[nm [cf2];AaEtude
s[cf1], and quintet.[cm~Barth, Richard[fy75,1] ([cf2]b[cf1] Grosswanzleben, Saxo
ny, ~[sm1850[nm; [cf2]d[cf1] Marburg, [sm1923[nm). Ger. violinist (left-~handed)
. Pupil of Joachim. Cond. of Hamburg ~P.O. [sm1894[nm and from [sm1908[nm dir. o
f Hamburg Cons. ~Author of book on Brahms's mus. ([sm1904[nm). Comp. ~chamber mu
s.[cm~Barth;aaelemon, Fran;alcois Hippolyte[fy75,1] ([cf2]b[cf1] Bordeaux, ~[sm1
741[nm; [cf2]d[cf1] London, [sm1808[nm). Fr. violinist and com~~poser. Settled L
ondon [sm1764[nm as orch. leader at the ~opera and remained there with exception
 of ~continental tours and residence in Dublin [sm1771[nm=n~[sm3
[nm. Comps. incl. [sm6[nm syms., concs., and several operas ~([cf2]The Judgment
of Paris[cf1] [sm1768[nm, [cf2]Belphegor[cf1] [sm1778[nm, etc.), ~and ballets. A
lso wrote well-known tune to Bishop ~Ken's Morning Hymn (`Awake my soul and with
 ~the sun'). Particularly admired for his playing of ~Corelli's vn. sonatas.[cm~
Bartlet[fy75,1] (Bartlett), [fy65][cf3]John[fy75,1] ([cf2]=+=+=+fl. [cf1][sm1606
=n10[nm). Eng. luten~~ist and composer of songs of the ayre type. Coll. ~pubd. [
sm1606[nm.[cm~Bartlett, Ethel[fy75,1] ([cf2]b[cf1] Epping Forest, [sm1896[nm; [c
f2]d[cf1] S. ~Barbara, Calif., [sm1978[nm). Eng. pianist. Trained at ~RAM. Marri
ed fellow-student Rae [fy45,1]*[fy75,1]Robertson ~and with him est. int. reputat
ion in interpretation ~of mus. for [sm2[nm pf. Settled in USA and in later years
 ~was teacher. Pianist with [fy45,1]*[fy75,1]Barbirolli (vc.) in his ~recitals i
n [sm1920[nms.[cm~Bart;aaok, B;aaela[fy75,1] ([cf2]b[cf1] Nagyszentmikl;Aaos, Hu
ngary (now ~Romania), [sm1881[nm; [cf2]d[cf1] NY, [sm1945[nm). H
ung. composer, ~pianist, and folklorist. Parents were musical and ~mother gave h
im his first pf. lessons. In [sm1894[nm at ~Bratislava (then Pozsony) studied wi
th the cond. ~Laszlo Erkel until [sm1899[nm when he entered Budapest ~Royal Acad
. of Mus. In [sm1902[nm heard a perf. of ~Strauss's [cf2]Also sprach Zarathustra
[cf1] which stimulated ~his powers of comp. to such a degree that he ~wrote his
nationalistic tone-poem [cf2]Kossuth [cf1]in [sm1903[nm. ~By this time was trave
lling abroad as solo pianist ~in mus. by Liszt and other kbd. virtuosi. In [sm19
05[nm ~began systematic exploration of Hungarian peas~~ant mus. and in [sm1906[n
m, with his fellow-composer ~Kod;Aaaly, pubd. a coll. of [sm20[nm folk-songs. In
 [sm1907[nm ~became prof. of pf. at the Budapest RAM. For the ~next decade, whil
e his mus. was badly received ~in his own country, continued systematic coll. of
 ~[PN53,0,0,R,I0]Magy;Aaar folk-songs. In [sm1917[nm his ballet [cf2]The Wooden
~Prince[cf1] was successfully prod. in Budapest and led ~to the
staging in the following year of his [sm1[nm-act ~opera [cf2]Duke Bluebeard's Ca
stle[cf1] ([sm1911[nm). In [sm1922[nm and ~[sm1923[nm his first [sm2[nm vn. sona
tas had their f.ps. in ~London, and in [sm1923[nm comp. the [cf2]Dance Suite[cf1
] to ~celebrate the [sm50[nmth anniv. of the union of Buda ~and Pest. During the
 [sm1920[nms resumed career as ~pianist, composing several works for his own use
. ~In [sm1934[nm was given a salaried post in the Hung. ~Acad. of Sciences in or
der that he could prepare ~his folk-song coll. for publication. In the spring ~o
f [sm1940[nm, in view of political developments in ~Hungary, emigrated to USA. T
his was not a ~happy time for him; his health began to fail, his ~mus. was infre
quently perf., and there was little ~demand for his services as a pianist. Never
theless ~the Koussevitzky Foundation commissioned the ~[cf2]Concerto for Orchest
ra[cf1], Yehudi Menuhin a solo vn. ~sonata, and William Primrose a va. conc. (le
ft ~unfinished but completed by Tib;Aaor [fy45,1]*[fy75,1]S;Aaer
ly). He ~died from leukaemia.[ep~^Bart;aaok's mus. is a highly individual blend
of ~elements transformed from his own admirations: ~Liszt, Strauss, Debussy, fol
k-mus., and Stravinsky. ~Perhaps his greatest achievement lies in his [sm6[nm st
r. ~qts. in which formal symmetry and thematic ~unity were successfully related.
 But the melodic ~fertility and rhythmical vitality of all his mus. ~have ensure
d its consistent success since his death. ~Prin. comps.:[xm[cm~[j2][smstage[nm:
[fy45,1]*[fy75,2]Duke Bluebeard's Castle [cf1]([cf2]A k;aaekszak;aaall;aau herce
g ~v;aaara[cf1]), Op. [sm11[nm, [sm1[nm-act opera ([sm1911[nm, rev. [sm1912, ~19
18[nm); [cf2]The [fy45,1]*[fy75,2]Wooden Prince[cf1] ([cf2]A f;aaab;aaol fargott
 kir;aaalyfi[cf1]), ~Op. [sm13[nm, [sm1[nm-act ballet ([sm1914[nm=n[sm17[nm); [c
f2]The [fy45,1]*[fy75,2]Miraculous ~Mandarin [cf1]([cf2]A csod;aaalatos mandarin
[cf1]), Op. [sm19[nm, [sm1[nm-act ~pantomime ([sm1918[nm=n[sm19[nm, orchd. [sm19
23[nm, rev. [sm1924, ~1926[nm=n[sm31[nm).[ep~[smorch[nm: [fy45,1
]*[fy75,2]Kossuth[cf1], sym.-poem ([sm1903[nm); [cf2]Rhapsody[cf1], pf. ~and orc
h., Op. [sm1[nm ([sm1904[nm); [cf2]Suite[cf1] No. [sm1[nm, Op. [sm3[nm ([sm1905,
[nm ~rev. [cf2]c[cf1].[sm1920[nm), No. [sm2[nm (small orch.), Op. [sm4[nm ([sm19
05[nm=n[sm7[nm, ~rev. [sm1920, 1943[nm); Vn. Conc. No. [sm1.[nm ([sm1907[nm=n[sm
8[nm; [sm1[nmst ~movt. rev. as No. [sm1[nm of [cf2][sm2[nm Portraits[cf1]), No.
[sm2[nm ([sm1937[nm=n~[sm8[nm); [cf2][sm2[nm Portraits[cf1], Op. [sm5[nm (No. [s
m1[nm [sm1907[nm=n[sm8[nm, No. [sm2[nm orch. ~[sm1911[nm); [cf2][sm2[nm Pictures
[cf1], Op. [sm10[nm ([sm1910[nm); [cf2]Romanian Dance[cf1], ~Op. [sm11[nm ([sm19
11[nm); [sm4[nm Pieces, Op. [sm12[nm ([sm1912[nm, orchd. ~[sm1921[nm); Suite ([s
m3[nm dances), [cf2]The Wooden Prince[cf1] ([sm1921[nm=n~[sm4[nm); Suite, [cf2]T
he Miraculous Mandarin[cf1] ([sm1919[nm, [sm1927[nm); ~[fy45,1]*[fy75,2]Dance Su
ite[cf1] ([sm1923[nm); Pf. Conc. No. [sm1[nm ([sm1926[nm), No. ~[sm2[nm ([sm1930
[nm=n[sm1[nm), No. [sm3[nm ([sm1945[nm); [cf2]Rhapsody[cf1], vn.
 and ~orch., No. [sm1[nm ([sm1928[nm), No. [sm2[nm ([sm1928[nm, rev. [sm1944[nm)
; ~[cf2]Transylvanian Dances[cf1] ([sm1931[nm); [cf2]Hungarian Sketches[cf1] ~([
sm1931[nm); [cf2]Hungarian Peasant Songs[cf1] ([sm1933[nm); [cf2]Music ~for Stri
ngs, Percussion and Celesta[cf1] ([sm1936[nm); [cf2]Diverti~~mento [cf1], str. (
[sm1939[nm); [sm2[nm-pf. Conc. (arr. of Sonata for ~[sm2[nm pf. and perc.) ([sm1
940[nm); [cf2]Concerto for Orchestra[cf1] ~([sm1942[nm=n[sm3[nm, rev. [sm1945[nm
); Va. Conc. (completed from ~draft by S;aaerly) ([sm1945[nm).[ep~[smvoice(s) an
d orch[nm: [cf2][sm3[nm Village Scenes[cf1], women's vv. ~([sm1926[nm); [fy45,1]
*[fy75,2]Cantata Profana[cf1] ([cf2]The [sm9[nm Enchanted Stags[cf1]), ~ten., ba
r., double ch., and orch. ([sm1930[nm); [cf2][sm5[nm ~Hungarian Folk Songs,[cf1]
 low v. ([sm1933[nm).[ep~[smchorus[nm: [cf2]Evening[cf1], male vv. ([sm1903[nm);
 [cf2][sm4[nm Old Hungarian ~Folk Songs[cf1], male vv. ([sm1910[nm, rev. [sm1912
[nm); [cf2][sm5[nm Slovak ~Folk Songs,[cf1] male vv. ([sm1917[nm
); [cf2][sm5[nm Hungarian Folk ~Songs[cf1] ([sm1930[nm); [cf2][sm5[nm Sz;aaekely
 Songs[cf1], male vv. ([sm1932[nm); [cf2][sm27[nm ~Traditional Choruses[cf1], ch
ildren's and women's vv. ~([sm1935[nm); [cf2]From Olden Times[cf1], male vv. ([s
m1935[nm).[ep~[smchamber[nm: Pf. Qt. ([sm1898[nm); Pf. Quintet ([sm1903[nm=n[sm4
[nm, ~rev.? [sm1920[nm); Str. Qt. No. [sm1[nm, Op. [sm7[nm ([sm1908[nm), No. [sm
2[nm, ~Op. [sm17[nm ([sm1915[nm=n[sm17[nm), No. [sm3[nm ([sm1927[nm), No. [sm4[n
m ([sm1928[nm), ~No. [sm5[nm ([sm1934[nm), No. [sm6[nm ([sm1939[nm); Vn. Sonatas
, No. [sm1[nm ~([sm1921[nm), No. [sm2[nm ([sm1922[nm); [cf2]Rhapsody[cf1] No. [s
m1[nm, vn. and pf. ~([sm1928[nm, also orch. vers.), No. [sm2[nm ([sm1928[nm, rev
. [sm1945[nm, ~also orch. vers.); [cf2]Rhapsody[cf1], vc. and pf. ([sm1928[nm);
[sm44[nm ~[cf2]Duos[cf1], [sm2[nm vn. ([sm1931[nm); Sonata for [sm2[nm pf. and [
sm2[nm perc. ~([sm1937[nm, orch. [sm1940[nm); Sonata for unacc. vn. ([sm1944[nm)
; ~[fy45,1]*[fy75,2]Contrasts[cf1], vn., cl., and pf. ([sm1938[n
m).[ep~[smpiano[nm: [cf2][sm3[nm Klavierst;auucke[cf1], Op. [sm13[nm ([sm1897[nm
); [cf2]Scherzo[cf1] ~([cf2]Fantasie[cf1]), Op. [sm18[nm ([sm1897[nm); [cf2]Sche
rzo[cf1] in B;yh minor ~([sm1900[nm); [cf2][sm12[nm Variations [cf1]([sm1900[nm=
n[sm01[nm); [cf2][sm4[nm Pieces[cf1] ([sm1903[nm); ~[cf2]Rhapsody[cf1], Op. [sm1
[nm ([sm1904[nm, also orch. vers.); [cf2][sm14[nm ~Bagatelles[cf1], Op. [sm6[nm
([sm1908[nm); [cf2][sm10[nm Easy Pieces[cf1] ([sm1908[nm); [cf2][sm85[nm ~Pieces
 for Children[cf1] ([sm1908[nm=n[sm9[nm, rev. [sm1945[nm); [cf2][sm2[nm Roman~~i
an Dances[cf1], Op. [sm8[nma ([sm1909[nm=n[sm10[nm, No. [sm1[nm orch. [sm1911[nm
); ~[cf2][sm7[nm Sketches[cf1], Op. [sm9[nmb ([sm1908[nm=n[sm10[nm); [cf2][sm4[n
m Dirges[cf1], Op. [sm9[nma ~([sm1909[nm=n[sm10[nm, No. [sm2[nm orch. as No. [sm
3[nm of [cf2]Hungarian ~Sketches[cf1], [sm1931[nm); [cf2][sm3[nm Burlesques[cf1]
, Op. [sm8[nmc ([sm1908[nm=n[sm11[nm, ~No. [sm2[nm orch. as No. [sm4[nm of [cf2]
Hungarian Sketches[cf1], [sm1931[nm); ~[fy45,1]*[fy75,2]Allegro
barbaro[cf1] ([sm1911[nm); Sonatina ([sm1915[nm, orch. as ~[cf2]Transylvanian Da
nces[cf1], [sm1931[nm); [cf2]Romanian Dances[cf1] ~([sm1915[nm, orch. [sm1917[nm
); [cf2]Suite[cf1], Op. [sm14[nm ([sm1916[nm); [cf2][sm3[nm ~Hungarian Folk Tune
s[cf1] ([cf2]c[cf1].[sm1914[nm=n[sm18[nm); [cf2][sm15[nm Hungarian ~Peasant Song
s[cf1] ([sm1914[nm=n[sm18[nm, Nos. [sm6[nm=n[sm12[nm, [sm14[nm=n[sm15[nm orch. ~
[sm1933[nm); [cf2][sm3[nm Studies[cf1], Op. [sm18[nm ([sm1918[nm); [cf2][sm8[nm
Improvisations ~on Hungarian Peasant Songs[cf1], Op. [sm20[nm ([sm1920[nm); [cf2
]Dance ~Suite[cf1] ([sm1925[nm, arr. of orch. work); Sonata ([sm1926[nm); ~[cf2]
Out of Doors[cf1] ([sm1926[nm); [cf2][sm9[nm Little Pieces[cf1] ([sm1926[nm); ~[
fy45,1]*[fy75,2]Mikrokosmos[cf1], [sm6[nm vols. containing [sm153[nm `progressiv
e ~pieces' ([sm1926[nm, [sm1932[nm=n[sm9[nm).[ep~Also many Solo Songs, editions
of Italian kbd. ~mus., etc.[cm~[ol0][ep~[xp[te~

[do42][j99]~~~~~~[sm153842[nmBA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Diction
ary of ~Music[cmBA[sm01[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm97[nm[cm~GC[cm4[cm13-7-84[cm~U1[cm~~~~[ap[j1]Bartoletti, Bruno [fy
75,1]([cf2]b [cf1]Sesto Fiorentino, [sm1926[nm). It. ~flautist and cond., partic
ularly of opera. D;aaebut ~Florence [sm1953[nm. Mus. dir. Rome Opera [sm1965[nm=
n[sm73[nm, ~cond. Maggio Musicale Orch. [sm1957=n64[nm. Intro~~duced several [sm
20[nmth cent. operas to It. repertory. ~Amer. d;aaebut Chicago [sm1956[nm. Prin.
 cond. Chicago ~Lyric Opera from [sm1964[nm (art. dir. from [sm1975[nm).[cm~Bart
olozzi, Bruno [fy75,1]([cf2]b [cf1]Florence, [sm1911[nm; [cf2]d[cf1] Fiesole, ~[
sm1980[nm). It. violinist and composer. Student [sm1926[nm=n~[sm30[nm at Cherubi
ni Cons. where he taught from ~[sm1965[nm. Comps. incl. Conc. for Orch., vn. con
c., str. ~qt., and vocal works. Author of book [cf2]New Sounds ~for Woodwind.[cm
~Bart;aaos, Jan Zden;akek [fy75,1]([cf2]b [cf1]Dv;anur Kr;aaalov
;aae nad Labem, ~Cz., [sm1908[nm; [cf2]d[cf1] Prague, [sm1981[nm). Cz. composer
and ~violinist. Studied Prague Cons. Violinist in orchs. ~and as soloist [sm1929
[nm=n[sm31[nm. Teacher of comp. and ~theory, Prague Cons., from [sm1958[nm. Work
s incl. [sm2[nm ~operas, va. conc., hn. conc., [sm4[nm syms., ballets, choral ~w
orks, and chamber mus.[cm~[PN54,0,0,L,I0]Baryton. [fy75,1]Str. instr. rather lik
e viola da gamba ~but with sympathetic str. There are many works ~by Haydn for i
t, because his patron, Prince ~Nikolaus Esterh;Aaazy, played it. Use revived in
[sm2[nmnd ~half of [sm20[nmth cent.[cm~Barzun, Jacques [fy75,1]([cf2]b [cf1]Cr;a
aeteil, Val-de-Marne, [sm1907[nm). ~Fr.-born his[chtorian, critic, and musicolog
ist. Settled ~in USA [sm1919[nm. Lecturer at Columbia Univ., NY, ~[sm1927[nm, Pr
of. [sm1945[nm, Provost [sm1958[nm=n[sm67[nm. Authority on ~Berlioz, about whom
he has written extensively.[cm~Baskische Trommel [fy75,1](Ger.). Basque drum, i.
e. ~tambourine.[cm~Basques. [fy75,1]Various Basque dances. [cf2]
Pas de Basque ~[cf1](Fr.) is sometimes a general term with the same ~meaning, bu
t it may indicate a particular dance ~of the Basque peasantry=mone with very var
ied ~rhythms.[cm~Bass. [fy75,1]([sm1[nm) Lowest male voice=msee [cf2]basso.[ep~[
cf1]^([sm2[nm) Lowest note or part in a chord.[ep~^([sm3[nm) Lowest regions of m
us. pitch.[ep~^([sm4[nm) Lowest of a family of instr., as shown in ~entries belo
w.[ep~^([sm5[nm) Colloquialism for (in sym. orchs.) the db., ~and (in military a
nd brass bands) the bombardon.[cm~Bassanello. [fy75,1]Obsolete woodwind instr.,
first men~~tioned in [sm1577[nm, related to [fy45,1]*[fy75,1]shawm. Made in [sm3
[nm ~sizes, bass, tenor, and alto. [sm7[nm finger-holes and reed ~set on a crook
. Legend that it was invented by the ~composer Giovanni Bassano or Bassani is su
spect.[cm~Bassani, Giovanni Battista [fy75,1]([cf2]b [cf1]Padua, [cf2]c.[cf1][sm
1657[nm; [cf2]d ~[cf1]Bergamo, [sm1716[nm). It. violinist, composer, and ~organi
st. Choirmaster, Ferrara Cath. from [sm1677[nm, ~later at Bergam
o, [sm1712[nm. Wrote oratorios, masses, ~operas, and sonatas.[cm~Bassarids, The.
 [fy75,1]Opera seria with intermezzo in ~[sm1[nm act by Henze to lib. by W. H. A
uden and ~Chester Kallman based on [cf2]The Bacchae [cf1]of Euri~~pides. Comp. [
sm1965[nm. (Prod. Salzburg [sm1966[nm in Ger. ~trans. by M. Bosse-Sporleder; San
ta Fe [sm1968[nm (in ~orig. Eng.); London (broadcast) [sm1968[nm. ENO [sm1974[nm
 ~(cond. and prod. Henze).)[cm~Bass-bar. [fy75,1]In a bowed instr. the strip of
wood ~glued under the belly along the line of the lowest ~str. and supporting on
e foot of the bridge.[cm~Bass-baritone.[fy75,1] See [cf2]Baritone.[cm~Bass Clari
net. [fy75,1]One of cl. family, pitched in B;Yh, ~an octave below the sop. cl. I
n Eng. and Fr. instrs. ~its range extends to E;yh (sounding D;yh). Earliest ~ext
ant examples made in [sm1793[nm. Meyerbeer wrote ~for it, later Wagner, Mahler,
Schoenberg, and ~Stravinsky. See [cf2]Clarinet.[cm~Bass Clef. [fy75,1]Sometimes
called the F clef: the F ~below middle C as the top line but one
 of the ~staff.[cm~Bass Drum. [fy75,1]Large drum of indefinite low pitch. ~In mo
st orchs. is mounted on a large, wheeled ~rack so that drum can be tilted at any
 desired ~angle.[cm~Basse chantante [fy75,1](Fr.). Basso cantante (It.). Lyric ~
bass, sometimes of bar. quality.[cm~Basse chiffr;Aaee, basse continue [fy75,1](F
r.). Figured ~bass. See [cf2]Basso continuo.[cm~Basse danse [fy75,1](Fr.). An ea
rly dance type which ~became extinct in the [sm16[nmth cent. when supplanted ~by
 the [fy45,1]*[fy75,1]Pavan. It was probably the ancestor of ~other dances which
 survived it (see also [cf2]Branle[cf1]). ~The first word meaning `low', it has
been supposed ~that the name indicated humble origin, or (more ~plausibly) that
it arose from the fact that the feet ~were generally kept low, i.e. were glided,
 not ~lifted (see [cf2]Haute Danse[cf1]). The time is generally ~simple duple, b
ut sometimes triple, and occasion~~ally a mixture of the [sm2[nm. Sometimes the
mus. falls ~into [sm3[nm parts: ([cf2]a[cf1]) [cf2]Basse Danse,
[cf1]([cf2]b[cf1]) [cf2]Retour de Basse ~Danse [cf1](Return of the Basse Dance),
 and ([cf2]c[cf1]) [cf2]Tordion ~[cf1](or Tourdion). Attaingnant pubd. colls. of
 [cf2]basses ~danses [cf1]in [sm1529[nm and [sm1530[nm.[cm~Basse d'harmonie [fy7
5,1](Fr.). [fy45,1]*[fy75,1]Ophicleide.[cm~Basset Horn. [fy75,1]Alto cl. in F, w
hole tone higher ~than E;Yh alto cl., with a total possible compass of [sm4[nm ~
complete octaves. Invented [cf2]c[cf1].[sm1765[nm and used by ~Mozart in [cf2]Re
quiem, Die Zauberfl;Auote, [cf1]and [cf2]La Clemenza ~di Tito. [cf1]He first use
d it [sm1781[nm in the [cf2]Serenade[cf1] in B;Yh ~(K [sm361[nm). Beethoven ([cf
2]Prometheus[cf1]) and Mendelssohn ~([cf2]Scottish Symphony[cf1]) wrote for it,
but after [sm1850[nm it ~was replaced by the E;Yh alto cl. Richard Strauss ~revi
ved it in his operas [cf2]Elektra [cf1]([sm1906[nm=n[sm8[nm) and ~[cf2]Daphne[cf
1] ([sm1936[nm=n[sm7[nm), and for his [sm2[nm wind sonatinas ~comp. [sm1943[nm a
nd [sm1945[nm. A transposing instr. in F. ~Name is said to deriv
e from a Bavarian term for ~small bass, and the basset-hound was named after ~th
e sound it makes. The It. term [cf2]corno di bassetto ~[cf1]was adopted by Berna
rd [fy45,1]*[fy75,1]Shaw as his pseudonym ~when writing mus. criticism.[cm~Basse
ttfl;auote [fy75,1](Ger.). A [sm17[nmth- and [sm18[nmth-cent. name ~for a record
er of low pitch. Sometimes called ~[cf2]Bassfl;auote.[cm~Bassett Nicolo. [fy75,1
]An alto reed-cap shawm in F ~with extension keys and a [sm9[nm-note range.[cm~B
assflicorno [fy75,1](Flicorno basso). Large size of It. ~variety of saxhorn or f
l;Auugelhorn called [fy45,1]*[fy75,1]Flicorno. ~Others are [cf2]Flicorno basso g
rave [cf1]and [cf2]Flicorno ~contrabasso.[cm~Bassfl;auote. [fy75,1]See [cf2]Bass
ettfl;Auote.[cm~Bass Flute. [fy75,1]Fl. in C, pitched one octave below the ~ordi
nary fl. (not, as sometimes miscalled, the ~[fy45,1]*[fy75,1]alto fl. in G). Als
o an org.-stop, [sm8[nm;Po length and ~pitch. See [cf2]Flute.[cm~Bass Horn. [fy7
5,1]Obsolete brass instr. made in [sm3[nm sizes, ~alto, bass, an
d db., but only the bass was much ~used; now supplanted by bass tuba.[cm~Bass Ob
oe. [fy75,1]Term used to denote baritone oboe.[cm~[PN55,0,0,R,I0]Bass-Saite [fy7
5,1](Ger.). Bass string. Lowest str. on any ~(bowed or plucked) instr.[cm~Bass S
axhorn. [fy75,1]One of brass wind instr. made by ~[fy45,1]*[fy75,1]Sax. In B;Yh,
 E;Yh, and double B;Yh.[cm~Bass Staff. [fy75,1]See [cf2]Great Staff.[cm~Bass Tro
mbone [fy75,1](Ger. [cf2]Bassposaune[cf1]). Brass instr. ~with a range to F or E
 below the ten. tb. B;Yh. See ~[cf2]Trombone. [cm~Bass Trumpet [fy75,1](Ger. [cf
2]Basstrompete[cf1]). Wind instr., ~made of brass. Really a valve tb. Pitched in
 C, ~therefore not a transposing instr. See [cf2]Trumpet.[cm~[j1]Bass Tuba. [fy7
5,1]Brass instr. of the [fy45,1]*[fy75,1]tuba family of ~which there are the fol
lowing: E;Yh bass tuba or E;Yh~ bombardon; F bass tuba; and B;Yh bass tuba or B;
Yh ~bombardon. Vaughan Williams wrote a conc. for ~bass tuba. See [cf2]Tuba.[cm~
Bass Viol. [fy75,1]Member of the [fy45,1]*[fy75,1]viol group of
str. ~instr. Often called [fy45,1]*[fy75,1]viola da gamba, `leg viol', ~because
it is held as the vc. is.[cm~Basso [fy75,1](It.; plural [cf2]bassi[cf1]). Low ma
le v., bass, ~normally ranging from E=ne;My/f=+=+=+=+;My.[cm~Basso continuo [fy7
5,1](It.). Continuous bass. Figured ~bass from which in concerted mus. of the [s
m17[nmth ~and [sm18[nmth cents. the cembalist or organist played. ~Doubled the l
owest v. part. Term often shortened ~to [cf2]continuo. [cf1]To `play the [cf2]co
ntinuo' [cf1]does not mean ~to play a particular instr., but to play this variet
y ~of bass.[cm~Basson [fy75,1](Fr.). [fy45,1]*[fy75,1]Bassoon.[cm~Basson russe [
fy75,1](Fr.). Russian bassoon, a variety of ~[fy45,1]*[fy75,1]bass horn.[cm~Bass
oon [fy75,1](It. [cf2]fagotto[cf1]). Bass member of the double ~reed (ob.) famil
y, pitched in C, with range from ~B;Yh;My upwards for about [sm3[nm;FD octaves.
Made of wood ~and with conical bore. Dates from [sm1660[nms. Modern ~instrs. mad
e by Heckel (Ger.), Buffet-Crampon ~(Fr.), and Fox (Amer.). Ofte
n used for comic effect ~but its capacity for melancholy has not been ~overlooke
d by composers. Also an org. reed stop ~of [sm8[nm;Po length and pitch.[cm~Basso
on, Double. [fy75,1]See [cf2]Double Bassoon.[cm~Bassoon, Russian. [fy75,1]See [c
f2]Basson russe.[cm~Basso ostinato [fy75,1](It.). Obstinate bass, i.e. [fy45,1]*
[fy75,1]Ground ~bass.[cm~Basso profondo. [fy75,1]Bass v. of exceptionally low ~r
ange.[cm~Bastardella, La. [fy75,1]See [cf2]Agujari, Lucrezia.[cm~Bastianini, Ett
ore [fy75,1]([cf2]b [cf1]Siena, [sm1922[nm; [cf2]d [cf1]Sirmione, ~[sm1967[nm).
It. bar., outstanding in Verdi. Began career ~as bass at Ravenna ([sm1945[nm). R
aised voice to bar., ~making [sm2[nmnd d;Aaebut [sm1951[nm. NY Met. [sm1953[nm=n
[sm66[nm. CG ~[sm1962[nm. Sang role of Prince Andrey in Prokofiev's ~[cf2]War an
d Peace, [cf1]Florence [sm1953[nm.[cm~Bastien und Bastienne. [fy75,2]Singspiel [
cf1]in [sm1[nm act by the ~[sm12[nm-year-old Mozart to lib. by Friedrich Wilhelm
 ~Weiskern, after Favart's parody on Rousseau's [cf2]Le ~[fy45,1
]*[fy75,2]Devin du village [cf1]([sm1752[nm). (Prod. in the garden-[fj~th. of Me
smer, the introducer of mesmerism,[fj~Vienna, [sm1768[nm; not again perf. until
Berlin [sm1890[nm; ~London [sm1894[nm; NY [sm1916[nm.)[cm~Bat, The [fy75,1](Stra
uss). See [cf2]Fledermaus, Die.[cm~Bataille, Gabriel [fy75,1]([cf2]b[cf1] ?Brie,
 [cf2]c[cf1].[sm1575[nm; [cf2]d[cf1] Paris, [sm1630[nm). ~Fr. lutenist at court
of Louis XIII. Comp. ballets, ~lute pieces, and chansons with lute acc.[cm~Bate,
 Stanley [fy75,1](Richard) ([cf2]b [cf1]Plymouth, [sm1911[nm; [cf2]d ~[cf1]Londo
n, [sm1959[nm). Eng. composer and pianist. ~Comp. pupil of Vaughan Williams, Hin
demith, ~and Nadia Boulanger. In USA [sm1946[nm=n[sm50[nm. Comp. [sm4[nm ~syms.,
 concs., chamber mus., incidental mus., ~and [sm7[nm ballets.[cm~Bateson, Thomas
 [fy75,1]([cf2]b c.[cf1][sm1570[nm; [cf2]d [cf1]Dublin, [sm1630[nm). ~Eng. organ
ist and composer of madrigals. Organ~~ist of Chester Cath. and Christ Church Cat
h., ~Dublin. Pubd. [sm2[nm sets of madrigals, [sm1604[nm ([sm29[
nm items) ~and [sm1618[nm ([sm30[nm). Contrib. to [cf2]The [fy45,1]*[fy75,2]Triu
mphs of ~Oriana.[cm~Bath, Hubert [fy75,1]([cf2]b [cf1]Barnstaple, [sm1883[nm; [c
f2]d [cf1]Harefield, ~[sm1945[nm). Eng. composer of stage, film, and other ~(chi
efly light) mus. Studied RAM [sm1901=n4[nm (pf. ~with Beringer, comp. with Corde
r). Was for some ~years in charge of park bands in London. Wrote ~first sym. for
 brass band, [cf2]Freedom, [cf1]and opera ~based on G. du Maurier's [cf2]Trilby.
[cm~Batka, Richard [fy75,1]([cf2]b [cf1]Prague, [sm1868[nm; [cf2]d [cf1]Vienna,
[sm1922[nm). ~Austrian critic and mus. scholar of Cz. ancestry. ~Ed. periodical
[cf2]Der Merker [cf1]and the [cf2]Notebooks of ~Anna Magdalena Bach. [cf1]Admire
r of Mahler and ~Strauss. Taught history of opera at Vienna Acad. ~[sm1909=n14[n
m.[cm~Baton [fy75,1](Fr.). The stick used by conds. for beating ~time and securi
ng expressive playing. The accu~~rate orig. of its use is undiscoverable, but it
 is said ~that in the [sm15[nmth cent. in the Sistine Choir at R
ome ~the maestro di cappella beat time with a roll of ~paper called `sol-fa'. Lu
lly's death is alleged to ~have been the result of an injury to his foot ~caused
 by accidentally striking it with a heavier-~than-usual cane he was using to thu
mp out the ~beat on the floor. During the [sm18[nmth cent. perfs. ~were dir. fro
m the kbd. and early in the [sm19[nmth ~cent. by the first violinist waving his
bow at his ~colleagues when he was not playing. The use of a ~baton began in Ger
. in the [sm19[nmth cent. Beethoven ~appears to have cond. with a baton and so d
id ~Mendelssohn. Then followed the virtuoso conds. ~such as Wagner and B;Auulow.
 The length of the ~stick varies, some conds. (e.g. Richter and Boult) ~using a
long baton. Generally, however, a light, ~short baton is preferred with which th
e cond. can ~indicate more than merely the beats of the bar; ~hence `stick techn
ique'. Some conds. abjure the ~[PN56,0,0,L,I0]baton and use their hands only (an
d, of course, ~their eyes).[cm~Battaglia di Legnano, La [fy75,1]
(The Battle of Leg~~nano). Opera in [sm3[nm acts by Verdi, his [sm13[nmth, to li
b. ~by S. Cammarano. (Prod. Rome [sm1849[nm; Cardiff ~[sm1960[nm.)[cm~Batten, Ad
rian [fy75,1]([cf2]b [cf1]Salisbury, [sm1591[nm; [cf2]d [cf1]London, ~[sm1637[nm
). Eng. composer. Singer in choirs of ~Westminster Abbey [sm1614[nm=n[sm26[nm, S
t Paul's Cath. ~[sm1626[nm=n[sm37[nm. Wrote anthems and services. Collected ~[sm
16[nmth-cent. church mus. in [cf2]Batten Organ Book.[cm~Batterie [fy75,1](Fr.).
Battery. ([sm1[nm) The perc. instr.[ep~^([sm2[nm) Any rhythmic formula for the d
rums such ~as those used in the army for signalling.[ep~^([sm3[nm) Striking inst
ead of plucking str. of guitar.[cm~Battishill, Jonathan [fy75,1]([cf2]b [cf1]Lon
don, [sm1738[nm; [cf2]d [cf1]Isling~~ton, [sm1801[nm). Eng. organist, th. musici
an, and ~composer for church, stage, and glee clubs. His ~anthem, [cf2]O Lord, l
ook down from Heaven, [cf1]still often ~sung. (Elgar provided an orch. accompani
ment ~for it, Worcester Fest. [sm1923[nm).[cm~Battistini, Mattia
 [fy75,1]([cf2]b [cf1]Rome, [sm1856[nm; [cf2]d [cf1]Rieti, [sm1928[nm). ~It. [cf
2]bel canto [cf1]operatic bar. of great dramatic force ~and vocal agility. His v
. could encompass a high ~A;Yj and Massenet re-wrote the ten. role in [cf2]Werth
er ~[cf1]for him. D;Aaebut Rome [sm1878[nm, London [sm1883[nm. ~Repertory of ove
r [sm80[nm operas. Never sang in USA. ~Kept his vocal powers till he was over [s
m70[nm.[cm~Battle Hymn of the Republic. [fy75,1]Poem by Julia ~Ward Howe ([sm181
9[nm=n[sm1910[nm) written [sm1862[nm, first line ~being `Mine eyes have seen the
 glory of the ~coming of the Lord', sung to the tune of [cf2]John ~Brown's Body.
 [cf1]Last verse beginning `He is coming ~like the glory of the morning on the w
ave' is not ~in orig., authorship being unknown.[cm~Battle of Prague. [fy75,1]Pf
. piece, with [cf2]ad lib [cf1]vn., vc., ~and drum, by Franz [fy45,1]*[fy75,1]Ko
tzwara. Comp. [sm1788[nm, it ~was long a favourite in Eng.[cm~Battle of the Huns
 [fy75,1](Ger. [cf2]Hunnenschlacht[cf1]). Sym~~phonic poem for o
rch. by Liszt, [sm1856=n7[nm, inspired ~by a fresco by Kaulbach.[cm~Battle Symph
ony [fy75,1](or Battle of Victoria, or ~Wellington's Victory). Eng. title for Be
ethoven's ~[cf2]Wellingtons Sieg, oder die Schlacht bei Vittoria, [cf1]Op. ~[sm9
1[nm, a piece of programme-mus. illustrating the ~Eng. defeat of Napoleon's troo
ps at Vitoria in Sp. ~in [sm1812[nm. Comp. [sm1813[nm for perf. by Beethoven's ~
friend Maelzel's panharmonicon but actually ~perf. by a live orch. at [sm2[nm Vi
ennese concerts in Dec. ~[sm1813[nm in aid of Austrian soldiers wounded in the ~
Battle of Hanau. The tunes [cf2]Rule, Britannia!, ~Malbrouck s'en va-t-en guerre
, [cf1]and [cf2]God Save the King ~[cf1]are incorporated, and the work was ded.
to the ~Prince Regent. `Vittoria' in the title was Beet~~[chhoven's mistake for
[cf2]Vitoria. [cf1]The work was the ~cause of a rift with Maelzel.[cm~Batton, D;
aaesir;aae Alexandre [fy75,1]([cf2]b [cf1]Paris, [sm1798[nm; [cf2]d ~[cf1]Versai
lles, [sm1855[nm). Fr. composer. Pupil of Cheru~~bini. Wrote [sm
7[nm operas and became teacher at Paris ~Cons.[cm~Battre [fy75,1](Fr.). To beat:
 [cf2]battre ;Aga deux temps, [cf1]to beat [sm2[nm ~in a measure.[cm~Battuta, A
[fy75,1](It.). To the beat=msame as [cf2]A tempo, ~[cf1]i.e. return to normal sp
eed (after a [cf2]rallentando [cf1]or ~[cf2]accelerando).[cm~Baudo, Serge[fy75,1
] ([cf2]b[cf1] Marseilles, [sm1927[nm). Fr. conductor. ~Studied at Paris Cons. (
cond. with Fourestier). ~D;aaebut [sm1950[nm at Concerts Lamoureux. Cond. Orch.
~Nationale and radio orch. Cond., Nice-C;afote d'Azur ~Orch. [sm1959[nm=n[sm62[n
m. Cond., Paris Op;aaera [sm1962[nm=n[sm5[nm. La ~Scala d;aaebut [sm1970[nm, NY
Met. [sm1970[nm=n[sm1[nm season. Cond., ~Orchestre de Paris, [sm1967[nm=n[sm9[nm
, art. dir., Rh;afone-Alpes ~P.O. from [sm1969[nm. Cond. f.ps. of Messiaen's [cf
2]Et ~exspecto resurrectionem mortuorum[cf1] (Chartres, ~[sm1965[nm), Milhaud's
[cf2]La M;agere coupable[cf1] (Geneva, [sm1965[nm), ~and Dutilleux's vc. conc. (
Aix, [sm1970[nm).[cm~Baudrier, Yves [fy75,1]([cf2]b [cf1]Paris,
[sm1906[nm). Fr. composer; co-~founder of group `[fy45,1]*[fy75,2]Jeune France'[
cf1], formed [sm1936[nm. ~Works incl. [cf2]Le Musicien dans la cit;Aae [cf1]for
orch. ~([sm1937[nm).[cm~Bauer, Harold [fy75,1]([cf2]b [cf1]New Malden, Surrey, [
sm1873[nm; [cf2]d ~[cf1]Miami, [sm1951[nm). Eng.-born pianist. From age [sm9[nm
~made frequent public appearances as violinist; ~then, [sm1892[nm, as pianist (L
ondon newspaper notices ~show him within [sm3[nm weeks in that year as leader ~o
f str. qt., solo violinist, and pf. recitalist). After ~study with Paderewski ap
peared as pianist ~throughout Europe and USA, settling in NY. US ~d;aaebut Bosto
n [sm1900[nm. Known principally as Beet~~[chhoven interpreter, but did much for
Fr. pf. mus. ~(Debussy, Ravel, Franck).[cm~Bauerncantate [fy75,1](Bach). See [cf
2]Peasant Cantata.[cm~Bauernleier [fy75,1](Ger.). [fy45,1]*[fy75,1]Hurdy-gurdy.[
cm~Bauernlied [fy75,1](Ger.). Peasant song or ballad.[cm~Bauld, Alison [fy75,1](
[cf2]b [cf1]Sydney, N.S.W., [sm1944[nm). Austra~~lian composer.
Studied Sydney Univ. and York ~Univ., and with Lutyens and H. Keller. Mus. dir.,
 ~Laban Centre for Dance, London Univ., [sm1975[nm=n[sm8[nm. ~Works incl. [cf2]E
xiles, [cf1]mus.-th. ([sm1974[nm), [cf2]Inanna, [cf1]tape ~for ballet ([sm1975[n
m), [cf2]In a Dead Brown Land, [cf1]mus.-th. ~([sm1971[nm, rev. [sm1972[nm), [cf
2]Mad Moll[cf1], sop. ([sm1973[nm), [cf2]I Loved ~Miss Watson, [cf1]sop. and pf.
, with tape ([sm1977[nm), [cf2]One ~Pearl II [cf1]for sop., alto fl., and str. (
[sm1976[nm, rev. of [cf2]One ~Pearl, [cf1][sm1973[nm), [cf2]Van Diemen's Land, [
cf1]unacc. ch. ([sm1976[nm), ~[cf2]The Busker's Story[cf1], alto sax., bn., tpt.
, vn., db. ~([sm1978[nm), [cf2]Banquo's Buried[cf1], sop. and pf. ([sm1982[nm).[
cm~Baur, J;auurg [fy75,1]([cf2]b [cf1]D;Auusseldorf, [sm1918[nm). Ger. composer
~and teacher. Educated Cologne. Dir. of Robert ~Schumann Cons., D;Auusseldorf, [
sm1965[nm=n[sm71[nm. In [sm1971[nm ~succeeded Zimmermann as teacher of comp. at
~Cologne Musikhochschule. Comps. incl. works ~for org., sym., co
ncs., chamber mus., sonata for [sm2[nm ~pf., and song-cycles.[cm~Bautista, Juli;
aaan [fy75,1]([cf2]b [cf1]Madrid, [sm1901[nm; [cf2]d [cf1]Buenos Aires, ~[sm1961
[nm). Sp. composer and teacher. Studied Madrid ~[PN57,0,0,R,I0]Cons., where he a
lso taught, [sm1936[nm=n[sm9[nm; works incl. ~[sm3[nm str. qts., ballet, chamber
 mus., and [cf2]Sinfonia breve ~[cf1]([sm1956[nm).[xm[cm~[ol0][ep~[xp[te~








[do42][j99]~~~~~~[sm153842[nm_BA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBA[sm02[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm142[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Bavarian Highla
nds, Scenes from the. [fy75,1][sm6[nm choral ~songs by Elgar, Op. [sm27[nm. Text
s, in style of Bavarian ~folk-songs, by C. A. Elgar. Pf. acc. [sm1895[nm, orch.
~[sm1896[nm. Three ([cf2]The Dance, Lullaby, [cf1]and [cf2]The Marks~~men[cf1])
arr. for orch. alone by Elgar.[cm~Bavarian Radio Symphony Orchestra. ~[fy75,1]Fo
unded in Munich [sm1949[nm, with Eugen Jochum ~as cond. until [sm1961[nm. Rafael
 Kubelik was cond. ~from [sm1961[nm to [sm1981[nm; Colin Davis prin. cond. from
~[sm1984[nm. Has toured frequently and made many ~recordings.[cm~Bax, [fy75,1](S
ir) [fy65][cf3]Arnold [fy75,1](Edward Trevor) ([cf2]b [cf1]Streat[chham, ~London
, [sm1883[nm; [cf2]d [cf1]Cork, [sm1953[nm). Eng. composer ~who was Master of th
e King's (Queen's) Musick ~[sm1942[nm=n[sm53[nm. Studied RAM, [s
m1900[nm=n[sm5[nm. Knighted [sm1937[nm. ~Was himself a brilliant pianist and wro
te fluently ~and perceptively for the kbd. Felt a special ~sympathy with Irish s
ubjects, particularly Yeats's ~poetry, and with the Irish land and seascapes, ~h
ence the intensely picturesque and romantic ~flavour of his mus. Also much influ
enced by ~Russ. mus. after his visit to Russ. in [sm1910[nm. Only ~stage works w
ere for ballet, incl. [cf2]The Truth About ~the Russian Dancers [cf1]([sm1920[nm
), a play by Barrie in ~which the central non-speaking part of the ~ballerina wa
s created and choreog. by Karsavina ~when prod. [sm1920[nm by Gerald du Maurier,
 with ~Paul Nash d;Aaecor.[ep~^Although a prolific composer, Bax's mus. has ~nev
er est. itself in the forefront. His [sm7[nm syms., ~luxuriantly scored and full
 of romantic melody, ~contain too much good mus. ever to deserve total ~neglect,
 but are only intermittently perf. in the ~concert-hall, the public seeming to p
refer the ~more concise tone-poems. The chamber mus. is ~less di
ffuse in form and is beautifully written for ~the instr., while there are also s
ome exquisite ~short choral pieces. Bax's autobiography, [cf2]Farewell, ~My Yout
h [cf1]([sm1943[nm), is one of the best books by a ~composer. Prin. works:[xm[cm
~[j2][smorch[nm: Syms.: No. [sm1[nm in E;Yh ([sm1921[nm), No. [sm2[nm in E ~mino
r and C ([sm1924[nm=n[sm5[nm), No. [sm3[nm in C ([sm1929[nm), No. [sm4[nm ~in E;
Yh ([sm1930[nm=n[sm1[nm), No. [sm5[nm in E minor ([sm1931[nm=n[sm2[nm), No. ~[sm
6[nm in C minor ([sm1934[nm), No. [sm7[nm in A;Yh ([sm1939[nm); ~[fy75,2]Symphon
ic Variations [cf1]([sm1905[nm=n[sm6[nm); [fy45,1]*[fy75,2]In the Faery Hills ~[
cf1]([sm1909[nm); [cf2]The [fy45,1]*[fy75,2]Garden of Fand [cf1]([sm1913[nm); [c
f2]The Happy ~Forest [cf1]([sm1914[nm=n[sm21[nm); [cf2]Spring Fire[cf1] ([sm1913
[nm); [cf2]Symphonic ~Variations, [cf1]pf. and orch. ([sm1917[nm); [cf2][fy45,1]
*[fy75,2]Tintagel [cf1]([sm1917=n~19[nm); [cf2]November Woods [cf1]([sm1917[nm);
 [cf2]Phantasy, [cf1]viola, ~orch. ([sm1920[nm); [cf2]Summer Mus
ic [cf1]([sm1920[nm); [cf2]Northern ~Ballad [cf1]No. [sm1[nm ([sm1927[nm), No. [
sm2[nm ([sm1933[nm=n[sm4[nm); [cf2]Overture to ~a Picaresque Comedy [cf1]([sm193
0[nm); [cf2]Winter Legends, [cf1]pf., ~orch. ([sm1929[nm=n[sm30[nm); [cf2]The Ta
le the Pine Trees knew ~[cf1]([sm1931[nm); vc. conc. ([sm1932[nm); [cf2]London P
ageant [cf1]([sm1937[nm=n~[sm8[nm); vn. conc. ([sm1938[nm); concertante for pf.
(left-~hand) ([sm1948[nm=n[sm9[nm); [cf2]Coronation March [cf1]([sm1953[nm).[ep~
[smvoice(s) and orch[nm: [cf2]Fatherland, [cf1]ten., ch., orch. ~([sm1907[nm); [
cf2]Enchanted Summer[cf1] ([sm1910[nm); [cf2][sm6[nm Songs from ~The Bard of the
 Dimbovitza, [cf1]mez., orch. ([sm1914[nm); [cf2]Of ~a Rose I Sing[cf1] ([sm1920
[nm); [cf2]To The Name Above Every ~Name [cf1]([sm1923[nm); [cf2]St Patrick's Br
eastplate [cf1]([sm1923[nm); ~[cf2]Walsinghame, [cf1]ten., ch., orch. ([sm1926[n
m); [cf2]The Morning ~Watch [cf1]([sm1935[nm=n[sm6[nm).[ep~[smunacc. voices[nm:
[cf2]Mater Ora Filium [cf1]([sm1921[nm); [cf2]This ~Worlde's Joi
e [cf1]([sm1922[nm); [cf2]The Boar's Head [cf1]([sm1923[nm); [cf2]I ~sing of a m
aiden [cf1]([sm1923[nm); [cf2][sm5[nm Greek Folk Songs[cf1] ([sm1944[nm); ~[cf2]
What is it like to be young and fair? [cf1]([fy45,1]*[fy75,2]Garland for ~the Qu
een[cf1]) ([sm1953[nm).[ep~[smchamber music[nm: Str. Qts.[cf1]: No. [sm1[nm in G
 ([sm1916[nm), No. [sm2[nm ~([sm1924[nm=n[sm5[nm), No. [sm3[nm in F ([sm1936[nm)
; Pf. trio ([sm1904[nm); Str. ~quintet in G ([sm1906[nm=n[sm7[nm); Pf. Quintet i
n G minor ~([sm1915[nm); [cf2]Ballade, [cf1]vn., pf. ([sm1916[nm); [cf2]Folk Tal
e, [cf1]vc., pf. ~([sm1916[nm); [cf2]Elegiac Trio, [cf1]fl., va., harp ([sm1916[
nm); harp ~quintet ([sm1919[nm); va. sonata ([sm1922[nm); ob. quintet ~([sm1922[
nm); [cf2]Nonet, [cf1]fl., ob., cl., harp, str. quintet ~([sm1930[nm); vc. sonat
ina ([sm1933[nm); cl. sonata ([sm1934[nm); ~Trio, pf., vn., va. ([sm1946[nm); [c
f2]Legend-sonata, [cf1]vc., pf. ~([sm1943[nm); Vn. sonatas: No. [sm1[nm ([sm1910
[nm, rev. [sm1915[nm), No. ~[sm2[nm in D ([sm1915[nm).[ih0p4][ep
~[smpiano[nm: [cf2]Valse de Concert [cf1]([sm1904[nm); [cf2]Moy Mell [cf1]([sm2[
nm pf.) ~([sm1908[nm=n[sm17[nm); [cf2][sm2[nm Russian Tone-Pictures [cf1]([sm191
1[nm); [cf2]Toc~~cata [cf1]([sm1913[nm); [cf2]The Maiden with the Daffodil [cf1]
([sm1915[nm); ~[cf2]In a Vodka Shop [cf1]([sm1915[nm); [cf2]A Mountain Mood [cf1
]([sm1915[nm); ~[cf2]Dream in Exile [cf1]([sm1916[nm); [cf2]Romance [cf1]([sm191
8[nm); [cf2]On a May ~Evening [cf1]([sm1918[nm); [cf2]What the Minstrel told us
[cf1]([sm1919[nm); ~[cf2]Lullaby, A Hill Tune, Country Tune [cf1]([sm1920[nm); ~
[cf2]Mediterranean [cf1]([sm1920[nm, orch. [sm1921[nm); [cf2]Hardanger [cf1]([sm
2[nm ~pf.) ([sm1927[nm); Sonatas: No. [sm1[nm in F;Yi minor ([sm1910[nm, ~rev. [
sm1917[nm=n[sm21[nm), No. [sm2[nm in G ([sm1919[nm), No. [sm3[nm ([sm1926[nm), ~
No. [sm4[nm ([sm1932[nm).[ep~[smsongs[nm: [cf2]A Celtic Song-Cycle [cf1]([sm1904
[nm); [cf2]A Christmas Carol ~[cf1]([sm1909[nm); [cf2][sm3[nm Chaucer Roundels [
cf1]([sm1914[nm); [cf2]Parting [cf1]([sm1916[nm); ~[cf2][sm5[nm
Traditional French Songs [cf1]([sm1920[nm); [cf2][sm5[nm Irish Songs ~[cf1]([sm1
921[nm); [cf2][sm3[nm Irish Songs [cf1](incl. [cf2]Rann of Exile[cf1]) ([sm1922[
nm).[cm~[j1]Bayer, Joseph [fy75,1]([cf2]b [cf1]Vienna, [sm1852[nm; [cf2]d [cf1][
cf1]Vienna, [sm1913[nm). ~Austrian violinist, composer, and conductor. ~Studied
Vienna Cons.; later was violinist in court ~opera orch. Dir. of ballet, Vienna C
ourt Opera, ~[sm1885=n98[nm. Comp. [sm22[nm ballets, incl [cf2]Die Puppenfee ~[c
f1]([sm1888[nm), also some operettas.[cm~Bayle, Fran;alcois [fy75,1]([cf2]b [cf1
]Tamatave, Madagascar, [sm1932[nm). ~Fr. composer. Studied under Messiaen at Par
is ~Cons. [sm1959[nm. Worked with Pierre [fy45,1]*[fy75,1]Schaeffer at ~comp. st
udio of [cf2]Groupe de Recherches Musicales ~[cf1][sm1960[nm=n[sm2[nm and was it
s dir. from [sm1966[nm. Several film ~scores. Most of his works are [fy45,1]*[fy
75,2]musique concr;Agete, ~[cf1]e.g. [cf2]L'Oiseau chanteur, Galaxie, Espaces in
habitables, ~[cf1]and [cf2]L'Exp;Aaerience humaine.[cm~Baylis, L
ilian [fy75,1]([cf2]b [cf1]London, [sm1874[nm; [cf2]d [cf1]London, [sm1937[nm).
~Eng. th. man. and impresario. From [sm1898[nm until ~her death was man. of the
[fy45,1]*[fy75,1]Old Vic, of which her ~aunt, Emma Cons, was lessee. Staged Shak
espeare ~there, also opera and ballet (with Ninette de ~[fy45,1]*[fy75,1]Valois)
. In [sm1931[nm re-opened SW Th., to which she ~transferred the opera and ballet
 cos. C.H. [sm1929[nm.[cm~Bayreuth. [fy75,1]Town in Bavaria, Ger., where Wagner
~built his home, [fy45,1]*[fy75,1]Wahnfried, and also his long-~planned fest. th
. to house perfs. of [cf2]Der [fy45,1]*[fy75,2]Ring des ~Nibelungen. [cf1]First
fest. [sm1876[nm, cond. Hans Richter. ~[PN58,0,0,L,I0]Th. holds [cf2]c.[cf1][sm1
[nm,[sm800[nm and has wonderful acoustics. ~Innovation was covered orch. pit. [c
f2]Parsifal [cf1]f.p. ~there, [sm1882[nm. Fests. of Wagner's operas held ~regula
rly (with wartime interruptions) since ~[sm1892[nm, the successive dirs. having
been members ~of the Wagner family. Although Beethoven's [sm9[nm
th ~Sym. has been perf. in the th., so far no opera by ~any composer but Wagner
has been prod. there.[cm~Bazelon, Irwin [fy75,1]([cf2]b [cf1]Evanston, Ill., [sm
1922[nm). Amer. ~composer. Studied De Paul Univ. and with ~Milhaud and Bloch. Ha
s written much incidental ~mus. for th., cinema, and TV. Author of book on ~film
 mus. Works incl. [cf2]De-Tonations, [cf1]brass quintet ~and orch. ([sm1978[nm);
 woodwind quintet ([sm1975[nm); ~[cf2]Concatenations, [cf1]perc. qt. and va. ([s
m1976[nm); [cf2]Sound ~Dreams, [cf1]fl., cl., va., vc., pf., solo perc. ([sm1977
[nm); ~[cf2]Imprints, [cf1]pf. ([sm1978[nm); [cf2]Junctures for Orchestra[cf1],
with ~sop. ([sm1979[nm); [cf2]Symphony No. [sm7[nm[cf1], `ballet for orch.' ~([s
m1980[nm);[cf2] Spires,[cf1] tpt. and orch. ([sm1981[nm); [cf2]Suite[cf1], ~mari
mba ([sm1983[nm); [cf2]Quintessentials[cf1], wind quintet ~([sm1983[nm).[cm~Bazz
ini, Antonio [fy75,1]([cf2]b [cf1]Brescia, [sm1818[nm; [cf2]d [cf1]Milan, ~[sm18
97[nm). It. violinist and composer. After career as ~vn. virtuos
o became prof. of comp., Milan Cons., ~[sm1873[nm and dir., [sm1882[nm. One of l
eaders of It. non-~operatic revival. Comp. [sm6[nm str. qts., [sm2[nm quintets,
~tone-poem [cf2]Francesca da Rimini, [cf1]also celebrated vn. ~solo, [cf2]Ronde
des lutins [cf1](Dance of the Elves) ([sm1852[nm).[cm~Bazzini, Francesco [fy75,1
]([cf2]b [cf1]Lovere, Brescia [sm1593[nm; [cf2]d ~[cf1]Bergamo, [sm1660[nm). It.
 organist, composer, and player ~of [fy45,1]*[fy75,1]theorbo, for which he wrote
 sonatas. Also ~comp. oratorio and canzonettas.[cm~BBC [fy75,1](British Broadcas
ting Corporation). The first ~Brit. broadcasting station was opened at Writtle,
~Chelmsford, in [sm1920[nm by the Marconi Co. In [sm1922[nm ~[sm4[nm Brit. elect
rical manufacturers formed the Brit. ~Broadcasting Co. which began transmitting
from ~[sm2[nmLO at Savoy Hill on [sm15[nm Nov. of that year. The ~first mus. bro
adcast, by an orch. of [sm9[nm players, was ~on [sm25[nm Nov. [sm1922[nm. In Jan
. [sm1923[nm Act I of [cf2]Die ~Zauberfl;Auote [cf1]was relayed
from CG, being so ~successful that [sm20[nm other operatic relays followed ~shor
tly, incl. those of [cf2]Siegfried [cf1]and [cf2]Le Nozze di ~Figaro. [cf1]The f
irst studio opera prod. was of ~Gounod's [cf2]Rom;Aaeo et Juliette [cf1]in Oct.
[sm1923[nm. The ~importance of mus. as a staple element of ~broadcasting was rec
ognized by the appointment ~in May [sm1923[nm of a Mus. Controller, the first be
ing ~Percy [fy45,1]*[fy75,1]Pitt. In [sm1924[nm the BBC, amid opposition ~and co
ntroversy, sponsored [sm6[nm public sym. concerts ~in London. On [sm1[nm Jan. [s
m1927[nm the private co. became ~a public monopoly with the issue of a Royal ~ch
arter constituting the British Broadcasting ~Corporation, its revenue coming fro
m licence-~holders. In the same year the BBC assumed ~financial responsibility f
or the London Prome~~nade Concerts and its mus. patronage extended ~to the commi
ssioning of new works and the ~sponsorship of important perfs. of contemporary ~
mus. A logical outcome was the formation in ~[sm1930[nm of the B
BC  S.O., offering permanent ~contracts to over [sm110[nm players. Adrian [fy45,
1]*[fy75,1]Boult, who ~had succeeded Pitt as controller of mus. in [sm1930[nm, ~
was appointed cond., a post he held until [sm1950[nm. ~Regional sym. orchs. were
 later formed in ~Glasgow, Manchester, Birmingham, Cardiff, and ~Belfast.[ep~^Wi
th the inauguration of a TV service on [sm2[nm Nov. ~[sm1936[nm the BBC quickly
seized the chance to televise ~opera, and in the three years [sm1936[nm=n[sm9[nm
 nearly [sm30[nm ~operas were prod. for TV, incl. [cf2]La serva padrona, ~Paglia
cci, Gianni Schicchi, [cf1]and the first staged perf. ~in Britain of Busoni's [c
f2]Arlecchino. [cf1]During the war ~the BBC's role as a dispenser of mus. of all
 kinds ~intensified. Arthur [fy45,1]*[fy75,1]Bliss succeeded Boult in [sm1942[nm
 ~as mus. dir., and was himself succeeded in [sm1944[nm ~by Victor [fy45,1]*[fy7
5,1]Hely-Hutchinson. Successive dirs. (or ~controllers) have been Steuart [fy45,
1]*[fy75,1]Wilson [sm1947[nm=n[sm50[nm, ~Herbert Murrill [sm1950
[nm=n[sm2[nm, R. J. F. Howgill [sm1952[nm=n~[sm9[nm, William [fy45,1]*[fy75,1]Gl
ock [sm1959[nm=n[sm73[nm, Robert Ponsonby ~[sm1973[nm=n[sm85[nm, John Drummond f
rom [sm1985[nm.[ep~^A major broadcasting development was the ~formation in Sept.
 [sm1946[nm of the [sm3[nmrd Programme, ~designed for `cultivated tastes and int
erests'. Music ~made up [sm50[nm% of its output and the opportunities ~for broad
casting a wide range of mus. were ~almost limitless. In Mar. [sm1965[nm the [sm3
[nmrd Programme ~underwent changes, incl. the emergence of the ~Mus. Programme w
hich ran continuously for ~nearly [sm12[nm hours a day. In [sm1970[nm the [sm3[n
mrd Programme ~and Mus. Programme became Radio [sm3[nm. TV has ~also developed m
us. series of its own, reaching ~enormous audiences. Among operas specially ~com
missioned by BBC TV were Bliss's [cf2]Tobias and ~the Angel [cf1]([sm1960[nm), a
nd Britten's [fy45,1]*[fy75,2]Owen Wingrave ~[cf1]([sm1971[nm).[cm~BBC Philharmo
nic Orchestra.[fy75,1] Regional sym~~phony orchestra based in Ma
nchester which ~adopted this name in [sm1983[nm having previously ~been BBC Nort
hern S.O. Developed from North~~ern Wireless Orchestra, founded [sm1931[nm, and
re-~named BBC Northern Orch. [sm1934[nm. Chief conds. ~have incl. Sir Charles Gr
oves, John Hopkins, ~George Hurst, Bryden Thomson, Raymond Lep~~pard, and Edward
 Downes.[cm~BBC Singers. [fy75,1]Unacc. ch. (present strength [sm28[nm ~full-tim
e professional singers) formed [sm1924[nm as ~Wireless Chorus. Changed name to B
BC Chorus ~[sm1935[nm, present title [sm1973[nm. [sm1[nmst cond. was Stanford ~[
fy45,1]*[fy75,1]Robinson. [sm1934[nm=n[sm61[nm cond. was Leslie Woodgate. ~Other
 conds. Peter Gellhorn and John Poole.[cm~BBC Symphony Orchestra. [fy75,1]Chief
orch. of the ~BBC, formed [sm1930[nm with [sm114[nm (later [sm119[nm) players ~o
n permanent contract. Has given f.ps. of many ~works by Brit. composers. Guest c
onds. have incl. ~the world's leading exponents, notably [fy45,1]*[fy75,1]Tosca-
[fj~nini. Chief conds. since inception: Adrian [fy45,1]*[fy75,1]
Boult ~[sm1931[nm=n[sm50[nm; Malcolm [fy45,1]*[fy75,1]Sargent [sm1950[nm=n[sm7[n
m; Rudolf ~[fy45,1]*[fy75,1]Schwarz [sm1957[nm=n[sm62[nm; Antal [fy45,1]*[fy75,1
]Dorati [sm1962[nm=n[sm6[nm; Colin ~[fy45,1]*[fy75,1]Davis [sm1967[nm=n[sm71[nm;
 Pierre [fy45,1]*[fy75,1]Boulez [sm1971[nm=n[sm75[nm; Rudolf ~[fy45,1]*[fy75,1]K
empe [sm1975[nm=n[sm6[nm; Gennady [fy45,1]*[fy75,1]Rozhdestvensky ~[sm1978[nm=n[
sm81[nm; John [fy45,1]*[fy75,1]Pritchard from [sm1981[nm. Other BBC ~[PN59,0,0,R
,I0]sym. orchs. are the Philharmonic (based in ~Manchester), Scottish (based in
Glasgow), and ~Welsh (based in Cardiff). The BBC Symphony ~Chorus was formed [sm
1928[nm as National Chorus (at ~its [sm1[nmst concert, [sm23[nm Nov. [sm1928[nm,
 [fy45,1]*[fy75,1]Bantock cond. f.p. ~of his [cf2]Pilgrim's Progress[cf1]). Name
 changed to BBC ~Chorus [sm1932[nm, to BBC Choral Society [sm1935[nm, to ~presen
t title [sm1977[nm. Up to [sm1976[nm, ch. master was ~dir. of [fy45,1]*[fy75,1]B
BC Singers, but in that year separate ~appointment (Brian Wright
) was made.[cm~B Dur [fy75,1](Ger.). The key of B;Yh major (not B major). ~See [
cf2]B.[cm~Be [fy75,1](Ger.). The flat sign ;Yh.[cm~Beach, Mrs. H. H. A. [fy75,1]
([cf2]n;aaee [cf1]Amy Marcy Cheney) ~([cf2]b [cf1]Henniker, New Hampshire, [sm18
67[nm; [cf2]d [cf1]NY, [sm1944[nm). ~Amer. pianist and composer. Her performing
~career was cut short by her marriage in [sm1885[nm, ~after which she concentrat
ed on comp., but she ~resumed it in [sm1910[nm when her husband died. ~Wrote num
erous songs, pf. conc. ([sm1899[nm), vn. ~sonata, Mass in E;Yh ([sm1891[nm), [cf
2]Gaelic Symphony [cf1]([sm1896[nm), ~[cf2]The Canticle of the Sun [cf1]([sm1925
[nm), [cf2]Christ in the Universe ~[cf1]([sm1931[nm), and opera [cf2]Cabildo [cf
1]([sm1932[nm).[cm~Beach, John Parsons [fy75,1]([cf2]b [cf1]Gloversville, NY, [s
m1877[nm; ~[cf2]d [cf1]Pasadena, Calif., [sm1953[nm). Amer. composer, ~regarded
as one of the first modernists. Graduated ~New Eng. Cons. and spent [sm7[nm year
s in Paris from ~[sm1910[nm. Comps. incl. [sm2[nm short stage wo
rks, [sm2[nm ballets, ~orch. and chamber mus.[cm~Bean, Hugh [fy75,1](Cecil) [cf1
]([cf2]b [cf1]Beckenham, [sm1929[nm). Eng. ~violinist. Studied RCM with [fy45,1]
*[fy75,1]Sammons [sm1938[nm=n[sm57[nm ~and Brussels Cons. with Gertler [sm1952[n
m=n[sm3[nm. Leader, ~Philharmonia and New Philharmonia Orch. ~[sm1957[nm=n[sm67[
nm. Ass. leader, BBC S.O. [sm1967[nm=n[sm9[nm. Active in ~chamber mus. (Music Gr
oup of London) and as ~conc. soloist. Prof. of vn., RCM from [sm1954[nm. C.B.E.
~[sm1970[nm.[cm~Bean, [fy75,1](Thomas)[fy65][cf3] Ernest [fy75,1]([cf2]b [cf1]Co
lne, [sm1900[nm; [cf2]d[cf1] Dork~~ing, [sm1983[nm). Eng. orch. concert administ
rator and ~lecturer. Secretary and gen. man., Hall;Aae Concerts ~Society, Manche
ster, [sm1944[nm=n[sm51[nm; gen. man., Royal ~Festival Hall, London, [sm1951[nm=
n[sm65[nm. C.B.E. [sm1965[nm.[cm~Bearbeitet [fy75,1](Ger.). Worked-over, i.e. Ar
ranged. ~[cf2]Bearbeitung, [cf1][fy45,1]*[fy75,1]arrangement.[cm~Beard, John [fy
75,1]([cf2]b [cf1][sm1716[nm; [cf2]d [cf1]Hampton, [sm1791[nm).
Eng. ~ten. assoc. with Handel operas and oratorios. Ten. ~parts of [cf2]Israel i
n Egypt, Messiah, Samson, Judas ~Maccabaeus, [cf1]and [cf2]Jephtha [cf1]were wri
tten with Beard ~in mind. Also sang Macheath in [cf2]The [fy45,1]*[fy75,2]Beggar
's ~Opera. [cf1]Man., CG Th., [sm1761[nm=n[sm7[nm.[cm~Beard, Paul [fy75,1]([cf2]
b [cf1]Birmingham, [sm1901[nm). Eng. violin~~ist. Taught by father and played in
 public [sm1907[nm. ~Spa orch., Scarborough, [sm1920[nm; Leader, CBSO ~[sm1922[n
m=n[sm32[nm, LPO [sm1932[nm=n[sm6[nm, BBC S.O. [sm1936[nm=n[sm62[nm. Prof. ~of v
n. GSM and also taught at RAM. O.B.E. [sm1952[nm.[cm~`Bear' Symphony [fy75,1]([c
f2]L'Ours[cf1]). Nickname for ~Haydn's Sym. No. [sm82[nm in C (Hob.I:[sm82[nm),
[sm1786[nm, first ~of Paris syms., because the bagpipe-like theme of ~the finale
 suggests the perf. of a bear-leader, or ~because of a `growling' theme in the s
ame ~movement.[cm~Bear, The. [fy75,1]Comic opera in [sm1[nm act=mextravaganza ~b
y [fy45,1]*[fy75,1]Walton to lib. by Paul Dehn adapted from ~pla
y (vaudeville) by Chekhov ([sm1888[nm). Prod. ~Aldeburgh [sm1967[nm. Also set by
 Jacobo [fy45,1]*[fy75,1]Ficher, ~[sm1952[nm.[cm~Bearded Gamba. [fy75,1]See [cf2
]Gamba [cf1](organ stop).[cm~Beat. [fy75,1]([sm1[nm) Unit of measurement of rhyt
hmic pulse ~of mus. (i.e. waltz has [sm3[nm beats to the measure), as ~indicated
 in time signature. In [cf9]4=-=-=-=-=-=-=K=K=K[cf13]4[cf1] time each ~quarter-n
ote (crotchet) is one beat, but in more ~complicated signatures much depends on
the ~tempo selected. E.g. in [cf9]12=-=-=-=-=-=-=-=-=-[cf13]8[cf1]=+=+=+=+ time
there are [sm12[nm beats ~to a measure if taken very slowly, or else one for ~ea
ch dotted crotchet.[ep~^([sm2[nm) The cond.'s action corresponding to the ~requi
red rhythmic pulse.[ep~^([sm3[nm) When [sm2[nm notes near to each other in vibra
tion ~frequency are heard together their vibrations ~necessarily coincide at reg
ular intervals and thus ~reinforce each other. This periodical reinforce~~ment i
s known as a beat and is made use of in pf.-~tuning.[ep~^([sm4[n
m) Name given variously to ornament in early ~mus., sometimes applied to a [fy45
,1]*[fy75,2]mordent [cf1]and ~sometimes to [fy45,1]*[fy75,2]acciaccatura. [cf1]S
till other references ~imply a `reversed shake' by this term.[ep~^([sm5[nm) Term
 in jazz, basically meaning the rhyth~~[chmical pulse of the mus., but also mean
ing jazz in ~a generic sense, e.g. `the beat is black';EqNegro ~jazz.[cm~B;aaeat
itudes, Les [fy75,1](The Beatitudes). Oratorio by ~Franck, comp. [sm1869=n79[nm,
 based on Sermon on the ~Mount, for soloists, ch., and orch. (F.p. Paris [sm1879
[nm, ~privately; first complete public perf. Paris [sm1893[nm. ~Glasgow [sm1900[
nm; Cardiff [sm1902[nm.)[cm~Beatitudes, The. [fy75,1]Cantata by [fy45,1]*[fy75,1
]Bliss, [sm1961[nm, for ~sop., ten., ch., org., and orch., biblical text being ~
interspersed with poems. F.p. Coventry Cath. ~[sm1962[nm.[cm~Beatles, The. [fy75
,1]Vocal and instr. Eng. pop group ~(guitars and drums) who attained worldwide ~
popularity and critical acclaim during [sm1960[nms, ~chiefly in
songs by [sm2[nm of the members, John ~Lennon ([cf2]b [cf1]Liverpool, [sm1940[nm
; [cf2]d[cf1] NY, [sm1980[nm) and Paul ~McCartney ([cf2]b [cf1]Liverpool, [sm194
2[nm). Formed and ~named in Liverpool [cf2]c.[cf1][sm1957[nm by Lennon, with ~Mc
Cartney and George Harrison ([cf2]b [cf1]Liverpool, ~[sm1943[nm). Played at Casb
ah and Cavern Clubs, ~Liverpool, until invited to Hamburg, [sm1960[nm, where ~[s
m2[nm extra members were Stuart Sutcliffe (electric ~bass guitar) and Pete Best
(drums). Sutcliffe died ~[sm1962[nm. Best was replaced by Ringo Starr (orig. ~Ri
chard Starkey, [cf2]b [cf1]Liverpool, [sm1940[nm). Group's nat. ~popularity as q
t. (Lennon, McCartney, Harrison, ~and Starr) began [sm1962[nm under management o
f ~Brian Epstein ([cf2]b [cf1]Liverpool, [sm1935[nm; [cf2]d [cf1]London, ~[sm196
7[nm), followed by highly successful tours of USA ~[PN60,0,0,L,I0]and elsewhere.
 Term `Beatlemania' coined to ~describe adulation accorded them, not only by ~th
e young. Among songs written by Lennon and ~McCartney were [cf2]
Please, please me, She loves you, ~Yesterday, Eleanor Rigby, Yellow submarine, [
cf1]and [cf2]Hey ~Jude. [cf1]Each of group became M.B.E., [sm1965[nm. Group ~mad
e several films; record sales were phenome~~nal. Ceased performing together [sm1
969[nm, partner~~ship being later legally dissolved. McCartney ~formed new group
 called `Wings', Lennon settled ~in USA where he was shot dead, Harrison ~contin
ued to record, performing only rarely, and ~Starr continued to record and to per
form in films.[cm~Beatrice di Tenda. [fy75,1]Opera in [sm2[nm acts by Bellini, ~
lib. by Romani. Prod. Venice [sm1833[nm, London [sm1836[nm, ~Paris [sm1841[nm, N
ew Orleans [sm1842[nm. Revived Catania ~[sm1935[nm.[xm[cm~[ol0][ep~[xp[te~




[do42][j99]~~~~~~[sm153842[nm_BA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBA[sm03[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm18[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm165[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]B;aaeatrice et B;aa
en;aaedict [fy75,1](Beatrice and Benedick). ~Opera in [sm2[nm acts by Berlioz, w
ith lib. considerably ~adapted by the composer from Shakespeare's ~comedy [cf2]M
uch Ado about Nothing [cf1]([sm1599[nm=n[sm1600[nm). ~Comp. [sm1860[nm=n[sm2[nm.
 Prod. Baden-Baden [sm1862[nm; Glas~~gow [sm1936[nm; Washington, DC, [sm1964[nm.
 His last work.[cm~Beaumarchais, Pierre Augustin Caron de [fy75,1]([cf2]b ~[cf1]
Paris, [sm1732[nm; [cf2]d [cf1]Paris, [sm1799[nm). Fr. playwright and ~musician.
 An accomplished flautist and harpist, ~his mus. fame rests, however, on his aut
horship ~of the plays [cf2]Le Barbier de S;aaeville [cf1]([sm1772[nm, perf. [sm1
775[nm) ~and its sequels [cf2]La Folle Journ;aaee, ou Le Mariage de ~Figaro [cf1
]([sm1781[nm, perf. [sm1784[nm), and [cf2]La M;agere Coupable[cf
1] ~(perf. [sm1792[nm). The first play was originally intended ~as a comic opera
, with mus. by Beaumarchais ~adapted from Sp. airs. Librettist of [cf2]Tarare[cf
1], opera ~in [sm5[nm acts by Salieri ([sm1787[nm). [cf2]The Barber of Seville[c
f1] was ~set as an opera by Paisiello ([sm1782[nm) and Rossini ~([sm1816[nm) and
 also by F. L. Benda ([sm1776[nm) and Isouard ~([cf2]c.[cf1][sm1796[nm), [cf2]Th
e Marriage of Figaro[cf1] by Mozart ([sm1786[nm), ~and [cf2]La M;agere Coupable[
cf1] by Milhaud ([sm1964=n5[nm).[cm~Beautiful Galathea, The [fy75,1]([cf2]Die sc
h;Auone Galatea[cf1]). ~Operetta by Supp;Aae, prod. Vienna [sm1865[nm, of which
~ov. is still often heard. Libretto by P. Henrion.[cm~Beaux Arts Trio. [fy75,1]A
mer. pf. trio who gave their ~f.p. at Berkshire Mus. Fest., [sm1955[nm, and sinc
e then ~have won international reputation, esp. in Haydn, ~Beethoven, and Schube
rt. Original members were ~Menahem Pressler, pf. ([cf2]b[cf1] Magdeburg, [sm1923
[nm), ~Daniel Guilet, vn., and Bernard Greenhouse, vc. ~([cf2]b[
cf1] Newark, NJ, [sm1916[nm). Guilet was succeeded in ~[sm1968[nm by Isadore Coh
en ([cf2]b[cf1] NY, [sm1922[nm). Pressler ~studied with Egon Petri. Prof. of mus
., Indiana ~Univ. since [sm1958[nm. Cohen was member of Juilliard ~Quartet [sm19
58[nm=n[sm66[nm. Greenhouse studied with Cas~~als.[cm~Bebend [fy75,1](Ger.). Tre
mbling, i.e. [fy45,1]*[fy75,2]Tremolo.[cm~Be-Bop. [fy75,1]Jazz development of th
e [sm1940[nms, primar~~ily for small groups of instrumentalists, such as a ~rhyt
hm section of [sm4[nm or [sm5[nm players with some solo ~instr. Scat singing was
 a feature. Be-bop used ~highly complex chord sequences often at very ~fast temp
i. Specially assoc. with the alto sax~~[chophonist Charlie Parker. It had a mark
ed effect ~on the jazz techniques of drumming and pf.-~playing.[cm~Bebung [fy75,
1](Ger.). Trembling. A tremolo effect ~obtained by a rapid shaking movement of t
he ~finger on a str. of a bowed instr. or on a key of a ~clavichord (see also [c
f2]Bebend[cf1]).[cm~Bec [fy75,1](Fr.), [fy65][cf3]becco [fy75,1]
(It.). Mouthpiece of cl. [cf2]Fl;Afute ;Aga bec ~[cf1]is Fr. for recorder.[cm~B;
Aaecarre [fy75,1](Fr.). The natural sign.[cm~Bechstein, Friedrich Wilhelm Carl [
fy75,1]([cf2]b [cf1]Gotha, ~[sm1826[nm; [cf2]d [cf1]Berlin, [sm1900[nm). Ger. pf
. manufacturer. ~After working in pf. factories in Ger., Fr., and ~Eng., founded
 his own firm in Berlin, [sm1853[nm. ~Branches were est. in Fr., London ([sm1879
[nm), and ~Russ. London recital hall built in [sm1901[nm was named ~Bechstein Ha
ll, though re-named Wigmore Hall ~in [sm1917[nm after the street in which it sta
nds.[cm~Beck. [fy75,1]Short for [cf2]Becken, [cf1]cymbals.[cm~Beck, Conrad [fy75
,1]([cf2]b [cf1]Lohn, Schaffhausen, Switzer~~land, [sm1901[nm). Swiss composer.
Z;Auurich Cons. [sm1921[nm=n~[sm4[nm, studying with V. [fy45,1]*[fy75,1]Andreae.
 Lived in Paris ~[sm1923[nm=n[sm32[nm, studying orch. with Ibert. Mus. dir. ~Bas
le Radio, [sm1938[nm=n[sm66[nm. Works incl. syms., concs. ~for str. qt. and orch
., vn. and chamber orch., fl., ~va., cl., concertinos for pf., f
or cl., bn., and orch., ~ob. and orch.; [sm5[nm str. qts.; cantatas, [cf2]La Mor
t d'Oedipe ~[cf1]([sm1928[nm), [cf2]Die Sonnenfinsternis [cf1]([sm1967[nm); cham
ber can~~tata on sonnets of Louiza Lab;Aae ([sm1937[nm); and ballet ~[cf2]Der B;
Auar [cf1]([sm1937[nm).[cm~Beck, Karl [fy75,1]([cf2]b [cf1][sm1814[nm; [cf2]d [c
f1]Vienna, [sm1879[nm). Austrian ~ten. who created the role of Lohengrin, Weimar
, ~[sm1850[nm.[cm~Becken [fy75,1](Ger.). [fy45,1]*[fy75,1]Cymbals.[cm~Becker, G;
auunther Hugo [fy75,1]([cf2]b [cf1]Forbach, Ger., [sm1924[nm). ~Ger. composer an
d teacher. Comp. lessons from ~Fortner between [sm1949[nm and [sm1956[nm, privat
ely and at ~Detmold Mus. Acad. Taught in Gr. [sm1956[nm=n[sm68[nm. In ~[sm1969[n
m in Essen founded elec. instr. ens. [cf2]Gruppe ~MHz[cf1], re-named ([sm1971[nm
) Live-Electronic Ensemble ~Folkwang, Essen. Prof. of comp., D;auusseldorf ~Cons
. from [sm1973[nm.[cm~Becker, Hugo [fy75,1]([cf2]b [cf1]Strasbourg, [sm1863[nm;
[cf2]d [cf1]Geiselgas-[fjteig, [sm1941[nm). Ger. cellist, studen
t of (among others) ~Piatti. Member of Heermann Qt. [sm1890[nm=n[sm1906[nm. ~Tau
ght during that time at Frankfurt Cons. From ~[sm1910[nm prin. vc. teacher, Berl
in Hochschule. Cellist ~in trios with Schnabel and Flesch, and Ysa;Auye and ~Bus
oni. Comp. vc. conc. ([sm1898[nm) and short pieces.[cm~Becker, John Joseph [fy75
,1]([cf2]b [cf1]Henderson, Kentucky, ~[sm1886[nm; [cf2]d [cf1]Wilmette, Illinois
, [sm1961[nm). Amer. com~~poser. Mus.B. degree from Wisconsin Cons., ~Milwaukee.
 Prof. of comp., North Texas College, ~[sm1906[nm=n[sm14[nm; dir. of mus., Univ.
 of Notre Dame, ~[sm1918[nm=n[sm28[nm; chairman of fine arts dept., St Thomas ~C
ollege, St Paul, [sm1928[nm=n[sm33[nm. While at St Paul his ~[PN61,0,0,R,I0]roma
ntic-impressionist style as composer ~changed into more radical and dissonant id
iom ~after assoc. with Cowell, Ives, Ruggles, and ~Riegger. Several of his later
 works carry message ~of social protest. From [sm1943[nm, dir. of mus. and ~comp
oser in residence, Barat College, Lake Forest, ~Ill. Comp. [sm7[
nm syms. between [sm1915[nm and [sm1954[nm, the ~last being unfinished; [sm2[nm
pf. concs., va. conc., hn. ~conc.; [cf2][sm7[nm Soundpieces [cf1]for various cha
mber combi~~nations; [cf2]The Snow Goose [cf1](orch.); [sm1[nm-act opera [cf2]De
irdre ~of the Sorrows [cf1]([sm1945[nm).[cm~Beckus the Dandipratt. [fy75,1]Conce
rt-ov. by Malcolm ~[fy45,1]*[fy75,1]Arnold, pubd. [sm1948[nm. A dandipratt is an
 urchin.[cm~Beckwith, John [fy75,1]([cf2]b [cf1]Victoria, B.C., [sm1927[nm). Can
adian ~composer. Studied Toronto Univ. and with Nadia ~[fy45,1]*[fy75,1]Boulange
r in Paris [sm1950[nm=n[sm2[nm. Instructor in mus. ~theory, Toronto Royal Cons.
[sm1955[nm=n[sm65[nm. Member ~of mus. faculty, Toronto Univ. since [sm1952[nm, d
ean ~[sm1970[nm. Works incl. [sm1[nm-act opera [cf2]The Night Blooming ~Cereus [
cf1]([sm1953[nm=n[sm8[nm), [cf2]A Message to Winnipeg [cf1]([sm1960[nm), ~[cf2]W
ednesday's Child [cf1]([sm1962[nm), [cf2]Circle, With Tangents ~[cf1]([sm1967[nm
, for hpd. and [sm13[nm str.) and [cf2]The Sun Dance ~[cf1]([sm1
968[nm). Several of his works are described as ~`collages' and employ narrators.
[cm~Bedford, David [fy75,1](Vickerman) ([cf2]b [cf1]London, [sm1937[nm). ~Eng. c
omposer and teacher. Studied RAM with ~Berkeley, and privately, [sm1960[nm, in V
enice with ~Luigi [fy45,1]*[fy75,1]Nono. Was member of pop group `The ~Whole Wor
ld'. Prin. works:[xm[cm~[j2][smmusic theatre[nm: [cf2]The Rime of the Ancient Ma
riner ~[cf1](school opera, [sm1975=n6[nm); [cf2]The Ragnarok[cf1] ([sm1982[nm=n[
sm3[nm) ~(school opera, part of trilogy with [cf2]The Death of ~Baldur [cf1]([sm
1979[nm) and [cf2]Indiof=+=+'s Saga [cf1]([sm1980[nm)).[ep~[smorch[nm: [fy75,2]T
his One for You [cf1]([sm1965[nm); [cf2]Gastrula [cf1]([sm1968[nm); ~[cf2]Star's
 End, [cf1]rock instr. and orch. ([sm1974[nm); Sym. for ~[sm12[nm mus. ([sm1981[
nm); [cf2]Sun Paints Rainbows on the Vast ~Waves[cf1] ([sm1982[nm); [cf2]The Val
ley-Sleeper, The Children, ~Snakes and the Giant[cf1] ([sm1982[nm).[ep~[smchorus
 and orch[nm: [cf2]Dream of the [sm7[nm Lost Stars [cf1]([sm1964
[nm=n~[sm5[nm); [fy45,1]*[fy75,2]Star Clusters, Nebulae, and Places in Devon ~[c
f1]([sm1971[nm); [cf2][sm12[nm Hours of Sunset [cf1]([sm1974[nm); [cf2]The Odyss
ey[cf1], ~sop., girls' vv., instr., elec. ([sm1976[nm); [cf2]Song of the ~White
Horse [cf1]([sm1977[nm); [cf2]The Way of Truth[cf1], ch., elec. ~([sm1978[nm).[e
p~[smunacc. chorus[nm: [sm2[nm Poems (Patchen) ([sm1963[nm), [cf2]The ~Golden Wi
ne is Drunk [cf1](Dowson) ([sm1974[nm).[ep~[sminstr. ensemble[nm: [cf2]Piece for
 Mo [cf1]([sm1963[nm), [cf2]Five [cf1]([sm1967[nm), ~[cf2]Pentomino, [cf1]wind q
uintet ([sm1968[nm), [cf2]The Garden of ~Love [cf1]([sm1970[nm), [cf2]The Sword
of Orion [cf1]([sm1970[nm), [cf2]With [sm100[nm ~Kazoos [cf1]([sm1971[nm), [cf2]
Nurse's Song with Elephants [cf1]([sm1971[nm), ~[cf2]Jack of Shadows, [cf1]va. s
olo and small orch. ([sm1973[nm), ~[cf2]A Horse, His Name was Hunry Fencewaver W
alkins, ~[cf1]acoustic guitar and chamber ens. ([sm1973[nm), [cf2]Pan~~cakes, wi
th Butter, Maple Syrup and Bacon and the ~TV Weatherman, [cf1]br
ass quintet ([sm1973[nm), [cf2]Variations ~on a Rhythm by Mike Oldfield, [cf1]pe
rc. ([sm3[nm players, [sm84[nm ~instr.) ([sm1973[nm).[ep~[smvoice and instr[nm:
[cf2]Music for Albion Moonlight, [cf1]sop. ~([sm1965[nm), [cf2]That White and Ra
diant Legend, [cf1]sop. and ~speaker ([sm1966[nm), [cf2]The Tentacles of the Dar
k Nebula, ~[cf1]ten. ([sm1969[nm), [cf2]When I Heard the Learn'd Astronomer, ~[c
f1]ten. ([sm1972[nm), [cf2]Holy Thursday with Squeekers, [cf1]sop. ~([sm1972[nm)
.[ep~[sminstr[nm: [cf2][sm18[nm Bricks Left on April [sm21[nmst, [cf1][sm2[nm el
ectric guitars ~([sm1967[nm); [cf2]Piano Piece I [cf1]([sm1966[nm), [cf2]II [cf1
]([sm1968[nm); [cf2]`You Asked ~for It', [cf1]acoustic guitar ([sm1969[nm); [cf2
]Spillihpernak, [cf1]va. ~([sm1972[nm); wind sextet ([sm1981[nm); [cf2]SPNM Birt
hday Piece[cf1], ~str. qt. ([sm1983[nm).[ep~[smvoice and acc[nm: [cf2]O Now the
Drenched Land Wakes, ~[cf1]bar. and pf. duet; [cf2]Come In Here, Child, [cf1]sop
. and ~amplified pf. ([sm1968[nm); [cf2]Because He Liked to be a
t ~Home, [cf1]ten. (also plays recorder) and harp ([sm1974[nm); ~[cf2]On the Bea
ch at Night, [cf1][sm2[nm ten., pf., chamber org. ~([sm1978[nm).[cm~[j1]Bedford,
 Steuart [fy75,1]([cf2]b [cf1]London, [sm1939[nm). Eng. cond. ~and pianist, part
icularly assoc. with Eng. Mus. ~Th. and Aldeburgh Fest. Studied RAM and ~Oxford
Univ. On Glyndebourne mus. staff [sm1965[nm=n~[sm6[nm. Cond. d;aaebut SW [sm1967
[nm ([cf2]The Beggar's Opera[cf1]). ~Prof. at RAM from [sm1965[nm. Cond. f.p. Br
itten's ~[cf2]Death in Venice, [cf1][sm1973[nm, and [cf2]Phaedra[cf1], [sm1976[n
m. Arr. ~orch. suite from [cf2]Death in Venice [cf1](Aldeburgh [sm1984[nm).[cm~B
;aaedos de Celles, Dom Francis [fy75,1]([cf2]b [cf1]Caux, [sm1709[nm; [cf2]d ~[c
f1]Saint-Denis, [sm1779[nm). Fr. Benedictine, org. builder ~and author of import
ant book, [cf2]L'Art du facteur ~d'orgues [cf1](The Art of the Organ-builder, [s
m1766[nm=n[sm8[nm).[cm~Bedyngham, John [fy75,1]([cf2]b[cf1] ?Oxford, [sm1422[nm;
 [cf2]d[cf1] London, ~[sm1459[nm or [sm1460[nm). Eng. composer.
Comp. motets ~[cf2]Manus Dei, Salva Jesu, [cf1]and [cf2]Vide dire, [cf1]also [cf
2]O rosa ~Bella, Beata es Virgo Maria, [cf1]and [cf2]Mi verry joy. ~[cf1]Influen
tial on Continent, though unlikely he ~worked there. Music survives largely in f
oreign ~sources.[cm~Beecham, [fy75,1](Sir) [fy65][cf3]Thomas [fy75,1]([cf2]b [cf
1]St Helens, [sm1879[nm; [cf2]d ~[cf1]London, [sm1961[nm). Eng. cond. and impres
ario. First ~appearance was as cond. of Hall;Aae Orch. at St ~Helens, [sm1899[nm
. Educated Rossall School and ~Wadham College, Oxford. Early ambition to be ~com
poser, but took up cond. instead. Came to ~the fore about [sm1905[nm when he fou
nded New Sym. ~Orch. In [sm1910[nm, with backing of his father, the ~industriali
st Sir Joseph Beecham, staged season of ~opera at CG at which Strauss's [fy45,1]
*[fy75,2]Elektra [cf1]had first ~Eng. perf., also Delius's [cf2]A [fy45,1]*[fy75
,2]Village Romeo and ~Juliet. [cf1]Thereafter there was hardly a feature of ~Eng
. mus. life with which Beecham was not ~closely, often controver
sially, and always artisti~~cally involved. Assoc. with most leading Brit. ~orch
s. Founded LPO [sm1932[nm, and RPO [sm1946[nm. In ~decade preceding World War II
 was art. dir. of ~Royal Opera House, CG. Cond. many Amer. ~orchs. Ardent champi
on of Delius, about whom ~he wrote a book, and notable interpreter of ~Mozart, H
aydn, Sibelius, Strauss, and Fr. compos~~ers of [sm19[nmth cent. Thrice married.
 Knighted [sm1915[nm, ~[sm2[nmnd baronet [sm1916[nm, C.H. [sm1957[nm.[xm[cm~[ol0
][ep~[xp[te~






[do35][j99]~~~~~~[sm153842[nmBB[sm1[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmBB[sm1[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm18[nm-[sm10[nm-[sm7
9[nm[cm[sm8[nm[cm[sm183[nm[cm~Collier[cm4[cm18.3.85[cm~3[cm~~~~[ap[j1]Beecke, Ig
natz von[fy75,1] ([cf2]b[cf1] Wimpfen, [sm1733[nm; [cf2]d[cf1] ~Wallerstein, [sm
1803[nm). Ger. army officer and Kapell~~meister. Pupil of Gluck. His pf.-playing
 was ~excellent and, with Schubart, developed new ~techniques. Played Mozart's c
onc. for [sm2[nm pf. with ~[PN62,0,0,L,I0]the composer at Frankfurt, [sm1790[nm.
 Friend of Gluck. ~Comp. operas, oratorio, syms., concs., and pf. ~sonatas.[cm~B
eer Barrel Polka [fy75,1](`Roll out the barrel'). Tune ~composed by Jarom;aair V
ejvoda ([cf2]b[cf1] [sm1902[nm) and pubd. ~in Prague, [sm1934[nm. as [cf2]Lost L
ove[cf1] ([cf2];akSkoda L;aaasky[cf1]). ~Acquired Eng. title when pubd. in NY, [
sm1939[nm. ~Became very popular with Servicemen in [sm2[nmnd ~World War.[cm~Beer
, Jakob Liebmann. [fy75,1]Real name of Giacomo ~[fy45,1]*[fy75,1
]Meyerbeer.[cm~Beeson, Jack [fy75,1](Hamilton) ([cf2]b[cf1] Muncie, Ind., [sm192
1[nm). ~Amer. composer. Studied Toronto Univ. and ~Eastman Sch., also had inform
al comp. lessons ~from Bart;Aaok. Accompanist and cond. of opera ~workshop, Colu
mbia Univ. [sm1944[nm=n[sm8[nm. MacDowell ~prof. of mus., Columbia Univ. since [
sm1967[nm, head ~of mus. dept., [sm1968[nm=n[sm72[nm. Comps. incl. Sym. in A ~([
sm1959[nm) and [sm6[nm operas, [cf2]Jonah[cf1] ([sm1950[nm), [cf2]Hello Out Ther
e[cf1] ~([sm1953[nm), [cf2]The Sweet Bye and Bye[cf1] ([sm1956[nm), [cf2]Lizzie
Borden[cf1] ~([sm1965[nm), [cf2]My Heart's in the Highlands[cf1] ([sm1969[nm), a
nd ~[cf2]Captain Jinks of the Horse Marines [cf1]([sm1975[nm).[cm~Bee's Wedding,
 The. [fy75,1]Fanciful name for Men~~delssohn's [cf2]Lieder ohne Worte[cf1] No.
[sm34[nm in C for solo ~pf. (Book VI, Op. [sm67[nm, No. [sm4[nm, [cf2]Spinnerlie
d[cf1]). Sometimes ~known as [cf2]Spinning Song. [cf1]Comp. [sm1845[nm.[cm~Beeth
oven, Ludwig van[fy75,1] ([cf2]b[cf1] Bonn, [sm1770[nm; [cf2]d[c
f1] ~Vienna, [sm1827[nm). Ger. composer and pianist who ~radically transformed e
very mus. form in which ~he worked. His paternal family were of Flemish ~stock,
his grandfather having emigrated to Bonn ~where he became Court Singer to the El
ector. ~Beethoven's father also became Court Singer, but ~was a coarse, drunken
man, hopeful of exploiting ~his [sm2[nmnd child Ludwig's mus. talents. Beethoven
's ~early mus. education came from his father and ~several mediocre teachers. In
 [sm1779[nm he became a ~pupil of Christian Gottlob Neefe and his ass. as ~court
 organist in [sm1784[nm. In [sm1786[nm he visited Vienna ~and may have extempori
zed for Mozart. On ~return to Bonn he found an understanding patron ~in Count Wa
ldstein. For [sm4[nm years he was a violist ~in the court th. orch. in addition
to other duties. ~In [sm1792[nm Haydn, visiting Bonn, saw some of ~Beethoven's e
arly comps. and invited him to ~study with him in Vienna. There, despite his ~br
usque and often uncouth manner, he was ~patronized by the aristo
cracy and lived for [sm2[nm years ~([sm1794[nm=n[sm6[nm) in the home of Prince L
ichnowsky. His ~fame was entirely that of a virtuoso improviser at ~the kbd. Les
sons from Haydn proved unsatisfac~~tory and Beethoven went for theory to Schenk
~and later to Albrechtsberger and Salieri. His Op. ~[sm1[nm, [sm3[nm pf. trios,
was pubd. [sm1795[nm and had immediate ~success.[ep~^Apart from occasional visit
s to the countryside ~Beethoven passed the rest of his life in Vienna. ~For [sm3
0[nm years he prod. mus. of all kinds in a steady ~flow. His first public appear
ance in Vienna was as ~soloist in his B;Yh major pf. conc. in [sm1795[nm. His [s
m3[nmrd ~Symphony (the [cf2]Eroica[cf1]), besides being a work of ~revolutionary
 import because it greatly extended ~the possibilities of symphonic form, was si
gnifi~~cant because it was originally ded. to Napoleon ~Bonaparte. Beethoven era
sed the dedication when ~he heard that Napoleon had proclaimed himself ~emperor.
 In [sm1805[nm his only opera [cf2]Fidelio[cf1], originally ~cal
led [cf2]Leonore[cf1], was performed but withdrawn for ~rev. after [sm3[nm perfs
. and given the following year in ~a [sm2[nm-act version. His [sm5[nmth and [sm6
[nmth ([cf2]Pastoral[cf1]) Syms. ~were f.p. at the same concert in [sm1808[nm an
d the [sm7[nmth ~appeared in [sm1813[nm, the year before the successful ~prod. o
f the further rev. [cf2]Fidelio[cf1]. In [sm1817[nm and [sm1818[nm ~he began wor
k on his [sm9[nmth Sym., which departed ~from all precedent by including a chora
l finale ~for solo vv., ch., and orch., and the [cf2]Missa Solemnis[cf1]. ~These
 were perf. in [sm1824[nm. From [sm1824[nm to [sm1826[nm he ~comp. the last [sm5
[nm of his [sm17[nm str. qts.[ep~^Beethoven's mus. may have sometimes been ~misu
nderstood in his lifetime but it was never ~neglected. However, his personal ecc
entricities ~and unpredictability were to grow, principally ~because of his disc
overy in [sm1798[nm that he was ~going deaf. It was not until [sm1819[nm that co
nversation ~with him was possible only by writing in a ~notebook
, but in the intervening [sm20[nm years his ~affliction, though it varied in int
ensity, steadily ~worsened. Perhaps this is also why he never ~married, though h
e loved several women, and ~one in particular, the still unidentified `Immortal
~Beloved' (Maynard Solomon, in his [cf2]Beethoven[cf1], ~[sm1977[nm, gives convi
ncing but not incontrovertible ~reasons for believing that she was Antonie ~Bren
tano, wife of a Frankfurt merchant. She lived ~from [sm1780[nm to [sm1869[nm. Be
ethoven dedicated the ~[cf2]Diabelli Variations [cf1]to her.) An indication of t
he ~esteem in which Beethoven was held is that in ~[sm1815[nm Vienna conferred i
ts honorary freedom on ~him. When he died, his funeral at W;Auahring was ~a nat.
 occasion. His grave is now in the Central ~Friedhof, Vienna.[ep~^Beethoven's si
gnificance in the history and ~development of mus. is immense. He emanci~~pated
and democratized the art, composing out ~of spiritual inner necessity rather tha
n as provider ~of virtuoso display material. He was not a quick
~or facile worker=mhis sketchbooks show how he ~laboriously developed an idea fr
om sometimes ~banal beginnings to the final version. His mastery ~of structure a
nd of key relationships was the basis ~on which he worked a revolution in the ha
ndling ~of sonata-form. It is to Beethoven that we owe the ~full emergence of th
e symphony as a repository ~for a composer's most important ideas. He ~expanded
the coda from a formal conclusion to a ~climactic splendour; he transformed the
minuet ~into the tempestuous, exultant scherzo; he was ~the first to use `motto-
themes' as a consistent ~formal device. In his slow movements, mus. ~expressed a
 mystical exaltation which even ~Mozart had never approached. In the str. qt. an
d ~the pf. sonata also, Beethoven extended the ~medium to a vastly increased tec
hnical and ~[PN63,0,0,R,I0]expressive degree (though in the case of the pf. it ~
was not until his last sonatas that his technical use ~of the instr. went beyond
 that of his predecessors). ~It is probably true to say that tod
ay his mus. is ~the most frequently performed of any composer's.[ep~^Among the m
ost important of his many comps. ~are:[xm[cm~[ol0][ep~[xp[te~











[do19][j99]~~~~~~[sm153842[nm_BB[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict of ~Music[cmBB[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm19[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm188[nm[cm~GC[cm5[cm3-10-84[cm~U1[cm~~~~[ap[j2][smsymphonies[nm:
No. [sm1[nm in C, Op. [sm21[nm, comp. [sm1799[nm=n~[sm1800[nm, f.p. Vienna, [sm2
[nm April [sm1800[nm, cond. P. ~Wranitzky; pubd. [sm1801[nm. No. [sm2[nm in D, O
p. [sm36[nm, ~comp. [sm1801[nm=n[sm2[nm, f.p. Vienna, [sm5[nm Apr. [sm1803[nm, c
ond. ~Beet[chhoven; pubd. [sm1804[nm. No. [sm3[nm in E;Yh ([fy45,1]*[fy75,2]Eroi
ca[cf1]), ~Op. [sm55[nm, comp. [sm1803[nm=n[sm4[nm, f.pub.p. Vienna, [sm7[nm Apr
. ~[sm1805[nm; pubd. [sm1806[nm. No. [sm4[nm in B;Yh, Op. [sm60[nm, comp. ~[sm18
06[nm, f. public p. Vienna, [sm15[nm Nov. [sm1807[nm, cond. ~Clement; pubd. [sm1
808[nm. No. [sm5[nm in C minor, Op. ~[sm67[nm, comp. [sm1804[nm=n[sm8[nm, f.p. V
ienna, [sm22[nm Dec. [sm1808[nm, ~cond. Beethoven; pubd. [sm1809[nm. No. [sm6[nm
 in F ~([fy45,1]*[fy75,2]Pastoral[cf1]), Op. [sm68[nm, comp. [sm
1807[nm=n[sm8[nm, f.p. Vienna, ~[sm22[nm Dec. [sm1808[nm, cond. Beethoven; pubd.
 [sm1809[nm. ~No. [sm7[nm in A, Op. [sm92[nm, comp. [sm1811[nm=n[sm2[nm, f.p. Vi
enna, ~[sm8[nm Dec. [sm1813[nm, cond. Beethoven; pubd. [sm1816[nm. No. ~[sm8[nm
in F, Op. [sm93[nm, comp. [sm1812[nm, f.p. Vienna, [sm27[nm Feb. ~[sm1814[nm, co
nd. Beethoven; pubd. [sm1816[nm. No. [sm9[nm in D ~minor ([fy45,1]*[fy75,2]Chora
l[cf1]), Op. [sm125[nm, comp. [sm1817[nm=n[sm23[nm, f.p. ~Vienna, [sm7[nm May [s
m1824[nm, cond. Beethoven; pubd. ~[sm1826[nm. [fy45,1]*[fy75,2]Battle Symphony[c
f1], Op. [sm91[nm, comp. [sm1813[nm, f.p. ~Vienna, [sm8[nm Dec. [sm1813[nm, cond
. Beethoven; pubd. ~[sm1816[nm.[ep~[smconcertos[nm: [cf2]Piano[cf1]: No. [sm1[nm
 in C, Op. [sm15[nm (really No. [sm2[nm ~in order of comp.), comp. [sm1795[nm=n[
sm8[nm, f.p. (pre~~sumed) Vienna, [sm2[nm April [sm1800[nm, soloist Beet[chhoven
, ~cond. Wranitzky; pubd. March [sm1801[nm. No. [sm2[nm in ~B;Yh, Op. [sm19[nm (
really No. [sm1[nm in order of comp.), ~comp. [sm1794[nm=n[sm5[n
m, f.p. Vienna, [sm29[nm Mar. [sm1795[nm, soloist ~Beethoven; pubd. Dec. [sm1801
[nm. No. [sm3[nm in C minor, ~Op. [sm37[nm, comp. [sm1800[nm=n[sm1[nm, f.p. Vien
na, [sm5[nm Apr. [sm1803[nm, ~soloist Beethoven; pubd. [sm1804[nm. No. [sm4[nm i
n G, Op. ~[sm58[nm, comp. [sm1805[nm=n[sm6[nm, f.p. Vienna, [sm22[nm Dec. [sm180
8[nm, ~soloist Beethoven; pubd. [sm1808[nm. No. [sm5[nm in E;Yh ~(nicknamed [fy4
5,1]*[fy75,1]`Emperor' but not by Beethoven), ~Op. [sm73[nm, comp. [sm1809[nm, f
.p. Leipzig, Dec. [sm1810[nm, ~soloist F. Schneider, f. Vienna p. [sm12[nm Feb.
[sm1812[nm, ~soloist Czerny; pubd. [sm1811[nm. Vn. conc. Op. [sm61[nm, ~arr. for
 pf. by Beethoven in [sm1807[nm and pubd. ~[sm1808[nm. [cf2]Violin[cf1]: Vn. Con
c. in D, Op. [sm61[nm, comp. ~[sm1806[nm, f.p. Vienna, [sm23[nm Dec. [sm1806[nm,
 soloist Franz ~Clement; pub. [sm1809[nm. [cf2]Piano, violin, and cello[cf1]: ~T
riple conc. in C, Op. [sm56[nm, comp. [sm1804[nm, f.p. [sm1808[nm; ~pubd. [sm180
7[nm.[ep~[smpiano sonatas[nm ([sm32[nm in number): Nos. [sm1[nm,
 [sm2[nm and [sm3[nm, ~Op. [sm2[nm, No. [sm1[nm in F minor, No. [sm2[nm in A maj
or, No. ~[sm3[nm in C major ([sm1794[nm=n[sm5[nm); No. [sm4[nm, Op. [sm7[nm, in
E;Yh ~([sm1796[nm); Nos. [sm5[nm, [sm6[nm and [sm7[nm, Op. [sm10[nm, No. [sm1[nm
 in C ~minor, No. [sm2[nm in F major, No. [sm3[nm in D major ~([sm1798[nm); No.
[sm8[nm, Op. [sm13[nm, [fy45,1]*[fy75,2]Path;Aaetique[cf1] in C minor ~([sm1799[
nm); Nos. [sm9[nm and [sm10[nm, Op. [sm14[nm, No. [sm1[nm in E major, ~No. [sm2[
nm in G major ([sm1799[nm); No. [sm11[nm, Op. [sm22[nm, in B;Yh ~([sm1800[nm); N
o. [sm12[nm, Op. [sm26[nm, in A;Yh ([sm1800[nm=n[sm1[nm); Nos. [sm13[nm ~and [sm
14[nm, Op. [sm27[nm, No. [sm1[nm in E;Yh, No. [sm2[nm in C;Yi minor ~([fy45,1]*[
fy75,2]Moonlight[cf1]), both described as [cf2]quasi una fantasia ~[cf1]([sm1800
[nm=n[sm1[nm); No. [sm15[nm, Op. [sm28[nm, in D major ([fy45,1]*[fy75,2]Pastoral
e[cf1]) ~([sm1801[nm); Nos. [sm16[nm, [sm17[nm and [sm18[nm, Op. [sm31[nm, No. [
sm1[nm in G ~major, No. [sm2[nm in D minor, No. [sm3[nm in E;Yh
([sm1801[nm=n[sm2[nm); ~Nos. [sm19[nm and [sm20[nm, Op. [sm49[nm, No. [sm1[nm in
 G minor, No. [sm2[nm ~in G major ([sm1802[nm); No. [sm21[nm, Op. [sm53[nm, in C
 major ~([fy45,1]*[fy75,2]Waldstein[cf1]) ([sm1804[nm); No. [sm22[nm, Op. [sm54[
nm, in F major ~([sm1804[nm); No. [sm23[nm, Op. [sm57[nm, in F minor ([fy45,1]*[
fy75,2]Appassion~~ata[cf1]) ([sm1804[nm=n[sm5[nm); No. [sm24[nm, Op. [sm78[nm, i
n F;Yi major ~([sm1809[nm); No. [sm25[nm, Op. [sm79[nm, [cf2]Sonatina [cf1]in G
major ~([sm1809[nm); No. [sm26[nm, Op. [sm81[nma, in E;Yh ([fy45,1]*[fy75,2]Lebe
wohl[cf1], usually ~known as [cf2]Les [fy45,1]*[fy75,2]Adieux[cf1]) ([sm1809[nm=
n[sm10[nm); No. [sm27[nm, Op. ~[sm90[nm in E minor ([sm1814[nm); No. [sm28[nm, O
p. [sm101[nm, in A ~major ([sm1816[nm); No. [sm29[nm, Op. [sm106[nm, in B;Yh ([f
y45,1]*[fy75,2]Ham~~merklavier[cf1]) ([sm1817[nm=n[sm18[nm); No. [sm30[nm, Op. [
sm109[nm, in E ~major ([sm1820[nm); No. [sm31[nm, Op. [sm110[nm, in A;Yh ([sm182
1[nm); ~No. [sm32[nm, Op. [sm111[nm, in C minor ([sm1821[nm=n[sm
2[nm).[ep~[smother piano works[nm: Sonata in D for [sm4[nm hands, Op. ~[sm6[nm (
[sm1797[nm); [sm7[nm [cf2]Bagatelles[cf1], Op. [sm33[nm ([sm1782[nm=n[sm1802[nm)
; [sm6[nm ~Variations in F major on orig. theme, Op. [sm34[nm ~([sm1802[nm); [sm
15[nm Variations in E;Yh and fugue on theme ~from [cf2]Prometheus [cf1](known as
 [fy45,1]*[fy75,2]Eroica Variations[cf1]) ~Op. [sm35[nm ([sm1802[nm); [sm32[nm V
ariations in C minor ([sm1806[nm=n~[sm7[nm); [sm6[nm Variations in D, Op. [sm76[
nm ([sm1810[nm); Fantaisie in ~G minor, Op. [sm77[nm ([sm1810[nm); [sm11[nm [cf2
]Bagatelles[cf1], Op. [sm119[nm ~([sm1821[nm); [sm33[nm Variations on a Waltz by
 [fy45,1]*[fy75,1]Diabelli, ~Op. [sm120[nm ([sm1819[nm=n[sm23[nm); [sm6[nm [cf2]
Bagatelles[cf1], Op. [sm126[nm ([sm1823[nm=n~[sm4[nm); [cf2]Grosse Fuge [cf1]in
B;Yh Op. [sm133[nm (arr. Beethoven for ~pf. duet, Op. [sm134[nm) ([sm1826[nm). [
cf2]Rondo a capriccio [cf1]in G ~(`Rage over a lost Groschen'), Op. [sm129[nm ([
sm1825[nm=n[sm6[nm).[ep~[smchamber music[nm:[cf2] String Quartet
s[cf1]: Op. [sm18[nm, Nos. [sm1[nm=n[sm6[nm ~in F major, G major, D major, C min
or, A ~major, B;Yh ([sm1798[nm=n[sm1800[nm); Nos. [sm7[nm, [sm8[nm and [sm9[nm,
Op. [sm59[nm, ~Nos. [sm1[nm=n[sm3[nm in F major, E minor, C major (the ~[fy45,1]
*[fy75,2]Rasoumovsky [cf1]qts., ded. to Count [fy45,1]*[fy75,1]Rasoumov~~sky, Ru
ssian ambassador in Vienna, a keen qt. ~player); (comp. [sm1806[nm); No. [sm10[n
m, Op. [sm74[nm, in E;Yh ~(known as [fy45,1]*[fy75,2]Harp[cf1]; [sm1809[nm); No.
 [sm11[nm, Op. [sm95[nm, in F ~minor ([sm1810[nm); No. [sm12[nm, Op. [sm127[nm,
in E;Yh ([sm1822[nm=n[sm5[nm); ~No. [sm13[nm, Op. [sm130[nm, in B;Yh ([sm1825[nm
=n[sm6[nm; present finale ~replaces [fy45,1]*[fy75,2]Grosse Fuge[cf1], Op. [sm13
3[nm); No. [sm14[nm, Op. [sm131[nm ~in C;Yi minor ([sm1825[nm=n[sm6[nm); No. [sm
15[nm, Op. [sm132[nm, in A ~minor ([sm1825[nm); No. [sm16[nm, Op. [sm135[nm in F
 major ~([sm1826[nm); Op. [sm133[nm, in B;Yh ([fy45,1]*[fy75,2]Grosse Fuge[cf1])
, orig. finale ~of Op. [sm130[nm ([sm1825[nm). [cf2]String Quint
ets[cf1]; Op. [sm4[nm, in E;Yh ~([sm1795[nm=n[sm6[nm), arr. of Octet for wind in
str. (comp. ~[sm1792=n3[nm, pubd. [sm1830[nm as Op. [sm103[nm); Op. [sm29[nm in
C ~major ([sm1800[nm=n[sm1[nm); Op. [sm104[nm, in C minor, arr. by ~Beethoven in
 [sm1817[nm of his pf. Trio, Op. [sm1[nm No. [sm3[nm ~([sm1792[nm=n[sm4[nm). [cf
2]Piano Trios[cf1]: [cf1]Op. [sm1[nm, Nos. [sm1[nm=n[sm3[nm, in E;Yh, G ~major,
and C minor ([sm1792[nm=n[sm4[nm); Op. [sm38[nm, in E;Yh ~(with vn. or cl.), arr
. by Beethoven of his Septet, ~Op. [sm20[nm ([sm1820[nm=n[sm3[nm); [sm14[nm Vari
ations in E;Yh, Op. [sm44[nm ~([sm1802[nm=n[sm3[nm); Op. [sm70[nm, Nos. [sm1[nm=
n[sm2[nm, in D major and E;Yh ~([sm1808[nm); Op. [sm97[nm, in B;Yh ([fy45,1]*[fy
75,2]Archduke[cf1]) ([sm1810[nm=n[sm11[nm); ~Variations on `Ich bin der Schneide
r [fy45,1]*[fy75,1]Kakadu', ~Op. [sm121[nma [cf1]([cf2]Kakadu[cf1]) ([cf2]c[cf1]
.[sm1798[nm). [cf2]String Trios[cf1]: Op. [sm3[nm ~in E;yh (pre-[sm1794[nm) tran
scribed for vc. and pf., Op. ~[sm64[nm; Op. [sm8[nm, [cf2]Serena
de [cf1]in D major ([sm1796=n7[nm); Op. [sm9[nm, ~Nos. [sm1[nm=n[sm3[nm, in G ma
jor, D major, and C minor ~([sm1797[nm=n[sm8[nm); [cf2]Piano Quintet [cf1](pf.,
ob., cl., hn., bn.), Op. ~[sm16[nm, in E;Yh ([sm1796[nm), arr. for pf. qt. ([sm1
796[nm, pubd. ~[sm1801[nm); [cf2]Septet [cf1](vn., va., vc., cl., hn., bn., and
db.), ~Op. [sm20[nm in E;Yh ([sm1799[nm=n[sm1800[nm). [cf2]Violin Sonatas [cf1](
but ~note that Beethoven described them as sonatas ~[PN64,0,0,L,I0]for pf. and v
n.): Op. [sm12[nm, Nos. [sm1[nm=n[sm3[nm, in D major, A ~major and E;Yh ([sm1797
[nm=n[sm8[nm); Op. [sm23[nm, in A minor ~([sm1800[nm); Op. [sm24[nm, in F major
([fy45,1]*[fy75,2]Spring[cf1]) ([sm1800[nm=n[sm1[nm); ~Op. [sm30[nm, Nos. [sm1[n
m=n[sm3[nm, in A major, C minor, and G ~major ([sm1801[nm=n[sm2[nm); Op. [sm47[n
m, in A major ([fy45,1]*[fy75,2]Kreutzer[cf1]) ~([sm1802[nm=n[sm3[nm); Op. [sm96
[nm, in G major ([sm1812[nm, rev. [sm1815[nm). ~[cf2]Cello Sonatas[cf1]: Op. [sm
5[nm, Nos. [sm1[nm=n[sm2[nm, in F major and G ~minor ([sm1796[nm
); Op. [sm69[nm, in A major ([sm1807[nm=n[sm8[nm); Op. ~[sm102[nm, Nos. [sm1[nm=
n[sm2[nm, in C major and D major ([sm1815[nm). ~[cf2]Miscellaneous: Serenade [cf
1]in D major, Op. [sm25[nm, fl., ~vn., va. ([sm1801[nm); [cf2]Sextet [cf1]in E;y
h, Op. [sm81[nmb, [sm2[nm hn., ~str. (?[sm1795[nm); [cf2]Trio [cf1]in B;yh, Op.
[sm11[nm, pf., cl. or vn., vc. ([sm1797[nm); [cf2]Sonata [cf1]in F major, Op. [s
m17[nm, hn., ~pf. ([sm1800[nm);[fj[cf2]Variations [cf1]for vc. and pf.: in G maj
or, ~WoO [sm45[nm, on `See the conqu'ring hero comes' ~from [cf2]Judas Maccabaeu
s [cf1]([sm1796[nm), in F major, Op. ~[sm66[nm, on `Ein M;auadchen oder Weibchen
' from [cf2]Die ~Zauberfl;auote [cf1]([sm1796[nm), and in E;yh, WoO [sm46[nm, on
 `Bei ~M;auannern, welche Liebe f;auuhlen' from [cf2]Die Zaub~~erfl;auote [cf1](
[sm1801[nm).[ep~[smorchestral[nm (excl. Symphonies): [cf2]Overtures[cf1]: [fy45,
1]*[fy75,2]Cor~~iolan[cf1], Op. [sm62[nm ([sm1807[nm); [cf2]Die Weihe des Hauses
 ~[cf1]([fy45,1]*[fy75,1]Consecration of the House), Op. [sm124[
nm ([sm1822[nm); ~[cf2]Leonora No. [sm1[nm[cf1], Op. [sm138[nm ([sm1805[nm), [cf
2]Leonora No. [sm2[nm ~[cf1]([sm1805[nm), [cf2]Leonora No. [sm3[nm [cf1]([sm1806
[nm); [cf2]Fidelio [cf1]([sm1814[nm). For ~details see under [cf2]Fidelio[cf1];
[cf2]Overture [cf1]and [sm9[nm items of ~incidental mus. for [fy45,1]*[fy75,2]Eg
mont [cf1](Goethe), Op. [sm84[nm ~([sm1809[nm=n[sm10[nm); [cf2]Overture [cf1]and
 [sm8[nm items of incidental ~mus. for [cf2]Die [fy45,1]*[fy75,2]Ruinen von Athe
n [cf1](Kotzebue), Op. ~[sm113[nm ([sm1811[nm); [cf2]Overture [cf1]and [sm9[nm i
tems of incidental ~mus. for [fy45,1]*[fy75,2]K;Auonig Stephan [cf1](Kotzebue),
Op. [sm117[nm ~([sm1811[nm); Ov. in C ([fy45,1]*[fy75,2]Namensfeier[cf1]), Op. [
sm115[nm ([sm1814[nm=n~[sm15[nm); Ov., introduction, and [sm16[nm Nos. for balle
t ~[cf2]Die Gesch;auopfe des [fy45,1]*[fy75,2]Prometheus[cf1], Op. [sm43[nm ([sm
1800[nm=n[sm1[nm).[ep~[smopera[nm: [fy45,1]*[fy75,2]Fidelio[cf1], Op. [sm72[nm (
[sm1805[nm, rev. [sm1806[nm and ~[sm1814[nm).[ep~[smchoral[nm: [
cf2]Cantata on the death of the Emperor Joseph ~II[cf1] ([sm1790[nm); [cf2]Canta
ta on the accession of Emperor ~Leopold II[cf1] ([sm1790[nm); [fy45,1]*[fy75,2]C
hristus am ;auOlberge[cf1], oratorio, ~Op. [sm85[nm ([sm1803[nm); Mass in C majo
r, Op. [sm86[nm ([sm1807[nm); ~[fy45,1]*[fy75,1]Mass in D major ([cf2]Missa Sole
mnis[cf1]), Op. [sm123[nm ~([sm1819[nm=n[sm22[nm); [fy45,1]*[fy75,1]Choral Fanta
sia (pf., ch., and orch.), ~Op. [sm80[nm ([sm1808[nm); [cf2]Meeresstille und Gl;
auuckliche Fahrt ~[cf1]([fy45,1]*[fy75,1]Calm Sea and Prosperous Voyage), Op. [s
m112[nm ~([sm1814[nm=n[sm15[nm); [cf2]Der glorreiche Augenblick [cf1](The Glo~~r
ious Moment), cantata, Op. [sm136[nm ([sm1814[nm).[ep~[smsolo voice[nm: (Songs,
etc.): Scena and aria `[cf2]Ah! ~Perfido![cf1]', sop. and orch., Op. [sm65[nm (c
omp. [sm1796[nm); ~[fy45,1]*[fy75,2]Adelaide[cf1], Op. [sm46[nm ([sm1795[nm); [c
f2]An die Hoffnung[cf1], Op. ~[sm32[nm ([sm1805[nm); [fy45,1]*[fy75,2]An die fer
ne Geliebte [cf1](To the distant ~beloved), song-cyle for ten. a
nd pf. (words by A. ~Jeitteles), Op. [sm98[nm ([sm1816[nm); [sm25[nm Scot. songs
, with ~acc. for pf. trio, Op. [sm108[nm ([sm1815[nm=n[sm16[nm); [sm12[nm Scot.
~songs, with acc. for pf. trio, Op. [sm108[nm ([sm1815[nm=n[sm16[nm); ~[sm12[nm
Scottish songs (pubd. [sm1841[nm).[cm~[j1]Beggar's Opera, The. [fy75,1]First and
 most popular of ~ballad operas. In [sm3[nm acts, arr. and adapted by ~Christoph
 Pepusch to a lib. by John Gay (London, ~Jan. [sm1728[nm; NY Dec. [sm1750[nm). I
ts [sm69[nm tunes are mostly ~derived from popular ballads of the day. The plot
~deals with London low life, the `hero' being the ~highwayman Macheath and the h
eroine Polly, ~and is a satire on contemporary politics and on It. ~operatic con
ventions. [sm20[nmth-cent. vogue dates from ~London revival at Lyric, Hammersmit
h, in ~version re-orchestrated and re-harmonized by ~Frederic [fy45,1]*[fy75,1]A
ustin which ran from June [sm1920[nm for ~[sm1[nm,[sm463[nm perfs. Other version
s by E. J. [fy45,1]*[fy75,1]Dent ~(Birmingham [sm1944[nm), [fy45
,1]*[fy75,1]Britten (Cambridge [sm1948[nm), ~[fy45,1]*[fy75,1]Bliss (film, [sm19
53[nm), and Muldowney ([sm1982[nm). ~Milhaud's [sm3[nm-act [cf2]L'Op;Aaera des g
ueux [cf1]([sm1937[nm) is an arr. ~of [cf2]The Beggar's Opera[cf1]. The Gay-Pepu
sch sequel ~[fy45,1]*[fy75,2]Polly[cf1], dating from [sm1729[nm, was banned by t
he ~Lord Chamberlain for nearly [sm50[nm years. See also ~[cf2]Weill, Kurt.[cm~B
eggar Student, The [fy75,1](Mill;auocker). See [cf2]Bettelstudent, Der[cf1].[cm~
Beglarian, Grant [fy75,1]([cf2]b [cf1]Tiflis, USSR, [sm1927[nm). Russ.-~born Ame
r. composer who received his early ~mus. education in Teheran, Iran. Went to USA
 in ~[sm1947[nm and continued training at Michigan Univ. ~([sm1947[nm=n[sm51[nm,
 [sm1954[nm=n[sm8[nm). Studied comp. with R. L. ~Finney and va. with Paul Doktor
. Founded Music ~Book Associates in NY, [sm1961[nm. Dir. young compos~~ers' proj
ect, Ford Foundation [sm1961[nm=n[sm9[nm. Appointed ~dean of sch. of performing
arts, Univ. of S. ~California, [sm1969[nm. Comps. incl. vn. sona
ta, vc. ~sonata, Sym., [cf2]Divertimento for orchestra [cf1]([sm1957[nm=n[sm8[nm
), ~cantata `.|.|.|. [cf2]And All the Hills Echoed[cf1]' ([sm1968[nm), [cf2]Fabl
es, ~Foibles, and Fancies [cf1]([sm1971[nm), [cf2]Diversions[cf1], va., vc., ~or
ch. ([sm1972[nm) and Sinfonia for str. ([sm1974[nm).[cm~Begleiten [fy75,1](Ger.)
. To accompany. Hence [cf2]Beglei~~tung[cf1], accompaniment; [cf2]Begleitend[cf1
], accompanying.[cm~Beherrscher der Geister, Der [fy75,1](Weber). See [cf2]Ruler
 ~of the Spirits, The[cf1].[cm~Behrens, Hildegard [fy75,1]([cf2]b [cf1]Land Olde
nburg, [sm1937[nm). ~Ger. sop. Studied to be lawyer, then took up ~singing as pu
pil of Prof. Leuwen at Freiburg Mus. ~Acad. Opera d;Aaebut [sm1971[nm, Deutsche
Oper am ~Rhein, D;Auusseldorf, where she sang wide variety ~of roles from Fiordi
ligi in [cf2]Cos;Agi fan tutte [cf1]and ~Musetta in [cf2]La Boh;Ageme [cf1]to Ma
rie in [cf2]Wozzeck [cf1]and ~title-role of [cf2]K;aaa;akta Kabanov;Aaa[cf1]. Sa
ng Leonore in ~[cf2]Fidelio[cf1], Z;Auurich [sm1975[nm. CG D;Aae
but [sm1976[nm (Leonore), ~NY Met. [sm1976[nm (Giorgetta in [cf2]Il Tabarro[cf1]
),  Salzburg ~Fest. [sm1977[nm (Salome). Bayreuth [sm1983[nm (Br;auunnhilde).[cm
~Beier, Franz [fy75,1]([cf2]b [cf1]Berlin, [sm1857[nm; [cf2]d [cf1]Kassel, [sm19
14[nm). ~German opera composer. Held several posts as ~Kapellmeister and ch. mas
ter. Operas incl. [cf2]Der ~Posaunist von Speikingen [cf1](Kassel [sm1889[nm) an
d [cf2]Der ~Gaunerk;auonig [cf1](Kassel [sm1890[nm).[cm~Beinum, Eduard van [fy75
,1]([cf2]b [cf1]Arnhem, Holland, [sm1900[nm; ~[cf2]d [cf1]Amsterdam, [sm1959[nm)
. Dutch cond. Began career ~in Haarlem [sm1926[nm=n[sm31[nm; [sm2[nmnd cond., Co
ncertgebouw ~Orch. of Amsterdam [sm1931[nm=n[sm8[nm, then associate to ~[fy45,1]
*[fy75,1]Mengelberg whom he succeeded as chief cond. ~[sm1945[nm. London d;aaebu
t, LPO [sm1946[nm. Took Concert~~gebouw Orch. on Amer. tour [sm1954[nm. Prin. co
nd. ~LPO [sm1949[nm=n[sm51[nm. Cond. Los Angeles P.O. [sm1956[nm=n[sm9[nm.[cm~Be
isser [fy75,1](Ger.). Biter i.e. [fy45,1]*[fy75,1]Mordent.[cm~[P
N65,0,0,R,I0]Beklemmt, beklommen [fy75,1](Ger.). Oppressed, ~heavy of heart. Mos
t famous use of this instruction ~is by Beethoven in middle section of cavatina
of ~Str. Qt. in B;Yh major, Op. [sm130[nm, where mus. ~modulates into C;Yh.[cm~B
elaieff. [fy75,1]See [cf2]Belyayev, Mitrofan[cf1].[cm~Bel Canto [fy75,1](It.). B
eautiful singing, beautiful song. ~A term covering the remarkable qualities of t
he ~great [sm18[nmth-cent. and early [sm19[nmth-cent. It. singers, ~and suggesti
ng rather perf. in the lyrical style, in ~which tone is made to tell, than in th
e declamatory ~style. Beauty of tone and legato phrasing, with ~faultless techni
que, were the prin. ingredients.[cm~Belcke, Christian Gottlieb [fy75,1]([cf2]b[c
f1] Lucka, Altenberg, ~[sm1796[nm; [cf2]d [cf1]Lucka, [sm1875[nm). Ger. flautist
, for many ~years in Leipzig Gewandhaus Orch. Comp. fl. ~concs. and fantasias.[c
m~Belcke, Friedrich August [fy75,1]([cf2]b[cf1] Lucka, Altenberg, ~[sm1795[nm; [
cf2]d [cf1]Lucka, [sm1874[nm). Ger. trombonist of great ~virtuos
ity. Member of Berlin royal band [sm1816[nm=n~[sm58[nm. Comp. concs. and ;Aaetud
es for tb.[cm~Belfagor. [fy75,1]Lyric comedy in prol., [sm2[nm acts, and ~epilog
ue by [fy45,1]*[fy75,1]Respighi to lib. by C. Guastalla after ~Hauptmann. Prod.
Milan [sm1923[nm.[cm~Belisario. [fy75,1]Opera in [sm3[nm acts by Donizetti, to h
is ~own lib. Prod. Venice [sm1836[nm, London [sm1837[nm, Paris ~[sm1843[nm.[cm~B
ell. [fy75,1]([sm1[nm) This popular and ubiquitous mus. instr. ~varies in weight
 from over [sm100[nm tons to a fraction ~of an ounce. For public bells the most
usual bell ~metal is a bronze of [sm13[nm parts copper to [sm4[nm parts tin: ~th
e shape and proportions are the result of very ~intricate calculations in order
to secure good tone ~and tuning=mthe latter not only of the [cf2]Strike Note ~[c
f1]with its attendant overtones but also of the deep ~tone which persists after
these have died away, ~i.e. the [cf2]Hum Note[cf1], which should be an octave ~b
elow the Strike Note.[ep~[fy75,1]^There are [sm2[nm chief ways o
f sounding ordinary ~church bells, [cf2]Chiming [cf1](the clapper moved mechan~~
ically just sufficiently to strike the side of the bell) ~and [cf2]Ringing [cf1]
(in which the bell is swung round ~full circle).[ep~^A [cf2]Ring [cf1]of church
bells may consist of any ~number from [sm5[nm to [sm12[nm. With [sm5[nm bells [s
m120[nm variations ~of order, or [cf2]Changes[cf1], are possible; with [sm12[nm
bells ~they number almost [sm480[nm millions. [cf2]Change Ringing ~[cf1]by hand-
ropes, a characteristic British practice, is ~a still popular hobby. Various sta
ndard Changes ~are described by various traditional names, as ~`Grandsire Triple
s', `Bob Major', or `Oxford Treble ~Bob'. Dorothy L. Sayers's detective story [c
f2]The Nine ~Tailors [cf1]([sm1934[nm) hinges on bell-ringing most ingen~~iously
.[ep~^On the continent of Europe `rings' are unknown ~but the [cf2]Carillon [cf1
] is there an ancient institution=m~esp. in Belgium and Holland. This consists o
f a ~series of anything up to [sm70[nm bells played by skilful ~
artists from a manual and pedal console somewhat ~similar to that of an organ bu
t more cumbrous. ~Tunes and simple accompanying harmonies can ~be perf. At the h
ours and their halves and quarters ~the carillon is set in operation by clockwor
k. ~There are now some carillons in Britain and in ~the USA.[ep~^([sm2[nm) [cf2]
Tubular Bells [cf1]are often used in the orch. and ~are also now used (electrica
lly operated from a ~kbd.) in church towers. They are cylindrical metal ~tubes o
f different lengths, suspended in a frame ~and played by being struck with a ham
mer.[ep~^([sm3[nm) Handbells are small bells with handles: they ~are arr. in pit
ch order on a table and played by ~several performers, each in charge of several
 bells. ~They are used for the practice of change ringers ~and also as an entert
ainment.[ep~^([sm4[nm) A term to describe the open end of a wind ~instr. from wh
ich the sound comes.[cm~Bell, William Henry [fy75,1]([cf2]b [cf1]St Albans, [sm1
873[nm; [cf2]d ~[cf1]Gordon's Bay, Cape Province, [sm1946[nm). E
ng. com~~poser, org., and violinist. Studied RAM where he ~became prof. of harmo
ny [sm1903[nm=n[sm12[nm. Went to ~Capetown [sm1912[nm to become prin., S. Africa
n ~College of Mus. in [sm1919[nm, becoming dean of ~faculty of mus., Capetown Un
iv., until retirement ~[sm1935[nm. Comp. operas, syms., hymns, va. conc., ~chamb
er mus.[xm[cm~[ol0][ep~[xp[te~








[do19][j99]~~~~~~[sm153842[nm_BB[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmBB[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm19[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm207[nm[cm~JOH[cm6[cm12.4.85[cm~U4[cm~~~~[ap[j1]Bellaigue, Camil
le [fy75,1]([cf2]b [cf1]Paris, [sm1858[nm; [cf2]d [cf1]Paris, [sm1930[nm). ~Fr.
mus. critic, from [sm1885[nm for [cf2]Revue des deux ~mondes[cf1]. Biographer of
 Mendelssohn, Gounod, ~Mozart, and Verdi.[cm~Bell Anthem. [fy75,1]Purcell's [cf2
]Rejoice in the Lord alway ~[cf1]([sm1684[nm=n[sm5[nm). The name (which dates fr
om the ~composer's lifetime) alludes to the pealing scale ~passages of the instr
. introduction.[cm~Belle H;Aael;Agene, La [fy75,1](Beautiful Helen). Op;Aaera-bo
uffe ~in [sm3[nm acts by Offenbach to lib. by Meilhac and ~Hal;Aaevy. Prod. Pari
s [sm1864[nm; London, [sm1866[nm; Chicago ~[sm1867[nm. Successfully revived in P
aris [sm1960[nm and later ~in London by SW Opera (now ENO).[cm~Belletti, Giovann
i Battista [fy75,1]([cf2]b[cf1] Sarzana, [sm1813[nm; [cf2]d ~[cf
1]Sarzana, [sm1890[nm). It. bar. assoc. with Jenny [fy45,1]*[fy75,1]Lind. ~Studi
ed Bologna. D;Aaebut in Stockholm [sm1839[nm in ~Rossini's [cf2]Il barbiere di S
iviglia[cf1]. Sang with Lind in ~Donizetti, Meyerbeer, and Rossini operas in ~Sw
eden, Eng. ([sm1848[nm d;Aaebut), and USA. In the USA ~his tours with Lind were
arr. by Barnum. Retired ~[sm1862[nm.[cm~Bellezza, Vincenzo [fy75,1]([cf2]b [cf1]
Bitonto, Bari, [sm1888[nm; [cf2]d ~[cf1]Rome, [sm1964[nm). It. cond. Studied Nap
les Cons. ~D;Aaebut San Carlo, Naples, [sm1908[nm, in [cf2]Aida[cf1]. Cond. at ~
NY Met. [sm1926[nm=n[sm35[nm, CG [sm1926[nm=n[sm30[nm and [sm1935[nm=n[sm6[nm. ~
Cond. at Melba's farewell, CG [sm1926[nm and at first ~London perf. of Puccini's
 [cf2]Turandot[cf1]. Rome Opera ~after [sm1935[nm. Re-visited London [sm1957[nm
and [sm1958[nm.[cm~Bell'haver, Vincenzo [fy75,1]([cf2]b [cf1]Venice, [sm1530[nm;
 [cf2]d [cf1]Venice, ~[sm1587[nm). It. organist and composer. [sm2[nmnd organist
 of ~St Mark's, Venice, [sm1586[nm, succeeding Andrea ~[PN66,0,0
,L,I0]Gabrieli. Comp. madrigals, his [sm2[nmnd book being ~pubd. in Venice, [sm1
575[nm.[cm~Belli, Giulio [fy75,1]([cf2]b [cf1]Longiano, [cf2]c[cf1].[sm1560[nm;
[cf2]d [cf1]Imola, [sm1621[nm). ~It. composer and teacher. Choirmaster in church
es ~in Venice, Forl;Agi, Montagnana, Padua, and Imola. ~Comp. masses, motets, ca
nzonets, and madrigals.[cm~Bellincioni, Gemma [fy75,1]([cf2]b [cf1]Monza, [sm186
4[nm; [cf2]d [cf1]Naples, ~[sm1950[nm). It. sop. who created Santuzza in [cf2]Ca
valleria ~rusticana [cf1]([sm1890[nm) and title-role in [cf2]Fedora[cf1] ([sm189
8[nm). ~D;Aaebut in Naples, [sm1879[nm. Was first It. Salome. Wife ~of ten. Robe
rto Stagno, the first Turidd;Agu, who ~was also her teacher.[cm~Bellini, Vincenz
o [fy75,1]([cf2]b [cf1]Catania, Sicily, [sm1801[nm; [cf2]d ~[cf1]Puteaux, nr. Pa
ris, [sm1835[nm). It. composer. Educated ~San Sebastiano Cons., Naples, where he
 studied ~under [fy45,1]*[fy75,1]Zingarelli. Perf. of his first opera, [cf2]Adel
son ~e Salvini[cf1], at cons. in [sm1825[nm led to commission fo
r ~opera for San Carlo, Naples; and this in its turn ~led to a commission from L
a Scala, Milan, which ~resulted in [cf2]Il pirata[cf1], a vehicle for the expres
sive ~lyrical style of the ten.[fy45,1]*[fy75,1]Rubini. This opera was ~then pro
d. in Paris and initiated Bellini's fame ~outside It. Another success was his se
tting of ~Vaccai's version of the Romeo and Juliet story, [cf2]I ~Capuleti e i M
ontecchi[cf1], prod. Venice [sm1830[nm with ~Pasta in the [cf2]travesti [cf1]rol
e of Romeo. Recent revivals ~have shown this to be one of Bellini's masterpieces
. ~However, its popularity was eclipsed by [cf2]La ~Sonnambula [cf1](Milan [sm18
31[nm), in which [fy45,1]*[fy75,1]Malibran ~appeared throughout Europe. Less tha
n a year ~later came [cf2]Norma[cf1]; its sop. title-role was first sung ~by Pas
ta and succeeding exponents have included ~Grisi, Tietjens, Lilli Lehmann, Calla
s, and Suth~~erland. His last opera, [cf2]I Puritani[cf1], was written for ~Pari
s (on the advice of Rossini) where its first cast ~in [sm1835[nm
 was led by Grisi, Rubini, Tamburini, and ~Lablache. Seven of his operas have li
bretti by ~Felice Romani.[ep~^Bellini's vocal style requires superb legato allie
d ~to great florid agility. His long elegant melodies, ~of which [cf2]Casta diva
 [cf1]from [cf2]Norma [cf1]is a supreme ~example, were admired by, and influence
d, ~Berlioz. Wagner, too, was attracted by Bellini's ~operas and noted the close
 alliance between mus. ~and lib. For a period, Bellini was out of fashion, ~bein
g regarded as merely a composer of display ~pieces, but a new generation of grea
t singers has ~restored them to favour, revealing their dramatic ~force and melo
dic beauty.[ep~^Operas: [cf2]Adelson e Salvini [cf1](Naples [sm1825[nm); [cf2]Bi
anca e ~Gernando [cf1](Naples [sm1826[nm; rev. as [cf2]Bianca e Fernando[cf1], ~
Genoa [sm1828[nm); [cf2]Il [fy45,1]*[fy75,2]pirata [cf1](Milan [sm1827[nm); [cf2
]La straniera ~[cf1](Milan [sm1829[nm); [cf2]Zaira [cf1](Parma [sm1829[nm); [cf2
]I [fy45,1]*[fy75,2]Capuleti e i ~Montecchi [cf1](Venice [sm1830
[nm); [cf2]La [fy45,1]*[fy75,2]sonnambula [cf1](Milan ~[sm1831[nm); [fy45,1]*[fy
75,2]Norma [cf1](Milan [sm1831[nm); [fy45,1]*[fy75,2]Beatrice di Tenda ~[cf1](Ve
nice [sm1833[nm); [cf2]I [fy45,1]*[fy75,2]puritani [cf1](Paris [sm1835[nm). He a
lso ~comp. songs and instr. works, incl. an ob. conc.[cm~Bell Lyra. [fy75,1]Port
able form of glockenspiel. It is ~mounted on a rod held perpendicularly in the ~
left hand whilst the right hand holds the beater.[cm~Bellman, Carl Michael [fy75
,1](b [cf1]Stockholm, [sm1740[nm; [cf2]d ~[cf1]Stockholm, [sm1795[nm). Swed. poe
t and composer. His ~series of lyrics, `Fredmans Epistlar' and `Sanger', ~are se
t mostly to the then fashionable popular Fr. ~melodies.[cm~Belloni, Gioseffo [fy
75,1]([cf2]b [cf1]Lodi, [cf2]c[cf1].[sm1575[nm; [cf2]d[cf1] after [sm1606[nm). ~
It. composer of church mus., some of it pubd. at ~Augsburg [cf2]c[cf1].[sm1610[n
m.[cm~Bellows and Tongs. [fy75,1]One of the burlesque means ~of mus.-making comm
on in the [sm18[nmth cent. ~Presumably the sound evoked was mere
ly that of ~adroit rhythmic tapping.[cm~Bell Rondo [fy75,1](It. [cf2]Rondo alla
campanella[cf1]). Finale of ~vn. conc. in B minor by Paganini, containing ~bell-
like effect. Liszt twice used same theme, in ~his [cf2]Grande Fantaisie de bravo
ure sur `La Clochette[cf1]' ~([sm1832[nm) and in [cf2]La campanella [cf1](from t
he [cf2][sm6[nm Transcend~~[chental studies of execution based on Paganini[cf1],
 [sm1838[nm).[cm~Bells, The [fy75,1]([cf2]Kolokola)[cf1]. Choral sym., Op. [sm35
[nm, by ~Rakhmaninov for sop., ten., and bar. soloists, ch., ~and orch. Comp. [s
m1913[nm, f.p. St Petersburg [sm1913[nm, ~cond. Rakhmaninov; f. Eng. p. Liverpoo
l [sm1921[nm, ~cond. Wood. Rev. version [sm1936[nm, f.p. Sheffield ~[sm1936[nm,
cond. Wood. Text is adaptation by Konstan~~tin Balmont of E. A. Poe's poem.[cm~B
ells of Aberdovey. [fy75,1]This is not a Welsh folk-~song, as claimed in many bo
oks of such songs, ~but appears to be the comp. of [fy45,1]*[fy75,1]Dibdin. He p
ubd. ~it in [sm1785[nm, when it was sung in his Drury Lane ~oper
a [cf2]Liberty Hall[cf1], and it appeared many times ~subsequently in vols. of h
is songs, not figuring in ~any of the numerous Welsh colls. before [sm1844[nm.[c
m~Bells of Corneville [fy75,1](Planquette). See [cf2]Cloches de ~Corneville[cf1]
.[cm~Bells of Zlonice, The. [fy75,1]A sym. in C minor by ~Dvo;Akr;Aaak, comp. [s
m1865[nm. Orig. his Op. [sm3[nm, it was lost ~and not recovered until [sm1923[nm
. Pubd. [sm1961[nm, it is ~the longest of his orch. works ([cf2]c[cf1]. [sm55[nm
 mins.).[cm~Belly. [fy75,1]The upper surface of a str. instr., over ~which the s
tr. are stretched. Also the soundboard ~of pf.[cm~Belshazzar. [fy75,1]Oratorio b
y Handel. (F.p. London ~[sm1745[nm.) Text by Charles Jennens.[cm~Belshazzar's Fe
ast. [fy75,1]([sm1[nm) Cantata by [fy45,1]*[fy75,1]Walton for ~bar., ch., and or
ch. to text compiled from biblical ~sources by O. Sitwell, comp. [sm1929=n31[nm;
 f.p. Leeds ~Fest., [sm1931[nm, cond. Sargent.[ep~^([sm2[nm) Incidental mus. by
Sibelius for play by ~Hjalmar Procop;Aae, from which he provided
 [sm4[nm-~movement suite for small orch. ([sm1906[nm).[cm~Belyayev, Mitrofan [fy
75,1](Petrovich) ([cf2]b [cf1]St Petersburg, ~[sm1836[nm; [cf2]d [cf1]St Petersb
urg, [sm1904[nm). Russ. mus. pub~~lisher. Son of wealthy timber merchant, but ~t
rained as musician. Enthusiastic sponsor of `new' ~nationalist school of Russian
 composers. Founded ~his publishing house at Leipzig, [sm1885[nm, and ~sponsored
 concerts in St Petersburg. Russian ~[PN67,0,0,R,I0]composers gathered at his St
 Petersburg house ~every Friday from [sm1891[nm, hence [sm16[nm pieces for str.
~qt. known as `Les Vendredis' (Fridays) written in ~his honour in collab. by Bor
odin, Rimsky-~Korsakov, Glazunov, Lyadov, and others. Firm ~moved to Bonn, then
to Frankfurt. Absorbed by ~C. F. Peters, [sm1971[nm.[cm~Bemberg, Hermann-Emmanue
l [fy75,1]([cf2]b [cf1]Paris, [sm1859[nm; ~[cf2]d [cf1]Berne, [sm1931[nm). Fr. c
omposer, pupil at Paris Cons. ~of Dubois and Massenet. His [sm4[nm-act opera [cf
2]Elaine ~[cf1]was a success at CG (with Melba in the cast) in ~
[sm1892[nm and NY [sm1894[nm. Other works incl. comic ~opera [cf2]Le Baiser de S
uzon [cf1]([sm1888[nm), cantata [cf2]La Mort de ~Jeanne d'Arc [cf1]([sm1886[nm),
 and many songs.[cm~B;aaemol [fy75,1](Fr.), [fy65][cf3]bemolle [fy75,1](It.). Fl
at (;yh).[cm~Be;akna;akckov;aaa, Gabriela [fy75,1] ([cf2]b[cf1] Bratislava, [sm1
944[nm). Cz. ~soprano. Studied at Bratislava Cons. and in Italy. ~Opera d;aaebut
 Prague [sm1970[nm (Natasha in Prokofiev's ~[cf2]War and Peace[cf1]). Member Pra
gue Nat. Th., but ~guest artist at world's leading opera houses, ~particularly i
n Jan;aaa;akcek operas. Opera d;aaebut ~outside Cz., Dublin [sm1975[nm ([cf2]The
 Bartered Bride[cf1]), ~Moscow [sm1977[nm (Tatyana), Vienna [sm1978[nm (Jen;anuf
a), ~CG [sm1979[nm (Tatyana).[cm~Benatzky, Ralph [fy75,1]([cf2]b [cf1]Moravsk;aa
e-Budejovice, [sm1884[nm; ~[cf2]d[cf1] Z;Auurich, [sm1957[nm). Cz. composer of n
early [sm100[nm ~operettas, many film scores, and songs. Lived for ~some years i
n USA. Wrote title-song and much of ~the score of [cf2]White Hor
se Inn[cf1] ([cf2]Im weissen R;auossl,[cf1] ~Berlin [sm1930[nm).[cm~Benda. [fy75
,1]Bohem. mus. family active in the [sm18[nmth ~cent., [sm4[nm of them being the
 sons of a weaver and ~peripatetic musician. [sm3[nm of these were:[ep~^([sm1[nm
) Franti;Aksek (Franz) ([cf2]b [cf1]Star;Aae-Ben;aaatky, [sm1709[nm; [cf2]d[cf1]
 ~Potsdam, [sm1786[nm). Chorister in Prague, then became ~violinist and moved to
 Dresden. In [sm1732[nm obtained ~a place at the Berlin court of Crown Prince of
 ~Prussia, later Frederick the Great. In [sm1771[nm became ~Frederick's Konzertm
eister, accompanying him ~in fl. conc. Works incl. trio sonatas, vn.concs., [sm6
[nm ~vn. sonatas, and [sm2[nm books of vn. [cf2];Aaetudes[cf1].[ep~^([sm2[nm) Ji
;Akri Antonin (Georg) ([cf2]b [cf1]Jungbunzlau, [sm1722[nm; [cf2]d ~[cf1]K;Auost
ritz, Thuringia, [sm1795[nm). Skilled oboist and ~kbd.-player. Went to Berlin in
 [sm1740[nm for lessons ~from his brother (([sm1[nm) above). Violinist in royal
~band from [sm1742[nm. Became Kapellmeister to Duke ~of Gotha in
 [sm1748[nm. Spent [sm2[nm years in It. after [sm1764[nm; ~on return wrote his [
cf2]Ariadne auf Naxos [cf1]([sm1774[nm) ~which earned him the claim to have inve
nted ~[fy45,1]*[fy75,1]melodrama. Another melodrama, [cf2]Medea[cf1], fol~~lowed
, also [cf2]Romeo und Julie [cf1]([sm1776[nm). Retired [sm1778[nm.[ep~^([sm3[nm)
 Josef ([cf2]b [cf1]Star;aae-Ben;aaatky, [sm1724[nm; [cf2]d [cf1]Berlin, [sm1804
[nm). ~Violinist, succeeded his brother Franti;Aksek as ~leader of Frederick the
 Great's orch.[ep~^Several sons of the above also achieved mus. ~distinction, us
ually in Prussian court bands. Ji;Akri's ~son, Friedrich Ludwig ([cf2]b[cf1] Got
ha, [sm1752[nm; [cf2]d[cf1] K;Auonigs~~berg, [sm1792[nm) comp. an oratorio, chur
ch cantatas, [sm3[nm ~operas incl. [cf2]Der Barbier von Sevilla [cf1]([sm1776[nm
) and [sm3[nm ~vn. concs. Franti;Aksek's eldest son, Friedrich Wil~~helm Heinric
h ([cf2]b [cf1]Potsdam, [sm1745[nm; [cf2]d [cf1]Potsdam, ~[sm1814[nm) was a fine
 violinist, playing in the Berlin ~court band from [sm1782[nm, a
nd comp. [sm2[nm operas, [cf2]Alceste ~[cf1]([sm1786[nm) and [cf2]Orpheus [cf1](
[sm1785[nm), an operetta, [cf2]Das ~Blumenm;Auadchen[cf1], a cantata [cf2]Pygmal
ion[cf1], and instr. ~works.[cm~Bender, Paul [fy75,1]([cf2]b [cf1]Driedorf, [sm1
875[nm; [cf2]d [cf1]Munich, [sm1947[nm). ~Ger. bass. D;Aaebut Breslau [sm1900[nm
; but after his d;Aaebut ~there in [sm1903[nm closely assoc. with Munich Opera.
~CG d;Aaebut [sm1914[nm (Amfortas in first Eng. stage perf. ~of [cf2]Parsifal[cf
1]). Distinguished exponent of roles of ~Wotan, Sachs, Osmin, and Baron Ochs and
 of ~ballads of J. Loewe. Became teacher at Munich ~Mus. Sch.[cm~Bendl, Karel [f
y75,1]([cf2]b [cf1]Prague, [sm1838[nm; [cf2]d [cf1]Prague, [sm1897[nm). ~Boh. co
mposer of nationalist works in the model ~of Smetana. Operas incl. [cf2]Lejla, B
retislav and Jikta[cf1], ~and [cf2]The Montenegrins [cf1]([cf2]Cernohorci[cf1]).
 Also comp. ~sacred and secular choral works.[cm~Benedicite. [fy75,1]([sm1[nm) [
cf2]The Song of the Three Holy Children ~[cf1](Shadrach, Meshach
, and Abednego) while in ~Nebuchadnezzar's fiery furnace. It is not in the ~Hebr
ew version of the book of Daniel, but comes ~from the Septuagint, or early Gr. t
ranslation of ~the Old Testament. It is one of the canticles of the ~Anglican se
rvice.[ep~_([sm2[nm)^Work by Vaughan Williams, for sop., ch., ~and orch. Comp. [
sm1929[nm (prod. Leith Hill Fest. ~[sm1930[nm); combines text of the canticle wi
th a poem ~by J. Austin ([sm1613[nm=n[sm69[nm).[cm~Benedict, [fy75,1](Sir) [fy65
][cf3]Julius [fy75,1]([cf2]b [cf1]Stuttgart, [sm1804[nm; [cf2]d ~[cf1]London, [s
m1885[nm). Ger.-born composer and cond., ~naturalized Eng. Son of a banker, he h
ad lessons ~from Hummel who introduced him to Weber, ~in whose house he lived as
 pupil and prot;Aaeg;Aae ~[sm1821[nm=n[sm4[nm and by whom he was taken to meet ~
Beethoven in [sm1823[nm. Appointed cond., Vienna ~K;auarntnerthor Th. [sm1823[nm
=n[sm5[nm. Went to work at San ~Carlo, Naples, [sm1825[nm, where several of his
operas ~were perf., and to Paris in [sm1834[nm, where the singer
 ~[fy45,1]*[fy75,1]Malibran suggested he should visit London. ~From [sm1835[nm l
ived in Eng. He cond. opera seasons ~at Lyceum, Drury Lane, and Her Majesty's Th
. In ~[sm1848[nm cond. [cf2]Elijah [cf1]when Jenny Lind first sang in ~oratorio
and later dir. most of her Amer. concerts. ~Cond., Norwich Fest., [sm1845[nm=n[s
m78[nm, Liverpool Phil. ~Soc. [sm1867[nm=n[sm79[nm. Of his operas, oratorios, ca
ntatas, ~syms., and concs., only the opera [cf2]The Lily of ~Killarney [cf1]([sm
1862[nm) is still occasionally perf. Knighted ~[sm1871[nm. Wrote important biog.
 of Weber ([sm1881[nm).[cm~Benedictus. [fy75,1]([sm1[nm) In the R.C. Mass, the [
cf2]Benedictus ~qui venit[cf1], i.e. simply the words `Blessed is he that ~comet
h in the name of the the Lord', which ~complete the [cf2]Sanctus [cf1]section of
 the [fy45,1]*[fy75,1]Mass.[ep~^([sm2[nm) The song of Zacharias (Luke I. [sm68[n
m et seq.). ~`Blessed be the Lord God of Israel', which is sung ~daily at [fy45,
1]*[fy75,1]Lauds in R.C. churches and in the Eng. ~Prayer Book o
ccurs in the Order for Morning ~Prayer.[cm~[PN68,0,0,L,I0]Beneplacito, Beneplaci
mento [fy75,1](It.). Good pleas~~ure. Preceded by the words [cf2]A suo [cf1](At
one's) this ~has the same sense as [fy45,1]*[fy75,2]Ad libitum[cf1].[cm~Benet, J
ohn. [fy75,1]See [cf2]Bennet, John[cf1].[cm~Benevoli, Orazio [fy75,1]([cf2]b [cf
1]Rome, [sm1605[nm; [cf2]d [cf1]Rome, [sm1672[nm). ~It. composer of Fr. extracti
on. Choirmaster in var. ~Roman churches, [sm1624[nm=n[sm43[nm. At Austrian court
 ~[sm1643[nm=n[sm5[nm. Choirmaster at Vatican from [sm1646[nm. ~Wrote contrapunt
al church mus., incl. anthems ~for [sm48[nm vv.[cm~Ben-Haim, Paul [fy75,1](orig.
 Frankenburger) ([cf2]b [cf1]Mun~~ich, [sm1897[nm; [cf2]d[cf1] Tel Aviv, [sm1984
[nm). Israeli composer and cond. Studied ~Munich, where he was ass. cond. at Sta
te ~Opera [sm1920[nm=n[sm4[nm. Cond. at Augsburg opera [sm1924[nm=n~[sm31[nm. Em
igrated to Tel Aviv [sm1933[nm. After formation ~of State of Israel in [sm1948[n
m became Pres., Israeli ~Composers' Assoc., Dir., Jerusalem Acad
. of Mus. ~[sm1949[nm=n[sm54[nm. Traditional Jewish and Arab melodies ~of the Ne
ar East flavour his works, which incl. [sm2[nm ~syms., vc. conc. ([sm1962[nm), p
f. sonatina, pf. conc., and ~oratorio [cf2]Thanksgiving from the Desert[cf1].[xm
[cm[ol0][ep~[xp[te~









[do35][j99]~~~~~~[sm153842[nm_BB[sm4[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmBB[sm4[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm19[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm219[nm[cm~JOH[cm5[cm12-4-85[cm~U4[cm~~~[ap[j1]Beni Mora. [f
y75,1]Oriental Suite in E minor, Op. [sm29[nm ~No. [sm1[nm for orch. by Holst in
 [sm3[nm movements. Comp. ~[sm1909[nm=n[sm10[nm after visit to Algeria and rev.
[sm1912[nm. F.p. ~London [sm1912[nm.[cm~Benjamin, Arthur[fy75,1] ([cf2]b[cf1] Sy
dney, N.S.W., [sm1893[nm; [cf2]d[cf1] ~London, [sm1960[nm). Australian composer
and pianist. ~Studied RCM (comp. with Stanford after [sm1911[nm). ~Prof. of pf.
at Sydney Cons. [sm1919[nm=n[sm21[nm, then ~returned to Eng. in similar post at
RCM. Comps. ~incl. sym., vn. conc., ob. conc., film mus., the [sm2[nm-~pf. piece
 [fy45,1]*[fy75,2]Jamaican Rumba[cf1] ([sm1938[nm), and [sm4[nm operas, ~[cf2]Th
e [fy45,1]*[fy75,2]Devil Take Her[cf1] ([sm1931[nm), [fy45,1]*[fy75,2]Prima Donn
a[cf1] ([sm1933[nm ~prod. [sm1949[nm), [cf2]A [fy45,1]*[fy75,2]T
ale of Two Cities[cf1] ([sm1949[nm=n[sm50[nm, prod. ~[sm1957[nm), and [cf2]Tartu
ffe[cf1] ([sm1959[nm=n[sm60[nm, prod. [sm1964[nm).[cm~Benjamin, George[fy75,1] (
[cf2]b[cf1] London, [sm1960[nm). Eng. ~composer and pianist. Began pf. lessons a
t [sm7[nm and ~comp. when he was [sm9[nm. Studied comp. and pf. ~with P. Gellhor
n in London from [sm1974[nm and with ~Messiaen and Y. Loriod in Paris. Entered P
aris ~Cons. [sm1977[nm, King's Coll., Cambridge, [sm1978[nm=n[sm82[nm ~(comp. wi
th A. Goehr). Gave f.p. of Britten's ~[cf2]Sonatina Romantica[cf1], Aldeburgh Fe
st. [sm1983[nm. Works ~incl.:[xm[cm~[j2][smorch[nm: [cf2]Altitude[cf1], brass ba
nd ([sm1977[nm); [cf2]Ringed by the ~Flat Horizon [cf1]([sm1979[nm=n[sm80[nm); [
cf2]At First Flight[cf1], chamber ~orch. ([sm1982[nm).[ep~[smvocal[nm: [cf2]A Mi
nd of Winter[cf1], sop. and small orch. ~([sm1981[nm).[ep~[smchamber music[nm: V
n. Sonata ([sm1976[nm=n[sm7[nm); Octet, fl. ~(picc.), cl., perc., celesta, str.
([sm1978[nm); [cf2]Flight[cf1], fl. ~([sm1979[nm); [cf2]Duo[cf1]
, vc. and pf. ([sm1980[nm).[ep~[smpiano[nm: Pf. sonata ([sm1977[nm=n[sm8[nm); [c
f2]Sortil;ageges[cf1] ([sm1981[nm); ~[cf2]Meditation on Haydn's Name[cf1] ([sm19
82[nm).[cm~[j1]Benjamin Cosyn's Virginal Book. [fy75,1]A MS. coll. ~of mus., chi
efly for virginals, made [sm1622[nm=n[sm43[nm by ~Benjamin [fy45,1]*[fy75,1]Cosy
n. It is now in the Brit. Museum. ~Pubd. [sm1923[nm.[cm~Bennet, John [fy75,1](=+
=+=+[cf2]fl.[cf1] late [sm16[nmth=nearly [sm17[nmth cent.). Eng. ~(probably Lanc
astrian) composer of madrigals, ~whose first book, pubd. [sm1599[nm, refers in p
reface to ~his youth. Remembered for [cf2]All creatures now are ~merry-minded[cf
1], his contribution to [cf2]The [fy45,1]*[fy75,2]Triumphs ~of Oriana[cf1], in w
hich it is No. [sm4[nm, and [cf2]Weep, O mine ~eyes. [cf1]Not to be confused wit
h John Benet ([cf2]=+=+=+fl.[cf1] ~?[cf2]c[cf1].[sm1420[nm=n[sm50[nm), Eng. comp
oser of sacred mus. in ~style of Dunstable.[cm~Bennett, Joseph[fy75,1] ([cf2]b[c
f1] Berkeley, Glos., [sm1831[nm; [cf2]d[cf1] ~Berkeley, [sm1911[
nm). Eng. organist who became mus. ~critic, chiefly of the [cf2]Daily Telegraph[
cf1], [sm1870[nm=n[sm1906[nm. ~Author of libs. for leading Brit. Victorian ~comp
osers, incl. [cf2]The Golden Legend[cf1] for Sullivan.[cm~Bennett, Richard Rodne
y[fy75,1] ([cf2]b[cf1] Broadstairs, [sm1936[nm). ~Eng. composer and pianist. Stu
died RAM [sm1953[nm=n~[sm6[nm with Lennox Berkeley and Howard Ferguson, ~then wi
th Boulez in Paris for [sm2[nm years. A fluent ~composer, absorbing influences o
f jazz, atonality, ~and traditional harmony and structures, he has ~had success
in many spheres incl. films, for which ~he has comp. over [sm35[nm scores ([cf2]
Far From the Madding ~Crowd[cf1] a notable example). Prof. of comp., RAM, ~[sm19
63[nm=n[sm5[nm. C.B.E. [sm1977[nm. Settled in NY, [sm1979[nm. Prin. ~works incl.
:[xm[cm~[j2][smoperas[nm: [fy75,2]The Ledge[cf1] ([sm1961[nm); [cf2]The [fy45,1]
*[fy75,2]Mines of Sulphur[cf1] ~([sm1963[nm=n[sm5[nm); [fy45,1]*[fy75,2]Penny fo
r a Song[cf1] ([sm1966[nm); [fy45,1]*[fy75,2]Victory[cf1] ~([sm1
968[nm=n[sm9[nm)[ep~[smballet[nm: [fy45,1]*[fy75,2]Jazz Calendar[cf1], for chamb
er ens. ([sm1963[nm=n~[sm4[nm); [cf2]Isadora[cf1] ([sm1981[nm).[ep~[smorch[nm: [
cf2]Nocturnes[cf1] ([sm1962[nm); [cf2]Aubade[cf1] ([sm1964[nm); Syms.: ~No. [sm1
[nm ([sm1965[nm), No. [sm2[nm ([sm1967[nm); [cf2]Suite[cf1] for small orch. ~([s
m1966[nm); [cf2]Concerto for Orchestra[cf1] ([sm1973[nm); [cf2]Zodiac[cf1] ~([sm
1976[nm); [cf2]Serenade[cf1] ([sm1976[nm); [cf2]Commedia III[cf1] for [sm10[nm ~
instr. ([sm1973[nm); [cf2]Music for Strings[cf1] ([sm1977[nm); [cf2]Anniver~~sar
ies[cf1] ([sm1982[nm).[ep~[smconcertos[nm: Pf. ([sm1968[nm); ob. and str. ([sm19
69[nm=n[sm70[nm); ~guitar ([sm1970[nm); va. ([sm1973[nm); vn. ([sm1975[nm); [cf2
]Actaeon[cf1] ~([cf2]Metamorphosis I[cf1]) for hn. ([sm1977[nm); db. ([sm1978[nm
); ~[cf2]Sonnets for Orpheus[cf1], vc. and orch. ([sm1979[nm); hpd. ~([sm1980[nm
); [cf2]Memento[cf1], fl. and str. ([sm1983[nm).[ep~[smvoice(s) and orch[nm: [cf
2]The Approaches of Sleep[cf1] ([sm1960[nm); ~[cf2]London Pastor
al[cf1], ten. and chamber orch. ([sm1962[nm); ~[fy45,1]*[fy75,2]Crazy Jane[cf1],
 sop., cl., vc., pf. ([sm1968[nm=n[sm9[nm); [cf2]Jazz ~Pastoral[cf1], v. and jaz
z orch. ([sm1969[nm); [cf2]Sonnet Sequence[cf1], ~ten. and str. ([sm1974[nm); [f
y45,1]*[fy75,2]Spells[cf1], sop., ch., and orch. ~([sm1974[nm); [cf2]Love Spells
[cf1] ([sm2[nmnd and [sm5[nmth movements ~from preceding), sop., and orch. ([sm1
974[nm); [cf2][sm5[nm Sonnets ~of Louise Lab;aae[cf1], sop. and ens. ([sm1984[nm
).[ep~[smchamber music[nm: [cf2]Winter Music[cf1], fl. and pf. ([sm1960[nm); ~ob
. sonata ([sm1962[nm); solo vn. sonatas: No. [sm1[nm ([sm1955[nm), ~No. [sm2[nm
([sm1964[nm); Str. Qts.: No. [sm1[nm ([sm1952[nm), No. [sm2[nm ~([sm1953[nm), No
. [sm3[nm ([sm1960[nm), No. [sm4[nm ([sm1964[nm); wind quintet ~([sm1967[nm=n[sm
8[nm); [cf2][sm5[nm Impromptus[cf1] for guitar ([sm1968[nm); ~[cf2]Commedia II[c
f1], fl., vc., pf. ([sm1972[nm); [cf2]IV[cf1], brass quintet ~([sm1973[nm); [cf2
]Scena II[cf1], solo vc. ([sm1973[nm); Ob. Qt. ([sm1975[nm); ~[c
f2]Travel Notes, Book [sm1[nm[cf1], str. qt. ([sm1975[nm); [cf2]Travel Notes, ~B
ook [sm2[nm[cf1], wind qt. ([sm1976[nm); [cf2]Scena III[cf1], cl. ([sm1977[nm);
hn. ~sonata ([sm1978[nm); vn. sonata ([sm1978[nm); [cf2]Metamorphoses[cf1], ~str
. octet ([sm1980[nm); [cf2][sm6[nm Tunes for the Instruction of ~Singing Birds[c
f1], fl. ([sm1981[nm); [cf2]Music for String Quartet[cf1] ~[PN69,0,0,R,I0]([sm19
81[nm); sonatina for cl. ([sm1981[nm); [cf2]After Syrinx[cf1], ob. ~and pf. ([sm
1982[nm).[ep~[smvoice and piano[nm (or other instr.): [cf2]The Music that ~her E
cho is[cf1], ten. and pf. ([sm1967[nm); [cf2]A Garland for ~Marjory Fleming[cf1]
, sop. and pf. ([sm1969[nm); [cf2]Time's ~Whiter Series[cf1], counter-ten. and l
ute ([sm1974[nm); [cf2]The ~Little Ghost Who Died for Love[cf1], sop. and pf. ([
sm1976[nm); ~[cf2]Vocalese[cf1], sop. and. pf. ([sm1981[nm).[ep~[smpiano[nm: Son
ata ([sm1954[nm); [cf2]Fantasy[cf1] ([sm1962[nm); [cf2][sm5[nm Studies[cf1] ~([s
m1962[nm=n[sm4[nm); [cf2]Capriccio[cf1], [sm4[nm hands ([sm1968[
nm); [cf2]Scena I ~[cf1]([sm1973[nm); [cf2][sm4[nm-Piece Suite[cf1], [sm2[nm pia
nos ([sm1974[nm); [cf2]Kandinsky ~Variations[cf1], [sm2[nm pf. ([sm1977[nm); [cf
2]Impromptu[cf1] ([sm1981[nm); ~[cf2]Noctuary[cf1] ([sm1981[nm).[ep~[smvoices[nm
: [cf2]Letters to Lindbergh[cf1], female vv. and pf. ~duet ([sm1982[nm); [cf2]Pu
er nobis [cf1]([sm1980[nm); [cf2]Nonsense [cf1]([cf2][sm7[nm Poems ~of Mervyn Pe
ake[cf1]) ([sm1979[nm); [cf2]Devotions[cf1] ([sm1971[nm); [cf2]The ~House of Sle
ep[cf1], [sm6[nm male vv. ([sm1971[nm); [cf2]Nowell, Nowell ~Tidings True[cf1] (
[sm1962[nm).[cm~[j1]Bennett, Robert Russell[fy75,1] ([cf2]b[cf1] Kansas City, [s
m1894[nm; [cf2]d[cf1] ~NY, [sm1981[nm). Amer. composer and arranger. Taught ~by
his parents and later studied comp. with Carl ~Busch. In late [sm1920[nms studie
d for [sm4[nm years in Paris ~with Nadia Boulanger. At [sm16[nm began to earn li
ving ~by orchestrating and arranging scores for Broad~~way mus. comedies and the
 list of works to which ~he has applied his talent proves his su
cccess. It ~incl. [cf2]Rose-Marie[cf1] ([sm1924[nm), [cf2]Showboat[cf1] ([sm1927
[nm), [cf2]On Your ~Toes[cf1] ([sm1936[nm), [cf2]Oklahoma! [cf1]([sm1943[nm), [c
f2]Carmen Jones[cf1] ~([sm1943[nm), [cf2]Carousel[cf1] ([sm1945[nm), [cf2]Annie
Get Your Gun[cf1] ([sm1946[nm), ~[cf2]South Pacific[cf1] ([sm1948[nm), [cf2]Kiss
 Me Kate[cf1] ([sm1948[nm), [cf2]The King ~and I[cf1] ([sm1951[nm), [cf2]My Fair
 Lady[cf1] ([sm1956[nm), and [cf2]The Sound ~of Music[cf1] ([sm1959[nm). But per
haps his most famous arr. ~is the symphonic suite from Gershwin's [cf2]Porgy ~an
d Bess. [cf1]His own comps. incl. [cf2]Abraham Lincoln ~Symphony[cf1] ([sm1931[n
m), [cf2]Hollywood[cf1] for orch. ([sm1937[nm), ~[cf2]Concerto Grosso[cf1] for w
ind ([sm1957[nm), and Sym. ([sm1963[nm). ~In [sm1935[nm he comp. a [sm3[nm-act o
pera, [cf2]Maria Malibran.[cm~Bennett, [fy75,1](Sir) [fy65][cf3]William Sterndal
e[fy75,1] ([cf2]b[cf1] Sheffield, ~[sm1816[nm; [cf2]d[cf1] London, [sm1875[nm).
Eng. composer, pianist, ~and teacher. Chorister at King's, Cambr
idge, at [sm7[nm ~and went [sm2[nm years later to newly founded RAM in ~London.
Learned vn., pf., and comp. (with ~[fy45,1]*[fy75,1]Crotch). Later was taught by
 Cipriani [fy45,1]*[fy75,1]Potter. ~A pf. conc. written when he was [sm16[nm was
 heard a ~year later by Mendelssohn, who invited him to ~Ger. For [sm3[nm more y
ears stayed at the RAM, ~composing [sm5[nm syms. and [sm3[nm more pf. concs. In
one ~of these was soloist at a Phil. Soc. concert at the ~age of [sm19[nm. In [s
m1836[nm visited Leipzig where he ~became a friend of Schumann, who praised his
~work highly. Played his own concs. at Gewand~~[chhaus concerts. After marriage
in [sm1844[nm, career ~restricted to Eng., where he took on several ~demanding e
xecutive and admin. duties such as ~cond. of Phil. Soc. ([sm1856[nm=n[sm66[nm),
founder of Bach ~Soc., and, also in [sm1856[nm, prof. of mus., Cambridge ~Univ.
In [sm1866[nm became prin., RAM. Knighted ~[sm1871[nm.[ep~^Whether Schumann's pr
aise was extravagant is ~difficult to judge, since little of Ste
rndale Bennett's ~instr. music is now played. Undoubtedly his ~powers as a compo
ser were lessened by the load ~of official work he undertook. In his lifetime hi
s ~most popular works were the pastoral cantata [cf2]The ~May Queen[cf1] (Leeds
Fest. [sm1858[nm) and the oratorio [cf2]The ~Woman of Samaria[cf1] (Birmingham F
est. [sm1867[nm). ~Other works incl. ov. [cf2]The Naiads[cf1]. Schumann's ~[cf2]
Symphonic Studies[cf1] are ded. to him. Conducted f. ~Eng. p. of Bach's [cf2]St
Matthew Passion[cf1], [sm1854[nm.[cm~Benoit, Peter [fy75,1](L;Aaeopold L;Aaeonar
d) ([cf2]b[cf1] Harlebeke, ~Flanders, [sm1834[nm; [cf2]d[cf1] Antwerp, [sm1901[n
m). Belg. com~~poser, one of the chief promoters of the Flemish ~mus. movement,
in the interests of which he ~founded a sch. of mus. at Antwerp, [sm1867[nm, ~re
maining dir. until his death. Wrote articles and ~pamphlets, and comp. choral wo
rks to libs. in the ~Flemish language. Amongst works are a [cf2]Rubens ~Cantata[
cf1] ([cf2]Flanderens Kunstroem[cf1]) ([sm1877[nm), calling for
~huge resources, incl. bells of Antwerp Cath.[cm~Benoliel, Bernard [fy75,1](=+=+
=+=+John)[cf1] ([cf2]b[cf1] Detroit, [sm1943[nm). ~Amer. composer and pianist. S
tudied Detroit and ~Michigan Univ. and with S. Wolpe. Settled in ~Eng. Secretary
, Vaughan Williams Trust, from ~[sm1978[nm. Works incl. [cf2][sm5[nm Poems of Em
ily Dickinson[cf1], ch. ~([sm1968[nm), [cf2]The Black Tower[cf1], sop. and chamb
er ens. ~([sm1968[nm), str. qt. ([sm1969[nm), sym. ([sm1972[nm=n[sm3[nm), [cf2]W
ith St Paul ~in Albion[cf1], amplified vc., org. ([sm1974[nm).[cm~Bent, Ian [fy7
5,1](David) ([cf2]b[cf1] Birmingham, [sm1938[nm). Eng. ~musicologist and univ. l
ecturer specializing in ~medieval mus. Studied Cambridge Univ. [sm1958=n~65[nm.
Lecturer in mus., King's College, London ~Univ. Prof. of mus., Nottingham Univ.
from ~[sm1975[nm.[cm~Bentzon, Niels [fy75,1](Viggo) ([cf2]b[cf1] Copenhagen, [sm
1919[nm). ~Danish composer. Studied Royal Danish Cons. ~Comp. several ballets, a
n opera [cf2]Faust III[cf1], [sm5[nm pf. ~concs., many pf. sonat
as, [sm13[nm syms., [sm2[nm vn. concs., ~vc. conc., [sm9[nm str. qts., [cf2]Symp
honic Variations[cf1], fl. conc. ~Some of works use [sm12[nm-note system, and he
 is also ~influenced by jazz.[cm~Benvenuto Cellini. [fy75,1]Opera in [sm2[nm act
s by Berlioz ~(Op. [sm23[nm) to lib. by L;Aaeon de Wailly and A. Barbier, ~loose
ly based on Cellini's autobiography. Comp. ~[sm1834=n7[nm. Prod. Paris [sm1838[n
m, London [sm1853[nm (revived ~[sm1976[nm). Rev. in [sm3[nm acts after Weimar pe
rfs. in [sm1852[nm. ~Berlioz withdrew the opera because of its failure. ~Some of
 the mus. is used in the ov. [fy45,1]*[fy75,2]Carnaval ~romain[cf1]. Cellini is
subject of operas by Schl;Auosser, ~Lachner, Diaz, and Saint-Sa;Auens, among oth
ers.[cm~Bequadro[fy75,1] (It.). The natural sign, (;Yj).[cm~Berberian, Cathy[fy7
5,1] ([cf2]b[cf1] Attleboro, Mass., [sm1925[nm; [cf2]d[cf1] ~Rome, [sm1983[nm).
Amer. sop. and singer-actress. ~Studied Columbia Univ. and in Milan. Specialized
 ~in [cf2]avant-garde[cf1] works, notably those of her former ~h
usband Luciano [fy45,1]*[fy75,1]Berio. Also teacher, composer, ~and writer.[cm~B
erceuse[fy75,1] (from Fr. [cf2]Bercer[cf1], to rock to sleep). A ~lullaby or an
instr. comp. (in compound duple ~time) suggesting such. The popular pf. piece of
 ~this name, and in this style, by Chopin, is his Op. ~[sm57[nm in D;Yh major ([
sm1844[nm).[cm~[PN70,0,0,L,I0]Berceuse de Jocelyn[fy75,1]. See [cf2]Godard, Benj
amin.[cm~Berceuse ;aaEl;aaegiaque. [fy75,1]Piano piece by Busoni, ~comp. [sm1909
[nm and added to [cf2]Elegien[cf1] ([sm1907[nm). Orch. ~version, Op. [sm42[nm, c
omp. [sm1909[nm, sub-titled `The ~man's lullaby at his mother's coffin'. F.p. NY
 ~[sm1911[nm.[cm~Bereite Vor[fy75,1] (Ger.). Make ready, prepare (an organ ~stop
).[cm~Berenice. [fy75,1]Opera in [sm3[nm acts by Handel to lib. by ~Antonio Salv
i already used by Perti. Prod. London ~[sm1737[nm. Well-known minuet occurs in t
he ov.[cm~Berezovsky, Nikolay[fy75,1] (also spelt Berezowsky) ([cf2]b[cf1] ~St P
etersburg, [sm1900[nm; [cf2]d[cf1] NY, [sm1953[nm). Russ.-born ~
violinist in Moscow and then in NY P.O. [sm1923[nm=n[sm9[nm. ~Cond., composer of
 [sm4[nm syms., concs. for vn., va., ~and vc., and chamber mus.[cm~Berg, Alban[f
y75,1] ([cf2]b[cf1] Vienna, [sm1885[nm; [cf2]d[cf1] Vienna, [sm1935[nm). ~Austri
an composer whose output, though small, ~is among the most influential and impor
tant of ~the [sm20[nmth cent. One of [sm4[nm children of a well-to-do ~family, h
ad little formal mus. education but ~comp. romantic songs when he was [sm15[nm.
In [sm1904[nm ~began private comp. lessons with [fy45,1]*[fy75,1]Schoenberg ~and
 decided to devote his life to mus., giving up ~a job in the Civil Service. With
 his friend and ~fellow-pupil [fy45,1]*[fy75,1]Webern, entered the [cf2]avant-ga
rde[cf1] ~artistic life of Vienna=mthe Sezession artists, the ~poet Peter Altenb
erg, the painter Kokoschka=m~but the dominating figure was [fy45,1]*[fy75,1]Mahl
er. Some of ~his songs were perf. at a concert by Schoenberg ~pupils in Vienna,
Nov. [sm1907[nm, the pf. variations a ~year later, and the str.
qt. in [sm1911[nm. When [sm2[nm of the ~[sm5[nm [cf2]Altenberglieder[cf1] with o
rch. were perf. in Vienna ~in Mar. [sm1913[nm, cond. Schoenberg, the concert was
 ~interrupted until order was restored. In May [sm1914[nm ~Berg attended a perf.
 of B;auuchner's play [cf2]Wozzeck[cf1] ~and determined to make an opera of it.
Military ~service delayed work, but the mus. was eventually ~finished in [sm1922
[nm and was perf. in Berlin, Dec. ~[sm1925[nm. It caused a furore but its succes
s with the ~public was never in doubt, despite critical ~polemics. In the next d
ecade Berg's powers were ~at their height and he comp. the Chamber Conc. ~([sm19
25[nm), the [cf2]Lyric Suite[cf1] for str. qt. ([sm1926[nm), and the ~concert ar
ia [cf2]Der Wein[cf1] ([sm1929[nm). In [sm1929[nm began ~adaptation of [sm2[nm W
edekind plays as an opera lib. ~called [cf2]Lulu.[cf1] By [sm1934[nm he had comp
leted the mus. ~in short score and begun full instrumentation. In ~the spring of
 [sm1935[nm began vn. conc. commissioned ~by Louis [fy45,1]*[fy7
5,1]Krasner. Impelled by news of the death ~of the beautiful [sm18[nm-year-old M
anon Gropius, ~daughter of Mahler's widow by her [sm2[nmnd marriage, ~worked unw
ontedly quickly and finished the ~conc. in Aug. [sm1935[nm, dedicating it `to th
e memory ~of an angel'. [sm4[nm months later he too died, through ~blood poisoni
ng from an insect-bite. It has ~recently been established that several of Berg's
 ~works, incl. the [cf2]Lyric Suite, Lulu,[cf1] and the Violin ~Concerto, contai
n mus. cryptograms referring to ~his love for Frau Hanna Fuchs.[ep~^Berg has bec
ome, to the general public, the most ~acceptable of the so-called `[sm12[nm-note
' or `dodeca~~phonic' composers, probably because he never ~was an orthodox aton
alist. His work is nearer to ~the Mahler idiom than to the Schoenbergian. In ~[c
f2]Wozzeck[cf1] atonality is very freely used and applied ~to a highly formal st
ructure, each scene being in ~a particular mus. form (variations, passacaglia, ~
fugue, etc.). From the [cf2]Lyric Suite[cf1] onwards, Berg ~used
 [sm12[nm-note procedures nearer to, but still ~significantly different from, th
e Schoenberg ~method. Technical methods notwithstanding, ~however, it is the emo
tional content of Berg's ~mus. which has awoken a ready response in ~listeners,
particularly the Vn. Conc., which quotes ~the Bach chorale [cf2]Es ist genug[cf1
] at its climax.[ep~^Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Wozz
eck[cf1] ([sm1917[nm=n[sm22[nm); [fy45,1]*[fy75,2]Lulu[cf1] ([sm1929[nm=n[sm35[n
m); ~Act [sm3[nm realized from short score by [fy45,1]*[fy75,1]Cerha ([sm1978[nm
=n~[sm9[nm).[ep~[smorch[nm: [cf2]Three Pieces[cf1], Op. [sm6[nm ([sm1913[nm=n[sm
14[nm); [sm3[nm movements ~from [fy45,1]*[fy75,2]Lyric Suite[cf1] arr. for str.
orch. ([sm1928[nm); ~[cf2]Chamber Concerto[cf1] for pf., vn., and [sm14[nm wind
instr. ~([sm1923[nm=n[sm5[nm); Vn. Conc. ([sm1935[nm).[ep~[smvoice and orch[nm:
[sm7[nm [cf2]Early Songs[cf1] ([sm1905[nm=n[sm8[nm, orch. ~[sm1928[nm), [sm5[nm
[fy45,1]*[fy75,2]Altenberglieder[cf1] ([sm1912[nm), [cf2][sm3[nm
 Fragments ~from Wozzeck[cf1], Op. [sm7[nm (f.p. Frankfurt [sm1924[nm), [cf2]Der
 ~[fy45,1]*[fy75,2]Wein[cf1] ([sm1929[nm), [cf2]Lulu-Symphonie[cf1] ([sm1934[nm)
.[ep~[smchamber music[nm: [cf2]Variations on an Original Theme[cf1] for ~pf. ([s
m1908[nm), Pf. Sonata ([sm1907[nm=n[sm8[nm), Str. Qt., Op. [sm3[nm ~([sm1910[nm)
, [sm4[nm [cf2]Pieces[cf1] for cl. and pf. ([sm1913[nm), [fy45,1]*[fy75,2]Lyric
Suite[cf1] ~for str. qt. ([sm1925[nm=n[sm6[nm), [cf2]Adagio[cf1] from [cf2]Chamb
er ~Concerto[cf1] arr. for vn., cl., and pf. ([sm1935[nm).[ep~[smsongs[nm: [cf2]
[sm7[nm Early Songs[cf1] ([sm1905[nm=n[sm8[nm), [cf2][sm4[nm Songs[cf1], Op. [sm
2[nm ~([sm1909[nm=n[sm10[nm), and about [sm70[nm early songs.[cm~[j1]Berg, Natan
a;auel[fy75,1] ([cf2]b[cf1] Stockholm, [sm1879[nm; [cf2]d[cf1] Stock~~holm, [sm1
957[nm). Swed. composer of [sm5[nm operas, concs., ~symphonic poems, ballets, an
d chamber mus. By ~profession an army veterinary surgeon.[cm~Bergamasque[fy75,1]
 (Fr.), [fy65][cf3]Bergamasca[fy75,1] (It.), [fy65][cf3]Bergo~~m
ask[fy75,1] (Eng.). Tune and chord sequence from ~Bergamo, It., found as ground
bass in [sm16[nmth and ~[sm17[nmth cents. Also a peasant's dance from Bergamo. ~
Composers have used the term with little ~significance, e.g. Debussy's [cf2]Suit
e Bergamasque[cf1] ~([sm1890[nm, rev. [sm1905[nm) for pf.[cm~Berganza[fy75,1] (o
rig. Vargas), [fy65][cf3]Teresa[fy75,1] ([cf2]b[cf1] Madrid, [sm1935[nm). ~Sp. m
ez. Studied with Lola Rodrigues Arag;Aaon. ~D;Aaebut Madrid [sm1955[nm. Sang at
Aix-en-Provence ~[sm1957[nm, La Scala, Milan, [sm1957[nm=n[sm8[nm. Notable for h
er ~singing of Rossini, as in [cf2]La Cenerentola[cf1]. Glynde~~bourne [sm1958[n
m=n[sm9[nm, London CG [sm1960[nm.[cm~Berger, Arthur[fy75,1] ([cf2]b[cf1] NY, [sm
1912[nm). Amer. composer ~and writer on mus.; pupil of Piston and Milhaud. ~Some
 years as teacher and mus. journalist in NY, ~then on staff of Brandeis Univ., b
ecoming prof. ~of mus., [sm1962[nm. Works incl. orch. and choral mus., ~and cham
ber mus. Author of book on [fy45,1]*[fy75,1]Copland ~([sm1953[nm
).[cm~[PN71,0,0,R,I0]Berger, Erna[fy75,1] ([cf2]b[cf1] Dresden, [sm1900[nm). Ger
. operatic ~sop. D;Aaebut Dresden [sm1925[nm. Sang at Bayreuth [sm1929[nm=n~[sm3
3[nm; CG d;Aaebut [sm1934[nm. Notable Mozart singer, esp. ~of Queen of the Night
 in [cf2]Die Zauberfl;Auote[cf1]. Sang in ~opera until [sm1955[nm, when became t
eacher. Pupils ~incl. Rita [fy45,1]*[fy75,1]Streich. Retired [sm1968[nm.[cm~Berg
er, Francesco[fy75,1] ([cf2]b[cf1] London, [sm1834[nm; [cf2]d[cf1] London, ~[sm1
933[nm). Eng. pianist, composer, teacher, and ~secretary of the Phil. Soc., [sm1
884[nm=n[sm1911[nm. Studied at ~Leipzig under Moscheles.[cm~Berger, Jean[fy75,1]
 ([cf2]b[cf1] Hamm, [sm1909[nm). Ger. (naturalized ~Amer.) composer long residen
t in Fr., then in ~USA. Studied at Heidelberg and Vienna Univs. ~[sm1928[nm=n[sm
32[nm. From [sm1932[nm to [sm1946[nm was choral cond. ~and accompanist. Works in
cl. [cf2]Brazilian Psalm[cf1] for ~ch. ([sm1941[nm), [cf2]Vision of Peace[cf1] f
or ch. ([sm1948[nm), [cf2]The Pied ~Piper[cf1], play with mus. (
[sm1968[nm). Ed. of Bolognese ~[sm17[nmth-cent. mus., e.g. by Torelli, Perti, et
c.[cm~Berger, Theodor[fy75,1] ([cf2]b[cf1] Traismauer, Austria, [sm1905[nm). ~Au
strian composer. Studied Vienna Acad. [sm1926[nm=n~[sm32[nm with Franz Schmidt a
nd [fy45,1]*[fy75,1]Korngold. Works ~incl. [cf2]Homeric Symphony[cf1] ([sm1948[n
m), vn. conc. ([sm1954[nm), ~and [cf2]Concerto-manuale[cf1] for [sm2[nm pf., met
allophone, ~marimbaphone, perc., and str. ([sm1951[nm).[xm[cm~[ol0][ep~[xp[te~







[do35][j99]~~~~~~[sm153842[nm_BB[sm5[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmBB[sm5[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm19[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm243[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Bergerett
e[fy75,1] (from Fr. [cf2]berger[cf1], shepherd). A shep~~herd's song or dance or
 simple comp. supposed to ~be in the style of such. Popular in Fr. in [sm18[nmth
 cent.[cm~Berglund, Paavo [fy75,1](Allan Engelbert) ([cf2]b[cf1] Helsinki, ~[sm1
929[nm). Finn. cond. Studied Sibelius Acad., Hel~~sinki. Violinist in Finn. Radi
o S.O. [sm1949[nm=n[sm56[nm, ass. ~cond. [sm1956[nm=n[sm62[nm, prin. cond. [sm19
67[nm=n[sm71[nm. Prin. cond. ~Bournemouth S.O. [sm1972[nm=n[sm9[nm, Helsinki P.O
. [sm1975[nm=n~[sm9[nm.[cm~Bergman, Erik [fy75,1](Valdemar) ([cf2]b[cf1] Uusikaa
rlepyy, ~Finland, [sm1911[nm). Finn. composer. Studied Sibelius ~Acad., Helsinki
, [sm1931[nm=n[sm8[nm, and [sm12[nm-note techniques ~with Vladimir Vogel in Swit
zerland [sm1949[nm=n[sm50[nm. ~Prof. of comp., Helsinki Acad., f
rom [sm1963[nm. Works ~incl. setting of Ruba;Aaiyat of Omar Khayy;Aaam for ~bar.
, male ch., and orch. ([sm1953[nm), [cf2]Aubade[cf1] for orch. ~([sm1958[nm), co
ncertino da camera ([sm1961[nm), [cf2]The Birds[cf1] ~([cf2]F;anaglarna[cf1]) fo
r vocal soloists, perc., and celesta ~([sm1962[nm), [cf2]Noa[cf1], bar., vv., an
d orch. ([sm1976[nm), and vn. ~conc. ([sm1983=n4[nm).[cm~Bergmann, Carl[fy75,1]
([cf2]b[cf1] Ebersbach, [sm1821[nm; [cf2]d[cf1] NY, ~[sm1876[nm). Ger. cond. and
 cellist. Emigrated to NY ~[sm1850[nm and joined orch. of Ger. ;Aaemigr;Aae musi
cians. ~Cond. in Boston, Mass., [sm1852[nm=n[sm4[nm. In [sm1855[nm he cond. ~for
 NY Phil., alternating with associates until ~[sm1866[nm when he became sole con
d. until his death. ~Prominent champion in USA of Wagner and ~Liszt.[cm~Bergmann
, Walter [fy75,1](George) ([cf2]b[cf1] Hamburg, [sm1902[nm). ~Ger. continuo play
er and recorder virtuoso. ~Studied Leipzig Cons. Settled in Eng. as teacher ~and
 ed.[cm~Bergonzi, Carlo[fy75,1] ([cf2]b[cf1] Cremona, [cf2]c.[cf
1][sm1683[nm; [cf2]d[cf1] Cremona, ~[sm1747[nm). It. maker of vns. in style of h
is master, ~Stradivarius; succeeded by his son and nephews.[cm~Bergonzi, Carlo[f
y75,1] ([cf2]b[cf1] Polisene, Parma, [sm1924[nm). It. ~ten. Studied Parma. Began
 career as bar. at Lecce ~[sm1948[nm as Figaro in [cf2]Il barbiere di Siviglia.
[cf1]Second ~d;aaebut, as ten., at Bari [sm1951[nm as Andrea Ch;aaenier. ~London
 [sm1953[nm, Chicago [sm1955[nm, NY Met. [sm1956[nm, CG ~[sm1967[nm.[cm~Bergsma,
 William[fy75,1] ([cf2]b[cf1] Oakland, Calif., [sm1921[nm). ~Amer. composer. Tra
ined Stanford Univ. and ~Eastman Sch.; pupil of [fy45,1]*[fy75,1]Hanson and B. R
ogers. ~On staff Juilliard Sch. [sm1946[nm=n[sm63[nm; Prof. Washington ~Univ., S
eattle, from [sm1963[nm. Comps. incl. opera, [cf2]The ~Wife of Martin Guerre[cf1
] ([sm1955[nm), ballet [fy45,1]*[fy75,2]Paul Bunyan[cf1] ~([sm1937[nm), vn. conc
. ([sm1966[nm), [sm2[nm syms., and chamber ~mus.[cm~Beringer, Oscar[fy75,1] ([cf
2]b[cf1] Furtwangen, Baden, [sm1844[nm; [cf2]d[cf1] ~London, [sm
1922[nm). Ger.-born pianist. Spent child~~hood in Eng. to which his father fled
[sm1849[nm. ~Studied Leipzig [sm1864[nm=n[sm6[nm and Berlin under Tausig. ~Appoi
nted prof. at Tausig's Berlin Sch. for pianists, ~[sm1869[nm. In [sm1873[nm retu
rned to London, founding pf. ~sch. which survived until [sm1897[nm. Gave f.p. in
 ~England of Brahms's [sm2[nmnd conc., London, [sm14[nm Oct. ~[sm1882[nm. Prof.
RAM from [sm1885[nm. Composer of pf. ~pieces.[cm~Berio, Luciano[fy75,1] ([cf2]b[
cf1] Oneglia, now Imperia, It., ~[sm1925[nm). It. composer. Studied with Ghedini
 at ~Milan Acad. until [sm1951[nm, then serial techniques ~with [fy45,1]*[fy75,1
]Dallapiccola at Tanglewood. In [sm1955[nm with ~[fy45,1]*[fy75,1]Maderna founde
d elec. studio at It. Radio, ~remaining until [sm1961[nm. Went to USA [sm1963[nm
, ~teaching in California and from [sm1965[nm at Juilliard ~Sch., returning to I
t. in [sm1971[nm. Comps. are ~influenced by serialism, elec. devices, and indete
r~~minacy. Has developed individually the `collage' ~technique,
borrowing extracts from other com~~posers or imitating stylistic characteristics
. Ex~~amples are [cf2]Sinfonia[cf1], in which Berio quotes material ~from Mahler
's [sm2[nmnd Sym., Wagner's [cf2]Das Rheingold[cf1], ~Ravel's [cf2]La Valse[cf1]
, and Strauss's [cf2]Der Rosenkavalier[cf1], ~and [cf2]Laborintus II[cf1], where
 street cries and interjec~~tions are blended with references to madrigals ~and
to jazz. Another collage is [cf2]Recital I (for Cathy)[cf1], ~one of several wor
ks (e.g. [cf2]Epifanie[cf1] and [cf2]Sequenza [sm3[nm[cf1]) ~written for his for
mer wife, the sop. Cathy ~[fy45,1]*[fy75,1]Berberian. His [cf2]Sequenza[cf1] ser
ies for various instr. ~is largely aleatory. In [cf2]Circles[cf1] the singer may
 ~perform either the notated pitches or the approx~~imations: the choice is hers
. While in Milan in ~his youth Berio cond. a small touring opera co. ~and has re
mained enthusiastic about the th., ~though his works for it have so far been ext
remely ~unconventional. Prin. works:[xm[cm~[j2][smtheatre[nm: [f
y75,2]Passaggio, messa in scena[cf1] for sop., [sm2[nm ch., ~and orch. ([sm1962[
nm=n[sm3[nm); [cf2]Opera[cf1] ([sm3[nm acts) for [sm10[nm actors, ~sop., ten., b
ar., orch. ([sm1960[nm=n[sm70[nm, rev. [sm1977[nm); [cf2]Allez ~Hop[cf1], mimed
tale, for mez., [sm8[nm mimes, dancers, ~and orch. ([sm1952[nm=n[sm9[nm, [sm1968
[nm); [cf2]I trionfi del Petrarca[cf1], ~ballet ([sm1974[nm); [cf2]Un Re in Asco
lto[cf1], [sm2[nm-act opera ([sm1979[nm=n~[sm83[nm); [cf2]Duo[cf1], bar., [sm2[n
m vns., ch., orch. ([sm1982[nm).[ep~[smorch[nm: [cf2]Nones[cf1] ([sm1954[nm=n[sm
5[nm); [cf2]Allelujah I[cf1] ([sm1955[nm=n[sm7[nm), [cf2]II[cf1] ~([sm1956[nm=n[
sm8[nm); [cf2]Divertimento[cf1] (collab. [fy45,1]*[fy75,1]Maderna) ~[PN72,0,0,L,
I0]([sm1957[nm); [cf2]Quaderni I=nIII[cf1] from [cf2]Epifanie[cf1] ([sm1959[nm=n
[sm63[nm); ~[cf2]Chemins IIB[cf1] ([sm1969[nm); [cf2]Bewegung I[cf1] ([sm1971[nm
); [cf2]Still[cf1] ~([sm1973[nm); [cf2]Eindr;Auucke[cf1] ([sm1973[nm=n[sm4[nm);
[cf2]Encore[cf1] ([sm1978[nm); [cf2]En~~trata[cf1] ([sm1980[nm);
 [cf2]Suite da `La vera storia'[cf1] ([sm1981[nm); ~[cf2]Accordo[cf1], for [sm4[
nm wind bands ([sm1981[nm).[ep~[smchamber orch[nm: [cf2]Variazioni[cf1] ([sm1954
[nm=n[sm5[nm); [cf2]Diff;Aaerences[cf1] ~([sm1958[nm=n[sm9[nm); [cf2]Tempi Conce
rtati[cf1] ([sm1958[nm=n[sm9[nm); [cf2]Linea[cf1] ~([sm1973[nm=n[sm4[nm).[ep~[sm
solo instr. and orch[nm: [cf2]Corale on Sequenza VIII[cf1], vn., ~[sm2[nm hns.,
str. ([sm1981[nm); [sm2[nm-pf. conc. ([sm1972[nm=n[sm3[nm); `[cf2]Points ~on the
 Curve to Find|.|.|.'[cf1], pf. and [sm23[nm instr. ([sm1973[nm=n~[sm4[nm); [cf2
]Il Ritorno degli Snovidenia[cf1], vc. and [sm30[nm instr. ~([sm1976[nm=n[sm7[nm
); Pf. conc. ([sm1977[nm); [cf2]Chemins I[cf1] (from ~[cf2]Sequenza II[cf1]), ha
rp and orch. ([sm1965[nm); [cf2]Chemins II[cf1] ~(from [cf2]Sequenza VI[cf1]) va
. and [sm9[nm instr. ([sm1967[nm=n[sm8[nm); ~[cf2]Chemins IIC[cf1], bass cl. and
 orch. ([sm1972[nm); [cf2]Chemins III[cf1] ~(from [cf2]Chemins II[cf1]), va. and
 orch. ([sm1968[nm=n[sm9[nm); [cf2]Chemins ~IV[cf1] (from [cf2]S
equenza VII[cf1]), ob. and str. ([sm1975[nm); ~[cf2]Serenata[cf1], fl. and [sm14
[nm instr. ([sm1957[nm); [cf2]Concertino[cf1], cl., ~vn., harp, celesta, and str
. ([sm1950[nm); [cf2]Voci[cf1], va. and ~orch. ([sm1984[nm).[ep~[smvoice(s) and
orch. or ens[nm: [cf2]Laborintus II[cf1], vv., instr., ~reciter, tape ([sm1965[n
m); [cf2]Bewegung II[cf1], bar. and orch. ~([sm1971[nm); [cf2]Sinfonia[cf1], [sm
8[nm vv. and orch. ([sm1968[nm=n[sm9[nm); [cf2]Coro[cf1], ~[sm40[nm vv. and inst
r. ([sm1974[nm=n[sm6[nm); [cf2]Epifanie[cf1], sop. or mez. ~and orch. ([sm1959[n
m=n[sm61[nm, rev. [sm1965[nm); [cf2]Ora[cf1], sop., mez., ~and chamber ens. ([sm
1971[nm); [cf2]Magnificat[cf1], [sm2[nm sop., ~mystic ch., and ens. ([sm1949[nm)
; [cf2]A-Ronne[cf1], radiophonic ~documentary for [sm8[nm actors ([sm1974[nm), v
ersion for [sm8[nm ~vv. and tape ([sm1975[nm); [sm11[nm [cf2]Folk Songs[cf1], me
z. and ~orch. ([sm1975[nm), version for mez. and [sm7[nm players ~([sm1964[nm);
[cf2]Recital I (for Cathy)[cf1], mez. and [sm17[nm instr. ~([sm1
972[nm); [cf2]Calmo [cf1]([cf2]in memoriam Bruno Maderna[cf1]), sop. ~and ens. (
[sm1974[nm); [cf2]El Mar la Mer[cf1], mez. and [sm7[nm ~players ([sm1952[nm); [c
f2]O King[cf1], mez. and [sm5[nm players ~([sm1967[nm); [fy45,1]*[fy75,2]Circles
[cf1], female v., harp, and [sm2[nm perc. ~([sm1960[nm); [cf2]Chamber Music[cf1]
, female v., cl., vc., harp ~([sm1953[nm); [cf2]Agnus[cf1], [sm2[nm sop., [sm3[n
m cl. ([sm1970[nm); [cf2]Cries of London[cf1], ~[sm6[nm vv. ([sm1973[nm=n[sm4[nm
), [sm8[nm vv. ([sm1975[nm).[ep~[sminstr[nm: [cf2]Opus Number Zoo[cf1], [sm5[nm
wind instr. ([sm1950[nm=n[sm1[nm); ~Str. Qt. ([sm1956[nm); [cf2]Sincronie[cf1],
str. qt. ([sm1963[nm=n[sm4[nm); [cf2]Autre ~Fois[cf1], lullaby canon for Stravin
sky ([sm1971[nm); [sm2[nm ~[cf2]Pieces[cf1], vn. and pf. ([sm1951[nm); [cf2]Gest
i[cf1], fl. ([sm1966[nm); [cf2]Duetti ~per due violini[cf1] ([sm1979[nm=n[sm82[n
m).[ep~[smpiano[nm: [cf2]Memory[cf1], [sm2[nm pf. ([sm1970[nm); [sm5[nm [cf2]Var
iations[cf1] ([sm1952[nm=n~[sm3[nm); [cf2]Rounds[cf1] ([sm1967[n
m) for hpd. ([sm1965[nm); [cf2]Wasserklavier[cf1] ~([sm1965[nm); [cf2]Erdenklavi
er[cf1] ([sm1968[nm).[ep~[fy45,1]*[fy75,1][smsequenza[nm series: I, fl. solo ([s
m1958[nm); II, harp solo ~([sm1963[nm); III, female v. ([sm1965[nm); IV, pf. ([s
m1966[nm); V, ~tb. ([sm1967[nm); VI, va. ([sm1967[nm); VII, ob. ([sm1969[nm); VI
II, ~vn. ([sm1975[nm=n[sm7[nm); IX, perc. ([sm1978[nm=n[sm9[nm); IX A, cl. ([sm1
980[nm); ~IX B, alto-sax. ([sm1981[nm). II arr. with orch. as [cf2]Chemins[cf1]
~I ([sm1965[nm); VI arr. for va. and [sm9[nm instr. as [cf2]Chemins[cf1] II ~([s
m1967[nm), for orch. as [cf2]Chemins[cf1] IIB ([sm1969[nm), and for ~bass cl. an
d orch. as [cf2]Chemins[cf1] IIC ([sm1972[nm); VII arr. ~for ob. and str. as [cf
2]Chemins[cf1] IV ([sm1975[nm).[ep~[smelectronic[nm: [cf2]Mutations[cf1] ([sm195
4[nm); [cf2] Perspectives[cf1] ([sm1956[nm); ~[cf2]Moments[cf1] ([sm1957[nm); [c
f2]Theme[cf1] (homage to Joyce) with ~v. of C. Berberian ([sm1958[nm); [cf2]Visa
ge[cf1], with v. of C. ~Berberian ([sm1961[nm); [cf2]Chants para
ll;Ageles[cf1] ([sm1975[nm).[cm~[j1]B;aaeriot, Charles Auguste de[fy75,1] ([cf2]
b[cf1] Louvain, [sm1802[nm; [cf2]d[cf1] ~Brussels, [sm1870[nm). Belg. violinist
and composer, also ~mechanic, landscape painter, and sculptor. Mar~~ried the sin
ger [fy45,1]*[fy75,1]Malibran in [sm1836[nm. Prof., Brussels ~Cons. [sm1843[nm,
retiring [sm1852[nm when sight failed. ~Wrote [sm10[nm vn. concs., a no. of piec
es for [sm2[nm vn., etc., ~and also a [cf2]Violin School[cf1] which enjoyed much
 ~popularity.[cm~B;aaeriot, Charles Wilfrid de[fy75,1] ([cf2]b[cf1] Paris, [sm18
33[nm; [cf2]d[cf1] ~Sceaux-en-Gatinais, [sm1914[nm). Son of C. A. de [fy45,1]*[f
y75,1]B;aaeriot. ~Pianist (pupil of [fy45,1]*[fy75,1]Thalberg) and, as Prof., Pa
ris ~Cons., teacher of Granados, Ravel, and others. ~Comp. [sm4[nm pf. concs.[cm
~Berkeley, [fy75,1](Sir) [fy65][cf3]Lennox[fy75,1] (Randall Francis) ([cf2]b[cf1
] Boar's ~Hill, Oxford, [sm1903[nm). Eng. composer. Studied mus. ~in Paris with
Nadia Boulanger [sm1927[nm=n[sm32[nm. On BBC ~mus. staff [sm1942
[nm=n[sm5[nm. Prof. of comp., RAM, [sm1946[nm=n~[sm68[nm. C.B.E. [sm1957[nm. Kni
ghted [sm1974[nm. His works are ~outstanding in quality and fastidious of work~~
manship. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Nelson[cf1] ([sm
1953[nm), [cf2]A [fy45,1]*[fy75,2]Dinner Engagement[cf1] ~([sm1954[nm), [fy45,1]
*[fy75,2]Ruth[cf1] ([sm1956[nm), [cf2]Castaway [cf1]([sm1966[nm).[ep~[cf1][smorc
h[nm: [fy45,1]*[fy75,2]Mont Juic[cf1] (suite in collab. with [fy45,1]*[fy75,1]Br
itten, ~[sm1937[nm); [cf2]Serenade for Strings[cf1] ([sm1939[nm); Syms., No. [sm
1[nm ~([sm1940[nm), No. [sm2[nm ([sm1956[nm=n[sm8[nm, rev. [sm1976[nm), No. [sm3
[nm ([sm1969[nm), ~No. [sm4[nm ([sm1976=n8[nm); [cf2]Divertimento[cf1] ([sm1943[
nm); [cf2]Nocturne[cf1] ~([sm1946[nm); [cf2]Sinfonietta[cf1] ([sm1950[nm); [cf2]
Suite from Nelson[cf1] ~([sm1955[nm); [cf2]Suite, A Winter's Tale[cf1] ([sm1960[
nm); [cf2]Partita[cf1] ~([sm1965[nm); [cf2]Windsor Variations[cf1] ([sm1969[nm);
 [cf2]Antiphon[cf1], str. ~([sm1973[nm); [cf2]Voices of the Nigh
t[cf1] ([sm1973[nm); [cf2]Suite for Strings[cf1] ~([sm1974[nm).[ep~[smconcertos[
nm: [cf2]Introduction and Allegro[cf1], [sm2[nm pf. ([sm1938[nm); ~vc. ([sm1939[
nm, f.p. [sm1983[nm); pf. ([sm1947[nm); [sm2[nm pf. ([sm1948[nm); fl. ~([sm1952[
nm); [sm5[nm [cf2]Pieces[cf1], vn. and orch. ([sm1961[nm); vn. and ~chamber orch
. ([sm1961[nm); [cf2]Dialogue[cf1], vc. and chamber ~orch. ([sm1970[nm); [cf2]Si
nfonia concertante[cf1] for ob. ([sm1973[nm); ~guitar ([sm1974[nm).[ep~[smvoice(
s) and orch[nm: [cf2]Domini est Terra[cf1] ([sm1937[nm); [cf2][sm4[nm ~Poems of
St Teresa of Avila[cf1], cont. and str. ([sm1947[nm); ~[cf2]Stabat Mater[cf1] ([
sm1947[nm); [cf2]Colonus' Praise[cf1] ([sm1949[nm); [cf2]Batter ~my Heart[cf1] (
[sm1962[nm); [cf2]Signs in the Dark[cf1], ch. and str. ~([sm1967[nm); [cf2]Magni
ficat[cf1] ([sm1968[nm); [cf2][sm4[nm Ronsard Sonnets[cf1], Set ~[sm2[nm, ten. a
nd orch. ([sm1963[nm, also with chamber orch.).[ep~[smchoral[nm: [cf2]Gibbons Va
riations[cf1] ([sm1951[nm); [cf2]Crux fidelis[cf1] ~([sm1955[nm)
; [cf2]Salve Regina[cf1] ([sm1955[nm); [cf2]Missa brevis[cf1] ([sm1960[nm); ~[cf
2]Justorum Animae[cf1] ([sm1963[nm); Mass for [sm5[nm vv. ([sm1964[nm); [cf2][sm
3[nm ~Latin Motets[cf1] ([sm1972[nm); [cf2]Hymn for Shakespeare's ~Birthday[cf1]
 ([sm1972[nm); [cf2]Herrick Songs[cf1] ([sm1974[nm); [cf2]The Lord is ~My Shephe
rd[cf1] ([sm1975[nm); [cf2]The Hill of the Graces[cf1] ([sm1975[nm); ~[cf2]Judic
a Me[cf1] ([sm1978[nm); [cf2]Ubi Caritas[cf1] ([sm1978[nm); [cf2]Magnificat ~and
 Nunc Dimittis[cf1] ([sm1980[nm).[ep~[smvoice and piano[nm (or other instr.): [c
f2]How Love Came ~In [cf1]([sm1935[nm); [cf2][sm5[nm Songs[cf1] ([sm1939[nm=n[sm
40[nm); [cf2][sm5[nm De La Mare Songs[cf1] ~([sm1946[nm); [cf2]The Lowlands of H
olland[cf1] ([sm1947[nm); [cf2][sm3[nm Greek ~Songs[cf1] ([sm1951[nm); [cf2][sm4
[nm Ronsard Sonnets[cf1] Set [sm1[nm, [sm2[nm ten. ~([sm1952[nm, rev. [sm1977[nm
); [cf2][sm5[nm Poems of W. H. Auden[cf1] ([sm1958[nm); ~[cf2]Autumn's Legacy[cf
1] ([sm1962[nm); [cf2]Songs of the Half Light[cf1] ~(with guitar
) ([sm1964[nm); [cf2]Chinese Songs[cf1] ([sm1971[nm); [cf2][sm5[nm ~Housman Song
s[cf1] ([sm1978[nm); [cf2]Una and the Lion[cf1], cantata ~for sop., recorders, h
pd., viola da gamba ([sm1979[nm); ~[cf2]Sonnet[cf1], high v. and pf. ([sm1982[nm
).[ep~[smchamber music[nm: Str. Qts., No. [sm1[nm ([sm1935[nm), No. [sm2[nm ~([s
m1942[nm), No. [sm3[nm ([sm1970[nm); recorder sonatina ([sm1940[nm); ~[PN73,0,0,
R,I0]vn. sonatina ([sm1942[nm); str. trio ([sm1943[nm); va. sonata ~([sm1945[nm)
; [cf2]Elegy[cf1] and [cf2]Toccata[cf1], vn. and pf. ([sm1950[nm); ~hn. trio ([s
m1954[nm); sextet for cl., hn., str. ([sm1955[nm); ~guitar sonatina ([sm1957[nm)
; ob. sonatina ([sm1962[nm); ~[cf2]Diversions[cf1], ob., cl., bn., hn., vn., va.
, vc., pf. ~([sm1964[nm); ob. qt. ([sm1967[nm); [cf2]Introduction and Allegro[cf
1], ~db. and pf. ([sm1971[nm); [cf2]Duo[cf1], vc. and pf. ([sm1971[nm); [cf2]In
~Memoriam Igor Stravinsky[cf1], str. qt. ([sm1971[nm); pf. and ~wind quintet ([s
m1975[nm); fl. sonata ([sm1978[nm).[ep~[smpiano[nm: [cf2][sm5[nm
 Short Pieces[cf1] ([sm1936[nm); [cf2][sm3[nm Pieces[cf1] for [sm2[nm pf. ~([sm1
938[nm=n[sm40[nm); [cf2][sm3[nm Impromptus[cf1] ([sm1935[nm); [cf2][sm4[nm Conce
rt ~Studies, Set [sm1[nm[cf1] ([sm1940[nm); sonata ([sm1945[nm); [cf2][sm6[nm Pr
eludes[cf1] ~([sm1945[nm); [cf2][sm3[nm Mazurkas and Scherzo[cf1] ([sm1949[nm);
sonatina, ~pf. duet ([sm1954[nm); [cf2]Concert Study [cf1] in E ([sm1955[nm); ~s
onatina, [sm2[nm pf. ([sm1959[nm); [cf2]Improvisation on a theme of ~Falla[cf1]
([sm1960[nm); [cf2][sm4[nm Concert Studies, Set [sm2[nm[cf1] ([sm1972[nm); ~[cf2
]Prelude and Capriccio[cf1] ([sm1978[nm); [cf2]Bagatelle[cf1], [sm2[nm pf. ~([sm
1981[nm); [cf2]Mazurka[cf1] ([sm1982[nm).[cm~[j1]Berkeley, Michael[fy75,1] ([cf2
]b[cf1] London, [sm1948[nm). Eng. ~composer; son of Lennox [fy45,1]*[fy75,1]Berk
eley. Studied ~Westminster Cath. Choir Sch., RAM, and with ~Lennox Berkeley and
Richard Rodney [fy45,1]*[fy75,1]Bennett. ~BBC Radio [sm3[nm announcer [sm1976[nm
=n[sm9[nm. Works incl.:[xm[cm~[j2][smoratorio[nm: [cf2]Or Shall
We Die?[cf1], sop., bar., ch., and ~orch. ([sm1982[nm).[ep~[smorch[nm[cf1]: [cf2
]Meditations[cf1], str. ([sm1976[nm); ob. conc. ([sm1977[nm); ~[cf2]Fantasia Con
certante[cf1], chamber orch. ([sm1977[nm); ~[cf2]Uprising[cf1], sym. ([sm1980[nm
); [cf2]Chamber Sym.[cf1] ([sm1980[nm); ~[cf2]Flames[cf1] ([sm1981[nm); Suite,[c
f2] Vision of Piers the Ploughman[cf1] ~([sm1981[nm); [cf2]Gregorian Variations[
cf1] ([sm1981[nm=n[sm2[nm); vc. conc. ~([sm1982[nm).[ep~[smvoice and instr[nm: [
cf2]The Wild Winds[cf1], sop. and small ~orch. ([sm1978[nm); [cf2]At the Round E
arth's Imagin'd ~Corners[cf1], sop., bar., ch., org., optional tpt. ([sm1979[nm=
n~[sm80[nm); [cf2]Wessex Graves[cf1], ten. and hp. ([sm1981[nm).[ep~[smchamber m
usic[nm: Str. trio ([sm1978[nm); [cf2];aaEtude de Fleurs[cf1], ~vc., pf. ([sm197
8[nm=n[sm9[nm); vn. sonata ([sm1979[nm); [cf2]American ~Suite[cf1], rec. or fl.
and bn. or vc. ([sm1979[nm=n[sm80[nm); str. qt. ~([sm1980[nm=n[sm1[nm); guitar s
onata ([sm1982[nm); cl. quintet ~([sm1983[nm).[ep~[smorgan[nm: [
cf2]Ricercare[cf1] ([sm1978[nm); sonata ([sm1979[nm).[cm~[j1]Berlin, Irving[fy75
,1] (orig. Israel Baline) ([cf2]b[cf1] Tyumen, ~Russia, [sm1888[nm). Russ.-born
Amer. composer of ~highly successful popular mus.=man instinctive ~composer, sin
ce his technical knowledge was ~rudimentary. Among his songs, many for films ~an
d mus. comedies, are [cf2]Alexander's Ragtime Band ~[cf1]([sm1911[nm), [cf2]God
Bless America, Easter Parade, White ~Christmas, Putting on my Top Hat, This is t
he Army, ~What'll I do?[cf1], and [cf2]Always [cf1]([sm1925[nm). Wrote the words
 ~(lyrics) for almost all his songs.[cm~Berlin Philharmonic Orchestra. [fy75,1]O
ne of the ~world's major orchs., founded [sm1882[nm. Among prin. ~conds. have be
en Franz W;Auullner, Karl Klind~~worth, Hans von B;Auulow, Richard Strauss, Artu
r ~Nikisch ([sm1895[nm=n[sm1922[nm), Wilhelm Furtw;Auangler ~([sm1922[nm=n[sm45[
nm), Leo Borchard ([sm1945[nm), Sergi;Agu Celibi~~dache ([sm1945[nm=n[sm51[nm),
and Herbert von Karajan (from ~[sm1954[nm). The Philharmonic Hal
l was destroyed ~during [sm1939[nm=n[sm45[nm war and replaced by a fine ~modern
hall in [sm1963[nm.[cm~Berlinski, Herman[fy75,1] ([cf2]b[cf1] Leipzig, [sm1910[n
m). Ger. ~composer. Studied Leipzig Cons. [sm1928[nm=n[sm32[nm and in ~[sm1933[n
m went to Paris where he studied pf. with ~Cortot and comp. with Nadia Boulanger
, [sm1934[nm=n~[sm8[nm. Escaped to USA, [sm1940[nm, and entered Seminary ~Colleg
e of Jewish Mus., NY, [sm1953[nm=n[sm60[nm. Early ~works influenced by Schoenber
g and Hindemith ~but experiences as a refugee from Nazis led to his ~concentrati
on on Jewish sacred and secular mus.[cm~Berlioz, [fy75,1](Louis) [fy65][cf3]Hect
or[fy75,1] ([cf2]b[cf1] La C;Afote-St Andr;Aae, ~Grenoble, [sm1803[nm; [cf2]d[cf
1] Paris, [sm1869[nm). Fr. composer, ~cond., and critic. His life, especially as
 related by ~himself in his marvellous [cf2]Memoirs[cf1], reads like a ~novel. S
on of a provincial doctor, he showed early ~liking for mus., learning the fl. an
d flageolet, and ~later the guitar, but never the pf. Intended f
or a ~medical career, in [sm1821[nm went to Paris medical ~sch. In [sm1822[nm ap
plied for mus. lessons and began ~to compose an opera. An oratorio followed in ~
[sm1823[nm, when he became a private pupil of [fy45,1]*[fy75,1]Le ~Sueur. In [sm
1826[nm entered Paris Cons. to study with ~Reicha and LeSueur, [sm1826[nm=n[sm8[
nm. In [sm1827[nm saw ~Kemble's co. in [cf2]Hamlet[cf1] at the Od;Aaeon and was
~stricken `like a thunderbolt' with a passion both ~for Shakespeare and for the
Irish actress who ~played Ophelia, Harriet Smithson. In the first [sm5[nm ~month
s of [sm1830[nm, comp. the [cf2]Symphonie fantastique[cf1], ~sub-titled `Episode
s in the life of an artist' and ~dealing autobiographically with his passion for
 ~Miss Smithson. It was perf. on [sm5[nm Dec. In Dec. ~[sm1832[nm at last met Mi
ss Smithson and married her ~[sm10[nm months later. Over the next decade some of
 ~his greatest works were comp., incl. [cf2]Harold in ~Italy[cf1], the [cf2]Symp
honie fun;Agebre et triomphale[cf1], the ~dramatic sym. [cf2]Rom
;aaeo et Juliette[cf1], the [cf2]Grand' Messe ~des morts[cf1] ([cf2]Requiem[cf1]
) and the opera [cf2]Benvenuto Cellini[cf1]. ~Though some of these works were co
mmissions ~(and Paganini gave him [sm20[nm,[sm000[nm francs for [cf2]Harold ~in
Italy[cf1], although he never played the va. solo), ~Berlioz supplemented his in
come by writing ~mus. criticism, a chore he detested but accom~~plished brillian
tly. In [sm1841[nm his marriage broke up ~and he formed a liaison with the singe
r Marie ~Recio. They toured Ger. in [sm1843[nm, and in the ~ensuing years he tra
velled frequently, visiting ~Russia and also paying [sm4[nm visits to London. ~D
ramatic cantata [cf2]La Damnation de Faust[cf1] was a ~failure in Paris, [sm1846
[nm, and [cf2]Te Deum[cf1], comp. [sm1849=n50[nm, ~was not perf. until [sm1855[n
m. From [sm1856[nm to [sm1858[nm ~engaged on enormous opera [cf2]Les Troyens[cf1
], for ~which he wrote the lib., basing it on Virgil's ~[cf2]Aeneid[cf1]. This w
ork, Berlioz's masterpiece, was on ~too large a scale and effort
s to have it staged at the ~Op;aaera failed. Eventually, having divided it into
[sm2[nm ~parts, [cf2]La Prise de Troie[cf1] and [cf2]Les Troyens ;Aga Carthage[c
f1], ~he saw the [sm2[nmnd part prod. at the Th;Aae;Afatre-Lyrique, ~Paris, in N
ov. [sm1863[nm. It was withdrawn after [sm22[nm ~perfs., a failure which broke B
erlioz's spirit. In ~[sm1860[nm=n[sm2[nm completed his last work, the comic oper
a ~[cf2]B;aaeatrice et B;aaen;aaedict[cf1], based on Shakespeare.[ep~^For nearly
 [sm100[nm years after his death, Berlioz's ~true qualities were obscured by his
 image as the ~[PN74,0,0,L,I0]`Romantic artist' [cf2]par excellence[cf1]. His ex
travagances ~in his scores, no longer very remarkable but ~ahead of their time,
diverted critical attention, ~even among his admirers, from the classical ~purit
y of his melody and the Beethovenian ~grandeur of his command of dramatic contra
sts. ~Today, the opera [cf2]Les Troyens[cf1], the [cf2]Grand' Messe des ~morts[c
f1] and the [cf2]Nuits d';Aaet;Aae[cf1] (forerunner of Mahler's
~song-cycles with orch.) are recognized for their ~poetry and originality. Princ
ipal compositions:[xm[cm~[j2][smstage[nm: [fy75,2]Les Francs Juges[cf1], Op. [sm
3[nm ([sm1826[nm, rev. [sm1829[nm, ~[sm1833[nm); [fy45,1]*[fy75,2]Benvenuto Cell
ini[cf1], Op. [sm23[nm ([sm1834[nm=n[sm7[nm); [cf2]Les ~[fy45,1]*[fy75,2]Troyens
[cf1] ([sm1856[nm=n[sm8[nm); [fy45,1]*[fy75,2]B;aaeatrice et B;aaen;aaedict[cf1]
 ([sm1860[nm=n~[sm2[nm); [fy45,1]*[fy75,2]L;aaelio[cf1] (mono[chdrama, [sm1831[n
m).[ep~[smorch[nm: Ovs.: [cf2]Waverley[cf1], Op. [sm1[nm bis ([sm1827[nm=n[sm8[n
m); [cf2]Les ~[fy45,1]*[fy75,2]Francs-Juges[cf1], Op. [sm3[nm ([sm1826[nm); [cf2
]Le Roi Lear[cf1], Op. [sm4[nm ~([sm1831[nm); [cf2]Le [fy45,1]*[fy75,2]Corsaire[
cf1], Op. [sm21[nm ([sm1831[nm); [cf2]Rob Roy[cf1] ~([sm1832[nm); [cf2]Le [fy45,
1]*[fy75,2]Carnaval romain[cf1], Op. [sm9[nm ([sm1844[nm); ~[fy45,1]*[fy75,2]Har
old en Italie[cf1], for va. and orch., Op. [sm16[nm ([sm1834[nm); ~[fy45,1]*[fy7
5,2]Symphonie fantastique [cf1]Op. [sm14[nm ([sm1830[nm); [cf2]R
;aaev;aaerie et ~caprice[cf1], for vn. and orch., Op. [sm8[nm ([sm1839[nm); ~[fy
45,1]*[fy75,2]Symphonie fun;Agebre et triomphale[cf1] (ch. ad lib.), Op. ~[sm15[
nm ([sm1840[nm).[ep~[smvoices and orch[nm: [fy45,1]*[fy75,2]Grand' Messe des mor
ts[cf1] ~([cf2]Requiem[cf1]), Op. [sm5[nm ([sm1837[nm); [cf2]La [fy45,1]*[fy75,2
]Mort de Cl;Aaeop;Afatre[cf1] ~([sm1829[nm); [fy45,1]*[fy75,2]Rom;Aaeo et Juliet
te[cf1], dramatic sym., Op. [sm17[nm ~([sm1838[nm=n[sm9[nm); [cf2]La [fy45,1]*[f
y75,2]Damnation de Faust[cf1], Op. [sm24[nm ([sm1828=n~46[nm); [cf2]L'[fy45,1]*[
fy75,2]Enfance du Christ[cf1], oratorio, Op. [sm25[nm ([sm1850[nm=n~[sm4[nm); [c
f2]Te Deum[cf1], Op. [sm22[nm ([sm1849[nm=n[sm50[nm); [cf2]Les [fy45,1]*[fy75,2]
Nuits d';aaet;aae[cf1] ~(with pf. or orch.), Op. [sm7[nm ([sm1840[nm=n[sm1[nm, p
f.; [sm1843[nm=n[sm56[nm, ~orch.).[cm~[ol0][ep~[xp[te~


[do19][j99]~~~~~~[sm153842[nm_BB[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oford
 Dict. of ~Music[cmBB[sm06[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm22[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm268[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Berman, Lazar [fy7
5,1]([cf2]b [cf1]Leningrad, [sm1930[nm). Russ. pianist. ~D;Aaebut Leningrad [sm1
934[nm. Pupil of Alexander ~Goldenweiser and at Moscow Cons. of Richter ~and V.
Sofronitsky. London d;Aaebut [sm1958[nm, NY ~[sm1976[nm. Specialist in [sm19[nmt
h-cent. composers.[cm~Bernacchi, Antonio Maria[fy75,1] ([cf2]b[cf1] Bologna, [sm
1685[nm; [cf2]d[cf1] ~Bologna, [sm1756[nm). It. alto castrato. Pupil of Pistocch
i. ~Sang in Ger. and studied counterpoint in Munich. ~It. opera d;aaebut Genoa [
sm1703[nm. From [sm1709[nm to [sm1736[nm ~sang in most It. cities, and sang regu
larly in ~Munich [sm1720[nm=n[sm7[nm. London d;aaebut [sm1716[nm. Engaged ~as pr
in. singer by Handel for London season ~[sm1729[nm=n[sm30[nm. Sang in f.ps. of H
andel's [cf2]Lotario[cf1] and ~[cf2]Partenope[cf1]. Retired [sm1
736[nm and founded singing sch. ~in  Bologna.[cm~Bernac, Pierre [fy75,1](really
Pierre Bertin) ([cf2]b[cf1] Paris, ~[sm1899[nm; [cf2]d [cf1]Avignon, [sm1979[nm)
. Fr. bar., distinguished as ~recitalist and teacher (G;Aaerard [fy45,1]*[fy75,1
]Souzay among his ~pupils). Gave first recital [sm1925[nm. Frequently assoc. ~wi
th composer [fy45,1]*[fy75,1]Poulenc, his accompanist in ~concerts throughout Eu
rope and USA. Several ~Poulenc song-cycles written for him, incl. [cf2]Tel ~jour
, telle nuit.[cm~Bernard, Anthony [fy75,1]([cf2]b [cf1]London, [sm1891[nm; [cf2]
d [cf1]London, ~[sm1963[nm). Eng. cond., pianist, and composer. Studied ~under H
olbrooke and Ireland. Cond. with BNOC. ~Organist, pf. accompanist, and cond. at
Shake~~speare Memorial Th., Stratford-on-Avon ([sm1932[nm=n~[sm42[nm), of London
 Chamber Singers and of London ~Chamber Orch., which he founded in [sm1921[nm, ~
reviving much old mus. Cond. of Dutch Chamber ~Orch., The Hague, [sm1922[nm=n[sm
6[nm.[cm~Bernardi, Mario [fy75,1]([cf2]b [cf1]Kirkland, Ontario,
 [sm1930[nm). ~Canadian-It. cond. and pianist. Studied Venice ~and Toronto Royal
 Cons. Mus. dir. SW [sm1966[nm=n[sm8[nm. ~Cond. Nat. Arts Centre Orch., Ottawa,
[sm1969[nm=n[sm82[nm.[cm~Bernardi, Steffano [fy75,1]([cf2]b [cf1]Verona, [cf2]c[
cf1].[sm1585[nm; [cf2]d[cf1] ?Salzburg, ~[sm1635[nm). It. church musician. Choir
master, Verona ~Cath. [sm1615[nm=n[sm22[nm. Later, Kapellmeister Salzburg ~Cath.
 Comp. masses, motets, madrigals, and instr. ~works.[cm~Bernasconi, Antonia [fy7
5,1]([cf2]b [cf1]Stuttgart, ?[sm1706[nm; [cf2]d ~[cf1]Munich, [sm1784[nm). It. o
peratic sop. for whom Gluck ~is said to have written [cf2]Alceste[cf1], in which
 she sang ~in Vienna [sm1767[nm. Sang Aspasia in the child Mozart's ~[cf2]Mitrid
ate [cf1]in Milan [sm1770[nm=n[sm1[nm. Also sang in London ~[sm1778[nm and again
 in Vienna [sm1781[nm.[cm~Bernauerin, Die [fy75,1](The Wife of Bernauer). A ~`Ba
varian piece' by [fy45,1]*[fy75,1]Orff, to his own lib., for ~speaker, sop., ten
., ch., and orch. Comp. [sm1944[nm=n[sm5[nm. ~Prod. Stuttgart [s
m1947[nm.[cm~Berners, Lord [fy75,1](Gerald Hugh Tyrwhitt-Wilson) ~[cf1]([cf2]b [
cf1]Arley Park, Bridgnorth, Shropshire, [sm1883[nm; [cf2]d ~[cf1]Faringdon, Berk
s., [sm1950[nm). Eng. composer, also ~painter, author, and diplomat. Studied mus
ic in ~Dresden and Vienna but pursued career as ~diplomat [sm1909[nm=n[sm20[nm,
mainly in Rome. Early works ~pubd. under name Gerald Tyrwhitt. Had advice ~and l
essons in Rome from Casella and Stravinsky. ~Marked gift for mus. satire and par
ody, as ~exemplified in his [cf2][sm3[nm Little Funeral Marches [cf1]for pf. ~([
sm1916[nm), [cf2]Fragments psychologiques [cf1]for pf. ([sm1915[nm), [cf2][sm3[n
m ~Orchestral Pieces [cf1]([sm1916[nm), [cf2]Fantaisie espagnole [cf1]for ~orch.
 ([sm1918[nm=n[sm19[nm), and [cf2]Valses bourgeoises[cf1], [sm2[nm pf. ~([sm1919
[nm). Set M;Aaerim;Aaee's [cf2]Le Carrosse du Saint-~Sacr;aaement [cf1]as [sm1[n
m-act opera (prod. Paris [sm1924[nm). His ~best-known work is the ballet [cf2]Th
e [fy45,1]*[fy75,2]Triumph of ~Neptune [cf1](London, [sm3[nm Dec
. [sm1926[nm), some of which ~was orch. by Walton. Other ballets were [cf2]Luna
~Park [cf1]([sm1930[nm Cochran revue), [cf2]A Wedding Bouquet ~[cf1](London [sm1
936[nm), which has choral parts to words ~by Gertrude Stein, [cf2]Cupid and Psyc
he [cf1]([sm1939[nm), and ~[cf2]Les Sir;agenes [cf1]([sm1946[nm). Also wrote [cf
2]L'Uomo dai Baffi[cf1], for ~solo woodwind, pf., str. ([sm1918[nm), [sm3[nm [cf
2]Songs in the ~German manner [cf1]([sm1920[nm), [sm3[nm [cf2]Chansons [cf1]([sm
1919[nm=n[sm20[nm), [sm3[nm ~[cf2]Sea Shanties [cf1]([sm1921[nm), and pf. piece
[fy45,1]*[fy75,2]Portsmouth Point ~[cf1]([sm1920[nm). Succeeded to barony [sm191
8[nm. Autobiography ~[cf2]First Childhood [cf1]highly recommended. Comp. mus. ~f
or film [cf2]Nicholas Nickleby [cf1]([sm1946[nm), and other film ~scores.[cm~Ber
nhard, Christoph [fy75,1]([cf2]b [cf1]?Kolberg, [sm1628[nm; [cf2]d ~[cf1]Dresden
, [sm1692[nm). Ger. singer and composer. Went ~to Dresden, with recommendation t
o Sch;Auutz, ~where his fine ten. v. induced the Kurf;Auurst to
~send him to It. for further tuition. In Rome, ~became friend of [fy45,1]*[fy75,
1]Carissimi. Later returned to ~Dresden, worked in Hamburg [sm1664[nm=n[sm74[nm,
 returned ~to Dresden [sm1674[nm, becoming Kapellmeister [sm1681[nm. ~[PN75,0,0,
R,I0]Church comp. show mastery of counterpoint, ~notably hymn [cf2]Prudentia pru
dentiana[cf1], [sm1669[nm.[cm~Bernier, Ren;aae [fy75,1]([cf2]b [cf1]St Gilles, B
elg., [sm1905[nm). Belg. ~composer and teacher. Studied Brussels Cons. ~Active i
n Belgian mus. education since [sm1945[nm, ~teaching at Li;Agege and Mons. Comps
. incl. ballets, ~choral works, and [cf2]Hommage ;Aga Sax[cf1], concertino for ~
alto sax., [sm1958[nm.[cm~Bernstein, Leonard [fy75,1]([cf2]b [cf1]Lawrence, Mass
., [sm1918[nm). ~Amer. composer, cond., and pianist. Educated ~Boston Latin Sch.
 and at Harvard Univ. [sm1935[nm=n[sm9[nm. ~In [sm1939[nm entered Curtis Institu
te, Philadelphia, ~studying cond. with [fy45,1]*[fy75,1]Reiner. Already his out~
~standing talent had led a friend to say `Lenny is ~doomed to su
ccess'. In summers of [sm1940[nm=n[sm3[nm ~studied at Tanglewood summer sch., Bo
ston, ~becoming ass. to [fy45,1]*[fy75,1]Koussevitzky and was also ~noticed by [
fy45,1]*[fy75,1]Rodzinski, who invited him to ~become ass. cond. of NY Phil. Sym
. Orch. [sm1943[nm=n~[sm4[nm; d;Aaebut Nov. [sm1943[nm, deputizing for Bruno Wal
ter. ~Cond. NY City Center Orch., [sm1945[nm=n[sm8[nm, presenting ~adventurous p
rogrammes. Taught at Tanglewood ~[sm1951[nm=n[sm5[nm in orch. and cond. dept.; p
art-time prof. ~of mus., Brandeis Univ. [sm1951[nm=n[sm5[nm. Career as opera ~co
nd. began at Tanglewood, [sm1946[nm, in Amer. ~premi;Agere of Britten's [cf2]Pet
er Grimes[cf1]. Cond. his own ~[fy45,1]*[fy75,2]Trouble in Tahiti [cf1]at Brande
is, [sm1952[nm, and Cherubi~~ni's [cf2]Medea [cf1](with Callas) at La Scala, Mil
an, [sm1953[nm, ~returning there to cond. [cf2]La Sonnambula [cf1]for [fy45,1]*[
fy75,1]Callas. ~D;Aaebut NY Met. [sm1964[nm, Vienna [sm1966[nm.[ep~^In [sm1957[n
m=n[sm8[nm appointed joint prin. cond. (with ~[fy45,1]*[fy75,1]M
itropoulos) of NY P.O., becoming sole cond. ~[sm1958[nm=n[sm69[nm, the first Ame
r.-born holder of the post. ~Guest cond. many of world's leading orchs., ~notabl
y Vienna P.O., Israel P.O., and LSO. In ~[sm1969[nm was made `laureate conductor
 for life' of NY ~P.O.[ep~^Bernstein's outstanding quality as a musician is ~his
 catholic taste. Hence his comps. are markedly ~eclectic, bearing influences of
Gershwin, Jewish ~ritual mus., Mahler, Stravinsky, Villa-Lobos, and ~Copland. (I
n [sm1941[nm he worked for a popular mus. ~publisher, making arrs. and jazz tran
scrs.). His ~first sym., [fy45,1]*[fy75,2]Jeremiah [cf1]([sm1941[nm=n[sm44[nm) w
on [sm1944[nm NY ~Music Critics' Award and in that year his ballet ~[cf2]Fancy F
ree [cf1]was perf. in NY. Later the same year ~his musical [cf2]On the Town [cf1
]began a long run. Other ~musicals have been [cf2]Wonderful Town [cf1]([sm1953[n
m), ~[fy45,1]*[fy75,2]Candide [cf1]([sm1956[nm), and the very successful [fy45,1
]*[fy75,2]West ~Side Story [cf1]([sm1957[nm). His most famous fi
lm mus. was ~for [cf2]On the Waterfront[cf1] ([sm1954[nm), from which he arr. ~a
 suite. He has comp. [sm2[nm other syms., [cf2]The [fy45,1]*[fy75,2]Age of ~Anxi
ety[cf1], for pf. and orch. ([sm1947[nm=n[sm9[nm), and [fy45,1]*[fy75,2]Kaddish[
cf1], ~for female narrator, sop., ch., boys' ch., and orch. ~([sm1961[nm=n[sm3[n
m). Also notable are [fy45,1]*[fy75,2]Chichester Psalms ~[cf1]([sm1965[nm) and h
is [cf2]Mass [cf1]([sm1970[nm=n[sm1[nm) described as `theatre ~piece for singers
, players, and dancers' to lib. by ~himself and Stephen Schwartz. He is also an
~outstanding TV mus. educator and a persuasive ~writer.[cm~B;aaeroff, Michel  [f
y75,1]([cf2]b [cf1]Epinal, Vosges, [sm1950[nm). Fr. ~pianist. Trained Nancy Cons
. and Paris Cons. ~D;Aaebut Paris [sm1966[nm, London [sm1968[nm. Specialist in p
f. ~works of Messiaen.[cm~Berry, Walter [fy75,1]([cf2]b [cf1]Vienna, [sm1929[nm)
. Austrian bass-~bar. Studied at Vienna Acad., then made d;aaebut at ~Vienna Ope
ra [sm1950[nm in small roles. Sang Masetto ~in [cf2]Don Giovanni
 [cf1]there [sm1953[nm, later the Count in ~[cf2]Figaro. [cf1]Sang regularly at
Salzburg Fest. after [sm1952[nm, ~creating roles in [sm20[nmth cent. works by Ei
nem, ~Liebermann, and Egk. London d;aaebut  (Festival ~Hall) [sm1954[nm, CG [sm1
976[nm (Barak in Strauss's [cf2]Die Frau ~ohne Schatten[cf1]), NY Met. [sm1966[n
m. Fine exponent of ~roles of Figaro, Ochs, Wozzeck, and Wotan. ~Distinguished c
oncert-hall career.[cm~Bersag Horn or Bersaglieri Bugle. [fy75,1]Bugle with ~a s
ingle valve, lowering the pitch by a [sm4[nmth. Made ~in different sizes: sop. i
n B;yh, cont. in E;yh, ten. in ~B;yh, bar. in B;yh, and bass in F. Became popula
r with ~bugle bands during [sm1914[nm=n[sm18[nm war. Presumably of ~It. origin (
[cf2]Bersaglieri[cf1] ;Eq a sharpshooter corps of It. ~army).[cm~Bert;aae, Heinr
ich [fy75,1]([cf2]b [cf1]Galg;Aaocz, [sm1857[nm; [cf2]d[cf1] Vienna, ~[sm1924[nm
). Hung. composer of ballets, notably [cf2]Der ~Karneval in Venedig [cf1](Vienna
, [sm1900[nm), and operettas ~of which the best-known is [cf2]Da
s Dreim;Auaderlhaus ~[cf1]([sm1916[nm, Vienna) based on Schubert melodies and ~d
epicting (mainly fictitious) scenes from Schu~~[chbert's life. Amer. version arr
. Romberg prod. in ~[sm1921[nm as [fy45,1]*[fy75,2]Blossom Time[cf1] and Eng. ve
rsion arr. G. H. ~Clutsam as [cf2]Lilac Time [cf1]([sm1922[nm).[cm~Bertin, Louis
e Ang;aaelique [fy75,1]([cf2]b [cf1]Les Roches, [sm1805[nm; ~[cf2]d[cf1] Paris,
[sm1877[nm). Fr. cont., pianist, and composer of ~operas [cf2]Le loup-garou [cf1
](Paris [sm1827[nm), [cf2]Faust [cf1]([sm1831[nm), ~and [cf2]L'Esmeralda [cf1]([
sm1836[nm, for which Hugo adapted ~lib.).[cm~Bertini, Gary [fy75,1]([cf2]b [cf1]
Brichevo, Bessarabia, [sm1927[nm). ~Israeli cond. and composer. Studied Tel Aviv
, ~Milan Cons. [sm1946[nm=n[sm7[nm, and Paris Cons. [sm1951[nm=n[sm4[nm. ~Founde
r and cond. Israel Chamber Orch. from ~[sm1965[nm, prin. guest cond. SNO from [s
m1970[nm. Cond. ~Detroit S.O. [sm1981[nm=n[sm3[nm, Cologne Radio S.O. from ~[sm1
983[nm. Guest cond. Scottish Opera. Head, cond. ~class, Israel A
cad. of Mus. from [sm1958[nm. Mus. dir. ~Jerusalem S.O. from [sm1977[nm. Comps.
incl. incidental ~mus., ballets, vn. sonata, hn. conc.[cm~Bertini, Henri J;Aaer;
Afome [fy75,1]([cf2]b [cf1]London, [sm1798[nm; [cf2]d ~[cf1]Meylan, Grenoble, [s
m1876[nm). Eng.-born composer ~for pf., and especially of pf. studies which have
 ~long been used by teachers. Worked in Paris ~[sm1821[nm=n[sm59[nm.[cm~Berton,
Henri Montan [fy75,1]([cf2]b [cf1]Paris, [sm1767[nm; [cf2]d [cf1]Paris, ~[sm1844
[nm). Fr. violinist, composer, and teacher. ~Violinist in Op;Aaera orch. from [s
m1782[nm. Prof. of ~harmony Paris Cons., [sm1795[nm=n[sm1818[nm, when he ~succee
ded M;Aaehul as prof. of comp. Cond., Op;Aaera-~Comique [sm1807[nm=n[sm9[nm. Bes
ides sacred mus. and instr. ~works, comp. over [sm40[nm operas (some in co-opera
tion ~with M;Aaehul, Spontini, Pa;Auer, and Boieldieu) of ~[PN76,0,0,L,I0]which
best-known were [cf2]Les Rigueurs du clo;Afitre ~[cf1]([sm1790[nm), a `rescue op
era' which was an exemplar ~for [cf2]Fidelio[cf1], and [cf2]Mont
ano et St;Aaephanie [cf1]([sm1799[nm). Wrote ~pamphlets attacking Rossini.[cm~Be
rtoni, Ferdinando Gasparo [fy75,1]([cf2]b [cf1]Sal;ago, Venice, ~[sm1725[nm; [cf
2]d [cf1]Desenzano, Brescia, [sm1813[nm). It. composer, ~pupil of Padre [fy45,1]
*[fy75,1]Martini. Organist St Mark's ~Venice, [sm1752[nm=n[sm85[nm. Comp. [cf2]O
rfeo [cf1]([sm1776[nm) to same lib. ~as Gluck. Several visits to London to condu
ct his ~own operas (of which he wrote about [sm50[nm). Became ~cond. at St Mark'
s [sm1785[nm on death of [fy45,1]*[fy75,1]Galuppi.[cm~Bertrand, Antoine de [fy75
,1]([cf2]b c[cf1].[sm1540[nm; [cf2]d [cf1]Toulouse, ~[cf2]c[cf1].[sm1580[nm). Fr
. composer. Comp. notable [sm4[nm-part ~settings of Ronsard Sonnets, using half-
modal, ~half-tonal harmonic idiom.[cm~Berutti, Arturo [fy75,1]([cf2]b [cf1]San J
uan, [sm1862[nm; [cf2]d [cf1]Buenos ~Aires, [sm1938[nm). Arg. composer. Studied
with [fy45,1]*[fy75,1]Rei~~[chnecke at Leipzig, then in Paris and Milan. From ~[
sm1896[nm worked in Buenos Aires, composing instr. ~works and op
eras of strong nat. character. Operas ~incl. [fy45,1]*[fy75,2]Taras Bulba [cf1](
[sm1895[nm) and [cf2]Pampa [cf1]([sm1897[nm).[xm[cm~[ol0][ep~[xp[te~











[do25][j99]~~~~~~[sm153842[nm_BC[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmBC[sm01[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm19[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm285[nm[cm~GC[cm6[cm2-10-84[cm~U1[cm~~~~[ap[j1]Berwald, Franz
 [fy75,1](Adolf) [cf1]([cf2]b [cf1]Stockholm, [sm1796[nm; [cf2]d ~[cf1]Stockholm
, [sm1868[nm). Swed. composer (mainly self-~taught), and violinist. Studied in B
erlin where he ~comp. opera [cf2]Der Verr;Auater. [cf1]Lived for time in ~Vienna
, where opera [cf2]Estrella di Soria [cf1]was comp., ~also orch. works. Returned
 to Sweden, where his ~work was unfavourably received, so went back to ~Vienna,
where Jenny Lind sang in his opera [cf2]Ein ~L;auandlisches Verlobungsfest in Sc
hweden[cf1] (A Swedish ~country betrothal, [sm1847[nm). His chamber mus. is ~rew
arding, also his [sm4[nm syms., of which only No. [sm1[nm ~in G minor ([cf2]S;Aa
erieuse[cf1]) was perf. in his lifetime. No. ~[sm3[nm in C major ([cf2]Singuli;A
gere[cf1]) ([sm1845[nm) has become ~relatively popular. The best
-known of his operas ~is the last, [cf2]Queen of Golconda[cf1], [sm1864[nm. Also
 wrote vn. ~conc. ([sm1820[nm), pf. conc. ([sm1855[nm), [sm3[nm str. qts. ([sm18
18[nm, ~[sm1849[nm, [sm1849[nm), [sm2[nm pf. quintets ([sm1853[nm, [cf2]c.[cf1][
sm1850=n7[nm), and ~Septet in B;yh (?[sm1828[nm).[cm~Bes [fy75,1](Ger.). The not
e B;Yh;Yh.[cm~B;aaesard, Jean Baptiste [fy75,1]([cf2]b [cf1]Besan;Alcon, [sm1567
[nm; [cf2]d [cf1]?S. ~Ger., after [sm1617[nm). Fr. amateur composer and ~lutenis
t. Worked variously in Rome, Cologne, ~and Augsburg. Author of books on medicine
, ~history, and philosophy. Pubd. [sm2[nm vols. of lute ~mus., incl. own comps.,
 [sm1603[nm and [sm1617[nm.[cm~Besch, Anthony [fy75,1](=+=+=+=+John Elwyn) ([cf2
]b [cf1]London, [sm1924[nm). ~Eng. opera producer for Glyndebourne, ENO, ~Scotti
sh Opera, NY City Opera, San Francisco ~Opera, and others.[cm~Besozzi. [fy75,1]I
t. family of orch. musicians specializing ~in woodwind, particularly ob. Headed
by Alessan~~dro ([cf2]b [cf1]Parma, [sm1702[nm; [cf2]d [cf1]Turi
n, [sm1793[nm) who comp. ~several trio sonatas, etc. Second generation settled ~
in Paris where the last member, Louis D;Aaesir;Aae ([cf2]b ~[cf1]Versailles, [sm
1814[nm) died in [sm1879[nm.[cm~Besson, Gustave Auguste [fy75,1]([cf2]b [cf1]Par
is, [sm1820[nm; [cf2]d [cf1]Paris, ~[sm1875[nm). Fr. maker of mus. instr. Prod.
a new cornet ~when only [sm18[nm. Many inventions to improve valve-~mechanism of
 cornet, most successful being ~`prototype system' of construction with conical
~steel mandrels. Also invented db. cl., and family ~of `cornophones' to reinforc
e orch. hns. Branch ~factory opened London [sm1851[nm.[cm~Best, William Thomas [
fy75,1]([cf2]b [cf1]Carlisle, [sm1826[nm; [cf2]d ~[cf1]Liverpool, [sm1897[nm). E
ng. organist, recognized as the ~greatest concert organist of his time, the chie
f ~centre of his activities being St George's Hall, ~Liverpool, [sm1855[nm=n[sm9
4[nm. Assoc. for [sm21[nm years with ~Handel fests. in London. Arr. many works f
or his ~instr. Ed. Bach's org. works, and wrote books on ~organ-
playing. Gave first recital on Royal Albert ~Hall organ, [sm1871[nm.[cm~Bestimmt
 [fy75,1](Ger.). ([sm1[nm) Decided (in style). ([sm2[nm, applied ~to a particula
r line in the score) Prominent.[cm~Besuch der Alten Dame, Der [fy75,1](Einem). S
ee [cf2]Visit ~of the Old Lady[cf1], [cf2]The[cf1].[cm~Bethlehem. [fy75,1]Choral
-drama by [fy45,1]*[fy75,1]Boughton. Lib. ~based on medieval Coventry Play. (Pro
d. Street, Somerset, [sm1915[nm).[cm~Bethlehem, [fy75,1]Penn. Known for its fest
s., which ~began in [sm1742[nm with Moravian settlers. Since [sm1900[nm ~fest. h
as been given by Bethlehem Bach Choir, ~with orch. recruited from leading Amer.
orch. ~musicians.[cm~Betonung [fy75,1](Ger.). Accentuation.[cm~Betrothal in a Nu
nnery [fy75,1](Prokofiev). See [cf2]Duenna[cf1], ~[cf2]The.[cm~Bettelstudent, De
r [fy75,1](The Beggar Student). Oper~~etta in [sm3[nm acts by [fy45,1]*[fy75,1]M
ill;Auocker to lib. by F. Zell and ~R. Gen;Aaee. Prod. Vienna [sm1882[nm, NY [sm
1883[nm, London ~[sm1884[nm.[cm~Betz, Franz [fy75,1]([cf2]b [cf1
]Mainz, [sm1835[nm; [cf2]d [cf1]Berlin, [sm1900[nm). Ger. ~bass-bar. Studied Kar
lsruhe, d;Aaebut Hanover [sm1856[nm. ~Created role of Hans Sachs in Wagner's [cf
2]Meistersin~~ger[cf1], Munich [sm1868[nm, and sang Wotan at first ~Bayreuth Fes
t. [sm1876[nm. First Berlin Falstaff (Verdi).[cm~Bevignani, Enrico [fy75,1]([cf2
]b [cf1]Naples, [sm1841[nm; [cf2]d [cf1]Naples, ~[sm1903[nm). It. cond. and comp
oser. Spent much of his ~career in London. R;Aaep;Aaetiteur at Her Majesty's Th.
 ~[sm1863[nm=n[sm9[nm. Cond., CG [sm1869[nm=n[sm87[nm and [sm1890[nm=n[sm6[nm, N
Y ~Met. [sm1894[nm=n[sm1900[nm. Cond. first London perfs. of ~[cf2]Aida [cf1]([s
m1876[nm) and [cf2]Pagliacci [cf1]([sm1893[nm). Patti insisted on ~his conductin
g for her whenever possible.[cm~Bevin, Elway [fy75,1]([cf2]b [cf1][sm1554[nm; [c
f2]d [cf1]Bristol, [sm1638[nm). Welsh ~composer, and organist of Bristol Cath. f
rom ~[sm1589[nm. Wrote book on mus. theory. Pupil of ~[fy45,1]*[fy75,1]Tallis.[c
m~Bevington and Sons. [fy75,1]Eng. firm of org.-builders ~founde
d in London [sm1794[nm by Henry Bevington. ~Built orgs. of St Martin-in-the-Fiel
ds, London, ~and St Patrick's Cath., Dublin.[cm~Beweglich [fy75,1](Ger.). Agile.
 So [cf2]Beweglichkeit[cf1], agility.[cm~[PN77,0,0,R,I0]Bewegt. [fy75,1]([sm1[nm
) Moved, i.e. speeded. ([sm2[nm) Moved, i.e. ~emotionally. [fy65][cf3]Bewegter.
[fy75,1]Quicker. [fy65][cf3]Bewegung. [fy75,1]([sm1[nm) ~Rate of motion, speed.
([sm2[nm) Emotion. ([sm3[nm) Commo~~tion.[cm~Beydts, Louis [fy75,1]([cf2]b [cf1]
Bordeaux, [sm1895[nm; [cf2]d [cf1]Caud;Aaeran, ~[sm1953[nm). Fr. composer of ope
rettas and instr. mus. ~Wrote mus. for film [cf2]La Kermesse Hero;Auique.[cm~Bey
schlag, Adolf [fy75,1]([cf2]b [cf1]Frankfurt-am-Main, [sm1845[nm; ~[cf2]d [cf1]M
ainz, [sm1914[nm). Ger. cond. and composer. Worked ~in Cologne, Treves, and Fran
kfurt, also in Belfast, ~Manchester (with Hall;Aae), and Leeds (cond. Phil. ~Soc
.). Went to Berlin as teacher, [sm1902[nm. Pubd. ~treatise on ornamentation, Lei
pzig, [sm1908[nm.[cm~Bezekirsky, Vasily [fy75,1]([cf2]b [cf1]Mos
cow, [sm1835[nm; [cf2]d [cf1]Moscow, ~[sm1919[nm). Russ. violinist and composer.
 Many tours ~abroad as soloist. Leader, Imperial Th., Moscow, ~orch. [sm1871[nm=
n[sm91[nm. Prof. of vn., Moscow Cons. of ~Phil. Soc. [sm1882[nm=n[sm1902[nm. Com
p. orch. works incl. ~vn. conc. and wrote cadenzas for concs. of ~Beethoven and
Brahms.[cm~Bialas, G;auunter [fy75,1]([cf2]b [cf1]Bielschowitz, [sm1907[nm). Ger
. ~composer and teacher. Studied at Breslau Univ. ~[sm1925=n7[nm, Berlin Acad. o
f Church and Sch. Mus. ~[sm1927=n33[nm. Taught mus. theory at Breslau Univ. ~[sm
1940=n1[nm. In [sm1947[nm taught in Weimar; teacher of ~comp. N.W. Ger. Acad. of
 Mus., Detmold, [sm1948=n~59[nm (prof. from [sm1950[nm), Munich Municipal Sch. o
f ~Mus. from [sm1959[nm. Comps. incl. [sm3[nm operas, Conc. for ~Orch. ([sm1938[
nm), va. conc. ([sm1940[nm), fl. conc. ([sm1947[nm), vn. ~conc. ([sm1947[nm), cl
. conc. ([sm1961[nm), vc. conc. ([sm1962[nm), ~choral works, songs, [sm3[nm str.
 qts., and vn. sonata.[cm~Bianca [fy75,1](It.). White. Half-note
 or minim.[cm~Bianca und Giuseppe. [fy75,1]Opera in [sm4[nm acts by Kittl ~(prod
. [sm1848[nm) memorable only because lib. is by ~Wagner, who adapted K;Auonig's
novel for his own ~use in [sm1836[nm but did not set it.[cm~Bianchi, Francesco [
fy75,1]([cf2]b [cf1]Cremona, [sm1752[nm; [cf2]d [cf1]Ham~~mersmith, [sm1810[nm).
 It. composer of over [sm80[nm operas ~and oratorios. Worked at It. Opera in Par
is under ~Piccinni, [sm1775[nm. From [sm1785[nm to [sm1797[nm was [sm2[nmnd ~org
anist at St Mark's, Venice. Went to London ~[sm1794[nm. Wrote opera [cf2]Inez de
 Castro [cf1]for It. d;Aaebut of ~Elizabeth [fy45,1]*[fy75,1]Billington. Cond. i
n Dublin, [sm1797[nm=n~[sm1801[nm. Among operas are [cf2]Semiramide [cf1]([sm179
0[nm), [cf2]Acis ~and Galatea [cf1]([sm1792[nm), and [cf2]Alzira [cf1]([sm1801[n
m). Took own ~life.[cm~Biancolli, Louis Leopold [fy75,1]([cf2]b [cf1]NY, [sm1907
[nm). Amer. ~mus. critic, chiefly for [cf2]World-Telegram and Sun ~[cf1][sm1928[
nm=n[sm66[nm. Programme annotator NY Phil. [sm1941[nm=n~[sm1949[
nm. Author of several books, incl. biography of ~Kirsten Flagstad ([sm1952[nm).[
cm~Bibalo, Antonio [fy75,1]([cf2]b [cf1]Trieste, [sm1922[nm). It. composer ~who
settled in Norway. Studied with E. [fy45,1]*[fy75,1]Lutyens. ~Has concentrated p
rincipally on opera. Comps. in ~this genre incl. [cf2]The Smile at the foot of t
he ladder ~[cf1](based on story by Henry Miller, comp. [sm1958=n~62[nm), [cf2]Mi
ss Julie [cf1](based on Strindberg's play, comp. ~[sm1973[nm, rev. with orch. re
duced to pf. and str. qt. ~[sm1983=n4[nm), and [cf2]Ghosts [cf1](based on Ibsen'
s play, comp. ~[sm1981[nm).[cm~Bibelorgel, Bibelregal [fy75,1](Ger.). A type of
Regal, a ~reed org. which came into use in the [sm15[nmth cent. ~and remained po
pular into the [sm17[nmth. In appear~~ance it was a small, portable, single-manu
al org. ~of small compass, but the pipes (all short) were at ~first all reed-pip
es, the reeds being of that type ~called `Beating Reeds' (see [cf2]Reed[cf1]): l
ater flue pipes ~were sometimes added. The Bible Regal folded in
 ~[sm2[nm like a book.[cm~Biber, Heinrich Ignaz Franz von [fy75,1]([cf2]b [cf1]W
arten~~berg, Bohemia, [sm1644[nm; [cf2]d [cf1]Salzburg, [sm1704[nm). Ger.-~Bohem
ian violinist and composer, becoming ~Kapellmeister at Salzburg, [sm1684[nm. Pro
lific com~~poser for vn., also wrote operas, chamber mus., ~tpt. conc., and `Nig
htwatchman' Serenade (for [sm2[nm ~vn., [sm2[nm va., and continuo).[cm~Biblical
Songs. [fy75,1][sm10[nm settings for v. and pf. by ~Dvo;Akr;Aaak, comp. [sm1894[
nm as his Op. [sm99[nm, of passages ~from the Psalms. Nos. [sm1[nm and [sm5[nm o
rch. Dvo;Akr;Aaak.[cm~Biches, Les. [fy75,1](The Hinds; colloq. The Little ~Darli
ngs). Ballet in [sm1[nm act with ch., incorporating ~[sm17[nmth-cent. texts, com
p. by Poulenc in [sm1923[nm and ~prod. Monte Carlo [sm1924[nm. Scenario by compo
ser, ~choreog. Nijinskaya. Suite (re-scored) [sm1940[nm.[cm~Bicinium [fy75,1](La
t.). A [sm2[nm-v. song.[cm~Biene, August van [fy75,1]([cf2]b [cf1]Holland, [sm18
50[nm; [cf2]d [cf1]Eng., ~[sm1913[nm). Dutch cellist. Went to Lo
ndon as child and ~played in streets; discovered by [fy45,1]*[fy75,1]Costa. Comp
. ~popular [cf2]The Broken Melody [cf1]and played it (in mus. ~halls, etc.) over
 [sm6[nm,[sm000[nm times.[cm~Biggs, [fy75,1](Edward George) [fy65][cf3]Power [fy
75,1]([cf2]b [cf1]Westcliff-on-~Sea, [sm1906[nm; [cf2]d[cf1] Boston, Mass., [sm1
977[nm). Eng.-born ~concert organist (Amer. citizen [sm1937[nm). Studied ~RAM. S
pecialized in reviving neglected classical ~works, often on reconstructions of o
ld instr. ~Commissioned works from Amer. composers.[cm~Bigophone, Bigotphone. [f
y75,1]Improved [fy45,1]*[fy75,1]mirliton ~introduced by Bigot, a Frenchman, in t
he [sm1880[nms. ~Often made up to resemble the various brass ~instr.[cm~Bih;Aaar
i, J;Aaanos [fy75,1]([cf2]b [cf1]Nagyabony, [sm1764[nm; [cf2]d [cf1]Pest, [sm182
7[nm). ~Hung. violinist and composer credited with ~composing the [fy45,1]*[fy75
,2]R;Aaak;Aaoczy March[cf1], although version ~of the tune already existed.[cm~B
ilitis, Chansons de [fy75,1](Debussy). See [cf2]Chansons de ~Bil
itis.[cm~Billings, William [fy75,1]([cf2]b [cf1]Boston, Mass., [sm1746[nm; [cf2]
d ~[cf1]Boston, [sm1800[nm). One of first Amer.-born composers, ~he abandoned ta
nning for mus. Wrote much ~church mus., including `fuguing pieces', essays in ~i
mitative counterpoint. Comp. patriotic songs.[cm~Billington, Elizabeth [fy75,1](
[cf2]b [cf1]London, [sm1765[nm; [cf2]d [cf1]Venice, ~[sm1818[nm). Eng. sop. with
 European reputation. ~Daughter of Carl Weichsel, Ger.-born oboist at ~King's Th
., London. Child prodigy as pianist and ~[PN78,0,0,L,I0]composer. Studied with J
. C. Bach. In [sm1783[nm ~married James Billington, db. player, with whom ~she a
lso studied. Began opera career in Dublin, ~[sm1783[nm, as Polly in [cf2]Beggar[
cf1]'[cf2]s Opera. [cf1]Sang in Naples ~[sm1794[nm in Bianchi's [cf2]Inez di Cas
tro. [cf1]Paisiello, Pa;Auer, ~and Himmel wrote operas for her. First Eng. ~Vite
llia in Mozart's [cf2]La clemenza di Tito[cf1], London ~[sm1806[nm. Retired [sm1
817[nm, living in Venice from [sm1817[nm. ~Painted by Reynolds.[
cm~Billroth, Theodor [fy75,1]([cf2]b [cf1]Bergen, Isle of R;Auugen, [sm1829[nm;
~[cf2]d [cf1]Abazzia, [sm1894[nm). Prussian surgeon and amateur ~musician, famou
s as close friend of Brahms in ~Vienna from [sm1867[nm. Many of Brahms's chamber
 ~works received private f.ps. at his soir;Aaees. Corre~~spondence with Brahms p
ubd.[cm~Billy Budd. [fy75,1]Opera, orig. in [sm4[nm acts, by Britten, ~Op. [sm50
[nm, to lib. by E. M. Forster and Eric Crozier ~from Melville's story. Comp. [sm
1950[nm=n[sm1[nm, prod. ~London [sm1951[nm, NY (TV) [sm1952[nm. Rev. in [sm2[nm
acts for ~BBC radio prod., broadcast Nov. [sm1960[nm. F. stage p. ~of this verso
n, CG [sm1964[nm, Chicago [sm1970[nm. Subject ~also of opera by [fy45,1]*[fy75,1
]Ghedini (Venice [sm1949[nm).[cm~Billy the Kid. [fy75,1]Ballet in [sm1[nm act, m
us. by Copland, ~to lib. by Kirstein, choreog. Loring; comp. for ~Ballet Caravan
 [sm1938[nm (Chicago). Subject was `Wild ~West' gunman (William Bonney). Concert
 Suite ~for orch., and pf. suite, [sm1938[nm.[cm~Binary Form. [f
y75,1]Literally, a form in [sm2[nm sections. ~Simple binary form, as in an [sm18
[nmth-cent. kbd. ~suite, has no strong contrast of material. The first ~section
opens in the Tonic key and then (subject ~to an exception shortly to be mentione
d) modu~~lates, as it ends, into the key of the Dominant. ~The [sm2[nmnd section
 then opens in that [sm2[nmnd key and, ~before it ends, modulates back to the [s
m1[nmst. There ~are, then, [sm2[nm distinct main cadences, or points of ~rest, t
he [sm1[nmst in the Dominant and the [sm2[nmnd in the ~Tonic. The exception just
 referred to occurs if the ~piece is in a minor key, when the [sm1[nmst section
~sometimes ends in the relative major. This form ~is unsuitable for very long pi
eces, since the variety ~offered to the listener is almost entirely confined ~to
 details of treatment and the element of key, ~the thematic material employed th
roughout ~being the same. Since the deaths of Bach and ~Handel, this form has be
en little used. It developed ~into compound binary form, another
 name for ~[fy45,1]*[fy75,1]Sonata form.[cm~Binchois, Gilles de Bins[fy75,1] ([c
f2]b[cf1] ?Mons, [cf2]c.[cf1][sm1400[nm; [cf2]d[cf1] ~Soignies, [sm1460[nm). Fra
nco-Flemish composer and ~organist. Regarded as one of major composers of ~early
 part of [sm15[nmth cent. Probably trained as ~chorister and thought to have bee
n soldier in ~service of Earl of Suffolk in Eng. occupation army ~in France. In
[sm1420[nms joined Burgundian court ~chapel. Provost of collegiate church of St
Vincent, ~Soignies, from [sm1452[nm. Most of his surviving secular ~songs are ro
ndeaux. Church mus. incl. a [cf2]Te Deum,[cf1] ~several settings of the [cf2]Mag
nificat, Credo[cf1], and ~[cf2]Gloria[cf1], but no complete [cf2]Mass[cf1] survi
ves.[cm~Bind. [fy75,1]See [cf2]Tie or Bind.[cm~[fy65][cf3]Binet, Jean [fy75,1]([
cf2]b[cf1] Geneva, [sm1893[nm; [cf2]d [cf1]Tr;Aaelex-sur-Nyon, ~[sm1960[nm). Swi
ss composer of choral, orch., and ~chamber works; pupil of Jaques-Dalcroze and ~
Bloch. Taught in USA and Belg.[cm~Bing, [fy75,1](Sir)[fy65][cf3]
 Rudolf [fy75,1](Franz Joseph) ([cf2]b [cf1]Vienna, ~[sm1902[nm). Austrian-born
impresario. Studied Vienna ~Univ., then worked in concert agency [sm1923[nm=n[sm
7[nm. At ~Darmstadt State Th., [sm1928[nm=n[sm30[nm, and Charlotten~~burg-Berlin
 Opera [sm1930[nm=n[sm3[nm, under Carl [fy45,1]*[fy75,1]Ebert. ~Went to Eng. (na
turalized [sm1946[nm) and was man~~ager, [fy45,1]*[fy75,1]Glyndebourne Opera [sm
1935[nm=n[sm9[nm and [sm1946[nm=n[sm9[nm. ~First dir., [fy45,1]*[fy75,1]Edinburg
h Festival, [sm1947[nm=n[sm9[nm. Gen. ~man. NY Met., [sm1950[nm=n[sm72[nm. C.B.E
. [sm1956[nm. Knighted ~[sm1971[nm.[cm~Binge, Ronald [fy75,1]([cf2]b [cf1]Derby,
 [sm1910[nm; [cf2]d[cf1] Ringwood, ~Hants, [sm1979[nm). Eng. composer of light o
rch. works ~such as [cf2]Elizabethan Serenade[cf1], [cf2]Spitfire[cf1], [cf2]Tha
mes ~Rhapsody[cf1], also alto sax. conc. and film mus. Began ~career as cinema o
rganist. Became arr. in [sm1935[nm ~for Mantovani, whose post-[sm1945[nm `singin
g strings' ~style was his creation.[cm~Biniou [fy75,1](Fr.). [cf
1]Bagpipe.[cm~Binkerd, Gordon Ware [fy75,1]([cf2]b [cf1]Lynch, Nebraska, ~[sm191
6[nm). Amer. composer; studied at Eastman Sch. ~[sm1940[nm=n[sm1[nm and Harvard
Univ. [sm1946[nm=n[sm9[nm (comp. with ~W. Piston). Prof. of comp., Illinois Univ
., [sm1949[nm=n~[sm71[nm. Comps. incl. [sm3[nm syms., [sm2[nm str. qts., and a s
ong-~cycle and choral work, both to words by Hardy.[cm~Binns, Malcolm [fy75,1]([
cf2]b [cf1]Gedling, Nottingham, [sm1936[nm). ~Eng. pianist. Studied RCM. London
d;Aaebut [sm1957[nm. ~Prof. of pf., RCM, [sm1962[nm=n[sm9[nm. Specialist in perf
. of ~works on instr. of the period in which they were ~composed.[cm~Biondi, Gio
vanni Battista [fy75,1]([cf2]b [cf1]Cesena, [cf2]fl. [cf1][sm1605=n~30[nm). It.
Minorite friar known to have worked in ~Bologna and in Brisighella, near Faenza.
 Comp. ~[sm19[nm vols. of motets, masses, psalms, etc. pubd. in ~Venice [sm1606[
nm=n[sm30[nm.[cm~Birch, John [fy75,1](Anthony) [cf1]([cf2]b [cf1]Leek, Staffs, [
sm1929[nm). ~Eng. organist and choirmaster. Studied RCM. ~Organi
st, Chichester Cath. from [sm1958[nm; prof. of ~org., RCM from [sm1959[nm.[cm~Bi
rd Organ [fy75,1](or Serinette). Simple form of the ~[fy45,1]*[fy75,1]`Orgue de
Barbarie', intended by reiteration of a ~short tune to teach captive birds to si
ng. (Serin, ~Fr.;eqthe domestic canary.)[cm~Birds, The [fy75,1]([cf2]Gli uccelli
[cf1]). Suite for small orch. by ~[fy45,1]*[fy75,1]Respighi. Based on [sm17[nmth
- and [sm18[nmth-cent. bird-~pieces for lute and for hpd. In [sm5[nm movements:
~[cf2]Prelude[cf1], [cf2]Dove[cf1], [cf2]Hen[cf1], [cf2]Nightingale[cf1], and [c
f2]Cuckoo. [cf1](F.p. ~S;Atao Paulo, Brazil, [sm1927[nm.)[cm~Birmingham. [fy75,1
]City in West Midlands, Eng., with ~splendid mus. tradition. Fest. was held ther
e ~triennially, with occasional breaks, from [sm1768[nm to ~[sm1912[nm. [fy45,1]
*[fy75,1]Costa cond., [sm1849[nm=n[sm82[nm; Mendelssohn's ~[cf2]Elijah [cf1]f.p.
 [sm1846[nm and Gounod's [cf2]R;aaedemption [cf1][sm1882[nm. ~[PN79,0,0,R,I0][fy
45,1]*[fy75,1]Richter became cond. [sm1885[nm. Byrd's Mass in [s
m5[nm ~parts was revived [sm1900[nm. Most significant fest. f.ps. ~were of Elgar
 works: [cf2]The Dream of Gerontius ~[cf1]([sm1900[nm), [cf2]The Apostles [cf1](
[sm1903[nm), [cf2]The Kingdom [cf1]([sm1906[nm), ~[cf2]The Music Makers [cf1]([s
m1912[nm). Sibelius cond. f.p. in ~England of his [sm4[nmth Sym., [sm1912[nm. CB
SO was ~founded [sm1920[nm with Appleby Matthews as cond. ~(though first concert
 cond. Elgar). Conds. since ~then have been [fy45,1]*[fy75,1]Boult [sm1924[nm=n[
sm30[nm, [fy45,1]*[fy75,1]Heward [sm1930[nm=n~[sm1943[nm, [fy45,1]*[fy75,1]Weldo
n [sm1943[nm=n[sm51[nm, [fy45,1]*[fy75,1]Schwarz [sm1951[nm=n[sm7[nm, ~[fy45,1]*
[fy75,1]Panufnik [sm1957[nm=n[sm9[nm, [fy45,1]*[fy75,1]Rignold [sm1960[nm=n[sm8[
nm, [fy45,1]*[fy75,1]Fr;Aaemaux ~[sm1969[nm=n[sm78[nm, [fy45,1]*[fy75,1]Rattle f
rom [sm1980[nm. Birmingham Sch. ~of Mus. developed slowly until appointment of ~
[fy45,1]*[fy75,1]Bantock as prin., [sm1900[nm. Orig. part of Birming~~ham and Mi
dland Institute and formally consti~~tuted in [sm1886[nm but now
 part of City of Birmingham ~Polytechnic and in new building since [sm1973[nm. ~
Pupils have incl. Julius Harrison, Frank Mullings, ~and Clarence Raybould. Other
 prins. have been ~A. K. Blackall ([sm1934[nm=n[sm45[nm), Christopher Edmunds ~(
[sm1945[nm=n[sm57[nm), Steuart [fy45,1]*[fy75,1]Wilson ([sm1957[nm=n[sm60[nm), G
ordon ~[fy45,1]*[fy75,1]Clinton ([sm1960[nm=n[sm73[nm), and L. Carus from [sm197
3[nm. At ~univ., Peyton Chair of Mus. was founded [sm1905[nm ~with Elgar as firs
t prof. Succeeded by Bantock ~([sm1908[nm), other incumbents being V. Hely-Hutch
~~inson, J. A. Westrup, A. Lewis, and I. Keys.[cm~Birtwistle, Harrison [fy75,1](
Paul) [cf1]([cf2]b [cf1]Accrington, [sm1934[nm). ~Eng. composer. As clarinettist
, entered RMCM ~[sm1952[nm, studying comp. with Richard [fy45,1]*[fy75,1]Hall. W
hile ~still a student was one of Manchester New Music ~Group (with A. [fy45,1]*[
fy75,1]Goehr, P. [fy45,1]*[fy75,1]Maxwell Davies and ~J. [fy45,1]*[fy75,1]Ogdon)
, performing [cf2]avant-garde[cf1] works. Leav~~ing RMCM in [sm1
960[nm, spent a year at RAM. From ~[sm1962[nm to [sm1965[nm was dir. of mus., Cr
anborne Chase ~Sch. In USA [sm1966[nm=n[sm8[nm, first year as visiting fellow, ~
Princeton Univ. With Maxwell Davies formed ~[fy45,1]*[fy75,1]Pierrot Players in
London for perf. of new ~chamber mus. involving theatrical elements ~(named afte
r [cf2]Pierrot Lunaire[cf1]). Received commis~~sions for works from many organiz
ations and ~rapidly moved into forefront of Eng. composers ~of his generation. M
usic marked by genuine ~lyrical impulse built on dramatic use of ostinato ~and r
epeated thematic fragments. A strong poetic ~feeling pervades all his work. Prin
. comps.:[xm[cm~[j2][smopera and dramatic[nm: [fy45,1]*[fy75,2]Punch and Judy [c
f1]([sm1966[nm=n[sm7[nm); [fy45,1]*[fy75,2]Down ~by the Greenwood Side [cf1]([sm
1968=n9[nm); [cf2]The Mask of Orpheus[cf1], ([sm1973=n5[nm, [sm1981=n4[nm); [cf2
]Bow Down [cf1]([sm1977[nm); [cf2]Yan Tan Tethera[cf1], [smtv[nm opera ([sm1983=
n4[nm).[ep~[smballet[nm: [cf2]Frames, Pulses and Interruptions[c
f1] ([sm1977[nm).[ep~[smorch[nm: [cf2]Chorales [cf1]([sm1960[nm=n[sm3[nm); [cf2]
[sm3[nm Movements with Fan~~fares [cf1]([sm1964[nm); [cf2]Nomos [cf1]([sm1967=n8
[nm); [cf2]An Imaginary Land~~scape [cf1]([sm1971[nm); [cf2]The Triumph of Time
[cf1]([sm1972[nm); ~[cf2]Melencolia I [cf1]([sm1976[nm); [cf2]Still Movement[cf1
], [sm13[nm solo str. ([sm1984[nm).[ep~[sminstrumental[nm (without v.); [cf2]Ref
rains and Choruses, ~[cf1]wind quintet ([sm1957[nm); [cf2]The World is Discovere
d[cf1], ~chamber ens. ([sm1960[nm); [cf2]Tragoedia[cf1], wind quintet, ~hp., str
. qt. ([sm1965[nm); [cf2]Verses for Ensembles[cf1], wind ~quintet, brass, perc.
([sm1969[nm); [cf2]Some Petals from the ~Garland[cf1], chamber ens. ([sm1969[nm)
; [cf2]Medusa[cf1], ens. ~([sm1969[nm=n[sm70[nm, rev. [sm1980[nm);  [cf2]Dinah a
nd Nick's Love Song[cf1], ~[sm3[nm sop. sax., hp., or [sm3[nm cor. ang., hp. ([s
m1972[nm); ~[cf2]Tombeau, in  mem. Igor Stravinsky[cf1], fl., cl., hp., str. ~qt
. ([sm1972[nm); [cf2]Chorales from a Toyshop[cf1] ([sm1974[nm);
[cf2]Silbury ~Air[cf1], chamber ens. ([sm1977[nm); [cf2]Carmen Arcadiae ~Mechani
cae Perpetuum[cf1], chamber ens. ([sm1977[nm); ~[cf2]For O, For O, the Hobby Hor
se is Forgot[cf1], [sm6[nm perc. ~players ([sm1976[nm); [cf2]Pulse Sampler[cf1],
 ob. and claves ~([sm1981[nm).[ep~[sminstrumental[nm (with vv.): [cf2]Monody for
 Corpus Christi[cf1] ~([sm1959[nm); [cf2]Entr'actes and Sappho Fragments[cf1], s
op. and ~ens. ([sm1964[nm); [cf2]Cantata[cf1], sop. and ens. ([sm1969[nm); [cf2]
Nenia ~on the Death of Orpheus[cf1], sop. and ens. ([sm1970[nm); ~[cf2]Prologue[
cf1], ten. and ens. ([sm1970[nm); [cf2]The Fields of ~Sorrow[cf1], [sm2[nm sop.,
 ch., and ens. ([sm1971[nm, rev. [sm1972[nm); [cf2]Meridian[cf1], ~mez., ch., an
d ens. ([sm1970=n1[nm); [cf2]La Plage[cf1], sop., [sm3[nm cl., ~pf., marimba ([s
m1972[nm); .|.|. agm .|.|.|, [sm16[nm solo vv. ~and [sm3[nm instr. ens. ([sm1978
=n9[nm).[ep~[smunacc. voices[nm: [cf2]Description of the Passing of a Year[cf1],
 ~ch. ([sm1963[nm); [cf2]On the Sheer Threshold of the Night[cf1
], [sm4[nm ~solo vv. and [sm12[nm-part ch. ([sm1980[nm).[ep~[smbrass band[nm: [c
f2]Grimethorpe Aria[cf1] ([sm1973[nm).[ep~[smelectronic[nm: [cf2][sm4[nm Interlu
des from a Tragedy[cf1], cl. and ~tape ([sm1968=n9[nm); [cf2]Chronometer[cf1], [
sm8[nm-track tape ([sm1971=n2[nm).[ep~[smchamber music[nm: [cf2]Verses[cf1], cl.
, pf. ([sm1965[nm); [cf2]Linoi[cf1], cl., pf. ~([sm1968[nm), with tape and dance
r added ([sm1969[nm), cl., pf., vc. (1973); cl. quintet ([sm1980[nm); [cf2]Deowa
[cf1], sop., cl. ([sm1983[nm); ~[cf2]Duets for Storab[cf1], [sm2[nm fl. ([sm1983
[nm).[ep~[smincidental music[nm: [cf2]Hamlet[cf1] ([sm1975[nm).[cm~[ol0][ep~[xp[
te~




[do25][j99]~~~~~~[sm153842[nm_BC[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmBC[sm02[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm22[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm332[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~~[ap[j1]Bis [fy75
,1](Fr.). Twice. ([sm1[nm, at a concert) `Encore!'. ([sm2[nm, in a ~score) Repea
t the passage.[cm~Bisbigliando[cf1] (It. `Whispering'=+). Effect used on ~harp.
Constantly repeated notes are played ~[cf2]pianissimo[cf1] in upper and middle r
egisters. Involves ~both hands playing adjacent strings set to same ~pitch with
the pedals.[cm~Biscroma [fy75,1](It.). The [sm32[nmnd note or demisemi~~quaver.[
cm~Bishop, [fy75,1](Sir)[fy65][cf3] Henry [fy75,1](Rowley)[fy65][cf3] [fy75,1]([
cf2]b [cf1]London, [sm1786[nm; ~[cf2]d [cf1]London, [sm1855[nm). Eng. composer a
nd cond., pupil ~of F. [fy45,1]*[fy75,1]Bianchi. Engaged in [sm1810[nm to cond.
and ~compose for CG. Founder member and dir., ~London Phil. Soc., [sm1813[nm. Le
ft CG [sm1824[nm, becoming ~mus. dir. Drury Lane. `Adapted' othe
r composers' ~operas for Eng. stage, incl. Mozart's [cf2]Figaro [cf1]and ~[cf2]D
on Giovanni. [cf1]Prof. of mus. Edinburgh Univ. ~[sm1841[nm=n[sm3[nm, Oxford Uni
v. [sm1848[nm=n[sm55[nm. Knighted [sm1842[nm, ~first musician to be thus honoure
d. Of his large ~output only [sm2[nm songs effectively survive, [fy45,1]*[fy75,2
]Home, ~Sweet Home [cf1]and [cf2]Lo[cf1], [cf2]Here the Gentle Lark.[cm~Bishop-K
ovacevich, Stephen [fy75,1]([cf2]b [cf1]Los Angeles, ~[sm1940[nm). Amer. pianist
 of Yugoslav parentage, ~living in Eng. Studied with Lev Shorr; d;Aaebut ~[sm195
1[nm (San Francisco). Studied with Myra [fy45,1]*[fy75,1]Hess in ~London, [sm195
9[nm, d;Aaebut Wigmore Hall, [sm1961[nm. Int. ~tours as recitalist and in concs.
 Dedicatee and first ~player of Richard Rodney Bennett's conc.[cm~Bispham, David
[fy75,1] (Scull) [cf1]([cf2]b [cf1]Philadelphia, [sm1857[nm; [cf2]d ~[cf1]NY, [s
m1921[nm). Amer. operatic and concert bar. Pupil ~of Lamperti in Milan. Eng. d;A
aebut [sm1891[nm in ~Messager's [cf2]La Basoche[cf1]; sang Kurwe
nal in [cf2]Tristan ~[cf1]under Mahler, Drury Lane, [sm1892[nm; NY Met. d;Aaebut
 ~as Beckmesser in [cf2]Die Meistersinger[cf1], [sm1896[nm. Deter~~mined advocat
e of opera in English.[cm~[PN80,0,0,L,I0]Bissex. [fy75,1][sm12[nm-str. guitar, i
nvented [sm1770[nm by Van~~hecke, with [sm6[nm str. over the finger-board and th
e ~rest sympathetic.[cm~Bist du bei mir [fy75,1](With you beside me). Aria by ~J
.|S. Bach from Anna Magdalena Bach notebook ~([sm1725[nm) written on [sm2[nm sta
ves only, with v. part and ~unfigured bass.[cm~Bitonality. [fy75,1]The use of [s
m2[nm keys simultaneously, as ~in the works of Stravinsky, Vaughan Williams, ~Ho
lst, and many other [sm20[nmth-cent. composers. See ~[cf2]Tonality [cf1]and [cf2
]Polytonality.[cm~Bittner, Julius [fy75,1]([cf2]b [cf1]Vienna, [sm1874[nm; [cf2]
d [cf1]Vienna, [sm1939[nm). ~Austrian composer. Trained as lawyer, but turned ~t
o mus. and comp. operas, songs, chamber mus., ~etc., as well as editing a mus. j
ournal. Operas incl. ~[cf2]Das h;Auollisch Gold [cf1]([sm1916[nm
) and [cf2]Das Veilchen [cf1]([sm1934[nm).[cm~Bizet, [fy75,1](Alexandre C;Aaesar
e L;Aaeopold)[fy65][cf3], [fy75,1]known as ~[fy65][cf3]Georges[fy75,1] ([cf2]b [
cf1]Paris, [sm1838[nm; [cf2]d [cf1]Bougival, [sm1875[nm). Fr. ~composer. Studied
 Paris Cons., pupil of Hal;Aaevy ~(whose daughter he married). Won Grand Prix ~d
e Rome [sm1857[nm, in which year his [cf2]Docteur Miracle ~[cf1]was perf. In Rom
e comp. an [cf2]op;Aaera-bouffe Don ~Procopio [cf1](prod. Monte Carlo [sm1906[nm
) and a choral ~sym. [cf2]Vasco da Gama[cf1], also his [cf2]Te Deum[cf1] ([sm185
8[nm). [cf1]On ~return to Paris comp. several operas, none of ~which had much su
ccess. They were [cf2]Les P;Afecheurs ~de perles [cf1](The Pearl Fishers) ([sm18
63[nm), [cf2]La Jolie Fille de ~Perth [cf1](The Fair Maid of Perth) ([sm1866[nm)
, and [cf2]Djamileh ~[cf1]([sm1871[nm). In the early [sm1860[nms, comp. a [sm5[n
m-act opera ~[cf2]Ivan IV [cf1]which he later abandoned, using some of ~the mus.
 in other works, but which was prod. in ~a mutilated edn. after
World War II as [cf2]Ivan le ~Terrible. [cf1]Other operas which exist either in
~incomplete or fragmentary form are [cf2]La Coupe du ~Roi de Thule [cf1]([sm1868
[nm), [cf2]Gris;Aaelidis [cf1]([sm1870[nm=n[sm1[nm), which ~incl. mus. later use
d in [cf2]L'Arl;Aaesienne [cf1]and [cf2]Carmen ~[cf1](Flower Song), and [cf2]Don
 Rodrigue [cf1]([sm1873[nm). Had ~more success in his lifetime with non-operatic
 ~works such as [cf2]Souvenirs de Rome [cf1](perf. [sm1869[nm, pubd. ~[sm1880[nm
 as suite [cf2]Roma[cf1]), the [cf2]Petite Suite[cf1], [cf2]Jeux d'enfants ~[cf1
]([sm1871[nm), and incidental music to [cf2]L'Arl;aaesienne [cf1]([sm1872[nm). ~
In [sm1873[nm began work on an op;Aaera-comique [cf2]Carmen, ~[cf1]prod. Paris [
sm1875[nm and coolly received, though it ~has since become one of the most popul
ar operas ~ever written.[ep~^A brilliant pianist, Bizet also comp. for that ~ins
tr. and his songs and church mus. are of high ~quality. A Sym. in C, [sm1855[nm,
 of felicitous youthful ~charm, was disinterred in [sm1933[nm an
d f.p. in Basle ~cond. Weingartner, [sm26[nm Feb. [sm1935[nm. If Bizet's fame ~r
ests largely on [cf2]Carmen[cf1], all his pubd. work has ~colour, melody, and br
illiant aptness of orchestra~~tion. But in practically all of Bizet's work, incl
. ~[cf2]Carmen, [cf1]there are musicological pitfalls for the ~unwary writer who
 has not consulted the work ~of authorities such as Winton [fy45,1]*[fy75,1]Dean
 concerning ~spurious edns., additions, and interpolations.[xm[cm~[j2]Prin. work
s:[ep~[smoperas:[nm [cf2]Le [fy45,1]*[fy75,2]Docteur Miracle[cf1] ([sm1856[nm);
[cf2]Don Procopio[cf1] ~([sm1858[nm=n[sm9[nm); [cf2]La Pr;afetesse[cf1] (?[sm186
1[nm); [fy45,1]*[fy75,2]Ivan IV[cf1] (?[sm1862[nm=n~[sm3[nm, rev. [sm1864[nm=n[s
m5[nm); [cf2]Les [fy45,1]*[fy75,2]P;afecheurs de perles[cf1] (The Pearl ~Fishers
) ([sm1863[nm); [cf2]La [fy45,1]*[fy75,2]jolie fille de Perth[cf1] (The Fair ~Ma
id of Perth) ([sm1866[nm); [fy45,1]*[fy75,2]Djamileh[cf1] ([sm1871[nm); [fy45,1]
*[fy75,2]Car~~men[cf1] ([sm1873[nm=n[sm4[nm).[ep~[smincidental m
usic[nm: [cf2]L'[fy45,1]*[fy75,2]Arl;aaesienne[cf1] (play by A. Dau~~det) ([sm18
72[nm).[ep~[smorch[nm: [cf2]Overture[cf1] ([cf2]c[cf1]. [sm1855[nm); Sym. in C (
[sm1855[nm); ~[cf2]Scherzo et Marche fun;agebre[cf1] ([sm1860[nm=n[sm1[nm); [cf2
]Roma[cf1], sym. ~([sm1860[nm=n[sm8[nm, rev. [sm1871[nm); [cf2]Marche fun;agebre
[cf1] ([sm1868[nm=n[sm9[nm); ~[cf2]Petite Suite[cf1] ([sm1871[nm, orch. of Nos.
[sm2[nm, [sm3[nm, [sm6[nm, [sm11[nm, and ~[sm12[nm from [fy45,1]*[fy75,2]Jeux d'
Enfants[cf1], pf. duet [sm1871[nm); ~[cf2]L'[fy45,1]*[fy75,2]Arl;aaesienne[cf1],
 Suite No. [sm1[nm ([sm1872[nm. Suite No. [sm2[nm is ~by [fy45,1]*[fy75,1]Guirau
d); [cf2]Patrie[cf1], ov. ([sm1873[nm).[ep~[smchoral[nm: [cf2]Valse in G[cf1], [
sm4[nm vv., orch. ([sm1855[nm); [cf2]La Chanson ~du Rouet[cf1], solo v., [sm4[nm
 vv., pf. ([sm1857[nm); [cf2]Clovis et ~Clotilde,[cf1] cantata ([sm1857[nm); [cf
2]Te Deum[cf1], sop., ten., [sm4[nm ~vv., orch. ([sm1858[nm); [cf2]Vasco de Gama
[cf1], ode-symphony ~([sm1859[nm=n[sm60[nm); [cf2]La Mort s'avan
ce[cf1], [sm4[nm vv., orch. ([sm1869[nm).[ep~[smpiano[nm: [cf2]Grande Valse de C
oncert[cf1] in E;yh, [cf2]Nocturne[cf1] in ~F ([sm1854[nm); [cf2][sm3[nm Esquiss
es Musicales[cf1] ([sm1858[nm); [cf2]Chants du ~Rhin[cf1] ([sm1865[nm); [cf2]Var
iations Chromatiques de Concert[cf1] ~([sm1868[nm); [cf2]Nocturne[cf1] in D ([sm
1868[nm); [fy45,1]*[fy75,2]Jeux d'Enfants[cf1] ~(Children's Games), [sm12[nm pie
ces, pf. duet ([sm1871[nm).[ep~[smsongs[nm: [cf2]Vieille Chanson[cf1] ([sm1865[n
m); [cf2]Apr;ages l'hiver[cf1] ([sm1866[nm); ~[cf2]Feuilles d'Album[cf1], [sm6[n
m songs ([sm1866[nm); [cf2]Chants des ~Pyr;aaenees[cf1], [sm6[nm folk-songs ([sm
1867[nm); [cf2]Berceuse[cf1] ([sm1868[nm); [cf2]La ~Coccinelle[cf1] ([sm1868[nm)
; [cf2]Absence[cf1] ([sm1872[nm); [cf2]Chant d'Amour[cf1] ~([sm1872[nm); [cf2]S;
aaer;aaenade: O, quand je dors[cf1] ([sm1870[nm); [sm12[nm ~extracts from unperf
. stage works all fitted with ~new words (pubd. [sm1886[nm).[cm~[j1]Bizony, Celi
a [fy75,1]([cf2]b [cf1]Berlin, [sm1904[nm). Ger.-born v. ~teache
r, composer, and harpsichordist. Studied ~Geneva and Vienna. Co-founder Musica A
ntica e ~Nuova, Cambridge, [sm1942[nm=n[sm8[nm. Lecturer and teacher ~in Canada
[sm1949[nm=n[sm55[nm. Prof., GSM and lecturer, ~Morley College, London, [sm1956[
nm=n[sm69[nm. Mus. dir., ~Musica Antica e Nuova, London, from [sm1956[nm. ~Comp.
 part-songs, str. qt., hpd. pieces. Wrote ~short history of Bach family.[cm~Bjon
er, Ingrid [fy75,1]([cf2]b [cf1]Kraakstad, Norway, [sm1927[nm). ~Norwegian sop.
Studied Oslo Cons. and Frankfurt ~Hochschule f;Auur Musik. D;Aaebut Oslo [sm1957
[nm (Donna ~Anna in [cf2]Don Giovanni[cf1]). Wuppertal Opera [sm1957[nm=n~[sm9[n
m, D;Auusseldorf [sm1959[nm=n[sm61[nm, Munich from [sm1961[nm. Guest ~singer, le
ading opera houses and fests.[cm~Bj;auorling, Jussi [fy75,1](|Johan) ([cf2]b[cf1
] Stora Tuna, Sweden, ~[sm1911[nm; [cf2]d [cf1]Island of Siar Oe, [sm1960[nm). S
wed. ten., ~taught by father. Early public appearances in ~male v. qt. with fath
er and [sm2[nm brothers. Studied ~Royal Opera Sch., Stockholm. D
;Aaebut Stockholm ~[sm1930[nm as Don Ottavio in [cf2]Don Giovanni. [cf1]London ~
d;Aaebut [sm1939[nm. NY Met. [sm1938[nm=n[sm59[nm (excluding war).[cm~Blacher, B
oris [fy75,1]([cf2]b [cf1]Niu-chang, China, [sm1903[nm; [cf2]d ~[cf1]Berlin, [sm
1975[nm). Ger. composer. Studied mus. in ~Irkutsk, Siberia, and at Charbin, Chin
a, where he ~worked in the opera house, [sm1919[nm. Moving to ~Berlin [sm1922[nm
, studied architecture and mathemat~~ics, and comp., after [sm1924[nm, with Frie
drich Koch. ~Taught at Dresden Cons. [sm1938[nm=n[sm9[nm. In [sm1945[nm became ~
prof. of comp., Berlin Hochschule and dir., [sm1953[nm=n~[sm1970[nm. Prolific co
mposer in many forms, Blacher's ~[PN81,0,0,R,I0]mus. is basically tonal, though
he has used the ~[sm12[nm-note method, and he developed (in [cf2]Ornamente[cf1],
 ~Op. [sm37[nm, for pf., [sm1950[nm) a rhythmical process called ~`variable metr
es' whereby systematic changes of ~metre are planned according to mathematical ~
relationships. Employed jazz styles in early works ~and elec. de
vices in later ones (after [sm1962[nm). Works ~incl.:[xm[cm~[j2][smoperas[nm: [f
y75,2][cf2]F;auurstin Tarakanowa [cf1]([sm1940[nm; also orch. ~suite); [cf2]Rome
o und Julia [cf1]([sm1943[nm); [cf2]Die Flut [cf1]([sm1946[nm); ~[cf2]Die Nachts
chwalbe [cf1]([sm1947[nm); [cf2]Preussisches M;auarchen ~[cf1]([sm1949[nm); [cf2
]Rosamunde Floris [cf1]([sm1960[nm); [cf2]Zwischenf;aualle bei ~einer Notlandung
[cf1], `reportage' for elec. instr. and ~singers ([sm1965[nm); [cf2][sm200,000[n
m Taler [cf1]([sm1969[nm); [cf2]Yvonne, ~Prinzessin von Bergund [cf1]([sm1972[nm
); [cf2]Das Geheimnis des ~entwendeten Briefes [cf1]([sm1974[nm).[ep~[smballets[
nm: [cf2]Harlekinade [cf1]([sm1939[nm); [cf2]Das Zauberbuch von ~Erzerum [cf1](o
n themes of Flotow) ([sm1941[nm; rev. as ~[cf2]Der erste Ball[cf1], [sm1950[nm);
 [cf2]Chiarina [cf1]([sm1946[nm); [cf2]Lysistrata ~[cf1]([sm1950[nm; also orch.
suite); [cf2]Hamlet [cf1]([sm1949[nm; also orch. ~suite); [cf2]Der Mohr von Vene
dig [cf1](based on [cf2]Othello[cf1]) ~([sm1955[nm); [cf2]Demete
r [cf1]([sm1963[nm); [cf2]Tristan [cf1]([sm1965[nm; also orch. ~suite).[ep~[smor
ch[nm: [cf2]Kleine Marschmusik [cf1]([sm1932[nm); [cf2]Kurmusik [cf1]([sm1933[nm
); ~[cf2]Divertimento[cf1], str. ([sm1935[nm); [cf2]Divertimento[cf1], wind ~([s
m1936[nm); [cf2]Geigenmusik[cf1], vn., orch. ([sm1936[nm); [cf2]Concer~~tante Mu
sik [cf1]([sm1937[nm); Sym. ([sm1938[nm); [cf2]Hamlet[cf1], sym.-~poem ([sm1940[
nm); Conc. for str. ([sm1940[nm); [cf2]Partita[cf1], str., ~perc. ([sm1945[nm);
[cf2]Variations on a Theme of Paganini ~[cf1]([sm1947[nm); Pf. Conc. No. [sm1[nm
 ([sm1947[nm), No. [sm2[nm ([sm1952[nm); Vn. ~Conc. ([sm1948[nm); Conc. for cl.,
 bn., hn., tpt., hp., ~str. ([sm1950[nm); [cf2][sm2[nm Inventions [cf1]([sm1954[
nm); Va. Conc. ([sm1954[nm); ~[cf2]Fantasy [cf1]([sm1955[nm); [cf2]Homage to Moz
art [cf1]([sm1956[nm); [cf2]Music ~for Cleveland [cf1]([sm1957[nm); [cf2]Variati
ons on a Theme of ~Clementi[cf1], pf., orch. ([sm1961[nm); [cf2]Konzertst;auuck[
cf1], wind ~quintet, str. ([sm1963[nm); Vc. Conc. ([sm1964[nm);
[cf2]Collage ~[cf1]([sm1968[nm); Conc. for tpt. and str. ([sm1970[nm); Cl. Conc.
 ~([sm1971[nm); [cf2]Stars and Strings[cf1], jazz ens., str. ([sm1972[nm); ~[cf2
]Po;ageme [cf1]([sm1974[nm); [cf2]Pentagramm[cf1], str. ([sm1974[nm).[ep~[smchor
al[nm: [cf2]Der Grossinquisitor[cf1], oratorio after Dostoy~~evsky ([sm1942[nm);
 [cf2]Tr;auaume vom Tod und vom Leben[cf1], ~cantata, ten., ch., orch. ([sm1955[
nm); [cf2]Die Ges;auange des ~Seer;auaubers O'Rourke und seiner Geliebten Sally
~Brown[cf1], sop., female cabaret singer, bar., speaker, ~speaking ch., orch. ([
sm1958[nm); [cf2]Requiem[cf1], sop., bar., ~ch., orch. ([sm1958[nm).[ep~[smvoice
[nm([sms[nm) [smand instr[nm: [cf2]Jazz-Koloraturen[cf1], sop., alto sax., ~bn.
([sm1929[nm); [cf2]Francesca da Rimini[cf1], sop., vn. ([sm1954[nm); ~[cf2][sm13
[nm Ways of Looking at a Blackbird[cf1], sop. or ten., str. ~([sm1957[nm); [cf2]
[sm3[nm([sm6[nm;pl[cf2]x) oder For Seven[cf1], sop., perc., db. ~([sm1973[nm).[e
p~[smchamber music[nm: Str. qts., No. [sm1[nm ([sm1930[nm), No.
[sm2[nm ~([sm1940[nm), No. [sm3[nm ([sm1944[nm), No. [sm4[nm ([cf2]Epitaph[cf1])
 ([sm1951[nm), No. ~[sm5[nm ([cf2]Variationem ;auuber einem divergierenden c-mol
l-~Dreiklang[cf1]) ([sm1967[nm); vc. sonata ([sm1940[nm); vn. sonata ~([sm1941[n
m); solo vn. sonata ([sm1951[nm); [cf2][sm4[nm Studies [cf1]for hpd. ~([sm1967[n
m); pf. trio ([sm1970[nm); quintet, fl., ob., str. trio ~([sm1973[nm); [cf2]Tcha
ikovsky-Variations[cf1], vc., pf. ([sm1974[nm).[ep~[smpiano[nm: [sm2[nm sonatina
s ([sm1940[nm); [cf2][sm3[nm Pieces [cf1]([sm1943[nm); ~[cf2]Ornamente [cf1]([sm
1950[nm); sonata ([sm1951[nm); [sm24[nm Preludes ~([sm1974[nm).[ep~[smelec[nm: [
cf2]Multiple Raumperspektiven[cf1], pf., elec. ([sm1962[nm); ~[cf2]Glissierende
Deviationen[cf1], tape ([sm1962[nm); [cf2]Der Astro~~naut[cf1], tape ([sm1963[nm
); [cf2]Elektronisches Scherzo[cf1], tape ~([sm1965[nm); [cf2]Ariadne[cf1], duod
rama, [sm2[nm speakers, elec. ~([sm1971[nm).[cm~[j1]Blachut, Beno [fy75,1]([cf2]
b [cf1]Ostrava-Vitkovice, [sm1913[nm; [cf2]d[cf1] Prague, [sm198
5[nm). Cz. ~ten. Studied Prague [sm1935[nm=n[sm9[nm. Opera d;Aaebut Olom~~ouc, [
sm1938[nm, as Jenik in Smetana's [cf2]The Bartered ~Bride. [cf1]Member, Prague N
at. Th. from [sm1941[nm. One ~of finest singers of Jan;Aaa;Akcek and Smetana ope
ratic ~roles.[cm~Black Dyke Mills Band. [fy75,1]Brass band, founded ~[sm1855[nm,
 in connexion with mills of same name in ~village of Queensbury, Yorkshire. Has
always ~held high place in band world, frequently ~winning Brit. nat. championsh
ips and other ~prizes, and touring both sides of the Atlantic.[cm~Blackford, Ric
hard [fy75,1]([cf2]b [cf1]London, [sm1954[nm). Eng. ~composer and cond. Studied
with [fy45,1]*[fy75,1]Lutyens and ~at RCM. Ass. to Henze in It. [sm1975[nm. Foun
ded mus.-~th. workshop at London Acad. of Mus. and ~Dramatic Art, [sm1977[nm. Wo
rks incl. opera for ~children [cf2]Sir Gawain and the Green Knight [cf1]([sm1977
[nm); ~[cf2]Inamorata=m[sm6[nm Sappho Fragments [cf1]for sop., harp, ~and str. s
extet ([sm1976[nm), [cf2]Concerto for [sm7[nm [cf1]([sm1976[nm),
 [cf2]Sinfonie ~Poliziane [cf1]for [sm3[nm orch. groups ([sm1977[nm), and [cf2]P
iet;Aga [cf1]for ~orch. ([sm1977[nm).[cm~Black Key ;aaEtude. [fy75,1]No. [sm5[nm
 (in G;Yh major) of ~Chopin's [sm12[nm [cf2]Grandes ;AaEtudes [cf1]for pf. (Op.
[sm10[nm; pubd. ~[sm1833[nm). The right hand confines itself to the black ~keys.
[cm~Black Knight, The. [fy75,1]Sym. for ch. and orch. by ~Elgar, his Op. [sm25[n
m. Comp. [sm1889=n93[nm. Setting of ~Longfellow's trans. of Uhland. (F.p. Worces
ter ~Choral Soc. [sm1893[nm; London, [sm1895[nm).[cm~Blackshaw, Christian [fy75,
1]([cf2]b [cf1]Cheadle Hulme, [sm1949[nm). ~Eng. pianist. Studied RMCM [sm1965[n
m=n[sm70[nm, Leningrad ~Cons. [sm1970[nm=n[sm2[nm, RAM [sm1972[nm=n[sm4[nm. D;Aa
ebut, London ~[sm1969[nm. [sm1[nmst prize Casella Int. Pf. Competition, ~Naples,
 [sm1974[nm.[cm~Black, Stanley [fy75,1]([cf2]b [cf1]London, [sm1913[nm). Eng. co
mposer, ~pianist, and cond., esp. of film mus. Studied ~Matthay Sch. of Mus. Con
d., BBC Dance Orch. ~[sm1944[nm=n[sm52[nm; mus. dir. ABC Picture
s, [sm1958[nm=n[sm63[nm; prin. ~cond. BBC Northern Ireland Orch., [sm1968[nm=n[s
m9[nm; ass. ~cond. Osaka P.O. [sm1971[nm; N.Z. Proms [sm1972[nm.[cm~Bladder-Pipe
. [fy75,1]Instr. similar to [fy45,1]*[fy75,1]bagpipe which ~existed from [sm13[n
mth to [sm16[nmth cents. and was ~sometimes called [cf2]Platerspil. [cf1]Attempt
ed to com~~bine bagpipe's continuous air flow with a means ~of stopping and star
ting more easily, thus making ~some kind of tonguing and articulation possible.
~This it did by using elastic animal bladder which ~expelled air down the pipe b
y its own elasticity ~instead of, as in the bagpipe, by arm pressure on ~animal
skin.[cm~Blades, James [fy75,1]([cf2]b [cf1]Peterborough, [sm1901[nm). Eng. ~per
cussion-player. Prof. of timp. and perc. RAM. ~[PN82,0,0,L,I0]Former member, ECO
, Melos Ens., etc. Author ~of books on perc. instr. and technique. O.B.E. ~[sm19
72[nm.[cm~Blagrove, Henry [fy75,1](Gamble) [cf1]([cf2]b [cf1]Nottingham, [sm1811
[nm; ~[cf2]d [cf1]London, [sm1872[nm). Eng. violinist. Studied i
n Ger. ~with Spohr [sm1832[nm=n[sm4[nm. On return to Eng. formed ~qt., establish
ing first regular series of chamber ~concerts in London, [sm1835[nm. Leader of m
any British ~orchs. of his time.[cm~Blagrove, Richard [fy75,1](Manning) [cf1]([c
f2]b [cf1]Nottingham, ~[sm1826[nm; [cf2]d [cf1]London, [sm1895[nm). Brother of H
enry ~[fy45,1]*[fy75,1]Blagrove. Noted va. player, and propagandist, as ~compose
r and executant, for the concertina.[cm~Blake, David [fy75,1](Leonard) [cf1]([cf
2]b [cf1]London, [sm1936[nm). Eng. ~composer. Studied Cambridge Univ. and Ger. ~
Acad. of Arts, Berlin, with Eisler. Lecturer in ~mus., York Univ., [sm1964[nm=n[
sm71[nm, senior lecturer from ~[sm1971[nm, prof. from [sm1981[nm. Also cond. and
 pianist ~with his ensemble Lumina. Early works in tonal ~idiom influenced by Ba
rt;Aaok and Mahler, later ~adopted [sm12[nm-note system, but later evolved a fre
er, ~more relaxed style, the vn. conc. being deeply ~romantic in style and spiri
t. Prin. works:[xm[cm~[j2][smopera[nm: [fy75,2]Toussaint L'Ouver
ture[cf1], [sm3[nm acts (lib. by T. ~Ward) ([sm1974[nm=n[sm6[nm, rev. [sm1982[nm
).[ep~[smorch[nm: [cf2]Chamber Symphony [cf1]([sm1966[nm), [cf2]Metamorphoses ~[
cf1]([sm1971[nm), vn. conc. No. [sm1[nm ([sm1976[nm), No. [sm2[nm ([sm1983[nm),
Sonata alla Marcia ~([sm1978[nm).[ep~[smvocal and choral[nm: [cf2][sm3[nm Chorus
es to Poems by Frost ~[cf1]([sm1964[nm), [cf2]Beata L[cf1]'[cf2]Alma, [cf1]sop.
and pf. ([sm1966[nm), [cf2]Lumina, ~[cf1]soloist, ch., and orch. ([sm1969[nm), [
cf2]The Bones of Chuang ~Tzu[cf1], bar. and pf. ([sm1972[nm), bar. and chamber o
rch. ~([sm1973[nm); [cf2]In Praise of Krishna[cf1], sop. and [sm9[nm instr. ~([s
m1973[nm); [cf2]Toussaint Suite[cf1], mez., bar., orch. ([sm1977[nm); ~[cf2]Tous
saint: Song of the Common Wind[cf1], mez., orch. ~([sm1977[nm); [cf2]From the Ma
ttress Grave[cf1], [sm12[nm Heine poems ~for sop. and [sm11[nm instr. ([sm1978[n
m), [cf2]The Spear[cf1], mez., ~speaker, ch., cl., tpt., va., pf. ([sm1982[nm),
[cf2]Change is ~Going to Come[cf1], mez., bar., ch., and [sm4[nm
 players ~([sm1982[nm), [cf2]Rise, Dove, [cf1]bar. and orch. ([sm1982[nm).[ep~[s
mchamber music[nm: Str. Qt. No. [sm1[nm ([sm1961[nm=n[sm2[nm), No. [sm2[nm ~([sm
1973[nm), No. [sm3[nm ([sm1982[nm), [cf2]Sequence[cf1], [sm2[nm fl. ([sm1967[nm)
, Nonet ~for wind ([sm1971[nm, rev. [sm1978[nm), [cf2]Scenes [cf1]for vc. ([sm19
72[nm), ~[cf2]Arias[cf1], cl. ([sm1978[nm), cl. quintet ([sm1979[nm=n[sm80[nm),
[cf2]Cassation[cf1], ~wind octet ([sm1979[nm), [cf2]Capriccio[cf1], wind, str.,
pf. ([sm7[nm ~players) ([sm1980[nm).[cm~[j1]Blake Watkins, Michael. [fy75,1]See
[cf2]Watkins[cf1], [cf2]Michael ~Blake.[cm~[j1]Blanche [fy75,1](Fr.). White. The
 half-note or minim.[cm~Blanik [fy75,1](Smetana). See [cf2]M;aaa Vlast.[cm~Blasi
nstrumente [fy75,1](Ger.). Blowing instruments, ~i.e. wind instr.[cm~Blasis, Car
lo de [fy75,1]([cf2]b [cf1]Naples, [sm1797[nm; [cf2]d [cf1]Cernobbio, L. ~Como,
[sm1878[nm). It. ballet dancer and choreog. on ~whose system classical training
is still based. Dir., ~Royal Acad. of Dance, Milan, [sm1837[nm=n
[sm53[nm. Worked ~in London and Paris. Created [sm90[nm ballets, some ~with own
mus. Father was composer and sister ~operatic sop.[cm~Blasmusik [fy75,1](Ger.).
Blowing mus., i.e. mus. of ~wind instr.[cm~Blaukopf, Kurt[fy75,1] ([cf2]b[cf1] C
zernowitz, [sm1914[nm). Austrian ~musicologist and writer. Studied with S. Wolpe
 ~and H. Scherchen in Vienna, [sm1932[nm=n[sm7[nm and with ~Tal in Jerusalem [sm
1940[nm=n[sm2[nm. Prof. of mus. sociology, ~Vienna Hochschule f;auur Musik from
[sm1963[nm. Ed., ~[cf2]Phono[cf1], [sm1954[nm=n[sm65[nm. Author of two books on
Mahler ~([sm1969[nm, Eng. trans. [sm1973[nm, and [sm1976[nm, Eng. trans. ~[sm197
6[nm).[cm~Blavet, Michel [fy75,1]([cf2]b [cf1]Besan;Alcon, [sm1700[nm; [cf2]d [c
f1]Paris, [sm1768[nm). ~Fr. flautist and composer of operas, fl. sonatas, ~and b
allets. Probable that several of [fy45,1]*[fy75,1]Leclair's fl. ~sonatas were wr
itten for him.[cm~Blech [fy75,1](Ger.). Sheet metal, i.e. the Brass. [cf2]Blechm
usik[cf1], ~brass band.[cm~Blech, Harry [fy75,1]([cf2]b [cf1]Lon
don, [sm1910[nm). Eng. violinist ~and cond. Trained TCL and RMCM. Member ~Hall;A
ae Orch., and then BBC S.O. [sm1930[nm=n[sm6[nm. Founder ~and leader, Blech Str.
 Qt. [sm1933[nm=n[sm50[nm. Founded ~London Wind Players [sm1942[nm, London Symph
onic ~Players [sm1946[nm, London Mozart Players [sm1949[nm (mus. dir. until [sm1
984[nm). ~O.B.E. [sm1964[nm, C.B.E. [sm1984[nm.[cm~Blech, Leo [fy75,1]([cf2]b [c
f1]Aachen, [sm1871[nm; [cf2]d[cf1] Berlin, [sm1958[nm). Ger. ~cond. and composer
. Studied Berlin Hochschule, ~[sm1890[nm. First cond. posts in Aachen and Prague
; ~from [sm1906[nm Kapellmeister, Royal Berlin Opera, ~becoming Generalmusikdire
ktor [sm1913[nm=n[sm23[nm, work~~ing for much of that period with R. Strauss, of
 ~whose operas he cond. several f.ps. in Berlin. Brief ~spell in Vienna, then co
nd. (=+=+=+=+jointly with [fy45,1]*[fy75,1]Kleiber) ~Berlin State Opera [sm1926[
nm=n[sm37[nm, until removal by ~Nazis. Cond. Riga [sm1937[nm=n[sm41[nm and Stock
holm [sm1941[nm=n~[sm1946[nm. Returned to Berlin St;auadtische O
per [sm1949[nm=n~[sm53[nm. Composer of [sm5[nm operas, symphonic poems, and ~oth
er works.[cm~`Bleeding chunks'. [fy75,1]Phrase sometimes used by ~writers on mus
. when referring to operatic ~extracts played out of context in the concert-hall
. ~It is a quotation from a programme-note by Sir ~Donald [fy45,1]*[fy75,1]Tovey
 on Bruckner's [sm4[nmth Sym. in his ~[cf2]Essays in Musical Analysis[cf1], Vol.
 II ([sm1935[nm), p. [sm71[nm. ~Tovey wrote: `Defects of form are not a justifia
ble ~ground for criticism from listeners who profess ~to enjoy the bleeding chun
ks of butcher's meat ~chopped from Wagner's operas and served up on ~Wagner nigh
ts as [cf2]Waldweben [cf1]and [cf2]Walk;Auurenritt[cf1]'.[cm~Bleiben [fy75,1](Ge
r.). To remain. In org. mus., [cf2]Bleibt ~[cf1](remains) means that the stop in
 question is to ~remain in use.[cm~Blessed Damozel, The [fy75,1]([cf2]La Damoise
lle ;aaelue[cf1]). ~Cantata ([cf2]po;Ageme lyrique[cf1]) by Debussy for sop., ~w
omen's ch., and orch., comp. [sm1887[nm=n[sm8[nm on G. ~Sarrazin
's trans. of D. G. Rossetti's poem ([sm1850[nm). ~Re-orchestrated [sm1902[nm.[cm
~[PN83,0,0,R,I0]Blessed Virgin's Expostulation, The. [fy75,1]Song for ~sop. or t
reble by [fy45,1]*[fy75,1]Purcell, comp. [sm1693[nm to text by ~Nahum Tate begin
ning `Tell me some pitying ~angel'.[cm~Blest Pair of Sirens. [fy75,1]Ode for ch.
 and orch. by ~Parry, f.p. [sm1887[nm. Words from Milton's [cf2]At a Solemn ~Mus
ick.[cm~Blind Man's Buff. [fy75,1]Th. piece by [fy45,1]*[fy75,1]Maxwell Davies,
~masque for sop. (or treble), mez., and mime, and ~stage band. Text by composer
from B;Auuchner's ~[cf2]Leonce und Lena[cf1], and other sources. F.p. London ~[s
m1972[nm (=+=+=+=+Josephine Barstow, Mary Thomas, Mark ~Fourneaux, BBC S.O., con
d. [fy45,1]*[fy75,1]Boulez).[cm~Bliss, [fy75,1](Sir) [fy65][cf3]Arthur [fy75,1](
Drummond) ([cf2]b [cf1]London, ~[sm1891[nm; [cf2]d [cf1]London, [sm1975[nm). Eng
. composer, conduc~~tor, and administrator. Studied counterpoint with ~Charles [
fy45,1]*[fy75,1]Wood at Cambridge Univ. Mus.B. [sm1913[nm. ~Pupi
l of Stanford at RCM [sm1913[nm=n[sm14[nm. Served in ~Royal Fusiliers [sm1914[nm
=n[sm17[nm, Grenadier Guards [sm1917[nm=n~[sm18[nm. From [sm1919[nm earned reput
ation of being [cf2]enfant ~terrible[cf1], influenced in such works as [cf2]Mada
me Noy[cf1] ~and [cf2]Rout[cf1] by Stravinsky, Satie, etc. Wrote incid. ~mus. fo
r Nigel Playfair, [sm1919[nm. Cond., Portsmouth ~Philharmonic Soc. [sm1921[nm. H
is [cf2]Colour Symphony[cf1] was ~commissioned for the [sm1922[nm Three Choirs F
est. on ~Elgar's suggestion. Went to Santa Barbara, Calif., ~[sm1923[nm=n[sm5[nm
, working as cond. Returned to Eng. [sm1925[nm, ~writing a series of chamber wor
ks for virtuosi ~soloists and ensembles. His [cf2]Morning Heroes[cf1] ([sm1930[n
m) ~was perf. at [sm1930[nm Norwich Fest., one of its movts. ~being a setting of
 a war poem by Wilfred Owen. ~[cf2]Music for Strings[cf1] followed in [sm1935[nm
. In [sm1934[nm=n[sm5[nm he ~wrote the mus. for Korda's H. G. Wells film ~[cf2]T
hings to Come[cf1] and in [sm1937[nm his ballet [cf2]Checkmate[c
f1] ~was produced at S.W. Two other important ballet ~scores, [cf2]Miracle in th
e Gorbals[cf1] ([sm1944[nm) and [cf2]Adam Zero[cf1] ~([sm1946[nm), followed. His
 piano concerto was first ~performed at the [sm1939[nm New York World Fair. ~Fro
m [sm1939[nm to [sm1941[nm he taught at  Berkeley in ~California, but on return
to Eng. became BBC ~dir. of mus., [sm1942[nm=n[sm4[nm. An opera, [cf2]The Olympi
ans[cf1], to ~a lib. by J. B. Priestley, failed to win approval at ~its [sm1949[
nm CG premi;agere, but he wrote an opera for ~television, [cf2]Tobias and the An
gel[cf1], in [sm1960[nm to a lib. ~by Christopher Hassall. In [sm1950[nm he was
knighted ~and in [sm1953[nm became Master of the Queen's Music, ~a post he fille
d with flair and energy. Among the ~best of his later works were the vn. conc. (
for ~Campoli) and the orch. [cf2]Meditations on a Theme by ~John Blow[cf1] (both
 [sm1955[nm) and the vc. conc. ([sm1970[nm). ~K.C.V.O. [sm1969[nm. C.H. [sm1971[
nm.[ep~^Bliss's early Stravinskyan phase gave way to ~works in a
 bold, post-Elgarian style, vigorous and ~rich in texture but lacking the inner
poetry of his ~model. Some of his best music is to be found in ~his chamber work
s, notably the cl. quintet, ~written for Frederick Thurston, and the ob. ~quinte
t, for L;aaeon Goossens. His sense of drama ~and of vivid musical imagery found
their truest ~outlet in his ballet scores and in the excellent ~[cf2]Things to C
ome[cf1] suite. Prin. works:[xm[cm~[j2][smoperas[nm: [cf2]The [fy45,1]*[fy75,2]O
lympians[cf1] ([sm1948[nm=n[sm9[nm); [cf2]Tobias and the ~Angel [cf1]([sm1960[nm
); [cf2]The [fy45,1]*[fy75,2]Beggar's Opera[cf1] ([sm1952[nm=n[sm3[nm, ~version
of Gay-Pepusch work for film).[ep~[smballets[nm: [fy45,1]*[fy75,2]Checkmate [cf1
]([sm1937[nm); [fy45,1]*[fy75,2]Miracle in the Gorbals ~[cf1]([sm1944[nm); [cf2]
Adam Zero[cf1] ([sm1946[nm); [cf2]The Lady of Shalott[cf1] ~([sm1958[nm).[ep~[sm
orch[nm: [cf2][sm2[nm Studies[cf1] ([sm1920[nm); [cf2]M;afel;aaee Fantasque[cf1]
 ([sm1921[nm, rev. ~[sm1937[nm and [sm1965[nm); [cf2]A [fy45,1]*
[fy75,2]Colour Symphony [cf1]([sm1921[nm=n[sm2[nm, ~rev. [sm1932[nm); [cf2]Intro
duction and Allegro[cf1] ([sm1926[nm, rev. ~[sm1937[nm); [cf2]Hymn to Apollo[cf1
] ([sm1926[nm, rev. [sm1965[nm); [cf2]Music ~for Strings[cf1] ([sm1935[nm); Proc
essional, with org. ([sm1953[nm); ~[cf2]Meditations on a Theme by John Blow[cf1]
 ([sm1955[nm); ~[cf2]Edinburgh Overture[cf1] ([sm1956[nm); [cf2]Metamorphic Vari
a~~tions[cf1] ([sm1972[nm); [cf2][sm2[nm Contrasts[cf1], str. ([sm1972[nm, arr.
from Str. ~qt. No. [sm2[nm).[ep~[smconcertos[nm: [sm2[nm pianos ([sm1924[nm, rev
. [sm1925[nm=n[sm9[nm and ~[sm1950[nm), also arr. for [sm2[nm pianos ([sm3[nm ha
nds) in [sm1968[nm; ~pf. ([sm1938[nm=n[sm9[nm); vn. ([sm1955[nm); vc. ([sm1970[n
m).[ep~ [smchoral[nm: [cf2]Pastoral: [fy45,1]*[fy75,2]Lie strewn the white flock
s[cf1], mez., ~ch., and orch. ([sm1928[nm), [fy45,1]*[fy75,2]Morning Heroes[cf1]
, sym. for ~orator, ch., and orch. ([sm1930[nm); [cf2]A Song of Welcome[cf1], ~s
op., bar., ch., and orch. ([sm1954[nm); [cf2]The [fy45,1]*[fy75,
2]Beatitudes[cf1], ~sop., ten., ch., and orch. ([sm1961[nm); [cf2]Mary of Magdal
a[cf1], ~cont., bar., ch., and orch. ([sm1962[nm); [cf2]The Golden ~Cantata[cf1]
, ten., ch., and orch. ([sm1963[nm);[cf2] The World is ~charged with the grandeu
r of God[cf1], ch. and wind ~([sm1969[nm); [cf2][sm2[nm Ballads,[cf1] women's vv
. and orch. ([sm1971[nm).[ep~[smunacc. voices[nm: [cf2]Aubade for Coronation Mor
ning[cf1] ~([sm1953[nm); [cf2]Seek the Lord[cf1] ([sm1956[nm); [cf2]Birthday Son
g for a ~Royal Child[cf1] ([sm1959[nm); [cf2]Stand up and bless the Lord ~your G
od[cf1] ([sm1960[nm); [cf2]Cradle Song for a Newborn Child[cf1] ~([sm1963[nm); [
cf2]O Give Thanks[cf1] ([sm1965[nm); [cf2]River Music[cf1] ([sm1967[nm); ~[cf2]L
ord, who shall abide in Thy Tabernacle[cf1] ([sm1968[nm); [cf2]A ~Prayer to the
Infant Jesus[cf1] ([sm1968[nm); [cf2]Ode for Sir ~William Walton[cf1] ([sm1972[n
m); [cf2]Prayer of St Francis of ~Assisi[cf1] ([sm1972[nm); [cf2]Put thou thy tr
ust in the Lord[cf1] ([sm1972[nm); ~[cf2]Sing, Mortals![cf1] ([s
m1974[nm); [cf2]Shield of Faith[cf1] ([sm1974[nm).[ep~[smvoice and ens.[nm: [cf2
]Madam Noy[cf1], sop. ([sm1918[nm); [cf2]Rhapsody[cf1], ~sop., ten. ([sm1919[nm)
; [cf2]Rout[cf1], sop. ([sm1920[nm); [sm2[nm [cf2]Nursery ~Rhymes[cf1], sop. ([s
m1920[nm); [cf2]The Women of Yueh[cf1], sop. ~([sm1923[nm=n[sm4[nm); [cf2]Serena
de[cf1], bar. ([sm1929[nm); [cf2]The Enchantress[cf1], ~scena for cont. ([sm1951
[nm); [cf2]Elegiac Sonnet[cf1], ten. ([sm1954[nm); ~[cf2]A Knot of Riddles[cf1],
 bar. ([sm1963[nm).[ep~[smbrass and military band[nm: [cf2]Kenilworth Suite[cf1]
 ([sm1936[nm); ~[cf2]The First Guards[cf1] ([sm1956[nm); [cf2]Belmont Variations
 ~[cf1]([sm1963[nm); [cf2]The Linburn Air[cf1] ([sm1965[nm); and many ~ceremonia
l fanfares for royal and other occa~~sions.[ep~[smchamber mus.[nm: Str. qt. ([sm
1914[nm, withdrawn), str. qt. ~([sm1923[nm=n[sm4[nm? MS.), No. [sm1[nm in B;yh (
[sm1941[nm), No. [sm2[nm ([sm1950[nm); ~[cf2]Conversations[cf1], fl., alto fl.,
ob., cor ang., vn., va., ~vc. ([sm1920[nm); pf. quintet ([sm1919
[nm, unpubd.); ob. ~quintet ([sm1927[nm); cl. quintet ([sm1932[nm).[ep~[smincid.
 mus. (stage and radio) and film mus.[nm: [cf2]As ~You Like It[cf1] ([sm1919[nm)
; [cf2]King Solomon[cf1] ([sm1924[nm); [fy45,1]*[fy75,2]Things ~to Come[cf1] ([s
m1934[nm=n[sm5[nm); [cf2]Conquest of the Air[cf1] ([sm1937[nm); ~[cf2]Caesar and
 Cleopatra[cf1] ([sm1944[nm); [cf2]Men of Two Worlds[cf1] ~([sm1945[nm); [cf2]Ch
ristopher Columbus[cf1] ([sm1949[nm); [cf2]Summer ~Day's Dream[cf1] ([sm1949[nm)
.[ep~[smpiano[nm: [cf2]Bliss[cf1] ([sm1923[nm); [cf2]Masks[cf1] ([sm1924[nm); [c
f2]Toccata[cf1] ([cf2]c[cf1].[sm1925[nm); ~[cf2]Interludes[cf1] ([sm1925[nm); [c
f2]Suite[cf1] ([sm1926[nm); [cf2]The Rout Trot[cf1] ~([sm1927[nm); [cf2]Study[cf
1] ([sm1927[nm); [cf2]Sonata[cf1] ([sm1952[nm); [cf2]Miniature ~[PN84,0,0,L,I0]S
cherzo[cf1] ([sm1969[nm); [cf2]Fun and Games[cf1], [sm2[nm pf. [sm3[nm hands ~([
sm1970[nm); [cf2]Triptych[cf1] ([sm1970[nm); [cf2]A Wedding Suite[cf1] ([sm1974[
nm).[ep~[smsolo songs[nm: [cf2]The Tramps[cf1] ([cf2]c. [cf1][sm
1916[nm); [sm3[nm [cf2]Romantic Songs[cf1] ~([sm1921[nm); [cf2][sm3[nm Songs[cf1
] ([sm1923[nm, rev. [sm1972[nm); [cf2]When I was ~One and Twenty[cf1] ([sm1923[n
m); [cf2]Ballads of the [sm4[nm Seasons[cf1] ~([sm1923[nm); [cf2][sm3[nm Jolly G
entlemen[cf1] ([sm1924)[nm; [cf2]The Fallow Deer ~at the Lonely House[cf1] ([sm1
924[nm); [cf2]A Child's Prayer [cf1]([sm1926[nm); ~[cf2]Rich or Poor[cf1] ([sm19
25[nm=n[sm6[nm); [cf2]Simples[cf1] ([sm1932[nm); [cf2][sm7[nm American ~Poems [c
f1]([sm1940[nm);[cf2] Auvergnat[cf1] ([sm1943[nm); [cf2]Angels of the ~Mind[cf1]
, song-cycle, [sm7[nm songs ([sm1969[nm); [cf2]Tulips[cf1] ([sm1970[nm).[cm~[ol0
][ep~[xp[te~




[do25][j99]~~~~~~[sm153842[nm_BC[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmBC[sm03[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm22[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm374[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[ap[j1]Blitheman, Joh
n [fy75,1]([cf2]b c.[cf1][sm1525[nm; [cf2]d[cf1] London, [sm1591[nm). ~Eng. orga
nist of Queen Elizabeth's Chapel Royal ~from [sm1553[nm; composer of church mus.
 and ~virginals mus.=mthe latter important for its ~influence on his successor i
n the organistship, his ~pupil John [fy45,1]*[fy75,1]Bull.[cm~Blitzstein, Marc [
fy75,1]([cf2]b [cf1]Philadelphia, [sm1905[nm; [cf2]d [cf1]Fort-~de-France, Marti
nique, [sm1964[nm). Amer. composer ~and pianist. Scion of a wealthy family, his
work ~reflected his radical political outlook. Studied ~Curtis Institute, [sm192
4[nm=n[sm6[nm, in Paris with Boulanger ~[sm1926[nm, and Berlin with Schoenberg [
sm1927[nm. Return~~ing to USA during depression, decided to compose ~for the pop
ular th. and prod. perhaps his finest ~work, [cf2]The [fy45,1]*[
fy75,2]Cradle Will Rock [cf1]([sm1936[nm). Never ~repeated its success, though h
is adaptation of ~Brecht's [cf2]Threepenny Opera [cf1]([sm1952[nm) was acclaimed
. ~Served [sm1942[nm=n[sm5[nm with US Air Force in Eng. and ~comp. [fy45,1]*[fy7
5,2]Airborne Symphony [cf1]([sm1945[nm). After he ~abandoned Parisian neo-classi
cism, his work was ~based on diatonicism laced with jazz and popular ~influences
, in the manner made more familiar by ~[fy45,1]*[fy75,1]Bernstein. Other works i
ncl.:[xm[cm~[j2][smoperas[nm: [fy75,2]Triple-Sec [cf1]([sm1928[nm), [cf2]No For
An Answer ~[cf1]([sm1940[nm), [cf2]I[cf1]'[cf2]ve Got the Tune [cf1]([sm1937[nm)
, [cf2]Regina [cf1]([sm1949[nm), ~[cf2]Juno[cf1], based on O'Casey's [cf2]Juno a
nd the Paycock ~[cf1]([sm1958[nm).[ep~[smballets[nm: [cf2]Cain [cf1]([sm1930[nm)
, [cf2]The Guests [cf1]([sm1949[nm).[ep~[smorch[nm.: works incl. pf. conc. and m
us. for th. and ~films.[cm~[j1]Bloch, Ernest [fy75,1]([cf2]b [cf1]Geneva, [sm188
0[nm; [cf2]d [cf1]Portland, ~Oregon, [sm1959[nm). Swiss-born com
poser (naturalized ~Amer.). First mus. instruction from Jaques-~Dalcroze. Comp s
tr. qt. and sym. before age [sm15[nm. ~Brussels Cons. [sm1897[nm, studying with
Ysa;Auye, fol~~lowed by spells at Frankfurt with Knorr and ~Munich with Thuille.
 Went to Paris [sm1903[nm. From ~this period date the symphonic poem [cf2]Winter
=m~Spring [cf1]([sm1904[nm=n[sm5[nm) and the opera [fy45,1]*[fy75,2]Macbeth[cf1]
, prod. ~Paris [sm1910[nm, in which the influence of Mussorgsky ~and Debussy can
 be detected together with ~Bloch's hallmarks of frequent changes of tempo ~and
key, use of modality, cyclic form, and ~propensity for open [sm5[nmths and [sm4[
nmths. The next few ~years saw some works of Jewish inspiration, the ~[fy45,1]*[
fy75,2]Israel Symphony [cf1]([sm1912[nm=n[sm16[nm), [cf2]Trois po;Agemes juifs [
cf1]for ~orch. ([sm1913[nm), [cf2]Psalm [sm22[nm [cf1]for bar. and orch. ([sm191
4[nm), ~and [fy45,1]*[fy75,2]Schelomo[cf1], rhapsody for vc. and orch. ([sm1916[
nm). ~This distinctive and powerful Jewish element in ~Bloch's m
us. sprang from a deep spiritual impulse ~and not from external application. He
said that ~the Jewish heritage as related in the Old Testament ~moved him powerf
ully. In [sm1915[nm became prof. of ~comp. at Geneva Cons., but went to USA in [
sm1916[nm ~as cond. for the dancer Maud Allan. He became ~and remained Amer. cit
izen, [sm1924[nm. Taught in NY ~[sm1917[nm=n[sm20[nm, first director, Cleveland
Institute of ~Mus. [sm1920[nm=n[sm5[nm, head of San Francisco Cons., [sm1926[nm=
n~[sm1930[nm. From [sm1930[nm=n[sm9[nm lived principally in Geneva ~and Rome. In
 this period comp. symphonic suite ~for orch. [cf2]Evocations [cf1]([sm1937[nm),
 the [fy45,1]*[fy75,2]Sacred Service ~[cf1]([cf2]Avodath Hakodesh[cf1]) for bar.
, ch., and orch. ([sm1930[nm=n~[sm1933[nm), pf. sonata ([sm1935[nm), [cf2]Voice
in the Wilderness[cf1], ~vc. and orch. ([sm1936[nm), and vn. conc. ([sm1938[nm).
 In [sm1941[nm ~returned to USA and settled at Agate Beach, ~Oregon. For a time
was prof. of mus. at Univ. of ~Calif. in Berkeley. In last [sm20
[nm years of his life comp. ~the [cf2]Concerto Grosso [cf1]No. [sm2[nm for str.
qt. and str. ~([sm1953[nm), Symphony in E;Yh ([sm1954[nm=n[sm5[nm), [cf2]Concert
o ~symphonique[cf1], pf. and orch. ([sm1948[nm), [cf2]Suite h;Aaebraique[cf1], ~
[cf1]va. and orch. ([sm1953[nm), str. qts. Nos. [sm2[nm=n[sm5[nm ([sm1946[nm,[sm
1951[nm, ~[sm1954[nm, [sm1956[nm), and [sm2[nmnd pf. quintet ([sm1957[nm). Among
 ~his earlier works are some of his masterpieces, ~e.g. [cf2]Suite [cf1]for va.
and pf. or orch. ([sm1919[nm), Pf. ~Quintet ([sm1921[nm=n[sm3[nm), [fy45,1]*[fy7
5,2]Baal Shem [cf1]for vn. and pf. or ~orch. ([sm1923[nm), and [cf2]Concerto Gro
sso [cf1]No. [sm1[nm for str. ~and pf. ([sm1924[nm=n[sm5[nm). Also wrote [cf2]Am
erica[cf1], epic ~rhapsody ([sm1926[nm) and [cf2]Helvetia[cf1], symphonic fresco
 ~([sm1929[nm).[cm~Block Flute [fy75,1](Ger. [cf2]Blockfl;Auote[cf1]). Recorder
or flageolet, ~so called after its `block' or fipple; also an org. ~stop.[cm~Blo
ck, Michel [fy75,1]([cf2]b [cf1]Antwerp, [sm1937[nm). Belg. pian
ist. ~Childhood in Mexico, where he made d;Aaebut at ~[sm16[nm with Mexican Nat.
 Orch. Studied Juilliard ~Sch., NY, [sm1954[nm. NY d;Aaebut [sm1959[nm.[cm~Block
x, Jan [fy75,1]([cf2]b [cf1]Antwerp, [sm1851[nm; [cf2]d [cf1]Antwerp, [sm1912[nm
). ~Belg. composer; pupil and follower of [fy45,1]*[fy75,1]Benoit, ~whom he succ
eeded in [sm1901[nm as dir. of Royal ~Flemish Cons., Antwerp. Propagandist for F
lem~~ish nat. movement. Wrote [sm8[nm operas to Fr. and ~Flemish texts, incl. [c
f2]Thyl Uylenspiegel [cf1]([sm1900[nm).[cm~Blom, Eric [fy75,1](Walter) ([cf2]b [
cf1]Berne, [sm1888[nm; [cf2]d [cf1]London, ~[sm1959[nm). Eng. critic and scholar
. Active as writer of ~annotated programmes; London mus. critic ~[cf2]Manchester
 Guardian [cf1][sm1923[nm=n[sm31[nm; [cf2]Birmingham Post ~[cf1][sm1931[nm=n[sm4
6[nm; [cf2]Observer [cf1][sm1949[nm=n[sm59[nm; ed. [cf2]Everyman[cf1]'[cf2]s Dic
~~tionary of Music [cf1]([sm1946[nm, rev. [sm1954[nm), [cf2]Grove[cf1]'[cf2]s Di
ction~~ary of Music and Musicians[cf1], [sm5[nmth edn. ([sm1954[
nm); [cf2]Music ~and Letters[cf1], [sm1937[nm=n[sm50[nm and [sm1954[nm=n[sm9[nm;
 [cf2]Master Musi~~cians [cf1]series. Author of book on Mozart. C.B.E. ~[sm1955[
nm.[cm~Blomdahl, Karl-Birger [fy75,1]([cf2]b [cf1]V;Auaxj;Auo, Sweden, [sm1916[n
m; ~[cf2]d [cf1]Kungs;auangen, [sm1968[nm). Swed. composer, pupil of ~Hilding Ro
senberg, studied in Fr. and It. [sm1946[nm=n~[sm7[nm. Prof. of comp., Swedish Ro
yal Acad. of Mus., ~[sm1960[nm=m[sm4[nm, dir. of mus., Swedish Radio, from [sm19
65[nm. ~Pioneered elec. mus. studio. After a Hindemithian ~early phase, adopted
serial techniques and, later, ~elecs. First opera [cf2]Aniara [cf1](Stockholm [s
m1959[nm) is set ~in a spaceship. Prin. works incl.:[xm[cm~[PN85,0,0,R,I0][j2][s
moperas[nm: [fy45,1]*[fy75,2]Aniara[cf1] ([sm1959[nm), [cf2]Herr von Hancken [cf
1]([sm1962=n4[nm).[ep [smorch[nm: Concerto Grosso ([sm1944[nm), Sym. No. [sm1[nm
 ([sm1943[nm), ~No. [sm2[nm ([sm1947[nm), No. [sm3[nm ([cf2]Facets[cf1]) ([sm194
8[nm), Va. Conc. ~([sm1941[nm), Vn. Conc. ([sm1947[nm), Chamber
Conc.[fj([sm1952=n3[nm), [cf2]Sisyphos[cf1], choreographic suite ([sm1954[nm), ~
[cf2]Minotauros[cf1], choreographic suite, ([sm1957[nm), [cf2]Altison~~ans [cf1]
(tape) ([sm1966[nm).[ep~[smchoral[nm: [cf2]In the Hall of Mirrors [cf1]([cf2]I s
plegnarnes sal[cf1]) for ~soloists, reciter, ch., and orch. ([sm1951[nm=n[sm2[nm
).[ep~[smchamber music[nm: Trio ([sm1938[nm), Str. qt. ([sm1939[nm), Str. ~trio
([sm1945[nm), etc.[cm~[j1]Blondel [fy75,1](de Nesle) (=+=+=+=+[cf2]fl.[cf1] [sm1
2[nmth cent.). Fr. trouv;agere ~(minstrel), [sm22[nm of whose songs survive. Sai
d to ~have discovered where King Richard I was ~imprisoned by Duke of Austria.[c
m~Blossom Time. [fy75,1]Amer. version of operetta [cf2]Das ~Dreim;Auaderlhaus [c
f1]by Bert;aae.[cm~Blow, John [fy75,1]([cf2]b [cf1]Newark, Notts., [sm1649[nm; [
cf2]d [cf1]West~~minster, [sm1708[nm). Eng. composer and organist. One ~of first
 choirboys of Chapel Royal after Restoration ~in [sm1660[nm. Organist, Westminst
er Abbey, [sm1668[nm=n[sm79[nm, ~when his pupil Purcell succeede
d him, and [sm1695[nm=n~[sm1708[nm. Also Master of Choristers, St Paul's Cath.,
~[sm1687[nm=n[sm1703[nm. Wrote over [sm100[nm anthems, [sm13[nm services, ~many
secular songs, and the masque [fy45,1]*[fy75,2]Venus and ~Adonis. [fy45,1]*[fy75
,1]Bliss comp. [cf2]Meditations on a Theme by John ~Blow.[cm~Bluebeard's Castle
[fy75,1](Bart;aaok). See [cf2]Duke Bluebeard's ~Castle.[cm~Blue Bells of Scotlan
d [fy75,1](properly `Bell', not ~`Bells'). This song, of unknown origin, first a
ppears ~at the end of the [sm18[nmth or beginning of the [sm19[nmth ~cent., sung
 by the London actress, Mrs Jordan (an ~Irishwoman), at Drury Lane Th.[cm~Blue B
ird, The. [fy75,1]Part-song for mixed ch., with ~sop. solo, by [fy45,1]*[fy75,1]
Stanford, Op. [sm119[nm No. [sm4[nm, comp. ~[sm1911[nm, setting of poem by Mary
Coleridge ([sm1861[nm=n~[sm1907[nm).[cm~Blue Danube, On The Beautiful  [fy75,1](
[cf2]An der sch;Auonen ~blauen Donau[cf1]). Concert waltz, Op. [sm314[nm, by Joh
ann ~[fy45,1]*[fy75,1]Strauss II, known in Eng. simply as [cf2]T
he Blue ~Danube. [cf1]F.p. Vienna [sm1867[nm. Orig. with ch. part.[cm~Blues. [fy
75,1]Slow [fy45,1]*[fy75,1]jazz song of lamentation, generally ~for an unhappy l
ove affair. Usually in groups of ~[sm12[nm bars, instead of [sm8[nm or [sm16[nm,
 each stanza being [sm3[nm ~lines covering [sm4[nm bars of music. Tonality predo
m~~inantly major, but with the flattened [sm3[nmrd and [sm7[nmth ~of the key (th
e `blue notes'). Harmony tended ~towards the plagal or subdominant.[ep~^The earl
ier (almost entirely Negro) history of ~the Blues is traced by oral tradition as
 far back as ~the [sm1860[nms, but the form was popularized about ~[sm1911[nm=n[
sm14[nm by the Negro composer W. C. Handy ([cf2]St ~Louis Blues[cf1], [cf2]Basin
 Street Blues[cf1]). Composers such as ~Gershwin, Ravel, Copland, and Tippett ha
ve used ~the term to indicate a Blues-type mood rather ~than a strict adherence
to the form. Among ~notable blues singers were Bessie Smith and Billie ~Holiday
(though Holiday's main repertoire was ~pop music).[cm~Blum, Robe
rt [fy75,1](Karl Moritz) ([cf2]b [cf1]Z;Auurich, [sm1900[nm). ~Swiss composer. S
tudied Z;Auurich Cons. [sm1919=n22[nm ~and later with Busoni at Prussian State A
cad., ~Berlin. Cond. at Baden from [sm1925[nm. Teacher at ~Z;Auurich from [sm194
5[nm. Composer of much film and ~incidental mus. but also of [sm6[nm syms., conc
. for ~orch., choral works, triple conc. (vn., ob., tpt.), ~and va. conc.[cm~Blu
me, Friedrich [fy75,1]([cf2]b [cf1]Schl;Auuchtern, [sm1893[nm; [cf2]d ~[cf1]Schl
;auuchtern, [sm1975[nm). Ger. musicologist. After ~studying medicine, philosophy
, and mus. at ~Eisenach, Munich, Berlin, and Leipzig, embarked ~on distinguished
 career as ed. of early mus. and ~writer of scholarly studies on a wide variety
of ~mus. subjects. Prof. of musicology, Kiel Univ. ~[sm1935=n58[nm. From [sm1943
[nm directed the preparation of ~the encyclopedia [cf2]Die Musik in Geschichte u
nd ~Gegenwart[cf1], which began to appear in [sm1949[nm. ~Authority on Bach and
Mozart.[cm~Blumenfeld, Harold [fy75,1]([cf2]b [cf1]Seattle, [sm1
923[nm). Amer. ~composer. Studied Eastman Sch., [sm1941[nm=n[sm3[nm, Yale ~[sm19
46[nm=n[sm9[nm (comp. with Hindemith) and Z;Auurich ~Univ. [sm1948[nm=n[sm9[nm.
Prof., Washington Univ. in St ~Louis since [sm1951[nm. Comps. incl. opera [cf2]A
mphitryon ~[sm4[nm [cf1]([sm1956[nm=n[sm62[nm), TV opera [cf2]The Road to Salem
[cf1]([sm1966[nm=n~[sm1969[nm), [cf2]Songs of War [cf1](Sassoon poems) ([sm1970[
nm), [cf2]Elegy ~for the Nightingale [cf1](choral work, [sm1954[nm), and orch. ~
suites, etc.[cm~Blumenst;Auuck [fy75,1](Flower-piece). Pf. solo in D;Yh ~major,
Op. [sm19[nm, by Schumann, comp. [sm1839[nm.[cm~Bl;auuthner. [fy75,1]Pf.-making
firm, founded Leipzig ~[sm1853[nm.[cm~Blyth, Alan [fy75,1]([cf2]b [cf1]London, [
sm1929[nm). Eng. critic, ~broadcaster, and author. Studied Oxford Univ. ~Contrib
utor to [cf2]The Times [cf1][sm1963[nm=n[sm77[nm, [cf2]Musical Times[cf1], ~[cf2
]Opera [cf1](ass. ed. [sm1967=n84[nm), esp. on operatic subjects. ~Member of mus
. staff of [cf2]Daily Telegraph [cf1]from ~[sm1977[nm. Author of
 monographs on Colin Davis and ~Janet Baker. Ed. [cf2]Opera on Record [cf1]([sm1
979[nm), [cf2]Remem~~bering Britten[cf1] ([sm1981[nm), and [cf2]Opera on Record
[sm2[nm[cf1] ([sm1983[nm).[cm~Blyton, Carey [fy75,1]([cf2]b [cf1]Beckenham, [sm1
932[nm). Eng. com~~poser. Studied zoology but decided to follow mus. ~career, en
tering TCL [sm1953[nm. Bantock comp. prize ~[sm1954[nm. Studied Copenhagen [sm19
57[nm with Jersild. ~Prof. of harmony, TCL, [sm1963[nm=n[sm73[nm. Mus. ed., Fabe
r ~Mus., [sm1964[nm=n[sm71[nm. Comps. incl. orch. suite [cf2]Cinque ~Port[cf1],
ov. [cf2]The Hobbit[cf1], works for sax. qt. and for ~guitar, cantatas, song-cyc
les, madrigals, chamber ~mus., and vocal pieces such as [cf2]Lyrics from the ~Ch
inese[cf1], [cf2]Lachrymae[cf1], and [cf2]Symphony in Yellow.[cm~B Moll [fy75,1]
(Ger.). The key of B;Yh minor (not B minor; ~see [cf2]B[cf1]).[cm~B.N.O.C. [fy75
,1]See [cf2]British National Opera Company.[cf1][xm[cm~[ol0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_BD[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~ Music[cmBD[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm22[nm/[sm10[nm/[sm79[
nm[cm[sm8[nm[cm[sm398[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[ap[j1]Boatswain's Mate
, The. [fy75,1]Opera in [sm1[nm act by Ethel ~[fy45,1]*[fy75,1]Smyth to her lib.
 based on W. W. Jacobs's story. ~(Prod. London [sm1916[nm).[cm~[PN86,0,0,L,I0]Bo
atwright, Howard [fy75,1]([cf2]b [cf1]Newport News, Vir~~ginia, [sm1918[nm). Ame
r. composer, studied with ~Hindemith at Yale ([sm1945[nm=n[sm8[nm). Teacher of m
us. ~theory, Yale, [sm1948[nm=n[sm64[nm, dean of mus. sch., Syracuse ~Univ. from
 [sm1964[nm. Works incl. [cf2]The Woman of ~Trachis [cf1]([sm1955[nm), cl. qt. (
[sm1958[nm), [cf2]St. Matthew Passion ~[cf1]([sm1962[nm), [cf2]Canticle of the S
un [cf1]([sm1963[nm), [cf2]Ship of Death ~[cf1]([sm1966[nm).[cm~Bobillier, Marie
. [fy75,1]See [cf2]Brenet, Michel[cf1].[cm~Boccaccio. [fy75,1]Opera in [sm3[nm a
cts by Supp;Aae to lib. by F. ~Zell and R. Gen;Aaee. Prod. Vienn
a [sm1879[nm, Boston ~and NY [sm1880[nm.[cm~Bocca chiusa [fy75,1](It.). Closed m
outh, i.e. a wordless ~humming (in choral mus.).[cm~Boccherini, Luigi [fy75,1]([
cf2]b[cf1] Lucca, [sm1743[nm; [cf2]d [cf1]Madrid, ~[sm1805[nm). It. cellist and
composer. Famous in teens ~as virtuoso cellist. Contemporary of Haydn and ~resem
bling him in ideals, methods, and general ~spirit. Settled in Madrid in [sm1769[
nm, remaining until ~[sm1787[nm. Appointed `composer of his Chamber' by ~Friedri
ch Wilhelm II of Prussia. Returned to ~Spain [sm1797[nm, when he then lacked a p
atron and ~died in poverty. Comp. opera, [sm30[nm syms., [sm11[nm vc. ~concs., [
sm91[nm str. qts., [sm154[nm quintets (various combi~~nations), guitar qts., [sm
60[nm trios, church mus., etc. ~The famous Minuet is from the String Quintet in
~E major, Op. [sm13[nm, No. [sm5[nm. Boccherini's mus., which ~combines harmonic
 adventurousness with mel~~[chodic profundity, is well worth detailed study.[cm~
Bocchino [fy75,1](It.). Mouthpiece of a wind instr.[cm~Bocedizat
ion. [fy75,1][sm16[nmth-cent. Flemish system of ~naming notes of scale (Bo-Ce-Di
, etc.), somewhat ~on principle of tonic sol-fa. Introduced by Hubert ~[fy45,1]*
[fy75,1]Waelrant.[cm~Bochsa, [fy75,1](Robert) [fy65][cf3]Nicolas Charles [fy75,1
]([cf2]b [cf1]Montm;aaedi, ~[sm1789[nm; [cf2]d[cf1] Sydney, N.S.W., [sm1856[nm).
 Fr. composer and ~harpist, author of a famous harp method and ~leader of a colo
urful life. Studied Paris Cons. ~[sm1806[nm. Revolutionized way of playing the h
arp. ~Harpist to Napoleon [sm1813[nm and to Louis XVIII ~[sm1816[nm. Wrote [sm8[
nm operas for Op;Aaera Comique between ~[sm1813[nm and [sm1816[nm. Fled from Fra
nce [sm1817[nm, was tried ~[cf2]in absentia [cf1]for forgeries and sentenced to
[sm12[nm years' ~imprisonment. Settled in London. Dir., Lent ~oratorios from [sm
1823[nm. First gen. sec. and prof. of ~harp RAM from [sm1822[nm. Dismissed [sm18
27[nm. Cond., ~King's Th., London, [sm1826[nm=n[sm30[nm. In [sm1839[nm ran away
~with singer Anna Bishop, wife of Henry [fy45,1]*[fy75,1]Bishop,
 ~after touring provinces as her accompanist. Spent ~rest of his life on tour ab
road (except in Fr.). ~Composed [cf2]Requiem[cf1] in [sm15[nm movts., [sm1816[nm
, commis~~sioned for ceremony of reinterment of the ~beheaded Louis XVI's remain
s. Contains antici~~pations of Berlioz's [cf2]Symphonie fun;agebre et triomphale
. ~[cf1]Also comp. sym. ([sm1821[nm), [sm5[nm harp concs., and many ~chamber wor
ks involving harp.[cm~Bodanzky, Artur [fy75,1]([cf2]b [cf1]Vienna, [sm1877[nm; [
cf2]d [cf1]NY, [sm1939[nm). ~Austrian cond. Trained Vienna Cons. as violinist, ~
then took various humble conducting posts. Ass. ~to Mahler at Vienna Opera [sm19
03[nm=n[sm4[nm. Cond. first ~Brit. perf. of [cf2]Parsifal[cf1], CG, [sm1914[nm.
Then at NY Met. ~from [sm1915[nm until his death, apart from brief break ~in [sm
1928[nm. Notorious for the cuts he made in ~Wagner's [cf2]Ring [cf1]cycle.[cm~Bo
de, Johann Joachim Christoph [fy75,1]([cf2]b [cf1]Barum, ~Brunswick, [sm1730[nm;
 [cf2]d [cf1]Weimar, [sm1793[nm). Ger. com~~poser, bassoonist, a
nd oboist. Mus. teacher and ~ed., Hamburg, [sm1757[nm=n[sm78[nm, later becoming
printer ~and publisher. Comp. syms., bn. conc., vc. conc., ~vn. conc., and songs
.[cm~Boehm, Theobald [fy75,1](Boehm System, Boehm ~Flute) ([cf2]b[cf1] Munich, [
sm1794[nm; [cf2]d [cf1]Munich, [sm1881[nm). Ger. ~flautist and composer, remembe
red principally ~for the system whereby he replaced the clumsily-~placed holes o
f his instr. by keys enabling the ~cutting of the holes in their proper acoustic
al ~positions, yet leaving them in easy control of the ~fingers. He made his fir
st `ring key' fl. in [sm1832[nm, ~while a player in Munich court orch., and in [
sm1847[nm ~brought out an improved metal fl. with [sm15[nm holes ~and [sm23[nm l
evers and keys. This system has been ~adapted for ob., cl., and bn. Boehm was al
so a ~goldsmith and ironmaster. From [sm1833[nm to [sm1846[nm ~he superintended
reorganization of Bavarian steel ~industry.[cm~Bo;auellmann, L;aaeon [fy75,1]([c
f2]b [cf1]Ensisheim, Upper Alsace, ~[sm1862[nm; [cf2]d [cf1]Pari
s, [sm1897[nm). Fr. organist and composer, ~pupil of [fy45,1]*[fy75,1]Gigout. Fr
om [sm1881[nm organist of Paris ~church of St Vincent de Paul; wrote org. mus. ~
and mus. for other instr., incl. [cf2]Symphonic Variations ~[cf1]for vc. and orc
h.[cm~Boesmans, Philippe[fy75,1] ([cf2]b[cf1] Tongeren, [sm1936[nm). Belg. ~comp
oser and pianist. Studied Li;agege Cons. and ~privately with [fy45,1]*[fy75,1]Po
usseur, [sm1962[nm. Mus. prod. for ~Belg. radio from [sm1961[nm. From [sm1971[nm
 collab. with ~Pousseur at Li;agege elec. mus. studios. Works incl. ~opera [cf2]
La Passion de Gilles[cf1] (Brussels [sm1983[nm), [cf2]Sonances[cf1], ~[sm2[nm pf
. ([sm1964[nm), [cf2]Impromptu[cf1], [sm23[nm instr. ([sm1965[nm), Sym., ~pf. ([
sm1966[nm), [cf2]Verticales[cf1], orch. ([sm1969[nm), [cf2]Upon la mi[cf1], ~sop
., hn., [sm11[nm instr., elec. ([sm1971[nm), [cf2]Intervalles[cf1], orch. ~([sm1
973[nm), [cf2]Multiples[cf1], [sm2[nm pf., orch. ([sm1974[nm), [cf2]El;aaements/
~Extensions[cf1], pf., ens. ([sm1975[nm).[cm~Bo;auesset, Antoine
 [fy75,1]([cf2]b [cf1]Blois, [sm1586[nm; [cf2]d [cf1]Paris, [sm1643[nm). ~Fr. co
urt musician, being master of royal mus. ~from [sm1613[nm and holding other roya
l posts simul~~taneously. Pubd. [sm9[nm vols. of airs ([sm1617=n42[nm), also ~ma
sses and motets.[cm~Boethius, Anicius Manlius Torquatus Severi~~nus [fy75,1]([cf
2]b[cf1] Rome, [cf2]c[cf1].[sm475[nm; [cf2]d [cf1]Pavia, [cf2]c[cf1].[sm525[nm).
 Roman ~philosopher and mathematician who wrote [cf2]De ~institutione musica[cf1
], a [sm5[nm-vol. treatise on Gr. mus.[cm~Boettcher, Wilfried [fy75,1]([cf2]b [c
f1]Bremen, [sm1929[nm). Ger. cond. ~and cellist. Studied Hamburg and Paris (with
 ~[fy45,1]*[fy75,1]Fournier). Prin. cellist, Hanover Opera [sm1956[nm=n[sm8[nm.
~Prof. of vc., Vienna Acad. of Mus. [sm1958[nm. Founder ~and dir. Vienna Soloist
s [sm1959[nm. Prof. of vc. and ~chamber mus., Hamburg Acad. [sm1965[nm. Cond. ~H
amburg S.O. [sm1967[nm=n[sm71[nm. Guest cond. of several ~Brit. orchs.[cm~[PN87,
0,0,R,I0]Boeuf sur le toit, Le [fy75,1](The Ox on the Roof). ~Pa
ntomimic divertissement with mus. by Mil~~haud to lib. by Cocteau. Prod. Paris [
sm1920[nm as mus.-~hall spectacle, later as ballet.[cm~Bogatyryov, Anatoly [fy75
,1](Vasilyevich) ([cf2]b [cf1]Vitebsk, ~[sm1913[nm). Russ. composer. Studied at
Minsk Cons. ~where he eventually became dir. Composer of [sm2[nm ~operas, syms.,
 and cantatas.[cm~Bogen [fy75,1](Ger.). ([sm1[nm) Bow. So [cf2]Bogenstrich[cf1],
 bow stroke.[ep~^([sm2[nm) Short for [fy45,1]*[fy75,2]Krummbogen[cf1].[ep~^([sm3
[nm) The [fy45,1]*[fy75,1]Tie or Bind.[ep~^([sm4[nm) [cf2]Bogen [cf1]form. The d
esign of e.g. a movement ~of a sym. which can be likened to the curve of a ~bow.
[cm~Boh;ageme, La [fy75,1](Bohemian Life). ([sm1[nm) Opera in [sm4[nm acts ~by P
uccini to lib. by Giacosa and Illica, based on ~H. Murger's novel [cf2]Sc;Agenes
 de la vie de Boh;Ageme [cf1]([sm1847[nm=n~[sm9[nm). Comp. [sm1894=n5[nm. Prod.
Turin [sm1896[nm, Manchester ~(in Eng.) and Los Angeles [sm1897[nm, San Francisc
o ~and NY [sm1898[nm, London [sm1899[nm.[ep~^([sm2[nm) Opera by
Leoncavallo, also founded on ~Murger's novel but using different episodes. Prod.
 ~Venice [sm1897[nm.[cm~Bohemian Girl, The. [fy75,1]Opera in [sm3[nm acts by Bal
fe to ~lib. by Alfred Bunn based on a ballet-pantomime ~[cf2]The Gipsy [cf1]by S
aint-Georges and orig. from ~Cervantes's [cf2]La Gitanella[cf1]. Prod. London [s
m1843[nm, NY ~[sm1844[nm. Incl. songs [cf2]I dreamt that I dwelt in marble ~hall
s [cf1]and [cf2]When other lips[cf1]. Revived by Beecham, ~Liverpool and London,
 [sm1951[nm.[cm~Bohemian String Quartet. [fy75,1]See [cf2]Czech Quartet.[cf1][cm
~Bohemia's Meadows and Forests, From [fy75,1](Sme~~tana). See [cf2]M;aaa Vlast[c
f1].[cm~B;auohm, Georg [fy75,1]([cf2]b [cf1]Goldbach, [sm1661[nm; [cf2]d [cf1]L;
auuneburg, ~[sm1733[nm). Ger. organist and composer. Worked in ~Hamburg, [sm1693
=n8[nm. Org., Johanniskirche, L;auune~~burg, [sm1698=n1733[nm. Influenced Bach,
whom he ~knew, through his suites, preludes, and fugues. ~Also comp. hymns, Pass
ions, and chorale preludes.[cm~B;auohm, Karl [fy75,1]([cf2]b[cf1
] Graz, [sm1894[nm; [cf2]d[cf1] Salzburg, [sm1981[nm). ~Austrian cond. Studied G
raz and Vienna Cons. ~First post at Graz [sm1917[nm, becoming chief cond. ~[sm19
20[nm. At Munich Opera [sm1921[nm=n[sm7[nm. Generalmusik~~direktor Darmstadt [sm
1927[nm=n[sm31[nm, Hamburg [sm1931[nm=n[sm4[nm, ~Dresden [sm1934[nm=n[sm42[nm, V
ienna [sm1943[nm=n[sm5[nm. Dir. of rebuilt ~Vienna State Opera [sm1955[nm=n[sm6[
nm. Regular cond. ~Salzburg, Vienna, Bayreuth. London d;aaebut, CG ~[sm1936[nm;
NY [sm1957[nm. Specialist in mus. of R. Strauss. ~Cond. f.ps. of [cf2]Die schwei
gsame Frau [cf1]([sm1935[nm) and ~[cf2]Daphne [cf1]([sm1938[nm), both Dresden.[c
m~Bohnen, Michael [fy75,1]([cf2]b [cf1]Cologne, [sm1887[nm; [cf2]d [cf1]Berlin,
~[sm1965[nm). Ger. bass-bar. D;aaebut as Kaspar in [cf2]Der ~Freisch;auutz[cf1],
 D;auusseldorf, [sm1910[nm. Berlin Court Opera ~[sm1913[nm=n[sm21[nm. NY Met. [s
m1923[nm=n[sm32[nm where he sang Jonny ~in NY premi;agere of K;akrenek's [cf2]Jo
nny spielt auf. [cf1]Berlin ~Deutsches Oper [sm1933[nm=n[sm45[nm
. Intendant, Berlin St;auadt-[fj~ische Oper, [sm1945[nm=n[sm7[nm.[cm~Boieldieu,
Fran;alcois Adrien [fy75,1]([cf2]b [cf1]Rouen, [sm1775[nm; [cf2]d ~[cf1]Jarcy, [
sm1834[nm). Fr. composer. First [sm2[nm operas, to libs. ~by his father, were pr
od. in Rouen in [sm1793[nm and ~[sm1795[nm. Went to Paris in [sm1795[nm, soon ha
ving operas ~staged there. First major success in [sm1800[nm with [cf2]Le ~[fy45
,1]*[fy75,2]Calife de Bagdad[cf1], but Cherubini asked him `Are ~you not ashamed
 of such undeserved success?' ~and took him as pupil, the first result (another
~success) being [cf2]Ma Tante Aurore [cf1]([sm1803[nm). From ~[sm1803[nm to [sm1
811[nm cond. of Imperial Opera, St ~Petersburg. Returning to Paris [sm1811[nm, c
omp. [cf2]Jean ~de Paris[cf1] ([sm1812[nm), his biggest success until [cf2]La [f
y45,1]*[fy75,2]Dame ~blanche [cf1](The White Lady) [sm1825[nm, which is based on
 ~two Scott novels ([cf2]The Monastery [cf1]and [cf2]Guy Manner~~ing[cf1]). Last
 years were haunted by ill-health and ~money troubles. Also comp
osed chamber mus., ~concs. for harp and for pf., and was prof. of pf., ~Paris Co
ns., [sm1798[nm=n[sm1803[nm, prof. of comp. [sm1817[nm=n[sm26[nm.[cm~Bois [fy75,
1](Fr.). Wood. [cf2]Avec le bois d'archet[cf1], play with ~the wood of the bow,
not the hair (same as [fy45,1]*[fy75,2]col ~legno[cf1]); [cf2]Les bois[cf1], the
 woodwind; [cf2]Baguette de bois[cf1], ~wooden-headed drumstick.[cm~Boismortier,
 Joseph Bodin de [fy75,1]([cf2]b [cf1]Thionville, ~[sm1689[nm; [cf2]d [cf1]Roiss
y-en-Brie, [sm1755[nm). Fr. composer of [sm3[nm ~op;aaera-ballets, cantatas, wor
ks for recorder, bn. ~conc., and pieces for the then fashionable hurdy-~gurdy. R
emembered chiefly, however, for his ~many works for fl., and for composing the f
irst ~Fr. solo concerto (conc. for vc., bn., or viol, [sm1729[nm).[cm~Bo;afite [
fy75,1](Fr.). Box, i.e. swell box of org.[cm~Bo;afite ;aga joujoux, La [fy75,1](
The box of toys). Children's ~ballet in [sm4[nm scenes by Debussy, comp. [sm1913
[nm for pf. ~to scenario and choreog. by Andr;aae Hell;aae, and
f.p. ~Paris [sm1919[nm. Version for orch. sketched [sm1914[nm and ~completed [sm
1918[nm=n[sm19[nm by [fy45,1]*[fy75,1]Caplet, f.p. Paris [sm1923[nm.[cm~Boito, A
rrigo [fy75,1](baptized Enrico) ([cf2]b[cf1] Padua, [sm1842[nm; ~[cf2]d [cf1]Mil
an, [sm1918[nm). It. composer and poet, son of It. ~painter and Polish countess.
 Fame chiefly rests on ~superb libs. for Verdi's last operas, [cf2]Otello [cf1](
[sm1886[nm) ~and [cf2]Falstaff [cf1]([sm1893[nm). First collab. with Verdi in ~[
sm1862[nm on [cf2]The Hymn of the Nations[cf1], after which there ~was coolness
between them until he rev. the ~existing lib. of [cf2]Simone Boccanegra [cf1]in
[sm1880[nm=n[sm1[nm. ~Studied mus. in Milan and went to Paris on a ~government t
ravelling scholarship, [sm1862[nm, with ~[fy45,1]*[fy75,1]Faccio. Met Hugo, Berl
ioz, Verdi, and Rossini ~there. Returning to It., espoused cause of mus. ~reform
 and redress of neglect of Ger. classics. ~Comp. opera [fy45,1]*[fy75,2]Mefistof
ele[cf1] [sm1866[nm=n[sm7[nm. F.p. in Milan ~[sm1868[nm was atte
nded by much publicity about its ~revolutionary nature; this led to a riot in La
 Scala ~between traditionalists and reformers and even~~tually to the opera's wi
thdrawal on police orders. ~Rev. version, perf. Bologna [sm1875[nm, was acclaime
d. ~Wrote libs. for Faccio's [cf2]Amleto [cf1]([sm1865[nm), Catalani's ~[cf2]La
Falce[cf1] ([sm1875[nm), and Ponchielli's [cf2]La Gioconda [cf1]([sm1876[nm, ~un
der the anagrammatic pseudonym Tobia Gor~~rio). Also trans. into It. the texts o
f Beethoven's ~[sm9[nmth Sym. and Wagner's [cf2]Rienzi [cf1]and [cf2]Tristan[cf1
]. Only ~other pubd. opera, [fy45,1]*[fy75,2]Nerone[cf1], was begun in [sm1877[n
m ~[PN88,0,0,L,I0]and left unfinished. Completed and rev. by ~Toscanini, Smaregl
ia, and Tommasini, and prod, ~Milan [sm1924[nm. Received hon. doctorates of mus.
 ~from both Cambridge and Oxford and was dir., ~Parma Cons. [sm1889[nm=n[sm97[nm
. Correspondence with ~Verdi is of great interest.[cm~Bolcom, William Elden [fy7
5,1]([cf2]b [cf1]Seattle, [sm1938[nm). Amer. ~composer. Studied
Univ. of Washington [sm1949[nm=n~[sm58[nm and then at Paris Cons. [sm1959[nm=n[s
m61[nm with Milhaud ~and Messiaen, and at Stanford Univ. [sm1961[nm=n[sm4[nm. Ha
s ~worked as teacher (at Sch. of Mus. of Univ. of ~Michigan at Ann Arbor) and cr
itic. Comps. admit ~wide range of influences, from serialism to ~collage. They i
nclude several str. qts., [cf2]Session [sm2[nm [cf1]for ~vn. and va. ([sm1966[nm
), [cf2]Black Host [cf1]for organ, perc., and ~tape ([sm1967[nm), [sm14[nm [cf2]
Piano Rags [cf1]([sm1967[nm=n[sm70[nm), [cf2]Dark Music ~[cf1]for timp. and vc.
([sm1970[nm), [cf2]Open House[cf1], ten. and ~chamber orch. ([sm1975[nm). One of
 his highly praised ~works is the [cf2]Songs of Innocence and Experience [cf1]([
sm48[nm ~Blake poems), for [sm9[nm solo vv., [sm2[nm ch., unacc. ch., ~children'
s ch., and orch. ([sm1981=n3[nm, f.p. Stuttgart, ~[sm1984[nm).[cm~Bolero. [fy75,
1]Sp. dance in simple triple time, almost ~same as [fy45,1]*[fy75,2]Cachucha [cf
1]but danced by a couple or ~several couples. Acc. is of (or inc
l.) the dancers' ~own vv. and castanets, sometimes with added ~guitars and tambo
urines. Introduced [cf2]c[cf1].[sm1780[nm.[cm~Bol;aaero. [fy75,1]Ballet in [sm1[
nm act by [fy45,1]*[fy75,1]Ravel, choreog. ~Nijinskaya, comp. for Ida Rubinstein
 in [sm1928[nm ~(prod. Paris Op;aaera, Nov. [sm1928[nm). Mus. consists of ~repet
ition of theme, in C major almost through~~out, in unvarying rhythm and gradual
crescendo. ~Its immense popularity made Ravel world-~famous. Later also choreog.
 Lifar ([sm1941[nm), B;aaejart ~([sm1961[nm), and others.[cm~Bolet, Jorge [fy75,
1]([cf2]b [cf1]Havana, [sm1914[nm). Cuban-born ~pianist, now Amer. citizen. Stud
ied Curtis Insti~~tute, Penn., [sm1926[nm=n[sm32[nm, later with Godowsky and ~Ro
senthal. European d;aaebut Amsterdam [sm1935[nm, ~Amer. d;aaebut Philadelphia [s
m1937[nm. Mus. dir. US ~Army G.H.Q. Tokyo, [sm1946[nm, when he directed ~Japanes
e premi;agere of Sullivan's [cf2]The Mikado[cf1]. Prof. ~of mus., Indiana Univ.
[sm1968[nm=n[sm77[nm, then head of ~piano dept., Curtis Inst. So
undtrack pianist in ~film biography of Liszt, [cf2]Song Without End[cf1] ([sm196
0[nm). ~Outstanding player of Liszt.[cm~Bolshoy Theatre [fy75,1](Russ., `Great T
heatre'), Mos~~cow. Oldest th. in Moscow, home of the Bolshoy ~opera and ballet
cos. Orig. named Petrovsky and ~built by Englishman (Maddox) in [sm1780[nm. De~~
stroyed by fire in [sm1805[nm. Bolshoy Petrovsky opened ~[sm1825[nm, but in [sm1
853[nm its interior was burnt out. ~Restored by Cavos and reopened in [sm1856[nm
. Seats ~approx. [sm2[nm,[sm000[nm people. Stage is half as wide again ~as that
of CG. There was also a Bolshoy Theatre in ~St Petersburg, [sm1783[nm=n[sm1859[n
m.[cm~Bolt, John [fy75,1]([cf2]b [cf1][sm1564[nm; [cf2]d [cf1]Louvain, [sm1640[n
m). Eng. ~virginalist and composer. Fled from Eng. because ~he was papist and be
came organist in Brussels ~[sm1608[nm=n[sm11[nm, thereafter at Louvain.[xm[cm~[o
l0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_BD[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmBD[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm22[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm431[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Bolt, The [fy
75,1]([cf2]Bolt[cf1]). Ballet (choreographic spectacle) ~in [sm3[nm acts, mus. b
y Shostakovich, Op. [sm27[nm, lib. by V. ~Smirnov, choreog. Lopokov. Prod. Lenin
grad ~[sm1931[nm. Also orch. suite [sm1931[nm.[cm~Bomarzo. [fy75,1]Opera (`gothi
c melodrama of sex and ~violence') in [sm2[nm acts ([sm15[nm scenes with instr.
inter~~ludes) by [fy45,1]*[fy75,1]Ginastera, to lib. by Manuel Mujica ~L;aaainez
 based on his novel. Bomarzo is [sm16[nmth-cent. ~It. nobleman. Prod. Washington
 and NY [sm1967[nm, ~Buenos Aires [sm1972[nm, London [sm1976[nm (Eng. trans. by
~Lionel Salter). Ginastera's cantata [cf2]Bomarzo [cf1]([sm1964[nm) ~for narrato
r, bar., and orch. is derived from the ~same literary source by L;aaainez but is
 distinct ~musically.[cm~Bombard. [fy75,1]A type of [fy45,1]*[fy
75,1]shawm=mbut in [sm14[nmth and ~[sm15[nmth cent. was applied in Fr. and Eng.
to alto-~pitched shawm. Name was probably taken over ~from an artillery piece of
 the same name. (The ~word is derived from the Lat. [cf2]bombus[cf1], drone or ~
buzz).[ep~^Note that the [fy45,1]*[fy75,1]Bombardon has nothing in ~common with
it, being a brass instr., as is the It. ~[cf2]Bombarda[cf1], euphonium.[cm~Bomba
rda [fy75,1](It.). Euphonium.[cm~Bombarde, Bombardon. [fy75,1]Powerful org. [cf2
]Reed ~Stop[cf1], often in pedal department and sometimes ~of [sm32[nm;po pitch.
[cm~Bombardon. [fy75,1]([sm1[nm) Form of bass tuba with [sm3[nm piston ~valves,
in B;Yh, C, CC, F, or E;Yh. Replaced by [fy45,1]*[fy75,1]Sax's ~E;Yh or BB;Yh ba
ss tubas, [sm1842[nm (double letter indicates ~specimens with wider bore). ([sm2
[nm) It. term for bass ~shawm.[cm~Bonavia, Ferruccio [fy75,1]([cf2]b [cf1]Triest
e, [sm1877[nm; [cf2]d [cf1]London, ~[sm1950[nm). It.-born violinist and mus. cri
tic. Studied ~vn., etc. in Milan. For [sm10[nm years was member
of ~Hall;aae Orch., Manchester, under Richter, at same ~time writing for [cf2]Ma
nchester Guardian [cf1]on mus. ~subjects. From [sm1920[nm until death a mus. cri
tic of ~London [cf2]Daily Telegraph[cf1]. Wrote book on Verdi, ~and comp. str. m
us. (qt., octet, etc.).[cm~Bonci, Alessandro [fy75,1]([cf2]b [cf1]Cesena, [sm187
0[nm; [cf2]d[cf1] Viserba, ~[sm1940[nm). It. ten. Opera d;aaebut as Fenton in [c
f2]Falstaff[cf1], ~Parma [sm1893[nm. First visit to London [sm1900[nm, NY [sm190
6[nm. ~Especially effective in Bellini, Donizetti, and ~Rossini.[cm~Bond, Capel
[fy75,1]([cf2]b[cf1] Gloucester, [sm1730[nm; [cf2]d [cf1]Coventry, ~[sm1790[nm).
 Eng. composer and org. Dir. and organist ~first Birmingham Fest., [sm1768[nm. P
ubd. [sm6[nm concs., ~incl. tpt. and bn., in [sm1766[nm and [sm6[nm anthems in [
sm1769[nm.[cm~Bond, Carrie Jacobs [fy75,1](n;aaee Jacobs) ([cf2]b [cf1]Janesvill
e, ~Wisc., [sm1862[nm; [cf2]d [cf1]Glendale, Calif., [sm1946[nm). Amer. song ~co
mposer, among her most popular being `Just a-~wearyin' for you'
and `The end of a perfect day' ~(of which over [sm5[nm million copies were sold)
.[cm~Bondeville, Emmanuel [fy75,1]([cf2]b[cf1] Rouen, [sm1898[nm). Fr. ~composer
 and administrator. Art. dir. Radiodif~~fusion Fran;alcaise [sm1937[nm=n[sm45[nm
, dir., Monte Carlo ~Opera [sm1945[nm=n[sm9[nm, Paris Op;aaera-Comique [sm1949[n
m=n[sm52[nm, ~[PN89,0,0,R,I0]and Paris Op;aaera [sm1952[nm=n[sm70[nm. Comps. inc
l. [cf2]Madame ~Bovary, [cf1]opera ([sm1951[nm), [cf2]L';aaEcole des Maris[cf1],
 lyric ~comedy ([sm1935[nm), [cf2]Symphonie lyrique [cf1]([sm1957[nm), [cf2]Sym~
~phonie chor;aaeographique [cf1]([sm1965[nm).[cm~Bonduca, or [fy65][cf3]The Brit
ish Heroine. [fy75,1]Incidental ~mus. by Purcell to a play adapted from Beaumont
 ~and Fletcher on the story of Boadicea ([sm1695[nm).[cm~Bones. [fy75,1]Two piec
es of animal rib bone held ~between the fingers and rhythmically clacked=m~the [
sm19[nmth-cent. `nigger [fy45,1]*[fy75,1]minstrel' equivalent of ~the castanets.
[cm~Bongos. [fy75,1]Small Cuban drums, bucket-shaped ~vessels cu
t out of solid wood, bound with brass, ~and having strong vellum heads. [sm2[nm
of them are ~fixed together by a bar of metal. They are played ~with the thumb a
nd fingers by dance-band ~musicians and have been used in comps. by John ~[fy45,
1]*[fy75,1]McCabe, Var;agese, Orff, and Boulez.[cm~Bonini, Severo [fy75,1]([cf2]
b [cf1]Florence, [sm1582[nm; [cf2]d[cf1] Florence, ~[sm1663[nm.). It. organist a
nd composer of madrigals, ~motets, and a setting of Rinuccini's [cf2]Lamento ~d'
Arianna[cf1] ([sm1613[nm). One of first to use monodic ~style. Author of importa
nt treatise [cf2]Prima parte de' ~discorsi e regole sovra la musica [cf1](First
part of ~discourses and rules about music), completed ~[sm1649=n50[nm.[cm~Bonmar
ch;aae [fy75,1](Bonmarchi;aae), [fy65,3]Jean de [fy75,1]([cf2]b [cf1]?Douai, ~[c
f2]c[cf1].[sm1520[nm=n[sm5[nm; [cf2]d[cf1] ?Madrid, [sm1570[nm). Belg. composer.
 ~Master of choristers, Cambrai Cath. from [sm1560[nm. ~From [sm1565[nm master o
f Royal Chapel of Philip II of ~Spain. Comp. many masses and mot
ets.[cm~Bonne Chanson, La [fy75,1](The Good Song). ([sm1[nm) Settings ~by [fy45,
1]*[fy75,1]Faur;aae in [sm1892[nm=n[sm3[nm, Op. [sm61[nm, of [sm9[nm poems by ~V
erlaine, namely [cf2]Une Sainte en son aur;aaeole; Puisque ~l'aube grandit; La L
une blanche luit dans les bois; ~J'allais par des chemins perfides; J'ai presque
 peur en ~v;aaerit;aae; Avant que tu  ne t'en ailles; Donc ce sera par ~un clair
 jour d';aaet;aae; N'est ce pas?; L'hiver a cess;aae[cf1].[ep~^([sm2[nm) Tone-po
em by [fy45,1]*[fy75,1]Loeffler comp. [sm1901[nm and f.p. ~Boston [sm1902[nm. Al
so inspired by Verlaine.[cm~Bonnet, Joseph[fy75,1] (;aaElie Georges Marie) [cf1]
([cf2]b [cf1]Bordeaux, ~[sm1884[nm; [cf2]d [cf1]nr. Quebec, [sm1944[nm). Fr. org
anist and ~composer. Pupil of Guilmant; at [sm22[nm organist of St ~Eustache, Pa
ris; toured widely in Europe and ~Amer. Organ comps. have wide popularity.[cm~Bo
nnie Annie. [fy75,1]Folk tune to which words of ~`John Peel' were later fitted b
y J. W. Graves.[cm~Bononcini, Antonio Maria [fy75,1]([cf2]b [cf1
]Modena, [sm1677[nm; [cf2]d[cf1] ~Rome, [sm1726[nm). It. composer. Brother of Gi
ovanni ~[fy45,1]*[fy75,1]Bononcini and said to be the more talented. ~Comp. at l
east [sm17[nm operas and [sm39[nm cantatas. Was also ~cellist.[cm~Bononcini, Gio
vanni [fy75,1]([cf2]b [cf1]Modena, [sm1670[nm; [cf2]d [cf1]Vi~~enna, [sm1747[nm)
. It. composer and cellist. Usually spelt ~his name Buononcini. Elder son of G.
M. ~[fy45,1]*[fy75,1]Bononcini. Studied in Bologna. Worked in ~Rome from [sm1692
[nm and scored success throughout ~It. with opera [cf2]Il trionfo di Camilla [cf
1]([sm1696[nm). Went to ~Vienna [sm1697[nm and was court composer there [sm1700[
nm=n~[sm11[nm, but also spent time in Rome and Berlin. ~Invited to London in [sm
1720[nm to work at newly-~founded Royal Acad. of Mus. with Handel as dir. ~Enjoy
ed great favour, esp. with the Marlborough ~family who paid him ;bp[sm500[nm p.a
. Several operas ~prod. in London over next decade, most successful ~being [cf2]
Astarto [cf1]([sm1720[nm, rev. of [sm1714[nm Rome version). ~In
[sm1721[nm contrib. act to [cf2]Muzio Scevola[cf1], the other [sm2[nm ~being by
Amadei and Handel. In [sm1722[nm wrote ~anthem for Duke of Marlborough's funeral
 in ~Westminster Abbey. In [sm1732[nm left Eng. for Fr., ~scorning to answer an
accusation of plagiarism. ~Lived rest of his life in Paris, Vienna, and Venice.
~Comp. nearly [sm50[nm operas, also masses, oratorios, ~many cantatas for solo v
oice, and a large amount ~of chamber mus.[cm~Bononcini, Giovanni Maria [fy75,1](
[cf2]b [cf1]Montecorone, ~nr. Modena, [sm1642[nm; [cf2]d [cf1]Modena, [sm1678[nm
). It. composer. ~Head of family of musicians. Employed at court ~of Duke of Mod
ena. Wrote operas, masses, ~cantatas, sonatas, etc. Pubd. treatise on mus. [sm16
73[nm.[cm~Bonporti [fy75,1](Buonporti), [fy65,3]Francesco Antonio [fy75,1]([cf2]
b ~[cf1]Trento, [sm1672[nm; [cf2]d[cf1] Padua, [sm1748[nm). It. violinist and ~c
omposer of instr. mus. Comp. [sm10[nm `Inventions' ~for vn. and figured bass, [s
m1712[nm (Bach's use of word ~apparently taken from this), also
vn. sonatas and ~minuets.[cm~Bontempi [fy75,1](really Angelini), [fy65][cf3]Giov
anni Andrea ~[fy75,1]([cf2]b [cf1]Perugia, [sm1624[nm; [cf2]d [cf1]Brufa, nr. Pe
rugia, [sm1705[nm). It. ~musician. Sang as castrato in St Mark's, Venice, ~[sm16
43=n50[nm, when he went to Dresden. Befriended ~by Sch;auutz, becoming associate
 Kapellmeister with ~him in [sm1656[nm. Wrote [sm3[nm operas and several ~theore
tical treatises. Settled in It., [sm1680[nm, becoming ~choirmaster Spello [sm168
6[nm.[cm~Bonynge, Richard [fy75,1]([cf2]b [cf1]Sydney, N.S.W, [sm1930[nm). ~Aust
ralian cond. and pianist. Studied Sydney ~Cons., RCM. Cond. d;Aaebut, Rome [sm19
62[nm. Specializes ~in late [sm18[nmth- and early [sm19[nmth-cent. [cf2]bel cant
o [cf1]operas, ~many of them vehicles for his wife, the sop. Joan ~[fy45,1]*[fy7
5,1]Sutherland. CG d;aaebut [sm1964[nm, NY Met. [sm1970[nm. ~Mus. dir., Australi
an Opera [sm1976[nm=n[sm84[nm. C.B.E. ~[sm1977[nm.[cm~Boobams. [fy75,1]Perc. ins
tr. of definite pitch made of ~lengths of bamboo each having an
end covered ~by a plastic membrane which is struck by the ~finger or a soft-head
ed hammer. Pitch determined ~by length of tubes. Name is an inversion of ~bamboo
s.[cm~Boogie-Woogie [fy75,1](or Boogie). Jazz style of pf.-~playing originating
in early years of [sm20[nmth cent. ~but becoming popular from about [sm1928[nm.
One of ~first exponents was Negro jazz pianist Clarence ~`Pine Top' Smith. Prin.
 feature is ostinato bass in ~broken octaves.[cm~Boosey & Hawkes, Ltd. [fy75,1]L
ondon mus. publishers ~and instr. manufacturers. Boosey founded [sm1816[nm; ~Haw
kes [sm1865[nm. Amalgamation [sm1930[nm. Catalogue ~[PN90,0,0,L,I0]incl. works b
y R. Strauss, Stravinsky, Bart;Aaok, ~Britten, Ginastera, and many young compose
rs. ~Specialists in brass band mus. Subsidiary cos. in ~USA, Fr., Ger. Major man
ufacturer of wind instr. ~Published magazine [cf2]Tempo[cf1] from [sm1939[nm.[cm
~Bord. [fy75,1]Paris pf.-making firm; est. [sm1843[nm and taken ~over by Pleyel
[sm1934[nm.[cm~Bordes, Charles [fy75,1]([cf2]b [cf1]La Roche-Cor
bon, Indre-et-~Loire, [sm1863[nm; [cf2]d [cf1]Toulon, [sm1909[nm). Fr. composer.
 Pupil ~of C;Aaesar Franck. Organist of Paris church of St ~Gervais, where he fo
unded a choral body for the ~perf. of Renaissance church mus. under the name ~of
 `Les Chanteurs de St Gervais' (later an ~independent body); with Guilmant and d
'Indy ~founded also the Soci;Aaet;aae Schola Cantorum for the ~study of church m
us. ([sm1894[nm), which led to est. of ~Schola Cantorum of Paris as mus. sch. ([
sm1896[nm). ~Collected and pubd. early church mus. and ~Basque folk tunes, and c
omp. mus. for pf., orch., ~etc. From [sm1905[nm, at Montpellier, organized perfs
. ~of Rameau operas.[cm~Bordoni, Faustina [fy75,1]([cf2]b[cf1] Venice, [sm1700[n
m; [cf2]d[cf1] Venice, ~[sm1781[nm). It. mezzo-soprano. Brought up under ~protec
tion of A. and B. Marcello and taught ~singing by M. Gasparini. D;aaebut Venice
[sm1716[nm. ~Sang in Venice until [sm1725[nm in  operas by Albinoni, ~Lotti, etc
. Ger. d;aaebut Munich [sm1723[nm, Vienna [sm1725[nm. ~First san
g in London [sm1726[nm in Handel's [cf2]Alessandro[cf1]. ~Created [sm4[nm other
Handel operatic roles [sm1727=n8[nm. ~Her rivalry with Cuzzoni led to a fight be
tween ~them on stage in [sm1727[nm. Returned to It. [sm1728=n32[nm. ~Married com
p. [fy45,1]*[fy75,1]Hasse in [sm1730[nm and thereafter ~sang chiefly in his oper
as after he became ~Kapellmeister at Dresden [sm1731[nm. Retired from ~stage [sm
1751[nm. Voice was of exceptional brilliance, ~with accurate intonation and capa
ble of intense ~dramatic expression.[xm[cm~[ol0][ep~[xp[te~






[do35][j99]~~~~~~[sm153842[nm_BD[sm3[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmBD[sm3[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm23[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm452[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Bore.[fy75,1]
 Interior of tube of wind instr. Determines ~length and proportions of air colum
n and pitch ~of lowest note obtainable. In brass instr. length of ~bore is varia
ble by use of valves, in woodwind by ~opening and closing sideholes.[cm~Borg, Ki
m [fy75,1]([cf2]b[cf1] Helsinki, [sm1919[nm). Finn. bass singer ~and composer. S
tudied chemistry and mus., ~Helsinki. D;aaebut Helsinki [sm1947[nm, in opera at
;anAarhus ~[sm1951[nm. Frequent visits to USA and Eng. Recorded ~Elgar's [cf2]Dr
eam of Gerontius[cf1] with Barbirolli. Comp. ~songs.[cm~Borge, Victor[fy75,1] ([
cf2]b[cf1] Copenhagen, [sm1909[nm). Danish ~pianist and entertainer. Studied Cop
enhagen ~Cons., Berlin Univ. and with Egon Petri. D;aaebut ~Copenhagen [sm1922[n
m. Best known as humorist, ~dealing amusingly with mus. quirks a
nd oddities.[cm~Borghi, Giovanni Battista[fy75,1] ([cf2]b[cf1] Camerino, [sm1738
[nm; [cf2]d[cf1] ~Loreto, [sm1796[nm). It. organist and composer of at ~least [s
m25[nm operas, incl. [cf2]Piramo e Tisbe[cf1] ([sm1783[nm) and [cf2]La ~Morte di
 Semiramide[cf1] ([sm1791[nm). Studied in Naples. ~Choirmaster, Macerata Cath. [
sm1759=n78[nm, Loreto ~[sm1778=n96[nm. Also wrote much sacred mus.[cm~Borgioli,
Dino[fy75,1] ([cf2]b[cf1] Florence, [sm1891[nm; [cf2]d[cf1] Florence, ~[sm1960[n
m). It. ten. D;aaebut, Milan [sm1914[nm, London [sm1925[nm ~(as Edgardo in [cf2]
Lucia di Lammermoor[cf1]). Often sang ~at CG and Glyndebourne ([sm1937[nm=n[sm9[
nm), his Mozart ~and Rossini style being much admired. Law ~graduate, also a pai
nter.[cm~Borgstr;auom, Hjalmar[fy75,1] ([cf2]b[cf1] Christiania, [sm1864[nm; [cf
2]d[cf1] Oslo, ~[sm1925[nm). Norweg. composer and critic. Wrote [sm2[nm ~syms.,
pf. conc., vn. conc., tone-poem [cf2]John Gabriel ~Borkman [cf1]([sm1905[nm), an
d chamber mus.[cm~Bori, Lucrezia[fy75,1] (orig. Lucrecia Borja y
 Gonzalez ~de Riancho) ([cf2]b[cf1] Valencia, [sm1887[nm; [cf2]d[cf1] NY, [sm196
0[nm). Sp. ~sop. Trained in Milan. D;Aaebut Rome [sm1908[nm as ~Micaela in [cf2]
Carmen[cf1]. Sang Manon Lescaut opposite ~Caruso in Paris [sm1910[nm. First It.
Oktavian, Milan ~[sm1911[nm. D;Aaebut NY Met. [sm1912[nm as Manon. Career ~inter
rupted by throat operation [sm1915[nm, but re~~sumed [sm1919[nm. Member of NY Me
t. co. [sm1921[nm=n[sm36[nm ~and of board of dirs. from [sm1935[nm.[cm~Boris God
unov.[fy75,1] Opera in [sm4[nm acts, with prol., by ~[fy45,1]*[fy75,1]Mussorgsky
 to his own lib. based on Pushkin's ~poetic drama, [cf2]The Comedy of the Distre
ss of the ~Muscovite State, of Tsar Boris, and of Grishka ~Otrepyev[cf1] ([sm182
6[nm) and Karamzin's [cf2]History of the ~Russian Empire[cf1] ([sm1829[nm). Orig
. version comp. [sm1868[nm=n~[sm9[nm, rev. [sm1871[nm=n[sm2[nm, [sm3[nm scenes p
rod. St Petersburg [sm1873[nm ~and complete opera [sm1874[nm, but withdrawn afte
r ~[sm25[nm perfs. Cut, re-orchestrated, and rev. by Rimsky-~Kor
sakov after Mussorgsky's death and thus prod. ~St Petersburg [sm1896[nm. This ve
rsion rev., with some ~cuts restored, [sm1906[nm, prod. NY and London [sm1913[nm
. ~Orig. versions of [sm1869[nm and [sm1872[nm pubd. Leningrad ~[sm1928[nm in ed
n. prepared by Prof. Pavel Lamm of ~Moscow and perf. Leningrad [sm1928[nm, Londo
n (SW) ~and Paris [sm1935[nm. The [sm1869[nm version had [sm7[nm scenes ~which w
ere altered and re-arranged and an extra ~(Kromy Forest) scene added. Musicologi
cal con~~troversy rages on the `correct' version to use, but ~there is a growing
 tendency to prefer the ~Mussorgsky orchestration. In [sm1975[nm David Lloyd-~Jo
nes pubd. an edn., for which he had the use of ~MS. sources unknown to Lamm, whi
ch also ~corrects errors of detail and transcr. in Lamm. ~Vol. I of Lloyd-Jones
contains Mussorgsky's [sm1872[nm ~version of prol. and [sm4[nm acts and Vol. II
the [sm1869[nm ~version of Act [sm2[nm, the discarded `St Basil' scene, ~with va
riants and other scenes. A re-orch. version ~by Shostakovich exi
sts ([sm1940[nm, prod. Leningrad ~[sm1959[nm). Title-role inseparably assoc. wit
h [fy45,1]*[fy75,1]Chalia~~pin and [fy45,1]*[fy75,1]Christoff.[cm~Borkh, Inge[fy
75,1] (orig. Ingeborg Simon) ([cf2]b[cf1] Mann~~[chheim, [sm1921[nm). Ger.-born
Swiss sop. Began career as ~actress [sm1937[nm, then vocal training in Milan and
 ~Salzburg. D;aaebut Lucerne [sm1940[nm. Int. career fol~~lowed success in Menot
ti's [cf2]The Consul[cf1] in Lucerne ~[sm1952[nm. US d;aaebut San Francisco [sm1
953[nm, London [sm1955[nm ~in concert perf. of [cf2]Elektra[cf1], at CG [sm1959[
nm in [cf2]Salome[cf1]. ~Renowned for dramatic Strauss roles and Verdi's ~Lady M
acbeth, esp. as member of Stuttgart Opera.[cm~Bo;Akrkovec, Pavel[fy75,1] ([cf2]b
[cf1] Prague, [sm1894[nm; [cf2]d [cf1]Prague, ~[sm1972[nm). Cz. composer. Studie
d privately with J. B. ~[PN91,0,0,R,I0]Foerster and K;Akri;Akcka and at Prague C
ons. with ~Suk. In [sm1920[nms was a leading figure in Czech neo-~classic sch. T
aught comp. Prague Acad. [sm1946[nm=n[sm64[nm. ~Comps. incl. [sm
3[nm syms. ([sm1926[nm=n[sm7[nm, [sm1955[nm, [sm1959[nm), [sm2[nm ~sinfoniettas
([sm1947[nm, [sm1969[nm), [sm2[nm pf. concs. ([sm1931[nm, ~[sm1950[nm), vn. conc
. ([sm1933[nm), vc. conc. ([sm1951[nm), opera ~[cf2]Tom Thumb[cf1] ([sm1945[nm=n
[sm7[nm), [cf2]Dreams[cf1], [sm7[nm songs for low v. ~and orch. ([sm1962[nm), ch
amber mus., etc.[cm~Borodin, Alexander [fy75,1](Porfiryevich)[cf1] ([cf2]b[cf1]
St Peters~~burg, [sm1833[nm; [cf2]d[cf1] St Petersburg, [sm1887[nm). Russ. com~~
poser, one of the group known as `The [fy45,1]*[fy75,1]Five'. ~Illegitimate son
of Russ. prince. Showed child~~hood talent for mus. and science, composing pf. ~
pieces and fl. conc. Entered medical profession, ~graduating in [sm1855[nm from
Acad. of Medicine and ~Surgery, St Petersburg. Studied science in Heidel~~berg a
nd elsewhere [sm1859[nm=n[sm62[nm. Appointed ass. prof. ~of chemistry, Acad. of
Medicine [sm1862[nm. Meeting ~with [fy45,1]*[fy75,1]Balakirev [sm1862[nm persuad
ed him to devote ~leisure to serious study of mus. while continu
ing ~his scientific work, which incl. foundation of ~School of Medicine for Wome
n, where he lectured ~from [sm1872[nm to his death. His [sm1[nmst sym. was prod.
 ~[sm1869[nm, but he had already tasted failure with comic ~opera [cf2]The Bogat
yrs[cf1] in [sm1867[nm. His Sym. No. [sm2[nm in B ~minor was also a failure at f
.p. [sm1877[nm, the year in ~which he visited Liszt at Weimar. Liszt in [sm1880[
nm ~ensured a perf. of the [sm1[nmst Sym. at Baden-Baden ~which initiated Borodi
n's popularity outside ~Russia. In [sm1869[nm his friend Stasov suggested an ~op
era on the subject of [cf2]Prince Igor[cf1]. This appealed ~to Borodin's nationa
lism, but difficulties with the ~lib., plus the interruptions from his scientifi
c ~career, made comp. slow and the work, Borodin's ~masterpiece, was never finis
hed, but was com~~pleted by Rimsky-Korsakov and Glazunov. Me~~lodic and harmonic
 originality of Borodin's style ~are best heard in [cf2]Prince Igor[cf1], but th
e [sm2[nmnd sym., ~the [sm2[nm str. qts., and the tone-poem [cf2
]In the Steppes of ~Central Asia[cf1] ([sm1880[nm) ensure his survival.[ep~^Prin
. works:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy75,2]Prince Igor[cf1] (unfinished, c
ompleted by ~[fy45,1]*[fy75,1]Rimsky-Korsakov and [fy45,1]*[fy75,1]Glazunov) ([s
m1869[nm=n[sm70[nm, ~[sm1874[nm=n[sm87[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm in
 E;Yh ([sm1862[nm=n[sm7[nm), No. [sm2[nm in B ~minor ([sm1869[nm=n[sm76[nm), No.
 [sm3[nm in A minor ([sm1885[nm=n[sm6[nm, ~unfinished, completed and orch. by Gl
azunov); ~tone-picture [fy45,1]*[fy75,2]In the Steppes of Central Asia[cf1] ([cf
2]V ~sredney Azii[cf1]) ([sm1880[nm); [cf2]Nocturne[cf1] from [sm2[nmnd Str. Qt.
, ~orch. Sargent.[ep~[smchamber music[nm: Str. Qts.: No. [sm1[nm in A major ([sm
1877[nm=n~[sm9[nm), No. [sm2[nm in D ([sm1881[nm=n[sm7[nm); Pf. Quintet in C min
or ~([sm1862[nm).[ep~[smpiano[nm: [cf2]Petite Suite[cf1] ([sm1885[nm), orch. Gla
zunov; Scherzo ~in A;Yh; [cf2]Polka, Requiem, Dead March[cf1], and [cf2]Mazurka[
cf1] ~in coll. [cf2]Paraphrases on theme of [fy45,1]*[fy75,2]Cho
psticks[cf1] ([sm1880[nm).[cm~[j1]Boroni[fy75,1] (Buroni), [fy65][cf3]Antonio[fy
75,1] ([cf2]b[cf1] Rome, [sm1738[nm; [cf2]d[cf1] ~Rome, [sm1792[nm). It. compose
r and choirmaster. ~Studied under Padre [fy45,1]*[fy75,1]Martini and at Naples.
~Followed Jommelli as Kapellmeister at Stuttgart ~[sm1771[nm=n[sm7[nm. Choirmast
er, St Peter's, Rome, [sm1778[nm=n[sm92[nm. ~Comp. [sm21[nm operas, masses, mote
ts, and contrib. ~with J. C. Bach to a book of odes pubd. in London ~[sm1775[nm.
[cm~Borowski, Felix[fy75,1] ([cf2]b[cf1] Burton, Westmorland, Eng., ~[sm1872[nm;
 [cf2]d[cf1] Chicago, [sm1956[nm). Eng.-born composer, ~violinist, and teacher,
of Polish and Brit. parentage ~(later Amer. citizen). Studied Cologne Cons. Went
 ~to USA [sm1897[nm as teacher at Chicago Mus. Coll., ~becoming pres. [sm1916[nm
=n[sm25[nm. Pres., Civic Music ~Assoc., [sm1926[nm=n[sm32[nm. Wrote mus. critici
sm for Chi~~cago [cf2]Sun[cf1] and other papers. Comp. [sm3[nm syms., pf. ~conc.
, ballets, opera, and [sm3[nm org. sonatas.[cm~Borre, Borree, Bo
rry. [fy75,1]Old Eng. spellings of ~[fy45,1]*[fy75,2]Bourr;aaee.[cm~Borri, Giova
nni Battista[fy75,1] ([cf2]b [cf1]Bologna, [cf2]fl.[cf1] [sm1665[nm=n~[sm88[nm).
 It. composer who worked principally in ~Bologna. Comp. oratorio [cf2]La Susanna
[cf1], mass and ~other church mus., and instr. works such as ~[cf2]sinfonie a tr
e[cf1] ([sm2[nm vn. and vc.).[cm~Borsdorf, [fy75,1](Friedrich) [fy65][cf3]Adolph
[fy75,1] ([cf2]b[cf1] Dittmansdorf, ~Saxony, [sm1854[nm; [cf2]d[cf1] London, [sm
1923[nm). Ger. hn. player ~who studied in Dresden but in [sm1879[nm settled in ~
Eng. where he joined CG orch. and became [sm1[nmst ~hn. in Richter's London orch
. Later with Scottish ~Orch., Queen's Hall Orch. and LSO. Superb ~technician but
 especially noted for beauty of ~phrasing in such works as Brahms's hn. trio. As
 a ~teacher at RCM (from [sm1882[nm) and RAM (from ~[sm1897[nm) trained whole ge
neration of English hn.-~players, incl. his son Oscar.[cm~Bortkevich, Sergey [fy
75,1](Eduardovich) ([cf2]b[cf1] Kharkov, ~[sm1877[nm; [cf2]d[cf1
] Vienna, [sm1952[nm). Russ. composer. Studied ~St Petersburg and Leipzig. Lived
 in Berlin [sm1901[nm=n~[sm14[nm. Left Russia after revolution, living in Istanb
ul, ~Berlin, and Vienna. Comps. (in late [sm19[nmth-cent. ~Ger. idiom) incl. [sm
3[nm pf. concs. ([sm1[nm for left hand), vn. ~conc., vc. conc., and symphonic po
em [cf2]Othello.[cm~Bortnyansky, Dmitry [fy75,1](Stepanovich)[cf1] ([cf2]b[cf1]
Glukhov, ~Ukraine, [sm1751[nm; [cf2]d[cf1] St Petersburg, [sm1825[nm). Russ. ~co
mposer who studied in Moscow and in St ~Petersburg under Galuppi. When Galuppi l
eft ~Russia, Empress Catherine gave Bortnyansky ~funds to follow him to Venice i
n [sm1768[nm; later ~studied in Bologna, Rome, and Naples. His operas ~[cf2]Creo
nte[cf1] and [cf2]Quinto Fabio[cf1] were performed respec~~tively in Venice ([sm
1776[nm) and Modena ([sm1778[nm). On ~return to Russia in [sm1779[nm, became dir
. of Empress's ~church choir (re-named Imperial Kapelle in [sm1796[nm) ~which he
 reformed and for which he comp. large ~amount of mus. His sacre
d works were pubd. in ~[sm10[nm vols. in St Petersburg under editorship of ~Tcha
ikovsky ([sm1885[nm).[cm~Boschi, Giuseppe Maria [fy75,1]([cf2]=+=+=+fl.[cf1] [sm
1698[nm=n[sm1744[nm). It. bass. ~Sang at Venice [sm1707[nm in operas by Lotti. I
n London ~[sm1710[nm=n[sm11[nm, creating role of Argante in Handel's ~[cf2]Rinal
do[cf1]. In Dresden [sm1717[nm=n[sm20[nm. From [sm1720[nm to [sm1728[nm ~sang in
 London in all [sm32[nm operas prod. by Handel's ~Royal Academy, incl. [sm13[nm
by Handel, [sm7[nm by ~Bononcini, and [sm6[nm by Ariosti. Returned to Venice ~[P
N92,0,0,L,I0][sm1729[nm and became member of choir of St Mark's. ~His wife was t
he cont. Francesca Vanini ([cf2]d[cf1] Venice, ~[sm1744[nm).[cm~Borwick, Leonard
[fy75,1] ([cf2]b[cf1] Walthamstow, [sm1868[nm; [cf2]d[cf1] Le ~Mans, [sm1925[nm)
. Eng. pianist, pupil of Clara Schu~~mann at Frankfurt [sm1883[nm=n[sm9[nm, maki
ng d;aaebut there ~[sm1889[nm. London d;aaebut [sm1890[nm. Played Brahms's D ~mi
nor conc. in Vienna under Richter [sm1891[nm. After ~[sm1912[nm
took up pf. works of Debussy and Ravel, ~making pf. versions of the former's [cf
2]L'Apr;ages-midi ~d'un faune[cf1] and [cf2]F;afetes.[cm~B;auosendorfer. [fy75,1
]Viennese pf.-making firm, founded ~[sm1828[nm by Ignaz B;auosendorfer ([cf2]b[c
f1] Vienna, [sm1796[nm; [cf2]d[cf1] ~Vienna, [sm1859[nm) and carried on by son L
udwig ~from [sm1859[nm. [cf2]B;auosendorfersaal[cf1] (concert-room) opened ~[sm1
872[nm. Taken over by Jasper Corp., [sm1966[nm.[cm~Boskovich, Alexander [fy75,1]
(Urijah)[cf1] ([cf2]b[cf1] Cluj, Transyl~~vania, [sm1907[nm; [cf2]d[cf1] Tel Avi
v, [sm1964[nm). Romanian-born ~Israeli composer, cond., and pianist. Studied ~Vi
enna Acad. [sm1924[nm=n[sm9[nm and in Paris with Dukas, ~Boulanger, and Cortot.
Cond. Cluj State Opera ~[sm1930[nm=n[sm8[nm. Emigrated to Palestine [sm1938[nm,
teaching at ~Tel Aviv Acad. [sm1945[nm=n[sm64[nm. Mus. critic, Israeli ~newspape
r [cf2]Ha'aretz[cf1] [sm1955[nm=n[sm64[nm. Comps. incl. Suite, ~[cf2]The Golden
Chain[cf1] ([sm1937[nm), vn. conc. ([sm1942[nm), ob. ~conc. ([sm
1943[nm, rev. [sm1960[nm), [cf2]Semitic Suite[cf1] for orch. ~([sm1946[nm=n[sm7[
nm), [cf2]Daughter of Israel[cf1], cantata ([sm1960[nm), ~[cf2]Concerto da camer
a[cf1], vn. and [sm10[nm instr. ([sm1962[nm), and ~[cf2]The Hidden Light [cf1]([
cf2]Ha'or haganuz[cf1]), oratorio ([sm1964[nm).[cm~Boskovsky, Willi[fy75,1] ([cf
2]b[cf1] Vienna, [sm1909[nm). Austrian ~violinist and cond. Educated Vienna Acad
. Joined ~Vienna P.O., [sm1933[nm, co-leader [sm1939[nm=n[sm71[nm. Cond. of ~cel
ebrated New Year's Day Vienna concerts of ~Strauss waltzes. Cond. Vienna Strauss
 Orch. from ~[sm1969[nm.[cm~Bossa-nova.[fy75,1] Brazilian term that first appear
ed in ~[sm1959[nm in a song `Desafinado' by Jobim which was ~extremely complex i
n melody and harmony, but ~its innovation was its radical change in the ~rhythmi
c structure of the samba. In [sm1960[nm bossa-~nova became associated with socia
l protest. `Bossa' ~in Rio slang means `shrewdness'.[cm~Bossi, Marco Enrico[fy75
,1] ([cf2]b[cf1] Sal;ago, Lake Garda, [sm1861[nm; ~[cf2]d[cf1] a
t sea, [sm1925[nm). It. organist, teacher, and composer, ~one of chief figures i
n revival of non-operatic It. ~mus. at end of [sm19[nmth cent. Studied Bologna a
nd ~Milan [sm1871[nm=n[sm81[nm. Organist and choirmaster, Como ~Cath. [sm1881[nm
=n[sm91[nm; prof. of org. and theory, Naples ~Cons., [sm1891[nm=n[sm5[nm. Dir. L
iceo Benedetto Marcello, ~Venice, [sm1896[nm=n[sm1902[nm, dir. Liceo Musicale, B
ologna, ~[sm1902[nm=n[sm12[nm, dir. Academy of St Cecilia, Rome, ~[sm1916[nm=n[s
m23[nm. Wrote large body of works, incl. [sm3[nm ~operas, org. conc., and chambe
r mus., but best ~known are [sm3[nm choral works, [cf2]Canticum Canticorum[cf1]
~(Leipzig [sm1900[nm), [cf2]Il paradiso perduto[cf1] (Augsburg ~[sm1903[nm), and
 [cf2]Giovanna d'Arco[cf1] (Cologne [sm1914[nm). His ~son Renzo ([cf2]b[cf1] Com
o, [sm1883[nm; [cf2]d[cf1] Milan, [sm1965[nm) was ~also organist, composer, and
cond.[cm~Boston Symphony Orchestra. [fy75,1]One of great ~orchs. of world, found
ed at Boston, Mass., [sm1881[nm ~by Henry Lee Higginson who endo
wed it with a ~million dollars. First concert [sm22[nm Oct. [sm1881[nm, cond. ~b
y Sir George [fy45,1]*[fy75,1]Henschel who was cond. [sm1881[nm=n[sm4[nm. ~He wa
s succeeded by Wilhelm [fy45,1]*[fy75,1]Gericke [sm1884[nm=n[sm9[nm, ~[fy45,1]*[
fy75,1]Nikisch [sm1889[nm=n[sm93[nm, Emil [fy45,1]*[fy75,1]Paur [sm1893[nm=n[sm8
[nm, Gericke ~[sm1898[nm=n[sm1906[nm, Karl [fy45,1]*[fy75,1]Muck [sm1906[nm=n[sm
8[nm, Max [fy45,1]*[fy75,1]Fiedler ~[sm1908[nm=n[sm12[nm, Muck [sm1912[nm=n[sm18
[nm, Henri [fy45,1]*[fy75,1]Rabaud [sm1918[nm=n~[sm19[nm, Pierre [fy45,1]*[fy75,
1]Monteux [sm1919[nm=n[sm24[nm, Serge [fy45,1]*[fy75,1]Koussev~~itzky [sm1924[nm
=n[sm49[nm, Charles [fy45,1]*[fy75,1]Munch [sm1949[nm=n[sm62[nm, Erich ~[fy45,1]
*[fy75,1]Leinsdorf [sm1962[nm=n[sm9[nm, William [fy45,1]*[fy75,1]Steinberg [sm19
69[nm=n~[sm72[nm, Seiji [fy45,1]*[fy75,1]Ozawa from [sm1973[nm. Koussevitzky's [
sm25[nm-~year tenure was outstanding for its encourage~~ment of new works both b
y Amer. composers ~and by est. composers such as Prokofiev, Stra
vin~~sky, and Bart;aaok.[cm~Bote and Bock. [fy75,1]Ger. mus. publishing firm, ~f
ounded in Berlin in [sm1838[nm by Eduard Bote and ~Gustav Bock. Remained in Bock
 family until ~[sm1935[nm when it was reorganized as limited co. ~under directio
n of Robert Lienau, dir. of R. & W. ~Lienau. Wiesbaden branch, [sm1948[nm. Publi
sher of ~mus. of many Ger. composers incl. Reger, Blacher, ~and Einem.[cm~Bottes
ini, Giovanni[fy75,1] ([cf2]b[cf1] Crema, Lombardy, [sm1821[nm; ~[cf2]d[cf1] Par
ma, [sm1889[nm). It. virtuoso of db. which he took ~up because there was a vacan
cy at Milan Cons. in ~[sm1835[nm only for a db. student. Extraordinary ~mastery
of the instr. soon acknowledged. Settled ~in Havana, Cuba, as prin. db. of orch.
 there. First ~played in London [sm1849[nm. Used [sm3[nm-str. [cf2]basso da ~cam
era[cf1] made by Testore of Milan, with a bow ~more like that for a vc. Was succ
essful opera cond. ~in Paris [sm1855[nm=n[sm7[nm and in London [sm1871[nm. Dir.
of ~opera ths. at Palermo, [sm1861[nm=n[sm3[nm, Barcelona, and ~
Cairo. Cond. f.p. of Verdi's [cf2]Aida[cf1], Cairo, [sm1871[nm. ~Comp. many piec
es for db., several operas, and ~an oratorio [cf2]The Garden of Olivet[cf1] (Nor
wich, [sm1887[nm).[cm~Bouche ferm;aaee[fy75,1] (Fr.). Closed-mouth singing, i.e.
 ~humming.[cm~Bouch;aaes, Sons[fy75,1] (Fr.). Stopped notes in hn. playing ~(see
 also [cf2]Gestopft[cf1] and [cf2]Schmetternd[cf1]).[cm~Boucourechliev, Andr;aae
[fy75,1] ([cf2]b[cf1] Sofia, [sm1925[nm). Bulg.-~born composer and pianist, Fr.
citizen since [sm1956[nm. ~Studied Sofia State Acad. [sm1946[nm=n[sm9[nm, ;aaEco
le Normale ~de Musique, Paris, [sm1949[nm=n[sm51[nm, Saarbr;auucken Cons. ~[sm19
55[nm (pf. with Gieseking), and at Darmstadt ~summer courses [sm1958[nm=n[sm62[n
m. Has worked for radio ~in Milan and Paris. Teacher of pf. ;aaEcole Normale ~[s
m1954[nm=n[sm60[nm. Mus. critic of various Fr. publications ~since [sm1957[nm. A
uthor of books on Schumann, ~Chopin, Beethoven, and Stravinsky. Comps. incl. ~pf
. sonata ([sm1959[nm), [cf2]Texte I [cf1](tape, [sm1959[nm), [cf
2]Texte II[cf1] ~(tape, [sm1960[nm), [cf2]Musiques nocturnes[cf1], cl., harp, pf
. ~([sm1966[nm), [cf2]Archipel [sm1[nm[cf1] for [sm2[nm pf., [sm2[nm percussioni
sts ([sm1967[nm), ~[cf2]Archipel [sm2[nm[cf1], str. qt. ([sm1968[nm), [cf2]Archi
pel [sm3[nm[cf1], pf., [sm6[nm ~percussionists ([sm1969[nm), [cf2]Archipel [sm4[
nm[cf1], pf. ([sm1970[nm), ~[cf2]Archipel[cf1] [sm5[nm, [sm6[nm instr. ([sm1970[
nm); [cf2]Ombres[cf1], str. ([sm1970[nm); ~[cf2]Faces[cf1], orch. ([sm1972[nm);
pf. conc. ([sm1974[nm=n[sm5[nm). The ~[cf2]Archipel[cf1] works are in open form,
 generally perf. ~in [sm2[nm or more versions per concert. In [fy45,1]*[fy75,1]o
pen form ~[PN93,0,0,R,I0]the sequence and/or structure of some parts of a ~work
can be varied by the performers.[cm~Bouffons[fy75,1] (or [cf2]Mattachins[cf1], o
r [cf2]Matassins[cf1]). Old sword ~dance of men wearing armour of gilded card~~b
oard.[cm~Bouffons, Querelle des. [fy75,1]`War of the Comedians' ~in Paris, [sm17
52[nm=n[sm4[nm. A quarrel over an opera by ~[fy45,1]*[fy75,1]Des
touches led to the invitation to Paris of ~troupe of It. comedians, who made muc
h stir ~with their perf. of Pergolesi's intermezzo [cf2]La ~[fy45,1]*[fy75,2]ser
va padrona[cf1]. The Fr. literary and mus. world ~split into [sm2[nm factions, f
avouring respectively It. and ~Fr. opera (as exemplified by Rameau). Rousseau ~a
nd Diderot joined the controversy on the It. side.[cm~Boughton, Rutland[fy75,1]
([cf2]b[cf1] Aylesbury, [sm1878[nm; [cf2]d[cf1] ~London, [sm1960[nm). Eng. compo
ser. Studied RCM ~under Stanford and Walford Davies [sm1900[nm=n[sm1[nm. ~Early
orch. works perf. [sm1901[nm and [sm1902[nm. From ~[sm1904[nm to [sm1911[nm on s
taff of Birmingham Midland ~Institute of Mus. Choral work, [cf2]Midnight[cf1] ([
sm1907[nm), ~perf. Birmingham Fest. [sm1909[nm. Inspired by Wag~~ner's theory of
 mus. drama, conceived idea of an ~Eng. Bayreuth at Glastonbury for perf. of ser
ies ~of mus. dramas, based on the Arthurian legends, ~by himself, with Reginald
Buckley as librettist. ~First fest. held [sm1914[nm when his [cf
2]The [fy45,1]*[fy75,2]Immortal Hour[cf1] ~([sm1912[nm=n[sm13[nm) was perf. In [
sm1916[nm his [fy45,1]*[fy75,2]Bethlehem[cf1] ([sm1915[nm) ~and parts of [cf2]Th
e Birth of Arthur [cf1]([sm1908[nm=n[sm9[nm) were ~perf. In [sm1920[nm the Glast
onbury Players perf. [cf2]The ~Immortal Hour[cf1] and other works at the Old Vic
, ~London, preceding f.p. at Glastonbury in Aug. of ~the complete [cf2]Birth of
Arthur[cf1] and [cf2]The Round Table[cf1] ~([sm1916[nm). In [sm1922[nm his [fy45
,1]*[fy75,2]Alkestis[cf1] ([sm1920[nm=n[sm22[nm), a [sm3[nm-act ~setting of Gilb
ert Murray's trans. of Euripides, ~was perf. at Glastonbury and, in [sm1926[nm,
[cf2]The Queen ~of Cornwall [cf1]([sm1923=n4[nm), based on Hardy's verse-play. ~
Greatest success came in [sm1922[nm with the long ~London run of Birmingham Repe
rtory Th.'s ~prod. of [cf2]The Immortal Hour[cf1], with Gwen Ffrangcon-~Davies.
[cf2]Alkestis[cf1] was prod. CG [sm1924[nm. In [sm1934[nm [cf2]The ~Lily Maid[cf
1] was prod. in London. In [sm1943[nm=n[sm4[nm ~Boughton wrote t
he mus. drama [cf2]Galahad[cf1], fol~~lowed in [sm1945[nm=n[sm6[nm by [cf2]Avalo
n[cf1]. Also comp. [sm3[nm syms. ~([sm1904[nm, [sm1927[nm, [sm1937[nm) and other
 instr. works. His ~daughter Joy ([sm1913[nm=n[sm63[nm) was a talented oboist.[x
m[cm~[ol0][ep~[xp[te~









[do35][j99]~~~~~~[sm153842[nm_BD[sm4[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmBD[sm4[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm23[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm481[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Boulanger, Li
li[fy75,1] (Juliette Marie Olga) ([cf2]b[cf1] Paris, ~[sm1893[nm; [cf2]d[cf1] M;
aaezy, [sm1918[nm). Fr. composer, sister of Nadia ~[fy45,1]*[fy75,1]Boulanger. S
tudied at Paris Cons. [sm1912[nm with G. ~Caussade and P. Vidal, winning [sm1[nm
st [cf2]Grand Prix de ~Rome[cf1] in [sm1913[nm (the first woman to do so) with ~
cantata [cf2]Faust et H;aael;agene[cf1]. Career constantly inter~~rupted by ill-
health, but comps. show exceptional ~gifts. They incl. mus. for Maeterlinck's [c
f2]Princesse ~Maleine[cf1], [sm2[nm symphonic poems, [sm2[nm Psalms with orch.,
~str. qt., etc.[cm~Boulanger, Nadia [fy75,1](=+=+=+Juliette) ([cf2]b[cf1] Paris,
 [sm1887[nm; [cf2]d ~[cf1]Paris, [sm1979[nm). Fr. composer and cond. but princi~
~pally known as outstandingly influential teacher ~of comp. At P
aris Cons. won [sm1[nmst prizes in ~harmony, counterpoint, fugue, org., and acc.
 ~Studied comp. with Faur;aae. Awarded [sm2[nmnd [cf2]Grand ~Prix de Rome[cf1] [
sm1908[nm for cantata [cf2]La Sir;agene[cf1]. Teacher ~at Paris Cons. from [sm19
46[nm, at ;aaEcole Normale de ~Musique, Paris, [sm1920[nm=n[sm39[nm, in USA [sm1
940=n6[nm, and at ~Amer. Cons., Fontainebleau, from [sm1921[nm (dir. ~[sm1950[nm
). The list of her pupils, many of them ~private, is long and incl. many disting
uished ~composers, esp. Americans (Copland, Harris, ~Thomson, Carter, and Piston
). Eng. pupils incl. ~Lennox Berkeley and Hugo Cole. Frequent visitor ~to USA, t
eaching at Juilliard Sch., etc. Was among ~first in [sm20[nmth cent. to rediscov
er Monteverdi ~madrigals, making famous [sm78[nm r.p.m. records. ~Noted cond. of
 Faur;aae's [cf2]Requiem[cf1]. First woman to ~cond. complete concert of Royal P
hil. Soc., ~London, [sm4[nm Nov. [sm1937[nm. Cond. Boston S.O. ([sm1938[nm), ~NY
 P.O. ([sm1939[nm), and Hall;aae Orch. ([sm1963[nm). Cond. ~f.p.
 of Stravinsky's [cf2]Dumbarton Oaks Concerto[cf1], ~Washington D.C., [sm1938[nm
. Hon. C.B.E.[cm~Boulevard Solitude. [fy75,1]Opera in [sm7[nm scenes by [fy45,1]
*[fy75,1]Henze ~to lib. by G. Weil after W. J;auockisch, being ~modernized versi
on of Pr;aaevost's [fy45,1]*[fy75,2]Manon Lescaut[cf1]. ~Prod. Hanover [sm1952[n
m, London [sm1962[nm. Santa Fe ~[sm1967[nm.[cm~Boulez, Pierre[fy75,1] ([cf2]b[cf
1] Montbrison, [sm1925[nm). Fr. com~~poser and cond. Intended for career in engi
neer~~ing, went to Paris Cons. in [sm1942[nm, studying comp. ~with Messiaen unti
l [sm1945[nm. Studied counterpoint ~with Andr;Aaee Vaurabourg-Honegger and [sm12
[nm-note ~technique with Ren;Aae Leibowitz. In [sm1946[nm became ~mus. dir. and
cond. of Barrault-Renaud co. at ~Th;aae;afatre Marigny, Paris, travelling with t
hem to ~N. and S. Amer. and European cities during next ~[sm10[nm years. In [sm1
953[nm, with Barrault's help, founded ~the Concerts Marigny, later re-named Doma
ine ~musical when the venue was moved to the Od;aaeon ~in [sm195
9[nm. In this series Boulez introduced to Paris ~audiences not only works by Sch
oenberg, We~~bern, and Berg, but mus. of his contemporaries. ~At this time, est.
 contacts with Maderna and ~Stockhausen and joined teaching staff at the Int. ~s
ummer sch. for new mus., Darmstadt. In early ~[sm1960[nms cond. engagements incr
eased and dir. ~several major European orchs., incl. the Vienna ~P.O. at Salzbur
g, [sm1962[nm. Cond. first Fr. p. of Berg's ~[cf2]Wozzeck[cf1], Paris [sm1963[nm
. In [sm1963[nm visiting prof. at ~Harvard Univ.; made Amer. conducting d;Aaebut
 ~with Cleveland Orch. [sm1964[nm. In [sm1966[nm cond. [cf2]Parsifal[cf1] ~at Ba
yreuth and in same year severed connection ~with Paris life as a protest over a
ministerial ~appointment. Guest cond. BBC S.O. in London ~[sm1964[nm and in USA
in [sm1965[nm and on its Russ. tour in ~[sm1967[nm. Gave up conductorship of Dom
aine musi~~cal, [sm1967[nm. Prin. guest cond., Cleveland Orch., ~[sm1969[nm=n[sm
70[nm and chief cond. of the BBC S.O. [sm1971[nm=n[sm5[nm ~and N
Y P.O. [sm1971[nm=n[sm7[nm. His BBC period was notable ~for remarkable perfs. of
 [sm20[nmth cent. music, ~especially Schoenberg, Webern, and Debussy. ~Cond. cen
tenary cycle of Wagner's [cf2]Ring[cf1] at ~Bayreuth, [sm1976[nm. From [sm1976[n
m dir. Fr. Govt.'s ~research institute into techniques of modern ~[PN94,0,0,L,I0
]comp. (IRCAM). Cond. first complete perf. of ~Berg's [cf2]Lulu[cf1], Paris, [sm
1979[nm.[ep~^Boulez's importance and originality as an [cf2]avant-~garde[cf1] co
mposer were evident from the first. He ~came to prominence with the [cf2]Sonatin
e[cf1] for fl. and ~pf. and the Pf. Sonata No. [sm1[nm. The cantata [cf2]Le visa
ge ~nuptial[cf1], to poems by Ren;aae Char made use of ~choral speech, spoken gl
issandi, crying, and ~whispering. Boulez's orthodox use of serialism is ~found i
n [cf2]Structures I[cf1] for [sm2[nm pf. [cf2]Le Marteau sans ~ma;afitre[cf1], t
o text by Char (f.p. Baden-Baden June ~[sm1955[nm, cond. Rosbaud) made him a cel
ebrity. His ~most ambitious work to date is [cf2]Pli selon pli[c
f1] for ~sop. and orch. This [sm5[nm-part portrait of Mallarm;aae ~developed fro
m [cf2]Improvisation sur Mallarm;aae[cf1]. These ~are now flanked by [sm2[nm out
er movements, [cf2]Don[cf1] and ~[cf2]Tombeau[cf1], all [sm5[nm containing extra
cts from Mallarm;aae ~sung or declaimed in many ways. There are ~elements of ind
eterminacy in the [sm3[nm sections of ~the improvisations. The work has constant
ly been ~radically rev., in accordance with Boulez's view ~that a comp. is never
 finished.[ep~^Boulez experimented with [fy45,1]*[fy75,2]musique concr;agete[cf1
] in ~early [sm1950[nms and combined it with elec. sounds in ~[cf2]Po;aaesie pou
r pouvoir[cf1] ([sm1958[nm). His use of indetermi~~nacy dates from about [sm1957
[nm with the [sm3[nmrd Pf. ~Sonata, the [sm5[nm movements of which can be played
 ~in any order except for the [sm3[nmrd which must be ~central. Like Mahler and
Richard Strauss, Boulez ~has pursued parallel careers as cond. and com~~poser. P
rin. comps.:[xm[cm~[j2][smorch[nm: [cf2]Strophes[cf1] ([sm1957[n
m), re-comp. as [cf2]Don[cf1] ([sm1960[nm=n[sm2[nm); ~[cf2]Doubles [cf1]([sm1958
[nm), expanded as [cf2]Figures-Doubles-~Prismes[cf1] ([sm1964[nm); [cf2]Livre po
ur Cordes[cf1] ([sm1968[nm=n); .|.|. ~[cf2]explosante fixe .|.|.|, [cf1]unspecif
ied forces ([sm1971[nm), fl., ~cl., tpt. ([sm1972[nm), fl., cl., tpt., hp., vibr
aphone, vn., ~va., vc., elec. ([sm1973[nm, rev. [sm1974[nm); [cf2]M;aaemoriales[
cf1] ~([sm1973[nm=n[sm5[nm); [cf2]Rituel in memoriam Bruno Maderna[cf1] ~([sm197
4[nm=n[sm5[nm); [cf2]Notations[cf1] (rev. of early pf. pieces, ~[sm1981[nm); [cf
2]R;aaepons[cf1], [sm24[nm  players, [sm6[nm instr. soloists, elec. ~([sm1981[nm
).[ep~[smens[nm: [cf2]Le Visage nuptial[cf1] (Char), sop.,  alto, chamber ~orch.
 ([sm1946[nm), rev. sop., alto, women's ch., orch. ~([sm1950[nm=n[sm1[nm); [fy45
,1]*[fy75,2];aaEclat[cf1], [sm15[nm instr. ([sm1965[nm), expanded as ~[cf2];aaEc
lats/Multiples[cf1] ([sm1970[nm, in progress); [cf2]Domaines[cf1], cl., ~[sm21[n
m instr. ([sm1968[nm).[ep~[smvocal[nm: [cf2]Le [fy45,1]*[fy75,2]
Soleil des Eaux[cf1] (Char), mus. for radio ~play ([sm1948[nm), rev. as cantata
for sop., ten., bass, ~chamber orch. ([sm1950[nm), rev. sop., ten., bass, ch., ~
orch. ([sm1958[nm), rev. sop. and ch. ([sm1965[nm); [cf2]Le ~[fy45,1]*[fy75,2]Ma
rteau sans Ma;afitre[cf1] (Char), alto, alto fl., guitar, ~vib., xylorimba, perc
., va. ([sm1952[nm=n[sm4[nm, rev. [sm1957[nm); ~[cf2]Improvisation sur Mallarm;a
ae[cf1] I, sop., hp., bells, vib., ~perc. ([sm1957[nm), alternative version [sm1
962[nm, II, sop., ~celesta, hp., pf., bells, vib., perc. ([sm1957[nm), III, sop.
, ~orch. ([sm1959[nm) [sm2[nmnd. version ([sm1983[nm); [cf2]Tombeau[cf1], sop.,
~orch. ([sm1959[nm, rev. [sm1962[nm); [cf2]Don[cf1], sop., orch. ([sm1960[nm=n~[
sm2[nm); [fy45,1]*[fy75,2]Pli selon pli[cf1] ([cf2]Don, Improvisation sur Mallar
m;aae ~I=nIII, Tombeau[cf1]) ([sm1957[nm=n[sm62[nm); [cf2]e.e.cummings ist der ~
dichter[cf1], [sm16[nm solo vv., [sm24[nm instr. ([sm1970[nm=n).[ep~[smincidenta
l music[nm: [cf2]Ainsi parla Zarathoustra[cf1] ([sm1974[nm).[ep~
[smpiano[nm: Sonatas: No. [sm1[nm ([sm1946[nm), No. [sm2[nm ([sm1948[nm), No. [s
m3[nm ~([sm1955[nm=n[sm7[nm); [cf2]Structures[cf1], Book I, [sm2[nm pf. ([sm1952
[nm) ~complete ([sm1953[nm), Book II, [sm2[nm pf. ([sm1956[nm=n[sm61[nm).[ep~[sm
chamber music[nm: [cf2]Sonatine[cf1], fl., pf. ([sm1946[nm); [cf2]Livre pour ~qu
atuor[cf1], str. qt. ([sm1948[nm=n[sm9[nm, rev. as [cf2]Livre pour Cordes[cf1],
~[sm1968[nm=n^); [cf2]Messagesquisse[cf1], [sm7[nm vc. ([sm1977[nm).[ep~[smtape[
nm: [cf2]Etudes I, sur un son[cf1], II, [cf2]sur sept sons[cf1], [sm1[nm-track ~
tape ([sm1952[nm); [cf2]Symphonie M;aaechanique[cf1], [sm1[nm-track ~tape ([sm19
55[nm).[cm~[j1]Boult, [fy75,1](Sir) [fy65][cf3]Adrian [fy75,1](Cedric) ([cf2]b[c
f1] Chester, [sm1889[nm; [cf2]d[cf1] ~Tunbridge Wells, [sm1983[nm). Eng. cond. B
egan mus. ~education at Christ Church, Oxford, under H. P. ~[fy45,1]*[fy75,1]All
en. At Leipzig Cons. [sm1912[nm=n[sm13[nm. While there ~studied Nikisch's method
s of conducting. Came ~into prominence [sm1918[nm=n[sm19[nm with
 outstanding perfs. ~of works by Elgar, Vaughan Williams, and Holst, ~all of who
m became close friends. Teaching staff ~RCM [sm1919[nm=n[sm30[nm. Cond. London s
eason of Diaghilev ~ballet and operas at CG. Toured Europe introduc~~ing Brit. m
us. to foreign audiences. Champion~~ship of Eng. composers has been dominant but
 ~not exclusive element in his career. Cond., CBSO ~[sm1924[nm=n[sm30[nm. Appoin
ted mus. dir., BBC, [sm1930[nm=n[sm42[nm, ~and chief cond., BBC S.O., [sm1931[nm
=n[sm50[nm. Prin. cond. ~LPO [sm1951[nm=n[sm7[nm. Guest cond. of world's leading
 ~orchs. Returned to RCM staff [sm1962[nm=n[sm6[nm. Author of ~handbook on condu
cting and of autobiography. ~Knighted [sm1937[nm. C.H. [sm1969[nm. Retired [sm19
79[nm.[cm~Bourdon. [fy75,1]([sm1[nm) Dull-toned pedal stop found on ~every org.,
 however small; end-plugged; [sm8[nm;po length ~and [sm16[nm;po pitch.[ep~^([sm2
[nm) Lowest str. on the lute or vn.[ep~^([sm3[nm) Very large and deep-toned bell
.[ep~^([sm4[nm) Drone str. of hurdy-gurdy.[ep~^([sm5[nm) Drone p
ipe of bagpipe.[cm~Bourgault-Ducoudray, Louis Albert[fy75,1] ([cf2]b[cf1] Nantes
, ~[sm1840[nm; [cf2]d[cf1] Vernouillet, Paris, [sm1910[nm). Fr. composer ~and sc
holar. Student at Paris Cons. under Thomas; ~then cond. of a Paris choral body w
hich revived ~comps. of Palestrina, Bach, and others. Prof. of ~History of Mus.
at Cons., [sm1878[nm=n[sm1908[nm. In [sm1874[nm ~went to Greece on official miss
ion, and studied ~folk mus. on which he became authority. Pubd. ~colls. of folk-
songs from Greece, Brittany, Scot~~land, and the Middle East. Comp. [sm5[nm oper
as and ~choral works, incl. [cf2]Stabat Mater.[cm~Bourgeois, Derek[fy75,1] (Davi
d) ([cf2]b[cf1] Kingston-on-~Thames, [sm1941[nm). Eng. composer. Studied Cam~~br
idge Univ. and RCM ([sm1963[nm=n[sm5[nm). Lecturer in ~mus., Bristol Univ., from
 [sm1971[nm. Comps. incl. ~syms., concs., cantatas, str. qt., vn. sonatas, ~vari
ations for [sm2[nm db. and orch., brass quintets, org. ~sym., etc.[cm~Bourgeois
Gentilhomme, Le [fy75,1](The would-be ~gentleman). [cf2]Com;aaed
ie-ballet[cf1] in [sm5[nm acts by Moli;agere ~(Jean-Baptiste Poquelin), written
in [sm1670[nm for court ~of Louis XIV. Mus. for f.p. comp. by [fy45,1]*[fy75,1]L
ully. In ~[sm1912[nm, for his Op. [sm60[nm (the first version of [fy45,1]*[fy75,
2]Ariadne ~auf Naxos[cf1]), R. Strauss comp. incidental mus. for ~adaptation by
Hofmannsthal ([cf2]Der B;auurger als ~[PN95,0,0,R,I0]Edelmann[cf1]). Some of Lul
ly's mus. was quoted. In ~[sm1916[nm, for second version of [cf2]Ariadne auf Nax
os[cf1], the ~play was abandoned and Strauss expanded the ~incid. mus. in [sm191
7[nm to [sm17[nm items for a further ~adaptation of [cf2]Le bourgeois gentilhomm
e[cf1] by Hof~~mannsthal. This was f.p. Berlin, [sm9[nm April [sm1918[nm, ~prod.
 by Max Reinhardt. From this Strauss arr. a ~Suite for orch. comprising: [sm1[nm
. [cf2]Overture[cf1], [sm2[nm. [cf2]Minuet[cf1], ~[sm3[nm. [cf2]The fencing mast
er,[cf1] [sm4[nm. [cf2]Entrance and dance of the ~tailors,[cf1] [sm5[nm. [cf2]Mi
nuet of Lully,[cf1] [sm6[nm. [cf2]Courante,[cf1] [sm7[nm. [cf2]E
ntrance ~of Cl;aaeonte[cf1] (after Lully), [sm8[nm. [cf2]Prelude, Act [sm2[nm [c
f1]([cf2]Inter~~mezzo[cf1]), [sm9[nm. [cf2]The Dinner [cf1]([cf2]Table music and
 dance of the ~kitchen boy[cf1]). Nos. [sm1[nm=n[sm4[nm and [sm8[nm=n[sm9[nm are
 from the [sm1912[nm ~mus., Nos. [sm5[nm=n[sm7[nm from the [sm1917[nm reworking.
 F.p. of ~Suite, Vienna [sm1920[nm; f. Eng. p. Manchester [sm1921[nm.[cm~Bourgeo
is, Louis[fy75,1] ([cf2]b[cf1] Paris, [cf2]c.[cf1][sm1510[nm; [cf2]d[cf1] Paris,
 [cf2]c.[cf1][sm1561[nm). ~Fr. church musician, in Geneva [sm1541[nm=n[sm57[nm w
here ~he played leading part in compiling Genevan ~Psalter. Developed a system o
f sight-reading. ~Pubd. settings of [sm83[nm psalms, [sm1561[nm.[cm~Bourguignon,
 Francis de[fy75,1] ([cf2]b[cf1] St Gilles, [sm1890[nm; [cf2]d[cf1] ~Brussels, [
sm1961[nm). Belg. composer and pianist. ~Accompanist to Melba in Australia. Comp
. sym., ~concs., chamber mus. Taught harmony at Brussels ~Cons. [sm1939[nm=n[sm5
5[nm.[cm~Bournemouth Symphony Orchestra. [fy75,1]Title ~adopted
in [sm1954[nm by Bournemouth Municipal ~Orch., founded [sm1893[nm by Dan [fy45,1
]*[fy75,1]Godfrey and ~famous for its encouragement of mus. by Eng. ~composers.
Godfrey was succeeded, [sm1934[nm, by ~Richard Austin. Other conds.: Rudolf Schw
arz ~[sm1946[nm=n[sm51[nm, Charles Groves [sm1951[nm=n[sm61[nm, Constantin ~Silv
estri [sm1961[nm=n[sm9[nm, George Hurst [sm1969[nm=n[sm71[nm, Paavo ~Berglund [s
m1972[nm=n[sm9[nm, Uri Segal [sm1980[nm=n[sm3[nm, Rudolf ~Barshai from [sm1983[n
m.[cm~Bourr;aaee[fy75,1] (Fr.; Old Eng. [cf2]Borry, Borree[cf1], etc.). A ~livel
y dance style very like the gavotte, in ~quadruple time beginning with an up-bea
t. It is ~sometimes found in the classical suite in a ternary ~arrangement: (a)
[sm1[nmst Bourr;aaee, (b) [sm2[nmnd Bourr;aaee, (c) ~[sm1[nmst Bourr;aaee again.
[cm~Boutade[fy75,1] (Fr.). Improvised dance or other comp.[cm~Boutique fantasque
, La. [fy75,1](The Fantastic Toyshop). ~Ballet in [sm1[nm act with mus. arr. fro
m Rossini's [cf2]Soir;aaees ~musicales[cf1], and other pieces, b
y [fy45,1]*[fy75,1]Respighi to lib. ~by Derain. Choreog. Massine. Prod. London [
sm1919[nm.[cm~Bovicelli, Giovanni Battista[fy75,1] ([cf2]b[cf1] Assisi, [cf2]fl.
 [cf1][sm1592[nm=n~[sm4[nm). It. singer at Milan Cath. and author ([sm1594[nm) o
f ~important work on vocal figuration and ornamen~~tation.[cm~Bow. [fy75,1]Flexi
ble stick with horsehair (usually) ~stretched across it, used to produce sound ~
vibrations from strings of vn., va., vc., db., and ~other str. instr. Until [sm1
7[nmth cent. bow was convex. ~As vn. technique developed, new forms of concave ~
bow were devised, with hairs kept in place and at ~an even spread by means of me
tal ferrule through ~which hair passed as it left the nut, or `frog' at ~one end
 of the bow. Prin. developer of modern ~bow was Fran;Alcois [fy45,1]*[fy75,1]Tou
rte, [cf2]c[cf1].[sm1785[nm.[cm~Bowed Lyre. [fy75,1]Instr. known in Middle Ages
by ~variety of names=mcruit, crot, rota, rotta, crwth, ~crouthe, chorus, and oth
ers=mof which the Welsh ~[fy45,1]*[fy75,1]crwth has survived lon
gest. The bowed lyre was ~made from one piece, the yoke's resonator and ~pillars
 being hollowed out and the soundboard ~added. Fitted with plain pegs which requ
ired a ~tuning key.[cm~Bowen, [fy75,1](Edwin) [fy65][cf3]York[fy75,1] ([cf2]b[cf
1] Crouch End, [sm1884[nm; [cf2]d[cf1] ~London, [sm1961[nm). Eng. composer and p
ianist. At ~RAM [sm1898[nm=n[sm1905[nm and later on staff. Best known ~for short
 pf. pieces but wrote sym. ([sm1912[nm), [sm3[nm pf. ~concs. ([sm1904[nm, [sm190
6[nm, [sm1908[nm), vn. conc. ([sm1920[nm), and ~va. conc.[cm~Bower, [fy75,1](Sir
) [fy65][cf3]John Dykes[fy75,1] ([cf2]b[cf1] Gloucester, [sm1905[nm; [cf2]d[cf1]
 ~Orpington, [sm1981[nm). Eng. organist. Studied Cam~~bridge Univ. Organist Trur
o Cath. ([sm1926[nm), New ~Coll., Oxford ([sm1929[nm), Durham Cath. ([sm1933[nm)
, St ~Paul's Cath., London ([sm1936[nm=n[sm67[nm). Prof. of organ, ~RCM, [sm1936
[nm=n[sm69[nm. Knighted [sm1968[nm.[cm~Bowing. [fy75,1]([sm1[nm) Style or method
 in which bow is ~applied to str. of instr.[ep~^([sm2[nm) Markin
g of score (often by cond.) to indicate ~to the player which notes should be pla
yed to an ~up (V) or down (;gP) stroke of the bow.[ep~^([sm3[nm) Particular type
s of bowing technique incl. ~[cf2]spiccato, sautill;aae, staccato, ricochet, sal
tato, col legno.[cm~Bowles, Paul [fy75,1](Frederic)[cf1] ([cf2]b[cf1] NY, [sm191
0[nm). Amer. ~composer. Studied with [fy45,1]*[fy75,1]Copland and [fy45,1]*[fy75
,1]Thom~~son. Collector of folk mus. in Sp., N. Africa, C. ~and S. America, resu
lts influencing his exotic and ~colourful mus. Has comp. much chamber mus., ~[sm
3[nm operas ([sm2[nm to texts by Lorca), [sm5[nm ballets, incl. ~[cf2]Yankee Cli
pper[cf1] ([sm1936[nm), film mus. and much th. ~mus. (for plays by Tennessee Wil
liams, Saroyan, ~Koestler, and Hellman). Also successful as novelist ~(e.g. [cf2
]The Sheltering Sky[cf1], [sm1949[nm).[cm~Bowman, James [fy75,1](Thomas) [cf1]([
cf2]b[cf1] Oxford, [sm1941[nm). ~Eng. counterten. Studied Oxford Univ. D;aaebut
~London [sm1967[nm as Oberon in Britten's [cf2]A Midsummer ~Nigh
t's Dream[cf1], a role he has made his own. His ~perf. led Britten to compose th
e Voice of Apollo ~in [cf2]Death in Venice [cf1]for him (Aldeburgh [sm1973[nm).
Has ~sung with EOG, Early Music Consort, Glynde~~bourne, CG, ENO, Scottish Opera
, etc. Has sung ~many of the castrato roles in Handel operas.[cm~Boyce, Bruce[fy
75,1] ([cf2]b[cf1] London, Ontario, [sm1910[nm). Cana~~dian bar. Prof. RAM from
[sm1956[nm. Many opera ~perfs., also Bach Passions and Delius works with ~Beecha
m.[cm~Boyce, William[fy75,1] ([cf2]b[cf1] London, [sm1711[nm; [cf2]d[cf1] London
, ~[sm1779[nm). Eng. composer and organist. Boy chorister, ~St Paul's Cath., the
n pupil of Maurice Greene. ~Organist of Oxford Chapel, Vere Street, [sm1734[nm,
~and became known as composer of masques and ~oratorios. Organist, St Michael's,
 Cornhill, [sm1736[nm, ~[PN96,0,0,L,I0]also becoming composer to Chapel Royal. A
p~~pointed cond., [sm3[nm Choirs Fest., [sm1737[nm. Organist, ~Allhallows the Gr
eat and Less, Thane Street, [sm1749[nm. ~D.Mus., Oxford, [sm1749
[nm. Succeeded Greene as ~Master of the King's Musick, [sm1755[nm. Organist, ~Ch
apel Royal, [sm1758[nm. Resigned from St Michael's ~[sm1768[nm, dismissed from A
llhallows [sm1769[nm. Increasing ~deafness, which had first manifested itself in
 his ~youth, caused him to give up other posts [cf2]c.[cf1][sm1770[nm. ~Retired
to Kensington to edit a coll. of [cf2]English ~Cathedral Music[cf1], a task proj
ected by Greene who ~bequeathed to Boyce the material he had collected. ~Boyce's
 [sm3[nm vols. remained in use for almost [sm150[nm ~years. His comps. incl. mas
ques, odes, ovs., church ~anthems and services, trio sonatas, and [sm8[nm syms.,
 ~of which the modern revival is due to the ~researches and enthusiasm of Consta
nt [fy45,1]*[fy75,1]Lambert. ~The song [fy45,1]*[fy75,2]Heart of Oak[cf1] was co
mp. by Boyce in ~[sm1759[nm for the pantomime [cf2]Harlequin's Invasion.[cm~Boyd
, Anne[fy75,1] ([cf2]b[cf1] Sydney, N.S.W., [sm1946[nm). Australian ~composer. S
tudied N.S.W. Cons. and Sydney ~Univ. (comp. with [fy45,1]*[fy75
,1]Sculthorpe). Went to Eng. ~[sm1972[nm, studying at York Univ. with Mellers an
d ~Rands. Lecturer in mus. Sussex Univ. [sm1975[nm=n[sm7[nm. ~Head of Mus. Dept.
, Hong Kong Univ. from ~[sm1980[nm. Works incl.: [cf2]The Voice of the Phoenix[c
f1] ([sm1971[nm) ~(orch., incl. amplified instr. and optional synthes~~izer); [c
f2]As Far As Crawls the Toad[cf1] ([sm1970[nm, rev. [sm1972[nm), ~th. piece for
[sm5[nm young percussionists; [sm2[nm str. qts. ~([sm1968[nm, rev. [sm1971[nm, a
nd [sm1973[nm); [cf2]The Rose Garden[cf1] ~([sm1971[nm), th. piece for singing a
ctress, ch., and ~chamber ens.; [cf2]The Metamorphoses of the Solitary ~Female P
hoenix[cf1] ([sm1971[nm), wind quintet, pf., perc.; [cf2]As ~it leaves the Bell[
cf1] ([sm1973[nm), pf., harp, perc.; [cf2]Summer ~Nights[cf1] ([sm1976[nm), alto
 and str., perc., harp; [cf2]As All ~Waters Flow[cf1] ([sm1976[nm), [sm5[nm fema
le vv., chamber ens.; ~[cf2]As I Crossed a Bridge of Dreams[cf1] ([sm1975[nm), [
sm12[nm unacc. ~vv.; [cf2]Anklung[cf1] ([sm1974[nm), pf.; [cf2]B
encharong[cf1] ([sm1976[nm), str.; ~[cf2]The Death of Captain Cook[cf1], oratori
o, sop., ten., bar., ~ch., and orch. ([sm1978[nm); [cf2]The Little Mermaid[cf1],
 children's ~opera ([sm1978[nm); [cf2]The Beginning of the Day[cf1], children's
~opera ([sm1980[nm); [cf2]Anklung [sm2[nm[cf1], vn. ([sm1980[nm).[cm~Boyden, Dav
id [fy75,1](Dodge) [cf1]([cf2]b[cf1] Westport, Conn., ~[sm1910[nm). Amer. musico
logist and expert on str.instr. ~Studied Columbia Univ., Hartt Sch. of Mus., ~Ha
rvard Univ. Teacher at Univ. of Calif. [sm1938=n~75[nm. Author of book on counte
rpoint and history ~of vn.-playing ([sm1965[nm).[cm~Boyhood's End.[fy75,1] Canta
ta for ten. and pf. by ~[fy45,1]*[fy75,1]Tippett on texts by W. H. Hudson. Comp.
 [sm1943[nm.[cm~Bozay, Attila[fy75,1] ([cf2]b[cf1] Balatonfiizfo, Hungary, [sm19
39[nm). ~Hung. composer. Studied with Farkas at Budapest ~Acad. [sm1958[nm=n[sm6
2[nm. Mus. influenced by serialism and ~folk-derived rhythms in manner of Bart;a
aok. Works ~incl. [cf2]Papirszeletek[cf1] (Paper Slips), song-cy
cle ([sm1962[nm); ~wind quintet ([sm1962[nm); str. qts. No. [sm1[nm ([sm1964[nm)
, No. [sm2[nm ~([sm1971[nm); [cf2]Variations[cf1] for pf. ([sm1964[nm); [cf2]Pez
zo concertato[cf1] ~for va. and orch. ([sm1966[nm); [cf2]Pezzo sinfonico[cf1] fo
r orch. ~([sm1967[nm); [cf2]Labyrinth[cf1], ens. ([sm1973[nm).[cm~Bozza, Eug;age
ne[fy75,1] ([cf2]b[cf1] Nice, [sm1905[nm). Fr. composer and ~cond. Studied Paris
 Cons. ([sm1[nmst [cf2]Grand Prix de Rome[cf1] ~[sm1934[nm). Prin. cond. Op;Aaer
a-Comique [sm1939[nm=n[sm48[nm. ~Composer of [sm3[nm operas, [sm4[nm syms., orat
orio, vn. conc., ~pf. conc., and mus. for wind ens.[cm~Br. [fy75,1]Short for [cf
2]Bratsche[cf1]([cf2]n[cf1]) (Ger.), i.e. viola(s).[cm~Braban;alconne, La. [fy75
,1]Belg. nat. anthem. Written ~and comp. at time of [sm1830[nm demonstration in
~Brussels which led to separation of Belg. from ~Holland. Author of words was Fr
. actor then in ~Brussels, named Jenneval, and composer was ~Fran;Alcois van [fy
45,1]*[fy75,1]Campenhout. Name comes from ~`Brabant'.[cm~`Bracci
o' and `Gamba'. [fy75,1]All [fy45,1]*[fy75,1]viols were held ~downwards and to t
hem was given the general ~name of [cf2]Viole da gamba[cf1], i.e. `leg-viols', a
 description ~afterwards restricted to latest survivor of the ~family, bass viol
.[ep~^The smaller members of the vn. family were ~held on the shoulder, and, by
analogy, all ~members of this family (incl. even those which ~from their size ha
d to be held downwards) came ~to be called [cf2]Viole da braccio[cf1], i.e. `arm
-viols'. Later ~this term became limited to the alto vn., i.e. the ~va. (still i
n Ger. called [cf2]Bratsche[cf1]).[cm~Brace. [fy75,1]Perpendicular line, with br
acket, joining ~the staves in scores.[cm~Bradbury, Colin [fy75,1](=+=+=+James)[c
f1] ([cf2]b[cf1] Blackpool, [sm1933[nm). ~Eng. clarinettist. Studied RCM, and pr
of. there ~from [sm1963[nm. D;aaebut [sm1951[nm. Prin. cl., BBC S.O. from ~[sm19
60[nm.[cm~Bradbury, Ernest[fy75,1] ([cf2]b[cf1] Leeds, [sm1919[nm). Eng. critic
and ~lecturer. Studied with [fy45,1]*[fy75,1]Bairstow. Chief mus
. ~critic [cf2]Yorkshire Post [cf1][sm1947=n84[nm.[cm~Brade, William[fy75,1] ([c
f2]b [cf1][sm1560[nm; [cf2]d[cf1] Hamburg, [sm1630[nm). ~Eng. composer and violi
nist who lived mainly on ~continent, working at Danish court [sm1594[nm=n[sm6[nm
, ~[sm1599[nm=n[sm1606[nm, and [sm1620[nm=n[sm2[nm, and intermittently in ~Hambu
rg, Berlin, and elsewhere. Comps. incl. ~suites, dances, and ovs.[cm~Bradshaw, S
usan[fy75,1] ([cf2]b[cf1] Monmouth, [sm1931[nm). Eng. ~pianist and critic. Studi
ed RCM and in Paris with ~[fy45,1]*[fy75,1]Boulez. Specialist in contemporary wo
rks.[cm~Braga, Francisco[fy75,1] ([cf2]b[cf1] Rio de Janeiro, [sm1868[nm; [cf2]d
[cf1] Rio, ~[sm1945[nm). Brazilian composer, cond., and teacher. In ~[sm1890[nm
studied at Paris Cons. with Massenet. Cond. ~sym. concerts in Rio [sm1908[nm=n[s
m33[nm. Comp. operas ~[cf2]Jupira[cf1] (Rio [sm1899[nm) and [cf2]Anita Garibaldi
[cf1] ([sm1901[nm, ~unfinished), symphonic poems, etc.[cm~Braga, Gaetano[fy75,1]
 ([cf2]b[cf1] Giulianova, Abruzzi, [sm1829[nm; [cf2]d[cf1] ~Mila
n, [sm1907[nm). It. cellist and composer. After ~touring widely, lived mainly in
 Paris and London. ~Comp. [sm9[nm operas, [sm2[nm vc. concs., [sm2[nm syms., and
 a very ~popular song, `Angel's Serenade'. Also wrote vc. ~method.[cm~Braga-Sant
os, Joly[fy75,1] ([cf2]b[cf1] Lisbon, [sm1924[nm). Portuguese ~composer and cond
. Studied Lisbon Cons. [sm1934[nm=n~[sm43[nm, Venice Cons. [sm1948[nm (cond. wit
h H. ~[fy45,1]*[fy75,1]Scherchen). Studied elec. mus. in Switzerland ~[PN97,0,0,
R,I0][sm1957[nm=n[sm8[nm. Cond., Oporto Radio S.O., [sm1955[nm=n[sm9[nm. ~Comps.
, some of them atonal, incl. [sm6[nm syms., [sm3[nm ~operas, va. conc., double c
onc. (vn. and vc.), ~[cf2]Requiem for Pedro de Freitas-Branco[cf1] ([sm1964[nm).
[cm~Braham[fy75,1] (orig. Abraham), [fy65][cf3]John[fy75,1] ([cf2]b[cf1] London,
 [sm1774[nm; ~[cf2]d[cf1] London, [sm1856[nm). Eng. ten., pupil of Leoni. D;aaeb
ut ~aged [sm13[nm at CG. Became pf. teacher until [sm1794[nm ~when he took up si
nging again at Bath. Engaged ~by [fy45,1]*[fy75,1]Storace for Dr
ury Lane [sm1796[nm. Sang in oratorios ~and at Three Choirs Fests. Sang in Fr. a
nd It. with ~Nancy (Anna) Storace. Reappeared CG [sm1801[nm. ~Following custom o
f time, wrote mus. of his own ~part in several operas in which he appeared. For
~Lyceum opera [cf2]The Americans[cf1] ([sm1811[nm), comp. [cf2]The ~Death of Nel
son[cf1], which remained most popular ~item in his repertory. Sang part of Max i
n English ~in Weber's [cf2]Der Freisch;auutz[cf1], [sm1824[nm, and created role
~of Sir Huon in Weber's [cf2]Oberon[cf1], [sm1826[nm. His v., ~regarded as unequ
alled in It. opera and in Handel, ~deepened in the [sm1830[nms and he sang bar.
roles of ~William Tell at Drury Lane in [sm1838[nm and Don ~Giovanni a year late
r. Toured America unsuccess~~fully in [sm1840[nm. Last appearance was in London,
 ~Mar. [sm1852[nm, when he was [sm78[nm.[xm[cm~[ol0][ep~[xp[te~


[do19][j99]~~~~~~[sm153842[nm_BD[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmBD[sm05[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm23[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm516[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Brahms, Johannes
[fy75,1]([cf2]b [cf1]Hamburg, [sm1833[nm; [cf2]d [cf1]Vienna, ~[sm1897[nm). Ger.
 composer and pianist. Son of db. ~player in Hamburg State Th. In childhood was
~taught vn. by father, pf. by Otto Cossel, and ~comp. by Eduard Marxsen. Public
d;aaebut as ~pianist, Hamburg, September [sm1848[nm. Earned ~living by teaching
and by playing at theatres, for ~dances, and in taverns frequented by prostitute
s. ~In [sm1853[nm engaged to acc. Hung. vn. virtuoso ~[fy45,1]*[fy75,1]Rem;aaeny
i on a concert tour. While in Hanover ~met [fy45,1]*[fy75,1]Joachim, who was imp
ressed by youth's ~comps. and gave him letters of introduction to ~Liszt and Sch
umann. Latter hailed him as genius ~in an article entitled [cf2]Neue Bahnen [cf1
](New Paths) in ~the [cf2]Neue Zeitschrift f;auur Musik [cf1]of
[sm28[nm Oct. [sm1853[nm. ~After Schumann's death in [sm1856[nm, Brahms became ~
pf. teacher to Princess Friederike and choral cond. ~at little court of Lippe-De
tmold [sm1857[nm=n[sm60[nm, unex~~acting duties which left him time for comp. In
 ~[sm1860[nm signed famous manifesto opposing `new ~music' methods adopted by Li
szt and his followers ~and thereafter was regarded as the polar opposite ~to Wag
nerian sch. in Ger. mus. His first pf. conc. ~had been a failure at its f.p. in
Leipzig on [sm27[nm Jan. ~[sm1859[nm and it was not until nearly [sm10[nm years
later, ~with [cf2]Ein Deutsches Requiem, [cf1]that he achieved a ~major success.
 In [sm1862[nm first visited Vienna, where ~he lived for most of next [sm35[nm y
ears. From [sm1863[nm=n[sm4[nm ~was cond. of Vienna Singakademie and in [sm1872[
nm ~succeeded Rubinstein as art. dir. of Gesellschaft ~der Musikfreunde, holding
 post until [sm1875[nm. ~Thereafter his life was uneventful except for ~comp. of
 major works and tours as pianist.[ep~^Brahms was a master in ev
ery form of comp. ~except opera, which he never attempted. He ~eschewed programm
e-mus. and wrote in the ~classical forms, yet his nature was essentially ~romant
ic. His [sm4[nm syms. are superb examples of his ~devotion to classical mus. arc
hitecture within ~which he introduced many novel thematic ~developments. In the
chamber mus. practically ~every work is a masterpiece; his [sm4[nm concs. are ~i
ndispensable features of concert life, and his ~songs, numbering nearly [sm200[n
m, are closely based ~on Ger. folk-songs but are polished and refined to ~a high
ly sophisticated degree. His prin. comps. ~are:[ep~[j2][smsymphonies[nm: No. [sm
1[nm in C minor, Op. [sm68[nm (f.p. ~Karlsruhe, [sm6[nm Nov. [sm1876[nm, cond. D
essoff); No. [sm2[nm in ~D major, Op. [sm73[nm (f.p. Vienna, [sm30[nm Dec. [sm18
77[nm, ~cond. Richter); No. [sm3[nm in F major, Op. [sm90[nm (f.p. ~Vienna, [sm2
[nm Dec. [sm1883[nm, cond. Richter); No. [sm4[nm in E ~minor, Op. [sm98[nm (f.p.
 Meiningen, [sm25[nm Oct. [sm1885[nm, ~cond. B;auulow).[ep~[smco
ncertos[nm: Pf., No. [sm1[nm in D minor, Op. [sm15[nm (f.p. ~Leipzig, [sm27[nm J
an. [sm1859[nm, Brahms soloist); No. [sm2[nm in ~B;Yh major, Op. [sm83[nm (f.p.
Budapest, [sm9[nm Nov. [sm1881[nm, ~Brahms soloist); Vn., in D major, Op. [sm77[
nm (f.p. ~Leipzig, [sm1[nm Jan. [sm1879[nm, cond. Brahms, Joachim ~soloist); Vn.
 and Vc. in A minor, Op. [sm102[nm (f.p. ~Cologne, [sm15[nm Oct. [sm1887[nm, sol
oists Joachim (vn.), R. ~Hausmann (vc.), cond. Brahms).[ep~[smchamber music[nm:
Str. Sextets No. [sm1[nm, B;Yh major, Op. ~[sm18[nm ([sm1860[nm), No. [sm2[nm in
 G major, Op. [sm36[nm ([sm1864[nm=n[sm5[nm); ~Str. Qts., Op. [sm51[nm, No. [sm1
[nm in C minor, No. [sm2[nm in A ~minor ([sm1859[nm=n[sm73[nm), No. [sm3[nm in B
;Yh major, Op. [sm67[nm ~([sm1875[nm); Str. Quintets, No. [sm1[nm in F major, Op
. [sm88[nm ~([sm1882[nm), No. [sm2[nm in G major, Op. [sm111[nm ([sm1890[nm); Cl
. ~Quintet in B minor, Op. [sm115[nm ([sm1891[nm); Pf. Qts., ~No. [sm1[nm in G m
inor, Op. [sm25[nm ([sm1861[nm), No. [sm2[nm in A ~major, Op. [s
m26[nm ([sm1861[nm), No. [sm3[nm in C minor, Op. [sm60[nm ~([sm1855[nm=n[sm75[nm
); Pf. Quintet in F minor, Op. [sm34[nm ~([sm1864[nm); Pf. Trios, No. [sm1[nm in
 B major, Op. [sm8[nm ([sm1853[nm=n~[sm4[nm, second version [sm1890[nm), No. [sm
2[nm in C major, Op. ~[sm87[nm ([sm1880[nm=n[sm2[nm), No. [sm3[nm in C minor, Op
. [sm101[nm ([sm1886[nm); ~Hn. Trio in E;Yh major, Op. [sm40[nm ([sm1865[nm); Vc
. ~Sonatas, No. [sm1[nm in E minor, Op. [sm38[nm ([sm1862[nm=n[sm5[nm), No. ~[sm
2[nm in F major, Op. [sm99[nm ([sm1886[nm); Vn. Sonatas, No. [sm1[nm ~in G major
, Op. [sm78[nm ([sm1878[nm=n[sm9[nm), No. [sm2[nm in A major, ~Op. [sm100[nm ([s
m1886[nm), No. [sm3[nm in D minor, Op. [sm108[nm ~([sm1886[nm=n[sm8[nm); Cl. (or
 Va.) Trio in A minor, Op. [sm114[nm ~([sm1891[nm); Cl. (or Va.) Sonatas, Op. [s
m120[nm, No. [sm1[nm in F ~minor, No. [sm2[nm in E;Yh major (both [sm1894[nm); S
cherzo ~in C minor, vn., pf. ([sm1853[nm).[ep~[smmisc. orch[nm: [fy75,2]Serenade
s[cf1], No. [sm1[nm in D, Op. [sm11[nm ([sm1857[nm=n~[sm8[nm), N
o. [sm2[nm in A, Op. [sm16[nm ([sm1857[nm=n[sm60[nm, rev. [sm1875[nm), ~[fy45,1]
*[fy75,1]Hungarian Dances, [fy45,1]*[fy75,2]Variations on a Theme by ~Haydn[cf1]
, Op. [sm56[nma ([sm1873[nm), [fy45,1]*[fy75,2]Akademische Festouver~~t;auure[cf
1], Op. [sm80[nm ([sm1880[nm), [fy45,1]*[fy75,2]Tragic [cf1]Ov., Op. [sm81[nm ([
sm1880[nm=n~[sm1[nm).[ep~[smpiano[cf1]: [nmSonatas, No. [sm1[nm in C major, Op.
[sm1[nm ([sm1852[nm=n[sm3[nm), ~No. [sm2[nm in F;Yi minor, Op. [sm2[nm ([sm1852[
nm), No. [sm3[nm in F ~minor, Op. [sm5[nm ([sm1853[nm); Scherzo in E;Yh minor, O
p. ~[sm4[nm ([sm1851[nm), [cf2]Variations on a Theme by R. Schumann[cf1], ~Op. [
sm9[nm ([sm1854[nm), [cf2]Variations and Fugue on a Theme by ~Handel[cf1], Op. [
sm24[nm ([sm1861[nm),[fy45,1]*[fy75,2]Hungarian Dances [cf1]([sm21[nm ~pf. duets
) ([sm1852[nm=n[sm69[nm), [cf2]Variations on a Theme by ~Paganini[cf1], Op. [sm3
5[nm ([sm1862[nm=n[sm3[nm), [cf2]Variations on a Theme ~by Haydn[cf1], Op. [sm56
[nmb (two pianos) ([sm1873[nm), [fy45,1]*[fy75,2]Liebes~~lieder
Waltzes[cf1], Op. [sm52[nm, [sm18[nm waltzes for SATB and ~pf. [sm4[nm hands ([s
m1868[nm=n[sm9[nm), Op. [sm52[nma (without vocal ~[PN98,0,0,L,I0]parts) ([sm1874
[nm), Pf. Quintet in F minor, Op. [sm34[nm, ~arr. for [sm2[nm pf. as Op. [sm34[n
ma; rhapsodies, intermezzos, ~and studies.[ep~[smchorus and orch[nm: [cf2]Ein [f
y45,1]*[fy75,2]Deutsches Requiem[cf1], sop., ~bar., ch. and orch., Op. [sm45[nm
([sm1857[nm=n[sm68[nm), [fy45,1]*[fy75,2]Rinaldo[cf1], ~ten., male ch., and orch
., Op. [sm50[nm ([sm1863[nm=n[sm8[nm), ~[cf2]Rhapsody [cf1]for cont., male ch.,
and orch., Op. [sm53[nm ~([sm1869[nm), [fy45,1]*[fy75,2]Schicksalslied[cf1], ch.
 and orch., Op. [sm54[nm ~([sm1871[nm), [fy45,1]*[fy75,2]Triumphlied[cf1], ch. a
nd orch., Op. [sm55[nm ~([sm1870[nm=n[sm1[nm), [fy45,1]*[fy75,2]N;auanie[cf1], c
h. and orch., Op. [sm82[nm ([sm1880[nm=n~[sm1[nm), [fy45,1]*[fy75,2]Gesang der P
arzen[cf1], ch. and orch., Op. [sm89[nm ~([sm1882[nm).[ep~[smorgan[nm: [sm11[nm
Choral Preludes, Op. [sm122[nm (pubd. [sm1896[nm ~in [sm2[nm boo
ks) Bk. I: [sm1[nm, [cf2]Mein Jesu[cf1], [cf2]der du mich. [cf1][sm2[nm, ~[cf2]H
erzliebster Jesu. [cf1][sm3[nm, [cf2]O Welt[cf1], [cf2]ich muss dich lassen. [cf
1][sm4[nm, ~[cf2]Herzlich tut mich erfreuen. [cf1]Bk. II: [sm5[nm, [cf2]Schm;auu
cke dich[cf1], ~[cf2]O liebe Seele. [cf1][sm6[nm, [cf2]O wie selig seid ihr doch
[cf1], [cf2]ihr ~Frommen. [cf1][sm7[nm, [cf2]O Gott[cf1], [cf2]du frommer Gott.
[cf1][sm8[nm, [cf2]Es ist ein ~Ros[cf1]' [cf2]entsprungen. [cf1][sm9[nm, [cf2]He
rzlich tut mich verlangen. ~[cf1][sm10[nm, [cf2]O Welt[cf1], [cf2]ich muss dich
lassen [cf1](II); [cf2]Fugue [cf1]in A;yh ~minor ([sm1856[nm); [cf2]Prelude and
Fugue [cf1]in A minor ~([sm1856[nm); [cf2]Prelude and Fugue [cf1]in G minor ([sm
1857[nm).[ep~[smpart-songs[nm etc.: [sm4[nm Part-Songs, Op. [sm17[nm, women's ~v
v., [sm2[nm hns., harp ([sm1860[nm); [cf2][sm7[nm Marienlieder[cf1], Op. [sm22[n
m, ~mixed ch.; Ps. XIII, Op. [sm27[nm, women's vv., pf. ~([sm1859[nm); [cf2][sm2
[nm Motets[cf1], Op. [sm29[nm, unacc. ch. ([sm1860[nm); ~[cf2]Ge
istliches Lied [cf1]([cf2]Lass dich nur nichts dauern[cf1]), Op. ~[sm30[nm, ch.,
 org. or pf. ([sm1856[nm); [cf2][sm3[nm Quartets[cf1], Op. [sm31[nm, ~solo vv.,
pf. ([sm1859[nm=n[sm63[nm); [cf2][sm3[nm Sacred Ch[cf1]., Op. [sm37[nm, ~unacc.
women's vv. ([sm1859[nm=n[sm63[nm); [sm5[nm [cf2]Soldatenlieder[cf1], ~Op. [sm41
[nm, unacc. male ch. ([sm1861[nm=n[sm2[nm); [sm3[nm [cf2]Lieder [cf1](incl. ~[cf
2]Abendst;auandchen[cf1]), Op. [sm42[nm, unacc. male ch. ([sm1859[nm=n~[sm61[nm)
; [sm12[nm [cf2]Lieder und Romanzen[cf1], Op. [sm44[nm, unacc. ~women's vv. ([sm
1859[nm=n[sm63[nm); [cf2][sm7[nm Lieder[cf1], Op. [sm62[nm, unacc. ~([sm1874[nm)
; [sm3[nm [cf2]Quartets[cf1], Op. [sm63[nm, [sm4[nm solo vv., pf. ([sm1862[nm=n~
[sm74[nm); [sm2[nm [cf2]Motets[cf1], Op. [sm74[nm, unacc. ([sm1863[nm=n[sm77[nm)
; [sm4[nm ~[cf2]Quartets[cf1], Op. [sm92[nm, solo vv., pf. ([sm1877[nm=n[sm84[nm
); [sm6[nm [cf2]Lieder ~und Romanzen[cf1], Op. [sm93[nma, unacc. ([sm1883[nm=n[s
m4[nm); [cf2]Tage~~lied[cf1], Op. [sm93[nmb, unacc. ([sm1884[nm)
; [sm11[nm [fy45,1]*[fy75,2]Zigeunerlieder[cf1], ~Op. [sm103[nm, [sm4[nm vv., pf
. ([sm1887[nm); [sm5[nm [cf2]Lieder[cf1], Op. [sm104[nm, ~unacc. ([sm1888[nm); [
cf2]Deutsche Fest- und Gedenkspr;auuche[cf1], ~Op. [sm109[nm, unacc. double ch.
([sm1886[nm=n[sm8[nm); [sm3[nm [cf2]Motets[cf1], ~Op. [sm110[nm, unacc. ([sm1889
[nm); [sm6[nm [cf2]Vocal Quartets[cf1], Op. ~[sm112[nm, unacc. ([sm1889[nm=n[sm9
1[nm); [cf2][sm13[nm Canons[cf1], Op. [sm113[nm, ~women's vv., pf. ([sm1863[nm=n
[sm90[nm); also [cf2][sm14[nm Ger. Folk~~songs[cf1], unacc. ([sm1864[nm); [cf2][
sm14[nm Volks-Kinderlieder[cf1], vv., ~pf. (pubd. [sm1858[nm).[ep~[smsong-cycles
[nm: [cf2]Die sch;auone [fy45,1]*[fy75,2]Magelone[cf1], Op. [sm33[nm, v. and ~pf
., [sm15[nm [cf2]Romanzen [cf1]from [cf2]Magelone [cf1](L. Tieck, [sm1773[nm=n~[
sm1853[nm): [sm1[nm, [cf2]Keinen hat es noch gereut. [cf1][sm2[nm, [cf2]Traun! B
ogen ~und Pfeil. [cf1][sm3[nm, [cf2]Sind es Schmerzen[cf1], [cf2]sind es Freuden
. [cf1][sm4[nm, ~[cf2]Liebe kam aus fernen Landen. [cf1][sm5[nm,
 [cf2]So willst du des ~Armen. [cf1][sm6[nm, [cf2]Wie soll ich die Freude. [cf1]
[sm7[nm, [cf2]War es dir? [cf1][sm8[nm, ~[cf2]Wir m;auussen uns trennen. [cf1][s
m9[nm, [cf2]Ruhe, S;auussliebchen. [cf1][sm10[nm, ~[cf2]So t;auonet denn. [cf1][
sm11[nm, [cf2]Wie schnell verschwindet. [cf1][sm12[nm, ~[cf2]Muss es eine Trennu
ng geben. [cf1][sm13[nm, [cf2]Geliebter[cf1], [cf2]wo ~zaudert dein irrender Fus
s. [cf1][sm14[nm, [cf2]Wie froh und frisch. ~[cf1][sm15[nm, [cf2]Treue Liebe dau
ert lange. [cf1]([sm1861[nm=n[sm8[nm); [fy45,1]*[fy75,2]Vier ~ernste Ges;auange[
cf1], Op. [sm121[nm, low v. and pf. (orch. by ~Sargent): [sm1[nm, [cf2]Denn es g
ehet dem Menschen. [cf1][sm2[nm, [cf2]Ich ~wandte mich und sahe. [cf1][sm3[nm, [
cf2]O Tod[cf1], [cf2]wie bitter. [cf1][sm4[nm, [cf2]Wenn ~ich mit Menschen- und
mit Engelszungen redete ~[cf1]([sm1896[nm).[ep~[cf1][smsongs[nm: Brahms publishe
d over [sm200[nm songs, from ~his Op. [sm3[nm ([sm1852[nm=n[sm3[nm) to his Op. [
sm107[nm ([sm1886[nm). Among ~the best known, with poets' names,
 are: [cf2]Abend~~d;auammerung [cf1](Schack), Op. [sm49[nm, No. [sm5[nm ([sm1868
[nm), [cf2]Am ~Sonntag Morgen [cf1](Heyse), Op. [sm49[nm, No. [sm1[nm ([sm1868[n
m), ~[cf2]An eine Aeolsharfe [cf1](M;auorike), Op. [sm19[nm, No. [sm5[nm ([sm185
9[nm), ~[cf2]Auf dem Kirchhofe [cf1](Liliencron), Op. [sm105[nm, No. [sm4[nm ~([
sm1886[nm), [cf2]Blinde Kuh [cf1](Kopisch), Op. [sm58[nm, No. [sm1[nm ~([sm1871[
nm), [cf2]Botschaft [cf1](Daumer), Op. [sm47[nm, No. [sm1[nm ~([cf2]c[cf1].[sm18
60[nm), [cf2]Dein blaues Auge [cf1](Groth), Op. [sm59[nm, No. [sm8[nm ~([sm1873[
nm), [cf2]Es lieb sich so lieblich [cf1](Heine), Op. [sm71[nm, No. ~[sm1[nm ([sm
1877[nm), [cf2]Feldeinsamkeit [cf1](Allmers), Op. [sm86[nm, No. [sm2[nm ~([sm187
7[nm=n[sm8[nm), [cf2]Geistliches Wiegenlied [cf1](Geibel), with va. ~obb., Op. [
sm91[nm, No. [sm2[nm ([sm1884[nm), [cf2]Gestillte Sehnsucht ~[cf1](R;auuckert),
with va. obb., Op. [sm91[nm, No. [sm1[nm ([sm1884[nm), ~[cf2]Immer leise [cf1](L
ing), Op. [sm105[nm, No. [sm2[nm ([sm1886[nm), [cf2]Der ~J;auage
r [cf1](Halm), Op. [sm95[nm, No. [sm4[nm ([sm1884[nm), [cf2]Kein Haus[cf1], ~[cf
2]keine Heimat [cf1](Halm), Op. [sm94[nm, No. [sm5[nm ([sm1884[nm), [cf2]Komm ~b
ald [cf1](Groth), Op. [sm97[nm, No. [sm5[nm ([sm1884[nm), [cf2]Der Kranz ~[cf1](
Schmidt), Op. [sm84[nm, No. [sm2[nm ([sm1881[nm), [cf2]Lerchengesang ~[cf1](Cand
idus), Op. [sm70[nm, No. [sm2[nm ([sm1877[nm), [cf2]Liebestreu ~[cf1](Reinick),
Op. [sm3[nm, No. [sm1[nm ([sm1853[nm), [cf2]Das M;auadchen ~spricht [cf1](Gruppe
), Op. [sm107[nm, No. [sm3[nm ([sm1886[nm), [cf2]Die ~Mainacht [cf1](H;auolty),
Op. [sm43[nm, No. [sm2[nm ([sm1868[nm), [cf2]Mein ~Herz ist schwer [cf1](Geibel)
, Op. [sm94[nm, No. [sm3[nm ([sm1884[nm), ~[cf2]Mit vierzig Jahren [cf1](R;auuck
ert), Op. [sm94[nm, No. [sm1[nm ~([sm1884[nm), [cf2]Die Nachtigall [cf1](Reinhol
d), Op. [sm97[nm, No. [sm1[nm ~([sm1884[nm), [cf2]Nachtigallen schwingen [cf1](F
allersleben), Op. ~[sm6[nm, No. [sm6[nm ([sm1853[nm), [cf2]O k;auuhler Wald [cf1
](Brentano), Op. ~[sm72[nm, No. [sm3[nm ([sm1876[nm=n[sm7[nm), [
cf2]Salome [cf1](Keller), Op. [sm69[nm, No. ~[sm8[nm ([sm1877[nm), [cf2]Sapphisc
he Ode [cf1](Schmidt), Op. [sm94[nm, No. ~[sm4[nm ([sm1884[nm), [cf2]Sonntag [cf
1](Uhland), Op. [sm47[nm, No. [sm3[nm ~([cf2]c[cf1].[sm1865[nm), [cf2]St;auandch
en [cf1](Kugler), Op. [sm106[nm, No. [sm1[nm ~([sm1886[nm), [cf2]Steig auf[cf1],
 [cf2]geliebter Schatten [cf1](Halm), Op. ~[sm94[nm, No. [sm2[nm ([sm1884[nm), [
cf2]Therese [cf1](Keller), Op. [sm86[nm, No. [sm1[nm ~([sm1877[nm), [cf2]Vergebl
iches St;auandchen [cf1](trad.), Op. [sm84[nm, No. ~[sm4[nm ([sm1881[nm), [cf2]V
erzagen [cf1](Lemcke), Op. [sm72[nm, No. [sm4[nm ~([sm1877[nm); also several due
ts and [sm7[nm vols. containing ~[sm49[nm Ger. folk-song settings.[cm~[j1]Braill
e, Louis [fy75,1]([cf2]b[cf1] Coupvray, Paris, [sm1809[nm; [cf2]d ~[cf1]Coupvray
, [sm1852[nm). Fr. inventor of `Braille'. Blind ~from age of [sm3[nm, developed
Braille system of mus. ~notation for blind, perfecting it by [sm1834[nm. At~~tem
pts to standardize method for int. use began ~at Cologne in [sm1
888[nm but were not finally agreed ~until [sm1929[nm.[cm~Brailowsky, Alexander [
fy75,1]([cf2]b [cf1]Kiev, [sm1896[nm; [cf2]d [cf1]NY, ~[sm1976[nm). Amer. pianis
t of Russ. birth, pupil in ~Vienna of [fy45,1]*[fy75,1]Leschetizky, [sm1911[nm,
and later of Busoni. ~D;aaebut Paris [sm1919[nm, NY [sm1924[nm. Specialist in Ch
opin.[cm~Brain, Aubrey [fy75,1]([cf2]b [cf1]London, [sm1893[nm; [cf2]d [cf1]Lond
on, ~[sm1955[nm). Eng. player of French hn. Studied RCM. ~Prin. hn. of several o
rchs. incl. BBC S.O. [sm1930[nm=n~[sm45[nm. Prof. RAM [sm1923[nm=n[sm55[nm. His
brother Alfred ([cf2]b[cf1] ~London, [sm1885[nm; [cf2]d[cf1] Los Angeles, [sm196
6[nm), regarded by ~some as an even finer player, was for many years ~first hn.
of Henry Wood's Queen's Hall Orch., ~until in [sm1923[nm he went to USA becoming
 prin. hn. ~of Los Angeles P.O. and manager of Hollywood ~Bowl concerts.[cm~[PN9
9,0,0,R,I0]Brain, Dennis [fy75,1]([cf2]b [cf1]London, [sm1921[nm; [cf2]d [cf1]Ha
tfield, ~[sm1957[nm). Eng. player of French hn., son of Aubrey ~
[fy45,1]*[fy75,1]Brain, with whom he studied at RAM. Prin hn., ~RPO from [sm1946
[nm and later of Philharmonia Orch., ~freqent conc. soloist, and founder of Denn
is Brain ~Wind Ens. Regarded as finest virtuoso of his day. ~Britten, Hindemith,
 and others comp. works for ~him. Killed in car crash.[cm~Brain, Leonard [fy75,1
]([cf2]b [cf1]London, [sm1915[nm; [cf2]d [cf1]London, ~[sm1975[nm). Eng. player
of ob. and cor anglais, son of ~Aubrey [fy45,1]*[fy75,1]Brain. Studied RAM. Play
ed in RPO ~[sm1946[nm=n[sm73[nm. Member, Dennis Brain Wind Ens. Prof. ~of oboe,
RAM, from [sm1963[nm.[cm~Brainin, Norbert [fy75,1]([cf2]b [cf1]Vienna, [sm1923[n
m). Austrian-~born violinist. Studied Vienna Cons. Settled in ~London [sm1938[nm
, studying with [fy45,1]*[fy75,1]Flesch and [fy45,1]*[fy75,1]Rostal. ~Founded [f
y45,1]*[fy75,1]Amadeus Quartet [sm1947[nm. O.B.E. [sm1960[nm.[cm~Braithwaite, Ni
cholas [fy75,1](Paul Dallon)[cf1] ([cf2]b [cf1]London, ~[sm1939[nm). Eng. cond.
Son of Warwick [fy45,1]*[fy75,1]Braithwaite. ~Studied RAM, Vienn
a Acad. of Mus. Cond. d;aaebut, ~BBC Scottish S.O. [sm1966[nm. Ass. cond., Bourn
emouth ~S.O., [sm1967[nm=n[sm70[nm, ass. prin. cond., SW Opera, [sm1971[nm=n~[sm
1974[nm. Guest cond. leading sym. orchs. Cond. ~Glyndebourne Touring Opera [sm19
77[nm=n[sm81[nm. Prin. ~cond. G;auoteborg Opera from [sm1981[nm, Manchester ~Cam
erata from [sm1984[nm.[cm~Braithwaite, Warwick [fy75,1]([cf2]b [cf1]Dunedin, N.Z
., [sm1896[nm;[cf2] ~d [cf1]London, [sm1971[nm). New Zealand cond. Studied ~RAM
[sm1916[nm=n[sm19[nm. Cond. with [fy45,1]*[fy75,1]O'Mara Opera Co. ~[sm1919[nm=n
[sm22[nm, [fy45,1]*[fy75,1]BNOC [sm1922[nm. Mus. dir. BBC Wales, ~[sm1924[nm=n[s
m32[nm. Cond., [fy45,1]*[fy75,1]Sadler's Wells Opera, [sm1932[nm=n[sm40[nm, ~Sco
ttish Orch. [sm1940[nm=n[sm6[nm, CG [sm1950[nm=n[sm2[nm, prin. cond. ~SW Ballet
[sm1948[nm=n[sm52[nm. Cond. Nat. Orch. of N.Z. ~[sm1953[nm=n[sm4[nm, Nat. Opera
of Australia [sm1954[nm=n[sm6[nm, [fy45,1]*[fy75,1]Welsh ~National Opera [sm1956
[nm=n[sm60[nm, SW Opera [sm1960[nm=n[sm8[nm.[cm~Brandenburg Conc
ertos. [fy75,1]Bach's [sm6[nm `Concerti ~Grossi' for various combinations. Dedic
ated to ~Christian Ludwig, Margrave of Brandenburg ~([sm1721[nm) but it appears
they were never played for ~him. They are as follows:[ep~^([sm1[nm) F Major. [sm
2[nm hn., [sm3[nm ob., and bn., str. (incl. ~[cf2]Violino Piccolo[cf1], i.e. sma
ll vn.), hpd.[ep~^([sm2[nm)[cf1];Sd F Major. In [sm2[nm groups, plus Continuo=m(
a) ~Concertino: tpt., fl., ob., vn.; (b) Ripieno: str.; (c) ~hpd.[ep~^([sm3[nm)
G Major. [sm3[nm groups of str. (each vn., va., vc.), ~db., and hpd.[ep~^([sm4[n
m)[cf1];Sd G Major. In [sm2[nm groups, plus Continuo=m(a) ~Concertino: vn. and [
sm2[nm fl.; [cf1](b) Ripieno: str.; (c) ~hpd.[ep~^([sm5[nm)[cf1];Sd D major. In
[sm2[nm groups, plus Continuo=m(a) ~Concertino: hpd., fl., vn.; (b) Ripieno: str
. (no ~[sm2[nmnd vns.); (c) hpd. for the continuo.[ep~^([sm6[nm) B;Yh Major. (No
 vns.) [sm2[nm va., [sm2[nm viole da gamba, ~vc., hpd.[ep~^It will be seen that
the [sm3[nm marked [cf1];Sd are true ~Concerti Grossi in the tra
ditional style of contrast~~ing groups. No. [sm3[nm has only [sm2[nm movements a
nd ~there is considerable scholastic speculation on the ~`missing' middle moveme
nt. Presumably the ~works were comp. for C;auothen court orch. Bach's ~title for
 them was [cf2]Concerts avec plusieurs instru~~ments.[cf1][cm~Brandt, =+Michel =
+[fy75,1]([cf2]b =+[cf1]Rennes, [sm1934[nm). Fr. cond. ~Studied Paris Cons. and
;aaEcole Normale de ~Musique. D;aaebut, ;anAarhus, Denmark. Cond. Biel-~Solothum
 [sm1961[nm=n[sm4[nm, Cologne Opera [sm1964[nm=n[sm71[nm. ~Lecturer, RNCM, Manch
ester, from [sm1973[nm. Guest ~cond., Manchester Camerata and other orchs.[cm~Br
anle [fy75,1](Bransle, etc.; from [cf2]branler[cf1], to sway). ~Rustic round-dan
ce of Fr. origin, at one time ~carried out to singing of dancers. Popular at cou
rt ~of Louis XIV but had earlier been taken up in ~Eng. (Shakespeare calls it `B
rawl'; Pepys `Brantle'). ~Mus. usually in simple duple time.[cm~Brannigan, Owen
[fy75,1]([cf2]b [cf1]Annitsford, [sm1908[nm; [cf2]d [cf1]New~~ca
stle upon Tyne, [sm1973[nm). Eng. bass singer. Studied ~GSM. D;aaebut Newcastle
[sm1943[nm. Created several ~roles in Britten operas, i.e. Swallow ([cf2]Peter G
rimes), ~[cf1]Collatinus ([cf1][cf2]Rape of Lucretia[cf1]), Supt. Budd ([cf2]Alb
ert ~Herring[cf1]), Noye ([cf2]Noye's Fludde[cf1]), Bottom ([cf2]A Midsum~~mer N
ight's Dream[cf1]). Also distinguished in oratorio ~and Gilbert and Sullivan, wi
th special affection ~for and knowledge of N. Country folk-songs. ~Glyndebourne
d;aaebut [sm1947[nm, CG [sm1948[nm. O.B.E. ~[sm1964[nm.[cm~Brant, Henry Dreyfuss
 [fy75,1]([cf2]b [cf1]Montreal, [sm1913[nm). ~Amer. (Canadian-born) composer, fl
autist, pian~~ist, and organist. Studied McGill Univ. Cons., ~[sm1926[nm=n[sm9[n
m and Institute of Mus. Art, NY, [sm1929[nm=n[sm34[nm, ~Juilliard Sch. [sm1932[n
m=n[sm4[nm. Private comp. studies with ~Riegger and Antheil. Earned living in [s
m1930[nm as ~orchestrator for [fy45,1]*[fy75,1]Kostelanetz and Benny [fy45,1]*[f
y75,1]Good~~man. Later comp. and cond. for radio, films, and ~ba
llet in NY and Hollywood. Teacher at Columbia ~Univ. ([sm1945[nm=n[sm52[nm), Jui
lliard ([sm1947[nm=n[sm54[nm), Bennington ~Coll., Vermont, from [sm1957[nm. Disc
iple of [fy45,1]*[fy75,1]Ives. ~Comps. are markedly experimental, employing ~spa
tial effects. His [cf2]Antiphony [sm1[nm [cf1]([sm1953[nm), using [sm5[nm ~separ
ated orch. groups, anticipated Stockhausen's ~[cf2]Gruppen. [cf1]Other works inc
l. syms., sonatas, ballets ~([cf2]The Great American Goof, City Portrait[cf1]),
cantata ~[cf2]December[cf1],[cf2] Millennium [sm2[nm [cf1]for sop., bass, and pe
rc., ~[cf2]Kingdom Come [cf1]for [sm2[nm orchs. and org., [cf2]Verticals ~Ascend
ing [cf1]for [sm2[nm orch. groups and [sm2[nm conds., etc.[cm~Bransle, Brantle.
[fy75,1]See[cf2] Branle.[cf1][cm~Brass. [fy75,1]This term, technically used, cov
ers wind ~instr. formerly made of that metal, some of ~which, however, are now s
ometimes made of ~other metals; it does not incl. instr. formerly of ~wood but n
ow sometimes of metal, e.g. fl., nor ~does it incl. metal instr.
 with reed mouthpieces, ~e.g. sax. and sarrusophone. Each instr. possesses a ~mo
uthpiece of the nature of a cup or funnel to be ~pressed against the player's li
ps, which vibrate ~within it something like the double reed of the ~ob. family.
The shape of this mouthpiece affects ~the quality of the tone, a deep funnel-sha
ped ~mouthpiece (e.g. hn.) giving more smoothness, ~and a cup-shaped mouthpiece
(e.g. tpt.) more ~[PN100,0,0,L,I0]brilliance. The shape of the bell with which t
he ~tube ends also affects the character of the tone as ~does the nature of the
tube's bore, i.e. cylindrical ~or conical.[ep~^`Natural' brass instr., playing m
erely the notes ~of the harmonic series of their `fundamental' ~note, are no lon
ger in artistic use, a system of ~valves having been introduced which makes it ~
possible instantaneously to change the fundamen~~tal note of the instr. and so t
o have at command ~the notes of another whole harmonic series. ~However, compose
rs sometimes ask for a `natural' ~sound, e.g. Vaughan Williams i
n his [cf2]Pastoral ~Symphony [cf1]([sm2[nmnd movement) and Britten in his ~[cf2
]Serenade[cf1]. And the `natural' hn. is often used today ~for [sm18[nmth-cent.
mus. The tbs. have always formed ~a class apart, as they possess a sliding arran
gement ~by which the length of the tube can be changed ~and a fresh fundamental,
 with its series of ~harmonics, quickly obtained.[ep~^Usual brass section of orc
h. comprises [sm4[nm hn., [sm3[nm ~tpt., [sm2[nm ten. and [sm1[nm bass tb., [sm1
[nm tuba, with additions ~as specified.[xm[cm~[ol0][ep~[xp[te~






[do42][j99]~~~~~~[sm153842[nm_BE[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBE[sm01[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm22[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm534[nm[cm~GC[cm4[cm20-9-84[cm~U1[cm~~~~[xf[ol0];s2[sv1,1s][ep~[rf
[ap[j1]Brass Band. [fy75,1]This type of combination is found ~all over Europe an
d in countries settled by ~Europeans, but highest standard of perf. is ~possibly
 reached in N. of Eng., especially Lanca~~shire and Yorkshire, where its popular
ity is great. ~Usual constitution in Brit. is cornets, fl;Auugelhorn, ~saxhorns,
 euphoniums, tbs., and [fy45,1]*[fy75,1]bombardons, ~with perc. Saxs. (not stric
tly a brass instr.) are ~sometimes incl.[ep~^All the wind instr. of the brass ba
nd except the ~bass tb. are scored for as transposing instr. Their ~keys being B
;Yh and E;Yh, their notation shows, ~respectively, [sm2[nm flats less (or [sm2[n
m sharps more) than ~the sounding effect, or [sm3[nm flats less (or [sm3[nm shar
ps ~more). With exception of bass tbs. and perc. all ~are notate
d in treble clef: except E;Yh cornet, where ~the sound is a minor third higher t
han the ~notation, all the sounds are lower, the intervals of ~the discrepancy r
anging from a [sm2[nmnd below (B;Yh ~cornet) to [sm2[nm octaves and a second bel
ow (B;Yh ~bombardon). Thus a brass band score is rather ~puzzling to an unaccust
omed reader.[ep~^Many [sm20[nmth-cent. Eng. composers (e.g. Elgar, ~Holst, Vaugh
an Williams, Ireland, Bliss, Bantock, ~Howells, Birtwistle and Bourgeois) have w
ritten ~for brass bands, as has Henze. There is also a ~distinguished line of `b
rass band composers', ~including Percy Fletcher, Cyril Jenkins, Hubert ~Bath, De
nis Wright, Kenneth Wright, Eric Ball, ~Gilbert Vinter, and Edward Gregson. The
`brass ~band movement' in Brit. has a history (almost a ~folklore) stretching ba
ck to the start of the [sm19[nmth ~cent. It derived partly from the old city `wa
its' ~and partly from the military wind bands, of ~which there were many during
the Napoleonic ~Wars. After Waterloo ([sm1815[nm) men left the a
rmy, ~but the musicians continued playing in civilian ~life. Brass instruments w
ere comparatively cheap, ~and the bands flourished as hobbies among the ~working
-class population in the manufacturing ~towns of Lancs. and Yorks. (though also
in ~Cornwall and elsewhere). Brass band competitions ~began [cf2]c[cf1].[sm1818[
nm but developed fully [cf2]c[cf1].[sm1840[nm. Among ~the most celebrated champi
onships are the British ~Open (formerly held at Belle Vue, Manchester) and the ~
National (held in London). It was for the latter in ~[sm1930[nm that Elgar comp.
 his [fy45,1]*[fy75,2]Severn Suite[cf1]. Bands are ~frequently named after an in
dustrial firm or ~colliery as well as after a place. Among the most ~celebrated
have been Bacup, Black Dyke Mills, ~Besses o' th' Barn, Wingate's Temperance, Fo
den's ~Motor Works, St Hilda Colliery (reputedly the ~greatest of all), Creswell
 Colliery, Brighouse and ~Rastrick, Munn and Felton's, Fairey Aviation, ~CWS Man
chester, GUS Footwear, Grimethorpe ~Colliery, Cory, Carlton Main
 Frickley, and Ham~~mond's Sauce Works=mnames of industrial po~~etry! Among nota
ble band impresarios, arrangers, ~and conductors mention should be made of ~Henr
y Geehl, William Rimmer, William Halli~~well, Eric Ball, Walter Hargreaves, Elga
r Ho~~warth, J.|H.|Iles, Alexander Owen, John Gladney, ~Edwin Swift, Roy Newsome
, Maj. Peter Parkes, ~the Wrights (Denis, Frank, and Kenneth), and ~the Mortimer
s (Alex, Fred, Harry, and Rex).[cm~Bratsche [fy75,1](Ger.). Viola (see [cf2]Brac
cio and Gamba[cf1]). So ~[cf2]Bratschist, [cf1]viola player.[cm~Braunfels, Walte
r [fy75,1]([cf2]b [cf1]Frankfurt-am-Main, [sm1882[nm; ~[cf2]d [cf1]Cologne, [sm1
954[nm). Ger. pianist and composer, ~pupil of [fy45,1]*[fy75,1]Leschetizky. Dir.
 of Hochschule f;auur ~Musik, Cologne, [sm1925[nm=n[sm33[nm and [sm1946[nm=n[sm5
0[nm. Wrote [sm7[nm ~operas, pf. conc., Mass, and Te Deum.[cm~Brautlied [fy75,1]
(Ger.). Bridal song.[cm~Brautwahl, Die [fy75,1](The Bridal Choice). Opera by ~Bu
soni, Op. [sm45[nm, to his own lib. based on E. T. A. ~Hoffmann.
 Prod. Hamburg [sm1912[nm.[cm~Bravington, Eric [fy75,1]([cf2]b [cf1]Ealing, [sm1
920[nm; [cf2]d[cf1] [sm1982[nm). Eng. ~trumpeter and orch. administrator. Studie
d RCM. ~Joined LPO [sm1939[nm, prin. tpt. [sm1948[nm=n[sm59[nm when he ~became m
an. dir. of the orch until [sm1980[nm.[cm~Bravo [fy75,1](It.). Brave, fine. Excl
amation of approval ~which therefore has no need to alter, though ~purists would
 insist on [cf2]brava [cf1]for a woman ~performer, [cf2]bravi [cf1]for male perf
ormers, and [cf2]brave ~[cf1]for female performers. Superlative form is [cf2]bra
v~~issimo.[cm~Bravoure [fy75,1](Fr.). ([sm1[nm) Bravery, gallantry.[ep~^([sm2[nm
) Same as [fy45,1]*[fy75,2]Bravura.[cm~Bravura [fy75,1](It.). Courage, or swagge
r. A [cf2]bravura ~[cf1]passage calls for a brilliant and extrovert display ~of
vocal or instr. technique.[cm~Brawl, Brawle. [fy75,1]Old Eng. name for [fy45,1]*
[fy75,2]Branle.[cm~Break. [fy75,1]([sm1[nm) Place in the v. range where the regi
sters ~change.[ep~^([sm2[nm) The permanent change in the male v.
 which ~occurs at puberty.[ep~[PN101,0,0,R,I0]^([sm3[nm) A term in jazz meaning
an improvised solo ~passage, in the style of a [fy45,1]*[fy75,1]cadenza.[cm~Brea
m, Julian [fy75,1](Alexander) [cf1]([cf2]b [cf1]London, [sm1933[nm). ~Eng. guita
rist and lutenist. Won RCM exhibition ~aged [sm12[nm and studied pf. and vc. the
re; later given ~special scholarship as student of guitar. Became ~prot;aaeg;aae
 of [fy45,1]*[fy75,1]Segovia. D;aaebut Cheltenham [sm1947[nm, ~London [sm1950[nm
. Also a lutenist and has ed. and ~transcr. much early mus. for his instrs. Brit
ten, ~Walton, Henze, and Tippett have comp. works ~for him. O.B.E. [sm1964[nm.[c
m~Brecher, Gustav [fy75,1]([cf2]b [cf1]Eichwald, [sm1879[nm; [cf2]d [cf1]aboard
~ship, [sm1940[nm). Ger.-Boh. cond. and composer. Cond. ~opera in Hamburg, Leipz
ig, Cologne, and Frank~~furt [sm1924[nm=n[sm33[nm. Comp. symphonic poem [cf2]Ros
mers~~[chholm [cf1]([sm1895[nm) and other works.[cm~Brecht, Bertolt [fy75,1]([cf
2]b [cf1]Augsburg, [sm1898[nm; [cf2]d [cf1]Berlin, ~[sm1956[nm).
 Ger. dramatist and theatrical producer ~whose radical outlook had enormous infl
uence ~before and after Nazi r;aaegime in Ger. After [sm1948[nm ~his Berliner En
s. fathered a sch. of realistic ~theatrical experiment. He provided libs. for ~s
everal mus. works by Kurt [fy45,1]*[fy75,1]Weill, chief among ~them [cf2]Die [fy
45,1]*[fy75,2]Dreigroschenoper [cf1](Threepenny Opera) ~([sm1928[nm) and [cf2]Au
fstieg und Fall der Stadt Mahagonny ~[cf1]([fy45,1]*[fy75,1]Rise and Fall of the
 City of Mahagonny) ([sm1927[nm=n~[sm9[nm). Also wrote libs. for Hindemith, Eisl
er, ~Wagner-Reg;aaeny, Dessau, and Sessions.[cm~Breeches Part.[fy75,1] See [cf2]
Travesti.[cm~Brehme, Hans [fy75,1]([cf2]b [cf1]Potsdam, [sm1904[nm; [cf2]d [cf1]
Stuttgart, ~[sm1957[nm). Ger. composer and pianist. Teacher at ~Stuttgart Hochsc
hule f;auur Musik [sm1928[nm=n[sm45[nm and ~[sm1949[nm=n[sm57[nm. Comp. [sm3[nm
operas, [sm2[nm syms., cl. conc., [sm2[nm pf. ~concs., chamber mus. incl. severa
l works for ~accordion.[cm~Breit [fy75,1](Ger.). Broad. Sometime
s the equivalent of ~[cf2]Largo, [cf1]and sometimes applied to bowing, e.g. ~[cf
2]Breit gestrichen, [cf1]broadly bowed.[cm~Breitkopf and H;auartel. [fy75,1]Ger.
 firm of mus. ~publishers founded Leipzig [sm1719[nm by Bernhard ~Christoph Brei
tkopf ([sm1695[nm=n[sm1777[nm) as book publish~~ers. His son Johann Gottlieb ([s
m1719[nm=n[sm94[nm) invented ~system of movable mus. type in [sm1750[nm enabling
 ~publication in [sm1756[nm of full score of an opera ~pseudonymously comp. by P
rincess of Saxony. ~Breitkopf family severed connection in [sm1800[nm, dir. ~bei
ng transferred to Gottfried Christoph H;Auartel ~([sm1763[nm=n[sm1827[nm) who co
ncentrated on mus. and prod. ~complete edns. of Mozart ([sm17[nm vols., [sm1798[
nm=n[sm1816[nm), ~Haydn ([sm12[nm vols., [sm1800[nm=n[sm6[nm), Clementi, and Dus
sek. ~He also founded [cf2]Allgemeine musikalische Zeitung. ~[cf1]By [sm1874[nm
firm's catalogue listed over [sm14[nm,[sm000[nm works, ~incl. complete edns. of
Beethoven, Mendelssohn, ~Schumann, Schubert, Chopin, Liszt, Wagn
er, and ~Berlioz, and edns. of earlier composers such as ~Palestrina, Sch;Auutz,
 Victoria, Lassus, and Swee~~linck. In [sm20[nmth cent. many important composers
 ~have been added to their lists. Firm is now divided ~between East Germany (Lei
pzig) and West ~Germany (Wiesbaden).[cm~Brema, Marie [fy75,1]([cf2]n;aaee [cf1]M
inny Fehrman) ([cf2]b [cf1]Liver~~pool, [sm1856[nm; [cf2]d [cf1]Manchester, [sm1
925[nm). Eng. mez. (Ger. ~father, Amer. mother). Did not begin serious ~mus. stu
dy until after marriage in [sm1874[nm. Studied ~with Henschel, [sm1890[nm; sang
in London [sm1891[nm under ~name Bremer (allusion to father's birthplace, ~Breme
n). Later that year appeared as Lola in ~London at first Eng. perf. of [cf2]Cava
lleria Rusticana. ~[cf1]Sang Ortrud in [cf2]Lohengrin [cf1]at Bayreuth [sm1894[n
m, Fricka ~in [cf2]The Ring [cf1][sm1896[nm, Kundry in [cf2]Parsifal [cf1][sm189
7[nm. Amer. ~tour [sm1894[nm singing Ortrud, Brang;Auane, and Br;auunn~~[chhilde
. Thereafter specialized in Wagner, singing ~Br;auunnhilde in [c
f2]G;Auotterd;Auammerung [cf1]under Richter in ~Paris [sm1902[nm. Created part o
f Angel at f.p. of Elgar's ~[cf2]Dream of Gerontius [cf1][sm1900[nm. In [sm1910[
nm promoted [sm2[nm ~seasons of opera at Savoy, London, singing Gluck's ~[cf2]Or
pheus [cf1]and producing all the works. From [sm1913[nm ~until her death was pro
f. of singing and dir. of ~opera class at RMCM.[cm~Brendel, Alfred [fy75,1]([cf2
]b [cf1]Wiesenberg, Moravia, [sm1931[nm). ~Austrian pianist. Studied Vienna Acad
. of Mus., ~and with Edwin [fy45,1]*[fy75,1]Fischer. First recital, Graz [sm1948
[nm. ~Toured with Vienna Chamber Orch. [sm1951[nm. D;aaebut ~with Vienna P.O., S
alzburg, [sm1960[nm. Played all ~Beethoven sonatas, London [sm1962[nm. Amer. d;a
aebut ~[sm1963[nm. Thereafter built worldwide reputation ~through tours and reco
rdings. Settled in London, ~[sm1974[nm. Admired principally for playing of Mozar
t, ~Beethoven, Schubert, Schumann, and Liszt, but ~is frequent performer of Scho
enberg's pf. conc. ~Has written essays on several composers and
~comp. pf. mus.[cm~Brenet, Michel [fy75,1](really Antoinette Christine ~Marie Bo
billier) ([cf2]b [cf1]Lun;Aaeville, [sm1858[nm; [cf2]d [cf1]Paris, [sm1918[nm).
~Fr. musicologist. Author of biographies of Ock~~eghem, Palestrina, Handel, Gr;A
aetry, etc., an histor~~ical dictionary of mus. (posthumous), and many ~other wo
rks of research.[cm~Brentano, Elisabeth [fy75,1](Bettina) ([cf2]b [cf1]Frankfurt
-am-~Main, [sm1785[nm; [cf2]d [cf1]Berlin, [sm1859[nm). Friend of Goethe ~and la
ter of Beethoven. Her hysterical nature led ~her to invent letters she said she
received from ~Goethe, and only one letter to her from Beet~~[chhoven, though re
vealing an affectionate relation~~ship, has been authenticated. In [sm1811[nm, m
arried ~poet A. von [fy45,1]*[fy75,1]Arnim who collab. with her brother ~Clemens
 ([sm1778[nm=n[sm1842[nm) in editing the folk-anthol~~ogy [cf2]Des Knaben Wunder
horn[cf1].[cm~Bret;aaon, Tom;aaas [fy75,1]([cf2]b [cf1]Salamanca, [sm1850[nm; [c
f2]d [cf1]Madrid, ~[sm1923[nm). Sp. composer. Played vn. in caf;
aaes as child. ~Studied Madrid Cons. and in Paris, Rome, and ~Vienna on special
grants. Became cond. of Madrid ~Opera and, in [sm1903[nm, dir. of Madrid Cons. L
ike ~[fy45,1]*[fy75,1]Alb;aaeniz fought for the cause of Sp. mus. ~nationalism,
his special contribution being artistic ~treatment of the operatic form of the [
fy45,1]*[fy75,1]Zarzuela. ~Also wrote [sm9[nm operas, orch. works incl. vn. conc
., ~and oratorio.[cm~[PN102,0,0,L,I0]Brett, Philip[fy75,1] ([cf2]b[cf1] Edwinsto
we, Notts, [sm1937[nm). Eng. ~musicologist and writer. Studied King's Coll., ~Ca
mbridge, [sm1955[nm=n[sm62[nm, with Thurston Dart. Col~~lab. with Dart in rev. F
ellowes's [cf2]English Madrigal~~ists[cf1]. Also rev. [sm2[nm vols. of Byrd's wo
rks and ed. new ~vols. Teacher at Univ. of Calif., Berkeley, from ~[sm1966[nm (a
ssoc. prof. from [sm1971[nm). Author of book on ~Britten's [cf2]Peter Grimes[cf1
] ([sm1983[nm).[cm~Breuning. [fy75,1]Ger. family remembered for its ~connection
with Beethoven who at [sm18[nm became ~mus. teacher in Bonn to [
sm2[nm of the [sm4[nm children of a ~widow, H;Aael;Agene Breuning. He became alm
ost an ~adopted son. His closest friend was perhaps the ~[sm2[nmnd son, Stephan
([sm1774[nm=n[sm1827[nm), to whom the vn. ~conc. is ded. Letters from Beethoven
to various ~members of the family are pubd.[cm~Br;aaeval, Lucienne [fy75,1]([cf2
]b [cf1]M;auannedorf, [sm1869[nm; [cf2]d [cf1]Neuilly, ~[sm1935[nm). Swiss-born
sop. (real name Berthe Agnes ~Lisette Schilling), naturalized Fr. Studied Geneva
 ~and Paris Cons. Opera d;Aaebut Paris [sm1892[nm, London ~[sm1899[nm, NY [sm190
1[nm. Noted for Wagnerian roles at ~Paris Op;Aaera, but created title roles in M
assenet's ~[cf2]Gris;Aaelidis [cf1]and in Faur;Aae's [cf2]P;aaen;aaelope.[cm~Bre
ve [fy75,1](_|). Double whole-note. Formerly the ~short note of mus., but as the
 longer notes have ~fallen into disuse and shorter ones been intro~~duced it has
 become the longest (twice the length ~of the semibreve or whole-note). [cf2]All
a breve [cf1]means ~(it is not clear why) `Take the minim as you
r beat-~unit' (the same effect may be indicated by the ~time-signature ;s2[hm-1v
];i2, or |^, or sometimes ;s4[hm-1v];i2). Still occurs ~in vocal mus., but rarel
y in instr. scores where it ~has been replaced by [sm2[nm tied whole-notes.[cm~B
revi, Giovanni Battista [fy75,1]([cf2]b[cf1] Bergamo, [cf2]c.[cf1][sm1650[nm; [c
f2]d[cf1] ~Milan, after [sm1725[nm). It. church musician and ~organist in Milan
and Bergamo. Comp. motets, ~ariettas, and cantatas pubd. between [sm1693[nm and
~[sm1725[nm.[cm~Br;aaeville, Pierre Onfroy de [fy75,1]([cf2]b [cf1]Bar-le-Duc, M
euse, ~[sm1861[nm; [cf2]d [cf1]Paris, [sm1949[nm). Fr. composer, pupil of ~Duboi
s and Franck. Teacher at Schola Cantorum, ~also mus. critic. Comp. chamber mus.,
 pf. works, ~incidental mus. for Maeterlinck's [cf2]Les sept prin~~cesses, [cf1]
but best known for [sm3[nm-act lyric drama [cf2]Eros ~vainqueur, [cf1]prod. Brus
sels [sm1910[nm, Paris [sm1932[nm.[cm~Brewer, [fy75,1](Sir) (Alfred) [fy65][cf3]
Herbert [fy75,1]([cf2]b [cf1]Gloucester, ~[sm1865[nm; [cf2]d [cf
1]Gloucester, [sm1928[nm). Eng. organist, cond., ~and composer assoc. in all [sm
3[nm capacities with ~Gloucester meeting of [sm3[nm Choirs Fest. Chorister ~Glou
cester Cath. [sm1877[nm=n[sm80[nm, org. schol. Exeter ~College, Oxford, [sm1883[
nm. Studied RCM [sm1883[nm=n[sm5[nm. ~Organist, Bristol Cath., [sm1885[nm, St Mi
chael's, Cov~~entry, [sm1886[nm=n[sm92[nm. Mus. master Tonbridge Sch. ~[sm1892[n
m=n[sm6[nm. Organist and choirmaster Gloucester ~Cath. [sm1896[nm=n[sm1928[nm. K
nighted [sm1926[nm. Comps. incl. ~cantatas [cf2]Emmaus [cf1]([sm1901[nm, some of
 it scored by Elgar) ~and [cf2]The Holy Innocents [cf1]([sm1904[nm).[cm~Brewer,
Thomas [fy75,1]([cf2]b [cf1]London, [sm1611[nm; [cf2]d c[cf1]. [sm1660[nm=n~[sm7
0[nm). Eng. composer of songs, glees, and mus. for ~viols.[cm~Brian, Havergal [f
y75,1]([cf2]b [cf1]Dresden, Staffs., [sm1876[nm; [cf2]d ~[cf1]Shoreham-by-Sea, [
sm1972[nm) (christened William, ~adopted name Havergal in [sm1899[nm). Eng. comp
oser. ~Mainly self-taught and did not devote himself ~wholly to
mus. until he was [sm23[nm. Was Manchester ~mus. critic of [cf2]Musical World [c
f1][sm1905[nm, attending ~Richter's Hall;Aae concerts. His [cf2]English Suite [c
f1]for orch. ~was cond. by Wood [sm1907[nm, and Beecham cond. [sm2[nm ~of his wo
rks at Hanley [sm1908[nm. His ov. [cf2]Dr. ~Merryheart [cf1]was perf. at Birming
ham in [sm1913[nm and ~taken up by Wood. Other orch. works were cond. ~by Ronald
, Godfrey, Bantock, and others, but ~none est. themselves in the permanent reper
tory. ~He comp. [sm32[nm syms. but was [sm78[nm years old before ~any was perf.,
 this being No. [sm8[nm in a BBC broadcast, ~[sm1954[nm. The [sm18[nmth was perf
. in London in [sm1962[nm and ~the [sm32[nmnd in Jan. [sm1971[nm on the eve of h
is [sm95[nmth ~birthday. The BBC undertook to broadcast all the ~syms. to mark t
he centenary of Brian's birth, and ~a movement developed to try to remedy the ~n
eglect he had suffered in his life. His largest ~work was the [cf2]Gothic Sympho
ny [cf1](No. [sm1[nm), comp. ~[sm1919[nm=n[sm27[nm, for an orch.
 of [sm180[nm, with [sm4[nm brass groups ~and [sm4[nm large mixed choirs. This w
as f.p. in London ~in [sm1961[nm and again in [sm1966[nm to mark his [sm90[nmth
~birthday. Prin. works:[xm[cm~[j2][smoperas[nm: [cf2]The Tigers[cf1] ([sm1916[nm
=n[sm18[nm, orch. [sm1918[nm=n[sm29[nm); ~[cf2]Turandot[cf1] (?[sm1949[nm=n[sm51
[nm); [cf2]The Cenci[cf1] ([sm1952[nm); [cf2]Faust[cf1] ~(?[sm1954[nm=n[sm6[nm);
 [cf2]Agamemnon[cf1] ([sm1957[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm in D minor
([cf2]The [fy45,1]*[fy75,2]Gothic[cf1]), ~SATB soloists, ch., children's ch., br
ass band, ~orch. ([sm1919[nm=n[sm27[nm), No. [sm2[nm in E minor ([sm1930[nm=n[sm
1[nm), No. ~[sm3[nm in C;yi ([sm1931[nm=n[sm2[nm), No. [sm4[nm ([cf2]Das Siegesl
ied[cf1]), sop., ch., ~and orch. ([sm1932[nm=n[sm3[nm), No. [sm5[nm ([cf2]Wine o
f Summer[cf1]), bar. ~and orch. ([sm1937[nm), No. [sm6[nm ([cf2]Sinfonia tragica
[cf1]) ([sm1947[nm=n~[sm8[nm), No. [sm7[nm in C ([sm1948[nm), No. [sm8[nm in B;y
h minor ([sm1949[nm), ~No. [sm9[nm in A minor ([sm1951[nm), No.
[sm10[nm in C minor ~([sm1953[nm=n[sm4[nm), No. [sm11[nm ([sm1954[nm), No. [sm12
[nm ([sm1957[nm), No. [sm13[nm ~in C ([sm1959[nm), No. [sm14[nm in F minor ([sm1
960[nm), No. [sm15[nm in ~A ([sm1960[nm), No. [sm16[nm ([sm1960[nm), No. [sm17[n
m ([sm1960[nm=n[sm1[nm), No. ~[sm18[nm ([sm1961[nm), No. [sm19[nm in E minor ([s
m1961[nm), No. [sm20[nm ~([sm1962[nm), No. [sm21[nm in E;yh ([sm1963[nm), No. [s
m22[nm ([cf2]Symphonia ~brevis[cf1]) ([sm1964[nm=n[sm5[nm), No. [sm23[nm ([sm196
5[nm), No. [sm24[nm in D ~([sm1965[nm), No. [sm25[nm in A minor ([sm1965[nm=n[sm
6[nm), No. [sm26[nm ~([sm1966[nm), No. [sm27[nm in C ([sm1966[nm), No. [sm28[nm
in C minor ~([sm1967[nm), No. [sm29[nm in E;yh ([sm1967[nm), No. [sm30[nm in B;y
h minor ~([sm1967[nm), No. [sm31[nm ([sm1968[nm), No [sm32[nm in A;yh ([sm1968[n
m); [cf2]Dr ~Merryheart[cf1], comedy ov. ([cf2]c[cf1]. [sm1911[nm=n[sm12[nm); [c
f2]English ~Suite[cf1] No. [sm3[nm ([sm1919[nm), No. [sm4[nm ([sm1921[nm), No. [
sm5[nm ([sm1953[nm); ~Vn. Conc. No. [sm2[nm in C minor ([sm1934[
nm=n[sm5[nm); [cf2]The ~Tinker's Wedding[cf1], comedy ov. ([sm1948[nm); [cf2]Ele
gy[cf1], ~sym.-poem ([sm1954[nm); Vc. Conc. ([sm1964[nm);[cf2] Concerto ~for Orc
hestra[cf1] ([sm1964[nm); [cf2]Ave atque Vale[cf1] ([sm1968[nm).[ep~[smchorus an
d orch[nm: [cf2]Psalm [sm23[nm[cf1], op. [sm9[nm, ten., ch., and ~orch. ([sm1901
[nm, reconstructed [sm1945[nm); [cf2]Requiem for the ~Rose[cf1], women's vv. and
 orch. (or pf.) ([sm1911[nm); ~[cf2]Prometheus Unbound[cf1] ([sm1937[nm=n[sm44[n
m, lost).[ep~Also many choral songs and solo songs.[cm~[j1]Bridge.[fy75,1] ([sm1
[nm) In str. instr., the piece of wood that ~supports the str. and communicates
their vibra~~tions to the belly.[ep~[PN103,0,0,R,I0]^([sm2[nm) A term, usually `
bridge passage', in comp., ~meaning a short section which links together=m~perha
ps by a key change=m[sm2[nm important sections ~of a large-scale sym. or similar
 work.[cm~Bridge, Frank [fy75,1]([cf2]b [cf1]Brighton, [sm1879[nm; [cf2]d [cf1]E
astbourne, ~[sm1941[nm). Eng. composer, conductor, violinist, vi
ol~~ist, and teacher. Studied RCM, comp. pupil of ~Stanford [sm1899[nm=n[sm1903[
nm. Played vn. and va. in several ~str. qts., incl. Joachim, Grimson, and Englis
h. ~Was a member of the last-named until [sm1915[nm. Also ~cond. of New S.O. and
 of opera during Marie ~Brema's [sm1910[nm=n[sm11[nm season at the Savoy. Cond.
at ~CG [sm1913[nm and many BBC studio concerts in [sm1930[nms. ~Visited USA [sm1
923[nm, under sponsorship of Elizabeth ~Sprague Coolidge,  to cond. own works. W
as ~noted teacher, but his only composition pupil ~was Benjamin [fy45,1]*[fy75,1
]Britten, who first went to him ~for lessons at the age of [sm14[nm.[ep~^Bridge'
s early songs, chamber mus., and orch. ~works such as [cf2]The Sea[cf1] are in a
n idiom familiar to ~British audiences from the works of Bax, Ireland, ~and Deli
us. However, the impact of the First ~World War on one of deeply held pacifist ~
convictions wrought a significant change and the ~piano sonata of [sm1921[nm=n[s
m4[nm showed a tougher ~harmonic idiom, with a more radical appr
oach ~which in the [sm3[nmrd and [sm4[nmth str. qts. came near to ~the atonality
 of the  Second Viennese School. Yet ~Bridge never wholly severed his `Englishne
ss', as ~can be heard in the orch. tone-poem [cf2]Enter Spring[cf1] ~([sm1927[nm
). His detachment from the `establishment' ~figures in the Eng. mus. of his day
led to his ~being regarded as an outsider and to the almost ~complete neglect of
 such major works as the ~[cf2]Phantasm[cf1] for pf. and orch. ([sm1931[nm) and
the vc. conc. ~[cf2]Oration[cf1] ([sm1930[nm). It was not until his works were ~
rehabilitated by his former pupil Britten at ~Aldeburgh Festivals that a new gen
eration had its ~interest in him stimulated, leading to many more ~performances
and recordings. Prin. comps.:[xm[cm~[j2][smopera[nm: [cf2]The Christmas Rose[cf1
] ([sm1918[nm=n[sm29[nm).[ep~[smorch[nm.: [cf2]Coronation March[cf1] ([sm1901[nm
); [cf2][sm3[nm Orchestral Pieces[cf1] ~([sm1902[nm); [cf2]Isabella[cf1] ([sm190
7[nm); [cf2]Dance Rhapsody[cf1] ([sm1908[nm); ~[cf2]Suite[cf1],
str. ([sm1910[nm); [cf2]The [fy45,1]*[fy75,2]Sea[cf1] ([sm1910[nm=n[sm11[nm); [c
f2]Dance Poem[cf1] ~([sm1913[nm); [cf2]Summer [cf1]([sm1914[nm); [cf2]Lament[cf1
], str. ([sm1915[nm); [cf2]Sir ~Roger de Coverley[cf1], str. (also str. qt.) ([s
m1922[nm); [cf2]Enter ~Spring[cf1] ([sm1927[nm); [cf2]There is a willow grows as
lant a ~brook[cf1] ([sm1928[nm); [fy45,1]*[fy75,2]Oration[cf1], concerto elegiac
o, vc. and ~orch. ([sm1930[nm); [cf2]Phantasm[cf1], pf. and orch. ([sm1931[nm);
~[cf2]Rebus Overture[cf1] ([sm1940[nm); [cf2]Allegro Moderato[cf1], str. ~([sm19
41[nm, unfinished, last [sm21[nm bars orch. Anthony ~Pople [sm1979[nm).[ep~[smch
amber music[nm: Pf. Trio ([sm1900[nm); [cf2]Scherzo Phantastick[cf1], ~str. qt.
([sm1901[nm); str. qt. in B;yh ([sm1901[nm); pf. qt. in C ~minor ([sm1902[nm); [
cf2]Phantasie String Quartet[cf1] ([sm1905[nm); [sm3[nm ~[cf2]Idylls[cf1], str.
qt. ([sm1906[nm); [cf2]Phantasie Piano Trio[cf1] ([sm1907[nm); ~[cf2]Allegro app
assionato[cf1], va. and pf. ([sm1908[nm); [cf2]Phantasie ~Piano
Quartet[cf1] ([sm1910[nm); [cf2]El;aaegie[cf1], vc. and pf. ([sm1911[nm); ~pf. q
uintet ([sm1904[nm=n[sm7[nm); str. sextet ([sm1906[nm=n[sm12[nm); vc. ~sonata ([
sm1913[nm=n[sm17[nm); str. qt. ([sm1915[nm); [cf2]Sally in our ~Alley, Cherry Ri
pe[cf1], str. qt. ([sm1916[nm); Str. Qt. No. [sm3[nm ~([sm1925=n6[nm, rev. [sm19
27[nm); Trio, rhapsody, [sm2[nm vn., va. ~([sm1928[nm); pf. trio No. [sm2[nm ([s
m1929[nm); vn. sonata ([sm1932[nm); ~Str. Qt. No. [sm4[nm ([sm1937[nm).[ep~ [smv
ocal[nm: [cf2]Music when soft voices die[cf1], SATB ([sm1904[nm); [cf2]A ~Prayer
[cf1], ch. and orch. ([sm1916[nm); [cf2]A Litany[cf1], [sm3[nm-part ch. ~([sm191
8[nm); [cf2]Evening Primrose[cf1], [sm2[nm-part ch. ([sm1923[nm); ~[cf2]Golden S
lumbers[cf1], [sm3[nm-part ch. ([sm1923[nm).[ep~[smsolo songs[nm: [cf2]Blow, blo
w, thou winter wind[cf1] ([sm1903[nm); ~[cf2]Tears, idle tears[cf1] ([sm1905[nm)
; [cf2]Love is a rose[cf1] ([sm1907[nm); [cf2]Love ~went a-riding[cf1] ([sm1914[
nm, also orch. acc.); [cf2]Go not, happy ~day[cf1] ([sm1916[nm);
 [cf2]Blow out, you bugles [cf1]([sm1918[nm, also orch. ~acc.); [cf2]Journey's E
nd[cf1] ([sm1925[nm).[ep~[smpiano[nm: [cf2]Capriccio[cf1] Nos. [sm1[nm and [sm2[
nm ([sm1905[nm); [cf2][sm3[nm Sketches[cf1] ~([sm1906[nm); [cf2][sm3[nm Pieces[c
f1] ([sm1912[nm); [cf2]Lament[cf1] ([sm1915[nm, also for ~str.); [cf2][sm4[nm Ch
aracteristic Pieces[cf1] ([sm1915[nm); [cf2]Sally in our ~Alley, Cherry Ripe[cf1
], Pf. duet ([sm1916[nm, also for str. ~qt.); [cf2]Fairy Tale Suite[cf1] ([sm191
7[nm); sonata ([sm1921[nm=n[sm4[nm); [cf2]In ~Autumn [cf1]([sm1924[nm); [cf2][sm
4[nm Pieces[cf1] ([sm1925[nm); [cf2]Winter Pastoral[cf1] ~([sm1925[nm); [cf2]Ber
ceuse[cf1] ([sm1929[nm).[ep~[smorgan[nm: [cf2][sm3[nm Pieces[cf1] ([sm1905[nm);
[cf2]Organ Pieces[cf1], Book [sm1[nm ~([sm1905[nm), Book [sm2[nm ([sm1912[nm); [
cf2]In memoriam C.H.H.P. ~[cf1]([sm1918[nm); [cf2]Minuet[cf1] ([sm1939[nm); [cf2
]Prelude[cf1] ([sm1939[nm); [cf2]Proces~~sional[cf1] ([sm1939[nm).[cm~[j1]Bridge
, [fy75,1](Sir) (John) [fy65][cf3]Frederick [fy75,1]([cf2]b [cf1
]Oldbury, Worcs., ~[sm1844[nm; [cf2]d [cf1]London, [sm1924[nm). Eng. composer, c
ond., ~and organist. Boy chorister, Rochester Cath. ~Organist, Manchester Cath.,
 [sm1869[nm=n[sm75[nm, prof. of ~harmony, Owens College, Manchester, [sm1872[nm=
n[sm5[nm. ~Deputy organist, Westminster Abbey, [sm1875[nm=n[sm82[nm, ~organist,
[sm1882[nm=n[sm1918[nm. Cond., Royal Choral Soc., ~[sm1896[nm=n[sm1922[nm. First
 Prof. of Mus., Univ. of London, ~[sm1903[nm. Arr. mus. at [sm2[nm coronations (
[sm1902[nm and [sm1911[nm) ~and for Queen Victoria's diamond jubilee service ~([
sm1897[nm). Comp. mainly oratorios. Knighted [sm1897[nm.[cm~Bridgetower, George
Augustus Polgreen [fy75,1]([cf2]b[fj~[cf1]Biala, Poland, [sm1778[nm; [cf2]d [cf1
]Peckham, [sm1860[nm). Violinist ~(mulatto, having African father). D;aaebut Par
is ~[sm1789[nm. From then lived mainly in London, but ~also Rome and Paris. Was
violinist in service of ~Prince of Wales at Brighton and played in Haydn-~Salomo
n concerts, London [sm1791[nm. Beethoven's ~`Kreutzer' Sonata co
mp. for him and first played ~by him and composer, Vienna [sm1803[nm. Quarrel ~c
aused Beethoven to transfer ded. to Fr. violinist ~Rodolphe [fy45,1]*[fy75,1]Kre
utzer.[cm~Bridgewater, [fy75,1](Ernest) [fy65][cf3]Leslie [fy75,1]([cf2]b [cf1]H
alesowen, ~Worcs., [sm1893[nm; [cf2]d [cf1]Hong Kong, [sm1975[nm). Eng. pianist
~and composer. Mus. dir. various ths. Light mus. ~section BBC [sm1935[nm=n[sm42[
nm. Comp. pf. conc. and ~incidental mus. for stage and films.[cm~Brigg Fair. [fy
75,1]`English Rhapsody' for orch. by ~Delius, being variations on Lincolnshire f
olk-~song introduced to Delius by [fy45,1]*[fy75,1]Grainger. Comp. ~[sm1907[nm.
(F.p. Liverpool, Jan. [sm1908[nm, cond. Bantock).[cm~Brighenti [fy75,1](Brighett
i), [fy65][cf3]Maria [fy75,1]([cf2]b [cf1]Bologna, [sm1792[nm; [cf2]d ~[cf1]^?^)
. It. operatic singer, d;aaebut Bologna [sm1814[nm. ~Created Rosina in Rossini's
 [cf2]Il barbiere di Siviglia ~[cf1](Rome [sm1816[nm). Rossini then wrote [cf2]L
a Cenerentola ~[cf1]for her (Rome [sm1817[nm). Retired [sm1836[n
m.[cm~Bright, Dora Estella [fy75,1](Mrs. Knatchbull) ([cf2]b [cf1]Shef~~field, [
sm1863[nm; [cf2]d [cf1]Babington, Som., [sm1951[nm). Eng. ~[PN104,0,0,L,I0]piani
st and composer. Trained RAM. First woman ~to be invited to compose work for Phi
l. Soc. ~([cf2]Fantasia [cf1]in G for pf. and orch. [sm1892[nm) and said to ~be
first pianist to give a recital entirely devoted to ~Eng. mus. Comp. [sm3[nm ope
ras, [sm2[nm pf. concs.[xm[cm~[ol0][ep~[xp[te~







[do42][j99]~~~~~~[sm153842[nm_BE[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBE[sm02[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm23[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm568[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Brindisi [fy75,1](I
t.). Toast. Jovial song to acc. the ~drinking of a health. A famous operatic exa
mple ~is `Libiamo' in Act I of Verdi's [cf2]La traviata.[cm~Brindle, Reginald Sm
ith. [fy75,1]See [cf2]Smith Brindle, ~Reginald.[cm~Brinsmead, John and Sons, Ltd
. [fy75,1]London pf.-~makers. Est. [sm1835[nm by John Brinsmead ([cf2]b [cf1]Wea
r ~Giffard, Devon, [sm1814[nm; [cf2]d [cf1]London, [sm1908[nm). His ~younger son
 Edgar Brinsmead ([cf2]d [cf1]London, [sm1907[nm) ~wrote [cf2]History of the Pia
noforte [cf1]([sm1870[nm; [sm2[nmnd ed. ~[sm1879[nm).[cm~Brio [fy75,1](It.). Vig
our, spirit, fire. So the adjective ~[cf2]Brioso. Con brio, [cf1]spiritedly.[cm~
Bris;aae [fy75,1](Fr.). Broken. Applied (a) to a chord played ~in arpeggio fashi
on, or (b) to str. mus. played in ~short, detached movements of
the bow. The [cf2]style ~bris;aae [cf1]was the characteristic arpeggiated style
of ~[sm17[nmth-cent. Fr. lute mus., which in turn influenced ~the kbd. mus. of t
he later clavecinistes.[cm~British Council. [fy75,1]Govt.-sponsored organization
 ~formed [sm1935[nm to spread in foreign countries ~interest in Brit. and its cu
ltural activities. Centres ~in various parts of the world, with libraries, help
~towards perf. of British plays and mus. It sponsors ~exhibitions and tours by B
rit. artists, actors, and ~musicians, and occasionally sponsors recordings. ~It
receives a considerable govt. grant.[cm~British Federation of Music Festivals. [
fy75,1]Founded ~[sm1921[nm as assoc. of amateur competitive mus. fests. ~in Brit
. and the Commonwealth. Organizes ~summer schs.[cm~British Grenadiers. [fy75,1]O
rig. words date from end ~of [sm17[nmth cent., but a later version now sung ~inc
ludes an allusion to Battle of Waterloo ([sm1815[nm). ~Origin of tune unknown; e
arliest copy dates from ~[cf2]c.[cf1][sm1740[nm. Regimental marc
h of the Grenadier ~Guards.[cm~British Institute of Recorded Sound. [fy75,1]Orga
ni~~zation founded [sm1948[nm by Patrick Saul and incor~~porated [sm1951[nm in L
ondon for preservation of ~recordings of all kinds, which are then made ~availab
le for study.[cm~British National Opera Company. [fy75,1]Formed ~[sm1921[nm by s
ingers and instrumentalists of Sir ~Thomas [fy45,1]*[fy75,1]Beecham's opera co.,
 disbanded when ~financial difficulties compelled Beecham's tem~~porary withdraw
al from mus. scene. F.p. at ~Bradford in Feb. [sm1922[nm, opera being [cf2]Aida.
 [cf1]Dir. was ~Percy [fy45,1]*[fy75,1]Pitt, succeeded [sm1924[nm by Frederic [f
y45,1]*[fy75,1]Austin. ~Most of its work was in the provinces, with short ~seaso
ns at CG and His Majesty's Th. Repertory ~was wide, embracing Wagner, Debussy, t
he ~Italians and several Eng. works, e.g. Vaughan ~Williams's [fy45,1]*[fy75,2]H
ugh the Drover [cf1]and Holst's [cf2]The ~[fy45,1]*[fy75,2]Perfect Fool [cf1]and
 [fy45,1]*[fy75,2]At the Boar's Head. [cf1]Co. incl. ~most of le
ading British singers and conds. of day, ~Barbirolli, Boult, Harty, and Sargent
among the ~latter, and Allin, Radford, Labbette, Turner, ~Mullings, Heming, and
Nash among former. Co. ~ceased to exist, crippled by entertainment tax, in ~[sm1
929[nm, but was re-named Covent Garden English ~Company, with Barbirolli as mus.
 dir., in Sept. ~[sm1929[nm and survived in that form for another [sm3[nm ~seaso
ns.[cm~Britten, [fy75,1](Edward) [fy65][cf3]Benjamin [fy75,1](Lord Britten of ~A
ldeburgh) ([cf2]b [cf1]Lowestoft, [sm1913[nm; [cf2]d [cf1]Aldeburgh, ~[sm1976[nm
). Eng. composer, pianist, and cond. His ~birth on St Cecilia's Day, [sm22[nm No
v., was a happy ~augury for the career of one of Britain's greatest ~composers.
Essentially a vocal composer, his ~operas and song-cycles won wide int. acceptan
ce. ~He never abandoned the principles of tonality ~and was a `modern' composer
who reached a mass ~audience and a conservative whose originality no ~radical wo
uld sensibly deny. He shared with his ~predecessors Parry, Vaugh
an Williams, and Holst, ~an intense interest in the work of amateurs and ~childr
en. His brilliant gifts as a pianist and cond., ~coupled with the virtuoso natur
e of his inventive~~ness, also led him to compose mus. for great ~performers suc
h as the cellist Rostropovich and ~the singers Vishnevskaya, Fischer-Dieskau, an
d ~Janet Baker. The greatest personal influence on ~his mus. was his friendship
with the tenor Peter ~[fy45,1]*[fy75,1]Pears, for whom he comp. many operatic an
d ~vocal roles.[ep~^Britten's mus. gifts became apparent at an early ~stage. In
sch. holidays he had lessons from Harold ~[fy45,1]*[fy75,1]Samuel (pf.) and Fran
k [fy45,1]*[fy75,1]Bridge (comp.); the ~influence of Bridge in particular was st
rong and ~lasting. Britten was at RCM [sm1930[nm=n[sm3[nm, but found ~mus. atmos
phere uncongenial and resented offi~~cial refusal to allow him to study with Ber
g in ~Vienna. Studied pf. with Benjamin and comp. ~with Ireland. His astonishing
 early works were ~pubd., incl. the [cf2]Sinfonietta [cf1]and [c
f2]A Boy was Born, ~[cf1]and his song-cycle with orch. [cf2]Our Hunting Fathers
~[cf1](Auden) was perf. at Norwich Fest. [sm1936[nm. He ~worked for the G.P.O. F
ilm Unit, writing mus. ~for a dozen short documentaries, the best known ~being [
cf2]Coal Face [cf1]and [cf2]Night Mail [cf1](both [sm1936[nm). In ~[sm1937[nm, f
or the Boyd Neel String Orch.'s concert at ~the Salzburg Fest., he wrote the [cf
2]Variations on a ~Theme by Frank Bridge. [cf1]He and Pears followed ~their frie
nd the poet Auden to N. Amer. in [sm1939[nm, ~staying until [sm1942[nm. While in
 NY, f.ps. of his Vn. ~Conc. ([sm1939[nm) and [cf2]Sinfonia da Requiem [cf1]([sm
1940[nm) were ~given in Carnegie Hall under Barbirolli. Return~~ing to Eng., Bri
tten settled at Aldeburgh, Suffolk. ~His opera [cf2]Peter Grimes [cf1]was perf.
at SW on [sm7[nm June ~[sm1945[nm, a day of importance for Eng. mus. ~comparable
 with the f.p. of Elgar's [cf2]Enigma ~Variations [cf1]in June [sm1899[nm. His i
nterest in chamber ~opera led in [sm1947[nm to foundation of the
 EOG (later ~[fy45,1]*[fy75,1]English Music Theatre) and his desire for a fest.
~[PN105,0,0,R,I0]rooted in Eng. village life and the work of ~amateurs yet capab
le of enticing int. perfor[chmers ~led to the [fy45,1]*[fy75,1]Aldeburgh Festiva
l, first held in [sm1948[nm. ~Thereafter his career was uneventful outwardly ~ex
cept for the prolific output of works of all ~kinds, in many of which he took pa
rt as cond. or ~pianist. He excelled not only in his own mus.: as ~an accompanis
t in Schubert he was [sm2[nmnd to none, ~he played and cond. Mozart superbly, an
d cond. ~major works by Bach, Mahler, Elgar, Schumann, ~and others. The Aldeburg
h Fest. also featured ~neglected works by composers whom Britten and ~his collea
gues deemed to deserve reappraisal. ~After a severe heart operation in [sm1973[n
m his activities ~were much reduced. C.H. [sm1953[nm, O.M. [sm1965[nm. First ~co
mposer to be created life peer (Lord Britten of ~Aldeburgh, [sm1976[nm). (Lord B
erners was a hereditary ~peer.)[ep~^A major strength of Britten'
s art, which contrib~~utes to the dramatic effectiveness of his operas, is ~his
gift for finding the apt, simple, quickly ~memorable, and not thereafter easily
forgotten ~phrase to illustrate a point or situation. Another ~feature is his un
canny ability to capture the ~imagination and interest of children. Such works ~
as [cf2]Let[cf1]'[cf2]s Make an Opera[cf1], [cf2]Noye's Fludde[cf1], and [cf2]Sa
int ~Nicolas [cf1]testify to this. He was much preoccupied ~with themes of innoc
ence destroyed, of the ~persecution of the `outsider' in society (stemming ~from
 his own pacifism and conscientious objec~~tion to war service), and of cruelty.
 These themes ~found their most impressive outlet in the operas ~[cf2]Billy Budd
[cf1], [cf2]The Turn of the Screw[cf1], and [cf2]Owen ~Wingrave[cf1], the two la
st being adaptations by ~Myfanwy Piper of Henry James. If these, and ~such works
 as the great [cf2]War Requiem[cf1], represent ~the dark side of his musical per
sonality, the [sm1953[nm ~Coronation opera [cf2]Gloriana [cf1](a
 failure at first), his ~splendid [cf2]Midsummer Night[cf1]'[cf2]s Dream[cf1], t
he comedy ~[cf2]Albert Herring[cf1], and a host of choral and instru~~mental wor
ks such as the pf. conc., the [cf2]Cantata ~Academica[cf1], and the [cf2]Spring
Symphony [cf1]show a ~capacity for joy. He invented a new genre of ~music theatr
e in the [sm3[nm church parables, the first ~([cf2]Curlew River[cf1]) being an a
daptation of a Japanese ~Noh play; his song-cycles, to Eng., Fr., It., Ger., ~an
d Russ. texts are magnificent word-settings; his ~[sm5[nm canticles are works of
 original insights; and his ~instrumental works, in particular the str. qts. and
 ~vc. suites, explore and stretch the players' ~capacities without ceasing to be
 musical. Few ~composers have caught the public's imagination ~in their lifetime
 as vividly as did Britten; each ~new work was eagerly awaited and absorbed. ~In
tensely practical, he won the devoted admira~~tion of the artists for whom he wr
ote, and on his ~several visits to the Soviet Union formed a fir
m ~friendship with Shostakovich who ded. his [sm14[nmth ~Sym. to him. If it is h
is operas, particularly [cf2]Peter ~Grimes[cf1], with its evocation of early [sm
19[nmth cent. ~Aldeburgh, which dominate his output, it is a ~mistake to overloo
k his genius in non-vocal ~forms. Prin. works are:[xm[cm~[j2][smoperas[nm: [fy45
,1]*[fy75,2]Paul Bunyan [cf1]([sm1940[nm=n[sm1[nm, rev. [sm1974[nm); [fy45,1]*[f
y75,2]Peter ~Grimes [cf1]([sm1945[nm); [cf2]The [fy45,1]*[fy75,2]Rape of Lucreti
a [cf1]([sm1946[nm); ~[fy45,1]*[fy75,2]Albert Herring [cf1]([sm1947[nm); [cf2]Th
e [fy45,1]*[fy75,2]Beggar's Opera [cf1](new ~version of Gay's opera, [sm1948[nm)
; [fy45,1]*[fy75,2]Let's Make an ~Opera [cf1]([sm1949[nm); [fy45,1]*[fy75,2]Bill
y Budd [cf1]([sm1951[nm, rev. [sm1960[nm); ~[fy45,1]*[fy75,2]Gloriana [cf1]([sm1
953[nm); [cf2]The [fy45,1]*[fy75,2]Turn of the Screw [cf1]([sm1954[nm); ~[fy45,1
]*[fy75,2]Noye's Fludde [cf1]([sm1958[nm); [cf2]A [fy45,1]*[fy75,2]Midsummer Nig
ht's ~Dream [cf1]([sm1960[nm); [fy45,1]*[fy75,2]Owen Wingrave [c
f1]([sm1971[nm); [fy45,1]*[fy75,2]Death ~in Venice [cf1]([sm1973[nm; orch. suite
 arr. S. Bedford, [sm1984[nm).[ep~[smchurch parables[nm: [fy45,1]*[fy75,2]Curlew
 River [cf1]([sm1964[nm); [cf2]The ~[fy45,1]*[fy75,2]Burning Fiery Furnace [cf1]
([sm1966[nm); [cf2]The [fy45,1]*[fy75,2]Prodigal Son ~[cf1]([sm1968[nm).[ep~[smb
allet[nm: [cf2]The [fy45,1]*[fy75,2]Prince of the Pagodas [cf1]([sm1956[nm).[ep~
[smorch[nm: [cf2]Sinfonietta [cf1]([sm1932[nm); [cf2]A [fy45,1]*[fy75,2]Simple S
ymphony ~[cf1]([sm1934[nm); [cf2]Soir;aaees musicales [cf1](arr. of Rossini, [sm
1936[nm); ~[fy45,1]*[fy75,2]Variations on a Theme of Frank Bridge [cf1]([sm1937[
nm); ~[fy45,1]*[fy75,2]Mont Juic [cf1](suite of Catalan dances composed ~jointly
 with L. Berkeley ([sm1937[nm)); [cf2]Canadian ~Carnival [cf1]([sm1939[nm); [cf2
]Young Apollo, [cf1]pf., str. qt., str. ~orch. ([sm1939[nm, withdrawn until [sm1
979[nm); [cf2]Overture, ~Paul Bunyan[cf1] ([sm1940[nm, rev. [sm1974[nm, orch. C.
 Matthews ~[sm1977[nm); [fy45,1]*[fy75,2]Sinfonia da Requiem [cf
1]([sm1940[nm); [cf2]An American ~Overture[cf1] ([sm1941[nm=n[sm2[nm, f.p. [sm19
83[nm); [cf2]Matin;aaees musicales ~[cf1](arr. of Rossini, [sm1941[nm); [cf2]Pre
lude and Fugue [cf1]for str. ~([sm1943[nm); [cf2]Four [fy45,1]*[fy75,2]Sea Inter
ludes, Passacaglia [cf1]from ~[cf2]Peter Grimes [cf1]([sm1944[nm); [fy45,1]*[fy7
5,2]Young Person's Guide to the ~Orchestra [cf1]([cf2]Variations and Fugue on a
Theme of ~Purcell[cf1]) ([sm1946[nm); [cf2]Occasional Overture[cf1] ([sm1946[nm)
; [cf2]Men ~of Goodwill[cf1] ([cf2]Variations on a Christmas Carol[cf1]) ~([sm19
47[nm); Ov., [cf2]The Building of the House [cf1](with ch. ~[cf2]ad. lib.[cf1])
([sm1967[nm); [cf2]Suite on English Folk Tunes [cf1]([cf2]A Time ~There Was .|.|
.[cf1]) ([sm1974[nm); [cf2]Lachrymae[cf1], va. and str. ~([sm1976[nm, arr. of [s
m1950[nm work for va. and pf.); [cf2]The ~Prince of the Pagodas, [cf1]concert su
ite arr. from ~[sm1956[nm ballet by Lankester ([sm1979[nm).[ep~[smconcertos[nm:
Pf. ([sm1938[nm, rev. [sm1945[nm); Vn. ([sm1939[nm, rev. ~[sm195
8[nm); [cf2]Diversions on a Theme, [cf1]pf. left-hand ([sm1940[nm, ~rev. [sm1954
[nm); [cf2]Scottish Ballad, [cf1][sm2[nm pf. ([sm1941[nm); Vc. Sym. ~([sm1963[nm
).[ep~[smbrass[nm: [cf2]Russian Funeral[cf1], brass and perc. ([sm1936[nm).[ep~[
smchoral[nm: [cf2]Hymn to the Virgin [cf1]([sm1930[nm, rev. [sm1934[nm); [cf2]A
~Boy Was Born [cf1]([sm1933[nm, rev. [sm1955[nm); [cf2]Friday Afternoons ~[cf1](
children's vv.) ([sm1933[nm=n[sm5[nm); [cf2]Te Deum [cf1]([sm1934[nm); ~[cf2]Adv
ance Democracy [cf1]([sm1938[nm); [cf2]Ballad of Heroes ~[cf1]([sm1939[nm); [cf2
]AMDG[cf1], [sm4[nm prayers and holy songs of[fj~G. M. Hopkins, for unacc. ch. (
[sm1939[nm); [fy45,1]*[fy75,2]Ceremony ~of Carols[cf1]; [fy45,1]*[fy75,2]Hymn to
 St Cecilia [cf1]([sm1942[nm); [cf2]Rejoice in the ~Lamb [cf1]([sm1943[nm); [cf2
]Festival Te Deum [cf1]([sm1944[nm); [fy45,1]*[fy75,2]Saint ~Nicolas [cf1]([sm19
48[nm); [cf2][fy45,1]*[fy75,2]Spring Symphony [cf1]([sm1949[nm); [cf2]Five ~Flow
er Songs [cf1]([sm1950[nm); [cf2]Missa Brevis [cf1](boys' vv.);
~[fy45,1]*[fy75,2]Cantata Academica [cf1]([sm1959[nm); [cf2]Jubilate Deo [cf1]an
d ~[cf2]Venite[cf1] ([sm1961[nm); [fy45,1]*[fy75,2]War Requiem [cf1]([sm1961[nm)
; [cf2]Cantata ~Misericordium [cf1]([sm1963[nm); [cf2]Voices for Today [cf1]([sm
1965[nm); ~[cf2]The Golden Vanity [cf1](boys' vv.) ([sm1966[nm); [cf2]Children's
 ~Crusade [cf1]([sm1968[nm); [cf2]Sacred and Profane [cf1]([sm1975[nm); ~[cf2]We
lcome Ode [cf1](young people's ch. and orch.) ~([sm1976[nm).[ep~[smsolo voice an
d orch[nm: [cf2]Quatre chansons fran;accaises[cf1] ~([sm1928[nm); [fy45,1]*[fy75
,2]Our Hunting Fathers [cf1]([sm1936[nm); [cf2]Les [fy45,1]*[fy75,2]Illumi~~nati
ons [cf1]([sm1938[nm=n[sm9[nm); [fy45,1]*[fy75,2]Serenade [cf1]([sm1943[nm); [fy
45,1]*[fy75,2]Nocturne ~[cf1]([sm1958[nm); [fy45,1]*[fy75,2]Phaedra [cf1]([sm197
5[nm).[ep~[smsolo voice and piano[nm (unless otherwise indicated): ~[cf2][sm3[nm
 Early Songs[cf1] ([sm1922[nm=n[sm6[nm); [cf2][sm4[nm Cabaret Songs[cf1] ([sm193
7[nm); ~[PN106,0,0,L,I0][fy45,1]*[fy75,2]On This Island [cf1]([s
m1937[nm); [fy45,1]*[fy75,2]Seven Sonnets of Michel~~angelo [cf1]([sm1940[nm); [
cf2]Folk-Song Arrangements, [cf1]Vol. I ~British ([sm1945[nm), II French ([sm194
6[nm); III British ~([sm1948[nm); [cf2][sm9[nm [fy45,1]*[fy75,2]Holy Sonnets of
Donne [cf1]([sm1945[nm); [fy45,1]*[fy75,2]Canticle ~I, My Beloved is Mine [cf1](
[sm1947[nm); [cf2]A [fy45,1]*[fy75,2]Charm of Lullabies ~[cf1]([sm1947[nm); [cf2
]Canticle II, [fy45,1]*[fy75,2]Abraham and Isaac [cf1]([sm1952[nm); ~[fy45,1]*[f
y75,2]Winter Words [cf1]([sm1953[nm); [cf2]Canticle III, Still Falls the ~Rain [
cf1](with hn. and pf.) ([sm1954[nm); [cf2]Songs from the ~Chinese [cf1](v. and g
uitar) ([sm1957[nm); [cf2][sm6[nm [fy45,1]*[fy75,2]H;auolderlin ~Fragments [cf1]
([sm1958[nm); [cf2]Songs and Proverbs of William ~Blake [cf1]([sm1965[nm); [cf2]
The [fy45,1]*[fy75,2]Poet's Echo [cf1]([sm1965[nm); [cf2]Who are ~these Children
? [cf1]([sm1969[nm); [cf2]Canticle IV, Journey of the ~Magi [cf1]([sm1971[nm); [
cf2]Canticle V, The Death of St Narcissus ~[cf1]([sm1974[nm); [c
f2]A Birthday Hansel [cf1](v. and harp) ([sm1975[nm); [cf2][sm8[nm ~Folk Song Ar
rangements [cf1](v. and harp) ([sm1976[nm).[ep~[smchamber works[nm: [cf2]Elegy[c
f1], va. ([sm1926[nm); [cf2]Rhapsody,[cf1] str. ~qt. (?date); [cf2]Quartettino[c
f1], str. qt. ([sm1930[nm); [cf2]Phantasy ~String Quintet[cf1] ([sm1932[nm); [cf
2]Phantasy Oboe Quartet ~[cf1]([sm1932[nm); [cf2][sm2[nm Insect Pieces, [cf1]ob.
 and pf. ([sm1935[nm, Op. ~posth., f.p. [sm1979[nm); [cf2]Suite [cf1]for vn. and
 pf. ([sm1934[nm=n[sm5[nm); ~[cf2][sm3[nm Divertimenti[cf1], str. qt. ([sm1936[n
m); [cf2]Temporal Varia~~tions[cf1], ob. and pf. ([sm1936[nm); [cf2]Reveille[cf1
], vn. and pf. ~([sm1937[nm); Str. Qt. No. [sm1[nm ([sm1941[nm), No. [sm2[nm ([s
m1945[nm), No. [sm3[nm ~([sm1975[nm); Str. Qt. in D ([sm1931[nm, rev. [sm1974[nm
); [cf2]Lachrymae, ~[cf1]va. and pf. ([sm1950[nm); [cf2][sm6[nm [fy45,1]*[fy75,2
]Metamorphoses after Ovid, ~[cf1]ob. ([sm1951[nm); Vc. Sonata ([sm1961[nm); Suit
e No. [sm1[nm for vc. ~([sm1964[nm), No. [sm2[nm ([sm1967[nm), N
o. [sm3[nm ([sm1971[nm); [cf2]Gemini ~Variations [cf1](fl., vn., and pf. [sm4[nm
 hands) ([sm1965[nm).[ep~[smpianoforte[nm: [cf2][sm5[nm Walztes[cf1] ([cf2]Waltz
es[cf1]) ([sm1923[nm=n[sm5[nm, re-~written [sm1969[nm); [cf2]Holiday Diary [cf1]
([sm1934[nm); [cf2]Sonatina ~Romantica [cf1]([sm1940[nm, f.p. Aldeburgh [sm1983[
nm); [cf2]Night ~Piece [cf1]([cf2]Notturno[cf1]) ([sm1963[nm).[ep~[smtwo pianos[
nm: [cf2]Introduction and Rondo alla burlesca ~[cf1]([sm1940[nm); [cf2]Mazurka E
legiaca [cf1]([sm1941[nm).[ep~[smincidental music for films, plays and radio[nm:
 [cf2]Coal ~Face, Night Mail [cf1]([sm1936[nm); [cf2]The Ascent of F[sm6[nm, Lov
e ~from a Stranger [cf1]([sm1937[nm); [cf2]Hadrian's Wall [cf1]([sm1938[nm); ~[c
f2]The Sword in the Stone[cf1] ([sm1938[nm; concert suite for ~chamber ens. ed.
C. Matthews); [cf2]Johnson Over ~Jordan [cf1]([sm1939[nm); [cf2]The Rescue [cf1]
([sm1943[nm); [cf2]This Way to the ~Tomb, The Duchess of Malfi [cf1]([sm1945[nm)
; [cf2]The Dark ~Tower [cf1]([sm1946[nm), and others.[cm~[j1]Bri
tten, Improvisations on an Impromptu of ~Benjamin. [fy75,1]Orch. work by [fy45,1
]*[fy75,1]Walton, comp. [sm1969[nm, ~f.p. San Francisco [sm1970[nm. Theme taken
from ~Britten's pf. conc.[cm~Britten, Sinfonia in Memoriam Benjamin. ~[fy75,1]Wo
rk for [sm17[nm wind instr. by [fy45,1]*[fy75,1]Fricker, [sm1976[nm=n[sm7[nm. F.
p. ~in England, Aldeburgh [sm1978[nm.[cm~Britton, Thomas [fy75,1]([cf2]b [cf1]Hi
gham Ferrers, Northants., ~[sm1651[nm; [cf2]d [cf1]London, [sm1714[nm). Eng. coa
l merchant, ~organizer of concerts in London in which the ~young [fy45,1]*[fy75,
1]Handel took part with [fy45,1]*[fy75,1]Pepusch and ~others. Known as `the smal
l-coal man'.[cm~Brixi, Franti;Aksek [fy75,1](Franz) [fy65][cf3]Xaver [fy75,1]([c
f2]b [cf1]Prague, [sm1732[nm; ~[cf2]d [cf1]Prague, [sm1771[nm). Cz. composer and
 organist of ~Prague Cath. from [sm1759[nm. Prolific composer of ~masses, orator
ios, and requiems, also org. concs. ~and other secular works.[cm~Broadcast Music
 Inc. [fy75,1](BMI). Amer. performing ~right soc. owned by the b
roadcasting and TV ~industry. Founded [sm1940[nm by broadcasters in NY.[cm~Broad
wood, Rev. John [fy75,1]([cf2]b [cf1][sm1798[nm; [cf2]d [cf1]Lyne, [sm1864[nm).
~Eng. clergyman and folklorist. Member of pf. ~firm family and one of earliest c
ollectors of Eng. ~folk-songs. His [cf2]Old English Songs of Surrey and ~Sussex
[cf1]was pubd. [sm1843[nm.[cm~Broadwood, John & Sons Ltd. [fy75,1]London firm of
 ~pf. makers, orig. founded in [sm1728[nm by Burkat ~[fy45,1]*[fy75,1]Shudi, who
se daughter married John Broad~~wood ([sm1732[nm=n[sm1812[nm), hpd. maker in the
 firm. ~Broadwood became Shudi's partner [sm1770[nm. Firm ~re-named John Broadwo
od & Son in [sm1795[nm, & Sons ~[sm1807[nm. Earliest Broadwood grand built [sm17
81[nm.[cm~Broadwood, Lucy Etheldred [fy75,1]([cf2]b [cf1]Melrose, [sm1858[nm; ~[
cf2]d [cf1]London, [sm1929[nm). Eng. folk-song collector. Niece ~of Rev. John [f
y45,1]*[fy75,1]Broadwood, whose interest in folk-~song she pursued. Pubd. [cf2]S
ussex Songs [cf1][sm1889[nm, being ~an expanded reprint of her u
ncle's [cf2]Old English ~Songs, [cf1]and [cf2]English County Songs [cf1](with J.
 A. [fy45,1]*[fy75,1]Fuller ~Maitland) [sm1893[nm. Founder-member of Folk Song ~
Soc. [sm1898[nm, serving as its hon. sec. [sm1904[nm=n[sm8[nm and ~[sm1914[nm=n[
sm18[nm. Encouraged [fy45,1]*[fy75,1]Vaughan Williams to ~collect folk-songs.[cm
~Brockway, Howard [fy75,1]([cf2]b [cf1]Brooklyn, [sm1870[nm; [cf2]d [cf1]NY, ~[s
m1951[nm). Amer. composer and pianist. Studied in ~Berlin [sm1890[nm=n[sm5[nm. T
hen various important educa~~tional positions Baltimore and NY. Comp. orch. ~and
 chamber works, etc., and collected Kentucky ~mountain tunes.[cm~Brod, Max [fy75
,1]([cf2]b [cf1]Prague, [sm1884[nm; [cf2]d [cf1]Tel Aviv, [sm1968[nm). ~Cz. nove
list, critic, and composer. Trans. [fy45,1]*[fy75,1]Jan;aaa~~;akcek's operas int
o Ger. and wrote his biography ~([sm1924[nm). Went to Palestine [sm1939[nm. Comp
. requiem, ~songs, and chamber mus.[cm~Brodsky, Adolph [fy75,1]([cf2]b [cf1]Taga
nrog, Russia, [sm1851[nm; [cf2]d ~[cf1]Manchester, [sm1929[nm).
Russ. violinist and teacher. ~Studied in Vienna under [fy45,1]*[fy75,1]Hellmesbe
rger. Joined ~staff of Moscow Cons. and later Leipzig. Gave f.p. ~of Tchaikovsky
 vn. conc., Vienna, [sm1881[nm. From ~[sm1890[nm to [sm1894[nm was leader of NY
S.O. Leader of ~Hall;aae Orch., Manchester, [sm1895[nm, but on Hall;aae's ~death
 in Oct. [sm1895[nm succeeded him as Prin., ~RMCM, holding this post until [sm19
29[nm. Brodsky ~Qt. concerts were notable feature of Eng. mus. ~life; Elgar ded.
 his Str. Qt. in E minor to the ~Brodsky team. Among many famous Brodsky ~pupils
 was Arthur [fy45,1]*[fy75,1]Catterall.[cm~Broken Cadence. [fy75,1]Interrupted [
fy45,1]*[fy75,1]cadence.[cm~Broken Chord. [fy75,1]A chord in which the notes are
 ~played one after the other, or a group followed ~by another group, instead of
simultaneously.[cm~Broken Consort or Broken Music. [fy75,1]A consort ~which cont
ained both str. and woodwind instr., ~as opposed to a [cf2]whole consort [cf1](a
ll str. or all ~woodwind).[cm~Broken Melody. [fy75,1]Comp. for v
c. by A. van [fy45,1]*[fy75,1]Biene.[cm~[PN107,0,0,R,I0]Broken Octave. [fy75,1]B
egan as device for reducing ~expenditure on organs and other kbd. instr. On ~org
s. the lowest octave was complete from C to ~C, except that the lowest C;Yi was
replaced by a ~more useful note, the A from below. See also ~[cf2]Short Octave.[
cm~Broman, Sten [fy75,1]([cf2]b [cf1]Uppsala, [sm1902[nm). Swed. composer ~and v
iolist. Also mus. critic in Malm;auo [sm1930[nm=n[sm66[nm. ~Has written [sm9[nm
syms., [cf2]Concerto for Orchestra, [cf1][sm4[nm str. ~qts., and an [cf2]Academi
c Festival [cf1]ov.[cm~Bronfman, Yefim[fy75,1] ([cf2]b[cf1] Tashkent, [sm1958[nm
). Russian-~born pianist. Studied with his mother and, after ~emigration to Isra
el in [sm1973[nm, at Rubin Acad. of ~Mus., Tel Aviv. Studied with Rudolf Serkin
in ~USA [sm1976[nm=n[sm8[nm. Appeared with most of the leading ~Amer. orchs. Lon
don d;aaebut [sm1981[nm.[cm~Bronsart, Hans von [fy75,1](Bronsart von Schellendor
ff) ~([cf2]b [cf1]Berlin, [sm1830[nm; [cf2]d [cf1]Munich, [sm191
3[nm). Ger. pianist, ~composer, and opera administrator. Intendant, ~Hanover Ope
ra [sm1867[nm=n[sm87[nm, Weimar [sm1887[nm=n[sm95[nm. ~Comp. pf. conc. played by
 [fy45,1]*[fy75,1]B;auulow and other pf. ~and orch. works and chamber mus.[xm[cm
~[ol0][ep~[xp[te~









[do42][j99]~~~~~~[sm153842[nm_BE[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBE[sm03[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm23[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm593[nm[cm~GC[cm3[cm5-7-84[cm~U1[cm~~~~[ap[j1]Bronze Horse, The [f
y75,1]([cf2]Le Cheval de bronze[cf1]). Opera ~by Auber to lib. by Scribe. F.p. P
aris and London ~[sm1835[nm, NY [sm1837[nm.[cm~Brook Green Suite. [fy75,1]Suite
for str. orch. and ~optional woodwind, by Holst. Comp. [sm1933[nm.[cm~Brook, Pet
er [fy75,1](Stephen Paul) ([cf2]b[cf1] London, [sm1925[nm). ~Eng. producer. Prod
uced Shakespeare at Stratford, ~[sm1945[nm. Dir. of productions CG [sm1948[nm=n[
sm9[nm, an appoint~~ment ended by the furore over his [sm1949[nm prod. of ~Strau
ss's [cf2]Salome[cf1]. Prod. [cf2]Faust[cf1] NY Met. [sm1953[nm. His ~[sm1982[nm
 `compressed' vers. of [cf2]Carmen[cf1] in Paris=m[cf2]The ~Tragedy of Carmen[cf
1]=mwas controversially success~~ful.[cm~Broqua, Alfonso [fy75,1]([cf2]b [cf1]Mo
ntevideo, [sm1876[nm; [cf2]d [cf1]Paris, ~[sm1946[nm). Uruguayan
 composer. Studied with d'Indy ~in Paris [sm1898[nm=n[sm1904[nm, then returned t
o Montevideo. ~Wrote in nationalist style. Comp. opera, several ~song-cycles for
 v. and guitar, and pieces for solo ~guitar.[cm~Brosa, Antonio [fy75,1]([cf2]b [
cf1]Canonja, Sp., [sm1894[nm; [cf2]d [cf1]Barce~~lona, [sm1979[nm). Sp. violinis
t who settled in Eng., ~[sm1914[nm. Founded Brosa Qt. [sm1925[nm (disbanded [sm1
938[nm). ~Soloist d;aaebut, London [sm1926[nm. In USA [sm1940[nm=n[sm6[nm. ~Gave
 f.p. of [fy45,1]*[fy75,1]Britten's Vn. Conc., NY [sm1940[nm.[cm~Brott, Alexande
r [fy75,1]([cf2]b [cf1]Montreal, [sm1915[nm). Canadian ~violinist, cond., and co
mposer. Trained McGill ~Cons. (later on staff) and Juilliard Sch., NY. Leader, ~
McGill Qt., Les Concerts Symphoniques, etc. ~Comps. incl. vn. conc. ([sm1950[nm)
, symphonic suite ~[cf2]From Sea to Sea [cf1]([sm1947[nm), symphonic poems, and
~chamber mus.[cm~Brott, Boris [fy75,1]([cf2]b [cf1]Montreal, [sm1944[nm). Canadi
an cond. ~Son of Alexander [fy45,1]*[fy75,1]Brott. Studied McGil
l Univ. ~and with Monteux, Markevich, Bernstein, and A. ~Brott. D;aaebut as viol
inist, Montreal [sm1949[nm, as cond. ~Mexico [sm1958[nm. Ass. cond. Toronto S.O.
 [sm1963[nm=n[sm5[nm; ~cond. Northern Sinfonia, Newcastle, [sm1964[nm=n[sm8[nm;
~BBC Welsh S.O. [sm1972[nm=n[sm9[nm; mus. dir. and cond., ~Lakehead S.O., [sm196
8[nm=n[sm72[nm.[cm~Brou;Akcek, The Excursions of Mr [fy75,1](Jan;aaa;Akcek). See
 ~[cf2]Excursions of Mr Brou;Akcek, The.[cm~Brouwenstijn, Gr;aae [fy75,1]([cf2]b
 [cf1]Den Helder, [sm1915[nm). Dutch ~sop. Stage d;aaebut Amsterdam [sm1940[nm i
n [cf2]Die Zauber~~fl;auote[cf1]. First CG appearance [sm1951[nm as Aida. Bayreu
th ~[sm1954[nm=n[sm6[nm, Glyndebourne [sm1959[nm. A distinguished ~Leonora in [c
f2]Fidelio. [cf1]Retired from stage [sm1971[nm.[cm~Brower, Leo [fy75,1]([cf2]b [
cf1]Havana, [sm1939[nm). Cuban composer ~and guitarist. Studied guitar with I. N
icola and ~later at Juilliard Sch., NY [sm1959[nm=n[sm60[nm (comp. with ~Persich
etti and Wolpe) and at Hartt College. ~Taught harmony, counterpo
int, and comp., Nat. ~Cons., Havana, [sm1961[nm=n[sm7[nm. Dir., experimental dep
t. ~of Cuban film industry since [sm1969[nm. Comps. ~influenced by [fy45,1]*[fy7
5,1]Xenakis, [fy45,1]*[fy75,1]Nono, and [fy45,1]*[fy75,1]Henze. His ~[cf2]Sonogr
ama I [cf1]was first mus. by Cuban to use ~[fy45,1]*[fy75,1]indeterminacy. Has w
ritten over [sm40[nm film scores, ~works for solo guitar, guitar conc. ([sm1972[
nm), and ~elec. comp. [cf2]Homenaje a Lenin.[cm~Brown, Christopher [fy75,1](Rola
nd) [cf1]([cf2]b [cf1]Tunbridge ~Wells, [sm1943[nm). Eng. composer. Studied King
's ~College, Cambridge, and RAM (under Berkeley). ~Also in Berlin under Blacher.
 On staff RAM from ~[sm1969[nm. Early works were mainly religious, but ~increasi
ngly has developed impressive command ~of instr. style. Works incl.:[xm[cm~[j2][
smorch[nm: [fy75,2]Triptych [cf1]([sm1978[nm); [cf2]The Sun Rising: Threnody ~[c
f1]([sm1977[nm); [cf2]Sonata for Strings [cf1]([sm1974[nm); [cf2]Sinfonia [cf1](
[sm1971[nm); ~Org. Conc. ([sm1979[nm); [cf2]Festival Variations[
cf1], str. ([sm1981[nm).[ep~[smvoice(s) and orch[nm: [cf2]Soliloquy [cf1]([sm197
6[nm); [cf2]David, [cf1]cantata ~for bar. soloists, ch., and orch. ([sm1970[nm);
 [cf2][sm3[nm Mediaeval ~Lyrics, [cf1]sop., ten., ch., and orch. ([sm1973[nm); [
cf2]The Snows ~of Winter [cf1]for vv. and chamber ens. ([sm1971[nm); ~[cf2]Chaun
tecleer,[cf1] sop., ten., bar., ch., and orch. ~([sm1979[nm); [cf2]Magnificat[cf
1], SATB soloists, ch., and orch. ~([sm1980[nm); [cf2]The Vision of Saul[cf1], s
op., ten., counterten., ~bar., ch., orch. ([sm1983[nm); [cf2]Tres Cantus Sacri[c
f1], ch. and ~chamber orch. ([sm1984[nm).[ep~[smchoral[nm: [cf2]Hymn to the Holy
 Innocents, [cf1]chamber ~cantata ([sm1965[nm); [cf2]Aubade [cf1]([sm1968[nm); [
cf2]Gloria [cf1]([sm1968[nm); ~[cf2]Laus Creatorum [cf1]([sm1969[nm); [cf2][sm4[
nm Motets [cf1]([sm1970[nm); [cf2][sm3[nm ~Mediaeval Carols [cf1]([sm1969[nm=n[s
m73[nm); [cf2]Hodie Salvator Ap~~paruit [cf1]([sm1970[nm); [cf2]Oundle Jubilate
[cf1]([sm1972[nm); [cf2]Even Such is ~Time[cf1] ([sm1977[nm).[ep
~[smchamber music[nm: [cf2]Chamber Music [cf1](cl., hn., vn., vc., ~pf.) ([sm197
4[nm, rev. [sm1979[nm); Str. Qt. No. [sm2[nm ([sm1975[nm); Trio ~(fl., bn., pf.)
 ([sm1975[nm); [cf2]All Year Round, [cf1]ten. and ~guitar ([sm1976[nm).[cm~[j1]B
rown, David [fy75,1](Clifford) ([cf2]b[cf1] Gravesend, [sm1929[nm). ~Eng. writer
 and scholar. Studied Sheffield Univ. ~[sm1949=n52[nm. Studied Russ. while on na
tional service ~[sm1952=n4[nm. Schoolteacher [sm1954=n9[nm, mus. librarian ~Lond
on Univ. [sm1959=n62[nm. On staff Southampton ~Univ. from [sm1962[nm. Author of
[sm3[nm-vol. biog. of ~Tchaikovsky. Biographies of Glinka ([sm1974[nm), Wil~~bye
 ([sm1974[nm), and Weelkes ([sm1969[nm).[cm~[PN108,0,0,L,I0]Brown, Earle [fy75,1
]([cf2]b [cf1]Lunenburg, Mass., [sm1926[nm). Amer. ~composer. Studied at Schilli
nger House Sch. of ~Mus., Boston, [sm1946[nm=n[sm50[nm. Worked with [fy45,1]*[fy
75,1]Cage in ~NY [sm1952[nm=n[sm5[nm on project for mus. for magnetic ~tape. Inf
luenced by visual arts, esp. sculpture of ~Calder and paintings
of Pollock. His [sm25[nm [cf2]Pages ~[cf1]([sm1953[nm) for [sm1[nm=n[sm25[nm pf.
 uses [fy45,1]*[fy75,1]`open form' and space-~time notation, e.g. pitches and du
rations are ~specified but, clefs being absent, the pages can be ~played either
way up. On faculty Cologne Cons. ~[sm1966[nm. His [cf2]Available Forms I [cf1]wa
s commissioned by ~Darmstadt, [sm1961[nm, and [cf2]Available Forms II [cf1]([sm1
962[nm) by ~Rome Radio Orch. Other works:[xm[cm~[j2][smorch[nm: [fy75,2]Modules
[sm1[nm and [sm2[nm [cf1]([sm1966[nm), [cf2]Module [sm3[nm [cf1]([sm1969[nm), ~[
cf2]Time Spans [cf1]([sm1972[nm), [cf2]Cross Sections and Color Fields[cf1] ~([s
m1973[nm=n[sm5[nm).[ep~[smchoral[nm: [cf2]New Piece: Loops [cf1]([sm1972[nm); [c
f2]From Here ~[cf1]([sm1963[nm).[ep~[sminstr. ens[nm: [cf2]Transients[cf1] ([sm1
976[nm); [cf2]Event=mSynergy II ~[cf1]([sm1967[nm=n[sm8[nm); [cf2]Sign Sounds [c
f1]([sm1972[nm); [cf2]Centering [cf1]([sm1973[nm); ~[cf2]Novara [cf1]([sm1962[nm
); [cf2]Syntagm III [cf1]([sm1970[nm); [cf2]Times Five ~[cf1]([s
m1963[nm).[ep~[smchamber music[nm: Str. qt. ([sm1965[nm); [cf2]Music, [cf1]vn.,
vc., pf. ~([sm1952[nm); [cf2]Corroboree, [cf1][sm3[nm or [sm2[nm pf. ([sm1964[nm
).[cm~[j1]Browne, [fy75,1](William Charles) [fy65,3]Denis[fy75,1] ([cf2]b[cf1] L
eamington ~Spa, [sm1888[nm; [cf2]d[cf1] Achi Baba, Turkey, [sm1915[nm). Eng. ~co
mposer and critic. Studied at Cambridge Univ., ~becoming friend of E. J. [fy45,1
]*[fy75,1]Dent. After spell as ~schoolteacher, wrote mus. criticism for [cf2]The
 Times, ~[cf1][sm1913[nm=n[sm14[nm, and [cf2]New Statesman[cf1], [sm1914[nm. Wro
te several ~beautiful songs, which suggest that his death in ~action robbed Eng.
 mus. of a rich talent. His ~works incl. a ballet [cf2]The Comic Spirit, God is
Our ~Strength[cf1] for unacc. ch. ([sm1912[nm), [sm2[nm Tennyson settings ~([cf2
]Move Eastward, Happy Earth [cf1]and [cf2]The Snowdrop[cf1]) ~([cf2]c[cf1].[sm19
09[nm), and the songs [cf2]Arabia[cf1] (de la Mare), [cf2]Epitaph ~on Salathiel
Pavy[cf1] (Jonson), [cf2]Diaphenia[cf1] (H. Constable), ~and [cf
2]To Gratiana Dancing and Singing [cf1](Lovelace).[cm~Browning, John [fy75,1]([c
f2]b [cf1]Denver, Col., [sm1933[nm). Amer. ~pianist. Studied Juilliard Sch., NY.
 D;aaebut Denver ~[sm1943[nm. Queen Elisabeth Int. Competition Prize, ~[sm1956[n
m. Gave f.p. of Barber's pf. conc. [sm1962[nm. Soloist ~with world's leading orc
hs.[cm~Brownlee, John [fy75,1](Donald Mackenzie) [cf1]([cf2]b [cf1]Geelong, ~[sm
1901[nm; [cf2]d [cf1]NY, [sm1969[nm). Australian bar. D;aaebut CG as ~Marcello i
n [cf2]La Boh;ageme [cf1]on night of [fy45,1]*[fy75,1]Melba's ~farewell, [sm8[nm
 June [sm1926[nm. Paris Op;aaera, [sm1927[nm=n[sm36[nm. ~Glyndebourne [sm1935[nm
=n[sm9[nm (where he was a famous ~Don Giovanni), NY Met. [sm1937[nm=n[sm56[nm. S
taff of ~Manhattan Sch. of Mus., NY, from [sm1953[nm, pres. ~[sm1958[nm=n[sm69[n
m.[cm~Bruch, Max [fy75,1]([cf2]b [cf1]Cologne, [sm1838[nm; [cf2]d [cf1]Friedenau
, ~[sm1920[nm). Ger. composer and cond. Studied in ~Cologne with F. [fy45,1]*[fy
75,1]Hiller and [fy45,1]*[fy75,1]Reinecke, returning ~as teacher
 [sm1858[nm=n[sm61[nm. Cond. of various concert ~organizations in Berlin and Bon
n and of Liverpool ~Phil. Soc. [sm1880[nm=n[sm3[nm (an unhappy period). Dir. ~Or
chesterverein, Breslau, [sm1883[nm=n[sm90[nm, prof. of comp. ~Berlin Hochschule
[sm1892[nm=n[sm1910[nm, among his pupils ~for a brief period being [fy45,1]*[fy7
5,1]Vaughan Williams. ~Cond. Scottish Orch. [sm1898[nm=n[sm1900[nm. His comps. i
ncl. ~[sm3[nm operas (one of them, [cf2]Hermione, [cf1]Berlin [sm1872[nm, ~based
 on Shakespeare's [cf2]The Winter's Tale[cf1]), [sm3[nm syms. ~([sm1870[nm, [sm1
870[nm, [sm1887[nm);  many choral works (by which ~he is best known in Ger.), [s
m3[nm vn. concs. (No. [sm1[nm in G ~minor, [sm1868[nm, No. [sm2[nm in D minor, [
sm1878[nm, No. [sm3[nm in D ~minor, [sm1891[nm), [fy45,1]*[fy75,2]Scottish Fanta
sia [cf1]for vn. and orch. ~([sm1880[nm), [fy45,1]*[fy75,2]Kol Nidrei, [cf1]vc.
and orch. ([sm1881[nm), and [sm2[nm ~str. qts. ([sm1859[nm, [sm1860[nm).[cm~Bruc
kner, Anton [fy75,1]([cf2]b [cf1]Ansfelden, [sm1824[nm; [cf2]d [
cf1]Vienna, ~[sm1896[nm). Austrian composer and organist. Son of ~village school
master, showed precocious mus. ~talent but had no expert teaching until aged [sm
11[nm. ~Was choirboy at St Florian's monastery, [sm1837[nm=n[sm40[nm, ~and in [s
m1840[nm began training in Linz as a ~schoolmaster, mus. remaining an absorbing
~sideline. Persisted with org. studies and became a ~virtuoso of the instr., esp
ecially in art of improv~~isation. In [sm1845[nm returned to St Florian as ass.
~teacher, but continued his mus. studies. In [sm1848[nm ~became `provisional' or
ganist. For some years had ~been composing org. and choral mus., but [sm1849[nm
~saw the first recognizably Brucknerian work, the ~[cf2]Requiem [cf1]in D minor.
 In [sm1851[nm became official ~organist of St Florian and in [sm1855[nm was app
ointed ~organist of Linz Cath. Also in [sm1855[nm decided to ~study harmony and
counterpoint with Simon ~[fy45,1]*[fy75,1]Sechter in Vienna, lessons which conti
nued ~until [sm1861[nm. In [sm1862[nm studied orchestration in L
inz ~with Otto Kitzler, cellist and cond., who also ~introduced him to Wagner's
mus. From this ~period, [sm1863[nm=n[sm9[nm, came [sm3[nm Masses and [sm3[nm sym
s. In ~[sm1868[nm moved to Vienna, where he was to live for ~the next [sm28[nm y
ears, to succeed Sechter as prof. of ~harmony and counterpoint at the Cons.[ep~^
Continued in demand as an improviser on the ~org., visiting Paris in [sm1869[nm
to play in Notre Dame ~and London in [sm1871[nm to play at the new Albert ~Hall.
 In [sm1865[nm first met Wagner in Munich at the ~premi;agere of [cf2]Tristan [c
f1]and their friendship grew. ~The [sm3[nmrd Sym. of [sm1873[nm was ded. to Wagn
er. ~Though this was a matter of personal delight to ~Bruckner it made him the b
utt of Viennese mus. ~politics at the period of great hostility between ~the sup
porters of Brahms and of Wagner and ~ensured him the critical hostility of [fy45
,1]*[fy75,1]Hanslick. In ~[sm1875[nm became lecturer in harmony and counter~~poi
nt at Vienna Univ. During [sm1871[nm=n[sm6[nm wrote ~Syms. Nos.
[sm2[nm=n[sm5[nm, following this with a [sm3[nm-year spell ~of rev. F.p. of [sm3
[nmrd Sym. in [sm1877[nm was fiasco. From ~[sm1879[nm to [sm1887[nm worked on Sy
ms. Nos. [sm6[nm=n[sm8[nm and [cf2]Te ~Deum. [cf1]F.p. of No. [sm4[nm in [sm1881
[nm was first considerable ~success with Viennese public. In [sm1883[nm, while ~
working on the Adagio of Sym. No. [sm7[nm, heard of ~Wagner's death: he referred
 to the coda of that ~movement as `funeral music for the Master'. ~Success of th
e first [sm2[nm perfs. of No. [sm7[nm under ~[fy45,1]*[fy75,1]Nikisch ([sm1884[n
m) and [fy45,1]*[fy75,1]Levi ([sm1885[nm) launched int. ~recognition, but Bruckn
er received severe blow ~in [sm1887[nm when Levi rejected score of No. [sm8[nm w
ith ~several bitter criticisms. Began another period of ~rev. with the advice of
 friends, and the [sm8[nmth Sym. ~[PN109,0,0,R,I0]was not played until [sm1892[n
m when, under [fy45,1]*[fy75,1]Richter, ~it had a triumphant reception.[ep~^In t
he last [sm5[nm years of his life Bruckner enjoyed ~greater fina
ncial reward than before and received ~several state and university honours. But
 his ~health deteriorated and he worked on his [sm9[nmth ~(actually [sm11[nmth)
Sym. from [sm1891[nm until the day he ~died ([sm11[nm Oct. [sm1896[nm), leaving
[sm200[nm pages of the ~finale of No. [sm9[nm in sketch form only.[ep~^Bruckner'
s personal character has for too long ~been misrepresented as boorish and simple
-~minded. He did have a child-like religious faith, ~which lies at the root of a
ll his mus., and a ~becoming modesty. But the composer of those ~superbly organi
zed and complex syms., most of ~them over an hour in duration, was no simpleton.
 ~He was a late starter as a composer because of his ~determination to master hi
s technique and ~recognition only came late in his lifetime. The ~`Wagnerian' ta
g on his syms. led to their being ~regarded as elephantine monsters, but they ar
e ~now widely recognized as being in the Austrian ~tradition of Schubert's last
sym. and are admired ~for their combination of contrapuntal sple
ndour ~with intense melodic beauty and grandeur (but ~not extravagance) of orche
stration. His Masses, ~also on a symphonic scale, are equally splendid, ~and in
all his mature church mus. there is the ~radiance of a devout believer and the t
echnical ~dexterity of a composer whose mastery of vocal ~polyphony stemmed from
 intimate study of ~Palestrina and his sch.[ep~^A peculiarly complex problem exi
sts over the ~various versions of Bruckner's syms. caused by ~his proclivity for
 revisions, often at the behest of ~well-meaning friends who urged him to cut an
d ~reorchestrate works in order to have them perf. ~and pubd. Since [sm1934[nm,
first under the editorship ~of Robert [fy45,1]*[fy75,1]Haas and later of Leopold
 [fy45,1]*[fy75,1]Nowak, ~the Int. Bruckner Soc. has pubd. the `original' ~edns.
 of the syms. Even here confusion arises ~because there are discrepancies in som
e of the ~syms. ed. by both Haas and Nowak. The general ~tendency today is to re
turn to Bruckner's first ~thoughts. For this reason the followin
g list of the ~syms. is in some detail:[xm[cm~[j2]Symphony in F minor. Comp. [sm
1863[nm.[ep~Symphony in D minor (designated by Bruckner ~as `No. [sm0[nm'). Comp
. [sm1863[nm=n[sm4[nm, rev. [sm1869[nm (some ~authorities insist `comp. [sm1869[
nm'). F.p. Klosterneu~~burg, [sm12[nm Oct. [sm1924[nm. Publication: Ed. Nowak ~[
sm1968[nm.[ep~No. [sm1[nm in C minor. Comp. [sm1865[nm=n[sm6[nm, rev. [sm1868[nm
, ~[sm1877[nm, [sm1884[nm (foregoing known as `Linz Version'). ~Major rev. (`Vie
nna version') [sm1890[nm=n[sm1[nm. F.p. [sm9[nm May ~[sm1868[nm Linz, cond. Bruc
kner; [sm13[nm Dec. [sm1891[nm ~Vienna, cond. Richter. Publication: [sm1893[nm ~
(Eberle); Linz and Vienna versions ed. Haas ~[sm1934[nm, Linz version ed. Nowak
[sm1953[nm. (Nowak ed. ~mainly corrects misprints.)[ep~No. [sm2[nm in C minor. C
omp. [sm1871[nm=n[sm2[nm, rev. [sm1873[nm; ~[sm1876[nm=n[sm7[nm version [sm2[nm
(cuts and alteration). F.p. [sm26[nm ~Oct. [sm1873[nm, Vienna, cond. Bruckner; v
ersion [sm2[nm, ~[sm20[nm Feb. [sm1876[nm, Vienna, cond. Bruckne
r. Publica~~tion: [sm1892[nm (Eberle), ed. Haas [sm1938[nm, version [sm2[nm ed.
~Nowak [sm1965[nm. Haas ed. restores many of Bruck~~ner's [sm1876[nm=n[sm7[nm cu
ts.[ep~No. [sm3[nm in D minor. Comp. [sm1873[nm, rev. [sm1874[nm; ~thorough rev.
 (excising several Wagner quota~~tions) [sm1876[nm=n[sm7[nm (version [sm2[nm). A
nother thorough ~rev. (version [sm3[nm) [sm1888[nm=n[sm9[nm. F.p. [sm16[nm Dec.
[sm1877[nm ~(version [sm2[nm) Vienna, cond. Bruckner; [sm21[nm Dec. ~[sm1890[nm
(version [sm3[nm) Vienna, cond. Richter. F.ps. of ~[sm1873[nm version, [sm1[nm a
nd [sm2[nm Dec. [sm1946[nm, Dresden, cond. ~Keilberth. Publication: [sm1878[nm (
R;Auattig, version [sm2[nm), ~[sm1890[nm (R;Auattig, version [sm3[nm); ed. Nowak
 (version [sm3[nm) ~[sm1959[nm.[ep~No. [sm4[nm in E;Yh major (`Romantic'). Comp.
 [sm1874[nm ~(version [sm1[nm). Major rev. (new scherzo) [sm1878[nm, new ~finale
 [sm1879[nm=n[sm80[nm, minor rev. [sm1881[nm, [sm1886[nm (version ~[sm2[nm); maj
or cuts and alterations by F. [fy45,1]*[fy75,1]L;auowe [sm1887[n
m=n~[sm8[nm (version [sm3[nm). F.p. [sm20[nm Feb. [sm1881[nm, Vienna, cond. ~Ric
hter (version [sm2[nm); [sm22[nm Jan. [sm1888[nm, Vienna, cond. ~Richter (versio
n [sm3[nm); f.p. version [sm1[nm: [sm20[nm Sept. [sm1975[nm, ~Linz, cond. W;auos
s (but scherzo alone was perf. ~[sm12[nm Dec. [sm1909[nm, Linz, cond. A. G;auoll
erich). Publi~~cation: [sm1896[nm (Doblinger); ed. Haas (version [sm2[nm) ~[sm19
36[nm and [sm1944[nm; ed. Nowak (version [sm2[nm) [sm1953[nm.[ep~No. [sm5[nm in
B;Yh major. Comp. [sm1875[nm=n[sm6[nm, minor rev. ~[sm1877[nm=n[sm8[nm. F.p. [sm
8[nm April [sm1894[nm, Graz, cond. F. [fy45,1]*[fy75,1]Schalk ~(spurious version
 by Schalk); orig. version [sm20[nm ~Oct. [sm1935[nm, Munich, cond. Hausegger. P
ublica~~tion: [sm1899[nm (Doblinger); ed. Haas [sm1936[nm, ed. ~Nowak [sm1951[nm
 (little discrepancy).[ep~No. [sm6[nm in A major. Comp. [sm1879[nm=n[sm81[nm. F.
p. [sm11[nm Feb. ~[sm1883[nm, Vienna, cond. Jahn ([sm2[nmnd and [sm3[nmrd move~~
ments only); [sm26[nm Feb. [sm1899[nm, Vienna, cond. Mahler ~(wi
th severe cuts); [sm14[nm March [sm1901[nm, Stuttgart, ~cond. Pohlig (complete).
 Publication: [sm1899[nm ~(Doblinger); ed. Haas [sm1936[nm, ed. Nowak [sm1952[nm
 ~(minor discrepancies.).[ep~No. [sm7[nm in E major. Comp. [sm1881[nm=n[sm3[nm.
F.p. [sm30[nm Dec. ~[sm1884[nm, Leipzig, cond. Nikisch. Publication: [sm1885[nm
~(Gutmann); ed. Haas [sm1944[nm, ed. Nowak [sm1954[nm. ~(Discrepancies affect dy
namic and tempo mark~~ings, deleted by Haas, restored as `authentic' by ~Nowak.)
[ep~No. [sm8[nm in C minor. Comp. [sm1884[nm=n[sm7[nm (version [sm1[nm). ~Thorou
gh revision, inc. rev. coda of [sm1[nmst move~~ment, new trio, major cuts and ch
anges of ~scoring, [sm1889[nm=n[sm90[nm (version [sm2[nm). F.p. [sm18[nm Dec. [s
m1892[nm, ~Vienna, cond. Richter (version [sm2[nm). F.p. (version ~[sm1[nm) [sm2
[nm Sept. [sm1973[nm (BBC broadcast), Bournemouth ~S.O., cond. Sch;auonzeler. Pu
blication: [sm1892[nm ~(Lienau, version [sm2[nm); ed. Haas [sm1935[nm (version [
sm2[nm), ~ed. Nowak [sm1955[nm (version [sm2[nm). (Haas restores
 ~several cuts).[ep~No. [sm9[nm in D minor. First [sm3[nm movements comp. ~[sm18
91[nm=n[sm4[nm (sketches date from [sm1887[nm), sketches for ~finale [sm1894[nm=
n[sm6[nm. F.p. [sm11[nm Feb. [sm1903[nm, Vienna, cond. ~L;Auowe (in spurious L;A
uowe version), [sm2[nm April [sm1932[nm, ~Munich, cond. Hausegger (orig.). Publi
cation: ~[sm1903[nm (Universal); ed. Orel [sm1934[nm, ed. Nowak ~[sm1951[nm (alm
ost identical). Completion of finale in ~version prepared ([sm1979[nm=n[sm83[nm)
 by William Carra~~[PN110,0,0,L,I0]gan, prof. of physics at Hudson Valley Com~~m
unity Coll., Troy, NY, perf. by American S.O. ~cond. Moshe Atzmon, [sm8[nm Jan.
[sm1984[nm. (In [sm1979[nm ~Carragan, assisted by Paul Nudelman, made pf. ~score
 of finale based on Orel's edn. of sketches ~but with coda added. This was perf.
 in NY [sm1979[nm).[ep~Other works incl.:[ep~[smorch[nm: [cf2]Overture [cf1]in G
 minor ([sm1863[nm); [cf2][sm4[nm Orchestral ~Pieces [cf1]([sm1862[nm).[ep~[smch
oral[nm: Masses, No. [sm1[nm in D minor ([sm1864[nm, rev. ~[sm18
76[nm, [sm1881[nm=n[sm2[nm); No. [sm2[nm in E minor (wind band ~acc.) ([sm1866[n
m, rev. [sm1869[nm, [sm1876[nm, [sm1882[nm); No. [sm3[nm in F ~minor ([sm1867[nm
=n[sm8[nm, rev. [sm1876[nm=n[sm7[nm, [sm1881[nm, [sm1890[nm=n[sm3[nm); [cf2]Te ~
Deum [cf1](ch. and orch.) ([sm1884[nm), Mass in F ([sm1844[nm), ~[cf2]Requiem [c
f1]in D minor ([sm1849[nm), [cf2]Missa solemnis [cf1]in B;Yh ~([sm1852[nm), [cf2
]Ave Maria [cf1]([sm1861[nm), [cf2]Pange lingua [cf1]([sm1868[nm), ~[cf2]Abendza
uber [cf1]([sm1878[nm), [cf2]Os justi [cf1]([sm1879[nm), [cf2]Ave maria ~[cf1]([
sm1882[nm), [cf2]Vexilla Regis [cf1]([sm1892[nm), [cf2]Germanenzug [cf1](male ~c
h. and brass band) ([sm1863[nm), [cf2]Helgoland [cf1](male ch. ~and orch.) ([sm1
893[nm).[ep~[smchamber[nm: Str. Quintet in F major ([sm1879[nm), [cf2]Inter~~mez
zo [cf1]for str. quintet ([sm1879[nm).[cm~[j1]Brueggen, Frans [fy75,1]([cf2]b [c
f1]Amsterdam, [sm1934[nm). Dutch ~virtuoso of the recorder, also cond. Prof. of
~recorder and transverse fl., Hague Royal Cons. ~Visiting prof.,
 Univ. of Calif., [sm1974[nm.[cm~Bruhns, Nikolaus [fy75,1]([cf2]b [cf1]Schwabste
dt, Schleswig, ~[sm1665[nm; [cf2]d [cf1]Husum, [sm1697[nm). Ger. organist and ~c
omposer. Pupil of [fy45,1]*[fy75,1]Buxtehude. Wrote choral ~works and org. piece
s.[cm~Br;auull, Ignaz [fy75,1]([cf2]b [cf1]Prossnitz, Moravia, [sm1846[nm; [cf2]
d ~[cf1]Vienna, [sm1907[nm). Austrian pianist and composer. ~Visited London [sm1
878[nm, playing at [sm20[nm concerts. ~Comp. sym., [sm2[nm pf. concs., vn. conc.
, sonata for [sm2[nm ~pf., and [sm10[nm operas, of which best known is [cf2]Das
~goldene Kreuz [cf1](Berlin [sm1875[nm).[cm~Brulles, Gaces [fy75,1]([cf2]fl. [cf
1][sm13[nmth cent.). Fr. composer of ~[cf2]chansons.[cf1][xm[cm~[ol0][ep~[xp[te~




[do42][j99]~~~~~~[sm153842[nm_BE[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBE[sm04[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm23[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm616[nm[cm~GC[cm5[cm20-9-84[cm~U1[cm~~~~[ap[j1]Brumel, Antoine [fy
75,1]([cf2]b c.[cf1][sm1460[nm; [cf2]d c.[cf1][sm1515[nm). Flemish ~composer. Wr
ote sacred mus. and [cf2]chansons. [cf1]Held ~posts in Paris, Lyons, and Ferrara
. First of great ~Renaissance composers of Fr. origin.[cm~Bruneau, [fy75,1](Loui
s Charles Bonaventure) [fy65,3]Alfred [fy75,1]([cf2]b ~[cf1]Paris, [sm1857[nm; [
cf2]d [cf1]Paris, [sm1934[nm). Fr. composer and ~critic. Studied Paris Cons. und
er Massenet. His ~[sm2[nmnd opera [cf2]Le R;afeve, [cf1]in [sm4[nm acts based on
 Zola, was a ~success in [sm1891[nm, being regarded as very `advanced' ~harmonic
ally. Followed by [cf2]L'Attaque du moulin ~[cf1]([sm1893[nm) in which Zola coll
ab. directly as librettist, ~as he did for [cf2]Messidor [cf1]([sm1897[nm), [cf2
]L'Ouragan [cf1]([sm1901[nm), ~and [cf2]L'Enfant-Roi [cf1]([sm19
05[nm). Comp. [sm13[nm operas, several ~employing Wagnerian principles, also bal
let, ~orch. works, and songs. Worked as mus. critic ~and wrote several books.[cm
~Brunskill, Muriel [fy75,1]([cf2]b [cf1]Kendal, Cumbria, [sm1900[nm; [cf2]d ~[cf
1]Bishops Tawton, Devon, [sm1980[nm). Eng. cont. ~Trained by Blanche [fy45,1]*[f
y75,1]Marchesi. D;aaebut London ~[sm1920[nm. In BNOC [sm1922[nm=n[sm7[nm. Late i
n career sang ~frequently in Gilbert and Sullivan operas.[cm~Brunswick, Mark [fy
75,1]([cf2]b [cf1]NY, [sm1902[nm; [cf2]d [cf1]London, [sm1971[nm). ~Amer. compos
er, studied at various periods under ~Rubin Goldmark, Bloch, Boulanger, and Sess
ions. ~Prof. of Mus., City College of NY, [sm1946[nm=n[sm67[nm. ~Comps. incl. sy
ms., chamber mus., and unfin~~ished opera [cf2]The Master Builder [cf1](Ibsen).[
cm~Bruscantini, Sesto [fy75,1]([cf2]b [cf1]Porto Civitanova, Macerata, ~[sm1919[
nm). It. bar. Studied in Rome. D;Aaebut La Scala ~[sm1949[nm; Glyndebourne [sm19
51[nm. Sang Verdi's Falstaff ~with Scottish Opera, Glasgow [sm19
76[nm. Amer. d;aaebut ~ Chicago [sm1961[nm. Produced Verdi's [cf2]Un giorno di ~
regno[cf1], Wexford [sm1981[nm.[cm~Brushes, Wire. [fy75,1]Used to produce partic
ular effect ~from snare drum, cymbals, etc., esp. in jazz.[cm~Bruson, Renato[fy7
5,1] ([cf2]b[cf1] Este, nr. Padua, [sm1936[nm). It. ~baritone. Studied at  Padua
. Opera d;aaebut Spoleto ~[sm1961[nm (Luna in [cf2]Il Trovatore[cf1]). Scala d;a
aebut [sm1972[nm in ~Donizetti's [cf2]Linda di Chamounix[cf1]. NY Met. [sm1968[n
m=n[sm9[nm. ~Brit. d;aaebut Edinburgh Fest. [sm1972[nm. CG [sm1976[nm ~(Ankarstr
oem in Verdi's [cf2]Un Ballo in Maschera[cf1]). ~Outstanding Falstaff in Giulini
=nEyre prod. for ~San Francisco [sm1982[nm.[cm~Brustad, Bjarne [fy75,1]([cf2]b [
cf1]Christiania, [sm1895[nm; [cf2]d[cf1] Oslo, ~[sm1978[nm). Norweg. composer, c
ond., and violinist. ~Studied in Berlin, [sm1915[nm=n[sm16[nm, with Carl [fy45,1
]*[fy75,1]Flesch. ~Prin. viola Oslo P.O. [sm1929[nm=n[sm43[nm. Teacher of comp.,
 ~Oslo Cons. from [sm1937[nm. Works incl. opera [cf2]Atlantis, ~
[cf1]syms., vn. concs., and chamber mus.[cm~Brustwerk [fy75,1](Ger.). Choir Orga
n.[cm~Brydon, Roderick [fy75,1]([cf2]b [cf1]Edinburgh, [sm1939[nm). Scot. ~cond.
 Studied Edinburgh Univ. and mus. acade~~mies in Siena and Vienna. Operatic work
 with ~ENO and especially Scottish Opera. Ass. cond. ~SNO. Art. dir. [fy45,1]*[f
y75,1]Scottish Chamber Orch. from [sm1974[nm.[cm~Brymer, Jack [fy75,1]([cf2]b [c
f1]South Shields, [sm1915[nm). Eng. ~clarinettist. Prin. cl. RPO [sm1947[nm=n[sm
63[nm, BBC S.O. ~[sm1963[nm=n[sm71[nm, LSO from [sm1971[nm. Soloist and chamber
~mus. player. Prof. RAM [sm1950[nm=n[sm9[nm. Popular broad~~caster. O.B.E. [sm19
60[nm.[cm~Bryn-Jones, Delme [fy75,1]([cf2]b [cf1]Brynamman, Wales, ~[sm1934[nm).
 Welsh bar. Studied GSM. D;aaebut Glynde~~bourne, CG, and WNO [sm1963[nm. San Fr
ancisco [sm1967[nm.[cm~Bryn-Julson, Phyllis[fy75,1] (Mae) ([cf2]b[cf1] Bowdon, N
. ~Dakota, [sm1945[nm). Amer. sop. of Norweg. parentage. ~Trained as pianist, bu
t at prompting of Gunther ~[fy45,1]*[fy75,1]Schuller studied sin
ging at Tanglewood. D;aaebut ~with Boston S.O. Oct. [sm1966[nm, in Berg's [cf2]L
ulu-~Symphonie[cf1]. Eng. d;aaebut, London [sm1975[nm (Boulez's [cf2]Pli ~selon
pli[cf1]). Sang in Amer. f.p. of [fy45,1]*[fy75,1]Sessions opera ~[cf2]Montezuma
[cf1] (Boston [sm1976[nm). Has made reputation ~in contemp. mus. because of her
perfect pitch, ~range of [sm3[nm octaves, and ability to sing accurately ~in qua
rter-tones.[cm~Bryson, Ernest Robert [fy75,1]([cf2]b [cf1]Liverpool, [sm1867[nm;
 [cf2]d [cf1]St ~Briavels, Glos., [sm1942[nm). Eng. composer of opera ~([cf2]The
 Leper's Flute, [cf1]Glasgow, [sm1926[nm), syms., and ~chamber works.[cm~[PN111,
0,0,R,I0]~Bucchi, Valentino [fy75,1]([cf2]b [cf1]Florence, [sm1916[nm; [cf2]d[cf
1] Rome, ~[sm1976[nm). It. composer. Studied Florence Univ. and ~Cherubini Cons.
 (comp. with [fy45,1]*[fy75,1]Dallapiccola). Has ~worked as critic and teacher.
Comp. operas, syms., ~and religious choral mus.[cm~Buccina. [fy75,1]Roman wind i
nstr., made of metal, ~varying from [sm8[nm;po to [sm12[nm;po lo
ng. Its notes were of the ~natural or `bugle' scale.[cm~Buchbinder, Rudolf [fy75
,1]([cf2]b [cf1]Leitmeritz, [sm1946[nm). Aus~~trian pianist. Studied Vienna Acad
. of Mus. ~London d;aaebut [sm1962[nm.[cm~Buch der h;auangenden G;auarten, Das [
fy75,1](The Book of ~the Hanging Gardens). Settings for solo v. and pf. ~by Scho
enberg of [sm15[nm poems by Stefan George ~(Op. [sm15[nm; [sm1908[nm). F.p. Vien
na, Jan. [sm1910[nm.[cm~Buchner, Hans [fy75,1](`Hans von Constanz') [cf1]([cf2]b
 [cf1]Ravens~~burg, W;auurttemberg, [sm1483[nm; [cf2]d [cf1][sm1538[nm). Ger. or
ganist ~and composer for his instr. Constanz Cath. [sm1512[nm=n~[sm26[nm. Was al
so organ-builder.[cm~Budapest Quartet[fy75,1]. Hung. string quartet founded ~[sm
1917[nm by players from Budapest Opera Orch. ~(Emil Hauser, Imre Poganyi, Istvan
 Ipolyi, and ~Harry Son). First played in London [sm1925[nm. By [sm1936[nm ~memb
ership was Russ. and Ukrainian ([sm1[nmst vn. ~Joseph Roisman). Under Roisman, q
uartet be~~came noted for brilliance of style and made many ~rec
ordings. Settled in USA [sm1938[nm, being quartet-~in-residence at Library of Co
ngress until [sm1962[nm, ~when they moved to State Univ. of NY at Buffalo. ~Reco
rded all Beethoven's quartets three times. ~Last public appearance [sm1967[nm.[c
m~Budden, Julian [fy75,1](Midforth) [cf1]([cf2]b [cf1]Hoylake, [sm1924[nm). ~Eng
. writer, administrator, and musicologist. ~Studied Oxford Univ., RCM, and TCL.
BBC mus. ~producer [sm1956[nm, chief prod. of opera [sm1970[nm=n[sm6[nm, mus. ~o
rganizer, external services from [sm1976[nm. Authority ~on Verdi.[cm~Buffa, Buff
o [fy75,1](It.). Gust, Puff. The term has come ~to mean comic, thus [cf2]basso b
uffo, [cf1]comic bass in ~opera. [cf2]Opera buffa, [cf1]comic opera, is opposite
 of ~[cf2]opera seria.[cm~Buffet d'orgue. [fy75,1](Fr.). Organ case.[cm~Buffoon,
 The [fy75,1]([cf2]Prokofiev[cf1]). See [cf2]Chout.[cf1][cm~Bugle. [fy75,1]Valve
less brass or copper instr. of treble ~pitch, with wide tube of conical bore, mo
derate-~sized bell, and cup-shaped mouthpiece. Notes are ~merely
 a few of those of the harmonic series, ~normally in B;Yh, and it is mainly a me
ans of ~military signalling or (in bugle bands) simple acc. ~of marching.[cm~Bug
le ;aga clefs. [fy45,1]*[fy75,1]Keyed Bugle.[cm~B;auuhnenfestspiel, B;auuhnenwei
hfestspiel. [fy75,1]Wag~~ner's Ger. terms respectively for (a) [cf2]Der Ring des
 ~Nibelungen, [cf1]a `stage-festival-play', and (b) [cf2]Parsifal, ~[cf1]a `stag
e-consecrating festival-play'.[cm~Buisine [fy75,1](Fr. corruption of Lat. [cf2]b
uccina[cf1]). Medieval ~straight tpt. over [sm6[nm;po long, made in jointed sect
ions ~often with flared bell.[cm~Bull, John [fy75,1]([cf2]b [cf1]?Radnor, [cf2]c
.[cf1][sm1562[nm; [cf2]d [cf1]Antwerp, [sm1628[nm). ~Eng. composer and virginali
st. Choir-boy in ~Queen Elizabeth I's Chapel Royal; organist, ~Hereford Cath. [s
m1582[nm=n[sm5[nm and then Chapel Royal; ~D.Mus., Oxford and Cambridge, and firs
t Gre-[fj~sham Public Reader in Mus., London [sm1597[nm. Left ~Eng. for Belg. [s
m1613[nm becoming organist, Chapel ~Royal, Brussels, and of Antw
erp Cath., [sm1617[nm until ~his death. Friend of [fy45,1]*[fy75,1]Sweelinck.[ep
~^His importance is as a highly skilled performer ~on and ingenious composer for
 the virginals. He ~ranks as one of the founders of kbd. perf. and the ~kbd. rep
ertory. He contributed to [fy45,1]*[fy75,2]Parthenia, ~[cf1][sm1611[nm. One of h
is comps. is called [cf2]God Save the King ~[cf1]but bears no resemblance to the
 nat. anthem; ~however, another untitled piece by Bull is a ~possible source of
this melody.[cm~Bull, Ole Bornemann [fy75,1]([cf2]b [cf1]Bergen, Norway, [sm1810
[nm; ~[cf2]d [cf1]Lys;upen, Bergen, [sm1880[nm). Norweg. violinist and ~composer
. In emulation of Paganini, toured ~widely as virtuoso recitalist. Convinced pat
riot, ~frequently played Scandinavian melodies, earn~~ing large sums and foundin
g in USA in [sm1852[nm a ~Norweg. colony and in the capital of his own ~country
a mus. conservatory (both of which ~schemes proved abortive). Wrote [sm2[nm vn.
concs. ~Encouraged Grieg.[cm~Buller, John[fy75,1] ([cf2]b[cf1] L
ondon, [sm1927[nm). Eng. composer. ~Worked as architectural surveyor until [sm19
59[nm ~when he studied comp. with Anthony Milner. ~Came to notice in [sm1970[nms
 with series of works ~based on James Joyce's [cf2]Finnegans Wake[cf1]. Works ~i
ncl.: [cf2]The Cave[cf1], fl., cl., tb., vc., tape ([sm1970[nm); [cf2][sm2[nm Ni
ght ~Pieces[cf1] from `Finnegans Wake', for sop., fl., cl., pf., ~vc. ([sm1971[n
m); [cf2]The Melian Debate[cf1], ten., bar., fl., cor ~anglais, hn., tpt., hp.,
vc. ([sm1971[nm); [cf2]Finnegan's Floras[cf1], ~ch., perc., pf. ([sm1972[nm); [c
f2]Poor Jenny[cf1], fl., perc. ([sm1973[nm); ~[cf2]Le Terrazze[cf1], [sm14[nm in
str., tape ([sm1974[nm); [cf2]Familiar[cf1], str. qt ~([sm1974[nm); [cf2]The Mim
e of Mick, Nick, and The Maggies[cf1], ~sop., ten., bar., ch., orch. ([sm1975[nm
=n[sm6[nm); [cf2]Proen;acca,[cf1] mez., ~elec. guitar, orch. ([sm1977[nm); [cf2]
The Theatre of Memory, ~[cf1]orch. ([sm1980[nm=n[sm1[nm); [cf2]Sonnet,[cf1] mez.
, fl., str. qt. ([sm1983[nm); ~[cf2]Towards Aquarius[cf1], ens.
([sm1983[nm).[cm~Bullock, [fy75,1](Sir) [fy65][cf3]Ernest [fy75,1]([cf2]b [cf1]W
igan, [sm1890[nm; [cf2]d[cf1] Ayles~~bury, [sm1979[nm). Eng. organist and educat
or. Studied ~with [fy45,1]*[fy75,1]Bairstow. Sub-organist, Manchester Cath., ~[s
m1912[nm=n[sm15[nm. Organist, Exeter Cath. [sm1919[nm=n[sm27[nm, West~~minster A
bbey [sm1928[nm=n[sm41[nm. Prin., RSAM, and Prof. ~of Mus., Glasgow Univ. [sm194
1[nm=n[sm52[nm; dir., RCM ~[sm1953[nm=n[sm60[nm. Comp. org. mus. and songs. Knig
hted ~[sm1951[nm. In charge of mus., Coronation of George ~VI, [sm1937[nm.[cm~Bu
ll Roarer. [fy75,1]See [cf2]Thunder Stick.[cm~B;auulow, Hans [fy75,1](Guido) Fre
iherr [fy65][cf3]von [fy75,1]([cf2]b [cf1]Dresden, ~[sm1830[nm; [cf2]d [cf1]Cair
o, [sm1894[nm). Ger. cond. and pianist. Pf. ~pupil of Friedrich [fy45,1]*[fy75,1
]Wieck. Became law student ~but abandoned it for mus. under influence of f.p. ~[
PN112,0,0,L,I0]of Wagner's [cf2]Lohengrin [cf1]at Weimar. Went to Z;auurich ~for
 instruction from Wagner. Pf. pupil of Liszt, ~[sm1851[nm. First
 concert tour of Ger., [sm1853[nm. Prin. pf. ~prof., Stern-Marx Cons., Berlin, [
sm1855[nm=n[sm64[nm, during ~which time developed conducting potentialities ~in
addition to making many tours as concert ~pianist. Married Liszt's daughter Cosi
ma, [sm1857[nm. ~Chief cond., Munich Royal Opera, [sm1864[nm, and ~there cond. f
.p. of Wagner's [cf2]Tristan und Isolde ~[cf1]([sm1865[nm) and [cf2]Die Meisters
inger von N;auurnberg [cf1]([sm1868[nm) ~to the composer's immense satisfaction.
 In [sm1869[nm ~left Munich because of Wagner's affair with ~Cosima; they were d
ivorced the next year. First ~visit to London [sm1873[nm, to USA [sm1875[nm=n[sm
6[nm. In [sm1880[nm ~became court cond. to Duke of Meiningen and ~made the court
 orch. finest in Europe for ~disciplined playing. Resigned [sm1885[nm, handing o
ver ~to his prot;aaeg;aae Richard [fy45,1]*[fy75,1]Strauss. Cond. Berlin P.O. ~[
sm1887[nm=n[sm93[nm. In [sm1888[nm became cond. of opera and ~concerts in Hambur
g. Comp. orch. and pf. works ~and pubd. edn. of Beethoven sonata
s. Gave f.p. of ~Tchaikovsky's [sm1[nmst pf. conc. (Boston, [sm25[nm Oct. [sm187
5[nm).[cm~Bumbry, Grace [fy75,1]([cf2]b [cf1]St Louis, [sm1937[nm). Amer. mez.,
~later sop. Studied with Lotte [fy45,1]*[fy75,1]Lehmann, [sm1955[nm=n~[sm8[nm. D
;aaebut Paris Op;aaera [sm1960[nm as Amneris in [cf2]Aida. ~[cf1]Basle Opera [sm
1960[nm=n[sm3[nm. Sang at Bayreuth [sm1961[nm, ~being first black singer to do s
o. NY d;aaebut [sm1962[nm. ~CG d;aaebut [sm1963[nm, Salzburg [sm1964[nm. Remarka
ble ~Carmen and Salome.[cm~Bunting, Edward [fy75,1]([cf2]b [cf1]Armagh, [sm1773[
nm; [cf2]d [cf1]Dublin, ~[sm1843[nm). Irish organist and pianist renowned for hi
s ~coll. of over [sm300[nm Irish folk tunes, harp mus., etc., ~pubd. in [sm3[nm
sections, [sm1796[nm, [sm1809[nm, and [sm1840[nm.[cm~Buonaccordo [fy75,1](It.).
Child's toy pf. or spinet.[cm~Buonamici, Giuseppe [fy75,1]([cf2]b [cf1]Florence,
 [sm1846[nm; [cf2]d ~[cf1]Florence, [sm1914[nm). It. pianist, studied Munich Con
s. ~under B;auulow. Prof. of pf., Istituto Musicale, ~Florence,
from [sm1873[nm. Ed. Beethoven sonatas and ~other classics.[cm~Buononcini. [fy75
,1]See [cf2]Bononcini, Giovanni.[cm~Buonporti. [fy75,1]See [cf2]Bonporti, France
sco Antonio.[cm~Burden, or Burthen. [fy75,1]([sm1[nm) A recurring line after ~ea
ch stanza of a ballad, etc.[ep~^([sm2[nm) Drone or bass of [fy45,1]*[fy75,1]bagp
ipe.[cm~Burgm;auuller, Johann Friedrich [fy75,1]([cf2]b [cf1]Regensburg, ~[sm180
6[nm; [cf2]d [cf1]Beaulieu, Fr., [sm1874[nm). Ger. composer ~remembered chiefly
for his mus. for the ballet [cf2]La ~P;aaeri.[cm~Burgon, Geoffrey [fy75,1]([cf2]
b [cf1]Hambledon, [sm1941[nm). Eng. ~composer. Studied GSM (with [fy45,1]*[fy75,
1]Wishart) and ~with [fy45,1]*[fy75,1]Berkeley. Played tpt. in jazz groups and ~
orchs. Original and imaginative user of all the ~influences and procedures at th
e disposal of the ~[sm20[nmth-cent. composer. High reputation as com~~poser of i
ncid. music for television, e.g. [cf2]Brideshead ~Revisited [cf1]and [cf2]Tinker
, Tailor, Soldier, Spy. [cf1]Works ~incl.:[xm[cm~[j2][smmusic th
eatre[nm: [fy75,2]Epitaph for Sir Walter Raleigh ~[cf1]([sm1968[nm); [cf2]Joan o
f Arc [cf1](text by Susan Hill) ([sm1970[nm).[ep~[smballets[nm: [cf2]The Golden
Fish [cf1]([sm1964[nm); [cf2]Ophelia [cf1]([sm1964[nm); [cf2]The ~Calm [cf1]([sm
1974[nm); [cf2]Running Figures[cf1]/[cf2]Goldberg's Dream ~[cf1]([sm1975[nm); [c
f2]Persephone [cf1]([sm1979[nm); [cf2]Songs, Lamentations ~and Praises[cf1] ([sm
1979[nm).[ep~[smorch[nm: Conc. for str. ([sm1963[nm); [sm5[nm Pieces for Str. ~(
[sm1967[nm); [cf2]Gending [cf1]([sm1968[nm); [cf2]Alleluia Nativitas [cf1]([sm19
70[nm); ~[cf2]Cantus Alleluia [cf1]([sm1973[nm); [cf2]Brideshead Variations[cf1]
 ~([sm1981[nm); [cf2]The World Again[cf1] ([sm1982[nm=n[sm3[nm).[ep~[smvoices an
d orch.[nm: [cf2]Acquainted with Night, [cf1]counter-~ten., str., harp, perc. ([
sm1965[nm); [cf2]Think on Dredful ~Domesday [cf1]([sm1969[nm); [cf2]Magnificat [
cf1]([sm1970[nm); [cf2]The Golden ~Eternity [cf1]([sm1970[nm); [cf2]Requiem [cf1
]([sm1976[nm); [cf2]Veni Spiritus, ~[cf1]sop., bar., ch., and or
ch. ([sm1978[nm=n[sm9[nm); [cf2]Orpheus[cf1], sop., ~ten., bar., bass, male ch.,
 and orch. ([sm1982[nm).[ep~[smvoice(s) and piano [nmor [smensemble[nm: [cf2]Can
tata on ~Mediaeval Latin Texts, [cf1]counterten., fl., ob., bn. ~([sm1964[nm); [
cf2]Hymn to Venus, [cf1]mez. and pf. ([sm1966[nm); [cf2][sm5[nm ~Sonnets of Donn
e [cf1]([sm1967[nm); [cf2]Worldes Bliss, [cf1]counter-~ten. and ob. ([sm1971[nm)
; [cf2]This Endris Night, [cf1]ten., ~female vv., brass ([sm1972[nm); [cf2]Canci
ones del Alma, [cf1][sm2[nm ~counterten. and [sm13[nm solo str. ([sm1975[nm); [c
f2]The Fall of ~Lucifer[cf1], ten., bar., counterten., ch., and ens. ~([sm1977[n
m); [cf2]Hymn to St Thomas[cf1], ch. and str. ([sm1980[nm).[ep~[smchoral[nm: [cf
2][sm3[nm Elegies [cf1]([sm1964[nm); [cf2]Short Mass [cf1]([sm1965[nm); ~[cf2]Fa
rewell Earth's Bliss, [cf1][sm6[nm solo vv. ([sm1966[nm); [cf2]A Prayer ~to the
Trinity [cf1]([sm1972[nm); [cf2]The Fire of Heaven [cf1]([sm1973[nm); ~[cf2]Dos
Coros [cf1]([sm1975[nm); [cf2]But Have Been Found Again[cf1] ~([
sm1983[nm).[ep~[smchamber music[nm: [cf2]Chamber Dances[cf1] ([sm1981[nm=n[sm2[n
m); Ob. qt. ~([sm1980[nm); [cf2]Sanctus Variations[cf1], [sm2[nm tpts., org. ([s
m1980[nm).[cm~[j1]Burian, Emil Franti;Aksek [fy75,1]([cf2]b [cf1]Pilsen, [sm1904
[nm; [cf2]d [cf1]Prague, ~[sm1959[nm). Cz. composer and actor; studied Prague ~U
niv. (comp. with J. B. [fy45,1]*[fy75,1]F;auorster) [sm1920[nm=n[sm7[nm. ~Someti
me dir., Brno Nat. Th. Comps. incl. operas, ~jazz opera, [sm8[nm str. qts., wind
 quintet, etc.[cm~Burkhard, Paul [fy75,1]([cf2]b [cf1]Z;auurich, [sm1911[nm; [cf
2]d [cf1]Tosstal, [sm1977[nm). ~Swiss composer, pianist, and cond. Studied Z;auu
rich ~Cons. Cond. radio orch. Berom;auunster, [sm1945[nm=n[sm57[nm. ~Successful
operettas incl. [cf2]Tic-Tac [cf1]([sm1941[nm) and [cf2]Der ~schwarze Hecht [cf1
](The Black Jack) ([sm1939[nm) which was ~rev. [sm1948[nm as [cf2]Feuerwerk [cf1
](Firework) and contained ~the popular `O mein Papa'.[cm~Burkhard, Willy [fy75,1
]([cf2]b [cf1];aaEvilard sur Bienne, Switzer~~land, [sm1900[nm;
[cf2]d [cf1]Z;auurich, [sm1955[nm). Swiss composer, ~pianist, and cond. Studied
at Cons. of Berne, ~Leipzig, and Munich, and then became teacher ~of comp. and p
f. in Berne. Comp. opera [cf2]Die ~schwarze Spinne [cf1](The Black Spider) (Z;au
urich [sm1949[nm), ~[sm2[nm syms., cantatas, [sm2[nm vn. concs., oratorio [cf2]D
as Gesicht ~Jesajahs [cf1](The Vision of Isaiah) (Basle [sm1936[nm), str. ~qts.,
 vc. sonata, organ mus.[cm~Burla [fy75,1](It.). Jest. So [cf2]burlando, [cf1]jes
tingly; [cf2]burletta, [cf1]a ~mus. farce, etc.[cm~Burlesco, Burlesca [fy75,1](I
t.). Burlesque, jocular (see ~also [cf2]Burla[cf1]). So the adverb, [cf2]burlesc
amente.[cm~Burleske [fy75,1](Burlesque). Work for pf. and orch. in ~D minor by R
. Strauss, comp. [sm1885[nm=n[sm6[nm, rev. [sm1890[nm. ~F.p. Eisenach, [sm1890[n
m.[cm~[PN113,0,0,R,I0]Burlesque[fy75,1] (Fr.; It. [cf2]burlesca[cf1]; Ger. [cf2]
Burleske[cf1]). Hu~~morous form of entertainment involving an ~element of parody
 or exaggeration. Applied in ~[sm18[nmth cent. to mus. works in
which comic and ~serious elements were contrasted. In Eng. word ~usually means a
 dramatic work ridiculing stage ~conventions, while in Amer. it means a variety
~show, often involving strippers.[cm~Burletta [fy75,1](It.). Type of Eng. mus. f
arce which had ~a vogue in late [sm18[nmth/early [sm19[nmth cent.[cm~Burney, Cha
rles [fy75,1]([cf2]b [cf1]Shrewsbury, [sm1726[nm; [cf2]d [cf1]London, ~[sm1814[n
m). Eng. organist (London churches, King's ~Lynn, finally Chelsea Hospital); min
or composer; ~author of History of Music ([sm4[nm vols., [sm1776[nm=n[sm89[nm),
of ~[sm2[nm books narrating his travel experiences in Fr., It., ~Ger., etc., als
o of a life of Metastasio. Friend of ~and greatly esteemed by Johnson, Garrick,
Rey~~nolds, Burke, and other leaders of politics, science, ~art, literature, and
 social life of his period. Father ~of the novelists Fanny and Sarah Harriet Bur
ney, ~of the writer on South Sea exploration, Admiral ~James Burney (one of Cook
's officers in his ~circumnavigation), and of the Gr. scholar, C
harles ~Burney, jun.[cm~Burning Fiery Furnace, The. [fy75,1][sm2[nmnd parable fo
r ~church perf., Op. [sm77[nm, by Britten to lib. by W. ~Plomer based on Book of
 Daniel. Prod. Aldeburgh ~Fest. (Orford Church) [sm1966[nm.[cm~Burrell, Mary [fy
75,1]([sm1850[nm=n[sm98[nm). Daughter of Sir John ~Banks, Regius Prof. of Medici
ne, Trinity College, ~Dublin; wife of Hon. Willoughby Burrell (after ~her death
Lord Gwydyr). Amassed enormous coll. ~of Wagner documents of every kind; planned
 ~complete life of Wagner but only immense first ~vol. was pubd., covering [sm21
[nm years ([sm1898[nm). Other ~material now at Philadelphia (Catalogue pubd. ~[s
m1929[nm).[xm[cm~[ol0][ep~[xp[te~




[do42][j99]~~~~~~[sm153842[nm_BE[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmBE[sm05[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm649[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Burrowes, Norma
 [fy75,1](Elizabeth) [cf1]([cf2]b [cf1]Bangor, Co. ~Down, [sm1944[nm). Irish sop
. Studied RAM. Singer in ~opera, Lieder, and oratorio. CG d;aaebut [sm1970[nm ~(
Fiakermilli in [cf2]Arabella[cf1]), Salzburg and Wexford, ~[sm1971[nm. Title-rol
e in Jan;aaa;Akcek's [cf2]The Cunning Little ~Vixen, [cf1]Glyndebourne [sm1975[n
m.[cm~Burrows[fy75,1], (James) [fy65,3]Stuart[fy75,1] ([cf2]b[cf1] Pontypridd, [
sm1933[nm). ~Welsh tenor. Was schoolteacher until winning ~tenor comp. at Royal
Nat. Eisteddfod [sm1959[nm. Opera ~d;aaebut with WNO [sm1963[nm (Ismaele in [cf2
]Nabucco[cf1]). CG ~[sm1967[nm, S. Francisco [sm1967[nm, Vienna [sm1970[nm (Tami
no in ~[cf2]Die Zauberfl;auote[cf1]), NY Met. [sm1971[nm. Particularly noted ~as
 Mozart singer.[cm~Burt, Francis [fy75,1]([cf2]b [cf1]London, [s
m1926[nm). Eng. composer. ~Studied comp. with Howard [fy45,1]*[fy75,1]Ferguson a
t RAM ~[sm1948[nm=n[sm51[nm and in Berlin with Boris [fy45,1]*[fy75,1]Blacher [s
m1951[nm=n~[sm4[nm. Lived in Vienna from [sm1956[nm. Prof of comp., ~Vienna Hoch
schule f;auur Musik from [sm1973[nm. Comps. ~incl. opera [cf2]Volpone [cf1](Ben
Jonson) ([sm1952[nm=n[sm8[nm), [cf2]Iambics ~[cf1]for orch. ([sm1953[nm), [cf2]E
spressione orchestrale [cf1]([sm1958[nm=n[sm9[nm) ~and [cf2]Und Gott der Herr sp
rach[cf1], mez., bar., bass, ch., ~and orch. ([sm1983[nm) and many works for Ger
. and ~Austrian ths. and TV.[cm~Burthen. [fy75,1]See [cf2]Burden.[cm~Busch, Adol
f [fy75,1](Georg Wilhelm) [cf1]([cf2]b [cf1]Siegen, West~~phalia, [sm1891[nm; [c
f2]d [cf1]Guilford, Vermont, [sm1952[nm). Ger.-~born violinist and composer. Stu
died at Cologne ~with Willy [fy45,1]*[fy75,1]Hess. Violin prof. Berlin Hochschul
e ~[sm1918[nm. Founded qt. [sm1919[nm. Settled in Basle [sm1927[nm, ~taking Swis
s nationality [sm1935[nm. Went to USA ~[sm1939[nm. His qt. made
many famous recordings. ~Noted for sonata recitals with his son-in-law, the ~pia
nist Rudolf [fy45,1]*[fy75,1]Serkin. Comp. sym., concs., ~sonatas.[cm~Busch, Fri
tz [fy75,1]([cf2]b [cf1]Siegen, Westphalia, [sm1890[nm; [cf2]d ~[cf1]London, [sm
1951[nm). Ger. cond., brother of A. [fy45,1]*[fy75,1]Busch. ~Studied Cologne Con
s. (cond. with F. [fy45,1]*[fy75,1]Steinbach). ~Opera house appointments at Riga
 [sm1909[nm, Aachen ~[sm1912[nm, Stuttgart [sm1918[nm, succeeding Fritz [fy45,1]
*[fy75,1]Reiner at ~Dresden, [sm1922[nm. His period at Dresden revived ~glories
of [fy45,1]*[fy75,1]Schuch era. Cond. f.ps. of R. Strauss's ~[fy45,1]*[fy75,2]In
termezzo [cf1]([sm1924[nm) and [cf2]Die ;auagyptische Helena ~[cf1]([sm1928[nm).
 Left Ger. [sm1933[nm, working in Buenos Aires ~[sm1933[nm=n[sm6[nm and [sm1941[
nm=n[sm5[nm and at NY Met. [sm1945[nm=n[sm49[nm. In ~England best known as first
 cond. of [fy45,1]*[fy75,1]Glynde~~bourne Opera [sm1934[nm=n[sm9[nm, returning i
n [sm1950[nm and ~[sm1951[nm. Also had long assoc. with Danish R
adio ~S.O. and Stockholm P.O.[cm~Bush, Alan [fy75,1](Dudley) [cf1]([cf2]b [cf1]L
ondon, [sm1900[nm). Eng. ~composer, cond., and pianist. Studied RAM [sm1918[nm=n
~[sm22[nm and privately with John [fy45,1]*[fy75,1]Ireland [sm1922[nm=n[sm7[nm.
~Teacher at RAM since [sm1925[nm. In [sm1929[nm=n[sm31[nm studied ~at Berlin Uni
v. Had pf. lessons from [fy45,1]*[fy75,1]Moisei~~witsch and [fy45,1]*[fy75,1]Sch
nabel. Many of his works reflect ~his Communist sympathies but are held in high
~esteem for their mus. qualities by listeners of all ~political persuasions. Maj
or works are:[xm[cm~[j2][smoperas[nm: [fy75,2]The Press-Gang [cf1]([sm1946[nm);
[fy45,1]*[fy75,2]Wat Tyler [cf1]([sm1948[nm=n~[sm50[nm) (Leipzig [sm1953[nm, Lon
don [sm1974[nm); [cf2]The Spell ~Unbound [cf1]([sm1953[nm); [cf2]Men of Blackmoo
r [cf1]([sm1954[nm=n[sm5[nm) ~(Oxford [sm1960[nm, Weimar [sm1965[nm); [cf2]The F
erryman's ~Daughter [cf1]([sm1961[nm); [cf2]The Sugar Reapers [cf1]([sm1961[nm=n
[sm4[nm) ~(Leipzig [sm1966[nm); [cf2]Joe Hill: the Man Who Never
 Died ~[cf1]([sm1965[nm=n[sm8[nm) (Berlin [sm1970[nm).[ep~[smorch[nm: Syms., No.
 [sm1[nm in C ([sm1939[nm=n[sm40[nm), No. [sm2[nm ~`Nottingham' ([sm1949[nm), No
. [sm3[nm `Byron' ([sm1959[nm=n[sm60[nm), ~No. [sm4[nm `Lascaux' ([sm1982[nm=n[s
m3[nm); Pf. Conc., with bar. ~and male ch. ([sm1934[nm=n[sm7[nm); Vn. Conc. ([sm
1948[nm); [cf2]Concert ~Suite [cf1]for vc. and orch. ([sm1952[nm); [cf2]English
Suite [cf1]for ~str. ([sm1946[nm); [cf2]Dorian Passacaglia and Fugue [cf1]([sm19
59[nm); ~[cf2]Variations, Nocturne [cf1]and [cf2]Finale on an English Sea ~Song,
 [cf1]pf. and orch. ([sm1960[nm); [cf2]Time Remembered [cf1]for ~chamber orch. (
[sm1968[nm); [cf2]Africa[cf1], pf. and orch. ~([sm1971[nm=n[sm2[nm); [cf2]Liverp
ool Overture[cf1] ([sm1972[nm).[ep~[smchamber[nm: Str. Qt. in A minor ([sm1923[n
m); [cf2]Dialectic [cf1]for ~str. qt. ([sm1929[nm); [sm3[nm [cf2]Concert Studies
 [cf1]for pf. trio ~([sm1947[nm); [cf2]Serenade [cf1]for str. qt. ([sm1969[nm);
pf. sonata ~([sm1971[nm); [cf2]Suite of Six [cf1]for str. qt. ([
sm1975[nm); [sm24[nm [cf2]Preludes[cf1], ~pf. ([sm1977[nm).[cm~[j1]Bush, Geoffre
y [fy75,1]([cf2]b [cf1]London, [sm1920[nm). Eng. composer, ~teacher, and writer.
 Chorister, Salisbury Cath., ~[PN114,0,0,L,I0][sm1928[nm=n[sm33[nm. Lecturer, Ox
ford Univ., Extra-Mural ~Dept., [sm1947[nm=n[sm52[nm, London Univ. from [sm1952[
nm. Works ~incl. operas, concs., [sm2[nm syms., [cf2]Music for Orchestra, ~[cf1]
ov. [cf2]Yorick, [cf1]pf. pieces, songs, and [cf2]Twelfth Night [cf1]for ~ten.,
ch., and orch. Ed., pf. and chamber mus. of ~Sterndale Bennett [sm1972[nm.[cm~Bu
snois, Antoine [fy75,1]([cf2]b c.[cf1][sm1430[nm; [cf2]d[cf1] Bruges, [sm1492[nm
). Fr. ~composer. May have been pupil or colleague of ~[fy45,1]*[fy75,1]Ockeghem
. Was for long in service of Charles ~the Bold (who became Duke of Burgundy in ~
[sm1467[nm) and after  Charles's death in [sm1477[nm served his ~daughter Mary o
f Burgundy until her death in ~[sm1482[nm. Moved to Bruges and became [cf2]recto
r ~cantoriae[cf1] at the church of St Sauveur. Regarded as ~one
of leading composers of his day, ranking next ~to Ockeghem, with whom he shared
a penchant ~for elaborate melody, the use of canon, and lively ~rhythms. His [cf
2]Missa L'homme arm;aae[cf1] is one of earliest ~based on this secular tune, but
 some of his most ~original work is to be found in his [cf2]chansons[cf1], of ~w
hich over [sm60[nm survive. For some of these he ~wrote the words. His motet [cf
2]Anthoni usque limina[cf1] ~has a part for a tenor who sings the note D in ~imi
tation of a bell. Its text has a reference to his ~name in the line `.|.|. in om
nibus noys'. His three-~part setting of an It. text, the motet [cf2]Fortunata ~d
esperata[cf1], was a model for Josquin [fy45,1]*[fy75,1]Despr;ages, and ~the mel
odies of some of his [cf2]chansons[cf1] were used in ~Masses by his contemporari
es just as he had used ~[cf2]L'homme arm;aae[cf1].[cm~Busoni, Ferruccio Benvenut
o [fy75,1]([cf2]b [cf1]Empoli, [sm1866[nm; ~[cf2]d [cf1]Berlin, [sm1924[nm). It.
 composer, cond., and pianist. ~Son of clarinettist and pianist.
 First public pf. ~recital, Trieste, at age [sm7[nm. Studied comp. at Graz, ~[sm
1880[nm=n[sm1[nm and Leipzig [sm1886[nm. Teaching posts at ~Helsinki [sm1889[nm,
 Moscow [sm1890[nm, Boston, Mass., ~[sm1891[nm=n[sm4[nm. After [sm1894[nm settle
d mainly in Berlin. ~Although his brilliance as a pianist earned him ~most fame,
 from [sm1898[nm concentrated on comp. ~and also est. master classes at Weimar i
n [sm1901[nm ~and [sm1902[nm which broke new ground as meeting-~places for young
 composers and performers. ~From [sm1902[nm=n[sm9[nm cond. orch. concerts in Ber
lin at ~which contemporary works were perf. From ~[sm1913[nm=n[sm15[nm dir. of L
iceo Rossini, Bologna, but ~disagreements with the municipal authorities ~over r
eforms ensured failure. Lived in Z;Auurich ~from [sm1915[nm, refusing to enter t
he belligerent ~countries, but returned to Berlin [sm1920[nm. Resumed ~pianist c
areer despite failing health.[ep~^Busoni's pf.-playing, of virtuoso quality, was
 also ~notable for its grandeur and poetry. His mus. ~found mixe
d favour in his lifetime but has ~become increasingly admired for its visionary
~nature and for its anticipation of many of the ~devices and styles of `advanced
' composers. ~Deriving from the impressionistic late works of ~Liszt, it venture
d into harmonic and rhythmic ~territory that became the preserve of [fy45,1]*[fy
75,1]Webern, ~[fy45,1]*[fy75,1]Bart;Aaok, and [fy45,1]*[fy75,1]Messiaen. His ear
lier works, in a ~classical-romantic style, are best represented by ~the Vn. Son
ata in E minor, the Vn. Conc., and ~the Pf. Conc. (in [sm5[nm movements, with ma
le ch. in ~finale). His change in style dates from the [cf2]Elegies ~[cf1]for pf
. of [sm1907[nm. His most elaborate work was his ~opera [cf2]Doktor Faust[cf1],
begun [sm1916[nm and left incom~~plete. His writings were both progressive and ~
influential, particularly the [cf2]Entwurf einer neuen ~;auAsthetik der Tonkunst
[cf1] (Trieste, [sm1907[nm). Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Die [f
y45,1]*[fy75,2]Brautwahl [cf1](The Bridal Choice) ([sm1908[nm=n~
[sm11[nm); [fy45,1]*[fy75,2]Arlecchino [cf1]([sm1914[nm=n[sm16[nm); [fy45,1]*[fy
75,2]Turandot [cf1]([sm1917[nm, ~orig. incid. mus. [sm1911[nm); [fy45,1]*[fy75,2
]Doktor Faust [cf1]([sm1916[nm=n[sm24[nm, ~completed. by P. Jarnach).[ep~[smorch
[nm: [cf2]Symphonic Suite [cf1]([sm1883[nm); [cf2]Konzertst;auuck, [cf1]pf., ~or
ch. ([sm1890[nm); [cf2]Concert-Fantasy[cf1], pf., orch. ([sm1888=n~9[nm), rev. a
s [cf2]Symphonisches Tongedicht[cf1], orch. ([sm1893[nm); ~[cf2]Suite [cf1]No. [
sm2[nm ([sm1895[nm, rev. [sm1903[nm); vn. conc. ([sm1896=n~7[nm); [cf2]Comedy Ov
erture [cf1]([sm1897[nm, rev. [sm1904[nm); pf. conc. ~(male ch. in finale) ([sm1
903=n4[nm); [cf2]Turandot Suite ~[cf1]([sm1904[nm); [fy45,1]*[fy75,2]Berceuse ;a
ael;aaegiaque [cf1]([sm1909[nm, orig. for pf.); ~[cf2]Symphonic Nocturne [cf1]([
sm1912[nm); [fy45,1]*[fy75,2]Indianische Fantasie[cf1], ~pf., orch. ([sm1913[nm)
; [cf2]Rond;ago Arlecchinesco [cf1]([sm1915[nm); ~[fy45,1]*[fy75,2]Indianisches
Tagebuch [cf1](Book II) ([sm1915[nm); cl. ~concertino ([sm1918[n
m); [cf2]Divertimento[cf1], fl., orch. ([sm1920[nm); ~[cf2]Tanzwalzer [cf1]([sm1
920[nm).[ep~[smvoice and orch[nm: [cf2]Ave Maria[cf1], bar., orch. ([sm1882[nm);
 ~[cf2]Unter den Linden[cf1], sop., orch. ([sm1885[nm, [sm1893[nm); ~[cf2]Zigeun
erlied[cf1], bar., orch. ([sm1923[nm); [cf2]Schlechter Trost[cf1], ~low v., orch
. ([sm1924[nm).[ep~[smchamber[nm: Str. Qt. No. [sm1[nm in C minor ([sm1880[nm=n[
sm1[nm), No. ~[sm2[nm in D minor ([sm1887[nm); Vn. Sonata No. [sm1[nm in E ~mino
r ([sm1890[nm), No. [sm2[nm in E minor ([sm1898[nm); [cf2]Little ~Suite[cf1], vc
., pf. ([sm1886[nm); [cf2]Bagatelles[cf1], vn., pf. ([sm1888[nm); ~[cf2]Serenata
[cf1], vc., pf. ([cf2]c.[cf1][sm1882[nm); [cf2]Elegy[cf1], cl., pf. ([sm1920[nm)
.[ep~[smpiano[nm: [cf2]Prelude and Fugue [cf1]in C minor ([sm1878[nm); [cf2][sm2
4[nm ~Preludes [cf1]([sm1879=n80[nm); [cf2][sm3[nm Pieces [cf1]([sm1884[nm); [cf
2]Study in Form ~of Variations [cf1]([sm1884[nm); [cf2][sm5[nm Pieces [cf1]([sm1
887[nm); [cf2]Elegien [cf1]([sm7[nm ~pieces) ([sm1907=n9[nm; No.
 [sm7[nm, [cf2]Berceuse[cf1], comp. [sm1909[nm and ~orch. as [cf2]Berceuse ;aael
;aaegiaque[cf1]); [cf2]Christmas Night ~[cf1]([sm1909[nm); Sonatinas: No. [sm1[n
m ([sm1910[nm), No. [sm2[nm ([sm1912[nm), ~No. [sm3[nm ([sm1916[nm), No. [sm4[nm
 ([sm1917[nm), No. [sm5[nm (transcr. of ~Bach) ([sm1919[nm), No. [sm6[nm (on [cf
2]Carmen[cf1]) ([sm1920[nm); [fy45,1]*[fy75,2]Indi~~anisches Tagebuch [cf1](Book
 I) ([sm1915[nm); [fy45,1]*[fy75,2]Fantasia ~contrappuntistica [cf1](based on Ba
ch), [sm1[nmst version ~([sm1910[nm), [sm2[nmnd version ([sm1910[nm), [sm3[nmrd
version ([sm1912[nm), ~[sm4[nmth version, arr. [sm2[nm pfs. ([sm1921[nm); [cf2][
sm3[nm Albumbl;auatter ~[cf1]([sm1917=n21[nm); [cf2]Klavier;auubung [cf1]([sm1[n
mst edn. in [sm5[nm parts, ~[sm1917=n22[nm; [sm2[nmnd edn. in [sm10[nm parts, [s
m1925[nm).[ep~Also songs and many transcr. and arr. of Bach, ~Beethoven, Bizet,
Chopin, Cornelius, Liszt, ~Mozart, Schoenberg, Schubert, and Wagner. His ~transc
r. of J. S. Bach's [cf2]Chromatic Fantasia [cf1]dates ~from [sm1
911[nm.[cm~[j1]Busser, Henri Paul [fy75,1]([cf2]b [cf1]Toulouse, [sm1872[nm; [cf
2]d [cf1]Paris ~[sm1973[nm). Fr. composer, organist and cond., pupil of ~Gounod,
 Franck, and Widor at Paris Cons. and at ~[sm21[nm won [cf2]Prix de Rome. [cf1]I
n [sm1902[nm became cond. at ~the Op;aaera-Comique, at the Op;aaera [sm1905[nm.
Prof. of ~comp., Paris Cons. [sm1931[nm=n[sm49[nm. Wrote several operas ~incl. [
cf2]Jane Grey [cf1]([sm1891[nm), [cf2]Colomba[cf1] ([sm1921[nm), [cf2]Les Noces
~corinthiennes [cf1]([sm1922[nm), and [cf2]Le Carrosse du Saint-~Sacrement [cf1]
([sm1948[nm). Orch. Debussy's [fy45,1]*[fy75,2]Petite Suite, ~[cf2]Printemps[cf1
], and other works.[cm~[PN115,0,0,R,I0][fy65][cf3]Bussotti, Sylvano [fy75,1]([cf
2]b [cf1]Florence, [sm1931[nm). It. com~~poser. Studied vn. as a child but pursu
ed career as ~composer. Studied under Max Deutsch in Paris ~[sm1957[nm=n[sm8[nm.
 Prizewinner at I.S.C.M. festival and ~Venice Biennale. Influenced by Webern and
 ~serialism, later by John [fy45,1]*[fy75,1]Cage. Operas incl. ~
[cf2]Lorenzaccio [cf1]([sm1972[nm) and [cf2]Nottetempo [cf1]([sm1976[nm). Other
~works incl.: [cf2]La Passion selon Sade, [cf1]vv., instr., ~narrator ([sm1966[n
m), [cf2][sm5[nm Piano Pieces for David Tudor ~[cf1]([sm1959[nm), [cf2]Torso[cf1
], v. and orch. ([sm1963[nm), [cf2]Rara Requiem ~[cf1]([sm1969[nm). Some of thes
e are in graphic score. Also a ~painter.[cm~Buths, Julius [fy75,1]([cf2]b [cf1]W
iesbaden, [sm1851[nm; [cf2]d [cf1]D;auusseldorf, ~[sm1920[nm). Ger. cond. and pi
anist. After conducting ~at Elberfeld, [sm1879[nm=n[sm90[nm, moved to D;auusseld
orf, ~[sm1890[nm=n[sm1908[nm, where he became mus. dir., Lower ~Rhine Fest. Cond
. several now famous contem~~porary works by, among others, Mahler, Delius, ~and
 Strauss, but most notably Elgar's [cf2]Dream of ~Gerontius, [cf1]which he trans
. into Ger. and prod. at ~D;auusseldorf in [sm1901[nm and [sm1902[nm. Soloist in
 f.p. of ~Delius's pf. conc. at Elberfeld, [sm1904[nm (cond. ~[fy45,1]*[fy75,1]H
aym).[cm~Butt, [fy75,1](Dame) [fy65][cf3]Clara [fy75,1]([cf2]b [
cf1]Southwick, [sm1872[nm; [cf2]d [cf1]North ~Stoke, Oxon, [sm1936[nm). Eng. con
t. Studied Bristol ~and, from [sm1890[nm, at RCM. Sang title-role of Gluck's ~[c
f2]Orfeo [cf1]in [sm1892[nm at Lyceum with conspicuous success ~but thereafter p
ursued career on concert platform ~except for an [cf2]Orfeo [cf1]with Beecham at
 CG, [sm1920[nm. ~Toured British Empire in ballad recitals with ~husband Kennerl
ey [fy45,1]*[fy75,1]Rumford. First singer of ~Elgar's [fy45,1]*[fy75,2]Sea Pictu
res, [cf1]Norwich [sm1899[nm, and of the ~song version of [cf2]Land of Hope and
Glory[cf1], [sm1902[nm. Also ~sang in his [cf2]Spirit of England, [cf1][sm1916[n
m. D.B.E. [sm1920[nm.[cm~Butterworth, Arthur [fy75,1](Eckersley) [cf1]([cf2]b [c
f1]Manchester, ~[sm1923[nm). Eng. composer, cond., and trumpeter. ~Studied RMCM.
 Trumpeter in SNO [sm1949[nm=n[sm54[nm, ~Hall;aae Orch. [sm1955[nm=n[sm61[nm. Co
nd., Huddersfield P.O. ~from [sm1964[nm. Works incl. [sm3[nm syms., several work
s ~for brass band, [cf2]Trains in the Distance, [cf1]ch. and orc
h. ~Arr. Elgar's [cf2]Introduction and Allegro [cf1](str.) for brass ~band ([sm1
976[nm).[cm~Butterworth, George [fy75,1](Sainton Kaye-) ([cf2]b [cf1]London, ~[s
m1885[nm; [cf2]d [cf1]Pozi;Ageres, Battle of Somme, [sm1916[nm). Eng. ~composer.
 Educated Eton and Trinity College, ~Oxford. At Oxford influenced by H. P. [fy45
,1]*[fy75,1]Allen ~and began collecting folk-songs, leading to ~friendship with
[fy45,1]*[fy75,1]Vaughan Williams and Cecil ~[fy45,1]*[fy75,1]Sharp. Was excelle
nt folk-dancer. Comps., few ~in number, suggest he might have achieved ~greatnes
s. Left several fine settings of Housman's ~`Shropshire Lad' poems, with orch. r
hapsody, [cf2]A ~Shropshire Lad [cf1](Leeds [sm1913[nm) based on theme of his ~s
ong `Loveliest of Trees'. Orch. idyll [cf2]The Banks of ~Green Willow [cf1]f.p.
London [sm1914[nm. Song-cycle[cf2] Love ~Blows as the Wind Blows[cf1] (W. E. Hen
ley) was ~composed [sm1911[nm=n[sm12[nm, being [sm4[nm songs for voice with ~pf.
 and str. qt. but was revised in [sm1914[nm as [sm3[nm songs ~wi
th orch. Posthumously awarded Military Cross. ~Vaughan Williams's [cf2]A London
Symphony [cf1]is ded. to ~his memory.[cm~Butting, Max [fy75,1]([cf2]b [cf1]Berli
n, [sm1888[nm; [cf2]d[cf1] Berlin, [sm1976[nm). ~Ger. composer. Studied Munich U
niv. and Cons. ~Early specialist in comp. for radio. Inactive [sm1933[nm=n~[sm45
[nm; mus. dir., E. Berlin radio [sm1948[nm. Comp. opera, ~[sm10[nm syms., pf. co
nc., [sm10[nm str. qts., etc.[cm~Button. [fy75,1]Pin at the end of a vn., etc.,
which bears ~the pull of the str.[cm~Buxtehude, Dietrich [fy75,1](Diderik) ([cf2
]b [cf1]Oldesloe, ~Holstein, [sm1637[nm; [cf2]d [cf1]L;auubeck, [sm1707[nm). Dan
ish organist ~and composer. In [sm1668[nm appointed organist, ~Marienkirche, L;a
uubeck, from which his fame as a ~player spread through Europe. Instituted in [s
m1673[nm ~ambitious mus. perfs. in assoc. with church ~services. Known as [cf2]A
bendmusiken [cf1](evening con~~certs), they were held annually on the [sm5[nm Su
ndays ~before Christmas. Such was Buxtehude's fame ~that J. S. B
ach walked [sm200[nm miles from Arnstadt to ~hear him play. Comp. many works for
 org. ~(which influenced Bach), and trio sonatas. His ~vocal music, most of it t
o sacred texts, is as ~important as his organ works. He wrote [sm20[nm ~cantatas
; his other vocal comps. may be cat-[fj~egorized as concertos, chorales, and ari
as. His[fj~arias suggest the influence of Monteverdi, with[fj~a strong preferenc
e for strophic form over the [cf2]da ~capo [cf1]aria.[cm~Buzuk. [fy75,1]Turkish
instr. resembling long-necked ~lute, having [sm4[nm str. passing over a movable
bridge, ~a fingerboard twice as long as the soundboard, a ~small oval body, and
rounded back.[cm~BWV, [fy75,2]Bach Werke-Verzeichnis [cf1](Index to Bach's ~Work
s). The initials, preceding nos., which ~indicate the catalogue nos. of J. S. Ba
ch's works in ~the thematic index ([cf2]Thematisch-Systematisches Ver~~zeichnis
der musikalischen Werke von Johann Sebastian ~Bach[cf1]) compiled and ed. by Wol
fgang [fy45,1]*[fy75,1]Schmieder ~([sm1950[nm). Now accepted as
standard means of ~numbering his works, e.g. [cf2]St John Passion [cf1]is ~BWV[s
m245[nm.[cm~Byrd, William [fy75,1]([cf2]b [cf1]probably Lincoln, [sm1543[nm; [cf
2]d ~[cf1]Stondon Massey, Essex, [sm1623[nm). Eng. composer. ~Pupil of [fy45,1]*
[fy75,1]Tallis. Organist, Lincoln Cath., [sm1563[nm. ~From [sm1572[nm hon. organ
ist, Chapel Royal jointly ~with Tallis. In [sm1575[nm he and Tallis jointly pubd
. a ~coll. of motets, [cf2]Cantiones sacrae[cf1], dedicated to ~Queen Elizabeth
I. Little is known of Byrd's life ~apart from various lawsuits over property and
 the ~fact of his Roman Catholicism, from the conse~~quences of which he seems t
o have been protected ~at a time of anti-Papism by his fame as a composer ~and b
y friends in high places. In his motets and ~masses, Byrd showed himself the equ
al of his Fr. ~and It. contemporaries as a contrapuntist. He was ~an innovator i
n form and technique in his ~liturgical works, the finest of which is the Great
~Service. His madrigals are also of exceptional ~quality, and th
ere is superb mus. in his solo songs ~and songs for the stage. In his [cf2]Fanci
es [cf1]and [cf2]In ~Nomines [cf1]for str. instr. he est. an Eng. instr. style ~
of comp., but perhaps even more significant was ~[PN116,0,0,L,I0]his mus. for vi
rginals, in which he developed ~variation form. Prin. comps.:[xm[cm~[j2][smsacre
d works[nm: Masses, No. [sm1[nm in [sm3[nm v.-parts, No. [sm2[nm ~in [sm4[nm, No
. [sm3[nm in [sm5[nm. Motets: [cf2]Cantiones [cf1](with Tallis, ~[sm1575[nm. Con
tains [sm17[nm items by Byrd); [fy45,1]*[fy75,2]Cantiones ~Sacrae, [cf1]Book I,
[sm1589[nm ([sm29[nm motets), Book II, [sm1591[nm ~([sm32[nm motets); [fy45,1]*[
fy75,2]Gradualia, [cf1]Book I, [sm1605[nm ([sm63[nm ~motets), Book II, [sm1607[n
m ([sm45[nm motets). [cf2]Preces, Psalms ~and Litany[cf1]; Short Service; Great
Service; [sm12[nm verse ~anthems; [sm10[nm psalms.[ep~[smsecular[nm: Madrigals,
sonnets; [cf2]Songs of sundrie ~natures [cf1]([sm1589[nm), containing [sm47[nm s
ongs; solo songs, ~canons and rounds.[ep~[sminstrumental[nm: [sm
14[nm [cf2]Fantasies[cf1]; [sm8[nm [cf2]In Nomines[cf1]; [sm9[nm pieces ~in [cf2
]In Nomine [cf1]style on plainsong melodies.[ep~[smkeyboard[nm: Over [sm120[nm p
ieces in various colls., incl. ~[fy45,1]*[fy75,2]My Ladye Nevells Booke, [cf1]tr
anscr. [sm1591[nm, and ~[fy45,1]*[fy75,2]Parthenia [cf1]([sm1611[nm).[cm~[j1]Byz
antine Music. [fy75,1]Christian liturgical song (often ~highly ornamented) of th
e E. Roman Empire ~(capital Byzantium;eqConstantinople;eqIstanbul), ~founded  [s
mad 330[nm by Constantine the Great and ~destroyed [sm1453[nm with the Fall of C
onstantinople. ~It appears to derive from an ancient source ~common to it and to
 the plainsong of the W. ~Church. The various forms of notation are also a ~subj
ect for special study.[xm[cm~[j4]~[xp[te~



[do25][j99]~~~~~~[sm153842[nm_C[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmC[sm001[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm23[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm001[nm[cm~GC[cm4[cm30.9.84[cm~U1[cm~~~[PN117,0,0,R,I0][ap[j3
]~C[cm~~[j1]C. [fy75,1]First note of the natural scale, thus C;Yh, C;Yh;Yh,[fj~C
;Yj, C;Yi, C;Yi;Yi, C major, C minor. [cf2]In C [cf1]means either ~([sm1[nm) in
the key of C major or ([sm2[nm) indicates a non-~transposing instr., e.g. tpts.
in C. Middle C is the ~C in about the middle of the pf. and is notated on ~the l
ine below the treble staff. C clefs indicate ~position of middle C, e.g. alto an
d ten. clefs and ~sop. clef (obsolete). In SCTB, C;eqcontralto.[cm~C.A. [fy45,1]
*[fy75,2]Coll' arco.[cm~Cabaca[fy75,1]. Round or pear-shaped gourd covered ~with
 beads and with a handle. Some have beads ~inside to rattle. Is used in Lat. Ame
rican dance ~bands and by several [sm20[nmth cent. composers.[cm~Cabaletta [fy75
,1](Cabbaletta, Cavaletta) (It., from [cf2]cavata, ~[cf1]extract
ion). A term with a number of meanings: ~([sm1[nm) Short aria of simple and much
 reiterated ~rhythm, generally with repeats. ([sm2[nm) Type of song ~in rondo fo
rm, sometimes with variations. ([sm3[nm) ~Recurring passage in a song, first app
earing ~simply and then varied (some authorities make a ~triplet acc. a necessar
y qualification for the title). ~([sm4[nm) Final section of elaborate operatic d
uet or aria ~in which mus. often settles down to a steady ~rhythm, e.g. `Ah! non
 giunge' in [cf2]La [fy45,1]*[fy75,2]sonnambula.[cm~Caball;aae, Montserrat [fy75
,1]([cf2]b [cf1]Barcelona, [sm1933[nm). Sp. sop. ~Studied Barcelona Cons. from a
ge [sm9[nm. Opera d;aaebut ~Basle [sm1956[nm, First Lady in [cf2]Die Zauberfl;au
ote. [cf1]Glynde~~bourne [sm1965[nm, NY Met. [sm1965[nm. Notable for singing ~of
 Bellini, Donizetti, and early Verdi, but ~successful also in R. Strauss, Puccin
i, and Mozart. ~CG d;aaebut [sm1972[nm as Violetta.[cm~Cabanilles, Juan Bautista
 Jos;aae [fy75,1]([cf2]b [cf1]Algemes;aai, ~[sm1644[nm; [cf2]d [
cf1]Valencia, [sm1712[nm). Sp. composer. Organist, ~Valencia Cath. from [sm1665[
nm. Org. comps. pubd. in ~[sm4[nm vols. [sm1927[nm=n[sm52[nm.[cm~Cabaret. [fy75,
1]Term applied to places of entertainment ~such as night clubs and to the mus. e
ntertainment ~provided there. Though it had [sm18[nmth cent. forerun~~ners, caba
ret in the modern sense began in [sm1881[nm ~when the `Chat Noir' opened in Pari
s. From this ~milieu arose the great [cf2]diseuse[cf1] Yvette Guilbert ~([sm1885
[nm=n[sm1944[nm). With her own form of [cf2]Sprechgesang[cf1] ~and eloquent move
ments of limbs and body, she ~intensified the meaning of words sung to simple ~t
unes. In Ger. the leading cabaret was the ~`;auUberbrettl', founded by Ernst von
 Wolzogen ~(librettist of Strauss's [cf2]Feuersnot[cf1]) in [sm1901[nm. Schoen~~
berg cond. there and comp. some [cf2]Brettllieder[cf1]. ~Political satire was a
prin. feature of the cabaret ~of the [sm1920[nms and [sm1930[nms in Ger., where
Kurt Weill ~and Hanns Eisler were protagonists. This period ~was
 captured by Christopher Isherwood in his ~novel [cf2]Goodbye to Berlin[cf1] ([s
m1939[nm) (re-named [cf2]Cabaret[cf1] ~for the stage and film). In Eng., cabaret
 tended to ~be more genteel and like an intimate revue, but ~something of the Ge
r. spirit was emulated by W. ~H. Auden in his [cf2]The Ascent of F[sm6[nm[cf1] (
[sm1936[nm), the songs ~being set to mus. by Britten (e.g. `Tell me the ~truth a
bout love'=+=+).[cm~Cabez;aaon, Antonio de [fy75,1]([cf2]b [cf1]Castrillo de Mat
ajud;aaios, ~nr. Burgos, [sm1510[nm; [cf2]d [cf1]Madrid, [sm1566[nm). Sp. compos
er, ~blind from birth, one of first to compose for the ~kbd. Organist and harpsi
chordist to Kings of ~Spain. Mus. ahead of its time, as shown by ~variations on
popular melody [cf2]El caballero.[cm~Cabinet Organ. [fy75,1]Amer. nomenclature f
or what ~in Eng. is called Amer. org. This resembles the ~[fy45,1]*[fy75,1]Harmo
nium, but the air is sucked through the ~reeds instead of being forced through t
hem and ~the tone is less pungent. There is no `Expression' ~dev
ice and so where other means than the player's ~feet can be applied for operatin
g the bellows, a ~pedal-board like that of an organ can be built in ~as part of
the instr. Invented by worker in ~Alexandre's Paris factory but developed in Bos
ton, ~Mass.[cm~Caccia [fy75,1](It.). Chase, hunt, e.g. [cf2]alla caccia, [cf1]in
 ~hunting style. In [fy45,1]*[fy75,2]Ars nova [cf1][sm2[nm vv. `chased' each ~ot
her in strict canon, the text often dealing with ~hunting. See [fy45,1]*[fy75,2]
Oboe [cf1]([cf2]da caccia[cf1]) and [fy45,1]*[fy75,2]Corno da ~caccia.[cm~Caccin
i, Giulio [fy75,1]([cf2]b [cf1]Rome, [cf2]c[cf1].[sm1548[nm; [cf2]d [cf1]Florenc
e, ~[sm1618[nm). It. singer, composer, and lutenist. Taken ~to Florence by Cosim
o I de' Medici, [cf2]c.[cf1][sm1565[nm. One ~of members of [fy45,1]*[fy75,1]Came
rata, some of his mus. was ~incl. in Peri's [cf2]Euridice [cf1]to Rinuccini's li
b. which he ~then also set in rivalry in [sm1600[nm. Also composed ~opera [cf2]I
l rapimento di Cefalo[cf1], perf. Florence [sm1600[nm. ~Canzonet
s and madrigals published in [cf2]Le nuove ~musiche [cf1](New Music) [sm1602[nm,
 marking change to ~monodic style. His daughter Francesca was a ~celebrated sing
er.[cm~Cachucha. [fy75,1]Andalusian dance for a single per~~former in triple tim
e. Its mus. is not unlike that ~of the [fy45,1]*[fy75,1]bolero.[cm~Cad;aaeac, Pi
erre [fy75,1](=+=+=+=+[cf2]fl.[cf1] [sm1538[nm=n[sm56[nm). Fr. composer of ~chur
ch mus. and [cf2]chansons[cf1]. His music was sung in ~Venice and Krak;aaow, as
well as in Ger. and Sp. ~Best known for [cf2]chanson Je suis deh;aaerit;aaee[cf1
].[cm~Cadence or Close. [fy75,1]Any melodic or harmonic ~progression which has c
ome to possess a conven~~tional association with the ending of a comp., a ~secti
on, or a phrase.[ep~^The commonest harmonic cadences are: (a) ~Perfect Cadence (
or Full Close). Chord of the ~[PN118,0,0,L,I0]Dominant followed by that of Tonic
. (b) Inter~~rupted Cadence. Chord of the Dominant followed ~by that of Submedia
nt. (c) Imperfect Cadence (or ~Half Close). Chord of the Tonic o
r some other ~chord followed by that of Dominant. (d) Plagal ~Cadence. Chord of
the Subdominant followed by ~that of Tonic.[ep~[ol60][ep~(a)_ (b) _(c)_ (d) _(i)
[ep~[ol60][ep~^To any of the Dominant chords above men~~tioned the [sm7[nmth may
 be added. Any of the chords ~may be taken in [fy45,1]*[fy75,1]inversion, but if
 that is done in ~the case of the Perfect Cadence its effect of finality ~(i.e.
its `perfection') is lost.[ep~^The term Phrygian Cadence is applied by various ~
writers to (i) in major key a cadence ending on ~the chord of the Dominant of re
lative minor (e.g. ~in Key C major E=nG;Yi=nB), or (ii) any sort of ~Imperfect C
adence (Half Close) in minor mode, ~or (iii) first inversion of Subdominant chor
d ~followed by Dominant chord (e.g. in Key C the ~chord A=nC=nF followed by the
chord G=nB=nD). (It ~seems best to confine the name to the cadence (i) ~above, w
hich is fairly common in J. S. Bach and ~for which no other name is available, w
hereas (ii) ~and (iii) are simply varieties of the Imperfect ~Ca
dence.)[ep~^For the cadence employing the [fy45,1]*[fy75,2]Tierce de Picardie ~[
cf1]see under that term.[ep~^Other terms are:[ep~^Abrupt Cadence;eqInterrupted C
adence (see ~above). Amen Cadence;eqPlagal cadence (see ~above). Authentic Caden
ce;eqPerfect Cadence ~(Full Close; see above). Avoided Cadence ;eq~Interrupted C
adence (see above). Broken Cad~~ence;eqInterrupted Cadence (see above). Church ~
Cadence;eqPlagal Cadence (see above). Complete ~Cadence;eqPerfect Cadence (Full
Close; see above). ~Deceptive Cadence;eqInterrupted Cadence (see ~above). Demi-C
adence;eqImperfect Cadence (Half ~Close; see above). Dominant Cadence;eqImperfec
t ~Cadence (Half Close; see above). Evaded Cad~~ence;eqInterrupted Cadence (see
above). False ~Close;eqInterrupted Cadence (see above). Greek ~Cadence;eqPlagal
Cadence (see above). Half Cad~~ence;eqHalf Close (see [cf2]Imperfect Cadence, [c
f1]above). ~Inverted Cadence;eqA Perfect or Imperfect Cad~~ence (Full Close or H
alf Close; see above) with its ~latter chord inverted. (Some con
fine the name to ~the Perfect Cadence thus changed; others extend ~it to all cad
ences having either chord, or both, ~inverted.) Irregular Cadence;eqInterrupted
Cad~~ence (see above). Mixed Cadence. The term is ~used in [sm2[nm ways=mboth of
 them superfluous. ([sm1[nm) A ~`mixing' of the Plagal and Imperfect Cadences, ~
consisting of Subdominant-Dominant, this being ~merely the Imperfect Cadence in
one of its ~commonest forms. ([sm2[nm) A mixing of the Plagal and ~Perfect Caden
ces, consisting of the Perfect Cad~~ence preceded by the Subdominant=mmaking [sm
3[nm ~chords, instead of the usual [sm2[nm. This is merely the ~Perfect Cadence
led up to in one of its commonest ~manners and should not require any special ~n
ame. Radical Cadence;eqany cadence of which ~the chords are in root position, i.
e. the roots of ~the chords in the bass. Semi-Perfect Cadence;eq~Perfect Cadence
 (see above) with the [sm3[nmrd or [sm5[nmth ~of the Tonic in the highest part.
Surprise ~Cadence;eqInterrupted Cadence (see above). Sus~~pended
 Cadence;eqA hold-up before the final ~cadence of a piece, as that in a conc. (o
r, in former ~times, an aria) for the solo performer to work in ~a [fy45,1]*[fy7
5,1]cadenza.[ep~^The above definitions accord with Brit. termi~~nology. Amer. us
age is different and inconsistent.[cm~Cadenza [fy75,1](It.). A flourish (properl
y, improvised) ~inserted into the final cadence of any section of[fj~a vocal ari
a or a solo instr. movement. The ~conventional final cadence consists, harmonica
lly, ~of [sm3[nm chords, the [sm2[nmnd inversion of the Tonic Chord, ~and the Do
minant and Tonic Chords in root ~position (i.e. ;s6[cf13]=-=-=-=-=-=-=-4[cf1] ;s
5[cf13]=-=-=-=-=-=-=-3[cf1] on the Dominant bass, followed ~by ;s5[cf13]=-=-=-=-
=-=-=-3[cf1] on the Tonic bass). The interpolated cadenza ~begins on the first o
f these chords, the orch. ~joining in again only when the soloist, after a ~disp
lay of vocal or instr. virtuosity, indicates by a ~long trill that he or she is
ready to be rejoined in ~the final chords or in any passage elab
orated out ~of them.[ep~^In the operatic aria conventional practice admit~~ted [
sm3[nm cadenzas=mone at the end of each of its ~sections (see [cf2]Aria[cf1]), t
he most elaborate being ~reserved to the last. The term [cf2]melisma [cf1]has be
en ~used for the vocal cadenza.[ep~^From the time of Mozart and Beethoven in ~in
str. mus. the tendency grew for the composer ~to write out the cadenza in full,
although Mozart's ~and Beethoven's cadenzas are often still rejected ~by soloist
s who substitute cadenzas by other ~hands (e.g. by Busoni, Reinecke, etc.). In B
eethov~~en's and Brahms's vn. concs. the cadenza was left ~to the performer's in
vention, but Joachim and ~Kreisler (and others) provided written-out caden~~zas
which are generally used. Schumann in his ~pf. conc. and Mendelssohn in his vn.
conc. began ~the trend, general now, of integrating the cadenza ~into the comp.
There are many fine examples of ~acc. cadenzas (e.g. Elgar's Vn. Conc.). Sometim
es ~the cadenza assumes the importance of, effec~~tively, an ext
ra movement (e.g. Shostakovich's ~First Vn. Conc., Walton's Vc. Conc.). Of cours
e, ~[PN119,0,0,R,I0]with the growth of [fy45,1]*[fy75,1]aleatory procedures, the
 ~improvised cadenza has come back into its own.[xm[cm~[j1]Cadenzato [fy75,1](It
.). Cadenced, i.e. rhythmic.[cm~Cadman, Charles Wakefield [fy75,1]([cf2]b [cf1]J
ohnstown, ~Penn., [sm1881[nm; [cf2]d [cf1]Los Angeles, [sm1946[nm). Amer. ~compo
ser, organist, and mus. critic. Specialist in ~mus. of Amer. Indians, using it i
n his own works ~which incl. several operas, orch. comps., and ~many songs.[cm~C
affarelli[fy75,1] (Gaetano Majorano) ([cf2]b[cf1] Bitonto, [sm1710[nm; ~[cf2]d[c
f1] Naples, [sm1783[nm). It. mezzo-soprano castrato. ~Studied in Naples under Po
rpora. D;aaebut Rome ~[sm1726[nm. Sang in prin. It. opera-houses from [sm1729[nm
 ~but chiefly in Naples, where he was appointed to ~royal chapel. Sang in London
 [sm1737[nm=n[sm8[nm, creating ~title-roles in Handel's [cf2]Faramondo[cf1] and
[cf2]Serse[cf1]. Sang ~in Fr. [sm1754[nm, Lisbon [sm1755[nm, Mad
rid [sm1756[nm. Temper~~amental artist who was once imprisoned for ~making obsce
ne gestures during a performance. ~Retired with a fortune and bought a dukedom,
~an estate, and a palace.[cm~Cage, John [fy75,1]([cf2]b [cf1]Los Angeles, [sm191
2[nm). Amer. com~~poser, pianist, and writer. Studied with [fy45,1]*[fy75,1]Cowe
ll ~and [fy45,1]*[fy75,1]Schoenberg. From [sm1937[nm developed interests ~in dan
ce and perc. In [sm1938[nm invented the `prepared ~pf.' by inserting various obj
ects, from rubber-~bands to hatpins, between the str. to create new ~effects. Se
ttled in NY [sm1942[nm, beginning long assoc. ~with Merce Cunningham Dance Co. a
s mus. dir. ~Study of oriental philosophies led to his utilization ~of `chance'
in his mus., as in [cf2]Music of Changes ~[cf1]([sm1951[nm). In [sm1952[nm he pr
od. his first piece involving ~tape, [cf2]Imaginary Landscape V, [cf1]and in the
 same ~year came [cf2][sm4[nm;Po[sm33[nm;Pp [cf1]in which the performer makes ~n
o sound.[ep~^The particular elements of Cage's [cf2]avant-garde
~[cf1]outlook are: use of any kind of environmental ~sounds or noises; use of `c
hance', as in [cf2]Music of ~Changes [cf1]where the selection process involves ~
tossing a coin; abandonment of formal structures; ~use of silence; use of a wide
 range of elec. and ~visual techniques. Books incl. [cf2]Silence [cf1]([sm1961[n
m), [cf2]A ~Year from Monday [cf1]([sm1967[nm), and [cf2]For the Birds[cf1] ([sm
1981[nm). ~Works incl.:[xm[cm~[j2][smorchestra[nm: Conc. for prepared pf. and or
ch. ~([sm1951[nm); Concert for pf. ([sm1957[nm=n[sm8[nm); [fy75,2]Atlas Ecliptic
alis ~[cf1]([sm1961[nm=n[sm2[nm); [cf2]Cheap Imitation [cf1]([sm1972[nm, orch. v
ersion of ~pf. solo); [cf2]Etcetera [cf1]([sm1973[nm); [cf2]Score [cf1]([cf2][sm
40[nm drawings by ~Thoreau[cf1]) and [cf2][sm23[nm Parts [cf1](for any instr. an
d/or vv., ~[sm1974[nm); Quartets I=nVIII ([sm24[nm, [sm41[nm, or [sm93[nm instrs
., ~[sm1976[nm); [cf2][sm30[nm Pieces for [sm5[nm Orchestras [cf1]([sm1981[nm).[
ep~[smpercussion and electronic[nm: [fy45,1]*[fy75,2]Constructio
n I in ~Metal [cf1]for perc. sextet ([sm1939[nm); [fy45,1]*[fy75,2]Imaginary Lan
d~~scape I [cf1]for [sm2[nm variable speed gramophone turn~~[chtables, frequency
 recordings, muted pf. and ~cymbal ([sm1939[nm); [cf2]Imaginary Landscape II[cf1
] ([cf2]March[cf1]) ~for perc. quintet ([sm1942[nm); [cf2]Imaginary Landscape II
I[cf1] ~for perc. sextet ([sm1942[nm); [cf2]Amores [cf1]([sm1943[nm); [cf2]Imagi
nary ~Landscape IV [cf1]([cf2]March No. [sm2[nm[cf1]) for [sm12[nm radios, [sm24
[nm ~players and cond. ([sm1951[nm); [cf2]Imaginary Landscape V[cf1] ~([sm1952[n
m); [cf2]Speech [cf1]for [sm5[nm radios with news reader ~([sm1955[nm); [sm27[nm
;po[sm10[nm.[sm554[nm;pp for percussionist ([sm1956[nm).[ep~[smchamber music[nm:
 [sm3[nm pieces for fl. duet ([sm1935[nm); Str. ~Qt. ([sm1950[nm); [cf2][sm4;po3
3[nm;pp [cf1](silent, for any instr. or ~combination of instr.) ([sm1952[nm); [f
y45,1]*[fy75,2]Variations I=nVI[cf1] ~for any no. of players and sound-producing
 ~means ([sm1958[nm=n[sm66[nm); [cf2]HPSCHD [cf1]for [sm7[nm hpd
. soloists ~and [sm51[nm or any no. of tape machines ([sm1967[nm=n[sm9[nm); [cf2
][sm30[nm Pieces for Str. Qt. [cf1]([sm1984[nm).[ep~[smpiano solo[nm: [cf2]Metam
orphosis [cf1]([sm1938[nm); [cf2][sm7[nm Haiku [cf1]([sm1952[nm); ~[cf2]Music of
 Changes [cf1]([sm1951[nm, in [sm4[nm vols.); [cf2]Music for ~Piano [cf1]([sm195
2[nm=n[sm6[nm, several works); [cf2][sm0;po00[nm;pp [cf1]to be perf. ~in any way
 by anyone ([sm1962[nm); [cf2]Cheap Imitation ~[cf1]([sm1969[nm, orch. version [
sm1972[nm); [cf2];aaEtude Australes[cf1], [sm32[nm ~studies in [sm4[nm books ([s
m1974[nm=n[sm5[nm).[ep~[smprepared piano[nm: [cf2]Bacchanale [cf1]([sm1938[nm);
[cf2]Meditation ~[cf1]([sm1943[nm); [cf2]Sonatas and Interludes [cf1]([sm1946[nm
=n[sm8[nm); [cf2]Music ~for Marcel Duchamp [cf1]([sm1947[nm).[ep~[smmiscellaneou
s[nm: [cf1]Cl. Sonata ([sm1933[nm); [cf2]Music for ~Carillon [cf1]Nos. [sm1[nm=n
[sm5[nm ([sm1952[nm=n[sm67[nm); [cf2]Les Chants de ~Maldoror pulveris;aaes par l
'assistance m;afeme [cf1]([sm1971[nm).[ep~[smvoice[nm: [cf1][sm5
[nm Songs for cont. and pf. (e.e. cummings) ~([sm1938[nm); [cf2]The Wonderful Wi
dow of Eighteen Springs ~[cf1]for v. and closed pf. (Joyce) ([sm1942[nm); [cf2]S
ong Books, ~Solos for voice [cf1][sm3[nm=n[sm92[nm ([sm1970[nm); [cf2][sm62[nm M
esostics re Merce ~Cunningham [cf1]([sm1971[nm, unacc.); [cf2]Hymns and Variatio
ns[cf1] ~([sm12[nm amp. vv., [sm1978[nm); [cf2]Litany for the Whale[cf1] ([sm2[n
m vv., ~[sm1980[nm).[ep~[smtape[nm, [smaudio-visual[nm etc.: [fy45,1]*[fy75,2]Wa
ter Music [cf1]([sm1952[nm); ~[cf2]Fontana Mix [cf1]([sm1958[nm); [cf2]Where are
 we going? And ~what are we doing? [cf1]([sm1960[nm); [cf2]Rozart Mix [cf1]([sm1
965[nm); ~[cf2]Bird Cage [cf1]([sm12[nm tapes, [sm1972[nm); [cf2]Lecture on the
Weather[cf1] ~([sm12[nm perf., [sm1975[nm).[cm~[j1]Cahier, Mme Charles [fy75,1](
[cf2]b [cf1]Nashville, Tenn., [sm1870[nm; ~[cf2]d [cf1]Manhattan Beach, Calif.,
[sm1951[nm). Amer. mez., ~born Sarah-Jane Layton Walker. Studied in Paris ~with
J. [fy45,1]*[fy75,1]de Reszke and in Berlin with Amalie ~Joachim
. D;aaebut in opera, Nice [sm1904[nm. Vienna ~Opera [sm1907[nm=n[sm11[nm, NY Met
. [sm1911[nm=n[sm13[nm. Taught at ~Curtis Institute. Soloist in f.p. in [sm1911[
nm (Munich) ~of Mahler's [cf2]Das Lied von der Erde.[cm~Cahill, Teresa [fy75,1](
Mary) [cf1]([cf2]b [cf1]Maidenhead, [sm1944[nm). ~Eng. sop. Studied pf., then si
nging at London ~Opera Centre. D;aaebut Glyndebourne [sm1970[nm, CG ~[sm1970[nm.
 Milan d;aaebut [sm1976[nm. Won John Christie ~award [sm1970[nm.[cm~;AlCa Ira! [
fy75,1](That will succeed). This expression, ~many times repeated, made up about
 half the ~words of a revolutionary song (later the official ~song of the Revolu
tion) said to have originated ~on [sm5[nm Oct. [sm1789[nm when the Fr. mob march
ed to ~Versailles to bring the King and the royal family ~to Paris, and which be
came the mus. acc. to ~almost every incident of the Terror. The tune ~adopted wa
s that of a popular contredanse, called ~[cf2]Carillon national,[cf1] by a th. v
iolinist of the day, ~B;aaecourt. See also [cf2]Carmagnole.[cm~C
airns, David [fy75,1](Adam) ([cf2]b[cf1] Loughton, Essex, [sm1926[nm). ~Eng. cri
tic and writer. Studied Oxford Univ. ~([sm1945[nm=n[sm8[nm) and Princeton Univ.
([sm1950[nm=n[sm1[nm). One of ~founders of Chelsea Opera Group, [sm1950[nm. Auth
or~~ity on Berlioz, translating and editing the [cf2]Memoirs[cf1] ~[PN120,0,0,L,
I0]([sm1969[nm, rev. [sm1977[nm). Mus. critic [cf2]Financial Times[cf1], ~[sm196
2[nm=n[sm7[nm, [cf2]New Statesman[cf1], [sm1967[nm=n[sm70[nm, [cf2]Sunday Times[
cf1] ~from [sm1973[nm (chief critic from [sm1983[nm). Worked for ~record company
, [sm1967[nm=n[sm72[nm. His brilliant essays on ~mus. subjects were published un
der title [cf2]Responses[cf1] ~([sm1973[nm).[cm~Caisse [fy75,1](Fr.). Box, hence
 drum.[cm~Caisse claire [fy75,1](Fr.). Clear drum, i.e. Snare drum, ~otherwise [
fy45,1]*[fy75,2]side drum.[cm~Caisse grosse [fy75,1](Fr.). Large drum, i.e. [fy4
5,1]*[fy75,1]Bass drum.[cm~Caisse roulante [fy75,1](Fr.). Rolling drum, i.e. [fy
45,1]*[fy75,1]Tenor ~drum.[cm~Caisse sourde [fy75,1](Fr.). Dull
drum, i.e. [fy45,1]*[fy75,1]Tenor drum; ~see also [cf2]Caisse roulante.[cm~Caix
d'Hervelois, Louis de [fy75,1]([cf2]b [cf1]Paris, [cf2]c[cf1].[sm1670[nm; ~[cf2]
d|[cf1]Paris, [sm1760[nm). Fr. performer on and composer for ~the viola da gamba
, some of whose works are ~now sometimes perf. by cellists. Wrote [sm5[nm books
~of pieces for viola da gamba, [sm3[nm books of fl. sonatas.[cm~Calando [fy75,1]
(It.). Lowering. [cf2]Diminuendo, [cf1]with also ~[cf2]rallentando.[cm~Calcando
[fy75,1](It.). Trampling. Much the same as ~[cf2]accelerando, [cf1]i.e. quickeni
ng gradually.[cm~Caldara, Antonio [fy75,1]([cf2]b [cf1]Venice, [cf2]c[cf1].[sm16
70[nm; [cf2]d [cf1]Vienna, ~[sm1736[nm). It. composer, pupil of [fy45,1]*[fy75,1
]Legrenzi. Imperial ~chamber-composer at Vienna court [sm1714[nm, ass. ~Kapellme
ister to [fy45,1]*[fy75,1]Fux from [sm1716[nm. Comp. [sm87[nm ~operas, over [sm4
0[nm oratorios, masses, and other ~church mus., incl. Christmas Cantata, and son
gs, ~of which [cf2]Come raggio di sol [cf1]is well known. Among
~his many operas was the first setting of Metasta~~sio's libretto [cf2]La Clemen
za di Tito[cf1] (Vienna, [sm1734[nm).[cm~Caldwell, Sarah[fy75,1] ([cf2]b[cf1] Ma
ryville, Miss., [sm1924[nm). Amer. ~opera producer, administrator, and conductor
. ~Studied vn. at New England Cons. Staged ~Vaughan Williams's [cf2]Riders to th
e Sea[cf1] at Tangle~~wood [sm1947[nm. Head of Boston Univ. opera workshop ~[sm1
952[nm=n[sm60[nm. Founded Boston Opera Co. [sm1957[nm. ~Responsible for f. Amer.
 ps. of Prokofiev's [cf2]War ~and Peace[cf1], Nono's [cf2]Intolleranza[cf1], and
  Schoenberg's ~[cf2]Moses und Aron[cf1]. First woman cond. at NY Met., ~[sm1976
[nm ([cf2]La Traviata[cf1]). Has cond. NY P.O., Boston ~S.O., etc.[cm~Calife de
Bagdad, Le [fy75,1](The Caliph of Bagdad). ~Opera in [sm1[nm act by Boieldieu to
 lib. by C.H. d'A. de ~Saint-Just. Prod. Paris [sm1800[nm; London [sm1809[nm; Ne
w ~Orleans [sm1806[nm.[cm~Calinda, La. [fy75,1]Orch. interlude by Delius in his
~opera [fy45,1]*[fy75,2]Koanga [cf1]([sm1896=n7[nm); it is a dan
ce named after ~a Negro dance imported to Amer. by African ~slaves.[cm~Calino Ca
stureme [fy75,1]([cf2]Caleno custureme[cf1]). Tune men~~tioned by Shakespeare in
 [cf2]Henry V [cf1](Act IV, sc.|[sm4[nm). ~It is to be found in the [fy45,1]*[fy
75,1]Fitzwilliam Virginal ~Book. In [cf2]A Handefull of Pleasant Delites, [cf1][
sm1584[nm, the ~words `Caleno Custureme' are interpolated be~~tween every [sm2[n
m lines of the poem `When as I view ~your comly grace'. Possibly a perversion of
 the ~Irish `Cail;aain, ;aao cois t Suire, m;aae' (I am a girl from ~the banks o
f the river Suir).[cm~Caliph of Bagdad, The [fy75,1](Boieldieu). See [cf2]Calife
 de ~Bagdad, Le.[cf1][cm~Calisto, La.[fy75,1] Opera in [sm2[nm acts by [fy45,1]*
[fy75,1]Cavalli to lib. by ~G. Faustini, prod. Venice [sm1651[nm, and revived at
 ~Glyndebourne [sm1970[nm in a realization by Raymond ~[fy45,1]*[fy75,1]Leppard.
[cm~Callas, [fy75,1](Cecilia Sophia Anna) [fy65][cf3]Maria [fy75,1](Kalogero~~po
ulos) [cf1]([cf2]b [cf1]Manhattan, NY, [sm1923[nm; [cf2]d [cf1]P
aris, [sm1977[nm). ~Amer.-born sop. of Gr. parentage. Studied Athens ~Nat. Cons.
 from [sm1936[nm with Sp. coloratura sop. ~Elvira de Hidalgo. D;aaebut Athens [s
m1940[nm in Supp;aae's ~[cf2]Boccaccio, [cf1]Leonore in [cf2]Fidelio, [cf1]and T
osca. It. d;Aaebut ~Verona, [sm1947[nm, in [cf2]La gioconda. [cf1]Among her role
s at ~this time were Isolde, Br;Auunnhilde ([cf2]Die Walk;auure[cf1]), ~Kundry,
and Turandot. Potentialities recognized ~by cond. Tullio [fy45,1]*[fy75,1]Serafi
n when, in [sm1948[nm, she was ~singing Br;Auunnhilde in Venice. Prima donna ~en
gaged as Elvira for next opera, Bellini's [cf2]I ~puritani, [cf1]fell ill and Se
rafin suggested Callas as ~substitute. Her singing of a [cf2]bel canto [cf1]role
 in the ~powerful, dramatic way the composer intended ~was a revelation. Not sin
ce Lilli Lehmann had a ~sop. encompassed Wagnerian roles and the ~coloratura rep
ertory. With Serafin and de Sabata, ~Callas revived operas wholly or relatively
ne~~glected in It. for over a century, incl. Rossini's ~[cf2]Arm
ida [cf1]and [cf2]Il turco in Italia, [cf1]Cherubini's [cf2]Medea, ~[cf1]Spontin
i's [cf2]La vestale, [cf1]Donizetti's [cf2]Anna Bolena, [cf1]and ~Bellini's [cf2
]Il pirata, [cf1]thereby changing the face of ~the post-[sm1945[nm opera reperto
ry. First sang at La ~Scala, Milan, April [sm1950[nm. From then until [sm1958[nm
 ~reigned supreme there, earning title [cf2]La divina [cf1]in ~her vivid portray
als of Norma, Violetta, and ~Tosca, working with de Sabata, Giulini, Bernstein,
~and Karajan as conds., and the producers Visconti ~and Zeffirelli. Voice not be
autiful but musician~~ship was impeccable, insight remarkable, and ~acting abili
ty exceptional, so that she presented ~her roles as organic wholes. Her Norma, T
osca, ~and Violetta were unforgettable examples of ~dramatic opera singing-actin
g, linking her in this ~branch of her art to the legendary names of ~Malibran an
d Schr;auoder-Devrient. Sang at CG ~[sm1952[nm=n[sm3[nm ([cf2]Norma[cf1]), [sm19
57[nm=n[sm9[nm, and [sm1964[nm. Amer. d;aaebut ~at Chicago, [sm1
954[nm, and at NY Met. [sm1956[nm ([cf2]Norma[cf1]). ~Private life was lived in
the glare of publicity ~inseparable from such a magnetic personality. ~Retired f
rom stage [sm1965[nm (last perf. was as Tosca at ~CG [sm5[nm July [sm1965[nm) bu
t continued to record and gave ~some concerts in [sm1973[nm and [sm1974[nm. Also
 worked as ~producer and teacher.[xm[cm~[ol0][ep~[xp[te~








[do25][j99]~~~~~~[sm153842[nmC[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFORD
 ~DICT. OF MUSIC[cmC[sm002[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm23[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm021[nm[cm~JS[cm[cm5-7-84[cm~[cm~~~~[ap[j1]Caller Herrin'. [fy
75,1]Poem by Lady Nairne ([sm1766[nm=n~[sm1845[nm) written [cf2]c[cf1].[sm1821[n
m to fit tune of a hpd. piece ~comp. [cf2]c[cf1].[sm1798[nm by Nathaniel [fy45,1
]*[fy75,1]Gow in which he ~incorporated Edinburgh fishwives' traditional cry ~wi
th bells of St Andrew's Church.[cm~[PN121,0,0,R,I0]Calligrammes. [fy75,1]Song-cy
cle by Poulenc to [sm7[nm poems ~by Guillaume Apollinaire, comp. [sm1948[nm. Tit
les are: ~[cf2]L'Espionne, Mutation, Vers le Sud, Il pleut, La G;Aface ~exil;Aae
e, Aussi bien que les cigales, Voyage.[cm~Calliope. [fy75,1]Amer. term for steam
blown mechani~~cal organ.[cm~Calmato, Calmando [fy75,1](It.). Calmed; calming.[c
m~Calm Sea and Prosperous Voyage [fy75,1](Meeresstille ~und gl;Auuckliche Fahrt)
. Poems by Goethe set by ~several composers incl. ([sm1[nm) Beet
hoven, Op. [sm112[nm, ~for SATB and orch., comp. [sm1815[nm, pubd. [sm1823[nm. (
[sm2[nm) ~Song by [fy45,1]*[fy75,1]Reichardt ([sm1752[nm=n[sm1814[nm). ([sm3[nm)
 Song ([cf2]Meer~~esstille [cf1]section only) by Schubert (D[sm216[nm), comp. ~[
sm1815[nm. ([sm4[nm) Concert-ov. by Mendelssohn, Op. [sm27[nm, ~[sm1832[nm, f.p.
 [sm1836[nm. Theme from this is quoted by ~Elgar in [sm13[nmth ([cf2]Romanza[cf1
]) of his [fy45,1]*[fy75,2]Enigma Variations.[cm~Calore [fy75,1](It.). Heat. Pas
sion. So the adjective [cf2]caloroso.[cm~Calv;Aae, Emma [fy75,1](orig. Rosa Calv
et) ([cf2]b [cf1]Decazeville, ~[sm1858[nm; [cf2]d [cf1]Millau, [sm1942[nm). Fr.
operatic sop. particu~~larly noted for perf. as Carmen. Studied in Paris. ~D;Aae
but Brussels [sm1881[nm, Milan [sm1887[nm, CG [sm1892[nm after ~further study wi
th Mathilde Marchesi. NY Met. ~[sm1893[nm, where first sang Carmen. Created role
s of ~Anita in Massenet's [cf2]La Navarraise [cf1]and Suzel in ~Mascagni's [cf2]
L'amico Fritz. [cf1]Retired [sm1910[nm.[cm~Calvocoressi, Michel
Dimitri [fy75,1]([cf2]b [cf1]Marseilles, ~[sm1877[nm; [cf2]d [cf1]London, [sm194
4[nm). Fr.-born mus. critic of ~Gr. parentage. Career in Paris as mus. critic, ~
author, and lecturer on mus.; settled in London. ~Early student of Russ. mus. an
d assoc. with ~Diaghilev opera enterprise; wrote books on ~Mussorgsky, Schumann,
 Glinka, Liszt, and other ~mus. subjects; provided many trans. of Russ. ~libs.,
contributed in various languages to mus. ~journals.[cm~Calypso.[fy75,1] W. India
n folk dance, but better known ~in its sung form. Began among slaves on ~plantat
ions. Forbidden to talk, they chanted news ~and opinions to a tom-tom rhythm, us
ing a [cf2]patois[cf1]. ~Today, especially in Trinidad, is used as a way of ~com
menting on politics, scandal, and sport. ~Among best-known examples are the cric
ket ~calypsos, such as `Cricket, lovely cricket', with its ~references to the bo
wling of Ramadhin and ~Valentine in the Test matches of [sm1950[nm when, at ~Lor
d's, W. Indies beat England for the first (but ~not the last!) t
ime in England.[cm~Calzabigi, Raniero de [fy75,1]([cf2]b [cf1]Leghorn, [sm1714[n
m; [cf2]d ~[cf1]Naples, [sm1795[nm). It. writer of libs. for Gluck's [cf2]Orfeo,
 ~Alceste, [cf1]and [cf2]Paride ed Elena. [cf1]Pubd. ed. of [fy45,1]*[fy75,1]Met
as~~tasio's works. Ran lottery in Paris in partnership ~with Casanova.[cm~Camarg
o. [fy75,1]See [cf2]Ballet.[cm~Cambert, Robert [fy75,1]([cf2]b [cf1]Paris, [cf2]
c[cf1].[sm1628[nm; [cf2]d [cf1]London, ~[sm1677[nm). Fr. harpsichordist and orga
nist; colleague ~in Paris of the Abb;aae Pierre Perrin who in [sm1669[nm ~obtain
ed monopoly for perf. of opera in Fr. ~language, Cambert's [cf2]Pomone [cf1]([sm
1671[nm) being earliest ~Fr. opera. On Lully taking over the monopoly in ~[sm167
2[nm, Cambert went to Eng. where he founded a ~Royal Academy of Music, which soo
n failed. ~Only fragments of his compositions remain.[cm~Cambini, Giovanni [fy75
,1](Gioacchino) ([cf2]b [cf1]Leghorn, ~[sm1746[nm; [cf2]d [cf1]Bic;afetre, nr. P
aris, [sm1825[nm). It. composer, ~violinist, and violist, associ
ated with Paris Concert ~Spirituel. Comp. syms., over [sm140[nm qts., concs., ~o
peras, and shorter pieces.[cm~Cambio, Perissone [fy75,1](=+=+=+=+[cf2]fl. [cf1][
sm16[nmth cent.). Fr. composer ~who lived in Venice, where he was a singer at St
 ~Mark's. Works incl. mass, madrigals, and can~~zonas.[cm~Cambridge University.
[fy75,1]Eng. univ. which has ~conferred mus. degrees (Bachelor of Music, ~Doctor
 of Music) since [sm1463[nm. Formal examina~~tions were instituted by Sterndale
Bennett, [sm1857[nm. ~The Professors of Mus. have been=m[sm1684[nm Nicolas ~Stag
gins; [sm1705[nm Thos. Tudway; [sm1730[nm Maurice ~Greene; [sm1755[nm John Randa
ll; [sm1799[nm Charles Hague; ~[sm1821[nm J. Clarke-Whitfield; [sm1836[nm Thomas
 A. Wal~~misley; [sm1856[nm W. Sterndale Bennett; [sm1875[nm G.|A. ~Macfarren; [
sm1887[nm C. V. Stanford; [sm1924[nm Charles ~Wood; [sm1926[nm E. J. Dent; [sm19
46[nm Patrick Hadley; ~[sm1962[nm Thurston Dart; [sm1965[nm Robin Orr; [sm1976[n
m ~Alexander Goehr.[cm~Camden, Archie [fy75,1](Archibald Lewis)
([cf2]b [cf1]Newark, ~Notts., [sm1888[nm; [cf2]d [cf1]Wheathampstead, Herts., [s
m1979[nm). ~Eng. bassoonist. Trained RMCM. Member Hall;aae ~Orch. [sm1906[nm=n[s
m33[nm (prin. bn. from [sm1914[nm), BBC S.O. ~[sm1933[nm=n[sm45[nm, RPO [sm1946[
nm=n[sm7[nm. Soloist and recitalist. Prof. ~of bn. RMCM [sm1914[nm=n[sm33[nm. Co
nd. London Stock ~Exchange Orch. O.B.E. [sm1969[nm.[cm~Camden Festival.[fy75,1]
Annual festival founded in ~[sm1954[nm as the St Pancras Festival. Special featu
re is ~production of operas outside standard repertory, ~e.g. Brit. stage premi;
ageres of Haydn's [cf2]Orfeo ed ~Euridice[cf1] ([sm1955[nm) and [cf2]Il Mondo de
lla Luna[cf1] ([sm1960[nm), ~Verdi's [cf2]Un giorno di regno[cf1] ([sm1961[nm),
Donizetti's ~[cf2]Maria Stuarda[cf1] and Verdi's [cf2]Il corsaro[cf1] ([sm1966[n
m), ~Massenet's [cf2]Sappho[cf1] ([sm1967[nm), Rimsky-Korsakov's ~[cf2]Mozart an
d Salieri[cf1] ([sm1968[nm), Storace's [cf2]Gli equivoci[cf1] ~([sm1974[nm), Mey
erbeer's [cf2]L'Etoile du Nord[cf1] and Donizet~~ti's [cf2]Torqu
ato Tasso[cf1] ([sm1975[nm), Delius's [cf2]Fennimore and ~Gerda[cf1] ([sm1979[nm
) and [cf2]Margot-la-Rouge [cf1]([sm1984[nm), Cavalli's ~[cf2]Eritrea[cf1], Paci
ni's [cf2]Maria Tudor[cf1] ([sm1983[nm), Lecocq's [cf2]Dr ~Miracle[cf1] ([sm1984
[nm), and Vivaldi's [cf2]Juditha triumphans ~[cf1]([sm1984[nm). Concert perfs. w
ere given of Strauss's ~[cf2]Feuersnot[cf1] ([sm1978[nm), Walton's [cf2]Troilus
and Cressida[cf1] ~([sm1982[nm), J. C. Bach's [cf2]Adriano in Siria[cf1] ([sm198
2[nm), ~Shostakovich's [cf2]Lady Macbeth of Mtsensk [cf1]([sm1984[nm).[cm~Camera
 [fy75,1](It.). Chamber=mas opposed to hall, opera-~house, etc. (For [cf2]Cantat
a da camera, [cf1]see [cf2]Cantata[cf1]; ~for [cf2]Concerto da camera, [cf1]see
[cf2]Concerto[cf1]; for [cf2]Sonata da ~camera, [cf1]see [cf2]Sonata[cf1].) [cf2
]Musica di camera [cf1](It.). Chamber ~mus.[cm~Camerata [fy75,1](It.). Society.
Group of poets and ~musicians who met in houses of Florentine ~aristocrats [fy45
,1]*[fy75,1]Bardi and [fy45,1]*[fy75,1]Corsi from about [sm1580[
nm ~and from whose discussions opera was developed. ~[PN122,0,0,L,I0]Among them
were composers Galilei, [fy45,1]*[fy75,1]Peri, ~[fy45,1]*[fy75,1]Caccini, and Ca
valieri. Bardi wrote lib. for Peri ~and Caccini. The group evolved the monodic [
cf2]stile ~rappresentativo [cf1]of which the first example (now ~lost) was Peri'
s [cf2]dramma per musica, Dafne. [cf1]Various ~modern chamber-mus. organizations
 use word ~[cf2]Camerata [cf1]in their title.[cm~Cameron, Basil [fy75,1]([cf2]b
[cf1]Reading, [sm1884[nm; [cf2]d [cf1]Leominster, ~[sm1975[nm). Eng. cond. Studi
ed Berlin Hochschule f;auur ~Musik [sm1902[nm=n[sm6[nm. At early stage of his ca
reer called ~himself Basil Hindenburg because conds. with ~Eng. names then recei
ved few engagements. ~Cond. Torquay Municipal Orch. [sm1913[nm=n[sm14[nm, Has~~t
ings [sm1923[nm=n[sm30[nm, Harrogate [sm1924[nm=n[sm30[nm, San Francisco ~S.O. [
sm1930[nm=n[sm2[nm, Seattle [sm1932[nm=n[sm8[nm. Ass. cond. Henry ~Wood Promenad
e Concerts from [sm1940[nm. C.B.E. ~[sm1957[nm.[cm~Cameron, Doug
las [fy75,1]([cf2]b [cf1]Dundee, [sm1902[nm; [cf2]d [cf1]London, ~[sm1974[nm). S
cot. cellist. Studied RAM. Member, Blech ~String Qt. Played in several leading B
rit. orchs., ~being prin. cellist of Beecham's RPO. Prin. cellist ~BBC S.O. O.B.
E. [sm1974[nm.[cm~Cameron, John [fy75,1](Ewen) ([cf2]b [cf1]Coolamon, N.S.W., ~[
sm1920[nm). Australian bar. Studied Sydney Cons. ~Settled in Brit. [sm1949[nm. O
pera at CG (d;aaebut [sm1949[nm as ~Germont [cf2]p;agere [cf1]in [cf2]La traviat
a[cf1]), Glyndebourne, and ~many concert appearances.[cm~Camidge. [fy75,1]Eng. f
amily of organists spanning ~nearly [sm200[nm years. John ([cf2]b [cf1]York, [sm
1735[nm; [cf2]d [cf1]York, ~[sm1803[nm), organist, York Minster [sm1756[nm=n[sm9
9[nm and ~composer for hpd. His son Matthew ([cf2]b [cf1]York, ~[sm1758[nm; [cf2
]d [cf1]York, [sm1844[nm), organist, York Minster ~[sm1799[nm=n[sm1842[nm, compo
ser of org. mus. His son John ~([cf2]b [cf1]York, [sm1790[nm; [cf2]d [cf1]York,
[sm1859[nm), organist, York ~Minster [sm1842[nm=n[sm8[nm. His so
n Thomas Simpson ([cf2]b ~[cf1]York, [sm1828[nm; [cf2]d [cf1]York, [sm1912[nm),
organist, York Minster ~[sm1848[nm=n[sm59[nm. His son John ([cf2]b [cf1]York,[sm
1853[nm; [cf2]d [cf1]York, ~[sm1939[nm), organist, Beverley Minster [sm1875[nm=n
[sm1933[nm.[cm~Camilleri, Charles [fy75,1](Mario) ([cf2]b [cf1]Hamrun, Malta, ~[
sm1931[nm). Maltese composer and cond. Studied Malta ~and Toronto Univ. Cond. Ca
nadian Broadcasting ~Corporation [sm1960[nm=n[sm5[nm. Comp. incl. [sm1[nm-act op
era ~[cf2]Melita [cf1]([sm1968[nm), [cf2]Maltese Dances [cf1]for orch., [cf2]Maq
am, ~[cf1]pf. and orch., [cf2]Zeitgeist, [cf1]orch., ob. concertante, ~accordion
 conc., pf. trio, vc. sonata, and [cf2]Missa ~Mundi [cf1]for organ.[cm~Cammarano
, Salvatore[fy75,1] ([cf2]b[cf1] Naples, [sm1801[nm; [cf2]d[cf1] ~Naples, [sm185
2[nm). It. poet, dramatist, and librettist. ~Had plays staged when he was [sm18[
nm. Wrote first lib. ~in [sm1834[nm (for Vignozzi). In [sm1835[nm first collab.
with ~[fy45,1]*[fy75,1]Donizetti. Among the many libs. he wrote
for ~him were those of [cf2]Lucia di Lammermoor [cf1]and[cf2] ~Belisario[cf1]. I
n [sm1841[nm wrote [cf2]Alzira [cf1]for Verdi, following ~it with [cf2]La battag
lia di Legnano, Luisa Miller[cf1], and ~most of [cf2]Il  Trovatore[cf1] (he died
 before completing ~the last). Also wrote libs. for Pacini and Merca~~dante.[cm~
Campana; Campane [fy75,1](It.). Bell; bells, e.g. those ~used in the orch.[cm~Ca
mpana sommersa, La [fy75,1](The Submerged Bell). ~Opera in [sm4[nm acts by [fy45
,1]*[fy75,1]Respighi to lib. by Guastalla ~based on play by G. Hauptmann. Prod.
Hamburg ~[sm1927[nm, NY Met. [sm1928[nm.[cm~Campanella [fy75,1](It.). Little bel
l. (The plural, [cf2]campa~~nelle, [cf1]is sometimes used for [fy45,1]*[fy75,1]G
lockenspiel.)[cm~Campanella, La. [fy75,1]Transcr. for pf. by Liszt of the ~[cf2]
Rondo alla campanella [cf1]([cf2]Ronde ;aga la clochette[cf1]; [fy45,1]*[fy75,1]
Bell ~rondo) from Paganini's Vn. Conc. in B minor. ~Liszt first used theme in [c
f2]Grand Fantaisie sur La ~Clochette [cf1]([cf2]La campanella[cf
1]) of [sm1831[nm=n[sm2[nm, rev. in [cf2]Six ~grandes ;aaetudes d'apr;ages les c
aprices de Paganini [cf1]([sm1838[nm, ~rev. [sm1851[nm).[cm~Campanello di Notte,
 Il [fy75,1](The Night Bell). Opera ~in [sm1[nm act by Donizetti (sometimes also
 known as [cf2]Il ~campanello dello Speziale[cf1]) to text by composer. ~Prod. N
aples [sm1836[nm, London [sm1837[nm.[cm~Campanetta [fy75,1](It.). [fy45,1]*[fy75
,1]Glockenspiel.[cm~Campbells are Coming, The. [fy75,1]This popular Scot. ~tune
first appeared in print in [sm1745[nm, at which ~time it was used as a country d
ance under the ~title [cf2]Hob and Nob[cf1], but about the same period also ~fou
nd with its present title. Many contradictory ~statements about its origin.[cm~C
ampenhout, Fran;Alcois van [fy75,1]([cf2]b [cf1]Brussels, [sm1779[nm; [cf2]d ~[c
f1]Brussels, [sm1848[nm). Belg. ten., violinist, and composer. ~Comp. operas, ba
llets, and church mus., but ~remembered chiefly as composer of Belg. nat. ~anthe
m, [cf2]La [fy45,1]*[fy75,2]Braban;Alconne.[cm~Campiello, Il [fy
75,1](The Square). Opera in [sm3[nm acts by ~[fy45,1]*[fy75,1]Wolf-Ferrari to li
b. by Ghisalberti based on ~Goldoni's comedy. Prod. Milan [sm1936[nm.[cm~Campion
 [fy75,1](Campian), [fy65][cf3]Thomas [fy75,1]([cf2]b [cf1]Witham, Essex, ~[sm15
67[nm; [cf2]d [cf1]Witham, [sm1620[nm). Eng. composer, lawyer, ~and physician. P
ubd. first [cf2]Book of Ayres, [cf1]with a ~group by [fy45,1]*[fy75,1]Rosseter,
[sm1601[nm, following it with [sm4[nm ~more ([sm1610[nm=n[sm12[nm) in which he w
rote both mus. ~and words, with lute acc. Wrote several masques ~for perf. at co
urt, critique of Eng. poetry, and ~treatise on counterpoint ([sm1613[nm)=ma prot
otype ~`Elizabethan man', proficient in all the arts.[cm~Campoli, Alfredo [fy75,
1]([cf2]b [cf1]Rome, [sm1906[nm). It.-born ~violinist. Studied with father. Sett
led in Eng. as a ~child. London d;aaebut at age [sm11[nm. Made reputation ~in li
ght mus., running his own orch., but after ~[sm1945[nm devoted himself to the co
nc. repertory, ~notably in Elgar and Bliss. Amer. d;aaebut [sm19
53[nm ~(NY).[cm~Campra, Andr;aae [fy75,1]([cf2]b [cf1]Aix-en-Provence, [sm1660[n
m; [cf2]d ~[cf1]Versailles, [sm1744[nm). Fr. composer. Dir. of mus. at ~several
caths., incl. Notre Dame de Paris [sm1694[nm=n~[sm1700[nm. First stage work was
[cf2]op;aaera-ballet L'Europe ~galante [cf1](Paris [sm1697[nm). Created the form
 [cf2]op;aaera-ballet[cf1]. ~Comp. many more operas and [cf2]op;aaera-ballets[cf
1], incl. ~[cf2]Tancr;Agede [cf1]([sm1702[nm) and [cf2]Idomen;Aaee [cf1]([sm1712
[nm). Also wrote ~much church mus. incl. [cf2]Requiem[cf1] ([cf2]c.[cf1][sm1722[
nm).[cm~Canale. [fy75,1]Another name for [fy45,1]*[fy75,1]psaltery.[cm~[PN123,0,
0,R,I0]Canaries [fy75,1](or [cf2]Canarie, [cf1]or [cf2]Canary[cf1]). Old dance i
n ~rhythm something like [fy45,1]*[fy75,1]gigue but with all its ~phrases beginn
ing on first beat of the measure ~with a note a beat and a half long. So called
in ~[sm17[nmth cent. because it imitated Canary Is. rituals.[cm~Can-Can [fy75,1]
(or [cf2]Chahut[cf1]). Boisterous (and supposedly ~indecorous) P
arisian dance of quadrille pattern. ~Best-known example is Offenbach's from [cf2
]Orpheus ~in the Underworld.[cm~Canci;Aaon [fy75,1](Sp.). Song. There are diminu
tives=m~[cf2]Cancioncica, Cancioncilla, Cancioncita. [cf1]The [cf2]Canci;Aaon ~d
anza [cf1]is a Sp. dance-song.[cm~Cancrizans. [fy75,1]See [cf2]Canon.[cm~Candide
. [fy75,1]Comic operetta by Leonard [fy45,1]*[fy75,1]Bernstein, ~to lib. by Lill
ian Hellman adapted from Voltaire. ~Prod. Boston, Oct. [sm1956[nm.[cm~Caniglia,
Maria [fy75,1]([cf2]b [cf1]Naples, [sm1906[nm; [cf2]d[cf1] Rome, [sm1979[nm). ~I
t. sop. D;aaebut Turin [sm1930[nm; Milan [sm1930[nm=n[sm42[nm; at CG ~[sm1937[nm
,[sm1939[nm, and [sm1950[nm; NY Met. [sm1938[nm=n[sm9[nm. A famous ~Tosca.[cm~Ca
nino, Bruno[fy75,1] ([cf2]b[cf1] Naples, [sm1935[nm). It. pianist and ~composer.
 Studied at Milan Cons. Won prizes at ~int. pf. comps. at Bolzano and Darmstadt.
 ~Specialist in contemp. mus., notably works by ~Donatoni and Bussotti. Often ac
companied Cathy ~[fy45,1]*[fy75,1]Berberian. Member of Trio di M
ilano. Prof. of ~mus., Milan Cons. from [sm1961[nm. Works incl. ~chamber concs.
and str. qts.[cm~Cannabich, Johann Christian [fy75,1]([cf2]b [cf1]Mannheim, ~[sm
1731[nm; [cf2]d [cf1]Frankfurt, [sm1798[nm). Ger. violinist, composer, ~and cond
. Trained under [fy45,1]*[fy75,1]Stamitz. In [sm1759[nm ~became leader of Mannhe
im orch., becoming dir. ~[sm1775[nm. Dir., court mus. at Munich, [sm1778[nm. Moz
art ~praised his conducting. Wrote operas, ballets, ~syms., sinfonie concertanti
, and chamber mus. ~His son Karl ([cf2]b [cf1]Mannheim, [sm1771[nm; [cf2]d [cf1]
Munich, ~[sm1806[nm) succeeded him as dir. of Munich orch. ~[sm1800[nm.[cm~Canno
n, [fy75,1](=+=+=+Jack) [fy65][cf3]Philip [fy75,1]([cf2]b [cf1]Paris, [sm1929[nm
). Eng. ~composer and cond. Studied Dartington Hall ~with Imogen Holst and RCM w
ith Vaughan ~Williams and Gordon Jacob. Lecturer, Sydney ~Univ. [sm1957[nm=n[sm9
[nm; prof. of comp. RCM from [sm1960[nm. ~Works incl. operas [cf2]Morvoren [cf1]
(Cornish for `mer~~maid'), [cf2]Dr Jekyll and Mr Hyde, [cf1]and
[cf2]The Man from ~Venus[cf1]; pf. concertino; str. qt. ([sm1964[nm); Sym. ([cf2
]Oraison ~fun;agebre de l';afame humaine[cf1]); [cf2]The Temple [cf1]([sm1974[nm
), ~unacc. ch.; pf. trio ([cf2]Lacrimae mundi[cf1]); [cf2]Son of Man, ~[cf1]`Eur
opean choral symphony' in Lat., Eng., Fr., ~and Ger. for ten., bar., ch., and or
ch.; [cf2]Son of God[cf1], ~unacc. ch.; [cf2]Son of Science[cf1], cantata; [cf2]
Spring, [cf1]sym~~phonic study; [sm5[nm [cf2]Chansons de Femme, [cf1]sop. and ha
rp; ~[cf2]Fleeting Fancies,[cf1] unacc. ch.; [cf2][sm3[nm Rivers, [cf1]ten. and
pf.; ~[cf2]Carillon [cf1]for organ; cl. quintet; [cf2]Te Deum, [cf1]ch. and ~org
an ([sm1975[nm); [cf2]Lord of Light, [cf1]oratorio, soloists, ch., ~semi-ch., or
gan, orch. ([sm1980[nm).[cm~Canntaireachd. [fy75,1]Curious Scot. Highland bagpip
e ~notation, in which syllables stand for recognized ~groups of notes.[cm~Canon.
 [fy75,1]([sm1[nm) Strictest form of contrapuntal imita~~tion. The word means `r
ule' and, musically, it is ~applied to [fy45,1]*[fy75,1]counterp
oint in which one melodic ~strand gives the rule to another, or to all the ~othe
rs, which must, at an interval of time, imitate ~it, note for note. Simple forms
 of choral canon ~are the [fy45,1]*[fy75,2]Catch [cf1]and the [fy45,1]*[fy75,2]R
ound. [cf1]There are varieties ~of canon, as follows:[ep~[el4]^[cf2]Canon at the
 Octave [cf1]in which the vv. (human or ~instr.) are at that pitch-interval from
 one another. ~[cf2]Canon at the Fifth, [cf1]or at any other interval, is ~simil
arly explained.[ep~^A Canon for [sm2[nm vv. is called a [cf2]Canon [sm2[nm in [s
m1[nm [cf1](and ~similarly with [cf2]Canon [sm3[nm in [sm1[nm, [cf1]etc.). A [cf
2]Canon [sm4[nm in [sm2[nm [cf1]is ~a double canon, i.e. one in which [sm2[nm vv
. are ~carrying on [sm1[nm canon whilst [sm2[nm others are engaged ~on another.[
ep~^[cf2]Canon by Augmentation [cf1]has the imitating vv. in ~longer notes than
the one that they are imitating. ~[cf2]Canon by Diminution [cf1]is the reverse.[
ep~^[cf2]Canon Cancrizans [cf1]is a type in which the imitating
~v. gives out the melody backwards (`Cancrizans' ~from Lat. [cf2]Cancer[cf1];eqc
rab; but crabs move side~~ways). Other names for it are [cf2]Canon per recte et
~retro [cf1](or [cf2]Rectus et Inversus[cf1]) and [cf2]Retrograde Canon.[ep~[cf1
]^A [cf2]Perpetual Canon [cf1]or [cf2]Infinite Canon [cf1]is a Canon so ~arrange
d that each v., having arrived at the end, ~can begin again, and so indefinitely
 as in [cf2]Three ~blind mice. [cf1]The converse is [cf2]Finite Canon.[ep~^Stric
t Canon [cf1]in which the intervals of the ~imitating v. are exactly the same as
 those of the ~v. imitated (i.e. as regards their quality of major, ~minor, etc.
).[ep~^[cf1]In [cf2]Free Canon [cf1]the intervals remain the same ~numerically,
but not necessarily as to quality (e.g. ~a major [sm3[nmrd may become a minor [s
m3[nmrd).[ep~^That v. in a canon which first enters with the ~melody to be imita
ted is called [cf2]Dux [cf1](leader) or ~[cf2]Antecedent, [cf1]and any imitating
 v. is called [cf2]Comes ~[cf1](companion) or [cf2]Consequent.[e
p~^[cf1]In [cf2]Canon by Inversion, [cf1](also styled [cf2]al rovescio[cf1]), an
 ~upward interval in the [cf2]Dux [cf1]becomes a downward ~one in the [cf2]Comes
, [cf1]and vice versa. [cf2]Canon per Arsin ~et Thesin [cf1]has the same meaning
, but also another ~one, i.e. Canon in which notes that fall on strong ~beats in
 the [cf2]Dux [cf1]fall on weak beats in the [cf2]Comes, ~[cf1]and vice versa.[e
p~ ^Choral Canon in which there are non-canonic ~instrumental parts is [cf2]Acco
mpanied Canon.[ep~[cf1]^Passages of canonic writing often occur in ~comps. that,
 as wholes, are not canon. In addition ~to actual canonic comp. there exists a g
reat deal ~of comp. with a similar effect but which is too ~free to come under t
hat designation, being mere ~[cf2]Canonic Imitation.[ep~^[cf1]([sm2[nm) Name for
 [fy45,1]*[fy75,1]psaltery (or [fy45,1]*[fy75,2]canale[cf1]).[cm~Cantabile [fy75
,1](It.). Singable, singingly, i.e. with the ~melody smoothly perf. and well bro
ught out. ~Critics frequently write of a performer's [cf2]cantab
ile ~[cf1]style, meaning a lyrical `singing' style. (For Aria ~Cantabile see [cf
2]Aria[cf1].) [fy65][cf3]Cantando[fy75,1] (It.), singing.[cm~[PN124,0,0,L,I0]Can
tata [fy75,1](It.). Sung. Term with different meanings ~according to period:[ep~
^([sm1[nm) In early [sm17[nmth cent., often a dramatic madrigal ~sung by one v.,
 with lute acc. or basso continuo. ~The form became very popular in It. later in
 [sm17[nmth ~cent., being perf. by several vv., some cantatas ~being comp. of re
cit., others of a succession of ~arias. The [cf2]cantata da camera [cf1]was secu
lar, the ~[cf2]cantata da chiesa [cf1](developed by [fy45,1]*[fy75,1]Carissimi)
sacred. ~A prolific exponent of the cantata was A. ~[fy45,1]*[fy75,1]Scarlatti,
who wrote [sm600[nm for solo v. and continuo, ~[sm60[nm for v. and instrs., and
several chamber cantatas ~for [sm2[nm vv.[ep~^([sm2[nm) During [sm18[nmth cent.,
 became more theatrical, ~comprising a [cf2]ritornello, aria [cf1]on two contras
ted ~themes, and concluding [cf2]ritornello, [cf1]and acc. by st
r. ~In Ger. the form was found mainly in the church, ~written for soloist(s), ch
., organ, and orch. on ~biblical text. [fy45,1]*[fy75,1]Telemann, [fy45,1]*[fy75
,1]Sch;Auutz, and [fy45,1]*[fy75,1]Handel ~wrote in this style but were overshad
owed by ~[fy45,1]*[fy75,1]Bach who wrote nearly [sm300[nm church cantatas as ~we
ll as secular cantatas which resemble a short ~opera ([cf2]Coffee Cantata [cf1]a
nd [cf2]Peasant Cantata[cf1]).[ep~^([sm3[nm) From Bach's model there developed t
he ~cantata of the [sm19[nmth cent. which was usually on a ~sacred subject and w
as, in effect, a short oratorio. ~Secular cantatas on an elaborate scale are Elg
ar's ~[cf2]King Olaf [cf1]and [cf2]Caractacus. [cf1]In the [sm20[nmth cent. the
~term has acquired a much looser meaning. ~Walton's [cf2]Belshazzar's Feast [cf1
]and Vaughan Wil~~liams's [cf2]Sancta Civitas [cf1]are described by their ~compo
sers as oratorios, but could equally well be ~classified as cantatas. Britten's
[cf2]Cantata academica ~[cf1]is for soloists, ch., and orch., wh
ile Stravinsky's ~[cf2]Cantata [cf1]is for [sm2[nm soloists, women's ch., and [s
m6[nm instr.[cm~Cantata. [fy75,1]Setting by Stravinsky for sop., ten., ~female c
h., [sm2[nm fl., [sm2[nm ob., cor anglais, and vc. of ~anon. [sm15[nmth- and [sm
16[nmth-cent. Eng. poems (incl. ~`Lyke Wake Dirge' and `Westron Wind'). Comp. ~[
sm1951[nm=n[sm2[nm. F.p. Los Angeles [sm1952[nm; London [sm1953[nm.[xm[cm~[ol0][
ep~[xp[te~







[do25][j99]~~~~~~[sm153842[nm_C[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmC[sm003[nm[cm[sm25[nm[cm~[sm001[nm[cm[sm24[nm/[sm10[nm/[sm79
[nm[cm[sm12[nm[cm~~[sm047[nm[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~[ap[j1]Cantata Acade
mica [fy75,1](Carmen Basiliense). Choral ~work, Op. [sm62[nm, by Britten, comp.
[sm1959[nm for [sm500[nmth ~anniv. of Basle Univ. For SATB soloists, ch., and ~o
rch. F.p. Basle [sm1960[nm. Lat. text, compiled from ~Univ. Charter and orations
 in praise of Basle, by ~Bernhard Wyss.[cm~Cantata Profana [fy75,1]([cf2]A Kilen
c csodaszarvas[cf1]; The [sm9[nm ~Enchanted Stags). Work by Bart;aaok for double
 ch., ~ten. and bar. soloists, and orch., comp. [sm1930[nm and ~f.p. London (BBC
 broadcast) [sm25[nm May [sm1934[nm.[cm~Cantatrice [fy75,1](It.). Female singer.
[cm~Cante flamenco. [fy75,1]Type of melody popular in ~Andalusia and used in bot
h song and dance. A ~branch of [fy45,1]*[fy75,2]Cante hondo. [cf1]The significan
ce of the ~word [cf2]Flamenco [cf1](Flemish) is much disputed. S
ee ~also [cf2]Flamenco.[cm~Cante hondo [fy75,1]or [fy65][cf3]Cante jondo [fy75,1
](Sp.). Deep song. ~Traditional Andalusian song, with a good deal of ~repetition
 of the note, much melodic decoration, ~and the use of some intervals that do no
t occur in ~the accepted European scales. The Phrygian ~[fy45,1]*[fy75,1]cadence
 is much used and the acc. is usually by ~guitar, played by another performer.[c
m~Cantelli, Guido [fy75,1]([cf2]b [cf1]Novara, [sm1920[nm; [cf2]d [cf1]Orly, Par
is, ~[sm1956[nm). It. cond. Studied Milan Cons. D;aaebut ~Novara (Teatro Coccia)
 [sm1943[nm. Guest cond. La ~Scala, Milan, after [sm1945[nm. Invited by Toscanin
i to ~guest-cond. NBC Orch., NY, [sm1949[nm. Edinburgh ~Fest. [sm1950[nm. Appoin
ted mus. dir. of La Scala, ~Milan, a few days before death in air crash.[cm~Cant
eloube de Malaret, Marie-Joseph [fy75,1]([cf2]b [cf1]An~~nonay, [sm1879[nm; [cf2
]d [cf1]Paris, [sm1957[nm). Fr. composer. Pupil ~of Schola Cantorum of [fy45,1]*
[fy75,1]d'Indy, whose biography ~he wrote ([sm1949[nm). Wrote [s
m2[nm operas but best known ~as collector of Fr. folk-songs, hence the [fy45,1]*
[fy75,2]Chants ~d'Auvergne, [cf1][sm9[nm songs for v. and pf. or orch. taken ~fr
om the [sm4[nm vols. he pubd., [sm1923[nm=n[sm30[nm.[cm~Canterbury Degrees. [fy7
5,1]See [cf2]Archbishop's Degrees.[cm~Canterbury Pilgrims, The. [fy75,1]([sm1[nm
) Opera in [sm3[nm acts ~by Stanford to lib. by G. A. A'Beckett based on ~Chauce
r's poem. Prod. London [sm1884[nm.[ep~^([sm2[nm) Opera in [sm4[nm acts by [fy45,
1]*[fy75,1]de Koven to lib. by ~MacKaye after Chaucer. Prod. NY Met. [sm1917[nm.
[ep~^([sm3[nm) Cantata by George Dyson based on Chaucer ~(modernized text) f.p.
Winchester [sm1931[nm (ov. [cf2]At ~the Tabard Inn [cf1][sm1946[nm).[cm~Canti ca
rnascialeschi [fy75,1](It.). Carnival Songs (sin~~gular is [cf2]canto carnascial
esco[cf1]). Processional madri~~gals of an early simple variety, with several ~s
tanzas to the same mus., something like the Eng. ~Ayre but with the tune in the
ten. Part of social ~life of Florence in the [sm15[nmth and [sm1
6[nmth cents.[cm~Canticle. [fy75,1]([sm1[nm) A Bible hymn (other than a psalm) ~
as used in the liturgy of a Christian church. In ~the R.C. Church the Canticles
drawn from the ~New Testament are called the [cf2]Evangelical Canticles ~[cf1]or
 [cf2]Major Canticles, [cf1]in distinction from those ~drawn from the Old Testam
ent, which are called ~the [cf2]Minor Canticles.[ep~[cf1]^([sm2[nm) Concert work
 with (usually but not exclu~~sively) religious text, particularly favoured by ~
Britten (see below).[cm~Canticles. [fy75,1]Name given by Britten to [sm5[nm of h
is ~comps. I ([sm1947[nm) Op. [sm40[nm, is a setting of a poem by ~Francis Quarl
es ([cf2]My beloved is mine[cf1]) and is sub-~titled `In Memory of Dick Sheppard
' (a former ~vicar of St Martin-in-the Fields, London); II ([sm1952[nm) ~[cf2]Ab
raham and Isaac, [cf1]Op. [sm51[nm, on a text from a ~Chester miracle play, for
cont., ten., and pf.; III ~([sm1954[nm) [cf2]Still Falls the Rain, [cf1]Op. [sm5
5[nm, for ten., hn., and ~pf., poem by Edith Sitwell; IV ([sm197
1[nm) [cf2]Journey of ~the Magi, [cf1]Op. [sm86[nm, for counterten., ten., bar.,
 and ~pf., poem by T. S. Eliot; V ([sm1974[nm) [cf2]The Death of St ~Narcissus,
[cf1]Op. [sm89[nm, for ten. and harp, poem by ~Eliot.[cm~Canticum Sacrum [fy75,1
](ad honorem Sancti Marci ~nominis) (Sacred song (to the honour of the name ~of
St Mark)). Comp. by Stravinsky in [sm5[nm move~~ments, with introductory ded., f
or ten., bar., ch., ~[PN125,0,0,R,I0]and orch. Comp. [sm1955[nm. F.p. Venice (St
 Mark's) ~[sm1956[nm.[cm~Canti di Prigionia [fy75,1](Songs of Imprisonment). ~Wo
rk by [fy45,1]*[fy75,1]Dallapiccola, comp. [sm1938[nm=n[sm41[nm as a ~protest ag
ainst Mussolini's adoption of Hitler's ~racial policies (Dallapiccola's wife was
 Jewish), for ~ch., [sm2[nm pf., [sm2[nm harps, and perc. [sm3[nm movements are:
 [sm1[nm, ~[cf2]Preghiera di Maria Stuarda, [cf1][sm2[nm, [cf2]Invocazione di Bo
ezio, ~[cf1][sm3[nm, [cf2]Congedo di Girolamo Savonarola.[cm~Cantiga. [fy75,1]Sp
. or Port. folk-song; also type of ~medieval religious song, of
which most celebrated ~examples are probably contained in the [sm420[nm ~[cf2]Ca
ntigas de Santa Maria [cf1](Songs of the Virgin ~Mary), compiled [sm1250[nm=n[sm
80[nm by Alfonso the Wise, ~King of Sp.[cm~Cantilena [fy75,1](It.; Fr. [cf2]cant
il;agene[cf1]). Cradle song. ([sm1[nm) ~Smooth, melodious (and not rapid) vocal
writing ~(used operatically esp. in relation to R. Strauss) or ~perf.[ep~^([sm2[
nm, now obsolete). Short song.[ep~^([sm3[nm) In choral mus., the part carrying t
he main ~tune.[ep~^([sm4[nm) Type of [fy45,1]*[fy75,1]solfeggio in which all the
 notes of ~the scale appeared.[cm~Cantillation. [fy75,1]Chanting in free rhythm,
 in ~plainsong style. The term is most used in ~connexion with Jewish liturgical
 mus.[cm~Cantiones sacrae [fy75,1](Sacred Songs). Term used by ~many composers,
incl. ([sm1[nm) Motets by William ~[fy45,1]*[fy75,1]Byrd. Book I ([sm1589[nm) co
ntains [sm29[nm for [sm5[nm vv., Book ~II ([sm1591[nm) [sm20[nm for [sm5[nm vv.
and [sm12[nm for [sm6[nm vv. In [sm1575[nm ~Byrd and Tallis join
tly pubd. vol. of [cf2]Cantiones ~sacrae [cf1]of which [sm17[nm were by Byrd.[ep
~^([sm2[nm) Comp. by John [fy45,1]*[fy75,1]Gardner for sop., ch., and ~orch., to
 biblical text, f.p. Hereford [sm1952[nm.[cm~Canto [fy75,1](It.). Song, melody.
So [cf2]Col Canto, [cf1]With the ~song, i.e. the accompanist to take his time ~t
hroughout from the performer of the melody. ~Also [cf2]marcato il canto, [cf1]br
ing out the tune.[cm~Canto fermo [fy75,1](It.). See [cf2]Cantus firmus.[cm~Canto
r. [fy75,1]([sm1[nm) The precentor or dir. of the mus. in a ~Ger. Protestant chu
rch (as J. S. Bach was at ~Thomaskirche, Leipzig).[ep~^([sm2[nm) The leading sin
ger in a synagogue.[cm~Cantoris [fy75,1](Lat.). Of the singer, i.e. precentor. T
hat ~side of the choir of a cath., etc., on which the ~precentor sits but now no
rmally the north side. ~Opposite of [fy45,1]*[fy75,2]decani.[cm~Cantrell, Derric
k [fy75,1](Edward) ([cf2]b [cf1]Sheffield, [sm1926[nm). ~Eng. organist. Studied
Oxford Univ. Master of ~Mus., Chelmsford Cath. [sm1953[nm=n[sm62
[nm; organist, ~Manchester Cath. [sm1962[nm=n[sm77[nm. Prof. of org. RMCM ~and R
NCM from [sm1963[nm.[cm~Cantus [fy75,1](Lat.). Song. In the [sm16[nmth and [sm17
[nmth cents. ~applied to the uppermost v. in choral mus.[cm~Cantus choralis. [fy
75,1]See [cf2]Chorale. [cf1]For [fy65][cf3]Cantus figura~~tus, Cantus mensuratus
, [fy75,1]and [fy65][cf3]Cantus planus, [fy75,1]see ~[cf2]Plainsong.[cm~Cantus f
irmus [fy75,1](Lat.). Fixed song. A melody, ~usually taken from plainsong, used
by composers ~in [sm14[nmth=n[sm17[nmth cents. as the basis of a polyphonic ~com
p. and against which other tunes are set in ~counterpoint. Also, in [sm16[nmth c
ent., the upper v.-~line of a choir. Sometimes referred to as [cf2]canto ~fermo.
 [cf1]See [cf2]Conductus.[cm~Canyons aux ;aaEtoiles, Des [fy75,1] (From Canyons
to the ~Stars). Work by [fy45,1]*[fy75,1]Messiaen for pf., hn., and orch., ~comp
 [sm1970=n4[nm, f.p. NY, [sm1974[nm.[cm~Canzona, canzone [fy75,1](It., plural [c
f2]canzoni[cf1]). ([sm1[nm) Type ~of troubadour song in the char
acteristic form ~AAB (also known as [cf2]canzo [cf1]or [cf2]canso [cf1](Proven;A
lcal)).[ep~^([sm2[nm) Designation for several types of [sm16[nmth-cent. It. ~sec
ular vocal mus., some similar to the madrigal, ~others to the popular [cf2]villa
nella.[ep~[cf1]^([sm3[nm) In [sm18[nmth- and [sm19[nmth-cent. mus., a song or in
str. ~piece of lyrical character, e.g. [cf2]Voi che sapete [cf1]from ~Mozart's [
cf2]Le nozze di Figaro.[ep~[cf1]^([sm4[nm) [sm16[nmth- and [sm17[nmth-cent. inst
r. comp. which ~developed from lute and kbd. arrs. of Fr.-Flemish ~[cf2]chansons
 [cf1]of Janequin, Sermisy, Josquin Despr;ages, ~etc. It. composers wrote orig.
comps. on these ~models either for organ ([cf2]canzona d'organo[cf1]), or for ~i
nstr. ens. ([cf2]canzona da sonar[cf1]), which led in turn to ~the [sm17[nmth-ce
nt. sonata and kbd. fugue. Notable ~composers of the kbd. canzona, which through
out ~its development retained characteristic sectional ~form and quasi-fugal use
 of imitation, incl. G. ~Cavazzoni, A. Gabrieli, C. Merulo, Fres
cobaldi, ~Froberger, and J. S. Bach; while sectional variety ~and contrast of th
e ens. canzona exploited by G. ~Gabrieli and Frescobaldi.[cm~Canzonet, canzonett
a. [fy75,1]Diminutive of [fy45,1]*[fy75,1]Canzona. ~In late [sm16[nmth and [sm17
[nmth cents., a short, polyphonic, ~dance-like vocal piece, unacc. or (later) wi
th instr. ~acc.; later applied to a light, flowing kind of ~simple solo song. Tc
haikovsky called the slow ~movt. of his vn. conc. a [cf2]canzonetta[cf1].[cm~Cao
ine. [fy75,1]Irish funeral song, acc. by wailing (Eng. ~spelling is `Keen').[cm~
Cape, Safford [fy75,1]([cf2]b [cf1]Denver, Col., [sm1906[nm; [cf2]d[cf1] Brussel
s, ~[sm1973[nm). Amer. cond., specialist in medieval mus. ~Settled in Brussels [
sm1925[nm. Founded Pro Musica ~Antiqua for perf. of early mus., [sm1933[nm. Also
 comp. ~chamber mus.[cm~Capell, Richard [fy75,1]([cf2]b [cf1]Northampton, [sm188
5[nm; [cf2]d ~[cf1]London, [sm1954[nm). Eng. critic and author. Studied ~Lille C
ons. Mus. critic of London [cf2]Daily Mail ~[cf1]([sm1911[nm=n[s
m31[nm) and of [cf2]Daily Telegraph [cf1]([sm1931[nm=n[sm54[nm). ~Owner and ed.
of quarterly [cf2]Music and Letters [cf1]from ~[sm1936[nm. Wrote [cf2]Schubert's
 Songs [cf1]([sm1928[nm) and trans. lib. ~of R. Strauss's [cf2]Friedenstag [cf1]
(Day of Peace) [sm1938[nm. ~Served [sm1914[nm=n[sm18[nm war and as war correspon
dent ~[sm1939[nm=n[sm45[nm war, writing [cf2]Simiomata [cf1](=+=+Jottings) about
 ~Greece [sm1944[nm=n[sm5[nm. O.B.E. [sm1946[nm.[cm~[PN126,0,0,L,I0]Capella. [fy
75,1]See [cf2]Cappella.[cm~Capelle [fy75,1](Fr.). Same as Ger. [fy45,1]*[fy75,2]
Kapelle.[cm~Capellmeister. [fy75,1]See [cf2]Kapellmeister.[cm~Capet, Lucien [fy7
5,1]([cf2]b [cf1]Paris, [sm1873[nm; [cf2]d [cf1]Paris, [sm1928[nm). Fr. ~violini
st, composer, and teacher at Paris Cons. ~Wrote str. qts. and vn. sonata but mem
orable ~chiefly as founder and leader of the Capet Qt. ~which existed, with vary
ing membership, from ~[sm1893[nm until Capet's death, apart from an interlude ~[
sm1899[nm=n[sm1903[nm and again [sm1914[nm=n[sm18[nm.[cm~Capilup
i, Geminiano [fy75,1]([cf2]b [cf1]Modena, [sm1573[nm; [cf2]d ~[cf1]Modena, [sm16
16[nm). It. composer, pupil of [fy45,1]*[fy75,1]Vecchi ~whom he succeeded as cho
irmaster, Modena ~Cath., [sm1604[nm. Wrote madrigals, motets, etc.[cm~Capit;aaan
, El. [fy75,1]March by [fy45,1]*[fy75,1]Sousa, also an operetta ~by him to lib.
by C. Klein with lyrics by T. Frost. ~Prod. Boston and NY [sm1896[nm, London [sm
1899[nm.[cm~Caplat, Moran[fy75,1] ([cf2]b[cf1] Herne Bay, [sm1916[nm). Eng. ~adm
inistrator and actor. Joined staff at Glynde~~bourne [sm1945[nm becoming gen. ad
min. [sm1949[nm=n[sm81[nm. ~C.B.E. [sm1968[nm.[cm~Caplet, Andr;aae [fy75,1]([cf2
]b [cf1]Le Havre, [sm1878[nm; [cf2]d [cf1]Paris, [sm1925[nm). ~Fr. cond. and com
poser. Studied Paris Cons. ([cf2]Prix ~de Rome [cf1][sm1901[nm). Cond. Boston, M
ass., Opera Co. ~[sm1910[nm=n[sm14[nm; CG [sm1912[nm. Friend of Debussy whose ~[
cf2]Children's Corner [cf1]and [cf2]Pagodes [cf1]he orch. and whose ~[cf2]Le Mar
tyre de Saint-S;aaebastien [cf1]he cond. at its f.p. ~[sm1911[nm
. Comp. orch. works, chamber mus., choral ~works, and songs.[cm~Capo, Capotasto,
 capo d'astro, capodastro [fy75,1](It.); ~[fy65][cf3]Capodast;agere [fy75,1](Fr.
), [fy65][cf3]Kapotaster [fy75,1](Ger.). Head of the ~touch, i.e. the `nut', or
raised portion of the top of ~the fingerboard of a str. instr., which `touches'
~the str. and defines their length at that end. ~Another name is [cf2]Barre [cf1
](Fr.). A movable capotasto ~has sometimes been used (esp. in guitar playing) ~w
hich can be placed at any point on the str. (in ~vc. playing the thumb acts as s
uch and in the ~[sm18[nmth cent. was sometimes so called). In USA the ~name [cf2
]capotasto [cf1]is reserved for this type.[cm~Cappella. [fy75,1](It.). Chapel. [
cf2]A cappella [cf1]or [cf2]alla cappella ~[cf1](applied to choral mus.) meaning
 in church style, ~i.e. unaccompanied (like [sm16[nmth-cent. and other ~church m
us.). A rarer sense of these expressions ~makes them synonymous with [cf2]alla [
fy45,1]*[fy75,2]breve.[cm~Cappuccilli, Piero[fy75,1] ([cf2]b[cf1
] Trieste, [sm1929[nm). It. baritone. ~Studied in Trieste. Official d;aaebut Tea
tro Nuovo, ~Milan, [sm1957[nm in [cf2]Pagliacci[cf1] (Tonio). Scala d;aaebut [sm
1964[nm, ~CG [sm1967[nm ([cf2]La Traviata[cf1]), Chicago [sm1969[nm. One of ~out
standing Verdi bar. of his generation.[cm~Capriccio [fy75,1](It.); [fy65][cf3]ca
price [fy75,1](Eng. and Fr.). ([sm1[nm) Term ~applied to some [sm16[nmth-cent. I
t. madrigals and, ~later, to a kind of free fugue for kbd. instr., and ~later to
 any light quick comp.[ep~^([sm2[nm) In early [sm18[nmth cent. sometimes used fo
r ~[fy45,1]*[fy75,1]`Cadenza'.[ep~[cf1]^([sm3[nm) [cf2]A capriccio [cf1]means Ac
cording to the fancy ~(caprice) of the performer, hence a comp. which ~has unexp
ected and orig. effects. Stravinsky and ~Jan;aaa;Akcek both wrote works for pf.
and orch. which ~they called [cf2]Capriccio, [cf1]Jan;aaa;Akcek's being for left
 hand ~only and wind ens. (comp. for the Cz. pianist ~Otakar Hollmann). [sm2[nmn
d movement of Haydn's ~Sym. No. [sm86[nm (Hob.I:[sm86[nm) is cal
led [cf2]Capriccio[cf1], unusual ~in a sym.[cm~Capriccio. [fy75,1]R. Strauss's l
ast opera, comp. [sm1940[nm=n[sm1[nm, ~styled a `conversation piece', written in
 [sm1[nm act but ~usually perf. in [sm2[nm-act Munich version. Lib. by ~Clemens
[fy45,1]*[fy75,1]Krauss, incorporating elements by ~Hans Swarowsky, Josef Gregor
, S. Zweig, and ~Hofmannsthal, and loosely based on Casti's ~comedy [cf2]Prima l
a musica, poi le parole [cf1]([sm1786[nm). Prod. ~Munich [sm1942[nm, London CG [
sm1953[nm, NY [sm1954[nm. F.p. ~of version in Eng. trans., Glyndebourne Touring
~Co. [sm1976[nm.[cm~Capriccio Burlesco. [fy75,1]Orch. work by Walton, ~commissio
ned for [sm125[nmth anniv. of NY P.O. and ~f.p. by that orch., cond. [fy45,1]*[f
y75,1]Kostelanetz, [sm1968[nm. ~London [sm1969[nm.[cm~Capriccio espagnol. [fy75,
1]See [cf2]Spanish Caprice.[cm~Capriccio italien. [fy75,1]See [cf2]Italian Capri
ce.[cm~Capriccioso [fy75,1](It.), [fy65][cf3]capricieux [fy75,1](Fr.). Capriciou
s, ~hence in a lively, informal, whimsical style. So ~the adverb
 [cf2]capricciosamente. La Capricieuse [cf1]is by ~Elgar (Op. [sm17[nm) for vn.
and pf., comp. [sm1891[nm.[cm~Caprice. [fy75,1]See [cf2]Capriccio.[cm~Caprioli [
fy75,1](or Caproli), [fy65][cf3]Carlo[fy75,1] ([cf2]b[cf1] Rome, [cf2]c[cf1].[sm
1615[nm;  [cf2]d[cf1] ~Rome, [cf2]c.[cf1][sm1692[nm). It. composer, thought to b
e one ~of the originators of the cantata. Comp. operas, ~oratorio, and songs.[cm
~Capriol Suite. [fy75,1]Suite for str. orch. by Peter ~[fy45,1]*[fy75,1]Warlock,
 comp. [sm1926[nm, later arr. for full orch. Its ~[sm6[nm movements are based on
 old Fr. dances from ~[fy45,1]*[fy75,1]Arbeau's [cf2]Orch;aaesographie [cf1]([sm
1589[nm), `Capriol' being a ~character in the book.[cm~Capuana, Franco [fy75,1](
[cf2]b [cf1]Fano, [sm1894[nm; [cf2]d [cf1]Naples, [sm1969[nm). ~It. cond. D;aaeb
ut Brescia [sm1919[nm. Cond. San Carlo, ~Naples, [sm1930[nm=n[sm7[nm, Scala, Mil
an, [sm1937[nm=n[sm40[nm, [sm1946[nm=n[sm52[nm ~(mus. dir. from [sm1949[nm). Fir
st to cond. opera at CG ~after World War II ([cf2]La traviata, [
cf1][sm5[nm Sept. [sm1946[nm). ~Specialist in Wagner and Strauss. Cond. first It
. ~perf. of Jan;aaa;akcek's [cf2]Jen;anufa[cf1], Venice [sm1941[nm.[cm~Capuleti
e i Montecchi, I [fy75,1](The Capulets and the ~Montagues). Opera in [sm4[nm par
ts by Bellini to lib. by ~Romani freely adapted from the It. sources of ~Shakesp
eare's [cf2]Romeo and Juliet. [cf1]Prod. Venice [sm1830[nm, ~London [sm1833[nm,
New Orleans [sm1847[nm.[cm~Capuzzi, Giuseppe Antonio [fy75,1]([cf2]b [cf1]Bresci
a, [sm1755[nm; [cf2]d ~[cf1]Bergamo, [sm1818[nm). It. violinist and composer, pu
pil ~of Tartini. Visited London [sm1796[nm. Comp. operas, ~chamber mus., cantata
s, and orch. works, incl. ~conc. for db. and conc. for violone.[cm~[PN127,0,0,R,
I0]Cara, Marchetto [fy75,1]([cf2]b [cf1]Verona, late [sm15[nmth cent.; [cf2]d ~[
cf1]Mantua, [cf2]c[cf1].[sm1527[nm). It. composer of [fy45,1]*[fy75,2]frottole[c
f1] and ~works for lute. Was in service of Gonzaga court ~from about [sm1490[nm
until his death.[cm~Carabella, Ezio [fy75,1]([cf2]b [cf1]Rome, [
sm1891[nm; [cf2]d [cf1]Rome, [sm1964[nm). ~It. composer. Studied Milan and Rome.
 Comp. ~comic opera, operettas, sym., and other orch. ~works, and film mus.[cm~C
aractacus. [fy75,1]Several composers have written mus. ~based on the Brit. King
or chieftain who put up ~almost the last resistance to the Romans, but the ~best
-known work is Elgar's dramatic cantata, Op. ~[sm35[nm, for sop., ten., bar., an
d bass soloists, ch., and ~orch. to text by H.A. Acworth. F.p. Leeds [sm1898[nm,
 ~London [sm1899[nm.[cm~Caradori-Allan, Maria [fy75,1](Caterina Rosalbina) ([cf2
]b ~[cf1]Milan, [sm1800[nm; [cf2]d [cf1]Surbiton, [sm1865[nm). It.-born sop. who
 ~settled in Eng. D;aaebut London [sm1822[nm in [cf2]Le Nozze ~di Figaro[cf1] (C
herubino). Successful career in opera, ~but chief claims to fame are as sop. sol
oist in first ~London perf. Beethoven's [sm9[nmth Sym. [sm1825[nm, and in ~f.p.
of Mendelssohn's [cf2]Elijah, [cf1]Birmingham [sm1846[nm. ~She was duettist with
 [fy45,1]*[fy75,1]Malibran at Manchester ~Fest. [sm1836[nm when
the latter collapsed, dying [sm9[nm days ~later.[cm~Carapetian, Armen [fy75,1]([
cf2]b [cf1]Isphahan, Persia, of ~Armenian parents, [sm1908[nm). Persian-Amer. mu
si~~cologist. Educated Teheran, then Sorbonne and ~Harvard Univ. Also studied vn
. under Capet and ~comp. under Malipiero. In [sm1944[nm founded Institute ~of Re
naissance and Baroque Mus., Rome, ~superseded by the American Institute of Music
ol~~ogy of which he was dir. Ed works of [fy45,1]*[fy75,1]Brumel.[cm~Cardew, Cor
nelius [fy75,1]([cf2]b [cf1]Winchcombe, Glos., [sm1936[nm; ~[cf2]d[cf1] London,
[sm1981[nm). Eng. composer and guitarist. ~Chorister, Canterbury Cath. [sm1943[n
m=n[sm50[nm. Studied ~RAM [sm1953[nm=n[sm7[nm as pupil of H. Ferguson. Studied ~
elec. mus., Cologne [sm1957[nm=n[sm8[nm, becoming ass. to ~[fy45,1]*[fy75,1]Stoc
khausen [sm1958[nm=n[sm60[nm. Also studied in Rome ~with [fy45,1]*[fy75,1]Petras
si [sm1964[nm=n[sm5[nm. Prof. of comp. RAM, from ~[sm1967[nm. His early pf. work
s are in the style of early ~Boulez and Stockhausen, but later c
omps. follow ~a [fy45,1]*[fy75,1]Cage-like indeterminacy, e.g. [cf2]Treatise [cf
1]([sm1963[nm=n~[sm7[nm), a graphic score of nearly [sm200[nm pages containing ~
no instructions to the performer. Formed Scratch ~Orch. [sm1969[nm. Works incl.
Str. Trio ([sm1957[nm); [sm2[nm [cf2]Books ~of Study for Pianists [cf1]([sm1958[
nm); [cf2]Octet '[sm61[nm [cf1]([sm1961[nm) for ~unspecified instr.; [sm3[nm [cf
2]Winter Potatoes [cf1]([sm1965[nm) for ~pf.; [cf2]The Great Learning [cf1](part
s [sm1[nm=n[sm7[nm, [sm1968[nm=n[sm70[nm) for ~various perf.; [cf2]The East is R
ed[cf1], vn. and pf. ([sm1972[nm); ~[cf2]Piano Album[cf1], pf. ([sm1973[nm); [cf
2]The Old and the New[cf1], sop., ~ch., and orch. ([sm1973[nm); [cf2]Th;aualmann
 Variations[cf1], pf. ~([sm1974[nm); [cf2]Vietnam Sonata, [cf1]pf. ([sm1976[nm).
[xm[cm~[ol0][ep~[xp[te~


[do25][j99]~~~~~~[sm153842[nmC[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFORD
 ~DICT. OF MUSIC[cmC[sm004[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm24[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm080[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Cardillac.
[fy75,1]Opera in [sm3[nm acts by Hindemith to lib. ~by Ferdinand Lion based on E
.T.A. Hoffmann's ~[cf2]Das Fr;auaulein von Scuderi [cf1]([sm1818[nm). Prod. Dres
den ~[sm1926[nm. Concert perf. London [sm1936[nm. Rev. version, ~also with new l
ib. by composer, Z;auurich [sm1952[nm. F. ~London stage p. [sm1970[nm (SW), Sant
a Fe [sm1967[nm. ~Cardillac is name of prin. character.[cm~Cardoso, Fray Manuel
[fy75,1]([cf2]b [cf1]Fronteira do Alemtejo, ~[sm1566[nm; [cf2]d [cf1]Lisbon, [sm
1650[nm). Portuguese composer and ~organist. Wrote masses, motets, and other chu
rch ~mus. influenced by Palestrina.[cm~Cardus, [fy75,1](Sir) (=+=+John Frederick
) [fy65][cf3]Neville [fy75,1]([cf2]b [cf1]Rus~~[chholme, Man[chchester, [sm1889[
nm; [cf2]d [cf1]London, [sm1975[nm). Eng. ~critic and essayist,
also writer on cricket. Chief ~mus. critic [cf2]Manchester Guardian [cf1][sm1927
[nm=n[sm40[nm, [cf2]Sydney ~Morning Herald [cf1][sm1941[nm=n[sm7[nm, rejoined [c
f2]Guardian [cf1][sm1951[nm ~but wrote occasionally for other newspapers. ~Autho
r of book on Mahler's first [sm5[nm syms., [sm2[nm vols. ~of autobiography, and
several colls. of mus. and ~cricket essays. C.B.E. [sm1964[nm, knighted [sm1967[
nm.[cm~Carestini, Giovanni [fy75,1]([cf2]b [cf1]Filottrano, nr. Ancona, ~[sm1705
[nm; [cf2]d [cf1]Filottrano, [cf2]c[cf1].[sm1760[nm). It. castrato (cont.) ~sing
er. After successes on continent [sm1721[nm=n[sm33[nm, ~went to London where Han
del engaged him for ~opera prods. in [sm1734[nm. Returned to Venice [sm1735[nm ~
and was active for another [sm20[nm years.[cm~Carewe, John [fy75,1]([cf2]b [cf1]
Derby, [sm1933[nm). Eng. cond. Studied ~GSM, then with W. Goehr, Deutsch, Boulez
, and ~with Messiaen at Paris Cons. Founded New Mus. ~Ens. [sm1957[nm. Staff, Mo
rley Coll., [sm1958[nm=n[sm66[nm. Cond. ~BBC Welsh S.O. [sm1966[
nm=n[sm71[nm. Mus. dir. Brighton ~Phil. Soc. from [sm1974[nm.[cm~Carey, [fy75,1]
(Francis) [fy65][cf3]Clive [fy75,1](Savill) ([cf2]b [cf1]Sible Hedingham, ~Essex
, [sm1883[nm; [cf2]d [cf1]London, [sm1968[nm). Eng. bar. Trained ~RCM (on staff
[sm1946[nm=n[sm53[nm). Toured with [fy45,1]*[fy75,1]English ~Singers, sang in op
era at Old Vic from [sm1920[nm, prof. ~of singing, Adelaide, [sm1924[nm=n[sm8[nm
, Melbourne [sm1942[nm=n~[sm5[nm, worked as producer at SW [sm1933[nm, and comp.
 ~incidental mus. for plays. Active in Eng. folk-~song movement. C.B.E. [sm1955[
nm.[cm~Carey, Henry [fy75,1]([cf2]b [cf1]?Yorkshire, [cf2]c[cf1].[sm1690[nm; [cf
2]d [cf1]Clerken~~well, [sm1743[nm). Eng. composer, poet, and playwright. ~Wrote
 successful burlesques of It. opera and ~cantatas, and songs, incl. `Sally in ou
r alley' [cf2]c[cf1].[sm1715[nm ~(of which he also wrote the words).[cm~Carezzan
do, carezzevole [fy75,1](It.). Caressing; caress~~ingly.[cm~Carillon. [fy75,1]([
sm1[nm) See [cf2]Bell.[ep~[cf1]^([sm2[nm) Org. stop; a [fy45,1]*
[fy75,2]Mixture [cf1]of [sm3[nm ranks ([sm12[nmth, [sm17[nmth, ~[sm22[nmnd): chi
efly in USA.[cm~Carillon. [fy75,1]Recitation with orch. by Elgar, Op. [sm75[nm,
~to poem by Belg. writer E. Cammaerts, comp. ~Nov. [sm1914[nm as tribute to Belg
ium. Can be perf. ~without narrator.[cm~Carissimi, Giacomo [fy75,1]([cf2]b [cf1]
Marini, Rome, [sm1605[nm; [cf2]d ~[cf1]Rome, [sm1674[nm). It. composer, one of e
arly masters ~of oratorio form. Choirmaster Assisi [sm1628[nm=n[sm9[nm, ~Collegi
o Germanico, [sm1629[nm=n[sm74[nm. Oratorios incl. ~[cf2]Lucifer, Job, Baltazar,
 Jephte [cf1]([sm1650[nm), [cf2]Judicium ~Salomonis[cf1]; motets, and recits. (e
.g. [cf2]Abraham and ~Isaac[cf1]). Adapted Monteverdi's operatic innovations ~to
 sacred drama. His [cf2]Missa `L'Homme arm;aae[cf1]' was ~last of its kind. In [
sm1656[nm was appointed choirmaster ~to Queen Christina of Sweden when she estab
~~lished her court in Rome.[cm~[PN128,0,0,L,I0]Carl Rosa Opera Company, Royal. [
fy75,1]Eng. opera ~co. founded [sm1875[nm in Dublin and London b
y Ger. ~violinist Karl August Nicolaus Rose who settled ~in Eng. in [sm1866[nm a
nd became known as Carl [fy45,1]*[fy75,1]Rosa. ~Rosa died in [sm1889[nm, when co
. became touring ~organization and was accorded title `Royal' by ~Queen Victoria
 in [sm1893[nm. [sm1923[nm=n[sm50[nm dir. H.B. ~Phillips. After various dissensi
ons, Arts Council ~withdrew subsidy in [sm1958[nm and co. became ~defunct, and a
ttempt to revive it failed in [sm1960[nm. ~Policy was opera in English and co. p
rovided ~invaluable training-ground for many singers. ~Gave f.p. in England of M
assenet's [cf2]Manon [cf1]([sm1885[nm), ~Puccini's [cf2]La Boh;Ageme [cf1]([sm18
97[nm), and Giordano's [cf2]Andrea ~Ch;Aaenier [cf1]([sm1903[nm).[cm~Carlton, Ni
cholas [fy75,1](=+=+=+=+[cf2]fl. [cf1]early [sm16[nmth cent.). Eng. ~composer. H
is `Verse for [sm2[nm to play on [sm1[nm org.' (or ~virginals) is among earliest
 examples of [sm4[nm-hand ~mus. for kbd. instr.[cm~Carlton, Richard [fy75,1]([cf
2]b c[cf1].[sm1558[nm; [cf2]d c[cf1].[sm1638[nm). Eng. ~composer
 of madrigals and contributor to [cf2]The ~[fy45,1]*[fy75,2]Triumphs of Oriana [
cf1](`Calm was the Air', in [sm5[nm ~parts). Vicar of Norfolk churches.[cm~Carma
gnole, La. [fy75,1]Originally name of short coat, ~worn in north It. district of
 Carmagnola, and ~imported into Fr. by workmen from that district. ~The insurgen
ts of Marseilles in [sm1792[nm introduced ~it to Paris, where it became identifi
ed with the ~Revolution. A round dance of the time was given ~the name, and a so
ng with the refrain, `Dansons ~la Carmagnole, vive le son du canon', to a very ~
catchy air, became identified with activities ~during Reign of Terror. Authorshi
p of words and ~mus. unknown.[cm~Carman's Whistle. [fy75,1]Tune to be found, wit
h ~variations by Byrd, in [fy45,1]*[fy75,1]Fitzwilliam Virginal ~Book. It is tha
t of a ballad pubd. [sm1592[nm. A carman ~was a carter.[cm~Carmelites, The [fy75
,1](Poulenc). See [cf2]Dialogues des Carm;aaelites, Les.[cm~Carmen [fy75,1](Lat.
). ([sm1[nm) Tune, song, strain, poem.[ep~^([sm2[nm, in [sm14[nm
th- and [sm15[nmth-cent. parlance; plural ~[cf2]carmina.[cf1]) V. part of a comp
. (as distinguished ~from the instr. parts), or uppermost part of a ~choral comp
.[cm~Carmen. [fy75,1]Opera ([cf2]op;aaera-comique[cf1]) in [sm4[nm acts by Bizet
 ~to libretto by Meilhac and Hal;aaevy after M;aaerim;aaee ~[cf2]nouvelle [cf1](
[sm1845[nm). Comp. [sm1873[nm=n[sm4[nm. Sometimes perf. ~with orig. spoken dialo
gue replaced by recitatives ~composed by Ernest Guiraud. Prod. Paris [sm1875[nm,
 ~Vienna (with Guiraud recit.) [sm1875[nm, London and ~NY [sm1878[nm. The famous
 [cf2]Haba;atnera [cf1]may have been ~inspired (consciously or unconsciously) by
 a ~[cf2]chanson havanaise [cf1]by, or collected by, Sebastian ~[fy45,1]*[fy75,1
]Yradier, Sp. composer ([sm1809[nm=n[sm65[nm).[cm~Carmichael, Hoagy [fy75,1](Hoa
gland Howard) ([cf2]b ~[cf1]Bloomington, Ind., [sm1899[nm; [cf2]d[cf1] Rancho Mi
rage, ~Calif., [sm1981[nm). Amer. composer of songs and lyrics, ~pianist, film a
ctor, and singer. Songs incl. [cf2]Two ~Sleepy People, Stardust,
 Little Old Lady, Georgia on ~My Mind, Lazy Bones, Rockin' Chair, The Nearness ~
of You, [cf1] and [cf2]I Get Along Without You Very Well.[cm~Carmina Burana [fy7
5,1](cantiones profanae) (Songs of ~Beuren, profane songs). Scenic cantata by Ca
rl ~[fy45,1]*[fy75,1]Orff, with optional mimed action, in [sm25[nm ~movements fo
r sop., ten., and bar. soloists, boys' ~choir, ch., and orch. ([sm14[nm movement
s for ch.). Lat. ~text=mstudent songs about wine, women, and ~love=mbased on poe
ms in Lat., Old Ger. and Old ~Fr. from MS. dated [sm1280[nm found in Benedictine
 ~monastery of Beuren. First part of Orff=+=+'s trilogy ~[fy45,1]*[fy75,2]Trionf
i. [cf1]Prod. Frankfurt [sm1937[nm, London [sm1960[nm.[cm~Carmirelli, Pina [fy75
,1]([cf2]b [cf1]Varzi, It., [sm1914[nm). It. violinist ~and teacher at Accademia
 di S. Cecilia, Rome. ~Concert career began [sm1937[nm. Champion of mus. of ~Boc
cherini, founding Boccherini Quartet ([sm1949[nm) ~and Carmirelli Quartet ([sm19
54[nm). Ed. of Boccherini's ~instr. works.[cm~Carnaval [fy75,1](
Carnival). Schumann's pf. comp. Op. ~[sm9[nm, comp. [sm1834[nm=n[sm5[nm and sub-
titled [cf2]Sc;agenes mignonnes ~sur quatre notes [cf1](dainty scenes on [sm4[nm
 notes), the ~notes being A=nS=nC=nH (a;Yh=nE;Yh=nC=nB). Asch was the ~home-town
 of a girl with whom he was in love ~and its [sm4[nm letters were the only `musi
cal' letters of ~his name. Each of the [sm21[nm pieces has a descriptive ~title,
 e.g. [cf2]Papillons. [cf1]Orch. version by Glazunov ~and others used for Fokine
 ballet (St Petersburg ~[sm1910[nm).[cm~Carnaval ;aga Paris [fy75,1](Carnival in
 Paris). `Episode for ~orchestra', Op. [sm9[nm, by [fy45,1]*[fy75,1]Svendsen, pu
bd. [sm1879[nm.[cm~Carnaval des animaux, Le [fy75,1](The Carnival of ~Animals).
`Grand zoological fantasy' by Saint-~Sa;auens. Orig. chamber version for [sm2[nm
 pf., str. ~quintet, fl., cl., and xylophone, but also for [sm2[nm pf. ~and orch
. Comp. [sm1886[nm but perf. forbidden in ~composer's lifetime. Pubd. [sm1922[nm
. [sm14[nm movements, ~of which No. [sm13[nm is the famous [cf2]
Le Cygne [cf1](The ~Swan).[cm~Carnaval de Venise [fy75,1](Carnival in Venice). P
agan~~ini's Op. [sm10[nm, comp. in or before [sm1829[nm, was a set of ~variation
s for unacc. vn. on [cf2]Le Carnaval de Venise, ~[cf1]being the popular Venetian
 song `O mamma ~mia'. Other composers, e.g. [fy45,1]*[fy75,1]Benedict, have also
 ~used the theme. A. [fy45,1]*[fy75,1]Thomas wrote an opera [cf2]Le ~Carnaval de
 Venise, [cf1]prod. [sm1857[nm.[cm~Carnaval Romain, Le[fy75,1] (=+=+`The Roman C
arnival'=+=+). ~`Ouverture caract;aaeristique' by Berlioz, comp. and ~f.p. [sm18
44[nm, derived from material in his opera ~[cf2]Benvenuto Cellini[cf1] ([sm1834[
nm=n[sm7[nm).[cm~Carnegie Hall. [fy75,1]Largest concert-hall in NY, ~seating [cf
2]c[cf1].[sm3[nm,[sm000[nm, and, until [sm1962[nm when the Phil. ~(now Avery Fis
her) Hall, Lincoln Center, opened, ~home of the city's prin. orch. concerts. Arc
hitect, ~W.|B. Tuthill. Opened May [sm1891[nm, Tchaikovsky ~being among guest co
nds. Called `Music Hall' ~until [sm1898[nm, when renamed in hono
ur of industri~~alist Andrew Carnegie ([sm1835[nm=n[sm1919[nm), who had ~provide
d most of the money to build it.[cm~[PN129,0,0,R,I0]Carner, Mosco [fy75,1]([cf2]
b[cf1] Vienna, [sm1904[nm). Austrian-born ~cond. and critic. Studied Vienna Univ
. under ~Adler. Settled London [sm1933[nm, working as cond. ~and as London corre
spondent for some continen~~tal papers. Has contrib. criticism to many Eng. ~new
spapers and periodicals. Author of several ~books, notably [cf2]Puccini [cf1]([s
m1958[nm, [sm2[nmnd edn. [sm1974[nm) and ~[cf2]Alban Berg[cf1] ([sm1975[nm).[cm~
Carneval [fy75,1](Carnival). ([sm1[nm) Ger. title by which ~Dvo;Akr;aaak's ov. [
cf2]Karneval [cf1]is usually known. His Op. ~[sm92[nm, comp. [sm1891[nm, with [f
y45,1]*[fy75,2]Amid Nature [cf1]and [fy45,1]*[fy75,2]Othello ~[cf1]it formed a c
ycle, [fy45,1]*[fy75,2]Nature, Life and Love. [cf1]F.p. in ~this form, Prague an
d NY [sm1892[nm. Now usually ~played separately. Orig. title was [cf2]Bohemian C
arni~~val.[ep~^[cf1]([sm2[nm) Ov., Op. [sm45[nm, by Glazunov ([s
m1894[nm).[cm~Carol [fy75,1](Fr. [cf2]Noel[cf1]; Ger. [cf2]Weihnachtslied[cf1]).
 In medieval ~times a round dance with mus. acc., but soon ~developed into a son
g for [sm2[nm or [sm3[nm vv. usually (but ~not necessarily) to a text dealing wi
th the birth of ~Christ. All Christian nations, Western and East~~ern, have caro
ls, some of them evidently of pagan ~origin but taken over and adapted in early
days ~of Christianity. The nature of the carol varies: it ~may be dramatic, narr
ative, or lyrical.[ep~^One of oldest printed Eng. Christmas carols is ~the [cf2]
Boar's Head Carol, [cf1]sung as the traditional dish ~is carried in on Christmas
 Day at Queen's College, ~Oxford; it was printed in [sm1521[nm. This is but one
of ~a large group of carols assoc. with good cheer as ~an element in Christmas j
oy.[ep~^With the growth of the Christmas season as a ~public holiday which becam
e increasingly com~~mercialized, the carol grew in popularity and, ~concomitantl
y, in vulgarity so that some [sm19[nmth-~cent. carols are of inf
erior standard, but the best ~of them have achieved a place alongside the folk-~
carols and [sm17[nmth-cent. Ger. carols which were ~revived by the late [sm19[nm
th-cent. folk-song move~~ment. A fine selection is sung annually in Eng. ~on Chr
istmas Eve at King's College, Cambridge. ~Vaughan Williams wrote a [fy45,1]*[fy7
5,2]Fantasia on Christmas ~Carols, [fy45,1]*[fy75,1]Hely-Hutchinson [cf2]A Carol
 Symphony, [cf1]and ~Britten a [fy45,1]*[fy75,2]Ceremony of Carols.[cm~Caroso, F
abritio[fy75,1] ([cf2]b[cf1] Sermoneta, [cf2]c[cf1].[sm1521[nm=n[sm35[nm; [cf2]d
[cf1] after ~[sm1605[nm). It. scholar and composer of lute mus. His ~book [cf2]I
l ballarino [cf1]was pubd. Venice, [sm1581[nm, being ~enlarged in [sm1600[nm as
[cf2]Nobilt;Aga di dame.[cf1] It is important ~source for [sm16[nmth-cent. dance
 steps and mus.[cm~Carpenter, John Alden [fy75,1]([cf2]b [cf1]Park Ridge, Ill.,
[sm1876[nm; ~[cf2]d [cf1]Chicago, [sm1951[nm). Amer. composer who, like ~[fy45,1
]*[fy75,1]Ives, combined mus. with successful business ~career.
Studied pf. and, at Harvard, mus. theory. ~Made name with orch. suite [cf2]Adven
tures in a ~Perambulator [cf1](Chicago [sm1915[nm). Comp. [sm3[nm ballets, ~[cf2
]Birthday of the Infanta [cf1][cf1](Chicago [sm1919[nm), [cf2]Krazy-Kat[cf1], ~u
sing jazz idioms (Chicago [sm1922[nm), and [cf2]Skyscrapers ~[cf1](NY [sm1926[nm
). Other works incl. [sm2[nm syms., tone-poem ~[cf2]Sea Drift, [cf1]vn. conc., s
tr. qt., pf. quintet, and songs.[cm~Carr;Aaee [fy75,1](Fr.). Square. Double whol
e-note or breve.[cm~Carre;atno, [fy75,1](Maria) [fy65][cf3]Teresa [fy75,1]([cf2]
b [cf1]Caracas, [sm1853[nm; [cf2]d [cf1]NY, ~[sm1917[nm). Venezuelan pianist, ta
ught by her father. ~D;Aaebut NY at age [sm9[nm. Studied with [fy45,1]*[fy75,1]G
ottschalk and ~Anton [fy45,1]*[fy75,1]Rubinstein. Toured Europe [sm1865[nm=n[sm7
5[nm, ~when she became operatic sop. and, for a brief ~spell, cond. Returned to
pf. [sm1889[nm, consolidating ~reputation as leading woman player of her day. ~H
er [sm4[nm husbands incl. d'[fy45,1]*[fy75,1]Albert.[cm~Carreras
, Jos;aae[fy75,1] (Maria) ([cf2]b[cf1] Barcelona, [sm1946[nm). Sp. ~ten. Studied
 Barcelona. D;aaebut [sm1956[nm in Falla's ~[cf2]Retablo de Maese Pedro.[cf1] Pr
of. d;aaebut Barcelona. ~London d;aaebut [sm1971[nm (concert perf. [cf2]Maria St
uarda[cf1]), ~CG [sm1974.[nm NY City Opera [sm1972[nm, Met. [sm1974[nm, Milan ~[
sm1975[nm.[cm~Carrillo, Juli;aaan [fy75,1]([cf2]b [cf1]Ahualulco, Mexico, [sm187
5[nm; [cf2]d ~[cf1]San Ang;aael, [sm1965[nm). Mexican composer. Studied in ~Mexi
co [sm1885[nm=n[sm90[nm, and at Leipzig and Ghent ~([sm1899[nm=n[sm1904[nm) with
 Reinecke and Nikisch. In his ~teens showed exceptional interest in fractional ~
divisions of the accepted intervals and coined ~term [cf2]sonido [sm13[nm [cf1](
[sm13[nmth sound) for the first [sm2[nm-octave ~harmonic on the vn.'s [sm4[nmth
str., this being for him ~the first pitch outside the traditional [sm12[nm semit
ones ~to the octave. Gave concerts to demonstrate ~potentialities of microtonal
intervals and invented ~special instrs., incl. the [cf2]octavina
 [cf1]([sm8[nmth-tones) and ~[cf2]arpa citera [cf1]([sm16[nmth-tones). In [sm192
6[nm his microtonal ~works were championed by [fy45,1]*[fy75,1]Stokowski, who ~c
ond. the [cf2]Sonata casi-fantasia [cf1](in [sm4[nmths, [sm8[nmths, and ~[sm16[n
mths), and in the [sm1930[nms Stokowski and Carrillo ~toured Mexico with the Son
ido [sm13[nm Orch. In [sm1947[nm ~built a pf. tuned in [sm3[nmrds of a whole ton
e. Comps. ~divide into [sm3[nm periods: traditional tuning up to ~[sm1911[nm, at
onal from [sm1911[nm to [sm1922[nm, and in [cf2]Sonido [sm13[nm ~[cf1]idiom ther
eafter. They incl. operas, syms., str. ~qts., vn. conc., and pf. mus. His [cf2]H
orizontes [cf1]([sm1950[nm) ~employs a small orch. tuned in [sm4[nmth, [sm8[nmth
s, and ~[sm16[nmths, combined with conventionally tuned orch.[cm~Carrodus, John
[fy75,1](Tiplady) [cf1]([cf2]b [cf1]Keighley, [sm1836[nm; [cf2]d ~[cf1]London, [
sm1895[nm). Eng. violinist, pupil of [fy45,1]*[fy75,1]Molique. ~Leader of severa
l London orchs. incl. CG, [sm1869[nm=n~[sm95[nm. Comp. for vn. H
is [sm5[nm sons were musicians; at ~Hereford Fest. [sm1894[nm they and their fat
her played ~in the orch.[cm~Carroll, Ida [fy75,1](Gertrude) [cf1]([cf2]b [cf1]Ma
nchester, [sm1905[nm). ~Eng. mus. educationist and db. player. Secretary, ~North
ern Sch. of Mus., Manchester, [sm1926[nm, acting ~prin. [sm1956[nm=n[sm8[nm, pri
n. [sm1958[nm=n[sm72[nm, becoming dean of ~management RNCM. Retired [sm1976[nm.
Comp. pieces ~for db. O.B.E. [sm1964[nm.[cm~Carse, Adam [fy75,1](A. von Ahn Cars
e) ([cf2]b [cf1]Newcastle ~upon Tyne, [sm1878[nm; [cf2]d [cf1]Great Missenden, [
sm1958[nm). Eng. ~composer and author. Studied RAM; mus. master ~Winchester Coll
ege [sm1909[nm=n[sm22[nm, then prof. of ~harmony, RAM, [sm1922[nm=n[sm40[nm. Com
p. orch. works, ~chamber mus., and educational mus., and author ~of valuable tre
atises on orchestration. Made ~collection of [sm350[nm old wind instruments, pre
sented ~to Horniman Museum, London.[cm~[PN130,0,0,L,I0]Carte, Richard D'Oyly. [f
y75,1]See [cf2]D'Oyly Carte, ~Richard.[cm~Carter, Elliott [fy75,
1](Cook) ([cf2]b [cf1]NY, [sm1908[nm). Amer. ~composer. Encouraged by [fy45,1]*[
fy75,1]Ives, who recom~~mended him to Harvard where he studied with ~[fy45,1]*[f
y75,1]Piston and had lessons from Holst. From [sm1932[nm ~to [sm1935[nm studied
in Paris with [fy45,1]*[fy75,1]Boulanger. Has ~taught at various Amer. univs. Hi
s music is ~uncompromising and challenging, its harsh ~brilliance enhanced by co
mpelling intellectual ~qualities. Early works were neo-classical in style ~but a
 new harmonic structure and treatment of ~rhythm became apparent in the [cf2]Pia
no Sonata ~[cf1]([sm1945[nm=n[sm6[nm). With the [cf2]Cello Sonata [cf1]([sm1948[
nm) he devel~~oped `metric modulation' whereby a new tempo ~is established from
development of a cross-~rhythm within the old tempo. The listener has a ~clear i
mpression of the simultaneous existence of ~[sm2[nm tempos. The [sm3[nm Str. Qts
. have been described as ~the most significant comps. in the medium since ~Bart;
aaok. His writings on many subjects were ~collected into one vol
. (NY [sm1977[nm). Prin. works:[xm[cm~[j2][smballets[nm: [fy75,2]Pocahontas [cf1
]([sm1937[nm=n[sm9[nm); [cf2]The Minotaur [cf1]([sm1947[nm).[ep~[smorch[nm: [cf2
]Prelude, Fanfare, and Polka [cf1]([sm1938[nm); Sym. ~No. [sm1[nm ([sm1942[nm, r
ev. [sm1954[nm); [cf2]Holiday Overture [cf1]([sm1944[nm, ~rev. [sm1961[nm); [cf2
]Elegy, [cf1]str. ([sm1946[nm); [cf2]Variations [cf1]([sm1955[nm); ~[cf2]Double
Concerto, [cf1]hpd., pf., [sm2[nm chamber orchs. ~([sm1961[nm); pf. conc. ([sm19
64[nm=n[sm5[nm); Conc. for Orch. ~([sm1969[nm); [cf2]Symphony of [sm3[nm Orchest
ras [cf1]([sm1976[nm=n[sm7[nm); [cf2]Triple ~Duo[cf1], chamber ens. ([sm1982[nm=
n[sm3[nm).[ep~[smvoice [nm& [smens[nm: [cf2]Syringa, [cf1]cantata for mez., bass
, and ~[sm11[nm instrs. ([sm1978[nm); [cf2]A [fy45,1]*[fy75,2]Mirror on Which to
 Dwell, ~[cf1]sop. and ens. ([sm1975[nm); [cf2]In Sleep, In Thunder[cf1], ten. ~
and ens. ([sm1982[nm).[ep~[smchorus[nm: [cf2]To Music [cf1]([sm1937[nm); [cf2]He
art Not So Heavy as ~Mine [cf1]([sm1938[nm); [cf2]The Defence of
 Corinth [cf1]([sm1942[nm); [cf2]The ~Harmony of Morning [cf1]([sm1944[nm); [cf2
]Musicians Wrestle ~Everywhere [cf1]([sm1945[nm); [cf2]Emblems [cf1]([sm1947[nm)
.[ep~[smchamber music[nm: [cf2]Canonic Suite, [cf1][sm4[nm sax. ([sm1939[nm, rev
. for ~[sm4[nm cl. [sm1955[nm=n[sm6[nm); [cf2]Pastorale[cf1], cor anglais, va.,
cl., pf. ~([sm1940[nm); [cf2]Elegy[cf1], va. or vc. and pf. ([sm1943[nm, rev. [s
m1961[nm; ~arr. str. qt. [sm1946[nm, str. [sm1952[nm); woodwind quintet ~([sm194
8[nm); vc. sonata ([sm1948[nm); [cf2][sm8[nm ;aaEtudes and a Fantasy, ~[cf1]wood
wind qt. ([sm1949[nm=n[sm50[nm); Str. Qts., No. [sm1[nm ([sm1951[nm), ~No. [sm2[
nm ([sm1958[nm=n[sm9[nm), No. [sm3[nm ([sm1971[nm); [cf2][sm2[nm Pieces for [sm4
[nm ~Kettledrums [cf1]([sm1950[nm, rev. [sm1966[nm); Sonata, fl., ob., ~vc., hpd
. ([sm1952[nm); [cf2]Duo, [cf1]vn. and pf. ([sm1973[nm=n[sm4[nm); brass ~quintet
 ([sm1974[nm); [cf2]Changes[cf1], guitar ([sm1983[nm).[ep~[smpiano[nm: Sonata ([
sm1945[nm=n[sm6[nm); [cf2]Night Fantasies[cf1] ([sm1980[nm).[ep~
[smvoice[nm & [smpiano[nm: [cf2]Voyage [cf1]([sm1943[nm); [cf2]The Line Gang ~[c
f1]([sm1943[nm).[cm~[j1]Carulli, Ferdinando [fy75,1]([cf2]b [cf1]Naples, [sm1770
[nm; [cf2]d [cf1]Paris, ~[sm1841[nm). It. guitarist and composer for his instr.
of ~over [sm300[nm works, incl. concs., duos, etc. Wrote ~treatise on guitar pla
ying.[cm~Caruso, Enrico [fy75,1]([cf2]b [cf1]Naples, [sm1873[nm; [cf2]d [cf1]Nap
les, [sm1921[nm). ~It. ten., regarded as one of the greatest there has ~been. St
udied with Vergine and Lombardi. D;aaebut ~Naples [sm1894[nm. Created tenor role
s in Cilea's ~[fy45,1]*[fy75,2]Adriana Lecouvreur [cf1]and Giordano's [fy45,1]*[
fy75,2]Fedora. [cf1]Int. ~fame after [cf2]Boh;ageme [cf1]with Melba at Monte Car
lo ~[sm1902[nm. CG d;aaebut same year in [cf2]Rigoletto. [cf1]D;aaebut NY ~Met.
[sm1903[nm. Between then and [sm1920[nm sang [sm36[nm roles ~and appeared over [
sm600[nm times at Met. First ten. to ~make records, his recording career extendi
ng ~[sm1902[nm=n[sm20[nm and royalties in his lifetime amounting
 ~to nearly ;bp[sm500[nm,[sm000[nm. Though not flawless stylisti~~cally, his v.
was of sumptuous resonance, mellow ~and almost baritonal, with an exquisite [cf2
]mezza ~voce. [cf1]Created Dick Johnson in [cf2]La [fy45,1]*[fy75,2]fanciulla de
l ~West[cf1] (NY Met. [sm1910[nm).[xm[cm~[ol0][ep~[xp[te~









[do25][j99]~~~~~~[sm153842[nm_C[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmC[sm005[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm25[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm108[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Carvalho,
Eleazar de [fy75,1]([cf2]b [cf1]Iguatu, Cear;aaa, Brazil, ~[sm1915[nm). Brazilia
n cond. and composer. Studied ~Nat. Sch. of Mus., Brazil. Tuba-player, later con
d., ~at Rio Municipal Th. Member, Brazilian S.O., ass. ~cond. [sm1941[nm. Went t
o USA [sm1946[nm, studying with ~Koussevitzky. Guest cond. leading Amer. orchs.
~Cond., St Louis S.O. [sm1963[nm=n[sm8[nm. Returned to Brazil ~[sm1971[nm. Works
 incl. operas, symphonic poems, and ~chamber mus.[cm~Carvalho, Jo;atao de Sousa
[fy75,1]([cf2]b [cf1]Estremoz, [sm1745[nm; [cf2]d ~[cf1]Alentejo, [sm1798[nm). P
ortuguese composer of operas, ~kbd. mus., etc. Studied in Naples, [sm1761[nm. On
e of ~few Port. composers of opera in [sm18[nmth cent. Taught ~Port. royal famil
y.[cm~[j1]Cary, Tristram [fy75,1](Ogilvie) ([cf2]b [cf1]Oxford,
[sm1925[nm). Eng. ~composer and percussionist. Studied TCL [sm1948[nm=n~[sm50[nm
. Began interest in elec. mus. [sm1944[nm and was ~producing [fy45,1]*[fy75,2]mu
sique concr;agete [cf1]by [sm1949[nm. Founded ~own elec. studio, first in Brit.,
 and prod. scores ~for several films and BBC TV and radio drama. ~Teacher at RCM
 where in [sm1968[nm founded elec. ~studio.[cm~Caryll, Ivan[fy75,1] (Felix Tilki
n) ([cf2]b[cf1] Li;agege, [sm1861[nm; [cf2]d [cf1]NY, ~[sm1921[nm). Belg.-Amer.
composer of mus. [chcomedies ~such as [cf2]The Duchess of Danzig [cf1]([sm1903[n
m) and [cf2]Our Miss ~Gibbs[cf1] ([sm1909[nm). Also had th. orch. (Elgar's [cf2]
S;aaer;aaenade ~lyrique,[cf1] [sm1899[nm, is ded. `to Ivan Caryll's Orchestra'.)
[cm~Casa [fy75,1](It.). Box. Any drum of a large size, hence ~[cf2]gran cassa, [
cf1]bass drum, and [cf2]cassa rullante, [cf1]ten. ~drum.[cm~Casadesus. [fy75,1]O
f this large family of Fr. musicians, ~the best-known are: Robert Marcel [cf1]([
cf2]b [cf1]Paris, [sm1899[nm; ~[cf2]d [cf1]Paris, [sm1972[nm). P
ianist and composer. Studied ~Paris Cons. Notable Mozart player. Wrote syms., ~p
f. concs., [sm24[nm pf. preludes, and chamber mus. His ~son Jean ([cf2]b [cf1]Pa
ris, [sm1927[nm; [cf2]d [cf1]Renfrew, Ontario, [sm1972[nm) ~was also a pianist.
Went to USA [sm1939[nm and studied ~at Princeton Univ. D;aaebut [sm1946[nm with
Philadelphia ~Orch. in Ravel conc. Winner Geneva competition ~[sm1947[nm. Many t
ours. Killed in car crash.[cm~Casali, Giovanni Battista [fy75,1]([cf2]b [cf1]Rom
e, [sm1715[nm; [cf2]d[cf1] ~Rome, [sm1792[nm). It. composer, choirmaster St John
 ~Lateran, Rome, [sm1759[nm=n[sm92[nm. Wrote operas and ~church mus. Taught [fy4
5,1]*[fy75,1]Gr;Aaetry.[cm~Casals, Pablo [fy75,1](Pau, in the Catalan form) ([cf
2]b ~[cf1]Vendrell, Catalonia, [sm1876[nm; [cf2]d [cf1]Rio Piedras, Puerto ~Rico
, [sm1973[nm). Sp. cellist, cond., composer, and ~pianist. Vc. pupil of J. Garci
a in Barcelona and ~later studied at Madrid Cons. Began career in ~[PN131,0,0,R,
I0]Barcelona caf;Aaes and Paris ths. Prof. of vc., ~Barcelona Co
ns. [sm1897[nm=n[sm9[nm. Soloist at Lamoureux ~Concerts, Paris, and Crystal Pala
ce, London, [sm1899[nm. ~First US tour [sm1901[nm. Thenceforward brilliant caree
r ~as world's foremost cellist. Formed notable trio ~with [fy45,1]*[fy75,1]Corto
t and [fy45,1]*[fy75,1]Thibaud. Founded Casals ~Orch., Barcelona [sm1919[nm. Wen
t into voluntary exile ~from Sp. [sm1939[nm in protest against Franco r;Aaegime,
 ~vowing never to return while Spain was under ~totalitarian rule (a vow he kept
). In [sm1950[nm founded ~Prades Fest. in French Pyrenees. Settled in Puerto ~Ri
co, [sm1956[nm, founding fest. there. In Oct. [sm1971[nm ~cond. his [cf2]Hymn to
 the United Nations [cf1](Auden) at ~the U.N. headquarters, NY. Comp. vc. pieces
, ~orch. works, and oratorio [cf2]El pessebre [cf1](The Manger).[cm~Casavola, Fr
anco [fy75,1]([cf2]b [cf1]Modugno, [sm1891[nm; [cf2]d [cf1]Bari, ~[sm1955[nm). I
t. composer, pupil of Respighi. Joined ~`Futurist' movement [sm1920[nm, composin
g for `noise-[fj~machines' of [fy45,1]*[fy75,1]Russolo. In [sm19
27[nm reverted to more ~conventional means, producing comic opera [cf2]Il ~gobbo
 del Califfo [cf1]([sm1929[nm).[cm~Casella, Alfredo [fy75,1]([cf2]b [cf1]Turin,
[sm1883[nm; [cf2]d [cf1]Rome, [sm1947[nm). ~It. composer, cond., pianist, and au
thor. Entered ~Paris Cons. [sm1896[nm, studying with Faur;Aae. On return ~to It.
 in [sm1915[nm became champion of all that was ~new in the arts and headed It. s
ection of I.S.C.M. ~Anticipated tastes of a later epoch by interest in ~It. baro
que mus., particularly Vivaldi. His own ~mus. reflected restless and questing mi
nd. Early ~works influenced by Mahler, whose mus. he ~cond. in Paris in the earl
y [sm1900[nms. Tempted by ~atonality but after [sm1920[nm identified himself wit
h ~neo-classicism. Comps. incl.:[xm[cm~[j2][smballets[nm: [fy75,2]Il convento ve
neziano [cf1]([sm1912[nm), [cf2]La Giara ~[cf1]([sm1924[nm).[ep~[smoperas[nm: [c
f2]La donna serpente [cf1]([sm1928[nm=n[sm31[nm), [cf2]La favola d' ~Orfeo [cf1]
([sm1932[nm), [cf2]Il deserto tentato [cf1]([sm1937[nm).[ep~[smo
rch[nm: Syms: No. [sm1[nm ([sm1905[nm), No. [sm2[nm ([sm1908[nm=n[sm9[nm ~unpubd
.), No. [sm3[nm ([sm1940[nm), [cf2]Italia Suite [cf1]([sm1909[nm), ~[cf2]Pupazze
tti [cf1]([sm1919[nm), [cf2]Scarlattiana, [cf1]pf. and orch. ~([sm1926[nm), Vn.
Conc. ([sm1928[nm), [cf2]Concerto romano [cf1](organ) ~([sm1926[nm), Conc. for p
f., vn., and vc. ([sm1933[nm), Vc. ~Conc. ([sm1934[nm=n[sm5[nm), [cf2]Conc. for
Orch[cf1]. ([sm1937[nm); conc. for ~pf., timp., perc., str. ([sm1943[nm), songs,
 and pf. pieces ~(incl. [sm2[nm series entitled [cf2];agA la mani;agere de .|.|.
 [cf1](In the ~style of .|.|. ([sm1911[nm and [sm1913[nm), [sm2[nmnd series coll
ab. ~Ravel.)[cm~[j1]Casini, Giovanni Maria [fy75,1]([cf2]b [cf1]Florence, [sm165
2[nm; [cf2]d ~[cf1]Florence, [sm1719[nm). It. organist and scholar. Organist, ~F
lorence Cath. from [sm1685[nm. Comp. org. works and ~church mus. Had hpd. with [
sm4[nm octaves div. into [sm31[nm ~notes.[cm~Casiolini, Claudio [fy75,1]([cf2]b
[cf1]Rome, [sm1670[nm; [cf2]d [cf1]^?^). It. ~composer of motets
 and masses in style of ~[fy45,1]*[fy75,1]Palestrina. Choirmaster S. Lorenzo in
Damaso, ~Rome.[cm~Casken, John [fy75,1]([cf2]b [cf1]Barnsley, [sm1949[nm). Eng.
composer. ~Studied at Birmingham Univ. with Joubert and ~Dickinson and in Warsaw
 with Dobrowolski ~[sm1971[nm=n[sm2[nm. Lecturer, Birmingham Univ. [sm1973[nm=n[
sm9[nm, ~Huddersfield Polytechnic [sm1979[nm=n[sm81[nm, Durham ~Univ. from [sm19
81[nm. Featured composer at Bath Fest. ~[sm1980[nm where his mus. created a stro
ng impression ~through its individuality, while suggesting to ~critics the influ
ences of Debussy and Tippett. ~Prin. works incl.:[xm[cm~[j2][smorch[nm: [cf2]Are
naria[cf1], fl. and [sm13[nm players ([sm1976[nm); [cf2]Tableaux ~des Trois Ages
[cf1] ([sm1976[nm=n[sm7[nm); Pf. Conc. ([sm1980[nm=n[sm1[nm);[cf2] ~Masque[cf1],
 ob., [sm2[nm hns., str. ([sm1982[nm); [cf2]Erin[cf1], db. and ~small orch. ([sm
1982[nm=n[sm3[nm); [cf2]Orion over Farne [cf1]([sm1984[nm).[ep~[smensemble[nm: [
cf2]Kagura[cf1], [sm13[nm wind instr. ([sm1972[nm=n[sm3[nm); [cf
2]Music ~for the Crabbing Sun, [cf1]fl., ob., vc., hpd. ([sm1974[nm); ~[cf2]Musi
c for a Tawny-Gold Day, [cf1]va., alto sax., bass ~cl., pf. ([sm1975[nm=n[sm6[nm
); [cf2]Amarantos, [cf1][sm9[nm players ([sm1977[nm=n[sm8[nm); ~[cf2]Melanos[cf1
], tuba and [sm7[nm players ([sm1979[nm); [cf2]Eructavit[cf1], [sm10[nm ~instr.
([sm1982[nm); [cf2]Fonteyn Fanfares[cf1], [sm12[nm brass instr. ~([sm1982[nm).[e
p~[smvoice and instr[nm: [cf2]Ia Orana, Gauguin[cf1], sop., pf. ~([sm1978[nm); [
cf2]Firewhirl[cf1], sop. and [sm7[nm players ([sm1979[nm=n[sm80[nm).[ep~[smchamb
er mus[nm: [cf2]Music for Cello and Piano[cf1] ([sm1971[nm=n[sm2[nm); ~[cf2]Jadu
[cf1], [sm2[nm vc. ([sm1973[nm); [cf2]Fluctus[cf1], vc., pf. ([sm1973[nm=n[sm4[n
m); ~[cf2]Thymehaze[cf1], alto rec., pf. ([sm1976[nm); [cf2];agA Belle Pavine[cf
1], ~vn. and tape ([sm1980[nm); str. qt. ([sm1981[nm=n[sm2[nm); [cf2]Taerset[cf1
], ~cl., pf. ([sm1982[nm=n[sm3[nm).[ep~[smorgan[nm: [cf2]Ligatura[cf1] ([sm1979[
nm=n[sm80[nm).[cm~[j1]Cassad;aao, Gaspar [fy75,1]([cf2]b [cf1]Ba
rcelona, [sm1897[nm; [cf2]d [cf1]Madrid, ~[sm1966[nm). Sp. cellist and composer.
 Studied at ~Barcelona Cons. and with [fy45,1]*[fy75,1]Casals in Paris in [sm191
0[nm. ~Int. career began in [sm1918[nm. Toured extensively as ~solo cellist and
in chamber mus. Prof. at Siena ~Acad. Wrote vc. conc., str. qts., pf. trio, and
~[cf2]Rapsod;aaia Catalana.[cm~Cassation [fy75,1](It. [cf2]cassazione[cf1]). [sm
18[nmth-cent. instr. comp. ~(several by Mozart) similar to divertimento and ~ser
enade and often to be perf. outdoors.[cm~Casse-noisette [fy75,1](Tchaikovsky). S
ee [cf2]Nutcracker.[cm~Cassette [fy75,1](Fr.). Little box. Literally the small ~
package into which a commercial tape-recording ~is packed but in a wider sense t
he automatic-~rewinding tape itself. Record-playing equipment ~now generally pro
vides facilities for playing ~cassettes. Many disc recordings are also issued in
 ~cassette form.[cm~Cassilly, Richard [fy75,1]([cf2]b [cf1]Washington D.C., [sm1
927[nm). ~Amer. ten. Studied Baltimore. Prin. ten. Ham~~burg Sta
te Opera from [sm1967[nm. CG d;aaebut [sm1968[nm. NY ~City Opera [sm1955[nm=n[sm
66[nm. Milan [sm1970[nm. Has also ~appeared with Vienna State Opera, San Francis
co, ~Scottish Opera. His roles include Otello, Sieg~~mund, Peter Grimes, Troilus
, Laca, and Aaron[cm~Cassirer, Fritz [fy75,1]([cf2]b [cf1]Breslau, [sm1871[nm; [
cf2]d [cf1]Berlin, [sm1926[nm). ~Ger. cond. and writer. Studied in Munich and ~B
erlin. Held opera posts in L;auubeck, Elberfeld, ~and Berlin. Cond. f.p. of Deli
us's operas [fy45,1]*[fy75,2]Koanga ~[cf1](Elberfeld [sm1904[nm) and [cf2]A [fy4
5,1]*[fy75,2]Village Romeo and Juliet ~[cf1](Berlin [sm1907[nm) and f.p. in Eng.
 of Delius's ~[cf2]Appalachia [cf1](London, [sm1907[nm). Selected words from ~Ni
etzsche's [cf2]Also sprach Zarathustra [cf1]for Delius's ~[fy45,1]*[fy75,2]Mass
of Life.[cm~[PN132,0,0,L,I0]Castanets [fy75,1](Fr. [cf2]castagnettes, [cf1]It. [
cf2]castagnette[cf1]). Perc. ~instrs. consisting of [sm2[nm cup-shaped wooden cl
appers ~clicked rhythmically together by Sp. dancers, to ~whose
hands they are attached. In orch. use, they ~are mounted on a handle which is sh
aken.[cm~Castello, Dario [fy75,1](=+=+=+=+[cf2]fl. [cf1]early [sm17[nmth cent.).
 It. maestro ~of instr. mus. at St Mark's, Venice, [sm1629[nm. Comp. ~sonatas fo
r vv. and instr. and for hpd. or spinet ~with vn., tpt., and bn.[cm~Castelnuovo-
Tedesco, Mario [fy75,1]([cf2]b [cf1]Florence, [sm1895[nm; ~[cf2]d [cf1]Hollywood
, Calif., [sm1968[nm). It. composer, pupil of ~[fy45,1]*[fy75,1]Pizzetti. Assoc.
 with progressive faction in It. ~mus. led in [sm1920[nms by [fy45,1]*[fy75,1]Ca
sella. Settled in USA ~[sm1939[nm. Devotee of Shakespeare. Operas incl. [cf2]La
~mandragola [cf1]([sm1921[nm=n[sm5[nm), [cf2]Aucassin et Nicolette [cf1]([sm1938
[nm), ~[cf2]All's Well That Ends Well [cf1]([sm1958[nm), [cf2]Il Mercanto di ~Ve
nezia [cf1]([sm1961[nm). Comp. ballets, oratorios ([cf2]Ruth ~[cf1][sm1949[nm, [
cf2]Song of Songs [cf1][sm1963[nm) and orch. works incl. ~[cf2]Concerto Italiano
, [cf1]vn. and orch. ([sm1926[nm) and [sm2[nm ~further vn. concs
. ([sm1933[nm, [sm1939[nm), [sm2[nm pf. concs. ([sm1928[nm, ~[sm1939[nm), guitar
 conc. ([sm1939[nm), conc. for [sm2[nm guitars, ~[cf2]American Rhapsody [cf1]([s
m1943[nm), ovs. to Shakespeare's ~plays ([sm1931[nm=n[sm42[nm). Much chamber mus
. incl. guitar ~quintet and guitar sonata. His songs incl. [cf2][sm33[nm ~Shakes
peare Songs, [cf1]setting in Eng. of all the song-~texts in the plays.[cm~Castig
lioni, Niccol;Ago [fy75,1]([cf2]b [cf1]Milan, [sm1932[nm). It. com~~poser and pi
anist. Studied Verdi Cons., Milan, ~(pf. with Gulda, comp. with [fy45,1]*[fy75,1
]Ghedini) and later ~with [fy45,1]*[fy75,1]Blacher at Salzburg. Early works infl
uenced ~by Mahler, later by Boulez. Settled in USA [sm1967[nm. ~Comps. incl. [cf
2]Synchromie [cf1]for orch. ([sm1962[nm=n[sm3[nm), [cf2]Solemn ~Music II [cf1]fo
r sop. and chamber orch. ([sm1964[nm=n[sm5[nm), ~Sym. in C for ch. and orch. ([s
m1968[nm=n[sm9[nm), [cf2]Alef [cf1]for solo ~ob. ([sm1971[nm); [cf2]Inverno in-v
er[cf1], chamber orch. ([sm1972[nm); ~[cf2]Quodlibet[cf1], pf. a
nd chamber orch. ([sm1976[nm).[cm~Castillane [fy75,1](Sp.). Dance of the Provinc
e of Castile.[cm~Castor et Pollux [fy75,1](Castor and Pollux). Opera in ~prol. a
nd [sm5[nm acts by Rameau to lib. by Pierre Joseph ~Bernard. Prod. Paris [sm1737
[nm (rev. without prol. and ~with new Act I [sm1754[nm); Glasgow [sm1927[nm; NY
[sm1937[nm.[cm~Castrato [fy75,1](It.). Castrated. Male sop. or cont. whose ~v. w
as preserved by castration before puberty. In ~great demand in It. opera in [sm1
7[nmth and [sm18[nmth cent., ~the voice being brilliant, flexible, and often ~se
nsuous. Gualberto, a castrato, sang title-role in ~Monteverdi's [cf2]Orfeo [cf1]
([sm1607[nm). Other famous castrati ~were Senesino, Farinelli, Caffarelli, Guada
gni, and ~Velluti. Castrati survived in Vatican chapel and ~Roman churches until
 [sm20[nmth cent. Recordings ~exist of Alessandro Moreschi ([sm1858[nm=n[sm1922[
nm), male ~sop. of Sistine Chapel. Wagner wanted the male ~soprano D. Mustaf;aga
 to sing Klingsor in [cf2]Parsifal.[cm~Castro, Juan Jos;aae [fy7
5,1]([cf2]b [cf1]Avellaneda, [sm1895[nm; [cf2]d [cf1]Buenos ~Aires, [sm1968[nm).
 Argentinian composer and cond. ~Studied Paris [sm1920[nm with d'Indy. Cond. pos
ts in ~Buenos Aires, Havana, Montevideo, and Mel~~bourne. Dir. Puerto Rico Cons.
 [sm1959[nm=n[sm64[nm. Cos~~mopolitan composer with nationalistic flavour ~and u
se of serialism. His several operas incl. ~[cf2]Proserpina y el extranjero [cf1]
(Proserpine and the ~Stranger) (Milan [sm1952[nm) and [sm2[nm based on plays by
~Lorca, [cf2]La zapatera prodigiosa [cf1]([sm1943[nm) and [cf2]Bodas di ~sangre
[cf1](Blood Wedding) ([sm1952[nm). Also [sm5[nm syms., pf. ~conc., vn. conc., or
ch. suites, choral works. His ~brother Jos;aae Maria ([cf2]b [cf1]Buenos Aires,
[sm1892[nm; [cf2]d[cf1] ~Buenos Aires, [sm1964[nm) was also cond. and composer.[
cm~Castrucci, Pietro [fy75,1]([cf2]b [cf1]Rome, [sm1679[nm; [cf2]d [cf1]Dublin,
~[sm1752[nm). It. violinist, pupil of Corelli. Settled in ~London [sm1715[nm bec
oming leader of Handel's opera ~orch. until [sm1737[nm. Invented
 `violetta Marina' for ~which instr. Handel wrote solos in [cf2]Orlando [cf1]and
 ~[cf2]Sosarme.[cf1] Went to Dublin [sm1750[nm.[cm~Catal;aaan [fy75,1](Sp.), [fy
65][cf3]Catalane [fy75,1](Fr.). Type of Sp. dance ~from Catalonia.[cm~Catalani,
Alfredo [fy75,1]([cf2]b [cf1]Lucca, [sm1854[nm; [cf2]d [cf1]Milan, [sm1893[nm).
~It. composer. Studied Paris ([sm1872[nm) and Milan. ~Friend of [fy45,1]*[fy75,1
]Boito who wrote lib. for [cf2]La Falce ~[cf1](Milan [sm1875[nm). Operas show af
finity with Ger. ~romantics, e.g. Weber and Marschner, and were ~[cf2]Elda [cf1]
([sm1876[nm, rev. [sm1889[nm as [cf2]Loreley[cf1]), [cf2]Dejanice [cf1]([sm1883[
nm), ~[cf2]Edmea [cf1]([sm1886[nm), and [cf2]La [fy45,1]*[fy75,2]Wally [cf1]([sm
1891[nm), the last-~named being the best and most popular of his ~works, highly
esteemed by Toscanini.[cm~Catalani, Angelica [fy75,1]([cf2]b [cf1]Sinigaglia, [s
m1780[nm; [cf2]d [cf1]Paris, ~[sm1849[nm). It. sop. D;Aaebut Venice [sm1797[nm,
London [sm1806[nm. ~First singer in London of Mozart's Susanna i
n [cf2]Le ~nozze di Figaro, [cf1][sm1812[nm. Managed Paris Th;Aae;Afatre des ~It
aliens [sm1814[nm=n[sm17[nm. Retired from stage [sm1819[nm but ~continued concer
t work until [sm1828[nm. In her day ~extremely highly paid. Founded singing sch.
, ~Florence.[cm~Catalogue Aria. [fy75,1]Nickname for Leporello's aria ~in Act [s
m1[nm Sc. [sm2[nm of Mozart's [cf2]Don Giovanni [cf1]in which ~he recounts to Do
nna Elvira a list of the Don's ~amorous conquests in various countries, ending ~
each instalment with the words `but in Spain, a ~thousand and three ([cf2]mille
e tre[cf1])'. This aria was ~probably modelled on a similar one in Gazzaniga's ~
[cf2]Don Giovanni[cf1], the rapid singing of a list of items ~being a popular fe
ature of [sm18[nmth-cent. comic opera.[cm~Catalogue d'oiseaux. [fy75,1]Work by M
essiaen for solo ~pf. in [sm7[nm books, comp. [sm1956[nm=n[sm8[nm, based on bird
song ~as noted and remembered by the composer. F.p. ~Paris [sm1959[nm (Loriod).[
cm~Catch. [fy75,1]A type of [fy45,1]*[fy75,2]round[cf1]; but the
 term is now ~often used in a less general sense which confines ~its application
 to such rounds as, in the singing, ~afford a laugh by the way the words are hea
rd, as ~for instance in the one [cf2]Ah, how Sophia, [cf1]which in ~the singing
suggests `Our house afire', the later ~line `Go fetch the Indian's borrowed plum
e' ~similarly suggesting `Go fetch the engines!'. ~Restoration specimens are mor
e amusing and ~much more indecent. A Catch Club (Noblemen ~and Gentlemen's Catch
 Club) was founded in ~London in [sm1761[nm and still exists.[cm~[PN133,0,0,R,I0
]Cath;aaedrale engloutie, La [fy75,1](The submerged ca~~thedral). Pf. piece by D
ebussy, No. [sm10[nm of his ~[fy45,1]*[fy75,2]Pr;aaeludes, [cf1]Book I, comp. [s
m1910[nm. Based on cath. of ~Ys, with its legend of underwater bells and ~chanti
ng. F.p. Debussy, Paris [sm1910[nm. Quoted by ~Debussy in his vc. sonata, [sm191
5[nm. Orch. version by ~B;auusser, f.p. Paris [sm1927[nm.[cm~Catiline Conspiracy
, The. [fy75,1]Opera in [sm2[nm acts by ~[fy45,1]*[fy75,1]Hamilt
on to lib. by comp. based on Ben Jonson's ~[cf2]Catalina[cf1] ([sm1611[nm). Comp
. [sm1972=n3[nm. Prod. Stirling ~[sm1974[nm.[cm~Catterall, Arthur [fy75,1]([cf2]
b [cf1]Preston, [sm1883[nm; [cf2]d [cf1]London, ~[sm1943[nm). Eng. violinist. Ta
ught by father from age ~[sm4[nm. Played Mendelssohn conc. at Manchester th. at
~age [sm8[nm. Entered RMCM [sm1893[nm as pupil of Willy ~Hess and later of [fy45
,1]*[fy75,1]Brodsky. First played in Hall;aae ~Orch. [sm1900[nm. Played in Bayre
uth orch. [sm1902[nm. ~Soloist at Hall;aae concert with Richter [sm1904[nm. Lead
er ~of Queen's Hall Orch., [sm1905[nm=n[sm14[nm, Hall;aae Orch. ~[sm1914[nm=n[sm
25[nm, BBC S.O. [sm1930[nm=n[sm6[nm. Prof. of vn., RMCM, ~[sm1910[nm=n[sm29[nm.
Led own str. qt. [sm1911[nm=n[sm25[nm. Frequent ~conc. soloist (gave f.p. of [fy
45,1]*[fy75,1]Moeran conc. [sm1942[nm).[cm~Catulli Carmina [fy75,1](Songs of Cat
ullus). Scenic ~cantata by [fy45,1]*[fy75,1]Orff, successor to his [fy45,1]*[fy7
5,2]Carmina Burana, ~[cf1]and [sm2[nmnd part of his trilogy [fy4
5,1]*[fy75,2]Trionfi. [cf1][sm1943[nm rev. of ~much earlier work, f.p. Leipzig [
sm1943[nm, Cambridge ~[sm1948[nm. For soloists, ch., [sm4[nm pf., [sm4[nm timp.,
 and up to [sm12[nm ~percussionists. Setting of [sm12[nm Lat. poems by ~Catullus
, with opening and closing Lat. choruses ~by Orff.[cm~Caucasian Sketches. [fy75,
1]Symphonic suite for orch., ~Op. [sm10[nm, by [fy45,1]*[fy75,1]Ippolitov-Ivanov
. Comp. [sm1894[nm, f.p. ~Moscow [sm1895[nm. [sm4[nm movements are: [cf2]In the
Mountain ~Pass; In the Village; In the Mosque; March of the ~Sirdar.[cm~Caurroy,
 Fran;Alcois Eustache de [fy75,1]([cf2]b [cf1]Gerberoy, ~[sm1549[nm; [cf2]d [cf1
]Paris, [sm1609[nm). Fr. composer and canon of ~Saint Chapelle, Paris, becoming
court composer ~to Fr. Kings. His [cf2]Mass for the Dead [cf1]was perf. at Fr. ~
royal funerals until [sm18[nmth cent. Wrote church and ~instr. mus.[cm~Causton [
fy75,1](Caustun), [fy65][cf3]Thomas [fy75,1]([cf2]d [cf1]London, [sm1569[nm). ~E
ng. composer of church mus. Member of Chapel ~Royal from [cf2]c[
cf1].[sm1550[nm. His anthems and services ~were published in Day's [cf2]Certaine
 Notes[cf1] ([sm1565[nm).[cm~Cavaill;Aae-Col, Aristide [fy75,1]([cf2]b [cf1]Mont
pellier, [sm1811[nm; [cf2]d ~[cf1]Paris, [sm1899[nm). Fr. organ-builder, most pr
ominent ~of his family. Went to Paris [sm1833[nm, built organ for ~basilica of S
t Denis. Also built org. for Madeleine. ~His orgs. in Eng. incl. that for Manche
ster Town ~Hall. Estimated to have built nearly [sm500[nm organs. ~The great sch
ool of Fr. organ composers from ~Franck to Messiaen was motivated by his instru~
~ments.[cm~Cavalieri, Emilio de' [fy75,1]([cf2]b c[cf1].[sm1550[nm; [cf2]d [cf1]
Rome, [sm1602[nm). ~It. composer who was at the Medici Court in ~Florence and a
member of [fy45,1]*[fy75,1]Camerata. One of ~first to use [cf2]Basso continuo. [
cf1]Wrote at least [sm4[nm early ~mus.-dramas to texts by Guidiccioni and a ~mor
ality-play, forerunner of oratorio, [cf2]La [fy45,1]*[fy75,2]rappre~~sentazione
di anima e di corpo [cf1](The Representation ~of Soul and Body)
to a text by Manni, f.p. [sm1600[nm.[cm~Cavalieri, Katharina [fy75,1]([cf2]b [cf
1]W;auahring, Austria, [sm1760[nm; ~[cf2]d [cf1]Vienna, [sm1801[nm). Austrian so
p. who studied with ~[fy45,1]*[fy75,1]Salieri. Spent most of her career in Vienn
a. ~Mozart wrote Constanze in [cf2]Die Entf;auuhrung[cf1] for her ~and the aria
`Mi tradi', added to Elvira's part in ~[cf2]Don Giovanni [cf1]for its Vienna pre
mi;agere.[cm~Cavalleria rusticana [fy75,1](Rustic Chivalry). Opera in ~[sm1[nm a
ct by [fy45,1]*[fy75,1]Mascagni to lib. by Menasci and ~Targioni-Tozzetti based
on play by Verga adapted ~from his short story. Won prize for [sm1[nm-act opera
in ~competition organized by [fy45,1]*[fy75,1]Sonzogno, [sm1889[nm. ~Prod. Rome
[sm1890[nm, London [sm1891[nm. Usually perf. as ~double bill with [fy45,1]*[fy75
,1]Leoncavallo's [fy45,1]*[fy75,2]Pagliacci, [cf1]hence ~the vernacular `Cav. an
d Pag.'.[xm[cm~[ol0][ep~[xp[te~

[do25][j99]~~~~~~[sm153842[nm_C[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT OF MUSIC[cmC[sm006[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm140[nm[cm~GC[cm4[cm20/9/84[cmU1[cm~~[ap~[j1]Cavalli [fy75,1](
Caletti-Bruni), [fy65][cf3]Pietro [fy75,1](Pier) [fy65][cf3]Francesco ~[fy75,1](
[cf2]b [cf1]Crema, [sm1602[nm; [cf2]d [cf1]Venice, [sm1676[nm). It. composer of
~operas, possibly pupil of [fy45,1]*[fy75,1]Monteverdi. Between ~[cf2]c[cf1].[sm
1635[nm and [sm1670[nm about [sm40[nm of his operas were prod. ~in Venice. Twice
 visited Paris, his [cf2]Serse [cf1](Venice ~[sm1654[nm) being given there [sm16
60[nm as part of Louis ~XIV's marriage festivities. Operatic importance ~lies in
 enlargement of dramatic potentialities and ~command of comic possibilities. Ope
ras incl. ~[cf2]Didone [cf1]([sm1641[nm), [cf2]L'Egisto [cf1]([sm1643[nm), [cf2]
Giasone [cf1](Jason) ~([sm1649[nm), [cf2]La Doriclea [cf1]([sm1645[nm), [cf2]Ori
steo [cf1]([sm1651[nm), [cf2]Scipiano ~Africano [cf1]([sm1664[nm
), [cf2]Statira, Principessa di Persia [cf1]([sm1655[nm), ~[cf2]La virt;Agu de's
trali d'amore [cf1]([sm1642[nm), [cf2]L'Erismena, ~L'Ormindo [cf1]([sm1644[nm),
[cf2]La [fy45,1]*[fy75,2]Calisto [cf1]([sm1651[nm), [cf2]Eritrea[cf1] ~([sm1652[
nm), [cf2]Orione [cf1]([sm1653[nm), [cf2]Serse [cf1]([sm1654[nm), [cf2]Ercole ~a
mante [cf1]([sm1662[nm), [cf2]Mutio Scevola [cf1]([sm1665[nm), and [cf2]Pompeo ~
magno [cf1]([sm1666[nm). [cf2]L'Ormindo[cf1] and [cf2]La Calisto[cf1] were ~revi
ved successfully at Glyndebourne in realiza~~tions by Raymond [fy45,1]*[fy75,1]L
eppard which are some~~times some way removed from the original score. ~Cavalli
was also an org. and composer of church ~mus.  (e.g. [cf2]Vespers of the Annunci
ation[cf1] ([sm1675[nm) and a ~[cf2]Requiem[cf1]) and instr. pieces.[cm~Cavatina
 [fy75,1](It.). ([sm1[nm) Operatic solo aria in regular ~form and in one section
 instead of the classical ~aria's [sm3[nm, without repetition of words or phrase
s, ~e.g. [cf2]Porgi amor [cf1]from Mozart's [cf2]Le nozze di Fig
aro. ~[cf1]Also used of song-like air incl. in a long [fy45,1]*[fy75,2]scena.[ep
~[cf1]^([sm2[nm) Song-like instr. piece, e.g. Raff=+=+'s [cf2]Cavatina [cf1]and
~the [cf2]Cavatina [cf1]movement of Beethoven's Str. Qt. in ~B;Yh, Op. [sm130[nm
. [sm3[nmrd movement of Vaughan Wil~~liams's [sm8[nmth Sym. ([sm1955[nm) is a [c
f2]Cavatina [cf1]for str.[cm~Cavendish, Michael [fy75,1]([cf2]b c[cf1].[sm1565[n
m; [cf2]d [cf1]London, [sm1628[nm). ~Eng. composer of madrigals and lute mus. ~M
adrigal `Come, gentle swains' is in [cf2]The [fy45,1]*[fy75,2]Triumphs ~of Orian
a.[cm~Cawston. [fy75,1]See [cf2]Caustun, Thomas.[cm~Cazden, Norman [fy75,1]([cf2
]b [cf1]NY, [sm1914[nm; [cf2]d[cf1] Bangor, Mne., ~[sm1980[nm). Amer. composer a
nd pianist. Studied ~Juilliard Sch. [sm1927[nm=n[sm39[nm (comp. with [fy45,1]*[f
y75,1]Wagenaar) ~and later at Harvard with Piston and Copland. ~Piano recitalist
, also worked for radio stations and ~[PN134,0,0,L,I0]dance cos. Many comps., se
veral based on folk ~mus. collected in Catskill Mts., incl. sym.
, pf. ~sonatas, str. qt., brass sextet.[cm~Cazzati, Maurizio [fy75,1]([cf2]b [cf
1]Lucera, [cf2]c[cf1].[sm1620[nm; [cf2]d [cf1]Mantua, ~[sm1677[nm). It. composer
 and org. Choirmaster at ~Bergamo [sm1653[nm=n[sm7[nm, Bologna [sm1657[nm=n[sm73
[nm, and Mantua ~[sm1673[nm=n[sm7[nm. Wrote religious mus. and instr. works.[cm~
CB. [fy75,1]Short for [cf2]Contrabassi, [cf1]i.e. str. dbs.[xm[cm~[ol0][ep~[xp[t
e~







[do3][j99]~~~~153842_CA01[ep~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary
 of Music[cmCA[sm01[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm23[nm/[sm10[nm/[sm79[nm[cm[sm3[
nm[cm[sm145[nm[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~[ap[j1]C Clef.[fy75,1] See [cf2]Cl
ef.[cm~[fy65][cf3]C Dur[fy75,1] (Ger.). Key of C major.[cm~[fy65][cf3]Cebell[fy7
5,1] (cibell). Eng. dance, used by Purcell and ~others, similar to a fast gavott
e. So called because ~based on an air assoc. with the goddess Cyb;agele in ~Lull
y's opera [cf2]Atys[cf1] ([sm1676[nm).[cm~Cebotari, Maria [fy75,1]([cf2]b[cf1] K
ishinev, Bessarabia, [sm1910[nm; [cf2]d[cf1] ~Vienna, [sm1949[nm). Austro-Russ.
sop. Actress at ~Moscow Art Th. [sm1926[nm. Studied singing in Berlin. ~Opera d;
aaebut Dresden [sm1931[nm as Mimi. In Dresden ~co. [sm1931[nm=n[sm41[nm, also Be
rlin [sm1936[nm=n[sm44[nm, Vienna [sm1946[nm=n~[sm9[nm. D;aaebut CG [sm1936[nm w
ith Dresden co., sang there ~with Vienna Opera [sm1947[nm. Created role of Amint
a ~in R. Strauss's [cf2]Die schweigsame Frau[cf1] ([sm1935[nm).
~Appeared in films.[cm~Ceccato, Aldo[fy75,1] ([cf2]b[cf1] Milan, [sm1934[nm). It
. cond. Studied ~Milan; ass. to [fy45,1]*[fy75,1]Celibidache at Siena Acad. [sm1
961[nm=n~[sm3[nm. D;aaebut Milan [sm1964[nm, Wexford [sm1968[nm, Chicago ~[sm196
9[nm, CG [sm1970[nm, Glyndebourne [sm1971[nm. Prin. cond. ~Detroit S.O. [sm1973[
nm=n[sm7[nm.[cm~Cecilia, Saint[fy75,1] (martyred in Sicily [cf2]c.[cf1] [sma.d.[
nm [sm176[nm). ~Patron saint of mus., commemorated annually ~on [sm22[nm Nov. He
r assoc. with mus. is very obscure, ~apparently dating from [sm15[nmth cent. (Th
ere is a ~theory that it arose from the misreading of an ~antiphon for her day.)
 First recorded mus. fest. in ~her honour [cf2]c.[cf1][sm1570[nm at Evreux, Norm
andy; earliest ~recorded date of a Brit. mus. celebration [sm1683[nm. ~Innumerab
le paintings and stained glass windows ~depict her playing the org.=malways one
of many ~centuries later than [sma.d.[nm [sm176[nm. Many comps. in her ~honour,
outstanding examples being Purcell's ~[cf2]Ode for St Cecilia's
Day[cf1] ([sm1692[nm) and Britten's [cf2]Hymn ~to St Cecilia[cf1] ([sm1942[nm).[
cm~C;aaedez [fy75,1](Fr.). Give way, i.e. Diminish the speed ~(present and past
participles [cf2]c;aaedant, c;aaed;aae).[cm~Celere[fy75,1] (It.). Quick, speedy.
 Hence [cf2]celerit;aga[cf1], speed; ~[cf2]celeramente[cf1], with speed.[cm~Cele
sta[fy75,1] (It., Fr. [cf2]c;aaeleste[cf1]). Small kbd. instr. not ~unlike glock
enspiel. Invented in Paris by Auguste ~Mustel in [sm1886[nm. Series of steel pla
tes (suspended ~over wooden resonators) which are struck by ~hammers when keys a
re depressed, giving ethe~~real bell-like sound. Range of [sm4[nm octaves upward
s ~from middle C. Used in [sm1892[nm by Tchaikovsky in ~`Dance of the Sugar-Plum
 Fairy' in [fy45,1]*[fy75,2]Nutcracker[cf1] ~ballet. Many others have used it si
nce, notably ~[fy45,1]*[fy75,1]Bart;aaok in [cf2]Music for Strings, Percussion a
nd Celesta[cf1]. ~First used in sym. by Mahler in his [sm6[nmth ([sm1903[nm=n[sm
5[nm).[cm~Celeste[fy75,1] (Fr.). ([sm1[nm) Type of soft pedal on
 old-~fashioned pfs., interposing a strip of cloth between ~the hammers and stri
ngs.[ep~_([sm2[nm) The [cf2]Voix C;aaeleste[cf1] stop on the organ.[cm~Celestial
 Railroad, The.[fy75,1] Fantasy for pf., [sm1924[nm, ~by [fy45,1]*[fy75,1]Ives,
arr. from [sm2[nmnd movement of his Sym. ~No. [sm4[nm.[cm~Celibidache, Sergiu[fy
75,1] ([cf2]b[cf1] Iasi, Romania, [sm1912[nm). ~Romanian cond. and composer. Stu
died Berlin ~Hochschule and Univ. Cond. Berlin P.O. [sm1945[nm=n~[sm51[nm. Londo
n d;aaebut [sm1948[nm. Taught cond. at Siena. ~Author of study of Josquin [fy45,
1]*[fy75,1]Despr;ages. Comp. [sm4[nm ~syms. and pf. conc. Has spent much time wi
th ~radio orchs., e.g., S. Ger. Radio (Stuttgart) from ~[sm1959[nm and Stockholm
 [sm1962[nm=n[sm71[nm. Insists on heavy ~rehearsal schedule and dislikes recordi
ngs.[cm~Cello.[fy75,1] Short for [fy45,1]*[fy75,1]Violoncello. It used to be spe
lled ~with a preliminary apostrophe, but [cf2]cello[cf1] is now ~accepted as sta
ndard, like piano.[cm~Cello Symphony.[fy75,1] Britten's Op. [sm6
8[nm=min full, Sym. ~for Cello and Orch.=mcomp. [sm1963[nm for, and ded. ~to, [f
y45,1]*[fy75,1]Rostropovich, who gave f.p. in Moscow [sm1964[nm, ~the composer c
onducting. F.p. in England, Alde~~burgh [sm1964[nm.[cm~Celtic Harp.[fy75,1] See
[cf2]Cl;agarsach[cf1].[cm~Celtic Requiem.[fy75,1] Work by [fy45,1]*[fy75,1]Taven
er for sop., ~children's ch., mixed ch., and orch., comp. [sm1969[nm ~and f.p. L
ondon [sm1969[nm.[cm~Cembalo.[fy75,1] See [cf2]Clavicembalo[cf1].[cm~Cendrillon
[fy75,1](Cinderella). Opera in [sm4[nm acts by ~Massenet to lib. by Henri Cain.
Prod. Paris [sm1899[nm, ~NY Met. [sm1912[nm, London (with puppets) [sm1928[nm.[c
m~Cenerentola, La[fy75,1] (Cinderella). Opera in [sm2[nm acts by ~Rossini to lib
. by Ferretti. Prod. Rome [sm1817[nm, ~London [sm1820[nm, NY [sm1826[nm. There a
re other Cinder~~ella operas by Laruette, Steibelt, [fy45,1]*[fy75,1]Massenet an
d ~Wolf-Ferrari. Also ballets by Prokofiev and J. ~Strauss II.[cm~Cento, Centon,
 Centone.[fy75,1] A medley of tunes. See ~[cf2]pasticcio[cf1].[c
m~Central Park in the Dark in the Good Old ~Summertime[fy75,1] (or A Contemplati
on of Nothing ~Serious). Work for chamber orch. by [fy45,1]*[fy75,1]Ives, comp.
~[sm1906[nm.[cm~Ce;agol beag[fy75,1] (Gaelic). Little music. That part of ~Scott
ish Highland bagpipe repertory comprising ~marches, [fy45,1]*[fy75,1]strathspeys
, and [fy45,1]*[fy75,1]reels. (See also [cf2]Ce;agol ~mor [cf1]and [cf2]Ce;agol
meadhonach.)[cm~Ce;agol Meadhonach[fy75,1] (Gaelic). Middle music. That ~part of
 Scottish Highland bagpipe repertory ~comprising folk songs, lullabies, croons,
and slow ~marches. (See also [cf2]Ce;agol beag[cf1] and [cf2]Ce;agol mor[cf1]).[
cm~Ce;agol Mor[fy75,1] (Gaelic). Big music. That part of ~Scottish Highland bagp
ipe repertory comprising ~salutes, gatherings, and laments, also tunes comp. ~[P
N135,0,0,R,I0]in memory of some historical event. (See also [cf2]Ce;agol ~beag[c
f1] and [cf2]Ce;agol meadhonach[cf1].)[cm~Ce qu'on entend sur la montagne[fy75,1
] (What one ~hears on the Mountain; Ger. [cf2]Bergsymphonie, ~[c
f1]Mountain Symphony). Symphonic poem for pf. ~by Liszt comp. [sm1848=n9[nm, sco
red for orch. by [fy45,1]*[fy75,1]Raff ~[sm1849[nm and by Liszt [sm1850[nm, rev.
 [sm1854[nm. Based on ~Victor Hugo's [cf2]Feuilles d' automne[cf1], No. [sm5[nm.
[cm~Ceremony of Carols, A.[fy75,1] Settings by Britten, Op. ~[sm28[nm, of carols
 (in [sm11[nm movements) for treble vv. and ~harp, comp. [sm1942[nm at sea on vo
yage back to U.K. ~Also arr. for SATB and harp or pf. by Julius ~Harrison.[cm~Ce
rerols, Joan[fy75,1] ([cf2]b[cf1] Martorell, [sm1618[nm; [cf2]d[cf1] Montserrat,
 ~[sm1676[nm). Sp. Catalan composer, connected for most ~of his life with Montse
rrat Abbey where he was ~dir. of choir for over [sm30[nm years. His works show ~
adventurous technique and incl. [cf2]Requiem, Magni~~ficat, Ave maris stella, Re
gina coeli[cf1], etc.[cm~Cerha, Friedrich[fy75,1] ([cf2]b[cf1] Vienna, [sm1926[n
m). Austrian ~composer and violinist. Studied Vienna Acad. and ~Univ. Founded in
str. ens. `Die Reihe' [sm1958[nm. Prof., ~Vienna Acad. [sm1969[n
m, teaching new mus. and elec. ~comp. Orch. Act III of Berg's [cf2]Lulu[cf1] (fr
om compos~~er's short score) for first complete perf., [sm1979[nm. ~Works incl.:
[xm[cm~[j2][smopera[nm: [cf2]Baal[cf1] ([sm1974[nm=n[sm9[nm); [cf2]Netzwerk[cf1]
 ([sm1981[nm).[ep~[smorch[nm: [fy75,2]Spiegel I, [cf1]for orch., [cf2]II[cf1] fo
r [sm55[nm str., [cf2]III-VII[cf1] for ~orch. ([sm1960[nm=n[sm71[nm); [cf2]Fasce
[cf1] ([sm1960[nm=n[sm72[nm); [cf2]Langegger ~Nachtmusik I[cf1] ([sm1969[nm), [c
f2]II[cf1] ([sm1971[nm); [cf2]Intersecazioni I[cf1] for ~vn. and orch. ([sm1959[
nm), [cf2]II[cf1] ([sm1959[nm=n[sm72[nm); Sym. ([sm1975[nm); ~Conc. for vn., vc.
, orch. ([sm1975[nm); Conc. for fl., bn., ~orch. ([sm1982[nm).[ep~[smchamber orc
h[nm: [cf2]Catalogue des objets trouv;aaes[cf1] ([sm1968[nm=n~[sm9[nm); [cf2]Sym
phonies [cf1]for wind and drums ([sm1964[nm); ~[cf2]Curriculum[cf1], for wind ([
sm1972[nm); [cf2]Movements I=nIII ~[cf1]([sm1960[nm); [cf2]Enjambements[cf1] ([s
m1959[nm).[ep~[smvoice[nm([sms[nm) [smand orch[nm: [cf2]Exercise
s[cf1], bar., speaker, cham~~ber orch. ([sm1962[nm=n[sm8[nm); [cf2]Baal-Ges;auan
ge[cf1], bar. and orch. ~([sm1982[nm); [cf2]Requiem f;auur Hollensteiner[cf1], s
peaker, bar., ~ch., and orch. ([sm1983[nm).[ep~[smunacc. chorus[nm: [cf2]Verzeic
hnis[cf1], [sm16[nm vv. ([sm1969[nm).[cm~[j1]Cernikof, Vladimir[fy75,1] ([cf2]b[
cf1] Paris, [sm1882[nm; [cf2]d[cf1] London, ~[sm1948[nm). Franco-Russian pianist
, studied Geneva ~and Berlin. D;aaebut M;auulhausen, [sm1905[nm and London ~[sm1
908[nm. Settled in London, touring widely.[cm~Certon, Pierre[fy75,1] ([cf2]b c[c
f1].[sm1510[nm; [cf2]d[cf1] Paris, [sm1572[nm). Fr. ~composer. Wrote over [sm200
[nm [cf2]chansons, chansons ~spirituelles[cf1], [sm8[nm masses, Magnificat, and
many ~motets. Clerk, Notre Dame de Paris [sm1529[nm=n[sm32[nm, ~next [sm40[nm ye
ars at Sainte Chapelle, mostly as master ~of choirboys.[cm~Cervelat [fy75,1](cer
velas, Fr.; It. [cf2]cervellate[cf1]). The [fy45,1]*[fy75,1]rackett.[cm~Ces[fy75
,1] (Ger.). The note C;Yh.[cm~Ceses [fy75,1](Ger.). The note C;Y
h;Yh.[cm~Cesti, Pietro Antonio [fy75,1]([cf2]b[cf1] Arezzo, [sm1623[nm; [cf2]d[c
f1] Florence, ~[sm1669[nm). Orig. friar, believed to have studied with ~[fy45,1]
*[fy75,1]Carissimi. Released from vows, became mus. ~dir. Medici Court, Florence
, [sm1643[nm. In [sm1666[nm became ~vice-Kapellmeister at Vienna imperial court.
 ~Operas rank with Cavalli's in importance. They ~incl. [cf2]Orontea[cf1] (Venic
e [sm1649[nm), [cf2]Cesare amante[cf1] (Venice ~[sm1651[nm), [cf2]La Dori[cf1] (
Innsbruck [sm1657[nm), [cf2]Il Tito [cf1](Venice ~[sm1666[nm) and [cf2]Il pomo d
'oro[cf1] (Vienna [sm1668[nm).[cm~Ceterone. [fy75,1]The bass [fy45,1]*[fy75,1]ci
ttern, dating perhaps from ~[sm1524[nm but certainly from end of [sm16[nmth cent
. ~Monteverdi's [cf2]Orfeo[cf1] ([sm1615[nm ed.) lists `[sm2[nm ceteroni'. ~Had
a number of additional unstopped bass str. ~and was particularly suitable for [f
y45,1]*[fy75,1]continuo.[cm~Cetula.[fy75,1] It. medieval instr. identified by sc
holars ~as ancestor of the cittern, a derivative of the lyra. ~D
escribed [cf2]c[cf1].[sm1487[nm as having `[sm4[nm brass or steel strings ~usual
ly tuned a tone, a [sm4[nmth and back again a tone, ~and it is played with a qui
ll'.[cm~Chabrier, [fy75,1](Alexis) [fy65][cf3]Emmanuel[fy75,1] ([cf2]b[cf1] Ambe
rt, Puy-~de-D;afome, [sm1841[nm; [cf2]d[cf1] Paris, [sm1894[nm). Fr. composer, ~
pianist, and cond. Largely self-taught and was ~civil servant until [sm1880[nm.
After visiting Sp. wrote ~orch. rhapsody [fy45,1]*[fy75,2]Espa;atna[cf1], [sm188
3[nm. Became ass. ch.-~master to Lamoureux in Paris [sm1884[nm=n[sm5[nm. Fervent
 ~admirer of and propagandist for Wagner. Works ~incl. operas [cf2]L';aaEtoile[c
f1] ([sm1877[nm), [cf2]Une Education manqu;aaee[cf1] ~([sm1879[nm), [cf2]Gwendol
ine[cf1] ([sm1885[nm), [cf2]Le [fy45,1]*[fy75,2]Roi malgr;aae lui[cf1] ([sm1887[
nm) ~and [cf2]Bris;aaeis[cf1] (unfinished); [cf2]Joyeuse Marche[cf1], orch. ~([s
m1888[nm); pf. pieces and songs (incl. [cf2]Ballade des gros ~dindons[cf1], [sm1
889[nm).[cm~Cha Cha Cha.[fy75,1] Ballroom dance originating in ~
Cuba [cf2]c[cf1].[sm1952[nm. Development of mambo. Name ~derives from rhythm=m[s
m2[nm crotchets, [sm3[nm quavers, ~quaver rest. Steps are glided, with rocking o
f hips ~as in rumba.[cm~Chaconne[fy75,1] (Fr.; Eng. [cf2]chacony[cf1], It. [cf2]
Ciaccona[cf1], Sp. ~[cf2]Chacona[cf1]; from Basque [cf2]chocuna[cf1] pretty). A
musical ~form almost indistinguishable from [fy45,1]*[fy75,2]Passacaglia[cf1]. ~
Both were orig. dances of [sm3[nm-in-a-measure rhythm, ~and the mus. of both was
 erected on a [fy45,1]*[fy75,1]ground ~bass. In some specimens this bass theme p
asses ~into an upper part. In others while there is no ~actual ground bass the m
us. falls into a number ~of quite short sections similar to those written ~over
a ground bass. Lully, Rameau, and other ~composers of their period and a little
later, often ~ended an opera with a movement of this type ~(e.g. Gluck's [cf2]Or
feo[cf1]). A universally known [cf2]Chaconne[cf1] ~is that by Bach which closes
the [sm2[nmnd Partita (D ~minor) for solo. vn.=moften played wit
hout its ~companion movements. Purcell's aria [cf2]When I am ~laid in earth[cf1]
 ([cf2]Dido and Aeneas[cf1]) is a [cf2]chaconne[cf1], so are ~Beethoven's [cf2][
sm32[nm Variations in C minor[cf1] for piano, the ~finale of Brahms's Sym. No. [
sm4[nm (usually called a ~passacaglia), and the last movement of Britten's ~Str.
 Qt. No. [sm2[nm ([cf2]Chacony[cf1]).[cm~Chadwick, George [fy75,1](Whitefield) (
[cf2]b[cf1] Lowell, Mass., ~[sm1854[nm; [cf2]d[cf1] Boston, [sm1931[nm). Amer. c
omposer, organist, ~and cond. Gave up business for mus. and at [sm23[nm ~went to
 Munich and Leipzig to study. Returned ~to Boston [sm1880[nm, becoming teacher,
org., and ~[PN136,0,0,L,I0]choral cond. Joined staff New England Cons. ~[sm1882[
nm, becoming dir. [sm1897[nm until his death. Comp. ~opera [cf2]Judith[cf1] ([sm
1900[nm), [sm3[nm syms., several symphonic ~poems incl. [fy45,1]*[fy75,2]Tam O'S
hanter[cf1] ([sm1911[nm), [sm5[nm str. qts., and ~choral works.[cm~Chagall Windo
ws, The.[fy75,1] Orch. work by [fy45,1]*[fy75,1]Mc~~Cabe inspire
d by Marc Chagall's stained-glass ~windows in synagogue of Hadassah Hospital, ~H
ebrew Univ., Jerusalem, representing [sm12[nm tribes ~of Israel. Comp. [sm1974[n
m, f.p. Manchester [sm1975[nm.[cm~Chagrin, Francis[fy75,1] (really Alexander Pau
cker) ([cf2]b[cf1] ~Bucharest, [sm1905[nm; [cf2]d[cf1] London, [sm1972[nm). Roma
nian-~born composer and cond. resident in Eng. for ~many years. Studied Z;auuric
h and Paris with ~Boulanger, Dukas, and in London with Seiber. ~Founded [sm1943[
nm Committee (now Society) for the ~Promotion of New Mus. (S.P.N.M.). Comp. and
~cond. for over [sm200[nm films. Cond. for various ballet ~cos. Works incl. [cf2
]King Stag, Volpone, Lamento ~appassionato[cf1], pf. conc., and [sm2[nm syms.[cm
~Chahut. [fy75,1]See [cf2]Can-Can.[cm~Chains, Iron. [fy75,1]Required by Schoenbe
rg among ~perc. instr. in his [fy45,1]*[fy75,2]Gurrelieder,[cf1] [sm1900[nm=n[sm
11[nm.[cm~Chair Organ.[fy75,1] Term applied to small organ in ~Eng. in [sm17[nmt
h and [sm18[nmth cents. Used in conjunction ~with `great organ'.
 Originally separate, they were ~incorporated but played on different manuals.[c
m~Chaliapin [fy75,1](Shalyapin), [fy65][cf3]Fyodor [fy75,1](Ivanovich) ([cf2]b[c
f1] ~Kazan, [sm1873[nm; [cf2]d[cf1] Paris, [sm1938[nm). Russ. bass singer. Of ~h
umble orig., having little mus. training before ~joining provincial opera co. [s
m1890[nm. Sang in St ~Petersburg [sm1894[nm, then joined Mamontov's private ~ope
ra co. in Moscow [sm1896[nm, singing Ivan in ~Rimsky-Korsakov's [cf2]Maid of Psk
ov[cf1] and especially ~Boris Godunov in Mussorgsky's opera, role with ~which he
 became inseparably assoc. Milan d;aaebut ~[sm1901[nm, NY Met. [sm1907[nm, Londo
n [sm1913[nm in Beecham ~season. NY Met [sm1921[nm=n[sm9[nm. Created title-role
of ~Massenet's [cf2]Don Quichotte[cf1]. Gave frequent recitals. ~Superb actor-si
nger.[cm~Chalumeau[fy75,1] (Fr.). Reed. Simple rustic reed-pipe, ~ancestor of [f
y45,1]*[fy75,1]clarinet, with [sm6[nm to [sm8[nm finger-holes. ~Also applied to
[fy45,1]*[fy75,1]shawm and to double-reed ~bagpipe chanter. Also
 wind instr. that came into ~use in [sm17[nmth and [sm18[nmth cents. Term used t
o describe ~lowest register of cl.[cm~Chamberlain, Houston Stewart[fy75,1] ([cf2
]b[cf1] Portsmouth, ~[sm1855[nm; [cf2]d[cf1] Bayreuth, [sm1927[nm). Eng.-born wr
iter, ~naturalized Ger. Educ. Cheltenham College. In ~[sm1870[nm went to Stettin
 and conceived intense ~admiration for Ger. culture. Lived Dresden [sm1885[nm=n~
[sm9[nm and Vienna [sm1889[nm=n[sm1908[nm. Wrote [cf2]Foundations of ~the [sm19[
nmth Century[cf1] ([sm1899[nm=n[sm1901[nm). Married Wagner's ~daughter Eva [sm19
08[nm and lived at Bayreuth, ~publishing several books on Wagner and ed. of ~let
ters.[cm~Chamber Music[fy75,1] (It. [cf2]Musica da camera, [cf1]Ger. ~[cf2]Kamme
rmusik[cf1]). A term orig. intended (as Burney ~puts it [cf2]c.[cf1][sm1805[nm)
to cover such mus. as was not ~intended `for the church, the theatre, or a publi
c ~concert room'. As now used it has lost any ~implication as to place of perf.
and excludes, on ~the one side, solo vocal mus. and mus. for a s
ingle ~instr. (or for a solo instr. acc. by another), and, on ~the other, orch.
and choral mus., etc., incl. merely ~instr. mus. for [sm2[nm, [sm3[nm, [sm4[nm,
or more instr., played with ~a single instr. to a `part', all the parts being on
 ~equal terms. Thus it comprises duet sonatas for ~vn. and pf. or vc. and pf., s
onatas for a wind instr. ~and pf., trios for str. or for [sm2[nm str. instr. and
 pf., qts. ~for str. or for [sm3[nm str. instr. and pf., instr. qts., ~sextets,
septets, and octets, etc. Of all these types ~the most important is the str. qt.
: the instrs. ~employed in it are [sm2[nm vn., va., and vc., the db. ~having ver
y rarely a place in chamber mus. (two ~outstanding exceptions being Schubert's `
Trout' ~Pf. Quintet and Dvo;akr;aaak's Str. Quintet, Op. [sm77[nm).[ep~^The mode
rn conception of chamber mus. may ~be said to date from Haydn. For a century and
 ~more before his time nearly all mus. was supplied ~with a figured bass guided
by which a harpsi~~chordist extemporized a background: in earlie
r ~times we find something more like our idea of ~chamber mus. in [sm16[nmth-cen
t. mus. for viols.[ep~^Most composers have contributed to the now ~abundant repe
rtory of chamber mus., and so far ~have we departed from the early [sm19[nmth-ce
nt. idea ~of the meaning of the term that `Chamber ~Concerts' are common. Such c
oncerts date effec~~tively from the [sm1830[nms when the M;auuller Brothers ~Str
. Qt. began touring Europe with a fine classical ~repertory. Since that period t
here have been ~many world-famous str. qts., pf. trios, and other ~groups. Despi
te much concert-room perf., how~~ever, chamber mus. still retains some right to
its ~name, since it is often treated as `the music of ~friends' and is much prac
tised privately.[ep~^The term [cf2]Chamber Music[cf1] ([cf2]Kammermusik[cf1]) wa
s ~used by [fy45,1]*[fy75,1]Hindemith for [sm7[nm comps. between [sm1921[nm ~and
 [sm1927[nm; these incl. a pf. conc., vc. conc., va. ~conc., viola d' amore conc
., and organ conc., the ~orch. in most cases comprising at least
 [sm12[nm players, ~sometimes more. His wind quintet, [sm1922[nm, he ~called[cf2
] Kleine[cf1] (Little) [cf2]Kammermusik[cf1].[cm~Chamber Opera.[fy75,1] Term app
lied to operas with ~comparatively small no. of singers and orch. ~players, e.g.
 Britten's [cf2]The Rape of Lucretia[cf1] and [cf2]The ~Turn of the Screw[cf1],
but there is no question of such ~works being perf. in a room instead of a th. R
. ~Strauss's [cf2]Ariadne auf Naxos[cf1] is strictly a chamber ~opera, but is pe
rf. at CG, NY Met., and Vienna ~State Opera.[cm~Chamber Orchestra. [fy75,1]Small
-sized orch. capable ~of playing in a room or small hall, but term is ~elastic a
nd works for chamber orch. of symphonic ~proportions are written.[cm~Chamber Sym
phony[fy75,1] ([cf2]Kammersymphonie[cf1]). Title ~of [sm2[nm works by Schoenberg
 for small orch. No. [sm1[nm ~in E major, Op. [sm9[nm, for [sm15[nm solo instr.,
 comp. [sm1906[nm, ~[PN137,0,0,R,I0]f.p. Vienna [sm1907[nm. Also exists in simpl
ified arr. by ~Webern ([sm1922[nm) and [sm2[nm orch. versions by
 Schoen~~berg ([sm1922[nm and [sm1935[nm). No. [sm2[nm, Op. [sm38[nma, was begun
 ~[sm1906[nm, completed [sm1939[nm, f.p. NY [sm1940[nm. Other ~composers have us
ed this title, e.g. [fy45,1]*[fy75,1]Schreker, ~and others have preferred the te
rm Chamber ~Concerto, e.g. [fy45,1]*[fy75,1]Berg and Hugh [fy45,1]*[fy75,1]Wood.
[cm~Chambonni;ageres, Jacques Champion de[fy75,1] ([cf2]b[cf1] Paris, ~[cf2]c[cf
1].[sm1602[nm; [cf2]d[cf1] Paris, [sm1672[nm). Fr. composer and harpsi~~chordist
. His father was harpsichordist to Louis ~XIII as he himself became to Louis XIV
, who ~ennobled him. Regarded as founder of Fr. hpd. ~sch. Pubd. [sm2[nm books o
f [cf2]Pi;ageces de clavecin[cf1] ([sm1670[nm), ed. ~in modern times by T. Dart,
 [sm1969[nm.[cm~Chaminade, C;aaecile [fy75,1]([cf2]b[cf1] Paris, [sm1857[nm; [cf
2]d[cf1] Monte ~Carlo, [sm1944[nm). Fr. pianist and composer. Pupil of ~Godard.
Began composing at [sm8[nm. From [sm1875[nm ~regularly gave pf. recitals, incl.
her own comps. ~Eng. debut [sm1892[nm. Comp. [cf2]op;aaera-comiq
ue[cf1], ballet, ~orch. suites, [cf2]Konzertst;auuck[cf1] for pf. and orch., [cf
2]Les ~Amazones[cf1] for ch. and orch., many songs, and pf. ~pieces of graceful
[cf2]salon[cf1] variety.[cm~Champ;afetre[fy75,1] (Fr.). Rustic. Hence [cf2]Danse
 champ;afetre[cf1], ~a peasant dance in the open air; [cf2]f;afete champ;afetre[
cf1], a ~picnic.[cm~Chance.[fy75,1] See [cf2]Aleatory[cf1].[xm[cm~[ol0][ep~[xp[t
e~







[do3][j99]~~~~~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary of Music[cmCA
[sm02[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm24[nm/[sm10[nm/[sm79[nm[cm[sm3[nm[cm[sm187[nm
[cm~GC[cm4[cm4/10/84[cmU1[cm~~~[ap[j1]Chandos Anthems.[fy75,1] [sm12[nm anthems
on religious ~texts comp. by [fy45,1]*[fy75,1]Handel between [sm1717[nm and [sm1
718[nm ~when he was dir. of mus. for the Earl of ~Carnarvon, later the Duke of C
handos, at his ~palace, Cannons, near Edgware, Middlesex (not ~far from London).
 They are short cantatas for [sm3[nm-~part ch. acc. by obs., str., and org. In N
o. [sm6[nm ([cf2]As ~pants the hart[cf1]) Handel used Ger. chorale as [fy45,1]*[
fy75,2]cantus ~firmus[cf1].[cm~Change-Ringing.[fy75,1] Practice, virtually confi
ned to ~Britain, of ringing church bells by teams each ~member pulling the rope
controlling one bell. ~See [cf2]Bell[cf1].[cm~Changes.[fy75,1] Nocturnal cycle,
Op. [sm17[nm, by [fy45,1]*[fy75,1]Crosse, ~comp. [sm1965[nm, for sop., bar., chi
ldren's ch., and ~orch. F.p. Worcester [sm1966[nm. Title refers
both to ~transience of nature and to bell-ringing.[cm~Changing Note or Nota Camb
iata[fy75,1] (It.). Idio~~matic melodic formula, salient characteristic of ~whic
h is leap of a third away from an unessential ~note. Earliest form (in the polyp
honic age) was a ~[sm3[nm-note figure, ([cf2]a[cf1]). This was soon joined and ~
eventually superseded by a [sm4[nm-note idiom, ([cf2]b[cf1]). In ~the harmonic a
ge of counterpoint (from Bach ~and Handel onwards) a variety of other changing ~
note figures appear, ([cf2]c[cf1]) ([cf2]d=+=+[cf1]) ([cf2]e[cf1]).[ep~[ol62][ep
~^In USA the term [cf2]Cambiata[cf1] is in common use for ~`changing note'. Also
 when the leap of [sm3[nmrd is in ~the dir. opposite to that of the step-wise mo
ve~~ment the term [cf2];aaEchapp;aae[cf1], is sometimes used, and, ~where the mo
vement is back to the orig. note, ~the term [cf2]Returning Tone.[cf1][cm~Chanot.
[fy75,1] Family of Fr. vn.-makers. Fran;Alcois ([cf2]b[cf1] ~Mirecourt, [sm1787[
nm; [cf2]d[cf1] Brest, [sm1823[nm) invented a pear-~shaped vn. w
ith flat belly and no sound-post. His ~brother Georges ([cf2]b[cf1] Mirecourt, [
sm1801[nm; [cf2]d[cf1] Courcelles, ~[sm1873[nm) set up his business in Paris in
[sm1823[nm and his ~son Georges ([cf2]b[cf1] Paris, [sm1831[nm; [cf2]d[cf1] Lond
on, [sm1893[nm) began ~his own business in London in [sm1858[nm.[cm~Chanson [fy7
5,1](Fr.). Song. A term with many applica~~tions, especially: ([sm1[nm) Any sort
 of simple verse-~repeating song. ([sm2[nm) Type of song, for several vv. ~or fo
r one v. with acc., that grew up in Fr. and ~north It. in [sm14[nmth cent. and f
lourished until end of ~[sm16[nmth=mreally a kind of early madrigal of the `ayre
' ~type. The [cf2]chanson de geste[cf1] was an heroic verse ~chronicle set to mu
s., of the [sm11[nmth and [sm12[nmth cents.[cm~Chansons de Bilitis.[fy75,1] [sm3
[nm settings by Debussy, ~[sm1897[nm=n[sm8[nm, for v. and pf. of prose-poems by
Pierre ~Lou;auys. They are [cf2]La Fl;afute de Pan, La Chevelure [cf1]and ~[cf2]
Tombeau des Na;auiades. [cf1]Orch. version [sm1926[nm by ~[fy45,
1]*[fy75,1]Delage. Incidental mus. for [sm2[nm fl., [cf1][sm2[nm harps, and ~cel
esta to acc. recitation of poems, [sm1900[nm; arr. ~[fy45,1]*[fy75,1]Boulez for
reciter, [sm2[nm harps, [sm2[nm fl., and celesta ~[sm1954[nm.[cm~Chant.[fy75,1]
See [cf2]Anglican Chant[cf1]. For Gregorian chant ~see [cf2]Plainsong[cf1].[cm~C
hantant[fy75,1] (Fr.). Singing. In a singing style. ~Sometimes the past particip
le is used, [cf2]chant;aae[cf1] ~(sung).[cm~Chanter.[fy75,1] See [cf2]Bagpipe[cf
1].[cm~Chanterelle [fy75,1](Fr.). Highest str. of vn., etc. (See ~[cf2]Banjo[cf1
].)[cm~Chants d'Auvergne[fy75,1] (Songs of the Auvergne). ~Series of traditional
 dialect songs of the Auvergne ~collected by [fy45,1]*[fy75,1]Canteloube and pub
d. between ~[sm1923[nm and [sm1930[nm. Best-known is suite of [sm9[nm for sop. ~
and orch. (or pf.) drawn from series [sm1[nm to [sm4[nm, being ~[sm1[nm. [cf2]Ba
;auil;agero[cf1], [sm2[nm. [cf2]L'Aio d;age rotso [cf1](Spring Water), [sm3[nm.
[cf2]Ound ~`onor;agen gorda? [cf1](Where shall we go to graze?),
 [sm4[nm. ~[cf2]Obal din lou Limouzi[cf1] (Down there in Limousin), [sm5[nm. ~[c
f2]La dela;auiss;aaado[cf1] (The forsaken girl), [sm6[nm. [cf2]Lo Fiolair;aae[cf
1] (The ~spinning girl), [sm7[nm. [cf2]Passo pel prat[cf1] (Come through ~the me
adow), [sm8[nm. [cf2]Brezairola[cf1] (Cradle Song), [sm9[nm. [cf2]Chut, ~chut[cf
1] (Hush, hush).[cm~Chanty. [fy75,1]See [cf2]Shanty[cf1].[cm~`Chaos instead of m
usic'[fy75,1] ([cf2]Sumbur vmesto muzyki[cf1]). ~Notorious article published in
[cf2]Pravda[cf1] on [sm28[nm ~January [sm1936[nm, followed by another [sm10[nm d
ays later, ~attacking Shostakovich's opera [cf2]Lady Macbeth of the ~Mtsensk Dis
trict[cf1] and leading to its withdrawal ~from the stage. Believed to have been
dictated by ~Stalin, who had left a performance of the opera ~[PN138,0,0,L,I0]in
 a rage over its alleged dissonance and immoral~~ity.[cm~Chapelle [fy75,1](Fr.).
 See [cf2]Kapelle[cf1].[cm~Chapel Royal. [fy75,1]No one institution was more ~us
eful in fostering Eng. musicianship and pro~~moting the developm
ent of Eng. mus. than the ~Chapel Royal=mby which must be properly ~understood n
ot a building but a body of clergy ~and musicians (like Ger. [fy45,1]*[fy75,2]Ka
pelle[cf1]) whose principal ~duty was to arrange and perform divine service ~in
the sovereign's presence.[ep~^Existing records go back to [sm1135[nm. During rei
gn ~of Edward IV ([sm1461[nm=n[sm83[nm) the Chapel consisted of ~[sm26[nm chapla
ins and clerks, [sm13[nm minstrels (a very wide ~term), [sm8[nm choirboys and th
eir master, and a `Wayte', ~or mus. night-watchmen, sounding the hours ~nightly.
 Under Richard III ([sm1483[nm=n[sm5[nm) a press-gang ~system was authorized (th
ough the practice of ~pressing seems to have existed earlier); this ~remained in
 operation for about [sm2[nm centuries; ~representatives of the Chapel were enti
tled to ~listen to all the best cath. choirs, and rob them of ~any boys whose vv
. marked them out as fit to ~sing before the King. Under [fy45,1]*[fy75,1]Henry
VIII ([sm1509[nm=n~[sm47[nm), a practical musician, the mus. sta
ff of the ~Chapel rose to [sm44[nm ([sm32[nm Gentlemen and [sm12[nm Children) ~a
nd remained at this strength under Edward VI ~([sm1547[nm=n[sm53[nm) and Mary ([
sm1553[nm=n[sm8[nm). Under Elizabeth I ~([sm1558[nm=n[sm1603[nm) and James I ([s
m1603[nm=n[sm25[nm), the Chapel's ~personnel incl. Tye, Tallis, Byrd, Gibbons, M
orley, ~Tomkins, and Bull. These brought church mus. ~to a level not exceeded ev
en by the musicians of ~the Sistine Chapel at Rome; they developed the ~Eng. mad
rigal, and laid foundations of artistic ~kbd. music. The artistically-minded Cha
rles I ~([sm1625[nm-[sm49[nm) established the King's Band ([sm6[nm recorders, ~[
sm3[nm fl., [sm9[nm ob. and sackbuts, [sm12[nm vn., and [sm24[nm `lutes and ~voi
ces', plus trumpets, drums and pipes). He ~appointed Nicholas [fy45,1]*[fy75,1]L
anier as `Master of the ~Musick' as from [sm30[nm Nov., [sm1625[nm. With the dea
th ~of Charles I in [sm1649[nm the Chapel ceased. Cromwell ~was a lover of mus.
and retained a small body of ~domestic musicians, but did not ma
intain a ~princely state, and, of course, did not approve of ~choirs as an inst.
 of public worship. In [sm1660[nm ~Charles II recalled the Chapel. A talented ch
oir-~boy, Pelham Humfrey, was sent abroad to learn ~foreign styles; a younger bo
y, Purcell, without ~going abroad, was very apt to learn, and these ~youths and
others, as they matured, largely ~trained by Captain Henry [fy45,1]*[fy75,1]Cook
e, were quickly ~able to put to good use the new resources (such as ~the band of
 [sm24[nm fiddlers in church) with which the ~King had provided himself. Purcell
, from [sm1677[nm ~to his death in [sm1695[nm, was `Composer in Ordinary' ~to th
e Chapel.[ep~^Under William and Mary, Anne, and the ~Georges, less was heard of
the Chapel. George III ~had musicians in his employ beyond those of his ~Chapel;
 he spent little time in London, and when ~at Windsor had no need of his `Chapel
 Royal', in ~the technical sense, since the Chapel of St George, ~in Windsor Cas
tle, had its own distinct staff, as it ~still has. The great day
s, then, were over, but a ~line of orgs. continued. Some clever boys, incl. ~Sul
livan, still received training in the Chapel.[ep~^Today the `Chapel Royal' consi
sts of a body of ~clergy, choirmen, and boys (`Priests in Ordinary', ~`Gentlemen
', and `Children'), and the org. charged ~with the conduct of the Sunday service
s. Their ~place of duty is chiefly the chapel of St James's ~Palace, but they ha
ve other places of duty incl. ~Buckingham Palace.[ep~^By the end of George III's
 reign the King's Band ~had almost ceased to exist. George IV maintained ~a priv
ate wind band and so did Victoria after her ~accession in [sm1837[nm. The Prince
 Consort enlarged it ~to a small orchestra. In [sm1893[nm the `Queen's Band' ~wa
s constituted, unifying the private band and ~the state band, but Edward VII ([s
m1901[nm=n[sm10[nm) only ~required the musicians for state functions and ~abando
ned concerts. Under George V ([sm1910[nm=n[sm35[nm) ~they were never used, thoug
h the [sm24[nm musicians ~nominally still belonged to the royal
household. ~ Four survivors played in the orch. at the ~coronation ([sm1937[nm)
of George VI ([sm1936[nm=n[sm52[nm). Today ~the post of Master of the Queen's Mu
sic is an ~honour for a distinguished musician, with no ~real duties.[cm~Chap;aa
i y Lorente, Ruperto[fy75,1] ([cf2]b[cf1] Villena, Alicante, ~[sm1851[nm; [cf2]d
[cf1] Madrid, [sm1909[nm). Sp. composer. Studied ~Madrid Cons. and became regime
ntal bandmas~~ter. Comp. many [fy45,1]*[fy75,1]zarzuelas, orch. works incl. ~sym
., cantatas, chamber mus.[cm~Chappell, William[fy75,1] ([cf2]b[cf1] London, [sm1
809[nm; [cf2]d[cf1] London, ~[sm1888[nm). Eng mus. publisher. Founded Musical ~A
ntiquarian Soc. ([sm1840[nm) to publish works of early ~Eng. composers. Ed. [cf2
]Popular Music of the Olden ~Time[cf1] ([sm2[nm vols. [sm1855[nm=n[sm9[nm; new e
dn. by H. E. ~Woodridge [sm1893[nm).[cm~Chappell & Co. Ltd.[fy75,1] London mus.
publishers, ~pf. makers, etc. Founded [sm1810[nm by Samuel ~Chappell ([sm1776[nm
=n[sm1834[nm). Firm was largely respon~~[chsible for building of
 St James's Hall, London, ran ~ballad concerts, was lessee of Queen's Hall, ~Lon
don, and sponsor of New Queen's Hall Orch. ~After [sm1[nmst World War, its domin
ant interest was ~light music (musicals and film music), band ~music, and educat
ional, but has recently accepted ~work of some important composers, e.g. Sebasti
an ~Forbes and Stephen Dodgson. Now part of Philips ~organization.[cm~Chapple, B
rian[fy75,1] ([cf2]b[cf1] London, [sm1945[nm). Eng. com~~poser. Studied RAM with
 L. Berkeley. Influenced ~by Messiaen, has used serial technique but is one ~of
group of Eng. composers who have moved to ~a more tonal idiom in the [sm1970[nms
. Works incl.: ~[cf2]Green and Pleasant[cf1], for orch. ([sm1973[nm), pf. conc.
~([sm1977[nm), [cf2]Veni Sancte Spiritus[cf1], double ch. ([sm1974[nm), [cf2]In
~ecclesiis[cf1], sop. and ch. ([sm1976[nm), [cf2]Summoned by Bells[cf1], pf. ~an
d alarm clocks ([sm1968[nm), [cf2]Concert Piece[cf1], [sm2[nm pf. qts. ~([sm1969
[nm), [cf2][sm5[nm Blake Songs[cf1], ten. and pf. ([sm1972[nm),
[cf2]Light ~breaks out where no sun shines[cf1], sop. and pf. ([sm1978[nm), ~[PN
139,0,0,R,I0][cf2]Cantica[cf1], sop., ten., ch., orch. ([sm1978[nm), [cf2]Venus
Fly-~Trap[cf1], chamber ens. ([sm1980[nm), [cf2]Delphine[cf1], orch. ([sm1980[nm
), ~[sm5[nm Shakespeare songs, [sm6[nm male vv. ([sm1981[nm), [cf2][sm5[nm Carol
s[cf1], ~women's vv., pf. ([sm1982[nm), [cf2]Little Sym[cf1]., str. ([sm1983[nm)
.[cm~Characteristic Piece [fy75,1](Ger. [cf2]Charakterst;auuck[cf1]). Im~~precis
e term occasionally applied by composers ~to shorter instr. comp. (esp. for pf.)
; the equivalent ~of [cf2]Stimmungsbild[cf1] (Ger.), Mood-picture.[cm~Charivari
[fy75,1](Fr.). Extemporized mus. of a violent ~kind made with any household uten
sils etc., that ~lie to hand, generally before the house of a person ~who has in
curred communal disapprobation. ~Equivalents are [cf2]Rough Music[cf1] (Eng.); [
cf2]Chiasso[cf1] (It.). ~Uproar; or [cf2]Scampanata[cf1] (It.). Bell ringing; [c
f2]Katzen~~musik[cf1] (Ger.). Cat Music; [cf2]Shivaree, Calthump
ian ~Concert[cf1] (Amer). In USA also means `musical' ~teasing of newly-weds.[cm
~Charleston.[fy75,1] A fast [fy45,1]*[fy75,1]fox-trot named after Charles~~ton,
S. Carolina, popularized in NY, [sm1922[nm, in ~Negro revues, by Cecil Mack and
Jimmy Johnson; ~it then had a short but widespread vogue in ~ballrooms and dance
-halls. The dance-step was ~characterized by [sm2[nm twists on each foot, with o
ne ~kicked sharply backwards.[cm~Charm of Lullabies, A. [fy75,1]Songs by Britten
 for ~mez. and pf., Op. [sm41[nm, comp. [sm1947[nm. Poems by ~Blake, Burns, Gree
n, Randolph, and Philip.[cm~Charpentier, Gustave[fy75,1] ([cf2]b[cf1] Dieuze, [s
m1860[nm; [cf2]d[cf1] Paris, ~[sm1956[nm). Fr. composer, pupil of Massenet at Pa
ris ~Cons., winning Prix de Rome[cf1], where he wrote ~[cf2]Impressions d' Itali
e[cf1] for orch. ([sm1890[nm, arr. as ballet ~[sm1913[nm). Had great success wit
h opera [fy45,1]*[fy75,2]Louise[cf1] (Paris ~[sm1900[nm) but its successor [cf2]
Julien[cf1] ([sm1913[nm) failed. Wrote ~cantata [cf2]La Vie du p
o;agete[cf1] ([sm1892[nm). Founded in [sm1902[nm ~Conservatoire Populaire where
working girls like ~Louise could learn mus. and dancing.[cm~Charpentier, Marc-An
toine[fy75,1] ([cf2]b[cf1] Paris, ?[sm1645[nm; [cf2]d[cf1] ~Paris, [sm1704[nm).
Fr. composer. Studied in Rome with ~[fy45,1]*[fy75,1]Carissimi. On return to Fr.
 became [cf2]ma;afitre de ~musique[cf1] and court singer to Duchess of Guise unt
il ~her death in [sm1688[nm. In about [sm1670[nm began long ~association with Mo
li;agere's theatrical co. Wrote ~prologue and [cf2]interm;agedes[cf1] for [cf2]L
e malade imaginaire[cf1] ~([sm1673[nm). Never held a court post but in [sm1698[n
m ~became master of the music of Sainte-Chapelle, ~for which he wrote many of hi
s finest religious ~motets and oratorios. His early style was Italian ~based, bu
t he soon adopted a Fr. tone of voice. ~His mus. is noted for harmonic richness
and ~colour contrasts, also for the vividness of his ~word-painting. Comp. [sm17
[nm operas, incl. [cf2]M;aaed;aaee[cf1] ~(Paris [sm1693[nm). His
 other th. pieces ([cf2]interm;agedes[cf1] and ~incid. mus.) are notable for lig
htness of texture ~and for wit and humour.[cm~Chasins, Abram [fy75,1]([cf2]b[cf1
] NY, [sm1903[nm). Amer. pianist and ~composer. Studied pf. with [fy45,1]*[fy75,
1]Hofmann and ~[fy45,1]*[fy75,1]Godowsky, comp. with R. [fy45,1]*[fy75,1]Goldmar
k. On staff ~Curtis Institute [sm1926[nm=n[sm35[nm. Mus. dir. of NY radio ~stati
on (WQXR) [sm1949[nm=n[sm65[nm. Author of several ~books. Comps. incl. [sm2[nm p
f. concs., [cf2]Parade[cf1] ([sm1931[nm), ~[cf2]Rush Hour in Hong Kong[cf1] (pf.
), etc.[cm~Chass;aae [fy75,1](Fr.). In ballet, the `chasing' away of one ~foot b
y a touch from the other.[cm~Chasse, Cor de[fy75,1] (Fr.). Hunting horn.[cm~Chas
se, La[fy75,1] (Fr.). The Hunt. Nickname for ~Haydn's Sym. in D, No. [sm73[nm (H
ob.I:[sm73[nm); reference ~is to the final movement. Comp. [sm1780=n1[nm.[cm~Cha
sseur Maudit, Le [fy75,1](The Accursed Hunter). ~Symphonic poem by Franck ([sm18
81[nm=n[sm2[nm), based on ~ballad by G. A. B;auurger.[cm~Chatbur
n, Thomas[fy75,1] ([cf2]b[cf1] Blyth, [sm1941[nm). Eng. com~~poser. Studied Univ
. of Wales, RMCM, and ~Princeton Univ. Studied in USA with Sessions ~and Babbitt
. Lecturer in mus. Oxford Polytechnic. ~Works incl. pieces for ch. and jazz orch
s., and ~[cf2]Study and Prayer [cf1]for small orch. ([sm1978[nm).[cm~Chausson, E
rnest[fy75,1] ([cf2]b[cf1] Paris, [sm1855[nm; [cf2]d[cf1] Limay, [sm1899[nm). ~F
r. composer. Law student; entered Paris Cons. ~[sm1879[nm to study with Massenet
, but left to transfer ~to Franck. Best-known works are [fy45,1]*[fy75,2]Po;agem
e de ~l'amour et de la mer[cf1], v. and orch., Op. [sm19[nm ([sm1882[nm=n~[sm90[
nm, rev. [sm1893[nm); [cf2]Po;ageme[cf1], vn. and orch., Op. [sm25[nm ~([sm1896[
nm); [cf2]Chanson perpetuelle[cf1], v. and orch., Op. [sm37[nm ~([sm1898[nm); pf
. qt., Op. [sm30[nm ([sm1897[nm); sym. in B flat, Op. ~[sm20[nm ([sm1889[nm=n[sm
90[nm); Conc. for pf., vn., and str. qt., Op. ~[sm21[nm ([sm1889[nm=n[sm91[nm).
Of his [sm3[nm operas, only [cf2]Le roi Arthus[cf1] ~has been st
aged (Brussels [sm1903[nm).[xm[cm~[ol0][ep~[xp[te~












[do3][j99]~~~~153842_CA03[ep~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary
 of Music[cmCA[sm03[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm24[nm/[sm10[nm/[sm79[nm[cm[sm3[
nm[cm[sm213[nm[cm~GC[cm4[cm20/9/84[cmU1[cm~~~[ap[j1]Chavez, Carlos[fy75,1] ([cf2
]b[cf1] Mexico City, [sm1899[nm; [cf2]d[cf1] Mexico ~City, [sm1978[nm). Mex. com
poser and cond. Travelled ~in Europe and USA [sm1922[nm=n[sm8[nm. Cond. Mexico S
.O. ~[sm1928[nm=n[sm48[nm. Dir., Nat. Cons. of Mexico [sm1928[nm=n[sm34[nm. ~Fou
nder and dir., Mexican Nat. Institute of Fine ~Arts [sm1947[nm=n[sm52[nm. Dir.,
composers' workshop, Nat. ~Cons. [sm1960[nm=n[sm5[nm. Comps. incl. [sm7[nm syms.
, pf. conc., vn. ~conc., opera [cf2]The Visitors[cf1] (lib. by Kallman) ([sm1953
[nm=n~[sm6[nm), ballet [cf2]Caballos de Vapor[cf1] (Horse Power) ([sm1926[nm=n~[
sm7[nm). Nationalist style but rarely used folk material.[cm~Chaykovsky.[fy75,1]
 See [cf2]Tchaikovsky, Pyotr.[cf1][cm~Che [fy75,1](It.). Who, which.[cm~Checkmat
e. [fy75,1]Ballet in [sm1[nm act by [fy45,1]*[fy75,1]Bliss to hi
s own ~lib., choreog. N. de Valois. Prod. by SW co., Paris ~[sm1937[nm; then ove
r [sm100[nm perfs. in Britain; as Suite, ~NY [sm1939[nm.[cm~Chef d'attaque[fy75,
1] (Fr.). Leader of the attack. Orch. ~leading vn. (Eng.), or concert-master (Am
er.).[cm~Chef d'orchestre[fy75,1] (Fr.). Conductor.[cm~Chekker.[fy75,1] [sm14[nm
th-cent. name for an unidentified ~instr. which may have been a [fy45,1]*[fy75,1
]clavichord.[cm~Ch;aaelard, Hippolyte Andr;aae Jean Baptiste [fy75,1]([cf2]b[cf1
] ~Paris, [sm1789[nm; [cf2]d[cf1] Weimar, [sm1861[nm). Fr. composer and ~violini
st. Studied Paris Cons. (Prix de Rome). ~Opera [cf2]Macbeth[cf1] (lib. by Rouget
 de Lisle) prod. ~Paris Op;aaera [sm1827[nm. Settled Munich [sm1830[nm. Cond. ~G
er. opera in London [sm1832[nm=n[sm3[nm and later worked ~[PN140,0,0,L,I0]in Wei
mar. Other operas incl. [cf2]Die Hermannschlacht[cf1] ~(Munich [sm1835[nm).[cm~C
helsea Opera Group.[fy75,1] Opera co. founded [sm1950[nm ~to give concert perfs.
, usually in orig. language. ~Gave early opportunities to many y
oung British ~singers, conds., and musicians who later achieved ~fame, e.g. Coli
n Davis, Thomas Hemsley, Bernard ~Keeffe, John Carol Case, Heather Harper, Roger
 ~Stalman, Peter Glossop, James Loughran, Alberto ~Remedios, Sheila Armstrong, P
auline Tinsley, ~Derek Hammond-Stroud, Sarah Walker, and ~Roger Norrington. F.p.
 ([cf2]Don Giovanni[cf1]) organized ~by Colin Davis, David Cairns, and Stephen G
ray, ~was given in Oxford. Among operas perf. have ~been [cf2]Fidelio, [cf1]Meno
tti's [cf2]The Telephone,[cf1] Mozart's ~[cf2]Zaide[cf1] and [cf2]Idomeneo[cf1],
 Hugo Cole's [cf2]The Tunnel[cf1], ~Rossini's [cf2]Guillaume Tell[cf1] and Verdi
's [cf2]Don Carlos[cf1] ~(both in Fr.), Berlioz's [cf2]Les Troyens[cf1], Weber's
 ~[cf2]Euryanthe[cf1], Mussorgsky's [cf2]Boris Godunov[cf1] (orig. ~version), St
rauss's [cf2]Feuersnot[cf1], Dvo;Akr;aaak's [cf2]The Jacobin[cf1], ~and Jan;aaa;
Akcek's [cf2]Jen;anufa[cf1].[cm~Cheltenham Festival. [fy75,1]Annual summer mus.
~fest. held (usually in July) in spa of Cheltenham, ~Eng. Begun
in [sm1945[nm as a fest. of Brit. contemporary ~mus. but scope widened in [sm196
9[nm to embrace ~contemporary mus. of other nationalities. Many ~post-[sm1945[nm
 Brit. chamber works, concs., and syms. ~(hence the expression `a Cheltenham Sym
phony') ~received f.ps. at the fest., many of them from ~Hall;aae Orch., cond. B
arbirolli, who gave bulk orch. ~concerts [sm1947[nm=n[sm61[nm. First dir. G.A.M.
 Wilkinson, ~[sm1944[nm=n[sm69[nm. Since [sm1969[nm programme dir. has been ~Joh
n [fy45,1]*[fy75,1]Manduell..[cm~Chemin;aaee du roi Ren;aae, La[fy75,1] (King Re
n;aae's ~Chimney). Suite by Milhaud for fl., ob., cl., bn., ~and hn., [sm1939[nm
. Title refers to street in Aix-en-~Provence commemorating [sm15[nmth-cent. mona
rch.[cm~Chemin-Petit, Hans[fy75,1] ([cf2]b[cf1] Potsdam, [sm1902[nm; [cf2]d[cf1]
 Berlin, ~[sm1981[nm). Ger. composer and cond. Studied Berlin ~Hochschule, becom
ing prof. there [sm1929[nm and ass. ~dir. [sm1965[nm=n[sm8[nm. Dir. Magdeburg Ca
th. choir [sm1939[nm=n~[sm44[nm and from [sm1944[nm of Berlin Ph
il. Choir. Comps. ~incl. opera [cf2]K;auonig Nicolo[cf1] ([sm1959[nm), org. conc
. ([sm1963[nm), ~[sm2[nm syms. ([sm1932[nm, [sm1949[nm), choral works, and chamb
er ~mus.[cm~Cherkassky, Shura [fy75,1](Alexander Isaakovich)[cf1] ([cf2]b[cf1] ~
Odessa, [sm1911[nm). Russ.-born pianist, Amer. citizen. ~Pupil of J. [fy45,1]*[f
y75,1]Hofmann. Settled USA [sm1922[nm. Studied ~Curtis Institute. First extensiv
e European tours ~after [sm1945[nm.[cm~Cherniavsky, Mischel [fy75,1]([cf2]b[cf1]
 Uman, S. Russia, [sm1893[nm; ~[cf2]d[cf1] Dieppe, [sm1982[nm). Russ.-born celli
st, later Brit. ~citizen. Studied with [fy45,1]*[fy75,1]Popper. Member of pf. tr
io ~[sm1900[nm=n[sm23[nm with brothers Leo and Jan, thereafter ~solo performer i
n concs. and recitals.[cm~Cherry Ripe. [fy75,1]Setting by C. E. [fy45,1]*[fy75,1
]Horn early in ~[sm19[nmth cent. of poem by Herrick ([sm1648[nm).[cm~Cherubini,
[fy75,1](Maria) [fy65][cf3]Luigi [fy75,1](Carlo Zanobi Salva~~dore) [cf1]([cf2]b
[cf1] Florence, [sm1760[nm; [cf2]d[cf1] Paris, [sm1842[nm). It.
~composer. Studied in It. Comp. quantity of ~church mus. by age of [sm16[nm. Vis
ited London in ~[sm1784[nm producing [sm2[nm operas there. Settled in Paris ~[sm
1788[nm where his new, Gluck-inspired operatic style ~revolutionized Fr. stage.
Under a cloud because ~of Napoleon's disfavour, went for a time to ~Vienna where
 he met Beethoven who was ~strongly influenced (esp. in [cf2]Fidelio[cf1]) by Ch
erubini's ~operas, [sm4[nm of which he heard in Vienna. Visited ~London [sm1815[
nm, writing Sym. while there. Became ~prof. of comp. Paris Cons. [sm1816[nm, dir
. [sm1821[nm=n[sm41[nm. ~His Masses are deservedly famous. Among his ~nearly [sm
30[nm operas were: [cf2]Quinto Fabio[cf1] ([sm1779[nm, rev. ~[sm1783[nm, Rome),
[cf2]Armida[cf1] (Florence [sm1782[nm), [cf2]Adriano in ~Siria[cf1] (Leghorn [sm
1782[nm), [cf2]Lo sposo di tre[cf1] (Venice [sm1783[nm), ~[cf2]La finta principe
ssa[cf1] (London [sm1785[nm), [cf2]Giulio Sabino[cf1] ~(London [sm1786[nm), [cf2
]Ifigenia in Aulide[cf1] (Turin [sm1788[nm), ~[cf2]D;aaemopho;au
on [cf1](Paris [sm1788[nm), [cf2]Lodo;auiska[cf1] (Paris [sm1791[nm), ~[fy45,1]*
[fy75,2]M;aaed;aaee[cf1] (Paris [sm1797[nm), [cf2]Les [fy45,1]*[fy75,2]Deux Jour
n;aaees[cf1] (Ger. [cf2]Der ~Wassertr;auager[cf1], Eng. [cf2]The Water Carrier[c
f1]) (Paris ~[sm1800[nm), [fy45,1]*[fy75,2]Anacr;aaeon[cf1] ([sm1803[nm), [cf2]F
aniska[cf1] (Vienna [sm1806[nm), ~[cf2]Les [fy45,1]*[fy75,2]Abenc;aaerages[cf1]
(Paris [sm1813[nm), [cf2]Bayard ;aga Mezi;ageres[cf1] ~([sm1814[nm). His [cf2]Re
quiem[cf1] No. [sm2[nm, in D minor, still ~frequently performed, was written in
[sm1836[nm and ~f.p. at the Paris Cons. in [sm1838[nm. His [cf2]Requiem[cf1] in
C ~minor was comp. in [sm1816[nm and f.p. in St Denis ~[sm1817[nm. He also wrote
 [sm6[nm str. qts.[cm~Chester, J. & W. Ltd.[fy75,1] Eng. firm of mus. ~publisher
s founded in Brighton [sm1874[nm, transferred ~to London [sm1915[nm, specializin
g in Russ. and ~contemporary foreign composers. Pubd. journal ~[cf2]The Chesteri
an[cf1] from [sm1915[nm to [sm1961[nm. Since [sm1957[nm ~linked
with Hansen and other Scandinavian ~publishers.[cm~Chest of Viols.[fy75,1] Any c
omplete set of [sm6[nm viols of ~different sizes (so called because they were us
ually ~stored in a specially built chest or cupboard).[cm~Chest Voice.[fy75,1] L
owest register of human v., others ~being `head' and `middle', so called because
 the ~notes seem to come from singer's chest.[cm~Chetham's School of Music.[fy75
,1] School in Man~~[chchester founded [sm1653[nm by Humphrey Chetham as ~charita
ble foundation for boys. In [sm1969[nm became ~first Brit. co-educationl sch. ba
sing admission ~solely on mus. audition. Has [sm275[nm pupils. Specialist ~mus.
education given within framework of full ~academic curriculum.[cm~Chevalet [fy75
,1](Fr.). Trestle. Bridge of bowed instr., ~etc.[cm~Chev;aae, Emile J. M. [fy75,
1]See [cf2]Galin-Paris-Chev;aae[cf1].[cm~Chevillard, Camille [fy75,1](Paul Alexa
ndre) ([cf2]b[cf1] Paris, ~[sm1859[nm; [cf2]d[cf1] Chatou, [sm1923[nm). Fr. cond
. and composer, ~son of leading Fr. cellist. In [sm1886[nm becam
e ass. ~cond. to [fy45,1]*[fy75,1]Lamoureux, succeeding him [sm1899[nm. ~Prof. a
t Cons. [sm1907[nm. Cond. Paris Op;aaera [sm1914[nm. ~Wrote orch. and chamber mu
s.[cm~Cheville[fy75,1] (Fr.). Peg, e.g. of str. instr.[cm~[PN141,0,0,R,I0]Chevre
uille, Raymond[fy75,1] ([cf2]b[cf1] Brussels, [sm1901[nm; [cf2]d[cf1] ~Montignie
s-le-Tilleul, [sm1976[nm). Belg. composer. ~Studied Brussels Cons. Dir. of mus.
programmes, ~Brussels radio [sm1956[nm=n[sm63[nm. Comps. incl. [sm6[nm str. qts.
, [sm8[nm ~syms., [sm3[nm pf. concs., [sm2[nm vc. concs., [sm3[nm vn. concs., hn
. ~conc., cl. conc., etc.[cm~Chiaro, chiara[fy75,1] (It.). Clear, unconfused. He
nce ~[cf2]Chiaramente,[cf1] clearly, distinctly; [cf2]chiarezza[cf1], clarity, ~
distinctness.[cm~Chiave [fy75,1](It.). Clef.[cm~Chica [fy75,1](Sp.). Early form
of [fy45,1]*[fy75,1]Fandango.[cm~Chicago Musical College.[fy75,1] Division of Ro
osevelt ~Univ. since [sm1954[nm when it merged with univ.'s ~sch. of mus. Offers
 degrees of B. Mus. and M. ~Mus. Founded as Chicago Acad. of Mus
. [sm1867[nm by ~Florenz Ziegfeld Sr. Changed name [sm1872[nm. Ru~~dolph Ganz wa
s dir., later pres., [sm1930[nm=n[sm54[nm.[cm~Chicago Opera Company. [fy75,1]Sev
eral cos. have ~used this title, the first in [sm1910[nm with Campanini ~as dir.
 Leading light was sop. Mary Garden, who ~was art. dir. [sm1921[nm=n[sm2[nm. Co.
 re-formed as Civic Opera ~Co. [sm1922[nm=n[sm32[nm, with Giorgio Polacco as con
d. ~([sm1918[nm=n[sm30[nm). Singers like Frida Leider and Eva ~Turner in co. at
this time. New opera house ~opened [sm1929[nm, but depression closed co. [sm1932
[nm. ~Visiting cos. until [sm1954[nm when Carol Fox  ([cf2]b[cf1] ~Chicago, [sm1
926[nm; [cf2]d[cf1] Chicago, [sm1981[nm) formed Lyric ~Opera of Chicago.[cm~Chic
ago Symphony Orchestra.[fy75,1] [sm3[nmrd oldest sym. ~orch. in USA. Founded [sm
1891[nm by Theodore Thomas ~as the Chicago Orch. Re-named Theodore Thomas ~Orch.
 [sm1906[nm, then present name [sm1912[nm. Conds.: ~Thomas [sm1891[nm=n[sm1905[n
m; Frederick Stock [sm1905[nm=n[sm42[nm; ~D;aaesir;aae Defauw [s
m1943[nm=n[sm7[nm; Artur Rodzinski [sm1947[nm=n~[sm8[nm; Rafael Kubelik [sm1950[
nm=n[sm3[nm; Fritz Reiner [sm1953[nm=n[sm63[nm; ~Jean Martinon [sm1963[nm=n[sm9[
nm; Georg Solti from [sm1969[nm. ~First tour of Europe [sm1971[nm.[cm~Chichester
 Psalms.[fy75,1] Choral work by Leonard ~Bernstein for counterten., ch., and orc
h. Text in ~Hebrew. Written for Chichester Cath., where ~perf. in July [sm1965[n
m. Orig. scoring is for organ, ~harp, and perc.[cm~Chiesa [fy75,1](It.). Church.
 Hence Aria da Chiesa (an ~aria for church use); Cantata da Chiesa (see ~[cf2]Ca
ntata[cf1]); Concerto da Chiesa (see [cf2]Concerto[cf1]); Sonata ~da Chiesa (see
 [cf2]Sonata[cf1]).[cm~Chifonie.[fy75,1] Another name for [fy45,1]*[fy75,1]hurdy
-gurdy.[cm~Chilcot, Thomas[fy75,1] ([cf2]b[cf1] ?Bath, [cf2]c[cf1].[sm1700[nm; [
cf2]d[cf1] Bath, [sm1766[nm). ~Eng. org.; composer of settings of Shakespeare ~s
ongs, and kbd. works.[cm~Childhood of Christ, The[fy75,1] (Berlioz). See [cf2]En
fance ~du Christ, L'.[cm~Child of our Time, A.[fy75,1] Oratorio
by [fy45,1]*[fy75,1]Tippett for ~sop., cont., ten., and bass soloists, ch. and o
rch. ~Comp. [sm1939[nm=n[sm41[nm, f.p. [sm1944[nm. Lib. by composer ~based on pe
rsecution of Jews begun after assassi~~nation of Nazi official Vom Rath by Jewis
h boy ~Grynspan at Ger. Legation, Paris, autumn [sm1938[nm. ~Uses Negro spiritua
ls in manner of Bach's chorales ~in his Passions.[cm~Child, William [fy75,1]([cf
2]b[cf1] Bristol, [sm1606[nm; [cf2]d[cf1] Windsor, ~[sm1697[nm). Eng. composer a
nd organist. Organist ~Chapel Royal, in reign of Charles I, also serving ~Charle
s II at Restoration. Comp. hymns, anthems, ~church services, mus. for viols, and
 catches.[cm~Children's Corner.[fy75,1] [sm6[nm pf. pieces by Debussy ~([sm1906[
nm=n[sm8[nm) ded. to his daughter. With Eng. titles ~(explained by influence of
Eng. governess)=m~[cf2]Doctor Gradus ad Parnassum[cf1] (see [cf2]Gradus ad ~Parn
assum[cf1]); [cf2]Jimbo's Lullaby[cf1] (`Jimbo' is composer's ~mistake for `Jumb
o'); [cf2]Serenade for the Doll[cf1]; [cf2]Snow is ~Dancing; The
 Little Shepherd; Golliwogg's Cakewalk[cf1]. ~Orch. by [fy45,1]*[fy75,1]Caplet,
[sm1911[nm.[cm~Children's Overture, A. [fy75,1]Orch. work by [fy45,1]*[fy75,1]Qu
ilter, ~[sm1914[nm, based on nursery-rhymes. Intended as ov. ~to play `Where the
 Rainbow Ends', for which ~Quilter wrote incid. mus., but not used.[cm~Chilingir
ian, Levon[fy75,1] ([cf2]b[cf1] Nicosia, [sm1948[nm). Cypriot ~violinist. Studie
d RCM and with M. Parikian. ~First prize, BBC Beethoven Competition [sm1969[nm ~
and Munich Int. Competition [sm1971[nm. Sonata duo ~with Clifford Benson. Founde
r and leader [fy45,1]*[fy75,1]Chil~~ingirian Quartet from [sm1971[nm.[cm~Chiling
irian Quartet. [fy75,1]Formed [sm1971[nm, led by L. ~[fy45,1]*[fy75,1]Chilingiri
an, coached by S. Nissel ([fy45,1]*[fy75,1]Amadeus ~Quartet) and Hans [fy45,1]*[
fy75,1]Keller. Resident qt. Liverpool ~Univ. [sm1973[nm=n[sm6[nm. Tours of Europ
e and Scandinavia. ~NY d;aaebut [sm1977[nm, followed by US tour.[cm~Chime Bells.
 [fy75,1]Small medieval bells related to ~modern cymbals. Had a
high central dome.[cm~Chinese Crash Cymbal. [fy75,1]This differs in shape ~from
the normal [fy45,1]*[fy75,1]cymbal. The cup is much ~shallower and its edge turn
s up. It is made of a ~special alloy peculiar to the Chinese, and when ~struck w
ith a drum stick gives a brilliant crash.[cm~Chinese Temple Block. [fy75,1]See [
cf2]Korean Temple Block.[cm~Chinese Wood Block. [fy75,1]Oblong block of wood, ~[
sm7[nm;pp or [sm8[nm;pp long, with slots cut in it. Struck with ~stick of a snar
e drum gives a hard, hollow tone. ~Other names are [cf2]Clog Box [cf1]and [cf2]T
ap Box[cf1]. Used in ~jazz and by [sm20[nmth-cent. composers, e.g. Lambert ~in [
cf2]Rio Grande.[cf1][cm~Ching, James [fy75,1]([cf2]b[cf1] Thornton Heath, Surrey
, [sm1900[nm; ~[cf2]d[cf1] [sm1962[nm). Eng. pianist. Studied Oxford, RAM and ~R
CM, Berlin, and Leipzig. Founded own pf. sch. ~and wrote books on pf. technique.
[cm~Chiroplast. [fy75,1]Hand-rest for pf. practice, once a part ~of the [fy45,1]
*[fy75,1]Logier system's equipment.[cm~Chisholm, Erik[fy75,1] ([
cf2]b[cf1] Glasgow, [sm1904[nm; [cf2]d[cf1] Rondebosch, ~S. Africa, [sm1965[nm).
 Scot. cond., pianist, and com~~poser. Studied with Tovey and Pouishnoff (pf.).
~Cond. Glasgow Grand Opera Soc. [sm1930[nm=n[sm9[nm, giving ~Brit. premi;agere o
f several operas, e.g. Berlioz's ~[cf2]B;aaeatrice et B;aaen;aaedict[cf1] and [c
f2]Les Troyens[cf1], and reviving ~[PN142,0,0,L,I0]Mozart's [cf2]Idomeneo [cf1]a
nd [cf2]La Clemenza di Tito[cf1]. Prof. ~of mus., Cape Town Univ. [sm1945[nm=n[s
m65[nm, where his ~opera pioneering continued. Comp. [sm4[nm operas, ~ballets, [
sm2[nm pf. concs., vn. conc., [sm2[nm syms., chamber ~mus.[cm~Chistu. [fy75,1]Ba
sque mus. instr. similar to the Renais~~sance [fy45,1]*[fy75,1]tabor pipe.[cm~Ch
itarra.[fy75,1] It. name for [fy45,1]*[fy75,1]guitar. Hence [cf2]chitarriglia[cf
1], ~a smaller higher-pitched type of Sp. guitar; ~[cf2]chitarrino[cf1], [sm17[n
mth-cent. name for small [sm4[nm-course ~guitar; [cf2]chitarra battente[cf1], [s
m5[nm-course metal-strung ~guitar with fixed metal frets and pla
yed with ~plectrum.[cm~Chittarone. [fy75,1]Largest of the lute family, developed
 ~in It. during [sm16[nmth cent. Larger than its close ~relative the [fy45,1]*[f
y75,1]theorbo, both being designed as ~accompanying instr. and to improve on the
 bass ~register of the lute. However a solo repertory ~exists. Stringing was var
iable, [sm6[nm double course ~and [sm8[nm single basses being the most usual. ~M
entioned by [fy45,1]*[fy75,1]Caccini in his [cf2]Le nuove musiche[cf1] ~([sm1602
[nm).[cm~Chiuso, Chiusa [fy75,1](It.). Closed, stopped, with special ~reference
to the [fy45,1]*[fy75,1]horn.[cm~Chladni, Ernst [fy75,1](Florenz Friedrich) ([cf
2]b[cf1] Wittenberg, ~[sm1756[nm; [cf2]d[cf1] Breslau, [sm1827[nm). Ger. scienti
st who made ~important acoustic researches. Invented Clavicy~~linder, kbd. instr
. with glass cylinder, worked by ~pedal and revolving against strips of wood, gl
ass, ~or metal activated by keys.[cm~CHM.[fy75,1] Choirmaster's diploma of [fy45
,1]*[fy75,1]Royal College ~of Organists.[cm~Ch.M. [fy75,1]Choirm
aster's diploma of Amer. Guild of ~Organists or of Royal Canadian College of ~Or
ganists.[cm~Chocolate Soldier, The[fy75,1] ([cf2]Der tapfere Soldat, [cf1]The ~V
aliant Soldier). Operetta by O. [fy45,1]*[fy75,1]Straus to lib. by ~L. Jacobson
and R. Bernauer based on G. B. Shaw's ~play [cf2]Arms and the Man[cf1] ([sm1894[
nm). Prod. Vienna [sm1908[nm, ~NY [sm1909[nm, London [sm1910[nm.[cm~Choeur [fy75
,1](Fr.). Chorus, choir. But [cf2]Grand choeur[cf1], ~besides meaning Large Chor
us and Full Choir, ~means Full Organ (or a comp. for such).[cm~Choir [fy75,1]or[
fy65][cf3] Chorus[fy75,1]. ([sm1[nm) A [cf2]Mixed Voice Choir[cf1] (or ~Chorus)
is one of both women and men.[ep~|([sm2[nm) A [cf2]Male Voice Choir[cf1] is (usu
ally) of men only, ~but may be of boys and men.[ep~^([sm3[nm) A Double Choir is
one arr. in [sm2[nm equal and ~complete bodies, with a view not merely to ~singi
ng in [sm8[nm parts but also to responsive effects.[ep~|([sm4[nm) Architecturall
y, the choir is that part of a ~cath. which, in a church other t
han a cath., is ~called the chancel.[ep~|([sm5[nm) [cf2]Chorus[cf1] tends to be
used for secular bodies, but ~there are many exceptions.[cm~Choir Organ[fy75,1]
(or choir). Division of org. consist~~ing of soft stops suitable for acc. of cho
ir.[cm~Choke Cymbals. [fy75,1][sm2[nm ordinary [fy45,1]*[fy75,1]cymbals fixed fa
ce ~to face on a rod, with a device by which their ~pressure one on the other ca
n be adjusted, ~according to the tone-quality desired. They are ~played with a d
rumstick, giving a short, sharp ~crash.[cm~Chop, Max[fy75,1] ([cf2]b[cf1] Grensz
en, [sm1862[nm; [cf2]d[cf1] Berlin, [sm1929[nm). ~Ger. composer and scholar. Tur
ned to mus. from ~law. Comp. [sm2[nm pf. concs., orch. suites, songs, etc. ~Mus.
 critic and ed. Analyst of Liszt symphonic ~poems and Wagner operas. First to wr
ite mono~~graph on Delius ([sm1907[nm).[cm~Chopin, Fryderyk [fy75,1](Franciszek)
 (Fr;aaed;aaeric Fran~~;Alcois), ([cf2]b[cf1] Zelazowa Wola, [sm1810[nm; [cf2]d[
cf1] Paris, [sm1849[nm). ~Polish composer and pianist (Fr. fathe
r, Polish ~mother). Began pf. studies with Zywny [sm1816[nm and ~played conc. by
 [fy45,1]*[fy75,1]Gyrowetz in Warsaw [sm1818[nm. In ~[sm1822[nm began studies in
 harmony and counterpoint ~with Joseph Elsner, dir. of Warsaw Cons. In [sm1825[n
m ~his [cf2]Rondo[cf1] in C minor was pubd. as Op. [sm1[nm, though ~it was far f
rom being his first comp. The next ~year, entered Warsaw Cons. as full-time mus.
 ~student, leaving in [sm1829[nm. While student, wrote ~[cf2]Krakowiak[cf1] Rond
o. In [sm1829[nm comp. his conc. in F ~minor and gave [sm2[nm concerts in Vienna
. Played the ~conc. in Warsaw twice in Mar. [sm1830[nm and later in ~year played
 E minor conc. Left home late in ~[sm1830[nm, travelling via Dresden and Prague
to ~Vienna and giving many concerts. In Stuttgart ~heard that the Russians had c
aptured Warsaw. ~Arrived Paris Sept. [sm1831[nm; became pf. teacher to ~aristocr
acy, gradually renouncing public career ~and concentrating on composing. Became
friend ~of most of outstanding musicians of day. In an ~essay ta
king the form of a discussion between ~Florestan and Eusebius, Schumann hailed t
he [cf2]L;aga ~ci darem variations, [cf1]Op. [sm2[nm, with the words `Hats ~off,
 gentlemen! A new genius!' In [sm1836[nm Chopin ~met Fr. novelist George Sand an
d lived with her ~[sm1838[nm=n[sm47[nm. From [sm1836[nm the first signs of the ~
tuberculosis that was to kill him appeared and ~the rest of his life was a const
ant struggle with ~sickness. After break with George Sand, gave a ~concert in Pa
ris early in [sm1848[nm but left for London ~after the revolution, in need of mo
ney. Gave ~concerts in Manchester, Glasgow, Edinburgh, ~and London and returned
to Paris to die in Oct. ~[sm1849[nm.[ep~^Although Chopin's pf. mus. is beset wit
h ~romantic stories and nicknames, he himself ~insisted on its existence only as
 absolute mus., ~hence the rather severe titles which refer only to ~mus. forms
and are never picturesque, as in ~Schumann and Liszt. His own playing was both ~
powerful and rhythmically subtle, with astonish~~ing evenness of
 touch. Taking the name `nocturne' ~from John [fy45,1]*[fy75,1]Field, he transfo
rmed the form, as he ~did everything, by harmonic imagination and ~melodic disti
nction. There are bold, prophetic ~passages in his mus., ornamentation derived f
rom ~his admiration for It. opera, and, in his Polish ~works such as the mazurka
s and polonaises, a raw ~[PN143,0,0,R,I0]passion elemental in its strength. The
Victorian ~conception of Chopin as a consumptive drawing-~room balladeer of the
kbd., a conception connived ~at by lesser pianists, has long been exposed as a ~
false trail leading hearers away from the true, ~poetic, heroic Chopin. Prin. co
mps.:[xm[cm~[j2][smpiano sonatas[nm: C minor, Op. [sm4[nm ([sm1828[nm); B;yh min
or, ~Op. [sm35[nm ([sm1839[nm, Funeral March [sm1837[nm); B minor, ~Op. [sm58[nm
 ([sm1844[nm).[ep~[smpiano and orch.[nm: Conc. No. [sm1[nm in E minor, Op. [sm11
[nm ~([sm1830[nm); No. [sm2[nm in F minor, Op. [sm21[nm ([sm1829[nm=n[sm30[nm);
~[cf2]Variations on L;aga ci darem la mano[cf1], Op. [sm2[nm ([s
m1827[nm); ~[cf2]Grande Fantaisie on Polish Airs[cf1], Op. [sm13[nm ([sm1828[nm)
; ~[fy45,1]*[fy75,2]Krakowiak Rondo[cf1], Op. [sm14[nm ([sm1828[nm); [cf2]Andant
e Spian~~ato [cf1]([sm1834[nm); [cf2]Grande Polonaise brillante [cf1]in E flat,
~Op. [sm22[nm ([sm1830[nm=n[sm1[nm).[ep~[smsolo piano[nm: [cf2]Ballade[cf1] in G
 minor, Op. [sm23[nm ([sm1831[nm=n[sm5[nm), ~in F major/A minor, Op. [sm38[nm ([
sm1836[nm=n[sm9[nm), in A;yh, ~Op. [sm47[nm ([sm1840[nm=n[sm1[nm), in F minor, O
p. [sm52[nm ([sm1842[nm); ~[cf2]Scherzo[cf1] in B minor, Op. [sm20[nm ([sm1831[n
m=n[sm2[nm), in B;yh ~minor/D;yh, Op. [sm31[nm ([sm1837[nm), in C;yi minor, Op.
[sm39[nm ~([sm1839[nm), in E, Op. [sm54[nm ([sm1842[nm); [sm12[nm [cf2];aaEtudes
[cf1], Op. [sm10[nm ~([sm1829[nm=n[sm32[nm), [sm12[nm [cf2];aaEtudes[cf1], Op. [
sm25[nm ([sm1832[nm=n[sm6[nm); [sm3[nm ~[cf2]Nocturnes[cf1], Op. [sm9[nm ([sm183
0[nm=n[sm1[nm), [sm3[nm [cf2]Nocturnes[cf1], Op. [sm15[nm ~([sm1830[nm=n[sm3[nm)
, [sm2[nm [cf2]Nocturnes[cf1], Op. [sm27[nm ([sm1835[nm), [sm2[n
m [cf2]Nocturnes[cf1], ~Op. [sm32[nm ([sm1836[nm=n[sm7[nm), [sm2[nm [cf2]Nocturn
es[cf1], Op. [sm37[nm ([sm1838[nm=n[sm9[nm), ~[sm2[nm [cf2]Nocturnes[cf1], Op. [
sm48[nm ([sm1841[nm), [sm2[nm [cf2]Nocturnes[cf1], Op. [sm55[nm ~([sm1843[nm), [
sm2[nm [cf2]Nocturnes[cf1], Op. [sm62[nm ([sm1846[nm), [sm2[nm [cf2]Nocturnes[cf
1], ~Op. [sm72[nm[cf1] ([sm1827[nm, [sm1830[nm); [sm24[nm [cf2]Preludes[cf1], Op
. [sm28[nm ([sm1836[nm=n~[sm9[nm), Prelude in C;yi minor, Op. [sm45[nm ([sm1841[
nm); [cf2]Valses[cf1], ~in A;yh ([sm1827[nm), in E ([sm1829[nm), in E;yh ([sm182
9[nm=n[sm30[nm), in E ~minor ([sm1830[nm), in E;yh ([sm1840[nm), in E;yh, Op. [s
m18[nm ([sm1831[nm), ~[sm3[nm [cf2]Valses, [cf1]Op. [sm34[nm ([sm1831[nm=n[sm8[n
m), in A;yh, Op. [sm42[nm ([sm1840[nm), ~[sm3[nm [cf2]Valses[cf1], Op. [sm64[nm
([sm1846[nm=n[sm7[nm), [sm2[nm [cf2]Valses[cf1], Op. [sm69[nm ([sm1835[nm, ~[sm1
829[nm), [sm3[nm [cf2]Valses,[cf1] Op. [sm70[nm ([sm1829[nm=n[sm41[nm); [cf2]Pol
onaises, [cf1]in ~G minor ([sm1817[nm), in B;yh ([sm1817[nm), in
 A;yh ([sm1821[nm), in ~G;yi ([sm1822[nm), [sm2[nm [cf2]Polonaises[cf1], Op. [sm
26[nm ([sm1834[nm=n[sm5[nm), [sm2[nm ~[cf2]Polonaises[cf1], Op. [sm40[nm ([sm183
8[nm=n[sm9[nm), [cf2]Polonaise[cf1] in F;yi, Op. ~[sm44[nm ([sm1840[nm=n[sm1[nm)
, [cf2]Polonaise[cf1] in A;yh, Op. [sm53[nm ([sm1842[nm), [sm3[nm ~[cf2]Polonais
es[cf1], Op. [sm71[nm ([sm1825[nm=n[sm8[nm); [cf2]Polonaise Fantaisie[cf1] in ~A
;yh, Op. [sm61[nm ([sm1845[nm=n[sm6[nm); [sm4[nm [cf2]Mazurkas, [cf1]Op. [sm6[nm
 ([sm1830[nm), ~[sm5[nm [cf2]Mazurkas[cf1], Op. [sm7[nm ([sm1831[nm), [sm4[nm[cf
2] Mazurkas[cf1], Op. [sm17[nm ~([sm1834[nm), [sm4[nm[cf2] Mazurkas[cf1], Op. [s
m24[nm ([sm1834[nm=n[sm5[nm), [sm4[nm [cf2]Mazur~~kas[cf1], Op. [sm30[nm ([sm183
6[nm=n[sm7[nm), [sm4[nm [cf2]Mazurkas[cf1], Op. [sm33[nm ([sm1837[nm=n~[sm8[nm),
 [sm4[nm [cf2]Mazurkas[cf1], Op. [sm41[nm ([sm1838[nm=n[sm40[nm), [sm3[nm [cf2]M
azurkas[cf1], ~Op. [sm50[nm ([sm1842[nm), [sm3[nm [cf2]Mazurkas[cf1], Op. [sm56[
nm ([sm1843[nm), [sm3[nm ~[cf2]Mazurkas[cf1], Op. [sm59[nm ([sm1
845[nm), [sm3[nm [cf2]Mazurkas[cf1], Op. [sm63[nm ~([sm1846[nm), [sm4[nm [cf2]Ma
zurkas[cf1], Op. [sm67[nm ([sm1835[nm, [sm1846[nm, [sm1849[nm), ~[sm4[nm [cf2]Ma
zurkas[cf1], Op. [sm68[nm ([sm1827[nm=n[sm49[nm); [cf2]Berceuse[cf1], in D;yh, ~
Op. [sm57[nm ([sm1843[nm=n[sm4[nm); [cf2]Barcarolle[cf1] in F;yi, Op. [sm60[nm (
[sm1845[nm=n~[sm6[nm); [cf2]Bol;aaero[cf1], Op. [sm19[nm ([sm1833[nm); [sm3[nm [
cf2][cf2];aaEcossaises[cf1], Op. [sm72[nm ~([sm1826[nm); [cf2]Fantasie[cf1] in F
 minor, Op. [sm49[nm ([sm1841[nm); ~[cf2]Fantasie Impromptu[cf1] in C;yi minor,
Op. [sm66[nm ([sm1835[nm); ~[sm3[nm [cf2]Impromptus[cf1], A;yh, Op. [sm29[nm ([s
m1837[nm), F;yi, Op. [sm36[nm ~([sm1839[nm), G;yh, Op. [sm51[nm ([sm1842[nm); [c
f2]Allegro de concert[cf1], Op. ~[sm46[nm ([sm1832[nm=n[sm41[nm); [cf2]Tarantell
e[cf1] In A;yh, Op. [sm43[nm ([sm1841[nm).[ep~[sm2 pianos[nm: [cf2]Rondo[cf1] in
 C, Op. [sm73[nm ([sm1828[nm).[ep~[smchamber music[nm: Piano Trio in G minor, Op
. [sm8[nm ~([sm1828[nm=n[sm9[nm); vc. sonata in G minor, Op. [sm
65[nm ([sm1845[nm=n~[sm6[nm); [cf2]Introduction and Polonaise[cf1] in C, vc. and
 pf., ~Op. [sm3[nm ([sm1829[nm=n[sm30[nm); Grand Duo[cf1] in E on themes ~from M
eyerbeer's [cf2]Robert le Diable[cf1], vc. and pf. ~([sm1832[nm).[ep~[smsongs[nm
: [sm17[nm [cf2]Polish Songs[cf1] ([sm1829[nm=n[sm47[nm).[cm~[j1]Chopsticks[fy75
,1] (Fr. [cf2]C;afotelettes,[cf1] cutlets; Ger. [cf2]Koteletten ~Walzer[cf1]). A
nonymous quick waltz tune for pf. ~first pub. London [sm1877[nm as `the celebrat
ed Chop ~Waltz'. It is perf. with [sm2[nm outstretched forefingers ~or with the
flat hands held perpendicularly, the ~notes being struck by their sides (i.e. wi
th the ~outsides of the little fingers), with a tonic-~dominant vamping bass par
t and an occasional ~touch of [fy45,1]*[fy75,1]glissando. The name therefore ref
ers to ~chopping and to Chinese eating utensils. There is ~a coll. of comps. bas
ed on a similar tune=m~[cf2]Paraphrases, [cf1]by Borodin, Cui, Lyadov, Rimsky-~K
orsakov, and Liszt ([sm1877[nm).[xm[cm~[ol0][ep~[xp[te~
[do3][j99]~~~153842_CA04[ep~~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary
 of Music[cmCA[sm04[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm24[nm/[sm10[nm/[sm79[nm[cm[sm3[
nm[cm[sm264[nm[cm~GC[cm4[cm20/9/84[cmU1[cm~~~[ap[j1]Choragus.[fy75,1] ([sm1[nm)
In Ancient Gr., leader of ch.[ep~^([sm2[nm) An official peculiar to the Univ. of
 Oxford. ~When the Lectureship or Professorship in Mus. ~was founded and endowed
 by William Heather ~in [sm1626[nm, he laid it down that a subordinate ~official
, called Choragus, was to conduct practices ~of mus. twice a week. The office st
ill exists (but ~not with that duty).[cm~Choral[fy75,1] (Ger.), [fy65][cf3]Chora
le[fy75,1] (Eng.). ([sm1[nm) Metrical hymn-~tune characteristic of the Ger. Refo
rmed Church ~and sung in unison. Martin Luther ([sm1483[nm=n[sm1546[nm) ~wished
to restore the congregation's role in ~church services and wrote simple devotion
al ~words to tunes familiar either as folk-songs or as ~old ecclesiastical melod
ies (i.e. plainsong chants). ~A famous example is [cf2]Ein' fest
e Burg ist unser Gott[cf1] ~(A Safe Stronghold our God is still). But the Ger. ~
word [cf2]Choral[cf1] orig. belonged to the unreformed ~Church and means the ecc
lesiastical Plainsong, ~the [cf2]Cantus choralis[cf1]. Properly, the `Choral' in
 the ~Ger. R.C. Church is that part of the plainsong ~sung by more than one v. (
the `Concentus' as ~distinguished from the `Accentus'), but this ~distinction of
 terminology is not always observed.[ep~^The first Lutheran chorales had not the
 regular ~rhythms that they later took on. They had often ~a mixture of duple an
d triple time and, indeed, a ~good deal of the free rhythm of plainsong. With ~L
utheran chorales, as with Genevan, Eng., and ~Scot. hymn tunes, the melody was a
t first in the ~ten. During the [sm17[nmth cent. it gradually became ~usual to p
lace it in the treble, as today. [sm4[nm-part ~settings of chorales were made by
 many musicians ~in the [sm16[nmth, [sm17[nmth, and [sm18[nmth cents.[ep~^The re
pertory of the Ger. chorale may be said to ~have been completed
in Bach's day. He comp. ~only about [sm30[nm, but he made [sm400[nm reharmonizat
ions ~of existing chorale melodies and used some of ~them with memorable effect
in his settings of the ~[fy45,1]*[fy75,2]Passions.[cf1][ep~^([sm2[nm) The term i
s used in USA as a synonym for ~choir or chorus, e.g. Robert Wagner Chorale.[cm~
Choral Fantasia. [fy75,1]([sm1[nm) Beethoven's Op. [sm80[nm, in C ~minor, for so
lo pf., ch., and orch., comp. [sm1808[nm. ~Comprises variations on Beethoven's s
ong [cf2]Gegen~~[PN144,0,0,L,I0]liebe[cf1] ([sm1794[nm=n[sm5[nm), a melody which
 resembles that of ~prin. theme of finale of his [sm9[nmth Sym., for which ~this
 Fantasia seems to have been a preliminary ~experiment. Text is poem by Christop
h Kuffner.[ep~^([sm2[nm) Holst's Op. [sm51[nm, for sop., ch., org., brass, perc.
, ~and str., to words by Robert Bridges ([sm1844[nm=n[sm1930[nm), ~comp. [sm1930
[nm. F.p. Gloucester Fest. [sm1931[nm.[cm~Choral Prelude [fy75,1]or [fy65][cf3]C
horale Prelude[fy75,1] (Ger. [cf2]Choral ~Vorspiel[cf1]). From t
he custom of playing org. ~preludes and interludes to the chorale grew the ~tech
nique of [sm2[nm special forms of comp., one based ~upon a treatment of the chor
ale melody, often ~taken line by line and surrounded by other ~melodic parts wov
en together into elaborate ~[fy45,1]*[fy75,1]counterpoint, and the other not rep
roducing the ~chorale intact but suggesting it to the minds of ~the hearers by t
aking its first few notes as the ~theme to be elaborated. For a north Ger. ~cong
regation, to whom the melodies were all ~known from childhood, such a piece of o
rgan ~mus. had great interest and significance.[ep~^Among the composers who help
ed to develop ~this form were Sweelinck ([sm1562[nm=n[sm1621[nm), Scheidt ~([sm1
587[nm=n[sm1654[nm), Pachelbel ([sm1653[nm=n[sm1706[nm), Buxtehude ~([sm1637[nm=
n[sm1707[nm), Reinken ([sm1623[nm=n[sm1722[nm), and B;auohm ~([sm1661[nm=n[sm173
3[nm). Such of Bach's forebears as were ~orgs. also took their part in the worki
ng out of ~the form, and he himself crowned the labours of ~all
his predecessors and contemporaries.[ep~^In addition to the Chorale Preludes of
Bach there ~are certain early works which he called [cf2]Chorale ~Partitas[cf1],
 the word Partita here, as with certain ~other composers, having not the usual s
ense of a ~suite but of an air with variations. The no. of ~variations correspon
ds to the number of the ~verses of the hymns, and each variation seems to ~be de
signed to re-express the thought of the ~corresponding verse. Since Bach many ot
her Ger. ~composers have written chorale preludes, ~Brahms's last comp., Op. [sm
122[nm, being a set of [sm11[nm.[ep~^To some extent the same form was cultivated
 in ~Eng. Purcell has a Voluntary on the Old ~Hundredth that, in its way, is on
the lines of the ~Bach Chorale Prelude.[cm~Choral Symphony.[fy75,1] A sym. in wh
ich a ch. is used ~at some point. By general usage [cf2]the [cf1]Choral Sym. ~me
ans Beethoven's Sym. No. [sm9[nm in D minor, Op. ~[sm125[nm, in which the finale
 is a setting for [sm4[nm soloists, ~ch., and orch. of Schiller'
s `Ode to Joy'. But Holst ~wrote a [cf2]Choral Symphony[cf1] (to poems by Keats,
 f.p. ~[sm1925[nm), and there are many syms. since Beethoven ~which use soloists
 and ch. in one or more ~movements, e.g. Vaughan Williams's [cf2]A Sea ~Symphony
[cf1], Britten's [cf2]Spring Symphony[cf1], Mahler's ~Syms. Nos. [sm2[nm, [sm3[n
m, and [sm8[nm, and Shostakovich's [sm2[nmnd ~and [sm13[nmth Syms. Bantock's [cf
2]Atalanta in Calydon[cf1] is a ~choral sym. for vv. alone.[cm~Choral Vorspiel.[
fy75,1] See [cf2]Choral Prelude[cf1].[cm~Chord. [fy75,1]Any simultaneous combina
tion of notes, ~but usually of not fewer than [sm3[nm. The use of chords ~is the
 basic foundation of harmony.[cm~Chording.[fy75,1] ([sm1[nm) A choir-trainer's t
erm for bad and ~good intonation of the notes sounded together in ~chords.[ep~^(
[sm2[nm) Spacing of the intervals in a chord.[ep~^([sm3[nm) In USA the term mean
s the improvised ~strumming of accompanimental chords on a ~banjo, etc.[cm~Chord
ophone.[fy75,1] Term for mus. instr. which ~produce sound by mea
ns of str. stretched from ~one point to another. Simple chordophones are ~variou
s types of zither; composites are lutes, lyres, ~rebecs, violins, guitars, harps
, etc. One of [sm4[nm ~classifications of instr. devised by C. Sachs and E. ~M.
von Hornbostel and pubd. In [cf2]Zeitschrift f;auur ~Ethnologie[cf1], [sm1914[nm
. Other categories are [fy45,1]*[fy75,1]membran~~ophones, [fy45,1]*[fy75,1]idiop
hones, and [fy45,1]*[fy75,1]aerophones, with ~[fy45,1]*[fy75,1]electrophones rec
ently added.[cm~Choreographic Poem.[fy75,1] An orch. work designed ~for ballet b
ut also self-sufficient because it has ~something of the quality and form of a t
one-~poem, e.g. Ravel's [cf2]La Valse[cf1] ([sm1920[nm), described on ~the score
 as [cf2]po;ageme chor;aaeographique.[cm~Choreography. [fy75,1]([sm1[nm) The sys
tem of describing ~dances, esp. in ballet, by signs for the steps, ~written alon
gside the melodies. An early method ~was [fy45,1]*[fy75,1]Arbeau's, described in
 his [cf2]Orch;aaesographie[cf1] ~([sm1588[nm=n[sm9[nm). The ter
m choreography was introduced ~by Lefeuillet in [sm1699[nm. Today one speaks of
a ballet ~having been `choreographed' by its creator.[ep~^([sm2[nm) The visual c
omp. of the ballet.[cm~Chorist-Fagott. [fy75,1]Name for the bass (double) ~curta
l, forerunner of the bn., because it was often ~used for doubling the bass line
in church mus.[cm~Chorley, Henry Fothergill[fy75,1] ([cf2]b[cf1] Blackley Hurst,
 ~Lancs., [sm1808[nm; [cf2]d[cf1] London, [sm1872[nm). Eng. mus. critic ~for the
 [cf2]Athenaeum[cf1] weekly magazine [sm1831[nm=n[sm68[nm, ~influential in his t
ime. Also wrote novels, plays, ~and libs. for operas by Sullivan, Benedict, and
~Wallace.[cm~Ch;aforos. [fy75,1]A sequence of [sm14[nm works by Villa-Lobos, ~co
mp. between [sm1920[nm and [sm1929[nm, for various instr. ~ranging from solo gui
tar to [sm2[nm pf. and orch. and ~incorporating S. Amer. rhythms and popular ~me
lodic characteristics.[cm~Chorus.[fy75,1] ([sm1[nm) See [cf2]Choir[cf1] or [cf2]
Chorus[cf1].[ep~^([sm2[nm) Old name for [fy45,1]*[fy75,1]Bagpipe
.[ep~^([sm3[nm) Old str. instr.=mgenerally the [fy45,1]*[fy75,1]crwth.[cm~Chorus
 Reed. [fy75,1]Any org. reed stop not intended ~for solo use.[cm~Chorzempa, Dani
el[fy75,1] ([cf2]b[cf1] Minneapolis, [sm1944[nm). ~Amer. organist, pianist, and
composer. Educated ~Minnesota Univ. and Cologne (elec. studio). Int. ~reputation
 as org. virtuoso. Authority on ~[fy45,1]*[fy75,1]Reubke.[cm~Chotzinoff, Samuel[
fy75,1] ([cf2]b[cf1] Vitebsk, [sm1889[nm; [cf2]d[cf1] NY, ~[sm1964[nm). Russ.-Am
er. pianist and critic. Settled in ~USA at [sm17[nm, becoming accompanist to Zim
balist ~and Heifetz. Critic for NY [cf2]World[cf1], then for NY ~[PN145,0,0,R,I0
][cf2]Post.[cf1] Taught at Curtis Institute. Persuaded Toscan~~ini to become con
d. of NBC Sym. Orch. in [sm1936[nm ~and became NBC dir. of mus. and, in [sm1951[
nm, ~producer of NBC TV operas, commissioning ~Menotti's [fy45,1]*[fy75,2]Amahl
and the Night Visitors.[cf1] Wrote ~several books.[cm~Chout[fy75,1] (Fr. spellin
g of Russ. [cf2]Shut[cf1], buffoon). Ballet ~by Prokofiev (The B
uffoon who out-buffooned ~seven buffoons), his Op. [sm21[nm. First version [sm19
15[nm, ~rev. [sm1920[nm. Prod. [fy45,1]*[fy75,1]Diaghilev, Paris [sm1921[nm. Bas
ed on ~A. Afanasyev's Russ. tales. Symphonic suite [sm1922[nm.[cm~Christie, John
[fy75,1] ([cf2]b[cf1] Eggesford, [sm1882[nm; [cf2]d[cf1] Glynde~~bourne, [sm1962
[nm). Eng. org. builder and schoolmas~~ter. Married sop. Audrey [fy45,1]*[fy75,1
]Mildmay [sm1931[nm, and ~founded in [sm1934[nm annual summer fest. of opera in
~opera house built at his home [fy45,1]*[fy75,1]Glyndebourne, ~near Lewes, Susse
x. C.H. [sm1954[nm. His son George ([cf2]b[cf1] ~Glyndebourne, [sm1934[nm) succe
eded him as chairman ~of the Glyndebourne Fest. and was knighted in ~[sm1984[nm.
 In John Christie's memory, the Worshipful ~Company of Musicians has, since [sm1
965[nm, enabled ~the award of an annual scholarship for a promising ~member of t
he Glyndebourne company to study ~abroad. Holders have included Ryland Davies, ~
Richard Van  Allan, Jill Gomez, Teresa Cahill, Ian ~Caley, Linda
 Esther Gray, Elizabeth Gale, John ~Rawnsley, Anthony Rolfe Johnson, Fiona Kimm,
 ~Kate Flowers, and Helen Walker.[cm~Christmas Concerto. [fy75,1]Name of [fy45,1
]*[fy75,1]Corelli's Con~~certo Grosso in G minor, Op. [sm6[nm, No. [sm8[nm, for
str. and ~continuo ([sm1712[nm). It was intended as a [cf2]concerto da ~[fy45,1]
*[fy75,2]chiesa[cf1] (for church use) and was inscribed [cf2]fatto ~per la notte
 di Natale[cf1] (made for Christmas Night). ~[cf1]Torelli's [sm12[nm Concerti Gr
ossi Op. [sm8[nm ([sm1709[nm) for str. ~and continuo are entitled [cf2]con un pa
storale per il ~Santissimo Natale[cf1], this `pastoral for the most holy ~night
of Christmas' being No. [sm6[nm, also in G minor.[cm~Christmas Oratorio.[fy75,1]
 Choral work by Bach for ~soloists, ch., and orch., text by Picander and Bach, ~
being biblical story of the Nativity with commen~~tary. Comprises [sm6[nm cantat
as designed for perf. in ~Leipzig on [sm3[nm days of Christmas fest., New Year's
 ~Day, New Year's Sunday, and Epiphany. Some of ~the mus. was co
mp. for secular words. Sch;auutz also ~wrote a Christmas Oratorio ([sm1664[nm).
Ger. title is ~[cf2]Weihnachts-Oratorium.[cm~Christoff, Boris [fy75,1]([cf2]b[cf
1] Plovdiv, Bulgaria, [sm1914[nm). ~Bulgarian bass. Orig. lawyer. Studied singin
g in ~Rome and Salzburg. Opera d;aaebut Rome [sm1945[nm, ~CG [sm1949[nm. Chicago
 Opera [sm1958[nm=n[sm63[nm. Notable ~interpreter of Mussorgsky's Boris and Verd
i's ~King Philip.[cm~Christopher Columbus[fy75,1] ([cf2]Christophe Colomb[cf1]).
 ([sm1[nm) ~Opera in [sm2[nm acts ([sm27[nm scenes) by Milhaud to lib. by ~Paul
Claudel. Comp. [sm1928[nm. Prod. Berlin [sm1930[nm. ~Paris (concert version) [sm
1936[nm. Uses cinema screen. ~Operas on this subject also by Ottoboni, Morlac~~c
hi, and Egk.[ep~^([sm2[nm) Early ov. by Wagner intended for play by ~Apel, f.p.
Leipzig [sm1835[nm.[ep~^([sm3[nm) Incidental mus. by Walton (unpubd.) for ~radio
 play by Louis MacNeice broadcast BBC Oct. ~[sm1942[nm.[cm~Christou, Jani[fy75,1
] ([cf2]b[cf1] Heliopolis, Egypt, [sm1926[nm; [cf2]d[cf1] ~Athen
s, [sm1970[nm). Gr. composer. Educated Alexan~~dria and Cambridge Univ. Studied
comp. with ~H. F. [fy45,1]*[fy75,1]Redlich, also psychology with Jung. ~Employed
 serialism and [sm12[nm-note technique [sm1948[nm=n~[sm58[nm, then became intere
sted in elec. sounds, ~establishing elec. workshop in Athens. Invented ~form of
notation to incorporate stage action. ~Comps. incl. syms.; [cf2]Tongues of Fire
[cf1]and [cf2]Mysterion[cf1] ~(oratorios); and works involving tape and aleatory
 ~procedures.[cm~Christus. [fy75,1]([sm1[nm) Oratorio by Liszt for soloists, ch.
, ~and orch., comp. [sm1862[nm=n[sm7[nm, f.p. Budapest [sm1873[nm.[ep~^([sm2[nm)
 Oratorio, Op. [sm97[nm, by Mendelssohn, text by ~Chevalier Bunsen, begun [sm184
4[nm, unfinished. F.p. ~of [sm8[nm nos., Birmingham [sm1852[nm.[ep~^([sm3[nm) Th
e part of Christ in Bach's [cf2]St Matthew ~Passion[cf1] is often denominated th
us.[cm~Christus am ;auOlberge[fy75,1] (Christ on the Mount of ~Olives). Oratorio
 by Beethoven, Op. [sm85[nm, for sop., ~ten., bass, ch., and orc
h., comp. [sm1803[nm. Lib. by ~Franz Xaver Huber. F.p. Vienna [sm1803[nm. Englis
h ~version entitled [cf2]En Gedi[cf1] changes subject to story ~of David.[cm~Chr
omatic [fy75,1](derived from Gr. [cf2]chromos[cf1];eqcolour). ~The chromatic was
 one of the [sm3[nm classifications of ~Gr. scales. In modern mus. it refers to
notes not ~belonging to the diatonic scale. They are indicated ~by [cf2]chromati
cs. [cf1]The [cf2]chromatic scale[cf1] is [sm12[nm ascending ~or descending semi
tones (sharps ascending, flats ~descending). [cf2]Chromatic chords[cf1] incl. on
e or more ~notes not in the diatonic scale of the prevailing ~key of the relevan
t passage.[cm~Chromatic Fantasia and Fugue. [fy75,1]Hpd. work by ~Bach, comp. [s
m1720[nm=n[sm3[nm at C;auothen.[cm~Chromatic Harp.[fy75,1] Harp built by Pleyel
[sm1897[nm ~with a str. for every semitone, thus needing no ~pedals.[cm~Chromati
cism. [fy75,1]([sm1[nm) The use of chromatic intervals ~and chromatic chords.[ep
~^([sm2[nm) A style of composing using chromatic ~harmony. [fy45
,1]*[fy75,1]Gesualdo in [sm16[nmth cent. used advanced ~chromaticism. Bach's exp
eriments in chromati~~cism were based on diatonic principles. The age ~of Romant
icism explored chromaticism further ~because of need for emotional expression, h
ence ~the chromatic elements in Wagner's [cf2]Tristan und ~Isolde[cf1] and later
 works. See also [cf2]Atonal[cf1].[cm~Chronochromie[fy75,1] (Time-colour). Orch.
 work by[fjMessiaen in [sm7[nm sections: [cf2]Introduction, Strophe I, ~Antistro
phe I, Strophe II, Antistrophe II, Epode, Coda.[cf1] ~ Comp. [sm1960[nm. F.p. Do
naueschingen, [sm16[nm Oct. [sm1960[nm, ~cond. Rosbaud. [cf2]Epode[cf1] is writt
en for [sm18[nm str., each ~playing a different birdsong.[cm~[PN146,0,0,L,I0]Chr
ysander, [fy75,1](Karl Franz) [fy65,3]Friedrich[fy75,1] ([cf2]b[cf1] L;auubthen,
 ~Mecklenburg, [sm1826[nm; [cf2]d[cf1] Bergedorf, [sm1901[nm). Ger. ~critic and
mus. historian. Authority on Handel, ~editing complete works for Ger. Handel Soc
. and ~writing biography ([sm1858[nm=n[sm67[nm; never completed)
. ~Worked also on other musicological subjects, ~publishing or editing works of
Palestrina, Sch;auutz, ~Carissimi, Corelli, Couperin, and J. S. Bach, and ~disco
vering autograph of Bach's B minor Mass.[cm~Chueca, Federico[fy75,1] ([cf2]b[cf1
] Madrid, [sm1846[nm; [cf2]d[cf1] Madrid, ~[sm1908[nm). Sp. composer of [fy45,1]
*[fy75,1]zarzuelas, most of them ~in one act. Best-known is [cf2]La gran via[cf1
] ([sm1886[nm), ~written in collab. with Valverde. His march [cf2]C;agadiz[cf1]
~was Sp. nat. anthem under monarchy.[cm~Chung, Kyung-Wha [fy75,1]([cf2]b[cf1] Se
oul, Korea, [sm1948[nm). ~Korean violinist, sister of Myung-Wha [fy45,1]*[fy75,1
]Chung ~and Myung-Whun [fy45,1]*[fy75,1]Chung. Studied privately in ~Korea and a
t Juilliard Sch., NY. D;aaebut aged [sm9[nm, ~Seoul, in Mendelssohn conc. NY d;a
aebut with NY ~P.O., [sm1968[nm, European d;aaebut with LSO, London, ~[sm1970[nm
. Brilliant int. career. Recordings of Sibelius, ~Walton, Elgar, and Stravinsky
concs., among ~others.[cm~Chung, Myung-Wha[fy75,1] ([cf2]b[cf1]
Seoul, Korea, [sm1944[nm). ~Korean cellist, sister of Kyung-Wha [fy45,1]*[fy75,1
]Chung and ~Myung-Whun [fy45,1]*[fy75,1]Chung. Studied Juilliard Sch., ~NY, and
Univ. of S. Calif. (master-class with ~[fy45,1]*[fy75,1]Piatigorsky). Soloist wi
th leading orchs. Plays ~trio with sister and brother.[cm~Chung, Myung-Whun [fy7
5,1]([cf2]b[cf1] Seoul, Korea, [sm1953[nm). ~Korean pianist and cond., brother o
f Kyung-Wha ~[fy45,1]*[fy75,1]Chung and Myung-Wha [fy45,1]*[fy75,1]Chung. Studie
d ~Mannes Sch. of Mus. and Juilliard Sch., NY. ~D;aaebut, Seoul [sm1960[nm, as p
ianist; as cond. [sm1971[nm. [sm2[nmnd ~prize Tchaikovsky pf. competition, Mosco
w, ~[sm1974[nm. Soloist with leading orchs. Ass. cond., Los ~Angeles P.O. [sm197
8[nm.[cm~Church, John[fy75,1] ([cf2]b[cf1] Windsor, [sm1675[nm; [cf2]d[cf1] Lond
on, ~[sm1741[nm). Eng. composer and chorister, Gentleman ~of Chapel Royal. Wrote
 anthems and songs.[cm~Church Music Society[fy75,1] (British). Founded [sm1906[n
m. ~Its objects are the encouragement of a high ~standard in the
 choice and perf. of mus. in ~worship. Predominantly Anglican in member~~ship. S
ee also [cf2]Royal School of Church Music.[cf1][cm~Chute de la Maison Usher, La[
fy75,1] (The Fall of the ~House of Usher). Opera in [sm3[nm scenes planned by ~D
ebussy based on Edgar Allan Poe but left ~incomplete. Work on it extended from [
sm1908[nm to ~[sm1917[nm. What survives is complete text and vocal ~score of sce
ne [sm1[nm (prologue) and part of scene [sm2[nm. ~F.p. New Haven, [sm1977[nm.[cm
~Ciaia, Azzolino Bernardino della[fy75,1] ([cf2]b[cf1] Siena, ~[sm1671[nm; [cf2]
d[cf1] Siena, [sm1755[nm). It. composer, organist, and ~org.-designer. Wrote mas
ses, cantatas, and instr. ~works.[cm~Ciampi, Legrenzio Vincenzo[fy75,1] ([cf2]b[
cf1] Piacenza, [sm1719[nm; ~[cf2]d[cf1] Venice, [sm1762[nm). It. composer of ope
ras and instr. ~pieces. Worked in London [sm1748[nm=n[sm56[nm. His opera ~[cf2]G
li tre cicisbei ridicoli[cf1] incl. song `Tre giorni son che ~Nina' often attrib
. Pergolesi.[xm[cm~[ol0][ep~[xp[te~
[do3][j99]~~~~153842_CA05[ep~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary
 of Music[cmCA[sm05[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm10[nm/[sm79[nm[cm[sm3[
nm[cm[sm296[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Cibber, Susanna [fy75,
1](Maria) ([cf2]b[cf1] London, [sm1714[nm; [cf2]d[cf1] ~London, [sm1766[nm). Eng
. singer and actress; sister of ~Thomas [fy45,1]*[fy75,1]Arne and [sm2[nmnd wife
 ([sm1734[nm) of Theophilus ~Cibber. D;aaebut [sm1732[nm, frequently singing Pol
ly in ~[cf2]The Beggar's Opera[cf1]. Greatly admired by Handel, ~in whose [cf2]M
essiah[cf1] she first sang the cont. arias ~(Dublin [sm1742[nm). Gave up singing
 for acting [sm1746[nm.[cm~Ciccolini, Aldo[fy75,1] ([cf2]b[cf1] Naples, [sm1925[
nm). It.-born Fr. ~pianist. Studied Naples Cons. D;aaebut [sm1942[nm. Prof. ~of
pf., Naples Cons., [sm1947[nm. NY d;aaebut [sm1950[nm. Has ~specialized in works
 of Satie. Prof. of pf., Paris ~Cons., from [sm1971[nm.[cm~Ciconia, Johannes[fy7
5,1] ([cf2]b[cf1] Li;agege, [cf2]c. [cf1][sm1373[nm; [cf2]d [cf1
]Padua, ~[sm1412[nm). Belg. composer of choral mus., also ~theorist. Importance
was his combination of ~French Ars Nova and It. styles. Trained in Li;agege. ~We
nt to It. in cardinal's service, living and ~working there for some years.[cm~Ci
d, Le. [fy75,1]Opera in [sm4[nm acts by Massenet to lib. by ~d'Ennery, Gallet, a
nd Blau, based on play by ~Corneille ([sm1637[nm). Prod. Paris [sm1885[nm. Balle
t mus. ~very popular. Operas on this subject also by ~Farinelli, Aiblinger, and
Cornelius.[cm~Cifra, Antonio[fy75,1] ([cf2]b[cf1] probably nr. Terracina, [sm157
5[nm; ~[cf2]d[cf1] Loreto, [sm1629[nm). It. composer, disciple of Pales~~trina.
Held many important church mus. posi~~tions in It. and comp. over [sm200[nm mote
ts, and ~madrigals, chamber mus., and org. mus.[cm~Cig;aaany [fy75,1](Hung; Ger.
 [cf2]Zigeuner[cf1]). Gipsy. What are ~called [cf2]Cig;aaany Bands[cf1] consist
normally of str., cl., ~and dulcimer.[cm~Cigna[fy75,1] (orig. Sens), [fy65][cf3]
Gina[fy75,1] ([cf2]b[cf1] Ang;ageres, [sm1900[nm). Fr.-It. ~sop.
; studied Paris Cons. D;aaebut Milan [sm1927[nm (as ~Genoveffa Sens) in [cf2]Rhe
ingold, [cf1]CG [sm1933[nm, NY Met. ~[sm1936[nm=n[sm8[nm. Famous interpreter of
Turandot in ~Puccini's opera. Became singing teacher [sm1948[nm.[cm~Cikker, J;aa
an[fy75,1] ([cf2]b[cf1] Bansk;aaa Bystrica, Cz., [sm1911[nm). Cz. ~composer. Stu
died Prague Cons. and Prague Acad. ~of Mus. (comp. with Nov;aaak). Studied cond.
 with ~Weingartner, Vienna [sm1936[nm=n[sm7[nm. Works incl. str. ~qts., symphoni
c poems, and operas incl. [cf2]Resurrec~~tion[cf1] ([cf2]Vzkriesenie[cf1]) (Tols
toy) [sm1962[nm, [cf2]Mr Scrooge[cf1] ~(Dickens) [sm1963[nm, and [cf2]Coriolanus
[cf1] ([sm1972[nm).[cm~Cilea, Francesco[fy75,1] ([cf2]b[cf1] Palmi, Calabria, [s
m1866[nm; [cf2]d[cf1] ~Varazza, [sm1950[nm). It. composer. Studied Naples ~Cons.
 First opera, [cf2]Gina[cf1] ([sm1889[nm), prod. while he was ~student. Other op
eras incl. [cf2]La tilda[cf1] ([sm1892[nm), ~[cf2]L'Arlesiana[cf1] ([sm1897[nm),
 [fy45,1]*[fy75,2]Adriana Lecouvreur[cf1] ([sm1902[nm), ~and [cf
2]Gloria[cf1] ([sm1907[nm). From [sm1896[nm to [sm1904[nm prof. of ~comp., Flore
nce Mus. Institute, dir. Palermo ~Cons. [sm1913[nm=n[sm16[nm, dir. Naples Cons.
[sm1916[nm=n[sm35[nm.[cm~Cima, Giovanni Paolo[fy75,1] ([cf2]b c[cf1].[sm1570[nm)
. It. composer ~and organist. Wrote masses, motets, and sonatas ~for vn., viola
da gamba and org., hpd., etc. Early ~[PN147,0,0,R,I0]user of medium of trio sona
ta. Wrote treatise on ~counterpoint [sm1622[nm.[cm~Cimarosa, Domenico[fy75,1] ([
cf2]b[cf1] Aversa, Naples, [sm1749[nm; [cf2]d[cf1] ~Venice, [sm1801[nm). It. com
poser. Studied in Naples, ~where he wrote first of his [sm65[nm operas. Pupil of
 ~Fenaroli and Piccinni. Worked in Rome and ~Naples until [sm1787[nm when he wen
t to St Petersburg ~as court composer. In [sm1791[nm succeeded Salieri as ~court
 Kapellmeister in Vienna, writing [cf2]Il [fy45,1]*[fy75,2]matri~~monio segreto[
cf1] there. Returned to Naples [sm1793[nm as ~choirmaster to the king. Sentenced
 to death [sm1799[nm ~for supporting French republican army but
~reprieved on condition he left Naples. Other ~operas incl. [cf2]Artaserse[cf1]
([sm1784[nm) and [cf2]Le astuzie femminili[cf1] ~([sm1794[nm). Also wrote orator
ios, church mus., and ~sonatas.[cm~Cimbalom[fy75,1] (Hung.). [fy45,1]*[fy75,1]Du
lcimer. It is a large ~concert instr. (horizontal str. struck with ham~~mers) us
ed in popular mus., by [fy45,1]*[fy75,1]Kod;aaaly in his ~opera [fy45,1]*[fy75,2
]H;aaary J;aaanos[cf1], and by Debussy and other ~composers, incl. Stravinsky (i
n [cf2]Renard [cf1]and [cf2]Rag~~time[cf1]). First comp. to use it in symphonic
mus. was ~[fy45,1]*[fy75,1]Mosonyi. Stravinsky's interest was stimulated ~by the
 Hung. player, Aladar Racz. In the [sm1970[nms ~M;aaarta F;aaabi;aaan has played
 works written for her by ~Jozsef Soproni and by Gy;auorgy R;aaanki (a conc. for
 ~cimbalom and chamber ens., [sm1978[nm).[cm~Cimbasso[fy75,1] (It.[cf1]). Narrow
 bore tuba in B;Yh, used in ~Verdi opera scores up to [cf2]Aida[cf1] ([sm1871[nm
).[cm~Cincinnati Symphony Orchestra. [fy75,1]Founded ~[sm1895[nm
. First regular cond. Frank van der Stucken, ~[sm1896[nm=n[sm1907[nm. Orch. susp
ended [sm1907[nm=n[sm9[nm because of ~labour dispute. Stokowski cond. [sm1909[nm
-[sm12[nm; Ernst ~Kunwald [sm1912[nm=n[sm17[nm; Ysa;auye [sm1918[nm=n[sm22[nm; F
ritz Reiner ~[sm1922[nm=n[sm31[nm; Eugene Goossens [sm1931[nm=n[sm47[nm; Thor Jo
hn~~son [sm1947[nm=n[sm58[nm; Max Rudolf [sm1958[nm=n[sm70[nm; Thomas ~Schippers
 [sm1970[nm=n[sm77[nm; Michael Gielen from [sm1980[nm. ~Concerts given in Mus. H
all since [sm1930[nms (reno~~vated [sm1970[nm).[cm~Cinderella. [fy75,1]([sm1[nm)
 Various operas have been written ~based on Perrault's fairy-tale. See [cf2]Cene
rentola, La[cf1] ~(Rossini) and [cf2]Cendrillon[cf1] (Massenet).[ep~^([sm2[nm) (
[cf2]Zolushka[cf1]). Ballet, with songs, by Prokofiev, ~comp. [sm1940[nm=n[sm4[n
m, f.p. Moscow [sm1945[nm. Also ballet by ~J. Strauss II.[cm~Cinelli[fy75,1] (It
.). Cymbals.[cm~Cinesi, Le[fy75,1] (The Chinese Ladies). `Opera serenade', ~or d
ivertissement, in [sm1[nm act by Gluck, to text ~expanded from l
ib. witten by Metastasio for ~Caldara. Comp. [sm1754[nm for visit by Maria There
sa ~and Francis I to court of Gluck's employer, Prince ~von Hildburghausen.[cm~C
ipher, Ciphering. [fy75,1]Continuous sounding of a ~note on the org. because of
some mechanical ~defect.[cm~Circles. [fy75,1]Work by [fy45,1]*[fy75,1]Berio for
female v., harp, and ~[sm2[nm percussionists to text by e. e. cummings from ~his
 `poems [sm1923[nm=n[sm54[nm'. Comp. [sm1960[nm.[cm~Circus Polka (for a young el
ephant). [fy75,1]Pf. piece ~comp. [sm1942[nm by [fy45,1]*[fy75,1]Stravinsky for
Barnum and ~Bailey Circus to be danced by troupe of young ~elephants who gave f.
p. in [sm1942[nm to arr. for wind ~band scored by David Resksin. Composer's ~ver
sion for sym. orch. f.p. Cambridge, Mass., ~[sm1944[nm; f.p. in England, London
[sm1952[nm.[cm~Cis[fy75,1] (Ger.). The note C;Yi.[cm~Cisis[fy75,1] (Ger.). The n
ote C;yi;yi.[cm~Citole.[fy75,1] Scholars are still uncertain just which ~medieva
l instr. was described by this term, but it ~seems possible that
 it was a forerunner of the ~Renaissance [fy45,1]*[fy75,1]cittern, a kind of [fy
45,1]*[fy75,1]lyra.[cm~Cittern. [fy75,1]Renaissance instr. something between a ~
lyre and a guitar, but with metal str., a flat back, ~and pear-shaped body. Play
ed with a quill ~plectrum. Name derived from Gr. [cf2]kithara[cf1] (lyre), ~and
the cittern was known as [cf2]cistra[cf1] (Fr.), [cf2]Cister[cf1] ~(Ger.), and [
cf2]Cithren[cf1] (Eng.). In It. where it was ~developed it was called the [cf2]c
etra[cf1]. Used as a solo ~instr. and in [fy45,1]*[fy75,1]broken consort. Not to
 be confused ~with [fy45,1]*[fy75,1]gittern. From late [sm17[nmth cent. gave way
 to ~guitar but survived into early [sm20[nmth cent. as folk ~instr. in Switz. a
nd Ger.[cm~City Center, New York.[fy75,1] Home of enterprising ~opera and ballet
 cos., the former (NY City Opera) ~founded [sm1944[nm to provide high-standard o
pera at ~moderate prices. Housed in Lincoln Center since ~[sm1964[nm. First mus.
 dir. L;aaaszl;aao Hal;aaasz [sm1944[nm=n[sm51[nm, then ~Joseph
Rosenstock [sm1951[nm=n[sm6[nm, Erich Leinsdorf [sm1956[nm, ~Julius Rudel [sm195
7[nm=n[sm79[nm. Co. has given premi;ageres of ~several Amer. operas, also first
Amer. perfs. of ~Bart;aaok's [fy45,1]*[fy75,2]Duke Bluebeard's Castle, [cf1]Orff
=+'s [cf2]Der Mond[cf1], ~and Strauss's [cf2]Die schweigsame Frau[cf1]. Several
fine ~singers have begun careers with co. incl. Beverly ~[fy45,1]*[fy75,1]Sills,
 (dir. since [sm1979[nm) and Placido Domingo.[cm~City of Desolation, The.[fy75,1
] Cantata, Op. [sm7[nm, for sop., ~ch., and orch. by A. [fy45,1]*[fy75,1]Milner,
 comp. [sm1955[nm.[cm~Civil, Alan[fy75,1] ([cf2]b[cf1] Northampton, [sm1929[nm).
 Eng. hn.-~player and composer. Pupil of Aubrey [fy45,1]*[fy75,1]Brain. ~Member
of RPO [sm1953[nm=n[sm55[nm, Philharmonia Orch. ~[sm1955[nm=n[sm66[nm, prin. hn.
 BBC S.O. Prof. of hn. ~RCM. Member of several chamber groups. Comp. ~sym. for b
rass and perc. ([sm1950[nm), wind quintet ~([sm1951[nm), wind octet ([sm1951[nm)
, hn. trio ([sm1952[nm). O.B.E. [sm1985[nm. [cm~Clair de Lune[fy
75,1] (Moonlight). ([sm1[nm) [sm3[nmrd movement ~of Debussy's [cf2]Suite bergama
sque[cf1] for pf.; exists in ~several other arrs., none by Debussy.[ep~^([sm2[nm
) Song by Debussy (poem by Verlaine), No.[sm4[nm ~of his [cf2]F;afetes galantes[
cf1], in orig. version ([sm1882[nm).[ep~^([sm3[nm) Song by Faur;aae, his Op. [sm
46[nm No. [sm2[nm, same poem ~as ([sm2[nm).[cm~Claque [fy75,1](Fr.). Smack, clap
. Members of the ~audience at (usually) an opera-house but also in ~the concert-
hall who are engaged by a performer, ~often at considerable expense, to applaud,
 call for ~encores, and generally show enthusiasm. Claques ~are highly organized
, under leadership of a [cf2]chef ~[PN148,0,0,L,I0]de claque[cf1], and exert con
siderable influence. The ~claque appears to have developed in Paris [cf2]c.[cf1]
 [sm1820[nm ~and then to have spread to It. and to Vienna, and ~eventually to al
l the famous opera houses.[cm~Clarabel, Clarabella, [fy75,1]or [fy65][cf3]Clarib
el Flute.[fy75,1] Org. ~stop much the same as [fy45,1]*[fy75,2]H
ohlfl;auote.[cm~`Claribel'. [fy75,1]See [cf2]Barnard, C. A.[cm~Claricembalo, Cla
richord. [fy75,1]Misspellings (appar~~ently) of [fy45,1]*[fy75,2]Clavicembalo [c
f1](Harpsichord) and [fy45,1]*[fy75,2]Clavi~~chord.[cm~Clari, Giovanni Carlo Mar
ia[fy75,1] ([cf2]b[cf1] Pisa, [sm1667[nm; [cf2]d[cf1] ~Pisa, [sm1754[nm). It. co
mposer. Studied at Bologna. ~Choirmaster, Pistoia Cath., [sm1703[nm=n[sm24[nm. H
is madri~~gals are notable for their daring modulations. ~Comp. operas and churc
h mus., making advanced ~use of fugue in the latter. Best known for secular ~voc
al duets and trios with continuo, comp. after ~[sm1730[nm and mainly fugal.[cm~C
larinet.[fy75,1] Single-reed woodwind instr. with cylin~~drical tube developed [
cf2]c.[cf1][sm1690[nm by J. C. Denner of ~Nuremberg, who, by adding [sm2[nm keys
 to the ~[fy45,1]*[fy75,1]chalumeau, increased that instr.'s range by over ~[sm2
[nm octaves. It was not playable in all keys until ~[sm1843[nm when Klose adapte
d the Boehm fl. key ~system to the cl. The first composer to use
 the cl. ~in a sym. was Mozart.[ep~^As the reed blocks one end of the tube, the
pipe ~acts as a `stopped' one, sounding an octave lower ~than it would have done
 if left open. Like other ~cylindrical tubes the cl. overblows at the interval ~
not of its first upper partial, the interval of an ~octave (as the fl. and ob. d
o), but at its [sm2[nmnd (the ~interval of a [sm12[nmth). The notes of the instr
.'s first ~octave are obtained in the normal way and the ~gap of a [sm5[nmth bef
ore the overblowing begins has to ~be filled by additional side-holes which leav
e the ~tone weaker at this point and the fingering ~somewhat more awkward. All m
embers of the ~family have great powers of [cf2]pianissimo[cf1] and of ~[cf2]cre
scendo [cf1]and [cf2]diminuendo[cf1]=mgreater than those of ~any other wind inst
r. Double, triple, and flutter ~[fy45,1]*[fy75,1]tonguing are possible.[ep~^Vari
eties of cl. incl.:[ep~ ^([cf2]a[cf1]) Clarinet in C, B;Yh, or A=mThe normal tre
ble ~instr. The existence of these [sm3[nm pitches was to ~enabl
e the composer to use any key without ~creating undue difficulty for the player
(see ~[cf2]Transposing instrument[cf1]). The B;Yh clarinet is a ~transposing ins
tr., sounding a tone lower than ~written. The A clarinet sounds a minor [sm3[nmr
d lower ~than written. The C instr. is now not much used, ~on account of inferio
r tone, but figures in the ~scores of classical composers. It is not a transposi
ng ~instr. ([cf2]b[cf1]) Bass Clarinet. Its range lies an octave ~below that of
one of the above (usually of that of ~the B;yh instr.). It differs somewhat in s
hape, its ~lower end being curved upwards and ending in a ~bell, and its upper o
ne continued by a tube bent ~downwards to reach the player's mouth. Except ~in m
ilitary band mus. it is treated as a transposing ~instr., its mus. being notated
 either in the treble ~clef and a [sm9[nmth higher than the sound (Fr. method),
~or in the bass clef a [sm2[nmnd above the sound (Ger. ~Method).[ep~^([cf2]c[cf1
]) High E;Yh Clarinet, a [sm4[nmth above the B;Yh instr.[fjIt ~i
s found in all military bands and occasion-[fjally ~figures in orch. scores, e.g
. Richard Strauss's[fj[cf2]Alpensinfonie[cf1]. It is a transposing instr., its m
us. ~being notated a minor [sm3[nmrd lower than the sound. ~([cf2]d=+=+[cf1]) Hi
gh D Clarinet. This serves the same purpose ~as the E;Yh Cl., but is much rarer.
 It is a transposing ~instr., being written for a tone lower than the ~sound. R.
 Strauss uses it in [cf2]Symphonia Domestica[cf1] ~and with outstanding effect i
n [cf2]Till Eulenspiegel[cf1]. ([cf2]e[cf1]) ~Alto Clarinet=min E;Yh and F. The
E;Yh is practically ~a military band instr. and, even so, rare. The F ~instr. is
 practically a modernized [fy45,1]*[fy75,2]Basset Horn.[cf1] ~Both are written f
or in the treble clef and are ~transposing instr. ([cf2]=+=+=+=+f=+=+=+=+[cf1])
Pedal Clarinet, or Contrabass ~Clarinet, or Double-Bass Clarinet. Almost entirel
y ~a military band instr. Its part is written a [sm9[nmth ~higher than the sound
. (The word `pedal' had no ~reference to any part of the constru
ction and the ~origin of its use is not very clear.) ([cf2]=+=+g[cf1]) [sm3[nm o
bscure ~modern instr. related to the cl. family by ~possessing a single reed are
 the [cf2]Clarina[cf1], the ~[cf2]Heckelclarina[cf1] or [cf2]Heckelclarinette[cf
1], and the [cf2]Holztrom~~pete[cf1]. All were invented to represent the shepher
d-~boy's pipe in Act III of Wagner's [cf2]Tristan und Isolde[cf1], ~but have not
 displaced customary use of the [fy45,1]*[fy75,2]cor ~anglais.[ep~[cf1]^Note tha
t the old Eng. spelling `clarionet' is ~obsolete.[cm~Clarinet Flute. [fy75,1]Org
. flue stop, end-plugged; [sm4[nm;po ~length and [sm8[nm;po pitch; slightly reed
y in quality.[cm~Clarinet Stop. [fy75,1]Reed stop smoother than ob.; [sm8[nm;po
~pitch or occasionally [sm16[nm;po.[cm~Clarino. [fy75,1]Term applied to the high
, brilliant tpt. ~and hn. parts in baroque mus., probably because ~the [fy45,1]*
[fy75,1]clarion was used for high-register playing.[cm~Clarion. [fy75,1]Org. sto
p like [fy45,1]*[fy75,1]Trumpet but of [sm4[nm;po pitch.[cm~Clar
ion[fy75,1] (Fr. [cf2]claron[cf1]). Medieval short tpt. ([sm2[nm;po or [sm3[nm;p
o long), ~used particularly by armies because it was easier ~to carry than the l
onger [fy45,1]*[fy75,2]buisines[cf1] and its high-~pitched notes (hence [fy45,1]
*[fy75,2]clarino[cf1]) could be more ~easily heard.[cm~Clark, Edward[fy75,1] ([c
f2]b[cf1] Newcastle upon Tyne, [sm1888[nm; [cf2]d[cf1] ~London, [sm1962[nm). Eng
. cond. and administrator. ~For some time connected with [fy45,1]*[fy75,1]Diaghi
lev. With ~BBC, in various capacities [sm1923[nm=n[sm36[nm. Esp. inter~~ested in
 contemporary developments in comp. ~and was responsible for the f.ps. or f. bro
adcast ~ps. of many important works. Pres. Brit. section ~of I.S.C.M. from [sm19
45[nm. Husband of Elisabeth ~[fy45,1]*[fy75,1]Lutyens.[cm~Clarke, Douglas [fy75,
1]([cf2]b[cf1] Reading, [sm1893[nm; [cf2]d[cf1] Warwick, ~[sm1962[nm). Anglo-Can
adian composer, cond., and ~teacher. Studied Cambridge Univ., studied comp. ~wit
h Holst and Vaughan Williams. Cond. Win~~[PN149,0,0,R,I0]nipeg M
ale Voice Ch. [sm1927[nm=n[sm9[nm; Dean of Faculty of ~Mus. McGill Univ., Montre
al, [sm1930[nm=n[sm55[nm; cond. ~Montreal S.O. [sm1930[nm=n[sm41[nm. Returned to
 Eng. [sm1958[nm. ~Comp. orch. and other works.[cm~Clarke, Henry Leland[fy75,1]
([cf2]b[cf1] Dover, N.H., [sm1907[nm). ~Amer. composer. Educated Harvard Univ. S
tud~~ied comp. [sm1929[nm=n[sm31[nm with N. Boulanger in Paris ~and later with H
olst. Held several teaching posts, ~incl. Univ. of California, Vassar Coll., and
 Univ. ~of Washington. Many comps. in wide range of ~fields incl. [cf2]Gloria in
 [sm5[nm Official Languages of the United ~Nations[cf1] ([sm1950[nm) for ch. and
 orch.[cm~Clarke, Jeremiah[fy75,1] ([cf2]b[cf1] London, [cf2]c[cf1].[sm1670[nm;
[cf2]d[cf1] London, ~[sm1707[nm). Eng. composer and organist. Pupil of ~[fy45,1]
*[fy75,1]Blow. Joint org. (with Croft) of Chapel Royal ~[sm1704[nm. Comp. settin
g of Dryden's [cf2]Alexander's ~Feast[cf1], cantatas, anthems, odes, and hpd. pi
eces. In ~his `Choice lessons for the Harpsichord or Spinet' ~(p
ubd. [sm1700[nm) there occurs `The Prince of Den~~mark's March', better known in
 its arr. as the ~[fy45,1]*[fy75,2]Trumpet Voluntary[cf1]. Shot himself supposed
ly ~because of unhappy love affair.[cm~Clarke, Rebecca[fy75,1] ([cf2]b[cf1] Harr
ow, [sm1886[nm; [cf2]d[cf1] NY, [sm1979[nm). ~Eng. composer, violist, and violin
ist. Entered ~RAM [sm1902[nm to study vn. Later, in [sm1908[nm, became ~Stanford
's first woman comp. student at RCM ~and was encouraged by him to take up va. Fr
om ~[sm1911[nm played in various chamber groups with the ~d'[fy45,1]*[fy75,1]Ar;
aaanyi sisters, Myra [fy45,1]*[fy75,1]Hess, and [fy45,1]*[fy75,1]Suggia. ~Comp.
[sm58[nm songs and part-songs and [sm24[nm instr. ~chamber works. Song `Shy One'
 (Yeats) was often ~sung by Gervase [fy45,1]*[fy75,1]Elwes. Prin. works incl. va
. ~sonata ([sm1918[nm=n[sm19[nm), pf. trio ([sm1920[nm=n[sm1[nm). Wrote only ~on
e work (a setting of Blake's [cf2]The Tiger[cf1], [sm1933[nm) ~after [sm1930[nm
until she settled in USA [sm1939[nm, when ~she comp. more instr.
 works and some songs. ~Married James [fy45,1]*[fy75,1]Friskin, the pianist, in
[sm1944[nm.[cm~Cl;agarsach. [fy75,1]The ancient small Celtic harp, revived ~in S
cotland during the [sm20[nmth cent.[cm~Classical. [fy75,1]Term which, applied to
 mus., has ~vague rather than specific meaning: ([sm1[nm) Mus. ~comp. roughly be
tween [sm1750[nm and [sm1830[nm (i.e. post-~Baroque and pre-Romantic) which cove
rs the ~development of the classical sym. and conc. ([sm2[nm) ~Mus. of an orderl
y nature, with qualities of clarity ~and balance, and emphasising formal beauty
~rather than emotional expression (which is not to ~say that emotion is lacking)
. ([sm3[nm) Mus. generally ~regarded as having permanent rather than ~ephemeral
value. ([sm4[nm) `Classical music' is used as a ~generic term meaning the opposi
te of light or ~popular mus.[cm~Classical Symphony. [fy75,1]Title of Prokofiev's
 Sym. ~No. [sm1[nm in D, Op. [sm25[nm, comp. [sm1916[nm=n[sm17[nm, f.p. Petrogra
d ~[sm1918[nm cond. composer. Deliberately written in ~style of
Haydn. The gavotte was used by Prokofiev ~again in his [cf2]Romeo and Juliet[cf1
] ballet mus.[xm[cm~[ol0][ep~[xp[te~











[do3][j99]~~~~153842_CA06[ep~~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionary
 of Music[cmCA[sm06[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm10[nm/[sm79[nm[cm[sm3[
nm[cm[sm333[nm[cm~GC[cm5[cm4/10/84[cmU1[cm~~~[ap[j1]Clausula.[fy75,1] ([sm1[nm)
[fy45,1]*[fy75,1]Cadence. Some medieval terms ~are [cf2]Clausula vera[cf1], Perf
ect cadence; [cf2]Clausula falsa,[cf1] ~Interrupted cadence; [cf2]Clausula plaga
lis[cf1], Plagal ~cadence; etc.[ep~_([sm2[nm) Section of medieval [fy45,1]*[fy75
,1]organum in which ~textless contrapuntal parts are heard in strict ~rhythm wit
h chant tune on which organum is ~based.[cm~Clavecin.[fy75,1] Fr. name for hpd.,
 shortening of ~[cf2]clavecinon[cf1], first used [sm1611[nm.[cm~Claves. [fy75,1]
Cuban perc. instr., being round sticks of ~hard wood [sm7[nm;pp or [sm8[nm;pp lo
ng. The player holds one ~over the upturned fingernails of his left fist and ~be
ats it with the other held lightly in the right ~hand. Used in dance bands but t
aken up by [sm20[nmth-~cent. composers incl. [fy45,1]*[fy75,1]Bi
rtwistle, Copland, ~Var;agese, and [fy45,1]*[fy75,1]McCabe.[cm~Clavicembalo [fy7
5,1](It.). Clavicymbal. The It. word ~for [fy45,1]*[fy75,1]harpsichord. It deriv
es from [cf2]clavichordium[cf1], ~found in Ger. poem of [sm1404[nm which lists t
he instr. ~of courtly love. The It. is occasionally corrupted ~to [cf2]gravicemb
alo[cf1] and regularly shortened to [cf2]cembalo[cf1]. ~The Fr. form is [cf2]cla
vecinon[cf1], shortened to [fy45,1]*[fy75,2]clavecin[cf1] ~([sm1611[nm).[cm~Clav
ichord.[fy75,1] Small kbd. instr. developed in [sm14[nmth ~cent. from the [fy45,
1]*[fy75,1]monochord and sometimes called ~[cf2]clarichord [cf1]or [cf2]manichor
d[cf1] or [fy45,1]*[fy75,2]chekker.[cf1] The early ~clavichord used the same str
. to produce [sm2[nm, [sm3[nm, or ~[sm4[nm notes by stopping the str. at differe
nt points ~along its length. There was a bridge for each note ~which was brought
 into contact with the str. ~from pressure on a key on the kbd. The bridge ~also
 sounded the str., producing a very soft attack. ~Because of thi
s process of stopping the str., the ~early clavichord was known as [cf2]gebunden
[cf1], or ~fretted. ([cf2]Gebunden [cf1]means `bound', and the frets on ~some ea
rly instr. were cords bound round the ~fingerboard.) Because some notes employed
 the ~same str. they could not be played simultaneously, ~but by the [sm17[nmth
cent. the proportion of str. to ~keys increased until in the early [sm18[nmth ce
nt. some ~clavichords were unfretted ([cf2]bundfrei[cf1]). Essentially ~an instr
. for private practice, being too soft in ~tone for concert use, and is used in
this way by ~orgs. In [sm20[nmth cent. [fy45,1]*[fy75,1]Howells has composed for
 it.[cm~Clavicytherium. [fy75,1]Upright version of hpd., devel~~oped in [sm15[nm
th and early [sm16[nmth cents. A rare ~surviving example is in the coll. of the
RCM.[cm~Clavier. [fy75,1]See [cf2]Klavier[cf1].[cm~Clavier des bombardes[fy75,1]
 (Fr.). That organ manual ~having [cf2]Trumpet[cf1] and [cf2]Tuba[cf1].[cm~Clavi
er de R;aaecit[fy75,1] (Fr.). [fy45,1]*[fy75,2]Swell Organ.[cm~C
lavier;auubung. [fy75,1]See [cf2]Klavier;auubung.[cf1][cm~Clavicymbal.[fy75,1] E
ng. form of It. [cf2]Clavicembalo[cf1], i.e. ~[fy45,1]*[fy75,2]harpsichord.[cm~C
laviorganum.[fy75,1] Combination of org. and hpd. ~developed in [sm16[nmth cent.
 and known in Fr. as ~[cf2]clavecin organis;aae [cf1]and in It. as [cf2]claviorg
ano[cf1]. The org. ~pipes were laid horizontally inside the chest.[cm~[PN150,0,0
,L,I0]Clay, Fr;aaed;aaeric Emes[fy75,1] ([cf2]b[cf1] Paris, [sm1838[nm; [cf2]d[c
f1] Great ~Marlow, [sm1889[nm). Eng. composer. Studied with ~Molique in Paris. W
rote over a dozen operettas ~prod. in London between [sm1859[nm and [sm1883[nm.
His ~cantata [cf2]Lalla Rookh[cf1] ([sm1877[nm) contains the song `I'll ~sing th
ee songs of Araby'. Also wrote popular ~ballads `She wandered down the mountains
ide' ~and `The Sands of Dee'.[cm~Clear Flute. [fy75,1]Organ stop much like [fy45
,1]*[fy75,2]Waldfl;auote[cf1].[cm~Clef[fy75,1] (Lat. [cf2]clavis[cf1], Fr. [cf2]
clef[cf1], key). Symbol normally ~placed at the beginning of eve
ry line of mus. to ~indicate the exact location of a particular note on ~the sta
ff; also placed at any point where new clef ~begins to operate. The [cf2]Treble
Clef[cf1] places the note ~G above middle C on the second line (the G clef); ~th
e [cf2]Bass Clef[cf1] fixes the note F below middle C on ~the second line (desce
nding) (F clef); the [cf2]Alto Clef, ~[cf1]on the middle line, fixes middle C an
d is used for ~the va; the [cf2]Tenor Clef[cf1] fixes middle C on the fourth ~li
ne (ascending) and is used for vc. and bn. parts ~above the bass staff. The [cf2
]Soprano Clef[cf1], fixing ~middle C on the first line, is obsolete, but is foun
d[tn1] ~in medieval mus. and in some works well into ~[sm19[nmth cent. In the fo
llowing example middle C is ~represented in five different ways:[cm~Clemens (non
 Papa).[fy75,1] Name applied to Jacob ~(=+=+=+Jacques) Clement ([cf2]b[cf1] Midd
elburg, [cf2]c.[cf1][sm1510[nm; [cf2]d[cf1] ~Dixmuide, [cf2]c.[cf1][sm1556[nm).
Flemish composer. First Ka~~pellmeister to Emperor Charles V in
Vienna. ~Wrote masses, motets, and [cf2]chansons[cf1], pubd. in ~Louvain, [sm155
5[nm=n[sm80[nm, and [sm4[nm books of psalms set to ~popular Flemish melodies (An
twerp [sm1556[nm=n[sm7[nm). ~Nickname variously explained as distinguishing ~him
 from Pope Clement VII or from Flemish ~poet Jacobus Papa who also lived in Ypre
s, but ~the probability is that it was a joke.[cm~Clement, Franz[fy75,1] ([cf2]b
[cf1] Vienna, [sm1780[nm; [cf2]d[cf1] Vienna, ~[sm1842[nm). Austrian violinist.
Public d;aaebut [sm1789[nm, ~followed by tours of Ger. and Eng. Cond., Theater ~
an der Wien, Vienna, [sm1802[nm=n[sm11[nm. Soloist, f.p. of ~Beethoven's vn. con
c. [sm1806[nm; cond. f.p. of Beet~~[chhoven's [sm4[nmth Sym. [sm1807[nm.[cm~Clem
enti, Muzio[fy75,1] ([cf2]b[cf1] Rome, [sm1752[nm; [cf2]d[cf1] Evesham, ~[sm1832
[nm). Eng. pianist and composer of It. birth. ~Child prodigy as organist and com
poser. In [sm1766[nm ~went to Eng. under patronage of Peter Beckford. ~London d;
aaebut as pianist and composer [sm1775[nm. ~Cond. It. opera in L
ondon [sm1777[nm=n[sm8[nm and in [sm1781[nm ~began his tours of Europe in which
he engaged ~with other pianists (incl. Mozart) in public tests ~of skill in impr
ovisation, sight-reading, etc. ~Returned to London [sm1785[nm, composing several
 ~syms., pf. conc., and coll. of [sm100[nm studies, [fy45,1]*[fy75,2]Gradus ~ad
Parnassum[cf1], which remains a foundation of pf. ~technique. Comp. over [sm100[
nm piano sonatas, some ~of them valued highly by Beethoven, whom ~Clementi met i
n [sm1807[nm. Among pupils were Field, ~Moscheles, Kalkbrenner, and Cramer. Also
 went ~into the business of making pfs., becoming ~partner in London firm, Cleme
nti & Co., which ~in [sm1832[nm became Collard & Collard. Clementi's ~early sona
tas were written for the hpd., but after ~[sm1780[nm his allegiance was to the p
iano, His influence ~on subsequent piano composers was immeasur~~able.[cm~Clemen
za di Tito, La[fy75,1] (The Clemency of Titus). ~Opera in [sm2[nm acts by Mozart
 (his last, K[sm621[nm) to lib. ~by Metastasio, altered by Mazzo
l;aga. Comp. for ~coronation of Emperor Leopold II as King of ~Bohemia. Prod. Pr
ague [sm1791[nm, London [sm1806[nm. ~About [sm20[nm other composers, incl. Calda
ra ([sm1734[nm) ~and Gluck ([sm1752[nm), set Metastasio's text.[cm~Cleobury, Nic
holas [fy75,1](Randall) [cf1]([cf2]b[cf1] Bromley, [sm1950[nm). ~Eng. cond., org
anist, pianist, and harpsichordist. ~Studied Oxford. Ass. organist Chichester Ca
th. ~[sm1971[nm=n[sm2[nm, Christ Church, Oxford, from [sm1972[nm. ~Cond., Oxford
 Schola Cantorum from [sm1973[nm. Ass. ~cond. Kent Opera and Glyndebourne. Cond.
 Eng. ~Bach Fest. Ch. Ch.-master, Glyndebourne Opera, ~[sm1977=n9[nm. Cond. Oper
a North's revival of Delius's ~[cf2]A Village Romeo and Juliet[cf1], [sm1984[nm.
[cm~Cleopatra.[fy75,1] Dramatic scene for sop. (or high v.) ~and orch. by Iain [
fy45,1]*[fy75,1]Hamilton. F.p. Cheltenham ~Fest. [sm1978[nm.[cm~Cl;aaeop;afatre,
 La Mort de[fy75,1] (Berlioz). See [cf2]Mort de ~Cl;aaeop;afatre, La.[cf1][cm~Cl
;aaerambault, Louis Nicolas[fy75,1] ([cf2]b[cf1] Paris, [sm1676[
nm; [cf2]d[cf1] ~Paris, [sm1749[nm). Fr. org. and composer for kbd. instr. ~and
v. His books of Fr. cantatas are the best of ~their period. Organist St Sulpice,
 Paris, later of St ~Jacques. Wrote [sm5[nm books of cantatas, [sm20[nm in all,
~pubd. [sm1710[nm, [sm1713[nm, [sm1716[nm, [sm1720[nm, and [sm1726[nm. Another ~
[sm5[nm cantatas were pubd. separately. Also comp. [sm3[nm ~pieces for strs. und
er title [cf2]Simphonie-sonata[cf1]. His ~[cf2]premier livre d'orgue[cf1] compri
ses [sm2[nm suites of [sm14[nm ~pieces.[cm~Cleve, Halfdan[fy75,1] ([cf2]b[cf1] K
ongsberg, [sm1879[nm; [cf2]d[cf1] Oslo, ~[sm1951[nm). Norweg. composer of [sm5[n
m pf. concs., songs, ~pf. pieces.[cm~Cleveland Orchestra.[fy75,1] Amer. orch. fo
unded ~[sm1918[nm. Conds: Nikolay Sokoloff [sm1918[nm=n[sm33[nm; Artur ~[PN151,0
,0,R,I0]Rodzinski [sm1933[nm=n[sm43[nm; Erich Leinsdorf [sm1943[nm=n[sm4[nm; ~Ge
org Szell [sm1946[nm=n[sm70[nm; Lorin Maazel [sm1972[nm=n[sm82[nm; ~Christoph vo
n Dohn;aaanyi from [sm1984[nm. Home since ~[sm1931[nm Severance
Hall (acoustically renovated ~[sm1960[nm).[cm~Cliburn, Van[fy75,1] (Harvey Lavan
) ([cf2]b[cf1] Shreveport, La., ~[sm1934[nm). Amer. pianist. Taught by his mothe
r from ~age [sm3[nm until [sm1951[nm when he went to Rosina ~Lh;aaevinne at Juil
liard Sch. First recital at age [sm4[nm; ~played Tchaikovsky first conc. at Hous
ton [sm1946[nm. ~NY d;aaebut [sm1948[nm. In [sm1958[nm won Tchaikovsky ~Competit
ion, Moscow. Est. Cliburn Int. piano ~ comp. at Fort Worth, Texas, [sm1962[nm.[c
m~Cliffe, Frederick[fy75,1] ([cf2]b[cf1] Lowmoor, Yorks., [sm1857[nm; [cf2]d[cf1
] ~London, [sm1931[nm). Eng. composer, pianist, and ~organist. Prof. of pf., RCM
 [sm1883[nm, remaining over ~[sm40[nm years on faculty. Comp. [sm2[nm syms., sym
phonic ~poem, vn. conc., and songs.[cm~Clinton,[fy75,1] (Francis) [fy65][cf3]Gor
don[fy75,1] ([cf2]b[cf1] Broadway, Worcs., ~[sm1912[nm). Eng. bar. Studied RCM.
Career mainly in ~concert-hall for [sm35[nm years. Prin., Birmingham Sch. ~of Mu
s. [sm1960[nm=n[sm73[nm. Prof. of singing, RCM.[cm~Cloches [fy75
,1](Fr.). Bells, e.g. those used in the orch.[cm~Cloches de Corneville, Les[fy75
,1] (The Bells of ~Corneville). Opera in [sm3[nm acts by Planquette to lib. ~by
Clairville and Gabet. Prod. Paris and NY [sm1877[nm, ~London [sm1878[nm (as [cf2
]The Chimes of Normandy[cf1]).[cm~Clock Symphony[fy75,1] ([cf2]Die Uhr[cf1]). Ni
ckname of ~Haydn's Sym. in D, No. [sm101[nm (Hob.I;[sm101[nm), comp. ~[sm1794[nm
 in London. So called because of `tick-tock' ~acc. to first subject of [sm2[nmnd
 movement. This ~movement was separately pubd. in Vienna [sm1798[nm ~in pf. arr.
 as `Rondo, Die Uhr'.[cm~Clog Box. [fy75,1]See [cf2]Chinese Wood Block.[cm~Close
.[fy75,1] The same as [fy45,1]*[fy75,2]Cadence.[cm~Close Harmony.[fy75,1] Harmon
y in which the notes ~of a chord are close together. In close harmony ~singing t
he vv. are distributed within the compass ~of an octave.[cm~Cloud Messenger, The
.[fy75,1] Ode for ch. and orch., ~Op. [sm30[nm, by Holst to text by Holst founde
d on ~Sanskrit poem of [cf2]Kalidasa[cf1]. Comp. [sm1910[nm, rev
. ~[sm1912[nm. F.p. London [sm1913[nm.[cm~Cluster. [fy75,1]Term used in connecti
on with chords, ~meaning chords of which the constituents are a ~major or minor
[sm2[nmnd apart. In US, called `tone-~cluster'. Kbd. clusters, i.e. a group of a
djacent ~notes played together with the forearm flat, were ~first demonstrated b
y the Amer. composer ~[fy45,1]*[fy75,1]Cowell in [sm1913[nm, but [fy45,1]*[fy75,
1]Ives had also used the same ~idea.[cm~Clutsam, George Howard[fy75,1] ([cf2]b[c
f1] Sydney, N.S.W., ~[sm1866[nm; [cf2]d[cf1] London, [sm1951[nm). Australian com
poser, ~pianist, and critic, settled in London [sm1889[nm. ~Accompanist to Melba
. Perpetrated with [fy45,1]*[fy75,1]Bert;aae ~Eng. version of [cf2]Das Dreim;aua
derlhaus[cf1] as [cf2]Lilac Time[cf1] ~([sm1923[nm).[cm~Cluytens, Andr;aae[fy75,
1] ([cf2]b[cf1] Antwerp, [sm1905[nm; [cf2]d[cf1] Paris, ~[sm1967[nm). Belg. cond
. Studied Antwerp Cons. Cond. ~Antwerp Opera [sm1927[nm=n[sm32[nm, Lyons from [s
m1935[nm, Paris ~Op;aaera from [sm1941[nm, Op;aaera Comique [sm1
947[nm, Soci;aaet;aae ~des Concerts du Cons. [sm1949[nm. First Gallic cond. at ~
Bayreuth, [sm1955[nm=n[sm58[nm, [sm1965[nm. London d;aaebut [sm1958[nm.[xm[cm~[t
s1][bm2][cc27,1,8,8][dt5,p5r5,5p4,p5r5,5,p5r5,5,p5r5,5][bt~[smg[nm [cf2]or[cf1]
[smtreble clef[qc~[nmOn [sm2[nmnd line up[qc~fixing that as[qc~Treble G[qc~[ol5]
[ru5,6p6,3]~[ep~[ep~[ep~[nt~[smf[nm [cf2]or [cf1][smbass clef[nm[qc~On [sm2[nmnd
 line down,[qc~fixing[cf1] that as[qc~Bass F[qc~[ol5][ru5,6p6,3]~[ep~[ep~[ep~[nt
~[smc[nm ([smsoprano[nm)[sm clef[nm[qc~On [sm1[nmst line, fixing[qc~that as midd
le[qc~C[qc~[ol5][ru5,6p6,3]~[ep~[ep~[ep~[nt~[smc[nm ([smalto[nm)[sm clef[nm[qc~O
n [sm3[nmrd line, fixing[qc~that as middle[qc~C[qc~[ol5][ru5,6p6,3]~[ep~[ep~[ep~
[nt~[smc[nm ([smtenor[nm)[sm clef[nm[qc~On [sm4[nmth line, fixing[qc~that as mid
dle[qc~C[qc~[ol5][ru5,6p6,3]~[ep~[ep~[ep~[et~[ol0][ep~[em[cc13p6][tx[xp[te~


[do19][j99]~~~~~~[sm153842[nm_CB01[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dict
. of ~Music[cmCB[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm23[nm/[sm10[nm/[sm79[nm[cm[s
m8[nm[cm[sm362[nm[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~[ap[el3][j1]Coates, Albert [fy7
5,1]([cf2]b[cf1] St Petersburg, [sm1882[nm; [cf2]d [cf1]Cape ~Town, [sm1953[nm).
 Eng. cond. and composer, born in ~Russ. of Eng. parents (not Anglo-Russian, as
often ~stated). Studied Leipzig Cons. [sm1902[nm (cond. classes ~with Nikisch).
Cond. opera at Leipzig, Elberfeld, ~and Dresden. London d;aaebut [sm1910[nm (LSO
), CG [sm1914[nm ~([cf2]Tristan[cf1]). Cond. of opera at St Petersburg [sm1911[n
m=n~[sm18[nm during which time became close friend of ~Skryabin. Returned to Eng
. [sm1919[nm, conducting ~opera with Beecham, BNOC, Leeds Fest., etc. Also ~cond
. much in USA. Settled in S. Africa [sm1946[nm. ~Comps. incl. operas [cf2]Samuel
 Pepys [cf1]([sm1929[nm) and ~[cf2]Pickwick [cf1]([sm1936[nm). As a cond. was at
 his best in Russ. ~mus. and Wagner, but cond. f.ps. of Vaughan
~Williams's rev. [cf2]London Symphony [cf1]([sm1920[nm), Bax's [sm1[nmst ~Sympho
ny ([sm1922[nm), and Holst's [cf2]Choral Symphony ~[cf1]([sm1925[nm).[cm~Coates,
 Eric [fy75,1]([cf2]b [cf1]Hucknall, Notts., [sm1886[nm; [cf2]d [cf1]Chich~~este
r, [sm1957[nm). Eng. composer and violist. Entered ~RAM [sm1906[nm, studying va.
 with [fy45,1]*[fy75,1]Tertis and comp. ~with [fy45,1]*[fy75,1]Corder. Member of
 several str. qts. Prin. ~va., Queen's Hall Orch. [sm1912[nm. Gave up orch. ~pla
ying [sm1919[nm. Comps. in light vein, distinguished ~by finished craftsmanship,
 impeccable orchestra~~tion, and personal melodic flavour. They incl. ~several o
rch. suites=m[cf2]From the Countryside[cf1] ([sm1915[nm); ~[cf2]Summer Days[cf1]
 ([sm1919[nm); [cf2]Cinderella [cf1]([sm1929[nm); [cf2]From ~Meadow to Mayfair [
cf1]([sm1929[nm); [cf2]London [cf1]([sm1932[nm); [cf2]London ~Again [cf1]([sm193
6[nm); [cf2]The Three Elizabeths [cf1]([sm1944[nm); [cf2]The ~Three Bears [cf1](
[sm1926[nm). Also [cf2]Saxo-Rhapsody [cf1]([sm1937[nm); [cf2]The
 ~Jester at the Wedding[cf1]; [cf2]By the Sleepy Lagoon [cf1]([sm1939[nm); ~[cf2
]Calling All Workers [cf1]([sm1940[nm); [cf2]The Dam Busters March ~[cf1]([sm194
2[nm), and many songs incl. `Bird Songs at ~Eventide' ([sm1926[nm). The [cf2]Lon
don Suite's [cf1][sm3[nmrd move~~ment is the march `Knightsbridge', long famous
~as introductory music to BBC radio feature `In ~Town Tonight'.[cm~Coates, John
[fy75,1]([cf2]b [cf1]Girlington, Yorks., [sm1865[nm; [cf2]d ~[cf1]Northwood, [sm
1941[nm). Eng. ten., orig. bar. Sang bar. ~roles with D'Oyly Carte Opera Co. [sm
1894[nm. D;Aaebut ~as ten. [sm1899[nm. Sang Faust in Gounod's opera CG ~[sm1901[
nm. Member of Moody-Manners and Beecham ~opera cos., singing Tristan and Siegfri
ed. Also ~achieved eminence in choral works, notably ~Elgar's [cf2]Dream of Gero
ntius[cf1].[cm~Cobbett, Walter Willson [fy75,1]([cf2]b [cf1]Blackheath, [sm1847[
nm; [cf2]d ~[cf1]London, [sm1937[nm). Eng. businessman and amateur ~violinist wh
ose love of chamber mus. led him to ~promote many chamber concer
ts and to institute ~prizes both for playing and comp. Commissioned ~many works
by Brit. composers in the Elizabethan ~fantasia-form, preferring the spelling `P
hantasy', ~hence the `Phantasy' qts., quintets, and trios by ~Bridge, Vaughan Wi
lliams, Bax, Goossens, Ire~~land, Britten, etc. Endowed Cobbett Medal for ~[PN15
2,0,0,L,I0]services to chamber mus. and ed. [cf2]Cyclopedic Survey ~of Chamber M
usic [cf1]([sm1929[nm, rev. [sm1963[nm).[cm~Cocardes [fy75,1](Cockades). [sm3[nm
 songs for v. and pf. by ~Poulenc to texts by Cocteau. Comp. [sm1919[nm. Titles
~are: [cf2]Miel de Narbonne, Bonne d'enfant, Enfant de ~troupe[cf1].[cm~Cockaign
e (In London Town). [fy75,1]Concert-ov., ~Op. [sm40[nm, by Elgar, comp. [sm1900[
nm=n[sm1[nm and ded. to `my ~friends the members of British orchestras'. Title ~
refers to imaginary land of idleness and luxury ~from which word `Cockney' is sa
id to be derived.[cm~Cocteau, Jean [fy75,1]([cf2]b [cf1]Maisons-Lafitte, [sm1889
[nm; [cf2]d [cf1]Milly-~la-for;afet, [sm1963[nm). Fr. poet, nove
list, and playwright, ~often assoc. with mus. as librettist or propagandist. ~Wr
ote scenario for Satie's [cf2]Parade [cf1]([sm1917[nm) and libs. ~for Honegger's
 [cf2]Antigone[cf1], Stravinsky's [cf2]Oedipus Rex[cf1], ~Milhaud's [cf2]Le Pauv
re Matelot[cf1], and Poulenc's [cf2]La ~Voix humaine[cf1], among others.[cm~Coda
 [fy75,1](It.). Tail. Orig. a section of a movement ~added at the end to clinch
matters rather than to ~develop the mus. further. However, in the syms. ~of Moza
rt, Haydn, and especially Beethoven, the ~coda came to have integral formal sign
ificance, ~becoming at times [sm2[nmnd development section and ~sometimes contai
ning new material. Later com~~posers have increased and extended this tendency.[
cm~Codetta [fy75,1](It.). Little tail. ([sm1[nm) Short or less important ~coda,
often at the end of a section of a movement.[ep~^([sm2[nm) In a fugue, an episod
ical passage occurring in ~the exposition between appearances of the subject.[cm
~Coelho, Manuel Rodrigues [fy75,1]([cf2]b [cf1][sm1583[nm; [cf2]
d [cf1][sm1635[nm). ~Portuguese composer and org. at Chapel Royal, ~Lisbon, [sm1
603[nm=n[sm23[nm. His [cf2]Flores de M;aausica [cf1](Lisbon, ~[sm1620[nm) was th
e first book of instr. pieces to be ~printed in Portugal. It contains [sm24[nm [
cf2]tientos [cf1](ricer~~cari), and [sm4[nm variations on a Lassus [cf2]chanson[
cf1], all for ~kbd.[cm~Coelho, Ruy [fy75,1]([cf2]b [cf1]Alcacer do Sal, Portugal
, [sm1892[nm). ~Portuguese composer, cond., pianist, and critic. ~Studied Lisbon
 Cons., Berlin (with Humperdinck, ~Bruch, and Schoenberg) and Paris Cons. Comps.
 ~influenced by Portuguese folk and popular mus. ~They incl. [sm19[nm operas, [s
m11[nm ballets, an oratorio ~([cf2]Fatima[cf1]), [sm2[nm pf. concs., [sm5[nm [cf
2]Symphonias camoneanas[cf1], [sm2[nm ~vn. sonatas, etc.[cm~Coertse, Mimi [fy75,
1]([cf2]b [cf1]Durban, [sm1932[nm). S. African sop. ~Studied in S. Africa and Vi
enna. D;aaebut Naples ~[sm1955[nm. Joined Vienna Opera [sm1956[nm. D;aaebut CG ~
[sm1956[nm, later Glyndebourne.[cm~Coffee Cantata [fy75,1]([cf2]
Kaffeecantate[cf1]). Nickname for ~humorous cantata by Bach (BWV [sm211[nm, [sm1
732[nm) sometimes ~perf. as opera. Lib., by Picander, refers to the ~growing fon
dness for coffee at the time it was ~comp.[cm~Cogli, Coi [fy75,1](It.). With the
 (plural).[cm~Cohen, Harriet [fy75,1]([cf2]b [cf1]London, [sm1895[nm; [cf2]d [cf
1]London, ~[sm1967[nm). Eng. pianist. Studied RAM. Won reputa~~tion as advocate
of early kbd. mus. and of modern ~Eng. composers. Bax ded. to her his [cf2]Symph
onic ~Variations [cf1]for pf. and orch. ([sm1917[nm) and his ~[cf2]Concertante [
cf1]for orch. and pf. (left hand) (f.p. [sm1950[nm), ~the latter written for her
 when she had injured ~her right hand. The pf. concs. by Vaughan ~Williams (f.p.
 [sm1933[nm) and Fricker ([sm1952[nm=n[sm4[nm) were ~ded. to and f.p. by her. Al
so considerable chamber-~mus. player. C.B.E. [sm1938[nm.[cm~Cohen, Raymond [fy75
,1](Hyman) ([cf2]b [cf1]Manchester, ~[sm1919[nm). Eng. violinist. Studied RMCM.
[cf1]At [sm15[nm ~became youngest ever to play in Hall;aae Orch.
 of ~which he was member [sm1934[nm=n[sm40[nm. After war service ~adopted career
 as chamber-mus. player and conc. ~soloist, but led RPO [sm1960[nm=n[sm6[nm. Win
ner of first Carl ~Flesch int. award [sm1945[nm.[cm~Cohen, Robert [fy75,1]([cf2]
b[cf1] London, [sm1959[nm). Eng. cellist, ~son of Raymond [fy45,1]*[fy75,1]Cohen
. Studied GSM with W. ~Pleeth. Solo d;aaebut, London [sm1971[nm. Recorded Elgar
~conc. [sm1978[nm. Won Piatigorsky comp., Tanglewood, ~and made Amer. d;aaebut [
sm1979[nm. Plays in trio with ~father (vn.) and his mother Anthya Rael (pf.).[cm
~Col, coll', colla, colle [fy75,1](It.). With the, e.g. [cf2]col ~basso[cf1], wi
th the bass; [cf2]colla voce[cf1], with the voice ~(indication to accompanist to
 be subservient, i.e. ~as to the time details).[cm~Colas Breugnon. [fy75,1]Name
under which [fy45,1]*[fy75,1]Kabalev~~sky's opera [cf2]The Craftsman of Clamecy
[cf1]([cf2]Master iz ~Clamesy[cf1]) Op. [sm24[nm, is usually known outside Russ.
 ~In [sm3[nm acts, to lib. by V. Bragin based on R. Rolland's ~n
ovel [cf2]Colas Breugnon. [cf1]Prod. Leningrad [sm1938[nm. Rev. ~[sm1953[nm and
in [sm1969[nm, final rev. being given Op. No. ~[sm90[nm.[cm~Colascione. [fy75,1]
European version of Eastern long-~necked lute, first made in It. in early [sm16[
nmth cent. ~Had [sm2[nm or [sm3[nm single or double courses made of ~metal, thou
gh sometimes of gut, and [sm24[nm movable ~frets.[cm~Colbran, Isabella [fy75,1](
[cf2]b[cf1] Madrid, [sm1785[nm; [cf2]d [cf1]Bologna, ~[sm1845[nm). Sp. sop., con
sidered to be finest dramatic ~coloratura of her day. D;Aaebut Paris [sm1801[nm,
 Milan ~[sm1807[nm. Engaged for Naples, [sm1811[nm, where she ~became impresario
's mistress but left him in ~[sm1815[nm to live with [fy45,1]*[fy75,1]Rossini, w
ho married her in ~[sm1822[nm (they later separated). Rossini wrote [cf2]Elisa~~
betta, Regina d'Inghilterra [cf1]for her and she created ~the leading sop. roles
 in his [cf2]Otello, Semiramide, ~Mos;Age[cf1], and other operas. Also comp. son
gs.[cm~Cold, Ulrik[fy75,1] (Thestrup) ([cf2]b[cf1] Copenhagen, [
sm1939[nm). ~Danish bass-baritone. Studied in Copenhagen, ~making d;aaebut there
 [sm1963[nm. Kassel Opera [sm1969[nm=n~[sm71[nm. Dir., Royal Th., Copenhagen, fr
om [sm1975[nm. Fine ~singer of Falstaff, King Marke, and Gurnemanz.[cm~Cole, Hug
o [fy75,1]([cf2]b[cf1] London, [sm1917[nm). Eng. composer ~and writer; studied R
CM with R. O. Morris and ~Howells and in Paris with Boulanger. Works incl. ~oper
as, opera-cantata [cf2]Jonah[cf1], hn. conc., str. qts. ~Mus. critic of the [cf2
]Guardian[cf1].[cm~[PN153,0,0,R,I0]Cole, Nat King[fy75,1] (Coles, Nathaniel Adam
s) ([cf2]b[cf1] ~Montgomery, Alabama, [sm1917[nm; [cf2]d[cf1] Santa Monica, ~Cal
if., [sm1965[nm). Amer. singer and jazz pianist. Had ~his own band in Chicago. F
ormed King Cole Trio ~[sm1939[nm=n[sm51[nm. After a best-selling record of [sm19
47[nm he ~concentrated on singing (to the detriment of his ~jazz reputation). Am
ong his most popular record~~ings were `Nature Boy' and `Answer me'.[cm~Coleman,
 Ornette [fy75,1] ([cf2]b[cf1] Fort Worth, Texas, [sm1930[nm). ~
Amer. jazz composer and saxophonist. Began to ~play alto sax. in [sm1944[nm, ten
or sax. in [sm1946[nm. ~Influenced by Charlie [fy45,1]*[fy75,1]Parker. Played in
 bebop, ~blues, and rhythm bands in Southern States ~before settling in New Orle
ans in [sm1948[nm. In [sm1950[nm ~joined Pee Wee Crayton band in Fort Worth. In
~Los Angeles studied harmony and theory and by ~[sm1958[nm was regarded as one o
f jazz's major ~innovators. Attended Lenox Sch. of Jazz, Mass., ~[sm1959[nm, and
 led quartet in NY [sm1958[nm=n[sm62[nm, then ~forming trio. Caused controversy
[sm1960[nm with his ~recording [cf2]Free Jazz[cf1] (Coleman and [sm7[nm other ~m
usicians) in which improvisation was taken ~almost to anarchic limits. Semi-reti
red [sm1963[nm to ~learn tpt. and vn. Reappeared in [sm1965[nm and then ~toured
Europe. Style noted for free improvisation ~based on melodic shapes over a pedal
-point rather ~than on succession of chords. Relied greatly on ~intuition and at
 times approached atonality. ~Gunther Schuller wrote [cf2]Abstra
ction[cf1], a serial comp., ~for Coleman and augmented str. qt. Coleman's ~own m
us. includes [cf2]Lonely Woman[cf1] and [cf2]Turnaround[cf1]. ~His major piece o
f symphonic mus. is [cf2]Skies of ~America[cf1] ([sm1972[nm) for jazz qt. and or
ch. (recorded ~with LSO with solo alto sax. only). This was ~followed in [sm1977
[nm by [cf2]Dancing in Your Head[cf1] and in ~[sm1979[nm by [cf2]Of Human Feelin
gs[cf1] which explored `funk-~jazz', a development dating from about [sm1970[nm
~features of which incl. a repetitive bass line, a ~hint of Latin rhythms, and c
omplex rhythmic ~relationships.[cm~Coleridge-Taylor, Avril [fy75,1](Gwendolen) [
cf1]([cf2]b[cf1] South ~Norwood, [sm1903[nm). Eng. cond. and composer, ~daughter
 of S. [fy45,1]*[fy75,1]Coleridge-Taylor. Studied GSM ~and TCL. Active in many f
ields of conducting, ~some but not all connected with her father's ~works. Worke
d in S. Africa [sm1952[nm=n[sm5[nm. Comps. incl. ~pf. conc., orch. works, chambe
r mus., and songs.[cm~Coleridge-Taylor, Samuel [fy75,1]([cf2]b[c
f1] London, [sm1875[nm; [cf2]d ~[cf1]Croydon, [sm1912[nm). Eng. composer, son of
 Sierra ~Leone physician and Eng. mother. Entered RCM ~as vn. student [sm1890[nm
 but studied comp. with ~Stanford [sm1892[nm=n[sm7[nm. His cl. quintet, Op. [sm1
0[nm, was ~played in [sm1897[nm in Berlin by Joachim's qt. and his ~[cf2]Ballad
[cf1]in A minor at [sm1898[nm Gloucester Fest. (thanks ~to Elgar's encouragement
). In Nov. [sm1898[nm his ~cantata [cf2]Hiawatha's Wedding Feast [cf1]was perf.
at ~RCM. This was first of [sm3[nm works based on ~Longfellow's poem. The [cf2]D
eath of Minnehaha ~[cf1]followed in [sm1899[nm and [cf2]Hiawatha's Departure [cf
1]in ~[sm1900[nm. Success of these works led to many demands ~for fest. comps. L
ater works were [cf2]Meg Blane ~[cf1](Sheffield [sm1902[nm), [cf2]The Atonement
[cf1](Hereford [sm1903[nm), ~[cf2]Kubla Khan [cf1](London [sm1906[nm), and [cf2]
A Tale of Old ~Japan [cf1](London [sm1911[nm), but none achieved the ~success of
 [cf2]The Song of Hiawatha [cf1]Trilogy. Also ~wrote sym., [cf2]
Symphonic Variations on an African Air[cf1] ~([sm1906[nm), vn. conc. ([sm1912[nm
), chamber mus., pf. solos, ~and songs.[cm~Colgrass, Michael [fy75,1]([cf2]b [cf
1]Chicago, [sm1932[nm). Amer. ~composer and percussionist. Educated Univ. of ~Il
linois. In [sm1956[nm worked in NY as free-lance ~percussionist, being specially
 concerned with th. ~work. Works incl. [cf2]Percussion Music [cf1]([sm1953[nm),
[cf2]Chant ~[cf1]for ch. and vibraphone ([sm1954[nm), [cf2]Seventeen [cf1]for fu
ll ~orch. ([sm1960[nm), Wind Quintet ([sm1962[nm), [cf2]Virgil's Dream ~[cf1]for
 [sm4[nm actor-singers, [sm4[nm mime-musicians (Brighton ~Fest. [sm1967[nm), [cf
2]The Earth's a Baked Apple [cf1]for ch. and ~orch. (Boston [sm1969[nm), [cf2]Ni
ghtingale Inc[cf1]., opera ([sm1971[nm), ~[cf2]Auras[cf1], hp. and orch. ([sm197
6[nm=n[sm7[nm), and [cf2]Theatre of the ~Universe[cf1], solo vv., ch., and orch.
 ([sm1976[nm=n[sm7[nm).[cm~Colista, Lelio[fy75,1] ([cf2]b[cf1] Rome, [sm1629[nm;
 [cf2]d[cf1] Rome, [sm1680[nm). It. ~composer remembered for his
 influence on ~Purcell, who quotes from his works in his ~introduction to Playfo
rd's [cf2]Introduction to the Skill ~of Music [cf1]([sm1694[nm).[cm~Coll', colla
, colle [fy75,1](It.). See [cf2]Col[cf1].[cm~Colla, Giuseppe [fy75,1]([cf2]b [cf
1]Parma, [sm1731[nm; [cf2]d [cf1]Parma, [sm1806[nm). ~It. composer and choirmast
er. Comp. several ~operas, incl. [cf2]Tolomeo [cf1](Milan [sm1773[nm), in which
his ~wife Lucrezia [fy45,1]*[fy75,1]Agujari (`La Bastardella') was a ~great succ
ess.[cm~Collage [fy75,1](Fr.). A putting-together of independent ~styles in juxt
aposition either simultaneously or ~successively. The separate styles usually co
nsist of ~contrasting rhythm, melody, or harmony. For a ~true collage the juxtap
osition must be of coherent ~sections which are the product of separate mus. ~el
ements, e.g. the many examples in the mus. of ~Charles [fy45,1]*[fy75,1]Ives, wh
ere dissonances are not resolved ~but treated as a normal situation. The term is
 ~borrowed from the visual arts, and literally means ~`glueing t
ogether'.[cm~Coll'arco [fy75,1](It.). With the bow; i.e. after a passage ~marked
 [cf2]pizzicato[cf1]. (Sometimes shortened to [cf2]c.a.[cf1]).[cm~Colla parte [f
y75,1](It.). With the part, [fy65][cf3]colla voce [fy75,1](It.), ~with the voice
. An indication to an accompanist ~carefully to take his tempos and rhythm from
~the soloist.[cm~Colla punta dell' arco [fy75,1](It.). With the point of ~the bo
w.[cm~Collegium Aureum.[fy75,1] Ger. ensemble founded ~[sm1964[nm by Franzjosef
Maier to record baroque and ~early classical mus. Has toured Russia and Japan. ~
Pioneered recordings using original and authentic ~instrs., incl. one of Beethov
en's [cf2]Eroica[cf1] Symphony.[cm~Collegium Musicum[fy75,1] (Lat. `musical guil
d'=+=+). In ~[sm16[nmth cent. term applied to groups of enthusiasts ~concerned w
ith perf. of mus. From these grew ~concert-giving societies performing under nob
le ~[PN154,0,0,L,I0]patronage or in the informal surroundings of a ~coffee-house
. J. S. Bach wrote many works for ~perf. at a collegium musicum.
[cm~Col legno [fy75,1](It.).  With the wood. Striking the str. ~with the stick o
f the bow, instead of playing on ~them with the hair.[cm~Colles, Henry Cope [fy7
5,1]([cf2]b [cf1]Bridgnorth, [sm1879[nm; [cf2]d ~[cf1]London, [sm1943[nm). Eng.
mus. critic. Studied RCM ~and Oxford Univ. Mus. critic for [cf2]The Times [cf1][
sm1905[nm=n~[sm43[nm (chief critic from [sm1911[nm), ed. of [sm3[nmrd and [sm4[n
mth ~edns. of [cf2]Grove's Dictionary of Music[cf1], and author of ~several book
s incl. history of RCM ([sm1933[nm) of ~which he was member of staff.[cm~Collier
, Marie[fy75,1] ([cf2]b [cf1]Ballarat, [sm1927[nm; [cf2]d [cf1]London, [sm1971[n
m). ~Australian sop. D;aaebut Melbourne [sm1954[nm as San~~tuzza; CG [sm1956[nm.
 Possessed dramatic acting powers ~and richly expressive v. Sang Tosca, Cressida
 (in ~Walton's [cf2]Troilus and Cressida[cf1]), and was notable ~exponent of Emi
lia Marty in Jan;aaa;Akcek's [cf2]The ~Makropoulos Affair[cf1]. Created Hecuba i
n Tippett's ~[cf2]King Priam [cf1]([sm1962[nm). NY Met. d;aaebut
 [sm1967[nm in Levy's ~[cf2]Mourning Becomes Electra[cf1].[cm~Collingwood, Lawra
nce [fy75,1](Arthur) [cf1]([cf2]b [cf1]London, ~[sm1887[nm; [cf2]d[cf1] Killin,
Perthshire, [sm1982[nm). Eng. cond. and ~composer. Studied GSM, then went to St
Peters~~burg as ass. to Albert [fy45,1]*[fy75,1]Coates. Cond. opera in ~London (
Old Vic and SW; mus. dir. latter [sm1940[nm=n~[sm7[nm). Comps. incl. opera [cf2]
Macbeth [cf1](SW [sm1934[nm) and ~[cf2]Death of Tintagiles [cf1](after Maeterlin
ck, concert ~version SW [sm1950[nm), also pf. conc., pf. qt., pf. ~sonatas. For
nearly [sm50[nm years made gramophone ~recordings, `producing' many of them. Con
d. ~Elgar's last recording session, [sm1934[nm. C.B.E. [sm1948[nm.[cm~Collins, A
nthony [fy75,1]([cf2]b [cf1]Hastings, [sm1893[nm; [cf2]d [cf1]Los ~Angeles, [sm1
963[nm). Eng. va. player and then cond. ~and composer. Studied RCM after [sm1914
[nm=n[sm18[nm war, ~then prin. va. LSO and CG orch. Left orch. ~playing [sm1936[
nm to become cond. Founded London ~Mozart Orch. Worked in USA [s
m1936[nm=n[sm45[nm. Comp. ~operas, [sm2[nm vn. concs., syms. for str., film mus.
 ~Orch. Schubert's [cf2]Grand Duo[cf1].[cm~Colofonia [fy75,1](It.). See [cf2]Col
ophony[cf1].[cm~Colonel Bogey.[fy75,1] Military march comp. by `Ken~~neth [fy45,
1]*[fy75,1]Alford' in [sm1914[nm. Popularity attributable ~not only to splendid
tune, but to improvised ~words and to its use (whistled) in the film [cf2]The ~B
ridge on the  River Kwai[cf1] ([sm1957[nm).[cm~Colonna, Giovanni Paolo [fy75,1](
[cf2]b [cf1]Bologna, [sm1637[nm; [cf2]d ~[cf1]Bologna, [sm1695[nm). It. composer
. Studied with ~[fy45,1]*[fy75,1]Carissimi and [fy45,1]*[fy75,1]Benevoli. Held o
rg. posts in ~Rome and, from [sm1674[nm, Bologna. Wrote opera ~[cf2]Amilcare [cf
1]([sm1693[nm) and a quantity of church mus.[cm~Colonne, Edouard [fy75,1](=+=+=+
Judas) [cf1]([cf2]b [cf1]Bordeaux, [sm1838[nm; [cf2]d ~[cf1]Paris, [sm1910[nm).
Fr. cond. and violinist. Studied Paris ~Cons. Leader of Paris Op;aaera Orch. [sm
1858[nm=n[sm67[nm. In ~[sm1873[nm founded series of orch. concer
ts, eventually ~to be known as the Concerts Colonne, at which ~he championed you
ng Fr. composers and the ~mus. of Berlioz. Toured as cond. in Eng., Russ., ~and
USA. Concerts continued after his death ~organized by the Soci;aaet;aae des Conc
erts Colonne.[cm~Colophony [fy75,1](Fr. [cf2]colophane[cf1]; It. [cf2]colofonia[
cf1]; Ger. ~[cf2]Kolophon[cf1]). Rosin for bow of str. instr., so called ~after
Colophon, Asia Minor, whence best rosin ~comes.[cm~Colorato, colorata, [fy75,1]o
r [fy65][cf3]figurato, figurata [fy75,1](It.). ~Treated in the manner of [fy45,1
]*[fy75,2]Coloratura[cf1]. See also ~[cf2]Musica figurata[cf1].[cm~Coloratura. [
fy75,1]Word derived from the Ger. [cf2]Kolora~~tur[cf1]. The elaborate and agile
 ornamentation of a ~melody, either extemporized or written, with ~runs, cadenza
s, trills, roulades, and the like. Hence ~a [cf2]coloratura soprano [cf1]is one
whose v. is flexible ~enough to cope with these demands.[cm~Colour [fy75,1](Tone
-colour). It is impossible for mus. to ~convey colours, but it i
s customary to speak of ~`colouring' or `tone-colour' where variations of ~[cf2]
timbre [cf1]or tone are prod. by different intensities of ~the overtones of soun
ds. `Shade' is perhaps a more ~accurate term, since the differences are often ~t
hose of `darker' or `lighter' sound. But in his ~tone-poem [fy45,1]*[fy75,2]Prom
etheus: The Poem of Fire[cf1], Op. [sm60[nm, ~[fy45,1]*[fy75,1]Skryabin introduc
ed a colour kbd. to project ~colours on to a screen, intended to convey the ~moo
d of the mus. The colour-organ was used for ~this purpose.[cm~Colour Symphony. [
fy75,1]Orch. work by Bliss, f.p. ~Gloucester Fest. [sm1922[nm. The movements are
 en~~[chtitled [cf2]Purple, Red, Blue, [cf1]and [cf2]Green[cf1], the colours ~be
ing interpreted through their heraldic assocs.[cm~Colpo [fy75,1](It.). Stroke, e
.g. [cf2]Colpo d'arco[cf1], a stroke of ~the bow.[cm~Combattimento di Tancredi e
 Clorinda, Il ~[fy75,1](The combat of Tancred and Clorinda). Dramatic ~cantata b
y Monteverdi to text by Tasso (verses ~[sm52[nm=n[sm68[nm of Can
to XII of [cf2]Gerusalemme liberata[cf1]). Prod. ~Venice (Palazza di Girolamo Mo
cenigo) [sm1624[nm. ~Pub. [sm1638[nm in [fy45,1]*[fy75,2]Madrigali guerrieri e a
morosi[cf1]. ~Monteverdi's description of f.p. shows that this ~could be claimed
 as early example of `music ~theatre'. A narrator comments upon the action, ~whi
ch is acted or danced by Tancred and Clorinda. ~A feature of the score is the ea
rliest-known use of ~the str. [cf2]tremolo[cf1], or [cf2]stile concitato[cf1], t
o express ~excitement, and the str. [cf2]pizzicato[cf1] (but see [cf2]pizzi~~cat
o[cf1]). Scoring is for [sm4[nm viols with contrabass and ~hpd.[cm~Combination P
edals. [fy75,1]See [cf2]Composition pedals[cf1].[cm~Combined Counterpoint. [fy75
,1]See [cf2]Counterpoint[cf1].[cm~Come [fy75,1](It.). As, like, as if; [cf2]come
 prima[cf1], as at first;[cf2] ~come st;Aga, [cf1]as it stands; [cf2]come sopra[
cf1], as above.[cm~Com;aaedie-ballet.[fy75,1] Fr. musico-dramatic entertain~~men
t devised by Moli;agere and Lully in late [sm17[nmth ~cent. Thei
r first collab. was in [cf2]Le mariage forc;aae[cf1] ~([sm1664[nm), their last [
cf2]Le bourgeois gentilhomme[cf1] ([sm1670[nm). ~[PN155,0,0,R,I0]Mus. and dance
were regarded as complementary ~to the main plot; the sub-plots were carried on
in ~the [cf2]interm;agedes.[cm~Comedy on the Bridge [fy75,1]([cf2]Komedie na mos
t;Ake[cf1]). Opera ~for radio in [sm1[nm act by Martin;Anu to his own lib. based
 ~on V. K. Klicpera. Prod. Prague Radio [sm1937[nm, ~London (stage) [sm1965[nm.[
cm~Comes. [fy75,1]See [cf2]Canon[cf1].[cm~Come ye Sons of Art. [fy75,1]Ode by [f
y45,1]*[fy75,1]Purcell for the ~birthday of Queen Mary, wife of William III, in
~[sm1694[nm for sop., counterten., bass, ch., and orch. ~Contains aria `Sound th
e trumpet'.[cm~Comic Opera. [fy75,1]An imprecise term, though by it ~most people
 today would understand an opera ~with a comic element. [cf2]Op;Aaera bouffe [cf
1]or [fy45,1]*[fy75,2]opera buffa ~[cf1]means comic opera but has a specific mea
ning, as ~has op;Aaera comique[cf1].[cm~Comissiona, Sergiu [fy75
,1]([cf2]b [cf1]Bucharest, [sm1928[nm). Roman~~ian-born cond. (Amer. citizen). S
tudied Mus. ~Acad., Romania, and cond. with [fy45,1]*[fy75,1]Silvestri. Cond. ~R
omanian State Ens. [sm1948[nm=n[sm55[nm. Cond. Romanian ~State Opera [sm1955[nm=
n[sm9[nm; Haifa S.O. and Israeli ~Chamber Orch. [sm1958[nm=n[sm66[nm; G;Auotebor
g S.O. [sm1966[nm=n~[sm72[nm; Ulster Orch. [sm1967[nm=n[sm9[nm; Baltimore S.O. [
sm1969[nm=n~[sm76[nm; Pittsburgh S.O. [sm1976[nm=n[sm8[nm; American S.O. [sm1978
[nm=n~[sm82[nm; Houston S.O. from [sm1984[nm. London d;aaebut ~(LSO) [sm1960[nm,
 CG d;aaebut (ballet) [sm1962[nm, CG opera ~d;aaebut [sm1974[nm (Rossini's [cf2]
Il barbiere di Siviglia[cf1]), NY ~[sm1977[nm ([cf2]La fanciulla del West[cf1]).
[cm~Comma. [fy75,1]A minute interval such as that resulting ~when a rising succe
ssion of untempered [sm5[nmths (see ~[cf2]Temperament[cf1]) and a similar succes
sion of octaves ~arrive at what is ostensibly the same note, but is ~not really
quite such.[cm~Commedia per musica [fy75,1](It.). Comedy for Mus
ic. ~Term used in It. in [sm18[nmth cent. for comic opera. ~Note that Strauss an
d Hofmannsthal called their ~[sm18[nmth-cent. comedy of manners, [cf2]Der Rosenk
avalier[cf1], ~a `comedy for music'.[cm~Common Chord. [fy75,1]A [fy45,1]*[fy75,1
]triad of which the [sm5[nmth is ~perfect. In [cf2]Major Common Chord [cf1]the [
sm3[nmrd is major ~and in [cf2]Minor Common Chord [cf1]it is minor.[cm~Common Ti
me. [fy75,1]Another name for [cf9]4[cf13]=-=-=-=-=-=-=-4[cf1] time. The ~C somet
imes used instead of the figures [cf9]4[cf13]=-=-=-=-=-=-=-4[cf1] does ~not stan
d for `common': it dates from the period ~when triple time (called `perfect') wa
s indicated ~by a full circle and quadruple time (called ~`imperfect') by a brok
en circle.[cm~Community Singing. [fy75,1]Any occasion when a ~number of people s
ing together is `community ~singing', but the term today usually means a ~crowd'
s singing at a meeting or at a sporting ~occasion (notably the F.A. Cup Final at
 Wembley ~or a rugger int. at Cardiff Arms Park).[cm~Comodo [fy7
5,1](It.). Leisurely, convenient, i.e. without ~any suspicion of strain, e.g. [c
f2]tempo comodo[cf1], at a ~comfortable, moderate speed. So the adverb, ~[cf2]co
modamente[cf1].[cm~Compact discs. [fy75,1]See [cf2]Gramophone (Phonograph) ~Reco
rdings.[cm~Compass. [fy75,1]The range of a v. or instr. from the ~highest to the
 lowest note obtainable; or the ~extreme limit of the notes obtainable. The usua
l ~classification of vv. according to compass takes ~account of [sm6[nm ranges,
with their distinctive ~qualities, the average vv. in these ranges extending ~an
 octave to a [sm10[nmth below and above the following ~notes:[ep~[ol26][ep~Bass_
 Baritone _Tenor[ep~Contralto _Mezzo-_ Soprano _[ep~[xfContralto[rf _Soprano[ep~
(male alto a[ep~note or two less)[ep~[ol26][ep~[cm~Comp;agere, Loyset [fy75,1]([
cf2]b[cf1] Hainaut, [cf2]c[cf1].[sm1440[nm; [cf2]d [cf1]St ~Quentin, [sm1518[nm)
. Flemish composer, possibly a ~pupil of Ockeghem; later canon and chancellor ~o
f the cath. of St Quentin and an important ~composer of church m
us.[cm~Competitions, Musical. [fy75,1]The urge to compete is ~basic to human nat
ure and musicians are no ~exception. Reports of mus. contests go back to ~ancien
t times but the modern form developed in ~the late [sm18[nmth cent. in Great Bri
tain. Brass band ~contests began early in the [sm19[nmth cent. but even ~more wi
despread were the choral competitions ~and those between individual instrumental
ists. ~From [sm1904[nm these have been organized by what is ~now the Brit. Feder
ation of Mus. Fest., apart from ~the Welsh [cf2]eisteddfodau[cf1]. Similar compe
titions, ~mainly involving amateurs, are firmly est. in ~many other countries. O
ther forms of mus. ~competition on a high professional (and commer~~cial) level
have developed, incl. competitions for ~composers, conds., and for instrumentali
sts (no~~tably the Moscow Tchaikovsky pf. competition, ~the Leeds pf. competitio
n, the Carl Flesch award ~for violinists, the Mitropoulos prize for conds., ~the
 Queen Elisabeth of Belgium competition, the ~BBC's `Young Music
ian of the Year', and numer~~ous others). Undoubtedly the most famous mus. ~comp
etitions are those involving Tannh;auauser and ~Wolfram in the Hall of Song at t
he Wartburg ~Castle in Wagner's [cf2]Tannh;auauser [cf1](Act II) and the ~song c
ontest on the banks of the River Pegnitz at ~Nuremberg in Act III Sc. [sm2[nm of
 Wagner's [cf2]Die ~Meistersinger von N;auurnberg[cf1]=mboth events being ~based
 on reality. In lighter vein there is the annual ~Eurovision song contest, promo
ted by European ~TV organizations, to discover the best `pop song' ~of the year
according to the votes of an int. jury.[cm~[PN156,0,0,L,I0]Complete Cadence. [fy
75,1]See [cf2]Cadence[cf1].[cm~Composer's Counterpoint. [fy75,1]See [cf2]Counter
point[cf1].[xm[cm~[ol0][ep~[xp[te~



[do35][j99]~~~~~~[sm153842[nmCB[sm2[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmCB[sm2[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm24[nm-[sm10[nm-[sm7
9[nm[cm[sm8[nm[cm[sm415[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Composers'
 Guild of Great Britain. [fy75,1]Brit. orga~~nization founded [sm1944[nm and aff
iliated to Soc. of ~Authors. Exists to protect the interests of compos~~ers. Fir
st pres. Vaughan Williams. Publishes ~journal [cf2]Composer[cf1] since [sm1958[n
m. In [sm1967[nm founded ~British Music Information Centre.[cm~Composition Pedal
s[fy75,1] (combination pedals). Or~~gan pedals to facilitate rapid changing of t
one-~colour effects by means of adjustment pistons ~which bring instantly into a
ction selected groups ~of stops instead of their having to be operated ~individu
ally by hand.[cm~Compound Binary Form. [fy75,1]Same as [fy45,1]*[fy75,2]Sonata F
orm.[cm~Compound Intervals. [fy75,1]Those greater than an ~octave, e.g. C to the
 D a [sm9[nmth above it, which may ~be spoken of as a major [sm9
[nmth or as a compound ~major [sm2[nmnd. See [cf2]Interval.[cm~Compound Time.[fy
75,1] Each beat in a measure consists ~of a dotted note or its equivalent (in co
ntrast to ~simple time where each beat consists of a complete ~note). Can be dup
le, triple, or quadruple, each ~related to corresponding simple time. Thus [sm3[
nm/[sm4[nm ~(simple triple) has [sm3[nm quarter-note (crotchet) beats ~to a meas
ure; [sm9[nm/[sm8[nm (compound triple) has [sm3[nm dotted ~quarter-note (crotche
t) beats. So called because a ~measure is made up of a mixture (or [cf2]compound
[cf1]) ~of [sm2[nm, [sm3[nm, or [sm4[nm main beats, each beat having [sm3[nm ~su
bdivisions. See also [cf2]Simple Time [cf1]and [cf2]Time ~Signature.[cm~Compter[
fy75,1] (Fr.). To count. [cf2]Comptent[cf1], count (plural), ~indicates in an or
ch. score that the instr. in ~question are silent for the moment and are merely
~`counting their bars' until re-entry.[cm~Compton, John[fy75,1] (Haywood) ([cf2]
b[cf1] Newton Burgo~~land, Leics., [sm1876[nm: [cf2]d[cf1] Ealin
g, [sm1957[nm). Eng. organ-~builder. Worked for organ firms in Sheffield and ~No
ttingham [sm1898[nm=n[sm1911[nm. In [sm1912[nm established his ~own co. in Notti
ngham. Built electric-action ~organs with much use of extension, the best ~being
 for Davis Th., Croydon, Southampton ~Guildhall, Downside Abbey, and St Bride's,
 Fleet ~St. Also built cinema orgs. Pipe-organ section of ~firm taken over by Ru
shworth and Dreaper [sm1964[nm; ~elec. section went to J. and J. Makin Organs [s
m1970[nm.[cm~Computers in Music. [fy75,1]Elec. computers have so ~far been used
in two ways by composers: (a) to ~aid pre-compositional calculations and (b) to
~produce elec. sound. They have also been used to ~analyse works, to study comp.
 styles, and to prod. ~systems of notation. Among the first composers ~to use a
computer was the Amer. Lejaren [fy45,1]*[fy75,1]Hiller, ~who used the Illiac com
puter to `compose' a piece ~of mus. by feeding into it a programme compris~~ing
Fux's rules for [sm16[nmth-cent. modal counterpoint ~and others
relating to [sm20[nmth-cent. serialism. The ~result was the [cf2]Illiac Suite fo
r String Quartet[cf1] ([sm1957[nm). ~Excluded from the programme were all notes
~that broke the rules, so the computer chose at ~random from the remaining possi
bilities. In later ~Hiller works, such as [cf2]Computer Cantata[cf1] ([sm1963[nm
), ~notes and intervals were not chosen at random ~but according to weighted pro
babilities, e.g. a ~note was chosen according to the implications of ~the previo
usly chosen note. Another composer, ~[fy45,1]*[fy75,1]Xenakis[cf1], used the com
puter for sound effects ~rather than for comp. processes. In his [cf2]Metastasei
s[cf1] ~for orch. ([sm1953[nm=n[sm4[nm) the computer calculates glis~~sandi at d
ifferent speeds.[ep~^A computer works musically by producing ~`waveforms'. Recen
t developments involving the ~`digital analogue converter' mean that waveforms ~
can be created which perfectly simulate instr. ~sounds. The present tendency is
to use computers ~in assoc. with [fy45,1]*[fy75,1]synthesizers a
s a memory bank, ~capable of producing any required sounds, ~memorizing the comp
oser's sequence of events, ~and playing the finished work whenever required. ~Th
is information is fed to the computer by a ~teletype kbd. or special manual cont
roller.[cm~Comte Ory, Le[fy75,1] (Count Ory). [cf2]Opera buffa [cf1]in [sm2[nm a
cts ~by Rossini to lib. by Scribe and Lestre-Poirson. ~Prod. Paris [sm1828[nm, L
ondon [sm1829[nm, NY [sm1831[nm. One of ~Rossini's [sm2[nm Fr. operas. It uses m
uch mus. comp. ~in [sm1825[nm for a stage cantata, [cf2]Il viaggio a Reims[cf1].
 ~Revived Florence [sm1952[nm and Glyndebourne [sm1954[nm.[cm~Comus. [fy75,1]Mas
que by John Milton prod. at Ludlow ~Castle [sm1634[nm with mus. by Henry [fy45,1
]*[fy75,1]Lawes, who ~himself took the part of the Attendant Spirit. ~New mus. w
as provided for an adapted version ~of the poem by Thomas [fy45,1]*[fy75,1]Arne
in [sm1738[nm. In [sm1942[nm, ~for a ballet in which some of Milton's verse was
~spoken, Lambert arr. mus. by Purcell. Another ~ballet, with mus
. by Handel and Lawes arr. E. ~Irving, was prod. [sm1946[nm. Hugh [fy45,1]*[fy75
,1]Wood's [cf2]Scenes ~from Comus[cf1] for sop., ten., and orch. was comp. ~and
f.p. London [sm1965[nm.[cm~Concentus. [fy75,1]See [cf2]Accentus.[cm~Concert. [fy
75,1]A perf. of mus. in public by a fairly ~substantial no. of performers (but n
ot a stage ~performance or as part of a religious service). A ~perf. by [sm1[nm
or [sm2[nm performers is usually called a ~recital. A pre-requisite of concerts,
 except on ~certain special occasions, is that people should pay ~to attend them
, and this seems to have begun in ~England in the middle of the [sm17[nmth cent.
 Historians ~point to the Whitefriars concerts arr. by John ~[fy45,1]*[fy75,1]Ba
nister in [sm1672[nm as the `first' in Eng., but perhaps ~that is only because w
e have a printed record of ~them. Thomas [fy45,1]*[fy75,1]Britton also financed
concerts in ~Clerkenwell [sm1678[nm=n[sm1714[nm. More important were ~the Bach-A
bel concerts which began in Spring ~Gardens, London, in [sm1764[
nm. With the opening of ~the Hanover Square Rooms in [sm1775[nm the way was ~ope
n for such major events as Haydn's concerts ~on his [sm2[nm visits to London. Th
ereafter concerts ~became an accepted way of life. The Phil. Soc. ~was founded [
sm1813[nm, and in several provincial cities ~[PN157,0,0,R,I0]concert socs. were
formed. Other developments ~incl. the Promenade Concerts, so called because ~peo
ple could stand or walk about at them, which ~originated in the [sm18[nmth-cent.
 pleasure gardens, but ~found their most abiding form in [sm1895[nm when ~Henry
Wood began his famous series at Queen's ~Hall and which, under BBC sponsorship,
are still ~held from mid-July to mid-September in the ~Royal Albert Hall, London
.[ep~^Public concerts for an audience of subscribers ~began in Frankfurt, Ger.,
in [sm1712[nm and in Hamburg ~in [sm1721[nm. What were to become the Leipzig ~Ge
wandhaus concerts were founded by [sm16[nm busi~~nessmen meeting in an inn in [s
m1743[nm (much as ~Manchester's concerts began in the [sm1770[nm
s when a ~group of flautists met regularly in a tavern, hence ~the `Gentlemen's
Concerts'). The [cf2]Concert Spirituel[cf1] ~was founded in Paris, [sm1725[nm, b
ut `progressive' ~works were given at the [cf2]Concert des Amateurs[cf1], ~cond.
 [fy45,1]*[fy75,1]Gossec, which in [sm1780[nm became the [cf2]Concert ~de la Log
e Olympique[cf1] (because the venue was also a ~Masonic Lodge). In [sm1786[nm th
is organization com~~missioned [sm6[nm syms.=mthe `Paris' syms.=mfrom ~Haydn. In
 Vienna there was so much mus. in ~private houses or in the ths. that no regular
 ~concerts were given until [sm1782[nm (in the open air: ~Mozart played at them)
.[cm~Concertant(e)[fy75,1] (Fr.). In concerted form; a term ~preferred to sonata
 or suite by Stravinsky to ~describe the nature of his [cf2]Duo Concertant[cf1]
for vn. ~and pf. ([sm1932[nm).[cm~Concertante[fy75,1] (It.). ([sm1[nm) In the na
ture of a conc., ~thus a [cf2]Sinfonia Concertante[cf1] is a work for solo ~inst
r(s). and orch. in a form nearer to that of sym. ~than conc.[ep~
^([sm2[nm) The concertante instr. in the old [fy45,1]*[fy75,2]concerto ~grosso[c
f1] were those which played the solos, as ~distinct from the [cf2]ripieno[cf1] i
nstr., which played in ~the [cf2]tuttis[cf1]. Many [sm20[nmth-cent. composers ha
ve used ~the term to indicate that while a solo instr(s).[fj~is/are used, the wo
rk is not formally organized ~like a conc.[cm~Concertata, Aria. [fy75,1]See [cf2
]Aria.[cm~Concertato[fy75,1] (It.). Concerted. Another name for ~the [cf2]concer
tino[cf1] or [cf2]concertante[cf1] group in baroque ~mus. which contained the so
lo instrs. or vv. to ~contrast with the [cf2]ripieno.[cm~Concert Band. [fy75,1]A
n Amer. band, comprising ~woodwind, brass, and perc., similar to the Brit. ~mili
tary band. Schoenberg's [cf2]Theme and Variations[cf1] ~Op. [sm43[nma ([sm1943[n
m) is for concert band, so is ~Hindemith's Sym. in B;Yh ([sm1951[nm).[cm~Concert
ed. [fy75,1]A perf. of mus. by [sm2[nm or more ~instrumentalists on reasonably e
qual terms. In ~opera an ens. is sometimes called a `concerted ~
number'.[cm~Concert Flute. [fy75,1]([sm1[nm) Org. stop, sometimes on ~principle
of [fy45,1]*[fy75,2]Harmonic Flute[cf1]: usually on Solo ~Manual; generally [sm4
[nm;Po pitch.[ep~^([sm2[nm) See [cf2]Flute.[cm~Concertgebouw Orchestra of Amster
dam. ~[fy75,1]Dutch sym. orch. which plays in the Concertge~~bouw (Dutch, `conce
rt building') built Amster~~dam, [sm1888[nm, though the Concertgebouw Soc. was ~
founded [sm5[nm years earlier. The first cond. was ~Willem [fy45,1]*[fy75,1]Kes,
 but the orch. became internation~~ally famous under his successor [fy45,1]*[fy7
5,1]Mengelberg, ~cond. [sm1895[nm to [sm1945[nm. Conds. since then have incl. ~E
duard van [fy45,1]*[fy75,1]Beinum [sm1945[nm=n[sm59[nm, Bernard [fy45,1]*[fy75,1
]Haitink ~and Eugen [fy45,1]*[fy75,1]Jochum jointly [sm1961[nm=n[sm4[nm, Haitink
 ~since [sm1964[nm.[cm~Concertina. [fy75,1]Small instr. with bellows similar to
~[fy45,1]*[fy75,1]accordion but with hexagonal ends and studs ~(no kbd.). The be
llows are opened and closed by ~the hands, the pressure created
causing metallic ~reeds to vibrate when selected by operation of the ~studs by t
he player's fingers. Made in SATB sizes, ~each with range of approx. an octave.
Said to have ~been invented by Charles Wheatstone, [sm1829[nm. First ~to play it
 at a public concert was Giulio Regondi ~([sm1822[nm=n[sm72[nm), who lived in En
g. from [sm1831[nm and ~toured Europe as concertina player [sm1846[nm. He ~wrote
 [sm2[nm concs. and shorter pieces for it.[cm~Concertino. [fy75,1]([sm1[nm, in o
lder usage) The solo instr. ~group in the Concerto Grosso (see also [cf2]Concert
ante[cf1]; ~[cf2]Concerto[cf1]).[ep~^([sm2[nm, in more modern usage) A shorter a
nd lighter ~conc. for solo instr. and orch., e.g. Weber's cl. ~concertino, Op. [
sm26[nm.[cm~Concertino Pastorale. [fy75,1]Work for str. orch. in [sm3[nm ~moveme
nts by John Ireland, comp. [sm1939[nm for ~Boyd Neel Orch. Movements entitled [c
f2]Eclogue, ~Threnody, [cf1]and [cf2]Toccata.[cm~Concertmaster[fy75,1] (Amer.; G
er. [cf2]Konzertmeister[cf1]). The ~[fy45,1]*[fy75,1]leader of a
n orch.[cm~Concerto[fy75,1] (It.). Concert, concerted performance. ~A work in wh
ich a solo instr(s). is contrasted and ~blended with the orch. Earliest publicat
ion using ~name `concerto' is [cf2]Concerti di Andrea et di Gio. ~Gabrieli[cf1]
(Venice, [sm1587[nm). Viadana's [cf2]Cento Concerti ~ecclesiastici[cf1], comp. i
n the [sm1590[nms, developed into ~church concs. ([cf2]concerti da chiesa[cf1])
and there were ~also in the [sm17[nmth cent. vocal [cf2]concerti da camera ~[cf1
](chamber concs.) which were adapted as purely ~instr. works by [fy45,1]*[fy75,1
]Torelli. Monteverdi's Book [sm7[nm of ~madrigals is called [cf2]Concerto[cf1].
From Torelli came ~the [fy45,1]*[fy75,2]concerto grosso[cf1] as comp. by [fy45,1
]*[fy75,1]Corelli and ~[fy45,1]*[fy75,1]Handel. But the conc. for an individual
player ~as opposed to a [cf2]concertino[cf1] group was developed by ~J. S. Bach
in his hpd. concs., but note that his ~[cf2]Italian Concerto[cf1] is written for
 a single performer ~(though the effect of contrast is supplied
by the ~effective use of the [sm2[nm manuals). Handel's organ ~concs. were also
an important development, he ~being among the first to provide a [fy45,1]*[fy75,
1]cadenza in ~which the soloist could display his skill by ~extemporization. Moz
art est. the style of the ~modern instr. conc., composing nearly [sm50[nm for ~v
arious instr. combinations. Concs. are usually in ~[PN158,0,0,L,I0][sm3[nm movem
ents, but there are many exceptions. A ~significant change since the [sm19[nmth
cent. has been ~for the composer to write out the cadenzas and ~sometimes (e.g.
Elgar's Vn. Conc.) to acc. them ~with the orch. Thus the conc. has grown accordi
ng ~to the increasing virtuosity of soloists. See also ~[cf2]Concerto for Orches
tra.[cm~Concert of Ancient Music[fy75,1], also known as ~`Ancient Concert', or `
King's Concert'. London ~series under royal and aristocratic management, ~[sm177
6[nm=n[sm1849[nm, with attempts at revival in [sm1867[nm and ~[sm1870[nm. No mus
. less than [sm20[nm years old in ~programmes. (Not to be confus
ed with Academy ~of Ancient Music.)[cm~Concerto for Orchestra. [fy75,1]A comp. l
ike a conc. ~but not for one particular soloist, though individ~~ual members or
sections of the orch. may have ~important solo (concertante) roles. The form is
a ~[sm20[nmth-cent. development. Famous examples are by ~Bart;Aaok, Tippett, Kod
;Aaaly, Gerhard, Lutos;Umawski, ~Petrassi, and others.[cm~Concerto Grosso[fy75,1
] (It.). Great concerto. Early form ~of [fy45,1]*[fy75,1]concerto at its zenith
in the [sm17[nmth and [sm18[nmth ~cents., though the term has been used by [sm20
[nmth-~cent. composers, e.g. Bloch, Schoenberg, and ~Vaughan Williams, for works
 based on earlier ~models. The works were antiphonal, i.e. a small ~body of str.
 ([cf2]concertino, concertato, [cf1]or [cf2]concertante[cf1]) ~was heard in alte
rnation, contrast and combina~~tion with a larger group ([cf2]ripieno[cf1]). The
se were in ~several movements, roughly similar to the [sm18[nmth-~cent. ov. or s
uite. The most celebrated early ~concerti grossi are those by [f
y45,1]*[fy75,1]Corelli ([sm1712[nm) ~([cf2]Concerti grossi con duoi violini e vi
oloncello di ~concertino obbligati[cf1]) and those by Handel ([sm1740[nm). ~J.|S
. Bach's [fy45,1]*[fy75,2]Brandenburg Concertos[cf1] Nos. [sm2[nm, [sm4[nm, and
~[sm5[nm are traditional concerti grossi.[cm~Concert Overture. [fy75,1]An indepe
ndent [sm1[nm-movement ~orch. work to open a concert, but not the ov. to ~an ope
ra. Many concert ovs. are in sonata-form, ~others are practically symphonic-poem
s, e.g. one ~of the first of the genre, Mendelssohn's [cf2]The ~Hebrides[cf1], a
nd among later examples, Elgar's ~[fy45,1]*[fy75,2]Cockaigne[cf1] and [fy45,1]*[
fy75,2]In the South.[cm~Concert Pitch. [fy75,1]([sm1[nm) The [fy45,1]*[fy75,1]pi
tch internationally ~agreed in [sm1960[nm by which the note a;po has [sm440[nm ~
vibrations per second, but see [cf2]A[cf1].[ep~^([sm2[nm) One speaks of someone
being at `concert ~pitch', meaning keyed-up and alert, on top form.[cm~Concert S
pirituel[fy75,1] (Fr. `Sacred concert'=+=+). Series of ~concerts
 founded in Paris in [sm1725[nm by A. D. ~Philidor, the oboist, to perform sacre
d works and ~instrumental mus. Later secular works with Fr. ~texts were permitte
d. Twenty-four concerts a year ~were given during periods, e.g. Lent, when other
 ~perfs. were forbidden. Ended in [sm1790[nm.[cm~Concertst;auuck. [fy75,1]See [c
f2]Konzertst;auuck.[cm~Concierto de Aranjuez[fy75,1] (Aranjuez Concerto). ~Conc.
 for guitar and orch. by Rodrigo, comp. ~[sm1939[nm, f.p. Barcelona [sm1940[nm.
Arr. for harp and orch. ~by composer.[cm~Concord[fy75,1] (Consonance). Chord whi
ch seems ~satisfactory in itself, or an interval that can be so ~described, or a
 note which is part of such a chord ~or interval. The opposite is [fy45,1]*[fy75
,1]discord (dissonance). ~What constitutes a concord is not strictly laid ~down
and must often depend on individual ~assessment. However, concordant intervals c
om~~prise all perfect intervals and all major and minor ~[sm3[nmrds and [sm6[nmt
hs.[cm~Concordant Intervals. [fy75,1]See [cf2]Interval[cf1].[cm~
Concord Sonata. [fy75,1]Work for pf., with solos for va. ~and fl., by [fy45,1]*[
fy75,1]Ives, full title [cf2]Sonata No. [sm2[nm (Concord ~Mass., [sm1840[nm=n[sm
1860[nm)[cf1]. Comp. [sm1911[nm=n[sm15[nm. F.p. New ~Orleans [sm1920[nm. Movemen
ts are entitled [sm1[nm. [cf2]Emerson[cf1], ~[sm2[nm. [cf2]Hawthorne[cf1], [sm3[
nm. [cf2]The Alcotts[cf1], [sm4[nm. [cf2]Thoreau[cf1], in honour ~of the Concord
 group of writers whom Ives ~admired. Early example of use of [fy45,1]*[fy75,1]c
lusters.[cm~Concrete Music. [fy75,1]See [cf2]Musique Concr;agete.[cm~Conducting.
 [fy75,1]The art (or method) of controlling ~an orch. or operatic perf. by means
 of gestures, ~this control involving the beating of time, ~ensuring of correct
entries, and the `shaping' of ~individual phrasing. (For a discussion of the ~hi
story of the use of the baton see under that ~entry.) The advance of the cond. a
s one of the ~most important and idolized of musicians dates ~from early in the
[sm19[nmth cent. and is parallel with ~(and perhaps a consequenc
e of=+=+=+) the development ~of the expressive, Romantic elements in mus. ~Fran;
Alcois [fy45,1]*[fy75,1]Habeneck, conductor at Paris Op;Aaera ~[sm1824[nm=n[sm47
[nm, also founded in [sm1828[nm the Soci;Aaet;Aae des ~Concerts du Conservatoire
 at which he introduced ~Beethoven's syms. to Paris and cond. Berlioz's ~works,
but he never used a full score, conducting ~from a copy of the first vn. part (a
nd presumably ~from a memory of the full score). Berlioz himself ~was one of the
 first to conduct from a full score, ~and Spohr, one of the best of the early `m
odern' ~conds., probably used a pf. reduction since he is ~credited with the inv
ention of `cue' letters and ~nos. in scores as aids to rehearsal. Mendelssohn ~w
as an excellent cond., not only of his own mus. ~Perhaps the first virtuoso cond
. as the term is ~now understood was Wagner. From him stems ~the great tradition
 of `interpretation', whereby a ~cond. is not merely responsible for the technic
al ~excellence of the perf. but also for projecting his ~persona
l attitude to the composer's intentions. ~He was followed by [fy45,1]*[fy75,1]B;
Auulow, Anton Seidl, ~Hermann Levi, Hans Richter, Franz W;Auullner, ~Felix Mottl
, and others. After Wagner came a trio ~of composer-conds., Mahler, R. Strauss,
and ~Weingartner, who dominated European mus. ~until the coming of Furtw;Auangle
r, Walter, Klem~~perer, Kleiber, Krauss, and many besides, the ~most illustrious
 being Toscanini. The first English ~conds. to win wide acceptance were Frederic
 ~Cowen, Henry Wood, and Thomas Beecham. ~[PN159,0,0,R,I0]With the development o
f recording, conducting ~ceased to be an ephemeral calling=mthe interpret~~ation
s were preserved and can be studied and ~compared. There is no explanation, beyo
nd the ~obvious one of psychological personality, for the ~way in which a cond.
can, often with a minimum ~of rehearsal, impose his own style on an orch. he ~ma
y not have encountered before, often com~~pletely changing the quality of sound
or tone-~colour even when the orch. is used to regular ~perf. un
der another permanent cond. Nor is there ~an explanation why some (not all) cond
s. differ ~vastly in their artistic approach to the recording-~studio and the pu
blic hall.[ep~^There are many examples of long assoc. between ~a cond. and an or
ch., e.g. Amsterdam Concert~~[chgebouw (Mengelberg), Suisse Romande (Anser~~[chm
et), Boston S.O. (Koussevitzky), Philadelphia ~[ch(Ormandy), Chicago (Stock), Ha
ll;aae (Barbirolli), ~[chCleveland (Szell), NBC (Toscanini), Berlin Phil. ~[ch(F
urtw;auangler and Karajan).[cm~Conductus. [fy75,1]Metrical Latin song, sacred or
 secular, ~originating in France in [sm12[nmth cent. Superseded in ~[sm13[nmth c
ent. by motet. Usually for [sm2[nm or [sm3[nm vv.[cm~Confessions of a Justified
Sinner. [fy75,1]Opera in [sm3[nm ~acts by Thomas [fy45,1]*[fy75,1]Wilson to lib.
 by John Currie, ~after novel by James Hogg ([sm1824[nm). Prod. York ~(Scot. Ope
ra) [sm1976[nm, cond. Norman Del Mar.[xm[cm~[ol0][ep~[xp[te~

[do35][j99]~~~~~~[sm153842[nm_CB[sm3[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmCB[sm3[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm24[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm445[nm[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~[ap[j1]Conjunct Motio
n. [fy75,1]See [cf2]Motion.[cm~Conlon, James[fy75,1] ([cf2]b[cf1] NY, [sm1950[nm
). Amer. cond. Studied ~Juilliard Sch., NY. While student, cond. [cf2]Boris ~God
unov[cf1] at Spoleto Fest., Italy. D;aaebut NY Met. ~[sm1976[nm=n[sm7[nm season;
 CG d;aaebut [sm1979[nm ([cf2]Don Carlos[cf1]). ~Cond. Rotterdam P.O. from [sm19
83[nm.[cm~Connolly, Justin [fy75,1](Riveagh) [cf1]([cf2]b[cf1] London, [sm1933[n
m). ~Eng. composer. Studied RCM with Fricker and ~Boult. Prof. of theory and com
p. RCM since [sm1966[nm. ~Taught at Yale Univ. [sm1963[nm=n[sm6[nm. Comps. incl.
 [cf2]The ~Marriage of Heaven and Hell[cf1] (Blake) for soloists, ~ch., and orch
.;[cf2] Antiphonies[cf1] for [sm36[nm players; [cf2]Cinque~~paces[cf1] (brass qu
intet); [cf2]Poems of Wallace Stevens I[cf1] for ~sop. and [sm7[
nm players ([sm1967[nm), [cf2]II[cf1] for sop., cl., and pf. ~([sm1970[nm); [cf2
]Rebus[cf1] for orch. ([sm1970[nm); [cf2]Anima[cf1], va. and ~orch. ([sm1974[nm)
; [cf2]Diaphony[cf1], org. and orch. ([sm1977[nm); ~various chamber works under
titles [cf2]Triad[cf1] and ~[cf2]Tesserae[cf1]; [cf2]Ceilidh[cf1], for [sm4[nm v
n. ([sm1976[nm); [cf2]Regeneration[cf1], ~ch. and brass ([sm1977[nm); [cf2]Sesti
na B[cf1], hpd., fl., ob., cl., ~vn., and vc. ([sm1972[nm, rev. [sm1978[nm);  [c
f2]Sentences [cf1](Traherne), ~ch., brass, org. ([sm1979[nm); [cf2]Chimaera[cf1]
, dancer, alto, bar., ~ch., pf., perc., and vc. ([sm1979[nm, rev. [sm1981[nm); [
cf2]Obbligati ~V[cf1], vn., va., vc., str. ([sm1981[nm); [cf2]Tesserae[cf1] F, s
olo bass cl. ~([sm1981[nm); [cf2]Fourfold from the Garden Forking Path, [cf1][sm
2[nm ~pf. ([sm1983[nm); [cf2]Annead, Night Thoughts[cf1], pf. ([sm1983[nm); ~Bra
hms's [cf2]Variations on a Theme of R. Schumann[cf1], ~Op. [sm23[nm, arr. for [s
m9[nm wind instr. ([sm1983[nm).[cm~Conradi, August[fy75,1] ([cf2
]b[cf1] Berlin, [sm1821[nm; [cf2]d[cf1] Berlin, [sm1873[nm). ~Ger. composer, con
d., and organist. Friend of ~Liszt at Weimar where he helped him in ~preparation
 of his early orch. scores. Kapellmeister ~at Berlin (twice), Stettin, D;auussel
dorf, and Cologne. ~Comp. [sm5[nm syms., str. qts., vaudevilles, and [sm8[nm ope
ras ~(incl. [cf2]R;auubezahl[cf1], [sm1846[nm).[cm~Consecration of the House, Th
e[fy75,1] ([cf2]Die Weihe des ~Hauses[cf1]). Title of Ger. play by C. Meisl perf
. at the ~opening of the Josephstadt Th., Vienna, [sm1822[nm. ~Beethoven comp. a
n ov. in C major, Op. [sm124[nm, and ~an item of incidental mus. Since the play
was an ~adaptation of Kotzebue's play [cf2]Die [fy45,1]*[fy75,2]Ruinen von ~Athe
n[cf1] for which he had comp. incidental mus. in ~[sm1811[nm, Beethoven rearr. h
is mus. for that for [cf2]Die ~Weihe des Hauses[cf1], but wrote a new ov.[cm~Con
secutive. [fy75,1]Applied to harmonic intervals of ~the same size which succeed
one another in the ~same parts or vv. Academic condemnation was
~reserved for [cf2]consecutive fifths[cf1] and [cf2]consecutive octaves[cf1]. ~I
n both intervals, the component notes are in the ~closest relationship to each o
ther so that if they ~are used consecutively, they may both sound as ~one. Many
[sm20[nmth-cent. composers use consecutive ~[sm5[nmths to splendid effect. [cf2]
Hidden fifths[cf1] are consecutive ~[sm5[nmths believed to be implied, i.e. the
progression ~in similar [fy45,1]*[fy75,1]motion of two parts to a perfect [sm5[n
mth ~(or octave) from such an interval in the same [sm2[nm ~parts in the previou
s chord, so that it may be ~imagined there is also an intermediate [sm5[nmth (or
 ~octave).[cm~Conservatory[fy75,1] (Fr. [cf2]Conservatoire[cf1], Ger. [cf2]Konse
rvato~~rium[cf1]). School of mus. training and instruction. ~Name derived from I
t. [cf2]conservatorio[cf1], a sch. in ~Naples, Venice, and elsewhere where child
ren ~were `conserved' and educated in mus. and other ~matters.[cm~Consolations.
[fy75,1][sm6[nm pieces (nocturnes) for solo pf. by ~Liszt, comp.
 [sm1849[nm=n[sm50[nm. The best-known is No. [sm3[nm.[cm~Console. [fy75,1]All th
at part of the machinery of an org. ~which is in front of and on each side of th
e player ~and by which he operates, i.e. the manuals, pedal ~board, mus. stand,
stop handles, swell pedals, ~composition pedals, pistons, and levers, etc.[cm~Co
n sordino [fy75,1](It.). With [fy45,1]*[fy75,1]mute.[cm~Consort. [fy75,1]An old
spelling of `concert', meaning a ~concerted perf. by any body of performers. A ~
[cf2]Whole Consort[cf1] was one in which all the instr. were ~of one family; a [
cf2]Broken Consort[cf1] one in which there ~was a mixture.[cm~Constant, Marius[f
y75,1] ([cf2]b[cf1] Bucharest, [sm1925[nm). Romanian-~born composer and cond. li
ving in Fr. Educated ~Bucharest Cons. and Paris Cons. Studied comp. ~with Messia
en, Boulanger, and Honegger. Pres. ~and mus. dir. Ars Nova [sm1963[nm=n[sm71[nm,
 a Paris orch. for ~perf. of modern mus. Mus. dir., Fr. Radio, [sm1953[nm, ~[sm1
963[nm=n[sm7[nm. Comps. incl. [sm24[nm [cf2]Preludes[cf1] for or
ch. ([sm1958[nm); ~[cf2]Turner[cf1], [sm3[nm Essays for orch. ([sm1961[nm); [cf2
]Chants de ~Maldoror[cf1] ([sm1962[nm) for dancer-cond., narrator, [sm23[nm ~imp
rovisers, [sm10[nm vc.; [cf2]Paradise Lost[cf1] (ballet by Roland ~Petit) ([sm19
67[nm); [cf2]Chaconne et Marche Militaire[cf1] for ~orch. ([sm1968[nm); [cf2][sm
14[nm Stations[cf1] for perc. ([sm1970[nm); [cf2]Equal[cf1] ~for [sm5[nm percuss
ionists ([sm1970[nm); [cf2]Strings[cf1], [sm12[nm str. and ~elec. guitar ([sm197
2[nm); [cf2]Faciebat anno [sm1972[nm[cf1], orch. ~[PN160,0,0,L,I0]([sm1972[nm);
[cf2]Piano personnage[cf1], ens. ([sm1973[nm); [cf2]For Clarinet[cf1] ~([sm1974[
nm); [cf2]Le jeu de Ste Agnes[cf1], stage ([sm1974[nm).[cm~Construction in Metal
. [fy75,1][sm3[nm works by [fy45,1]*[fy75,1]Cage for ~perc. instr., No. [sm1[nm
for sextet ([sm1939[nm), Nos. [sm2[nm and [sm3[nm ~([sm1940[nm and [sm1941[nm) f
or qt.[cm~Consul, The. [fy75,1]Opera in [sm3[nm acts by Menotti to his ~own lib.
 Prod. Philadelphia [sm1950[nm, London [sm1951[nm. ~Deals with p
light of refugees in modern totalitar~~ian state. The consul, who never appears,
 repre~~sents bureaucratic red tape.[cm~Conte[fy75,1] (Fr.). Tale. Sometimes use
d as title for ~picturesque piece of instr. mus.[cm~Contes d'Hoffmann, Les [fy75
,1](Offenbach). See [cf2]Tales of Hoffmann, ~The.[cm~Conti, Francesco Bartolomeo
[fy75,1] ([cf2]b[cf1] Florence, [sm1681[nm; ~[cf2]d[cf1] Vienna, [sm1732[nm). It
. composer and theorbist. ~Appointed to court of Vienna [sm1701[nm. Comp. ~orato
rios, serenades, over [sm50[nm cantatas, and [sm30[nm ~operas incl. one on Don Q
uixote (Vienna [sm1719[nm).[cm~Continuo. [fy75,1]See [cf2]Basso continuo.[cm~Con
tra-[fy75,1] ([cf2]Kontra-, Contre-[cf1]). Respectively It., Ger., ~and Fr. pref
ixes to names of instr. signifying ~lower in pitch (by about an octave). Thus ~[
cf2]contrebasse[cf1] is Fr. for db., [cf2]contrebasson[cf1] Fr. for double-~bn.
In mus. It. these are [cf2]contrabasso[cf1] and [cf2]contrafa~~gotto[cf1], thoug
h in correct modern It. they should ~be [cf2]contrabbasso[cf1] a
nd [cf2]controfagotto[cf1]. The Eng. [cf2]contra~~bass[cf1] is another name for
a bass viol. To use it as ~the trans. of [cf2]contrabasso[cf1] is not strictly c
orrect since ~the correct counterpart of the prefix is `counter-'. ~But no one w
ould know what you were talking ~about if you said `counterbassoon', since the E
ng. ~term is `double-bassoon' and the Amer. `contra~~[chbassoon'.[cm~Contradanza
. [fy75,1]See [cf2]Country Dance.[cm~Contraltist. [fy75,1]A [fy45,1]*[fy75,1]cas
trato with a v. of cont. range.[cm~Contralto [fy75,1](It.). The lowest of the ra
nges of female ~v., with a normal range g=ne;Pp. Originally term ~meant a male s
inger, falsetto or castrato, being ~derived from `contr' alto', abbrev. of contr
atenor ~altus.[cm~Contrapunctus. [fy75,1]Made-up Latin for [fy45,1]*[fy75,1]coun
ter~~point and used by J. S. Bach instead of `fugue' as a ~heading for the movem
ents of his [cf2]Die [fy45,1]*[fy75,2]Kunst der ~Fuge.[cm~Contrapuntal. [fy75,1]
The adjective of [fy45,1]*[fy75,1]Counterpoint.[cm~Contrary Moti
on. [fy75,1]See [cf2]Motion.[cm~Contrasts. [fy75,1]Work for vn., cl., and pf. in
 [sm2[nm ~movements by Bart;Aaok, comp. [sm1938[nm for jazz ~clarinettist Benny
Goodman who, with Szigeti ~and Endre Petri, gave f.p. NY [sm9[nm Jan. [sm1939[nm
. The ~violinist uses [sm2[nm instr., the [sm2[nmnd being tuned G;Yi,-~D,-A,-E;Y
h ([fy45,1]*[fy75,2]scordatura[cf1]) for [sm30[nm bars.[cm~Contredanse. [fy75,1]
See [cf2]Country Dance.[cm~Converse, Frederick Shepherd[fy75,1] ([cf2]b[cf1] New
ton, ~Mass., [sm1871[nm; [cf2]d[cf1] Westwood, Mass., [sm1940[nm). Amer. ~compos
er. Studied comp. with [fy45,1]*[fy75,1]Rheinberger in ~Munich, a Sym. in D mino
r being played at his ~graduation. His [sm1[nm-act opera [cf2]The Pipe of Desire
[cf1] ~(Boston [sm1906[nm) was first Amer. opera to be staged ~at NY Met. ([sm19
10[nm). Wrote several more operas, [sm6[nm ~syms., orch. pieces incl. [cf2]The [
fy45,1]*[fy75,2]Mystic Trumpeter[cf1] ~([sm1904[nm), and [cf2]Flivver Ten Millio
n[cf1] ([sm1926[nm), a fantasy to ~celebrate the manufacture of
the [sm10[nm millionth ~Ford car, vn. conc. ([sm1902[nm), choral works, chamber
~mus., and pf. works.[cm~Cook, [fy75,1](Alfred) [fy65][cf3]Melville [fy75,1]([cf
2]b[cf1] Gloucester, [sm1912[nm). ~Eng. organist. Pupil of Sumsion; ass. organis
t, ~Gloucester Cath. [sm1932[nm; organist, Leeds Parish ~Church [sm1937[nm=n[sm5
6[nm, Hereford Cath. [sm1956[nm=n[sm66[nm; cond. ~Winnipeg Phil. Choir [sm1966[n
m=n[sm7[nm. On mus. staff=+=+ ~McMaster Univ., Hamilton, Ont., from [sm1973[nm.[
cm~Cook, Brian Rayner[fy75,1] ([cf2]b[cf1] London, [sm1945[nm). Eng. bar. ~Studi
ed RCM. Recital d;aaebut, London [sm1970[nm. ~Specializes in oratorio, songs, et
c.[cm~Cooke, Arnold [fy75,1](Atkinson)[cf1] ([cf2]b[cf1] Gomersal, Yorks.,[fj[sm
1906[nm). Eng. composer. Studied Cambridge Univ. ~[sm1925=n9[nm and with Hindemi
th at Berlin Hoch-[fj~schule f;auur Musik [sm1929=n32[nm. Prof. of harmony[fj~an
d comp. RMCM [sm1933[nm=n[sm8[nm and at TCL from[fj~[sm1947[nm. Comps. incl.:[xm
[cm~[j2][smoperas[nm: [fy75,2]Mary Barton [cf1]([sm1949[nm=n[sm5
4[nm); [cf2]The Invisible Duke[cf1] ~([sm1[nm act), ([sm1975=n6[nm).[ep~[cf1][sm
ballet[nm: [cf2]Jabez and the Devil [cf1]([sm1959[nm=n[sm60[nm).[ep~[cf1][smorch
[nm: [sm6[nm syms. ([sm1946[nm=n[sm7[nm, [sm1963[nm, [sm1967[nm=n[sm8[nm, [sm197
3[nm=n[sm4[nm,[fj~[sm1978=n9, 1983=n4[nm), ob. conc. ([sm1954[nm), [sm2[nm cl. c
oncs.[fj([sm1955, 1981=n2[nm), vn. conc. ([sm1958[nm), vc. conc. ~([sm1974[nm).[
ep~[smchamber music[nm: [sm4[nm str. qts.; [sm2[nm vc. sonatas ([sm1941, ~1979=n
80[nm), ob. qt. ([sm1948[nm), str. trio ([sm1950[nm), vn. ~sonata No. [sm1[nm ([
sm1938[nm), No. [sm2[nm ([sm1951[nm), ob. sonata ~([sm1957[nm), cl. sonata ([sm1
959[nm), hn. quintet (also exists ~as hn. trio) ([sm1956[nm), [cf2]Concertante Q
uartet[cf1], [sm4[nm cl. ~([sm1976[nm).[ep~[smvoices[nm: [cf2][sm5[nm Part-Songs
[cf1] ([sm1959[nm), [cf2]Song on May Morning[cf1] ~([sm1966[nm), [cf2]The Sea Me
w[cf1], song-cycle for bar., fl., ob., ~str. qt. ([sm1980[nm).[ep~[smorgan[nm: S
onata No. [sm1[nm ([sm1971[nm), No. [sm2[nm ([sm1980[nm).[cm~[j1
]Cooke, Deryck [fy75,1](Victor)[cf1] ([cf2]b[cf1] Leicester, [sm1919[nm; [cf2]d[
cf1] ~Croydon, [sm1976[nm). Eng. critic, broadcaster, and ~musicologist. Studied
 music Cambridge Univ. ~under Hadley and Orr, [sm1938[nm=n[sm40[nm, [sm1946[nm=n
[sm7[nm. On ~BBC staff [sm1947[nm=n[sm59[nm and after [sm1965[nm. Wrote ~importa
nt book, [cf2]The Language of Music[cf1]. Made ~perf. version from chaotic MS. s
core of [fy45,1]*[fy75,1]Mahler's ~[sm10[nmth Sym. (f.p. [sm1964[nm, rev. [sm197
2[nm). Authority on ~Bruckner, Delius, and Wagner (esp. [cf2]The Ring, [cf1]firs
t ~part of his projected study of which was ~posthumously pubd. in [sm1979[nm, a
s [cf2]I Saw the World ~End[cf1]).[cm~Cooke, Henry[fy75,1] ([cf2]b c.[cf1][sm161
6[nm; [cf2]d[cf1] Hampton Court, ~[sm1672[nm). Eng. bass singer and choirmaster.
 Choirboy ~in Chapel Royal; later joined the royalist forces ~and became captain
; at Restoration returned to ~[PN161,0,0,R,I0]Chapel Royal as Master of the Chil
dren, among ~whom were Pelham Humfrey, John Blow, and ~Henry Pur
cell. Was favourably known not only ~as their teacher but as composer for stage
and ~church, as actor and as singer.[cm~Coolidge, Elizabeth Sprague[fy75,1] ([cf
2]b[cf1] Chicago, [sm1864[nm; ~[cf2]d[cf1] Cambridge, Mass., [sm1953[nm). Amer.
pianist, com~~poser, and patron of mus. Founder of chamber ~mus. fests. (Pitsfie
ld, Mass.; then Washington ~D.C.). Coolidge Foundation ([sm1925[nm) was founded
~to sponsor the fests. and to commission works ~from leading [sm20[nmth-cent. co
mposers (e.g. Stravin~~sky, Bart;aaok, Pizzetti, Prokofiev, Dallapiccola, ~Crumb
). Gave generous private sponsorship to ~Schoenberg and Frank Bridge.[cm~Cooper,
 Emil[fy75,1] ([cf2]b[cf1] Kherson, Russia, [sm1877[nm; [cf2]d[cf1] NY, ~[sm1960
[nm). Russ.-born cond. Studied Odessa, Vienna ~(Hellmesberger), Moscow (Taneyev)
. D;aaebut ~Odessa [sm1896[nm, Kiev [sm1900[nm. Cond. f.p. of Rimsky-~Korsakov's
 [cf2]The [fy45,1]*[fy75,2]Golden Cockerel[cf1], Moscow [sm1909[nm, ~and its f.p
. in London [sm1914[nm. Cond. first Russ. ~perfs. of Wagner's [c
f2]Ring[cf1] and [cf2]Meistersinger[cf1]. Cond. ~for Diaghilev ballet, Paris [sm
1909[nm. Cond. Leningrad ~P.O. [sm1921[nm=n[sm2[nm. Left Russia [sm1922[nm. Cond
. at Chicago ~Opera [sm1929[nm=n[sm32[nm, and at NY Met. [sm1944[nm=n[sm50[nm, w
here ~he introduced Britten's [cf2]Peter Grimes.[cm~Cooper, Gerald [fy75,1](Melb
ourne)[cf1] ([cf2]b[cf1] London, [sm1892[nm; [cf2]d[cf1] ~London, [sm1947[nm). E
ng. musicologist and ten., who ~promoted concerts of old and modern mus. in ~Lon
don [sm1922[nm=n[sm30[nm and in later years. Ed. popular ~edn. of extracts from
Purcell. Hon. Sec., Royal ~Phil. Soc. [sm1929[nm=n[sm32[nm, and sometime chairma
n of ~Brit. section of I.S.C.M.[cm~Cooper, Imogen[fy75,1] ([cf2]b[cf1] London, [
sm1949[nm). Eng. pianist, ~daughter of Martin [fy45,1]*[fy75,1]Cooper. Studied w
ith ~Kathleen [fy45,1]*[fy75,1]Long until [sm1961[nm, then at Paris Cons. as ~pu
pil of Jacques Ferrier and Yvonne Lef;aaebure. ~Won a Premier Prix [sm1967[nm, t
hen studied with ~[fy45,1]*[fy75,1]Brendel. Won Mozart Prize [sm
1969[nm. Many solo ~recitals and concs. with leading orchs. Amer. ~d;aaebut Los
Angeles, [sm1984[nm.[cm~Cooper, John. [fy75,1]See [cf2]Coprario, Giovanni.[cm~Co
oper, Joseph[fy75,1] ([cf2]b [cf1]Bristol, [sm1912[nm). Eng. pianist. ~Studied w
ith Petri. Lecture-recitalist, also chair~~man of popular TV mus. quiz. Assisted
 Vaughan ~Williams in adapting pf. conc. to double pf. conc., ~[sm1946[nm.[cm~Co
oper, Martin [fy75,1](Du Pr;aae) [cf1]([cf2]b[cf1] Winchester, [sm1910[nm). ~Eng
. critic. Studied in Vienna with Egon Wellesz. ~Mus. critic of [cf2]Daily Telegr
aph [cf1][sm1950[nm=n[sm76[nm (chief critic ~from [sm1954[nm). Mus. critic [cf2]
London Mercury[cf1] [sm1935[nm=n[sm9[nm, ~[cf2]Daily Herald[cf1] [sm1946[nm=n[sm
50[nm. Ed., [cf2]Musical Times[cf1] [sm1952[nm=n~[sm5[nm. Author of books on Glu
ck, Bizet, French music, ~and Beethoven ([cf2]The Last Decade[cf1]). CBE [sm1972
[nm.[cm~Coperti[fy75,1] (It.). Covered. Term used of drums ~muted by being cover
ed with a cloth.[cm~Copla. [fy75,1]([sm1[nm) Sp. popular poem an
d song in short ~stanzas (see [cf2]Seguidilla[cf1]), sometimes extemporized.[ep~
^([sm2[nm) A solo movement in a [fy45,1]*[fy75,2]Villancico.[cm~Copland, Aaron[f
y75,1] ([cf2]b[cf1] Brooklyn, NY, [sm1900[nm). Amer. ~composer, pianist, and con
d., of Russ. parentage ~(name was originally Kaplan). First Amer. com~~poser who
se mus. was recognized outside USA as ~distinctively nat. Studied mus. theory in
 [sm1917[nm ~with Rubin [fy45,1]*[fy75,1]Goldmark but in [sm1921[nm went to Pari
s ~as Nadia [fy45,1]*[fy75,1]Boulanger's first full-time Amer. ~student. On retu
rn to USA, wrote Sym. for Organ ~and Orch. ([sm1923[nm=n[sm4[nm) for Mlle Boulan
ger's Amer. ~d;Aaebut as organist. F.p. in [sm1925[nm gained him ~notoriety as a
postle of dissonance, the cond. ~(Damrosch) remarking: `If he can write like tha
t ~at [sm23[nm, in [sm5[nm years he'll be ready to commit murder'. ~Led to a Bos
ton commission ([cf2]Music for the Theater[cf1], ~for orch., [sm1925[nm) from Ko
ussevitzky, who also ~cond. f.p. of pf. conc., [sm1927[nm. In bo
th works jazz ~elements were introduced to purge what Copland ~felt was the `too
 European' flavour of his mus. ~Abandoned jazz in [sm1930[nm, adopting a more au
stere ~style in the Pf. Variations ([sm1930[nm) and [cf2]Short ~Symphony[cf1] ([
sm1932[nm=n[sm3[nm). At the same time, concerned ~with widening gap between publ
ic and contem~~porary composers, wrote some works in a more ~accessible, popular
 style. Visited Mexico several ~times in the [sm1930[nms and in [sm1936[nm prod.
 his highly ~successful [cf2]El sal;Aaon M;Aaexico[cf1], orch. fantasy on popula
r ~Mexican tunes. Other works in this style incl. ~ballets [cf2]Billy the Kid[cf
1] ([sm1938[nm), [cf2]Rodeo[cf1] ([sm1942[nm), and ~[cf2]Appalachian Spring[cf1]
 ([sm1944[nm). In later years Copland ~has prod. little mus., preferring to cond
uct.[ep~^Copland has always worked hard on the ~promotional side of Amer. mus. a
s lecturer and ~teacher (head of the comp. faculty at Berkshire ~Mus. Center [sm
1940[nm=n[sm65[nm). He has toured the world ~as cond. and ambass
ador for his country's mus.; ~co-founded (with [fy45,1]*[fy75,1]Sessions) a seri
es of NY concerts ~of new Amer. works [sm1928[nm=n[sm31[nm, founded a ~publishin
g press, and was active with the League ~of Composers. In [sm1937[nm he founded
the Amer. ~Composers' Alliance. He received the Congres~~sional Medal of Honour
[sm1977[nm, Presidential Medal ~of Freedom [sm1964[nm, Gold Medal of Amer. Acad.
 ~[sm1956[nm, and Pulitzer Prize for Mus. [sm1944[nm. He has ~written several bo
oks. Prin. comps.:[xm[cm~[j2][smstage[nm: Ballets: [fy45,1]*[fy75,2]Billy the Ki
d[cf1] ([sm1938[nm); [fy45,1]*[fy75,2]Rodeo[cf1] ([sm1942[nm); ~[fy45,1]*[fy75,2
]Appalachian Spring[cf1] ([sm1944[nm). Opera: [cf2]The [fy45,1]*[fy75,2]Tender ~
Land[cf1] ([sm1952[nm=n[sm4[nm, rev. [sm1955[nm).[ep~[smorch[nm: Sym. for Organ
([sm1924[nm) (version without ~organ is Sym. No. [sm1[nm [sm1928[nm); [cf2]Music
 for the Theater ~[cf1]([sm1925[nm); Pf. Conc. ([sm1926[nm); [cf2]Symphonic Ode
[cf1]([sm1928[nm=n~[sm9[nm, rev. [sm1955[nm); [cf2]Short Symphon
y[cf1] (Sym. No. [sm2[nm) ~([sm1932=n3[nm); [cf2]Statements[cf1] ([sm1932=n5[nm)
; Suite: [fy45,1]*[fy75,2]Billy the ~Kid[cf1] ([sm1938[nm); [fy45,1]*[fy75,2]El
sal;aaon M;aaexico[cf1] ([sm1933[nm=n[sm6[nm); [fy45,1]*[fy75,2]Quiet ~City[cf1]
 ([sm1939[nm); Suite from film mus. [cf2]Our Town[cf1] ~([sm1940[nm); [cf2]A [fy
45,1]*[fy75,2]Lincoln Portrait[cf1] for speaker and orch. ~([sm1942[nm); [fy45,1
]*[fy75,2]Fanfare for the Common Man[cf1] ([sm1942[nm); ~[cf2]Music for the Movi
es[cf1] ([sm1942[nm); Suite, [fy45,1]*[fy75,2]Rodeo[cf1] ([sm1943[nm); ~Suite, [
fy45,1]*[fy75,2]Appalachian Spring[cf1] ([sm1945[nm); Sym. No. [sm3[nm ~([sm1944
[nm=n[sm6[nm); cl. conc. ([sm1947[nm=n[sm8[nm); [cf2]Orchestral Varia~~tions[cf1
] ([sm1957[nm, orch. version of Pf. Variations); ~[PN162,0,0,L,I0][cf2]Connotati
ons[cf1] ([sm1962[nm); [cf2]Music for a Great City[cf1] ([sm1964[nm); ~[cf2][sm3
[nm Latin-American Sketches[cf1] ([sm1972[nm); [cf2]Inscape[cf1] ([sm1967[nm).[e
p~[smchoral[nm: [cf2]The House on the Hill[cf1] ([sm1925[nm); [c
f2]In the ~Beginning[cf1], mez. and unacc. ch. ([sm1947[nm); [cf2]Canticle of ~F
reedom[cf1] ([sm1955[nm, rev. [sm1965[nm).[ep~[smchamber music[nm: [cf2]As it fe
ll upon a day[cf1], for sop., fl., ~and cl. ([sm1923[nm); [sm2[nm pieces for str
. qt. ([sm1923[nm and ~[sm1928[nm, also for str. orch.); [cf2]Vitebsk[cf1] (Stud
y on a ~Jewish Theme), pf. trio ([sm1928[nm); Vn. sonata ~([sm1943[nm); pf. qt.
([sm1950[nm); Nonet for str. ([sm1960[nm); [cf2]Duo[cf1] ~for fl. and pf. ([sm19
71[nm); [cf2]Threnody[cf1] (in memoriam ~Stravinsky), fl. qt. ([sm1971[nm).[ep~[
smpiano[nm: [cf2]The Cat and the Mouse[cf1] ([sm1920[nm); [cf2]Piano ~Variations
[cf1] ([sm1930[nm, orch. version [sm1957[nm); Sonata ~([sm1939[nm=n[sm41[nm); [c
f2]Fantasy[cf1] ([sm1952=n7[nm). Also pf. suites ~from [cf2]Billy the Kid[cf1] a
nd [cf2]Our Town.[ep~[ih0][cf1]Also songs, incl. [cf2][sm12[nm Poems of Emily Di
ckinson[cf1] ([sm1950[nm) ~and [cf2]Old American Songs[cf1] ([sm1950[nm=n[sm2[nm
), and film mus. ~incl. [cf2]Of Mice and Men[cf1] ([sm1939[nm),
[cf2]Our Town[cf1] ([sm1940[nm), ~[cf2]The Red Pony[cf1] ([sm1948[nm) and [cf2]T
he Heiress[cf1] ([sm1949[nm) ~(Hollywood `Oscar').[cm~[j1]Coppel[fy75,1] (Ger.).
 Coupler (organ).[cm~Copp;aaelia, ou La Fille aux yeux d';aaemail[fy75,1] ~([cf2
]Coppelia, or The Girl with enamel eyes[cf1]). Ballet in [sm3[nm ~acts with mus.
 by Delibes to lib. by Nuitter and ~Saint-L;Aaeon, choreog. Saint-L;aaeon, prod.
 Paris [sm1870[nm. ~Based on story by E. T. A. Hoffmann ([cf2]Der ~Sandmann[cf1]
). Many other choreographic versions.[cm~Coppola, Piero[fy75,1] ([cf2]b[cf1] Mil
an, [sm1888[nm; [cf2]d[cf1] Lausanne, ~[sm1971[nm). It. cond. and composer. Stud
ied Milan ~Cons. Int. career as conductor overshadowed his ~comps., somewhat lik
e [fy45,1]*[fy75,1]Casella's bolder style. ~They incl. [sm2[nm operas, sym., and
 chamber mus.[cm~Coprario, Giovanni[fy75,1] (=+=+=+John Cooper) ([cf2]b c.[cf1][
sm1575[nm; [cf2]d[cf1] ~London, [sm1626[nm). Eng. composer and viol player. ~Vis
ited It. [cf2]c.[cf1][sm1600[nm, changing name to Giovanni ~Copr
ario (or Coperario) and retaining this on ~return. Comp. str. fantasias, masques
, anthems, ~and suites. Taught mus. to Charles I and to the ~[fy45,1]*[fy75,1]La
wes brothers. His [cf2]Funeral Teares[cf1] ([sm1606[nm) and ~[cf2]Songs of Mourn
ing[cf1] ([sm1613[nm), [sm7[nm songs written at death ~of James I's eldest son,
Henry, are among earliest ~Eng. song-cycles. Some time before [sm1617[nm he ~wro
te his [cf2]Rules How to Compose[cf1]. Was in service of ~Cecil family.[cm~Copri
fuoco, coprifoco[fy75,1] (It.). Curfew. Occasional ~title for instr. comp., some
times with bell effect.[cm~Coq d'Or, Le [fy75,1](Rimsky-Korsakov). See [cf2]Gold
en Cockerel, The.[cm~Cor[fy75,1] (Fr.). Properly [fy45,1]*[fy75,1]horn but the t
erm forms a ~part of the name of several instr. which are not ~hns., e.g. [fy45,
1]*[fy75,2]cor anglais.[xm[cm~[ol0][ep~[xp[te~


[do19][j99]~~~~~~[sm153842[nm_CB[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmCB[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm481[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Cor anglais [
fy75,1](Fr.). English horn. Neither Eng., ~nor a hn., but an alto ob. pitched a
[sm5[nmth below ~oboe. A transposing instr., being written a [sm5[nmth ~higher t
han it sounds. Compass from e upwards ~for about [sm2[nm;FD octaves. The reed is
 inserted in a ~metal tube which is bent back. Invented by ~Ferlandis of Bergamo
 in [sm1760[nm. Not much used ~before [sm19[nmth-cent. Romantic composers, but t
here ~are several famous solos for it, e.g. Wagner's ~[cf2]Tristan und Isolde[cf
1], Act III; in slow movement of ~Franck's Sym., and in Sibelius's [cf2]The Swan
 of ~Tuonela[cf1]. Also organ reed stop of [sm8[nm;po pitch but ~sometimes [sm16
[nm;po.[cm~Corant, coranto. [fy75,1]See [cf2]Courante[cf1].[cm~Corda, Corde [fy7
5,1](It.). String, strings. ([sm1[nm, pf. mus.) ~[cf2]Una corda[
cf1], [sm1[nm string, i.e. use the `soft' pedal which ~causes the hammers (on a
pf.) to strike only [sm1[nm str. ~per note instead of [sm3[nm. Cancelled by term
 [cf2]tre corde ~[cf1]([sm3[nm str.) or [cf2]tutte le corde [cf1](all the str.).
 ([sm2[nm, Vn. mus., ~etc.) [cf2]Corda vuota[cf1], empty string, i.e. [fy45,1]*[
fy75,1]open string.[cm~Corde [fy75,1](Fr.). String.[cm~Corde ;aga jour, Corde ;a
ga vide [fy75,1](Fr.). [fy45,1]*[fy75,1]Open string.[cm~Cor de chasse [fy75,1](F
r.). Hunting horn. [sm17[nmth-cent ~brass instr. developed from combination of ~
tightly-coiled helical hn. and crescent-shaped hn.[cm~Cor de nuit [fy75,1](Fr.).
 Night-horn, i.e. watchman's ~horn. Org. flue stop; end-plugged; of [sm4[nm;po l
ength ~and [sm8[nm;po pitch; of very characteristic tone quality.[cm~Corder, Fre
derick [fy75,1]([cf2]b [cf1]London, [sm1852[nm; [cf2]d [cf1]London, ~[sm1932[nm)
. Eng. composer and teacher. Studied RAM ~and in Cologne with Hiller. Founded So
c. of Brit. ~Composers ([sm1905[nm=n[sm18[nm) to promote Brit. m
us. Prof. ~of comp. RAM for many years. Opera [cf2]Nordisa ~[cf1]prod. London [s
m1887[nm. Trans. into Eng. libs. of ~Wagner's [cf2]Ring, Tristan[cf1], [cf2]Lohe
ngrin, Die Meistersinger[cf1] ~and [cf2]Parsifal [cf1](helped by his wife).[cm~C
or des Alpes. [fy75,1]See [cf2]Alphorn[cf1].[cm~Cor d'harmonie [fy75,1](Fr.). Ho
rn, with or without ~valves.[cm~Corelli, Arcangelo [fy75,1]([cf2]b [cf1]Fusignan
o, nr. Milan, ~[sm1653[nm; [cf2]d [cf1]Rome, [sm1713[nm). It. violinist and comp
oser. ~Spent much of his youth in Fr. and Ger. as ~virtuoso violinist, returning
 to Rome [sm1682[nm: from ~[sm1684[nm was under patronage of Cardinal Pamphili,
~and from [sm1690[nm under that of Cardinal Ottoboni. ~Lived in cardinal's palac
e and died a rich man ~with a fine art coll. His importance as a composer ~lies
in his sonatas da camera and concerti grossi ~from which the solo sonata and the
 orch. concs. ~of Handel and Bach evolved. They are beautiful ~in themselves, no
tably the [fy45,1]*[fy75,1]Christmas Concerto. ~His works are gr
ouped under [sm6[nm opus nos.[ep~^[sm1[nm. [cf2][sm12[nm Sonatas a tre[cf1]; [sm
2[nm. [cf2][sm12[nm Sonatas da camera a tre[cf1]; ~[sm3[nm. [cf2][sm12[nm Sonata
s a tre[cf1]; [sm4[nm. [cf2][sm12[nm Sonatas da camera a tre[cf1]; ~[sm5[nm. [cf
2][sm12[nm Sonatas for vn. or vn. and cembalo [cf1](also arr. as ~[cf2]concerti
grossi [cf1]by [fy45,1]*[fy75,1]Geminiani). [sm6[nm. [cf2][sm12[nm Concerti ~gro
ssi[cf1].[cm~Corelli, Franco [fy75,1]([cf2]b [cf1]Ancona, [sm1921[nm). It. ten.
Studied ~Milan, Florence, and Spoleto. D;aaebut Spoleto [sm1951[nm ~as Don Jos;a
ae in [cf2]Carmen[cf1], Milan [sm1953[nm (with Callas), ~CG [sm1957[nm, NY Met.
[sm1961[nm. V. of heroic quality in ~roles such as Manrico ([cf2]Trovatore[cf1])
 and Calaf ~([cf2]Turandot[cf1]).[cm~[PN163,0,0,R,I0]Corelli, Variations on a Th
eme of. [fy75,1]Work for ~solo pf. by Rakhmaninov, Op. [sm42[nm, comp. and f.p.
~[sm1931[nm (Montreal). Theme is `La folia'.[cm~Corena, Fernando [fy75,1]([cf2]b
 [cf1]Geneva, [sm1916[nm; [cf2]d[cf1] Lugano, [sm1984[nm). Swiss
-It. ~bass. Studied Milan. D;aaebut Milan [sm1937[nm. Opera ~d;aaebut Trieste [s
m1947[nm in [cf2]Boris Godunov[cf1]. NY Met. ~[sm1953[nm, CG [sm1960[nm, Vienna
[sm1963[nm.[cm~Corfini, Jacopo [fy75,1]([cf2]b [cf1]Padua, [sm1540[nm; [cf2]d [c
f1]Lucca, [sm1591[nm). ~It. composer and organist (Lucca Cath. from ~[sm1557[nm)
. Wrote madrigals, motets, [cf2]concerti da chiesa,[cf1] ~etc.[cm~Corigliano, Jo
hn[fy75,1] ([cf2]b[cf1] NY, [sm1938[nm). Amer. composer. ~Studied with Luening a
nd Creston. Ass. dir. mus. ~C.B.S. TV [sm1961[nm=n[sm72[nm. Teacher at Lehman Co
ll., NY, ~from [sm1972[nm. Works incl. vn. sonata ([sm1963[nm), [cf2]Elegy[cf1]
~for orch. ([sm1966[nm), cl. conc. ([sm1977[nm), incidental mus., ~and [cf2]The
Naked Carmen[cf1] (arr. of Bizet's [cf2]Carmen[cf1] for ~rock and pop groups and
 Moog synthesizer).[cm~Coriolan [fy75,1](Coriolanus). Ov., Op. [sm62[nm, by Beet
hoven ~comp. in [sm1807[nm for revival in Vienna of H. von ~Collin's play [cf2]C
oriolan [cf1](not Shakespeare's).[cm~Cori spezzati[fy75,1] (It.
`Divided choirs'=+=+). Singers placed ~in different parts of a building; also th
e mus. ~written for them.[cm~Cor mixte. [fy75,1]See [cf2]Corno Alto and Corno Ba
sso[cf1].[cm~Cornago, Johannes [fy75,1](=+=+=+[cf2]fl. c[cf1].[sm1455[nm=n[sm85[
nm). Sp. composer ~of masses, motets, and [fy45,1]*[fy75,1]villancicos. Active a
t ~court of Naples, where most of his works were ~composed. His courtly love-son
gs are especially ~fine. Known to have returned to Spain.[cm~Cornamuse. [fy75,1]
Obsolete instr. extant during [sm16[nmth ~cent. Term frequently means bagpipe (F
r. [cf2]corne~~muse[cf1]) but It. [cf2]cornamusa [cf1]sometimes refers to a ~[fy
45,1]*[fy75,1]crumhorn and sometimes to a different instr., ~like a soft crumhor
n.[cm~Cornelius, Peter [fy75,1]([cf2]b [cf1]Mainz, [sm1824[nm; [cf2]d [cf1]Mainz
, [sm1874[nm). ~Ger. composer and writer. Studied Berlin [sm1845[nm=n~[sm52[nm.
His delightful comic opera [cf2]Der Barbier von ~Bagdad [cf1]was produced by Lis
zt at Weimar, [sm1858[nm, ~but controversy caused by Cornelius's
 advocacy ~of the Liszt-Wagner `New Music' led to its ~withdrawal and to Liszt's
 resignation as court ~cond. Became prof. of harmony, Munich Cons., ~and spent s
ome time with Wagner. Wrote [sm2[nm other ~operas, [cf2]Der Cid [cf1](Weimar [sm
1865[nm) and [cf2]Gunl;auod ~[cf1](unfinished, completed by Bausznern, prod. ~[s
m1891[nm). Wrote many beautiful vocal works and ~songs incl. the Christmas hymn
known in Eng. ~as `Three Kings from Persian Lands afar' but orig. ~[cf2]Die K;au
onige [cf1]from the [cf2]Weihnachtslieder[cf1] ([sm1856[nm).[cm~Cornelius, Peter
 [fy75,1]([cf2]b [cf1]Labjerggaard, [sm1865[nm; [cf2]d [cf1]Snek~~kersten, [sm19
34[nm). Danish ten. Studied Copenhagen ~and Berlin. D;aaebut as bar., Copenhagen
 [sm1892[nm; as ~ten., Copenhagen [sm1899[nm. Sang at Bayreuth [sm1906[nm ~and a
t CG [sm1907[nm=n[sm14[nm. Was Siegfried in the [cf2]Ring ~[cf1]perfs. cond. Ric
hter at CG [sm1908[nm and [sm1909[nm.[cm~Cornemuse [fy75,1](Fr.). Type of bagpip
e.[cm~Cornet [fy75,1]or [fy65][cf3]Cornet ;aga pistons [fy75,1](
Fr.). An instr. of ~brass (or other metal), of partly cylindrical and ~partly co
nical bore, with a cup-shaped mouth~~piece. Like both tpt. and hn. it operates o
n the ~harmonic series filling in the gaps by the use of [sm3[nm ~valves which,
singly or in combination, lengthen ~the tube so giving new fundamentals of [sm1[
nm ~semitone to [sm6[nm lower, and consequently as many ~new harmonic series. It
s tone is of a quality ~between that of the hn. and that of the tpt. Owing ~to t
he width of its bore it has great flexibility. ~Double and triple tonguing are p
ossible. Like the ~tpt. as found in most Brit. orchs. it is constructed ~so that
 its primary key can be either B;Yh or A, as ~desired: this removes some of the
difficulties of ~playing in the extreme flat and sharp keys, as in ~the one case
 the player is eased of [sm2[nm flats and in ~the other [sm3[nm sharps. There is
 also a cornet in E;Yh, ~almost exclusively for wind-band use. In all these ~[sm
3[nm keys the cornet is a [fy45,1]*[fy75,1]transposing instr., i
ts mus. ~being written respectively a tone or minor [sm3[nmrd ~higher, or a mino
r [sm3[nmrd lower.[ep~^The cornet's first orch. appearance seems to have ~been i
n Rossini's opera [cf2]William Tell[cf1], in [sm1829[nm, and ~cornets are used b
y Berlioz in several works, incl. ~the [cf2]Symphonie Fantastique[cf1], by Bizet
, and by ~Tchaikovsky in [cf2]Francesca da Rimini[cf1]. By the [sm1890[nms ~it h
ad almost displaced the tpt. in the orch., but ~is now seldom found in the orch.
 or in dance ~bands, and is now chiefly used in brass and ~military bands where
a sop. cornet in E;Yh is also ~used. But some [sm20[nmth-cent. composers specify
 its ~use where they want its particular tone-quality, ~e.g. Vaughan Williams in
 [cf2]London Symphony[cf1], ~Lambert in [cf2]Rio Grande[cf1], and Arnold in [cf2
]Beckus the ~Dandipratt[cf1].[cm~Cornet, Peeter [fy75,1]([cf2]b [cf1]Brussels, [
cf2]c[cf1].[sm1575[nm; [cf2]d[cf1] Brussels, ~[sm1633[nm). Flemish composer and
court organist at ~Brussels, [sm1603[nm=n[sm1626[nm. Wrote org.
pieces in the ~Venetian style; also influenced by the Fr. and ~Eng. schools, and
 by Sweelinck and Scheidt.[cm~Cornet Stop. [fy75,1]Org. stop of [fy45,1]*[fy75,1
]Mixture type: usually ~of [sm4[nm or [sm5[nm ranks. [cf2]Mounted Cornet [cf1]is
 one placed high ~on its own sound-board so as to be well heard.[cm~Cornett. [fy
75,1]Renaissance wind instr., spelt usually ~with double `t' to avoid confusion
with the band ~[fy45,1]*[fy75,1]cornet. Name means `little horn'. Heyday ~approx
. [sm1500[nm=n[sm1600[nm. Hybrid form, combining ~brass cup-mouthpiece technique
 with woodwind ~finger technique, and was admired for its ~versatility of tone:
as loud as a tpt., agile as a vn., ~and flexible as a v. [sm3[nm varieties, curv
ed, straight, ~and mute, all in different sizes. Mute prod. an ~exquisitely soft
 tone. Curved was most popular ~form and was used as a virtuoso instr., particul
arly ~by Monteverdi in his [cf2]Vespers [cf1]and [cf2]Orfeo[cf1]. All ~cornetts
were in G with a range of [sm2[nm octaves. ~[cf2]Cornettino [cf1
]developed for very high parts, pitched ~in C or D, and there were alto cornetts
 in F and ~the large ten. cornett in C. The cornett was ~[PN164,0,0,L,I0]displac
ed by baroque tpt. and baroque ob. See ~also [cf2]serpent [cf1]and [cf2]ophiclei
de[cf1].[cm~Cornish, William. [fy75,1]See [cf2]Cornyshe, William.[cm~Corno [fy75
,1](It.). Properly [fy45,1]*[fy75,1]horn, but the term forms a ~part of the name
 of several instr. that are not hns. ~(e.g. [cf2]corno inglese[cf1], [fy45,1]*[f
y75,1]cor anglais).[cm~Corno alto [fy75,1]and [fy65][cf3]corno basso [fy75,1](It
.). High horn and ~low horn. ([sm1[nm) Old names for hn. players who ~specialize
d in the high and low registers respec~~tively. (In early [sm19[nmth-cent. Fr. t
here was a middle ~category, [cf2]cor mixte[cf1].)[ep~^([sm2[nm) In modern score
s the terms are used to ~distinguish, e.g. the horn in B;Yh which transposes ~do
wn one tone, and that which transposes down ~a [sm9[nmth.[cm~Corno a macchina [f
y75,1](It.). Valve horn.[cm~Corno a mano [fy75,1](It.). Hand hor
n. The natural Fr. ~hn.[cm~Corno a pistoni [fy75,1](It.). Valve hn.[cm~Corno bas
so. [fy75,1]See [cf2]Corno alto[cf1].[cm~Corno cromatico [fy75,1](It.). Chromati
c hn., i.e. Valve ~hn.[cm~Corno da caccia. [fy75,1]Hunting hn.[cm~Corno di basse
tto [fy75,1](It.). ([sm1[nm) The [fy45,1]*[fy75,1]basset horn.[ep~^([sm2[nm) Pse
udonym of Bernard Shaw for his mus. ~criticisms in [cf2]The Star [cf1][sm1889[nm
=n[sm90[nm; he used it again ~in articles he contrib. to the same paper in [sm18
96[nm ~and [sm1897[nm.[ep~^([sm3[nm) Org. stop much like cl. stop.[cm~Corno dolc
e. [fy75,1]Soft org. stop generally of fl. (not ~hn.) type; [sm8[nm;po length an
d pitch (occasionally [sm16[nm;po).[cm~Corno inglese [fy75,1](It.). [fy45,1]*[fy
75,1]Cor anglais.[cm~Cornopean. [fy75,1]Organ stop like [fy45,1]*[fy75,2]Trumpet
 [cf1]but softer.[cm~Corno ventile [fy75,1](It.). Valve hn.[cm~Cornyshe [fy75,1]
(Cornish), [fy65][cf3]William [fy75,1]([cf2]b [cf1]E. Greenwich, ~[cf2]c[cf1].[s
m1465[nm; [cf2]d [cf1]Hylden, Kent, [sm1523[nm). Eng. composer ~
and actor. Member of Chapel Royal [sm1496[nm. Master ~of children, Chapel Royal,
 [sm1509[nm. Organized mus. ~at masques, pageants, and banquets for Henry ~VIII
and supervised mus. at Field of Cloth of Gold ~[sm1520[nm. Wrote part-songs, not
able for inventiveness ~and jovial humour, and church mus.[cm~Coro [fy75,1](It.)
. Choir, chorus. [cf2]Gran coro, [cf1]in org. mus., ~means `full org'.[cm~Cor-ob
oe. [fy75,1]Org. flue stop of [sm8[nm;po length and pitch, ~and somewhat reedy q
uality.[cm~Coronation Concerto. [fy75,1]Nickname of Mozart's pf. ~conc. No. [sm2
6[nm in D, K[sm537[nm, perf. Frankfurt, [sm1790[nm, ~on occasion of coronation o
f Leopold II but comp. ~[sm1788[nm and previously perf. by Mozart in [sm1789[nm.
[cm~Coronation Mass. [fy75,1]Mozart's Mass in C, K[sm317[nm, ~comp. [sm1779[nm.
So nicknamed, apparently, from ~some assoc. with the annual crowning of a statue
 ~of the Virgin, nr. Salzburg.[cm~Coronation Ode. [fy75,1]Choral work, Op. [sm44
[nm, for [sm4[nm ~soloists, ch., and orch. by Elgar to words by
A. C. ~Benson. Commissioned for CG gala perf. for ~Coronation of Edward VII, Jun
e [sm1902[nm (cancelled ~because of King's illness). F.p. Sheffield Fest. Oct. ~
[sm1902[nm. Finale is [fy45,1]*[fy75,1]`Land of Hope and Glory', to ~melody from
 trio of [fy45,1]*[fy75,2]Pomp and Circumstance ~March[cf1] No. [sm1[nm.[cm~Coro
nation of Poppea, The [fy75,1](Monteverdi). See [cf2]Incoronazione di ~Poppea, L
'.[cm~Corps de Ballet [fy75,1](Fr.). The ballet troupe (excluding ~principals) o
f any particular th.[cm~Corps de r;aaechange [fy75,1](Fr.). [fy45,1]*[fy75,1]Cro
ok of a brass instr.[cm~Corps glorieux, Les [fy75,1](The Glorious Hosts). Work ~
for org. by [fy45,1]*[fy75,1]Messiaen, comp. [sm1939[nm, in [sm7[nm move~~ments:
[ep~^[sm1[nm. [cf2]Subtilit;aae des corps glorieux[cf1]. [sm2[nm. [cf2]Les Eaux
de la ~grace[cf1]. [sm3[nm. [cf2]L'Ange aux parfums[cf1]. [sm4[nm. [cf2]Combat d
e la mort ~et de la vie[cf1]. [sm5[nm. [cf2]Force et agilit;aae des corps glorie
ux[cf1]. [sm6[nm. ~[cf2]Joie et clart;aae des corps glorieux[cf1
]. [sm7[nm. [cf2]Myst;agere de la ~Sainte Trinit;aae[cf1].[cm~Corranach [fy75,1]
(also Coronach). ([sm1[nm) Highland Scot. ~and Irish funeral dirge.[ep~^([sm2[nm
) Person performing such a dirge.[cm~Corregidor, Der [fy75,1]([cf2]The Mayor[cf1
]). [cf1]Opera in [sm4[nm acts by ~Hugo Wolf to lib. by Rosa Mayreder based on ~
story by Alarc;aaon, [cf2]El sombrero de tres picos [cf1](The ~Three-Cornered Ha
t) [sm1874[nm, on which [fy45,1]*[fy75,1]Falla's ~ballet was also to be based. P
rod. Mannheim ~[sm1896[nm, London [sm1934[nm. Eng. trans. by Gerald ~[fy45,1]*[f
y75,1]Larner, Manchester [sm1966[nm.[cm~Corrente. [fy75,1]See [cf2]Courante[cf1]
.[cm~Corrette, Michel [fy75,1]([cf2]b [cf1]Rouen, [sm1709[nm; [cf2]d [cf1]Paris,
 [sm1795[nm). ~Fr. composer. Organist at Jesuit College, Paris, ~[sm1750[nm=n[sm
9[nm. Comps. incl. conc. for hpd., fl., hurdy-~gurdy, and org., sonatas for bn.,
 vc., and vn., ~much church mus., and works for org. solo.[cm~Corsaire, Le [fy75
,1]([cf2]The Corsair[cf1]). Concert-ov., Op. [sm21[nm, ~by Berli
oz, based on Byron's poem. First drafted ~in [sm1831[nm, then rev. Nice [sm1844[
nm under title [cf2]The ~Tower at Nice[cf1]. Perf. thus in Jan. [sm1845[nm and a
gain ~rev. [sm1855[nm. At one point called [cf2]Le Corsaire rouge[cf1], ~Fr. tit
le of Fenimore Cooper's [cf2]The Red Rover[cf1].[cm~Corsaro, Il [fy75,1]([cf2]Th
e Corsair[cf1]). Opera in [sm3[nm acts by Verdi ~to lib. by Piave based on Byron
's poem. Prod. ~Trieste [sm1848[nm. Revived London [sm1966[nm.[cm~Corsi, Jacopo
[fy75,1]([cf2]b [cf1]Florence, [sm1560[nm; [cf2]d [cf1]Florence, ~[cf1][sm1602[n
m). It. nobleman in whose house in Florence ~the [fy45,1]*[fy75,1]Camerata met,
as also in [fy45,1]*[fy75,1]Bardi's. Comp. [sm2[nm ~songs (the only surviving pa
rt) in Peri's [cf2]Dafne[cf1], ~perf. in Corsi's house, in [sm1598[nm. In [sm160
0[nm was ~responsible for prod. of Peri's [cf2]Euridice.[cm~Cor simple [fy75,1](
Fr.). Natural hn.[cm~Corta, corte, corti. [fy75,1]See [cf2]Corto[cf1].[cm~[PN165
,0,0,R,I0]Corteccia, Francesco di Bernardo [fy75,1]([cf2]b[cf1]
Florence, ~[sm1502[nm; [cf2]d [cf1]Florence, [sm1571[nm). It. org. and composer.
 ~Choirmaster at ducal court in Florence [sm1540[nm=n[sm71[nm. ~Wrote madrigals,
 etc. Joint composer with ~Striggio of wedding mus. for Franceso de' Medici ~and
 Joanna of Austria, [sm1565[nm.[cm~Cort;ageges [fy75,1]([cf2]Funeral processions
[cf1]). Fantasy ov. for ~orch. by [fy45,1]*[fy75,1]Rawsthorne, f.p. London [sm19
45[nm.[cm~Corto, corta, corti, corte [fy75,1](It.). Short.[cm~Cortot, Alfred [fy
75,1]([cf2]b [cf1]Nyon, Switz., [sm1877[nm; [cf2]d [cf1]Lausanne, ~[sm1962[nm).
Swiss-born pianist and cond. long resident ~in Fr. Studied Paris Cons. D;aaebut
as pianist Paris ~[sm1896[nm. Keen Wagnerian, went to Bayreuth and ~became ass.
cond. to Richter and Mottl [sm1898[nm=n~[sm1901[nm. Cond. first Paris perf. of [
cf2]G;auotterd;auammerung ~[cf1][sm1902[nm. Became cond. of orch. concerts of So
ci;aaet;aae ~Nationale [sm1904[nm. From [sm1905[nm played in celebrated ~pf. tri
o with [fy45,1]*[fy75,1]Thibaud and [fy45,1]*[fy75,1]Casals. On
staff Paris ~Cons. [sm1907[nm=n[sm17[nm, succeeding [fy45,1]*[fy75,1]Pugno as pr
of. of pf. ~In [sm1919[nm founded ;aaEcole Normale de Musique. ~One of [sm3[nm c
onds. of Orchestre Symphonique de ~Paris, founded [sm1928[nm. Ed. pf. works of C
hopin, ~Schumann, and Liszt and wrote several books. ~Arrested [sm1944[nm on cha
rges of collab. with Nazi ~occupation forces but released.[cm~Cosaque [fy75,1](F
r.). Cossack dance in simple duple ~time with continual [cf2]accelerando[cf1].[c
m~Cos;agi fan tutte, ossia la scuola degli amanti[fy75,1] ~(Women are all the sa
me, or The School for ~Lovers). Opera in [sm2[nm acts by Mozart (K[sm588[nm) to
lib. ~by da Ponte. Prod. Vienna [sm1790[nm, London [sm1811[nm, ~NY [sm1922[nm. H
istory of this opera is of special ~interest. Today it is regarded by many criti
cs as ~Mozart's greatest and was a success at its first ~appearance, being repea
ted [sm10[nm times in [sm1790[nm and ~perf. at Prague, Dresden, Leipzig, and Fra
nkfurt ~before Mozart died. After about [sm1830[nm it became ~a
rarity for about [sm60[nm years, when it was re-est. ~through the advocacy of R.
 Strauss, Mahler, and, ~later, Beecham. This neglect may have been ~because the
plot was considered (by Beethoven ~among others) to be immoral, but a mus. reaso
n ~may have been that the chief sop. role of Fiordiligi ~was long regarded as un
singable: it was written ~for Adriana del Bene who was a brilliant high ~colorat
ura but also commanded a very low ~register. The opera requires carefully rehear
sed ~ens. work.[cm~Cosma, Edgar [fy75,1]([cf2]b [cf1]Bucharest, [sm1925[nm). Rom
anian ~cond. and composer. Cond. Romanian film mus. ~orch. [sm1950[nm=n[sm8[nm;
Ulster Orch. [sm1969[nm=n[sm74[nm. Comps. incl. ~str. qt., pf. trio, pf. sonata.
[cm~Cossotto, Fiorenza [fy75,1]([cf2]b [cf1]Crescentino di Vercelli, ~[sm1935[nm
). It. mez. Studied Turin Cons. D;aaebut La ~Scala, Milan, [sm1957[nm in f.p. of
 Poulenc's [cf2]Les Dialogues ~des Carm;aaelites. [cf1]Sang Leonora in [cf2]La f
avorite[cf1], Milan ~[sm1961[nm. D;aaebut CG [sm1959[nm in [cf2]
Medea [cf1](with Callas), NY ~Met. [sm1968[nm as Amneris in [cf2]Aida[cf1]. Also
 recitalist, and ~distinguished exponent of Verdi [cf2]Requiem[cf1].[cm~Cossutta
, Carlo[fy75,1] ([cf2]b[cf1] Trieste, [sm1932[nm). It. ten. Studied ~Buenos Aire
s. D;aaebut Buenos Aires [sm1956[nm (in [cf2]La ~traviata[cf1]). CG d;aaebut [sm
1964[nm. NY Met. from [sm1973[nm, ~Milan etc. Noted Otello, Manrico, and Turiddu
.[cm~Costa, Mary [fy75,1]([cf2]b [cf1]Knoxville, Tenn., [sm1930[nm). Amer. ~sop.
 Studied Southern Calif. and made TV ~commercials. Deputized for Schwarzkopf, Ho
l~~lywood Bowl [sm1958[nm. Sang at Glyndebourne, San ~Francisco, and Cincinnati
Opera Houses. D;aaebut ~NY Met. as Violetta in [cf2]La traviata [cf1][sm1964[nm.
[cm~Costa, [fy75,1](Sir) [fy65][cf3]Michael [fy75,1](Andrew Agnus) [cf1](orig. ~
Michele Andrea Agniello) ([cf2]b [cf1]Naples, [sm1808[nm; [cf2]d ~[cf1]Hove, [sm
1884[nm). It.-born cond. and composer, natu~~ralized Brit. Studied Naples Cons.
Wrote [sm4[nm operas ~for Naples [sm1826[nm=n[sm9[nm. Went to Lo
ndon [sm1829[nm to ~conduct [fy45,1]*[fy75,1]Zingarelli cantata and settled ther
e, ~taking leading part in many mus. activities. ~[cf2]Maestro al piano [cf1]Kin
g's Theatre [sm1830[nm, cond. and ~mus. dir. [sm1833[nm=n[sm46[nm. Cond. Phil. S
oc. [sm1846[nm=n[sm54[nm, ~Birmingham Fest. [sm1849[nm=n[sm82[nm, Handel Fest. [
sm1857[nm=n~[sm80[nm, Royal It. Opera, CG [sm1847[nm=n[sm69[nm and [sm1871[nm=n[
sm9[nm. ~Knighted [sm1869[nm. Comp. [sm3[nm syms., cantatas, operas ~incl. [cf2]
Don Carlos [cf1](London [sm1844[nm), and oratorios [cf2]Eli ~[cf1](Birmingham [s
m1855[nm) and [cf2]Naaman [cf1](Birmingham ~[sm1864[nm). Opinions differ on Cost
a's merits as a cond., ~but he was certainly a superb orch. trainer.[xm[cm~[ol0]
[ep~[xp[te~



[do19][j99]~~~~~~[sm153842[nm_CB[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmCB[sm05[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm528[nm[cm~GC[cm4[cm20/9/84[cmU1[cm~~~[ap[j1]Costeley, Guillaume
 [fy75,1]([cf2]b [cf1]Fontanges, [sm1531[nm; [cf2]d ~[cf1];aaEvreux, [sm1606[nm)
. Fr. composer of [cf2]Chansons[cf1], repubd. ~[sm1896[nm. Pres. of soc. in hono
ur of St. Cecilia, formed ~[cf2]c[cf1].[sm1571[nm, which est. a mus. contest at
;aaEvreux. ~Experimented with microtonal comp. First comp. ~to call a work an `a
ir'.[cm~Cosyn, Benjamin [fy75,1]([cf2]b c.[cf1][sm1570[nm; [cf2]d[cf1] ?London,
after ~[sm1652[nm). Eng. organist and composer. Org., Dul~~wich Coll. [sm1622[nm
=n[sm4[nm and Charterhouse [sm1626[nm=n[sm43[nm. ~Compiled Virginal Book of [sm9
0[nm pieces, incl. [sm32[nm of ~his own and others by Bull, Gibbons, Tallis, and
 ~Byrd. Influenced by Bull.[cm~C;afotelettes. [fy75,1]See [cf2]Chopsticks[cf1].[
cm~Cotillon [fy75,1](Fr. `Under-petticoat'=+=+). Elaborate ball~
~room dance popular in [sm19[nmth cent. as final dance ~of the evening. It was a
 type of [fy45,1]*[fy75,1]country dance, ~perf. by any no., all imitating the le
ading couple, ~who chose their figures out of a large number ~available. The mus
. was simply that of various ~waltzes, mazurkas, etc. In earlier centuries was ~
akin to quadrille.[cm~Cotrubas, Ileana [fy75,1]([cf2]b [cf1]Galati, Romania, [sm
1939[nm). ~Romanian sop. Studied Bucharest and Vienna ~Acad. of Mus. D;aaebut Bu
charest Opera [sm1964[nm ~(Yniold in Debussy's [cf2]Pell;aaeas et M;aaelisande[c
f1]), then ~operatic appearances in Vienna, Salzburg, Berlin, ~and Frankfurt. Gl
yndebourne [sm1969[nm ([cf2]M;aaelisande[cf1]) ~and [sm1970[nm [cf1]([cf2]La Cal
isto[cf1]). CG [sm1971[nm (Tatyana). Chicago ~from [sm1973[nm, Milan [sm1974[nm.
 Noted Mozart singer.[cm~Coulisse [fy75,1](Fr.). Groove, Sliding-piece, etc. ([s
m1[nm) Slide ~of tb. and slide tpt. ([sm2[nm, followed by the words [cf2];aga ~a
ccorder[cf1]) Tuning slide of a wind inst.[cm~[PN166,0,0,L,I0]Co
unterpoint. [fy75,1]The ability, unique to mus., to ~say [sm2[nm things at once
comprehensibly. The term ~derives from the expression [cf2]punctus contra punc~~
tum[cf1], i.e. `point against point' or `note against note'. ~A single `part' or
 `voice' added to another is called ~`a counterpoint' to that other, but the mor
e ~common use of the word is that of the combina~~tion of simultaneous parts or
vv., each of ~significance in itself and the whole resulting in a ~coherent text
ure. In this sense Counterpoint is ~the same as [fy45,1]*[fy75,1]Polyphony[cf1].
[ep~^The art of counterpoint developed gradually ~from the [sm9[nmth cent. onwar
ds and reached its ~highest point at the end of the [sm16[nmth cent. and ~beginn
ing of the [sm17[nmth cent. When, at a later date, ~attempts were made to formul
ate rules for ~students of the art they were based on the practice ~of that peri
od of culmination. The chief theorist ~responsible for the formulation of those
rules was ~[fy45,1]*[fy75,1]Fux whose [cf2]Gradus ad Parnassum [
cf1]of [sm1725[nm is a ~book which still shows its influence in modern ~textbook
s of [cf2]Strict counterpoint [cf1](or Student's ~Counterpoint), a form of train
ing intended to be ~preparatory to the practice of Free Counterpoint ~[cf1](or C
omposer's Counterpoint).[ep~^In Strict Counterpoint the processes are studied ~u
nder [sm5[nm heads, the result of an analysis which ~dissects the practice of th
e art into [sm5[nm [cf2]Species. ~[cf1]Following the practice of early composers
 a ~[fy45,1]*[fy75,2]Cantus firmus [cf1](fixed song) is employed, i.e. a ~short
melody, set by the master, against which ~another melody is to be written by the
 student=m~or, it may be, several such melodies. It is usually ~set out with one
 note to a measure (bar).[ep~^The Species are as follows:[ep~[el2][cp7,7]I. The
added v. proceeds at the same pace as the [cf2]cantus ~firmus[cf1], i.e. with [s
m1[nm note to a measure.[ep~II. The added v. proceeds at twice (or [sm3[nm times
) the pace of ~the [cf2]cantus firmus[cf1], i.e. with [sm2[nm or
 [sm3[nm notes to a measure.[ep~III. The added v. proceeds at [sm4[nm (or [sm6[n
m) times the pace of ~the [cf2]cantus firmus[cf1], i.e. with [sm4[nm notes to a
measure.[ep~ IV. The added v. proceeds (as in Species II) at the rate of ~[sm2[n
m notes to [sm1[nm, i.e. [sm2[nm to a measure; but the second note is ~tied over
 to the first note of the following measure, i.e. ~[fy45,1]*[fy75,1]Syncopation
is introduced.[ep~V. (Sometimes called [cf2]Florid Counterpoint[cf1].) The added
 v. ~employs a mixture of the processes of the other [sm4[nm species ~and also i
ntroduces shorter notes (quavers).[ep~[el2][cp8,8]^The use of Strict Counterpoin
t as a method of ~study has tended to decline, its `rules' being felt ~to be too
 rigid.[ep~^[cf2]Combined Counterpoint [cf1](strict or free) is that in ~which t
he added vv. are different species. [cf2]Invertible ~Counterpoint [cf1]is such a
s permits of vv. changing ~places (the higher becoming the lower, and vice ~vers
a). [cf2]Double Counterpoint [cf1]is Invertible Counter~~point a
s concerns [sm2[nm vv. [cf2]Triple Counterpoint [cf1]is that ~in which [sm3[nm v
v. are concerned, which are capable ~of changing places with one another, so mak
ing ~[sm6[nm positions of the v. parts possible. [cf2]Quadruple and ~Quintuple C
ounterpoint [cf1]are similarly explained, the ~first allowing of [sm24[nm positi
ons and the second of ~[sm120[nm.[ep~^[cf2]Imitation [cf1] is common in contrapu
ntal comp.=m~one v. entering with a phrase which is then more ~or less exactly c
opied by another v. When the ~Imitation is strict it becomes [fy45,1]*[fy75,2]Ca
non[cf1].[ep~^In the [sm20[nmth cent. there have been no new ~contrapuntal proce
dures but composers have ~made much freer and more daring use of ~traditional fo
rms. In particular they have concen~~trated on what is known as [cf2]Linear Coun
terpoint[cf1], ~i.e. on the individual strands of the texture and ~on thematic a
nd rhythmic relationships rather ~than on harmonic implications. [cf2]Linear [cf
1]harmony ~is the opposite of [cf2]vertical [cf1]harmony, i.e. c
onflu~~ences. With the blurring or virtual elimination ~of the boundaries betwee
n consonance and ~dissonance a much wider range of confluences is ~open to the c
omposer.[cm~Countersubject. [fy75,1]In [fy45,1]*[fy75,1]Fugue, in addition to th
e ~subject, there is often a [cf2]countersubject [cf1]appearing ~in the expositi
on and probably later also. This is a ~melodic acc. to the answer and subject an
d is ~generally in double counterpoint. The v. which ~has just given out the sub
ject or answer then ~proceeds to the countersubject while the next v. ~gives out
 the answer or subject, and so on.[cm~Countertenor. [fy75,1]High male v. not to
be confused ~with male alto, falsetto, or [fy45,1]*[fy75,1]castrato and with a ~
strong, almost instr. purity of tone. Was popular ~in Handel's and Purcell's lif
etimes and has been ~revived in [sm20[nmth cent. largely thanks to artistry of ~
Alfred [fy45,1]*[fy75,1]Deller. Several modern composers, incl. ~Britten in his
opera [cf2]Midsummer Night's Dream[cf1], ~have written parts for
 counterten. With the search ~for authenticity in perf. of early mus., it has ~r
eclaimed many roles in baroque works long ~since assigned to conts. or tens.[cm~
Count of Luxemburg, The [fy75,1](Der Graf von ~Luxemburg). Operetta in [sm3[nm a
cts by Leh;aaar ([sm1909[nm) ~to libretto by A. M. Wilner and R. Bodanzky. F.p.
~Vienna [sm1909[nm.[cm~Country Dance [fy75,1](Eng.), [fy65][cf3]Contredanse [fy7
5,1](Fr.), [fy65][cf3]Con~~tradanza [fy75,1](It.), [fy65][cf3]Kontretanz [fy75,1
](Ger.). [cf1]This type of ~dance is of Brit. origin. Its various foreign names
~have come about from a plausible false etymology ~(`counter-dance'=mone in whic
h the performers ~stand opposite to one another=mas distinguished ~from a round
dance). Both Mozart and Beethoven ~wrote [cf2]Kontret;auanze[cf1]. No. [sm7[nm o
f Beethoven's [sm12[nm ~[cf2]Kontret;auanze [cf1]contains the theme used also in
 the ~finale of the [cf2]Eroica [cf1]Sym. and other works. The ~term is generic
and covers a whole series of figure ~dances deriving from the am
usements of the ~Eng. village green. Such dances became popular ~at the court of
 Queen Elizabeth I, and during the ~Commonwealth were systematically described ~
by [fy45,1]*[fy75,1]Playford in his [cf2]English Dancing Master[cf1]. In ~early
years of the [sm19[nmth cent. the waltz and ~quadrille drove the country dance o
ut of the ~English ballroom (with the exception of the ~popular example known as
 [fy45,1]*[fy75,2]Sir Roger de Coverley[cf1]); ~the folk-dance movement of the [
sm20[nmth cent., ~[PN167,0,0,R,I0]however, brought it into considerable use agai
n. ~Scotland has throughout retained a number of its ~country dances.[cm~Country
 Gardens. [fy75,1]Eng. country dance-tune to ~which [cf2]The Vicar of Bray [cf1]
is nowadays sung, but ~perhaps best known in [fy45,1]*[fy75,1]Grainger's arr. fo
r pf. ~([sm1908=n18[nm) and [sm2[nm pf. ([sm1918[nm) orch. by L. Artok.[cm~Coup
d'archet [fy75,1](Fr.). Bow-stroke or bowing.[cm~Coup de glotte [fy75,1](Fr.). B
low of the glottis. In v. ~prod., a method, thought by many to b
e harmful, ~of attacking a note by closing the false vocal cords ~([sm2[nm membr
anes above the true vocal cords) and ~quickly opening them to release the tone.
If the ~release is too abrupt, a cough will be the result.[cm~Coup;aae [fy75,1](
Fr.). In ballet, a step like the [fy45,1]*[fy75,2]Chass;aae [cf1]but ~the displa
ced foot goes into the air.[cm~Couperin, Fran;Alcois [fy75,1]([cf2]b [cf1]Paris,
 [sm1668[nm; [cf2]d [cf1]Paris, [sm1733[nm). ~Fr. composer, harpsichordist, and
organist, the ~most distinguished of his family and thus known ~as `Couperin le
Grand'. Taught by his father ~Charles and by Thomelin. Became organist of St ~Ge
rvais, Paris, in [sm1685[nm, holding post until his ~death. In [sm1693[nm succee
ded Thomelin as organist of ~Royal chapel, with the title `organiste du Roi' ~(L
ouis XIV). In [sm1717[nm became `ordinaire de la ~musique de la chambre du Roi',
 acknowledge~~ment of his special position in the court. On ~almost every Sunday
 Couperin and colleagues ~gave chamber concerts for the king, fo
r which he ~comp. what he called `Concerts'. These are in the ~form of suites an
d may have been intended for ~the hpd., of which he was a virtuoso, but were ~pr
obably perf. on vn., viol, ob., bn., and hpd. ~([cf2]clavecin[cf1]). Couperin wa
s greatly influenced by ~[fy45,1]*[fy75,1]Corelli and introduced into Fr. the It
alian's trio-~sonata form, himself publishing in [sm1726[nm [cf2]Les ~Nations[cf
1], a set of [sm4[nm Suites [cf1]([cf2]Ordres[cf1]) for [sm2[nm vn. and ~hpd. Al
so comp. `grand trio sonata' sub-titled [cf2]Le ~Parnasse, ou l'Apoth;aaeose de
Corelli[cf1]. In [sm1716[nm pubd. ~famous book [cf2]L'[fy45,1]*[fy75,2]Art de to
ucher le clavecin[cf1], contain~~ing instructions for fingering, methods of touc
h, ~and execution of [cf2]agr;aaements [cf1](ornamentation) in ~performing his h
pd. pieces. This had strong ~influence on Bach. His [sm4[nm pubd. vols. of hpd.
~works contain over [sm230[nm pieces which proclaim ~him a supreme master of the
 kbd. Most have ~picturesque or descriptive titles and are like
~miniature tone-poems. This perhaps is a clue to ~their appeal to Richard Straus
s, who orchestrated ~several Couperin pieces. Prin. works:[xm[cm~[j2][smchamber
music[nm: [fy75,2]Quatre Concerts Royaux [cf1]([sm1722[nm); ~[cf2]Les Go;afuts-R
;aaeunis ou Nouveaux Concerts [cf1]([sm10[nm [cf2]Concerts ~[cf1]incl. the `Core
lli' Grand Trio, [sm1724[nm); [cf2]Les Nations ~[cf1]([sm4[nm [cf2]Ordres [cf1]f
or [sm2[nm str. and hpd. [sm1726[nm); [cf2]Concert ~instrumental [cf1](`in memor
y of the immortal Lully', ~[sm1725[nm).[ep~[smharpsichord[nm: [cf2]Pi;ageces de
Clavecin[cf1], Book [sm1[nm ([sm5[nm [cf2]Ordres[cf1], ~[sm1713[nm), Book [sm2[n
m ([sm7[nm [cf2]Ordres[cf1], [cf1][sm1717[nm), Book [sm3[nm ([sm7[nm [cf2]Ordres
[cf1], ~[sm1722[nm), Book [sm4[nm ([sm8[nm [cf2]Ordres[cf1], [sm1730[nm).[ep~[sm
organ[nm: [sm42[nm [cf2]Pi;ageces d'orgue consistantes en deux Messes ~[cf1]([sm
1690[nm). Also songs and religious works.[cm~[ol0][ep~[xp[te~

[do35][j99]~~~~~~[sm153842[nm_CB[sm6[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmCB[sm6[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm25[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm544[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Couperin,
 Louis[fy75,1] ([cf2]b[cf1] Chaumes, [cf2]c.[cf1][sm1626[nm; [cf2]d[cf1] Paris,
~[sm1661[nm). Fr. composer and organist, first of his ~family to be organist at
St Gervais (from [cf2]c.[cf1][sm1650[nm). ~Also played vn. and comp. instr. work
s, incl. [sm132[nm ~pieces for hpd. Uncle of F. [fy45,1]*[fy75,1]Couperin.[ep~^T
he Couperin family were professional musi~~cians in Paris from late in the [sm16
[nmth cent. to the ~middle of the [sm19[nmth. Members were organists at St ~Gerv
ais for over [sm170[nm years. Fran;alcois ([cf2]le grand[cf1]) and ~Louis were t
he most illustrious of the clan, but ~others deserving mention were: Margaret-Lo
uise ~Couperin ([cf2]b [cf1]Paris, [sm1676[nm or [sm1679[nm; [cf2]d[cf1] Versail
les, ~[sm1728[nm), singer and harpsichordist, who is known ~to h
ave sung mus. by her cousin Fran;alcois; ~Armand-Louis Couperin  ([cf2]b[cf1] Pa
ris, [sm1727[nm; [cf2]d[cf1] Paris, ~[sm1789[nm), composer, organist, and harpsi
chordist. ~Org. at St Gervais. Well known for his gifts in ~improvisation and fo
r some pleasant hpd. pieces. ~Killed in Paris street when knocked down by a ~hor
se; Gervais-Fran;alcois Couperin ([cf2]b[cf1] Paris, [sm1759[nm; ~[cf2]d[cf1] Pa
ris, [sm1826[nm), son of Armand-Louis, composer ~and organist. By [sm1790[nm was
 org. of several Paris ~churches, incl. St Gervais. Played for Napoleon, ~but co
mp. a work called [cf2]Louis XVIII ou le retour du ~bonheur en France.[cm~Couple
. [fy75,1]To arrange, by means of a mechanism ~called a coupler, that the pedal
org. can have [sm1[nm or ~more of the manuals connected with it so that ~the eff
ect of its stops is reinforced. [sm2[nm manuals can ~be connected in the same wa
y (e.g. the Swell may ~be joined with the Great). There are `super-octave' ~and
`sub-octave' couplers which duplicate the ~notes played, an octa
ve higher or lower (on the ~same stop). Couplers are [sm4[nm;Po, [sm8[nm;Po, and
 [sm16[nm;Po.[cm~Couplet. [fy75,1]([sm1[nm) Episode in the early Fr. rondo (e.g.
 ~by Couperin).[ep~^([sm2[nm) Same as [fy45,1]*[fy75,1]Duplet, i.e. [sm2[nm in t
he time of [sm3[nm.[ep~[cp8,14]^([sm3[nm) The [sm2[nm-note slur __=mthe [sm2[nmn
d note of which ~should be slightly curtailed __.[ep~[cp8,8][ol14]^([sm4[nm) Sta
nza of a poem, the mus. being repeated ~for each stanza.[cm~Coupure[fy75,1] (Fr.
). Cut. Portion omitted, e.g. in orch. ~score.[cm~Courante[fy75,1] (Fr.), [fy65]
[cf3]corrente[fy75,1] (It.), [fy65][cf3]coranto, corant. ~[fy75,1]Running. Fr. d
ance, at height of popularity in ~[sm17[nmth cent., which spread to It. The mus.
 based on ~it falls into [sm2[nm classifications.[ep~^([cf2]a[cf1]) It. variety,
 in a rapid tempo and in simple ~triple time. ([cf2]b[cf1]) Fr. variety, similar
 to the above, ~but with a mixture of simple triple and compound ~duple rhythms,
 the latter pertaining especially to ~the end of each of the [sm
2[nm sections. Occasionally in ~Bach's kbd. examples the conflicting rhythms are
 ~found together, one in each hand.[ep~^In classical suite the courante followed
 the ~allemande (see [cf2]Pavan [cf1]and[cf2] Galliard[cf1]). Occasionally ~[PN1
68,0,0,L,I0]it was, in turn, followed by `Doubles', i.e. ~variations on itself.[
cm~Course.[fy75,1] Term used of str. instrs., particularly lute ~family, guitar,
 etc., meaning a group of strs. ~tuned in unison or in the octave and plucked ~s
imultaneously so as to give extra loudness. In ~[sm16[nmth cent., lutes had doub
le-courses on lower strs. ~The single str. g;Pp is called a course, thus lutes h
ad ~[sm11[nm strs. in [sm6[nm courses. Bass-course is single or double ~str. run
ning alongside fingerboard without cross~~ing the frets and does not vary in pit
ch.[cm~Courtois, Jean [fy75,1](=+=+=+[cf2]fl.[cf1] [sm16[nmth cent.). Fr. compos
er. ~Choirmaster to Archbishop of Cambrai [sm1539[nm. ~Wrote masses, motets, and
 secular songs.[cm~Cousu, Antoine de[fy75,1] ([cf2]b[cf1] Amiens
, [cf2]c.[cf1][sm1600[nm; [cf2]d[cf1] St ~Quentin, [sm1658[nm). Fr. singer and c
hurch musician. ~His book [cf2]La Musique universelle[cf1] ([sm1658[nm) inveighs
 ~against hidden [sm5[nmths and octaves (see [cf2]Consecutive[cf1]).[cm~Covent G
arden. [fy75,1]Generally used name for London ~theatre of which full title is Ro
yal Opera House, ~Covent Garden (since [sm1892[nm). So called because site ~in B
ow Street was orig. church property, a ~convent garden. First th. built there [s
m1732[nm by John ~[fy45,1]*[fy75,1]Gay and used mainly for plays, though [sm3[nm
 of ~Handel's operas were given there for the first ~time. Destroyed by fire [sm
1808[nm. [sm2[nmnd theatre opened ~[sm1809[nm, still mixing plays and opera, but
 became ~Royal Italian Opera [sm1847[nm, retaining title until ~[sm1892[nm. Dest
royed by fire [sm1856[nm. [sm3[nmrd, and present ~building opened [sm1858[nm. Du
ring [sm1939[nm=n[sm45[nm was used ~as dance hall but re-opened [sm1946[nm with
resident ~opera and ballet cos. which were re-named Royal ~Balle
t in [sm1957[nm and Royal Opera [sm1969[nm. Between ~[sm1924[nm and [sm1939[nm p
rin. opera conds. at CG were ~Bruno Walter and Beecham. From [sm1946[nm to [sm19
51[nm ~Karl [fy45,1]*[fy75,1]Rankl was mus. dir., being succeeded by ~Rafael [fy
45,1]*[fy75,1]Kubelik [sm1955[nm=n[sm8[nm, Georg [fy45,1]*[fy75,1]Solti [sm1961[
nm=n[sm71[nm, ~Colin [fy45,1]*[fy75,1]Davis [sm1971[nm=n[sm86[nm, Bernard [fy45,
1]*[fy75,1]Haitink from ~[sm1988[nm. Gen. Administrator [sm1944[nm=n[sm70[nm was
 Sir David ~[fy45,1]*[fy75,1]Webster, succeeded by Sir John Tooley. Famous ~mana
ger-impresarios of the past incl. Frederick ~Gye [sm1849[nm=n[sm77[nm, and Sir A
ugustus Harris [sm1888[nm=n[sm96[nm.[cm~Coward, [fy75,1](Sir)[fy65][cf3] Henry[f
y75,1] ([cf2]b[cf1] Liverpool, [sm1849[nm; [cf2]d[cf1] ~Sheffield, [sm1944[nm).
Eng. choral cond. Largely self-~taught but became Oxford Univ. Mus.B. [sm1889[nm
, ~Mus.D. [sm1894[nm. Founded Sheffield Musical Union ~[sm1876[nm. Est. of Sheff
ield Fest. [sm1895[nm enabled him to ~set new standards of chora
l singing in works of ~Handel, Bach, and Elgar. Cond. choirs at Leeds, ~Glasgow,
 Preston, and Newcastle upon Tyne. ~Toured N. Amer. [sm1908[nm and [sm1911[nm, a
lso Australia ~and S. Africa. Advocate of [fy45,1]*[fy75,1]tonic sol-fa system.
~Knighted [sm1926[nm.[cm~Coward, [fy75,1](Sir)[fy65][cf3] No;Auel[fy75,1] ([cf2]
b[cf1] Teddington, [sm1899[nm; [cf2]d[cf1] Blue ~Harbour, Jamaica, [sm1973[nm).
Eng. actor, playwright, ~and composer. No formal mus. training. Author ~and comp
oser of several successful mus. shows ~and plays with mus., e.g. [cf2]Bitter-Swe
et[cf1] ([sm1929[nm), ~[cf2]Private Lives[cf1] ([sm1930[nm), [cf2]Conversation P
iece[cf1] ([sm1934[nm), ~[cf2]Operette[cf1] ([sm1938[nm), and several revues in
which his ~songs such as `Mad Dogs and Englishmen' were ~perf. (most effectively
 in his own light bar.). ~Knighted [sm1970[nm.[cm~Cowbell.[fy75,1] As perc. inst
r., this is the ordinary ~Central European cowbell with the clapper ~removed. It
 is fixed to a drum and struck with ~the stick of a snare drum.
Used by R. Strauss in ~[cf2]Eine Alpensinfonie[cf1], by Mahler in his [sm6[nmth
Sym., and ~by Elgar in [cf2]The [fy45,1]*[fy75,2]Starlight Express.[cm~Cowell, H
enry [fy75,1](Dixon)[cf1] ([cf2]b[cf1] Menlo Park, Calif., ~[sm1897[nm; [cf2]d[c
f1] Shady, NY, [sm1965[nm). Amer. composer and ~pianist, one of those remarkable
 pioneering ~figures who belong naturally to the [cf2]avant-garde[cf1]. ~Began t
o play vn. at age [sm3[nm and to compose at [sm11[nm. ~In [sm1912[nm devised pf.
 technique known as [fy45,1]*[fy75,1]clusters ~(tone-clusters) in which adjacent
 notes are played ~simultaneously with the forearm or flat of the ~hand. Had [sm
100[nm comps. to his credit when he ~began formal training in [sm1914[nm at Univ
. of Calif. ~with Charles Seeger, who encouraged him to ~codify the unorthodox r
ules he was making for ~himself. This resulted in his book [cf2]New Musical ~Res
ources[cf1] ([sm1919[nm). In the [sm1920[nms his recitals attracted ~notoriety a
mong the public not only because of ~clusters but because he pio
neered other unusual ~uses of the piano such as plucking the strings or ~muting
them with cardboard or metal. Made [sm5[nm ~tours of Europe between [sm1923[nm a
nd [sm1933[nm, earning ~friendship of Bart;Aaok, Berg, and Schnabel, and ~studie
d in Berlin with Schoenberg. In [sm1922[nm [sm17[nm of ~his cluster pieces were
pubd. Cowell also invented ~new methods of notation to indicate his intentions ~
and was co-inventor with Theremin in [sm1931[nm of ~early elec. instrument calle
d the [cf2]rhythmicon[cf1],[fj~which could reproduce exactly the complicated ~rh
ythmic combinations in his work. Cowell was ~also one of the first composers=min
 the [sm1930[nms=mto ~bring an element of indeterminacy into his ~works, suggest
ing that parts of them could be ~assembled by the performers in any order and ~r
epeated at will, with some measures to be ~improvised.[ep~^Deeply interested in
mus. of other cultures, ~introducing Eastern instr. in combination with ~convent
ional Western ones, e.g. Indian jalatarang ~and tablas. Studied
Persian folk mus. and in his ~[cf2]Ongaku[cf1] reproduced Japanese quarter-notes
 and ~third-notes. At the other extreme, explored early ~Amer. mus. culture in a
 series of works called ~[cf2]Hymn-and-Fuguing-Tunes[cf1]. It is not surprising
that ~such an original man should have been friend, ~companion, and biographer o
f Charles [fy45,1]*[fy75,1]Ives or ~that he should have devoted so much time and
 ~energy to lecturing, teaching, writing, and ~generally promoting new Amer. mus
. Most of ~his teaching was done as dir. of mus. at the New ~School for Social R
esearch, NY [sm1928[nm=n[sm63[nm, and at ~Columbia Univ. [sm1949[nm=n[sm65[nm. A
mong his pupils ~were [fy45,1]*[fy75,1]Gershwin and [fy45,1]*[fy75,1]Cage. His l
ist of comps. is ~very long. Among them are:[xm[cm~[PN169,0,0,R,I0][j2][smorch[n
m: [sm21[nm Syms., incl. No. [sm3[nm ([fy75,2]Gaelic[cf1], [sm1942[nm), No. [sm1
1[nm ~([cf2]Seven Rituals of Music[cf1], [sm1953[nm), No. [sm13[nm ([cf2]Madras[
cf1], ~[sm1957[nm=n[sm8[nm), No. [sm16[nm ([cf2]Icelandic[cf1],
[sm1963[nm); [cf2]Synchrony[cf1] ~([sm1931[nm); [cf2]American Melting Pot[cf1] (
[sm1939[nm); [cf2]Shoonthree[cf1] ~([sm1941[nm); [cf2]Hymn-and-Fuguing Tunes[cf1
] Nos. [sm2[nm, [sm3[nm, [sm5[nm, [sm10[nm, ~and [sm16[nm; [sm2[nm Concs. for Ko
to and orch. ([sm2[nmnd, [sm1964[nm); ~[cf2]Ongaku[cf1] ([sm1957[nm); [cf2]Varia
tions for Orch. [cf1]([sm1956[nm), conc. ~for perc.[ep~[smopera[nm: [cf2]O'Higgi
ns of Chile[cf1] ([sm1949[nm).[ep~[ih0]Also chamber mus. ([sm5[nm str. qts.), so
ngs, pf. solos, ~band works, choral, and org. pieces.[cm~[j1]Cowen, [fy75,1](Sir
) [fy65][cf3]Frederic [fy75,1](Hymen[cf1]) ([cf2]b[cf1] Kingston, ~Jamaica, [sm1
852[nm; [cf2]d[cf1] London, [sm1935[nm). Eng. composer ~and cond. Comp. operetta
 at age [sm8[nm, becoming ~pupil of Goss and Benedict in same year. Pf. ~recital
ist at [sm11[nm. Studied Leipzig Cons. with ~Reinecke and Moscheles, and, in [sm
1867[nm, at Stern ~Cons., Berlin, where he concentrated on cond. ~Cond. Phil. So
c., London, [sm1888[nm=n[sm92[nm and [sm1900[nm=n[sm07[nm, ~Hall
;aae Orch. [sm1896[nm=n[sm99[nm, Liverpool P.O. [sm1895[nm=n[sm1913[nm, ~Scottis
h Orch. [sm1900[nm=n[sm10[nm, Handel Triennial Fests. ~[sm1902[nm=n[sm23[nm and
several other choral socs. Comp. ~several operas, [sm6[nm syms., and other orch.
 works ~incl. [cf2]The Butterfly's Ball[cf1] ([sm1901[nm), [sm3[nm oratorios, [s
m9[nm ~cantatas, and various other works. Today best ~remembered by his setting
of Longfellow's ~`Onaway, awake beloved' ([cf2]Hiawatha[cf1]). Knighted ~[sm1911
[nm.[cm~Cowhorn. [fy75,1]Ancient signalling instrument for ~calling cattle which
 by [sm10[nmth cent. had [sm2[nm or [sm3[nm ~fingerholes so that simple melodies
 could be ~played. Used by Britten in [cf2]Spring Symphony[cf1] ([sm1949[nm).[cm
~Cowie, Edward[fy75,1] ([cf2]b[cf1] Birmingham, [sm1943[nm). Eng. ~composer and
painter. Began to compose at age ~of [sm11[nm. Chorister, Gloucester Cath. [sm19
55[nm=n[sm7[nm. Studied ~at Morley Coll. with Fricker, [sm1961[nm, privately wit
h ~A. Goehr [sm1964[nm=n[sm8[nm, and at Southampton Univ. ~[sm19
70[nm=n[sm1[nm, Leeds Univ. [sm1971[nm=n[sm3[nm. Worked in Poland ~[sm1971[nm, b
eing encouraged by Lutoslawski. Lect., ~Lancaster Univ. [sm1973[nm. Visited USA
[sm1977[nm. Guest ~prof. of mus., Kassel Univ. [sm1979[nm, prof. of creative ~ar
ts, Univ. of Wollongong, N.S.W., [sm1983[nm, com~~poser-in-residence RLPO [sm198
3[nm=n[sm6[nm. Deeply inter~~ested in ornithology. Has painted oils and ~waterco
lours; his Choral Sym. ([sm1981[nm=n[sm2[nm) was ~inspired by paintings by Turne
r. Also fascinated ~by Australian criminal Ned Kelly, making him ~the basis of s
everal works, incl. an as yet unfinished ~opera. Prin. works:[xm[cm~[j2][smopera
s[nm: [fy75,2]Commedia[cf1], Op. [sm12[nm ([sm1976=n8[nm); [cf2]Kelly[cf1], Op.
[sm23[nm ~(begun [sm1980[nm).[ep~[smmusic theatre[nm: [cf2]Kate Kelly's Roadshow
[cf1], Op. [sm27[nm, ~mez. and ens. ([sm1982[nm).[ep~[smorch[nm: [cf2]Leviathan[
cf1], sym.-poem, Op. [sm4[nm ([sm1975[nm); [cf2]L'Or ~de la trompette d';aaet;aa
e[cf1], Op. [sm9[nm, [sm18[nm str. ([sm1977[nm); [cf2]Concerto ~
for Orchestra[cf1], Op. [sm19[nm ([sm1979[nm=n[sm80[nm); [cf2]Leonardo[cf1], Op.
 ~[sm20[nm, chamber orch. ([sm1980[nm=n[sm1[nm); Sym. No. [sm1[nm ([cf2]The ~Ame
rican[cf1]), Op. [sm21[nm ([sm1980[nm=n[sm1[nm), No. [sm2[nm ([cf2]The Austra~~l
ian[cf1]), Op. [sm28[nm (begun [sm1982[nm).[ep~[smconcertos[nm: Conc. for bass c
l. and tape, Op. [sm1[nmb ~([sm1969[nm); Clarinet Conc. No. [sm2[nm, Op. [sm5[nm
 ([sm1975[nm); Pf. ~Conc., Op. [sm8[nm ([sm1976[nm=n[sm7[nm); hp. conc., Op. [sm
26[nm ([sm1981[nm=n~[sm2[nm).[ep~[smbrass[nm: [cf2]Somnus ei inductus[cf1], Op.
[sm2[nmb, [sm4[nm tb. ([sm1973[nm); ~[cf2]Cathedral Music[cf1] ([cf2]sonata for
symphonic brass[cf1]), Op. ~[sm10[nm ([sm1977[nm).[ep~[smvoice(s) & instr[nm: [c
f2]Endymion Nocturnes[cf1], Op. [sm2[nm. ten., ~str. qt. ([sm1973[nm, version fo
r ten., hn., str. [sm1981[nm); ~[cf2]Shinko-Kinshu[cf1], Op. [sm3[nm, high v., e
ns. ([sm1968[nm, rev. ~[sm1972[nm); [cf2]Leighton Moss[cf1], Op. [sm4[nmb, ch. a
nd chamber ~orch. ([sm1974[nm=n[sm5[nm); [cf2]Gesangbuch[cf1], O
p. [sm6[nm, [sm24[nm vv., [sm12[nm ~instr. ([sm1973[nm=n[sm6[nm); [cf2]A Charm o
f Finches[cf1], sop., [sm3[nm fl. ~([sm1978[nm);[cf2] Columbine[cf1], Op. [sm13[
nm, sop., chamber orch. ~([sm1979[nm); [cf2]Brighella's World[cf1], Op. [sm14[nm
, bar., pf. ([sm1979[nm); ~[cf2]Kelly Choruses[cf1], Op. [sm23[nmb, vv., hp. ([s
m1981[nm); [cf2]Choral ~Symphony [cf1]([cf2]Symphonies of Rain, Sea, and Speed[c
f1]), ~Op. [sm24[nm, bar., ch., orch. ([sm1981[nm=n[sm2[nm).[ep~[smunacc. voice(
s)[nm: [cf2]Dungeness Choruses[cf1], Op. [sm1[nm ([sm1970[nm); ~[cf2]Gesangbuch[
cf1], Op. [sm6[nmb (unacc. version, [sm1976[nm); ~[cf2]Madrigals[cf1], [sm12[nm
vv. ([sm1980[nm=n[sm1[nm); [cf2]Missa brevis[cf1] ([cf2]Mass ~for Peace[cf1]), O
p. [sm29[nmb ([sm1983[nm); [cf2]Ancient Voices[cf1], [sm4[nm vv. ~([sm1983[nm).[
ep~[smchamber music[nm: Str. Qts.: No. [sm1[nm ([sm1973[nm), No. [sm2[nm, Op. ~[
sm11[nm ([sm1977[nm), No. [sm3[nm, Op. [sm31[nm No. [sm1[nm ([sm1983[nm), No. [s
m4[nm ~([cf2]Australia II[cf1]), Op. [sm31[nm No. [sm2[nm ([sm19
83[nm); [cf2]Kelly ~Passacaglia[cf1], str. qt. ([sm1980[nm); [cf2]Harlequin[cf1]
, Op. [sm15[nm, hp. ~([sm1980[nm); [cf2]Commedia Lazzis[cf1], Op. [sm17[nm, guit
ar ([sm1980[nm); ~[cf2]Kelly-Nolan-Kelly[cf1], Op. [sm22[nm, cl. in A ([sm1980[n
m).[ep~[smpiano(s)[nm: [cf2]Piano Variations[cf1], Op. [sm7[nm ([sm1976[nm); [cf
2]The Falls ~of Clyde[cf1], Op. [sm16[nm, [sm2[nm pf. ([sm1980[nm); [cf2]Kelly V
ariations[cf1], ~Op. [sm22[nmb ([sm1980[nm).[cm~[j1]Cox and Box. [fy75,1]Operett
a in [sm1[nm act by [fy45,1]*[fy75,1]Sullivan to ~lib. by F. C. Burnand after fa
rce [cf2]Box and Cox[cf1] by ~Maddison Morton. Prod. London [sm1867[nm, NY [sm18
75[nm.[cm~Cox, David Harold[fy75,1] ([cf2]b[cf1] Southsea, Hants, [sm1945[nm). ~
Eng. composer and teacher. Studied Birmingham ~Univ. [sm1964[nm=n[sm70[nm with J
oubert, Crosse, and Dickin~~son. On mus. staff, Sheffield Univ. from [sm1970[nm.
 ~Works incl. opera [cf2]Disappearing Act[cf1] ([sm1968[nm), [cf2]Orpheus ~in th
e Underworld[cf1], female v. and pf. ([sm1976[nm), hn. ~trio ([s
m1978[nm), ob. sonata ([sm1975[nm), cl. trio ([sm1972[nm), [sm2[nm-pf. ~sonata (
[sm1974[nm), pf. sonata ([sm1970[nm), [cf2]Variations on a ~Theme by Mozart[cf1]
, solo cl. ([sm1978[nm), [cf2]The Presage[cf1], ~unacc. ch. and elec. tape ([sm1
977[nm).[cm~Cox, David [fy75,1](Vassall[cf1]) ([cf2]b[cf1] Broadstairs, [sm1916[
nm). Eng. ~composer, pianist, and critic. Studied RCM under ~Howells. Mus. organ
izer, BBC External Services ~[sm1956[nm=n[sm76[nm. Comps. incl. many choral and
vocal ~works, opera[cf2] The Children in the Forest[cf1]. Author of ~book on Deb
ussy.[cm~Cox, Frederic [fy75,1](Robert)[cf1] ([cf2]b[cf1] London, [sm1905[nm; [c
f2]d[cf1] Altrincham, [sm1985[nm). Eng. ~singing teacher, singer, and composer.
Studied ~Oxford Univ. Studied singing in Paris [sm1924[nm=n[sm30[nm, ~Milan from
 [sm1931[nm. London d;aaebut as ten. ~and composer [sm1938[nm. Served in Home Of
fice ~[sm1939[nm=n[sm45[nm (O.B.E.). Worked in London [sm1946[nm=n[sm9[nm ~with
Joseph Hislop. Prof. of singing, RMCM, ~[sm1949[nm=n[sm53[nm, Pr
in. [sm1953[nm=n[sm70[nm (Prin. Emeritus [sm1970[nm). ~Head of Vocal Dept., TCL
[sm1970[nm=n[sm5[nm. Chairman, ~London Orchestras Concert Board, [sm1970[nm=n[sm
5[nm. Sing~~ing teacher at RNCM, Manchester, [sm1975[nm=n[sm84[nm. ~One of most
distinguished singing teachers of his ~[PN170,0,0,L,I0]time. Pupils incl. John M
itchinson, Joseph Ward, ~Ryland Davies, Anne Howells, Elizabeth Har~~wood, Sandr
a Browne, Ann Murray, and many ~more. During his [sm17[nm years as Prin., opera
prods. ~at RMCM achieved a standard which attracted ~int. attention and admirati
on.[cm~Cox, Jean[fy75,1] ([cf2]b [cf1] Gadsden, Alabama, [sm1932[nm). Amer. ~ten
or. Studied New England Cons. of Mus. and ~in Rome. D;aaebut New Eng. Opera Th.
as Lensky ~in [cf2]Eugene Onegin[cf1] [sm1953[nm. Sang in Kiel [sm1953[nm=n[sm4[
nm and ~Brunswick [sm1955[nm=n[sm9[nm, then Mannheim Opera. ~D;aaebut Bayreuth [
sm1956[nm, returning [sm1967[nm=n[sm9[nm and as ~Siegfried [sm1970[nm=n[sm5[nm.[
cm~Cox, John[fy75,1] ([cf2]b[cf1] Bristol, [sm1935[nm). Eng. ope
ra producer. ~Studied Oxford Univ. Opera d;aaebut as producer, ~SW [cf2]L'Enfant
 et les sortil;ageges[cf1] (Ravel). Dir., Music ~Th. Ens. [sm1967[nm=n[sm70[nm.
Dir. of Prod., Glyndebourne, ~[sm1971[nm=n[sm81[nm. Gen. admin. Scottish Opera f
rom [sm1982[nm. ~Notable Strauss and Mozart prods. Has worked in ~world's leadin
g opera houses.[cm~Cracovienne. [fy75,1]See [cf2]Krakowiak.[cm~Cradle will Rock,
 The. [fy75,1]Opera-musical in [sm1[nm act ~by [fy45,1]*[fy75,1]Blitzstein ([sm1
936[nm) to his own lib. on conflict ~between steel magnate and trade union. Prod
. ~NY [sm1937[nm.[cm~Craft, Robert [fy75,1](Lawson)[cf1] ([cf2]b[cf1] Kingston,
NY, [sm1923[nm). ~Amer. cond., musicologist, and author. Studied ~Juilliard Sch.
 and Berkshire Music Center, also ~cond. pupil of Monteux. Skilled interpreter o
f ~mus. of Webern, Schoenberg, Berg, and especially ~of Stravinsky with whom he
was on terms of ~intimate friendship, collaborating with him in ~recordings and
in [sm6[nm vols. of conversations and ~memoirs. Advised Stravins
ky to compose in serial ~technique. Has also written [cf2]Stravinsky: Chronicle
~of a Friendship[cf1] ([sm1972[nm). Conducted Amer. premi;agere ~of Berg's [cf2]
Lulu[cf1] ([sm3[nm-act version), Santa Fe [sm1979[nm, ~having cond. the [sm2[nm-
act version there in [sm1963[nm.[cm~Craig, Charles[fy75,1] ([cf2]b[cf1] London,
[sm1920[nm). Eng. ten. ~Studied with Beecham. Concert d;aaebut with ~Beecham [sm
1952[nm. Opera d;aaebut [sm1953[nm with Carl Rosa; ~CG [sm1959[nm (Pinkerton); p
rin. tenor SW [sm1956[nm=n[sm9[nm. ~Has sung at all leading opera houses. Noted
for ~his interpretation of title-role in Verdi's [cf2]Otello[cf1] and ~of Siegmu
nd in [cf2]Die Walk;Auure.[cm~Cramer, Johann Baptist[fy75,1] ([cf2]b[cf1] Mannhe
im, [sm1771[nm; [cf2]d[cf1] ~London, [sm1858[nm). Ger.-born pianist, composer, a
nd ~teacher, descendant of distinguished mus. family, ~most of whom worked in En
g. Came to London ~when [sm1[nm year old and became pupil of [fy45,1]*[fy75,1]Cl
ementi, ~making d;Aaebut as pianist in his early teens. Toured ~
Europe [sm1788[nm=n[sm91[nm. High reputation in London as ~pf. teacher; pubd. fi
rst book of [cf2]Studies[cf1] (eventually ~composing [sm84[nm) in [sm1804[nm. Th
ese [cf2]Studies[cf1] are still in ~use, having survived his [sm105[nm sonatas a
nd [sm9[nm concs. ~In [sm1824[nm, with [sm2[nm partners, founded publishing ~fir
m of J. B. Cramer and Co., remaining until ~[sm1842[nm. (After Cramer's death th
is firm added ~manufacture of pfs. to its activities.) Founder-~member and dir.,
 Phil. Soc. [sm1813[nm, and one of orig. ~partners of [fy45,1]*[fy75,1]Chappell
& Co., who issued his ~[cf2]Studies[cf1] from [sm1812[nm.[cm~Cranmer, Philip[fy7
5,1] ([cf2]b[cf1] Birmingham, [sm1918[nm). Eng. ~teacher and composer. Studied R
CM. BBC staff ~accompanist, Birmingham [sm1948[nm=n[sm50[nm, Birming~~ham Univ.
[sm1950[nm=n[sm4[nm; Prof. of Mus., Queen's Univ., ~Belfast, [sm1954[nm=n[sm70[n
m, Manchester Univ. [sm1970[nm=n[sm5[nm. ~Secretary, Associated Board, Royal Sch
s. of Mus. ~from [sm1974[nm.[cm~Crash Cymbal. [fy75,1]See [cf2]C
hinese Crash Cymbal.[cm~Crawford, Robert [fy75,1](Caldwell)[cf1] ([cf2]b[cf1] Ed
inburgh, ~[sm1925[nm). Scot. composer and critic. Studied with ~Hans [fy45,1]*[f
y75,1]G;aaal, Edinburgh and at GSM with [fy45,1]*[fy75,1]Frankel. ~Won Fest. of
Brit. Arts Council prize [sm1951[nm with ~str. qt. Other works incl. pf. sonatas
, variations ~for str. orch., sinfonietta, incidental mus. for BBC.[cm~Crawford
[fy75,1](Seeger), [fy65][cf3]Ruth[fy75,1] ([cf2]b[cf1] East Liverpool, Ohio, ~[s
m1901[nm; [cf2]d[cf1] Chevy Chase, Md., [sm1953[nm). Amer. com~~poser. At Amer.
Cons., Chicago, [sm1920[nm=n[sm9[nm as student ~and teacher. Studied comp. NY [s
m1929[nm with Charles ~Seeger, whom she married. Transcr. several ~thousand Amer
. folk-songs from recordings in ~Library of Congress and wrote pf. acc. for over
 ~[sm300[nm. Comps. incl. Str. Qt. ([sm1931[nm), Vn. Sonata ~([sm1927[nm), [sm9[
nm pf. preludes ([sm1924[nm=n[sm8[nm), and other works.[cm~Craxton, Harold[fy75,
1] ([cf2]b[cf1] London, [sm1885[nm; [cf2]d[cf1] London, ~[sm1971
[nm). Eng. pianist and teacher. Studied with ~Tobias [fy45,1]*[fy75,1]Matthay. T
aught at Matthay's Pf. Sch. ~[sm1914[nm=n[sm40[nm and at RAM [sm1919[nm=n[sm61[n
m. Noted accompa~~nist. Ed. Beethoven sonatas (with Tovey) and ~Chopin for Assoc
iated Board of RSM. O.B.E. ~[sm1960[nm.[cm~Craxton, Janet[fy75,1] ([cf2]b[cf1] L
ondon, [sm1929[nm; [cf2]d[cf1] London, ~[sm1981[nm). Eng. oboist. Daughter of Ha
rold [fy45,1]*[fy75,1]Craxton. ~Studied RAM [sm1945[nm=n[sm8[nm and Paris Cons.
[sm1948[nm=n[sm9[nm. ~Prin. ob. Hall;aae Orch. [sm1949[nm=n[sm52[nm, London Moza
rt ~Players [sm1952[nm=n[sm4[nm, BBC S.O. [sm1954[nm=n[sm63[nm, London ~Sinfonie
tta from [sm1969[nm. Prin. oboe, Royal Opera ~Orch., [sm1980=n1[nm. Also frequen
t soloist and recitalist. ~Prof. of ob. RAM.[cm~Crazy Jane. [fy75,1]Work for sop
., cl., vc., and pf. by ~Richard Rodney Bennett, comp. [sm1968=n9[nm, f.p. (TV)
~[sm1970[nm.[cm~Creation, The[fy75,1] ([cf2]Die Sch;auopfung[cf1]). Oratorio for
 sop., ~ten., bass, ch., and orch. by Haydn, comp. at ~suggestio
n of [fy45,1]*[fy75,1]Salomon to text by unknown Eng. ~author trans. into Ger. b
y Baron Gottfried van ~Swieten who also provided a re-trans. into Eng. ~(later m
odified). F.p. Vienna [sm1798[nm, London [sm1800[nm, ~Boston, Mass. (complete) [
sm1819[nm. Contains famous ~sop. aria `With verdure clad' and ch. `The heavens ~
are telling the glory of God'.[cm~Cr;aaeation du monde, La[fy75,1] (The Creation
 of the ~World). Ballet in [sm1[nm act, mus. [fy45,1]*[fy75,1]Milhaud, lib. ~Cen
drars, choreog. B;auorlin. Prod. Paris [sm1923[nm. Later ~choreog. de Valois, Ma
cMillan, and others.[cm~[PN171,0,0,R,I0]Creation Mass[fy75,1] ([cf2]Sch;auopfung
smesse[cf1]). Name for ~Haydn's Mass No. [sm11[nm in B;Yh, comp. [sm1801[nm, bec
ause ~there is a quotation from [cf2]The Creation[cf1] in the [cf2]Qui ~tollis.[
cm~Creatures of Prometheus, The[fy75,1] (Beethoven). See ~[cf2]Prometheus, Die G
esch;auopfe des.[cm~Crecquillon, Thomas[fy75,1] ([cf2]b c.[cf1][sm1490[nm; [cf2]
d[cf1] ?B;aaethune, ~[sm1551[nm). Fr.-Flemish composer. Choirmas
ter to ~Emperor Charles V. Wrote over [sm200[nm [cf2]chansons[cf1], ~over [sm100
[nm motets, [sm12[nm masses, and other church ~mus. Regarded as one of leading c
omposers of ~post-Josquin Despr;ages generation.[cm~Cr;aaecelle[fy75,1] (Fr.). R
attle.[cm~Credo [fy75,1] (I believe). Section of the Proper of the ~[fy45,1]*[fy
75,1]Mass frequently set by composers. Operatically ~speaking, the `Credo' refer
s to Iago's aria in Act II ~of Verdi's [cf2]Otello[cf1] in which he states his b
elief in a ~cruel god.[cm~Creighton, Robert. [fy75,1]See [cf2]Creyghton, Robert.
[cm~Crembalum. [fy45,1]*[fy75,1]Jew's harp.[xm[cm~[ol0][ep~[xp[te~





[do35][j99]~~~~~~[sm153842[nm_CB[sm7[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmCB[sm7[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm25[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm580[nm[cm~GC[cm4[cm20.9.84[cm~U1[cm~~~[ap[j1]Cremona. [fy75
,1]([sm1[nm) Org. stop much like [fy45,1]*[fy75,1]Clarinet.[ep~^([sm2[nm) It. to
wn where lived several famous makers ~of str. instr., e.g. [fy45,1]*[fy75,1]Stra
divarius, [fy45,1]*[fy75,1]Guarnerius, and ~[fy45,1]*[fy75,1]Amati.[cm~Creole Mu
sic. [fy75,1]Indigenous mus. of Lat. Amer. ~Has distinctive rhythms, and melodie
s often acc. ~by a short bass phrase much repeated with slight ~changes. The [fy
45,1]*[fy75,1]castanets are used.[cm~Crescendo[fy75,1] (It., abbreviation [cf2]c
resc.[cf1]). Growing. ~Directive used by composers to indicate that a ~passage s
hould gradually increase in loudness. ~Sometimes the direction is [cf2]crescendo
 poco a poco[cf1], ~meaning  to increase the loudness by degrees (little ~by lit
tle) or [cf2]subito crescendo [cf1](suddenly increasing ~in loud
ness). One also speaks of `a crescendo', ~meaning a striking example of this fea
ture such ~as is found frequently in the mus. of Rossini. ~According to Dr [fy45
,1]*[fy75,1]Burney, the device was first ~used in Terradellas's opera [cf2]Belle
rofonte[cf1] (London ~[sm1747[nm): it was much exploited in the orch. mus. ~of J
. [fy45,1]*[fy75,1]Stamitz and his colleagues at the Mannheim ~court as the cele
brated `Mannheim crescendo'. ~(Some writers betray their lack of mus. knowledge
~by using the phrase `rising to a crescendo', which ~is obvious nonsense.) The o
pposite is [fy45,1]*[fy75,2]diminuendo. ~[cf1]See [cf2]Hairpins.[cm~Crescendo Pe
dal. [fy75,1]An org. device which gradually ~brings into action all the stops.[c
m~Crescent. [fy75,1]Turkish instr. comprising small bells ~hung from an inverted
 crescent. Also known as ~[fy45,1]*[fy75,1]`Jingling Johnny'.[cm~Crescentini, Gi
rolamo[fy75,1] ([cf2]b[cf1] Urbania, [sm1762[nm; [cf2]d[cf1] ~Naples, [sm1846[nm
). It. mez. castrato. Studied in ~Bologna. Sang in Sarti opera i
n Padua [sm1782[nm. ~Visited London [sm1784[nm, being coolly received, and ~spen
t next [sm10[nm years in major European opera ~houses, his repertory being chief
ly opera by ~Zingarelli, Mayr, Cimarosa, and Gazzaniga. Lived ~in Paris [sm1806[
nm=n[sm12[nm as singing teacher to Napoleon's ~family. Retired [sm1812[nm and re
turned to It., teaching ~at Naples Cons. Also a composer.[cm~Crespin, R;aaegine[
fy75,1] ([cf2]b[cf1] Marseilles, [sm1927[nm). Fr. sop. ~Studied Paris Cons. D;aa
ebut Mulhouse [sm1950[nm as Elsa ~in [cf2]Lohengrin[cf1], Paris [sm1951[nm in sa
me role. Bayreuth ~[sm1958[nm as Kundry in [cf2]Parsifal[cf1], Glyndebourne [sm1
959[nm ~as Marschallin in [cf2]Rosenkavalier[cf1] (same role CG ~[sm1960[nm, NY
Met. [sm1962[nm). Mez. roles since [sm1977[nm.[cm~Cresswell, Lyell[fy75,1] ([cf2
]b[cf1] Wellington, N.Z., [sm1944[nm). N.Z. ~composer. Studied Victoria Univ. of
 Wellington, ~and Toronto Univ. Settled in Brit. [sm1972[nm. Taught ~at Aberdeen
 Univ. [sm1973[nm=n[sm4[nm, Glasgow Univ. [sm1976[nm=n~[sm7[nm.
Mus. organizer, Chapter Arts Centre, Cardiff, ~[sm1978[nm=n[sm80[nm. Works incl.
 vn. conc.; conc. for [sm2[nm orchs.; ~[cf2]Translations[cf1], sop., ch., orch.,
 and tape; [cf2][sm4[nm Sentimental ~Songs[cf1], sop., pf., bamboo chimes, bag o
f wooden ~clothes pegs; [cf2]Wagner is a Fink[cf1], brass band; [cf2]Music ~for
Skinheads[cf1], [sm3[nm percussionists; [sm3[nm str. qts.; [cf2]Salon[cf1], ~orc
h; [cf2]O! for Orchestra[cf1], orch.; [cf2]Taking a Line for a ~Walk[cf1], elec.
 tape; vc. conc.[cm~Creston, Paul[fy75,1] (orig. Giuseppe Guttoveggio) ([cf2]b[c
f1] ~NY, [sm1906[nm). Amer. composer and organist of It. ~origin. Self-taught in
 harmony and comp. Organ~~ist St Malachy's, NY, [sm1934[nm=n[sm67[nm. Prof. of m
us., ~Cent. Washington State Coll., [sm1968[nm=n[sm75[nm. Comps. ~incl.:[xm[cm~[
j2][smorch[nm: [sm5[nm syms. ([sm1941[nm=n[sm56[nm); [fy75,2]Walt Whitman[cf1] (
[sm1952[nm); ~[cf2]Pavane Variations[cf1] ([sm1966[nm); Concertos[cf1]: sax. ([s
m1941[nm), ~harp ([cf2]Poem[cf1]) ([sm1945[nm), tb. ([cf2]Fantas
y[cf1]) ([sm1947[nm), pf. (No. ~[sm1[nm [sm1949[nm, No. [sm2[nm [sm1962[nm), [sm
2[nm pf. (No. [sm1[nm [sm1951[nm, No. [sm2[nm ~[sm1968[nm), vn. (No. [sm1[nm [sm
1956[nm, No. [sm2[nm [sm1960[nm), accordion ~([sm1958[nm); [cf2]Jubilee[cf1], ba
nd, ([sm1971[nm).[ep~[ih0]Also choral works, chamber mus., songs, pf. ~pieces.[c
m~[j1]Creyghton[fy75,1] (Creighton), [fy65][cf3]Robert[fy75,1] ([cf2]b c.[cf1][s
m1636[nm; [cf2]d[cf1] ~Wells, [sm1734[nm). Canon and precentor of Wells Cath. ~f
rom [sm1674[nm. Wrote anthems and settings of church ~services. Prof. of Greek,
Cambridge Univ., [sm1666[nm=n~[sm72[nm.[cm~Creyghtonian Seventh. [fy75,1]Manneri
sm of [fy45,1]*[fy75,1]Creygh~~ton, i.e. preceding final perfect cadence by ~sub
dominant chord with added [sm7[nmth (e.g. in key ~C, F-A-C-E).[cm~Cricket and Mu
sic.[fy75,1] Although cricket is a quasi-~religion for many inhabitants of the B
ritish ~Commonwealth, it has had relatively few adher~~ents among the great Eng.
 composers. Elgar ~preferred horse-racing, Vaughan Williams took
 ~no interest in it, and Britten played it well at ~school but forsook it for la
wn tennis. The keenest ~cricketer-composer was probably Bax, though ~Delius watc
hed Yorkshire on several occasions. ~Among conductors, Beecham played for Rossal
l ~School [sm1[nmst XI and Barbirolli was a keen spectator ~at Lord's and Old Tr
afford. A former captain of ~England, A. L. Lewis, was leader of the Nat. ~Youth
 Orch. of Wales. Peter [fy45,1]*[fy75,1]Warlock in [sm1929[nm ~[PN172,0,0,L,I0]c
omposed a song [cf2]The Cricketers of Hambledon[cf1]. ~Cricket features in many
school, music-hall, and ~revue songs, and the [cf2]Ranjitsinhji Waltz[cf1] by C.
 T. ~West ([sm1897[nm) celebrated one of the most graceful ~batsmen ever to play
 for Eng. and Sussex. The ~most prolific batsman of the [sm1928[nm=n[sm48[nm era
, the ~Australian D. G. (Sir Donald) Bradman, was ~celebrated in [sm1930[nm in a
 song [cf2]Our Don Bradman[cf1]. ~He was a good pianist and also composed the ~m
us. for a song [cf2]Every Day is a Rainbow Day For ~Me[cf1] (onl
y too true from his opponents' standpoint) ~by Jack Lumsdaine ([sm1930[nm). Prob
ably the best-~known cricket song is Egbert Moore's West ~Indian [fy45,1]*[fy75,
1]calypso, [cf2]Cricket, Lovely Cricket[cf1], which ~marked the first West Indie
s victory in a Test ~Match in Eng., at Lord's in [sm1950[nm. The most ~famous al
liance between cricket and music was ~in the person of the critic and essayist N
eville ~[fy45,1]*[fy75,1]Cardus, but he omitted to write the words and ~mus. of
a cricket song. David Rayvern Allen's  [cf2]A ~Song for Cricket[cf1] (London [sm
1981[nm) is a documentary ~record of all musical `cricketana'.[cm~Cries of Londo
n. [fy75,1]Orig. the calls of street salesmen ~(hawkers) in selling their wares;
 over [sm150[nm have ~been collected. Some Eng. composers, e.g. Gib~~bons and We
elkes, incorporated these mus. cries ~into their works. The [sm20[nmth-cent. com
poser [fy45,1]*[fy75,1]Berio ~has written a work called [cf2]Cries of London [cf
1]and ~Vaughan Williams incorporates a reminiscence ~of the lave
nder-seller's cry into his [cf2]London ~Symphony.[cm~Cristofori, Bartolomeo di F
rancesco[fy75,1] ([cf2]b[cf1] Padua, ~[sm1655[nm; [cf2]d[cf1] Florence, [sm1731[
nm). It. hpd.-maker who, in ~Florence, [sm1700[nm, constructed a [cf2]gravicemba
lo col ~piano e forte[cf1] (hpd. with softness and loudness). ~This was a foreru
nner of the modern pf.: he ~substituted the blows of a series of hammers for ~th
e hpd. plucking of the str. By [sm1720[nm he improved ~it by graduating the forc
e of the fall of the ~hammers and by putting a damper above instead ~of under th
e str. The compass was over [sm4[nm octaves. ~Only [sm3[nm Cristofori pfs. survi
ve, so far as is known ~(in NY, Leipzig, and Rome).[cm~Critic, The, or An Opera
Rehearsal. [fy75,1]Opera in [sm2[nm ~acts by Stanford, his Op. [sm144[nm, to lib
. by L. C. ~James based on Sheridan's comedy ([sm1779[nm). Prod. ~London [sm1916
[nm.[cm~Criticism, Musical. [fy75,1]The profession of writing ~about the aesthet
ics, history, and evolution of ~mus. and of reviewing mus. comps
. and perfs. in ~newspapers, periodicals, books, and on the radio ~and TV. No on
e can say exactly when criticism ~began, but in the sense understood today it ~d
eveloped parallel with the spread of the printed ~word. By its nature, criticism
 is controversial and ~often resented, but there are several examples of ~a crit
ic's, or group of critics', championship of a ~composer or a branch of comp. whi
ch has had ~beneficial results (e.g. the revival of interest in ~Mahler since [c
f2]c.[cf1][sm1950[nm). The first periodical devoted ~to mus. was Mattheson's [cf
2]Critica musica[cf1], founded ~in Hamburg [sm1722[nm. In Fr. the first was [cf2
]Journal de ~musique fran;Alcaise et italienne[cf1] in [sm1764[nm, though the ~p
amphlets written during the [cf2]Querelle des [fy45,1]*[fy75,2]Bouf~~fons[cf1] [
sm1752[nm=n[sm4[nm perhaps count as criticism. In Eng. ~the [cf2]New Musical and
 Universal Magazine[cf1] was ~founded in [sm1774[nm. The last vol. of [fy45,1]*[
fy75,1]Burney's ~[cf2]History of Music[cf1], [sm1789[nm, abounds
 in candid criticism ~of composers and performers of his day.[ep~^The first prof
essional critic was probably J. F. ~Rochlitz ([sm1769[nm=n[sm1842[nm), ed. of th
e [cf2]Allgemeine ~Musikalische Zeitung[cf1] in Leipzig, and champion of ~Bach.
Journalism in Ger. daily papers began with ~F. Rellstate, who wrote for the Berl
in [cf2]Vossische ~Zeitung[cf1] [sm1803[nm=n[sm13[nm, but the first newspaper to
 ~appoint a professionally-trained musician as critic ~was [cf2]The Times[cf1] o
f London, through the influence ~of one of its managers, Thomas Alsager, a music
al ~enthusiast. Eng. criticism in the [sm19[nmth cent. was ~dominated by J. W. [
fy45,1]*[fy75,1]Davison of [cf2]The Times[cf1] ([sm1846[nm=n~[sm79[nm) and H. F.
 [fy45,1]*[fy75,1]Chorley, of the [cf2]Athenaeum[cf1] (weekly) ~from [sm1833[nm
to [sm1868[nm. One of the first men to write ~about mus. and musicians not as an
 expert but as ~a fine journalist was Heinrich Heine in the [sm19[nmth-~cent. [c
f2]Allgemeine Zeitung[cf1] of Augsburg. There have ~been many ex
amples of composers who wrote ~criticism, notably Robert Schumann in the [cf2]Ne
ue ~Zeitschrift f;auur Musik[cf1] (in which he advanced the ~causes of Chopin, B
erlioz, and Brahms), Berlioz ~in the [cf2]Journal des D;aaebats[cf1] from [sm183
5[nm to [sm1863[nm ~(although the outstanding critic of the day in Fr. ~was F. J
. [fy45,1]*[fy75,1]F;aaetis, who founded the [cf2]Revue musicale[cf1]), ~Wolf (i
n the [cf2]Wiener Salon-Blatt[cf1]), Weber, Wagner, ~and Debussy (under the pseu
donym [cf2]Monsieur ~Croche[cf1]). In Vienna, where critical polemics reach ~a h
igh voltage, the most illustrious and historically ~significant critic was Eduar
d [fy45,1]*[fy75,1]Hanslick, the ~`Bismarck of music criticism' (Verdi), known f
or ~his extreme partisanship in the divergence of ~views on Wagner and Brahms. T
his resulted in ~his being immortalized by his opponent Wagner ~as Beckmesser in
 [cf2]Die Meistersinger[cf1] (Wagner ~originally called the character Hanslich).
 Never~~theless Hanslick is still highly readable.[ep~^In the US
A several critics have achieved a ~reputation beyond the local sphere of their ~
activities, notably Philip Hale of Boston, and ~(from NY), Lawrence Gilman, H. E
. Krehbiel, ~Olin Downes, and Richard Aldrich. Outstanding ~among Brit. mus. cri
tics of the past have been ~Bernard Shaw (the most entertaining of all), ~Ernest
 [fy45,1]*[fy75,1]Newman, a Wagner authority, Neville ~[fy45,1]*[fy75,1]Cardus,
and H. C. [fy45,1]*[fy75,1]Colles.[cm~[fy65][cf3]Croce, Giovanni[fy75,1] ([cf2]b
[cf1] Chioggia, [cf2]c.[cf1][sm1558[nm; [cf2]d[cf1] Venice, ~[sm1609[nm). It. co
mposer and priest, pupil of [fy45,1]*[fy75,1]Zarlino. ~Choirmaster St Mark's, Ve
nice, from [sm1603[nm. Wrote ~madrigals, also motets and other church mus.[cm~Cr
oche[fy75,1] (Fr.). Hook. The [sm8[nmth-note or quaver (not ~the crotchet).[cm~C
roche, Monsieur. [fy75,1]Pseudonym under which ~[fy45,1]*[fy75,1]Debussy wrote s
ome of his mus. criticisms, ~[PN173,0,0,R,I0]himself making a selection in [sm19
17[nm called ~[cf2]Monsieur Croche anti-dilettante[cf1] (pubd. [
sm1921[nm).[cm~Croft, William[fy75,1] ([cf2]b[cf1] Nether Ettington, Warwicks.,
~[sm1678[nm; [cf2]d[cf1] Bath, [sm1727[nm). Eng. composer and organist. ~By [sm1
700[nm had collab. with Blow and others in ~[cf2]Ayres for the Harpsichord or Sp
inet. [cf1]Organist, St ~Anne, Soho, [sm1700[nm=n[sm12[nm, Chapel Royal, [sm1707
[nm, and ~master of the children and composer to Chapel ~Royal from [sm1708[nm.
Organist, Westminster Abbey ~from [sm1708[nm. Comp. many fine anthems and a ~Bur
ial Service, also hpd. works, cantatas, vn. ~sonatas, and songs. Also wrote hymn
-tune `St ~Anne' to which is sung `O God, our Help in Ages ~Past'.[cm~Croiza [fy
75,1](Conelly), [fy65,3]Claire[fy75,1] ([cf2]b[cf1] Paris, [sm1882[nm; [cf2]d[cf
1] Paris, ~[sm1946[nm). Fr. mez. Opera d;aaebut Nancy [sm1905[nm. Sang ~for many
 years at Th. de la Monnaie, Brussels, ~where her repertory incl. Charlotte in M
assenet's ~[cf2]Werther[cf1], Klytemnestra in Strauss's[cf2] Elektra[cf1], P;aae
n;aae~~lope in Faur;aae's opera, and Carmen, Erda, and ~Dido (Be
rlioz's [cf2]Les Troyens[cf1]). Taught at ;aaEcole ~Normale, Paris, from [sm1922
[nm and at Paris Cons. ~from [sm1934[nm, her pupils incl. Souzay and Micheau. ~G
reatly admired by Fr. composers for her sensitive ~artistry. Sang Angel in Elgar
's [cf2]Dream of Gerontius[cf1] ~at f. Paris p. [sm1906[nm.[cm~Croma[fy75,1] (It
.). [sm8[nmth-note or quaver.[cm~Cromatico, cromatica, cromatici, cromatice[fy75
,1] ~(It.). Chromatic. The [cf2]Corno cromatico[cf1] is the Valve ~Hn.[cm~Cromor
ne. [fy75,1]([sm1[nm) On Fr. org. a delicate type of cl. ~stop.[ep~^([sm2[nm) Fr
. name for the [fy45,1]*[fy75,1]crumhorn (not encountered ~until [sm17[nmth cent
.).[cm~Crook. [fy75,1]Detachable accessory section of tubing ~applied to the mou
thpiece of brass instr. such as ~hns. and tpts. to lengthen the instr.'s tube an
d ~thus to give it a different basic key. (Players ~generally carried [sm10[nm o
r [sm12[nm crooks.) Natural tpts. ~or hns., without valves or slides, could play
 only ~the notes of the harmonic series, the crook ~enabling the
 player to transpose the fundamental ~note. Thus for a hn.-player, with all part
s written ~in C, to play in D, he would fit a D crook. The ~introduction of [fy4
5,1]*[fy75,1]valves from [cf2]c.[cf1][sm1850[nm almost ~eliminated the need for
crooks. The term is ~applied also to the bent metal tube connecting ~the body of
 the bn. with the reed, and to ~comparable detachable bent tubes at mouthpieces
~of cls. and saxs.[cm~Crooks, Richard[fy75,1] ([cf2]b[cf1] Trenton, NJ, [sm1900[
nm; [cf2]d[cf1] Portola ~Valley, Calif., [sm1972[nm). Amer. ten. NY d;aaebut [sm
1922[nm. ~Concert-hall reputation before turning to opera ~in which he made d;Aa
ebut as Cavaradossi in [cf2]Tosca[cf1] ~in Hamburg, [sm1927[nm; Philadelphia [sm
1930[nm; NY Met. ~[sm1933[nm=n[sm43[nm (d;aaebut there as Des Grieux in [cf2]Man
on[cf1]). ~Also popular singer of Irish ballads in manner of ~[fy45,1]*[fy75,1]M
cCormack.[cm~Croon. [fy75,1]To sing softly to a baby, but the wider ~usage since
 [sm1930[nms means to sing softly, and often ~sentimentally, wit
h a dance band. Practitioners ~are known as `crooners', the most eminent being ~
Bing Crosby.[cm~Crosby, Bing[fy75,1] (Harry Lillis) ([cf2]b[cf1] Tacoma, [sm1904
[nm; [cf2]d[cf1] ~Madrid, [sm1977[nm). Amer. singer and actor. One of ~Rhythm Bo
ys who sang with Paul Whiteman ~Orch. [sm1926[nm=n[sm30[nm and appeared in film
[cf2]The King of ~Jazz[cf1] ([sm1930[nm). Successful radio career as solo singer
 ~from [sm1931[nm. Made many other films, incl. [cf2]Holiday ~Inn[cf1] ([sm1942[
nm) in which he sang `White Christmas' ~and those in which he had a comedy partn
ership ~with Bob Hope and Dorothy Lamour. For his ~part as priest in [cf2]Going
My Way[cf1] ([sm1944[nm) he won a ~Motion Picture Academy Award. Influenced by ~
Al Jolson and developed a very personal intimate ~style of crooning.[cm~Cross-ac
cent. [fy75,1]Variation of expected accentuation ~of notes by shifting beat to a
 point ahead of or ~behind its normal point in a rhythmic pattern. If ~this is m
aintained for some time it becomes ~[fy45,1]*[fy75,1]syncopation
.[cm~Cross-Fingering. [fy75,1]On woodwind instr., fingering ~the ascending or de
scending scale in a manner ~contrary to the normal order of lifting or lowering
~successive fingers.[cm~Cross, Joan[fy75,1] ([cf2]b[cf1] London, [sm1900[nm). En
g. sop. and opera ~producer. Studied St Paul's Girls' Sch., London, ~and TCL (as
 violinist). Joined Lilian [fy45,1]*[fy75,1]Baylis's Old ~Vic opera ch. [sm1924[
nm, graduating to leading roles. ~Prin. sop., SW Opera [sm1931[nm=n[sm46[nm. D;a
aebut CG [sm1931[nm ~and sang there [sm1947[nm=n[sm54[nm. Founder member ~[fy45,
1]*[fy75,1]English Opera Group [sm1946[nm=n[sm54[nm. Est. Nat. Sch. of ~Opera, b
eing dir. [sm1948[nm=n[sm64[nm. Has prod. operas at ~SW, CG, Oslo, Amsterdam, an
d Toronto. Dir., ~Phoenix Opera Co. Joint translator (with E. ~[fy45,1]*[fy75,1]
Crozier) of Smetana's [cf2]The Bartered Bride[cf1]. Created ~five roles in Britt
en operas: Ellen Orford in [cf2]Peter ~Grimes[cf1] ([sm1945[nm), Female Chorus i
n [cf2]The Rape of ~Lucretia [cf1]([sm1946[nm), Lady Billows in
[cf2]Albert Herring[cf1] ~([sm1947[nm), Elizabeth I in [cf2]Gloriana[cf1] ([sm19
53[nm), and Mrs ~Grose in [cf2]The Turn of the Screw[cf1] ([sm1954[nm). With Ann
e ~Wood, founded Opera School [sm1948[nm which in ~[sm1955[nm became Nat. Sch. o
f Opera. C.B.E. [sm1951[nm.[cm~Cross-rhythm.[fy75,1] Regular shift of some beats
 in a ~metric pattern to points ahead of or behind their ~normal positions, e.g.
 division of [sm9[nm/[sm8[nm into [sm2[nm;pl[sm2[nm;pl~[sm2[nm;pl[sm3[nm quavers
.[cm~Crosse, Gordon[fy75,1] ([cf2]b[cf1] Bury, [sm1937[nm). Eng. composer. ~Stud
ied Oxford Univ. [sm1958[nm=n[sm63[nm with B. Rose and ~Wellesz, and at Accademi
a di S. Cecilia, Rome, ~with Petrassi [sm1962[nm. Tutor, extra-mural dept., ~Bir
mingham Univ. [sm1964[nm=n[sm6[nm and in mus. dept. ~[sm1966[nm=n[sm9[nm. Fellow
 in Mus., Essex Univ., [sm1969[nm=n[sm76[nm. ~Works incl.:[xm[cm~[j2][smoperas[n
m: [fy45,1]*[fy75,2]Purgatory[cf1] ([sm1969[nm); [cf2]The Grace of Todd[cf1] ~([
sm1969[nm); [cf2]The Story of Vasco[cf1] ([sm1974[nm).[ep~[PN174
,0,0,L,I0][smmusic drama[nm: [cf2]Wheel of the World[cf1] ([sm1972[nm); [cf2]Wor
ld ~Within[cf1], speaker, sop., chamber ens. ([sm1977[nm).[ep~[smorch[nm: [cf2]E
legy[cf1] ([sm1959[nm); Concerto da camera (Vn. ~Conc. No. [sm1[nm) ([sm1962[nm)
; Sym. I ([sm1964[nm); [cf2]Ceremony[cf1], ~vc. and orch. ([sm1966[nm); vc. conc
. ([sm1979[nm); Vn. Conc. ~No. [sm2[nm ([sm1969[nm); [cf2]Some Marches on a Grou
nd[cf1] ([sm1970[nm); ~[fy45,1]*[fy75,2]Ariadne[cf1], ob. and [sm12[nm players (
[sm1972[nm); [cf2]Epiphany ~Variations [cf1]([sm1975[nm=n[sm6[nm); [cf2]Play Gro
und[cf1] ([sm1977[nm); [cf2]Wild~~boy[cf1], concertante for cl. and [sm8[nm play
ers ([sm1977[nm); ~[cf2]Thel[cf1], fl., [sm2[nm str. septets, [sm2[nm hns. ([sm1
978[nm); Studies for ~Str. Qt., set [sm2[nm ([sm1977[nm); Sym. No. [sm1[nm for c
hamber ~orch. ([sm1976[nm rev. of Sinfonia Concertante, [sm1965[nm); ~[cf2]Dream
songs[cf1], small orch. ([sm1979[nm); [cf2]Elegy and Scherzo ~alla marcia[cf1] (
adapted from str. qt.) ([sm1981[nm).[ep~[smchoral[nm: [fy45,1]*[
fy75,2]Changes[cf1], sop., bar., ch., and orch. ([sm1965[nm); ~[cf2]The Covenant
 of the Rainbow[cf1], ch. and org. ([sm1968[nm); ~[cf2]Harvest Songs[cf1], ch. a
nd orch. ([sm1980[nm); [cf2]Dreamcanon ~I[cf1], ch., [sm2[nm pf., perc. ([sm1981
[nm).[ep~[smvocal[nm: [cf2]For the Unfallen[cf1], ten., hn., str. ([sm1968[nm);
~[cf2]Memories of Morning, Night[cf1], mez. and orch. ~([sm1971[nm); [cf2]The Ne
w World[cf1], [sm6[nm poems by Ted Hughes ~for v. and pf. ([sm1978[nm).[ep~[smch
amber music[nm: Str. qt. ([sm1980[nm); [cf2]Wave Songs[cf1], vc., pf. ([sm1983[n
m).[ep~[smfor children[nm: [fy45,1]*[fy75,2]Meet My Folks! [cf1](poems by Ted ~H
ughes) for speaker, children's ch. and instr. ~([sm1964[nm); [cf2]Potter Thompso
n [cf1](A. Garner), mus. drama ~for solo vv., children's ch., and orch. ([sm1974
[nm); ~[cf2]Holly from the Bongs [cf1](A. Garner), Nativity opera ~([sm1974[nm).
[cm~[j1]Crossley, Ada[fy75,1] ([cf2]b[cf1] Tarraville, Gippsland, Australia, ~[s
m1874[nm; [cf2]d[cf1] London, [sm1929[nm). Australian cont. Pupi
l in ~London of [fy45,1]*[fy75,1]Santley; in Paris of Mathilde [fy45,1]*[fy75,1]
Mar~~chesi. Melbourne d;aaebut [sm1892[nm; London [sm1895[nm. ~Reputation chiefl
y in oratorio.[cm~Crossley, Paul [fy75,1](Christopher Richard) [cf1]([cf2]b[cf1]
 Dews~~bury, [sm1944[nm). Eng. pianist. Studied Oxford Univ. ~Pupil of Fanny [fy
45,1]*[fy75,1]Waterman in Leeds, later of ~Yvonne [fy45,1]*[fy75,1]Loriod in Par
is. D;aaebut Tours [sm1968[nm. ~Specialist in Romantics (Liszt, Brahms, etc.) an
d ~in sonatas of Tippett whose [sm3[nmrd sonata (Bath Fest. ~[sm1973[nm) was com
p. for him.[cm~Crossley-Holland, Peter [fy75,1](Charles)[cf1] ([cf2]b[cf1] Londo
n, ~[sm1916[nm). Eng. musicologist, composer, and writer ~on mus. Studied RCM (c
omp. with Ireland). BBC ~mus. staff [sm1948[nm=n[sm63[nm. Special study of Welsh
 folk ~mus. and authority on oriental mus. Comps. incl. ~cantata [cf2]The Sacred
 Dance.[cf1] Prof. of mus., U.C.L.A. ~from [sm1972[nm.[cm~Crotales[fy75,1] (Fr.)
. Perc. instr. Ancient Gr. [cf2]crotalum[cf1] ~was rattle or cla
pper similar to castanets, consist~~ing of wooden or metal shells struck togethe
r. ~The modern version, employed by Ravel and ~others, consists of small cymbals
 of thick metal ~tuned to a definite pitch.[cm~Crotchet[fy75,1] (;Ya) (Fr. [cf2]
Noire[cf1]; Ger. [cf2]Viertelnote[cf1]; It. ~[cf2]semiminima[cf1]). The `Quarter
-Note', i.e. a quarter the ~time-value of the whole-note or semibreve.[cm~Crotch
, William[fy75,1] ([cf2]b[cf1] Norwich, [sm1775[nm; [cf2]d[cf1] Taunton, ~[sm184
7[nm). Eng. organist, teacher, and composer. ~Child prodigy, giving org. recital
s in London ~when [sm4[nm, a pupil-ass. organist of King's and Trinity ~Colleges
, Cambridge, at [sm11[nm, wrote oratorio at [sm14[nm; ~organist Christ Church Ca
th., Oxford, at [sm15[nm, took ~B.Mus. at [sm19[nm, became Oxford prof. of mus.
at [sm22[nm ~([sm1797[nm) and D.Mus. [sm1799[nm. First Prin., RAM, [sm1822[nm=n~
[sm32[nm. Comp. prolifically in many genres. His ch. [cf2]Lo, ~star-led chiefs[c
f1] from the oratorio [cf2]Palestine[cf1] ([sm1812[nm) is ~still
 heard as an anthem.[cm~Crown Imperial. [fy75,1]March by Walton comp. for ~coron
ation of George VI in [sm1937[nm. Score is headed ~by line from poem `In Honour
of the City' by ~Dunbar ([sm1465[nm=n[sm1520[nm) `In beautie beryng the crone ~i
mperiall'. F.p. Westminster Abbey, [sm12[nm May [sm1937[nm, ~cond. Boult. Also a
rr. for military band, pf., and ~organ. See also [cf2]Orb and Sceptre.[cm~Crown
of India, The. [fy75,1]Masque, Op. [sm66[nm, by Elgar, ~for cont. and bass soloi
sts, ch., and orch. to words ~by H. Hamilton. Written to celebrate Delhi ~Durbar
 [sm1911[nm and f.p. London [sm1912[nm. Also orch. ~suite, [sm1912[nm.[cm~Crozie
r, Eric [fy75,1](=+=+=+John)[cf1] ([cf2]b [cf1]London, [sm1914[nm). Eng. ~writer
 and opera producer. BBC TV producer ~[sm1936[nm=n[sm9[nm. Closely assoc. with [
fy45,1]*[fy75,1]Britten, being co-~founder of EOG [sm1946[nm. Librettist of Brit
ten's ~[cf2]Albert Herring, Let's Make an Opera[cf1], and (with E. ~M. Forster)
[fy45,1]*[fy75,2]Billy Budd[cf1], and of Berkeley's [fy45,1]*[fy
75,2]Ruth[cf1]. ~Co-trans. (with Joan [fy45,1]*[fy75,1]Cross) of Smetana's [cf2]
The ~Bartered Bride[cf1] ([sm1943[nm). Prod. f.p. of [cf2]Peter Grimes[cf1] in ~
London [sm1945[nm and in Tanglewood [sm1946[nm, and of ~[cf2]Rape of Lucretia[cf
1], Glyndebourne [sm1946[nm.[cm~Crucifixion, The. [fy75,1]Oratorio for ten. and
bass ~soloists, ch., org., and orch. by [fy45,1]*[fy75,1]Stainer, comp. ~[sm1887
[nm to text written by J. S. Simpson, with ~selections from the Bible. Congregat
ion may join ~in [sm5[nm hymns (omitted in some perfs.).[xm[cm~[ol0][ep~[xp[te~






[do19][j99]~~~~~~[sm153842[nm_CB[sm08[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmCB[sm08[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm25[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm615[nm[cm~Collier[cm6[cm16.10.84[cm~3[cm~~~[ap[j1]Crucifixus. [
fy75,1]See [cf2]Mass[cf1].[cm~Cruft, Adrian [fy75,1](Francis) [cf1]([cf2]b [cf1]
Mitcham, [sm1921[nm). Eng. ~composer, cond., and teacher. Studied RCM with ~Jaco
b and Rubbra. Played db. in London orchs. ~[sm1947[nm=n[sm69[nm. Prof., RCM, fro
m [sm1962[nm. Chairman, ~Composers' Guild [sm1966[nm. Comps. incl. Partita for ~
orch., [cf2]Divertimento [cf1]for str., [cf2]Prospero's Island[cf1], ~cantata [c
f2]Alma Redemptoris Mater[cf1], other choral ~works, and songs.[cm~Cruft, Eugene
 [fy75,1](=+=+=+John) [cf1]([cf2]b [cf1]London, [sm1887[nm; [cf2]d [cf1]London,
~[sm1976[nm). Eng. db. player. Studied RCM. In Beecham ~Orch. [sm1909[nm, prin.
db. BBC S.O. [sm1929[nm=n[sm49[nm, CG ~Orch. [sm1949[nm=n[sm52[nm, Bath Fest. Or
ch. [sm1959[nm=n[sm65[nm. Prof. ~of db. RCM [sm1946[nm=n[sm57[nm
. Organized coronation ~orchs. [sm1937[nm and [sm1953[nm. Assoc. with many chamb
er ~orchs. O.B.E.[cm~Cruft, John [fy75,1](Herbert) [cf1]([cf2]b [cf1]London, [sm
1914[nm). Eng. ~oboist and administrator. Trained RCM. Mus. ~dir., Arts Council
[sm1965[nm=n[sm78[nm. Oboist LPO [sm1937[nm=n[sm9[nm, ~Orchestre de la Suisse Ro
mande [sm1939[nm=n[sm40[nm, LSO ~[sm1946[nm=n[sm9[nm, prof. of ob. RCM [sm1947[n
m=n[sm9[nm, Secretary, LSO ~[sm1949[nm=n[sm59[nm, dir. of mus., Brit. Council [s
m1959[nm=n[sm61[nm, of ~drama and mus. [sm1961[nm=n[sm5[nm.[cm~[PN175,0,0,R,I0]C
r;auuger, Johannes [fy75,1]([cf2]b [cf1]Gross-Breesen, Prussia, ~[sm1598[nm; [cf
2]d [cf1]Berlin, [sm1662[nm). Ger. composer and cantor. ~Cantor and org., St Nic
holas, Berlin, from [sm1622[nm ~till death. Wrote text-book on throroughbass. ~C
omp. masses, motets, concs., and hymn-tunes. ~In vol. of hymn-tunes pubd. [sm164
4[nm occur the ~famous chorales [cf2]Nun danket alle Gott, Schm;auucke ~dich, o
liebe Seele[cf1], and [cf2]Jesu, meine Freude[cf1], all used ~la
ter by Bach.[cm~Crumb, George [fy75,1](Henry) [cf1]([cf2]b [cf1]Charleston, West
 ~Virginia, [sm1929[nm). Amer. composer. Studied Berk~~shire Mus. Center and Ber
lin [sm1955[nm=n[sm6[nm. Has held ~various teaching posts. His mus. is highly ~i
ndividual. Early influence was Webern, and has ~developed interest in new sonori
ties combined ~with a comp. technique which is sometimes ~fragmented and sometim
es aleatory. This is not ~employed for freakish effect and his presentation ~of
his ideas remains comprehensible, as in his ~[sm1972[nm fantasy-pieces for ampli
fied pf. called ~[fy45,1]*[fy75,2]Makrokosmos [cf1]which employ many unusual pf.
 ~methods with poetic results. His other works ~incl.:[xm[cm[j2][smorch[nm: [fy7
5,2]Variazioni [cf1]([sm1959[nm); [cf2]Echoes of time and the ~River [cf1]([sm19
67[nm, also as mus. th. [sm1970[nm); [cf2]Star-Child ~[cf1]([sm1977[nm).[ep~[smi
nstrumental[nm: [cf2]Night music I[cf1], sop., pf., celesta, perc. ~([sm1963[nm)
, [cf2]Night Music II[cf1], vn. and pf. ([sm1964[nm); [cf2][sm3[
nm ~Madrigals, Book I [cf1]sop., vibraphone, bass, [cf2]Book II ~[cf1]fls., picc
., perc. ([sm1965[nm), [cf2]Book III [cf1]sop., harp, perc., ~[cf2]Book IV [cf1]
sop., fl., harp, bass, perc. ([sm1969[nm); [cf2]Eleven ~Echoes of Autumn[cf1], v
n., fl., cl., pf. ([sm1965[nm); [cf2]Night of ~the Four Moons [cf1]([sm1969[nm);
 [cf2]Black Angels[cf1], `electric' str. ~qt. ([sm1970[nm); [cf2]Ancient Voices
of children[cf1], sop. and ~instr. ens. ([sm1970[nm); Str. Qt. ([sm1954[nm); [cf
2]Dream Sequence[cf1], ~vn., vc., pf., perc. ([sm1976[nm); [cf2][sm4[nm Nocturne
s[cf1], [cf1]vn., pf. ~([sm1977[nm=n[sm8[nm); Vc. Sonata ([sm1955[nm); [cf2][sm5
[nm Pieces [cf1]for pf. ~([sm1962[nm).[ep~[ih0]Several of Crumb's works are sett
ings of the ~poems of Lorca.[cm[j1]Crumhorn [fy75,1](Old Eng. [cf2]crump[cf1]; F
r. [cf2]cromorne[cf1]; Ger. ~[cf2]Krummhorn[cf1]). Earliest and most common of ~
Renaissance [fy45,1]*[fy75,1]reed-cap instr., the name meaning ~`curved horn'. C
haracteristic shape is like a fish-~hook. Name first occurred in
 [sm1489[nm describing an ~org.-stop in Dresden, and this implied that the ~inst
r. had been in use for some time. Survived in ~Fr. until the middle of the [sm17
[nmth cent. Standard ~consort of crumhorns was alto (in G), [sm2[nm tens., and ~
bass. Sop. crumhorn ([cf2]stortina[cf1]) was a rarity but ~occurs in music by [f
y45,1]*[fy75,1]Corteccia. Crumhorns had [sm7[nm ~finger-holes with [sm3[nm exten
sion keys for low notes. ~With revival of interest in early music, crumhorns ~ha
ve been manufactured since the [sm1950[nms.[cm~Crusell, Bernhard Henrik [fy75,1]
([cf2]b [cf1]Uusikaupunki, ~Finland, [sm1775[nm; [cf2]d [cf1]Stockholm, [sm1838[
nm). Finnish ~composer, cond., teacher, and virtuoso player of ~cl. for which he
 wrote [sm3[nm concs. and [sm3[nm qts. Was ~clarinettist in military band at age
 of [sm12[nm. Studied ~comp. with Vogler, Berton, and Gossec. Also ~comp. opera
and translated Fr., Ger., and It. operas ~for the Swed. stage.[cm~Cruz, Agostinh
o da [fy75,1]([cf2]b [cf1]Braga, [cf2]c.[cf1][sm1590[nm; [cf2]d
[cf1]Coimba, ~[cf2]c.[cf1][sm1633[nm). Portuguese composer, organist, and viol ~
player. Wrote instr. pieces and viol method ~([sm1629[nm).[cm~Cruz, Ivo [fy75,1]
([cf2]b [cf1]Corumba, Brazil, [sm1901[nm). Portuguese ~composer and cond. Studie
d Munich [sm1925[nm=n[sm30[nm. ~Founder of several mus. bodies in Lisbon incl. ~
Lisbon P.O. [sm1936[nm. Dir. Nat. Cons., Lisbon, [sm1938[nm=n~[sm71[nm. Comps. i
ncl. [cf2]Lusitanian Themes [cf1]for orch. ~([sm1928[nm); Portuguese Conc. No. [
sm1[nm for pf. and orch. ~([sm1945[nm), No. [sm2[nm ([sm1946[nm); [cf2]Sinfonia
de Amadis [cf1]for orch. ~([sm1952[nm); [cf2]Sinfonia de Queluz [cf1]for orch. (
[sm1964[nm); ~chamber mus., and songs.[cm~Crwth. [fy75,1]Welsh medieval instr.,
the most devel~~oped form of [fy45,1]*[fy75,1]bowed lyre, with [sm6[nm str., a c
entral ~fingerboard, and the bridge acting as a sound-~post.[cm~Crystal Palace.
[fy75,1]Glass building designed by J. ~Paxton to house Great Exhibition of [sm18
51[nm in ~Hyde Park, London. Later removed to S. London ~suburb
of Sydenham and became home of Crystal ~Palace concerts cond. [fy45,1]*[fy75,1]M
anns, [sm1855[nm=n[sm1901[nm, nota~~ble for adventurous nature of programmes, al
so ~of triennial Handel Fests. from [sm1857[nm. Destroyed ~by fire [sm1936[nm.[c
m~Cs;aaard;aaas. [fy75,1]Hungarian dance, often misspelt [cf2]Czar~~das[cf1], in
 [sm2[nm parts; slow introductory [cf2]lass;aau [cf1]followed ~by excited main s
ection in duple time, [cf2]friss[cf1]. The ~mus. has a wild, gipsy flavour. Lisz
t was one of ~first composers to use the [cf2]cs;aaard;aaas [cf1]as the basis fo
r ~comps. The form of the [cf2]cs;aaard;aaas [cf1]is also used ~vocally, a famou
s example being sung by ~Rosalinde at Orlofsky's party in Act II of [cf2]Die ~[f
y45,1]*[fy75,2]Fledermaus[cf1].[cm~Cs;aaard;aaasf;auurstin, Die [fy75,1](Princes
s Cs;aaard;aaas; usually ~known in Eng. as The Gipsy Princess). Operetta ~in [sm
3[nm acts by K;aaalm;aaan to lib. by L. Stein and B. ~Jenbach, comp. [sm1915[nm,
 prod. Vienna [sm1921[nm.[cm~Cuckoo. [fy75,1]Simple [sm2[nm-note
 wind instr., imitating call ~of the bird, used in Toy Syms.[cm~Cuckoo, The [fy7
5,1](Le Coucou). Hpd. piece by ~[fy45,1]*[fy75,1]Daquin, comp. [sm1735[nm.[cm~Cu
ckston, Alan [fy75,1]([cf2]b [cf1]Horsforth, [sm1940[nm). Eng. per~~former on ea
rly kbd. instr. Studied Cambridge ~Univ. Pupil of Thurston [fy45,1]*[fy75,1]Dart
. Dir. of mus., ~Leeds Polytechnic. Continuo player with leading ~chamber orchs.
[cm~Cudmore, Richard [fy75,1]([cf2]b [cf1]Chichester, [sm1787[nm; [cf2]d [cf1]Ma
n~~[chchester, [sm1840[nm). Eng. instrumentalist. Violinist at ~It. Opera, Londo
n, then settled in Manchester as ~leader of Gentlemen's Concerts until [sm1840[n
m. In ~Liverpool played concs. for vn., pf., and vc. in ~one concert. Comp. conc
s. for vn. and pf.[cm~Cudworth, Charles [fy75,1]([cf2]b [cf1]Cambridge, [sm1908[
nm; [cf2]d ~[cf1]Cambridge, [sm1977[nm). Eng. musicologist, teacher, ~[PN176,0,0
,L,I0]and critic. Librarian, Pendlebury Library of Mus., ~[sm1946[nm=n[sm58[nm.
Authority on baroque and pre-classical ~mus.[cm~Cue. [fy75,1]([s
m1[nm) Last few notes of another instr. part ~which immediately precede entrance
 or re-~entrance after a lengthy rest of the instr. (or v.) ~on whose mus. the c
ue is written[ep~^([sm2[nm) When instrumentation is condensed, orch. ~parts of e
liminated instrs. are `cued' in with the ~parts of suitable alternative instrs.[
ep~^([sm3[nm) Cue nos.: the system of letters and/or nos. in ~a score which enab
le cond. to rehearse certain ~sections by indicating exact place in the score, e
.g. ~`[sm3[nm bars before letter D'.[cm~Cu;aaenod, Hugues [fy75,1](Adhemar) [cf1
]([cf2]b [cf1]Coiseaux, [sm1902[nm). ~Swiss ten. Studied Basle and Vienna. Taugh
t at ~Geneva Cons. then began concert career, later ~entering opera. D;aaebuts,
Milan [sm1951[nm, CG and ~Glyndebourne [sm1954[nm. Specialist in roles such as ~
Astrologer in [cf2]Golden Cockerel [cf1]and Sellem (which ~he created) in [cf2]T
he Rake's Progress[cf1]. Sang in Mozart's ~[cf2]Le Nozze di Figaro[cf1] in Glynd
ebourne's [sm50[nmth ~anniversary season, [sm1984[nm.[cm~Cui, C;
aaesar [fy75,1](Kyui, Tsezar Antonovich) [cf1]([cf2]b [cf1]Vilna, ~[sm1835[nm; [
cf2]d [cf1]Petrograd, [sm1918[nm). Russ. composer. Son of ~Fr. army officer. Stu
died mus. with [fy45,1]*[fy75,1]Moniuszko ~but studied military engineering at u
niv., becom~~ing Lieut.-Gen. of engineers and authority on ~fortifications. On m
eeting [fy45,1]*[fy75,1]Balakirev shared his ~nationalist mus. ideals and with h
im joined group ~known as `the Five' or the `Mighty Handful' (the ~others were B
orodin, Mussorgsky, and Rimsky-~Korsakov). Although a prolific composer, his ~bi
ggest contribution to the cause of the Five was ~through his excellent and witty
 writings. Comp. ~ov. for [fy45,1]*[fy75,1]Dargomyzhsky's [cf2]The Stone Guest [
cf1]and ~made a version of Mussorgsky's incomplete ~[fy45,1]*[fy75,2]Sorochintsy
 Fair [cf1](prod. St Petersburg, [sm1917[nm). Prin. ~comps.: [sm15[nm operas, [s
m2[nm scherzos for orch., [sm3[nm str. qts., ~vn. sonata, choral mus., many song
s, and pf. ~pieces.[cm~Cuivre [fy75,1](Fr.). Copper, brass. [cf2
]Les Cuivres [cf1]are the ~brass instr. of the orch.[cm~Cuivr;aae [fy75,1](Fr.).
 Brassy, i.e. (in hn. mus., etc.) the ~tones are to be forced, with a harsh, rin
ging ~timbre.[cm~Culshaw, John [fy75,1](Royds) [cf1]([cf2]b [cf1]Southport, [sm1
924[nm; [cf2]d[cf1] ~London, [sm1980[nm). Eng. writer, and administrator. ~Worke
d for Decca Records [sm1946[nm=n[sm54[nm, Capitol ~Records, USA, [sm1954[nm=n[sm
5[nm, Decca [sm1955[nm=n[sm67[nm, being ~assoc. with stereo[chphonic development
s. Prod. first ~complete recording of Wagner's [cf2]Ring [cf1](with Solti ~condu
cting), [sm1958[nm=n[sm64[nm. Head of Mus. BBC TV ~[sm1967[nm=n[sm75[nm. Author
of book on Rakhmaninov. ~O.B.E. [sm1966[nm.[cm~Cummings, Henry [fy75,1]([cf2]b [
cf1]Dublin, [sm1906[nm). Irish bar., ~teacher, and adjudicator. Studied RAM and
with ~John [fy45,1]*[fy75,1]Coates and Plunket Greene. Career in ~oratorio and o
n stage. Prof. of v. RAM.[cm~Cummings, Keith [fy75,1]([cf2]b [cf1]Perth, W. Aust
ralia, [sm1906[nm). ~Australian va. player. Studied RMCM. Member
 ~Hall;aae Orch. [sm1933[nm=n[sm6[nm, LSO [sm1937[nm=n[sm41[nm, Blech Qt. ~[sm19
41[nm, and soloist and chamber-mus. player in ~many other organizations. Prof. o
f va. TCL.[cm~Cummings, William Hayman [fy75,1]([cf2]b [cf1]Sidbury, [sm1831[nm;
 ~[cf2]d [cf1]London, [sm1915[nm). Eng. organist, ten., and musi~~cologist. Org.
 Waltham Abbey [sm1847[nm. Sang at ~Birmingham Fest. [sm1864[nm and became noted
 for ~perf. in Bach Passions. Prof. of singing RAM ~[sm1879[nm=n[sm96[nm, Prin.,
 GSM [sm1896[nm=n[sm1910[nm. Ed. [sm3[nm vols. of ~Purcell Soc. of which he was
a founder. Wrote ~biography of Purcell. Comp. cantata [cf2]The Fairy ~Ring[cf1].
 While at Waltham, adapted theme from ~Mendelssohn's [cf2]Festgesang[cf1] to hym
n `Hark! the ~herald angels sing'.[cm~Cum sancto Spiritu. [fy75,1]See [cf2]Mass.
[cm~Cundell, Edric [fy75,1]([cf2]b [cf1]London, [sm1893[nm; [cf2]d [cf1]London,
~[sm1961[nm). Eng. cond., composer, and teacher. Began ~career as hn.-player, CG
. Teaching staff TCL from ~[sm1919[nm and travelled widely as ad
judicator. Prin. ~GSM [sm1938[nm=n[sm59[nm. Cond. opera at SW, Robert Mayer ~con
certs for children, etc. Comp. symphonic ~poems, pf. conc., chamber mus. C.B.E.
[sm1949[nm.[cm~Cunningham, George [fy75,1](Dorrington) [cf1]([cf2]b [cf1]London,
 ~[sm1878[nm; [cf2]d [cf1]Birmingham, [sm1948[nm). Eng. organist. ~Trained RAM.
Organist of Alexandra Palace, ~London ([sm1901[nm), Birmingham Town Hall ([sm192
4[nm=n~[sm48[nm); cond. City of Birmingham Choir; also held ~church positions. P
res. RCO [sm1938[nm.[cm~Cunning Little Vixen, The [fy75,1]([cf2]P;akrihody li;ak
sky[fjBystrou;aksky[cf1]). Opera in [sm3[nm acts by Jan;aaa;Akcek to lib. by ~hi
mself based on novelette by Rudolf T;Akesnohl;aaidek ~([sm1882[nm=n[sm1928[nm) o
rig. written as captions for draw~~ings by Stanislav Lolek. Comp. [sm1921[nm=n[s
m3[nm. Prod. ~Brno [sm1924[nm, London [sm1961[nm; NY [sm1964[nm. (Title ~sometim
es trans. as `The Sly Little Vixen', but ~`Cunning' seems to be generally accept
ed. A ~better title would be [cf2]Adventures of the Vixen Sharp-
~Ears[cf1].)[cm~Cupid and Death. [fy75,1]Masque by James Shirley ~prod. [sm1653[
nm with mus. by, probably, Christopher ~[fy45,1]*[fy75,1]Gibbons; rev. [sm1659[n
m with mus. by C. Gibbons ~and Matthew [fy45,1]*[fy75,1]Locke.[cm~Cupo [fy75,1](
It.). Dark, sombre.[cm~Curlew River. [fy75,1]Parable for church perf., Op. [sm71
[nm, ~by Britten to text by W. Plomer after a Japanese ~Noh play [cf2]Sumidagawa
[cf1], by Juro Motomasa ([sm1395[nm=n~[sm1431[nm). Prod. Aldeburgh Fest. (Orford
 Church) ~[sm1964[nm, Katonah, NY, [sm1966[nm.[cm~Curlew Sign. [fy75,1]Pause mar
k invented by [fy45,1]*[fy75,1]Britten ~for his church parable [fy45,1]*[fy75,2]
Curlew River [cf1]([sm1964[nm) where ~there is no cond. This sign, when placed o
ver a ~note or rest, indicates that the singer or instru~~mentalist must listen
and wait until the other ~performers have reached the next barline or ~meeting-p
oint. Thus the note or rest may be ~longer or shorter than its written value.[cm
~[PN177,0,0,R,I0]Curlew, The. [fy75,1]Song-cycle by [fy45,1]*[fy
75,1]Warlock, on [sm4[nm ~poems by Yeats, for ten., fl., cor anglais, and str. ~
qt., comp. [sm1920[nm=n[sm1[nm, f.p. London [sm1921[nm, rev. [sm1922[nm.[cm~Curt
ain Music [fy75,1]or [fy65][cf3]Curtain Tune.[fy75,1] See [cf2]Act Tune[cf1].[cm
~Curtal [fy75,1](Curtall). Renaissance wind instr., ancestor ~of the bn., develo
ped in mid-[sm16[nmth cent. Had ~double reeds, single U-tube, and conical bore.
~Name comes from Lat. [cf2]curtus[cf1], short and, like ~[cf2]bombard[cf1], was
borrowed from artillery, the curtal ~being a variety of short-barrelled cannon.
Bass ~curtal was known in Eng. as double curtal and ~had [sm2[nm keys (little fi
nger and thumb). There were ~also the great bass curtal (an octave below the ~ba
ss), and sop., alto, and ten. sizes.[cm~Curtin, Phyllis [fy75,1]([cf2]b [cf1]Cla
rksburg, West Virginia, ~[sm1922[nm). Amer. sop. Studied NY and Boston. D;aaebut
 ~with New England Opera Th. [sm1946[nm. Joined NY ~City Opera [sm1953[nm. D;aae
but Vienna [sm1960[nm, NY Met. ~[sm1961[nm (as Fiordiligi in [cf
2]Cos;agi fan tutte[cf1]). Sang Walton's ~Cressida in NY [sm1955[nm-[sm6[nm. San
g role of Cathy in ~[fy45,1]*[fy75,1]Floyd's [cf2]Wuthering Heights [cf1]NY [sm1
959[nm.[cm~Curtis, Alan[fy75,1] (Stanley) ([cf2]b[cf1] Mason, Mich., [sm1934[nm)
. ~Amer. musicologist, harpsichordist, and cond. ~Studied Michigan Univ. and Uni
v. of Illinois, also ~in Amsterdam [sm1957=n9[nm, with Gustav Leonhardt. ~On sta
ff Univ. of Calif., Berkeley, from [sm1960[nm, ~becoming prof. in [sm1970[nm. Au
thority on Sweelinck ~and on authentic interpretation of mus. of [sm16[nmth=n~[s
m18[nmth cents. Has cond. own edns. of baroque ~operas, e.g. [fy45,1]*[fy75,1]Ce
sti's [cf2]Il Tito[cf1] at Innsbruck, [sm1983[nm.[cm~Curtis Institute, Philadelp
hia. [fy75,1]Sch. of mus. ~founded and endowed in [sm1924[nm by Mrs Mary ~Louise
 Bok (later Mrs. Zimbalist) in memory of ~her father Cyrus H. K. Curtis. Tuition
 fees ~abolished [sm1928[nm. Dir. from [sm1926[nm was the pianist ~Josef [fy45,1
]*[fy75,1]Hofmann, who retired [sm1938[nm, followed by ~Randall
[fy45,1]*[fy75,1]Thompson [sm1938[nm=n[sm40[nm, Efrem [fy45,1]*[fy75,1]Zimbalist
 ~[sm1941[nm=n[sm68[nm, Rudolf [fy45,1]*[fy75,1]Serkin [sm1968[nm=n[sm76[nm; Joh
n de ~Lancie from [sm1977[nm. Long list of distinguished ~teachers and visiting
professors.[cm~Curtis, Natalie [fy75,1]([cf2]b [cf1]NY, [sm1875[nm; [cf2]d [cf1]
Paris, [sm1921[nm). ~Amer. pianist, pupil of Friedheim and Busoni, ~who became i
nterested in mus. of Amer. Indians ~and collected [sm200[nm songs, pubd. in [cf2
]The Indians' Book ~[cf1]([sm1907[nm). Later explored negro mus., publishing ~[c
f2]Negro Folk Songs [cf1]([sm4[nm series [sm1918[nm=n[sm19[nm). Wife of artist ~
Paul Burlin.[cmCurved Line, Various uses of [fy75,1](see below).[cm~[tn1]Curwen.
 [fy75,1]Eng. family of mus. publishers and ~educationists. John Curwen ([cf2]b[
cf1] Heckmondwike, ~[sm1816[nm; [cf2]d [cf1]Manchester, [sm1880[nm) was a Congre
gational ~minister. Adopted [fy45,1]*[fy75,1]tonic sol-fa system of Sarah ~Glove
r and resigned his ministry in [sm1864[nm to ~promote tonic sol-
fa movement. Founded pub. ~firm J. Curwen and Sons in [sm1863[nm. His son John ~
Spencer Curwen ([cf2]b[cf1] London, [sm1847[nm; [cf2]d[cf1] London, ~[sm1916[nm)
 continued the tonic sol-fa work. J. S. ~Curwen's nephew, John Kenneth Curwen ([
cf2]b[cf1] ~London, [sm1881[nm; [cf2]d[cf1] Gerrards Cross, [sm1935[nm) supervis
ed ~the pub. firm and added to its catalogue Holst's ~[cf2]Planets[cf1], Vaughan
 Williams's [cf2]Pastoral Symphony[cf1] ~and [cf2]Hugh the Drover[cf1], and work
s by Bantock, ~Smyth, and Var;agese. Published journal [cf2]The Sackbut[cf1] ~([
sm1920[nm=n[sm34[nm), at one time edited by Philip Heseltine. ~In [sm1971[nm cat
alogue was divided between Faber ~Music and Roberton Publications.[cm~Curzon, [f
y75,1](Sir)[fy65][cf3] Clifford [fy75,1](Michael) [cf1]([cf2]b [cf1]London, [sm1
907[nm; ~[cf2]d[cf1] London, [sm1982[nm). Eng. pianist. Entered RAM ~[sm1919[nm,
 studying with Charles Reddie. In [sm1923[nm was ~a soloist in Bach triple conce
rto at Promenade ~Concert cond. by Wood. In [sm1928[nm studied w
ith ~Schnabel in Berlin, and in [sm1930[nm moved to Paris ~for studies with Land
owska and N. Boulanger. In ~[sm1931[nm married Amer. harpsichordist Lucille [fy4
5,1]*[fy75,1]Wal~~lace. Returned to Eng. [sm1932[nm. Amer. d;aaebut [sm1939[nm.
~Though often playing Romantics such as Liszt ~and Tchaikovsky, increasingly con
centrated on ~Schubert, Beethoven, and especially Mozart. Gave ~f.p. of Rawsthor
ne's [sm2[nmnd pf. conc. ([sm1951[nm) and ~played pf. duets with Britten. C.B.E.
 [sm1958[nm. ~Knighted [sm1977[nm.[cm~Cushion Dance [fy75,1](Ger. [cf2]Kissentan
z[cf1], or [cf2]Polstertanz[cf1]). ~An old dance in which a participant chose a
~partner by dropping a cushion before him or her, ~who then knelt on it and best
owed a kiss on the ~cushion-bearer.[cm~Cusins, [fy75,1](Sir) [fy65][cf3]William
[fy75,1](George) [cf1]([cf2]b [cf1]London, [sm1833[nm; ~[cf2]d [cf1]Remonchamps,
 Ardennes, [sm1893[nm). Eng. cond., ~organist, and composer. Studied RAM and ~Br
ussels. D;aaebut [sm1849[nm as pianist, then organist of ~Queen'
s private chapel, and violinist in CG orch. ~On staff RAM from [sm1851[nm. Cond.
, Phil Soc. [sm1867[nm=n~[sm83[nm, continuing to tour widely as pianist. Comp. ~
oratorio, pf. conc., and ovs. Knighted [sm1892[nm. ~Master of the Queen's Musick
 [sm1870[nm=n[sm93[nm.[cm~Cutner, Solomon. [fy75,1]See [cf2]Solomon[cf1].[cm~Cut
ting, Thomas [fy75,1](=+=+=+[cf2]fl. [cf1][sm17[nmth cent.). Eng. lutenist ~and
composer. Worked in Denmark [sm1607[nm=n[sm11[nm. ~Possibly a member of same fam
ily as Francis ~Cutting (=+=+=+[cf2]fl[cf1]. [sm1583[nm=n[cf2]c[cf1].[sm1603[nm)
, composer of a quantity ~of lute mus.[cm~Cuzzoni, Francesca[fy75,1] ([cf2]b[cf1
] Parma, [cf2]c.[cf1][sm1698[nm; [cf2]d[cf1] Bologna, ~[sm1770[nm). It. sop., pu
pil of Lanzi. Probable d;aaebut ~Parma [sm1716[nm, then sang in Venice and Turin
. ~London d;aaebut, King's Th. [sm1723[nm in Handel's ~[cf2]Ottone[cf1]. Remaine
d in Handel's opera co. (Royal ~Academy) until [sm1728[nm, singing a leading rol
e in all ~his operas. Her rivalry with Faustina Bordoni led ~to
their fighting on the stage in [sm1727[nm during ~Bononcini's [cf2]Astianatte[cf
1]. Sang in Vienna [sm1728[nm=n[sm9[nm ~and then returned to It., where she sang
 in several ~of Hasse's operas. In [sm1739[nm returned to Ger. and in ~[sm1750[n
m to London, where she was arrested for debt. ~Farewell appearance London [sm175
1[nm. Last years ~spent in prison and in poverty. Contemporary ~accounts leave n
o doubt of her greatness as an ~artist, especially in Handel.[cm~Cycle. [fy75,1]
([sm1[nm) Name for series of items written to be ~perf. as a group and sometimes
 linked themati~~[PN178,0,0,L,I0]cally either musically or by subject, esp. song
-~cycle (Ger. [cf2]Liedercyclus[cf1]). In opera the greatest cycle ~([sm4[nm ope
ras) is Wagner's [cf2]Der Ring des Nibelungen[cf1].[ep~_([sm2[nm) A complete vib
ration in mus. acoustics.[ep~_([sm3[nm) Any of systems of equal temperament in ~
which tonal material is obtained by dividing ~octave into number of equal interv
als.[cm~Cyclic Form. [fy75,1]Formal structure of a comp. in ~whi
ch one mus. theme is heard, sometimes in a ~varied form, in more than one moveme
nt. Early ~examples occur in Handel, Vivaldi, Mozart, and ~Haydn, but it was dev
eloped by Beethoven e.g. ~in his [cf2]Path;aaetique [cf1]Sonata and [sm5[nmth Sy
m. The [cf2]id;aaee fixe ~[cf1]of Berlioz and [cf2]leitmotiv [cf1]of Wagner are
akin to ~cyclic form, as are the thematic transformations ~of Liszt and R. Strau
ss. But the most emphatic ~uses of cyclic form occur in the works of Franck ~and
 in the Sym. No. [sm1[nm of Elgar.[cm~Cylinder or rotary valve. [fy75,1]A specia
l type of valve ~in brass instr., in much use in some European ~countries but in
 Brit. and USA applied only to the ~Fr. hn. The term is sometimes used for any k
ind ~of valve, e.g. It. [cf2]Trombone a Cilindri [cf1](valve tb.).[cm~Cymbalon.
[fy75,1]See [cf2]Cimbalom[cf1].[cm~Cymbals. [fy75,1]Perc. instrs. consisting of
plate-shaped ~discs made of brass or other metal with leather ~handles. Played b
y being held one in each hand ~and clashed together; or fixed on
 a stand enabling ~the foot to do the clashing; or one can be fixed to ~the side
 of a big drum and the other clashed on ~to it; or they can be rattled at their
edges; or one ~cymbal can be struck with a drumstick (or wire ~brush) or a roll
perf. on it with drumsticks. ~[cf2]Antique cymbals[cf1], specified in some score
s (e.g. ~Debussy's [cf2]L'Apr;ages-midi d'un faune[cf1]), are tuned to a ~defini
te pitch. Ordinary cymbals have no definite ~pitch but one may sound higher than
 another. ~See [cf2]Choke cymbals, Chinese crash cymbals, [cf1]and[cf2] Sizzle ~
cymbals[cf1].[cm~Cymbel. [fy75,1]Org. stop; a brilliant type of [cf2]Mixture[cf1
].[cm~Cymbelstern.[fy75,1] See [cf2]Zimbelstern.[cm~Cz;aaard;aaas. [fy75,1]See [
cf2]Cs;aaard;aaas[cf1].[cm~Czar und Zimmermann [fy75,1](Lortzing). See [cf2]Zar
und Zimmer~~[chmann[cf1].[cm~Czech Philharmonic Orchestra. [fy75,1]Founded as ~i
ndependent body in [sm1901[nm having previously ~been orch. of Prague Nat. Opera
. Achieved ~worldwide reputation through tours and record~~ings
during conductorship of V;aaaclav [fy45,1]*[fy75,1]Talich ~[sm1919[nm=n[sm41[nm.
 Among his successors have been Rafael ~[fy45,1]*[fy75,1]Kubelik [sm1941[nm=n[sm
8[nm, Karel [fy45,1]*[fy75,1]An;Akcerl [sm1950[nm=n[sm68[nm, and ~V;aaaclav Neum
ann from [sm1968[nm.[cm~Czech Quartet.[fy75,1] Cz. string quartet formed in ~[sm
1891[nm by pupils of Hanu;aks [fy45,1]*[fy75,1]Wihan at Prague Cons. ~First conc
ert [sm1892[nm. Visited Russ. [sm1895[nm and Brit. ~[sm1896[nm. Last tour Hollan
d [sm1931[nm. Disbanded [sm1933[nm. ~Orig. members were Karel Hoffmann ([sm1872[
nm=n~[sm1936[nm), Josef [fy45,1]*[fy75,1]Suk ([sm1874[nm=n[sm1935[nm), Oskar Ned
bal ~([sm1874[nm=n[sm1930[nm), and Otto Berger ([sm1873[nm=n[sm97[nm). Nedbal ~w
as replaced [sm1906[nm by Ji;akr;aai Herold ([sm1875[nm=n[sm1934[nm) ~and Berger
 in [sm1894[nm by Wihan ([sm1855[nm=n[sm1920[nm). ~Wihan was replaced [sm1914[nm
 by Ladislav Zelenka ~([sm1881[nm=n[sm1957[nm). Gave [sm1,000[nmth concert in [s
m1902[nm. ~Specialized in Smetana, Dvo;akr;aaak, and Beethoven,
~but played many modern qts. incl. those by ~Reger, Pfitzner, Schoenberg, Ravel,
 etc.[cm~Czernohorsky [fy75,1](;AkCernohorsk;aay), [fy65][cf3]Bohuslav [fy75,1](
[cf2]b [cf1]Nim~~burg, [sm1684[nm; [cf2]d [cf1]Graz, [sm1742[nm). Cz. composer a
nd ~choirmaster. Taught Gluck and Tartini. Worked ~in Padua and Prague. Comp. pr
eludes, toccatas, ~[PN179,0,0,R,I0]and fugues for org., [cf2]Regina coeli [cf1]f
or sop., and other ~church mus., but the bulk of his work was lost in ~a fire at
 a Prague convent, [sm1754[nm.[cm~Czerny, Karl [fy75,1]([cf2]b [cf1]Vienna, [sm1
791[nm; [cf2]d [cf1]Vienna, [sm1857[nm). ~Austrian pianist, teacher, and compose
r. Pf. pupil ~[sm1800[nm=n[sm3[nm and friend of Beethoven, who admired ~him. Als
o influenced by [fy45,1]*[fy75,1]Hummel and [fy45,1]*[fy75,1]Cle~~menti. Was pop
ular teacher at age [sm15[nm. Pupils incl. ~[sm10[nm-year-old Liszt. Indefatigab
le composer and ~arranger, works numbering more than [sm1[nm,[sm000[nm and ~incl
. examples of every form from operas to pf. ~solos, but best kno
wn for his instructive studies. ~Arr. operas, oratorios, and syms. for pf(s). (i
ncl. ~arrs. of Rossini's [cf2]Semiramide [cf1]and [cf2]William Tell [cf1]ovs. ~f
or [sm8[nm pf., [sm4[nm hands each). Contrib. to [fy45,1]*[fy75,2]Hexameron[cf1]
.[cm~Czerny-Stefa;aanska, Halina [fy75,1]([cf2]b [cf1]Krak;aaow, [sm1922[nm). ~P
olish pianist. Studied Warsaw. Joint winner ~Chopin Int. Competition [sm1949[nm.
 Int. tours.[cm~Czerwenka, Oskar [fy75,1]([cf2]b [cf1]Linz, Austria, [sm1924[nm)
. ~Austrian bass. Opera d;aaebut Graz [sm1947[nm; joined ~Vienna Opera [sm1951[n
m. NY Met. [sm1960[nm. Has sung at ~Salzburg ([sm1953[nm) and Glyndebourne ([sm1
959[nm). Rep~~ertory of over [sm70[nm parts.[cm~Cziffra, Gy;auorgy [fy75,1]([cf2
]b [cf1]Budapest, [sm1921[nm). Fr. pianist of ~Hung. birth. First public perf. a
t [sm5[nm in circus. ~Studied Budapest [sm1930[nm with Dohn;aaanyi and had ~succ
essful career in Hung. and Europe [sm1933[nm=n[sm41[nm. ~Prisoner of war and aga
in imprisoned for political ~beliefs [sm1950[nm=n[sm3[nm. Won Li
szt Prize [sm1955[nm. Escaped ~from Hung. during [sm1956[nm uprising, settling i
n Fr. ~Virtuoso interpreter of [sm19[nmth cent. repertory.[cm~Czimbal, Czimbalom
, Czimbalon. [fy75,1]See [cf2]Cimba~~lom.[cm~Czyz, Henryk [fy75,1]([cf2]b [cf1]G
rudziadz, Poland, [sm1923[nm). ~Polish cond. and composer. Studied Pozna;aan and
 ~Toru;aan. Cond. d;aaebut [sm1948[nm, Polish Nat. Radio ~Orch. Cond. f.p. of Pe
nderecki's [cf2]St Luke Passion[cf1], ~[sm1966[nm. Prin. cond. D;auusseldorf Ope
ra. [sm1971[nm=n[sm4[nm. ~Comp. syms., operas, and film mus.[xm[cm~[ts1][bm2][fy
65][cc27,3,8,8][dt5,0p6g,21p6][ol38][ep~[fy65,3]Curved Line, Various uses of.[ep
~[fy75,2]The Tie or Bind[qc~[cf1][bt~[nt~^The [sm2[nm notes become [sm1[nm (see
[cf2]Tie or Bind[cf1]).[ep~[cf2]The Slur, or Legato (or Bowing Mark)[qc~[cf1]_Al
l the notes affected by the curve are to be played smoothly. In str. mus. they ~
are to be played in a single bow movement.[ep~[et~[cf2]The Phrase Mark[qc~[cf1]S
ee [cf2]Phrase.[qc~[dt10,17][bt~[nt~The Syllable Mark[qc~_[cf1]T
he mark is to make clearer the fitting of the notes to the ~syllables.[ep~[et~[d
t7,20][bt~[ep~[nt~[cf2]The [fy45,1]*[fy75,2]Portamento Mark[qc~_[cf1]Instead of
jumping cleanly the singer is to slide from the one note to the ~other, taking a
ll intervening pitches en route. The same effect is possible on ~bowed instr., b
ut here a wavy line is sometimes the indication.[ep~[et~[ol38][ep~[em[cc13,1,8,8
][tx[j4]~[xp[te~







[do40][j99]~~~~~~[sm153842[nm_D[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmD[sm001[nm[cm[sm40[nm[cm~[sm1[nm[cm[sm11[nm.[sm10[nm.[
sm79[nm[cm[sm14[nm[cm[sm1[nm[cm~GC[cm5[cm4-10-84[cm~U1[cm~~~~[ep~[PN180,0,0,L,I0
][ap[j3]~D[cm~~[j1]D. [fy75,1]The name of the [sm2[nmnd degree of natural scale
~of C. Thus D;Yh, D;Yh;Yh, D;Yj, D;Yi, D;Yi;Yi, D major, D ~minor.[cf2] In D[cf1
] indicates either `in the key of D ~major' or, of transposing instr., that the
written ~note C sounds D.[cm~D.[fy75,1] Abbreviated prefix to nos. in the O.E. [
fy45,1]*[fy75,1]Deutsch ~thematic catalogue of Schubert's works, and now ~genera
lly used to identify them; e.g. the Str. ~Quintet in C major (D[sm956[nm).[cm~d.
[fy75,1] Tonic Sol-fa symbol for first degree (tonic) of ~scale, pronounced [cf2
]doh.[cm~Da [fy75,1](It.). Of, from.[cm~Da capo [fy75,1](It., abbreviates to D.C
.). From the head. ~A term meaning `Repeat from the beginning ~until you come to
 the word [cf2]Fine[cf1] (end), or the ~pause mark (;Yr)'. Somet
imes the expressions [cf2]da ~capo al segno[cf1] (From the beginning to the sign
) or ~[cf2]da capo al fine [cf1](From the beginning to the word ~[cf2]Fine[cf1])
 are encountered; these are occasionally ~followed by [cf2]e poi la coda[cf1], m
eaning that having ~arrived at the place indicated, the coda should ~immediately
 follow.[ep~^A [cf2]da capo[cf1] aria is one in which the first part is ~repeate
d.[cm~Daddi, Joao Guilherme[fy75,1] ([cf2]b[cf1] Oporto, [sm1814[nm: [cf2]d[cf1]
 ~[sm1887[nm). Portuguese pianist and composer of light ~operas.[cm~Daffner, Hug
o[fy75,1] ([cf2]b[cf1] Munich, [sm1882[nm; [cf2]d[cf1] Dachau, ~[sm1936[nm). Ger
. composer and critic. Comp. pupil of ~Thuille and Reger. His [sm3[nm operas inc
l. [cf2]Macbeth[cf1]. ~Wrote [sm2[nm syms., [sm2[nm str. qts., and sonatas for p
f., vn., ~and vc. Mus. critic [cf2]Allgemeine Zeitung[cf1], K;auonigsberg, ~[sm1
907[nm=n[sm10[nm. Author of books incl. one on Mozart ~pf. concs.[cm~Dafne.[fy75
,1] Opera in prol. and [sm6[nm scenes by [fy45,1]*[fy75,1]Peri t
o ~lib. by Ottavio Rinuccini. Comp. [sm1594=n8[nm. Gener~~ally supposed to be th
e earliest opera, but the ~mus. is lost. Prod. in [fy45,1]*[fy75,1]Corsi's house
, Florence, ~[sm1598[nm. (See [cf2]Camerata.[cf1]) The same lib. was also set ~b
y Corsi himself ([sm2[nm fragments survive), [fy45,1]*[fy75,1]Gagliano ~([sm1607
[nm), and Sch;auutz (lost, [sm1627[nm). Operas on the ~same theme were comp. by
A. Scarlatti ([sm1700[nm), ~[fy45,1]*[fy75,1]Astorga ([sm1709[nm), Mul;aae ([sm1
928[nm), and R. Strauss ~([sm1936[nm=n[sm7[nm, see under[cf2] Daphne[cf1]).[cm~D
alayrac, Nicolas-Marie[fy75,1] ([cf2]b[cf1] Muret, Haute Gar~~onne, [sm1753[nm;
[cf2]d[cf1] Paris, [sm1809[nm). Fr. composer. Trained ~as lawyer. Wrote nearly [
sm60[nm [cf2]op;aaeras comiques[cf1], among ~them [cf2]Nina [cf1]([sm1786[nm), [
cf2]Az;aaemia [cf1]([sm1786[nm), [cf2]Les deux petits ~Savoyards [cf1]([sm1789[n
m), and [cf2]Camille [cf1]([sm1791[nm). Also wrote ~str. qts., vn. duos, and son
gs.[cm~d'Albert.[fy75,1] See[cf2] Albert, Eugen d'.[cm~Dalberto,
 Michel[fy75,1] ([cf2]b[cf1] Paris, [sm1955[nm). Fr. pianist. ~Studied Paris Con
s. [sm1968[nm=n[sm75[nm (with Perlemuter, ~Trouard, and Hubeau). Winner, [sm1[nm
st Mozart ~comp., Salzburg [sm1975[nm; winner Leeds pf. comp. ~[sm1978[nm. Recit
alist and concert soloist.[cm~Dalby, [fy75,1](John)[fy65,3] Martin [fy75,1]([cf2
]b [cf1]Aberdeen, [sm1942[nm). Scottish ~composer. Violist in Nat. Youth Orch. S
tudied ~RCM., then [sm2[nm years in Italy. On BBC mus. staff in ~London [sm1965[
nm=n[sm71[nm, Glasgow Univ. [sm1971[nm=n[sm2[nm. Head ~of Mus. BBC Scotland from
 [sm1972[nm. Compositions ~incl.:[xm[cm~[j2][smorch[nm:[fy75,2]Waltz Overture[cf
1] ([sm1965[nm), Sym. ([sm1970[nm), [cf2]Concerto ~Martin Pescatore[cf1], string
s ([sm1971[nm), [cf2]The Tower of ~Victory[cf1] ([sm1973[nm), va. conc. ([sm1974
[nm), [cf2]El Ruisenor ~[cf1]([sm1979[nm), [cf2]Chamber Sym. [cf1]([sm1982[nm),
[cf2]Nozze di Primavera ~[cf1]([sm1984[nm).[ep~[smchamber [nm& [sminstr:[nm Ob.
sonatina ([sm1969[nm), [cf2]Commedia[cf1], ~cl., vn., vc., pf. (
[sm1969[nm), [cf2]Whisper Music [cf1]([sm1971[nm), ~[cf2]Cancionero para una Mar
iposa[cf1], [sm9[nm instr. ([sm1971[nm), ~str. quintet ([sm1972[nm), [cf2]Yet St
ill She is the Moon[cf1], brass ~septet ([sm1973[nm), [cf2]Unicorn[cf1], vn. and
 pf. ([sm1975[nm), [cf2]Aleph[cf1], ~[sm8[nm instr. ([sm1975[nm), [cf2]Almost a
Madrigal[cf1], wind and ~perc. ([sm1977[nm), [cf2]Man Walking[cf1], octet for wi
nd and ~str. ([sm1980[nm).[ep~[smvocal [nm& [smchoral:[nm [cf2]The Fiddler[cf1],
 sop. or ten. and vn. ~([sm1967[nm), [cf2]Cantica[cf1], sop. or  ten., cl., va.,
 pf. ([sm1969[nm), ~[cf2]The Keeper of the Pass[cf1], sop. and instr. ([sm1971[n
m), ~[cf2]Orpheus, [cf1]ch., narrator, and [sm11[nm instr. ([sm1972[nm), ~[cf2]C
antigas del Cancionero[cf1], [sm5[nm solo vv. ([sm1972[nm), [cf2]El ~Remenso del
 Pitido[cf1], [sm12[nm solo vv. ([sm1974[nm), [cf2]Ad Flumina ~Babyloniae[cf1],
motet ([sm1975[nm), [cf2]Call for the Hazel Tree[cf1], ~ch. and elec. ([sm1979[n
m), [cf2]Antoinette Alone[cf1], mez., pf. ~([sm1980[nm).[cm~[j1]
Dalcroze. [fy75,1]See[cf2] Jaques-Dalcroze, ;aaEmile.[cm~Dale, Benjamin [fy75,1]
(James) ([cf2]b[cf1] London, [sm1885[nm; [cf2]d[cf1] ~London, [sm1943[nm). Eng.
composer. Studied RAM, of ~which he was later Warden, [sm1937[nm. Comps. incl. ~
pf. sonata ([sm1902[nm), cantatas, and several works for ~va.[cm~Dalibor.[fy75,1
] Opera in [sm3[nm acts by Smetana to E. ~Spindler's Cz. trans. of Ger. text by
Joseph ~Wenzig. Comp. [sm1865[nm=n[sm7[nm, rev. [sm1870[nm. Prod. Prague ~[sm186
8[nm, Chicago [sm1924[nm, Edinburgh [sm1964[nm, London ~[sm1976[nm.[cm~Dallam. [
fy75,1]Eng. family of org.-builders. Thomas ~Dallam ([cf2]fl[cf1]. early [sm17[n
mth cent.) built org. at Worcester ~Cath., [sm1613[nm; his son Robert ([sm1602[n
m=n[sm65[nm) built orgs. ~of York Minster and Durham Cath.[cm~Dallapiccola, Luig
i[fy75,1] ([cf2]b[cf1] Pisino d'Istria, [sm1904[nm; [cf2]d[cf1] ~Florence, [sm19
75[nm). It. composer and pianist. At the ~time of his birth, Pisino was in the A
ustro-~Hungarian empire, being transferred to It. in ~[PN181,0,0
,R,I0][sm1918[nm (now in Yugoslavia). Because Dallapiccola's ~father was suspect
ed in [sm1917[nm of It. nationalism, ~the family was forcibly moved to Graz wher
e ~Dallapiccola learned to admire opera and where ~he conceived the passionate l
ove of liberty which ~inspires several of his works. In [sm1922[nm he entered ~t
he Cons. Cherubini, Florence, studying comp. ~under Frazzi. In [sm1924[nm a perf
. of Schoenberg's ~[cf2]Pierrot Lunaire[cf1] made a deep impression on him, ~in
addition to his existing passion for Debussy, ~Monteverdi, and Gesualdo. In the
late [sm1920[nms he ~taught, gave pf. recitals, and in [sm1934[nm joined the ~pf
. staff of the Cons. Cherubini. Travelling abroad ~he met Berg, Malipiero, and C
asella. He fell out ~of favour with the authorities because of his ~opposition t
o Fascism, but after [sm1945[nm he spent a ~considerable time in the USA.[ep~^Kn
own as the principal (and probably the first) ~It. composer to adopt [sm12[nm-no
te methods, Dalla~~[chpiccola also remained a lyrical, thoroughl
y It. ~composer. But he did not adopt [fy45,1]*[fy75,1]dodecaphony ~until he was
 nearly [sm40[nm. His early works, such as ~the first pair of [cf2]Cori di Miche
langelo Buonarroti il ~Giovane[cf1] ([sm1933[nm), reflect his interest in the It
alian ~madrigalists. The later pairs ([sm1934[nm=n[sm6[nm) combine ~the influenc
e of Busoni with his own typically ~sensuous warmth. The culmination of this per
iod ~of his work was the [cf2]Canti di prigionia[cf1] ([sm1938[nm=n[sm41[nm).[ep
~^In [sm1942[nm he adopted serialism, but never the ~purely academic variety. Hi
s natural It. aptitude ~for elaborate polyphony led him, in such works ~as [cf2]
Piccola musica notturna[cf1] ([sm1954[nm), to use the all-~interval row. His ope
ra[cf2] Il prigioniero[cf1] ([sm1944[nm=n[sm8[nm) ~exemplifies his unorthodoxy i
n using several ~different note-rows and ignoring other standard ~serial procedu
res. From about [sm1956[nm his music ~showed a Webernian intricacy in its textur
es and ~angularity, yet was never wholly devoid of the ~lyricism
 and colour of his earlier phases. Prin. ~comps.:[xm[cm~[j2][smoperas:[nm [fy75,
2]Volo di notte [cf1](Night Flight) [sm1[nm act, lib. by ~composer after Saint-E
xup;aaery (comp. [sm1937[nm=n[sm9[nm, ~prod. [sm1940[nm); [cf2]Il [fy45,1]*[fy75
,2]prigioniero[cf1] (The Prisoner) ([sm1944[nm=n~[sm8[nm); [fy45,1]*[fy75,2]Job
[cf1]([sm1950[nm); [cf2]Ulisse[cf1] (prol. and [sm2[nm acts, lib. by ~composer a
fter Homer, comp. [sm1959[nm=n[sm68[nm, prod. ~[sm1968[nm).[ep~[smballet[nm: [cf
2]Marsia[cf1] (comp. [sm1942[nm=n[sm3[nm, prod. Venice ~[sm1948[nm).[ep~[smchoru
s and orch[nm[cf1]: [sm6[nm[cf2] Cori di Michelangelo Buonarroti ~il Giovane[cf1
] in [sm3[nm pairs: [sm1[nm ([sm1933[nm), for unacc. mixed ~ch., [sm2[nm ([sm193
4[nm=n[sm5[nm), for women's vv. and [sm17[nm instr., [sm3[nm ~([sm1935[nm=n[sm6[
nm), for ch. and orch.; [sm3[nm [fy45,1]*[fy75,2]Canti di prigionia ~[cf1](Songs
 of Imprisonment) ([sm1938[nm=n[sm41[nm); [cf2]Requiescant ~[cf1]([sm1957[nm=n[s
m8[nm): [cf2]Canti di Liberazione[cf1] ([sm1951[nm=n[sm55[nm).[e
p~[smsolo voice and orch[nm: [cf2]Partita[cf1] for orch. (sop. solo ~in finale)
([sm1930[nm=n[sm2[nm); [sm3[nm [cf2]Laudi[cf1] for high v. and [sm13[nm ~instr.
([sm1936[nm=n[sm7[nm); [cf2]Liriche Greche [cf1](Greek Lyrics): I, ~[cf2]Five Sa
ppho Fragments[cf1], for v. and [sm15[nm instr. ([sm1942[nm), ~II, [cf2]Two Anac
reonte Lyrics[cf1], for v., E;Yh cl., cl. in A, ~va., pf. ([sm1944[nm=n[sm5[nm),
 III, [cf2][sm6[nm Songs of Alcaeus[cf1], for v. and ~[sm11[nm instr. ([sm1943[n
m): [cf2]An Mathilde[cf1], for sop. and orch. ~([sm1955[nm); [cf2]Concerto per l
a notte di Natale dell'anno ~[sm1956[nm[cf1], for chamber orch. with sop. ([sm19
57[nm): [cf2][sm4[nm ~liriche di Antonio Machado[cf1] for sop. and chamber ~orch
. (orig. version for sop. and pf., [sm1948[nm) ([sm1964[nm); ~[cf2]Commiato[cf1]
, for sop. and chamber orch. ([sm1972[nm).[ep~[smorch[nm:[cf2] Piccolo Concerto
per Muriel Couvreux[cf1], for pf. ~and chamber orch. ([sm1939[nm=n[sm41[nm); [cf
2]Variations[cf1] ([sm1954[nm) ~(adapted from [cf2]Quaderno musi
cale di Annalibera[cf1] ~for pf., [sm1952[nm); [cf2]Tartiniana[cf1], divertiment
o for vn. ~and chamber orch. ([sm1951[nm); [cf2]Piccola musica notturna[cf1] ~([
sm1954[nm) (also arr. for chamber ens., [sm1961[nm); [cf2]Dialoghi ~[cf1]for vc.
 and orch. ([sm1960[nm).[ep[sminstr[nm.: [cf2]Ciacona, Intermezzo, e Adagio[cf1]
, vc. ([sm1945[nm).[ep[smsongs[nm: [cf2]Rencesval [cf1]for bar. ([sm1946[nm); [s
m4[nm [cf2]Liriche di Antonio ~Machado[cf1] for sop. ([sm1948[nm).[cm~[j1]Dal Mo
nte, Toti[fy75,1] (Antonietta Meneghel) ([cf2]b[cf1] ~Mogliano Veneto, [sm1893[n
m; [cf2]d[cf1] Treviso, [sm1975[nm). It. sop. ~D;aaebut Milan [sm1916[nm, then c
ontinued studies with ~Pini-Corsi. Sang Gilda in [cf2]Rigoletto[cf1] cond. Tos[c
hcanini, ~Milan [sm1921[nm. Regular operatic appearances in It., ~also Chicago [
sm1924[nm=n[sm8[nm, NY Met. [sm1924[nm=n[sm5[nm, CG [sm1926[nm. ~Became teacher.
[cm~Dal segno[fy75,1] (It.). From the sign, i.e. return to the ~sign ;yx, and re
peat thence to the word [cf2]Fine[cf1] (end), ~or to a double ba
r with a pause sign (;Yr) above it.[cm~Daman. [fy75,1]See [cf2]Damon, William.[c
m~Damase, Jean-Michel[fy75,1] ([cf2]b[cf1] Bordeaux, [sm1928[nm). Fr. ~composer
and pianist. Studied Paris ([cf2]Grand Prix ~de Rome[cf1]). Wrote [sm7[nm ballet
s, incl. [cf2]La Croqueuse de ~diamants [cf1](The Diamond Cruncher) [sm1950[nm,
pf. ~concs., vn. conc., harp concertino, vc. sonata, ~wind quintet, etc.[cm~Dame
 blanche, La[fy75,1] (The White Lady). Opera in ~[sm3[nm acts by Boieldieu, to l
ib. by Scribe, based on ~Scott's [cf2]The Monastery [cf1]([sm1820[nm) and [cf2]G
uy Mannering ~[cf1]([sm1815[nm). Prod. Paris [sm1825[nm, London [sm1826[nm, NY [
sm1827[nm.[cm~Damnation de Faust, La [fy75,1](The Damnation of ~Faust). Dramatic
 cantata ([cf2]l;aaegende dramatique[cf1]) in [sm4[nm ~parts for sop., ten., and
 bass soloists, ch. and orch., ~Op. [sm24[nm, by Berlioz, sometimes perf. in ope
ratic ~form. Text by Berlioz and A. Gandonni;agere after ~G. de Nerval's Fr. ver
sion of Goethe. F.p. Paris, ~Op;aaera-Comique, [sm6[nm Dec. [sm1
846[nm. F. p. in England, ~Manchester, [sm5[nm Feb. [sm1880[nm cond. Hall;aae. C
omp. was ~completed [sm1846[nm, incorporating earlier [cf2]Huit Sc;agenes ~de Fa
ust[cf1] ([sm1828[nm). See also [cf2]R;aaak;aaoczy March.[cm~Damon [fy75,1](Dama
n),[fy65][cf3] William [fy75,1]([cf2]b[cf1] Li;agege, [cf2]c[cf1].[sm1540[nm; [c
f2]d[cf1] ~London, [sm1591[nm). Walloon composer, employed in ~Eng. at Queen Eli
zabeth's court; comp. anthems, ~lute mus. etc., and pubd. notable coll. of metri
cal ~psalm tunes ([sm1579[nm).[cm~Damp.[fy75,1] To check the vibrations of an in
str. (e.g. ~kettledrum) by touching it in some way. See also ~[cf2]Piano.[cm~Dam
pers.[fy75,1] See [cf2]Piano.[cm~D;auampfer [fy75,1](Ger.). [fy45,1]*[fy75,1]Mut
e. [cf2]Mit D;auampfern, [cf1]with ~mutes.[cm~D;auampfung. [fy75,1]Muting, or (p
f.) soft-pedalling.[cm~[PN182,0,0,L,I0]Damrosch, Frank[fy75,1] (Heino) ([cf2]b[c
f1] Breslau, [sm1859[nm; [cf2]d[cf1] ~NY, [sm1937[nm). Ger.-born Amer. cond. Wen
t to USA ~with father, Leopold, in [sm1871[nm. Chorusmaster NY ~
Met. [sm1885[nm=n[sm91[nm. Cond. and founder of several NY ~choral socs. Founded
 Institute of Musical Art, ~[sm1905[nm, remaining dir. until it was merged with
~[fy45,1]*[fy75,1]Juilliard Sch., [sm1926[nm.[cm~Damrosch, Leopold [fy75,1]([cf2
]b [cf1]Posen, [sm1832[nm; [cf2]d[cf1] NY, [sm1885[nm). ~Ger. cond., composer, a
nd violinist. Doctor of ~medicine, Berlin, [sm1854[nm, but turned to mus. ~Violi
nist in Weimar court orch. under Liszt ~[sm1855[nm=n[sm9[nm, cond. Breslau P.O.
[sm1859[nm=n[sm60[nm. Went to NY ~[sm1871[nm and played increasingly important r
ole in ~US mus. life. Co-founder and first cond. NY ~Oratorio Soc. ([sm1873[nm)
and NY Sym. Soc. ([sm1878[nm). ~Organized and cond. Ger. opera season at NY ~Met
. [sm1884[nm=n[sm5[nm which incl. f. complete US p. of [cf2]Die ~Walk;auure.[cm~
Damrosch, Walter [fy75,1](Johannes) ([cf2]b[cf1] Breslau, [sm1862[nm; ~[cf2]d[cf
1] NY, [sm1950[nm). Ger.-born Amer. cond. and com~~poser, younger son of Leopold
 [fy45,1]*[fy75,1]Damrosch. Pupil ~of B;auulow. Succeeded father
, [sm1885[nm, as cond. NY ~Oratorio Soc. and ass. cond. Ger. opera, NY Met. ~Con
d. first concert perf. in USA of [cf2]Parsifal[cf1], [sm1896[nm. ~Formed opera c
o. [sm1895[nm which until its disband~~ment in [sm1900[nm toured USA performing
mainly ~Wagner's operas, with singers who incl. Sucher, ~Gadski, Klafsky, Melba,
 Alvary, and Bispham. ~Returned to Met. [sm1900[nm=n[sm3[nm. In [sm1903[nm reorg
anized ~NY Sym. Soc. as permanent orch., remaining ~cond. until merger with NY P
.O. in [sm1928[nm. ~Introduced many [sm20[nmth-cent. works to USA and ~cond. f.
ps. in USA of Bruckner's [sm3[nmrd and Mahler's ~[sm4[nmth syms. Comp. [sm4[nm o
peras, incl. [cf2]The Scarlet Letter[cf1] ~([sm1896[nm) and [cf2]Cyrano de Berge
rac [cf1]([sm1913[nm), choral ~works incl. [cf2]The Canterbury Pilgrims[cf1], an
d [cf2]Dunkirk[cf1], ~for bar., male ch., and orch. ([sm1943[nm).[cm~Danby, John
[fy75,1] ([cf2]b[cf1] London, [cf2]c[cf1].[sm1757[nm; [cf2]d[cf1] London, ~[sm17
98[nm). Eng. organist of Sp. Embassy chapel, ~London; comp. many
 fine glees, e.g. [cf2]Awake, ~Aeolian Lyre[cf1]. Won [sm8[nm prizes from [fy45,
1]*[fy75,1]Catch Club.[cm~Danby, Nicholas [fy75,1](Charles) ([cf2]b[cf1] London,
 [sm1935[nm). ~Eng. org. Studied RCM. Org. prof. GSM and ~RCM. Organist Jesuit C
hurch, Farm Street, ~London, since [sm1967[nm.[cm~Dance.[fy75,1] In every age an
d among every race ~dancing has existed either as recreation or as a ~religious
manifestation or as both.[ep~^In Europe all countries have their traditional ~(`
folk') dances. Those of England are numerous, ~falling into three classes=mfor m
en alone the ~Sword Dance and the Morris Dances and for men ~and women together
the Country Dances.[ep~^There has always been a tendency for some ~peasant dance
s to pass into wider use, their steps ~and music then becoming sophisticated. So
me ~typical examples are [cf2]Allemande, Bergomask, Bour~~r;aaee, Branle, Canari
es, Chaconne and Passacaglia, ~Courante, Dump, Gavotte, Hay, Jig, Minuet, Passa~
~mezzo, Passepied, Pavan and Galliard, Rigaudon, ~Sarabande, Vol
ta. [cf1]The rhythms and styles of some ~of the above, from the [sm16[nmth cent.
 onwards, ~supplied conventional models for instrumental ~compositions (see [cf2
]Suite[cf1]). The Dances later popular ~in social circles (some of them of rusti
c origin) ~were the [cf2]Minuet [cf1]and the Eng. [cf2]Country Dance [cf1]([sm17
[nmth ~cent.); [cf2]Cotillon [cf1]and [cf2];aaEcossaise [cf1]([sm18[nmth cent.);
 [cf2]Waltz, ~Quadrille, Polka, Schottische, Mazurka, Barn Dance ~[cf1]([sm19[nm
th cent.); and some of these also were taken as ~models by instrumental composer
s.[ep~^In the [sm20[nmth cent. the dance has become ~synonymous with ballet, but
 the pattern of ~previous centuries has continued and modern ~dances such as the
 foxtrot, quickstep, and rumba ~have influenced composers. Dance Companies ~such
 as those of Merce Cunningham and Martha ~Graham in the USA have been of signifi
cant ~importance. Dance has also been harnessed to the ~electronic experiments o
f the [cf2]avant-garde.[cf1] See ~[cf2]Ballet.[cm~Dance before t
he Golden Calf.[fy75,1] Climax (mainly ~orch.) of Act [sm2[nm of Schoenberg's op
era [fy45,1]*[fy75,2]Moses und ~Aron.[cm~Dance of Death.[fy75,1] See ([sm1[nm) [
cf2]Danse macabre[cf1]; ([sm2[nm) ~[cf2]Totentanz.[cm~Dance of the Blessed Spiri
ts. [fy75,1]A slow dance ~episode in Act [sm2[nm of Gluck's [fy45,1]*[fy75,2]Orf
eo ed Euridice[cf1], ~characterized by a beautiful fl. solo.[cm~Dance of the Com
edians.[fy75,1] Dance episode in Act ~[sm3[nm of Smetana's[cf2] The [fy45,1]*[fy
75,2]Bartered Bride[cf1] featuring the ~clowns and tumblers of the travelling ci
rcus.[cm~Dance of the Hours.[fy75,1] Episode, frequently played ~as separate orc
h. piece, in Act [sm3[nm of Ponchielli's [cf2]La ~[fy45,1]*[fy75,2]gioconda[cf1]
. It is an entertainment staged by one of ~the characters for his guests and sym
bolizes the ~conflict between darkness and light.[cm~Dance of the Seven Veils. [
fy75,1]Popular title for ~Salome's dance before Herod in Strauss's [fy45,1]*[fy7
5,2]Salome. ~[cf1]For orch. alone, and often perf. as concert it
em.[cm~Dance of the Sylphs. [fy75,1]Orch. episode, often played ~separately, in
Berlioz's [cf2]La [fy45,1]*[fy75,2]Damnation de Faust[cf1] ~where it forms part
of Faust's dream on the banks ~of the Elbe.[cm~Dance of the Tumblers.[fy75,1] Ep
isode in Act [sm3[nm of ~Rimsky-Korsakov's [cf2]The [fy45,1]*[fy75,2]Snow Maiden
 [cf1]in which ~acrobats dance for the Tsar Berendey.[cm~Dance Rhapsody.[fy75,1]
 Name given by Delius to [sm2[nm ~orch. works. No. [sm1[nm, comp. [sm1908[nm, wa
s f.p. at ~Hereford Fest. [sm8[nm Sept. [sm1909[nm, cond. composer. No. ~[sm2[nm
, comp. [sm1916[nm, was f.p. London, [sm23[nm Oct. [sm1923[nm, ~cond. Wood. Also
 title of orch. work by Bridge ~([sm1908[nm).[cm~Dances of Gal;aaanta. [fy75,1]O
rch. suite by [fy45,1]*[fy75,1]Kod;aaaly ~comp. [sm1933[nm for [sm80[nmth anniv.
 of Budapest Phil. Soc. ~Based on gipsy tunes collected in Hung. market ~town of
 Gal;aaanta.[cm~[PN183,0,0,R,I0]Dance Suite [fy75,1]([cf2]T;aaancszvit[cf1]). Or
ch. work by Bart;aaok ~comp. [sm1923[nm to celebrate [sm50[nmth
anniv. of merging ~of Buda and Pest. F.p. Budapest [sm19[nm Nov. [sm1923[nm, ~co
nd. Dohn;aaanyi. Also pf. version.[cm~Dancla, Jean Baptiste Charles [fy75,1]([cf
2]b[cf1] Bagn;ageres-de-~Bigorre, [sm1817[nm; [cf2]d[cf1] Tunis, [sm1907[nm). Fr
. violinist, ~composer, and teacher. Prin. violinist, Soci;aaet;aae des ~Concert
s du Conservatoire, Paris, [sm1841[nm=n[sm63[nm. Prof., ~Paris Cons. [sm1860[nm=
n[sm92[nm. Wrote [sm4[nm syms., [sm6[nm vn. concs., ~[sm14[nm str. qts., and [sm
3[nm books. Brother Arnaud ([sm1819[nm=n~[sm62[nm) was cellist.[cm~Danco, Suzann
e [fy75,1]([cf2]b[cf1] Brussels, [sm1911[nm). Belg. sop. ~Studied Brussels Cons.
 D;aaebut Genoa [sm1941[nm as ~Fiordiligi. Sang Ellen Orford in Britten's [cf2]P
eter ~Grimes[cf1] at first Milan perf. [sm1947[nm and Marie in ~[cf2]Wozzeck[cf1
] at Naples [sm1949[nm. Edinburgh Fest. [sm1948[nm. ~CG [sm1951[nm. Also exponen
t of Fr. songs and Ger. ~Lieder.[cm~Dandelot, Georges [fy75,1]([cf2]b[cf1] Paris
, [sm1895[nm; [cf2]d [cf1]St Georges ~de Didon, [sm1975[nm). Fr.
 composer. Studied Paris ~Cons. with Widor, Dukas, and Roussel. Teacher, ~;aaEco
le Normale de Musique, Paris, from [sm1919[nm and ~prof. at Paris Cons. [sm1942[
nm. Works incl. operas, ~ballets, oratorio [cf2]Pax[cf1] ([sm1937[nm), sym. ([sm
1941[nm), pf. conc. ~([sm1934[nm), [cf2]concerto romantique[cf1] for vn. and orc
h. ~([sm1944[nm).[cm~Dandrieu, Jean-Fran;alcois [fy75,1]([cf2]b[cf1] ?Paris, [cf
2]c[cf1].[sm1682[nm; [cf2]d[cf1] ~Paris, [sm1738[nm). Fr. composer. Infant prodi
gy. Held ~several organists' posts. Members of royal chapel ~from [sm1721[nm. Wr
ote many hpd. pieces in style of ~Couperin, one of which was famous battle piece
,[cf2] ~Les caract;ageres de la guerre.[cm~Danican. [fy75,1]See [cf2]Philidor.[c
m~Daniel. [fy75,1]See [cf2]Danyell, John.[cm~Daniel, Ern;auo[fy75,1] ([cf2]b[cf1
] Budapest, [sm1918[nm). Hung.-Amer. ~pianist and cond. Studied Liszt Acad., Bud
apest, ~later with Dohn;aaanyi (comp.) and Monteux and ~Szell (cond.). Eur. repu
tation as pianist in works ~of Liszt, Bart;aaok, and Dohn;aaanyi
. Went to USA ~[sm1949[nm (citizen [sm1954[nm), cond. Santa Barbara S.O. ~[sm196
0[nm=n[sm7[nm. Also teacher and writer.[cm~Daniel-Lesur.[fy75,1] See [cf2]Lesur,
 Daniel.[cm~Daniel, The Play of. [fy75,1]See [cf2]Play of Daniel, The.[cm~Danks,
 Harry [fy75,1]([cf2]b[cf1] Dudley, [sm1912[nm). Eng. violist, ~pupil of [fy45,1
]*[fy75,1]Tertis. Prin. va. BBC S.O. [sm1946[nm=n[sm78[nm. ~Specialist on [sm16[
nmth- and [sm17[nmth-cent. viols and viola ~d'amore.[cm~[j1]Dankworth, John [fy7
5,1](Philip William) ([cf2]b[cf1] London, ~[sm1927[nm). Eng. jazz musician and c
omposer. Studied ~RAM [sm1944[nm=n[sm6[nm. Formed jazz orch. [sm1953[nm. Comp. ~
much film mus. and works combining jazz and ~symphonic musicians, e.g. [cf2]Impr
ovisations[cf1], with ~[fy45,1]*[fy75,1]Seiber [sm1959[nm, str. qt. [sm1971[nm,
pf. conc. [sm1972[nm. ~Frequent appearances as accompanist to wife, ~Cleo Laine.
 C.B.E. [sm1974[nm.[cm~Dannreuther, Edward [fy75,1](George) ([cf2]b[cf1] Strasbo
urg, ~[sm1844[nm; [cf2]d[cf1] Hastings, [sm1905[nm). Alsatian pi
anist and ~writer. At age [sm5[nm went to Cincinnati where mus. ~education began
. Leipzig Cons. [sm1859[nm=n[sm63[nm under ~Moscheles. D;aaebut as pianist in Lo
ndon [sm1863[nm, then ~settled there. Ardent Wagner enthusiast; founded ~Wagner
Soc. [sm1872[nm, was host to Wagner on his ~visit to London [sm1877[nm to conduc
t several concerts. ~Wrote several books on Wagner and his theories. ~Promoted c
hamber concerts in his home [sm1874[nm=n~[sm93[nm. Gave f. Eng. ps. of pf. concs
. by Grieg, Liszt ~(A major), and Tchaikovsky (No. [sm1[nm).[xm[cm~[ol0][ep~[xp[
te~





[do40][j99]~~~~~~[sm153842[nm_D[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmD[sm002[nm[cm[sm40[nm[cm~[sm1[nm[cm[sm11[nm.[sm10[nm.[
sm79[nm[cm[sm40[nm[cm[sm51[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ap[j1]Danon, Oska
r [fy75,1]([cf2]b[cf1] Sarajevo, [sm1913[nm). Yugoslav cond. ~and composer. Stud
ied Prague Cons. Cond. ~Sarajevo Opera and P.O. [sm1938[nm=n[sm41[nm. Dir. Belgr
ade ~Opera and P.O. [sm1945[nm=n[sm59[nm. Chicago [sm1962[nm; Edin~~burgh Fest.
[sm1962[nm. Comp. choral works, ballet, ~symphonic scherzo, etc.[cm~Danse macabr
e[fy75,1] (Dance of Death). Symphonic ~poem by Saint-Sa;auens, Op. [sm40[nm, com
p. [sm1874[nm (pf. ~transcr. by Liszt [sm1877[nm). Based on poem by Henri ~Cazal
is in which Death the Fiddler summons ~skeletons from their graves at midnight t
o dance. ~Orig. conceived as a song, in which form it exists. ~See also [cf2]Tot
entanz.[cm~Dante Sonata. [fy75,1]Pf. comp. by Liszt, No. [sm7[nm of the ~[cf2]se
conde ann;aaee [cf1]of the [cf2]Ann;aaees de p;agelerinage[cf1],
 its full ~title being [cf2]Fantaisie, quasi Sonate: `D'Apr;ages une ~lecture de
 Dante'. [cf1]First played by Liszt [sm1839[nm, rev. ~[sm1849[nm. Version by [fy
45,1]*[fy75,1]Lambert for pf. and orch. ~[sm1940[nm as basis for ballet [cf2]Dan
te Sonata.[cm~Dante Symphony. [fy75,1]Orch. work by Liszt ([cf2]Sym~~phony to Da
nte's Divina Commedia[cf1]) comp. [sm1855[nm=n[sm6[nm ~and f.p. [sm1857[nm. In [
sm2[nm movements, ending with ~Magnificat sung by women's ch. (of which there ~a
re [sm2[nm versions).[cm~Dantons Tod [fy75,1](Danton's Death). Opera in [sm2[nm
parts ~by [fy45,1]*[fy75,1]Einem, Op. [sm6[nm, to lib. by [fy45,1]*[fy75,1]Blach
er and ~composer, after B;auuchner's drama ([sm1835[nm). Comp. ~[sm1944=n6[nm. P
rod. Salzburg [sm1947[nm.[cm~Danyel(l) [fy75,1](Daniel), [fy65][cf3]John [fy75,1
]([cf2]b [cf1]Wellow, Som., [cf1][sm1564[nm; ~[cf2]d c.[cf1][sm1626[nm). Eng. lu
tenist and member of Queen ~Elizabeth's Chapel Royal. B.Mus., Oxford, [sm1603[nm
. ~His fancies and galliards for lute show advanced ~use of chro
maticism for his time. His [sm20[nm songs ~for lute, viol, and v. were pubd. [sm
1606[nm.[cm~Danza [fy75,1](It.). [fy45,1]*[fy75,1]Dance.[cm~Danza espa;atnola [f
y75,1](Sp.). Spanish dance (in some ~parts of S. America applied to a particular
 type, ~generally in simple duple rhythm).[cm~Danzi, Franz [fy75,1]([cf2]b[cf1]
Schwetzingen, [sm1763[nm; [cf2]d[cf1] Karls~~ruhe, [sm1826[nm). Ger. composer (p
upil of Vogler) and ~cellist. Kapellmeister, Stuttgart [sm1807[nm=n[sm12[nm, Kar
ls~~ruhe from [sm1812[nm. Friend and patron of [fy45,1]*[fy75,1]Weber, ~putting
several of his operas into production. One ~of first opera conductors to conduct
 from rostrum ~rather than from keyboard. Comp. [sm11[nm operas, ~incl. one on s
ubject of [cf2]Turandot[cf1], vc. concs., hn. ~conc., and several works for wind
 quintet.[cm~[PN184,0,0,L,I0]Daphne.[fy75,1] Opera (bucolic tragedy) in [sm1[nm
act by R. ~Strauss to lib. by Gregor. Comp. [sm1936[nm=n[sm7[nm. Prod. ~Dresden
[sm1938[nm, Santa Fe [sm1964[nm.[cm~Daphnis et Chlo;aae. [fy75,1
]Ballet (choreographic sym.) ~by Ravel in [sm3[nm scenes, choreog. Fokine, comp.
 ~[sm1909[nm=n[sm12[nm to commission from [fy45,1]*[fy75,1]Diaghilev, prod. ~Par
is [sm1912[nm, London [sm1914[nm. [sm2[nm concert suites arr. ~Ravel, No. [sm1[n
m, [sm1911[nm, No. [sm2[nm, [sm1913[nm. Score incl. part ~for wordless ch.[cm~Da
 Ponte, Lorenzo [fy75,1](Emanuela Conegliano) ([cf2]b[cf1] ~Ceneda, nr. Venice,
[sm1749[nm; [cf2]d [cf1]NY, [sm1838[nm). It. poet ~and librettist for many compo
sers but especially ~for Mozart's [cf2]Le nozze di Figaro[cf1],[cf2] Don Giovann
i[cf1], and ~[cf2]Cos;agi fan tutte[cf1]. In Vienna was poet to the court ~opera
 but left in [sm1791[nm. Worked in London [sm1792[nm=n~[sm1804[nm teaching It. a
nd acting as poet to It. Opera. ~Went to NY [sm1805[nm, working as tobacco deale
r and ~grocer. Worked with Manuel Garc;aaia [sm1825[nm to ~institute It. opera s
eason in USA and with ~Montressor on similar venture [sm1832[nm=n[sm3[nm. Teache
r ~of It., Columbia Univ. [sm1826[nm=n[sm37[nm. Wrote entertain~
~ing memoirs ([sm1823[nm=n[sm7[nm).[cm~Daquin [fy75,1](d'Aquin)[fy65][cf3], Loui
s Claude[fy75,1] ([cf2]b[cf1] Paris, [sm1694[nm; ~[cf2]d[cf1] Paris, [sm1772[nm)
. Fr. organist and composer. Child ~prodigy. Organist, Fr. Chapel Royal, [sm1739
[nm. Comp. ~many hpd. works, best-known being [cf2]Le Coucou[cf1] ~(The [fy45,1]
*[fy75,1]Cuckoo) ([sm1735[nm), and solo works for org., ~also church mus.[cm~D'A
r;aaanyi, Jelly.[fy75,1] See [cf2]Ar;aaanyi, Jelly d'.[cm~Dargason. [fy75,1]Eng.
 folk-tune, used from the [sm16[nmth ~cent. onwards for a country dance. Also us
ed for ~the folk-song [cf2]It was a maid of my country. [fy45,1]*[fy75,1]Holst,
~in his [cf2]Suite No. [sm2[nm [cf1]for military band ([sm1911[nm), ~combines th
e Dargason with [cf2]Greensleeves [cf1]in the ~finale, later transposing the mov
t. for strings in ~his [cf2]St Paul's Suite [cf1]([sm1912=n3[nm).[cm~Dargomyzhsk
y, Alexander[fy75,1] ([cf2]b[cf1] Tula, [sm1813[nm; [cf2]d[cf1] St ~Petersburg,
[sm1869[nm). Russ. composer and pianist. ~Studied mus. as youth
but was civil servant until ~[sm1843[nm, though he studied comp. seriously after
 ~meeting [fy45,1]*[fy75,1]Glinka in [sm1834[nm. His first opera [cf2]Esmer~~ald
a [cf1](based on Hugo) was completed [sm1840[nm but ~not prod. until [sm1847[nm,
 when it failed. [cf2]Rusalka[cf1] ~(based on Pushkin) was prod. with success in
 ~[sm1856[nm. He wrote several orch. works, incl. [cf2]Baba ~Yaga[cf1], and in [
sm1864[nm=n[sm5[nm visited Fr., Eng., and ~Belgium. Inspired by the nationalist
ideals of `the ~Five', he began another Pushkin opera,[cf2] The [fy45,1]*[fy75,2
]Stone ~Guest[cf1], on the Don Juan legend, making use of ~declamatory `mezzo-re
citative'. This was left ~unscored and unfinished. [fy45,1]*[fy75,1]Cui complete
d [sm2[nm ~scenes and the opera was scored by Rimsky-~Korsakov and prod. St Pete
rsburg [sm1872[nm. Also ~wrote nearly [sm100[nm songs.[cm~Darke, Harold [fy75,1]
(Edwin) ([cf2]b[cf1] London, [sm1888[nm; [cf2]d[cf1] ~Cambridge, [sm1976[nm). En
g. organist, cond., and ~composer. Pupil at RCM of [fy45,1]*[fy7
5,1]Parratt and [fy45,1]*[fy75,1]Stan~~ford. Organist of St Michael's, Cornhill,
 [sm1916[nm=n[sm66[nm, ~with wartime break as organist King's Coll., ~Cambridge,
 [sm1941[nm=n[sm5[nm. Organ prof. RCM [sm1919[nm=n[sm69[nm. ~D.Mus., Oxford. C.B
.E. [sm1966[nm. Founded St Mi~~chael's Singers to perform Bach cantatas, Byrd's
~Great Service and works by Parry, Vaughan ~Williams, etc. Comp. cantatas ([cf2]
Ring Out, Ye Crystal ~Spheres[cf1], [cf2]An Hymn of Heavenly Beauty[cf1], etc.),
 org. ~works, songs, pf. pieces, and notable setting of ~carol [cf2]In the Bleak
 Midwinter.[cm~Darlow, Denys [fy75,1]([cf2]b[cf1] London, [sm1921[nm). Eng. org.
, ~cond., and composer. Pupil of [fy45,1]*[fy75,1]Darke. Founder, ~[sm1951[nm, a
nd cond. Tilford Bach Fest. Comp. choral ~mus., song-cycle, anthems, and songs.[
cm~Darmstadt.[fy75,1] City in W. Ger. with musical ~tradition dating from [sm17[
nmth cent. Operatic activity ~was especially vital under Grand Duke Ludwig I ~([
sm1790[nm=n[sm1830[nm), when the court conductor was ~[fy45,1]*[
fy75,1]Vogler. Later [fy45,1]*[fy75,1]Rinck was organist for [sm41[nm years. ~Am
ong [sm20[nmth cent. opera conds. at Darmstadt ~have been Weingartner, Balling,
B;auohm, E. ~Kleiber, and Szell. But the most significant ~development has been
the city's association with ~[cf2]avant-garde[cf1] contemporary mus. The Interna
tional ~Summer Courses for New Music were instituted ~in [sm1946[nm by Wolfgang
Steinecke, who directed ~them until his death in [sm1961[nm. The courses were ~h
eld annually up to [sm1970[nm, and now every two ~years. They cover composition
and interpretation ~and incl. f.ps. of works. Lecturers have incl. ~K;akrenek, F
ortner, H;aaaba, Adorno, Leibowitz, Mes~~siaen, Var;agese, Kolisch, Berio, Babbi
tt, Cage, ~Henze, Kontarsky, Ligeti, Maderna, Nono, Pous~~seur, Stockhausen, and
 Xenakis.[cm~Darnton, [fy75,1](Philip) [fy65][cf3]Christian [fy75,1]([cf2]b[cf1]
 Leeds, [sm1905[nm; [cf2]d[cf1] ~Hove, [sm1981[nm). Eng. composer. Pupil of Cord
er, ~Dale, and H. Craxton, later of Charles Wood and ~Rootham at
 Cambridge [sm1923[nm=n[sm6[nm. Entered RCM ~[sm1927[nm. Works incl. [sm3[nm sym
s., cantata [cf2]Jet Pilot[cf1], pf. ~conc., opera [cf2]Fantasy Fair[cf1], va. c
onc., film and th. ~mus.[cm~Dart, [fy75,1](Robert) [fy65][cf3]Thurston[fy75,1] (
[cf2]b[cf1] Kingston-upon-~Thames, [sm1921[nm; [cf2]d[cf1] London, [sm1971[nm).
Eng. organist, ~harpsichordist, and musicologist. Studied RCM ~[sm1938[nm=n[sm9[
nm, London Univ. (B.A. in mathematics), ~and Cambridge. Prof. of mus. Cambridge
Univ. ~[sm1962[nm=n[sm4[nm, London Univ. from [sm1964[nm. Undertook ~research in
to early mus., publishing many articles ~on subject and conducting fine recordin
gs. ~Influential teacher.[cm~Dartington Summer School.[fy75,1] Annual combina~~t
ion of coaching, festival, and holiday lasting four ~weeks each August at Dartin
gton Hall, arts and ~education college near Totnes, Devon. Began in ~[sm1948[nm
at Bryanston Sch., Dorset, moving to ~Dartington [sm1953[nm. Dir. from [sm1948[n
m to [sm1979[nm was ~William [fy45,1]*[fy75,1]Glock, from [sm197
9[nm to [sm1984[nm Peter [fy45,1]*[fy75,1]Maxwell ~Davies. Leading composers and
 performers in~~struct and lecture students, who vary from the ~professional to
the enthusiastic amateur.[cm~Das [fy75,1](Ger.). The.[cm~[PN185,0,0,R,I0]Daser,
Ludwig [fy75,1]([cf2]b[cf1] Munich,[cf2] c[cf1].[sm1525[nm; [cf2]d[cf1] Stuttgar
t, ~[sm1589[nm). Ger. composer. Kapellmeister at Munich ~[sm1552[nm=n[sm63[nm wh
en replaced by [fy45,1]*[fy75,1]Lassus. Kapellmeis~~ter, Stuttgart [sm1572[nm=n[
sm89[nm. Wrote [cf2]Passion ;aaa [sm4[nm[cf1] ([sm1578[nm), ~motets, masses, hym
ns, etc.[cm~Daughter of the Regiment, The [fy75,1](Donizetti). See ~[cf2]Fille d
u r;aaegiment, La.[cm~David.[fy75,1] Opera in [sm5[nm acts and [sm12[nm scenes b
y [fy45,1]*[fy75,1]Milhaud ~to lib. by Lunel, commissioned by Koussevitzky ~Foun
dation to mark [sm3[nm,[sm000[nmth anniv. of Jerusalem. ~Comp. [sm1952[nm. Prod.
 Jerusalem, concert version, ~[sm1954[nm, Milan, stage, [sm1955[nm, Hollywood Bo
wl [sm1956[nm.[cm~David, F;aaelicien [fy75,1](C;aaesar) ([cf2]b
[cf1]Cadenet, [sm1810[nm; [cf2]d [cf1]St ~Germain-en-Laye, [sm1876[nm). Fr. comp
oser. Chorister ~in Aix Cath. and at [sm18[nm [sm2[nmnd cond. of th. there. ~Stu
died Paris Cons. [sm1830[nm. In [sm1831[nm joined Saint-~Simonist movement and t
ravelled in Middle East, ~where he collected oriental melodies which later ~infl
uenced his mus. Paris success with symphonic ~ode [cf2]Le D;aaesert[cf1], [sm184
4[nm, which in its exotic oriental ~tone-colours influenced Bizet, Gounod, and D
e~~libes. His operas incl. [cf2]La Perle du Br;aaesil [cf1]([sm1851[nm), ~[cf2]L
alla Roukh [cf1]([sm1862[nm), and [cf2]Le Saphir [cf1]([sm1865[nm). Also ~wrote
oratorios, chamber mus., [sm4[nm syms., pf. ~pieces, and songs.[cm~David, Ferdin
and[fy75,1] ([cf2]b[cf1] Hamburg, [sm1810[nm; [cf2]d[cf1] nr. ~Klosters, Switz.,
 [sm1873[nm). Ger. violinist and com~~poser. Pupil of Spohr. D;aaebut at [sm15[n
m with Leipzig ~Gewandhaus Orch. Leader of nobleman's private ~str. qt. in Eston
ia [sm1829[nm=n[sm35[nm. Appointed leader, ~Leipzig Gewandhaus O
rch. [sm1836[nm, prof. of vn. ~Leipzig Cons. [sm1843[nm. Visited Eng. [sm1839[nm
 and [sm1841[nm. ~Advised Mendelssohn on technicalities for his ~Vn. Conc. and w
as soloist at f.p. [sm1845[nm. Taught ~Joachim and Wilhelmj.[cm~D;aaavid, Gyula
[fy75,1]([cf2]b [cf1]Budapest, [sm1913[nm; [cf2]d [cf1]Budapest, ~[sm1977[nm). H
ung. composer. Studied with Kod;aaaly, ~and became professional cond. Taught at
Budapest ~Acad. of Mus. Comps. incl. [sm4[nm syms. ([sm1947[nm, [sm1957[nm, ~[sm
1960[nm, [sm1970[nm), va. conc. ([sm1950[nm), [cf2]Sinfonietta[cf1] ([sm1961[nm)
, [sm4[nm ~wind quintets, str. qt., and incidental mus.[cm~David, Johann Nepomuk
 [fy75,1]([cf2]b [cf1]Eferding, [sm1895[nm; [cf2]d ~[cf1]Stuttgart, [sm1977[nm).
 Austrian composer, organist and ~teacher. Studied Vienna [sm1920[nm=n[sm3[nm. H
eld many ~academic posts incl. dir. of Mozarteum, Salzburg, ~[sm1945[nm=n[sm8[nm
, and prof. of comp., Stuttgart Hochschule ~f;auur Musik [sm1948[nm=n[sm63[nm. E
d. works by J.S. Bach and ~Mozart. Own works influenced by Baroq
ue ~composers until he turned to serialism in [sm1953[nm. ~Many choral works and
 org. pieces, sonata for [sm3[nm ~vc., conc. for vn., vc., and orch., [sm8[nm sy
ms., org. ~conc., [sm2[nm vn. concs., and [sm3[nm concs. for str.[cm~Davidde Pen
itente [fy75,1](David the Penitent). Cantata ~(K[sm469[nm) by Mozart for [sm3[nm
 soloists, ch., and orch. ~Comp. [sm1785[nm with material from unfinished Mass ~
in C minor (K[sm427[nm) ([sm1782[nm=n[sm3[nm).[cm~Davidoff, Karl[fy75,1] ([cf2]b
[cf1] Goldingen, [sm1838[nm; [cf2]d[cf1] Moscow, ~[sm1889[nm). Russ. cellist and
 composer. Prin. cellist ~Leipzig Gewandhaus Orch. [sm1859[nm=n[sm62[nm, St Pete
rs~~burg Opera orch. from [sm1862[nm. Prof. of vc. St ~Petersburg Cons. from [sm
1863[nm, becoming dir. [sm1876[nm=n~[sm87[nm. Comps. incl. [sm4[nm vc. concs.[cm
~Davidovsky, Mario [fy75,1]([cf2]b[cf1] Medanos, Buenos Aires, ~[sm1934[nm). Arg
entinian composer who settled in NY, ~[sm1960[nm. Associate dir. elec. mus. cent
re, Princeton, ~and Columbia Univ. [sm1964[nm. Held later teachi
ng ~posts in NY. Comps. incl. orch. works, chamber ~mus., and elec. works. His [
cf2]Synchronism No. [sm6[nm ~[cf1](from Nos. [sm1[nm to [sm8[nm) for pf. and ele
c. sound won ~[fy45,1]*[fy75,1]Pulitzer Prize [sm1971[nm.[cm~Davidsb;auundler[fy
75,1] (Ger.). Adherents of the League ~of David. The [cf2]Davidsbund [cf1]was an
 imaginary soc. ~of artists invented by Robert Schumann to fight ~the philistine
s of art in the pages of his magazine ~[cf2]Neue Zeitschrift f;auur Musik[cf1].
Some members repre~~sented Schumann's friends under fanciful names, ~e.g. Wieck
(Master Raro), Mendelssohn (Felix ~Meritis), Stephen Heller (Jeanquirit), Clara
Schu~~mann (Chiara, Chiarina, Zilia), and Schumann ~himself (Florestan and Euseb
ius, representing the ~two sides of his nature, fiery and gentle). Other ~names
were taken from the writings of Jean Paul ~Richter. The [cf2]Davidsb;auundlert;a
uanze [cf1](Dances of the ~Adherents of the League of David) are [sm18[nm ~`char
acteristic pieces' for pf. by Schumann, Op. [sm6[nm, ~comp. [sm1
837[nm, rev. [sm1850[nm.[cm~Davie, Cedric Thorpe [fy75,1]([cf2]b[cf1] London, [s
m1913[nm; [cf2]d [cf1]Dalry, ~Kirkcudbrightshire, [sm1983[nm). Scottish composer
, ~organist, and pianist. Studied RAM, RCM with ~R.O. Morris and Vaughan William
s, and abroad ~with Kilpinen and E. Petri. Joined staff, Royal ~Scottish Acad. o
f Music, then Master of Mus., St ~Andrews Univ., [sm1945[nm=n[sm73[nm, Prof. of
Mus., [sm1973[nm=n[sm8[nm. ~Comp. opera [cf2]Gammer Gurton's Needle[cf1], sym.,
~[cf2]Fantasy on Scottish Tunes[cf1], str. qt., vc. sonatina, ~incidental mus. f
or [cf2]The Thrie Estaites[cf1], films, and ~TV. O.B.E. [sm1955[nm.[cm~Davies, B
en [fy75,1](Benjamin Grey) ([cf2]b[cf1] Pontardawe, ~[sm1858[nm; [cf2]d[cf1] Bat
h, [sm1943[nm). Welsh ten. Studied RAM ~[sm1878[nm=n[sm80[nm. D;aaebut Birmingha
m [sm1881[nm in [cf2]The Bohe~~mian Girl[cf1]. Sang with Carl Rosa and other ope
ra ~cos. but after [sm1894[nm was chiefly to be heard in ~concerts and oratorio,
 particularly Handel Fests. ~at which he last sang in [sm1926[nm
.[cm~Davies, Dennis Russell[fy75,1] ([cf2]b[cf1] Toledo, Ohio, [sm1944[nm). ~Ame
r. conductor. D;aaebut as pianist Toledo [sm1961[nm, ~then studied Juilliard Sch
. Cond. d;aaebut [sm1968[nm in ~NY. Cond. Berio's [cf2]Opera[cf1] in Santa Fe [s
m1970[nm. Mus. ~dir. St Paul Chamber Orch. [sm1973[nm. Cond. [cf2]Der ~fliegende
 Holl;auander[cf1] Bayreuth [sm1978[nm. Mus. dir. ~W;auurttemberg State Opera, S
tuttgart, [sm1978[nm. Has ~cond. f.ps. of works by Cage, Carter, Feldman, ~Berio
, etc., with NY chamber orch. Ensemble.[cm~Davies, Fanny[fy75,1] ([cf2]b[cf1] Gu
ernsey, [sm1861[nm; [cf2]d[cf1] London, ~[sm1934[nm). Eng. pianist. Studied Leip
zig Cons. [sm1882[nm ~and Frankfurt Cons. [sm1883[nm=n[sm5[nm with Clara Schu~~m
ann. D;aaebut London [sm1885[nm, thereafter assoc. in ~chamber mus. with musicia
ns such as Joachim, ~Casals, and Piatti. Had repertory of [sm30[nm concs. ~[PN18
6,0,0,L,I0]High Ger. reputation as interpreter of Brahms ~and Schumann. First to
 play Debussy preludes in ~Eng. Elgar's [cf2]Concert Allegro [cf
1]was written for her.[cm~Davies, David Ffrang;alcon. [fy75,1]See [cf2]Ffrang;al
con-Davies, ~David[cf1].[cm~Davies, Hugh [fy75,1](Seymour) ([cf2]b[cf1] Exmouth,
 [sm1943[nm). ~Eng. composer. Studied Oxford Univ. with ~Rubbra. Ass. to Stockha
usen [sm1964[nm=n[sm6[nm and member ~of his elec. mus. studio. In [sm1967[nm bec
ame dir., elec. ~mus. workshop, London Univ. Comps. are mainly ~elec., e.g. Quin
tet ([sm1967[nm=n[sm8[nm) for [sm5[nm performers, [sm5[nm ~microphones, sine/squ
are wave generator, [sm4[nm-~channel switching unit, potentiometers, [sm6[nm lou
d~~speakers.[cm~Davies, [fy75,1](Albert) [fy65][cf3]Meredith [fy75,1]([cf2]b[cf1
] Birkenhead, [sm1922[nm). ~Eng. cond. and organist. Studied RCM and Acad. ~of S
t Cecilia, Rome. Cond. Bach Choir [sm1947[nm, ~organist and master of choristers
 St Albans Cath. ~[sm1947[nm=n[sm9[nm, organist, Hereford Cath. [sm1949[nm=n[sm5
6[nm, assoc. ~cond. CBSO [sm1957[nm=n[sm60[nm, mus. dir. EOG [sm1962[nm=n[sm4[nm
, ~cond. Vancouver S.O. [sm1964[nm=n[sm71[nm, BBC Training ~Orch
. [sm1969[nm=n[sm72[nm. Shared, with composer, conduct~~ing of f.p. of Britten's
 [cf2]War Requiem[cf1] (Coventry, ~[sm1962[nm). Guest cond. leading Brit. orchs.
, also at CG, ~SW, Aldeburgh, and other fests. Prin., TCL from ~[sm1979[nm. C.B.
E. [sm1982[nm.[cm~Davies, Peter Maxwell. [fy75,1]See [cf2]Maxwell Davies, ~Peter
.[cm~Davies, Ryland [fy75,1]([cf2]b [cf1]Cwm, Ebbw Vale, [sm1943[nm). ~Welsh ten
. Studied RMCM under F.R. Cox. ~Ricordi opera prize; Glyndebourne Christie Schol
~~arship [sm1965[nm. D;aaebut WNO [sm1964[nm as Almaviva, ~Glyndebourne [sm1965[
nm (Major Domo in [cf2]Der Rosen~~kavalier[cf1]), Scottish Opera [sm1966[nm, CG
since [sm1969[nm, ~Salzburg [sm1970[nm, San Francisco [sm1970[nm, NY Met. ~[sm19
75[nm.[cm~Davies, Tudor [fy75,1]([cf2]b[cf1] Cymmer, S. Wales, [sm1892[nm; [cf2]
d[cf1] ~Penault, Mon., [sm1958[nm). Welsh ten. Trained RCM. ~CG d;aaebut as Rodo
lfo in [cf2]La Boh;ageme [cf1]with BNOC ~[sm1921[nm. First professional singer o
f title-role in ~Vaughan Williams's [cf2]Hugh the Drover[cf1]. P
rin. ten. ~Old Vic and SW, [sm1931[nm=n[sm41[nm, Carl Rosa [sm1941[nm=n[sm6[nm.
~Also sang at Paris Op;aaera and in USA.[cm~Davies, [fy75,1](Sir) (Henry) [fy65]
[cf3]Walford [fy75,1]([cf2]b[cf1] Oswestry, [sm1869[nm; ~[cf2]d[cf1] Wrington, [
sm1941[nm). Welsh composer and organist. ~Org. pupil of Parratt. Studied RCM wit
h Parry ~and Stanford. Taught counterpoint RCM [sm1895[nm=n~[sm1903[nm. Organist
, Temple Church, London, [sm1898[nm=n~[sm1918[nm. Cond. Bach Choir [sm1903[nm=n[
sm7[nm. Mus. dir. RAF ~[sm1917[nm (comp. its march). Prof. of mus. Univ. of ~Wal
es [sm1919[nm=n[sm26[nm. Organist St George's Chapel, ~Windsor, [sm1927[nm. Mast
er of the King's Musick ~[sm1934[nm=n[sm41[nm. One of first popular broadcasters
 on ~mus. Apart from RAF march, best-known comp. ~is [cf2]Solemn Melody [cf1]for
 org. and str. ([sm1908[nm). Knighted ~[sm1922[nm. Comps. incl. cantatas [cf2]Th
e Temple [cf1]([sm1902[nm) and ~[fy45,1]*[fy75,2]Everyman[cf1] ([sm1904[nm), Sym
. ([sm1911[nm), chamber mus., ~church mus., and songs.[cm~Davis,
 Andrew [fy75,1]([cf2]b[cf1] Ashridge, [sm1944[nm). Eng. cond., ~organist, and h
arpsichordist. Educated King's ~Coll., Cambridge (org. scholar) and Acad. of St
~Cecilia, Rome. Studied cond. with Franco Ferrara. ~Assoc. cond. BBC Scottish S.
O. [sm1970[nm=n[sm2[nm, assoc. ~cond. New Philharmonia Orch. [sm1974[nm, prin. c
ond. ~and mus. dir. Toronto S.O. from [sm1975[nm, prin. guest ~cond. Royal Liver
pool P.O. [sm1974[nm=n[sm6[nm. Has cond. ~opera at Glyndebourne incl. Strauss's
[cf2]Intermezzo, ~Capriccio[cf1], and [cf2]Die schweigsame Frau[cf1].[cm~Davis,
[fy75,1](Sir) [fy65][cf3]Colin [fy75,1](Rex) ([cf2]b[cf1] Weybridge, [sm1927[nm)
. ~Eng. cond. Studied RCM (cl.). Early cond. ~engagements with Chelsea Opera Gro
up. Assoc. ~cond. BBC Scottish S.O. [sm1957[nm=n[sm9[nm; CG d;aaebut with ~Royal
 Ballet [sm1960[nm, with opera co. [sm1965[nm ([cf2]Le Nozze ~di Figaro[cf1]). C
ond. SW Opera [sm1958[nm=n[sm65[nm (mus. dir. ~from [sm1961[nm); cond. BBC S.O.
[sm1967[nm=n[sm71[nm; chief cond. ~and mus. dir. Royal Opera, CG
, [sm1971[nm=n[sm86[nm. D;aaebut ~Glynde[chbourne [sm1960[nm ([cf2]Die Zauberfl;
auote[cf1]). Guest cond. ~Minneapolis S.O. [sm1960[nm and other Amer. orchs., ~p
articularly Boston S.O. D;aaebut NY Met. [sm1967[nm ~([cf2]Peter Grimes[cf1]). C
ond. Bavarian Radio S.O. from ~[sm1981[nm. Notable exponent of Berlioz, Mozart,
~Stravinsky, Tippett, and Sibelius. Cond. f.p. of ~Tippett's [cf2]The Knot Garde
n[cf1] (CG [sm1970[nm). First Briton ~to cond. at Bayreuth Fest. ([sm1977[nm, [c
f2]Tann[chh;auauser[cf1]). ~C.B.E. [sm1965[nm. Knighted [sm1980[nm. Hamburg Shak
es-[fj~peare Prize [sm1984[nm.[cm~Davis, Miles[fy75,1] (Dewey) ([cf2]b[cf1] Alto
n, Ill., [sm1926[nm). Amer. ~jazz trumpeter and fl;auugel horn player. Began ~pl
aying at [sm13[nm. Went to NY, playing with Charlie ~Parker and Billy Eckstine.
After success at ~Newport Jazz Fest. [sm1955[nm formed own quintet ~which lasted
 until [sm1957[nm. In [sm1960[nms and [sm1970[nms led ~series of small groups. N
oted for restraint and ~lyricism of his playing and for his cons
istently ~progressive approach.[cm~Davison, James William [fy75,1]([cf2]b[cf1] L
ondon, [sm1813[nm; [cf2]d[cf1] ~Margate, [sm1885[nm). Eng. mus. critic on [cf2]T
he Times[cf1] ~[sm1846[nm=n[sm79[nm. Friend of Mendelssohn and antipathetic ~to
Wagner. Husband of pianist Arabella [fy45,1]*[fy75,1]God~~dard.[cm~Davy, John [f
y75,1]([cf2]b[cf1] Upton-Hellions, Exeter, [sm1763[nm; [cf2]d[cf1] ~London, [sm1
824[nm). Eng. composer and violinist. ~Articled to William Jackson, org. of Exet
er Cath.; ~then went to London where became prominent ~as composer of light th.
mus. Some of his songs, ~e.g. [cf2]The Bay of Biscay[cf1], have survived. Violin
ist at ~CG.[cm~Davy, Richard[fy75,1] ([cf2]b c[cf1].[sm1467[nm; [cf2]d c[cf1].[s
m1507[nm). Eng. ~composer of motets, part-songs, and fine setting ~of [cf2]St Ma
tthew Passion[cf1]=mprobably written and perf. ~after his appointment in [sm1491
[nm as choirmaster of ~Magdalen College, Oxford.[cm~Dawson, Peter [fy75,1]([cf2]
b[cf1] Adelaide, [sm1882[nm; [cf2]d[cf1] Sydney, ~N.S.W., [sm196
1[nm). Australian bass-bar. Studied in ~London [sm1902[nm with [fy45,1]*[fy75,1]
Santley. D;aaebut CG [sm1909[nm but ~became better known for singing of popular
~ballads, e.g. Kipling's [cf2]The Road to Mandalay[cf1] and[cf2] ~Boots[cf1], wh
ich he comp. under pseudonym J. P. ~[PN187,0,0,R,I0]McCall. These overshadowed h
is excellent ability ~in operatic arias and Lieder, always sung in Eng. ~and pre
served by recordings. Began recording ~[sm1904[nm; sold [sm13[nm million records
.[cm~Dazu[fy75,1] (Ger.). Thereto, i.e. (in org. playing) the ~stops mentioned a
re now to be added to the ~others.[cm~D.C.[fy75,1] Abbreviation for [fy45,1]*[fy
75,1]Da Capo.[cm~Dead March in Saul. [fy75,1]Popular name for the ~funeral march
 from Handel's oratorio [cf2]Saul[cf1] ([sm1739[nm) ~which is used on state occa
sions such as the ~funeral of a sovereign. See also [cf2]Funeral Marches.[cm~Dea
n Paul, Lady. [fy75,1]See [cf2]Poldowski.[cm~Dean, Stafford [fy75,1](Roderick) (
[cf2]b[cf1] Kingswood, Surrey, ~[sm1937[nm). Eng. bass. Studied
RCM. Opera d;aaebut, SW ~[sm1964[nm. Prin. bass SW Opera Co. [sm1964[nm=n[sm70[n
m. CG ~d;aaebut [sm1969[nm. Many appearances at Glyndebourne, ~Munich, WNO, Scot
tish Opera etc.[xm[cm~[ol0][ep~[xp[te~










[do40][j99]~~~~~~[sm153842[nm_D[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmD[sm003[nm[cm[sm40[nm[cm~[sm1[nm[cm[sm12[nm.[sm10[nm.[
sm79[nm[cm[sm14[nm[cm[sm101[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Dean,
Winton [fy75,1](Basil) ([cf2]b[cf1] Birkenhead, [sm1916[nm). Eng. ~mus. scholar
and writer. Educated King's Coll., ~Cambridge. Authority and author of books on
~Bizet, Handel, and other composers. His [cf2]Handel's ~Dramatic Oratorios and M
asques[cf1] ([sm1959[nm) is a major ~work of scholarship.[cm~Dearnley, Christoph
er[fy75,1] (Hugh) ([cf2]b[cf1] Wolverhamp~~ton, [sm1930[nm). Eng. organist. Stud
ied Oxford Univ. ~[sm1948[nm=n[sm52[nm with Rubbra and H. K. Andrews. Ass. ~org.
 Salisbury Cath. [sm1954[nm, org. from [sm1957[nm. Org., ~St Paul's Cath. from [
sm1968[nm. Authority on church ~mus. of late [sm17[nmth and early [sm18[nmth cen
ts.[cm~Deas, [fy75,1](James) [fy65][cf3]Stewart [fy75,1]([cf2]b[cf1] Edinburgh,
[sm1903[nm). ~Scottish teacher, writer, cond., and organist. ~St
udied Edinburgh Univ. and with Tovey; in ~Berlin, [sm1926[nm=n[sm8[nm, and in Ba
sle with Weingartner. ~Cond. Edinburgh Opera Co. [sm1931[nm=n[sm3[nm. Dir. of ~m
us., S. African Coll. of Mus. and prof. of mus. ~Capetown Univ. [sm1936[nm=n[sm8
[nm. Prof. of mus., Sheffield ~Univ. [sm1948[nm=n[sm69[nm. Founded Sheffield Bac
h Soc. ~[sm1950[nm. Mus. critic at various times for [cf2]Glasgow ~Evening Times
[cf1], [cf2]The Scotsman [cf1]and [cf2]Country Life[cf1]. ~Wrote book [cf2]In De
fence of Hanslick.[cm~Death and the Maiden.[fy75,1] (Der Tod und das ~M;auadchen
). Song (D[sm531[nm) comp. by Schubert in ~Feb. [sm1817[nm, a setting of poem by
 Matthias Claudius ~([sm1740[nm=n[sm1815[nm). The theme of the pf. introduction
~to the song was used again by Schubert in [sm1824[nm ~in his Str. Qt. No.[sm14[
nm in D minor (D[sm810[nm) where it ~is the theme for the [sm2[nmnd movement set
 of ~variations.[cm~Death and Transfiguration[fy75,1] (Strauss). See [cf2]Tod ~u
nd Verkl;auarung.[cm~Death in Venice.[fy75,1] Opera in [sm2[nm a
cts by Britten, Op. ~[sm88[nm, to lib. by Myfanwy Piper based on Thomas ~Mann's
novella, [cf2]Der Tod in Venedig[cf1] ([sm1912[nm). F.p. ~Aldeburgh [sm16[nm Jun
e [sm1973[nm, CG [sm18[nm Oct. [sm1973[nm. NY ~Met. [sm1974[nm. Orch. suite arr.
 S. [fy45,1]*[fy75,1]Bedford, Aldeburgh ~[sm1984[nm.[cm~Debain, Alexandre Fran;a
lcois[fy75,1] ([cf2]b[cf1] Paris, [sm1809[nm; [cf2]d[cf1] ~Paris, [sm1877[nm). F
r. manufacturer of kbd. instr. Est. ~factory [sm1834[nm. Invented [fy45,1]*[fy75
,1]harmonium ([cf2]c[cf1].[sm1842[nm), ~antiphonal ([sm1846[nm), and harmonicord
e ([sm1851[nm).[cm~De B;aaeriot. [fy75,1]See [cf2]B;aaeriot, Charles August de.[
cm~Deborah. [fy75,1]Oratorio by Handel to lib. by S. ~Humphreys, after [cf2]Judg
es V. [cf1]Mus. taken partly ~from earlier works. F.p. London [sm1733[nm.[cm~De
Burgos, Rafael Fr;auuhbeck.[fy75,1] See [cf2]Fr;auuhbeck de ~Burgos, Rafael.[cm~
Debussy, Achille-Claude[fy75,1] ([cf2]b[cf1] St Germain-en-Laye, ~[sm1862[nm; [c
f2]d[cf1] Paris, [sm1918[nm). Fr. composer and critic. As a ~chi
ld he had little formal education but his mus. ~tendencies were channelled into
pf. lessons, those ~with Verlaine's mother-in-law, Mme Maut;aae de ~Fleurville,
leading to his entry into the Paris Cons. ~in [sm1872[nm. His reputation there w
as that of an ~erratic pianist and a recalcitrant in matters of ~harmony and the
ory. In [sm1880[nm and [sm1881[nm he went ~for summer employment to Russia as pi
anist to ~Tchaikovsky's patron, Mme von Meck. Failing to ~win the [cf2]Prix de R
ome[cf1] in [sm1883[nm, he succeeded in ~[sm1884[nm with the cantata [cf2]L'Enfa
nt prodigue. [cf1]He spent ~[sm2[nm years at the Villa Medici, Rome, where he me
t ~Liszt, Verdi, and Boito, and heard [cf2]Lohengrin[cf1]. He ~went to the Bayre
uth fests. of [sm1888[nm and [sm1889[nm, but ~an even greater mus. influence was
 that of hearing ~the Javanese [fy45,1]*[fy75,1]gamelan at the [sm1889[nm Paris
Exposi~~tion. Other influences of these years were his ~friendship with the pain
ters of what became ~known as the `Impressionist' movement and,
~even more important, with writers and poets ~such as Mallarm;aae and the `symbo
lists'. But after ~[sm1889[nm he could not share the symbolists' idolatry ~of Wa
gner, recognising his greatness but also the ~fact that he represented a `dead e
nd' for other ~composers. He cultivated a distinctively Fr. mus. ~outlook, event
ually styling himself `musicien ~fran;alcais'. Other significant events in his l
ife were ~his study in [sm1889[nm of the score of [fy45,1]*[fy75,2]Boris Godunov
 ~[cf1]and his acquaintance from [sm1891[nm with Erik [fy45,1]*[fy75,1]Satie.[ep
~^In [sm1893[nm Debussy began work on an opera based ~on Maeterlinck's play [cf2
]Pell;aaeas et M;aaelisande[cf1], a task ~that was to occupy him for nearly [sm1
0[nm years. In ~[sm1893[nm his str. qt. was perf., and in [sm1894[nm his orch. ~
[cf2]Pr;aaelude ;aga l'apr;ages-midi d'un Faune[cf1] caused a scandal ~because o
f its alleged `formlessness'. He followed ~this with his [sm3[nm [cf2]Nocturnes[
cf1], orig. planned for solo ~vn. and orch., perf. [sm1900[nm an
d [sm1901[nm. They are ded. ~to Rosalie (Lily) Texier, whom he married in ~[sm18
99[nm but deserted [sm5[nm years later for Mme Emma ~Bardac, a singer and wife o
f a banker. They ~married in [sm1905[nm, the year in which the symphonic ~sketch
es [cf2]La Mer[cf1] were f.p. [cf2]Pell;aaeas[cf1] had been ~successfully prod.
at the Op;aaera-Comique in [sm1902[nm, ~to the fury of Maeterlinck who publicly
wished ~it `emphatic failure'. Debussy's remaining orch. ~works were the set of
[sm3[nm [cf2]Images[cf1] comp. between ~[sm1905[nm and [sm1912[nm, and the balle
t [cf2]Jeux[cf1] for Diaghilev ~([sm1913[nm). In [sm1910[nm he developed cancer
and was a ~semi-invalid when war broke out in [sm1914[nm. He ~[PN188,0,0,L,I0]wr
ote some mus. inspired by patriotic sentiments ~and completed [sm3[nm sonatas be
fore his death.[ep~^Debussy was among the greatest and most ~important of [sm20[
nmth-cent. composers both by reason ~of his own achievement and by the paths he
~opened for others to explore, hence the homage ~to him paid by
later composers such as Boulez, ~Messiaen, Webern, Bart;aaok, Stravinsky, and ma
ny ~others. His use of block chords, of harmony with ~a modal flavour and based
on the whole-tone ~scale, the delicate colours of his orchestration, his ~techni
que of `layering' sounds, the declamatory ~yet wholly lyrical style of his vocal
 writing, ~especially in [cf2]Pell;aaeas[cf1], all proclaim him an innovator ~of
 the first degree who revolutionized comp. for ~the pf. and for the orch. In gen
eral Debussy's ~effects are understated, his aim being for a ~`sonorous halo' of
 sound. But the label of ~`impressionist', while accurate, has tended to ~obscur
e the strong sense of form which underlies ~all his works. Prin. comps.:[xm[cm~[
j2][smstage[nm: [fy45,1]*[fy75,2]Pell;aaeas et M;aaelisande [cf1](opera, [sm1893
[nm=n[sm5[nm,[sm 1901[nm=n~[sm2[nm); [fy45,1]*[fy75,2]Jeux [cf1](ballet, [sm1912
=n13[nm); [fy45,1]*[fy75,2]Khamma[cf1] (ballet, ~[sm1911=n12[nm, orch. [fy45,1]*
[fy75,1]Koechlin, [sm1912=n13[nm); [cf2]La [fy45,1]*[fy75,2]bo;a
fite ;aga ~joujoux [cf1](children's ballet, [sm1913[nm, orch. Caplet); ~incident
al mus. to [cf2]King Lear[cf1] ([sm1904[nm); incidental ~mus. for [cf2]Le [fy45,
1]*[fy75,2]Martyre de Saint S;aaebastien [cf1]by ~D'Annunzio ([sm1911[nm); [cf2]
La [fy45,1]*[fy75,2]Chute de la Maison Usher[cf1] ~([sm1908[nm=n[sm17[nm, unfin.
 opera).[ep~[smorch[nm.: [fy45,1]*[fy75,2]Printemps [cf1]([sm1887[nm); [cf2]Pr;a
aelude ;aga L'[fy45,1]*[fy75,2]Apr;ages-midi ~d'un faune [cf1]([sm1892[nm=n[sm4[
nm); [sm3[nm [fy45,1]*[fy75,2]Nocturnes [cf1]([sm1897[nm=n[sm9[nm); [cf2]La ~[fy
45,1]*[fy75,2]Mer [cf1]([sm1903[nm=n[sm5[nm); [sm3[nm [fy45,1]*[fy75,2]Images [c
f1]([sm1905[nm=n[sm12[nm); [cf2]Fantaisie[cf1] ~for pf. and orch. ([sm1889[nm);
[cf2]Rapsodie[cf1] for sax. and ~orch. ([sm1901[nm=n[sm8[nm); [cf2]Danse sacr;aa
ee et danse profane[cf1] for ~harp and str. ([sm1904[nm); [cf2]Berceuse h;aaero;
auique [cf1]([sm1914[nm, also ~for pf.).[ep~[smpiano[nm: [sm2[nm [cf2]Arabesques
 [cf1]([sm1888[nm=n[sm91[nm); [fy45,1]*[fy75,2]Suite bergamasque
[cf1] ~([sm1890[nm, rev. [sm1905[nm); [cf2]Pour le Piano[cf1] ([sm1896[nm=n[sm19
01[nm); ~[fy45,1]*[fy75,2]Estampes [cf1]([sm1903[nm); [cf2]L'[fy45,1]*[fy75,2]Il
e joyeuse [cf1]([sm1904[nm); [fy45,1]*[fy75,2]Images [cf1]I ~([sm1905[nm), [cf2]
Images [cf1]II ([sm1907[nm); [fy45,1]*[fy75,2]Children's Corner ~[cf1]([sm1906[n
m=n[sm08[nm); [sm12[nm [fy45,1]*[fy75,2]Pr;aaeludes[cf1], Book I ([sm1910[nm), B
ook II ~([sm1912[nm=n[sm13[nm); [sm12[nm [cf2];aaEtudes [cf1](Books I and II, [s
m1915[nm).[ep~[smpiano duet[nm: [fy45,1]*[fy75,2]Petite Suite [cf1]([sm1886=n9[n
m); [cf2]Marche ;aaecossaise ~[cf1]([sm1891[nm) (orch. version by Debussy); [sm6
[nm [cf2];aaEpigraphes ~antiques [cf1]([sm1914[nm).[ep~[smtwo pianos[nm: [cf2]Li
ndaraja [cf1]([sm1901[nm); [cf2]En blanc et noir ~[cf1]([sm1915[nm).[ep~[smchamb
er music[nm: Str. Qt. ([sm1893[nm); [cf2]Premi;agere rapsodie ~[cf1]for cl. and
pf. ([sm1901[nm=n[sm8[nm); [fy45,1]*[fy75,2]Syrinx [cf1]for fl. ([sm1913[nm); ~V
c. sonata ([sm1915[nm); Sonata for fl., va., and harp ~([sm1915[
nm); vn. sonata ([sm1916=n17[nm).[ep~[smsongs[nm: [cf2]Mandoline [cf1]([sm1880[n
m=n[sm3[nm); [cf2]Cinq po;agemes de Baude~~laire [cf1]([sm1887[nm=n[sm9[nm); [fy
45,1]*[fy75,2]Ariettes oubli;aaees [cf1]([sm1888[nm); [fy45,1]*[fy75,2]F;afetes
~galantes [cf1]I ([sm1882[nm, rev. [sm1891=n2[nm) and II ([sm1904[nm); ~[fy45,1]
*[fy75,2]Proses lyriques [cf1]([sm1892[nm=n[sm3[nm); [fy45,1]*[fy75,2]Chansons d
e Bilitis ~[cf1]([sm1897=n8[nm); [cf2]Trois ballades de Villon [cf1]([sm1910[nm)
 (also ~with orch. acc.); [cf2]Trois ballades de Mallarm;aae ~[cf1]([sm1913[nm).
[ep~[smchoral[nm: [cf2]L'[fy45,1]*[fy75,2]Enfant prodigue[cf1], cantata for sop.
, ten., ~bar., ch., orch. ([sm1884[nm, rev. [sm1906[nm=n[sm8[nm); [cf2]La Damois
elle ~;aaelue [cf1]([cf2]The [fy45,1]*[fy75,2]Blessed Damozel[cf1]) cantata for
sop., ~women's ch., and orch. ([sm1887[nm=n[sm8[nm, re-orch. [sm1902[nm); ~[sm3[
nm [cf2]Chansons de Charles d'Orl;aaeans [cf1]for unacc. SATB ~([sm1898=n1908[nm
).[ep~[smarrangements[nm: Orch. of [sm2[nm of Satie's [fy45,1]*[
fy75,2]Gymnop;aaedies ~[cf1][sm1896[nm; pf. transcrs. of Wagner, Schu~~mann, Glu
ck, Raff, Saint-Sa;auens, and Tchaikovsky.[cm~[j1]D;aaebut [fy75,1](Fr.). Beginn
ing. First public appearance.[cm~Decani[fy75,1] (Lat.). Of the dean, i.e. that s
ide of the ~choir of a cath., etc., on which the Dean sits, now ~normally the so
uth side. In church mus., passages ~marked [cf2]decani [cf1]must be taken by the
 singers on ~that side. See also [cf2]cantoris.[cm~Deceptive cadence.[fy75,1] Sa
me as Interrupted cad~~ence, i.e. chord of the dominant followed by that ~of sub
mediant.[cm~Decibel.[fy75,1] Logarithmic unit which expresses dif~~ference betwe
en different intensities of sound-~levels or differently-powered electric signal
s.[cm~D;aaecid;aae [fy75,1](Fr.),[fy65][cf3] deciso [fy75,1](It.). Decided. With
 decision ~(i.e. firmly, not flabbily). So the It. superlative, ~[cf2]decisissim
o.[cm~Decimette.[fy75,1] A comp. for [sm10[nm performers.[cm~Decoration Day. [fy
75,1][sm2[nmnd movement of Ives's [cf2]New ~England Holidays [cf
1]for orch., sometimes played ~separately. Comp. [sm1912[nm.[cm~Decrescendo; dec
resciuto[fy75,1] (It.). Decreasing, de~~creased, i.e. getting gradually softer.[
cm~Decs;aaenyi, J;aaanos[fy75,1] ([cf2]b[cf1] Budapest, [sm1927[nm). Hung. ~comp
oser. Studied Budapest Cons. and Acad. On ~staff Hung. radio from [sm1951[nm. Wo
rks incl. ballets, ~cantatas, and chamber mus.[cm~Dedler, Rochus[fy75,1] ([cf2]b
 [cf1]Oberammergau, [sm1779[nm; [cf2]d[cf1] ~Vienna, [sm1882[nm). Ger. composer
of the Passion Play ~mus. used at Oberammergau.[cm~Deering [fy75,1](Dering), [fy
65][cf3]Richard [fy75,1]([cf2]b [cf1]Kent, [cf2]c[cf1]. [sm1580[nm; [cf2]d[cf1]
~London, [sm1630[nm). Eng. composer and organist. ~Studied in It. Pubd. some of
oldest known comps. ~with basso continuo (Antwerp [sm1597[nm). Org., Eng. ~nuns'
 convent in Brussels [sm1617[nm. Org. at court of ~Charles I [sm1625[nm. Comps.
incl. anthems, motets, ~mus. for viols, and choral pieces based on London ~stree
t cries.[cm~De Fabritiis, Oliviero[fy75,1] (Carlo) ([cf2]b[cf1]
Rome, [sm1902[nm; [cf2]d [cf1]Rome, [sm1982[nm). It. ~conductor and composer. St
udied Rome Cons. ~D;aaebut Rome [sm1920[nm. Worked in Salerno and Rome, ~then wa
s art. secretary Rome Opera House [sm1932[nm=n~[sm43[nm. In [sm1938[nm began sum
mer perfs. at Baths of ~Caracalla. Cond. many opera perfs. in which Gigli ~sang.
 Brit. d;aaebut Edinburgh Fest. [sm1963[nm (San Carlo ~co. in [cf2]Adriana Lecou
vreur[cf1]). CG d;aaebut [sm1965[nm ([cf2]Simon ~Boccanegra[cf1]). Comp. songs a
nd other vocal mus.[cm~D;aaefauw, D;aaesir;aae[fy75,1] ([cf2]b [cf1]Ghent, [sm18
85[nm; [cf2]d [cf1]Gary, Ind., ~[sm1960[nm). Amer. (Belg.-born) violinist and co
nd. ~London d;aaebut [sm1910[nm. Formed Allied Str. Qt. ~(which incl. L. [fy45,1
]*[fy75,1]Tertis) [sm1914[nm=n[sm18[nm. Prof. at Antwerp ~Cons. Cond. D;aaefauw
concerts and Brussels Cons. ~[PN189,0,0,R,I0]orch. ([sm1926=n40[nm). Est. Orches
tre nationale de ~Belgique [sm1937[nm. Went to USA [sm1939[nm. Cond., ~Chicago S
.O. [sm1943[nm=n[sm7[nm. Returned to Belgium [sm1949[nm ~but the
n went back to USA as cond. Gary S.O. ~[sm1950[nm=n[sm8[nm.[cm~De Fesch, William
 [fy75,1]([cf2]b[cf1] Alkmaar, [sm1687[nm; [cf2]d[cf1] London, ~?[sm1757[nm). Fl
emish composer, organist, cellist, and ~violinist. Choirmaster, Antwerp, [sm1725
=n31[nm. Settled ~in London [sm1733[nm. Wrote oratorios, masses, concs., ~and so
ngs.[cm~De Gaetani, Jan[fy75,1] ([cf2]b[cf1] Massillon, Ohio, [sm1933[nm). Amer.
 ~mez. Studied Juilliard Sch., making NY d;aaebut ~[sm1958[nm. Specialist in con
temporary mus. Gave f.ps. ~of Crumb's [cf2]Ancient Voices of Children[cf1] ([sm1
970[nm) and ~Maxwell Davies's [cf2]Stone Litany[cf1] ([sm1973[nm). Teacher at ~E
astman Sch., Rochester.[cm~Degeyter. [fy75,1]See [cf2]Internationale.[cm~Degree.
 [fy75,1]A note's classification regarding its ~position in the scale. When a no
te is [sm3[nm degrees ~from another, the interval separating them is a ~[sm4[nmt
h. The notes of the major scale are called the ~[sm1[nmst, [sm2[nmnd, etc. degre
es of the scale, returning to the ~first degree. Alternative nam
es for the [sm7[nm degrees ~are tonic, supertonic, mediant, subdominant, ~domina
nt, submediant, and leading-note.[cm~De Greef, Arthur. [fy75,1]See [cf2]Greef, A
rthur de.[cm~Degrees and Diplomas in Music. [fy75,1]([sm1[nm) [smbritish ~univer
sity degrees. [nmThe degrees in music given ~by Brit. and Irish universities are
 Bachelor ~(`B.Mus.' or `Mus.B.') Master of Music (M.Mus.), ~and Doctor (`D.Mus.
' or `Mus.D'). Universities ~which confer a M.Mus. degree are Birmingham, ~Brist
ol, Cambridge, Durham, East Anglia, Edin~~burgh, London, Newcastle upon Tyne, an
d ~Surrey.[ep~^In several universities it is possible to obtain by ~research in
musical subjects the degree of Litt.M., ~Litt.B., Litt.D., Ed.M., and Ph.D. (or
M.Litt, ~B.Litt., D.Litt., M.Ed., and D.Phil.)=mBachelor ~and Doctor of Letters,
 and Doctor of Philosophy. ~At Reading, music may be studied with physics ~for B
.Sc.[ep~^By an old custom dating from the [sm13[nmth cent., ~the Archbishop of C
anterbury (by virtue of his ~former office of Legate of the Pope
) has the power ~to grant degrees, and he sometimes exercises this ~power by con
ferring the doctorate of music. ~These degrees are known as `Canterbury Degrees'
 ~(D.Mus. Cantuar.) or (from the Archbishop's ~London palace, from which they ar
e issued) ~`Lambeth Degrees'.[ep~^Various universities in the Commonwealth ~conf
er musical degrees, their requirements being ~not so much standardized as those
of British ~universities.[ep~^At some Brit. universities music can now be ~taken
 as one of the subjects for a degree in Arts. ~Through the Council for National
Academic ~Awards, some polytechnics and colleges of tech~~nology award a B.A. de
gree for music.[ep~^([sm2[nm) [smdiplomas[nm. The diploma-conferring bodies in ~
the list now to be given are recognized as genuine ~public bodies. Their diploma
s are usually graded ~as follows: ([cf2]a[cf1]) Associateship, ([cf2]b[cf1]) Lic
entiateship ~(not always present), ([cf2]c[cf1]) Fellowship. This is not ~quite
invariable, however; for instance, the Royal ~Academy of Music c
onfers Licentiateship upon ~external or internal candidates. Fellowship is ~rese
rved by some institutions as a purely honorary ~distinction.[xm[cm~[j2][smroyal
academy of music[nm (founded [sm1822[nm). F.R.A.M. ~(limited to [sm150[nm distin
guished past students); ~Hon. R.A.M. (honorary members); A.R.A.M.; ~L.R.A.M. (op
en to non-students and with the ~differentiation, `teacher' or `performer'); [sm
special ~diploma [nmof the Teachers' Training Course.[ep~[smroyal college of mus
ic[nm (founded [sm1883[nm, succeed~~ing the National Training Coll. of Music, ~f
ounded [sm1873[nm). F.R.C.M. (honorary, limited to ~[sm50[nm); Hon. R.C.M. (dist
inguished non-students); ~Hon. A.R.C.M. (distinguished past students); ~A.R.C.M.
 by examination, open to non-students ~and with the differentiation, `teacher' o
r `per~~former'); M.Mus. R.C.M. (`Master of Music'=m~severe and varied tests; op
en to non-students); ~Teachers' Training Course certificate awarded to ~selected
 students from certain colleges for a [sm1[nm-~year course.[ep~[
smassociated board[nm The R.A.M. and R.C.M. com~~bine, under the title `Royal Sc
hools of Music, ~London' with also Royal Northern College and ~Royal Scottish Ac
ademy), to confer in the ~Commonwealth the diploma, formerly known ~as `L.A.B.'
(Licentiate of the Associated Board), ~now entitled `L.R.S.M., London'. This is
the ~Overseas equivalent of L.R.A.M. and A.R.C.M.[ep~[smroyal college of organis
ts[nm (founded [sm1864[nm), ~A.R.C.O.; F.R.C.O., with an additional (optional) ~
diploma entitling the candidate to add the letters ~Ch.M. (i.e. `Choirmaster').
In [sm1936[nm the Arch~~bishop of Canterbury instituted a Diploma in ~Church Mus
ic to the examination for which he ~admits only F.R.C.O.s holding the Ch.M. di~~
ploma, who on passing his examination become ~A.D.C.M.s.[ep~[smtrinity college o
f music[nm (founded [sm1872[nm and a ~teaching school of music in Univ. of Londo
n). ~A.T.C.L.; L.T.C.L.; F.T.C.L. (these in execu-[fj~tive subjects=mas Teacher
or Performer);[fj~A.Mus.T.C.L.; L.Mus.T.C.L. (these in theoretic
al ~subjects). G.T.C.L.; Hon. F.T.C.L. Hon. T.C.L. ~(F.T.C.L. awarded also for o
rig. composition.)[ep~[smguildhall school of music and drama [nm(founded ~[sm188
0[nm). A.G.S.M. (internal students); L.G.S.M. ~(internal and external students);
 F.G.S.M. (hon~~orary=mlimited to [sm100[nm); G.G.S.M. (internal stu~~dents); Ho
n. G.S.M. (honorary=mlimited to [sm100[nm).[ep~[smroyal manchester college of mu
sic [nm(founded ~[sm1893[nm). A.R.M.C.M. (after a [sm3[nm years' course and ~exa
mination) and F.R.M.C.M. (honorary only) ~also Hon.R.M.C.M. This college was ama
lgam~~[PN190,0,0,L,I0]ated in [sm1972[nm into Royal Northern College of ~Music.[
ep~[smroyal northern college of music, manchester[nm ~(founded [sm1972[nm, being
 amalgamation of ~R.M.C.M. and Northern School of Music). ~G.Mus.R.N.C.M.; G.R.N
.C.M.; P.P.R.N.C.M. ~(Professional Performance Course).[ep~[smbirmingham school
of music [nm(founded [sm1887[nm). ~A.B.S.M.; A.B.S.M. (T.T.D.), Teacher's Traini
ng ~Diploma; L.B.S.M.; G.B.S.M. (after Graduate ~Course); F.B.S.
M. (honorary).[ep~[smroyal scottish academy of music[nm (founded [sm1929[nm). ~D
ip. R.S.A.M. and (in musical education) ~Dip.Mus.Ed. R.S.A.M. (both after a full
 course ~in the Academy and examination).[ep~[smlondon college of music[nm. (Fou
nded [sm1887[nm). ~Diplomas include A.L.C.M., L.L.C.M.,[fj~F=+.=+L=+.=+C=+.=+M=+
.=+,=+ G=+.=+L=+.=+C=+.=+M=+.=+ A=+.=+M=+u=+s=+.=+L=+.=+C=+.=+M=+.=+,[fj~L.Mus.L
.C.M.[ep~[smroyal military school of music[nm (Kneller Hall). ~Graduation is ind
icated by the letters p.s.m., ~meaning `passed school of music'.[ep~[smbandsman'
s college of music[nm. This examining ~body was instituted in [sm1931[nm with un
paid officials ~and described as `The National Institutions of ~the Brass Band M
ovement'. It awards, after ~examination, [sm3[nm diplomas, B.B.C.M. (`Bandmas~~t
er'), A.B.C.M., and L.B.C.M.[ep~[smoverseas schools of music.[nm Some of the uni
versi~~ties in different parts of the Commonwealth, ~having schools of music att
ached, grant a ~diploma. The Royal Canadian College of Organ~~is
ts grants diplomas of A.R.C.C.O. and ~F.R.C.C.O.[ep~[ih0]^([sm3[nm) [smamerican
degrees. [nmThe number of universi~~ties, colleges, schools of music, etc., conf
erring ~music degrees is well over [sm700[nm, of which over ~half are at bachelo
r level only. The oldest ~undergraduate degrees are B.A. and B.Mus. Many ~music
courses are for [sm4[nm years, most of them ~involving practical work such as co
nducting. ~Degrees in theory, musicology, and performance ~in some universities
are Master of Music (M.M.) ~and Master of Music Education (M.M.E.). There ~are a
lso D.M.A. (Doctor of Musical Arts) and ~M.M.A.[ep~^([sm4[nm) [smamerican diplom
as. [nmThe U.S.A., fortunately, ~does not possess the bewildering variety of ~di
ploma-conferring institutions of Britain, nor ~are alphabetical distinctions of
any kind so much ~valued. The Amer. Guild of Organists ([sm1896[nm) ~confers dip
lomas of Associateship and Fellow~~ship=mA.A.G.O. and F.A.G.O.: when the exami~~
nation as choirmaster is passed the letters Ch.M. ~may be added.
[cm~[j1]Degrigny, Nicolas. [fy75,1]See [cf2]Grigny, Nicolas de.[cm~Dehors[fy75,1
] (Fr.). ([sm1[nm) Outside, as in [cf2]en dehors[cf1], from the ~outside.[ep~^([
sm2[nm) Prominent. Applied musically to a melody ~which the composer intends to
be particularly ~prominent.[cm~Deidamia.[fy75,1] Opera in [sm3[nm acts by Handel
 (his last), ~to lib. by Rolli. Comp. [sm1740[nm, prod. London [sm1741[nm. ~Revi
ved London [sm1955[nm and subsequently in Ger.[cm~Deirdre of the Sorrows.[fy75,1
] ([sm1[nm) Opera by Karl ~[fy45,1]*[fy75,1]Rankl, based on Synge's play, which
won Fest. ~of Britain prize, [sm1951[nm, but was not prod.[ep~^([sm2[nm) Lyric d
rama in [sm1[nm act by John J. Becker ([sm1945[nm).[cm~Dekany, B;aaela [fy75,1](
[cf2]b [cf1]Budapest, [sm1928[nm). Hung.-born ~violinist. Studied Franz Liszt Ac
ad. of Mus., ~Budapest, and Vienna Acad. of Mus. D;aaebut ~Budapest [sm1947[nm.
Formed Dekany Qt. in Holland ~[sm1960[nm. Leader, BBC S.O. from [sm1969[nm.[cm~D
e Koven, Henry Louis Reginald [fy75,1]([cf2]b [cf1]Middle~~town,
 Conn., [sm1859[nm; [cf2]d[cf1] Chicago, [sm1920[nm). Amer. ~composer and cond.
Family moved to Eng. in ~[sm1872[nm and he studied at Oxford, Stuttgart, Vienna,
 ~and Paris (with Delibes). Returned to USA where ~he became successful composer
 of light operas, ~mus. critic, and founder and cond. of Washington ~P.O. ([sm19
02[nm=n[sm5[nm). Wrote [sm2[nm operas, [cf2]The Canterbury ~Pilgrims [cf1](NY Me
t. [sm1917[nm[cf1]) and [cf2]Rip Van Winkle ~[cf1](Chicago and NY [sm1920[nm). O
perettas incl. [cf2]Don ~Quixote [cf1]([sm1889[nm) and [cf2]Robin Hood [cf1]([sm
1890[nm). Comp. over ~[sm400[nm songs, pf. sonata, and ballets.[cm~Delage, [fy75
,1](Charles) [fy65][cf3]Maurice [fy75,1]([cf2]b[cf1] Paris, [sm1879[nm; [cf2]d[c
f1] Paris, ~[sm1961[nm). Fr. composer, pupil of Ravel. Student of ~Indian mus. a
nd wrote [cf2]Quatre po;agemes hindous[cf1] for ~v. and orch. Orch. version of [
fy45,1]*[fy75,1]Debussy's [fy45,1]*[fy75,2]Chansons ~de Bilitis [cf1][sm1926[nm.
[cm~Delalande, Michel Richard. [fy75,1]See [cf2]Lalande, Michel
de.[cm~Delannoy, Marcel Fran;alcois Georges[fy75,1] ([cf2]b[cf1] La Fert;aae-~Al
ain, [sm1898[nm; [cf2]d[cf1] Nantes, [sm1962[nm). Fr. composer. ~Trained as arch
itect, self-taught in mus. but ~helped and advised by [fy45,1]*[fy75,1]Honegger.
 Comp. operas, ~ballet, ballet-cantatas, [sm2[nm syms., str. qt., pf. conc.[cm~d
e Lara, Isidore. [fy75,1]See [cf2]Lara, Isidore de.[cm~Delibes, [fy75,1](Cl;aaem
ent Philibert) [fy65][cf3]L;aaeo [fy75,1]([cf2]b[cf1] St Germain-~du-Val, nr. Le
 Mans, [sm1836[nm; [cf2]d[cf1] Paris, [sm1891[nm). Fr. ~composer and organist. S
tudied at Paris Cons. ~[sm1848[nm=n[sm52[nm. Became accompanist at Th;aae;afatre
 Ly~~rique, [sm1853[nm. First operetta, [cf2]Deux Sous de Charbon[cf1], ~[sm1855
[nm, led to series of popular short works in this ~genre. [sm2[nmnd chorusmaster
 at Op;aaera [sm1865[nm. Wrote ~ballets [fy45,1]*[fy75,2]Copp;aaelia [cf1]([sm18
70[nm) and [fy45,1]*[fy75,2]Sylvia [cf1]([sm1876[nm), and [sm3[nm ~works for the
 Op;aaera Comique, [cf2]Le Roi l'a dit[cf1] ([sm1873[nm), ~[cf2]
Jean de Nivelle [cf1]([sm1880[nm), and [fy45,1]*[fy75,2]Lakm;aae [cf1]([sm1883[n
m). A [sm4[nm-act ~opera, [cf2]Kassya[cf1], was left unfinished, completed by ~M
assenet, and staged [sm1893[nm. Wrote incidental ~mus. for [cf2]Le Roi s'amuse [
cf1]([sm1882[nm) and [sm15[nm songs, best-~known being [cf2]Les Filles de Cadiz.
 [cf1]Org., St Jean-St ~Fran;alcois, [sm1862[nm=n[sm71[nm. Prof. of comp., Paris
 Cons. ~[sm1881[nm. Name frequently misspelt `D;aaelibes'.[cm~Delicato [fy75,1](
It.). Delicate. So [cf2]delicatamente[cf1] delicately; ~[cf2]delicatissimo[cf1],
 as delicately as possible; [cf2]delicatezza[cf1], ~delicacy.[cm~D;aaeli;aae [fy
75,1](Fr.). Untied. ([sm1[nm) The notes separated from ~each other, i.e. staccat
o.[ep~^([sm2[nm) Unconstrained in style.[ep~[PN191,0,0,R,I0]^([sm3[nm) Supple (f
ingers).[cm~Delirio[fy75,1] (It.). Frenzy. So [cf2]delirante[cf1], frenzied.[cm~
Delius, Fritz [fy75,1]later [fy65,3]Frederick [fy75,1](Theodor Albert) ([cf2]b[c
f1] ~Bradford, Yorks., [sm1862[nm; [cf2]d[cf1] Grez-sur-Loing, F
r., ~[sm1934[nm). Eng. composer, [sm4[nmth of [sm14[nm children of a ~Ger. coupl
e who had settled in Eng. to engage in ~the wool trade. The father, Julius Deliu
s, was a ~mus. lover, helping to organize Hall;aae concerts in ~Bradford and ent
ertaining musicians like Joachim ~and Piatti in his home, but implacably opposed
 ~to mus. as a career for his son, despite Fritz's ~talent and aptitude. The you
th tried to accede to ~his father's wishes by entering business, but he ~had no
gift for textile commerce and in [sm1884[nm ~went to Florida to manage an orange
-plantation ~at Solano Grove. The oranges were neglected ~while Delius studied m
us. with Thomas F. Ward, ~a Jacksonville organist. A year later he himself set ~
up as a vn. teacher first in Jacksonville, then at ~Danville, Virginia, eventual
ly taking an organist's ~post in NY. The Negro melodies he heard in ~Florida dee
ply influenced him, as can be heard in ~[cf2]Appalachia[cf1]. By now his father
was prepared to ~allow him to enter the Leipzig Cons. ([sm1888[n
m). ~Academic tuition held no attractions, however, ~and Delius went to live in
the Paris of the [sm90[nms ~where his circle incl. Gauguin, Ravel, Munch, ~and S
trindberg. Already, on a holiday in Norway ~in [sm1887[nm, he had become a close
 friend of [fy45,1]*[fy75,1]Grieg ~and deeply attached to Scandinavian life and
~literature.[ep~^His [cf2]Florida[cf1] suite was perf. privately in Leipzig, ~[s
m1888[nm. While in Paris he comp. an opera, [cf2]The ~Magic Fountain[cf1] ([sm18
94=n5[nm, f.p. BBC studio broadcast ~[sm1977[nm), songs, the first Vn. Sonata, t
he tone-poem ~[cf2]Over the Hills and Far Away [cf1](begun [cf2]c.[cf1][sm1893[n
m), and ~another opera, [cf2]Koanga[cf1] ([sm1896[nm=n[sm7[nm). In [sm1899[nm a
concert ~of his works was given in London which ~encouraged him to complete his
orch. nocturne ~[cf2]Paris: the Song of a Great City. [cf1]This was perf. at ~El
berfeld, [sm1901[nm, cond. by Hans [fy45,1]*[fy75,1]Haym and a year ~later in Be
rlin under Busoni. Haym also cond. f.p. ~of the Pf. Conc., in El
berfeld [sm1904[nm, with Julius ~Buths as soloist. Haym, together with Fritz ~[f
y45,1]*[fy75,1]Cassirer, was Delius's earliest champion, being ~followed some ye
ars later in England by Wood ~and, in particular, [fy45,1]*[fy75,1]Beecham. Unti
l about [sm1904[nm ~Delius pubd. his works under the name Fritz ~Delius.[ep~^Fro
m [sm1897[nm, Delius lived at Grez-sur-Loing, near ~Fontainebleau with the artis
t Jelka Rosen, whom ~he married in [sm1903[nm. From [sm1900[nm to [sm1902[nm he
~worked on [sm2[nm operas, [cf2]A Village Romeo and Juliet[cf1], ~and [cf2]Margo
t-la-Rouge[cf1], and revised [cf2]Appalachia[cf1] (be~~gun [cf2]c[cf1].[sm1896[n
m). His reputation in Ger. was greater at ~this time than in his native land but
 the balance ~was corrected from [sm1907[nm with f.ps. in England of ~a series o
f works: [sm1907[nm: Pf. Conc. (London, soloist, ~Szanto, cond. Wood); [sm1908[n
m: [cf2]Paris[cf1] (Liverpool, ~cond. Beecham), [cf2]Life's Dance [cf1](first ve
rsion) (Lon~~don, cond. Arb;aaos), [cf2]Brigg Fair [cf1](Liverpo
ol, cond. ~Bantock), [cf2]Sea Drift [cf1](Sheffield, cond. Wood); [sm1909[nm: ~[
cf2]A Mass of Life [cf1](London, cond. Beecham), [cf2]In a ~Summer Garden [cf1](
first version) (London, cond. ~Delius), [cf2]Dance Rhapsody No. [sm1[nm [cf1](He
reford, cond. ~Delius).[ep~^In [sm1908[nm=n[sm10[nm he comp. his last opera [cf2
]Fennimore ~and Gerda[cf1], prod. Frankfurt [sm1919[nm. During the ~[sm1914[nm=n
[sm18[nm war he left Grez for Eng. for a time, ~composing [cf2]Dance Rhapsody No
. [sm2[nm[cf1], vn. sonata, vc. ~sonata, conc. for vn. and vc., str. qt., vn. co
nc., ~[cf2]Eventyr[cf1], and a [cf2]Requiem[cf1] (text by H. Simon) ~`dedicated
to the memory of all young artists ~fallen in the war'. This last work was perf.
 in ~[sm1922[nm and was so savagely criticized for its `atheism' ~that it remain
ed unperf. again for over [sm40[nm years. ~Shortly after the war he wrote a vc.
conc. and the ~incidental mus. to Flecker's play [cf2]Hassan [cf1]([sm1923[nm).
~In [sm1922[nm Delius developed the first signs of ~progressive
paralysis, said to have resulted from ~syphilis contracted in Paris in [sm1890[n
ms, although ~medical research has cast doubt on this theory. ~Four years later
he became blind and helpless. ~From [sm1928[nm he was enabled to continue compos
ing ~through the assistance of a young Yorkshire ~musician, Eric [fy45,1]*[fy75,
1]Fenby, who offered his services ~as amanuensis. Among the works comp. in this
~period were [cf2]A Song of Summer[cf1], the [sm3[nmrd vn. sonata, ~[cf2]Songs o
f Farewell[cf1], [cf2]Fantastic Dance[cf1], and an [cf2]Idyll[cf1] ~based on mat
erial from [cf2]Margot-la-Rouge.[cf1] In [sm1929[nm ~Delius was made a C.H. and
went to London to ~attend a fest. of [sm6[nm concerts of his mus. organized ~by
Beecham. He died [sm5[nm years later, being buried ~at Grez, but in May [sm1935[
nm was reinterred at ~Limpsfield, Surrey.[ep~^Delius's mus. is chromatic in harm
ony and ~belongs in form and spirit to the post-Wagnerian ~world of Chausson, De
bussy, Strauss, and Mahler. ~He is [cf2]par excellence [cf1]the
composer-poet of regret ~for time past, of the transience of human love, ~but th
ere is also a vigorous ecstatic elation in ~sections of [cf2]A Mass of Life[cf1]
 and the [cf2]Song of the High ~Hills.[cf1] Though he despised the classical pro
cedures, ~his sonatas and concs. succeed because of the way ~in which he adapted
 his rhapsodic manner to suit ~his own version of sonata form. The exquisite ~or
ch. scoring of such short works as [cf2]On hearing the ~first cuckoo in spring [
cf1]and the intermezzo, [cf2]Walk to ~the Paradise Garden[cf1], from [cf2]A Vill
age Romeo and ~Juliet[cf1], have ensured him a regular place in the ~Eng. repert
ory, and his songs and unacc. choral ~works are also very fine.[ep~^Prin. works:
[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Irmelin [cf1]([sm1890[nm=n[sm2[nm); [c
f2]The [fy45,1]*[fy75,2]Magic Fountain ~[cf1]([sm1894=n5[nm, rev. [sm1898[nm); [
fy45,1]*[fy75,2]Koanga [cf1]([sm1896[nm=n[sm7[nm, rev. ~[sm1898[nm); [cf2]A [fy4
5,1]*[fy75,2]Village Romeo and Juliet [cf1]([sm1900=n1[nm); ~[fy
45,1]*[fy75,2]Margot-la-Rouge [cf1]([sm1901=n2[nm); [fy45,1]*[fy75,2]Fennimore a
nd ~Gerda [cf1]([sm1908[nm=n[sm10[nm).[ep~[smorch[nm: [cf2]Florida Suite [cf1]([
sm1886[nm=n[sm7[nm, rev. [sm1889[nm); [cf2]Sleigh ~Ride[cf1]; [cf2]Marche Capric
e [cf1]([sm1888[nm; [cf2]Sleigh Ride [cf1]orch. ~[sm1889[nm, [cf2]Marche Caprice
 [cf1]rev. [sm1890[nm); [cf2]Summer Evening ~[cf1]([sm1890[nm); [cf2]Paa Viddern
e[cf1] (On the Mountains), sym.-~poem ([sm1890[nm=n[sm1[nm, rev. [sm1892[nm); [c
f2]Over the Hills and Far ~Away[cf1] (?[sm1893=n[nm?[sm7[nm); [cf2]La [fy45,1]*[
fy75,2]Calinda [cf1](from [cf2]Koanga[cf1], ~[PN192,0,0,L,I0][sm1896[nm=n[sm7[nm
, arr. Fenby [sm1938[nm); [fy45,1]*[fy75,2]Life's Dance [cf1]([sm1899[nm, ~rev.
[sm1901[nm and [sm1912[nm); [fy45,1]*[fy75,2]Paris: the Song of a Great ~City [c
f1]([sm1899[nm); [fy45,1]*[fy75,2]Appalachia [cf1](with ch. and bar.) ~([sm1896[
nm; [sm1902=n3[nm); [cf2]Intermezzo: [fy45,1]*[fy75,2]Walk to the Paradise ~Gard
en[cf1] ([sm1906[nm, addition to [cf2]A Village Romeo and ~Julie
t[cf1]); [fy45,1]*[fy75,2]Brigg Fair: an English Rhapsody [cf1]([sm1907[nm); ~[f
y45,1]*[fy75,2]In a Summer Garden [cf1]([sm1908[nm, rev. [sm1913[nm); [fy45,1]*[
fy75,2]Dance ~Rhapsody [cf1]No. [sm1[nm ([sm1908[nm), No. [sm2[nm ([sm1916[nm);
[cf2][sm2[nm Mood ~Pictures for small orch[cf1].: [fy45,1]*[fy75,2]On hearing th
e first cuckoo ~in spring [cf1]([sm1911=n13[nm), [fy45,1]*[fy75,2]Summer Night o
n the River ~[cf1]([sm1911[nm); [fy45,1]*[fy75,2]North Country Sketches [cf1]([s
m1913[nm=n[sm14[nm); [cf2]Air ~and Dance, [cf1]str. ([sm1915[nm); [fy45,1]*[fy75
,2]Eventyr [cf1]([sm1917[nm); [cf2][sm2[nm ~[fy45,1]*[fy75,2]Aquarelles [cf1](ar
r. for str. by Fenby, [sm1938,[nm from [sm2[nm ~unacc. ch. [sm1917[nm); [cf2]A S
ong before Sunrise[cf1] ([sm1918[nm); [cf2]A ~Song of Summer [cf1]([sm1930[nm);
[cf2]Fantastic Dance [cf1]([sm1931[nm); ~[cf2]Prelude [cf1]to [cf2]Irmelin [cf1]
([sm1931[nm).[ep~[smvoices and orch.[nm: [cf2]Maud [cf1](Tennyson), song cycle ~
for v. and orch. ([sm1891[nm), [fy45,1]*[fy75,2]Appalachia [cf1]
([sm1896[nm; [sm1902=n~3[nm), [cf2]Zarathustra's Night Song,[cf1] bar., male ch.
, orch. ~([sm1898[nm), [fy45,1]*[fy75,2]Sea Drift [cf1]for bar., ch., and orch.
([sm1903[nm=n~[sm4[nm), [cf2]A [fy45,1]*[fy75,2]Mass of Life [cf1]for SATB soloi
sts, double ch., ~and orch. ([sm1904[nm=n[sm5[nm), [cf2]Cynara[cf1] for bar. and
 orch. ~([sm1907[nm, rev. [sm1928[nm=n[sm9[nm), [fy45,1]*[fy75,2]Songs of Sunset
 [cf1]for mez., ~bar., ch., and orch. ([sm1906[nm=n[sm8[nm), [fy45,1]*[fy75,2]So
ng of the High ~Hills [cf1]for ch. and orch. ([sm1911[nm), [cf2]Arabesk[cf1] for
 bar., ~ch., and orch. ([sm1911[nm), [cf2]Requiem [cf1]for sop., bar., ch., ~and
 orch. ([sm1914[nm=n[sm16[nm), [cf2]A Late Lark [cf1](Henley) for v. ~and orch.
([sm1921[nm=n[sm5[nm), [fy45,1]*[fy75,2]Songs of Farewell[cf1] for double ~ch. a
nd orch. ([sm1930[nm), [fy45,1]*[fy75,2]Idyll: Once I passed through ~a populous
 city[cf1] for sop., bar., and orch. ([sm1930[nm=n[sm2[nm).[ep~[smincidental mus
ic[nm: [cf2]Folkeraadet [cf1](Parliament), play ~by G. Heiberg (
[sm1897[nm); [fy45,1]*[fy75,2]Hassan[cf1], play by James ~Elroy Flecker ([sm1920
[nm=n[sm3[nm).[ep~[smmelodrama[nm: [cf2]Paa Vidderne[cf1], speaker and orch. ~(p
oem by Ibsen, [sm1859=n60[nm, set to Ger. trans., [cf2]Auf ~dem Hochgebirge[cf1]
, by L. Passarge). Comp. [sm1888[nm.[ep~[smvoice(s) and piano[nm: [sm5[nm [cf2]S
ongs from the Norwegian ~[cf1]([sm1888[nm), [sm7[nm [cf2]Songs from the Norwegia
n [cf1]([sm1889[nm=n[sm90[nm, No. ~[sm3[nm with Eng. words, [sm1930[nm, known as
 [cf2]Twilight ~Fancies[cf1]), [sm3[nm [cf2]English Songs [cf1](Shelley) ([sm189
1[nm), [sm2[nm [cf2]Songs ~[cf1](Verlaine) ([sm1895[nm), [sm7[nm [cf2]Danish Son
gs [cf1]([sm1897[nm), [sm5[nm [cf2]Songs ~[cf1]([sm4[nm to poems by Nietzsche) (
[sm1898[nm), [cf2][sm2[nm Songs [cf1]([sm1900[nm), ~[cf2]Summer Landscape [cf1](
[sm1902[nm), [cf2]The nightingale has a ~lyre of gold [cf1](Henley) ([sm1910[nm)
, [cf2]I-Brasil [cf1]([sm1913[nm), [cf2]On ~Craig Dhu [cf1]([sm1907[nm), [cf2]Mi
dsummer Song [cf1]([sm1908[nm), ~[cf2]Wanderer's Song [cf1]([sm1
908[nm), [cf2]To be sung of a summer ~night on the water [cf1](unacc.) ([sm1917[
nm, arr. for str. by ~Fenby as [sm2[nm [cf2]Aquarelles[cf1], [sm1938[nm), [cf2]T
he Splendour Falls ~[cf1](unacc.) ([sm1923[nm).[ep~[smconcertos[nm: Pf. (first v
ersion in [sm3[nm movements ~[sm1897[nm, rev. [sm1898[nm; rev. in [sm1[nm moveme
nt [sm1906=n7[nm), ~Vn. and vc. ([sm1915[nm, f.p. [sm1920[nm, arr. for vn. and v
a. ~by Tertis [sm1934[nm=n[sm5[nm), Vn. ([sm1916[nm, f.p. [sm1919[nm Sam~~mons,
Boult), Vc. ([sm1921[nm, f.p. [sm1923[nm Frankfurt), ~[cf2]Caprice and Elegy [cf
1]for vc. and chamber orch. ~([sm1930[nm, also for vc. and pf. or va. and pf. [s
m1931[nm), ~[cf2]Suite [cf1](incl. [cf2]Pastorale[cf1]) for vn. and orch. ([sm18
88[nm), ~[cf2]L;aaegende [cf1]for vn. and orch. ([sm1895[nm).[ep~[smchamber musi
c[nm: Str. Qt. ([sm1916[nm, scherzo added ~[sm1919[nm, incorp. themes from aband
oned [sm1888[nm str. ~qt. [sm3[nmrd movement, [fy45,1]*[fy75,2]Late Swallows[cf1
], arr. for str. ~by Fenby [sm1963[nm, other [sm3[nm movements [
sm1977[nm with ~title [cf2]Sonata for Strings[cf1]); Vn. Sonata ([sm1892[nm, ~un
pubd.), No. [sm1[nm ([sm1905[nm=n[sm14[nm, f.p. [sm1915[nm), No. [sm2[nm (f.p. ~
[sm1924[nm, arr. for va. by Tertis), No. [sm3[nm ([sm1930[nm, arr. for ~va. by T
ertis); Vc. Sonata ([sm1916[nm).[ep~[smpiano[nm: [cf2]Zum Carnival [cf1]([sm1886
[nm), [sm3[nm [cf2]Preludes [cf1]([sm1923[nm), [sm5[nm ~[cf2]Pieces [cf1]([sm192
3[nm).[cm~[ol0][ep~[xp[te~







[do40][j99]~~~~~~[sm153842[nm_D[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmD[sm004[nm[cm[sm40[nm[cm~[sm1[nm[cm[sm12[nm.[sm10[nm.[
sm79[nm[cm[sm14[nm[cm[sm153[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ap[j1]Della Casa
, Lisa [fy75,1]([cf2]b [cf1]Burgdorf, nr. Berne, [sm1919[nm). ~Swiss sop. Studie
d singing at [sm15[nm in Z;auurich with ~Margarete Haeser. D;aaebut Solothurn-Bi
el [sm1941[nm as ~Butterfly, Salzburg [sm1947[nm (becoming member of ~Vienna Sta
te Opera), Glyndebourne [sm1951[nm. Noted ~in Vienna, London, and NY for Mozart
and ~especially for R. Strauss ([cf2]Arabella[cf1], [cf2]Der Rosenkava~~lier[cf1
], and the [cf2]Four Last Songs[cf1]).[cm~Deller, Alfred [fy75,1](George) ([cf2]
b [cf1]Margate, [sm1912[nm; [cf2]d[cf1] ~Bologna, [sm1979[nm). Eng. counterten.
Trained in ~parish church choir, but self-trained when he ~found he was true cou
nterten. Lay clerk Canter~~bury Cath. [sm1940[nm=n[sm7[nm; joined St Paul's Cath
. Choir ~[sm1947[nm. Soloist at Morley College concerts cond. ~T
ippett. Formed Deller Consort [sm1950[nm for authen~~tic perf. of baroque mus. D
eller's artistry almost ~solely responsible for revival of counterten. v. ~and i
ts use in Purcell, Handel, Monteverdi, etc. ~Created role of Oberon in Britten's
 [cf2]Midsummer ~Night's Dream[cf1], [sm1960[nm. O.B.E. [sm1970[nm. Son Mark ~De
ller ([cf2]b[cf1] St. Leonards, [sm1938[nm) is also counterten.[cm~Dello Joio, N
orman [fy75,1]([cf2]b[cf1] NY, [sm1913[nm). Amer. ~composer, pianist, and organi
st. Son of NY ~organist and choirmaster, was influenced from ~childhood by Grego
rian chant and It. opera. ~Studied Inst. of Mus. Art [sm1936[nm and Juilliard Sc
h. ~[sm1939[nm=n[sm41[nm. Pupil of Wagenaar and Hindemith ~([sm1940[nm=n[sm1[nm)
. Organist, St Ann's Church, NY, [sm1934[nm=n~[sm40[nm. Mus. dir. Loring Dance P
layers [sm1941[nm=n[sm3[nm. Prof. ~of comp., Mannes Coll. [sm1956[nm=n[sm72[nm,
prof. of mus., ~Boston Univ. from [sm1972[nm. His mus. is noted for ~melodic con
tent rather than for adventurous ~technique, and he displays a n
atural gift for opera ~and ballet (several works for Martha Graham). ~Prin. work
s incl.:[xm[cm~[j2][smoperas:[nm [fy75,2]The Ruby [cf1]([sm1953[nm), [cf2]The Tr
ial at Rouen [cf1]([sm1955[nm, ~rev. [sm1958[nm as [cf2]The Triumph of St Joan[c
f1]), [cf2]Blood Moon ~[cf1]([sm1961[nm).[ep~[smorchestral[nm: [cf2]Sinfonietta
[cf1]([sm1940[nm), [cf2]To a Lone Sentry ~[cf1]([sm1943[nm), [cf2]Concert Music
[cf1]([sm1945[nm), [cf2]Serenade[cf1] ([sm1948[nm), ~[cf2]New York Profiles [cf1
]([sm1949[nm), [cf2]Air Power [cf1]([sm1957[nm), [cf2]Five ~Images [cf1]([sm1967
[nm), [cf2]Homage to Haydn [cf1]([sm1969[nm), [cf2]Satiric ~Dances[cf1], band ([
sm1975[nm), [cf2]Colonial Variations [cf1]([sm1976[nm).[ep~[smballets[nm: [cf2]O
n Stage! [cf1]([sm1946[nm), [cf2]Diversion of Angels ~[cf1]([sm1948[nm), [cf2]Th
e Triumph of St Joan [cf1]([sm1951[nm, rev. as ~[cf2]Seraphic Dialogue[cf1], [sm
1955[nm), [cf2]Time of Snow [cf1]([sm1968[nm).[ep~[smconcertos[nm: Fl. and str.
([sm1939[nm), [sm2[nm pf. ([sm1941[nm), ~harmonica ([sm1944[nm),
 harp ([sm1945[nm), concertante for ~cl. ([sm1949[nm), Fantasy and Variations fo
r pf. ([sm1961[nm), ~[cf2]Lyric Fantasies[cf1], va. and str. ([sm1973[nm), [cf2]
Notes from ~Tom Paine[cf1], pf. and band ([sm1975[nm).[ep~[smchoral[nm: [cf2]Mys
tic Trumpeter [cf1]([sm1943[nm), [cf2]Psalm of David ~[cf1]([sm1950[nm), [cf2]So
ng of Affirmation [cf1]([sm1952[nm), [cf2]Prayers of ~Cardinal Newman [cf1]([sm1
960[nm), [cf2]Songs of Walt Whitman ~[cf1]([sm1966[nm), Mass ([sm1968[nm), [cf2]
Evocations [cf1]([sm1970[nm), Mass ~([sm1976[nm).[ep~[PN193,0,0,R,I0][smchamber
music:[nm Vc. Sonata ([sm1937[nm), Vn. Sonata ~([sm1938[nm), Trio ([sm1944[nm);
also [sm3[nm pf. sonatas ([sm1943[nm, ~[sm1944[nm, [sm1948[nm), songs, and incid
ental mus. for TV.[cm~[j1]Del Mar, Norman [fy75,1](Ren;aae) ([cf2]b[cf1] Hampste
ad, [sm1919[nm). ~Eng. cond. and hn.-player. Studied RCM. Hn.-~player in Beecham
's RPO, becoming ass. cond. ~[sm1947[nm=n[sm8[nm. Founded Chelsea S.O. [sm1944[n
m, giving perfs. ~of works then little known in Eng., e.g. Buson
i's ~pf. conc. and Mahler's [sm2[nmnd Sym. Prin. cond. EOG ~[sm1948[nm=n[sm56[nm
. Cond. Yorkshire S.O. [sm1954[nm=n[sm5[nm. Cond. ~BBC Scottish S.O. [sm1960[nm=
n[sm5[nm. Prof. GSM [sm1952[nm=n[sm60[nm. ~Guest cond. of leading orchs. Cond. f
.p. of ~Britten's [cf2]Let's Make an Opera[cf1], [sm1949[nm. Author of [sm3[nm-~
vol. survey of mus. of R. Strauss. C.B.E. [sm1975[nm. His ~son Jonathan ([cf2]b[
cf1] London, [sm1951[nm) is also a cond.[cm~Del Monaco, Mario [fy75,1]([cf2]b[cf
1] Florence, [sm1915[nm; [cf2]d[cf1] Mestre, ~Venice, [sm1982[nm). It. ten. Sang
 in opera at Mondalfo ~at age of [sm13[nm. Mainly self-taught. D;aaebut Pesaro ~
[sm1939[nm, Milan [sm1941[nm (Pinkerton), CG [sm1946[nm (with San ~Carlo co.), N
Y Met. [sm1950[nm=n[sm8[nm. Verdi's Otello among ~his prin. roles.[cm~De Los Ang
eles, Victoria[fy75,1] (Victoria Gomez ~Cima) ([cf2]b[cf1] Barcelona, [sm1923[nm
). Sp. sop. Studied ~Barcelona Cons. D;aaebut while student in Monte~~[chverdi's
 [cf2]Orfeo.[cf1] Sang Countess in [cf2]Figaro[cf1], Barcelona ~
[sm1945[nm. Winner Geneva int. fest. [sm1947[nm. Eng. d;aaebut, ~BBC [sm1949[nm
in Falla's [cf2]La Vida breve.[cf1] CG [sm1950[nm, NY ~[sm1950[nm. Notable inter
preter of Mimi, Butterfly, ~Carmen, Dido, etc., also of Mozart and Wagner ~roles
.[cm~Delsarte, Fran;alcois Alexandre Nicolas Ch;aaeri[fy75,1] ([cf2]b ~[cf1]Sole
smes, [sm1811[nm; [cf2]d[cf1] Paris, [sm1871[nm). Fr. ten. and singing ~teacher.
 Created system known as `Delsarte ~method' by which singers were taught to matc
h ~the emotion of the text with their facial expression ~(a method prone to unfo
rtunate distortion).[cm~Del Tredici, David [fy75,1]([cf2]b[cf1] Cloverdale, Cali
f., [sm1937[nm). ~Amer. composer and pianist. Studied at Berkeley ~and NY. Turne
d to comp. [sm1958[nm, encouraged by ~Milhaud. Studied with Sessions. Works incl
: [cf2]Night ~Conjure-Verse[cf1], [sm2[nm Joyce poems for sop., mez. or ~counter
ten., wind, and str. qt. ([sm1965[nm); [cf2]Syzgy[cf1], [sm2[nm ~Joyce poems for
 sop., hn., and chamber orch. ~([sm1966[nm);[cf2] The Last Gospe
l[cf1], amplified sop., rock group, ~ch., and orch. ([sm1967[nm); [cf2]Pot-Pourr
i[cf1], amplified sop., ~rock group, ch., and orch. ([sm1968[nm); [cf2]The Lobst
er ~Quadrille[cf1], extract from [cf2]In Wonderland [cf1]for folk ~group and orc
h. ([sm1969[nm, rev. [sm1974[nm); [cf2]Vintage Alice[cf1], ~text from L. Carroll
, amplified sop., folk group, ~and chamber orch. ([sm1972[nm); [cf2]Adventures U
nder~~ground[cf1] (Carroll), amplified sop., folk group, and ~orch. ([sm1973[nm)
; [cf2]In Wonderland [cf1](Carroll) [cf2]Part I, A ~Scene with Lobsters[cf1], am
plified sop., folk group, and ~orch. ([sm1969[nm=n[sm74[nm), [cf2]Part II[cf1],
amplified sop. and orch. ~([sm1975[nm); [cf2]Final Alice [cf1](Carroll), amplifi
ed sop., folk ~group, and orch. ([sm1976[nm); [cf2]Annotated Alice[cf1], amplifi
ed ~sop., folk group, and orch. ([sm1976[nm); [cf2]Child Alice[cf1], ~orch., in
[sm4[nm parts: [cf2]In memory of a summer day, ~Happy Voices, All in the golden
afternoon[cf1], and [cf2]Quaint ~Events [cf1]([sm1977=n81[nm, f.
p. Aspen [sm1984[nm).[cm~De Luca, Giuseppe [fy75,1]([cf2]b[cf1] Rome, [sm1876[nm
; [cf2]d[cf1] NY, [sm1950[nm). ~It. bar. Studied Rome. D;aaebut Piacenza [sm1897
[nm. La ~Scala, Milan, [sm1903[nm=n[sm10[nm, creating role of Sharpless ~in [cf2
]Madama Butterfly[cf1]. CG d;aaebut [sm1907[nm. NY Met. ~[sm1915[nm=n[sm35[nm an
d [sm1939[nm=n[sm40[nm. First Gianni Schicchi ~[sm1918[nm. Became teacher at Jui
lliard Sch. NY, and ~gave last NY recital in Nov. [sm1947[nm.[cm~De Lucia, Ferna
ndo[fy75,1] ([cf2]b[cf1] Naples, [sm1860[nm; [cf2]d[cf1] Naples, ~[sm1925[nm). I
t. tenor. Studied Naples, making opera ~d;aaebut there [sm1885[nm in [cf2]Faust[
cf1]. Became exponent of ~[cf2]verismo[cf1] heroes (Turidd;agu, Canio, etc.). Sa
ng in f.p. ~of Mascagni's [cf2]L'amico Fritz[cf1] (Rome, [sm1891[nm). London ~d;
aaebut [sm1887[nm (Drury Lane), CG [sm1892[nm. Retired [sm1917[nm, ~but sang at
Caruso's funeral, [sm1921[nm. Made over [sm400[nm ~recordings.[cm~D;aaemancher[f
y75,1] (Fr., from [cf2]manche[cf1], neck). ([sm1[nm) To ~move th
e left hand along the neck of a str. instr.[ep~^([sm2[nm) To move the left hand
closer to the bridge of ~a str. instr.[cm~Demantius, Christoph [fy75,1]([cf2]b[c
f1] Reichenberg, [sm1567[nm; [cf2]d[cf1] ~Freiberg, [sm1643[nm). Ger.-Bohemian c
omposer of ~church mus. (incl. [cf2]St John Passion[cf1] for [sm6[nm vv., [sm163
1[nm), ~and quodlibets, dances, villanelles, etc. Works ~influenced by Italian m
ethods.[cm~Demessieux, Jeanne Marie-Madeleine [fy75,1]([cf2]b[cf1] Mont~~pellier
, [sm1921[nm; [cf2]d[cf1] Paris, [sm1968[nm). Fr. organist and ~composer. Traine
d Montpellier Cons. and Paris ~Cons., then spent [sm5[nm years studying with Mar
cel ~[fy45,1]*[fy75,1]Dupr;aae. First recital Paris [sm1946[nm, London [sm1947[n
m, ~and Edinburgh [sm1948[nm, Amer. d;aaebut [sm1953[nm. Won ~praise for remarka
ble powers of improvisation. ~Organist of Saint-Esprit, Paris, from age [sm12[nm
. Prof., ~Li;agege Cons., [sm1952[nm. Org., Madeleine, from [sm1962[nm.[cm~Demet
rio e Polibio.[fy75,1] Opera in [sm2[nm acts by Rossini ~to lib.
 by Vincenza Mombelli. His first opera, ~written in [sm1806[nm when he was [sm14
[nm. Orch. for str. ~only. Prod. Bologna [sm1812[nm, Manchester (RMCM) ~[sm1969[
nm.[cm~Demi-cadence. [fy75,1]Same as Imperfect Cadence (Half ~Close), i.e. chord
 of the tonic or other chord ~followed by that of dominant.[cm~Demi-jeu [fy75,1]
(Fr.). Half-play, i.e. at half power (in ~org. and harmonium mus., etc.).[cm~Dem
i-pause [fy75,1](Fr.). Half-rest, minim rest.[cm~Demisemiquaver ([xf;Yd[rf).[fy7
5,1] The Thirty-second note, ~i.e. ;F1;E3;E2 the time-value of the whole-note or
 ~semibreve. See[cf2] Note Values.[cm~Demi-ton [fy75,1](Fr.). Semitone.[cm~Demi-
voix [fy75,1](Fr.). Half voice, i.e. half the vocal ~power (It. [cf2]mezza voce[
cf1]).[cm~Demus, J;auorg [fy75,1]([cf2]b [cf1]St P;auolten, [sm1928[nm). Austria
n pianist. ~Studied Vienna, [sm1940[nm=n[sm5[nm, and with Michelangeli, ~Kempff,
 and Gieseking. D;aaebut Vienna [sm1943[nm. ~Foreign tours after [sm1947[nm. Won
 Busoni Prize, ~Bolzano, [sm1956[nm. Has collection of historica
l kbd. ~instrs.[cm~[PN194,0,0,L,I0]Demuth, Norman [fy75,1]([cf2]b [cf1]S. Croydo
n, [sm1898[nm; [cf2]d[cf1] ~Chichester, [sm1968[nm). Eng. composer, cond., autho
r, ~and teacher. Studied RCM. On staff of RAM from ~[sm1929[nm. Wrote [sm5[nm op
eras, [sm4[nm syms., [sm2[nm pf. concs., vn. ~conc., va. conc., alto sax. conc.,
 ballet[cf2] Planetomania.[cf1] ~Wrote books on Ravel, Roussel, Dukas, Franck, ~
and Gounod.[cm~Denhof Opera Company.[fy75,1] Short-lived but signif~~icant body
formed in [sm1910[nm by Ernst Denhof, ~Ger.-born resident of Edinburgh, to give
provin~~cial perfs. of Wagner's [cf2]Ring [cf1]in Eng. [fy45,1]*[fy75,1]Balling
cond. ~f.ps. in Edinburgh, [sm1910[nm, followed in [sm1911[nm by ~tours to Leeds
, Manchester, and Glasgow, and to ~these cities again in [sm1912[nm plus Hull an
d Liverpool. ~Repertory by now incl. [cf2]Elektra[cf1] (in Eng.) and ~[cf2]Meist
ersinger[cf1], with [cf2]Pell;aaeas [cf1]and [cf2]Rosenkavalier[cf1] added ~in [
sm1913[nm, in which year co. ran into financial ~trouble in Manc
hester, being rescued and ab~~sorbed by Beecham's co. (Scotland did not hear a ~
complete [cf2]Ring [cf1]cycle again until [sm1971[nm.)[cm~Denison, John [fy75,1]
(Law) ([cf2]b[cf1] Reigate, Surrey, [sm1911[nm). ~Eng. hn. player and concert ad
ministrator. ~Trained RCM. Hn. player in BBC S.O., LPO, and ~CBSO [sm1934[nm=n[s
m9[nm; ass. mus. dir., Brit. Council [sm1946[nm=n~[sm8[nm; mus. dir., Arts Counc
il from [sm1948[nm; gen man. ~Royal Festival Hall, [sm1965[nm=n[sm70[nm; dir., S
outh Bank ~Concert Halls [sm1971=n6[nm. C.B.E. [sm1960[nm.[cm~Denisov, Edison [f
y75,1]([cf2]b[cf1] Tomsk, [sm1929[nm). Russ. com~~poser. Trained as mathematicia
n but persuaded ~by Shostakovich to study mus. at Moscow Cons. ~[sm1951[nm=n[sm6
[nm. Taught at Moscow Cons. from [sm1960[nm. ~Worked at Experimental Studio of E
lec. Mus., ~Moscow, [sm1968[nm=n[sm70[nm. Student of Russ. folk-mus. ~Comps. inc
l. conc. for fl., ob., pf., and perc.; ~[cf2]Crescendo e Diminuendo [cf1]for hpd
.; [cf2]Tears (Plachi) [cf1]for ~sop., pf., [sm3[nm percussionis
ts; [cf2]Ode[cf1] for cl., pf., perc.; ~[cf2]Romantic Music [cf1]for ob., harp,
str. trio; str. trio; ~wind quintet; [cf2]Peinture [cf1]for orch., [sm2[nm syms.
, vc. ~conc., pf. conc., cl. sonata, and vc. sonata.[cm~Denner, Johann Christoph
 [fy75,1]([cf2]b[cf1] Leipzig, [sm1655[nm; [cf2]d[cf1] ~Nuremberg, [sm1707[nm).
Ger. instr.-maker. In attempt~~ing to improve the Fr. [fy45,1]*[fy75,1]chalumeau
 he invented ~the [fy45,1]*[fy75,1]clarinet [cf2]c.[cf1][sm1690[nm. Subject of o
pera by Weig~~mann [cf2]Der Klarinettenmacher [cf1]([sm1913[nm).[cm~Dent, Edward
 [fy75,1](=+=+=+Joseph) [cf1]([cf2]b[cf1] Ribston, Yorks., [sm1876[nm; ~[cf2]d[c
f1] London, [sm1957[nm). Eng. scholar, teacher, and ~author. Educated Eton and C
ambridge. Prof. of ~mus., Cambridge Univ. [sm1926[nm=n[sm41[nm. Active in many ~
Eng. operatic ventures and esp. as translator of ~libs. (notably for Mozart oper
as); his prods. of ~Mozart operas in his own trans. at Cambridge ~from [sm1911[n
m contributed largely to their re-~evaluation in Eng. In [sm1919
[nm he helped found Brit. ~Mus. Soc. (disbanded [sm1933[nm) and in [sm1922[nm or
ganized ~a fest. of contemporary chamber mus. in Vienna ~from which developed th
e [fy45,1]*[fy75,1]International Society ~for Contemporary Music. Dent became fi
rst pres., ~[sm1923[nm=n[sm37[nm. Ed. [cf2]The Beggar's Opera[cf1], [sm1944[nm.
Contrib. ~to many encyclopaedias and dictionaries, critic, ~and author of books
[cf2]Alessandro Scarlatti[cf1] ([sm1905[nm), ~[cf2]Mozart's Operas[cf1] ([sm1913
[nm), and [cf2]Ferruccio Busoni[cf1] ~([sm1933[nm).[cm~Denza, Luigi [fy75,1]([cf
2]b[cf1] Castellammare di Stabia, Naples, ~[sm1846[nm; [cf2]d[cf1] London, [sm19
22[nm). It. composer, pupil of ~[fy45,1]*[fy75,1]Mercadante at Naples Cons. Wrot
e opera and ~[sm600[nm popular songs, best-known being [fy45,1]*[fy75,2]Funicul;
agi, ~Funicul;aga[cf1], [sm1880[nm, comp. for opening of Naples ~funicular railw
ay. Settled in London [sm1879[nm. Prof. ~of singing, RAM, [sm1898[nm=n[sm1922[nm
.[cm~Denzler, Robert [fy75,1]([cf2]b[cf1] Z;auurich, [sm1892[nm;
 [cf2]d[cf1] Z;auurich, ~[sm1972[nm). Swiss cond. and composer. Studied Z;auuric
h ~(with[fy45,1]*[fy75,1]Andreae) and Cologne Cons. Ass. cond. ~Bayreuth [sm1911
[nm=n[sm12[nm. Chief cond. Z;auurich Opera ~[sm1915[nm=n[sm27[nm and [sm1934[nm=
n[sm47[nm and Berlin State Opera ~[sm1927[nm=n[sm32[nm. Cond. f.ps. of [sm2[nm-a
ct version of Berg's ~[cf2]Lulu[cf1] ([sm1937[nm) and Hindemith's [cf2]Mathis de
r Maler ~[cf1]([sm1938[nm).[cm~D;aaeploration[fy75,1] (Fr.). A poem of mourning,
 and ~therefore its musical setting. Term generally ~confined to Renaissance com
ps. written in mem~~ory of a composer, e.g. Andrieu's for Machaut, ~Ockeghem's f
or Binchois, and Josquin Despr;ages's ~for Ockeghem.[cm~De profundis [fy75,1](Ou
t of the depth). Psalm [sm129[nm in ~the Vulgate (following the Septuagint) and
[sm130[nm ~in the Eng. Authorized and Revised versions ~(following the Hebrew).
It is one of the [sm7[nm ~Penitential Psalms (see[cf2] Psalm[cf1]) and, attached
 to its ~traditional plainsong, has a place in the Office of ~th
e Dead of the R.C. Church. It has been set by ~composers many times.[cm~Der [fy7
5,1](Ger.). ([sm1[nm) The (masc. sing.) ([sm2[nm) Of the (fem. ~sing.).[cm~De Re
szke, ;aaEdouard[fy75,1] ([cf2]b[cf1] Warsaw, [sm1853[nm; [cf2]d [cf1]Garnek, ~[
sm1917[nm). Polish bass, brother of Jean [fy45,1]*[fy75,1]de Reszke. ~Studied Wa
rsaw and It. Joined Paris Op;aaera, ~making d;aaebut as the King in first Paris
[cf2]Aida [cf1]cond. ~Verdi. London CG [sm1880[nm, Chicago [sm1891[nm. Stalwart
~of NY Met. [sm1891[nm=n[sm1903[nm. Notable in Wagner, first ~in It. then in Ger
. (King Marke, Sachs, Hagen). ~Retired [sm1903[nm. Orig. name Edward Mieczyslaw.
[cm~De Reszke, Jean [fy75,1]([cf2]b [cf1]Warsaw, [sm1850[nm; [cf2]d [cf1]Nice, [
sm1925[nm). ~Polish ten., brother of ;aaEdouard [fy45,1]*[fy75,1]de Reszke. ~Stu
died Warsaw and It. D;aaebut (as bar.), Turin and ~London [sm1874[nm (singing Al
fonso in [cf2]La Favorite[cf1]). His ~brother persuaded him he was really a ten.
 and ~after further study from [sm1876[nm he sang [cf2]Robert le
 ~Diable[cf1] in Madrid [sm1879[nm. After [sm5[nm fallow years he ~had a great s
uccess in Massenet's [cf2]H;aaerodiade[cf1] (Paris, ~[sm1884[nm) and [cf2]Le Cid
[cf1] ([sm1885[nm). Sang Faust at [sm500[nmth Paris ~perf. in [sm1887[nm (with ;
aaEdouard as Mephistopheles). ~CG d;aaebut [sm1888[nm, returning nearly every ye
ar until ~[sm1900[nm. NY Met. [sm1891[nm=n[sm1901[nm. Late in career sang ~Wagne
r roles of Lohengrin, Walther, Tristan, and ~Siegfried. Retired [sm1902[nm, and
taught in Paris and ~Nice. Regarded as one of greatest operatic tens. ~Orig. nam
e Jan Mieczyslaw.[cm~De Reszke, Jos;aaephine [fy75,1]([cf2]b[cf1] Warsaw, [sm185
5[nm; [cf2]d[cf1] ~Warsaw, [sm1891[nm). Polish sop., sister of above. D;aaebut ~
[PN195,0,0,R,I0]Venice [sm1874[nm. Paris Op;aaera [sm1875[nm=n[sm84[nm. D;aaebut
 CG ~[sm1881[nm as Aida. Retired [sm1885[nm on marriage.[cm~Dering, Richard. [fy
75,1]See [cf2]Deering, Richard.[cm~D'Erlanger, Baron Fr;aaed;aaeric[fy75,1] ([cf
2]b[cf1] Paris, [sm1868[nm; [cf2]d[cf1] ~London, [sm1943[nm). En
g. (naturalized) composer (of ~Ger. and Amer. parents). Studied in Paris. Wrote
~several operas, incl. [cf2]Inez Mendo[cf1] (CG [sm1897[nm) and ~[cf2]Tess[cf1]
(based on Hardy's novel, Naples [sm1906[nm, CG ~[sm1909[nm with Destinn), [cf2]R
equiem[cf1] ([sm1931[nm), vn. conc., ~and chamber mus. Banker by profession and
~financial supporter of CG between the wars.[cm~Dermota, Anton [fy75,1]([cf2]b[c
f1] Kropa, [sm1910[nm). Yugoslav ten. ~Studied at Laibach and Vienna. D;aaebut V
ienna ~[sm1936[nm, appearing mainly there and at Salzburg for ~the rest of his c
areer, notably in Mozart roles. ~Sang Florestan in [cf2]Fidelio[cf1] at reopenin
g of Vienna ~State Opera, [sm1955[nm.[cm~Dernesch, Helga [fy75,1]([cf2]b[cf1] Vi
enna, [sm1939[nm). Austrian sop. ~Studied Vienna Cons. Member of Berne Opera ~[s
m1961[nm=n[sm3[nm, Wiesbaden [sm1963[nm=n[sm6[nm, Cologne [sm1966[nm=n[sm9[nm. ~
Bayreuth Fest. [sm1965[nm=n[sm9[nm, Salzburg Easter Fest. ~[sm1969[nm=n[sm73[nm.
 Scottish Opera d;aaebut [sm1968[nm (Gutrune), ~later singing Le
onore in [cf2]Fidelio [cf1]and the Marschal~~lin. CG [sm1970[nm (Sieglinde), Chi
cago [sm1971[nm ([cf2]Fidelio[cf1]), ~Vienna [sm1972[nm ([cf2]Fidelio[cf1]). Out
standing in Strauss and ~Wagner. Mez. roles from [sm1979[nm.[cm~Des [fy75,1](Ger
. singular; Fr. plural). Of the. Also (Ger.), ~the note D;Yh.[cm~De Sabata, Vict
or[fy75,1] ([cf2]b [cf1]Trieste, [sm1892[nm; [cf2]d[cf1] S. Margh~~erita, [sm196
7[nm). It. cond. and composer. Studied ~Milan Cons. Cond. Monte Carlo Opera wher
e he ~cond. f.p. of Ravel's [cf2]L'Enfant et les Sortil;ageges[cf1] ([sm1925[nm)
. ~Cond. La Scala, Milan, [sm1930[nm=n[sm57[nm, latterly as art. ~dir. Cond. Bay
reuth ([cf2]Tristan[cf1]) [sm1939[nm. Took Scala ~Co. to CG [sm1950[nm. Frequent
 guest cond. of concerts ~and opera throughout world. Wrote [sm2[nm operas, [sm3
[nm ~symphonic poems, and other works.[cm~De Saram, Rohan[fy75,1] ([cf2]b[cf1] S
heffield, [sm1939[nm). Sri Lankan ~cellist. Studied in Florence with Cassado and
 later ~with Casals in Puerto Rico. After European ~recitals mad
e Amer. d;aaebut in NY, [sm1960[nm. Settled ~in Eng. [sm1972[nm, joining teachin
g staff of TCL. Wide ~repertory from Haydn to Xenakis, specializing in ~contemp.
 works. Cellist of Arditti String Quartet.[cm~Descant. [fy75,1]Like [fy45,1]*[fy
75,1]`Faburden' a puzzling term ~because at different periods used with differen
t ~significances, chief of which are as follows: ([sm1[nm) A ~term, usually spel
t [cf2]Discant[cf1], for a form of the [sm12[nmth ~cent. part-writing known as [
fy45,1]*[fy75,1]organum. ([sm2[nm) A part ~extemporized by a singer to a non-ext
emporized ~part sung by another singer. ([sm3[nm) The art of ~composing or singi
ng part-music. ([sm4[nm) The soprano ~part in choral music. ([sm5[nm) In modern
hymn ~singing, a freely written or improvised soprano ~part added to a hymn tune
 while the tune itself ~is sung by the rest of the choir or by the ~congregation
.[cm~Descant Viol.[fy75,1] The treble viol. See [cf2]Viol.[cm~Deses [fy75,1](Ger
.). The note D;Yh;Yh.[cm~Desiderio[fy75,1] (It.). Desire. Hence
[cf2]con desiderio[cf1], ~longingly.[cm~Desmond, Astra[fy75,1] ([cf2]b[cf1] Torq
uay, [sm1893[nm; [cf2]d[cf1] Faversham, ~[sm1973[nm). Eng. mez. Educated Westfie
ld College, ~London (B.A.), and studied singing under Blanche ~[fy45,1]*[fy75,1]
Marchesi. First London recital [sm1915[nm. Sang title-~role in Boughton's [cf2]A
lkestis[cf1] [sm1922[nm. Became notable ~exponent of Eng. mus., esp. Elgar and V
aughan ~Williams, but also sang in [sm12[nm languages and wrote ~books on songs
of Grieg, Dvo;akr;aaak, Sibelius, and ~Schumann. Prof. of singing, RAM [sm1947[n
m=n[sm63[nm. ~C.B.E. [sm1949[nm.[cm~D;aaesormi;agere, Roger [fy75,1]([cf2]b[cf1]
 Vichy, [sm1898[nm; [cf2]d [cf1]Paris, ~[sm1963[nm). Fr. cond. and composer. Stu
died Paris ~Cons. Cond. Diaghilev Ballet [sm1925[nm=n[sm30[nm. Op;aaera-~Comique
 [sm1937[nm, becoming mus. dir. [sm1944[nm=n[sm6[nm. ~Cond. [cf2]Pell;aaeas [cf1
]at CG [sm1949[nm. Retired [sm1950[nm.[cm~Despr;ages [fy75,1](Desprez, des Pres)
, [fy65,3]Josquin[fy75,1] ([cf2]b[cf1] ?Picardy,[fj[cf2]c[cf1].[
sm1440[nm; [cf2]d[cf1] Cond;aae-sur-l'Escaut, Hainaut, [sm1521[nm). Fr.-~Flemish
 composer. Possibly a pupil of [fy45,1]*[fy75,1]Ock~~eghem. From [cf2]c[cf1].[sm
1459[nm to [sm1504[nm was in It., first as ~singer in Milan Cath. and employee o
f Sforza ~family. Went to Rome in [sm1484[nm in service of ~Cardinal Ascanio Sfo
rza and as member of papal ~chapel. Became choirmaster at Ferrara, [sm1503[nm. ~
Returned to Low Countries [sm1504[nm, after outbreak ~of plague, where he became
 provost of church at ~Cond;aae. Regarded as most gifted and influential ~compos
er of his time. He was no radical innovator ~but successfully developed existing
 and unex~~plored techniques. Was particularly successful in ~giving dramatic em
phasis to the texts he set by ~means of word-rhythms and imitation. Although ~hi
s early masses used a [fy45,1]*[fy75,2]cantus firmus[cf1], later ones ~employed
parody techniques and were sometimes ~based on a motto theme or a series of cano
ns. ~Similarly in motets he abandoned a plainchant ~[cf2]cantus
firmus[cf1] in favour of imitative devices. Some ~of his [cf2]chansons[cf1] were
 on erotic and frivolous texts ~and he was one of the first to appropriate tunes
 ~from court and theatre for his serious works. His ~work was so popular that ma
ny forgeries were ~published. He wrote [sm18[nm masses (the best-known ~being [c
f2]Ave Maris Stella, L'homme arm;aae[cf1], and [cf2]Pange ~lingua[cf1]), nearly
[sm100[nm motets, and over [sm70[nm secular ~works.[cm~Dessau, Paul [fy75,1]([cf
2]b[cf1] Hamburg, [sm1894[nm; [cf2]d[cf1] E. Berlin, ~[sm1979[nm). Ger. composer
 and cond. Studied Klind~~worth-Scharwenka Cons., Berlin, [sm1910[nm=n[sm12[nm.
Opera ~coach, Hamburg, [sm1913[nm=n[sm14[nm. Cond. Cologne Opera ~[sm1918[nm=n[s
m23[nm, Berlin State Opera [sm1926[nm. Lived in Paris ~[sm1933[nm=n[sm9[nm, USA
[sm1939[nm=n[sm45[nm, then returned to Ger. ~Close assoc, of Brecht, having writ
ten incidental ~mus. to the plays [cf2]Mutter Courage[cf1] ([sm1946[nm), [cf2]De
r gute ~Mensch von Sezuan [cf1]([sm1947[nm), [cf2]Mann ist Mann
[cf1]([sm1951[nm), ~etc. Other works incl. [sm5[nm str. qts.; [cf2]Deutsches mis
erere[cf1], ~choral work to text by Brecht; operas[cf2] Die ~Verurteilung des Lu
kullus[cf1] (The Trial of Lucullus, ~lib. by Brecht, [sm1949[nm), [cf2]Puntila [
cf1](lib. after Brecht, ~[PN196,0,0,L,I0][sm1957[nm=n[sm9[nm), [cf2]Lanzelot [cf
1]([sm1969[nm), [cf2]Einstein [cf1]([sm1971=n3[nm); [cf2]In ~memoriam Bertolt Br
echt[cf1], for orch. ([sm1957[nm), [cf2]Requiem ~f;auur Lumumba, [cf1]sop., bar.
, speaker, ch., and ens. ~([sm1963[nm), [sm2[nm syms. ([sm1926[nm, [sm1934[nm, r
ev. [sm1962[nm), [sm3[nm ~[cf2]Orchestermusik[cf1] ([sm1955[nm, [sm1967[nm, [sm1
973[nm), and many ~songs.[cm~Destinn, Emmy[fy75,1] (Ema Kittl) ([cf2]b[cf1] Prag
ue, [sm1878[nm; [cf2]d[cf1] ~Bud;akejovice, [sm1930[nm). Cz. sop. Trained as vio
linist ~but her vocal prowess was noticed and she studied ~with Marie Loewe-Dest
inn, whose name she ~adopted. D;aaebut Berlin [sm1898[nm (Santuzza) remaining ~a
t Court Opera until [sm1908[nm. Sang at CG [sm1904[nm=n[sm14[nm,
 ~[sm1919[nm, and NY Met. [sm1908[nm=n[sm16[nm, [sm1919[nm=n[sm21[nm. Senta in ~
first Bayreuth [cf2]Fliegende Holl;auander[cf1], [sm1901[nm; Diemut ~in Strauss'
s [cf2]Feuersnot [cf1][sm1901[nm and first Berlin Salome ~[sm1906[nm. First Butt
erfly at CG [sm1905[nm (with Caruso) ~and Tatyana in [cf2]Eugene Onegin[cf1] [sm
1906[nm. Created role ~of Minnie in Puccini's [cf2]La fanciulla del West [cf1][s
m1910[nm. ~In [sm1914[nm=n[sm18[nm war adopted name Ema Destinnov;aaa; ~was inte
rned on her Bohem. estate for duration. ~Returned to Met. and CG [sm1919[nm as A
ida. Retired ~from stage [sm1921[nm but sang in London at concert ~cond. by Wood
 in [sm1928[nm.[cm~Destouches, Andr;aae-Cardinal[fy75,1] ([cf2]b[cf1] Paris, [sm
1672[nm; [cf2]d ~[cf1]Paris, [sm1749[nm). Fr. composer. Studied with [fy45,1]*[f
y75,1]Campra. ~Superintendent, Paris Op;aaera, [sm1713[nm, dir. [sm1728[nm=n[sm3
0[nm. ~Best-known work is [sm3[nm-act opera[cf2] Iss;aae[cf1], heroic ~pastorale
 prod. Fontainebleau [sm1697[nm. It was one of ~his operas that
sparked off the `Querelle des ~[fy45,1]*[fy75,1]Bouffons'.[cm~D;aaetach;aae [fy7
5,1](Fr.). Detached, i.e. Staccato. ([sm1[nm) [cf2]Grand ~D;aaetach;aae[cf1], St
accato with a full bow for each note. ~([sm2[nm) [cf2]Petit d;aaetach;aae[cf1],
Staccato with the point of the ~bow for each note. ([sm3[nm) [cf2]D;aaetach;aae
sec[cf1], same as [fy45,1]*[fy75,2]Martel;aae ~[cf1](hammered).[xm[cm~[ol0][ep~[
xp[te~







[do40][j99]~~~~~~[sm153842[nm_D[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmD[sm005[nm[cm[sm40[nm[cm~[sm1[nm[cm[sm13[nm.[sm10[nm.[
sm79[nm[cm[sm14[nm[cm[sm200[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ap[j1]Detached C
onsole. [fy75,1]Placed at a distance from the ~org. so that the player can hear
the full effect as ~his listeners hear it. In electric orgs. such a console ~may
 be movable.[cm~Detroit Symphony Orchestra. [fy75,1]Founded [sm1914[nm ~with Wes
ton Gales as cond. [sm1914[nm=n[sm18[nm, followed ~by Ossip [fy45,1]*[fy75,1]Gab
rilowitsch [sm1918[nm=n[sm35[nm. Victor Kolar ~and guest conds. succeeded the la
tter, but after ~difficult times the orch. disbanded [sm1949[nm. Reorga~~nized [
sm1952[nm, with Paul [fy45,1]*[fy75,1]Paray as cond. [sm1952[nm=n[sm63[nm, ~Sixt
en Ehrling [sm1963[nm=n[sm73[nm, Aldo Ceccato [sm1973[nm=n[sm7[nm, ~Antal Dorati
 [sm1977=n81[nm; Gary Bertini [sm1981[nm=n[sm3[nm; ~G;auunther Herbig from [sm19
84[nm. First European tour ~[sm1979[nm.[cm~Dettingen Te Deum and
 Anthem. [fy75,1]Comp. by ~Handel, to celebrate Brit. defeat of Fr. at ~Dettinge
n, nr, Frankfurt, [sm1743[nm. First sung at ~Chapel Royal, St James's, Nov. [sm1
743[nm. Anthem's ~text begins `The King shall rejoice'.[cm~Deuteromelia [fy75,1]
(Gr.). `Second honey.' [sm2[nmnd coll. of ~Eng. rounds and catches pubd. [sm1609
[nm by T. ~[fy45,1]*[fy75,1]Ravenscroft. See [cf2]Pammelia.[cm~Deutsch, Otto Eri
ch [fy75,1]([cf2]b [cf1]Vienna, [sm1883[nm;[cf2] d[cf1] Vienna, ~[sm1967[nm). Au
stro-Eng. mus. scholar and art critic. ~Studied in Vienna and Graz. Wrote book o
n ~Schubert [sm1905[nm and biog. [sm1913[nm=n[sm14[nm. Worked at ~Vienna Univ. a
rt-history library [sm1909[nm=n[sm12[nm. Mus. ~lib. to A. van [fy45,1]*[fy75,1]H
oboken [sm1926[nm=n[sm35[nm. Went to Eng. ~[sm1939[nm, settling in Cambridge. Na
turalized [sm1947[nm, ~returned to Vienna [sm1952[nm. Ed., Brit. Union ~Catalogu
e of Old Mus. [sm1946[nm=n[sm50[nm. Author of books ~on Handel ([sm1955[nm), Hay
dn, Schumann, and Bee~~thoven, but his masterpieces are his book
s on ~Schubert. These incl. an edn. of all documents, ~pictures, and relevant ma
terial ([sm1914[nm, Eng. edn. ~[sm1946[nm) and a thematic catalogue ([sm1951[nm,
 rev. by ~others [sm1978[nm) which gave all Schu[chbert's works D ~nos. Also wro
te documentary biography of ~Mozart ([sm1961[nm, Eng. edn. [sm1963[nm).[cm~Deuts
che Motette [fy75,1](German Motet). Motet by R. ~Strauss, Op. [sm62[nm, for sop.
, alto, ten., and bass soloists ~and [sm16[nm-part unacc. mixed ch., to words by
 ~R;auuckert, comp. [sm1913[nm, rev. [sm1943[nm.[cm~Deutscher Tanz, Deutsche T;a
uanze[fy75,1] (Ger.). Ger~~man dance(s). Peasant dance from Ger. and ~Switzerlan
d, like slow waltz. Adopted particularly ~by Mozart and Schubert.[cm~Deutsches R
equiem, Ein[fy75,1] (A German Requiem). ~Choral work, Op. [sm45[nm, by Brahms fo
r sop. and bar. ~soloists, ch., and orch. Comp. [sm1861[nm=n[sm68[nm, though ~wh
at is now [sm2[nmnd movement was comp. in [sm1857[nm. ~So called because text is
 not that of the R.C. ~Liturgy but consists of passages selected
 by ~Brahms from Luther's trans. of the Bible. [sm7[nm ~movements. First [sm3[nm
 movements perf. Vienna, ~Dec. [sm1867[nm. [sm2[nmnd perf. Bremen Cath. [sm10[nm
 Apr. [sm1868[nm, ~with [sm3[nm movements added. A month later he ~inserted new
[sm5[nmth movement, [cf2][sm1[nmhr habt nun ~Traurigkeit[cf1], for sop., in memo
ry of his mother, [cf2]d ~[cf1]Feb. [sm1865[nm. First complete perf. Leipzig [sm
18[nm Feb. ~[sm1869[nm, cond. Reinecke.[cm~Deutschland ;auuber Alles. [fy75,1](G
er. `Germany beyond ~everything' or `Germany before everything'), ~known also as
 the [cf2]Deutschlandlied [cf1](`Germany ~Song'). A poem of aspiration for the u
nity of the ~Ger. peoples written in the period which preceded ~the [sm1848[nm r
evolutionary disturbances, by August ~Heinrich Hoffmann (generally called Hoffma
nn ~von Fallersleben, [sm1798[nm=n[sm1874[nm). Sung to the tune ~Haydn wrote (or
 adapted, for there is a similar ~tune in Telemann) as Austrian national anthem,
 ~the [fy45,1]*[fy75,2]Emperor's Hymn[cf1]. Nat. anthem of Germa
n ~Fed. Republic from [sm1922[nm until [sm1945[nm. Reinstated ~[sm1950[nm with [
sm3[nmrd verse (`Einigkeit und Recht und ~Freiheit', `Unity and Right and Freedo
m') replac~~ing the [sm1[nmst with its controversial reference to ~`;auuber Alle
s'.[cm~Deux [fy75,1](Fr.). Two. [cf2];agA deux[cf1], for [sm2[nm vv. or instr.,
or ~(sometimes) short for `;agA [fy45,1]*[fy75,1]deux temps'. In orch. ~mus., ho
wever, this expression has [sm2[nm opposite ~meanings: ([cf2]a[cf1]) [sm2[nm sep
arate instr. parts are now ~merged in [sm1[nm line of mus.; ([cf2]b[cf1]) [sm1[n
m instr. part is now ~divided, the players becoming [sm2[nm bodies.[cm~[PN197,0,
0,R,I0]Deux Journ;aaees, Les [fy75,1](The Two Days). Opera in [sm3[nm ~acts by C
herubini to lib. by J.-N. Bouilly. Generally ~known in Britain as [cf2]The Water
 Carrier[cf1], and in ~Ger. as [cf2]Der Wassertr;auager[cf1]. Prod. Paris [sm180
0[nm, ~London [sm1801[nm, New Orleans [sm1811[nm.[cm~Deux Pigeons, Les [fy75,1](
The Two Pigeons). Ballet in ~[sm3[nm acts by Messager, lib. by H
. R;aaegnier and ~M;aaerante, choreog. M;aaerante. Prod. Paris [sm1886[nm. ~New
version choreog. Ashton, London [sm1961[nm.[cm~Deux temps [fy75,1](Fr.). Two bea
ts ([sm1[nm) In [cf9]2[cf13]=-=-=-=-=-=-=-2[cf1] time.[ep~^([sm2[nm) [cf2]Valse
;aga deux temps[cf1] has the following varied ~meanings; ([cf2]a[cf1]) In normal
 Waltz ([cf9]3[cf13]=-=-=-=-=-=-=-4[cf1]) time with [sm2[nm ~dance steps to a me
asure, on the first and [sm3[nmrd ~beats; ([cf2]b[cf1]) In [cf9]6[cf13]=-=-=-=-=
-=-=-4 [cf1]or [cf9]6[cf13]=-=-=-=-=-=-=-8 [cf1]time, with steps on the first an
d ~[sm4[nmth `beats'; ([cf2]c[cf1]) Having [sm2[nm values of beat, as in ~Gounod
's [cf2]Faust [cf1] where [sm2[nm waltzes are combined, ~one of them in [cf9]3[c
f13]=-=-=-=-=-=-=-4 [cf1]time and the other in [cf9]3[cf13]=-=-=-=-=-=-=-2[cf1],
 [sm2[nm ~measures of the [cf9]3[cf13]=-=-=-=-=-=-=-4 [cf1]being heard against [
sm1[nm measure ~of the [cf9]3[cf13]=-=-=-=-=-=-=-2 [cf1]and thus rhythmically co
nflicting.[cm~Development [fy75,1](also called [cf2]Free Fantasi
a, [cf1]or ~[cf2]Working-out. [cf1]Fr. [cf2]D;aaeveloppement[cf1]; Ger. [cf2]Dur
chf;auuhrung, ~[cf1]i.e. `Through-leading'; It. [cf2]Svolgimento, [cf1]i.e. `Unf
old~~ing'). The treatment of the detailed phrases and ~motifs of a previously he
ard theme (`subject') in ~such a way as to make new passages, often of a ~modula
tory nature. The second section of sonata ~form, coming between exposition and r
ecapitu~~lation, is the development. With the expansion ~of the symphony, the de
velopment section ~became increasingly complex and important. ~Beethoven departs
 from convention in his [sm3[nmrd ~Symphony by introducing new thematic material
 ~in this section. There is also a development in ~[fy45,1]*[fy75,2]fugue[cf1].[
cm~Devienne, Fran;alcois [fy75,1]([cf2]b[cf1] Joinville, [sm1759[nm; [cf2]d[cf1]
 Char~~enton, [sm1803[nm). Fr. woodwind player and composer. ~Prof., Paris Cons.
 Played bn., ob., and fl., ~composing many works for fl. and writing a ~method f
or it ([sm1794[nm). Also comp. [sm11[nm operas and ~much chamber
 mus.[cm~Devil and Daniel Webster, The. [fy75,1]([sm1[nm) Opera in [sm1[nm ~act
by Douglas [fy45,1]*[fy75,1]Moore to lib. by Stephen Vincent ~Benet based on his
 own story. Prod. NY [sm1939[nm.[ep~^([sm2[nm) Film score by [fy45,1]*[fy75,1]He
rrmann from which he ~prod. [sm5[nm-movement suite. F.p. Philadelphia.[cm~Devil
in Music. [fy75,1]See [cf2]Tritone.[cm~Devils of Loudun, The [fy75,1]([cf2]Diabl
y z Loudun[cf1]). Opera ~in [sm3[nm acts by [fy45,1]*[fy75,1]Penderecki to his o
wn lib. based on ~John Whiting's play ([sm1961[nm) from A. Huxley's ~novel ([sm1
952[nm), in Ger. trans. by Erich Fried. Prod. ~Hamburg [sm1969[nm, Santa Fe [sm1
969[nm, London (ENO) ~[sm1973[nm.[cm~`Devil's Trill' Sonata [fy75,1]([cf2]Trillo
 del Diavolo [cf1]or [cf2]Sonata ~del Diavolo[cf1]). Nickname of Vn. Sonata in G
 minor ~by [fy45,1]*[fy75,1]Tartini, comp [cf2]c.[cf1][sm1714[nm, which has a lo
ng trill ~in the last of its [sm4[nm movements. The legend is that ~Tartini drea
med he had made a deal with the ~Devil to whom he gave his vn. T
he Devil played ~a solo so beautiful that Tartini awoke and tried to ~play what
he had heard. He failed but comp. the ~`Devil's Trill'. The sonata was found by
[fy45,1]*[fy75,1]Baillot ~([sm1771[nm=n[sm1842[nm) and first pub. in [cf2]L'Art
du violon ~[cf1]([sm1798[nm, [sm1801[nm) by Cartier. Legend is subject of ~balle
t [cf2]Le Violon du diable[cf1] with mus. by Pugni, ~Paris [sm1849[nm.[cm~Devil
Take Her, The.[fy75,1] Comic opera in prol. and ~[sm1[nm act by A. Benjamin to l
ib. by A. Collard and J.B. ~Gordon. Prod. London [sm1931[nm.[cm~Devin du village
, Le [fy75,1](The Village Soothsayer). ~Opera ([cf2]interm;agede[cf1]) in [sm1[n
m act by [fy45,1]*[fy75,1]Rousseau to his ~own lib. Prod. Fontainebleau [sm1752[
nm, Paris [sm1753[nm, ~London [sm1766[nm, NY [sm1790[nm. Lib. of Mozart's [fy45,
1]*[fy75,2]Bastien ~und Bastienne[cf1] is based on a parody.[cm~De Vito, Giocond
a[fy75,1] ([cf2]b[cf1] Martina Franca, Lecce, ~[sm1907[nm). Eng. violinist of It
. birth. Studied in Pesaro ~and Rome. Won international competit
ion Vi~~enna [sm1932[nm. Prof. of vn., Accademia di S. Cecilia, ~Rome. Visited L
ondon [sm1947[nm to make records. ~Public d;aaebut [sm1948[nm (LPO). Specialist
in standard ~repertory, notably Brahms concerto. Retired ~[sm1961[nm.[cm~D'Harde
lot. [fy75,1]See [cf2]Hardelot, Guy de.[cm~Diabelli, Antonio [fy75,1]([cf2]b [cf
1]Mattsee, Salzburg, [sm1781[nm; [cf2]d[cf1] ~Vienna, [sm1858[nm). Austrian comp
oser and publisher. ~Went to Vienna in [sm1803[nm as teacher of pf. and ~guitar
and as proof-reader. Entered publishing ~[sm1818[nm, founded Diabelli and Co., p
ublishing works ~by Beethoven, Schubert, and Czerny. Wrote ~operetta, masses, pf
. pieces, and songs. See[cf2] Diabelli ~Variations.[cm~Diabelli Variations. [fy7
5,1]Beethoven's Thirty-Three ~Variations on a Waltz by Diabelli, Op. [sm120[nm,
for ~pf., comp. [sm1819[nm=n[sm23[nm. The publisher [fy45,1]*[fy75,1]Diabelli ~c
ommissioned [sm50[nm composers to write a variation ~apiece on his theme and was
 delighted to receive ~[sm33[nm from Beethoven, immediately reco
gnizing the ~work as a major masterpiece. Among the other ~composers who respond
ed to  Diabelli's request ~were Liszt (aged [sm11[nm), Schubert, Drechsler, Sche
nk, ~Czerny, Kalkbrenner, Pixis, Moscheles, Stadler, ~Sechter, Hoffmann, and Arc
hduke Rudolph.[cm~Diabolus in musica[fy75,1] (Lat.). The devil in mus., i.e. ~th
e [fy45,1]*[fy75,1]tritone. Term is derived from various ~prohibitions on using
this awkward interval.[cm~Diaghilev, Serge [fy75,1](Dyagilev, Sergey) (Pavlovich
) ~([cf2]b [cf1]Selistchev, Novgorod, [sm1872[nm; [cf2]d[cf1] Venice, [sm1929[nm
). ~Russ. impresario. Studied law at St Petersburg, ~[sm1890[nm=n[sm7[nm, but gr
avitated into journalism and art ~criticism. Art. adviser to Maryinsky Theatre ~
[sm1899[nm=n[sm1901[nm. In [sm1907[nm organized Paris concerts of ~Russ. mus. an
d prod. of [cf2]Boris Godunov[cf1] with ~[fy45,1]*[fy75,1]Chaliapin. In [sm1909[
nm he was invited to present a ~season of Russ. opera and ballet in Paris, scori
ng a ~major triumph with the ballet, for which he ~engaged the d
ancer Nijinsky, choreographer ~Fokine, and the painters Bakst and Benois. From ~
this season the sensational Ballets Russes devel~~oped, transforming the ballet
world. Diaghilev ~[PN198,0,0,L,I0]directed the co. until his death, surviving fi
nancial ~crises and personal quarrels which threatened to ~tear it apart. Over t
he years he called on an ~astonishing range of talents, not only among ~dancers
(Nijinsky, Karsavina, Massine, Sokolova, ~Dolin, etc.) but choreographers (Fokin
e, Nijinsky, ~Massine, Nijinskaya, Balanchine), designers ~(Bakst, Benois, Matis
se, Picasso, Utrillo, Derain) ~and composers (scores commissioned from Ravel, ~S
travinsky, Falla, Debussy, Prokofiev, Milhaud, ~Satie, Strauss, Poulenc, Auric,
Lambert, and ~Berners). See [cf2]Ballet.[cm~Dialogue.[fy75,1] ([sm1[nm) Vocal wo
rk, mainly from medieval ~times to [sm17[nmth cent., in which echo, alternation,
 ~or contrast suggested spoken dialogue.[ep~^([sm2[nm) Spoken dialogue is used i
n some types of ~opera, e.g. Fr. [cf2]op;aaera comique[cf1], Ger
. [cf2]Singspiel[cf1], Sp. ~[cf2]zarzuela[cf1], and Eng. ballad opera (and the o
peras of ~Gilbert and Sullivan). In Beethoven's [cf2]Fidelio[cf1] there ~is spok
en dialogue and [fy45,1]*[fy75,1]melodrama. In some ~cases spoken dialogue has b
een replaced by ~accompanied recitative comp. by someone else ~(e.g. Guiraud for
 Bizet's [cf2]Carmen[cf1]). There are ~examples of a brief spoken passage used i
n opera ~to great dramatic effect, e.g. in Britten's [cf2]Peter ~Grimes.[cm~Dial
ogues des Carm;aaelites, Les. [fy75,1](The Carmelites' ~dialogues). Opera in [sm
3[nm acts by Poulenc to lib. by ~Georges Bernanos adapted from novel [cf2]Die le
tzte ~am Schafott[cf1] (The Last on the Scaffold) by G. von le ~Fort ([sm1931[nm
) and film scenario by Bruckenberger ~and Agostini. Comp. [sm1953[nm=n[sm6[nm. P
rod Milan, Paris, ~and San Francisco [sm1957[nm, CG [sm1958[nm. Known in Eng. ~a
s [cf2]The Carmelites.[cm~Diamand, Peter[fy75,1] ([cf2]b[cf1] Charlottenburg, [s
m1913[nm). Dutch ~administrator, born an Austrian. Studied law ~
Berlin Univ. Secretary to [fy45,1]*[fy75,1]Schnabel [sm1934[nm=n[sm8[nm. Ass. ~t
o dir. Netherland Opera [sm1946[nm=n[sm8[nm, dir. Holland ~Fest. [sm1947[nm=n[sm
65[nm. Dir. Edinburgh Fest. [sm1966[nm=n[sm78[nm. ~Gen. man. RPO [sm1978[nm=n[sm
81[nm. Hon. C.B.E. [sm1972[nm.[cm~Diamond, David [fy75,1](Leo) ([cf2]b [cf1]Roch
ester, NY, [sm1915[nm). ~Amer. composer. Studied Cleveland Institute of ~Mus., [
sm1927[nm=n[sm9[nm, Eastman Sch. of Music [sm1930[nm=n[sm4[nm ~(comp. with Berna
rd Rogers). Sym. in one ~movement perf. at Eastman Sch. [sm1931[nm. Studied ~wit
h [fy45,1]*[fy75,1]Sessions in NY [sm1935[nm. Went to Paris and ~studied with [f
y45,1]*[fy75,1]Boulanger [sm1936[nm=n[sm7[nm. Juilliard Award ~[sm1937[nm, Gugge
nheim Fellowship [sm1938[nm, [sm1941[nm, ~Amer. Acad. in Rome Award [sm1942[nm.
Lived in ~Florence [sm1953[nm=n[sm65[nm. Head of comp. dept., Manhat~~tan Sch. o
f Mus., NY, [sm1965[nm=n[sm7[nm. His mus. owes ~something to his admiration for
Ravel and ~Stravinsky and is strongly contrapuntal. He ~adopted
serialism in the [sm1950[nms. Works incl. [sm8[nm ~syms. ([sm1940=n60[nm), [cf2]
Psalm [cf1]for orch. ([sm1936[nm), [cf2]Elegy in ~Memory of Ravel [cf1]([sm1938[
nm), [cf2]Rounds[cf1] for str. ([sm1944[nm), ~[cf2]Timon of Athens [cf1]([sm1949
[nm), [cf2]The World of Paul Klee ~[cf1]([sm1957[nm), [sm2[nm-pf. conc., pf. con
c., [sm3[nm vn. concs. ([sm1936=n~67[nm), vc. conc., [sm11[nm str. qts., pf. qt.
, pf. quintet, vn. ~sonata, [cf2]L'Ame de Debussy[cf1] (song-cycle), vc. sonata,
 ~[cf2]Choral Symphony: To Music[cf1] (male soloists, ch., and ~orch.) ([sm1967[
nm), songs, etc.[cm~Diapason[fy75,1] (Gr.). Through all. ([sm1[nm) Greek name fo
r ~the octave.[ep~^([sm2[nm) The name of certain org. stops which are the ~found
ation tone of the instr. and are either `open' ~or `stopped' according to whethe
r the ends of the ~pipes are clear or plugged (plugged stops are ~lower in pitch
 by an octave). [cf2]Open diapason[cf1], [sm8[nm;Po, is ~the chief manual stop.
There are also [cf2]stopped ~diapason[cf1],[cf2] horn diapason[c
f1], and [cf2]diapason phonon[cf1] in ~which the lips of the pipes are leathered
 to refine ~the tone.[ep~^([sm3[nm) In Fr., [cf2]diapason normal[cf1] is a stand
ard indication ~of pitch: A;eq[sm440[nm vibrations per sec.[cm~Diapente [fy75,1]
(Gr.). The interval of the perfect [sm5[nmth.[cm~Diaphone.[fy75,1] Org. stop (op
en diapason) invented ~by Robert Hope-Jones ([sm1859[nm=n[sm1914[nm) which was ~
actuated by vibratory apparatus to increase ~loudness.[cm~Diaphony.[fy75,1] Gr.
term for dissonance, applied to ~form of [fy45,1]*[fy75,1]organum. Some define i
t as a freer form, ~admitting other intervals than the perfect ones, ~others con
sider it to be a later form, admitting of ~contrary motion, part-crossing, etc.[
cm~Diary of One who Disappeared[fy75,1] ([cf2]Z;aaapisn;aaik ~zmizel;aaeho[cf1])
. Song-cycle by Jan;aaa;akcek, comp. [sm1917[nm=n~[sm19[nm, for ten., cont. (or
mez.), [sm3[nm women's vv., and ~pf. Setting of [sm22[nm anonymous poems, No.[sm
13[nm being ~represented by a pf. solo ([cf2]intermezzo erotico[
cf1]). All ~the vv. are heard only in No. [sm9[nm, women's vv. only ~in No. [sm1
0[nm, ten. and cont. in No. [sm11[nm, the remainder ~being for ten. F.p. Brno [s
m1921[nm, f.p. in England, ~London [sm1922[nm. Eng. trans. by Bernard Keeffe.[cm
~Diatonic.[fy75,1] The[cf2] Diatonic Scales [cf1](see [cf2]Scale[cf1]) are those
 ~of the major and minor keys, and diatonic ~passages, intervals, chords, and ha
rmonies are ~those made up of the notes of the key prevailing ~at the moment. Th
e [fy45,1]*[fy75,1]Modes must also be ~considered diatonic. See also [cf2]Chroma
tic.[cm~Dibdin, Charles [fy75,1]([cf2]b[cf1] Southampton, [sm1745[nm; [cf2]d[cf1
] ~London, [sm1814[nm). Eng. composer, impresario, and ~singer. Choirboy, Winche
ster Cath. [sm1756[nm=n[sm9[nm. From ~[sm1764[nm in London wrote words and mus.
of many ~popular `musicals'. In [sm1789[nm began `table entertain~~ments' at whi
ch he sang his own songs. Th. ~manager [sm1796[nm=n[sm1805[nm. Best-known songs
are `The ~Bells of Aberdovey' from [cf2]Liberty Hall [cf1](Drury
 Lane ~[sm1785[nm) and the beautiful `Tom Bowling' from ~table entertainment [cf
2]The Oddities[cf1] (Lyceum [sm1789[nm).[cm~Dichterliebe[fy75,1] (Poet's Love).
Cycle of [sm16[nm songs for ~v. and pf. by Schumann, Op. [sm48[nm ([sm1840[nm),
being ~settings of Heine.[cm~Dichtung[fy75,1] (Ger.). Poem. Hence [cf2]symphonis
che ~Dichtung[cf1], symphonic poem. R. Strauss used the ~term [cf2]Tondichtung[c
f1], tone-poem.[cm~Dickie, Brian [fy75,1](James) ([cf2]b[cf1] Newark, [sm1941[nm
). Eng. ~opera dir. Art. dir., Wexford Fest. [sm1967[nm=n[sm74[nm. On ~[PN199,0,
0,R,I0]Glyndebourne staff since [sm1962[nm, gen. admin. from ~[sm1982[nm.[cm~Dic
kie, Murray [fy75,1]([cf2]b[cf1] Bishopton, nr. Glasgow, [sm1924[nm). ~Scottish
operatic ten. and producer. Studied ~Vienna, London, and Milan. D;aaebut London
[sm1947[nm, ~CG [sm1948[nm=n[sm52[nm, Vienna State Opera since [sm1952[nm ~(Kamm
ers;auanger).[cm~Dickinson, Meriel [fy75,1]([cf2]b [cf1]Lytham St Annes, [sm1940
[nm). ~Eng. mez. Studied RMCM and Vienna Acad. ~Member BBC Ch. [
sm1963[nm=n[sm4[nm, solo recitalist and ~oratorio.[cm~Dickinson, Peter [fy75,1](
[cf2]b[cf1] Lytham St Annes, [sm1934[nm). ~Eng. composer and pianist. Studied Ca
mbridge ~Univ., Juilliard Sch. NY. Extra-mural staff tutor ~in mus. Birmingham U
niv., [sm1966[nm=n[sm70[nm. Prof. of ~mus., Keele Univ., [sm1974[nm. Works inclu
de:[xm[cm~[j2][smtheatre[nm: [fy75,2]Vitalitas[cf1], ballet ([sm1959[nm; orch. o
f [cf2]Variations ~[cf1]for pf. [sm1957[nm); [cf2]The Judas Tree[cf1], [sm5[nm s
peaking parts, [sm2[nm ~tens., ch., and orch. [sm(1965)[nm.[ep~[smorch[nm: [cf2]
Monologue, [cf1]strs. ([sm1959[nm); [cf2][sm5[nm Diversions [cf1]([sm1969[nm); ~
[cf2]Transformations, Homage to Satie [cf1]([sm1970[nm); org. ~conc. ([sm1971[nm
); conc. for str., perc., and electronic ~org. ([sm1971[nm); pf. conc. ([sm1978=
n84[nm).[ep~[smvocal[nm: [sm4[nm [cf2]Auden Songs[cf1], sop. or ten. and pf. ([s
m1956[nm); ~[cf2]Dylan Thomas Song Cycle[cf1], bar. and pf. ([sm1959[nm); [cf2][
sm4[nm ~Poems of Alan Porter[cf1], counterten. and hpd. ~([sm196
8[nm); [cf2]Extravaganzas[cf1], v. and pf. ([sm1969[nm); [cf2]e. e. ~cummings So
ng Cycle[cf1], mez. and pf. ([sm1965[nm rev. ~[sm1970[nm); [cf2]Winter Afternoon
s [cf1](Emily Dickinson), ~cantata for [sm6[nm solo vv. and db. ([sm1971[nm); [c
f2]Surrealist ~Landscape[cf1], counterten., pf., and tape ([sm1973[nm); [cf2]Lus
t[cf1], ~for [sm6[nm vv. ([sm1974[nm); [cf2]Schubert in Blue[cf1], mez. and pf.
~([sm1977[nm).[ep~[smchoral[nm: [cf2]Martin of Tours[cf1], ten., bar., ch., and
pf. ~duet ([sm1966[nm); [cf2]The Dry Heart[cf1], [sm5[nm Alan Porter poems ~for
unacc. ch. ([sm1967[nm); [cf2]Outcry[cf1], contralto, ch., ~orch. ([sm1969[nm);
[cf2]Late Afternoon in November[cf1], [sm16[nm solo ~vv. ([sm1975[nm).[ep~[smchu
rch[nm: [sm2[nm Motets ([sm1963[nm); [cf2]Magnificat and Nunc ~Dimittis[cf1], vv
. and org. ([sm1963[nm); [cf2]Mass [cf1]([sm1965[nm); [cf2]Mass ~of the Apocalyp
se[cf1], [sm16[nm solo women's vv., [sm4[nm perc. ~players ([sm1984[nm).[ep~[smc
hamber music[nm: [cf2]Juilliard Dances [cf1]([sm1959[nm); vn. so
nata ~([sm1961[nm); [cf2]Fanfares and Elegies[cf1], [sm3[nm tpts., [sm3[nm tbs.,
 org. ~([sm1967[nm); [cf2]Translations[cf1], recorder, va. da gamba, ~hpd. ([sm1
971[nm); [cf2]Hymns[cf1], [cf2]Blues, and Improvisations[cf1], str. ~qt., pf., a
nd tape ([sm1973[nm); Str. Qt. No. [sm1[nm ([sm1958[nm, ~rev. [sm1974[nm), No. [
sm2[nm, with tape or pf. ([sm1975[nm).[ep~[smpiano[nm: [cf2]Variations [cf1]([sm
1957[nm); [cf2][sm5[nm Forgeries[cf1], pf. duet ~([sm1963[nm); [cf2][sm5[nm Dive
rsions [cf1]([sm1963[nm); [cf2]Paraphrase II [cf1]([sm1967[nm).[ep~[smorgan[nm:
[cf2]Dirge [cf1]([sm1963[nm); [cf2]Carillon [cf1]([sm1964[nm); [cf2]Paraphrase I
 ~[cf1]([sm1967[nm).[cm~[j1]Dickson, Joan [fy75,1]([cf2]b[cf1] Edinburgh, [sm192
1[nm). Scot. cellist. ~Studied RCM, then Paris with[fy45,1]*[fy75,1]Fournier, Ro
me ~with [fy45,1]*[fy75,1]Mainardi. London d;aaebut [sm1953[nm. Prof. RCM ~from
[sm1968[nm. Member Edinburgh Str. Qt. [sm1953[nm=n[sm8[nm. ~Soloist with leading
 orchs.[cm~Diction. [fy75,1]Properly, verbal phrasing, or skill
in the ~choice of words, but used in context of singing to ~denote clear and cor
rect enunciation.[cm~Didjeridu.[fy75,1] Australian aborigines' wind instr., ~str
aight (over [sm3[nm ft. in length), end-blown, and ~capable of producing a varie
ty of sounds, such as ~trills, croaks, gurgles, and imitations of birds and ~ani
mals. The player can breath through the nose ~without interrupting the sound he
is making.[cm~Dido and Aeneas. [fy75,1]Opera in prol. and [sm3[nm acts by ~Purce
ll to lib. by Nahum Tate, after Book [sm4[nm of ~Virgil's [cf2]Aeneid[cf1]. F.p.
 Josias Priest's sch. for young ~gentlewomen, Chelsea, in [sm1689[nm or [sm1690[
nm. Staged ~in London [cf2]c[cf1].[sm1700[nm and [cf2]c[cf1].[sm1704[nm and not
again until ~RCM [sm1895[nm (Lyceum Th.). F.p. in NY [sm1923[nm (at ~Hotel Plaza
). Several versions survive, the score ~held by St Michael's College, Tenbury, b
eing ~accepted as standard. Another important version ~was found at Tatton Hall,
 Cheshire. [fy45,1]*[fy75,1]Dido's ~Lament, [cf2]When I am laid
in earth[cf1], occurs in Act [sm3[nm.[cm~Dido's Lament.[fy75,1] Aria for Dido at
 end of Act [sm3[nm of ~Purcell's [cf2]Dido and Aeneas[cf1], beginning with word
s ~`When I am laid in earth'. Orch. arr. is played ~annually at Remembrance Day
service at Ceno~~taph, London.[cm~Die [fy75,1](Ger.). The.[cm~Diepenbrock, Alfon
s [fy75,1]([cf2]b [cf1]Amsterdam, [sm1862[nm;[cf2] d[cf1] ~Amsterdam, [sm1921[nm
). Dutch composer, mainly self-~taught. Influential teacher. Wrote chiefly churc
h ~mus. ([sm2[nm settings of [cf2]Te Deum[cf1], a [cf2]Stabat mater[cf1], etc.)
~and incidental mus. to plays. Befriended and ~admired by [fy45,1]*[fy75,1]Mahle
r.[cm~Dieren, Bernard van[fy75,1] ([cf2]b[cf1] Rotterdam, [sm1887[nm; [cf2]d[cf1
] ~London, [sm1936[nm). Dutch composer, long resident ~in Eng. Trained as scient
ist, but began to write ~mus. criticism and in [sm1909[nm settled in London as ~
correspondent for several European periodicals. ~Mainly self-taught as composer
but studied in ~Ger., [sm1912[nm. His works became the subject o
f a ~cult among leading Brit. intellectuals of the ~[sm1920[nms, e.g. Sitwells,
Gerald Cooper, Heseltine, ~Gray, and others. Successive efforts to persuade ~his
 contemporary public and later generations of ~his genius have made little groun
d, the mus. ~being less novel than is suggested. Works incl. ~[cf2]The Tailor [c
f1](comic opera) ([sm1917[nm), [cf2]Symphony on ~Chinese Themes[cf1] (with vv.)
([sm1914[nm), [cf2]Serenade[cf1], [sm6[nm str. ~qts., solo vn. sonata, songs. Wr
ote book on Epstein ~([sm1920[nm) and vol. of criticism, [cf2]Down Among the Dea
d ~Men [cf1]([sm1935[nm).[cm~Di;agese [fy75,1](Fr.). Sharp.[cm~Dies Irae [fy75,1
](Day of Wrath). A section of the ~Requiem Mass. The poem is probably by Thomas
~of Celano ([cf2]d c[cf1].[sm1250[nm). The plainsong tune has ~frequently been i
ntroduced into instr. mus., as in ~Berlioz's [cf2]Symphonie fantastique[cf1], Sa
int-Sa;auens's [cf2]Danse ~macabre[cf1], Rakhmaninov's [cf2]Paganini Rhapsody[cf
1], etc. ~Settings of the Requiem by Verdi, Berlioz, and ~others
 contain vivid depictions of the [cf2]Dies Irae.[cm~Diesis[fy75,1] (It.). ([sm1[
nm) Sharp.[ep~[PN200,0,0,L,I0]^([sm2[nm) In acoustical theory the minute interva
l ~between the sum of [sm3[nm major [sm3[nmrds (in perfect ~tuning) and an octav
e.[cm~Dies Natalis [fy75,1](Lat. `Birthday'). Cantata, Op. [sm8[nm, by ~[fy45,1]
*[fy75,1]Finzi, for sop. or ten. and str., composed between ~[sm1926[nm and [sm1
939[nm, f.p. [sm1940[nm. It is in [sm5[nm movements, ~the [sm1[nmst instrumental
, the [sm2[nmnd a setting of a prose ~passage from [cf2]Centuries of Meditations
[cf1] by T. ~Traherne ([sm1638[nm=n[sm74[nm), and the last [sm3[nm being setting
s ~of Traherne poems.[cm~Dieupart, Charles [fy75,1](Fran;alcois) ([cf2]b[cf1] [s
m1670[nm; [cf2]d[cf1] London, ~[cf2]c[cf1].[sm1740[nm). Fr. violinist, harpsicho
rdist, and com~~poser. Taught in London and played for It. opera ~at Drury Lane.
 Pubd. [cf2]Six Suittes de Clavecin[cf1] ([sm1701[nm). ~The gigue from first sui
te may have been model ~of Bach's prelude in his first [cf2]Engl
ish Suite.[xm[cm~[ol0][ep~[xp[te~












[do3][j99]~~~~~~153842_DA01[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmDA[sm01[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm11[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm251[nm[cm~GC[cm5[cm2-10-84[cm~U1[cm~~~~[ap[j1]Differential Tone[fy75,1]
 (or Resultant Tone). In acous~~tics: ([sm1[nm) When two loud notes are played,
another, ~lower, note may sometimes be heard which ~corresponds to the differenc
e in vibration between ~the original [sm2[nm notes.[ep~^([sm2[nm) When a note hi
gher than the original [sm2[nm may ~be heard which corresponds to the sum of the
ir ~vibrations.[cm~Digital.[fy75,1] Any one of the keys comprising the kbd. ~of
a pf. or similar instr. For digital recording, see ~[cf2]Gramophone Recordings.[
cm~Digitorium. [fy75,1]A small portable apparatus for the ~use of kbd. players w
ishing to strengthen their ~fingers. It usually had no more than [sm5[nm keys an
d ~these had strong springs so that considerable force ~was required to depress
them. Invented by Myer ~Marks about the middle of the [sm19[nmth
 cent.[cm~Dilkes, Neville[fy75,1] ([cf2]b[cf1] Derby, [sm1930[nm). Eng. cond. ~S
tudied privately. Founded Midland (now Eng.) ~Sinfonia [sm1961[nm. Mus. dir. Cor
by Grammar Sch. ~[sm1955[nm=n[sm65[nm, cond. Kettering S.O. [sm1958[nm=n[sm63[nm
, Opera ~da camera [sm1961[nm=n[sm7[nm.[cm~Dillon, James [fy75,1]([cf2]b [cf1]Gl
asgow, [sm1950[nm). Scottish com~~poser. As a boy, played in pipe band. Studied
~medieval, Renaissance, and non-Western mus. ~Awarded Kranichsteiner prize, Darm
stadt [sm1982[nm. ~His mus. was featured at Bath and La Rochelle ~fests., [sm198
4[nm.[ep~^Works incl.: [cf2]Babble[cf1], [sm40[nm vv. ([sm1974=n6[nm); [cf2]Dill
ug ~Kefitsah[cf1], pf. ([sm1976[nm); [cf2]Cumha[cf1], [sm12[nm str. ([sm1976=n8[
nm); ~[cf2]Incaain[cf1], [sm16[nm vv. ([sm1977[nm); [cf2]Ariadne's Thread[cf1],
va. ~([sm1978[nm); [cf2]Crossing Over[cf1], cl. ([sm1978[nm); [cf2]Ti-re-Ti-ke-D
ha[cf1], ~solo drum ([sm1979[nm); .|.|. [cf2]Once Upon a Time[cf1], [sm10[nm ins
tr. ~([sm1980[nm); [cf2]Spleen[cf1], pf. ([sm1980[nm); [cf2]Who
do you Love[cf1], v. and ~[sm8[nm instr. ([sm1980=n1[nm); [cf2]Evening Rain[cf1]
, solo v. ([sm1981[nm); ~[cf2]Parjanya-Vata[cf1], vc. ([sm1981[nm); [cf2]Come Li
ve with Me[cf1], mez. ~and [sm4[nm instr. ([sm1981[nm); [cf2]A Roaring Flame[cf1
], v. and ~contrabass ([sm1981=n2[nm); [cf2]Time Lag Zer;up[cf1], v. and va. ~([
sm1982[nm); [cf2]East [sm11[nmth St. NY [sm10003[nm[cf1], perc. ([sm6[nm players
) ~([sm1982[nm); str. qt. ([sm1983[nm); [cf2]Zone [cf1](.=+=+.=+=+.=+=+. [cf2]de
 azul[cf1]), [sm8[nm instr. ~([sm1983[nm); [cf2]Le Rivage[cf1], wind quintet ([s
m1984[nm); [cf2]Sgothan[cf1], ~fl. ([sm1984[nm).[cm~Diluendo[fy75,1] (It.). Diss
olving, i.e. dying away.[cm~Dilungando[fy75,1] (It.). Lengthening.[cm~Diminished
 Intervals. [fy75,1]Perfect or minor intervals ~which are reduced chromatically
by a semitone ~are diminished intervals. For practical purposes ~this term is us
eful only when applied to the ~diminished [sm5[nmth (semitone less than perfect
[sm5[nmth) ~and diminished [sm7[nmth (semitone less than minor ~
[sm7[nmth).[cm~Diminished Triad.[fy75,1] A [fy45,1]*[fy75,1]triad of which the [
sm5[nmth is ~diminished.[cm~Diminuendo[fy75,1] (It.). Diminishing, i.e. graduall
y ~getting quieter.[cm~Diminution.[fy75,1] Shortening of the time-values of ~the
 notes of melodic parts. Opposite of [fy45,1]*[fy75,1]Augmen~~tation. In [cf2]Ca
non by Diminution[cf1] the imitating vv. ~are in shorter notes than the one they
 are ~imitating.[cm~Dimitrij.[fy75,1] Opera in [sm3[nm acts by Dvo;akr;aaak to l
ib. by ~Marie ;akCervinkov;aaa-Riegrov;aaa based on writings by ~Mikovec and on
Schiller's [cf2]Demetrius. [cf1]Comp. [sm1881[nm=n~[sm2[nm, prod. Prague [sm1882
[nm. Rev. version prod. Prague ~[sm1885[nm; further rev. [sm1894=n5[nm. Brit. f.
p. Nottingham ~[sm1979[nm.[cm~Di Molto[fy75,1] (It.). Of much, i.e. Very. Augmen
ts the ~word to which it is applied, e.g. [cf2]allegro di molto[cf1], ~very fast
.[cm~D'India, Sigismondo[fy75,1]. See [cf2]India, Sigismondo d'.[cm~D'Indy, [fy7
5,1](Paul Marie Th;aaeodore) [fy65][cf3]Vincent [fy75,1]([cf2]b[
cf1] Paris, ~[sm1851[nm; [cf2]d[cf1] Paris, [sm1931[nm). Fr. composer and teache
r. ~Though musically trained in boyhood his family ~wanted him to enter law. In
[sm1872[nm he sent a pf. qt. ~to [fy45,1]*[fy75,1]Franck, who agreed to teach hi
m. As a ~member of Franck's class at the Paris Cons. he ~imbibed not only Franck
's teaching, but also his ~lofty and idealistic attitude to art. To supplement ~
his studies, d'Indy in [sm1872[nm became [sm2[nmnd perc. ~player in the Colonne
Orch., and from [sm1875[nm=n[sm9[nm ~was ch.-master of the Concerts Colonne. Pub
lic ~d;aaebut as composer [sm1874[nm. In [sm1876[nm he attended the ~first Bayre
uth Fest., having been introduced to ~Wagner's mus. by [fy45,1]*[fy75,1]Duparc i
n [sm1869[nm, and became ~fervent enthusiast of [cf2]The Ring[cf1]. Keenly inter
ested ~in education, d'Indy in [sm1894[nm accepted invitation ~from [fy45,1]*[fy
75,1]Bordes to join him and Guilmant in ~founding the Schola Cantorum for the st
udy of ~church mus. In [sm1900[nm this became a general mus. ~sc
h. at which d'Indy taught comp. until his death, ~becoming sole dir. in [sm1911[
nm. His teaching methods ~are described in his [sm3[nm-vol. [cf2]Cours de Compos
ition[cf1], ~written in assoc. with A. S;aaerieyx. His pupils incl. ~Satie, Auri
c, Roussel, Turina, and Roland-Manuel. ~D'Indy was also active in assisting Lamo
ureux to ~introduce Wagner's works to Paris, was a cham~~pion of Debussy, and re
vived the mus. of ~Monteverdi, Rameau, Gluck, and Bach. He wrote ~several books
(incl. biography of Franck), toured ~as cond. abroad, ed. old mus. (incl. severa
l ~Monteverdi operas), and pubd. colls. of folk-~songs. His comps. are character
ized by rich ~[PN201,0,0,R,I0]orchestration, a vein of folk-like melody, and ~of
ten employ Franck's `cyclic method'. Chief ~among them are:[xm[cm~[j2][smoperas[
nm: [fy75,2]Le Chant de la cloche[cf1] ([sm1879[nm=n[sm83[nm), [cf2]Fervaal ~[cf
1]([sm1889[nm=n[sm95[nm), [cf2]L';aaEtranger[cf1] ([sm1898[nm=n[sm1901[nm), [cf2
]La L;aaegende ~de Saint-Christophe[cf1] ([sm1908[nm=n[sm15[nm),
 [cf2]Le R;afeve de Cynias[cf1] ~([sm1922[nm=n[sm3[nm).[ep~[smorch[nm: [cf2]La F
or;afet enchant;aaee[cf1] ([sm1878[nm), [cf2]Wallenstein[cf1], ~trilogy ([sm1874
[nm=n[sm82[nm), [fy45,1]*[fy75,2]Symphonie sur un chant ~montagnard fran;alcais
(Symphonie [nmC;aaevenole)[cf1] ([sm1886[nm), ~[cf2]Istar[cf1] ([sm1896[nm), [sm
2[nmnd Sym. ([sm1902[nm=n[sm3[nm), [cf2]Jour d' ;aaet;aae ;aga la ~montagne[cf1]
 ([sm1905[nm), [cf2]Le Po;ageme des rivages[cf1] ([sm1920[nm=n[sm1[nm).[ep~[smch
amber music[nm: [sm3[nm str. qts., vc. sonata, vn. sonata, ~pf. quintet, str. se
xtet.[ep~[smpiano[nm: [cf2]Promenades, Schumanniana, Menuet sur le ~nom de Haydn
, Conte de f;aaees.[ep~[cf1][smchoral[nm: [cf2]Sainte Marie-Magdaleine[cf1], can
tata ([sm1885[nm), ~[cf2]Sur la Mer[cf1] ([sm1888[nm), [cf2]Deus Isra;auel[cf1]
([sm1896[nm).[cm~[j1]Dinner Engagement, A. [fy75,1][sm1[nm-act comic opera by ~L
ennox Berkeley to lib. by Paul Dehn. Prod. ~Aldeburgh [sm1954[nm.[cm~Dinorah, ou
 le pardon de Plo;auermel.[fy75,1] [sm3[nm-act opera ~by Meyerbe
er to lib. by Barbier and Carr;aae. Prod. ~Paris and London [sm1859[nm, New Orle
ans [sm1861[nm. ~Contains the coloratura sop. `Shadow Song'.[cm~Dioclesian [fy75
,1]([cf2]The Prophetess or the History of ~Dioclesian[cf1]). Semi-opera by Purce
ll ([sm1690[nm). Dialogue ~by T. Betterton, adapted from Beaumont and ~Massinger
.[cm~[fy65][cf3]Diplomas.[fy75,1] See [cf2]Degrees and Diplomas[cf1].[cm~Dippel,
 [fy75,1](Johann) [fy65][cf3]Andreas[fy75,1] ([cf2]b[cf1] Kassel, [sm1866[nm; [c
f2]d[cf1] ~Hollywood, Calif., [sm1932[nm). Ger. ten. and impresa~~rio. Member of
 opera cos. in Bremen [sm1887[nm=n[sm92[nm ~and Vienna [sm1893[nm=n[sm8[nm. D;aa
ebut CG [sm1897[nm, NY Met. ~[sm1890[nm. At NY Met. [sm1890[nm=n[sm1908[nm, beco
ming joint ~man. with [fy45,1]*[fy75,1]Gatti-Casazza [sm1908[nm=n[sm10[nm. Man.,
 Chi~~cago Opera, [sm1910[nm=n[sm13[nm. Sang over [sm150[nm roles and ~was famou
s for ability to replace indisposed ~colleague at very short notice.[cm~Direct.[
fy75,1] The sign _ at the end of a page or line ~(in older mus.)
 to give warning of the next note.[cm~Dirge[fy75,1] (Lat. [cf2]naenia[cf1]). Bur
ial or memorial song, ~often with character of funeral march. Shakes~~[chpeare's
 [cf2]Dirge for Fidele [cf1]([cf2]Cymbeline[cf1]) has been set by ~several compo
sers incl. Vaughan Williams ([sm1922[nm) ~and Finzi ([sm1942[nm). The [sm15[nmth
 cent. Lyke-wake Dirge ~was set by Stravinsky ([cf2]Cantata[cf1] [sm1952[nm), Br
itten ~([cf2]Serenade[cf1] [sm1943[nm), and Whittaker ([sm1924[nm).[cm~Dirge for
 Two Veterans.[fy75,1] ([sm1[nm) Setting of text from ~Whitman's [cf2]Drum Taps[
cf1] ([sm1865[nm) by Holst for male ~vv., brass, and perc. Comp. [sm1914[nm.[ep~
^([sm2[nm) Setting of same text for ch. and orch. by ~Vaughan Williams, comp. [s
m1911[nm and incorporated ~into his cantata [cf2]Dona nobis pacem[cf1] ([sm1936[
nm) as [sm4[nmth ~movement.[cm~Dirigent, dirigieren[fy75,1] (Ger.). `Conductor',
 `to ~conduct'.[cm~Dis[fy75,1] (Ger.). The note D;yi.[cm~Disc[fy75,1] (Amer. [cf
2]Disk[cf1]). Gramophone record.[cm~Discant.[fy75,1] Same as [fy
45,1]*[fy75,1]Descant.[cm~Discography.[fy75,1] A list of gramophone recordings,
~either of those of the mus. of a particular ~composer, or those made by an indi
vidual artist, ~orch., or instr. combination. When an artist has ~recorded for s
everal cos. and in several countries, ~these can require considerable and valuab
le ~research. A discography is becoming a standard ~feature of many books on mus
ic.[cm~Discord.[fy75,1] A chord which is restless, jarring to the ~ear, requirin
g to be resolved in a particular way ~if its presence is to be justified by the
ear (or the ~note or interval responsible for producing this ~effect).[cm~Disis[
fy75,1] (Ger.). The note D;yi;yi.[cm~Disjunct Motion. [fy75,1]A note which moves
 to another ~note or an adjacent note by a leap. See[cf2] Motion.[cm~Dissonance.
[fy75,1] See[cf2] Discord.[cm~Dissonanzen Quartett [fy75,1](Les Dissonances). Ge
r. ~and Fr. nicknames for Mozart's Str. Qt. No. [sm19[nm in ~C major, K[sm465[nm
, comp. [sm1785[nm. The introduction ~contains remarkable use of
 dissonance.[cm~Di Stefano, Giuseppe[fy75,1] ([cf2]b[cf1] Molta Santa Anastasia,
 ~nr. Catania, [sm1921[nm). It. tenor. Studied in Milan. ~D;aaebut [sm1946[nm Re
ggio Emilia as Des Grieux in ~Massenet's [cf2]Manon[cf1]. La Scala d;aaebut [sm1
947[nm, NY Met. ~[sm1948[nm (Duke in [cf2]Rigoletto[cf1]). Brit. d;aaebut Edinbu
rgh ~Fest. [sm1957[nm, CG [sm1961[nm (Cavaradossi). Sang often ~with [fy45,1]*[f
y75,1]Callas, making recordings with her, and ~partnering her on her [sm1973[nm=
n[sm4[nm concert tour.[cm~Distler, Hugo[fy75,1] ([cf2]b[cf1] Nuremberg, [sm1908[
nm; [cf2]d[cf1] Berlin, ~[sm1942[nm). Ger. composer and organist whose work ~was
 stigmatized by the Nazi r;aaegime as `degenerate ~art'. Studied Leipzig. Organi
st of Jakobikirche, ~L;auubeck, [sm1931[nm=n[sm7[nm. Teacher at Stuttgart Musik~
~[chhochschule, [sm1937[nm=n[sm40[nm. Berlin Hochschule f;auur ~Musik from [sm19
40[nm. Comp. org. works and choral ~mus., also hpd. conc. ([sm1935[nm) and str.
qt. ([sm1939[nm=n~[sm40[nm). Committed suicide.[cm~Distratto, Il
[fy75,1] (The Distraught Man). Nickname ~for Haydn's sym. in C major, No. [sm60[
nm in Breitkopf ~edn. of syms. [sm6[nm movements are derived from ~Haydn's incid
ental mus. ([sm1774[nm) for J. F. Regnard's ~play [cf2]Le Distrait[cf1] (Ger. [c
f2]Der Zerstreute[cf1]), revived at ~Esterh;aaaz that year.[cm~Dital Harp.[fy75,
1] Obsolete instr. invented in [sm1798[nm by ~Edward Light, a teacher of guitar:
 it was at first ~called [cf2]Harp Guitar[cf1]. By `dital' is meant a finger-key
 ~(actually played by the thumb): each dital raised ~the pitch of a string by a
semitone. Another name ~was [cf2]Harp Lute[cf1], the appearance of the instr. ~s
uggesting the body of a lute continued upwards ~by that of a small harp.[cm~[PN2
02,0,0,L,I0]Dithyramb[fy75,1] (from Gr. [cf2]dithyrambos[cf1]). In ancient ~Gree
ce an intoxicated song in honour of the god ~Dionysus; in modern usage applied t
o a comp. of ~wild, passionate character.[cm~Dittersdorf, Karl Ditters von[fy75,
1] (orig. Karl Ditters) ~[cf1]([cf2]b[cf1] Vienna, [sm1739[nm; [
cf2]d[cf1] Neuhof, [sm1799[nm). Austrian ~composer and violinist. As boy, in pri
vate orch. ~of nobleman who paid for his education. Kapell~~meister to various p
rinces, esp. to Prince-Bishop ~of Breslau [sm1770[nm=n[sm95[nm. Ennobled [sm1773
[nm. Prolific ~composer, works incl. [sm40[nm operas (incl. [cf2]The ~Marriage o
f Figaro [cf1]([cf2]c.[cf1][sm1789[nm) and [cf2]The Merry Wives ~of Windsor [cf1
]([sm1796[nm)), [cf2]c[cf1].[sm120[nm syms. (incl. [sm12[nm syms. ~after Ovid's
[cf2]Metamorphoses[cf1]), [sm35[nm concs., [sm12[nm str. ~quintets, [sm14[nm str
. trios, [sm17[nm vn. sonatas, [sm30[nm pf. ~sonatas, and quantities of church m
us.[cm~Div.[fy75,1] Abbreviation for [fy45,1]*[fy75,2]Divisi.[cm~Diversions. [fy
75,1]Occasional synonym for variations.[cm~Divertimenti by Mozart.[fy75,1] Mozar
t's comps. to ~which he gave the title Divertimento are: E;yh ~(K[sm113[nm), D m
ajor (K[sm131[nm), D major (str. qt., K[sm136[nm), ~B;yh (str. qt., K[sm137[nm),
 F major (str. qt. K[sm138[nm), E;yh ~(K[sm166[nm), B;yh (K[sm18
6[nm), C major (K[sm187[nm), C major ~(K[sm188[nm), D major (K[sm205[nm), F majo
r (K[sm213[nm), B;yh ~(K[sm240[nm), F major (K[sm247[nm), D major (K[sm251[nm),
E;yh ~(K[sm252[nm), F major (K[sm253[nm), B;yh (pf. trio, K[sm254[nm), B;yh ~(K[
sm270[nm), B;yh (K[sm287[nm), F major (K[sm288[nm), E;yh (K[sm289[nm), D ~major
(K[sm334[nm), E;yh (str. trio, K[sm563[nm), E;yh (K Anh.[sm226[nm), ~B;yh (K Anh
.[sm227[nm).[cm~Divertimento [fy75,1](It.). Amusement. ([sm1[nm) An [sm18[nmth-~
cent. suite of movements of light, recreational ~mus., sometimes for open-air pe
rf., for a small ~no. of players. Mozart wrote [sm25[nm, calling them ~Divertime
nti or sometimes serenades or cassa~~tions. In the [sm20[nmth cent. composers us
e the term ~to denote a not-too-serious work.[ep~^([sm2[nm) Fantasia on airs fro
m operas, etc.[cm~Divertissement[fy75,1] (Fr.). Amusement. The same as ~[fy45,1]
*[fy75,1]divertimento, with the additional meaning of ~an entertainment of dance
s and songs inserted in ~an [sm18[nmth-cent. stage spectacle or
sometimes in a ~ballet or opera (as in Gounod's [cf2]Faust[cf1] or Delibes's ~[c
f2]Copp;aaelia[cf1]). The term is also applied to a suite of ~dances unconnected
 by a story. Ibert's [cf2]Divertisse~~ment[cf1] is an orch. work derived from mu
s. for the ~film [cf2]The Italian Straw Hat.[cm~Dives and Lazarus, [sm5[nm Varia
nts of[fy75,1]. Work by ~Vaughan Williams for str. and harp(s) comp. ~[sm1939[nm
 for NY World Fair. F.p. NY [sm1939[nm. [cf2]Dives and ~Lazarus[cf1] is Eng. fol
k-song.[cm~Divina Commedia, Symphony to [fy75,1](Liszt). See [cf2]Dante ~Symphon
y.[cm~Divine Office.[fy75,1] The Canonical Hours of the RC ~Church ([cf2]Matins,
 Lauds, Prime, Terce, Sext, None, ~Vespers, [cf1]and [cf2]Compline[cf1]: these a
re daily said by all ~the clergy and in cath. and monastic churches are ~daily s
aid or sung). Also [cf2]Matins [cf1]and [cf2]Evensong[cf1] in ~the Church of Eng
land.[cm~Divine Poem, The[fy75,1] ([cf2]Bozhestvennaya poema[cf1]). Title ~of Sk
ryabin's Sym. No. [sm3[nm in C minor, Op. [sm43[nm, ~comp. [sm19
02=n4[nm, f.p. Paris [sm1905[nm, NY [sm1907[nm, London ~[sm1913[nm. Illustrates
his theosophical ideas; the [sm3[nm ~movements are entitled [cf2]Struggles, Deli
ghts,[cf1] and ~[cf2]Divine Play.[cm~Divisi[fy75,1] (It.). Divided, often abbrev
iated to `div.'. ~Term used, for instance, where orch. str. parts are ~written i
n double (or more) notes, and the players, ~instead of individually attempting t
o play all the ~notes of each chord, are to divide themselves into ~[sm2[nm (or
more) groups to perform them.[cm~Divisions.[fy75,1] ([sm1[nm, [sm17[nmth and [sm
18[nmth cent.) The splitting ~up of the notes of a tune into shorter notes, i.e.
 a ~form of variation; this was especially common in ~viol playing and was extem
porized.[ep~^([sm2[nm) Long vocal runs, as in Bach, Handel, and ~other [sm18[nmt
h-cent. composers. Obsolete term.[cm~Division Viol.[fy75,1] Small bass viol for
the playing of ~popular sets of (often extemporized) variations.[cm~Dixieland. [
fy75,1]Style of instr. jazz-playing from ~[cf2]c.[cf1][sm1912[nm
, also called `New Orleans' or `classic' style. ~Had elements of ragtime and blu
es with own ~distinctive improvisation. Dixieland bands were ~divided into [sm2[
nm sections, one providing rhythm ~and harmony, the other melody and extempori~~
zation. The melody section consisted of tpt. or ~cornet, cl., and tb. (and, late
r, sax.); the rhythm ~section of pf. and/or banjo, trap drums, and ~sousaphone,
tuba, or plucked db. Outstanding ~Dixieland performers were Louis Armstrong, ~Ki
d Ory, King Oliver, Sidney Bechet, Jelly Roll ~Morton, and Earl Hines.[cm~Dixon,
 [fy75,1](Charles) [fy65][cf3]Dean [fy75,1]([cf2]b[cf1] NY, [sm1915[nm; [cf2]d[c
f1] Zug, ~Switz., [sm1976[nm). Amer. cond., one of the first blacks ~to achieve
fame as a symphonic cond. Trained ~Juilliard Sch. and Columbia Univ. D;aaebut NY
 ~Town Hall [sm1937[nm, NY P.O. [sm1942[nm, and then other ~leading orchs. Found
ed Amer. Youth Orch. [sm1944[nm. ~In [sm1949[nm cond. in Scandinavia. Cond. Isra
el P.O. ~[sm1950[nm=n[sm1[nm. Mus. dir. Gothenburg S.O. [sm1953[
nm=n[sm60[nm, ~Hesse Radio S.O. [sm1961[nm=n[sm74[nm, Sydney S.O. [sm1964[nm=n[s
m7[nm. ~British d;aaebut [sm1963[nm with BBC S.O. Series of ~concerts with leadi
ng Amer. orchs. after [sm1970[nm.[cm~Djamileh.[fy75,1] [sm1[nm-act opera by Bize
t to lib. by L. Gallet ~based on Alfred de Musset's poem [cf2]Namouna[cf1] ~([sm
1832[nm). Prod. Paris [sm1872[nm, Manchester [sm1892[nm, ~London [sm1893[nm.[cm~
Do.[fy75,1] The name for [fy45,1]*[fy75,1]Ut or C in the Romance ~languages, int
roduced by G. M. [fy45,1]*[fy75,1]Bononcini, ~[sm1673[nm. See [cf2]Doh[cf1].[cm~
Dobbs, Mattiwilda[fy75,1] ([cf2]b[cf1] Atlanta, [sm1925[nm). Amer. ~coloratura s
op. Studied pf. for [sm10[nm years, then ~turned to singing at [sm17[nm and stud
ied with Lotte ~Leonard in NY [sm1946[nm=n[sm50[nm. Studied with [fy45,1]*[fy75,
1]Bernac ~in Paris [sm1950[nm=n[sm2[nm, winning Geneva Fest. first prize ~[sm195
1[nm and appearing in concerts in Scandinavia, ~Fr., etc. Opera d;aaebut as Stra
vinsky's Nightingale, ~Holland Fest. [sm1952[nm. First black sin
ger to appear at ~[PN203,0,0,R,I0]La Scala, Milan, [sm1953[nm. Outstanding Zerbi
netta in ~Strauss's [cf2]Ariadne auf Naxos[cf1], Glyndebourne [sm1953[nm. ~CG d;
aaebut [sm1954[nm. Member of NY Met. co. from ~[sm1957[nm.[cm~Dobrowen, Issay [f
y75,1](Alexandrovich) ([cf2]b[cf1] Nizhny ~Novgorod, [sm1891[nm; [cf2]d[cf1] Osl
o, [sm1953[nm). Russ.-born cond., ~pianist, and composer. Studied in Moscow with
 ~Taneyev and Vienna with Godowsky. D;aaebut as ~cond. Moscow [sm1919[nm (Bolsho
y [sm1921[nm). Worked at ~Dresden with Fritz Busch, cond. first Ger. perf. of ~[
cf2]Boris Godunov[cf1] (Dresden, [sm1922[nm). Worked in Vienna, ~Sofia, and Buda
pest, frequent visitor to USA. ~Cond. G;auoteborg S.O. [sm1939[nm, Stockholm Roy
al ~Opera from [sm1941[nm. Comps. incl. concs. for pf. and ~vn. Became Norweg. c
itizen in [sm1930[nms.[cm~Dobrowolski, Andrzej [fy75,1]([cf2]b[cf1] Lemberg, now
 Lw;aaow, ~[sm1921[nm). Polish composer and teacher. Studied ~Krak;aaow Sch. of
Mus. [sm1945[nm=n[sm51[nm (org., singing, cl., ~theory with Loba
czewski, and comp. with Ma~~lawski). Worked for Polish radio experimental ~studi
o. From [sm1954[nm teacher at Warsaw Acad. ~Works incl. sym. vars. ([sm1949[nm),
 sym. ([sm1955[nm), bn. ~conc. ([sm1953[nm), wind trio ([sm1955[nm), [cf2]Music
for Orch. I ~[cf1]([sm1969[nm), [cf2]II [cf1]([sm1971[nm), [cf2]III[cf1] ([sm197
2[nm=n[sm3[nm), [cf2]IV[cf1] ([sm1974[nm), [cf2]V[cf1] ([sm1979[nm); ~[cf2]Music
 for Magnetic Tape No. [sm1[nm [cf1]([sm1963[nm) (reproduced ~on p. [sm223[nm),
songs, and [cf2]musique concr;agete[cf1].[cm~Docteur Miracle, Le[fy75,1] (Doctor
 Miracle). Operetta ~in [sm1[nm act by Bizet to lib. by Battu and Hal;aaevy. Pro
d. ~Paris [sm1857[nm, London [sm1957[nm, also [sm1[nm-act operetta by ~Lecocq, p
rod. Paris [sm1857[nm, the day before Bizet's, ~both works being entries in comp
etition spon~~sored by Offenbach and being adjudged joint ~winners. F. Eng. stag
e p. of Lecocq, London [sm1984[nm.[cm~Doctor of Music.[fy75,1] Highest mus. degr
ee in Brit., ~Commonwealth, and USA. According to individ~~ual u
niv. style, abbreviated to D.Mus., Mus.D., or ~Mus. Doc.[cm~Dodecaphonic [fy75,1
](Gr.). [sm12[nm sounds. Adjective de~~scribing the system of comp. with [sm12[n
m notes ~(dodecaphony). In the dodecaphonic scale the [sm12[nm ~notes are consid
ered to be of equal status and are ~so treated. See [cf2]Atonal [cf1]and [cf2]No
te-row.[cm~Dodge, Charles[fy75,1] ([cf2]b[cf1] Ames, Iowa, [sm1942[nm). Amer. ~c
omposer. Studied Univ. of Iowa [sm1960[nm=n[sm4[nm, Col~~umbia Univ. [sm1964[nm=
n[sm70[nm. Specialist in elec. and ~computer-programmed mus. Works incl. [cf2]Ch
anges[cf1] ~(computer-synthesized sounds on tape), [cf2]Earth's ~Magnetic Field
[cf1](elec. on tape), and [cf2]Humming[cf1] ~(computer-synthesized vocal and ele
c. sounds on ~tape).[cm~Dodgson, Stephen[fy75,1] ([cf2]b[cf1] London, [sm1924[nm
). Eng. ~composer. Studied under R.O. Morris and others. ~Works incl. sym., pf.
qt., guitar concs., songs, and ~pf. pieces. Sym. for wind ([sm1974[nm); [cf2]Epi
grams from a ~Garden[cf1], cont. and cls. ([sm1977[nm). Frequent
 broad~~caster.[cm~Dods, Marcus [fy75,1]([cf2]b[cf1] Edinburgh, [sm1918[nm; [cf2
]d [cf1]Henley-on-~Thames, [sm1984[nm). Scot. cond. Cond. at SW [sm1951[nm=n[sm8
[nm. ~Frequent cond. of ballet, TV opera, West End ~musicals, film mus., etc.[cm
~Doglia[fy75,1] (It.). Sorrow. So [cf2]doglioso[cf1], sorrowful; ~[cf2]dogliosam
ente[cf1], sorrowfully.[xm[cm~[ol0][ep~[xp[te~








[do3][j99]~~~~~~153842_DA02[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmDA[sm02[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm11[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm310[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ep~[ap[j1]Doh.[fy75,1] In Tonic
 sol-fa the spoken name for the ~tonic (first degree) of the scale. [cf2]Doh[cf1
] sharpened ~becomes [cf2]de[cf1].[cm~Dohn;aaanyi, Christoph von[fy75,1] ([cf2]b
[cf1] Berlin, [sm1929[nm). Ger. ~conductor. Grandson of Ern;auo [fy45,1]*[fy75,1
]Dohn;aaanyi. Studied ~Munich [sm1948[nm=n[sm51[nm. Ass. cond. to Solti, Frankfu
rt ~Opera [sm1952[nm. Gen. mus. dir. L;auubeck [sm1957[nm=n[sm63[nm, ~Kassel [sm
1963[nm=n[sm6[nm, Frankfurt [sm1968[nm=n[sm77[nm, Hamburg ~[sm1977[nm=n[sm84[nm.
 Chief cond. W. Ger. Radio S.O. [sm1964[nm=n~[sm70[nm, Cleveland Orch. from [sm1
984[nm. Brit. d;aaebut [sm1965[nm ~(LPO), CG [sm1974[nm ([cf2]Salome[cf1]). Cond
. f.ps. of Henze's ~[cf2]Der junge Lord[cf1] (Berlin [sm1965[nm) and [cf2]Die Ba
ssariden[cf1] ~(Salzburg [sm1966[nm).[cm~Dohn;aaanyi, Ern;auo [f
y75,1](Ernst von) ([cf2]b[cf1] Pozsony, now ~Bratislava, [sm1877[nm; [cf2]d[cf1]
 NY, [sm1960[nm). Hung. composer, ~pianist, and cond. Studied pf. and harmony wi
th ~Karoly Forstner (cath. organist) [sm1885[nm=n[sm94[nm; entered ~Budapest Aca
d. [sm1894[nm. Also studied with d'Albert. ~Concert pianist of int. repute [sm18
97[nm=n[sm1908[nm. London ~d;aaebut [sm1898[nm (Richter concert). Prof of pf., B
erlin ~Hochschule, [sm1908[nm. Dir. Budapest Cons. [sm1919[nm. ~Dir. Hungarian r
adio [sm1931[nm, Hochschule [sm1934[nm. ~Cond. Budapest P.O. [sm1919[nm=n[sm44[n
m. Settled in USA ~[sm1949[nm at Florida State Univ., Tallahassee, as prof. ~of
pf. and comp. His mus. has nationalist flavour ~but much less than that of Bart;
aaok and Kod;aaaly. ~Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Tante Simona[c
f1] (Dresden [sm1913[nm), [cf2]The Tower ~of Voivod[cf1] (Budapest [sm1922[nm),
[cf2]The Tenor [cf1](Budapest ~[sm1929[nm).[ep~[smorch[nm: Sym. in D minor ([sm1
900[nm=n[sm01[nm), in E ([sm1943[nm=n[sm4[nm, ~rev. [sm1953[nm=n
[sm6[nm), pf. conc. No. [sm1[nm ([sm1897[nm=n[sm8[nm), No. [sm2[nm ~([sm1946[nm=
n[sm7[nm), vn. conc. No. [sm1[nm ([sm1914[nm=n[sm15[nm), no. [sm2[nm ~([sm1949[n
m=n[sm50[nm), [cf2]Suite[cf1] in F;yi minor ([sm1908[nm=n[sm9[nm), [cf2]Variatio
ns ~on a Nursery Song[cf1] for pf. and orch. ([sm1913[nm).[ep~[smchamber music[n
m: [sm3[nm str. qts., [sm2[nm pf. quintets, vc. ~sonata, vn. sonata, sextet ([sm
1935[nm).[ep~[smpiano[nm: [sm4[nm [cf2]Klavierst;auucke[cf1], [sm4[nm [cf2]Rhaps
odies, Variations, ~Passacaglia[cf1], and [cf2]Ruralia Hungarica[cf1] ([sm1923[n
m, orch. ~[sm1924[nm).[cm~[j1]Doktor Faust.[fy75,1] Opera in [sm2[nm prols., int
erlude, and [sm3[nm ~scenes by Busoni to his own lib., comp. [sm1916[nm=n[sm24[n
m, ~the final scene being completed by [fy45,1]*[fy75,1]Jarnach. ~Prod. Dresden
(Busch) [sm1925[nm, London (concert) ~[sm1937[nm, NY (concert) [sm1964[nm.[cm~Do
ktor, Paul [fy75,1](Karl) ([cf2]b[cf1] Vienna, [sm1919[nm). Austrian-~born violi
st. Studied va. with father, Karl Doktor ~(violist in Busch Qt.
for over [sm30[nm years). Vienna ~State Acad. of Mus. until [sm1938[nm. Prin. vi
olist ~Lucerne S.O. [sm1940[nm=n[sm7[nm. Won Geneva Int. Fest. ~[sm1942[nm. Went
 to USA [sm1947[nm. Lecturer, violist in ~resident qt., Univ. of Michigan [sm194
8[nm=n[sm51[nm; prof. of ~va., Mannes College of Mus., NY [sm1952[nm. Summer ~fa
culty Colorado College from [sm1957[nm. On staff ~[PN204,0,0,L,I0]Juilliard Sch.
 from [sm1971[nm. Soloist with leading ~orchs., ed. of va. mus.[cm~Dolcan [fy75,
1](Org. stop). Same as [fy45,1]*[fy75,2]Dolce.[cm~Dolce [fy75,1](It.). Sweet (wi
th the implication of `soft' ~also). Hence [cf2]dolcissimo[cf1], very sweet; [cf
2]dolcemente[cf1], ~sweetly; [cf2]dolcezza, [cf1]sweetness.[cm~Dolce[fy75,1] or
[fy65][cf3]dolcan[fy75,1] (org. stop). Soft open metal ~[fy45,1]*[fy75,1]diapaso
n; pipes are of inverted conical shape; [sm8[nm;po ~length and pitch.[cm~Dolente
[fy75,1] (It.). Doleful, sorrowful. So the adverb ~[cf2]dolentemente[cf1] and th
e superlative [cf2]dolentissimo[cf1].[cm~Doles, Johann Friedrich
[fy75,1] ([cf2]b[cf1] Steinbach, [sm1715[nm; [cf2]d[cf1] ~Leipzig, [sm1797[nm).
Ger. composer and court musi~~cian. Pupil of Bach at Leipzig from [sm1739[nm. Ca
ntor, ~Thomas-schule, Leipzig, [sm1756[nm=n[sm89[nm and mus. dir. ~of [sm2[nm pr
in. Leipzig churches. Comp. church mus., ~hpd. sonatas, and songs in light opera
tic style.[cm~Dollarprinzessin, Die[fy75,1] (The Dollar Princess). ~Operetta in
[sm3[nm acts by [fy45,1]*[fy75,1]Fall, to lib. by A.M. Willner ~and F. Gr;auunba
um based on comedy by Gatti-~Trotha. Prod. Vienna [sm1907[nm, London and NY ~[sm
1909[nm.[fj[cm[el-8]~Dolly.[fy75,1] Pf. suite by Faur;aae, Op. [sm56[nm, comp. [
sm1894[nm=n[sm7[nm, ~for [sm4[nm hands. [sm6[nm movements are: [cf2]Berceuse, Mi
-a-ou, ~Le Jardin de Dolly, Kitty-valse, Tendresse, [cf1]and [cf2]Le Pas ~espagn
ol[cf1]. Orch. version by [fy45,1]*[fy75,1]Rabaud, [sm1906[nm.[cm~Dolmetsch, Arn
old[fy75,1] ([cf2]b[cf1] Le Mans, [sm1858[nm; [cf2]d[cf1] Hasle~~mere, [sm1940[n
m). Swiss musician and maker of old ~instr. Studied vn. in Bruss
els with [fy45,1]*[fy75,1]Vieuxtemps, ~later going to RCM, London. Taught vn. Du
lwich ~Coll. [sm1885[nm=n[sm9[nm. Restored old instrs., made his first ~lute [sm
1893[nm, clavichord [sm1894[nm, harpsichord [sm1896[nm. ~Worked on early kbd. in
str. at Chickering's pf. ~factory, Boston, Mass., [sm1902[nm=n[sm9[nm; in charge
 Gaveau's ~hpd. dept., Paris, [sm1911[nm=n[sm4[nm. Settled in Eng. at ~Haslemere
, Surrey, [sm1917[nm, establishing workshop ~for manufacture and repair of clavi
chords, hpds., ~viols, lutes, recorders, etc., and founding ([sm1925[nm) ~annual
 fest. at which old mus. was perf. by ~himself and his family on authentic instr
.[cm~Dolmetsch, Carl [fy75,1](Frederick) ([cf2]b[cf1] Fontenay-s-Bois, ~[sm1911[
nm). Eng. recorder-player, son of Arnold [fy45,1]*[fy75,1]Dol~~metsch. Studied w
ith his father and at [sm15[nm was a ~virtuoso, touring the world. Also makes re
corders ~and plays vn. and lute. Ed. of recorder mus. Dir., ~Haslemere Fest. sin
ce [sm1940[nm. C.B.E. [sm1954[nm.[cm~Dolore[fy75,1] (It.). Sorro
w, dolour, pain. Hence [cf2]doloroso, ~[cf1]dolorous, painful, and the adverb, [
cf2]dolorosamente[cf1].[cm~Dolzfl;auote [fy75,1](Ger.). Same as It. [cf2]Flauto
dolce[cf1], i.e. a soft-~toned org. stop of fl. tone.[cm~Doman;aainska[fy75,1] (
Kob;aaaskova,  Vy;akcichlov;aaa), [fy65,3]Libu;akse[fy75,1] ~([cf2]b[cf1] Brno,
[sm1924[nm).  Cz. soprano. Studied at Brno Cons. ~D;aaebut Brno Opera, becoming
a principal in the ~co. Outstanding exponent of Jan;aaa;akcek heroines. ~Joined
Prague Nat. Th. [sm1955[nm, visiting Edinburgh ~Fest., Holland Fest., and Helsin
ki. Sang at Vienna ~Opera [sm1958[nm=n[sm68[nm.[cm~Domestic Symphony [fy75,1](St
rauss). See [cf2]Symphonia domestica.[cm~Domgraf-Fassb;auander, Willi[fy75,1] ([
cf2]b[cf1] Aachen, [sm1897[nm; [cf2]d[cf1] ~Nuremberg, [sm1978[nm). Ger. bar., f
ather of Brigitte ~[fy45,1]*[fy75,1]Fassbaender. Studied Aachen, making operatic
 ~d;aaebut there [sm1922[nm as the Count in Mozart's [cf2]Figaro[cf1]. ~Prin. ly
ric bar., Berlin State Opera [sm1928[nm=n[sm45[nm. Sang ~Mozart'
s Figaro at opening night of Glynde~~bourne Opera, [sm1934[nm. Chief producer, N
uremberg ~Opera, [sm1953[nm=n[sm62[nm. On retirement became dir. of ~opera studi
es, Nuremberg Cons.[cm~Dominant. [fy75,1]([sm1[nm) [sm5[nmth degree of major or
minor ~scale, thus if the key is B (major or minor) the ~dominant is F;yi. Chord
s built on this note are ~[cf2]dominant chords[cf1], the most important being th
e ~[cf2]dominant seventh [cf1]which is a chord consisting of ~the common chord o
f the dominant with the ~minor [sm7[nmth from its root added, e.g. in key C it i
s ~G=nB=nD=nF. Like all intervals of a [sm7[nmth, the dominant ~[sm7[nmth is a d
iscord. It normally resolves on the Tonic ~or Submediant chord, the note constit
uting the ~[sm7[nmth falling a semitone, allowing the [sm3[nmrd (i.e. the ~leadi
ng note of the scale) to rise to the tonic. More ~rarely the [sm7[nmth can remai
n as a note common to ~the following chord, usually the [sm1[nmst or [sm2[nmnd ~
inversion of the subdominant. The three inver~~sions of the Domi
nant Seventh chord are, of ~course, in common use.[ep~^([sm2[nm) See [cf2]Modes[
cf1].[cm~Dominant Cadence. [fy75,1]Same as Imperfect Cadence, ~or Half Close.[cm
~Domingo, Placido[fy75,1] ([cf2]b[cf1] Madrid, [sm1941[nm). Sp. tenor. ~Lived in
 Mexico from [sm1950[nm, studying pf., cond. ~with Markevich and singing at Mexi
co Nat. Cons. ~D;aaebut as baritone [sm1957[nm in zarzuela. Opera d;aaebut ~as t
en. [sm1960[nm (Alfredo in [cf2]La traviata[cf1]). Member of ~Israeli Nat. Opera
 [sm1962[nm=n[sm5[nm. Amer. d;aaebut [sm1966[nm (NY ~City Opera, in Ginastera's
[cf2]Don Rodrigo[cf1]). NY Met. ~d;aaebut [sm1968[nm ([cf2]Adriana Lecouvreur[cf
1]), Scala, Milan ~[sm1969[nm (as Ernani), CG [sm1971[nm (Cavaradossi). Sang his
 ~first Otello Hamburg [sm1975[nm. Outstanding expo~~nent of lyrical and heroic
roles of It. opera, but ~also a fine Walther in [cf2]Die Meistersinger.[cf1] Has
 also ~cond. opera, incl. [cf2]Die Fledermaus[cf1] at CG, [sm1983[nm.[cm~Domingu
ez, Oralia [fy75,1]([cf2]b[cf1] S. Luis Potosi, Mexico, ~[sm1928
[nm). Mexican mez. Studied Mexico Nat. Cons. ~Operatic d;aaebut, Nat. Opera of M
exico. Has sung ~since [sm1953[nm at world's leading opera houses, also ~concert
s and recitals. CG d;aaebut [sm1955[nm as Sosostris ~in f.p. of Tippett's [cf2]T
he Midsummer Marriage[cf1]. Has ~sung Mrs Quickly in [cf2]Falstaff[cf1] at CG an
d Glynde~~bourne ([sm1967[nm=n[sm8[nm).[cm~Dominicus Mass[fy75,1], or [fy65][cf3
]Pater Dominicus Mass. ~[fy75,1]Mozart's Mass in C, K[sm66[nm ([sm1769[nm). Writ
ten for the ~first celebration of mass by a young priest who ~had taken that nam
e.[cm~Domnich, Heinrich[fy75,1] ([cf2]b[cf1] W;auurzburg, [sm1767[nm; [cf2]d[cf1
] Paris, ~[sm1844[nm). Ger. virtuoso hn.-player. Prof. of hn. Paris ~Cons. [sm17
95=n1817[nm. Comp. concs. and romances ~[PN205,0,0,R,I0]for hn. Wrote first defi
nitive tutor for the hn. ~(Paris, [sm1807[nm).[cm~Domp(e). [fy75,1]See [cf2]Dump
[cf1].[cm~Domra.[fy75,1] Russ. instr., like [fy45,1]*[fy75,1]balalaika, played b
y ~plucking. Has convex back like [fy45,1]*[fy75,1]mandolin.[cm~
Dona nobis pacem[fy75,1] (Give us peace). ([sm1[nm) Part of ~the [fy45,1]*[fy75,
1]Mass.[ep~^([sm2[nm) Cantata by Vaughan Williams to text selected ~from the Bib
le, Whitman, and a parliamentary ~speech by John Bright. Comp. [sm1936[nm, excep
t for ~movt. [cf2]Dirge for Two Veterans [cf1]([sm1911[nm). F.p. Hud~~dersfield
[sm1936[nm, London [sm1936[nm (broadcast), [sm1938[nm ~(public).[cm~Donath, Hele
n [fy75,1](Helen Erwin) ([cf2]b [cf1]Corpus Christi, ~Texas, [sm1940[nm). Amer.
sop. Pupil of Paola Novi~~ckova. Member of Cologne Opera under Sawal~~lisch [sm1
962[nm=n[sm3[nm. Sang in Hanover [sm1963[nm=n[sm4[nm, Salzburg ~Fest. [sm1967[nm
, San Francisco Opera, Vienna Opera. ~Frequent recitalist in Lieder and concert-
hall ~choral works. Husband is Klaus Donath, mus. ~dir. Darmstadt Opera.[cm~Dona
to, Anthony [fy75,1]([cf2]b[cf1] Prague, Nebraska, [sm1909[nm). ~Amer. composer
and violinist. Studied Eastman ~Sch. of Mus. Has held several teaching posts. ~C
omps. incl. [sm2[nm syms., [sm3[nm str. qts., [sm2[nm vn. sonata
s, hn. ~sonata.[cm~Donato[fy75,1] (Donati), [fy65][cf3]Baldassare[fy75,1] ([cf2]
b[cf1] Venice, [cf2]c.[cf1][sm1530[nm; [cf2]d[cf1] ~Venice, [sm1603[nm). It. com
poser and church musician. ~Maestro di cappella, St Mark's, Venice, from ~[sm159
0[nm, having been singer there since [sm1550[nm. Wrote ~madrigals and motets.[cm
~Donatoni, Franco[fy75,1] ([cf2]b[cf1] Verona, [sm1927[nm). It. composer. ~Studi
ed Verdi Cons., Milan, [sm1946[nm=n[sm8[nm, Martini ~Cons., Bologna, [sm1948[nm=
n[sm51[nm, Accademia S. Cecilia, ~Rome, [sm1952[nm=n[sm3[nm (with Pizzetti). Tea
cher since [sm1953[nm ~in various It. cons. Comps. incl. [sm4[nm str. qts., ~con
certino for perc., str., and brass, [cf2]Sinfonia[cf1] for ~str., [sm3[nm [cf2]I
mprovisations [cf1]for pf., [cf2]Doubles[cf1] for hpd., ~[cf2]Doubles II[cf1] fo
r orch., [cf2]Souvenir[cf1] for [sm15[nm instr.[cm~Donaueschingen.[fy75,1] Town
in  W. Germany with a ~mus. tradition going back to [sm17[nmth cent. but ~notabl
e especially for foundation in [sm1921[nm of first ~fest. devote
d exclusively to contemporary mus. ~Fest. programmes [sm1921[nm=n[sm6[nm planned
 mainly by ~Hindemith and Joseph Haas and incl. works by ~K;akrenek and H;aaaba.
 In [sm1926[nm fest. was moved to ~Baden-Baden, with emphasis on chamber opera,
~and in [sm1930[nm to Berlin, where competition from ~New Mus. fest. proved too
great. In [sm1950[nm fest. ~was revived in collab. with S.W. Ger. Radio, ~Baden-
Baden, using radio orch. under Rosbaud ~and, from [sm1964[nm, Ernest Bour. Among
 composers ~brought to the fore at post-[sm1950[nm fests. are Boulez, ~Stockhaus
en, Xenakis, Nono, Ligeti, Berio, Fort~~ner, Penderecki, and Henze. F.ps. there
incl. ~Hindemith's [cf2]Kammermusik No. [sm1[nm[cf1] ([sm1922[nm), Webern's ~[cf
2][sm6[nm Songs[cf1], Op. [sm14[nm ([sm1924[nm), Schoenberg's [cf2]Serenade[cf1]
, ~Op. [sm24[nm ([sm1924[nm), Boulez's [cf2]Po;aaesie pour pouvoir[cf1] ([sm1958
[nm), ~Messiaen's [cf2]Chronochromie[cf1] ([sm1960[nm), and Stockhau~~sen's [cf2
]Mantra[cf1] ([sm1970[nm).[cm~Don Carlos.[fy75,1] [sm5[nm-act op
era by Verdi, to French lib. ~by M;aaery and du Locle after Schiller's play, com
p. ~[sm1866[nm, prod. Paris [sm1867[nm, London CG [sm1867[nm, NY ~[sm1877[nm. Th
is orig. version was heavily cut in Paris; ~the f.p. of the uncut score was in a
 BBC studio ~production in [sm1973[nm, cond. by John Matheson. ~There was a stag
e perf., omitting only the ballet ~[cf2]La P;aaer;aaegrina, [cf1]in Boston, Mass
., [sm1975[nm. In [sm1882[nm=n[sm3[nm ~Verdi reduced it to [sm4[nm acts by omitt
ing Act I (the ~`Fontainebleau scene'), and in [sm1886[nm he restored ~orig. Act
 I to the [sm4[nm-act rev. It. version is properly ~known as [cf2]Don Carlo[cf1]
. In recent years both [sm5[nm- and ~[sm4[nm-act versions have been perf. and te
ndency has ~grown to sing it in Fr. rather than in It. trans.[cm~Done, William [
fy75,1]([cf2]b[cf1] Worcester, [sm1815[nm; [cf2]d[cf1] Worcester, ~[sm1895[nm).
Eng. organist and cond. Organist Worces~~ter Cath., [sm1844[nm=n[sm95[nm, also c
ond. at [sm3[nm Choirs Fests. ~in that period.[cm~Don Giovanni[f
y75,1] ([cf2]Il dissoluto punito, ossia Il Don ~Giovanni[cf1]; The Rake punished
, or Don Giovanni). ~[cf2]Dramma giocoso[cf1] in [sm2[nm acts by Mozart (K[sm527
[nm) to lib. ~by da Ponte based on the Don Juan legend as told ~in Bertati's pla
y ([sm1775[nm). Comp. [sm1787[nm. Prod Prague ~[sm1787[nm, Vienna [sm1788[nm (wi
th extra material), London ~[sm1817[nm, NY [sm1826[nm. See also [cf2]Don Juan[cf
1].[cm~Donington, Robert[fy75,1] ([cf2]b[cf1] Leeds, [sm1907[nm). Eng. author, ~
composer, musicologist, and authority on old ~instr. Studied with A. [fy45,1]*[f
y75,1]Dolmetsch, R. O. Morris, ~and Wellesz. Expert player of viola da gamba; ~w
orked with Dolmetsch at Haslemere. Played in ~Eng. Consort of Viols [sm1935[nm=n
[sm9[nm, London Consort ~[sm1950[nm=n[sm60[nm, Donington Consort [sm1956[nm=n[sm
61[nm. Prof. of ~mus. at several Amer. univs. [sm1961[nm=n[sm71[nm. Comp. [sm12[
nm-~note works. Several books on early mus. but most ~famous books are his [cf2]
Wagner's `Ring' and its ~Symbols[cf1] ([sm1963[nm), a detailed e
xposition of the ~psychological basis of [cf2]Der Ring des Nibelungen[cf1]; ~and
 two major books on performance practice in ~early mus., [cf2]The Interpretation
 of Early Music[cf1] ~(London, [sm1963[nm) and [cf2]Performer's Guide to  Baroqu
e ~Music[cf1] (London, [sm1973[nm). O.B.E. [sm1979[nm.[cm~Donizetti, Gaetano[fy7
5,1] ([cf2]b[cf1] Bergamo, [sm1797[nm; [cf2]d[cf1] Ber~~gamo, [sm1848[nm). It. c
omposer, principally of operas. ~Pupil of [fy45,1]*[fy75,1]Mayr at Bergamo and o
f Padre Mattei ~at Bologna. Because of parental opposition to ~mus. career, he j
oined the Austrian army, ~composing in his off-duty spells. His opera [cf2]Enric
o ~di Borgogna[cf1] was prod. Venice, [sm1818[nm, and his [sm4[nmth ~opera, [cf2
]Zoraida di Granata[cf1] was so successful in ~Rome in [sm1822[nm that he obtain
ed his release from ~the army. In the next [sm8[nm years he wrote nearly [sm30[n
m ~operas which were perf. throughout It. His first ~int. success was with [cf2]
Anna Bolena[cf1] ([sm1830[nm), and this ~was followed by the com
edy [cf2]L'Elisir d'Amore[cf1] ~([sm1832[nm), and by his masterpiece [cf2]Lucia
di Lammer~~moor[cf1] ([sm1835[nm). For Paris, [sm1840[nm, he comp. the light-~he
arted [cf2]La Fille du R;aaegiment[cf1] and the large-scale [cf2]La ~Favorite[cf
1]. His last success was also in Paris, with ~[PN206,0,0,L,I0][cf2]Don Pasquale[
cf1] in [sm1843[nm. Donizetti was prof. of ~counterpoint at Naples Cons. [sm1835
[nm=n[sm7[nm, becoming ~dir. in [sm1837[nm. He became paralysed and mentally ~un
balanced as a result of syphilis in [sm1844[nm.[ep~^Donizetti's ability to write
 at great speed has ~prejudiced attitudes to the quality of his work; so ~has th
e fact that he wrote specifically for a ~generation of great singers such as Gri
si, Mario, ~Lablache, and Tamburini. However, though he ~catered for their abili
ty and agility, the tendency ~to underrate the melodic and dramatic content ~of
his operas has only recently been corrected by ~a more discriminating willingnes
s to recognise ~Donizetti's brilliance as a rival in comic opera
 to ~Rossini; and to acknowledge the debt, in the ~form of recognizable borrowin
gs, owed to him ~by Verdi, who clearly appreciated his dramatic ~mastery. Recent
ly several of Donizetti's lesser-~known operas have been revived and found to ~h
ave unsuspected merit. He also wrote church ~mus., [sm12[nm str. qts., and some
orch. works. A list of ~his operas follows:[ep~^[cf2]Enrico di Borgogna[cf1], [c
f2]Una follia [cf1]([sm1818[nm); [cf2]Il falegname ~di Livonia, Le nozze in vill
a[cf1] ([sm1819[nm); [cf2]Zoraida di ~Granata, La zingara, La lettera anonima, C
hiara e ~Serafina[cf1] ([sm1822[nm); [cf2]Il fortunato inganno, Alfredo il ~Gran
de[cf1] ([sm1823[nm); [cf2]L'ajo nell'imbarazzo, Emilia di ~Liverpool [cf1]([sm1
824[nm); [cf2]Alahor in Granata, Elvida, Ga~~briella di Vergy[cf1] ([sm1826[nm);
 [cf2]Olivo e Pasquale, Il ~borgomastro di Saardam, Le convenienze ed inconven~~
ienze teatrali, Otto mesi in due ore[cf1] ([sm1827[nm); [cf2]Alina, ~regina di G
olconda, Gianni di Calais, Il Giovedi ~Grasso, L'esule di Roma[c
f1] ([sm1828[nm); [cf2]Il Paria, Elisabetta, ~o Il castello di Kenilworth[cf1] (
[sm1829[nm); [cf2]Il diluvio universale, ~I pazzi per progetto, Imelda de' Lambe
rtazzi, [fy45,1]*[fy75,2]Anna ~Bolena[cf1] ([sm1830[nm); [cf2]Gianni di Parigi,
La Romanziera, ~Francesca di Foix[cf1] ([sm1831[nm); [cf2]Fausta, Ugo, conte di
~Parigi, L'[fy45,1]*[fy75,2]elisir d'amore, Sancia di Castiglia [cf1]([sm1832[nm
); ~[cf2]Il furioso, Parisina, Torquato Tasso, [fy45,1]*[fy75,2]Lucrezia Borgia[
cf1] ~([sm1833[nm); [cf2]Rosmonda d'inghilterra, [fy45,1]*[fy75,2]Maria Stuarda,
 ~Gemma di Vergy[cf1] ([sm1834[nm); [cf2]Marino Faliero, [fy45,1]*[fy75,2]Lucia
di ~Lammermoor[cf1] ([sm1835[nm); [fy45,1]*[fy75,2]Belisario, Il campanello di ~
notte, L'assedio di Calais, Betly[cf1] ([sm1836[nm); [fy45,1]*[fy75,2]Roberto ~D
evereux, Pia de' Tolomei[cf1] ([sm1837[nm); [cf2]Poliuto, Maria di ~Rudenz[cf1]
([sm1838[nm); [cf2]Le [fy45,1]*[fy75,2]Duc d'Albe[cf1] ([sm1839[nm); [cf2]La [fy
45,1]*[fy75,2]Fille du ~r;aaegiment, La [fy45,1]*[fy75,2]Favorit
e[cf1] ([sm1840[nm); [cf2]Adelia, o La Figlia ~dell'arciere, Rita, ou le mari ba
ttu, Maria Padilla[cf1] ~([sm1841[nm); [fy45,1]*[fy75,2]Linda di Chamounix, Cate
rina Cornaro[cf1] ~([sm1842[nm); [fy45,1]*[fy75,2]Maria di Rohan, [fy45,1]*[fy75
,2]Don Pasquale, Dom ~S;aaebastien, roi de Portugal[cf1] ([sm1843[nm).[cm~Don Ju
an. [fy75,1]([sm1[nm) The legend of the libertine Don ~Juan has been the basis o
f many plays since that ~of Tirso di Molina in [sm1630[nm, and of many operas, ~
Mozart's [cf2]Don Giovanni[cf1] being the best-known. ~Other composers who have
treated the subject ~incl. Melani, Gazzaniga, Fabrizi, Federici, Dibdin, ~Pacini
, Dargomyzhsky, Delibes, Alfano, and ~Goossens.[ep~^([sm2[nm) Tone poem, Op. [sm
20[nm, by Richard Strauss, based ~on poem by Lenau, comp. [sm1888[nm, f.p. Weima
r ~[sm1889[nm.[ep~^([sm3[nm) Ballet-pantomime in [sm3[nm acts, music by Gluck, ~
lib. by Calzabigi, based on Moli;agere. Prod. Vienna ~[sm1761[nm.[cm~Donna Diana
.[fy75,1] Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Rezni;akcek
to ~lib. by composer based on Moreto's comedy [cf2]El ~Lindo Don Diego [cf1]([sm
1654[nm). Prod. Prague [sm1894[nm. Rev. ~[sm1908[nm and [sm1933[nm.[cm~Donohoe,
Peter[fy75,1] ([cf2]b[cf1] Manchester, [sm1953[nm). Eng. ~pianist. Studied at Ch
etham's Sch. of Mus., ~RMCM, and RNCM. Studied with Deryck ~[chWyndham [sm1966[n
m=n[sm76[nm and then with Yvonne ~Loriod in Paris. Recital d;aaebut, Manchester.
 Joint ~silver medal, Moscow Tchaikovsky Comp. [sm1982[nm.[cm~Don Pasquale. [fy7
5,1][sm3[nm-act opera buffa by Donizetti to ~lib. by Ruffini and composer based
on Anelli's [cf2]Ser ~Marc' Antonio[cf1] ([sm1810[nm) and ultimately derived fro
m ~Ben Jonson's [cf2]Epicene[cf1]. Prod. Paris and London ~[sm1843[nm, New Orlea
ns [sm1845[nm.[cm~Don Quichotte[fy75,1] (Don Quixote). Opera in [sm5[nm acts ~by
 Massenet to lib. by Henri Cain after Le ~Lorrain's play based on Cervantes's no
vel. Comp. ~[sm1908=n9[nm. Prod. Monte Carlo [sm1910[nm, London [sm1912[nm, ~NY
[sm1914[nm.[cm~Don Quichotte ;aga Dulcin;aaee.[fy75,1] [sm3[nm s
ongs for v. and ~pf. by Ravel to poems by Paul Morand. Comp. ~[sm1932=n3[nm (his
 last work). Also version for v. and ~orch. Written for a film starring Chaliapi
n.[cm~Don Quixote. [fy75,1]([sm1[nm) Cervantes's novel, pubd. in [sm2[nm ~parts
([sm1605[nm, [sm1615[nm), has been the inspiration of ~many mus. works. Operas o
n the subject have ~been comp. by F;auortsch, Conti, Boismortier, ~Paisiello, Pi
ccinni, Salieri, Huba;akcek, Garc;aaia, Men~~delssohn, Mercadante, Donizetti, Ma
cfarren, ~Clay, Jaques-Dalcroze, Heuberger, and Falla. ~Incidental mus. to a pla
y by D'Urfey was written ~by Purcell, [sm1694[nm=n[sm5[nm.[ep~^([sm2[nm) Tone-po
em, Op. [sm35[nm, by R. Strauss, comp. ~[sm1896[nm=n[sm7[nm, f.p. Cologne [sm189
8[nm. Introduction, theme ~and [sm10[nm variations, and finale, with solo parts
for ~vc. and va. Sub-titled [cf2]Fantastische Variationen ;auuber ~ein Thema rit
terlichen Charakters[cf1] (Fantastic Varia~~tions on a theme of knightly charact
er).[ep~^([sm3[nm) Ballets on the subject are also numerous, ~in
cluding Petipa's of [sm1869[nm with mus. by Minkus. ~More recent ballet mus. has
 been composed by ~Petrassi ([sm1947[nm), Ibert ([sm1950[nm), and [fy45,1]*[fy75
,1]Gerhard ([sm1950[nm, ~SW, choreog. N. de Valois).[xm[cm~[ol0][ep~[xp[te~










[do3][j99]~~~~~~153842_DA03[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmDA[sm03[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm12[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm352[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ap[j1]Donska, Maria[fy75,1] ([c
f2]b[cf1] L;aaod;aaz, [sm1912[nm). Polish pianist. ~Studied in Berlin with [fy45
,1]*[fy75,1]Schnabel, later at RCM, ~London. Prof. of pf., RCM.[cm~Dopo[fy75,1]
(It.). After.[cm~Doppel [fy75,1](Ger.). Double.[cm~Doppel B [fy75,1]or [fy65][cf
3]Doppel-be[fy75,1] (Ger.). Double flat.[cm~Doppelchor [fy75,1](Ger.). Double ch
orus.[cm~Doppelfagott [fy75,1](Ger.). Double Bassoon.[cm~[PN207,0,0,R,I0]Doppelf
l;auote [fy75,1](Ger.). Double flute. Wooden org. ~stop; sometimes end-plugged p
ipes: generally [sm8[nm;po ~pitch (name comes from pipes having [sm2[nm mouths,
~one on each side, producing a loud and pure fl. ~tone).[cm~Doppelfuge [fy75,1](
Ger.). Double fugue.[cm~Doppelkreuz[fy75,1] (Ger.). Double sharp.[cm~Doppelschla
g [fy75,1](Ger.). Double stroke, i.e. the ~[fy45,1]*[fy75,1]turn
 (ornament).[cm~Doppeltaktnote[fy75,1] (Ger.). Double-measure-note, or ~two-bar
note. The Breve, or Double Whole-note.[cm~Doppelt so schnell[fy75,1] (Ger.). Twi
ce as fast.[cm~Doppio[fy75,1] (It.). Double. So [cf2]Doppio diesis, Doppio ~bemo
lle[cf1], double sharp, double flat; [cf2]Doppio movi~~mento, [cf1]double speed
(i.e. twice the preceding ~speed).[cm~Doppione. [fy75,1]Rare medieval double-bor
e reed-cap ~wind instr., though experts have discovered that ~it was later blown
 directly. Had parallel conical ~bores, each with a basic set of [sm7[nm finger-
holes.[cm~Doppler, [fy75,1](Albert)[fy65,3] Franz[fy75,1] ([cf2]b[cf1] Lemberg,
[sm1821[nm; [cf2]d[cf1] ~Baden, nr. Vienna, [sm1883[nm). Austrian flautist, cond
., ~and composer. First fl., Pest Opera orch. [sm1847[nm=n~[sm58[nm, Vienna Oper
a orch. from [sm1858[nm. Prof. of fl., ~Vienna Cons. from [sm1865[nm. Cond. ball
et at Vienna ~Opera. Comp. [sm7[nm operas, ballets, fl. concs., etc.[cm~Doppler,
 Karl[fy75,1] ([cf2]b[cf1] Lemberg, [sm1825[nm; [cf2]d[cf1] Stut
tgart, ~[sm1900[nm). Austrian flautist, composer, and cond., ~brother of above.
Cond. at Pest Opera and at ~Vienna Opera [sm1862[nm=n[sm5[nm. Court cond., Stutt
gart, ~[sm1865[nm=n[sm98[nm. Comp. operas, ballets, and fl. mus.[cm~Dorabella. [
fy75,1]The [sm10[nmth (Intermezzo) of Elgar's ~[cf2]Enigma Variations. [cf1]Mus.
 portrait of Dora Penny ~(Mrs Richard Powell), nickname being reference ~to [cf2
]Cos;agi fan tutte[cf1]. Mrs Powell's book [cf2]Edward Elgar: ~Memories of a Var
iation [cf1](London [sm1937[nm) gives ~interesting domestic glimpses of the comp
oser.[cm~Dorati, Antal[fy75,1] ([cf2]b[cf1] Budapest, [sm1906[nm). Hung.-born ~c
ond. and composer (Amer. citizen since [sm1947[nm). ~Studied Budapest Acad. and
Univ., and Vienna ~Univ. Early career as opera cond. in Budapest ~(d;aaebut [sm1
924[nm), Dresden, and Munster, then [sm2[nmnd ~cond. Ballet Russe de Monte Carlo
 [sm1935[nm=n[sm7[nm, cond. ~orig. Ballet Russe [sm1938[nm=n[sm41[nm, and Ballet
 Th. [sm1941[nm=n~[sm5[nm. Prin. cond. Dallas S.O. [sm1945[nm=n[
sm9[nm, Minneapolis ~S.O. [sm1949[nm=n[sm60[nm, BBC S.O. [sm1962[nm=n[sm6[nm, St
ockholm P.O. ~[sm1966[nm, National Sym. of Washington D.C.  [sm1970[nm=n~[sm6[nm
, RPO [sm1975=n8[nm, Detroit S.O. [sm1977=n81[nm. Comp. ~sym., vc. conc., cantat
a, ballet, and str. qt. Arr. ~ballet mus. Cond. recording with Philharmonia ~Hun
garica of complete Haydn syms. and several ~Haydn operas. Hon. K.B.E. [sm1983[nm
.[cm~Dorfmann, Ania [fy75,1]([cf2]b[cf1] Odessa, [sm1899[nm). Russ. pianist. ~St
udied in Paris. European tours [sm1920[nm=n[sm6[nm; later ~career mainly in USA.
 Teacher at Juilliard Sch. ~from [sm1966[nm.[cm~Dorfmusikanten Sextett[fy75,1] (
Mozart). See [cf2]Musi[chcal ~Offering[cf1].[cm~Dorian Mode.[fy75,1] The Mode re
presented by the ~white keys of the pf. beginning at D. See [cf2]Modes[cf1].[cm~
Dorian [fy75,1]([fy65][cf3]Doric[fy75,1]) [fy65][cf3]Toccata and Fugue. [fy75,1]
Name ~given to a Toccata and Fugue in D minor by Bach ~because orig. copy omitte
d key-signature and ~thus suggested Dorian Mode.[cm~Dorward, Dav
id [fy75,1](Campbell) ([cf2]b[cf1] Dundee, [sm1933[nm). ~Scot. composer. Studied
 St Andrews Univ., RAM. ~Joined mus. staff, BBC Scotland, [sm1962[nm. Works ~inc
lude [sm1[nm-act opera [cf2]Tonight, Mrs Morrison[cf1], sym., ~vc. conc., vn. co
nc., str. qts., songs, etc.[cm~Dot, Dotted Note. [fy75,1]Mark in notation. ([sm1
[nm) Placed ~above a note indicates [fy45,1]*[fy75,2]staccato[cf1]. ([sm2[nm) Pl
aced after a ~note lengthens it by half. But in music up to and ~including Bach
and Handel the addition intended ~was merely [cf2]approximately [cf1]half, somet
hing being ~left to the decision of the performer, e.g. a dotted ~quaver and a s
emiquaver in one part, played ~against a triplet of quavers in another part, mig
ht ~accommodate itself to that latter rhythm,[ep~[ol46][ep~being rendered thus[e
p~[ol45][ep~Also in a very slow movement ___ might be[fj~[ol7][ep~ rendered ___.
 It was, indeed, to meet this ~latter case that the [smdouble dot[nm (the second
 dot ~adding half the value of the first one) was in [sm1769[nm
~introduced by Mozart's father, Leopold Mozart.[cm~Doubl;aae [fy75,1](Fr.). The
[fy45,1]*[fy75,1]turn (ornament).[cm~Double.[fy75,1] ([sm1[nm) (Fr.). A variatio
n, especially one with ~elaborate ornamentation. Similar to Eng. `divi~~sion'.[e
p~^([sm2[nm) Indicates a lower octave, e.g. double bassoon ~plays an octave belo
w bassoon.[ep~^([sm3[nm) Singers who perform two roles in one work ~and instrume
ntalists who play more than one ~instr. in a comp. e.g. fl. doubles piccolo.[cm~
Double Action.[fy75,1] The mechanism of a [fy45,1]*[fy75,1]harp ~invented by [fy
45,1]*[fy75,1];aaErard, so called to distinguish it ~from earlier models on whic
h pitches could be ~raised only by a semitone.[cm~Double Appoggiatura. [fy75,1]S
ee [cf2]Acciaccatura[cf1].[cm~Double Bar.[fy75,1] The double perpendicular line
~marking the end of a comp. or of some section ~thereof. (It may or may not coin
cide with a single ~bar line and if it does not do so has no rhythmic ~[PN208,0,
0,L,I0]function.) Usually reinforced when they mark ~the end of
the work. With dots on either side of ~the lines they indicate that the previous
 or ~subsequent section is to be repeated.[cm~Double Bass [fy75,1](or Contrabass
). Largest and lowest-~pitched of bowed string instruments, derived ~from the [f
y45,1]*[fy75,2]Violone[cf1]. Formerly had [sm3[nm strings but ~now generally has
 [sm4[nm, usually tuned at the interval ~of a [sm4[nmth. Compass from E just ove
r an octave ~below bass stave upwards for nearly [sm3[nm octaves. ~Some instrume
nts have [sm5[nm strings, extra string ~sounding B below bottom E. Generally an
~orchestral instrument, but occasionally used in ~chamber music and very occasio
nally as solo ~concerto instrument. Used in jazz and dance ~bands, mostly pizzic
ato.[cm~Double-Bass Clarinet. [fy75,1]Also known as pedal cl., ~or contrabass cl
., in BB;yh. Mainly used by military ~bands. Part written [sm9[nmth higher than
sounds.[cm~Double Bassoon [fy75,1](Contrabassoon; Fr. `Contrebas~~son'; Ger. `Ko
ntrafagott'). Wind instr. octave ~deeper than [fy45,1]*[fy75,1]b
assoon and notated octave higher ~than it sounds, though Wagner and Debussy ~som
etimes wrote for it at pitch. Some baroque ~examples were made but standard mode
rn design ~is Heckel's ([sm1876[nm). Conical bore tube is [sm18[nm;po long, ~wit
h [sm5[nm parallel sections connected by [sm4[nm U-bends. ~Crook fits into metal
 tube. Brahms scored for it ~in his [sm1[nmst Sym. In Strauss's [cf2]Salome [cf1
]there is a long ~solo for the instr. when Jokanaan descends into ~his cell.[cm~
Double-Bass Saxhorn.[fy75,1] In B;yh or C. Almost ~identical with B;yh bass tuba
, but with range ~complete at bottom. Sometimes treated as [fy45,1]*[fy75,1]tran
s~~posing instr.[cm~Double-Bass [fy75,1](Contrabass) [fy65][cf3]Trombone.[fy75,1
] Pitched ~an octave below ten. tb.[cm~Double-Bass[fy75,1] (Contrabass) [fy65][c
f3]Tuba.[fy75,1] One of the tuba ~family, pitched an octave below ten. tuba. Has
 ~wide conical bore and cup-shaped mouthpiece. ~Wagner used one to strengthen th
e bass of his [sm8[nm-~part harmony by doubling it an octave low
er.[cm~Double-Bass Viol.[fy75,1] Also known as Violone or ~Consort Viol. Sounded
 an octave below bass viol. ~See [cf2]Viol[cf1].[cm~Double-b;aaemol [fy75,1](Fr.
). Double flat.[cm~Double C. [fy75,1]Sometimes used to indicate the note ~C, [sm
2[nm lines below the bass stave.[cm~Double Choir ([fy75,1]or[fy65][cf3] Chorus).
[fy75,1] Ch. arranged in [sm2[nm ~equal and complete bodies with a view not mere
ly ~to singing in [sm8[nm parts but also to responsive effects, ~etc. Much used
by Venetian composers of [sm16[nmth ~and [sm17[nmth cents.[cm~Double Concerto.[f
y75,1] A conc. with [sm2[nm prin. instr., ~either of the same kind, as in double
 pf. conc., or ~different, as in Brahms's conc. for vn. and vc. Also ~used to de
note use of [sm2[nm orchs. (generally str.), e.g. ~Tippett's Conc. for double st
r. orch.[cm~Double Counterpoint.[fy75,1] Invertible [fy45,1]*[fy75,1]counterpoin
t ~concerning [sm2[nm vv. (permitting vv. to change places, ~the higher becoming
 lower and vice versa).[cm~Double-croche[fy75,1] (Fr.). Double-h
ook, i.e. semi~~quaver or [sm16[nmth-note.[cm~Double-Curtal.[fy75,1] [sm16[nmth-
cent. instr., being a larger ~or different size of the [fy45,1]*[fy75,1]curtal o
r dulcian, ancestor ~of the bn. In Eng. it meant the bass curtal.[cm~Double-di;a
gese[fy75,1] (Fr.). Double sharp.[cm~Double Dot. [fy75,1]See [cf2]Dot.[cm~Double
 English Horn.[fy75,1] Org. stop of [fy45,1]*[fy75,1]Hope-Jones ~invention: [sm1
6[nm;po [fy45,1]*[fy75,2]chorus reed.[cm~Double Flat.[fy75,1] The sign ;yh;yh wh
en placed before a ~note, indicates that its pitch is lowered a whole-~step or t
one. The resultant note has a simpler ~enharmonic name, e.g. on the pf., A;yh;yh
 is G;yj. See ~[cf2]Inflection of notes.[cm~Double Fugue. [fy75,1]A [fy45,1]*[fy
75,1]fugue with [sm2[nm subjects. There ~are [sm2[nm types: ([sm1[nm) in which t
he subjects appear from ~the start, and ([sm2[nm) in which the first subject is
~treated for a time, the other then appearing and ~being similarly treated, afte
r which the [sm2[nm are ~combined.[cm~Double-handed.[fy75,1] Ter
m applied to band of players ~that is convertible from wind to str. or to full ~
orch; or to an instrumentalist who can play [sm2[nm ~different instr.[cm~Double
Harp.[fy75,1] Early form of harp which had ~only [sm2[nm rows of str., diatonica
lly tuned. Interme~~diate semitones could be obtained only by ~shortening the le
ngth of a str. with the thumb ~while plucking it with a finger. Not the same as
~[fy45,1]*[fy75,2]Double Action[cf1] Harp.[cm~Double Horn. [fy75,1]Valve [fy45,1
]*[fy75,1]horn pitched in both F ~and B;yh alto.[cm~Double Octaves.[fy75,1] In p
f.-playing, octaves played ~simultaneously in both hands.[cm~Double Open Diapaso
n.[fy75,1] [fy45,1]*[fy75,1]Diapason org. stop of ~[sm16[nm;po pitch.[cm~Double
Organ. [fy75,1]([sm1[nm, obsolete). Either one with a ~full kbd., descending to
[sm8[nm;po C or [sm12[nm;po G, or one with ~[sm2[nm manuals.[ep~^([sm2[nm, moder
n, sometimes used in USA). Org. with ~separate `sanctuary' division.[cm~Double P
edal.[fy75,1] Harmonic [fy45,1]*[fy75,1]pedal in which [sm2[nm ~
notes are held, generally tonic and dominant.[cm~Double Reed.[fy75,1] Wind instr
. such as ob., cor anglais, ~Heckelphone, bn., and double bn., whose mouth~~piec
e consists of [sm2[nm pieces of cane between which ~air is blown so that the [sm
2[nm reeds vibrate against ~each other.[cm~[PN209,0,0,R,I0]Double-sharp.[fy75,1]
 The sign x which, placed before ~a note, raises it by a whole-step or tone. As
with ~[fy45,1]*[fy75,1]Double-flat, the resultant note can be more ~simply named
, e.g. F x is G;yj on the pf. See ~[cf2]Inflection of Notes.[cf1][cm~Double Stop
ping.[fy75,1] Term used of str. instr., to ~indicate stopping and playing on [sm
2[nm str. simulta~~neously to produce a [sm2[nm-part effect. Also used, ~loosely
, when one or both of the str. are `open'.[cm~Double Suspension.[fy75,1] Harmoni
c term, when [sm2[nm ~notes of a chord are held over as a momentary ~discordant
part of the following combination. ~Resolved by moving to notes which form real
~part of [sm2[nmnd chord.[cm~Double Tonguing.[fy75,1] Fast metho
d of articulation ~while playing wind instr. such as fl. and piccolo. ~Obtained
by alternation of the sounds T and K or ~D and G when the mouth is applied to th
e ~embouchure. See [cf2]Tonguing[cf1].[cm~Double Virginals.[fy75,1] A virginals
of which the kbd. ~descended to C below bass stave.[cm~Double Whole-Note.[fy75,1
] Amer. term for the [fy45,1]*[fy75,1]Breve.[cm~Doubling.[fy75,1] Term meaning (
[sm1[nm) Duplication of a ~melody by several performers, e.g. `the solo ~soprano
's part is doubled by the oboe'.[ep~^([sm2[nm) Duplication of instr. by one play
er, the ~commonest orch. example being the doubling of ~piccolo by one of the fl
autists, i.e. the [sm2[nmnd flautist ~plays piccolo instead of fl. when required
.[cm~Dou;alcaine. [fy75,1]Medieval reed instr. about which ~information is very
scanty, but it is thought to ~have been of ten. pitch and soft in tone.[cm~Dougl
as, Nigel[fy75,1] ([cf2]b[cf1] Lenham, Kent, [sm1934[nm). Eng. ~ten. Studied Oxf
ord and Vienna Mus. Acad. Prin. ~ten. Z;auurich Opera House from
 [sm1964[nm; Vienna ~Volksoper [sm1964[nm=n[sm8[nm, Scottish Opera [sm1968[nm=n[
sm71[nm, ~WNO [sm1971[nm. Expert on Viennese operetta. Fre~~quent broadcaster of
 mus. talks.[cm~Douglas, [fy75,1](Richard[cf1]) [fy65][cf3]Roy [fy75,1]([cf2]b[c
f1] Tunbridge Wells, ~[sm1907[nm). Eng. composer, arranger, and mus. ed. ~Orch.
of Chopin for ballet [cf2]Les Sylphides [cf1]used by ~many cos. Worked closely w
ith Vaughan ~[chWilliams [sm1944[nm=n[sm58[nm, and wrote book about their ~assoc
. [cf2]Working with RVW [cf1]([sm1972[nm). Comp. and arr. ~of mus. for brass ban
d.[cm~Doux, Douce[fy75,1] (Fr.). Sweet. [cf2]Doucement[cf1], sweetly.[cm~Dowland
, John[fy75,1] ([cf2]b[cf1] London, ?[sm1563[nm; [cf2]d[cf1] London, ~[sm1626[nm
). Eng. composer, singer, and lutenist. From ~[sm1580[nm to [sm1584[nm was in se
rvice of Brit. Ambassador ~to Paris where he became R.C. Mus.B. Oxon ~[sm1588[nm
. Lutenist at courts at Brunswick, Hesse, ~Venice, Florence, and Nuremberg, [sm1
595[nm. Lutenist ~to King of Denmark [sm1598[nm=n[sm1606[nm. Ret
urned to ~London [sm1606[nm; musician to James I [sm1612[nm. Though ~noted in hi
s day as a virtuoso lutenist and singer, ~he is now recognized as a great compos
er, whose ~songs melodically and harmonically advanced the ~`art song'. His prin
ted songs numbered [sm87[nm of ~which [sm84[nm appeared in [sm4[nm vols. ([sm3[n
m[cf2] Books of Songs or ~Ayres[cf1], [sm1597[nm, [sm1600[nm, [sm1603[nm, and [c
f2]A Pilgrims Solace[cf1], ~[sm1612[nm), and [sm3[nm in his son Robert's [cf2]Mu
sical Banquet[cf1], ~[sm1614[nm. Among his finest songs are [cf2]Awake, Sweet ~L
ove; Come again Sweet Love; Fine Knacks for Ladies; ~Flow my Tears; Flow not so
fast, ye Fountains; In ~Darkness let me Dwell; Sweet, stay awhile; Weep ye ~no m
ore, sad Fountains; Welcome black night.[cf1] Among ~his other comps. are the [f
y45,1]*[fy75,2]Lachrimae [cf1]of [sm1604[nm, ~which contains [sm21[nm instr. ite
ms incl. the celebrated ~[cf2]Semper Dowland semper dolens,[cf1] and many pieces
 ~for solo lute. These include[cf2] Walsingham, Loth to ~Depart,
 My Lady Hunsdons Puffe, Queen Elizabeths ~Galliard, [cf1]and[cf2] Dowlands Adew
[cf1].[cm~Down-Beat.[fy75,1] Downward movement of cond's. ~stick or hand, in par
ticular when indicating first ~beat of the bar. See also [cf2]Up-beat.[cm~Down b
y the Greenwood Side.[fy75,1] Dramatic ~pastoral by [fy45,1]*[fy75,1]Birtwistle
to lib. by Michael Nyman ~for sop., mime and speech, and chamber ens. ~Comp. [sm
1969[nm.[cm~Downes, Edward[fy75,1] ([cf2]b[cf1] Birmingham, [sm1924[nm). Eng. ~c
ond. and hn.-player. Studied Birmingham Univ. ~and RCM, later with H. [fy45,1]*[
fy75,1]Scherchen. Ass. cond. ~Carl Rosa Opera [sm1950[nm=n[sm1[nm; staff cond. C
G [sm1951[nm=n~[sm69[nm. First Eng. cond. after [sm1945[nm to conduct full ~[cf2
]Ring[cf1] cycle ([sm1967[nm); mus. dir. and chief cond. ~Australian Opera [sm19
72[nm=n[sm6[nm. Trans. Russ. libs., e.g. ~[fy45,1]*[fy75,2]Khovanshchina[cf1] an
d [fy45,1]*[fy75,2]Katerina Izmaylova.[cf1] Guest ~cond. leading sym. orchs. Pri
n. cond., BBC ~Philharmonic from [sm1980[nm. Cond. f.p. of Maxwe
ll ~Davies's [cf2]Taverner[cf1], [sm1972[nm, and first opera perf. in ~Sydney Op
era House, ([cf2]War and Peace[cf1], [sm28[nm Sept. ~[sm1973[nm).[cm~Downes, Ral
ph [fy75,1](William) ([cf2]b[cf1] Derby, [sm1904[nm). Eng. ~organist. Studied RC
M. Lecturer Princeton Univ., ~NJ, [sm1928[nm=n[sm35[nm; organist London Oratory
from ~[sm1936[nm; designed many important orgs. incl. for ~Royal Festival Hall.
Prof. RCM from [sm1954[nm. C.B.E. ~[sm1969[nm.[cm~Doxologia, Doxology [fy75,1] (
from the Gr. [cf2]Doxa[cf1], ~`Glory', and [cf2]Logos [cf1]`Discourse'). Any lit
urgical ~formula of praise, as the [cf2]Gloria patri [cf1](`Glory be to ~the Fat
her', etc., i.e. the `Lesser Doxology', or ~`Doxologia parva', used at the end o
f the Psalms), ~or the [cf2]Gloria in excelsis Deo [cf1](`Glory to God in the ~h
ighest'=mthe `Greater Doxology', or `Doxologia ~magna').[ep~^The `Greater Doxolo
gy' is a part of the Roman ~Mass (sung to differing plainsong according to ~the
feast); properly it should be left to the priest ~until the word
s `Et in terra pax', when the choir ~should enter, but composers such as Bach, M
ozart, ~and Beethoven have ignored this. In its Eng. ~wording the `Greater Doxol
ogy' is a part of the ~Anglican Communion Service.[cm~D'Oyly Carte, Richard [fy7
5,1]([cf2]b [cf1]London, [sm1844[nm; [cf2]d ~[cf1]London, [sm1901[nm). English i
mpresario and producer ~of light operas, who brought together the librettist ~[P
N210,0,0,L,I0]Gilbert and the composer Sullivan for [cf2]Trial by ~Jury[cf1], [s
m1875[nm. Partnership so successful he built ~theatre, the Savoy, which opened [
sm1881[nm with ~[cf2]Patience[cf1]. His attempt to launch English grand ~opera w
ith Sullivan's [cf2]Ivanhoe[cf1], [sm1891[nm, failed. His ~widow Helen ([cf2]d [
cf1][sm1913[nm) continued management ~of `Savoy operas', followed by son Rupert
([sm1876[nm=n~[sm1948[nm) and granddaughter Bridget. The Gilbert ~and Sullivan o
peras were generally presented in ~Britain professionally by the D'Oyly Carte Op
era ~Co. until [sm1982[nm (they were known more widely as ~`D'Oy
ly Carte operas' than as `Savoy operas') but ~the D'Oyly Carte's exclusive owner
ship of them ~ended with expiry of Sullivan's copyright in [sm1950[nm ~and other
 opera companies have produced them, ~e.g. Sadler's Wells.[cm~Draghi, Antonio[fy
75,1] ([cf2]b[cf1] Rimini, [cf2]c[cf1].[sm1635[nm; [cf2]d[cf1] Vienna, ~[sm1700[
nm). Austrian composer and administrator of ~It. birth. Worked in Venice, went t
o Vienna ~[sm1658[nm. Kapellmeister to Viennese court from ~[sm1682[nm. Comp. op
eras, oratorios and cantatas, ~numerous serenades, etc.[cm~Draghi, Giovanni Batt
ista[fy75,1] ([cf2]b c.[cf1][sm1640[nm; [cf2]d[cf1] London, ~[sm1708[nm). It. ha
rpsichordist and composer who settled ~in Eng. and became organist to Charles II
's queen, ~Catherine of Braganza, and mus.-teacher of the ~future Queen Anne. Wr
ote incid. mus. and songs ~for plays by Shadwell, Tate, Apra Behn, etc.[cm~Drago
netti, Domenico[fy75,1] ([cf2]b[cf1] Venice, [sm1763[nm; [cf2]d[cf1] ~London, [s
m1846[nm). It. virtuoso on db. Largely self-~taught. In orch. of
 St Mark's Venice, at age [sm18[nm. ~Went to London [sm1794[nm, playing in opera
 orch. and ~giving nationwide recitals with cellist [fy45,1]*[fy75,1]Lind;Dh[fj~
ley. Twice visited Vienna, where he knew Haydn ~and Beethoven. Played db. in f.p
. of Beethoven's ~[sm9[nmth Sym. Comp. solos for db. At [sm82[nm in [sm1845[nm l
ed ~db. section in Bonn Beethoven Fest.[cm~Dragoni, Giovanni Andrea [fy75,1]([cf
2]b[cf1] Meldola, [cf2]c[cf1].[sm1540[nm; ~[cf2]d[cf1] Rome, [sm1598[nm). It. co
mposer and pupil of ~Palestrina. Choirmaster at St John Lateran [sm1576[nm=n~[sm
98[nm. Comp. madrigals and motets.[cm~Dramatic. [fy75,1]([sm1[nm) Applied to sop
., ten., etc., a singer ~with a powerful vocal style suitable for forceful ~oper
atic roles.[ep~^([sm2[nm) Applied strictly to mus., this adjective ~signifies mu
s. written for the stage, but the much ~more general meaning is mus. of strongly
 ~theatrical spirit and effect, e.g. Tchaikovsky's [sm4[nmth ~Sym., Berlioz's [c
f2]Symphonie Fantastique, [cf1]Strauss's ~[cf2]Don Juan, [cf1]Be
ethoven's [cf2]Appassionata Sonata[cf1], etc.[cm~Dramaturg. [fy75,1]Official at
Ger. opera houses who ~adapts libs., edits programmes, works as press ~officer,
and sometimes produces.[cm~Drame Lyrique [fy75,1](Fr.). Lyric drama, i.e. seriou
s ~opera. Debussy thus described his [cf2]Pell;aaeas et ~M;aaelisande.[cm~Dramma
 Giocoso[fy75,1] (It.). Comic drama. [sm18[nmth-cent. ~It. term for comic operas
 containing tragic ~features. Used by Mozart to describe [cf2]Don Giovanni ~[cf1
]and by Haydn for several of his operas.[cm~Dramma per musica[fy75,1] (It.). Dra
ma through ~music. [sm17[nmth- and [sm18[nmth-cent. It. term for serious ~opera.
[cm~Dr;auangend[fy75,1] (Ger.). Urging forward, hurrying.[cm~Drawstop. [fy75,1]T
he part of an [fy45,1]*[fy75,1]organ which operates ~a row of pipes. See [cf2]St
op[cf1].[cm~Drdla, Franti;aksek[fy75,1] (Franz) ([cf2]b[cf1] ;akZd[fy8,1]F[fy75,
1];aaar nad S;aaazavou, ~Moravia, [sm1869[nm; [cf2]d[cf1] Gastein, [sm1944[nm).
Cz. composer ~and violinist. Member of Vienna court opera ~orch.
 Comp. [sm2[nm operettas, pf. pieces, and songs, ~but best known for pieces for
vn. and pf. such as ~[cf2]Serenade [cf1]and [cf2]Souvenir[cf1].[cm~Dream of Gero
ntius, The.[fy75,1] Setting by Elgar, Op. ~[sm38[nm, for mez., ten., bass, ch.,
semi-ch., and orch. of ~Cardinal J. H. Newman's poem ([sm1866[nm). Comp. ~[sm190
0[nm (some sketches [sm1896[nm). F.p. Birmingham ~[sm1900[nm, cond. Richter. F.
London p. [sm1903[nm. Although ~frequently described and classified as an orator
io, ~this is not a term Elgar approved in this ~connection and does not appear o
n the score.[xm[cm~[ol0][ep~[xp[te~





[do13][j99]~~~~~~153842_DA04[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tiona
ry of Music[cmDA[sm04[nm[cm[sm13[nm[cm~[sm1[nm[cm[sm13[nm-[sm10[nm-[sm79[nm[cm[s
m18[nm[cm[sm429[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Dreigroschenoper,
Die [fy75,1](The Threepenny ~[chOpera). Opera in prol. and [sm8[nm scenes by [fy
45,1]*[fy75,1]Weill, ~text being a modern interpretation of Gay's [cf2]The ~Begg
ar's Opera [cf1]based on a trans. by Elisabeth ~Hauptmann with lyrics (some from
 Kipling and ~Villon) by Bertolt Brecht. Prod. Berlin [sm1928[nm, NY ~[sm1933[nm
, London [sm1956[nm. Eng. trans. and adaptation ~by [fy45,1]*[fy75,1]Blitzstein
prod. Brandeis, Mass., [sm1952[nm, and ~NY [sm1954[nm.[cm~Drei Pintos, Die [fy75
,1](The Three Pintos). Comic ~opera in [sm3[nm acts left unfinished by Weber and
 ~completed by Mahler. Weber began work in ~[sm1820[nm on lib. by Theodor Hell (
Karl Winkler) ~based on story [cf2]Der Brautkampf [cf1]by C. Seidel. Work ~on mu
s. for [cf2]Preciosa [cf1]and the commissioned operas ~[cf2]Eury
anthe [cf1]and [cf2]Oberon [cf1]prevented Weber compos~~ing for [cf2]Die drei Pi
ntos [cf1]beyond [sm1821[nm. On his death ~in [sm1826[nm, he left sketches for [
sm7[nm out of [sm17[nm numbers, ~a total of [sm1[nm,[sm700[nm bars of which only
 [sm18[nm were scored. ~In [sm1826[nm these were taken to Meyerbeer, who kept ~t
hem until [sm1852[nm but did nothing with them. In ~[sm1887[nm Weber's grandson
invited Mahler, then [sm2[nmnd ~cond. at Leipzig Opera, to complete the work, ~w
hich he undertook by using Weber's sketches ~and extending the opera to [sm21[nm
 numbers in length ~by inserting other pieces by Weber and sections ~comp. by hi
mself based on Weber's themes. The ~result is a remarkable example of posthumous
 ~collaboration. Prod. Leipzig [sm1888[nm, cond. Mahler; ~London [sm1962[nm.[cm~
Dresden.[fy75,1] City in E. Germany (Saxony) with long ~mus. tradition. Its arch
ives mention an organist ~in [sm1370[nm and from about [sm1420[nm three wind pla
yers ~were instructed to play on [sm29[nm major church fests. ~A
t the court mus. first achieved prominence ~[cf2]c.[cf1][sm1540[nm. In the [sm18
[nmth cent. artistic life at court was ~on a grand scale and among the court com
posers ~[PN211,0,0,R,I0]and Kapellmeisters of that era were Zelenka, ~Lotti, Has
se, and J. S. Bach (who held the title ~[sm1736[nm=n[sm50[nm but was active only
 in Leipzig at this ~period). By the end of the cent. Dresden's ~reputation for
It. opera was high. A German ~Opera was founded in [sm1817[nm with Weber as cond
. ~Weber's ideals were continued [sm17[nm years after his ~death by Wagner, whos
e own [cf2]Rienzi[cf1] was produced ~in Dresden in [sm1842[nm, followed by [cf2]
Der fliegende ~Holl;auander[cf1] [sm1843[nm and [cf2]Tannh;auauser[cf1] [sm1845[
nm. The Royal ~Saxon Opera House, designed by Gottfried ~Semper, was opened [sm1
841[nm. This was burned down ~[sm1869[nm and his second building was opened [sm1
878[nm. ~Dresden's most illustrious operatic period dates ~from the appointment
as cond. in [sm1882[nm of Ernst ~von Schuch. He championed Wagne
r's later ~operas and those of Richard Strauss whose ~[cf2]Feuersnot[cf1] ([sm19
01[nm), [cf2]Salome[cf1] ([sm1905[nm), [cf2]Elektra[cf1] ([sm1909[nm), ~and [cf2
]Der Rosenkavalier[cf1] ([sm1911[nm) had their f.ps. under ~Schuch. After Schuch
 the opera was cond. by ~Fritz Reiner ([sm1914[nm=n[sm21[nm), but it was Fritz B
usch ~([sm1922[nm=n[sm33[nm) who revived its glories and continued ~the Strauss
assoc. with f.ps. of [cf2]Intermezzo[cf1] ([sm1924[nm) ~and [cf2]Die ;auagyptisc
he Helena[cf1] ([sm1928[nm). He also cond. ~new operas by Hindemith ([cf2]Cardil
lac[cf1], ~[sm1926[nm) and Busoni ([cf2]Doktor Faust[cf1], [sm1925[nm). Driven ~
out by the Nazis, Busch was succeeded by Karl ~B;auohm, although Clemens Krauss
cond. the f.p. of ~Strauss's[cf2] Arabella[cf1] in [sm1933[nm. Under B;auohm ([s
m1934[nm=n~[sm42[nm), Strauss's [cf2]Die schweigsame Frau[cf1] ([sm1935[nm) and
~[cf2]Daphne[cf1] ([sm1938[nm) were first performed, also Suter~~meister's[cf2]
Romeo und Julia[cf1] ([sm1940[nm). B;auohm was ~succeeded by Kar
l Elmendorff ([sm1943[nm=n[sm4[nm). The ~opera house was bombed in [sm1945[nm an
d rebuilt ~[sm1948[nm. Cond. from [sm1945[nm to [sm1950[nm was Joseph ~Keilberth
. His successors were Rudolf Kempe ~([sm1950[nm=n[sm3[nm), Franz Konwitschny ([s
m1953[nm=n[sm5[nm), Lovro ~von Mata;akci;aac ([sm1956[nm=n[sm8[nm), Otmar Suitne
r ([sm1960[nm=n[sm4[nm), ~Kurt Sanderling ([sm1964[nm=n[sm7[nm), Martin Turnovsk
y ~([sm1967[nm=n[sm8[nm), Siegfried Kurz ([sm1971[nm=n[sm5[nm), and Herbert ~Blo
mstedt from [sm1975[nm. Operas given f.ps. in ~Dresden since [sm1945[nm incl. Bl
acher's [cf2]Die Flut[cf1] ([sm1947[nm), ~and U. Zimmermann's [cf2]Levins M;auuh
le[cf1] ([sm1973[nm). The ~opera dir. from [sm1973[nm was Harry Kupfer.[ep~^Orch
. mus. in Dresden has been provided by ~two orchs., the venerable Staatskapelle
(which ~plays for the opera) and the Philharmonic. The ~Staatskapelle dates its
origins to the [sm16[nmth cent. ~and has had various guises. One of them, from ~
[sm1923[nm, was as the  Saxon State Orch. cond. by Busch ~and la
ter by B;auohm. The Philharmonic was ~founded in [sm1871[nm, though under anothe
r name. ~Its conds. incl. Strauss, B;auulow, Nikisch, Mottl, ~and Edwin Lindner.
 Its greatest period, which ~incl. fests. of modern mus., was under Paul van ~Ke
mpen ([sm1934[nm=n[sm42[nm). After [sm1945[nm conds. incl. Heinz ~Bongartz ([sm1
947[nm=n[sm64[nm), H. F;auorster ([sm1964[nm=n[sm7[nm), Kurt ~Masur ([sm1967[nm=
n[sm72[nm), G;auunther Herbig ([sm1972[nm=n[sm7[nm), and ~Herbert Kegel from [sm
1977[nm.[ep~^Other composers beside Wagner to have lived ~in Dresden were Schuma
nn ([sm1844[nm=n[sm50[nm), who ~cond. the Liedertafel and founded a choir, and ~
Rakhmaninov ([sm1906[nm=n[sm9[nm).[cm~Dresden Amen. [fy75,1]Setting of [cf2]Amen
 [cf1]comp. by J. G. ~[fy45,1]*[fy75,1]Naumann ([sm1741[nm=n[sm1801[nm) in Three
fold Amen of ~Royal Chapel of Dresden. Quoted by Mendelssohn ~in his [cf2]Reform
ation Sym. [cf1]([sm1830[nm=n[sm2[nm) and by Wagner ~in [cf2]Parsifal[cf1] ([sm1
878[nm=n[sm82[nm).[cm~Drew, David[fy75,1] ([cf2]b[cf1] London, [
sm1930[nm). Eng. mus. critic ~and publisher. Mus. critic [cf2]New Statesman[cf1]
, [sm1959=n~67[nm, ed. [cf2]Tempo[cf1] [sm1971[nm. Specialist in Messiaen, Weill
, ~Stravinsky, Gerhard, and other [sm20[nmth cent. figures. ~On staff Boosey and
 Hawkes from [sm1975[nm.[cm~Drigo, Riccardo [fy75,1]([cf2]b[cf1] Padua, [sm1846[
nm; [cf2]d [cf1]Padua, [sm1930[nm). ~It. composer and cond. Cond., St Petersburg
 court ~opera from [sm1878[nm, chief. cond. Maryinsky Th. ~[sm1886[nm=n[sm1917[n
m. Wrote operas and ballets, latter incl. ~[cf2]Les Millions d'Arlequin [cf1]([s
m1900[nm), from which the ~[cf2]Serenade [cf1]is well-known. [cf2]Valse bluette
[cf1]was a popular ~salon piece.[cm~Drone. [fy75,1]Pipe or pipes sounding contin
uous note ~of fixed pitch as a permanent bass, e.g. of ~bagpipes. Hence [cf2]dro
ne bass [cf1]applied to orch. mus.[cm~Droit, droite [fy75,1](Fr.). Right, e.g. [
cf2]main droite[cf1], right ~hand. But [cf2]droit [cf1]as a noun means right in
another ~sense, e.g. [cf2]Droits d'ex;aaecution[cf1]. Performing
 Rights.[cm~Drouet, Louis Francois Philippe [fy75,1]([cf2]b [cf1]Amsterdam, ~[sm
1792[nm; [cf2]d [cf1]Berne, [sm1873[nm). Fr. flautist. Played in public ~at age
[sm7[nm. Taught King of Holland [sm1807[nm=n[sm10[nm; solo ~flautist to Napoleon
 [sm1811[nm. Founded fl. factory in ~London [sm1818[nm=n[sm19[nm. Court mus. dir
. Coburg [sm1836[nm=n~[sm54[nm. Wrote many works for fl., incl. [sm10[nm concs.[
cm~Druckman, Jacob [fy75,1]([cf2]b [cf1]Philadelphia, [sm1928[nm). Amer. ~compos
er. Studied Juilliard Sch. [sm1949[nm=n[sm54[nm, [sm1955[nm=n~[sm6[nm, with Wage
naar and Mennin, also in Paris and ~at Columbia-Princeton Elec. Mus. Center ([sm
1965[nm=n~[sm6[nm). Dir. Yale Univ. Sch. of Mus. elec. studio [sm1971[nm=n~[sm2[
nm. Pulitzer Prize [sm1972[nm for [cf2]Windows[cf1], f.p. Chicago ~S.O. cond. Ma
derna. Works incl. conc. for str. ~([sm1951[nm), ballet mus., [sm2[nm str. qts.,
 [cf2]Valentine[cf1], db. solo ~([sm1969[nm), [cf2]The Sound of Time [cf1]for so
p. and orch. ([sm1965[nm), ~and [cf2]Animus [cf1]I, II, III, and
 IV ([sm1966[nm, [sm1968[nm, [sm1969[nm, ~[sm1977[nm), for instr. and tape, [cf2
]Lamia[cf1], sop. and orch. ~([sm1974[nm), [cf2]Chiaroscuro[cf1], orch. ([sm1976
[nm), [cf2]Other Voices[cf1], ~brass quintet ([sm1976[nm), va. conc. ([sm1978[nm
), [cf2]Aureole[cf1], ~orch. ([sm1979[nm), [cf2]Prism[cf1], [sm3[nm pieces for o
rch. after ~Charpentier, Cavalli, and Cherubini ([sm1980[nm).[cm~Drum. [fy75,1]P
ercussion instrument of several kinds ~consisting of hollow wood or metal cylind
er over ~which a skin is stretched (the drumhead). Sound ~is obtained by strikin
g the skin with a stick. ~Among the leading types of drum are: ([sm1[nm) ~[smket
tledrum[nm (It. [cf2]timpano[cf1]; plur. [cf2]timpani[cf1]. The spell~~ing `[cf2
]tympani[cf1]' is incorrect). Tuned to a definite ~pitch. A bowl of metal with,
stretched over its ~open end, a membrane of which the tension can ~be increased
or decreased by turning screws (in ~Machine Drums) or by some mechanical method.
 ~The playing is by means of [sm2[nm drumsticks, with ~heads of
material which varies according to[fj~the tone-quality desired. Up to and includ
ing[fj~Beethoven the orch. player had [sm2[nm kettledrums[fj~[PN212,0,0,L,I0]nor
mally tuned to the tonic and dominant (Doh ~and Soh) of the key in use; nowadays
 he has ~usually [sm3[nm, and sometimes more. Both repeated ~notes and rolls are
 played. Forms of `muffling' (;eq~muting, see [cf2]Mute[cf1]) are possible, such
 as placing a ~cloth over the drumhead. Most composers up to ~and including Moza
rt notated for the kettledrums ~as one of the [fy45,1]*[fy75,1]`transposing inst
ruments', the part ~being written in key C (i.e. the notes shown being ~C and G)
 and the actual pitch of the [sm2[nm notes being ~indicated at the outset by som
e such indication as ~timpani in D, A (according to the key of the ~piece). The
current method is to show the actual ~notes to be played with all sharps and fla
ts ~indicated. The use of pedals for mechanical ~tuning is widespread and enable
s [fy45,1]*[fy75,2]glissando ~[cf1]effects. In mounted military
bands the kettledrum ~is used, one being slung on each side of the horse. ~Intro
duction of the kettledrum into the orch. is ~generally attributed to Lully in hi
s opera [cf2]Th;aaes;aaee ~[cf1]([sm1675[nm).[ep~^([sm2[nm) [smside drum[nm or [
smsnare drum[nm. Of indefinite pitch. ~A small cylindrical drum with parchment a
t each ~end, one end having strings ([cf2]snares[cf1]) across it, to ~add a ratt
ling effect and so increase the brilliance ~of the tone, the other end being lef
t clear for the ~use of [sm2[nm drumsticks. It can be muted by placing a ~handke
rchief or a wooden wedge between the ~snares and the parchment.[ep~^([sm3[nm) [s
mtenor drum[nm. Larger than the [fy45,1]*[fy75,1]side drum and ~without snares.
It is rarely used in the sym. orch.[ep~^([sm4[nm) [smbass drum[nm. Indefinite an
d low pitch. Large ~and shallow, used in the sym. orch., military ~band, and dan
ce band (in which the drumstick is ~often worked by a pedal). Played with skinhe
ads ~perpendicular.[ep~^([sm5[nm) [smtrap drum[nm. Drum equipmen
t used in dance ~bands and theatre pit, comprising [fy45,1]*[fy75,1]bass drum ~w
ith [fy45,1]*[fy75,1]cymbal attached, both being played with ~foot pedal. Drumme
r thus has both hands free to ~play snare drum.[cm~Drum Mass [fy75,1](Haydn). Se
e [cf2]Paukenmesse.[cm~Drum Roll Symphony [fy75,1](Haydn). See [cf2]Pauken~~[chw
irbel[cf1].[cm~D.S. [fy75,1]Abbreviation for [fy45,1]*[fy75,2]Dal segno.[cm~DSCH
. [fy75,1]Personal motto, derived from letters of ~his name, by Dmitri Shostakov
ich, notated as[fj~D-E;yh-C-B. Occurs in several of his works, incl. ~[sm8[nmth
str. qt., [sm10[nmth and [sm15[nmth Syms., and [sm1[nmst Vn. ~Conc.[cm~Dub. [fy7
5,1]Old Eng. for [fy45,1]*[fy75,1]tabor.[cm~Dubensky, Arkady [fy75,1]([cf2]b [cf
1]Vyatka, Russia, [sm1890[nm; [cf2]d ~[cf1]Tenafly, NJ, [sm1966[nm). Russ.-born
violinist and ~composer. Studied Moscow Cons. Leader, Mos~~cow Imperial Opera Or
ch. for [sm9[nm years. Went to ~NY [sm1921[nm, joining NY S.O. until merger with
 NY ~P.O. of which he became member until [sm1953[nm. ~Comp. for
 unusual combinations, e.g. [cf2]Fugue [cf1]for ~[sm18[nm vn., [cf2]Fugue [cf1]f
or [sm4[nm bn., [cf2]Suite [cf1]for [sm9[nm fl., Ov. for [sm18[nm ~toy tpt., [cf
2]Fantasy on Negro Themes [cf1]for tuba and ~orch., tb. conc., concerto grosso f
or [sm3[nm tb., tuba, ~and orch. Also wrote operas, str. qts., and works ~for co
nventional orch. forces.[cm~Dubois, [fy75,1](Fran;alcois Cl;aaement)[fy65,3] Th;
aaeodore [fy75,1]([cf2]b [cf1]Rosnay, ~[sm1837[nm; [cf2]d [cf1]Paris, [sm1924[nm
). Fr. composer, organist, and ~teacher. Studied Paris Cons. under A. Thomas. ~F
ollowed Saint-Sa;auens as organist of Madeleine ~[sm1877[nm=n[sm1906[nm. Prof. o
f harmony, Paris Cons. [sm1871=n~90[nm, dir. [sm1896[nm=n[sm1905[nm. Resigned af
ter protests over ~exclusion by jury incl. Dubois, of Ravel from ~entering for [
cf2]Prix de Rome [cf1]for [sm4[nmth time. Wrote ~operas, ballet, oratorios, cant
atas, orch. works, ~incl. [sm3[nm syms., [sm2[nm pf. concs., and vn. conc.[cm~Du
casse. [fy75,1]See [cf2]Roger-Ducasse, Jean J. A.[cm~Duc d'Albe,
 Le [fy75,1](The Duke of Alba). ([sm1[nm) [sm4[nm-act ~opera by Donizetti, to li
b. by Scribe, written for ~Paris [sm1839[nm but not prod. Score recovered at ~Be
rgamo [sm1875[nm, completed by Salvi, and prod. as ~[cf2]Il duca d'Alba[cf1], Ro
me [sm1882[nm. Scribe altered lib. and ~re-sold it to Verdi in [sm1853[nm as [cf
2]Les [fy45,1]*[fy75,2]V;afepres siciliennes[cf1], ~Verdi only discovering [sm30
[nm years later that it had ~been used by Donizetti.[ep~^([sm2[nm) Opera, [cf2]I
l Duca d'Alba[cf1], by Pacini to lib. by ~Piave, [sm1842[nm.[cm~Dudelkastensack,
 [fy75,1]or [fy65][cf3]Dudelsack [fy75,1](Ger.). Bagpipe.[cm~Due [fy75,1](It.).
Two. ([sm1[nm) [cf2]A due[cf1], either ([cf2]a[cf1]) div. between ~[sm2[nm instr
. or vv., or ([cf2]b[cf1]) [sm2[nm instr. or vv. to join in ~playing the same li
ne.[ep~^([sm2[nm) [cf2]Due corde[cf1]. Two strings, i.e. in vn. mus., etc., ~div
ide the passage over [sm2[nm str.[cm~Due Foscari, I [fy75,1](The Two Foscari). [
sm3[nm-act opera by ~Verdi to lib. by Piave, based on Byron's dr
ama ~([sm1821[nm). Comp. [sm1843[nm=n[sm4[nm. Prod. Rome [sm1844[nm, London ~and
 Boston, Mass., [sm1847[nm.[cm~Duenna, The, or The Double Elopement. [fy75,1]([s
m1[nm)[fj~[sm3[nm-act opera comp. and compiled by Thomas ~Linley senior and juni
or to text by Sheridan. ~Prod. London [sm1775[nm, NY [sm1786[nm.[ep~^([sm2[nm) [
sm4[nm-act opera by Prokofiev, to his own lib. ~based on Sheridan with verses by
 Mira Mendelson, ~and sometimes known as [cf2]Betrothal in a Nunnery[cf1]. ~Comp
. [sm1940=n1[nm, prod. Leningrad [sm1946[nm, London, ~[sm1980[nm.[ep~^([sm3[nm)
[sm3[nm-act opera by [fy45,1]*[fy75,1]=+Gerhard to his own lib. after ~Sheridan.
 Comp. [sm1945=n7[nm, rev. [sm1950[nm. BBC broad~~cast [sm1949[nm. Prod. (concer
t) Wiesbaden [sm1951[nm.[cm~Duet [fy75,1](Fr. [cf2]duo[cf1]; Ger. [cf2]Duett[cf1
]; It. [cf2]duo [cf1]or [cf2]duetto[cf1]). Any ~combination of [sm2[nm performer
s (with or without ~acc.), or a comp. for such, as in pf. duet.[cm~Dufay, Guilla
ume [fy75,1]([cf2]b c.[cf1][sm1400[nm; [cf2]d [cf1]Cambrai, [sm1
474[nm). ~Fr. composer. Choirboy at Cambrai Cath. Went ~to It. in his twenties a
nd fled from Bologna to ~Rome in [sm1428[nm, staying until [sm1433[nm. Sang in t
he ~papal chapel. Met [fy45,1]*[fy75,1]Binchois in [sm1434[nm. Returned ~to Camb
rai [sm1439[nm. His connection with the ~Burgundian court is now thought to have
 been ~unlikely. Was most acclaimed comp. of [sm15[nmth ~cent. Nearly [sm200[nm
of his works have survived incl. ~[PN213,0,0,R,I0][sm8[nm complete Masses and [s
m84[nm songs. Use of a secular ~[cf2]cantus firmus [cf1]such as `L'homme arm;aae
' in a  Mass ~possibly originated with him. Was basically a ~conservative comp.,
 but his warm harmonies and ~expressive tunes anticipate the Renaissance. Un~~do
ubtedly his melodic clarity stemmed from his ~It. years. Composed the earliest R
equiem Mass, ~now lost.[cm~Dukas, Paul [fy75,1]([cf2]b[cf1] Paris, [sm1865[nm; [
cf2]d [cf1]Paris, [sm1935[nm). Fr. ~composer. Studied Paris Cons. [sm1882[nm=n[s
m9[nm, [sm2[nmnd [cf2]Prix ~de Rome[cf1] [sm1888[nm. Early works
 influenced by Wagner. ~Scored major success in [sm1897[nm with orch. scherzo ~[
cf2]L'Apprenti Sorcier. [cf1]Perhaps his finest work is his ~opera [cf2]Ariane e
t Barbe-Bleu[cf1], (Paris, [sm1907[nm) based like ~Debussy's [cf2]Pell;aaeas [cf
1]on a Maeterlinck play and ~finding, like Debussy, symbolic and emotional ~dept
hs in the text which are luminously translated ~into mus. Also wrote ballet [cf2
]La P;aaeri [cf1]([sm1912[nm), and pf. ~sonata ([sm1901[nm) said to be the first
 by a major Fr. ~composer. Prof. of orch., Paris Cons. [sm1910[nm=n[sm13[nm, of
~comp., [sm1928[nm=n[sm35[nm. Wrote much criticism. Pubd. ~very little mus. afte
r [sm1920[nm and destroyed his ~unpubd. works before he died. Aided Saint-Sa;aue
ns ~in completion of Guiraud's opera [cf2]Fr;aaed;aaegonde[cf1], ~orchestrating
first [sm3[nm acts. Ed. several Rameau ~operas. Prin. works:[xm[cm~[j2][smopera[
nm: [fy45,1]*[fy75,2]Ariane et Barbe-Bleu [cf1]([sm1899[nm=n[sm1906[nm).[ep~[cf1
][smballet[nm: [cf2]La [fy45,1]*[fy75,2] P;aaeri[cf1] ([sm1911[n
m=n[sm12[nm).[ep~[cf1][smorch[nm: Ov. [cf2]Polyeucte [cf1]([sm1892[nm); Sym. in
C ([sm1896[nm); ~[cf2]L'[fy45,1]*[fy75,2]Apprenti Sorcier [cf1]([sm1897[nm); [cf
2]La P;aaeri[cf1], suite.[ep~[smpiano[nm: Sonata in E;yh minor ([sm1899[nm=n[sm1
901[nm), [cf2]Varia~~tions, Interlude et Final [cf1]([cf2]sur un th;ageme de Ram
eau[cf1]) ~([sm1903[nm), [cf2]Pr;aaelude ;aael;aaegiaque [cf1]([sm1908[nm), [cf2
]La Plainte au loin ~du faune [cf1]([sm1920[nm).[ep~[smchamber music[nm: [cf2]Vi
llanelle [cf1](hn. and pf.).[ep~[smsong[nm: [cf2]Sonnet de Ronsard [cf1]([sm1924
[nm).[cm~[j1]Duke Bluebeard's Castle [fy75,1]([cf2]A k;aaekszak;aaall;aau herceg
 ~v;aaara[cf1]). Opera in [sm1[nm act, Op. [sm11[nm, by Bart;aaok, comp. ~[sm191
1[nm, to lib. by B;aaela Bal;aaazs, for sop. and bar. Rev. ~[sm1912[nm and [sm19
18[nm. First perf. Budapest [sm1918[nm, NY ~[sm1952[nm, London [sm1957[nm.[cm~Du
ke, Vernon. [fy75,1]See [cf2]Dukelsky, Vladimir.[cm~Dukelsky, Vladimir [fy75,1](
[cf2]b [cf1]Parfianovka, [sm1903[nm; [cf2]d ~[cf1]Santa Monica,
Calif., [sm1969[nm). Russ.-born composer ~(Amer. citizen). Studied comp. with Gl
i;agere at ~Kiev Cons. Ballet [cf2]Z;aaephyr et Flore [cf1]prod. Diaghilev, ~[sm
1925[nm. Wrote several other ballets, operas, [sm3[nm syms., ~oratorio, pf. conc
., vn. conc., vc. conc., pf. sonata, ~hpd. sonata. Under name Vernon Duke wrote
~mus. for musical comedies, films, etc. Best-known ~song [cf2]April in Paris.[cm
~Dulcet. [fy75,1]Org. stop: a [fy45,1]*[fy75,1]Dulciana of [sm4[nm;po length and
 ~pitch.[cm~Dulcian. [fy75,1]Alternative name for the [fy45,1]*[fy75,1]curtal.[c
m~Dulciana. [fy75,1]Soft org. stop usually in Brit. of ~[fy45,1]*[fy75,1]diapaso
n class, and in USA of str.-toned class.[cm~Dulciana Mixture. [fy75,1]Org. [fy45
,1]*[fy75,1]Mixture stop of soft ~tone, generally on Swell or Echo manual.[cm~Du
lcimer. [fy75,1]Old instr. A shallow closed box over ~which are stretched wires
to be struck with [sm2[nm ~wooden hammers held in the player's hands. Still ~in
use in E. Europe for traditional mus. (known ~in Hung. as [cf2]c
imbalom[cf1]). In USA is wrongly applied ~to plucked zither-like folk-instr.[cm~
Dulcitone. [fy75,1]Kbd. instr. similar to [fy45,1]*[fy75,1]celesta, but ~with st
eel tuning forks instead of steel plates. In ~Fr. known as [cf2]typophone[cf1].
Used by [fy45,1]*[fy75,1]d'Indy in [cf2]Chant ~de la Cloche.[cm~Dumbarton Oaks C
oncerto. [fy75,1]Name given to ~Stravinsky's Conc. in E;yh for chamber orch. ([s
m15[nm ~instr.) because it received its f.p. in May [sm1938[nm ~(cond. by N. Bou
langer) at Dumbarton Oaks, the ~estate in Washington D.C. of Mr & Mrs R. W. ~Bli
ss who commissioned this `little concerto in ~the style of the Brandenburg Conce
rtos'.[cm~Dumka [fy75,1](plural [cf2]Dumky[cf1]). A type of Slavonic folk-~balla
d, Ukrainian in orig., in which elegiac and ~fast tempi alternate. Term was used
 by [fy45,1]*[fy75,1]Dvo;akr;aaak ~for movements in his str. sextet and pf. quin
tet. ~His [cf2]Dumky [cf1]Trio is the nickname for his pf. trio, ~Op. [sm90[nm,
comprising [sm6[nm [cf2]dumka [cf1]movements. His Pf. ~Sonata, O
p. [sm35[nm ([sm1876[nm) is also known as the [cf2]Dumka[cf1].[cm~Dump, Dumpe. [
fy75,1]Title given to some Eng. kbd. ~pieces of the [sm16[nmth and early [sm17[n
mth cents., often in ~variation form and possibly elegiac in intention ~(`down i
n the dumps', for example, means `in a ~depressed mood'). [cf2]My Ladye Careys D
ompe [cf1]is a ~typical (though anonymous) example.[cm~Dunayevsky, Isaak [fy75,1
]([cf2]b [cf1]Lokhvitsa, [sm1900[nm; [cf2]d [cf1]Mos~~cow, [sm1955[nm). Russ. co
mposer of popular mus. Pupil ~of J. Akhron. First Soviet composer to adopt jazz
~idiom. Wrote many songs, also operettas, ballets, ~orch. works, and str. qt.[cm
~Dunhill, Thomas [fy75,1](Frederick) ([cf2]b[cf1] London, [sm1877[nm; ~[cf2]d [c
f1]Scunthorpe, [sm1946[nm). Eng. composer and writer. ~Studied RCM with Stanford
. Ass. mus. master, ~Eton College, [sm1899[nm=n[sm1908[nm. Comps. incl. sym., ~o
peretta [cf2]Tantivy Towers [cf1](lib. by A. P. Herbert, ~prod. London [sm1931[n
m), [cf2]Elegiac Variations [cf1]for orch., ~vn. sonata, pf. qt.
, [sm2[nm pf. trios, many songs incl. ~[cf2]The Cloth of Heaven [cf1](Yeats). Wr
ote several books, ~subjects incl. Mozart's str. qts., Elgar, and chamber ~mus.[
cm~Duni, Egidio Romoaldo [fy75,1]([cf2]b [cf1]Matera, [sm1708[nm; [cf2]d ~[cf1]P
aris, [sm1775[nm). It. composer. Wrote over [sm12[nm It. ~operas, then settled i
n Fr., composing [sm20[nm Fr. ~operas in the [cf2]op;aaera comique [cf1]style. T
hese incl. [cf2]La ~Fille mal gard;aaee [cf1]([sm1758[nm), [cf2]Les Deux Chasseu
rs [cf1]([sm1763[nm), ~and [cf2]La Clochette [cf1]([sm1766[nm).[cm~Dunstable [fy
75,1](Dunstaple), [fy65][cf3]John [fy75,1]([cf2]b c[cf1].[sm1390[nm; [cf2]d [cf1
]London, ~[sm1453[nm). Eng. composer, astrologer, and mathema~~tician. Leading E
ng. composer of first half of ~[sm15[nmth cent. Enjoyed European reputation, att
ested ~by discovery of his works in early It. and Fr. colls. ~Was member of hous
eholds of John, Duke of ~Bedford and Humphrey, Duke of Gloucester, the ~latter a
 noted patron of the arts. Travelled to ~[PN214,0,0,L,I0]Europe
and was given land holdings in Nor~~mandy. Influenced [fy45,1]*[fy75,1]Dufay and
 [fy45,1]*[fy75,1]Binchois. Prob~~ably first to write instr. acc. for church mus
. ~Wrote masses, isorhythmic motets, etc. Buried in ~St Stephen's, Walbrook, Lon
don.[cm~Duo [fy75,1](It.). Two. ([sm1[nm) Duet, usually but not ~exclusively ins
tr.[ep~^([sm2[nm) [sm2[nm performers, or a work written for them. In ~USA a [cf2
]duo[cf1]-pianist is member of a [sm2[nm-pf. duo.[cm~Duodrama. [fy75,1]A work fo
r [sm2[nm actors to speak to orch. ~acc. Mozart admired the form.[cm~Duparc, Eli
sabeth[fy75,1] (=+=+`Francesina'=+=+) ([cf2]d [cf1]?[sm1778[nm). Fr. ~soprano tr
ained in It. Opera engagement London ~[sm1736[nm. Sang in Handel's [cf2]Faramond
o[cf1] and [cf2]Serse[cf1] in ~[sm1738[nm and thenceforward was almost exclusive
ly ~a Handel singer, being his leading sop. from [sm1738[nm ~to [sm1745[nm. Sang
 in [cf2]Messiah[cf1], April [sm1745[nm.[cm~Duparc, [fy75,1](Marie Eug;agene) [f
y65][cf3]Henri [fy75,1](Fouques) [cf1]([cf2]b[cf1] ~Paris, [sm18
48[nm; [cf2]d [cf1]Mont-de-Marsan, [sm1933[nm). Fr. com~~poser. Intended for law
 but studied pf. and comp. ~with [fy45,1]*[fy75,1]Franck. Extremely self-critica
l, destroying ~most of his early works. His [sm16[nm songs, orig. in ~idiom and
foretelling impressionism, are models ~of sensitivity to the poetic text combine
d with ~melodic inspiration and a harmonic style based ~on Wagner. They were com
p. between [sm1868[nm and ~[sm1884[nm. After [sm1885[nm he wrote nothing owing t
o an ~incurable nervous disease. His output is as follows:[xm[cm~[j2][smsongs[nm
: (with pf. acc., but ;sd;eqorch. version ~provided by Duparc): ;sd[cf2]Chanson
triste[cf1] ([sm1868[nm or ~[sm9[nm); [cf2]Soupir[cf1] ([sm1869[nm); [cf2]Romanc
e de Mignon[cf1] ([sm1869[nm); ~[cf2]S;aaer;aaenade[cf1] ([sm1869[nm); [cf2]Le g
alop[cf1] ([sm1869[nm); ;sd[cf2]Au pays o;agu se ~fait la guerre[cf1] (?[sm1869[
nm=n[sm70[nm, orig. title [cf2]Absence[cf1]); ~;sd[cf2]L'Invitation au voyage[cf
1] ([sm1870[nm); ;sd[cf2]La vague et la ~cloche[cf1] ([sm1871[nm
, comp. for orch., with pf. acc. ~supplied later first by d'Indy then by Duparc)
; ~[cf2]El;aaegie[cf1] ([sm1874[nm); [cf2]Extase[cf1] ([sm1874[nm, ?rev. [sm1884
[nm); ;sd[cf2]Le ~Manoir de Rosemonde[cf1] ([sm1879[nm or [sm82[nm); [cf2]S;aaer
;aaenade ~Florentine[cf1] (?[sm1880[nm=n[sm1[nm); ;sd[cf2]Phidyl;aae[cf1] ([sm18
82[nm); [cf2]Lamento[cf1] ~([sm1883[nm or [sm5[nm); ;sd[cf2]Testament[cf1] ([sm1
883[nm or [sm5[nm); ;sd[cf2]La Vie ~ant;aaerieure[cf1] ([sm1884[nm).[ep~[smvocal
[nm: [cf2]La fruite[cf1], sop., ten., pf. ([sm1871[nm); [cf2]Benedicat ~vobis Do
minus[cf1], motet, STB ([sm1882[nm).[ep~[cf1][smorch[nm: [cf2]Po;ageme Nocturne[
cf1] ([sm1874[nm, orig. in [sm3[nm movts., ~but only No. [sm1[nm, [cf2]Aux ;aaEt
oiles[cf1], survives); [cf2]L;aaenore[cf1], ~sym.-poem ([sm1875[nm).[ep~[cf1][sm
piano[nm: [cf2][sm5[nm Feuilles volantes[cf1] (?[sm1867[nm=n[sm9[nm).[cm~[j1]Dup
let. [fy75,1]Pair of notes of equal time-value, written ~where number of beats c
annot be divided by [sm2[nm. ~See [cf2]Irregular rhythmic groupi
ngs.[cm~Duple Time. [fy75,1]Where the primary division is into ~[sm2[nm e.g. ;D2
;E4 as distinct from triple time (primary ~division into [sm3[nm) or quadruple (
division into [sm4[nm). See ~[cf2]Time Signature.[cm~Duplex-Coupler Piano. [fy75
,1]Pf. invented [sm1921[nm by ~[fy45,1]*[fy75,1]Mo;aaor. Has [sm2[nm manuals, th
e upper tuned an octave ~higher. These are placed so that the hand can ~easily m
ove from one to the other or play on both ~together. Thus, scales in [sm10[nmths
 are played as scales ~in [sm3[nmrds as on a normal pf. The manuals can be ~inst
antly coupled, so that scales in octaves can be ~played as scales in single note
s.[cm~Duplex Instruments [fy75,1](Brass). These exist in [sm2[nm ~types: ([cf2]a
[cf1]) Those planned to produce [sm2[nm qualities of ~tone by the provision of [
sm2[nm bells of different bore, ~and ([cf2]b[cf1]) Those planned to play in eith
er of [sm2[nm ~different keys (i.e. from either of [sm2[nm different ~[fy45,1]*[
fy75,1]fundamental notes) without change of quality ~of tone (e.
g. the double hn. in F and B;yh) by the ~provision of double lengths of valve tu
bing.[cm~Duplex Scaling. [fy75,1]System by which those portions ~of pf. str. whi
ch are normally dumb, lying beyond ~each end of the vibrating portion, are left
free ~and tuned so as to correspond with some of the ~harmonics of the main note
 of the str. See [cf2]Aliquot ~scaling.[cm~Dupont, Gabriel [fy75,1]([cf2]b[cf1]
Caen, [sm1878[nm; [cf2]d [cf1]Le V;aaesinet, nr. ~Paris, [sm1914[nm). Fr. compos
er. Pupil of [fy45,1]*[fy75,1]Widor at ~Paris Cons. Won Sonzogno Prize in Italy
with [sm2[nm-~act opera [cf2]La Cabr;aaera[cf1]. Wrote other operas, chief ~amon
g them [cf2]Antar [cf1]([sm1912[nm=n[sm13[nm, prod. Paris [sm1921[nm). ~Ill-heal
th affected career. Also wrote symphonic ~poems, str. qt., and group of [sm14[nm
 pf. pieces, [cf2]Les ~heures dolentes.[cm~Duport, Jean Louis [fy75,1]([cf2]b[cf
1] Paris, [sm1749[nm; [cf2]d [cf1]Paris, [sm1819[nm). ~Fr. cellist and composer.
 Pupil of his brother Jean ~Pierre [fy45,1]*[fy75,1]Duport. Cour
t cellist in Berlin [sm1792[nm=n~[sm1806[nm, court musician to ex-King of Spain
at ~Marseilles, [sm1807[nm=n[sm12[nm. Prof. of vc., Paris Cons. ~[sm1812[nm=n[sm
15[nm. Wrote [sm6[nm vc. concs. and many solo ~pieces, also still-important meth
od, [cf2]Essai sur le ~doigter du violoncelle et la conduite de l'Archet.[cm~Dup
ort, Jean Pierre [fy75,1]([cf2]b [cf1]Paris, [sm1741[nm; [cf2]d [cf1]Berlin, ~[s
m1818[nm). Fr. cellist. Member of court orch., Berlin, ~[sm1773[nm=n[sm1811[nm,
dir. of court concerts [sm1787[nm=n[sm1806[nm. ~Beethoven's [sm2[nm vc. sonatas
Op. [sm5[nm may have been ~written for him and f.p. in Berlin by Beethoven ~and
Duport, [sm1796[nm.[cm~Dupr;aae, Desmond [fy75,1](John) ([cf2]b[cf1] London, [sm
1916[nm; [cf2]d [cf1]nr. ~Tonbridge, [sm1974[nm). Eng. lutenist, guitarist, and
~viol player. Studied RCM. Lute-song duo with ~Alfred [fy45,1]*[fy75,1]Deller fr
om [sm1950[nm, touring widely. Many ~solo recitals. Member of Morley Consort, Ja
ye ~Consort of Viols, Musica Reservata, etc.[cm~Du Pr;aae, Jacqu
eline [fy75,1]([cf2]b [cf1]Oxford, [sm1945[nm). Eng. cellist. ~Studied GSM with
William [fy45,1]*[fy75,1]Pleeth, also with ~[fy45,1]*[fy75,1]Tortelier in Paris,
 and [fy45,1]*[fy75,1]Rostropovich in Moscow. ~Suggia award, Queen's Prize. Publ
ic d;aaebut at age ~[sm7[nm. D;aaebut recital Wigmore Hall [sm1961[nm. Festival
Hall ~d;aaebut [sm1962[nm in Elgar's conc., with which she ~became closely ident
ified, playing it also on first ~NY appearance, [sm1965[nm, and recording it wit
h ~Barbirolli and with her husband, Daniel [fy45,1]*[fy75,1]Baren~~boim, whom sh
e married [sm1967[nm. Perf. in chamber ~mus. trio with Barenboim and P. [fy45,1]
*[fy75,1]Zukerman. ~Career halted [sm1972[nm by illness. O.B.E. [sm1976[nm.[cm~D
upr;aae, Marcel [fy75,1]([cf2]b [cf1]Rouen, [sm1886[nm; [cf2]d [cf1]Meudon, nr.
~Paris, [sm1971[nm). Fr. organist and composer. Studied ~[PN215,0,0,R,I0]Paris C
ons., being pupil of Guilmant and Widor. ~Organist, St Vivien, Rouen, at age [sm
12[nm. Ass. ~organist to Widor at St Sulpice, Paris, from [sm190
6[nm; ~succeeded him [sm1934[nm. London d;aaebut [sm1920[nm, NY ~[sm1921[nm. Not
e[chworthy improviser. Prof. of org., Paris ~Cons. [sm1926[nm=n[sm54[nm. Ed. org
. works of Bach, Handel, ~Schumann, Liszt, Franck, etc. Comp. sym., vn. ~sonata,
 cantatas, and many org. works incl. [sm2[nm org. ~syms., org. conc., and [cf2]p
o;agemes symphoniques.[cm~Dur [fy75,1](Ger.). `Major' (key), e.g. [cf2]Dur Ton,
Dur Tonart[cf1], ~major key; [cf2]A dur[cf1], A major.[cm~Duramente [fy75,1](It.
). With hardness, harshness, stern~~ness.[cm~Durand.[fy75,1] Fr. mus. publishers
 (Durand, Schoene~~[chwerk, & Cie) founded [sm1869[nm in Paris by mus. critic ~A
uguste Durand ([sm1830[nm=n[sm1909[nm). Became Durand ~et Fils [sm1891[nm. Compl
ete editions of Rameau begun ~[sm1894[nm (ed. Saint-Sa;auens). Pubd. editions of
 Chopin ~by Debussy and of Schumann by Faur;aae. Compos~~ers in firm's list incl
. Debussy, Ravel, Saint-Sa;auens, ~Milhaud, Poulenc, d'Indy, Messiaen, Ibert, an
d ~others.[cm~Durante, Francesco [fy75,1]([cf2]b [cf1]Frattamagg
iore, [sm1684[nm; [cf2]d ~[cf1]Naples, [sm1755[nm). It. composer and teacher. Co
mp. ~church mus., hpd. concs. and sonatas, concs. for ~str., songs, etc. Pupils
incl. Jommelli, Paisiello, ~Pergolesi, and Piccinni.[cm~Durch [fy75,1](Ger. `Thr
ough'). [fy65][cf3]Durchaus [fy75,1]`Through-[fj~out.' [fy65][cf3]Durchkomponier
t [fy75,1]or [fy65][cf3]durchcomponiert[fj~[fy75,1](`through-composed'). Applied
 to songs of which ~the music is different for each stanza of the poem, ~i.e. th
e opposite of [fy45,1]*[fy75,1]strophic; but use of the term ~has been widened t
o mean a composition which ~has been `fully worked out', `thoroughly com~~posed'
, as opposed to something that seems ~episodic or patchy. [fy65][cf3]Durchdringe
n [fy75,1](`through-~forcing') `Penetrating', `shrill'. [fy65][cf3]Durchf;auuhru
ng ~[fy75,1](`through-leading') [fy45,1]*[fy75,1]`Development'. [fy65][cf3]Durch
weg ~[fy75,1]([sm1[nm) `Throughout', `altogether'. ([sm2[nm) `Generally', ~`near
ly always'.[cm~Durey, Louis [fy75,1]([cf2]b[cf1] Paris, [sm1888[
nm; [cf2]d [cf1]St Tropez, [sm1979[nm). ~Fr. composer. Studied privately. In [sm
1917[nm joined ~Milhaud, Honegger, and others under leadership ~of Satie as `les
 nouveaux jeunes', becoming [cf2]Les ~[fy45,1]*[fy75,2]Six[cf1] in [sm1920[nm. A
bandoned them in [sm1921[nm. Works ~incl. chamber mus. and songs. After [sm1945[
nm became ~Progressist, one of group of Fr. composers who ~wrote mus. of deliber
ate `mass appeal' in accord~~ance with Communist doctrines on art.[cm~Durk;aao,
Zsolt[fy75,1] ([cf2]b[cf1] Szeged, [sm1934[nm). Hung. composer. ~Studied Budapes
t Acad. with Farkas up to [sm1960[nm, ~then attended Petrassi's master-classes i
n Rome ~[sm1961[nm=n[sm3[nm. Broke away from influence of Kod;aaaly, ~all his wo
rk being atonal. Works incl. [cf2]Altamira[cf1], ~ch. and orch. ([sm1967[nm=n[sm
8[nm), [cf2]Burial Prayer[cf1], oratorio, ~ten., bar., ch., and orch. ([sm1967[n
m=n[sm72[nm), [cf2]Moses[cf1], opera ~([sm1977[nm), [cf2]Organismi[cf1], vn., or
ch. ([sm1964[nm), [cf2]Fioriture[cf1] ~([sm1965[nm=n[sm6[nm), [c
f2]Turner Illustrations[cf1], orch. ([sm1976[nm), [cf2]Cham~~ber Music[cf1], [sm
2[nm pf., [sm11[nm str. ([sm1973[nm), Str. qt. No. [sm1[nm ~([sm1966[nm), No. [s
m2[nm ([sm1969[nm, rev. [sm1970[nm), [cf2]Dwarfs and Giants[cf1], ~pf. ([sm1974[
nm), [cf2]Impromptus in F[cf1], fl. and ens. ([sm1984[nm).[cm~Durufl;aae, Mauric
e [fy75,1]([cf2]b [cf1]Louviers, [sm1902[nm). Fr. com~~poser and organist. Comp.
 pupil of Dukas, org. ~pupil of Gigout at Paris Cons. Organist, St ~;aaEtienne-d
u-Mont, Paris, from [sm1930[nm. Ass. to[fj~M. [fy45,1]*[fy75,1]Dupr;aae at Paris
 Cons. from [sm1942[nm, prof. of[fj~harmony [sm1943[nm=n[sm69[nm. Works incl. [c
f2]Requiem[cf1], Op. [sm9[nm, [sm3[nm ~[cf2]Dances for Orch[cf1]., [cf2]Messe-cu
m jubilo[cf1], motets, and org. ~works.[cm~Du;aksek, Franti;aksek [fy75,1]([cf2]
b [cf1]Chot;akebo;akr, [sm1731[nm; [cf2]d [cf1]Prague, ~[sm1799[nm). Bohem. pian
ist and composer, pupil of ~Wagenseil. Prominent teacher in Prague. Close ~frien
d of Mozart. Comp. syms., chamber mus.[cmDu;aksek [fy75,1](Dusse
k), [fy65][cf3]Jan Ladislav [fy75,1]([cf2]b [cf1];akC;aaaslav, [sm1760[nm; [cf2]
d ~[cf1]St Germain-en-Laye, [sm1812[nm). Bohem. pianist and ~composer. Began car
eer as virtuoso pianist in ~Malines, [sm1779[nm, then had comp. lessons from C.
P. ~E. Bach in Hamburg [sm1782[nm. Visited Ger., Russia, ~Fr., and It. as pianis
t; settled in London [sm1789[nm=n[sm99[nm, ~appearing with Haydn. Served various
 royal ~patrons after [sm1803[nm, the last being Talleyrand ~(Prince of Benevent
o). Prolific composer, works ~incl. [sm28[nm pf. sonatas, [sm15[nm pf. concs., c
onc. for [sm2[nm pf., ~pf. trios, ballad-opera, mass, [sm38[nm vn. sonatas, [sm1
6[nm fl. ~sonatas, etc. (much of it worth exploring).[xm[cm~[ol0][ep~[xp[te~




[do13][j99]~~~~~~153842_DA05[ep~[u1]~~~~[sm153842[nm[cmCOD of Music[cm~DA[sm05[n
m[cm[sm13[nm[cm[sm1[nm[cm[sm15[nm-~[sm10[nm-[sm79[nm[cm[sm18[nm[cm[sm491[nm[cm~T
uf[cm6[cm13-10-84[cm~U5[cm~~~~[ap[j1]Du;aksek, Josepha [fy75,1](n;aaee Hambacher
) ([cf2]b[cf1] Prague, ~[sm1754[nm; [cf2]d [cf1]Prague, [sm1824[nm). Bohem. sop.
, composer, ~and pianist, wife of Franti;aksek [fy45,1]*[fy75,1]Du;aksek. Friend
 of ~Mozart who wrote concert aria [cf2]Bella mia Fiamma ~[cf1](K[sm528[nm, [sm1
787[nm), for her. First singer of Beethoven's ~[cf2]Ah, perfido[cf1]! Op. [sm65[
nm, [sm1796[nm, also probably written ~for her.[cm~Dushkin, Samuel [fy75,1]([cf2
]b [cf1]Suwalki, Poland, [sm1891[nm; [cf2]d ~[cf1]NY, [sm1976[nm). Amer. violini
st of Polish birth, pupil ~of Auer and Kreisler. European d;aaebut [sm1918[nm. G
ave ~f.p. [sm1924[nm of orch. version of Ravel's [cf2]Tzigane[cf1]. ~Stravinsky
wrote vn. conc. for him, [sm1931[nm, f.p. ~Berlin that year, also [cf2]Duo Conce
rtant[cf1], of which he ~and Stravinsky gave f.p. Berlin [sm1932
[nm.[cm~Dutilleux, Henri[fy75,1] ([cf2]b[cf1] Angers, [sm1916[nm). Fr. composer.
 ~Studied piano and theory at Douai Cons. while ~schoolboy. Paris Cons. [sm1933[
nm=n[sm8[nm (comp. with ~Busser). Won [cf2]Prix de Rome [cf1][sm1938[nm. Joined
French ~Radio [sm1943[nm, becoming dir. of mus. productions ~[sm1945[nm=n[sm63[n
m. Prof. of comp., ;aaEcole Normale de ~Musique [sm1961[nm, Paris Cons. [sm1970[
nm. Regarded as ~natural successor to Ravel and Roussel. Works ~incl. ballet [cf
2]Le Loup[cf1] ([sm1953[nm), [sm2[nm syms. ([sm1950[nm and ~[sm1958[nm=n[sm9[nm)
, [cf2]M;aaetaboles [cf1]([sm1964[nm), [cf2]Tout un monde lontain,[cf1] ~vc. and
 orch. ([sm1968[nm=n[sm70[nm), pf. sonata ([sm1947[nm), ob. ~sonata ([sm1947[nm)
, [cf2]Thus the Night[cf1], str. qt. ([sm1975[nm=n[sm6[nm), and ~songs.[cm~Dutoi
t, Charles [fy75,1]([cf2]b [cf1]Lausanne, [sm1936[nm). Swiss violist ~and cond.
Studied vn., va., comp., and cond. in ~Switz., It., and USA. Began career as vio
list in ~orch. but also guest cond. of Suisse Romande ~Orch. Chi
ef cond. Berne S.O. [sm1967=n77[nm, Montreal S.O. from [sm1978[nm. Eng. ~[PN216,
0,0,L,I0]d;aaebut [sm1966[nm, especially assoc. with RPO. Visits to ~N. and S. A
merica and Japan.[cm~Duval, Denise [fy75,1]([cf2]b [cf1]Paris, [sm1921[nm). Fr.
sop. D;aaebut ~Paris [sm1947[nm as Butterfly. Created Blanche in ~Poulenc's [cf2
]Dialogues des Carm;aaelites [cf1]([sm1957[nm). First ~Brit. performer of Poulen
c's [cf2]La Voix humaine[cf1], ~Edinburgh Fest. [sm1960[nm. Sang M;aaelisande, G
lynde~~bourne [sm1962[nm. Retired [sm1965[nm.[cm~Dux. [fy75,1]The v. in a canon
which first enters with ~the melody to be imitated. Also called Antecedent. ~See
 also [cf2]Comes[cf1].[cm~Dux, Claire [fy75,1]([cf2]b [cf1]Witkowicz, [sm1885[nm
; [cf2]d [cf1]Chicago, ~[sm1967[nm). Polish sop. Opera d;aaebut Cologne [sm1906[
nm as ~Pamina. Berlin Opera [sm1911[nm=n[sm18[nm. CG d;aaebut [sm1913[nm ~as fir
st Eng. Sophie in [cf2]Rosenkavalier. [cf1]Chicago ~Opera [sm1921[nm=n[sm3[nm. R
etired on marriage.[cm~Dvo;akr;aaak, Anton;aain [fy75,1]([cf2]b
[cf1]Nelahozeves, Bohemia, ~[sm1841[nm; [cf2]d [cf1]Prague, [sm1904[nm). Cz. (Bo
hem.) composer. ~Son of a village butcher, Dvo;akr;aaak as a child helped ~in th
e shop and also showed talent as a violinist. ~At [sm14[nm he was sent to relati
ves in Zlonice to learn ~Ger.; while there he was taught va., org., pf., and ~co
unterpoint by A. Liehmann. From [sm1857[nm to ~[sm1859[nm he attended the Org. S
ch., Prague, leaving ~to become va. player in a band and later in the ~orch. of
Prague Nat. Th., [sm1866[nm=n[sm73[nm, playing under ~[chSmetana. At this time h
e comp. several works ~which he later destroyed or withdrew, the most ~significa
nt being a song-cycle [cf2]Cypress Trees [cf1]from ~which he drew themes in late
r years (for the Vc. ~Conc., for example). The cycle was a tale of ~disappointed
 love, the result of Dvo;akr;aaak's disap~~pointment that a girl he adored marri
ed someone ~else. (He later married her sister.) Like most ~young composers of t
he time, his natural ~tendencies were complicated by the inescap
able ~influence of Wagner. His first opera, [cf2]Alfred [cf1]([sm1870[nm) ~was W
agnerian in tone. [sm3[nm years later he had his ~first major success with a can
tata, [cf2]Hymnus[cf1], which ~enabled him to give up his orch. playing. In [sm1
874[nm ~his Sym. in E;yh won him an Austrian nat. prize, ~Brahms being on the ju
ry. [sm2[nm years later the ~Moravian duets won him the same prize, and ~Brahms
recommended them to the publisher ~Simrock. The nationalist element in such work
s ~as the [cf2]Slavonic Rhapsodies[cf1] =n the results of Smetana's ~beneficial
influence =n earned Dvo;akr;aaak increasing ~recognition and requests for new wo
rks e.g. from ~Joachim for a vn. conc. and from Hans [fy45,1]*[fy75,1]Richter ~f
or a sym. Both Richter and [fy45,1]*[fy75,1]B;auulow championed ~his mus. in the
ir concerts. In [sm1884[nm he paid the ~first of [sm9[nm visits to England and c
ond. his [cf2]Stabat ~Mater [cf1]which had scored a tremendous success the ~prev
ious year under [fy45,1]*[fy75,1]Barnby. His popularity in ~Brit
ain was immediate and sustained both as ~comp. and cond., and he was financially
 successful ~enough to be able to buy an estate in S. Bohemia. ~Several of his w
orks were written for or first perf. ~in Eng., e.g. the Sym. in D minor (No. [sm
7[nm), comp. ~for the Phil. Soc. ([sm1885[nm), the cantata [cf2]The Spectre's ~B
ride [cf1](Birmingham, [sm1885[nm), the oratorio [cf2]St Ludmila ~[cf1](Leeds, [
sm1886[nm), the Sym. in G major (No. [sm8[nm) (Phil. ~Soc. [sm1888[nm), and the
[cf2]Requiem [cf1](Birmingham, [sm1891[nm). ~Cambridge made him Hon. D.Mus. in [
sm1891[nm and ~in the same year he was appointed prof. of comp. ~at Prague Cons.
 The Cons. granted him leave to ~accept the invitation of Mrs Jeanette Thurber,
~founder in [sm1885[nm of the Nat. Cons. of Mus., NY, to ~become dir. of the con
s. He remained in Amer. ~for [sm3[nm years, a fruitful period in which he wrote
~some of his finest works, incl. the `New World' ~Sym., the Vc. Conc., the Bibli
cal Songs, the str. ~qt. Op. [sm96[nm, and the pf. quintet. His
art seems to ~have been intensified by a combination of the ~influence of Negro
melodies and of a deep ~homesickness. He returned to his teaching post ~in Pragu
e in [sm1895[nm, becoming dir. of Prague Cons. ~in [sm1901[nm. His pupils incl.
his son-in-law [fy45,1]*[fy75,1]Suk, and ~[fy45,1]*[fy75,1]Nov;aaak. In his last
 years he devoted his creative ~energies to symphonic poems and to operas.[ep~_D
vo;akr;aaak's mus. is a particularly happy result of ~the major influences on hi
s art: Wagner, Brahms, ~and folk mus. His innate gift for melody was ~Schubertia
n and his felicitous orchestration, often ~reflecting natural and pastoral eleme
nts, is of an ~art that conceals art. But a tendency to regard ~him as blithely
na;auive would be both unjust and ~misleading, for his mastery of form and his ~
contrapuntal and harmonic skill are the manifes~~tations of a powerful mus. inte
llect. The nation~~alist feeling in his mus. is beautifully integrated ~into cla
ssical structures and his use of Cz. dances ~and songs, such as
the furiant, polka, [cf2]sko;akcn;aaa [cf1](reel), ~[cf2]dumka[cf1], and [cf2]so
usedsk;aaa [cf1](slow waltz), is in no way ~bizarre. His syms., the vc. conc., a
nd perhaps ~above all his chamber mus. show the best side of ~his work; the oper
as, apart from [cf2]Rusalka[cf1], are only ~just beginning to travel outside Cze
choslovakia; ~and the choral works which won him such a ~following in late Victo
rian Eng. are due for ~rehabilitation. For many years it was customary ~to credi
t him only with the [sm5[nm syms. pubd. in his ~lifetime, but the [sm4[nm early
examples have now been ~accepted into the canon and the whole series is ~numbere
d chronologically. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Alfred [cf1](unp
ubd.) ([sm1870[nm); [cf2]King and Collier ~[cf1]([cf2]Kr;aaal a uhli;akr[cf1]) (
[sm1871[nm, totally re-composed [sm1874[nm, ~rev. [sm1887[nm), Op. [sm14[nm; [cf
2]The Pig-headed Peasants ~[cf1]([cf2]Tvrd;aae palice[cf1]) ([sm1874[nm), Op. [s
m17[nm; [cf2]Vanda[cf1], ([sm1875[nm, rev. [sm1879[nm, [sm1883[n
m) Op. [sm25[nm; ~[cf2]The Peasant a Rogue [cf1]([cf2];akSelma sedl;aaak[cf1]) (
[sm1877[nm), Op. ~[sm35[nm; [fy45,1]*[fy75,2]Dimitrij [cf1]([sm1881[nm=n[sm2[nm,
 several revs.), Op. [sm64[nm; [cf2]The ~[fy45,1]*[fy75,2]Jacobin[cf1] ([sm1887[
nm=n[sm8[nm, rev. [sm1897[nm), Op. [sm84[nm; [cf2][fy45,1]*[fy75,2]Kate ~and the
 Devil [cf1]([cf2];akCert a K;aaa;akca[cf1]) ([sm1898[nm=n[sm9[nm), Op. [sm112[n
m; ~[fy45,1]*[fy75,2]Rusalka[cf1], ([sm1900[nm) Op. [sm114[nm; [cf2]Armida[cf1]
([sm1902[nm=n[sm3[nm), ~Op. [sm115[nm.[ep~[smsymphonies[nm: No. [sm1[nm in C min
or ([cf2]The [fy45,1]*[fy75,2]Bells of ~Zlonice[cf1]) ([sm1865[nm) (no Op. no.,
recovered [sm1923[nm, ~pubd. ([sm1961[nm)); No. [sm2[nm in B;yh ([sm1865[nm) (no
 Op. no.); ~No. [sm3[nm in E;yh ([sm1873[nm), (no Op. no. but orig. Op. ~[sm10[n
m); No. [sm4[nm in D minor ([sm1874[nm, (no Op. no. but ~orig. Op. [sm13[nm, pub
d. ([sm1912[nm)); No. [sm5[nm in F major ~([sm1875[nm, rev. [sm1887[nm), Op. [sm
76[nm (orig. Op. [sm24[nm and ~formerly No. [sm3[nm); No. [sm6[n
m in D major ([sm1880[nm), Op. ~[PN217,0,0,R,I0][sm60[nm (formerly No. [sm1[nm);
 No. [sm7[nm in D minor, ([sm1884=n~5[nm) Op. [sm70[nm (formerly No. [sm2[nm); N
o. [sm8[nm in G major, ~([sm1889[nm) Op. [sm88[nm (formerly No. [sm4[nm); No. [s
m9[nm in E ~minor ([cf2]From the [fy45,1]*[fy75,2]New World[cf1]) ([sm1893[nm),
Op. [sm95[nm ~(formerly No. [sm5[nm).[ep~[smorch[nm: Symphonic poems: [cf2]The W
ater sprite [cf1]([cf2]Vod~~n;aaik[cf1]), Op. [sm107[nm ([sm1896[nm), [cf2]The [
fy45,1]*[fy75,2]Noonday Witch ~[cf1]([cf2]Polednice[cf1]), Op. [sm108[nm ([sm189
6[nm), [cf2]The Golden Spinning ~Wheel [cf1]([cf2]Zlat;aay Kolovrat[cf1]), Op. [
sm109[nm ([sm1896[nm), [cf2]The ~[fy45,1]*[fy75,2]Wood Dove [cf1]([cf2]Holoubek[
cf1]), Op. [sm110[nm ([sm1896[nm); [cf2]Heroic ~Song[cf1], Op. [sm111[nm ([sm189
7[nm); Ovs.: [cf2]My Home[cf1], Op. [sm62[nma ~([sm1882[nm), [cf2]Hussite [cf1](
[cf2]Husitsk;aaa[cf1]), Op. [sm67[nm ([sm1883[nm), Cycle, ~[fy45,1]*[fy75,2][cf2
]Nature, Life and Love [cf1]comprising [fy45,1]*[fy75,2]Amid Nat
ure[cf1], ~Op. [sm91[nm, [fy45,1]*[fy75,2]Carneval[cf1], Op. [sm92[nm, and [fy45
,1]*[fy75,2]Othello[cf1], Op. [sm93[nm ~([sm1891[nm=n[sm2[nm); [cf2]Serenade [cf
1]in E major for str., Op. [sm22[nm ~([sm1875[nm), [cf2]Suite in D [cf1]([cf2]Cz
ech[cf1]), Op. [sm39[nm ([sm1879[nm), [cf2]Serenade ~[cf1]in D minor for wind, v
c., and bass, Op. [sm44[nm ~([sm1878[nm), [sm3[nm [fy45,1]*[fy75,2]Slavonic Rhap
sodies [cf1]in D, G minor, ~and A;yh, Op. [sm45[nm ([sm1878[nm), [sm8[nm [fy45,1
]*[fy75,2]Slavonic Dances[cf1], [sm1[nmst ~series, Op. [sm46[nm ([sm1878[nm), [s
m8[nm ([sm2[nmnd series) Op. [sm72[nm ~([sm1886[nm), [cf2]Legends[cf1], Op. [sm5
9[nm ([sm1881[nm), [cf2]Scherzo capriccioso[cf1], ~Op. [sm66[nm ([sm1883[nm), [c
f2]Symphonic variations[cf1], Op. [sm78[nm ~([sm1877[nm, orig. Op. [sm40[nm).[ep
~[smsoloist and orch[nm: Vc. conc. in A major ([sm1865[nm, ~with pf. acc. only.
Orch. Raphael [sm1928[nm, Burghau~~ser [sm1975[nm, vc. part ed. S;aaadl;aao), [c
f2]Romance [cf1]for vn., ~Op. [sm11[nm ([sm1873=n7[nm, arr. of [
cf2]andante con moto [cf1]of str. ~qt. in F minor, Op. [sm9[nm, of [sm1873[nm),
pf. conc. in G ~minor, Op. [sm33[nm ([sm1876[nm), [cf2]Mazurka [cf1]for vn., Op.
 [sm49[nm ~([sm1879[nm), Vn. conc. in A minor, Op. [sm53[nm ([sm1879[nm=n[sm80[n
m), ~[cf2]Rondo [cf1]for vc., Op. [sm94[nm ([sm1893[nm), [cf2]Forest Calm[cf1],
for vc. ~([sm1891[nm), Vc. conc. in B minor, Op. [sm104[nm ([sm1894=n5[nm).[ep~[
smchamber music[nm: String quartets: F minor, Op. [sm9[nm ~([sm1873[nm), A minor
, Op. [sm12[nm ([sm1873[nm), A minor, Op. ~[sm16[nm ([sm1874[nm), D minor, Op. [
sm34[nm ([sm1877[nm), E;yh, Op. [sm51[nm ~([sm1878[nm=n[sm79[nm), C major, Op. [
sm61[nm ([sm1881[nm), E major, Op. ~[sm80[nm ([sm1876[nm, orig. Op. [sm27[nm), F
 major (the [fy45,1]*[fy75,1]`Ameri~~can'), Op. [sm96[nm ([sm1893[nm), A;yh, Op.
 [sm105[nm ([sm1895[nm), G ~major, Op. [sm106[nm ([sm1895[nm). Also several with
out ~Opus no. incl. [cf2]Cypresses[cf1] (Cyp;akri;akse), ([sm1887[nm); String ~q
uintets: G major, Op. [sm77[nm, with db. ([sm1875[nm, orig. ~Op.
 [sm18[nm), E;yh, Op. [sm97[nm ([sm1893[nm); String sextet: A ~major, Op. [sm48[
nm ([sm1878[nm); Piano Trios: B;yh, Op. [sm21[nm ~([sm1875[nm), G minor, Op. [sm
26[nm ([sm1876[nm), F minor, Op. ~[sm65[nm ([sm1883[nm), E minor ([cf2]Dumka[cf1
]) Op. [sm90[nm ([sm1890[nm=n[sm1[nm); ~Piano Quartets: D major, Op. [sm23[nm ([
sm1875[nm), E;yh, Op. ~[sm87[nm ([sm1889[nm); Piano Quintet: A major, Op. [sm81[
nm ~([sm1887[nm); [fy45,1]*[fy75,2]Bagatelles [cf1]([cf2]Mali;akckosti[cf1]) for
 [sm2[nm vn., vc., and ~harmonium (or pf.), Op. [sm47[nm ([sm1878[nm); [cf2]Terz
etto [cf1]for ~[sm2[nm vn. and va., Op. [sm74[nm ([sm1887[nm); Violin Sonata: F
~major, Op. [sm57[nm ([sm1880[nm); vn. sonatina in G, Op. [sm100[nm ~([sm1893[nm
).[ep~[smchoral[nm: [cf2]Stabat Mater[cf1], Op. [sm58[nm ([sm1876[nm=n[sm7[nm, o
rig. Op. ~[sm28[nm), [cf2]The [fy45,1]*[fy75,2]Spectre's Bride[cf1], Op. [sm69[n
m ([sm1884[nm), [fy45,1]*[fy75,2]St ~Ludmila[cf1], Op. [sm71[nm ([sm1885[nm=n[sm
6[nm), Mass in D, Op. [sm86[nm ~([sm1887[nm, rev. [sm1892[nm), [
cf2]Requiem[cf1], Op. [sm89[nm ([sm1890[nm), [cf2]The ~American Flag[cf1], Op. [
sm102[nm ([sm1892[nm), [cf2]Te Deum[cf1], Op. [sm103[nm ~([sm1892[nm), [cf2]Hymn
 of the Czech Peasants [cf1]([cf2]Hymna cesk;aaeho ~rolnictva[cf1]), Op. [sm28[n
m ([sm1885[nm), with [sm4[nm-hand acc., ~[cf2]Hymnus[cf1], Op. [sm30[nm ([sm1872
[nm, orig. Op. [sm4[nm), [cf2][fy45,1]*[fy75,2]Amid ~Nature [cf1]([cf2]Vp;akr;aa
irod;ake[cf1]) [sm5[nm ch., Op. [sm63[nm ([sm1882[nm).[ep~[smsongs[nm: Cycle, [c
f2]Cypress Trees[cf1], [sm18[nm songs to words by ~Pflager ([sm1865[nm), unpubd.
 in orig. form but pubd. ~as [sm4[nm [cf2]Songs[cf1], Op. [sm2[nm, [sm8[nm [cf2]
Love Songs[cf1], Op. [sm83[nm ([sm1888[nm) and ~[cf2]Cypress Trees [cf1]for str.
 qt; [sm5[nm [cf2]Evening Songs[cf1], Op. [sm31[nm ~([sm1876[nm), [sm3[nm [cf2]M
odern Greek Songs[cf1], Op. [sm50[nm ([sm1878[nm), [sm7[nm ~[fy45,1]*[fy75,2]Gip
sy Songs[cf1], Op. [sm55[nm ([sm1880[nm; No. [sm4[nm is [fy45,1]*[fy75,2]Songs m
y ~Mother taught me[cf1]), [sm4[nm [cf2]Songs[cf1], Op. [sm82[nm
 ([sm1887[nm=n[sm8[nm), [sm10[nm ~[fy45,1]*[fy75,2]Biblical Songs[cf1], Op. [sm9
9[nm ([sm1894[nm, Nos. [sm1[nm and [sm5[nm are ~orch.).[ep~[smpiano[nm: [cf2]Sil
houettes[cf1], Op. [sm8[nm ([sm1879[nm), [cf2]Dumka and Furiant[cf1], ~Op. [sm12
[nm ([sm1884[nm), [fy45,1]*[fy75,2]Dumka[cf1], Op. [sm35[nm ([sm1876[nm), [cf2]T
heme ~and Variations[cf1], Op. [sm36[nm ([sm1876[nm), [cf2]Scottish Dances[cf1],
 ~Op. [sm41[nm ([sm1877[nm), [sm4[nm [cf2]Pieces[cf1], Op. [sm52[nm ([sm1880[nm)
, [sm8[nm [cf2]Waltzes[cf1], ~Op. [sm54[nm ([sm1879[nm=n[sm80[nm; Nos. [sm1[nm a
nd [sm4[nm arr. for str. qt.), ~[sm6[nm [cf2]Mazurkas[cf1], Op. [sm56[nm ([sm188
0[nm), [cf2]Poetic Tone Pictures ~[cf1]([cf2]Poetick;aae n;aaalady[cf1]), Op. [s
m85[nm ([sm1889[nm), [cf2]Suite in A. [cf1]Op. [sm98[nm ~([sm1894[nm, arr. for o
rch.), [sm8[nm [fy45,1]*[fy75,1][cf2]Humoresques[cf1], Op. [sm101[nm ~([sm1894[n
m; No. [sm7[nm is the famous one), [cf2];aaEclogues[cf1] ([sm1880[nm), ~[cf2]Alb
um Leaves [cf1]([sm1881[nm).[ep~[smpiano duets[nm: [sm16[nm [fy4
5,1]*[fy75,2]Slavonic Dances[cf1], Opp. [sm46[nm and [sm72[nm ~([sm2[nm sets of
[sm8[nm; also for orch.), [cf2]Legends[cf1], Op. [sm59[nm ([sm1881[nm, ~also for
 orch.), [cf2]From the Bohemian Forest [cf1]([cf2]Ze ~;akSumavy[cf1]), Op. [sm68
[nm ([sm1884[nm).[cm~[j1]Dvo;akr;aaakova, Ludmila[fy75,1] ([cf2]b[cf1] Kol;aain,
 [sm1923[nm). Cz. ~soprano. Studied at Prague Cons. [sm1942[nm=n[sm9[nm. Opera ~
d;aaebut Ostrava [sm1949[nm (as K;aaa;akta Kabanov;aaa). Bratislava ~Opera [sm19
52[nm=n[sm4[nm, Prague [sm1954[nm=n[sm60[nm, Berlin State ~Opera from [sm1960[nm
 (d;aaebut as Oktavian). First sang ~Br;auunnhilde in Berlin [sm1962[nm, Isolde
in Karlsruhe ~[sm1964[nm. Vienna d;aaebut [sm1965[nm, NY Met. [sm1966[nm ([cf2]F
idelio[cf1]). ~Sang Br;auunnhilde in [cf2]Ring[cf1] cycles CG [sm1966[nm=n[sm71[
nm. ~Bayreuth d;aaebut [sm1965[nm (Gutrune), later singing ~Br;auunnhilde and Ku
ndry there.[cm~Dwarf, The[fy75,1] (Zemlinsky). See [cf2]Zwerg, Der.[cm~Dykes, Jo
hn Bacchus [fy75,1]([cf2]b [cf1]Hull, [sm1823[nm; [cf2]d [cf1]Ti
cehurst, ~Sussex, [sm1876[nm). Eng. church composer, precentor ~of Durham Cath.,
 and Vicar. His popular hymn ~tunes incl. [cf2]Nearer My God to Thee, [fy45,1]*[
fy75,2]Eternal Father, ~strong to save, Our blest Redeemer, Holy, holy, holy, Je
su, Lover of my Soul[cf1], and [cf2]Lead, Kindly Light.[cf1][cm~Dykes Bower, Joh
n. [fy75,1]See [cf2]Bower, John Dykes.[cm~Dynamics. [fy75,1]The gradations of vo
l. in mus., e.g. ~[cf2]forte, piano, crescendo[cf1], etc.[cm~Dyson, [fy75,1](Sir
) [fy65][cf3]George [fy75,1]([cf2]b [cf1]Halifax, Yorks., [sm1883[nm; [cf2]d ~[c
f1]Winchester, [sm1964[nm). Eng. composer, teacher, and ~organist. Studied RCM.
Spent [sm1904[nm=n[sm8[nm in It. and ~Ger. on Mendelssohn Scholarship. From [sm1
908[nm=n[sm37[nm ~was mus. master at a succession of Eng. schs. incl. ~Rugby and
 Winchester. Dir., RCM, [sm1937[nm=n[sm52[nm. ~Comps. incl. Sym. in G ([sm1937[n
m), cantatas [fy45,1]*[fy75,2]In ~Honour of the City [cf1]([sm1928[nm), [cf2]The
 [fy45,1]*[fy75,2]Canterbury Pilgrims ~[cf1]([sm1931[nm), [cf2]S
t Paul's Voyage to Melita [cf1]([sm1933[nm), and [cf2]Quo ~Vadis [cf1]([sm1939[n
m); vn. conc. ([sm1942[nm). Knighted [sm1941[nm, ~K.C.V.O. [sm1953[nm.[cm~Dzerzh
insky, Ivan [fy75,1]([cf2]b [cf1]Tambov, [sm1909[nm; [cf2]d [cf1]Lenin~~grad, [s
m1978[nm). Russ. composer whose operas were ~upheld as models when Shostakovich
was in ~disgrace with Soviet authorities for his [cf2]Lady ~Macbeth of the Mtsen
sk District[cf1]. They incl. [cf2]Quiet ~Flows the Don [cf1]([sm1935[nm), [cf2]V
irgin Soil Upturned [cf1]([sm1937[nm), ~[cf2]Blood of the People [cf1]([sm1941[n
m), [cf2]Grigory Melekhov [cf1]([sm1967[nm). ~Also [sm3[nm pf. concs., symphonic
 poem, songs, etc.[xm[cm~[PN218,0,0,L,I0][j4]~[ol0][ep~[xp[te~




[do11][j99]~~~~~~[sm153842[nm_E[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmE[sm001[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm24[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm1[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ep~[PN218,0,0,L
,I0][ap[j3]~E[cm~~[j1]E.[fy75,1] Note of the scale: [sm3[nmrd degree of natural
scale ~of C. Thus, E;Yh, E;Yh;Yh, E;Yj, E;Yi, E;Yi;Yi. Keys of E major ~and E mi
nor, E;Yh major and E;yh minor. E;Yh is also ~indication of [fy45,1]*[fy75,1]tra
nsposing instr. (e.g. the E;Yh cl.) ~on which written note C sounds as E;Yh.[cm~
E[fy75,1] (It.). And.[cm~Eadie, No;auel[fy75,1] ([cf2]b[cf1] Paisley, [sm1901[nm
;[cf2] d [cf1]London, [sm1950[nm). ~Scottish sop. D;aaebut London, CG [sm1926[nm
, BNOC ~[sm1928[nm. Chicago Opera [sm1931[nm=n[sm2[nm, Glyndebourne ~[sm1935[nm=
n[sm6[nm, SW, and other cos.[cm~Eames, Emma[fy75,1] ([cf2]b[cf1] Shanghai, [sm18
65[nm;[cf2] d[cf1] NY, [sm1952[nm). ~Amer. sop. Studied in Boston, Mass., later
in Paris ~with M. Marchesi. Paris Op;aaera [sm1889[nm=n[sm91[nm,
 making ~d;aaebut as Juliette in Gounod's[cf2] Rom;aaeo et Juliette[cf1]. ~D;aae
but CG and NY Met. [sm1891[nm. Member of Met. ~co. until [sm1909[nm. Last stage
appearances Boston ~[sm1911[nm, thereafter recitals. Sang Mrs. Ford in Amer. ~pr
emi;agere of Verdi's[cf2] Falstaff[cf1], [sm1895[nm.[cm~Ear, Playing by.[fy75,1]
 The ability to play an instr. ~intuitively, without instruction, or to improvis
e ~without a score.[cm~Early Music.[fy75,1] Term by which is generally ~understo
od mus. comp. from earliest times up to ~and incl. mus. of Renaissance period. W
ith ~growth of interest in mus. of this period and ~especially the use of authen
tic instrs. in perf., ~various `early mus.' consorts and ens. were ~formed. The
periodical[cf2] Early Music[cf1] has been ~pubd. quarterly in London since [sm19
73[nm.[cm~Early Music Consort.[fy75,1] Group of musicians ~founded by David [fy4
5,1]*[fy75,1]Munrow in [sm1967[nm to perform ~Renaissance and other early mus. o
n orig. instrs. ~such as rebec, sackbut, shawm, curtall, etc. Ma
ny ~recordings.[cm~Easdale, Brian[fy75,1] ([cf2]b[cf1] Manchester, [sm1909[nm).
Eng. ~composer. Studied RCM. Comps. incl. operas[cf2] ~Rapunzel[cf1] ([sm1927[nm
),[cf2] The Corn King[cf1] ([sm1935[nm), and[cf2] The ~Sleeping Children[cf1] ([
sm1951[nm); also pf. conc. ([sm1938[nm), ~song-cycles, and th. mus.[cm~East[fy75
,1] (Easte, Est, Este),[fy65][cf3] Michael[fy75,1] ([cf2]b c[cf1].[sm1580[nm;[cf
2] d ~[cf1]Lichfield, [sm1648[nm). Eng. composer and organist. ~Organist, Lichfi
eld Cath. Wrote madrigals, an~~thems, and mus. for viols. His [sm5[nm-part madri
gal ~[cf2]Hence Stars[cf1] is in[cf2] The [fy45,1]*[fy75,2]Triumphs of Oriana.[c
f1] Also ~wrote madrigal called[cf2] O metaphysical tobacco[cf1] ~([sm1606[nm).[
cm~East[fy75,1] (Easte, Est, Este),[fy65][cf3] Thomas[fy75,1] ([cf2]b =+=+c.[cf1
][sm1550[nm;[cf2] d[cf1] ~London, [sm1608[nm). London mus. publisher. Issued ~By
rd's psalms, sonnets, and songs ([sm1588[nm), works ~by other madrigalists, and
[sm4[nm-part settings of ~psalms ([sm1592[nm).[cm~Eastman School
 of Music.[fy75,1] Dept. of Univ. of ~Rochester, NY. Founded [sm1919[nm through
munifi~~[chcence of George Eastman ([sm1854[nm=n[sm1932[nm), inventor ~of Kodak
photographic process, and opened in ~[sm1921[nm. Dir. [sm1924[nm=n[sm64[nm was H
oward [fy45,1]*[fy75,1]Hanson.[cm~Easton, Florence[fy75,1] (=+[cf2]b[cf1] South
Bank, Yorks, [sm1882[nm;[cf2] d[cf1] ~NY, [sm1955[nm). Eng. sop. Studied RAM [sm
1900[nm=n[sm1[nm and in Paris. ~Opera d;aaebut Moody-Manners Co., Newcastle ~upo
n Tyne, [sm1903[nm. Joined Savage Co., [sm1904[nm=n[sm5[nm, ~[sm1906[nm=n[sm7[nm
. Member Berlin Royal Opera [sm1907[nm=n[sm13[nm. ~Hamburg Opera [sm1912[nm=n[sm
16[nm, Chicago [sm1915[nm=n[sm17[nm, NY ~Met. [sm1917[nm=n[sm29[nm and [sm1935[n
m=n[sm6[nm. CG [sm1927[nm and [sm1932[nm; ~SW [sm1934[nm. Repertory of [sm150[nm
 very varied roles ~in [sm4[nm languages and could learn a new score in [sm12[nm
 ~hours. Retired [sm1936[nm. Resplendent Br;auunnhilde ~with Melchior in [cf2]Si
egfried[cf1], CG [sm1932[nm.[cm~Eastwood, Thomas [fy75,1](Hugh)
([cf2]b[cf1] Hawley, [sm1922[nm). ~Eng. composer. Studied in Turkey, then in Ber
lin ~with [fy45,1]*[fy75,1]Blacher and E. [fy45,1]*[fy75,1]Stein. Worked for Bri
t. ~Council in Ankara and Berlin [sm1947[nm=n[sm54[nm. On ~council of S.P.N.M. [
sm1959[nm=n[sm70[nm. Works incl. [sm2[nm operas ~(one of them[cf2] Christopher S
ly[cf1]), cantatas, chamber ~mus., songs, and incidental mus. for plays incl. ~J
ohn Osborne's [cf2]Look Back in Anger[cf1] ([sm1956[nm). Made ~new realization o
f [fy45,1]*[fy75,2]Love in a Village[cf1] for BBC ~([sm1964[nm).[cm~Eathorne, We
ndy[fy75,1] ([cf2]b[cf1] Four Lanes, Cornwall, ~[sm1939[nm). Eng. sop. Studied R
AM. Specialist in ~oratorio and Lieder, also opera.[cm~Eben, Petr[fy75,1] ([cf2]
b[cf1] ;akZamberk, Cz., [sm1929[nm). Cz. composer ~and pianist. Studied Prague A
cad. of Mus. [sm1948[nm=n~[sm54[nm. Comps. incl. oratorio[cf2] Apologia Sokratus
[cf1] ([sm1964[nm), ~pf. conc. ([sm1961[nm), song cycles, chamber mus., ~[cf2]Mu
tationes, [cf1]org. ([sm1980[nm), and motets.[cm~Eberl, Anton[fy
75,1] ([cf2]b[cf1] Vienna, [sm1765[nm;[cf2] d[cf1] Vienna, [sm1807[nm). ~Austria
n composer and pianist. Kapellmeister, St ~Petersburg, [sm1796[nm=n[sm1802[nm. F
riend of Mozart, with ~whose widow he made a concert-tour of Ger. ~Wrote [sm5[nm
 operas, syms., pf. concs., pf. works, ~chamber mus., etc.[cm~Eberlin, Johann [f
y75,1](Ernst) ([cf2]b[cf1] Jettingen, [sm1702[nm; [cf2]d[cf1] ~Salzburg, [sm1762
[nm). Ger. composer, mainly of church ~mus. Court organist to Archbishop of Salz
burg ~from [sm1754[nm. Wrote org. toccatas and fugues, [sm21[nm ~oratorios, mass
es, motets, etc.[cm~Ebert, Carl[fy75,1] ([cf2]b[cf1] Berlin, [sm1887[nm; [cf2]d[
cf1] Santa Monica, ~Calif., [sm1980[nm). Ger.-born operatic producer and ~impres
ario. Actor in Frankfurt and Berlin [sm1915[nm=n~[sm27[nm. Dir., Darmstadt State
 Th. [sm1927[nm=n[sm31[nm, Berlin ~State Opera [sm1931[nm=n[sm3[nm. Producer, Gl
yndebourne ~Fest. from [sm1[nmst season in [sm1934[nm to [sm1939[nm, and [sm1947
[nm=n~[sm59[nm. Organized Turkish Nat. Opera [sm1937[nm=n[sm47[n
m, dir., ~[PN219,0,0,R,I0]opera dept. Univ. of S. Calif. [sm1948[nm=n[sm54[nm. R
eturned ~to Berlin State Opera [sm1954[nm=n[sm61[nm; NY Met. [sm1959[nm=n~[sm62[
nm. Set new standards of ens. and detailed rehearsal ~in Verdi and Mozart. C.B.E
. [sm1960[nm.[cm~Ebert, Peter[fy75,1] ([cf2]b[cf1] Frankfurt, [sm1918[nm). Ger.
opera ~producer, son of Carl [fy45,1]*[fy75,1]Ebert. Has worked at ~Glyndebourne
, Rome, Venice, Wexford, Los ~Angeles, and Copenhagen. Chief producer Han~~over
State Opera and Deutsche Oper am Rhein ~[sm1954[nm=n[sm64[nm; dir. of prods. Sco
ttish Opera [sm1965[nm=n[sm75[nm; ~gen. administrator Scottish Opera [sm1977[nm=
n[sm80[nm.[cm~Ebony Concerto.[fy75,1] For cl. and orch. by [fy45,1]*[fy75,1]Stra
vinsky. ~Comp. [sm1945[nm for jazz musician Woody Herman ~who was soloist with h
is band at f.p. in NY [sm1946[nm. ~Jazz slang for cl. is `ebony stick'.[cm~Eccar
d, Johannes[fy75,1] ([cf2]b[cf1] M;auuhlhausen, [sm1553[nm;[cf2] d[cf1] Berlin,
~[sm1611[nm). Ger. composer, pupil at Munich of [fy45,1]*[fy75,1
]Lassus. ~Held several court posts, finally becoming Kapell~~meister to Kurf;auu
rst of Brandenburg, Berlin, [sm1608[nm. ~Wrote many motets and chorales.[cm~Eccl
es, John[fy75,1] ([cf2]b[cf1] London,[cf2] c[cf1].[sm1668[nm;[cf2] d[cf1] Hampto
n ~Wick, [sm1735[nm). Eng. composer. Prolific writer of ~th. mus., incl. Congrev
e's[cf2] The Way of the World[cf1] ~and masque[cf2] The Judgement of Paris[cf1].
 Collab. with ~Purcell on[cf2] Don Quixote[cf1] ([sm1694=n5[nm). Master of King'
s ~Band [sm1700[nm. Pubd. [sm100[nm songs in [sm1710[nm.[cm~Eccles[fy75,1] (Eagl
es),[fy65][cf3] Solomon[fy75,1] ([cf2]b[cf1] London, [sm1618[nm;[cf2] d[cf1] ~Lo
ndon, [sm1682[nm). Eng. composer and performer on ~virginals and viol. On becomi
ng Quaker[cf2] c[cf1].[sm1660[nm ~publicly burned his mus. and instrs., later ~a
ccompanying George Fox to W. Indies.[cm~Ecclesiastical Modes.[fy75,1] See[cf2] M
odes[cf1].[cm~;aaEchapp;aae.[fy75,1] See [cf2]Changing Note[cf1].[cm~[fy65][cf3]
 ;aaEchelle[fy75,1] (Fr.). Ladder, i.e. Scale ([cf2]Gamme[cf1] i
s the ~more usual word for the mus. scale).[fy65][cf3] ;aaEchelette[fy75,1] ~(Fr
.). Little ladder, i.e. [fy45,1]*[fy75,1]Xylophone.[cm~Echo Cornet.[fy75,1] Orga
n stop of gentle tone (see[cf2] ~Cornet Stop[cf1]).[cm~Echo Gamba.[fy75,1] A sof
t type of organ stop.[cm~Echoklavier[fy75,1] (Ger.). Echo-keyboard. [fy45,1]*[fy
75,1]Choir Or~~gan (not Echo Organ).[cm~Echo Organ.[fy75,1] An org. manual with
very soft ~stops to give an echo effect.[cm~Eckhardt-Gramatt;aae, Sophie-Carmen[
fy75,1] (Sonia) ([cf2]b[cf1] ~Moscow, [sm1899[nm; [cf2]d [cf1]Stuttgart, [sm1974
[nm). Russ.-born ~composer, violinist, and pianist. Studied Paris ~Cons. with d'
Indy, also vn. with Thibaud and ~Huberman, comp. in Berlin with Max Trapp. ~Care
er as solo violinist and pianist from age [sm11[nm, ~but later concentrated on c
omp. Works incl. [sm3[nm pf. ~concs., vn. conc., conc. for orch., triple conc. (
tpt., ~cl., bn.), bn. conc., [sm2[nm syms., [sm3[nm str. qts., [sm6[nm pf. sonat
as, ~and other chamber works. Settled in Canada ~[sm1953[nm.[cm~
;aaEclat[fy75,1] (Fragment). Work for chamber orch. ([sm15[nm ~instr.) by Boulez
, comp. [sm1965[nm. F.p. Los Angeles ~[sm1965[nm, London [sm1966[nm. Expanded an
d rev. [sm1970[nm as ~[cf2];aaEclat/Multiples[cf1], f.p. London [sm1970[nm, but
regarded as ~`work in progress'.[cm~Eclecticism.[fy75,1] Term frequently used to
 describe a ~composer's conscious use of styles alien to his ~nature, or from a
bygone era. Also used pejora~~tively when applied to mus. in which the ~composer
, thought to be lacking originality, has ~freely drawn on other models.[cm~Eclog
ue.[fy75,1] Short pastoral poem (sometimes used ~as title of a piece of mus.).[c
m~;aaEcossaise.[fy75,1] A type of contredanse (see[cf2] Country ~Dance[cf1]) in
duple time. The orig. of the name is a ~mystery, since there appears to be nothi
ng Scottish ~about the character of the mus. It is not the same ~as the [fy45,1]
*[fy75,2]Schottische[cf1].[cm~Ed[fy75,1] (It.). `And' (version of [fy45,1]*[fy75
,2]E[cf1] as used before a ~vowel). Thus the title of Bellini's
opera may be ~given as[cf2] I Capuleti e[cf1] ([cf2]ed[cf1])[cf2] i Montecchi[cf
1].[cm~Edelmann, Otto[fy75,1] ([cf2]b[cf1] Brunn am Gebirge, [sm1917[nm). ~Austr
ian bass. Studied Vienna Acad. D;aaebut Gera ~[sm1937[nm. Joined Vienna Opera [s
m1947[nm, also regular ~visitor to NY Met. and San Francisco. Bayreuth ~d;aaebut
 [sm1951[nm as Sachs. Notable Ochs in[cf2] Der ~Rosenkavalier[cf1].[cm~Eden and
Tamir.[fy75,1] Israeli piano duo formed [sm1952[nm ~by Bracha Eden ([cf2]b[cf1]
Jerusalem, [sm1928[nm) and Alexander ~Tamir ([cf2]b[cf1] Vilnius, [sm1931[nm). B
oth studied at Rubin ~Acad., Jerusalem until [sm1952[nm and at Aspen in [sm1955[
nm ~with Vronsky and Babin. D;aaebut Israel [sm1954[nm, NY ~[sm1955[nm, London [
sm1957[nm. Have revived many two-~piano works by Clementi, Dussek, and Hummel. ~
Gave f. Amer. p. of Lutoslawski's [cf2]Paganini ~Variations[cf1] and f. public.
p. of pf. duet version of ~Stravinsky's [cf2]Rite of Spring.[cm~Edgar.[fy75,1] [
sm4[nm-act opera by Puccini to lib. by F. Fontana ~after A. de M
usset's verse-drama[cf2] La Coupe et ses ~l;agevres[cf1] ([sm1832[nm). Comp. [sm
1884=n8[nm. Prod. Milan [sm1889[nm; ~NY [sm1956[nm. Rev. [sm3[nm-act version f.p
. Ferrara [sm1892[nm. ~Further rev. [sm1901[nm, [sm1905[nm.[cm~Edinburgh Festiva
l.[fy75,1] [sm3[nm-week annual int. fest. of ~the arts held in Scottish capital
Aug.=nSept., with ~strong emphasis on opera, concerts, and recitals. ~Founded [s
m1947[nm with Rudolf Bing as dir.; he was ~succeeded by Ian Hunter [sm1949[nm=n[
sm55[nm, Robert Pon~~sonby [sm1955[nm=n[sm60[nm, Earl of Harewood [sm1961[nm=n[s
m5[nm, Peter ~Diamand [sm1966[nm=n[sm78[nm, John Drummond [sm1979[nm=n[sm83[nm;
~Frank Dunlop from [sm1984[nm. Many distinguished ~visiting cos. have supplied o
pera, incl. Glynde~~bourne, Stuttgart, Stockholm, Hamburg, Prague, ~Belgrade, Sc
ala, Florence, Deutsche Oper, Bavar~~ian State, and Scottish. Visiting orchs. an
d soloists ~incl. virtually all the most celebrated. Several ~works have had f.p
s. at fest. A feature is the very ~lively `fringe', events outsi
de the official pro~~gramme, some of which have `stolen the show'.[cm~E Dur[fy75
,1] (Ger.). The key of E major.[cm~[PN220,0,0,L,I0]Edwards, Richard[fy75,1] ([cf
2]b[cf1] Somerset, [sm1524[nm;[cf2] d[cf1] London, ~[sm1566[nm). Eng. composer,
poet, and scholar. Master ~of the Children of the Chapel Royal from [sm1561[nm.
~Best known for his madrigal [cf2]In going to my naked ~bed[cf1]. His[cf2] Damon
 and Pythias[cf1] ([sm1564[nm) has been ~described as early `mus. drama'.[cm~Edw
ards, Ross [fy75,1]([cf2]b[cf1] Sydney, N.S.W., [sm1943[nm). Austra~~lian compos
er. Studied at N.S.W. Cons. and Univs. ~of Sydney and Adelaide. Studied comp. wi
th ~Meale, Sculthorpe, Maxwell Davies, and Veress. ~Went to London [sm1969[nm. R
eturned to Australia ~[sm1972[nm. Taught in mus. dept., Univ. of Sydney. ~Lect.,
 N.S.W. Cons. from [sm1976[nm. Comps. incl.: [cf2][sm5[nm ~Carols[cf1], women's
or boys' vv. ([sm1967[nm); [cf2]Mountain ~Village in a Clearing Mist[cf1], orch.
 ([sm1973[nm); [cf2][sm5[nm Little ~Piano Pieces[cf1] ([sm1976[n
m); [cf2]Shadow D-Zone[cf1], fl., cl., perc., ~pf., vn., vc. ([sm1977[nm); [cf2]
The Tower of Remoteness[cf1], cl., ~pf. ([sm1978[nm); [cf2]Laikan I[cf1], [sm6[n
m players ([sm1979[nm), [cf2]II[cf1], [sm6[nm players ~([sm1981[nm); [cf2]Ab est
asis foribus[cf1], unacc. ch. ([sm1980[nm); ~[cf2]Maninya[cf1], alto v. and vc.
([sm1981[nm); [cf2]Kumari[cf1], pf. ([sm1981[nm).[cm~E.F.D.S.S. [fy45,1]*[fy75,1
]English Folk Dance and Song Society.[cm~Egdon Heath.[fy75,1] Orch. work, Op. [s
m47[nm, by Holst, ~comp. [sm1927[nm and inspired by the Dorset landscape ~descri
bed as `Egdon Heath' in Thomas Hardy's[cf2] ~The Return of the Native[cf1] ([sm1
878[nm). Sub-titled `Homage ~to Thomas Hardy'. Commissioned by NY S.O. ~which ga
ve f.p. [sm1928[nm. F.p. in England, Chelten~~ham [sm1928[nm, cond. Holst, and L
ondon [sm10[nm days later ~(all these perfs. were in Feb.).[cm~Egge, Klaus[fy75,
1] ([cf2]b[cf1] Gransherad, Norway, [sm1906[nm; [cf2]d[cf1] ~Oslo, [sm1979[nm).
Norweg. composer and critic. Studied ~Oslo Cons. and privately w
ith [fy45,1]*[fy75,1]Valen, later ~attending Berlin Hochschule f;auur Musik. Lat
er ~works use a form of serial technique. Comps. ~incl. [sm5[nm syms., [sm2[nm p
f. concs., vn. conc., vc. conc., ~ballet[cf2] Fanitullen[cf1], choral works, and
 chamber mus.[cm~Eggen, Arne[fy75,1] ([cf2]b[cf1] Trondheim, [sm1881[nm;[cf2] d[
cf1] Baerum, ~[sm1955[nm). Norweg. composer and organist. Cond. ~Drammen orch. W
orks incl. org. pieces and vn. ~sonatas but best-known for his songs.[cm~Egk, We
rner[fy75,1] ([cf2]b[cf1] Auchsesheim, Bavaria, [sm1901[nm; [cf2]d[cf1] ~Inning,
 Bavaria, [sm1983[nm). Ger. composer and cond. ~Mainly self-taught. Cond. for Ba
varian radio ~[sm1930[nm=n[sm3[nm and at Berlin State Opera [sm1937[nm=n[sm41[nm
. Dir., ~Berlin Hochschule f;auur Musik [sm1950[nm=n[sm3[nm. Very active ~on beh
alf of performing rights, etc. Controversial ~figure, his opera[cf2] Peer Gynt[c
f1] being banned by Nazis ~because of its satire on r;aaegime, but he wrote mus.
 ~for Berlin Olympic Games [sm1936[nm. Colouristic and ~rhythmic
al features of his work derive from ~admiration for Stravinsky. Works incl.:[xm[
cm~[j2][smoperas[nm:[fy75,2] Columbus[cf1] ([sm1933[nm radio, [sm1942[nm stage),
[cf2] Die ~Zaubergeige[cf1] ([sm1935[nm, rev. [sm1954[nm), [fy45,1]*[fy75,2]Peer
 Gynt[cf1] ([sm1938[nm),[cf2] ~Circe[cf1] ([sm1945[nm, rev. [sm1966[nm as [cf2][
sm17[nm Tage und [sm4[nm Minuten[cf1]), ~[fy45,1]*[fy75,2]Irische Legende[cf1] (
after Yeats, [sm1955[nm, rev. [sm1970[nm),[cf2] ~Der Revisor[cf1] (after Gogol's
[cf2] The [fy45,1]*[fy75,2]Government ~Inspector[cf1], [sm1957[nm), [cf2]Die Ver
lobung in San Domingo[cf1] ~([sm1963[nm).[ep~[smballet[nm:[cf2] Joan von Zarissa
[cf1] ([sm1940[nm),[cf2] Abraxas[cf1] ([sm1947[nm=n[sm8[nm),[cf2] ~Ein Sommertag
[cf1] ([sm1950[nm),[cf2] Die chinesische Nachtigall[cf1] ~([sm1953[nm),[cf2] Cas
anova in London[cf1] ([sm1969[nm).[ep~[smorch[nm:[cf2] Geigenmusik[cf1], vn. and
 orch. ([sm1936[nm),[cf2] Olym~~pische Festmusik[cf1] ([sm1936[nm),[cf2] Franz;a
uosische Suite[cf1] (after ~Rameau, [sm1949[nm),[cf2] Variations
 on a Caribbean Theme[cf1] ~([sm1959[nm),[cf2] Orchestra Sonata No.|[sm2[nm[cf1]
 ([sm1969[nm), [cf2]Spiegelzeit[cf1] ~([sm1979[nm).[ep~[smvoice and orch[nm:[cf2
] Variations on an Old Viennese Song[cf1] ~for coloratura sop. (for singing-less
on scene in[cf2] Il ~barbiere di Siviglia[cf1]) ([sm1938[nm),[cf2] La Tentation
de Saint ~Antoine[cf1] for mez., str. qt. ([sm1947[nm, rev. for mez., str. ~qt.,
 and str. [sm1952[nm),[cf2] Chanson et Romance[cf1] for ~coloratura sop. ([sm195
3[nm).[ep~[smchoral[nm:[cf2] Furchtlosigkeit und Wohlwollen[cf1], oratorio ~([sm
1931[nm, rev. [sm1959[nm),[cf2] Mein Vaterland[cf1] ([sm1937[nm).[cm~[j1]Egmont.
[fy75,1] Ov. and [sm9[nm items of incidental mus., Op. ~[sm84[nm, by Beethoven t
o Goethe's historical drama ~about the Flemish aristocrat Egmont who defied ~Phi
lip of Spain and was beheaded in [sm1567[nm. Comp. ~[sm1809=n10[nm.[cm~Eguale[fy
75,1] (It.). Equal. So[cf2] egualit;aga[cf1],[cf2] egualezza[cf1], equal~~ity;[c
f2] egualmente[cf1], equally.[cf2] Voci eguali[cf1], [fy45,1]*[f
y75,1]equal voices.[cm~Egyptian Helen, The[fy75,1] (Strauss). See[cf2] ;auagypti
sche ~Helena[cf1],[cf2] Die[cf1].[cm~Ehrling, Sixten[fy75,1] ([cf2]b[cf1] Malm;a
uo, [sm1918[nm). Swed. cond. ~and pianist. Studied Stockholm Cons., and in ~Pari
s, Dresden, and London. Prin. cond. Stock~~holm Royal Opera [sm1953[nm=n[sm70[nm
, Detroit S.O. [sm1963[nm=n~[sm73[nm. Cond. of [cf2]Ring[cf1] at NY Met.[cm~Eich
ner, Ernst[fy75,1] ([cf2]b[cf1] Arolsen, [sm1740[nm; [cf2]d[cf1] Potsdam, ~[sm17
77[nm). Ger. composer and bassoonist. Worked in ~Paris and London [sm1770[nm=n[s
m3[nm, then in Potsdam court ~orch. Noted composer of Mannheim sch., writing ~[s
m31[nm syms., also concs. and chamber mus.[cm~Eighteen-Twelve[fy75,1] ([sm1812[n
m). Concert-ov., Op. [sm49[nm, ~by Tchaikovsky, comp. [sm1880[nm, commemorating
~Napoleon's retreat from Moscow in [sm1812[nm and ~incorporating[cf2] La Marseil
laise[cf1] and the Tsarist nat. ~anthem. Orig. idea was for perf. in a Moscow ~s
quare with large orch., military band, cath. bells, ~and cannon
fire. Sometimes still perf. with ~cannon (esp. at Royal Albert Hall popular ~Tch
aikovsky evenings).[cm~Eight-foot.[fy75,1] Term in org. mus. for sound of ~norma
l pitch, the lowest pipe of normal pitch ~being theoretically [sm8[nm;Po in leng
th.[cm~Eighth Note.[fy75,1] The quaver in Amer. terminology.[cm~Eight Songs for
a Mad King [fy75,1](Maxwell Davies). See [cf2]Songs for a ~Mad King, [sm8[nm.[cm
~Eimert, Herbert[fy75,1] ([cf2]b[cf1] Bad Kreuznach, [sm1897[nm; [cf2]d ~[cf1]Co
logne, [sm1972[nm). Ger. composer and theorist. ~Studied Cologne High School for
 Mus. [sm1919[nm=n[sm24[nm ~and at Cologne Univ. until [sm1930[nm, graduating in
 ~musicology. Worked for Cologne Radio [sm1927[nm=n~[sm33[nm. Mus. critic[cf2] K
;auolnische Zeitung[cf1] [sm1936[nm=n[sm45[nm. Foun~~der-dir., elec. mus. studio
, Cologne, [sm1951=n62[nm. Co-~ed.[cf2] Die Reihe[cf1] [sm1955[nm=n[sm62[nm. Pro
f. and dir. elec. mus. ~[PN221,0,0,R,I0]studio, Cologne Hochschule f;auur Musik
[sm1965[nm=n[sm71[nm. ~Assoc. with Stockhausen and Ger.[cf2] ava
nt-garde[cf1] in ~propounding theories of elecs. Works incl. [sm2[nm str. ~qts.
([sm1925[nm, [sm1944[nm),[cf2] Tanzmusik[cf1], sax., fl., mechanical ~instr. ([s
m1926[nm),[cf2] Glockenspiel[cf1], tape ([sm1953[nm), and other ~works on tape.
Author of textbooks on atonality, ~[sm12[nm-note technique, and elec. music.[cm~
Eine kleine Nachtmusik[fy75,1] (Mozart). See [cf2]Kleine ~Nachtmusik[cf1], [cf2]
Eine[cf1].[cm~Einem, Gottfried von[fy75,1] ([cf2]b[cf1] Berne, [sm1918[nm). Aust
rian ~composer. Studied comp. with [fy45,1]*[fy75,1]Blacher [sm1941[nm=n[sm3[nm.
 ~Ch. coach Berlin State Opera [sm1938[nm=n[sm43[nm; one of ~Salzburg Fest. admi
nistrators [sm1948[nm=n[sm66[nm; lecturer ~Vienna Konzerthaus Gesellschaft [sm19
46[nm=n[sm66[nm; ~teacher of comp., Vienna Acad. [sm1963=n72[nm. Essen~~tially a
 tonal composer, Einem has had consider~~able success in the opera house where h
is melodic ~gifts and command of colour have been well ~deployed. Works incl.:[x
m[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Dantons Tod[cf1] ([sm194
4=n6[nm),[cf2] Der [fy45,1]*[fy75,2]Prozess[cf1] ~([sm1950=n2[nm), [cf2]Der Zerr
issene[cf1] ([sm1961=n4[nm),[cf2] Der Besuch der ~Alten Dame[cf1] ([cf2]The [fy4
5,1]*[fy75,2]Visit of the Old Lady[cf1], [sm1970[nm), ~[cf2]Kabale und Liebe[cf1
] ([sm1970=n5[nm), [cf2]Jesu Hochzeit[cf1] ([sm1978=n~9[nm).[ep~[smballets[nm:[c
f2] Prinzessin Turandot[cf1] ([sm1942=n3[nm),[cf2] Rondo vom ~goldenen Kalb[cf1]
 ([sm1950[nm), [cf2]Gl;auuck, Tod und Traum ~[cf1]([sm1953[nm), [cf2] Medusa[cf1
] ([sm1957[nm).[ep~[smorch[nm:[cf2] Capriccio[cf1] ([sm1943[nm),[cf2] Concerto f
or Orch[cf1]. ([sm1943[nm),[cf2] ~Meditations[cf1] ([sm1954[nm), pf. conc. ([sm1
955[nm),[cf2] Symphonische ~Szenen[cf1] ([sm1956[nm),[cf2] Ballade[cf1] ([sm1957
[nm),[cf2] Dance-Rondo[cf1] ~([sm1959[nm),[cf2] Philadelphia Symphony[cf1] ([sm1
960[nm),[cf2] Nachtst;auuck[cf1] ~([sm1960[nm), vn. conc. ([sm1966=n7[nm),[cf2]
Hexameron[cf1] ([sm1969[nm),[cf2] ~Bruckner Dialog[cf1] ([sm1971[nm), [cf2]Wiene
r-Symphonie [cf1]([sm1976[nm),[cf2] ~Ludi Leopoldini[cf1] ([sm19
80[nm).[ep~[smchoral[nm:[cf2] Hymnus an Goethe[cf1], for cont., ch., and ~orch.
([sm1949[nm),[cf2] Von der Liebe[cf1], high v. and orch. ~([sm1961[nm),[cf2] Kam
merges;auange[cf1] ([sm1965[nm), [cf2]Rosa mystica[cf1], bar., ~orch. ([sm1972[n
m), and songs.[ep~[smchamber[nm: Vn. sonata ([sm1949[nm), [sm2[nm pf. sonatinas
~([sm1947[nm), [sm3[nm str. qts. ([sm1975, 1977, 1980[nm), solo vn. ~sonata ([sm
1975[nm), wind quintet ([sm1976[nm).[cm~[ol0][ep~[xp[te~







[do11][j99]~~~~~~[sm153842[nm_E[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmE[sm002[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm24[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm60[nm[cm~Collier[cm7[cm25.3.85[cm~3[cm~~~~[ap[j1]Ein' fes
te Burg[fy75,1] (A Safe Stronghold). Luther's ~setting of Ps. [sm46[nm in his ow
n trans.; tune adapted ~by him from a plainsong melody. Quoted by ~several compo
sers, e.g. in Meyerbeer's[cf2] Les Hugu;aaen~~ots[cf1], Mendelssohn's[cf2] Refor
mation Sym[cf1]., and Wagner's[cf2] ~Kaisermarsch[cf1].[cm~Einstein, Alfred[fy75
,1] ([cf2]b[cf1] Munich, [sm1880[nm;[cf2] d[cf1] El Cerrito, ~Calif., [sm1952[nm
). Ger. scholar and writer (from [sm1945[nm ~Amer. citizen). Ed.[cf2] Zeitschrif
t f;auur Musikwissenschaft[cf1] ~[sm1918[nm=n[sm33[nm; mus. critic[cf2] Berliner
 Tageblatt[cf1] [sm1927[nm=n[sm33[nm. ~Ed., [sm9[nmth=n[sm11[nmth edns. Riemann'
s[cf2] Musiklexikon[cf1] ~([sm1919[nm, [sm1922[nm, [sm1929[nm). Lived in London
and It. ~[sm1933[nm=n[sm9[nm; settled in USA [sm1939[nm. Prof. o
f mus., Smith ~Coll., Northampton, Mass., [sm1939[nm, later teaching ~at other A
mer. univs. Rev. K;auochel's Mozart ~catalogue [sm1937[nm. Books incl.[cf2] Hist
ory of Music[cf1] ([sm1917[nm, ~and many later edns.),[cf2] Gluck[cf1] ([sm1936[
nm),[cf2] Mozart, his ~character, his work[cf1] ([sm1945[nm),[cf2] The Italian M
adrigal[cf1] ~([sm1949[nm),[cf2] Schubert[cf1] ([sm1951[nm). Not to be confused
with ~his cousin the physicist Albert Einstein.[cm~Einstimmig[fy75,1] (Ger.). On
e-voiced, i.e. for one part.[cm~Eis[fy75,1] (Ger.). The note E;Yi.[cm~Eisenberg,
 Maurice[fy75,1] ([cf2]b[cf1] K;auonigsberg, [sm1902[nm;[cf2] d[cf1] NY, ~[sm197
2[nm). Ger.-Amer. cellist and teacher. Studied ~Peabody Cons., Baltimore, then i
n Berlin with ~Becker and in Spain with Casals. D;aaebut with ~Philadelphia Orch
. [sm1916[nm, later becoming its prin. ~cellist. Member of Menuhin Trio. Prof. o
f vc., ~;aaEcole Normale, Paris, [sm1929[nm=n[sm39[nm, Juilliard Sch. ~from [sm1
964[nm.[cm~Eisis[fy75,1] (Ger.). The (theoretical) note E;Yi;Yi.
[cm~Eisler, Hanns[fy75,1] ([cf2]b[cf1] Leipzig, [sm1898[nm;[cf2] d[cf1] Berlin,
[sm1962[nm). ~Ger. composer. Studied Vienna Cons., being pupil ~of Schoenberg [s
m1919[nm=n[sm23[nm. His Marxist beliefs led ~him from [sm1927[nm to a more `popu
lar' style, and he ~wrote political marching-songs, chs., and th. mus. ~in colla
b. with Brecht. Exiled in [sm1933[nm, he worked ~in Paris, London, Copenhagen, a
nd USA, settling ~in Hollywood [sm1938[nm where he taught at the Univ. ~of S. Ca
lif. and worked on films with Chaplin. He ~wrote (in Eng.) the book[cf2] Composi
ng for the Films[cf1] ~([sm1947[nm). McCarthy drive against Communists in ~[sm19
47[nm led to a deportation order, but he left ~peacefully in [sm1948[nm, to live
 in Vienna and Berlin. ~In [sm1952[nm he settled in E. Ger. organizing workers'
~choirs and writing popular songs (incl. the DDR ~anthem). Nevertheless many of
his comps. were ~in advanced [sm12[nm-note technique. Works incl. [sm600[nm ~son
gs, mus. for [sm40[nm plays and over [sm40[nm films. The ~follow
ing have words by Brecht:[cf2] Die Massnahme[cf1] ~([sm1930[nm), [cf2]Deutsche S
infonie[cf1] ([sm1935=n9[nm),[cf2] Lenin-Requiem[cf1] ~([sm1937[nm),[cf2] Die Te
ppichweber von Kujan-Bulak[cf1] ([sm1957[nm),[cf2] ~Solidarit;auatslied[cf1] ([s
m1930[nm),[cf2] Kinderlieder[cf1] ([sm1951[nm),[cf2] Die ~Mutter[cf1] (Gorky and
 Brecht, [sm1931[nm),[cf2] Die Rundk;auopfe ~und die Spitzk;auopfe[cf1] ([sm1934
=n6[nm),[cf2] Galileo Galilei[cf1] ([sm1946[nm), ~[cf2]Die Gesichte der Simone M
achard [cf1]([sm1946[nm), [cf2]Schweyk ~im zweiten Weltkrieg[cf1] ([sm1957[nm).[
ep~^Also[cf2] Kleine Sinfonie[cf1] ([sm1932[nm), [sm5[nm[cf2] Orchestral Pieces[
cf1] ~([sm1938[nm),[cf2] Chamber Symphony[cf1] ([sm1940[nm), Str. Qt. ([sm1937[n
m),[cf2] ~Nonet[cf1] ([sm1939[nm),[cf2] Theme and Variations[cf1] for pf. ([sm19
40[nm), ~Septet (variations on Amer. nursery songs) ([sm1941[nm), ~Pf. Quintet (
[sm1944[nm), Septet No.|[sm2[nm ([sm1947[nm), Pf. Sonatas ~([sm1924[nm and [sm19
43[nm),[cf2] Ernste Ges;auange[cf1] (bar. and orch.) ~([sm1962[n
m).[cm~Eisteddfod[fy75,1] (Welsh, `Session', from[cf2] eistedd[cf1], `to sit'. ~
Plural[cf2] Eisteddfodau[cf1]). The nat. Welsh gathering of ~bards, dating in it
s present form from [sm1817[nm, ~though it is said to date back, in one form or
~another, as far as the [sm7[nmth cent., with a suspension ~throughout the entir
e [sm18[nmth cent. and a few years ~before and after it. It now takes place annu
ally (in ~Aug.) in various Welsh towns. Degrees of[cf2] Ofydd[cf1] ~(Ovate),[cf2
] Bardd[cf1] (Bard), and[cf2] Pencerdd[cf1] (Chief Musi~~cian) are conferred on
candidates who pass various ~tests and there is a strong choral and competitive
~side to the gathering. Many local[cf2] Eisteddfodau[cf1] ~exist in the form of
competitive fests. An int.[cf2] ~Eisteddfod[cf1], at which choirs and dancers fr
om all ~over the world compete, has been held annually ~in Llangollen since [sm1
947[nm.[cm~[PN222,0,0,L,I0]Eitner, Robert[fy75,1] ([cf2]b[cf1] Breslau, [sm1832[
nm;[cf2] d[cf1] Templin, ~Berlin, [sm1905[nm). Ger. musicologist
 and composer. ~Prin. achievement, begun [sm1882[nm, was his[cf2] Biogra~~phisch
-bibliographisches Quellen-Lexikon der Musiker ~und Musikgelehrten[cf1] ([sm10[n
m vols., [sm1900[nm=n[sm4[nm).[cm~Ek, Gunnar[fy75,1] ([cf2]b[cf1] ;anAsarum, [sm
1900[nm; [cf2]d[cf1] Lund, [sm1981[nm). Swed. composer ~and cellist. Studied Sto
ckholm Cons. Cellist in ~Stockholm Orch. [sm1928[nm=n[sm37[nm. Composer of syms.
,[cf2] ~Swedish Fantasy[cf1] for orch., pf. conc., and[cf2] Doomsday ~Cantata[cf
1].[cm~Elder, Mark[fy75,1] (Philip) ([cf2]b[cf1] Hexham, [sm1947[nm). Eng. ~cond
uctor and bassoonist. Studied Bryanston ~(prin. bn. in Nat. Youth Orch.) and Cam
bridge ~Univ. Ass. to R. [fy45,1]*[fy75,1]Leppard at Glyndebourne [sm1970[nm ~an
d chorusmaster [sm1970[nm=n[sm2[nm. D;aaebut with RLPO, ~[sm1971[nm. Australian
Opera [sm1972[nm=n[sm4[nm (d;aaebut in Sydney ~in [cf2]Nabucco[cf1]). ENO [sm197
4[nm, becoming ass. cond.; ~prin. cond. from [sm1979[nm. CG d;aaebut [sm1976[nm
([cf2]Rigoletto[cf1]). ~Cond. f.p. of Blake's [cf2]Toussaint[cf1
], London, [sm1977[nm. ~Cond. [cf2]Die Meistersinger[cf1] at Bayreuth, [sm1981[n
m. Im~~pressive cond. of Strauss; guest cond. of leading ~orchs.[cm~Electric Act
ion.[fy75,1] Means of permitting air to enter ~an org. pipe by electrical device
, after key has ~been depressed.[cm~Electric Guitar. [fy45,1]*[fy75,1]Guitar, us
ed in pop groups or ~jazz bands, connected by wire to electrical ~apparatus whic
h amplifies or modifies the sound. ~Used in Tippett's [cf2]The Knot Garden[cf1],
 Stockhausen's ~[cf2]Gruppen[cf1], and Boulez's [cf2]Domaines[cf1].[cm~Electric
Musical Instruments.[fy75,1] Instrs. in which ~the use of elec. devices such as
valves and photo-~cells determines or affects the actual sound of the ~note prod
. Before the full-scale development of ~[fy45,1]*[fy75,1]electronic music severa
l electric instr. were ~pioneered. Chief among these were the [fy45,1]*[fy75,1]S
phaer~~ophon, the [fy45,1]*[fy75,1]Theremin, the [fy45,1]*[fy75,1]Trautonium, th
e ~[fy45,1]*[fy75,1]Ondes Martenot, the [fy45,1]*[fy75,1]Hellert
ion, the [fy45,1]*[fy75,1]Elec~~tronde, and the [fy45,1]*[fy75,1]Rhythmicon.[cm~
Electric Organ.[fy75,1] Organs of various makes (most ~notably by the Hammond In
str. Co. of Chicago) ~which work on an electro-magnetic principle. ~Their tone i
s prod. not from pipes but by means ~of rotating discs with electro-magnetic pic
k-ups. ~They are popular as domestic instr.[cm~Electrochord.[fy75,1] Trade name
of elec. instr. resem~~bling a pf., in which the str. are set vibrating by ~hamm
ers. There is no soundboard, vibrations ~being picked up electrically and amplif
ied ~through a loudspeaker. Variations of tone-quality ~and vol. can be controll
ed.[cm~Electrofonic Violin.[fy75,1] Semi-elec. instr. developed ~in [sm1938[nm b
y Marshall Moss, leader of the Nat. S.O., ~Washington, and William Bartley, an e
ngineer. ~The vn., which has no sound-board, is played in ~the usual way, the me
chanically-prod. vibrations ~being picked up by electro-magnets or a micro~~phon
e and amplified through a loudspeaker. ~Similar instr., and a vc
., was developed by ~Vierling, and there is a [sm5[nm-string electric vc. by ~Ka
rapetov.[cm~Electronde.[fy75,1] Elec. instr. developed by Martin ~Taubman in [sm
1933[nm. On similar lines to [fy45,1]*[fy75,1]theremin, ~but by pressing a switc
h at the same time as ~moving his hand over the antenna, the player can ~obtain
a staccato effect. It also enables playing of ~rapid passages.[cm~Electronic Mus
ic.[fy75,1] Mus. prod. by elec. means, ~the resulting sounds being recorded on t
ape. At ~first the term applied strictly to sounds synthe~~sized electronically,
 to differentiate from [fy45,1]*[fy75,2]musique ~concr;agete[cf1], which was ass
embled from normal mus. ~and everyday sounds. But by now it covers both ~groups.
 Attempts to produce elec. sounds began ~in the USA and Canada in the [sm1890[nm
s. Early in the ~[sm20[nmth cent., experiments were made in Ger. by ~Fischinger;
 and in USSR in the [sm1930[nms elec. mus. ~was prod. by the use of photo-electr
ic techniques ~rather than by oscillator. In fact, the developme
nt ~of elec. mus. has proceeded step by step with the ~invention of equipment: t
elephone, loudspeaker, ~microphone, tape, film sound-track, oscillator, ~gramoph
one recording, etc.[ep~^For composers, an important milestone was ~reached with
experiments at Bonn Univ. in [sm1949[nm=n~[sm50[nm followed by a public perf. at
 Darmstadt in ~[sm1951[nm. The first elec. mus. studio was est. [sm1951[nm by ~W
. Ger. Radio, Cologne, dir. by Herbert [fy45,1]*[fy75,1]Eimert. ~Other studios w
ere set up in Milan, Tokyo, ~London, Warsaw, Brussels, Munich, Eindhoven, ~Paris
, and at Columbia Univ., NY.[ep~^In the [sm1950[nms the comp. of elec. works was
 a slow ~and laborious business, chiefly because of the ~comparatively primitive
 equipment in the early ~studios. A comp. consisting of hundreds of ~predetermin
ed and separately recorded sounds ~which would last a few minutes could take wee
ks ~to assemble on the final tape. The equipment in ~the early studios generally
 comprised: (a)[cf2] Sine-~Tone Generators[cf1]. Sine-tones are
pure sounds which ~have no harmonics and are on a single frequency ~of even dyna
mic level. To build a complex tone ~at least [sm8[nm generators were needed. (b)
[cf2] White Sound ~Generator.[cf1] White sound comprises all audible ~frequencie
s sounding together. (c)[cf2] Square Wave ~Generator[cf1]. Square waves are rich
ly harmonic and ~produce contrasts to sine-tones. (d)[cf2] Filters[cf1]. Devices
 ~which, as their name implies, can `filter' sound, ~or extract a single sine-to
ne from the white sound. ~Filters are classified according to their frequency-~r
esponse characteristics, i.e. low-pass, high-pass, ~band-pass, and band-stop. Fo
r example, the band-~pass filter passes only the sound-waves within a ~specified
 band of frequencies grouped round a ~centre frequency. (e)[cf2] Ring modulator[
cf1]. Used to ~combine several sound signals so that the sound ~output comprises
 the sums and differences of all ~the input-frequency components. (f=+=+)[cf2] V
ariable ~speed tape recorders[cf1]. Varying speeds of playing ~t
he tape are used to speed up or slow down ~specific effects. (g)[cf2] Dynamic su
ppressor[cf1]. A device ~[PN223,0,0,R,I0]which allows signals to be cut out belo
w a selected ~level of dynamics, thus introducing a `chance' ~element.[ep~^Among
 the most celebrated elec. pieces com~~posed in the [sm1950[nms were Eimert's[cf
2] F;auunf St;auucke[cf1], ~Stockhausen's[cf2] Gesang der J;auunglinge[cf1] (whi
ch incl. a ~boy's v., fragmented and superimposed upon ~itself, thereby creating
 a bridge with[cf2] musique ~concr;agete[cf1]), K;akrenek's[cf2] Spiritus Intell
igentiae Sanctus[cf1], ~Berio's[cf2] Mutazioni[cf1], and Maderna's [cf2]Notturno
[cf1]. But it ~should be remembered that in [sm1939[nm=n[sm42[nm John ~[fy45,1]*
[fy75,1]Cage's first [sm3[nm [cf2]Imaginary Landscapes[cf1] incl. the use ~of re
cords played at different speeds, audio ~oscillators, and an amplified wire coil
.[ln1][ep~^Elec. mus. was revolutionized in the [sm1960[nms by ~the invention of
 voltage-controlled sound[cf2] synthes~~izers[cf1], especially t
he model developed in [sm1964[nm=n[sm5[nm ~by the American Robert A. [fy45,1]*[f
y75,1]Moog. This instr. ~dispensed with the drudgery of tape-splicing and ~cutti
ng. It not only presented composers with a ~complete spectrum of new sounds, but
 could be ~made to play itself in a remarkable variety of ~sounds which could be
 recurrent or otherwise, as ~required. By the fitting of a control device known
~as a [cf2]sequencer[cf1], the synthesizer can be used by a ~composer to memoriz
e a long and complicated ~mus. compilation and play it `live' without ~recording
 or tape-editing. Because of the synthes~~izer's astonishing imitative qualities
, its use has ~been commercialized and vulgarized, but its ~potentiality as a se
rious instr. is still being explored ~and awaits a Wagner to exploit it to the f
ull. Its ~main working principle, greatly over-simplified, ~is that the oscillat
ors used as sound sources are ~also used to `control' each other. Some synthesiz
ers ~have a kbd., often with its own tuned oscillator, ~or set t
o act as a voltage control.[ep~^The sequencer is a small variety of the other[fj
~[ol0][ep~ revolutionary device also introduced in the [sm1960[nms,[cf2] ~digita
l computer synthesis[cf1]. Control by digital ~computer means that the equipment
 the com~~poser uses is supplied with a `memory'. For ~example, a work comp., or
 `programmed', for ~voltage-controlled equipment by means of ~punched paper tape
 has an intrinsic major ~problem in that the system has no way of storing ~infor
mation until it is needed; everything must ~be supplied in detail each time it i
s required. The ~computer memorizes all this information. The ~disadvantages of
a computer are those inherent ~in `programming', and it remains to be seen ~whet
her a supreme work of art will evolve by ~this system. The advantages of elec. m
us. for th., ~radio, and film incidental mus. are obvious, and ~so far it is in
these fields that the best results have ~been achieved.[ep~^[cf2]Notation[cf1] o
f elec. mus. obviously bears no relation ~to conventional mus. n
otation, and since the ~principal feature of an elec. work is that it is ~predet
ermined and mechanically produced, no~~tation as a guide to performers is unnece
ssary. ~But `live' elec. mus. is a developing art-form, and ~graphic directions
in pitch (frequency) etc. are ~provided in `realization' scores which provide al
l ~the technical data necessary to reproduce the ~piece. `Representational' scor
es, for the score ~reader, are slightly less fearsome. An illustration ~of a typ
ical elec. score or graph will perhaps give ~the reader a better idea of what is
 involved.[ep~^Among composers who have prod. elec. works ~are: Cage, Berio, Sto
ckhausen, Wuorinen, Blacher, ~Boulez, Babbitt, Pousseur, Badings, Var;agese, Dav
i~~dovsky, Ligeti, Takemitsu, Penderecki, Xenakis, ~and many others.[ep~^Interes
ted readers who wish for fuller and more ~technical information than can be prov
ided here ~are referred to Reginald Smith Brindle's[cf2] The New ~Music[cf1] (Lo
ndon, [sm1975[nm), to which this entry ~acknowledges its indebte
dness.[ep~^See also[cf2] Computers in music[cf1].[cm~Electrophone.[fy75,1] Term
for mus. instr. which ~produce sound by electronic means, either by ~oscillation
 or by electromagnetic or electrostatic ~methods. Does not cover instr. in which
 tone is ~conventionally produced and then electronically ~modified (e.g. electr
ic guitar, piano, double bass). ~Classification added to four devised by C. Sach
s ~and E. M. von Hornbostel and pubd. in [cf2]Zeitschrift ~f;auur Ethnologie[cf1
], [sm1914[nm, i.e. [fy45,1]*[fy75,1]aerophones, [fy45,1]*[fy75,1]chordo~~phones
, [fy45,1]*[fy75,1]idio[chphones, and [fy45,1]*[fy75,1]membranophones.[cm~Elegia
, elegiaco[fy75,1] (It.). [fy45,1]*[fy75,1]Elegy, elegiac.[cm~Elegy, ;aaEl;aaegi
e[fy75,1] (Fr.). A song of lament for the ~dead or for some melancholy event, or
 an instr. ~comp. with that suggestion, such as Elgar's[cf2] Elegy ~for Strings[
cf1] and Faur;aae's[cf2] ;aaEl;aaegie[cf1].[cm~Elegy for Young Lovers.[fy75,1] O
pera in [sm3[nm acts by ~Henze to lib. (in Eng.) by Auden and Ka
llman. ~Comp. [sm1959=n61[nm. Prod. Schwetzingen [sm1961[nm,[fjGlyndebourne [sm1
961[nm.[cm~Elektra.[fy75,1] Opera in [sm1[nm act by R. Strauss to lib. by ~Hofma
nnsthal based on Sophocles'[cf2] Electra[cf1]. Comp. ~[sm1906[nm=n[sm8[nm. Prod.
 Dresden [sm1909[nm, NY and London ~[sm1910[nm.[cm~Elevatio[fy75,1] (Lat.),[fy65
][cf3] Elevation[fy75,1] (Eng.). Mus. (choral ~or organ) perf. during the Elevat
ion of the Host ~in the R.C. Church.[cm~Elgar, [fy75,1](Sir) [fy65][cf3]Edward [
fy75,1](William) ([cf2]b[cf1] Broadheath, ~Worcester, [sm1857[nm;[cf2] d[cf1] Wo
rcester, [sm1934[nm). Eng. ~composer and cond. He was the son of a mus.-~shop pr
oprietor in Worcester who was also an ~organist, pf.-tuner, and teacher. He show
ed an ~early aptitude for mus., learning the org., vn., ~and other instr. He hop
ed, on leaving school at ~[sm15[nm, to go to Leipzig Cons. but his father could
~not afford to send him, so after a brief spell in a ~solicitor's office, he hel
ped his father in the shop ~and became his ass. organist at St G
eorge's R.C. ~Church, Worcester. Soon he was playing the vn. ~in several local o
rchs. or chamber groups and ~became cond. of several. With his brothers and ~fri
ends he formed a wind quintet, for which he ~comp. several works. His first comp
s. had been ~[PN224,0,0,L,I0]written during childhood, incl. mus. for a play ~wr
itten and prod. by the Elgar children, [cf2]The ~Wand of Youth[cf1], which he ad
apted as [sm2[nm orch. suites ~in [sm1907=n8[nm. In [sm1877[nm he went to London
 for vn. ~lessons from [fy45,1]*[fy75,1]Pollitzer but abandoned them ~when he re
alized he would not become a virtuoso. ~He played in the [sm2[nmnd vns. in the [
sm3[nm Choirs Fest. ~orch. at Worcester in [sm1878[nm. The following year ~he be
came bandmaster at the county lunatic ~asylum at Powick where members of the sta
ff ~played weekly for dances. Elgar made several ~arrs. of operatic arias for co
ncerts there and also ~comp. a series of quadrilles. In [sm1882[nm he joined the
 ~[sm1[nmst vns. in a Birmingham orch. cond. by W. ~[PN225,0,0,R
,I0]Stockley, who incl. Elgar's[cf2] S;aaer;aaenade mauresque[cf1] in ~a concert
 in [sm1883[nm. For the next [sm6[nm years, until his ~marriage in [sm1889[nm, E
lgar was in demand locally in ~many mus. capacities but he was unknown ~outside
the Midlands apart from a perf. of his[cf2] ~Sevillana[cf1] at a Crystal Palace
concert in May [sm1884[nm. ~After his marriage to a general's daughter, Elgar ~g
ave up his work in Malvern and Worcester and ~went to London, but met with no su
ccess there. ~He returned to Malvern a year later to resume his ~teaching and ot
her activities. In the meantime, ~however, the [sm1890[nm [sm3[nm Choirs Fest. a
t Worcester ~had commissioned a work from him, the concert-~ov. [cf2]Froissart[c
f1]. In [sm1893[nm he comp. a secular cantata,[cf2] ~The [cf2]Black Knight[cf1],
 which was the first of a series of ~choral works taken up by the great Midlands
 ~choral socs. Its successors were [cf2]King Olaf[cf1] ([sm1896[nm),[cf2] ~The L
ight of Life[cf1] ([sm1896[nm), and [cf2]Scenes from the Bavaria
n ~Highlands[cf1] ([sm1896[nm). For Queen Victoria's Diamond ~Jubilee in [sm1897
[nm Elgar comp. an[cf2] Imperial March[cf1] ~which [fy45,1]*[fy75,1]Manns cond.
at the Crystal Palace and ~which the Queen requested should be incl. in the ~Sta
te Concert marking the Jubilee. Its success led ~to a commission from the Leeds
Fest., the result ~being the large-scale cantata [cf2]Caractacus[cf1] ([sm1898[n
m). At ~this time, Elgar was still earning his living as a ~vn. teacher; his fir
st large-scale London success ~came in [sm1899[nm when [fy45,1]*[fy75,1]Richter
cond. the f.p. of the ~[cf2]Variations on an Original Theme ([cf2]Enigma)[cf1],
one of ~Elgar's greatest and best-known works. A few ~months later Clara Butt sa
ng the [cf2]Sea Pictures[cf1] at ~the Norwich Fest. Commissioned to write a big
~choral work for the [sm1900[nm Birmingham Fest., ~Elgar, a Catholic, chose to s
et Newman's poem[cf2] ~The Dream of Gerontius[cf1]. The f.p. was a failure, but
~the worth of the mus. was recognized and [sm2[nm ~D;auusseldorf
 perfs. followed, after the [sm2[nmnd of which ~Richard Strauss hailed Elgar as
the foremost Eng. ~composer of the day. From that day there ~developed an Elgar
vogue on the Continent, and ~several conds. such as Weingartner, Strauss, ~Stein
bach, and Busoni incl. his works in their ~programmes. The neglect of the previo
us [sm25[nm years ~in Eng. was forgotten (though not by Elgar) ~overnight as he
became the most talked-about ~composer of the day. From [sm1901[nm until [sm1914
[nm were ~the years of greatest acclaim for Elgar in his ~lifetime, and he respo
nded with a succession of ~splendid works incl. the [cf2]Cockaigne[cf1] ov., the
 ~oratorios[cf2] The Apostles[cf1] and[cf2] The Kingdom[cf1], [sm2[nm syms., a ~
vn. conc. (for [fy45,1]*[fy75,1]Kreisler), the [cf2]Introduction and ~Allegro[cf
1] for str., the choral ode [cf2]The [cf2]Music Makers[cf1], ~and the symphonic
study [cf2]Falstaff[cf1]. The [sm1[nmst Sym. ~([sm1908[nm) in particular had an
astonishing initial ~success, being perf. [sm100[nm times in jus
t over a year ~in cities as far apart as Manchester, Vienna, St ~Petersburg, Rom
e, and Budapest. However, the ~work which had made him a household name ~was No.
|[sm1[nm of a set of [cf2]Pomp and Circumstance[cf1] ~Marches, f.p. [sm1901[nm.
The splendid tune of the trio ~section caught the ear of King Edward VII who ~su
ggested that it should be set to words. When in ~[sm1902[nm it emerged in the [c
f2]Coronation Ode[cf1] as [cf2]Land of ~Hope and Glory[cf1] it soon became clear
 that Elgar ~had comp. an alternative nat. anthem. Elgar was ~knighted in [sm190
4[nm at age [sm47[nm, and in [sm1911[nm became ~a member of the O.M. He visited
the USA to ~cond. his own works and spent several periods in ~It. From [sm1905[n
m to [sm1908[nm he was Peyton Prof. of ~Mus., Birmingham Univ. He was appointed
cond. ~of the LSO for [sm1911[nm=n[sm12[nm and in [sm1912[nm moved from ~Herefor
d to a large house in Hampstead.[ep~^During the [sm1914[nm=n[sm18[nm war Elgar w
rote several ~patriotic works, including the recitation with ~or
ch. [cf2]Carillon[cf1], the symphonic prelude [cf2]Polonia[cf1], and ~the Binyon
 settings[cf2] The Spirit of England.[cf1] He also ~wrote incidental mus. for a
children's play,[cf2] The ~Starlight Express[cf1], and a ballet[cf2] The Sanguin
e Fan.[cf1] In ~[sm1918[nm=n[sm19[nm he wrote [sm3[nm chamber works, a vn. sonat
a, ~str. qt., and pf. quintet, and a vc. conc. These were ~to be his last major
works. In [sm1920[nm his wife died ~and for the last [sm14[nm years of his life
he wrote hardly ~anything that was not concocted from earlier ~sketches. In this
 last period he prod. incidental ~mus. for [sm2[nm plays,[cf2] Arthur[cf1] and[c
f2] Beau Brummel[cf1], a [sm5[nmth[cf2] ~Pomp and Circumstance[cf1] march, the [
cf2]Nursery Suite[cf1], ~and the [cf2]Severn Suite[cf1]. He was at work on a Ben
 ~Jonson opera, [cf2]The Spanish Lady[cf1], and a [sm3[nmrd sym. at ~the time of
 his death. In [sm1923[nm he returned to live ~in Worcestershire and often appea
red throughout ~the country as cond. of his own works. He became
 ~Master of the King's Musick in [sm1924[nm and was ~created a baronet in [sm193
1[nm. He was the first great ~composer to realize the possibilities of the ~gram
ophone and from [sm1914[nm to [sm1933[nm made many ~recordings of his own mus. w
hich are important ~historical documents, the most celebrated being ~that of the
 vn. conc. made in [sm1932[nm with the [sm16[nm-~year-old [fy45,1]*[fy75,1]Menuh
in.[ep~^Elgar's greatness as a composer lies in his ability ~to combine nobility
 and spirituality of utterance ~with a popular style. Side by side with his larg
e-~scale works are dozens of lighter pieces distin~~guished by melodic charm and
 fine craftsman~~ship. Learning entirely by the practical ~experiences of his yo
uth, he became one of the ~supreme masters of the orch., but his command ~of cho
ral effects in his masterpiece[cf2] The Dream of ~Gerontius[cf1] is no less wond
erful. His harmonic ~language derives from Schumann and Brahms ~coloured by the
Wagnerian chromaticism en~~demic to his generation, the whole be
ing light~~ened by a gracefulness akin to Bizet and Saint-~Sa;auens. Like his pe
rsonality, his mus. veers from ~extrovert warmth and geniality to a deep ~intros
pective melancholy. His prin. works are:[xm[cm~[ls1][bm2][cc27][ai36p6][ol0][ep~
[em[cc13][lx[xp[te~









[do11][j99]~~~~~~[sm153842[nm_E[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmE[sm003[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm95[nm[cm~GC[cm3[cm21.9.84[cm~U1[cm~~~[ap[el4][j2][smorch[
nm: [fy45,1]*[fy75,2]Froissart[cf1], Op. [sm19[nm ([sm1890[nm),[cf2] Serenade[cf
1] for str. ~in E minor, Op. [sm20[nm ([sm1892[nm); [fy45,1]*[fy75,2]Sursum Cord
a[cf1], Op. ~[sm11[nm ([sm1894[nm); [cf2]Imperial March[cf1], Op. [sm32[nm ([sm1
897[nm); ~[fy45,1]*[fy75,2]Enigma Variations[cf1], Op. [sm36[nm ([sm1898[nm=n[sm
9[nm); [fy45,1]*[fy75,2]Pomp and ~Circumstance Marches[cf1], Op. [sm39[nm, No.|[
sm1[nm in D major, ~No.|[sm2[nm in A minor ([sm1901[nm), No.|[sm3[nm in C minor
~([sm1904[nm), No.|[sm4[nm in G major ([sm1907[nm), No.|[sm5[nm in C ~major ([sm
1930[nm); [fy45,1]*[fy75,2]Cockaigne[cf1], Op.|[sm40[nm ([sm1901[nm); [fy45,1]*[
fy75,2]In the ~South (Alassio)[cf1], Op.|[sm50[nm ([sm1904[nm); [fy45,1]*[fy75,2
]Introduction and ~[PN226,0,0,L,I0]Allegro[cf1] for str., Op.|[s
m47[nm ([sm1905[nm);[cf2] The [fy45,1]*[fy75,2]Wand of ~Youth Suites[cf1] Nos. [
sm1[nm and [sm2[nm, Opp. [sm1[nma and [sm1[nmb ([sm1907[nm ~and [sm1908[nm); Sym
. No.|[sm1[nm in A;Yh major, Op.|[sm55[nm ~([sm1907[nm=n[sm8[nm); [cf2]Elegy[cf1
] for str., Op.|[sm58[nm ([sm1909[nm); Vn. Conc. ~in B minor, Op.|[sm61[nm ([sm1
909[nm=n[sm10[nm);[cf2] Romance[cf1] for bn., ~Op.|[sm62[nm ([sm1910[nm); Sym. N
o.|[sm2[nm in E;Yh major, Op.|[sm63[nm ~([sm1903[nm=n[sm11[nm);[cf2] Coronation
March[cf1], Op.|[sm65[nm ([sm1911[nm);[cf2] ~Suite[cf1],[cf2] Crown of India[cf1
], Op.|[sm66[nm ([sm1912[nm); [fy45,1]*[fy75,2]Falstaff[cf1], ~Op.|[sm68[nm ([sm
1902[nm=n[sm13[nm); [fy45,1]*[fy75,2]Sospiri[cf1] for str., harp, and ~organ, Op
.|[sm70[nm ([sm1914[nm); [fy45,1]*[fy75,2]Polonia[cf1], Op.|[sm76[nm ([sm1915[nm
); ~Vc. Conc. in E minor, Op.|[sm85[nm ([sm1918[nm=n[sm19[nm);[cf2] Empire ~Marc
h[cf1] ([sm1924[nm); [fy45,1]*[fy75,2]Severn Suite[cf1], Op.|[sm87[nm, for brass
 ~band ([sm1930[nm), for orch. ([sm1932[nm);[cf2] Nursery Suite[
cf1] ~([sm1931[nm).[ep~[smvoices and orch[nm: [cf2]The [fy45,1]*[fy75,2]Black Kn
ight[cf1], cantata, ~Op.|[sm25[nm ([sm1889=n93[nm); [cf2]Scenes from the [fy45,1
]*[fy75,2]Bavarian ~Highlands[cf1], Op.|[sm27[nm ([sm1896[nm);[cf2] The [fy45,1]
*[fy75,2]Light of Life (Lux ~Christi)[cf1], oratorio, Op.|[sm29[nm ([sm1896[nm);
[cf2] Scenes from the ~Saga of [fy45,1]*[fy75,2]King Olaf[cf1], cantata, Op.|[sm
30[nm ([sm1894=n6[nm);[cf2] The ~[fy45,1]*[fy75,2]Banner of St George[cf1], ball
ad, Op.|[sm33[nm ([sm1896=n7[nm); ~[fy45,1]*[fy75,2]Caractacus[cf1], cantata, Op
.|[sm35[nm ([sm1898[nm);[cf2] The [fy45,1]*[fy75,2]Dream ~of Gerontius[cf1], Op.
|[sm38[nm ([sm1899[nm=n[sm1900[nm); [fy45,1]*[fy75,2]Sea Pictures[cf1], ~song-cy
cle for mez. and orch., Op.|[sm37[nm ([sm1897[nm=n[sm9[nm); ~[fy45,1]*[fy75,2]Co
ronation Ode[cf1], Op.|[sm44[nm ([sm1902[nm);[cf2] The [fy45,1]*[fy75,2]Apostles
[cf1], ~oratorio, Op.|[sm49[nm ([sm1901=n3[nm);[cf2] The [fy45,1]*[fy75,2]Kingdo
m[cf1], orato~~rio, Op.|[sm51[nm ([sm1901[nm=n[sm6[nm); [sm3[nm
Songs with orch., Op.|[sm59[nm ~([sm1909[nm=n[sm10[nm);[cf2] The [fy45,1]*[fy75,
2]Music Makers[cf1], choral ode, ~Op.|[sm69[nm ([sm1902[nm=n[sm12[nm);[cf2] The
[fy45,1]*[fy75,2]Spirit of England[cf1], Op.|[sm80[nm ~([sm1915[nm=n[sm17[nm).[e
p~[smpart-songs and church music[nm:[cf2] Ave, verum corpus[cf1], ~Op.|[sm2[nm,
No.|[sm1[nm ([sm1887[nm);[cf2] Ecce sacerdos magnus[cf1], ch. ~and organ ([sm188
8[nm);[cf2] My love dwelt in a northern ~land[cf1] ([sm1889[nm);[cf2] Spanish Se
renade[cf1], Op.|[sm23[nm ([sm1891[nm, with ~orch. [sm1892[nm);[cf2] Te Deum and
 Benedictus[cf1], Op.|[sm34[nm ~([sm1897[nm);[cf2] The Sword Song[cf1], from[cf2
] Caractacus[cf1] ([sm1898[nm);[cf2] ~To her beneath whose steadfast star [cf1](
[sm1899[nm);[cf2] Weary ~Wind of the West[cf1] ([sm1902[nm); [sm5[nm[cf2] Part-S
ongs from the ~Greek Anthology[cf1], Op.|[sm45[nm ([sm1902[nm);[cf2] Evening Sce
ne ~[cf1]([sm1905[nm); [sm4[nm[cf2] Part-Songs[cf1], Op.|[sm53[nm ([sm1907[nm);[
cf2] The Reveille[cf1], ~Op.|[sm54[nm ([sm1907[nm);[cf2] Angelus
[cf1], Op.|[sm56[nm ([sm1909[nm);[cf2] Go, Song ~of Mine[cf1], Op.|[sm57[nm ([sm
1909[nm);[cf2] O hearken thou[cf1], offertory, ~Op.|[sm64[nm (Coronation [sm1911
[nm);[cf2] Great is the Lord[cf1] ~(Psalm [sm48[nm), Op.|[sm67[nm ([sm1912[nm);[
cf2] Give Unto the Lord[cf1] ~(Psalm [sm29[nm), Op.|[sm74[nm ([sm1914[nm); [sm2[
nm[cf2] Choral Songs[cf1], Op.|[sm71[nm ~([sm1914[nm);[cf2] Death on the Hills[c
f1], Op.|[sm72[nm ([sm1914[nm); [sm2[nm[cf2] Choral ~Songs[cf1], Op.|[sm73[nm ([
sm1914[nm);[cf2] The Wanderer[cf1] and[cf2] Zut, zut, ~zut[cf1] ([sm1923[nm).[ep
~[smchamber music[nm:[cf2] Promenades[cf1] for wind quintet ~([sm1878[nm);[cf2]
Harmony Music[cf1] for wind quintet ([sm1879[nm);[cf2] ~Allegretto on GEDGE[cf1]
, vn. and pf. ([sm1885[nm); [fy45,1]*[fy75,2]Salut ~d'Amour[cf1], Op.|[sm12[nm,
for pf. solo, for vn. and pf., for ~orch., and in many other arrs. ([sm1888=n9[n
m);[cf2] ~Liebesahnung[cf1], vn. and pf. ([sm1889[nm);[cf2] La Capricieuse[cf1],
 ~Op.|[sm17[nm, vn. and pf. ([sm1891[nm);[cf2] Very Easy Melodio
us ~Exercises in the [sm1[nmst Position[cf1], Op.|[sm22[nm, for vn. ([sm1892[nm)
;[cf2] ~;aaEtudes caract;aaeristiques[cf1], Op.|[sm24[nm, for vn. ([sm1882[nm=n[
sm92[nm);[cf2] ~Chanson de Nuit[cf1],[cf2] Chanson de Matin[cf1], Op.|[sm15[nm,
Nos. ~[sm1[nm and [sm2[nm, for vn. and pf. (later orch.) (No. [sm1[nm pubd. ~[sm
1897[nm, No. [sm2[nm pubd. [sm1899[nm); Vn. Sonata in E minor, ~Op.|[sm82[nm ([s
m1918[nm); Str. Qt. in E minor, Op.|[sm83[nm ~([sm1918[nm); Pf. Quintet, Op.|[sm
84[nm ([sm1918[nm=n[sm19[nm).[ep~[smpiano solos[nm:[cf2] Rosemary (Douce Pens;aa
ee)[cf1] ([sm1882[nm, orch. ~[sm1914[nm);[cf2] May Song[cf1] ([sm1901[nm, orch.
[sm1928[nm);[cf2] Concert ~Allegro[cf1], Op.|[sm46[nm ([sm1901[nm);[cf2] Dream C
hildren[cf1], Op.|[sm43[nm ~([sm1902[nm);[cf2] Skizze[cf1] ([sm1903[nm);[cf2] In
 Smyrna[cf1] ([sm1905[nm);[cf2] Echo's ~Dance[cf1] (from[cf2] Sanguine Fan[cf1])
 ([sm1917[nm);[cf2] Sonatina[cf1] ([sm1889[nm, ~rev. [sm1930[nm);[cf2] Adieu[cf1
] ([sm1932[nm);[cf2] Serenade[cf1] ([sm1932[nm).[ep~[smtheatre[n
m (incl. recitations): Incidental mus., fun~~[cheral march, and song for [fy45,1
]*[fy75,2]Grania and Diarmid[cf1] ~(Yeats and Moore), Op.|[sm42[nm ([sm1901[nm);
[cf2] The [fy45,1]*[fy75,2]Crown of ~India[cf1], masque, Op.|[sm66[nm ([sm1902[n
m=n[sm12[nm); [fy45,1]*[fy75,2]Carillon[cf1], ~Op.|[sm75[nm, reciter and orch. (
[sm1914[nm); incidental mus. ~for[cf2] The [fy45,1]*[fy75,2]Starlight Express[cf
1] (Blackwood and Pearn), ~Op.|[sm78[nm ([sm1915[nm);[cf2] Une voix dans le d;aa
esert[cf1], Op.|[sm77[nm, ~reciter and orch. ([sm1915[nm);[cf2] The [fy45,1]*[fy
75,2]Sanguine Fan[cf1], ~ballet, Op.|[sm81[nm ([sm1917[nm);[cf2] Le drapeau belg
e[cf1], Op.|[sm79[nm, ~reciter and orch. ([sm1917[nm); incidental mus. to[cf2] ~
Arthur[cf1] (Binyon) ([sm1923[nm); incidental mus. to[cf2] Beau ~Brummel[cf1] (M
atthews) ([sm1928[nm).[ep~[smorgan[nm: [sm11[nm Vesper Voluntaries, Op.|[sm14[nm
 ([sm1889=n90[nm); ~Sonata in G major, Op.|[sm28[nm ([sm1895[nm); Sonata No.|[sm
2[nm, ~Op.|[sm87[nma (arr. by Atkins of[cf2] Severn Suite[cf1])
([sm1932=n3[nm).[ep~[smsolo songs[nm:[cf2] Through the long days[cf1] ([sm1885[n
m);[cf2] The Wind ~at Dawn[cf1] ([sm1888[nm);[cf2] Queen Mary's Song[cf1] ([sm18
89[nm);[cf2] Like ~to the Damask Rose[cf1] ([sm1893[nm);[cf2] Shepherd's Song[cf
1] ([sm1893[nm);[cf2] ~Rondel[cf1] ([sm1894[nm);[cf2] After[cf1] ([sm1895[nm);[c
f2] Love Alone Will Stay[cf1] ~(incorporated into[cf2] Sea Pictures[cf1] as[cf2]
 In Haven[cf1]) ~([sm1897[nm);[cf2] Pipes of Pan[cf1] ([sm1900[nm);[cf2] In the
Dawn[cf1];[cf2] Speak, ~Music[cf1] ([sm1902[nm);[cf2] Land of Hope and Glory[cf1
] ([sm1902[nm);[cf2] ~Pleading[cf1] ([sm1908[nm);[cf2] The Torch[cf1];[cf2] The
River[cf1] ([sm1909[nm=n[sm10[nm);[cf2] ~The Fringes of the Fleet[cf1] ([sm1917[
nm); and many more.[ep~[smshort pieces for small orch[nm:[cf2] Cantique[cf1], Op
.|[sm3[nm ~([sm1912[nm orch. of [sm1897[nm organ solo[cf2] Adagio solenne[cf1]);
[cf2] ~Rosemary[cf1] ([sm1914[nm orch. of [sm1882[nm pf. solo); [fy45,1]*[fy75,2
]Sevillana[cf1], ~Op.|[sm7[nm ([sm1884[nm);[cf2] Salut d'Amour[c
f1], Op.|[sm12[nm ([sm1888[nm); [sm3[nm[cf2] ~Bavarian Dances[cf1], Op.|[sm27[nm
 (Nos. [sm1[nm, [sm3[nm, and [sm6[nm of[cf2] From ~the Bavarian Highlands[cf1])
(orch. [sm1897[nm);[cf2] Minuet[cf1], ~Op.|[sm21[nm ([sm1899[nm orch. of [sm1897
[nm pf. solo);[cf2] Chanson de ~Nuit[cf1];[cf2] Chanson de Matin[cf1], Op.|[sm15
[nm, Nos. [sm1[nm and [sm2[nm ~([sm1901[nm orch.);[cf2] S;aaer;aaenade lyrique[c
f1] ([sm1899[nm);[cf2] Dream ~Children[cf1], Op.|[sm43[nm ([sm1902[nm);[cf2] Car
issima[cf1] ([sm1913[nm);[cf2] Minuet ~(Beau Brummel)[cf1] ([sm1928[nm);[cf2] Mi
na[cf1] (sketched for pf. ~[sm1932[nm, orch. [sm1933[nm).[ep~[smtranscriptions f
or orch[nm:[cf2] J.S. Bach: Fugue[cf1] in C ~minor (Elgar Op.|[sm86[nm) f.p. Lon
don [sm1921[nm;[cf2] Fantasy[cf1] ~in C minor, f.p. Gloucester [sm1922[nm;[cf2]
Handel: ~Overture[cf1] in D minor, f.p. Worcester [sm1923[nm;[cf2] ~Chopin:[cf1]
 Funeral March from Pf. Sonata in B;yh ~minor, [sm1933[nm.[ep~[smuncompleted[nm:
 Sym. No. [sm3[nm, Op. [sm88[nm (begun [cf2]c.[cf1][sm1932[nm);
~[cf2]The [fy45,1]*[fy75,2]Spanish Lady[cf1], opera, Op. [sm89[nm (begun [cf2]c.
[cf1][sm1932[nm); ~Pf. Conc., Op. [sm90[nm (sketches date from [sm1909[nm).[cm~[
j1]Elias, Brian[fy75,1] ([cf2]b[cf1] Bombay, India, [sm1948[nm). Eng. ~composer.
 Studied RCM with Bernard Stevens ~and H. Searle, and privately with Lutyens. Wo
rks ~incl. [cf2]La Chevelure[cf1], sop. and chamber ens. ([sm1967[nm); ~[cf2]ELM
[cf1], sop., ten., pf. ([sm1969[nm); [cf2][sm5[nm Pieces for Right Hand[cf1], ~p
f. ([sm1969[nm); [cf2]Piece[cf1], vc. ([sm1970[nm); [cf2]Peroration[cf1], solo s
op. ~([sm1973[nm); [cf2]Proverbs of Hell[cf1], unacc. ch. ([sm1975[nm); [cf2]Tzi
gane[cf1], ~vn. ([sm1978[nm); [cf2]Somnia[cf1], ten. and orch. ([sm1979[nm); [cf
2]At the ~Edge of Time[cf1], ten. and pf. ([sm1982[nm); vn. conc. ([sm1984[nm);
~[cf2]L'Eylah[cf1] ([sm1984[nm).[cm~Elijah[fy75,1] ([cf2]Elias[cf1]). Oratorio,
Op.|[sm70[nm, by Mendelssohn ~to text selected from the Bible by Julius Schrub~~
[chring. For sop., cont., ten., bass, and treble soloists, ~[PN2
27,0,0,R,I0]boys' ch., ch., and orch. Comp. [sm1846[nm, f.p. ~Birmingham [sm1846
[nm, Hamburg [sm1847[nm, NY [sm1851[nm.[cm~Elinson, Iso[fy75,1] ([cf2]b[cf1] Mog
ilev, [sm1907[nm;[cf2] d[cf1] London, [sm1964[nm). ~Russ.-born pianist, became B
rit. subject. Studied ~Petrograd Cons. Pupil of Blumenfeld. Recitalist ~esp. in
Chopin, Schubert, Beethoven, and soloist ~with orch. Prof. of pf. RMCM [sm1944[n
m=n[sm64[nm.[cm~Elisabetta, Regina d'Inghilterra[fy75,1] (Elizabeth, ~Queen of E
ngland). Opera in [sm2[nm acts by Rossini to ~lib. by Giovanni Schmidt, after C.
 Federici's play ~([sm1814[nm) based on Sophia Lee's novel [cf2]The Recess[cf1]
~([sm1783[nm=n[sm5[nm). Prod. Naples [sm1815[nm, London [sm1818[nm. First ~opera
 in which Rossini provided orch. acc. for all ~the recitatives. Ov. is same as f
or [cf2]Aureliano in ~Palmira[cf1] and [cf2]Il Barbiere di Siviglia[cf1]. Much o
f the ~mus. in the opera is taken from earlier operas, ~incl. [cf2]Sigismondo[cf
1] ([sm1814[nm). First opera Rossini comp. ~for Isabella [fy45,1
]*[fy75,1]Colbran, whom he later married.[cm~Elisir d'amore, L'[fy75,1] (The Eli
xir of Love). Comic ~opera in [sm2[nm acts by Donizetti to lib. by Romani ~after
 Scribe's lib.[cf2] Le Philtre[cf1] for Auber ([sm1831[nm). Prod. ~Milan [sm1832
[nm, London [sm1836[nm, NY [sm1838[nm.[cm~Elizalde, Federico[fy75,1] ([cf2]b[cf1
] Manila, [sm1907[nm; [cf2]d[cf1] Manila, ~[sm1979[nm). Sp. composer, cond., and
 pianist. Studied ~under Bloch and Halffter. From [sm1926[nm to [sm1929[nm was ~
in Eng. where he influenced development of ~jazz, particularly by his arrangemen
ts for a band ~at the Savoy Hotel [sm1927[nm=n[sm9[nm. Cond., Manila S.O., ~[sm1
930[nm. President, Manila Broadcasting Co., [sm1948[nm. ~Comps. incl. opera[cf2]
 Paul Gauguin[cf1], pf. conc., vn. ~conc.,[cf2] Music for [sm15[nm soloists[cf1]
, etc.[cm~Ella, John[fy75,1] ([cf2]b[cf1] Leicester, [sm1802[nm;[cf2] d[cf1] Lon
don, [sm1888[nm). ~Eng. writer, violinist, and impresario. Pupil of ~[fy45,1]*[f
y75,1]F;aaetis. Dir. of mus. society at London home of ~Lord Sal
toun, [sm1826[nm=n[sm46[nm. Founded and dir. cham~~ber mus. concerts known as th
e[cf2] Musical Union[cf1] ~[sm1845[nm=n[sm80[nm, writing series of analytical no
tes. Critic ~of[cf2] Morning Post[cf1] [sm1828[nm=n[sm42[nm,[cf2] Athenaeum[cf1]
 [sm1831[nm=n[sm4[nm, and ~other journals.[cm~Ellington, Duke[fy75,1] (Edward Ke
nnedy) ([cf2]b[cf1] Washing~~ton, D.C. [sm1899[nm;[cf2] d[cf1] NY, [sm1974[nm).
Amer. composer, ~pianist, and jazz-band leader. One of the most ~influential fig
ures in the history of jazz. From ~[sm1927[nm to [sm1932[nm his band established
 its fame at the ~Cotton Club, NY. Later it toured Europe ([sm1933[nm ~and [sm19
39[nm), attracting and influencing several ~composers; though re-[chformed sever
al times, some ~of its members remained with Ellington for over ~[sm30[nm years.
 Among his most celebrated players were ~Johnny Hodges (sax.), Barney Bigard (cl
.), Cootie ~Williams (tpt.), Lawrence Brown (tb.), and Harry ~Carney (bar. sax.)
. Wrote about [sm6[nm,[sm000[nm comps., ~among best-known being
[cf2]Mood Indigo, Solitude, ~Caravan, Sophisticated Lady, Black and Tan Fantasy,
 ~Creole Love Call[cf1], and [cf2]Black, Brown, and Beige.[cm~Ellis, David[fy75,
1] ([cf2]b[cf1] Liverpool, [sm1933[nm). Eng. composer ~and administrator. Studie
d RMCM [sm1953[nm=n[sm7[nm. ~Comps. awarded Royal Philharmonic prize, RCM ~patro
ns' award, and Morley College opera prize. ~Joined staff of BBC, Manchester, [sm
1964[nm with ~responsibility for BBC Northern S.O. (now BBC ~Philharmonic) progr
ammes. Head of Mus., BBC ~North, from [sm1978[nm. Prin. works:[xm[cm~[j2][smoper
a[nm:[fy75,2] Crito[cf1], Op. [sm21[nm ([sm1963[nm).[ep~[smorch[nm: Sym. No. [sm
1[nm, Op. [sm38[nm ([sm1973[nm);[cf2] Sinfonietta[cf1], ~Op.|[sm13[nm ([sm1953[n
m); [cf2]L[cf1], Op.|[sm41[nm ([sm1977[nm); vn. conc., ~Op.|[sm22[nm ([sm1958[nm
); pf. conc., Op.|[sm27[nm ([sm1962[nm);[cf2] Dance ~Rhapsody[cf1], Op.|[sm28[nm
 ([sm1963[nm);[cf2] Elegy[cf1], Op.|[sm30[nm ([sm1966[nm);[cf2] ~Fanfares and Ca
denzas[cf1], Op.|[sm31[nm ([sm1968[nm).[ep~[smchamber orch[nm:[c
f2] February Music[cf1], Op.|[sm43[nm, vc. and ~chamber orch. ([sm1977[nm);[cf2]
 Diversions[cf1], Op.|[sm39[nm ([sm1974[nm);[cf2] ~In Nomine[cf1] ([sm1963[nm);[
cf2] Sequentia III (Tenebrae)[cf1], Op.|[sm32[nm ~([sm1970[nm); [cf2]Circles [cf
1]([sm1979[nm); [cf2]Capriccio `The Bear[cf1]' ([sm1981[nm).[ep~[smstring orch[n
m:[cf2] Dewpoint[cf1], Op. [sm10[nm, sop. and cl. ([sm1955[nm);[cf2] ~Diversions
 on a Theme of Purcell[cf1], Op.|[sm16[nm ([sm1956[nm);[cf2] ~Concert Music[cf1]
, Op. [sm24[nm ([sm1960[nm);[cf2] Solus[cf1], Op.|[sm37[nm ~([sm1973[nm).[ep~[sm
choral[nm:[cf2] Crux fidelis (Sequentia I)[cf1], Op.|[sm26[nm, ten., ch., ~and o
rch. ([sm1962[nm);[cf2] Magnificat[cf1] and[cf2] Nunc Dimittis[cf1], ~ch. and or
g. ([sm1964[nm);[cf2] Sequentia in tempore Natali ~Sacri[cf1], Op.|[sm29[nm, ch.
 and ens. ([sm1964[nm);[cf2] Psalm [sm115[nm[cf1], ch., ~brass, and org., Op.|[s
m33[nm ([sm1970[nm);[cf2] Carols for an ~Island Christmas[cf1], Op.|[sm34[nm, ch
. and ens. ([sm1971[nm);[cf2] An ~Image of Truth[cf1], Op.|[sm35
[nm, bass, ch., and orch. ~([sm1974[nm);[cf2] Sequentia IV (Visions)[cf1], Op.|[
sm36[nm, ten., bar., ~ch., org., and perc. ([sm1972[nm);[cf2] Sequentia V (Genes
is)[cf1], ~Op.|[sm40[nm, ch. and orch. (or org.) ([sm1975[nm).[ep~[smchamber mus
ic[nm: String Trio, Op.|[sm9[nm ([sm1954[nm); wind ~quintet, Op.|[sm17[nm ([sm19
56[nm); Sonata for db., Op.|[sm42[nm ~([sm1977[nm).[ep~[smpiano[nm: Sonatina, Op
. [sm2[nm ([sm1953[nm); Sonata, Op.|[sm12[nm ~([sm1956[nm).[cm~[j1]Ellis, Osian[
fy75,1] ([cf2]b[cf1] Ffynnongroew, [sm1928[nm). Welsh ~harpist and singer. Studi
ed RAM. Member of ~Melos Ens. Former prin. harpist LSO. Many ~recitals, tours, a
nd recordings. Britten wrote Harp ~Suite in C, Op.|[sm83[nm, for him. C.B.E. [sm
1971[nm.[cm~Elman, Mischa[fy75,1] ([cf2]b[cf1] Talnoye, Russia, [sm1891[nm;[cf2]
 d[cf1] NY, ~[sm1967[nm). Russ.-Amer. violinist (Amer. citizen from ~[sm1923[nm)
. Child prodigy. Studied under [fy45,1]*[fy75,1]Auer at St ~Petersburg Cons. Pro
fessional d;aaebut Berlin [sm1904[nm, ~London [sm1905[nm. First
played in NY [sm1908[nm, thereafter ~maintaining brilliant int. reputation.[cm~E
lmendorff, Karl[fy75,1] ([cf2]b[cf1] D;auusseldorf, [sm1891[nm;[cf2] d[cf1] in t
he ~Taunus, [sm1962[nm). Ger. cond. Studied Cologne. Held ~cond. posts in Munich
, D;auusseldorf, and Berlin. ~Bayreuth Fest. [sm1927[nm=n[sm42[nm. Cond. Dresden
 State ~Opera, [sm1942[nm=n[sm5[nm, Wiesbaden [sm1948[nm=n[sm56[nm.[cm~Eloy, Jea
n-Claude[fy75,1] ([cf2]b[cf1] Mont-Saint-Aignan, nr. ~Rouen, [sm1938[nm). Fr. co
mposer. Studied Paris Cons. ~[sm1950[nm=n[sm61[nm with [fy45,1]*[fy75,1]Milhaud
and [fy45,1]*[fy75,1]Martenot, and ~with [fy45,1]*[fy75,1]Boulez in Basle [sm196
1[nm=n[sm2[nm. Visited USA [sm1964[nm ~and [sm1967[nm=n[sm9[nm. Worked at elec.
mus. studio, ~Cologne, [sm1972[nm. Works incl.[cf2] St;agele pour Omar ~Khayy;aa
am[cf1] for sop., harp, pf., and perc. ([sm1960[nm),[cf2] ~;aaEtude III[cf1] (Sy
m. No.|[sm1[nm) ([sm1962[nm),[cf2] Equivalences[cf1] for [sm18[nm ~instr. ([sm19
63[nm),[cf2] Poly-chronies[cf1] I and II for wind and ~perc. ([s
m1964[nm),[cf2] Macles[cf1] [sm1[nm/II, [sm6[nm groups of instr. ([sm1967[nm),[c
f2] ~Faisceaux-Diffractions[cf1] for [sm28[nm instr. ([sm1970[nm),[cf2] Kamak~~[
PN228,0,0,L,I0]ala[cf1], for [sm3[nm ens. and [sm3[nm ch. ([sm1971[nm), [cf2]Sha
nti[cf1], [sm6[nm solo vv., ~instrs., elec. ([sm1972[nm=n[sm3[nm, rev. as [cf2]V
ers l';aaetendue[cf1], orch. ~[sm1974[nm), [cf2]Kshara-akshara[cf1], sop., ch.,
[sm3[nm orch. groups ~([sm1974[nm).[cm~El Sal;aaon M;aaexico.[fy75,1] Orch. work
 by [fy45,1]*[fy75,1]Copland based ~on popular Mexican themes. Comp. [sm1933=n6[
nm, f.p. ~Mexico S.O. [sm1937[nm. Also arr. by composer for solo ~pf.[cm~Elsner,
 Joseph Xaver[fy75,1] ([cf2]b[cf1] Grottkau, [sm1769[nm;[cf2] d[cf1] ~Warsaw, [s
m1854[nm). Silesian composer, largely self-~taught. Kapellmeister, Lemberg, [sm1
792[nm=n[sm9[nm. Cond. ~in Warsaw from [sm1799[nm, in charge of opera until ~[sm
1824[nm and becoming dir. of Cons. [sm1821[nm=n[sm30[nm. ~Taught Chopin. Comp. [
sm20[nm operas, [sm8[nm syms., ballet, ~concs., etc.[cm~Elwell,
Herbert[fy75,1] ([cf2]b[cf1] Minneapolis, [sm1898[nm; [cf2]d [cf1]Cleve~~land, [
sm1974[nm). Amer. composer and critic. Studied ~with [fy45,1]*[fy75,1]Bloch in N
Y and [fy45,1]*[fy75,1]Boulanger in Paris. Mus. ~critic, Cleveland[cf2] Plain De
aler[cf1] [sm1932[nm=n[sm65[nm. Head of ~comp., Cleveland Institute of Mus. [sm1
928[nm=n[sm45[nm. ~Teacher of comp. Oberlin Cons. from [sm1945[nm. ~Works incl.
ballet[cf2] The Happy Hypocrite[cf1] ([sm1925[nm), [sm2[nm ~str. qts.,[cf2] Linc
oln: Requiem aeternam[cf1] ([sm1947[nm),[cf2] Intro~~duction and Allegro[cf1] fo
r orch. ([sm1942[nm), etc.[cm~Elwes, Gervase [fy75,1](Cary) ([cf2]b[cf1] Northam
pton, [sm1866[nm;[cf2] d[cf1] ~Boston, Mass., [sm1921[nm). Eng. ten. Studied mus
. ~Vienna, Munich, Paris, and London, but did not ~become professional musician
until [sm1903[nm, having ~begun diplomatic career. Soon in demand for ~Lieder re
citals and as notable exponent of ~Evangelist in Bach's[cf2] St Matthew Passion[
cf1] and of ~Gerontius in Elgar's choral masterpiece. Gave ~reci
tals in Ger., partnered by the pianist Fanny ~Davies. First singer of Vaughan Wi
lliams's[cf2] On ~Wenlock Edge[cf1] ([sm1909[nm). Sang ten. songs in f.p. in ~En
gland of Mahler's[cf2] Das Lied von der Erde[cf1] ([sm1914[nm). ~Fund est. in hi
s memory is now the [fy45,1]*[fy75,1]Musicians' ~Benevolent Fund.[cm~Embellishme
nts.[fy75,1] See[cf2] Ornaments[cf1].[cm~Embouchure.[fy75,1] ([sm1[nm) In brass
and some woodwind ~playing, the mode of application of the lips, or ~their relat
ion to the mouthpiece.[ep~^([sm2[nm) (Fr.). The [fy45,1]*[fy75,1]mouthpiece of a
 brass instr.[cm~Emerald Isle, The.[fy75,1] Posthumous comic opera in ~[sm2[nm a
cts by Sullivan, begun [sm1900[nm and completed by ~Edward German. Lib. by Basil
 Hood. Prod. Savoy ~Th. [sm1901[nm.[cm~Emicon.[fy75,1] Elec. instr. invented in
USA, [sm1931[nm, ~producing notes from the air in a graded ~chromatic scale. Kbd
. controls accurate tuning.[cm~Emmanuel, [fy75,1](Marie Fran;alcois) [fy65][cf3]
Maurice[fy75,1] ([cf2]b[cf1] Bar-sur-~Aube, [sm1862[nm; [cf2]d[c
f1] Paris, [sm1938[nm). Fr. composer and ~scholar. Studied Paris Cons. under Del
ibes and ~[fy45,1]*[fy75,1]Bourgault-Ducoudray. Prof. of mus. history ~Paris Con
s. [sm1909=n36[nm. Authority on Gr. mus., ~about which he wrote extensively. Com
p. [sm2[nm ~operas, [sm2[nm syms., str. qt., and suite on popular Gr. ~airs for
vn. and pf.[cm~E moll[fy75,1] (Ger.). The key of E minor.[cm~`Emperor' Concerto.
[fy75,1] Nickname by which Beet~~[chhoven's Pf. Conc. No.|[sm5[nm in E;Yh major,
 Op.|[sm73[nm, is ~known in Eng. and USA. Not known when or by ~whom this title
was conferred, but it is not inapt.[cm~`Emperor' Quartet[fy75,1] ([cf2]Kaiserqua
rtett=+[cf1]). Nickname ~for Haydn's Str. Qt. in C major, Op.|[sm76[nm No.|[sm3[
nm, ~because the slow movement is a set of variations ~on the tune he wrote for
the [fy45,1]*[fy75,1]Emperor's Hymn.[cm~Emperor's Hymn[fy75,1] ([cf2]Gott erhalt
e Franz den Kaiser[cf1], ~i.e. God preserve the Emperor Francis). Tune ~found in
 many hymn-books under the name ~[cf2]Austria[cf1]. The nat. hym
n of Austria from the time ~of comp. of the tune by Haydn in [sm1797[nm to the ~
creation of the Republic in [sm1918[nm. Thereafter the ~tune was officially reta
ined, but other words ~adopted,[cf2] Sei gesegnet ohne Ende[cf1] (Thine be never
-~ending blessings) by Ottokar Kernstock. The orig. ~words were by Lorenz Leopol
d Haschka ([sm1749[nm=n~[sm1827[nm). Haydn, whose instructions were to com~~pose
 something approaching in merit the Eng. ~nat. anthem, took a folk melody of his
 childhood, ~which probably suggested itself to him as fitting ~metrically and r
hythmically the opening lines, ~and altered and extended its later part. For the
 ~application of the tune in Ger. see[cf2] Deutschland ~;auuber Alles[cf1].[cm~E
mperor Waltz [fy75,1](Strauss). See [cf2]Kaiser-Walzer.[cm~Empfindung[fy75,1] (G
er.). Feeling, sentiment; hence[cf2] ~Empfindungsvoll[cf1], feelingly.[cm~Encha;
afinez[fy75,1] (Fr.). Chain together, join up (i.e. ~next movement to be played
without break).[cm~Enchanted Lake, The[fy75,1] ([cf2]Volshebnoye
 ozero[cf1]). Sym~~phonic poem by [fy45,1]*[fy75,1]Lyadov, comp. [sm1909[nm.[cm~
Encina[fy75,1] (Enzina),[fy65][cf3] Juan del[fy75,1] ([cf2]b[cf1] Salamanca, [sm
1468[nm;[cf2] d ~[cf1]L;aaeon,[cf2] c[cf1].[sm1530[nm). Sp. composer and poet. S
erved [sm2[nmnd ~Duke of Alba, [sm1492[nm=n[sm8[nm, then worked in Rome. ~Archde
acon of M;aaalaga [sm1509[nm=n[sm17[nm, prior of L;aaeon ~from [sm1519[nm. Wrote
 several eclogues (pastoral plays) ~and a large no. of songs for [sm3[nm or [sm4
[nm vv. His ~[cf2]Cancionero[cf1], [sm1495[nm, was an anthology of plays and ~po
ems.[cm~Encore[fy75,1] (Fr.). Again. In Eng. has been adopted as ~the word of de
mand for the repetition of a perf. ~(properly, perhaps, of the same piece, but o
ften ~used of a return to the platform to give additional ~perf., either of the
same or another piece). Also ~used as verb (to encore).[ep~^Although a Fr. word,
[cf2] encore[cf1] entered the Eng. ~language as a corruption of It.[cf2] ancora[
cf1] (with the ~same meaning), which, from the early [sm18[nmth
cent. ~onwards, was used by audiences at the It. Opera ~in London (together with
 the words[cf2] altra volta[cf1], ~another time). The Fr. use[cf2] bis[cf1] (Lat
., twice; verb[cf2] ~bisser[cf1]).[cm~End-Plugged.[fy75,1] Term for org. flue pi
pes with a ~stopper at the top which lowers their pitch by an ~octave.[cm~[PN229
,0,0,R,I0]Energia[fy75,1] (It.). Energy.[cf2] Energico[cf1], energetic.[cm~Enesc
u, George[fy75,1] (Enesco, Georges) ([cf2]b[cf1] Liveni-~Virnav, Romania, [sm188
1[nm;[cf2] d[cf1] Paris, [sm1955[nm). Romanian ~composer, violinist, and cond. F
irst public recital ~as violinist at age [sm7[nm. Studied Vienna Cons. under ~He
llmesberger and R. Fuchs, then at Paris Cons. ~under Massenet and Faur;aae. Conc
ert of his works ~in Paris [sm1897[nm. Frequent appearances as cond. ~(until [sm
1951[nm), and as sonata recitalist with Cortot. ~His vn. pupils incl. Menuhin, G
rumiaux, and ~Gitlis. His comps. use Romanian folk-idioms and ~are also influenc
ed by late romanticism. They ~incl.:[cf2] Oedipe[cf1] ([sm4[nm-a
ct opera, [sm1921[nm=n[sm31[nm); Sym. No. [sm1[nm ~([sm1905[nm), No. [sm2[nm ([s
m1912[nm=n[sm14[nm), No. [sm3[nm, with ch. and pf. ~solo ([sm1916[nm=n[sm21[nm),
 No. [sm4[nm ([sm1934[nm), No. [sm5[nm, ten., ch., and ~orch. ([sm1941[nm); [cf2
]Symphonie concertante[cf1] for vc. and ~orch. ([sm1901[nm); [sm2[nm[cf2] Romani
an Rhapsodies[cf1] ([sm1901[nm); [sm3[nm vn. ~sonatas ([sm1897[nm, [sm1899[nm, [
sm1926[nm); [sm2[nm vc. sonatas ([sm1898[nm, ~[sm1935[nm); [sm2[nm pf. sonatas (
[sm1924[nm, [sm1933[nm=n[sm5[nm); [sm2[nm pf. quintets ~([sm1895[nm, [sm1940[nm)
; [sm2[nm str. qts. ([sm1916[nm=n[sm20[nm, [sm1950[nm=n[sm3[nm); [sm2[nm pf. ~qt
s. ([sm1909[nm, [sm1943[nm=n[sm4[nm);[cf2] Chamber symphony[cf1] for [sm12[nm ~i
nstr. ([sm1954[nm);  and songs.[xm[cm~[ol0][ep~[xp[te~



[do11][j99]~~~~~~[sm153842[nmE[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmE[sm004[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[sm
79[nm[cm[sm15[nm[cm[sm136[nm[cm~JS[cm[cm6-7-84[cm~[cm~~~~[ap[j1]Enfance du Chris
t, L'[fy75,1] (The Childhood of Christ). ~Oratorio, Op.|[sm25[nm, by Berlioz for
 soloists, ch., and ~orch., comp. [sm1850[nm=n[sm4[nm. F.p. Paris [sm1854[nm, Ma
nchester ~[sm1880[nm. Text by composer.[cm~Enfant et les Sortil;ageges, L'[fy75,
1] (The Child and the ~Spells).[cf2] Fantaisie lyrique[cf1] in [sm2[nm parts by
Ravel, to lib. ~by Colette. Comp. [sm1920[nm=n[sm5[nm. Prod. Monte Carlo ~[sm192
5[nm, San Francisco [sm1930[nm, Oxford [sm1958[nm.[cm~Enfant prodigue, L'[fy75,1
] (The Prodigal Son). ([sm1[nm) ~Cantata by Debussy, comp. [sm1884[nm, for sop.,
 ten., ~and bar. soloists, ch., and orch. It won Debussy ~the[cf2] Prix de Rome[
cf1]. F.p. Paris [sm1884[nm with acc. for [sm2[nm ~pf. Orch. rev. [sm1906[nm and
 [sm1908[nm.[ep~^([sm2[nm) Opera by Auber, [sm1850[nm.[ep~^See u
nder[cf2] Prodigal Son [cf1]for Prokofiev ballet and ~Britten church parable.[cm
~En-Gedi[fy75,1] (In the wilderness). F. X. Huber's lib. ~for Beethoven's orator
io [fy45,1]*[fy75,2]Christus am ;auOlberge[cf1] ~([sm1803[nm) was replaced in En
g. by new text by H. ~Hudson, changing story to that of `David in the ~Wildernes
s' in view of `objectionable nature' of ~orig. words.[cm~Engel, Karl[fy75,1] ([c
f2]b[cf1] Theiedewiese, [sm1818[nm;[cf2] d[cf1] Kensington, ~[sm1882[nm). Ger. p
ianist and writer. Studied under ~Hummel. Settled London,[cf2] c[cf1].[sm1845[nm
, where he ~formed valuable library and coll. of ancient instr. ~Among his writi
ngs are[cf2] Introduction to the Study of ~National Music[cf1] ([sm1866[nm) and[
cf2] Researches into the Early ~History of the Violin Family[cf1] ([sm1883[nm).[
cm~Engelstimme[fy75,1] (Ger.). Angel-voice. The[cf2] Vox An~~gelica[cf1] stop on
 the organ.[cm~Englisches Horn[fy75,1] (Ger.). English horn, i.e. [fy45,1]*[fy75
,2]Cor ~anglais[cf1].[cm~English Chamber Orchestra.[fy75,1] Orig
. name was ~Goldsbrough Orch., founded [sm1948[nm by Arnold ~Goldsbrough and Law
rence Leonard to perf. ~[fy45,1]*[fy75,1]baroque mus. Present name adopted [sm19
60[nm when ~repertory was expanded to cover mus. of all ~periods written for `Mo
zart-sized' ens. Assoc. with ~[fy45,1]*[fy75,1]Aldeburgh Fest. since [sm1961[nm,
 playing in premi;ageres ~of Britten's[cf2] Midsummer Night's Dream[cf1],[cf2] O
wen ~Wingrave[cf1], church parables, and Cello Sym. Has ~also given f.ps. of wor
ks by Maw, Birtwistle, ~Tavener, Richard Rodney Bennett, etc. No prin. ~cond., b
ut has worked closely with Britten, ~Leppard, Barenboim, Davis, Zukerman, and ~o
thers. Many recordings. Worldwide tours, incl. ~Japan, the Americas, Europe, Isr
ael, etc.[cm~English Fingering.[fy75,1] The (obsolete) `Eng.' system ~of marking
 printed pf. mus. with the composer's ~or ed.'s suggested [fy45,1]*[fy75,1]finge
ring, whereby a cross ~represented the thumb and the figures [sm1[nm to [sm4[nm
the ~fingers (as opposed to `continental' system using ~[sm1[nm
for thumb and [sm2[nm to [sm5[nm for fingers).[cm~English Folk Dance and Song So
ciety.[fy75,1] Amal~~gamation in [sm1932[nm of Folk Song Society (founded ~[sm18
98[nm) and Eng. Folk Dance Soc. ([sm1911[nm), with ~general aim of preserving so
ngs and dances of ~Brit. people. H.Q. in Cecil Sharp House, London, ~where libra
ry and archives are housed. Holds ~annual fest. in London, but regional branches
 are ~also active.[cm~English Horn.[fy75,1] See[cf2] Cor anglais[cf1].[cm~Englis
h Hymnal, The.[fy75,1] Coll. of Eng. hymns and ~tunes pubd. [sm1906[nm (rev. [sm
1933[nm) ed. by Percy ~Dearmer with [fy45,1]*[fy75,1]Vaughan Williams as mus. ed
. ~Incl. several hymn tunes by Vaughan Williams ~and others by his Eng. contempo
raries, several ~being adaptations of folk-songs.[cm~English Lyrics.[fy75,1] Tit
le given to [sm12[nm sets of songs ~([sm74[nm in all) for v. and pf. by [fy45,1]
*[fy75,1]Parry, all settings of ~Eng. poetry. [sm1[nmst set ([sm4[nm songs) [sm1
881[nm=n[sm5[nm, [sm2[nmnd ([sm5[nm) ~[sm1881[nm=n[sm5[nm, [sm3[
nmrd ([sm6[nm) [sm1895[nm, [sm4[nmth ([sm6[nm) [sm1897[nm, [sm5[nmth ([sm7[nm) [
sm1902[nm, ~[sm6[nmth ([sm6[nm) [sm1902[nm, [sm7[nmth ([sm6[nm) [sm1907[nm, [sm8
[nmth ([sm6[nm) [sm1907[nm, [sm9[nmth ([sm7[nm) ~[sm1909[nm, [sm10[nmth ([sm6[nm
) [sm1909[nm, [sm11[nmth ([sm8[nm) pubd. [sm1920[nm, [sm12[nmth ~([sm7[nm) pubd.
 [sm1920[nm. The last [sm2[nm sets were selected and ~ed. by Dr Emily Daymond.[c
m~English Madrigal School.[fy75,1] First complete edn. ~of Eng. madrigals, [sm15
88[nm=n[sm1624[nm, transcr., scored, ~and ed. by Dr E. H. [fy45,1]*[fy75,1]Fello
wes and pubd. in [sm36[nm ~vols., [sm1913[nm=n[sm24[nm.[cm~English Music Theatre
.[fy75,1] Title from [sm1976[nm of ~former English Opera Group, founded by Britt
en, ~Eric Crozier, and John Piper in [sm1946[nm to perf. ~chamber operas old and
 new. Closely connected ~with Britten's operas, but also gave f.ps. of ~Walton's
[cf2] The Bear[cf1] and Birtwistle's[cf2] Punch and Judy[cf1]. ~Has toured abroa
d widely, incl. USSR ([sm1964[nm). ~From [sm1961[nm administered
 and financed by CG. ~Re-formed [sm1976[nm under joint dir. of Colin Graham ~and
 Steuart Bedford with aim of longer season ~and to embrace opera, operetta, musi
cals, and less ~conventional works, all generalized as `music ~theatre'. Ceased
to exist [sm1980[nm.[cm~English National Opera. [fy75,1]See [cf2]Sadler's Wells.
[cm~[PN230,0,0,L,I0]English Opera Group.[fy75,1] See[cf2] English Music Theatre.
[cm~English Singers, The.[fy75,1] Title of group of [sm6[nm singers ~specializin
g in Eng. madrigals and folk-song arrs. ~who gave [sm1[nmst concert in [sm1920[n
m. Visited Prague ~[sm1922[nm and later toured in Berlin, Vienna, Holland, ~and
the USA. Orig. members were Flora Mann, ~Winifred Whelen, Lillian Berger, Steuar
t Wilson, ~Clive Carey, and Cuthbert Kelly. In [sm1924[nm Nellie ~Carson, Norman
 Stone, and Norman Notley ~replaced Whelen, Wilson, and Carey, and there ~were f
urther changes before final disbandment.[cm~English Suite, An.[fy75,1] Suite in
G in [sm7[nm movements ~for str. orch. by Parry. The [sm5[nmth (
[cf2]Pastoral[cf1]=+) ~movement dates from [sm1890[nm, some from [sm1914[nm ~and
 other parts from [sm1916[nm. Left unfinished and ~put in final form by Dr Emily
 Daymond. Pubd. ~[sm1921[nm, f.p., in public [sm1922[nm.[cm~English Suites.[fy75
,1] Set of [sm6[nm kbd. suites by Bach, ~pubd. posthumously. Title seems to have
 arisen ~from the existence of MS. copy (in the possession ~of Bach's youngest s
on, Johann Christian) describ~~ing the work as[cf2] fait pour les Anglais[cf1] (
=+`made for the ~English'=+). See also[cf2] French Suites[cf1];[cf2] German Suit
es[cf1].[cm~Englund, [fy75,1](Sven) [fy65,3]Einar[fy75,1] ([cf2]b[cf1] Ljugarn,
Gotland, ~Sweden, [sm1916[nm). Finn. composer, cond., and writer. ~Studied Sibel
ius Acad., Helsinki, [sm1933[nm=n[sm41[nm (comp. ~with Palmgren, pf. with Paavol
a) and Tangle~~wood, [sm1949[nm (with Copland). Cond., pianist, and ~reviewer fo
r Finn. radio and TV from [sm1950[nm; mus. ~critic, Helsinki[cf2] Hufvudstadsbla
det[cf1] from [sm1957[nm. ~Taught comp. at Sibelius Acad. from [
sm1958[nm. Works ~incl. [sm3[nm syms. ([sm1946[nm, [sm1948[nm, [sm1970[nm), vc.
conc. ([sm1954[nm), ~pf. sonatina ([sm1968[nm), film mus., etc.[cm~Enharmonic In
tervals.[fy75,1] Those [fy45,1]*[fy75,1]intervals which ~differ from each other
in name but not in any ~other way (so far as modern kbd. instr. are ~concerned).
 For example: C to G;Yi (augmented ~[sm5[nmth) and C to A;Yh (minor [sm6[nmth).
Hence[cf2] enharmonic ~change[cf1], the change of a note in a part, e.g. from ~D
;Yi to E;Yh.[cm~Enigma Variations[fy75,1] ([cf2]Variations on an Original ~Theme
 [cf1]([cf2]Enigma[cf1])). Elgar's Op.|[sm36[nm for full orch. F.p. ~London, [sm
19[nm June [sm1899[nm; finale rev. for [sm3[nmrd perf. ~Sept. [sm1899[nm. The `E
nigma' is the theme itself, ~probably representing Elgar, but he said `through ~
and over the whole set another and larger theme ~``goes'', but is not played'. I
dentity of this [sm2[nmnd ~theme, if it exists, has never been established ~desp
ite many ingenious guesses. The work is ded. ~`to my friends pic
tured within', each variation ~being a mus. sketch. Initials or pseudonyms ~disg
uise the individuals but their identities are: ~[sm1[nm. C.A.E. (Lady Elgar); [s
m2[nm. H.D.S.-P. (Hew Steuart-~Powell); [sm3[nm. R.B.T. (R.B. Townshend); [sm4[n
m. W.M.B. ~(W. Meath Baker); [sm5[nm. R.P.A. (Richard P. Arnold); ~[sm6[nm. Ysob
el (Isabel Fitton); [sm7[nm. Troyte (A. Troyte ~Griffith); [sm8[nm. W.N. (Winifr
ed Norbury); [sm9[nm. Nimrod ~(A. J. Jaeger); [sm10[nm. Dorabella (Dora Penny);
[sm11[nm. ~G.R.S. (G. R. Sinclair, but more accurately his ~bulldog Dan); [sm12[
nm. B.G.N. (Basil G. Nevinson); [sm13[nm. ~;DC;DC;DC (Lady Mary Lygon); [sm14[nm
. E.D.U. (Elgar). Also ~[sm1[nm-act ballet by [fy45,1]*[fy75,1]Ashton, f.p. CG [
sm1968[nm (uses orig. ~ending to finale). Arr. for brass band by Eric ~[fy45,1]*
[fy75,1]Ball, [sm1984[nm.[cm~Enlevez[fy75,1] (Fr.). Take up, i.e. remove (e.g. p
edal or ~mute).[cm~En Saga[fy75,1] (A Saga). Symphonic poem by Sibelius, ~Op.|[s
m9[nm, [sm1892[nm, rev. [sm1901[nm.[cm~Ensalada[fy75,1] (Sp.). S
alad. Comical Sp. [sm16[nmth-cent. ~choral pieces, using combination of texts in
 ~various languages.[cm~Ensemble [fy75,1](Fr.). Together. ([sm1[nm) Any combinat
ion ~of performers, but especially a small group ~playing individual parts.[ep~^
([sm2[nm) The quality in perf. implying the greater or ~lesser exhibition of the
 co-operative spirit, e.g. ~unanimity of attack, balance of tone, etc., thus ~gi
ving rise to such expressions as `good ens.', `poor ~ens.', etc.[ep~^A[cf2] morc
eau d'ensemble[cf1] (e.g. in an operatic context) ~is a piece in which several p
erformers combine.[cm~Entf;auuhrung aus dem Serail, Die[fy75,1]. (The Abduc~~tio
n from the Seraglio). Opera (Singspiel) in [sm3[nm acts ~by Mozart (K[sm384[nm)
to Ger. lib. by Gottlob Stephanie ~adapted from C. F. Bretzner's lib. for Andr;a
ae's[cf2] ~Belmont und Constanze[cf1] ([sm1781[nm). Comp. [sm1781=n2[nm. ~Prod.
Vienna [sm1782[nm, London [sm1827[nm, NY [sm1860[nm. In ~[sm19[nmth cent. was su
ng in It. in Eng., hence spurious ~title [cf2]Il seraglio[cf1].[
cm~Entr'acte[fy75,1] (Fr.). Between the acts. Strictly the ~interval between the
 acts of a play or opera, but ~in mus. parlance refers to the piece of orch. mus
. ~played at such times, e.g. Schubert's entr'actes for[cf2] ~Rosamunde[cf1].[cm
~Entrada[fy75,1] (Sp.). Same as [fy45,1]*[fy75,2]Entr;aaee.[cm~Entr;aaee[fy75,1]
 (Fr.). Entrance. ([sm1[nm) A [sm17[nmth- and [sm18[nmth-cent. ~term for an inst
r. piece before a ballet.[ep~^([sm2[nm) An act in an [cf2]op;aaera-ballet [cf1]o
f which every act is ~self-contained (corruption of[cf2] entremets[cf1], `side-d
ish', ~old title for a kind of masque).[ep~^([sm3[nm) The opening moment of any
part of a work.[cm~Entremont, Philippe[fy75,1] ([cf2]b[cf1] Rheims, [sm1934[nm).
 Fr. ~pianist and cond. Studied with Margu;aaerite Long ~and at Paris Cons. Winn
er Belgian State Compe~~tition, Brussels, [sm1951[nm. Specialist in Fr. mus. but
 ~wide repertory. Mus. dir. Vienna Chamber Orch. ~from [sm1976[nm, cond. New Orl
eans P.O. from [sm1980[nm.[cm~Envelope.[fy75,1] Term in elec. mu
s. for those character~~istics of amplitude which determine the growth ~and deca
y of a signal.[cm~;aaEolides, Les[fy75,1] (The Breezes). C;aaesar Franck's first
 ~symphonic poem, comp. [sm1876[nm, based on poem ~by Lecomte de Lisle describin
g flight of the ~breezes, daughters of Aeolus, over the southern ~lands. F.p. Pa
ris [sm1877[nm.[cm~Epicedium.[fy75,1] Dirge or lament, e.g. Purcell's[cf2] The ~
Queen's Epicedium[cf1], [sm1695[nm.[cm~[PN231,0,0,R,I0]Epilogue.[fy75,1] A concl
uding piece: in opera, for ~example, sometimes addressed directly to the ~audien
ce, as in Stravinsky's[cf2] The Rake's Progress[cf1]. ~Term has been used as des
cription of movements ~in their syms. by Vaughan Williams and Bax.[cm~Episode.[f
y75,1] In comps. designed on one of the ~regular patterns, a section containing
thematic ~material of secondary importance is sometimes ~called an episode. It c
an also contain new material. ~In [fy45,1]*[fy75,1]Rondo form, the contrasting s
ections between ~returns of the main material are sometimes call
ed ~episodes. In [fy45,1]*[fy75,1]Fugue form, an episode follows the ~exposition
 and is a passage of connective material, ~usually a development of a theme from
 the ~exposition, leading to another entry or series of ~entries of the subject.
 One function of the fugal ~episode is to effect modulation to various related ~
keys so that later entries may take advantage of ~this variety.[cm~Epitaffio per
 Garc;aaia Lorca[fy75,1] (Epitaph for Garc;aaia ~Lorca). Work by [fy45,1]*[fy75,
1]Nono, comp. [sm1951[nm=n[sm3[nm, in [sm3[nm ~parts: [sm1[nm.[cf2] Espana en la
 coraz;aaon[cf1], sop., bar., small ch., ~and instr. [sm2[nm.[cf2] Y su sangre y
a viene cantando[cf1], fl. and ~small orch. [sm3[nm.[cf2] Memento[cf1], female s
peaker, speaking ~choir, ch., and orch.[cm~Epithalamium[fy75,1] (Lat., Eng. epit
halamion). A ~marriage song or wedding hymn. Vaughan ~Williams's cantata [cf2]Ep
ithalamion[cf1] ([sm1957[nm) has words ~selected from Spenser's poem of that nam
e.[cm~;aaEponge, Baguette d'[fy75,1] (Fr.). Sponge-headed drum-~
stick.[cm~Epstein, Julius[fy75,1] ([cf2]b[cf1] Agram, [sm1832[nm;[cf2] d[cf1] Vi
enna, [sm1926[nm). ~Croatian pianist, prof. at Vienna Cons. [sm1867[nm=n~[sm1901
[nm. Taught Mahler and recognized his genius ~even as a boy.[cm~Equale, equali[f
y75,1] (Old It.). ([sm1[nm) Equal.[ep~^([sm2[nm) [sm18[nmth-cent. term for a fun
eral qt. of instr. of ~the same kind, usually tbs.; or mus. for such, e.g. ~Beet
hoven's [sm3[nm[cf2] Equali[cf1] ([sm1812[nm) in D minor, D major, ~and B major)
, [sm2[nm of which, with vocal parts added ~by Seyfried, were perf. at Beethoven
's funeral.[cm~Equal Temperament.[fy75,1] See[cf2] Temperament[cf1].[cm~Equal Vo
ices[fy75,1] (It.[cf2] Voci eguali[cf1]; Lat.[cf2] Voces aequales[cf1]; ~Ger.[cf
2] Gleiche Stimmen[cf1]). A choral comp. is said to be ~for `equal vv.' when it
is for vv. of the same kind, ~generally for [sm2[nm sop. or [sm3[nm sop. (sch. m
us. and mus. ~for women's choirs). In such mus., in fairness to ~the vv. of the
performers, the parts are usually so ~arr. that sometimes one v.
 and sometimes another ~is at the top. Occasionally the term is less correctly ~
used as implying `for children's vv.' (unmixed ~with adults) or `for women's vv.
' (unmixed with ~men's), or vice versa.[cm~;aaErard, S;aaebastien[fy75,1] ([cf2]
b[cf1] Strasbourg, [sm1752[nm;[cf2] d[cf1] La ~Muette, [sm1831[nm). Fr. founder
of firm of pf. and harp ~manufacturers. Went to Paris [sm1768[nm, built first Fr
. ~pf. [sm1777[nm. Est. firm with his brother in Paris [sm1779[nm. ~Opened Londo
n branch [sm1786[nm working there until ~[sm1796[nm, in which year he made his f
irst grand pf. ~Patented improvements to pf. and harp. Suc~~ceeded by nephew Pie
rre ;aaErard ([sm1796[nm=n[sm1855[nm). ~London branch closed [sm1890[nm. Amalgam
ated with ~Gaveau, [sm1960[nm.[cm~Erb, Donald James[fy75,1] ([cf2]b[cf1] Youngst
own, Ohio, [sm1927[nm). ~Amer. composer. Studied Kent State Univ., Ohio, ~Clevel
and Institute of Mus., and in Paris with ~Boulanger. Teacher at Cleveland Instit
ute. Comps. ~incl. several works involving tape and synthesiz~~e
rs, but many works employ more conventional ~means.[cm~Erb, Karl[fy75,1] ([cf2]b
[cf1] Ravensburg, [sm1877[nm;[cf2] d[cf1] Ravensburg, ~[sm1958[nm). Ger. ten. D;
aaebut with Stuttgart Opera [sm1907[nm, ~Munich opera [sm1913[nm=n[sm25[nm. Crea
ted title-role in ~[fy45,1]*[fy75,1]Pfitzner's[cf2] Palestrina[cf1] [sm1917[nm.
CG [sm1927[nm. Retired ~from stage [sm1930[nm. Noted exponent of Evangelist ~in
Bach's[cf2] St Matthew Passion[cf1].[cm~Erbach, Christian[fy75,1] ([cf2]b[cf1] A
lgesheim, [cf2]c.[cf1][sm1570[nm;[cf2] d[cf1] ~Augsburg, [sm1635[nm). Ger. compo
ser of motets and ~songs. Organist, Augsburg, from [sm1602[nm.[cm~Erbse, Heimo[f
y75,1] ([cf2]b[cf1] Rudolstadt, [sm1924[nm). Ger. com~~poser. Studied Weimar [sm
1945[nm=n[sm7[nm and Berlin [sm1950[nm=n~[sm2[nm (comp. with [fy45,1]*[fy75,1]Bl
acher). From [sm1947[nm to [sm1950[nm was ~opera producer and coach. Comps. incl
. [sm2[nm syms., ~operas[cf2] Julietta[cf1] and[cf2] Der Herr in Grau[cf1], wind
 qt., pf. ~sonata, ballet[cf2] Ruth[cf1], fl. sonata, and choral
 and orch. ~works.[cm~Erede, Alberto[fy75,1] ([cf2]b[cf1] Genoa, [sm1909[nm). It
. cond. Studied ~in Genoa, Milan, and Basle, then with [fy45,1]*[fy75,1]Weingart
~~ner [sm1929[nm=n[sm31[nm and in Dresden with Fritz [fy45,1]*[fy75,1]Busch. ~D;
aaebut Rome [sm1930[nm. Cond. at Glyndebourne [sm1938[nm=n~[sm9[nm, NY [sm1939[n
m. Cond., New London Opera Co. [sm1946[nm, ~NY Met. [sm1951[nm=n[sm5[nm, Deutsch
e Oper am Rhein [sm1956[nm=n~[sm62[nm. Guest cond. CG and Scottish Opera.[cm~Eri
ckson, Robert[fy75,1] ([cf2]b[cf1] Marquette, Mich., [sm1917[nm). ~Amer. compose
r. Lessons in comp. [sm1936[nm from ~[fy45,1]*[fy75,1]K;akrenek. Teacher at San
Francisco Cons. [sm1957[nm=n~[sm66[nm and at Univ. of Calif., San Diego, from [s
m1966[nm. ~Began as [sm12[nm-note composer but changed course ~in [sm1957[nm wit
h his Str. Qt. No.|[sm2[nm where he showed ~new interest in qualities of sound.
This interest ~in sonorities and combinations of tempi led him ~to introduce imp
rovisation into his[cf2] Chamber ~Concerto[cf1] ([sm1960[nm) and
 pf. conc. ([sm1963[nm). He began to ~use tape in [sm1964[nm, employing [fy45,1]
*[fy75,2]musique concr;agete[cf1] ~pro[chcesses. Works comp. in this idiom incl.
[cf2] ~Ricercar[cf1] for [sm3[nm db. ([sm1967[nm),[cf2] Pacific Sirens[cf1] ([sm
1968[nm) for ~[sm10[nm=n[sm14[nm instr. on tape,[cf2] High Flyer[cf1] for amplif
ied fl. ~([sm1969[nm), etc.[cm~Erkel, Ferenc[fy75,1] ([cf2]b[cf1] Gyula, [sm1810
[nm;[cf2] d[cf1] Budapest, [sm1893[nm). ~Hung. composer. Cond. Budapest Nat. Th.
 from ~[sm1838[nm. Founder and cond. Budapest Phil. and ~professor, Hung. Nat. A
cad. of Mus. One of first ~Hung. `nationalists', striving to est. nat. opera. ~H
is first opera,[cf2] B;aaatori M;aaaria[cf1] ([sm1840[nm), was followed ~by[cf2]
 Huny;aaadi L;aaaszl;aao[cf1] ([sm1844[nm) and by [cf2]B;aaank B;aaan[cf1] ([sm1
844[nm=n~[sm52[nm, prod. [sm1861[nm) which is traditionally perf. on ~nat. holid
ay. Other operas are[cf2] Dozsa[cf1] ([sm1866[nm),[cf2] ~[PN232,0,0,L,I0]Gy;auor
gy Brankovics[cf1] ([sm1874[nm), and[cf2] King Istv;aaan[cf1] ([
sm1874=n~84[nm).[cm~Erlanger, Camille[fy75,1] (pseudonym Fr;aaed;aaeric Regnal)
~([cf2]b[cf1] Paris, [sm1863[nm;[cf2] d[cf1] Paris, [sm1919[nm). Fr. composer. ~
Studied Paris Cons. with Delibes. Works incl. ~[cf2]Requiem[cf1] for double ch.
and several operas ([cf2]Le Juif ~polonais[cf1], [sm1900[nm;[cf2] Le Fils de l';
aaetoile[cf1], [sm1904[nm;[cf2] Bacchus ~triomphant[cf1], [sm1909[nm;[cf2] Le Ba
rbier de Deauville[cf1], [sm1917[nm).[cm~Erlebach, Philipp Heinrich[fy75,1] ([cf
2]b[cf1] Esens, Friesland, ~[sm1657[nm; [cf2]d[cf1] Rudolstadt, [sm1714[nm). Ger
. composer who ~was for [sm33[nm years Kapellmeister in Rudolstadt. ~Among survi
ving works are [sm6[nm sonatas for vn., ~bass viol, and cont. ([sm1964[nm), [sm2
[nm vols. of songs ([sm1697[nm, ~[sm1710[nm), and sacred mus.[xm[cm~[ol0][ep~[xp
[te~


[do11][j99]~~~~~~[sm153842[nm_E[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmE[sm005[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm190[nm[cm~GC[cm3[cm25.7.84[cm~U1[cm~~~[ap[j1]Erleichterun
g[fy75,1] (Ger.). An `easing', i.e. a simplified ~version.[cm~Erlih, Devy[fy75,1
] ([cf2]b[cf1] Paris, [sm1928[nm). Fr. violinist. Studied ~Paris Cons. D;aaebut
[sm1944[nm with Pasdeloup Orch. ~Frequent tours as conc. soloist.[cm~Erlk;auonig
[fy75,1] (The Erl-King). Ballad by Goethe, the ~Erl-King being a King of all the
 spirits who ~appears to a child and entices him to death. Poem ~comes from Goet
he's ballad-opera[cf2] Die Fischerin[cf1] ~([sm1782[nm) and [sm1[nmst mus. setti
ng was an [sm8[nm-bar melody ~written by Corona Schr;auoter, actress who played
~the fisherwoman at the f.p. It was then set by ~Reichardt, Klein, and Zelter, b
ut the best-known ~settings (for v. and pf.) are those by Schubert ~(D[sm328[nm)
, [sm1815[nm, and Loewe, [sm1818[nm. Sketches of an ~abandoned B
eethoven setting exist. Special im~~portance of Schubert's setting is the diffic
ult and ~vivid acc., which revolutionized the art of acc. for ~composers and pia
nists.[cm~Ernani.[fy75,1] [sm4[nm-act opera by Verdi to lib. by Piave ~based on
Hugo's novel[cf2] Hernani[cf1] ([sm1830[nm). Comp. ~[sm1843[nm. Prod. Venice [sm
1844[nm, London [sm1845[nm, NY [sm1847[nm.[cm~Erniedrigen[fy75,1] (Ger.). To low
er (pitch).[cm~Ernst, Heinrich Wilhelm[fy75,1] ([cf2]b[cf1] Br;auunn (Brno), ~[s
m1814[nm;[cf2] d[cf1] Nice, [sm1865[nm). Moravian violinist and ~composer. Studi
ed Vienna Cons. and modelled ~his style on that of [fy45,1]*[fy75,1]Paganini. Li
ved in Paris ~[sm1832[nm=n[sm8[nm, toured Europe [sm1838[nm=n[sm44[nm. Frequent
visitor ~to London after [sm1843[nm, settling there in [sm1855[nm. ~Comp. vn. co
ncs. and other pieces for his instr. ~Viola soloist in Berlioz's [cf2]Harold en
Italie,[cf1] with ~comp. conducting, on several occasions.[cm~Ernste Ges;auange,
 Vier[fy75,1] (Four Serious Songs) ~(Brahms). See [cf2]Vier Erns
te Ges;auange.[cm~`Eroica' Symphony[fy75,1] ([cf2]Sinfonia Eroica[cf1]). Sym. No
.|[sm3[nm ~in E;Yh major, Op.|[sm55[nm, by Beethoven, comp. [sm1803[nm=n~[sm4[nm
, f.p. [sm1804[nm, f.pub.p. [sm1805[nm. Orig. called[cf2] Bonaparte[cf1], ~this
title being erased by Beethoven on hearing ~that Napoleon had proclaimed himself
 emperor. ~On publication it bore the title[cf2] Sinfonia Eroica, ~composta per
festeggiare il Sovvenire di un grand ~Uomo[cf1] (Heroic Symphony, composed to ce
lebrate ~the memory of a great man). Finale is set of ~variations on theme taken
 from Beethoven's ~ballet[cf2] Die Gesch;auopfe des [fy45,1]*[fy75,2]Prometheus[
cf1] ([sm1801[nm).[cm~Eroica Variations.[fy75,1] Title given (not by Beet~~[chho
ven) to his Pf. Variations in E;Yh major, Op.|[sm35[nm, ~comp. [sm1802[nm, based
 on theme from his ballet[cf2] Die ~Gesch;auopfe des [fy45,1]*[fy75,2]Prometheus
[cf1], [sm1801[nm, also used in ~[fy45,1]*[fy75,1]Eroica Sym. Sometimes known as
 [cf2]Prometheus ~Variations[cf1]. Theme is used again for No.|[
sm7[nm of [sm12[nm[cf2] ~Kontret;auanze[cf1] for orch., WoO|[sm14[nm, pubd. [sm1
803[nm.[cm~Erotikon[fy75,1] (Gr.). Love-song.[cm~Erst, erste[fy75,1] (Ger.). Fir
st.[cm~Ersterbend[fy75,1] (Ger.). Dying away.[cm~Erste Walpurgisnacht, Die[fy75,
1] (The First Walpurgis ~Night). Mus. by Mendelssohn, Op.|[sm60[nm (comp. ~[sm18
31[nm, rev. [sm1842[nm) to Goethe's ballad, for soloists, ~ch., and orch. Walpur
gis Night is spring fest. ~when witches ride to the Brocken in Harz ~Mountains.[
cm~Erwartung[fy75,1] (Expectation, Suspense). Monodrama ~in [sm1[nm act by Schoe
nberg, Op.|[sm17[nm, to lib. by Marie ~Pappenheim, for sop. and orch. Comp. [sm1
909[nm. ~Prod. Prague [sm1924[nm (cond. Zemlinsky), London ~and Washington D.C.
[sm1960[nm (but Schoenberg ~cond. a BBC concert perf. in London [sm1931[nm).[cm~
Erweitert[fy75,1] (Ger.). Widened, broadened (i.e. slower ~and with steadiness).
[cm~Erz;auahler[fy75,1] (Ger., `narrator'=+). ([sm1[nm) The Evangelist in ~setti
ngs of the Passion.[ep~^([sm2[nm) Soft organ-stop of [sm8[nm;Po
length and pitch, ~invented by Skinner of Boston, Mass., giving ~octave above th
e fundamental.[cm~Es[fy75,1] (Ger.). The note E;Yh.[cm~Escales[fy75,1] (Ports of
 call). Orch. suite by Ibert, comp. ~[sm1922[nm. The [sm3[nm ports are said to b
e Palermo, Tunis, ~and Valencia.[cm~Eschenbach, Christoph[fy75,1] ([cf2]b[cf1] B
reslau, [sm1940[nm). Ger. ~pianist and cond. Studied Musikhochschule, ~Cologne a
nd Hamburg. World-wide tours as ~conc. soloist and recitalist. London d;aaebut [
sm1966[nm. ~Gave f.p. of Henze's [sm2[nmnd pf. conc. (Bielefeld, ~[sm1968[nm). D
;aaebut as cond. [sm1973[nm. Cond. Tonhalle ~Orch., Z;auurich, from [sm1982[nm.
CG d;aaebut [sm1984[nm ([cf2]Cos;agi ~fan tutte[cf1]).[cm~Escher, Rudolf George[
fy75,1] ([cf2]b[cf1] Amsterdam, [sm1912[nm; [cf2]d[cf1] ~DeKoos, [sm1980[nm). Du
tch composer. Studied Rotter~~dam [sm1934[nm=n[sm7[nm (comp. with [fy45,1]*[fy75
,1]Pijper). In [sm1960[nm=n[sm1[nm ~worked in Delft studio for elec. mus. and si
milar ~studio at Utrecht State Univ. Writer on Ravel and ~Debuss
y. Comps. incl.[cf2] Le Tombeau de Ravel[cf1] ([sm1952[nm), ~[sm2[nm syms.,[cf2]
 Summer Rites at Noon[cf1] for [sm2[nm orchs. facing ~each other ([sm1962[nm=n[s
m9[nm), Owen's [cf2]Strange Meeting[cf1], bar. ~and pf. ([sm1952[nm).[cm~Esclarm
onde.[fy75,1] Opera ([cf2]op;aaera romanesque[cf1]) in [sm4[nm acts ~and prol. b
y Massenet to lib. by Alfred Blau and ~Louis de Gramont based on medieval romanc
e[cf2] ~Parthenopoeus[cf1]. Comp. for Amer. sop. Sibyl San~~[PN233,0,0,R,I0][chd
erson, who first sang title-role. Prod. Paris [sm1889[nm, ~New Orleans [sm1893[n
m, CG [sm1983[nm.[cm~Escobar, Luis Antonio[fy75,1] ([cf2]b[cf1] Villapinz;aaon,
Colom~~bia, [sm1925[nm). Colombian composer and diplomat. ~Studied Nat. Univ. of
 Colombia [sm1944[nm=n[sm7[nm, Peabody ~Cons., Baltimore, with N. Nabokov [sm194
7[nm=n[sm50[nm, and ~in Salzburg and Berlin [sm1951[nm=n[sm3[nm with [fy45,1]*[f
y75,1]Blacher. ~Teacher of comp. etc. at Cons. of Colombia Nat. ~Univ. [sm1954[n
m=n[sm7[nm. Founded Colombia Phil. [sm1966[nm. ~Dir., cultural d
iv., Ministry of Nat. Education ~[sm1960[nm=n[sm3[nm, [sm2[nmnd Secretary, Colom
bian Embassy, ~Bonn, [sm1967[nm=n[sm70[nm. Works incl. [sm5[nm pf. sonatinas, sy
m., ~pf. conc., ballet[cf2] Avirama[cf1],[cf2] C;aaanticas de cantas ~colombiana
s[cf1] for ch. and orch.,[cf2] Juramento a Bolivar[cf1] ~(symphonic poem), [sm2[
nm str. qts., etc.[cm~Escobar, Pedro de[fy75,1] ([cf2]b[cf1] Oporto, [cf2]c.[cf1
][sm1465[nm; [cf2]d[cf1] ?Evora, ~after [sm1535[nm). Portuguese composer of sacr
ed and ~secular mus. Maestro di cappella, Seville [sm1507[nm=n~[sm14[nm. Renowne
d contrapuntist.[cm~Eses[fy75,1] (Ger.). The note E;Yh;Yh.[cm~Eshpay, Andrey [fy
75,1](Yakovlevich) ([cf2]b[cf1] Kozmode~~myansk, [sm1925[nm). Russ. composer and
 pianist. ~Studied Moscow Cons. [sm1948[nm=n[sm56[nm (pf. with Sofran~~itsky, co
mp. with Myaskovsky and Khachatu~~rian). Taught comp. Moscow Cons. [sm1963[nm=n[
sm70[nm. ~Works incl. [sm3[nm syms.,[cf2] Concerto for Orch[cf1]., pf. conc., ~v
n. conc., [sm2[nm vn. sonatas, film mus., etc.[cm~Eskdale, Georg
e [fy75,1]([cf2]b[cf1] Tynemouth, [sm1897[nm;[cf2] d[cf1] London, ~[sm1960[nm).
Eng. trumpeter. Trained [fy45,1]*[fy75,1]Kneller Hall. ~Then in chief London orc
hs. (LSO from [sm1932[nm) ~and on staff RAM from [sm1938[nm.[cm~Es moll[fy75,1]
(Ger.). The key of E;Yh minor.[cm~Espagne[fy75,1] (Fr.). Spain.[fy65][cf3] Espag
nol, espagnole[fy75,1] (Fr.), ~[fy65][cf3]Espagn(u)olo, espagn(u)ola[fy75,1] (It
.). Spanish. Used ~in titles of works such as[cf2] Rapsodie espagnole[cf1] ~(Rav
el),[cf2] Symphonie espagnole[cf1] (Lalo).[cm~Espa;atna[fy75,1] (Spain). Orch. r
hapsody by [fy45,1]*[fy75,1]Chabrier, ~f.p. [sm1883[nm, in which Sp. tunes and r
hythms are ~quoted. He visited Sp. [sm1882[nm=n[sm3[nm.[cm~Espansiva, Sinfonia[f
y75,1] (Expansive Symphony). ~Title of [fy45,1]*[fy75,1]Nielsen's [sm3[nmrd sym.
, Op.|[sm27[nm, comp. [sm1910[nm=n~[sm11[nm, f.p. Copenhagen [sm1912[nm. F. Brit
. p., London ~[sm1962[nm.[cm~Espl;aaa, Oscar[fy75,1] ([cf2]b[cf1] Alicante, [sm1
886[nm; [cf2]d[cf1] Madrid, [sm1976[nm). ~Sp. composer, mainly s
elf-taught, being trained ~as engineer. Won competition in Vienna [sm1911[nm, ~t
hen devoted himself to comp. Mus. influenced ~by (but does not directly quote) S
p. folk-tunes, ~using `Levantine' scale of his own devising. Dir., ~Madrid Cons.
 [sm1936[nm=n[sm9[nm, Espl;aaa Cons., Alicante, from ~[sm1958[nm. Comp. operas,
ballet, symphonic poems, ~choral works, chamber mus.[cm~Esposito, Michele[fy75,1
] ([cf2]b[cf1] Castellammare, Naples, ~[sm1855[nm; [cf2]d[cf1] Florence, [sm1929
[nm). It. composer and pianist. ~Studied Naples Cons., then lived in Paris [sm18
78[nm=n~[sm82[nm. In [sm1882[nm became prof. of pf., Royal Irish Acad. ~of Mus.,
 Dublin. Founded and cond. Dublin ~Orch. Soc. [sm1899[nm. Hon.D.Mus., Dublin, [s
m1917[nm. ~Works incl. operetta[cf2] The Postbag[cf1] ([sm1902[nm), cantata[cf2]
 ~Deirdre[cf1] ([sm1897[nm),[cf2] Irish Symphony[cf1] ([sm1902[nm), str. qt., vc
. ~sonata, etc. Mentor of Hamilton [fy45,1]*[fy75,1]Harty.[cm~Espressione[fy75,1
] (It.). Expression. [fy65][cf3]Espressivo.[fy75,1] Ex~~pressive
ly.[cm~Esquisse[fy75,1] (Fr.). [fy45,1]*[fy75,1]Sketch.[cm~Esquivel, Barahona Ju
an de[fy75,1] ([cf2]b[cf1] Ciudad Rodrigo, ~[cf2]c[cf1].[sm1563[nm; [cf2]d[cf1]
Ciudad Rodrigo, after [sm1613[nm). Sp. ~composer and church musician. Choirmaste
r, ~Ciudad Rodrigo Cath. [sm1608[nm=n[sm13[nm. Ranked by some ~as equal of Victo
ria.[cm~Esraj.[fy75,1] Indian mus. instr. played with a bow and ~having [sm4[nm
melodic str. and [sm10[nm to [sm15[nm sympathetic ~understr. Tone like a vn. but
 with more resonance. ~Fingerboard has [sm20[nm movable frets.[cm~Essential Note
.[fy75,1] An actual note of a chord, as ~distinct from a passing note, suspensio
n, appog~~giatura, etc. These latter are `Unessential Notes'.[cm~Esser, Karl Mic
hael von[fy75,1] ([cf2]b[cf1] Aix-la-Chapelle,[cf2] ~c[cf1].[sm1736[nm; [cf2]d c
[cf1].[sm1783[nm). Ger. composer, violist, and ~player of viola d'amore. Wrote [
sm12[nm syms., viola ~d'amore conc., vn. duets.[cm~Essex, Kenneth[fy75,1] ([cf2]
b[cf1] Hinckley, Leics., [sm1920[nm). Eng. ~violist. Studied RAM
. Prin. violist with several ~chamber orchs. Extra va. in quintets with ~[fy45,1
]*[fy75,1]Amadeus and other str. qts.[cm~Esswood, Paul [fy75,1](Lawrence Vincent
) ([cf2]b[cf1] West ~Bridgford, [sm1942[nm). Eng. counterten. Studied RCM. ~Lay
vicar, Westminster Abbey choir [sm1964[nm=n[sm71[nm. ~D;aaebut [sm1965[nm ([cf2]
Messiah[cf1]). Opera d;aaebut [sm1968[nm (Berke~~ley, Calif.). Founder of Pro Ca
ntione Antiqua ~singers.[cm~Estampes[fy75,1] (Engravings). [sm3[nm pieces for pf
. by ~Debussy comp. [sm1903[nm. Movements are[cf2] Pagodes[cf1] ~(Pagodas),[cf2]
 Soir;aaee dans Grenade[cf1] (Evening in Gran~~ada) and[cf2] Jardins sous la plu
ie[cf1] (Gardens in the rain). ~F.p. as complete set Paris [sm1904[nm. No.|[sm1[
nm orch. Caplet, ~No.|[sm2[nm orch. B;auusser.[cm~Estampie[fy75,1] (Fr.),[fy65][
cf3] Estampida[fy75,1] (Proven;alcal). Type of ~troubadour tune for dancing, som
etimes with ~words, in form of a [fy45,1]*[fy75,1]rondeau.[cm~Esterh;aaaza.[fy75
,1] A castle on the S. side of the ~Neusiedlersee in Austria (no
w Hungary) which ~was opened in [sm1766[nm as a seat of the Esterh;aaazy ~family
. It stood in marshy country and was very ~isolated, but it contained an opera h
ouse and a ~marionette th. Scene of f.ps. of many works by ~Josef Haydn, who was
 engaged in [sm1761[nm by Prince ~Paul Anton Esterh;aaazy ([sm1711[nm=n[sm62[nm)
 and became ~Kapellmeister in [sm1766[nm under his successor Prince ~Nicolaus ([
sm1714[nm=n[sm90[nm).[cm~Esther.[fy75,1] Oratorio by Handel to text by S. ~Humph
reys after Racine. F.p. as masque[cf2] Haman ~and Mordecai[cf1], [sm1720[nm, at
Cannons but expanded ~into concert oratorio [sm1732[nm. [sm1[nmst Eng. oratorio.
[cm~[PN234,0,0,L,I0]Estinguendo[fy75,1] (It.). Extinguishing, i.e. dying ~away.[
cm~Estinto[fy75,1] (It.). Extinct. As soft as possible.[cm~Estrada, Carlos[fy75,
1] ([cf2]b[cf1] Montevideo, [sm1909[nm;[cf2] d[cf1] Monte~~video, [sm1970[nm). U
ruguayan composer and cond. ~Studied in Montevideo and at Paris Cons. (comp. ~wi
th Roger-Ducasse and B;auusser, cond. with Wolff ~and Paray). Fo
unded Montevideo S.O. [sm1959[nm. ~Taught harmony Montevideo Univ. [sm1950[nm=n[
sm6[nm. ~Works incl. oratorio[cf2] Daniel[cf1] ([sm1942[nm), [sm2[nm syms. ([sm1
951[nm, ~[sm1967[nm), mus. drama[cf2] L'Annonce faite ;aga Marie[cf1] ([sm1943[n
m), ~and many shorter pieces.[cm~Estribillo[fy75,1] (Sp.). A choral movement at
the ~beginning or end of a [fy45,1]*[fy75,2]Villancico[cf1].[cm~Estro armonico,
L'[fy75,1] (Harmonious Inspiration). ~Title of Vivaldi's Op.|[sm3[nm, [sm12[nm c
oncs. for various ~instrs., pubd. Amsterdam [sm1711[nm, [sm6[nm of which were ~t
ranscr. by J. S. Bach. Comprised conc. in D for [sm4[nm ~vn. (RV[sm549[nm), in G
 minor for [sm2[nm vn. and vc. ~(RV[sm578[nm), in G for vn. (Bach BWV[sm978[nm,
RV[sm310[nm), in ~E minor for [sm4[nm vn. (RV[sm550[nm), in A for [sm2[nm vn. ~(
RV[sm519[nm), in A minor for vn. (RV[sm356[nm), in F for [sm4[nm ~vn. and vc. (R
V[sm567[nm), in A minor for [sm2[nm vn. (Bach ~BWV[sm593[nm, RV[sm522[nm), in D
for vn. (Bach BWV[sm972[nm, ~RV[sm230[nm), in B minor for [sm4[n
m vn. and vc. (Bach ~BWV[sm1065[nm, RV[sm580[nm), in D minor for [sm2[nm vn. and
 vc. ~(Bach BWV[sm596[nm, RV[sm565[nm), in E for vn. (Bach ~BWV[sm976[nm, RV[sm2
65[nm).[cm~Eternal Father, Strong to Save.[fy75,1] Hymn, words ~by William Whiti
ng ([sm1825[nm=n[sm78[nm), written in [sm1860[nm ~and pubd. in[cf2] Anglican Hym
n Book[cf1] ([sm1868[nm) in orig. ~version beginning `O thou who bidd'st the oce
an ~deep'. Revs. appeared in [cf2]Hymns Ancient and Modern[cf1] ~[sm1861[nm and
appendix to[cf2] Psalms and Hymns[cf1] [sm1869[nm. ~Known as `the Navy's hymn'.
Tune by J. B. ~[fy45,1]*[fy75,1]Dykes.[cm~Et Exspecto Resurrectionem Mortuorum[f
y75,1] (And ~I look forward to the resurrection of the dead). ~Orch. work by [fy
45,1]*[fy75,1]Messiaen for woodwind, brass, ~metal perc. Comp. [sm1964[nm. Commi
ssioned by ~French Govt. and ded. to memory of dead of two ~World Wars. F.p. Sai
nte-Chapelle, Paris, [sm1965[nm, ~cond. Baudo, later in Chartres Cath. in presen
ce ~of Gen. de Gaulle.[cm~Et incarnatus est.[fy75,1] See[cf2] Ma
ss[cf1].[cm~Et in Spiritum Sanctum.[fy75,1] See[cf2] Mass[cf1].[cm~Et in unum Do
minum.[fy75,1] See[cf2] Mass[cf1].[cm~Etler, Alvin[fy75,1] ([cf2]b[cf1] Battle C
reek, Iowa, [sm1913[nm; [cf2]d[cf1] ~Northampton, Mass., [sm1973[nm). Amer. comp
oser and ~oboist. Studied Cleveland Institute of Mus. [sm1931[nm=n~[sm6[nm and Y
ale Univ. Sch. of Mus. [sm1942[nm=n[sm4[nm (with ~Hindemith). Oboist, Indianapol
is S.O. [sm1938[nm=n[sm40[nm. ~Held various teaching posts. From [sm1968[nm chai
r~~man, Hampshire Coll. elec. workshop. Works ~incl. sym., [sm2[nm str. qts., [s
m2[nm wind quintets, conc. for ~orch., conc. for vn. and wind quintet, conc. for
 ~wind quintet and orch., brass quintet, conc. for ~str. qt. and orch., etc.[cm~
;aaEtoile du Nord, L'[fy75,1] (The North Star). [sm3[nm-act opera ~by Meyerbeer
to lib. by Scribe. Prod. Paris [sm1854[nm, ~London [sm1855[nm, New Orleans [sm18
55[nm. Incorporated [sm6[nm ~items from Meyerbeer's opera[cf2] Ein Feldlager in
~Schlesien[cf1] ([sm1844[nm, rev. as [cf2]Vielka[cf1], [sm1847[n
m).[cm~Eton College Manuscript[fy75,1] (Eton Choir Book). A ~book of choral mus.
 at Eton College, dating from ~between [sm1490[nm and [sm1504[nm.[cm~;aaEtouffer
[fy75,1] (Fr., imperative[cf2] ;aaetouffez[cf1]; past participle[cf2] ~;aaetouff
;aae[cf1]). To stifle, i.e. to damp, e.g. with vn. mute, ~pf. pedal, etc.[cf2] ;
aaEtouffoir[cf1], damper (pf. pedal).[cm~Et resurrexit.[fy75,1] See[cf2] Mass[cf
1].[cm~;aaEtude[fy75,1] (Fr.). Study. Comp. intended as a basis for ~the improve
ment of the performer's technique. ~In pf. mus. the term is especially applied t
o a ~short piece restricted to the exploitation of one ~kind of passage. Masterp
ieces of this kind suitable ~for public perf. as well as private practice were ~
written by Chopin and Debussy.[cm~;aaEtudes d'ex;aaecution transcendante[fy75,1]
 (Fr., `Tran~~scendental Studies'). [sm12[nm pieces for solo pf. by Liszt, ~comp
. [sm1851[nm and based on his [cf2][sm24[nm Grandes ;aaEtudes[cf1] ~of [sm1837[n
m and [cf2]Mazeppa[cf1] of [sm1840[nm. The titles are [sm1[nm, ~
[cf2]Preludio[cf1], [sm2[nm, in A minor, [sm3[nm, [cf2]Paysage,[cf1] [sm4[nm, [c
f2]Mazeppa[cf1], [sm5[nm, ~[cf2]Feux follets[cf1], [sm6[nm, [cf2]Vision[cf1], [s
m7[nm, [cf2]Eroica[cf1], [sm8[nm, [cf2]Wilde Jagd[cf1], [sm9[nm, ~[cf2]Ricordanz
a[cf1], [sm10[nm, in F minor, [sm11[nm, [cf2]Harmonies du soir[cf1], ~[sm12[nm,
[cf2]Chasse-neige.[cm~;aaEtudes d'ex;aaecution transcendante d'apr;ages Pa~~gani
ni[fy75,1] (Transcendental Studies after Paganini). ~Transcr. for pf. by Liszt,
[sm1838[nm, of [sm6[nm of [fy45,1]*[fy75,1]Paganini's ~vn. caprices, incl.[cf2]
La [fy45,1]*[fy75,2]Campanella[cf1]. Rev. and re-~issued [sm1851[nm as[cf2] Gran
des ;aaEtudes de Paganini[cf1].[cm~;aaEtudes symphoniques[fy75,1] (Symphonic Stu
dies). ~Schumann's Op.|[sm13[nm for pf. solo with orig. title ~[cf2]Etuden im Or
chester-Charakter von Florestan und ~Eusebius[cf1], comp. [sm1834=n7[nm, rev. [s
m1852[nm, first pubd. ~[sm1837[nm, ded. to  Sterndale [fy45,1]*[fy75,1]Bennett.
The first version ~contained [sm12[nm studies; in [sm1852[nm, Sc
humann omitted ~Nos. [sm2[nm and [sm9[nm and rewrote finale. Wieck's [sm1862[nm
~edn. restored Nos. [sm2[nm and [sm9[nm. [sm5[nm further variations, ~orig. supp
ressed, have since been discovered and ~are included in some perfs.[cm~Etwas[fy7
5,1] (Ger.). Some, something, somewhat.[cm~Eugene Onegin[fy75,1] (Evgeny Onyegin
). [sm3[nm-act opera[fjby Tchaikovsky to lib. by composer and K. S. ~Shilovsky b
ased on Pushkin's poem ([sm1831[nm). Comp. ~[sm1877[nm=n[sm8[nm. Prod. Moscow [s
m1879[nm, London [sm1892[nm, NY ~Met. [sm1920[nm (but concert perf. NY [sm1908[n
m).[cm~Eulenburg, Ernst[fy75,1] ([cf2]b[cf1] Berlin, [sm1847[nm;[cf2] d[cf1] Lei
pzig, ~[sm1926[nm). Ger. mus. publisher. Studied Leipzig Cons. ~Founded firm in
Leipzig [sm1874[nm, taking over in ~[sm1892[nm the series of miniature scores,[c
f2] Kleine Partitur-~Ausgabe[cf1], pubd. by Albert [fy45,1]*[fy75,1]Payne, and l
ater ~Donajowski's edition.[cm~Eulenburg, Kurt[fy75,1] ([cf2]b[cf1] Berlin, [sm1
879[nm; [cf2]d[cf1] London, ~[sm1982[nm). Son of E. [fy45,1]*[fy
75,1]Eulenburg. Succeeded as head ~of firm [sm1926[nm, enlarging no. of miniatur
e scores ~[PN235,0,0,R,I0]and publishing scholarly edns. by [fy45,1]*[fy75,1]Blu
me, ~[fy45,1]*[fy75,1]Einstein, and others. Went to Switzerland [sm1939[nm. ~Ope
ned new London co. [sm1939[nm, with branch in ~Z;auurich. Settled in London [sm1
945[nm. Edn. acquired ~by [fy45,1]*[fy75,1]Schott [sm1957[nm, but retained ident
ity. On ~Eulenburg's retirement in [sm1969[nm, Roger Fiske was ~ed. [sm1969[nm=n
[sm76[nm, succeeded by Philip Cranmer.[cm~Eulenspiegel, Till [fy75,1](Strauss).
See [cf2]Till Eulenspiegel.[cm~Euphonium.[fy75,1] ([sm1[nm) Member of the tuba f
amily of ~brass instrs., being a tenor tuba in B;Yh. Mainly ~used in brass and m
ilitary bands, many solos for ~eupho[chnium having been written.[ep~^([sm2[nm) I
nstr. invented by Chladni in [sm1790[nm, made of ~glass plates and rods and with
 a pleasant but soft ~tone.[cm~Eurhythmics.[fy75,1] Method invented by [fy45,1]*
[fy75,1]Jaques-~Dalcroze for expressing rhythmical aspect of mus
. ~through gymnastic exercises.[cm~Euryanthe.[fy75,1] [sm3[nm-act opera by Weber
 to lib. by ~Helmina von Ch;aaezy after [sm13[nmth-cent. Fr. romance. ~Comp. [sm
1822=n3[nm. Prod. Vienna [sm1823[nm, London [sm1833[nm, ~NY Met. [sm1887[nm. Bec
ause of weaknesses of lib. ~various attempts have been made to renovate[cf2] ~Eu
ryanthe[cf1], but it is best perf. as Weber left it, ~flaws and all.[cm~Evans, D
avid [fy75,1](Emlyn) ([cf2]b[cf1] Newcastle Emlyn, ~Wales, [sm1843[nm; [cf2]d[cf
1] London, [sm1913[nm). Welsh composer. ~Pubd. [sm2[nm-vol. coll. of [sm500[nm W
elsh airs ([sm1896[nm), ~dictionary of Welsh musicians ([sm1887[nm), and comp. ~
anthems, cantatas, and part-songs.[cm~Evans, Edwin[fy75,1] ([cf2]b[cf1] London,
[sm1871[nm;[cf2] d[cf1] London, ~[sm1945[nm). Eng. critic. Educated Lille and Lu
xem~~bourg. Musically self-educated except for lessons ~from his father (also a
writer on mus. and ~translater of Wagner's[cf2] Opera and Drama[cf1]). Took ~up
financial journalism, but turned to mus. [sm1901[nm ~and became
expert on Russ. composers. Cham~~pion of Debussy and young Eng. composers. ~Crit
ic,[cf2] Pall Mall Gazette[cf1] [sm1914[nm=n[sm23[nm. Worked with ~Ballets Russe
s. Critic,[cf2] Daily Mail[cf1] from [sm1933[nm. ~Wrote biography of Tchaikovsky
, many essays, ~transls. of[cf2] Louise[cf1] and[cf2] Pell;aaeas et M;aaelisande
[cf1]. Succeeded ~[fy45,1]*[fy75,1]Dent as president of ISCM, [sm1938[nm.[cm~Eva
ns, [fy75,1](Sir) [fy65][cf3]Geraint [fy75,1](Llewellyn) ([cf2]b[cf1] Pontypridd
, ~[sm1922[nm). Welsh bar. and opera producer. Studied ~GSM and in Hamburg and G
eneva. D;aaebut CG ~[sm1948[nm, becoming one of leading int. bars., his best ~ro
les incl. Falstaff, Figaro, Papageno, Wozzeck, ~Beckmesser, and Leporello. Glynd
ebourne [sm1950[nm=n~[sm61[nm. D;aaebut San Francisco [sm1959[nm, Milan [sm1960[
nm, ~Vienna [sm1961[nm, Salzburg [sm1962[nm. C.B.E. [sm1959[nm. ~Knighted [sm197
1[nm. Last opera perf. CG [sm4[nm June [sm1984[nm ~(Dulcamara in [cf2]L'Elisir d
'Amore[cf1]).[cm~Evans, Nancy[fy75,1] ([cf2]b[cf1] Liverpool, [s
m1915[nm). Eng. mez. ~Studied with Maggie [fy45,1]*[fy75,1]Teyte and John Tobin.
 ~D;aaebut Liverpool [sm1933[nm, London [sm1934[nm. Alternated ~with Kathleen Fe
rrier as Lucretia in first prod. of ~Britten's[cf2] The Rape of Lucretia[cf1], G
lyndebourne [sm1946[nm. ~Created role of Nancy in Britten's[cf2] Albert Herring[
cf1] ~[sm1947[nm. Also notable concert career.[cm~Evans, Peter [fy75,1](Angus) (
[cf2]b[cf1] West Hartlepool, [sm1929[nm). ~Eng. teacher and musicologist. D.Mus.
, Univ. of ~Durham. Mus. master, Bishop Wordsworth's ~Sch., Salisbury, [sm1951[n
m=n[sm2[nm; lecturer, Durham Univ. ~[sm1953[nm=n[sm61[nm; prof. of mus., Southam
pton Univ. since ~[sm1961[nm. Cond., Southampton Phil. Soc. Author of ~[cf2]The
Music of Benjamin Britten[cf1] ([sm1979[nm).[cm~Evening Hymn.[fy75,1] Song by Pu
rcell to words by ~Fuller, [sm1688[nm, beginning `Now that the sun hath ~veiled
his light'. Arr. for v. and str. by Vaughan ~Williams [sm1912[nm.[cm~Evenings in
 the Orchestra[fy75,1] ([cf2]Les Soir;aaees de ~l'orchestre[cf1]
). Entertaining and instructive coll. of ~criticisms and essays by Berlioz, pubd
. in Paris in ~[sm1853[nm and in Eng. trans. by Jacques [fy45,1]*[fy75,1]Barzun,
 ~[sm1956[nm.[cm~Eventail de Jeanne, L'[fy75,1] (Jeanne's Fan). Ballet in ~[sm10
[nm nos. choreog. Y. Franck and A. Bourgat, ~commissioned in [sm1927[nm for her
Paris ballet school ~by Jeanne Dubost, who gave the [sm10[nm leaves of her ~fan
to [sm10[nm composers, asking each to compose a ~no. Those participating were Ra
vel, Ferroud, ~Ibert, Roland-Manuel, Delannoy, Roussel, Mil~~haud, Poulenc, Schm
itt, and Auric. Ravel's [sm1[nm-~minute[cf2] Fanfare[cf1] is marked [cf2]Wagnera
mente[cf1].[cm~Eventyr[fy75,1] (Once Upon a Time). Ballad for orch. by ~Delius a
fter Asbj;auornsen's fairy tales. Comp. [sm1917[nm, ~f.p. [sm1919[nm cond. Wood.
[cm~Everyman.[fy75,1] ([sm1[nm) Oratorio by Walford [fy45,1]*[fy75,1]Davies ~bas
ed on medieval mystery play, Leeds [sm1904[nm.[ep~^([sm2[nm) Incidental mus. for
 small orch. by Sibelius, ~[sm1916[nm, for prod. of Hofmannsthal
's version of[cf2] ~Everyman[cf1] ([cf2]Jedermann[cf1]).[ep~^([sm3[nm) [sm6[nm m
onologues for bar. or cont. and pf. or ~orch. from Hofmannsthal's[cf2] Jedermann
[cf1] by Frank ~[fy45,1]*[fy75,1]Martin, [sm1943[nm.[cm~Evirato[fy75,1] (It.). U
nmanned. [sm18[nmth-cent. type of male ~singer whose boy-sop. v. had been preser
ved by ~castration. Same as [fy45,1]*[fy75,2]Castrato[cf1].[cm~Evovae[fy75,1] or
[fy65][cf3] Euouae.[fy75,1] This `word' consists of the ~vowels of `seculorum, A
men', being the last words ~of the Gloria Patri (see[cf2] Doxologia[cf1]), and i
s used as a ~name for the cadential endings of the Gregorian ~Psalm tones. These
 letters are often placed under ~the notes of the plainsong as an abbreviation o
f ~the words they represent.[cm~Ewing, Maria [fy75,1]([cf2]b[cf1] Detroit, [sm19
50[nm). Amer. mez. ~Studied Cleveland Inst. of Mus., [sm1968=n70[nm, with ~Elean
or Steber and Jennie Tourel. Opera d;aaebut ~[sm1973[nm, Ravinia Fest. NY Met. d
;aaebut [sm1976[nm ~(Cherubino), La Scala, Milan, [sm1976[nm (M;
aaelisande), ~Glyndebourne [sm1978[nm (Dorabella).[cm~Excursions of Mr Brou;akce
k, The[fy75,1] ([cf2]V;aaylety pana ~Brou;akcka[cf1]). Opera in [sm2[nm parts by
 Jan;aaa;akcek. Lib. of Part ~[sm1[nm, [cf2]Mr Brou;akcek's Excursion to the Moo
n[cf1], adapted ~from satirical novel ([sm1887[nm) by S. ;akCech ([sm1846[nm=n~[
PN236,0,0,L,I0][sm1908[nm) by V. Dyk, K. Ma;aksek, Z. Janke, F. Gellner, ~J. Mah
en, and F. S. Proch;aaazka; Part [sm2[nm,[cf2] Mr Brou;akcek's ~Excursion to the
 XVth Century[cf1], adapted from S. ~;akCech's satirical novel ([sm1888[nm) by P
roch;aaazka. Comp. ~[sm1908[nm=n[sm17[nm. It is now believed that Jan;aaa;akcek
himself ~wrote large part of lib. of Part [sm1[nm. F.p. Prague ~[sm1920[nm; f.Br
it.p. Edinburgh, [sm1970[nm; London [sm1978[nm.[cm~Execution of Stepan Razin, Th
e[fy75,1] ([cf2]Kazn' Stepana ~Razina[cf1]). Cantata by Shostakovich, Op.|[sm119
[nm, to ~text by Yevtushenko, for bass, ch., and orch. ~Comp. [sm1964[nm, f.p. M
oscow [sm1964[nm.[cm~Exercise.[fy75,1] ([sm1[nm) An instr. passa
ge purely for technical ~practice and with little or no artistic interest.[ep~^(
[sm2[nm) In the [sm18[nmth cent., a kbd. suite such as D. ~Scarlatti's early son
atas, pubd. as[cf2] Esercizii[cf1].[ep~^([sm3[nm) Comp. submitted by candidates
for certain ~univ. mus. degrees.[cm~Expert, Henri[fy75,1] ([cf2]b[cf1] Bordeaux,
 [sm1863[nm;[cf2] d[cf1] Tourettes-~sur-Loup, [sm1952[nm). Fr. musicologist. Stu
died Paris ~and with [fy45,1]*[fy75,1]Franck. Joint founder, [sm1903[nm,[cf2] So
ci;aaet;aae ~d';aaEtudes Musicales[cf1]. Specialist in mus. of Fr. ~Renaissance
period, publishing [sm23[nm vols. and [sm5[nm ~subsidiary sections.[cm~Expositio
n.[fy75,1] ([sm1[nm) In sonata form, the first section ~of a comp. in which the
prin. themes are ~expounded before they are developed.[ep~^([sm2[nm) In fugue th
e first statement of the subject by ~all the `voices' in turn.[cm~Expression.[fy
75,1] That part of a composer's mus. such ~as subtle nuances of dynamics which h
e has no ~full means of committing to paper and must ~leave to t
he artistic perception and insight of the ~executant. All he can do is to indica
te speed and ~the kind of mood to be expressed by means of ~conventional mus. te
rms written on the score. A ~large part of the cond.'s art is the imparting of ~
expressive qualities to the perf.[cm~Expressionism.[fy75,1] Term borrowed from p
ainting, ~generally assoc. with work of the early [sm20[nmth-cent. ~Ger. artists
 of the Munich `Blaue Reiter' group ~led by Kandinsky. Prin. characteristics wer
e ~avoidance of representational forms and interest ~in psychological impulses.
These were musically ~reflected in works of Schoenberg, Webern, and ~Berg. But,
like [fy45,1]*[fy75,1]impressionism, the term is vague.[cm~Expression Stop.[fy75
,1] A stop in a harmonium or ~other reed org. When drawn, the passage of the ~ai
r is made to short-circuit the reservoir through ~which it otherwise passes, and
 this gives the feet ~great control over degrees of force and accent.[cm~Exsulta
te, Jubilate[fy75,1] (Rejoice, be glad). Motet by ~Mozart (K[sm1
65[nm) for sop., orch., and org., comp. ~[sm1773[nm. [sm3[nmrd movt. is famous s
etting of `Alleluia'. ~Orig. comp. for castrato Venanzio [fy45,1]*[fy75,1]Rauzzi
ni.[cm~Extemporization.[fy75,1] See[cf2] Improvisation[cf1].[cm~Extension Organ.
[fy75,1] Same as unit org., i.e. built on ~the principle of saving space and mon
ey by ~making a comparatively small no. of pipes ~produce something of the effec
t of a larger ~number by `borrowing'. The pipes of an [sm8[nm;Po stop ~may, for
example, be made to do duty also for a ~[sm4[nm;Po by a connexion which draws on
 them an octave ~higher throughout (as in cinema orgs.).[cm~Extravaganza[fy75,1]
 (from It. `stravaganza'=+). A mus. ~work which intentionally caricatures conven
~~tional procedures, such as Mozart's[cf2] Ein musikalische ~Spass[cf1] (A [fy45
,1]*[fy75,1]Musical Joke), and especially a [sm19[nmth-~cent. Eng. form of stage
 entertainment with mus.[cm~Eybler, Joseph Edler von[fy75,1] ([cf2]b[cf1] Schwec
hat, [sm1765[nm;[cf2] d[cf1] ~Vienna, [sm1846[nm). Austrian comp
oser. Pupil of ~[fy45,1]*[fy75,1]Albrechtsberger. Vice-Kapellmeister, Viennese ~
Imperial court, from [sm1804[nm until he succeeded ~Salieri in [sm1824[nm as Kap
ellmeister. Comp. opera, ~oratorio, masses, requiem, syms., pf. solos, and ~othe
r works. Friend of Mozart, whom he nursed ~in last illness. Asked by Mozart's wi
dow to ~complete the[cf2] Requiem[cf1] but did not finish the task.[cm~Eysler, E
dmund[fy75,1] ([cf2]b[cf1] Vienna, [sm1874[nm;[cf2] d[cf1] Vienna, ~[sm1949[nm).
 Austrian composer of operettas, incl.[cf2] ~Bruder Straubinger[cf1] ([sm1902[nm
),[cf2] K;auunstlerblut[cf1] ([sm1906[nm),[cf2] Das ~Zirkuskind[cf1] ([sm1911[nm
).[cm~Ezcudantza.[fy75,1] Basque fest. dance for [sm2[nm performers ~with acc. o
f pipe and tabor, and sometimes of v.[xm[cm~[j4]~[xp[te~



[do3][j99]~~~~~~153842_F001[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmF[sm001[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm24[nm/[sm9[nm/[sm79[nm[cm[sm3[
nm[cm[sm1[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ep~[ep~[ep~[PN237,0,0,R,I0][ap[j3]
~F[cm~~[j1]F. [fy75,1]Note of the scale, [sm4[nmth degree of natural scale of ~C
. Thus F;yh, F;yh;yh, F;yj, F;yi, F;yi;yi. Keys of F major and ~F minor, F;yi ma
jor, F;yi minor. `In F' is also an ~indication of [fy45,1]*[fy75,1]transposing i
nstr. on which written ~note C sounds as F (e.g. hn., F tpt.). The F clef is ~th
e bass clef.[cm~F. [fy75,1]Prefix given to numbers in the catalogue of ~Vivaldi'
s works by Antonio Fanna. Superseded by ~that of [fy45,1]*[fy75,1]Ryom.[cm~f.[fy
75,1] Abbreviation of [cf2]forte[cf1] (It., `loud', `strong'), hence ~degrees of
 increasing loudness, [cf2]ff[cf1] (fortissimo) and ~[cf2]fff[cf1] (sometimes mo
re).[cm~Fa.[fy75,1] The [sm4[nmth degree of the major scale, according ~to the s
ystem of vocal syllables derived from ~Guido d' Arezzo, and so u
sed (spelt [cf2]Fah[cf1]) in [fy45,1]*[fy75,1]Tonic ~Sol-fa (also in that system
 the [sm6[nmth degree of the ~minor scale; see [cf2]Tonic Sol-fa[cf1]). In many
countries, ~however, the name has become attached to the ~note F, in whatever ke
y this may occur.[cm~Faber, Heinrich[fy75,1] ([cf2]b[cf1] Lichtenfels; [cf2]d[cf
1] ;auOlsnitz, [sm1552[nm). ~Ger. mus. theorist, graduate of and prof. of mus. ~
at Wittenberg Univ. Author of Lat. compendium ~of mus. ([sm1548[nm) later trans.
 into Ger. by [fy45,1]*[fy75,1]Vulpius ~(Halle, [sm1608[nm).[cm~Faber Music. [fy
75,1]Mus. publishing branch of book ~publishers Faber & Faber; est. [sm1964[nm,
becoming ~separate co. [sm1966[nm. Catalogue incl. mus. by Britten, ~Holst, Arno
ld, G. Benjamin, R. Smalley etc.[cm~Fabritius, Albinus[fy75,1] ([cf2]b[cf1] G;au
orlitz; [cf2]d[cf1] ?Bruck an der ~Mur, [sm1635[nm). Ger. composer of motets, se
cular ~songs, and dances.[cm~Faburden[fy75,1] (Eng.),[fy65][cf3] Fauxbourdon[fy7
5,1] (Fr.), [fy65][cf3]Falsobor~~done[fy75,1] (It.). Literally,
false bass, or drone. This term ~has had a surprisingly large number of differen
t ~applications at different periods.[ep~^([sm1[nm)^In very early use, the acc.
in parallel [sm3[nmrds ~and [sm6[nmths of a plainsong melody.[ep~^([sm2[nm)^In [
sm15[nmth cent., any added part to such a ~plainsong melody, both parts moving a
t the same ~rate. Apparently used especially of such passages ~interpolated amon
g unison singing of the plain~~song, e.g. in the psalms.[ep~^([sm3[nm)^About the
 same period, also used of the ~same kind of liturgical singing as that mentione
d ~under ([sm2[nm), but without plainsong in any of the ~vv. (This is sometimes
spoken of as `free' Faburden ~as distinct from the previous type, spoken of as ~
`strict'.)[ep~^([sm4[nm)^A sort of chanting in which the whole of a ~phrase was
declaimed on one chord, except that ~the cadence was harmonized as such. (The sa
me ~mus. was used for every verse of a psalm, etc., as ~is done today with the A
nglican Chant.)[ep~^([sm5[nm)^Sometimes applied to a sort of mon
otoning.[ep~^([sm6[nm)^A drone bass, such as that of a bagpipe.[ep~^([sm7[nm)^In
 [sm16[nmth- and [sm17[nmth-cent. Eng. usage, some~~times applied to the ten. pa
rt of a metrical psalm ~tune, etc., which part then usually carried the ~melody.
[ep~^([sm8[nm)^A refrain to the verses of a song.[ep~^([sm9[nm)^Nowadays (as wit
h Descant) the word is used ~in Brit. for a freely-written sop. part added to a
~hymn tune while the tune itself is sung by the ~ten. vv. of the ch. or by the c
ongregation, or ~(more commonly in recent years) for a [sm4[nm-part ~harmonizati
on with the tune in the ten.=mthis ~last a revival of the old English practice.[
ep~^When this word is used in old mus. treatises or ~in the modern mus. historic
al works any of the ~above senses may be intended.[cm~Fa;Alcade.[fy75,1] `Entert
ainment' by [fy45,1]*[fy75,1]Walton, being acc. ~for small chamber ens. ([sm6[nm
 players) to poems by ~Edith Sitwell declaimed in notated rhythm by a ~speaker o
r speakers. Comp. [sm1921[nm, f.p. (private) ~[sm1922[nm, (publi
c) [sm1923[nm. This version has been several ~times rev. with many substitutions
 of items. Final ~pubd. version ([sm1951[nm) contains [sm21[nm items. [sm8[nm un
pubd. ~nos. perf. under title [cf2]Fa;Alcade Revived[cf1], London ~[sm1977[nm, [
sm3[nm of these were rejected before publication ~and [sm3[nm others (nos. [sm4[
nm, [sm6[nm, [sm7[nm) substituted by composer; ~rev. and re-worked version perf.
 [sm1979[nm as [cf2]Fa;Alcade ~II[cf1]. Prin. revs. of [cf2]Fa;Alcade I[cf1] [sm
1926[nm, [sm1928[nm, [sm1942[nm. Also ~arr. by composer for larger orch. (withou
t poems) ~as [sm2[nm Suites (No. [sm1[nm, of [sm5[nm items, f.p. London [sm1926[
nm; ~No. [sm2[nm, of [sm6[nm items, f.p. NY and London [sm1938[nm). Also ~arr. a
s ballet, with choreog. by Gunter Hess, f.p. ~Hagen, Westphalia, [sm1929[nm; wit
h choreog. by ~Frederick [fy45,1]*[fy75,1]Ashton f.p. London [sm1931[nm ([sm7[nm
 items), ~extra item [sm1935[nm, [sm2[nm further addns. [sm1940[nm; Ashton ~ball
et of work with reciter and chamber ens. f.p. ~Snape, Suffolk, a
nd London [sm1972[nm. Many arrs. by ~others of items from [cf2]Fa;Alcade[cf1] fo
r a variety of ~combinations.[cm~Faccio, Franco[fy75,1] ([cf2]b[cf1] Verona, [sm
1840[nm; [cf2]d[cf1] Monza, [sm1891[nm). ~It. cond. and composer. Studied Milan
Cons. ~[sm1856[nm=n[sm61[nm. Served in Garibaldi's army [sm1866[nm. Prof. ~of ha
rmony, Milan Cons. [sm1868[nm. Chief cond. Scala, ~Milan, from [sm1871[nm. Cond.
 f. It. p. of Verdi's [cf2]Aida[cf1] ~([sm1872[nm) and f.p. of [cf2]Otello[cf1]
([sm1887[nm). Cond. [sm1[nmst Wagner ~opera in It. ([cf2]Lohengrin[cf1], [sm1873
[nm) and [sm1[nmst London ~[cf2]Otello[cf1] ([sm1889[nm). Comp. operas [cf2]I pr
ofughi Fiamminghi ~[cf1](Milan [sm1863[nm), [cf2]Amleto[cf1] (lib. by [fy45,1]*[
fy75,1]Boito, Genoa [sm1865[nm), ~cantata [cf2]Le Sorelle d'Italia[cf1] (text by
 Boito, [sm1861[nm), [sm3[nm ~syms., str. qt., and songs.[cm~[PN238,0,0,L,I0]Fac
h[fy75,1] (Ger.). Fold, as in [cf2]Zweifach[cf1], twofold, [cf2]Dreifach[cf1], ~
threefold, etc. Most commonly used to indicate a ~division of, e
.g., the [sm1[nmst vns. of an orch., but there ~is an org. application indicatin
g the no. of ranks ~in a mixture stop; and in an operatic context it ~denotes th
e proper range of parts in Ger. operas.[cm~Fachiri, Adila [fy75,1]([cf2]n;aaee[c
f1] d'Ar;aaanyi) ([cf2]b[cf1] Budapest, [sm1886[nm; ~[cf2]d [cf1]Florence, [sm19
62[nm). Hung.-born violinist, sister of ~Jelly d'[fy45,1]*[fy75,1]Ar;aaanyi. Stu
died under [fy45,1]*[fy75,1]Hubay, Budapest ~Cons., and in Berlin [sm1905[nm=n[s
m7[nm with [fy45,1]*[fy75,1]Joachim (her ~great-uncle). Foreign tours with her s
ister. Eng. ~d;aaebut Haslemere [sm1909[nm. Settled and married in ~Eng., contin
uing to appear as orch. soloist and in ~chamber mus.[cm~Facile[fy75,1] (Fr.). Ea
sy. [fy65][cf3]Facilement[fy75,1] (Fr.), [fy65][cf3]Facilmente[fy75,1] ~(It.). E
asily, i.e. fluently and without an effect of ~striving.[cm~Facilit;aga[fy75,1]
(It. `facility'). ([sm1[nm) Ease, fluency.[ep~^([sm2[nm)^Simplification, as of a
 virtuoso solo passage ~brought within the range of less skilled
 perform~~ers.[cm~Fackeltanz[fy75,1] (Ger.). `Torch dance', more often a ~torchl
ight procession to mus. Spontini, Meyer~~beer, and others have comp. these dance
s, which ~were usually part of a wedding or similar ~celebration.[cm~Fado.[fy75,
1] A type of popular Portuguese song and ~dance with guitar acc., apparently dat
ing from ~[cf2]c[cf1].|[sm1850[nm.[cm~Fa fictum.[fy75,1] A term used in connexio
n with the ~[fy45,1]*[fy75,1]Hexachords=mthe note B flattened (in the Soft ~Hexa
chord).[cm~Fagan, Gideon[fy75,1] ([cf2]b[cf1] Somerset West, S. Africa, [sm1904[
nm; ~[cf2]d[cf1] Cape Town, [sm1980[nm). S. African cond. and ~composer. Studied
 S.A. Coll. of Mus. and RCM. ~Cond. BBC Northern Orch. [sm1939[nm=n[sm42[nm, Joh
annes~~burg Orch. [sm1949[nm=n[sm52[nm. Mus. dir. S. African ~Broadcasting Corp.
 [sm1963[nm=n[sm6[nm, lecturer Univ.of Cape ~Town [sm1967[nm=n[sm73[nm. Cond. se
veral London musicals. ~Comps. incl. [cf2]Afrikaans Folktune Suite[cf1].[cm~F.A.
G.O. [fy75,1]Fellow of the American Guild of ~Organists.[cm~Fago
tt[fy75,1] (Ger.), [fy65][cf3]fagotto [fy75,1](It.), [fy65][cf3]fagote[fy75,1] (
Sp.). ([sm1[nm) The ~[fy45,1]*[fy75,1]bassoon. The name derives from [cf2]fagott
o[cf1] (It., ~`bundle of sticks'), possibly applied jokingly to ~the [cf2]phagot
um, [cf1]a kind of bagpipe invented by ~Canon Afranio of Ferrara in [sm1521[nm.
In the [sm16[nmth ~cent. the word [cf2]fagotto[cf1] covered a range of instr., ~
such as the [fy45,1]*[fy75,1]curtal or [fy45,1]*[fy75,1]dulcian which are ~forer
unners of the modern bn.[ep~^([sm2[nm)^Organ stop, same as bn.[cm~Fah. [fy75,1]S
ee [cf2]Fa[cf1].[cm~Fair at Sorochinsk, The[fy75,1] (Mussorgsky). See ~[cf2]Soro
chintsy Fair[cf1].[cm~Fairfax, Bryan[fy75,1] (Lancelot Beresford) ([cf2]b [cf1]S
ydney, ~[sm1930[nm). Australian cond. and violinist. Studied ~N.S.W. Cons., Sydn
ey, then in London with ~Rostal. Violinist Hall;aae Orch. [sm1954[nm=n[sm6[nm. S
tudied ~cond. Vienna Acad. [sm1956[nm=n[sm7[nm (with Swarowsky). ~Founded Polyph
onia Orch. [sm1961[nm for perf. of new ~or rarely heard mus. Con
d. f.p. of Brian's [cf2]Gothic ~Symphony[cf1], [sm1961[nm, concert perf. of Brit
ten's [cf2]Gloriana[cf1], ~London [sm1963[nm (on night of composer's [sm50[nmth
~birthday), and f.Brit.pub.p. of Nielsen's [cf2]Sinfonia ~espansiva[cf1] ([sm196
2[nm).[cm~Fair Maid of Perth, The[fy75,1] (Bizet). See [cf2]Jolie Fille de ~Pert
h, La[cf1].[cm~Fairy Queen, The.[fy75,1] Semi-opera, but really a ~succession of
 masques, by Purcell in prol. and [sm5[nm ~acts, to lib. (by E. Settle?) based o
n Shakespeare's ~[cf2]A Midsummer Night's Dream[cf1] (which is not quoted). ~Pro
d. London [sm1692[nm, London [sm1911[nm (Morley Coll., ~cond. Holst), Cambridge
(stage) [sm1920[nm, San Francisco ~[sm1932[nm. Score was lost by [sm1700[nm but
found in library ~of RAM, [sm1901[nm. [sm1[nmst work staged at CG after World ~W
ar II.[cm~Fairy's Kiss, The[fy75,1] (Stravinsky). See [cf2]Baiser de la ~f;aaee,
|Le[cf1].[cm~Falkner,[fy75,1] (Sir) (Donald) [fy65][cf3]Keith [fy75,1]([cf2]b[cf
1] Sawston, Cambs., ~[sm1900[nm). Eng. bar. and administrator. T
rained at ~New Coll., Oxford, and RCM, also in Berlin, ~Paris, and Vienna. Sang
in opera (BNOC) but best ~known as oratorio soloist. On retirement became ~teach
er. Brit. Council mus. officer for It. [sm1946[nm=n~[sm50[nm; teacher at Cornell
 Univ. [sm1950[nm=n[sm60[nm; dir., RCM, ~[sm1960[nm=n[sm74[nm. Knighted [sm1967[
nm.[cm~Fall, Leo [fy75,1]([cf2]b[cf1] Olomouc, [sm1873[nm; [cf2]d[cf1] Vienna, [
sm1925[nm). ~Austrian composer. Studied Vienna Cons. Th. ~cond., Berlin, Hamburg
, and Cologne. Comp. [sm2[nm ~operas, but greatest success with operettas, e.g.
~[cf2]Der Rebell[cf1] ([sm1905[nm), [cf2]Der Fidele Bauer[cf1] ([sm1907[nm), [cf
2]Die ~[fy45,1]*[fy75,2]Dollarprinzessin[cf1] ([sm1907[nm), [cf2]Br;auuderlein f
ein[cf1] ([sm1909[nm), ~[cf2]The Eternal Waltz[cf1] (London [sm1911[nm), [cf2]Di
e Rose von ~Stamboul [cf1]([sm1916[nm) and [cf2]Madame Pompadour[cf1] ([sm1922[n
m).[cm~Falla, Manuel de[fy75,1] (Manuel Maria de Falla y ~Matheu) ([cf2]b[cf1] C
;aaadiz, [sm1876[nm; [cf2]d[cf1] Alta Gracia de C;aaordoba, ~Arg
entina, [sm1946[nm). Sp. composer and pianist. He ~was taught the pf. by his mot
her and harmony ~by [sm2[nm local musicians. In Madrid he continued pf. ~studies
 with Jos;aae Trag;aao, but his ambition was to ~be a composer and he wrote [sm2
[nm [fy45,1]*[fy75,1][cf2]zarzuelas[cf1], the first ~of which was prod. in [sm19
02[nm. Falla then studied ~comp. in Madrid for [sm3[nm years with [fy45,1]*[fy75
,1]Pedrell, who ~imparted the doctrine that a nation's mus. should ~be based on
folk-song. However, it was to the ~spirit rather than to the letter of Sp. folk-
mus. ~which Falla turned. In [sm1905[nm he won the Madrid ~Acad. of Fine Arts pr
ize for the best lyrical drama ~by a Sp. composer with his [sm2[nm-act opera [cf
2]La Vida ~Breve[cf1] (but it was not perf.). In the same year he ~won the Ortiz
 y Cusso prize for Sp. pianists. For ~[sm2[nm years he taught the pf. in Madrid
and in [sm1907[nm ~went to Paris, where he became the friend of and ~was greatly
 influenced by Dukas, Ravel, and ~Debussy. Ricardo [fy45,1]*[fy7
5,1]Vi;atnes played the [cf2][sm4[nm Spanish ~Pieces[cf1] for pf. in Paris in [s
m1908[nm, and Falla himself ~introduced them to London at his d;aaebut there in
~[PN239,0,0,R,I0][sm1911[nm. [cf2]La Vida Breve[cf1] was produced in Nice and ~P
aris in [sm1913[nm and in Madrid in [sm1914[nm. The ballet-~pantomine [cf2]El Am
or brujo[cf1] followed in [sm1915[nm. In ~[sm1916[nm he completed his most ambit
ious and ~successful concert work (begun in Paris [sm1909[nm), ~the [cf2]Noches
en los Jardines de Espa;Atna[cf1] (Nights in the ~Gardens of Spain) for pf. and
orch. Falla's fame ~was est., however, in [sm1919[nm by Diaghilev's prod. ~in Lo
ndon of the ballet [cf2]El Sombrero de Tres Picos[cf1] ~(Tricorne, or The [fy45,
1]*[fy75,1]Three-Cornered Hat). In [sm1919[nm ~Falla also completed his major wo
rk for solo pf., ~[cf2]Fantasia B;aaetica[cf1], dedicated to Arthur [fy45,1]*[fy
75,1]Rubinstein. ~B;aaetica was the Roman name (Baetica) for Anda~~lusia. After
World War I, Falla's style was less ~colourfully but no less inh
erently Sp.=mit is truer ~to say that the popular Andalusian folk element ~was s
ucceeded by a re-creation of the severer style ~of the early Sp. polyphonic mast
ers. From this ~period come the chamber opera (based on an ~incident in [cf2]Don
 Quixote[cf1]) [cf2]El Retablo de Maese Pedro[cf1] ~([fy45,1]*[fy75,1]Master Pet
er's Puppet Show), f.p. [sm1923[nm, and the ~hpd. conc. ([sm1926[nm) ded. to Wan
da [fy45,1]*[fy75,1]Landowska. In ~[sm1926[nm he began work on an enormous `scen
ic ~cantata [cf2]Atl;aaantida[cf1] which was left unfinished and ~was completed
by [fy45,1]*[fy75,1]Halffter. In [sm1939[nm, after cond. ~[sm4[nm concerts in Bu
enos Aires, he settled in Argentina. ~Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy7
5,2]La [fy45,1]*[fy75,2]Vida Breve[cf1] ([sm1904[nm=n[sm5[nm), [cf2]Fuego Fatuo[
cf1] ~(based on Chopin) ([sm1918[nm=n[sm19[nm), [cf2]El Retablo de Maese ~Pedro[
cf1] ([sm1919[nm=n[sm22[nm).[ep~[smballets[nm: [cf2]El [fy45,1]*[fy75,2]Amor Bru
jo[cf1] ([sm1915[nm), [cf2]El Sombrero de ~Tres Picos[cf1] ([sm1
917[nm=n[sm19[nm, being rev. version of [cf2]El ~Corregidor y la Molinera,[cf1]
[sm1917[nm).[ep~[smorch[nm: [fy45,1]*[fy75,2]Noches en los Jardines de Espa;atna
[cf1] ([sm1909[nm=n[sm16[nm) ~for pf. and orch., Suites Nos. [sm1[nm and [sm2[nm
 from [cf2]El ~Sombrero de Tres Picos[cf1].[ep~[smpiano[nm: [cf2]Cuatro Piezas E
spa;atnolas[cf1] ([sm4[nm Spanish Pieces), ~([sm1907[nm=n[sm8[nm); [fy45,1]*[fy7
5,2]Fantasia B;aaetica[cf1] ([sm1919[nm); [cf2]Homenajes[cf1] ~(Homages) [sm1[nm
. [cf2]Fanfare on the name of [fy45,1]*[fy75,2]Arb;aaos[cf1], [sm1933[nm, ~orch.
 [sm1938[nm; [sm2[nm. [cf2]A Claude Debussy (elegia de la ~guitarra)[cf1], also
for guitar as [cf2]Homenaje a Debussy[cf1], ~[sm1920[nm, orch. [sm1939[nm; [sm3[
nm. [cf2]Rapel de la Fanfare[cf1], [sm1941[nm; ~[sm4[nm. [cf2]A Paul Dukas (Spes
 Vitae)[cf1] [sm1935[nm, orch. [sm1939[nm; [sm5[nm. ~[cf2]Pedrelliana[cf1], [sm1
938[nm. [fy45,1]*[fy75,2]Ritual Fire Dance, Dance of ~Fear, Pantomime, R;aaecit
du P;Afecheur[cf1], arr. by Falla ~from ballet [cf2]El Amor Bruj
o[cf1]; Suite from [sm7[nm [cf2]Spanish ~Popular Songs[cf1], arr. by Falla; [cf2
]Dance of Miller's Wife ~[cf1]and [cf2]Miller's Dance[cf1], from [cf2]El Sombrer
o de Tres ~Picos[cf1], arr. Falla.[ep~[smchamber music[nm: [cf2]Psyche[cf1] for
mez., fl., harp, vn., va., ~vc. ([sm1924[nm); conc. for hpd. (or pf.), fl., ob.,
 cl., vn., ~and vc. ([sm1923[nm=n[sm6[nm).[ep~[smchoral and vocal[nm: [fy45,1]*[
fy75,2]Atl;aaantida[cf1], scenic cantata, ~unfinished (completed by Halffter); [
sm3[nm [cf2]Mel;aaodies[cf1], ~v. and pf. ([sm1909[nm); [cf2]Siete Canciones Pop
ulares ~Espa;atnolas [cf1]([sm7[nm Spanish Popular Songs) for v. and ~pf. ([sm19
14[nm=n[sm5[nm); [cf2]Soneto a C;aaordoba[cf1], v. and harp ~([sm1927[nm); [cf2]
Balada de Mallorca[cf1] (after Chopin), mixed ~ch. ([sm1933[nm).[ep~[smarrs. by
others[nm: [cf2]La Vida Breve[cf1]: [sm2[nm [cf2]Spanish Dances[cf1], ~pf. solo
and pf. duet, arr. Samazeuilh; [sm1[nmst [cf2]Spanish ~Dance[cf1], vn. and pf.,
arr. Kreisler; [sm2[nm [cf2]Spanish Dances[cf1], ~orch. Chapelie
r; [sm7[nm [cf2]Spanish Popular Songs[cf1], orch. ~by Halffter; Suite for vn. an
d pf. arr. P. ~Kochanski; for vc. and pf., arr. M. Mar;aaechal.[cm~[j1]Fallows,
David [fy75,1](Nicholas) ([cf2]b [cf1]Buxton, [sm1945[nm). Eng. ~musicologist. S
tudied Cambridge Univ. [sm1964=n7[nm, ~King's Coll., London, [sm1967=n8[nm, Univ
. of Calif. at ~Berkeley, [sm1970=n3[nm. Has held academic posts at ~Studio der
fr;auuhen Musik, Munich, [sm1968=n70[nm, ~Univ. of Wisconsin-Madison [sm1973=n4[
nm, and Man-[fj~chester Univ. from [sm1976[nm. Wrote on many ~medieval subjects
and on tempo and expression ~marks in [cf2]The New Grove Dictionary of Music & ~
Musicians [cf1]([sm1980[nm). Many articles on his special ~subjects. Writes mus.
 criticism for the [cf2]Guardian. ~[cf1]Author of [cf2]Dufay [cf1]([sm1982[nm).[
cm~[j1]False Accent.[fy75,1] When the accent is removed from ~[sm1[nmst beat of
a bar to [sm2[nmnd or [sm4[nmth.[cm~False Close. [fy75,1]See [cf2]Cadence[cf1].[
cm~False Relation.[fy75,1] In harmony, the appearance of a ~note
 with the same letter-name in different parts ~(or `voices') of contiguous or th
e same chords, in ~one case inflected (;yi or ;yh) and in the other ~uninflected
 (e.g. F;yj and F;yi). Amer. term is `cross-~relation'.[cm~Falsetto[fy75,1] (It.
). Singing method used by males, ~particularly tens., to achieve a note or notes
 ~higher than comes within the normal range of ~their v. Often used for comic ef
fect, e.g. Falstaff ~imitating the Merry Wives in Verdi's opera.[cm~Falsobordone
[fy75,1] (It.). Same as Eng. [fy45,1]*[fy75,2]Faburden[cf1]).[cm~Falstaff.[fy75,
1] ([sm1[nm) Comic opera in [sm3[nm acts by Verdi (his ~last) to lib. by Boito a
fter Shakespeare's [cf2]The Merry ~Wives of Windsor [cf1]and [cf2]King Henry IV[
cf1], Parts [sm1[nm and ~[sm2[nm. Comp. [sm1889=n92[nm. Prod. Milan [sm1893[nm,
CG [sm1894[nm, ~NY Met. [sm1895[nm. Operas on same subject incl. those ~by [fy45
,1]*[fy75,1]Dittersdorf ([sm1796[nm), [fy45,1]*[fy75,1]Salieri ([sm1798[nm), [fy
45,1]*[fy75,1]Balfe ~([sm1838[nm), [fy45,1]*[fy75,1]Nicolai [cf1
]([cf2]Die lustigen Weiber von Windsor, ~[cf1][sm1849[nm), and Vaughan Williams
([cf2]Sir John in Love[cf1], ~[sm1924[nm=n[sm8[nm).[ep~^([sm2[nm)^Symphonic stud
y in C minor, with [sm2[nm ~interludes, Op. [sm68[nm, for orch. by Elgar. Comp.
~[sm1902=n13[nm. F.p. Leeds Oct. [sm1913[nm, f. London p. Nov. ~[sm1913[nm.[cm~F
anciulla del West, La[fy75,1] (The Girl of the Golden ~West). [sm3[nm-act opera
by Puccini to lib. by Civinini ~and Zangarini based on Belasco's play [cf2]The G
irl of ~the Golden West[cf1] ([sm1905[nm). Comp. [sm1908=n10[nm. F.p. NY ~Met. [
sm1910[nm; CG and Rome [sm1911[nm.[cm~Fancy.[fy75,1] Eng. [sm16[nmth- and [sm17[
nmth-cent. equivalent of ~[fy45,1]*[fy75,1]Fantasia.[cm~[fy65][cf3]Fandango.[fy7
5,1] A lively Sp. dance believed to be of S. ~Amer. origin. It is in simple trip
le or compound ~duple time, and of ever-increasing speed, with ~sudden stops dur
ing which the performers (a ~single couple) remain motionless, and with ~interva
ls during which they sing. Acc. is normally ~by guitar or castan
ets. There is a fandango in ~Mozart's [cf2]Figaro[cf1].[cm~[PN240,0,0,L,I0]Fanfa
re. [fy75,1]([sm1[nm, Eng.) Flourish of tpts., or other instrs. ~in imitation of
 them, as a means of proclamation, ~such as a military signal.[ep~^([sm2[nm, Fr.
). Brass band (as distinct from [cf2]Harmonie[cf1], a ~band of mixed brass and w
oodwind).[cm~Fanfare for the Common Man.[fy75,1] Orch. work by ~[fy45,1]*[fy75,1
]Copland, comp. [sm1942[nm as one of series of wartime ~fanfares commissioned by
 Eugene Goossens, who ~cond. f.p. with Cincinnati S.O., March [sm1943[nm.[cm~Fan
ny Robin.[fy75,1] Opera in [sm1[nm act by Harper to his ~own lib. derived from H
ardy's [cf2]Wessex Poems[cf1] ~([sm1898[nm) and [cf2]Far From the Madding Crowd[
cf1] ([sm1874[nm). ~Comp. [sm1974[nm, prod. Edinburgh (Scottish Opera) ~[sm1975[
nm.[cm~Fanshawe, David[fy75,1] ([cf2]b[cf1] Devon, [sm1942[nm). Eng. com~~poser.
 Studied with John Lambert, then at RCM. ~Has devoted much time to research into
 African ~folk mus. and into that of Iraq and Tonga. Works ~incl
. [cf2]Escapade I[cf1] and [cf2]II[cf1] for pf., [cf2]Fantasy on Dover ~Castle[c
f1], orch., [cf2]Requiem for the Children of Aberfan[cf1] ~orch., [fy45,1]*[fy75
,2]African Sanctus[cf1] (orig. version [sm1972[nm, rev. ~[sm1977[nm), and [cf2]S
alaams[cf1], tone-poem ([sm1978[nm).[xm[cm~[ol0][ep~[xp[te~









[do3][j99]~~~~~~153842_F002[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmF[sm002[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm24[nm/[sm9[nm/[sm79[nm[cm[sm3[
nm[cm[sm45[nm[cm~GC[cm4[cm21-9-84[cm~U1[cm~~~~[ap[j1]Fantasia[fy75,1] (It.), [fy
65][cf3]Fantaisie[fy75,1] (Fr.), [fy65][cf3]Fantasie[fy75,1] (Ger.). ~Fantasy or
 Fancy. Generally a comp. in which ~form is of secondary importance, although th
e ~[sm16[nmth-cent. It. fantasia was an instr. comp. in strict ~imitation of a v
ocal motet. In Eng. in the [sm16[nmth ~and [sm17[nmth cents. the term `fancy' wa
s used for ~comps. for both kbd. and str. instr., notably ~consorts of viols. Su
ch comps. were usually ~contrapuntal and in several sections often with a ~commo
n theme, thus being an early form of ~variations. In the [sm20[nmth cent. the ch
amber mus. ~patron [fy45,1]*[fy75,1]Cobbett revived the form, preferring the ~sp
elling Phantasy. Sweelinck and Bach used the ~term fantasia for their organ comp
s. in which the ~character of the mus. suggested an im[chprovisa
~~[chtional character or the play of free fancy. In the ~[sm19[nmth cent. the te
rm was applied by Schumann, ~Chopin, and others to short mood pieces, e.g. ~Schu
mann's [fy45,1]*[fy75,2]Fantasiest;auucke[cf1]. Other meanings of ~the word are:
 ([sm1[nm) a comp. comprising a string of ~tunes, e.g. from an opera, as in Lisz
t's pf. fantasies ~on operatic arias.[ep~^([sm2[nm)^Development section in sonat
a-form, i.e. ~free fantasia.[ep~^([sm3[nm)^Title of film first shown in [sm1940[
nm, made by ~Walt Disney, in which cartoons (some merely ~abstract patterns) wer
e set to famous pieces of ~music played by the Philadelphia Orch. con~~ducted by
 Stokowski. The items were: J. S. Bach's ~[cf2]Toccata and Fugue in D minor[cf1]
 (transcr. Stokowski); ~Tchaikovsky's [cf2]Nutcracker Suite[cf1]; Ponchielli's [
cf2]Dance ~of the Hours[cf1]; Beethoven's [cf2]Pastoral Symphony[cf1]; ~Dukas's
[cf2]L'Apprenti sorcier[cf1]; Stravinsky's[cf2] The Rite of ~Spring[cf1]; Mussor
gsky's [cf2]Night on the Bare Mountain[cf1]; ~and Schubert's [cf
2]Ave Maria. [cf1]See [cf2]Film Music[cf1].[cm~Fantasia B;aaetica.[fy75,1] Work
for pf. by Falla, completed ~[sm1919[nm and ded. to Arthur Rubinstein who ~commi
ssioned it and gave f.p. in NY [sm1920[nm. Baetica ~was Roman name for Andalusia
.[cm~Fantasia Concertante on a Theme of Corelli.[fy75,1] ~Work for str. by [fy45
,1]*[fy75,1]Tippett, comp. [sm1953[nm for ~Edinburgh Fest. on tercentenary of Co
relli's birth. ~Str. div. into concertino ([sm2[nm solo vn. and vc.), conc. ~gro
sso (half remaining body), conc. terzo (other ~half). Theme taken from Corelli's
 Conc. Grosso ~Op. [sm6[nm No. [sm2[nm, and work quotes Bach's [cf2]Fugue on ~th
emes of Corelli[cf1].[cm~Fantasia Contrappuntistica.[fy75,1] Work for solo pf. ~
comp. by Busoni in [sm3[nm versions between [sm1910[nm and ~[sm1912[nm. Sub-titl
ed [cf2]Preludio al Corale `Gloria al Signori ~nei Cieli' e fuga a quattro sogge
tti obbligati sopra un ~frammento di Bach[cf1]. Arr. for [sm2[nm pf., [sm1921[nm
. Adapted ~for org. by work's dedicatee Wilhelm Middel~~schulte.
 Based on Bach's Contrapunctus XVIII ~from [cf2]The Art of Fugue[cf1], in desire
 to complete Bach's ~unfinished fugue. Busoni created [sm4[nmth subject ~(Bach h
aving comp. only [sm3[nm), and added [sm5[nmth.[cm~Fantasias on an In Nomine by
John Taverner.[fy75,1] ~[sm2[nm works for orch. by [fy45,1]*[fy75,1]Maxwell Davi
es, comp. as ~studies for his opera [fy45,1]*[fy75,2]Taverner[cf1]. [sm1[nmst, c
omp. [sm1962[nm; ~[sm2[nmnd, comp. [sm1964[nm (f.p. London [sm1965[nm, cond. Joh
n ~Pritchard).[cm~Fantasia on a theme by Thomas Tallis.[fy75,1] Comp. ~by Vaugha
n Williams for double str. orch. and ~str. qt., f.p. Gloucester [sm1910[nm, Lond
on [sm1913[nm (rev.). ~Tallis's theme is No. [sm3[nm (`Why fumeth in fight') of
~[sm9[nm psalm tunes comp. [sm1567[nm for Archbishop Parker's ~Psalter.[cm~Fanta
sia on a theme of Handel.[fy75,1] Comp. for pf. ~and orch. by [fy45,1]*[fy75,1]T
ippett, comp. [sm1939[nm=n[sm41[nm, f.p. ~London [sm1942[nm by Phyllis Sellick,
cond. Walter ~Goehr.[cm~Fantasia on British Sea Songs. [fy75,1]C
ompilation of ~trad. and other songs made by Henry J. [fy45,1]*[fy75,1]Wood ~for
 concert on [sm21[nm Oct. [sm1905[nm to celebrate centenary ~of Nelson's victory
 at Trafalgar and which became ~(and remains) traditional finale to Last Night o
f ~London Promenade Concerts, with the audience ~joining in (singing, clapping,
and foot-stamping). ~In [sm9[nm sections: [sm1[nm, [cf2]Naval Bugle calls. [cf1]
[sm2[nm, [cf2]The anchor's ~weighed[cf1] (solo tpt., solo tb.). [sm3[nm, [cf2]Th
e saucy Arethusa[cf1] ~(solo euphonium). [sm4[nm, [cf2]Tom Bowling [cf1](Dibdin)
 (solo ~vc.). [sm5[nm, [cf2]Hornpipe, Jack's the lad [cf1](solo vn., solo fl., ~
solo piccolo). [sm6[nm, [cf2]Farewell and adieu, ye Spanish ~ladies[cf1] ([sm4[n
m tbs.). [sm7[nm, [cf2]Home, sweet home[cf1] (Bishop) (solo ~cl., solo ob.). [sm
8[nm, [cf2]See, the conquering hero comes ~[cf1](Handel) (solo hns.). [sm9[nm, [
cf2]Rule, Britannia![cf1] (Arne) ~(org. and full orch.). For some years the Fant
asia ~was cut, but the practice recently has been to give ~it in
 full. Bringing a solo cont. into [cf2]Rule, Britannia![cf1] ~was Sargent's depa
rture from Wood's score.[cm~Fantasia on Christmas Carols.[fy75,1] Comp. by ~[fy4
5,1]*[fy75,1]Vaughan Williams for bar., ch., and orch. ~Founded on traditional c
arols: [sm1[nm. The truth sent ~from above. [sm2[nm. Come all you worthy gentlem
en. ~[sm3[nm. On Christmas night. [sm4[nm. There is a fountain; ~with fragments
of others. F.p. Hereford [sm1912[nm, ~ London [sm1913[nm.[cm~[PN241,0,0,R,I0]Fan
tasia on `Greensleeves'.[fy75,1] Arr. by Ralph ~Greaves for strs. and harp (or p
f.) with optional ~fl.(s) of interlude from Vaughan Williams's opera ~[fy45,1]*[
fy75,2]Sir John in Love[cf1], middle section being based on ~folk-song [cf2]Love
ly Joan[cf1]. Several other arrs., none by ~Vaughan Williams, exist.[cm~Fantasie
st;auucke[fy75,1] (Fantasy Pieces). [sm8[nm pieces for solo ~pf., Op. [sm12[nm,
by Schumann, [sm1837[nm=n[sm8[nm, with descrip~~tive titles. [sm3[nm further [cf
2]Fantasiest;auucke[cf1] described only ~by key-signatures were
pubd. as Op. [sm111[nm ([sm1851[nm).[cm~Fantaisies Symphoniques.[fy75,1] Sub-tit
le of [sm6[nmth Sym. ~by Martin;anu, f.p. Boston [sm1955[nm.[cm~Farandole[fy75,1
] (Fr.). Lively Proven;Alcal dance in ;D6;E8 time ~in which, to the acc. of [cf2
]galoubet[cf1] and [cf2]tambourin[cf1], the ~participants danced through the str
eets holding ~each other by the hands or by a handkerchief. ~The [cf2]farandole[
cf1] in Bizet's incidental mus. to ~[cf2]L'[fy45,1]*[fy75,2]Arl;aaesienne[cf1] i
s based on an authentic Proven;Alcal ~dance-tune but is not in ;D6;E8.[cm~Farewe
ll, Manchester.[fy75,1] Jacobite song played ~while the Young Pretender's army l
eft Manchester ~in [sm1745[nm, tune being a hpd. piece, [cf2]Felton's Gavotte[cf
1], ~comp. [cf2]c[cf1].[sm1740[nm by Rev. William [fy45,1]*[fy75,1]Felton, of ~H
ereford.[cm~Farewell Symphony.[fy75,1] See [cf2]Abschiedsymphonie[cf1].[cm~Farin
a, Carlo[fy75,1] ([cf2]b[cf1] Mantua, [cf2]c[cf1].[sm1600[nm; [cf2]d c.[cf1][sm1
640[nm). It. ~violinist and composer. One of earliest writers of
 ~virtuoso vn. mus. (pubd. [sm1626[nm=n[sm8[nm). Worked at ~Dresden court [sm162
5[nm-[sm32[nm.[cm~Farinelli [fy75,1](Carlo Broschi) ([cf2]b[cf1] Andria, [sm1705
[nm; [cf2]d[cf1] ~Bologna, [sm1782[nm). It. castrato singer. Studied with ~Porpo
ra. D;aaebut Naples, [sm1720[nm. In [sm1727[nm was ~defeated in public exhibitio
n of vocal skill by ~Bernacchi, who then taught him. Sang in Vienna ~and in Lond
on, where he joined Porpora's opera ~co. which was in competition with Handel's.
 Sang ~in Madrid, [sm1737[nm, where Philip V offered him ~[sm50[nm,[sm000[nm fra
ncs a year to stay, which he did for [sm25[nm ~years, singing each night to the
king. Was ~instrumental in est. It. opera in Madrid. Left ~Spain on Charles III'
s accession in [sm1759[nm, living in ~Bologna in some splendour, collecting pict
ures ~and playing hpd. and va. d'amore.[cm~Farkas, Ferenc[fy75,1] ([cf2]b[cf1] N
agykanizsa, [sm1905[nm). Hung. ~composer. Studied Budapest Acad. of Mus. [sm1922
[nm=n~[sm8[nm (with Weiner and Sikl;aaos) and S. Cecilia Acad.,
~Rome, [sm1929[nm=n[sm31[nm, with Respighi. Worked as ~composer and cond., film
studios in Vienna and ~Copenhagen [sm1933[nm=n[sm6[nm. Prof. of comp., Kolozsv;a
aar ~Cons., [sm1941[nm=n[sm3[nm, dir. [sm1943[nm=n[sm4[nm. Dir. Sz;aaekesfeh;aae
rv;aaar ~Cons., [sm1946[nm=n[sm8[nm. Prof. of comp., Budapest Acad. ~[sm1949[nm=
n[sm75[nm. Comps. incl. [sm2[nm operas, ballet, choral ~works, concs. (incl. one
 for baryton or va. da ~gamba), chamber mus., and songs.[cm~Farkas, ;auOd;auon[f
y75,1] ([cf2]b[cf1] J;aaaszmonostor, [sm1852[nm; [cf2]d[cf1] Ko~~lozsv;aaar, [sm
1912[nm). Hung. composer. Studied Pest ~Mus. Acad. Wrote [sm7[nm operas, sym., [
sm5[nm str. qts., ~songs, and choral mus., all of strong Hung. ~character.[cm~[j
1]Farmer, John[fy75,1] ([cf2]fl[cf1]. late [sm16[nmth cent.). Eng. madrigal ~com
poser. Organist, Christ Church, Dublin. ~Lived in London from [sm1599[nm. Contri
b. to [cf2]The ~[fy45,1]*[fy75,2]Triumphs of Oriana.[cf1][cm~Farnaby, Giles[fy75
,1] ([cf2]b [cf1]Truro, [sm1563[nm; [cf2]d [cf1]London, [sm1640[
nm). ~Eng. composer of madrigals, mus. for virginals, ~canzonets, psalm-tunes, e
tc. Over [sm50[nm of his ~virginals pieces are included in [fy45,1]*[fy75,2]Fitz
william ~Virginal Book[cf1]; among the best-known are [cf2]His ~dreame[cf1], [cf
2]A Toye[cf1], and [cf2]Loth to depart[cf1]. In [sm1592[nm ~contributed to [fy45
,1]*[fy75,1]East's book of psalms; his ~canzonets for [sm4[nm vv. were pubd. [sm
1598[nm.[cm~Farncombe, Charles[fy75,1] ([cf2]b[cf1] London, [sm1919[nm). Eng. ~c
ond. Studied Royal Sch. of Church Mus. (Canter~~bury) and RAM. Founder, Handel O
pera Soc., ~[sm1955[nm, and dir. since then. Chief cond. Royal ~Court Th., Drott
ningholm, from [sm1970[nm. C.B.E. ~[sm1977[nm.[cm~Farnon, Robert [fy75,1](=+=+=+
Joseph) ([cf2]b[cf1] Toronto, [sm1917[nm). ~Canadian composer and cond. Trumpete
r in CBC ~orch. [sm1936[nm=n[sm42[nm; cond. Canadian Army orch., ~[sm1943[nm=n[s
m6[nm. Settled in Brit. Comp. and arr. much ~mus. for films, radio, TV, etc.[cm~
Farrant, Richard [fy75,1]([cf2]b c.[cf1][sm1530[nm; [cf2]d[cf1]
London, [sm1580[nm). ~Eng. composer and organist of St George's Chapel, ~Windsor
; member of Chapel Royal. Composer of ~anthems and songs.[cm~Farrar, Ernest [fy7
5,1](Bristow) ([cf2]b[cf1] Lewisham, [sm1885[nm; [cf2]d[cf1] in ~action nr. Le C
ateau, Cambrai, [sm1918[nm). Eng. ~composer and organist. Studied at Durham Univ
. ~from [sm1904[nm, also at RCM [sm1905[nm=n[sm9[nm, comp. with ~Stanford, org.
with Parratt. Friend of Frank ~[fy45,1]*[fy75,1]Bridge. Org., Eng. church, Dresd
en, [sm1909[nm, then ~St Hilda's, South Shields, [sm1910[nm=n[sm12[nm and Christ
 ~Church, Harrogate, [sm1912[nm=n[sm16[nm. While at Harrogate ~gave lessons from
 [sm1914[nm to [fy45,1]*[fy75,1]Finzi. Enlisted in ~army [sm1915[nm; commissione
d in Devonshire Regi~~ment [sm1918[nm. Killed at Battle of Ep;aaehy Ronssoy, ~So
mme Valley, [sm18[nm Sept. [sm1918[nm. Comp. prize in his ~memory founded at RCM
 (later twice won by ~[fy45,1]*[fy75,1]Britten), but now amalgamated with Sulliv
an ~Prize. Bridge's pf. sonata ([sm1921=n4[nm) is dedicated to ~
his memory. Works (dates given are either of ~publication or f.p.) incl.:[xm[cm~
[j2][smorch[nm: Rhapsody No. [sm1[nm [cf2]The Open Road[cf1], after ~Whitman ([s
m1909[nm), No. [sm2[nm [cf2]Lavengro[cf1], after Borrow ~([sm1913[nm); sym.-poem
 [cf2]The Forsaken Merman[cf1], after ~Arnold ([sm1914[nm); [cf2]Variations on a
n Old British Sea ~Song[cf1], pf., orch. ([sm1915[nm); [cf2]English Pastoral Imp
res~~sions[cf1], suite ([sm1915[nm); [cf2][sm3[nm Spiritual Studies[cf1], str. (
[sm1925[nm); ~[cf2]Heroic Elegy `For Soldiers'[cf1], orch. ([sm1918[nm).[ep~[smc
horal[nm: [sm3[nm Partsongs, mixed ch. ([sm1907[nm); [sm2[nm Part~~songs, male v
v. ([sm1909[nm); [cf2]The Blessed Damozel[cf1], low ~v., ch., orch. ([sm1907[nm)
; [cf2]Margaritae Sorori[cf1], unacc. ~ch. ([sm1916[nm); [cf2]Out of Doors[cf1],
 Whitman suite for ch. ~and orch. ([cf2]c.[cf1][sm1911[nm); [cf2]A Song of St Fr
ancis[cf1], unison, ~[PN242,0,0,L,I0]pf. ([sm1919[nm); [cf2]Summer [cf1](C. Ross
etti), women's vv. ~and pf. or sop. and orch. ([sm1918[nm).[ep~[
smchamber music[nm: Vn. Sonata (lost); [cf2]Celtic Suite[cf1], vn., ~pf. ([sm191
0[nm); [cf2]Celtic Impressions[cf1], str. qt. (?).[ep~[smpiano[nm: [cf2]Valse ca
price [cf1]([sm1913[nm); [cf2]Miniature Suite [cf1]([sm1913[nm); ~[cf2]Shadow Da
nce [cf1]([sm1922[nm); [cf2][sm3[nm Pieces [cf1]([sm1915=n27[nm, pubd.); ~[cf2][
sm3[nm Pieces  [cf1]([sm1916[nm); [cf2][sm2[nm North Country Sketches [cf1]([sm1
920[nm).[ep~[smorgan[nm: [cf2]Fantasy Prelude [cf1]([sm1908[nm); [cf2][sm3[nm Ch
orale Preludes ~[cf1]([sm1920[nm); [cf2]A Wedding Piece [cf1]([sm1925[nm); [cf2]
Elegy [cf1]([sm1925[nm); [cf2][sm6[nm ~Pieces [cf1]([sm1926[nm).[ep~[smsongs[nm:
 [sm3[nm Songs ([sm1906[nm); [cf2]Vagabond Songs[cf1], bar., orch. ~([sm1911[nm)
; [cf2]Brittany [cf1]([sm1914[nm); [cf2]O Mistress Mine [cf1]([sm1921[nm); ~[cf2
][sm2[nm Elizabethan Love Songs [cf1]([sm1921[nm).[cm~[j1]Farrar, Geraldine [fy7
5,1]([cf2]b[cf1] Melrose, Mass., [sm1882[nm; [cf2]d[cf1] ~Ridgefield, Conn., [sm
1967[nm). Amer. sop. Studied in ~Boston, Mass., and then in Berl
in with Graziani. ~D;aaebut, Berlin Court Opera, [sm1901[nm, as Margu;aaerite ~i
n [cf2]Faust[cf1]. Became pupil of Lilli [fy45,1]*[fy75,1]Lehmann. Sang ~at Mont
e Carlo [sm1904[nm=n[sm6[nm. Sang Mimi and Gilda to ~Caruso's Rodolfo and Duke o
n several occasions. ~D;aaebut at NY Met. [sm1906[nm; sang Butterfly at its firs
t ~Met. perf. Member of Met. co. until [sm1922[nm, singing ~nearly [sm500[nm tim
es. Created roles of Amica (Mas~~cagni) at Monte Carlo [sm1905[nm, Goose-Girl in
 ~[cf2]K;auonigskinder[cf1] (Humperdinck) in NY [sm1910[nm, and ~[cf2]Suor Angel
ica[cf1] (Puccini) in NY [sm1918[nm. Also appeared ~in many films.[cm~Farruca. [
fy75,1]An Andalusian dance of gipsy origin. ~[fy45,1]*[fy75,1]Falla, in his ball
et [cf2]The Three-Cornered Hat,[cf1] uses ~the [cf2]farruca[cf1] for the Miller'
s Dance.[cm~Fasano, Renato [fy75,1]([cf2]b[cf1] Naples, [sm1902[nm; [cf2]d[cf1]
Rome, [sm1979[nm). ~It. cond., pianist, and composer. Founder and ~cond., [sm194
7[nm, of Collegium Musicum Italicum ~which in [sm1952[nm became
I Virtuosi di Roma, ~chamber ens. specializing in old mus. Dir., Rome ~Cons., [s
m1960[nm=n[sm72[nm.[cm~Fasch, Carl [fy75,1](Friedrich Christian) ([cf2]b[cf1] Ze
rbst, [sm1736[nm; ~[cf2]d[cf1] Berlin, [sm1800[nm). Ger. composer, son of J. F.
[fy45,1]*[fy75,1]Fasch. ~Studied vn. and clavier. Accompanist to Frederick ~the
Great from [sm1756[nm, dir. court opera [sm1774[nm=n[sm6[nm. In ~[sm1790[nm held
 choral rehearsals which led to founda~~tion of Berlin [cf2]Singakademie[cf1]. B
eethoven twice ~visited Fasch in [sm1796[nm, improvising for his pupils. ~Works
inc. oratorio, mass, and other church mus.[cm~Fasch, Johann[fy75,1] (Friedrich)
([cf2]b[cf1] Buttlest;auadt, [sm1688[nm; ~[cf2]d[cf1]|Zerbst, [sm1758[nm). Ger.
composer. Studied Thomas~~schule, Leipzig, [sm1701[nm=n[sm7[nm. Founded Leipzig
Colle~~gium Musicum which later became the ~~Gewand[chhaus concerts. Court Kapel
lmeister, ~Zerbst, from [sm1722[nm. Comp. [sm4[nm operas, concs., ~sonatas, trio
s, church mus., etc.[cm~Faschingsschwank aus Wien [fy75,1](Vienn
ese Carni~~val Pranks). Pf. comp. ([cf2]Fantasiebilder[cf1]) by Schu~~mann, Op.
[sm26[nm, comp. [sm1839[nm. In [sm5[nm movements.[cm~Fassbaender, Brigitte[fy75,
1] ([cf2]b[cf1] Berlin, [sm1939[nm). Ger. mez., ~daughter of Willi [fy45,1]*[fy7
5,1]Domgraf-Fassb;auander. Studied ~with her father and at Nuremberg Cons. D;aae
but ~Munich [sm1961[nm, London CG [sm1971[nm (Oktavian), San ~Francisco [sm1970[
nm, Salzburg [sm1973[nm, NY Met. [sm1974[nm ~(Oktavian). Member of Bavarian Stat
e Opera since ~[sm1961[nm. Specializes in [cf2]travesti[cf1] roles.[cm~Fassung[f
y75,1] (Ger.). Drafting. [cf2]Neue Fassung, [cf1]new ~version.[cm~Fate [fy75,1](
=+=+=+Jan;Aaa;Akcek). See [cf2]Osud.[cm~Faur;aae, Gabriel [fy75,1](Urbain) ([cf2
]b[cf1] Pamiers, [sm1845[nm; [cf2]d[cf1] Paris, ~[sm1924[nm). Fr. composer and o
rganist. From [sm1854[nm to ~[sm1866[nm studied at ;aaEcole Niedermeyer, Paris,
under ~[fy45,1]*[fy75,1]Niedermeyer and Saint-Sa;auens. Org[chanist, St Sul~~pic
e, Paris, [sm1870[nm, St Honor;aae; choirmaster from ~[sm1877[nm
 at the Madeleine, organist [sm1896[nm=n[sm1905[nm. Prof. ~of comp., Paris Cons.
 [sm1896[nm, dir. [sm1905[nm=n[sm20[nm. Pupils ~incl. Ravel, N. Boulanger, Enesc
u, Schmitt, ~Koechlin, and Roger-Ducasse. Faur;aae's music was ~slow to gain rec
ognition outside Fr., but he is ~now acknowledged as one of the greatest of Fr.
~composers, a master of the song-cycle, a poet of ~the kbd., and a profound comp
oser of chamber ~mus. His delicate and elegant but by no means ~harmonically una
dventurous style has an unsus~~pected strength and emotional appeal. His opera ~
[cf2]P;aaen;aaelope[cf1] is regarded by many as a masterpiece. ~His best-known w
ork is the [cf2]Requiem[cf1], comp. ~between [sm1877[nm and [sm1890[nm, but it d
id not achieve ~general popularity until after World War II ~despite the earlier
 advocacy of Nadia [fy45,1]*[fy75,1]Boulanger. ~Prin. works:[xm[cm~[j2][smoperas
[nm: [fy75,2]Prom;aaeth;aaee[cf1], Op. [sm82[nm ([sm1900[nm); [fy45,1]*[fy75,2]P
;aaen;aaelope[cf1] ~([sm1913[nm); [fy45,1]*[fy75,2]Masques et Be
rgamasques [cf1](divertisse~~ment) ([sm1919[nm).[ep~[smincidental music[nm: [cf2
]Caligula[cf1] (Dumas), Op. [sm52[nm ([sm5[nm ~movements, [sm1888[nm); [fy45,1]*
[fy75,2]Shylock[cf1] (Haraucourt after ~Shakespeare), Op. [sm57[nm ([sm6[nm move
ments), ([sm1889[nm); ~[fy45,1]*[fy75,2]Pell;aaeas et M;aaelisande[cf1] (Maeterl
inck), Op. [sm80[nm ~([sm1898[nm); [cf2]Le Voile du bonheur[cf1] (Cl;aaemenceau)
, Op. [sm88[nm ~([sm1901[nm).[ep~[smorch[nm: [cf2]Ballade, [cf1]pf. and orch., O
p. [sm19[nm ([sm1881[nm); [cf2]Pavane[cf1] ~(with optional ch.) Op. [sm50[nm ([s
m1887[nm); Suite, [fy45,1]*[fy75,2]Shylock[cf1], ~Op. [sm57[nm ([sm1889[nm); Sui
te, [cf2]Pell;aaeas et M;aaelisande[cf1], Op. [sm80[nm ~([sm4[nm items) ([sm1901
[nm); [cf2]Fantaisie[cf1] in G major, pf. and ~orch., Op. [sm111[nm ([sm1919[nm)
; Suite, [fy45,1]*[fy75,2]Masques et ~Bergamasques[cf1], Op. [sm112[nm ([sm4[nm
items) ([sm1919[nm); Suite ~[fy45,1]*[fy75,2][cf2]Dolly[cf1], Op. [sm56[nm (orch
. Rabaud, [sm1906[nm).[ep~[smchoral[nm: [cf2]Cantique de Racine[
cf1], Op. [sm11[nm ([sm1876[nm); [cf2]La ~Naissance de V;aaenus[cf1], Op. [sm29[
nm ([sm1882[nm); [cf2]O Salutaris: ~Maria, Mater Gratiae[cf1], Op. [sm47[nm, Nos
. [sm1[nm and [sm2[nm ~([sm1887[nm); [cf2]Requiem[cf1], Op. [sm48[nm, for sop. a
nd bar. soloists, ~ch., org., and orch. ([sm1877, 1887[nm=n[sm90[nm, orch. [sm19
00[nm); ~[cf2]Ecce fidelis servus, [cf1]Op. [sm54[nm, motet ([sm1890[nm); [cf2]T
antum ~ergo[cf1], Op. [sm55[nm ([sm1890[nm); [cf2]Salve Regina[cf1];[cf2] Ave Ma
ria[cf1], Op. ~[sm67[nm, Nos. [sm1[nm and [sm2[nm ([sm1895[nm).[ep~[smsongs and
song[nm-[smcycles[nm (v. and pf.): [cf2]Sylvie, Apr;ages ~un r;afeve, Hymne, Bar
carolle[cf1], Op. [sm7[nm, Nos. [sm1[nm=n[sm4[nm, (No. ~[sm2[nm orch. Busser [sm
1925[nm) ([cf2]c[cf1].[sm1865[nm); [fy45,1]*[fy75,2]Nell, Le Voyageur, ~Automne,
[cf1] Op. [sm18[nm, Nos. [sm1[nm=n[sm3[nm (No. [sm3[nm orch. Busser ~[sm1925[nm)
 ([sm1880[nm); [cf2]Les Berceaux, Notre Amour, Le ~Secret[cf1], Op. [sm23[nm, No
s. [sm1[nm=n[sm3[nm (No. [sm2[nm orch. Busser ~[sm1925[nm) ([sm1
882[nm); [sm2[nm [cf2]M;aaelodies, [cf1]Op. [sm27[nm ([sm1883[nm); [cf2]Aurore,
~Fleur jet;aaee, Les pays des r;afeves, Les Roses d' Ispahan[cf1], ~Op. [sm39[nm
, Nos. [sm1[nm=n[sm4[nm ([sm1884[nm); [cf2]Les Pr;aaesents, [fy45,1]*[fy75,2]Cla
ir de ~Lune, [cf1]Op. [sm46[nm, Nos. [sm1[nm=n[sm2[nm ([sm1887[nm); [cf2]Larmes,
 Au ~[PN243,0,0,R,I0]cimiti;agere, [fy45,1]*[fy75,2]Spleen, La Rose[cf1], Op. [s
m51[nm, Nos. [sm1[nm=n[sm4[nm ~([sm1889[nm); [sm5[nm [cf2]M;aaelodies[cf1] (Verl
aine), Op. [sm58[nm ([sm1891[nm) ~(sometimes known as [sm5[nm [cf2]Chansons de V
enise[cf1]); [cf2]La ~[fy45,1]*[fy75,2]Bonne Chanson[cf1] (Verlaine cycle), Op.
[sm61[nm, Nos. [sm1[nm=n~[sm9[nm ([sm1892[nm=n[sm3[nm); [cf2]Prison, Soir[cf1],
Op. [sm83[nm, Nos. [sm1[nm=n[sm2[nm ~([cf2]c.[cf1][sm1895[nm); [cf2]Le Parfum im
p;aaerissable, Arp;agege[cf1], Op. [sm76[nm, ~Nos. [sm1[nm=n[sm2[nm (No. [sm1[nm
 orch. Busser [sm1924[nm) ([sm1897[nm); [sm3[nm ~[cf2]M;aaelodies[cf1], Op. [sm8
5[nm ([sm1902[nm); [cf2]Le Plus Doux Chemin, Le ~Ramier[cf1], Op
. [sm87[nm, Nos. [sm1[nm=n[sm2[nm ([sm1904[nm); [cf2]Le Don silencieux, ~[cf1]Op
. [sm92[nm ([sm1906[nm); [cf2]Chanson[cf1], Op. [sm94[nm ([sm1907[nm); [cf2]Voca
lise ~([cf1][sm1907[nm);[cf2] La Chanson d'Eve[cf1] (Lerberghe cycle), Op. ~[sm9
5[nm, Nos. [sm1[nm=n[sm10[nm ([sm1906[nm=n[sm10[nm); [cf2]Le [fy45,1]*[fy75,2]Ja
rdin clos [cf1](Ler~~berghe cycle), Op. [sm106[nm, Nos. [sm1[nm=n[sm8[nm ([sm191
4[nm=n[sm15[nm); ~[cf2]Mirages[cf1] (Brimont cycle), Op. [sm113[nm, Nos. [sm1[nm
=n[sm4[nm ~([sm1919[nm); [cf2]C'est la Paix![cf1] Op. [sm114[nm ([sm1919[nm); [c
f2]L'[fy45,1]*[fy75,2]Horizon ~chim;aaerique [cf1](Mirmont cycle), Op. [sm118[nm
, Nos. [sm1[nm=n[sm4[nm ~([sm1921[nm).[ep~[smchamber music[nm: Sonata for pf. an
d vn., No. [sm1[nm in A, ~Op. [sm13[nm ([sm1876[nm), No. [sm2[nm in E minor, Op.
 [sm108[nm ([sm1916[nm); ~Pf. Qt. No. [sm1[nm in C minor, Op. [sm15[nm ([sm1879[
nm), No. [sm2[nm ~in G minor, Op. [sm45[nm ([sm1886[nm); Pf. Quintet No. [sm1[nm
 in ~D minor, Op. [sm89[nm ([sm1903[nm=n[sm6[nm), No. [sm2[nm in
 C minor, ~Op. [sm115[nm ([sm1919[nm=n[sm21[nm); Sonata No. [sm1[nm in D minor f
or ~pf. and vc., Op. [sm109[nm ([sm1917[nm), No. [sm2[nm in G minor[cf1], ~Op. [
sm117[nm ([sm1921[nm); Pf. Trio in D minor, Op. [sm120[nm ~([sm1922[nm=n[sm3[nm)
; Str. Qt. in E minor, Op. [sm121[nm ([sm1923[nm=n~[sm4[nm); [cf2]Berceuse[cf1]
for pf. and vn., Op. [sm16[nm ([sm1879[nm) (also ~for vn. or vc. and orch.); [cf
2];aaEl;aaegie[cf1] for pf. and vc., ~Op. [sm24[nm ([sm1883[nm) (also with orch.
); [cf2]Romance[cf1] for vn. ~and pf., Op. [sm28[nm ([sm1882[nm); [cf2]Romance[c
f1] in A for vc. and ~pf., Op. [sm69[nm ([sm1894[nm); [cf2]Andante[cf1] for pf.
and vn., Op. ~[sm75[nm ([sm1894[nm); [cf2]Papillon[cf1] for vc. and pf., Op. [sm
77[nm ([sm1897[nm) ~(also for str. quintet or vn. and pf.); [cf2]Sicilienne[cf1]
 for ~vc. and pf., Op. [sm78[nm ([sm1893[nm); [cf2]Fantaisie [cf1]for fl., and ~
pf., Op. [sm79[nm ([sm1898[nm) (orch. Aubert [sm1958[nm); [cf2]S;aaer;aaenade[cf
1] ~for vc. and pf., Op. [sm98[nm ([sm1908[nm).[ep~[smpiano[nm:
[sm3[nm [cf2]Romances sans paroles[cf1], Op. [sm17[nm ([sm1863[nm); ~[cf2]Improm
ptus[cf1]: No. [sm1[nm In E;yh, Op. [sm25[nm ([sm1882[nm), No. [sm2[nm in ~F min
or, Op. [sm31[nm ([sm1883[nm), No. [sm3[nm in A;yh, Op. [sm34[nm ~([sm1883[nm),
No. [sm4[nm in D;yh, Op. [sm91[nm ([sm1905[nm), No. [sm5[nm in F;yi ~minor, Op.
[sm102[nm ([sm1909[nm), No. [sm6[nm, Op. [sm86[nm bis (see ~[cf2]Harp[cf1]); [cf
2]Nocturnes[cf1]: [sm3[nm [cf2]Nocturnes[cf1], Op. [sm33[nm, No. [sm1[nm in ~E;y
h minor, No. [sm2[nm in B major, No. [sm3[nm in A;yh ([sm1883[nm); ~No. [sm4[nm
in E;yh, Op. [sm36[nm ([sm1884[nm), No. [sm5[nm in B;yh, Op. [sm37[nm ~([sm1884[
nm), No. [sm6[nm in D;yh, Op. [sm63[nm ([sm1894[nm), No. [sm7[nm in C;yi ~minor,
 Op. [sm74[nm ([sm1897[nm), No. [sm8[nm in D;yh ([sm8[nmth of [cf2]Pi;ageces ~br
;ageves[cf1], Op. [sm84[nm ([sm1898[nm=n[sm1902[nm)), No. [sm9[nm in B minor, ~O
p. [sm97[nm ([sm1908[nm), No. [sm10[nm in E minor, Op. [sm99[nm ([sm1908[nm), ~N
o. [sm11[nm in F;yi minor, Op. [sm104[nm, No. [sm1[nm ([sm1913[n
m), No. ~[sm12[nm in E minor, Op. [sm107[nm ([sm1915[nm), No. [sm13[nm in B ~min
or, Op. [sm119[nm ([sm1921[nm); [cf2]Barcarolles[cf1]: No. [sm1[nm in A ~minor,
Op. [sm26[nm ([sm1882[nm), No. [sm2[nm in G major, Op. [sm41[nm ~([sm1885[nm), N
o. [sm3[nm in G;yh, Op. [sm42[nm ([sm1885[nm), No. [sm4[nm in A;yh, ~Op. [sm44[n
m ([sm1886[nm), No. [sm5[nm in F;yi minor, Op. [sm66[nm ([sm1894[nm), ~No. [sm6[
nm in E;yh, Op. [sm70[nm ([sm1895[nm), No. [sm7[nm in D minor, ~Op. [sm90[nm ([s
m1905[nm), No. [sm8[nm in D;yh, Op. [sm96[nm ([sm1908[nm), No. [sm9[nm ~in A min
or, Op. [sm101[nm ([sm1910[nm), No. [sm10[nm in A minor, ~Op. [sm104[nm, No. [sm
2[nm ([sm1913[nm), No. [sm11[nm in G minor and ~No. [sm12[nm in E;yh, Op. [sm105
[nm, Nos. [sm1[nm and [sm2[nm ([sm1914[nm=n[sm15[nm), ~No. [sm13[nm in C major,
Op. [sm116[nm ([sm1921[nm); [cf2]Valses-~[cj3,4,20]Caprices[cf1]: No. [sm1[nm in
 A, Op. [sm30[nm ([sm1883[nm), No. [sm2[nm in D;yh,[fj~[nbOp. [sm38[nm ([sm1884[
nm), No. [sm3[nm in G;yh, Op. [sm59[nm ([sm1891[nm), No. [sm4[nm
 ~in A;yh, Op. [sm62[nm ([sm1894[nm); [cf2]Mazurka[cf1] in B;yh, Op. [sm32[nm ~(
[sm1883[nm); [cf2]Th;ageme et variations[cf1], Op. [sm73[nm ([sm1896[nm) (orch.
~Inghelbrecht [sm1955[nm); [sm8[nm [cf2]Pi;ageces br;ageves, [cf1]Op. [sm84[nm ~
([sm1898[nm=n[sm1902[nm); [sm9[nm [cf2]Pr;aaeludes[cf1], Op. [sm103[nm ([sm1910[
nm).[ep~[smpiano duet[nm ([sm4[nm hands): [fy45,1]*[fy75,2]Dolly[cf1], Op. [sm56
[nm ([sm1894[nm=n[sm7[nm) ~(orch. Rabaud [sm1906[nm); [fy45,1]*[fy75,2]Souvenirs
 de Bayreuth[cf1] ~(with [fy45,1]*[fy75,1]Messager) (pubd. [sm1930[nm).[ep~[smha
rp[nm: [cf2]Impromptu[cf1], Op. [sm86[nm ([sm1904[nm) (rearr. for pf. as ~[cf2]I
mpromptu[cf1] No. [sm6[nm, Op. [sm86[nm bis ([sm1913[nm)); [cf2]Une ~Ch;afatelai
ne en sa tour[cf1], Op. [sm110[nm ([sm1918[nm) (arr. Durand ~for pf.).[cm~[j1]Fa
ust.[fy75,1] ([sm1[nm) Opera in [sm5[nm acts by Gounod to lib. by ~Barbier and C
arr;aae based on Goethe's poem ([sm1808[nm, ~[sm1832[nm). Prod. Paris [sm1859[nm
, London [sm1863[nm, Philadel~~phia [sm1863[nm, NY Met. [sm1883[
nm (inaugural opera).[ep~^([sm2[nm)^Singspiel in [sm2[nm acts by Spohr to lib. b
y J. K. ~Bernard not based on Goethe, comp. [sm1813[nm, prod. ~Prague [sm1816[nm
; rev. [sm1852[nm as [sm3[nm-act opera, prod. ~London [sm1852[nm and [sm1984[nm.
[cm~Faust, Doktor[fy75,1] (Busoni). See [cf2]Doktor Faust.[cm~Faust, Le Damnatio
n de [fy75,1](Berlioz). See [cf2]Damnation de Faust, ~Le[cf1].[cm~Faust Overture
, A [fy75,1]([cf2]Eine Faust Ouvert;auure[cf1]). Concert ~ov. by Wagner, orig. i
ntended as [sm1[nmst movement ~of a Faust Sym., comp. [sm1840[nm, f.p. Dresden [
sm1844[nm. ~Rev. [sm1855[nm.[cm~Faust, Scenes from Goethe's.[fy75,1] Ov. and [sm
6[nm other ~movements for soloists, ch., and orch. by Schu~~mann, comp. [sm1844=
n53[nm.[cm~Faust Symphony, A[fy75,1] ([cf2]Eine Faust-Symphonie).[cf1] Sym. ~by
Liszt in [sm3[nm character studies ([cf2]in drei Charakter~~bildern[cf1]) based
on Goethe's poem, with [cf2]ad lib[cf1] male-~v. choral ending. Comp. [sm1854[nm
=n[sm7[nm, f.p. [sm1857[nm, rev. ~[sm1880[nm. [sm3[nm movements
entitled [cf2]Faust, Gretchen[cf1], and ~[cf2]Mephistopheles[cf1].[xm[cm~[ol0][e
p~[xp[te~











[do3][j99]~~~~~~153842_F003[ep~[u1]~~~~[sm024791[nm[cmConcise Oxford Dic~~tionar
y of Music[cmF[sm003[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm9[nm/[sm79[nm[cm[sm3[
nm[cm[sm86[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Faust, [sm2[nm Episodes
 from Lenau's. [fy75,1][sm2[nm orch. works ~by Liszt, comp. before [sm1861[nm, i
nspired by poem ~about Faust by Lenau. Titles are [cf2]The Night Ride ~[cf1]and
[cf2]Dance in the Village Inn[cf1], the latter being the ~[fy45,1]*[fy75,1]Mephi
sto Waltz No. [sm1[nm, later transcr. for pf. solo ~and pf. duet.[cm~Fauxbourdon
[fy75,1] (Fr.). Literally `false bass'. Way of ~singing improvised polyphony in
[sm15[nmth cent. ~mus., particularly that by Burgundian composers. ~Plainsong me
lody in treble is acc. by two lower ~parts, one in parallel sixths, the other a
fourth ~below melody. Similar to but not identical with ~Eng. [fy45,1]*[fy75,1]f
aburden and derivation one from another ~is disputed.[cm~Favart, Charles-Simon [
fy75,1]([cf2]b[cf1] Paris, [sm1710[nm; [cf2]d[cf1] Belle~~ville,
 [sm1792[nm). Fr. librettist and impresario. Stage-~manager at Op;aaera Comique
(which was called ~Salle Favart after him) and from [sm1758[nm to [sm1762[nm its
 ~dir. Wrote over [sm150[nm opera libs. for composers ~incl. Gr;aaetry, Gluck, a
nd Philidor.[cm~Favola d'Orfeo, La[fy75,1] (The Legend (Fable) of ~Orpheus). ([s
m1[nm) [cf2]Favola in musica[cf1] in prol. and [sm5[nm acts ~by Monteverdi to li
b. by Striggio. Prod. Mantua ~[sm1607[nm. Rev. in concert version arr. [fy45,1]*
[fy75,1]d'Indy, Paris ~[PN244,0,0,L,I0][sm1904[nm, London [sm1924[nm; staged Par
is [sm1911[nm and Oxford ~[sm1925[nm. Also ed. by [fy45,1]*[fy75,1]Malipiero, Or
ff, Westrup, ~Hindemith, Stevens, Leppard, and others.[ep~^([sm2[nm)^[sm1[nm-act
 opera by Casella, [sm1932[nm.[cm~Favola in ([fy75,1]or [fy65][cf3]per) Musica[f
y75,1] (It., `fable for music'). ~[sm17[nmth-cent. term for opera lib. of mythol
ogical or ~legendary character.[cm~Favorite, La[fy75,1] (The Favourite). [sm4[nm
-act opera by ~Donizetti to lib. by Royer, Va;auez, and Scribe.
Prod. ~Paris [sm1840[nm, New Orleans and London [sm1843[nm. Also ~perf. under ti
tles [cf2]Dalila, Leonora di Guzman, [cf1]and ~[cf2]Riccardo e Matilda, [cf1]as
well as [cf2]La Favorita[cf1] (It.). It is ~a rev. of [cf2]L'Ange de Nisida[cf1]
, in [sm3[nm acts by same ~librettists, comp. [sm1839[nm and unperformed.[cm~Fay
rfax, Robert[fy75,1] ([cf2]b[cf1] Deeping Gate, Lincs., [sm1464[nm; [cf2]d[cf1]
~St Albans, [sm1521[nm). Eng. composer and organist. ~Member of Chapel Royal; at
tended Field of the ~Cloth of Gold, [sm1520[nm. Comp. masses, motets, other ~chu
rch mus., and songs.[cm~F.B.S.M.[fy75,1] Fellow of the Birmingham Sch. of Mus.[c
m~Fedora.[fy75,1] [sm3[nm-act opera by Giordano to lib. by ~Colautti after Sardo
u's play ([sm1882[nm). Prod. Milan ~[sm1898[nm, London and NY Met. [sm1906[nm.[c
m~Feen, Die[fy75,1] (The Fairies). [sm3[nm-act opera by Wagner ~(his [sm1[nmst)
to lib. by composer after Gozzi's comedy ~[cf2]La donna serpente[cf1] ([sm1762[n
m). Comp. [sm1833[nm=n[sm4[nm. Prod. ~Munich [sm1888[nm, Birming
ham [sm1969[nm.[cm~Feierlich[fy75,1] (Ger. `solemn', `festive'). Expression ~mar
k used by Bruckner in his syms. and by ~Wagner for Siegfried's funeral march in
[cf2]G;auotter~~d;auammerung[cf1]. Term is assoc. with public celebra~~tions, `s
olemn' for religious occasions, `festive' for ~secular.[cm~Feldman, Morton[fy75,
1] ([cf2]b[cf1] NY, [sm1926[nm). Amer. composer. ~Studied comp. with Riegger and
 Stefan Wolpe. ~Later was influenced by the theories and ideas of ~[fy45,1]*[fy7
5,1]Cage, Earle [fy45,1]*[fy75,1]Brown, Christian Wolff, and David ~Tudor. Has u
sed indeterminacy and graphic ~notation in his mus. since[cf2] Projections[cf1]
([sm1950[nm=n[sm1[nm). ~Another major influence was the painting of ~Jackson Pol
lock and W. de Kooning, and Feldman ~has said that he tried, in sound, to emulat
e the ~world of their art. Low dynamic levels and ~occasional use of oscillators
 are also features of his ~work. Prin. comps.:[xm[cm~[j2][smopera[nm: [fy75,2]Ne
ither[cf1] (S. Beckett) ([sm1977[nm).[ep~[smorch[nm: [cf2]Margin
al Intersection[cf1] ([sm1951[nm); [cf2]Intersection I ~[cf1]([sm1951[nm); [cf2]
[sm11[nm Instruments [cf1]([sm1953[nm); [cf2]Atlantis [cf1]([sm1958[nm); ~[cf2]O
ut of Last Pieces[cf1] ([sm1958[nm); [cf2]Structures[cf1] ([sm1960[nm=n[sm2[nm);
 [cf2]In ~Search of an Orchestration[cf1] ([sm1969[nm); [cf2]On Time and the ~In
strumental Factor [cf1]([sm1969[nm); [cf2]The Viola in My Life ~IV[cf1] ([sm1971
[nm); [cf2]Cello and Orchestra [cf1]([sm1972[nm); [cf2]String ~Quartet and Orche
stra [cf1]([sm1973[nm); [cf2]Piano and Orchestra ~[cf1]([sm1975[nm); [cf2]Orches
tra [cf1]([sm1976[nm); [cf2]Oboe and Orchestra ~[cf1]([sm1976[nm); [cf2]Flute an
d Orchestra[cf1] ([sm1977[nm=n[sm8[nm); [cf2]Violin and ~Orchestra[cf1] ([sm1979
[nm); [cf2]The Turfan Fragments[cf1] ([sm1980[nm); ~vn. conc. ([sm1984[nm).[ep~[
smchorus and orch[nm: [cf2]Chorus and Instruments I[cf1] ([sm1963[nm), ~[cf2]II
[cf1]([sm1967[nm); [cf2]Chorus and Orchestra I [cf1]([sm1972[nm), [cf2]II[cf1] (
[sm1972[nm); ~[cf2]Elemental Procedures [cf1]([sm1976[nm).[ep~[s
minstr. ens[nm:[cf2] Projections II [cf1]([sm1951[nm), [cf2]V[cf1] ([sm1951[nm);
 [cf2]Durations ~V [cf1]([sm1961[nm); [cf2][sm2[nm Pieces for [sm6[nm Instrument
s [cf1]([sm1964[nm); [cf2]Ixion ~[cf1]([sm1965[nm); [cf2]False Relationships and
 the Extended Ending ~[cf1]([sm1968[nm); [cf2]Between Categories [cf1]([sm1969[n
m); [cf2]Madame Press ~Died Last Week at Ninety [cf1]([sm1970[nm); [cf2]The Viol
a in My ~Life I and II [cf1]([sm1972[nm); [cf2]Routine Investigations [cf1]([sm1
976[nm); ~[cf2]Why Patterns [cf1]([sm1978[nm).[ep~[sminstr. ens. and voice[nm([s
ms[nm): [cf2]For Franz Kline[cf1] ([sm1962[nm); ~[cf2]Vertical Thoughts V [cf1](
[sm1965[nm); [cf2]Journey to the End of ~Night [cf1]([cf2]after C;aaeline[cf1])
([sm1963[nm); [cf2]The O'Hara Songs[cf1] ~([sm1963[nm); [cf2]I met Heine in the
Rue F;auurstemberg [cf1]([sm1971[nm); ~[cf2]The R;aaothko Chapel [cf1]([sm1971[n
m=n[sm2[nm); [cf2]Voice and Instruments ~I [cf1]([sm1972[nm), [cf2]II [cf1]([sm1
974[nm); [cf2]Voices and Instruments I [cf1]([sm1972[nm), ~[cf2]
II[cf1] ([sm1972[nm).[ep~[smchamber music[nm: [cf2]Projection I=nV[cf1] ([sm1950
[nm=n[sm1[nm); [cf2]Structures[cf1], ~str. qt. ([sm1951[nm); [cf2][sm3[nm Pieces
[cf1], str. qt. ([sm1956[nm); [cf2][sm2[nm ~Instruments [cf1]([sm1958[nm); [cf2]
Durations I=nIV [cf1]([sm1960[nm=n[sm2[nm); [cf2]De ~Kooning[cf1] ([sm1963[nm);
[cf2]Vertical Thoughts I=nIV[cf1] ([sm1963[nm); ~[cf2]The Viola in My Life III[c
f1] ([sm1970[nm); [cf2][sm3[nm Clarinets, Cello ~and Piano[cf1] ([sm1971[nm); [c
f2]Voice, Violin and Piano[cf1] ([sm1976[nm); ~[cf2]Spring of Chosroes [cf1]([sm
1978[nm); [cf2]String Quartet [cf1]([sm1979[nm), ~No. [sm2[nm ([sm1983[nm); [cf2
]Trio [cf1]([sm1980[nm); [cf2]For John Cage[cf1] ([sm1982[nm).[ep~[smpiano[nm([s
ms[nm): [cf2]Illusions [cf1]([sm1950[nm); [cf2][sm2[nm Intermissions [cf1]([sm19
50[nm); ~[cf2]Intersection II and III[cf1] ([sm1951[nm, [sm1953[nm); [cf2]Interm
ission[cf1], [sm5[nm ~pfs. ([sm1952[nm); [cf2]Extensions III [cf1]([sm1952[nm),
[cf2]IV[cf1], [sm3[nm pfs. ([sm1960[nm); ~[cf2]Piano Pieces [cf1
]([sm1952[nm=n[sm77[nm); [cf2] [sm2[nm Pieces[cf1], [sm2[nm pf. ([sm1954[nm); ~[
cf2]Piano Three Hands[cf1] ([sm1957[nm); [cf2]Piece[cf1], [sm4[nm pf. ([sm1957[n
m); ~[cf2]Piano Four Hands[cf1] ([sm1958[nm); [cf2]Last Pieces [cf1]([sm1963[nm)
; ~[cf2]Vertical Thoughts I[cf1], [sm2[nm pf. ([sm1963[nm); [cf2][sm2[nm Pieces[
cf1], [sm3[nm pf. ~([sm1966[nm); [cf2]Pianos and Voices I[cf1], [sm5[nm pf. ([sm
1971[nm), [cf2]II[cf1], [sm5[nm sop., ~[sm5[nm pf. ([sm1972[nm); [cf2]Piano [cf1
]([sm1977[nm); [cf2]Triadic Memories[cf1] ~([sm1981[nm).[ep~[smsolo instr[nm([sm
s[nm): [cf2]Intersection IV[cf1], vc. ([sm1964[nm); [cf2]The King ~of Denmark[cf
1], perc. ([sm1964[nm); [cf2]Principal Sound[cf1], org. ~([sm1980[nm).[ep~[smuna
ccc. voice[nm([sms[nm):[cf2] Christian Wolff in Cambridge[cf1] ~([sm1963[nm); [c
f2]Only[cf1], [sm1[nm v. ([sm1977[nm); [cf2][sm3[nm Voices[cf1], [sm3[nm sops. o
r v. ~and tape ([sm1982[nm).[cm~[j1]Feldpartita [fy75][cf1]or [fy65][cf3]Feldpar
tia[fy75,1] (Ger., `field suite'). Suite for perf. in ~the open
air by a military band. Haydn wrote [sm6[nm ~[cf2]Feldpartien[cf1].[cm~Feldpfeif
e[fy75,1] (Ger., `field pipe'). [cf1]Renaissance version ~of the fife, or milita
ry fl., used in the Swiss ~infantry's fife-and-drum corps. Shrill sound due ~to
narrow bore.[cm~Fellowes, E[fy75,1](dmund) [fy65][cf3]H[fy75,1](orace) ([cf2]b[c
f1] London, [sm1870[nm; ~[cf2]d[cf1] Windsor, [sm1951[nm). Eng. musicologist and
 ed. ~Minor canon of St George's Chapel, Windsor, ~from [sm1900[nm, and choirmas
ter [sm1924=n7[nm. Ed. com~~plete works in [sm36[nm vols. of the [cf2]English Ma
drigal ~School[cf1] (pubd. [sm1913[nm=n[sm24[nm, rev. [sm1956[nm by Dart as [cf2
]The ~English Madrigalists[cf1]), the [cf2]English School of Lutenist ~Song-Writ
ers[cf1] ([sm32[nm vols., [sm1920[nm=n[sm32[nm, partly rev. [sm1959[nm=n~[sm66[n
m by Dart as [cf2]The English Lute-Songs[cf1]), and the ~complete works of [fy45
,1]*[fy75,1] Byrd ([sm20[nm vols., [sm1937[nm=n[sm50[nm, rev. ~[sm1962[nm by Dar
t, Brett, and Elliott). Also wrote ~books on the Eng. madrigalis
ts, Byrd, and ~Gibbons. C.H. [sm1944[nm.[cm~[PN245,0,0,R,I0]Felsenstein, Walter
[fy75,1]([cf2]b[cf1] Vienna, [sm1901[nm; [cf2]d[cf1] East ~Berlin, [sm1975[nm).
Austrian opera producer and actor. ~Studied in Graz and at Vienna Burgtheater. O
pera ~producer at Cologne ([sm1932[nm=n[sm4[nm), Frankfurt ([sm1934[nm=n~[sm6[nm
), Z;auurich ([sm1938[nm=n[sm40[nm), and Schiller Th., Berlin ~([sm1940[nm=n[sm4
[nm). Producer and Intendant, Berlin Kom~~ische Oper from [sm1947[nm, setting ne
w standards in ~imaginative and totally integrated prod. tech~~niques, particula
rly in Jan;aaa;Akcek's [cf2]The Cunning Little ~Vixen[cf1], Mozart's [cf2]Don Gi
ovanni[cf1], Bizet's [cf2]Carmen[cf1], ~Offenbach's [cf2]Les Contes d' Hoffmann[
cf1], and Verdi's [cf2]La ~traviata[cf1].[cm~Felton, William [fy75,1]([cf2]b[cf1
] Drayton, [sm1715[nm; [cf2]d[cf1] Hereford, ~[sm1769[nm). Eng. composer, organi
st, harpsichordist, ~and Anglican clergyman (vicar-choral, Hereford ~Cath.). His
 popular hpd. gavotte was adapted for ~the song [fy45,1]*[fy75,1
]`Farewell Manchester'.[cm~Feminine. [fy75,1]Term used in such phrases as [cf2]f
eminine ~cadence [cf1]and [cf2]feminine ending[cf1] to denote relative ~weakness
, e.g. the final chord is reached on a ~`weak' beat of the bar. Second subjects
in sonata-~form are sometimes described as `feminine', ~meaning gentler than the
 first subject. This is a ~hangover from the age when women were ~regarded as th
e weaker sex.[cm~Fenby, Eric [fy75,1](William)[cf1] ([cf2]b[cf1] Scarborough, [s
m1906[nm). ~Eng. organist, composer, and teacher. His unique ~claim to fame is t
hat, at the age of [sm22[nm and totally ~unknown, he volunteered to go to Grez-s
ur-~Loing to act as amanuensis to the blind and ~paralysed [fy45,1]*[fy75,1]Deli
us. Several of Delius's late works ~were dictated to Fenby, a laborious and some
times ~acrimonious process recorded in Fenby's book ~[cf2]Delius as I knew him[c
f1]. Also arr. some of Delius's ~mus., and since the composer's death in [sm1934
[nm has ~been active in writing about it, and in working ~for th
e Delius Trust. Comps. incl. a sym. and the ~ov. [cf2]Rossini on Ilkla Moor.[cf1
] Prof. RAM from [sm1964[nm. ~Mus. dir. North Riding Training Coll. [sm1948[nm-[
sm62[nm. ~Art. dir. Delius centenary fest. [sm1962[nm. O.B.E. [sm1962[nm.[cm~Fen
ice, Teatro La.[fy75,1] Prin. and extremely beautiful ~Venetian opera house. Ope
ned [sm1792[nm, destroyed ~by fire [sm1836[nm, rebuilt [sm1837[nm, restored [sm1
854[nm and ~[sm1938[nm. Among operas f.p. there are Rossini's ~[cf2]L'Italiana i
n Algeri [cf1]and [cf2]Semiramide[cf1], Bellini's [cf2]I ~Capuleti e i Montecchi
[cf1], Verdi's [cf2]Ernani[cf1], [cf2]Rigoletto[cf1], [cf2]La ~traviata, [cf1] a
nd [cf2]Simone Boccanegra[cf1], Stravinsky's [cf2]The ~Rake's Progress, [cf1]Bri
tten's [cf2]The Turn of the Screw[cf1], ~and Prokofiev's [cf2]The Fiery Angel[cf
1].[cm~Fennimore and Gerda.[fy75,1] Opera by Delius to his ~own lib., being `[sm
2[nm episodes in the life of [cf2]Niels ~Lyhne[cf1] in [sm11[nm pictures after t
he novel by J.P. ~Jacobsen'. Comp. [sm1908[nm=n[sm10[nm. Prod. F
rankfurt [sm1919[nm; ~London [sm1968[nm, St Louis [sm1981[nm. Intermezzo often ~
perf. as concert item is derived from material in ~last scene.[cm~Ferdinand III,
 Emperor of Austria [fy75,1]([cf2]b[cf1] Graz, ~[sm1608[nm; [cf2]d[cf1] Vienna,
[sm1657[nm). Reigned from [sm1637[nm. Est. ~It. opera in Vienna. Comp. [cf2]Dram
a musicum [cf1]([sm1649[nm), ~Mass, motets, and other church mus. Monte~~[chverd
i's [sm8[nmth book of Madrigals ([sm1638[nm) is dedicated ~to him.[cm~Ferencsik,
 J;aaanos[fy75,1] ([cf2]b[cf1] Budapest, [sm1907[nm; [cf2]d [cf1]Budapest, ~[sm1
984[nm). Hung. cond. Studied Budapest Cons. Coach ~at Hung. State Opera [sm1927[
nm, cond. [sm1930[nm. Mus. ~assistant at Bayreuth Fest. [sm1930[nm=n[sm1[nm. Con
d. Vienna ~State Opera [sm1948[nm=n[sm50[nm, thereafter chief cond. Hung. ~State
 Opera and State Orch. London d;aaebut [sm1957[nm ~(LPO), Amer. [sm1962[nm.[cm~F
erguson, Howard[fy75,1] ([cf2]b[cf1] Belfast, [sm1908[nm). N. Irish ~composer, p
ianist, and teacher. Studied pf. with ~Harold Samuel, [sm1922[nm
, and at RCM (comp. with ~R.|O. Morris). Prof. at RAM [sm1948[nm=n[sm63[nm. Comp
s. ~incl. pf. conc., pf. sonata, Partita for orch., [sm2[nm vn. ~sonatas, octet
for wind and str., [cf2]Amore Langueo[cf1] ~(soloist, ch., and orch.). Exercises
 in score-reading ~(with R. O. Morris).[cm~Ferial. [fy75,1]The word comes from t
he Lat. [cf2]feria[cf1], `feast ~day', but has by etymological perversity come t
o ~mean an ordinary day, as distinguished from a ~feast. Hence the application o
f `Ferial Use' to ~liturgy and mus.[cm~Fermata [fy75,1](It.), [fy65][cf3]Fermate
[fy75,1] (Ger.). A pause ;yr. ~(Sometimes the use is a special one=mthe pause ~m
ark in a conc. which indicates the point at ~which the [fy45,1]*[fy75,1]cadenza
begins.)[cm~Fermer [fy75,1](Fr., `to close'; past participle [cf2]ferm;aae[cf1])
. Used ~in org. mus. as indication to ([sm1[nm) close the swell ~box, or ([sm2[n
m) put a particular stop out of action.[cm~Fermo[fy75,1] (It.). `Fixed', in styl
e of perf., as in [cf2]canto ~fermo[cf1].[cm~Ferne Klang, Der [f
y75,1](The Distant Sound). [sm3[nm-act ~opera by [fy45,1]*[fy75,1]Schreker to hi
s own lib. Prod. Frankfurt ~[sm1912[nm, BBC studio [sm1957[nm.[cm~Ferneyhough, B
rian [fy75,1]([cf2]b[cf1] Coventry, [sm1943[nm). Eng. ~composer. Studied Birming
ham Sch. of Mus. ~[sm1961[nm=n[sm3[nm, and at RAM [sm1966[nm=n[sm7[nm with L. Be
rkeley. ~Played in and comp. for brass bands. Studied in ~Holland with Ton de [f
y45,1]*[fy75,1]Leeuw [sm1968[nm=n[sm9[nm. Emigrated ~to Switzerland [sm1969[nm,
studying at Basle Cons. with ~Klaus [fy45,1]*[fy75,1]Huber. Based in W. Ger. sin
ce [sm1973[nm. Mus. ~of extreme complexity; elec. devices employed ~in some work
s. Works incl.: Sonatina for [sm3[nm cl. ~and bn. or bass cl. ([sm1963[nm); [cf2
]Prometheus[cf1] for wind ~sextet ([sm1965[nm, rev. [sm1967[nm); Sonata for [sm2
[nm pf. ([sm1966[nm); ~[sm3[nm [cf2]Pieces [cf1]for pf.; [cf2]Sonatas[cf1] for s
tr. qt. ([sm1967[nm); [cf2]Epicycle[cf1] ~for [sm20[nm str. ([sm1968[nm); [cf2]M
issa brevis[cf1] for [sm12[nm vv. ([sm1969[nm); ~[cf2]Cassandra'
s Dream Song[cf1], for solo fl. ([sm1971[nm); [cf2]Sieben ~Sterne [cf1]for org.
([sm1969[nm=n[sm70[nm); [cf2]Firecycle Beta[cf1] for orch. ~([sm1969[nm=n[sm71[n
m); [cf2]Transit[cf1] for [sm6[nm vv. and chamber orch. ~([sm1972[nm=n[sm4[nm, r
ev. [sm1975[nm); [cf2]Time and Motion Study III[cf1] for ~[sm16[nm vv. with perc
. and elecs. ([sm1974[nm); [cf2]Time and ~Motion Study II[cf1] for vc., tape, an
d elecs. ([sm1973[nm=n[sm6[nm); ~[cf2]Unity Capsule[cf1] for solo fl. ([sm1975[n
m=n[sm6[nm); [cf2]Time and Motion ~Study I[cf1] for bass cl. ([sm1971[nm=n[sm7[n
m); [cf2]Fun;aaerailles [cf1]for str. ~sextet, db., and harp ([sm1969[nm=n[sm77[
nm); [cf2]La Terre est un ~homme[cf1] for orch. [cf1]([sm1977[nm=n[sm8[nm); [sm2
[nmnd str. qt. ([sm1979[nm=n[sm80[nm); ~[cf2]Lemma-Icon-Epigram[cf1], pf. ([sm19
81[nm); [cf2]Superscriptio[cf1], pic~~[PN246,0,0,L,I0]colo ([sm1981[nm); [cf2]Ca
rceri d'Invenzione I[cf1], chamber orch. ~([sm1982[nm).[cm~Fernfl;auote[fy75,1]
(Ger., `distant flute'). Soft metal org. ~stop of [sm8[nm;po len
gth and pitch.[cm~Fernwerk[fy75,1] (Ger. `distant work'). Echo Manual of ~org.[c
m~Ferrabosco, Alfonso [fy75,1]([cf2]b[cf1] Bologna, [sm1543[nm; [cf2]d[cf1] Bolo
gna, ~[sm1588[nm). It. composer, son of Domenico Ferrabosco ~who was [cf1]maestr
o di cappella[cf1] at Basilica Vaticana, ~Rome, from [sm1546[nm. Settled in Eng.
 [cf2]c[cf1].[sm1560[nm, entering ~service of Elizabeth I. In It. [sm1569[nm=n[s
m71[nm. Left Eng. ~[sm1578[nm to enter service of Duke of Savoy. Comp. ~madrigal
s, motets, and lute pieces. In contest ~with [fy45,1]*[fy75,1]Byrd, each set pla
insong [cf2]Miserere[cf1] in [sm40[nm ~different ways.[cm~Ferrabosco, Alfonso[fy
75,1] ([cf2]b[cf1] Greenwich, [cf2]c[cf1].[sm1575[nm; [cf2]d[cf1] ~Greenwich, [s
m1628[nm). Son of above. Violinist in ~service of James I. Comp. mus. for severa
l of ~Jonson's masques. Was made `Composer of King's ~Music' to Charles I. Skill
ed player of lyra viol, for ~which he wrote fantasies. His [sm3[nm sons, Alfonso
, ~Henry, and John, were also musicians in royal ~service, John
becoming organist of Ely Cath.[cm~Ferrari, Luc[fy75,1] ([cf2]b[cf1] Paris, [sm19
29[nm). Fr. composer. Studied ~Versailles Cons. [sm1946[nm=n[sm8[nm, ;aaEcole No
rmale de ~Musique, Paris, [sm1948[nm=n[sm50[nm (under Honegger). ~Joined [cf2]Gr
oupe de Musique Concr;agete[cf1] at Fr. Radio, ~[sm1958[nm, and on its dissoluti
on that year re-formed ~it, with [fy45,1]*[fy75,1]Schaeffer, as [cf2]Groupe de R
;aaecherche Musicale[cf1] ~of which he was a dir. until [sm1966[nm. Prof. at ~Rh
einische Musikschule, Cologne, [sm1964[nm=n[sm6[nm. ~Comps. mainly on tape.[cm~F
erras, Christian[fy75,1] ([cf2]b[cf1] Le Touquet, [sm1933[nm; [cf2]d[cf1] Paris,
 ~[sm1982[nm). Fr. violinist. Studied at Nice with Bistesi, ~and with Calvet at
Paris Cons. Paris d;aaebut as conc. ~soloist [sm1946[nm. Appeared as conc. soloi
st and ~recitalist in all leading mus. centres. Gave f. Eng. ~p. of Fricker's [c
f2]Rapsodia Concertante, [cf1]Cheltenham ~[sm1954[nm.[cm~Ferrier, Kathleen[fy75,
1] (Mary) ([cf2]b[cf1] Higher Walton, ~Lancs., [sm1912[nm; [cf2]
d[cf1] London, [sm1953[nm). Eng. cont. Began ~mus. career as pianist and accompa
nist in N. of ~Eng. competitive fests. Worked as telephone ~switchboard operator
. Entered singing competi~~tion, Carlisle [sm1937[nm, winning Rose Bowl. Studied
 ~singing with Thomas Duerdon, Dr J. E. Hutch~~inson, and Roy Henderson. London
d;aaebut in ~[cf2]Messiah[cf1], Westminster Abbey [sm1943[nm, after which ~she r
ose rapidly to a leading position among Brit. ~singers in Elgar's [cf2]Gerontius
[cf1], Bach's [cf2]St Matthew ~Passion, [cf1]and other works. Opera d;aaebut as
Lucretia ~in Britten's [cf2]The Rape of Lucretia, [cf1]Glyndebourne ~[sm1946[nm.
 Sang Gluck's [cf2]Orfeo[cf1], Glyndebourne [sm1947[nm. ~Became noted exponent o
f Mahler's [cf2]Das Lied von ~der Erde[cf1] under batons of Walter and Barbiroll
i, ~and frequently appeared in recitals with Britten ~and Pears. The beauty of h
er v., combined with a ~warm and humorous personality, endeared her ~to audience
s, and her early death from cancer was ~profoundly and widely mo
urned. Last appearance ~was at CG [sm1953[nm in [cf2]Orfeo[cf1], cond. Barbiroll
i. C.B.E. ~[sm1953[nm. Royal Phil. Soc. Gold Medal, [sm1953[nm.[cm~Fes [fy75,1](
Ger.). The note F;yh. [fy65][cf3]Feses[fy75,1], F;yh;yh.[cm~Fesca, Friedrich [fy
75,1](Ernst)[cf1] ([cf2]b[cf1] Magdeburg, [sm1789[nm; [cf2]d[cf1] ~Karlsruhe, [s
m1826[nm). Ger. violinist and composer. ~[cf2]Konzertmeister [cf1] at Karlsruhe
from [sm1815[nm. Wrote [sm2[nm ~operas, [sm3[nm syms., [sm16[nm str. qts., and c
hurch mus. His ~son, Alexander Ernst ([cf2]b[cf1] Karlsruhe, [sm1820[nm; [cf2]d[
cf1] ~Brunswick, [sm1849[nm) comp. [sm4[nm operas and some ~chamber mus.[cm~Fest
a, Costanzo[fy75,1] ([cf2]b[cf1] [cf2]c[cf1].[sm1490[nm; [cf2]d[cf1] Rome, [sm15
45[nm). It. ~composer. Choirmaster at Vatican. Comp. masses, ~motets, and other
church mus., his [cf2]Te Deum[cf1] still ~being sung at election of new Pope. Al
so wrote ~madrigals, one known in Eng. as [cf2]Down in a ~Flowery Vale[cf1].[cm~
Festal. [fy75,1]Applied in the distinction of ecclesiastical ~fe
ast days from ordinary, or [fy45,1]*[fy75,1]Ferial days.[cm~Feste Romane[fy75,1]
 (Roman Festivals). Orch. work by ~Respighi comp. [sm1928[nm and f.p. NY [sm1929
[nm cond. ~Toscanini. In [sm4[nm sections entitled [cf2]Circus Maximus, ~The Jub
ilee, The October Festival, [cf1]and [cf2]Epiphany[cf1].[cm~Festgesang[fy75,1] (
Festive Hymn). Work for [sm2[nm male ch. ~and brass by Mendelssohn to words by P
rof. ~Pr;auolss of Freiberg, comp. for fest. at Leipzig [sm1840[nm ~in honour of
 invention of printing by Gutenberg ~and f.p. in open market-place. ([fy45,1]*[f
y75,1][cf2]Lobgesang[cf1] was ~comp. for same occasion.) [sm2[nmnd no. of [cf2]F
estgesang[cf1] ~was adapted by W. H. Cummings to words of ~hymn [fy45,1]*[fy75,1
]`Hark, the herald angels sing'.[cm~Festin de l'araign;aaee, Le [fy75,1](The Spi
der's Banquet). ~Ballet-pantomime with mus. by [fy45,1]*[fy75,1]Roussel to ~scen
ario by G. de Voisins and choreog. by Staats. ~Prod. Paris [sm1913[nm. Orch. sui
te ([sm1912[nm).[cm~Festing, Michael [fy75,1](Christian) [cf1]([
cf2]b[cf1] London, [cf2]c.[cf1][sm1680[nm; ~[cf2]d[cf1] London, [sm1752[nm). Eng
. violinist and composer. ~Pupil of [fy45,1]*[fy75,1]Geminiani. First public app
earance ~[sm1724[nm. Played in King's Th. orch. [sm1727[nm; dir. of the ~It. Ope
ra from [sm1737[nm. Mus. dir., Ranelagh Gardens ~[sm1742=n52[nm. Comp. concs., c
antatas, and vn. solos.[cm~Festivals[fy75,1] (from Lat. [cf2]festivalis[cf1], `f
estival'). The ~Eng. derivative `festival' has come to be applied ~to gatherings
 in which one or several of the arts ~is celebrated. Its first mus. use was poss
ibly the ~Fest. of the Sons of the Clergy which, from [sm1698[nm, ~used an orch.
 as part of what was really only an ~elaborate church service. The oldest Eng. f
est. in ~the truer sense is the [sm3[nm Choirs Fest., alternating ~annually betw
een the cath. cities of Gloucester, ~Hereford, and Worcester. In the [sm19[nmth
cent. the ~emphasis was on choral mus., and the Handel ~Fest., the Birmingham, L
eeds, Sheffield, and ~Norwich Fests. flourished. Abroad, the Hay
dn ~Fests. in Austria and the [sm1845[nm Beethoven Fest. in ~Bonn were outstandi
ng events. Other famous ~continental fests. are those at Bayreuth (devoted ~excl
usively to Wagner) and Salzburg (based on ~[PN247,0,0,R,I0]Mozart, but with wide
r scope). Since the end of ~the [sm1939[nm=n[sm45[nm war, fests. have developed
alongside ~the growth of tourism. Almost any attractive ~town (and several unatt
ractive ones) has consid~~ered establishing a fest. as a means of attracting ~vi
sitors. Among the best and longest est. are those ~at Edinburgh, Cheltenham, Bat
h, Harrogate, ~Aldeburgh, York, Haslemere, Holland, Aix-en-~Provence, Spoleto, B
erkshire (Boston, Mass.), ~Hollywood Bowl, Ravinia Park (Chicago), etc. ~Some fe
sts. have a theme (one particular composer ~or one type of mus.); others are jus
t a random ~coll. of artistic events.[xm[cm~[ol0][ep~[xp[te~


[do3][j99]~~~~~~153842_F004[ep~[u1]~~~~[sm153843[nm[cmConcise Oxford Dic~~tionar
y of Music[cmF[sm004[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm9[nm/[sm79[nm[cm[sm3[
nm[cm[sm86[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Festivo[fy75,1] (Festiv
e). No. [sm3[nm of Sibelius's [sm1[nmst set of ~[cf2]Sc;agenes historiques [cf1]
for orch., Op. [sm25[nm, comp. [sm1899[nm, ~rev. [sm1911[nm.[cm~Festspiel[fy75,1
] (Ger., `Festival-play'). A term applied to ~certain mus. stage works, or works
 in which mus. ~has some part. Wagner extended the term in the ~title to his [cf
2]Ring[cf1] tetralogy, which he called a ~[cf2]B;auuhnenfestspiel[cf1] (Stage-fe
stival-play) and still further ~in the title of [cf2]Parsifal, [cf1]described as
 a [cf2]B;auuhnenweih~~festspiel[cf1] (Stage-consecration festival-play).[cm~F;a
fetes galantes.[fy75,1] Two sets of songs for v. and pf. ~by Debussy to poems by
 Verlaine. The first ~version, comp. [sm1882[nm, comprised [cf2]Pantomime, En ~s
ourdine, Mandoline, Clair de Lune, [cf1]and [cf2]Fantoches[cf1],
 ~but three of the songs were revised in [sm1891[nm=n[sm2[nm ~and were pubd. in
[sm1903[nm as Set I ([cf2] En sourdine, ~Fantoches [cf1]and [cf2]Clair de Lune[c
f1]). Set II, comp. [sm1904[nm, ~comprises[cf2] Les ing;aaenus, Le faune, [cf1]a
nd [cf2]Colloque ~sentimental[cf1]. No. [sm2[nm of Set II orch. Roland-Manuel ~[
sm1923[nm, No. [sm3[nm orch. Beydts [sm1929[nm. [cf2]Mandoline[cf1] and ~[cf2]Pa
ntomime[cf1] were issued separately.[cm~F;aaetis, Fran;alcois[fy75,1] (=+=+=+Jos
eph)[cf1] ([cf2]b[cf1] Mons, [sm1784[nm; [cf2]d[cf1] Brussels, ~[sm1871[nm). Bel
gian critic, historian, composer, and ~organist. Studied Paris Cons. Org., Douai
 [sm1813[nm=n~[sm18[nm. Prof. of comp., Paris Cons., [sm1821[nm, librarian ~[sm1
826=n30[nm. Founded and ed. [cf2]Revue musicale[cf1] [sm1827[nm=n~[sm33[nm. Dir.
, Brussels Cons. from [sm1833[nm. Reputation ~est. by [cf2]Biographie universell
e des musiciens[cf1] ([sm8[nm vols., ~[sm1835[nm=n[sm44[nm, [sm2[nmnd edn. [sm18
60[nm=n[sm5[nm; suppl. by Pougin, [sm2[nm ~vols., [sm1878[nm=n[s
m80[nm). Also author of vols. of history, ~theoretical works, and biographies of
 Paganini ~and Stradivari. Comp. [sm7[nm operas, [sm2[nm syms., [sm3[nm pf. ~qui
ntets, sonatas, church mus., etc.[cm~Feuermann, Emanuel[fy75,1] ([cf2]b[cf1] Kol
omyja, Lw;aaow, ~[sm1902[nm; [cf2]d[cf1] NY, [sm1942[nm). Austrian cellist. Publ
ic d;aaebut ~at age [sm11[nm. Teacher of vc. at Cologne Cons. [sm1917[nm=n~[sm23
[nm, at Berlin Hochschule [sm1929[nm=n[sm33[nm. Settled in USA ~[sm1938[nm becom
ing Amer. cit. Frequent soloist with ~leading orchs.[cm~Feuersnot[fy75,1] (Fire-
famine). [sm1[nm-act opera by R. Strauss ~to lib. [cf2](Singgedicht)[cf1] by E.
von Wolzogen based on ~Flemish legend. Comp. [sm1900=n1[nm. Prod. Dresden ~[sm19
01[nm, London [sm1910[nm, Philadelphia [sm1927[nm.[cm~Feux d'artifice[fy75,1] (F
ireworks). Title of pf. prelude ~by Debussy, last of the [sm2[nmnd book of [sm12
[nm ([sm1912[nm=n[sm13[nm).[cm~F;aaevin, Antoine de[fy75,1] ([cf2]b[cf1]?Arras,
[cf2]c[cf1].[sm1473[nm; [cf2]d[cf1] Blois, ~[cf2]c[cf1].[sm1512[
nm). Fr. composer. High contemporary repu~~tation as composer of church mus., in
cl. several ~masses.[cm~F;aaevrier, Henry [fy75,1]([cf2]b[cf1] Paris, [sm1875[nm
; [cf2]d[cf1] Paris, [sm1957[nm). Fr. ~composer, pupil of Massenet and Pugno at
Paris ~Cons. Comp. several operas incl. [cf2]Monna Vanna ~[cf1]([sm1909[nm) and
[cf2]Gismonda [cf1]([sm1918[nm).[cm~ff. [fy75,1]Abbreviation for [fy45,1]*[fy75,
2]fortissimo[cf1], very loud. Com~~posers occasionally use [cf2]fff[cf1] and eve
n more.[cm~Ffrang;alcon-Davies, David [fy75,1](Thomas)[cf1] ([cf2]b[cf1] Bethesd
a, ~[sm1855[nm; [cf2]d[cf1] London, [sm1918[nm). Welsh bar. Originally a ~clergy
man, he took up singing, trained at GSM, ~and made stage d;aaebut in opera in Lo
ndon, [sm1890[nm. ~Toured USA and Canada [sm1896[nm=n[sm8[nm. High reputation ~i
n oratorio. Teacher, RAM [sm1903[nm=n[sm7[nm. Illness cut ~short career [sm1907[
nm. His daughter Gwen ([cf2]b[cf1] [sm1891[nm) ~began her career as a sop., sing
ing in [fy45,1]*[fy75,1]Boughton's ~[cf2]Immortal Hour[cf1], and
 later became a leading actress.[cm~Fg. [fy75,1]Abbreviation for [fy45,1]*[fy75,
2]Fagott[cf1] (Ger.), bassoon.[cm~F.G.S.M.[fy75,1] Fellow of Guildhall Sch. of M
us. and ~Drama.[cm~Fiala, Joseph [fy75,1]([cf2]b[cf1] Lochovice, [sm1754[nm; [cf
2]d[cf1] Donaueschin~~gen, [sm1816[nm). Cz. composer, oboist, and cellist. ~Stud
ied in Prague. Oboist in court band at ~Oettingen-Wallerstein, [sm1774[nm=n[sm7[
nm, during which ~time he pubd. [sm6[nm str. qts. Went to Munich [sm1777[nm, ~me
eting Mozart, of whom he became close ~friend. Played in Archbishop of Salzburg'
s orch. ~[sm1778[nm=n[sm85[nm, and in Vienna [sm1785[nm=n[sm90[nm. Kapellmeister
 ~at Donaueschingen from [sm1792[nm. Works incl. [sm12[nm ~str. qts., syms., pie
ces for wind band, duos, and ~sonatas.[cm~Fiato[fy75,1] (It., `breath'). Wind in
str. are [cf2]stromenti a ~fiato[cf1].[cm~Fibich, Zden;akek [fy75,1](Antonin V;a
aaclav) ([cf2]b[cf1] V;aksebo;akrice, ~[sm1850[nm; [cf2]d[cf1] Prague, [sm1900[n
m). Cz. composer. Studied ~with his mother and in Vienna, Prague
, and ~Leipzig ([sm1865[nm=n[sm7[nm) under Moscheles and E. F. ~Richter. Taught
piano in Paris [sm1868[nm=n[sm9[nm. Returning ~to Prague, worked as theatre cond
., but lived ~mainly from compositions. Was first Romantic ~Cz. composer, in thi
s respect standing apart from ~Dvo;akr;aaak, Smetana, and Jan;aaa;akcek. Among h
is most ~remarkable achievements are his concert and ~stage melodramas, the most
 ambitious ever ~written, especially the trilogy [cf2]Hippodamia [cf1]([sm1888[n
m=n~[sm91[nm), and his [sm376[nm [cf2]Moods, Impressions and Reminis~~cences[cf1
] for solo piano ([sm1892[nm=n[sm9[nm), a `diary' of his love ~for his piano pup
il, the writer Ane;akzka Schulzov;aaa ~([sm1868[nm=n[sm1905[nm). His operas incl
ude [cf2]Bukovin[cf1] ([sm1870[nm=n~[sm1[nm), [cf2]Blan;aaik[cf1] ([sm1874[nm=n[
sm7[nm), [cf2]Nev;akesta mesinsk;aaa [cf1]([cf2]The Bride of ~Messina[cf1]) ([sm
1882[nm=n[sm3[nm), [cf2]Bou;akre [cf1]([cf2]The Tempest[cf1], after ~Shakespeare
) ([sm1893[nm=n[sm4[nm), [cf2]Hedy[cf1] ([sm1894[nm=n[sm5[nm), [
cf2];akS;aaarka[cf1] ~([sm1896[nm=n[sm7[nm), and [cf2]P;aaad Arkuna[cf1] ([cf2]T
he Fall of Arkona[cf1]) ~([sm1898[nm=n[sm9[nm). Wrote much incidental music, [sm
3[nm syms., ~several sym.-poems, chamber mus., and over [sm200[nm ~songs. His sy
m.-poem [cf2]At Twilight[cf1] ([cf2]V podve;akcer[cf1]) ~([sm1893[nm) contains t
he celebrated [cf2]Poem[cf1].[cm~[PN248,0,0,L,I0]Ficher, Jacobo [fy75,1]([cf2]b[
cf1] Odessa, [sm1896[nm; [cf2]d[cf1] Buenos Aires, ~[sm1978[nm). Russ. composer
and violinist. Studied St ~Petersburg/Petrograd Cons. [sm1912[nm=n[sm17[nm. In [
sm1923[nm ~settled in Argentina, founding contemporary ~mus. group, conducting,
and after [sm1956[nm teaching ~comp. at Nat. Cons., Buenos Aires. Comp. incl. [s
m2[nm ~Chekhov chamber operas, [cf2]The [fy45,1]*[fy75,2]Bear[cf1] ([sm1952[nm)
and ~[cf2]Proposal of Marriage[cf1] ([sm1956[nm), [sm3[nm pf. concs., [sm8[nm sy
ms., ~sax. qt., fl. conc., [sm7[nm pf. sonatas, wind quintet, [sm4[nm ~str. qts.
, etc.[cm~Fiddle. [fy75,1]Colloquial term for any kind of bowed
~instr., especially the vn., or in reference to its use ~as a `folk' instr. (as
in Mahler's [sm4[nmth Sym. where a ~solo vn., specially tuned, is instructed to
play [cf2]wie ~ein Fiedel[cf1] (`like a fiddle', in folk style). Also name ~for
the medieval ancestor of the vn.[cm~Fiddle Fugue.[fy75,1] Nickname for org. fugu
e in D ~minor by Bach (because it was arr. from an earlier ~version for solo vn.
, [sm1720[nm).[cm~Fidelio, oder Die eheliche Liebe[fy75,1] (Fidelio, or ~Married
 Love). Opera in [sm2[nm acts by Beethoven, Op. ~[sm72[nm, to lib. by Josef Sonn
leithner based on Bouilly's ~[cf2]L;aaeonore, ou L'Amour conjugal[cf1]. F.p. in
orig. [sm3[nm-act ~version, Vienna [sm1805[nm. Reduced to [sm2[nm acts by Stefan
 ~von Breuning [sm1806[nm, prod. Vienna [sm1806[nm. Further ~rev., and lib. rev.
 by G. F. Treitschke, [sm1814[nm, prod. ~Vienna [sm1814[nm, London [sm1832[nm, N
Y [sm1839[nm. Orig. [sm1805[nm ~version, under title [fy45,1]*[fy75,2]Leonore, [
cf1]reconstructed in ~edn. by E. Prieger, [sm1905[nm. Of the [sm
4[nm ovs., [cf2]Fidelio[cf1] ~(comp. for [sm1814[nm revival but not ready for f.
p.) is ~now used in the th. [cf2]Leonora[cf1] No. [sm2[nm is thought to ~have be
en comp. [sm1804[nm=n[sm5[nm, No. [sm3[nm in [sm1806[nm, and No. ~[sm1[nm in [sm
1807[nm for a projected Prague perf. It is now ~customary to perform No. [sm3[nm
 as an entr'acte before ~final scene. Bouilly's lib. was also the basis of ~[fy4
5,1]*[fy75,1]Gaveaux's [cf2]L;aaeonore[cf1] (Paris [sm1798[nm), [fy45,1]*[fy75,1
]Pa;auer's [cf2]Leonora[cf1] ~(Dresden [sm1804[nm), and [fy45,1]*[fy75,1]Mayr's
[cf2]L'Amor coniugale[cf1] ~(Padua [sm1805[nm).[cm~Fiedler, Arthur[fy75,1] ([cf2
]b[cf1] Boston, Mass., [sm1894[nm; [cf2]d[cf1] Boston, ~[sm1979[nm). Amer. cond.
 Studied with his father, ~member of Boston S.O., then in Berlin with the ~violi
nist Willy Hess. Joined Boston S.O. as violinist ~[sm1915[nm, later violist. For
med Boston Sinfonietta, ~conducting it in Boston and on tour. In [sm1930[nm ~bec
ame cond. of Boston `Pops' concerts, spreading ~their fame throu
gh recordings.[cm~Fiedler, [fy75,1](August) [fy65,3]Max [fy75,1]([cf2]b[cf1] Zit
tau, [sm1859[nm; [cf2]d[cf1] Stock~~holm, [sm1939[nm). Ger. cond., trained Leipz
ig Cons. ~[sm1877[nm=n[sm80[nm. Taught at Hamburg Cons. from [sm1882[nm, ~becomi
ng dir. [sm1903=n8[nm. Cond., Hamburg Phil. ~from [sm1904[nm; Boston S.O. [sm190
8[nm=n[sm12[nm; mus. dir. in ~Essen [sm1916=n34[nm. Comp. sym., ov., and pf. qui
ntet.[cm~Field, John[fy75,1] ([cf2]b[cf1] Dublin, [sm1782[nm; [cf2]d[cf1] Moscow
, [sm1837[nm). ~Irish pianist and composer. Pupil in Dublin of ~Giordani, making
 d;aaebut aged [sm9[nm. In London ~became pupil of [fy45,1]*[fy75,1]Clementi, wh
ose pfs. he ~exhibited and who took him to Fr., Ger., and ~Russia, where he sett
led in St Petersburg in [sm1803[nm, ~becoming teacher and touring Europe as virt
uoso ~pianist. His importance as a composer for the pf. ~has only latterly been
recognized. He invented ~the style and name [cf2]Nocturne[cf1] for short pieces,
 ~composing [sm19[nm. Wrote [sm7[nm pf. concs., [sm4[nm sonatas,
 and ~other works. Schumann and Liszt admired his ~work, and Chopin developed th
e Nocturne form.[cm~Field-Hyde, Margaret [fy75,1]([cf2]b[cf1] Cambridge, [sm1905
[nm). ~Eng. sop. and violinist. Studied singing with her ~father, a pupil of [fy
45,1]*[fy75,1]Garc;aaia, and in Frankfurt and ~Paris. D;aaebut [sm1928[nm in Cam
bridge revival of ~Purcell's [cf2]King Arthur[cf1]. Specialist in Purcell and ~B
ach, but also in works by Lutyens and other ~contemporaries. Founded Golden Age
Singers ~[sm1950[nm, touring Europe and USA with them.[cm~Fiery Angel, The [fy75
,1]([cf2]Ognenny Angel; [cf1]sometimes ~known as [cf2]The Flaming Angel[cf1]). O
pera in [sm5[nm acts by ~Prokofiev to his lib. based on novel by V. Bryusov ~([s
m1908[nm). Comp. [sm1919[nm=n[sm23[nm, rev. [sm1926=n7[nm. F.p. Paris ~(concert)
 [sm1954[nm, staged Venice [sm1955[nm, London and ~NY [sm1965[nm. Prokofiev's [s
m3[nmrd Sym. uses themes from ~the opera.[cm~Fiesco, Giulio[fy75,1] ([cf2]b[cf1]
 Ferrara, [cf2]c[cf1].[sm1519[nm; [cf2]d[cf1] Modena, ~[cf2]c[cf
1].[sm1586[nm). It. madrigal composer and lutenist.[cm~Fife. [fy75,1]Ancient sid
e-blown instr. like a high-pitched ~fl., frequently used in military bands. Mode
rn ~drum and fife bands incl. low-pitched fls.[cm~Fifteenth.[fy75,1] A high-pitc
hed [fy45,1]*[fy75,1]Diapason org. stop ~sounding [sm2[nm octaves above the note
 played; [sm2[nm;po ~length and pitch on manuals, [sm4[nm;po on pedals.[cm~Fifth
. [fy75,1]Interval consisting of [sm3[nm whole-tones and a ~semitone, so-called
because no. of notes from one ~extreme of the interval to the other in the diato
nic ~scale is [sm5[nm. A perfect [sm5[nmth is the distance from, for ~example, C
 to G. From C up to G;yh is a diminished ~fifth, and from C up to G;yi is an aug
mented fifth. ~See [cf2]Consecutive Fifth[cf1].[cm~`Fifths' Quartet[fy75,1] (Qui
ntenquartett). Name for ~Haydn's Str. Qt. in D minor, Op. [sm76[nm, No. [sm2[nm
([sm1797[nm=n~[sm8[nm) because it begins with melodic leaps of a [sm5[nmth.[cm~F
igural, figured[fy75,1] (Eng.); [fy65][cf3]figur;aae[fy75,1] (Fr
.); [fy65][cf3]figurato[fy75,1] ~(It.); [fy65][cf3]figural, figuriert[fy75,1] (G
er.). Florid. ([sm1[nm) A `figured ~chorale', is one in which the melody is acc.
 by ~quicker notes in the other parts.[ep~^([sm2[nm)^In solo vocal mus. the word
 implies [fy45,1]*[fy75,2]Color~~atura[cf1].[cm~Figuralmusik. [fy75,1]See [cf2]M
usica figurata[cf1].[cm~Figurato, figurata[fy75,1] (It.). Same as [cf2]colorato,
 colorata, ~[cf1]i.e. treated in the manner of [fy45,1]*[fy75,2]Coloratura[cf1].
[cm~Figure.[fy75,1] ([sm1[nm) In mus. structure, this word usually ~carries the
same meaning as [fy45,1]*[fy75,2]Motif[cf1]. A `figure of ~accompaniment' refers
 to the mus. cell from ~which a certain type of song acc. may be evolved.[ep~_([
sm2[nm)^In dancing the word implies a set of ~movements by the dancers as a body
, forming a ~distinct division of the whole. This element is ~prominent in a [cf
2]Figure Dance[cf1], as opposed to a [cf2]Step ~Dance[cf1], in which it is large
ly absent.[cm~Figured Bass. [fy75,1]See [cf2]Basso continuo[cf1]
.[cm~[PN249,0,0,R,I0]Filare la voce, filar il tuono[fy75,1] (It.), [fy65][cf3]fi
ler la voix ~(le son)[fy75,1] (Fr.). To draw out the voice (tone). The ~[fy45,1]
*[fy75,2]messa di voce[cf1]; or sometimes understood to mean ~the holding of a l
ong note without any dynamic ~fluctuation.[cm~Fille aux cheveux de lin, La[fy75,
1] (The girl with the ~flaxen hair). Pf. piece by Debussy, No. [sm8[nm of his ~[
fy45,1]*[fy75,1]Pr;aaeludes, Book I. Comp. Jan. [sm1910[nm, f.p. London ~[sm1910
[nm. Based on poem by Leconte de Lisle.[cm~Fille de Madame Angot, La[fy75,1] (Mm
e Angot's ~Daughter). [sm3[nm-act operetta by Lecocq to lib. by ~Clairville, Sir
audin, and Koning, after Maillot's ~vaudeville [cf2]Madame Angot[cf1] ([sm1796[n
m). Prod. Brussels ~[sm1872[nm, London [sm1873[nm, NY [sm1873[nm.[cm~Fille du R;
aaegiment, La[fy75,1] (The Daughter of the ~Regiment). [sm2[nm-act opera by Doni
zetti to lib. by ~V.|de Saint-Georges and Bayard. Prod. Paris [sm1840[nm, ~Londo
n [sm1843[nm, New Orleans [sm1847[nm.[cm~Fille mal gard;aaee, La
[fy75,1] (The Unchaperoned Girl). ~[sm2[nm-act ballet to lib. by Dauberval orig.
 to medley ~of Fr. songs and airs. Prod. Bordeaux [sm1789[nm. For ~[sm1828[nm re
vival in Paris, H;aaerold provided new score, ~using some of orig. tunes, extrac
ts from Rossini ~and Donizetti operas, and his own mus. Mus. for ~[sm1864[nm Ber
lin version comp. by Hertel. For [sm1960[nm ~London revival to Ashton choreog.,
John Lanch~~bery prepared new score based mainly on H;aaerold ~but with Hertel's
 `Clog Dance'.[cm~Film Music.[fy75,1] Mus. written to acc. action in ~documentar
y and feature films. In the days of ~silent films a pianist or small orch. in th
e cinema ~pit provided a mus. commentary on the action, ~usually by a selection
of appropriate popular ~operatic and orch. items. But the first piece of ~`origi
nal' film mus. was written by Saint-Sa;auens ~(Op. [sm128[nm) for H. Lavedan's f
ilm [cf2]L'Assassinat du ~Duc de Guise[cf1], [sm1908[nm.[ep~^An ambitious develo
pment for its day was the ~silent film made in [sm1924[nm of Str
auss's [cf2]Der ~Rosenkavalier.[cf1] For this, mus. from the opera was ~adapted
for th. orch., with some additional items ~for extra scenes. With the advent of
the `talkie' ~and the development of the sound-track, the ~opportunities for the
 use of illustrative mus. were ~gradually seized and exploited by composers. In
~Hollywood, the capital of the cinema industry, ~mus. for many films was written
 by Erich ~[fy45,1]*[fy75,1]Korngold and later by Mikl;aaos [fy45,1]*[fy75,1]R;a
aozsa. Distin~~guished film music was written by Bernard ~[fy45,1]*[fy75,1]Herrm
ann for Welles's [cf2]Citizen Kane[cf1] and for a ~series of Hitchcock films, no
tably [cf2]Psycho[cf1]. Fr. ~composers such as [fy45,1]*[fy75,1]Auric wrote for
films, and in ~Britain practically all the leading composers=m~Britten, Walton,
Vaughan Williams, Rawsthorne, ~Bax, Ireland, Alwyn, Arnold, Richard Rodney ~Benn
ett, and many others=mhave written film ~mus. Some of the greatest film mus. was
 written ~by Prokofiev for Eisenstein's [cf2]Alexander Nevsky[cf
1], ~and Shostakovich and Khachaturian have also ~written effective film scores.
 Walton's [cf2]Henry V[cf1] ~and Vaughan Williams's [cf2]Scott of the Antarctic[
cf1] are ~highly regarded. Mention should also be made of ~the scores by Michel
Legrand, John Barry, and ~Burt Bacharach, while Addinsell's clever pastiche ~of
a romantic pf. conc., the `Warsaw' Conc. from ~[cf2]Dangerous Moonlight[cf1], pe
rhaps made a wider ~audience aware of the potency of film music. ~There have bee
n examples of brilliant use in a ~film of mus. which was not written specially f
or ~it, e.g. Rakhmaninov's C minor pf. conc. in [cf2]Brief ~Encounter[cf1]; Moza
rt's C major pf. conc. No. [sm21[nm, ~K[sm467[nm ([sm2[nmnd movement) in [cf2]El
vira Madigan[cf1], and ~the Adagietto from Mahler's [sm5[nmth sym. in [cf2]Death
 in ~Venice[cf1]. And there is Schoenberg's [cf2]Accompaniment ~to a Film Scene,
 [cf1]Op. [sm34[nm ([sm1930[nm), comp. for no ~particular film or scene.[cm~Filt
er. [fy75,1]Elec. device permitting selective transmis~~sion of
specified frequencies of the input signal ~by attenuating, or filtering out, unw
anted fre~~quencies.[cm~Filtz, [fy75,1](=+=+=+Johann) [fy65][cf3]Anton[fy75,1] (
[cf2]b[cf1] Eichst;auatt, [sm1733[nm; [cf2]d[cf1] ~Mannheim, [sm1760[nm). Ger.-B
ohemian composer and ~cellist. Pupil of Stamitz. Prin. cellist in famous ~Mannhe
im orch. Wrote over [sm40[nm syms., concs. for ~vc. and fl., chamber mus., etc.[
cm~Fin [fy75,1](Fr.). End.[cm~Fin[fy75,1] (It.). Same as [fy45,1]*[fy75,2]Fino[c
f1].[cm~Final. [fy75,1]([sm1[nm) (Eng.). The note on which the modal ~scale ends
 (see [cf2]Modes[cf1]), as on the keynote of the ~major or minor scale.[ep~_([sm
2[nm)^(Fr.). [fy45,1]*[fy75,1]Finale.[cm~Finale[fy75,1] (It.). End. The last mov
ement of a work ~in several movements, i.e. sym., conc., suite, ~sonata, etc. Al
so the ens. ending an act of an ~opera.[cm~Finck, Herman[fy75,1] ([cf2]b[cf1] Lo
ndon, [sm1872[nm; [cf2]d[cf1] London, ~[sm1939[nm). Eng. composer and cond. Stud
ied GSM. At ~[sm16[nm was pianist and violinist at Palace Th., L
ondon, ~becoming cond. there [sm1900[nm. Mus. dir. Drury ~Lane [sm1922[nm=n[sm31
[nm. Comp. comic operas, such as ~[cf2]Katinka[cf1], and th. mus. Best known for
 his short ~piece [cf2]In the Shadows[cf1] ([sm1910[nm).[cm~Finck, Hermann [fy75
,1]([cf2]b[cf1] Pirna, [sm1527[nm; [cf2]d[cf1] Wittenberg, ~[sm1558[nm). Ger. or
ganist and composer of motets, etc. ~Wrote treatise [cf2]Practica Musica[cf1] ([
sm1556[nm).[cm~Fine, Irving [fy75,1]([cf2]b[cf1] Boston, Mass., [sm1914[nm; [cf2
]d[cf1] Natick, ~Mass., [sm1962[nm). Amer. composer and critic. Studied ~Harvard
 Univ. [sm1933[nm=n[sm9[nm and in Paris with [fy45,1]*[fy75,1]Boulan~~ger. Ass.
prof. of mus., Harvard, [sm1939[nm=n[sm50[nm. ~Chairman, sch. of creative arts,
Brandeis Univ., ~from [sm1950[nm. Mus. tended towards neo-classicism; ~in his la
st years he was attracted by [sm12[nm-note ~technique. Works incl. Sym. ([sm1962
[nm), [cf2]Music for ~Modern Dance[cf1] ([sm1941[nm), [sm3[nm [cf2]Choruses from
 Alice in ~Wonderland[cf1] ([sm1942[nm), [cf2]Mutability[cf1], [
sm6[nm songs for mez. ~and pf. ([sm1952[nm), [cf2]The Hour Glass[cf1] for ch. an
d orch. ~([sm1949[nm), vn. sonata, str. qt., etc.[cm~[PN250,0,0,L,I0]Fine, Vivia
n [fy75,1]([cf2]b[cf1] Chicago, [sm1913[nm). Amer. composer. ~Studied pf. at Chi
cago Mus. Coll. [sm1919[nm=n[sm22[nm and at ~Amer. Cons., Chicago, [sm1925[nm=n[
sm31[nm, later studying ~comp. with [fy45,1]*[fy75,1]Sessions [sm1934[nm=n[sm42[
nm and orchestration ~with George Szell, [sm1943[nm. Has held several teaching ~
posts, and from [sm1931[nm championed modern pf. ~mus. Her works incl. pf. conc.
, str. qt., vn. sonata, ~[cf2]Alcestis[cf1] (ballet for Martha Graham), and [cf2
]A Guide ~to the Life Expectancy of a Rose[cf1] for sop., ten., and ~chamber ens
.[cm~Fingal's Cave[fy75,1] (The Hebrides) ([cf2]Die Hebriden ~(Fingals H;auohle)
)[cf1]. Ov. in B minor, Op. [sm26[nm, by ~Mendelssohn, who is said to have inven
ted the ~prin. theme while on a visit to the Hebrides and ~the island of Staffa
in [sm1829[nm. (In fact he jotted ~down the theme in a letter wr
itten before he ~went to Staffa. The orig. version was called [cf2]The ~Lonely I
sland.[cf1]) Comp. [sm1830[nm, rev. [sm1832[nm. After rev. ~the work was f.p., a
s [cf2]The Isles of Fingal[cf1], London, ~CG [sm1832[nm. It is in effect a descr
iptive tone-poem.[xm[cm~[ol0][ep~[xp[te~









[do3][j99]~~~~~~153842_F005[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmF[sm005[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm9[nm/[sm79[nm[cm[sm3[
nm[cm[sm183[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Finger Board. [fy75,1]
In a str. instr., the long strip of ~hard wood over which the str. are stretched
.[cm~Finger, Gottfried[fy75,1] ([cf2]b[cf1] Olomouc, [cf2]c.[cf1][sm1660[nm; [cf
2]d[cf1] Mann~~[chheim, [sm1730[nm). Moravian composer who settled in ~England a
t royal court [sm1687[nm=n[sm1704[nm when he ~became musician to Queen of Prussi
a. [cf1]Kapell~~meister[cf1], court of Gotha, from [sm1717[nm. Wrote operas, ~th
. mus., concs., sonatas, etc.[cm~Fingering[fy75,1] (of kbd. instr.). Since the e
nd of the ~[sm18[nmth cent., this has been standardized on some~~thing like mode
rn principles. Before this period ~there was a good deal of passing of the [sm3[
nm middle ~fingers over one another and comparatively little ~use of the thumb a
nd little finger; this was partly ~due to the fall of the keys b
eing much shallower ~than with modern instr. The pf. killed finger-~crossing, si
nce it demanded an actual blow ~(properly a blow by pressure=mone sufficient to
~[cf2]throw[cf1] the hammer at the strings, yet so exactly ~controlled as to thr
ow it with either the greater ~force required by a fortissimo or the lesser ~req
uired by a pianissimo).[ep~^Clementi firmly est. the modern principles of ~finge
ring: his use of the thumb was the same as ~ours, except that he did not use it
on the black ~keys, as is sometimes done today. These modern ~principles incl. t
he division of a scale into [sm2[nm ~groups of [sm3[nm and [sm4[nm notes respect
ively, with the ~thumb as the pivot between them, the playing of ~arpeggio passa
ges on the basis of the octave, some ~adaptation of fingering to the hand of the
 ~individual player, the planning of the fingering ~of a passage by working back
wards from the ~point at which it is ultimately to arrive, and the ~division of
such a passage into `physical groups' as ~units, each of these b
eing considered as a chord.[ep~^Organ fingering follows much the same prin~~cipl
es as pf. fingering but, as the nature of the ~instr. generally calls for a perf
ect legato, more ~substitution of finger is required, a key often ~being depress
ed by one finger and then held by ~another, so freeing the first for use on anot
her ~key.[ep~^See also [cf2]English[cf1] [cf2]fingering.[cm~Finite Canon. [fy75,
1]A [fy45,1]*[fy75,1]canon which is not repeated, ~the converse of `perpetual' o
r `infinite' canon.[cm~Finlandia. [fy75,1]Short work for orch., Op. [sm26[nm, by
 ~Sibelius. Comp. [sm1899[nm as final tableau of nationalist ~pageant to raise m
oney for a press pension fund ~in Helsinki. Rev. [sm1900[nm and f.p. Helsinki, J
uly ~[sm1900[nm. Its patriotic fervour, though no folk-song ~material was used,
led to its adoption as a symbol ~of Finnish nat. aspirations. F.p. in Eng. [sm19
05[nm ~(Liverpool, cond. Bantock).[cm~Finney, Ross Lee [fy75,1]([cf2]b[cf1] Well
s, Minn., [sm1906[nm). Amer. ~composer and teacher. Studied mus.
 at Univ. of ~Minnesota, with Boulanger in Paris [sm1927[nm=n[sm8[nm, with ~Berg
 in Vienna [sm1931[nm=n[sm2[nm, and with Roger Sessions ~intermittently [sm1929[
nm=n[sm48[nm. Taught at Smith Coll., ~[sm1929[nm=n[sm47[nm. Prof. of mus., Univ.
 of Michigan from ~[sm1949[nm, where he est. elec. mus. studio. Since [sm1950[nm
 ~he has combined in his mus. tonalism with [sm12[nm-~note and serial techniques
. Works incl. [sm4[nm syms., [sm8[nm ~str. qts., vn. sonatas, vc. sonatas, pf. q
t., pf. ~quintets, str. quintets, [sm2[nm pf. concs., vn. conc., and ~choral pie
ces.[cm~Finnila, Birgit[fy75,1] ([cf2]b[cf1] Falkenberg, Swed., [sm1931[nm). ~Sw
ed. mez. Studied with Roy Henderson, RCM. ~Exponent of Wagner, Mahler, Brahms, e
tc. Prof. ~d;aaebut G;auoteborg [sm1963[nm.[cm~Finnissy, Michael [fy75,1]([cf2]b
[cf1] London, [sm1946[nm). Studied at ~RCM with Bernard Stevens and Humphrey Sea
rle ~and later with R. Vlad in Rome. Formed mus. ~dept. at London Sch. of Contem
porary Dance, ~teaching there [sm1969[nm=n[sm74[nm. Works incl.:
[xm[cm~[j2][smmusic theatre[nm: [fy75,2]Circle, Chorus, and Formal Act[cf1], bar
., ~women's ch., perc., ch., [sm6[nm sword-dancers, [sm4[nm ~mimes, small ens. (
[sm1973[nm); [cf2]Mysteries[cf1]: [sm1[nm. [cf2]The ~Parting of Darkness from Li
ght[cf1], [sm2[nm ten., [sm2[nm bar., bass. ~[sm2[nm. [cf2]The Earthly Paradise[
cf1], mez., ten., bass, [sm2[nm actors, ~ens. [sm3[nm. [cf2]The Great Flood[cf1]
, ten., [sm4[nm actors, [sm4[nm actresses, ~[sm2[nm instr., [sm3[nm perc. [sm4[n
m. [cf2]The Prophecy of Daniel[cf1], sop., ~bar., actor, ch., hp., perc. [sm5[nm
. [cf2]The Parliament of ~Heaven[cf1], [sm3[nm sop., mez., ten., [sm2[nm actors,
 [sm3[nm ch., ~children's ch., ens. [sm6[nm. [cf2]The Annunciation[cf1]. [sm7[nm
. [cf2]The ~Betrayal and Crucifixion of Jesus of Nazareth[cf1]. [sm8[nm. ~[cf2]T
he Deliverance of Souls[cf1], [sm2[nm sop., mez., [sm2[nm ten., [sm2[nm ~bar., b
ass, [sm4[nm ch., children's ch., orch. ([sm1972[nm=n[sm9[nm); ~[cf2]Bouffe[cf1]
, for a person alone on stage ([sm1975[nm); [cf2]Mr ~Punch[cf1],
 speaker, [sm5[nm instr., perc. ([sm1976[nm=n[sm7[nm); [cf2]Vaude~~ville[cf1], m
ez., bar., [sm2[nm mimes, [sm6[nm instr., perc. ([sm1983[nm).[ep~[smorch[nm: [cf
2]Song II[cf1] and [cf2]IV[cf1] ([sm1963=n9[nm); [cf2]Song X[cf1] ([sm1968=n75[n
m); ~[cf2]Offshore[cf1] ([sm1975=n6[nm); [cf2]Pathways of Sun and Stars[cf1] ~([
sm1976[nm); [cf2]Sea and Sky[cf1] ([sm1979=n80[nm).[ep~[smvoice(s) and instr[nm:
 [cf2]Le dormeur du val[cf1], mez. and [sm8[nm ~instr. ([sm1963[nm=n[sm8[nm); [c
f2]From the Revelations of St John the ~Divine[cf1], sop., fl., str. sextet ([sm
1965[nm=n[sm70[nm); [cf2]Horrorzone[cf1], ~sop., fl., hn., pf. duet ([sm1966[nm=
n[sm71[nm); [cf2]Song III[cf1], sop., [sm4[nm ~instr. ([sm1963=n9[nm); [cf2]Folk
-Song Set[cf1], sop. and [sm9[nm instr. ~([sm1969[nm=n[sm70[nm, rev. [sm1975[nm=
n[sm6[nm); [cf2]Song XI[cf1], sop., cl. ([sm1968=n~75[nm); [cf2]Jeanne d'Arc[cf1
], sop., ten., vc., small orch. ~[PN251,0,0,R,I0]([sm1967=n71[nm); [cf2]Babylon[
cf1], mez. and ens. ([sm1971[nm); [cf2]World[cf1], ~[sm2[nm sop.
, cont., ten., bar., bass, orch. ([sm1968=n74[nm); ~[cf2]Tsuru-Kame[cf1], sop.,
[sm3[nm chorus sop., instr., and ~dancers ([sm1971=n3[nm); [cf2]Commedia dell' i
ncomprehensi~~bile Potere che alcune Donne hanno sugli Uomini[cf1], ~sop., count
erten., vc., cembalo ([sm1973=n5[nm); [cf2]Orfeo[cf1], ~vv. and instr. ([sm1974=
n5[nm); [cf2]Medea[cf1], vv. and instr. ~([sm1973=n6[nm);[cf2] Mine Eye awake[cf
1], sop., pf. ([sm1977[nm); [cf2]Gor;amo[cf1], ~ten. and 6 instr. ([sm1978[nm);
[cf2]Sir Tristran[cf1], sop., cl., pf., ~vn., va., vc. ([sm1978[nm); .|.|. [cf2]
fairest noonday[cf1] .|.|., ten., ~pf. ([sm1979[nm); [cf2]Talawva[cf1], mez., in
str. ([sm1979[nm); Pf. ~Conc. No. [sm5[nm, pf., mez., and ens. ([sm1980[nm); [cf
2]Green ~Bushes[cf1], cont., pf. ([sm1980[nm); [cf2]Duru-duru[cf1], mez., fl., p
f., ~[sm1[nm perc. ([sm1981[nm); [cf2]Warara[cf1], ten., fl., cl., [sm2[nm perc.
 ~([sm1982[nm); [cf2]Anninnia[cf1], sop., pf. ([sm1982[nm); [cf2]Whitman[cf1], v
v., ~instr. ([sm1980=n3[nm); [cf2]Botany Bay[cf1], mez., fl., cl
. or ob. ~([sm1983[nm); [cf2]Soda Fountain[cf1], sop., mez., cont., ten., [sm2[n
m ~pairs of cymbals ([sm1983[nm); [cf2]Ngano[cf1], mez., ten., ch., ~fl., [sm2[n
m perc. ([sm1983=n4[nm).[ep~[smunacc. voices[nm: [cf2]Cipriano[cf1], [sm10[nm vv
. ([sm1974[nm); [cf2]Tom Fool's ~Wooing[cf1], [sm14[nm vv. ([sm1975=n8[nm); [cf2
]Kelir[cf1], [sm6[nm vv. ([sm1981[nm); ~[cf2]Australian Sea Shanties I[cf1] ([sm
1983[nm).[ep~[sminstr. ens[nm: [cf2]Afar[cf1], [sm7[nm instr. ([sm1966=n7[nm); [
cf2]As when upon a ~tranced summer night[cf1], [sm3[nm vc., pf., [sm2[nm perc. (
[sm1966=n8[nm); ~[cf2]Song VI[cf1], fl., ob., vc., cembalo ([sm1963[nm=n[sm8[nm)
; [cf2]Piece to ~honour Igor Stravinsky[cf1], fl., va., hp. ([sm1971[nm); ~[cf2]
Transformations of the Vampire[cf1], cl., vn., va., [sm3[nm ~perc. ([sm1968=n71[
nm); [cf2]n[cf1], [sm1=n4[nm instr. ([sm1969[nm); [cf2]Evening[cf1], [sm6[nm ~in
str. and perc. ([sm1974[nm); Pf. Conc. No. [sm1[nm ([sm1975[nm), ~No. [sm2[nm ([
sm1975=n6[nm), No. [sm3[nm ([sm1978[nm), No. [sm7[nm ([sm1981[nm
); [cf2]Lost ~Lands[cf1], [sm5[nm instr. ([sm1977[nm); [cf2]Long Distance[cf1],
pf. and [sm14[nm ~instr. ([sm1977[nm=n[sm8[nm); [cf2]Alongside[cf1], [sm13[nm in
str. and perc. ~([sm1979[nm); [cf2]Kagami-Jishi[cf1], fl., hp. ([sm1979[nm); [cf
2]Lord Mel~~bourne[cf1], sop., cl., pf. ([sm1980[nm); [cf2]Nobody's Jig[cf1], st
r. qt. ~([sm1980=n1[nm); [cf2]Jise;ati[cf1], vc. and [sm5[nm instr. ([sm1981[nm)
; [cf2]Keroiylu[cf1], ~ob., bn., pf. ([sm1981[nm); [cf2]Aijal[cf1], fl., ob. or
cl., [sm1[nm perc. ~([sm1982[nm); [cf2]Banumbirr[cf1], fl., cl., vn., vc., pf. (
[sm1982[nm); ~[cf2]Tya[cf1], [sm11[nm instr. and perc. ([sm1982[nm); [cf2]Missis
sippi ~Hornpipes[cf1], vn., pf. ([sm1982[nm); [cf2]Ouraa[cf1], [sm10[nm instr. a
nd ~perc. ([sm1982=n3[nm); [cf2]Australian Sea Shanties II[cf1], recorder ~conso
rt ([sm1983[nm); [cf2]C;afatana[cf1], [sm8[nm instr. and perc. ([sm1984[nm).[ep~
[smsolo voice[nm: [cf2]Song I[cf1], sop. ([sm1963=n9[nm); [cf2]Songs XIV, XV[cf1
], ~sop. ([sm1968=n75[nm); [cf2]Song XVI[cf1], sop. ([sm1976[nm)
; Ohi! ohi! ~ohi!, mez. ([sm1978[nm); [cf2]Mountainfall[cf1], mez. ([sm1978[nm);
 ~[cf2]Moon's goin' down[cf1], solo instr. (or v.) ([sm1980[nm).[ep~[smpiano[nm:
 [cf2]Song V[cf1] ([sm1963=n9[nm); [cf2]Songs VII=nIX [cf1]([sm1963[nm=n[sm8[nm)
; ~[cf2]Autumnall[cf1] ([sm1968[nm=n[sm71[nm); [cf2]Snowdrift[cf1] ([sm1972[nm);
 [cf2]Wild ~Flowers[cf1], [sm2[nm pf. ([sm1974[nm); [cf2]Ives[cf1] ([sm1974[nm);
 [cf2]Verdi Transcrip~~tions[cf1] ([sm1974[nm); [cf2]English Country Tunes[cf1]
([sm1977[nm); [cf2]all. ~fall. down.[cf1] ([sm1977[nm); [cf2]Kemp's Morris[cf1],
 pianist wearing ~morris bells ([sm1978[nm); [cf2]Piano Studies[cf1] ([sm1976=n8
[nm); [cf2]Fast ~Dances, Slow Dances[cf1] ([sm1978=n9[nm);[cf2] Grainger[cf1] ([
sm1979[nm); ~Pf. Conc. No. [sm4[nm ([sm1978=n80[nm); [cf2]Boogie-Woogie [cf1]([s
m1980[nm); ~[cf2]Nancarrow[cf1] ([sm1980[nm); Pf. Conc. No. [sm6[nm ([sm1980=n1[
nm);[cf2] Liz[cf1] ~([sm1980=n1[nm); [cf2]Free Setting[cf1] ([sm1981[nm); [cf2]R
eels[cf1] ([sm1980=n1[nm); ~[cf2]White Rain[cf1], pf. or clavich
ord ([sm1981[nm); [cf2]Rushes[cf1] ~([sm1981[nm); [cf2]Hikkai[cf1] ([sm1982=n3[n
m); [cf2]Australian Sea Shanties ~III[cf1] ([sm1983[nm); [cf2]Tango [cf1]([sm198
4[nm).[ep~[smsolo instr[nm: [cf2]Piece to honour Igor Stravinsky[cf1], fl. ~([sm
1967[nm); [cf2]Song XII[cf1], bass cl. ([sm1968=n75[nm); [cf2]Song XIII[cf1], ~v
n. ([sm1968=n75[nm); [cf2]Alice I[cf1], db., [cf2]II[cf1], vc., [cf2]III[cf1], v
c. and [sm1[nm ~perc. ([sm1970=n5[nm); [cf2]Ru Tchou[cf1], perc. ([sm1975[nm); [
cf2]Song ~XVII[cf1], guitar ([sm1976[nm); [cf2]Song XVIII[cf1], db. ([sm1976[nm)
; [cf2]All ~the trees they are so high[cf1], vn. ([sm1977[nm); [cf2]Doves Figary
[cf1], ~vc. ([sm1976=n7[nm); [cf2]Runnin' Wild[cf1], ob. (or sax.) ([sm1978[nm);
 ~[cf2]Sikangnuqa[cf1], fl. ([sm1979[nm); [cf2]Pavasiya[cf1], ob. ([sm1979[nm);
~[cf2]Hinomi[cf1], perc. ([sm1979[nm); [cf2]Stomp[cf1], pf. accordeon ([sm1981[n
m); ~[cf2]Andimironnai[cf1], vc. ([sm1981[nm); [cf2]Yalli[cf1], vc. ([sm1981[nm)
; ~[cf2]Terekemme[cf1], cembalo ([sm1981[nm); [cf2]Marrngu[cf1],
 cl. ([sm1982[nm); ~[cf2]Nasiye[cf1], guitar ([sm1982[nm); [cf2]Dilok[cf1], ob.
and [sm1[nm perc. ~([sm1982[nm); [cf2]Gerhana[cf1], perc. ([sm1982[nm); [cf2]Cir
it[cf1], cl. ([sm1982[nm); ~[cf2]Uzundara[cf1], cl. ([sm1983[nm); [cf2]Sepevi[cf
1], db. ([sm1982=n3[nm); ~[cf2]Ulpirra[cf1], bass fl. ([sm1982=n3[nm); [cf2]The
Eureka Flag[cf1], picc. ~([sm1983[nm).[cm~[j1]Fino [fy75,1](It.). As far as, e.g
. [cf2]Fino al segno[cf1], As far as the ~sign (;yx).[cm~Finta giardiniera, La[f
y75,1] (The Feigned Gardener's ~Girl). Opera buffa in [sm3[nm acts (K[sm196[nm)
by Mozart to ~lib. attrib. Petrosellini, written for [fy45,1]*[fy75,1]Anfossi ~(
[sm1774[nm), and altered by Coltellini. Prod. Munich ~[sm1775[nm, NY [sm1927[nm,
 London [sm1930[nm.[cm~Finta semplice, La[fy75,1] (The Feigned Simpleton). ~Oper
a buffa in [sm3[nm acts (K[sm51[nm) by Mozart to lib. by ~Coltellini, after lib.
 by Goldoni first set by Perillo ~([sm1764[nm). Prod. Salzburg [sm1769[nm, Londo
n (Paumgart~~ner ed.) [sm1956[nm, Boston, Mass., [sm1961[nm.[cm~
Finzi, Gerald [fy75,1](Raphael) ([cf2]b[cf1] London, [sm1901[nm; [cf2]d[cf1] ~Ox
ford, [sm1956[nm). Eng. composer. Studied mus. with ~Ernest [fy45,1]*[fy75,1]Far
rar at Harrogate, [sm1914[nm=n[sm16[nm, and with ~[fy45,1]*[fy75,1]Bairstow at Y
ork, [sm1917[nm=n[sm22[nm. Studied counter~~point with R. O. Morris in London, [
sm1925[nm, and ~taught comp. at RAM [sm1930=n33[nm. After marriage ~in [sm1933[n
m, he retired to isolated life in countryside, ~building his own house at Ashman
sworth, nr. ~Newbury. Formed Newbury String Players, [sm1939[nm. ~Worked in Mini
stry of War Transport, [sm1941[nm=n[sm5[nm. ~For the Newbury players he revived
and ed. many ~[sm18[nmth cent. works by Eng. composers such as ~Boyce, Stanley,
and Mudge. Also worked to obtain ~publication of mus. by Ivor [fy45,1]*[fy75,1]G
urney, whom he ~never met. Was collector of rare books and grower ~of rare apple
s.[ep~^His works, some of them spread over many ~years and constantly revised, c
an be broadly ~linked to the Eng. tradition of Elgar and Vaughan
 ~Williams, but the influence on him of these ~composers can be overstressed. Hi
s settings of ~Eng. poetry, particularly of Thomas Hardy, have ~a distinctive in
dividuality, with musical imagery ~to match the verbal. Nor would it be just to
~describe him as a miniaturist, for such works as ~[cf2]For St Cecilia[cf1], the
 [cf2]Intimations of Immortality[cf1], and ~the cello concerto show an ability t
o handle larger ~forms. Through Parry, he reached back to J. S. ~Bach in the voc
al style of his masterpiece, the ~cantata [cf2]Dies Natalis[cf1]; and the same f
luent imagi~~native vision gives an unfading emotional power ~to his Shakespeare
 song-cycle [cf2]Let us Garlands Bring[cf1] ~and to his touching Christmas work
[cf2]In terra pax[cf1]. ~Prin.works:[xm[cm~[j2][smorch[nm:[fy75,2] Introit[cf1],
 vn. and orch. ([sm1925[nm, rev. [sm1935[nm, ~[sm1942[nm); [cf2]New Year Music[c
f1] ([sm1926[nm, rev. [cf2]c.[cf1][sm1946[nm); ~[cf2]Eclogue[cf1], pf. and str.
([sm1920[nms, rev. [sm1940[nms); [cf2]Romance[cf1], ~[PN252,0,0,
L,I0]str. ([sm1928[nm); [cf2]The Fall of the Leaf[cf1] ([sm1929[nm, rev. [sm1939
[nm=n~[sm41[nm, orch. completed by H. Ferguson); cl. conc., ~str. ([sm1948[nm=n[
sm9[nm); [cf2]Grand Fantasia and Toccata[cf1], pf. ~and orch. ([cf2]Fantasia[cf1
] [sm1928[nm, rev. [sm1953[nm, [cf2]Toccata ~[cf1][sm1953[nm); vc. conc. ([sm195
1=n5[nm).[ep~[smchoral[nm:[cf2] Lo, the full final sacrifice[cf1], with org. ([s
m1946[nm, ~orch. [sm1947[nm); [cf2]Intimations of Immortality[cf1], ten., ch., ~
and orch.  ([sm1936[nm=n[sm8[nm, [sm1949[nm=n[sm50[nm); [cf2]For St Cecilia[cf1]
, ten., ~ch., and orch. ([sm1947[nm); [cf2]Magnificat[cf1], with org. ~([sm1952[
nm, orch. [sm1956[nm); [cf2]In terra pax[cf1], sop., bar., ch., ~str., hp., cymb
als ([sm1954[nm, full orch. [sm1956[nm).[ep~[smsolo voice and orch. or ensemble[
nm: [cf2]By Footpath ~and Stile[cf1], bar., str. qt. ([sm1921=n2[nm); [fy45,1]*[
fy75,2]Dies Natalis[cf1], ~sop. (or ten.) and str. ([sm1926[nm, [sm1938=n9[nm);
[cf2]Farewell to ~Arms[cf1], ten. and str. or small orch. ([sm19
25[nm=n[sm44[nm); [sm2[nm ~[cf2]Milton Sonnets[cf1], ten. (or sop.) and small or
ch. ~([cf2]c.[cf1][sm1928[nm).[ep~[smunacc. voices[nm: [cf2][sm3[nm Short Elegie
s[cf1], SATB ([sm1926[nm); [sm7[nm [cf2]Part-~songs[cf1], SATB ([sm1934[nm=n[sm7
[nm); [cf2]White-flowering days [cf1](in [cf2]A ~Garland for the Queen[cf1]), SA
TB ([sm1953[nm).[ep~[smvoice[nm([sms[nm)[sm and piano[nm: [cf2]A Young Man's Exh
ortation[cf1], [sm10[nm ~songs (Hardy), ten. and pf. ([sm1926=n33[nm); [cf2]Eart
h and ~Air and Rain[cf1], [sm10[nm songs (Hardy), bar. and pf. ~([sm1928=n36[nm)
; [cf2]Before and After Summer[cf1], [sm10[nm songs ~(Hardy), bar. and pf. ([sm1
938=n49[nm); [fy45,1]*[fy75,2]Let Us Garlands ~Bring[cf1], [sm5[nm songs (Shakes
peare), bar. and pf. (also ~with orch.) ([sm1929[nm=n[sm42[nm); [cf2]Let us now
praise famous ~men[cf1], male vv. and pf. ([sm1952[nm); [cf2]Till Earth Outwears
[cf1], ~[sm7[nm songs (Hardy), sop. or ten. and pf. ([sm1927[nm=n[sm55[nm); ~[cf
2]I said to Love[cf1], [sm6[nm songs (Hardy), bar. and pf. ([sm1
928[nm=n~[sm56[nm).[cm~[j1]Fiocco, Gioseffo-Hectore [fy75,1]([nm[cf2]b[cf1] Brus
sels, [sm1703[nm; [cf2]d[cf1] ~Brussels, [sm1741[nm). Belgian-born It. composer
and ~harpsichordist. Choirmaster, Antwerp Cath. ~[sm1731[nm=n[sm7[nm; dir. of mu
s. Ste-Gudule, Brussels, from ~[sm1737[nm. Comp. organ mus. and works for hpd.[c
m~Fioritura[fy75,1] (It.). Flowering (pl. [cf2]fioriture[cf1]). In [sm17[nmth ~a
nd [sm18[nmth cents., the vocal decoration of the ~melody of an operatic aria, e
tc., usually extem~~porized during perf. by the singer. Also a common ~practice
in vn. and kbd. playing.[cm~Fipple. [fy75,1]The block of wood which canalizes th
e ~air (i.e. plugs the mouthpiece) in woodwind instr. ~of the [fy45,1]*[fy75,1]r
ecorder family, known therefore as ~`fipple flutes'.[cm~Firebird, The [fy75,1]([
cf2]Zhar-Ptitsa[cf1], Fr. [cf2]L'Oiseau de Feu[cf1]). ~Ballet ([cf2]conte dans;a
ae[cf1]) in [sm1[nm act and [sm3[nm scenes by ~Stravinsky, comp. [sm1909[nm=n[sm
10[nm and orig. choreog. by ~Fokine, with later versions by Bolm
, Balanchine, ~Lifar, Cranko, and B;aaejart. Prod. Paris [sm1910[nm ~(Diaghilev
Ballet Russe). Based on Russ. fairy-~tales. Mus. had [sm19[nm sections. Suite, [
sm1911[nm, with ~orch. as for ballet, had [sm5[nm movements; rev. and re-~orch.
(also [sm5[nm movements), [sm1919[nm; further rev. with ~orch. as [sm1919[nm but
 with [sm10[nm movements, [sm1945[nm.[cm~Fires of London, The.[fy75,1] Instr. en
s. founded [sm1970[nm ~by Peter Maxwell Davies after reorganization of ~[fy45,1]
*[fy75,1]Pierrot Players. Has given f.ps. of most major ~works by [fy45,1]*[fy75
,1]Maxwell Davies since that date.[cm~Fireworks. [fy75,1]Fantasy, Op. [sm4[nm, f
or large orch. by ~Stravinsky. Comp. [sm1908[nm, f.p. St Petersburg [sm1909[nm.[
cm~Fireworks Music [fy75,1](Music for the Royal Fire~~works). Suite of [sm8[nm m
ovements by Handel for ~wind band, comp. for and played at fireworks ~display in
 Green Park, London, to mark Peace of ~Aix-la-Chapelle, [sm1749[nm. Later Handel
 added str. ~parts. Arr. for modern orch. by [fy45,1]*[fy75,1]Ha
rty and by ~[fy45,1]*[fy75,1]Mackerras.[cm~Firku;aksn;aay, Rudolf[fy75,1] ([cf2]
b[cf1] Napajedl;aaa, Moravia, [sm1912[nm). ~Amer. pianist of Cz. birth. Studied
pf. and comp. ~(with Jan;aaa;akcek) at Brno Cons., later at Prague Cons. ~with K
arel and Suk. D;aaebut Prague [sm1922[nm, London ~[sm1933[nm, NY [sm1938[nm. Wor
ldwide tours. Settled ~in USA. Taught at Berkshire Mus. Center, Juilliard ~Sch.
of Mus. Comp. pf. conc., str. qt., pf. pieces, ~songs.[cm~First. [fy75,1]In orch
. parlance this term implies leader~~ship of a section (e.g. [sm1[nmst cl., or p
rin. cl.) in ~addition to, often, a part higher in pitch. The [sm1[nmst ~vn. is
leader of the orch., but the [sm1[nmst vns. are a ~section div. from the [sm2[nm
nd vns. In choral terms a ~higher-pitched part.[cm~First Inversion. [fy75,1]That
 in which the [sm3[nmrd of a chord ~becomes the bass, e.g. common chord C=nE=nG
~becomes E=nG=nC or E=nC=nG.[cm~First Post.[fy75,1] Brit. Army bugle-call sounde
d at [sm9[nm.[sm30[nm ~p.m. which calls all men back to barracks
. See ~also [cf2]Last Post[cf1].[cm~First Subject.[fy75,1] ([sm1[nm) The [sm1[nm
st melody, motif, or theme ~in a [fy45,1]*[fy75,1]sonata-form movement, in the t
onic key.[ep~^([sm2[nm)^[sm1[nmst of the [sm2[nm themes of a double fugue.[cm~Fi
rst Walpurgis Night [fy75,1](Mendelssohn). See [cf2]Erste Walpurgisnacht.[cf1][c
m~Fis[fy75,1] (Ger.). The note F;yi. [fy65][cf3]Fisis[fy75,1], F;yi;yi.[cm~Fisch
er, Annie [fy75,1]([cf2]b[cf1] Budapest, [sm1914[nm). Hung. pianist. ~Studied at
 Franz Liszt Cons. and with Sz;aaekely ~and Dohn;aaanyi. D;aaebut Budapest [sm19
22[nm. Winner, ~Int. Liszt Competition, Budapest, [sm1933[nm. World~~wide tours
as conc. pianist and recitalist.[cm~Fischer, Edwin[fy75,1] ([cf2]b[cf1] Basle, [
sm1886[nm; [cf2]d[cf1] Z;auurich, [sm1960[nm). ~Swiss pianist and cond. Studied
under Huber and ~Krause. Teacher at Stern Cons., Berlin, [sm1905[nm=n[sm14[nm. ~
Cond. posts in L;auubeck [sm1926[nm=n[sm8[nm and Munich [sm1928[nm=n~[sm32[nm. F
ormed chamber orch., directing it from the ~kbd. in concs. Speci
alist in, and writer about, ~mus. of Bach. whose kbd. works he ed. Comp. of ~pf.
 works.[cm~Fischer, Ivan[fy75,1] ([cf2]b[cf1] Budapest, [sm1951[nm). Hung. condu
c~~tor. Studied at Bart;aaok Cons., Budapest, and ~Vienna Acad. (with Swarowsky)
. Had cond. ~engagements in Milan, Florence, Budapest, Vi~~enna before winning R
upert Foundation comp. ~in Eng. [sm1976[nm. Joint mus. dir. Northern Sinfonia ~[
sm1979=n82[nm. Opera d;aaebut Z;auurich [sm1977[nm ([cf2]Don Gio-[fj~vanni[cf1])
. Brit. opera d;aaebut, Kent Opera [sm1982[nm[fj~([cf2]Agrippina[cf1]), Royal Op
era [sm1983[nm (Manchester, [cf2]La ~[PN253,0,0,R,I0]Clemenza di Tito[cf1]). Mus
. dir. Kent Opera from ~[sm1984[nm.[cm~Fischer, Johann [fy75,1]([cf2]b[cf1] nr.
Schlackenwerth, Bohemia, ~[cf2]c.[cf1][sm1665[nm; [cf2]d[cf1] Rastatt, [sm1746[n
m). Ger. composer. Kapell~~meister to Markgraf of Baden. Wrote klavier ~suites,
and [sm20[nm preludes and fugues for org. in ~different keys.[cm~Fischer, Johann
 [fy75,1](Christian)[cf1] ([cf2]b[cf1] Freiburg in Breis~~gau, [
sm1733[nm; [cf2]d[cf1] London, [sm1800[nm). Ger. oboist. Played ~in Court orch.
at Dresden from [sm1764[nm. Went to ~London, [sm1768[nm, becoming member of Quee
n's ~band and playing at Bach-Abel concerts. Married ~Gainsborough's daughter [s
m1780[nm. Returned to ~Continent on disappointment at not being made ~Master of
King's Band [sm1786[nm. [chReturned to London ~[sm1790[nm. Mozart wrote variatio
ns on his Minuet ~([sm1773[nm).[cm~Fischer-Dieskau, Dietrich[fy75,1] ([cf2]b[cf1
] Berlin, [sm1925[nm). Ger. ~bar. and cond. Studied Berlin Hochschule f;auur ~Mu
sik. Teachers incl. Georg Walter and, after ~[sm1945[nm, Hermann Weissenborn. St
age d;aaebut Berlin ~State Opera, [sm1948[nm, as Posa in [cf2]Don Carlos. [cf1]R
apidly ~became one of world's leading singers, outstand~~ing in Lieder and in wi
de range of operatic roles ~from the Count in [cf2]Figaro[cf1] to Falstaff, Wozz
eck, ~Don Giovanni, Sachs, and Mittenhofer in Henze's ~[cf2]Elegy for Young Love
rs. [cf1]Eng. d;aaebut [sm1951[nm with ~Beecham in Delius's [cf2
]Mass of Life[cf1]. NY d;aaebut [sm1955[nm. ~CG d;aaebut [sm1965[nm, as Mandryka
 in Strauss's [cf2]Arabella[cf1]. ~Bayreuth [sm1954[nm=n[sm6[nm, and has sung at
 most leading ~fests. Vienna State Opera from [sm1957[nm. [sm1[nmst singer of ~b
ar. role in Britten's [cf2]War Requiem[cf1], Coventry [sm1962[nm. ~Took up cond.
 [sm1973[nm. Author of books on Schubert ~and relationship between Nietzsche and
 Wagner.[cm~Fi;akser, Lubo;aks [fy75,1]([cf2]b[cf1] Prague, [sm1935[nm). Cz. com
poser. ~Studied Prague Cons. [sm1952[nm=n[sm6[nm and Prague Acad. ~of Mus. Arts
[sm1956[nm=n[sm60[nm. Comps. incl. pf. sonatas, ~chamber conc., [cf2][sm15[nm Pr
ints after D;auurer's Apocalypse[cf1] ~(orch.), [cf2]Requiem.[cf1][cm~Fisher, Sy
lvia[fy75,1] (Gwendoline Victoria)[cf1] ([cf2]b[cf1] Mel~~bourne, [sm1910[nm). A
ustralian sop. Studied Melbourne ~Cons. D;aaebut Melbourne [sm1932[nm. D;aaebut
CG [sm1948[nm as ~Leonore in [cf2]Fidelio[cf1], becoming co.'s leading sop. ~unt
il [sm1958[nm in roles such as Isolde, the Kostelni;Akcka ~in [c
f2]Jen;anufa[cf1], Sieglinde, and the Marschallin. Chicago ~Opera [sm1959[nm. Sa
ng with EOG [sm1963[nm=n[sm71[nm in Britten ~operas and with SW Co. (later ENO),
 notably ~with latter as Elizabeth I in Britten's [cf2]Gloriana[cf1].[cm~Fiske,
Roger [fy75,1](Elwyn) [cf1]([cf2]b[cf1] Surbiton, [sm1910[nm). Eng. ~musicologis
t and critic. Studied Oxford and RCM. ~On BBC mus. staff [sm1939[nm=n[sm59[nm. G
en. ed. Eulenburg ~miniature scores [sm1969[nm=n[sm76[nm. Author of several ~boo
ks, and reviewer for many periodicals.[cm~Fistoulari, Anatole [fy75,1]([cf2]b[cf
1] Kiev, [sm1907[nm). Russ.-born ~cond., Brit. citizen since [sm1940[nms. Cond.
ballet in ~Paris [sm1933[nm and toured with Ballets Russes de ~Monte Carlo. Sett
led in Eng. [sm1940[nm; prin. cond. ~LPO [sm1943[nm=n[sm4[nm. Toured USSR with L
PO [sm1956[nm. ~Guest cond. of world's leading orchs.[cm~Fitelberg, Grzegorz [fy
75,1]([cf2]b[cf1] Dynaburg, Latvia, [sm1879[nm; ~[cf2]d[cf1] Katowice, [sm1953[n
m). Polish cond., violinist, and ~composer. With [fy45,1]*[fy75,
1]Szymanowski and others, ~founded `Young Poland' group of composers in ~Berlin
[sm1905[nm. Cond. Warsaw P.O. [sm1907[nm, Vienna ~Opera [sm1911[nm=n[sm14[nm, Pe
trograd and Moscow [sm1914[nm=n~[sm20[nm. Returned to Warsaw P.O. [sm1923=n34[nm
. Perma~~nent cond. Polish Radio S.O. [sm1934[nm=n[sm9[nm and from ~[sm1947[nm.
Comp. [sm2[nm syms., vn. conc., symphonic ~poem, vn. sonata, etc.[cm~Fitelberg,
Jerzy [fy75,1]([cf2]b[cf1] Warsaw, [sm1903[nm; [cf2]d[cf1] NY, [sm1951[nm). ~Pol
ish composer, son of above. Studied in Berlin, ~emigrating to Paris [sm1933[nm a
nd then to USA [sm1940[nm. ~Wrote [sm5[nm str. qts. (Coolidge Prize [sm1936[nm f
or No. [sm4[nm), ~sym., [sm2[nm vn. concs., vc. conc., 2 pf. concs., wind ~quint
et, vn. sonata, and other chamber works.[cm~Fitzwilliam Virginal Book. [fy75,1]R
emarkable MS. ~coll. of early [sm17[nmth-cent. Eng. mus. for kbd. by ~(mostly) E
ng. composers, comprising [sm297[nm pieces. ~Coll. orig. made by Francis Tregian
 in [sm17[nmth cent. ~Bears present title because it became prop
erty of ~the mus. antiquarian Richard, Viscount Fitzwil~~liam ([sm1745[nm=n[sm18
16[nm) who bequeathed it, together ~with the annual interest on ;bp[sm100[nm,[sm
000[nm, to Cam~~bridge Univ. where it is preserved in Fitzwilliam ~Library. Pubd
. [sm1894[nm=n[sm9[nm in edn. by [fy45,1]*[fy75,1]Fuller ~Maitland and Barclay [
fy45,1]*[fy75,1]Squire.[cm~Five, The. [fy75,1]Name given to group of [sm5[nm Rus
s. ~composers, Balakirev, Borodin, Cui, Mussorgsky, ~and Rimsky-Korsakov, who es
t. a `national' sch. ~of comp. in [sm19[nmth cent. In Russia they were known ~as
 [cf2]moguchaya kuchka[cf1], `the mighty handful', a term ~invented by the criti
c Stasov in [sm1867[nm.[cm~Five Tudor Portraits. [fy75,1]Choral suite in [sm5[nm
 move~~ments by Vaughan Williams for mez., bar., ch., ~and orch. Comp. [sm1935[n
m. Texts are from the poetry ~of John Skelton ([sm1460[nm=n[sm1529[nm) incl. `Th
e Tunning ~of Elinor Rumming' and the `Lament for Philip ~Sparrow'. F.p. Norwich
 [sm1936[nm, London [sm1937[nm.[cm~Fixed-Doh. [fy75,1]System of
sight-singing in which the ~note C, in every key in which it occurs, is called ~
[cf2]doh[cf1], D called[cf2] ray[cf1], etc. See [cf2]Movable-doh[cf1].[cm~Fjelds
tad, ;Uoivin [fy75,1]([cf2]b[cf1] Oslo, [sm1903[nm). Norweg. cond., ~composer, a
nd vn. teacher. D;aaebut as violinist ~[sm1921[nm, as cond. [sm1931[nm. Chief co
nd. Norwegian State ~Opera [sm1958[nm=n[sm60[nm, Oslo P.O. [sm1962=n9[nm.[cm~Fla
geolet. [fy75,1]([sm1[nm) Late [sm16[nmth-cent. instr. of end-blown ~fl. type, w
ith [sm4[nm finger-holes and [sm2[nm thumb-holes, ~`invented' by Sieur de Juvign
y of Paris, [cf2]c[cf1].[sm1581[nm. ~The name has also been applied to earlier i
nstr. of ~the end-blown fipple type of pipe. Handel wrote ~for the true flageole
t in [cf2]Rinaldo[cf1].[ep~^([sm2[nm)^Soft organ stop of [sm2[nm;po length and p
itch.[ep~^([sm3[nm)^[cf2]Flageolet notes[cf1] is a term applied to harmonics ~on
 a str. instr., produced by light stopping of the ~str. at natural points of vib
ration, and so called ~because the resultant high thin sound is
said to ~resemble that of the flageolet.[cm~[PN254,0,0,L,I0]Flagstad, Kirsten[fy
75,1] (Malfrid) ([cf2]b[cf1] Hamar, Norway, ~[sm1895[nm; [cf2]d[cf1] Oslo, [sm19
62[nm). Norweg. sop., one of the ~greatest of Wagnerian singers. Studied singing
 in ~Christiania, making d;aaebut there in [sm1913[nm at Nat. ~Th. in [cf2]Tiefl
and[cf1]. Sang wide range of roles in opera ~and operetta in Scandinavia up to [
sm1932[nm but was ~virtually unknown elsewhere until glowing ~reports of her Iso
lde in Oslo led to her engagement ~in small roles at [sm1933[nm Bayreuth Fest. S
ang Gutrune ~and Sieglinde at Bayreuth [sm1934[nm. D;aaebut|NY Met. ~as Sieglind
e [sm1935[nm, later singing Br;auunnhilde and ~Kundry. CG d;aaebut as Isolde [sm
1936[nm. Her int. ~standing as leading exponent of Wagner's great ~female roles
was thereafter unchallenged until ~her retirement from the stage in [sm1953[nm.
Gave f.p. ~of Strauss's [cf2]Vier letzte Lieder[cf1], London [sm1950[nm ~(Furtw;
auangler cond.). Sang Purcell's Dido at ~Mermaid Theatre, London
, [sm1951[nm. Dir., Norweg. ~State Opera [sm1958[nm=n[sm60[nm. Fine exponent of
Grieg ~songs.[cm~Flam.[fy75,1] Rhythmic [sm2[nm-note figure in side-drum ~playin
g, `open' or `closed' according to whether ~the [sm1[nmst or [sm2[nmnd note is o
n the accented beat.[cm~Flamenco.[fy75,1] Very rhythmical Sp. dance style, ~part
icularly Andalusian. See [cf2]Cante flamenco[cf1]. The ~`flamenco' style of guit
ar-playing, rhythmical and ~improvisatory, is the opposite of the `classical'.[c
m~Flanagan, William [fy75,1]([cf2]b[cf1] Detroit, [sm1923[nm; [cf2]d[cf1] NY, ~[
sm1969[nm). Amer. composer and critic. Studied at ~Eastman Sch. of Mus., later w
ith [fy45,1]*[fy75,1]Copland and ~[fy45,1]*[fy75,1]Diamond. Promoted recitals of
 Amer. song with ~Ned [fy45,1]*[fy75,1]Rorem. Wrote incidental mus. for [sm4[nm
plays ~by Albee. Wrote th. and mus. criticism for NY ~[cf2]Herald Tribune[cf1],
etc. Works incl. opera [cf2]Bartleby[cf1] ~(prod. NY [sm1961[nm), [cf2]Notations
 [cf1]for orch., song-cycles ~incl. [cf2]The Weeping Pleiades [c
f1](Housman), and choral ~mus.[cm~Flat (;yh).[fy75,1] The sign which, placed bef
ore a note, ~lowers its pitch by a semitone. In Britain, the ~verb `to flatten'
(past participle `flattened') is in ~use; in USA, `to flat' (`flatted').[ep~^([s
m2[nm) `Flat' singing or playing is that which departs ~from correct intonation
on the downward side.[cm~Flat Twenty-first.[fy75,1] Rank in an organ Mixture ~st
op, sounding [sm2[nm octaves and a minor [sm7[nmth above ~normal (i.e. interval
of minor [sm21[nmst or compound ~minor [sm7[nmth).[cm~Flautando, flautato[fy75,1
] (It., `fluting', `fluted'). The ~prod. of fl.-like notes from the vn., etc., e
ither by ~bowing near the finger-board with the point of ~the bow, or by the use
 of [fy45,1]*[fy75,1]Harmonics.[cm~Flautina. [fy75,1]A [fy45,1]*[fy75,2]Gemshorn
[cf1] org. stop of [sm2[nm;po length and ~pitch.[cm~Flautist.[fy75,1] A fl.-play
er. Flutist is an older term; ~`flautist' is derived from the It.[cf2] flauto[cf
1] and, in ~Britain, has been retained as a hangover from the ~[
sm18[nmth-cent. domination of It. mus. and musicians.[cm~Flauto[fy75,1] (It., `f
lute', plural [cf2]flauti[cf1]). In printed scores ~since Haydn's time [cf2]flau
to [cf1]implies the side-blown ~fl. ([cf2]flauto traverso[cf1]). The small versi
on of this is the ~[cf2]flauto piccolo[cf1], usually called [fy45,1]*[fy75,2]pic
colo[cf1]. In earlier ~periods [cf2]flauto[cf1] sometimes meant the [fy45,1]*[fy
75,1]recorder. ~J.|S. Bach wrote [cf2]flauto piccolo[cf1] to indicate a small ~r
ecorder; if he wanted the side-blown flute he ~wrote [cf2]flauto traverso[cf1].
For history of fl., see under ~[cf2]flute[cf1].[cm~Flauto dolce.[fy75,1] Org. st
op; much the same as [fy45,1]*[fy75,2]dolce[cf1] ~but more fl.-like.[cm~Flauto T
raverso[fy75,1] (It., `transverse flute'). ([sm1[nm) The ~side-blown fl., as opp
osed to the end-blown ~variety.[ep~^([sm2[nm)^Org. stop of [sm4[nm;po length and
 pitch.[xm[cm~[ol0][ep~[xp[te~

[do17][j99]~~~~~~[ep~[sm153842[nm_FA[sm01[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConci
se Oxford Dict. of ~Music[cmFA[sm01[nm[cm[sm17[nm[cm[sm1[nm[cm~[sm23[nm.[sm9[nm.
[sm79[nm[cm[sm17[nm[cm[sm236[nm[cm~JS[cm[cm6-7-84[cm~[cm~~~~[ap[j1]Flea, Song of
 the. [fy75,1]See [cf2]Song of the Flea[cf1].[cm~Flebile; flebilmente[fy75,1] (I
t.). Mournful; mourn~~fully.[cm~Flecha, Mateo[fy75,1] (the younger) ([cf2]b[cf1]
 Prades, [cf2]c[cf1].[sm1530[nm; [cf2]d[cf1] ~L;aaerida, [sm1604[nm). Sp. compos
er of church and secular ~choral mus. Worked at imperial court in Prague ~and Vi
enna. His uncle, Mateo Flecha the elder ~([sm1481[nm=n[sm1553[nm), was also cour
t musician to the ~imperial family.[cm~Fledermaus, Die[fy75,1] (The Bat). Operet
ta in [sm3[nm acts by ~J. Strauss II to lib. by Haffner and [fy45,1]*[fy75,1]Gen
;aaee after [cf2]Le ~R;aaeveillon[cf1] ([sm1872[nm) by Meilhac and Hal;aaevy, th
is being ~based on [cf2]Das Gef=+;auangnis[cf1] (The Prison, [sm1851[nm) by R. ~
Benedix. Comp. [sm1874[nm. Prod. Vienna and NY ~[sm1874[nm, Lond
on [sm1876[nm. Eng. versions under titles ~[cf2]The Gay Rosalinda[cf1] and [cf2]
The Merry Countess[cf1]. Filmed ~([sm1955[nm) as [cf2]Oh, Rosalinda![cf1][cm~Fle
isher, Leon [fy75,1]([cf2]b[cf1] San Francisco, [sm1928[nm). Amer. ~pianist and
cond. D;aaebut at age [sm7[nm. Studied with ~[fy45,1]*[fy75,1]Schnabel [sm1938[n
m=n[sm9[nm. Appeared in San Francisco ~[sm1943[nm, NY [sm1944[nm, with [fy45,1]*
[fy75,1]Monteux conducting. [sm1[nmst ~prize Brussels Queen Elisabeth competitio
n [sm1952[nm. ~Career as pianist halted by illness [sm1964[nm but ~resumed [sm19
82[nm, though in the meantime he had ~played works for left hand. D;aaebut as co
nd., NY ~[sm1970[nm.[cm~Flesch, Carl[fy75,1] ([cf2]b[cf1] Moson, Hung., [sm1873[
nm; [cf2]d[cf1] Lucerne, ~[sm1944[nm). Hung. violinist, pupil of Marsick. Prof.
of ~vn., Bucharest Cons. [sm1897[nm=n[sm1902[nm, Amsterdam ~Cons. [sm1903[nm=n[s
m8[nm. Taught in Berlin from [sm1908[nm. Chief ~vn. prof. Curtis Institute, Phil
adelphia, [sm1924[nm=n[sm8[nm. ~Ed. of vn. mus. Author of famous
 method and of ~several books on vn.-playing. Prize awarded in ~his memory since
 [sm1945[nm.[cm~Flessibile, flessibilit;aga [fy75,1](It.). Flexible, flexibility
.[cm~Fleury, Andr;aae[fy75,1] ([cf2]b[cf1] Neuilly-sur-Seine, [sm1903[nm). Fr. ~
org. and composer. Pupil of M. Dupr;aae and Vierne. ~Organist, St Augustin, Pari
s, [sm1930[nm=n[sm49[nm. Prof. of ~org. ;aaEcole Normale de Musique, Paris, from
 ~[sm1943[nm; prof. Dijon Cons. and org. Dijon Cath. ~[sm1949[nm=n[sm71[nm. Org.
 St. Eustache, Paris, from [sm1971[nm. ~Wrote syms. for org. and other works.[cm
~[PN255,0,0,R,I0]Fleury, Louis Fran;Alcois[fy75,1] ([cf2]b[cf1] Lyons, [sm1878[n
m; [cf2]d[cf1] Paris, ~[sm1926[nm). Fr. flautist, for whom several composers ~wr
ote works, including Debussy ([cf2]Syrinx[cf1]). Fre~~quent visitor to Eng.[cm~F
lexatone[fy75,1]. Novelty instr., patented [sm1922[nm, pro~~ducing a weird tremo
lo. A flexible metal sheet is ~suspended in wire frame with handle. On each ~sid
e of the metal sheet is a wooden knob on a ~spring of steel. Per
former shakes the instr. so that ~knobs hit sides of metal. Pitch may be altered
 by ~varying pressure on metal sheet. Used by Schoen~~berg in his [cf2]Variation
s[cf1], Op. [sm31[nm, [cf2]Von Heute auf ~Morgen[cf1], and [cf2]Moses und Aron[c
f1], by Khatchaturian ~(pf. conc.), and by Henze and Penderecki, among ~others.[
cm~Flicorno[fy75,1]. It. variety of [fy45,1]*[fy75,1]saxhorn and [fy45,1]*[fy75,
1]fl;auugelhorn ~used in military bands. There are [sm3[nm sizes: [cf2]flicorno
~basso [cf1]([cf2]Bassflicorno[cf1]), [cf2]flicorno basso grave[cf1], and [cf2]f
licorno ~contrabasso[cf1].[cm~Fliegende Holl;auander, Der[fy75,1] (The Flying Du
tch~~man). Opera in [sm3[nm acts by Wagner, comp. [sm1841[nm, to ~his own lib. b
ased on the legend. Prod. Dresden ~[sm1843[nm, London [sm1870[nm, Philadelphia [
sm1876[nm. Orig. ~intended to be in [sm1[nm act, it has in recent years been ~so
 perf. (e.g. by ENO and Opera North).[cm~Fliessend[fy75,1] (Ger.). Flowing. So [
fy65][cf3]fliessender[fy75,1], more ~flowing.[cm~Flight of the B
umble Bee, The.[fy75,1] Orch. interlude ~in opera [cf2]The [fy45,1]*[fy75,2]Lege
nd of Tsar Saltan[cf1] ([sm1900[nm) by ~Rimsky-Korsakov in which a prince become
s a ~bee and stings his villainous relatives. Many arrs. ~(some highly spurious)
 for variety of solo instr.[cm~Flonzaley Quartet.[fy75,1] Str. qt. founded by pa
tron ~E.|J. de Coppet of NY, in [sm1902[nm, and named after ~his residence near
Lausanne. Orig. membership ~A. Betti, A. Pochon, U. Ara and I. d'Archambeau. ~To
ured Europe [sm1904[nm. [sm1[nmst NY concert [sm1905[nm. L. ~Bailly replaced Ara
, [sm1917[nm, and was replaced by F. ~d'Archambeau, [sm1924[nm. I. d'Archambeau
replaced ~by N. Moldavan [sm1924[nm. Disbanded [sm1928[nm (London) ~after giving
 [sm3[nm,[sm000[nm concerts, mostly in USA.[cm~Flood, The.[fy75,1] Mus. play for
 [sm3[nm speakers, ten., and [sm2[nm ~basses, ch., and orch. by [fy45,1]*[fy75,1
]Stravinsky to lib. chosen ~and arr. by Robert Craft from [cf2]Genesis[cf1], and
 York ~and Chester cycles of mystery plays. Comp. [sm1961[nm=n~[
sm2[nm. F.p. on TV (CBS) [sm1962[nm, f. stage p. Hamburg ~[sm1963[nm. See also B
ritten's [cf2]Noye's Fludde[cf1].[cm~Flood, [fy75,1](William Henry) [cf3]Grattan
 [cf1]([cf2]b[cf1] Lismore, ~Ireland, [sm1859[nm; [cf2]d[cf1] Enniscorthy, [sm19
28[nm). Irish organist ~and writer. Noted collector of Irish folk-tunes; ~ed. [c
f2]Moore's Irish Melodies[cf1] and wrote memoir of ~John [fy45,1]*[fy75,1]Field
(Dublin, [sm1920[nm).[cm~Florid.[fy75,1] Descriptive term for melody embellished
 ~by ornaments and trills, either improvised or ~comp.[cm~Florid Counterpoint.[f
y75,1] The [sm5[nmth species of strict ~counterpoint in which the added v. emplo
ys ~mixture of the processes of the other [sm4[nm species ~and also introduces s
horter notes (eighth-notes).[cm~Flos Campi[fy75,1] (Flower of the Field). Suite
by ~Vaughan Williams for solo va., mixed ch. ~(wordless), and small orch. F.p. L
ondon [sm1925[nm ~(soloist Lionel [fy45,1]*[fy75,1]Tertis). Each of the [sm6[nm
movements ~is prefaced by a Latin quotation from [cf2]The Song o
f ~Solomon[cf1].[cm~Floss der Medusa, Das [fy75,1](The Raft of the Medusa). ~`Po
pular and military oratorio' (or cantata) by ~Henze, to lib. by Ernst Schnabel,
for narrator, ~sop., bar., ch., boys' ch., and orch. Based on ~historical ([sm18
16[nm) event, the subject of G;aaericault's ~painting, when the Fr. frigate [cf2
]Medusa[cf1] ran ~aground, its officers escaping in the boats and ~leaving the c
rew to their fate on an improvised ~raft. Henze's avowedly political and class-c
on~~scious work was cause of a famous fracas involving ~students and police in H
amburg,  [sm1968[nm, which ~caused cancellation of premi;agere. F.p. Vienna ~[sm
1971[nm, London [sm1977[nm.[cm~Flothuis, Marius [fy75,1](Hendrikus) ([cf2]b[cf1]
 Amsterdam, ~[sm1914[nm). Dutch composer, musicologist, and critic. ~Studied pf.
 with A. Koole, pf. and theory with ~Hans Brandts Buys ([sm1928[nm=n[sm37[nm). A
ss. man., Con~~certgebouw Orch., [sm1937[nm=n[sm42[nm and [sm1953[nm=n[sm5[nm, a
rt. dir. ~[sm1955[nm=n[sm74[nm. Mus. critic Amsterdam [cf2]Het V
rije Volk[cf1] ~[sm1945[nm=n[sm53[nm. Prof. of musicology, Utrecht Univ. ~from [
sm1974[nm. Author of books on Monteverdi, ~Mozart, Eng. composers, etc. Composer
 of concs. ~for fl., vn., hn., pf., and cl., vn. sonata, [cf2]Hymnus[cf1] for ~s
op. and orch., cantatas, song cycles, str. qt., etc.[cm~Flotow, Friedrich von [f
y75,1]([cf2]b[cf1] Teutendorf, [sm1812[nm; [cf2]d[cf1] ~Darmstadt, [sm1883[nm).
Ger. composer. Studied mus. ~under Reicha in Paris [sm1828[nm=n[sm30[nm. Lived m
ostly in ~Paris and Vienna. Wrote ballets, chamber mus., ~and [sm30[nm operas of
 which only [fy45,1]*[fy75,2]Martha[cf1] ([sm1847[nm) and ~[cf2]Alessandro Strad
ella [cf1]([sm1844[nm) seem to have outlived ~him.[cm~Flotter [fy75,1](Fr., `to
float', present participle [cf2]flottant[cf1], ~`floating'). An undulating movem
ent of the bow ~in str. playing.[cm~Flourish. [fy75,1]([sm1[nm) A tpt. call of t
he fanfare type.[ep~^([sm2[nm) In a more general sense any florid instr. ~passag
e.[cm~Flower, [fy75,1](Sir) (Walter)[fy65][cf3] Newman[fy75,1] (
[cf2]b[cf1] Fontmell ~Magna, Dorset, [sm1879[nm; [cf2]d[cf1] Blandford, [sm1964[
nm). Eng. ~writer and publisher. Author of books on Handel, ~Sullivan, and Schub
ert. Collected mus. autographs ~and portraits. Chairman, Cassell & Co. (publish~
~ers). Knighted [sm1938[nm.[cm~Flowers o' the Forest.[fy75,1] Scottish lament, o
rig. ~words of which are lost, but many lines were ~incorporated into an [sm18[n
mth-cent. version by Jane ~Elliott. A new set of words was written [cf2]c[cf1].[
sm1765[nm by ~Mrs Cockburn to a different tune but is now ~generally sung to old
 tune. The flowers are young ~men, the Forest a district of Selkirk and Peebles:
 ~the poem commemorates their death in battle. ~[PN256,0,0,L,I0]The tune, played
 by pipers, is a regular and ~moving feature of the Remembrance Day cere~~mony a
t the Cenotaph in Whitehall, London.[cm~Floyd, Carlisle [fy75,1]([cf2]b[cf1] Lat
ta, S. Carolina, [sm1926[nm). Amer. ~composer. Studied at Spartanburg and Syracu
se ~Univ. Private pf. tuition from [fy45,1]*[fy75,1]Firku;Aksn;a
ay. Works ~incl. several operas, notably [cf2]Susannah[cf1] ([sm1955[nm), ~[fy45
,1]*[fy75,1][cf2]Wuthering Heights[cf1] ([sm1958[nm), [cf2]The Passion of Jonath
an ~Wade[cf1] ([sm1962[nm), [cf2]Of Mice and Men[cf1] ([sm1970[nm), and [cf2]Bil
by's ~Doll[cf1] ([sm1976[nm).[cm~Flue-Pipe. [fy75,1]Org. pipe into which the air
 enters ~directly, i.e. not striking a reed. See [cf2]Organ[cf1].[cm~Fl;auugel[f
y75,1] (Ger., `wing'). The grand pf., formerly the ~hpd.[cm~Fl;auugelhorn[fy75,1
] (Ger.). Brass wind instr. with cup~~shaped mouthpiece and wide conical bore. B
ell ~held forward. Types are ([sm1[nm) Sop. in E;Yh (rare). ([sm2[nm) ~Alto in B
;Yh, same compass as cornet in B;Yh but ~mellower in tone. ([sm3[nm) Ten. in E;Y
h (sometimes ~called [cf2]Altfl;auugelhorn[cf1] or [cf2]Althorn[cf1]) or sometim
es in F. ~([sm2[nm) is the type used in Brit. brass bands and ~sometimes in orch
. comp., e.g. by Vaughan ~Williams in his [sm9[nmth Sym. ([sm1956[nm=n[sm8[nm).[
cm~Flute[fy75,1] (It. [cf2]Flauto[cf1], Fr. [cf2]Fl;afute[cf1],
Ger. [cf2]Fl;auote[cf1]). Wind instr. ~of ancient origin formerly made of wood b
ut ~now of silver and other metals. From medieval ~times [sm2[nm methods of prod
ucing sound were used: ~(a) blowing across a round mouth-hole as on the ~panpipe
s or transverse (side-blown) fl.; (b) blow~~ing into a whistle mouthpiece (end-b
lown) as on ~the [fy45,1]*[fy75,1]recorder or [fy45,1]*[fy75,1]flageolet. The wo
rd fl. was used ~indiscriminately to denote both types during ~medieval times, b
ut in the baroque period fl. or ~[fy45,1]*[fy75,2]flauto [cf1]specifically meant
 the end-blown recorder. ~The modern fl. is descended from the Ger. ~(transverse
) fl. Whereas today it is cylindrical in ~bore, stopped at one end, until the ea
rly [sm19[nmth ~cent. it was conical. The player's breath sets in ~vibration the
 column of air inside the tube. ~Acoustically the tube acts as an open one; the
~mouth-hole serves to prevent its acting as stopped ~and thus sounding an octave
 lower. The body ~orig. had one thumb-hole and from [sm4[nm to [
sm8[nm finger-~holes. The [sm1[nmst key was added in [sm1677[nm, the [sm2[nmnd i
n ~[sm1726[nm by [fy45,1]*[fy75,1]Quantz, fl. teacher of Frederick the ~Great. T
he great fl. virtuoso of the Bavarian Court ~Orch., Theobald [fy45,1]*[fy75,1]Bo
ehm, used an [sm8[nm-key fl., but ~revolutionized the instr. in [sm1832[nm with
his `ring ~key' system. In [sm1847[nm he produced a [sm15[nm-hole metal ~instr.
with [sm23[nm keys and levers. See [cf2]Alto flute, Bass ~flute.[cm~Fl;afute-;ag
a-bec[fy75,1] (Fr., `beaked flute'). [fy45,1]*[fy75,1]Recorder or ~[fy45,1]*[fy7
5,1]flageolet.[cm~Fl;afute ;aga chemin;aaee[fy75,1] (Fr., `Chimney flute'). Same
 as ~[fy45,1]*[fy75,2]Rohrfl;auote[cf1].[cm~Flute amabile. [fy75,1]Org. stop, sa
me as [fy45,1]*[fy75,2]Fl;afute d'amour[cf1].[cm~Fl;afute ;aga pavillon [fy75,1]
(Fr., `tented flute'). Org. stop of ~[sm8[nm;po or [sm4[nm;po length and pitch;
each pipe ends in a sort ~of bell-tent structure.[cm~Fl;afute d'amour[fy75,1] (F
r., `love flute'). ([sm1[nm) Flute pitched ~a third lower than r
egular fl.[ep~^([sm2[nm) Soft org. stop, in Britain, of [sm8[nm;po or [sm4[nm;po
 length ~and pitch, and in USA of [sm2[nm;po length and [sm4[nm;po pitch ~(being
 end-plugged).[cm~Fl;afute harmonique[fy75,1] (Fr.). ([sm1[nm) [fy45,1]*[fy75,1]
Mouth org.[ep~^[cf1]([sm2[nm) An org. stop.[cm~Flute stop[fy75,1] (on org.). See
 [cf2]Doppelfl;auote, Fernfl;auote, ~Flauto traverso, Fl;afute d'amour, Grossefl
;auote, Harmonic ~Flute, Hohlfl;auote, Rohrfl;auote, Spitzfl;auote, Waldfl;auote
, ~Zauberfl;auote.[cm~Flutist.[fy75,1] Player of the flute (Amer. usage). See ~[
cf2]Flautist[cf1].[cm~Flutter-Tonguing[fy75,1] (Ger. [cf2]Flatterzunge[cf1]). [f
y45,1]*[fy75,1]Tongu~~ing in the playing of wind instr. is the interruption ~of
the flow of air by a motion of the tongue to ~produce certain effects. Flutter-t
onguing=mchiefly ~on the fl. but possible on the cl. and some brass=m~consists o
f a trilling of the letter R while playing ~a chromatic scale. It was introduced
 by R. Strauss ~and Mahler (e.g. in the latter's [cf2]Das Lied v
on der ~Erde[cf1]).[cm~Flying Dutchman, The [fy75,1](=+=+Wagner). [cf1]See [cf2]
Fliegende ~Holl;auander, Der[cf1].[cm~Foggin, Myers [fy75,1]([cf2]b[cf1] Newcast
le upon Tyne, [sm1908[nm). ~Eng. pianist, cond., and teacher. Studied RAM. ~Prof
. of pf. RAM [sm1936[nm=n[sm49[nm, cond. People's Palace ~Ch. and Orch. Soc. [sm
1936[nm=n[sm49[nm, dir. of opera RAM ~[sm1948[nm=n[sm65[nm, Warden [sm1949[nm=n[
sm65[nm; Prin. TCL [sm1965[nm=n[sm79[nm. ~Chairman, Royal Phil. Soc. from [sm196
8[nm.[cm~Fogliano, Lodovico[fy75,1] ([cf2]b[cf1] Modena, ? ; [cf2]d[cf1] Modena,
 [cf2]c. ~[cf1][sm1539[nm). It. composer and theorist. Wrote [cf2]Musica ~theori
ca[cf1] ([sm1529[nm) defining rules on uses of [sm3[nmrds and ~[sm5[nmths.[cm~Fo
kine, Mikhail [fy75,1](Mikhaylovich) (Michel) ([cf2]b[cf1] St ~Petersburg, [sm18
80[nm; [cf2]d[cf1] NY, [sm1942[nm). Russ. dancer and ~choreog. Member of Maryins
ky Th. Started to ~teach [sm1902[nm. Choreog. [cf2]The Dying Swan[cf1] for Pavlo
va ~[sm1907[nm. Engaged as chief choreog. [sm1909[nm by [fy45,1]
*[fy75,1]Diag-[fj~hilev who recognized his genius as a reformer of ~ballet metho
ds. Among his greatest ballets were ~[cf2]Les Sylphides, Sheherazade, Firebird,
[chPetrushka, ~Daphnis et Chlo;aae,[cf1] and [cf2]Josephslegende[cf1]. After bre
ak ~with Diaghilev, worked as freelance, settling in ~NY [sm1923[nm.[cm~Foldes,
Andor[fy75,1] ([cf2]b[cf1] Budapest, [sm1913[nm). Hung.-born ~pianist and compos
er. Studied Budapest Acad. ~with Dohn;aaanyi. Won Int. Liszt Prize, Budapest, ~[
sm1933[nm. Authoritative exponent of mus. of Bart;aaok ~with whom he worked. Tou
red Europe until ~[sm1939[nm when he settled in USA, becoming Amer. ~citizen [sm
1948[nm. Author of books on pf. technique. ~Some pf. comps.[cm~Foli, Signor[fy75
,1] (Allan James Foley) ([cf2]b[cf1] Cahir, ~Tipperary, [sm1835[nm; [cf2]d[cf1]
Southport, [sm1899[nm). Irish-Amer. ~bass singer. Studied Naples. D;aaebut Catan
ia [sm1862[nm ~in Rossini's [cf2]Otello[cf1], London [sm1865[nm. Sang in over [s
m60[nm ~operas in London. Appeared in USA, Russia, and ~[PN257,0
,0,R,I0]Austria. Sang Daland in f. London p. of Wagner's ~[cf2]Der fliegende Hol
l;auander[cf1] (Drury Lane, [sm1870[nm).[cm~Fol;aaia, La[fy75,1] (Sp., `The Foll
y'; It. [cf2]La Follia[cf1]). A type of ~wild Portuguese dance. One particular m
elody ~used for the dance attained wide popular currency ~in the [sm16[nmth, [sm
17[nmth, and [sm18[nmth cents., being first ~mentioned by Salinas in [sm1577[nm,
 and subsequently ~used by numerous composers as an ostinato basis ~for variatio
ns. The best-known set is by [fy45,1]*[fy75,1]Corelli ~in his [sm12[nmth sonata
for vn. and hpd., [sm1700[nm. Other ~composers to use the melody incl. Vivaldi,
~Frescobaldi, Lully, Pergolesi, Geminiani, Bach, ~Gr;aaetry, Cherubini, Liszt, N
ielsen, and Rakhman~~inov.[cm~Folk Music. [fy75,1]Term covering folk-songs and f
olk ~dances. Folk-songs are songs of unknown author~~ship passed orally from gen
eration to generation, ~sung without acc., and often found in variants (of ~word
s and tune) in different parts of a country ~(or in different co
untries). Folk-songs were ~generally found among the country-dwellers, but ~with
 the increase of urbanization and industrial~~ization they spread to the towns a
nd factories. In ~the [sm19[nmth and early [sm20[nmth cents. the fear that with
~the advance of modern life the old customs were ~dying out led to a major campa
ign of song coll., ~in Eng. by Cecil [fy45,1]*[fy75,1]Sharp, Vaughan Williams, ~
Maud Karpeles, Mrs Leather, Anne Gilchrist, ~Frank Kidson, and many others; in H
ungary by ~Kod;aaaly and Bart;aaok, and similarly in other ~countries. Many comp
osers have made use of ~folk-songs in their comps., from Renaissance ~times to H
aydn, Grieg, Dvo;Akr;aaak, Tchaikovsky, ~Bart;aaok, Vaughan Williams, and others
. Although ~folk-songs enshrine the nat. characteristics of ~their country of or
igin, they have int. similarities. ~Most of them are modal. Like every generic t
erm, ~folk-song is susceptible to many conflicting ~interpretations, and readers
 are referred to several ~important books on the subject. It is
also ~impossible to predict how folk-song may develop ~in future centuries. It m
ay well be that the ~popular songs of the [sm20[nmth cent. by named ~composers m
ay become (indeed already have ~become) the folk-songs of a new age. Folk dance
~is a type of dance which has developed by itself ~without aid from choreogs., i
s connected with ~traditional life, and is passed from one generation ~to the ne
xt.[cm~Fomin, Evstigney [fy75,1](Ipatovich) ([cf2]b[cf1] St Petersburg, ~[sm1761
[nm; [cf2]d[cf1] St Petersburg, [sm1800[nm). Russ. composer. ~Studied with Padre
 Martini in Bologna [sm1782[nm. ~Coach at Imperial Th., St Petersburg, [sm1786[n
m. ~Composed several operas in `national' style, and ~also [cf2]Orpheus and Eury
dice[cf1] ([sm1792[nm) and [cf2]The Americans[cf1] ~([sm1800[nm).[cm~Fonds d'org
ue. [fy75,1]`Foundation Tone' and also ~`Foundation Stops' of an org. [cf2]Jeux
de Fonds[cf1] means ~the Foundation Stops (i.e. all the stops except the ~Mutati
on and Mixture stops).[cm~Fontaine, Pierre[fy75,1] ([cf2]b [cf1]
?[sm1390[nm; [cf2]d c.[cf1][sm1450[nm). Fr. composer ~of [cf2]chansons[cf1]. Sin
ger in Papal chapel.[cm~Fontana, Giovanni Battista[fy75,1] ([cf2]b[cf1] Brescia,
 ? ; [cf2]d[cf1] ~Padua, [cf2]c.[cf1][sm1630[nm). It. violinist and composer of
vn. ~sonatas. Regarded as a leading figure in the ~development of the solo sonat
a.[cm~Fontane di Roma[fy75,1] (It., `Fountains of Rome'). ~Symphonic poem for or
ch. by Respighi, comp. ~[sm1914[nm=n[sm16[nm, in [sm4[nm sections, each depictin
g the ~sensations of the composer in contemplating [sm4[nm of ~the city's most f
amous fountains, Vale Giulia at ~dawn, Tritone in mid-morning, Trevi at noon, ~a
nd Villa Medici at sunset. F.p. Rome [sm1917[nm, NY ~[sm1919[nm, London [sm1921[
nm.[cm~Foot. [fy75,1]Unit of length for measuring vibrating air-~column, and the
refore a measure of pitch. An air-~column of [sm8[nm;po vibrates at twice the sp
eed of a [sm16[nm;po ~column, and thus emits a note an octave higher. ~Organ sto
ps are classified by the sound which ~will be emitted if the not
e representing [sm8[nm;po C is ~struck. An [sm8[nm;po  stop sounds the note itse
lf, [sm16[nm;po the ~note an octave below, [sm32[nm;po the note [sm2[nm octaves
~below. A [sm4[nm;po stop sounds the note an octave above, ~[sm2[nm;po [sm2[nm o
ctaves above, [sm1[nm;po [sm3[nm octaves above.[cm~Foote, Arthur William [fy75,1
]([cf2]b[cf1] Salem, Mass., [sm1853[nm; [cf2]d[cf1] ~Boston, [sm1937[nm). Amer.
composer and organist. ~Recipient of [sm1[nmst M.A. conferred at Harvard Univ. ~
for  work in mus. Organist, First Unitarian ~Church, Boston, [sm1878[nm-[sm1910[
nm. A founder of Amer. ~Guild of Organists, president [sm1909[nm=n[sm12[nm. Comp
s. ~incl. orch. suites, vc. conc., cantata [cf2]The Farewell of ~Hiawatha[cf1],
chamber mus., vocal works, songs, pf. ~pieces, and org. mus. Author of books on
harmony ~and fugue.[xm[cm~[ol0][ep~[xp[te~


[do17][j99]~~~~~~[ep~[sm153842[nm_FA[sm02[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConci
se Oxford Dict. of ~Music[cmFA[sm02[nm[cm[sm17[nm[cm[sm1[nm[cm~[sm23[nm.[sm9[nm.
[sm79[nm[cm[sm17[nm[cm[sm290[nm[cm~GC[cm4[cm20/9/84[cmU1[cm~~~~[ap[j1]Forbes, Ro
bert [fy75,1](=+=+=+Jaffrey)[cf1] ([cf2]b[cf1] Stalybridge, [sm1878[nm; [cf2]d[c
f1] ~Manchester, [sm1958[nm). Eng. pianist, cond., and ~teacher. Trained at RMCM
 [sm1897[nm=n[sm1900[nm, joining ~staff as accompanist [sm1903[nm. Frequent pf.
partner of ~[fy45,1]*[fy75,1]Brodsky in sonatas. Prin., RMCM [sm1929[nm=n[sm53[n
m. ~Guest cond. Hall;aae Orch. with which he also ~appeared as solo pianist. Ope
ra cond. C.B.E. [sm1948[nm.[cm~Forbes, Sebastian[fy75,1] ([cf2]b[cf1] Amersham,
[sm1941[nm). Eng. ~composer and organist. Studied RAM and King's ~Coll., Cambrid
ge. Producer for BBC [sm1964[nm=n[sm7[nm. ~Organist, Trinity Coll., Cambridge, [
sm1968[nm. Works ~incl. sym., str. qts., trio, pf. quintet, opera, songs, ~chora
l mus., org. sonata, sonata for [sm8[nm instr. (pf., ~fl., ob.,
cl., hn., vn., va., vc., [sm1978[nm). Son of W. ~[fy45,1]*[fy75,1]Forbes.[cm~For
bes, Watson [fy75,1]([cf2]b[cf1] St Andrews, [sm1909[nm). Scottish ~va. player.
Studied at RAM and in Cz. with Sev;Akcik. ~Prof. of chamber mus. RAM from [sm195
6[nm, of va. ~from [sm1958[nm. Member Aeolian Qt. from [sm1932[nm, ~Head of BBC
Mus., Scotland, [sm1964[nm. Has made ~many arrs. and transcrs. for va.[cm~Ford,
Thomas[fy75,1] ([cf2]b c[cf1].[sm1580[nm; [cf2]d[cf1] Westminster, [sm1648[nm).
~Eng. composer and lutenist. Musician to Prince ~Henry, [sm1611[nm; later one of
 lutes and voices in ~service of Prince Charles (later King Charles|I), ~[PN258,
0,0,L,I0]with whom he remained until  [sm1642[nm. His [sm19[nm ~anthems were pub
d. [sm1614[nm and his [cf2]Musicke of ~Sundrie Kindes[cf1] (for voices and bass
viols) in [sm1607[nm.[cm~Forelle, Die[fy75,1] (Schubert). See [cf2]Trout, The[cf
1].[cm~Forgotten Rite, The.[fy75,1] Orch. `prelude' by John ~Ireland, [sm1913[nm
. The unspecified rite is assoc. with ~the Channel Islands.[cm~F
orkel, Johann Nicolaus [fy75,1]([cf2]b[cf1] Meeder, [sm1749[nm; [cf2]d[cf1] ~G;a
uottingen, [sm1818[nm). Ger. organist and writer. Dir. ~of mus., G;auottingen Un
iv. from [sm1778[nm, cond. ~[cf2]Akademie[cf1] concerts [sm1779[nm=n[sm1815[nm.
Wrote several ~theoretical books, but his [cf2]chef d'oeuvre[cf1] was [sm1[nmst
~biography of J. S. Bach (Leipzig [sm1802[nm). Composer ~of cantatas, oratorios,
 and instr. works.[cm~Form. [fy75,1]The structure and design of a composition. ~
Whereas in the [sm16[nmth and [sm17[nmth cents. instr. comps. ~were usually very
 brief (e.g. a movement in a ~kbd. suite of Byrd or Purcell), by the [sm19[nmth
cent. ~they were frequently long (e.g. a sonata or sym. ~movement of the later B
eethoven, Bruckner, and ~Mahler). This implies an enormous growth in the ~unders
tanding of the principles of form and in ~mastery of the application of those pr
inciples. In ~general, however, despite continuous experimen~~tation the mus. fo
rms so far devised can be ~classified into no more than [sm6[nm
categories, all of ~them exploiting the idea of contrast plus variety ~both in t
he domain of content (Thematic ~Material) and in that of Key (combinations of ~t
hese are, of course, possible, e.g. in Simple ~Ternary Form each section can be
in Binary Form, ~and so on).[ep~^([sm1[nm) [smsimple binary form[nm (e.g. in the
 movements ~of Bach's kbd. suites) has no strong contrast of ~material. The [sm1
[nmst section opens in the Tonic key ~and then modulates, as it ends, into the k
ey of ~the Dominant (or in the case of a minor key, ~sometimes the relative majo
r). The [sm2[nmnd section ~then opens in that [sm2[nmnd key and, before it ends,
 ~modulates back to the [sm1[nmst. There are, then, [sm2[nm ~distinct main caden
ces, or points of rest, the [sm1[nmst ~in the Dominant (or relative major), and
the [sm2[nmnd ~in the Tonic. This form, although it sometimes ~attained fairly c
onsiderable dimensions in the ~[sm18[nmth cent., is unsuitable for very long pie
ces, ~since the variety offered to the listener is almost ~entir
ely confined to details of treatment and the ~element of key, the thematic mater
ial employed ~throughout being the same. This form has been ~little used since [
cf2]c[cf1].[sm1750[nm.[ep~^([sm2[nm) [smternary form[nm. This is one of the most
 ~commonly used forms for short comps. It consists ~of a first section (more or
less complete and self-~contained), a [sm2[nmnd section, contrasting as to mus.
~material and key (normally in the Dominant or ~the Tonic Minor or Relative Majo
r), and then the ~first section repeated. See [cf2]ABA[cf1].[ep~^([sm3[nm) [smco
mpound binary form[nm (also known as ~[smsonata form[nm, because often employed
in the first ~or some other movement or movements of a ~Sonata; and as [smfirst
movement form[nm for the same ~reason). This derives historically from Simple ~B
inary Form but has developed into something ~more resembling Ternary Form. Like
Simple ~Binary it falls into [sm2[nm sections, of which the [sm1[nmst ~modulates
 to the Dominant and the [sm2[nmnd takes us ~back to the Tonic.
But the sections have become ~elaborated as follows:[ep~^[sm1[nmst Section. Stra
in I ([cf2]First Subject[cf1]) in Tonic key; ~followed by Strain II ([cf2][sm2[n
mnd Subject[cf1]) in Dominant ~key. Those [sm2[nm strains (or Subjects) are gene
rally ~contrasted in character. This section is called the ~[cf2]Exposition[cf1]
.[ep~^[sm2[nmnd Section. Some [cf2]Development [cf1](also called ~`Working-out'
or `Free Fantasia') of the material ~in the previous section, followed by a repe
tition ~([cf2]Recapitulation[cf1]) of that section, but this time with ~both sub
jects in the Tonic key so that the piece ~may end in the key with which it opene
d.[ep~^Further details may incl. (a) a [cf2]Bridge Passage[cf1], ~leading (in bo
th sections) from the First Subject ~to the Second; (b) a closing passage (Coda)
, at the ~end of each section.[ep~^A tendency towards the evolution of Simple ~B
inary Form into Compound Binary Form may ~be observed in some of Bach's movement
s, but ~its first real exploitation is connected with the ~name
and fame of his son, C. P. E. Bach, and its ~further exploitation and elaboratio
n with the ~names of Haydn, Mozart, Beethoven, and their ~contemporaries. This f
orm is still in frequent use, ~but [sm20[nmth-cent. composers have modified it i
n ~detail.[ep~^([sm4[nm) [smrondo form[nm. This may be considered an ~extension
of Ternary Form. If the [sm3[nm sections of ~that form are indicated by the form
ula A, B, A, ~then the Rondo Form must be indicated by A, B, ~A, C, A, D, A, or
some variant of this. (The ~sections B, C, D, etc. are often spoken of as ~[cf2]
Episodes[cf1].)[ep~^[smsonata-rondo form[nm, as its name implies, offers ~a comb
ination of Compound Binary and Rondo ~Forms. The general plan is as follows: [cf
2][sm1[nmst Section[cf1]. ~Subject I, Subject II in another key, Subject I ~repe
ated. [cf2][sm2[nmnd Section[cf1]. Development of the pre~~vious Subject-materia
l. [cf2][sm3[nmrd Section[cf1]. Subject I and ~Subject II again, but the latter
this time in the ~same key as Subject I.[ep~^Sometimes the Devel
opment above mentioned ~is replaced by new material. And there are other ~varian
ts.[ep~^([sm5[nm) [smair with variations[nm. This form, which from ~the [sm16[nm
th cent. to the present day has been popular ~with composers of every class from
 the most ~trivial to the most serious, consists, as the name ~implies, of one t
heme (or `Subject'), first played ~in its simplicity and then many times repeate
d ~with elaborations, each variation thus taking on ~its own individuality.[ep~^
There are very many types of comp. to which ~distinctive names are given, each r
epresenting ~not a `Form' but rather a style in which one of the ~above forms is
 presented; such as the Nocturne, ~[PN259,0,0,R,I0]the Gavotte, the Barcarolle,
the Konzertst;auuck, and ~others.[ep~^With the development of elec. mus. and the
 use ~of [fy45,1]*[fy75,1]aleatory techniques in [sm20[nmth-cent. comps., the ~u
se of form is stretched to meet whatever the ~composer may wish to do. Infinite
flexibility ~would seem to be the guiding principle in works ~of
 this kind.[ep~^([sm6[nm) See [cf2]Fugue.[cf1][cm~Formalism.[fy75,1] Alleged fau
lt in comp. by Soviet ~Union composers for which Prokofiev, Shostakov~~ich, and
others were officially criticized, esp. in ~[sm1948[nm. The criticism is of too
much intellectual ~emphasis on form as opposed to content, with ~the suggestion
also that the mus. is too `modern' ~and discordant.[cm~Forqueray, Antoine [fy75,
1]([cf2]b[cf1] Paris, [cf2]c.[cf1][sm1672[nm; [cf2]d[cf1] Mantes, ~[sm1745[nm).
Fr. player of viola da gamba, and composer. ~At age [sm5[nm, played to Louis XIV
, and entered king's ~service as chamber musician [sm1689[nm. Retired to ~Mantes
 [sm1728[nm. One of greatest viol virtuosi of his ~day, rival to [fy45,1]*[fy75,
1]Marais. Comp. [cf2]c[cf1].[sm30[nm viol pieces, ~pubd. in [sm5[nm suites. His
son, Jean-Baptiste Antoine ~([cf2]b[cf1] Paris, [sm1699[nm; [cf2]d[cf1] Paris, [
sm1782[nm) was also a viol player ~of some renown, in service of king and Prince
 de ~Conti.[cm~Forrester, Maureen [fy75,1](Katherine Stewart)[cf
1] ([cf2]b[cf1] Mon~~treal, [sm1930[nm). Canadian cont. Studied in Berlin. ~D;aa
ebut Montreal [sm1953[nm. Recital tour of Europe ~[sm1955[nm. Sang in Mahler's [
sm2[nmnd Sym. at Bruno ~Walter's invitation, NY [sm1957[nm, later recording this
 ~with him. Noted as Mahler interpreter, also as ~Angel in Elgar's [cf2]Dream of
 Gerontius[cf1].[cm~F;auorster, Josef [fy75,1](Bohuslav) ([cf2]b[cf1] D;Aketenic
e, [sm1859[nm; [cf2]d[cf1] ~Novy Veste;Akc, [sm1951[nm). Cz. composer, organist,
 and ~critic. Prof. of piano at Hamburg Cons. from ~[sm1901[nm and critic for se
veral Hamburg papers [sm1893[nm=n~[sm1903[nm, during which period he was percept
ive ~champion and friend of [fy45,1]*[fy75,1]Mahler. Prof. of comp. ~at New Vien
na Cons. and critic of [cf2]Die Zeit[cf1] [sm1910[nm=n~[sm18[nm. Prof. of comp.,
 Prague Cons. [sm1918[nm=n[sm22[nm, dir. ~[sm1922[nm=n[sm31[nm. Works incl. [sm5
[nm syms., [sm6[nm suites, [sm2[nm vn. ~concs., vc. conc., [sm4[nm symphonic poe
ms, [sm6[nm operas, ~chamber mus., and songs.[cm~Forsyth, Cecil[
fy75,1] ([cf2]b[cf1] Greenwich, [sm1870[nm; [cf2]d[cf1] NY, [sm1941[nm). ~Eng. v
iolist, cond., composer, and musicologist. ~Studied RCM under Parry and Stanford
. Violist ~in London orchs. Settled in NY [sm1914[nm. Comps. ~incl. operas, va.
conc., setting of Keats's [cf2]Ode to a ~Nightingale[cf1] for bar. and orch., ma
sses, part-songs, ~chamber mus., and songs. Author of several ~books incl. [cf2]
History of Music[cf1] ([sm1916[nm, with Stanford) ~and valuable treatise on orch
estration ([sm1914[nm).[cm~Forte [fy75,1](It.). [cf1]`Strong', i.e. loud (abbrev
iation [cf2]f[cf1]=+=+=+=+). So ~[cf2]fortissimo[cf1], `very strong' (abbreviati
on [cf2]ff[cf1], or [cf2]fff[cf1]=+=+=+=+); ~[cf2]fortemente[cf1], `strongly'.[c
m~Fortepiano[fy75,1] (It.). Same as [fy45,1]*[fy75,1]pianoforte, but the ~term h
as come to be used to denote the late [sm18[nmth-~cent./early [sm19[nmth-cent. i
nstr. known to Haydn, ~Hummel, Beethoven, and Schubert.[cm~For the Fallen.[fy75,
1] [sm3[nmrd movement of Elgar's choral ~work [fy45,1]*[fy75,2]S
pirit of England[cf1], but perf. [sm1916[nm before ~work as a whole was complete
d and still often ~perf. separately. Words by Laurence Binyon.[cm~Fortissimo [fy
75,1](It.).[cf1] Very loud. See [cf2]Forte[cf1].[cm~Fortner, Wolfgang[fy75,1] ([
cf2]b[cf1] Leipzig, [sm1907[nm). Ger. ~composer, cond., and teacher. Studied Lei
pzig ~Cons. (comp. with H. Grabner). Taught theory ~and comp. at Church Music In
stitute, Heidelberg, ~[sm1931[nm=n[sm54[nm; prof. of comp. N. W. Ger. Mus. Acad.
, ~Detmold, [sm1954[nm=n[sm7[nm, and at State Mus. Sch., Freiburg ~im Breisgau f
rom [sm1957[nm. Founded Heidelberg ~Chamber Orch. [sm1935[nm. Dir. of [cf2]Music
a Viva[cf1] series ~in Heidelberg, Freiburg, and Munich. Early ~music influenced
 by Hindemith and Stravinsky; ~he adopted [sm12[nm-note method in mid-[sm1940[nm
s. Comps. ~incl. operas (among them [cf2]Bluthochzeit[cf1] (Blood ~Wedding), aft
er Lorca) ([sm1957[nm), [cf2]In Seinem Garten ~liebt Don Perlimplin Belisa[cf1],
 chamber opera after ~Lorca ([sm1962[nm), and [cf2]Elisabeth Tud
or [cf1]([sm1972[nm)), sym., [sm4[nm ~str. qts., organ conc., concs. for pf. ([s
m1943[nm), vn. ~([sm1947[nm), vc. ([sm1951[nm), [cf2]Fantasy on the Name BACH[cf
1] for ~[sm2[nm pf. and orch. ([sm1950[nm), [cf2]Movements[cf1] for pf. and orch
. ~([sm1953[nm), oratorio [cf2]Isaaks Opferung[cf1] ([sm1952[nm), ballet [cf2]Di
e ~Weisse Rose[cf1] ([sm1950[nm; after Wilde's [cf2]Birthday of the ~Infanta[cf1
]), [cf2]Variations [cf1]for solo vc. ([sm1975[nm), pf. trio ~([sm1978[nm), [sm4
[nmth str. qt. ([sm1979[nm), [cf2]Immagini[cf1], sop. and str. ~([sm1979[nm); [c
f2]Variations[cf1] for chamber orch. ([sm1980[nm); ~[cf2]Petrarca-Sonette[cf1],
for unacc. ch. ([sm1980[nm); [cf2]Madrigal[cf1] ~for [sm12[nm vcs. ([sm1980[nm).
[cm~`Forty-eight, The' [fy75,1](Bach). See [cf2]Wohltemperierte ~Klavier, Das[cf
1].[cm~Forza del Destino, La[fy75,1] (The Force of Destiny). [sm4[nm-~act opera
by Verdi to lib. by Piave based on ~Spanish drama [cf2]Don Alvaro[cf1] ([sm1835[
nm) by the Duke of ~Rivas. Comp. [sm1861=n2[nm for Imperial Th.,
 St ~Petersburg, where f.p. was given in [sm1862[nm. Prod. ~Rome (as [cf2]Don Al
varo[cf1]) [sm1863[nm, NY [sm1865[nm, London ~[sm1867[nm. For [sm1869[nm Milan p
rod. Verdi made extensive ~revs. and added ov. Lib. rev. by Ghislanzoni.[cm~Foss
, Hubert [fy75,1](=+=+=+James) [cf1]([cf2]b[cf1] Croydon, [sm1899[nm; [cf2]d[cf1
] ~London, [sm1953[nm). Eng. pianist and ed. Joined staff ~of OUP [sm1921[nm bec
oming head of mus. dept. on its ~foundation in [sm1924[nm. Pubd. mus. of several
 Eng. ~composers, notably Walton and Vaughan Wil~~liams. Wrote book about Vaugha
n Williams ~([sm1950[nm).[cm~Foss [fy75,1](orig. Fuchs), [fy65][cf3]Lukas[fy75,1
] ([cf2]b[cf1] Berlin, [sm1922[nm). Ger.-~born Amer. composer and cond. Studied
in Berlin ~and Paris before settling in USA, [sm1937[nm, where he ~studied at Cu
rtis Institute (comp. with Scalero, ~cond. with Reiner). Became student of Kouss
ev~~itzsky and Hindemith. Pianist, Boston S. O. [sm1944[nm=n~[sm50[nm. Worked in
 Rome [sm1950[nm=n[sm2[nm. Prof. of comp., ~Univ. of California,
 from [sm1953[nm. Cond. Buffalo ~P.O. [sm1963[nm=n[sm70[nm. Mus. dir. Milwaukee
S.O. from ~[sm1981[nm. Foss's mus. is both traditional and experi~~[PN260,0,0,L,
I0]mental, the latter employing indeterminacy ~though scores are wholly notated.
 In his [cf2]Baroque ~Variations[cf1], on themes by Bach, Handel, and ~Scarlatti
, the method of `composition by deletion' ~is used in an effective and sophistic
ated manner. ~Works incl.:[xm[cm~[j2][smoperas[nm: [fy75,2]The Jumping Frog of C
alaveras County[cf1] (after ~Mark Twain) ([sm1950[nm); [cf2]Griffelkin[cf1] (TV,
 [sm1955[nm); ~[cf2]Introductions and Goodbyes [cf1]([sm1959[nm).[ep~[smballet[n
m: [cf2]Gift of the Magi[cf1] ([sm1945[nm).[ep~[smorch[nm: Sym. ([sm1945[nm), Pf
. Conc. No. [sm1[nm ([sm1944[nm), No. [sm2[nm ~([sm1951[nm), Ob. conc. ([sm1950[
nm), Vc. Concert (vc., orch., ~and tape) ([sm1967[nm), [cf2]Baroque Variations [
cf1]([sm1967[nm), ~[cf2]Paradigm[cf1] for perc., guitar and [sm3[nm other option
al ~instr. ([sm1968[nm), [cf2]Time Cycle[cf1] for sop. and orch.
 ([sm1960[nm).[ep~[smchoral[nm: [cf2]The Prairie[cf1] ([sm1944[nm), [cf2]Parable
 of Death[cf1] ([sm1953[nm), ~[cf2]Psalms[cf1] ([sm1957[nm), [cf2]Round a Common
 Centre[cf1], v. and ~ens. ([sm1979[nm).[ep~[smchamber music[nm: [cf2]Echoi[cf1]
, for cl., vc., perc., pf. ([sm1961[nm=n~[sm3[nm), [cf2]Elytres[cf1], for fl., v
ns., pf., harp, perc. ([sm1964[nm), ~[cf2]Cave of the Winds[cf1], woodwind quint
et with ~multiphones ([sm1972[nm).[cm~[j1]Foster, Lawrence[fy75,1] ([cf2]b[cf1]
Los Angeles, [sm1941[nm). Amer. ~cond. of Romanian origin. Studied cond. in Los
~Angeles, at Bayreuth master classes, and with ~Walter and B;auohm. D;aaebut [sm
1960[nm with Young ~Musicians' Foundation D;aaebut Orch., which he ~cond. for [s
m4[nm years. Assoc. cond. Los Angeles P. O. ~[sm1966[nm. Eng. d;aaebut [sm1967[n
m with ECO, since then ~being frequent visitor. CG d;aaebut [sm1976[nm, revival
of ~Walton's [cf2]Troilus and Cressida[cf1]. Cond. Houston S.O. ~[sm1971[nm=n[sm
8[nm. Chief cond. Monte Carlo Opera [sm1978[nm=n~[sm81[nm, gen.
mus. dir. Duisburg from [sm1981[nm. Cond. ~f.p. of Birtwistle's [cf2]The Triumph
 of Time [cf1]([sm1972[nm).[cm~Foster, Muriel [fy75,1]([cf2]b[cf1] Sunderland, [
sm1877[nm; [cf2]d[cf1] London, ~[sm1937[nm). Eng. mez. Studied RCM. Became close
ly ~assoc. with mus. of Elgar, singing Angel in [cf2]Dream ~of Gerontius[cf1] in
 D;auusseldorf and Worcester [sm1902[nm, at ~f. London p. [sm1903[nm, and many o
ther times. Sang ~in f.ps. of [cf2]The Apostles[cf1] ([sm1903[nm) and [cf2]The K
ingdom[cf1] ~([sm1906[nm), gave f.p. of song-cycle Op. [sm59[nm ([sm1910[nm), an
d ~of [cf2]The Music Makers[cf1] ([sm1912[nm). Also notable Bach ~singer. Illnes
s compelled premature retirement.[cm~Foster, Stephen [fy75,1](Collins)[cf1] ([cf
2]b[cf1] Pittsburgh (Law~~renceville), [sm1826[nm; [cf2]d[cf1] NY, [sm1864[nm).
Amer. composer. ~Mainly self-taught in mus. Wrote over [sm200[nm songs, ~several
 of which have come to be regarded almost ~as Amer. folk-songs. Though a Norther
ner, several ~of his songs capture the Southern plantation spiri
t ~in an authentic and eloquent manner. Among ~the best-known are: [cf2]Oh! Susa
nna[cf1] ([cf2]c[cf1].[sm1845[nm), [cf2]Camp~~town Races[cf1] ([sm1850[nm), [cf2
]Old Folks at Home[cf1] ([sm1851[nm), ~[cf2]Massa's in de Cold, Cold Ground[cf1]
 ([sm1852[nm), [cf2]My Old ~Kentucky Home[cf1] ([sm1853[nm), [cf2]Jeanie with th
e light brown ~hair[cf1] ([sm1854[nm), [cf2]Come where my love lies dreaming[cf1
] ~([sm1855[nm), [cf2]Old Black Joe[cf1] ([sm1860[nm), and [cf2]Beautiful Dreame
r[cf1] ~([sm1864[nm, posth.).[cm~Foulds, John [fy75,1](Herbert)[cf1] ([cf2]b[cf1
] Manchester, [sm1880[nm; [cf2]d[cf1] ~Calcutta, [sm1939[nm). Eng. composer and
cellist. Son of ~a professional bassoonist. Studied pf. at [sm4[nm and ~started
to compose at [sm7[nm. Became orch. cellist at [sm14[nm ~and until [sm20[nm play
ed in theatre bands in Manchester ~region. Joined Hall;aae Orch. under Richter i
n [sm1900[nm. ~In [sm1906[nm was Eng. composer-delegate to Essen ~Mus. Fest., wh
ere he met Mahler and Strauss, and ~in [sm1910[nm went to Munich
 for f.p. of Mahler's [sm8[nmth ~Sym. Comp. incid. mus. for plays produced by ~L
ewis Casson. Moved in [sm1912[nm to London, where ~he met and eventually married
 the actress, ~musician, and writer Maud MacCarthy ([sm1882[nm=n~[sm1967[nm). Mu
s. dir., YMCA National Council [sm1918[nm=n~[sm23[nm. From [sm1919[nm to [sm1921
[nm he worked on his [cf2]World ~Requiem[cf1], for soloists, ch., and orch. This
 ambitious ~work was perf. in Royal Albert Hall at Armistice ~Night commemoratio
n (`Festival of Remem~~[chbrance') in [sm1923[nm and for [sm3[nm subsequent year
s. In ~[sm1924[nm wrote incid. mus. for Shaw's [cf2]Saint Joan. [cf1]In ~[sm1927
[nm Foulds went abroad, returning in [sm1930[nm. ~Unable to obtain more than a f
ew perfs., he went ~to India in [sm1935[nm to study folk music. In [sm1937[nm he
 ~was appointed dir. of mus. for All-India radio in ~Delhi. Formed radio orch. a
nd Indo-European ~orch. of traditional Ind. instr. In [sm1939[nm was ~transferre
d to Calcutta to organize mus. at newly ~established radio stati
on, but died from cholera ~after only a few days in new post.[ep~^Foulds's mus.
was perhaps too eclectic to survive ~but a body of opinion exists which makes hi
gh ~claims for it. Like [fy45,1]*[fy75,1]Ives he was a tireless ~experimenter an
d was ahead of his time in Eng. ~mus. in working in microtonalities. The modal ~
pf. mus., the str. qt. [cf2]Quartetto Intimo[cf1], the Vc. ~Sonata, and several
songs are splendid mus. and ~deserve to emerge from oblivion. Prin. works:[xm[cm
~[j2][smorch[nm: [cf2]Epithalamium[cf1], Op. [sm10[nm ([sm1905[nm); [cf2]Apotheo
sis[cf1], ~Op. [sm18[nm ([sm1908[nm); [cf2]Holiday Sketches[cf1], Op. [sm16[nm (
[sm1909[nm); ~[cf2]Mirage[cf1], Op. [sm20[nm ([sm1910[nm); [cf2]Keltic Suite[cf1
], Op. [sm29[nm ([sm1911[nm); ~[cf2]Music-Pictures No. [sm3[nm[cf1], Op. [sm33[n
m ([sm1912[nm); [cf2][sm3[nm Mantras[cf1], ~Op. [sm61[nmb ([cf2]c[cf1].[sm1923[n
m); [cf2]Dynamic Triptych[cf1], pf. and orch. ~([sm1927[nm=n[sm30[nm); [cf2]Apri
l-England [cf1](orch. of pf. piece) ~([sm1932[nm); [cf2]Hellas[c
f1], double str. orch., hp., perc., Op. ~[sm45[nm ([sm1915[nm=n[sm32[nm); [cf2]C
hinese Suite[cf1], Op. [sm95[nm ([cf2]c.[cf1][sm1938[nm).[ep~[smchorus and orch[
nm: [cf2]The Vision of Dante[cf1], Op. [sm7[nm ~([sm1904[nm=n[sm08[nm); [cf2]Wor
ld Requiem[cf1], Op. [sm60[nm ([sm1919[nm=n[sm21[nm).[ep~[smchamber music[nm: [c
f2]Music-Pictures[cf1], Op. [sm30[nm, pf. trio ~([sm1912[nm); [cf2]Aquarelles[cf
1], Op. [sm32[nm, str. qt. ([sm1912[nm); Vc. ~sonata, Op. [sm6[nm ([sm1905[nm, r
ev. [sm1927[nm); Str. Qts. (at least ~[sm9[nm) ([sm1896[nm=n[sm1933[nm), [cf2]Qu
artetto Intimo[cf1], Op. [sm89[nm ([sm1933[nm).[ep~[smpiano[nm: [cf2]Lyrics[cf1]
, Op. [sm1[nm ([sm1900[nm); [cf2]Variazioni ed Improv~~visati[cf1], Op. [sm4[nm
([sm1905[nm); [cf2]Gandharva-Music[cf1], Op. [sm49[nm ~([sm1915[nm); [cf2]Essays
 in the Modes[cf1], Op. [sm78[nm ([sm1928[nm).[ep~[smmisc[nm: [cf2]The Tell-Tale
 Heart[cf1], Op. [sm36[nm, dramatic ~monologue for reciter and orch. (or pf.) ([
sm1912[nm).[ep~[smsongs[nm: [cf2]Mood Pictures[cf1], Op. [sm51[n
m ([sm1917[nm); [cf2]Lyra Celtica[cf1], ~cont. and orch. (unfinished).[cm~[j1]Fo
undation.[fy75,1] In organ parlance this word is used ~in [sm2[nm different sens
es. ([sm1[nm) [cf2]Foundation Tone[cf1] is that of ~all the more dignified stops
 (Diapason, the more ~solid of the Fl. stops etc.).[ep~^([sm2[nm) [cf2]Foundatio
n Stops[cf1] are all the stops except the ~Mutation and Mixture stops.[cm~[PN261
,0,0,R,I0]Fountain of Arethusa, The.[fy75,1] No. [sm1[nm of [cf2]Myths[cf1] ~([c
f2]Mity[cf1]), [sm3[nm Poems for vn. and pf. by Szymanowski, ~Op. [sm30[nm ([sm1
915[nm).[cm~[j1]Fourestier, Louis [fy75,1]([cf2]b[cf1] Montpellier, [sm1892[nm;
[cf2]d[cf1] Bou~~[chlogne-Billancourt, [sm1976[nm). Fr. cond. and composer. ~Stu
died Paris Cons. with Leroux and G;aaedalge. ~Cond. in Marseilles and Bordeaux,
then Op;aaera-~Comique, Paris, [sm1927[nm=n[sm32[nm and Paris Op;aaera [sm1938[n
m=n~[sm45[nm. NY Met. [sm1946[nm=n[sm8[nm. Prof. of cond., Paris Cons. ~[sm1945[
nm=n[sm63[nm. Comp. cantatas, symphonic poem, str. ~qt., etc.[cm
~Four Last Songs. [fy75,1]([sm1[nm) See [cf2]Vier letzte Lieder[cf1] (Strauss).[
ep~^([sm2[nm) For v. and pf. by Vaughan Williams, comp. ~between [sm1954[nm and
[sm1958[nm to words by Ursula ~Vaughan Williams. Title given by publisher, ~song
s being intended by composer as part of [sm2[nm ~cycles. Individual titles: [cf2
]Procris, Tired, Hands, ~Eyes, and Heart[cf1], and [cf2]Menelaus[cf1]. F.p. as c
ycle [sm1960[nm.[xm[cm~[ol0][ep~[xp[te~







[do17][j99]~~~~~~[ep~[sm153842[nm_FA[sm03[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConsi
se Oxford Dict. of ~Music[cmFA[sm03[nm[cm[sm17[nm[cm[sm1[nm[cm~[sm24[nm.[sm9[nm.
[sm79[nm[cm[sm17[nm[cm[sm323[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~~[ap[j1]Four
net, Jean [fy75,1]([cf2]b[cf1] Rouen, [sm1913[nm). Fr. cond. and ~flautist. Work
ed for Fr. Radio and was mus. dir., ~Op;aaera-Comique, Paris, [sm1944[nm=n[sm57[
nm. Cond. Rotter~~dam P.O. [sm1968[nm. Prof. of cond., ;aaEcole Normale de ~Pari
s, [sm1944[nm=n[sm62[nm.[cm~Fournier, Pierre[fy75,1] ([cf2]b[cf1] Paris, [sm1906
[nm). Fr. cellist. Studied ~Paris Cons. D;aaebut [sm1925[nm. Worldwide tours as
~recitalist and conc. soloist. Chamber mus. partner ~of Szigeti, Primrose, and S
chnabel. Master-class ~teacher, Paris Cons. [sm1941[nm=n[sm9[nm.[cm~Four Rustics
, The [fy75,1](Wolf-Ferrari). See [cf2]Quattro ~rusteghi, I.[cm~Four Saints in T
hree Acts. [fy75,1]Opera in [sm4[nm acts by ~Virgil [fy45,1]*[fy75,1]Thomson to
lib. by Gertrude Stein. Comp. ~[sm1928[nm. Prod. Hartford, Conn.
, and NY [sm1934[nm.[cm~Four Seasons, The[fy75,1] ([cf2]Le quattro Stagioni[cf1]
). [sm4[nm vn. ~concs. by Vivaldi, No. [sm1[nm in E (Spring), RV[sm269[nm, ~No.
[sm2[nm in G minor (Summer), RV[sm315[nm, No. [sm3[nm in F ~(Autumn), RV[sm293[n
m, No. [sm4[nm in F minor (Winter), ~RV[sm297[nm. They are first [sm4[nm of [sm1
2[nm vn. concs. of Op. [sm8[nm, ~[cf2]Il cimento dell' armonia e dell' invention
e[cf1] ([cf1]The contest ~between harmony and invention), pubd. Amster~~dam [sm1
725[nm. Nos. [sm9[nm and [sm12[nm also exist as ob. concs. ~Fl. transcr. of whol
e work by James Galway.[cm~Four Serious Songs [fy75,1](Brahms). See [cf2]Vier er
nste ~Ges;auange.[cf1][cm~Four Temperaments, The[fy75,1] ([sm1[nm) Sub-title of
[fy45,1]*[fy75,1]Niel~~sen's Sym. No. [sm2[nm in C minor, Op. [sm16[nm ([cf2]De
Fire ~Temperamenter[cf1]), [sm1901[nm=n[sm2[nm, inspired by a painting ~of that
name, each movement being descriptive ~of one of the medieval `temperaments' of
human ~character: choleric, phlegmatic, melancholic, ~sanguine.[
ep~^([sm2[nm) Sub-title of Hindemith's [cf2]Theme and Variations ~[cf1]for str.
and pf., [sm1940[nm, each of the [sm4[nm variations ~denoting a temperament, in
the order melan~~cholic, sanguine, phlegmatic, choleric. Also ballet ~(f.p. NY,
[sm1944[nm).[cm~Fourth. [fy75,1]Interval in melody or harmony in which ~there ar
e [sm4[nm steps in the major or minor scale from ~one extreme to the other (incl
. the bottom and ~top notes). Perfect [sm4[nmth is the distance from C up ~to F
or from G to C; a semitone more gives the ~augmented [sm4[nmth (e.g. C up to F;Y
i).[cm~Fou Ts'ong[fy75,1] ([cf2]b[cf1] Shanghai, [sm1934[nm). Chinese pianist. ~
Studied at Warsaw Cons. D;aaebut Shanghai [sm1953[nm. ~Brit. d;aaebut [sm1959[nm
. Settled in Eng., but int. tours.[cm~Fox Strangways, Arthur Henry[fy75,1] ([cf2
]b[cf1] Norwich, ~[sm1859[nm; [cf2]d[cf1] Dinton, Salisbury, [sm1948[nm). Eng. c
ritic and ~author. Mus. master Wellington Coll., [sm1893[nm=n~[sm1901[nm. Mus. c
ritic, [cf2]Times [cf1][sm1911[nm=n[sm25[nm, [cf2]Observer[cf1]
[sm1925[nm=n~[sm39[nm. Founder and [sm1[nmst ed. [cf2]Music and Letters[cf1] [sm
1920[nm=n~[sm37[nm. Authority on Indian mus. Joint biographer. ~(with M. [fy45,1
]*[fy75,1]Karpeles) of Cecil Sharp. Trans. (with ~S. [fy45,1]*[fy75,1]Wilson) of
 Lieder of Schubert, Brahms, and ~Wolf.[cm~Fox-trot. [fy75,1]Amer. ballroom danc
e (and the mus. ~for it) of a kind of march-like ragtime, slow or ~quick. From [
cf2]c[cf1].[sm1913[nm it spread to ballrooms all over ~the world. The [cf2]Charl
eston [cf1]and [cf2]Black Bottom[cf1] are ~varieties of it. In several of his wo
rks, Peter ~[fy45,1]*[fy75,1]Maxwell Davies has made use of the fox-trot for ~no
stalgic and ironic effect.[cm~F.R.A.D.[fy75,1] Fellow of the Royal Academy of ~D
ancing (founded [sm1927[nm; chartered [sm1936[nm).[cm~Fra Diavolo[fy75,1] (Broth
er Devil). Op;aaera-comique in ~[sm3[nm acts by Auber to lib. by Scribe. Prod. P
aris [sm1830[nm, ~London and NY [sm1831[nm.[cm~Frager, Malcolm[fy75,1] ([cf2]b[c
f1] St Louis, [sm1935[nm). Amer. ~pianist. Trained in St Louis,
NY, and at Amer. ~Cons., Fontainebleau ([sm1952[nm). Recital d;aaebut [sm1941[nm
, ~conc. d;aaebut St Louis [sm1945[nm. NY d;aaebut [sm1952[nm. ~Winner of severa
l int. competitions incl. Queen ~Elisabeth, Brussels, [sm1960[nm. Tours of Europ
e and ~Russia.[cm~F.R.A.M.[fy75,1] Fellow of the Royal Academy of Music.[cm~Fran
c[fy75,1] (Le Franc), [fy65][cf3]Guillaume[fy75,1] ([cf2]b[cf1] Rouen, [cf2]c[cf
1].[sm1505[nm; [cf2]d[cf1] ~Lausanne, [sm1570[nm). Huguenot composer, precentor
~successively at the Calvinist caths. of Geneva and ~Lausanne, and ed. of a book
 of metrical psalms ~([sm1565[nm).[cm~Fran;Alcaise. [fy75,1]Old round dance in t
riple or com~~pound duple time. Very popular in the [sm1830[nms.[cm~Fran;Alcaix,
 Jean[fy75,1] ([cf2]b[cf1] Le Mans, [sm1912[nm). Fr. composer ~and pianist. Stud
ied comp. with [fy45,1]*[fy75,1]Boulanger and ~pf. with Isidor Philipp. Frequent
 soloist in his ~own works, which are marked by wit and ~elegance. Wrote mus. fo
r Sacha Guitry films. ~Comps. incl. operas (notably [cf2]La Main
 de Gloire[cf1], [sm4[nm ~acts, prod. [sm1950[nm), ballets, sym., sym. for str.,
 pf. ~concertino, pf. conc., chamber mus. (incl. sax. ~qt.), pf. pieces, songs,
oratorio [cf2]L'Apocalypse de ~Saint Jean[cf1] ([sm1939[nm), conc. for [sm2[nm h
arps and str. ([sm1979[nm), ~vn. conc. ([sm1970[nm), cl. quintet ([sm1978[nm), [
cf2]Theme and ~Variations[cf1], cl. and str. ([sm1978[nm), [sm6[nm [cf2]Imprompt
us[cf1], fl. ~and bn. ([sm1978[nm), Ballet, [cf2]Les Demoiselles de la nuit[cf1]
 ~([sm1948[nm), Vn. conc. No. [sm2[nm ([sm1979[nm), bn. conc. ([sm1980[nm), ~and
 [cf2]L'Horloge de Flore[cf1], ob. and orch. ([sm1959[nm).[cm~[PN262,0,0,L,I0]Fr
ancesca da Rimini.[fy75,1] The story of the adulterous ~lovers Paolo and Frances
ca in Canto V of Dante's[cf2] ~Inferno[cf1] has been the basis of several comps.
:[ep~^([sm1[nm) Symphonic fantasy by Tchaikovsky, Op. [sm32[nm, ~[sm1876[nm, bas
ed on picture by Dor;aae.[ep~^([sm2[nm) Opera in [sm4[nm acts by Zandonai to lib
. by T. ~Ricordi after play by d'Annunzio ([sm1902[nm), prod. ~T
urin and London [sm1914[nm, NY Met. [sm1916[nm.[ep~^([sm3[nm) Opera in prol., [s
m2[nm scenes, and epilogue by ~Rakhmaninov to lib. by M. Tchaikovsky, prod. ~Mos
cow [sm1906[nm.[ep~^([sm4[nm) Symphonic poem by H. Hadley f.p. Boston ~[sm1905[n
m. Also operas on the subject by Goetz, Piern;aae, ~Thomas, [fy45,1]*[fy75,1]N;a
aapravn;aaik, and several other compos~~ers.[cm~Francescatti, [fy75,1](Ren;aae)
[fy65][cf3]Zino[fy75,1] ([cf2]b[cf1] Marseilles, [sm1902[nm). ~Fr. violinist (It
.-born father). D;aaebut at [sm5[nm, played ~Beethoven conc. at [sm10[nm. Toured
 Brit. [sm1926[nm with ~Ravel. Settled in USA. Soloist with world's leading ~orc
hs.[cm~Francesch, Homero[fy75,1] ([cf2]b[cf1] Montevideo, [sm1947[nm). Uru~~guay
an pianist. D;aaebut [sm1963[nm. Studied Munich, ~[sm1967[nm, with Maria Hindemi
th-Landes, and Mun~~ich Cons. with Steurer. Henze wrote his [cf2]Tristan[cf1] ~f
or him. London d;aaebut [sm1974[nm.[cm~Francesina. [fy75,1]See [cf2]Duparc, Elis
abeth.[cm~Franchetti, Alberto [fy75,1]([cf2]b[cf1] Turin, [sm186
0[nm; [cf2]d[cf1] Viareggio, ~[sm1942[nm). It. composer, pupil of Rheinberger at
 ~Munich Cons. His considerable wealth enabled ~him to stage his [sm9[nm operas
which incl. [cf2]Germania[cf1] ~([sm1902[nm, CG [sm1907[nm), [cf2]Cristoforo Col
ombo[cf1] ([sm1892[nm), [cf2]La ~figlia di Jorio[cf1] ([sm1906[nm), and [cf2]Not
te de Legenda[cf1] ([sm1915[nm). ~Wrote sym. and chamber mus.[cm~Franchomme, Aug
uste [fy75,1](=+=+=+Joseph)[cf1] ([cf2]b[cf1] Lille, [sm1808[nm; ~[cf2]d[cf1] Pa
ris, [sm1884[nm). Fr. cellist. Played in Fr. th. orchs. ~in youth. With Alard an
d [fy45,1]*[fy75,1]Hall;aae founded series ~of Paris chamber concerts. Prof. of
vc., Paris Cons. ~from [sm1846[nm. Played in duos with Mendelssohn ~and Chopin.
Wrote vc. conc. and other vc. pieces.[cm~Franci, Carlo[fy75,1] ([cf2]b[cf1] Buen
os Aires, [sm1927[nm). It. cond. ~and composer. Pupil of Petrassi (comp.) and ~P
revitali (cond.). Cond. Rome Opera and NY ~Met., also Radio Eireann S.O. [sm1955
[nm=n[sm7[nm. Wrote ~opera and instr. works.[cm~Franck, C;aaesar
 [fy75,1](Auguste Jean Guillaume) [cf1]([cf2]b[cf1] Li;agege, ~[sm1822[nm; [cf2]
d[cf1] Paris, [sm1890[nm). Belg.-born composer (Fr. cit. ~from [sm1870[nm). He t
oured Belgium as a pianist at the ~age of [sm13[nm. In [sm1835[nm he went to Par
is, studying ~harmony with Reicha and was at the Paris Cons. ~from [sm1837[nm to
 [sm1842[nm. On leaving the Cons. he ~concentrated on comp. and settled in Paris
 in ~[sm1844[nm. In [sm1858[nm he became organist of the church ~of Sainte-Cloti
lde, Paris, where his outstanding ~ability as an improviser drew listeners from
far ~and wide, incl. Liszt who in [sm1866[nm likened his skill ~to that of Bach.
 He was prof. of org. at the Cons. ~from [sm1872[nm. Throughout these years as t
eacher ~and organist, his comps. were ignored by the ~general public. His pupils
, led by [fy45,1]*[fy75,1]d'Indy, ~organized a concert of his works in Jan. [sm1
887[nm, ~which, although poorly perf., pleased the uncom~~plaining composer, who
 subsequently wrote [sm3[nm of ~his finest works. The Sym. was r
eceived with ~incomprehension in [sm1889[nm, but there was an ~enthusiastic resp
onse to the Str. Qt. He became ~Chevalier du L;aaegion d'Honneur in [sm1885[nm.[
ep~_In his early works Franck was influenced by ~the op;aaera-comique composers
such as Gr;aaetry. His ~middle years were dominated by works of ~religious chara
cter, his oratorio [cf2]Les B;aaeatitudes[cf1] ~occupying him for [sm10[nm years
. In his later works he ~developed `cyclic form' whereby a theme, modi~~fied or
varied, recurs in each section of the work. ~His symphonic poems date from the l
ate [sm1870[nms ~and the [cf2]Variations Symphoniques[cf1] for pf. and orch. ~fr
om [sm1885[nm. Franck's harmonic idiom, no doubt ~influenced by Wagner and by th
e org.-loft, has a ~pungent individuality which exerted a powerful ~sway not onl
y over his pupils but over a much ~later generation, e.g. [fy45,1]*[fy75,1]Messi
aen. His work also ~played a large part in restoring French taste for ~`pure mus
ic', thereby opening the way for ~Debussy, Ravel, and others. Pr
in. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]Le Valet de Ferme[cf1], op;aaera-com
ique ([sm1851[nm=n~[sm2[nm), [cf2]Hulda[cf1] ([sm1882[nm=n[sm5[nm), [cf2]Ghis;ag
ele[cf1] ([sm1889[nm=n[sm90[nm, orch. by ~Chausson, d'Indy, and others).[ep~[smo
rch[nm: [cf2]Les [fy45,1]*[fy75,2];aaEolides[cf1] ([sm1876[nm), [cf2]Le [fy45,1]
*[fy75,2]Chasseur maudit[cf1] ~([sm1882[nm), [cf2]Les Djinns[cf1] ([sm1884[nm, p
f. and orch.), [cf2]Variations ~Symphoniques [cf1]([sm1885[nm, pf. and orch.), [
cf2]Psych;aae[cf1] ([sm1887[nm=n~[sm8[nm, with ch.), Sym. in D minor ([sm1886[nm
=n[sm8[nm).[ep~[smchoral[nm: [cf2]Ruth[cf1], biblical eclogue for soloists, ch.,
 ~and orch. ([sm1843[nm=n[sm6[nm); [cf2]La Tour de Babel[cf1], oratorio ~([sm186
5[nm); [cf2]Les [fy45,1]*[fy75,2]B;aaeatitudes[cf1], oratorio ([sm1869[nm=n[sm79
[nm); [cf2]R;aae~~demption[cf1], for sop., ch., and orch. ([sm1871[nm=n[sm2[nm,
orch. ~item and male ch. added [sm1874[nm); [cf2]Rebecca[cf1] ([sm1881[nm); ~[cf
2]Messe solennelle[cf1], for bass and org. ([sm1858[nm); [cf2]Ma
ss ~[cf1]for [sm3[nm vv. (STB) with org., harp, vc., and db. ~([sm1860[nm); [sm3
[nm [cf2]Offertories[cf1], for soloist, ch., org., and ~db.; [cf2]Panis angelicu
s[cf1], for ten., org., harp, vc., and ~db. ([sm1872[nm).[ep~[smchamber music[nm
: Pf. Trio ([sm1834[nm); [cf2]Trois Trios ~Concertants[cf1], pf., vn., and vc. (
[sm1841[nm=n[sm2[nm); [sm4[nmth [cf2]Trio ~Concertant[cf1] ([sm1842[nm); Pf. Qui
ntet ([sm1878[nm=n[sm9[nm); Sonata ~for pf. and vn. ([sm1886[nm, also arr. for p
f. and vc. and ~for pf. and fl.); Str. Qt. in D major ([sm1889[nm).[ep~[smorgan[
nm: [sm6[nm [cf2]Pi;ageces pour Grand Orgue[cf1] ([sm1862[nm); [sm44[nm ~[cf2]Pe
tites Pi;ageces[cf1] ([sm1863[nm); [sm3[nm [cf2]Pi;ageces pour Grand Orgue[cf1]
~(incl. [cf2]Pi;agece heroique[cf1]) ([sm1878[nm); [cf2]Andantino[cf1] ([sm1889[
nm); [sm3[nm ~[cf2]Chorals[cf1] ([sm1890[nm).[ep~[smpiano[nm: [cf2]Souvenirs d'A
ix-la-Chapelle[cf1] ([sm1843[nm); [cf2]Fantasia ~on [sm2[nm Polish Airs[cf1] ([s
m1845[nm); [cf2]Pr;aaelude, Choral, et Fugue[cf1], ~([sm1884[nm)
; [cf2]Pr;aaelude, Aria et Final[cf1] ([sm1886[nm=n[sm7[nm).[ep~[ih0] Also songs
 and works for harmonium incl. ~[cf2]L'Organiste[cf1], [sm59[nm pieces for harmo
nium ([sm1889[nm=n[sm90[nm).[cm~[j1]Franck, Melchior[fy75,1] ([cf2]b[cf1] Zittau
, [cf2]c.[cf1][sm1579[nm; [cf2]d[cf1] Coburg, ~[sm1639[nm). Saxon composer. [cf1
]Kapellmeister [cf1]to Duke of ~Coburg from [sm1603[nm. Wrote songs, instr. work
s, ~and church mus.[cm~Francoeur, Fran;Alcois[fy75,1] ([cf2]b[cf1] Paris, [sm169
8[nm; [cf2]d[cf1] Paris, ~[sm1787[nm). Fr. composer and violinist. Twice manager
 ~[PN263,0,0,R,I0]of Paris Op;aaera ([sm1757[nm=n[sm67[nm, [sm1772[nm=n[sm5[nm).
 Court musi~~cian. Wrote vn. sonatas, operas, and ballets. ~Collab. with F. [fy4
5,1]*[fy75,1]Rebel.[cm~Fran;Alcois, Samson[fy75,1] ([cf2]b[cf1] Frankfurt, [sm19
24[nm; [cf2]d[cf1] Paris, ~[sm1970[nm). Fr. pianist. Public d;aaebut at age [sm6
[nm. Studied ~Nice Cons., in Italy and Belgrade, and in Paris ~with Cortot. Winn
er of several int. prizes. World ~tours. Fine exponent of Mozart
 and Debussy.[cm~Francs Juges, Les[fy75,1] (The judges of the secret ~court). Ov
., Op. [sm3[nm by Berlioz, comp. [sm1826[nm to opera ~in [sm3[nm acts (libretto
by H. Ferrand). [sm1[nmst version of ~opera composed [sm1826[nm, expanded in [sm
1829[nm, and ~recast in [sm1833[nm as [sm1[nm-act intermezzo, [cf2]Le cri de gue
rre ~de Brisgaw. [cf1]Ov. and [sm6[nm numbers survive.[cm~Frank, Alan [fy75,1](C
lifford)[cf1] ([cf2]b[cf1] London, [sm1910[nm). Eng. ~publisher, ed., writer, an
d clarinettist. Joined ~OUP staff [sm1927[nm, music ed. [sm1948[nm, head of mus.
 ~dept. [sm1954[nm=n[sm75[nm.[cm~Frankel, Benjamin[fy75,1] ([cf2]b[cf1] London,
[sm1906[nm; [cf2]d[cf1] London, ~[sm1973[nm). Eng. composer and cond. Watchmaker
's ~apprentice. Studied mus. in Ger., returning to ~London (GSM) [sm1923[nm. Wor
ked as caf;aae musician ~and as jazz-band violinist, leader, and orchestrator ~(
orch. of Coward's [cf2]Operette [cf1]and many C. B. ~Cochran revues). On staff G
SM [sm1946[nm. Many of his ~more serious comps. are in [sm12[nm-
note system. Wrote ~mus. for over [sm100[nm films. Prin. works:[xm[cm~[j2][smorc
h[nm: Vn. Conc. ([sm1951[nm), [fy75,2]Concertante Lirico[cf1] for str. ~([sm1953
[nm), [cf2]Serenata Concertante[cf1], pf. trio and orch. ~([sm1961[nm), va. conc
. ([sm1967[nm), [cf2]Pezzi Melodici[cf1] for ~chamber orch. ([sm1972[nm), Syms.,
 No. [sm1[nm ([sm1958[nm), No. ~[sm2[nm ([sm1962[nm), No. [sm3[nm ([sm1964[nm),
No. [sm4[nm ([sm1966[nm), No. [sm5[nm ~([sm1967[nm), No. [sm6[nm ([sm1969[nm), N
o. [sm7[nm ([sm1969[nm), No. [sm8[nm ([sm1972[nm).[ep~[smchamber music[nm: Str.
Trio ([sm1944[nm), Solo vn. sonata ~No. [sm1[nm ([sm1944[nm), No. [sm2[nm ([sm19
62[nm), Str. Qts., No. [sm1[nm ~([sm1944[nm), No. [sm2[nm ([sm1945[nm), No. [sm3
[nm ([sm1947[nm), No. [sm4[nm ([sm1948[nm), ~No. [sm5[nm ([sm1965[nm), [cf2][sm3
[nm Poems[cf1] for vc. and pf. ([sm1950[nm), pf. ~qt. ([sm1953[nm), [cf2]Bagatel
les[cf1] for [sm11[nm instr. ([sm1959[nm).[ep~[smvocal[nm: [cf2]The Aftermath[cf
1], ten., tpt., str. ([sm1947[nm), [sm8[nm ~[cf2]Songs[cf1], med
ium v. and pf. ([sm1959[nm).[ep~[smopera[nm: [cf2]Marching Song[cf1] ([sm1972[nm
=n[sm3[nm), [sm3[nm acts, lib. by ~Hans Keller after play by John Whiting. ~Comp
leted in short score only. F.p. BBC ~broadcast [sm1983[nm in ed. by Buxton Orr.[
cm~[j1]Frankenstein, Alfred[fy75,1] ([cf2]b[cf1] Chicago, [sm1906[nm; [cf2]d [cf
1]San ~Francisco, [sm1981[nm). Amer. critic of mus. and art. ~Educated Chicago U
niv., where he was on staff ~[sm1932[nm=n[sm4[nm. Mus. critic [cf2]San Francisco
 Chronicle[cf1] [sm1934[nm=n~[sm65[nm. Found and pubd. ([sm1939[nm) sketches by
V. ~Hartmann which inspired Mussorgsky's [cf2]Pictures ~at an Exhibition[cf1] an
d ed. illustrated edn. of score ~([sm1951[nm).[cm~Frankfurt Group. [fy75,1]Group
 of Eng. composers ~(Norman O'Neill, Roger Quilter, Cyril Scott, and ~Balfour Ga
rdiner) who were pupils of Iwan ~[fy45,1]*[fy75,1]Knorr at Frankfurt Hoch Cons.
in late [sm1890[nms.[cm~Frankl, Peter[fy75,1] ([cf2]b[cf1] Budapest, [sm1935[nm)
. Hung.-born ~pianist (Brit. citizen from [sm1967[nm). Studied L
iszt ~Acad., Budapest. [sm1[nmst prize in pf. competitions in ~Paris [sm1957[nm,
 Munich [sm1957[nm, Rio de Janeiro [sm1959[nm. ~Frequent conc. soloist. Member o
f chamber mus. ~trio with Gy;auorgy Pauk (vn.) and Ralph Kirshbaum ~(vc.).[cm~Fr
anklin, David [fy75,1]([cf2]b[cf1] London, [sm1908[nm; [cf2]d[cf1] Evesham, ~[sm
1973[nm). Eng. bass, discovered as amateur by John ~Christie [sm1934[nm. Studied
 Vienna with Jani Strasser. ~D;aaebut Glyndebourne [sm1936[nm. Leading bass CG ~
[sm1947[nm=n[sm50[nm. Notable Ochs in [cf2]Rosenkavalier[cf1]. Also ~concert wor
k ([cf2]Gerontius[cf1], etc.). Throat ailment ~caused retirement [sm1951[nm. The
reafter worked as ~effective broadcaster, lecturer, and writer. Libret~~tist of
[fy45,1]*[fy75,1]Tate's [cf2]The Lodger[cf1].[cm~Franquin, Merri[fy75,1] ([cf2]b
[cf1] Lan;Alcon, [sm1848[nm; [cf2]d[cf1] Paris, [sm1934[nm). ~Fr. trumpeter. Pro
f. of tpt., Paris Cons. Invented ~[sm5[nm-piston tpt. Author of tpt. method.[cm~
Franz, Robert[fy75,1] (Robert Franz Knauth) ([cf2]b[cf1] Halle,
~[sm1815[nm; [cf2]d[cf1] Halle, [sm1892[nm). Ger. composer. Studied at ~Dessau [
sm1835[nm=n[sm7[nm. A set of his songs was highly ~praised by Schumann in [sm184
3[nm and won the ~attention of Mendelssohn, Liszt, and others. ~Appointed org. a
t Halle, becoming mus. dir. of ~Halle Univ. Retired [sm1868[nm because of severe
 illness; ~thereafter ed. works of Bach and Handel, supply~~ing additional accs.
, and comp. some choral mus. ~His reputation rests on his [sm300[nm Lieder, whic
h ~some enthusiasts rank alongside those of Schubert ~and Schumann.[cm~Frauenlie
be und -Leben [fy75,1](Woman's Love and ~Life). Song-cycle for sop. or mez. and
pf., Op. [sm42[nm, ~by Schumann, being settings of [sm8[nm poems by ~Adalbert vo
n Chamisso. Comp. [sm1840[nm.[cm~Frau ohne Schatten, Die[fy75,1] (The Woman with
out ~a Shadow). Opera in [sm3[nm acts by R. Strauss to lib. by ~Hofmannsthal. Co
mp. [sm1914[nm=n[sm18[nm. Prod. Vienna ~[sm1919[nm, San Francisco [sm1959[nm, Lo
ndon [sm1967[nm.[cm~F.R.C.C.O. [fy75,1]Fellow of the Royal Canad
ian College ~of Organists.[cm~F.R.C.M.[fy75,1] Fellow of the Royal College of Mu
sic.[cm~F.R.C.O.[fy75,1] Fellow of the Royal College of Organists.[cm~Freccia, M
assimo [fy75,1]([cf2]b[cf1] Florence, [sm1906[nm). It. cond. ~and composer. Stud
ied Florence Cons. and cond. ~under F. [fy45,1]*[fy75,1]Schalk in Vienna. Cond.,
 Budapest S.O. ~[sm1933[nm. Amer. d;aaebut [sm1938[nm. Cond. New Orleans ~S.O. [
sm1944[nm=n[sm51[nm, Baltimore S.O. [sm1952[nm=n[sm9[nm; chief cond. ~Radio-tele
visione Italiana (RAI) Orch., Rome, ~[sm1959[nm=n[sm63[nm. Guest cond. of many o
ther orchs.[cm~Frederick the Great[fy75,1] (Friedrich II, King of Prussia) ~([cf
2]b[cf1] Berlin, [sm1712[nm; [cf2]d [cf1]Potsdam, [sm1786[nm). Ger. sovereign ~(
reigned [sm1740[nm=n[sm86[nm) who was also composer, ~flautist, and patron of mu
s. Pupil of Hayne and ~[fy45,1]*[fy75,1]Quantz. Est. court orch. Berlin [sm1740[
nm, and opera ~house [sm1742[nm. Employed C. P. E. Bach as harpsi~~chordist from
 [sm1740[nm, and J. S. Bach visited the ~court at Potsdam, [sm17
47[nm, the [fy45,1]*[fy75,2]Musical Offering[cf1] ~being the result (based on th
eme supplied by ~Frederick). Other notable musicians in Frederick's ~[PN264,0,0,
L,I0]service incl. the Graun brothers and [fy45,1]*[fy75,1]Quantz. ~Comp. syms.,
 opera, marches, arias, etc.[cm~Fredigundis.[fy75,1] Opera in [sm3[nm acts by F.
 [fy45,1]*[fy75,1]Schmidt to ~lib. by B. Warden and I. M. Welleminsky after ~Fel
ix Dahn. Comp. [sm1916[nm=n[sm21[nm. Prod. Berlin [sm1922[nm.[cm~Fredman, Myer[f
y75,1] ([cf2]b[cf1] Plymouth, [sm1932[nm). Eng. cond. ~On staff Glyndebourne Ope
ra [sm1959[nm=n[sm74[nm; mus. dir. ~Glyndebourne Touring Opera [sm1968[nm=n[sm74
[nm. Guest ~cond. BBC, LPO, RPO, ECO, and other orchs. ~Mus. dir. Adelaide Opera
 from [sm1975[nm.[cm~Free Canon.[fy75,1] Form of [fy45,1]*[fy75,1]canon in which
 the ~intervals of the imitating v. remain the same ~numerically, but not necess
arily as to quality (e.g. ~a major [sm3[nmrd may become a minor [sm3[nmrd).[xm[c
m~[j1]Free Counterpoint.[fy75,1] See [cf2]Counterpoint[cf1].[xm[
cm~[ol0][ep~[xp[te~












[do17][j99]~~~~~~[ep~[sm153842[nm_FA[sm04[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConci
se Oxford Dict. of ~Music[cmFA[sm04[nm[cm[sm17[nm[cm[sm1[nm[cm~[sm23[nm.[sm9[nm.
[sm79[nm[cm[sm17[nm[cm[sm372[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~~[ap[j1]Free
d, Isadore[fy75,1] ([cf2]b[cf1] Brest-Litovsk, [sm1900[nm; [cf2]d[cf1] Rockville
 ~Center, NY, [sm1960[nm). Russ.-born cond. and pianist. ~Emigrated to USA as ch
ild, studied Pennsylvania ~Univ. and Philadelphia Cons. Pf. pupil, [sm1924[nm, o
f ~Josef [fy45,1]*[fy75,1]Hofmann. Studied comp. with [fy45,1]*[fy75,1]Bloch, ~[
sm1918[nm=n[sm21[nm, and with [fy45,1]*[fy75,1]d'Indy, [sm1929[nm=n[sm30[nm. Con
d. ~Concert Spirituel, Paris, [sm1930[nm=n[sm3[nm. On faculty Hartt ~Coll. of Mu
s., Hartford, Conn., [sm1944[nm=n[sm60[nm. Comps. ~incl. opera, ballet, [sm2[nm
syms., vn. conc., vc. conc., ~va. rhapsody, [sm3[nm str. qts., choral works, and
 pf. ~pieces.[cm~Free Fantasia. [fy75,1]Same as `Development' in Com~~pound Bina
ry Form, etc. See also [cf2]Form[cf1] ([sm3[nm).[cm~Frei aber Fr
oh[fy75,1] (Ger., `Free but happy'). Brahms's ~personal motto, the initial lette
rs of which (F-A-~F) he used as the basic thematic structure of his ~[sm3[nmrd S
ym. ([sm1883[nm).[cm~Freisch;auutz, Der[fy75,1] (The Freeshooter). [sm3[nm-act o
pera ~by Weber to lib. by Friedrich Kind after a story ~by Apel and Laun in[cf2]
 Gespensterbuch[cf1] ([sm1811[nm). Comp. ~[sm1817=n21[nm. Prod. Berlin [sm1821[n
m, London [sm1824[nm, NY ~[sm1825[nm.[cm~Freitas, Frederico de [fy75,1]([cf2]b[c
f1] Lisbon, [sm1902[nm). Portu~~guese composer and cond. Studied Nat. Cons., ~Li
sbon, [sm1919[nm=n[sm24[nm. Founder and cond. Lisbon ~Choral Soc. [sm1940[nm=n[s
m7[nm, cond. Oporto S.O. [sm1949[nm=n[sm53[nm. ~Comps. incl. opera, sym., vn. so
nata, str. qt., ~ballets, and choral works.[cm~Freitas Branco, Lu;aais de[fy75,1
] ([cf2]b[cf1] Lisbon, [sm1890[nm; [cf2]d[cf1] ~Lisbon, [sm1955[nm). Portuguese
composer. Studied in ~Lisbon and in Berlin with Humperdinck. Taught ~at Lisbon C
ons. and held govt. posts from which ~he was removed between [sm
1939[nm and [sm1947[nm because ~of his protests over persecution of artists in G
er. ~and It. Comp. [sm4[nm syms., concs. for vn., pf., and vc., ~chamber mus., c
horal works. Wrote educational ~books.[cm~Freitas Branco, Pedro de [fy75,1]([cf2
]b[cf1] Lisbon, [sm1896[nm; [cf2]d ~[cf1]Lisbon, [sm1963[nm). Portuguese cond. a
nd composer, ~brother of Luis [fy45,1]*[fy75,1]Freitas Branco. Founded Portu~~gu
ese Opera Co. [sm1926[nm. Cond. state sym. orch. ~from [sm1934[nm. Cond. Venice
Biennale [sm1943[nm. Guest ~cond. in Fr., Ger., Sp., Eng. (Hall;aae Orch. etc.).
[cm~Fr;aaemaux, Louis[fy75,1] ([cf2]b[cf1] Aire sur Lys, [sm1921[nm). Fr. cond.
~Studied Paris Cons. Cond. Nat. Orch. Monte Carlo ~[sm1956[nm=n[sm65[nm, Rh;afon
e-Alpes P.O. [sm1968[nm=n[sm71[nm, prin. cond. ~and mus. dir. CBSO [sm1969[nm=n[
sm78[nm; prin. cond. Sydney ~S.O. [sm1979[nm=n[sm81[nm.[cm~Fremstad, Olive [fy75
,1](Olivia Rundquist) ([cf2]b[cf1] Stock~~holm, [sm1871[nm; [cf2]d[cf1] Irvingto
n, NY, [sm1951[nm). Swed. sop. ~(later Amer. citizen). Her famil
y emigrated to ~USA when she was in her early teens, when she ~expected to becom
e pianist, having made recital ~d;aaebut at age [sm12[nm. Opera d;aaebut Boston
[sm1890[nm in ~Sullivan's [cf2]Patience[cf1]. Went to NY [sm1890[nm, becoming ~c
ont. soloist at St Patrick's Cath. Studied in Berlin ~[sm1893[nm with Lilli Lehm
ann, who convinced her ~she was sop. or mez. Soloist [sm1895[nm in Schumann's ~[
cf2]Paradise and the Peri[cf1] at Cologne Fest., leading to ~engagement with Col
ogne Opera, d;aaebut as ~Azucena. Bayreuth [sm1896[nm, London [sm1902[nm, Munich
 ~Opera [sm1900[nm=n[sm3[nm, NY Met. [sm1903[nm as Sieglinde, cond. ~Mottl. Incr
easingly specialized in Wagner roles ~e.g. Kundry and Br;auunnhilde, of which sh
e was ~one of greatest interpreters, but sang Carmen ~opposite Caruso [sm1906[nm
 and Salome in the single ~perf. at NY Met. [sm1907[nm (also first Paris Salome,
 ~[sm1907[nm). Sang Isolde at Mahler's Met. d;aaebut, [sm1908[nm. ~Farewell appe
arance at Met. [sm1914[nm, but sang opera ~at Boston and Chicago
, and gave final recital, NY ~[sm1920[nm.[cm~French Horn.[fy75,1] Coiled brass w
ind instr. (tube over ~[sm11[nm;po in all) of conical ;FB;pp bore, with funnel-s
haped ~mouth-piece and bell of [sm11[nm=n[sm14[nm;pp diameter. The ~hn. was one
of the earliest primitive instrs., being ~used for military purposes and esp. fo
r hunting. ~The modern hn. was developed in Fr. (hence the ~name). It has existe
d in [sm2[nm forms: (a) [cf2]Natural, but ~with [fy45,1]*[fy75,2]crooks[cf1]. Th
is is the instr. for which the older ~classical composers wrote and is said to h
ave been ~introduced into the orch. by Lully in his comedy-~ballet [cf2]La Princ
esse d'Elide[cf1], Paris [sm1664[nm. A notational ~convention existed whereby if
 notes occurred low ~enough to demand the use of the bass clef, they ~were writt
en an octave lower than that pitch ~demanded. All parts were written as if in th
e key ~of C, with sharps and flats inserted as accidentals. ~Certain notes not i
n tune with the modern ~tempered scale were modified by the inse
rtion of ~a hand in the bell (`stopped notes'). (b) [cf2]With valves[cf1]. ~The
Fr. hn. was equipped with rotary valves in ~about [sm1827[nm and this instr. gra
dually displaced (a). ~Schumann was among the first to specify its use, ~and Wag
ner abandoned (a) in and after [cf2]Lohengrin[cf1] ~([sm1848[nm). Traditionally
the valved hn. is pitched in ~F, but other pitches exist. Compass is from B;po ~
upwards for about [sm3[nm;FD octaves. The `double hn.' ~pitched in both F and B;
yh alto, is normally used ~today. The valves act much as the old crooks did ~but
 of course more speedily. Notation is without ~key signature, written a perfect
[sm5[nmth higher than ~it is intended to sound. There is a modern ~[PN265,0,0,R,
I0]tendency to use a key signature, which, from the ~use of the F pitch, necessa
rily has a flat less or ~sharp more than the actual key. The hn.'s place ~in the
 sym. orch. has grown in importance since ~the [sm19[nmth cent., composers such
as Mahler and ~Strauss sometimes specifying [sm8[nm hns. Orch. p
arts ~assume that the higher notes will be played by ~the odd-numbered players,
the lower by the even. ~Many hn. concs. have been written (e.g. by ~Mozart, Stra
uss, Hindemith), and it is also ~employed in chamber works (notably Brahms's ~Hn
. Trio). The Fr. hn. is also used in military ~bands, but not in brass bands whe
re the term is ~colloquially used to denote the ten. saxhorn.[cm~French Overture
.[fy75,1] [sm17[nmth and [sm18[nmth-cent. form of ~the piece of orch. mus. playe
d before an opera or ~oratorio (see [cf2]Overture[cf1]). It was orig. developed
by ~Lully, and was in [sm3[nm movements, slow, quick, ~slow.[cm~French Sixth.[fy
75,1] A type of [fy45,1]*[fy75,1]augmented [sm6[nmth, ~containing an augmented [
sm6[nmth, major [sm3[nmrd, and ~augmented [sm4[nmth (taking key C as example: A;
Yh-C-~D-F;Yi).[cm~French Suites. [fy75,1]Name (possibly unauthorized) ~given to
a set of [sm6[nm kbd. suites by Bach, comp. ~[cf2]c[cf1].[sm1722[nm. See also [c
f2]English Suites, German Suites.[cm~Freni, Mirella[fy75,1] ([cf
2]b[cf1] Modena, [sm1935[nm). It. sop. Studied ~with Campogalliani. D;aaebut Mod
ena as Micaela ~in [cf2]Carmen[cf1] [sm1955[nm. Netherlands Opera [sm1959[nm=n[s
m60[nm. ~Glyndebourne (Zerlina) [sm1960[nm. CG d;aaebut [sm1961[nm ~(Nannetta),
Milan [sm1963[nm (Mimi), NY Met. from ~[sm1965[nm. Many appearances Vienna and S
alzburg in ~operas cond. [fy45,1]*[fy75,1]Karajan.[cm~Frescobaldi, Girolamo [fy7
5,1]([cf2]b[cf1] Ferrara, [sm1583[nm; [cf2]d[cf1] Rome, ~[sm1643[nm). It. compos
er and organist. Held post at ~Antwerp, becoming organist at St Peter's, Rome, ~
[sm1608[nm=n[sm28[nm ([sm30[nm,[sm000[nm are said to have attended his f.p. ~the
re, an indication of his reputation as a virtuoso). ~Organist at Florentine cour
t [sm1628[nm=n[sm33[nm, returning ~to St Peter's thereafter. Comp. motets and ~m
adrigals, but prin. achievements were his ~toccatas, fugues, ricercari, and capr
iccios for org. ~and hpd. His mus. had strong influence on Ger. ~mus. through hi
s pupil [fy45,1]*[fy75,1]Froberger.[cm~Frets. [fy75,1]Strips of
wood or metal (orig. cords) on the ~fingerboard of certain str. instrs. e.g. gui
tar, viol, ~lute (though not vn. family). They indicate the ~length of str. requ
ired to produce a given note=m~the player presses his finger against a fret to ~
shorten the vibrating length of str.[cm~Fretta[fy75,1] (It.). Haste. Hence [cf2]
frettevole, frettoso, ~frettoloso, frettolosamente, [cf1]`hurried'.[cm~Fretwell,
 Elizabeth[fy75,1] ([cf2]b[cf1] Melbourne, [sm1922[nm). Austra~~lian sop. D;aaeb
ut Australian Nat. Opera [sm1947[nm as ~Senta. Sang with Dublin Grand Opera [sm1
954[nm. Prin. ~sop. SW Opera from [sm1955[nm, becoming a famous ~Violetta. First
 Brit. Ariadne in Strauss's opera. ~Notable exponent of Britten roles. O.B.E. [s
m1977[nm.[cm~Freund, Marya [fy75,1]([cf2]b[cf1] Breslau, [sm1876[nm; [cf2]d[cf1]
 Paris, [sm1966[nm). ~Fr. (Polish-born) sop. and teacher. Began as vn. ~student
of Sarasate but switched to singing, ~studying under Stockhausen etc. D;aaebut [
sm1909[nm. ~Became authoritative interpreter of contempo~~rary c
omposers; one of [sm1[nmst to sing [sm12[nm-note works. ~Created part of Wood Do
ve in Schoenberg's ~[cf2]Gurrelieder[cf1] ([sm1913[nm), was speaker in [sm1[nmst
 Fr. and Eng. ~perfs. of [cf2]Pierrot Lunaire[cf1] (but not at f. Berlin p.). ~S
ang in new works by Satie, Bloch, Milhaud, ~Szymanowski, Poulenc, and others. Te
acher in ~Paris for over [sm30[nm years.[cm~Frick, Gottlob [fy75,1]([cf2]b[cf1]
Abronn, [sm1906[nm). Ger. bass singer. ~Studied Stuttgart Cons., joined ch. of S
tuttgart ~Opera [sm1927[nm. Solo roles from [sm1934[nm at Coburg, ~Dresden [sm19
40[nm=n[sm50[nm, Berlin St;auadtische Opera [sm1950[nm=n~[sm3[nm, Munich and Vie
nna from [sm1953[nm. D;aaebut CG ~[sm1951[nm, NY Met. [sm1962[nm. Noted for Wagn
er roles. ~Bayreuth [sm1957[nm=n[sm64[nm. Retired [sm1971[nm but continued ~to m
ake occasional appearances.[cm~Fricker, Peter Racine [fy75,1]([cf2]b[cf1] London
, [sm1920[nm). Eng. ~composer. Studied RCM, later with [fy45,1]*[fy75,1]Seiber.
~Served RAF [sm1941[nm=n[sm6[nm. Won Clements Prize [sm1947[nm ~
with wind quintet, and Koussevitzky award with ~his Sym. No. [sm1[nm (f.p. cond.
 Barbirolli, Cheltenham ~[sm1950[nm). Won Arts Council Fest. of Britain award ~f
or young composers, [sm1951[nm, with vn. conc. Prof. ~of comp., RCM [sm1956[nm=n
[sm64[nm, dir. of mus., Morley ~Coll., [sm1953[nm=n[sm64[nm, composer-in-residen
ce Univ. of ~Calif. (Berkeley) since [sm1964[nm. One of [sm1[nmst post-[sm1945[n
m ~Eng. composers to develop individual style ~derived from influences of Bart;a
aok, Stravinsky, ~and Schoenberg. Prin. comps.:[xm[cm~[j2][smorch[nm: Sym. No. [
sm1[nm ([sm1949[nm), No. [sm2[nm ([sm1950[nm=n[sm1[nm), No. [sm3[nm ~([sm1960[nm
), No. [sm4[nm ([sm1966[nm), No. [sm5[nm ([sm1975[nm=n[sm6[nm), [fy75,2]Prelude,
 ~Elegy, and Finale[cf1] for str. ([sm1949[nm), [cf2]Dance Scene[cf1] ~([sm1954[
nm), [cf2]Litany[cf1], for double str. orch. ([sm1955[nm), [sm3[nm ~[cf2]Scenes[
cf1] ([sm1966[nm), [sm7[nm [cf2]Counterpoints[cf1] ([sm1967[nm); [cf2]Sinfonia i
n ~memoriam Benjamin [fy45,1]*[fy75,2]Britten ([cf1]for [sm17[nm
 wind instr.) ~([sm1976[nm=n[sm7[nm).[cf1][ep~[smconcertos[nm: [cf1]Vn. ([sm1949
[nm=n[sm50[nm), cor anglais and str. (or ~pf.) ([sm1950[nm), [sm3[nm pf., str.,
and timp. ([sm1951[nm), va. ~([sm1952[nm), pf. ([sm1952[nm=n[sm4[nm), vn. No. [s
m2[nm ([cf2]Rapsodia ~Concertante[cf1]) ([sm1952[nm=n[sm4[nm), [cf2]Toccata[cf1]
 for pf. ([sm1958[nm=n[sm9[nm), ~[cf2]Laudi Concertati[cf1], org. and orch. ([sm
1979[nm).[ep~[smvoice and instr[nm: [cf2]Night Landscape[cf1], sop. and str. tri
o ~([sm1947[nm), [sm3[nm [cf2]Sonnets by Cecco Angiolieri[cf1], ten. and [sm7[nm
 ~instr. ([sm1947[nm), [cf2]Tomb of St Eulalia[cf1], elegy for counter-~tenor, v
a. da gamba, hpd. ([sm1955[nm), [cf2]Cantata[cf1], ten. ~and chamber orch. ([sm1
962[nm), [cf2]O Longs d;aaesirs[cf1], [sm5[nm songs ~for sop. and orch. ([sm1963
[nm), [cf2]The Day and the Spirits[cf1], ~sop. and harp ([sm1966[nm=n[sm7[nm), [
cf2]Some Superior Nonsense[cf1], ~ten. and chamber ens. ([sm1968[nm), [cf2]The R
oofs[cf1], colora~~tura sop. and perc. ([sm1970[nm), [cf2]Come,
sleep[cf1], cont., alto ~fl., bass cl. ([sm1972[nm).[ep~[smchoral[nm: [cf2]Madri
gals[cf1] (a cappella) ([sm1947[nm), [cf2]Musick's ~Empire[cf1], ch. and small o
rch. ([sm1955[nm), [cf2]The [fy45,1]*[fy75,2]Vision of ~Judgement[cf1], oratorio
 for sop., ten., ch., and orch. ~([sm1957[nm=n[sm8[nm), [cf2]Ave Maris Stella[cf
1] ([sm1967[nm), [cf2]Magnificat[cf1] ~([sm1968[nm), [cf2]Whispers at these Curt
ains[cf1], bar., ch., boys' ch., orch. ([sm1984[nm).[ep~[PN266,0,0,L,I0][smchamb
er music[nm: Wind Quintet ([sm1947[nm), Str. Qt. No. ~[sm1[nm ([sm1947[nm), No.
[sm2[nm ([sm1952[nm=n[sm3[nm), No. [sm3[nm ([sm1975[nm), Vn. ~Sonata ([sm1950[nm
), Hn. Sonata ([sm1955[nm), Vc. Sonata ~([sm1956[nm), Octet ([sm1957[nm=n[sm8[nm
), [cf2]Serenade[cf1] No. [sm1[nm ([sm1959[nm), ~No. [sm2[nm ([sm1959[nm), [sm4[
nm [cf2]Dialogues[cf1], ob. and pf. ([sm1965[nm), ~[cf2]Fantasy[cf1], va. and pf
. ([sm1966[nm), [cf2]Paseo[cf1], for guitar ~([sm1970[nm).[ep~[smpiano[nm: [cf2]
Variations[cf1] ([sm1957[nm=n[sm8[nm), [sm12[nm [cf2]Studies[cf1
] ([sm1961[nm), ~Episodes I ([sm1967[nm=n[sm8[nm), II ([sm1969[nm); [cf2]Anniver
sary[cf1] ~([sm1978[nm).[ep~[sm2 pianos[nm: Sonata ([sm1977[nm).[ep~[smorgan[nm:
 [cf2]Sonata[cf1] ([sm1947[nm), [cf2]Choral[cf1] ([sm1956[nm), [cf2]Ricercare[cf
1] ~([sm1965[nm), [sm6[nm [cf2]Pieces[cf1] ([sm1968[nm), [cf2]Toccata[cf1] ([sm1
968[nm), [cf2]Praeludium[cf1] ~([sm1970[nm).[cm~[j1]Fricsay, Ferenc[fy75,1] ([cf
2]b[cf1] Budapest, [sm1914[nm; [cf2]d[cf1] Ermatingen, ~Switz., [sm1963[nm). Hun
g. cond. Studied with Kod;aaaly ~and Bart;aaok. Cond. at Szeged [sm1933[nm=n[sm9
[nm. Prin. cond. ~Budapest Opera [sm1939[nm=n[sm45[nm. Cond. f.ps. of [fy45,1]*[
fy75,1]Einem's ~[cf2]Dantons Tod[cf1], Salzburg [sm1947[nm, and Orff=+=+=+'s [cf
2]Antigonae[cf1], ~Salzburg [sm1949[nm. Cond. Berlin St;auadt[chische Opera ~[sm
1948[nm=n[sm52[nm, Munich Opera [sm1956[nm=n[sm8[nm, Deutsche Oper, ~Berlin, fro
m [sm1961[nm. Prin. cond. RIAS Orch., Berlin, ~from [sm1948[nm. Mus. dir. Bavari
an State Opera [sm1956[nm=n~[sm8[nm. Brit. d;aaebut, Edinburgh F
est. [sm1950[nm. Guest cond. ~of many orchs. Amer. d;aaebut Boston S.O. [sm1953[
nm.[cm~Frid, G;aaeza[fy75,1] ([cf2]b[cf1] M;aaaramaros-Sziget, [sm1904[nm). Hung
.-~born pianist and composer (Dutch citizen [sm1948[nm). ~Studied Budapest Acad.
 [sm1912[nm=n[sm24[nm, working with ~Kod;aaaly and Bart;aaok. Settled in Amsterd
am [sm1929[nm. ~Comps. incl. sym., pf. conc. (with ch.), pf. sonata, ~str. qts.[
cm~Fried, Oskar[fy75,1] ([cf2]b[cf1] Berlin, [sm1871[nm; [cf2]d[cf1] Moscow, [sm
1941[nm). ~Ger. cond., hn.-player, and composer. Guest cond. ~of most leading Eu
ropean orchs., specially active ~in Berlin. Champion of Delius, Mahler, and othe
rs ~among his contemporaries. His comps. incl. opera ~[cf2]Die vernarrte Prinzes
s, Verkl;auarte Nacht[cf1], mez., ten., ~orch. [cf1]([sm1901[nm), and [cf2]Das t
runkene Lied[cf1], sop., cont., ~bass, ch., and orch. ([sm1904[nm).[cm~Friedenst
ag [fy75,1](Day of Peace). [sm1[nm-act opera by R. ~Strauss to lib. by J. Gregor
 based on Calder;aaon's ~play [cf2]La Rendenci;aaon de Breda[cf1
] ([sm1625[nm). Comp. [sm1935[nm=n~[sm6[nm. Prod. Munich [sm1938[nm. F. Eng. p.
BBC broadcast ~[sm1971[nm.[cm~Friedheim, Arthur[fy75,1] ([cf2]b[cf1] St Petersbu
rg, [sm1859[nm; [cf2]d[cf1] NY, ~[sm1932[nm). Ger pianist, composer, and teacher
. Edu~~cated St Petersburg Univ., later cond. th. orchs. in ~Ger. Studied for [s
m8[nm years with Liszt, becoming his ~friend and secretary. Lived and worked in
USA ~[sm1891[nm=n[sm5[nm. Prof. of pf., RMCM [sm1903[nm=n[sm4[nm. Cond. in ~Muni
ch, [sm1908[nm=n[sm10[nm, returning to USA. Settled in ~NY [sm1914[nm but became
 prof. of pf., Canadian Acad., ~Toronto, [sm1921[nm. Ed. complete works of Chopi
n, ~transcr. Liszt works, and comp. operas and pf. ~concs.[cm~Friedman, Ignaz[fy
75,1] ([cf2]b[cf1] Podg;aaorze, nr. Krak;aaow, [sm1882[nm; ~[cf2]d[cf1] Sydney,
N.S.W., [sm1948[nm). Polish pianist and ~composer. Pupil of Leschetizky. Toured
in Europe ~and USA, living in Berlin until [sm1914[nm, then in ~Copenhagen and,
from [sm1940[nm, in Australia. Ed. ~Chopin's works. Comp. chambe
r mus. and songs.[cm~Friedrich, G;auotz [fy75,1]([cf2]b [cf1]Naumburg, [sm1930[n
m). Ger. opera ~producer. Studied in Weimar and joined [fy45,1]*[fy75,1]Felsen~~
stein at the Komische Oper, Berlin, [sm1953[nm. First ~prod. [cf2]Cos;agi fan tu
tte [cf1][sm1958[nm, dir. of prods. [sm1968[nm. Chief ~prod. Hamburg from [sm197
3[nm. Prod. [cf2]Tannh;auauser [cf1]at ~Bayreuth [sm1972[nm. Prin. prod. CG from
 [sm1976[nm and ~has staged there [cf2]The Ring [cf1]([sm1974[nm=n[sm6[nm), [cf2
]Der Freisch;auutz ~[cf1]([sm1977[nm), [cf2]Idomeneo [cf1]([sm1978[nm), and [cf2
]Lulu [cf1]([sm1981[nm). An ~avowed Marxist, his political leanings are reflecte
d ~in his prods. Deutsche Oper, Berlin, from [sm1980[nm. ~Married to soprano Kar
an Armstrong ([cf2]b [cf1][sm1941[nm).[cm~Friend, Rodney[fy75,1] ([cf2]b[cf1] Hu
ddersfield, [sm1939[nm). Eng. ~violinist. Studied RAM and RMCM. D;aaebut as ~con
c. soloist London [sm1962[nm (Hall;aae, Barbirolli). ~Leader, LPO [sm1964[nm=n[s
m76[nm. Concertmaster (leader) NY ~P.O. [sm1976[nm=n[sm9[nm ([sm
1[nmst Englishman to hold this post). ~Leader, BBC S.O. from [sm1980[nm.[cm~Frim
l, Rudolf[fy75,1] ([cf2]b[cf1] Prague, [sm1879[nm; [cf2]d[cf1] Hollywood, ~[sm19
72[nm). Cz. composer who settled in USA [sm1906[nm. ~Studied Prague Cons. First
visited USA [sm1901[nm as ~pianist with Jan [fy45,1]*[fy75,1]Kubelik. Played his
 pf. conc. ~with NY S.O. and comp. pf. works and chamber ~mus. Fame rests on ser
ies of popular operettas: ~[cf2]The Firefly[cf1] ([sm1912[nm), [cf2]Katinka[cf1]
 ([sm1915[nm), [cf2]Rose Marie[cf1] ~([sm1924[nm), and [cf2]The Vagabond King[cf
1] ([sm1925[nm).[cm~Friskin, James[fy75,1] ([cf2]b[cf1] Glasgow, [sm1886[nm; [cf
2]d[cf1] NY, [sm1967[nm). ~Scottish pianist. Studied RCM (pf. with Dann~~reuther
, comp. with Stanford). Settled in USA ~[sm1914[nm, devoting most of time to tea
ching and to ~recitals of Bach's mus., in which he specialized. ~Taught at Insti
tute of Mus. Art, NY, and Juilliard ~Sch. for a total of [sm50[nm years.[cm~F.R.
M.C.M.[fy75,1] Fellow of the Royal Manchester ~College of Music.
[cm~Froberger, Johann Jacob [fy75,1]([cf2]b[cf1] Stuttgart, [sm1616[nm; [cf2]d[c
f1] ~H;aaericourt, [sm1667[nm). Ger. composer and organist. ~Organist at court o
f Vienna [sm1637[nm, but spent next ~[sm4[nm years in Italy as pupil of [fy45,1]
*[fy75,1]Frescobaldi. Visited ~Belgium, Germany, Holland, France, and Eng~~land
before returning to Vienna as court org. ~[sm1653[nm=n[sm8[nm. Comp. much for or
g. and hpd. (toccatas, ~capriccios, ricercari, etc.).[cm~`Frog' Quartet. [fy75,1
](Ger. [cf2]Froschquartett[cf1]). Nickname ~of Haydn's Str. Qt. in D major, Op.
[sm50[nm, No. [sm6[nm ~([sm1787[nm) because of the `croaking' theme in the ~fina
le.[cm~Froissart. [fy75,1]Concert-ov., Op. [sm19[nm, by Elgar comp. ~for and f.p
. at Worcester Fest. [sm1890[nm. Title refers ~to passage in Scott's [cf2]Old Mo
rtality[cf1] in which ~Claverhouse speaks of his enthusiasm for the ~historical
romances and [cf2]Chronicles[cf1] of the Fr. writer ~Jean Froissart ([sm1337[nm=
n[sm1410[nm). Score is headed by ~Keats quotation `When chivalry
 lifted up her ~lance on high'.[cm~From Bohemia's Meadows and Forests [fy75,1]([
cf2]Z ~;AkCeskych Luhu a Haju[cf1]). The [sm4[nmth symphonic poem ~of Smetana's
[fy45,1]*[fy75,2]M;aaa Vl;aaast[cf1], often played separately.[cm~[PN267,0,0,R,I
0]From My Life[fy75,1] ([cf2]Z m;aaeho zivota[cf1]; Ger. [cf2]Aus meinem ~Leben[
cf1]). Title of Smetana's [sm2[nm str. qts. (E minor, ~[sm1876[nm, and D minor,
[sm1882[nm=n[sm3[nm) though it has ~become customary to apply it only to No. [sm
1[nm. ~Autobiographical character of this qt. culminates ~in sustained high E in
 finale depicting whistling ~in composer's ear which in [sm1874[nm heralded his
~deafness.[cm~From Stone to Thorn. [fy75,1]Work by [fy45,1]*[fy75,1]Maxwell Davi
es ~for mez. and instr. ens. to poem by George ~Mackay Brown. F.p. Oxford [sm197
1[nm, with Mary ~Thomas (mez.) cond. composer.[cm~From the Bavarian Highlands[fy
75,1] (Elgar). See ~[cf2]Bavarian Highlands, Scenes from the[cf1].[cm~From the D
iary of Virginia Woolf. [fy75,1]Song-cycle ~of [sm8[nm songs for
 medium v. and pf. by [fy45,1]*[fy75,1]Argento ~with text from V. Woolf: [sm1[nm
. [cf2]The Diary[cf1], [sm2[nm. [cf2]Anxiety[cf1], ~[sm3[nm. [cf2]Fancy[cf1], [s
m4[nm. [cf2]Hardy's Funeral[cf1], [sm5[nm. [cf2]Rome[cf1], [sm6[nm. [cf2]War[cf1
], [sm7[nm. ~[cf2]Parents[cf1], [sm8[nm. [cf2]Last Entry[cf1]. Comp. [sm1974[nm.
 F.p. Min~~[chneapolis, [sm1975[nm (Janet Baker and Martin Isepp).[cm~From the H
ouse of the Dead. [fy75,1]See [cf2]House of the ~Dead, From the[cf1].[cm~Frosch
[fy75,1](Ger., `frog'). The nut of the vn. bow. [cf2]Am ~Frosch[cf1], `at the nu
t'.[cm~Frottola[fy75,1] (It., plural [cf2]frottole[cf1]). A late [sm15[nmth- and
 early ~[sm16[nmth-cent. popular unacc. It. choral form, a type ~of simple [fy45
,1]*[fy75,1]madrigal similar to the Eng. ayre. The ~same mus. was sung to each v
erse and the tune ~was invariably in the highest part.[cm~F.R.S.C.M. [fy75,1]Fel
low of the Royal School of Church ~Music.[cm~Fr;auuhbeck de Burgos, Rafael[fy75,
1] ([cf2]b[cf1] Burgos, [sm1933[nm). ~Sp. cond. Studied Bilbao C
ons. and Madrid Cons. ~[sm1950[nm=n[sm3[nm, then Acad. of Mus., Munich, until [s
m1958[nm. ~Prin. cond. Bilbao orch. [sm1958[nm=n[sm62[nm, Madrid Nat. ~Orch. [sm
1962[nm=n[sm77[nm, D;auusseldorf S.O. [sm1966[nm=n[sm71[nm, Mon~~treal S.O. [sm1
975[nm=n[sm6[nm. Guest cond., prin. European ~and Amer. orchs., incl. Nat. S.O.
of Washington ~from [sm1980[nm.[xm[cm~[ol0][ep~[xp[te~








[do17][j99]~~~~~~[ep~[sm153842[nm_FA[sm05[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConci
se Oxford Dict. of ~Music[cmFA[sm05[nm[cm[sm17[nm[cm[sm1[nm[cm~[sm26[nm.[sm9[nm.
[sm79[nm[cm[sm17[nm[cm[sm417[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Frume
rie, Per [fy75,1](Gunnar Fredrik de[cf1]) ([cf2]b[cf1] Nacka, ~Stockholm, [sm190
8[nm). Swed. composer and pianist. ~Studied Stockholm Cons. and in Vienna and Pa
ris. ~Prof. of pf., Stockholm Cons., from [sm1962[nm. Works ~incl. opera, ballet
, symphonic variations, [sm2[nm pf. ~concs., vn. conc., pf. pieces, [sm2[nm vn.
sonatas, [sm3[nm str. ~qts., songs, etc.[cm~Fry, William [fy75,1](Henry)[cf1] ([
cf2]b[cf1] Philadelphia, [sm1813[nm; [cf2]d[cf1] ~Santa Cruz, [sm1864[nm). Amer.
 composer, mus. critic, ~and author. Mainly self-taught. In [sm1845[nm wrote ~[c
f2]Leonora[cf1], regarded as first significant Amer. opera. ~From [sm1846[nm spe
nt [sm6[nm years in London and Paris as ~correspondent of NY [cf2]Tribune[cf1],
meeting Berlioz ~and others. On return to NY as mus. critic of ~
[cf2]Tribune[cf1], championed Amer. composers. Wrote ~another opera, syms., chur
ch mus., etc.[cm~F.T.C.L.[fy75,1] Fellow of Trinity College of Music, ~London.[c
m~F.T.S.C.[fy75,1] Fellow of the Tonic Sol-fa College of ~Music.[cm~[j1]Fuchs, C
arl [fy75,1]([cf2]b[cf1] Offenbach, [sm1865[nm; [cf2]d[cf1] Manchester, ~[sm1951
[nm). Ger. cellist. Studied in Frankfurt and St ~Petersburg (under Davidov). Pri
n. cellist Hall;aae ~Orch., Manchester, [sm1887[nm=n[sm1914[nm. Prof. of vc. ~RM
CM [sm1893[nm=n[sm1914[nm and [sm1921[nm=n[sm42[nm. Member of ~Brodsky Qt. [sm18
95[nm=n[sm1926[nm. Pubd. a vc. method ([sm3[nm ~vols.) [sm1906[nm.[cm~Fuchs, Joh
ann [fy75,1](Nepomuk)[cf1] ([cf2]b[cf1] Frauenthal, [sm1832[nm; ~[cf2]d[cf1] V;a
uoslau, [sm1899[nm). Austrian cond. and composer. ~Vienna Opera from [sm1880[nm.
 Dir., Vienna Cons. ~from [sm1893[nm. Wrote opera [cf2]Zingara[cf1] ([sm1872[nm)
.[xm[cm~[j1]Fuchs, Joseph[fy75,1] ([cf2]b[cf1] NY, [sm1900[nm). Amer. violinist.
 ~Studied Institute of Mus. Art, NY. D;aaebut [sm1920[nm. ~Conce
rtmaster, Cleveland Orch. [sm1926[nm=n[sm40[nm. Career ~as soloist began [sm1943
[nm. Frequent chamber mus. ~player, often with sister Lillian ([cf2]b[cf1] [sm19
10[nm, va. player ~and composer for that instr). Prof. of vn. Juilliard ~Sch. fr
om [sm1946[nm. Toured Russ. [sm1965[nm.[cm~Fuchs, Robert[fy75,1] ([cf2]b[cf1] Fr
auenthal, [sm1847[nm; [cf2]d[cf1] Vienna ~[sm1927[nm). Austrian composer and tea
cher, brother of ~Johann Nepomuk [fy45,1]*[fy75,1]Fuchs. Studied Vienna Cons. ~a
nd was prof. of harmony and counterpoint there ~[sm1875[nm=n[sm1912[nm. (Mahler
and Wolf were among his ~pupils.) Wrote [sm2[nm operas, [sm5[nm syms., [sm5[nm s
erenades, ~mass, chamber mus., songs.[cm~Fuchsova, Liza[fy75,1] ([cf2]b[cf1] Brn
o, [sm1913[nm; [cf2]d[cf1] London, [sm1977[nm). ~Cz. pianist. Studied Brno Cons.
 and Prague Cons. ~D;aaebut with Czech. P.O. Settled in London [sm1939[nm. ~Memb
er of Dumka Trio. Excelled in chamber ~mus. Teacher in later years.[cm~Fuenllana
, Miguel de [fy75,1]([cf2]b[cf1] Navalcarnero, Madrid, ~[cf2]c[c
f1].[sm1500[nm; [cf2]d[cf1] ?Valladolid, [cf2]c[cf1].[sm1579[nm). Blind Sp. comp
oser ~and vihuela virtuoso. Pubd. [cf2]Orph;aaenica Lyra[cf1] ([sm1554[nm), ~con
taining orig. works and transcrs. of vocal ~works, etc. Served at Sp. royal cour
t during [sm1560[nms.[cm~Fuga [fy75,1](Lat., It. `Flight'=+). Since mid-[sm17[nm
th cent. this ~term has meant It. equivalent of [fy45,1]*[fy75,1]Fugue. From ~Mi
ddle Ages to early [sm17[nmth cent. denoted strict ~imitation or an individual p
oint of imitation.[cm~Fuga alla giga[fy75,1] (Fugue in Jig-style). A fugue in G
~by J. S. Bach for org., so called from its rhythmic ~nature.[cm~Fugara.[fy75,1]
 Org. stop; a rather rougher toned variety ~of [fy45,1]*[fy75,2]Gamba[cf1].[cm~F
ugato. [fy75,1]A passage in fugal style. See [cf2]Fugue[cf1].[cm~Fughetta. [fy75
,1]A short [fy45,1]*[fy75,1]Fugue.[cm~Fugue [fy75,1](Fr. `fugue', Ger. `Fuge', I
t. `fuga'). Type of ~contrapuntal comp. for particular no. of parts or ~`voices'
 (described thus whether vocal or instr., ~e.g. fugue in [sm4[nm
 parts, fugue in [sm3[nm vv.). The point of ~fugue is that the vv. enter success
ively in imitation ~of each other, the [sm1[nmst v. entering with a short ~melod
y or phrase known as the [cf2]Subject[cf1] (different ~from sonata-form `subject
' in that it is merely ~melodic and short). When all the vv. have entered, ~[PN2
68,0,0,L,I0]the [cf2]Exposition[cf1] is over. Then (normally) there ~comes an Ep
isode or passage of connective tissue ~(usually a development of something that
has ~appeared in the exposition) leading to another ~entry or series of entries
of the Subject, and so on ~until the end of the piece, entries and episodes ~alt
ernating.[ep~^Contrasts of key constitute an important element ~in fugal constru
ction. In the Exposition the ~Subject first appears, naturally, in the tonic key
; ~the [sm2[nmnd v. to enter with it does so a [sm5[nmth higher ~(or [sm4[nmth l
ower), i.e. in the dominant key, the name ~[cf2]Answer[cf1] now being attached t
o it; the [sm3[nmrd is a ~repetition of the Subject (in a higher
 or lower ~octave) and so on, Subject and Answer, Tonic and ~Dominant keys, thus
 appearing alternately, ac~~cording to the no. of `voices' engaged. One ~functio
n of the Episodes is to effect modulation ~to various related keys, so that the
later entries ~may have the advantage of this variety, but once ~the Exposition
is over it is not considered ~necessary that further series of entries shall alw
ays ~alternate as to keys in the Subject-Answer manner.[ep~^In addition to the S
ubject there is often a ~[cf2]Countersubject[cf1] appearing in the Exposition an
d ~probably later in the Fugue. It is of the nature of ~a melodic acc. to the An
swer and Subject ~(generally in double [fy45,1]*[fy75,1]counterpoint). The v. wh
ich ~has just given out the Subject or Answer then ~goes on to the Countersubjec
t whilst the next v. ~is giving out the Answer or Subject and so on.[ep~^Sometim
es in later entries there is overlapping ~of the Subject, each v., as it gives o
ut, not waiting ~for the previous v. to finish it but breaking i
n, as ~it were, prematurely. This device, which is called ~[cf2]Stretto[cf1], te
nds to increase the emotional tension of ~the entry in which it occurs.[ep~^Occa
sionally, after the Exposition (and possibly ~before the [sm1[nmst Episode) ther
e is a [cf2]Counter-~Exposition[cf1], much like the [sm1[nmst Exposition in that
 ~the same [sm2[nm keys are employed. Appearances of ~the Subject (in the Exposi
tion or elsewhere) are ~sometimes separated by something of the nature ~of the E
pisode, but shorter, called a [cf2]Codetta[cf1].[ep~^There exist [sm2[nm types o
f Fugue with [sm2[nm subjects (or ~[cf2]double fugue[cf1]), one in which the [sm
2[nm Subjects appear ~together from the outset, and another in which ~the [sm1[n
mst Subject is treated for a certain time, the ~other then appearing and being l
ikewise treated, ~after which both are combined. In choral fugues ~(e.g. in an o
ratorio movement) there is sometimes ~a free instr. part, an [cf2]accompanied fu
gue[cf1]. The device ~of [fy45,1]*[fy75,1]pedal is often employe
d in fugue, especially ~near its close.[ep~^There are cases in which, instead of
 the Answer ~being an exact replica of the Subject ([cf2]Real Answer[cf1]), ~it
is slightly changed in [sm1[nm or [sm2[nm of its intervals ~([cf2]Tonal Answer[c
f1]), resulting respectively in a [cf2]Real ~Fugue[cf1] and a [cf2]Tonal Fugue[c
f1] (an absurdity since the ~tonal treatment may not extend beyond the ~expositi
on).[ep~^A shortened type of fugue is sometimes called a ~[cf2]fughetta[cf1]. A
passage in fugal style, not in itself an ~actual fugue, is called [cf2]fugato[cf
1].[ql~^The above descriptions are of the academic ~fugue form, but the great co
mposers have, ~naturally, varied it, e.g. Bach in [cf2]Die Kunst der ~Fuge[cf1].
 Superb fugues occur in many works, e.g. ~Beethoven's [cf2]Grosse [cf2]fuge[cf1]
 for str. qt., Op. [sm133[nm, in ~Elgar's [cf2]Introduction and Allegro[cf1] for
 str., and in ~many choral comps. Fugue-form is also used ~effectively in opera,
 e.g. the finale of Act [sm2[nm of ~Wagner's [cf2]Die Meistersin
ger von N;auurnberg[cf1] and the ~finale of Verdi's [cf2]Falstaff[cf1].[xm[cm~[j
1]Fuguing tune. [fy75,1]An [sm18[nmth-cent. type of hymn-tune ~in which [sm1[nm
or more vv. fell silent and then came ~in with an imitation of some preceding v.
 Popular ~in USA, particularly those by [fy45,1]*[fy75,1]Billings.[cm~Fujikawa,
Mayumi[fy75,1] ([cf2]b[cf1] Asahikawa, Japan, [sm1946[nm). ~Japanese violinist.
Studied with her father and at ~Toho Cons., Tokyo, and later in Belgium. Pupil ~
of Leonid [fy45,1]*[fy75,1]Kogan in Nice [sm1968=n70[nm. Won ~Vieuxtemps grand p
rix, Verviers, [sm1970[nm. London ~d;aaebut [sm1975[nm (with LSO cond. Previn).
Plays in pf. ~trio with Michael Roll (pf.) and Richard Markson ~(vc.).[cm~Fuleih
an, Anis[fy75,1] ([cf2]b[cf1] Cyprus, [sm1900[nm; [cf2]d[cf1] Stanford, ~Calif.,
 [sm1970[nm). Cyprian-born Amer. composer, ~cond., pianist, and teacher. Settled
 in USA [sm1915[nm, ~d;aaebut as pianist NY [sm1919[nm. Comp. ballets for Bolm ~
and Denishaw cos. in [sm1920[nms. Prof. of mus., Indiana ~Univ.
[sm1947[nm=n[sm52[nm, dir., Nat. Cons., Beirut, [sm1953[nm=n[sm60[nm. ~Cond. Tun
is orch. [sm1963[nm=n[sm5[nm. Returned to USA as ~teacher at Illinois Univ. Comp
s. incl. opera, [sm2[nm ~syms., [sm3[nm [cf2]Cyprus Serenades[cf1], [sm3[nm vn.
concs., [sm2[nm pf. ~concs., concs. for vc., bn., [fy45,1]*[fy75,1]Theremin, fl.
, and va., ~[sm5[nm str. qts., fl. sonata, vn. sonata, vc. sonata, va. ~sonata,
[sm4[nm pf. sonatas, songs.[cm~Full Anthem. [fy75,1]Anglican church anthem sung
by ~full choir throughout, as opposed to [fy45,1]*[fy75,2]verse anthem[cf1].[cm~
Full Close. [fy75,1]Perfect [fy45,1]*[fy75,1]cadence, i.e. chord of the ~dominan
t followed by that of the tonic.[cm~Fuller, Donald[fy75,1] ([cf2]b[cf1] Washingt
on, D.C., [sm1919[nm). ~Amer. composer. Pupil of Wagenaar, Milhaud, ~and Copland
. Comps. incl. sym., cl. trio, pf. ~sonata, [sm2[nm-pf. sonata, songs.[cm~Fuller
 Maitland, John [fy75,1](Alexander)[cf1] ([cf2]b[cf1] London, ~[sm1856[nm; [cf2]
d[cf1] Carnforth, [sm1936[nm). Eng. critic, ed., and ~harpsichor
dist. Studied pf. Started career as mus. ~critic, [cf2]Pall Mall Gazette[cf1], [
sm1882[nm=n[sm4[nm, chief critic of ~[cf2]Times[cf1] [sm1889[nm=n[sm1911[nm. One
 of founders of Folk Song ~Soc. [sm1898[nm, having collaborated with L. [fy45,1]
*[fy75,1]Broad~~wood in [cf2]English County Songs[cf1], [sm1893[nm. Ed. [sm2[nmn
d edn. ~[cf2]Grove's Dictionary of Music and Musicians[cf1] ([sm1904[nm=n~[sm10[
nm). Ed. (with W. Barclay [fy45,1]*[fy75,1]Squire) [fy45,1]*[fy75,2]Fitzwilliam
~Virginal Book[cf1] ([sm1894[nm=n[sm9[nm). Also wrote books on ~Schumann, Brahms
, Joachim, J. S. Bach, and [sm19[nmth-~cent. Eng. mus.[cm~F;auullfl;auote[fy75,1
] (Ger.). A `full-toned' (i.e. loud) fl. stop ~on the org.[cm~[PN269,0,0,R,I0]F;
auulligstimmen[fy75,1] (Ger., `full-toned voices'). Org. ~stops of loud tone.[cm
~Full mixture.[fy75,1] Org. [fy45,1]*[fy75,1]Mixture stop of which pipes ~are of
 Diapason scale.[cm~Full Orchestra. [fy75,1]The orch. of the normal [sm4[nm main
 ~sections (str., woodwind, brass, perc.) at concert-~hall stren
gth.[xm[cm~[j1]Full Organ.[fy75,1] As an indication in org. music, ~directs the
player to use Great coupled to Swell, ~with all the louder stops on both manuals
.[cm~F;auullstimme[fy75,1] (Ger., `filling-voice'). ([sm1[nm) A middle ~strand i
n the texture of a choral or instr. comp. ~which may be considered purely access
ory.[ep~^([sm2[nm) An additional orch. part (see [cf2]Ripieno[cf1]).[ep~^([sm3[n
m) The Mixture stop of an org.[cm~Full to Mixtures.[fy75,1] Org. composers' term
 meaning ~use all loud stops except Reeds.[cm~Fulton, [fy75,1](Robert)[fy65][cf3
] Norman [fy75,1]([cf2]b[cf1] London, [sm1910[nm; [cf2]d ~[cf1][sm1980[nm). Eng.
 composer. Studied RAM [sm1928[nm=n[sm33[nm. ~BBC staff [sm1936[nm=n[sm60[nm. Pr
of. of harmony RAM [sm1966[nm. ~Comps. incl. [sm2[nm syms., pf. conc., vn. conc.
, va. ~sonata, songs.[xm[cm~[j1]Functional analysis. [fy75,1]Form of analysis of
 a comp., ~without words, simply by musical extracts ~showing its structural fea
tures and thematic ~developments, invented for radio by Hans [fy
45,1]*[fy75,1]Keller ~because he believed that writing or talking about ~music d
istorts the music (though he has valuably ~done a lot of both).[cm~Fundamental.
[fy75,1]A chord in which the lowest note ~is that from which the chord is derive
d. [cf2]Funda~~mental Bass[cf1] is the imaginary bass of a passage, ~consisting
not of its actual bass notes but of the ~roots of its chords, i.e. the bass of i
ts chords when ~in root position.[cm~[j1]Fundamental Discord. [fy75,1]A discorda
nt chord of ~which the discordant note forms a real part of the ~chord, i.e. not
 a mere suspension, anticipation, or ~retardation. Or the discordant note itself
 (e.g. ~dominant [sm7[nmth, etc.).[cm~Fundamental Note.[fy75,1] The primary note
 of the ~harmonic series.[cm~Fun;agebre [fy75,1](Fr.), [fy65][cf3]Funebre[fy75,1
] (It.). Funeral.[cf2] Marche ~fun;agebre[cf1], funeral march.[cm~Funeral March
of a Marionette[fy75,1] ([cf2]Convoi fun;agebre ~d'une marionette[cf1]). Light-h
earted piece by Gounod ~comp. as pf. solo [sm1872[nm and orch. [
sm1879[nm.[cm~Funeral Marches. [fy75,1]Among the best known of ~these (all of th
em in some public use on occasions ~of mourning) are the following: ([sm1[nm) Ha
ndel's ~[cf2]Dead March in Saul[cf1] (from the oratorio of that ~name); ([sm2[nm
) The [sm2[nmnd movement of Beethoven's ~[sm3[nmrd Sym. ([cf2]Eroica[cf1]); ([sm
3[nm) The [sm3[nmrd movement of ~Chopin's [sm2[nmnd pf. sonata (in B;yh minor, O
p. [sm35[nm); ([sm4[nm) ~Chopin's [cf2]Marche fun;agebre[cf1], Op. [sm72[nmb  in
 C minor.[ep~^There are also ([sm5[nm) Beethoven's March `sulla morte ~d'un eroe
' (on the death of a hero), which is a ~movement in his pf. sonata in A;Yh, Op.
[sm26[nm; ([sm6[nm) ~Mendelssohn's [cf2]Song without Words[cf1] No. [sm28[nm, in
 E ~minor (the title [cf2]Funeral March[cf1] not, however, ~authentic); ([sm7[nm
) Siegfried's Funeral March from ~Wagner's [cf2]G;auotterd;auammerung[cf1]; ([sm
8[nm) Grieg's Funeral ~March for Nordraak (military band, but scored ~also by Ha
lvorsen for orch.); ([sm9[nm) Berlioz's [cf2]Funeral ~March for
the Last Scene of `Hamlet'[cf1] (Op. [sm18[nm, No. [sm3[nm, ~[sm1848[nm). Severa
l symphonic movements (e.g. Elgar's ~[sm2[nmnd Sym. [cf2]Larghetto[cf1] and vari
ous examples in the ~works of Mahler) have the character if not the ~title of fu
neral marches.[cm~F;auunf[fy75,1] (Ger.). Five. [cf2]F;auunfstimmig[cf1], `[sm5[
nm-voiced', i.e. in [sm5[nm ~parts.[cm~Funicul;agi, funicul;aga. [fy75,1]Song co
mp. by [fy45,1]*[fy75,1]Denza, ~[sm1880[nm, in honour of the opening of the Napl
es ~funicular railway. Quoted by R. Strauss, who was ~apparently under the impre
ssion that it was a ~genuine folk-song, in [cf2]Aus Italien[cf1], [sm1886[nm.[cm
~Fuoco[fy75,1] (It.). Fire, e.g. [cf2]con fuoco[cf1], with a combination ~of for
ce and speed. (But [cf2]focoso[cf1], fiery.)[cm~F;auur Elise[fy75,1] (For Elise)
. Bagatelle in A minor for pf. ~by Beethoven, comp. [cf2]c[cf1].[sm1810[nm. Auto
graph score is ~inscribed `F;auur Elise am [sm27[nm April zur Erinnerung ~von L.
 v. Bthvn'. Theory put forward by Max ~Unger that `Elise' may ha
ve been copyist's ~misreading of Therese (von Brunswick) with ~whom Beethoven wa
s in love and among whose ~papers the score was discovered. Pubd. [sm1867[nm.[cm
~Furia[fy75,1] (It.). Fury. So [cf2]furioso, furibondo[cf1], furious; ~[cf2]furi
osamente, [cf1]furiously.[cm~Furiant. [fy75,1]A rapid Bohemian dance of decided
yet ~frequently-changing rhythm. Dvo;Akr;aaak used the ~title for several moveme
nts, but in some of his ~examples the rhythm remained unchanged.[cm~Furniture, f
ourniture[fy75,1] (in org. terminology). A ~powerful [fy45,1]*[fy75,2]Mixture St
op[cf1].[cm~Furore[fy75,1] (It.). ([sm1[nm) Fury.[ep~^([sm2[nm) Enthusiasm.[cm~F
urtw;auangler, Wilhelm [fy75,1]([cf2]b[cf1] Berlin, [sm1886[nm; [cf2]d[cf1] nr.
~Baden-Baden, [sm1954[nm). Ger. cond. and composer. ~Studied in Munich with Rhei
nberger and Schil~~[chlings. Cond. th. orchs. in Z;auurich, Strasbourg, and ~L;a
uubeck [sm1905[nm=n[sm15[nm. Mannheim Opera [sm1915[nm=n[sm20[nm. ~Tonk;auunstle
r Orch., Vienna, [sm1919[nm=n[sm24[nm. Leipzig ~Gewandhaus Orch.
 [sm1922[nm=n[sm28[nm, Berlin P.O. [sm1922[nm ~(for most of the rest of his life
), Vienna P.O. [sm1924[nm ~(prin. cond. [sm1927[nm=n[sm28[nm, [sm1933[nm=n[sm54[
nm). Bayreuth Fest. ~[sm1931[nm, [sm1936[nm, [sm1937[nm, [sm1943[nm, [sm1944[nm,
 [sm1951[nm (Beethoven's ~[sm9[nmth Sym. only). London d;aaebut [sm1924[nm, NY [
sm1925[nm, ~CG opera d;aaebut [sm1935[nm ([cf2]Tristan[cf1]). Regularly cond. ~S
alzburg Fest. and perfs. of Wagner's [cf2]Ring[cf1] at the ~Scala, Milan. In con
cert-hall gave memorable ~perfs. of the classics, Bruckner, Tchaikovsky, ~Straus
s, etc., and championed music of Stravinsky ~and other [sm20[nmth cent. composer
s. Cond. f.ps. of ~[PN270,0,0,L,I0]Bart;aaok's [sm1[nmst pf. conc. (Frankfurt [s
m1927[nm), Schoen~~berg's [cf2]Variations[cf1], Op. [sm31[nm (Berlin [sm1928[nm)
, Hinde-[fj~mith's sym. [cf2]Mathis der Maler [cf1](Berlin [sm1934[nm), and ~Str
auss's [cf2]Vier letzte Lieder[cf1] (London [sm1950[nm). Contro~~versy over his
position during Nazi r;aaegime led to ~withdrawal of his appoint
ment as cond. NY ~P.;dhS.O., [sm1936[nm and as  cond. of Chicago S.O. [sm1949[nm
. ~Cleared of pro-Nazi activities [sm1946[nm and resumed ~his int. career, visit
ing London several times. One ~of the great masters of the art of cond. Comp. [s
m3[nm ~syms., pf. conc., and chamber mus.[cm~Futurism.[fy75,1] Artistic movement
 which began in ~[sm1909[nm when [fy45,1]*[fy75,1]Marinetti published his futuri
st ~manifesto in a Paris newspaper. Aim was to ~emphasize dynamic force and moti
on in indus~~trial soc. Musically this meant all kinds of noise, ~and special in
str. were invented, such as exploders, ~thunderers, and whistlers. Prominent in
the ~movement were Francesco Pratella ([sm1880[nm=n[sm1955[nm), ~who composed fo
r a standard orch. and Luigi ~Russolo ([sm1885[nm=n[sm1947[nm), a painter, who w
anted ~every kind of sound to be mus. material. [sm2[nm of his ~works, perf. Lon
don [sm1914[nm, were [cf2]The Awakening of ~a Great City [cf1]and [cf2]A Meeting
 of Motorcars and ~Aeroplanes[cf1]. Movement petered out [cf2]c[
cf1].[sm1918[nm, but ~left its mark.[cm~Fux, Johann Joseph[fy75,1] ([cf2]b[cf1]
Hirtenfeld, nr. Graz, ~[sm1660[nm; [cf2]d[cf1] Vienna, [sm1741[nm). Austrian com
poser, ~organist, and theorist. Organist in Vienna [sm1696[nm, ~[cj3,5,25]court
composer [sm1698[nm=n[sm1705[nm, choirmaster St Step-[fj~[nbhen's Cath. [sm1705[
nm, vice-Kapellmeister [sm1713[nm, Ka~~pellmeister [sm1715[nm. His [fy45,1]*[fy7
5,1][cf2]Gradus ad Parnassum[cf1] ~(Vienna [sm1725[nm) formulated rules for coun
terpoint. ~Wrote over [sm400[nm works, incl. [sm19[nm operas, [sm14[nm ~oratorio
s, [cf2]c.[cf1][sm80[nm masses, instr. partitas, etc.[xm[cm~[j4]~[xp[te~





[do27][j99]~~~~~~[sm153842[nm_G[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmG[sm001[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm24[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm1[nm[cm~GC[cm4[cm21/9/84[cmU1[cm~~~[PN271,0,0,R,I0][ap[j3
]~G[cm~~[j1]G.[fy75,1] Note of the scale: [sm5[nmth degree of natural scale ~of
C. Thus G;Yh, G;Yh;Yh, G;Yj, G;Yi, G;Yi;Yi. Keys of G major ~and G minor. `In G'
 signifies either in key of G ~major or [fy45,1]*[fy75,1]transposing instr. on w
hich written ~note C sounds as G (e.g. alto flute in G).[cm~G.[fy75,1] In Fr. or
g. mus.,[cf2] grand orgue[cf1], i.e. `Great Org'.[cm~G. [fy75,1]Letter prefix to
 lists of works by Beethoven ~and Liszt compiled for [cf2]New Grove Dictionary o
f ~Music and Musicians [cf1]([sm1980[nm).[cm~Gabrieli, Andrea[fy75,1] ([cf2]b[cf
1] Venice, [cf2]c.[cf1][sm1510[nm; [cf2]d[cf1] Venice, ~[sm1586[nm). It. organis
t and composer. Org. St Mark's, ~Venice [sm1566=n86[nm. Comp. psalms, motets, ma
dri~~gals, and org. works. Pupils incl. [fy45,1]*[fy75,1]Hassler
, ~[fy45,1]*[fy75,1]Sweelinck, and his nephew Giovanni [fy45,1]*[fy75,1]Gabrieli
.[cm~Gabrieli [fy75,1](Gabrielli),[fy65][cf3] Domenico[fy75,1] ([cf2]b[cf1] Bolo
gna, [sm1651[nm; ~[cf2]d[cf1] Bologna, [sm1690[nm). It. cellist and composer of
a ~dozen operas, oratorios, and instr. pieces.[cm~Gabrieli, Giovanni[fy75,1] ([c
f2]b[cf1] Venice, [cf2]c.[cf1][sm1554[nm; [cf2]d[cf1] Venice, ~[sm1612[nm). It.
composer and organist, nephew of A. ~[fy45,1]*[fy75,1]Gabrieli whose pupil he wa
s. Organist, St Mark's, ~Venice, from [sm1585[nm. One of the great Venetian ~com
posers of motets with instr. accs. His mus. ~made use of the special antiphonal
effects of vv. ~and brass obtainable in St Mark's. Comps. incl.[cf2] ~Canzone[cf
1] for various combinations; [sm2[nm sets of [cf2]Sacrae ~symphoniae [cf1]([sm15
97[nm and [sm1615[nm), the first set contain~~ing the celebrated [cf2]Sonata pia
n' e forte alla quarta ~bassa[cf1]; concertos; and many motets incl.[cf2] Angelu
s ~ad pastores, O magnum mysterium, Exaudi Deus, ~Hodie Christus
 natus est, Jubilate Deo, Regina coeli, ~Sancta et immaculata virginitas,[cf1] e
tc. Pupils incl. ~[fy45,1]*[fy75,1]Sch;Auutz and Praetorius.[cm~Gabrieli Quartet
. [fy75,1]Brit. qt. formed in [sm1966[nm. ~Members are Kenneth Sillito ([cf2]b [
cf1]Newcastle upon ~Tyne, [sm1939[nm) and Brendan O'Reilly ([cf2]b [cf1]Dublin,
~[sm1934[nm) (who in [sm1969[nm replaced Claire Simpson), ~vns., Ian Jewel ([cf2
]b [cf1]London, [sm1944[nm), va., and Keith ~Harvey ([cf2]b [cf1]Liverpool, [sm1
938[nm), vc. D;aaebut London ~[sm1967[nm. Wide repertory, incl. many [sm20[nmth
cent. ~works.[cm~Gabrilowitsch, Ossip [fy75,1](Salomonovich)[cf1] ([cf2]b[cf1] S
t Pet~~[chersburg, [sm1878[nm;[cf2] d[cf1] Detroit, [sm1936[nm). Russ.-born ~pia
nist, composer, and cond. (Amer. citizen). ~Studied St Petersburg Cons. [sm1888[
nm=n[sm94[nm, with Anton ~Rubinstein (pf.) and Lyadov and Glazunov ~(comp.), and
 in Vienna with [fy45,1]*[fy75,1]Leschetizky (pf.) ~[sm1894[nm=n[sm6[nm. D;Aaebu
t Berlin [sm1896[nm, followed by Euro~~pean tours and Amer. d;Aa
ebut [sm1900[nm. Took up cond. ~[cf2]c.[cf1][sm1905[nm in Vienna and Paris. Frie
nd of Mahler. ~Cond. Konzertverein Orch., Munich, [sm1910[nm=n[sm14[nm. ~Settled
 NY, [sm1914[nm, d;Aaebut there as cond. in [sm1917[nm. ~Cond., Detroit S.O., [s
m1918[nm=n[sm35[nm. Continued annual ~recital tours of USA as pianist. Comp. pf.
 pieces, ~songs, etc.[cm~Gabussi, Giulio Cesare [fy75,1]([cf2]b [cf1]Bologna, [c
f2]c.[cf1][sm1555[nm; [cf2]d ~[cf1]Milan, [sm1611[nm). It. composer. Became choi
rmaster ~at Forli Cathedral and, in [sm1583[nm, at Milan. In ~Warsaw [sm1601[nm=
n[sm2[nm, then returned to duties in Milan. ~Wrote motets and madrigals.[cm~Gabu
ssi, Vincenzo [fy75,1]([cf2]b [cf1]Bologna, [sm1800[nm; [cf2]d [cf1]London, ~[sm
1846[nm). It composer and teacher. Studied in ~Bologna. Opera [cf2]I furbi al ci
mento [cf1]perf. Modena, ~[sm1825[nm. Settled in London [sm1825[nm, teaching upp
er-~class amateurs. His [cf2]Ernani [cf1](Paris [sm1834[nm) was a ~failure. Wrot
e [sm100[nm vocal duets and over [sm30[nm solo ~songs.[cm~Gade,
Niels [fy75,1](Vilhelm)[cf1] ([cf2]b[cf1] Copenhagen, [sm1817[nm; [cf2]d[cf1] ~C
openhagen, [sm1890[nm). Danish composer, organist, ~and violinist. Royal stipend
 enabled him to travel ~to It. and Ger. Became friend of Mendelssohn in ~Leipzig
; ass. cond. of Gewandhaus concerts [sm1844[nm=n~[sm6[nm, cond. [sm1847[nm=n[sm8
[nm. Returned to Copenhagen, ~becoming court Kapellmeister [sm1861[nm. Visited E
ng. ~[sm1876[nm to conduct his cantata [cf2]The Crusader[cf1] at ~Birmingham Fes
t. His comps., influenced by ~Mendelssohn and Schumann, are of persuasive ~charm
 and skill. They incl. [sm8[nm syms., ovs., suites, ~vn. conc., opera-ballet [cf
2]The Fairy Spell,[cf1] str. qt., pf. ~trio, str. quintet, str. octet, str. sext
et, pf. pieces, ~cantatas, and songs.[cm~Gafori, Franchino[fy75,1] ([cf2]b[cf1]
Lodi, [sm1451[nm; [cf2]d[cf1] Milan, [sm1522[nm). ~It. priest and mus. theorist.
 From [sm1484[nm at Milan ~Cath. Wrote [cf2]Practica musicae[cf1] (Milan, [sm149
6[nm).[cm~Gagliano.[fy75,1] [sm18[nmth-cent. Neapolitan family o
f vn. ~makers. Chief members were Alessandro, active ~up to[cf2] c.[cf1][sm1730[
nm, his sons Gennaro and Niccol;Ago and ~grandsons Ferdinando and Giuseppe.[cm~G
agliano, Marco da[fy75,1] ([cf2]b[cf1] Florence, [sm1582[nm; [cf2]d[cf1] ~Floren
ce, [sm1643[nm). It. composer, one of the founders ~of opera. Educated as priest
. Maestro di cappella, ~S. Lorenzo, [sm1608[nm. His opera [cf2]Dafne[cf1] ([sm16
07[nm, prod. ~Mantua [sm1608[nm) was rated highly by [fy45,1]*[fy75,1]Peri; its
~preface anticipated Gluck in advocating dramatic ~reality as more important tha
n singers' whims. ~Collab. with Peri on [cf2]Il medoro[cf1] ([sm1616[nm, lost).
[cf2]Dafne ~[cf1]and last opera, [cf2]La flora[cf1] ([sm1628[nm), survive. Also
comp. ~madrigals, motets, etc.[cm~Gagnebin, Henri[fy75,1] ([cf2]b[cf1] Li;Agege,
 [sm1886[nm; [cf2]d[cf1] Geneva, ~[sm1977[nm). Belg.-born composer and organist
of Swiss ~parentage. Studied Schola Cantorum, Paris, [sm1908[nm=n~[sm16[nm, with
 d'Indy (comp.) and Vierne (org.), and in ~Berlin [sm1905[nm=n[s
m6[nm. Organist, ;AaEglise de la Redemption, ~Paris, [sm1910[nm=n[sm16[nm, and S
t-Jean, Lausanne, [sm1916[nm=n[sm25[nm. ~Teacher at Lausanne Cons. [sm1918[nm=n[
sm25[nm; dir., Geneva ~[PN272,0,0,L,I0]Cons. [sm1925[nm=n[sm57[nm, dean of pf. f
aculty [sm1957[nm=n[sm61[nm. ~Founder, Geneva int. perf. competition [sm1938[nm.
 ~Comps. incl. [sm3[nm syms. ([sm1911[nm, [sm1921[nm, [sm1955[nm); oratorios, ~[
cf2]St Francis of Assisi, Les Vanit;Aaes du monde, Les ~Myst;Ageres de la foi[cf
1]; [sm3[nm str. qts., wind octet, brass ~quintet, pf. sonata, vc. sonata, fl. t
rio, str. trio, etc.[cm~Ga;afit;aae parisienne[fy75,1] (Parisian gaiety). Ballet
 in [sm1[nm act ~to Rosenthal's arr. of mus. by Offenbach, lib. ~Comte Etienne d
e Beaumont, choreog. Massine. ~Prod. Monte Carlo [sm1938[nm. Some characters tak
en ~from Offenbach's [cf2]La [fy45,1]*[fy75,2]Vie parisienne.[cm~G;aaal, Hans [f
y75,1]([cf2]b[cf1] Br;auunn ;obnow Brno;cb, [sm1890[nm). Austrian-~born composer
, pianist, and writer. Educated ~Vienna Univ. D;Aaebut as pianis
t [sm1910[nm. Lecturer, ~Vienna Univ. [sm1919[nm=n[sm28[nm. Dir., Mainz municipa
l ~coll. of mus. [sm1929[nm=n[sm33[nm. Cond., Vienna Concert ~orch. and Bach Soc
. [sm1933[nm=n[sm8[nm. Settled in Edinburgh ~[sm1938[nm, lecturer Edinburgh Univ
. [sm1945[nm=n[sm65[nm. Author ~of books on Brahms, Wagner, Schubert, and ~Vienn
a. Comps. incl. [sm5[nm operas, [sm4[nm syms., [cf2]Lilliburlero[cf1]: ~[cf2]Imp
rovisations on a Martial Melody[cf1] for orch. ([sm1946[nm), ~vn. conc., vc. con
c., concertinos for pf. and str. ~and vn. and str., [sm2[nm str. qts., pf. qt.,
pf. trio, str. ~trio, choral mus., pf. pieces. O.B.E. [sm1964[nm.[cm~Galant [fy7
5,1](Fr., Ger.). Courtly. [sm18[nmth-cent. term to ~describe elegant style (Fr.
[cf2]Style galant[cf1]; Ger.[cf2] ~Galanter Stil[cf1]) favoured by, for example,
 J. C. Bach, ~the Stamitzes, and early Mozart.[cm~Galanterien[fy75,1] (Ger.), [f
y65][cf3]galanteries [fy75,1](Fr.). In the ~classical [fy45,1]*[fy75,1]suite [sm
3[nm movements which were not ~looked upon as essential to the s
cheme but rather ~as interpolations of light relief. They usually ~comprised any
 of the following: minuet, gavotte, ~bourr;Aaee, passepied, loure, polonaise, ai
r.[cm~Galilei, Vincenzo[fy75,1] ([cf2]b[cf1] S. Maria a Monte, [cf2]c.[cf1][sm15
20[nm; [cf2]d[cf1] ~Florence, [sm1591[nm). It. composer and lutenist. Asso~~ciat
e of members of [fy45,1]*[fy75,1]Camerata from which first ~opera perfs. develop
ed. Pubd. [sm2[nm books of madrigals ~and [sm1[nm of lute pieces. Also mus. theo
rist: author of ~[cf2]Dialogo della musica antica e della moderna[cf1] ([sm1581[
nm). ~His [cf2]Il fronimo[cf1] ([sm1568[nm, rev. [sm1584[nm) is a valuable ~trea
tise on lute-playing. His son Galileo Galilei ~was the great astronomer.[cm~Gali
n-Paris-Chev;Aae.[fy75,1] Fr. sight-singing system, ~devised by Pierre Galin ([s
m1786[nm=n[sm1821[nm), Aim;Aae Paris ~([sm1798[nm=n[sm1866[nm), Nanine Paris ([c
f2]d[cf1] [sm1868[nm), and ;AaEmile J. ~M. Chev;Aae ([sm1804[nm=n[sm64[nm), on m
ovable-doh lines and ~with a practical device for acquiring the
sense of ~time-values of notes. See also [cf2]Tonic Sol-fa.[cf1][cm~Galliard[fy7
5,1] (It. [cf2]Gagliarda[cf1]; Fr. [cf2]Gaillard[cf1]). Lively dance, ~from [sm1
5[nmth cent. or earlier, in simple triple time. ~Featured a group of [sm5[nm ste
ps, and was therefore ~sometimes called [cf2]Cinque passi[cf1] (It.), [cf2]Cinqu
e pas[cf1] (Fr.), ~and [cf2]Cinque pace[cf1] or [cf2]Sink-a-pace[cf1] (Eng.). Of
ten paired ~and contrasted with the slower [fy45,1]*[fy75,1]pavan, this assoc. ~
being the origin of the [fy45,1]*[fy75,1]suite. Vaughan Williams's ~[fy45,1]*[fy
75,2][cf2]Job[cf1] contains a modern galliard.[cm~Galli-Curci, Amelita[fy75,1] (
[cf2]b[cf1] Milan, [sm1882[nm; [cf2]d[cf1] La Jolla, ~Calif., [sm1963[nm). It. s
op. Studied pf., harmony, and ~comp. at Milan Cons. but was self-taught as a ~si
nger. D;Aaebut as Gilda in [cf2]Rigoletto[cf1] at Trani, [sm1906[nm. ~Amer. d;Aa
ebut, also as Gilda, Chicago [sm1916[nm. Chicago ~Opera [sm1916[nm=n[sm24[nm. NY
 Met. [sm1921[nm=n[sm30[nm. Brilliant ~agility in coloratura rol
es such as Gilda, Violetta, ~and Elvira in [cf2]I puritani.[cf1] Retired [sm1937
[nm. Never sang ~in opera in Brit., but gave recitals.[cm~Galliera, Alceo[fy75,1
] ([cf2]b[cf1] Milan, [sm1910[nm). It. cond. and ~composer. Teacher of comp. Mil
an Cons., [sm1932[nm. ~Cond. d;aaebut, Rome [sm1941[nm. Guest cond. of many ~orc
hs. and of opera at La Scala, Milan. Resident ~cond., Carlo Felice opera house,
Genoa, [sm1957[nm=n[sm60[nm, ~subsequently resident cond. Orch. Municipale de ~S
trasbourg from [sm1964[nm. Comps. incl. ballet, orch. ~mus., chamber works, and
songs.[cm~Gallus.[fy75,1] See[cf2] H;auandl, Jacob.[cm~Gallus, Joannes[fy75,1] (
=+=+=+=+[cf2]fl[cf1] [sm16[nmth cent.). Dutch composer ~and contrapuntist, also
known as Jehan le Cocq. ~Maestro di cappella to Duke of Ferrara, [cf2]c.[cf1][sm
1534[nm=n~[sm41[nm. Church mus. survives.[cm~Galop[fy75,1] or [fy65][cf3]Galopad
e.[fy75,1] [sm19[nmth-cent. ballroom round ~dance in simple duple time, with a c
hange of ~step, or hop, at the end of every mus. phrase. ~Koenig
's [cf2]Posthorn Galop [cf1]f.p. in Eng., [sm1844[nm. Galops ~have been included
 in [sm20[nmth cent. Soviet ballets.[cm~Galpin, Francis William [fy75,1]([cf2]b[
cf1] Dorchester, [sm1858[nm; [cf2]d[cf1] ~Richmond, Surrey, [sm1945[nm). Eng. cl
ergyman and ~authority on ancient mus. instrs. Books incl. ~catalogue of Europea
n instrs. in Metropolitan ~Museum, NY ([sm1902[nm), study of instrs. of American
 ~Indians, history of sackbut, etc. In [sm1946[nm the ~Galpin Soc. was formed in
 London to continue ~his work.[cm~Galuppi, Baldassare [fy75,1]([cf2]b[cf1] Islan
d of Burano, nr. ~Venice, [sm1706[nm; [cf2]d[cf1] Venice, [sm1785[nm). It. compo
ser. Pupil ~of Lotti. From [sm1728[nm comp. several operas for It. ~ths. Visited
 London [sm1741[nm, with considerable ~success. Ass. choirmaster of St Mark's, V
enice, ~[sm1748[nm, choirmaster [sm1762[nm. Visited St Petersburg ~[sm1766[nm=n[
sm8[nm. His [sm112[nm operas incl. [cf2]Adriano in Siria[cf1] ~([sm1740[nm), [cf
2]Didone abbandonata [cf1]([sm1741[nm), [cf2]Scipione in ~Cartag
ine[cf1] ([sm1742[nm), [cf2]Il filosofo di campagna[cf1] ([sm1752[nm),[cf2] Il r
e ~pastore[cf1] ([sm1762[nm), and [cf2]Ifigenia in Tauride[cf1] ([sm1768[nm). Al
so ~wrote oratorios, church mus., hpd. sonatas. ~Browning's poem [cf2]A Toccata
of Galuppi's[cf1] refers to ~an imaginary comp.[cm~Galway, James[fy75,1] ([cf2]b
[cf1] Belfast, [sm1939[nm). Irish flautist. ~Studied RCM (with John Francis), GS
M (with G. ~Gilbert), and Paris Cons. (with Crunelle). Private ~study with [fy45
,1]*[fy75,1]Rampal. Flautist, SW Orch. [sm1960[nm=n[sm5[nm. ~Prin. flautist, LSO
 and RPO, then Berlin P.O. ~[sm1969[nm=n[sm75[nm. After [sm1975[nm soloist with
orchs. and ~chamber groups.[cm~Gamba [fy75,1](It.). Leg. ([sm1[nm) Abbreviation
of [fy45,1]*[fy75,2][cf2]viola da ~gamba.[cf1][ep~^([sm2[nm) Str.-toned org. sto
p of [sm8[nm;po (sometimes [sm4[nm;po or[fj~[sm16[nm;po) length and pitch. Metal
 pipes often taper ~towards top and sometimes widen again into an ~inverted bell
 ([cf2]Bell Gamba[cf1]). The [cf2]Bearded Gamba[cf1] is a ~[PN27
3,0,0,R,I0]variety with a small roller before the mouth of ~each pipe.[cm~Gamble
r, The [fy75,1]([cf2]Igrok[cf1]). Opera in [sm4[nm acts, Op. [sm24[nm, by ~[fy45
,1]*[fy75,1]Prokofiev to lib. by composer based on Dostoy~~evsky's short story (
[sm1866[nm). Comp. [sm1915[nm=n[sm17[nm, rev. ~[sm1927[nm=n[sm8[nm. Prod. Brusse
ls [sm1929[nm, NY [sm1957[nm, Edin~~burgh [sm1962[nm. Orch. suite [cf2][sm4[nm P
ortraits[cf1], Op. [sm49[nm, f.p. ~Paris [sm1932[nm.[cm~Gamblers, The. [fy75,1]U
nfinished opera by Shostako~~[chvich, planned as Op. [sm63[nm, to lib. by compos
er based ~on comedy [cf2]The Gamblers [cf1]by Nikolai Gogol ([sm1832[nm) ~for si
x male solo vv. and large orch. Begun [sm1941[nm, ~abandoned [sm1942[nm when not
 quite eight of [sm25[nm ~scenes were completed. F.p. (concert) Leningrad ~[sm19
78[nm, cond. Rozhdestvensky. Completed by ~Krzysztof Meyer, [sm1981[nm. Scherzo
of Va. Sonata ~([sm1975[nm) uses mus. from [cf2]The Gamblers.[cf1][cm~Gamelan.[f
y75,1] Type of orch. found in S.-E. Asia, ~particularly Indonesi
a (e.g. Java). Incl. str. and ~woodwind instrs., but is notable for range of per
c. ~such as gongs, drums, chimes, marimbas, etc. ~The visit of a Javanese gamela
n to the Paris ~Exposition of [sm1889[nm had a marked influence on ~[fy45,1]*[fy
75,1]Debussy.[cm~Game of Cards[fy75,1] (Stravinsky). See [cf2]Jeu de cartes.[cm~
Gamme [fy75,1](Fr.). Scale.[cm~Gamut.[fy75,1] ([sm1[nm) Properly, the note G at
the pitch now ~indicated by the lowest line of the bass staff. ~Greek G or `gamm
a' was used for its designation, ~and as the note just mentioned was the `Ut' (`
Doh') ~of the lowest [fy45,1]*[fy75,1]hexachord, this portmanteau word ~was adop
ted as a name for it.[ep~^([sm2[nm) By extension, the word came to be used as a
~comprehensive name for the whole series of ~hexachords as displayed in writing.
[ep~^([sm3[nm) By a further extension it came to mean `scale' ~in general (Fr. [
cf2]gamme[cf1]).[ep~^([sm4[nm) Also came to mean the whole range of mus. ~sounds
 from the lowest to the highest; and to be ~applied in a metapho
rical way to a singer's or ~actor's range, e.g. `He covered the whole gamut ~of
tragic expression'.[cm~Ganz[fy75,1] (Ger.). Quite, whole, e.g. [cf2]ganzer Bogen
,[cf1] ~whole bow; [cf2]g;Auanzlich,[cf1] completely.[cm~Ganz, Wilhelm[fy75,1] (
[cf2]b[cf1] Mainz, [sm1833[nm; [cf2]d[cf1] London, ~[sm1914[nm). Ger. pianist an
d cond. Settled in London ~[sm1850[nm. Accompanist for Jenny Lind and other ~sin
gers and violinists. Cond. orch. concerts at ~which he gave first complete Londo
n perfs. of ~Berlioz's [cf2]Symphonie fantastique [cf1](April [sm1881[nm) and ~L
iszt's [cf2]Dante Symphony.[cf1] Prof. of singing, GSM.[cm~Ganze, Ganze Note[fy7
5,1] (Ger.). Same as [fy45,1]*[fy75,2][cf2]Ganze~~taktnote.[cm~Ganze Pause[fy75,
1] (Ger.). Whole-note (semibreve) rest.[cm~Ganzetaktnote[fy75,1] (Ger.). Whole-m
easure note, or ~whole-bar note, i.e. the whole-note, or semibreve.[cm~Gapped.[f
y75,1] Term applied to a scale, indicating ~inclusion of intervals of more than
a tone's ~distance, e.g. the [fy45,1]*[fy75,1]pentatonic scale.[
cm~Garc;Aaia, Manuel del Populo Vicente[fy75,1] ([cf2]b[cf1] Seville, ~[sm1775[n
m; [cf2]d[cf1] Paris, [sm1832[nm). Sp. ten., composer, and ~singing teacher. Cho
irboy, Seville Cath., at age [sm6[nm. ~Sang in Paris [sm1808[nm and [sm1819[nm=n
[sm23[nm, Naples [sm1811[nm=n~[sm16[nm, creating role of Almaviva in Rossini's [
cf2]Il ~barbiere di Siviglia,[cf1] and London [sm1817[nm=n[sm19[nm. Re~~turned t
o London [sm1823[nm, founding singing sch. ~Est. It. opera co. in NY [sm1825[nm=
n[sm6[nm, giving US ~premi;Agere of Mozart's [cf2]Don Giovanni[cf1] with da Pont
e ~in audience. Took co. to Mexico [sm1827[nm=n[sm8[nm where ~bandits robbed him
 of all his earnings (some ~;bp[sm6[nm,[sm000[nm). Returned to Paris first as a
singer, then ~teacher. Comp. [sm97[nm operas. Pupils incl. his daugh~~ters Maria
 [fy45,1]*[fy75,1]Malibran and Pauline [fy45,1]*[fy75,1]Viardot.[cm~Garc;Aaia, M
anuel Patricio Rodriguez [fy75,1]([cf2]b[cf1] Zafra, ~Madrid, [sm1805[nm; [cf2]d
[cf1] London, [sm1906[nm). Sp. bass and ~singing teacher, son of
 above. Trained in singing ~by his father, going to USA in [sm1825[nm where he ~
sang Figaro in [cf2]Il barbiere di Siviglia[cf1] in NY. From ~[sm1829[nm devoted
 himself to teaching. Prof. of ~singing, Paris Cons. [sm1847[nm=n[sm50[nm. First
 to make ~scientific study of v. production. Invented laryn~~goscope, [sm1855[nm
. Pubd. [cf2]M;Aaemoire sur la voix humaine[cf1] ~([sm1840[nm) and [cf2]Trait;aa
e complet de l'art du chant[cf1] ([sm1840[nm, ~trans. into It., Ger., and Eng.).
 Settled in London ~[sm1848[nm, becoming prof. at RAM until [sm1895[nm. Pupils ~
incl. Jenny Lind, Stockhausen, Santley, and ~Mathilde Marchesi.[cm~Garc;Aaia, Ma
ria Felicit;Aaa. [fy75,1]See [cf2]Malibran, Maria ~Felicit;Aaa.[cm~Garc;Aaia, Pa
uline. [fy75,1]See [cf2]Viardot-Garc;aaia, Pauline.[cm~Gardelli, Lamberto[fy75,1
] ([cf2]b[cf1] Venice, [sm1915[nm). Swed. ~cond. and composer of It. birth. Stud
ied Pesaro ~and Rome. R;aaep;aaetiteur, Rome Opera, with [fy45,1]*[fy75,1]Ser~~a
fin. Opera d;aaebut as cond. Rome [sm1944[nm ([cf2]La ~Traviata[
cf1]). Stockholm Opera [sm1946[nm=n[sm55[nm; Budapest ~Opera [sm1961[nm=n[sm5[nm
. Glyndebourne d;aaebut [sm1964[nm; NY ~Met. [sm1966[nm=n[sm8[nm; CG d;aaebut [s
m1969[nm. Comp. [sm4[nm operas. ~Prin. cond. Munich Radio S.O. from [sm1983[nm.[
cm~Garden, Mary [fy75,1]([cf2]b[cf1] Aberdeen, [sm1874[nm; [cf2]d[cf1] Inverurie
, ~[sm1967[nm). Amer. sop. of Scot. birth. Taken to USA as ~a child, having firs
t singing lessons in Chicago. ~Sent by patron to Paris in [sm1895[nm where teach
ers ~incl. M. Marchesi. Befriended by Amer. sop. Sibyl ~[fy45,1]*[fy75,1]Sanders
on who sent her to Carr;Aae, dir. of Op;Aaera-~Comique. Studied title-role of Ch
arpentier's [cf2]Louise[cf1] ~and took over from the indisposed Mme Rioton ~midw
ay through a perf. in April [sm1900[nm. Created ~role of M;Aaelisande in Debussy
's opera, [sm1902[nm, at ~composer's request. Further successes followed in ~ope
ras by Massenet, Saint-Sa;Auens, Leroux, and ~Erlanger. CG [sm1902[nm=n[sm3[nm.
Joined Manhattan Opera, ~NY, [sm1907[nm=n[sm10[nm, then Chicago
Opera from [sm1910[nm, ~becoming dir. [sm1919[nm=n[sm20[nm and remaining until ~
[sm1931[nm.[cm~Garden of Fand, The.[fy75,1] Symphonic poem by ~[fy45,1]*[fy75,1]
Bax, comp. [sm1913[nm, f.p. Chicago [sm1920[nm. Fand is a ~[PN274,0,0,L,I0]heroi
ne in Irish legend and her garden was the ~sea. Used for ballet [cf2]Picnic at T
intagel[cf1] by Ashton, ~NY [sm1952[nm.[cm~Gardiner, [fy75,1](Henry)[fy65][cf3]
Balfour[fy75,1] ([cf2]b[cf1] London, [sm1877[nm; [cf2]d[cf1] ~Salisbury, [sm1950
[nm). Eng. composer. Studied at ~Frankfurt. Mus. master, Winchester Coll. Pro~~m
oted concerts of contemporary Eng. mus. [sm1910[nm=n~[sm20[nm, and was especial
champion of [fy45,1]*[fy75,1]Holst. Comp. ~sym., [fy45,1]*[fy75,2][cf2]Shepherd
Fennel's Dance[cf1] for orch. (after ~Hardy), [cf2]News from Whydah[cf1] for ch.
 and orch., ~chamber mus., and songs.[cm~Gardiner, John Eliot [fy75,1]([cf2]b [c
f1]Fontmell Magna, Dorset, ~[sm1943[nm). Eng. cond. Studied at Camb. Univ., then
 ~at London Univ. with Thurston Dart and with N. ~Boulanger in P
aris. Founded Monteverdi Choir ~[sm1964[nm, Monteverdi Orch. [sm1968[nm. Prof. d
;aaebut [sm1966[nm. ~Has made new edns. of Monteverdi's [cf2]Vespers ~[cf1][sm19
67[nm, and Rameau's [cf2]Dardanus[cf1], [cf2]Les F;afetes d'H;aaeb;aae[cf1], ~an
d [cf2]Les Bor;aaeades[cf1]. Cond. f. staged p. of [cf2]Les Bor;aaeades[cf1], ~A
ix [sm1982[nm. SW d;aaebut [sm1969[nm ([cf2]Zauberfl;auote[cf1]), CG [sm1973[nm
~(Gluck's [cf2]Iphig;aaenie en Tauride[cf1]). Mus dir. Lyons ~Opera from [sm1982
[nm.[cm~Gardner, John [fy75,1](Linton) ([cf2]b[cf1] Manchester, [sm1917[nm). ~En
g. composer and pianist. Dir. of mus. Repton ~School [sm1939[nm=n[sm40[nm. Mus.
staff, CG [sm1946[nm=n[sm52[nm; tutor, ~Morley Coll. [sm1952[nm=n[sm76[nm, dir.
of mus. [sm1965[nm=n[sm9[nm; dir. ~of mus. St Paul's Girls' School [sm1962[nm=n[
sm75[nm; prof. of ~comp., RAM from [sm1956[nm. Comps. incl. operas [cf2]The ~Moo
n and Sixpence[cf1] and [cf2]Tobermory[cf1] ([sm1[nm-act, [sm1977[nm); ~orch: sy
m. (Cheltenham [sm1951[nm), [cf2]Variations on a ~Waltz by Niels
en[cf1] ([sm1952[nm), pf. conc. ([sm1957[nm), [cf2]An ~English Ballad[cf1] ([sm1
969[nm); chamber mus.: str. qt. ~([sm1939[nm), ob. sonata ([sm1953[nm), [cf2]Son
ata da chiesa,[cf1] [sm2[nm tpt. ~and organ ([sm1976[nm, rev. [sm1977[nm); chora
l: [cf2]Jubilate Deo[cf1] ~([sm1947[nm), [cf2]Ballad of the White Horse,[cf1] ba
r., ch., and ~orch. ([sm1959[nm), [cf2]A Latter Day Athenian Speaks[cf1] ([sm196
2[nm), ~[cf2]Cantiones sacrae[cf1] ([sm1952[nm), Mass in C ([sm1965[nm), [cf2]Ca
ntata ~for Christmas[cf1] ([sm1966[nm), [cf2]Proverbs of Hell[cf1] ([sm1967[nm),
 ~[cf2]Cantata for Easter[cf1] ([sm1970[nm), [cf2]The Entertainment of the ~Sens
es,[cf1] [sm5[nm singers and [sm6[nm players (words by Auden ~and Kallman) ([sm1
974[nm). Also th. and film scores. ~C.B.E. [sm1976[nm.[cm~Garland for the Queen,
 A.[fy75,1] Collection of songs ~for unacc. mixed ch. by [sm10[nm Brit. composer
s to ~texts by [sm10[nm contemporary Brit. poets written to ~celebrate coronatio
n of Elizabeth II in [sm1953[nm (in ~emulation of [cf2]The [fy45
,1]*[fy75,2]Triumphs of Oriana[cf1] in Elizabeth ~I's reign). Works and composer
s (with poets' ~names in parentheses) were: [cf2]Aubade for Coronation ~Morning,
[cf1] Bliss (Henry Reed); [cf2]What is it Like to be ~Young and Fair?,[cf1] Bax
(C. Bax); [cf2]Dance, Clarion Air,[cf1] ~Tippett (Fry); [cf2]Silence and Music,[
cf1] Vaughan Wil~~liams (Ursula Wood); [cf2]Spring at this Hour,[cf1] Berkeley ~
(P. Dehn); [cf2]The Hills,[cf1] Ireland (J. Kirkup); [cf2]Inheritance,[cf1] ~How
ells (De la Mare); [cf2]White Flowering Days,[cf1] Finzi ~(Blunden); [cf2]Canzon
et,[cf1] Rawsthorne (MacNeice); ~and [cf2]Salutation,[cf1] Rubbra (Hassall). F.p
. London, [sm1[nm ~June [sm1953[nm.[cm~Gascogne, Mathieu[fy75,1] (=+=+=+=+[cf2]f
l. [cf1][sm16[nmth-cent.). Fr. composer ~of masses, [cf2]chansons[cf1], motets,
etc.[xm[cm~[ol0][ep~[xp[te~


[do27][j99]~~~~~~[sm153842[nm_G[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmG[sm002[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm24[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm48[nm[cm~GC[cm4[cm21/9/84[cmU1[cm~~~[ap[j1]Gaspard de la
nuit.[fy75,1] Set of [sm3[nm pf. pieces by [fy45,1]*[fy75,1]Ravel, ~comp. [sm190
8[nm: [sm1[nm. [cf2]Ondine,[cf1] [sm2[nm. [cf2]Le Gibet,[cf1] [sm3[nm.[cf2] Scar
bo. ~[cf1]Composite title taken from prose-ballads by A. ~Bertrand, sub-titled [
cf2]Fantaisies ;Aga la mani;Agere de ~Rembrandt et de Callot[cf1] ([sm1842[nm).[
cm~Gasparini, Francesco[fy75,1] ([cf2]b[cf1] Camaiore, [sm1668[nm; [cf2]d[cf1] ~
Rome, [sm1727[nm). It. composer, pupil of Corelli and ~Pasquini. Choirmaster at
Venice [sm1701[nm=n[sm13[nm; mae~~stro di cappella St Lorenzo in Lucina, Rome, ~
[sm1717[nm=n[sm25[nm; maestro di cappella St John Lateran, ~Rome, from [sm1725[n
m but did not assume post because ~of illness. Wrote oratorios, cantatas, church
 mus., ~and many operas, incl. [cf2]Amleto[cf1] ([sm1705[nm) whi
ch is not ~based on Shakespeare's play. Wrote treatise ([sm1708[nm) ~on hpd. acc
.[cm~Gassmann, Florian Leopold[fy75,1] ([cf2]b[cf1] Br;Auux, Bohemia, ~[sm1729[n
m; [cf2]d[cf1] Vienna, [sm1774[nm). Ger.-born composer. Pupil ~of [fy45,1]*[fy75
,1]Martini in Bologna. Court musician in Venice ~from [sm1742[nm. Ballet compose
r, Vienna Opera, from ~[sm1762[nm, court Kapellmeister from [sm1772[nm. Comp. ~o
ver [sm20[nm operas, incl. [cf2]La contessina[cf1] ([sm1770[nm), [sm33[nm syms.,
 ~and much chamber mus. Taught [fy45,1]*[fy75,1]Salieri.[cm~Gastoldi, Giovanni G
iacomo[fy75,1] ([cf2]b[cf1] Caravaggio, ~[cf2]c.[cf1][sm1555[nm; [cf2]d[cf1] Man
tua, [sm1622[nm). It. composer of madri~~gals and church mus. Choirmaster, ducal
 chapel ~at Mantua from [cf2]c.[cf1][sm1581[nm.[cm~Gatti, Guido [fy75,1](Maggior
ino) ([cf2]b[cf1] Chieti, [sm1892[nm; [cf2]d[cf1] ~Turin, [sm1973[nm). It. criti
c and scholar. Leading mus. ~figure in Turin until [cf2]c.[cf1][sm1940[nm. Found
ed and ed. ~review [cf2]Il pianoforte[cf1] [sm1920[nm (re-titled
 [cf2]La rassegna ~musicale[cf1] [sm1928[nm) until its demise [sm1962[nm. Dir.-G
en ~Teatro di Torino [sm1925[nm=n[sm31[nm. Sec.-gen. Florence ~Maggio Musicale f
rom [sm1933[nm. Instrumental in ~persuading leading It. composers to write film
~mus. Ed. of several periodicals, contributor to ~many dictionaries.[cm~Gatti-Ca
sazza, Giulio [fy75,1]([cf2]b[cf1] Udine, [sm1868[nm; [cf2]d[cf1] Ferrara, ~[sm1
940[nm). It. impresario. Succeeded father as dir. of ~municipal th., Ferrara, [s
m1893[nm; dir. of La Scala, ~Milan, [sm1898[nm=n[sm1908[nm, working with [fy45,1
]*[fy75,1]Toscanini and ~helping to popularize Wagner in It. trans. Dir. ~NY Met
. [sm1908[nm=n[sm35[nm, when he staged over [sm5[nm,[sm000[nm ~perfs. of [sm177[
nm works. Took Toscanini to NY with ~him, thus inaugurating the cond.'s Amer. ca
reer.[cm~Gatty, Nicholas [fy75,1](Comyn) ([cf2]b[cf1] Bradfield, [sm1874[nm; [cf
2]d[cf1] ~London, [sm1946[nm). Eng. composer. Studied RCM. ~Mus. critic [cf2]Pal
l Mall Gazette[cf1] [sm1907[nm=n[sm14[nm. Wrote ~several operas
incl. [sm2[nm after Shakespeare, [cf2]The ~Tempest[cf1] and [cf2]Macbeth,[cf1] a
lso choral works, vn. ~sonata, str. qt., songs, etc.[cm~Gaul, Alfred [fy75,1](Ro
bert) ([cf2]b [cf1]Norwich, [sm1837[nm; [cf2]d[cf1] King's ~Norton, [sm1913[nm).
 Eng. organist, composer, and ~cond. Cond., Walsall Phil. Soc. from [sm1887[nm.
Comp. ~oratorios and cantatas, etc., best-known being [cf2]The ~Holy City[cf1] (
[sm1882[nm).[cm~Gaultier, Denis [fy75,1]([cf2]b[cf1] Marseilles, [sm1603[nm; [cf
2]d[cf1] Paris, ~[sm1672[nm). Fr. composer of mus. for lute, mostly ~suites of s
tylized dances with fanciful titles, such ~[PN275,0,0,R,I0]as [cf2]Le Rh;aaetori
que des dieux [cf1]([cf2]c.[cf1][sm1652[nm), and of other ~instr. pieces.[cm~Gau
ntlett, Ambrose[fy75,1] ([cf2]b[cf1] London, [sm1890[nm; [cf2]d [cf1]London, ~[s
m1978[nm). Eng. cellist and player of viola da gamba. ~Trained GSM and RAM. Prin
. cellist CG orch., ~later of BBC S.O. [sm1935[nm=n[sm47[nm.[cm~Gauntlett, Henry
 John[fy75,1] ([cf2]b[cf1] Wellington, Salop, ~[sm1805[nm; [cf2]
d[cf1] London, [sm1876[nm). Eng. organist and ~composer. Trained as lawyer. Orga
nist, South~~wark [sm1827[nm. Lecturer, London Institute [sm1837[nm=n[sm43[nm. ~
Expert in Gregorian chant. Designed orgs., ~initiating several reforms. Said to
have comp. ~several thousand hymn tunes, among them [cf2]Once ~in Royal David's
City [cf1]([sm1849[nm).[cm~Gavazzeni, Gianandrea[fy75,1] ([cf2]b[cf1] Bergamo, [
sm1909[nm). It. ~cond., composer, and critic. Studied Milan Cons. ~(comp. with P
izzetti). In [sm1930[nms wrote opera, ~ballet, oratorio, vc. conc., and vn. conc
., then ~devoted more time to writing and cond., eventu~~ally giving up composin
g and discouraging perfs. ~of his works. Cond., La Scala, Milan, NY Met. ~[sm197
6[nm; Glyndebourne [sm1965[nm.[cm~Gaveaux, Pierre [fy75,1]([cf2]b[cf1] B;Aaezier
s, [sm1760[nm; [cf2]d[cf1] Paris, [sm1825[nm). ~Fr. composer and ten. From [sm17
92[nm about [sm30[nm of his ~operas were prod. at Op;Aaera-Comique, incl. [cf2]L
;aaeonore ~[cf1]([sm1798[nm) to a lib. which was prin. source of
 lib. for ~Beethoven's [cf2]Fidelio.[cf1] Wrote revolutionary hymn ~[cf2]Le R;Aa
eveil du peuple[cf1] ([sm1795[nm).[cm~Gavotte.[fy75,1] Old Fr. dance in common t
ime begin~~ning on [sm3[nmrd beat of the bar. Originated in Pays ~de Gap where t
he inhabitants were known as ~`gavots'. Popularized at court of Louis XIV, where
 ~Lully comp. several examples. Became optional ~movement of baroque suite. Some
 examples by ~[sm20[nmth-cent. composers, e.g. Prokofiev in his [cf2]Classi~~cal
 Symphony[cf1] and Schoenberg in his Suite for ~String Orch.[cm~Gay, John [fy75,
1]([cf2]b[cf1] Barnstaple, [sm1685[nm; [cf2]d[cf1] London, [sm1732[nm). ~Eng. po
et, playwright, and th. manager. Wrote ~lib. for Handel's [cf2]Acis and Galatea,
[cf1] and for [cf2]The ~[fy45,1]*[fy75,2]Beggar's Opera[cf1] ([sm1728[nm) and it
s sequel [fy45,1]*[fy75,2]Polly ~[cf1]([sm1729[nm). Built first CG th., [sm1732[
nm.[cm~Gayane [fy75,1]([cf2]Gayeneh[cf1]). Ballet in [sm4[nm acts, mus. by ~[fy4
5,1]*[fy75,1]Khachaturian, lib. Derzhavin, choreog. Anisi~~mova.
 Comp. [sm1940=n2[nm, rev. [sm1952[nm and (with new ~plot) [sm1957[nm. Prod. Len
ingrad [sm1942[nm. Earlier version, ~[cf2]Happiness,[cf1] prod. Erevan [sm1939[n
m. Contains famous ~`Sabre Dance'. Also [sm3[nm orch. suites.[cm~Gazza ladra, La
 [fy75,1](The Thievish Magpie). Opera ~in [sm2[nm acts by Rossini to lib. by Ghe
radini after ~comedy [cf2]La Pie voleuse,[cf1] [sm1815[nm, by d'Aubigny and ~Cai
gniez. Prod. Milan [sm1817[nm, London [sm1821[nm, ~Philadelphia [sm1827[nm. Thou
gh the opera was not ~revived until [sm1965[nm in Florence, the ov., in Rossini'
s ~most brilliant style, has remained popular.[cm~Gazzelloni, Severino [fy75,1](
[cf2]b [cf1]Roccasecca, [sm1919[nm). It ~flautist. Studied Rome, where he made d
;aaebut ~[sm1945[nm. Prin. fl., It. Radio S.O. Renowned for ~playing [cf2]avant-
garde [cf1]works by ([cf2]inter alia[cf1]) Maderna, ~Boulez, Berio, Nono, and Ha
ubenstock-Ramati. ~Also specialist in baroque mus.[cm~G.B.S.M. [fy75,1]Graduate
of Birmingham School of ~Music.[cm~G Clef.[fy75,1] See[cf2] Grea
t Staff.[cm~Gebrauchsmusik[fy75,1] (Ger.). Utility music. Term ~applied in [sm19
20[nms to works (by Hindemith, Weill, ~K;Akrenek, and others, influenced by the
poet ~Brecht) which were directed to some social or ~educational purpose instead
 of being `art for art's ~sake'. Later disowned by Hindemith.[cm~Gebunden[fy75,1
] (Ger.). Bound. Used musically in the ~sense of `tied' or `slurred'.[cm~Gedackt
, Gedeckt[fy75,1] (Ger.). Covered. Soft organ ~stop approaching fl. quality. The
 name comes ~from end-plugged pipes of [sm8[nm;po, [sm16[nm;po, [sm4[nm;po (occa
sionally ~[sm2[nm;po) pitch.[cm~Ged;auampft [fy75,1](Ger.). Damped. When applied
 to str. ~and brass instr., it means `muted'; to drums, ~`muffled'; and to pf.,
`soft-pedalled'.[cm~Gedda, Nicolai[fy75,1] ([cf2]b[cf1] Stockholm, [sm1925[nm).
Swed. ten. ~of Russ. descent. Studied with his father, then at ~Stockholm Acad.
Operatic d;Aaebut Stockholm [sm1951[nm ~in Sutermeister's [cf2]Rote Stiefel[cf1]
, leading to appear~~ances in Paris and London (CG [sm1954[nm).
Member ~NY Met. since [sm1957[nm. Has sung most leading ~lyrical ten. roles in o
pera repertory and also ~specialized in operetta by Leh;Aaar, etc. Also frequent
 ~singer of Lieder and oratorio (has recorded Elgar's ~[cf2]Dream of Gerontius[c
f1]).[cm~Geddes, John Maxwell [fy75,1]([cf2]b[cf1] Glasgow, [sm1941[nm). Scot. ~
composer. Studied RSAM and in Copenhagen ~with Bentzon ([sm1967[nm). Works incl.
 sym., [cf2]Portrait ~of a City[cf1] for orch., ob. sonata, [cf2]Apt[cf1] for so
lo va., etc.[cm~Gedeckt.[fy75,1] See [cf2]Gedackt.[cm~Geehl, Henry [fy75,1](Erne
st) ([cf2]b [cf1]London, [sm1881[nm; [cf2]d ~[cf1]Beaconsfield, [sm1961[nm). Eng
. composer, cond., and ~pianist. Teacher at TCL from [sm1918[nm. Had special ~in
terest in composing and arranging for brass ~band. Orch. Elgar's [cf2]Severn Sui
te [cf1]([sm1930[nm) for brass ~band from composer's pf. score.[cm~Gehend[fy75,1
] (Ger.). Going. Same as [fy45,1]*[fy75,2][cf2]andante.[cm~Geige[fy75,1] (Ger.,
plural [cf2]Geigen[cf1]). Fiddle. Originally any ~bowed instr.,
now the vn.[cm~Geigen (Principal). [fy75,1]Organ stop; a slightly str.-~toned di
apason of [sm8[nm;po (sometimes [sm4[nm;po) length and ~pitch.[cm~Geigenwerk.[fy
75,1] Obsolete kbd. instr. invented in ~Nuremberg [sm1575[nm by Hans Haiden. A t
ype of ~hurdy-gurdy with brass and steel str. activated by ~[sm5[nm or [sm6[nm p
archment-covered wheels set in motion ~by treadle.[cm~Geiringer, Karl [fy75,1]([
cf2]b[cf1] Vienna, [sm1899[nm). Amer. musi~~cologist and writer of Austrian birt
h. Studied ~[PN276,0,0,L,I0]mus. history in Vienna with G. [fy45,1]*[fy75,1]Adle
r and in ~Berlin with Kretzschmar. Curator of collections ~of Vienna Gesellschaf
t der Musikfreunde [sm1930[nm=n~[sm8[nm. Ed. rare works by Haydn, Brahms, Schube
rt, ~Schumann, etc. From [sm1940[nm resident of USA. Prof. ~of mus. history and
theory, Boston Univ., [sm1941[nm=n~[sm62[nm. Prof. of mus. Univ. of California,
Santa ~Barbara, [sm1962[nm=n[sm72[nm. Books incl. biographies of ~Haydn ([sm1946
[nm, rev. [sm1961[nm, [sm1982[nm), and Brahms ~([sm1934[nm), [cf
2]The Bach Family[cf1] ([sm1954[nm), [cf2]Structure of ~Beethoven's Diabelli Var
iations [cf1]([sm1964[nm), and [cf2]Johann ~Sebastian Bach[cf1] ([sm1966[nm).[xm
[cm~[j1]Geister Trio[fy75,1] (Ghost Trio). Name for Beethoven's ~Pf. Trio in D m
ajor, Op. [sm70[nm No. [sm1[nm, comp. [sm1808[nm. ~Mysterious atmosphere of slow
 movement, ~which has a theme intended for a projected ~[cf2]Macbeth[cf1] opera,
 gave rise to nickname.[cm~Gekkin.[fy75,1] Japanese str. instr. with circular bo
dy ~like banjo. Has [sm9[nm frets and [sm4[nm strs., tuned in pairs.[cm~Geliot,
Michael[fy75,1] ([cf2]b[cf1] London, [sm1933[nm). Eng. opera ~and th. producer.
Art. dir. WNO [sm1969[nm=n[sm77[nm. ~Translator of Mozart's [cf2]Die Zauberfl;au
ote[cf1] and [cf2]Le Nozze ~di Figaro,[cf1] and Weill's [cf2]Mahagonny.[cf1] Ope
ra produc~~tions for SW, Scot. Opera, CG, Munich, Cassel, ~Z;Auurich, Barcelona,
 etc.[cm~Gellenfl;auote.[fy75,1] (Ger.). [fy45,1]*[fy75,1]Clarinet.[cm~Gellhorn,
 Peter[fy75,1] ([cf2]b[cf1] Breslau, [sm1912[nm). Ger.-born ~con
d., pianist, and composer. Studied Berlin ~Univ. and Mus. Acad. Settled in Eng.
Mus. dir. ~Toynbee Hall, London, [sm1935[nm=n[sm9[nm; ass. cond. SW ~Opera [sm19
41[nm=n[sm3[nm; cond. Royal Carl Rosa Opera ~[sm1945[nm=n[sm6[nm; on cond. and m
us. staff CG [sm1947[nm=n[sm53[nm; ~cond. and ch. master Glyndebourne, [sm1954[n
m=n[sm61[nm ~and from [sm1974[nm; dir., BBC Chorus [sm1961[nm=n[sm72[nm. Co-~fou
nder and mus. dir., Opera Barga, Italy, [sm1967[nm=n~[sm9[nm.[cm~Geminiani, Fran
cesco [fy75,1]([cf2]b[cf1] Lucca, [sm1687[nm; [cf2]d[cf1] Dublin, ~[sm1762[nm).
It. violinist and composer. Pupil of Corelli ~and Scarlatti. In Naples opera orc
h. [sm1711[nm=n[sm14[nm. ~Lived in London from [sm1714[nm, with intervals in ~Du
blin [sm1733[nm=n[sm40[nm and [sm1759[nm=n[sm62[nm, and Paris [sm1749[nm=n~[sm55
[nm. His [cf2]Art of Playing the Violin[cf1] (London [sm1751[nm) ~was first vn.
method ever to be pubd. Also wrote ~[cf2]Art of Accompaniment[cf1] ([sm1754[nm)
and [cf2]Art of Playing the ~Guitar[cf1] ([sm1760[nm). Comp. [sm
42[nm concerti grossi, over [sm40[nm ~vn. sonatas, [sm6[nm vc. sonatas, ballet [
cf2]La foresta incantata[cf1] ~(Paris [sm1754[nm), etc.[cm~Gemshorn[fy75,1] (Ger
.). Chamois horn. ([sm1[nm) Obsolete ~medieval type of fl. with sharply-tapering
 conical ~bore, made from animal horn (cow, ox, or goat, ~rather than chamois).
Disappeared from use in ~mid-[sm16[nmth cent.[ep~^([sm2[nm) Light-toned organ st
op with conical pipes, ~usually [sm4[nm;po length and pitch.[xm[cm~[ol0][ep~[xp[
te~






[do27][j99]~~~~~~[sm153842[nm_G[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmG[sm003[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm25[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm84[nm[cm~GC[cm4[cm21/9/84[cmU1[cm~~~[ap[j1]Gendron, Mauri
ce[fy75,1] ([cf2]b[cf1] Nice, [sm1920[nm). Fr. cellist and ~cond. Studied Nice a
nd Paris Cons. D;aaebut London ~[sm1945[nm (f. Eur. p. of Prokofiev's vc. conc.,
 Op. [sm58[nm). ~Played at Aldeburgh Fests. World-wide tours as ~conc. soloist a
nd recitalist. Master classes in Fr. ~and Ger. Ass. cond. Bournemouth Sinfoniett
a ~[sm1971[nm=n[sm2[nm.[cm~Gen;aaee, Franz [fy75,1](Friedrich Richard)[cf1] ([cf
2]b[cf1] Danzig, ~[sm1823[nm; [cf2]d[cf1] Baden, [sm1895[nm). Ger. composer and
cond. ~Th. cond. in various cities from [sm1848[nm; cond. at ~Theater an der Wie
n, Vienna, [sm1868[nm=n[sm78[nm. Comp. ~over a dozen operettas, librettist of ot
hers incl. ~[cf2]Die [fy45,1]*[fy75,2]Fledermaus.[cm~Generalbass[fy75,1] (Ger.).
 See [cf2]Basso continuo.[cm~General Pause.[fy75,1] Rest or paus
e for all the ~executants.[cm~General William Booth Enters into Heaven.[fy75,1]
~([sm1[nm) Song by [fy45,1]*[fy75,1]Ives to words by Vachel Lindsay, for ~v. and
 pf., [sm1914[nm, also for bass soloist, ch., and ~chamber orch. Pubd. in collec
tion [cf2][sm19[nm Songs.[cf1][ep~^([sm2[nm) For ten., male vv., and chamber orc
h., [sm1932[nm, ~by Philip [fy45,1]*[fy75,1]James.[cm~Genoveva.[fy75,1] Opera in
 [sm4[nm acts, Op. [sm81[nm, by R. ~Schumann, lib. R. Reinick adapted from plays
 by ~Tieck ([sm1799[nm) and Hebbel ([sm1843[nm). Prod. Leipzig ~[sm1850[nm, Lond
on [sm1893[nm.[cm~Gentele, Goeran [fy75,1]([cf2]b[cf1] Stockholm, [sm1917[nm; [c
f2]d[cf1] Sardinia, ~[sm1972[nm). Swed. impresario and opera dir. Began ~career
as actor, play producer, and film dir. Staged ~Menotti's [cf2]Consul[cf1] for St
ockholm Royal Opera, ~[sm1952[nm, joined staff [sm1953[nm, gen. man. [sm1963[nm=
n[sm71[nm ~during which period the co. visited Eng., Ger., ~and Can. Appointed g
en. man., NY Met. [sm1970[nm, ~but was killed in car crash on ev
e of first season ~of prods.[cm~Gentlemen's Concerts.[fy75,1] Series of concerts
 in ~Manchester begun as gathering of amateur ~flautists [cf2]c.[cf1][sm1770[nm.
 Concert hall built [sm1777[nm. Gave ~enterprising programmes but declined in [s
m1840[nms. ~Revived by appointment of Charles [fy45,1]*[fy75,1]Hall;Aae as ~cond
. [sm1850[nm, but subsequently overshadowed by ~foundation of Hall;Aae's own con
certs and orch. ~[sm1858[nm. Survived until [sm1920[nm.[cm~Gentle Shepherd, The.
[fy75,1] Scot. ballad opera in [sm5[nm ~acts to lib. by Allan Ramsay who selecte
d ~traditional airs as mus. ([sm1728[nm) for what was orig. ~([sm1725[nm) a come
dy without songs. Prod. Edinburgh ~[sm1729[nm, London [sm1730[nm.[cm~Genzmer, Ha
rald[fy75,1] ([cf2]b[cf1] Blumental, Bremen, [sm1909[nm). ~Ger. composer. Studie
d with [fy45,1]*[fy75,1]Hindemith in ~Berlin. Breslau Opera [sm1934[nm=n[sm7[nm.
 Prof. of comp. ~Hochschule f;Auur Musik, Freiburg, [sm1946[nm=n[sm56[nm, Aka~~d
emie der Tonkunst, Munich, [sm1957[nm. Made special ~study of el
ec. instr. the [fy45,1]*[fy75,1]Trautonium for which ~he wrote [sm2[nm concs. ([
sm1939[nm, [sm1952[nm). Other works incl. ~Bremen Symphony, Sym. No. [sm1[nm, Co
ncerto for ~Orchestra, Music for strings, concs. for pf., vc., fl. ~([sm2[nm), a
nd ob., choral works, str. qt., harp septet, [sm2[nm ~fl. sonatas, [sm2[nm vn. s
onatas, recorder sonata, suite for ~Trautonium and pf., etc. His Mass in E ([sm1
953[nm) is ~highly regarded.[cm~Gerhard, Roberto [fy75,1]([cf2]b[cf1] Valls, Tar
ragona, [sm1896[nm; [cf2]d[cf1] ~Cambridge, [sm1970[nm). Composer and pianist of
 Swiss ~[PN277,0,0,R,I0]parentage who identified himself with Sp. mus. ~and even
tually became Eng. citizen. Studied with ~Granados (pf.) and Pedrell (comp.) in
Barcelona ~[sm1915[nm=n[sm22[nm, and with Schoenberg in Vienna and ~Berlin, [sm1
924[nm=n[sm8[nm. Returned to Barcelona to teach ~[sm1929[nm but moved to Eng. du
ring Sp. Civil War.[ep~^Influenced at first by Debussy and Ravel, ~Gerhard becam
e a Schoenberg pupil on the ~strength of his [cf2][sm7[nm Hai-Ku
[cf1] for sop., wind, and pf. ~([sm1922[nm). His wind quintet ([sm1928[nm) was b
asically ~serial but not [sm12[nm-note and, despite the influence ~of Schoenberg
, his mus. of this date remained ~tonal in essence and had a distinctive Sp. mel
odic ~and rhythmic flavour. On settling in Cambridge ~in [sm1940[nm he seemed to
 expand as a composer, this ~period of his development culminating in the [sm3[n
m-~act Sheridan opera [cf2]The Duenna[cf1] ([sm1947[nm, rev. [sm1950[nm) ~where
a Sp. idiom is combined with tonal, ~bitonal, and serial harmonic styles. For [s
m3[nm years ~Gerhard reassessed his attitude to Schoenbergian ~methods and studi
ed the serial opinions of [fy45,1]*[fy75,1]Hauer ~and A. Hab;aaa. His pf. conc.
([sm1951[nm) was consistently ~[sm12[nm-note but was not `strict' and drew on ea
rly Sp. ~kbd. styles. In a series of splendidly individual ~works from [sm1952[n
m onwards, Gerhard adopted ~Hab;Aaa's `athematicism'. Sometimes, as in his [sm3[
nmrd ~Sym. (`Collages'), he combined orch. sound with ~elect. ta
pe. All his mus. has imaginative genius ~and colour, its fundamentally lyrical a
nd original ~nature never being sacrificed to doctrinaire ~procedures. Prin. wor
ks:[xm[cm~[j2][smopera[nm: [fy75,2]The [fy45,1]*[fy75,2]Duenna[cf1] (after Sheri
dan) ([sm1945[nm=n[sm7[nm, rev. ~[sm1950[nm) (BBC broadcast [sm1949[nm, concert
perf. ~Wiesbaden [sm1951[nm).[ep~[smballets[nm: [cf2]Ariel[cf1] ([sm1934[nm), [c
f2]Soir;aaees de Barcelone[cf1] ([sm1936[nm=n~[sm8[nm), [cf2]Alegr;aaias [cf1]([
sm1942[nm), [cf2]Pandora[cf1] ([sm1944[nm), [fy45,1]*[fy75,2][cf2]Don Quixote[cf
1] ~([sm1940[nm=n[sm1[nm).[ep~[smorch[nm: [cf2]Hommaje a Pedrell[cf1], sym. ([sm
1941[nm); vn. conc. ~([sm1942[nm=n[sm3[nm); pf. conc., with str. ([sm1951[nm); S
ym. No. [sm1[nm ~([sm1952[nm=n[sm3[nm), No. [sm2[nm ([sm1957[nm=n[sm9[nm, recomp
. as [cf2]Metamor~~phoses [cf1][sm1967[nm=n[sm8[nm), No. [sm3[nm (`Collages') ([
sm1960[nm), No. [sm4[nm ~(`New York') ([sm1967[nm); hpd. conc. with str. and ~pe
rc. ([sm1955[nm=n[sm6[nm); [cf2]Concerto for Orchestra [cf1]([sm
1965[nm); ~[cf2]Epithalamion[cf1] for orch. ([sm1966[nm); [cf2]Hymnody[cf1] for
[sm11[nm ~players ([sm1963[nm); [cf2]Leo[cf1], chamber sym. for [sm10[nm players
 ~([sm1969[nm).[ep~[smvoice[nm([sms[nm) [smand instr[nm: [cf2]L'Infantament mera
vellos de ~Shahrazada[cf1], sop. and pf. ([sm1917[nm); [cf2][sm7[nm Hai-Ku[cf1],
 v. and ~[sm5[nm instr. ([sm1922[nm); [cf2]The Akond of Swat[cf1], v. and perc.
~([sm1954[nm); [cf2]The Plague[cf1] for speaker, ch., and orch. ~(after Camus) (
[sm1963[nm=n[sm4[nm).[ep~[smchamber music[nm: Pf. Trio ([sm1918[nm); Va. Sonata
([sm1950[nm); ~Str. Qt. No. [sm1[nm ([sm1950[nm=n[sm5[nm), No. [sm2[nm ([sm1960[
nm=n[sm2[nm); Nonet ~for [sm8[nm wind instr. and accordion ([sm1956[nm); [cf2]Li
bra[cf1], fl., ~cl., vn., guitar, pf., perc. ([sm1968[nm); vc. sonata ~([sm1956[
nm).[ep~[smincidental music[nm: [cf2]Crist;Aaobal Col;Aaon[cf1] (Madariaga, BBC
~[sm1943[nm); [cf2]Don Quixote[cf1] (Linklater, BBC [sm1940[nm); ~[cf2]Conquista
dor[cf1] (MacLeish, BBC [sm1953[nm); and for ~several Shakespear
e plays.[cm~[j1]Gerhardt, Elena[fy75,1] ([cf2]b[cf1] Leipzig, [sm1883[nm; [cf2]d
[cf1] London, ~[sm1961[nm). Ger. mez. (orig. sop.). Studied Leipzig ~Cons. and w
ith A. Nikisch, who later often acted ~as her accompanist. D;aaebut [sm1903[nm.
Rejected ~opera in favour of the recital platform, becoming ~outstanding exponen
t of Ger. Lieder, esp. Wolf, ~Brahms, Schubert, R. Strauss. Eng. d;aaebut [sm190
6[nm, ~Amer. [sm1912[nm. Settled in London [sm1934[nm, becoming ~teacher.[cm~Ger
icke, Wilhelm[fy75,1] ([cf2]b[cf1] Schwanberg, [sm1845[nm; [cf2]d[cf1] ~Vienna,
[sm1925[nm). Austrian cond. and composer ~(under pseudonym Wenzel Ecker). Studie
d under ~Dessoff at Vienna Cons. Th. cond., Linz, from ~[sm1865[nm; [sm2[nmnd co
nd. Vienna Opera from [sm1874[nm. ~Succeeded Brahms as cond. of Gesellschaft Kon
~~zerte, Vienna, [sm1880[nm. Cond. Boston S.O. [sm1884[nm=n[sm9[nm, ~returning t
o Vienna but resuming Boston post ~[sm1898[nm=n[sm1906[nm, when he retired. Comp
. operetta, ~requiem, orch. mus., songs, etc.[cm~German Dance.[f
y75,1] See [cf2]Deutscher Tanz[cf1].[cm~German, [fy75,1](Sir) [fy65][cf3]Edward[
fy75,1] (German Edward Jones) ~([cf2]b[cf1] Whitchurch, Salop, [sm1862[nm; [cf2]
d[cf1] London, [sm1936[nm). ~Welsh composer. Studied RAM [sm1880[nm=n[sm4[nm; pl
ayed ~in th. orchs., soon becoming cond. Mus. dir., ~Globe Th. from [sm1888[nm,
writing incidental mus. ~for Shakespeare's plays which made him famous. ~Greates
t success was patriotic operetta [cf2]Merrie ~England[cf1] ([sm1902[nm). Knighte
d [sm1928[nm. Prin. works:[xm[cm~[j2][smlight operas[nm: [fy75,2]The [fy45,1]*[f
y75,2]Emerald Isle[cf1] ([sm1901[nm, completion ~of [fy45,1]*[fy75,1]Sullivan's
last work), [fy45,1]*[fy75,2]Merrie England[cf1] ([sm1902[nm), ~[cf2]A Princess
of Kensington[cf1] ([sm1902[nm), [fy45,1]*[fy75,2]Tom Jones[cf1] ([sm1907[nm), ~
[cf2]Fallen Fairies[cf1] ([sm1909[nm).[ep~[smorch[nm: Syms. No. [sm1[nm ([sm1887
[nm, rev. [sm1890[nm) and No. [sm2[nm ~(`Norwich', [sm1893[nm), [cf2]Welsh Rhaps
ody[cf1] ([sm1904[nm), [cf2]Theme ~and [sm6[nm Diversions [cf1](
[sm1919[nm).[ep~[smtheatre music[nm: [cf2]Richard III[cf1] ([sm1889[nm), [cf2]He
nry VIII[cf1] ~([sm1892[nm), [cf2]Romeo and Juliet[cf1] ([sm1895[nm), [cf2]Nell
Gwyn[cf1] ([sm1900[nm).[cm~[j1]Germani, Fernando[fy75,1] ([cf2]b [cf1]Rome, [sm1
906[nm). It. org., ~composer, and scholar. Trained Rome Cons. and ~Papal Institu
te of Church Mus. Organist St Peter's, ~Rome, [sm1948[nm=n[sm59[nm. Head of org.
 studies, Curtis ~Institute, Philadelphia, [sm1936[nm=n[sm8[nm. London d;aaebut
~[sm1936[nm. First org., St Peter's, Rome, [sm1948[nm=n[sm59[nm. ~World-wide rec
ital tours. Ed. of [fy45,1]*[fy75,1]Frescobaldi's ~org. works ([sm1936[nm) and a
uthor of an org. method ~([sm1942[nm=n[sm52[nm).[cm~German Requiem, A [fy75,1](B
rahms). See [cf2]Deutsches Requiem, Ein[cf1].[cm~German Sixth.[fy75,1] Type of [
fy45,1]*[fy75,1]augmented [sm6[nmth chord.[cm~German Suites.[fy75,1] Unauthorize
d title for the set of ~[sm6[nm kbd. partitas by J.S. Bach. See also [cf2]French
 Suites[cf1]; ~[cf2]English Suites[cf1]; [cf2]Klavier;Auubung.[c
m~Gershwin, George[fy75,1] ([cf2]b [cf1]Brooklyn, NY, [sm1898[nm; [cf2]d[cf1] ~H
ollywood, Calif., [sm1937[nm). Amer. composer and ~pianist. Son of Russ. Jewish
migrants who went ~to USA [cf2]c.[cf1][sm1893[nm (family name Gershovitz). Pf. ~
lessons [sm1913[nm from Charles Hambitzer; later ~studied theory and harmony wit
h Edward Kilenyi ~for whom he wrote a str. qt. ([sm1919[nm). In [sm1914[nm left
~school to work as pianist and `song plugger' for ~Remick, a publisher of popula
r mus. Wrote his ~[PN278,0,0,L,I0]first song in [sm1916[nm and his first Broadwa
y musical, ~[cf2]La La Lucille[cf1], in [sm1919[nm. For the next [sm14[nm years
a ~Gershwin musical was a feature of NY theatrical ~life. His first outstanding
`hit' was the song [cf2]Swanee[cf1] ~([sm1919[nm), which became assoc. with Al J
olson. In ~[sm1924[nm he enjoyed success in a new genre, that of ~applying jazz
idioms to concert works, when his ~[cf2]Rhapsody in Blue[cf1] for pf. and orch.
had its f.p. From ~then until the end of his life he produced la
rger-~scale works alongside the songs (many with words ~by his elder brother Ira
 (Israel)) he wrote for ~musicals and, after [sm1931[nm, films. The Pf. Conc. of
 ~[sm1925[nm was followed by [cf2]An American in Paris[cf1], a ~second Rhapsody,
 the Cuban Overture, and in ~[sm1935[nm by the opera [cf2]Porgy and Bess[cf1] wh
ich is still the ~only opera by an Amer. composer to become est. ~in the reperto
ry.[ep~^Gershwin's melodic gift was phenomenal. His ~songs contain the essence o
f NY in the [sm1920[nms and ~have deservedly become classics of their kind, ~par
t of the [sm20[nmth-cent. folk-song tradition in the ~sense that they are popula
r mus. which has been ~spread by oral tradition (for many must have ~sung a Gers
hwin song without having any idea ~who wrote it). His larger-scale works, melodi
cally ~remarkable as might be expected, suffer from his ~haphazard mus. educatio
n and lack of grounding ~in counterpoint, theory, etc. ([cf2]Rhapsody in Blue[cf
1] was ~orchestrated by Ferde [fy45,1]*[fy75,1]Grof;Aae, but Ger
shwin ~himself scored the later works.) He went for ~lessons to Rubin Goldmark,
Henry Cowell, and ~Joseph Schillinger, and there can be little doubt ~that had h
e lived longer he would have progressed ~to considerable symphonic achievement.
As it is, ~his mixture of the primitive and the sophisticated ~gives his mus. an
 individuality and appeal which ~show no sign of diminishing. Prin. works:[xm[cm
~[j2][smoperas[nm: [fy75,2]Blue Monday[cf1] ([sm1[nm-act; item in [cf2]George Wh
ite's ~Scandals[cf1] [sm1922[nm but withdrawn after [sm1[nm perf.; ~retitled [cf
2][sm135[nmth Street[cf1] and revived Miami [sm1970[nm); ~[fy45,1]*[fy75,2][cf2]
Porgy and Bess[cf1] ([sm1934[nm=n[sm5[nm).[ep~[smorch[nm: [cf2][fy45,1]*[fy75,2]
Rhapsody in Blue[cf1] (pf. and orch.) ([sm1924[nm); Pf. ~Conc. in F major ([sm19
25[nm); [cf2]An [fy45,1]*[fy75,2]American in Paris[cf1] ~([sm1928[nm); Second Rh
apsody (pf. and orch.) ([sm1931[nm); ~Cuban Overture ([sm1932[nm); [cf2]`I Got R
hythm' Variations[cf1] ~(pf. and orch.) ([sm1934[nm).[ep~[smmusi
cals[nm: [cf2]The Passing Show of [sm1916[nm[cf1], [cf2]La La Lucille[cf1] ~([sm
1919[nm), [cf2]George White's Scandals[cf1] ([sm1920[nm=n[sm4[nm), [cf2]Sweet ~L
ittle Devil[cf1] ([sm1924[nm), [cf2]Primrose[cf1] ([sm1924[nm), [cf2]Lady Be Goo
d[cf1] ~([sm1924[nm), [cf2]Song of the Flame[cf1] ([sm1925[nm), [cf2]Tell Me Mor
e[cf1] ~([sm1925[nm), [cf2]Tip Toes[cf1] ([sm1925[nm), [cf2]Oh, Kay[cf1] ([sm192
6[nm, lyrics by ~P.G. Wodehouse), [cf2]Strike up the Band[cf1] ([sm1927[nm, [sm1
930[nm), ~[cf2]Funny Face[cf1] ([sm1927[nm), [cf2]Rosalie[cf1] ([sm1928[nm), [cf
2]Treasure Girl[cf1] ~([sm1928[nm), [cf2]Show Girl[cf1] ([sm1929[nm), [cf2]Girl
Crazy[cf1] ([sm1930[nm), [cf2]Of ~Thee I Sing[cf1] ([sm1931[nm, lyrics by George
 F. Kaufman), ~[cf2]Pardon my English[cf1] ([sm1933[nm), [cf2]Let 'em eat Cake[c
f1] ([sm1933[nm).[ep~[smfilms[nm: [cf2]Delicious[cf1] ([sm1931[nm), [cf2]Shall W
e Dance?[cf1], [cf2]A Damsel ~in Distress[cf1] ([sm1937[nm), [cf2]The Goldwyn Fo
llies[cf1] ([sm1938[nm), [cf2]The ~Shocking Miss Pilgrim[cf1] ([
sm1946[nm), [cf2]Kiss Me, Stupid[cf1] ~([sm1964[nm).[ep~[smpiano[nm: [sm3[nm Pre
ludes ([sm1926[nm) (transcr. for vn. and pf. ~by Heifetz).[ep~[smsongs[nm: Among
 the best of hundreds of songs are ~[cf2]Swanee[cf1], [cf2]The Man I Love[cf1],
[cf2]Embraceable You[cf1], [cf2]The ~Way You Look Tonight[cf1], [cf2]I Got Rhyth
m[cf1], [cf2]Fascinating ~Rhythm[cf1], [cf2]'S Wonderful[cf1], [cf2]Lady Be Good
[cf1], and [cf2]Love ~Walked In[cf1]. The popular [cf2]Summertime[cf1] is from ~
[cf2]Porgy and Bess[cf1].[cm~[j1]Gertler, Andr;aae[fy75,1] ([cf2]b[cf1] Budapest
, [sm1907[nm). Hung. violin~~ist. Studied Budapest Acad., pupil of Hubay and ~Ko
d;Aaaly. Frequently gave recitals with Bart;aaok as ~pianist. Settled in Brussel
s where he founded ~Gertler Qt., [sm1931[nm=n[sm51[nm. On staff Brussels Cons. ~
[sm1940[nm=n[sm54[nm. Conc. soloist with leading orchs. Prof., ~Cologne Acad. of
 mus. [sm1954[nm=n[sm9[nm, Hanover Acad. ~from [sm1964[nm. Brother of painter Ma
rk Gertler.[cm~Gervaise, Claude[fy75,1] ([cf2]fl. [cf1][sm16[nmt
h cent.). Fr. composer ~and viol player. Edited books of [cf2]Danceries[cf1] and
 ~composed [sm46[nm [cf2]chansons. [cf1]Employed as editor by ~[fy45,1]*[fy75,1]
Attaignant.[cm~Ges[fy75,1] (Ger.). G;Yh. [cf2]Geses[cf1], G;Yh;Yh.[cm~Gesamtkuns
twerk[fy75,1] (Ger.). Unified work of art. ~Wagner's term for a dramatic work in
 which ~drama, music, poetry, song, and paintings should ~be united into a new a
nd complete art-form. This ~theory is expounded in his [cf2]Das Kunstwerk der ~Z
ukunft[cf1] (The Art-work of the Future, [sm1849[nm).[cm~Gesang der J;Auunglinge
[fy75,1] (Song of the Young Boys). ~Elec. comp. (on tape) by [fy45,1]*[fy75,1]St
ockhausen, [sm1955[nm=n[sm6[nm, ~comprising spoken and sung boy's v. so altered
~and multiplied by various devices that it sounds ~to be many vv., with elec. so
unds added.[cm~Gesang der Parzen[fy75,1] (Song of the Fates). Ballad, ~Op. [sm89
[nm, by Brahms for [sm6[nm-part ch. and orch., comp. ~[sm1882[nm. Text by Goethe
.[cm~Gesch;Auopfe des Prometheus, Die[fy75,1] (Beethoven). ~See
[cf2]Prometheus, Die Gesch;Auopfe des[cf1].[cm~Gesellschaft der Musikfreunde, Wi
en[fy75,1] (Society ~of Friends of Music, Vienna). Founded [sm1813[nm, ~through
efforts of Joseph von Sonnleithner, with ~Beethoven's friend and pupil, Archduke
 Rudolph, ~as patron, to perf. oratorios in the Riding School, ~but later had ow
n home. Also founded cons., ~library, and museum. A choral soc., Singverein, ~of
 over [sm300[nm members, was founded [sm1858[nm, and an ~Orchesterverein in [sm1
860[nm. Gesellschaft concerts ~were cond. by members until [sm1851[nm when ~Hell
mesberger was appointed. Successors incl. ~Brahms, [fy45,1]*[fy75,1]Gericke, Ric
hter, Franz Schalk, and ~Furtw;Auangler. The soc. archives contain priceless ~ma
nuscripts by Beethoven ([cf2]Sinfonia Eroica[cf1]), ~Haydn, Mozart, Schubert, Sc
humann, Brahms, ~Wagner, and Johann Strauss II. Also possesses ~Beethoven's ear-
trumpet.[cm~Gestopft[fy75,1] (Ger.). Stopped. ([sm1[nm) `Stopped' hn. notes ~are
 those prod. with the bell of the instr. more or ~less closed by
 the hand.[ep~^([sm2[nm) An equivalent for [cf2][fy45,1]*[fy75,2]ged;Auampft[cf1
].[cm~Gesualdo, Don Carlo, [fy75,1]Prince of Venosa ([cf2]b[cf1] Naples, ~[cf2]c
.[cf1][sm1560[nm; [cf2]d[cf1] Gesualdo, Avellino, [sm1613[nm). It. composer ~[PN
279,0,0,R,I0]and lutenist. Pubd. [sm4[nm books of madrigals from ~[sm1594[nm to
[sm1596[nm when at court of the Estensi at ~Ferrara. Returned to Naples [sm1597[
nm. Two further ~books of madrigals pubd. [sm1611[nm; these contain ~harmonic co
mplexity and modernity far in ~advance of his contemporaries: in the [sm20[nmth
cent., ~for example, these madrigals inspired and fasci~~nated Stravinsky. Also
wrote motets and religious ~songs. In [sm1590[nm murdered his first wife and her
 ~lover, an event which is explored in a book on ~Gesualdo by Cecil [fy45,1]*[fy
75,1]Gray and Philip [fy45,1]*[fy75,1]Heseltine ~([sm1926[nm).[cm~Geteilt, gethe
ilt[fy75,1] (Ger.). Divided, e.g. of vns., ~corresponding to [cf2]divisi[cf1]. S
ometimes abbreviated as ~[cf2]get[cf1].[cm~Gevaert, Fran;Alcois[
fy75,1] (Auguste) ([cf2]b[cf1] Huysse, [sm1828[nm; [cf2]d[cf1] ~Brussels, [sm190
8[nm). Belgian historian and composer. ~Wrote operas and operettas. Mus. dir., P
aris Op;Aaera ~[sm1867[nm=n[sm70[nm. Dir., Brussels Cons. [sm1871[nm=n[sm1908[nm
, suc~~ceeding [fy45,1]*[fy75,1]F;Aaetis. Pubd. treatise on orchestration, ~[sm1
885[nm.[cm~Gewandhaus[fy75,1] (Ger.). Cloth hall. Leipzig's concert ~hall. Conce
rts began in Bach's time, being held in ~a private house, then in an inn. In [sm
1781[nm they ~moved to the Gewandhaus, where they were ~given until [sm1885[nm,
when a new hall was built.[cm~Gew;auohnlich[fy75,1] (Ger.). Usual. Used in score
s to ~countermand previous indication that the instr. ~concerned was to play in
some unusual way, e.g. ~the vn. after it has been playing [cf2]am Griffbrett[cf1
] (near ~the fingerboard).[cm~Gezogen[fy75,1] (Ger.). Drawn. ([sm1[nm) Drawn out
, sustained. ~^([sm2[nm) Same as [fy45,1]*[fy75,2]portamento[cf1].[cm~G.G.S.M.[f
y75,1] Graduate of Guildhall School of Music.[cm~Ghedini, Giorgi
o [fy75,1](Federico) ([cf2]b[cf1] Cuneo, [sm1892[nm; [cf2]d[cf1] ~Nervi, [sm1965
[nm). It. composer. Studied at Turin Cons. ~and Bologna Cons. Ass. cond. Teatro
Regio, Turin. ~Prof. of harmony and comp. Turin Cons. to [sm1937[nm, ~Parma Cons
. [sm1938[nm=n[sm41[nm, Milan Cons. [sm1941[nm=n[sm51[nm. Ed. ~works by Montever
di, A. and G. Gabrieli, ~Frescobaldi, Sch;Auutz, etc. [sm8[nm operas incl. [cf2]
Re Hassan[cf1] ~([sm1938[nm), [fy45,1]*[fy75,2][cf2]Billy Budd[cf1] ([sm1949[nm)
, and [cf2]L'ipocrita felice[cf1] (`[cf2]The ~Happy Hypocrite[cf1]', Max Beerboh
m, [sm1956[nm). Also ~wrote sym., [cf2]Concerto dell' albatro[cf1], [cf2]Canzoni
[cf1] for ~orch.; pf. conc., double vc. conc., [sm2[nm vn. concs., va. ~conc.; c
hamber mus., choral works, and songs.[cm~Gheyn, Matthias van den[fy75,1] ([cf2]b
[cf1] Tirlemont, [sm1721[nm; [cf2]d[cf1] ~Louvain, [sm1785[nm). Flemish organist
 and composer. ~Carilloneur at Louvain from [sm1741[nm. Wrote org. ~works, hpd.
sonatas, etc.[cm~Ghiaurov, Nicolai[fy75,1] ([cf2]b[cf1] Velingra
d, Bulgaria, [sm1929[nm). ~Bulgarian bass. Played vn., cl., tb., and pf. by age
~of [sm14[nm. Studied Sofia Mus. Acad. from [sm1948[nm and at ~Moscow Cons. Oper
a d;Aaebut Sofia [sm1955[nm (Don ~Basilio in Rossini's [cf2]Il barbiere di Sivig
lia[cf1]). Member ~of Bolshoy Opera from [sm1956[nm. Vienna d;aaebut [sm1962[nm.
 ~Frequent guest singer at Milan, CG, Salzburg, NY ~Met., especially in [cf2]Bor
is Godunov[cf1] and as King ~Philip in Verdi's [cf2]Don Carlos[cf1].[cm~Ghiselin
, Jean[fy75,1] ([cf2]d c.[cf1][sm1508[nm). Flemish composer of ~masses, songs, m
otets, etc. May have been pupil ~of [fy45,1]*[fy75,1]Ockhegem. Connected with co
urt at Ferrara from ~[cf2]c.[cf1][sm1490[nm to [sm1505[nm but was singer at chur
ch in ~Florence [sm1492=n3[nm. In [sm1503[nm went to Paris to escort ~Josquin [f
y45,1]*[fy75,1]Despr;ages to Ferrara on his appointment as ~maestro di cappella.
 Pubd. vol. of masses [sm1503[nm. In ~[sm1504=n5[nm Ghiselin, Obrecht, and Despr
;ages worked in ~Ferrara. Returned to Netherlands [sm1505[nm. Co
mps. noted ~for technical skill.[cm~Ghislanzoni, Antonio[fy75,1] ([cf2]b[cf1] Le
cco, [sm1824[nm; [cf2]d[cf1] Caprino-~Bergamasco, [sm1893[nm). It. writer. Train
ed as bar. Ed. ~[cf2]Gazzetta musicale[cf1], Milan; author of at least [sm80[nm
~opera libs., incl. that for Verdi's [cf2]Aida[cf1].[cm~Ghost Trio [fy75,1](Beet
hoven). See [cf2]Geister Trio[cf1].[cm~Giacomelli, Geminiano[fy75,1] ([cf2]b[cf1
] Piacenza, [cf2]c.[cf1][sm1692[nm; [cf2]d[cf1] ~Loreto, [sm1740[nm). It. compos
er. Wrote [sm19[nm operas, ~incl. [cf2]Cesar in Egitto[cf1] (Milan [sm1735[nm).
Choirmaster, ~court of Parma [sm1719[nm=n[sm27[nm and [sm1732[nm=n[sm7[nm, Piace
nza ~[sm1727[nm=n[sm32[nm.[xm[cm~[ol0][ep~[xp[te~




[do27][j99]~~~~~~[sm153842[nm_G[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
n Dic~~tionary of Music[cmG[sm004[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm25[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm130[nm[cm~Collier[cm7[cm9.4.85[cm~3[cm~~~~[ap[j1]Giannini
, Vittorio[fy75,1] ([cf2]b[cf1] Philadelphia, [sm1903[nm; [cf2]d[cf1] NY, ~[sm19
66[nm). Amer. composer. Studied Milan Cons. and ~Juilliard Sch. (pupil of R. Gol
dmark). Wrote [sm8[nm ~operas incl. [cf2]The Taming of the Shrew[cf1], [cf2]The
Scarlet ~Letter[cf1], [cf2]Beauty and the Beast[cf1], and [cf2]The Servant of Tw
o ~Masters[cf1], also [sm5[nm syms., conc. grosso for str.; [cf2]Stabat ~Mater[c
f1], [cf2]Requiem[cf1] (Vienna [sm1937[nm); conc. for pf., [sm2[nm pf., ~org., v
n.; str. qt., pf. quintet, pf. sonata, etc.[cm~Gianni Schicchi.[fy75,1] [sm1[nm-
act opera by Puccini to lib. ~by Forzano based on incident in Dante's [cf2]Infer
no[cf1]. ~Comp. [sm1917=n18[nm. Prod. NY Met. [sm1918[nm, Rome ~[sm1919[nm, Lond
on [sm1920[nm. The [sm3[nmrd of Puccini's [cf2]Trittico[cf1], ~t
he others being [cf2]Il [fy45,1]*[fy75,2]tabarro[cf1] and [fy45,1]*[fy75,2][cf2]
Suor Angelica[cf1].[cm~Gianoncelli, Bernardo[fy75,1] ([cf2]d[cf1] before [sm1650
[nm). It. ~composer and lutenist in first half of [sm17[nmth cent.; ~one of last
 It. composers for lute. Little known ~biographically. In [sm1650[nm his widow p
ubd. [cf2]Il liuto ~di Bernardo Gianoncelli[cf1] in his memory (only ~surviving
copy in Biblioteca Nazionale Marciana, ~Venice). Contains several suites, arr. a
ccording to ~key. Best-known piece was [cf2]Bergamasca[cf1], of which ~a lute ar
r. by Chilesotti was pubd. [sm1891[nm. Also ~orch. version by [fy45,1]*[fy75,1]R
espighi. Opening theme of ~[cf2]Bergamasca[cf1] used by BBC Radio [sm3[nm to int
roduce ~programme `Homeward Bound'.[cm~`Giant' Fugue.[fy75,1] Nickname for Bach'
s organ fugue ~in D minor in Part III of the [cf2]Klavier;Auubung[cf1]. So-~call
ed because of giant-like strides of a pedal ~figure: [cm~[ol52][ep~[PN280,0,0,L,
I0]Giardini, Felice de[fy75,1] ([cf2]b[cf1] Turin, [sm1716[nm; [
cf2]d[cf1] Moscow, ~[sm1796[nm). It. violinist and composer. Chorister, Milan ~C
ath. Played in opera orchs. in Rome and Naples. ~Toured Ger. and Eng. [sm1750[nm
, settling in latter as ~leader of orch. at It. Opera, which he managed ~from [s
m1756[nm=n[sm65[nm. Leader of orch. at [sm3[nm Choirs Fest. ~[sm1770[nm=n[sm6[nm
. Left Eng. [sm1784[nm, returning [sm1790[nm to start ~comic opera co. in London
. It failed and he took ~it to Moscow. Wrote operas, [sm54[nm vn. sonatas, [sm12
[nm ~vn. concs., [sm18[nm str. qts., etc.[cm~Gibbons, Christopher[fy75,1] ([cf2]
b[cf1] Westminster, [sm1615[nm; [cf2]d[cf1] ~Westminster, [sm1676[nm). Eng. comp
oser and organist, ~second son of O. [fy45,1]*[fy75,1]Gibbons. Organist Winchest
er ~Cath. [sm1638[nm; Westminster Abbey, Chapel Royal ~and private organist to C
harles II, [sm1660[nm. Wrote ~str. fantasies, anthems, masques, etc.[cm~Gibbons,
 Orlando[fy75,1] ([cf2]b[cf1] Oxford, [sm1583[nm; [cf2]d[cf1] Canter~~bury, [sm1
625[nm). Eng. composer, organist, and virgin~~alist. Entered cho
ir of King's Coll., Cambridge, ~[sm1596[nm. Organist Chapel Royal from [sm1604[n
m. Mus. B. ~Cambridge Univ. [sm1606[nm. Chamber musician to ~King, [sm1619[nm, o
rganist Westminster Abbey from ~[sm1623[nm. Composer of noble church mus., incl.
 ~many anthems (e.g. [cf2]This is the Record of John[cf1]), ~motets and madrigal
s (e.g. [cf2]The Silver Swan[cf1]), [sm40[nm ~kbd. pieces, incl. contribution to
 [cf2][fy45,1]*[fy75,2]Parthenia[cf1], [sm30[nm ~fantasies for viols, several pa
vans and galliards, ~and [sm3[nm [cf2]In nomines[cf1]. One of the greatest of th
e early ~Eng. composers. His father, William, brothers ~Edward, Ellis, and Ferdi
nando, and son Christo~~pher [fy45,1]*[fy75,1]Gibbons were musicians.[cm~Gibbs,
[fy75,1](Cecil) [fy65][cf3]Armstrong[fy75,1] ([cf2]b[cf1] Great Baddow, [sm1889[
nm; ~[cf2]d[cf1] Chelmsford, [sm1960[nm). Eng. composer. Studied ~RCM with Charl
es Wood and Vaughan Williams. ~On staff RCM [sm1921[nm=n[sm39[nm. Comp. opera, i
ncidental ~mus., cantatas, church mus., but best known for ~walt
z [cf2]Dusk[cf1] and for his many songs, several being ~settings of Walter De la
 Mare (such as the popular ~[cf2]Five Eyes[cf1]).[cm~Gibet, Le[fy75,1] (The Gall
ows). Second of [sm3[nm pf. pieces ~by Ravel under title [fy45,1]*[fy75,2][cf2]G
aspard de la Nuit[cf1], [sm1908[nm.[cm~Gibson,[fy75,1] (Sir)[fy65][cf3] Alexande
r[fy75,1] (Drummond) ([cf2]b[cf1] Moth~~erwell, Scotland, [sm1926[nm). Scot. con
d. Studied ~Glasgow Univ., RCM, Salzburg Mozarteum, and ~Acad. Chigiana, Siena.
R;Aaep;Aaetiteur and ass. cond., ~SW Opera [sm1951[nm=n[sm2[nm, ass. cond. BBC S
cot. S.O. ~[sm1952[nm=n[sm4[nm, staff cond. SW Opera [sm1954[nm=n[sm7[nm, mus. d
ir. ~[sm1957[nm=n[sm9[nm. Prin. cond. Scot. Nat. Orch. [sm1959[nm=n[sm84[nm. ~Fo
under and mus. dir. Scot. Opera from [sm1962[nm. ~C.B.E. [sm1967[nm. Knighted [s
m1977[nm.[cm~Gielen, Michael [fy75,1](Andreas) ([cf2]b[cf1] Dresden, [sm1927[nm)
. ~Ger.-Argentinian composer, cond., and pianist. ~Studied Buenos Aires, where h
e perf. all Schoen~~berg's pf. works. Mus. staff, Teatro Col;Aao
n, Buenos ~Aires, [sm1947[nm=n[sm51[nm. Joined staff of Vienna State Opera ~[sm1
951[nm, becoming resident cond. [sm1954[nm=n[sm60[nm. Chief ~cond. Royal Swed. O
pera, Stockholm, [sm1960[nm=n[sm5[nm. ~Cond. W. Ger. Radio Orch., Cologne, [sm19
65[nm=n[sm9[nm. ~Mus. dir., Nat. Orch. of Belg. [sm1969[nm=n[sm72[nm; mus. dir.
~Netherlands Opera from [sm1972[nm. NY d;Aaebut [sm1971[nm. ~Mus. dir., Frankfur
t, [sm1977[nm=n[sm87[nm. Chief guest ~cond., BBC S.O. from [sm1979[nm. Mus. dir.
, Cincinnati ~S.O. [sm1980=n6[nm. Cond. Baden-Baden Radio S.O. from ~[sm1986[nm.
 Particularly noted for championship of ~contemp. music. Comps. incl. chamber ca
ntatas, ~choral works, and chamber mus.[cm~Gieseking, Walter[fy75,1] (Wilhelm) (
[cf2]b[cf1] Lyons, [sm1895[nm; [cf2]d[cf1] ~London, [sm1956[nm). Ger. pianist. S
tudied Hanover ~Cons. D;aaebut [sm1912[nm followed by int. tours. London ~d;Aaeb
ut [sm1923[nm. NY [sm1926[nm. Especially renowned for ~playing of Debussy and Ra
vel, but also for ~Beethoven and Brahms. Comp. pf. pieces and ~s
ongs.[cm~Giga.[fy75,1] See[cf2] Gigue[cf1].[cm~Gigault, Nicolas [fy75,1]([cf2]b
[cf1]?Paris, [cf2]c.[cf1][sm1627[nm; [cf2]d [cf1]Paris, [sm1707[nm). ~Fr. organi
st and composer. Org. at four Paris ~churches (St Honor;aae [sm1646[nm=n[sm52[nm
, St Nicolas-des-~Champs [sm1652[nm=n[sm1707[nm, St Martin-des-Champs from ~[sm1
673[nm, H;afopital du St Esprit from [sm1685[nm) and owned ~large collection of
instr., both keyboard and ~stringed. Regarded as equal of Couperin as ~executant
. His [cf2]Livre de musique [cf1]([sm1683[nm) contains [sm20[nm ~no;auels with v
ariations, the earliest known example ~of this genre.[cm~Gigg, Gigge.[fy75,1] Ol
d Eng. spellings of [fy45,1]*[fy75,2][cf2]Jig[cf1] or [fy45,1]*[fy75,2][cf2]Gigu
e[cf1].[cm~Gigli, Beniamino[fy75,1] ([cf2]b[cf1] Recanati, [sm1890[nm; [cf2]d[cf
1] Rome, ~[sm1957[nm). It. ten. Studied Rome with Rosati. First ~prize int. cont
est, Parma, [sm1914[nm. D;Aaebut Rovigo ~[sm1914[nm, followed by appearances in
Berlin, Dresden, ~Turin, Rome, Madrid, and Monte Carlo where ~he
 created role of Ruggero in Puccini's [cf2]La rondine[cf1] ~[sm1917[nm. Milan d;
Aaebut [sm1918[nm with Toscanini. NY Met. ~[sm1920[nm=n[sm32[nm, [sm1938[nm=n[sm
9[nm; CG [sm1930[nm=n[sm1[nm, [sm1938[nm=n[sm9[nm, [sm1946[nm. ~Still sang super
bly on tour of USA [sm1955[nm. Excelled ~as Rodolfo ([cf2]Boh;Ageme[cf1]), Duke
of Mantua ([cf2]Rigoletto[cf1]), ~and Cavaradossi ([cf2]Tosca[cf1]).[cm~Gigout,
Eug;agene[fy75,1] ([cf2]b[cf1] Nancy, [sm1844[nm; [cf2]d[cf1] Paris, [sm1925[nm)
. ~Fr. organist and composer. Studied under Saint-~Sa;Auens at ;aaEcole Niederme
yer, Paris, becoming ~prof. there [sm1863[nm=n[sm85[nm and [sm1900[nm=n[sm5[nm.
Organist St ~Augustin, [sm1863[nm, touring widely and becoming ~known for brilli
ant improvisations. Founded own ~org. sch. [sm1885[nm. Prof. of org., Paris Cons
., from ~[sm1911[nm. Comp. many works for org.[cm~Gigue, Giga[fy75,1] (Fr., It.)
. Jig. ([sm1[nm) A lively rustic Eng.,[fjScot., and Irish dance type (see Jig),
usually in ~compound duple or triple time, with the charac~~teri
stic rhythm [xf;Ya ;Yb ;Ya[cb-3];dp[cb0] ;Yb [rfetc. Eng. virginalists ~were fir
st to use the [cf2]gigue[cf1], which was introduced ~to the Continent by [fy45,1
]*[fy75,1]Froberger, [sm1657[nm, though ~the term had appeared in [sm1648[nm in
a lute piece by ~Ebner. Pieces in gigue style were absorbed into ~the suite as t
he customary closing movements: in ~Bach's gigues the [sm2[nm halves of binary f
orm often ~opened in something like fugal style, the subject ~of the first half
being often inverted as that of the ~[sm2[nmnd half. (Occasionally Bach applied
the term ~`gigue' loosely to a piece in simple duple or ~quadruple time.)[ep~[PN
281,0,0,R,I0]^([sm2[nm) Medieval name for str. instr.[cm~Gigues[fy75,1] (Debussy
). See [cf2]Images.[cm~Gilbert, Anthony[fy75,1] ([cf2]b[cf1] London, [sm1934[nm)
. Eng. com~~poser. Studied Morley Coll., [sm1958[nm=n[sm62[nm (harmony, ~etc. wi
th A. [fy45,1]*[fy75,1]Milner, comp. with Walter [fy45,1]*[fy75,1]Goehr). ~Lectu
rer in comp. Goldsmiths' Coll., London ~Univ., [sm1969[nm=n[sm73
[nm. Ed. of contemporary mus. ~Schott's, London, from [sm1965[nm. Course tutor i
n ~comp. RNCM from [sm1973[nm. Comps. incl. Sinfonia ~for chamber orch. ([sm1965
[nm); [cf2]Regions[cf1] for [sm2[nm chamber ~orchs. ([sm1966[nm); [cf2][sm9[nm o
r [sm10[nm Osannas[cf1] for cl., hn., vn., vc., ~pf. ([sm1967[nm); [cf2]Spell Re
spell[cf1] for elec. basset cl., pf. ~([sm1968[nm); [cf2]Mother[cf1], for chambe
r ens. and elec. devices ~([sm1969[nm); [cf2]The Scene Machine[cf1], [sm1[nm-act
 opera, lib. G. ~McBeth ([sm1970[nm, prod. Cassel [sm1971[nm, SW [sm1972[nm); [c
f2]The ~Incredible Flute Music[cf1], fl. and pf. ([sm1968[nm); [cf2]String ~quar
tet with piano pieces[cf1] ([sm1972[nm); [cf2]Cantata[cf1] ([sm1972[nm); ~Sympho
ny ([sm1973[nm); [cf2]Canticle I[cf1], for brass and cls. ~([sm1973[nm), [cf2]Ca
nticle II[cf1] for [sm6[nm male vv. ([sm1974[nm); [cf2]Ghost and ~Dream Dancing[
cf1] ([cf2]Studies for Orch. I[cf1]) ([sm1974[nm); [cf2]Inscapes[cf1] ~for sop.,
 reader, [sm2[nm reeds, and percussionist ([sm1975[nm); ~[cf2]Cr
ow-Cry [cf1]for orch. ([sm1976[nm=n[sm7[nm); [cf2]Welkin[cf1] for sch. orch. ~([
sm1976[nm); [cf2]The Chakravaka Bird[cf1], song-drama for radio ~([sm1976[nm=n[s
m7[nm); [cf2]Treatment of Silence[cf1], solo vn., and tape ~([sm1978[nm); [cf2]T
owards Asavari[cf1], pf. and small orch. ~([sm1978[nm); [cf2]Long White Moonligh
t[cf1], sop. and db. ([sm1980[nm); ~[cf2]Calls Around Chungmori[cf1], ens. and a
udience ([sm1980[nm); ~[cf2]Vasanta With Dancing[cf1], chamber ens. ([sm1981[nm)
.[cm~Gilbert, Geoffrey [fy75,1](Winzer) ([cf2]b[cf1] Liverpool, [sm1914[nm). ~En
g. flautist and teacher. Studied RMCM. Hall;Aae ~Orch. [sm1930[nm=n[sm3[nm; LPO
[sm1933[nm=n[sm9[nm, [sm1945[nm; BBC S.O. ~[sm1948[nm=n[sm52[nm; RPO [sm1957[nm=
n[sm63[nm; prof. of fl. TCL [sm1947[nm=n~[sm65[nm, GSM [sm1948[nm=n[sm69[nm, RMC
M [sm1959[nm=n[sm69[nm; cond. in ~residence Stetson Univ., Florida, [sm1966[nm=n
[sm9[nm, prof. of ~fl. and dir. of instr. studies from [sm1969[nm. O.B.E. ~[sm19
77[nm.[cm~Gilbert, Henry [fy75,1](Franklin Belknap) ([cf2]b[cf1]
 Somerville, ~Mass., [sm1868[nm; [cf2]d[cf1] Cambridge, Mass., [sm1928[nm). Amer
. ~composer. Studied Boston, comp. pupil of ~[fy45,1]*[fy75,1]MacDowell. Great i
nterest in folk music and ~Negro melodies. Works incl. [cf2]Comedy-Overture on ~
Negro Themes[cf1] ([sm1905[nm), [cf2][sm3[nm American Dances[cf1] ([sm1911[nm),
~[cf2]Negro Rhapsody[cf1] ([sm1913[nm), symphonic prol. [cf2]Riders to ~the Sea[
cf1] ([sm1915[nm), ballet [cf2]Dance in Place Congo[cf1] ([sm1918[nm).[cm~Gilber
t, Kenneth [fy75,1]([cf2]b [cf1]Montreal, [sm1931[nm). Canadian ~harpsichordist
and organist. Studied at Montreal ~Cons., then in Paris with Durufl;aae, N. Boul
anger, ~and Leonhardt. Church org. in Montreal [sm1955[nm=n~[sm67[nm. London d;a
aebut [sm1968[nm. Ass. prof., Laval Univ., ~Quebec, from [sm1969[nm. Ed. of F. C
ouperin's [cf2]Pi;ageces de ~clavecin.[cf1][cm~Gilbert, W[fy75,1](illiam) [fy65]
[cf3]S[fy75,1](chwenk) ([cf2]b[cf1] London, [sm1836[nm; [cf2]d[cf1] ~Harrow Weal
d, [sm1911[nm). Eng. poet and playwright, ~librettist of [sm14[n
m operettas (the `Savoy Operas') with ~[fy45,1]*[fy75,1]Sullivan from [sm1871[nm
 to [sm1896[nm. Knighted [sm1907[nm.[cm~Gilels, Emil[fy75,1] ([cf2]b[cf1] Odessa
, [sm1916[nm). Soviet pianist, ~pupil of Heinrich Neuhaus. Studied in Odessa, ~d
;Aaebut there [sm1929[nm. First prize Brussels pf. compe~~tition [sm1938[nm. D;a
aebut in Paris and London [sm1954[nm, ~Philadelphia [sm1955[nm. Brilliant interp
reter of Proko~~fiev sonatas, and also of classics.[cm~Giles, Nathaniel[fy75,1]
([cf2]b [cf1]?Worcester, [cf2]c.[cf1][sm1558[nm; [cf2]d[cf1] Wind~~sor, [sm1634[
nm). Eng. composer and organist. Organist ~of Worcester Cath. [sm1581[nm=n[sm5[n
m, then of St George's, ~Windsor, from [sm1585[nm, and Chapel Royal from ~[sm159
7[nm. Comp. church mus.[cm~Gillis, Don[fy75,1] ([cf2]b[cf1] Cameron, Missouri, [
sm1912[nm; [cf2]d ~[cf1]Columbia, S. Carolina, [sm1978[nm). Amer. composer. ~Stu
died at, and later taught at, Texas Christian ~Univ. Played tb. in jazz bands. W
orked as ~composer, arranger, and trombonist, Fort Worth ~Radio,
 Texas, [sm1932[nm=n[sm5[nm. Programme dir. and ~producer NCB, NY, [sm1944[nm=n[
sm54[nm, working with ~Toscanini. His comps. are in a popular and ~traditional s
tyle, influenced by jazz, hymns, ~dances, and Sibelius, Strauss, etc. Composer o
f [sm10[nm ~syms. and Sym. No. [sm5[nm;FD (`for fun'), [sm2[nm pf. concs., [cf2]
The ~Crucifixion[cf1] (oratorio), str. qts., comic operas.[cm~Gilly, Dinh[fy75,1
] ([cf2]b[cf1] Algiers, [sm1877[nm; [cf2]d[cf1] London, [sm1940[nm). ~Fr. bar. S
tudied Paris Cons. D;Aaebut Paris [sm1899[nm, ~Paris Op;aaera [sm1902[nm=n[sm8[n
m, NY Met. [sm1909[nm=n[sm14[nm, CG [sm1911[nm. ~Settled in Eng., appearing with
 Beecham, Carl ~Rosa, and Brit. Nat. opera cos. Founded singing ~sch. in London
with wife, Edith Furmedge.[cm~Gilman, Lawrence[fy75,1] ([cf2]b[cf1] Flushing, NY
, [sm1878[nm; [cf2]d[cf1] ~Franconia, New Hampshire, [sm1939[nm). Amer. critic,
~author, and journalist. Mus. critic [cf2]Harper's Weekly[cf1] ~[sm1901[nm=n[sm1
3[nm, [cf2]NY Herald Tribune[cf1] [sm1923[nm=n[sm39[nm. Pro~~gra
mme-annotator NY Phil. Soc. and Philadelphia ~Orch. [sm1921[nm=n[sm39[nm. Author
 of books on MacDowell, ~Strauss's [cf2]Salome[cf1], Wagner, and Toscanini.[cm~G
ilson, Paul[fy75,1] ([cf2]b[cf1] Brussels, [sm1865[nm; [cf2]d[cf1] Brussels, [sm
1942[nm). ~Belg. composer and critic. Studied Brussels Cons. ~[sm1887[nm=n[sm9[n
m with Gevaert. Mus. critic [cf2]Le Soir[cf1] [sm1906[nm=n~[sm14[nm, founded [cf
2]La Revue musicale belge[cf1] [sm1924[nm. Strong ~influence on younger school o
f Belg. composers ~[sm1920[nm=n[sm40[nm. Inspector gen. of Belg. sch. mus. [sm19
08[nm=n~[sm30[nm. Comp. operas, cantatas, orch. works, and ~chamber mus.[cm~Gime
l.[fy75,1] See [cf2]Gymel[cf1].[cm~Ginastera, Alberto[fy75,1] ([cf2]b[cf1] Bueno
s Aires, [sm1916[nm; [cf2]d ~[cf1]Geneva, [sm1983[nm). Argentinian composer. Stu
died at ~Williams Cons., Buenos Aires, [sm1928[nm=n[sm35[nm, and Nat. ~Cons. [sm
1936[nm=n[sm8[nm. Ballet suite [cf2]Panambi[cf1] performed in ~Buenos Aires [sm1
937[nm. Guggenheim fellowship ~[sm1942[nm. Lived in NY [sm1945[n
m=n[sm7[nm. Returned to Argentina ~[sm1948[nm to teach and compose (though falli
ng foul ~of Peron r;Aaegime). Founded various mus. schs., ~incl. Centre for Adva
nced Mus. Studies, Buenos ~Aires, of which he became dir. [sm1962[nm=n[sm9[nm. S
ettled in ~Geneva [sm1971[nm. His mus. was in a nationalistic ~idiom up to about
 [sm1958[nm when he adopted more ~advanced procedures incl. serialism (first app
arent ~in the [sm1952[nm pf. sonata), microtones, and aleatory ~rhythms. His ope
ras have attracted wide atten~~tion. Works incl.:[xm[cm~[j2][smoperas[nm: [fy75,
2]Don Rodrigo[cf1], [sm3[nm acts (prod. Buenos Aires, ~[sm1964[nm), [cf2][fy45,1
]*[fy75,2]Bomarzo[cf1], [sm2[nm acts =+=+=+(prod. Washington ~[PN282,0,0,L,I0][s
m1967[nm, London [sm1976[nm), [cf2]Beatrix Cenci[cf1], [sm2[nm acts (prod. ~Wash
ington [sm1971[nm).[ep~[smballets[nm: [cf2]Panambi [cf1]([sm1934=n6[nm), [cf2]Es
tancia[cf1] ([sm1941[nm).[ep~[smorch[nm: Suite, [cf2]Panambi[cf1] ([sm1937[nm),
[cf2]Ollantay[cf1] ([sm1947[nm), ~[cf2]Variaciones concertantes[
cf1] ([sm1953[nm), [cf2]Pampeana No. [sm3[nm[cf1] ~([sm1954[nm), [cf2]Concerto p
er corde[cf1] ([sm1965[nm), [cf2]Estudios sinf;Aaon~~icos[cf1] ([sm1967[nm), [cf
2]Glosses sobre temes de Pau Casals ~[cf1]([sm1976[nm=n[sm8[nm), [cf2]Iubilum [c
f1]([sm1980[nm).[ep~[smconcertos[nm: pf. No. [sm1[nm ([sm1961[nm), No. [sm2[nm (
[sm1972[nm), vn. ~([sm1963[nm), harp ([sm1956[nm), vc. No. [sm1[nm ([sm1968[nm),
 No. [sm2[nm ~([sm1980[nm).[ep~[smchurch and orch[nm: Ps. [sm150[nm ([sm1938[nm)
, [cf2]Turbae ad ~Passionem Gregorianam, [cf1][sm3[nm singers, boy's ch., ch., ~
and orch. ([sm1974[nm).[ep~[smvoice and orch[nm: [cf2]Cant;Aaata para Am;Aaerica
 m;Aaagica[cf1] for ~sop. and perc. ([sm1960[nm), [cf2]Sinfonia, `Don Rodrigo'[c
f1] for ~sop. and orch. ([sm1964[nm), cantata [cf2]Bomarzo[cf1] for ~narrator, b
ar., and orch. ([sm1964[nm, distinct from ~opera of same name), [cf2]Milena[cf1]
 for sop. and orch. ~([sm1971[nm), [cf2]Serenata[cf1], vc., bar., and chamber or
ch. ~([sm1973[nm).[ep~[smchamber music[nm: Duo for fl. and ob. (
[sm1945[nm); Str. ~Qts., No. [sm1[nm ([sm1948[nm), No. [sm2[nm ([sm1958[nm), No.
 [sm3[nm ([sm1973[nm, ~with sop.); pf. sonatas, No. [sm1[nm ([sm1952[nm), No. [s
m2[nm ~([sm1981[nm), No. [sm3[nm ([sm1982[nm); pf. quintet ([sm1963[nm); [cf2]Pu
ne;Atna ~No. [sm2[nm `Hommage ;aga Paul Sacher'[cf1], vc. ([sm1976[nm); guitar ~
sonata ([sm1976[nm); vc. sonata ([sm1979[nm); [cf2]Variations and ~Toccata sopra
 [cf1]`Aurora Lucis Rutilat', org. ([sm1980[nm).[cm~[ol0][ep~[xp[te~







[do27][j99]~~~~~~[sm153842[nm_G[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmG[sm005[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm26[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm162[nm[cm~Collier[cm8[cm9.4.85[cm~3[cm~~~~[ap[j1]Gioconda
, La [fy75,1](The Joyful Girl). Opera in [sm4[nm acts ~by [fy45,1]*[fy75,1]Ponch
ielli, lib. `Tobia Gorrio' (Arrigo Boito), ~based on Hugo's [cf2]Angelo, Tyran d
e Padoue[cf1] ([sm1835[nm). ~Prod. Milan [sm1876[nm, CG and NY Met. [sm1883[nm.
Contains ~in Act [sm3[nm Sc. [sm2[nm the ballet `Dance of the Hours'.[cm~Giocoso
[fy75,1] (It.). Jocose, merry, playful. So the adverb ~[cf2]giocosamente.[cm~Gio
ia, Gioja[fy75,1] (It.). Joy. So [cf2]gioiante, gioioso[cf1]; [cf2]gioiosa~~ment
e[cf1], joyful.[cm~Gioielli della Madonna, I[fy75,1] (The Jewels of the ~Madonna
). Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Wolf-Ferrari, lib. ~Golisciani and
Zangarini. Prod. Berlin [sm1911[nm in ~version by H. Liebst;Auockl, Chicago and
CG [sm1912[nm, ~Genoa [sm1913[nm, Wexford [sm1981[nm.[cm~Giordan
i[fy75,1] (Giordano), [fy65][cf3]Giuseppe[fy75,1] ([cf2]b[cf1] Naples, [cf2]c[cf
1].[sm1753[nm; ~[cf2]d[cf1] Fermo, [sm1798[nm). It. composer popularly called ~G
iordanello. Ch.-master Fermo from [sm1791[nm. Wrote ~operas, church mus., instr.
 works, and, it is ~believed, the popular song [cf2]Caro mio ben[cf1].[cm~Giorda
ni[fy75,1] (Giordano),[fy65][cf3] Tommaso[fy75,1] ([cf2]b[cf1] Naples, ~[cf2]c[c
f1].[sm1733[nm; [cf2]d[cf1] Dublin, [sm1806[nm). It. composer and cond. ~Began c
areer as singer. Settled in London [sm1753[nm, ~active as opera impresario and c
omposer of over ~[sm50[nm operas. Comp. songs for f.p. of Sheridan's [cf2]The ~C
ritic[cf1] ([sm1779[nm). Settled in Dublin [sm1782[nm.[cm~Giordano, Umberto[fy75
,1] ([cf2]b[cf1] Foggia, [sm1867[nm; [cf2]d[cf1] Milan, ~[sm1948[nm). It. compos
er. Studied Naples Cons. First ~success [sm1892[nm in Rome with opera [cf2]Mala
vita[cf1], an ~example of the [cf2]verismo[cf1] sch. which he continued ~to expl
oit. Later successes were [cf2][fy45,1]*[fy75,2]Andrea Chenier[c
f1] ~([sm1896[nm), [fy45,1]*[fy75,2]Fedora [cf1]([sm1898[nm), and [fy45,1]*[fy75
,2]Madame Sans-G;Afene[cf1] ~([sm1915[nm).[cm~Giorno di regno, Un[fy75,1] (King
for a Day). Comic ~opera in [sm2[nm acts by Verdi to lib. by Romani orig. ~writt
en (as [cf2]Il finto Stanislao[cf1]) for Gyrowetz in [sm1818[nm. ~Comp. [sm1840[
nm. Prod. Milan [sm1840[nm, NY [sm1960[nm, London ~[sm1961[nm, Wexford [sm1981[n
m.[cm~Giovanna d'Arco[fy75,1] (Joan of Arc). Opera in [sm4[nm acts ~by Verdi, li
b. Solera based on Schiller's [cf2]Die ~Jungfrau von Orleans[cf1] ([sm1801[nm).
Comp. [sm1844=n5[nm. Prod. ~Milan [sm1845[nm, NY (concert) and London [sm1966[nm
.[cm~Giovanelli, Ruggiero[fy75,1] ([cf2]b[cf1] Velletri, Rome, [sm1560[nm; [cf2]
d[cf1] ~Rome, [sm1625[nm). It. composer. Succeeded [fy45,1]*[fy75,1]Palestrina ~
in [sm1594[nm as maestro di cappella, St Peter's, Rome. ~Member of Sistine Choir
, [sm1599[nm. Wrote madrigals, ~[sm12[nm-part Mass, and other church mus.[cm~Gio
vanni da Cascia[fy75,1] (da Firenze) (=+=+=+=+[cf2]fl. [cf1][sm1
4[nmth cent.). ~It. composer of madrigals, canzonets, etc., at ~Verona.[cm~Gipps
, Ruth[fy75,1] ([cf2]b[cf1] Bexhill-on-Sea, [sm1921[nm). Eng. ~composer, cond.,
oboist, and pianist. Studied ~RCM with Vaughan Williams, R. O. Morris, and ~Gord
on Jacob (comp.), Kendall Taylor (pf.), and ~Leon Goossens (ob.). Oboist in prof
essional orchs. ~and concert pianist until [sm1952[nm, ch.-master City of ~Birmi
ngham Choir, [sm1948[nm=n[sm50[nm; cond. London ~Repertoire Orch. from [sm1955[n
m; founder and cond. ~Chanticleer Orch. from [sm1961[nm. Prof. at RCM from ~[sm1
967[nm. M.B.E. [sm1981[nm. Comps. incl. [sm4[nm syms; concs. ~for pf., vn., vn.
and va., ob., hn., and double bn; ~cantata [cf2]Goblin Market[cf1]; tone-poem fo
r wind instrs.; ~[cf2]Magnificat[cf1]; and [cf2]The Cat[cf1] for [sm2[nm soloist
s, ch., orch.[cm~Gipsy Baron, The[fy75,1] (Strauss). See[cf2] Zigeunerbaron, ~De
r.[cm~Gipsy Princess, The [fy75,1](K;aaalm;aaan). See [cf2]Cs;aaard;aaasf;auurst
in, Die[cf1].[cm~Gipsy Songs, Seven.[fy75,1] For ten. and pf. by
 Dvo;Akr;Aaak, ~Op. [sm55[nm, to words by Heyduk, comp [sm1880[nm. [sm1[nm. [cf2
]My ~Song Resounds[cf1]. [sm2[nm. [cf2]My Triangle is Singing[cf1]. [sm3[nm. [cf
2]Silent ~the Woods[cf1]. [sm4[nm. [cf2]Songs my Mother Taught me[cf1]. [sm5[nm.
[cf2] Sound ~the Fiddle[cf1]. [sm6[nm. [cf2]Clean Cotton Clothes[cf1]. [sm7[nm.
[cf2]To the Heights ~of Tatra[cf1].[cm~Girl I left behind me, The.[fy75,1] The w
ords can be ~traced back to the end of the [sm18[nmth cent.; so can ~the tune, s
ometimes known as [cf2]Brighton Camp[cf1]. It ~is played in the Brit. Army on oc
casions of ~departure.[cm~Girl of the Golden West, The[fy75,1] (Puccini). See ~[
cf2]Fanciulla del West[cf1], [cf2]La[cf1].[cm~Gis[fy75,1] (Ger.). G;Yi. [cf2]Gis
is[cf1], G;Yi;Yi.[cm~Giselle, ou Les Wilis[fy75,1] (Giselle, or the Wilis). ~`Fa
ntastic ballet' in [sm2[nm acts, mus. [fy45,1]*[fy75,1]Adam, choreog. ~Coralli a
nd Perrot, f.p. Paris [sm1841[nm. Lib. based on ~legend recounted by Heine. Carl
otta Grisi danced ~first Giselle. F.p. London, Vienna, St Peters
burg ~[sm1842[nm. Modern prods. are based on Petipa's last St ~[PN283,0,0,R,I0]P
etersburg prod. of [sm1884[nm. The Wilis are the ghosts ~of girls who die before
 their intended marriages.[cm~Gitano, gitana[fy75,1] (Sp.). Gipsy.[cm~Gitlis, Iv
ry[fy75,1] ([cf2]b[cf1] Haifa, [sm1922[nm). Israeli violinist. Gave ~first publi
c concert at age of [sm8[nm. Studied ;aaEcole ~Normale de Paris [sm1932=n5[nm, t
hen with Enescu, ~Flesch, and Thibaud. D;aaebut with Brit. orchs. after ~Second
World War. Won Thibaud Prize [sm1951[nm. ~D;aaebut with Israel P.O. [sm1952[nm.
Settled in Paris. ~Noted for playing of contemporary mus.[cm~Gittern. [fy75,1]Me
dieval forerunner of guitar, heyday ~being [sm14[nmth cent.[cm~Gi;agu[fy75,1] (I
t.). Down, e.g. [cf2]arcata in gi;Agu[cf1], `down-bowed'.[cm~Giuditta.[fy75,1] O
pera in [sm3[nm acts by [fy45,1]*[fy75,1]Leh;Aaar, lib. Knepler ~and L;auohner.
Prod. Vienna [sm1934[nm, with [fy45,1]*[fy75,1]Tauber. ~Leh;aaar's only opera.[c
m~Giuliani, Mauro[fy75,1] ([cf2]b[cf1] Bisceglie, [sm1781[nm; [c
f2]d[cf1] Naples, ~[sm1829[nm). It. guitar virtuoso. Self-taught. Lived in ~Vien
na [sm1806[nm=n[sm19[nm, during which time he knew ~Beethoven. Toured Russ. and
Eng. before settling ~in Naples. Comp. over [sm200[nm works for guitar.[cm~Giuli
ni, Carlo Maria[fy75,1] ([cf2]b[cf1] Barletta, [sm1914[nm). It. cond. ~Studied A
ccademia di Santa Cecilia, Rome. Mus. ~dir. It. Radio [sm1946[nm=n[sm51[nm. Oper
a d;aaebut Bergamo ~[sm1950[nm ([cf2]La traviata[cf1]). Scala, Milan, [sm1951[nm
=n[sm6[nm. Brit. ~d;aaebut [sm1955[nm at Edinburgh Fest. when he cond. the ~Glyn
debourne Co. in Verdi's [cf2]Falstaff. [cf1]Later cond. ~many London concerts wi
th Philharmonia Orch. ~(memorable perfs. of Verdi [cf2]Requiem[cf1]) and was ~gu
est cond. Hall;aae Orch. [sm1968[nm. CG [sm1958[nm=n[sm67[nm (incl. ~celebrated
[cf2]Don Carlos [cf1][sm1958[nm) and [sm1982[nm ([cf2]Falstaff[cf1]). ~Joint con
d. Chicago S.O. (with [fy45,1]*[fy75,1]Solti) [sm1969[nm=n[sm72[nm. ~Cond. Los A
ngeles P.O. [sm1978[nm=n[sm84[nm.[cm~Giulio Cesare[fy75,1] (Juli
us Caesar). ([sm1[nm) Opera in [sm3[nm acts ~by Handel, lib. N.F. Haym. Prod. Lo
ndon [sm1724[nm, ~Northampton, Mass., [sm1927[nm.[ep~^([sm2[nm) Opera in [sm3[nm
 acts by [fy45,1]*[fy75,1]Malipiero, lib. composer, ~based on Shakespeare's play
. Prod. Genoa [sm1936[nm.[ep~^([sm3[nm) Other operas on this subject by Cavalli,
 ~Sartorio, Freschi, Keiser, and others.[cm~Giustamente[fy75,1] (It.). With exac
titude i.e. unvarying ~speed and rhythm.[cm~Giustiniana.[fy75,1] Type of love so
ng popular in [sm15[nmth ~and [sm16[nmth cents. named after poet Leonardo ~Giust
iniani ([cf2]c[cf1].[sm1385[nm=n[sm1446[nm).[cm~Giusto[fy75,1] (It.). Just, stri
ct. [cf2]Allegro giusto[cf1] means either ~a strict allegro or a moderate allegr
o (neither too ~fast nor too slow). [cf2]Tempo giusto[cf1] means either ~`strict
' time or `suitable' time.[cm~Glagolitic Mass[fy75,1] ([cf2]M'sa Glagolskaja[cf1
]). Mass for sop., ~cont., ten., bass, ch., and orch. by Jan;Aaa;Akcek, comp. ~[
sm1926[nm, f.p. Brno [sm1927[nm, Norwich [sm1930[nm. Text adapte
d ~from Ordinary of the Mass by Milo;Aks Weingant. ~Movements entitled: Kyrie ([
cf2]Gospodi pomiluj[cf1]); ~Gloria ([cf2]Slava[cf1]); Credo ([cf2]V;Akeruju[cf1]
); Sanctus ([cf2]Svet[cf1]); ~Agnus Dei ([cf2]Agne;Akce Bo;Akzij[cf1]). Vernacul
ar version of ~Ordinary was taken by Jan;Aaa;Akcek from church ~magazine. He mis
takenly called Old Slavonic ~language of time of St Cyril and St Methodius ~([sm
9[nmth cent.) `glagolitic', which properly refers only ~to Old Slavonic script a
nd alphabet. Mus. contains ~important org. part.[cm~Glanville-Hicks, Peggy[fy75,
1] ([cf2]b[cf1] Melbourne, Victoria, ~[sm1912[nm). Australian-born composer (Ame
r. citizen ~[sm1948[nm). Comp. lessons at [sm15[nm from Fritz Hart. ~Studied Mel
ba Cons. [sm1929[nm=n[sm31[nm and RCM (comp. ~with Vaughan Williams, pf. with A.
 Benjamin ~and C. Lambert). Later studied with Wellesz in ~Vienna and Boulanger
in Paris. Lived in NY ~[sm1942[nm=n[sm59[nm, organizing concerts of modern mus.
~and working as critic of [cf2]NY Herald Tribune [cf1][sm1948[nm
=n~[sm58[nm. Went to live in Greece [sm1959[nm. Her mus. ~combines serialism wit
h the use of oriental and ~ancient modes. Comps. incl.:[xm[cm~[j2][smoperas[nm:
[fy75,2]Caedmon[cf1]; [cf2]The Transposed Heads[cf1] (after T. ~Mann); [cf2]Naus
icaa[cf1] (lib. R. Graves and A. Reid; ~prod. Athens [sm1961[nm).[ep~[smballets[
nm: [cf2]Saul and the Witch of Endor[cf1]; [cf2]Tragic ~Celebration[cf1]; [cf2]A
 Season in Hell[cf1]; [cf2]Postman's Knock[cf1]; [cf2]The ~Masque of the Wild Ma
n[cf1].[ep~[smorch[nm: Sinfoniettas Nos. [sm1[nm and [sm2[nm, [cf2]Spanish Suite
[cf1], ~[cf2]Sinfonia Pacifica[cf1], [cf2]Gymnop;Aaedies [sm1[nm=n[sm3[nm[cf1],
[cf2]Etruscan Con~~certo[cf1] for pf. and chamber orch., [cf2]Concerto ~romantic
o[cf1] for va. and orch., fl. conc.[ep~[smchamber music[nm: Sonata for pf. and [
sm5[nm percussionists, ~harp sonata, [cf2]Concertino da camera[cf1] for fl., cl.
, bn., ~pf., str. qt. [cf2]Letters from Morocco[cf1] for ten. and ~chamber orch.
, [cf2]Concertino antico[cf1] for harp and str. ~qt.[ep~Also son
gs and film mus.[cm~[j1]Glasenapp, Carl [fy75,1](Friedrich) ([cf2]b[cf1] Riga, [
sm1847[nm; [cf2]d[cf1]|Riga, ~[sm1915[nm). Ger.-Russ. teacher and writer. [chAut
hority ~on Wagner. Wrote [sm2[nm-vol. life and works of ~Wagner [sm1876[nm=n[sm7
[nm, rewritten in [sm6[nm vols. ([sm1894[nm=n[sm1911[nm, ~Eng. trans. by Ashton
Ellis); also ed. Bayreuth ~letters and archives for publication.[cm~Glass Dulcim
er.[fy75,1] Strips of glass struck with ~hammers. Occasionally provided with mec
ha~~nism and kbd.[cm~Glass Armonica[fy75,1] (Ger. Glasharmonika). Obsolete ~mus.
 instr., also known as `musical glasses', ~comprising either (a) drinking glasse
s filled with ~water to different heights in order to leave a ~larger or smaller
 area of glass free to vibrate, and ~so to produce different notes; or (b) glass
 basins, ~graduated in size, fixed to a spindle revolved by ~pedal mechanism, th
e bottoms of the basins ~running in a trough of water, so as to be kept ~permane
ntly damp. Sound is produced by rub~~bing the rims of the glasse
s with a wet finger. ~Gluck performed in London on the first type, ~Mozart on th
e second, for which he and Beethoven ~wrote mus. Donizetti wrote a part for glas
s ~harmonica in Lucia's Mad Scene in [cf2]Lucia di ~Lammermoor[cf1], the alterna
tive being fl.; and R. ~Strauss used it in his opera [cf2]Die Frau ohne Schatten
[cf1]. ~George [fy45,1]*[fy75,1]Crumb revived the instr. in last move~~[PN284,0,
0,L,I0]ment of his [cf2]Black Angels[cf1] for electric str. qt. Bruno ~Hoffmann
is the [sm20[nmth cent. virtuoso of the instr.[cm~Glass, Philip [fy75,1]([cf2]b
[cf1]Baltimore, [sm1937[nm). Amer. com~~poser. Studied fl. at Peabody Cons. at a
ge of [sm8[nm. ~Studied mathematics and philosophy, Univ. of ~Chicago. At Juilli
ard Sch. [sm1958[nm=n[sm62[nm, then in Paris ~with N. Boulanger [sm1964[nm=n[sm6
[nm. Working on a film in ~Paris with Ravi Shankar awakened interest in ~non-Wes
tern mus. Under this influence, divised ~a style whereby within a strong diatoni
c frame~~work, his work was based on [sm5[nm or [sm6[nm notes wi
th no ~harmonic change but powerful rhythmical stea~~diness. This produced a mus
. similar to that of ~Steve Reich and Terry Riley although he did not ~then know
 their work. The result has been called ~[fy45,1]*[fy75,1]`minimalist' music, be
cause there was maxi~~mum repetition of a minimum amount of ~material. In [sm196
8[nm founded Philip Glass Ensemble, ~comprising keyboards (incl. elec. org.) and
 wind ~instr. His works incl. the operas [cf2]Einstein on the ~Beach [cf1](Avign
on, [sm1976[nm), [cf2]Satyagraha [cf1](Rotterdam, ~[sm1980[nm), [cf2]The Photogr
apher [cf1](Amsterdam, [sm1982[nm), and [cf2]Akhnaten [cf1](Stuttgart ~[sm1984[n
m, NY [sm1984[nm, London [sm1985[nm), the film score [cf2]Koyaanisqatsi [cf1]([s
m1982[nm); and ~instr. works, [cf2]Strung Out[cf1], amplified vn. ([sm1967[nm),
~[cf2]Music in Similar Motion [cf1]([sm1969[nm), [cf2]Music with Changing ~Parts
 [cf1]([sm1970[nm), [cf2]Music in [sm12[nm Parts [cf1]([sm1971[nm=n[sm4[nm), [cf
2]Another ~Look at Harmony [cf1]([sm1974[nm).[cm~Glazunov, Alexa
nder [fy75,1](Konstantinovich) ([cf2]b[cf1] St ~Petersburg, [sm1865[nm; [cf2]d[c
f1] Paris, [sm1936[nm). Russ. composer. ~Pupil of Rimsky-Korsakov [sm1880[nm=n[s
m1[nm. Balakirev ~cond. his first sym. in [sm1882[nm, the work being ~hailed as
a precocious masterpiece. Glazunov later ~met Liszt at Weimar and was influenced
 by his ~and Wagner's mus. Became dir. of St Petersburg ~Cons. [sm1905[nm after
which his comps. became fewer. ~Left Russia [sm1928[nm, visited USA [sm1929[nm,
then lived in ~Paris. Cosmopolitan rather than nationalist in ~mus. style. Works
 incl.:[xm[cm~[j2][smballets[nm: [fy75,2]Raymonda[cf1] ([sm1896[nm=n[sm7[nm), [c
f2]The [fy45,1]*[fy75,2]Seasons[cf1] ([sm1899[nm).[ep~[smorch[nm: Syms. No. [sm1
[nm ([sm1881[nm), No. [sm2[nm ([sm1886[nm), No. [sm3[nm ~([sm1892[nm), No. [sm4[
nm ([sm1893[nm), No. [sm5[nm ([sm1895[nm), No. [sm6[nm ([sm1896[nm), ~No. [sm7[n
m ([sm1902[nm), No. [sm8[nm ([sm1907[nm), No. [sm9[nm (unfinished ~[sm1909[nm, p
erf. Moscow [sm1948[nm); [cf2]Suite caract;Aaeristique[cf1] ~([s
m1887[nm), [cf2]Stenka Razin[cf1] ([sm1885[nm), [cf2]The Sea[cf1] ([sm1890[nm),
~[cf2]Carneval[cf1] ov. ([sm1894[nm), [cf2]Chopiniana[cf1] ([sm1895[nm), [cf2]Sc
;Agenes de ~ballet[cf1] ([sm1895[nm), vn. conc. ([sm1904[nm), pf. conc. No. [sm1
[nm ~([sm1911[nm), No. [sm2[nm ([sm1917[nm), Sax. conc. ([sm1934[nm).[ep~[smcham
ber music[nm: [sm7[nm str. qts., str. quintet.[ep~Also pf. pieces and songs.[cm~
[j1]Glee.[fy75,1] A choral comp. in a number of short self-~contained sections,
each expressing the mood of ~some particular passage of the poem set, the mus. ~
predominantly harmonic (i.e. in blocks of chords), ~rather than contrapuntal. Pr
operly it is for solo ~male vv. (unacc.). It flourished [cf2]c[cf1].[sm1750[nm=n
[cf2]c[cf1].[sm1830[nm, ~during which time a remarkable series of able ~composer
s, such as Samuel Webbe, made lavish ~contributions to the repertory, but subseq
uently ~gave way gradually to the [fy45,1]*[fy75,1]part-song. It is a ~purely En
g. form, and was much fostered by the ~popularity of glee clubs.
 (In USA this name has ~been applied to univ. mus. clubs with more ~general aims
.)[cm~Gli, glie[fy75,1] (It.). `The' (plural).[cm~Gli;Agere, Reinhold [fy75,1](M
oritsovich) ([cf2]b[cf1] Kiev, [sm1875[nm; [cf2]d[cf1] ~Moscow, [sm1956[nm). Rus
s. composer and cond. Studied ~Kiev [sm1891[nm=n[sm4[nm, Moscow Cons. [sm1894[nm
=n[sm1900[nm (comp. ~with Arensky, Taneyev, and Ippolitov-Ivanov). ~Later studie
d in Berlin, [sm1905[nm=n[sm7[nm. Dir. and prof. of ~comp., Kiev Cons. [sm1913[n
m=n[sm20[nm, then taught at ~Moscow Cons. His ballet [cf2]The Red Poppy[cf1] was
 one ~of first `social realism' works of Soviet r;Aaegime. ~The conservative-nat
ionalist nature of his idiom ~was much to liking of official party arbiters of ~
taste. Works included [sm3[nm syms., [sm4[nm str. qts., [cf2]March ~of the Red A
rmy[cf1] for wind instrs. ([sm1924[nm), operas ~[cf2]Shakh Senem[cf1] ([sm1923[n
m=n[sm5[nm) and [cf2]Rachel[cf1] ([sm1943[nm), ballets ~[cf2]The Red Poppy[cf1]
([sm1926[nm=n[sm7[nm, rev. [sm1949[nm) and [cf2]The Bronze ~Hors
eman[cf1] ([sm1948[nm=n[sm9[nm), harp conc. ([sm1938[nm), vc. conc. ~([sm1945[nm
=n[sm6[nm), and [sm123[nm songs, [sm175[nm pf. pieces, and ~much chamber mus.[cm
~Glinka, Mikhail [fy75,1](Ivanovich) ([cf2]b[cf1] Novospasskoye, ~Smolensk, [sm1
804[nm; [cf2]d[cf1] Berlin, [sm1857[nm). Russ. composer, ~regarded as founder of
 nat. sch. and the first Russ. ~composer to be accepted outside Russia. Son of ~
wealthy landowner. During general education in ~St Petersburg from [sm1817[nm ha
d pf. lessons from ~John [fy45,1]*[fy75,1]Field. Also studied vn. and harmony. ~
Worked in Ministry of Communications [sm1824[nm=n[sm8[nm ~but gave recitals as a
mateur singer. In [sm1828[nm began ~serious study of comp. with Zamboni. Went to
 ~Milan [sm1830[nm where homesickness led him to ~contemplate writing a truly na
t. opera, then to ~Vienna and Berlin [sm1833[nm, studying comp. with ~Siegfried
Dehn. Returned to St Petersburg to ~compose opera [cf2]A Life for the Tsar[cf1],
 successfully ~prod. [sm1836[nm. Appointed Kapellmeister, Imperi
al ~Chapel [sm1837[nm. His second opera [cf2]Ruslan and ~Lyudmila[cf1] was prod.
 [sm1842[nm. In [sm1844[nm visited Paris, ~meeting Berlioz, travelling on to Sp.
 where the ~folk-dance rhythms fascinated him. Returned to ~Russ. [sm1847[nm, bu
t made several more foreign ~journeys. Works incl.:[xm[cm~[j2][smoperas[nm: [fy7
5,2]A [fy45,1]*[fy75,2]Life for the Tsar[cf1] ([fy45,1]*[fy75,2]Ivan Susanin[cf1
]) ([sm1834[nm=n~[sm6[nm); [fy45,1]*[fy75,2]Ruslan and Lyudmila[cf1] ([sm1837[nm
=n[sm42[nm).[ep~[smorch[nm: [cf2]Jota aragonesa[cf1]; [cf2][fy45,1]*[fy75,2]Kama
rinskaya[cf1]; [cf2]Night in ~Madrid[cf1]; [cf2]Valse fantaisie[cf1].[ep~[smcham
ber music[nm: Str. qt. ([sm1830[nm); Sextet for pf. and ~strs. ([sm1832[nm); [cf
2]Trio path;aaetique[cf1], pf., cl., bn. ([sm1832[nm).[ep~Also pf. and vocal wor
ks.[cm~[el4][j1]Glissando[fy75,1] (bastard It. from Fr. [cf2]glisser[cf1], to sl
ide). ([sm1[nm ~pf., harp, xylophone, vibraphone, etc.) The ~drawing of a finger
 down or up a series of adjacent ~notes.[ep~^([sm2[nm, bowed ins
ts.) Passing all or part of the way ~from one note to another on the same str.,
in ~much the same way as above and with much the ~same effect=mwith the differen
ce that the pitches ~passed through, instead of representing the fixed ~tones an
d semitones of a scale, are infinite in ~[PN285,0,0,R,I0]number. Tb. can also pe
rform a satisfactory ~glissando.[cm~Globokar, Vinko [fy75,1]([cf2]b[cf1] Anderny
, Fr., [sm1934[nm). Fr.-~born Yugoslav trombonist and composer. Studied ~Ljublja
na Cons. [sm1949[nm=n[sm54[nm (tb. with Karas), Paris ~Cons. [sm1955[nm=n[sm9[nm
 (tb. with Lafosse and Masson), and ~comp. with Leibowitz, [sm1959[nm=n[sm63[nm,
 and Berio, [sm1965[nm. ~Prof. of tb. at Cologne Musikhochschule from ~[sm1968[n
m. By remarkable virtuosity extended range ~of tb. into [cf2]avant-garde[cf1] mu
s., making the instr., as ~has been said, not only talk but sing, scream, ~weep,
 and laugh. Prin. works:[xm[cm~[j2][smorch[nm: [fy75,2]Plan[cf1], [sm5[nm instr.
 ([sm1965[nm); [cf2]Fluide[cf1], [sm12[nm instr. ([sm1967[nm); ~
[cf2];aaEtude pour Folklora[cf1] I, [sm19[nm soloists ([sm1968[nm), II, full ~or
ch. ([sm1968[nm); [cf2]La Ronde [cf1]([sm1970[nm); [cf2]Ausstrahlungen[cf1], ~so
loists and [sm20[nm players ([sm1971[nm); [cf2]Laboratorium[cf1], ens. ~([sm1973
[nm); [cf2]Material zur Diskussion eines historischen ~Instr., [cf1]orch. ([sm19
74[nm).[ep[smchoral[nm: [cf2]Voie[cf1], narrator, ch., and orch. ([sm1965[nm=n[s
m6[nm); ~[cf2]Traumdeutung[cf1], [sm4[nm ch. and instr. ([sm1967[nm); Concerto ~
grosso, [sm5[nm solo instr., [sm23[nm orch. players, and ch. ~([sm1969[nm=n[sm70
[nm).[ep~[smvoice & instr[nm: [cf2]Accord[cf1], sop. and [sm5[nm instr. ([sm1966
[nm); ~[cf2]Airs de voyages vers l'int;aaerieur[cf1], [sm8[nm vv., [sm2[nm instr
., elec. ~([sm1972[nm); [cf2]Carrousel[cf1], [sm4[nm vv., [sm16[nm instr. ([sm19
77[nm).[ep~[sminstr:[nm [cf2]Discours I=nVI[cf1], for various instr. ([sm1967=n8
2[nm); [cf2]Correspondences[cf1], [sm4[nm instr. ~([sm1969[nm); [cf2]Drama[cf1],
 pf., perc. ([sm1971[nm); [cf2]Atemstudie[cf1], ob. ~([sm1972[nm
); [cf2]Notes[cf1], pf. ([sm1972[nm); [cf2]Limites[cf1], vn., va., ([sm1973[nm);
 ~[cf2]Voix instrumentalis;aaee[cf1], cl. ([sm1973[nm); [cf2]Toucher[cf1], perc.
 ~([sm1973[nm); [cf2]D;aaedoublement[cf1], cl. ([sm1975[nm).[cm~[j1]Glock,[fy75,
1] (Sir)[fy65][cf3] William [fy75,1](Frederick)[cf1] ([cf2]b[cf1] London, ~[sm19
08[nm). Eng. critic, administrator, and pianist. ~Organ scholar Gonville and Cai
us Coll., Cam~~bridge, [sm1919[nm=n[sm26[nm. Studied pf. with[fy45,1]*[fy75,1]Sc
hnabel in ~Berlin, [sm1930[nm=n[sm3[nm. Mus. critic [cf2]Daily Telegraph[cf1] [s
m1934[nm, ~[cf2]Observer[cf1] [sm1934[nm=n[sm45[nm, [cf2]New Statesman[cf1] [sm1
958[nm=n[sm9[nm. Dir., ~summer sch. of mus., Bryanston, [sm1948[nm=n[sm52[nm, ~D
artington Hall [sm1953[nm=n[sm79[nm. Founder and ed. [cf2]The ~Score[cf1] [sm194
9[nm=n[sm61[nm. Controller of mus. BBC [sm1959[nm=n[sm72[nm, ~achieving catholic
 expansion of repertory, bring~~ing Boulez to conduct BBC S.O., and extending ~s
cope and range of Henry Wood Promenade ~Concerts. Chairman, Brit
ish section ISCM [sm1954[nm=n~[sm8[nm. Artistic dir., Bath Fest. [sm1976=n84[nm.
 C.B.E. [sm1964[nm. ~Knighted [sm1970[nm.[cm~Glocke(n)[fy75,1] (Ger.). Bell(s).
In orch. scores means ~tubular bells.[cm~Glockenspiel[fy75,1] (Ger.). Play of be
lls. Perc. instr. of ~tuned metal bars, with compass of [sm2[nm to [sm3[nm ~chro
matic octaves, emitting brittle bell-like sound ~when played with kbd. or (more
commonly) by ~small hand-held hammers. Orch. glockenspiel is ~played in horizont
al position; in military bands ~it is carried vertically, bars being mounted in
~lyre-shaped frame (hence alternative name bell-~lyra). First used [sm1739[nm by
 Handel in [cf2]Saul [cf1](where ~he called it a carillon) and later by Mozart i
n [cf2]Die ~Zauberfl;auote [cf1]([sm1791[nm). K. Salomon wrote glockenspiel ~con
c., [sm1948[nm.[cm~Gloria in Excelsis Deo[fy75,1] (Lat.). `Glory to God in ~the
highest'. The `Doxologia Magna' (see [cf2]Doxolo~~gia[cf1]), an amplification of
 the song of the angels ~announcing the birth of Christ. It occu
rs in the ~Roman Mass and in the Communion Service of ~the Anglican Church.[cm~G
loriana.[fy75,1] Opera in [sm3[nm acts, Op. [sm53[nm, by Britten, lib. ~W. Plome
r after L. Strachey's [cf2]Elizabeth and Essex[cf1]. ~Commissioned by CG for cor
onation of Elizabeth ~II, who attended f.p. at CG on [sm8[nm June [sm1953[nm, [s
m6[nm days ~after her coronation. Cincinnati (concert) [sm1956[nm, f. ~Amer. sta
ge p. San Antonio [sm1984[nm (ENO tour).[cm~Glossop, Peter[fy75,1] ([cf2]b[cf1]
Sheffield, [sm1928[nm). Eng. bar. ~Opera d;aaebut SW, [sm1952[nm, in ch. Member
SW Opera, ~[sm1952[nm=n[sm62[nm, CG [sm1962[nm=n[sm5[nm, thereafter guest singer
 at ~leading opera houses. Won int. competition for ~young singers, Sofia, [sm19
61[nm; Verdi gold medal, ~Parma, [sm1964[nm. CG d;Aaebut [sm1962[nm, Milan [sm19
65[nm, NY ~Met. [sm1967[nm, Vienna [sm1968[nm.[cm~Glotte, Coup de.[fy75,1] See [
cf2]Coup de glotte.[cm~Glover, Jane [fy75,1](Alison) ([cf2]b[cf1] Helmsley, York
s., [sm1949[nm). ~Eng. cond. and musicologist. Studied Oxford ~U
niv. At Wolfson Coll., Oxford, from [sm1975[nm. Has ~ed. and cond. operas by Cav
alli and Monteverdi. ~Art. dir., London Mozart Players from [sm1984[nm. ~Chorusm
aster, Glyndebourne from [sm1980[nm. Prof. ~cond. d;aaebut Wexford [sm1975[nm (C
avalli's [cf2]Eritrea[cf1]). ~Cond. Britten's [cf2]A Midsummer Night's Dream[cf1
], ~Glyndebourne Touring Opera [sm1981[nm, Mozart's [cf2]Don ~Giovanni [cf1]at G
lyndebourne [sm1982[nm. Mus. dir.,[fjGlyndebourne Touring Opera from [sm1982[nm.
[cm~Gluck, Alma [fy75,1](orig. Fiersohn, Reba) ([cf2]b [cf1]Bucharest, ~[sm1884[
nm; [cf2]d [cf1]NY, [sm1938[nm). Amer. soprano of Romanian ~birth. Studied singi
ng in NY after marriage. ~Opera d;aaebut with Met. company in [sm1909[nm (Sophie
 ~in [cf2]Werther[cf1]). Member of Met. company [sm1909[nm=n[sm12[nm. ~Studied w
ith Sembrich in Berlin and from [sm1913[nm ~appeared mainly as concert singer. N
oted for ~purity of vocal tone. Her second husband was the ~violinist Efrem Zimb
alist (married [sm1914[nm).[cm~Gluck, Christoph Willibald von[fy
75,1] ([cf2]b[cf1] Erasbach, ~[sm1714[nm; [cf2]d[cf1] Vienna, [sm1787[nm). Ger.
composer. Went to ~Prague Univ. in [sm1732[nm to study mus. and ~philosophy, als
o learning vc. In [sm1736[nm travelled to ~Vienna under protection of Prince Lob
kowitz. ~Joined private orch. of Prince Melzi, with whom ~he went to Milan [sm17
37[nm. There he studied with ~[fy45,1]*[fy75,1]Sammartini and wrote his first op
era [cf2]Artaserse[cf1], ~[sm1741[nm, [sm7[nm more following up to [sm1744[nm. T
ravelled ~with Prince Lobkowitz to London [sm1745[nm, compos~~ing [sm2[nm operas
 prod. [sm1746[nm, meeting Handel, and ~giving [sm2[nm concerts as performer on
[fy45,1]*[fy75,1]glass armonica. ~After [sm1746[nm travelled in Austria and Denm
ark and ~again visited Prague and Naples. In [sm1754[nm Empress ~Maria Theresa a
ppointed him opera Kapellmeis~~ter to court th. in Vienna, a post which required
 ~him to compose in the more lively and flexible ~[PN286,0,0,L,I0]style of the f
ashionable Fr. op;Aaeras comiques. ~During [sm1755[nm=n[sm61[nm
he was closely assoc. with ~Durazzo (court th. Intendant), Quaglio (scene-~paint
er), Angiolini (dancer), and the poet Calza~~bigi, with whom he evolved his oper
atic `reforms' ~in which the singers' claims were subjugated to ~those of the dr
ama, with [cf2]recitativo accompagnato[cf1] ~ousting the more formal [cf2]secco[
cf1] recit. His ballet ~[cf2]Don Juan[cf1] ([sm1761[nm) and opera [cf2]Orfeo[cf1
] ([sm1762[nm) embodied ~these principles which reached full expression in ~[cf2
]Alceste[cf1] ([sm1767[nm), an anticipation of Wagner's music-~drama. Gluck set
forth his operatic creed in the ~preface to [cf2]Alceste[cf1].[ep~^He resigned h
is Vienna court post in [sm1770[nm and ~in [sm1773[nm went to Paris, having been
 contracted to ~compose [cf2]Iphig;aaenie en Aulide[cf1] for the Op;Aaera. Its ~
prod. in [sm1774[nm was followed by a slightly rev. Fr. ~version of [cf2]Orfeo[c
f1] and [sm2[nm years later of [cf2]Alceste[cf1].Jealousy ~of Gluck's success in
 Paris led to an engineered ~quarrel with the It. composer [fy45
,1]*[fy75,1]Piccinni, who was ~asked to set the same lib. on which Gluck was ~kn
own to be working. Gluck destroyed his ~sketches but composed [cf2]Armide[cf1] (
[sm1777[nm), followed ~by [cf2]Iphig;aaenie en Tauride[cf1] ([sm1778[nm). In [sm
1779[nm he returned ~to Vienna and retired, living in a grand manner ~and dying
after defying his doctor by drinking a ~post-prandial liqueur. The simplicity an
d sublim~~ity of Gluck's melodies, supported by a vivid ~dramatic sense, have en
sured the survival of a ~large proportion of his mus. Works incl.:[xm[cm~[j2][sm
operas[nm: [fy75,2]Artaserse[cf1] (Milan [sm1741[nm), [cf2]La caduta dei ~gigant
i[cf1] and [cf2]Artemene[cf1] (London [sm1746[nm), [cf2]La Semiram~~ide riconosc
iuta[cf1] (Vienna [sm1748[nm), [cf2]La contesa dei Numi[cf1] ~(Copenhagen [sm174
9[nm), [cf2]La clemenza di Tito[cf1] (Naples ~[sm1752[nm), [cf2]Le [fy45,1]*[fy7
5,2]Cinesi [cf1]([sm1754[nm), [cf2]La danza[cf1] (Vienna [sm1755[nm), ~[cf2]Il r
;Age pastore[cf1] (Vienna [sm1756[nm), [fy45,1]*[fy75,2]Orfeo ed
 Euridice[cf1] ~(Vienna [sm1762[nm), [cf2]Telemaco[cf1] (Vienna [sm1765[nm), [fy
45,1]*[fy75,2]Paride ~ed Elena[cf1] (Vienna [sm1770[nm), [fy45,1]*[fy75,2]Iphig;
Aaenie en Aulide[cf1] (Paris ~[sm1774[nm), [cf2]Orph;Aaee[cf1] (Paris [sm1774[nm
), [fy45,1]*[fy75,2]Alceste [cf1](Vienna ~[sm1767[nm, Paris [sm1776[nm), [fy45,1
]*[fy75,2]Armide[cf1] (Paris [sm1777[nm), [fy45,1]*[fy75,2]Iphi~~g;Aaenie en Tau
ride[cf1] (Paris [sm1778[nm), [cf2]Echo et Narcisse[cf1] ~(Paris [sm1779[nm).[ep
~[cf5]OP;aaERAS COMIQUES[cf1]: [cf2]L';AfIle de Merlin[cf1] and [cf2]La Fausse ~
Esclave[cf1] (Vienna [sm1758[nm), [cf2]La Cyth;agere assi;aaeg;aaee[cf1] ~(Schwe
tzingen [sm1759[nm), [cf2]L'Arbre enchant;Aae[cf1] (Vienna ~[sm1759[nm), [cf2]La
 Rencontre impr;aaevue[cf1] (Vienna [sm1764[nm).[ep~[smballets[nm: [fy45,1]*[fy7
5,2]Don Juan[cf1] (Vienna [sm1761[nm), [cf2]Semiramide[cf1] ~(Vienna [sm1765[nm)
.[ep~[smmisc[nm: [cf2]De Profundis[cf1] (ch.), [sm6[nm sonatas a tre (London ~[s
m1746[nm), [sm9[nm syms. (Vienna [sm1753[nm).[cm~[ol0][ep~[xp[te
~












[do27][j99]~~~~~~[sm153842[nm_G[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmG[sm006[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm26[nm/[sm9[nm/[s
m79[nm[cm[sm19[nm[cm[sm216[nm[cm~[sm27[nm|Barnard[cm[sm4[nm[cm[sm3.8.84[nm[cm~U[
sm2[nm[cm~~~~[ap[j1]Gl;auuckliche Hand, Die[fy75,1] (lit. The Blessed Hand; ~The
 Knack). Drama with mus. in [sm1[nm act by ~Schoenberg, Op. [sm18[nm, lib. compo
ser. Comp. [sm1910[nm=n~[sm13[nm. Prod. Vienna [sm1924[nm, Philadelphia and NY M
et. ~[sm1930[nm, London [sm1962[nm (concert perf.). Contains ~mimed parts for ma
n and woman. Use of coloured ~lights also has fundamental importance.[cm~Glyndeb
ourne.[fy75,1] House and estate near Lewes, ~Sussex, in grounds of which the own
er, John ~[fy45,1]*[fy75,1]Christie, built opera house with (as it was ~thought)
 eccentric idea of staging ideal perfs. of ~opera in beautiful setting. Inspirat
ion for enter~~prise was Christie's wife, the soprano Audrey ~[fy45,1]*[fy75,1]M
ildmay. First Glyndebourne Fest. began on [sm28[nm ~May [sm1934[
nm with Mozart's [cf2]Le nozze di Figaro[cf1], ~followed the next evening by [cf
2]Cos;Agi fan tutte[cf1]. Fritz ~Busch was the cond. with Carl [fy45,1]*[fy75,1]
Ebert as producer ~and, later, Rudolf [fy45,1]*[fy75,1]Bing as administrator, a
team ~which set new standards for Brit. opera. In [sm1939[nm ~the th. was enlarg
ed to seat [sm600[nm instead of [sm300[nm; ~today over [sm800[nm can be accommod
ated. While ~mus. considerations have always been paramount, ~Glyndebourne has a
lso always had a special ~significance because of the beauty of the gardens. ~Th
e tradition of a long dinner interval, during ~which visitors can picnic in the
grounds or dine ~in the restaurant, is a big social attraction, so that ~what be
gan as a risky venture lasting a few days ~is now a fully booked-up annual seaso
n extending ~from May to early August.[ep~^After the war Glyndebourne re-opened
in [sm1946[nm ~with Britten's [fy45,1]*[fy75,2][cf2]Rape of Lucretia[cf1]. There
 were no ~perfs. in [sm1948[nm and [sm1949[nm but Glyndebourne ~
presented operas at the [fy45,1]*[fy75,1]Edinburgh Fest. from ~[sm1947[nm to [sm
1951[nm. On Busch's death in [sm1951[nm, Vittorio ~[fy45,1]*[fy75,1]Gui became c
hief cond. He was succeeded in ~[sm1960[nm by John [fy45,1]*[fy75,1]Pritchard wh
o first joined the ~mus. staff in [sm1947[nm and retired in [sm1977[nm, being ~s
ucceeded by Bernard [fy45,1]*[fy75,1]Haitink. When Ebert ~retired in [sm1959[nm,
 Gunther Rennert became chief ~producer. He was succeeded by John [fy45,1]*[fy75
,1]Cox [sm1971[nm=n~[sm83[nm and by Sir Peter [fy45,1]*[fy75,1]Hall from [sm1984
[nm. Although ~Glyndebourne's basic diet is the operas of Mozart, ~it has also s
taged [cf2]Don Pasquale[cf1] and several Rossini ~operas (under Gui) including s
uccessful revivals ~of [cf2]Le Comte Ory[cf1], [cf2]La Cenerentola[cf1], and [cf
2]L'italiana in ~Algeri[cf1]. The first Eng. performance of Verdi's ~[cf2]Macbet
h[cf1] was at Glyndebourne [sm1938[nm. A speciality ~has been made of Richard St
rauss's operas, with ~[cf2]Der Rosenkavalier[cf1] (in a reduced
orchestration ~exclusively made by Strauss for Glyndebourne), ~[cf2]Ariadne auf
Naxos[cf1], [cf2]Capriccio[cf1], [cf2]Intermezzo[cf1], [cf2]Die ~schweigsame Fra
u[cf1], and [cf2]Arabella. [cf1]The prod. of ~[cf2]Idomeneo[cf1] restored Mozart
's opera seria to general ~circulation. Among adventurous prods. have been ~Stra
vinsky's [cf2]The Rake's Progress[cf1], Bus[choni's [cf2]Arlec~~chino[cf1], Gluc
k's [cf2]Alceste[cf1], Henze's [cf2]Elegy for Young ~Lovers[cf1], Donizetti's [c
f2]Anna Bolena[cf1], Cavalli's [cf2]L'Ormindo[cf1] ~and [cf2]La Calisto[cf1], Mo
nteverdi's [cf2]L'incoronazione di ~Poppea[cf1] and [cf2]Il ritorno d'Ulisse in
patria[cf1], Maw's ~[cf2]Rising of the Moon[cf1], Britten's [cf2]Midsummer Night
's ~Dream[cf1], Prokofiev's [cf2]Love for [sm3[nm Oranges[cf1], Jan;aaa;akcek's
~[cf2]The Cunning Little Vixen[cf1], and Knussen's [cf2]Where the ~Wild Things A
re. [cf1]The policy of engaging the most ~suitable singers has meant that many o
f the ~world's great operatic artists have sung at Glyn~~debourn
e, which also has a penchant for discov~~ering a rising star some years before e
veryone ~else. Scrupulous attention is also paid to sets and ~lighting, with the
 engagement of such artists as ~Oliver Messel, Osbert Lancaster, John Piper, and
 ~David Hockney. In [sm1968[nm the Glyndebourne ~Touring Co. was formed to make
an autumn tour ~(usually to Oxford, Bristol, Norwich, Southamp~~[PN287,0,0,R,I0]
ton, and Manchester) with some of the Sussex ~productions sung by casts speciall
y recruited to ~give opportunities to the best of young Brit. ~singers. Just as
the RPO or LPO (since [sm1964[nm) is ~engaged for Glyndebourne itself, the touri
ng co. ~uses the Northern Sinfonia and Bournemouth ~Sinfonietta.[cm~G. Mus. R.N.
C.M.[fy75,1] Graduate, with honours, of ~the [fy45,1]*[fy75,1]Royal Northern Col
lege of Music, Manches~~ter.[cm~Gnecchi, Vittorio[fy75,1] ([cf2]b[cf1] Milan, [s
m1876[nm; [cf2]d[cf1] Milan, [sm1954[nm). ~It. composer. Studied Milan Cons. Ope
ras incl. ~[cf2]Cassandra[cf1] ([sm1905[nm) and [cf2]La rosiera[
cf1] ([sm1910[nm). Latter said ~to be first opera to use quarter-tones. Accused
R. ~Strauss of plagiarism because of resemblance ~between themes in [cf2]Cassand
ra[cf1] and [cf2]Elektra[cf1] ([sm1908[nm).[cm~G.O.[fy75,1] In Fr. org. mus., [c
f2]grand orgue[cf1], i.e. `great org.'.[cm~Gobbi, Tito[fy75,1] ([cf2]b[cf1] Bass
ano del Grappa, [sm1913[nm; [cf2]d ~[cf1]Rome, [sm1984[nm). It. bar. and opera p
roducer. Studied ~law, then became singer, studying in Rome. ~D;aaebut Gubbio [s
m1935[nm as Rodolfo in [cf2]Sonnambula[cf1], ~San Francisco [sm1948[nm, Salzburg
 and CG [sm1950[nm, NY ~Met. [sm1956[nm. Outstanding actor as well as singer: ~n
otable for interpretations of Wozzeck, Scarpia, ~Rigoletto, Macbeth, Iago, Falst
aff, and Boccanegra. ~D;aaebut as producer, Chicago and CG [sm1965[nm. ~Repertor
y of [sm100[nm operas.[cm~Godard, Benjamin [fy75,1](Louis Paul)[cf1] ([cf2]b[cf1
] Paris, [sm1849[nm; [cf2]d[cf1] ~Cannes, [sm1895[nm). Fr. composer and violinis
t. Studied ~Paris Cons. [sm1863[nm. Cond. Concerts Modernes, Par
is ~[sm1885[nm=n[sm6[nm. Wrote [sm2[nm vn. concs., pf. conc., syms., and ~[sm8[n
m operas, (from which only the [cf2]Berceuse[cf1] for sop. ~from [cf2]Jocelyn[cf
1] ([sm1888[nm) seems to have survived). Some ~of the instr. works are still pla
yed.[cm~God bless the Prince of Wales.[fy75,1] Song with words ~written in Welsh
 by Ceiriog Hughes and mus. by ~Henry Brinley Richards ([sm1817[nm=n[sm85[nm). T
hey were ~pubd. together in [sm1862[nm. F.p. London [sm14[nm Feb. [sm1863[nm ~by
 Sims Reeves, preparatory to wedding of Prince ~of Wales on [sm10[nm March.[cm~G
oddard, Arabella[fy75,1] ([cf2]b[cf1] St Servan, [sm1836[nm; [cf2]d[cf1] Boul~~o
gne, [sm1922[nm). Fr.-born pianist of Eng. origin. Pupil ~of Thalberg, Kalkbrenn
er, and J.W. Davison ~(mus. critic of [cf2]The Times[cf1]) whom she married ~[sm
1859[nm. London d;aaebut [sm1850[nm. Among first to play ~Beet[chhoven's last so
natas in London. Retired [sm1880[nm.[cm~Godefroid, Dieudonn;aae [fy75,1](Joseph
Guillaume F;Aaelix)[cf1] ~([cf2]b[cf1] Namur, [sm1818[nm; [cf2]d
[cf1] Villers-sur-mer, [sm1897[nm). Belg. ~harpist and composer. Trained Paris C
ons. [sm1832[nm=n~[sm5[nm. Wrote [sm2[nm operas, oratorio, and harp pieces. His
~brother Jules Joseph ([cf2]b[cf1] Namur, [sm1811[nm; [cf2]d[cf1] Paris, ~[sm184
0[nm) was also harpist and composer.[xm[cm~[ol0][ep~[xp[te~









[do29][j99]~~~~~~[sm153842[nm_GA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm01[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm24[nm.[sm9[nm.[s
m79[nm[cm[sm6[nm[cm[sm231[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Godfrey,
 [fy75,1](Sir)[fy65][cf3] Daniel [fy75,1](Dan) (Eyers)[cf1] ([cf2]b[cf1] London,
 ~[sm1868[nm; [cf2]d[cf1] Bournemouth, [sm1939[nm). Eng. cond. (son, ~grandson,
and nephew of military bandmasters). ~Studied RCM. Conducted military bands [sm1
890[nm, ~opera in S. Africa [sm1891[nm=n[sm2[nm. Engaged at Bourne~~mouth in [sm
1893[nm to form municipal orch. to give ~sym. concerts. These he cond. until [sm
1934[nm, ~introducing many new works to Brit. audiences ~and making the concerts
 a particular forum for ~the f.ps. of works by Brit. composers. Knighted ~[sm192
2[nm. See [cf2]Bournemouth Symphony Orch.[cm~Godowsky, Leopold[fy75,1] ([cf2]b[c
f1] Soshly, nr. Vilna, [sm1870[nm; ~[cf2]d[cf1] NY, [sm1938[nm). Polish-born pia
nist and composer ~(Amer. citizen [sm1891[nm). Studied Berlin Ho
chschule ~f;auur Musik and with Saint-Sa;auens [sm1887[nm=n[sm90[nm. Toured ~USA
 [sm1884[nm and again in [sm1890[nm, after which he ~became a pf. teacher in Phi
ladelphia and, in [sm1894[nm, ~dir. of pf. sch. at Chicago Cons. Returned to ~Be
rlin [sm1900[nm=n[sm9[nm, teaching and touring as recitalist. ~Dir., Master sch.
 of pf.-playing, Vienna, [sm1909[nm. ~Returned to USA [sm1912[nm. Career ended b
y illness ~[sm1930[nm. Comps. incl. [cf2][sm53[nm Studies on Chopin ;aaEtudes, ~
Triakontameron[cf1] ([sm30[nm pf. pieces each comp. on a ~different day), the [c
f2]Java Suite [cf1]([sm12[nm pieces), [sm3[nm ~symphonic metamorphoses for orch.
, and nu~~merous pf. transcrs.[cm~God Save The Queen (King).[fy75,1] The tune of
 the ~Brit. `National Anthem' must long have been the ~best-known tune in the wo
rld, having at one time ~or another been borrowed by about [sm20[nm countries ~a
s that of their official nat. song. The popularity ~of the words and tune in Bri
t. seems to date from ~the time of the landing of the Young Pret
ender, ~[sm1745[nm, when they were introduced in London th. ~and widely taken up
, being sung on several ~successive nights at Drury Lane and Covent ~Garden thea
tres in Sept. of that year. The ~authorship of both words and tune is obscure, ~
but it existed in some form before [sm18[nmth cent.[ep~ ^The tune is in rhythm a
nd style a galliard. There ~is a Geneva tune of this type with some phrases ~res
embling those in God Save The Queen; it was ~introduced in [sm1603[nm at a banqu
et celebrating the ~first anniversary of the unsuccessful attempt of ~the Duke o
f Savoy to seize the city (the `Escalade'). ~An Eng. Christmas carol printed in
[sm1611[nm, ~[cf2]Remember, O thou Man[cf1], shows similar resem~~blances. Much
stronger resemblances are seen in ~a kbd. piece by John [fy45,1]*[fy75,1]Bull, (
though in the minor), ~and his name is sometimes attached to the tune. ~The earl
iest known source is in a vol. of songs, ~[cf2]Harmonia anglica[cf1], issued by
John Simpson in ~London in [sm1744[nm.[ep~^In the Amer. colonies
 and the USA the tune has ~at different times been sung to many different ~sets
of words, e.g. [cf2]God Save America[cf1], [cf2]God Save ~George Washington[cf1]
, [cf2]God Save the Thirteen States[cf1], etc. ~The present words [cf2]My countr
y, 'tis of Thee[cf1], date ~from [sm1831[nm and are the work of the Rev. Samuel
~Francis Smith. The name usually given to the ~tune is [cf2]America[cf1].[ep~^Ma
ny composers, incl. Beethoven, Weber, Mar~~schner, Paganini, Brahms, Donizetti,
etc., have ~introduced the tune into their comps. or based ~works on it.[cm~Gods
 go a-begging, The.[fy75,1] Ballet in [sm1[nm act to mus. ~by Handel arr. [fy45,
1]*[fy75,1]Beecham, choreog. Balanchine, ~[PN288,0,0,L,I0]prod. Diaghilev's Ball
et Russe, London, [sm1928[nm. ~Later choreog. by N. de Valois [sm1936[nm, Lichin
e ~[sm1937[nm. Also orch. suite.[cm~Godunov, Boris [fy75,1](Mussorgsky). See[cf2
] Boris Godunov.[cm~Goehr, Alexander[fy75,1] ([cf2]b[cf1] Berlin, [sm1932[nm). E
ng. com~~poser, son of Walter [fy45,1]*[fy75,1]Goehr. Studied RM
CM ~[sm1952[nm=n[sm5[nm (comp. with Richard Hall) where he was ~contemporary of
Maxwell Davies, Birtwistle, and ~Ogdon, and in Paris ([sm1955[nm=n[sm6[nm) with
Messiaen and ~Yvonne Loriod. On mus. staff BBC [sm1960[nm=n[sm8[nm; ~composer-in
-residence New England Cons. [sm1968[nm=n~[sm9[nm; assoc. prof. of mus. Yale Uni
v. [sm1969[nm=n[sm70[nm; prof. ~of mus. Leeds Univ., [sm1971[nm=n[sm6[nm; prof.
of mus. ~Cambridge Univ. from [sm1976[nm. Dir., Leeds Fest., ~[sm1975[nm. Goehr'
s mus. employs serialism but rejects ~elec. devices. He is among leaders of grou
p of ~Eng. composers influenced by [sm2[nmnd Viennese Sch. ~and his mus. can be
described as essentially ~radical-conservative in idiom. Works incl.:[xm[cm~[j2]
[smopera[nm: [fy45,1]*[fy75,2]Arden muss sterben[cf1] (Arden must die) ~([sm1966
[nm).[ep~[smorch[nm: Fantasia ([sm1954[nm, rev. [sm1958[nm), [cf2]Hecuba's Lamen
t[cf1] ~([sm1959[nm=n[sm61[nm), vn. conc. ([sm1961[nm=n[sm2[nm), [cf2]Little Sym
phony[cf1] ~([sm1963[nm), [cf2]Little Music for Strings[cf1] ([s
m1963[nm),[cf2] Pastorals[cf1] ~([sm1965[nm), [cf2][sm3[nm Pieces from Arden Mus
t Die [cf1]([sm1967[nm), ~[cf2]Romanza[cf1] for vc. and orch. ([sm1968[nm),[cf2]
 Konzertst;auuck[cf1] ~for pf. and orch. ([sm1969[nm), [cf2]Symphony in [sm1[nm
Movement[cf1] ~([sm1969[nm=n[sm70[nm), Conc. for [sm11[nm instrs. ([sm1970[nm),
pf. conc. ~([sm1971[nm),[cf2] Chaconne[cf1] for [sm19[nm wind instrs. ([sm1974[n
m),[cf2] ~Metamorphosis/Dance[cf1] ([sm1974[nm), [cf2]Fugue on Psalm IV[cf1], ~s
tr. ([sm1976[nm), [cf2]Romanza on Psalm IV[cf1], str. ([sm1976[nm), ~[cf2]Sinfon
ia [cf1]([sm1980[nm), [cf2]Deux ;aaEtudes [cf1]([sm1981[nm).[ep~[smballet[nm: [c
f2]La belle dame sans merci [cf1]([sm1958[nm).[ep~[smmusic theatre[nm:[cf2] Trip
tych[cf1], [sm3[nm-part th. piece for actor, ~[sm2[nm mimes, [sm5[nm singers, in
str. group, [sm1[nm.[cf2] Naboth's ~Vineyard[cf1] ([sm1968[nm), [sm2[nm. [cf2]Sh
adowplay[cf1] ([sm1970[nm), [sm3[nm. [cf2]Sonata ~about Jerusalem[cf1] ([sm1970[
nm).[ep~[smchoral and vocal[nm: [cf2]The Deluge[cf1], cantata af
ter da ~Vinci for sop., alto, fl., hn., tpt., harp, and strs. ~([sm1957[nm=n[sm8
[nm); [cf2]Sutter's Gold[cf1], cantata for bar., ch., and ~orch. ([sm1959[nm=n[s
m60[nm); [cf2][sm2[nm Choruses[cf1] (Milton and Shake~~speare) ([sm1962[nm); [cf
2][sm5[nm Poems and an Epigram of William ~Blake[cf1], ch., tpt. ([sm1964[nm); [
cf2]Orpheus Songs[cf1] for sop. ~([sm1971[nm); Psalm IV for sop., alto, women's
ch., va., ~and organ ([sm1976[nm); [cf2]Babylon the Great is fallen[cf1], ch. ~a
nd orch. ([sm1979[nm); [cf2]Das Gesetz der Quadrille[cf1], bar., ~pf. ([sm1979[n
m); [cf2]Behold the Sun[cf1], concert aria for sop., ~vib., ens. ([sm1981[nm).[e
p~[smchamber music[nm: Pf. sonata ([sm1951[nm=n[sm2[nm);[cf2] Suite[cf1] for fl.
, ~cl., hn., harp, vn., va., vc. ([sm1961[nm);[cf2] [sm3[nm Pieces[cf1] for pf.
~([sm1964[nm); pf. trio ([sm1966[nm), Str. Qt. No. [sm1[nm ([sm1956[nm=n[sm7[nm)
, ~No. [sm2[nm ([sm1967[nm), No. [sm3[nm ([sm1975[nm=n[sm6[nm); [cf2]Nonomiya[cf
1] for pf. ~([sm1969[nm);[cf2] Paraphrase[cf1] for cl. ([sm1969[
nm); [cf2]Lyric Pieces[cf1] for ~wind septet and db. ([sm1974[nm); [cf2]Prelude
and Fugue[cf1], [sm3[nm ~cl., ([sm1978[nm); [cf2]Lento e Sostenuto[cf1], str. qt
. ([sm1956[nm=n[sm7[nm, rev. ~[sm1983[nm, orig. slow movt. of Str. Qt. No. [sm1[
nm).[cm~[j1]Goehr, Walter[fy75,1] ([cf2]b[cf1] Berlin, [sm1903[nm; [cf2]d[cf1] S
heffield, [sm1960[nm). ~Ger.-born cond. and composer. Pupil of Schoen~~berg at P
russian Acad. of Arts, Berlin. Cond. ~Berlin radio [sm1925[nm=n[sm31[nm, composi
ng for it opera[cf2] ~Malpopita.[cf1] Settled in Eng. [sm1933[nm. Mus. dir., ~Co
lumbia Graphophone Co. [sm1933[nm=n[sm9[nm. Cond. BBC ~Th. Orch. [sm1945[nm=n[sm
8[nm. On staff Morley Coll., London. ~Ed. Monteverdi's [cf2]Vespers[cf1] (York [
sm1954[nm) and [cf2]L'inco~~ronazione di Poppea.[cf1] Wrote scores for radio, fi
lms, ~and th. Orch. Mussorgsky's [cf2]Pictures from an ~Exhibition. [cf1]Cond. f
.ps. of Britten's [cf2]Serenade [cf1]([sm1943[nm), ~Tippett's [cf2]A Child of Ou
r Time [cf1]([sm1944[nm), Seiber's ~[cf2]Ulysses [cf1]([sm1949[n
m), and A. Goehr's [cf2]The Deluge[cf1] ([sm1959[nm); ~and f.Brit. p. of Mahler'
s [sm6[nmth Sym. (BBC [sm1950[nm).[cm~Goetz, Hermann[fy75,1] ([cf2]b[cf1] K;auon
igsberg, [sm1840[nm;[cf2] d[cf1] Hottin~~gen, Z;auurich, [sm1876[nm). Ger. compo
ser. Studied at ~Stern Cons., Berlin, [sm1860[nm=n[sm2[nm. Org. at Winterthur ~[
sm1863[nm=n[sm7[nm, moving to Z;auurich where he comp. his ~successful opera [cf
2]The Taming of the Shrew[cf1] (prod. ~[sm1874[nm). His sym. was also much admir
ed and is ~convincing evidence of a rare talent prematurely ~cut short. Works in
cl.:[xm[cm~[j2][smoperas[nm:[fy75,2] Der widerspenstigen Z;auahmung[cf1] (The [f
y45,1]*[fy75,1]Tam~~ing of the Shrew) ([sm1868[nm=n[sm72[nm); [cf2]Francesca da
Rimini[cf1] ~([sm1875[nm=n[sm6[nm, completed by Ernst Frank).[ep~[smorch[nm: Sym
. in F ([sm1873[nm); [cf2]Fr;auuhlingsouvert;auure[cf1]; pf. ~conc.; vn. conc.[e
p~[smchamber music[nm: Pf. Trio; Pf. Qt; Pf. Quintet.[ep~Also songs and pf. piec
es.[cm~[j1]Goeyvaerts, Karel [fy75,1](August) ([cf2]b [cf1]Antwe
rp, [sm1923[nm). ~Belg. composer and musicologist. Studied at ~Antwerp Cons. [sm
1942[nm=n[sm7[nm and with Messiaen and ~Milhaud at Paris Cons. [sm1947[nm=n[sm50
[nm. His sonata for [sm2[nm ~pfs. ([sm1951[nm) laid foundations of total seriali
sm and ~isolated note writing. Invited by Stockhausen to ~work in elec. studios
of W. Ger. Radio, Cologne. ~Abandoned mus. career [sm1958[nm to work for Belg. ~
airline Sabena but continued to comp. In [sm1970[nm ~went to work for Inst. of P
sychoacoustics and ~Elec. Mus., Ghent. Comps. incl. mixed media ~pieces, works f
or elec. tape, and for medieval ens.[cm~Goff, Thomas [fy75,1](Robert Charles) [c
f1]([cf2]b[cf1] London, [sm1898[nm; ~[cf2]d [cf1]London, [sm1975[nm). Eng. build
er of clavichords and ~hpds. Began business in partnership with J. C. ~Cobby [sm
1933[nm, later opening his own London ~headquarters. His particular achievement
has ~been to adapt tone and dynamics to modern ~concert hall requirements. Adopt
ed clavichord ~design of Herbert Lambert of Bath.[cm~Gold and Si
lver[fy75,1] (Ger. [cf2]Gold und Silber[cf1]). Waltz by ~Leh;aaar comp. for gold
 and silver ball given by ~Prince Metternich, Jan. [sm1902[nm.[cm~Goldberg, Joha
nn [fy75,1](Gottlieb Theophilus)[cf1] ([cf2]b[cf1] Dan~~zig, [sm1727[nm; [cf2]d[
cf1] Dresden, [sm1756[nm). Ger. organist, ~composer, and klavier player. Said to
 have been ~pupil of Bach [sm1742[nm=n[sm3[nm. Chamber musician to ~Count Br;auu
hl [sm1751[nm=n[sm6[nm. Wrote [sm2[nm kbd. concs., [sm6[nm fl. ~trios, etc. Bach
 gave him a copy of his [sm30[nm vars. for ~hpd., but the story that they were c
ommissioned ~by him is doubtful.[cm~Goldberg, Szymon[fy75,1] ([cf2]b[cf1] W;umoc
;umawek, Pol., [sm1909[nm). ~Pol.-born violinist and cond. (Amer. citizen [sm195
3[nm). ~Studied with [fy45,1]*[fy75,1]Flesch in Berlin. D;aaebut Warsaw ~[sm1921
[nm. Leader, Dresden P. O. [sm1925[nm=n[sm9[nm, Berlin P.O. ~[PN289,0,0,R,I0][sm
1929[nm=n[sm34[nm. Member of trio with [fy45,1]*[fy75,1]Hindemith and ~[fy45,1]*
[fy75,1]Feuermann [sm1930[nm=n[sm4[nm. Settled in London and USA
. ~Duo with Lili Kraus [sm1935[nm=n[sm40[nm. Member of fest. ~pf. qt., Aspen, Co
lorado, [sm1951[nm=n[sm65[nm. Solo concert ~violinist from [sm1955[nm. Cond. Net
herlands Chamber ~Orch. from [sm1955[nm. Cond. Manchester Camerata ~[sm1977[nm=n
[sm9[nm.[cm~`Goldberg' Variations.[fy75,1] [sm30[nm variations on an orig. ~them
e for [sm2[nm-manual hpd., by Bach. Nickname ~arose from story, now thought to b
e untrue, that ~they were commissioned by the Russ. ambassador ~to Saxony, Count
 Keyserlingk, for J. G. T. ~[fy45,1]*[fy75,1]Goldberg to play. Bach gave Goldber
g a copy of ~the work.[cm~Gold Coast Customs. [fy75,1]Setting of poem by Edith ~
Sitwell by H. [fy45,1]*[fy75,1]Searle for speakers, men's ch., ~winds, [sm2[nm p
f., and perc., comp. [sm1947[nm=n[sm9[nm.[cm~Golden Age, The[fy75,1] ([cf2]Zolot
oy vek[cf1]). Ballet in [sm3[nm acts ~with mus. by Shostakovich, choreog. Kaplan
 and ~Vaynonen. Prod. Leningrad [sm1930[nm. Also orch. ~suite, Op. [sm22[nma.[cm
~Golden Cockerel, The[fy75,1] ([cf2]Zolotoy petushok[cf1]). Oper
a ~(his [sm14[nmth and last) in [sm3[nm acts by Rimsky-Korsakov, ~lib. Belsky af
ter Pushkin's poem ([sm1834[nm). Prod. ~Moscow [sm1909[nm, London [sm1914[nm, NY
 Met. [sm1918[nm. ~Comp. [sm1906[nm=n[sm7[nm, but perf. was banned in the ~compo
ser's lifetime because of the opera's satire ~on autocracy. The indefensible hab
it of referring ~to it by the Fr. title [cf2]Le Coq d'or[cf1] arose from the ~pr
od. by Diaghilev in Paris, [sm1914[nm, when all the ~roles were enacted by dance
rs while singers sat at ~the sides of the stage.[cm~Golden Legend, The. [fy75,1]
Cantata by Sullivan for ~soloists, ch., and orch. to text based on Longfel~~low'
s poem. Comp. for Leeds Fest. [sm1886[nm.[cm~`Golden' Sonata.[fy75,1] Nickname,
but not the com~~poser's, for Purcell's Sonata in F for [sm2[nm vns., va. da ~ga
mba, and org. or hpd., No. [sm9[nm of [sm10[nm sonatas ~posthumously pubd. [sm16
97[nm.[cm~Goldmark, K;aaaroly [fy75,1]([cf2]b [cf1]Keszth;aaely, Hung., [sm1830[
nm; [cf2]d[cf1] ~Vienna, [sm1915[nm). Hung. composer and violini
st, son ~of a cantor. Studied Vienna Cons. [sm1847[nm. After ~playing in th. orc
hs., settled in Vienna [sm1850[nm as ~composer, teacher, and critic. His tuneful
, colour~~ful mus. is remembered today chiefly through ~his [cf2]Rustic Wedding[
cf1] sym. Comp. [sm6[nm operas incl. [cf2]Die ~[fy45,1]*[fy75,2]K;auonigin von S
aba[cf1] (The Queen of Sheba) ([sm1875[nm) ~and [cf2]Ein Winterm;auarchen[cf1] (
A Winter's Tale, after ~Shakespeare) ([sm1908[nm), Sym. in E;yh (properly suite)
 ~[cf2]Die l;auandliche Hochzeit[cf1] ([fy45,1]*[fy75,1]Rustic Wedding), ov. ~[c
f2]Sakuntala[cf1], [sm2[nm vn. concs., str. qt., vc. sonata, etc.[cm~Goldmark, R
ubin[fy75,1] ([cf2]b [cf1]NY, [sm1872[nm; [cf2]d[cf1] NY, [sm1936[nm). ~Amer. co
mposer, nephew of K. [fy45,1]*[fy75,1]Goldmark. ~Studied NY and Vienna Cons., la
ter with Dvo;Akr;aaak ~at Nat. Cons. of Mus., NY. Dir., Colorado Coll. ~Cons. [s
m1895[nm=n[sm1901[nm. Teacher of pf. and theory in ~NY [sm1902[nm=n[sm24[nm; dir
. of comp. dept., Juilliard Sch. ~[sm1924[nm=n[sm36[nm. Pupils i
ncl. Copland, Chasins, and ~Gershwin. Wrote [cf2]Requiem[cf1] for orch., [cf2]Hi
awatha, ~Negro Rhapsody[cf1], and several chamber works.[cm~[fy65][cf3]Goldschmi
dt, Berthold[fy75,1] ([cf2]b[cf1] Hamburg, [sm1903[nm). ~Ger.-born composer and
cond. (Brit. cit. from ~[sm1947[nm). Studied Hamburg Univ. and Berlin Hochs~~chu
le f;auur Musik (comp. with Schreker) [sm1922[nm=n[sm5[nm. ~Ass. cond. Berlin St
ate Opera [sm1926[nm=n[sm7[nm. Cond. ~Darmstadt Opera [sm1927[nm=n[sm9[nm. Cond.
 in Leningrad ~[sm1931[nm. Artistic adviser Berlin State Opera [sm1931[nm=n[sm3[
nm. ~Settled in Eng. [sm1935[nm. Cond. Glyndebourne co. in ~Verdi's [cf2]Macbeth
 [cf1]at first Edinburgh Fest. [sm1947[nm. ~Guest cond. various Brit. orchs. Aid
ed and ~advised Deryck [fy45,1]*[fy75,1]Cooke in preparing perf. version ~of Mah
ler's [sm10[nmth sym., and cond. [sm1[nmst complete ~perf. London [sm1964[nm. Co
mp. [sm2[nm operas, of which ~[cf2]Beatrice Cenci[cf1] ([sm1949[nm=n[sm50[nm) wo
n a Fest. of Britain ~prize but was not perf. Sym.,[cf2] Sinfoni
etta[cf1], vn. conc., ~cl. conc., [sm2[nm str. qts., pf. sonata.[cm~Goldschmidt,
 Otto [fy75,1]([cf2]b [cf1]Hamburg, [sm1829[nm; [cf2]d[cf1] Lon~~don, [sm1907[nm
). Ger.-born pianist, composer, and ~cond. Pupil of Mendelssohn at Leipzig Cons.
 In ~[sm1851[nm visited USA as accompanist for Jenny [fy45,1]*[fy75,1]Lind, ~who
m he married [sm1852[nm. Settled in London [sm1858[nm, ~becoming vice-prin. RAM
[sm1866[nm. Founded and ~cond. London Bach Choir [sm1875[nm. Comp. oratorio ~[cf
2]Ruth[cf1], pf. conc., songs, part-songs, etc.[cm~Goldstone, Anthony[fy75,1] ([
cf2]b[cf1] Liverpool, [sm1944[nm). Eng. ~pianist. Studied Cambridge Univ. and RM
CM, ~later with Maria Curcio. D;aaebut Manchester [sm1965[nm, ~RMCM orch. cond.
Barbirolli. Won int. prizes in ~Munich and Vienna. London d;aaebut [sm1968[nm. M
em~~ber of pf. trio with Ralph Holmes (vn.) and Moray ~Welsh (vc.).[cm~Golliwogg
's Cakewalk.[fy75,1] [sm6[nmth item of Debussy's ~[cf2]Children's Corner[cf1] su
ite for pf. ([sm1906[nm=n[sm8[nm).[cm~Golschmann, Vladimir[fy75,
1] ([cf2]b[cf1] Paris, [sm1893[nm; [cf2]d[cf1] NY, ~[sm1972[nm). Fr.-born cond.
of Russ. parentage (Amer. ~citizen [sm1947[nm). Founded Golschmann concerts, ~Pa
ris, [sm1919[nm, for perf. of contemporary mus. Cond. ~for Diaghilev ballets. NY
 d;aaebut [sm1924[nm. Prin. cond. ~St Louis S.O. [sm1931[nm=n[sm56[nm, Denver S.
O. [sm1964[nm=n[sm70[nm.[cm~Goltermann, Georg [fy75,1](Eduard) [cf1]([cf2]b[cf1]
 Hanover, [sm1824[nm; ~[cf2]d[cf1] Frankfurt, [sm1898[nm). Ger. cellist, cond.,
and ~composer. [sm2[nmnd cond., Frankfurt state th. [sm1853[nm, ~[sm1[nmst cond.
 [sm1874[nm. Comp. sym., vc. conc., and other ~works for vc.[cm~Goltz, Christel[
fy75,1] ([cf2]b[cf1] Dortmund, [sm1912[nm). Ger. sop. ~Studied Munich. Member, D
resden State Opera ~[sm1936[nm=n[sm50[nm. D;aaebut CG [sm1951[nm, NY Met. [sm195
4[nm. Created ~title-role in Liebermann's [cf2]Penelope[cf1] (Salzburg [sm1954[n
m). Repertory ~of over [sm120[nm parts. Noted for her Salome, Elektra, ~Marie ([
cf2]Wozzeck[cf1]), and Tosca.[cm~Gombert, Nicolas[fy75,1] ([cf2]
b[cf1] S. Flanders, [cf2]c[cf1].[sm1495[nm; [cf2]d[cf1] after ~[sm1560[nm). Flem
ish composer, believed to have been ~pupil of Josquin [fy45,1]*[fy75,1]Despr;age
s. In court service of ~Charles V until [sm1540[nm; later worked at Tournai. ~Co
mp. motets, masses, and songs.[cm~[PN290,0,0,L,I0]Gomes, Antonio Carlos [fy75,1]
([cf2]b[cf1] Campinas, [sm1836[nm; [cf2]d[cf1] ~Bel;aaem, [sm1896[nm). Brazilian
 composer. After [sm2[nm of his ~operas had been prod. in Rio, he was given govt
. ~scholarship, [sm1864[nm, to study in Milan where several ~of his operas were
prod. (and admired by Verdi). ~ Operas incl. [cf2]Il Guarany[cf1] ([sm1870[nm),
[cf2]Fosca[cf1] ([sm1873[nm), ~[cf2]Salvator Rosa [cf1]([sm1874[nm), [cf2]Maria
Tudor[cf1] ([sm1879[nm),[cf2] Lo ~Schiavo[cf1] ([sm1889[nm), and [cf2]Condor[cf1
] ([sm1891[nm). Also wrote ~cantatas, songs, and pf. pieces. Dir., Bel;aaem Cons
. ~in [sm1896[nm.[cm~Gomez, Jill [fy75,1]([cf2]b[cf1] New Amsterdam, Brit. Guian
a, ~[sm1942[nm). W. Indian-born sop. Studied RAM and ~GSM. Opera
 d;aaebut Cambridge [sm1967[nm. Glynde~~bourne Touring Co., [sm1968[nm. Sang M;a
aelisande in ~Debussy's opera, Glyndebourne [sm1969[nm. Created ~Flora in Tippet
t's [cf2]The [fy45,1]*[fy75,2]Knot Garden[cf1], CG [sm1970[nm. ~ENO d;aaebut [sm
1984[nm (Governess). Has sung with ~English Opera Group, Scottish Opera, WNO, ~K
ent Opera; also concert career, esp. in certain ~contemporary works (e.g. McCabe
's [cf2]Notturni ed ~alba[cf1]).[cm~Gondola Song. [fy75,1]([sm1[nm) A [fy45,1]*[
fy75,1]barcarolle type of comp., ~supposed to recall the singing of Venetian ~go
ndoliers at their work. It is generally in ;D6;E8 or ~other compound time.[ep~^(
[sm2[nm) Name given by Mendelssohn to [sm3[nm of his [cf2]Songs ~without words[c
f1] (No. [sm6[nm in G minor, No. [sm12[nm in F;yi ~minor, and No. [sm29[nm in A
minor), and also to ~another pf. piece, [cf2]Auf einer Gondel[cf1] (On a Gondola
) ~in A major, [sm1837[nm.[cm~Gondoliers, The, or The King of Barataria.[fy75,1]
 ~Operetta by Sullivan, lib. Gilbert. Prod. London ~[sm1889[nm,
NY and Capetown [sm1890[nm.[cm~Gong. [fy75,1]Perc. instr., also called tam-tam,
of Chinese ~origin, being a large round sheet of metal turned ~up at the edge to
 form a kind of dish. Struck with ~felt mallet. Of indefinite pitch, but Puccini
 in ~[cf2]Turandot[cf1] and Vaughan Williams in his [sm8[nmth Sym. ~require tune
d gongs.[cm~Goodall, [fy75][cf1](Sir) [fy65][cf3]Reginald[fy75,1] ([cf2]b [cf1]L
incoln, [sm1901[nm). Eng. cond. ~Studied pf. and vn., RCM. Further study Munich
~and Vienna. Became ass. to Albert Coates with ~BNOC at CG. Ass. cond. Royal Cho
ral Soc. [sm1936[nm=n~[sm9[nm. Cond. at SW Opera from [sm1944[nm. Cond. f.p. of
~Britten's [cf2]Peter Grimes[cf1], June [sm1945[nm. Cond. Glynde~~bourne [sm1946
[nm. On mus. staff of CG from [sm1946[nm, but ~went abroad to assist Furtw;auang
ler, Krauss, and ~Knappertsbusch. Cond. [cf2]Tannh;auauser[cf1], SW, [sm1960[nm.
 ~Overdue recognition as a Wagner cond. came in ~[sm1968[nm when he cond. SW [cf
2]Mastersingers. [cf1]This was ~followed by hugely successful cy
cles, in Eng., of ~[cf2]The Ring[cf1] from [sm1973[nm. Cond. [cf2]Parsifal[cf1]
at CG [sm1971[nm, ~[cf2]Tristan [cf1]with WNO (recorded) [sm1979[nm, [cf2]The ~V
alkyrie [cf1](WNO [sm1984[nm). C.B.E. [sm1975[nm. Knighted [sm1985[nm.[cm~Good F
riday Music [fy75,1]([cf2]Karfreitagzauber[cf1]). The mus. ~in Wagner's [cf2]Par
sifal[cf1] Act [sm3[nm, Sc. [sm1[nm as Parsifal is ~anointed in preparation for
his entry into the ~castle of the Grail. Sometimes perf. as separate ~concert pi
ece.[cm~Good-Humoured Ladies, The [fy75,1]([cf2]Les femmes de ~bonne humeur[cf1]
). Choreog. comedy in [sm1[nm act to mus. ~by D. Scarlatti arr. by V. [fy45,1]*[
fy75,1]Tommasini, choreog. ~Massine. Prod. Rome [sm1917[nm.[cm~Goodman, Benny[fy
75,1] ([cf2]b[cf1] Chicago, [sm1909[nm). Amer. ~clarinettist and jazz musician.
Joined band in NY ~[sm1928[nm, forming his own in [sm1934[nm (called in Chicago
~a `swing band', thus giving the term wide ~currency). Has appeared as soloist w
ith NY P.O. ~(cond. Barbirolli) in Mozart conc. Bart;aaok's[cf2]
 Con~~trasts[cf1] and Copland's and Hindemith's concs. were ~written for him. Re
corded Mozart cl. quintet ~with Budapest Quartet, [sm1938[nm.[cm~Goose of Cairo,
 The [fy75,1](Mozart). See [cf2]Oca del Cairo, ~L'.[cm~Goossens, Eugene[fy75,1]
([cf2]b[cf1] Bruges, [sm1845[nm; [cf2]d[cf1] Liverpool, ~[sm1906[nm). Belg. cond
. Pupil of F;aaetis at Brussels Cons. ~Cond. of opera in Belgium, Fr., and It.,
then in ~Eng. from [sm1873[nm. Cond. Carl Rosa Opera [sm1883[nm=n~[sm93[nm. Orga
nist St Anne's R.C. Church, Liverpool.[cm~Goossens, Eugene[fy75,1] ([cf2]b[cf1]
Bordeaux, [sm1867[nm; [cf2]d[cf1] London, ~[sm1958[nm). Fr.-born cond., son of a
bove. Lived in Eng. ~from [sm1873[nm. Worked with father for Carl Rosa, ~then pr
in. cond. of various other cos. Prin. cond. ~Carl Rosa [sm1899[nm=n[sm1915[nm. C
ond. for Beecham co. ~from [sm1917[nm.[cm~Goossens, [fy75,1](Sir) [fy65][cf3]Eug
ene[fy75,1] ([cf2]b [cf1]London, [sm1893[nm; [cf2]d[cf1] ~Hillingdon, [sm1962[nm
). Eng. cond., violinist, and ~composer, son of above. Studied B
ruges Cons., ~Liverpool Coll. of Mus., and RCM (comp. with ~Stanford). Violinist
 in Queen's Hall Orch. [sm1911[nm=n~[sm15[nm. Ass. cond. to Beecham [sm1916[nm=n
[sm20[nm. Cond. f. Eng. ~concert p. of Stravinsky's [cf2]The Rite of Spring[cf1]
, ~London [sm1921[nm. Cond. opera and ballet CG [sm1921[nm=n~[sm3[nm. Went to US
A, becoming cond. Rochester P.O. ~[sm1923[nm=n[sm31[nm and Cincinnati S.O. [sm19
31[nm=n[sm47[nm. Cond. ~Sydney S.O., N.S.W., and dir., N.S.W. Cons. [sm1947[nm=n
~[sm56[nm. Knighted [sm1955[nm.[cm~[fy75,1]Comps. incl.:[xm[cm~[j2][smoperas[nm:
 [fy45,1]*[fy75,2]Judith[cf1] ([sm1[nm act, lib. Arnold Bennett, CG ~[sm1929[nm)
; [cf2]Don Juan de Manara [cf1]([sm4[nm acts, lib. by ~Bennett, CG [sm1937[nm).[
ep~[smorch[nm:[cf2] Sinfonietta [cf1]([sm1922[nm); ob. conc. ([sm1927[nm); Sym.
~No. [sm1[nm ([sm1940[nm), No. [sm2[nm ([sm1942[nm=n[sm4[nm).[ep~[smchoral[nm: [
cf2]Silence [cf1]([sm1922[nm), [cf2]Apocalypse[cf1], oratorio [cf1]([sm1950[nm=n
~[sm4[nm).[ep~[smchamber music[nm: [cf2]Phantasy[cf1] for str. q
t. ([sm1915[nm); str. ~qts. No. [sm1[nm ([sm1915[nm), No. [sm2[nm ([sm1942[nm);
pf. quintet ~([sm1919[nm); concertino for str. octet ([sm1930[nm).[cm~[j1]Goosse
ns, Leon[fy75,1] ([cf2]b[cf1] Liverpool, [sm1896[nm). Eng. oboist, ~brother of a
bove. Trained RCM. Prin. oboist ~Queen's Hall Orch. [sm1913[nm, later at CG. Pri
n. ob. ~LPO from its formation, [sm1932[nm=n[sm9[nm. Then free-lance ~as soloist
 and chamber mus. player. Prof. of oboe ~RAM [sm1924[nm=n[sm35[nm, RCM [sm1924[n
m=n[sm39[nm. Brilliant virtuoso ~for whom several composers=me.g. Elgar, ~Vaugha
n Williams, Gordon Jacob, and Eugene ~Goossens=mwrote works. C.B.E. [sm1950[nm.[
cm~[PN291,0,0,R,I0]Goossens, Marie [fy75,1](Henriette) [cf1]([cf2]b [cf1]London,
 [sm1894[nm). ~Eng. harpist, sister of above. Studied RCM. D;aaebut ~Liverpool [
sm1910[nm. Prin. harpist CG, Diaghilev Ballet ~seasons, Queen's Hall Orch. [sm19
20[nm=n[sm30[nm, LPO [sm1932[nm=n~[sm9[nm, LSO [sm1940[nm=n[sm59[nm, London Moza
rt Players from ~[sm1972[nm. Prof. of harp, RCM [sm1954[nm=n[sm6
7[nm. O.B.E. [sm1984[nm.[cm~Goossens, Sidonie[fy75,1] ([cf2]b[cf1] Liscard, Ches
hire, [sm1899[nm). ~Eng. harpist, sister of above. Studied RCM. Prin. ~harpist B
BC S.O. [sm1930[nm=n[sm80[nm. Prof. of harp, GSM ~from [sm1960[nm. M.B.E. [sm197
4[nm. O.B.E. [sm1981[nm.[cm~Gopak[fy75,1] (Hopak). A lively Russ. folk dance in
~duple time.[cm~G;aaorecki, Henryk [fy75,1](Mikolaj) ([cf2]b [cf1]Czernice, [sm1
933[nm). ~Polish composer. Studied at Katowice Cons. [sm1955[nm=n~[sm60[nm and i
n Paris with Messiaen. His mus., initially ~influenced by Webernian serialism an
d later by ~clusters, has never made use of elec. instr. and has ~developed a hi
ghly individual style, going back ~for inspiration to [sm14[nmth cent. Polish ch
ants, to ~Palestrina's polyphony, and to the richness of the ~Wagnerian orch. Wo
rks incl.: Sym. No. [sm1[nm, str., ~perc. ([sm1959[nm), No. [sm2[nm ([cf2]Kopern
ikowska[cf1]), sop., bar., ch., ~and orch. ([sm1972[nm), No. [sm3[nm ([cf2]Sorro
wful Songs[cf1]), sop., ~orch. ([sm1976[nm); [cf2]Scontri[cf1],
orch. ([sm1960[nm), [cf2]Old Polish Music[cf1], ~orch. ([sm1969[nm); conc. for [
sm5[nm instr. and str. qt. ([sm1957[nm); ~[cf2]Genesis[cf1]: I [cf2]Elementi[cf1
], str. trio ([sm1962[nm), II [cf2]Canti ~strumentali[cf1], [sm15[nm instr. ([sm
1962[nm), III [cf2]Monodramma[cf1], sop., ~metal perc., [sm6[nm db. ([sm1963[nm)
; [cf2]Muzyczka [cf1]I, [sm2[nm tpt., ~guitar ([sm1967[nm), II, [sm4[nm tpt., [s
m4[nm tb., [sm2[nm pf., perc. ([sm1967[nm), ~III, vas. ([sm1967[nm), IV, cl., tb
., vc., pf. ([sm1970[nm); pf. ~sonata ([sm1956[nm); sonata for [sm2[nm vns. ([sm
1957[nm); [cf2]Cantata ~[cf1]for org. ([sm1968[nm).[cm~Gorr, Rita [fy75,1](Margu
;aaerite Geirnaert) ([cf2]b[cf1] Ghent, ~[sm1926[nm). Belg. mez. Studied in Ghen
t and Brussels. ~D;aaebut Antwerp [sm1949[nm as Fricka. Strasbourg Opera ~[sm194
9[nm=n[sm52[nm. Won Lausanne int. competition [sm1952[nm, ~then joined Paris Op;
aaera. D;aaebut Bayreuth [sm1958[nm ~(Fricka), CG [sm1959[nm, NY Met. [sm1962[nm
 (Amneris).[cm~Goss, [fy75,1](Sir) [fy65][cf3]John [fy75,1]([cf2
]b [cf1]Fareham, [sm1800[nm; [cf2]d[cf1] Brixton, ~[sm1880[nm). Eng. organist an
d composer. Pupil of ~[fy45,1]*[fy75,1]Attwood, succeeding him as organist of St
 Paul's ~Cath., London, [sm1838[nm. Comp. anthems, glees, etc. ~Knighted [sm1872
[nm.[cm~Goss, John[fy75,1] ([cf2]b[cf1] London, [sm1894[nm; [cf2]d[cf1] Birmingh
am, ~[sm1953[nm). Eng. bar. Particularly active in [sm1920[nms as ~interpreter o
f songs of Warlock and other Eng. ~composers. Lived in Vancouver, BC, [sm1940[nm
=n[sm50[nm.[cm~Gossec, Fran;alcois [fy75,1](Joseph)[cf1] ([cf2]b[cf1] Vergnies,
[sm1734[nm; [cf2]d[cf1] ~Passy, [sm1829[nm). Belg. composer. Boy chorister ~Antw
erp Cath. Self-taught in comp. Went to ~Paris [sm1751[nm where he was helped by
[fy45,1]*[fy75,1]Rameau for ~whose patron's private band he comp. first Fr. ~sym
s. from [sm1754[nm. Also comp. str. qts. for Prince ~de Cond;aae, whose service
he entered [sm1762[nm=n[sm9[nm. Dir., ~Concert Spirituel [sm1773[nm=n[sm7[nm. [s
m2[nmnd cond. at Op;aaera ~[sm1780[nm=n[sm2[nm. Organized and di
r. ;aaEcole Royale de ~Chant [sm1784[nm=n[sm95[nm, when it became the Nat. Cons.
 ~Prof. of comp. at Paris Cons. [sm1795[nm=n[sm1815[nm. Comp. ~about [sm30[nm sy
ms., [sm20[nm operas, church and choral ~mus. (incl. many pieces in favour of th
e Revolu~~tion), and ballets.[xm[cm~[ol0][ep~[xp[te~









[do29][j99]~~~~~~[sm153842[nm_GA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm02[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[s
m79[nm[cm?[cm[sm275[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Gothic Symphon
y. [fy75,1]Havergal [fy45,1]*[fy75,1]Brian's [sm1[nmst Sym., ~comp. [sm1919[nm=n
[sm27[nm, in [sm4[nm movements, the last of ~which is setting of [cf2]Te Deum[cf
1] for [sm4[nm vv., ch., ~children's ch., [sm4[nm brass bands, and very large or
ch. ~F.p. London [sm1961[nm; f.p. with complete forces ~required, Hanley [sm1978
[nm.[cm~Gotovac, Jakov [fy75,1]([cf2]b[cf1] Split, [sm1895[nm; [cf2]d [cf1]Zagre
b, [sm1982[nm). ~Yugoslav composer and cond. Studied in Split ~and at Vienna Aca
d. Cond. Croatian Opera, ~Zagreb, [sm1923[nm=n[sm57[nm. Comps. for orch., ch., a
nd ~chamber groups, also folk-influenced opera [cf2]Ero ~the Joker (Ero s onoga
svijeta[cf1], [sm1935[nm), which he cond. ~in London [sm1955[nm.[cm~G;auotterd;a
uammerung [fy75,1](Twilight of the Gods). Mus. ~drama in prol. a
nd [sm3[nm acts by Wagner to his own ~lib. The final opera in his tetralogy[cf2]
 Der [fy45,1]*[fy75,2]Ring des ~Nibelungen. [cf1]Comp. [sm1869[nm=n[sm74[nm. Pro
d. Bayreuth [sm1876[nm, ~London [sm1882[nm, NY Met. [sm1888[nm.[cm~Gottschalk, L
ouis Moreau[fy75,1] ([cf2]b [cf1]New Orleans, ~[sm1829[nm; [cf2]d [cf1]Tijuca, B
razil, [sm1869[nm). Amer. pianist, ~cond., and composer. Went to Paris [sm1842[n
m, ~studying with [fy45,1]*[fy75,1]Hall;aae and Berlioz. His pf. d;aaebut ~in [s
m1844[nm was praised by Chopin. On return to USA ~toured widely, playing and con
ducting his own ~sentimental and naive mus. for unsophisticated ~audiences who e
njoyed his virtuoso panache and ~his arrs. of nat. airs. Wrote [sm2[nm syms., [s
m2[nm operas, and ~pf. pieces such as [cf2]The Dying Poet [cf1]([sm1863[nm=n[sm4
[nm).[cm~Goudimel, Claude [fy75,1]([cf2]b [cf1]Besan;Alcon, [cf2]c[cf1].[sm1514[
nm; [cf2]d[cf1] Lyons, ~[sm1572[nm). Fr. composer. Comp. masses and motets, ~the
n became Protestant and wrote hymn-tunes ~and secular songs. Die
d in St Bartholomew's Day ~massacre.[cm~Gould, Glenn [fy75,1](Herbert) [cf1]([cf
2]b [cf1]Toronto, [sm1932[nm; [cf2]d ~[cf1]Toronto, [sm1982[nm). Canadian pianis
t, composer, and ~writer. Trained Toronto Royal Cons. D;aaebut at age ~of [sm14[
nm; Washington D.C., and NY [sm1955[nm, European ~tour [sm1957[nm, first appeari
ng as soloist with Karajan ~and Berlin P.O. London [sm1958[nm. Toured USSR. ~Exc
eptionally wide repertory, from [sm16[nmth-cent. ~kbd. works to jazz.[cm~Gould,
Morton[fy75,1] ([cf2]b[cf1] Richmond Hill, NY, [sm1913[nm). ~Amer. comp., cond.,
 and pianist. Studied Institute ~of Mus. Art, NY. Member of Radio City Mus. ~Hal
l staff. Worked for NBC and CBS broadcasting ~systems. His mus. contains popular
 Amer. mus., ~jazz, and more formal structures. Brilliant orches~~trator. Works
incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Little Symphony [cf1]([sm1939[nm); Syms. No
. [sm1[nm ([sm1942[nm), ~No. [sm2[nm ([cf2]Marching Tunes[cf1]) ([sm1944[nm), No
. [sm3[nm ([sm1947[nm); pf. ~conc. ([sm1937[nm); vn. conc. ([sm1
938[nm); [cf2]American Sympho~~nette[cf1] No. [sm1[nm ([cf2]Swing[cf1]) ([sm1935
[nm), No. [sm2[nm ([sm1936[nm), No. [sm3[nm ~([sm1937[nm), No. [sm4[nm ([cf2]Lat
in American[cf1]) ([sm1940[nm);[cf2] Lincoln ~Legend[cf1] ([sm1940[nm); va. conc
. ([sm1943[nm); va. concertette ~([sm1943[nm); [cf2]Concerto for Orchestra[cf1]
([sm1944[nm); [cf2]Minstrel ~Show [cf1]([sm1946[nm); Conc. for tap dancer and or
ch. ~([sm1952[nm); [cf2]Jekyll and Hyde Variations[cf1] ([sm1957[nm); [cf2]St ~[
PN292,0,0,L,I0]Lawrence Suite[cf1] ([sm1958[nm); [cf2]Prisms[cf1] ([sm1962[nm);
[cf2]Venice,[cf1] ~audiograph for [sm2[nm orch. ([sm1966[nm); [cf2]Columbia[cf1]
 ([sm1966[nm); ~[cf2]Vivaldi Gallery[cf1], for str. qt., div. orch. ([sm1967[nm)
;[cf2] ~Troubadour Music[cf1], [sm4[nm guitars, orch. ([sm1968[nm); ~[cf2]Sympho
ny of Spirituals [cf1]([sm1976[nm).[ep~[smballets[nm: [cf2]Interplay [cf1]([sm19
43[nm); [cf2]Fall River Legend[cf1] ([sm1947[nm); ~[cf2]Fiesta[cf1] ([sm1957[nm)
.[ep~Also chamber works, and much mus. for films ~and TV.[cm~[j1
]Gounod, Charles Fran;alcois[fy75,1] ([cf2]b[cf1] Paris, [sm1818[nm; [cf2]d[cf1]
 St-~Cloud, [sm1893[nm). Fr. comp., cond., and organist. ~Studied Paris Cons. wi
th Hal;aaevy, Pa;auer, and Le ~Sueur. Won [cf2]Grand Prix de Rome [cf1][sm1839[n
m; impressed ~by Rome and made special study of Palestrina. ~Became organist at
Paris church and studied for ~priesthood but eventually decided to devote ~himse
lf to comp. Wrote several operas from [sm1851[nm ~but had no real success until
[cf2]Faust[cf1] in [sm1859[nm, which ~became and remained one of the most popula
r of ~all operas. Later operas were less successful, ~though [cf2]Rom;aaeo et Ju
liette[cf1] survives. Also wrote ~many choral works and lived in Eng. [sm1870[nm
=n[sm5[nm, ~becoming first cond. of what is now Royal Choral ~Soc. His oratorios
 [cf2]La R;aaedemption[cf1] and [cf2]Mors et vita ~[cf1]were comp. for the Birmi
ngham and Norwich ~Fests. of [sm1882[nm and [sm1885[nm. Gounod's mus. has ~consi
derable melodic charm and felicity, with ~admirable orchestratio
n. He was not really a ~master of the large and imposing forms, in this ~way per
haps being a Fr. parallel to Sullivan. ~Works incl.:[xm[cm~[j2][smoperas[nm: [fy
75,2]Sapho [cf1]([sm1851[nm; [cf2]La Nonne sanglante[cf1] ([sm1854[nm); ~[cf2]Le
 M;aaedecin malgr;aae lui [cf1]([sm1858[nm); [fy45,1]*[fy75,2]Faust[cf1] ([sm185
9[nm); [cf2]La ~Colombe [cf1]([sm1860[nm); [cf2]Phil;aaemon et Baucis[cf1] ([sm1
860[nm); [cf2]La ~Reine de Saba [cf1]([sm1862[nm); [fy45,1]*[fy75,2]Mireille[cf1
] ([sm1864[nm); [fy45,1]*[fy75,2]Rom;aaeo et ~Juliette[cf1] ([sm1867[nm); [cf2]C
inq Mars[cf1] ([sm1877[nm); [cf2]Polyeucte[cf1] ([sm1878[nm); ~[cf2]Le Tribut de
 Zamora [cf1]([sm1881[nm).[ep~[smoratorios[nm: [cf2]La R;aaedemption[cf1] ([sm18
68[nm=n[sm81[nm); [cf2]Mors et Vita[cf1] ~([sm1885[nm).[ep~[smcantatas[nm: [cf2]
Marie Stuart [cf1]([sm1837[nm); [cf2]Gallia [cf1]([sm1871[nm).[ep~[smchurch mus.
[nm:[cf2] Messe a tre [cf1]([sm1841[nm); [cf2]Messe solennelle ~[cf1]([sm1849[nm
); [cf2]Messe ;aga Ste C;aaecile[cf1] ([sm1855[nm); [cf2]Messe ;
aga Jeanne ~d'Arc[cf1] ([sm1887[nm); three Requiems; Stabat Mater, Te ~Deum, Mag
nificat, etc.[ep~[smorch[nm: Sym. No. [sm1[nm in D, No. [sm2[nm in E;yh; [cf2]Pe
tite ~Symphonie[cf1] in B;yh, for [sm9[nm wind instrs. ([sm1885[nm).[ep~[smmisc[
nm:[cf2] Funeral March of a Marionette[cf1] (for pf., [sm1872[nm, ~orch. [sm1879
[nm); [cf2]M;aaeditation sur le pr;aaelude de Bach[cf1] for ~sop., pf., vn., and
 organ ([sm1889[nm, known as ~Gounod's [fy45,1]*[fy75,1]Ave Maria, being [sm1[nm
st prelude of ~Bach's `[sm48[nm' with counterpoint melody by ~Gounod, entitled [
cf2]M;aaeditation[cf1], to which someone ~fitted the words of the [cf2]Ave Maria
[cf1]); many songs.[cm~[j1]Government Inspector, The [fy75,1]([cf2]Der Revisor[c
f1]). Opera ~in [sm5[nm acts by [fy45,1]*[fy75,1]Egk to his own lib. based on pl
ay by ~Gogol ([sm1836[nm). Prod. Schwetzingen [sm1957[nm.[cm~Gow, Nathaniel[fy75
,1] ([cf2]b[cf1] Inver, Dunkeld, [sm1763[nm; [cf2]d[cf1] ~Edinburgh, [sm1831[nm)
. Scot. composer, trumpeter, ~and violinist, member of family of
 musicians. ~Leader of Edinburgh Assembly orch. from [sm1791[nm, ~providing mus.
 for dancing. Became publisher ~[sm1796[nm, issuing `collections' of dance-mus.
Wrote ~[fy45,1]*[fy75,2]Caller Herrin' [cf1]as hpd. piece in about [sm1800[nm, t
he ~words being added by Lady Nairne about [sm1823[nm.[cm~Goyescas[fy75,1] ([cf2
]Los majos enamorados[cf1]) (Sp. `Goya-like ~works', or `Youth in Love'). ([sm1[
nm) [sm2[nm sets of pf. pieces, ~[sm7[nm in all. by [fy45,1]*[fy75,1]Granados, i
nspired by paintings of ~Goya, comp. [sm1911[nm, f.p. [sm1914[nm. Titles are [sm
1[nm. [cf2]Los ~requiebros [cf1](Loving words), [sm2[nm. [cf2]Coloquio en la rej
a [cf1](A ~conversation through the grating), [sm3[nm. [cf2]El fandango ~del can
dil [cf1](Kitchen fandango), [sm4[nm. [cf2]Quejas o la maja y ~el ruisenor [cf1]
(Lament, or The Love-sick Girl and the ~Nightingale), [sm5[nm. [cf2]El amor y la
 muerte [cf1](Love and ~death), [sm6[nm. [cf2]Epilogo: la serenada del espectro
[cf1](Epi~~logue: The ghost's serenade), [sm7[nm.[cf2] El pelele
 [cf1](The ~worthless man).[ep~^([sm2[nm) Opera in [sm3[nm scenes by Granados, a
mplified ~and scored from the above pf. pieces, with Sp. lib. ~by F. Periquet. P
rod. NY Met. [sm1916[nm, London ~[sm1951[nm. See also [cf2]Maja y el ruisenor.[c
m~G.P. [fy75,1]([sm1[nm) [fy45,1]*[fy75,1]General Pause, of [sm1[nm or [sm2[nm b
ars for all ~performers. ([sm2[nm) (Fr.). [cf2]Grand et positif[cf1], i.e. great
 and ~choir organs to be coupled.[cm~G.P.R.[fy75,1] (Fr.). [cf2]Grand-positif-r;
aaecit[cf1], i.e. great, choir, ~and swell organs to be coupled.[cm~G.R.[fy75,1]
 (Fr.).[cf2] Grand r;aaecit[cf1], i.e. great and swell organs ~to be coupled.[cm
~Grabu, Louis[fy75,1] (Grabut, Lewis) ([cf2]d[cf1] after [sm1694[nm). Fr. ~comp.
 and violinist. Settled in Eng. after [sm1665[nm, ~becoming Master of the Musick
 to Charles II. ~Comp. mus. for Dryden's[cf2] Albion and Albanius[cf1] ~([sm1685
[nm) and other plays.[cm~Grace Notes. [fy45,1]*[fy75,1]Ornaments in vocal and in
str. ~mus., indicated in very small notation.[cm~Gradual.[fy75,1
] ([sm1[nm) The Respond sung in the service of ~the Mass between the Epistle and
 Gospel.[ep~^([sm2[nm) The book containing the Concentus of the ~traditional pla
insong of the Mass, i.e. it is the ~choir's (or congregation's) mus. companion t
o[fj~the Missal=min which last the only mus. is the ~[fy45,1]*[fy75,1]Accentus o
r priest's parts.[cm~Gradualia.[fy75,1] Motets by William Byrd. Book I ~([sm1605
[nm) contains [sm32[nm for [sm5[nm vv., [sm20[nm for [sm4[nm, and [sm11[nm for ~
[sm3[nm; Book II ([sm1607[nm) contains [sm9[nm for [sm6[nm vv., [sm17[nm for [sm
5[nm, ~and [sm19[nm for [sm4[nm.[cm~Gradus ad Parnassum [fy75,1](Steps to Parnas
sus (the ~abode of the muses)). ([sm1[nm) Title of treatise on ~[fy45,1]*[fy75,1
]counterpoint by J. J. [fy45,1]*[fy75,1]Fux, [sm1725[nm.[ep~^([sm2[nm) Series of
 [sm100[nm studies by [fy45,1]*[fy75,1]Clementi, pub. ~[sm1817[nm ([sm50[nm ed.
[fy45,1]*[fy75,1]B;auulow; complete series ed. Vogrich, ~[sm1898[nm).[ep~^([sm3[
nm) [sm1[nmst piece in Debussy's [cf2]Children's Corner[cf1] is
~called [cf2]Dr Gradus ad Parnassum[cf1] (a parody of a ~Clementi study).[cm~Gra
f, Herbert [fy75,1]([cf2]b[cf1] Vienna, [sm1903[nm; [cf2]d[cf1] Geneva, [sm1973[
nm). ~Austrian (later Amer.) opera producer and impre~~sario, son of Max [fy45,1
]*[fy75,1]Graf. Studied Vienna Univ. ~with G. [fy45,1]*[fy75,1]Adler. Stage dir.
 at opera houses in ~M;auunster, Breslau, Frankfurt, and Basle. Went to ~[PN293,
0,0,R,I0]USA [sm1934[nm, staged opera in Philadelphia [sm1934[nm=n[sm5[nm, ~NY M
et. [sm1936[nm=n[sm60[nm, head of opera dept. Curtis ~Institute from [sm1949[nm.
 Dir., Z;auurich Opera, [sm1960[nm=n[sm3[nm, ~Geneva Opera from [sm1965[nm. Regu
lar prod. at ~Salzburg and Verona. CG [cf2]Parsifal[cf1] [sm1959[nm. Author ~of
books on opera.[cm~Graf, Max [fy75,1]([cf2]b [cf1]Vienna, [sm1873[nm; [cf2]d[cf1
] Vienna, [sm1958[nm). ~Austrian critic. Taught at Vienna Acad. of Mus. ~Lived i
n NY [sm1939[nm=n[sm45[nm. Author of books on ~Wagner, etc.[cm~Graffman, Gary [f
y75,1]([cf2]b[cf1] NY, [sm1928[nm). Amer. pianist. ~Studied Curt
is Institute and Columbia Univ., ~later with [fy45,1]*[fy75,1]Horowitz and [fy45
,1]*[fy75,1]Serkin. D;aaebut Phila~~delphia [sm1947[nm, Europe [sm1956[nm, follo
wed by world~~wide tours. Leventritt Award [sm1949[nm.[cm~Graf von Luxemburg, De
r[fy75,1] (Leh;aaar). See [cf2]Count of ~Luxemburg, The.[xm[cm~[j1]Graham, Colin
 [fy75,1]([cf2]b[cf1] Hove, [sm1931[nm). Eng. stage dir. ~and designer, opera pr
oducer. Art dir. [fy45,1]*[fy75,1]Eng. Mus. ~Th. from [sm1976[nm; dir. of prods.
, [fy45,1]*[fy75,1]Eng. Opera Group ~[sm1961[nm=n[sm75[nm; assoc. dir. of prod.
ENO [sm1967[nm=n[sm75[nm, dir. ~[sm1978[nm=n[sm80[nm., art. dir., Aldeburgh Fest
. from [sm1966[nm. ~Close assoc. with operas of Britten, notably the ~premi;ager
es of the [sm3[nm church parables. Opera prods. ~for Glyndebourne, CG, Scottish
Opera, Berlin, ~NY Met., etc. Librettist of [cf2]Penny for a Song[cf1] (R. R. ~B
ennett).[xm[cm~[j1]Graham, Martha [fy75,1]([cf2]b[cf1] Allegheny, [sm1894[nm). A
mer. ~dancer, choreog., teacher, and ballet co. dir. Began ~stud
ying at Denishawn [sm1916[nm, member of Deni~~[chshawn Dancers till [sm1923[nm.
Founded own co. [sm1929[nm. ~Developed own technique and became leading ~exponen
t of modern dance in USA, exerting ~enormous influence and producing many famous
 ~pupils. Comps. who wrote ballets for her co. incl. ~Hindemith, Hunter Johnson,
 Copland, Ch;aaavez, ~Barber, Menotti, Schuman, Dello Joio, Hovhaness, ~and Sete
r.[cm~Grainger, Percy [fy75,1](Aldridge) ([cf2]b[cf1] Brighton, Victoria, ~[sm18
82[nm; [cf2]d[cf1] White Plains, NY, [sm1961[nm). Australian-born ~composer and
pianist (Amer. citizen [sm1919[nm). ~Studied in Melbourne, later in Frankfurt [s
m1894[nm=n~[sm1900[nm, becoming pupil of [fy45,1]*[fy75,1]Busoni in Berlin. Came
 ~to notice in London, [sm1900[nm, and then toured ~extensively. In London in [s
m1906[nm he was befriended ~by [fy45,1]*[fy75,1]Grieg, who greatly admired his p
laying and ~invited him to Norway to make a special study of ~the pf. conc. in A
 minor, a work of which he ~remained a notable interpreter. Coll
ected and ed. ~Eng. folksongs, incl. [cf2]Brigg Fair[cf1], collected at N. ~Linc
s. mus. competition fest. at Brigg, [sm1905[nm. His ~arr. of it was admired by [
fy45,1]*[fy75,1]Delius, whose orch. ~rhapsody was based on this tune. Delius and
 ~Grainger remained close friends. Grainger's NY ~d;aaebut was in [sm1915[nm, af
ter which the USA became ~his home. Although best-known as a composer ~for his l
ighter works such as [cf2]Shepherd's Hey[cf1], ~usually based on traditional tun
es, his folksong ~arrs. for ch., e.g. [cf2]Shallow Brown[cf1], are original and
~impressive and won the admiration of Britten. ~He was a lifelong experimenter a
nd something ~of an eccentric, a very lively and stimulating ~figure. Prin. work
s:[xm[cm~[j2][smoriginal[nm: [smkeyboard[nm: [fy75,2]Over the Hills and Far Away
[cf1], ~[sm2[nm pf. ([sm1916[nm=n[sm18[nm); [cf2]Colonial Song[cf1], pf. ([sm191
4[nm); [cf2]Handel ~in the Strand[cf1], pf. ([sm1930[nm), [sm2[nm pf. ([sm1947[n
m); [cf2]Hill Song ~No. [sm1[nm[cf1], [sm2[nm pf. ([sm1921[nm),
 [cf2]No. [sm2[nm[cf1], [sm2[nm pf. ([sm1907[nm); [cf2]Mock ~Morris[cf1], pf. ([
sm1910[nm), [sm2[nm pf. ([sm1910[nm); Suite, [cf2]In a ~Nutshell[cf1], [sm2[nm p
f. ([sm1916[nm); [cf2]The Warriors[cf1], [sm2[nm pf., [sm6[nm ~hands ([sm1922[nm
); [cf2]Walking Tune[cf1], pf. ([cf2]c.[cf1][sm1905[nm).[ep~[smchamber[nm: [cf2]
Colonial Song[cf1], pf. trio ([sm1912[nm); [cf2]Handel in ~the Strand[cf1], pf.
trio ([sm1911[nm=n[sm12[nm); [cf2]Hill Song No. [sm1[nm[cf1], [sm22[nm ~instr. (
[sm1921[nm, rev. [sm1923[nm), [cf2]No. [sm2[nm[cf1], [sm22[nm wind/cymbal ~([sm1
907[nm, rev. [sm1911[nm, [sm1940[nm=n[sm6[nm); [cf2]Mock Morris[cf1], str. ~sext
et ([sm1910[nm), vn., pf. ([sm1910[nm); [cf2]Walking Tune[cf1], wind ~quintet ([
sm1900[nm=n[sm5[nm).[ep~[smorch[nm: [cf2]Colonial Song [cf1]([sm1905[nm=n[sm12[n
m, rev. [cf2]c.[cf1][sm1928[nm); [cf2]Handel ~in the Strand[cf1], str.  ([sm1932
[nm); [cf2]Mock Morris[cf1], str. ([sm1910[nm), ~orch. ([sm1914[nm); Suite, [cf2
]In a Nutshell [cf1]([sm1905[nm=n[sm16[nm); [cf2]The ~Warriors[c
f1], [sm3[nm pf., orch. ([sm1912[nm=n[sm16[nm).[ep~[smlarge wind ens[nm: [cf2]Co
lonial Song[cf1], band ([sm1918[nm); [cf2]Over ~the Hills and Far Away[cf1], ban
d, pf. ([sm1916[nm=n[sm9[nm); [cf2]Hill ~Song No. [sm2[nm[cf1], band ([sm1901[nm
, rev. [sm1911[nm, [sm1940[nm=n[sm6[nm); ~[cf2]Marching Song of Democracy[cf1],
band ([sm1948[nm).[ep~[smvocal and choral[nm: [cf2]Colonial Song[cf1], sop., ten
., hp., ~orch. ([sm1905[nm=n[sm12[nm, rev. [sm1914[nm), sop., ten., pf. trio ~([
sm1912[nm); [cf2]Danny Deever[cf1], male vv., orch./bar., male ~vv., pf. ([sm190
3[nm, [sm1922[nm=n[sm4[nm); [cf2]Marching Song of ~Democracy[cf1], ch., org., or
ch. ([sm1901[nm=n[sm17[nm); [cf2]Recessional[cf1], ~ch. ([sm1905[nm, [sm1929[nm)
.[ep~[smfolk[nm-[smsong settings[nm: [smkeyboard[nm: [fy45,1]*[fy75,2]Country Ga
rdens[cf1], ~pf. ([sm1908[nm=n[sm18[nm), [sm2[nm pf. ([sm1918[nm) orch. by L. Ar
tok; [cf2]Green Bushes[cf1], [sm2[nm pf., [sm6[nm ~hands ([sm1919[nm); [cf2]Iris
h Tune from Co. Derry [cf1]([fy45,1]*[fy75,2]London~~derry Air[c
f1]), pf. ([sm1911[nm); [cf2]Lincolnshire Posy[cf1], [sm2[nm pf. ~([sm1937[nm=n[
sm8[nm); [cf2]Molly on the Shore[cf1], pf. ([sm1918[nm), [sm2[nm pf. ~([sm1947[n
m); [cf2]My  Robin is to the Greenwood Gone[cf1], pf. ~([sm1912[nm); [cf2]Shephe
rd's Hey[cf1], pf. ([sm1911[nm), [sm2[nm pf. ([sm1947[nm); ~[cf2]Spoon River[cf1
], pf. ([sm1919[nm=n[sm22[nm), [sm2[nm pf. ([sm1932[nm, rev. ~[sm1946[nm).[ep~[c
f1][smchamber and instr[nm: [cf2]Early One Morning [cf1]([sm1901[nm, ~[sm1939[nm
=n[sm40[nm); [cf2]Green Bushes [cf1]([sm1905[nm=n[sm6[nm, rev. [sm1921[nm); [cf2
]Irish ~Tune from Co. Derry[cf1], str. and hn. ([sm1913[nm); [cf2]Molly ~on the
Shore[cf1], str. qt. ([sm1907[nm, rev. [cf2]c.[cf1][sm1911[nm), vn., pf. ~([sm19
14[nm); [cf2]My Robin is to the Greenwood Gone[cf1], [sm2[nm ~wind, [sm6[nm str.
 ([sm1904[nm, [sm1912[nm), pf. trio ([sm1912[nm); ~[cf2]Shepherd's Hey[cf1], [sm
11[nm or [sm12[nm instr. ([sm1908[nm=n[sm9[nm); [cf2]Spoon ~River[cf1], [sm2[nm
pf., harmonium ([sm1929[nm).[ep~[smorch[nm: [cf2]Irish Tune from
 Co. Derry[cf1], str. ([sm1913[nm); [cf2]Molly ~on the Shore[cf1], str. ([sm1907
[nm, rev. [cf2]c.[cf1][sm1911[nm), orch. ([sm1914[nm); ~[cf2]Shepherd's Hey[cf1]
, orch. ([sm1912[nm=n[sm3[nm); [cf2]Ye Banks and ~Braes[cf1], orch. ([sm1932[nm)
.[ep~[smlarge wind ens[nm: [cf2]Irish Tune from Co. Derry[cf1], band ~([sm1917[n
m); [cf2]Lincolnshire Posy[cf1], band ([sm1906[nm=n[sm37[nm); [cf2]Molly ~on the
 Shore[cf1], band ([sm1920[nm); [cf2]Shepherd's Hey[cf1], band ~([sm1918[nm); [c
f2]Spoon River[cf1], band ([sm1933[nm); [cf2]Ye Banks and ~Braes[cf1], band ([sm
1949[nm).[ep~[smvocal and choral[nm: [cf2]Bold  William Taylor[cf1] ([sm1908[nm)
; ~[fy45,1]*[fy75,2]Brigg Fair [cf1]([sm1906[nm, rev. [sm1911[nm); [cf2]Died for
 Love ~[cf1]([sm1906[nm=n[sm7[nm); [cf2]Early One Morning [cf1]([sm1901[nm, [sm1
939[nm=n[sm40[nm); ~[cf2]I'm Seventeen Come Sunday [cf1]([sm1905[nm=n[sm12[nm);
[cf2]Irish Tune ~from Co. Derry [cf1]([sm1902[nm, [sm1920[nm); [cf2]Shallow Brow
n ~[cf1]([sm1910[nm, rev. [sm1923[nm=n[sm5[nm); [cf2]Six Dukes W
ent A-Fishin' ~[PN294,0,0,L,I0][cf1]([sm1905[nm, [sm1910[nm=n[sm12[nm); [cf2]Sir
 Eglamore [cf1]([sm1904[nm, rev. [sm1912[nm=n~[sm3[nm); [cf2]Pretty Maid Milking
 Her Cow [cf1]([sm1920[nm); [cf2]Lost Lady ~Found [cf1]([sm1905[nm=n[sm10[nm); [
cf2]Men of Harlech [cf1]([sm1904[nm); [cf2]Three ~Ravens [cf1]([sm1902[nm, rev.
[sm1943[nm=n[sm9[nm); [cf2]Willow, Willow ~[cf1]([sm1898[nm=n[sm1911[nm); [cf2]Y
e Banks and Braes [cf1]([sm1901[nm).[cm~[j1]Gramm, Donald[fy75,1] ([cf2]b [cf1]M
ilwaukee, [sm1927[nm; [cf2]d [cf1]NY, ~[sm1983[nm). Amer. bass-bar. Studied Wisc
onsin Coll. of ~Mus. and Cons. [sm1935[nm=n[sm44[nm, Chicago Mus. Coll. ~[sm1944
[nm=n[sm9[nm. Opera d;aaebut Chicago [sm1944[nm. NY City ~Opera [sm1952[nm, NY M
et. [sm1964[nm, Glyndebourne [sm1975[nm ~([cf2]The Rake's Progress[cf1]). Sang i
n many European ~fests. and opera houses. Was Moses in US premi;agere ~of Schoen
berg's [cf2]Moses und Aron[cf1], Boston [sm1966[nm.[cm~Gramophone. [fy75,1]Month
ly magazine specializing ~in reviews and news of recordings and
technical ~equipment. Founded by Compton Mackenzie ~([sm1883[nm=n[sm1972[nm) in
April [sm1923[nm.[cm~Gramophone (Phonograph) Recordings.[fy75,1] The ~idea of re
cording sound by attaching a needle to ~a membrane vibrating in sympathy, and by
 ~allowing its point to mark a plate travelling at a ~fixed speed, dates from as
 early as the beginning ~of the [sm19[nmth cent., the object being to add to ~ac
oustical knowledge about the differences in the ~vibrations evoked by sounds of
various pitches ~and timbres. The Amer. Edison, in [sm1877[nm con~~structed such
 an apparatus, with the intention ~that it should be used in a `dictating machin
e': ~this he called [cf2]The Phonograph=mthe Ideal Amanuen~~sis[cf1], and the re
cords, on wax cylinders, he called ~phonograms. The vv. of many celebrities of t
he ~day were crudely preserved in this way (e.g. ~Gladstone, Irving, Tennyson) a
nd in [sm1878[nm Lily ~Moulton, an amateur singer, sang into Edison's ~device. O
ther musicians, incl. Brahms, made ~recordings in the [sm1880[nm
s.[ep~^Emile Berliner, a Ger.-born citizen of the USA, ~had by [sm1888[nm obtain
ed patents for important ~improvements=ma circular plate of a shellac ~mixture i
nstead of a waxed cylinder, and a ~horizontal motion of the needle instead of a
~perpendicular one (i.e. a motion making lateral ~impressions on the sides of a
spiral track instead ~of the previous `hill and dale' impressions), and ~his pri
nciples were in time developed and ~universally adopted. The patented title for
the ~instr. which played Berliner's discs was `gram~~mophone', but the less accu
rate `gramophone' ~was adopted.[ep~^The flat disc record led to a boom among ~co
mmercial cos. for preserving the vv. of cele~~brated singers. The first singer t
o record commer~~cially and to make a reputation thereby was the ~Russian sop. M
aria Mikhailova. Soon Calv;aae, Van ~Rooy, Plan;Alcon, Kirkby-Lunn, Albani, Maur
el, ~and Ben Davies were recorded, but it was the ten. ~[fy45,1]*[fy75,1]Caruso
who `made' the gramophone record. ~Instrumentalists, too, were r
ecorded, among ~them Grieg, Sarasate, Joachim, and Pugno. The ~historical import
ance of these discs is obvious, ~and many of them have been transferred on to ~m
odern records and tapes.[xm[cm~[xp[te~










[do29][j99]~~~~~~[sm153842[nm_GA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm03[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[s
m79[nm[cm[sm6[nm[cm[sm304[nm[cm~Collier[cm5[cm16.10.84[cm3[cm~~~~[ap[j1][fy75,1]
^So far the processes used had been purely ~`acoustic', the result of the direct
 action of sound ~vibrations. The human v. could be fairly satisfac~~torily and
faithfully recorded by this means, but ~attempts to record orch. mus. were crude
 and ~primitive. In [sm1925[nm appeared the earliest electri~~cally made records
, in which the vibrations had ~been received by means of a microphone and ~conve
rted into electrical vibrations, causing, in ~turn, mechanical vibrations in a s
teel or fibre ~needle travelling over the recording disc. It was ~found that by
the use of electric-made records ~operating at the standard speed of [sm78[nm re
volutions ~per minute, very much more faithful reproduc~~tions could be secured,
 and the acoustic-made ~record in time disappeared from the mark
et. The ~motive power of the Edison and early Berliner ~instrs. had been supplie
d by a handle turned by ~the operator. This was superseded by a clock-~spring de
vice, which in the more expensive instrs. ~was, in turn, superseded by electric
power ~obtained by plugging to the domestic electric ~circuit: such instrs. also
 reproduced the sounds ~by electric means, reversing the above process of ~elect
rical recording. The new apparatus was very ~commonly combined with one for the
reception ~of radio broadcasting, and called a radiogram. ~During the [sm1920[nm
s and [sm1930[nms recordings of most ~of the world's great orchs. and chamber gr
oups ~were made, the perf. of great artists such as ~Rakhmaninov, Kreisler, and
Heifetz were pre~~served, and the composers Elgar and Strauss cond. ~their own m
us. for the gramophone. Whole ~operas were issued, and the significance of the ~
gramophone as an educative force and as a means ~of widening the public's repert
ory became ~apparent.[ep~^A great disadvantage of the [sm78[nm r
pm record was ~that comps. were dissected into sides lasting less ~than [sm5[nm
minutes. An opera could run to [sm40[nm or ~more sides. It was in [sm1948[nm tha
t (in the USA) all ~the problems inherent in trying to combine a ~narrower groov
e and slower speed without loss ~of `high fidelity' throughout the greater part
of ~the range of audible frequencies were satisfactor~~ily solved.[ep~^This was
when the Columbia co. announced the ~long-playing (LP) disc. Attempts to introdu
ce LPs ~had been made in [sm1904[nm and [sm1931[nm, but the [sm1948[nm ~version
offered an average of [sm23[nm mins. per side at ~[sm33[nm rpm, with the advanta
ges of records made ~from non-breakable material, with greatly im~~proved record
ing techniques, and with light~~weight pick-ups and sapphire and diamond ~needle
s. At first there was some resistance and a ~`battle' between [sm33[nm and [sm45
[nm rpm (for short items). ~In Brit., Decca was the first firm to market LPs ~([
sm1950[nm), the EMI group not following until [sm1952[nm. ~Howev
er, the artistic advantage of being able to ~record a whole opera on [sm6[nm or
[sm8[nm sides, a Mozart ~sym. on [sm1[nm side, and to offer complete recitals by
 ~[PN295,0,0,R,I0]singers and instrumentalists on [sm1[nm record revolu~~tionize
d the industry and listening habits. The ~standards of recording improved consta
ntly with ~the advent of the record `producer' who, like an ~opera producer, gov
erned the whole recording ~process. It could be argued that the remarkable ~grow
th of the public appetite for the mus. of ~Mahler is partly due to the fact that
 LPs enabled ~his vast syms. to be recorded easily. The rise of ~the LP was para
lleled by the growth of high-~fidelity=m`Hi-fi'=mreproductive equipment=mthe ~co
upling of amplifier, speakers, pick-up, and ~needle-cartridge instead of the mas
s-produced ~radiogram.[ep~^The other great single factor in LP recording ~was th
e use of magnetic tape instead of wax or ~acetate for the orig. recording proces
s. Experi~~ments with tape were made, esp. in Ger., in the ~late
 [sm1930[nms and early [sm1940[nms. Tape enables long ~stretches of mus. to be r
ecorded without a break; ~it also enables flaws and errors to be corrected by ~t
he re-recording of the offending bar or two, so ~that a final recording may be,
and often is, a ~compilation of the best of several `takes', skilfully ~ed. The
next `recording revolution' was in [sm1958[nm ~with the introduction of stereoph
onic (as opposed ~to monophonic) sound, whereby the sound of ~instrs. or singers
 was as realistically `placed' as in ~the hall or opera house. Eventually `stere
o' ~replaced `mono' entirely; and demands for still ~more realistic and spectacu
lar sound led in the ~[sm1970[nms to `quadraphonic' recordings (which means ~tha
t the engineers have fed four independent ~signal channels into the master tape)
.[ep~^In [sm1979[nm recordings made by the even more ~accurate [cf2]digital [cf1
]tape process appeared on the ~market from Decca. This system of recording on ~t
ape differs from the conventional magnetic ~system in measuring
the shape of the changes in ~air pressure (sounds) so that the sounds received ~
through the microphone are stored in a computer ~as a series of numbers (digits)
. No matter how ~often the numbers are re-converted into sounds ~they cannot bec
ome distorted. Thus the tape ~recording is more accurate, has less background ~n
oise and no speed variations, and can be re-~recorded without loss in quality. I
n some digital ~systems the shapes are measured [sm40[nm,[sm000[nm times a ~seco
nd.[ep~^In [sm1983[nm the [cf2]compact disc [cf1]was introduced, ~bringing excep
tional clarity and dynamic range ~into recording. It is the first sound reproduc
tion ~system to dispense with contact between disc and ~stylus or between casset
te and tape-recorder heads. ~Thus any hiss or hum is eliminated, also any ~damag
e to the grooves. The compact disc has a ~coating of acrylic plastic to protect
it from ~scratches or other damage.[ep~^The rotating disc is played by a small l
ow-~powered laser which directs a beam of infra-red ~light on to
 it, translates a reflected message as a ~digital code and converts it into soun
d. The laser's ~collection and transference of the recorded ~message is achieved
 by a technology derived from ~computers. During recording, a machine makes ~a s
eries of sound `samples' at the rate of [sm44[nm,[sm000[nm ~per second. These ar
e converted into a binary ~code (noughts and ones). This code is inscribed in ~t
he form of billions of microscopic pits on the ~surface of the disc in a spiral
[sm2[nm;fD miles long (the ~disc has a diameter of [sm4[nm.[sm7[nm inches). The
laser reads ~the code by focusing on the line of dots as the ~disc rotates. When
 the laser fixes on one of the ~pits, its beams scatter. When it hits the reflec
ting ~surface between the pits, it shines back to produce ~a pattern which re-cr
eates the original binary ~code. The code is converted into electrical ~impulses
 and passed through amplifiers to the ~speakers in the normal way. The process w
as ~pioneered independently by Philips and the Sony ~Corporation
 of Japan, who joined in [sm1980[nm to ~produce the first players for the Europe
an market.[ep~^Of less commercial success at first was the issue ~of recordings
as tapes instead of discs (mono from ~[sm1951[nm, stereo from [sm1956[nm in the
USA). These did ~not appeal to the public until the introduction of ~the automat
ic cassette in [sm1965[nm. Soon the sales of ~cassettes threatened to rival thos
e of discs.[ep~^Alongside the enormous expansion of recording ~has developed the
 `literary' side of the gramo~~phone, not only expert reviewing, but the ~specia
lized compilation of lists of recordings ~made by individual artists, these bein
g known as ~[fy45,1]*[fy75,1]discographies.[xm[cm~[j1]Granados, Enrique[fy75,1]
(Granados y Campina) ([cf2]b[cf1] ~L;aaerida, [sm1867[nm; [cf2]d[cf1] at sea, [s
m1916[nm). Sp. comp. and ~pianist. Studied Barcelona (comp. with Pedrell). ~In P
aris [sm1887[nm=n[sm9[nm for pf. lessons from de B;aaeriot. ~Founded Soc. of Cla
ssical Concerts, Barcelona, ~[sm1900[nm, and his own pf. sch. Ac
ademia Granados, ~[sm1901[nm. Famous as brilliant pianist especially of his ~own
 comps. These pf. pieces are elegant and ~poetic; so are his songs, many of them
 in the style ~of [sm18[nmth-cent. tonadillas. Best-known of his orch. ~comps. i
s the Intermezzo from his opera [cf2]Goyescas[cf1]. ~He and his wife were drowne
d when the liner ~[cf2]Sussex[cf1] was torpedoed by a Ger. U-boat in the Eng. ~C
hannel. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Maria del Carmen [cf1]([sm1
898[nm), [cf2]Petrarca, Picarol[cf1] ~([sm1901[nm), [cf2]Follet[cf1] ([sm1903[nm
), [cf2]Gaziel[cf1] ([sm1906[nm), [cf2]Liliana[cf1] ([sm1911[nm), ~[fy45,1]*[fy7
5,2]Goyescas[cf1] ([sm1914[nm=n[sm15[nm).[ep~[smorch[nm: Suites: [cf2]Elisenda [
cf1]([cf2]c.[cf1][sm1910[nm), [cf2]Navidad, Suite ~Arabe, Suite Gallega; La Nit
del mor,[cf1] symphonic ~poem; [cf2]Serenata; Tres danzas espa;atnolas[cf1] (orc
h. de ~Grignon).[ep~[smvoice and piano[nm: [cf2]Colecci;aaon de canciones amator
ias; ~Colecci;aaon de tonadillas, escritas en estilo antiguo, [c
f1]etc.[ep~[smpiano[nm:[cf2] [sm10[nm Sp. Dances [cf1]([sm1892[nm=n[sm1900[nm);
[cf2][sm6[nm Pieces on Sp. ~Popular Songs; Rapsodia Aragonesa; Esc;aaenas Ro~~ma
nticas; [sm7[nm valses po;aaeticos; Bocetos; [sm6[nm Studies in ~Expression; [fy
45,1]*[fy75,2]Goyescas [cf1]([sm1911[nm).[cm~[j1]Gran Cassa[fy75,1] (It.). Big b
ox, i.e. bass drum.[cm~Gran coro[fy75,1] (It.). Full organ.[cm~[PN296,0,0,L,I0]G
rand ch;jdur[fy75,1] (Fr.), sometimes abbreviated to [cf2]Gd. ~ch;jdur[cf1] or[c
f2] Gd. Ch.[cf1] `Large Choir', or `Full Organ'.[cm~Grand Duke, The, or The Stat
utory Duel.[fy75,1] ~Comic opera by Sullivan, lib. Gilbert, their last ~and unsu
ccessful collaboration. Prod. London ~and Berlin [sm1896[nm, NY [sm1937[nm.[cm~G
rand Duo.[fy75,1] Sub-title given by publisher in [sm1838[nm ~to Schubert's Sona
ta in C major for pf., [sm4[nm hands ~([sm1824[nm, D[sm813[nm) comp. at Zseliz.
Once thought to ~be piano version of a `lost' symphony, but this ~theory is tota
lly discredited by recent  scholarship. ~Orch. versions by Joach
im and Anthony Collins.[cm~Grande Duchesse de G;aaerolstein, La.[fy75,2] Op;aaer
a ~bouffe[cf1] in [sm3[nm acts by Offenbach, lib. Meilhac and ~Hal;aaevy. Prod.
Paris, NY, and London [sm1867[nm.[xm[cm~[j1]Grande sonate path;aaetique.[fy75,1]
 Fr. title given by ~Beethoven to his pf. sonata in C minor, Op. [sm13[nm, ~comp
. [sm1798[nm=n[sm9[nm.[cm~Grandezza[fy75,1] (It.). Grandeur, dignity. [fy65][cf3
]Grandioso[fy75,1] ~(It.). With dignity.[cm~Grandi, Alessandro [fy75,1]([cf2]b [
cf1]?[sm1575[nm; [cf2]d[cf1] Bergamo, [sm1630[nm). ~It. composer of motets, madr
igals, and church ~mus. Choirmaster at Ferrara Cath. in [sm1615[nm. In ~[sm1617[
nm he was vice-maestro di cappella to Monte~~[chverdi at St Mark's, Venice; and
from [sm1627[nm he ~worked at Bergamo.[cm~Grand jeu[fy75,1] (Fr.). Full organ (o
r harmonium, of ~which a combination stop is so named).[cm~Grand Macabre, Le[fy7
5,1] (The Great Macabre). Opera ~in [sm2[nm acts by [fy45,1]*[fy75,1]Ligeti, lib
. M. Meschke and comp., ~freely adapted from M. de Ghelderode. P
rod. ~Stockholm [sm1978[nm, cond. Elgar Howarth who also ~cond. f. Eng. p. ENO [
sm1982[nm (trans. by G. Skelton).[cm~Grand' Messe des Morts[fy75,1] (High Mass f
or the ~Dead). Fr. title of [fy45,1]*[fy75,1]Berlioz's Requiem Mass, Op. ~[sm5[n
m, for ten., boys' ch., ch., and orch., commissioned ~[sm1836[nm and f.p. Paris,
 Dec. [sm1837[nm.[cm~Grand Opera.[fy75,1] Imprecise term, generally taken ~to me
an either (a) opera in which every note of ~the lib. is sung, i.e. no spoken dia
logue, or (b) ~`serious' opera as distinct from operetta. [cf2]Grand ~op;aaera[c
f1] (Fr.) means an epic or historical work in [sm4[nm ~or [sm5[nm acts, using th
e ch. and incl. a ballet.[cm~Grand orchestre[fy75,1] (Fr.). ([sm1[nm) Full orche
stra.[ep~^([sm2[nm) Large orchestra.[cm~Grand orgue [fy75,1](Fr.). ([sm1[nm) Ful
l organ or Great Organ ~(see[cf2] Organ[cf1]). ([sm2[nm) Pipe Organ=mas distinct
 from Reed Organ, ~i.e. from American organ or cabinet organ.[xm[cm~[j1]Grand Pr
ix de Rome.[fy75,1] [sm1[nmst prize in the [fy45,1]*[fy75,2]Prix
 de ~Rome [cf1]contest of the Fr. Acad. of Fine Arts.[cm~Grand staff,[fy75,1] or
[fy65][cf3] Grand stave.[fy75,1] See [cf2]Great Staff.[cm~[ln1]Grange, Philip [f
y75,1]([cf2]b [cf1]London, [sm1956[nm). Eng. composer. ~Attended Dartington Summ
er School of Mus. ~[sm1975[nm=n[sm81[nm, receiving guidance from Maxwell ~Davies
 and Hans Keller. Studied at York Univ. ~[sm1976[nm=n[sm9[nm (comp. with David B
lake and privately ~with Maxwell Davies, cl. with Alan Hacker). ~Works incl. [cf
2][sm3[nm Piano Pieces [cf1]([sm1976[nm); pf. sonata ~([sm1978[nm); [cf2]Cimmeri
an Nocturne[cf1], chamber ens. ([sm1979[nm); ~Sextet for wind quintet and pf. ([
sm1980[nm); [cf2][sm3[nm Pieces[cf1], ~cl. and orch. ([sm1981[nm); [cf2]The King
dom of Bones[cf1], mus. ~th. ([sm1982[nm=n[sm3[nm); [cf2]Nocturnal Image[cf1], v
c., pf. ([sm1984[nm).[cm~Grania and Diarmid.[fy75,1] Play by W. B. Yeats and ~Ge
orge Moore for which Elgar wrote incidental ~mus. Op. [sm42[nm, Dublin Gaiety Th
., [sm21[nm Oct. [sm1901[nm. ~Most frequently played item is the
 [cf2]Funeral March[cf1], ~f. London p. [sm1902[nm.[cm~Graphic Scores. [fy75,1]S
cores by [sm20[nmth-cent. [cf2]avant-garde[cf1] ~composers which employ drawn vi
sual analogues ~in order to convey the composer's intentions with ~regard to the
 required sounds and textures. ~Earliest example is thought to have been [fy45,1
]*[fy75,1]Feld~~man's [cf2]Projections[cf1] [sm1950[nm=n[sm1[nm. Some graphic sc
ores ~indicate distinct mus. parameters, as in Feldman, ~Stockhausen, and Ligeti
. Others deliberately omit ~any notational sign or mus. indication, seeking ~onl
y to stimulate the performer's creativity. ~Examples by Bussotti and Earle Brown
 are often ~pictorially delightful if musically enigmatic. (See example from Log
othetis's [cf2]Agglomeration [cf1]on facing page.)[cm~Grappelli, Stephane [fy75,
1]([cf2]b [cf1]Paris, [sm1908[nm). Fr. jazz ~violinist. Had classical training a
nd turned to jazz ~in late [sm1920[nms. Formed Quintet of the Hot Club of ~Franc
e [sm1934[nm with the guitarist Django Reinhardt. ~Lived in Eng.
 [sm1940[nm=n[sm8[nm. In [sm1973[nm formed popular ~partnership with [fy45,1]*[f
y75,1]Menuhin, resulting in record~~ings, later with Nigel [fy45,1]*[fy75,1]Kenn
edy.[cm~Graubart, Michael[fy75,1] ([cf2]b[cf1] Vienna, [sm1930[nm). Austrian-~bo
rn comp., cond., teacher, and flautist. Studied ~Manchester Univ., and privately
 with Seiber ~(comp.), Gilbert (fl.), and Lawrence Leonard ~(cond.). Freelance f
lautist [sm1953[nm=n[sm7[nm. Cond. amateur ~orchs. and choirs from [sm1953[nm. T
eacher and cond. ~at Morley Coll. from [sm1966[nm, dir. of music from ~[sm1969[n
m. Ed. of works by Monteverdi, Dufay, and ~Pergolesi. Comps. incl. va. concertin
o, [cf2]Aria[cf1] for ~orch., and works incorporating elec. tape.[cm~Graun, Karl
 [fy75,1](Heinrich) [cf1]([cf2]b[cf1] Wahrenbr;auuck, Saxony, ~[cf2]c.[cf1][sm17
04[nm; [cf2]d[cf1] Berlin, [sm1759[nm). Ger. ten. and comp. Sang ~as ten. at Bru
nswick Opera [sm1725[nm, but became [sm2[nmnd ~Kapellmeister there [sm1726[nm an
d wrote several ~operas. Entered service of Crown Prince Frederi
ck ~at Rheinsberg [sm1735[nm. When Frederick (the Great) ~became King, Graun was
 made cond. of Berlin ~Royal Opera, [sm1740[nm, for which he wrote [sm26[nm It.
~operas, incl. [cf2]Rodelinda[cf1] ([sm1741[nm) and [cf2]Ezio[cf1] ([sm1755[nm),
 and ~dramatic cantatas. Also wrote Passion-cantata[cf2] Der ~[fy45,1]*[fy75,2]T
od Jesu[cf1] ([sm1755[nm). Instr. works incl. hn. conc.[cm~Graupner, Christoph[f
y75,1] ([cf2]b [cf1]Kirchberg, [sm1683[nm; [cf2]d[cf1] ~Darmstadt, [sm1760[nm).
Ger. comp. Pupil of Kuhnau. ~Court cond. at Darmstadt from [sm1712[nm. Wrote [sm
9[nm ~operas, [sm113[nm syms., [sm50[nm concs., kbd. works, and ~over [sm1[nm,[s
m000[nm pieces of church mus.[cm~[PN297,0,0,R,I0]Grave[fy75,1] (It., Fr.). ([sm1
[nm, as a term of expression), slow ~and solemn.[ep~^([sm2[nm, as a term of pitc
h), low.[ep~^([sm3[nm, in Fr. org. mus.)[cf2] octaves graves[cf1] means sub-~oct
ave coupler.[cm~Grave Mixture.[fy75,1] Org. [fy45,1]*[fy75,2]mixture stop[cf1] o
f [sm2[nm ranks ~([sm12[nmth and [sm15[nmth).[cm~Graves, Alfred
[fy75,1](Perceval)[cf1] ([cf2]b[cf1] Dublin, [sm1846[nm; [cf2]d[cf1] ~Harlech, [
sm1931[nm). Irish poet, folksong collector, and ~sch. inspector.  Collab. with S
tanford in publica~~tion of Irish folksongs, many of which he ~collected, incl.
the Co. Kerry tune for which he ~wrote the words [cf2]Father O'Flynn[cf1]. Provi
ded first ~two sets of words for tune [fy45,1]*[fy75,2]Londonderry Air.[cf1] ~Fa
ther of poet Robert Graves.[xm[cm~[ls1][bm2][cc27][ai21][ol0][ep~[em[cc13][lx[xp
[te~






[do29][j99]~~~~~~[sm153842[nm_GA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm04[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm26[nm.[sm9[nm.[s
m79[nm[cm[sm6[nm[cm[sm343[nm[cm~Tuf[cm[sm5[nm[cm[sm13.10.84[nm[cm~U[sm5[nm[cm~~~
~[ap[ol0][ep~[j1]Gravicembalo[fy75,1] (It., probably corruption of[fj~[fy45,1]*[
fy75,2]clavicembalo[cf1]). The hpd.[cm~Gray, Alan[fy75,1] ([cf2]b[cf1] York, [sm
1855[nm;[cf2] d[cf1] Cambridge, [sm1935[nm). ~Eng. org. and comp. Mus. dir. Well
ington Coll. ~[sm1883[nm=n[sm92[nm. Organist, Trinity Coll., Cambridge, ~[sm1892
[nm=n[sm1912[nm. Pupils incl. Vaughan Williams. ~Cond. Cambridge Univ. Music Soc
. Comps. incl. ~cantatas[cf2] Arethusa[cf1] ([sm1892[nm),[cf2] The Vision of Bel
shazzar[cf1] ~([sm1896[nm), [cf2]Song of Redemption[cf1] ([sm1898[nm). Also [cf2
]Coronation ~March,[cf1] chamber mus., and org. pieces.[cm~Gray, Cecil[fy75,1] (
[cf2]b[cf1] Edinburgh, [sm1895[nm; [cf2]d[cf1] Worthing, ~[sm1951[nm). Scot. com
p. and critic. Studied Edinburgh ~Univ. and in Birmingham with [
fy45,1]*[fy75,1]Bantock. Settled ~in London [sm1915[nm. Joint ed. with Philip [f
y45,1]*[fy75,1]Heseltine ~of periodical [cf2]The Sackbut[cf1]. Mus. critic[cf2]
Nation and ~Athenaeum[cf1] [sm1925[nm=n[sm30[nm, [cf2]Daily Telegraph[cf1] [sm19
28[nm=n[sm32[nm,[cf2] ~Manchester Guardian[cf1] [sm1932[nm. Wrote [sm3[nm operas
 to his ~own libs.:[cf2] Deirdre, Temptation of St Anthony[cf1], and ~[cf2]The T
rojan Women.[cf1] His reputation rests on his ~books, which incl. [cf2]A Survey
of Contemporary Music ~[cf1]([sm1924[nm), [cf2]Carlo Gesualdo, Musician and Murd
erer[cf1] ~(with P. Heseltine) ([sm1926[nm), [cf2] History of Music[cf1] ([sm192
8[nm), ~[cf2]Sibelius[cf1] ([sm1931[nm),[cf2] Peter Warlock[cf1] ([sm1934[nm),[c
f2] Predicaments[cf1] ~([sm1936[nm), and[cf2] Contingencies[cf1] ([sm1947[nm).[c
m~Gray, Linda Esther [fy75,1]([cf2]b [cf1]Greenock, [sm1948[nm). Scottish ~sopra
no, pupil of Eva [fy45,1]*[fy75,1]Turner. John Christie ~award [sm1973[nm. Opera
 d;aaebut as Mimi with Glynde~~bourne Touring Opera, [sm1972[nm.
 Sang Elektra in ~Mozart's [cf2]Idomeneo[cf1], Glyndebourne [sm1974[nm, Paris ~[
sm1976[nm. ENO d;aaebut [sm1978[nm (Micaela in [cf2]Carmen[cf1], then ~Aida, Tos
ca, and Isolde). Isolde with WNO, cond. ~Goodall, [sm1979[nm. Amer. d;aaebut Dal
las [sm1981[nm (Sieg-[fjlinde in [cf2]Die Walk;auure[cf1]). Also sings in orator
io, etc.[cm~Gray, Stephen [fy75,1]([cf2]b[cf1] Guildford, [sm1923[nm). Eng. pian
ist, ~oboist, and administrator. Founder, Chelsea Op~~era Group [sm1950[nm. Gen.
 manager LPO [sm1957[nm=n[sm9[nm, ~Philharmonia Orch. [sm1959[nm=n[sm64[nm, Roya
l Liverpool ~P.O. from [sm1964[nm.[cm~Grazia; grazioso; graziosamente[fy75,1] (I
t.). Grace; ~graceful; gracefully.[cm~Great Organ[fy75,1] (Great). Chief divisio
n (manual and ~its controlled equipment) of an org. Full org. is ~[PN298,0,0,L,I
0]always played from the Great kbd. coupled to ~other divisions.[xm[cm~[j1]Great
 Staff[fy75,1] or[fy65][cf3] Great Stave[fy75,1] [ln2](or grand staff or ~stave)
. Notational device introduced by mus. ~pedagogues for the purpo
se of explaining the ~clefs=m[ep~[ep~[ol1][ep~___and_|^or[ep~[ep~[ol1][ep~The tw
o staves in common use are brought near ~together. It suffices then to place bet
ween them ~one extra line for Middle C (`middle' in a double ~sense: in the midd
le of this diagram, as it is in the ~middle of the piano kbd.). The C clef is pl
aced on ~this line. The treble (or G) clef now comes [sm2[nm lines ~above and th
e Bass (or F clef) [sm2[nm lines below.[ep~^The Treble Staff, Bass Staff, Sopran
o Staff (in ~some choral use in Ger. still), the[cf2] Alto Staff[cf1] (in use ~i
n older choral mus., in mus. for the viola, etc.) ~and the [cf2]Tenor Staff[cf1]
 (in use in the older choral ~mus., for the tb., etc.) are seen as sections of t
he ~`Great Staff=+=+', with Middle C as the pivot.[cm~Greaves, Terence [fy75,1](
[cf2]b[cf1] Hodthorpe, Derbyshire, ~[sm1933[nm). Eng. comp., pianist, and teache
r. Royal ~Signals Staff Band [sm1952[nm=n[sm7[nm. On staff Birmingham ~Sch. of M
us. [sm1962[nm=n[sm73[nm (dir. of studies [sm1970[nm=n[sm3[nm);
~dean of development RNCM from [sm1973[nm.[cm~Grechaninov, Alexander [fy75,1](Ti
khonovich)[cf1] ([cf2]b[cf1] Mos~~cow, [sm1864[nm; [cf2]d[cf1] NY, [sm1956[nm).
Russ. composer. Pf. pupil ~of Safonov, Moscow Cons., and comp. pupil of ~Rimsky-
Korsakov, St Petersburg Cons. Left Russia ~for Fr. [sm1925[nm, settled in USA [s
m1939[nm becoming ~Amer. citizen  [sm1946[nm. Comps. in traditional idiom ~showi
ng no sign of modern influences. Master of ~choral mus. Works incl. operas, cant
atas, [sm5[nm syms., ~fl. conc., [sm4[nm str. qts., vn. sonata, vc. sonata, cl.
~sonata, [sm258[nm songs, [sm14[nm vocal qts., masses, and pf. ~pieces.[cm~Greef
, Arthur de [fy75,1]([cf2]b[cf1] Louvain, [sm1862[nm; [cf2]d[cf1] Brussels, ~[sm
1940[nm). Belg. pianist and composer. Studied with ~Liszt at Weimar. Prof. at Br
ussels Cons. from ~[sm1885[nm. Toured widely. Especial champion of mus. ~of his
friend Grieg. Comp. sym., works for pf. ~and orch., and songs.[cm~Green.[fy75,1]
 Poem by Verlaine set for v. and pf. by ~Debussy, [sm1887[nm=n[s
m8[nm, as No. [sm5[nm of [fy45,1]*[fy75,2]Ariettes oubli;aaees[cf1], ~and by Fau
r;aae, [sm1891[nm, as No. [sm3[nm of [sm5[nm [cf2]M;aaelodies[cf1], Op. ~[sm58[n
m.[cm~Green, Gordon[fy75,1] ([cf2]b[cf1] Barnsley, [sm1905[nm; [cf2]d [cf1]Londo
n, ~[sm1981[nm). Eng. pianist and teacher. Studied RMCM ~and privately with [fy4
5,1]*[fy75,1]Petri. Prof. of pf., RMCM ~and RNCM from [sm1945[nm, RAM from [sm19
62[nm. John ~[fy45,1]*[fy75,1]Ogdon among pupils. O.B.E. [sm1981[nm.[cm~Green, S
amuel [fy75,1]([cf2]b [cf1][sm1740[nm; [cf2]d[cf1] Isleworth, [sm1796[nm). Eng.
~org. builder. Built instrs. in Canterbury, Roches~~ter, and Salisbury Caths., a
lso in many churches.[cm~Greenbaum, Hyam[fy75,1] ([cf2]b [cf1]Brighton, [sm1901[
nm; [cf2]d[cf1] Bed~~ford, [sm1942[nm). Eng. cond. and violinist. Member of ~Que
en's Hall Orch. and Brosa Qt. Cond. BBC TV ~Orch. [sm1936[nm=n[sm9[nm, BBC Revue
 Orch. [sm1939[nm=n[sm42[nm.[cm~Greenberg, Noah[fy75,1] ([cf2]b[cf1] NY, [sm1919
[nm; [cf2]d[cf1] NY, [sm1966[nm). ~Amer. cond. and mus. ed., spe
cializing in ~medieval and Renaissance mus. Founded NY Pro ~Musica [sm1952[nm to
 perf. early mus. in authentic ~fashion. In [sm1958[nm revived medieval drama [c
f2]The Play ~of Daniel[cf1], touring Europe with it in [sm1960[nm.[cm~Greene, Ha
rry Plunket[fy75,1] ([cf2]b[cf1] Old Connaught ~House, Co. Wicklow, [sm1865[nm;
[cf2]d[cf1] London, [sm1936[nm). ~Irish bass-bar. Studied Stuttgart, Florence, a
nd ~London. Sang in London concerts from [sm1888[nm, ~opera from [sm1890[nm, but
 later confined himself to ~songs and oratorio. [sm1[nmst interpreter of songs,
some ~written for him, by Parry, Stanford, and Vaughan ~Williams. [sm1[nmst sing
er of bass parts in Elgar's [cf2]Dream ~of Gerontius[cf1], [sm1900[nm. Later bec
ame teacher. Wrote ~biography of Stanford and [cf2]Interpretation in Song[cf1] ~
([sm1924[nm).[cm~Greene, Maurice [fy75,1]([cf2]b [cf1]London, [sm1696[nm; [cf2]d
[cf1] London, ~[sm1755[nm). Eng. comp. and organist. Organist of St ~Paul's Cath
., London, [sm1718[nm, and Chapel Royal, ~[sm1727[nm. Master of
the King's Musick, [sm1735[nm. Prof. of ~mus., Cambridge Univ. from [sm1730[nm.
Began great ~collection of Eng. cath. mus. which he bequeathed ~to [fy45,1]*[fy7
5,1]Boyce, who completed and pubd. it. Comp. ~anthems (best-known [cf2]Lord let
me know my end[cf1]), ~oratorios, org. pieces, opera, and songs.[cm~Greensleeves
.[fy75,1] Old Eng. tune twice mentioned ~by Shakespeare in [cf2]The Merry Wives
of Windsor[cf1] ~and by other writers of this and later periods. It is ~first re
ferred to in the Stationers' Co. Register in ~[sm1580[nm, when it is called `a n
ew Northern Dittye', ~but there is evidence that it is of earlier date. ~There s
eem to be many ballads to the tune, also ~some examples of its conversion to sac
red use, as, ~for instance (again in [sm1580[nm), `Green Sleeves ~moralized to t
he Scripture'. During the Civil War ~of the [sm17[nmth cent. `Greensleeves' was
a party tune, ~the Cavaliers setting many political ballads to it. ~From this pe
riod the tune is sometimes known ~as [cf2]The Blacksmith[cf1], u
nder which name Pepys alludes ~to it ([sm23[nm April [sm1660[nm). The tune is su
ng by Mistress ~Ford in Act [sm3[nm of Vaughan Williams's opera [cf2]Sir ~John i
n Love[cf1] (based on [cf2]The Merry Wives[cf1]) to the ~words printed in[cf2] A
 Handefull of Pleasant Delites[cf1], ~[sm1584[nm. An orch. fantasia from the ope
ra is ~frequently played. The tune is also used by [fy45,1]*[fy75,1]Holst ~[PN29
9,0,0,R,I0]in his [cf2]St Paul's Suite[cf1] for strs. and in his [cf2]Suite No.
[sm2[nm ~[cf1]for military band.[cm~Gregor, Bohumil [fy75,1]([cf2]b[cf1] Prague,
 [sm1926[nm). Cz. conduc~~tor. Studied Prague Cons. Ass. cond. Brno Opera, ~[sm1
949[nm=n[sm51[nm, mus. dir. Ostrava Opera [sm1958[nm=n[sm62[nm, cond. ~Prague Na
t. Th. [sm1962[nm=n[sm6[nm, Stockholm Opera [sm1966[nm=n~[sm9[nm, Hamburg Opera
[sm1969[nm=n[sm72[nm. Specialist in operas ~of Jan;aaa;akcek. Brit. d;aaebut Edi
nburgh Fest. [sm1964[nm ~([cf2]From the [fy45,1]*[fy75,2]House of the Dead[cf1])
, Amer. d;aaebut, San ~Francisco [sm1969[nm ([fy45,1]*[fy75,2]Je
n;anufa[cf1]).[cm~Gregor, Joseph[fy75,1] ([cf2]b[cf1] Czernowitz, now Cern;Akaut
i, ~[sm1888[nm; [cf2]d[cf1] nr. Vienna, [sm1961[nm). Austrian writer and ~libret
tist. Studied th. prod. with Max Reinhardt ~and mus. with Robert Fuchs. On staff
 Vienna ~Nat. Library from [sm1918[nm, founding theatrical ~archive [sm1922[nm a
nd motion-picture archive [sm1929[nm. ~Wrote [sm3[nm opera libs. for Richard Str
auss, [fy45,1]*[fy75,2]Friedens~~[chtag, [fy45,1]*[fy75,2]Daphne[cf1], and [cf2]
Die [fy45,1]*[fy75,2]Liebe der Danae. [cf1]Wrote ~books on Viennese th. history,
 also on Strauss and ~Clemens Krauss. Correspondence with Strauss ~pubd. [sm1955
[nm.[cm~Gregorian Chant. [fy75,1]Solo and unison plainsong ~choral chants assoc.
 with Pope Gregory I which ~became the fundamental mus. of the R.C. Church. ~See
 [cf2]Plainsong.[cm~Gregorian Tones. [fy75,1]The [sm8[nm plainsong melodies ~pre
scribed for the psalms in the R.C. Church, one ~in each of the [sm8[nm modes. Th
ey have alternative ~endings (or `inflexions') so as to connect
properly ~with the various following [fy45,1]*[fy75,1]antiphons. The ~[fy45,1]*[
fy75,2]Tonus Peregrinus[cf1] is additional to the [sm8[nm.[cm~Gregson, Edward [f
y75,1]([cf2]b[cf1] Sunderland, [sm1945[nm). Eng. ~comp. Studied RAM [sm1963[nm=n
[sm7[nm with Alan Bush. ~Lecturer in mus. at Goldsmiths' Coll. Works ~mainly for
 brass band, incl. brass quintet, [cf2][sm3[nm Dance ~Episodes[cf1] for brass oc
tet and perc., [cf2]Essay, The ~Plantagenets, Concerto Grosso, Prelude and Capri
ccio, ~March Prelude,[cf1] tuba conc., tpt. conc., tb. conc., ~and [cf2]Metamorp
hoses.[cm~Greindl, Josef [fy75,1]([cf2]b[cf1] Munich, [sm1912[nm). Ger. bass. ~S
tudied Munich where he made d;aaebut [sm1935[nm. ~Berlin Staatsoper [sm1942[nm=n
[sm8[nm, St;auadtische Oper from ~[sm1948[nm, Vienna Staatsoper from [sm1956[nm.
 Bayreuth ~[sm1943[nm, leading bass from [sm1951[nm. Guest appearances ~(esp. in
 Wagner) in London, USA, It. Prof. of ~singing, Vienna Hochschule from [sm1973[n
m.[cm~Grelots[fy75,1] (Fr.). Little bells (e.g. sleigh bells, so
me~~times used in the orch.).[cm~Grenadiere, Die beiden[fy75,1] (The Two Grenadi
ers). ~Song for v. and pf. by R. Schumann, to poem by ~H. Heine ([sm1797[nm=n[sm
1856[nm), being No. [sm1[nm of [cf2]Romanzen ~und Balladen[cf1], Vol. II, Op. [s
m49[nm ([sm1840[nm). Also set by ~Wagner for v. and pf., [sm1840[nm.[cm~Gresham
Professorship. [fy75,1]In the will of Sir ~Thomas Gresham ([cf2]c[cf1].[sm1519[n
m=n[sm79[nm), founder of Lon~~don Royal Exchange, provision was made for [sm7[nm
 ~professorships in various subjects and for a lecture ~on mus. John [fy45,1]*[f
y75,1]Bull was first mus. prof. ([sm1596[nm=n~[sm1607[nm). Later incumbents have
 incl. Sir Frederick ~Bridge, Sir Walford Davies, and Peter Latham.[cm~Gretchen
am Spinnrade [fy75,1](Gretchen at the Spin~~ning-wheel). Song for v. and pf. by
[fy45,1]*[fy75,1]Schubert to ~text from Goethe's [cf2]Faust[cf1], comp. [sm19[nm
 Oct. [sm1814[nm ~(D|[sm118[nm).[cm~Gr;aaetry, Andr;aae Ernest Modeste [fy75,1](
[cf2]b[cf1] Li;agege, [sm1741[nm; [cf2]d[cf1] ~Montmorency, Pari
s, [sm1813[nm). Belg. composer. ~Comp. mass for [sm4[nm vv. [sm1759[nm, thereby
winning ~patronage enabling study in Rome [sm1761[nm=n[sm5[nm. His ~intermezzo [
cf2]La Vendemmiatrice[cf1] was successfully ~prod. [sm1765[nm. Visited Geneva, w
here he met ~Voltaire, and returned to Paris [sm1767[nm. In Paris his ~[cf2]op;a
aeras comiques[cf1], from [cf2]Le Tableau parlant[cf1], [sm1769[nm, ~quickly fou
nd favour. During the next [sm35[nm years ~he wrote some [sm50[nm operas, of whi
ch the best were ~[fy45,1]*[fy75,2]Z;aaemire et Azor[cf1] ([sm1771[nm), [cf2]L'A
mant jaloux[cf1] ([sm1778[nm), ~[cf2]L';aaEpreuve villageoise[cf1] ([sm1784[nm),
 [cf2]La Caravane du Caire[cf1] ~([sm1783[nm) and [cf2]Panurge dans l';afile des
 lanternes [cf1]([sm1785[nm). ~His finest work is said to be his most serious ~o
pera, [fy45,1]*[fy75,2]Richard Coeur de Lion[cf1] ([sm1784[nm). Also comp. ~requ
iem, motets, str. qts., [sm6[nm pf. sonatas, fl. conc., ~and songs. His melodic
gift was immense, but his ~lack of mastery of harmony and counte
rpoint ~was a permanent defect. Wrote several treatises. ~Standard edn. of his w
orks in [sm42[nm vols. financed by ~Belg. Govt. from [sm1883[nm.[cmGrieg, Edvard
 [fy75,1](Hagerup) [cf1]([cf2]b[cf1] Bergen, [sm1843[nm; [cf2]d[cf1] ~Bergen, [s
m1907[nm). Norweg. composer, cond., and ~pianist. (Great-grandfather was Scotsma
n named ~Greig.) Early tuition from mother, who was ~gifted pianist. On advice o
f violinist Ole [fy45,1]*[fy75,1]Bull, ~went to study at Leipzig Cons., working
so hard ~that his health was permanently impaired. Settled ~in Copenhagen, being
 encouraged (but not ~taught) by [fy45,1]*[fy75,1]Gade. In [sm1865[nm=n[sm6[nm v
isited Rome where ~he comp. his concert ov. [cf2]In Autumn[cf1] which later ~won
 Stockholm Acad. of Mus. prize. Married his ~cousin, the sop. Nina Hagerup in [s
m1867[nm, she being ~the inspiration and interpreter of many of his ~songs. Sett
ling in Christiania (Oslo), became ~teacher and cond. His comps. earned admirati
on ~of Liszt, whom he met in Rome [sm1870[nm where ~Liszt played
 Grieg's pf. conc. from MS. at sight. ~In [sm1874[nm Grieg received life annuity
 from Norweg. ~Govt. and was asked by Ibsen to write incidental ~mus. to [cf2]Pe
er Gynt. [cf1]This had its f.p. in [sm1876[nm and ~made Grieg a nat. figure. He
was a great favourite ~in Eng., where he and his wife gave recitals. He ~receive
d Hon.D.Mus. Cambridge [sm1894[nm and Ox~~ford [sm1906[nm. Befriended Delius and
 Percy Grainger. ~Grieg's mus. eschews the larger forms of opera ~and sym. (he w
rote a sym. in [sm1864[nm but forbade ~perfs. after a few had been given, though
 this ~edict has been posthumously ignored) but within ~his chosen scale it is d
eeply poetic, superbly ~fashioned, and, in the songs especially, emotion~~ally p
assionate. His nationalist idiom transcends ~local boundaries by reason of the s
trong indi~~[chviduality of his work. Comps. incl.:[xm[cm~[PN300,0,0,L,I0][j2][s
mincidental music[nm: [fy45,1]*[fy75,2]Sigurd Jorsalfar [cf1](Bj;uprnson), ~Op.
[sm22[nm ([sm1872[nm); [fy45,1]*[fy75,2]Peer Gynt [cf1](Ibsen),
Op. [sm23[nm ([sm1874=n~5[nm, rev. [sm1885[nm, [sm1891=n2[nm).[ep~[smorch[nm: [f
y75,2]In Autumn[cf1], concert ov., Op. [sm11[nm ([sm1866[nm); ~[fy45,1]*[fy75,2]
Peer Gynt[cf1], suite No. [sm1[nm from incid. mus., ~Op. [sm46[nm ([sm1874=n5[nm
, rev. [sm1885[nm, [sm1891=n2[nm), suite No. [sm2[nm, ~Op. [sm55[nm ([sm1874=n5[
nm, rev. [sm1891[nm and [sm1892[nm); [sm3[nm pieces ~from incid. mus. for [fy45,
1]*[fy75,2]Sigurd Jorsalfar[cf1], Op. [sm56[nm ~([sm1872[nm, rev. [sm1892[nm); [
fy45,1]*[fy75,2]Lyric Suite[cf1] (orch. of [sm4[nm items ~from Op. [sm54[nm for
pf.) ([sm1904[nm); pf. conc., Op. [sm16[nm ~([sm1868[nm, rev. [sm1906=n7[nm); [c
f2][sm2[nm Elegiac Melodies [cf1]([cf2]Heart's ~Wounds[cf1] and[cf2] Last Spring
[cf1]), Op. [sm34[nm (version for str. ~of [sm2[nm songs from Op. [sm33[nm); [fy
45,1]*[fy75,2]Holberg Suite[cf1] for str., ~Op. [sm40[nm ([sm1884[nm) (also for
pf.); [cf2][sm2[nm Melodies[cf1] for str., ~Op. [sm53[nm; ([sm1891[nm); [cf2][sm
2[nm Norwegian Melodies[cf1] for str., ~([sm1869[nm), orch. ([sm
1895[nm), Op. [sm63[nm; [cf2][sm4[nm Symphonic Dances[cf1], ~Op. [sm64[nm (orch.
 of work for pf., [sm4[nm hands) ([sm1896=n~7[nm); Sym. ([sm1863[nm=n[sm4[nm, wi
thdrawn by composer but ~perf. Oslo [sm1980[nm and recorded).[ep~[smchorus and o
rch[nm:[cf2] Before the Cloister Gate[cf1], soloists ~and women's ch., Op. [sm20
[nm ([sm1871[nm); [cf2]Olaf Trygvason[cf1], ~for soloists and ch., Op. [sm50[nm
([sm1873[nm, rev. [sm1889[nm).[ep~[smvoice and orch[nm: [cf2]Bergliot[cf1], reci
ter and orch., ~Op. [sm42[nm ([sm1871[nm, orch. [sm1885[nm); [cf2]The Mountain T
hrall[cf1], ~bar., [sm2[nm hn., str., Op. [sm32[nm ([sm1877=n8[nm); [cf2][sm6[nm
 Songs[cf1], v. and ~orch. (incl. `Solvejg's Song' from [cf2]Peer Gynt[cf1]) ~([
sm1870=n80[nm, rev. [sm1891=n4[nm).[ep~[smchamber music[nm: Vn. Sonata, No. [sm1
[nm in F, Op. [sm8[nm ~([sm1865[nm), No. [sm2[nm in G, Op. [sm13[nm ([sm1867[nm)
, No. [sm3[nm in C ~minor, Op. [sm45[nm ([sm1886=n7[nm); Str. Qt. in G minor, Op
. ~[sm27[nm ([sm1877=n8[nm); vc. sonata in A minor, Op. [sm36[nm
 ~([sm1883[nm).[ep~[smpiano[nm: [cf2][sm4[nm Pieces[cf1], Op. [sm1[nm ([sm1861[n
m); [cf2][sm4[nm Humoresques[cf1], Op. ~[sm6[nm ([sm1865[nm); sonata in E minor,
 Op. [sm7[nm ([sm1865[nm); [cf2]Lyric ~Pieces[cf1], Book [sm1[nm ([sm8[nm items)
, Op. [sm12[nm ([sm1867[nm), Book [sm2[nm ~([sm8[nm items), Op. [sm38[nm ([sm188
3[nm), Book [sm3[nm ([sm6[nm items), Op. ~[sm43[nm ([sm1884[nm), Book [sm4[nm ([
sm7[nm items), Op. [sm47[nm ([sm1885=n8[nm), Book ~[sm5[nm ([sm6[nm items), Op.
[sm54[nm ([sm1891[nm) (those orch. as [cf2]Lyric ~Suite[cf1] are No. [sm1[nm, [c
f2]Shepherd's Boy,[cf1] [sm2[nm,[cf2] Norwegian ~Rustic March[cf1], [sm3[nm, [cf
2]Nocturne[cf1], and [sm5[nm, [cf2]March of the ~Dwarfs[cf1]), Book [sm6[nm ([sm
7[nm items), Op. [sm57[nm ([sm1893[nm), Book ~[sm7[nm ([sm6[nm items), Op. [sm62
[nm ([sm1895[nm), Book [sm8[nm ([sm6[nm items), Op. ~[sm65[nm ([sm1897[nm) (No.
[sm6[nm [fy45,1]*[fy75,2]Wedding Day at Troldhaugen[cf1], ~also for orch.), Book
 [sm9[nm ([sm6[nm items), Op. [sm68[nm ([sm1898[nm), ~Book [sm10
[nm ([sm6[nm items), Op. [sm71[nm ([sm1901[nm); [cf2]Sketches of ~Norwegian Life
[cf1], Op. [sm19[nm ([sm1870=n1[nm); [cf2]Ballade [cf1]in G ~minor, Op. [sm24[nm
 ([sm1875=n6[nm); [cf2][sm4[nm Albumbl;auatter[cf1], Op. [sm28[nm ~([sm1878[nm);
 [cf2]Holberg Suite[cf1], Op. [sm40[nm ([sm1884[nm); [cf2][sm6[nm Songs[cf1] ~tr
anscr. for pf., Op. [sm52[nm (incl. `Solvejg's Song' as ~No. [sm4[nm); [cf2][sm1
9[nm Norwegian Folk Tunes[cf1], Op. [sm66[nm ([sm1896[nm); ~[cf2]Norwegian Peasa
nt Dances[cf1], Op. [sm72[nm ([sm1902=n3[nm); ~[cf2]Moods[cf1], Op. [sm73[nm ([s
m1903=n5[nm).[ep~[smpiano (4 hands)[nm: [cf2][sm2[nm Symphonic Pieces[cf1], Op.
[sm14[nm ([sm1863=n~4[nm); [cf2][sm4[nm Norwegian Dances[cf1], Op. [sm35[nm (als
o orch.) ~([sm1881[nm); [cf2][sm2[nm Waltz Caprices[cf1], Op. [sm37[nm ([sm1883[
nm); [cf2]Sym~~phonic Dances[cf1], Op. [sm64[nm (also orch.) ([sm1897[nm).[ep~[s
msongs[nm: Grieg's songs, numbering over [sm120[nm, were ~pubd. as follows: [sm4
[nm Songs, Op. [sm2[nm; [sm6[nm Songs, Op. [sm4[nm; ~[sm4[nm Son
gs, Op. [sm5[nm; [sm4[nm Songs and Ballads, Op. [sm9[nm; [sm4[nm ~Songs, Op. [sm
10[nm; [sm4[nm Songs, Op. [sm15[nm; [sm8[nm Songs, Op. [sm18[nm; ~[sm4[nm Songs,
 Op. [sm21[nm; [sm3[nm Songs from [cf2]Peer Gynt[cf1] ([sm1[nm. ~[cf2]Solvejg's
Song[cf1], [sm2[nm. [cf2]Solvejg's Cradle Song[cf1]. [sm3[nm. [cf2]Peer ~Gynt's
Serenade[cf1]) Op. [sm23[nm; [sm5[nm Songs, Op. [sm25[nm; [sm4[nm ~Songs, Op. [s
m26[nm; [sm12[nm Songs, Op. [sm33[nm; [sm5[nm Songs, Op. ~[sm39[nm; [sm4[nm Song
s,[cf2] From Fjeld and Fjord[cf1], Op. [sm44[nm; [sm6[nm ~Songs (Ger. words), Op
. [sm48[nm; [sm6[nm Songs, Op. [sm49[nm; [sm5[nm ~Songs, Op. [sm58[nm; [sm6[nm S
ongs, Op. [sm59[nm; [sm5[nm Songs, Op. [sm60[nm; ~[sm7[nm Children's Songs, Op.
[sm61[nm;[cf2] [fy45,1]*[fy75,2]Haugtussa  [cf1](The ~Mountain Maid), cycle of [
sm8[nm songs, Op. [sm67[nm ([sm1895[nm); ~[sm5[nm Songs, Op. [sm69[nm; [sm7[nm S
ongs, Op. [sm70[nm. The best-~known individual titles with opus numbers are:[cf2
] ~Hope[cf1] (or[cf2] Ambition[cf1]), Op. [sm26[nm, No. [sm3[nm;
 [cf2]'Neath the ~Roses[cf1], Op. [sm39[nm, No. [sm3[nm; [cf2]Autumn Song[cf1],
Op. [sm18[nm, No. ~[sm3[nm; [cf2]A Dream[cf1], Op. [sm48[nm, No. [sm6[nm; [cf2]E
ros[cf1], Op. [sm70[nm, No. [sm2[nm; ~[cf2]The First Meeting[cf1], Op. [sm21[nm,
 No. [sm4[nm; [cf2]From Monte ~Pincio[cf1], Op. [sm39[nm, No. [sm5[nm; [cf2]The
Hut[cf1], Op. [sm18[nm, No. [sm4[nm; [cf2]I ~love thee[cf1], Op. [sm5[nm, No. [s
m3[nm ([sm1864[nm); [cf2]Spring[cf1], Op. [sm33[nm, No. ~[sm2[nm;[cf2] The Swan[
cf1], Op. [sm25[nm, No. [sm1[nm; [cf2]With a Water Lily[cf1], ~Op. [sm25[nm, No.
 [sm3[nm.[cm~[j1]Grier, [fy75,1](Hugh) [fy65][cf3]Christopher[fy75,1] ([cf2]b [c
f1]Derby, [sm1922[nm). Eng. ~mus. critic. B.Mus. King's Coll., Cambridge. Mus. ~
officer, Brit. Council, Scandinavia, [sm1947[nm=n[sm9[nm. Lon~~don mus. critic,[
cf2] Scotsman[cf1], [sm1949[nm=n[sm63[nm. Prof. at RCM. ~Broadcaster. Freelance
critic since [sm1970[nm.[cm~Griffes, Charles [fy75,1](Tomlinson) [cf1]([cf2]b[cf
1] Elmira, NY, ~[sm1884[nm; [cf2]d[cf1] NY, [sm1920[nm). Amer. c
omposer. Studied at ~Stern Cons., Berlin, with Humperdinck [sm1903[nm=n[sm7[nm.
~On return to USA taught at boys' school in ~Tarrytown, NY from [sm1908[nm until
 his death. His ~mus. was beginning to be recognized as important ~just before h
e died. Much influenced by Fr. mus. ~impressionists, he also used Japanese and A
mer.-~Indian themes and oriental scales. In his later ~works, polymetric and pol
ytonal features occur. ~Prin. works:[xm[cm~[j2][smorch[nm:[fy75,2] Nocturne[cf1]
 ([sm1919[nm); [cf2]The [fy45,1]*[fy75,2]White Peacock[cf1] (orch. ~in [sm1919[n
m of No. [sm1[nm of [cf2][sm4[nm Roman Sketches[cf1] for pf. of ~[sm1915[nm); [c
f2]Poem[cf1] for fl. and orch. ([sm1918[nm); [cf2]The [fy45,1]*[fy75,2]Pleasure
~Dome of Kubla Khan[cf1] (symphonic poem after ~Coleridge arr. from pf. piece of
 [sm1912[nm) ([sm1917[nm).[ep~[smdramatic[nm: [cf2]The Kairn of Koridwen[cf1], d
ance-drama for ~[sm5[nm woodwinds, celesta, harp, pf. ([sm1916[nm);[cf2] Shojo[c
f1], ~Japanese dance-pantomime for [sm4[nm woodwinds, ~strs., ha
rp, perc. ([sm1917[nm).[ep~[smvoice and piano[nm:[cf2] Tone Images[cf1], mez. (W
ilde and ~Henley) ([sm1912[nm); [cf2][sm3[nm Songs[cf1] ([sm1916[nm);[cf2] [sm3[
nm Poems of Fiona ~MacLeod[cf1] for sop. (also with orch.) ([sm1918[nm).[ep~[smp
iano[nm:[cf2] [sm3[nm Tone Pictures[cf1] ([sm1911[nm=n[sm12[nm); [cf2]The Pleasu
re ~Dome of Kubla Khan [cf1]([sm1912[nm, orch. [sm1917[nm); [cf2]Fantasy ~Pieces
[cf1] ([sm1912[nm=n[sm14[nm); [cf2][sm4[nm Roman Sketches[cf1] ([sm1915=n16[nm);
 ~Sonata ([sm1917[nm=n[sm18[nm).[ep~[smchamber music[nm:[cf2] [sm2[nm Sketches B
ased on Indian Themes[cf1], ~for str. qt. ([cf2]c.[cf1][sm1918[nm).[cm~[j1]Griff
iths, Paul [fy75,1]([cf2]b [cf1]Bridgend, Glam., [sm1947[nm). Eng. ~music critic
. Studied Oxford Univ. Freelance ~critic from [sm1971[nm. Chief mus. critic [cf2
]The Times [cf1]from ~[sm1982[nm. Contributor (especially on late [sm20[nmth cen
t. ~subjects) to [cf2]New Grove Dictionary of Music and ~Musicians [cf1]([sm1980
[nm) and [cf2]New Oxford Companion to ~Music [cf1]([sm1983[nm).
Author of monographs on Boulez, ~Cage, Maxwell Davies, and Ligeti, and [cf2]A Co
ncise ~History of Modern Music [cf1]([sm1978[nm), [cf2]The String ~ Quartet [cf1
]([sm1983[nm), and [cf2]Bart;aaok [cf1]([sm1984[nm).[cm~[PN301,0,0,R,I0]Grigny,
Nicolas de[fy75,1] ([cf2]b[cf1] Rheims, [sm1672[nm; [cf2]d[cf1] Rheims, ~[sm1703
[nm). Fr. organist (Rheims Cath. from [sm1695[nm), ~comp. of [cf2]Pi;ageces d`Or
gue[cf1], admired by Bach.[cm~Griller, Sidney [fy75,1](Aaron)[cf1] ([cf2]b[cf1]
London, [sm1911[nm). Eng. ~violinist. Studied RAM. Founded Griller Str. Qt. ~[sm
1928[nm (disbanded [sm1961[nm), resident qt. at Univ. of ~Calif. [sm1949[nm=n[sm
61[nm. Head of str. dept., Royal Irish ~Acad., Dublin, [sm1963[nm=n[sm73[nm. Pro
f., RAM from [sm1964[nm. ~C.B.E. [sm1951[nm.[cm~Grinke, Frederick [fy75,1]([cf2]
b[cf1] Winnipeg, [sm1911[nm). Canadian ~violinist. Studied with Adolf Busch and
Flesch, ~also RAM. Member of Kutcher Qt. for [sm6[nm years, ~leader of Boyd Neel
 Orch. [sm1937[nm=n[sm46[nm, later becom~~ing soloist and teache
r. Champion of Eng. mus., ~notably that of Vaughan Williams, Rubbra, ~Berkeley.
C.B.E. [sm1979[nm.[cm~Grisi, Carlotta[fy75,1] ([cf2]b[cf1] Visinada, [sm1819[nm;
 [cf2]d[cf1] St Jean, ~Switz., [sm1899[nm). It. dancer. Contract at Paris Op;aae
ra ~[sm1841[nm, creating divertissement in Donizetti's [cf2]La ~favorite[cf1] wi
th Petipa and title-role in [cf2]Giselle[cf1]. ~London d;aaebut [sm1836[nm. Most
 admired ballerina of ~her time. Cousin of the sisters Grisi (below).[cm~Grisi,
Giuditta[fy75,1] ([cf2]b[cf1] Milan, [sm1805[nm; [cf2]d[cf1] Robecco, nr. ~Cremo
na, [sm1840[nm). It. mez. Studied Milan. D;aaebut ~Vienna [sm1826[nm. Bellini wr
ote role of Romeo for her ~in [cf2]I Capuleti e i Montecchi.[cm~Grisi, Giulia[fy
75,1] ([cf2]b[cf1] Milan, [sm1811[nm; [cf2]d[cf1] Berlin, [sm1869[nm). It. ~sop.
, sister of Giuditta, who taught her. D;aaebut in ~Bologna [sm1828[nm, Milan [sm
1831[nm. Created Juliet opposite ~her sister in Bellini's [cf2]I Capuleti e i Mo
ntecchi[cf1] and ~Adalgisa in[cf2] Norma.[cf1] Sang regularly in
 Paris [sm1832[nm=n~[sm49[nm, creating roles of Elvira in[cf2] I puritani[cf1] a
nd Norina ~in [cf2]Don Pasquale.[cf1] London d;aaebut [sm1834[nm, singing ~there
 every season except [sm1842[nm, until [sm1861[nm. US ~d;aaebut [sm1854[nm. One
of great singers of her day.[cm~Grist, Reri[fy75,1] ([cf2]b[cf1] NY, [sm1932[nm)
. Amer. sop. Studied ~privately in USA and Europe. Began career in ~Broadway mus
icals ([cf2]Carmen Jones[cf1] and[cf2] West Side ~Story[cf1]). D;aaebut with NY
City Opera, [sm1959[nm, and ~Santa Fe Opera. Queen of Night in [cf2]Die Zauberfl
;auote[cf1] ~at Cologne, [sm1960[nm; Zerbinetta in [cf2]Ariadne auf Naxos, ~[cf1
]Salzburg. Guest appearances in opera at Milan, ~Chicago, Munich, Glyndebourne,
and CG [sm1962[nm, ~NY Met. [sm1966[nm, San Francisco, Holland Festival, ~and Bu
enos Aires.[cm~G.R.N.C.M.[fy75,1] Graduate of the [fy45,1]*[fy75,1]Royal Norther
n ~College of Music, Manchester.[cm~Grof;aae, Ferde[fy75,1] (Ferdinand Rudolf vo
n Grofe) ([cf2]b[cf1] ~NY, [sm1892[nm; [cf2]d[cf1] Santa Monica,
 Calif., [sm1972[nm). Amer. ~composer, cond., and arranger. Violist in Los ~Ange
les S.O. for [sm10[nm years, also played pf. and vn. ~in th. bands. Work as arra
nger admired by the ~band-leader Paul Whiteman, who engaged him ~to arr. the sym
phonic jazz which was attracting ~attention. Thus he orchestrated [fy45,1]*[fy75
,1]Gershwin's ~[cf2]Rhapsody in Blue[cf1] ([sm1924[nm). Wrote several works in ~
popular symphonic idiom e.g. [cf2]Mississippi Suite, ~Hollywood Suite[cf1], and,
 most popular of all, [cf2]Grand ~Canyon Suite[cf1] ([sm1931[nm), cond. Toscanin
i.[cm~Groot, Cor de [fy75,1]([cf2]b[cf1] Amsterdam, [sm1914[nm). Dutch ~composer
 and pianist. Studied Amsterdam Cons. ~Won Vienna int. pf. contest [sm1936[nm. C
omposer of ~ballet, [sm2[nm pf. concs., [sm2[nm-pf. conc., and solo pieces.[cm~G
ros, grosse[fy75,1] (Fr.). Great, large. In the case of an ~org. stop this means
 of low pitch, e.g. [sm16[nm;po instead ~of [sm8[nm;po.[cm~Gross, grosse[fy75,1]
 (Ger.). Great, large.[cf2] Gr;auosser[cf1], greater.[cm~Grosse
caisse[fy75,1] (Fr.). big box, i.e. [fy45,1]*[fy75,1]bass drum (It. ~[fy45,1]*[f
y75,2]gran cassa[cf1]).[cm~Grossefl;auote[fy75,1] (Ger.). Large flute. ([sm1[nm)
 The normal fl.[ep~^([sm2[nm) Metal org. stop of [sm8[nm;po length and pitch.[cm
~Grosse Fuge[fy75,1] (Great Fugue). Fugue in B;yh major ~for str. qt. by Beethov
en. Intended as finale of his ~Str. Qt. No. [sm13[nm in B;yh major, Op. [sm130[n
m, comp. ~[sm1825[nm=n[sm6[nm. After f.p. in March [sm1826[nm, the publisher ~Ar
taria persuaded Beethoven to substitute a less ~onerous finale, so the fugue was
 detached and ~pubd. as separate work, Op. [sm133[nm, in [sm1827[nm. ~Beethoven
made arr. for pf., [sm4[nm hands, Op. [sm134[nm. In ~recent times, some qts. hav
e restored it as finale ~of Op. [sm130[nm. Although it is customary to refer to
~it by its Ger. title, Beethoven wrote the title in ~Fr., [cf2]Grande Fugue tant
;afot libre tant;afot recherch;aae.[cm~Grosse Orgelmesse[fy75,1] (Great Mass wit
h Organ). ~Popular name for Haydn's Mass No. [sm2[nm in E;yh, ~[
sm1766[nm, in which the org. has an important part. ~See also[cf2] Kleine Orgelm
esse.[cm~Grosses Orchester[fy75,1] (Ger.). Full orch.[cm~Grosse Trommel[fy75,1]
(Ger.). Great drum, i.e. [fy45,1]*[fy75,1]bass ~drum.[cm~Grossi, Carlo [fy75,1](
[cf2]b [cf1]Vicenza, [cf2]c.[cf1][sm1634[nm; [cf2]d [cf1]Venice, [sm1688[nm). ~I
t. composer of operas, cantatas, and church mus. ~Choirmaster at churches in Mod
ena, Vicenza, ~and Mantua. Org. in Venice [sm1664[nm=n[sm7[nm.[cm~Gros tambour[f
y75,1] (Fr.). Great drum. Same as [fy45,1]*[fy75,1]grosse ~caisse, i.e. [fy45,1]
*[fy75,1]bass drum.[cm~Ground Bass[fy75,1] (It. [cf2]Basso ostinato[cf1], `obsti
nate bass'). ~Short thematic motif in bass which is constantly ~repeated with ch
anging harmonies while upper ~parts proceed and vary. Originated in [fy45,1]*[fy
75,2]cantus ~firmus[cf1] of choral mus. and became popular in [sm17[nmth ~cent.,
 particularly in Eng., as a ground for ~variations in str. mus. Hence the no. of
 `Divisions ~on a ground'. Examples exist by Byrd, Purcell, ~Fre
scobaldi, Carissimi, and Cavalli. See[cf2] Chaconne.[cm~Groupe de Recherches Mus
icales[fy75,1] (Group for ~musical research). Elec. mus. studio (the [sm1[nmst),
 est. ~at Fr. Radio in [sm1951[nm by Pierre [fy45,1]*[fy75,1]Schaeffer, which ~h
as exerted wide influence on composers invited ~to work there, e.g. Messiaen, Bo
ulez, Stockhausen, ~Berio, and Xenakis.[cm~Grout, Donald Jay[fy75,1] ([cf2]b[cf1
] Rock Rapids, Iowa, [sm1902[nm). ~Amer. musicologist and teacher. Studied Syrac
use ~Univ. and Harvard Univ. Taught at Harvard ~[sm1936[nm=n[sm42[nm; assoc. pro
f. of mus., Univ. of Texas ~[PN302,0,0,L,I0][sm1943[nm=n[sm5[nm; prof. of mus. C
ornell Univ. [sm1945[nm=n[sm70[nm. ~Books incl.[cf2] A Short History of Opera[cf
1] ([sm1947[nm, rev. ~[sm1965[nm),[cf2] History of Western Music[cf1] ([sm1960[n
m, rev. [sm1973[nm). ~Editor of operas of A. Scarlatti.[xm[cm~[ol0][ep~[xp[ls2][
bm2][cc27][ai4p6][ol0][ep~[em[cc13][lx[ol0][ep~[te~

[do29][j99]~~~~~~[sm153842[nm_GA[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm05[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm27[nm.[sm9[nm.[s
m79[nm[cm[sm6[nm[cm[sm394[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Grove, [
fy75,1](Sir) [fy65][cf3]George[fy75,1] ([cf2]b[cf1] Clapham, [sm1820[nm; [cf2]d[
cf1] Syden~~ham, [sm1900[nm). Eng. writer on mus. and teacher. ~Trained as civil
 engineer, constructing several ~railway stations and also taking part in buildi
ng ~of Crystal Palace, of which he was secretary [sm1852[nm=n~[sm73[nm. From [sm
1856[nm became increasingly involved in ~mus., writing programme notes for Cryst
al Palace ~concerts for [sm40[nm years. Went with Sullivan to ~Vienna in [sm1867
[nm on successful quest for missing ~items of Schubert's [cf2]Rosamunde[cf1] mus
. and at the ~same time propounding the now disproved ~theory of a `lost' [cf2]G
astein[cf1] sym. by Schubert. In ~[sm1873[nm began work on compilation of vast [
fy45,1]*[fy75,2]Grove's ~Dictionary of Music and Musicians[cf1],
 pubd. in [sm4[nm vols. ~at intervals from [sm1879[nm to [sm1889[nm. First dir.
of RCM ~[sm1882[nm=n[sm94[nm. Knighted [sm1883[nm. Also wrote [cf2]Beethoven ~an
d his Nine Symphonies[cf1] ([sm1884[nm). Among his other ~activities were buildi
ng lighthouses in W. Indies, ~founding Palestine Exploration fund, ed. biblical
~dictionary, primer of geography, and [cf2]Macmillan's ~Magazine[cf1] ([sm1868[n
m=n[sm83[nm).[cm~Groven, Eivind[fy75,1] ([cf2]b[cf1] Laerdal, Telemark, [sm1901[
nm; [cf2]d[cf1] Oslo, [sm1977[nm). ~Norweg. composer and authority on Norweg. ~f
olk mus. Composed [sm2[nm ~syms., choral works, pf. pieces. Author of treatise ~
on tuning according to natural intervals ([sm1948[nm).[cm~Groves, [fy75,1](Sir)[
fy65][cf3] Charles [fy75,1](Barnard) [cf1]([cf2]b[cf1] London, [sm1915[nm). ~Eng
. cond. Studied RCM. Ch. master at BBC ~ [sm1938[nm=n[sm42[nm. Assoc. cond. BBC
Th. Orch. [sm1942[nm=n[sm4[nm. ~Cond. BBC Northern Orch., Manchester, [sm1944[nm
=n~[sm51[nm, Bournemouth S.O. [sm1951[nm=n[sm61[nm, WNO [sm1961[
nm=n[sm3[nm, ~Royal Liverpool P.O. [sm1963[nm=n[sm77[nm, ENO [sm1978[nm=n[sm9[nm
. ~O.B.E. [sm1958[nm, C.B.E. [sm1968[nm. Knighted [sm1973[nm.[cm~Grove's Diction
ary of Music and Musicians.[fy75,1] ~Largest and most far-ranging mus. dictionar
y ~pubd. in Eng. [sm1[nmst compiled and ed. by George ~[fy45,1]*[fy75,1]Grove ([
sm1879[nm=n[sm89[nm, [sm4[nm vols.); [sm2[nmnd edn. ed. J. A. ~[fy45,1]*[fy75,1]
Fuller Maitland ([sm1904[nm=n[sm10[nm, [sm5[nm vols.); [sm3[nmrd edn. ed. ~H. C.
 Colles ([sm1927[nm, [sm5[nm vols.); [sm4[nmth edn. ed. H. C. ~Colles ([sm1940[n
m, [sm5[nm vols.;plsuppl.); [sm5[nmth edn. ed. Eric ~Blom ([sm1954[nm, [sm9[nm v
ols.;plsuppl.); [sm6[nmth edn. ed. Stanley ~Sadie ([sm1980[nm, [sm20[nm vols., t
itle changed to [cf2]The New ~Grove Dictionary of Music and Musicians[cf1]). Alw
ays ~pubd. by Macmillan and Co., London.[cm~Grov;aae, Stefans[fy75,1] ([cf2]b[cf
1] Bethlehem, Orange Free State, ~[sm1922[nm). S. African composer. Studied S. A
frican ~Coll. of Mus. with W. H. [fy45,1]*[fy75,1]Bell, later wi
th W. ~[fy45,1]*[fy75,1]Piston at Harvard. Teacher at Peabody Cons., ~Baltimore,
 [sm1957[nm=n[sm72[nm, then at Univ. of Pretoria. ~Works incl. [cf2]Elegy for St
rings, Sinfonia Concertante[cf1] ~for orch., sym., vn. conc., cl. sonata, pf. tr
io, fl. ~sonata, etc.[cm~Growing Castle, The. [fy75,1]Chamber opera in [sm2[nm a
cts ~by [fy45,1]*[fy75,1]Williamson, for [sm4[nm singers and chamber ens., ~to h
is own lib. based on Strindberg's [cf2]Dream Play.[cf1] ~Prod. Dynevor Fest. [sm
1968[nm.[cm~G.R.S.M.[fy75,1] Graduate of the [fy45,1]*[fy75,1]Royal Schools of ~
Music.[cm~Gr. Tr.[fy75,1] Abbreviation for [fy45,1]*[fy75,2]Grosse Trommel[cf1]
(Ger.), ~bass drum.[cm~Gruber, H[fy75,1](einz) [fy65][cf3]K[fy75,1](arl) ([cf2]b
[cf1] Vienna, [sm1943[nm). Austrian ~composer, db. player, and bar. In Vienna Bo
ys' ~Choir, [sm1953[nm=n[sm7[nm. Studied at Vienna Hochschule f;auur ~Musik [sm1
957[nm=n[sm63[nm, followed by private study with ~G. von Einem [sm1963[nm=n[sm4[
nm. Db. player in Die Reihe ~ens. from [sm1961[nm. Prin. db., To
nk;auunstler Orch. ~[sm1963[nm=n[sm9[nm. Co-founder of `MOB Art and Tone ART' ~e
ns., [sm1968[nm=n[sm71[nm. Joined Austrian Radio S.O. [sm1969[nm. ~Soloist in [c
f2]Frankenstein!![cf1], Liverpool [sm1978[nm. Works ~incl.:[xm[cm~[j2][smorch[nm
: [cf2]Manhattan Broadcasts[cf1], light orch. ([sm1962[nm=n[sm4[nm); ~[cf2]Frank
enstein!![cf1], pan-demonium for bar. chanson~~nier and orch. ([sm1976[nm=n[sm7[
nm); [cf2]Phantom-Bilder[cf1], small ~orch. ([sm1977[nm); Vn. Conc. ([sm1977[nm=
n[sm8[nm); [cf2]Charivari ~[cf1]([sm1981[nm); [cf2]Rough Music[cf1], conc. for p
erc. and orch. ~([sm1982[nm).[ep~[smens[nm: [cf2]Die Vertreibung aus dem Paradie
s [cf1]([cf2]The Expulsion ~from Paradise[cf1]), for speakers and [sm6[nm solo i
nstr. ~([sm1966[nm, rev. [sm1979[nm); [cf2][sm3[nm MOB Pieces[cf1], for [sm7[nm
instr. and ~perc. ([sm1968[nm, rev. [sm1977[nm); [cf2]Frankenstein!![cf1], ens.
~version for bar. and [sm12[nm players ([sm1979[nm).[ep~[smbrass band[nm: [cf2]D
emilitarized Zones [cf1]([sm1979[nm).[ep~[smchoral[nm: [cf2][sm5
[nm Kinderlieder[cf1], unacc. female vv. ([sm1965[nm, ~rev. [sm1980[nm).[ep~[smc
hamber music[nm: [cf2][sm4[nm Pieces[cf1], solo vn. ([sm1963[nm); [cf2][sm6[nm E
pisodes ~from a Discontinued Chronicle[cf1], pf. ([sm1967[nm); [cf2]Castles ~in
the Air[cf1], pf. ([sm1981[nm).[cm~[j1]Gruenberg, Erich [fy75,1]([cf2]b[cf1] Vie
nna, [sm1924[nm). Austrian-~born violinist and cond. (Brit. cit. from [sm1950[nm
). ~Trained Jerusalem Cons. Settled in London [sm1946[nm. ~Leader Boyd Neel Orch
., Stockholm P.O. [sm1956[nm, ~LSO [sm1962[nm=n[sm5[nm, RPO [sm1972[nm. Frequent
 chamber-~music player in str. qts. and pf. trios. Champion ~of contemp. vn. con
cs.[cm~Gruenberg, Louis [fy75,1]([cf2]b[cf1] nr. Brest-Litovsk, now Brest, ~[sm1
884[nm; [cf2]d[cf1] Los Angeles, [sm1964[nm). Russ.-born Amer. ~comp. and pianis
t. Studied NY, then in Berlin ~with Busoni. D;aaebut as pianist with Berlin P.O.
, ~[sm1912[nm. Gave up concert touring for comp. on ~return to USA. Head of comp
. dept., Chicago ~Mus. Coll., [sm1930[nm=n[sm3[nm. Comps. strong
ly influenced ~by jazz. Success with opera [cf2]The Emperor Jones[cf1] ~(based o
n O'Neill play), NY Met. [sm1933[nm. His vn. ~conc. was written for Heifetz. Als
o wrote film ~scores. Comps. incl.: [cf2]The Emperor Jones [cf1]([sm1933[nm), ~[
cf2]Green Mansions[cf1] (for radio) ([sm1937[nm), [cf2]Volpone[cf1] ([sm1945[nm)
, ~operas; [sm5[nm syms. ([sm1919[nm=n[sm48[nm), [cf2]The Hill of Dreams[cf1] fo
r ~orch. ([sm1921[nm), [cf2]Jazz Suite[cf1] ([sm1929[nm), [sm2[nm pf. concs., vn
. ~conc. ([sm1944[nm), [sm2[nm vn. sonatas, str. qt., pf. quintet, pf. ~pieces i
ncl.[cf2] Jazzberries, [sm6[nm Jazz Epigrams[cf1], etc.[cm~Gruhn, Nora [fy75,1](
[cf2]b[cf1] London, [sm1905[nm). Eng. sop. and ~teacher. Studied RCM. Cologne Op
era [sm1930[nm=n[sm1[nm, ~CG [sm1929[nm=n[sm32[nm, SW [sm1932[nm=n[sm6[nm, [sm19
45[nm=n[sm8[nm.[cm~Grumiaux, Arthur[fy75,1] ([cf2]b[cf1] Villers-Perwin, Belg.,
~[sm1921[nm). Belg. violinist. Studied Brussels and Paris. ~[PN303,0,0,R,I0]D;aa
ebut Brussels [sm1940[nm, career then interrupted by ~war. D;aae
but in London [sm1945[nm, then worldwide ~career as leading soloist. Prof. of vn
., Brussels ~Cons., from [sm1949[nm. Became a baron [sm1973[nm.[cm~Gr;auummer, E
lisabeth[fy75,1] ([cf2]b [cf1]Niederjeutz, Alsace-~Lorraine, [sm1911[nm). Ger. s
op. Began career as actress ~in Aachen. Singing d;aaebut there [sm1940[nm. Sang
opera ~in Duisburg and Prague. Berlin St;auadtische from ~[sm1946[nm, Deutsche O
per, Berlin, from [sm1961[nm. D;aaebut ~CG [sm1951[nm, Bayreuth from [sm1957[nm.
 Notable in ~Wagner, Mozart, and Strauss.[cm~Grundstimmen[fy75,1] (Ger.). Ground
 voices: founda~~tion-stops of an org.[cm~Grunebaum, Hermann[fy75,1] ([cf2]b[cf1
] Giessen, [sm1872[nm; [cf2]d[cf1] ~Chipstead, Surrey, [sm1954[nm). Ger.-born co
nd. and ~teacher. Studied Frankfurt and Berlin. D;aaebut ~Coblenz [sm1893[nm. We
nt to London, becoming ch.-~master at CG [sm1907[nm=n[sm33[nm. Chief coach BNOC.
 Head ~of opera class RCM [sm1924[nm=n[sm46[nm. Cond. f.p. of Holst's ~[cf2]Savi
tri[cf1] at London Sch. of Opera [sm1916[nm. Father of ~Nora [fy
45,1]*[fy75,1]Gruhn.[cm~Gr;auunewald, Gottfried [fy75,1]([cf2]b[cf1] Eibau, [sm1
675[nm; [cf2]d[cf1] Darm-[fj~stadt, [sm1739[nm). Ger. singer at Hamburg Opera fr
om ~[sm1703[nm; ass. cond. at Darmstadt from [sm1712[nm. Toured ~as virtuoso on
[fy45,1]*[fy75,1]pantaleon. Comp. opera and ~organ mus.[cm~Gruppen[fy75,1] (Grou
ps). Comp. for [sm3[nm orchs. by ~[fy45,1]*[fy75,1]Stockhausen, [sm1955[nm=n[sm7
[nm, each placed in a different ~part of the hall and each playing different mus
. F. ~Brit. p. [sm1967[nm.[cm~Gruppetto[fy75,1] (It.). Grouplet. The turn, a typ
e of ~ornament in vocal and instr. mus. [cf2]Gruppetto[cf1] ~implies a [sm4[nm-n
ote figure, the note above, the note ~itself, the note below, and the note itsel
f. This ~figure is perf. [cf2]after[cf1] the note itself or[cf2] instead of it[c
f1], ~according to whether the turn sign is placed [cf2]after[cf1] ~the note its
elf or[cf2] over[cf1] it.[ep~[ol54][ep~The inflection of the upper or lower note
 of the ~turn (in either form) is shown by the placing of a ~sha
rp, flat, natural, etc., sign above or below.[ep~[ol90][ep~When the [cf2]gruppet
to[cf1] occurs after the note the taste ~of the performer governs the division o
f the time ~available. The general principle seems to be that ~the [cf2]gruppett
o[cf1] is to be perf. fairly rapidly. To bring ~this about, the first example ju
st given (if ~occurring in a slow tempo) might be treated thus:[ep~[ol39][ep~[cf
1]whilst in a very quick tempo it might be treated ~as follows (indeed there mig
ht be no time to treat ~it in any other way):[ep~[ol33][ep~[cf1]The number of di
fferent examples given in ~different textbooks is very large, and no [sm2[nm ~te
xtbooks quite agree, but the above statement ~gives the chief general principles
 accepted by all. ~They also apply, of course, to the Inverted Turn, ~which begi
ns with the [cf2]lower[cf1] auxiliary note, ~instead of the upper one.[cm~[ol54]
[ep~G.S.M. [fy45,1]*[fy75,1]Guildhall School of Music and Drama.[cm~G string[fy7
5,1] (vn.). The lowest str., possessing a rich ~tone. Composers
sometimes direct that a passage ~should be played entirely on that str. Bach's s
o-~called `Air on the G string' is really the [sm2[nmnd ~movement from his [sm3[
nmrd orch. suite in D, rearr. ~by [fy45,1]*[fy75,1]Wilhelmj in [sm1871[nm as a v
n. solo in the key of ~C, the melody transposed down a [sm9[nmth, and with ~pf.
acc.[cm~Guadagni, Gaetano [fy75,1]([cf2]b [cf1]Lodi, [cf2]c[cf1].[sm1725[nm; [cf
2]d[cf1] Padua, ~[sm1792[nm). It. castrato, cont., later sop. D;aaebut Parma ~[s
m1747[nm. Joined buffa co. which visited Eng. [sm1748[nm, ~remaining there and i
n Dublin until [sm1755[nm. ~Handel engaged him to sing in [cf2]Messiah[cf1] [sm1
750[nm, and ~[cf2]Samson[cf1]. After studying with Conti in Lisbon, ~created rol
e of Orpheus in Gluck's [cf2]Orfeo ed ~Euridice,[cf1] Vienna [sm1762[nm, and [cf
2]Telemaco[cf1], [sm1765[nm. Several ~arias in [cf2]Messiah[cf1], incl. `But who
 may abide', were ~transposed or rewritten for him by Handel.[cm~Guajira.[fy75,1
] Sp. dance, with rhythm constantly ~alternating between ;D6;E8
and ;FF. Also found in varied ~form in Cuba where it is a narrative folk-song.[c
m~Guaracha, Guarracha.[fy75,1] Sp. and Mexican folk ~dance in [sm2[nm sections r
espectively in triple and ~duple time. Dancer usually accompanies himself ~on gu
itar.[cm~Guarneri[fy75,1] (Guarnerius). It. family, makers of vns., ~vcs., etc.
in [sm17[nmth and [sm18[nmth cents. Founder was ~Andrea ([cf2]b [cf1]Cremona, [c
f2]c.[cf1][sm1626[nm; [cf2]d[cf1] Cremona, [sm1698[nm), ~fellow-pupil with [fy45
,1]*[fy75,1]Stradivari of Nicola [fy45,1]*[fy75,1]Amati. ~[PN304,0,0,L,I0]His so
ns were Pietro Giovanni ([cf2]b[cf1] Cremona, [sm1655[nm; ~[cf2]d[cf1] Mantua, [
sm1720[nm) who settled as vn.-maker in ~Mantua, and Giuseppe Giovanni Battista (
[cf2]b[cf1] ~Cremona, [sm1666[nm; [cf2]d[cf1] Cremona [cf2]c.[cf1][sm1739[nm) wh
o devel~~oped an individual style. But most celebrated of ~family was Bartolomeo
 Giuseppe ([cf2]b[cf1] Cremona, ~[sm1698[nm; [cf2]d[cf1] Cremona, [sm1744[nm), n
ephew of Andrea, and ~known as `del Ges;agu', from the letters I
.H.S. on his ~labels. Regarded as [sm2[nmnd only to Stradivari. Revived ~early B
rescian sch. traditions, making instrs. with ~rich, powerful tone. One was owned
 by [fy45,1]*[fy75,1]Paganini, ~who bequeathed it to city of Genoa.[cm~Guarneri
Quartet. [fy75,1]Amer. str. qt. formed [sm1964[nm in ~Vermont at suggestion of A
lexander Schneider. ~Members are Arnold Steinhardt ([cf2]b [cf1]Los Angeles, ~[s
m1937[nm) and John Dally ([cf2]b [cf1]Madison, Wisc., [sm1936[nm) ~vns., Michael
 Tree ([cf2]b [cf1]Newark, NJ, [sm1935[nm) va., and ~David Soyer ([cf2]b [cf1]Ph
iladelphia, [sm1925[nm) vc. Visited ~London [sm1970[nm to perf. all Beethoven's
quartets, ~which it has also recorded.[cm~Guarnieri, Camargo Mozart [fy75,1]([cf
2]b[cf1] Ti;aaet;aae, S;atao Paulo, ~[sm1907[nm).  Brazilian comp. and cond. Wen
t to Paris ~[sm1938[nm, studying comp. and orch. with [fy45,1]*[fy75,1]Koechlin.
 ~Returned to S;atao Paulo, becoming cond. of Phil. ~Soc. and prof. at Cons. Col
ourful mus. using ~Brazilian folk mus. at times. Comps. incl. op
era, ~[sm3[nm syms.,[cf2] Dansa Brasileira[cf1] for orch., [cf2]Brasiliana[cf1],
 suite ~for orch., [sm2[nm pf. concs., [sm2[nm vn. concs., [sm2[nm str. qts., pf
. ~pieces, songs.[cm~Gueden, Hilde [fy75,1]([cf2]b[cf1] Vienna, [sm1917[nm). Aus
trian sop. ~Studied Vienna Cons. Worked in operetta at [sm16[nm. ~Opera d;aaebut
 as Cherubino, Z;auurich [sm1939[nm. Went ~to Munich Staatsoper [sm1942[nm on re
commendation ~of Strauss and Clemens Krauss. Also sang in Rome ~and Florence [sm
1942[nm=n[sm5[nm. Salzburg Fest. [sm1946[nm, joined ~Vienna Staatsoper [sm1947[n
m, CG d;aaebut [sm1947[nm during ~visit of Vienna co. Kammers;auangerin, Vienna
~Opera, [sm1950[nm. D;aaebut NY Met. [sm1951[nm. Sang Anne in ~Amer. premi;agere
 of Stravinsky's [cf2]Rake's Progress[cf1] ~[sm1953[nm. Specializes in Strauss r
oles (Daphne, Sophie, ~etc.), Mozart, Verdi, but equally at home in Weill ~and L
eh;aaar.[cm~Gu;aaedron[fy75,1] (Guesdron), [fy65][cf3]Pierre[fy75,1] ([cf2]b [cf
1]Beauce, Nor~~mandy, [cf2]c.[cf1][sm1570[nm; [cf2]d[cf1] Paris,
 [sm1619[nm or [sm1620[nm). Fr. singer, ~later composer, to chapel of Henry IV;
subse~~quently master of mus. to Louis XIII. Comp. ~court ballets, etc. which in
 dramatic sense ~anticipated those of Lully; and pubd. [sm5[nm books of ~[cf2]Ai
rs de cour [cf1]([sm1608[nm=n[sm20[nm). Work in general tended ~in same directio
n as that of the Florentine ~[fy45,1]*[fy75,1]Camerata.[cm~Guerre des bouffons.[
fy75,1] See[cf2] Bouffons, Querelle des.[cm~Guerrero, Francisco[fy75,1] ([cf2]b[
cf1] Seville, [sm1528[nm; [cf2]d[cf1] Seville, ~[sm1599[nm). Sp. comp. Pupil of
brother Pedro [fy45,1]*[fy75,1]Guer~~rero. Held various church posts in Sp., Por
tugal, ~and It., until in [sm1574[nm he was made choirmaster of ~Seville Cath. a
fter [sm23[nm years as assistant. Wrote ~much church mus. and secular madrigals.
[cm~Guerrero, Pedro[fy75,1] ([cf2]b [cf1]Seville, [cf2]c.[cf1][sm1520[nm). Sp. c
omp. of ~madrigals, motets, and lute pieces. Elder brother ~and teacher of Franc
isco [fy45,1]*[fy75,1]Guerrero.[cm~Guest, Douglas [fy75,1](Alber
t) [cf1]([cf2]b[cf1] Mortomley, Yorks., ~[sm1916[nm). Eng. organist and composer
. Studied RCM. ~Dir. of mus., Uppingham Sch. [sm1945[nm=n[sm50[nm, org., ~Salisb
ury Cath. [sm1950[nm=n[sm7[nm, org. Worcester Cath. ~[sm1957[nm=n[sm63[nm, dir.
of mus. Westminster Abbey [sm1963[nm=n~[sm81[nm, prof. RCM from [sm1963[nm. Comp
. [cf2]Missa brevis[cf1], ~[sm1957[nm.[cm~Guest, George [fy75,1](Howell) [cf1]([
cf2]b[cf1] Bangor, N. Wales, ~[sm1924[nm). Welsh org. and cond. Studied St John'
s ~Coll., Cambridge. Fellow and org. St John's Coll., ~Cambridge. Under his guid
ance, the St John's ~Choir has become one of the finest in the world, ~with a co
ntinental rather than Eng. style.[cm~Gui, Vittorio [fy75,1]([cf2]b[cf1] Rome, [s
m1885[nm; [cf2]d[cf1] Florence, [sm1975[nm). ~It. cond. and composer. Studied S.
 Cecilia Acad., ~Rome. D;aaebut Rome, [sm1907[nm, in [cf2]La Gioconda[cf1]. Ass.
 to ~Toscanini, Milan, [sm1923[nm=n[sm5[nm and [sm1932[nm=n[sm4[nm. Cond. ~Flore
nce Orch. from [sm1928[nm=n[sm40[nm, helped to found ~([sm1933[n
m) Maggio Musicale Fiorentino. CG d;aaebut ~[sm1938[nm. Cond., Glyndebourne Oper
a [sm1952[nm=n[sm60[nm, after ~which `artistic counsellor'. Last cond. at Glynde
~~bourne in [sm1964[nm. Noted for revivals of rare Rossini ~operas. Comp. operas
, sym. poems, and author of ~critical essays.[cm~Guido d'Arezzo[fy75,1] ([cf2]b[
cf1] Paris, [cf2]c.[cf1][sm995[nm; [cf2]d[cf1] Avellano, after ~[sm1033[nm). It.
 theorist, teacher, and monk who ~reformed mus. notation. Long resident in Arezz
o, ~hence his name. Pubd. his theories in [cf2]Micrologus[cf1] ~([sm1025[nm). In
ventor of [fy45,1]*[fy75,1]solmization, whereby names ~`ut', `re', `mi' etc. wer
e used as indications of ~relative positions of notes of the scale; and of the ~
`Guidonian Hand', an aid to memory in which ~tips and joints of the fingers are
given names of ~various notes. See[cf2] Hexachords.[cm~Guildhall School of Music
 and Drama.[fy75,1] Mus. ~acad. est. [sm1880[nm by Corporation of City of London
 ~in warehouse at Aldermanbury. Moved in [sm1887[nm ~to new prem
ises in Blackfriars, when number of ~students had risen in [sm7[nm years from [s
m62[nm to [sm2[nm,[sm700[nm. ~Buildings extended in [sm1898[nm and [sm1970[nm. I
n [sm1977[nm ~moved to present building in [fy45,1]*[fy75,1]Barbican Arts ~Centr
e. Name changed to add `and Drama' in ~[sm1935[nm. Full-time courses. First prin
. Weist-Hill ~[sm1880[nm=n[sm92[nm, followed by Sir Joseph Barnby [sm1892[nm=n[s
m6[nm, ~W. H. Cummings [sm1896[nm=n[sm1910[nm, Sir Landon Ronald ~[sm1910[nm=n[s
m38[nm, Edric Cundell [sm1938[nm=n[sm59[nm, Gordon Thorne ~[sm1959[nm=n[sm65[nm,
 Allen Percival [sm1965[nm=n[sm78[nm, John Hosier ~from [sm1978[nm.[cm~Guillaume
 Tell [fy75,1](William Tell). Opera in [sm4[nm acts ~by Rossini (his last) to li
b. by de Jouy and Bis after ~Schiller's play ([sm1804[nm) based on the legend. P
rod. ~Paris [sm1829[nm, London [sm1830[nm (in version adapted by ~Planch;aae and
 Bishop) and [sm1839[nm (orig. version), NY ~[sm1831[nm. Operas on same subject
by Gr;aaetry ([sm1791[nm) ~and B. A. Weber ([sm1795[nm).[cm~Guil
lemain, Gabriel[fy75,1] ([cf2]b[cf1] Paris, [sm1705[nm; [cf2]d [cf1]Chaville, ~n
r. Paris, [sm1770[nm). Fr. violinist and comp. of trio ~[PN305,0,0,R,I0]syms. in
 It. style, str. qts., vn. sonatas, hpd. pieces. ~Violinist in Marchioness de Po
mpadour's court ~orch., [sm1747[nm=n[sm50[nm.[cm~Guilmant, F;aaelix Alexandre [f
y75,1]([cf2]b[cf1] Boulogne, [sm1837[nm; ~[cf2]d[cf1] Meudon, nr. Paris, [sm1911
[nm). Fr. organist and ~composer. Studied under Lemmens in Paris and ~Brussels.
Organist, La Trinit;aae, Paris, [sm1871[nm=n[sm1901[nm. ~Toured in England, USA,
 and Europe. Co-founder ~of Schola Cantorum, where he became organ ~prof. Also p
rof. of org. Paris Cons., from [sm1896[nm. ~Comp. org. syms., [sm8[nm sonatas ([
sm1874[nm=n[sm1909[nm), and ~other works.[cm~Guiraud, Ernest [fy75,1]([cf2]b[cf1
] New Orleans, [sm1837[nm; [cf2]d[cf1] Paris, ~[sm1892[nm). Fr. comp. and teache
r. Studied Paris Cons., ~winning [cf2]Grand Prix de Rome[cf1], [sm1859[nm (as hi
s father ~had done in [sm1827[nm). [sm1[nmst opera, [cf2]Le Roi
David,[cf1] prod. ~New Orleans [sm1852[nm. On staff Paris Cons. from ~[sm1876[nm
, prof. of comp. from [sm1880[nm. Wrote treatise ~on instrumentation. Comp. seve
ral operas, the ~last, [cf2]Fr;aaed;aaegonde[cf1], being completed by Saint-Sa;a
uens ~([sm1895[nm), ballet [cf2]Gretna Green[cf1], and other works, but ~remembe
red today because he comp. the recits. ~for Bizet's [cf2]Carmen[cf1] and complet
ed orchestration ~of Offenbach's [cf2]Les Contes d'Hoffmann. [cf1]Compiled ~Suit
e No. [sm2[nm from Bizet's [cf2]L'Arl;aaesienne.[cm~Guitar[fy75,1] (Fr. [cf2]Gui
tare,[cf1] Sp. [cf2]Guitarra[cf1]). Stringed instr., ~plucked and fretted, of an
cient origin, its [sm16[nmth-~cent. ancestor being the Sp. [cf2]vihuela de mano.
[cf1] Not ~unlike a lute but with flat or slightly rounded ~back. Now has [sm6[n
m courses, tuned E=nA=nd=ng=nb=ne;my. ~Became very popular in [sm19[nmth cent: f
irst great ~virtuoso of int. fame was Fernando Sor, [sm1778[nm=m~[sm1839[nm; whi
le such composers as Boccherini, ~Berlioz, and Paganini played a
nd comp. for the ~instr. Present-day revival initiated by Spaniard ~Francisco T;
aaarrega ([sm1852[nm=n[sm1909[nm), and popularity ~has continued in [sm20[nmth c
ent. with emergence of ~virtuosi such as Segovia, John Williams, and ~Julian Bre
am. Concs. have been written for guitar ~by Villa-Lobos, Ponce, Castelnuovo-Tede
sco, ~[chStephen Dodgson, Turina, and Richard Rodney ~Bennett. Also used in popu
lar mus. (skiffle, pop, ~folk, etc.) and in jazz (especially electric guitar ~(c
onnected to amplifier) and bass guitar). See ~[cf2]Hawaiian guitar.[xm[cm~[ol0][
ep~[xp[te~





[do29][j99]~~~~~~[sm153842[nm_GA[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmGA[sm06[nm[cm[sm29[nm[cm~[sm1[nm[cm[sm27[nm.[sm9[nm.[s
m79[nm[cm[sm6[nm[cm[sm436[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Gulda, Friedri
ch [fy75,1]([cf2]b[cf1] Vienna, [sm1930[nm). Austrian ~pianist. Studied Vienna.
[sm1[nmst prize Geneva int. ~contest [sm1946[nm. Worldwide reputation as recital
ist. ~Also jazz player, having comp. several jazz pieces.[cm~Gundry, Inglis [fy7
5,1]([cf2]b[cf1] Wimbledon, [sm1905[nm). Eng. ~composer, teacher, and barrister.
 Studied Oxford ~and RCM (pupil of Vaughan Williams and ~Gordon Jacob). Lecturer
 on mus., Workers' ~Educational Assoc., and at univs. from [sm1946[nm. ~Works in
cl. [sm5[nm operas, ballet, orch. works, and ~Phantasy str. qt. (Cobbett Prize [
sm1937[nm).[cm~Gung'l, Joseph[fy75,1] ([cf2]b[cf1] Zs;agamb;agek, Hung., [sm1810
[nm; [cf2]d[cf1] ~Weimar, [sm1889[nm). Hung. composer and bandmas~~ter. Formed o
wn band in Berlin [sm1843[nm, touring ~Europe and visiting USA [
sm1849[nm. Kapellmeister to ~Emperor of Austria from [sm1876[nm. Comp. over [sm3
00[nm ~dances and marches.[cm~Guntram.[fy75,1] Opera in [sm3[nm acts by R. Strau
ss (his [sm1[nmst) ~to his own lib. Comp. [sm1892[nm=n[sm3[nm. Prod. Weimar ~[sm
1894[nm. Rev. [sm1940[nm for Weimar revival, also Berlin ~[sm1942[nm. F. Eng. p.
 BBC broadcast [sm1981[nm.[cm~Guridi, J;aaesus[fy75,1] ([cf2]b[cf1] Vitoria, Sp.
, [sm1886[nm; [cf2]d[cf1] Madrid, ~[sm1961[nm). Sp. composer and organist of Bas
que ~origin. Studied under d'Indy at Paris Schola ~Cantorum. On return to Sp. be
came org. prof. ~and later dir. of Madrid Cons. Collected Basque ~folk-tunes and
 based many of his comps. on ~them, incl. operas, zarzuelas, choral works, and ~
organ pieces.[cm~Gurlitt, Manfred [fy75,1]([cf2]b[cf1] Berlin, [sm1890[nm; [cf2]
d[cf1] Tokyo, [sm1973[nm). ~Ger. composer and cond. Studied with Humper~~dinck a
nd Karl Muck. Cond. at Essen [sm1911[nm=n[sm12[nm, ~Augsburg [sm1912[nm=n[sm14[n
m, and Bremen [sm1914[nm=n[sm27[nm. His ~comps. were banned by t
he Nazis. Went to Japan ~[sm1939[nm, forming Gurlitt Opera Co. Works incl. [sm9[
nm ~operas (incl. [fy45,1]*[fy75,2]Wozzeck[cf1], [sm1920[nm, prod. [sm1928[nm),
[cf2]Goya ~Symphony [cf1]([sm1938[nm), [cf2]Shakespeare Symphony[cf1] (choral) ~
([sm1954[nm), pf. quintet, chamber conc., songs, etc.[cm~Gurney, Ivor [fy75,1]([
cf2]b[cf1] Gloucester, [sm1890[nm; [cf2]d[cf1] Dartford, ~[sm1937[nm). Eng. comp
oser, organist, and poet. Chor~~ister, Gloucester Cath. [sm1900[nm, pupil of [fy
45,1]*[fy75,1]Brewer. ~Ass. org. [sm1906[nm=n[sm11[nm. Won scholarship to RCM ~[
sm1911[nm, studying comp. under Stanford. Joined ~army [sm1915[nm, gassed at Pas
schendaele [sm1917[nm. Wrote ~poetry, setting several of his own poems to mus. ~
as well as poetry by Housman, etc. Song-cycles, ~of touching beauty and promise,
 incl. [cf2]Ludlow and ~Teme[cf1], for ten., str. qt., and pf., and [cf2]The Wes
tern ~Playland[cf1] for bar., str. qt., and pf. Other songs incl.[cf2] ~Desire i
n Spring[cf1] and [cf2]Severn Meadows.[cf1] Returned to ~RCM [sm
1919[nm but declared insane [sm1922[nm.[cm~Gurrelieder[fy75,1] (Songs of Gurra).
 Work by Schoen~~berg, comp. [sm1901[nm=n[sm3[nm and [sm1910[nm=n[sm11[nm and gi
ven no ~Op. no., being setting for [sm5[nm soloists, speaker, [sm3[nm ~male chs.
, mixed ch., and orch. of a Ger. trans. ~from the Danish of poems by J. P. Jacob
sen. ~(Gurra is castle where the [sm14[nmth-cent. heroine Tove ~lives.) Mus. is
in Schoenberg's Wagnerian style ~but foreshadows his maturity. Requires huge ~or
ch. incl. [sm10[nm hn., [sm8[nm fl., [sm4[nm Wagner tubas, [sm6[nm timp., ~and i
ron chains. F.p. Vienna [sm1913[nm, cond. F. ~Schreker; London (broadcast) [sm19
28[nm. The[cf2] Song of ~the Wood Dove [cf1]([cf2]Lied der Waldtaube[cf1]) was a
rr. by ~Schoenberg for v. and chamber orch. [sm1922[nm.[cm~Gusla [fy75,1](gusle,
 guzla). Ancient [sm1[nm-str. bowed instr. ~still popular in some Slavonic regio
ns (not to be ~confused with [fy45,1]*[fy75,1]gusli).[cm~Guslar.[fy75,1] A playe
r on the [fy45,1]*[fy75,2]gusli.[xm[cm~[j1]Gusli [fy75,1](Guslee
). Ancient Russ. instr. of the zither ~family (not to be confused with [fy45,1]*
[fy75,1]gusla). Imitated ~by Rimsky-Korsakov in his opera [cf2]Sadko.[cm~Gutheil
-Schoder, Marie[fy75,1] ([cf2]b[cf1] Weimar, [sm1874[nm; [cf2]d[cf1] Bad ~Ilmena
u, [sm1935[nm). Ger. sop. Studied Weimar, d;aaebut ~[PN306,0,0,L,I0]there [sm189
1[nm. Engaged for Vienna Opera by Mahler, ~[sm1900[nm, remaining until [sm1926[n
m. Sang Oktavian in ~[cf2]Rosenkavalier[cf1] CG [sm1913[nm (her only London appe
ar~~ance). Outstanding actress, hence success in ~[cf2]Elektra, Carmen[cf1], etc
. Created role of The Woman ~in Schoenberg's [cf2]Erwartung [cf1](Prague, [sm192
4[nm).[cm~Gutierrez, Horacio [fy75,1]([cf2]b[cf1] Havana, [sm1948[nm). Cuban ~pi
anist. Studied Los Angeles, then Juilliard Sch., ~NY [sm1967[nm=n[sm70[nm. D;aae
but Havana [sm1959[nm. Soloist in ~concs. with leading US and European orchs. [s
m2[nmnd ~prize Tchaikovsky competition [sm1970[nm.[cm~Guy, Barry [fy75,1]([cf2]b
[cf1] London, [sm1947[nm). Eng. composer ~and db. player. Studie
d GSM (comp. with Buxton ~Orr and Patric Standford). Prin. db. player in ~severa
l chamber orchs. Founder and artistic dir., ~London Jazz Composers' Orch. Works
incl. ~[cf2]Incontri[cf1], vc. and orch. ([sm1969[nm=n[sm70[nm), `D', [sm15[nm s
olo str. ~([sm1972[nm), [cf2]Anna[cf1], amplified db. and orch. ([sm1974[nm), ~[
cf2]Songs from Tomorrow[cf1], orch. ([sm1975[nm), [cf2]Eos[cf1], db. and ~orch.,
 ([sm1977[nm), [sm3[nm str. qts., [cf2]Play[cf1] for chamber ens. ~([sm1976[nm),
 [cf2]Voyages of the Moon[cf1], db. and orch. ([sm1983[nm), ~[cf2]Bitz[cf1], sep
tet ([sm1984[nm).[cmGymel, Gimel[fy75,1] (from Lat. [cf2]gemellus[cf1], twin). T
he word has been used ~in mus. in [sm3[nm senses, all with the idea of twinship.
 ~([sm1[nm) Style of singing alleged to have been common ~in parts of Britain as
 early as the [sm10[nmth or [sm11[nmth ~cents. Whilst one body of singers took t
he tune of a ~song another body would extemporize a part in ~[sm3[nmrds beneath
it.[ep~^([sm2[nm) Type of comp. found in the [sm14[nmth and earl
y ~[sm15[nmth cents. in which, whilst the main tune, or ~[fy45,1]*[fy75,1]cantus
 firmus, was sung in a lower v., [sm2[nm upper ~vv. sang an acc. in which they m
oved independ~~ently of the other v. but in [sm3[nmrds with one another.[ep~^([s
m3[nm) In [sm16[nmth-cent. choral mus. the word [cf2]Gymel[cf1] on ~a vocal part
 means that the singers of that part ~are here divided (same as [cf2]divisi[cf1]
). The restoration ~of the status quo is then indicated by the word ~[cf2]semel[
cf1].[cm~Gymnop;aaedies.[fy75,1] [sm3[nm pf. pieces by [fy45,1]*[fy75,1]Satie, c
omp. ~[sm1888[nm. Nos. [sm1[nm and [sm3[nm orch. by Debussy [sm1896[nm, No. [sm2
[nm ~by Roland-Manuel and also by Herbert Murrill. ~Title refers to Ancient Gree
k annual fest. in Sparta ~in honour of Apollo, the Gymnopaidiai being ~choral da
nces perf. by naked men and boys div. ~by age into [sm3[nm choruses.[cm~Gyrowetz
[fy75,1] (Jirove;Akc),[fy65][cf3] Adalbert [fy75,1]([cf2]b[cf1] Bud;Akejovice, ~
[sm1763[nm; [cf2]d[cf1] Vienna, [sm1850[nm). Bohemian composer.
His ~work was admired by Mozart in Vienna in [sm1785[nm. ~Studied in Naples and
Paris, lived in London ~[sm1789[nm=n[sm92[nm. Was of much assistance to Haydn, ~
whom he idolised, during his two visits to Eng. ~Kapellmeister and Intendant of
Vienna court ths. ~[sm1804[nm=n[sm31[nm. Compd. [sm30[nm operas (incl. [cf2]Hans
 Sachs[cf1]), [sm25[nm ~ballets, [sm40[nm syms., [sm45[nm str. qts., pf. sonatas
, etc.[xm[cm~[j4]~[xp[te~







[do25][j99]~~~~~~[sm024791[nm_H[sm001[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict. of ~Music[cmH[sm001[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm25[nm/[sm9[nm/[sm79[nm
[cm[sm12[nm[cm[sm1[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[PN307,0,0,R,I0][ap[j3
]~H[cm~~[j1]H [fy75,1](Ger.). B;yj, [cf2]H dur [cf1]being key of B major and [cf
2]H ~moll [cf1]key of B minor.[cm~Haas, Joseph [fy75,1]([cf2]b [cf1]Maihingen, [
sm1879[nm; [cf2]d [cf1]Munich, ~[sm1960[nm). Ger. composer. Studied comp. with[f
y45,1] *[fy75,1]Reger ~in Munich [sm1904[nm=n[sm8[nm. Taught comp. at Stuttgart
~Cons. [sm1911[nm=n[sm21[nm, Munich [sm1921[nm=n[sm50[nm. One of foun~~ders of [
fy45,1]*[fy75,1]Donaueschingen Fest., [sm1921[nm. Wrote ~biography of Reger ([sm
1949[nm). Works incl. operas ~[cf2]Tobias Wunderlich [cf1]and [cf2]Die Hochzeit
des Jobs[cf1]; ~oratorios [cf2]Das Lebensbuch Gottes, Das Lied von der ~Mutter,
Das Jahr im Lied, [cf1]and [cf2]Die Seligen[cf1]; vn. ~sonata, str. qt., and oth
er choral mus. and song-~cycles.[cm~Haas, Karl [fy75,1](Wilhelm
Jacob) [cf1]([cf2]b [cf1]Karlsruhe, [sm1900[nm; ~[cf2]d[cf1] London,[cf1][sm1970
[nm). Ger.-born cond. and musicolo~~gist. Studied Heidelberg and Munich Univ. Mu
s. ~adviser Karlsruhe and Stuttgart radio. Settled in ~Eng. [sm1939[nm. Founded
London Baroque Ens. [sm1941[nm ~to perform then unfamiliar mus. from baroque ~pe
riod. Public d;aaebut, Nat. Gallery, [sm1943[nm, last ~concert [sm1966[nm. Ed. w
orks of Cherubini, Boccherini, ~Haydn, etc.[cm~Haas, Monique [fy75,1]([cf2]b [cf
1]Paris, [sm1906[nm). Fr. pianist. ~Studied Paris Cons. Began concert career [sm
1927[nm. ~Worldwide tours. Specialist in Ravel and other ~contemporary works. Ta
ught at Paris Cons.[cm~Haas, Robert [fy75,1](Maria) [cf1]([cf2]b [cf1]Prague, [s
m1886[nm; [cf2]d [cf1]Vienna, ~[sm1960[nm). Ger.=nCz. cond. and musicologist. St
udied ~Prague, Vienna, Berlin. Ass. to G. [fy45,1]*[fy75,1]Adler in ~Vienna [sm1
909[nm, cond. th. orchs. [sm1910[nm=n[sm13[nm. Mus. ~librarian Vienna State Libr
ary, [sm1920[nm=n[sm45[nm. Prof. ~Vienna Univ. [sm1930[nm. Ed. w
orks by Monteverdi ~etc., but best known for his editorship of complete ~edn. of
 Bruckner's works from [sm1932[nm to [sm1949[nm ~when he was succeeded by [fy45,
1]*[fy75,1]Nowak. Haas restored ~the syms. nearer to the form in which Bruckner
~intended they should be heard. Author of books ~on Vienna Opera ([sm1926[nm), M
ozart ([sm1933[nm), and ~Bruckner ([sm1934[nm).[cm~H;aaaba, Alois [fy75,1]([cf2]
b [cf1]Vizovice, [sm1893[nm; [cf2]d [cf1]Prague, [sm1973[nm). ~Cz. composer. Stu
died with Nov;Aaak at Prague ~Cons. [sm1914[nm=n[sm15[nm and with Schreker in Vi
enna and ~Berlin [sm1918[nm=n[sm22[nm. Worked in Vienna as proofreader ~for Univ
ersal Edition, thereby learning Schoen~~berg's works. Studied oriental music and
 also ~Moravian folk-mus. Became prin. propagator of ~[fy45,1]*[fy75,1]microtona
l mus., founding and directing dept. ~of ;FB-tone and ;FL-tone mus. at Prague Co
ns. [sm1924[nm=n~[sm51[nm. Wrote comps. in ;FB-tones, ;FL-tones, and some in ~;F
H-tones. Developed harmonic theory in ;FB-tone, ;FL-~tone, and [
sm12[nm-tone systems. ;FB-tone and ;FL-tone ~instrs. ([sm3[nm types of pf., harm
onium, cls., and tpts.) ~were made for him. Folk music also influenced ~his work
s, and his [sm12[nm-note works, while never ~abandoning tonality, are on Schoenb
ergian prin~~ciples. Works incl.: Operas [cf2]Matka [cf1](The [fy45,1]*[fy75,1]M
other) ~in ;FB tones ([sm1927[nm=n[sm9[nm, rev. [sm1964[nm), [cf2]P;akriid[fy8,1
]F[fy75,2] Kr;Aaalovtsvi[fjTv;Aae ~[cf1]([cf2]Nezam;Akestnani[cf1]) (Thy Kingdom
 Come (The Un~~employed)) in ;FL tones ([sm1932[nm=n[sm42[nm), and [cf2]Nov;Aaa
Zem;Ake ~[cf1](The New Land) ([sm1935[nm=n[sm6[nm); [sm16[nm str. qts., some in
;FB, ~;FL and ;FK tones; fantasias for vc. and for pf. in ;FB ~tones; vn. conc.
([sm1954[nm); va. conc. ([sm1956[nm); sym~~phonic fantasia [cf2]Cesta ;AkZivota
[cf1](The Way of Life) ~([sm1934[nm); and [cf2]Fantasia [cf1]for nonet ([sm1932[
nm, [sm12[nm-tone) ~and ;D1;E7 tone, [sm1932[nm.[cm~H;aaaba, Karel [fy75,1]([cf2
]b [cf1]Vizovice, [sm1898[nm; [cf2]d[cf1] Prague, [sm1972[nm). ~
Cz. composer and violist, brother of Alois [fy45,1]*[fy75,1]H;Aaaba. ~Studied Pr
ague Cons. [sm1918[nm=n[sm23[nm (comp. with ~Nov;Aaak). Ed., Cz. nat. radio jour
nal [sm1929[nm=n[sm50[nm. ~Violist Cz. P.O. [sm1929[nm=n[sm36[nm. Like his broth
er's, his ~works employ microtones. They incl. str. qts; vc. ~conc.; vn. conc.;
operas [cf2]J;aaano;aks;aaik [cf1]and [cf2]Star=-=-;Aaa historie ~[cf1](Old Hist
ory); [sm2[nm syms.; choral works; and ~chamber mus.[cm~Haba;atnera[fy75,1] (Fr.
 [cf2]Havanaise[cf1]). Slow Cuban (orig. ~African) song and dance (Habana;eqHava
na), ~which became very popular in Sp. It is in simple ~duple time and dotted rh
ythm. Famous examples ~are the haba;atnera in Bizet's opera [cf2]Carmen[fj~[cf1]
(`L'Amour est un oiseau rebelle') which is an[fj~adaptation of a popular song by
 [fy45,1]*[fy75,1]Yradier, and the ~Haba;atnera for [sm2[nm pfs. by Ravel, later
 incorporated ~in his [cf2]Rapsodie espagnole [cf1]for orch.[cm~Habeneck, Fran;a
lcois [fy75,1](Antoine) [cf1]([cf2]b [cf1]M;aaezi;ageres, ~[sm17
81[nm; [cf2]d [cf1]Paris, [sm1849[nm). Fr. cond., composer, and ~violinist. Stud
ied Paris Cons. [sm1[nmst vn. in Paris ~Op;Aaera orch. [sm1815[nm, dir. [sm1821[
nm=n[sm4[nm, and cond. [sm1824[nm=n~[sm47[nm (chief cond. from [sm1831[nm). Ass.
 prof. of vn., Paris ~Cons. [sm1808[nm=n[sm16[nm, teaching special class [sm1825
[nm=n[sm48[nm. ~Founded Soci;Aaet;Aae des Concerts du Conservatoire ~[sm1828[nm,
 conducting it until [sm1848[nm and introducing ~Beethoven's syms. to Fr. Cond.
f.ps. of some ~works by Berlioz incl. the Requiem.[cm~Hackbrett [fy75,1](Ger.).
Chopping board, i.e. [fy45,1]*[fy75,1]dulci~~mer.[cm~Hacker, Alan [fy75,1]([cf2]
b [cf1]Dorking, [sm1938[nm). Eng. clarinet~~tist. Studied at RAM and later in Pa
ris, Vienna, ~and Bayreuth. On staff RAM [sm1959[nm. Member of ~LPO [sm1959[nm=n
[sm66[nm and was founder-member of ~[fy45,1]*[fy75,1]Pierrot Players [sm1967[nm.
 Founded Matrix [sm1971[nm. On ~staff York Univ. Has restored basset-clarinet to
 ~playing of Mozart, and given f.ps. of works by ~Boulez, Goehr,
 Birtwistle, Blake, and Maxwell ~Davies.[cm~ Hadley, Patrick [fy75,1](Arthur She
ldon) [cf1]([cf2]b [cf1]Cambridge, ~[sm1899[nm; [cf2]d [cf1]King's Lynn, [sm1973
[nm). Eng. composer. ~[PN308,0,0,L,I0]Studied Cambridge and RCM. Taught at RCM ~
[sm1925[nm=n[sm62[nm. Prof. of mus., Cambridge Univ., [sm1946[nm=n~[sm62[nm. Com
ps., influenced by folk mus., Eng. poetry, ~Vaughan Williams, and Delius, mainly
 for vv. ~and orch. They incl.: [cf2]Ephemera, [cf1]for sop. or ten. ~and chambe
r orch. ([sm1929[nm); [cf2]Scene from Hardy's The ~Woodlanders [cf1]for sop. and
 orch. ([sm1926[nm); [cf2]The Trees ~so high [cf1]for bar., ch., and orch. ([sm1
931[nm); [cf2]La Belle Dame ~sans merci [cf1]for ten., ch., and orch. ([sm1935[n
m); [cf2]The Hills ~[cf1]for soloists, ch., and orch. ([sm1944[nm); [cf2]Scene f
rom ~Shelley's The Cenci [cf1]for sop. and orch. ([sm1951[nm); and ~[cf2]Fen and
 Flood [cf1]for soloist, ch., and orch. ([sm1954[nm). ~Also many songs.[cm~Hadow
, [fy75,1](Sir)[fy65][cf3] William [fy75,1](Henry) [cf1]([cf2]b
[cf1]Ebrington, ~[sm1859[nm; [cf2]d [cf1]London, [sm1937[nm). Eng. educator, wri
ter, ~and composer. Studied mus. at Darmstadt [sm1882[nm. ~Lecturer on mus. Oxfo
rd Univ. [sm1890[nm=n[sm9[nm; prin., ~Armstrong Coll., Newcastle upon Tyne, [sm1
909[nm=n~[sm19[nm; vice-chancellor, Sheffield Univ. [sm1919[nm=n[sm30[nm. ~Comp.
 chamber mus. and songs. Books incl. ~[cf2]Studies in Modern Music [cf1]([sm1892
[nm, [sm1894[nm, new edn. ~[sm1926[nm), [cf2]English Music [cf1]([sm1931[nm). Ge
n. ed. [cf2]Oxford ~History of Music, [cf1]Vol. V ([cf2]The Viennese Period[cf1]
), ~[sm1904[nm. Knighted [sm1918[nm.[cm~Haebler, Ingrid [fy75,1]([cf2]b [cf1]Vie
nna, [sm1929[nm). Austrian ~pianist. Studied Vienna, Salzburg, and Geneva. ~Won
Munich int. competition [sm1954[nm. Specialist in ~Mozart concs. and Schubert so
natas. Mozart ~medal, Vienna, [sm1971[nm.[cm~Haendel, Ida [fy75,1]([cf2]b [cf1]C
helm, Poland, [sm1924[nm). Polish-~born violinist. Studied Warsaw Cons. and with
 ~Flesch and Enescu. D;Aaebut London [sm1937[nm. Settled ~in Eng
., but toured worldwide. In [sm1952[nm left Eng. ~to live in Canada. Toured Russ
ia [sm1966[nm.[cm~Haffner Serenade. [fy75,1]Nickname of Mozart's Suite ~in D maj
or, K[sm250[nm, comp. [sm1776[nm for a marriage in ~the Salzburg family of Haffn
er.[cm~Haffner Symphony. [fy75,1]Nickname of Mozart's Sym. ~No.[sm35[nm in D maj
or, K[sm385[nm, arr. from a serenade ~(but not the D major, K[sm250[nm) written
for the ~Haffner family in [sm1782[nm.[cm~Hageman, Richard [fy75,1]([cf2]b [cf1]
Leeuwarden, Holland, ~[sm1882[nm; [cf2]d [cf1]Beverly Hills, Calif., [sm1966[nm)
. Dutch-born ~Amer. composer and cond. Studied Brussels Cons. ~Ass. cond. Amster
dam Royal Opera, [sm1898[nm, chief ~cond. [sm1900[nm. Went to USA [sm1907[nm. Co
nd. at NY Met. ~[sm1912[nm=n[sm21[nm and [sm1935[nm=n[sm6[nm. Wrote opera [cf2]C
aponsacchi ~[cf1](prod. Freiburg [sm1932[nm and NY Met. [sm1937[nm), film ~mus.,
 songs, etc.[cm~Hahn, Reynaldo [fy75,1]([cf2]b [cf1]Car;Aaacas, [sm1874[nm; [cf2
]d [cf1]Paris, [sm1947[nm). ~Fr. composer and cond. Studied Pari
s Cons. [sm1886[nm, ~comp. with Massenet. His operas incl. [sm2[nm special ~succ
esses, [cf2]Ciboulette [cf1]([sm1923[nm) and [cf2]Mozart [cf1]([sm1925[nm). ~Tho
ugh he wrote ballets, operetta, a cantata, pf. ~conc., and incidental mus., he i
s best remembered ~by his elegant and charming songs incl. [cf2]Si mes ~vers ava
ient des ailes.[cf1] Dir., Paris Op;aaera, [sm1945[nm=n[sm6[nm.[cf1][cm~Hairpins
. [fy75,1]Nickname for the signs[cp6][cs12][cb-1] ;Lt[cs8][cp8][cb0] and[cp6][cs
12][cb-1] ;Mt[cs8][cp8][cb0] ~which represent [fy45,1]*[fy75,2]crescendo [cf1]an
d [fy45,1]*[fy75,2]diminuendo[cf1].[cm~Haitink, Bernard [fy75,1]([cf2]b [cf1]Ams
terdam, [sm1929[nm). Dutch ~conductor. Studied vn. and cond. at Amsterdam ~Cons.
 Violinist in Netherlands Radio P.O., becom~~ing prin. cond. [sm1957[nm. Guest c
ond. Concertgebouw ~Orch. [sm1958[nm=n[sm60[nm, becoming joint prin. cond. (with
 ~[fy45,1]*[fy75,1]Jochum) [sm1961[nm, prin. cond. from [sm1964[nm. Amer. ~d;aae
but [sm1958[nm (Los Angeles), Brit. d;aaebut [sm1959[nm (visit ~
with Concertgebouw Orch.). Prin. cond. LPO ~[sm1967[nm=n[sm79[nm (art. dir. from
 [sm1970[nm). Brit. opera d;aaebut, ~Glyndebourne [sm1972[nm ([cf2]Die Entf;auuh
rung[cf1]), CG [sm1977[nm ~([cf2]Don Giovanni[cf1]). Mus. dir. Glyndebourne Oper
a ~from [sm1977[nm. NY Met. d;aaebut [sm1982[nm ([cf2]Fidelio[cf1]). Mus. ~dir.
CG from [sm1987[nm. Specialist in syms. of Mahler ~and Bruckner. Hon. K.B.E. [sm
1977[nm.[cm~Halb, Halbe [fy75,1](Ger.). Half. [cf2]Halbe, Halbenote, Halbe ~Takt
note, [cf1]half-note (minim); [cf2]Halbe-pause, [cf1]half-rest ~(minim rest).[cm
~Halbprinzipal [fy75,1](Ger.). Half Diapason, i.e. [sm4[nm;Po ~Principal (org. s
top).[cm~Halbsopran [fy75,1](Ger.). Mezzo-soprano.[cm~Halbtenor [fy75,1](Ger.).
Baritone.[cm~Hale (Halle), Adam de la. [fy75,1]See [cf2]Adam de la Halle.[cm~Hal
ek, Va;akclav [fy75,1]([cf2]b [cf1]Prague, [sm1937[nm). Cz. composer. ~Studied P
rague Cons. Comps. incl. [sm2[nm pf. concs., [sm2[nm ~str. quintets, sym., tb. c
onc., vn. and pf. conc., ~[cf2]Battle for Peace [cf1]for org. an
d strs., choral works.[cm~Hal;aaevy [fy75,1](orig. L;aaevi),[fy65][cf3] Jacques
[fy75,1](Fran;Alcois Fromental ~Elias) [cf1]([cf2]b [cf1]Paris, [sm1799[nm; [cf2
]d [cf1]Nice, [sm1862[nm). Fr. composer. ~Pupil of Cherubini at Paris Cons., als
o studied in ~It. [cf2]Grand Prix de Rome [cf1][sm1819[nm. Achieved fame with ~o
pera [cf2]La [fy45,1]*[fy75,2]Juive[cf1]. Taught at Paris Cons. from [sm1827[nm.
 ~[cf2]Chef du chant[cf1] Paris Op;aaera [sm1829[nm=n[sm45[nm. Comp. over ~[sm30
[nm operas, several ballets, cantatas, and songs.[cm~Half Cadence. [fy75,1]See [
cf2]Cadence.[cm~Half Close. [fy75,1]See [cf2]Cadence.[cm~Halffter, Crist;Aaobal
[fy75,1]([cf2]b [cf1]Madrid, [sm1930[nm). Sp. comp;Dh[fj~oser and cond. Studied
with C. del Campo and A. ~Tansman. Works for Sp. radio. Teacher of comp. ~and th
eory, Madrid Cons. [sm1960[nm=n[sm7[nm (dir. [sm1964[nm=n[sm6[nm). ~Guest cond.
of leading orchs. Works incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Sequences [cf1]([sm
1965[nm); Sym. for [sm3[nm groups of ~instrs. ([sm1963[nm); [cf2
]Anillos [cf1]([sm1967[nm=n[sm8[nm); [sm5[nm [cf2]Microforms ~[cf1]([sm1960[nm);
 [cf2]Requiem por la Libertad Imaginada [cf1]([sm1971[nm); ~[cf2]Elegies for dea
th of [sm3[nm Spanish poets [cf1]([sm1974[nm=n[sm5[nm); vc. ~conc. ([sm1974[nm);
 [cf2]Fibonaciana[cf1], fl. conc. ([sm1969[nm); vn. ~conc. ([sm1979[nm); [cf2]Ti
ento[cf1] ([sm1980[nm); [cf2]Fantasia on a Theme ~of Handel[cf1], str. ([sm1981[
nm); [cf2]Sinfonia ricercata[cf1], org. and ~orch. ([sm1982[nm); [cf2]Versus[cf1
] ([sm1983[nm).[ep~[smchoral[nm: [cf2]Yes Speak Out Yes, [cf1]U.N.O. cantata, so
p., ~bar., ch., orch. ([sm1968[nm); [cf2]In exspectatione resurrec~~tionis Domin
i[cf1], bar., male ch., and orch. ([sm1965[nm); ~[cf2]Symposion, [cf1]bar., ch.,
 orch. ([sm1968[nm); [cf2]In memoriam ~Anaick[cf1], reciter, ch., and orch. ([sm
1967[nm); [cf2]Jarchas de ~dolor de Ausencia[cf1], [sm12[nm vv. ([sm1979[nm).[ep
~Also chamber mus. and songs.[cm~[j1]Halffter [fy75,1](Escriche), [fy65][cf3]Ern
esto [fy75,1]([cf2]b [cf1]Madrid, [sm1905[nm). Sp. ~composer and
 cond. Pupil of [fy45,1]*[fy75,1]Falla. Lived in ~[PN309,0,0,R,I0]Portugal until
 he founded chamber orch. in ~Seville. Works incl. [cf2]The Death of Carmen [cf1
]([sm1977[nm), ~orch. pieces, pf. mus., etc. Completed Falla's ~[cf2]Atl;aaantid
a.[cm~Halffter [fy75,1](Escriche), [fy65][cf3]Rodolfo [fy75,1]([cf2]b [cf1]Madri
d, [sm1900[nm). ~Sp.-born composer (Mexican cit. from [sm1939[nm), ~brother of E
rnesto [fy45,1]*[fy75,1]Halffter. Mainly self-taught ~with help from Falla. Infl
uenced by Schoenberg. ~Settled in Mexico [sm1939[nm. Composed orch. works ~and c
hamber mus.[cm~Half-note [fy75,1](;yg). Half the time-value of the whole-~note o
r semibreve. Known in Eng. usage as ~`minim' (from Lat. [cf2]minima[cf1]). See a
lso [cf2]Rests[cf1];[cf2] Names ~of Notes.[cm~Hali;Akr, Karl [fy75,1]([cf2]b [cf
1]Hohenelbe, [sm1859[nm; [cf2]d [cf1]Berlin, [sm1909[nm). ~Cz. violinist. Studie
d Prague Cons. and with ~Joachim in Berlin. Leader of several Ger. orchs. ~[sm2[
nmnd violinist in Joachim Qt. [sm1897[nm=n[sm1907[nm.[cm~Halka [
fy75,1](Helen). Opera in [sm4[nm (orig. [sm2[nm) acts by ~Moniuszko to lib. by W
olski after W;aaojcicki's ~story [cf2]G;aaoralka[cf1]. F. (concert) p. Wilno [sm
1848[nm; (rev. ~version) Warsaw [sm1858[nm; NY [sm1903[nm; London [sm1961[nm.[cm
~Hall, Ernest [fy75,1]([cf2]b [cf1]Liverpool, [sm1890[nm; [cf2]d[cf1] London, [s
m1984[nm). Eng. orch. ~trumpeter. Trained RCM, becoming prof. of tpt., ~[sm1924[
nm=n[sm70[nm. [sm3[nmrd tpt. LSO [sm1911[nm, prin. tpt. [sm1924[nm=n[sm30[nm; ~p
rin. tpt. BBC S.O. [sm1930[nm=n[sm50[nm.[cm~Hall, Marie [fy75,1](Paulina) ([cf2]
b [cf1]Newcastle upon Tyne, ~[sm1884[nm; [cf2]d [cf1]Cheltenham, [sm1956[nm). En
g. violinist. Pupil ~of Elgar, Kruse, and Sev;Akcik. D;aaebut Prague [sm1902[nm,
 ~London [sm1903[nm. Gave f.p. of Vaughan Williams's ~[cf2]The Lark Ascending [c
f1][sm1920[nm.[cm~Hall, [fy75,1](Sir)[fy65][cf3] Peter [fy75,1]([cf2]b [cf1]Bury
 St Edmunds,[sm1930[nm). Eng. ~theatrical producer. Dir., Oxford Playhouse ~[sm1
954[nm=n[sm5[nm; man. dir. Royal Shakespeare Co. [sm1960[nm=n~[s
m8[nm; dir., Nat. Th. from [sm1973[nm. Art. dir. Glynde~~bourne from [sm1984[nm.
 First opera prod., Gardner's ~[cf2]The Moon and Sixpence, [cf1]SW [sm1957[nm. P
roduced ~Wagner's [cf2]Ring[cf1] at Bayreuth [sm1983[nm. His other prin. ~opera
prods. have been: CG: Schoenberg's [cf2]Moses ~and Aaron [cf1]([sm1965[nm), Moza
rt's [cf2]Die Zauberfl;auote [cf1]([sm1966[nm), ~Tippett's [cf2]The Knot Garden[
cf1] ([sm1970[nm), Tchaikovsky's ~[cf2]Eugene Onegin[cf1] ([sm1971[nm), Wagner's
 [cf2]Tristan und Isolde ~[cf1]([sm1971[nm); Glyndebourne: Cavalli's [cf2]La Cal
isto[cf1] ([sm1970[nm), ~Monteverdi's [cf2]Il Ritorno d'Ulisse in Patria[cf1] ([
sm1972[nm), ~[cf2]L'Incoronazione di Poppea [cf1]([sm1984[nm), Mozart's [cf2]Le
Nozze ~di Figaro[cf1] ([sm1973[nm), [cf2]Don Giovanni[cf1] ([sm1977[nm), [cf2]Co
s;agi fan tutte[cf1] ~([sm1978[nm), Beethoven's [cf2]Fidelio[cf1] ([sm1979[nm),
Britten's [cf2]A ~Midsummer Night's Dream[cf1] ([sm1981[nm), Gluck's [cf2]Orfeo[
cf1] ~([sm1982[nm). NY Met.: Verdi's [cf2]Macbeth [cf1]([sm1982[
nm). C.B.E. ~[sm1963[nm. Knighted [sm1977[nm.[cm~Hall, Richard [fy75,1]([cf2]b [
cf1]York, [sm1903[nm; [cf2]d [cf1]Horsham, [sm1982[nm). ~Eng. composer, teacher,
 and poet. No formal ~mus. education beyond a few lessons from ~[fy45,1]*[fy75,1
]Bairstow. Played vc. and org. Org., Dorchester ~Abbey, Oxon, [sm1923[nm. Org. s
cholar Peterhouse, ~Cambridge Univ., [sm1923=n4[nm. Ordained in C. of E. ~Precen
tor, Leeds Parish Church [sm1926=n36[nm. Left ~church [sm1936[nm, chiefly becaus
e of growing interest ~in Eastern religion and philosophy. Mus. adv., ~Lancs. Co
mmunity Council [sm1936=n40[nm. Prof. of ~harmony and comp., RMCM, [sm1938=n56[n
m. Influen~~tial teacher, pupils incl. Maxwell Davies, A. ~Goehr, Birtwistle, D.
 Wilde, and A. Butterworth. ~Dir. of mus. Dartington Hall [sm1956=n65[nm, foundi
ng ~Dartington Str. Qt. Ordained as Liberal Catholic ~priest [sm1959[nm. Ministe
r, Unitarian Church, Moreton~~hampstead [sm1965=n7[nm, Horsham [sm1967=n76[nm, B
illing-[fjhurst [sm1968=n76[nm. Pubd. [sm7[nm books of poetry [s
m1970=n~5[nm. Comps., influenced by Delius, Skryabin, ~Schoenberg, and Berg, inc
l. [sm5[nm syms.; pf. conc.; [sm2[nm ~str. qts.; [sm19[nm pf. sonatas ([sm1934=n
5[nm); vc. conc.; [cf2]Lyric ~Pieces[cf1], orch. ([sm1946[nm); sym.-poem [cf2]Le
mura; Creator ~Spiritus[cf1], vv. and orch.; [cf2]Rhapsody[cf1], for org. and st
r. ~([sm1929[nm); orch. fantasy [cf2]The Sheep Under the Snow[cf1]; ~songs, etc.
[cm~Hall;aae, [fy75,1](Sir) [fy65][cf3]Charles [fy75,1](orig. Halle, Karl) ([cf2
]b [cf1]Hagen, ~Ger., [sm1819[nm; [cf2]d[cf1] Manchester, [sm1895[nm). Ger.-born
 pianist ~and cond. Child prodigy pianist. Studied Darm~~[chstadt [sm1835[nm; we
nt to Paris [sm1836[nm to improve pf. ~technique, becoming friend of Chopin, Lis
zt, and ~Berlioz. D;Aaebut in Paris in pf. trio with Alard and ~Franchomme, [sm1
840[nm. Concert tour of Ger. [sm1842[nm, ~London [sm1843[nm. Instituted first Pa
ris series of ~chamber concerts [sm1847[nm. Settled in Eng. [sm1848[nm. ~First p
ianist to play complete series of Beethoven ~pf. sonatas in Lond
on (also in Manchester and ~Paris). Invited to settle in Manchester, [sm1848[nm,
 ~where he lived for the rest of his life. Founded ~chamber concerts in Manchest
er [sm1848[nm=n[sm9[nm, choral ~soc. [sm1850[nm, became cond. of [fy45,1]*[fy75,
1]Gentlemen's Concerts ~orch. [sm1849[nm, cond. his first concert [sm1850[nm. Fo
unded ~his own series of orch. concerts Jan. [sm1858[nm, thereby ~inaugurating w
hat are still known as the [fy45,1]*[fy75,1]Hall;aae ~Orch. and Hall;Aae Concert
s. Regularly appeared as ~soloist in concs. and as recitalist. Annual visits to
~London, Edinburgh, etc. Champion of new ~works, esp. those of Berlioz. Cond. f.
p. in Eng. of ~[cf2]Symphonie Fantastique, L'Enfance du Christ[cf1], and [cf2]La
 ~Damnation de Faust[cf1]. Cond. opera seasons in ~Manchester [sm1854[nm=n[sm5[n
m, London [sm1860[nm=n[sm1[nm. Cond. ~Bristol Festival [sm1873[nm=n[sm93[nm. Tou
red Australia [sm1890[nm ~and [sm1891[nm and S. Africa [sm1895[nm with [sm2[nmnd
 wife, the ~violinist Wilhelmina Norman-[fy45,1]*[fy75,1]Neruda.
 [sm1[nmst Prin., ~RMCM [sm1893[nm=n[sm5[nm. Knighted [sm1888[nm.[cm~Hallelujah
Chorus. [fy75,1]Usually taken to mean one ~particular ch. out of many which exis
t, i.e. that ~which closes Part II of Handel's [cf2]Messiah. [cf1]At one of ~the
 [sm3[nm London perfs. in CG Th. in [sm1743[nm, the whole ~assembly, led by Geor
ge II, rose to its feet as the ~ch. opened, and remained standing to the end, ~t
hus establishing a tradition which is still ~maintained by Brit. audiences.[cm~H
all;aaen, Anders [fy75,1](=+=+=+Johan Andreas) ([cf2]b [cf1]Gothenburg, ~[sm1846
[nm; [cf2]d [cf1]Stockholm, [sm1925[nm). Swed. composer, ~cond., and critic. Stu
died with Reinecke in ~Leipzig, Rheinberger in Munich. Cond. Gothen~~burg Mus. U
nion [sm1872[nm=n[sm8[nm and [sm1883[nm=n[sm4[nm, Stockholm ~P.O. [sm1884[nm=n[s
m92[nm, Royal Opera [sm1892[nm=n[sm7[nm, Malm;Auo P.O. ~[sm1901[nm=n[sm07[nm. Pr
of. of comp. Stockholm Cons. from ~[PN310,0,0,L,I0][sm1907[nm. Comp. [sm3[nm ope
ras, [cf2]Missa solemnis[cf1], cantatas, ~symphonic poems, and s
ongs, etc.[cm~Hall;aae Orchestra. [fy75,1]Manchester's prin. sym. orch., ~founde
d [sm1858[nm by Charles [fy45,1]*[fy75,1]Hall;aae, after success of ~series of o
rch. concerts at [sm1857[nm Art Treasures ~Exhibition. Hall;Aae remained cond. (
and proprietor ~and prin. pf. soloist) until death in [sm1895[nm. In ~interregnu
m Frederic [fy45,1]*[fy75,1]Cowen was cond. until ~[sm1899[nm when Hans [fy45,1]
*[fy75,1]Richter took up post offered ~to him in [sm1895[nm. Concerts managed fr
om [sm1898[nm by ~non-profit-making Hall;Aae Concerts Soc. (today ~with consider
able financial support from Arts ~Council, private patronage, and local govt.).
~Richter left in [sm1911[nm and was succeeded in [sm1912[nm ~by Michael [fy45,1]
*[fy75,1]Balling who remained until [sm1914[nm. ~No permanent cond. appointed un
til Hamilton ~[fy45,1]*[fy75,1]Harty, [sm1920[nm=n[sm33[nm. During decade [sm193
3[nm=n[sm43[nm,[fjBee~~cham and Sargent, with others, were conds. Orch. ~reconst
ituted [sm1943[nm on annual basis giving many ~more concerts and
 John [fy45,1]*[fy75,1]Barbirolli was appointed ~cond., retaining post until his
 death in [sm1970[nm. ~Succeeded [sm1971[nm by James [fy45,1]*[fy75,1]Loughran w
ho re~~signed [sm1983[nm and was succeeded ([sm1984[nm) by ~Stanislaw [fy45,1]*[
fy75,1]Skrowaczewski. Among works f.p. by ~Hall;Aae are Elgar's [sm1[nmst Sym. (
[sm1908[nm) and Vaughan ~Williams's [sm7[nmth and [sm8[nmth syms. ([sm1953[nm an
d [sm1956[nm). ~Orch. gives regular series in Sheffield and ~Bradford, tours thr
oughout Britain, and has made ~many overseas tours.[cm~Halling. [fy75,1]A popula
r solo Norweg. dance, pre~~sumed to have originated in the Hallingdal. The ~mus.
 is in simple duple time, and the steps are ~remarkably vigorous. Acc. played on
 `Hardanger ~fiddle', vn. strung with [sm4[nm stopped and [sm4[nm sympa~~thetic
str.[xm[cm~[ol0][ep~[xp[te~


[do25][j99]~~~~~~[sm024791[nm_H[sm002[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict. of ~Music[cmH[sm002[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm26[nm/[sm9[nm/[sm79[nm
[cm[sm12[nm[cm[sm46[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ep~[ap[j1]Halm, Hans
 [fy75,1]([cf2]b [cf1]Munich, [sm1898[nm; [cf2]d [cf1]Munich, [sm1965[nm). ~Ger.
 musicologist. Dir., mus. section, Munich ~State Library from [sm1938[nm. After
death of [fy45,1]*[fy75,1]Kinsky, ~completed and pubd. his thematic catalogue of
 ~Beethoven's works ([sm1955[nm).[cm~Halsey, Louis [fy75,1](Arthur Owen) [cf1]([
cf2]b [cf1]London, [sm1922[nm). ~Eng. cond. Studied King's Coll., Cambridge. ~Fo
unded and cond. Elizabethan Singers [sm1953[nm=n[sm66[nm, ~Louis Halsey Singers
from [sm1967[nm, Thames Cham~~ber Choir from [sm1964[nm. Mus. producer, BBC, fro
m ~[sm1963[nm.[cm~Hambourg, Mark [fy75,1]([cf2]b [cf1]Bogutchar, [sm1879[nm; [cf
2]d [cf1]Cam~~bridge, [sm1960[nm). Russ.-born pianist, later Brit. ~citizen. D;a
aebut with Moscow P.O. [sm1888[nm, then ~pupil of [fy45,1]*[fy75
,1]Leschetizky in Vienna. Many world ~tours.[cm~Hambraeus, Bengt [fy75,1]([cf2]b
 [cf1]Stockholm, [sm1928[nm). Swed. ~composer and organist. Studied Upsala Univ.
 ~[sm1947[nm=n[sm56[nm and at Darmstadt summer courses with ~Fortner, Messiaen,
and K;Akrenek. Joined staff, ~Swedish Broadcasting Corporation, [sm1957[nm: dir.
 of ~chamber mus. [sm1965[nm=n[sm8[nm, prod. dir. [sm1968[nm=n[sm72[nm. Prof., ~
McGill Univ., Montreal, from [sm1972[nm. Has comp. ~at elec. studios in Cologne,
 Milan, and Munich.[cm~Hamburg. [fy75,1]N. German city and port with long ~mus.
tradition. Famous figures in its church mus. ~history who held office of Musikdi
rektor der ~Hauptkirchen incl. Sartorius ([sm1604[nm=n[sm37[nm), Selle ~([sm1638
[nm=n[sm63[nm), Telemann ([sm1721[nm=n[sm67[nm), C. P. E. Bach ~([sm1767[nm=n[sm
88[nm), and C. F. G. Schwencke ([sm1788[nm=n[sm1822[nm). ~In [sm17[nmth cent. Ha
mburg was leading centre of N. ~German org. mus. Schnitger ([sm1648[nm=n[sm1719[
nm) was ~important org. builder and among distinguished ~organis
ts were the Praetorius brothers, Reincken, ~and L;auubeck. Became opera centre i
n [sm1678[nm. Keiser, ~who moved to Hamburg in [sm1695[nm, wrote over [sm50[nm ~
operas for the company he directed from [sm1703[nm to ~[sm1706[nm, with Handel a
s apprentice. Telemann wrote ~several operas for Hamburg. In [sm19[nmth cent., ~
Bernhard Pollini (Pohl) from [sm1874[nm established a ~Wagnerian reputation and
engaged Mahler as ~cond. ([sm1891[nm=n[sm7[nm). Later conds. incl. Klemperer ~([
sm1910[nm=n[sm12[nm), Pollak ([sm1917[nm=n[sm31[nm), and B;auohm ([sm1931[nm=n~[
sm4[nm). Opera house bombed [sm1943[nm, rebuilt [sm1955[nm. ~Conds. after [sm194
5[nm incl. Arthur Gruber ([sm1946[nm=n[sm50[nm), ~Leopold Ludwig ([sm1951[nm=n[s
m71[nm), and Christoph von ~Dohn;aaanyi ([sm1977=n84[nm). Producers such as G;au
unther[fjRennert and intendants such as Tietjen ([sm1954[nm=n[sm9[nm) ~and R. Li
ebermann ([sm1959[nm=n[sm73[nm) lifted Hamburg to ~a leading place in European o
pera. Orch. concerts ~developed [cf2]c.[cf1][sm1660[nm. C. P. E.
 Bach arr. concerts from ~[sm1768[nm for the next [sm20[nm years. Hamburg Philha
r~~monic Orch. gave first concert in Jan. [sm1829[nm but ~was eclipsed from [sm1
886[nm by concerts given by the ~opera orch. under Hans von B;auulow. But Muck ~
from [sm1922[nm transformed the playing until, when ~he retired in [sm1933[nm, t
he orch. was merged with ~the opera orch. under joint cond. of Jochum and ~Schmi
dt-Isserstedt. After [sm1945[nm conds. incl. Keil~~berth and Sawallisch. In [sm1
945[nm Schmidt-Isserstedt ~became chief cond. of Hamburg radio orch. ~which late
r toured Eng., Russ., and USA. Known ~as North German Radio S.O. from [sm1951[nm
. Gave f.p. ~(concert) of Schoenberg's [cf2]Moses und Aron[cf1], [sm1954[nm. ~At
zmon was chief cond. [sm1972[nm=n[sm9[nm, Tennstedt [sm1979[nm=n~[sm82[nm, Wand
from [sm1982[nm.[cm~Hamburger, Paul [fy75,1]( [cf2]b [cf1]Vienna, [sm1920[nm). A
ustrian-~born pianist and critic. Studied Vienna State ~Acad. Settled in Eng. Wo
rked with EOG [sm1953[nm=n[sm6[nm, ~Glyndebourne Opera [sm1956[n
m=n[sm62[nm. Frequent accom~~panist and chamber mus. player. Has contributed ~to
 pubd. symposiums on Britten, Mozart, and ~Chopin. Translator of Hollander's [cf
2]Jan;Aaa;Akcek[cf1].[cm~Hamerik [fy75,1](orig. Hammerich), [fy65][cf3]Asger [fy
75,1]([cf2]b [cf1]Copen~~hagen, [sm1843[nm; [cf2]d [cf1]Frederiksburg, [sm1923[n
m). Danish ~composer and pianist. Pupil of Gade and B;Auulow. ~In Paris [sm1864[
nm=n[sm9[nm was helped and taught by Berlioz. ~Went to Italy [sm1869[nm, opera [
cf2]La Vendetta [cf1]prod. Milan ~[sm1870[nm. Dir. of Cons., Peabody Institute,
Baltimore, ~[sm1871[nm=n[sm98[nm, founding sym. concerts there. Returned ~to Cop
enhagen [sm1900[nm. Comp. [sm8[nm syms., [sm5[nm suites, [sm3[nm ~other operas,
chamber mus., etc.[cm~Hamerik, Ebbe [fy75,1]([cf2]b [cf1]Copenhagen, [sm1898[nm;
 [cf2]d [cf1]Copen~~hagen, [sm1951[nm). Danish composer and cond. Son of ~Asger
[fy45,1]*[fy75,1]Hamerik, with whom he studied. Cond., ~[PN311,0,0,R,I0]Danish R
oyal Opera [sm1919[nm=n[sm22[nm. Comp. [sm5[nm syms., ~several o
peras, and chamber mus.[cm~Hamilton, Iain [fy75,1](Ellis) ([cf2]b[cf1] Glasgow,
[sm1922[nm). Scot. ~composer and pianist. Trained in London as ~engineer but won
 scholarship to RAM in [sm1947[nm, ~studying comp. with [fy45,1]*[fy75,1]Alwyn a
nd pf. with H. ~Craxton. Cl. Quintet perf. [sm1949[nm; [sm2[nmnd Sym. ([sm1951[n
m) ~won Koussevitzky award. Lecturer, Morley Coll. ~[sm1952[nm=n[sm9[nm, London
Univ. [sm1955[nm=n[sm60[nm. Prof. of mus., ~Duke Univ., N. Carolina, [sm1961[nm=
n[sm81[nm, becoming ~chairman, mus. dept. [sm1966[nm. Returned to Eng. ~[sm1981[
nm. Early works showed influences of Bart;Aaok ~and Hindemith, and in the [cf2]S
infonia [cf1]he used serial ~procedures. Growing interest in vocal and operatic
~mus. has eased tendency to austerity in his mus. ~Prin. works:[xm[cm~[j2][smope
ras[nm: [fy75,2]Rondo[cf1], [sm1[nm-act opera buffa; [cf2]Agamemnon[cf1], [sm2[n
m-~act ([sm1967[nm=n[sm9[nm); [fy45,1]*[fy75,2]Royal Hunt of the Sun[cf1], [sm2[
nm-act[fj([sm1967[nm=n~[sm9[nm); [cf2]Pharsalia[cf1] [sm1[nm-act
, ([sm1968[nm); [cf2]The [fy45,1]*[fy75,2]Catiline[fjConspir~~acy [cf1]([sm1972[
nm=n[sm3[nm); [cf2]Tamburlaine [cf1]([sm1976[nm); [cf2]Anna[fjKarenina[cf1] ~([s
m1978[nm); [cf2]Dick Whittington [cf1]([sm1980=n1[nm);[fj[cf2]Lancelot[cf1] ~([s
m1982=n3[nm).[ep~[smballet[nm: [cf2]Clerk Saunders [cf1]([sm1951[nm).[ep~[smorch
[nm: [cf2]Variations [cf1]for str. ([sm1948[nm); Sym. No. [sm1[nm ~([sm1950[nm),
 No [sm2[nm ([sm1951[nm), No. [sm3[nm ([cf2]Spring[cf1]) ([sm1981[nm), No. [sm4[
nm ~in B ([sm1981[nm); ov. [cf2]Bartholomew Fair [cf1]([sm1952[nm); cl. ~conc. (
[sm1950[nm); pf. conc. No. [sm1[nm ([sm1949[nm), No. [sm2[nm ([sm1960[nm ~rev. [
sm1967[nm); [cf2]Sinfonia Concertante [cf1]for vn., va., and ~orch. ([sm1950[nm)
; vn. conc. No. [sm1[nm ([sm1952[nm); conc. for ~jazz tpt. ([sm1958[nm); [cf2]Sc
ottish Dances [cf1]([sm1956[nm); ov. [cf2][sm1912[nm[cf1] ~([sm1958[nm); [cf2]Si
nfonia [cf1]for [sm2[nm orch. ([sm1958[nm=n[sm9[nm); [cf2]Sonata per ~orchestra
da camera [cf1]([sm1956[nm); [cf2]Arias [cf1]for small orch. ~([
sm1962[nm); [cf2]Cantos [cf1]for orch. ([sm1964[nm); org. conc. ([sm1964[nm); ~[
cf2]Jubilee [cf1]([sm1964[nm); [cf2]Circus [cf1]for [sm2[nm tpt. and orch. ([sm1
969[nm); ~[cf2]Voyage [cf1]for hn. and orch. ([sm1970[nm); [cf2]Alastor [cf1]([s
m1970[nm); ~[cf2]Amphion, [cf1]vn. conc. No. [sm2[nm ([sm1971[nm); [cf2]Commedia
: ~Concerto for Orch. [cf1]([sm1972[nm=n[sm3[nm); [cf2]Aurora [cf1]([sm1975[nm);
 [cf2]The ~Alexandrian Sequence[cf1], chamber orch. ([sm1976[nm).[ep~[smchoral[n
m: [cf2]The Bermudas [cf1]for bar., ch., and orch. ~([sm1956[nm); [cf2]Nocturnal
 [cf1]for [sm11[nm solo vv. ([sm1959[nm); [cf2]Epitaph ~For This World and Time
[cf1]for [sm3[nm ch., [sm3[nm organs ~([sm1970[nm); [cf2]Te Deum; [cf2]The Desce
nt of the Celestial City[cf1], ~vv. and org. ([sm1972[nm); [cf2]The Golden Seque
nce[cf1], ch. and ~org. ([sm1973[nm); [cf2]To Columbus[cf1], ch., brass, and per
c. ~([sm1975[nm); [cf2]Requiem[cf1], unacc. ch. ([sm1979[nm); Mass in A, ~unacc.
 ch. ([sm1980[nm); [cf2]Vespers[cf1], ch., [sm2[nm pf., hp., per
c. ~([sm1980[nm); [cf2]The Morning Watch[cf1], ch. and [sm10[nm winds ~([sm1981[
nm); [cf2]St Mark Passion[cf1], SATB soloists, ch., and ~orch. ([sm1982[nm).[ep~
[smvoice and orch[nm[cf1]: [cf2]Cinque Canzone d'Amore[cf1], ten. and ~orch. ([s
m1957[nm); [cf2]Dialogues[cf1], coloratura sop. and small ~orch. ([sm1965[nm); [
cf2]Pharsalia[cf1], dramatic commentary ~for bar. and chamber ens. ([sm1968[nm);
 [cf2]Cleopatra[cf1], ~dramatic scene for sop. and orch. ([sm1978[nm); [cf2]La ~
Ricordanza[cf1], ten. and orch. ([sm1981[nm).[ep~[smchamber music[nm: Cl. quinte
t No. [sm1[nm ([sm1948[nm); str. qt. ~([sm1949[nm); va. sonata ([sm1951[nm); fl.
 qt. ([sm1951[nm); cl. sonata ~([sm1954[nm); pf. trio ([sm1954[nm); octet for st
r. ([sm1954[nm); vc. ~sonata No. [sm1[nm ([sm1958[nm); sextet ([sm1962[nm); bras
s quintet ~([sm1964[nm); [sm2[nmnd str. qt. ([sm1965[nm); sonata for [sm3[nm win
ds ~([sm1966[nm); [cf2][sm5[nm Scenes[cf1], tpt. and pf. ([sm1966[nm); fl. sonat
a ~([sm1966[nm); vc. sonata No. [sm2[nm ([sm1974[nm); cl. quinte
t No. [sm2[nm ~([cf2]Sea Music[cf1]) ([sm1974[nm); [cf2]Hyperion[cf1], pf., cl.,
 hn., vn., vc. ~([sm1977[nm); [cf2]Spirits of the Air[cf1], bass tb. ([sm1977[nm
); octet ~([sm1983=n4[nm).[ep~[smorgan[nm: [cf2]Fanfares and Variants [cf1]([sm1
960[nm); [cf2]Aubade ~[cf1]([sm1965[nm); [cf2]Threnos=min time of war [cf1]([sm1
966[nm); [cf2]Roman ~Music[cf1] ([sm1973[nm); [cf2]Vision of Canopus [cf1]([sm19
75[nm).[ep~[smpiano[nm: Sonata No. [sm1[nm ([sm1951[nm rev. [sm1971[nm), No. [sm
2[nm ~([sm1973[nm), No. [sm3[nm ([sm1978[nm); [sm3[nm Pieces ([sm1955[nm); [cf2]
Nocturnes ~with cadenzas [cf1]([sm1963[nm); [cf2]Palinodes [cf1]([sm1972[nm).[ep
~[smsongs[nm: [cf2]Spirit of Delight[cf1], song-cycle, sop. and bar. ~([sm1978[n
m); [cf2]Love is Life's Spring[cf1], sop., pf. ([sm1982[nm).[cm~[j1]Hamlet. [fy7
5,1]Shakespeare's play ([sm1600[nm=n[sm1[nm) has inspired ~operas and orch. mus.
 e.g. ([sm1[nm) Opera in [sm5[nm acts by ~Ambroise Thomas to lib. by Barbier and
 Carr;Aae, ~prod. Paris [sm1868[nm, London [sm1869[nm, NY [sm187
2[nm. ([sm2[nm) ~Opera ([cf2]Amleto[cf1]) by [fy45,1]*[fy75,1]Faccio to lib. by
Boito, prod. ~Genoa [sm1865[nm. ([sm3[nm) Sym. poem by Liszt, comp. [sm1858[nm ~
as prelude to play. ([sm4[nm) Fantasy-ov. Op. [sm67[nma by ~Tchaikovsky, [sm1888
[nm, and incidental mus. ([sm16[nm items) ~Op. [sm67[nmb, [sm1891[nm. ([sm5[nm)
Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Searle to ~his own lib., prod. Hamburg
 [sm1968[nm, London [sm1969[nm. ~([sm6[nm) Ballets on the subject have used mus.
 by ~Tchaikovsky, Clerico, Gallenberg, Blacher, and ~Shostakovich. ([sm7[nm) Oth
er operas on the subject by ~Gasparini, D. Scarlatti, Mercadante, Grandi, and ~S
zokolay among others. ([sm8[nm) Film music by ~Shostakovich and Walton.[cm~Hamme
rich. [fy75,1]See [cf2]Hamerik, Asger.[cm~Hammerklavier Sonata. [fy75,1]Title ge
nerally applied ~solely to Beethoven's Pf. Sonata No. [sm29[nm in B;yh ~major, O
p. [sm106[nm, comp. [sm1817[nm=n[sm18[nm, but in a letter ~written in Jan. [sm18
17[nm Beethoven said he had ~decided to use the word `Hammerklav
ier' (Ger., ~`pianoforte') on all his pf. mus. with Ger. titles, ~adding `this i
s to be clearly understood once and ~for all'.[cm~Hammerstein, Oscar [fy75,1]([c
f2]b [cf1]Stettin, [sm1846[nm; [cf2]d [cf1]NY, ~[sm1919[nm). Ger.-Amer. impresar
io and businessman. ~Settled in NY [sm1863[nm, making fortune from ~inventions s
uch as cigar-making machine. From ~[sm1890[nm built and managed various ths. In
[sm1906[nm ~built Manhattan Opera House, NY, engaging ~superb singers and produc
ing adventurous rep~~ertory, incl. first NY perfs. of [cf2]Louise, Pell;Aaeas et
 ~M;Aaelisande, Salome, [cf1]and [cf2]Elektra[cf1]. In [sm1908[nm built ~Philade
lphia Opera House, run in assoc. with his ~NY co. The Met. in [sm1910[nm bought
his interests and ~stipulated he should not produce opera in the US ~for [sm10[n
m years. So in London he built London Opera ~House (Stoll, Kingsway), opening in
 [sm1911[nm but ~failing after [sm2[nm seasons. Built Lexington Opera ~House, NY
, in [sm1913[nm, but the Met. legally ~restrained him from produ
cing opera there.[cm~Hammerstein, Oscar (II) [fy75,1]([cf2]b [cf1]NY, [sm1895[nm
; [cf2]d [cf1]Doyles~~town, Penn., [sm1960[nm). Amer. librettist and producer, ~
grandson of above. Collab. with Kern (notably in ~[cf2]Show Boat[cf1], [sm1927[n
m), Romberg, Friml, and most ~notably with Richard Rodgers in [fy45,1]*[fy75,2]O
klahoma[cf1]! ~([sm1943[nm), [cf2]Carousel [cf1]([sm1945[nm), [cf2]South Pacific
 [cf1]([sm1949[nm), [cf2]The ~King and I [cf1]([sm1951[nm) and [cf2]The Sound of
 Music [cf1]([sm1959[nm). ~[PN312,0,0,L,I0]Wrote lib. for [cf2]Carmen Jones [cf1
]([sm1943[nm), the brilliant ~adaptation of [cf2]Carmen [cf1]as an Amer. musical
.[cm~Hammond, [fy75,1](Dame)[fy65][cf3] Joan [fy75,1](Hood)[fy65][cf3] [fy75,1](
[cf2]b [cf1]Christ[chchurch, ~N.Z., [sm1912[nm). New Zealand sop. Studied Sydney
 ~Cons. and played vn. in Sydney S.O. for [sm3[nm years. ~D;Aaebut as singer [sm
1929[nm. Later studied singing in ~Vienna ([sm1936[nm) and in London with Dino B
orgioli. ~Singing d;Aaebut London [sm1938[nm ([cf2]Messiah[cf1])
 and in ~opera in Vienna [sm1938[nm. Later career in opera ~houses in London, Vi
enna, Moscow, and Nether~~lands, repertory incl. [cf2]Aida, Fidelio[cf1], and so
me ~Wagner. Member Carl Rosa Co. [sm1942[nm=n[sm5[nm. Sang ~with NY City Opera [
sm1949[nm. Sang title-role in f.p. ~in Eng. trans. of Dvo;akr;aaak's [cf2]Rusalk
a[cf1], [sm1959[nm. Worked ~as journalist in Australia, also excellent golfer. ~
O.B.E. [sm1953[nm, C.B.E. [sm1963[nm, C.M.G. [sm1972[nm, D.B.E. ~[sm1974[nm. Ret
ired [sm1965[nm.[cm~Hammond Organ. [fy75,1]Type of elec. org. invented ~and manu
factured by Hammond Organ Co., ~Chicago (first introduced [sm1933[nm). Usually h
as [sm2[nm ~manuals and pedal kbd. Sound is prod. and ~controlled by electricity
 in simulation of pipe-~org. Inventor, Laurens Hammond, also produced ~the Solov
ox, the Chord Organ, and the Nova~~chord.[cm~Hammond-Stroud, Derek [fy75,1]([cf2
]b [cf1]London, [sm1929[nm). ~Eng. bar. Studied with Elena [fy45,1]*[fy75,1]Gerh
ardt and ~Gerhard [fy45,1]*[fy75,1]H;Auusch. Prin. bar. SW Opera
 [sm1961[nm=n[sm71[nm, ~CG from [sm1971[nm. Noted for his Alberich in ENO ~[cf2]
Ring [cf1]cycle and for his Faninal in [cf2]Der Rosenkavalier[cf1].[cm~Hampel, A
nton Joseph [fy75,1]([cf2]b [cf1][sm1700[nm; [cf2]d [cf1]Dresden, ~[sm1771[nm).
Ger. hn.-player. In Dresden court orch. ~from, probably, [sm1731[nm where he was
 first to ~develop method of playing chromatic scale by ~hand-stopping. In about
 [sm1753[nm devised way of ~inserting crooks into body of horn rather than at ~t
he mouthpiece. Wrote hn. concertos.[cm~Hanacca, Hanakisch [fy75,1](Ger.; Fr. [cf
2]Hanaise[cf1]). A ~Moravian dance in simple triple time; a sort of ~quick polon
aise.[cm~Handbells. [fy75,1]Small bells attached to the hands by ~leather straps
 and played by striking them ~together. Used for practice by change ringers.[cm~
Handel, George Frideric [fy75,1](orig. H;Auandel, Georg ~Friederich) ([cf2]b [cf
1]Halle,[sm1685[nm; [cf2]d [cf1]London,[sm1759[nm). Ger.-~born composer and orga
nist (naturalized Eng. ~from [sm1726[nm). Son of a barber-surgeo
n who opposed ~mus. as his son's career though he permitted ~lessons from [fy45,
1]*[fy75,1]Zachau, organist and composer. ~Handel studied law at Halle Univ., tu
rning to ~full-time mus. when his father died. He went to ~Hamburg in [sm1703[nm
 where he joined the opera ~house under the composer Reinhard [fy45,1]*[fy75,1]K
eiser, ~playing [sm2[nmnd vn. in the orch. His first opera [cf2]Almira[cf1], ~wr
itten because Keiser lost interest in the lib., ~which Handel took over, was pro
d. there in [sm1705[nm, ~being followed by [sm3[nm others. In [sm1706[nm Handel
went ~to Italy in a prince's retinue, meeting Corelli, the ~Scarlattis, and othe
r leading figures, and rapidly ~attaining mastery of It. style in opera, chamber
 ~mus., and vocal mus. He was acclaimed as a ~genius, the rival of his It. conte
mporaries. His ~opera [cf2]Agrippina [cf1]was produced in Venice in [sm1709[nm.
~The following year he was appointed court cond. ~in Hanover and was also invite
d to write an opera ~([cf2]Rinaldo[cf1]) for London, where he qu
ickly realized ~the possibilities for his own success and, after ~settling his a
ffairs in Hanover, settled there ~permanently.[ep~^For the next [sm35[nm years H
andel was immersed in ~the ups and downs of operatic activity in London ~where t
he It. [cf2]opera seria [cf1]was the dominant force. ~In [sm1712[nm he received
a pension of ;bp[sm200[nm a year for ~life from Queen Anne, this being increased
 to ~;bp[sm600[nm by King George I, his former ruler in ~Hanover, for whom in [s
m1717[nm he comp. the famous ~[cf2]Water Music [cf1]suite. From [sm1717[nm to [s
m1720[nm Handel ~was resident comp. to the Earl of Carnarvon ~(Duke of Chandos f
rom April [sm1719[nm) at his palace ~of Cannons in Edgware. The [sm11[nm [cf2]Ch
andos Anthems ~[cf1]were the chief fruit of this appointment. In [sm1719[nm ~Han
del, in assoc. with G. [fy45,1]*[fy75,1]Bononcini and [fy45,1]*[fy75,1]Ariosti,
~was a mus. dir. of the so-called Royal Acad. of ~Mus. (not a coll. but a busine
ss venture to produce ~It. opera). Handel travelled abroad to en
gage ~singers and in the [sm8[nm years until the acad. closed ~because of lack o
f support he comp. [sm14[nm operas, ~among them [cf2]Radamisto, Rodelinda, Admet
o, [cf1]and ~[cf2]Tolomeo[cf1]. In [sm1727[nm, for the coronation of George II,
~Handel wrote [sm4[nm anthems, incl. [cf2]Zadok the Priest[cf1], ~which has been
 sung at every Brit. coronation ~since then.[ep~^The success of Gay's [cf2]The B
eggar's Opera [cf1]and ~imitative works was the prin. cause of the falling-~away
 of support for Handel's co. He went to It. to ~hear operas by composers such as
 Porpora and ~Pergolesi and to engage the leading It. singers. ~Back in London i
n partnership with Heidegger ~at the King's Theatre, Handel wrote [cf2]Lotario ~
[cf1]([sm1729[nm), [cf2]Partenope [cf1]([sm1730[nm), and [cf2]Orlando [cf1]([sm1
733[nm). In ~[sm1734[nm he moved to the new CG Th., but he ~recognized that the
popularity of It. opera was ~declining and began, somewhat unwillingly, to ~deve
lop the genre of dramatic oratorios which is ~perhaps his most o
rig. contribution to the art of ~mus. [cf2]Esther [cf1]([sm1732[nm in rev. form)
 and [cf2]Acis and ~Galatea [cf1]are typical examples. Ironically, released ~fro
m the conventions of [cf2]opera seria[cf1], Handel's ~dramatic gifts found wider
 and more expressive ~outlets in the oratorio form. Scores contain stage ~direct
ions and the use of ch. and orch. became ~more dramatic and rich. He cond. sever
al oratorio ~perf. in London, [sm1735[nm, playing his own org. ~concs. as entr'a
ctes. Nevertheless he continued to ~write operas and between [sm1735[nm and [sm1
740[nm comp. ~[cf2]Ariodante, Alcina, Berenice, Serse[cf1], and [cf2]Deidamia[cf
1].[ep~^In [sm1737[nm Handel's health cracked under the strain ~of his operatic
labours and he had a stroke. ~Following his recovery, he wrote a series of ~orat
orios, incl. [cf2]Messiah[cf1], prod. Dublin, [sm1742[nm. By ~this work his name
 is known throughout the ~world, yet it is something of an oddity in Handel's ~[
PN313,0,0,R,I0]work since he was not a religious composer in the
 ~accepted sense. But its power, lyricism, sincerity, ~and profundity make it on
e of the supreme mus. ~creations as well as an outstanding example of ~devotiona
l art. It was followed by [cf2]Samson, Judas ~Maccabaeus[cf1], and [cf2]Solomon[
cf1]. The success of these ~works made Handel the idol of the Eng., and that ~po
pularity dominated Eng. mus. for nearly [sm150[nm ~years after his death. It was
 not until Handel's ~operas were revived in Ger. in the [sm1920[nms that the ~pe
rspective was corrected and the importance of ~that branch of his art was restor
ed. Superb as are ~Handel's instr. comps. such as the [cf2]concerti grossi[cf1],
 ~sonatas, and suites, it is in the operas and oratorios ~that the nobility, exp
ressiveness, invention, and ~captivation of his art are found at their highest ~
degree of development. He did not revolutionize ~operatic form but he brought th
e novelty of his ~genius to the genre as he found it. The scene-~painting and il
lustrative qualities of his orchestra~~tion are remarkable even
at a period when naive ~and realistic effects were common currency.[ep~^For the
last [sm7[nm years of his life Handel was blind, ~but he continued to conduct or
atorio perfs. and ~to revise his scores with assistance from his ~devoted friend
 John Christopher Smith. His ~works were pubd. by the Ger. [cf2]Handel Gesellsch
aft ~[cf1]in a complete edn. ([sm1859[nm=n[sm94[nm) of [sm100[nm vols., ed. ~[fy
45,1]*[fy75,1]Chrysander, and a new edn., the [cf2]Hallische Handel-~Ausgabe[cf1
], is in progress. Prin. comps.:[xm[cm~[j2][smoperas[nm: Hamburg: [fy45,1]*[fy75
,2]Almira, Nero [cf1](lost), ([sm1705[nm), ~[cf2]Florindo e Dafne [cf1](lost) ([
sm1707[nm); Florence: [cf2]Rodrigo ~[cf1]([sm1707[nm); Venice: [fy45,1]*[fy75,2]
Agrippina [cf1]([sm1709[nm); Lon[chdon: ~[fy45,1]*[fy75,2]Rinaldo [cf1]([sm1711[
nm), [cf2]Il pastor fido [cf1]([sm1712[nm; [sm2[nmnd version ~with ballet [cf2]T
erpsicore[cf1], [sm1734[nm); [cf2]Teseo[cf1] ([sm1712[nm); [cf2]Silla ~[cf1]([sm
1714[nm); [cf2]Amadigi [cf1]([sm1715[nm); [cf2]Radamisto [cf1]([
sm1720[nm); [cf2]Muzio ~Scevola, Floridante [cf1]([sm1721[nm); [cf2]Ottone, Flav
io [cf1]([sm1723[nm); ~[fy45,1]*[fy75,2]Giulio Cesare, Tamerlano [cf1]([sm1724[n
m); [fy45,1]*[fy75,2]Rodelinda ~[cf1]([sm1725[nm); [cf2]Scipione, Alessandro [cf
1]([sm1726[nm); [cf2]Admeto, Ric~~cardo I [cf1]([sm1727[nm); [cf2]Siroe, Tolomeo
 [cf1]([sm1728[nm); [cf2]Lotario ~[cf1]([sm1729[nm);[cf2] Partenope [cf1]([sm173
0[nm); [cf2]Poro [cf1]([sm1731[nm); [cf2]Ezio, ~Sosarme [cf1]([sm1732[nm); [cf2]
Orlando [cf1]([sm1733[nm); [cf2]Arianna, [cf1]([sm1734[nm); ~[fy45,1]*[fy75,2]Ar
iodante, [fy45,1]*[fy75,2]Alcina [cf1]([sm1735[nm); [cf2]Atalanta [cf1]([sm1736[
nm); ~[cf2]Arminio, Giustino, [fy45,1]*[fy75,2]Berenice [cf1]([sm1737[nm); [cf2]
Faramondo, ~[fy45,1]*[fy75,2]Serse [cf1]([sm1738[nm); [cf2]Imeneo [cf1]([sm1740[
nm); [fy45,1]*[fy75,2]Deidamia [cf1]([sm1740[nm).[ep~[smdramatic oratorios[nm: R
ome: [cf2]La Resurrezione, ~Trionfo del Tempo [cf1]([sm1708[nm); Naples: [cf2]Ac
i, Galatea e ~Polifemo [cf1]([sm1709[nm); Hamburg: [cf2]Der f;au
ur die S;auunde der ~Welt gemartete und sterbende Jesus [cf1](Brockes ~Passion)
(?[sm1716[nm); London: [cf2]Haman and Mordecai ~[cf1](masque [sm1720[nm, later r
ev. as [fy45,1]*[fy75,2]Esther [cf1]in [sm1732[nm); ~[fy45,1]*[fy75,2]Acis and G
alatea [cf1]([sm1718[nm; rev. [sm1732[nm incorporating ~part of [sm1709[nm work,
 and [sm1743[nm); [cf2]Deborah [cf1]([sm1733[nm); ~[fy45,1]*[fy75,2]Athalia[cf1]
 ([sm1733[nm); [fy45,1]*[fy75,2]Alexander's Feast [cf1]([sm1736[nm); [cf2]Saul,
~[fy45,1]*[fy75,2]Israel in Egypt, Ode for St Cecilia's Day [cf1]([sm1739[nm); ~
[cf2]L'Allegro, il Pensieroso ed il Moderato [cf1]([sm1740[nm); ~[fy45,1]*[fy75,
2]Messiah [cf1]([sm1741[nm); [fy45,1]*[fy75,2]Samson, ~Joseph [cf1]([sm1743[nm);
 [fy45,1]*[fy75,2]Semele, [fy45,1]*[fy75,2]Belshazzar, Hercules ~[cf1]([sm1744[n
m); [cf2]Occasional Oratorio, [fy45,1]*[fy75,2]Judas Maccabaeus ~[cf1]([sm1746[n
m); [fy45,1]*[fy75,2]Alexander Balus, [fy45,1]*[fy75,2]Joshua [cf1]([sm1747[nm);
 [fy45,1]*[fy75,2]Solo~~mon, Susanna [cf1]([sm1748[nm); [cf2]The
odora, Alceste [cf1]([sm1749[nm); ~[cf2]Choice of Hercules [cf1]([sm1750[nm); [f
y45,1]*[fy75,2]Jephtha [cf1]([sm1752[nm); ~[cf2]Triumph of Time and Truth [cf1](
[sm1757[nm).[ep~[smcantatas and chamber duets[nm: Handel comp. [sm100[nm ~of the
 former and [sm20[nm of the latter. Among the ~best known are [cf2]Silete Venti[
cf1], sop. and instr. ([sm1729[nm); ~[cf2]La terra ;age liberata [cf1]([cf2]Apol
lo e Dafne[cf1]), sop. and instr. ~([cf2]c.[cf1][sm1708[nm); and [cf2]O numi ete
rni [cf1]([cf2]La Lucrezia[cf1]), sop. and ~continuo ([sm1709[nm).[ep~[smchurch
music[nm: [cf2]Gloria Patri [cf1]([sm1707[nm); [fy45,1]*[fy75,2]Utrecht Te ~Deum
 and Jubilate [cf1]([sm1712=n13[nm); [fy45,1]*[fy75,2]Dettingen Te Deum ~[cf1]([
sm1743[nm); [sm11[nm [fy45,1]*[fy75,2]Chandos Anthems [cf1]([sm1717[nm=n[sm18[nm
); [cf1][sm4[nm ~[cf2]Coronation Anthems [cf1]([sm1727[nm: [cf2]The King Shall R
ejoice; ~Let thy hand be strengthened; My heart is inditing; ~[fy45,1]*[fy75,2]Z
adok the Priest[cf1]); [cf2]The Ways of Zion do Mourn[cf1], ~fun
eral anthem for Queen Caroline ([sm1737[nm).[ep~[smvocal[nm: [cf2]Birthday Ode f
or Queen Anne [cf1]([sm1713[nm); [sm9[nm ~[cf2]German Arias [cf1]([sm1729[nm).[e
p~[sminstrumental and chamber music[nm: [cf1][sm6[nm [cf2]Concerti ~Grossi [cf1]
for str., woodwind, and continuo, Op. [sm3[nm ~([sm1734[nm); [sm12[nm [cf2]Conce
rti Grossi [cf1]for str. and optional ~wind, Op. [sm12[nm ([sm1740[nm); [sm5[nm
[cf2]Concerti [cf1]for orch. ([sm1741[nm); ~[sm6[nm [cf2]organ concerti, [cf1]Op
. [sm4[nm ([sm1738[nm); [sm6[nm [cf2]organ concerti, ~[cf1]Op. [sm7[nm ([sm1760[
nm); [sm6[nm [cf2]organ concerti [cf1]([sm1740[nm); [sm15[nm chamber ~sonatas (f
ls., recorders), Op. [sm1[nm ([sm1724[nm); [sm3[nm [cf2]concerti a ~due cori[cf1
]; [sm2[nm ob. sonatas; [sm12[nm fl. sonatas; [sm6[nm trio ~sonatas; [sm9[nm tri
o sonatas, Op. [sm2[nm ([sm1722[nm=n[sm33[nm); [sm7[nm trio ~sonatas, Op. [sm5[n
m ([sm1739[nm); va. da gamba sonata; [sm8[nm ~[cf2]suites de pi;ageces [cf1]for
hpd. ([sm1720[nm); [sm8[nm [cf2]suites de pi;ageces ~[cf1]([sm17
33[nm); [sm6[nm Fugues ([sm1736[nm). See also [fy45,1]*[fy75,2]Harmonious ~Black
smith[cf1].[ep~[smorch[nm: [fy45,1]*[fy75,2]Water Music [cf1]([cf2]c[cf1].[sm171
7[nm); [cf2]Music for Royal ~[fy45,1]*[fy75,2]Fireworks [cf1]([sm1749[nm).[cm~[j
1]Handel Opera.[fy75,1] Founded [sm1955[nm as Handel Opera ~Society by Charles [
fy45,1]*[fy75,1]Farncombe, at suggestion of ~E. J. [fy45,1]*[fy75,1]Dent, to rev
ive interest in Handel's operas. ~First prod. was [cf2]Deidamia[cf1], [sm1955[nm
, at St Pancras ~Town Hall. Moved in [sm1959[nm to Sadler's Wells Th. ~Has reviv
ed over [sm20[nm Handel works, many for the ~first time since Handel's lifetime.
 Name changed ~to Handel Opera [sm1977[nm. Singers appearing with ~the company h
ave incl. Richard Lewis, Geraint ~Evans, James Bowman, Janet Baker, Joan Suther~
~land, and Anna Reynolds.[xm[cm~[ol0][ep~[xp[te~


[do25][j99]~~~~~~[sm024791[nm_H003[ep~[u1]~~~~[sm024791[nm[cmConcise Oxford Dict
. of ~Music[cmH[sm003[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm27[nm/[sm9[nm/[sm79[nm[cm[sm
12[nm[cm[sm74[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Handford, Maurice [fy75,1]
([cf2]b [cf1]Salisbury, [sm1929[nm). Eng. ~cond. and hn.-player. Studied RAM. Pr
in. hn. ~Hall;aae Orch. [sm1949[nm=n[sm61[nm. Assoc. cond. Hall;aae Orch. ~[sm19
66[nm=n[sm71[nm. Staff cond. CBSO, prin. cond. Calgary ~P.O. [sm1971[nm=n[sm5[nm
.[cm~Hand Horn. [fy75,1]The `Natural' [fy45,1]*[fy75,1]French horn, i.e. ~withou
t valves, which can produce only the notes ~of the harmonic series, together wit
h some ~obtained by placing the hand in the bell of the ~instr.[cm~H;auandl, Jac
ob [fy75,1]([cf2]b [cf1]Krain, [sm1550[nm; [cf2]d [cf1]Prague, [sm1591[nm). ~Ger
. composer. Kapellmeister at Olm;auutz, [cf2]c[cf1].[sm1579[nm, ~later cantor in
 Prague. Wrote [sm16[nm masses, many ~motets, and other church mus. Handel's [cf
2]Funeral ~Anthem [cf1]is based on a H;auandl motet. Also known
as ~Gallus.[cm~Handley, Vernon [fy75,1](George) ([cf2]b [cf1]Enfield, [sm1930[nm
). ~Eng. cond. Studied GSM. D;aaebut [sm1961[nm Bourne~~[PN314,0,0,L,I0]mouth S.
O. Prof., RCM [sm1966[nm=n[sm72[nm. Guest cond. of ~most Brit. orchs. Cond. Ulst
er Orch. from [sm1985[nm. ~Specialist in Eng. mus.[cm~Hand Organ. [fy45,1]*[fy75
,1]Barrel Organ. The word `Hand' ~distinguishes it from the `Finger Organ' (play
ed ~from a kbd.).[cm~Handy, W[fy75,1](illiam) [fy65][cf3]C[fy75,1](hristopher) (
[cf2]b[cf1] Florence, ~Alabama, [sm1873[nm; [cf2]d[cf1] NY, [sm1958[nm). Amer. c
omposer ~whose parents had been slaves. Studied org. but ~was only allowed to pl
ay sacred mus. Left home ~at [sm18[nm to become vagrant musician, playing tpt. i
n ~brass bands. Became co-proprietor of mus. pub~~lishing business in Memphis. A
mong works he ~published were his own [cf2]Memphis Blues [cf1]([sm1912[nm) and ~
[cf2]St Louis Blues[cf1] ([sm1914[nm). Known as `father of the ~blues'.[cm~Hanff
, Johann Nikolaus [fy75,1]([cf2]b [cf1]Wechmar, [sm1665[nm; [cf2
]d ~[cf1]Schleswig, [sm1711[nm). Ger. organist and composer for ~his instr. Infl
uenced J. S. Bach.[cm~Hannikainen, Tauno [fy75,1]([cf2]b [cf1]Jyv;auaskyl;aua, [
sm1896[nm; [cf2]d ~[cf1]Helsinki, [sm1968[nm). Finnish cond. and cellist. Studie
d ~Helsinki Cons. and in Paris with Casals. Prin. ~cellist Helsinki Orch. [sm191
6[nm=n[sm19[nm; cond. Finnish ~opera orch. [sm1922[nm=n[sm7[nm. Settled in US [s
m1940[nm. Cond., ~Duluth S.O. [sm1942[nm=n[sm6[nm, ass. cond. Chicago Civic S.O.
 ~[sm1947[nm=n[sm50[nm. Cond., Helsinki City S.O. [sm1951=n63[nm. ~Visited Eng.
as guest cond., Hall;Aae Orch.[cm~Hanover Square Rooms. [fy75,1]Formerly London'
s ~prin. venue for concerts, built by Gallini, J. C. ~[fy45,1]*[fy75,1]Bach, and
 K. F. [fy45,1]*[fy75,1]Abel and opened in [sm1775[nm with ~a Bach-Abel subscrip
tion concert. [fy45,1]*[fy75,1]Salomon est. ~concerts there in [sm1786[nm at whi
ch , in [sm1791[nm=n[sm2[nm and ~[sm1794[nm=n[sm5[nm, Haydn's [sm12[nm Salomon s
yms. were intro~~duced. From [sm1833[nm=n[sm69[nm the Phil. Soc.
's concerts ~were given there. Closed [sm1874[nm.[cm~H;auansel und Gretel. [fy75
,1]Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Hum~~perdinck to lib. by Adelheid W
ette (his sister) ~based on story by brothers Grimm in [cf2]Kinder und ~Hausm;Au
archen[cf1] ([sm1812[nm=n[sm14[nm). Prod. Weimar [sm1893[nm (R. ~Strauss cond.);
 London [sm1894[nm; NY [sm1895[nm.[cm~Hansen. [fy75,1]Danish publishers of mus.,
 founded ~[sm1853[nm by Jens Wilhelm Hansen. At first published ~educational mus
., but later issued works by Gade ~and other Danish composers. Branch opened in
~Leipzig [sm1887[nm (closed during Second World War) ~and a Swedish branch, Nord
iska Musikforlag, in ~[sm1915[nm. New Ger. branch established [sm1951[nm in ~Fra
nkfurt and in [sm1957[nm assoc. began with London ~firm of J. & W. Chester. Comp
osers in Hansen ~list incl. Nielsen, Holmboe, Backer-Gr;upndhal, ~Svendsen, Sind
ing, Alfv;aaen, Rosenberg, B;auack, ~Sibelius, and Kilpinen. Recently some Lutos
law~~[chski has been published by them.[cm~Hans Heiling. [fy75,1
]Opera in prol. and [sm3[nm acts by ~[fy45,1]*[fy75,1]Marschner to lib. by Devri
ent. Prod. Berlin ~[sm1833[nm, Oxford [sm1953[nm, Wexford, [sm1983[nm.[cm~Hansli
ck, Eduard [fy75,1]([cf2]b [cf1]Prague, [sm1825[nm; [cf2]d [cf1]Baden, nr. ~Vien
na, [sm1904[nm). Austrian critic and writer of Cz. ~descent. Studied mus. with T
om;aaa;aksek and law at ~Prague and Vienna Univs. Deeply impressed by ~Wagner's
[cf2]Tannh;Auauser [cf1]in Dresden, [sm1845[nm, about ~which he wrote long criti
cal article. Settled in ~Vienna [sm1846[nm, contributing articles on mus. and ~i
n [sm1848[nm becoming mus. ed. of [cf2]Wiener Zeitung[cf1], ~while working as ci
vil servant. Mus. critic [cf2]Die ~Presse [cf1][sm1855[nm=n[sm64[nm, [cf2]Die Ne
ue Freie Presse [cf1][sm1864[nm=n[sm95[nm. ~His book[cf2] Vom Musikalisch-Sch;Au
onen [cf1]([cf2]Beauty in Music[cf1]) ~was pubd. [sm1854[nm. Lecturer in history
 and aesthetics ~of mus., Vienna Univ., [sm1856[nm=n[sm95[nm (prof. from ~[sm186
1[nm). His [cf2]Beauty in Music [cf1]aligned him with the ~puris
t Leipzig school, represented by Mendels~~sohn, Schumann, and Brahms, against th
e Wei~~mar school of Liszt and Wagner whose `music of ~the future' had to compri
se elements other than ~mus. His early admiration of Wagner changed to ~critical
 hostility with his review of [cf2]Lohengrin [cf1]in ~Vienna in [sm1858[nm. Wagn
er's reaction was such that ~in the orig. poem of [cf2]Die Meistersinger [cf1]th
e character ~of Beckmesser was called Veit Hanslich. But those ~who regard Hansl
ick merely as the bigoted ~opponent of Wagner, Strauss, Bruckner, etc. ~should r
ead his criticism, which is among the ~best and most penetrating ever written.[c
m~Hanson, Howard [fy75,1](Harold) ([cf2]b [cf1]Wahoo, Nebraska, ~[sm1896[nm; [cf
2]d[cf1] Rochester, NY, [sm1981[nm). Amer. composer ~and educator, of Swed. desc
ent. Studied comp. ~with Goetschius in NY. Won Amer. [cf2]Prix de Rome[cf1], ~[s
m1921[nm, spending [sm3[nm years at Amer. Acad. in Rome. ~In [sm1924[nm became d
ir. of Eastman Sch. of Mus., ~Rochester, NY, holding this post f
or [sm40[nm years. Est. ~Amer. fests. at Rochester in [sm1925[nm at which ~hundr
eds of works by Amer. composers have ~received f.ps. Dir. of Institute of Amer.
Mus., ~Rochester Univ., from [sm1964[nm. Known as `the ~American Sibelius', his
mus. reflects a similar ~romantic outlook firmly rooted in tonality, His ~book [
cf2]Harmonic Materials of Modern Music [cf1](NY ~[sm1960[nm) shows his grasp of
contemporary technical ~devices. Prin. works:[xm[cm~[j2][smorch[nm: [fy75,1]Syms
., No. [sm1[nm ([cf2]Nordic[cf1]) ([sm1921[nm), No. [sm2[nm ~([cf2]Romantic[cf1]
) ([sm1930[nm), No. [sm3[nm ([sm1938[nm), No. [sm4[nm ([cf2]Requiem[cf1]) ~([sm1
943[nm), No. [sm5[nm ([cf2]Sinfonia Sacra[cf1]) ([sm1955[nm), No. [sm6[nm ~([sm1
968[nm), No. [sm7[nm ([cf2]Sea[cf1]), with ch. ([sm1977[nm); [cf2]Lux aeterna[cf
1], ~symphonic poem with va. obbl. ([sm1923[nm); organ ~conc. ([sm1926[nm); [cf2
]Pan and the Priest[cf1], symphonic ~poem with pf. obbl. ([sm1926[nm); pf. conc.
 ([sm1948[nm); ~[cf2]Mosaics [cf1]([sm1958[nm); [cf2]Summer Seas
cape[cf1] ([sm1958[nm); [cf2]Summer ~Seascape II[cf1] ([sm1966[nm); [cf2]Bold Is
land Suite[cf1] ([sm1961[nm).[ep~[smopera[nm: [cf2]Merry Mount [cf1]([sm3[nm act
s, NY Met. [sm1933[nm).[ep~[smchoral[nm: [cf2]Lament for Beowulf[cf1], ch, and o
rch. ([sm1925[nm); ~[cf2]Heroic Elegy, [cf1]ch. and orch. ([sm1927[nm); [sm3[nm
[cf2]Songs from ~Drum Taps[cf1], vv. and orch. ([sm1935[nm); [cf2]Song of ~Democ
racy[cf1], soloists, ch., and orch. ([sm1957[nm); [cf2]Song of ~Human Rights[cf1
], cantata ([sm1963[nm); [cf2]New Land, New ~Covenant[cf1], oratorio ([sm1976[nm
).[ep~[smchamber music[nm: [cf1]pf. quintet ([sm1916[nm); str. qt. ([sm1923[nm).
[ep~Also works for pf. and songs.[cm~[j1]Happy Birthday to You. [fy75,1]Song com
posed by ~Clayton F. Summy, head of Chicago mus. ~[PN315,0,0,R,I0]publishing fir
m (est. [sm1888[nm), popular as choral ~greeting on birthdays. Used=mnot knowing
 it was ~Summy's copyright=mby Stravinsky as basis for ~his short [cf2]Greetings
 Prelude[cf1], comp. for Monteux's ~[sm80[nmth birthday, [sm1955
[nm.[cm~Happy Prince, The. [fy75,1]Opera in [sm1[nm act by [fy45,1]*[fy75,1]Will
iam~~son for children's and women's vv., pf. duet, ~perc., and optional str. qui
ntet, to his own lib. ~based on Oscar Wilde's fairy-tale. Prod. Farnham ~Fest.,
[sm1965[nm.[cm~Harawi, chant d'Amour et de Mort. [fy75,1]Song-cycle ~by Messiaen
 for sop. and pf. ([sm1945[nm), one of [sm3[nm of ~his works inspired by Tristan
 and Isolde legend ~(the others being [cf2][sm5[nm [fy45,1]*[fy75,2]Rechants [cf
1]and [fy45,1]*[fy75,2]Turangal;afila[cf1]). ~F.p. Brussels [sm1946[nm.[cm~Harde
lot, Guy d' [fy75,1](Mrs. W. I. Rhodes, [cf2]n;aaee [cf1]Helen ~Guy) ([cf2]b [cf
1]Hardelot, Boulogne, [sm1858[nm; [cf2]d [cf1]London, ~[sm1936[nm). Fr. composer
. Studied Paris Cons. Toured ~USA with Calv;aae, [sm1896[nm. After marriage, set
tled in ~London. Wrote many songs (incl. [cf2]Because[cf1], [sm1902[nm) ~which w
ent into repertory of Melba, Calv;aae, ~Plan;Alcon, Maurel, and others.[cm~Harew
ood, George [fy75,1](Henry Hubert Lascelles), ~[fy65][cf3][sm7[n
mth Earl of [fy75,1]([cf2]b [cf1]London, [sm1923[nm). Eng. opera ~administrator,
 writer, and ed. Enthusiasm for ~opera stimulated in It. when prisoner of war. ~
Assoc. with EOG from its inception. Founded ~magazine [cf2]Opera [cf1][sm1950[nm
 (ed. [sm1950[nm=n[sm3[nm). Board of dir. ~CG [sm1951[nm=n[sm3[nm, contr. of ope
ra planning [sm1953[nm=n[sm60[nm. ~Dir., Leeds Fest. [sm1958=n74[nm; dir., Edinb
urgh Fest. ~[sm1961[nm=n[sm5[nm. Man. dir. SW Opera (ENO) [sm1972=n85[nm. ~Ed.,
[sm8[nmth and [sm9[nmth edns. of [cf2]Kobb;aae's Complete Opera ~Book[cf1], [sm1
954[nm and [sm1976[nm.[cm~Harfe [fy75,1](Ger.). Harp.[cm~Hark, the Herald Angels
 Sing. [fy75,1]Hymn orig. ~written by Charles Wesley ([sm1743[nm) beginning ~`Ha
rk, how all the welkin rings'. G. Whitefield ~incl. it in his [cf2]Collection [c
f1]of [sm1753[nm, substituting the ~familiar first line. It was further altered
in other ~hymn publications in [sm1760[nm, [sm1774[nm, and [sm1775[nm. In ~[sm17
82[nm it was added to the suppl. of Tate and Brady. ~Dr. W.|H. C
ummings, organist of Waltham ~Abbey, fitted the tune of the [sm2[nmnd no. of ~Me
ndelssohn's [fy45,1]*[fy75,2]Festgesang [cf1]to the words for his ~choir and pub
d. the adaptation in [sm1856[nm. It soon ~became very popular. Mendelssohn thoug
ht the ~tune would `[cf2]never [cf1]do to sacred words'.[cm~Harmonica. [fy75,1]N
ame given at different times to ~various mus. instrs. Today its prin. meaning is
 ~the mouth-organ, a small wind instr. invented in ~[sm1830[nms with metal reeds
, [sm1[nm to each note, which is ~held against the lips and moved from side to s
ide ~according to the note desired. The term also ~meant mus. glasses (see [cf2]
Glass armonica[cf1]).[cm~Harmonic Bass. [fy75,1]Org. stop; same as [fy45,1]*[fy7
5,2]Acoustic ~Bass.[cm~Harmonic Flute. [fy75,1]Org. stop usually of [sm8[nm;Po l
ength ~but [sm4[nm;Po pitch, pipes being pierced at half-length: ~silvery tone.[
cm~Harmonic Piccolo. [fy75,1]Org. stop of [sm4[nm;Po length and [sm2[nm;Po ~pitc
h=mon principle of [fy45,1]*[fy75,2]Harmonic Flute.[cm~Harmonics
. [fy75,1]The lowest tone of the harmonic ~series (the `fundamental') is the [sm
1[nmst harmonic, the ~next lowest the [sm2[nmnd harmonic, and so on. These ~othe
r tones are the `upper partials' or `overtones', ~at fixed intervals above the f
undamental, an ~octave, then a perfect [sm5[nmth, etc. On str. instrs., ~`playin
g in harmonics' refers to harmonics other ~than the [sm1[nmst, i.e. the overtone
s. To obtain these, ~the str. must be set vibrating in fractions of its ~length.
 On an open str. the result is a natural ~harmonic; on a `stopped' str. (a finge
r used to stop ~and another lightly placed) it is an artificial ~harmonic. In br
ass instrs. harmonics are produced ~by varying the method of blowing. Every note
 of ~normal mus. instr. is a combination of the ~fundamental and certain upper p
artials. The only ~exception is the tuning-fork.[cm~Harmonic Trumpet. [fy75,1]Or
g. stop (see [cf2]Trumpet[cf1]) ~embodying (in upper pipes, at any rate) constru
c~~tional principle of [fy45,1]*[fy75,2]Harmonic Flute[cf1]; [sm
8[nm;Po pitch.[cm~Harmonie [fy75,1](Fr., Ger., `harmony'). [cf2]Harmonie, Mu~~si
que d'Harmonie, Harmoniemusik, [cf1]etc. means ([sm1[nm) a ~band of woodwind, br
ass, and perc. instr., as ~distinct from [cf2]Fanfare[cf1], a band of brass and
perc.; ~or ([sm2[nm) the wind instr. of an orch.[cm~Harmonie, Basse d' [fy75,1](
Fr.). [fy45,1]*[fy75,1]Ophicleide.[cm~Harmonie, Cor d' [fy75,1](Fr.). Valveless
Fr. hn. See ~[cf2]Hand horn.[cm~Harmonie, Trompette d' [fy75,1](Fr.). The ordina
ry ~modern [fy45,1]*[fy75,1]trumpet.[cm~Harmonie der Welt, Die [fy75,1](The Harm
ony of the ~World). Opera in [sm5[nm acts by Hindemith to his own ~lib. based on
 life of [sm17[nmth-cent. astronomer ~Johannes Kepler (author of [cf2]De harmoni
a mundi[cf1]). ~Comp. [sm1956[nm=n[sm7[nm (earlier sketches). Prod. Munich ~[sm1
957[nm. Preceded by orch. sym. in [sm3[nm movements ~comp. [sm1951[nm, f.p. Basl
e [sm1952[nm, f. Brit. p. Edinburgh ~[sm1953[nm cond. Furtw;Auangler.[cm~Harmoni
elehre [fy75,1](Ger.). Study, teaching, and ~theory of [fy45,1]*
[fy75,1]Harmony.[cm~Harmoniemesse [fy75,1](Wind-band Mass). Popular ~name for Ha
ydn's Mass No. [sm12[nm in B;yh, of [sm1802[nm, ~which makes a fuller, but not e
xclusive, use of ~wind instr. than is common in Haydn's Masses.[cm~Harmoniemusik
 [fy75,1](Ger.). Mus. for wind instr.[cm~Harmonious Blacksmith, The. [fy75,1]Nic
kname for ~air and variations in Handel's [sm5[nmth hpd. suite in E ~in the [sm1
[nmst set of [sm8[nm suites ([sm1720[nm). The name was ~bestowed after Handel's
death and has no ~connection with the circumstances of the work's ~comp.[cm~Harm
onium. [fy75,1]Small portable example of the reed ~org. family dating from early
 [sm19[nmth cent. Perfected ~by Debain of Paris [cf2]c[cf1].[sm1842[nm, but the
instr. made by ~Alexandre achieved wider popularity. It is blown ~[PN316,0,0,L,I
0]by [sm2[nm pedals operated by left and right foot ~working in alternate stroke
s to drive air through ~bellows. Used as substitute for org. to acc. hymns ~etc.
, but has been used by Dvo;Akr;Aaak in his [cf2]Bagatelles ~[cf1
](with [sm2[nm vn. and vc.) and by R. Strauss in [cf2]Ariadne ~auf Naxos.[cm~Har
mony. [fy75,1]The simultaneous sounding (i.e. ~combination) of notes, giving wha
t is known as ~vertical mus., contrasted with horizontal mus. ~([fy45,1]*[fy75,1
]Counterpoint). Composers, in much the greater ~proportion of their mus., mainta
in in their minds ~some melody which ranks as the principal one, ~and which they
 intend the listener to recognize ~as such, whilst other melodies which are com~
~bined with it, or chords with which it is acc., ~rank as subsidiary.[ep~^The wo
rd [fy45,1]*[fy75,1]chord may be defined as any ~combination of notes simultaneo
usly perf., and ~even when the main process in the composer's ~mind is a weaving
 together of melodic strands he ~has to keep before him this combinational ~elem
ent, both as regards the notes thus sounded ~together and the suitability of one
 combination ~to follow and precede the adjacent combination.[ep~^At different p
eriods composers have given more ~attention to [sm1[nm or the ot
her of the [sm2[nm aspects of their ~work: (a) the weaving together of melodic s
trands ~and (b) the chords thus brought into existence ~from point to point.[ep~
^The former aspect of the result is the [cf2]Contrapun~~tal[cf1] element (see [f
y45,1]*[fy75,1]Counterpoint) and the latter the ~[cf2]Harmonic[cf1] element. In
less elaborate mus. (as, for ~instance, a simple song with pf. acc.) the ~contra
puntal element may be unimportant or ~even non-existent. Counterpoint necessaril
y im~~plies also harmony, but harmony does not ~necessarily imply counterpoint.[
ep~^Over a long period the resources of harmony ~may be said to have widened: ne
w combinations ~introduced by composers of pioneering spirit ~have been condemne
d by unaccustomed ears as ~ugly, have then gradually come to be accepted as ~com
monplace, and have been succeeded in their ~turn by other experimental combinati
ons. The ~following definitions concern traditional and ~basic harmonic procedur
es:[ep~^([cf2]a[cf1]) [smdiatonic harmony[nm: Harmony which conf
ines ~itself to the major or minor key in force at the ~moment. [smchromatic har
mony[nm: Harmony which ~employs notes extraneous to the major or minor ~key in f
orce at the moment.[ep~^([cf2]b[cf1]) [smopen harmony[nm: Harmony in which the n
otes ~of the chords are more or less widely spread. [smclose ~harmony[nm: Harmon
y in which the notes of the ~chords lie near together.[ep~^([cf2]c[cf1]) [smprog
ression[nm: The motion of one note to ~another note or one chord to another chor
d.[ep~^([cf2]d[cf1]) [smtriad[nm: A note with its [sm3[nmrd and [sm5[nmth (e.g.
C=nE=n~G). [smcommon chord[nm: A Triad of which the [sm5[nmth is ~perfect. [smma
jor common chord[nm: A Common Chord ~of which the [sm3[nmrd is major. [smminor c
ommon chord[nm: ~A Common Chord of which the [sm3[nmrd is minor. ~[smaugmented t
riad[nm: A Triad of which the [sm5[nmth is ~augmented. [smdiminished triad[nm: A
 Triad of which ~the [sm5[nmth is diminished.[ep~^([cf2]e[cf1]) [smroot [nmof a
chord. That note from which it ~originates. (For instance, in th
e common chord ~C=nE=nG we have C as the root, to which are added ~the [sm3[nmrd
 and [sm5[nmth.) [sminversion[nm of a chord: The ~removal of the root from the b
ass to an upper ~part. [smfirst inversion[nm: That in which the [sm3[nmrd ~becom
es the bass (e.g. E=nG=nC or E=nC=nG). [smsecond ~inversion[nm: That in which th
e [sm5[nmth becomes the ~bass (e.g. G=nE=nC or G=nC=nE). [smthird inversion[nm:
In ~a [sm4[nm-note chord that inversion in which the fourth ~note becomes the ba
ss. (For instance, in the chord ~G=nB=nD=nF the form of it that consists of F=nG
=nB=n~D or F=nB=nG=nD, etc.) [smfundamental bass[nm: An ~imaginary bass of a pas
sage, consisting not of its ~actual bass notes but of the roots of its chords, i
.e. ~the bass of its chords when uninverted.[ep~^([cf2]=+=+=+f=+=+=+[cf1]) [smco
ncord[nm. A chord satisfactory in itself (or an ~interval that can be so describ
ed; or a note which ~forms a part of such an interval or chord). ~[smconsonance[
nm: The same as [cf2]Concord[cf1]. [smdiscord[nm: A ~chord which
 is restless, requiring to be followed ~in a particular way if its presence is t
o be justified ~by the ear (or the note or interval responsible for ~producing t
his effect). See, for instance, the ~examples given under [cf2]Dominant [cf1]([c
f2]Seventh[cf1]) and ~[cf2]Diminished [cf1]([cf2]Seventh[cf1]). [smdissonance[nm
: The same as ~[cf2]Discord[cf1]. [smresolution[nm: The satisfactory following ~
of a discordant chord (or the satisfactory following ~of the discordant note in
such a chord). [smsuspension[nm: ~A form of discord arising from the holding ove
r ~of a note in one chord as a momentary (discordant) ~part of the combination w
hich follows, it being ~then resolved by falling a degree to a note which ~forms
 a real part of the second chord. [smdouble ~suspension[nm: The same as the last
 with [sm2[nm notes held ~over.[ep~^([cf2]g[cf1]) [smanticipation[nm: The soundi
ng of a note of a ~chord before the rest of the chord is sounded. ~[smretardatio
n[nm: The same as a Suspension but ~resolved by [cf2]rising[cf1]
 a degree.[ep~^[smpreparation[nm: The sounding in one chord of a ~concordant not
e which is to remain (in the same ~`part') in the next chord as a discordant not
e. (This ~applies both to Fundamental Discords and Sus~~pensions.) [smunprepared
 suspension[nm: A contradic~~tion in terms meaning an effect similar to that of
~Suspension but without `Preparation'.[ep~^[smfundamental discord[nm: A discorda
nt chord of ~which the discordant note forms a real part of the ~chord, i.e. not
 a mere Suspension, Anticipation, ~or Retardation. Or the said discordant note i
tself ~(e.g. [cf2]Dominant Seventh, Diminished Seventh[cf1], etc.).[ep~^[smpassi
ng note[nm: A connecting note in one of the ~melodic parts (not forming a part o
f the chord ~which it follows or precedes).[ep~^([cf2]h[cf1]) [smfalse relation[
nm: The appearance of a note ~with the same letter-name in different parts (or ~
`voices') of contiguous chords, in one case inflected ~(sharp or flat) and in th
e other uninflected.[ep~[PN317,0,0,R,I0]^([cf2]i[cf1]) [smpedal[
nm (or `Point d'Orgue'): The device of ~holding on a bass note (usually Tonic or
 Domi~~nant) through a passage including some chords ~of which it does not form
a part. [sminverted pedal[nm: ~The same as the above but with the held note in ~
an upper part. [smdouble pedal[nm: A pedal in which ~two notes are held (general
ly Tonic and Domi~~nant).[ep~^From Wagner onwards the resources of har~~mony hav
e been enormously extended, and those ~used by composers of the present day ofte
n ~submit to no rules whatever, being purely ~empirical, or justified by rules o
f the particular ~composer's own devising. Among contemporary ~practices are:[ep
~^[fy45,1]*[fy75,2]Bitonality[cf1]=min which two contrapuntal strands ~or `parts
' proceed in different keys.[ep~^[fy45,1]*[fy75,2]Polytonality[cf1]=min which th
e different contrapun~~tal strands, or `parts', proceed in more than one ~key.[e
p~^[cf2]Atonality[cf1]=min which no principle of key is ~observed.[ep~^[cf2]Micr
otonality[cf1]=min which scales are used having ~smaller interva
ls than the semitone.[ep~^In the [sm20[nmth cent. greater freedom in the ~treatm
ent of the above procedures has developed, ~together with a much wider applicati
on of ~dissonance. Chords of [sm7[nmth, [sm9[nmth, [sm11[nmth, and [sm13[nmth ~a
re treated as primary chords, and there has been ~a return to the use of pentato
nic scales, medieval ~modes, and the whole-tone scale. A prin. revolu~~tion [cf2
]c.[cf1][sm1910[nm was the abandonment of the triad as ~the prin. and fundamenta
l consonance. Com~~[chposers such as Bart;Aaok, Stravinsky, Schoenberg, ~and Web
ern widened the mus. spectrum of tone-~colour by showing that any combination of
 notes ~could be used as a basic unresolved chord. The ~tritone has been used as
 the cause of harmonic ~tensions in place of tonic-dominant relationships. ~Anot
her [sm20[nmth-cent. harmonic feature is the ~`layering' of sound, each layer fo
llowing different ~principles of organization. Milhaud produces ~bitonal passage
s from two layers in different ~tonalities.[ep~^Since [sm1950[nm
 much mus. has been comp. in which ~harmony has hardly any place, for example in
 ~some of the serial works of Boulez and Stockhau~~sen. Where non-pitched sounds
 are used, har~~mony no longer exists and its place is taken by ~overtones, dens
ities, and other concomitants of ~`clusters', etc.[ep~^In amplification of this
entry see [cf2]Added Sixth, ~Augmented, Consecutive, Counterpoint[cf1], and [cf2
]Chro~~matic Intervals.[cm~Harnoncourt, Nikolaus [fy75,1]([cf2]b [cf1]Berlin, [s
m1929[nm). Ger. ~cond. and musicologist. Studied Vienna Acad. of ~Mus. Cellist i
n Vienna S.O. [sm1952[nm=n[sm69[nm. Founder-~member Concentus Musicus of Vienna
[sm1954[nm, ~reviving early mus. on orig. instr. Ed. of perf. ~edns. of Montever
di's [cf2]Il ritorno d'Ulisse in Patria ~[cf1]and [cf2]L'incoronazione di Poppea
 [cf1]and of Bach choral ~works.[cm~Harold en Italie [fy75,1](Harold in Italy).
Sym. (No. [sm2[nm) ~for orch., with solo va., by Berlioz, Op. [sm16[nm, ~inspire
d by Byron's [cf2]Childe Harold. [cf1]After a Paris ~concert of
Berlioz's mus. in Dec. [sm1833[nm, Paganini ~asked Berlioz for a va. work in whi
ch he could ~display his Stradivarius instr. Berlioz sent him ~the [sm1[nmst mov
ement which Paganini rejected ~because it gave him too little to play. The work
~was completed in [sm4[nm movements and f.p. Paris ~[sm1834[nm, solo va. C. [fy4
5,1]*[fy75,1]Urhan.[cm~Harp. [fy75,1]This instr., of very ancient lineage, can b
e ~simply defined as an open frame over which is ~stretched a graduated series o
f str., set in vibration ~by plucking with the fingers. In the modern orch. ~har
p the series is not normally chromatic, as it is ~in the pf., having merely [sm7
[nm different notes with ~the octave, these being in the major scale of B ~(trea
ted for convenience as that of C;Yh). There are ~[sm7[nm pedals, each affecting
one note of this founda~~tional scale; each pedal works to [sm2[nm notches, and
~by depressing it to its first or [sm2[nmnd notch, ~respectively, the vibrating
lengths of all the ~relevant strings are simultaneously shortene
d by ~fractions representing a semitone and a tone: thus ~all keys become possib
le, and by depressing all ~the pedals together the pitch of the complete ~instr.
 can be raised from C;Yh (the normal key) to ~C;Yj or C;Yi. The usual compass is
 [sm5[nm;FD octaves from ~C. Chords are normally played in more or less ~rapid s
uccession of their notes, in the form ~understood by the word [cf2]arpeggio[cf1]
 (It. [cf2]arpa, [cf1]Harp). ~The typical `sweeping' ([cf2]glissando[cf1]) actio
n of the ~hand may be used in many kinds of scale (but ~evidently not in the chr
omatic scale, nor in any ~other scale passage employing more than [sm8[nm notes
~to the octave). In addition, of course, single str. ~may be plucked individuall
y or in small groups.[ep~^The instr. described above is the [cf2]double-action[c
f1] ~harp, introduced by ;aaErard ([cf2]c.[cf1][sm1810[nm), the word ~`double' m
arking its differences from its predeces~~sors on which the pitches could be rai
sed only a ~semitone.[ep~^One earlier form of the harp is the [c
f2]Welsh harp[cf1] ~or [cf2]telyn[cf1], with [sm3[nm rows of str., the [sm2[nm o
uter rows ~(tuned in unison or octaves) giving the diatonic ~scale and the inner
 row the intermediate semi~~tones: a simple modulation was effected by ~touching
 one of the inner str.[ep~^The harp has been much used as a solo instr. in ~Wale
s from time immemorial and in Eng. ~domestically during the Victorian period. It
 was ~a frequent member of the early [sm17[nmth-cent. orch. ~but in later times
was rarely found again in orch. ~use until the [sm19[nmth cent. when the great R
omantic ~orchestrators=mBerlioz, Wagner, Strauss, Mahler, ~Elgar, etc.=mmade eff
ective use of it. In the [sm20[nmth ~cent. it has been used in chamber mus. (e.g
. by ~Debussy and Ravel). There are several harp concs.[ep~^See also [cf2]Chroma
tic Harp, Double Harp, Clarsach, ~Dital Harp, Aeolian Harp.[cm~Harper, Edward [f
y75,1](=+=+=+James) ([cf2]b[cf1] Taunton, [sm1941[nm). ~Eng. composer, pianist,
and cond. Studied Christ ~[PN318,0,0,L,I0]Church, Oxford. Lectur
er, Faculty of Mus., ~Edinburgh Univ., dir., New Music Group of ~Scotland. Comps
. incl. pf. conc. ([sm1969[nm), [cf2]Ricercari ~in memoriam Luigi Dallapiccola[c
f1] for chamber ens. ~([sm1975[nm), [cf2]Fantasias[cf1] I (chamber orch.) and II
, for [sm11[nm ~solo str. ([sm1976[nm), sonata for chamber orch. ([sm1971[nm), ~
opera [fy45,1]*[fy75,2]Fanny Robin[cf1] ([sm1974[nm), [cf2][sm7[nm poems by e.e.
 cummings[cf1], ~sop. and orch. ([sm1977[nm), Sym. ([sm1978[nm=n[sm9[nm), quinte
t for ~fl., cl., vn., vc., pf. ([sm1974[nm), [cf2]Chester Mass[cf1], ch. and ~or
ch. ([sm1979[nm), cl. conc. ([sm1981[nm=n[sm2[nm), [cf2]Intrada after ~Monteverd
i[cf1], chamber orch. ([sm1982[nm), [cf2]Hedda Gabler[cf1], ~opera ([sm1984[nm=n
[sm5[nm).[cm~Harper, Heather [fy75,1]([cf2]b [cf1]Belfast, [sm1930[nm). Irish so
p. ~Studied TCL. Sang in BBC Chorus. Opera d;aaebut ~Oxford [sm1954[nm as Lady M
acbeth. Sang The Woman ~in first Brit. stage perf. of Schoenberg's [cf2]Erwartun
g[cf1], ~[sm1960[nm. Glyndebourne d;aaebut [sm1957[nm, CG [sm196
2[nm, ~Bayreuth [sm1967[nm (Elsa). Roles incl. Arabella in ~Strauss's opera, Ell
en Orford in Britten's [cf2]Peter ~Grimes[cf1], and Elsa in [cf2]Lohengrin.[cf1]
 Sang in f.p. of ~Britten's [cf2]War Requiem[cf1], [sm1962[nm and Tip~~pett's [s
m3[nmrd Sym. [sm1972[nm. C.B.E. [sm1965[nm. Retired from stage [sm1984[nm.[cm~Ha
rp Quartet. [fy75,1]Name for Beethoven's Str. Qt. No. ~[sm10[nm in E;yh major, O
p. [sm74[nm, comp. [sm1809[nm, because of ~harp-like pizzicato arpeggios in [sm1
[nmst movement.[cm~Harpsichord Family[fy75,1] (Virginals, Spinet, Harpsi~~chord)
. The[cf2] harpsichord[cf1] is a wing-shaped kbd. ~instr. in which the str. are
plucked mechanically. ~It was developed during the [sm15[nmth cent., the ~earlie
st surviving example (in the Victoria and ~Albert Museum, London) having been ma
de in ~Bologna in [sm1521[nm, but there are illustrated ~representations of the
instr. dating from nearly a ~century earlier, and a reference in a Ger. poem of
~[sm1404[nm to the [cf2]clavicimbalum[cf1], the earliest recorde
d ~use of the name from which the It. word ~[cf2]clavicembalo[cf1] is derived. T
he hpd. is fundamentally ~a mechanized [fy45,1]*[fy75,1]psaltery. Each key opera
tes a ~mechanical device known as the `jack', equipped ~with a small leather or
quill plectrum attached to ~a pivoted tongue. When the key is released the ~jack
 descends and, by positioning of a spring, the ~tongue pivots back, allowing the
 plectrum to pass ~the str. silently on its return. When the jack is ~back in it
s orig. position, a felt damper silences ~the vibration of the str. Very few con
trasts of ~tone or dynamics are possible, variation in finger ~touch having litt
le effect.[ep~^Italy was the home of the first important sch. of ~hpd. makers; a
t the end of the [sm16[nmth cent., ~however, Antwerp became the centre of activi
ty, ~particularly for the family of Ruckers. Their aim ~was to give the players
some tonal contrast, a ~typical Ruckers single-manual instr. having a ~compass o
f four octaves from C and two sets of ~strings, one [sm8[nm;Po a
nd one [sm4[nm;Po. Hand stops in the right-~hand side of the case brought one or
 both sets of ~jacks into contact with the strings. Ruckers also ~prod. a [sm2[n
m-manual hpd., the lower manual a [sm4[nmth ~below the upper. From the [sm17[nmt
h cent. to the end ~of the [sm18[nmth, the hpd. was the indispensable ~supportin
g basis for continuo in almost every ~instr. combination, as well as being a pop
ular ~domestic instr. With the development of the pf., ~the hpd. fell into semi-
oblivion during the [sm19[nmth ~cent., but in the [sm20[nmth it has been revived
 both by ~modern composers, several of whom=me.g. Falla ~and McCabe=mhave writte
n concs. for it, and in ~the authentic perf. of baroque mus. The [fy45,1]*[fy75,
1]Dol~~metsch family played a major part in the revival, ~and there are several
distinguished modern hpd. ~manufacturers. [sm20[nmth cent. virtuosi have incl. ~
Wanda [fy45,1]*[fy75,1]Landowska and Ralph [fy45,1]*[fy75,1]Kirkpatrick.[ep~^[cf
2]Virginal[cf1] or [cf2]Virginals[cf1]. This plucked kbd. instr.
 ~was first mentioned [cf2]c.[cf1][sm1460[nm. The origin of the ~name is not, as
 is generally supposed, Eng. nor ~has it anything to do with Elizabeth I, but it
 is ~widely accepted that the name derives from the ~fact that young ladies were
 regularly depicted ~playing the instr. The main differences from the ~hpd. are
in the oblong shape of the soundbox, the ~placing of the str. parallel to the kb
d. instead of ~at right-angles, and the existence of [sm2[nm bridges. ~Sometimes
 one sees references to `double vir~~[chginals' or `a pair of virginals'. The or
igins of these ~terms are obscure, since a double-manual virginal ~was extremely
 rare; a likely explanation is that ~they referred to the instr.'s compass. Eng.
 virginal ~mus. of the [sm17[nmth cent. is of major importance; ~colls. of it in
cl. the [fy45,1]*[fy75,2]Fitzwilliam Virginal Book, [fy45,1]*[fy75,2]My ~Ladye N
evells Booke[cf1], and [fy45,1]*[fy75,2]Benjamin Cosyns Virginal ~Book[cf1]. [cf
1]The earliest pubd. coll. was [fy45,1]*[fy75,2]Parthenia[cf1] ~
([sm1611[nm).[ep~^[cf2]Spinet[cf1]. This resembles the virginals in having ~one
str. to a note, but differs from it in being not ~rectangular but wing-shaped in
 an uneven [sm6[nm sides ~with the longest containing the kbd. It has a[fj~[sm4[
nm-octave compass. The str. either run roughly ~parallel to the kbd. as with the
 virginals, or ~diagonally in front of the player. (In the ~[cf2]Clavicytherium[
cf1], however, a rarer form than that ~described above, the str. ran perpendicul
arly like ~those of an upright pf.) The spinet was in use ~from the later [sm15[
nmth cent. to the end of the [sm18[nmth.[cm~Harrell, Lynn [fy75,1]([cf2]b [cf1]N
Y, [sm1944[nm). Amer. cellist. Studied ~Juilliard Sch., NY, Curtis Institute, Pe
nn., master ~classes with Piatigorsky and Casals. D;Aaebut recital, ~NY [sm1960[
nm. Prin. cellist Cleveland Orch., [sm1965[nm=n[sm71[nm. ~Soloist since [sm1971[
nm, appearing with major Amer., ~Brit., and European orchs. Brit. d;aaebut was [
sm1975[nm, ~with LSO.[cm~Harrhy, Eidwenn [fy75,1]([cf2]b [cf1]Tr
owbridge, Wilts., [sm1949[nm). ~Welsh soprano. Studied RMCM, singing in [cf2]Cos
;agi ~fan tutte [cf1][sm1970[nm and winning Imperial League of ~Opera prize. Aft
er study in London and Paris and ~concert appearances, made strong impression in
 ~Handel operas in [sm1974[nm. CG d;aaebut [sm1974[nm (Well~~gunde) and ENO [sm1
977[nm (Ad;agele in Rossini's [cf2]Le Comte ~Ory[cf1]). Has sung often with WNO,
 Opera North, ~Kent Opera, and Glyndebourne Touring Opera.[cm~Harris, [fy75,1](S
ir) [fy65][cf3]Augustus [fy75,1]([cf2]b [cf1]Paris, [sm1852[nm; [cf2]d [cf1]Folk
e~~stone, [sm1896[nm). Eng. impresario. Son of CG stage-~[PN319,0,0,R,I0]manager
. Ass. manager to Mapleson. Manager, ~Drury Lane, [sm1879=n94[nm, managing Carl
Rosa opera ~seasons there [sm1883[nm=n[sm7[nm. Formed opera co. [sm1887[nm, ~eng
aging de Reszke, Maurel, Melba, etc. Manager, ~CG from [sm1888[nm, achieving bri
lliant success, paying ~careful attention to production details. Introduced ~ope
ra in its orig. language to CG and was sturdy ~champion of Wagne
r's operas, presenting [cf2]Ring ~[cf1]cycles at CG [sm1892[nm, cond. Mahler. Kn
ighted [sm1891[nm.[cm~Harris, Renatus [fy75,1]([cf2]b [cf1]France, [cf2]c[cf1].[
sm1652[nm; [cf2]d [cf1]Salisbury, ~[sm1724[nm). Eng. org.-builder (of [sm39[nm i
nstr.). His ~grandfather (Renatus), father (Thomas), and sons ~(Renatus and John
) were also org.-builders.[cm~Harris, Roy [fy75,1](Ellsworth) ([cf2]b [cf1]Linco
ln County, ~Nebraska, [sm1898[nm; [cf2]d[cf1] Santa Monica, Calif., [sm1979[nm).
 ~Amer. composer. Studied Univ. of Calif., Berke~~ley, [sm1919[nm. Private mus.
pupil of Arthur Farwell, ~Modest Altschuler, and Arthur Bliss. From [sm1926[nm ~
to [sm1929[nm studied in Paris with Nadia Boulanger. ~His [sm1[nmst sym., cond.
Koussevitzsky in Boston, ~[sm1934[nm, earned him the reputation as America's ~le
ading symphonist, confirmed by [sm3[nmrd sym. in ~[sm1939[nm. Taught at many col
ls., incl. Juilliard Sch. ~and Cornell Univ., becoming composer-in-resi~~dence a
t Univ. of Calif. His music is basically ~diatonic and consonant
, its rugged rhythmic ~qualities and falling intervals, combined with a ~melodic
 flavour of hymn-tunes and folk-tunes, ~making him an Amer. counterpart of Jan;A
aa;Akcek, ~without the Czech's genius. Prin. works:[xm[cm~[j2][smorch[nm: Syms.:
 No. [sm1[nm ([fy75,2]Symphony [sm1933[nm[cf1]) ([sm1934[nm), No. ~[sm2[nm ([sm1
936[nm), No. [sm3[nm ([sm1939[nm), No. [sm4[nm ([cf2]Folksong[cf1], with ch.) ~(
[sm1940[nm), No. [sm5[nm ([sm1943[nm), No. [sm6[nm ([cf2]Gettysburg Address[cf1]
) ~([sm1944[nm), No. [sm7[nm ([sm1952[nm), No. [sm8[nm ([cf2]San Francisco[cf1])
 ([sm1962[nm), ~No. [sm9[nm ([cf2]Polytonality[cf1]) ([sm1963[nm), No. [sm10[nm
([cf2]Abraham ~Lincoln[cf1]) ([sm1965[nm), No. [sm11[nm ([sm1968[nm); [cf2]Ameri
can Portraits ~[cf1]([sm1929[nm); [cf2]When Johnny Comes Marching Home[cf1] ~([s
m1935[nm); [cf2]Prelude and Fugue [cf1]for str. ([sm1936[nm); [cf2]Farewell ~to
Pioneers [cf1]([sm1936[nm); [cf2]Time Suite [cf1]([sm1937[nm); [cf2]Ode to ~Frie
ndship [cf1]([sm1944[nm); pf. conc. No. [sm1[nm ([sm1945[nm); ~a
ccordion conc. ([sm1946[nm); conc. for [sm2[nm pf. ([sm1947[nm); ~[cf2]Kentucky
Spring[cf1] ([sm1949[nm); pf. conc. No. [sm2[nm ([sm1953[nm); ~[cf2]Ode to Conso
nance[cf1] ([sm1957[nm); [cf2]Elegy[cf1] ([sm1958[nm); [cf2]Horn of ~Plenty[cf1]
 ([sm1964[nm); conc. for amplified pf. ([sm1968[nm).[ep~[smchoral[nm: [cf2]Songs
 for Occupations [cf1](unacc.) ([sm1934[nm); ~[cf2]Symphony for Voices [cf1](una
cc.) ([sm1936[nm); [cf2]Challenge ~[sm1940[nm[cf1], bar., ch., and orch. ([sm194
0[nm); [cf2]Cantata[cf1], ch., ~organ, brass ([sm1943[nm); [cf2]Mass [cf1]for ma
le ch. and organ ~([sm1943[nm); [cf2]Psalm [sm150[nm[cf1] ([sm1955[nm); [cf2]Giv
e me the splendid ~silent sun[cf1], bar. and orch. ([sm1959[nm); [cf2]Canticle t
o the ~Sun[cf1], cantata ([sm1961[nm).[ep~[smchamber music[nm: [cf2]Songs for a
Rainy Day [cf1]for str. qt. ~([sm1925[nm); str. qts. No. [sm1[nm ([sm1930[nm), N
o. [sm2[nm ([sm1933[nm), No. ~[sm3[nm ([sm1939[nm); pf. trio ([sm1934[nm); pf. q
uintet ([sm1937[nm).[cm~[j1]Harris, [fy75,1](Sir) [fy65][cf3]Wil
liam [fy75,1](Henry) [cf1]([cf2]b [cf1]London, [sm1883[nm; ~[cf2]d [cf1]London,
[sm1973[nm). Eng. organist and composer. ~Studied RCM under Parratt (org.) and S
tanford ~(comp.). Organist, New Coll., Oxford, [sm1919[nm=n[sm28[nm, ~Ch. Ch., O
xford, [sm1928[nm=n[sm33[nm, St George's Chapel, ~Windsor, [sm1933[nm=n[sm61[nm.
 Cond., Oxford Bach Choir ~[sm1926[nm=n[sm33[nm. Prof. of org. and harmony RCM,
[sm1923[nm=n~[sm53[nm. Dir. of mus. studies, Royal Sch. of Church ~Mus., [sm1956
[nm=n[sm61[nm. Comp. [cf2]The Hound of Heaven [cf1]for ~bar., ch., and orch., ch
urch mus., and org. works. ~K.C.V.O. [sm1954[nm.[cm~Harrison, Beatrice [fy75,1](
[cf2]b [cf1]Roorkee, India, [sm1892[nm; [cf2]d[cf1] ~Smallfield, Sussex, [sm1965
[nm). Eng. cellist. Studied ~RCM. D;Aaebut with Queen's Hall Orch. [sm1907[nm, t
hen ~studied in Berlin with Hugo Becker. Frequently ~played in recitals with her
 violinist sister May ~([sm1891[nm=n[sm1959[nm). Delius's double conc. was writt
en ~for them. Notable exponent of Elgar conc., which ~she record
ed with composer. Gave f.p. of Delius's ~vc. sonata, [sm1918[nm, and f. Eng. p.
of his vc. concerto, ~[sm1923[nm. In early BBC broadcasts played vc. in Surrey ~
wood to acc. of nightingale. Her sister studied at ~RCM and with Auer in St Pete
rsburg. London ~d;Aaebut in Mendelssohn conc.[cm~Harrison, Julius [fy75,1](Allen
 Greenway) ([cf2]b [cf1]Stourport, ~[sm1885[nm; [cf2]d [cf1]Harpenden, [sm1963[n
m). Eng. composer, cond., ~and writer. Studied with Bantock at Birmingham ~and M
idland Institute. Cond. opera CG [sm1913[nm. In ~Paris [sm1914[nm to help Nikisc
h and Weingartner ~prepare Wagner perfs. Conducted for Beecham ~Co. and BNOC ([s
m1922[nm=n[sm7[nm). Cond. Scottish Orch. ~[sm1920[nm=n[sm3[nm. Cond., Hastings M
unicipal Orch. [sm1930[nm=n~[sm40[nm (doing splendid work for Brit. mus.). Prof
of ~comp. RAM. Works, influenced by Elgar, incl. ~Mass in C and [cf2]Requiem[cf1
]; cantata [cf2]Cleopatra[cf1]; suite ~[cf2]Worcestershire Pieces[cf1]; [cf2]Cor
nish Sketches [cf1]for str., ~[cf2]Bredon Hill [cf1]for vn. and
orch., str. qt., songs, etc. ~Contributor to various books on mus.; specialist ~
on Brahms.[cm~Harrison, Lou [fy75,1]([cf2]b [cf1]Portland, Oregon, [sm1917[nm).
Amer. ~composer and teacher. Studied San Francisco State ~Coll. and with Henry [
fy45,1]*[fy75,1]Cowell. Organized con~~certs with John [fy45,1]*[fy75,1]Cage. Ta
ught at Mills Coll., ~[sm1936[nm=n[sm9[nm. Studied with Schoenberg [sm1941[nm. W
ent to ~NY [sm1943[nm, writing mus. criticism and working as ~copyist and ballet
 composer. Ed. some of [fy45,1]*[fy75,1]Ives's ~mus., incl. [sm3[nmrd Sym. of wh
ich he cond. f.p. [sm1947[nm. ~Later taught in N. Carolina and took many jobs ~n
ot connected with mus. His works reflect his ~busy and restless outlook: they co
mbine Schoen~~bergian and aleatory procedures, use quarter-~tones, call for extr
aordinary devices for producing ~unusual sounds, and emulate medieval poly~~phon
y and gamelan rhythms. Comps., in many ~genres, incl. opera [cf2]Rapunzel[cf1],
str. sextet [cf2]Schoenber~~giana[cf1], vn. conc., sym., [cf2]Yo
ung Caesar [cf1](puppet ~opera), several ballets, chamber mus., and songs.[xm[cm
~[ol0][ep~[xp[te~











[do25][j99]~~~~~~[sm024791[nm_H[sm004[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict. of ~Music[cmH[sm004[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm28[nm/[sm9[nm/[sm79[nm
[cm[sm12[nm[cm[sm125[nm[cm~Collier[cm5[cm18.3.85[cm~3[cm~~~~[ap[j1]Harrison, Sid
ney [fy75,1]([cf2]b [cf1]London, [sm1903[nm). Eng. pianist, ~teacher, and writer
. Studied GSM. Prof. of pf., ~GSM [sm1927[nm=n[sm65[nm, RAM from [sm1965[nm. Out
standing ~broadcaster. First to give televised pf. lesson ~([sm1950[nm).[cm~Harr
owing of Hell, The. [fy75,1]Cantata, Op. [sm9[nm, for ten. ~and bass soloists an
d ch. by A. [fy45,1]*[fy75,1]Milner, comp. ~[sm1956[nm.[cm~Hars;Aaanyi, Tibor [f
y75,1]([cf2]b [cf1]Magyarkanisza, [sm1898[nm; [cf2]d[cf1] Paris, ~[sm1954[nm). H
ung. composer, pupil of Kod;Aaaly. Settled ~[PN320,0,0,L,I0]in Paris [sm1923[nm.
 Wrote operas, ballets, sym., vn. ~conc., chamber works, etc.[cm~Hart, Fritz[fy7
5,1] ([cf2]b [cf1]London, [sm1874[nm; [cf2]d[cf1] Honolulu, [sm1949[nm). ~Eng. c
onductor and composer. Studied RCM ~[sm1893[nm=n[sm6[nm, becomin
g friend of Holst, Vaughan ~Williams, and Hurlstone. Became th. cond. and ~went
in [sm1908[nm to Australia. Dir., Melbourne Cons. ~from [sm1915[nm. Cond. Melbou
rne S.O. [sm1928[nm. Prof. of ~mus., Univ. of Hawaii [sm1936[nm=n[sm42[nm. Cond.
 Honolulu ~S.O. [sm1932[nm=n[sm49[nm. Wrote [sm20[nm operas, [sm514[nm songs, sy
m. ~([sm1934[nm), [sm3[nm vn. sonatas, [sm2[nm str. qts., and choral works. ~Sty
le influenced by Eng. folk-song.[cm~Hartig, Heinz Friedrich [fy75,1]([cf2]b [cf1
]Kassel, [sm1907[nm; [cf2]d[cf1] ~Berlin, [sm1969[nm). Ger. composer. Studied in
 Kassel, ~Berlin, and Vienna, and with Blacher. From [sm1948[nm ~cond. mus. for
Brecht prods. in Berlin. Teacher at ~Berlin Hochschule from [sm1951[nm. Works in
cl. Mass ~to text by Dylan Thomas, oratorio [cf2]Wohin? ~[cf1]employing tape wit
h conventional forces, cham~~ber opera [cf2]Escorial[cf1], and ballet [cf2]Das T
or[cf1]. Also concs. ~for pf., for vn., and for guitar, songs with orch., ~and c
hamber mus.[cm~Hartmann, Johan Peter Emilius [fy75,1]([cf2]b [cf
1]Copen~~hagen, [sm1805[nm; [cf2]d [cf1]Copenhagen, [sm1900[nm). Danish ~compose
r. Dir., Copenhagen Cons. from [sm1867[nm. ~Comp. syms., vn. conc., and several
operas, incl. ~[cf2]Ravnen [cf1](The Raven) ([sm1832[nm, text by Hans Christian
~Andersen).[cm~Hartmann, Karl Amadeus [fy75,1]([cf2]b [cf1]Munich, [sm1905[nm; [
cf2]d[cf1] ~Munich, [sm1963[nm). Ger. composer. Studied Munich ~Acad. of Mus. wi
th Joseph Haas, [sm1923[nm=n[sm7[nm, and ~later with Hermann [fy45,1]*[fy75,1]Sc
herchen and [fy45,1]*[fy75,1]Webern. ~Works perf. in [sm1930[nms but he withdrew
 from ~public life because of opposition to Nazi r;Aaegime. ~After [sm1945[nm or
ganized Musica Viva concerts of ~new works in Munich. His mus. is very much of ~
its time, with marked polyphonic tendencies and ~showing traces of such varied i
nfluences as ~Bruckner, Berg, Stravinsky, and Blacher. Comp. ~[sm8[nm syms. (No.
 [sm1[nm for cont. and orch. to text by ~Whitman) between [sm1936[nm and [sm1962
[nm; also [sm2[nm str. ~qts. ([sm1933[nm and [sm1945=n6[nm), ope
ra [cf2]Des Simplicius ~Simplicissimus Jugend [cf1](Cologne [sm1949[nm, comp. [s
m1934[nm=n~[sm5[nm), vn. conc., pf. conc., va. conc.[cm~Hartmann, Rudolf [fy75,1
]([cf2]b [cf1]Ingolstadt, [sm1900[nm). Ger. ~opera producer and impresario. Chie
f resident ~producer Altenberg [sm1924[nm, Nuremberg [sm1928[nm=n[sm34[nm ~and [
sm1946[nm=n[sm52[nm; Berlin State Opera [sm1934[nm=n[sm8[nm. Spe~~cially assoc.
with cond. Clemens Krauss and ~operas of R. Strauss at Munich [sm1938[nm=n[sm44[
nm and ~[sm1953[nm=n[sm67[nm. Author of [cf2]Richard Strauss, the Staging of ~hi
s Operas and Ballets [cf1](Fribourg [sm1980[nm, Eng. trans. ~[sm1981[nm).[cm~Har
ty, [fy75,1](Sir) (Herbert) [fy65][cf3]Hamilton [fy75,1]([cf2]b [cf1]Hillsboroug
h, ~Co. Down, [sm1879[nm; [cf2]d [cf1]Brighton, [sm1941[nm). Irish ~composer, co
nd., organist, and pianist. Church ~organist at age [sm12[nm, later holding post
s in Belfast ~and Dublin. Helped by [fy45,1]*[fy75,1]Esposito. Settled in ~Londo
n [sm1900[nm where he quickly won attention as ~composer and as
brilliant pf. accompanist. Gradu~~[chally his conducting took priority. Cond. op
era at ~CG and LSO concerts. Appointed permanent ~cond. Hall;aae Orch. [sm1920[n
m, holding post until [sm1933[nm ~and re-establishing orch. as one of finest in
~Europe. Cond. LSO and other orchs. from [sm1933[nm. ~Comps. incl. pf. quintet,
[fy45,1]*[fy75,2]Irish Symphony[cf1], vn. ~conc., pf. conc., [cf2]Ode to a Night
ingale [cf1]for sop. and ~orch., sym.-poems [cf2]With the Wild Geese [cf1]and [c
f2]The ~Children of Lir[cf1], cantata [cf2]The Mystic Trumpeter [cf1]for ~ch. an
d orch., also modern orchestrations of ~Handel's [cf2]Water Music [cf1]and [cf2]
Fireworks Music[cf1]. ~Knighted [sm1925[nm.[cm~Harvey, Jonathan [fy75,1](Dean) (
[cf2]b[cf1] Sutton Coldfield, ~[sm1939[nm). Eng. composer and teacher. Cellist i
n Nat. ~Youth Orch. Studied Cambridge and Glasgow ~Univs. and with Erwin Stein a
nd Hans Keller. ~Impressed Stockhausen at Darmstadt [sm1966[nm, and ~studied wit
h [fy45,1]*[fy75,1]Babbitt [sm1969[nm=n[sm70[nm. On staff, mus.
~dept., Southampton Univ. [sm1964[nm=n[sm77[nm, Sussex Univ. ~from [sm1977[nm (p
rof. from [sm1980[nm). Comps., some of ~which use tape, incl.:[xm[cm~[j2][smchur
ch opera[nm: [cf2]Passion and Resurrection[cf1] ([sm1981[nm).[ep~[smorch.[nm: Sy
m. ([sm1966[nm); [fy75,2]Benedictus[cf1] ([sm1970[nm); [cf2]Persephone ~Dream[cf
1] ([sm1972[nm); [cf2]Inner Light III[cf1] ([sm1975[nm); [cf2]Smiling ~Immortal
[cf1](ballet), chamber orch. and pre-[fjprepared tape ([sm1977[nm); [cf2]Whom Ye
 Adore[cf1] ([sm1981[nm);[fj[cf2]Bhakti[cf1], ~chamber ens. and quad. tape ([sm1
982[nm);[fj[cf2]Easter ~Orisons[cf1], str. ([sm1983[nm).[ep~[sminstr. and chambe
r[nm: [cf2]Dialogue[cf1], vc. and pf. ([sm1965[nm); ~[cf2]Variations[cf1], vn. a
nd pf. ([sm1965[nm); [cf2][sm4[nm Images after ~Yeats[cf1], pf. ([sm1969[nm); [c
f2]Inner Light I[cf1], instr. and tape ~([sm1973[nm); pf. trio ([sm1971[nm); [cf
2]Round the Star and Back[cf1], ~pf. and ens. ([sm1974[nm); str. qt. ([sm1977[nm
); [cf2]Album[cf1], wind ~quintet ([sm1978[nm); [cf2]Be[cf1]([cf
2]com[cf1])[cf2]ing[cf1], cl., pf. ([sm1979[nm); [cf2]Con-[fjcelebration[cf1], f
l., cl., vc., pf., perc. ([sm1979[nm, rev. [sm1980[nm); ~[cf2]Modernsky Music[cf
1], [sm2[nm ob., bn., hpd. ([sm1981[nm); [cf2]Curve ~with Plateaux[cf1], vc. ([s
m1982[nm); [cf2]Nataraja[cf1], fl., pf. ([sm1983[nm).[ep~[smvocal and orch[nm: [
cf2]Cantata I[cf1] ([sm1965[nm), [cf2]Cantata IV=m~Ludus Amoris[cf1], sop., ten.
, speaker, ch. and orch. ~([sm1969[nm); [cf2]Cantata VI[cf1], ch. and str. ([sm1
970[nm); [cf2]Cantata ~VII=mOn Vision[cf1], sop., ten., speaker, chamber ~group,
 and tape ([sm1971[nm); [cf2]Inner Light II[cf1], vv., ens., ~and tape ([sm1977[
nm); [cf2]Hymn[cf1], ch. and orch. ([sm1979[nm).[ep~[smvoice and instr[nm: [cf2]
Angel Eros[cf1], v. and str. qt. ([sm1973[nm); ~[cf2]Cantata II=m[sm3[nm Lovesca
pes[cf1], sop. and pf. ([sm1967[nm); ~[cf2]Cantata III[cf1], sop. and chamber en
s. ([sm1969[nm); [cf2]Cantata ~V=mBlack Sonnet[cf1], [sm4[nm singers and wind qu
intet ~([sm1970[nm); [cf2]The Dove Descending[cf1], ch. and org.
 ([sm1975[nm); ~[cf2]Correspondences[cf1], mez. and pf. ([sm1975[nm); [cf2]Canta
ta ~X=mSpirit Music[cf1], sop., [sm3[nm cl., and pf. ([sm1975[nm); ~[cf2]Magnifi
cat and Nunc Dimittis[cf1], ch. and org. ([sm1978[nm); ~[cf2]Resurrection[cf1],
ch. and org. ([sm1981[nm).[ep~[smtape[nm: [cf2]Time-Points[cf1], magnetic tape (
[sm1970[nm); [cf2]Veils and ~Melodies[cf1], [sm3[nm prepared tapes ([sm1978[nm);
 [cf2]Mortuos plango, ~Vivos voco[cf1], computer-manipulated concrete ~sounds ([
sm1980[nm).[ep~[smunacc. voices[nm: [cf2]I Love the Lord[cf1] ([sm1976[nm); [cf2
]O Jesu, Nomen ~dulce[cf1], motet ([sm1980[nm).[ep~[smorgan[nm: [cf2]Toccata[cf1
], with pre-rec. tape ([sm1980[nm).[cm~[j1]Harvey, Trevor [fy75,1](Barry) ([cf2]
b [cf1]Freshwater, I.o.W., ~[sm1911[nm). Eng. cond., critic, and broadcaster. Wo
rked ~[PN321,0,0,R,I0]for BBC (ass. ch. master) [sm1935[nm=n[sm42[nm. Free-lance
 ~cond. from [sm1946[nm. Cond. Sir Robert Mayer ~children's concerts [sm1951[nm=
n[sm73[nm, Brit. Youth Orch. ~[sm1960[nm=n[sm72[nm.[cm~Harwood,
Basil [fy75,1]([cf2]b [cf1]Woodhouse, Glos., [sm1859[nm; [cf2]d ~[cf1]London, [s
m1949[nm). Eng. composer and organist. ~Pupil of Reinecke in Leipzig. Organist,
Ely Cath., ~[sm1887[nm=n[sm92[nm, Christ Church, Oxford, [sm1892[nm=n[sm1909[nm.
 ~Composer of org. sonatas and many church ~anthems, etc.[cm~Harwood, Elizabeth
[fy75,1]([cf2]b [cf1]Barton Seagrave, [sm1938[nm). ~Eng. sop. Studied RMCM [sm19
55[nm=n[sm60[nm. Successful ~career in concert hall and opera house. Won ~Ferrie
r Prize [sm1960[nm. Opera d;aaebut Glyndebourne ~[sm1960[nm. SW [sm1961[nm=n[sm5
[nm. CG d;aaebut [sm1967[nm (in [cf2]Arabella[cf1]). ~Guest singer at Salzburg,
Aix, and Vienna fests. ~NY Met. d;aaebut [sm1976[nm (Fiordiligi in [cf2]Cos;agi
fan tutte[cf1]). ~Particularly fine Strauss singer.[cm~H;aaary J;aaanos [fy75,1]
(=+=+=+John H;Aaary). Opera in prol., [sm5[nm parts, ~and epilogue by Kod;Aaaly
to lib. by Paulini and ~Hars;aaanyi after poem by Garay. Prod. Budapest ~[sm1926
[nm, NY [sm1960[nm, London [sm1967[nm. Orch. suite of [sm6[nm ~m
ovements drawn from opera f.p. NY [sm1927[nm, ~cond. Mengelberg.[cm~Haskil, Clar
a [fy75,1]([cf2]b [cf1]Bucharest, [sm1895[nm; [cf2]d [cf1]Brussels, ~[sm1960[nm)
. Romanian pianist, later Swiss citizen. ~Studied in Bucharest, Vienna, and at P
aris Cons. ~with Cortot and Faur;Aae, later in Berlin with ~Busoni. D;aaebut Buc
harest [sm1904[nm. Concert career ~began in [sm1910[nm. Exponent of classical an
d early ~romantic composers.[cm~Hasler. [fy75,1]See [cf2]Hassler, Hans.[cm~Hassa
n, or The Golden Journey to Samarkand. ~[fy75,1]Play by James Elroy Flecker ([sm
1884[nm=n[sm1915[nm) for the ~[sm1[nmst prod. of which in Darmstadt [sm1923[nm D
elius ~comp. incid. mus. incl. songs, dances, and choral ~episodes. The [cf2]Int
ermezzo [cf1]and [cf2]Serenade [cf1]exist in ~several arrs. and there is a [cf2]
Suite [cf1]arr. Fenby [sm1933[nm.[cm~Hasse, Johann [fy75,1](Adolph) ([cf2]b [cf1
]Bergedorf, [sm1699[nm; [cf2]d[cf1] ~Venice, [sm1783[nm). Ger. composer. Sang at
 Hamburg ~Opera as ten. [sm1718[nm=n[sm19[nm, then at Brunswick
where ~his opera [cf2]Antioco [cf1]was prod. [sm1721[nm. Went to Naples ~[sm1724
[nm, studying with Porpora and A. Scarlatti and ~writing several popular operas.
 Married singer ~Faustina [fy45,1]*[fy75,1]Bordoni. Dir., Dresden court opera ~[
sm1731=n63[nm, also visiting London and It. Most of his ~MSS. destroyed in siege
 of Dresden. Moved to ~Vienna [sm1763[nm, composing operas to Metastasio ~libret
tos in opposition to Gluck and eventually ~setting almost all Metastasio's opera
 texts. Lived ~in Venice from [sm1775[nm. Despite nationality, It. by ~style and
 inclination. Wrote over [sm100[nm operas, also ~masses, oratorios, sinfonias, e
tc. Hearing Mozart's ~[cf2]Ascanio in Alba[cf1] in [sm1771[nm said: `This boy wi
ll cause ~us all to be forgotten'.[cm~Hasselmans, Alphonse [fy75,1](=+=+=+Jean)
([cf2]b [cf1]Li;Agege, [sm1845[nm; [cf2]d ~[cf1]Paris, [sm1912[nm). Belg.-born h
arpist (Fr. citizen from ~[sm1903[nm). Prof. of harp, Paris Cons. from [sm1884[n
m. ~Virtuoso player who composed many pieces for ~the instr. His
 son Louis ([cf2]b [cf1]Paris, [sm1878[nm; [cf2]d[cf1] San Juan, ~Puerto Rico, [
sm1957[nm) was a cellist and cond. Cond. ~of Fr. repertory at NY Met. [sm1922[nm
=n[sm37[nm.[cm~Hassler [fy75,1](Hasler), [fy65][cf3]Hans [fy75,1](Leo) ([cf2]b [
cf1]Nuremberg, ~[sm1562[nm; [cf2]d [cf1]Frankfurt-am-Main, [sm1612[nm). Ger. com
p~~[choser and organist. Studied in Venice with A. ~[fy45,1]*[fy75,1]Gabrieli. O
rganist at Augsburg [sm1586[nm=n[sm1600[nm, ~Nuremberg [sm1601[nm=n[sm08[nm, Dre
sden from [sm1608[nm. Wrote ~It. [cf2]canzonette, cantiones sacrae, [cf1]madriga
ls, masses, ~and motets.[cm~Haubenstock-Ramati, Roman [fy75,1]([cf2]b [cf1]Krak;
aaow, ~[sm1919[nm). Austrian composer (Polish-born). Studied ~Krak;aaow Univ. Mu
s. dir., Radio Krak;aaow [sm1947[nm=n[sm50[nm. ~Dir., state mus. library and pro
f. of mus., Tel ~Aviv Acad. Worked at Fr. Radio [cf2]musique concr;Agete ~[cf1]s
tudio, [sm1957[nm. Settled in Vienna [sm1957=n68[nm. Com~~poser of several elec.
 works. Much concerned ~with new methods of notation. Organized
[sm1[nmst ~exhibition of graphic scores, Donaueschingen ~[sm1959[nm. Works incl.
 opera [cf2]America [cf1](based on Kafka); ~Symphony `K', [cf2]Les Symphonies de
 timbres, Petite ~musique de nuit, Psalm [cf1]for orch., [cf2]Nocturnes I and II
[cf1] ~for orch., chamber mus., and choral pieces.[cm~Hauer, Josef Matthias [fy7
5,1]([cf2]b [cf1]Wiener Neustadt, [sm1883[nm; ~[cf2]d [cf1]Vienna, [sm1959[nm).
Austrian composer. Self-taught. ~Met Schoenberg [sm1919[nm. In [sm1919[nm, indep
endently of ~Schoenberg, developed [sm12[nm-note system and wrote ~his first [sm
12[nm-note piece, [cf2]Nomos. [cf1]Method based on ~[sm44[nm combinations (trope
s) of [sm12[nm notes of the octave, ~each subdivided into [sm6[nm-note groups. W
orks incl. ~operas [cf2]Die schwarze Spinne [cf1]and [cf2]Salambo [cf1](comp. ~[
sm1929[nm, f.p. Vienna [sm1983[nm), oratorio [cf2]Wandlungen[cf1], pf. ~conc., v
n. conc., H;auolderlin songs, [sm3[nm str. qts. From ~[sm1939[nm all his works b
ore the title [cf2]Zw;Auolftonspiel [cf1]([sm12[nm-~note piece).
[cm~Haug, Hans [fy75,1]([cf2]b [cf1]Basle, [sm1900[nm; [cf2]d [cf1]Lausanne, [sm
1967[nm). ~Swiss composer and cond. Cond., Swiss Radio ~orch., Lausanne, [sm1935
=n8[nm, Z;auurich [sm1938[nm=n[sm43[nm. Wrote ~[sm8[nm operas, incl. [cf2]Tartuf
fe [cf1]([sm1937[nm), oratorio [cf2]Michelan~~gelo[cf1], sym., vn. conc., pf. co
nc., guitar conc., [sm3[nm str. ~qts.[cm~Haugtussa [fy75,1](Norweg. The Mountain
 Maid). Song-~cycle for sop. and pf., Op. [sm67[nm, by Grieg, comp. ~[sm1895[nm,
 being settings of [sm8[nm poems by Arne Garborg ~written in archaic Norweg. and
 pubd. [sm1895[nm. The ~songs are [sm1[nm. [cf2]Det syng [cf1](The Singing), [sm
2[nm. [cf2]Veslerny ~[cf1](Little Maid), [sm3[nm. [cf2]Blaaberri [cf1](Bilberry
slopes), [sm4[nm. [cf2]Mote ~[cf1](Meeting), [sm5[nm. [cf2]Elsk [cf1](Love), [sm
6[nm. [cf2]Killingsdans [cf1](Kidlings' ~dance), [sm7[nm. [cf2]Vond dag [cf1](Ev
il Day), [sm8[nm. [cf2]Ved gjaetle-~bekken [cf1](By the brook).[cm~Hauk, Minnie
[fy75,1](orig. Mignon Hauck) ([cf2]b [cf1]NY, ~[sm1851[nm; [cf2]
d [cf1]Tribschen, Lucerne, [sm1929[nm). Amer. mez. ~Studied New Orleans and NY.
D;Aaebut Brooklyn ~[sm1866[nm, CG [sm1868[nm. First Amer. and London Carmen, ~bu
t also famous as Norma, Amina, and other [cf2]bel ~canto [cf1]roles. Sang at NY
Met. [sm1890[nm=n[sm1[nm. Formed own ~opera co., but after one year retired to l
ive with ~husband in Wagner's villa Tribschen. After war ~became blind and poor;
 supported by funds from ~Amer. opera enthusiasts.[cm~[PN322,0,0,L,I0]Haunted Ba
llroom, The. [fy75,1]Ballet in [sm1[nm act, mus. ~and lib. by Geoffrey Toye, cho
reog. by de Valois. ~Prod. London [sm1934[nm.[cm~Hauptstimme [fy75,1](Ger.). Pri
n. v. or part.[cm~Hauptthema [fy75,1](Ger.). Prin. subject of a comp.[cm~Hauptwe
rk [fy75,1](Ger., `chief work'). Great Organ.[cm~Hausegger, Siegmund von [fy75,1
]([cf2]b [cf1]Graz, [sm1872[nm; [cf2]d ~[cf1]Munich, [sm1948[nm). Austrian compo
ser and cond. ~Cond. Hamburg Phil. [sm1910[nm=n[sm18[nm, Konzertverein, ~Munich,
 from [sm1920[nm. Dir., Munich Acad. of Mus. ~[sm1920[nm=n[sm34[
nm. Wrote operas, symphonic poems, songs, ~etc.[cm~Hausmann, Robert [fy75,1]([cf
2]b [cf1]Rottleberode, [sm1852[nm; [cf2]d ~[cf1]Vienna, [sm1909[nm). Ger. cellis
t. Pupil of M;Auuller and ~Piatti. Member of Count Hochberg's qt., Dresden, ~[sm
1872[nm=n[sm6[nm; of Joachim Qt. [sm1879[nm=n[sm1907[nm. Prof. of vc. ~Berlin Ho
chschule from [sm1876[nm. Gave f.p. of ~Brahms's [sm2[nmnd vc. sonata, Op. [sm99
[nm, in [sm1886[nm and, ~with Joachim, of Brahms's Double Concerto ~(Cologne [sm
1887[nm).[cm~Hausmann, Valentin [fy75,1]([cf2]=+=+=+=+fl. [cf1][sm16[nmth cent.)
. Ger. ~organist and composer. Organist at Gerbst;Auadt, ~near Merseburg. Comp.
secular songs, dances, ~church mus., instr. pieces, etc.[cm~Hautboy. [fy75,1]Obs
olete Eng. name for [fy45,1]*[fy75,1]oboe, derived ~from Fr. [cf2]hautbois [cf1]
(`loud wood') from which the It. ~[cf2]oboe [cf1]was derived.[cm~Hautcousteaux.
[fy75,1]See [cf2]Auxcousteaux, Artus.[cm~Haute Danse [fy75,1](Fr., `High Dance')
. An old general ~term covering any dance in which the feet were
 ~lifted, as distinguished from the [fy45,1]*[fy75,2]Basse Danse, [cf1]in ~which
 they were kept close to the floor.[cm~Havanaise [fy75,1](Fr.). Same as [fy45,1]
*[fy75,2]Haba;atnera.[cm~Hawaiian Guitar. [fy75,1]Type of guitar introduced by ~
Portuguese which has distinctive str. tunings. ~The str. are `stopped' with a sm
all moveable metal ~bar which goes across all str., in order to obtain ~the char
acteristic portamento effect.[cm~Hawes, William [fy75,1]([cf2]b [cf1]London, [sm
1785[nm; [cf2]d [cf1]London, ~[sm1846[nm). Eng. composer, cond., and violinist.
~Chorister, Chapel Royal, [sm1795[nm=n[sm1801[nm. Violinist, ~CG orch. [sm1802[n
m=n[sm5[nm. Gentleman, Chapel Royal, ~[sm1805[nm, master of choristers [sm1817[n
m. From [sm1812[nm, ~master of choristers, St Paul's Cath. Dir. of Eng. ~opera a
t Lyceum Th., [sm1824[nm=n[sm36[nm. Adapted many ~operas for Eng. stage, incl. M
ozart's [cf2]Cos;agi fan tutte ~[cf1]and [cf2]Don Giovanni[cf1]. Introduced Webe
r's [cf2]Der Frei~~[chsch;Auutz [cf1]to Eng., [sm1824[nm, adding
 some airs of his own. ~Wrote glees and madrigals.[cm~Haydn, Franz Joseph [fy75,
1]([cf2]b [cf1]Rohrau, [sm1732[nm; [cf2]d [cf1]Vienna, ~[sm1809[nm). Austrian-bo
rn composer of pure Ger. ~stock. The son of a farmer-wheelwright, Haydn ~showed
immediate mus. precocity and at the age ~of [sm5[nm was given into the care of a
 Hainburg ~schoolmaster called Franck, who taught him the ~rudiments of mus. At
[sm8[nm went to Vienna as ~choirboy at St Stephen's. When his v. broke at [sm17[
nm, ~he lived in poverty as a teacher and became ~accompanist and servant to the
 It. composer and ~teacher [fy45,1]*[fy75,1]Porpora. He worked for two aristocra
tic ~patrons in [sm1750[nms, and in [sm1761[nm was engaged as ~vice-Kapellmeiste
r at Eisenstadt by Prince Paul ~Esterh;Aaazy. Haydn remained with the Esterh;Aaa
zy ~household for [sm30[nm years, for both Prince Paul and ~his successor Prince
 Nikolaus, who reigned from ~[sm1762[nm to [sm1790[nm, were passionate mus.-love
rs. In ~[sm1766[nm Nikolaus built the palace of Esterh;Aaaza ~(m
odelled on Versailles) on the south side of the ~Neusiedlersee, spending the gre
ater part of each ~year in this isolated home. Haydn's art benefited ~from this
seclusion. `There was no one near to ~confuse me, so I was forced to become orig
inal', ~he said. His duties were numerous; besides ~administrative work and cari
ng for the court ~musicians, he cond. the orchestra, arr. and dir. ~operatic per
fs., played in chamber mus., and ~produced a stream of works in many genres, inc
l. ~incidental mus. for plays, to please his patron. ~Haydn's fame spread from E
sterh;Aaaza throughout ~Austria, Ger., and It. as his syms. were pubd. Fr. ~edns
. of his works began to appear in the [sm1760[nms ~and later in London. In [sm17
85[nm he was commis~~sioned by Cadiz to compose an oratorio without ~words on th
e Saviour's [sm7[nm Last Words, and by the ~Parisian soc. Concert de la Loge Oly
mpique to ~compose [sm6[nm syms. By this time he had become ~friends with Mozart
, for whom he had the highest ~admiration. Their works from this
 date ([sm1781[nm) ~betray mutual influence. Haydn's life at Esterh;Aaaza ~ended
 in [sm1790[nm when Prince Nikolaus died and ~his successor dismissed the musici
ans, though ~leaving Haydn his salary and title. Haydn left the ~castle for Vien
na where he accepted an invitation ~from the impresario J. P. [fy45,1]*[fy75,1]S
alomon to visit ~London. He stayed in England from [sm1[nm Jan. [sm1791[nm ~to t
he middle of [sm1792[nm, being f;Afeted, lionized, and ~entertained by royalty.
He comp. syms. [sm93[nm=n[sm98[nm on ~this visit, when he was deeply impressed b
y the ~[sm1791[nm Handel Fest. in Westminster Abbey. In July ~[sm1791[nm the hon
. degree of D.Mus. was conferred on ~him by Oxford Univ. On his return to Vienna
 he ~bought a house there and accepted Beethoven as ~a pupil, an uneasy relation
ship for both great ~men. In [sm1794[nm he visited Eng. again, having been ~comm
issioned by Salomon to write [sm6[nm new syms. ~This [sm2[nmnd visit lasted from
 Feb. [sm1794[nm to Aug. [sm1795[nm ~and was even more successfu
l artistically and, ~especially, financially than the first.[ep~^The Esterh;aaaz
y family had now reconstituted ~their mus. est., but Haydn comp. only for specia
l ~occasions and was allowed to concentrate on his ~work as a composer. Between
[sm1796[nm and [sm1802[nm he ~wrote [sm6[nm magnificent settings of the Mass. In
 [sm1797[nm ~he comp. his [cf2]Gott erhalte Franz den Kaiser, [cf1]which ~was ad
opted as Austria's nat. anthem. But his ~chief pre-occupation at this time was h
is oratorio ~[cf2]Die Sch;Auopfung [cf1](The Creation), f.p. privately in ~Vienn
a, [sm1798[nm. This was followed by [cf2]Die Jahres~~[chzeiten [cf1](The Seasons
), f.p. [sm1801[nm. From then on, ~[PN323,0,0,R,I0]Haydn's health began to fail
and, though he made ~several more public appearances, he died during ~the Fr. oc
cupation of Vienna.[ep~^If Haydn's life was comparatively uneventful, ~his vast
output of mus. is notable for the number ~of delights and surprises contained in
 almost ~every work. Yet though the number and magni~~tude of Ha
ydn masterpieces are constantly amaz~~ing, his mus. for long failed to exert as
powerful ~a sway over the public as that of Mozart and ~Beethoven. He is regarde
d as the `father' of the ~sym. (which he was not) and of the str. qt., but ~some
 treasurable Haydn lies in his vocal mus., in ~his oratorios, masses, and in his
 operas (which are ~still in process of re-discovery). In all his mus. his ~inve
ntive flair seems inexhaustible. He delighted ~in exploiting the capabilities of
 solo instr. and ~virtuoso performers, and every genre in which ~he worked he en
larged, extended, and re-shaped. ~The syms. are a remarkable example of his ~dev
elopment of a particular form, hallmarked by ~deep feeling, drama, elegance, wit
, and, in the ~final [sm12[nm, a Mozartian perfection of all these ~qualities co
mbined. But much the same can be ~said of the qts. and masses; nor should the kb
d. ~sonatas be overlooked.[ep~^The cataloguing of Haydn's works has been the ~ob
ject of considerable scholarship. It was begun ~in [sm1766[nm by
 Haydn himself, aided by the Esterh;Aaazy ~court copyist Joseph Elssler, whose s
on Johann ~([sm1769[nm=n[sm1843[nm) later became Haydn's copyist and ~faithful s
ervant. Haydn worked on this list until ~about [sm1805[nm. Pohl prepared a MS. c
atalogue, and ~for the Breitkopf and H;Auartel complete edn. ~Mandyczewski assem
bled his list of [sm104[nm syms. ~(omitting [sm3[nm now acknowledged as such). M
odern ~scholarship, led by H. C. Robbins [fy45,1]*[fy75,1]Landon, has ~amended t
his list, and a thematic catalogue has ~been ed. by [fy45,1]*[fy75,1]Hoboken in
which works are given ~Hob. nos. in the manner of K;auochel's Mozart ~catalogue.
[ep~^Haydn's works are too numerous to be listed in ~full detail. The following
is a concise list of the ~prin. comps.:=n[xm[cm~[ol0][ep~[xp[te~



[do25][j99]~~~~~~[sm024791[nm_H[sm005[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict of ~Music[cmH[sm005[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm28[nm/[sm9[nm/[sm79[nm[
cm[sm12[nm[cm[sm159[nm[cm~Collier[cm7[cm25.3.85[cm~3[cm~~~~[ap[j2][smoperas[nm:
[sm20[nm were comp., some of the first being ~lost. The extant [sm15[nm incl. [f
y75,2]La Canterina [cf1]([sm1766[nm), [cf2]Lo ~Speziale [cf1][cf1]([sm1768[nm),
[cf2]Le Pescatrici [cf1]([sm1769[nm), [cf2]L'Infedelt;aga ~delusa [cf1]([sm1773[
nm), [cf2]L'Incontro improvviso [cf1]([sm1775[nm), [cf2]Il ~[fy45,1]*[fy75,2]Mon
do della Luna [cf1]([sm1777[nm), [cf2]La vera constanza ~[cf1]([sm1778[nm), [cf2
]L'[fy45,1]*[fy75,2]isola disabitata [cf1]([sm1779[nm), [cf2]La fedelt;aga ~prem
iata [cf1]([sm1780[nm), [fy45,1]*[fy75,2]Orlando Paladino [cf1]([sm1782[nm), [cf
2]Ar~~mida [cf1]([sm1783[nm), [cf2]Orfeo ed Euridice [cf1]([sm1791[nm); also [sm
5[nm ~puppet operas incl. [cf2]Philemon und Baucis [cf1]([sm1773[nm) ~and [cf2]D
ido [cf1]([sm1776[nm).[ep~[smmasses[nm: No. [sm1[nm in F ([cf2]M
issa brevis[cf1]) ([sm1750[nm), No. [sm2[nm in ~E;yh ([fy45,1]*[fy75,2]Grosse Or
gelmesse[cf1]) ([sm1766[nm), No. [sm3[nm in C ([cf2]St ~Cecilia[cf1]) ([sm1776[n
m), No. [sm4[nm in G ([sm1772[nm), No. [sm5[nm in B;yh ~([fy45,1]*[fy75,2]Kleine
 Orgelmesse[cf1]) ([cf2]c.[cf1][sm1775[nm), No. [sm6[nm in C ([cf2]Maria~~[chzel
lermesse[cf1]) ([sm1782[nm), No. [sm7[nm in C ([cf2]In tempore belli=m~[fy45,1]*
[fy75,2]Paukenmesse[cf1]) ([sm1796[nm), No. [sm8[nm in B;yh ([fy45,1]*[fy75,2]He
iligmesse[cf1]) ~([sm1796[nm), No. [sm9[nm in D minor ([fy45,1]*[fy75,2]Nelson[c
f1]) ([sm1798[nm), No. ~[sm10[nm in B;yh ([fy45,1]*[fy75,2]Theresienmesse[cf1])
([sm1799[nm), No. [sm11[nm in B;yh ~([cf2]Sch;auopfungsmesse[cf1]) ([sm1801[nm),
 No. [sm12[nm in B;yh ([fy45,1]*[fy75,2]Harmon~~iemesse[cf1]) ([sm1802[nm). Also
 Mass in G ([cf2]c[cf1].[sm1750[nm).[ep~[smcantatas and oratorios[nm: [cf2]Staba
t Mater[cf1] ([sm1767[nm); ~[cf2]Applausus [cf1]([sm1768[nm); [cf2]Il Ritorno di
 Tobia [cf1]([sm1774[nm=n[sm5[nm); ~[cf2]Die sieben letzten Wort
e unseres Erl;auosers am Kreuz ~[cf1](The [fy45,1]*[fy75,1]Seven Last Words of O
ur Saviour on the ~Cross, [sm1[nmst version (str. qt.) [sm1785[nm, [sm2[nmnd ver
sion ~[sm1796[nm); [cf2]Die Sch;auopfung [cf1](The [fy45,1]*[fy75,1]Creation) ([
sm1797[nm=n[sm8[nm);[fj~[cf2]Die Jahreszeiten [cf1](The [fy45,1]*[fy75,1]Seasons
) ([sm1798[nm=n[sm1801[nm).[ep~[smsymphonies[nm: [cf1]Nos. [sm1[nm=n[sm5[nm ([sm
1757[nm); No. [sm6[nm in D ([cf2]Le ~[fy45,1]*[fy75,2]Matin[cf1]), No. [sm7[nm i
n C ([cf2]Le Midi[cf1]), No. [sm8[nm in G ([cf2]Le soir[cf1]) ~([cf2]c[cf1].[sm1
761[nm); No. [sm9[nm in C ([cf2]c.[cf1][sm1762[nm); No. [sm10[nm in D ~([cf2]c.[
cf1][sm1761[nm); No. [sm11[nm in E;yh ([cf2]c.[cf1][sm1760[nm); No. [sm12[nm in
E, No. [sm13[nm ~in D ([sm1763[nm); No. [sm14[nm in A, No. [sm15[nm in D ([sm176
4[nm); ~No. [sm16[nm in B;yh, No. [sm17[nm in F, No. [sm18[nm in G, No. [sm19[nm
 in ~D, No. [sm20[nm in C (all before [sm1766[nm, prob. [sm1761=n2[nm); ~No. [sm
21[nm in A, No. [sm22[nm in E;yh ([cf2]The [fy45,1]*[fy75,2]Phil
osopher[cf1]), No. ~[sm23[nm in G, No. [sm24[nm in D ([sm1764[nm); No. [sm25[nm
in C ([cf2]c[cf1].[sm1761[nm=n~[sm3[nm); No. [sm26[nm in D minor ([fy45,1]*[fy75
,2]Lamentatione[cf1]) ([cf2]c[cf1].[sm1770[nm); ~No. [sm27[nm in G ([cf2]c[cf1].
[sm1760[nm); No. [sm28[nm in A, No. [sm29[nm in E, ~No. [sm30[nm in C ([fy45,1]*
[fy75,2]Alleluja[cf1]), No. [sm31[nm in D ([fy45,1]*[fy75,2]Horn Signal[cf1]) ~(
[sm1765[nm); No. [sm32[nm in C, No. [sm33[nm in C ([cf2]c[cf1].[sm1760[nm); No.
~[sm34[nm in D minor ([cf2]c[cf1].[sm1766[nm); No. [sm35[nm in B;yh ([sm1767[nm)
; ~No. [sm36[nm in E;yh ([cf2]c[cf1].[sm1761[nm=n[sm5[nm); No. [sm37[nm in C ([c
f2]c[cf1].[sm1757[nm); ~No. [sm38[nm in C ([cf2]Echo[cf1]) ([cf2]c[cf1].[sm1766[
nm=n[sm8[nm); No. [sm39[nm in G minor ~([cf2]c[cf1].[sm1768[nm); No. [sm40[nm in
 F ([sm1763[nm); No. [sm41[nm in C ([cf2]c[cf1].[sm1769[nm); ~No. [sm42[nm in D
([sm1771[nm); No. [sm43[nm in E;yh ([cf2]Merkur[cf1]), No. ~[sm44[nm in E minor
([cf2]Trauer[cf1]) ([cf2]c[cf1].[sm1771[nm); No. [sm45[nm in F;y
i ~minor ([fy45,1]*[fy75,2]Abschied[cf1]), No. [sm46[nm in B, No. [sm47[nm in G
~([sm1772[nm); No. [sm48[nm in C ([cf2]Maria Theresia[cf1]) ([cf2]c[cf1].[sm1768
[nm=n[sm9[nm); ~No. [sm49[nm in F minor ([cf2]La [fy45,1]*[fy75,2]Passione[cf1])
 ([sm1768[nm); No. [sm50[nm ~in C ([sm1773[nm); No. [sm51[nm in B;yh, No. [sm52[
nm in C minor ([cf2]c[cf1]. ~[sm1771[nm=n[sm3[nm); No. [sm53[nm in D ([cf2]L'[fy
45,1]*[fy75,2]Imp;aaeriale[cf1]) ([cf2]c[cf1].[sm1780[nm); No. ~[sm54[nm in G, N
o. [sm55[nm in E;yh ([cf2]Der [fy45,1]*[fy75,2]Schulmeister[cf1]), No. [sm56[nm
~in C ([sm1774[nm); No. [sm57[nm in D ([sm1774[nm); No. [sm58[nm in F, No. ~[sm5
9[nm in A ([cf2]Feuersymphonie[cf1]) ([cf2]c[cf1].[sm1776[nm=n[sm8[nm); No. [sm6
0[nm in C ~([cf2]Il [fy45,1]*[fy75,2]Distratto[cf1]) ([sm1774[nm); No. [sm61[nm
in D ([sm1776[nm); No. [sm62[nm ~in D, No. [sm63[nm in C ([cf2]La [fy45,1]*[fy75
,2]Roxolane[cf1]) ([cf2]c[cf1].[sm1780[nm); No. [sm64[nm ~in A ([cf2]c[cf1].[sm1
775[nm); No. [sm65[nm in A ([cf2]c[cf1].[sm1771[nm=n[sm3[nm); No
. [sm66[nm in ~B;yh, No. [sm67[nm in F, No. [sm68[nm in B;yh, No. [sm69[nm in C
~([fy45,1]*[fy75,2]Laudon[cf1]) ([cf2]c[cf1].[sm1778[nm); No. [sm70[nm in D ([sm
1779[nm); No. [sm71[nm ~in B;yh, ([cf2]c[cf1].[sm1779[nm=n[sm80[nm); No. [sm72[n
m in D ([cf2]c[cf1].[sm1763[nm=n[sm5[nm); No. ~[sm73[nm in D ([cf2]La [fy45,1]*[
fy75,2]Chasse[cf1]) ([sm1780[nm=n[sm1[nm); No. [sm74[nm in E;yh ~([sm1780[nm); N
o. [sm75[nm in D ([sm1779[nm); No. [sm76[nm in E;yh, No. [sm77[nm ~in B;yh, No.
[sm78[nm in C minor ([sm1782[nm); No. [sm79[nm in F, ~No. [sm80[nm in D minor, N
o. [sm81[nm in G ([sm1783[nm=n[sm4[nm); No. ~[sm82[nm in C ([fy45,1]*[fy75,2]Bea
r[cf1]) ([sm1786[nm); No. [sm83[nm in G minor ([cf2]La ~[fy45,1]*[fy75,2]Poule[c
f1]) ([sm1785[nm); No. [sm84[nm in E;yh ([sm1786[nm); No. [sm85[nm in ~B;yh ([cf
2]La [fy45,1]*[fy75,2]Reine[cf1]) ([sm1785[nm); No. [sm86[nm in D ([sm1786); No.
 ~[sm87[nm in A ([sm1785[nm); No. [sm88[nm in G, No. [sm89[nm in F ([cf2]c[cf1].
 ~[sm1787[nm); No. [sm90[nm in C, No. [sm91[nm in E;yh ([sm1788[
nm); No. [sm92[nm ~in G ([fy45,1]*[fy75,2]Oxford[cf1]) ([sm1789[nm); No. [sm93[n
m in D, No. [sm94[nm in G ~([fy45,1]*[fy75,2]Surprise[cf1]), No. [sm95[nm in C m
inor, No. [sm96[nm in D ~([fy45,1]*[fy75,2]Miracle[cf1]) ([sm1791[nm, London); N
o. [sm97[nm in C ([sm1792[nm, ~London); No. [sm98[nm in B;yh ([cf2]c[cf1].[sm179
2[nm, London); No. [sm99[nm ~in E;yh ([sm1793[nm, Austria); No. [sm100[nm in G (
[fy45,1]*[fy75,2]Military[cf1]), ~No. [sm101[nm in D ([fy45,1]*[fy75,2]Clock[cf1
]), No. [sm102[nm in B;yh ([sm1794[nm, ~London); No. [sm103[nm in E;yh ([fy45,1]
*[fy75,2]Paukenwirbel[cf1], Drum ~Roll), No. [sm104[nm in D ([cf2]London[cf1]) (
[sm1795[nm, London).[ep~[smconcertos[nm: Vc. in C ([cf2]c[cf1].[sm1765[nm), in D
 ([sm1783[nm); Klavier ~in D ([cf2]c[cf1].[sm1784[nm), Klavier and str. in G; hn
. No. [sm1[nm in ~D ([sm1762[nm), No. [sm2[nm in D ([cf2]c[cf1].[sm1764[nm); [sm
2[nm hn. and str. in ~E;yh; for [fy45,1]*[fy75,2]lira organizzata [cf1]No. [sm1[
nm in C, No. [sm2[nm in G, ~[PN324,0,0,L,I0]No. [sm3[nm in G, No
. [sm4[nm in F, No. [sm5[nm in F ([cf2]c[cf1].[sm1786[nm); organ ~conc. ([sm1756
[nm); for tpt. in E;yh ([sm1796[nm); for vn. No. [sm1[nm ~in A, No. [sm2[nm in C
, No. [sm3[nm in G ([cf2]c[cf1].[sm1765[nm); for vn., pf., ~and str. in F ([sm17
66[nm); [cf2]Sinfonia Concertante [cf1]in B;yh ~for ob., bn., vn., vc. ([sm1792[
nm).[ep~[smstring quartets[nm: Op. [sm1[nm ([sm6[nm qts., [sm1760[nm); Op. [sm2[
nm, nos. ~[sm7[nm=n[sm12[nm ([sm1755[nm=n[sm60[nm); Op. [sm9[nm ([sm6[nm qts., [
sm1771[nm); Op. [sm17[nm, ~nos. [sm25[nm=n[sm30[nm ([sm1771[nm); Op. [sm20[nm, n
os. [sm31[nm=n[sm6[nm ([sm1772[nm); ~Op. [sm33[nm, nos. [sm37[nm=n[sm42[nm ([sm1
781[nm); Op. [sm42[nm, no. [sm43[nm ([sm1758[nm); ~Op. [sm50[nm, nos. [sm44[nm=n
[sm9[nm ([cf2]c[cf1].[sm1787[nm); Op. [sm51[nm, nos. [sm50[nm=n[sm6[nm ~([sm1785
[nm, [cf2][sm7[nm Last Words from the Cross[cf1]); Op. [sm54[nm, nos. ~[sm57[nm=
n[sm9[nm ([cf2]c[cf1].[sm1788[nm); Op. [sm55[nm, nos. [sm60[nm=n[sm2[nm ([cf2]c[
cf1].[sm1788[nm); Op. ~[sm64[nm, nos. [sm63[nm=n[sm8[nm ([cf2]c[
cf1].[sm1790[nm); Op. [sm71[nm, nos. [sm69[nm=n[sm71[nm ~([sm1793[nm); Op. [sm74
[nm, nos. [sm72[nm=n[sm4[nm ([sm1793[nm); Op. [sm76[nm, nos. ~[sm75[nm=n[sm80[nm
 ([cf2]c[cf1].[sm1797[nm); Op. [sm77[nm, nos. [sm81[nm=n[sm2[nm ([cf2]c[cf1].[sm
1799[nm); Op. ~[sm103[nm, No. [sm83[nm ([sm1802[nm=n[sm3[nm).[ep~[smkeyboard[nm:
 [sm60[nm sonatas ([cf2]c. [cf1][sm1761[nm=n[sm94[nm), [cf2]Variations [cf1]in F
 ~minor ([sm1793[nm).[ep~[smchamber music[nm: [sm32[nm pf. trios; [sm6[nm sonata
s for klavier ~and vn.; fl. qts; lute qt; divertimentos for str. ~trio; str. tri
os; [sm126[nm [fy45,1]*[fy75,1]baryton trios; [sm32[nm pieces for ~mechanical cl
ocks; and [cf2]Notturnos [cf1]for lira organ~~izzata.[ep~[smsolo cantatas[nm: [f
y45,1]*[fy75,2]Arianna a Naxos [cf1]for mez. ([sm1789[nm); ~[cf2]Berenice che fa
i [cf1]([sm1795[nm).[ep~[smvocal[nm: Qts. and trios ([sm1796[nm and [sm1799[nm);
 [cf2]Alfred=m~Chorus of the Danes [cf1]([sm1796[nm); [sm12[nm Canzonettas to ~E
ng. words for solo v. and pf. ([sm1794[nm=n[sm5[nm) incl. [cf2]M
y ~mother bids me bind my hair, Spirit's Song, Piercing ~Eyes, She never told he
r love[cf1]; [sm450[nm arrs. of Brit. folk-~songs ([sm1791[nm=n[sm1805[nm).[cm~[
j1]Haydn, [fy75,1](=+=+=+Johann)[fy65][cf3] Michael [fy75,1]([cf2]b[cf1] Rohrau,
 [sm1737[nm; [cf2]d ~[cf1]Salzburg, [sm1806[nm). Austrian-born composer, ~brothe
r of Franz Joseph [fy45,1]*[fy75,1]Haydn. Chorister, St ~Stephen's, Vienna, [sm1
745[nm=n[sm55[nm, also deputy organist. ~Court mus. and Konzertmeister to Archbi
shops of ~Salzburg [sm1763[nm to end of his life. Wrote [sm40[nm syms., ~vn. con
cs., hn. concs., tpt. conc., hpd.-and-va. conc., ~fl. concs., str. quartets, ope
ras, masses, and vast ~amount of other church mus. [fy45,1]*[fy75,1]Weber and ~[
fy45,1]*[fy75,1]Diabelli were among his pupils. His [cf2]Requiem [cf1]in C ~mino
r was perf. at his brother's funeral.[cm~`Haydn' Quartets. [fy75,1]Name customar
ily given to ~set of [sm6[nm str. qts. by Mozart (No. [sm14[nm in G, K[sm387[nm
~([sm1782[nm), No. [sm15[nm in D minor, K[sm421[nm ([sm1783[nm),
 No. [sm16[nm ~in E;yh, K[sm428[nm ([sm1783[nm), No. [sm17[nm in B;yh, [fy45,1]*
[fy75,2]Hunt[cf1], K[sm458[nm ~([sm1784[nm), No. [sm18[nm in A, K[sm464[nm ([sm1
785[nm), No. [sm19[nm in C, ~[fy45,1]*[fy75,2]Dissonanzen[cf1], K[sm465[nm ([sm1
785[nm)), because he ded. them ~to Haydn, who played [sm1[nmst vn. in perfs. at
Mozart's ~house. (Mozart played the va.).[cm~Hayes, William [fy75,1]([cf2]b [cf1
]Gloucester, [sm1707[nm; [cf2]d[cf1] Oxford, ~[sm1777[nm). Eng. composer and org
anist. Organist, ~Worcester Cath., [sm1731[nm=n[sm4[nm, Magdalen Coll., Ox~~ford
, [sm1734[nm=n[sm42[nm, prof. of mus., Oxford Univ., ~[sm1742[nm=n[sm77[nm. Comp
. cantatas, catches, glees, church ~mus.[cm~Haym, Hans [fy75,1]([cf2]b [cf1]Hall
e, [sm1860[nm; [cf2]d [cf1]Elberfeld, [sm1921[nm). ~Ger. cond. Studied singing a
nd pf. at Munich. ~Mus. dir. Elberfelder Gesangverein, [sm1890[nm. Friend ~and c
hampion of Delius, cond. f.p. of [cf2]Paris ~[cf1](Elberfeld [sm1901[nm), unpubd
. [sm1[nmst version ([sm1897[nm) of ~pf. conc. (Elberfeld [sm190
4[nm), and f. complete p. in ~Ger. of [cf2]Mass of Life[cf1], [sm1909[nm.[cm~Hay
m, Nicola[fy75,1] (Francesco) ([cf2]b [cf1]Rome, [sm1678[nm; [cf2]d[cf1] ~London
, [sm1729[nm). It. cellist, composer, and librettist, ~of Ger. parentage, who to
ok leading role in ~establishing It. opera in London. Played violone ~in private
 orch. in Rome under Corelli [sm1694[nm=n~[sm1700[nm. From [sm1701[nm to [sm1711
[nm was in London as ~chamber musician to Duke of Bedford. Played ~cello in orch
. when Clayton's [cf2]Arsinoe[cf1] was first[fj~all-sung opera in It. style to b
e given at Drury ~Lane. Wrote lib. for Handel's [cf2]Teseo[cf1] ([sm1713[nm) and
 ~[cf2]Radamisto[cf1] ([sm1720[nm) and between [sm1723[nm and [sm1728[nm ~wrote
[sm8[nm more libs. for him, viz. [cf2]Ottone, Flavio[cf1] ~([sm1723[nm), [cf2]Gi
ulio Cesare, Tamerlano[cf1] ([sm1724[nm), [cf2]Rodelinda[cf1] ~([sm1725[nm), [ch
? [cf2]Admeto[cf1] ([sm1727[nm), [cf2]Siroe, Tolomeo[cf1] ([sm1728[nm). ~From [s
m1718[nm was string bass player in service of ~Duke of Chandos a
t Cannons, playing in Handel ~oratorios. Comp. oratorios, anthems, etc.[cm~Head,
 Michael [fy75,1](Dewar) [cf1]([cf2]b [cf1]Eastbourne, [sm1900[nm; [cf2]d[cf1] ~
Cape Town, [sm1976[nm). Eng. composer, singer, and ~pianist. Prof. of pf. RAM, f
rom [sm1927[nm. Comps. ~incl. cantata, light operas, works for ob., and ~many so
ngs (in which he acc. himself).[cm~Headington, Christopher [fy75,1](John Magenis
) ([cf2]b ~[cf1]London, [sm1930[nm). Eng. composer, pianist, and ~writer. Studie
d at RAM, later with L. Berkeley. ~Joined BBC mus. staff [sm1964[nm. Comps. incl
. pf. ~preludes, pf. sonatas, vn. conc., [sm2[nm str. qts., song-~cycles, etc.[c
m~Head Voice. [fy75,1]Method of vocal tone prod. in high ~register, so called be
cause singer experiences ~sensation of v. vibrating in the head.[cm~Hear my Pray
er [fy75,1]([cf2]H;auor mein Bitten[cf1]). Hymn by ~Mendelssohn for sop. solo, c
hoir, and org. (also ~orch.) comp. [sm1844[nm for Bartholomew's concerts in ~Cro
sby Hall, London, where f.p. [sm1845[nm.[cm~Heart of Oak [fy75,1
]([cf2]not [cf1]`Hearts of Oak'). This bold ~patriotic song comes from a pantomi
me, [cf2]Harle~~quin's Invasion[cf1], written by Garrick in [sm1759[nm, the ~mus
. being supplied by [fy45,1]*[fy75,1]Boyce. It is a topical ~song, alluding to `
this wonderful year' (the ~victories of Minden, Quiberon Bay, and Quebec).[cm~He
art's Assurance, The. [fy75,1]Song-cycle for high v. ~and pf. by [fy45,1]*[fy75,
1]Tippett on poems by Sidney Keyes ~and Alun Lewis. Commissioned by Peter Pears.
 ~Comp. [sm1950[nm=n[sm1[nm. F.p. London [sm1951[nm (Pears and ~Britten).[cm~Hea
ther. [fy75,1]See [cf2]Heyther, William[cf1].[cm~Hebden, John[fy75,1] ([cf2]fl.
[cf1][sm1740[nm=n[sm50[nm). Eng. cellist, bassoon~~ist, and composer. Prin. cell
ist in London th. ~orchs. Comp. [sm6[nm concerti grossi for str. which were ~ed.
 R. Wood in [sm1980[nm and revived, after [sm200[nm years ~of neglect, by the Sc
ottish ens. Cantilena. Also ~wrote [sm6[nm solos for fl. and continuo.[cm~Hebrid
es, The [fy75,1](Mendelssohn). See [cf2]Fingal's Cave.[cm~[PN325
,0,0,R,I0]Hecht, Eduard [fy75,1]([cf2]b [cf1]Durkheim, [sm1832[nm; [cf2]d [cf1]M
anches~~ter, [sm1887[nm). Ger. composer, cond., and teacher. ~Went to Paris [sm1
851[nm; settled Manchester [sm1854[nm, ~becoming chorus-master of Hall;aae Choir
 and ass. ~cond. of Hall;aae's concerts. Cond. of several ~Manchester choral soc
s. Lecturer, Owens Coll. ~(now Univ.) from [sm1875[nm. Comp. sym., cantatas, ~st
r. qts., songs.[cm~Heckel, Johann Adam [fy75,1]([cf2]b [cf1]Adorf, [sm1812[nm; [
cf2]d[cf1] ~Biebrich, [sm1877[nm). Ger. instr-maker. Founded own ~firm at Biebri
ch, [sm1831[nm. Worked on improvements ~to bn. and cl. Son Wilhelm ([sm1856[nm=n
[sm1909[nm) invented ~[fy45,1]*[fy75,1]heckelphone [sm1904[nm.[cm~Heckelclarina.
 [fy75,1]Rare type of cl. invented by Ger. ~firm of Heckel expressly for shepher
d's pipe part ~in Act [sm3[nm of Wagner's [cf2]Tristan und Isolde [cf1](cor angl
ais ~is usually preferred).[cm~Heckelphone. [fy75,1]Bass ob. (octave lower than
ob.) ~made by Ger. firm of Heckel in [sm1904[nm. Used by R. ~Str
auss in [cf2]Salome [cf1]and [cf2]Elektra [cf1]and by Delius, as ~`bass oboe' in
 [cf2]Dance Rhapsody No. [sm1[nm, Fennimore and ~Gerda, Songs of Sunset, Arabesk
, [cf1]and [cf2]Requiem.[cm~Hedges, Anthony [fy75,1](=+=+=+John) ([cf2]b [cf1]Bi
cester, [sm1931[nm). Eng. ~composer, pianist, writer, and teacher. Studied ~Oxfo
rd and RAM. Lecturer RSAM [sm1957[nm=n[sm62[nm, Hull ~Univ. from [sm1962[nm (sen
ior lecturer from [sm1967[nm). ~Comps. incl. opera, orch. mus., choral works, ~a
nthems, chamber mus., partsongs, and ballet.[cm~Hedley, Arthur [fy75,1]([cf2]b [
cf1]Newcastle upon Tyne, [sm1905[nm; ~[cf2]d[cf1] Birmingham, [sm1969[nm). Eng.
scholar and writer. ~Studied Durham Univ. and Paris Sorbonne. ~Specialist in mus
. of Chopin, about whom he ~wrote book and many articles.[cm~Heel. [fy75,1]That
end of the bow of a str. instr. at which ~it is held, as distinguished from the
other end, ~which is called `point'.[cm~Heger, Robert [fy75,1]([cf2]b [cf1]Stras
bourg, [sm1886[nm; [cf2]d [cf1]Munich, ~[sm1978[nm). Ger. compos
er and cond., studied with ~Schillings in Munich. Cond. d;aaebut Strasbourg ~[sm
1907[nm; opera cond. Nuremberg [sm1913[nm=n[sm21[nm, Vienna ~[sm1925[nm=n[sm33[n
m, Berlin [sm1933[nm=n[sm50[nm, Munich from [sm1950[nm. ~Cond. many times at CG
[sm1925[nm=n[sm35[nm, esp. operas of ~Strauss, and cond. f. Brit. p. of Strauss'
s [cf2]Capriccio[cf1] ~[sm1953[nm. Comp. [sm5[nm operas, incl. [cf2]Lady Hamilto
n [cf1]([sm1951[nm), ~[sm3[nm syms., vn. conc., vc. conc., cantatas, and songs.[
cm~Heifetz, Jascha [fy75,1]([cf2]b [cf1]Vilna, Lithuania, [sm1901[nm). Russ.-~bo
rn violinist (Amer. citizen from [sm1925[nm). Lessons ~at [sm3[nm from father, p
ublic d;Aaebut in Vilna at [sm5[nm. ~Entered St Petersburg Cons. at [sm8[nm as p
upil of ~[fy45,1]*[fy75,1]Auer. While still student played concs. with ~Berlin P
.O. under Nikisch, and in Vienna and ~Leipzig. Family went to USA [sm1917[nm, wh
ere Heifetz ~made d;Aaebut in that year. Thereafter worldwide ~reputation as amo
ng very greatest violinists. ~Commissioned Walton conc., [sm1939
[nm. In later years ~played principally in chamber mus.[cm~Heiligmesse [fy75,1](
Holy Mass). Popular name, derived ~from the special treatment of the words `Holy
, ~holy' in the Sanctus, for Haydn's [sm8[nmth Mass in B;yh, ~[sm1796[nm.[cm~Hei
ller, Anton [fy75,1]([cf2]b [cf1]Vienna, [sm1923[nm; [cf2]d[cf1] Vienna, [sm1979
[nm). ~Austrian composer, organist, and harpsichordist. ~Prof. of org., Vienna A
cad. [sm1945[nm. Composer of ~chamber sym., [sm5[nm masses, radio ballad [cf2]Fr
an;Alcois ~Villon[cf1], etc.[cm~Heinze, [fy75,1](Sir) [fy65][cf3]Bernard [fy75,1
](Thomas) ([cf2]b [cf1]Shepparton, ~Victoria, [sm1894[nm; [cf2]d[cf1] Sydney, N.
S.W., [sm1982[nm). Austra~~lian cond. and teacher. Studied Melbourne Univ., ~RCM
, in Paris under [fy45,1]*[fy75,1]d'Indy, and in Berlin with ~Willy [fy45,1]*[fy
75,1]Hess. Returned to Australia [sm1923[nm. Prof. of ~mus., Melbourne Univ., [s
m1925[nm=n[sm57[nm, dir. State Cons., ~N.S.W. [sm1957[nm=n[sm66[nm. Cond. Melbou
rne S.O. [sm1933[nm=n~[sm49[nm. Knighted [sm1949[nm.[cm~Heldenle
ben, Ein [fy75,1](A Hero's Life). Orch. tone-~poem, Op. [sm40[nm, by R. Strauss.
 Comp. [sm1897=n8[nm, f.p. ~[sm1899[nm in Frankfurt (though ded. to Mengelberg ~
and Concertgebouw Orch. of Amsterdam). In the ~[sm5[nmth of the [sm6[nm sections
, the `Hero's Works of Peace', ~Strauss quotes from several of his own comps.[cm
~Heldentenor [fy75,1](Ger., `heroic tenor'). Ten. with ~powerful v. of wide rang
e capable of such parts ~as Huon in Weber's [cf2]Oberon[cf1], Bacchus in Strauss
's ~[cf2]Ariadne auf Naxos[cf1], and most of the Wagner ten. ~parts.[cm~Helffer,
 Claude [fy75,1]([cf2]b [cf1]Paris, [sm1922[nm). Fr. pianist. Pupil ~of R. Casad
esus until [sm1939[nm. After war studied ~harmony and comp. with Leibowitz. D;aa
ebut Paris ~[sm1948[nm. Specialist in [sm20[nmth-cent. pf. mus., having ~given f
.ps. of works by Amy. Has recorded ~complete solo pf. music of Schoenberg, also
works ~by Boulez and Barraqu;aae.[cm~Helicon. [fy75,1]Form of bass tuba made so
that it may ~be wrapped round the player's body and rest on ~the
 shoulder (useful when played on the march). ~So called because of helical (spir
al) shape. Largely ~displaced by modified version, [fy45,1]*[fy75,1]Sousaphone.[
cm~Heliogabalus Imperator. [fy75,1]Tone-poem (`allegory ~for music') by Henze ([
sm1972[nm) after Enzensberger. ~F.p. Chicago (cond. Solti) [sm1972[nm.[cm~Heller
, Stephen [fy75,1]([cf2]b [cf1]Pest, [sm1813[nm; [cf2]d[cf1] Paris, [sm1888[nm).
 ~Hung. pianist and composer. Studied in Vienna. ~Settled in Paris [sm1838[nm. F
riend of Liszt, Chopin, ~Hall;aae, and Berlioz. Visited Eng. [sm1850[nm and [sm1
862[nm. ~Wrote well over [sm100[nm short pf. pieces and items of ~chamber mus.[c
m~Hellertion. [fy75,1]Elec. instr. developed in Frankfurt in ~[sm1936[nm by Brun
o Helberger and Peter Lertes. ~Similar to [fy45,1]*[fy75,1]theremin, but with a
guide kbd. and ~pedals to regulate vol. and tone-quality. Range of ~nearly [sm6[
nm octaves, capable of [sm4[nm-part harmony, and ~able to simulate human v. and
some instrs. Played ~by pressure on [sm4[nm leather bands stretc
hed across ~front, which sets up a current.[cm~Hellfl;Auote [fy75,1](Ger.). Clea
r flute (an org. stop).[cm~[PN326,0,0,L,I0]Helliwell, Clifton [fy75,1]([cf2]b [c
f1]Farnworth, [sm1907[nm). Eng. ~pianist and teacher. BBC mus. staff as accompan
ist ~[sm1929[nm=n[sm61[nm; staff of RMCM [sm1961[nm=n[sm72[nm; head of kbd. ~stu
dies RNCM [sm1972[nm=n[sm8[nm.[cm~Hellmesberger, Joseph [fy75,1]([cf2]b [cf1]Vie
nna, [sm1828[nm; [cf2]d ~[cf1]Vienna, [sm1893[nm). Austrian violinist, cond., an
d ~teacher. Father and brother were also violinists. ~Pupil of father. Cond., Vi
enna Gesellschaft ~concerts [sm1851[nm=n[sm9[nm, prof. of vn., Vienna Cons. [sm1
851[nm=n~[sm77[nm, dir., Vienna Cons. [sm1851[nm=n[sm93[nm. Founder and ~leader,
 Hellmesberger Qt., [sm1849[nm=n[sm91[nm.[cm~Hellmesberger, Joseph [fy75,1]([cf2
]b [cf1]Vienna, [sm1855[nm; [cf2]d ~[cf1]Vienna, [sm1907[nm). Austrian violinist
 and composer, ~son of above. [sm2[nmnd vn. in Hellmesberger Qt. from ~[sm1875[n
m, succeeding as leader [sm1891[nm. Prof. of vn., ~Vienna Cons.
from [sm1878[nm. [sm2[nmnd cond., Vienna ~Opera [sm1899[nm. Cond. Vienna P.O. [s
m1901[nm=n[sm3[nm. Court ~cond. Stuttgart [sm1904[nm=n[sm5[nm. Comp. [sm10[nm op
erettas.[cm~Helm, Everett [fy75,1]([cf2]b [cf1]Minneapolis, [sm1913[nm). Amer. ~
composer and writer. Studied at Harvard Univ. ~with W. Piston and H. Leichtentri
tt. Later had ~comp. lessons from [fy45,1]*[fy75,1]Malipiero ([sm1936[nm=n[sm7[n
m) and ~Vaughan Williams ([sm1937[nm=n[sm8[nm). In [sm1941[nm worked ~with Milha
ud at Mills Coll. Holder of various ~teaching posts. Active as mus. critic from
[sm1948[nm. ~Works incl. opera, sym. for str., [sm2[nm pf. concs., [sm2[nm str.
~qts., [sm2[nm pf. sonatas, db. conc., etc.[cm~Helmholtz, Hermann [fy75,1](Ludwi
g Ferdinand) [fy65,3]von ~[fy75,1]([cf2]b [cf1]Potsdam, [sm1821[nm; [cf2]d [cf1]
Charlottenburg, [sm1894[nm). Ger. ~authority on acoustics (also medical man and
~prof. of physiology at various univs.). Most ~famous work is [cf2]Sensations of
 Tone [cf1]([sm1863[nm, Eng. ~trans. by A. J. Ellis, [sm1875[nm)
.[cm~Heltay, L;aaaszl;aao [fy75,1](Istv;aaan) ([cf2]b[cf1] Budapest, [sm1930[nm)
. Brit. ~cond. of Hung. birth. Studied at Liszt Acad., ~Budapest, with Kod;aaaly
 and B;aaardos. On staff ~Budapest Radio [sm1952[nm=n[sm6[nm. Left for Eng. [sm1
956[nm. ~Founded Schola Cantorum, Oxford, [sm1960[nm. Brit. ~cit. [sm1962[nm. Di
r. of mus., Merton Coll., Oxford, ~[sm1962[nm=n[sm4[nm. Ass. cond. New Zealand B
.C. S.O. [sm1964[nm=n~[sm6[nm. Dir. of mus., Gardner Centre, Sussex Univ. ~from
[sm1968[nm. Founded Brighton Fest. Chorus.[cm~Hely-Hutchinson, [fy75,1](Christia
n)[fy65][cf3] Victor [fy75,1]([cf2]b [cf1]Cape ~Town, [sm1901[nm; [cf2]d [cf1]Lo
ndon, [sm1947[nm). S. African-born ~composer, cond., pianist, and administrator.
 ~Studied RCM and as pupil of Tovey. On BBC staff ~from [sm1926[nm, becoming hea
d of mus., Midlands ~Region (Birmingham) from [sm1933[nm. Prof. of mus., ~Birmin
gham Univ. [sm1934[nm=n[sm44[nm. Dir. of mus., BBC, ~[sm1944[nm=n[sm7[nm. Works
incl. [cf2]A Carol Symphony[cf1], pf. quintet, ~va. sonata, and
settings of Edward Lear's [cf2]Nonsense ~Songs.[cm~Hemidemisemiquaver [fy75,1](;
ye). The [sm64[nmth note (i.e.[fj~[sm1[nm/[sm64[nmth of a semibreve in value).[c
m~Heming, Percy [fy75,1]([cf2]b [cf1]Bristol, [sm1883[nm; [cf2]d [cf1]London, ~[
sm1956[nm). Eng. bar. Studied RAM and with [fy45,1]*[fy75,1]Hen~~schel, later in
 Dresden with Grose. Opera d;Aaebut, ~London [sm1915[nm in Gounod's [cf2]Rom;Aae
o et Juliette[cf1]. Prin. ~bar. BNOC from [sm1922[nm. SW [sm1933[nm=n[sm5[nm. As
s. art. dir. ~(to Beecham), CG [sm1937[nm, art. dir. CG Eng. Co. ~[sm1937[nm=n[s
m9[nm. Art. adviser, CG [sm1946[nm=n[sm8[nm. Notable Amfor~~tas, Scarpia, etc.[c
m~[bnHemiola [fy75,1]or [fy65][cf3]Hemiolia. [fy75,1]This rhythmic device ~consi
sts of superimposing [sm2[nm notes in the time of ~[sm3[nm, or [sm3[nm in the ti
me of [sm2[nm, e.g.:[ep~[ol40][ep~[xnA rhythmic device much used in cadential ~p
rogressions by composers up to and including ~the baroque period.[cm~Hemmings, P
eter [fy75,1](William) [cf1]([cf2]b [cf1]Enfield, [sm1934[nm). ~
Eng. administrator and singer. Ed. Cam~~bridge Univ. Repertory, planning man., ~
SW Opera [sm1959[nm=n[sm65[nm, gen. man. New Opera Co. ~[sm1957[nm=n[sm65[nm; ge
n. administrator Scottish Opera ~[sm1962[nm=n[sm77[nm; dir. Australian Opera [sm
1977[nm=n[sm80[nm. Man. ~dir. LSO [sm1981[nm=n[sm4[nm. Dir. Los Angeles Opera fr
om [sm1984[nm.[cm~Hempel, Frieda [fy75,1]([cf2]b [cf1]Leipzig, [sm1885[nm; [cf2]
d[cf1] Berlin, [sm1955[nm). ~Ger. sop. Entered Leipzig Cons. as pianist, going ~
to Stern Cons., Berlin, on decision to become ~singer. D;aaebut Breslau, then Be
rlin [sm1905[nm and ~Schwerin [sm1905[nm=n[sm7[nm. Berlin Opera [sm1907[nm=n[sm1
2[nm. London ~d;aaebut CG [sm1907[nm, NY Met. [sm1912[nm. [sm1[nmst Berlin and N
Y ~Marschallin in [cf2]Der Rosenkavalier[cf1], [sm1911[nm and [sm1913[nm. ~Retir
ed from opera [sm1921[nm (Chicago), continuing ~to give concerts.[xm[cm~[ol0][ep
~[xp[te~

[do25][j99]~~~~~~[sm024791[nm_H[sm006[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict. of ~Music[cmH[sm006[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm01[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm206[nm[cm~Collier[cm7[cm9.5.85[cm~3[cm~~~[ap[j1]Hemsley, Thoma
s [fy75,1](=+=+=+Jeffrey) ([cf2]b [cf1]Coalville, [sm1927[nm). ~Eng. bar. Stage
d;aaebut London [sm1951[nm as Aeneas to ~Flagstad's Dido. Prin. bar., Aachen Ope
ra [sm1953[nm=n~[sm6[nm, Deutsche Oper-am-Rhein [sm1957[nm=n[sm63[nm, Z;auurich
~opera [sm1963[nm=n[sm7[nm. Glyndebourne from [sm1953[nm, Bay~~reuth [sm1968[nm=
n[sm70[nm, guest singer CG, Scottish Opera, ~ENO etc. Notable Beckmesser. Also s
ings in ~oratorio, cantatas, Lieder recitals, etc.[cm~Henderson, Roy [fy75,1](Ga
lbraith) ([cf2]b [cf1]Edinburgh, [sm1899[nm). ~Scottish bar. Studied RAM. D;aaeb
ut Queen's Hall, ~London, [sm1925[nm. Opera d;aaebut CG [sm1929[nm as Donner ~in
 [cf2]Rheingold[cf1]. Member Glyndebourne co. [sm1934[nm=n[sm9[nm ~(Papageno, Al
maviva, etc.). Noted in concert and ~recital work. Retired [sm19
52[nm. Prof. of singing RAM ~[sm1940[nm=n[sm74[nm. Private pupils incl. Kathleen
 [fy45,1]*[fy75,1]Ferrier. ~Cond. of several choirs, incl. Nottingham Oriana ~Ch
oir [sm1936[nm=n[sm52[nm. C.B.E. [sm1970[nm.[cm~Henry, Pierre [fy75,1]([cf2]b [c
f1]Paris, [sm1927[nm). Fr. composer. ~Studied Paris Cons. [sm1937[nm=n[sm47[nm.
Comp. pupil of ~Messiaen and Boulanger. Dir., Groupe de Re~~cherches de Musique
Concr;agete, Fr. Radio, [sm1950[nm=n~[sm8[nm, working with Pierre [fy45,1]*[fy75
,1]Schaeffer. Founded [sm1[nmst ~private elec. studio in Fr. at Apsome, [sm1958[
nm. Works ~incl. [cf2]Le Voile d'Orph;Aaee [cf1]([sm1953[nm), [cf2]La Reine vert
e [cf1]([sm1963[nm), ~[cf2]Messe de Liverpool [cf1]([sm1967[nm), [cf2]Gymkhana [
cf1]([sm1970[nm), all ~with elecs.[cm~Henry VIII [fy75,1]([cf2]b [cf1]Greenwich,
 [sm1491[nm; [cf2]d [cf1]Windsor, ~[sm1547[nm). Eng. king (from [sm1509[nm). Tal
ented musician ~and composer. Attrib. to him are [sm17[nm songs, several ~[PN327
,0,0,R,I0]pieces for viols, masses, and motets. The anthem ~[cf2
]O Lord, the Maker of All Things, [cf1]however, is not by ~Henry, as was long su
pposed, but by W. Mundy.[cm~Henry VIII. [fy75,1]([sm1[nm) Opera in [sm4[nm acts
by Saint-Sa;Auens to ~lib. by D;Aaetroyat and Silvestre. Prod. Paris [sm1883[nm,
 ~CG [sm1898[nm. [ep~^([sm2[nm) Incidental mus. to Shakespeare's play by ~Sulliv
an, [sm1878[nm, and by [fy45,1]*[fy75,1]German, [sm1892[nm.[cm~Henry Watson Musi
c Library. [fy75,1]Prin. mus. ~library in Manchester, part of the corporation's
~Central Reference Library. Basis was coll. of [sm5[nm,[sm000[nm ~books and many
 more scores handed over in ~[sm1899[nm by Henry Watson ([cf2]b [cf1]Burnley, [s
m1846[nm; [cf2]d ~[cf1]Salford, [sm1911[nm), organist, cond., and teacher at ~RM
CM, to Manchester Corporation and since ~greatly expanded.[cm~Henschel, [fy75,1]
(Sir) [fy65][cf3]George [fy75,1](orig. Isidor Georg) ([cf2]b ~[cf1]Breslau, [sm1
850[nm; [cf2]d [cf1]Aviemore, Scotland, [sm1934[nm). Ger.-~ born bar., pianist,
cond., and composer. Brit. ~citizen from [sm1890[nm. Public d;Aa
ebut as pianist, Berlin ~[sm1862[nm. Leipzig Cons. [sm1867=n70[nm. Sang Hans Sac
hs in ~concert perf. of [cf2]Die Meistersinger[cf1], Munich [sm1868[nm. ~Berlin
Royal Cons. [sm1870=n4[nm. London d;aaebut [sm1877[nm. ~[sm1[nmst cond. Boston S
.O. [sm1881[nm=n[sm4[nm. Prof. of singing, ~RCM [sm1886[nm=n[sm8[nm. Cond., Lond
on Symphony Con~~certs [sm1886[nm=n[sm96[nm. Cond. Scottish Orch. [sm1891[nm=n[s
m5[nm. Acc. ~himself as singer. Continued to broadcast and ~record until past [s
m70[nm. Comp. [sm3[nm operas, str. qt., ~choral works, songs, etc. Knighted [sm1
914[nm.[cm~Henselt, Adolf von [fy75,1]([cf2]b [cf1]Schwabach, Bavaria, [sm1814[n
m; ~[cf2]d [cf1]Warmbrunn, Silesia, [sm1889[nm). Ger. pianist and ~composer. Pup
il of Hummel (pf.) at Weimar and ~of Sechter (comp.) at Vienna. Went to St ~Pete
rsburg [sm1838[nm, becoming court pianist and ~teacher of Royal family. No tours
 after [sm1838[nm yet ~acclaimed as one of greatest pianists. Comp. pf. ~conc.,
[sm2[nm sets of [sm12[nm Studies, pf. pieces, etc.[cm~Hen, The [
fy75,1](Haydn). See [cf2]Poule, La.[cm~Hen Wlad fy Nhadau. [fy75,1]See [cf2]Land
 of my Fathers.[cm~Henze, Hans Werner [fy75,1]([cf2]b [cf1]G;Auutersloh, Westpha
lia, ~[sm1926[nm). Ger. composer and cond. Studied at ~Brunswick State Mus. Sch.
 [sm1942[nm=n[sm4[nm, Heidelberg ~[sm1946[nm. Studied privately with [fy45,1]*[f
y75,1]Fortner, [sm1946[nm=n[sm8[nm. ~Studied Schoenberg's [sm12[nm-note system w
ith [fy45,1]*[fy75,1]Leib~~[chowitz at Darmstadt [sm1948[nm. Mus. dir. Hessian S
tate ~Opera's ballet, Wiesbaden, [sm1950[nm. Settled in Italy ~[sm1953[nm. Polit
ically Henze moved in the [sm1960[nms to ~the extreme Left and many of his works
 after ~that date reflect revolutionary ideals and dogmas. ~Henze's mus. style i
s bewilderingly diverse, ~reflecting his fertile imaginative gifts and his ~refu
sal to be `tied down' by formulae. As much a ~Fr. or It. composer as a Ger. one,
 he can adopt at ~will Schoenbergian, Stravinskyan, or aleatory ~styles. Sensuou
s lyricism, rich and delicate tone-~colours, and easy mastery of
 choral writing are ~among the prin. features of his work. Prin. works:[xm[cm~[j
2][smoperas and music theatre[nm: [fy75,2]Das Wundertheater [cf1]([sm1[nm-~act,
after Cervantes, for actors and orch., [sm1948[nm; ~new version for singers [sm1
964[nm); [fy45,1]*[fy75,2]Boulevard Solitude[cf1] ~([sm1951[nm); [fy45,1]*[fy75,
2]K;auonig Hirsch[cf1] ([sm1952[nm=n[sm5[nm; reduced version ~as [cf2]Il Re Cerv
o[cf1], [sm1962[nm); [cf2]Der [fy45,1]*[fy75,2]Prinz von Homburg[cf1] ~(after Kl
eist) ([sm1958[nm); [fy45,1]*[fy75,2]Elegy for Young Lovers[cf1] ~([sm1959[nm=n[
sm61[nm); [cf2]Der [fy45,1]*[fy75,2]junge Lord[cf1] ([sm1964[nm); [cf2]Das ende
eine ~Welt[cf1] ([sm1964[nm, stage version of radio opera, [sm1953[nm); ~[cf2]Ei
n Landarzt[cf1] ([sm1964[nm, stage version of radio opera, ~[sm1951[nm); [cf2]Th
e [fy45,1]*[fy75,2]Bassarids[cf1] ([sm1965[nm); [cf2]Moralities [cf1]([sm3[nm sc
enic ~cantatas to Auden text, [sm1967[nm); [cf2]Der langwierige ~Weg in die Wohn
ung der Natascha Ungeheuer[cf1] (The ~Tedious Way to the Place o
f Natasha Ungeheuer) ~([sm1971[nm); [cf2]La Cubana[cf1] (vaudeville, [sm1973[nm)
; [fy45,1]*[fy75,2]We Come ~to the River [cf1]([sm1974[nm=n[sm6[nm); [cf2]Don Ch
isciotte della Mancia[cf1] ~(version of Paisiello, [sm1976[nm); [cf2]Pollicino[c
f1] (children's ~opera, [sm1979[nm); [cf2]Il Ritorno di Ulisse in Patria ~[cf1](
realization of Monteverdi, [sm1980[nm=n[sm2[nm); [cf2]The English ~Cat[cf1] (lib
. by E. Bond) ([sm1983[nm).[ep~[smradio operas[nm: [cf2]Ein Landarzt[cf1] (Kafka
) ([sm1951[nm); [cf2]Das ~Ende einer Welt[cf1] ([sm1953[nm).[ep~[smballets[nm: [
cf2]Ballett-Variationen[cf1] ([sm1949[nm, [cf2]Suite[cf1] [sm1949[nm); ~[cf2]Ros
a Silber [cf1]([sm1950[nm, [cf2]Suite[cf1] [sm1950[nm); [cf2]Maratona[cf1] ([sm1
956[nm, ~[cf2]Suite[cf1] [sm1956[nm); [fy45,1]*[fy75,2]Undine [cf1]([sm1956=n71[
nm, [cf2][sm2[nm Suites[cf1] [sm1958[nm); ~[cf2]Tancredi[cf1] ([sm1964[nm rev. o
f [cf2]Pas d'action [cf1][sm1952[nm, [cf2]Suite[cf1] ~[sm1952[nm); [cf2]Orpheus
[cf1]([sm1978[nm).[ep~[smchamber ballets[nm: [cf2]Jack Pudding[c
f1] ([sm1949[nm, [cf2]Suite[cf1] [sm1949[nm); ~[cf2]Die schlafende Prinzessin[cf
1] (arr. of Tchaikovsky for ~small orch. [sm1951[nm); [cf2]Labyrinth [cf1]([sm19
51[nm, choreog. ~fantasy for orch. [sm1950[nm); [cf2]Der Idiot [cf1]([sm1952[nm)
; [cf2]Des ~Kaisers Nachtigall[cf1] (after Andersen, [sm1959[nm, [cf2]Suite[cf1]
 ~[sm1959[nm).[ep~[smincidental music[nm: [cf2]Der tolle Tag[cf1] (Beaumarchais)
 ~([sm1951[nm); [cf2]Les Caprices de Marianne[cf1] (Musset/Pon~~nelle) ([sm1962[
nm); [cf2]Der Frieden[cf1] (Aristophanes/Hacks) ~([sm1964[nm).[ep~[smorch[nm: Sy
ms.: No. [sm1[nm (for chamber orch. [sm1947[nm, rev. ~[sm1963[nm), No. [sm2[nm (
[sm1949[nm), No. [sm3[nm ([sm1949=n50[nm), No. [sm4[nm ~([sm1955[nm), No. [sm5[n
m ([sm1962[nm), No. [sm6[nm, for [sm2[nm chamber orch. ~([sm1969[nm), No. [sm7[n
m ([sm1982[nm=n[sm4[nm); [cf2]Symphonic Interludes [cf1]from [cf2]Boulevard ~Sol
itude [cf1]([sm1953[nm); [cf2]Quattro Poemi [cf1]([sm1955[nm); [cf2]Antifone ~[c
f1]([sm1960[nm); [cf2]Los Caprichos [cf1]([sm1963[nm); [cf2]Symp
honic Interludes ~[cf1]from [cf2]Der junge Lord [cf1]([sm1964[nm); [cf2][sm3[nm
Symphonic Studies ~[cf1]([sm1955[nm=n[sm64[nm); [cf2]The Hunt of the Maenads [cf
1](from [cf2]The ~Bassarids[cf1]) ([sm1965[nm); [cf2]Telemanniana [cf1]([sm1967[
nm); [fy45,1]*[fy75,2]Helio~~gabalus Imperator [cf1]([sm1971=n2[nm); [fy45,1]*[f
y75,2]Tristan[cf1], preludes ~for pf., orch., tape ([sm1973[nm); [cf2]Ragtimes a
nd Haba~~;atneras[cf1], brass band ([sm1975[nm); [cf2]Suite from Pollicino ~[cf1
]([sm1979[nm); [cf2][sm2[nm Dramatic Scenes from Orpheus[cf1] ([sm1979[nm); ~[cf
2]Barcarola [cf1]([sm1983[nm).[ep~[smchamber orch[nm: [cf2]Sinfonie[cf1] ([sm194
7[nm, rev. for full orch. ~as Sym. No. [sm1[nm, [sm1963[nm); [cf2]Symphonic Vari
ations[cf1] ~([sm1950[nm); [cf2]Sonata for Strings[cf1] ([sm1957[nm=n[sm8[nm); [
cf2][sm3[nm Dithyrambs[cf1] ~([sm1958[nm); [cf2][sm4[nm Fantasies[cf1] ([sm3[nm
movts. from [cf2]Chamber Music ~[sm1958[nm[cf1] with new [cf2]Adagio[cf1]), [sm8
[nm instr. ([sm1963[nm); [cf2]In ~memoriam: Die weisse Rose[cf1]
 ([sm1965[nm); [cf2]Fantasia f;auur ~Streicher[cf1] ([sm1966[nm, from film mus.
for [cf2]Der junge ~T;auorless[cf1]); [cf2]Fragments from a Show[cf1] (from [cf2
]Natasche ~Ungeheuer[cf1]), hn., [sm2[nm tpt., tb., tuba ([sm1971[nm); [cf2]Suit
e[cf1] ~from film mus. [cf2]Katharina Blum [cf1]([sm1975[nm); [cf2]Amicizia[cf1]
, ~cl., tb., vc., pf., perc. ([sm1976[nm); [cf2]Aria de la folia ~espa;atnola[cf
1], orch., also chamber orch. ([sm1977[nm); [cf2]Apollo ~trionfante[cf1], wind,
perc., db. ([sm1979[nm); [cf2]Arien des ~Orpheus[cf1], guitar, hp., hpd., str. (
[sm1979[nm); [cf2]Canzona[cf1], ~ob., [sm3[nm vas., vc., pf., hp. ([sm1982[nm);
[cf2]I Sentimenti di Carl ~[PN328,0,0,L,I0]P. E. Bach[cf1] (transcr. of [cf2]Fan
tasia[cf1] for pf. and vn., ~[sm1787[nm), fl., hp., str. ([sm1982[nm); [cf2]Cinq
ue piccoli concerti [cf1](interludes from [cf2]The English Cat[cf1]), [sm8[nm in
str. ([sm1983[nm); [cf2]Sonata [cf1]for [sm6[nm ([sm1984[nm).[ep~[smconcertos[nm
: Chamber Conc., pf., fl., str. ([sm1946[nm); ~vn. conc. No. [sm
1[nm ([sm1947[nm), No. [sm2[nm, vn., bass-bar., [sm33[nm ~instr., tape ([sm1971[
nm); concertino, pf., wind, perc. ~([sm1947[nm); pf. conc. No. [sm1[nm ([sm1950[
nm), No. [sm2[nm ([sm1967[nm); [cf2]Jeux ~des Tritons[cf1] (from [cf2]Undine[cf1
]), pf., orch. ([sm1956[nm=n[sm7[nm/~[sm1967[nm); [cf2]Ode to the West Wind[cf1]
, vc., orch. ([sm1953[nm); ~[cf2]Concerto per il Marigny[cf1], pf., [sm7[nm inst
r. ([sm1956[nm); ~Double Conc., hp., ob., str. ([sm1966[nm); db. conc. ~([sm1966
[nm); [cf2]Compases para preguntas ensimismadas[cf1], ~va., [sm22[nm players ([s
m1969[nm=n[sm70[nm); [cf2]Il Vitalino raddoppiato[cf1], ~vn., chamber orch. ([sm
1977[nm); [cf2]Musik[cf1], vc., chamber ~orch. ([sm1977[nm); [cf2]Le Miracle de
la Rose[cf1], cl., [sm13[nm instr. ~([sm1981[nm).[ep~[smvoice and instr[nm: [cf2
]Ein Landarzt[cf1], monodrama, bar., ~orch. ([sm1951[nm=n[sm64[nm, see also [smr
adio opera[nm); [cf2]Whispers ~from Heavenly Death[cf1] (Whitman), high v., [sm8
[nm instr. ~(or pf.) ([sm1948[nm); [cf2]The Reproach [cf1]([cf2]
Der Vorwurf=+=+[cf1]) ~(Werfel), aria for bar., tpt., tb., str. ([sm1948[nm); [c
f2]Apollo ~and Hyacinth[cf1], alto, [sm9[nm instr. ([sm1949[nm); [cf2][sm5[nm Ne
opolitan ~Songs[cf1], mez. or bar., chamber orch. ([sm1956[nm); ~[fy45,1]*[fy75,
2]Nocturnes and Arias[cf1], sop., orch. ([sm1957[nm); [cf2]Chamber ~Music [sm195
8[nm [cf1](H;auolderlin), ten., guitar, [sm8[nm instr. ~([sm1958[nm); [cf2][sm3[
nm H;auolderlin Fragments[cf1], v., guitar ([sm1958[nm); ~[cf2]Ariosi [cf1](Tass
o), sop., vn., and orch. (or pf. [sm4[nm hands) ~([sm1963[nm); [cf2]Being Beaute
ous[cf1] (Rimbaud), coloratura ~sop., hp., [sm4[nm vc. ([sm1963[nm); [cf2]Essay
on Pigs[cf1], bar., ~chamber orch. ([sm1968[nm); [cf2]El Cimarr;aaon[cf1], bar.,
 fl., ~guitar, perc. ([sm1969[nm=n[sm70[nm); [cf2]Voices[cf1] ([sm22[nm songs),
mez., ~ten., [sm15[nm instr. ([sm1973[nm); [cf2]The King of Harlem[cf1], mez., ~
instr. ens. ([sm1979[nm); [cf2][sm3[nm Auden Poems[cf1], v., pf. ([sm1982[nm=n~[
sm3[nm).[ep~[smchoral[nm: [cf2][sm5[nm Madrigals[cf1], ch., [sm1
1[nm instr. ([sm1947[nm); [cf2]Lullaby ~of the Blessed Virgin[cf1], boys' ch., [
sm9[nm instr. ([sm1948[nm); ~[cf2]Chorus of the Captured Trojans[cf1] (from Goet
he's ~[cf2]Faust II[cf1]), ch., orch. ([sm1948[nm, rev. [sm1964[nm); [cf2]Novae
de ~Infinito Laudes[cf1], cantata, [sm4[nm solo vv., ch., small orch. ~([sm1962[
nm); [cf2]Cantata della Fiaba Estrema[cf1], sop., small ~ch., [sm13[nm instr. ([
sm1963[nm); [cf2]Choral Fantasia [cf1](Bachmann), ~chamber ch., tb., [sm2[nm vc.
, db., org., perc., timp. ~([sm1964[nm); [cf2]Muses of Sicily[cf1] (Virgil), con
c. for ch., [sm2[nm ~pf., wind, timp. ([sm1966[nm); [cf2]Das [fy45,1]*[fy75,2]Fl
oss der Medusa[cf1], ~oratorio for sop., bar., speaker, ch., [sm9[nm boys' vv.,
~orch. ([sm1968[nm); [fy45,1]*[fy75,2]Jephte[cf1] (realization of Carissimi's ~o
ratorio, [sm1650[nm), [sm3[nm sop., alto, ten., [sm2[nm bass, [sm6[nm vv., ~inst
r. (wind, hp., perc., guitar, banjo, mandolin) ~([sm1976[nm); [cf2]Canzoni f;auu
r Orpheus[cf1], unacc. ch. ([sm1980[nm).[ep~[smchamber music[nm:
 Str. Qts.: No. [sm1[nm ([sm1947[nm), No. [sm2[nm ~([sm1952[nm), No. [sm3[nm ([s
m1975[nm=n[sm6[nm), No. [sm4[nm ([sm1976[nm), No. [sm5[nm ~([sm1976[nm); vn. son
ata ([sm1946[nm); sonatina, fl., pf. ~([sm1947[nm); [cf2]Chamber Sonata[cf1], pf
., vn., vc. ([sm1948[nm, rev. ~[sm1963[nm); [cf2]Serenade[cf1], vc. ([sm1949[nm)
; [cf2]Quintet[cf1], fl., ob., cl., ~hn., bn. ([sm1952[nm); [cf2][sm3[nm Tentos[
cf1] (from [cf2]Chamber Music ~[sm1958[nm[cf1]), guitar ([sm1958[nm); [cf2]Der j
unge T;auorless[cf1], fantasia ~(after work for str. orch.), str. sextet ([sm196
6[nm, ~trans. of [cf2]Fantasia f;auur Streicher[cf1]); [cf2]Memorias de El Cimar
r;aaon[cf1], ~guitar ([sm1970[nm); [cf2]Carillon, R;aaecitatif, Masque[cf1], man
~~dolin, guitar, hp. ([sm1974[nm); [cf2]Royal Winter Music[cf1] ([sm2[nm ~sonata
s on Shakespearean characters), guitar ~([sm1975[nm=n[sm6[nm and [sm1979[nm); [c
f2]L'Autunno[cf1], wind quintet, fl., ~cl., ob., hn., bn., with interchangeable
instr. ~([sm1977[nm); va. sonata ([sm1979[nm); [cf2]Capriccio[cf
1], vc. ([sm1983[nm).[ep~[smkeyboard[nm: [cf2]Variations[cf1], pf. ([sm1949[nm);
 pf. sonata ([sm1959[nm); ~[cf2]Lucy Escott Variations[cf1], pf. or hpd. ([sm196
3[nm); [cf2][sm6[nm ~Absences[cf1], hpd. ([sm1961[nm); [cf2]Divertimenti[cf1], [
sm2[nm pf. ([sm1964[nm); ~[cf2]Toccata senza Fuga [cf1]from [cf2]Orpheus[cf1], o
rg. ([sm1979[nm); ~[cf2]Euridice[cf1], hpd. ([sm1981[nm).[cm~[j1]Heptatonic. [fy
75,1]Scale or mode based on seven pitches ~to the octave.[cm~Herabstrich [fy75,1
](Ger.). Down-bow, in vn. and va. ~playing. [fy65,3]Heraufstrich [fy75,1]is up-b
ow.[cm~Herbage, Julian [fy75,1](Livingston) [cf1]([cf2]b [cf1]Woking, [sm1904[nm
; ~[cf2]d [cf1]London, [sm1976[nm). Eng. musicologist and writer. ~Career in th.
 before joining BBC [sm1927[nm=n[sm46[nm (ass. ~dir. of mus. [sm1940[nm=n[sm6[nm
). Helped to plan and produce ~Promenade concerts until [sm1961[nm. Ed. and cond
. ~works by Locke, Purcell, Bach, Arne, and Handel. ~Wrote books and essays on H
andel's [cf2]Messiah[cf1], ~Sibelius, Bax, and Tchaikovsky. With
 wife Anna ~Instone ([cf2]b[cf1] Cardiff, [sm1912[nm; [cf2]d[cf1] London, [sm197
8[nm), ~presented BBC's weekly [cf2]Music Magazine [cf1]on radio ~[sm1944[nm=n[s
m73[nm.[cm~Herbert, Victor [fy75,1]([cf2]b [cf1]Dublin, [sm1859[nm; [cf2]d[cf1]
NY, [sm1924[nm). ~Irish-born (Amer. citizen) composer, cond., and ~cellist. Stud
ied Stuttgart Cons.; prin. cellist ~Stuttgart court orch. [sm1883[nm=n[sm6[nm. W
ent to USA [sm1886[nm, ~becoming prin. cellist, NY Met. orch., and in ~other orc
hs. Also appeared as soloist and cond. ~military bands. First operetta, [cf2]Pri
nce Ananias [cf1](NY ~[sm1894[nm) was success and was followed by over [sm30[nm
~others, incl. [cf2]Naughty Marietta [cf1]([sm1910[nm) and [cf2]Sweet~~hearts [c
f1]([sm1913[nm). Wrote [sm2[nm operas, [cf2]Natoma [cf1]([sm1911[nm) and ~[cf2]M
adeleine [cf1]([sm1914[nm). Cond., Pittsburgh S.O. [sm1898[nm=n~[sm1904[nm. Also
 comp. symphonic poem [cf2]Hero and ~Leander[cf1], [sm2[nm vc. concs., [cf2]Iris
h Rhapsody[cf1]. etc.[cm~Herbig, G;auunther [fy75,1]([cf2]b [cf1
];aaUst;aai nad Labem, Cz., [sm1931[nm). ~Cz.-born Ger. cond. Studied at Weimar
State ~Acad. of Mus. Cond. Dresden P.O. [sm1972=n7[nm, Berlin ~S.O. [sm1977=n83[
nm. Eng. d;Aaebut [sm1973[nm, London. Chief ~guest cond., BBC Northern S.O. (now
 BBC ~Philharmonic) [sm1980=n4[nm. Cond. Detroit S.O. from ~[sm1984[nm.[cm~Herma
n, Woody [fy75,1](Woodrow Charles) ([cf2]b[cf1] Milwau~~kee, [sm1913[nm). Amer.
jazz saxophonist, clarinettist, ~and composer. Formed own band [sm1936[nm, re-~f
ormed [sm1946[nm, [sm1947[nm and [sm1950[nm. Worldwide tours. ~Comps. incl. [cf2
]Blues in the Night [cf1]and [cf2]At the ~Woodchoppers' Ball. [cf1]Stravinsky wr
ote his [fy45,1]*[fy75,1]Ebony ~Concerto for him, [sm1945[nm.[cmH;aaerodiade [fy
75,1](Herodias). Opera in [sm4[nm acts by ~Massenet to lib. by P. Milliet and `H
. Gr;Aaemont' ~(G.|Hartmann) after story by Flaubert ([sm1877[nm). ~Prod. Brusse
ls [sm1881[nm, New Orleans [sm1892[nm, London ~[sm1904[nm (under title [cf2]Salo
me[cf1]).[cm~H;aaerold, [fy75,1](Louis Joseph)[fy65][cf3] Ferdin
and [fy75,1]([cf2]b [cf1]Paris, [sm1791[nm; ~[cf2]d [cf1]Les Ternes, Paris, [sm1
833[nm). Fr. composer. Entered ~Paris Cons. [sm1806[nm, studying with Adam and ~
M;Aaehul. [cf2]Grand Prix de Rome [cf1][sm1812[nm. [sm1[nmst opera prod. ~[PN329
,0,0,R,I0]Naples [sm1815[nm. Returned to Paris [sm1815[nm, composing ~[sm12[nm o
peras and several ballets in [sm14[nm years. Gained ~biggest success with [fy45,
1]*[fy75,2]Zampa [cf1]([sm1831[nm) followed by ~[cf2]Le Pr;aae aux Clercs [cf1](
[sm1832[nm). Among his ballets were ~[cf2]La [fy45,1]*[fy75,2]Fille Mal Gard;Aae
e [cf1]([sm1828[nm) and [cf2]La Belle au Bois ~dormant [cf1]([sm1829[nm). Also c
omp. [sm2[nm syms., [sm3[nm str. qts., [sm4[nm ~pf. concs., and pf. pieces.[cm~H
errmann, Bernard [fy75,1]([cf2]b [cf1]NY, [sm1911[nm; [cf2]d[cf1] Hollywood, ~[s
m1975[nm). Amer. composer and cond. Studied Juil~~liard Sch. of Mus. under B. Wa
genaar. Founder-~cond. New Chamber Orch. [sm1931[nm=n[sm4[nm. Mus. dir. ~CBS [sm
1934[nm=n[sm40[nm, cond.-in-chief CBS S.O. [sm1942[nm=n[sm59[nm.
 ~Champion of Ives's mus. and also of Eng. ~composers=mnot only Elgar and Vaugha
n Wil~~liams, but Rubbra, Brian, Bax, Cecil Gray, and ~Cyril Scott. Also an enth
usiast for Raff. Lived in ~London for several months each year. Wrote ~successfu
l scores for Orson Welles and Hitchcock ~films. His opera [cf2]Wuthering Heights
 [cf1]and other ~comps. have an expressive and lyrical warmth ~which compensate
for some lack of originality. ~Comps. incl.:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy
75,2]Wuthering Heights [cf1]([sm1940=n52[nm).[ep~[smorch[nm: Sym. No. [sm1[nm ([
sm1940[nm); vn. conc. ([sm1937[nm); [cf2]For ~the Fallen [cf1]([sm1943[nm); Suit
e, [cf2]The [fy45,1]*[fy75,2]Devil and Daniel ~Webster[cf1] ([sm1941[nm); [fy45,
1]*[fy75,2]Welles Raises Kane [cf1]([sm1942[nm); ~[cf2]Sinfonietta[cf1], str. ([
sm1935[nm).[ep~[smchoral[nm: [fy45,1]*[fy75,2]Moby Dick[cf1], cantata for [sm2[n
m ten., [sm2[nm basses, ~ch. and orch. ([sm1936=n8[nm); [cf2]Johnny Appleseed [c
f1]([sm1940[nm).[ep~[smchamber music[nm: [cf2]Echoes [cf1]for st
r. qt. ([sm1932[nm); [cf2]Aubade ~[cf1]([sm1933[nm).[ep~[smfilms[nm: [cf2]Citize
n Kane, The Devil and Daniel Webster, ~The Snows of Kilimanjaro, The Magnificent
 Amber~~sons, Jane Eyre, Marnie, Psycho, Jason and the ~Argonauts, Beneath the T
welve-Mile Reef, Fahrenheit ~[sm451[nm[cf1].[cm~[ol0][ep~[xp[te~









[do19][j99]~~~~~~[sm153842[nm_HA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm25[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm228[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Herstrich [fy75,1](G
er.). A bow movement towards the ~player, [cf2]i.e. [cf1]the down stroke in vc.
and db. playing. ~See also [cf2]Hinstrich.[cm~Hertel, Johann Wilhelm [fy75,1]([c
f2]b[cf1] Eisenach, [sm1727[nm; [cf2]d[cf1] ~Schwerin, [sm1789[nm). Ger. violini
st and composer. ~Studied with F. [fy45,1]*[fy75,1]Benda. Kapellmeister at ~Schw
erin from [sm1754[nm. Wrote [sm36[nm sym., several ~conc., pf. sonatas, etc.[cm~
Hertz, Alfred [fy75,1]([cf2]b[cf1] Frankfurt, [sm1872[nm; [cf2]d[cf1] San Franci
sco, ~[sm1942[nm). Ger.-born cond. Studied at Hoch Cons., ~Frankfurt. D;aaebut H
alle [sm1891[nm. Held various cond. ~posts in Ger.; in [sm1902[nm went to USA (b
ecoming ~Amer. citizen). Cond. of Ger. opera at NY Met. ~[sm1902[nm=n[sm15[nm, d
uring which time he cond. f. stage p. ~of [fy45,1]*[fy75,2]Parsi
fal [cf1]outside Bayreuth in [sm1903[nm, thereby ~infringing Bayreuth copyright
and ensuring that ~no Ger. opera house again employed him. Cond. ~[sm1[nmst US p
erfs. of Strauss's [cf2]Salome [cf1]and [cf2]Rosenkavalier ~[cf1]and f.p. of sev
eral Amer. operas. Cond. CG [sm1910[nm. ~Cond. San Francisco S.O. [sm1915[nm=n[s
m29[nm. First to conduct ~at Hollywood Bowl, July [sm1922[nm.[cm~Herunterstimmen
 [fy75,1](Ger.). `To tune down' a str. ~to ([cf2]nach[cf1]) a specified note.[cm
~Herunterstrich [fy75,1](Ger.). Down-bow in vn. and va. ~playing.[cm~Herv;aae [f
y75,1](pen-name of Florimond Ronger) ([cf2]b[cf1] ~Houdain, [sm1825[nm; [cf2]d[c
f1] Paris, [sm1892[nm). Fr. composer, ~singer, and organist. Pupil of Auber. Org
., St ~Eustache, Paris, [sm1845[nm=n[sm53[nm. Cond. several th. orchs. ~in Paris
 and appeared as singer and actor, ~sometimes in his own works. Wrote over [sm10
0[nm ~operettas, incl. [cf2]Don Quixote et Sancho Pan;Alca[cf1], [cf2]Le ~Petit
Faust[cf1], and [cf2]Cl;aaeop;afatre. [cf1]Cond. at Empire Th.,
~London, from [sm1886[nm. Also wrote `heroic sym~~phony' [cf2]The Ashanti War [c
f1](London [sm1874[nm).[cm~Herz, Henri [fy75,1](Heinrich) ([cf2]b[cf1] Vienna, [
sm1803[nm; [cf2]d[cf1] Paris, ~[sm1888[nm). Austrian composer and pianist. Studi
ed ~Paris Cons., becoming prof. of pf. there [sm1842=n74[nm. ~Worldwide tours as
 pianist and soloist in his own ~works (incl. [sm8[nm concs.). Est. pf. factory
in Paris. ~Contrib. to [fy45,1]*[fy75,1]Hexameron.[cm~Herzogenberg, Heinrich von
[fy75,1] (Baron von Herz-[fj~zogenberg-Peccaduc) ([cf2]b[cf1] Graz, [sm1843[nm;
[cf2]d[cf1] Wiesbaden,[fj~[sm1900[nm). Austrian pianist and composer. Pupil of[f
j~Dessoff at Vienna Cons. Dir., Bach-Verein,[fj~Leipzig, [sm1875[nm=m[sm85[nm. P
rof. of comp. Berlin Hoch-[fj~schule f;auur Musik [sm1885[nm. Dir., Meisterschul
e f;auur[fj~Komposition, Berlin, [sm1888[nm=n[sm92[nm and [sm1897[nm=n[sm1900[nm
.[fj~Wrote [sm3[nm syms., [sm3[nm oratorios, mass, requiem,[fj~chamber mus., etc
.[cm~Hes[fy75,1] (Ger.). The note B;yh. (Usually, however, the ~
Germans call this note B; see [cf2]H [cf1]above.)[cm~Heseltine, Philip. [fy75,1]
See [cf2]Warlock, Peter.[cm~Hess, [fy75,1](Dame) [fy65][cf3]Myra [fy75,1]([cf2]b
[cf1] London, [sm1890[nm; [cf2]d[cf1] London, ~[sm1965[nm). Eng. pianist. Studie
d at GSM and, from ~[sm1902[nm, at RAM with Tobias [fy45,1]*[fy75,1]Matthay. D;a
aebut ~[sm1907[nm, London (Beethoven [sm4[nmth conc., cond.[fj~Beecham). Thereaf
ter one of England's leading ~pianists, es[chpecially in mus. of Schumann, Beet~
~[chhoven, Mozart, and Bach. Her transcription of ~chorale from Bach's church ca
ntata No. [sm147[nm under ~title `Jesu, joy of man's desiring' was immensely ~po
pular. During World War II, founded and dir. ~series of lunchtime recitals at Na
t. Gallery, ~London, which played important role in sustain~~ing morale. C.B.E.
[sm1936[nm, D.B.E. [sm1941[nm.[cm~Hess, Willy [fy75,1]([cf2]b[cf1] Mannheim, [sm
1859[nm; [cf2]d[cf1] Berlin, [sm1939[nm). ~Ger. violinist. Lived in USA [sm1865[
nm=n[sm72[nm, making ~d;Aaebut with Theodore [fy45,1]*[fy75,1]Th
omas Orch. Studied in ~Berlin with [fy45,1]*[fy75,1]Joachim [sm1876[nm=n[sm8[nm.
 Leader, opera ~orch., Frankfurt, [sm1878=n86[nm. Prof. of vn., Rotter~~dam Cons
. [sm1886[nm=n[sm8[nm. Leader, Hall;Aae Orch. [sm1888[nm=n~[sm95[nm; prof of vn.
 RMCM [sm1893[nm=n[sm5[nm, Cologne Cons. ~[sm1895[nm=n[sm1903[nm (also leader of
 Cologne G;Auurzenich ~Concerts and Qt.), RAM [sm1903[nm=n[sm4[nm. Leader, Bosto
n ~S.O. [sm1904[nm=n[sm10[nm. Prof. of vn. Berlin Hoch[chschule ~[sm1910[nm=n[sm
28[nm and leader of Hali;Akr Qt., Darmstadt ~[sm1931[nm=n[sm3[nm.[cm~Heuberger,
Richard [fy75,1](Franz Joseph) ([cf2]b[cf1] Graz, ~[sm1850[nm; [cf2]d[cf1] Vienn
a, [sm1914[nm). Austrian composer, cond., ~and critic. Cond. Vienna Singakademie
 [sm1878[nm=n[sm81[nm, ~M;Auannergesangverein [sm1902[nm=n[sm9[nm. Mus. critic i
n ~[PN330,0,0,L,I0]Munich and Vienna [sm1881[nm=n[sm1901[nm. Prof., Vienna ~Cons
. from [sm1902[nm; ed. of various periodicals. ~Comp. [sm3[nm operas, sym., cant
ata, partsongs, and [sm6[nm ~operettas incl. [cf2]Der [fy45,1]*[
fy75,2]Opernball [cf1](The Opera Ball, ~[sm1898[nm),[cm~Heure espagnole, L' [fy7
5,1](The Spanish Hour). Opera ~([cf2]com;Aaedie musicale) [cf1]in [sm1[nm act by
 [fy45,1]*[fy75,1]Ravel to lib. based ~on his own comedy [cf1]by Franc-Nohain. C
omp. ~[sm1907=n9[nm. Prod. Paris [sm1911[nm, London [sm1919[nm, Chicago ~[sm1920
[nm.[cm~Heward, Leslie [fy75,1](Hays) [cf1]([cf2]b[cf1] Liversedge, [sm1897[nm;
[cf2]d[cf1] ~Birmingham, [sm1943[nm). Eng. cond. and composer. ~Chorister, Manch
ester Cath., [sm1910[nm, ass. organist ~[sm1914[nm. Studied RCM [sm1917[nm. Mus.
 dir., Westminster ~Sch. [sm1920[nm. Cond. opera for BNOC. Mus. dir. S. ~African
 Broadcasting Corporation and cond. Cape ~Town Orch., [sm1924[nm=n[sm7[nm. Cond.
 CBSO [sm1930[nm=n[sm43[nm.[cm~Hexachord. [fy75,1]A group of [sm6[nm consecutive
 notes ~regarded as a unit for purposes of singing at ~sight=msomewhat as the oc
tave is in `movable-~doh' systems. It was introduced (or perfected) by ~[fy45,1]
*[fy75,1]Guido d'Arezzo in the [sm11[nmth cent. and was still ~w
idely current up to the [sm17[nmth.[ep~^There were [sm3[nm different Hexachords,
 the [cf2]Hard[cf1] ~one beginning on G, the [cf2]Natural[cf1] one beginning ~on
 C, and the [cf2]Soft[cf1] one beginning on F. It will be ~realized that these o
verlapped in their range, and ~that a singer reading a piece of mus. might have
~to pass from one to another if its compass ~extended beyond one of those sets o
f [sm6[nm notes.[ep~^The names of the notes were taken from the ~opening syllabl
es of [sm6[nm lines of a Lat. hymn, which ~syllables happened to ascend a degree
 with each ~succeeding line. These names were [cf2]Ut, Re, Mi, Fa, ~Sol, [cf1]an
d [cf2]La[cf1]. Letter names were also then in use for ~the notes, but these wer
e [cf2]absolute[cf1] names, as they ~are still, whereas the hexachordal names we
re ~[cf2]relative[cf1] to the group in use at the moment, as ~their successors t
he modern Tonic sol-fa names ~are relative to the [fy45,1]*[fy75,1]key in use at
 the moment: the ~Sol-fa system (on its pitch side) may, indeed,
 be ~looked upon as a modernization of the hexa~~[chchordal system, which served
 well in the period ~of simple modal mus. (see [cf2]Modes[cf1]) but was ~incapab
le of application to the increasing com~~plexities of a key system.[ep~^To the H
exachords Guido added the device of ~The Guidonian Hand.[ep~^In the [sm20[nmth c
ent. the term is applied to a coll. of ~[sm6[nm pitch classes considered either
simultaneously ~or as a succession, esp. in reference to segments of ~[sm12[nm-n
ote rows. Unconnected with medieval term.[cm~Hexameron[fy75,1] (Six Days). [sm6[
nm variations for pf. on ~march from Bellini's [cf2]I Puritani[cf1], each writte
n by a ~different composer-pianist =m Liszt, Thalberg, ~Pixis, Herz, Czerny, and
 Chopin =m with intro~~duction, connecting links, and finale by Liszt. ~F.p. Par
is charity concert [sm1837[nm, the composers ~sitting at a pf. apiece and each p
laying his own ~variation. Liszt later added orch. acc. and played ~whole series
 at recitals.[cm~Hexatonic.[fy75,1] Mode or scale based on syste
m of six ~different pitches to the octave, as in [fy45,1]*[fy75,1]Whole-tone ~sc
ale.[cm~Heyther [fy75,1](Heather), [fy65][cf3]William [fy75,1]([cf2]b[cf1] Harmo
nds[chworth, ~[cf2]c[cf1].[sm1584[nm; [cf2]d[cf1] Westminster, [sm1627[nm). Eng.
 musician. ~Gentleman of Chapel Royal from [sm1615[nm. Founded ~mus. lecture at
Oxford Univ. [sm1626[nm=n[sm7[nm.[cm~Heyworth, Peter [fy75,1](Lawrence Frederick
) ([cf2]b[cf1] NY, ~[sm1921[nm). Amer.-born Eng. mus. critic. Studied ~Balliol C
oll., Oxford. Mus. critic of the London ~[cf2]Observer, [cf1]from [sm1955[nm. Bi
ographer of [fy45,1]*[fy75,1]Klemperer.[cm~Hiawatha. [fy75,1]Cantata in [sm3[nm
parts by [fy45,1]*[fy75,1]Coleridge-~Taylor, text from Longfellow's poem of this
 title. ~Part [sm1[nm, [cf2]Hiawatha's Wedding Feast[cf1], f.p. London ~[sm1898[
nm, Part [sm2[nm, [cf2]The Death of Minnehaha[cf1], f.p. Hanley ~[sm1899[nm, Par
t [sm3[nm, [cf2]Hiawatha's Departure[cf1], f.p. London ~[sm1900[nm (as part of f
. complete p. of trilogy). ~Frequently perf. in pageant form.[cm
~Hidalgo, Elvira de [fy75,1]([cf2]b[cf1] Arag;Aaon, [sm1892[nm; [cf2]d [cf1]Mila
n, ~[sm1980[nm). Sp. sop. D;Aaebut Naples [sm1908[nm as Rosina in ~Rossini's [cf
2]Il barbiere di Siviglia[cf1]. D;aaebut NY Met. ~[sm1910[nm, BNOC [sm1924[nm. B
ecame teacher at Athens ~(pupils incl. [fy45,1]*[fy75,1]Callas), and Ankara.[cm~
Hidden Fifths (or Octaves). [fy75,1]The progression in ~similar motion of [sm2[n
m parts to perfect [sm5[nmth (or octave) ~from such an interval in the same [sm2
[nm parts in the ~previous chord, so that a pedant might find a [sm5[nmth ~(or o
ctave) in intermediate hiding (e.g. C-G in ~ten. and sop. proceeding to A-E in n
ext chord).[cm~Hildegard of Bingen [fy75,1]([cf2]b [cf1]Bemersheim, [sm1098[nm;
[cf2]d ~[cf1]Rupertsberg, [sm1179[nm). Ger. abbess, mystic, and ~writer. Took ve
il at [sm15[nm. Became superior at ~Benedictine monastery of Disibodenberg [sm11
36[nm. ~[cf2]C.[cf1][sm1147[nm founded monastery on the Rupertsberg, ~near Binge
n, Rhine Valley. Wrote lyrical poetry ~from [sm1140[nm, setting
it to her own mus., much of ~it of strong individuality and complexity. She ~col
lected it together in [sm1150[nms under title [cf2]Symphonia ~armonie celestium
revelationum. [cf1]Her morality play, ~[cf2]Ordo Virtutum[cf1], a kind of pre-op
era, representing ~the struggle for the soul between [sm16[nm virtues and ~the d
evil, contains [sm82[nm melodies. Edn. of her mus., ~ed. by J. Gmelch, pubd. D;a
uusseldorf [sm1913[nm.[cm~Hill, Alfred [fy75,1]([cf2]b[cf1] Melbourne, [sm1870[n
m; [cf2]d[cf1] Sydney, ~N.S.W., [sm1960[nm). Australian cond., composer, violin~
~ist, and teacher. Studied at Leipzig Cons., playing ~in Gewandhaus Orch. Settle
d in N.Z. where he ~collected Maori mus., using it in his comps. Prof. ~of harmo
ny and comp., N.S.W. Cons. [sm1915[nm=n[sm35[nm. ~Works incl. [sm8[nm operas, [s
m10[nm syms., cantata [cf2]Hinemoa[cf1], ~[cf2]Maori Rhapsody[cf1], [sm17[nm str
. qts., songs, etc. O.B.E ~[sm1953[nm, C.M.G. [sm1960[nm.[cm~Hill, Thomas [fy75,
1](Henry) [fy65,3]Weist [fy75,1]([cf2]b[cf1] London, [sm1828[nm;
 [cf2]d[cf1] ~London, [sm1891[nm). Eng. violinist and cond. Pupil of ~Sainton at
 RAM. First to play Mendelssohn conc. ~in USA. [sm1[nmst Prin., GSM [sm1880[nm=n
[sm92[nm.[cm~Hill & Son, W.[fy75,1] Firm of London org.-builders, ~later W. Hill
 & Son & Norman & Beard. Founded ~[PN331,0,0,R,I0][sm1755[nm by John Snetzler. W
illiam Hill became ~partner in [sm1825[nm, firm changing name to his in ~[sm1838
[nm. Built orgs. in York Minster, Ely, Worcester, ~and Manchester Caths., Birmin
gham Town Hall, ~etc.[cm~Hill & Sons, W. E. [fy75,1]London firm of vn. makers ~a
nd dealers founded by Joseph Hill ([sm1715[nm=n[sm84[nm).[cm~Hillbilly Songs. [f
y75,1]The traditional songs (largely of ~European origin) of the primitive peopl
es of the ~mountain regions (e.g. Appalachians) of the[fj~S.-E. parts of the USA
.[cm~Hiller, Ferdinand [fy75,1]([cf2]b[cf1] Frankfurt, [sm1811[nm; [cf2]d[cf1] C
ologne, ~[sm1885[nm). Ger. pianist, cond., and composer. Pupil of ~Hummel, with
whom he visited Beethoven on ~his deathbed, [sm1827[nm. Lived in
 Paris [sm1828[nm=n[sm35[nm; [sm1[nmst ~to play Beethoven's [sm5[nmth pf. conc.
in Paris. Held ~cond. posts in Frankfurt, D;Auusseldorf, and Cologne. ~Founded C
ologne Cons., [sm1850[nm, becoming dir. ~until [sm1884[nm. Cond. of It. opera in
 Paris [sm1852[nm=n[sm3[nm. ~Wrote [sm6[nm operas, [sm2[nm oratorios, [sm3[nm sy
ms., [sm3[nm pf. concs., ~vn. conc., cantatas, chamber mus., and pf. pieces.[cm~
Hiller [fy75,1](H;auuller), [fy65][cf3]Johann Adam [fy75,1]([cf2]b[cf1] Wendisch
-~Ossig, [sm1728[nm; [cf2]d[cf1] Leipzig, [sm1804[nm). Ger. composer. ~Studied i
n Dresden and Leipzig. Settled in Leipzig ~[sm1758[nm, becoming cond. of several
 organ[chizations. ~Regarded as founder of the [fy45,1]*[fy75,1]Singspiel[cf1],
which he ~based on the Ger. [cf2]Lied. [cf1]First of these was [cf2]Der Teufel ~
ist los[cf1] (The Devil is at large), [sm1766[nm, followed by [sm11[nm ~others.
Also wrote church mus.[cm~Hiller, Lejaren [fy75,1]([cf2]b [cf1]NY, [sm1924[nm).
Amer. composer. ~Had lessons at Princeton Univ. from Sessions an
d ~Babbitt. Worked as research chemist; experi~~mented in composition with compu
ters, collabo~~rating with Leonard Isaacson with whom in [sm1957[nm ~he produced
 [cf2]Illiac Suite [cf1](named after the com~~puter). This was first computer-co
mposition. Dir., ~experimental mus. studio, Illinois Univ. [sm1958[nm=n~[sm68[nm
; prof of comp., State Univ. of NY, Buffalo, ~from [sm1968[nm. Works incl. pf. c
onc. ([sm1949[nm); [cf2]Computer ~Cantata [cf1]([sm1963[nm); [cf2][sm7[nm Electr
onic Studies [cf1]([sm1963[nm); [cf2]Rage ~over the Lost Beethoven [cf1]([sm1972
[nm); many works for ~stage, films, and television.[cm~Hilton, John [fy75,1]([cf
2]b[cf1] [cf2]c[cf1].[sm1560[nm; [cf2]d [cf1]Cambridge, [sm1608[nm). ~Eng. compo
ser and organist (Trinity Coll., Cam~~bridge). Wrote anthems and madrigals, latt
er ~incl. [cf2]Fair Oriana, Beauty's Queen [cf1]in [cf2]The [fy45,1]*[fy75,2]Tri
umphs ~of Oriana[cf1].[cm~Hilton, John [fy75,1]([cf2]b [cf1]?Cambridge, [sm1599[
nm; [cf2]d[cf1] London, ~[sm1657[nm). Eng. composer and organist
 (St Margaret's, ~Westminster), son of above. Comp. church mus., ~Ayres of [fy45
,1]*[fy75,1]ballett type, etc., and `Catch that Catch ~Can', coll. of rounds, ca
nons, and catches ([sm1625[nm).[cm~Himmel, Friedrich Heinrich [fy75,1]([cf2]b[cf
1] Treuen~~brietzen, [sm1765[nm; [cf2]d[cf1] Berlin, [sm1814[nm). Ger. composer.
 ~Studied Dresden and in It. Court Kapellmeister, ~Berlin, [sm1795[nm. Visited R
ussia, England, and Aus~~tria. Wrote operas and operettas (Ger. and It.), ~sym.,
 pf. conc., and church mus. incl. anthem ~[cf2]Incline Thine Ear[cf1].[cm~Hindem
ith, Paul [fy75,1]([cf2]b[cf1] Hanau, [sm1895[nm; [cf2]d[cf1] Frankfurt, ~[sm196
3[nm). Ger.-born composer, cond., violist, and ~teacher. Studied comp. at Hoch C
ons., Frankfurt, ~[sm1913[nm=n[sm17[nm, under Arnold Mendelssohn and Bern~~hard
Sekles, and vn., va., and cond. under F. ~Bassermann. Became [sm1[nmst violinist
 in Frankfurt ~Opera orch. [sm1915[nm and Rebner Qt. Served in Ger. ~Army [sm191
7[nm=n[sm19[nm, but continued to compose and ~to play in str. qt
. Returned to opera orch. Left ~Rebner Qt. [sm1921[nm. Two [sm1[nm-act operas, [
cf2]M;Auorder, ~Hoffnung der Frauen [cf1] and [cf2]Das Nusch-Nuschi [cf1]were ~c
ond. by Fritz Busch, Stuttgart [sm1921[nm and by ~Ludwig Rottenberg (whose daugh
ter, Gertrud, ~Hinde[chmith married in [sm1924[nm) in Frankfurt [sm1922[nm ~(wit
h a [sm3[nmrd opera [cf2]Sancta Susanna[cf1]). These works, ~later disowned as p
rentice pieces, had a [cf2]succ;Ages de ~scandale[cf1]. His [sm2[nmnd str. qt. w
as perf. Donaueschin~~gen [sm1921[nm, by qt., with Hindemith as violist, led ~by
 Licco Amar. This led to the permanent est. of ~the Amar Qt., which played only
modern works. ~Hindemith left the Frankfurt Opera orch. in ~[sm1923[nm, concentr
ating on his work with the Amar ~Qt. and as a member of the selection committee
~for Donaueschingen fests.[ep~^In [sm1927[nm Hindemith became teacher of comp. a
t ~Berlin Hochschule f;auur Musik. Among his pupils ~were Franz [fy45,1]*[fy75,1
]Reizenstein, Walter [fy45,1]*[fy75,1]Leigh, and ~Arnold [fy45,1
]*[fy75,1]Cooke. Also working in Berlin were [sm2[nm ~conds. who had championed
Hindemith's mus., ~[fy45,1]*[fy75,1]Furt[chw;Auangler at the Phil. and [fy45,1]*
[fy75,1]Klemperer at the ~[fy45,1]*[fy75,1]Kroll Opera. In [sm1929[nm, because o
f pressure of ~work, Hindemith disbanded the Amar Qt. His ~satirical opera [cf2]
Neues vom Tage [cf1](News of the Day) ~was prod. in Berlin under Klemperer in su
mmer ~[sm1929[nm (the [sm1[nmst opera to incl. a sop. singing in her ~bath); and
 his cantata [cf2]Lehrst;Auuck[cf1], to a text by ~Brecht, created a scandal at
the [sm1929[nm Baden-Baden ~Festival. In Oct. [sm1929[nm Hindemith made his [sm1
[nmst ~visit to London, where he was soloist in the f.p. ~of [fy45,1]*[fy75,1]Wa
lton's va. conc., having met Walton at ~Salzburg in [sm1923[nm.[ep~^In [sm1933[n
m, the year Hitler came to power, ~Hindemith began work on an opera on the ~subj
ect of the painter Matthias Gr;auunewald, a ~medieval artist with a social consc
ience. He arr. [sm3[nm ~interludes as a suite, which he called t
he [cf2]Mathis ~der Maler [cf1](Matthias the Painter) Sym. These were ~performed
 by the Berlin P.O. under Furtw;Auangler ~in Mar. [sm1934[nm and were an immedia
te success. But ~official criticism of his mus. now began to be ~voiced publicly
. (Hitler had once been shocked ~by the sop.-in-the-bath scene in [cf2]Neues vom
 Tage[cf1].) ~Furt[chw;Auangler wrote an article in Nov. [sm1934[nm ~defending H
indemith and opposing his `political ~denunciation'. As a result of the ensuing
contro~~versy, the Nazis forbade prod. of the [cf2]Mathis [cf1]opera. ~In [sm193
5[nm Hindemith accepted an invitation from ~Turkey to est. a mus. sch. On his re
turn from ~Ankara, he found the r;Aaegime friendlier towards ~him and a Frankfur
t premi;Agere for [cf2]Mathis [cf1]seemed ~possible. But in [sm1936[nm, after `d
emonstrative' ~applause for [fy45,1]*[fy75,1]Kulenkampff=+=+'s playing of the ne
w ~vn. sonata, Goebbels banned all further perfs. of ~[PN332,0,0,L,I0]Hindemith'
s mus. After a further spell in Turkey ~in [sm1937[nm, Hindemith
 resigned from the Berlin ~Hochschule and sailed for NY. In May [sm1938[nm ~[cf2
]Mathis der Maler [cf1]was staged in Z;Auurich, but ~mention of the event was fo
rbidden in Ger. ~newspapers. In Feb. [sm1940[nm he again sailed for the ~USA, th
is time to stay indefinitely. He was ~appointed visiting prof. of the theory of
mus. at ~Yale Univ., and also was head of advanced comp. ~at the Berkshire summe
r fest. at Tanglewood, ~where his pupils in [sm1940[nm incl. Lukas [fy45,1]*[fy7
5,1]Foss and ~Leonard [fy45,1]*[fy75,1]Bernstein. In [sm1945[nm he became an Ame
r. ~citizen. He returned to Europe in [sm1947[nm, visiting ~Italy, Holland, Belg
ium, Eng., Ger., Austria, and ~Switzerland where he renewed friendship with ~Fur
t[chw;auangler. In [sm1949[nm=n[sm50[nm he spent a year at ~Harvard Univ. as Nor
ton Prof., giving the Charles ~Eliot Norton lectures, later pubd. as [cf2]A Comp
oser's ~World[cf1]. In [sm1951[nm he accepted a teaching post at ~Z;Auurich Univ
., dividing his time with his duties ~at Yale, but in [sm1953[nm
 resigned from Yale and ~returned to Europe, conducting Beethoven's [sm9[nmth ~S
ym. at the [sm1953[nm Bayreuth Fest.[ep~^Hindemith is invariably associated with
 the ~term [fy45,1]*[fy75,2]Gebrauchsmusik [cf1](utility mus.) but this is a ~mi
sleading and drab name for his attitude to his ~art, which was that audiences sh
ould participate ~as well as listen. In his Berlin teaching days, ~therefore, he
 comp. works which could be used ~for teaching and would also provide material f
or ~amateurs. His title for this type of work was [cf2]Sing-~und Spielmusik [cf1
](Music to Sing and Play). Examples ~are his children's opera [cf2]Wir bauen ein
e Stadt [cf1](Let's ~Build a Town=mechoed years later by Britten in ~[cf2]Let's
Make an Opera[cf1])=mand [cf2]Pl;Auoner Musiktag [cf1](A Day ~of Music in Pl;Auo
n), which is a series of instr. and ~choral pieces written for schoolchildren in
 Schles~~wig-Holstein.[ep~^Like his friend Walton, Hindemith began as an ~[cf2]e
nfant terrible [cf1]and ended by being regarded by the ~[cf2]ava
nt-garde [cf1]as an ultra-conservative. He rejected ~the extremist methods of th
e [cf2]avant-garde [cf1](but ~this did not prevent him from writing for an ~earl
y elec. instr., the [fy45,1]*[fy75,1]trautonium). His early ~works show the infl
uences of Strauss and Reger, ~succeeded by Stravinsky and Bart;Aaok. As his styl
e ~developed, his rhythmic drive and partiality for ~contrapuntal textures grew
more evident, coup~~[chled with a reticent lyricism. This lyricism grew ~more ev
ident at the time of [cf2]Mathis der Maler[cf1], ~while his harmonic idiom was b
ased on well-~controlled dissonant tensions.  Tonality was the ~firm basis of al
l his comps. The severe reaction ~against his mus., which eventually slackened,
was ~as unjust as it was unthinking. The best of his ~mus. occupies an important
 place in the history ~of [sm20[nmth-cent. comp. Prin. works:[xm[cm~[ol0][ep~[xp
[te~

[do19][j99]~~~~~~[sm153842[nm_HA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm25[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm268[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ep~[ap[j2][smoperas[
nm: [fy75,2]M;Auorder, Hoffnung der Frauen [cf1](Murder, the ~Hope of Women), [s
m1[nm-act, text by Kokoschka, Op. ~[sm12[nm ([sm1919[nm); [cf2]Das [fy45,1]*[fy7
5,2]Nusch-Nuschi[cf1], [sm1[nm-act, text by Blei, ~Op. [sm20[nm ([sm1920[nm); [c
f2]Sancta Susanna[cf1], [sm1[nm-act, text by ~Stramm, Op. [sm21[nm ([sm1921[nm);
 [fy45,1]*[fy75,2]Cardillac[cf1], Op. [sm39[nm ~([sm1926[nm, new version [sm1952
[nm); [fy45,1]*[fy75,2]Hin und Zur;auuck[cf1], Op. ~[sm45[nma ([sm1927[nm); [fy4
5,1]*[fy75,2]Neues vom Tage [cf1]([sm1928=n9[nm, new ~version [sm1953[nm); [fy45
,1]*[fy75,2]Mathis der Maler [cf1]([sm1933[nm=n[sm5[nm); [cf2]Die ~[fy45,1]*[fy7
5,2]Harm[chonie der Welt [cf1](The Harmony of the ~World), ([sm1956[nm=n[sm7[nm)
; [cf2]The [fy45,1]*[fy75,2]Long Christmas Dinner[cf1] ~([cf2]Da
s lange Weihnachtsmahl[cf1]) ([sm1960[nm). Also realiza~~tion of Monteverdi's [c
f2]Orfeo [cf1]([sm1943[nm).[ep~[smtheatre pieces[nm: [cf2]Tuttif;auantchen[cf1],
 mus. for children's ~Christmas play ([sm1922[nm); [cf2]Lehrst;Auuck [cf1](Lesso
n on ~Consent), cantata to text by Brecht ([sm1929[nm);[cf2] Wir ~bauen eine Sta
dt[cf1], children's opera ([sm1930[nm).[ep~[smballets[nm: [cf2]Der D;Auamon[cf1]
, Op. [sm28[nm ([sm1922[nm); [fy45,1]*[fy75,2]Nobilissima ~Visione [cf1]([sm1938
[nm); [cf2]H;aaerodiade [cf1]([sm1944[nm).[ep~[smchorus and orch[nm: [cf2]Das Un
aufh;auorliche[cf1] (The Perpet~~ual), oratorio for sop., ten., bar., and bass,
ch. ~and orch., text by G. Benn ([sm1931[nm); Requiem ~[fy45,1]*[fy75,2]When Lil
acs Last in the Dooryard Bloom'd[cf1] (text by ~Whitman) for mez., bar., ch., an
d orch. ([sm1946[nm); ~[cf2]Ite, angeli veloces [cf1](Go, flights of angels), ca
ntata ~to text by Claudel in [sm3[nm parts: I, [cf2]Triumphgesang ~Davids[cf1],
for alto, ten., ch., orch., wind band, and ~spectators ([sm1955[
nm), II, [cf2]Custos quid de nocte[cf1], for ten., ~ch., and orch. ([sm1955[nm),
 III, [cf2]Cantique de l'esp;aaerance, ~[cf1]for mez., ch., orch., wind band, an
d spectators ~([sm1953[nm); [cf2]Mainzer Umzug[cf1], sop., ten., bar., ch., and
~orch. ([sm1962[nm).[ep~[smorch[nm: [cf2]Lustige Sinfonietta[cf1], Op. [sm4[nm (
[sm1916[nm); Dance ~Suite, [cf2]Das Nusch-Nuschi[cf1], Op. [sm20[nm ([sm1921[nm)
; [cf2]Concerto ~for Orchestra[cf1], Op. [sm38[nm ([sm1925[nm); [cf2]Concert Mus
ic [cf1]for ~pf., brass, and harps, Op [sm49[nm ([sm1930[nm); [cf2]Concert music
 ~[cf1]for str. and brass, Op. [sm50[nm ([sm1930[nm); [cf2]Philharmonic ~Concert
o [cf1]([sm1932[nm); Sym., [fy45,1]*[fy75,2]Mathis der Maler [cf1] ([sm1934[nm);
 ~[cf2]Symphonic Dances[cf1] ([sm1937[nm); Suite [fy45,1]*[fy75,2]Nobilissima ~V
isione [cf1]([sm1938[nm); [cf2]The [fy45,1]*[fy75,2]Four Temperaments[cf1], them
e ~and vars. for str. and solo pf. ([sm1940[nm, perf. as ballet ~[sm1944[nm); Sy
m. in E;yh ([sm1940[nm); [fy45,1]*[fy75,2]Symphonic Metamor~~pho
sis of Themes by Carl Maria von Weber [cf1]([sm1940[nm=n~[sm3[nm); [cf2]Symphoni
a Serena [cf1]([sm1946[nm); [cf2]Sinfonietta[cf1] in E ~([sm1949[nm=n[sm50[nm);
Sym. in B;yh for concert band ([sm1951[nm); ~Sym. [cf2]Die [fy45,1]*[fy75,2]Harm
onie der Welt [cf1]([sm1951[nm); [cf2]Pittsburgh ~Symphony [cf1]([sm1958[nm); Ma
rch ([sm1960[nm).[ep~[fy45,1]*[fy75,1][smkammermusik [cf1]series[nm: No. [sm1[nm
 for small orch. [chOp.|[sm24[nm ~([sm1922[nm); [cf2]Kleine Kammermusik [cf1]for
 wind quintet ~Op. [sm24[nm No. [sm2[nm ([sm1922[nm); No. [sm2[nm (pf. conc. wit
h [sm12[nm ~instr.) Op. [sm36[nm No. [sm1[nm ([sm1924[nm), No. [sm3[nm (vc. conc
. with ~[sm10[nm instr.) Op. [sm36[nm No. [sm2[nm ([sm1925[nm), No. [sm4[nm (vn.
 conc.) ~Op. [sm36[nm No. [sm3[nm ([sm1925[nm), No. [sm5[nm (va. conc.) Op. [sm3
6[nm No. ~[sm4[nm ([sm1927[nm), No. [sm6[nm (va. d'amore conc.) [chOp. [sm46[nm
No. [sm1[nm ~([sm1927[nm), No. [sm7[nm (organ conc.) Op. [sm46[nm No. [sm2[nm ([
sm1927[nm).[ep~[smconcertos [nm(besides those above): [cf2]Conce
rt Music ~[cf1]for va. and large chamber orch., Op. [sm48[nm ([sm1930[nm); ~[cf2
]Concert Piece [cf1]for trautonium and str. (unpubd.) ~([sm1931[nm); [cf2]Der [f
y45,1]*[fy75,2]Schwanendreher[cf1], for va. and small ~orch., based on folk-song
s ([sm1935[nm); [fy45,1]*[fy75,2]Trauermusik ~[cf1]for va. and str. ([sm1936[nm)
; Vn. Conc. ([sm1939[nm); Vc. ~Conc. ([sm1940[nm); Pf. Conc. ([sm1945[nm); Cl. C
onc. ([sm1947[nm); ~Hn. Conc. ([sm1949[nm); Conc. for woodwinds, harp, ~and orch
. ([sm1949[nm); Conc. for tpt., bn., and str. ~([sm1949[nm); Organ Conc. ([sm196
2[nm).[ep~[smvoice and orch[nm: [cf2]Die [fy45,1]*[fy75,2]junge Magd[cf1], [sm6[
nm Trakl songs ~for cont., fl., cl., str. qt., Op. [sm23[nm No. [sm2[nm ([sm1922
[nm); ~[cf2]Das [fy45,1]*[fy75,2]Marienleben[cf1], [sm15[nm Rilke songs for sop.
 and ~[PN333,0,0,R,I0]pf., Op. [sm27[nm ([sm1922[nm=n[sm3[nm; rev. version [sm19
48[nm, begun ~[sm1936[nm; version with orch. Nos. [sm1[nm=n[sm4[nm [sm1938[nm, N
os. [sm5[nm=n~[sm6[nm [sm1959[nm); [cf2]Die Serenaden[cf1], cant
ata for sop., ob., va., ~vc., Op. [sm35[nm ([sm1924[nm).[ep~[smchamber music[nm:
 [sm3[nm [cf2]Pieces [cf1]for vc. and pf., Op. [sm8[nm ~([sm1917[nm); Str. Qt. N
o. [sm1[nm, Op. [sm10[nm ([sm1918[nm), No. [sm2[nm, Op. ~[sm16[nm ([sm1920[nm),
No. [sm3[nm, Op. [sm22[nm ([sm1921[nm), No. [sm4[nm, Op. [sm32[nm ~([sm1923[nm),
 No. [sm5[nm ([sm1943[nm), No. [sm6[nm ([sm1945[nm); Vn. sonata in ~E;yh, Op. [s
m11[nm No. [sm1[nm, in D, Op. [sm11[nm No. [sm2[nm ([sm1918[nm); Va. ~sonata in
F, Op. [sm11[nm No. [sm4[nm, for solo va. Op. [sm11[nm No. ~[sm5[nm, vc. sonata
Op. [sm11[nm No. [sm6[nm ([sm1919[nm); solo va. sonata ~Op. [sm25[nm No. [sm1[nm
, va. d'amore sonata Op. [sm25[nm No. [sm2[nm, ~solo vc. sonata Op. [sm25[nm No.
 [sm3[nm, va. sonata (unpubd.) ~Op. [sm25[nm No. [sm4[nm ([sm1922[nm); cl. quint
et Op. [sm30[nm, solo va. ~sonata (unpubd.) Op. [sm31[nm No. [sm4[nm, [cf2]Canon
ic sonata ~[cf1]for [sm2[nm fl. Op. [sm31[nm No. [sm3[nm ([sm1923[nm); sonatas f
or solo vn. ~Op. [sm31[nm Nos. [sm1[nm and [sm2[nm ([sm1924[nm);
 str. trio Op. [sm34[nm ~([sm1924[nm); [sm3[nm Pieces for cl., tpt., vn., db., p
f. ([sm1925[nm); ~trio for pf., va., heckelphone (or tenor saxo~~phone) Op. [sm4
7[nm ([sm1929[nm); [sm14[nm Easy Duets for [sm2[nm vn. ~([sm1931[nm); str. trio
([sm1933[nm); Scherzo for va. and vc. ~([sm1934[nm); vn. sonata in E ([sm1935[nm
); fl. sonata ([sm1936[nm); ~bn. sonata, [sm3[nm [cf2]Easy Pieces [cf1]for vc. a
nd pf.; qt. for ~cl., vn., vc., pf.; ob. sonata ([sm1938[nm); va. sonata in ~C,
vn. sonata in C, cl. sonata, harp sonata, tpt. ~sonata ([sm1939[nm); cor anglais
 sonata, tb. sonata, [cf2]A ~Frog he went a-courting[cf1], vars. for vc. and pf.
 ~([sm1941[nm); sax. sonata ([sm1943[nm); vc. sonata, septet for ~wind instr. ([
sm1948[nm); db. sonata ([sm1949[nm); sonata for ~[sm4[nm hn. ([sm1952[nm); tuba
sonata ([sm1955[nm); octet ([sm1957[nm=n[sm8[nm).[ep~[smpiano[nm: [cf2]Tanzst;Au
ucke[cf1], Op. [sm19[nm ([sm1920[nm); [cf2]Suite [sm1922[nm ~[cf1]([sm1922[nm);
[cf2]Klaviermusik[cf1], Op. [sm37[nm (part I [sm1925[nm, Part II
 ~[sm1926[nm); Mus. for film [cf2]Vormittagsspuk [cf1]for player-~pf. (unpubd.)
([sm1928[nm); pf. sonata No. [sm1[nm in A, No. ~[sm2[nm in G, No. [sm3[nm in B;y
h ([sm1936[nm); sonata ([sm4[nm hands) ~([sm1938[nm); sonata for [sm2[nm pf. ([s
m1942[nm); [fy45,1]*[fy75,2]Ludus Tonalis ~[cf1]([sm1942[nm).[ep~[smorgan[nm: Or
gan sonatas Nos. [sm1[nm and [sm2[nm ([sm1937[nm), No. [sm3[nm ~([sm1940[nm).[ep
~[smvocal[nm: [sm8[nm Lieder for sop. and pf., Op [sm18[nm ([sm1920[nm); [sm6[nm
 ~[cf2]Songs on Old Texts[cf1], unacc. ch., Op. [sm33[nm ([sm1923[nm); [sm4[nm ~
[sm3[nm-part choruses for boys ([sm1930[nm); [sm2[nm [cf2]H;auolderlin Songs ~[c
f1]([sm1933[nm); [sm4[nm [cf2]H;auolderlin Songs [cf1]([sm1935[nm); [sm5[nm [cf2
]Songs on Old ~Texts[cf1], unacc. ch. (rev. version to Eng. texts of [sm6[nm ~So
ngs, [sm1923[nm, Nos. [sm1[nm, [sm2[nm, [sm3[nm, and [sm6[nm, with new song ~[cf
2]Wahre Liebe, [cf1][sm1937[nm); [sm3[nm [cf2]Choruses [cf1]for male vv., [sm6[n
m ~[cf2]Chansons [cf1]for ch., [cf2]Variations on an Old Dance S
ong ~[cf1]for male vv. ([sm1939[nm); [cf2]La Belle Dame Sans Merci [cf1]for ~v.
and pf., [sm7[nm Songs to Eng. texts ([sm1942[nm); [cf2]Sing on ~There in the Sw
amp[cf1], v. and pf. ([sm1943[nm); [cf2]To music[cf1] ~([sm1944[nm); [cf2]Appare
bit repentina dies[cf1], ch. and brass ~([sm1947[nm); [sm2[nm Songs to words by
Oscar Cox for v. ~and pf. ([sm1955[nm); [sm12[nm [cf2]Madrigals [cf1]for ch. ([s
m1958[nm); Mass ~for unacc. ch. ([sm1963[nm). [sm13[nm [cf2]Motets [cf1]for sop.
 or ten. ~and pf. (comp. in following order: No. [sm8[nm ([sm1940[nm=n~[sm41[nm)
, No. [sm13[nm ([sm1943[nm), Nos. [sm2[nm and [sm11[nm ([sm1944[nm), Nos. [sm5[n
m ~and [sm7[nm ([sm1958[nm), Nos. [sm3[nm, [sm4[nm, [sm6[nm, [sm9[nm, [sm10[nm (
[sm1959[nm), Nos. [sm1[nm ~and [sm12[nm ([sm1960[nm).[ep~[smcommunal and educati
onal music[nm: [cf2]Spielmusik [cf1]for ~str., fls., obs., Op. [sm43[nm, No. [sm
1[nm; [cf2]Lieder f;Auur Singkreise ~[cf1](Songs for Group Singing) for unacc. c
h., Op. [sm43[nm ~No. [sm2[nm ([sm1926[nm); [cf2]Schulwerk f;Auu
r Instrumental-Zusam~~menspiel [cf1](Educational Music for Instrumental ~Ensembl
es) for str., Op. [sm44[nm ([sm1927[nm); [cf2]Sing-und ~Spielmusik f;Auur Liebha
ber und Musikfreunde [cf1](Music ~to Sing and Play, for Amateurs and Music-~love
rs[cf1]), Op. [sm45[nm, [cf2]Frau Musica [cf1]for [sm2[nm solo vv., ch. ~and str
., Op. [sm45[nm No. [sm1[nm ([sm1928[nm, as [cf2]In Praise of Music ~[cf1][sm194
3[nm); [cf2]Pl;auoner Musiktag [cf1]([sm1932[nm).[ep~[smbooks[nm: [cf2]The Craft
 of Musical Composition [cf1]([cf2]Unterwei~~sung im Tonsatz[cf1]) Vol. I, [cf2]
Theoretical [cf1]([sm1935[nm-[sm7[nm), Vol. ~II, [cf2]Exercises in [sm2[nm-part
writing [cf1]([sm1938[nm=n[sm9[nm), Vol. III, [cf2][sm3[nm-~part Writing [cf1](p
osth.); [cf2]A Concentrated Course in ~Traditional Harmony [cf1]([sm1942[nm=n[sm
3[nm)[cf2]; Elementary Train~~ing for Musicians [cf1]([sm1945[nm=n[sm6[nm)[cf2];
 A Composer's World: ~Horizons and Limitations [cf1](Norton Lectures, Har~~[chva
rd [sm1949[nm=n[sm50[nm; pubd. in Eng. [sm1950[nm, in Ger. as ~[
cf2]Komponist im seiner Welt[cf1], [sm1953[nm); [cf2]Johann Sebastian ~Bach, Her
itage and Obligation[cf1] (Frankfurt Lecture, ~[sm1950[nm).[cm~[ol0][ep~[xp[te~











[do19][j99]~~~~~~[sm153842[nm_HA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm25[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm276[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Hindemith, Variation
s on a Theme of.[fy75,1] Orch. ~work by [fy45,1]*[fy75,1]Walton comp. [sm1962[nm
=n[sm3[nm to commission ~by Royal Phil. Soc. for its [sm150[nmth anniversary ~co
ncert. Theme is from [sm2[nmnd movement of ~Hindemith's vc. conc. ([sm1940[nm) a
nd [sm7[nmth var. quotes ~[sm4[nm bars from [cf2]Mathis der Maler[cf1]. F.p. Lon
don [sm1963[nm, ~cond. composer.[cm~Hingston, John [fy75,1]([cf2]d [cf1]London,
[sm1688[nm). Eng. com~~poser and organist. In choir of York Minster, ~[sm1618[nm
, and possibly pupil of O. Gibbons. Organist ~to Cromwell [sm1654[nm=n[sm8[nm. F
rom [sm1660[nm keeper of orgs. ~to Charles II. Purcell was his apprentice in [sm
1673[nm.[cm~Hinrichsen, Max [fy75,1]([cf2]b [cf1]Leipzig, [sm1901[nm; [cf2]d [cf
1]London, ~[sm1965[nm). Ger.-born publisher. Joint man. dir. Pet
ers ~Edition, Leipzig, [sm1931[nm=n[sm7[nm. Went to London [sm1937[nm, ~founding
 Peters Edition, London, and Hinrichsen ~Edition. Contributed valuably to reviva
l of early ~Eng. organ and choral mus. Authority on J. S. ~Bach.[cm~Hinstrich [f
y75,1](Ger., `away-stroke'). The up-bow on ~vc. and db. (see also [cf2]Herstrich
[cf1]).[cm~Hin und Zur;auuck [fy75,1][nm(There and Back). Opera ([cf2]Sketch ~mi
t Musik[cf1]) in [sm1[nm act by [fy45,1]*[fy75,1]Hindemith to lib. by M. ~Schiff
er based on Eng. revue sketch. Prod. Baden-~Baden [sm1927[nm. Tanglewood [sm1940
[nm, London [sm1958[nm. ~The plot and, in part, the mus. go into reverse at ~the
 half-way point.[cm~Hipkins, Alfred [fy75,1](=+=+=+James) ([cf2]b[cf1] London, [
sm1826[nm;[cf2] d[cf1] ~London, [sm1903[nm). Eng. pianist and scholar, author~~i
ty on ancient instrs. In [sm1840[nm joined firm of ~[fy45,1]*[fy75,1]Broadwood &
 Sons, London. Tuned Chopin's ~pfs. in Eng. [sm1848[nm. One of first to revive s
tudy of ~hpd. and clavichord. Wrote books about them. ~Left coll
. of instrs. to RCM. Also expert on ~standard of pitch.[cm~Hirt [fy75,1](Ger.).
`Herd', `Herdsman'. [cf2]Hirtenlied[cf1], `Herds~~man's Song', etc.[cm~Hirt auf
dem Felsen, Der [fy75,1](Schubert). See [cf2]Shepherd on the ~Rock, The.[cf1][cm
~His [fy75,1](Ger.). The note B;yi. [cf2]Hisis[cf1], the (probably ~theoretical)
 note B;yi;yi.[cm~[PN334,0,0,L,I0]Hislop, Joseph [fy75,1]([cf2]b[cf1] Edinburgh,
 [sm1884[nm; [cf2]d[cf1] Lundin ~Links, [sm1977[nm). Scot. ten. and teacher. Stu
died ~Stockholm, making d;Aaebut at Royal Opera [sm1914[nm, ~before further stud
y in It. D;Aaebut  CG [sm1920[nm as ~Rodolfo in [cf2]La Boh;Ageme[cf1]. Distingu
ished operatic ~career. Taught at RAM and GSM and in Stock~~holm ([sm1936[nm=n[s
m49[nm).[cm~Histoire du Soldat, L' [fy75,1](The Soldier's Tale'). Work ~in [sm2[
nm parts by Stravinsky `to be read, played, and ~danced'. Comp. [sm1918[nm to Fr
. text by C. F. Ramuz ~based on Russ. tale. Orch. of [sm12[nm instrs., [sm2[nm s
peaking ~parts, [sm2[nm danced parts (no singers). Prod. Lausann
e ~[sm1918[nm, NY [sm1928[nm, London (concert [sm1920[nm). Also suite ~of [sm8[n
m movements with orig. orch. or of [sm5[nm ~movements for vn., cl., and pf. (Lau
sanne [sm1919[nm).[cm~Histoires naturelles [fy75,1](Natural histories). Song-~cy
cle for v. and pf. by Ravel to poems by Jules ~Renard, comp. [sm1906[nm, f.p. Pa
ris [sm1907[nm. [sm1[nm. [cf2]Le Paon ~[cf1](The Peacock), [sm2[nm. [cf2]Le Gril
lon [cf1](The Cricket), [sm3[nm. [cf2]Le ~Cygne [cf1](The Swan), [sm4[nm. [cf2]L
e Martin-p;Afecheur [cf1](The ~kingfisher), [sm5[nm. [cf2]La Pintade [cf1](The g
uinea-fowl). Orch. ~version by M. Rosenthal.[cm~Hitschiriki. [fy75,1]Japanese in
str. like a bamboo fl., ~with [sm7[nm finger-holes and [sm2[nm thumb-holes. Shri
ll ~tone.[cm~Hityokin. [fy75,1]Japanese vertical fl. made of bamboo.[cm~H.M.S. P
inafore, or The Lass that loved a ~Sailor. [fy75,1]Comic opera by Sullivan to li
b. by Gilbert. ~Prod. London (Op;Aaera Comique), Boston, and San ~Francisco [sm1
878[nm; NY and Philadelphia [sm1879[nm.[cm~Hob. [fy75,1]Abbrevia
ted prefix to nos. in the [fy45,1]*[fy75,1]Hoboken ~catalogue of Haydn's works.[
cm~Hoboe [fy75,1](Hoboy). Name sometimes given to the ~[fy45,1]*[fy75,1]oboe.[cm
~Hoboken, Anthony van [fy75,1]([cf2]b[cf1] Rotterdam, [sm1887[nm; [cf2]d [cf1]Z;
auurich, [sm1983[nm). ~Dutch musicologist. In [sm1927[nm founded Vienna nat. ~ar
chive of photographs of mus. MSS. Compiler ~of definitive catalogue of Haydn's w
orks, [sm1[nmst vol. ~appearing [sm1957[nm. Works are given `Hob.' nos., ~follow
ed by Roman numeral and Arabic figure, ~e.g. Hob IV. [sm6[nm.[cm~Hobrecht. [fy75
,1]See [cf2]Obrecht, Jacob.[cm~[fy65][cf3]Hochschule, Berlin. [fy75,1]In full th
e Staatliche Akad~~[chemische Hochschule f;Auur Musik, formerly the ~Royal High
School for Mus. Founded [sm1869[nm, with ~Joachim as dir.[cm~Hochzeit des Camach
o, Die[fy75,1] (The Wedding of ~the Camacho). Comic opera in [sm2[nm acts by Men
dels~~sohn, Op.[sm10[nm, to lib. based on an episode in [cf2]Don ~Quixote[cf1].
Comp. [sm1825[nm, prod. Berlin [sm1827[nm.[cm~Hochzeitsmarsch [f
y75,1](Ger.). Wedding March.[cm~Hocket [fy75,1](`hiccough'; Lat. [cf2]hoquetus[c
f1], Fr. [cf2]hoquet[cf1], It. ~[cf2]ochetto[cf1]). Device in medieval vocal mus
. whereby ~rests were inserted into vocal parts, even in the ~middle of words, t
o intensify expressive effect.[cm~Hoddinott, Alun [fy75,1]([cf2]b[cf1] Bargoed,
[sm1929[nm). Welsh ~composer. Studied Univ. Coll., S. Wales, and with ~A. [fy45,
1]*[fy75,1]Benjamin. Lecturer, Cardiff Coll. of Mus. and ~Drama [sm1951[nm. Lect
urer, Univ. Coll., S. Wales, ~[sm1959[nm=n[sm65[nm, Reader [sm1965[nm=n[sm7[nm,
Prof. of Mus. since ~[sm1967[nm. Arnold Bax Medal [sm1957[nm. C.B.E. [sm1983[nm.
 ~Comps. are strongly structured, romantic in ~feeling, and deeply serious. Seri
alist technique ~used without strict formal adherence. Prin. ~works:[xm[cm~[j2][
smoperas[nm: [fy75,2]The Beach of Fales;Aaa[cf1] ([sm3[nm acts, lib. by Glyn ~Jo
nes based on story by R.  L. Stevenson, prod. ~Cardiff [sm1974[nm); [cf2]The Mag
ician [cf1]([sm1[nm act, lib. by John ~Morgan, prod. Cardiff [sm
1976[nm =m previously as ~[cf2]Murder the Magician [cf1]on TV [sm1976[nm); [cf2]
The [fy45,1]*[fy75,2]Rajah's ~Diamond [cf1]([sm1978[nm=n[sm9[nm) ([sm1[nm act, l
ib. by Myfanwy Piper, ~prod. TV [sm1979[nm); [cf2]The Trumpet Major [cf1]([sm3[n
m acts, lib. ~by Myfanwy Piper based on T. Hardy, [sm1981[nm).[ep~[smorch[nm: Sy
ms., No. [sm1[nm ([sm1955[nm), No. [sm2[nm ([sm1962[nm), No. [sm3[nm ~([sm1968[n
m), No. [sm4[nm ([sm1969[nm), No. [sm5[nm ([sm1973[nm), No. [sm6[nm ([sm1984[nm)
; [cf2]Fugal Overture ~[cf1]([sm1953[nm); [cf2]Nocturne[cf1] ([sm1953[nm); [cf2]
Serenade for Strings ~[cf1]([sm1958[nm); [sm4[nm[cf2] Welsh Dances [cf1]([sm1958
[nm); [cf2]Folk-Song Suite ~[cf1]([sm1962[nm); Ovs., [cf2]Jack Straw [cf1]([sm19
64[nm), [cf2]Pantomime ~[cf1]([sm1966[nm); [cf2]Variants [cf1]([sm1966[nm); [cf2
]Night Mus[cf1]. ([sm1967[nm); ~[cf2]Sinfoniettas[cf1], No. [sm1[nm ([sm1968[nm)
, No. [sm2[nm ([sm1969[nm), No. [sm3[nm ~([sm1970[nm), No. [sm4[nm ([sm1971[nm);
 [cf2]Concerto Grosso [cf1]No. [sm1[nm ~([sm1965[nm), No. [sm2[n
m ([sm1966[nm); [cf2]Fioriture[cf1] ([sm1968[nm); [cf2]Diverti~~mento [cf1]([sm1
969[nm); [cf2]Investiture Dances [cf1]([sm1969[nm); [cf2]The Sun, ~the Great Lum
inary of the Universe [cf1]([sm1970[nm); [cf2]Aubade ~[cf1]([sm1972[nm); [cf2]Th
e Hawk is set free [cf1]([sm1972[nm); [cf2]The Floore of ~Heav'n [cf1]([sm1973[n
m); [cf2]Landscapes [cf1]([sm1975[nm); [cf2]Lanterne des ~Morts [cf1]([sm1981[nm
).[ep~[smconcertos[nm: Cl. ([sm1954[nm); harp ([sm1958[nm); pf., No. [sm1[nm ~wi
th wind and perc. ([sm1960[nm), No. [sm2[nm ([sm1969[nm), No. [sm3[nm ~[sm1966[n
m); va. ([sm1958[nm); vn. ([sm1961[nm); organ ([sm1967[nm); hn. ~([sm1969[nm); o
b. ([sm1971[nm); [cf2]Aubade and Scherzo[cf1], hn. and ~str. ([sm1965[nm); [cf2]
Nocturne and Dance[cf1], harp and orch. ~([sm1959[nm); [cf2]Nocturnes and Cadenz
as[cf1], vc. and orch. ~([sm1969[nm);[cf2] Ritornelli[cf1], tb., wind, and perc.
 ([sm1974[nm); ~[cf2]The Heaventree of Stars[cf1], vn. and orch. ([sm1980[nm); ~
[cf2]Doubles[cf1], ob., hpd., str. ([sm1982[nm).[ep~[smchoral[nm
: Cantata [cf2]Dives and Lazarus[cf1], sop., bar., ch., ~and orch. ([sm1965[nm);
 [cf2]Black Bart[cf1], ballad, ch. and orch. ~([sm1969[nm); [cf2]Eryri[cf1], ch.
 and orch. ([sm1969[nm); [sm4[nm [cf2]Welsh Folk ~Songs[cf1], vv. and orch. or p
f. ([sm1965[nm); [cf2]The Tree of Life[cf1], ~sop., ten., ch., organ, and orch.
([sm1971[nm); cantata ~[cf2]Sinfonia Fidei[cf1], sop., ten., ch., and orch. ([sm
1977[nm).[ep~[smchamber music[nm: Str. qt. ([sm1966[nm); pf. quintet ([sm1972[nm
); ~septet ([sm1956[nm); sextet ([sm1960[nm); divertimento for ~ob., cl., hn., b
n. ([sm1963[nm); vn. sonatas, No. [sm1[nm ([sm1969[nm), ~No. [sm2[nm ([sm1970[nm
), No. [sm3[nm ([sm1971[nm), No. [sm4[nm ([sm1976[nm); harp ~sonata ([sm1964[nm)
; cl. sonata ([sm1967[nm); vc. sonata No. [sm1[nm ~([sm1970[nm), No. [sm2[nm ([s
m1977[nm); hn. sonata ([sm1971[nm); suite for ~harp ([sm1967[nm); pf. trio ([sm1
981[nm).[ep~[smpiano[nm: Sonatas, No. [sm1[nm ([sm1959[nm), No, [sm2[nm ([sm1962
[nm), No. [sm3[nm ~([sm1965[nm), No [sm4[nm ([sm1966[nm), No. [s
m5[nm ([sm1968[nm), No. [sm6[nm ([sm1972[nm).[ep~[smsongs[nm: [cf2]A Contemplati
on Upon Flowers[cf1], [sm3[nm songs for ~sop. and orch. ([sm1976[nm); [cf2]Lands
capes[cf1], [sm5[nm songs for ~high v. and pf. ([sm1975[nm); [cf2]Roman Dream[cf
1], scena for ~sop. and instr. ens. ([sm1968[nm); [cf2]Ancestor Worship[cf1], ~s
ongcycle ([sm1972[nm).[cm~[PN335,0,0,R,I0][j1]Hodgson, Alfreda [fy75,1]([cf2]b[c
f1] Morecambe, [sm1940[nm). Eng. ~mez. Studied at Northern Sch. of Mus., Manch~~
ester, first as cellist. D;Aaebut Liverpool [sm1961[nm, ~London [sm1963[nm. Seve
ral appearances in opera, but ~mainly heard in oratorio, Mahler, Elgar, etc.[cm~
Hodie [fy75,1](Lat. `On this day'). Christmas cantata for ~mez., ten., bar., boy
s' vv., ch., and orch. by ~Vaughan Williams, f.p. Worcester [sm1954[nm. Orig. ~t
itle [cf2]This Day (Hodie)[cf1], the composer preferring ~[cf2]Hodie[cf1], which
 has been generally adopted. Text, ~selected by composer, incl. settings of word
s from ~Bible, Milton, Herbert, Hardy, Drummond, ~Coverdale, Bal
let, and Ursula Vaughan Williams.[cm~Hoengen, Elisabeth[fy75,1] ([cf2]b[cf1] Gev
elsberg, [sm1906[nm). Ger. ~mez. Studied Berlin Univ. and Hochschule. Opera ~d;A
aebut Wuppertal [sm1933[nm. D;Auusseldorf opera [sm1935[nm=n~[sm40[nm, Dresden [
sm1940[nm=n[sm3[nm, Vienna State Opera from ~[sm1943[nm. Sang at CG, London, [sm
1947[nm, [sm1959[nm=n[sm60[nm. NY ~Met. [sm1951[nm=n[sm2[nm. Teacher at Vienna A
cad. [sm1957[nm=n[sm60[nm. ~Specialist in dramatic roles (Herodias, Ortrud, ~etc
.).[cm~H;upffding, Finn [fy75,1]([cf2]b[cf1] Copenhagen, [sm1899[nm). Danish ~co
mposer. Studied under Joseph Marx. Teacher ~of comp., Copenhagen Cons. [sm1931[n
m, prof. [sm1949[nm, ~dir. [sm1954[nm. Works incl. [sm5[nm operas, incl. [cf2]Th
e Emperor's ~New Clothes[cf1], after Andersen, [sm4[nm syms., ob. conc., [sm2[nm
 ~str. qts., wind quintet, ob. sonata.[cm~Hoffman, Grace[fy75,1] ([cf2]b[cf1] Cl
eveland, Ohio, [sm1925[nm). ~Amer. mez. Studied Manhattan Sch. of Mus., NY, ~and
 in It. Member of Z;auurich Opera. [sm1953[nm=n[sm5[nm. ~Bayreut
h [sm1957[nm=n[sm70[nm. NY Met. [sm1958[nm. CG d;aaebut ~[sm1959[nm (Eboli).[cm~
Hoffman, Irwin [fy75,1]([cf2]b[cf1] NY City, [sm1924[nm). Amer. cond. ~and violi
nist. Studied Juilliard Sch. Cond. Vancou~~ver S.O. [sm1952[nm=n[sm64[nm, ass. c
ond. Chicago S.O. [sm1964[nm=n~[sm70[nm, cond. Belg. Radio and TV S.O. [sm1972[n
m=n[sm6[nm.[cm~Hoffman, Ludwig [fy75,1]([cf2]b[cf1] Berlin, [sm1925[nm). Ger. pi
anist. ~Studied Vienna, Berlin, and Cologne. D;Aaebut ~Cologne [sm1953[nm. He se
rved on many int. pf. ~competition juries.[cm~Hoffmann, Bruno [fy75,1]([cf2]b[cf
1] Stuttgart, [sm1913[nm). Ger. player ~of and composer for [fy45,1]*[fy75,1]Gla
ss armonica. D;aaebut ~London [sm1938[nm when he revived Mozart's quintet ~(K[sm
617[nm). His name for the instr. is `glass harp'.[cm~Hoffmann, E[fy75,1](rnst)[f
y65][cf3] T[fy75,1](heodor)[fy65][cf3] A[fy75,1](madeus) [cf1](orig. ~Wilhelm, b
ut adopted name Amadeus in homage ~to Mozart) ([cf2]b[cf1] K;Auonigsberg, [sm177
6[nm; [cf2]d[cf1] Berlin, [sm1822[nm). ~Ger. writer, mus. critic
, composer, and cond. Had ~mus. lessons while studying law. Was th. cond. ~from
[sm1808[nm at Bamberg, Leipzig, and Dresden. ~Comp. [sm10[nm operas, incl. [cf2]
Undine [cf1](Berlin [sm1816[nm), ~ballet, sym., mass, pf. sonatas, etc. Best kno
wn for ~his essays and tales, which have remarkable ~bizarre humour. His charact
er, the Kapellmeister ~Kreisler, inspired Schumann's [fy45,1]*[fy75,2]Kreisleria
na[cf1]. He ~himself is the hero of Offenbach's [cf2]Les Contes ~d'Hoffmann.[cm~
Hoffmann, Karl [fy75,1]([cf2]b[cf1] Smichov, [sm1872[nm; [cf2]d[cf1] Prague, ~[s
m1936[nm). Cz. violinist. Founded Bohemian Str. Qt. ~[sm1892[nm. Prof. of vn., P
rague Cons., from [sm1922[nm.[cm~Hoffmann, Leopold [fy75,1]([cf2]b[cf1] Vienna,
[sm1738[nm; [cf2]d[cf1] Vienna, ~[sm1793[nm). Austrian composer. Kapellmeister,
St ~Stephen's Cath., Vienna, from [sm1772[nm (Mozart ~assisted him in [sm1791[nm
). Wrote sym., concs., church ~mus., etc.[cm~Hoffmeister, Franz Anton [fy75,1]([
cf2]b[cf1] Rothenburg, [sm1754[nm; ~[cf2]d[cf1] Vienna, [sm1812[
nm). Austrian composer and mus. ~publisher. Mus.-dealer in Vienna [sm1784[nm-[sm
98[nm; ~founded Bureau de Musique, Leipzig, [sm1800[nm, with ~K;Auuhnel. Returne
d to Vienna [sm1805[nm, becoming ~active as composer. Wrote many works for fl.,
cl., ~and str., over [sm65[nm syms., operas, songs, church ~mus., etc.[cm~Hoffnu
ng, Gerard [fy75,1]([cf2]b[cf1] Berlin, [sm1925[nm; [cf2]d[cf1] Hampstead, ~[sm1
959[nm). Ger.-born artist, humorist, and tuba-player. ~Settled in Britain as chi
ld; educated Highgate, ~and Hornsey Sch. of Art. Contrib. as free-lance ~artist
to various publications from [sm1940[nm. Made ~series of illustrations, [sm1949[
nm, to Ravel's [cf2]L'Enfant et ~les sortil;Ageges[cf1]. Founded Hoffnung Mus. F
ests. at ~which various witty mus. parodies were perf. ~Drew series of amusing d
rawings of mus. subjects. ~Soloist in London, [sm1958[nm, in Vaughan Williams's
~tuba conc.[cm~Hofhaimer, Paul [fy75,1]([cf2]b[cf1] Radstadt, [sm1459[nm; [cf2]d
[cf1] Salzburg, ~[sm1537[nm). Austrian organist and composer. Or
ganist ~Imperial Chapel Innsbr;Auuck, [sm1480[nm=n[sm1519[nm., Salz~~burg Cath.
from [sm1526[nm. Wrote much org. mus., of ~which little survives, and several [s
m4[nm-part songs.[cm~Hofmann, Josef [fy75,1](=+=+=+J;Aaozef Kazimierz) ([cf2]b[c
f1] Podgorze, ~Krak;aaow, [sm1876[nm; [cf2]d[cf1] Los Angeles, [sm1957[nm). Poli
sh-born ~pianist and composer (Amer. citizen from [sm1926[nm). ~Son of a pianist
-conductor and opera singer, ~showed prodigious talent and made d;Aaebut as ~pia
nist at [sm6[nm, appearing as soloist with Berlin P.O. ~at [sm9[nm.Toured Europe
, made NY d;Aaebut at [sm11[nm. Amer. ~tour halted midway by action of soc. for
~prevention of cruelty to children, enforcing ~unwilling retirement until he was
 [sm18[nm. Returned ~to Europe to study with Moszkowski and Anton ~Rubinstein. R
eturned to platform [sm1894[nm, followed ~by regular world tours. Settled princi
pally in USA ~from [sm1898[nm. Dir. of Curtis Institute, Philadelphia, ~[sm1926[
nm=n[sm38[nm. One of greatest players of Chopin, Liszt, ~and rom
antics. Comp. sym., [sm5[nm pf. concs., pf. ~sonatas, and many pf. pieces. Somet
imes used ~pseudonym `Michel Dvorsky'.[cm~Hofmann, Peter [fy75,1]([cf2]b [cf1]Ma
rienbad, [sm1944[nm). Ger. tenor. ~Studied Karlsruhe Hochschule. D;aaebut L;auub
eck ~[sm1972[nm (Tamino), member Stuttgart Opera from ~[sm1973[nm. Siegmund in t
he [sm1976[nm centenary prod. of ~[cf2]The Ring [cf1]at Bayreuth and CG. Sang Pa
rsifal at CG ~[sm1979[nm and Salzburg Easter Fest. [sm1980[nm. San Francisco ~[s
m1977[nm (Siegmund); Lohengrin at NY Met. [sm1980[nm ~and with CG in Manchester
[sm1981[nm. Sings Tristan ~in [sm1983[nm recording with Bernstein.[cm~[PN336,0,0
,L,I0]Hofmannsthal, Hugo von [fy75,1]([cf2]b[cf1] Vienna, [sm1874[nm; [cf2]d[cf1
] ~Rodaun, nr. Vienna, [sm1929[nm). Austrian author, poet, ~and playwright. With
 Max Reinhardt, founded ~Salzburg Fest. in [sm1920[nm. Librettist for several wo
rks ~of Richard Strauss: the operas [cf2]Elektra [cf1]([sm1906[nm=n[sm8[nm), ~[c
f2]Der Rosenkavalier [cf1]([sm1909[nm=n[sm10[nm), [cf2]Ariadne a
uf Naxos ~[cf1]([sm1912[nm, [sm2[nmnd version [sm1916[nm), [cf2]Die Frau ohne Sc
hatten ~[cf1]([sm1914[nm=n[sm18[nm), [cf2]Die ;Auagyptische Helena [cf1] ([sm192
4[nm=n[sm7[nm), and ~[cf2]Arabella [cf1]([sm1928[nm=n[sm32[nm), the ballet [cf2]
Josephslegende ~[cf1]([sm1913[nm=n[sm14[nm), [cf2]Der Burger als Edelmann [cf1](
[cf2]Le Bourgeois ~Gentilhomme[cf1]) ([sm1912[nm and [sm1917[nm); ed. with Strau
ss of ~Beethoven's ballet [cf2]Die Gesch;Auopfe des Prometheus[cf1]; ~cantata [c
f2]T;Auuchtigen stellt das schnelle Gl;Auuck [cf1]([sm1914[nm). ~Also librettist
 for Wellesz's [cf2]Alkestis [cf1]([sm1924[nm).[cm~Hofoper[fy75,1] (Ger., `Court
 opera'). Title given up to ~[sm1918[nm to the Court or Royal opera houses in ma
ny ~Ger. and Austrian cities, e.g. Vienna Hofoper, ~which became [fy45,1]*[fy75,
1]Staatsoper (State Opera) in [sm1919[nm.[cm~Hogwood, Christopher [fy75,1](Jarvi
s Haley) ([cf2]b [cf1]Not~~tingham, [sm1941[nm). Eng. harpsichordist and conduc~
~tor. Studied hpd. with Rafael Puyana and Gustav ~Leonhardt. Fou
nder-member with David [fy45,1]*[fy75,1]Mun~~row of Early Music Consort, [sm1967
[nm. Frequent ~broadcaster. Founder and dir., Academy of ~Ancient Music, from [s
m1973[nm. Author of book on ~the trio sonata, [sm1979[nm.[cm~Hohlfl;auote [fy75,
1](Ger., `hollow flute', i.e. hollow-~sounding fl.). Metal or wooden org. stop o
f [sm8[nm;po ~length and pitch.[cm~Holberg Suite [fy75,1]([cf2]Holbergiana[cf1];
 Ger. [cf2]Aus Holbergs ~Zeit, [cf1]From Holberg's Time). Pf. suite in [sm5[nm ~
movements by Grieg comp. [sm1884[nm and orch. for ~str. in same year, both versi
ons Op. [sm40[nm. Written ~to celebrate bicentenary of birth of Norweg. ~dramati
st Ludvig Holberg ([sm1684[nm=n[sm1754[nm).[cm~Holborne, Anthony [fy75,1]([cf2]d
[cf1] ?London, [sm1602[nm). Eng. ~composer. Pub. [cf2]The Cittharn Schoole [cf1]
([sm1597[nm, modern ~edn. by Kanazawa [sm1973[nm) containing [sm57[nm pieces for
 ~cittern and bass viol; and [cf2]Pavans, Galliards, Almans, ~and other Short Ai
res ([cf1][sm1599[nm).[cm~Holborne, William [fy75,1]([cf2]d[cf1]
 after [sm1602[nm). Brother of ~Anthony. [sm6[nm of his airs are incl. in [cf2]T
he Cittharn ~Schoole[cf1].[cm~Holbrooke, Joseph [fy75,1](=+=+=+Josef Charles) [c
f1]([cf2]b[cf1] Croydon, ~[sm1878[nm; [cf2]d[cf1] London, [sm1958[nm). Eng. comp
oser and ~pianist. Mus.-hall pianist at age of [sm12[nm. Studied ~RAM [sm1893[nm
=n[sm6[nm under Corder (comp.) and F. ~Westlake (pf.) Pianist-cond. for travelli
ng pan~~[chtomime [sm1899[nm. After perf. of his tone-poem [cf2]The ~Raven [cf1]
([sm1900[nm) his works were much in demand at ~Eng. fests., but did not hold the
ir place and are ~rarely heard. Comp. trilogy of Celtic operas [sm1911[nm=n~[sm1
5[nm. Controversial writer (e.g. [cf2]Contemporary British ~Composers [cf1][sm19
25[nm) and frequent polemicist against ~`Establishment'. Prin. works:[xm[cm~[j2]
[smoperas[nm: [fy75,2]Pierrot and Pierrette [cf1]([sm1909[nm); trilogy, [cf2]The
 ~Cauldron of Anwen [cf1]comprising [cf2]The Children of ~Don [cf1]([sm1911[nm),
 [cf2]Dylan [cf1]([sm1914[nm), and [cf2]Bronwen [cf1]([sm1915[nm
). [ep~[smorch[nm: Symphonic poems, [cf2]The Raven [cf1]([sm1900[nm), ~[cf2]Ulal
ume [cf1]([sm1904[nm), [cf2]Queen Mab [cf1]([sm1904[nm), [cf2]Byron[cf1], with ~
ch. ([sm1906[nm), [cf2]Apollo and the Seaman[cf1], with ch. ([sm1908[nm), ~[cf2]
Variations on Three Blind Mice[cf1], vn. conc.[ep~Also much chamber mus., pf. pi
eces, songs, part-~songs, etc.[cm~[j1]Hold, Trevor [fy75,1]([cf2]b[cf1] Northamp
ton, [sm1939[nm). Eng. ~composer and poet. Studied Nottingham Univ. ~Lecturer on
 mus. Aberystwyth and Liverpool ~Univs., later on staff of Leicester Univ. Works
 ~incl.: [cf2]Gunpowder Plot Music [cf1]for orch.; ov. [cf2]My ~Uncle Silas[cf1]
; [cf2]Rondo [cf1]for str. orch.; [cf2]Requiescat[cf1], for ~speaker, ch., brass
 sextet; [cf2]The Falcon[cf1], church ~drama; [cf2]The Pied Piper, [cf1]entertai
nment for children; ~[cf2]Early One Morning[cf1], high v. and guitar; [cf2]Cinqu
efoils ~[cf1]for pf. quintet.[cm~H;auolderlin-Fragmente, Sechs [fy75,1](Six H;Au
olderlin ~Fragments). Setting by Britten, Op. [sm61[nm, for v. a
nd ~pf. of [sm6[nm poems by German poet H;Auolderlin. Comp. ~[sm1958[nm.[cm~Holi
days Symphony [fy75,1](Ives). See [cf2]New England ~Holidays.[cm~H;auoller, Karl
 [fy75,1]([cf2]b[cf1] Bamberg, [sm1907[nm). Ger. composer. ~Teacher at Hoch Cons
., Frankfurt, [sm1937[nm=n[sm45[nm, ~Munich Cons. [sm1946[nm=n[sm72[nm. Composer
 of [sm2[nm syms., ~[cf2]Variations on a Theme of Sweelinck [cf1]for orch., [sm2
[nm vn. ~concs., [sm2[nm vc. concs., org. conc., [sm6[nm str. qts., [sm8[nm vn.
~sonatas, film mus.[cm~H;auoller, York [fy75,1](Georg) ([cf2]b [cf1]Leverkusen,
[sm1944[nm). Ger. ~composer. Studied at Cologne Musikhochschule ~[sm1963[nm=n[sm
8[nm (with Zimmermann and A. Kontarsky). ~R;aaep;aaetiteur, Bonn municipal th.,
[sm1968[nm=n[sm9[nm. Worked ~with Eimert at Cologne elec. studio. Comps. incl.:[
xm[cm~[j2][smorch[nm: [cf2]Topic [cf1]([sm1967[nm); Pf. Conc. ([sm1970[nm); [cf2
]Chroma ~[cf1]([sm1972[nm=n[sm4[nm); [cf2]Arcus [cf1]([sm1978[nm); [cf2]Umbra [c
f1]([sm1979[nm=n[sm80[nm); [cf2]My~~thos [cf1]([sm1979[nm=n[sm80
[nm).[ep~[smchamber music[nm: Vc. sonata ([sm1969[nm); [cf2]Epitaph[cf1], vn., ~
pf. ([sm1969[nm); [cf2]Antiphon[cf1], str. qt. ([sm1977[nm); [cf2]Moments ~music
eaux[cf1], fl., pf. ([sm1979[nm).[ep~[smelectronic[nm: [cf2]Horizont [cf1]([sm19
72[nm); [cf2]Tangens [cf1]([sm1973[nm); ~[cf2]Klanggitter [cf1]([sm1976[nm).[ep~
[smpiano[nm: [cf2][sm5[nm Pieces [cf1]([sm1964[nm); [cf2]Diaphonie[cf1], [sm2[nm
 pf. ([sm1965[nm); ~[cf2]Sonate informelle [cf1]([sm1968[nm).[cm~[j1]Holliger, H
einz [fy75,1]([cf2]b[cf1] Langenthal, Switz., [sm1939[nm). ~Swiss oboist and com
poser. Studied Berne Cons. ~and Basle Cons., [sm1955[nm=n[sm9[nm, Paris Cons. [s
m1962[nm=n[sm3[nm, (ob. ~with Cassagnaud and Pierlot, pf. with Yvonne ~Lef;Aaebu
re, comp. with Veress and Boulez). [sm1[nmst ob., ~Basle Orch. [sm1959[nm=n[sm64
[nm. Prof. of ob., Freiburg ~Musikhochschule, [sm1966[nm. Works written for him
~by Berio, Huber, K;Akrenek, Henze, Penderecki, ~Stockhausen, etc. His own comp.
 incl. [cf2]Erde und ~Himmel[cf1], cantata for ten. and [sm5[nm
instr.; [cf2]Elis[cf1], [sm3[nm ~nocturnes for pf. ([sm1961[nm); [sm3[nm [cf2]Li
ebeslieder [cf1]for alto and ~orch.; [cf2]Schwarzgewebene Trauer [cf1]for sop. a
nd [sm3[nm ~instr.; [sm4[nm [cf2]Bagatelles [cf1]for sop. and pf. ([sm1963[nm);
[cf2]Gl;Auuhende ~R;auatsel [cf1]for alto and instr. ([sm1964[nm);[cf2] Der magi
sche ~T;auanzer[cf1], for [sm2[nm singers, [sm2[nm dancers, [sm2[nm actors, ch.,
 ~orch., tape ([sm1965[nm);[cf2] Trio [cf1]for ob., va., harp ([sm1966[nm); ~[PN
337,0,0,R,I0][cf2]Siebengesang [cf1]for ob., orch., vv., amplifiers ([sm1967[nm)
; ~[cf2]h [cf1]for wind quintet ([sm1968[nm); [cf2]Dona nobis pacem [cf1]for ~[s
m12[nm unacc. vv. ([sm1968[nm=n[sm9[nm); [cf2]Pneuma [cf1]for [sm34[nm winds, ~o
rgan, perc., radios ([sm1970[nm); [cf2]Cardiophonie[cf1], for [sm1[nm ~wind play
er ([sm1971[nm); Str. Qt. ([sm1974[nm=n[sm5[nm); [cf2]Atembogen ~[cf1]for orch.
([sm1975[nm); [cf2]Chaconne[cf1], vc. ([sm1976[nm); [cf2]NOT [sm1[nm[cf1], ~mono
drama for sop. and elec. ([sm1980[nm).[cm~Hollingsworth, John [f
y75,1](Charles) ([cf2]b[cf1] Enfield, [sm1916[nm; ~[cf2]d[cf1] London, [sm1963[n
m). Eng. cond. Studied GSM. Assoc. ~cond. R.A.F. S.O. [sm1940[nm=n[sm5[nm. Cond.
 much film mus., ~also ballet and opera at CG from [sm1950[nm. Assoc. ~cond., He
nry Wood Proms [sm1949=n63[nm.[cm~Holloway, Robin [fy75,1]([cf2]b[cf1] Leamingto
n Spa, [sm1943[nm). ~Eng. composer. Studied St. Paul's Cath. Choir ~Sch., Cambri
dge Univ., and Oxford Univ. Ass. ~lecturer in mus., Cambridge Univ. from [sm1974
[nm. ~One of most gifted and interesting of younger ~school of Eng. composers, w
ith a richly romantic ~style owing something to Strauss but not merely ~backward
s-looking. Works incl.:[xm[cm~[ol0][ep~[xp[te~




[do19][j99]~~~~~~[sm153842[nm_HA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm26[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm327[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j2][smopera[nm: [fy75,2
]Clarissa [cf1]([sm1975[nm).[ep~[smorch[nm: Concertino No. [sm1[nm ([sm1964[nm,
new finale [sm1968[nm=n~[sm9[nm), No. [sm2[nm ([sm1967[nm, menuetto added [sm197
4[nm), No. [sm3[nm ~([cf2]Homage to Weill[cf1]) for [sm11[nm players ([sm1975[nm
); [cf2]Concerto ~for Orchestra [cf1]([sm1966[nm=n[sm9[nm); [cf2]Second Concerto
 for ~Orchestra [cf1]([sm1979[nm); [cf2]Divertimento No. [sm1[nm [cf1](amateur ~
orch.) ([sm1968[nm); [cf2]Scenes from Schumann[cf1], [sm7[nm para~~phrases ([sm1
969[nm=n[sm70[nm); [cf2]Domination of Black[cf1], sym. ~poem ([sm1973[nm=n[sm4[n
m); [cf2]Romanza[cf1], vn. and small orch. ~([sm1976[nm); [cf2]Idyll[cf1], small
 orch. ([sm1979[nm=n[sm80[nm); [cf2]Aria [cf1]([cf2]Dark ~Air[cf1]), chamber orc
h. ([sm1979[nm=n[sm80[nm); [cf2]Sonata[cf1], hn. and ~orch. ([sm
1979[nm=n[sm80[nm); [cf2]Adagio and Rondo[cf1], hn. and orch. ~([sm1979[nm=n[sm8
0[nm); [cf2]Serenata Notturna[cf1], [sm4[nm hn., small orch. ~([sm1982[nm); [cf2
]Second Idyll[cf1], small orch. ([sm1983[nm).[ep~[smens[nm: [cf2]Garden Music[cf
1], [sm8[nm players ([sm1962[nm, rev. [sm1967[nm); ~Conc. for organ and wind ([s
m1965[nm=n[sm6[nm); [cf2]Fantasy-~Pieces[cf1], on Heine [cf2]Liederkreis[cf1] of
 R. Schumann, for ~[sm13[nm players ([sm1971[nm); [cf2]Evening with Angels[cf1],
 [sm16[nm players ~([sm1972[nm); [cf2]Divertimento No. [sm2[nm[cf1], wind nonet
([sm1972[nm); ~[cf2]The Rivers of Hell[cf1], [sm7[nm players ([sm1977[nm); [cf2]
Serenade [cf1]in ~C, octet ([sm1979[nm); [cf2]Ode[cf1], [sm4[nm winds and str. (
[sm1980[nm); ~[cf2]Showpiece [cf1](Concertino No. [sm4[nm), [sm14[nm players ([s
m1982[nm=n~[sm3[nm).[ep~[smvoice[nm([sms[nm) [smand orch[nm: [cf2]The Wind Shift
s[cf1], [sm8[nm poems of W. ~Stevens, high v. and str. ([sm1970[nm); [cf2]Cantat
a on the ~Death of God[cf1], sop., ten., bass soloists, speaker,
 ch., ~org., orch. ([sm1972[nm=n[sm3[nm); [cf2]Sea Surface Full of Clouds[cf1],
~cantata, sop., cont., counterten., ten. soloists, ~small ch., chamber orch. ([s
m1974[nm=n[sm5[nm); [cf2]Clarissa ~Symphony[cf1], sop., ten., orch. ([sm1976[nm,
 [sm1981[nm); [cf2]Brand[cf1], ~ballad for solo vv., ch., org., orch. ([sm1981[n
m).[ep~[smvoice[nm([sms[nm) [smand ens[nm: [cf2][sm3[nm Poems of William Empson[
cf1], mez. ~and ens. ([sm1964[nm=n[sm5[nm); [cf2]Music for Eliot's `Sweeney ~Ago
nistes'[cf1], [sm3[nm or [sm4[nm speakers and [sm5[nm players ([sm1965[nm); ~[cf
2]In Chymick Art[cf1], cantata, sop., bar., [sm9[nm players ~([sm1965[nm=n[sm6[n
m); [cf2]Melodrama[cf1], [sm3[nm poems of S. Plath, ~speaker., male ch., ens. ([
sm1967[nm); [cf2]Divertimento No. ~[sm3[nm [cf1]([cf2]Nursery Rhymes[cf1]), sop.
, wind quintet ([sm1977[nm); ~[cf2]Conundrums [cf1]([cf2]Divertimento No. [sm4[n
m[cf1]), sop., wind ~quintet ([sm1977, 1979[nm); [cf2]Moments of Vision[cf1], sp
eaker, ~vn., vc., pf., perc. ([sm1984[nm).[ep~[smunacc. chorus[n
m: [cf2]The Consolation of Music [cf1]([sm1967[nm=n~[sm71[nm=n[sm77[nm); [cf2][s
m5[nm Madrigals [cf1]([sm1973[nm); [cf2]Hymn for Voices[cf1], ~([sm1977[nm); [cf
2]He-She-Together[nm [cf1]([sm1978[nm).[ep~[cf1][smsong-cycles and songs[nm: [cf
2][sm4[nm Housman Fragments[cf1], ~sop., pf. ([sm1965[nm=n[sm6[nm); [cf2][sm4[nm
 Poems of Stevie Smith[cf1], unacc. ~sop. ([sm1968[nm=n[sm9[nm); [cf2]Banal Sojo
urn[cf1], [sm7[nm Stevens poems, ~high v. and pf. ([sm1971[nm); [cf2]Georgian So
ngs[cf1], [sm10[nm songs, ~bar. and pf. ([sm1972[nm); [cf2][sm5[nm Little Songs
about Death[cf1] (S. ~Smith), unacc. sop. ([sm1972[nm=n[sm3[nm); [fy45,1]*[fy75,
2]Lights Out[cf1], [sm4[nm songs ~for bar. and pf. ([sm1974[nm); [cf2]In the Thi
rtieth Year[cf1], [sm5[nm ~songs for ten. and pf. ([sm1974[nm); [cf2]Author of L
ight[cf1], [sm4[nm ~songs for cont. and pf. ([sm1974[nm); [cf2]The Leaves Cry[cf
1], [sm2[nm ~songs for sop. and pf. ([sm1974[nm); [cf2]This is Just to Say[cf1],
 ~ten., pf. ([sm1977[nm); [cf2]The Blue Doom of Summer[cf1], v.
and ~harp ([sm1977[nm); [cf2]Willow Cycle[cf1], ten., harp ([sm1977[nm); ~[cf2]F
rom High Windows[cf1], [sm6[nm poems by P. Larkin, for ~bar. and pf. ([sm1977[nm
); [cf2]Killing Time[cf1], unacc. sop. ~([sm1978[nm); [cf2]The Noon's Repose[cf1
], [sm3[nm songs for ten. and ~harp ([sm1978[nm=n[sm9[nm); [cf2]Wherever We May
Be[cf1], [sm5[nm songs by ~R. Graves, for sop. and pf. ([sm1980[nm=n[sm1[nm); [c
f2]The Lovers' ~Well[cf1], bass-bar. and pf. ([sm1981[nm); [cf2]Women in War[cf1
], ~revue for [sm4[nm female vv. and pf. ([sm1982[nm).[ep~[smchamber music[nm: [
cf2][sm3[nm Slithy Toves[cf1], [sm2[nm cl. ([sm1978[nm); sonata ~for vn. solo ([
sm1981[nm); [cf2]Suite for Saxophone [cf1]([sm1982[nm).[ep~[smbrass band[nm[cf2]
: From Hills and Valleys [cf1]([sm1983[nm).[cm~[j1]Hollreiser, Heinrich [fy75,1]
([cf2]b[cf1] Munich, [sm1913[nm). Ger. ~cond. Began career with opera posts in W
iesba[chden, ~Darmstadt, and Mannheim. In [sm1942[nm at Munich ~Staatsoper. Mus
. dir. D;Auusseldorf Opera [sm1945[nm=n[sm52[nm, ~Vienna [sm1952
[nm=n[sm61[nm, Berlin [sm1961[nm=n[sm4[nm. Bayreuth d;aaebut ~[sm1973[nm ([cf2]T
annh;auauser[cf1]). Cond. f. Ger. p. of Britten's ~[cf2]Peter Grimes [cf1](Hambu
rg, [sm1947[nm).[cm~Hollweg, Werner [fy75,1](Friedrich) ([cf2]b[cf1] Solingen, [
sm1936[nm). ~Ger . ten. Studied Detmold Acad. of Mus. D;Aaebut ~Vienna [sm1962[n
m. Int. career in opera and concert-~hall.[cm~Hollywood Bowl. [fy75,1]Natural op
en-air amphi~~theatre ([sm65[nm acres) near Los Angeles, Calif., ~purchased in [
sm1919[nm and in which since [sm1922[nm ~concerts of the Los Angeles P.O. are gi
ven ~annually for [sm9[nm weeks from July to September. ~Seats [sm25[nm,[sm000[n
m and has remarkable acoustics.[cm~Holmboe, Vagn [fy75,1]([cf2]b[cf1] Horsens, J
utland, [sm1909[nm). ~Danish composer. Studied Royal Cons., Copen~~hagen, [sm192
6[nm=n[sm30[nm (comp. with [fy45,1]*[fy75,1]H;Upffding) and in ~Berlin [sm1931[n
m with E. Toch. In [sm1930[nms collected ~Romanian and Danish folk music. Teache
r Royal ~Danish Institute for Blind [sm1940[nm=n[sm49[nm, mus. c
ritic ~[cf2]Politiken [cf1][sm1947[nm=n[sm55[nm. Teacher at Royal Danish Cons. ~
[sm1950[nm=n[sm65[nm. Comps. incl. [sm11[nm syms., [sm3[nm operas, [cf2]Requiem
~for Nietzsche[cf1], [sm3[nm chamber syms., [sm14[nm str. qts. ([sm1926=n~75[nm)
, [sm13[nm concs., [sm14[nm motets.[cm~Holm;ages [fy75,1](orig. Holmes), [fy65][
cf3]Augusta [fy75,1](Mary Anne) [cf1]([cf2]b[cf1] ~Paris, [sm1847[nm; [cf2]d[cf1
] Paris, [sm1903[nm). Irish-born composer ~(under pseudonym Hermann Zenta) who l
ived ~in Paris. Studied comp. with [fy45,1]*[fy75,1]Franck [sm1875[nm. Wrote ~sy
ms., symphonic poems, [sm4[nm operas, and choral ~works.[cm~Holmes, Ralph [fy75,
1]([cf2]b [cf1]Penge, [sm1937[nm; [cf2]d [cf1]Beckenham, [sm1984[nm). Eng. violi
nist. ~Studied RAM with David Martin, then in Paris ~[PN338,0,0,L,I0]with Enescu
. London d;aaebut [sm1951[nm with RPO. ~Amer. d;aaebut [sm1966[nm (NY, Houston S
.O. and ~Barbirolli). Prof. of vn., RAM, from [sm1964[nm. Had all ~major [sm20[n
mth cent. vn. concs. in his repertoire. Also ~played in chamber
mus.[cm~Holst, Gustav [fy75,1](Theodore) [cf1]([cf2]b[cf1] Cheltenham, [sm1874[n
m; ~[cf2]d[cf1] London, [sm1934[nm). Eng. composer of Swed. descent. ~Trained as
 a pianist, his father being a pf. teacher. ~In [sm1892[nm he became organist an
d choirmaster at ~Wyck Rissington, Glos. His operetta [cf2]Lansdowne ~Castle [cf
1]was prod. in Cheltenham in [sm1893[nm, after ~which his father sent him to the
 RCM to study ~comp. under Stanford and the org. under Hoyte. ~At the same time
he learned the tb., his pf.-~playing being handicapped by chronic neuritis in ~t
he arm. In coll. holidays he played the tb. on ~seaside piers in the White Vienn
ese Band. He left ~the RCM in [sm1898[nm, having formed there a lifelong ~friend
ship with Vaughan Williams which ex~~tended to frank and detailed criticism of e
ach ~other's comps. He worked as a trombonist in the ~Carl Rosa Opera [sm1898=n1
900[nm and Scottish Orch. ~from [sm1900[nm to [sm1903[nm and learned a smatterin
g of ~Sanskrit in order to be able to trans. hymns from ~the [cf
2]Rig Veda [cf1]which he wished to set to mus. His ~[cf2]Cotswolds Symphony [cf1
](unpubd.) was perf. in[fjBour~~nemouth [sm1902[nm by Dan [fy45,1]*[fy75,1]Godfr
ey and in [sm1905[nm his ~[cf2]Mystic Trumpeter [cf1]was perf. at the Queen's Ha
ll. In ~[sm1903[nm he became mus. teacher at a Dulwich girls' ~sch., holding thi
s post until [sm1920[nm, and in [sm1905[nm he ~became dir. of mus. at St Paul's
Girls' Sch., ~Hammersmith, retaining this appointment until ~his death. At this
time, too, like Vaughan ~Williams he became deeply interested in Eng. ~folksong,
 and in [sm1907[nm became mus. dir. at Morley ~Coll., holding this post until [s
m1924[nm. At all the schs. ~where he taught he raised both standards and ~taste.
 In [sm1908[nm he went on holiday to Algeria ~(bicycling in the desert), the dir
ect mus. result of ~which was an orch. suite [cf2]Beni Mora[cf1]. On return he ~
comp. his chamber opera [cf2]Savitri[cf1]. In [sm1911[nm he cond. ~at Morley Col
lege the f. modern p. of Purcell's ~[cf2]The Fairy Queen[cf1], a
nd in [sm1913[nm began work on a ~large-scale orch. suite [cf2]The [cf2]Planets[
cf1], sketching [cf2]Mars ~[cf1]just before World War I began in [sm1914[nm. In
that ~year he set Whitman's [cf2]Dirge for [sm2[nm Veterans [cf1]for ~male vv.,
brass, and drums. At this time he went ~to live in Thaxted, Essex, where in [sm1
916[nm he ~organized a Whitsuntide Fest., singing and ~performing mus. by Bach,
Byrd, Purcell, and ~Palestrina. Later that year [cf2]Savitri [cf1]was prod. in ~
London and in [sm1917[nm Holst began his choral work ~[cf2]The Hymn of Jesus[cf1
]. He was unfit for war service, ~but in [sm1918[nm was offered the post of YMCA
 mus. ~organizer among the troops in the Near East. As ~a parting present a weal
thy friend, Balfour ~Gardiner, arranged a private perf. of [cf2]The Planets ~[cf
1]in Queen's Hall, cond. Adrian Boult. The f. public ~p. was in [sm1919[nm and w
as Holst's first major public ~success. On return to Eng. later in [sm1919[nm he
 was ~appointed prof. of mus. at University Coll., ~Reading, and
 joined the teaching staff of the ~RCM. His comic opera [cf2]The [cf2]Perfect Fo
ol [cf1]was perf. ~at CG in [sm1923[nm while Holst was conducting at a ~fest. at
 the Univ. of Michigan at Ann Arbor. In ~[sm1924[nm he comp. his [cf2]Choral Sym
phony [cf1]on poems by ~Keats which was f.p. at the [sm1925[nm Leeds Fest., the
~same year that his [sm1[nm-act Falstaff opera [cf2]At the Boar's ~Head[cf1] was
 staged by the BNOC. The ill-health ~from which he had always suffered in some ~
degree plagued him more after he fell from a ~platform while rehearsing at Readi
ng in [sm1923[nm ~and comp. became an arduous burden. But in ~[sm1927[nm he wrot
e his tone-poem [cf2]Egdon Heath [cf1](the ~title given by Thomas Hardy to a str
etch of ~countryside in Dorset), to a commission from the ~NY S.O. This was foll
owed in [sm1929[nm and [sm1930[nm by ~[cf2][sm12[nm Songs by Humbert Wolfe[cf1],
 the Double Conc., an ~opera [cf2]The [cf2]Wandering Scholar[cf1], the [cf2]Chor
al Fantasia[cf1] ~(perf. [sm1931[nm at the Gloucester [sm3[nm Ch
oirs Fest.), and ~the prelude and scherzo, [cf2]Hammersmith[cf1], for orch. ~The
se works gave promise of a new, richer, and ~more lyrical phase, as did the [cf2
]Brook Green Suite ~[cf1]and [cf2]Lyric Movement [cf1]of [sm1933[nm. But in [sm1
934[nm, after an ~operation, Holst died in the plenitude of his ~powers. His mus
., while owing something to ~folk-song influence and to the madrigalian ~traditi
on of Byrd and Weelkes, is intensely orig. ~and has a visionary quality similar
to that found ~in Vaughan Williams but expressed with more ~austerity and greate
r natural technical facility. ~His [cf2]Planets [cf1]suite, now a popular orch.
showpiece, ~is markedly eclectic, but its finest movements, ~[cf2]Mars[cf1], [cf
2]Venus[cf1], [cf2]Saturn[cf1], and [cf2]Neptune[cf1], show varied ~aspects of H
olst's style. His genius as a teacher and ~his feeling for the community spirit
engend[chered ~by mus. also contributed to the outstanding part ~he played in En
g. mus.-making in the first [sm2[nm ~decades of the [sm20[nmth-c
ent. Prin. works:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Savitri[cf1], Op. [sm
25[nm ([sm1908[nm); [cf2]The [fy45,1]*[fy75,2]Perfect Fool[cf1], ~Op. [sm39[nm (
[sm1918[nm=n[sm22[nm); [fy45,1]*[fy75,2]At the Boar's Head[cf1], Op. [sm42[nm ~(
[sm1924[nm); [cf2]The [fy45,1]*[fy75,2]Wandering Scholar[cf1], Op. [sm50[nm ([sm
1929[nm=n~[sm30[nm).[ep~[smballet[nm: [cf2]The Lure [cf1]([sm1921[nm, ed. for or
ch. by I. Holst ~and C. Matthews, [sm1981[nm).[ep~[smorch[nm: [cf2]Suite de Ball
et [cf1]in E;Yh, Op. [sm10[nm ([sm1899[nm); [cf2]A ~Somerset Rhapsody[cf1], Op.
[sm21[nmb ([sm1906[nm=n[sm7[nm); [sm2[nm [cf2]Songs ~Without Words[cf1], Op. [sm
22[nm ([sm1906[nm); [fy45,1]*[fy75,2]Beni Mora[cf1], ~Oriental Suite in E minor,
 Op. [sm29[nm No. [sm1[nm ([sm1910[nm, ~rev. [sm1912[nm); [cf2]Suite No. [sm1[nm
 [cf1]in E;Yh, Op. [sm28[nma, for military ~band ([sm1909[nm), [cf2]Suite No. [s
m2[nm [cf1]in F, Op. [sm28[nmb ([sm1911[nm); ~[cf2]Invocation[cf1], vc. and orch
. ([sm1911[nm); [fy45,1]*[fy75,2]St. Paul's Suite[cf1], ~Op. [sm
29[nm No. [sm2[nm, for str. ([sm1912[nm=n[sm13[nm); [cf2]Japanese Suite[cf1], ~O
p. [sm33[nm ([sm1915[nm); Suite, [cf2]The [fy45,1]*[fy75,2]Planets[cf1], Op. [sm
32[nm ([sm1914[nm=n~[sm16[nm); Ballet mus. from [cf2]The Perfect Fool[cf1], Op.
[sm39[nm ~([sm1918[nm); A [cf2]Fugal Overture[cf1], Op. [sm40[nm No. [sm1[nm ([s
m1922[nm); ~[cf2]Fugal Concerto[cf1], Op. [sm40[nm No. [sm2[nm, for fl., ob. (or
 [sm2[nm ~vn.), and str. ([sm1932[nm); [fy45,1]*[fy75,2]Egdon Heath[cf1], Op. [s
m47[nm ~([sm1927[nm); [cf2]A Moorside Suite[cf1], for brass band ([sm1928[nm); ~
Conc. for [sm2[nm vn. and orch., Op. [sm49[nm ([sm1929[nm); ~[cf2]Hammersmith[cf
1], Op. [sm52[nm, prelude and scherzo for ~military band and for orch. ([sm1930[
nm=n[sm1[nm); [cf2]Capriccio[cf1], ~jazz-band piece ([sm1932[nm, ed. Imogen Hols
t [sm1967[nm); ~[fy45,1]*[fy75,2]Brook Green Suite  [cf1]for str. and optional w
oodwind ~[PN339,0,0,R,I0]([sm1933[nm); [cf2]Lyric Movement [cf1]for va. and orch
. ([sm1933[nm); ~[cf2]Scherzo [cf1](from unfinished sym.) ([sm19
33[nm=n[sm4[nm).[ep~[smchoral[nm: [sm5[nm [cf2]Part-Songs [cf1]Op. [sm9[nma ([sm
1899[nm=n[sm1900[nm); [cf2]Ave ~Maria[cf1], Op. [sm9[nmb, for female vv. ([sm190
0[nm); [sm5[nm [cf2]Part-~Songs[cf1], Op. [sm12[nm ([sm1902[nm=n[sm3[nm); [cf2]K
ing Estmere[cf1], Op. [sm17[nm, ~Old English ballad for ch. and orch. ([sm1903[n
m): [cf2]The ~[fy45,1]*[fy75,2]Mystic Trumpeter[cf1], Op. [sm18[nm, scena for so
p. and ~orch. ([sm1904[nm, rev. [sm1912[nm); [cf2]Songs from `The Princess'[cf1]
, ~Op. [sm20[nma, for female vv. ([sm1905[nm); [sm3[nm [cf2]Choral [fy45,1]*[fy7
5,2]Hymns ~from the Rig Veda[cf1], Op. [sm26[nm No. [sm1[nm, for ch. and orch. ~
([sm1908[nm=n[sm10[nm), Op. [sm26[nm No. [sm2[nm ([sm3[nm Hymns) for female ~vv.
 and orch. ([sm1909[nm), Op. [sm26[nm No. [sm3[nm ([sm4[nm Hymns) ~for female vv
. and harp ([sm1910[nm), Op. [sm26[nm No. [sm4[nm ([sm4[nm ~Hymns) for male vv.
and orch. ([sm1912[nm); [cf2]Hecuba's ~Lament[cf1], Op. [sm31[nm No. [sm1[nm, fo
r cont., female ch., and ~orch. ([sm1911[nm); [cf2]The [fy45,1]*
[fy75,2]Cloud Messenger[cf1], Op. [sm30[nm, ode ~for ch. and orch. ([sm1910[nm,
rev. [sm1912[nm); [sm2[nm [cf2]Psalms [cf1]for ~ch., str., and org. ([sm1912[nm)
; [cf2]Hymn to Dionysus[cf1], Op. ~[sm31[nm No. [sm2[nm, for female ch. and orch
. ([sm1913[nm); [fy45,1]*[fy75,2]Dirge ~for [sm2[nm Veterans[cf1], for male vv.,
 brass, and perc. ~([sm1914[nm); [fy45,1]*[fy75,2]This have I done for my true l
ove[cf1], Op. [sm34[nm, ~for unacc. ch. ([sm1916[nm); [sm6[nm [cf2]Choral Folkso
ngs[cf1], Op. [sm36[nm, ~for unacc. ch. ([sm1916[nm); [sm3[nm [cf2]Festival Chor
uses[cf1], with ~orch. ([sm1916[nm); [cf2]The [fy45,1]*[fy75,2]Hymn of Jesus[cf1
], Op. [sm37[nm, for [sm2[nm ~ch., semi-ch., and orch. ([sm1917[nm); [fy45,1]*[f
y75,2]Ode to Death[cf1], ~Op. [sm38[nm, for ch. and orch. ([sm1919[nm); [cf2]I v
ow to thee, my ~country[cf1], unison song with orch. (to central ~melody from [c
f2]Jupiter[cf1], No. [sm4[nm of [cf2]The Planets[cf1]) ([sm1921[nm); ~[cf2]First
 Choral Symphony[cf1], Op. [sm41[nm, for sop., ch., and ~orch. (
[sm1923[nm=n[sm4[nm); [sm2[nm [cf2]Motets[cf1], Op. [sm43[nm, for unacc. ch. ~([
sm1924[nm=n[sm5[nm); [sm7[nm [cf2]Part-Songs[cf1], Op. [sm44[nm, (to poems by ~B
ridges) for female vv. and str. ([sm1925[nm=n[sm6[nm)=mNo. ~[sm7[nm is [fy45,1]*
[fy75,2]Assemble, all ye maidens[cf1]; [cf2]The Golden Goose[cf1], ~Op. [sm45[nm
 No. [sm1[nm, choral ballet with orch. ([sm1926[nm); ~[cf2]The Morning of the Ye
ar[cf1], Op. [sm45[nm No. [sm2[nm, choral ~ballet with orch. ([sm1926[nm=n[sm7[n
m); [fy45,1]*[fy75,2]Choral Fantasia[cf1], Op. ~[sm51[nm, for sop., ch., org., b
rass, and str. ([sm1930[nm); [sm12[nm ~[cf2]Welsh Folksongs[cf1] for unacc. ch.
([sm1930[nm=n[sm1[nm); [sm6[nm ~[cf2]Choruses[cf1], Op. [sm53[nm (to words trans
. from Lat. by ~Helen Waddell) for male vv. and str. (or org., or ~pf.) ([sm1931
[nm=n[sm2[nm); [sm6[nm [cf2]canons[cf1], (to words trans. from ~Lat. by H. Wadde
ll) for equal unacc. vv. ([sm1932[nm).[ep~[smsolo songs[nm: [sm4[nm [cf2]Songs[c
f1], Op. [sm4[nm, for v. and pf. ([sm1896[nm=n~[sm8[nm); [sm6[nm
 [cf2]songs[cf1], Op. [sm15[nm, for bar. and pf. ([sm1902[nm=n[sm3[nm); [sm6[nm
~[cf2]Songs[cf1], Op. [sm16[nm, for sop. and pf. ([sm1903[nm=n[sm4[nm); [sm9[nm
~[fy45,1]*[fy75,2]Hymns from the Rig Veda[cf1], Op. [sm24[nm, for v. and pf. ~([
sm1907[nm=n[sm8[nm); [sm4[nm [cf2]Songs[cf1], Op. [sm35[nm, for v. and vn. ([sm1
916[nm=n~[sm17[nm); [sm12[nm [cf2]Songs by Humbert Wolfe[cf1], Op. [sm48[nm, for
 v. ~and pf. ([sm1929[nm); [sm2[nm Canons (to words trans. from ~Lat. by H. Wadd
ell) for [sm2[nm equal vv. and pf. ~([sm1932[nm).[ep~[smchamber music[nm: [sm6[n
m [cf2]Instrumental pieces [cf1](variously for ~[sm2[nm vn., vn. (or vc.), and p
f.) ([sm1902[nm=n[sm3[nm); wind ~quintet ([sm1903[nm); [cf2]Terzetto [cf1]for fl
., ob., and va. ~([sm1925[nm).[ep~[smpiano[nm: [sm2[nm [cf2]Pieces [cf1]([sm1901
[nm); [cf2]Toccata [cf1]([sm1924[nm); [cf2]Chrissemas ~Day in the Morning[cf1],
Op. [sm46[nm No. [sm1[nm ([sm1926[nm); [sm2[nm ~[cf2]Folksong Fragments[cf1], Op
. [sm46[nm No. [sm2[nm ([sm1927[nm); [cf2]Nocturne ~[cf1]([sm193
0[nm); [cf2]Jig [cf1]([sm1932[nm).[cm~[j1]Holst, Henry [fy75,1]([cf2]b[cf1] Cope
nhagen, [sm1899[nm). Danish ~violinist. Studied Royal Danish Cons., Copen~~hagen
, and later in Berlin with Willy Hess. D;Aaebut ~Copenhagen [sm1919[nm. Leader,
Berlin P.O. [sm1923[nm=n[sm31[nm. ~Prof. of vn. RMCM [sm1931[nm=n[sm46[nm, [sm19
50[nm=n[sm3[nm, RCM ~[sm1946[nm=n[sm54[nm, Royal Danish Cons. from [sm1953[nm; g
uest ~prof. Tokyo [sm1961[nm=n[sm3[nm. Frequent conc. soloist. Gave ~f. Eng. p.
of Walton conc. [sm1941[nm.[cm~Holst, Imogen [fy75,1](Clare)[cf1] ([cf2]b[cf1] R
ichmond, Surrey, ~[sm1907[nm; [cf2]d [cf1]Aldeburgh, [sm1984[nm). Eng. cond., ed
., and ~writer. Daughter of Gustav [fy45,1]*[fy75,1]Holst. Educated St ~Paul's G
irls' Sch. and RCM. Ed. several of her ~father's works and cond. them for record
ings. ~Mus. dir., arts centre, Dartington Hall, [sm1943[nm=n[sm51[nm. ~Dir. of A
ldeburgh Fest. and for several years mus. ~ass. to [fy45,1]*[fy75,1]Britten. Aut
hor of biography and other ~books about Gustav Holst, also on Br
itten and ~Byrd. C.B.E. [sm1975[nm.[cm~Holy Boy, The. [fy75,1]No. [sm3[nm of [sm
4[nm [cf2]Preludes [cf1]for pf. by ~[fy45,1]*[fy75,1]Ireland, comp. [sm1913=n5[n
m. Orch. for str. [sm1941[nm, for ~str. qt. [sm1941[nm; arr. for org. (by Alec R
owley) [sm1919[nm, ~for brass ens. (by R. E. Stepp) [sm1950[nm, for v. and pf. ~
(poem by Herbert S. Brown) [sm1938[nm, for unacc. ch. ~[sm1941[nm, for str. qt.
[sm1941[nm.[cm~Holy Sonnets of John Donne. [fy75,1]Setting of [sm9[nm ~Donne son
nets for high v. and pf. Op. [sm35[nm, by ~Britten. Comp. [sm1945[nm after visit
 to Ger. concentra~~tion camps.[xm[cm~[ol0][ep~[xp[te~





[do19][j99]~~~~~~[sm153842[nm_HA[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm05[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm27[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm347[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Holzbauer, Ignaz [fy
75,1]([cf2]b[cf1] Vienna, [sm1711[nm; [cf2]d[cf1] Mann[chheim, ~[sm1783[nm). Aus
trian composer. Mus. dir. Vienna court ~th. [sm1745[nm, court Kapellmeister, Stu
ttgart [sm1751[nm, ~Mannheim [sm1753[nm. Comp. about [sm40[nm syms., several ~op
eras, chamber works, and much church mus. ~Admired by Mozart. His opera [cf2]G;A
uunther von ~Schwarzburg [cf1]([sm1776[nm) used recit. instead of spoken ~dialog
ue.[cm~Holzblasinstrumente [fy75,1](Ger., `wood-blown instru~~ments'). The woodw
ind.[cm~Holzfl;auote [fy75,1](Ger.). `Wooden flute' (org. stop).[cm~Holztrompete
 [fy75,1](Ger.). ([sm1[nm) Wooden tpt., or Alp~~[chhorn; Swiss folk instr. for p
laying simple tunes. ~([sm2[nm) Wooden instr. with bell of cor anglais, one ~val
ve, and cup mouthpiece invented to play ~shepherd's tune in Act
[sm3[nm of Wagner's [cf2]Tristan und ~Isolde [cf1](nevertheless, a cor anglais i
s usually ~employed for this passage).[cm~Homage March. [fy75,1]See [cf2]Huldigu
ngsmarsch.[cm~Homage to the Queen.[fy75,1] Ballet in [sm1[nm act, mus. by ~Malco
lm Arnold, choreog. Ashton, prod. London ~[sm1953[nm on night of Queen Elizabeth
 II's Coronation.[cm~Home, Sweet Home. [fy75,1]Melody by Henry [fy45,1]*[fy75,1]
Bishop, ~comp. [sm1821[nm for album of nat. airs, described as ~`Sicilian'. In [
sm1823[nm, with words by J. H. Payne ~([sm1791[nm=n[sm1852[nm), incorporated in
Bishop's opera [cf2]Clari[cf1]. ~Tune occurs, altered, in Donizetti's [cf2]Anna
Bolena[cf1], ~leading to action by Bishop for `piracy and breach ~of copyright'.
[cm~Homme Arm;aae, L' [fy75,1](The Armed Man). Old Fr. ~folk-song used by Dufay,
 Palestrina, and more ~than [sm20[nm other composers in [sm15[nmth, [sm16[nmth,
and [sm17[nmth ~[PN340,0,0,L,I0]cents. as a [fy45,1]*[fy75,1]cantus firmus in th
eir Masses, which ~then became known by this title. [fy45,1]*[fy
75,1]Maxwell ~Davies, in the [sm20[nmth cent., wrote [cf2]Missa super ~`L'Homme
Arm;aae' [cf1]for speaker and ens. ([sm1968[nm).[cm~Homophone. [fy75,1][sm2[nm h
arp str. tuned to produce the ~same note.[cm~Homophony [fy75,1](Gk., `Same-sound
ing'). Term ap~~plied to mus. in which the parts or vv. move `in ~step' with one
 another, instead of exhibiting ~individual rhythmic independence and interest,
~as in [fy45,1]*[fy75,2]Polyphony[cf1]. Many modern hymn-tunes are ~homophonic,
whereas Bach's settings of Ger. ~chorales and many Handelian choruses are ~polyp
honic.[cm~Honegger, Arthur [fy75,1]([cf2]b[cf1] Le Havre, [sm1892[nm; [cf2]d[cf1
] Paris, ~[sm1955[nm). Swiss composer. Studied Z;auurich Cons. ~[sm1909[nm=n[sm1
1[nm, Paris Cons. [sm1911[nm (comp. with Widor, ~orchestration with d'Indy). Mem
ber of group of ~Fr. composers known as [cf2]Les [fy45,1]*[fy75,2]Six [cf1]from
[sm1920[nm. His ~[cf2]Le Roi David [cf1]won him wider fame in [sm1921[nm, but ~t
his was eclipsed in [sm1924[nm by f.p. of his represen~~tation o
f a locomotive in [cf2]Pacific [sm231[nm[cf1]. From these ~works he moved nearer
 to a neo-romantic style ~with overtones of baroque influence from his ~admir[ch
ation for Bach. His mus. remained tonal ~and often has strong emotional impact,
as in his ~dramatic oratorio, based on a Claudel `mystery ~play', [cf2]Jeanne d'
Arc au b;afucher[cf1]. His syms. were ~championed by the cond. Charles [fy45,1]*
[fy75,1]Munch. He ~visited the USA several times and despite ill-~health taught
in his last years at the ;AaEcole ~Normale in Paris. Prin. works:[xm[cm~[j2][smt
heatre[nm: [fy75,2]Le [fy45,1]*[fy75,2]Roi David[cf1], dramatic psalm ([sm1921[n
m); ~[fy45,1]*[fy75,2]Judith[cf1], biblical opera ([sm1925[nm); [cf2]Antigone [c
f1]([sm1927[nm); ~[cf2]Amphion[cf1], ballet-melodrama, speaker, bar., [sm4[nm ~f
emale vv., ch., orch. ([sm1929[nm); [fy45,1]*[fy75,2]Jeanne d'Arc au ~b;afucher[
cf1], stage oratorio ([sm1934[nm=n[sm5[nm); [cf2]L'[fy45,1]*[fy75,2]Aiglon[cf1],
 [sm5[nm-act ~opera with [fy45,1]*[fy75,1]Ibert ([sm1935[nm); [c
f2]Charles le t;aaem;aaeraire ~[cf1]([sm1943[nm=n[sm4[nm).[ep~[smorch[nm: [fy45,
1]*[fy75,2]Pastorale d';aaEt;Aae [cf1]([sm1920[nm); [cf2]Chant de Joie [cf1]([sm
1923[nm); ~[fy45,1]*[fy75,2]Pacific [sm231[nm[cf1] ([sm1923[nm); concertino for
pf. and orch. ~([sm1924[nm); [fy45,1]*[fy75,2]Rugby [cf1]([sm1928[nm); vc. conc.
 ([sm1929[nm); Syms., ~No. [sm1[nm ([sm1929[nm=n[sm30[nm), No. [sm2[nm for str.
and tpt. ([sm1941[nm), ~No. [sm3[nm ([cf2]Liturgique[cf1]) ([sm1945[nm=n[sm6[nm)
, No. [sm4[nm ([cf2]Deliciae ~basiliensis[cf1]) ([sm1946[nm), No. [sm5[nm ([cf2]
Di tre re[cf1]) ([sm1951[nm); ~[cf2]Mouvement symphonique [cf1]No. [sm3[nm ([sm1
932[nm=n[sm3[nm); [cf2]Nocturne ~[cf1]([sm1936[nm); [cf2]La Construction d'une c
it;Aae[cf1] (with Milhaud) ~([sm1937[nm); Concerto da camera for fl., cor anglai
s, ~and str. ([sm1948[nm); [cf2]Monopartita [cf1]([sm1951[nm).[ep~[smvoice and o
rch[nm: [cf2]Chanson de Ronsard[cf1], with fl. and ~str. ([sm1924[nm); [sm3[nm [
cf2]Chansons populaires [cf1]([sm1926[nm).[ep~[smchoral[nm: [cf2
]Cantique des Cantiques [cf1]([sm1926[nm); [cf2]Les Cris du ~Monde [cf1]([sm1930
[nm=n[sm1[nm); [cf2]La Danse des Morts [cf1](Claudel), ~solo vv., ch., orch. ([s
m1938[nm); [cf2]Chant de lib;aaeration ~[cf1]([sm1944[nm); [cf2]Une Cantate de N
o;auel [cf1]([sm1941[nm/[sm1953[nm).[ep~[smchamber music[nm: Str. qts., No. [sm1
[nm ([sm1916[nm=n[sm17[nm), No. [sm2[nm ~([sm1936[nm), No. [sm3[nm ([sm1936[nm=n
[sm7[nm); Sonatas for pf. and vn., ~No. [sm1[nm ([sm1916[nm=n[sm18[nm), No. [sm2
[nm ([sm1919[nm); va. sonata ([sm1920[nm); ~vc. sonata ([sm1920[nm); vn. sonatin
a ([sm1932[nm); vn. sonata ~([sm1940[nm).[ep~[smballets[nm: [cf2]Les [fy45,1]*[f
y75,2]Mari;aaes de la Tour Eiffel [cf1](with [cf2]Les Six[cf1]) ~([sm1921[nm); [
cf2]L'appel de la montagne [cf1]([sm1945[nm).[ql~Also incidental mus. for plays,
 mus. for films ~(incl. [cf2]Mayerling[cf1], [sm1935[nm, and [cf2]Pygmalion[cf1]
, [sm1938[nm), ~radio mus., many songs, and pf. pieces.[cm~[j1]Hook, James [fy75
,1]([cf2]b[cf1] Norwich, [sm1746[nm; [cf2]d[cf1] Boulogne, ~[sm1
827[nm). Eng. composer and organist. Organist and ~composer Marylebone Gardens [
sm1769[nm=n[sm73[nm, Vaux~~hall Gardens [sm1774[nm=n[sm1820[nm. Wrote oratorio,
org, ~conc., pf. sonatas, cantatas, and over [sm2[nm,[sm000[nm songs, ~best-know
n being [cf2]Sweet Lass of Richmond Hill.[cm~Hopak. [fy75,1]See [cf2]Gopak[cf1].
[cm~Hope-Jones, Robert [fy75,1]([cf2]b[cf1] Hooton Grange, Cheshire, ~[sm1859[nm
; [cf2]d[cf1] Rochester, NY, [sm1914[nm). Eng. org. builder. ~Started own busine
ss [sm1889[nm. Settled in USA [sm1903[nm, ~founded Hope-Jones Organ  Co. [sm1907
[nm, selling ~patents and plant in [sm1910[nm to Wurlitzer. Invented ~several el
ectrical and tonal devices.[cm~Hopf, Hans [fy75,1]([cf2]b[cf1] Nuremberg, [sm191
6[nm). Ger. ten. ~Studied Munich with Paul Bender. Opera d;Aaebut ~[sm1936[nm. M
unich Opera [sm1949[nm. CG [sm1951[nm=n[sm3[nm, [sm1963[nm, NY ~Met. [sm1952[nm=
n[sm5[nm. Sang at Bayreuth and Salzburg Fest.[cm~Hopkins [fy75,1](orig. Reynolds
), [fy65][cf3]Antony [fy75,1]([cf2]b[cf1] London, ~[sm1921[nm).
Eng. composer, pianist, and educator. ~Studied RCM [sm1939[nm=n[sm42[nm. Mus. di
r. Intimate Opera ~Co., [sm1952[nm, writing several chamber operas for it. ~Comp
oser of mus. for films, radio, and th. His ~series `Talking About Music' has bee
n regular and ~valuable contribution to educational radio for ~many years. Works
 incl. operas [cf2]Lady Rohesia ~[cf1]([sm1948[nm), [cf2]Three's Company [cf1]([
sm1954[nm), ballet [cf2]Caf;Aae des ~Sports[cf1], and pf. mus. C.B.E. [sm1976[nm
.[cm~Hopkins, Edward [fy75,1](John) ([cf2]b[cf1] Westminster, [sm1818[nm; ~[cf2]
d[cf1] London, [sm1901[nm). Eng. organist and composer. ~Organist, Temple Church
 [sm1843[nm=n[sm98[nm. Wrote ~church mus. Authority on org. construction and, ~w
ith [fy45,1]*[fy75,1]Rimbault, author of [cf2]The Organ, its History ~and Constr
uction[cf1] ([sm1855[nm and subsequent edns.).[cm~Hopkins, John [fy75,1](Raymond
) ([cf2]b [cf1]Preston, [sm1927[nm). ~Eng. conductor and administrator. Studied
vc. at ~RMCM [sm1943[nm=n[sm6[nm and cond. at GSM [sm1947[nm=n[s
m8[nm. ~Salzburg Mozarteum [sm1949[nm. Apprentice cond. ~Yorkshire S.O. [sm1948[
nm=n[sm9[nm, ass. cond. BBC Scottish ~Orch. [sm1949[nm=n[sm52[nm, cond. BBC Nort
hern Orch. [sm1952[nm=n~[sm7[nm. Went to N.Z. [sm1957[nm as cond. Nat. Orch. In
[sm1963[nm ~became dir. of mus. Australian Broadcasting ~Commission until [sm197
3[nm when he was appointed ~dean of Sch. of Mus., Victoria Coll. of Arts, ~Melbo
urne. O.B.E. [sm1970[nm.[cm~Hopkinson, Francis [fy75,1]([cf2]b[cf1] Philadelphia
, [sm1737[nm; [cf2]d[cf1] ~Philadelphia, [sm1791[nm). Amer. composer, harpsi~~ch
ordist, poet, and politician (one of signatories ~of Declaration of Independence
, [sm1776[nm). Wrote [sm1[nmst ~surviving piece of mus. by an American, the song
 ~[cf2]My days have been so wondrous free[cf1] ([sm1759[nm). Hpd. ~pieces, pub.
[sm1788[nm, dedicated to George Washing~~ton.[cm~Hoquet. [fy75,1]Same as [fy45,1
]*[fy75,2]Hocket.[cm~[PN341,0,0,R,I0]Horenstein, Jascha [fy75,1]([cf2]b[cf1] Kie
v, [sm1898[nm; [cf2]d[cf1] London, ~[sm1973[nm). Russ.-born cond
. Studied in Vienna; pupil ~of F. Busch and F. Schreker. Cond. Vienna S.O. ~[sm1
923[nm, then worked in Berlin and at D;Auusseldorf ~Opera from [sm1929[nm. After
 [sm1933[nm worked in Fr., ~Russ., Poland, and Belg. Amer. d;aaebut [sm1940[nm.
~Frequent guest cond. of Brit. orchs. CG d;aaebut ~[sm1961[nm ([cf2]Fidelio[cf1]
). Fine interpreter of Mahler and ~Bruckner.[cm~Horizon Chim;Aaerique, L' [fy75,
1](The Fanciful Hori~~zon). Song-cycle of [sm4[nm songs by Faur;Aae, Op. [sm118[
nm, to ~poems by J. de la Ville de Mirmont, comp. [sm1921[nm, ~f.p. [sm1922[nm.[
cm~Horn. [fy75,1]([sm1[nm) See [cf2]Horn Family.[ep~^[cf1]([sm2[nm) Org. stop li
ke [fy45,1]*[fy75,2]Trumpet [cf1]but fuller and ~smoother in tone.[cm~Horn, Char
les Edward [fy75,1]([cf2]b[cf1] London, [sm1786[nm;[cf2] d[cf1] ~Boston, Mass.,
[sm1849[nm). Eng. composer and singer, ~son of Karl F. [fy45,1]*[fy75,1]Horn. Ac
tor-singer in London ~from [sm1809[nm. Settled in USA [sm1833[nm, producing ~bal
lad-operas in NY. Returned to Eng. [sm1843[nm, but ~settled fina
lly in Boston from [sm1847[nm. Comp. ~oratorios, operettas, and songs incl. [fy4
5,1]*[fy75,2]Cherry Ripe[cf1].[cm~[j1]Horn diapason. [fy75,1][sm8[nm;Po org. sto
p of str.-like tone ~(`Horn' being a misnomer).[cm~Horn Family. [fy75,1]Brass in
str. The modern hn. is an ~intricately coiled tube of over [sm11[nm;Po; it is of
 ;FB;Pp bore ~at one end but widens gradually until it termi~~nates in a large b
ell of [sm11[nm;Pp=n[sm14[nm;Pp diameter: the ~mouth-piece is funnel-shaped. All
 these details ~differentiate it from the [fy45,1]*[fy75,1]trumpet. The principl
e ~on which the notes are obtained is that of all brass ~instr.[ep~^There are [s
m2[nm main forms of the hn.: the [cf2]Natural ~Horn[cf1] and the [cf2]Valve Horn
. [cf1]The Natural Horn is ~restricted, at any given moment, to one pitch of ~th
e harmonic series; the Valve Horn can at will ~be switched from the harmonic ser
ies at one pitch ~to that of another, so making any note of the ~chromatic scale
 instantaneously available. Its ~technique is more difficult to
acquire than that ~of any other instr. in the orch.[ep~^The [fy45,1]*[fy75,1]bas
set-horn and [fy45,1]*[fy75,1]cor anglais are not horns ~but reed instruments.[e
p~^See [cf2]French horn.[cm~Horn, Karl Friedrich [fy75,1]([cf2]b[cf1] Nordhausen
, [sm1762[nm; [cf2]d[cf1] ~Windsor, [sm1830[nm). Ger. organist and composer. ~Se
ttled in London [sm1782[nm. Mus.-master to Queen ~Charlotte [sm1789[nm=n[sm83[nm
, to Princess Augusta [sm1793[nm=n~[sm1811[nm. Organist St George's Chapel, Wind
sor, from ~[sm1823[nm. Comp. pf. sonatas. Ed., with Samuel ~Wesley, of Bach's [c
f2]Wohltemperierte Klavier[cf1] ([sm1810[nm=n~[sm13[nm). Author of treatise on t
horoughbass.[cm~Horne, Marilyn [fy75,1]([cf2]b[cf1] Bradford, Penn., [sm1934[nm)
. Amer. ~mez. Studied Univ. of S. California. Dubbed ~singing v. (for Dorothy Da
ndridge) in film of ~[cf2]Carmen Jones[cf1], [sm1954[nm. Opera d;aaebut as Hata
in [cf2]The ~Bartered Bride[cf1], Los Angeles [sm1954[nm. Member of ~Gelsenkirch
en opera co. [sm1956[nm=n[sm60[nm. Sang Marie in ~Berg's [cf2]Wo
zzeck[cf1], San Francisco [sm1960[nm; NY d;Aaebut ~[sm1962[nm in [cf2] Beatrice
di Tenda[cf1]. NY Met. d;aaebut [sm1970[nm ~(Adalgisa in [cf2]Norma[cf1]). CG [s
m1965[nm ([cf2]Wozzeck[cf1]). Ap~~peared in series of [sm19[nmth cent. [cf2]bel
canto [cf1]operas in ~partnership with Joan [fy45,1]*[fy75,1]Sutherland, beginni
ng in ~NY in [sm1961[nm in [cf2]Beatrice di Tenda [cf1](concert perf.) and ~incl
. [cf2]Semiramide [cf1]and [cf2]Les Huguenots. [cf1]Repertory ~extends from Hand
el to Wagner.[cm~Hornpipe. [fy75,1]The word has [sm2[nm meanings: ([sm1[nm) An ~
obsolete instr., consisting of a wooden pipe with ~a reed mouthpiece (a single `
beating' reed), and, ~at the other end, a hn. as `bell'. Common in the ~Celtic p
arts of Brit.[ep~^([sm2[nm) A dance once popular in the Brit. Isles only, ~to wh
ich that instr. was orig. the usual acc. ~Properly a solo dance; earlier example
s of the ~mus. are in simple triple time, but by the end of ~the [sm18[nmth cent
. this had changed to simple duple. ~This dance was later chiefl
y kept up by sailors. ~Purcell, Handel, and others wrote hornpipes.[cm~Horn Sign
al. [fy75,1]Nickname for Haydn's Sym. in D ~major, [sm1765[nm, No. [sm31[nm in B
reitkopf edn. (Hob. I: ~[sm31[nm). So called because of calls written for [sm4[n
m horns ~in slow movement.[cm~Horoscope. [fy75,1]Ballet in [sm1[nm act, lib. and
 mus. by ~Constant Lambert, choreog. Ashton. Comp. [sm1937[nm. ~Prod. London [sm
1938[nm. Orch. suite.[cm~Horovitz, Joseph [fy75,1]([cf2]b[cf1] Vienna, [sm1926[n
m). Austrian-~born composer, cond., and teacher. Settled in ~Eng. in [sm1938[nm.
 Educated Oxford and RCM. Ass. ~dir. Intimate Opera Co. [sm1952[nm=n[sm63[nm, as
s. cond. ~Glyndebourne [sm1956[nm, prof. of comp., RCM from ~[sm1961[nm. Compose
r of two [sm1[nm-act operas, [sm11[nm ballets, ~vn. conc., tpt. conc., chamber m
us. Arr. of witty ~parodies for Gerard [fy45,1]*[fy75,1]Hoffnung's mus. fests. i
n ~London.[cm~Horowitz, Vladimir [fy75,1]([cf2]b[cf1] Kiev, [sm1904[nm). Russ.-b
orn ~pianist (Amer. cit. [sm1944[nm). Studied Kiev Cons. until ~
[sm1921[nm. D;Aaebut Kharkov [sm1921[nm, followed by study ~with Felix Blumenfel
d. Toured Europe. Amer. ~d;Aaebut [sm1928[nm. London d;aaebut [sm1928[nm. Settle
d in US, ~marrying Toscanini's daughter. Career as int. ~virtuoso of highest ran
k interrupted by illness ~[sm1936[nm=n[sm39[nm. From [sm1953[nm played only for
recordings. ~Returned to concert-platform, NY [sm1965[nm.[cm~Horsley, Colin[fy75
,1] ([cf2]b[cf1] Wanganui, N.Z., [sm1920[nm). New ~Zealand pianist. Studied RCM.
 D;Aaebut Manchester ~with Hall;aae Orch. [sm1943[nm. Gave f.p. of L. Berkeley's
 ~pf. conc. [sm1948[nm. Taught at RAM and RMCM. ~Frequent tours. O.B.E. [sm1963[
nm.[cm~Horst, Louis [fy75,1]([cf2]b[cf1] Kansas City, [sm1874[nm; [cf2]d[cf1] NY
, [sm1964[nm). ~Amer. pianist, cond., composer, and teacher. ~Closely assoc. wit
h modern US dance. Cond. for ~Denishawn Co. [sm1915[nm=n[sm26[nm, mus. dir. for
Martha ~Graham [sm1926[nm=n[sm48[nm. Teacher of dance comp. in NY ~[sm1928[nm=n[
sm64[nm. Scores for Graham incl. [cf2]Frontier [cf1]and ~[cf2]Ce
lebration[cf1].[cm~Horszowski, Mieczyslaw [fy75,1]([cf2]b[cf1] Lw;aaow, [sm1892[
nm). Pol~~ish-born pianist (Amer. citizen [sm1948[nm). Studied ~[PN342,0,0,L,I0]
with [fy45,1]*[fy75,1]Leschetizky in Vienna. D;aaebut Warsaw ~[sm1901[nm. Toured
 Europe, frequently partnering the ~cellist Casals. Settled NY [sm1940[nm. On st
aff Curtis ~Institute from [sm1942[nm. Played at Aldeburgh Fest. ~[sm1984[nm.[cm
~Horton, John [fy75,1](William) ([cf2]b[cf1] Nottingham, [sm1905[nm). ~Eng. auth
or, organist, and teacher. Studied ~Durham Univ. Worked for BBC [sm1937[nm=n[sm4
7[nm; sch. ~mus. inspector [sm1947[nm=n[sm67[nm. Author of books on ~Grieg, Brah
ms, Mendelssohn, and C;aaesar Franck.[cm~Hotter, Hans [fy75,1]([cf2]b[cf1] Offen
bach-am-Main, [sm1909[nm). ~Austrian bass-bar. Began as organist and choir~~mast
er, turned to opera. D;Aaebut Opava [sm1929[nm. Sang ~in Prague [sm1932[nm=n[sm4
[nm and Hamburg [sm1934[nm=n[sm7[nm, then ~joined Vienna and Munich Operas. CG d
;Aaebut ~[sm1947[nm, NY Met. [sm1950[nm=n[sm4[nm. Bayreuth Fest.
 from [sm1952[nm. ~Outstanding Wotan in Wagner's [cf2]Ring[cf1]; created ~Straus
s roles of Commandant in [fy45,1]*[fy75,2]Friedenstag[cf1] and ~Olivier in [fy45
,1]*[fy75,2]Capriccio[cf1]. Sang Jupiter in unofficial ~Salzburg f.p. of Strauss
's [cf2]Die [fy45,1]*[fy75,2]Liebe der Danae[cf1], ~[sm1944[nm. Prod. [cf2]Ring
[cf1]at CG [sm1962[nm=n[sm4[nm. Sang his last ~Wotan in Paris, [sm1972[nm.[cm~Ho
tteterre, Jacques [fy75,1](-Martin) (`le Romain') ([cf2]b ~[cf1]Paris, [sm1674[n
m; [cf2]d [cf1]Paris, [sm1763[nm). Fr. flautist, bassoonist, ~and instr. maker,
best known of Fr. family of ~woodwind instr. makers, composers, and per~~formers
 active in [sm17[nmth and [sm18[nmth cents. Called ~himself `le Romain' probably
 because of visit to ~It. in his youth. By [sm1708[nm was bassoonist in Grands ~
Hautbois and flautist in `chamber of the king'. ~Much sought-after as teacher. T
he flutes he made ~are magnificent instrs. Wrote [cf2]Principes de la fl;afute ~
traversi;agere [cf1]([sm1707[nm, Eng. trans. [sm1968[nm), [cf2]L
'art de ~pr;aaeluder sur la fl;afute traversi;agere [cf1]([sm1719[nm), and [cf2]
M;aaethode ~pour la musette [cf1]([sm1737[nm). Pubd. [sm2[nm books of suites for
 ~fl. and bass ([sm1708[nm, [sm1715[nm).[cm~Housatonic at Stockbridge, The.[fy75
,1] [sm3[nmrd move~~ment of Ives's [fy45,1]*[fy75,2]Three Places in New England
[cf1]for ~orch., sometimes played separately.[cm~House of the Dead, From The [fy
75,1]([cf2]Z Mrtv;Aaeho Domu[cf1]). ~Opera in [sm3[nm acts by Jan;Aaa;Akcek to h
is own lib. based ~on Dostoyevsky's novel ([sm1862[nm) about his experi~~ences i
n prison. Comp. [sm1927[nm=n[sm8[nm. Prod. Brno [sm1930[nm, ~Edinburgh [sm1964[n
m, London [sm1965[nm. Part of orch. ~prelude was taken by Jan;Aaa;Akcek from unf
inished ~vn. conc. ([sm1927[nm=n[sm8[nm) to be called [cf2]Pilgrimage of the ~So
ul [cf1]([cf2]Putov;aaan;aae du;aksi;akcky[cf1]). Problem arises over final ~[sm
17[nm bars of this opera inserted by O. Zitek, B. ~Bakala, and O. Chlubna at the
 f.p. ([sm1930[nm) which ~is choral and optimistic; Jan;Aaa;Akce
k's orig. ending ~was more realistic, with an orch. epilogue of [sm27[nm ~bars,
and this has been restored in perfs. cond. by ~Mackerras and Armstrong.[cm~Houst
on Symphony Orchestra. [fy75,1]Founded in ~Houston, Texas, [sm1913[nm with Julia
n Paul Blitz as ~cond., succeeded [sm1916[nm by Paul Berge until [sm1917[nm. ~Re
organized [sm1930[nm, with Frank St Leger as cond. ~[sm1931[nm=n[sm5[nm, Ernst H
offmann [sm1936[nm=n[sm47[nm. Hoffmann ~increased size and standards of orch. Co
nd. after ~him were Efrem Kurtz [sm1948[nm=n[sm54[nm, Beecham [sm1954[nm=n~[sm5[
nm, Stokowski [sm1955[nm=n[sm60[nm, Barbirolli [sm1961[nm=n[sm7[nm, Previn ~[sm1
967[nm=n[sm9[nm, Foster [sm1971[nm=n[sm8[nm, Comissiona art. adv. ~[sm1980[nm, c
ond. from [sm1984[nm.[cm~Hovhaness, Alan[fy75,1] ([cf2]b[cf1] Somerville, Mass.,
 [sm1911[nm). ~Amer. composer, cond., and organist of Armenian ~and Scot. descen
t. Studied New England Cons. ~and at Tanglewood with Martin;Anu. Worked in ~Bost
on [sm1940[nm=n[sm7[nm, taught at Boston Cons. [sm1948[nm=n[sm52
[nm, ~then settled in NY. Prolific composer, deeply ~interested in Eastern mus.
style, which embraces ~aleatory procedures as in [cf2]Lousadzak [cf1](Coming of
~Light) [sm1944[nm, combines Western elements with ~modal harmony, Eastern rhyth
ms, and the ~exotica of Chinese and Balinese instrs. Works incl. ~[sm52[nm syms.
, operas, [cf2]Mysterious Mountain [cf1]for orch., ~[cf2]Fantasy on Japanese Woo
dprints [cf1]for xylophone and ~orch. ([sm1965[nm), [cf2]And God Created Great W
hales [cf1]([sm1970[nm) ~for humpbacked whale solo (on tape) and orch., ~choral
works, chamber mus., etc.[cm~Howard, Ann [fy75,1]([cf2]b[cf1] Norwood, [sm1936[n
m). Eng. mez. ~Studied in London and Paris. Opera d;Aaebut London ~[sm1964[nm in
 [cf2]Zigeunerbaron[cf1]. Leading roles with ENO, ~CG, Scottish and Welsh Opera,
 and in Canada and ~USA. Specialities Carmen, Fricka, Azucena, and ~H;aael;agene
 (Offenbach).[cm~Howard, Leslie [fy75,1](=+=+=+John) ([cf2]b[cf1] Melbourne, Vic
toria, ~[sm1948[nm). Australian pianist and composer. Studied ~i
n Australia, It., and London. D;aaebut Melbourne ~[sm1967[nm, London [sm1975[nm.
 On teaching staff Monash ~Univ. [sm1970[nm=n[sm3[nm. Notable Liszt exponent. Co
mposer ~of opera, hn. sonata, etc.[cm~Howarth, Elgar [fy75,1]([cf2]b [cf1]Cannoc
k, Staffs., [sm1935[nm). Eng. ~conductor, composer, and trumpeter. Studied at ~M
anchester Univ. and RMCM. Trumpeter in ~Vesuvius Ens. and Philip Jones Brass Ens
. Prin. ~tpt., RPO [sm1963[nm=n[sm8[nm. Guest cond. London Sinfonietta ~from [sm
1969[nm, dir. from [sm1973[nm. Cond. f.p. of Ligeti's ~[cf2]La grand macabre[cf1
], Stockholm [sm1978[nm, and London ~premi;agere, ENO [sm1982[nm. Has often cond
. and comp. ~for brass band.[cm~Howell, Dorothy [fy75,1]([cf2]b[cf1] Handsworth,
 [sm1898[nm; [cf2]d ~[cf1]Worcester, [sm1982[nm). Eng. composer and pianist. ~St
udied RAM under McEwen and Matthay. Prof. ~of harmony and comp. RAM [sm1924[nm=n
[sm70[nm. Comp. ~incl. symphonic poem, pf. conc. ([sm1923[nm), ballet, ~chamber
mus., and songs.[cm~Howell, Gwynne [fy75,1](Richard) ([cf2]b [cf
1]Gorseinon, [sm1938[nm). ~Welsh bass. Studied RMCM (part-time) from ~[sm1963[nm
. Joined SW Opera [sm1968[nm, d;aaebut as Monterone ~in [cf2]Rigoletto. [cf1]CG
d;aaebut [sm1970[nm ([cf2]Salome[cf1]). Sang in f.p. ~of Maxwell Davies's [cf2]T
averner[cf1], [sm1972[nm. Fine singer ~in oratorio and concert repertoire.[cm~Ho
wells, Anne [fy75,1](Elizabeth) ([cf2]b[cf1] Southport, [sm1941[nm). ~Eng. mez.
Studied RMCM where in [sm1963[nm she ~sang Eros in f. Eng. p. of Gluck's [cf2]Pa
ride ed Elena. ~[cf1]Glyndebourne ch. [sm1964[nm=n[sm7[nm. D;aaebut CG as Flora
in ~[cf2]La Traviata [cf1][sm1967[nm. Amer. d;aaebut [sm1972[nm (Chicago). ~NY M
et. [sm1975[nm. Leading roles at CG, ENO, Scottish ~Opera, WNO, Milan, Wexford,
Chicago, etc.[cm~[PN343,0,0,R,I0]Howells, Herbert [fy75,1](Norman) ([cf2]b[cf1]
Lydney, Glos., ~[sm1892[nm; [cf2]d [cf1]London, [sm1983[nm). Eng. composer, orga
nist, ~and teacher. Studied with Brewer at Gloucester ~[sm1905[nm=n[sm11[nm, RCM
 [sm1912[nm=n[sm16[nm (comp. with Stanford). ~[cf2]Mass in Doria
n Mode [cf1]perf. Westminster Cath. ~[sm1912[nm. Sub-organist, Salisbury Cath.,
[sm1917[nm. Several ~comp. perf. at [sm3[nm Choirs Fests. in [sm1920[nms. Succee
ded ~Holst as dir. of mus., St Paul's Girls' Sch., [sm1936[nm=n~[sm62[nm, prof.
of mus., London Univ., [sm1954[nm=n[sm64[nm. On ~staff RCM from [sm1920[nm. Freq
uent adjudication at ~mus. fests. Organist, St John's Coll., Cambridge, ~[sm1941
[nm=n[sm5[nm. His work, influenced by Elgar and ~Vaughan Williams, has strong in
dividuality, at ~its finest in the [cf2]Missa Sabrinensis [cf1]and at its most ~
eloquent in the [cf2]Hymnus Paradisi[cf1], where some ~affinity with the choral
writing of Delius may be ~detected. One of few [sm20[nmth cent. composers to ~wr
ite for clavichord. The pieces in his two major ~works for it are musical portra
its of friends, incl. ~Herbert Lambert, Thomas Goff, Vaughan Wil~~liams, Finzi,
etc. C.B.E. [sm1954[nm, C.H. [sm1972[nm. Prin. ~works:[xm[cm~[j2][smorch[nm: [fy
75,2]Merry-Eye [cf1]and [cf2]Puck's Minuet[cf1] ([sm1917=n20[nm)
; ~[cf2]Procession [cf1]([sm1922[nm);[cf2] Pastoral Rhapsody [cf1]([sm1923[nm);
pf. ~conc. ([sm1924[nm); [cf2]Elegy for Strings [cf1]([sm1937[nm); vc. conc. ~([
sm1937[nm); [cf2]Concerto for Strings [cf1]([sm1938[nm); [cf2]Pageantry ~Suite [
cf1](brass band, [sm1934[nm); [cf2]Music for a Prince [cf1]([sm1948[nm).[ep~[smc
horal[nm: [cf2]Sir Patrick Spens[cf1], ch., orch. ([sm1918[nm); [cf2][sm3[nm ~Ca
rol-Anthems[cf1], ch. ([sm1918=n20[nm; No. [sm2[nm is [cf2]A Spotless ~Rose[cf1]
); [cf2]A Kent Yeoman's Wooing Song[cf1] for [sm2[nm soloists, ~ch., and orch. (
[sm1933[nm); [cf2]Requiem[cf1], unacc. ch. ([sm1936[nm); ~[fy45,1]*[fy75,2]Hymnu
s Paradisi [cf1]for sop., ten., ch., and orch. ~([sm1938[nm, f.p. [sm1950[nm); [
cf2]Missa Sabrinensis, [cf1]for sop., ~cont., ten., bar., double ch., and orch.
([sm1953[nm); ~[cf2]Inheritance [cf1]([sm1953[nm, in [fy45,1]*[fy75,2]Garland fo
r the Queen[cf1]); [cf2]St. ~Paul's Service [cf1]([sm1954[nm); [cf2]An English M
ass [cf1]([sm1956[nm); ~[cf2]Take him, earth, for cherishing [cf
1](motet on the death ~of Pres. Kennedy) ([sm1964[nm); [cf2]The Coventry Mass[cf
1], ch. ~and org. ([sm1964[nm).[ep~[smvoice and acc[nm: [sm4[nm [cf2] French Cha
nsons[cf1], v. and pf. ~([sm1918[nm); [cf2]In Green Ways[cf1], v. and pf. ([sm19
15[nm, rev. ~with orch. [sm1928[nm); [cf2]King David[cf1], v. and pf. ([sm1921[n
m); ~[cf2]Sine Nomine[cf1], soloists, organ, and orch. ([sm1922[nm).[ep~[smchamb
er music[nm: Pf. Qt. in A minor ([sm1916[nm); ~[cf2]Phantasy Quartet [cf1]([sm19
17[nm); [cf2]Rhapsodic Quintet[cf1], cl. ~and str. ([sm1919[nm); [cf2]In Glouces
tershire [cf1](str. qt.) ([sm1924[nm); ~cl. sonata ([sm1946[nm).[ep~[smorgan[nm:
 [sm3[nm Rhapsodies ([sm1917[nm); [sm2[nm organ sonatas, [cf2]De ~Profundis [cf1
]([sm1960[nm); [cf2]Fugue, Chorale, and Epilogue; ~Sarabande for the Morning of
Easter.[ep~[cf1][smclavichord[nm: [cf2]Lambert's Clavichord[cf1], [sm12[nm piece
s ~([sm1926[nm=n[sm7[nm); [cf2]Howells's Clavichord[cf1], [sm20[nm pieces ([sm19
55[nm=n~[sm61[nm).[ep~[ih0]^Also about [sm65[nm songs incl. seve
ral settings of De ~la Mare, of which [cf2]King David [cf1]([sm1921[nm) is a fav
ourite.[cm~[ol0][ep~[xp[te~











[do19][j99]~~~~~~[sm153842[nm_HA[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmHA[sm06[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm27[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm395[nm[cm~Collier[cm7[cm10.4.85[cm~3[cm~~~~[ap[j1]Howes, Frank [
fy75,1](Stewart) ([cf2]b[cf1] Oxford, [sm1891[nm; [cf2]d[cf1] ~Oxford, [sm1974[n
m). Eng. mus. critic. Educated St ~John's Coll., Oxford. Staff mus. critic for [
cf2]The Times ~[cf1][sm1925[nm=n[sm60[nm (chief critic from [sm1943[nm). Chairma
n, Eng. ~Folk Dance and Song Soc. [sm1938[nm=n[sm45[nm and ed. of its ~journal [
sm1927[nm=n[sm46[nm. Author of books on Vaughan ~Williams, Walton, Eng. mus. ren
aissance, and ~aesthetics. Lecturer at RCM. C.B.E. [sm1954[nm.[cm~Hrotta. [fy75,
1]Another name for the [fy45,1]*[fy75,1]Crwth.[cm~Hubay, Jen;auo [fy75,1]([cf2]b
[cf1] Budapest, [sm1858[nm; [cf2]d [cf1]Budapest, ~[sm1937[nm). Hung. violinist,
 composer, and cond. ~Studied with his father Karl Hubay ([sm1828[nm=n[sm85[nm),
 ~composer, cond., and vn. teacher. Public d;Aaebut at ~[sm11[nm
; entered Berlin Hochschule [sm1871[nm, studying ~for [sm5[nm years with Joachim
. Paris d;Aaebut [sm1878[nm. Prof. ~of vn., Brussels Cons. [sm1882[nm=n[sm6[nm,
Pest Cons. [sm1886[nm=n~[sm1919[nm, dir. Budapest Acad. [sm1919[nm=n[sm34[nm. Le
d str. qt. ~Pupils incl. Szigeti, Telm;aaanyi, and Jelly d'Ar;aaanyi. ~Comp. [sm
8[nm operas, incl. [cf2]Der Geigenmacher von ~Cremona [cf1]([sm1893[nm) and [cf2
]Anna Karenina [cf1]([sm1915[nm), [sm4[nm ~syms., incl. [cf2]Dante Symphony[cf1]
 (ch.), [sm4[nm vn. concs., ~chamber mus., etc.[cm~Huber, Hans [fy75,1]([cf2]b [
cf1]Eppenburg, [sm1852[nm; [cf2]d[cf1] Locarno, ~[sm1921[nm). Swiss composer. St
udied Leipzig Cons. ~[sm1870[nm=n[sm4[nm. Taught Basle Mus. Sch. [sm1889[nm=n[sm
1918[nm (dir. ~from [sm1896[nm). Wrote [sm9[nm syms. (incl. [cf2]William Tell an
d ~[cf2]B;auocklin[cf1]), [sm4[nm pf. concs., vn. conc., [sm2[nm pf. quintets, [
sm5[nm ~pf. trios, [sm9[nm vn. sonatas, [sm5[nm operas, oratorio, cantatas, ~etc
.[cm~Huber, Klaus [fy75,1]([cf2]b[cf1] Berne, [sm1924[nm). Swiss
 composer ~and violinist. Studied Z;auurich Cons. [sm1947[nm=n[sm9[nm, then ~pri
vately with Willy Burkhard and ([sm1955[nm=n[sm6[nm) with ~[fy45,1]*[fy75,1]Blac
her. Taught vn. Z;auurich Cons. [sm1950[nm=n[sm60[nm, ~harmony at Basle Cons. fr
om [sm1961[nm. Comps. incl. ~[cf2]Turnus[cf1], for orch. and tape ([sm1974[nm),
[cf2]Litania instru~~mentalis [cf1]for orch., [cf2]Tenebrae [cf1]for orch., [cf2
]Moteti ~cantiones [cf1]for str. qt., [cf2]Noctes intelligibilis lucis [cf1]for
ob. ~and hpd. ([sm1961[nm), [cf2]Tempora[cf1], conc. for vn. and orch., ~[cf2]Ps
alm of Christ[cf1], bar. and ens., [cf2]Invention and Chorale[cf1], ~orch., [cf2
]Jot oder Wann kommt der Herr Zur;auuck[cf1], ~opera, and several other chamber
works.[cm~Huberman, Bronislaw [fy75,1]([cf2]b[cf1] Czestochowa, ~[sm1882[nm; [cf
2]d[cf1] Nant-sur-Cosier, [sm1947[nm). Polish violinist. ~Pupil of Michalowicz a
nd C. Grigorovich. D;Aaebut ~in Vienna aged [sm10[nm; played Brahms conc. in ~co
mposer's presence at [sm14[nm; London d;Aaebut [sm1894[nm. ~Int.
 career, based on Vienna until [sm1936[nm. Founded ~Palestine (now Israel) S.O.
[sm1936[nm.[cm~Hucbald [fy75,1]([cf2]b c[cf1].[sm840[nm; [cf2]d[cf1] Saint-Amand
, Tournai, [sm930[nm). ~Fr. monk, remembered for his treatise [cf2]De ~harmonica
 institutione [cf1](? [cf2]c.[cf1][sm880[nm) which describes the ~gamut and the
modes.[cm~Huddersfield Choral Society. [fy75,1]Amateur choir ~founded in Hudders
field, Yorkshire, in [sm1836[nm. ~Regular concerts given since [sm1881[nm. Durin
g [sm1930[nms ~had [sm400[nm members, but has since been reduced to ~[sm230[nm.
Has sung at most Brit. fests. and made many ~recordings. Its [cf2]Messiah [cf1]p
erf. is renowned. First ~overseas tour to Netherlands, [sm1928[nm. Vienna Mus. ~
Fest. [sm1958[nm, Boston, Mass. [sm1965[nm. Has also visited ~Berlin, Brussels,
and Lisbon. At one time had its ~own orch. but now sings with independent orchs.
 ~Sir Henry Coward and Sir Malcolm Sargent were ~conductors for over [sm30[nm ye
ars each. Other conds. ~have incl. John Pritchard ([sm1973[nm=n[
sm80[nm) and Owain ~[PN344,0,0,L,I0]Arwel Hughes. Its chorus-masters have incl.
~Herbert Bardgett, Eric Chadwick, and Douglas ~Robinson. For centenary in [sm193
6[nm Vaughan ~Williams wrote [cf2]Dona Nobis Pacem.[cf1][cm~Hughes, Arwel [fy75,
1]([cf2]b[cf1] Rhosllanerchrugog, [sm1909[nm). ~Welsh composer and cond. Studied
 RCM with ~Vaughan Williams. On staff BBC in Wales from ~[sm1935[nm (head of mus
ic, BBC Wales [sm1965[nm=n[sm71[nm). Cond. ~BBC Welsh Orch. [sm1950[nm. Comp. op
era [cf2]Menna ~[cf1]([sm1950[nm=n[sm1[nm), suite for orch., [sm3[nm str. qts.,
oratorio, etc. ~O.B.E. [sm1969[nm.[cm~Hughes, Herbert [fy75,1]([cf2]b[cf1] Belfa
st, [sm1882[nm; [cf2]d[cf1] Brighton, ~[sm1937[nm). Irish composer and critic. S
tudied RCM. ~Collected and arr. many Irish folk-songs. Mus. ~critic, [cf2]Daily
Telegraph[cf1], [sm1911[nm=n[sm32[nm.[cm~Hughes, Owain Arwel [fy75,1]([cf2]b[cf1
] Cardiff, [sm1942[nm). Welsh ~cond., son of Arwel [fy45,1]*[fy75,1]Hughes. Stud
ied Univ. Coll., ~Cardiff, and RCM (under Boult and Harvey ~Phil
ips). Professional career began [sm1968[nm. Studied ~with [fy45,1]*[fy75,1]Haiti
nk in Amsterdam and [fy45,1]*[fy75,1]Kempe in ~London. Guest cond., WNO and ENO.
 Mus. dir., ~Royal Nat. Eisteddfod of Wales, [sm1977[nm.[cm~Hughes, Spike [fy75,
1](Patrick Cairns) ([cf2]b[cf1] London, [sm1908[nm). ~Eng. writer, composer, and
 broadcaster, son of ~Herbert [fy45,1]*[fy75,1]Hughes. Studied in Vienna with We
l~~lesz [sm1923[nm=n[sm5[nm. For a time led jazz band. Mus. critic ~[cf2]Daily H
erald [cf1][sm1933=n6[nm. Jazz critic of [cf2]The Times ~[cf1][sm1957=n67[nm. Co
mps. incl. light music, film scores, ~etc. His [cf2]Cinderella [cf1]([sm1938[nm)
 was first opera specially ~comp. for television. Author of books on operas ~of
Mozart, Puccini, and Verdi, history of Glyn~~debourne Opera ([sm1965[nm, rev. [s
m1981[nm), and [sm2[nm vols. of ~entertaining autobiography.[cm~Hugh the Drover,
 or Love in the Stocks. [fy75,1]Opera ~in [sm2[nm acts by Vaughan Williams to li
b. by Harold ~Child. Comp. [sm1910[nm=n[sm14[nm, rev. [sm1924[nm
 and [sm1956[nm. Prod. ~London [sm1924[nm, Washington [sm1928[nm.[cm~Huguenots,
Les. [fy75,1]Opera in [sm5[nm acts by [fy45,1]*[fy75,1]Meyerbeer ~to lib. by Scr
ibe and Deschamps. Prod. Paris [sm1836[nm, ~New Orleans [sm1839[nm, London [sm18
42[nm.[cm~Huldigungsmarsch [fy75,1](Ger., `Homage March'). ([sm1[nm) ~By Wagner,
 [sm1864[nm, in honour of his patron, King ~Ludwig II of Bavaria. Orig. for mili
tary band. ~Orch. version, partly scored by Raff, f.p. at laying ~of foundation
stone at Bayreuth, [sm1872[nm.[ep~_[cf1]([sm2[nm) By Liszt, in honour of Grand D
uke of Saxe-~Weimar. For pf., [sm1853[nm, scored by Raff [sm1853[nm; rev. ~and r
e-scored by Liszt [sm1857[nm.[ep~_[cf1]([sm3[nm) By Grieg, Op. [sm56[nm, No. [sm
3[nm, in the [cf2]Sigurd ~Jorsalfar [cf1]mus., also known as `Triumphal March'.[
cm~Hull, [fy75,1](Sir)[fy65][cf3] Percy [fy75,1](Clarke) [cf1]([cf2]b[cf1] Heref
ord, [sm1878[nm; [cf2]d[cf1] ~Farnham, [sm1968[nm). Eng. organist and cond. Ass.
 ~organist to Sinclair at Hereford Cath., [sm1896[nm=n~[sm1914[n
m; organist, [sm1919[nm=n[sm49[nm; cond. [sm3[nm Choirs Fests. ~Knighted [sm1947
[nm.[cm~Hullah, John Pyke [fy75,1]([cf2]b[cf1] Worcester, [sm1812[nm;[cf2] d[cf1
] ~London, [sm1884[nm). Eng. composer, organist, and ~educator. Propagator from
[sm1840[nm of Wilhem's ~fixed-doh method of sight-singing. Prof. of vocal ~mus.,
 Queen's Coll. and Bedford Coll., London, ~[sm1844[nm=n[sm74[nm, Inspector of Tr
aining Schools UK from ~[sm1872[nm. Comp. operas ([sm1[nm to lib. by Dickens), c
hurch ~mus., part-songs, and songs.[cm~Hume, Tobias [fy75,1]([cf2]b [cf1]?[cf2]c
.[cf1][sm1569[nm; [cf2]d [cf1]London, [sm1645[nm). ~Eng. composer and army offic
er. His [cf2]First Part of ~Ayres [cf1]for lyra-viol was pub. [sm1605[nm, with f
anciful ~titles such as `Tickle me quickly' and the ~instruction, thought to be
the first recorded use ~of [cf2]col legno[cf1], to `drum this with the back of t
he ~bow'. In [sm1607[nm his [cf2]Captaine Humes Poeticall Musicke ~[cf1]constitu
ted the largest pubd. repertory of solo ~lyra-viol music to that
 date.[cm~Humfrey [fy75,1](Humphrey), [fy65][cf3]Pelham [fy75,1]([cf2]b[cf1] Lon
don, ~[sm1647[nm; [cf2]d[cf1] Windsor, [sm1674[nm). Eng. composer. Chorister ~of
 Chapel Royal [sm1660[nm=n[sm4[nm, then studied with Lully ~in Paris. Gentleman
of Chapel Royal [sm1667[nm, Master ~of the Children [sm1672[nm. Taught Purcell.
Comp. ~incidental mus. to Shakespeare's [cf2]The Tempest[cf1], ~sacred and secul
ar songs, anthems, and other ~church mus.[cm~Hummel, Johann Nepomuk [fy75,1]([cf
2]b[cf1] Pozsony, [sm1778[nm; ~[cf2]d[cf1] Weimar, [sm1837[nm). Austrian pianist
 and composer. ~Lived and studied pf. with Mozart [sm1785[nm=n[sm7[nm. D;Aaebut
~Vienna [sm1787[nm at Mozart concert. Toured Holland ~and Britain studying in Lo
ndon with [fy45,1]*[fy75,1]Clementi. ~In Vienna, [sm1793[nm, studied comp. with
[fy45,1]*[fy75,1]Albrechts~~berger and [fy45,1]*[fy75,1]Salieri. Kapellmeister t
o Prince ~Esterh;Aaazy [sm1804[nm=n[sm11[nm. Kapellmeister at Stuttgart ~[sm1816
[nm=n[sm18[nm, then at Weimar [sm1819[nm=n[sm37[nm. Toured ~exte
nsively, conducting the Ger. Opera in Lon~~don, [sm1833[nm. Pubd. pf. sch. [sm18
28[nm. Comp. numerous ~works incl. pf. concs. and sonatas, bn. conc., ~mandolin
conc., operas, oratorios, and much ~chamber mus. Mus. has melodic grace and ~abu
ndant craftsmanship. Pf. writing influenced ~Chopin. His relationship with Beeth
oven fluc~~tuated but they were reconciled at Beethoven's ~death-bed. Was pall-b
earer at Beethoven's funeral ~and played at his memorial concert. Schubert ~dedi
cated his last [sm3[nm pf. sonatas to him (but ~publisher altered the dedication
s after Schubert's ~death).[cm~Humoresque [fy75,1](Fr.), [fy65][cf3]Humoreske [f
y75,1](Ger.). Title ~given by some composers to a lively and capricious ~(someti
mes a little sad) instr. comp. Famous ~examples are by Dvo;akr;aaak (particularl
y No. [sm7[nm of his ~[sm8[nm [cf2]Humoresques [cf1]for pf., Op. [sm101[nm, [sm1
894[nm), and ~Schumann, for pf., Op. [sm20[nm, [sm1839[nm. Mahler orig. ~conceiv
ed his [sm4[nmth Sym. as a `symphonic Humor~~esque'.[cm~Humperdi
nck, Engelbert [fy75,1]([cf2]b[cf1] Siegburg, [sm1854[nm; [cf2]d[cf1] ~Neustreli
tz, [sm1921[nm). Ger. composer. Studied Col~~ogne Cons. [sm1872[nm=n[sm6[nm unde
r F. Hiller and later at ~Munich. Met Wagner in It. [sm1879[nm and was invited ~
to assist in preparation for prod. of [cf2]Parsifal [cf1]at ~Bayreuth. Taught th
eory, Barcelona Cons., [sm1885[nm=n~[sm6[nm. Prof. of harmony, Hoch Cons., Frank
furt, ~[sm1890[nm=n[sm6[nm, also acting as mus. critic for [cf2]Frankfurter ~[PN
345,0,0,R,I0]Zeitung[cf1]. His opera [cf2]H;Auansel und Gretel[cf1], which ~effe
ctively uses a Wagnerian idiom for a fairytale, ~was a success at Weimar, [sm189
3[nm, and subsequently ~elsewhere ever since. His other operas failed to ~emulat
e its success. Dir., Berlin Akademische ~Meisterschule for comp. from [sm1900[nm
. Prin. works:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]H;Auansel und Gretel[cf1
] ([sm1893[nm); [cf2]Dornr;Auoschen ~[cf1]([sm1902[nm); [cf2]Die Heirat wider Wi
llen [cf1]([sm1905[nm); [fy45,1]*[fy75,2]K;Auonigs~~[chkinder [c
f1]([sm1910[nm); [cf2]Die Marketenderin [cf1]([sm1914[nm); [cf2]Gaude~~[chamus [
cf1]([sm1919[nm).[ep~[smincidental music[nm: [cf2]Merchant of Venice[cf1] ([sm19
05[nm); [cf2]The ~Winter's Tale [cf1]and [cf2]The Tempest [cf1]([sm1906[nm); [cf
2]As You Like ~it [cf1]([sm1907[nm); [cf2]Lysistrata [cf1]([sm1908[nm); [cf2]The
 Miracle [cf1]([sm1911[nm); ~[cf2]The Blue Bird [cf1]([sm1912[nm).[ep~[smsongs[n
m: [cf2]Kinderlieder[cf1].[cm~[j1]Humphrey, Pelham. [fy75,1]See [cf2]Humfrey, Pe
lham[cf1].[cm~Hungarian Dances [fy75,1]([cf2]Ungarische T;Auanze[cf1]). [sm21[nm
 pf. ~duets by Brahms pubd. in [sm4[nm vols. between [sm1852[nm ~and [sm1869[nm.
 [sm3[nm were orch. by him, and he arr. some ~for pf. solo (Nos. [sm1[nm=n[sm10[
nm).[cm~Hungarian Rhapsodies. [fy75,1][sm19[nm comps. for pf. by ~Liszt, comp. [
sm1846[nm=n[sm85[nm. Of these [sm12[nm were orch., ~some by Franz D;Auoppler. Th
e [cf2]Hungarian Fantasia ~[cf1]for pf. and orch. is based on No. [sm14[nm. Ther
e are ~discrepancies between the numbering of pf. and ~orch. ver
sions.[cm~Hunnenschlacht [fy75,1](Battle of the Huns). [sm11[nmth of ~Liszt's [s
m12[nm symphonic poems. Comp. [sm1856[nm=n[sm7[nm, f.p. ~Weimar [sm1858[nm. Insp
ired by Kaulbach's mural of ~legend of battle in the air between ghosts of slain
 ~Huns and Romans after Battle of Chalons in [sm451[nm.[cm~Hunt, Donald [fy75,1]
(Frederick) [cf1]([cf2]b[cf1] Gloucester, [sm1930[nm). ~Eng. cond., organist, an
d composer. Studied RCO ~and RCM and with Herbert [fy45,1]*[fy75,1]Sumsion. Ass.
 ~organist Gloucester Cath. [sm1948[nm=n[sm54[nm, dir. of mus. ~Leeds Parish Chu
rch [sm1957[nm=n[sm74[nm, organist Worcester ~Cath. from [sm1975[nm. Composer of
 church mus., org. ~sonata, carols, etc.[cm~Hunt Quartet. [fy75,1]Nickname for M
ozart's Str. Qt. ~No. [sm17[nm in B;Yh (K[sm458[nm, [sm1784[nm), ded. to Haydn,
and so ~called because of the [sm1[nmst subject of [sm1[nmst movement.[cm~Hunt,
The [fy75,1](Haydn). See [cf2]Chasse, La[cf1].[cm~Hunt, Thomas [fy75,1](=+=+=+=+
[cf2]fl[cf1]. early [sm17[nmth cent.). Eng. ~composer of church
mus., etc. Contributed ~madrigal [cf2]Hark, did you ever hear so sweet a singing
[cf1]? ~to [cf2]The [fy45,1]*[fy75,2]Triumphs of Oriana [cf1]([sm1601[nm).[cm~Hu
nter, Rita [fy75,1]([cf2]b[cf1] Wallasey, [sm1933[nm). Eng. sop. Joined ~SW ch.
[sm1954[nm. Studied with Clive Carey, Eva ~Turner, and Redvers Llewellyn. CG d;a
aebut ([sm3[nmrd ~Norn) [sm1963[nm. Prin. sop. SW from [sm1965[nm. Prin. sop., ~
ENO, the Br;Auunn[chhilde of their Eng. [cf2]Ring[cf1] cycle, ~[sm1970[nm. NY Me
t. d;aaebut [sm1972[nm (Br;auunnhilde in [cf2]Die ~Walk;auure[cf1]). C.B.E. [sm1
980[nm.[cm~H;auupfend [fy75,1](Ger., `hopping'). In str. playing, `with ~springi
ng bow', i.e. [fy45,1]*[fy75,2]spiccato[cf1].[cm~Hurd, Michael [fy75,1](=+=+=+Jo
hn) [cf1]([cf2]b[cf1] Gloucester, [sm1928[nm). Eng. ~composer, cond., author, an
d teacher. Studied ~Oxford. Comps. incl. operas, cantatas, church ~mus., chamber
 mus., songs. Books on Britten, ~Elgar, Vaughan Williams, Gurney, opera, sea ~sh
anties, soldiers' songs; author of [cf2]The Oxford ~Junior Compa
nion to Music [cf1]([sm1979[nm).[cm~Hurdy-gurdy [fy75,1]([cf2]organistrum, symph
onia, chifonie, ~organica lyra, vielle ;Aga roue [cf1]`wheel fiddle'). A ~portab
le medieval str. instr., shaped like a viol, ~dating (in Europe) from early [sm1
2[nmth cent. [sm1[nmst str. ~instr. to which kbd. principle was applied. The ~in
str. is hung round the player's neck or strapped ~to the body at an angle which
lets the keys fall ~back under their own weight. Bowing action ~replaced by whee
l cranked by a handle. Outer ~rim of wheel, coated with resin, makes all str. ~r
esonate at once, providing a continuous drone ~like a bagpipe. Fingering is also
 mechanized, the ~same str. being stopped at different points to ~produce requir
ed scale. Orig. required [sm2[nm players, ~but during [sm13[nmth cent. improveme
nts enabled ~solo perf., thus transforming its use from a ~cumbersome instr. to
one capable of providing ~dance mus. By [sm14[nmth cent. there were [sm6[nm str.
 and a ~kbd. compass of [sm2[nm chromatic octaves. Application ~
of the term to any instr. worked by turn of a ~handle, e.g. barrel-org., street
pf., is incorrect. See ~[cf2]Lira organizzata.[cf1][xm[cm~[j1]Hurford, Peter [fy
75,1](=+=+=+John) ([cf2]b[cf1] Minehead, [sm1930[nm). Eng. ~organist and compose
r. Studied RCM and Cam~~bridge Univ. [sm1948[nm=n[sm52[nm. D;aaebut, London (Fes
tival ~Hall) [sm1957[nm. Master of the Mus., St Albans, from ~[sm1958[nm. Comps.
 incl. church mus. and org. suites. ~O.B.E. [sm1984[nm.[cm~Hurlstone, William [f
y75,1](Yeates) ([cf2]b[cf1] London, [sm1876[nm; [cf2]d[cf1] ~London, [sm1906[nm)
. Eng. composer and pianist. ~Studied RCM [sm1894[nm=n[sm8[nm with Stanford (com
p.) and ~Dannreuther (pf.). Soloist in own pf. conc., ~London, [sm1896[nm. Wrote
 much chamber mus., ~ballad [cf2]Alfred the Great[cf1], and [cf2]Fantasie-Variat
ions on ~a Swedish Air [cf1]([sm1903[nm) for orch. Prof. of counterpoint ~RCM, f
rom [sm1905[nm.[cm~Hurst, George [fy75,1]([cf2]b[cf1] Edinburgh, [sm1926[nm). En
g. cond. ~of Romanian and Russ. parentage. Studied pf. ~with J.
Isserlis, then entered Royal Cons., Toronto. ~Studied cond. with Monteux. Cond.,
 York S.O. ~Penn., [sm1950[nm=n[sm55[nm, London d;Aaebut [sm1953[nm (with LPO);
~ass. cond., LPO [sm1955[nm=n[sm7[nm. Prin. cond., BBC North~~ern S.O. [sm1958[n
m=n[sm68[nm; Bournemouth S.O. [sm1969[nm=n[sm71[nm; ~art. adviser and cond. Bour
ne[chmouth Sinfonietta ~to [sm1978[nm, then free-lance.[cm~Hurtig [fy75,1](Ger.)
. [fy45,1]*[fy75,2]Allegro[cf1], i.e. nimble, quick.[cm~Hurwitz, Emanuel [fy75,1
]([cf2]b[cf1] London, [sm1919[nm). Eng. ~violinist and cond. Studied RAM. Leader
, Aeolian ~Str. Qt. from [sm1970[nm. Leader, Melos Ens. [sm1956[nm=n[sm72[nm, ~E
CO [sm1947[nm=n[sm69[nm, New Philharmonia Orch. [sm1969[nm=n~[sm71[nm. Cond. N.W
. Youth Chamber Orch. from ~[sm1976[nm. Frequent player in various chamber ens.
~C.B.E. [sm1978[nm.[cm~Husa, Karel [fy75,1]([cf2]b[cf1] Prague, [sm1921[nm). Ame
r. composer ~and cond. of Cz. birth. Studied Prague Cons. ~[PN346,0,0,L,I0][sm19
41[nm=n[sm5[nm and in Paris [sm1946[nm=n[sm51[nm with Boulanger
and ~Honegger (comp.) and Cluytens and Fournet ~(cond.). Cond. of various orchs.
 in Prague and ~Paris. Ass. prof. Cornell Univ. Mus. Dept. [sm1954[nm=n~[sm61[nm
, prof. from [sm1961[nm. Comps. incl.:[xm[cm~[j2][smorch[nm: [sm3[nm [fy75,2]Fre
scoes [cf1]([sm1947[nm); pf. concertino ([sm1949[nm); ~Sym. No. [sm1[nm ([sm1953
[nm); [cf2]Portrait[cf1] for str. ([sm1953[nm); [cf2][sm4[nm ~Easy Pieces [cf1]f
or str. ([sm1955[nm); [cf2]Fantasies [cf1]([sm1956[nm); [cf2]Poem ~[cf1]for va.
and orch. ([sm1959[nm); [cf2]Mosa;auiques[cf1]; [cf2]Elegy and ~Rondo [cf1]for a
lto sax. and orch. ([sm1961[nm); [cf2]Serenade [cf1]for ~wind quintet and str. (
[sm1963[nm); Conc. for brass ~quintet and str. ([sm1965[nm); [cf2]Music for perc
ussion ~[cf1]([sm1966[nm); Conc. for alto sax. and band ([sm1967[nm); ~[cf2]Musi
c for Prague [cf1]([sm1968[nm); [cf2]The Steadfast Tin Soldier[cf1], ~speaker, o
rch. ([sm1974[nm).[ep~[smchamber music[nm: Str. Qts. No. [sm1[nm ([sm1948[nm), N
o. [sm2[nm ~([sm1953[nm), No. [sm3[nm ([sm1968[nm); vn. sonatina
 ([sm1945[nm); ~[cf2]Evocations of Slovakia[cf1] for cl., va., and vn. ([sm1951[
nm); ~wind trio ([sm1966[nm); pf. sonata ([sm1949[nm); vn. sonata ~([sm1972=n3[n
m).[cm~[j1]H;auusch, Gerhard [fy75,1]([cf2]b[cf1] Hanover, [sm1901[nm; [cf2]d[cf
1] Munich, [sm1984[nm). Ger. bar. ~D;aaebut Osnabr;auuck [sm1923[nm. Sang in ope
ra in Bremen ~[sm1924[nm=n[sm7[nm, Cologne [sm1927[nm=n[sm30[nm, and Berlin [sm1
930[nm=n[sm42[nm. ~D;aaebut CG [sm1930[nm. Particularly noted for Lieder ~singin
g.[cm~Hutchings, Arthur [fy75,1](=+=+=+James Bramwell) [cf1]([cf2]b[cf1] Sun~~bu
ry-on-Thames, [sm1906[nm). Eng. teacher, author, ~and composer. Prof. of mus. Du
rham Univ. ~[sm1947[nm=n[sm68[nm, Exeter Univ. [sm1968[nm=n[sm71[nm. Author of b
ooks ~on Schubert, Delius, Mozart's pf. concs., and ~church mus. Contrib. to man
y reference books.[cm~H;auuttenbrenner, Anselm [fy75,1]([cf2]b[cf1] Graz, [sm179
4[nm; [cf2]d[cf1] Ober-~Andritz, [sm1868[nm). Austrian composer. Studied in ~Vie
nna with [fy45,1]*[fy75,1]Salieri. Acquainted with Beethoven ~an
d Schubert.[cm~Huygens, Constantijn [fy75,1]([cf2]b[cf1] The Hague, [sm1596[nm;
[cf2]d[cf1] ~The Hague, [sm1687[nm). Dutch composer and perf. on ~a variety of i
nstr., incl. viol, lute, org., theorbo, ~and guitar. Visited London [sm1618[nm a
nd twice ~thereafter. Comp. nearly [sm900[nm instr. and vocal ~pieces.[cm~Hyde,
Walter [fy75,1]([cf2]b[cf1] Birmingham, [sm1875[nm; [cf1][cf2]d [cf1]London, ~[s
m1951[nm). Eng. ten. Studied RAM with G. Garcia. ~Sang Siegmund in Richter's Eng
. [cf2]Ring[cf1], CG [sm1908[nm. ~Sang regularly at CG [sm1908[nm=n[sm32[nm, wit
h Beecham Co. ~and later with BNOC. First Eng. Sali in Delius's [cf2]A ~Village
Romeo and Juliet.[cf1][cm~Hydraulis. [fy75,1]Ancient instr., also known as water
 ~org., said to have been invented by Gr. Ktesibios ~[cf2]c[cf1].[sm250 bc[nm Re
sembled small modern org. Kbd. ~operated by series of levers, each with a return
 ~mechanism, pressed down by fingers to obtain ~required notes. Water was used t
o stabilize wind ~pressure. In [sm4[nmth cent. [smad[nm hydrauli
c mechanism ~was replaced by bellows, enabling much louder ~tone. See also [cf2]
Organ[cf1].[cm~Hymn. [fy75,1]Song of praise to the deity or a saint. ~Particular
ly assoc. with Anglican church where ~words and melodies of hymns are especially
 ~popular for congregational singing. Books of ~hymns and hymn-tunes of special
significance ~are [cf2]Hymns Ancient and Modern [cf1]([sm1861[nm and many ~subse
quent edns.), [cf2]The Yattendon Hymnal [cf1](Bridges, ~[sm1899[nm), [cf2]The En
glish Hymnal [cf1]([sm1906[nm, rev. [sm1933[nm, mus. ~ed. Vaughan Williams, in w
hich some folk tunes ~were adapted as hymn-tunes), and [cf2]Songs of Praise ~[cf
1]([sm1925[nm, rev. [sm1931[nm, mus. ed. Vaughan Williams and ~Martin Shaw). In
Eng. hymn-books, tunes are ~given an identifying title such as a Latin ~translat
ion, or the name of a town or village, e.g. ~Down Ampney (Vaughan Williams's bir
thplace) ~is title of his [cf2]Come down, O love divine[cf1].[cm~Hymnen [fy75,1]
(Anthems). Comp. by [fy45,1]*[fy75,1]Stockhausen ~which exists i
n [sm3[nm versions, incl. one for elec. instr. ~and [cf2]musique concr;Agete[cf1
], and one with added soloists, ~(both [sm1966[nm=n[sm7[nm). A shorter version w
ith orch. was ~made in [sm1969[nm. The anthems are nat. anthems.[cm~Hymn of Jesu
s, The. [fy75,1]Work for [sm2[nm ch., women's ~semi-ch., and orch., Op. [sm37[nm
, by Holst to words ~trans. by Holst from the apocryphal Acts of St ~John. Comp.
 [sm1917[nm. F.p. London [sm1920[nm, cond. ~Holst.[cm~Hymns from the Rig Veda. [
fy75,1][sm23[nm settings by Holst ~of his trans. of words from the Sanskrit. The
re are ~[sm5[nm sets: [cf2][sm9[nm Hymns [cf1]for solo v. and pf., Op. [sm24[nm,
 [sm1907[nm=n~[sm8[nm; [cf2][sm3[nm Choral Hymns[cf1], Group I, for ch. and orch
., Op. ~[sm26[nm, [sm1908[nm; [cf2] [sm3[nm Choral Hymns[cf1], Group II, for wom
en's ~vv. and orch., Op. [sm26[nm, [sm1909[nm; [cf2][sm4[nm Choral Hymns[cf1], ~
Group III, for women's vv. and harp, Op. [sm26[nm, ~[sm1909[nm=n[sm10[nm; [cf2][
sm4[nm Choral Hymns[cf1], Group IV, for men's ~vv., str., and br
ass, Op. [sm26[nm, [sm1912[nm.[cm~Hymn to St Cecilia. [fy75,1]Setting of text by
 W. H. ~Auden for unacc. [sm5[nm-part ch. by Britten, Op. [sm27[nm. ~Comp. [sm19
42[nm. F.p. London [sm1942[nm.[cm~Hymn to St Magnus. [fy75,1]Work by [fy45,1]*[f
y75,1]Maxwell Davies ~for sop. and chamber ens. F.p. London [sm1972[nm, ~cond. c
omposer.[cm~Hymnus Amoris [fy75,1](Hymn of Love). Cantata, Op. ~[sm12[nm, by Nie
lsen, comp. [sm1896[nm to Danish text by A. ~Olrik, Latin text by J. L. Heiberg,
 for sop., ten., ~bar., and bass soloists, children's ch., mixed ch., ~male ch.,
 and orch. F.p. Copenhagen [sm1897[nm, cond. ~Nielsen; f. Eng. p. Birmingham [sm
1959[nm.[cm~Hymnus Paradisi [fy75,1](Hymn of Paradise). Requiem ~by [fy45,1]*[fy
75,1]Howells for sop. and ten. soloists, ch., and ~orch. to texts selected by hi
m from Latin Mass ~for the Dead, Psalm [sm23[nm, Psalm [sm121[nm, the Burial ~Se
rvice, and the Salisbury Diurnal (trans. G. H. ~Palmer). Comp. [sm1938[nm in mem
ory of his son, but ~not released for perf. until [sm1950[nm (Gl
oucester Fest.). ~Some of the themes in [cf2]Hymnus Paradisi [cf1]were first ~em
ployed in Howells's [cf2]Requiem [cf1]for unacc. ch., ~comp. in [sm1936[nm. The
[cf2]Requiem [cf1]was reassembled ~from MS. and perf. in [sm1980[nm.[xm[cm~[j4]~
[xp[te~









[do31][j99]~~~~~~[sm153842[nm_I[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmI[sm001[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm25[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm1[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ep~[PN347,0,0,R,I0][ap
[j3]~I[cm~~[j1]I [fy75,1](It.). The (masc. plural).[cm~Ib;aaeria. [fy75,1]No. [s
m2[nm of Debussy's [fy45,1]*[fy75,2]Images [cf1]for orch. ~Comp. [sm1905=n8[nm,
f.p. [sm1910[nm, Paris. In [sm3[nm sections: [sm1[nm. ~[cf2]Par les Rues et par
les chemins [cf1](By highways and ~byways); [sm2[nm. [cf2]Les Parfums de la nuit
 [cf1](Night Scents); ~[sm3[nm. [cf2]Le Matin d'un jour de f;Afete [cf1](Morning
 of festival ~day). This evocation of Sp. was written by a ~composer who went to
 Sp. for one day in his ~life=mto see a bullfight.[cm~Iberia. [fy75,1][sm4[nm bo
oks ([sm1906[nm=n[sm09[nm) containing [sm12[nm pf. ~pieces by [fy45,1]*[fy75,1]A
lb;Aaeniz, several being orch. by [fy45,1]*[fy75,1]Arb;Aaos.[cm~Ibert, Jacques [
fy75,1](Fran;Alcois Antoine) [cf1]([cf2]b [cf1]Paris, [sm1890[nm
; ~[cf2]d [cf1]Paris, [sm1962[nm). Fr. composer. Studied Paris Cons. ~[sm1909[nm
=n[sm13[nm. Dir., Fr. Acad., Rome, [sm1937[nm=n[sm55[nm, ass. ~dir. Paris Op;aae
ra and Op;Aaera-Comique [sm1955[nm=n[sm7[nm. ~Works, light and witty in style, i
ncl.:[xm[cm~[j2][smoperas[nm: [fy75,2]Ang;Aaelique [cf1]([sm1926[nm); [cf2]Le Ro
i d'Yvetot [cf1]([sm1928[nm); ~[cf2]Gonzague [cf1]([sm1930[nm); [cf2]L'[fy45,1]*
[fy75,2]Aiglon [cf1](with Honegger, ~[sm1935[nm).[ep~[smballets[nm: [cf2]L'[fy45
,1]*[fy75,2]Eventail de Jeanne [cf1](with [sm9[nm other ~composers, [sm1927[nm);
 [cf2]Le Chevalier errant [cf1]([sm1935[nm).[ep~[smorch[nm: [fy45,1]*[fy75,2]Esc
ales [cf1]([sm1922[nm); [cf2]Divertissement [cf1]([sm1930[nm, adap~~tation from
mus. for Lebiche's play [cf2]Un Chapeau ~de paille d'Italie [cf1](The Italian St
raw Hat)); fl. conc. ~([sm1934[nm); concertino da camera for alto sax. ([sm1935[
nm); ~[cf2]Louisville Concerto [cf1]([sm1953[nm); Sym. No. [sm2[nm (`Boston~~ian
a') ([sm1955[nm=n[sm61[nm).[ep~[smchamber music[nm: [cf2]Capricc
io[cf1] for [sm10[nm instr. ([sm1938[nm); Str. ~qt. ([sm1937[nm=n[sm42[nm); Trio
 for vn., vc., harp ([sm1942[nm).[ep~[smvoice and piano[nm (or [smorch.[nm): [cf
2]Le Petit ;afAne blanc [cf1](The ~Little White Donkey) ([sm1940[nm, from [cf2]H
istoire No. [sm2[nm ~[cf1]for pf., [sm1922[nm).[cm~[j1]Ice Break, The. [fy75,1]O
pera in [sm3[nm acts by [fy45,1]*[fy75,1]Tippett to ~his own lib., comp. [sm1973
[nm=n[sm6[nm. Prod. CG [sm1977[nm, Kiel ~[sm1978[nm (as [cf2]Wenn das Eis bricht
[cf1]).[cm~Id;Aaee fixe [fy75,1](Fr.). Fixed idea. Term used by [fy45,1]*[fy75,1
]Berlioz, ~in his [cf2]Symphonie fantastique [cf1]and elsewhere, for ~what is in
 essence a [fy45,1]*[fy75,2]leitmotiv [cf1]or [fy45,1]*[fy75,1]motto-theme. ~Ber
lioz borrowed the term from medicine, where ~it means `a delusion that impels to
wards some ab-~normal action'.[cm~Idiophone. [fy75,1]Term for mus. instr. which
produce ~sound from their own substance, e.g. castanets, ~cymbals, bells, etc. C
an be struck, plucked, blown, ~or vibrated by friction. One of [
sm4[nm classifications of ~instr. devised by C. Sachs and E. M. von ~Hornbostel
and pubd. in [cf2]Zeitschrift f;auur Ethnologie[cf1], ~[sm1914[nm. Other categor
ies are [fy45,1]*[fy75,1]aerophones, [fy45,1]*[fy75,1]chor~~dophones, and [fy45,
1]*[fy75,1]membranophones, with [fy45,1]*[fy75,1]electro~~phones recently added.
[cm~Idomeneo, Re di Creta, ossia Ilia ed Idamante ~[fy75,1](Idomeneus, King of C
rete, or Ilia and Idamante). ~Opera seria in [sm3[nm acts by Mozart (K[sm366[nm)
 (comp. ~[sm1780[nm=n[sm1[nm) to It. lib. by G.B. Varesco, after Danchet's ~lib.
 for [fy45,1]*[fy75,1]Campra's [cf2]Idom;Aaen;Aaee [cf1]([sm1712[nm) and the anc
ient ~legend. For Vienna private perf. in [sm1786[nm Mozart ~made additions to t
he score incl. new sop. aria ~[cf2]Non temer, amato bene [cf1](K[sm490[nm), now
sung in many ~modern perfs. Prod. Munich [sm1781[nm, Karlsruhe ~[sm1917[nm, Dres
den [sm1925[nm, Glasgow [sm1934[nm, Tanglewood ~[sm1947[nm, Glyndebourne [sm1951
[nm, NY [sm1951[nm, London ~[sm1962[nm ([sm1[nmst CG prod. [sm19
78[nm). For revival at Vienna, ~[sm1931[nm, R. Strauss ed. (liberally) the score
 and added ~mus. of his own, with text rewritten by L. ~Wallerstein, and Wolf-Fe
rrari ed. the work for ~Munich, [sm1931[nm. Many textual and other special ~musi
cological problems attend this opera. For ~details, see W. Mann's [cf2]The Opera
s of Mozart ~[cf1]([sm1977[nm).[cm~Idyll. [fy75,1]In literature a description (p
rose or verse) ~of happy rural life, and so sometimes applied to a ~mus. comp. o
f peaceful pastoral character (e.g. ~Wagner's [fy45,1]*[fy75,2]Siegfried Idyll[c
f1]).[cm~Idyll: Once I Passed through a Populous City. ~[fy75,1]For sop., bar.,
and orch. by Delius to text by ~Whitman. Comp. [sm1930[nm=n[sm2[nm, containing r
e-working ~of parts of early opera, [fy45,1]*[fy75,2]Margot-la-rouge [cf1]([sm19
01=n2[nm).[cm~Igloi, Thomas [fy75,1](George) [cf1]([cf2]b [cf1]Budapest, [sm1947
[nm; [cf2]d ~[cf1]London, [sm1976[nm). Hung.-born cellist. Studied RAM ~and with
 Fournier and Casals. D;Aaebut London ~[sm1969[nm. Winner, BBC v
c. competition [sm1969[nm, Casals ~int. vc. competition, Florence, [sm1971[nm; s
oloist with ~leading orchs.[cm~Il [fy75,1](It.). The (masc. sing.).[cm~;afIle jo
yeuse, L' [fy75,1](The Island of Joy). Pf. piece by ~Debussy comp. [sm1904[nm an
d inspired by one of ~Watteau's [sm2[nm pictures, [cf2]L'Embarquement pour Cyth;
Agere, ~[cf1]which delicately depicted early [sm18[nmth-cent. scene ~of party ab
out to embark for the island sacred to ~Venus.[cm~Iliffe, Barrie [fy75,1](John)
[cf1]([cf2]b [cf1]Westcliff, [sm1925[nm). Eng. ~concerts administrator. Concerts
 manager, RLPO, ~[sm1951[nm=n[sm5[nm, orch. manager, Philharmonia [sm1955[nm=n[s
m6[nm, ~Cape Town Orch. [sm1956[nm=n[sm8[nm, London Mozart Players ~[sm1961[nm=n
[sm3[nm, gen. manager New Philharmonia [sm1964[nm=n~[sm5[nm. Head of Mus., Brit.
 Council since [sm1966[nm.[cm~Illica, Luigi [fy75,1]([cf2]b [cf1]Piacenza, [sm18
57[nm; [cf2]d [cf1]Piacenza, [sm1919[nm). ~It. playwright and librettist. Wrote,
 or helped to ~write, over [sm80[nm opera libs., among them (wit
h ~Giacosa) those for Puccini's [cf2]Manon Lescaut, La ~Boh;Ageme, Madama Butter
fly, [cf1]and [cf2]Tosca[cf1]; also for ~Catalani's [cf2]La Wally, [cf1]Mascagni
's [cf2]Iris, [cf1]and Gior~~[chdano's [cf2]Andrea Ch;Aaenier.[cm~[PN348,0,0,L,I
0][fy65][cf3]Illuminations, Les [fy75,1](The Illuminations). Song-~cycle for hig
h v. and str. orch., Op. [sm18[nm, by Britten, ~comp. [sm1938[nm=n[sm9[nm, text
being [sm9[nm prose-poems by Fr. ~poet Arthur Rimbaud written [sm1872[nm=n[sm3[n
m ([cf2]Les ~Illuminations [cf1]and [cf2]Po;Agemes en prose[cf1]). F.p. London,
~[sm1940[nm (Nos. [sm5[nm and [sm7[nm perf. separately in Birmingham ~and London
 [sm1939[nm).[cm~Images [fy75,1](Pictures). Title given by Debussy to [sm2[nm ~w
orks: ([sm1[nm) [cf2]Images [cf1]for orch. ([cf2]Gigues, [cf1][sm1909[nm=n[sm12[
nm, orch. ~[fy45,1]*[fy75,1]Caplet; [fy45,1]*[fy75,2]Ib;aaeria, [cf1][sm1905[nm=
n[sm8[nm, and [cf2]Rondes de Printemps, ~[cf1][sm1905[nm=n[sm9[nm). First perf.
as triptych, Paris [sm1913[nm cond. ~Piern;Aae. ([sm2[nm) [sm2[n
m sets for solo pf., set [sm1[nm ([sm1905[nm) ~containing [cf2]Reflets dans l'ea
u, Hommage ;Aga Rameau, ~Mouvement[cf1]; set [sm2[nm ([sm1907[nm) containing [cf
2]Cloches ;Aga ~travers les feuilles, Et la lune descend sur le temple qui ~fut,
 [cf1]and [cf2]Poissons d'or.[cm~Imaginary Landscape. [fy75,1]Title of [sm5[nm p
erc. works by ~[fy45,1]*[fy75,1]Cage in which he also developed his interest in
~unusual and elec. sounds. No. [sm1[nm ([sm1939[nm) is for two ~variable speed g
ramophone turntables, frequency ~recordings, muted pf., and cymbal; No. [sm2[nm
([cf2]March[cf1]) ~is for perc. quintet ([sm1942[nm); No. [sm3[nm ([sm1942[nm) f
or perc. ~sextet; No. [sm4[nm ([cf2]March No. [sm2[nm[cf1]) for [sm12[nm radios,
 [sm24[nm ~players, and cond. ([sm1951[nm); No. [sm5[nm ([sm1952[nm) is a score
~for making a recording on tape using any [sm42[nm ~gramophone records.[cm~Imbri
e, Andrew [fy75,1](Welsh) [cf1]([cf2]b [cf1]NY, [sm1921[nm). Amer. ~composer and
 pianist. Studied pf. with Leo ~Ornstein [sm1930[nm=n[sm42[nm, l
ater with R. Casadesus. ~Studied comp. privately with [fy45,1]*[fy75,1]Sessions
[sm1938[nm=n[sm48[nm. ~Taught at Univ. of Calif. from [sm1948[nm (prof. from ~[s
m1960[nm). [cf2]Prix de Rome [cf1][sm1947[nm, working in Rome ~[sm1947[nm=n[sm51
[nm, [sm1953[nm=n[sm4[nm. Works incl. opera ([cf2]Christmas in ~Peebles Town[cf1
], [sm1962[nm=n[sm3[nm), [sm4[nm syms., vn. conc., [sm3[nm pf. ~concs., fl. conc
., [cf2]Legend [cf1]for orch., chamber sym., ~vc. sonata, [sm4[nm str. qts., pf.
 sonata, [cf2]Psalm [sm42[nm [cf1]for male ~ch. and org., [cf2]Drum Taps [cf1]fo
r ch. and orch.[cm~Imitation. [fy75,1]Compositional device in part-writing ~invo
lving repetition by one v. of more or less the ~phrase previously stated by anot
her v. In [fy45,1]*[fy75,2]Canon ~[cf1]and [fy45,1]*[fy75,2]Fugue, [cf1]imitatio
n is according to a strict ~regulated pattern.[cm~Imitazione, Aria d'. [fy75,1]S
ee [cf2]Aria.[cm~Immortal Hour, The. [fy75,1]Mus. drama in [sm2[nm acts by ~[fy4
5,1]*[fy75,1]Boughton to own lib. based on works of `Fiona ~Macl
eod' (William Sharp). Prod. Glastonbury ~[sm1914[nm, London [sm1922[nm, NY [sm19
26[nm.[cm~Imperfect Cadence. [fy75,1]See [cf2]Cadence.[cm~`Imperfect' Time. [fy7
5,1]See [cf2]Common Time.[cm~Imp;Aaeriale, L' [fy75,1](The Imperial). Nickname f
or ~Haydn's Sym. in D major, No. [sm53[nm in Breitkopf ~edn., comp. [cf2]c.[cf1]
[sm1780[nm. Name first used in [sm19[nmth-cent. ~Paris catalogue of Haydn syms.
for unknown ~reason.[cm~Imperial Mass. [fy75,1]Another name for Haydn's ~[fy45,1
]*[fy75,2]Nelson Mass.[cm~Impresario, The [fy75,1]([cf2]Der Schauspieldirektor[c
f1]). Comedy ~with mus. in [sm1[nm act (K[sm486[nm) by Mozart to lib. by G. ~Ste
phanie. Prod. Vienna [sm1786[nm, London [sm1857[nm, NY ~[sm1870[nm.[cm~Impressio
nism. [fy75,1]Term used in graphic art from ~[sm1874[nm to describe the work of
Monet, Degas, ~Whistler, Renoir, etc., whose paintings avoid ~sharp contours but
 convey an `impression' of the ~scene painted by means of blurred outlines and ~
minute small detail. It was applied by musicians ~to the mus. of
 Debussy and his imitators because ~they interpret their subjects (e.g. [cf2]La
Mer[cf1]) in a ~similar impressionistic manner, conveying the ~moods and emotion
s aroused by the subject rather ~than a detailed tone-picture. To describe Debus
sy's ~harmony and orchestration as impressionist in ~the sense of vague or ill-d
efined is to do them a ~severe injustice. Some of the technical features of ~mus
ical impressionism included new chord ~combinations, often ambiguous as to tonal
ity, ~chords of the [sm9[nmth, [sm11[nmth, and [sm13[nmth being used ~instead of
 triads and chords of the [sm7[nmth; [fy45,1]*[fy75,2]appoggia~~tura [cf1]used a
s part of the chord, with full chord ~included; parallel movement in a group of
chords ~of triads, [sm7[nmths, and [sm9[nmths, etc.; whole-tone chords; ~exotic
scales; use of the modes; and extreme ~chromaticism.[cm~Impromptu [fy75,1](Fr.).
 Literally `improvised' or `on ~the spur of the moment', but in [sm19[nmth cent.
, name ~given to short piece of instr. mus., often in song-~like
 form, e.g. those by Schubert, Chopin, and ~Schumann. In [sm20[nmth cent., term
has been used by ~Britten for rev. [sm3[nmrd movement of his pf. conc.[cm~Improv
isation [fy75,1](or extemporization). A perf. ~according to the inventive whim o
f the moment, ~i.e. without a written or printed score, and not ~from memory. It
 has been an important element ~in mus. through the centuries, viz. ([sm1[nm) fr
om the ~[sm12[nmth to the [sm17[nmth cents., in vocal descant when a ~part was i
mprovised by one singer to a notated ~part sung by another. ([sm2[nm) in [sm17[n
mth and [sm18[nmth cents. ~in the [fy45,1]*[fy75,1]`divisions' of viol players,
i.e. the im-[fj~provised decoration of the notes of a tune by ~shorter notes. Al
so the kbd. player's improvisation ~of the figured bass. ([sm3[nm) In the [sm18[
nmth cent. the filling-~in of the preludes to kbd. suites which Handel ~and othe
rs often indicated merely as a series of ~chords from which the perf. was to dev
elop his ~material. ([sm4[nm)^From [sm18[nmth cent., the [fy45,1
]*[fy75,1]cadenza in ~concs. (sometimes written out, but often left to ~the virt
uoso to invent). ([sm5[nm) In [sm18[nmth and early [sm19[nmth ~cents., the kbd.
perfs. by which Bach, Mozart, ~Beethoven, Hummel, Clementi, and others en~~thral
led their audiences by brilliant displays of ~improvisation. ([sm6[nm) The same
as ([sm5[nm) by organists ~such as Bruckner and Widor, this practice still ~bein
g fairly common among organists. ([sm7[nm) In ~jazz, improvisation by solo instr
ument[chalists is ~part of the idiom's attraction. ([sm8[nm) [fy45,1]*[fy75,1]Al
eatory or ~indeterminate features of [sm20[nmth-cent. works are of ~an improvisa
tory nature. ([sm9[nm) The term is some~~[PN349,0,0,R,I0]times used as the title
 of a notated work which is ~intended to convey an impression of improvisa~~tion
.[cm~In Alt [fy75,1](It.). Notes are [cf2]in alt [cf1]which are in the octave ~i
mmediately above the top line of the treble ~stave; the next octave is [cf2]in a
ltissimo.[cm~In a Summer Garden. [fy75,1]Rhapsody for large orch
. ~by Delius, comp. [sm1908[nm. F.p. London [sm1909[nm, rev. ~version Edinburgh
[sm1913[nm. The garden was Delius's ~own at Grez.[cm~Inbal, Eliahu [fy75,1]([cf2
]b [cf1]Jerusalem, [sm1936[nm). Israeli cond. ~Studied Paris Cons. under Fourest
ier and at ~Hilversum and Siena. Won Cantelli int. compe~~[chtition for conds. [
sm1963[nm. Chief cond. Frankfurt ~Radio S.O. from [sm1974[nm. Opera d;Aaebut con
d. Strauss's ~[cf2]Elektra, [cf1]Bologna [sm1969[nm.[cm~Incalcando [fy75,1](It.)
. Warming-up, i.e. getting faster ~and louder.[cm~Incidental Music. [fy75,1]Mus.
 written for atmospheric ~effect or to accompany the action in a play. It was ~p
rovided `incidentally' as far back as Gr. drama. ~Purcell wrote much incidental
mus. for the th. of ~his day, and there are dozens of superb examples ~since the
 early [sm19[nmth cent., e.g. Beethoven's for ~Goethe's [cf2]Egmont, [cf1]Mendel
ssohn's for Shakespeare's ~[cf2]A Midsummer Night's Dream, [cf1]Grieg's for Ibse
n's ~[cf2]Peer Gynt, [cf1]Bizet's for Daudet's [cf2]L'Arl;Aaesie
nne, [cf1]Sibel~~ius's for Maeterlinck's [cf2]Pell;Aaeas et M;Aaelisande, [cf1]W
al~~ton's for Shakespeare's [cf2]Macbeth, [cf1]etc. Music for ~films and TV is a
lso in a sense `incidental music'.[cm~Incoronazione di Poppea, L' [fy75,1](The C
oronation ~of Poppaea). Opera in prol. and [sm3[nm acts by ~Monteverdi (his last
) to a lib. by Busenello after ~Tacitus. Prod. Venice [sm1642[nm, Naples [sm1651
[nm, Paris, ~concert version ed. d'Indy, [sm1905[nm, stage [sm1913[nm, ~Northamp
ton, Mass., [sm1926[nm, Oxford [sm1927[nm. First ~opera on an historical, other
than biblical, subject. ~In the [sm20[nmth cent. there have been several edns.,
~incl. those by K;akrenek, d'Indy, Benvenuti, Malipi~~ero, Ghedini, W. Goehr, Ha
rnoncourt, Curtis, ~and R. Leppard (first version f.p. Glyndebourne ~[sm1962[nm,
 London [sm1971[nm; second version f.p. Glynde~~bourne [sm1984[nm). New edn. by
Roger Norrington ~for Kent Opera [sm1974[nm. In some respects this was ~the firs
t `modern' opera by virtue of its treatment ~of human emotions a
nd personalities and its ~anticipation of a [fy45,1]*[fy75,2]leitmotiv [cf1]tech
nique of comp.[cm~Incorporated Society of Musicians. [fy75,1]Assoc. of ~professi
onal musicians founded in [sm1882[nm. Meetings ~are held regularly in regional b
ranches, and an ~annual conference is held in one of the large cities ~of the U.
K. Examinations conducted by the soc. ~were dropped in [sm1928[nm.[cm~Incredible
 Flutist, The. [fy75,1]Ballet with mus. by ~Walter [fy45,1]*[fy75,1]Piston. Prod
. [sm1938[nm. Concert suite from ~the ballet f.p. [sm1940[nm.[cm~Indes galantes,
 Les [fy75,1](The courtly Indies). Op;Aaera-~ballet in prol. and [sm3[nm [cf2]en
tr;Aaees [cf1]by [fy45,1]*[fy75,1]Rameau to lib. by ~Louis Fuzelier. Prod. Paris
 [sm1735[nm, with [sm4[nmth [cf2]entr;Aaee ~[cf1][sm1736[nm, NY [sm1962[nm. Each
 [cf2]entr;Aaee [cf1]tells a love-story from ~a different part of the world: [sm
1[nm. [cf2]Le Turc g;Aaen;Aaereux ~[cf1](The generous Turk). [sm2[nm. [cf2]Les I
ncas de P;Aaerou [cf1](The ~Incas of Peru). [sm3[nm. [cf2]Les Fl
eurs, feste Persane [cf1](The ~Flowers, Persian festival). [sm4[nm. [cf2]Les Sau
vages [cf1](The ~Savages).[cm~Indeterminacy. [fy75,1]Much the same as [fy45,1]*[
fy75,1]aleatory, but ~specially the principle by which a decision of the ~perfor
mer of a comp. replaces a decision of the ~composer.[cm~India, Sigismondo d' [fy
75,1]([cf2]b [cf1]Palermo, [cf2]c.[cf1][sm1582[nm; [cf2]d [cf1]? ~Modena, before
 [sm1629[nm). It. composer and singer. ~Said to be of noble birth and spent [sm1
600[nm=n[sm10[nm ~travelling in It., visiting several courts. Probably ~met Mont
everdi in Mantua [sm1606[nm. Dir. of chamber ~mus. to the Duke of Savoy in Turin
, [sm1611[nm=n[sm23[nm, ~during which period most of his mus. was ~written. Move
d to Modena [sm1623[nm=n[sm4[nm, then to Rome ~where in [sm1625[nm his sacred op
era [cf2]Sant' Eustachio [cf1]was ~perf. in Cardinal Maurizio's palace. Returned
 to ~Modena [sm1626[nm. Regarded as most important ~composer of secular vocal mu
s. in early [sm17[nmth cent. ~It. after Monteverdi. Collections
of his works ~were pubd. in Milan and Venice from [sm1609[nm to ~[sm1623[nm. Ble
nded styles of Marenzio, Wert, Gesualdo, ~and Monteverdi into a rich polyphonic
style of ~his own, with daring harmonies and treatment ~of dissonance.[cm~Indian
ische Fantasie [fy75,1](Indian Fantasy). Busoni's ~Op. [sm44[nm for pf. and orch
. Comp. [sm1913[nm. Based on ~Amer. Indian themes.[cm~Indianisches Tagebuch [fy7
5,1](Indian Diary). Work ~by Busoni, Book I being for pf. solo and Book II ~for
orch. Comp. [sm1915[nm.[cm~Indian Queen, The. [fy75,1]Semi-opera in [sm5[nm acts
 by ~Purcell, with text by Dryden and R. Howard ~about rivalry between Mexicans
and Peruvians. ~Prod. London [sm1695[nm, the final masque in Act V ~being by Dan
iel Purcell.[cm~In dulci Jubilo [fy75,1](In sweet joy). [sm14[nmth-cent. Ger. ~m
acaronic carol; Eng. version [cf2]c[cf1]. [sm1540[nm. Popular ~setting for solo
vocal octet and [sm5[nm-pt. chorus by ~Robert L. Pearson dates from [sm1834[nm.[
cm~Indy, Vincent d'. [fy75,1]See [cf2]D'Indy, Vincent.[cm~Inexti
nguishable, The [fy75,2](Det uudslukkelige). [cf1]Title ~of Sym. No. [sm4[nm by
Carl [fy45,1]*[fy75,1]Nielsen, comp. [sm1915[nm=n[sm16[nm. ~F.p. Copenhagen [sm1
[nm Feb. [sm1916[nm; f.p. in England ~London, [sm22[nm June [sm1923[nm, cond. Ni
elsen.[cm~Infinite Canon [fy75,1](Perpetual Canon). Canon in ~which each v., hav
ing reached the end, begins ~again, and so indefinitely.[cm~Inflection. [fy75,1]
In plainsong, the general name given ~to such parts as are not in monotone, i.e.
 incl. the ~intonation, mediation, and ending, and excl. the ~recitation.[xm[cm~
[fy65][cc13,3,8,8][dt6p3,0p6g,6p3][ol0][epInflection of Notes.[ep~[PN350,0,0,L,I
0][el2][bt~[fy75,1][smsharp[nm[qc~[nt~[smdouble sharp[nm[qc~[et~[bt~Raising the
note a half-~step or semitone[ep~[nt~Raising the note a full-~step or tone[ep~[e
t~[bt~;yi[qc~[nt~;Ts[qc~[et~[bt~[smflat[nm[qc~[nt~[smdouble flat[nm[qc~[et~[bt~L
owering the note a ~half-step or semitone[ep~[nt~Lowering the note a ~full-step
or tone[ep~[et~[bt~;yh[qc~[nt~;yh;yh[qc~[et~[el2]^After a Sharp
or Flat the Natural Sign ;Yj restores ~the note to its normal pitch.[ep~^After a
 Double Sharp or Double Flat the Sign ;Yi ~or ;Yh (or ;Yj;Yi or ;Yj;Yh) changes
the pitch of the note to ~that of a single sharp or flat.[ep~^After a Double Sha
rp or Double Flat the Sign ;Yj ~(rarely given ;Yj;Yj) restores the note to its n
ormal ~pitch.[ep~^Any of these various signs is understood to affect ~not only t
he note before which it immediately ~occurs, but also, unless contradicted, any
other ~notes on that same line or space of the staff ~throughout the measure (ba
r), and if the last note ~of the measure is thus inflected and is tied to the ~s
ame note at the opening of the next measure, ~that latter also is understood to
be included in the ~inflection.[ep~^Additions are made to the names of the notes
 as ~shown above:[ep~^Because of several irregularities in the Ger. ~names it ha
s been thought best to set these out in ~full. Notice particularly the names mar
ked [fy45,1]*[fy75,1].[ep~[el4][j1]Ingegneri, Marco Antonio [fy7
5,1]([cf2]b [cf1]Verona, [cf2]c.[cf1][sm1547[nm; [cf2]d ~[cf1]Cremona, [sm1592[n
m). It. composer and church musi~~cian. Pupil of V. [fy45,1]*[fy75,1]Ruffo. Choi
rmaster, Cremona ~Cath. from [sm1579[nm. Comp. masses, motets, [sm8[nm books ~of
 madrigals, and [sm27[nm Responsoria for Holy Week. ~Taught [fy45,1]*[fy75,1]Mon
teverdi.[cm~Ingham, Steve [fy75,1]([cf2]b [cf1]London, [sm1951[nm). Eng. compose
r. ~Studied at York Univ. [sm1972[nm=n[sm5[nm, later with Donald ~Erb in Indiana
 and with Ferneyhough in Ger. ~[sm1977[nm=n[sm80[nm. Northern Arts composer fell
ow, New~~castle upon Tyne Univ., [sm1980[nm=n[sm2[nm, lect. in mus. ~[sm1984[nm.
 Comps. incl. [cf2]Ein frohlich Wesen[cf1], orch. ([sm1980[nm), ~[cf2];aaEl;aaeg
ie[cf1], str. qt. ([sm1981[nm), and [cf2]Indiana Suite[cf1], small orch. ~([sm19
82[nm).[xm[cm~[ts1][bm2][cc27][dt2p6,1g,3p6,p9g,4p6,1g,3p6,p9g,4p6,0p9g,4p3][ru5
][ep~[ol2][ep~[bt~[nt~;Yi[qc~[nt~;Ts[qc~[nt~;Yh[qc~[nt~;Yh;Yh[qc~[nt~;Yj[qc~[et~
[ol3][ru5,27]~[ol2][ep~[bt~English[qc~[nt~sharp[qc~[nt~double sh
arp[qc~[nt~flat[qc~[nt~double flat[qc~[nt~natural[qc~[et~[ol5][ru5,27]~[ol2][ep~
[bt~[acGerman[qc~[nt~_^^Cis[ep~_^^Dis[ep~_^^Eis[ep~_^^Fis[ep~_^^Gis[ep~_^^Ais[ep
~_^[fy45,1]*[fy75,1]His[ep~[rr[xh(The sign is ~called [cf2]Kreuz[cf1])[ep~[nt~[x
r[ah__^Cisis[ep~__^Disis[ep~__^Eisis[ep~__^Fisis[ep~__^Gisis[ep~__^Aisis[ep~__[f
y45,1]*[fy75,1]Hisis[ep~[rr[xh(The sign is ~called ~[cf2]Doppelkreuz[cf1])[ep~[n
t~[xr[ah_^^Ces[ep~_^^Des[ep~_^^Es[ep~_^^Fes[ep~_^^Ges[ep~_^^As[ep~_^[fy45,1]*[fy
75,1]B[ep~[rr[xh(The sign is ~called [cf2]Be[cf1])[ep~[nt~[xr[ah__^Ceses[ep~__^D
eses[ep~__^Eses[ep~__^Feses[ep~__^Geses[ep~__^Ases[ep~__[fy45,1]*[fy75,1]Bes[ep~
[rr[xh(The sign is ~called [cf2]Doppel-Be[cf1])[ep~[nt~The sign is ~called [cf2]
Quadrat ~[cf1]or ~[cf2]Aufl;Auosungszeich-[ep~en [cf1](release-[ep~sign)[ep~[et~
[xr[ah[ol5][ru5,27]~[ol2][ep~[bt~French[qc~[nt~di;Agese[qc~[nt~double-di;Agese[q
c~[nt~b;Aaemol[qc~[nt~double-b;Aaemol[qc~[nt~b;Aaecarre[qc~[et~[ol5][ru5,27]~[ol
2][ep~[bt~Italian[qc~[nt~diesis[qc~[nt~doppio diesis[qc~[nt~bemo
lle[qc~[nt~doppio bemolle[qc~[nt~bequadro[qc~[et~[ol5][ru5,27]~[ol2][ep~[em[cc13
][tx[xp[te~











[do31][j99]~~~~~~[sm153842[nm_I[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmI[sm002[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm26[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm49[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[el4][j1]Ingh
elbrecht, D;aaesir;aae [fy75,1](;aaEmile) [cf1]([cf2]b [cf1]Paris, [sm1880[nm; ~
[cf2]d|=+=+[cf1]Paris,|=+=+[sm1965[nm). Fr. cond. and composer. Cond. ~Swedish B
allet in Paris and London. Ass. cond. ~Pasdeloup concerts. Ass. cond. Op;aaera-C
omique ~[sm1924[nm, cond. [sm1932[nm; cond. Paris Op;aaera [sm1945[nm=n[sm50[nm.
 ~Cond. Fr. Nat. Radio Orch. Author of several ~books. Comp. opera, ballet ([cf2
]El Greco[cf1]), choral, ~orch., and chamber mus.[cm~Inglott, William [fy75,1]([
cf2]b [cf1][sm1554[nm; [cf2]d [cf1]Norwich, [sm1621[nm). ~Eng. composer and orga
nist. Organist, Norwich ~Cath. from [sm1608[nm. Comp. a [cf2]Te Deum, [cf1]piece
s for ~virginals, madrigals, etc.[cm~In Honour of the City. [fy75,1]Cantata by [
fy45,1]*[fy75,1]Dyson, ~setting of poem by William Dunbar ([sm14
65[nm=n[sm1520[nm), ~f.p. Lincoln [sm1928[nm.[cm~In Honour of the City of London
. [fy75,1]Cantata for ~ch. and orch. by [fy45,1]*[fy75,1]Walton, setting of poem
 by ~William Dunbar, f.p. Leeds [sm1937[nm; f. London p. ~Dec. [sm1937[nm, cond.
 Walton.[cm~In modo di [fy75,1](It.). In the manner of.[cm~Innig [fy75,1](Ger.).
 Inmost, heartfelt. So the noun ~[cf2]Innigkeit. [cf1]Word frequently used by En
g. mus. ~critics to describe mystical or spiritual passages in ~the mus. of, for
 instance, Beethoven and Bruck~~ner.[cm~In nomine [fy75,1](In the name). A type
of contrapuntal ~instr. comp. by [sm16[nmth-cent. Eng. comps., usually ~for cons
ort of viols but sometimes for lute or kbd. ~based on a version of a piece of pl
ainchant. First ~used by [fy45,1]*[fy75,1]Taverner, when he comp. an instr. piec
e ~based on the theme to which he set the words `In ~nomine Domini' in his [cf2]
Gloria Tibi Trinitas [cf1]Mass. ~This set a fashion, and the name `In nomine' wa
s ~adopted for this type of piece.[cm~[PN351,0,0,R,I0]Insanguine
, Giacomo [fy75,1]([cf2]b [cf1]Monopoli, Bari, [sm1728[nm; ~[cf2]d [cf1]Naples,
[sm1795[nm). It. composer, sometimes called ~Monopoli. Comp. several operas, inc
l. [cf2]Didone ~abbandonata [cf1]([sm1769[nm), and church mus.[cm~Institut de re
cherche et de co-ordination ~acoustique-musique. [fy75,1]Laboratories and elec.
stu~~dios, part of the Georges Pompidou Centre, Paris, ~inaugurated [sm1977[nm u
nder directorship of [fy45,1]*[fy75,1]Boulez, ~for experiment and research into
modern com~~positional techniques. Known as I.R.C.A.M.[cm~Instrumentation. [fy75
,1]Writing of mus. for particular ~instrs., especially referring to composer's k
now~~[chledge of what is practicable on various instrs. Also ~used in sense of [
fy45,1]*[fy75,1]orchestration.[cm~Instruments, Musical. [fy75,1]Objects or devic
es for ~producing mus. sound by mechanical energy or ~electrical impulses. They
can be classified as: ([sm1[nm) ~Str. (plucked or bowed). ([sm2[nm) Wind (played
 by ~blowing direct into the mouthpiece or through a ~reed). ([s
m3[nm) Perc. (of determinate or indeterminate ~pitch). ([sm4[nm) Elec. Note that
 the pf., though it has ~str., is percussive in its mechanism, so is not easily
~classified. For the classifications of instr. by C. ~Sachs and E. M. von Hornbo
stel pubd. in [sm1914[nm, ~see [cf2]aerophones[cf1], [cf2]chordophones[cf1], [cf
2]idiophones[cf1], and [cf2]mem~~branophones[cf1], with [cf2]electrophones [cf1]
as additional cate~~gory. For the Sachs-Hornbostel introduction to ~their classi
fications, see [cf2]New Grove[cf1], Vol. [sm9[nm, pp. ~[sm241[nm=n[sm5[nm.[cm~In
tavolatura [fy75,1](It.). Entablature. Term denoting ~`scoring' used in Elizabet
han period. Referred to ~arr. of madrigals for kbd. perf.[cm~Int;Aaegrales. [fy7
5,1]Work for small orch. and perc. by ~[fy45,1]*[fy75,1]Var;agese, comp. [sm1924
[nm=n[sm5[nm, f.p. NY [sm1925[nm.[cm~Intendant [fy75,1](Ger.). Superintendent. A
dministra~~tive dir. (not necessarily artistic or mus. dir.) of a ~Ger. opera ho
use or th.[cm~Interlude. [fy75,1]Piece of mus. played between ot
her ~pieces, such as an org. passage played between ~verses of a hymn, or betwee
n the acts of a play, or ~between scenes in an opera (e.g. the [cf2]Sea Interlud
es ~[cf1]in Britten's [cf2]Peter Grimes[cf1]). Also used as a title of a ~mus. w
ork without above connotations.[cm~Intermezzo [fy75,1](Intermedio) (It.; Fr. [cf
2]Interm;Agede[cf1]). In ~the middle. This word has undergone several ~changes i
n application, viz., ([sm1[nm) Originally, in ~[sm16[nmth-cent. It., a mus. ente
rtainment interpolated ~between sections of more serious fare, such as ~songs or
 madrigals, or between the acts of a play. ~Earliest recorded was at Florence [s
m1539[nm. In France, ~the [cf2]interm;agedes [cf1]were sometimes on a sumptuous
~scale and sometimes comprised ballet only. Those ~by Lully for Moli;agere's pla
ys preceded or followed ~the comedy in addition to separating its acts and ~in s
ome cases had nothing to do with the plot, ~e.g. the [cf2]Ballet des Nations [cf
1]which concluded [cf2]Le ~bourgeois gentilhomme [cf1]([sm1670[n
m). ([sm2[nm) With the devel~~opment of opera seria, based invariably on ~mytho[
chlogical legends, the [cf2]intermezzo [cf1]became ~popular because of its contr
asted, more realistic, ~and topical, often comic, characters. At the ~beginning
of the [sm18[nmth cent., comic characters ~were admitted into opera seria in sce
nes near the ~end of an act, thus forming a separate plot, an ~[cf2]intermezzo.
[cf1]Most popular of these [cf2]intermezzi [cf1]was ~Pergolesi's [cf2]La serva p
adrona [cf1](The maid as mistress) ~([sm1733[nm). From this form developed [fy45
,1]*[fy75,1]opera buffa. ~([sm3[nm) By the [sm19[nmth cent. the word had come to
 be ~applied in the same sense as [fy45,1]*[fy75,1]interlude; and for a ~short o
rch. piece inserted into an opera to denote ~a lapse of time, as in Mascagni's [
cf2]Cavalleria ~Rusticana, [cf1]or summarizing events as in the `Walk ~to the Pa
radise Garden' in Delius's [cf2]A Village Romeo ~and Juliet. [cf1]([sm4[nm) A sh
ort movement in a sym., conc., ~or sonata, e.g. the slow movemen
t of Schumann's ~pf. conc. ([sm5[nm) Short independent pf. pieces by ~Brahms, Sc
humann, etc.[cm~Intermezzo. [fy75,1]`Bourgeois comedy with symphonic ~interludes
' in [sm2[nm acts by R. Strauss, comp. [sm1917[nm=n[sm23[nm ~to his own lib. (ba
sed on a marital incident in his ~life, the two main characters being portraits
of ~himself and his wife Pauline). Prod. Dresden ~[sm1924[nm, Vienna [sm1927[nm,
 NY [sm1963[nm, Edinburgh [sm1965[nm, ~Glyndebourne [sm1974[nm.[cm~International
e. [fy75,1]Socialist song composed by P. ~Degeyter ([sm1848[nm=n[sm1932[nm) to w
ords by Eug;Agene ~Pottier, a Lisle woodworker. Was official anthem ~of Communis
t Russia until [sm1[nm Jan. [sm1944[nm. Not the ~same as [cf2]The Red Flag.[cm~I
nternational Folk Music Council. [fy75,1]Organiza~~tion formed in London in [sm1
947[nm at conference ~representing [sm28[nm countries. First pres. Vaughan ~Will
iams, succeeded [sm1958[nm by Maud [fy45,1]*[fy75,1]Karpeles. ~Devoted to int. r
esearch into folk mus., arranges ~fests., etc.[cm~International
Musical Society. [fy75,1]Soc. devoted to ~musicological research, having about [
sm20[nm nat. ~sections which combined for purposes of publi~~cation and conferen
ces. Founded [sm1899[nm in Leipzig, ~terminated [sm1914[nm by World War I. Work
carried ~on by [fy45,1]*[fy75,1]International Musicological Society.[cm~Internat
ional Musicological Society [fy75,1](Interna~~tional Society for Musical Researc
h). Founded ~[sm1927[nm to resume and continue the work of the ~[fy45,1]*[fy75,1
]International Musical Society. Headquarters at ~Basle. Publishes journal, [cf2]
Acta Musicologica.[cm~International Society for Contemporary Mu~~sic. [fy75,1]So
c. founded after fest. by young Viennese ~composers in Salzburg in [sm1922[nm, u
nder first ~presidency of E. J. [fy45,1]*[fy75,1]Dent. Many nat. sections. ~Annu
al fest. held each year at a different place, at ~which the works of contemporar
y composers of ~all nationalities are given a hearing. Works to be ~played are c
hosen by int. jury. Known as I.S.C.M.[cm~Interpretation [fy75,1]
in mus. is merely the act of perf., ~with the implication that in it the perform
er's ~judgement and personality have a share. Just as ~there is no means by whic
h a dramatist can so ~[PN352,0,0,L,I0]write his play as to indicate to the actor
s precisely ~how they should speak his lines, so there is no ~means by which a c
omposer can indicate to a ~performer the precise way in which his mus. is ~to be
 sung or played=mso that no [sm2[nm performers ~will adopt the same slackenings
and hastenings ~of speed (incl. [fy45,1]*[fy75,2]Rubato[cf1]), the same degree o
f ~emphasis on an accented note, and so forth. The ~matter is further complicate
d by composers' ~latitude in use of metronome markings as applied ~to a term suc
h as [cf2]allegro [cf1]or [cf2]moderato [cf1](e.g. varying ~in one work from ;ya
;eq[sm160[nm to ;ya;eq[sm100[nm for [cf2]allegro[cf1]). ~Thus there is no `right
' or `wrong' interpretation ~in the strict sense, but in matters of style and ~t
aste, a performer's `interpretation' may be felt by ~list[chener
s to be out of sympathy with, or a ~distortion of, the composer's intentions.[cm
~Interrupted Cadence. [fy75,1]Chord of the dominant ~followed by that of sub-med
iant.[cm~Interval. [fy75,1]The `distance' between [sm2[nm notes is called ~an `i
nterval', i.e. the difference in pitch between ~any [sm2[nm notes. The `size' of
 any interval is expressed ~numerically, e.g. C to G is a [sm5[nmth, because if
we ~proceed up the scale of C the [sm5[nmth note in it is G.[ep^The somewhat hol
low-sounding [sm4[nmth, [sm5[nmth, and ~octave of the scale are all called [cf2]
Perfect. [cf1]They ~possess what we may perhaps call a `purity' ~distinguishing
them from other intervals. The ~other intervals, in the ascending major scale, a
re ~all called [cf2]Major [cf1](`Major [sm2[nmnd', `Major [sm3[nmrd', `Major ~[s
m6[nmth', `Major [sm7[nmth').[ep~^If any Major interval be chromatically reduced
 ~by a semitone it becomes [cf2]Minor[cf1]; if any Perfect or ~Minor interval be
 so reduced it becomes [cf2]Dimin~~ished[cf1]; if any Perfect or
 Major interval be increased ~by a semitone it becomes [cf2]Augmented.[ep~^Enhar
monic Intervals [cf1]are those which differ from ~each other in name but not in
any other way (so ~far as modern kbd. instruments are concerned). ~As an example
 take C to G;Yi (an augmented [sm5[nmth) ~and C to A;Yh (a minor [sm6[nmth).[ep~
^[cf2]Compound Intervals [cf1]are those greater than an ~octave, e.g. C to the D
 an octave and a note ~higher, which may be spoken of either as a major ~[sm9[nm
th or as a compound major [sm2[nmnd.[ep~^[cf2]Inversion of Intervals [cf1]is the
 reversing of the ~relative position of the [sm2[nm notes defining them. It ~wil
l be found that a [sm5[nmth when inverted becomes ~a [sm4[nmth, a [sm3[nmrd beco
mes a [sm6[nmth, and so on. It will also ~be found that perfect intervals remain
 perfect (C ~to G a perfect [sm5[nmth; G to C a perfect [sm4[nmth, etc.), ~while
 major ones become minor, minor become ~major, augmented become diminished, and
~diminished become augmented.[ep~^Every interval is either [cf2]
Concordant [cf1]or [cf2]Discordant. ~[cf1]The Concordant comprise all perfect in
tervals ~and all major and minor [sm3[nmrds and [sm6[nmths; the ~Discordant comp
rise all augmented and dimin~~ished intervals and all [sm2[nmnds and [sm7[nmths.
 It therefore ~follows that all Concordant intervals when ~inverted remain Conco
rdant and all Discordant ~intervals remain Discordant.[ep~^Musical examples of I
ntervals are as follows:[ln1][cm~In the Faery Hills [fy75,1]([cf2]An Sluagh Sidh
e[cf1]). Symphonic ~poem by Bax, comp. [sm1909[nm, f.p. London [sm1910[nm. ~The
Faery Hills are in Co. Kerry, Ireland. One of ~[sm3[nm tone-poems comp. under th
e composite title ~[cf2]Eire.[cm~In the South (Alassio). [fy75,1]Concert-ov. (to
ne-poem) ~by Elgar, Op. [sm50[nm, f.p. London [sm1904[nm. Sketched at ~Alassio,
the work being an impression of It., its ~landscape and its imperial past.[cm~In
 the Steppes of Central Asia [fy75,1]([cf2]V sredney Azii, ~[cf1]In Central Asia
). `Orchestral picture' by [fy45,1]*[fy75,1]Borodin, ~comp. [sm1
880[nm to acc. [cf2]tableau vivant [cf1]at exhibition ~marking Alexander II's si
lver jubilee. Represents ~approach and passing of a caravan.[cm~Intimate Letters
 [fy75,2](Listy d;Anuv;Akern;Aae). [cf1]Sub-title of ~Jan;Aaa;Akcek's Str. Qt. N
o.[sm2[nm, comp. in [sm22[nm days [sm1928[nm; so ~called because it is autobiogr
aphical in content, ~the letters concerned being those he wrote to ~Kamilla Stoe
sslov;Aaa between [sm1917[nm and [sm1928[nm (he ~wanted to call it `Love Letters
'). F.p. Brno [sm1928[nm; ~f.p. in England [sm1936[nm (broadcast).[cm~Intolleran
za [sm1960[nm [fy75,1](Intolerance [sm1960[nm). Opera in [sm2[nm ~parts for [sm5
[nm singers, mime, ch., and orch. by [fy45,1]*[fy75,1]Nono ~to his own lib. base
d on an idea by A. M. ~Ripellino. Comp. [sm1960[nm=n[sm1[nm. Prod. Venice [sm196
1[nm.[cm~Intonation. [fy75,1]([sm1[nm) The opening phrase of a [fy45,1]*[fy75,1]
plain~~song melody, perhaps so called because it was ~often sung by the precento
r alone, giving the ~pitch and (in the Psalms) the `tone' of wha
t was ~to follow.[ep~^([sm2[nm) The act of singing or playing in tune. Thus ~we
speak of a singer or instrumentalist's `intona~~tion' as being good or bad.[cm~I
ntoning. [fy75,1]The singing upon one tone or note, as ~is done by the clergy in
 parts of the Roman, ~Anglican, and other liturgies.[cm~Intrada. [fy75,1]The It.
 equivalent of the Fr. [fy45,1]*[fy75,2]Entr;Aaee. ~[cf1]Used as name for a move
ment by [sm18[nmth-cent. ~composers and also in [sm20[nmth cent. (e.g. in Vaugha
n ~Williams's [cf2]Concerto Grosso[cf1]).[cm~Introduction. [fy75,1]The beginning
 of a piece of mus., ~sometimes but not necessarily thematically linked ~to what
 follows (as in Elgar's [fy45,1]*[fy75,2]Introduction and ~Allegro for Strings[c
f1]). Many syms., especially among ~those by Haydn, Mozart, and Beethoven, have
~extensive slow introductions to the first move~~ment.[cm~Introduction and Alleg
ro. [fy75,1]([sm1[nm) Elgar's Op. [sm47[nm, for ~str. qt. and str. orch., comp.
[sm1905[nm (theme sketch ~[sm1901[nm) and f.p. London [sm1905[nm
. Contains melody ~inspired by hearing Welsh singers on a distant ~hillside.[ep~
^([sm2[nm) [fy45,1]*[fy75,1]Bliss wrote an [cf2]Introduction and Allegro [cf1]fo
r ~full orch. ([sm1926[nm).[ep~[PN353,0,0,R,I0]^([sm3[nm) Ravel's Septet ([sm190
5[nm) is entitled [cf2]Introduction ~and Allegro [cf1]for hp., fl., cl., str. qt
.[cm~Introit. [fy75,1]Part of the Proper of the Mass. Initial ~chant, usually co
mprising antiphon with one ~verse and the Gloria patri. Also organ piece which ~
replaces all or part of the sung Introit.[cm~Invention. [fy75,1]Name given by J.
 S. Bach to [sm15[nm of his ~shorter kbd. comps. in [sm2[nm parts or `voices', i
ncl. in ~his [cf2]Klavierb;Auuchlein, [cf1][sm1720[nm. They are highly contra~~p
untal, being largely in the nature of imitation. ~Each works out some short melo
dic motif. Bach ~also left another [sm15[nm comps. in the same style, now ~known
 as his `[sm3[nm-part Inventions', to which he gave ~the title `Symphonies'. The
 term was used before ~Bach's day for short vocal or instrumenta
l pieces ~by Dowland, Janequin, and Negri, among others. ~It has occasionally be
en revived in the [sm20[nmth cent., ~e.g. by Blacher and Berg.[cm~Inventionshorn
, Inventionstrompete [fy75,1](Ger.). In~~vention Horn, Invention Trumpet. The pr
efix ~`Inventions' has been used to characterize several ~novelties. The [cf2]In
ventionshorn [cf1]was the work of ~Charles Clagget ([sm1740[nm=n[cf2]c.[cf1][sm1
795[nm) who united [sm2[nm ~instr., one in D and the other in E;Yh, in such a wa
y ~that the player had both at command and could ~thus gain the advantage of the
 full chromatic ~scale. Clagget's work, patented [sm1788[nm, was made ~possible
by the invention, by the hn. player ~Hampel of Dresden, of curved sliding crooks
 ~called `inventions', hence the name. The term ~[cf2]Inventionstrompete [cf1]se
ems to have been applied not ~only to the tpt. equivalent of the [cf2]Inventions
horn ~[cf1]but also to [sm2[nm earlier novelties, a short horn in F ~with crooks
 for every key down to B;Yh, and the ~`Italian Trumpet' (coiled
into horn shape).[cm~Inversion. [fy75,1]Literally, the turning upside down of ~a
 chord, interval, counterpoint, theme, or pedal ~point. A chord is said to be in
verted when not in ~its `root position'. For inversion of intervals, see ~[cf2]I
nterval.[cm~Inversion, Canon by. [fy75,1]See [cf2]Canon.[cm~Inverted Cadence. [f
y75,1]See [cf2]Cadence.[cm~Inverted Mordent. [fy75,1]See [cf2]Mordent.[cm~Invert
ed Pedal. [fy75,1]See [cf2]Harmony.[cm~Inverted Turn. [fy75,1]See [cf2]Gruppetto
.[cm~Invertible Counterpoint. [fy75,1]See [cf2]Counterpoint.[cm~Invisible City o
f Kitezh, The [fy75,1]([cf2]Skazaniye o ~nevidimom grade Kitezhe i deve Fevronii
[cf1]; The legend ~of the invisible city of Kitezh and of the maid ~Fevronia). O
pera in [sm4[nm acts by Rimsky-Korsakov ~to lib. by V. Belsky. Comp. [sm1903[nm=
n[sm5[nm. Prod. St ~Petersburg [sm1907[nm, London (concert) [sm1926[nm.[cm~Invit
ation to the Dance [fy75,1]([cf2]Aufforderung zum Tanz[cf1]). ~Title of Rondo Br
illant in D;Yh, Op. [sm65[nm, for pf. by ~Weber ([sm1819[nm), re
presenting a ballroom scene. ~Arr. for small orch. by [fy45,1]*[fy75,1]Lanner, [
cf2]c.[cf1][sm1828[nm. Often ~heard in arr. for orch. by Berlioz ([sm1841[nm), a
nd ~[PN354,0,0,L,I0]sometimes, much altered, in one by Weingartner. ~Adopted by
Diaghilev's Russian Ballet as mus. for ~[cf2]Le Spectre de la rose.[cm~In Windso
r Forest. [fy75,1]Cantata for ch. and orch. by ~Vaughan Williams containing [sm5
[nm items adapted ~from his opera [fy45,1]*[fy75,2]Sir John in Love. [cf1]F.p. L
ondon ~[sm1931[nm.[cm~Ioannidis, Yannis [fy75,1]([cf2]b [cf1]Athens, [sm1930[nm)
. Gr. com~~poser. Studied pf. at Athens Cons. [sm1946[nm=n[sm55[nm, then ~organ,
 comp., and hpd. at Vienna Acad. [sm1955[nm=n[sm9[nm. ~Settled in Caracas and be
came Venezuelan cit. ~[sm1968[nm. Prof. of harmony, Caracas Cons. [sm1971[nm=n[s
m6[nm. ~Returned to Athens [sm1976[nm. Several orch. works, ~incl. [cf2]Tropic [
cf1]([sm1968[nm) and [cf2]Orbis[cf1], pf. and orch. ([sm1975[nm=n~[sm6[nm), also
 chamber mus. and songs.[cm~Iolanta [fy75,1](Tchaikovsky). See [
cf2]Yolanta.[cm~Iolanthe, or The Peer and the Peri. [fy75,1]Operetta in ~[sm2[nm
 acts by Sullivan to lib. by Gilbert. Prod. London ~and NY [sm1882[nm.[cm~Ionian
 Mode. [fy75,1]See [cf2]Modes.[cm~Ionisation. [fy75,1]Work for perc. instr. by [
fy45,1]*[fy75,1]Var;Agese ~comp. [sm1929[nm=n[sm31[nm, f.p. NY, [sm1933[nm.[cm~I
phig;aaenie en Aulide [fy75,1](Iphigenia in Aulis). Opera ~in [sm3[nm acts by Gl
uck to lib. by Du Roullet after ~Racine's play based on Euripides. Prod. Paris ~
[sm1774[nm, Philadelphia [sm1935[nm. Gluck used [sm3[nm nos. from ~[cf2]Don Juan
 [cf1]in this score. Also  opera by Jommelli ~([sm1751[nm).[cm~Iphig;aaenie en T
auride [fy75,1](Iphigenia in Tauris). ~Opera in [sm4[nm acts by Gluck to lib. by
 Guillard after ~Euripides. Prod. Paris [sm1778[nm, London [sm1796[nm, NY ~Met.
[sm1916[nm (in version by R. Strauss, [sm1889=n90[nm). ~Ger. version [sm1781[nm.
 Also opera by Jommelli ([sm1771[nm).[cm~Ippolitov-Ivanov, Mikhail [fy75,1](Mikh
aylovich) [cf1]([cf2]b ~[cf1]Gatchina, [sm1859[nm; [cf2]d [cf1]M
oscow, [sm1935[nm). Russ. composer ~and cond. Studied St Petersburg with Rimsky-
~Korsakov. Head of Tiflis Cons. [sm1883[nm=n[sm93[nm. Repu~~[chtation est. with
[cf2]Caucasian Sketches [cf1]for orch. [sm1894[nm. ~Prof. of comp. and harmony,
Moscow Cons. ~[sm1893[nm=n[sm1935[nm (dir. [sm1905[nm=n[sm22[nm). Cond., Bolshoy
 Opera ~from [sm1925[nm. Wrote patriotic songs and marches ~such as [cf2]Song of
 Stalin. [cf1]Comp. [sm6[nm operas, the best of ~which ([cf2]The Last Barricade,
 [cf1][sm1933[nm=n[sm4[nm) dealt with a ~Revolutionary subject. Added [sm3[nm ac
ts to Mussorg~~sky's unfinished opera [cf2]The Marriage [cf1]([sm1931[nm). ~Comp
. sym., symphonic poem, [sm2[nm str. qts., vn. ~sonata, cantatas, songs, etc.[xm
[cm~[ol0][ep~[ls1][bm2][cc27][ai20p6][ol0][ep~[em[cc13][lx[xp[te~



[do31][j99]~~~~~~[sm153842[nm_I[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmI[sm003[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm26[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm100[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[ol0][ep~[j1]I.R.C
.A.M. [fy75,1]See [cf2]Institut de Recherche et de Co-~ordination Acoustique-Mus
ique.[cm~Ireland, John [fy75,1](Nicholson) [cf1]([cf2]b [cf1]Bowdon, Ches., ~[sm
1879[nm; [cf2]d [cf1]Washington, Sussex, [sm1962[nm). Eng. com~~poser and pianis
t. Studied RCM [sm1893[nm=n[sm1901[nm ~(comp. with Stanford, pf. with Cliffe). O
rg., St ~Luke's, Chelsea, [sm1904[nm=n[sm26[nm. Prof. of comp. RCM ~[sm1923[nm=n
[sm39[nm, pupils incl. Britten, Bush, Searle, and ~Arnell. He made his reputatio
n with chamber ~mus. and with pieces for pf. solo in which his ~understanding of
 the instr. is paramount. His ~songs are in the best Eng. tradition and are typi
cal ~of Ireland's style, which owes more to French ~influences than to English a
nd has an individual ~restraint and austerity which is highly at
tractive. ~He did not compose syms. or large-scale choral ~works, but his orch.
tone-poems and ovs. are ~colourfully scored and his pf. conc., with its racy ~ja
zz interludes, is among the best in the genre by ~an Eng. composer. Prin. works:
[xm[cm~[j2][smorch[nm: [fy75,2]Tritons, [cf1]symphonic prelude ([cf2]c.[cf1][sm1
905[nm); [cf2]Baga~~telle [cf1](orig. for vn. and pf. [sm1911[nm, arr. for orch.
 ~[sm1916[nm); [fy45,1]*[fy75,2]Concertino Pastorale [cf1]for str. ([sm1939[nm);
 pf. ~conc. in E;Yh ([sm1930[nm); [cf2]Epic March [cf1]([sm1942[nm); [cf2]The ~[
fy45,1]*[fy75,2]Forgotten Rite, [cf1]prelude ([sm1913[nm); [cf2]Legend [cf1]for
pf. ~and orch. ([sm1933[nm); [cf2]A London Overture [cf1](orig. for ~brass) ([sm
1936[nm); [fy45,1]*[fy75,2]Mai-Dun, [cf1]symphonic rhapsody ~([sm1920[nm=n[sm1[n
m); [cf2]The Overlanders, [cf1]suite arr. Mackerrras ~from film mus. ([sm1946[nm
=n[sm7[nm); [fy45,1]*[fy75,2]Satyricon, [cf1]ov. ([sm1946[nm); ~[cf2]Downland Su
ite [cf1]for str. ([sm1932[nm).[ep~[smchorus and orch[nm: [cf2]V
exilla Regis [cf1]([sm1898[nm); [cf2]Greater ~Love Hath No Man, [cf1]motet ([sm1
912[nm, orch. [sm1924[nm); ~[fy45,1]*[fy75,2]These Things Shall Be, [cf1]cantata
 for bar. (or ten.), ~ch., and orch. ([sm1936[nm=n[sm7[nm).[ep~[smbrass band[nm:
 [cf2]Downland Suite [cf1]([sm1933[nm); [cf2]Comedy Over~~ture [cf1]([sm1934[nm,
 orch. as [cf2]A London Overture [cf1][sm1936[nm); ~[cf2]Maritime Overture [cf1]
([sm1944[nm).[ep~[smvoices[nm: [cf2]Greater Love Hath No Man [cf1](sometimes ~ca
lled [cf2]Many Waters cannot quench Love[cf1]), motet ~for treble, bar., ch., an
d org. ([sm1912[nm, with orch. ~[sm1924[nm); [cf2]The [fy45,1]*[fy75,2]Holy Boy,
 [cf1]unacc. carol (orig. pf. ~prelude [sm1913=n5[nm, arr. for vv. [sm1941[nm, f
or org. [sm1919[nm, ~for v. and pf. [sm1938[nm, for brass (by Robert E. Stepp) ~
[sm1950[nm, for str. [sm1941[nm); [cf2]Adam Lay Ybounden, [cf1]unacc. ~carol ([s
m1956[nm); [cf2]Man in his labour rejoiceth, [cf1]with pf. ~([sm1947[nm); [cf2]I
sland Praise, [cf1]unacc. male vv. ([sm1955[nm).[ep~[smchamber m
usic[nm: Sextet for cl., hn., str. qt. ([sm1898[nm); ~Str. qts.; No. [sm1[nm in
D minor ([sm1895[nm), No.[sm2[nm in C ~minor ([sm1897[nm); [cf2]Phantasy Trio [c
f1]in A minor ([sm1908[nm); ~Piano Trio in E ([sm1917[nm); Bagatelle for vn. and
 pf. ~([sm1911[nm, arr. for orch. [sm1916[nm); Vn. Sonata No.[sm1[nm in ~D minor
 ([sm1908[nm=n[sm9[nm, rev. [sm1917[nm), No.[sm2[nm in A minor ~([sm1915[nm=n[sm
17[nm); Vc. Sonata in G minor ([sm1923[nm, arr. for ~va. by [fy45,1]*[fy75,1]Ter
tis, [sm1941[nm); [cf2]Fantasy Sonata[cf1] for cl. and ~pf. ([sm1943[nm); [cf2]T
he Holy Boy [cf1](arr. for str. qt. [sm1941[nm).[ep~[smpiano[nm: Sonata in E min
or ([sm1918[nm=n[sm20[nm); sonatina ~([sm1926[nm=n[sm7[nm); [cf2]Decorations [cf
1]([sm3[nm pieces incl. [cf2]The Island ~Spell[cf1]) ([sm1921[nm); [sm4[nm Prelu
des (No.[sm3[nm is [cf2]The Holy Boy[cf1]) ~([sm1913[nm=n[sm15[nm); [cf2]Rhapsod
y [cf1]([sm1915[nm); [sm3[nm [cf2]London Pieces ~[cf1](No.[sm1[nm is [cf2]Chelse
a Reach[cf1]) ([sm1917[nm=n[sm20[nm); [cf2]Merry Andrew ~[cf1]([
sm1918[nm); [cf2]The Towing-Path [cf1]([sm1918[nm); [cf2]Summer Evening ~[cf1]([
sm1919[nm); [sm2[nm [cf2]Pieces (For Remembrance [cf1]and [fy45,1]*[fy75,2]Amber
ley ~Wild Brooks[cf1]) [cf1]([sm1921[nm); [cf2]Equinox [cf1]([sm1922[nm); [cf2]P
relude [cf1]in ~E;Yh ([sm1924[nm); [cf2]Ballade of London Nights [cf1]([cf2]c.[c
f1][sm1929[nm, pubd. ~[sm1968[nm); [cf2]Greenways [cf1]([sm3[nm [cf2]Lyric Piece
s[cf1]) ([sm1937[nm); [fy45,1]*[fy75,2]Sarnia: ~An Island Sequence [cf1]([sm3[nm
 pieces) ([sm1940[nm=n[sm1[nm); [sm3[nm [cf2]Pastels ~[cf1]([sm1941[nm).[ep~[sms
ongs and song-cycles[nm: [sm5[nm [cf2]Songs of a Wayfarer ~[cf1]([cf2]c.[cf1][sm
1905[nm=n[sm11[nm); [fy45,1]*[fy75,2]Sea Fever [cf1]([sm1913[nm); [cf2]The Holy
Boy ~[cf1](orig. pf. piece, [sm1913[nm, arr. as song to poem by ~H.S. Brown [sm1
938[nm); [cf2]I Have Twelve Oxen; If there ~were Dreams to sell [cf1]([sm1918[nm
); [cf2]The [fy45,1]*[fy75,2]Land of Lost ~[PN355,0,0,R,I0]Content [cf1]([sm6[nm
 Housman poems) ([sm1920[nm=n[sm1[nm); [sm3[nm [cf2]Hardy ~Songs
 [cf1](cont.) ([sm1925[nm); [sm5[nm [cf2]Poems by Thomas Hardy ~[cf1](bar.) ([sm
1926[nm); [cf2]We'll To The Woods No More [cf1]([sm3[nm ~Housman poems) ([sm1926
[nm=n[sm7[nm); [sm6[nm [cf2]Songs Sacred and ~Profane [cf1]([sm1929[nm=n[sm31[nm
).[cm~[j1]Iris. [fy75,1]Opera in [sm3[nm acts by Mascagni, to lib. by Illica. ~P
rod. Rome [sm1898[nm; rev. version Milan [sm1899[nm, ~Philadelphia [sm1902[nm, L
ondon [sm1919[nm.[cm~Irische Legende [fy75,1](Irish Legend). Opera in [sm5[nm sc
enes ~by [fy45,1]*[fy75,1]Egk to his own lib. based on Yeats's [cf2]The ~Countes
s Cathleen [cf1]([sm1892[nm). Prod. Salzburg [sm1955[nm. ~(Rev. [sm1970[nm).[cm~
Irish Symphony. [fy75,1]([sm1[nm) Sub-title of Stanford's Sym. ~No.[sm3[nm in F
minor, Op. [sm28[nm, comp. [sm1887[nm.[ep~^([sm2[nm) Title of sym. by [fy45,1]*[
fy75,1]Harty, based on Irish folk-~songs; popular scherzo `The Fair Day' often p
layed ~separately. Comp. [sm1904[nm, rev. [sm1915[nm and [sm1923[nm.[ep~^([sm3[n
m) Title of Sym. in E minor by Sullivan, [sm1864[nm=n~[sm6[nm.[c
m~Irmelin. [fy75,1]Opera in [sm3[nm acts by Delius to his own lib. ~Comp. [sm189
0[nm=n[sm2[nm, prod. Oxford [sm1953[nm. The orch. ~prelude, frequently played se
parately, was comp. ~[sm1931[nm.[cm~Irregular Cadence. [fy75,1]See [cf2]Cadence.
[cm~Irregular Rhythmic Groupings.[tn1][ep~[fy75,1](Duplets, Triplets, Quadruplet
s, etc.)[qc~Various combinations are possible other than those shown below, and
it is ~hardly possible to list them or to lay down rules. ~When an irregular com
bination occurs the ~performer should observe the other notes of the ~measure, a
nd he will quickly realize into what ~fraction of the measure the irregular grou
ping is ~to be fitted.[cm~Irving, [fy75,1](Kelville)[fy65][cf3] Ernest [fy75,1](
[cf2]b [cf1]Godalming, [sm1878[nm; [cf2]d ~[cf1]Ealing, [sm1953[nm). Eng. cond.,
 particularly of th. and ~film mus. Mus. dir., Ealing film studios [sm1935[nm=n~
[sm53[nm, engaging several leading Brit. composers to ~write film mus. Dedicatee
 of Vaughan Williams's ~[cf2]Sinfonia Antartica.[cm~Irving, Robe
rt [fy75,1](Augustine) [cf1]([cf2]b [cf1]Winchester, [sm1913[nm). ~Eng. cond. St
udied RCM. Ass. cond. BBC Scottish ~Orch. [sm1945[nm=n[sm8[nm, mus. dir. SW (lat
er Royal) Ballet ~[sm1949[nm=n[sm58[nm, NY City Ballet from [sm1958[nm.[cm~Isaac
 [fy75,1](Isaak), [fy65][cf3]Heinrich [fy75,1]([cf2]b [cf1]Brabant, [cf2]c.[cf1]
[sm1450[nm; [cf2]d ~[cf1]Florence, [sm1517[nm). Flemish composer. From [sm1485[n
m ~to [sm1493[nm in service of Lorenzo de' Medici at ~Florence as org., choirmas
ter, and teacher of his ~children. Court composer at Innsbruck [sm1497[nm. ~Retu
rned to Florence [sm1502[nm and also served at ~Ferrara. Comp. much church mus.
and many ~secular songs. Wrote mus. for a religious drama ~by Lorenzo, many of w
hose poems he also set. ~Regarded as one of major figures of the [fy45,1]*[fy75,
1]Despr;ages ~era.[cm~Isaacs, Edward [fy75,1]([cf2]b [cf1]Manchester, [sm1881[nm
; [cf2]d [cf1]Manch~~ester, [sm1953[nm). Eng. pianist and composer. Studied ~RMC
M and in Berlin, Vienna, and Leipzig. ~D;Aaebuts Berlin and Manc
hester [sm1904[nm. Dir., Manch~~ester mid-day concerts [sm1923[nm=n[sm53[nm. Bli
nd for almost ~last [sm30[nm years of his life. Wrote pf. conc., pf. trio, ~etc.
[cm~[PN356,0,0,L,I0]Isaacs, Leonard [fy75,1]([cf2]b [cf1]Manchester, [sm1909[nm)
. Eng. ~pianist and administrator, son of Edward [fy45,1]*[fy75,1]Isaacs. ~Studi
ed RCM, and with Cortot and Petri. Joined ~staff of BBC [sm1936[nm, becoming mus
. programme ~organizer [sm1948[nm=n[sm50[nm and head of mus. for [sm3[nmrd ~Prog
ramme. Prof. of mus., Univ. of Manitoba, ~[sm1963[nm.[cm~Isador, Michael [fy75,1
]([cf2]b [cf1]Philadelphia, [sm1939[nm). Amer. ~pianist. Studied Paris Cons., Ju
illiard Sch., NY, ~and with Ilona Kabos in London [sm1962[nm=n[sm5[nm. D;Aaebut
~Philadelphia [sm1951[nm. Taught at Univ. of Calif. and ~San Francisco Cons. [sm
1965[nm=n[sm8[nm, Univ. of Capetown ~[sm1969[nm=n[sm71[nm. Settled in Eng. [sm19
75[nm.[cm~Islamey. [fy75,1]Oriental fantasy for pf. by [fy45,1]*[fy75,1]Balakire
v, ~[sm1[nmst version, comp, [sm1869[nm, [sm2[nmnd version, comp
. ~[sm1902[nm. Orch. by Casella [sm1907[nm.[cm~I.S.C.M. [fy45,1]*[fy75,1]Interna
tional Society for Contemporary ~Music.[cm~Isepp, Martin [fy75,1](Johannes Sebas
tian) [cf1]([cf2]b [cf1]Vienna, ~[sm1930[nm). Austrian-born pianist and harpsich
ordist. ~Studied Oxford and RAM. On staff Glyndebourne ~Opera from [sm1957[nm (c
hief coach [sm1973[nm); taught at ~Juilliard Sch., NY, [sm1973[nm=n[sm6[nm. Acco
mpanist to several ~leading singers, notably Janet Baker.[cm~Isle of the Dead, T
he [fy75,1]([cf2]Ostrov myortvykh[cf1]). ~Symphonic poem Op. [sm29[nm by Rakhman
inov, ~comp. [sm1909[nm and inspired by B;Auocklin's painting of ~that name ([cf
2]Insel der Toten[cf1]). F.p. Moscow [sm1909[nm.[cm~I.S.M. [fy45,1]*[fy75,1]Inco
rporated Society of Musicians (Brit~~ain).[cm~Isola disabitata, L' [fy75,1](The
Desert Island). Opera ~([cf2]azione teatrale[cf1]) by Haydn to lib. by Metastasi
o. ~Prod. Esterh;aaaza [sm1779[nm, Washington D.C. [sm1936[nm, ~Wexford [sm1982[
nm.[cm~Isometric [fy75,1](from Gr. [cf2]isos, [cf1]equal). Havin
g the ~same rhythm in every v. or part (i.e. proceeding ~in chords rather than i
n freely moving counter-~point).[cm~Isorhythm [fy75,1](from Gr. [cf2]isos, [cf1]
equal). Term coined ~in [sm1904[nm by F. Ludwig to describe the principle ~found
 in medieval mus., [cf2]c.[cf1][sm1300[nm=n[sm1450[nm, whereby ~the same rhythmi
c pattern recurs in successive ~repetitions of the melody. It was usually applie
d ~to the ten. part of a motet which would consist of ~a short repeated rhythmic
 pattern; the melody in ~the ten. part was also often repeated but not in ~synch
ronization with the rhythmic repetition. ~Rhythmic repetition was known as [cf2]
talea[cf1], melodic ~as [cf2]color. [cf1]In the mus. of Machaut and de Vitry, th
e ~rhythmic pattern was not repeated in the same ~note values but in proportiona
l diminution, e.g. ~original values were halved or reduced by a third. ~Nor did
these composers confine isorhythm to ~the ten. parts but extended it to upper vv
., ~especially in hocket. Eng. composers at the end ~of the [sm1
4[nmth cent. developed isorhythm in all vv., ~so that it took two appearances of
 the [cf2]talea [cf1]to ~accommodate one of the [cf2]color.[cm~Isouard, Nicol;ag
o [fy75,1]([cf2]b [cf1]Malta, [sm1775[nm; [cf2]d [cf1]Paris, [sm1818[nm). ~Malte
se composer, known sometimes as Nicol;Ago. ~Studied pf. in Paris, completing stu
dies in Naples. ~[sm1[nmst opera prod. Florence [sm1794[nm. Returned to Paris ~[
sm1799[nm, becoming popular opera composer in ~rivalry to Boieldieu. Of over [sm
35[nm operas prod. in ~[sm16[nm years, the best was [cf2]Cendrillon [cf1]([sm181
0[nm), but also ~set [cf2]Il Barbiere di Siviglia [cf1]([cf2]c.[cf1][sm1796[nm).
 Comp. sacred ~works, airs, and romances.[cm~Israel in Egypt. [fy75,1]Oratorio b
y Handel, to Biblical ~text probably compiled by him. Comp. [sm1738[nm, f.p. ~Lo
ndon [sm1739[nm. Famous for its superb double ~choruses. The ch. [cf2]Egypt was
glad [cf1]was borrowed, ~unacknowledged, from a canzona by [fy45,1]*[fy75,1]Kerl
l=m~indeed, up to a third of the music was taken from ~other com
posers.[cm~Israel Philharmonic Orchestra. [fy75,1]Formerly ~known as Palestine S
.O., founded in [sm1936[nm by ~[fy45,1]*[fy75,1]Huberman. Toscanini cond. first
concert, Dec~~[chember [sm1936[nm. Since [sm1951[nm has made frequent tours. ~Ch
ief conds. have incl. Jean Martinon, Paul ~Kletzki, and, since [sm1968[nm, Zubin
 Mehta, but many ~guest conds. Based in Tel Aviv.[cm~Israel Symphony. [fy75,1]Fo
r [sm2[nm sop., [sm2[nm cont., bass, and ~orch. by Bloch. Comp. [sm1912[nm=n[sm1
6[nm; f.p. NY [sm1916[nm.[cm~Istel, Edgar [fy75,1]([cf2]b [cf1]Mainz, [sm1880[nm
; [cf2]d [cf1]Miami, [sm1948[nm). ~Ger. composer and musicologist. Studied Munic
h ~Univ. (comp. with [fy45,1]*[fy75,1]Thuille). Writer and teacher ~in Munich [s
m1900[nm=n[sm13[nm; lecturer in Berlin [sm1913[nm=n[sm19[nm; ~worked in Sp. [sm1
920[nm=n[sm36[nm, leaving there for Eng. ~and then ([sm1938[nm) USA. Comp. sever
al operas and ~choral works; author of several books on Wagner, ~also on Corneli
us, Paganini, comic opera, etc.[cm~Istesso [fy75,1](It.). Same.
Used in such connexions as ~[cf2]L'istesso tempo, [cf1]`The same speed'=musually
 mean~~ing that, though the nominal value of the beat ~has changed, its actual t
ime duration is to remain ~the same: for instance, the former beat may have ~bee
n ;ya (say in [sm4[nm time) and the new one ;ya. (say in ~[sm6[nm time) and thes
e are to have the same time value.[cm~Istomin, Eugene [fy75,1]([cf2]b [cf1]NY, [
sm1925[nm). Amer. pianist of ~Russ. parentage. Studied Curtis Institute [sm1939[
nm ~with Horszowski and Serkin. D;aaebut with Phila~~delphia Orch., [sm1943[nm.
Prades Fest. with Casals ~[sm1950[nm. Played in pf. trio with Isaac Stern and ~L
eonard Rose.[cm~Istrumento d'acciaio [fy75,1](It.). Instrument of steel. ~Mozart
's name for his [fy45,1]*[fy75,1]glockenspiel in [cf2]Die ~Zauberfl;Auote.[cm~It
aliana in Algeri, L' [fy75,1](The Italian girl in Algiers). ~Comic opera in [sm2
[nm acts by Rossini to lib. by Anelli. ~Prod. Venice [sm1813[nm, London [sm1819[
nm, NY [sm1832[nm.[cm~Italian Caprice. [fy75,1]Orch. work by Tch
aikovsky, ~Op. [sm45[nm, comp. [sm1880[nm, often known by mixed It.-~Fr. title [
cf2]Capriccio italien.[cm~Italian Concerto. [fy75,1]Instr. comp. by Bach for sol
o ~hpd. with [sm2[nm manuals, pubd. in [sm2[nmnd section of ~[fy45,1]*[fy75,2]Kl
avier;Auubung, [cf1][sm1735[nm. He seems to have used the ~[PN357,0,0,R,I0]term
to draw attention to the facts that there are ~(a) passages of alternation and c
ontrast, and (b) [sm3[nm ~movements, so resembling the It. [cf2]concerto grosso.
[cm~Italian Girl in Algeria, The [fy75,1](Rossini). See ~[cf2]Italiana in Algeri
, L'.[cm~Italian Serenade [fy75,2](Italienische Serenade). [cf1]Work for ~str. q
t. by Wolf, [sm1887[nm. Later arr. for orch. ([sm1892[nm) ~and ed. Reger.[cm~Ita
lian Sixth. [fy75,1]See [cf2]Augmented Intervals.[cm~Italian Song-book [fy75,1](
Wolf). See [cf2]Italienisches Lied~~erbuch.[cm~Italian Symphony. [fy75,1]Title g
iven by Mendelssohn ~to his Sym. No.[sm4[nm in A major, Op. [sm90[nm. Begun in I
t. ~[sm1830[nm=n[sm1[nm and completed [sm1833[nm but not pubd. u
ntil ~[sm1847[nm (it was his [sm3[nmrd sym. in order of comp.). F.p. ~London [sm
1833[nm.[cm~Italienisches Liederbuch [fy75,1](Italian Songbook). [sm46[nm ~songs
 for v. and pf. by [fy45,1]*[fy75,1]Wolf, all being settings ~of poems trans. fr
om the It. by Paul von Heyse ~([sm1830[nm=n[sm1914[nm) and pubd. in [sm1860[nm u
nder title ~[cf2]Italienisches Liederbuch. [cf1]Wolf's songs were comp. ~in [sm2
[nm parts, Book I of [sm22[nm songs [sm1890[nm=n[sm1[nm, Book [sm2[nm of ~[sm24[
nm songs in [sm1896[nm. Some were later orch. by Wolf, ~others by Reger.[cm~Itur
bi, Jos;aae [fy75,1]([cf2]b [cf1]Valencia, [sm1895[nm; [cf2]d [cf1]Los Angeles,
~[sm1980[nm). Sp. pianist and cond. Studied Valencia and ~Paris Cons. Head of pf
. dept., Geneva Cons. [sm1919[nm=n~[sm23[nm. London d;Aaebut [sm1923[nm, Philade
lphia [sm1928[nm. Began ~active cond. career [sm1933[nm in Mexico City and NY. ~
Mus. dir. Rochester P.O. [sm1935[nm=n[sm44[nm. Appeared in ~several films.[cm~Iv
an IV. [fy75,1]Correct name of opera in [sm4[nm (orig. [sm5[nm)
acts ~by Bizet to lib. by F. H. Leroy and H. Trianon ~orig. written for Gounod.
Comp. ?[sm1862[nm=n[sm3[nm, rev. ~[sm1864[nm=n[sm5[nm. Efforts to have it prod.
having failed, ~Bizet withdrew it. Incomplete MS. of score passed ~to Paris Cons
. in [sm1929[nm. Private stage perf. of this ~version was given at M;auuhringen
Castle, W;auurttem~~berg, [sm1946[nm under title [cf2]Ivan le Terrible. [cf1]Com
pleted ~and rev. (reduced to [sm4[nm acts) by Henri Busser, perf. ~Bordeaux [sm1
2[nm Oct. [sm1951[nm, Cologne [sm1952[nm. Bizet used ~portions of score in other
 works. Perf. of orig. ~version broadcast by BBC [sm1975[nm.[cm~Ivanhoe. [fy75,1
]Opera in [sm5[nm acts by Sullivan (his only ~`grand opera') to lib. by J. Sturg
is after Scott's ~novel ([sm1819[nm). Comp. [sm1890[nm. Prod. London [sm1891[nm
~(run of [sm160[nm perfs.), Berlin [sm1895[nm.[cm~Ivan Susanin. [fy75,1]Orig. ti
tle of Glinka's opera [cf2]A [fy45,1]*[fy75,2]Life ~for the Tsar [cf1]by which i
t is now known in ~Communist and some other countries.[cm~Ivan t
he Terrible [fy75,1](Rimsky-Korsakov). See [cf2]Maid ~of Pskov, The.[cm~Ives, Ch
arles [fy75,1](Edward) [cf1]([cf2]b [cf1]Danbury, Conn., [sm1874[nm; ~[cf2]d [cf
1]NY, [sm1954[nm). Amer. composer, one of the most ~extraordinary and individual
 figures in the history ~of Western mus. In his works, many of the ~innovatory a
nd radical procedures adopted by ~younger [cf2]avant-garde [cf1]composers are an
ticipated or ~foreshadowed in some degree. His father was a ~town bandmaster who
 experimented with tone ~clusters, polytonality, quartertones, and acoustics, ~i
nspiring similar interests in his son. What ~fascinated George Ives, and later h
is son, was the ~clash of rhythm and tone resulting from two ~bands playing diff
erent tunes at a parade, or from ~his wife whistling at her housework and a boy
~elsewhere practising the pf. He would make ~Charles sing in a key different fro
m the acc. `to ~stretch our ears'.[ep~^At [sm14[nm Charles became organist at Da
nbury ~Baptist Church, composing in [sm1891[nm his [cf2]Variatio
ns ~on `America'. [cf1]He entered Yale Univ. in [sm1894[nm, ~studying org. with
Dudley Buck and comp. with ~Horatio Parker (with whose conventional outlook ~Ive
s soon grew weary). Ives wrote his first sym. ~while at Yale, played the org. at
 Centre Church ~on the Green, and tried out some of his comps. ~on the local th.
 orch. In [sm1898[nm he graduated and ~moved to NY as a clerk in an insurance co
., taking ~up several organist posts. In [sm1907[nm he and a friend ~formed thei
r own insurance agency, which ~became very successful. Ives divided his time ~be
tween business and mus., working long hours ~and damaging his health. He worked
on a [sm2[nmnd ~Sym. from [sm1900[nm to [sm1902[nm and a [sm3[nmrd from [sm1904[
nm=n~[sm11[nm. Mahler was interested in this latter work but ~died before he cou
ld conduct it. From [sm1910[nm to ~[sm1918[nm Ives was at his most prolific, wor
king on ~several comps. simultaneously. In [sm1918[nm he was ~seriously ill, sus
taining cardiac damage; he ~gradually reduced his business activ
ities, retiring ~in [sm1930[nm, and he comp. little new after [sm1917[nm, ~devot
ing the rest of his life to revising his comps. ~and thereby contributing to the
 chaotic state of ~his MSS., which led to untold difficulties in perf. ~He plann
ed a [cf2]Universe Symphony [cf1]in which several ~different orchs., with huge c
hoirs, were to be ~stationed in valleys, and on top of mountains.[ep~^In [sm1919
[nm Ives decided to publish some of his ~mus., without copyright or performing r
ights. ~The vast [cf2]Concord Sonata [cf1]and [sm114[nm songs were issued ~in th
is way. The [sm1[nmst perf. in NY of orch. mus. by ~Ives was in Jan. [sm1927[nm
when Eugene Goossens ~cond. [sm2[nm movements from the [sm4[nmth Sym. It was a ~
failure. However, Ives's mus. was beginning to ~attract champions, among them th
e lecturer ~Henry Bellamann, the French pianist Robert ~Schmitz, and the compose
rs and conds. Henry ~[fy45,1]*[fy75,1]Cowell, Wallingford [fy45,1]*[fy75,1]Riegg
er, Carl [fy45,1]*[fy75,1]Ruggles, ~Nicolas [fy45,1]*[fy75,1]Slo
nimsky and, later, Bernard [fy45,1]*[fy75,1]Herr~~[chmann and Lou [fy45,1]*[fy75
,1]Harrison. Slonimsky bravely ~cond. perfs. of [cf2]Three Places in New England
 [cf1]in ~Boston, NY, and Los Angeles from [sm1930[nm=n[sm2[nm and ~later cond.
Ives works in Europe. Slonimsky also ~made the first Ives recording ([sm1934[nm)
 and Herr-[fj~mann cond. the first Ives broadcast ([cf2]c.[cf1][sm1933[nm). The
~pianist John Kirkpatrick devoted nearly [sm10[nm years ~to mastering the comple
xities of the [cf2]Concord ~Sonata [cf1]in consultation with Ives and played it
in ~NY and elsewhere in [sm1939[nm, arousing considerable ~[PN358,0,0,L,I0]enthu
siasm. (It was f.p. in New Orleans in [sm1920[nm.) ~In [sm1947[nm the [sm3[nmrd
Sym., perf. in NY that year, won ~the Pulitzer Prize, to Ives's dismay (he gave
the ~prize money away). The [sm4[nmth Sym. was not heard ~in its entirety until
[sm11[nm years after Ives's death, ~when Stokowski cond. it.[ep~^Ives's mus. is
sometimes called primitive but is ~in fact highly sophisticated.
 It is, like it or not, ~entirely honest mus., the outpouring of its ~stubborn a
nd unusual creator, who delighted in ~pointing out that he had written most of h
is ~works before those by Stravinsky and Hindemith ~which some critics claimed h
ad influenced him. ~The juxtaposition of incongruous elements, ~derived from the
 Danbury bands, occurs even in ~his earliest works. His [cf2]Psalm [sm67[nm [cf1
]of [sm1893[nm is in [sm2[nm ~keys throughout. Even in the Dvo;Akr;aaakian [sm1[
nmst Sym. ~the use of tonality is remarkably free and ~unconventional. Jazz is d
rawn upon in his first ~pf. sonata; in the psalm settings for choir of ~[sm1896[
nm=n[sm1900[nm occur whole-tone scales, a [sm12[nm-note ~row, tone clusters, pol
ytonality, and poly[chrhythms. ~Aleatory procedures are anticipated in [cf2]The
[cf2]Unan~~swered Question [cf1]where the cond. is told to cue in ~various parts
 at will. In several of the orch. works ~the memory of the [sm2[nm bands playing
 different ~marches in different keys and tempi is vividly re-~c
reated. He `borrowed' consistently from popular ~sources such as songs and hymns
, or from other ~composers=mover [sm170[nm such sources have been ~positively id
entified by scholars. Prin. works:[xm[cm~[j2][smorch[nm: [fy45,1]*[fy75,2]New En
gland Holidays [cf1](sometimes called ~[cf2]Holidays Symphony[cf1]): [sm1[nm. [c
f2]Washington's Birthday. [cf1][sm2[nm. ~[fy45,1]*[fy75,2]Decoration Day. [cf1][
sm3[nm. [cf2]Fourth of July. [cf1][sm4[nm. [cf2]Thanksgiving ~and/or Forefathers
' Day [cf1](with ch.) ([sm1904[nm=n[sm13[nm); ~[cf2]Orchestral Set No. [sm1[nm [
cf1]([fy45,1]*[fy75,2]Three Places in New England[cf1]) ~[cf1]([sm1908[nm=n[sm14
[nm); [fy45,1]*[fy75,2]Orchestral Set No. [sm2[nm [cf1]([sm1909[nm=n[sm15[nm); ~
[cf2]Robert Browning Overture [cf1]([sm1908[nm=n[sm12[nm); [cf2]The [fy45,1]*[fy
75,2]Unan~~swered Question [cf1]([sm1906[nm); [cf2]Over the Pavements [cf1]([sm1
906[nm); ~[fy45,1]*[fy75,2]Central Park in the Dark in the Good Old ~Summertime
[cf1]([sm1906[nm); [cf2]The Gong on the Hook and ~Ladder [cf1](o
r [cf2]Firemen's Parade on Main Street [cf1]([sm1911[nm); ~[cf2]Rainbow [cf1]([s
m1914[nm, as song [sm1921[nm); [cf2]Hymn [cf1](arr. for ~orch. [sm1921[nm); [cf2
]Largo Cantabile [cf1]([sm1921[nm); [cf2]Set [cf1]for th. or ~chamber orch. ([sm
1906[nm=n[sm11[nm); [fy45,1]*[fy75,2]Tone Roads No. [sm1[nm ~[cf1]([sm1911[nm),
No. [sm3[nm ([sm1915[nm); Sym., No. [sm1[nm in D minor ~([sm1895[nm=n[sm8[nm), N
o. [sm2[nm ([sm1900=n02[nm, some sketches earlier), ~No. [sm3[nm ([cf2]The Camp
Meeting[cf1]) ([sm1904[nm=n[sm11[nm), No. [sm4[nm ~([sm1910[nm=n[sm16[nm, with c
h. in finale); [cf2]Variations on ~`America' [cf1](orch. arr. by W. Schuman). ;o
bDates of ~comp. of the syms. are approximate, since Ives ~himself said he was n
ot sure when he wrote ~them.;cb[ep~[smchoral[nm: [cf2]The Circus Band [cf1]([sm1
894[nm), bass soloist, ch., ~and orch.; [cf2]December [cf1]([sm1912[nm=n[sm13[nm
), ch. and orch.; ~[cf2]Duty [cf1]([cf2]c.[cf1][sm1912[nm), ch. and orch.; [cf2]
Easter Carol [cf1]([sm1892[nm), ~ch. and orch.; [fy45,1]*[fy75,2
]General William Booth Enters Into ~Heaven [cf1]([sm1914[nm), bass soloist, ch.,
 and orch. (also v. ~and pf.); [fy45,1]*[fy75,2]Lincoln The Great Commoner [cf1]
(ch. and ~orch. [sm1912[nm, v. and pf. [sm1914[nm); [cf2]Majority [cf1](ch. and
~orch. [sm1914[nm=n[sm15[nm, v. and pf. [sm1921[nm); [cf2]The New River ~[cf1]([
sm1911[nm, rev. [sm1913[nm and ? [sm1921[nm), ch. and orch.; [cf2]On ~The Antipo
des [cf1]([sm1904[nm), ch. and orch. [sm1915[nm, v. and ~pf. [sm1923[nm; [cf2]Ps
alm [sm14[nm [cf1]([cf2]c[cf1].[sm1897[nm), [cf2]Psalm [sm25[nm [cf1]([cf2]c.[cf
1][sm1897[nm), ~[cf2]Psalm [sm54[nm [cf1]([cf2]c.[cf1][sm1896[nm), [cf2]Psalm [s
m67[nm [cf1]([sm1898[nm), [cf2]Psalm [sm100[nm ~[cf1]([cf2]c.[cf1][sm1898[nm), [
cf2]Psalm [sm135[nm [cf1]([cf2]c.[cf1][sm1899[nm), [cf2]Psalm [sm150[nm [cf1]([s
m1896[nm), ~for unacc. ch., orch., and org. or orch., [cf2]Psalm [sm90[nm ~[cf1]
([sm1896[nm=n[sm1901[nm, [sm1923[nm=n[sm4[nm), for sop., ten., ch., and ~orch; [
cf2]Serenity [cf1](ch. and orch. [sm1909[nm, v. and pf. ~[sm1919
[nm); [sm3[nm [cf2]Harvest Home Chorales [cf1]([cf2]c.[cf1][sm1898[nm=n[sm1912[n
m), ~ch. and orch. or ch., brass, and org.; [cf2]Vita [cf1](ch. ~and orch. or or
g. [sm1912[nm, v. and pf. [sm1921[nm); [cf2]Walt ~Whitman [cf1](ch. and orch. [s
m1913[nm, v. and pf. [sm1921[nm); ~[cf2]An Election, or Nov. [sm2[nm, [sm1920[nm
 [cf1](male vv. or unison ~ch. and orch. [sm1920[nm, v. and pf. [sm1921[nm).[ep~
[smchamber music[nm (incl. v. and chamber ens.): [cf2]Song ~for Harvest Season,
[cf1]mez. and brass quintet ~([cf2]c.[cf1][sm1893[nm); [cf2]The Children's Hour,
 [cf1]mez. and ch. orch. ~([sm1901[nm); [cf2]Chromatimelodtune [cf1]for brass qt
. and pf. ~([sm1909[nm, [sm1913[nm, [sm1919[nm); [cf2]From the Steeples and the
~Mountains, [cf1]brass quintet ([sm1901[nm); [cf2]The Indians, ~[cf1]mez. and ch
amber orch. ([sm1912[nm), v. and pf. ~([sm1921[nm); [cf2]Largo, [cf1]vn., cl., a
nd pf. ([sm1901[nm); Vn. Sonata ~No.[sm1[nm ([sm1903[nm=n[sm8[nm), No. [sm2[nm (
[sm1903[nm=n[sm10[nm), No. [sm3[nm ([sm1902[nm=n~[sm14[nm), No.
[sm4[nm ([sm1892[nm=n[sm1906[nm, [sm1914[nm=n[sm15[nm); Str. Qt. No. [sm1[nm ~([
cf2]A Revival Service[cf1]) ([sm1896[nm), No. [sm2[nm ([sm1907[nm=n[sm13[nm); Pf
. ~Trio ([sm1904[nm=n[sm11[nm).[ep~[smpiano[nm: Over [sm20[nm [cf2]Studies [cf1]
for pf., incl. Nos. [sm2[nm, [sm5[nm, [sm6[nm, [sm7[nm, ~[sm8[nm, and [sm9[nm ([
cf2]The Anti-Abolitionist Riots[cf1]), Nos. [sm15[nm, [sm18[nm, ~[sm20[nm, [sm21
[nm ([cf2]Some South-Paw Pitching[cf1]), No. [sm22[nm ([cf2]Twenty-~Two[cf1]), a
nd No. [sm23[nm ([cf2]Baseball Take-off[cf1]) ([sm1907[nm=n[sm9[nm); [sm5[nm ~[c
f2]Take-Offs [cf1]([cf2]Seen and Unseen, Rough and Ready, Song ~without (good) W
ords, Scene Episode, Bad Resolu~~tions and Good[cf1]) ([sm1906[nm=n[sm7[nm); Son
ata No. [sm1[nm ([sm1901[nm=n[sm9[nm), ~No. [sm2[nm ([fy45,1]*[fy75,2]Concord, M
ass. [sm1840[nm=n[sm1860[nm[cf1]) with solos ~for va. and fl. ([sm1911[nm=n[sm15
[nm); [cf2][sm3[nm-Page Sonata [cf1]([sm1905[nm); ~[sm6[nm [cf2]Protests [cf1]([
cf2]Varied Air and Variations[cf1]) ([sm1916[nm); [sm3[nm ~[cf2]
Quarter-Tone Piano Pieces [cf1]for [sm2[nm pf. ([sm1923[nm=n[sm4[nm); ~[fy45,1]*
[fy75,2]Celestial Railroad[cf1], arr. from [sm2[nmnd movt. of [sm4[nmth ~Sym. ([
cf2]c.[cf1][sm1924[nm).[ep~[smorgan[nm: [cf2]Prelude, Adeste Fideles [cf1]([sm18
97[nm); [cf2]Variations ~on a National Hymn, `America' [cf1]([cf2]c.[cf1][sm1891
[nm, also arr. ~for orch. by W. Schuman).[ep~[smsongs[nm: Pubd. in the following
 colls.: [sm3[nm [cf2]Songs[cf1]; [sm4[nm ~[cf2]Songs[cf1]; [sm7[nm [cf2]Songs[c
f1]; [sm9[nm [cf2]Songs[cf1]; [sm10[nm [cf2]Songs[cf1]; [sm11[nm [cf2]Songs and
[cf1][sm2[nm ~[cf2]Harmonizations[cf1]; [sm12[nm [cf2]Songs[cf1]; [sm13[nm [cf2]
Songs[cf1]; [sm14[nm [cf2]Songs[cf1]; [sm19[nm ~[cf2]Songs[cf1]; [sm34[nm [cf2]S
ongs; Sacred Songs.[cm~[j1]Ivog;auun, Maria [fy75,1](Ilse von G;auunther) ([cf2]
b [cf1]Budapest, ~[sm1891[nm). Hung. sop. Studied Vienna. Member of ~Munich Oper
a [sm1913[nm=n[sm25[nm. Created role of Ighino ~in Pfitzner's [cf2]Palestrina, [
cf1]Munich [sm1917[nm. CG d;aaebut ~[sm1924[nm as Zerbinetta in
Strauss's [cf2]Ariadne auf Naxos ~[cf1](a role in which Strauss described her as
 `without ~rival'), Berlin Municipal Opera [sm1925[nm=n[sm34[nm. Devoted ~hersel
f to teaching after retirement (pupils incl. ~Elisabeth Schwarzkopf and Rita Str
eich).[cm~Iwaki, Hiroyuki [fy75,1]([cf2]b [cf1]Tokyo, [sm1932[nm). Japanese cond
. ~Studied Tokyo Univ. D;aaebut Tokyo [sm1956[nm. Chief ~cond. Melbourne S.O., m
us. dir. and cond. N.H.K. ~S.O., Japan.[xm[cm~[ol0][ep~[ts1][bm2][cc27][dt5p6,1g
,10p3,10p3][ol0][ep~[ol3][ru5,27]~[ol2][ep~[bt~[nt~Two in the time of three:[ep~
[et~[bt~Duplet or Couplet[ep~[nt~[sm3[nm[ep~[sm4[nm[ep~[nt~[sm6[nm[ep~[sm8[nm[ep
~[et~[ep~[ol3][ru5,27]~[ol2][ep~[bt~[nt~Three in the time of two:[ep~[et~[bt~Tri
plet (see also un~~der `Sextolet' below)[ep~[nt~[sm2[nm[ep~[sm4[nm[ep~[et~[ep~[o
l3][ru5,27]~[ol2][ep~[bt~[nt~Four in the time of three:[ep~[et~[bt~Quadruplet[ep
~[nt~[sm3[nm[ep~[sm4[nm[ep~[nt~[sm6[nm[ep~[sm8[nm[ep~[et~[ep~[ol3][ru5,27]~[ol2]
[ep~[it6p6]Five in the time of four=mor of three:[ep~[it0][bt~Qu
intuplet[ep~[nt~[sm3[nm[ep~[sm4[nm[ep~[nt~[sm6[nm[ep~[sm8[nm[ep~[et~[ep~[ol3][ru
5,27]~[ol2][ep~[bt~Sextolet or Sextuplet ~(and Double Triplet)[ep~[nt~Six in the
 time of four:[ep~[nt~If a grouping of [sm3[nm;Pl[sm3[nm is desired it ~should b
e written as below:[ep~[et~[bt~[nt~[sm2[nm[ep~[sm4[nm[ep~[ep~(really a triplet)[
ep~[nt~[sm2[nm[ep~[sm4[nm[ep~[ep~(really a double triplet)[ep~[et~[ol3][ru5,27]~
[ol2][ep~[it6p6]Seven in the time of four=mor of six:[ep~[it0][bt~Septolet, or S
eptu~~plet, or Septimole[ep~[nt~[sm2[nm[ep~[sm2[nm[ep~[nt~[sm6[nm[ep~[sm4[nm[ep~
[et~[ol3][ru5,27]~[ol2][ep~[em[cc13][tx[ol0][ep~[xp[te~





[do11][j99]~~~~~~[sm153842[nm_J[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmJ[sm001[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm26[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm1[nm[cm~GC[cm5[cm8/10/84[cm~U1[cm~~~~[PN359,0,0,R,I0][ap[
j3]~J[cm~~[j1]Jabo[fy75,1] (Sp., in old Sp.[cf2] Xabo[cf1]). A solo dance in a s
low ~triple rhythm.[cm~Jacchini, Giuseppe Maria [fy75,1]([cf2]b [cf1]Bologna, [c
f2]c.[cf1][sm1663[nm; [cf2]d ~[cf1]Bologna, [sm1727[nm). It. cellist and compose
r. Studied ~cello with Domenico Gabrielli ([cf2]b [cf1]Bologna, [sm1651[nm; ~[cf
2]d [cf1]Bologna, [sm1690[nm). Cellist in orch. S. Petronio ~[sm1689[nm=n[sm96[n
m and [sm1701[nm=n[sm27[nm. Famous for ~tpt. and str. sonatas. Wrote pioneering
solo vc. ~sonata.[cm~Jack.[fy75,1] See[cf2] Harpsichord[cf1].[cm~Jackson, Franci
s [fy75,1](Alan)[cf1] ([cf2]b[cf1] Malton, [sm1917[nm). Eng. ~organist, composer
, and cond. Studied Durham ~Univ. and with [fy45,1]*[fy75,1]Bairstow. Organist M
alton ~church [sm1933[nm=n[sm40[nm; organist and master of the m
us., ~York Minster [sm1946[nm=n[sm82[nm. Frequent recitalist. ~Comps. incl. mono
dramas (speaker, ch., and ~orch.), org. sonatas,[cf2] Variations on a Theme by ~
Vaughan Williams[cf1], sym. in D minor (orch.), and ~numerous org. pieces, anthe
ms, canticles, etc. ~O.B.E. [sm1978[nm.[cm~Jacob, Gordon[fy75,1] ([cf2]b[cf1] Lo
ndon, [sm1895[nm; [cf2]d [cf1]Saffron ~Walden, [sm1984[nm). Eng. composer, teach
er, and ~cond. Studied RCM under Stanford, Boult, and ~Howells. On staff RCM as
prof. of theory, comp., ~and orchestration [sm1926[nm=n[sm66[nm. Author of textb
ooks ~on orchestration and its technique. Transcr. for ~full orch. and brass ban
d Vaughan Williams's[cf2] ~English Folk-Song Suite[cf1], orig. for military band
, and ~for full orch. his [cf2]Variations [cf1]for brass band. Comps. ~incl. [sm
2[nm syms. ([sm1929[nm, [sm1944[nm), sinfonietta ([sm1942[nm), [sm2[nm ~va. conc
s. ([sm1925[nm, [sm1979[nm), [sm2[nm pf. concs. ([sm1927[nm, [sm1957[nm), ~bn. c
onc. ([sm1947[nm), hn. conc. ([sm1951[nm), vn. conc. ~([sm1953[n
m), [sm2[nm ob. concs. ([sm1933[nm, [sm1956[nm), cl. conc. ([sm1980[nm), ~ballet
s, and numerous arrs. C.B.E. [sm1968[nm.[cm~Jacobi, Frederick[fy75,1] ([cf2]b[cf
1] San Francisco, [sm1891[nm;[cf2] d[cf1] NY, ~[sm1952[nm). Amer. composer, cond
., and pianist. ~Studied NY with R. Goldmark (comp.) and at ~Berlin Hochschule.
Ass. cond. at NY Met. [sm1913[nm=n~[sm17[nm. Studied mus. of Pueblo Indians, liv
ing among ~them in New Mexico and Arizona. Indian themes ~and Jewish liturgical
mus. are the main influences ~on his works. Taught at Juilliard Sch., NY, [sm193
6[nm=n~[sm50[nm. Comp. opera[cf2] The Prodigal Son[cf1] ([sm1943[nm=n[sm4[nm), [
sm2[nm ~syms.,[cf2] Indian Dances[cf1] for orch.,[cf2] Sabbath Evening ~Service[
cf1],[cf2] Ode to Zion[cf1], vc. conc., pf. conc., vn. conc., ~[sm3[nm str. qts.
, pf. pieces, songs, etc.[cm~Jacobin, The[fy75,1] (=+=+=+=+[cf2]Jakobin[cf1]). O
pera in [sm3[nm acts by Dvo;akr;aaak ~to lib. by M. ;akCervinkov;aaa-Riegrov;aaa
. Comp. [sm1887=n~8[nm. Prod. Prague [sm1889[nm, London [sm1947[
nm.[cm~Jacobs, Arthur [fy75,1](David)[cf1] ([cf2]b[cf1] Manchester, [sm1922[nm).
 ~Eng. mus. critic, ed., and translator. Mus. critic[cf2] ~Daily Express[cf1] [s
m1947[nm=n[sm52[nm, then freelance critic for ~var. newspapers. Deputy ed.[cf2]
Opera[cf1] magazine ~[sm1962[nm=n[sm71[nm; ed.[cf2] British Music Yearbook[cf1]
[sm1971[nm=n[sm80[nm; ed.[cf2] ~A New Dictionary of Music[cf1] ([sm1958[nm, rev.
 [sm1967[nm, [sm1973[nm, ~[sm1977[nm),[cf2] Choral Music[cf1] symposium [sm1963[
nm. Wrote [cf2]A Short ~History of Western Music [cf1]([sm1972[nm), [cf2]Arthur
Sullivan, a ~Victorian Musician [cf1]([sm1984[nm), and contrib. to many ~other b
ooks and publications. Librettist of [fy45,1]*[fy75,1]Maw's[cf2] ~One-Man Show[c
f1] ([sm1964[nm) and translator of over [sm20[nm ~opera libs. Lecturer in mus. h
istory, etc., at RAM ~from [sm1964[nm. Head of mus. dept., Huddersfield ~Polytec
hnic, [sm1979=n85[nm (prof. from [sm1984[nm). Visiting ~lecturer to several Amer
. univs.[cm~Jacobs, Robert L[fy75,1](ouis)[cf1] ([cf2]b[cf1] Mel
bourne, Victoria, ~[sm1904[nm). Australian writer and teacher. Studied ~privatel
y in Vienna and Berlin. Extra-mural ~lecturer, London Univ. [sm1947[nm=n[sm72[nm
. Author of[fj~books on Wagner, harmony, etc.; contrib. to ~encyclopedias.[cm~Ja
cobson, Maurice[fy75,1] ([cf2]b[cf1] London, [sm1896[nm;[cf2] d[cf1] Brighton, ~
[sm1976[nm). Eng. composer and publisher. Studied ~RCM with Stanford and Holst.
Mus. reader to J. ~Curwen & Sons from [sm1923[nm, becoming dir. [sm1933[nm, ~cha
irman [sm1950[nm=n[sm72[nm. Comps. incl. cantatas[cf2] The ~Hound of Heaven[cf1]
,[cf2] The Lady of Shalott[cf1], Symphonic ~Suite for Str., chamber mus., etc. A
rr. several ~works by Vaughan Williams. O.B.E. [sm1971[nm.[cm~Jacotin, Jacques[f
y75,1] ([cf2]b[cf1] [sm1445[nm;[cf2] d[cf1] Antwerp, [sm1529[nm). ~Flemish compo
ser whose identity is speculative. ~His [cf2]chansons [cf1]were pubd. by Attaign
ant. Also ~composed sacred mus.[cm~Jacques, Reginald[fy75,1] ([cf2]b[cf1] Ashby-
de-la-Zouch, [sm1894[nm;[cf2] ~d [cf1]Stowmarket, [sm1969[nm). E
ng. cond. and composer. ~Organist, Queen's Coll., Oxford. Cond. Oxford ~Harmonic
 Soc. [sm1923[nm=n[sm30[nm, Oxford Orch. Soc. [sm1930[nm=n~[sm6[nm, London Bach
Choir [sm1932[nm=n[sm60[nm. [sm1[nmst mus. dir. of ~CEMA (later Arts Council) [s
m1940[nm=n[sm5[nm. Founded ~Jacques Orch. [sm1936[nm, remaining cond. Author of
~books on school mus. and v. training. C.B.E. ~[sm1954[nm.[cm~Jaeger, August [fy
75,1](=+=+=+Johannes)[cf1] ([cf2]b[cf1] D;Auusseldorf, [sm1860[nm;[cf2] ~d[cf1]
London, [sm1909[nm). Ger. musician who settled in ~Eng. in [sm1878[nm, working f
or printer of maps in the ~Strand, London. Joined staff of mus. publishers, ~Nov
ello, in [sm1890[nm, becoming head of publishing ~office. Was responsible for se
eing works by ~Novello composers into print, especially those by ~Elgar, whose g
reatness he recognized. Became ~intimate friend of Elgar, their correspondence ~
having since been pubd. Immortalized in Elgar's ~[fy45,1]*[fy75,2]Enigma Variati
ons[cf1] as `Nimrod' (Nimrod in the ~Bible was a hunter;[cf2] J;
auager[cf1];eqhunter in Ger.). To ~say, as is sometimes committed to print, that
 he ~was `Elgar's publisher' is inaccurate.[cm~[PN360,0,0,L,I0]Jahn, Otto[fy75,1
] ([cf2]b[cf1] Kiel, [sm1813[nm;[cf2] d[cf1] G;auottingen, [sm1869[nm). Ger. ~ar
chaeologist, philologist, and writer on mus. ~Held professional posts in Greifsw
ald, Leipzig, ~and Bonn. Author of [cf2]Life of Mozart[cf1] ([sm1[nmst edn., [sm
4[nm ~vols. Leipzig [sm1856[nm=n[sm9[nm, [sm2[nmnd edn., [sm2[nm vols. [sm1867[n
m, [sm3[nmrd ~edn. [sm1889[nm=n[sm91[nm, [sm4[nmth edn. [sm1905[nm=n[sm7[nm. Eng
. trans. [sm1882[nm). ~Collected material for biographies of Haydn and ~Beethove
n which was passed, respectively, to Pohl ~and Thayer. One of founders in [sm185
0[nm of [fy45,1]*[fy75,1]Bach ~Gesellschaft.[cm~Jahreszeiten, Die[fy75,1] (Haydn
). See[cf2] Seasons, The[cf1].[cm~Jakobsleiter, Die[fy75,1] (Jacob's Ladder). Un
finished ~oratorio by Schoenberg, comp. [sm1917[nm=n[sm22[nm, for sop., ~[sm3[nm
 tens., [sm2[nm basses, speaking ch., ch., and orch., to ~his ow
n text. Scoring completed by Winfried ~Zillig. F.p. ([sm1[nmst part) Hamburg [sm
1958[nm; (completed ~version) Vienna [sm1961[nm; f.p. in England, London ~[sm196
5[nm.[cm~Jalas, Jussi[fy75,1] ([cf2]b[cf1] Jyv;Auaskyl;Aua, [sm1908[nm). Finn. c
ond. Cond. ~at Finn. Nat. Th. [sm1930[nm=n[sm45[nm, cond. Helsinki Nat. ~Opera f
rom [sm1945[nm. Guest cond. in Eng., USA, and ~Europe. Son-in-law of Sibelius.[c
m~Jaleadas[fy75,1] (Sp.). The `Seguidillas Jaleadas' dance (see ~Seguidilla) is
a vigorous form, showing the ~influence of the [fy45,1]*[fy75,1]cachucha.[cm~Jal
eo[fy75,1] (in old Sp.,[cf2] Xaleo[cf1]). Sp. solo dance in slow ~triple time.[c
m~Jalousieschweller[fy75,1] (Ger.). Venetian-blind swell. ~The org. swell pedal.
[cm~Jamaican Rumba.[fy75,1] Short piece for [sm2[nm pf. by Arthur ~Benjamin, pub
d. in [sm1938[nm. Arr. for many other ~combinations, particularly small orch.[cm
~James, Ifor[fy75,1] ([cf2]b[cf1] Carlisle, [sm1931[nm). Eng. hn.-player and ~co
nd. Hn.-player in Hall;Aae, RLPO, and other orchs. ~Member, Phil
ip Jones Brass Ens. Cond. of brass ~bands.[cm~James, Ivor[fy75,1] ([cf2]b[cf1] L
ondon, [sm1882[nm;[cf2] d[cf1] London, [sm1963[nm). ~Eng. cellist. Studied RCM,
where later he was ~prof. of vc. and chamber mus. from [sm1919[nm. ~Member of En
g. Str. Qt. [sm1909[nm=n[sm25[nm, Menges Qt. ~from [sm1931[nm. C.B.E. [sm1953[nm
.[cm~James, Philip[fy75,1] ([cf2]b[cf1] Jersey City, NJ, [sm1890[nm; [cf2]d[cf1]
 ~Southampton, NY, [sm1975[nm). Amer. composer and ~cond. Studied Coll. of City
of NY. Comp. pupil of ~R. Goldmark. Cond. operettas of Victor Herbert ~[sm1919[n
m=n[sm22[nm. Faculty of Mus. NY Univ. [sm1923[nm (head ~of dept. [sm1933[nm=n[sm
55[nm). Won NBC prize [sm1932[nm for ~satirical suite [cf2]Station WGZBX[cf1]. W
orks incl. ballet[cf2] ~Judith[cf1] ([sm1927[nm), ov.[cf2] Bret Harte[cf1], [sm2
[nm syms., symphonic ~poems, choral works (incl. [fy45,1]*[fy75,2]General Willia
m Booth ~Enters Into Heaven[cf1]), chamber mus.[cm~Jam Session.[fy75,1] Informal
 perf. by jazz musicians ~improvising collectively.[cm~Jan;Aaa;A
kcek, Leo;Aks[fy75,1] ([cf2]b[cf1] Hukvaldy, E. Moravia, [sm1854[nm;[cf2] d[cf1]
 ~Ostrava, [sm1928[nm). Cz. composer, cond., organist, ~and teacher. Although he
 was [sm47[nm when the [sm20[nmth ~cent. began, he is essentially a [sm20[nmth-c
ent. com~~poser. His father was a choirmaster. At [sm11[nm, Jan;Aaa;Akcek ~enter
ed the Augustinian monastery, Brno, as a ~choirboy, studying mus. with Pavel K;A
kri;Akzkovsk;Aay. ~In [sm1872[nm he became a junior master at Brno ~teachers' tr
aining coll., and was at the Prague ~Organ Sch., [sm1874[nm=n[sm6[nm. He went to
 Leipzig and ~Vienna in search of fame and fortune but returned ~disappointed to
 Brno as mus. master at the ~training coll. His early comps. met with little ~su
ccess, but he became deeply involved with ~Moravian folk music, working with Bar
to;Aks on ~editing, harmonizing, and performing folk-~songs. He also founded Brn
o Organ Sch. in [sm1881[nm, ~becoming dir. and remaining as organizer until ~[sm
1919[nm. In [sm1894[nm he began work on his [sm3[nmrd opera, ~[c
f2]Jen;anufa[cf1], which was perf. in Brno with considerable ~success in January
, [sm1904[nm, the year of his [sm50[nmth ~birthday. He had every right to expect
 it would ~then be staged in Prague, but some years earlier ~he had severely cri
ticized a comp. by Karel ~Kova;Akrovic who was now head of the Prague ~Opera. He
 refused to hear[cf2] Jen;Anufa[cf1] and it took ~Jan;Aaa;Akcek's friends until
[sm1916[nm to have the work ~accepted for Prague=meven then, Kova;Akrovic ~[chin
sisted on `editing' it himself, for which he ~received a royalty. Nevertheless t
he opera was a ~triumph, as it was in Max Brod's Ger. version in ~Vienna and Col
ogne in [sm1918[nm. This success at the ~age of [sm62[nm, coupled with the forma
tion of the Cz. ~republic, was a tremendous creative spur to ~Jan;aaa;akcek and
in the last [sm10[nm years of his life he ~produced a series of works full of or
iginality, ~vitality, and power. The opera[cf2] The [cf2]Excursions of ~Mr Brou;
akcek[cf1] ([sm1917[nm) and the orchestral rhapsody ~[cf2]Taras
Bulba[cf1] ([sm1918[nm) were followed by the song-~cycle[cf2] The [cf2]Diary of
One Who Disappeared[cf1], the operas ~[cf2]K;aaa;akta Kabanov;aaa[cf1] and[cf2]
The [cf2]Cunning Little Vixen[cf1], the ~concertino for pf. and chamber orch., t
he ~[cf2]Sinfonietta[cf1], [sm2[nm str. qts., the wind sextet [cf2]Ml;aaadi[cf1]
, the ~[cf2]Glagolitic Mass[cf1], and [sm2[nm more operas, [cf2]The [cf2]Makropu
los ~Affair[cf1] and [cf2]From the [cf2]House of the Dead[cf1]. Mus. history ~ca
n offer few, if any, parallels with this upsurge ~of sustained inspiration=man i
nspiration partly ~derived from his unconsummated love for a ~young married woma
n whom he met in [sm1917[nm ~and to whom he wrote over [sm600[nm letters.[ep~^Ja
n;aaa;akcek's early works belong to the [sm19[nmth-cent. ~world of Dvo;Akr;Aaak
and Smetana. But in his ~maturity, from[cf2] Jen;Anufa[cf1] onwards, his individ
ual ~style developed. His works are based on short ~bursts of melody, strongly r
hythmical, like vocal ~exclamations, these deriving from his fas
cination ~by speech-rhythms. He noted in sketch-books ~phrases he overheard in t
own and countryside, ~particularizing the moods in which they were ~spoken. The
melodic fragments undergo sudden ~changes of tonality and mood, being built by ~
simple but unusual means to strong emotional ~climaxes. His harmonic language, h
owever, was ~in no way innovatory. His staple fare in this ~respect comprised co
mmon chords, [sm7[nmths, [sm9[nmths, ~and the whole-tone scale, but what is unus
ual is ~his spacing and juxtaposition of chords. His ~[PN361,0,0,R,I0]orchestrat
ion is equally striking and unusual, ~often seeming harsh and raw but invariably
 being ~apt and effective. He liked to use instr. at the ~extremes of their rang
e.[ep~^Jan;aaa;akcek's operas have held their place in the ~repertory since they
 were first perf. in Europe ~but only since the [sm1950[nms has the Eng. public
been ~awakened to their originality and beauty, largely ~through the efforts of
the cond. Charles [fy45,1]*[fy75,1]Mack~~erras, who has also pur
ged the scores of corrup~~tions and accretions by other hands. The ~emotional ra
nge of the operas is wide: jealousy, ~hatred, love, and guilt are explored in[cf
2] Jen;Anufa[cf1] and[cf2] ~K;aaa;akta Kabanov;aaa[cf1], nature and the eternal
round of ~the seasons in the fantasy[cf2] The Cunning Little Vixen[cf1], ~satire
 in[cf2] The Excursions of Mr Brou;akcek[cf1], and harsh ~reality in[cf2] The Ma
kropulos Affair[cf1] and the extraor~~dinary[cf2] From the House of the Dead[cf1
]=myet in all these ~disparate works the principal element is a ~compelling fait
h in humankind and its grip on ~life. Prin. works:[xm[cm~[j2][smoperas[nm:[fy75,
2] ;akS;aaarka[cf1] (text by Zeyer) ([sm1887[nm=n[sm8[nm, rev. [sm1918[nm ~and [
sm1924[nm);[cf2] The Beginning of a Romance (Po;akc;aaatek ~Rom;aaanu)[cf1] ([sm
1891[nm, prod. [sm1894[nm);[cf2] Her Foster-Daughter ~(Jej;aai Pastorky;akna[cf1
], known as [fy45,1]*[fy75,2]Jen;anufa[cf1]) ([sm1894[nm=n[sm1903[nm, ~rev. befo
re [sm1908[nm);[cf2] Fate (=+=+[fy45,1]*[fy75,2]Osud)[cf1] ([sm1
903[nm=n[sm5[nm, rev. ~[sm1906[nm=n[sm7[nm); [cf2]The [fy45,1]*[fy75,2]Excursion
s of Mr Brou;akcek (V;aaylety ~pana Brou;akcka)[cf1] ([sm1908[nm=n[sm17[nm); [fy
45,1]*[fy75,2]K;aaa;akta Kabanov;aaa (Katya ~Kabanova)[cf1] ([sm1919[nm=n[sm21[n
m);[cf2] The [fy45,1]*[fy75,2]Cunning Little Vixen ~(P;akr;aaihody li;aksky Byst
rou;aksky)[cf1] ([sm1921[nm=n[sm3[nm);[cf2] The [fy45,1]*[fy75,2]Makro~~pulos Af
fair (V;Akec Makropulos)[cf1] ([sm1923[nm=n[sm5[nm); [cf2]From the ~[fy45,1]*[fy
75,2]House of the Dead (Z Mrtv;aaeho Domu)[cf1] ([sm1927[nm=n[sm8[nm).[ep~[smorc
h[nm:[cf2] Suite for Strings[cf1] ([sm1877[nm);[cf2] Idyll for strings[cf1] ~([s
m1877[nm);[cf2] Suite[cf1] ([cf2]c[cf1].[sm1891[nm); [cf2]Lachian Dances (La;aks
ske ~tance)[cf1] ([sm1889[nm=n[sm90[nm); overture [cf2]Jealousy [cf1]([cf2];akZ;
aaarlivost[cf1]) ~([sm1894[nm); ballad[cf2] The Fiddler's Child (;akSuma;akrovo
D;aait;ake)[cf1] ~([sm1912[nm); rhapsody [fy45,1]*[fy75,2]Taras Bulba[cf1] ([sm1
915[nm=n[sm18[nm); sym~~phonic poem[cf2] The Ballad of Blanik [c
f1]([cf2]Balada blanick;aaa[cf1]) ~([sm1920[nm);[cf2] Sinfonietta[cf1] ([sm1926[
nm); symphonic poem[cf2] ~Danube (Dunaj)[cf1] ([sm1923[nm=n[sm8[nm, completed by
 O. ~Chlubna).[ep~[smchorus and orch[nm:[cf2] Lord, have mercy on us (Hospodine
~pomiluj ny)[cf1] for double ch., solo qt., wind orch., ~organ, harp ([sm1897[nm
);[cf2] Amarus[cf1], solo, ch., and orch. ~([cf2]c.[cf1][sm1897[nm, rev. [sm1901
[nm, [sm1906[nm);[cf2] At the Inn of Solan (Na ~Solani ;AkCart;aaak)[cf1] male c
h., solo, and orch. ([sm1911[nm);[cf2] ~The Eternal Gospel (V;ake;akcn;aae Evang
elium)[cf1] solo, ch., ~and orch. ([sm1914[nm=n[sm15[nm); [fy45,1]*[fy75,2]Glago
litic Mass[cf1] ([cf2]Glagolsk;aaa ~m;akse[cf1]) sop., alto, ten., bass, ch., or
gan, and orch. ~([sm1926[nm);[cf2] Nursery Rhymes (;akRikadla)[cf1] [sm9[nm vv.,
 pf., and ~[sm11[nm instr. ([sm1925[nm, rev. [sm1927[nm).[ep~[smchorus[nm:[cf2]
Ploughing (Oriani)[cf1] male ch. ([sm1876[nm);[cf2] The ~Wild Duck (Ka;Akcena Di
voka)[cf1] ([cf2]c[cf1].[sm1885[nm); [sm4[nm[cf2] Choruses[cf1],
 ~male vv. ([sm1886[nm);[cf2] The Wreath (Vinek)[cf1] for [sm4[nm male ~ch. ([sm
1904[nm); [sm4[nm[cf2] Moravian Choruses[cf1] for male vv. ~([sm1904[nm);[cf2] S
ongs of the Hrad;Akcany (Hrad;Akcansk;aae Pi;Aks~~ki;akcky)[cf1] [sm3[nm ch. for
 women's vv. ([sm1916[nm); [fy45,1]*[fy75,2]Diary of ~One Who Disappeared (Z;aaa
pisn;aaik Zmizel;aaeho)[cf1] song-~cycle for ten., cont., [sm3[nm women's vv., a
nd pf. ~([sm1917[nm=n[sm19[nm);[cf2] Wolf Tracks (Vl;Ake;aai stopa)[cf1], sop.,
wom~~en's ch., and pf. ([sm1916[nm);[cf2] Kaspar Rucky[cf1], women's ~ch. ([sm19
16[nm);[cf2] Teacher Halfar (Kantor Halfar) [cf1]male ~vv. ([sm1906[nm, rev. [sm
1917[nm);[cf2] The Czech Legions (;akCesk;aae ~Legie)[cf1] male ch. ([sm1918[nm)
;[cf2] The Wandering Madman ~(Potulny ;aksilenec) [cf1]sop., male ch. ([sm1922[n
m).[ep~[smchamber music[nm:[cf2] Dumka[cf1], vn. and pf. ([cf2]c[cf1].[sm1880[nm
);[cf2] Fairy ~Tale (Poh;aaadka)[cf1] vc. and pf. ([sm1910[nm, [sm2[nmnd version
 ~[sm1923[nm); vn. sonata ([sm1914[nm, rev. [sm1921[nm); Str. Qt
. ~No.|[sm1[nm ([fy45,1]*[fy75,2]Kreutzer Sonata[cf1]) ([sm1923[nm), No.|[sm2[nm
 ([fy45,1]*[fy75,2]Intimate ~Letters[cf1]) ([cf2]Listy d;Anuv;Akern;Aae[cf1]) ([
sm1928[nm);[cf2] Youth (=+=+[fy45,1]*[fy75,2]Ml;Aaadi)[cf1], ~wind sextet ([sm19
24[nm); concertino for pf. and ~chamber orch. ([cf2]c[cf1].[sm1925[nm);[cf2] Cap
riccio[cf1] for pf. (left ~hand) and chamber orch. ([cf2]c[cf1].[sm1926[nm).[ep~
[smpiano[nm:[cf2] Vallachian Dances[cf1] ([sm1888[nm);[cf2] National Dances ~of
Moravia[cf1] for pf. ([sm4[nm hands), Books [sm1[nm and [sm2[nm ~([sm1891[nm), B
ook [sm3[nm ([sm1893[nm); [cf2]On an Overgrown Path (Po ~zarostl;aaem Chodn;aai;
akcku) [cf1][sm15[nm short pieces ([sm7[nm orig. for ~harmonium) ([sm1901=n8[nm)
; [cf2]Sonata [sm1[nm:=+=+x:=+[sm1905[nm[cf1] (A ~street scene;[cf2] Z ulice[cf1
]) (the day a worker was killed ~by a soldier for demonstrating for a Cz. univ.
in ~Brno); [cf2]In the Mists [cf1]([cf2]V mlh;aaach[cf1]) ([sm1912[nm); [cf2]Mor
avian ~Dances[cf1], [sm2[nm books ([sm1912[nm);[cf2] In the Thre
shing House[cf1] ~([sm1913[nm).[ep~[smsolo voice[nm:[cf2] Song of Spring[cf1], v
. and pf. ([sm1897[nm);[cf2] Folk ~Poetry of Hukwald[cf1], [sm13[nm songs for v.
 and pf. ([sm1899[nm);[cf2] ~A Garland of Moravian Folk Songs[cf1], [sm53[nm son
gs coll. ~by Barto;aks and Jan;aaa;akcek, with pf. acc. by Jan;aaa;akcek, ~Book
[sm1[nm ([sm1892[nm), [sm2[nm ([sm1901[nm).[cm~[j1]Jan;aaa;akcek Quartet. [fy75,
1]Cz. str. qt. formed [sm1947[nm by ~students of Brno Cons. First public concert
, Brno, ~Oct. [sm1947[nm. Adopted name Jan;aaa;akcek Qt. after ~Prague d;aaebut
[sm1949[nm. Toured Poland [sm1949[nm, Middle ~East [sm1955[nm, W. Berlin [sm1956
[nm. First visit to Brit. ~[sm1958[nm. Original members were Ji;akr;aai Tr;aaavn
i;akcek, ([cf2]b ~[cf1]Vla;akstovi;akcky, [sm1925[nm; [cf2]d [cf1]Brno, [sm1973[
nm) and Miroslav ~Maty;aaas ([cf2]b [cf1]Brno, [sm1924[nm), vns.; Ji;akr;aai Kra
tochv;aail ([cf2]b ~[cf1]Ivan;akcice, [sm1924[nm), va.; and Karel Krafka ([cf2]b
 [cf1]Znojmo, ~[sm1921[nm), vc. Tr;aaavni;akcek was succeeded by
 Bohumil ~Smejkal ([cf2]b [cf1]Brno, [sm1935[nm); Maty;aaas by Adolf S;aaykora ~
([cf2]b [cf1]Brno, [sm1931[nm) in [sm1952[nm. Has made close study of ~Jan;aaa;a
kcek's two qts., also those by Bart;aaok, Shostako~~[chvich, Britten, and Nov;aa
ak. Always performs from ~memory.[cm~Janequin[fy75,1] (=+=+=+Jannequin),[fy65][c
f3] Cl;aaement[fy75,1] ([cf2]b [cf1]Ch;afatellerault, ~nr. Poitiers, [cf2]c.[cf1
][sm1485[nm; [cf2]d [cf1]Paris, [sm1558[nm). Fr. composer. ~Studied for priestho
od. Choirmaster, Angers ~Cath. from [sm1537[nm. Comp. over [sm250[nm [cf2]chanso
ns[cf1], some ~of which were pubd. by Attaignant. Settled in ~Paris [sm1549[nm,
becoming [cf2]compositeur du roi. [cf1]Entered ~Paris Univ. as a student when ov
er [sm70[nm. Wrote two ~Masses based on two of his [cf2]chansons. [cf1]Introduce
d ~bird-song and other programmatic effects. His [cf2]Le ~bataille de Marignan [
cf1]([sm1515[nm) imitates sword-clashes, ~warriors' cries, and other sounds.[cm~
Janiewicz[fy75,1] (Yaniewicz),[fy65][cf3] Feliks[fy75,1] ([cf2]b
[cf1] Wilno, [sm1762[nm;[cf2] d[cf1] ~Edinburgh, [sm1848[nm). Polish violinist a
nd composer. ~Visited Vienna [sm1785[nm, meeting Haydn and Mozart; ~then [sm3[nm
 years in It.; Paris [sm1787[nm=n[sm90[nm. Visited Eng. ~[sm1792[nm, playing in
London, Bath, Liverpool, and ~Manchester. Took part in Haydn's London ~concerts
[sm1794[nm. Settled in Liverpool [sm1800[nm, found~~ing publishing firm [sm1803[
nm. One of founders of ~Phil. Soc., London. Lived in Edinburgh from ~[PN362,0,0,
L,I0][sm1815[nm, retiring in [sm1829[nm. Comp. vn. concs., chamber ~mus., etc.[c
m~Janigro, Antonio[fy75,1] ([cf2]b[cf1] Milan, [sm1918[nm). It. cellist and ~con
d. Studied Milan Cons. and ;aaEcole Normale de ~Musique, Paris. D;aaebut [sm1934
[nm. Worldwide reputa~~tion as solo cellist. Head of advanced vc. class, ~Zagreb
 Univ. [sm1939[nm=n[sm53[nm; cond. Zagreb radio-TV ~orch. [sm1954[nm=n[sm64[nm;
founder of chamber ens.,[cf2] I solisti ~di Zagreb[cf1] ([sm12[nm musicians) [sm
1954[nm, cond. until [sm1967[nm; ~cond. Angelicum Orch., Milan,
[sm1965[nm=n[sm7[nm; cond. ~Saar chamber orch. from [sm1968[nm; head of advanced
 ~vc. class Schumann Cons., D;auusseldorf, from [sm1965[nm.[xm[cm~[ol0][ep~[xp[t
e~










[do11][j99]~~~~~~[sm153842[nm_J[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmJ[sm002[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm26[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm36[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Janis[fy
75,1] (orig. Yanks),[fy65][cf3] Byron[fy75,1] ([cf2]b[cf1] McKeesport, Penn., ~[
sm1928[nm). Amer. pianist. D;aaebut Pittsburgh [sm1937[nm. ~Studied with Adele M
arcus and Horowitz. Soloist ~with NBC S.O. [sm1943[nm, recital d;aaebut, NY [sm1
948[nm. ~European d;aaebut, Amsterdam [sm1952[nm; toured USSR ~[sm1960[nm and [s
m1962[nm.[cm~Janissary Music[fy75,1] (Ger.[cf2] Janitscharenmusik[cf1]). Term ~o
nce used for the imitation-Turkish mus. pro~~duced by triangle, cymbals, and bas
s drum as in ~Mozart's[cf2] Die Entf;auuhrung aus dem Serail[cf1]. The ~Janissar
ies were the Sultan's bodyguard, dis~~banded [sm1826[nm, who had a band.[cm~Jank
o Keyboard.[fy75,1] Pf. kbd., invented in [sm1882[nm by ~Paul von Janko ([cf2]b
[cf1]Totis, [sm1856[nm; [cf2]d [cf1]Constantinople, ~[sm1919[nm)
, with [sm6[nm manuals, each giving a whole-tone ~series of notes. The finger ke
ys of each kbd. were ~on one level; the kbds. were arr. so that the hands ~could
 move easily over all [sm6[nm as over the keys of a ~typewriter. The span of the
 octave was reduced ~and large chords were easy. Won praise from ~Liszt and Anto
n Rubinstein but never became ~popular.[cm~Jannaconi, Giuseppe[fy75,1] ([cf2]b[c
f1] Rome, [sm1741[nm;[cf2] d[cf1] Rome, ~[sm1816[nm). It. composer. Succeeded Zi
ngarelli as ~choirmaster, St Peter's, Rome, [sm1811[nm. Wrote [sm32[nm ~masses,
[sm52[nm psalm-settings, many motets, etc.[cm~Janowitz, Gundula [fy75,1]([cf2]b[
cf1] Berlin, [sm1937[nm). Ger. soprano. ~Studied at Styrian Cons., Graz. D;aaebu
t Vienna ~State Opera [sm1960[nm as Barbarina in [cf2]Le Nozze di ~Figaro. [cf1]
Bayreuth Fest. [sm1960[nm. Sang Countess in ~[cf2]Figaro [cf1]at re-opening of P
aris Op;aaera [sm1973[nm. CG ~d;aaebut [sm1976[nm (Donna Anna), Glyndebourne [sm
1964[nm. ~Noted Lieder singer.[cm~Janowski, Marek[fy75,1] ([cf2]
b[cf1] Warsaw, [sm1939[nm). Polish-born ~cond. (now W. Ger. cit.). Studied Colog
ne High ~Sch. of Mus. and in Siena. Ass. cond. in Aachen, ~Cologne, and D;auusse
ldorf opera houses, later guest ~cond. Cologne, Hamburg, Munich, Paris, and ~Ber
lin Opera. Mus. dir. Freiburg Opera [sm1973[nm=n[sm5[nm, ~Dortmund [sm1975[nm=n[
sm9[nm. Cond. Radio France from ~[sm1984[nm. Also guest cond. Berlin P.O. etc. L
ondon ~d;aaebut [sm1969[nm (Brit. premi;agere of Henze's[cf2] Der junge ~Lord[cf
1] with Cologne Opera). Amer. opera d;aaebut ~[sm1983[nm (San Francisco), NY Met
. [sm1984[nm ([cf2]Arabella[cf1]). ~Art. adv. RLPO from [sm1983[nm. Cond. first
compact ~disc recording of Wagner's [cf2]Ring.[cf1][cm~Janssen, Herbert[fy75,1]
([cf2]b[cf1] Cologne, [sm1892[nm;[cf2] d[cf1] NY, [sm1965[nm). ~Ger.-born bar. (
Amer. citizen [sm1946[nm). Studied ~Cologne and Berlin. D;aaebut Berlin [sm1922[
nm, CG [sm1926[nm ~(annual visits until [sm1939[nm). Member of NY Met. ~[sm1939[
nm=n[sm52[nm. Singer of Wagnerian roles such as ~Gunther, Kothne
r, Amfortas, and Kurwenal.[cm~Janssen, Werner[fy75,1] ([cf2]b[cf1] NY, [sm1899[n
m). Amer. composer ~and cond. Studied Univ. of Calif. Cond. d;aaebut ~Rome [sm19
31[nm. Amer. d;aaebut with NY P.O. [sm1934[nm. ~Cond. Baltimore S.O. [sm1937[nm=
n[sm9[nm, Janssen S.O. of Los ~Angeles [sm1940[nm=n[sm52[nm, Utah S.O. [sm1946[n
m=n[sm7[nm, Portland ~S.O. [sm1947[nm=n[sm9[nm, San Diego P.O. [sm1952[nm=n[sm4[
nm. Comps. ~incl.[cf2] Louisiana Suite [cf1]([sm1929[nm=n[sm30[nm),[cf2] Dixie F
ugue[cf1] ([sm1932[nm), ~[sm2[nm str. qts., film mus.[cm~Japanese Fiddle.[fy75,1
] A [sm1[nm-str. instr. sometimes seen ~in the hands of Eng. street perfs., etc.
[cm~Jaques-Dalcroze, ;AaEmile[fy75,1] ([cf2]b[cf1] Vienna, [sm1865[nm;[cf2] d[cf
1] ~Geneva, [sm1950[nm). Swiss composer and teacher. ~Studied Geneva, Vienna (wi
th Bruckner), and ~Paris. On staff Geneva Cons. [sm1892[nm, developing his[cf2]
~gymnastique rythmique[cf1], known as [fy45,1]*[fy75,1]=+`Eurhythmics', ~exercis
es for expressing rhythmical aspects of ~mus. by physical moveme
nts. Influence on ballet. ~Taught method [sm1910[nm=n[sm14[nm at Hellerau, Dresd
en. ~Founded Institut Jaques-Dalcroze in Geneva [sm1915[nm. ~Wrote several books
 on subject. Comp. [sm5[nm operas ~(incl.[cf2] Sancho Panza[cf1], [sm1896[nm), o
peretta, [sm2[nm vn. concs., ~[sm3[nm str. qts., pf. pieces, etc.[cm~Jardin clos
, Le[fy75,1] (The Enclosed Garden). Song-~cycle of [sm8[nm songs by Faur;Aae, Op
.|[sm106[nm, to poems by ~Charles van Lerberghe, comp. [sm1914[nm=n[sm15[nm.[cm~
Jarnach, Philipp[fy75,1] ([cf2]b[cf1] Noisy, [sm1892[nm; [cf2]d [cf1]B;auornson,
 ~[sm1982[nm). Fr.-born Catalan composer. Studied in ~Paris [sm1912[nm=n[sm14[nm
. Taught at Z;auurich Cons. [sm1915[nm=n[sm21[nm. ~Mus. critic, [cf2]B;Auorsen-K
urier[cf1], Berlin, [sm1922[nm=n[sm7[nm. Studied ~with [fy45,1]*[fy75,1]Busoni,
whose opera [fy45,1]*[fy75,2]Doktor Faust[cf1] he ~completed. Prof. of comp., Co
logne Cons. [sm1927[nm=n~[sm49[nm; dir., Hamburg Cons. [sm1949[nm=n[sm59[nm. Com
poser of ~orch. and choral works, str. qt., unacc. vn. sonatas,
~[sm2[nm pf. sonatas, etc.[cm~J;auarnefelt, Armas[fy75,1] ([cf2]b [cf1]Viborg (n
ow Viipuri), [sm1869[nm;[cf2] ~d[cf1] Stockholm, [sm1958[nm). Finnish-born compo
ser and ~cond., naturalized Swed. [sm1910[nm. Cond. Viipuri ~orch. [sm1898[nm=n[
sm1903[nm, Helsinki opera [sm1903[nm=n[sm7[nm, Royal ~Opera, Stockholm, [sm1907[
nm=n[sm32[nm, Helsinki opera ~[sm1932[nm=n[sm6[nm. Brother-in-law of [fy45,1]*[f
y75,1]Sibelius. Said to have ~introduced Wagner's mus. to Finland. Comps. ~incl.
 [fy45,1]*[fy75,2]Praeludium[cf1] for orch. ([sm1907[nm),[cf2] Berceuse[cf1], pf
. ~pieces, etc.[cm~Jarred, Mary[fy75,1] ([cf2]b[cf1] Brotton, Yorks., [sm1899[nm
). Eng. ~cont. Member, Hamburg Opera [sm1929[nm=n[sm32[nm, later ~at CG. Notable
 also for singing in oratorio.[cm~Jarrett, Keith [fy75,1]([cf2]b [cf1]Allentown,
 Pa., [sm1945[nm). Amer. ~jazz pianist and composer of Scottish-Irish and ~Hunga
rian descent. Child-prodigy pianist. In ~early teens toured with Fred Waring and
 his ~Pennsylvanians. Studied Berklee Sch. of Mus., ~Boston. Was
 offered schol. to study with N. ~Boulanger in Paris but went instead to NY wher
e ~[PN363,0,0,R,I0]he formed his own jazz group and occasionally ~played with a
Miles Davis band. His solo piano ~improvisations embrace classical and jazz hist
ory, ~rarely with direct quotations, and he has been ~classified with the `back
to romanticism' move~~ment of Rochberg and Del Tredici. Has been ~soloist in pf.
 concs. by Hovhaness and McPhee. ~Comps. incl. [cf2]Ritual [cf1]for pf. and [cf2
]The Celestial Hawk[cf1], ~a pf. conc.[cm~J;auarvi, Neeme [fy75,1]([cf2]b [cf1]T
allin, Estonia, [sm1937[nm). Estonian-~born conductor. Studied Tallin and Lening
rad ~Cons. (with Mravinsky). D;aaebut at Kirov Th. ~([cf2]Carmen[cf1]). Dir., Es
tonian Opera [sm1963[nm. Won [sm1[nmst ~prize, Accademia di St Cecilia, Rome, [s
m1971[nm. ~Emigrated to USA [sm1980[nm. Prin. guest cond. CBSO ~[sm1981[nm=n[sm4
[nm, prin. cond. SNO from [sm1984[nm.[cm~Jazz[fy75,1] (etymology obscure). A ter
m, which came ~into general use[cf2] c[cf1].[sm1913[nm=n[sm15[nm
, for a type of mus. ~which developed in the Southern States of USA ~in the late
 [sm19[nmth cent. and came into prominence ~at the turn of the century in New Or
leans, chiefly ~(but not exclusively) among black musicians. ~Elements which con
tributed to jazz were the ~rhythms of W. Africa, European harmony, and ~Amer. `g
ospel' singing. Before the term[cf2] Jazz[cf1] was ~used, ragtime was the popula
r name for this ~genre. Ragtime lasted from[cf2] c[cf1].[sm1890[nm to [cf2]c[cf1
].[sm1917[nm. It ~was an instr. style, highly syncopated, with the ~pf. predomin
ant (though a few rags had words ~and were sung). Among the leading exponents of
 ~the pf. rag were Scott [fy45,1]*[fy75,1]Joplin, Jelly Roll Morton, ~and J. P.
Johnson, with the cornettists Buddy ~Bolden and King Oliver. Some rags were nota
ted ~(e.g. Joplin's[cf2] Maple Leaf Rag[cf1]) but the majority ~were improvised.
 About [sm1900[nm also, the `blues' ~craze began. `Blues' implies a largely voca
l form ~and a depressed frame of mind on the part of the ~perf.
The form originated from Negro spirituals, ~and made use of a blend of major and
 minor ~harmony, and non-tempered scale intervals. In ~instr. blues the prominen
t instrs. were tpt., ~cornet, cl., sax., or tb. A leading figure of the ~blues e
ra was the black composer W. C. [fy45,1]*[fy75,1]Handy ~whose[cf2] Memphis Blues
[cf1] ([sm1909[nm) and[cf2] St Louis Blues[cf1] ~([sm1914[nm) are jazz classics.
 Outstanding blues singers ~have been Bessie Smith and, later, Billie Holiday.[e
p~^The subsequent history of jazz has embraced a ~diversity of styles, e.g.[cf2]
 Dixieland[cf1], from[cf2] c[cf1].[sm1912[nm, ~which borrowed elements from both
 ragtime ~and blues and made a feature of group improvis~~ation led by the trump
eter. The principal ~Dixieland musicians included the trumpeters ~King Oliver an
d Louis [fy45,1]*[fy75,1]Armstrong, the trombon~~ists Kid Ory and Jack Teagarden
, the saxophonist ~Sidney Bechet, the pianists Jelly Roll Morton and ~Earl Hines
. In the [sm1920[nms, jazz became more ~sophisticated as it spre
ad to New York, Paris, and ~London and became a social `rage'. The jazz ~arrange
r emerged and with him the bigger band: ~harmony became more conventional, melod
ies ~were played by a full instr. section with the solos ~as central display-pie
ces, like cadenzas. These `big ~bands' had marked individual styles. Paul White~
~man popularized `symphonic jazz' using vns. and ~elaborate arrs. At the other e
xtreme was the ~Negro style of Duke [fy45,1]*[fy75,1]Ellington, the first great
~jazz composer. A `Chicago' style revived smaller ~bands and more improvisation
(its star was the ~trumpeter Bix Beiderbecke).[ep~^The [sm1930[nms coincided wit
h the style known as ~`swing'. The swing bands=mled by such virtuoso ~instrument
alists as Benny [fy45,1]*[fy75,1]Goodman (cl.), Jimmy ~Dorsey (alto sax.), Gene
Krupa (drums), Glenn ~[fy45,1]*[fy75,1]Miller (tb.), Tommy Dorsey (tb.), Artie S
haw ~(cl.)=mconcentrated on precision, arr., and good ~ens. work. Though Ellingt
on's band was influ~~enced by swing, its members were such super
b ~players and such strong individualists that im~~provisation still played a la
rge part in his comps. ~Swing yielded in the [sm1940[nms to `be-bop', principall
y ~for smaller groups of perhaps [sm7[nm players. Rhythm ~was the prime feature
of be-bop, allied to scat ~singing (vocalizing to nonsense syllables). Tempi ~we
re fast and great virtuosity was needed. The ~dominant player was the alto saxop
honist Charlie ~[fy45,1]*[fy75,1]Parker ([sm1920[nm=n[sm55[nm). Also important w
ere Dizzy ~Gillespie (trumpeter), Stan Getz (tenor saxophon~~ist), and Kenny Cla
rke and Max Roach (drum~~mers). `Be-bop' was later re-christened `modern ~jazz'.
 Among its derivatives were `cool' jazz, led ~by Getz and Miles Davis, and by Sh
orty Rogers ~(tpt.) and Lennie Tristano (pf.). In the [sm1960[nms `free ~jazz' w
as pioneered but the jazz scene was ~overshadowed by the emergence of `pop' and
the ~pop groups, e.g. the [fy45,1]*[fy75,1]Beatles, the [fy45,1]*[fy75,1]Rolling
 Stones, ~and many others, these comprising usually a ~vocalist,
 guitarist(s), and perc. `Hard rock' was a ~development from this period, and el
ec. instrs. ~were commandeered, as in other branches of ~mus.[ep~^The influence
of jazz on so-called `serious music' ~has been widespread and beneficial. Ives c
om~~posed ragtime pieces for th. orch. as early as [sm1902[nm; ~Debussy in [sm19
08[nm wrote the [cf2]Golliwogg's Cakewalk[cf1]; ~Ravel used the blues in his vn.
 sonata, and both ~his pf. concs. are jazz-influenced; Stravinsky ~wrote ragtime
 pieces and composed the [cf2]Ebony ~Concerto [cf1]([sm1945[nm) for Woody Herman
; Hindemith, ~Poulenc, Weill, K;Akrenek, Lambert, and Copland ~all used jazz fea
tures, as did Berg in [cf2]Lulu[cf1]. Duke ~Ellington and Bill Russo are among t
he leading ~composers of jazz, while those who have written ~works throwing a br
idge between jazz and ~symphonic forms incl. Gershwin, Rolf Lieber~~mann, Leonar
d Bernstein, Gunther Schuller, ~Richard Rodney Bennett, and John Dankworth.[cm~J
azz Calendar.[fy75,1] Ballet in [sm7[nm parts, mus. by Richard ~
Rodney [fy45,1]*[fy75,1]Bennett, choreog. Ashton, comp. [sm1963[nm=n~[sm4[nm, pr
od. CG [sm1968[nm. Based on rhyme `Monday's ~Child is Fair of Face' .|.|. etc.[c
m~Jeanne d'Arc au b;Afucher[fy75,1] (Joan of Arc at the ~Stake). ([sm1[nm) Drama
tic oratorio for [sm4[nm speakers, [sm3[nm ~sops., cont., ten., bass, ondes Mart
enot, ch., and ~orch. by Honegger to text by Claudel. Comp. ~[PN364,0,0,L,I0][sm
1935[nm. F.p. Basle [sm1938[nm; f.p. in England, London, ~BBC [sm1947[nm, staged
 [sm1954[nm; San Francisco [sm1954[nm.[ep~^([sm2[nm) Scena for mez. and pf. by L
iszt, [sm1845[nm.[cm~Jeffreys, George [fy75,1]([cf2]b c.[cf1][sm1610[nm; [cf2]d
[cf1]Weldon, Northants, ~[sm1685[nm). Eng. composer. Thought to have studied ~in
 Italy. Org. to Charles I at Oxford during Civil ~War. In [sm1646[nm became stew
ard to Sir Christopher ~Hatton at Kirby, Northants, remaining until ~death. Work
ed as amateur composer, only one ~work being published in lifetime. Wrote mainly
 ~church mus., influenced by It. Baroque, particu~~larly Monteve
rdi and Gesualdo. Collected works ~ed. Peter [fy45,1]*[fy75,1]Aston, from [sm197
0[nm. Works incl. [sm35[nm Eng. ~anthems, over [sm70[nm Latin settings, secular
songs, ~str. fantasias ([sm1629[nm), and mus. for plays ([sm1631[nm).[cm~Jehan,
Marie-Th;Aaer;Agese[fy75,1] ([cf2]b[cf1] St Gildas-des-Bois, ~[sm1944[nm). Fr. o
rganist. Studied Paris, d;Aaebut [sm1957[nm. ~Recitals throughout Europe.[cm~Jej
;aai Pastorky;akna [fy75,1](=+=+=+Jan;aaa;Akcek).[cf1] See[cf2] Jen;Anufa[cf1].[
cm~Jelinek, Hanns[fy75,1] ([cf2]b[cf1] Vienna, [sm1901[nm;[cf2] d[cf1] Vienna, [
sm1969[nm). ~Austrian composer. Mainly self-taught but stud~~ied with Schoenberg
, Berg, and Schmidt. Comps., ~in [sm12[nm-note idiom, incl.[cf2] Symphonia brevi
s[cf1] for orch., ~and [sm5[nm other syms., [cf2][sm12[nm-Note Primer[cf1] for p
f.,[cf2] ~Prometheus[cf1] (Goethe) for v. and orch. Wrote treatise ~on [sm12[nm-
note comp. ([sm1952[nm=n[sm8[nm).[cm~Jemnitz, S;Aaandor[fy75,1] ([cf2]b[cf1] Bud
apest, [sm1890[nm; [cf2]d[cf1] Balaton~~f;Auoldv;Aaar, [sm1963[n
m). Hung. composer. Studied Buda~~pest Acad., in Leipzig with Reger and Straube,
 ~and in Berlin ([sm1921[nm=n[sm4[nm) with Schoenberg. Re~~turned to Hung. [sm19
16[nm. Mus. critic,[cf2] N;Aaepszava[cf1] of ~Budapest, [sm1924[nm=n[sm50[nm. Pr
of. at Bart;Aaok Cons., Buda~~pest, from [sm1951[nm. Wrote books about Mendels~~
sohn, Chopin, and Mozart. Comps. incl. [sm3[nm vn. ~sonatas, tpt. qt., [sm2[nm s
tr. trios, conc. for str. orch., ~sonatas for several solo instr. (e.g. [sm5[nm
for pf., [sm3[nm for ~vn., and for vc., harp, va., fl., org., tpt., db., etc.).[
cm~`Jena' Symphony.[fy75,1] Name given to orch. work ~found by F. [fy45,1]*[fy75
,1]Stein in [sm1909[nm at Jena, Ger., and long attrib. to ~Beethoven. H.|C. Robb
ins Landon in [sm1957[nm est. it ~was comp. by Friedrich [fy45,1]*[fy75,1]Witt.[
cm~Jenkins, John[fy75,1] ([cf2]b[cf1] Maidstone, [sm1592[nm;[cf2] d[cf1] Kimberl
ey, ~Norfolk, [sm1678[nm). Eng. composer. Musician in ~service of Charles I and
Charles II but mainly in ~private service in Norfolk. Wrote many
 Fancies ~for viols or org., [sm12[nm sonatas for [sm2[nm vns., str. bass, ~and
continuo (org. or theorbo) ([sm1660[nm), light pieces ~called rants, and songs,
catches, etc.[cm~Jenkins, Newell [fy75,1](Owen) ([cf2]b [cf1]New Haven, Conn., ~
[sm1915[nm). Amer. conductor and scholar. Studied in ~Munich (with Orff=+=+=+) a
nd NY. D;aaebut as cond., ~Freiburg [sm1935[nm ([cf2]Dido and Aeneas[cf1]). Foun
ded Yale ~Opera Group, New Haven, [sm1940[nm. Cond., Bologna ~Chamber Orch. [sm1
948[nm=n[sm53[nm. Founder and dir., ~Piccola Accademi a Musicale, Florence, [sm1
952[nm. ~Founder, Clarion Concerts, NY, [sm1956[nm. Expert on ~music of Sammarti
ni, J. M. Kraus, and Cherubini.[cm~Jensen, Adolf[fy75,1] ([cf2]b[cf1] K;Auonigsb
erg, [sm1837[nm;[cf2] d[cf1] Baden-~Baden, [sm1879[nm). Ger. composer and pianis
t. Worked ~in Russia and Denmark until [sm1860[nm. Comp. over ~[sm150[nm songs,
unfinished opera[cf2] Turandot[cf1], cantatas, ~chs., etc.[cm~Jen;anufa.[fy75,1]
 Opera (Moravian music drama) in [sm3[nm acts ~by Jan;Aaa;Akcek.
 This is title by which it is known ~outside Czechoslovakia, where it retains it
s orig. ~title of[cf2] Her Foster-daughter (Jej;Aai Pastorky;Akna)[cf1]. Lib. ~b
y composer based on story by G. Preissov;Aaa. ~Comp. [sm1894[nm=n[sm1903[nm, rev
. [sm1906[nm, [sm1911[nm, [sm1916[nm. Prod. ~Brno [sm1904[nm, Prague [sm1916[nm,
 Vienna [sm1918[nm, NY Met. ~[sm1924[nm, London [sm1956[nm. Orig. version of ov.
, comp. ~[sm1894[nm, was pubd. in [sm1906[nm as independent orch. ~piece[cf2] Je
alousy (;akZ;aaarlivost)[cf1]. Since [sm1916[nm opera has ~usually been performe
d in edn. with re-orch. by ~Prague cond. Kova;akrovic, but Mackerras and others
~have restored orig. scoring.[cm~Jephte. [fy75,1]([sm1[nm) Oratorio by [fy45,1]*
[fy75,1]Carissimi to Lat. text ~based on biblical words. For [sm6[nm vv. and con
tinuo; ~comp. [sm1650[nm. Version by Henze for [sm7[nm solo vv., [sm6[nm ~vv. ch
., [sm4[nm fl., perc., hp., guitar, mandolin, banjo, ~[sm1976[nm.[ep~^([sm2[nm)
Oratorio ([cf2]=+=+=+Jephtha[cf1]) by Handel to text by ~Morell
based on Bible. F.p. London [sm1752[nm.[cm~Jeremiah.[fy75,1] Sym. No. [sm1[nm by
 Leonard Bernstein for ~orch. with mez. soloist in last movement to words ~from[
cf2] Book of Jeremiah[cf1]. F.p. Pittsburgh, Jan. [sm1944[nm, ~cond. Bernstein,
with Jennie Tourel.[cm~Jeremi;aaa;aks, Jaroslav[fy75,1] ([cf2]b[cf1] P;aaisek, [
sm1889[nm;[cf2] d [cf1];akCesk;aae ~Bud;akejovice, [sm1919[nm). Cz. composer and
 cond. ~Studied Prague Cons. and with Nov;Aaak. Comp. ~opera[cf2] Stary Krae[cf1
] (The Old King) ([sm1912[nm), oratorio[cf2] ~Jan Hus[cf1] ([sm1915[nm), tone-po
em, songs, etc.[cm~Jeremi;aaa;aks, Otakar[fy75,1] ([cf2]b [cf1]P;aaisek, [sm1892
[nm;[cf2] d[cf1] Prague, [sm1962[nm). ~Cz. composer, brother of Jaroslav [fy45,1
]*[fy75,1]Jeremi;Aaa;Aks. ~Studied Prague Cons. and with Nov;Aaak. Dir. of ~mus.
 sch. at Bud;akejovice [sm1918[nm=n[sm30[nm. Chief cond. ~Prague Radio [sm1930[n
m=n[sm45[nm, dir. Prague Opera [sm1945[nm=n~[sm7[nm. Comp. [sm2[nm syms., operas
[cf2] The Brothers Karamazov[cf1] ~([sm1928[nm) and[cf2] Till Eu
lenspiegel[cf1] ([sm1949[nm), cantatas, ~chamber mus., etc.[cm~Jerger, Alfred[fy
75,1] ([cf2]b[cf1] Brno, [sm1889[nm; [cf2]d[cf1] Vienna, [sm1976[nm). ~Austrian
bar. Studied Vienna. Began career as ~cond., Passau [sm1913[nm; singing d;Aaebut
 [sm1917[nm. Munich ~Opera [sm1919[nm=n[sm21[nm, Vienna [sm1921[nm remaining as
~leading bar. until [sm1953[nm. Created roles of The Man ~in Schoenberg's [cf2]D
ie gl;auuckliche Hand[cf1], Vienna [sm1924[nm, ~and Mandryka in Strauss's[cf2] A
rabella[cf1], Dresden ~[sm1933[nm and CG [sm1934[nm. After retirement was prod.
at ~Vienna Volksoper and teacher at Acad.[cm~Jeritza, Maria[fy75,1] (orig. Mizzi
 Jedlitzka) ([cf2]b[cf1] Brno, ~[sm1887[nm; [cf2]d [cf1]Orange, NJ, [sm1982[nm).
 Cz. sop. Studied Brno. ~Opera d;Aaebut as Elsa in[cf2] Lohengrin[cf1] at Olm;Au
utz, [sm1910[nm. ~Engaged [sm1912[nm for Vienna Volksoper. Created role ~of Aria
dne in Strauss's[cf2] Ariadne auf Naxos[cf1], Stuttgart ~[sm1912[nm. Member, Vie
nna Court (State) Opera [sm1913[nm=n~[sm32[nm, [sm1949[nm=n[sm52
[nm, creating roles of Marietta in ~Korngold's[cf2] Die tote Stadt[cf1] and the
Empress in ~[PN365,0,0,R,I0]Strauss's[cf2] Die Frau ohne Schatten[cf1]. NY Met.
[sm1921[nm=n~[sm32[nm, where she was first Amer. Jen;Anufa, Turandot, ~and Helen
 (in Strauss's[cf2] Die ;Auagyptische Helena[cf1]). Sang ~at CG [sm1925[nm=n[sm6
[nm (d;Aaebut as Tosca). Of striking ~personal beauty and acting ability.[cm~Jer
usalem.[fy75,1] ([sm1[nm) Setting for unison ch. by C. H. ~[fy45,1]*[fy75,1]Parr
y of Blake's poem. Comp. and f.p. [sm1916[nm. ~Orch. by Elgar for Leeds Fest. [s
m1922[nm.[ep~^([sm2[nm) Oratorio by H.|H. Pierson, Norwich Fest. ~[sm1852[nm.[cm
~J;aaerusalem.[fy75,1] Fr. version by Verdi, [sm1847[nm, of his ~opera[cf2] I [f
y45,1]*[fy75,2]Lombardi alla prima crociata[cf1] ([sm1842[nm), made ~for Paris w
ith lib. re-fashioned by Va;Auez and ~Royer. Contains some new mus.[cm~Jerusalem
, Siegfried [fy75,1]([cf2]b [cf1]Oberhausen, [sm1940[nm). Ger. ~tenor. Began car
eer as bassoonist in various Ger. ~orchs. Opera d;aaebut Stuttga
rt [sm1975[nm. Regular ~appearances in Vienna, Hamburg, and Bayreuth ~since [sm1
977[nm in Wagnerian roles of Lohengrin, ~Siegmund, Parsifal, and Walther.[cm~Jes
u, Joy of Man's Desiring.[fy75,1] Eng. name for ~chorale [cf2]Jesu, bleibet mein
e Freude [cf1]in J. S. Bach's ~church cantata No.|[sm147[nm,[cf2] Herz und Mund
und Tat ~und Leben[cf1], orig. orch. for tpt., ob., str., and org. ~but best kno
wn in pf. transcr. by Myra [fy45,1]*[fy75,1]Hess of ~choral arr. by Hugh P. Alle
n with poem by ~Robert Bridges. Chorale melody is [cf2]Werde Munter[cf1] ~by Joh
ann Schop, [sm1641[nm.[cm~Jeu[fy75,1] (Fr.; plural[cf2] Jeux[cf1]). ([sm1[nm) Ga
me, play, etc.[ep~^([sm2[nm) Stop (org.), e.g.[cf2] Jeux d'anche[cf1], Reed Stop
s;[cf2] Jeux ~de fonds[cf1], Foundation Stops (see[cf2] Fonds d'Orgue[cf1]);[cf2
] ~Grand jeu[cf1] or[cf2] Plein jeu[cf1], Full Org.[cm~Jeu de cartes[fy75,1] (Ca
rd Game). Ballet `in [sm3[nm deals' with ~lib. and mus. by Stravinsky, comp. [sm
1936[nm, choreog. ~Balanchine, prod. NY Met. [sm1937[nm. Also or
ch. suite.[xm[cm~[ol0][ep~[xp[te~












[do11][j99]~~~~~~[sm153842[nm_J[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmJ[sm003[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm27[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm80[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~[ap~[j1]Jeu de clochet
tes[fy75,1] (Fr.). Play of little bells, i.e. ~[fy45,1]*[fy75,1]Glockenspiel.[cm
~Jeune, Claude le[fy75,1] ([cf2]b[cf1] Valenciennes,[cf2] c[cf1].[sm1530[nm; [cf
2]d [cf1]Paris [sm1600[nm). ~Fr. composer of psalm-settings and many secular ~[c
f2]chansons [cf1]and instr. pieces.[cm~Jeune France, La[fy75,1] (Fr.). Young Fra
nce. Group of ~Fr. composers formed in Paris in [sm1936[nm to re-~establish then
 unfashionable idea of `a personal ~message' in comp. Members were [fy45,1]*[fy7
5,1]Baudrier, ~[fy45,1]*[fy75,1]Jolivet, [fy45,1]*[fy75,1]Lesur, and [fy45,1]*[f
y75,1]Messiaen.[cm~Jeunesse d'Hercule, La[fy75,1] (The Youth of Hercules). ~Symp
honic poem by Saint-Sa;auens, Op.|[sm50[nm, [sm1877[nm.[cm~Jeunesses Musicales[f
y75,1] (Fr.). Musical Youth. Int. ~organization formed in Belg.,
 [sm1946[nm as[cf2] La F;Aaed;Aaera~~tion internationale des jeunesses musicales
[cf1], later with ~over [sm30[nm member-nations. Aim to spread love of ~mus. amo
ng youth of all lands. Arr. congresses ~and exchange-visits.[cm~Jeux[fy75,1] (Ga
mes). Ballet ([cf2]=+=+po;Ageme dans;Aaee[cf1]) by Debussy ~comp. in [sm1912[nm=
n[sm13[nm and f.p. Paris [sm1913[nm by ~Diaghilev's co. with choreog. by Nijinsk
y. The ~scenario, also by Nijinsky, involves a game of ~tennis.[cm~Jeux d'eau[fy
75,1] (Fountains). Work for solo pf. by ~Ravel, comp. [sm1901[nm, f.p. Paris [sm
1902[nm.[cm~Jeux d'enfants[fy75,1] (Children's Games). Suite of [sm12[nm ~pieces
 for pf. duet comp. by Bizet in [sm1871[nm. Nos. ~[sm2[nm, [sm3[nm, [sm6[nm, [sm
11[nm, and [sm12[nm were orch. by Bizet as[cf2] Petite ~Suite d'Orchestre[cf1] a
nd perf. Paris [sm1873[nm. [sm5[nm were orch. ~also by Karg-Elert (nos. [sm6[nm,
 [sm3[nm, [sm4[nm, [sm11[nm and [sm12[nm in order ~of perf.) and nos. [sm6[nm, [
sm3[nm, [sm2[nm, [sm11[nm and [sm12[nm were arr. by ~H. Finck.[c
m~Jewels of the Madonna, The[fy75,1] (Wolf-Ferrari). See[cf2] ~Gioielli della Ma
donna, I.[cm~Jewess, The[fy75,1] (Hal;Aaevy). See[cf2] Juive, La.[cm~Jewish Musi
c.[fy75,1] It is apparent from the Old ~Testament and from archaeological discov
eries ~that instr. and vocal mus. has always played a part ~in Jewish life, both
 on sacred and secular occasions. ~After the destruction of the Second Temple, i
nstr. ~mus. was banned as a token of mourning, but the ~[fy45,1]*[fy75,1]shofar
was retained as the ritual horn and ~decorative bells were attached to the curta
in ~covering the Ark. Instr. mus was later permitted ~at weddings and festive ev
ents. The oldest element ~of synagogue mus. is still the cantillation of ~biblic
al texts, from which syna[chgogue prayer ~chants derived. These chants were oral
ly trans~~mitted from generation to generation by cantor-~composers. In the midd
le of the [sm19[nmth cent. ~cantorial schools were founded as moves towards ~a p
rinted repertory began. [sm19[nmth-cent. Jewish ~liturgical comp
osers incl. Solomon Sulzer ([sm1804[nm=n~[sm90[nm), Samuel Naumburg ([sm1815[nm=
n[sm80[nm), Hirsch Wein~~traub ([sm1811[nm=n[sm81[nm), and Boruch Schorr ([sm182
3[nm=n[sm1904[nm). ~In the [sm20[nmth cent., liturgical services have been ~comp
. by Paul Ben-Haim, [fy45,1]*[fy75,1]Bloch, [fy45,1]*[fy75,1]Milhaud, and ~[fy45
,1]*[fy75,1]Castelnuovo-Tedesco.[cm~Jew's Harp[fy75,1] (Fr.[cf2] rebube[cf1],[cf
2] guimbarde[cf1]; Ger.[cf2] Trumpel=+[cf1]). ~One of the simplest and most wide
ly distributed ~instr., being found throughout Europe and Asia. ~It consists of
a tiny iron frame, open at one end, ~in which end a single strip of metal vibrat
es. The ~frame is held between the teeth, and the strip ~then twanged by the fin
ger. The strip, in itself, is ~obviously capable of producing only one note, ~bu
t the harmonics of this note become available ~by resonance, through various sha
pings of the ~cavity of the mouth. Thus tunes can be played.[ep~^The origin of t
he name is unknown and seems ~to be unconnected with Jewry. The
name `Jew's ~Trump' was recorded in [sm1545[nm.[cm~Jig.[fy75,1] ([sm1[nm) A danc
e once popular in Eng., Scot., and ~Ireland, in the last of which its popularity
 was of ~longest duration. For its general character and ~music see [cf2]Gigue[c
f1].[ep~^([sm2[nm) In the late [sm16[nmth and [sm17[nmth cents., the term was ~a
pplied to a lively song and dance item, of comic ~character, used to terminate t
heatrical perfs.[ep~[PN366,0,0,L,I0]^([sm3[nm) Title of last movement of an [sm1
8[nmth-cent. orch. ~suite. See [cf2]Gigue[cf1].[cm~J;aailek, Franti;aksek[fy75,1
] ([cf2]b[cf1] Brno, [sm1913[nm). Cz. cond., pianist, ~and composer. Cond. d;Aae
but Nat. Th., Brno, later ~working in Prague, Helsinki, Florence, Leipzig, ~etc.
 Prof. of cond., Jan;Aaa;Akcek Acad. of Mus. Arts. ~Dir. of opera, Brno State Th
. Authority on ~Jan;Aaa;Akcek.[cm~Jingling Johnny[fy75,1] (Fr.[cf2] pavillon chi
nois [cf1]or[cf2] chapeau ~chinois[cf1]). Perc. instr., now obsolete, also known
 as ~`Turkish Crescent' or `Turkish Jingle'. Used in ~military b
ands. It comprised a long stick sur~~mounted by a tent-shaped construction, with
 an ~inverted crescent lower down the stick, small ~bells and the like being sus
pended from both of ~these. Used by Berlioz in his [cf2]Symphonie fun;Agebre et
~triomphale[cf1].[cm~Jir;aaak, Karel [fy75,1](Boleslav) ([cf2]b[cf1] Prague, [sm
1891[nm;[cf2] d[cf1] Chicago, ~[sm1972[nm). Cz. composer and cond. Pupil of Nov;
Aaak in ~Prague and Foerster in Vienna. Cond. at Hamburg ~Opera [sm1915[nm=n[sm1
8[nm, prof. of comp., Prague Cons. ~[sm1920[nm=n[sm30[nm, mus. dir. Cz. radio [s
m1930[nm=n[sm45[nm. Settled in ~USA [sm1948[nm, joining faculty of Chicago Mus.
Coll. ~Comp. opera, [sm6[nm syms., [sm7[nm str. qts., song-cycles, etc.[cm~Joach
im, Joseph[fy75,1] ([cf2]b[cf1] Kitsee, [sm1831[nm;[cf2] d[cf1] Berlin, [sm1907[
nm). ~Hung. violinist and composer. Gave first concert ~at age of [sm7[nm. Studi
ed in Vienna [sm1839[nm=n[sm43[nm under ~Hellmesberger and Boehm. Went to Leipzi
g ~Cons. [sm1843[nm, where he was welcomed by the dir., ~Mendels
sohn, playing at [fy45,1]*[fy75,1]Gewandhaus concerts ~and, in [sm1844[nm, in Lo
ndon. Returned to Leipzig, ~studying with Mendelssohn and David. In [sm1849[nm ~
became leader of Weimar court orch., under ~Liszt, and leader and soloist to the
 King of ~Hanover [sm1853[nm=n[sm66[nm. In [sm1868[nm went to Berlin as head ~of
 the new[cf2] Hochschule f=+=+;Auur aus;Auubende Tonkunst[cf1], ~forming [fy45,1
]*[fy75,1]Joachim Quartet following year. Fre~~quent visitor to England (hon. Mu
s.D., Cam~~bridge, [sm1887[nm). Superb interpreter of classical ~conc., especial
ly that by Beethoven (for which he ~wrote cadenzas). Dedicatee and first player
of ~Brahms's conc., and dedicatee of Dvo;akr;aaak's conc., ~which he refused to
play. Was close friend of ~Brahms until rift when his marriage broke up ~and Bra
hms sided with Frau Joachim (the singer ~Amalie Weiss). This rift was healed by
Brahms's ~Double Conc. Comp. [sm3[nm vn. concs. (incl.[cf2] Hungarian ~Concerto[
cf1]), [sm5[nm ovs., songs, etc. Orchestrated[fj~Schubert's[cf2]
 Grand Duo[cf1] ([sm1855[nm).[cm~Joachim Quartet. [fy75,1]Str. qt. founded in Be
rlin in ~[sm1869[nm by Joseph [fy45,1]*[fy75,1]Joachim, who was [sm1[nmst vn. [s
m1869[nm=n~[sm1907[nm. Other members were: [sm2[nmnd vn., E. Schiever ~[sm1869[n
m=n[sm72[nm, H. de Ahna [sm1872[nm=n[sm92[nm, J. Kruse [sm1892[nm=n[sm7[nm, ~K.
[fy45,1]*[fy75,1]Hali;Akr [sm1897[nm=n[sm1907[nm; va., H. de Ahna [sm1869[nm=n[s
m72[nm, ~E. Rappoldi [sm1872[nm=n[sm7[nm, E. Wirth [sm1877[nm=n[sm1907[nm; vc.,
~W. M;Auuller [sm1869[nm=n[sm79[nm, R. Hausmann [sm1879[nm=n[sm1907[nm. ~Annual
series of concerts in Berlin from [sm1869[nm. ~Visits to Vienna, Budapest, Rome,
 Paris, and ~London ([sm1900[nm). Hali;Akr led the qt. during Joachim's ~illness
 in [sm1907[nm, and formed his own qt. after ~Joachim's death.[cm~Job.[fy75,1] (
[sm1[nm) Masque for dancing in [sm9[nm scenes and ~epilogue by Vaughan Williams,
 founded on ~Blake's [cf2]Illustrations of the Book of Job[cf1]. Comp. [sm1927[n
m=n~[sm30[nm. F.p. (concert) Norwich [sm1930[nm, (ballet) London
 ~[sm1931[nm.[ep~^([sm2[nm) Oratorio by Parry, f.p. Gloucester [sm1892[nm.[ep~^(
[sm3[nm) Opera ([cf2]sacra rappresentazione[cf1]) in [sm1[nm act by ~Dallapiccol
a, text by composer from[cf2] Book of Job[cf1], ~comp. [sm1950[nm, f.p. Rome [sm
1950[nm.[cm~Jochum, Eugen[fy75,1] ([cf2]b[cf1] Babenhausen, [sm1902[nm). Ger. ~c
ond. Studied Augsburg and Munich Acad. Opera ~coach at Munich [sm1924[nm=n[sm5[n
m, Kiel [sm1926[nm=n[sm7[nm. Cond. ~Kiel opera [sm1927[nm=n[sm9[nm. Chief cond.,
 Duisburg [sm1930[nm. ~Cond. for Berlin radio and State Opera [sm1932[nm=n[sm4[n
m. ~Mus. dir. Hamburg State Opera [sm1934[nm=n[sm45[nm, Ham~~burg P.O. [sm1934[n
m=n[sm49[nm. Founder and chief cond. ~Bavarian Radio Sym. Orch. [sm1949[nm=n[sm6
1[nm. Joint chief ~cond. Concertgebouw Orch., Amsterdam, [sm1961[nm=n~[sm4[nm, t
hen chief cond. Bamberg S.O. [sm1969[nm=n[sm78[nm. ~Regular visitor to Eng. as c
ond. of LPO. Cond. ~laureate LSO [sm1975[nm.[cm~Jodelling[fy75,1] (Yodelling; fr
om Ger.[cf2] Jodel=+[cf1]). A type of ~vocal expression common i
n Switzerland and the ~Tyrol, which employs an alternation of normal ~v. product
ion with falsetto in simple rhythmic ~tunes.[cm~Johannesburg Festival Overture.[
fy75,1] Ov. by [fy45,1]*[fy75,1]Wal~~ton written for [sm70[nmth anniv. of city o
f Johannes~~burg, [sm1956[nm. F.p. Johannesburg, cond. Sargent, ~[sm1956[nm.[cm~
Johannesen, Grant[fy75,1] ([cf2]b[cf1] Salt Lake City, [sm1921[nm). ~Amer. piani
st. Studied with Petri and Casadesus. ~D;aaebut with NY P.O., [sm1944[nm. Severa
l tours of ~Europe and USSR. Dir., Cleveland Institute of ~Mus.[cm~Johansson, Be
ngt [fy75,1](Viktor) ([cf2]b[cf1] Helsinki, [sm1914[nm). ~Finnish composer and c
ond. Studied Sibelius ~Acad., Helsinki; mus. supervisor Finnish Radio ~from [sm1
952[nm, d;aaebut as cond. [sm1952[nm. Lecturer in mus. ~history, Sibelius Acad.
since [sm1960[nm. Comps. incl. ~opera[cf2] The Castle[cf1],[cf2] Requiem[cf1] ([
sm1962[nm),[cf2] [sm3[nm Electronic ~;aaEtudes[cf1],[cf2] [sm3[nm Classic Madrig
als[cf1] ([sm1967[nm),[cf2] Cantata humana[cf1] ~([sm1969[nm).[c
m~John [fy75,1](=+=+=+Jo;atao) [fy65][cf3]IV, King of Portugal[fy75,1] ([cf2]b[c
f1] Villa-Vi;Alcosa, ~[sm1603[nm; [cf2]d[cf1] Lisbon, [sm1656[nm). Patron of mus
. and ~composer of church mus. such as well-known[cf2] ~Crux fidelis[cf1]. Wrote
 defence of `modern music' ~[sm1649[nm.[cm~Johnny strikes up[fy75,1] (K;Akrenek)
. See[cf2] Jonny spielt auf[cf1].[cm~John of Fornsete[fy75,1] ([cf2]b[cf1] Fornc
ett, Norfolk; [cf2]d [cf1][sm1238[nm or ~[sm9[nm). Eng. monk at Reading Abbey wh
ere he kept ~the records and hence is credited as being ~composer of [fy45,1]*[f
y75,2]Sumer is icumen in[cf1].[cm~Johnson, Edward[fy75,1] ([cf2]=+=+=+=+fl. [cf1
][sm1570=n1602[nm). Eng. com~~poser of madrigals, virginals pieces ([sm3[nm in [
fy45,1]*[fy75,2]Fitzwil~~liam Virginal Book[cf1]) and psalm-tunes. Contrib. [sm6
[nm-~part madrigal[cf2] Come, blessed byrd,[cf1] to[cf2] The [fy45,1]*[fy75,2]Tr
iumphs ~of Oriana[cf1].[cm~[PN367,0,0,R,I0]Johnson, Edward[fy75,1] ([cf2]b[cf1]
Guelph, Ontario, [sm1878[nm;[cf2] d[cf1] ~Guelph, [sm1959[nm). C
anadian ten. and opera adminis~~trator. Studied NY, where he made d;Aaebut [sm19
08[nm ~in O. Straus's[cf2] Waltz Dream[cf1]. Studied in Florence ~with Lombardi
for [sm2[nm years. It. d;Aaebut Padua [sm1912[nm ~as Andrea Ch;aaenier. Sang fir
st It. Parsifal at Scala, ~Milan, under Toscanini [sm1914[nm. Prin. ten. roles i
n ~Milan, Rome, Buenos Aires, Rio, and Madrid ~[sm1914[nm=n[sm19[nm. Chicago Ope
ra [sm1919[nm=n[sm21[nm, NY Met. ~[sm1922[nm=n[sm34[nm. First Met. Pell;Aaeas, [
sm1925[nm. Gen. man. NY ~Met. [sm1935[nm=n[sm50[nm.[cm~Johnson, Graham[fy75,1] (
[cf2]b[cf1] Bulawayo, [sm1950[nm). Rhode~~sian-born Eng. pianist. Studied RAM [s
m1967[nm=n[sm72[nm, ~and later with G. Parsons. D;aaebut, London [sm1972[nm. ~Ar
t. dir. [fy45,1]*[fy75,1]Songmakers' Almanac from [sm1976[nm. ~Accomp. to Schwar
zkopf, de los Angeles, Baker, ~etc.[cm~Johnson, Hunter[fy75,1] ([cf2]b[cf1] Bens
on, N. Carolina, [sm1906[nm). ~Amer. composer. Studied Univ. of N. Carolina, ~[s
m1924[nm=n[sm6[nm, Eastman Sch. of Mus. [sm1927[nm=n[sm9[nm. Hea
d of ~comp. dept., Michigan Univ. [sm1929[nm=n[sm33[nm. Won ~Amer.[cf2] Prix de
Rome[cf1] [sm1933[nm, going to Europe for [sm2[nm ~years' study. Teacher at Mani
toba Univ. [sm1944[nm=n[sm7[nm, ~Cornell Univ. [sm1948[nm=n[sm53[nm. Illinois Un
iv. [sm1959[nm=n[sm65[nm, ~Texas Univ. [sm1966[nm=n[sm71[nm. Comps. incl. sym. (
[sm1932[nm), ~pf. conc. ([sm1936[nm),[cf2] Concerto for Orchestra[cf1] ([sm1944[
nm), ~ballet[cf2] Letter to the World[cf1] ([sm1940[nm, suite for chamber ~orch.
, [sm1952[nm, for full orch. [sm1959[nm), and[cf2] Deaths and ~Entrances[cf1] ([
sm1943[nm), chamber mus., etc.[cm~Johnson, John[fy75,1] ([cf2]b c[cf1].[sm1540[n
m;[cf2] d c[cf1].[sm1595[nm). Eng. com~~poser and lutenist at court of Elizabeth
|I from ~[sm1579[nm. Developed lute duet. Earliest of major ~lutenists of period
.[cm~Johnson, Robert[fy75,1] ([cf2]b[cf1] London,[cf2] c[cf1].[sm1583[nm; [cf2]d
 [cf1]London, ~[sm1633[nm). Eng. composer and lutenist. Appointed as ~one of Kin
g's Musicians [sm1604[nm. Composed instr. ~pieces, catches, and
songs. His settings of[cf2] Full ~Fathom Five[cf1] and[cf2] Where the Bee Sucks[
cf1] from ~Shakespeare's[cf2] The Tempest[cf1] are thought to have ~been comp. f
or the orig. production.[cm~Johnson, Robert Sherlaw[fy75,1] ([cf2]b[cf1] Sunderl
and, [sm1932[nm). ~Eng. composer and pianist. Studied Durham ~Univ. [sm1950[nm=n
[sm3[nm, RAM [sm1953[nm=n[sm7[nm, and in Paris [sm1957[nm=n~[sm8[nm with Boulang
er (comp.) and F;Aaevrier (pf.). ~Lecturer, Leeds Univ., [sm1961[nm=n[sm5[nm, Yo
rk Univ., [sm1965[nm=n~[sm70[nm. Lecturer, Oxford Univ. from [sm1970[nm. Special
ist ~in mus. of [fy45,1]*[fy75,1]Messiaen and author of book on him. ~Works incl
. opera[cf2] The [fy45,1]*[fy75,2]Lambton Worm[cf1] ([sm1978[nm);[cf2] ~Songs of
 Love and Springtime[cf1], sop. and pf.;[cf2] Carmen ~Vernalia[cf1], sop. and ch
amber orch. ([sm1972[nm);[cf2] Praises ~of Heaven and Earth[cf1], sop., pf., and
 tape ([sm1969[nm);[cf2] ~Green Whispers of Gold[cf1], sop., pf., and tape ([sm1
971[nm);[cf2] ~Festival Mass of the Resurrection[cf1], ch. and o
rch.;[cf2] The ~Resurrection of F;afeng-Huang[cf1], sop., unacc. ch. ([sm1968[nm
);[cf2] ~Where the Wild Things Are[cf1], sop. and tape;[cf2] Triptych[cf1], ~for
 fl., cl., va., vc., pf., and perc. ([sm1973[nm); [sm3[nm pf. ~sonatas ([sm1963[
nm, [sm1967[nm, [sm1976[nm); [sm2[nm str. qts., cl. quintet ~([sm1974[nm);[cf2]
[sm7[nm Short Piano Pieces[cf1] ([sm1968[nm);[cf2] Asterogenesis[cf1] ~for pf. (
[sm1973[nm); [cf2]Anglorum Feriae[cf1], sop., ten., ch., ~orch. ([sm1977[nm).[cm
~Johnston, Benjamin[fy75,1] ([cf2]b[cf1] Macon, Georgia, [sm1926[nm). ~Amer. com
poser. Studied Cincinnati Cons., Univ. ~of Calif., Mills Coll., Univ. of Illinoi
s, and ~Columbia-Princeton Elec. Mus. Center. Pupil of ~John Cage [sm1959[nm=n[s
m60[nm. Comps., which use micro~~tones, serialism and indeterminacy, incl. [sm4[
nm str. ~qts., dance-opera, sonata for microtonal pf., and[cf2] [sm2[nm ~Oboes a
nd [sm2[nm Tablas and [sm2[nm Banyas[cf1], using [sm142[nm=ntone ~[fy45,1]*[fy75
,1]just-intonation scale.[cm~Johnstone, Maurice[fy75,1] ([cf2]b[
cf1] Manchester, [sm1900[nm; [cf2]d[cf1] ~Harpenden, [sm1976[nm). Eng. composer,
 cond., and ~administrator. Studied RMCM and RCM. Secre~~tary to Beecham [sm1932
[nm=n[sm5[nm, mus. staff BBC in ~London and Manchester [sm1935[nm=n[sm60[nm (hea
d of mus. ~programmes [sm1953[nm=n[sm60[nm). Works incl.[cf2] Tarn Hows[cf1] ~fo
r orch. ([sm1949[nm),[cf2] The Oak and the Ash[cf1], orch. ([sm1953[nm),[cf2] ~D
over Beach [cf1]for bar. and orch. ([sm1943[nm), mus. for ~brass band.[cm~Jolie
Fille de Perth, La[fy75,1] (The Fair Maid of Perth). ~Opera in [sm4[nm acts by B
izet to lib. by St Georges and ~Adenis, based on Scott's novel ([sm1823[nm). Com
p. ~[sm1866[nm. Prod. Paris [sm1867[nm, Manchester and London ~[sm1917[nm.[cm~Jo
livet, Andr;aae[fy75,1] ([cf2]b[cf1] Paris, [sm1905[nm;[cf2] d[cf1] Paris, [sm19
74[nm). Fr. ~composer. Studied harmony at Paris Univ. with ~Paul Le Flem, [sm192
7[nm=n[sm32[nm, comp. with Var;agese [sm1928[nm=n~[sm30[nm. One of founders of [
fy45,1]*[fy75,2]Jeune France[cf1] group [sm1936[nm. ~Cond. and l
ater mus. dir. Com;aaedie-Fran;Alcaise ~[sm1943[nm=n[sm59[nm, prof. of comp., Pa
ris Cons. [sm1965[nm=n[sm70[nm. ~Interested in and influenced by oriental mus. a
nd ~unusual instr. sonorities. Prin. works:[xm[cm~[j2][smorch[nm: Syms., No.|[sm
1[nm ([sm1953[nm), No.|[sm2[nm ([sm1959[nm), No.|[sm3[nm ~([sm1964[nm), [fy75,2]
[sm5[nm Danses rituelles[cf1] ([sm1939[nm),[cf2] Symphonie des ~danses[cf1] ([sm
1940[nm),[cf2] Guignol et Pandore[cf1] ([sm1943[nm), Conc. ~for Ondes Martenot (
[sm1947[nm), concertino for tpt., ~str., pf. ([sm1948[nm), fl. conc. ([sm1949[nm
), pf. conc. ([sm1950[nm), ~harp conc. ([sm1952[nm), bn. conc. ([sm1954[nm), tpt
. conc. ~No.|[sm2[nm ([sm1954[nm), [cf2]Suite transoc;Aaeane[cf1] ([sm1955[nm),[
cf2] [sm3[nm Interludes ~de la v;aaerit;aae de Jeanne[cf1] ([sm1956[nm),[cf2] Su
ite fran;Alcaise[cf1] ([sm1957[nm), ~perc. conc. ([sm1958[nm), [cf2]Les amants m
agnifiques[cf1], varia~~tions on Lully ([sm1960[nm), Sym. for str. ([sm1961[nm),
 vc. ~conc. No.|[sm1[nm ([sm1962[nm), No.|[sm2[nm ([sm1966[nm),[
cf2] Heptade[cf1] for tpt. ~and perc. ([sm1971[nm), vn. conc. ([sm1972[nm).[ep~[
smstage[nm: [cf2]Dolor;ages, ou le miracle de la femme laide[cf1], opera ~([sm19
42[nm); [cf2]Ariadne[cf1], ballet ([sm1964=n5[nm).[ep~[smvoice and orch[nm:[cf2]
 [sm3[nm Chants des hommes[cf1], bar. ([sm1937[nm),[cf2] ~Les Trois Complaintes
du soldat[cf1] ([sm1940[nm),[cf2] Songe ;aga ~nouveau r;afev;aae[cf1], sop. ([sm
1970[nm).[ep~[smchorus[nm: Kyrie ([sm1938[nm),[cf2] La Tentation derni;agere de
~Jeanne d'Arc [cf1]([sm1941[nm), Mass, [cf2]Uxor tua [cf1]([sm1962[nm), [cf2]Le
~Coeur de la mati;agere[cf1] ([sm1965[nm).[ep~[smchamber music[nm: Str. qt. ([sm
1934[nm),[cf2] Pastorales de No;Auel[cf1], ~fl., bn., harp ([sm1943[nm),[cf2] Po
;Agemes intimes[cf1], v. and pf. or ~chamber orch. ([sm1944[nm),[cf2] Chant de L
inos[cf1], fl., vn., va., ~vc., harp ([sm1944[nm),[cf2] Serenade[cf1], wind quin
tet ([sm1945[nm),[cf2] ~Suite rapsodique[cf1], vn. ([sm1965[nm),[cf2] C;Aaer;Aae
monial en hom~~mage ;aga Var;agese[cf1] for [sm6[nm percussionis
ts ([sm1968[nm).[ep~[smpiano[nm:[cf2] Mana[cf1] ([sm1935[nm), Sonata No.|[sm1[nm
 ([sm1945[nm), No.|[sm2[nm ~([sm1957[nm).[ql~Also incidental mus., songs, etc.[c
m~[ol0][ep~[xp[te~










[do11][j99]~~~~~~[sm153842[nm_J[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmJ[sm004[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm28[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm118[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[PN368,0,0,L,I0][ap[
j1]Jommelli, Niccol;ago[fy75,1] ([cf2]b[cf1] Aversa, Naples, [sm1714[nm;[cf2] d[
cf1] ~Naples, [sm1774[nm). It. composer. Studied Naples. ~Comp. first opera [sm1
737[nm. Worked in Rome and ~Bologne [sm1740[nm=n[sm1[nm. Visited Vienna [sm1749[
nm, forming ~friendship with [fy45,1]*[fy75,1]Metastasio, most of whose texts ~h
e subsequently used, several of them more than ~once. Kapellmeister to Duke of W
;auurttemberg, ~Stuttgart, [sm1753[nm=n[sm69[nm, composing [sm17[nm operas. Re~~
turned to Naples [sm1769[nm, but his work no longer ~found favour. Comp. over [s
m80[nm operas and much ~church mus. Anticipated Gluck in use of dramatic ~recit.
 and in abandonment of[cf2] da capo[cf1] arias unless ~they had dramatic point.
Among his operas were:[cf2] ~L'errore amoroso[cf1] ([sm1737[nm),
[cf2] Merope[cf1] ([sm1741[nm),[cf2] Ifigenia in ~Aulide[cf1] ([sm1751[nm),[cf2]
 La clemenza di Tito [cf1]([sm2[nm versions, [sm1753[nm ~and [sm1765[nm), [cf2]I
figenia in Tauride[cf1] ([sm1771[nm).[cm~Jones, Daniel [fy75,1](=+=+=+Jenkyn)[cf
1] ([cf2]b[cf1] Pembroke, [sm1912[nm). ~Welsh composer and cond. Studied RAM and
 in ~Vienna. O.B.E. [sm1968[nm. Works incl. [sm10[nm syms., vn. ~conc., operas[c
f2] The Knife[cf1] and[cf2] Orestes[cf1], oratorio[cf2] St ~Peter[cf1], cantata[
cf2] The Country Beyond the Stars[cf1], ~incidental mus. for [cf2]Under Milk Woo
d[cf1] (Dylan ~Thomas), [sm8[nm str. qts., str. trio, sonata for [sm3[nm ~kettle
drums.[cm~Jones, Geraint [fy75,1](Iwan)[cf1] ([cf2]b[cf1] Porth, [sm1917[nm). We
lsh ~organist, cond., harpsichordist. D;Aaebut Nat. Gal~~lery [sm1940[nm. Founde
r, Geraint Jones Singers and ~Orch. [sm1951[nm. Dir. Lake District Fest. since [
sm1960[nm. ~Dir. Int. Org. Fest., Manchester, [sm1978[nm.[cm~Jones, Gwyneth[fy75
,1] ([cf2]b[cf1] Pontnewynydd, [sm1936[nm). Welsh ~sop. Studied
RCM and at Siena and Z;Auurich. ~Notable Leonore in[cf2] Fidelio[cf1] with WNO,
Oktavian ~in[cf2] Der Rosenkavalier[cf1] at CG. Frequent guest ~appearances at V
ienna Opera since [sm1966[nm, Rome, ~Munich, Milan, San Francisco. Sang Br;auunn
hilde ~in[cf2] Der Ring des Nibelungen[cf1] at centenary Bayreuth ~Fest. [sm1976
[nm. NY d;aaebut [sm1966[nm (concert), Met. [sm1972[nm ~(Sieglinde). C.B.E. [sm1
976[nm.[cm~Jones, Parry[fy75,1] ([cf2]b[cf1] Blaina, Monmouth, [sm1891[nm;[cf2]
d[cf1] ~London, [sm1963[nm). Welsh ten. Studied RCM, Italy, ~and with John Coate
s. Became prin. ten. with ~Beecham and D'Oyly Carte cos. [sm1915[nm=n[sm19[nm. P
rin. ~ten. Carl Rosa Opera [sm1919[nm=n[sm22[nm, BNOC [sm1922[nm=n[sm8[nm, ~then
 CG Eng. (touring) Co. Sang at CG [sm1946[nm=n[sm55[nm. ~Sang in first Eng. conc
ert perfs. (BBC) of[cf2] Wozzeck[cf1] ~([sm1934[nm) and[cf2] Mathis der Maler [c
f1]([sm1939[nm). Notable ~career in oratorio ([cf2]Gerontius[cf1], etc.). O.B.E.
 [sm1962[nm.[cm~Jones, Philip[fy75,1] ([cf2]b[cf1] Bath, [sm1928
[nm). Eng. tpt. player. ~Studied RCM with Ernest Hall. Prin. tpt. in most ~leadi
ng Brit. orchs. incl. CG, RPO ([sm1956[nm=n[sm60[nm), ~Philharmonia ([sm1960[nm=
n[sm4[nm), LPO ([sm1964[nm=n[sm5[nm), New ~Philharmonia ([sm1965[nm=n[sm7[nm) an
d BBC S.O. ([sm1968[nm=n[sm71[nm). ~Founder and dir. Philip Jones Brass Ens. [sm
1951[nm. ~Taught at RNCM, Manchester [sm1973[nm=n[sm6[nm. O.B.E. ~[sm1977[nm.[cm
~Jones, Robert[fy75,1] ([cf2]b c[cf1].[sm1485[nm;[cf2] d c[cf1].[sm1535[nm). Eng
. composer ~and singer. Member of Chapel Royal. Comps. ~incl. songs and church m
us. (Mass and[cf2] Magnificat[cf1]=+).[cm~Jones, Robert[fy75,1] ([cf2]b c[cf1].[
sm1570[nm; [cf2]d c.[cf1][sm1615[nm). Eng. composer ~and lutenist. Wrote [sm5[nm
 sets of `songs and ayres' and ~set of madrigals. Contributed [cf2]Fair Oriana t
o The ~[fy45,1]*[fy75,2]Triumphs of Oriana [cf1]([sm1601[nm).[cm~Jones, Sidney[f
y75,1] ([cf2]b[cf1] London, [sm1861[nm;[cf2] d[cf1] London, [sm1946[nm). ~Eng. c
omposer of operettas, notably[cf2] The Geisha[cf1], ~prod. Londo
n and NY [sm1896[nm. Son of bandmaster. ~Became cond. Prince of Wales Th., Londo
n, for ~which he wrote [cf2]A Gaiety Girl [cf1]([sm1893[nm) and other ~musical c
omedies. Cond. Empire Th. from [sm1905[nm ~to retirement in [sm1916[nm.[cm~Jonge
n, Joseph [fy75,1]([cf2]b[cf1] Li;agege, [sm1873[nm;[cf2] d[cf1] Sart-Lez Spa, ~
[sm1953[nm). Belg. composer and teacher. Studied Li;agege ~Cons. ([cf2]Prix de R
ome [cf1][sm1897[nm). Joined staff, Li;agege ~Cons. [sm1898[nm, becoming prof. o
f harmony [sm1911[nm. ~Prof. of counterpoint Brussels Cons. [sm1920[nm, dir. ~[s
m1925[nm=n[sm39[nm. Comps. incl. sym., vn. conc., vc. conc., ~pf. conc., harp co
nc., [sm3[nm str. qts., opera, cantata, ~etc.[cm~Jongen, L;aaeon[fy75,1] ([cf2]b
[cf1] Li;Agege, [sm1884[nm;[cf2] d[cf1] Li;agege, [sm1969[nm). ~Belg. composer a
nd pianist, brother of Joseph. ~Studied Li;agege Cons. ([cf2]Prix de Rome [cf1][
sm1913[nm). Suc~~ceeded brother as dir., Brussels Cons. [sm1939[nm. Comp. ~opera
s, cantatas, [cf2]Rhapsodia Belgica[cf1] for vn. and ~orch., vn.
 conc., and film mus.[cm~Jongleur[fy75,1] (Fr., `juggler'=+). Medieval Fr. mus.
~entertainer or wandering minstrel who sang, ~played an instr., and was juggler
and acrobat. See ~[cf2]Meistersinger[cf1], [cf2]M;aaenestrel[cf1], and [cf2]Minn
esinger[cf1].[cm~Jongleur de Notre Dame, Le[fy75,1] (Our Lady's ~Juggler). ([sm1
[nm) Opera in [sm3[nm acts by Massenet to lib. by ~M. L;Aaena from Anatole Franc
e's story[cf2] L';AaEtui de ~Nacre[cf1] ([sm1892[nm), this being based on mediev
al ~miracle play. Prod. Monte Carlo [sm1902[nm, London ~[sm1906[nm, NY [sm1908[n
m.[ep~^([sm2[nm) Masque by [fy45,1]*[fy75,1]Maxwell Davies for mime, bar., ~cham
ber ens., and children's band, f.p. St Magnus ~Fest., Orkney, [sm1978[nm.[cm~Jon
ny spielt auf[fy75,1] (Johnny strikes up). Opera in [sm2[nm ~parts ([sm11[nm sce
nes) by [fy45,1]*[fy75,1]K;Akrenek, Op.|[sm45[nm, to his own ~lib. Comp. [sm1925
=n6[nm. Prod. Leipzig [sm1927[nm, NY Met. ~[sm1929[nm, Leeds [sm1984[nm. First o
pera to use jazz, Johnny ~being a Negro jazz player.[cm~Joplin,
Scott[fy75,1] ([cf2]b[cf1] Texarkana, Texas, [sm1868[nm;[cf2] d[cf1] NY, ~[sm191
7[nm). Black Amer. composer and ragtime pianist. ~Played pf. in brothels of St L
ouis and Chicago ~before settling in NY in [sm1907[nm. Pf. rags incl.[cf2] Maple
 ~Leaf Rag[cf1],[cf2] The Entertainer[cf1], and[cf2] Wall Street Rag[cf1]. ~Also
 wrote the first ragtime operas,[cf2] A Guest of ~Honor[cf1], to his own lib., a
nd[cf2] Treemonisha[cf1] (pubd. ~[sm1911[nm). The latter received a single perf.
 without ~scenery in [sm1915[nm and its failure contributed largely ~to the comp
oser's death. Revival of popular ~enthusiasm for Joplin's mus. in mid-[sm1970[nm
s due ~largely to efforts of Amer. pianist and musicologist ~Joshua Rifkin.[cm~J
ord;aaa, Enrique[fy75,1] ([cf2]b[cf1] San Sebastian, [sm1911[nm). Amer. ~cond. o
f Sp. birth. Studied Madrid Univ. and in ~Paris with Paul Le Flem and M. Dupr;Aa
e. D;Aaebut ~Paris [sm1938[nm. Cond. Madrid S.O. [sm1940[nm=n[sm5[nm, Cape ~[PN3
69,0,0,R,I0]Town S.O. [sm1948[nm=n[sm54[nm, San Francisco S.O. [
sm1954[nm=n[sm63[nm, ~Antwerp P.O. from [sm1970[nm.[cm~Joseph.[fy75,1] ([sm1[nm)
 Oratorio by Handel (=+=+[cf2]Joseph and His ~Brethren[cf1]) perf. London [sm174
4[nm.[ep~^([sm2[nm) [sm3[nm-act opera by [fy45,1]*[fy75,1]M;Aaehul, to lib. by D
uval. ~Prod. Paris [sm1807[nm, Philadelphia [sm1828[nm, London ~(concert) [sm184
1[nm, CG (rev. Weingartner) [sm1914[nm.[ep~^([sm3[nm) Oratorio by Macfarren, [sm
1877[nm Leeds Fest.[cm~Joseph I, Emperor of Austria[fy75,1] ([cf2]b[cf1] Vienna,
 [sm1678[nm;[cf2] ~d[cf1] Vienna, [sm1711[nm). Patron of mus. and composer of ~v
ocal and instr. items.[cm~Josephs, Wilfred[fy75,1] ([cf2]b[cf1] Newcastle upon T
yne, [sm1927[nm). ~Eng. composer. Studied dentistry at Newcastle ~Univ. and mus.
 with Arthur Milner. At GSM ~[sm1954[nm=n[sm7[nm, Paris (with Max Deutsch) [sm19
58[nm. Won [sm1[nmst ~Milan int. comp. competition in [sm1963[nm with[cf2] ~Requ
iem[cf1]. Prolific composer of mus. for TV and ~films. Works incl.:[xm[cm~[j2][s
morch[nm: [sm9[nm syms.; [sm2[nm pf. concs.; vn. conc.; conc. fo
r [sm2[nm ~vn.; vc. conc.; ob. conc.;[fy75,2] Aeolian Dances[cf1];[cf2] Monk-[fj
~chester Dances[cf1];[cf2] Canzonas on a Theme of Rameau[cf1] ~(str.);[cf2] Vari
ations on a Theme of Beethoven[cf1];[cf2] Polemic[cf1] ~(str.);[cf2] Saratoga Co
ncerto[cf1]; ov.[cf2] The [sm4[nm Horsemen of the ~Apocalypse[cf1]; comedy ov.[c
f2] The Ants[cf1];[cf2] Elegy for ~Strings[cf1];[cf2] Concerto a Dodici[cf1], wi
nd ens.;[cf2] Meditatio de ~Beornmundo[cf1], va. and small orch.; conc. da camer
a, ~vn., hpd., str.; conc. for [sm4[nm pf. and perc. ([sm1979[nm); ~va. conc. ([
sm1983[nm).[ep~[smchoral and vocal[nm:[cf2] Requiem[cf1];[cf2] Mortales[cf1], so
loists, ~ch., and orch.;[cf2] Nightmusic[cf1], v. and orch.;[cf2] Death of ~a Yo
ung Man[cf1], bar. and pf. or chamber orch.[ep~[smtheatre[nm:[cf2] The Nottingha
m Captain[cf1] (mus. th.);[cf2] The ~Appointment[cf1] (TV opera);[cf2] King of t
he Coast[cf1] ~(children's musical); [cf2]Rebecca [cf1](opera, [sm1983[nm).[ep~[
smchamber music[nm: [sm3[nm str. qts.; str. quintet; [sm2[nm vn.
 ~sonatas, pf. quintet, hn. trio, sonata for brass ~quintet, solo vc. sonata, st
r. trio, pf. trio ([sm1978[nm=n~[sm9[nm).[cm~[j1]Josephslegende[fy75,1] (The Leg
end of Joseph). Ballet ~in [sm1[nm act with mus. by R. Strauss to lib. by H. ~Ke
ssler and H. von Hofmannsthal, choreog. ~Fokine. Comp. [sm1913=n4[nm. Prod. Pari
s (Diaghilev) ~and London, [sm1914[nm, with Massine as Joseph. Also ~symphonic f
ragment for orch., [sm1947[nm, f.p. Cincin~~nati [sm1949[nm.[cm~Joshua.[fy75,1]
Oratorio by Handel. Text by Rev. T. ~Morell. F.p. London [sm1748[nm.[cm~Josquin
Des Pr;ages.[fy75,1] See[cf2] Despr;ages, Josquin[cf1].[cm~Jota, La.[fy75,1] A l
ively dance in triple time from N. ~Spain. It is perf. by one or more couples, a
cc. by a ~guitar player who also sings, and castanets.[cm~Joubert, John[fy75,1]
([cf2]b[cf1] Cape Town, [sm1927[nm). S. African ~composer. Studied S. Africa Col
l. of Mus. and ~RAM, London. Lecturer in mus. at Hull Univ. ~and Birmingham Univ
. Comps. incl. syms., pf. ~conc., vn. conc., [cf2]D;Aaeploration
[cf1] ([sm1978[nm), operas [cf2]Silas ~Marner [cf1]([sm1961[nm) and [cf2]Under W
estern Eyes [cf1]([sm1968[nm), ~church mus., [cf2]The Magus[cf1], soloists, ch.,
 orch. ([sm1976[nm), ~[cf2]Herefordshire Canticles[cf1] ([sm1979[nm), choral wor
ks, etc.[cm~Joyce, Eileen[fy75,1] ([cf2]b[cf1] Zeehan, Tasmania, [sm1912[nm). ~A
ustralian pianist and harpsichordist. At recom~~mendation of Percy Grainger, stu
died Leipzig ~Cons. under Teichmuller and Schnabel. London ~d;Aaebut Prom. conce
rt under Sir Henry Wood. ~Soloist with all leading orchs. C.M.G. [sm1981[nm.[cm~
Jubilate. [fy75,1]Psalm [sm100[nm in Authorized Version of ~Bible (Ps. [sm99[nm
in Latin Psalter). Used in Anglican ~service as alternative to Benedictus. Has b
een set ~to mus. by many composers, incl. G. Gabrieli, ~Purcell, and Britten.[cm
~Judas Maccabaeus.[fy75,1] Oratorio by Handel to text ~by Rev. T. Morell based o
n biblical incidents. ~Comp. in summer of [sm1746[nm on commission from ~Frederi
ck, Prince of Wales, to celebrate Eng. ~victory over Young Prete
nder at Culloden and ~return of victorious general, Duke of Cumber~~land, to Lon
don. (Part [sm3[nm contains ch.[cf2] See the ~Conquering Hero Comes[cf1].) Prod.
 London [sm1747[nm.[cm~Judd, Terence[fy75,1] ([cf2]b[cf1] London, [sm1957[nm; [c
f2]d[cf1] Beachy Head, ~[sm1979[nm). Eng. pianist. Studied RCM. Won Nat. ~Junior
 Pf. Competition [sm1967[nm. [sm1[nmst prize Brit. Liszt ~Pf. Competition [sm197
6[nm. [sm4[nmth place Tchaikovsky ~Competition, Moscow, [sm1978[nm.[cm~Judenk;au
unig, Hans[fy75,1] ([cf2]b [cf1]Schw;auabisch Gm;auund, ~[cf2]c[cf1].[sm1450[nm;
 [cf2]d[cf1] Vienna, [sm1526[nm). Austrian composer and ~lutenist. Wrote [sm2[nm
 lute-books, with mus. in Ger. ~tablature, which were manuals of self-instructio
n.[cm~Judith.[fy75,1] ([sm1[nm) Oratorio by Parry, f.p. Birmingham ~Fest. [sm188
8[nm.[ep~^([sm2[nm) Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Honegger to lib. b
y R. ~Morax, prod. Monte Carlo [sm1926[nm.[ep~^([sm3[nm) Opera in [sm1[nm act by
 E. Goossens to lib. by ~Arnold Bennett, prod. London and Philad
elphia ~[sm1929[nm.[ep~^([sm4[nm) Oratorio by Thomas Arne, words by Bicker~~staf
fe, f.p. London [sm1761[nm.[cm~Juditha Triumphans[fy75,1] (Judith triumphant). O
ra~~torio (RV[sm644[nm) by Vivaldi to lib. by Cassetti, f.p. ~Venice [sm1716[nm,
 f. stage ps. Schwetzingen [sm1981[nm, ~London [sm1984[nm.[cm~Juilliard Quartet.
 [fy75,1]Amer. str. qt. founded in [sm1946[nm ~by William Schuman when pres. of
Juilliard Sch. ~of Mus., NY. Specializes in contemporary mus., ~but has also rec
orded and given several cycles of ~all the Beethoven qts. Membership has altered
 ~more than once except for the [sm1[nmst vn. Robert ~Mann ([cf2]b [cf1]Portland
, Oregon, [sm1920[nm).[cm~Juilliard School.[fy75,1] Amer. mus. coll. est. in NY
in ~[sm1905[nm as Inst. of Mus. Art. In [sm1923[nm reorganized ~under foundation
 incorporated [sm1920[nm under will ~of Augustus D. Juilliard, NY cotton merchan
t, ~who left around [sm20[nm million dollars for the ~development of Amer. mus.
The composer ~William Schuman was pres. [sm1945[nm=n[sm62[nm, wh
en he ~was succeeded by Peter Mennin. In Nov. [sm1969[nm ~[PN370,0,0,L,I0]the Sc
h. moved to its own building as a constituent ~part of the Lincoln Center for th
e Performing ~Arts. This building has [sm4[nm auditoria, incl. opera th. ~Name c
hanged from Juilliard School of Mus. to ~Juilliard Sch. because of est. of dance
 dept. in ~[sm1952[nm and drama division in [sm1968[nm.[cm~Juive, La[fy75,1] (Th
e Jewess). Opera in [sm5[nm acts by Hal;Aaevy ~to lib. by Scribe. Prod. Paris [s
m1835[nm, New Orl;Aaeans ~[sm1844[nm, NY [sm1845[nm, London [sm1846[nm.[cm~Juke
boxes.[fy75,1] Automatic coin-operated machines ~for playing gramophone records,
 orig. installed ~in Amer. inns, etc., and common in Britain in ~the last few de
cades. (Name derived from `jouke'; ~local inns in southern states of USA being c
alled ~`jouke joints', perhaps from Old Eng.[cf2] Jowken[cf1], to ~rest or sleep
).[cm~Julien.[fy75,1] Opera in prol. and [sm4[nm acts by Charpentier ~to his own
 lib. Sequel to [fy45,1]*[fy75,2]Louise[cf1]. Prod. Paris [sm191
3[nm, ~NY [sm1914[nm.[cm~Julietta, or The Key of Dreams.[fy75,1] Opera in [sm3[n
m acts ~by Martin;Anu to his own lib. based on the novel[cf2] La ~Cl;aae des son
ges[cf1] ([sm1930[nm) by Georges Neveux. Comp. ~[sm1936=n7[nm. Prod. Prague [sm1
938[nm, London [sm1978[nm.[cm~Julius Caesar[fy75,1] (Handel). See[cf2] Giulio Ce
sare[cf1].[cm~Jullien[fy75,1] (=+=+=+Julien),[fy65][cf3] Louis [fy75,1](Georges
Maurice Adolph ~Roch Albert Abel Antonio Alexandre No;Aae Jean ~Lucien Daniel Eu
g;Agene Joseph-le-brun Joseph-~Bar;ageme Thomas Thomas Thomas-Thomas Pierre ~Arb
on Pierre-Maurel Barth;aaelemi Artus Alphonse ~Bertrand Dieudonn;Aae Emanuel Jos
u;aae Vincent Luc ~Michel Jules-de-la-Plane Jules-Bazin Julio C;aaesar)[cf1] ~([
cf2]b[cf1] Sisteron, [sm1812[nm;[cf2] d[cf1] Paris, [sm1860[nm). Fr. cond., ~com
poser, and impresario. Sponsored at his ~baptism by [sm35[nm members of local Ph
il. Soc., each ~of whom contrib. a name. Studied Paris Cons. ~under Hal;Aaevy. E
arly ventures led to insolvency; ~fled to London where he promot
ed opera and ~promenade concerts [sm1838[nm=n[sm59[nm with his own orch. ~which
he cond. in highly flamboyant style. ~Employed what today would be called `publi
city ~gimmicks'. Comp. an opera[cf2] Pietro il Grande[cf1] (CG ~[sm1852[nm). Tou
red USA [sm1853[nm=n[sm4[nm. Lost all his mus. in ~CG fire [sm1856[nm, investmen
ts failed [sm1857[nm. Returned ~to Paris [sm1859[nm, was arrested for debt, rele
ased, and ~then put in asylum where he died. Pioneer in use ~of the baton. Notwi
thstanding his indulging in ~such showmanship as being handed a jewelled ~baton
on a silver salver, he had the best players in ~London in his orch. and was a se
rious figure in ~the popularization of mus.[cm~Jumping Frog of Calaveras County,
 The.[fy75,1] Opera ~in [sm1[nm act by Lukas [fy45,1]*[fy75,1]Foss to lib. by J.
 Karsavina ~after story by Mark Twain. Prod. Bloomington, ~Ind., [sm1950[nm.[cm~
June, Ava [fy75,1]([cf2]b [cf1]London, [sm1931[nm). Eng. soprano. ~Member of SW
chorus [sm1953[nm, becoming prin. sop. ~[sm1957[nm. CG d;aaebut
[sm1958[nm (in Verdi's [cf2]Don Carlos[cf1]). Has ~sung with WNO and in San Fran
cisco (her Amer. ~d;aaebut, as Ellen Orford in [cf2]Peter Grimes[cf1]), but has
~sung mainly with ENO, roles incl. Marschallin, ~Gloriana, Sieglinde, the [cf2]F
igaro [cf1]Countess, Violetta, ~Tatyana, Butterfly, and Ka;akt;aaa Kabanov;aaa.[
cm~Jung, Manfred [fy75,1]([cf2]b [cf1]Oberhausen, [sm1945[nm). Ger. tenor. ~Bayr
euth ch. [sm1970[nm=n[sm3[nm, d;aaebut as soloist Dortmund ~[sm1974[nm. Member D
;auusseldorf Opera from [sm1977[nm. ~Sang Siegfried in [cf2]G;auotterd;auammerun
g[cf1], Bayreuth ~[sm1978[nm; also in TV version of Ch;aaereau's prod. of [cf2]T
he ~Ring. [cf1]Sang Tristan and Parsifal, Salzburg Easter ~Fest. [sm1980[nm. Ret
urned to Bayreuth [sm1983[nm as Siegfried ~in Solti-Hall [cf2]Ring.[cf1][cm~Jung
e Lord, Der[fy75,1] (The Young Lord). Comic opera ~in [sm2[nm acts by Henze to l
ib. by I. Bachmann after ~fable[cf2] Der Scheik von Alexandria und seine Sklaven
[cf1] ~([sm1827[nm) by W. Hauff. Comp. [sm1964[nm. Prod. Berlin
~[sm1965[nm, London [sm1969[nm.[cm~Junge Magd, Die[fy75,1] (The Young Servant).
[sm6[nm songs ~by Hindemith to poems by Trakl, set for alto v., ~fl., cl., and s
tr. qt. His Op.|[sm23[nm No.|[sm2[nm. Comp. [sm1922[nm, ~f.p. Donaueschingen [sm
1922[nm.[cm~Juon, Paul[fy75,1] ([cf2]b[cf1] Moscow, [sm1872[nm;[cf2] d[cf1] Veve
y, [sm1940[nm). ~Ger. composer of Russ. birth. Studied Moscow ~Cons. under Arens
ky and Taneyev. Settled in ~Berlin. Prof. of comp. Berlin Hochschule [sm1906[nm=
n~[sm34[nm. Comp. sym. ([sm1903[nm), chamber sym., [sm3[nm vn. ~concs., triple c
onc., and [sm3[nm str. qts.[cm~`Jupiter' Symphony.[fy75,1] Nickname for Mozart's
 ~Sym. No.|[sm41[nm in C major, K[sm551[nm ([sm1788[nm). Not known ~why or when
name originated, but possibly first ~used in programme of Phil. Soc. of London ~
concert cond. [fy45,1]*[fy75,1]Bishop on [sm26[nm March, [sm1821[nm. ~Mozart's s
on F. X. Mozart said that the nickname ~was coined by the impresario [fy45,1]*[f
y75,1]Salomon.[cm~J;auurgens, J;auurgen [fy75,1]([cf2]b [cf1]Fra
nkfurt am Main, [sm1925[nm). ~Ger. conductor. Studied in Frankfurt and Frei~~bur
g. Dir. of Hamburg Monteverdi Choir [sm1955[nm. ~Joined staff of Hamburg Univ. [
sm1960[nm, becoming ~mus. dir. [sm1966[nm. Editor of works by Monteverdi ~and A.
 Scarlatti. His choir's repertory ranges from ~Ockeghem and Monteverdi to Henze.
[cm~Jurinac, Sena[fy75,1] (Srebrenka) ([cf2]b[cf1] Travnik, Yugoslavia, ~[sm1921
[nm). Austrian sop. of Yugoslav birth. Studied ~Zagreb, d;aaebut there [sm1942[n
m as Mimi in [cf2]La Boh;Ageme[cf1]. ~Member, Vienna State Opera from [sm1945[nm
. London ~d;Aaebut [sm1947[nm with Vienna State Opera. Glynde~~bourne [sm1949[nm
=n[sm56[nm (memorable Composer and ~Oktavian in Strauss's[cf2] Ariadne auf Naxos
[cf1] and[cf2] ~Rosenkavalier[cf1]). San Francisco [sm1959[nm. In latter part ~o
f her career sang Kostelni;akcka in Jan;aaa;akcek's [cf2]Jen;anufa.[cm~Just Into
nation.[fy75,1] System of instr. tuning whereby ~a single scale, usually C, was
determined according ~to ratio of its notes. Those far removed f
rom C ~would be severely out of tune, hence the ~introduction of equal temperame
nt as substitute ~for this `natural' non-tempered scale.[xm[cm~[j4]~[xp[te~











[do31][j99]~~~~~~[sm153842[nm_K[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm001[nm[cm[sm31[nm[cm~[sm1[nm[cm[cm[sm27[nm.[sm9[nm
.[sm79[nm[cm[sm1[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[PN371,0,0,R,I0][ap[j3]~K[cm~~
[j1]K. [fy75,1]Abbreviated prefix given to nos. in ([sm1[nm) [fy45,1]*[fy75,1]K;
auochel ~catalogue of Mozart's works; the letter is followed ~by a numeral, e.g.
 K[sm491[nm (C minor pf. conc.).[ep~^([sm2[nm) [fy45,1]*[fy75,1]Kirkpatrick cata
logue of Domenico Scarlat~~ti's works.[cm~K. Anh. [fy75,1]K;auochel Anhang, the
appendix to K;auochel's ~catalogue of Mozart's works, some of which have ~the su
ffix K. Anh. followed by a number. In the ~main, works of dubious attribution ar
e confined ~to the appendix.[cm~Kabalevsky, Dmitry [fy75,1](Borisovich) ([cf2]b
[cf1]St Peters~~burg, [sm1904[nm). Russ. composer and pianist. Moved ~to Moscow
[sm1918[nm, studying pf. at Skryabin Mus. ~Institute [sm1919[nm=n[sm25[nm. Worke
d as pf. teacher and ~silent-cinema pianist [sm1922[nm=n[sm5[nm.
 Studied Moscow ~Cons. [sm1925[nm=n[sm9[nm (comp. with Catoire and Myaskov~~sky)
. His pf. conc. [sm1929[nm won him fame in Soviet ~Union. In [sm1932[nm, when Un
ion of Soviet Composers ~was formed, he helped to organize Moscow ~branch, there
after holding various administrative ~posts and writing many articles on Soviet
mus. ~and composers. His output in the next [sm5[nm years ~was prolific, incl. [
sm3[nm syms., the [sm3[nmrd of which was a ~requiem for Lenin. Ass. prof. of com
p., Moscow ~Cons. from [sm1932[nm, prof. from [sm1939[nm. During World ~War II h
e wrote numerous patriotic works, ~having joined Communist party in [sm1940[nm.
His ~post-war works reflected the official policy of ~`Socialist realism'. His w
orks comp. specially for ~young musicians are regarded as of particular ~signifi
cance. The West knows his instr. works ~better than his operas and operettas whi
ch are ~perf. in Russia. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]The Crafts
man of Clamecy [cf1](known in West ~as [fy45,1]*[fy75,2]Colas Br
eugnon[cf1]) ([sm1936[nm=n[sm8[nm, rev. [sm1953[nm, [sm1969[nm); ~[cf2]Into the
Fire [cf1]([cf2]Before Moscow[cf1]) ([sm1942[nm); [cf2]The Taras ~Family [cf1](i
ncorporating much of [cf2]Into the Fire[cf1]) ~([sm1947[nm, [sm2[nmnd version [s
m1950[nm, [sm3[nmrd version [sm1967[nm); ~[cf2]Nikita Vershinin [cf1]([sm1954[nm
=n[sm5[nm); [cf2]Spring Sings [cf1]([sm1957[nm); [cf2]In ~the Magic Forest [cf1]
([sm1958[nm); [cf2]The Sisters [cf1]([sm1967[nm).[ep~[smorch and choral[nm: Syms
.: No. [sm1[nm in C;Yi minor ~([sm1932[nm), No. [sm2[nm in C minor ([sm1934[nm),
 No. [sm3[nm in B;Yh ~minor ([cf2]Requiem [cf1]with ch.) ([sm1933[nm), No. [sm4[
nm in C ~minor ([sm1954[nm); [cf2]The Comedians, [cf1]suite ([sm1940[nm); [cf2]S
uite ~for Jazz Orch. [cf1]([sm1940[nm); [cf2]Parade of Youth, [cf1]with ch. ~([s
m1941[nm); [cf2]The Mighty Homeland, [cf1][sm2[nm soloists and ch. ~([sm1941[nm=
n[sm2[nm); [cf2]The People's Avengers, [cf1]suite for ch. and ~orch. ([sm1942[nm
); Suite, [cf2]Romeo and Juliet [cf1]([sm1956[nm); [cf2]Song ~of
 Morning, Spring, and Peace, [cf1]children's ch. ~([sm1957[nm=n[sm8[nm); [cf2]Le
ninists, [cf1][sm3[nm ch. and orch. ([sm1958[nm=n[sm9[nm); ~[cf2]Spring, [cf1]sy
mphonic poem ([sm1960[nm); [cf2]Requiem, [cf1]mez., ~bar., double ch., and orch.
 ([sm1962[nm); [cf2]Of the ~Homeland, [cf1]children's ch. and orch. ([sm1965[nm)
; [cf2]Letter ~to the [sm30[nmth Century[cf1], oratorio ([sm1972[nm).[ep~[smconc
ertos[nm: Pf., No. [sm1[nm in A minor ([sm1928[nm), No. [sm2[nm in ~G minor ([sm
1935[nm), No. [sm3[nm in D major ([sm1952[nm), ~[cf2]Rhapsody [cf1]for pf. and o
rch. ([sm1963[nm); Vn. conc. in ~C major ([sm1948[nm); Vc. conc. No. [sm1[nm in
G minor ~([sm1948[nm=n[sm9[nm), No. [sm2[nm in C major ([sm1964[nm).[ep~[smchamb
er music[nm: Str. Qts. No.[sm1[nm in A minor ([sm1928[nm), ~No. [sm2[nm in G min
or ([sm1945[nm); vc. sonata ([sm1962[nm). [ep~[smpiano[nm: Sonata No.[sm1[nm in
F major ([sm1927[nm), No. [sm2[nm in E;Yh~ major ([sm1945[nm), No. [sm3[nm in F
major ([sm1946[nm); [cf2][sm4[nm Preludes ~[cf1]([sm1927[nm=n[sm
8[nm); [cf2][sm30[nm Children's Pieces [cf1]([sm1938[nm=n[sm9[nm); [cf2][sm24[nm
 ~Preludes [cf1]([sm1943[nm=n[sm4[nm).[ep~[smsongs[nm: [cf2][sm3[nm Poems of A.
Blok [cf1]([sm1927[nm=n[sm8[nm); [cf2][sm8[nm Songs [cf1]for ~children's ch. ([s
m1932[nm); [cf2][sm7[nm Merry Songs [cf1](English ~nursery-rhymes) ([sm1944[nm=n
[sm5[nm); [cf2][sm10[nm Shakespeare Son~~nets [cf1]([sm1953[nm=n[sm5[nm); [cf2][
sm5[nm Romances [cf1]([sm1963[nm=n[sm4[nm).[ep~Also th. and film mus.[cm~[j1]Kab
el;aaa;akc, Miloslav [fy75,1]([cf2]b [cf1]Prague, [sm1908[nm; [cf2]d [cf1]Prague
, ~[sm1979[nm). Cz. composer. Studied Prague Cons. [sm1928[nm=n~[sm34[nm. Cond.
Prague Radio [sm1932[nm=n[sm41[nm, head of mus. ~[sm1945[nm=n[sm57[nm, prof. of
comp. Prague Cons. [sm1958[nm=n[sm62[nm. ~Works incl. [sm8[nm syms. (some with o
rg. and vv.), ~cantatas, chamber mus., org. pieces.[cm~Kaddish. [fy75,1]Jewish m
ourners' prayer. Set by [fy45,1]*[fy75,1]Jo~~sephs in his Requiem and by [fy45,1
]*[fy75,1]Bernstein as [sm3[nmrd ~Sym.[cm~Kadosa, P;aaal [fy75,1
]([cf2]b [cf1]L;aaeva, Hungary (now Czechoslo~~vakia), [sm1903[nm; [cf2]d [cf1]B
udapest, [sm1983[nm). Hung. composer ~and pianist. Studied Budapest Acad. [sm192
1[nm=n[sm7[nm (pf. ~with A. Sz;aaekely, comp. with Kod;aaaly). Taught pf. ~at Fo
dor Cons. [sm1927[nm=n[sm43[nm. Prof. and dean of pf. ~faculty, Budapest Acad. f
rom [sm1945[nm. Works incl. [sm2[nm ~operas, [sm8[nm syms., [sm4[nm pf. sonatas,
 [sm4[nm pf. concs., va. ~conc., conc. for str. qt. and orch., [sm3[nm str. qts.
, etc.[cm~Kaffeecantate [fy75,1](J. S. Bach). See [cf2]Coffee Cantata.[cm~Kagel,
 Mauricio [fy75,1]([cf2]b [cf1]Buenos Aires, [sm1931[nm). Argen~~tinian-born com
poser, cond., and teacher. Studied ~literature and philosophy at Buenos Aires Un
iv., ~mus. privately. Choral coach and cond. at Teatro ~Col;aaon, [sm1955[nm=n[s
m6[nm. Moved to Cologne [sm1957[nm, working ~at elec. studio. Has worked in th.
as composer and ~dir. of his own works since [sm1963[nm. His mus. uses ~tape and
 elec. procedures; also he has demanded ~`screams and yells' fro
m singers and the sound of ~balls thrown on a kettle-drum. In his later works, ~
visual and theatrical elements (`mixed media') ~have predominated. Many of the s
cores involve ~[fy45,1]*[fy75,1]indeterminacy. Works incl.: Str. Sextet ([sm1953
[nm); ~[cf2]Tower Music, [cf1]for pre-recorded [cf2]concr;agete [cf1]and instr.
~sounds for [sm24[nm groups of loudspeakers, with light ~projections ([sm1953[nm
); [cf2]Anagrama [cf1]([sm1957[nm=n[sm8[nm); [cf2]Hetero~~phonie [cf1]([sm1959[n
m=n[sm60[nm); [cf2]Antith;agese, [cf1]for actor, elec., and ~audience sounds ([s
m1962[nm); [cf2]Diaphonie, [cf1]for [sm2[nm projec~~tors, ch., and orch. ([sm196
2[nm=n[sm4[nm); [cf2]Tremens, [cf1]scenic ~[PN372,0,0,L,I0]montage ([sm1963[nm=n
[sm5[nm); [cf2]Kommentar und Extempore, ~[cf1]soliloquies with gestures ([sm1965
[nm=n[sm7[nm); [cf2]Music for ~Renaissance Instruments [cf1]([sm1965[nm=n[sm7[nm
); Str. Qt. ([sm1966[nm=n~[sm8[nm); [cf2]Variations without Fugue[cf1], orch. ([
sm1971[nm); [cf2]Pro~~gramm, Gespr;auache mit Kammermusik[cf1],
vv. and ens. ~([sm1971[nm=n[sm2[nm); [cf2]Kantrimusik, Pastorale f;auur Stimmen
und ~Instrumente [cf1]([sm1973[nm=n[sm5[nm); [cf2]Dressage, [cf1][sm3[nm perc. i
nstr. ~([sm1977[nm); th. piece [cf2]Ex-Position, [cf1]with gymnasts ~([sm1978[nm
); [cf2]Rhythm-machines, [cf1]for gymnasts or dancers, ~[sm2[nm perc., rhythm-ge
nerators ([sm1978[nm); [cf2]Chorbuch ~[cf1]([sm1978[nm) (arr. of [sm53[nm Bach c
horales for amplified ~mixed ch. and pf.); [cf2]Die Ersch;auopfung der Welt [cf1
]([cf2]The ~Exhaustion of the World[cf1]), mus. theatre for [sm6[nm solo ~vv., [
sm6[nm actors, [sm2[nm chs., and orch. ([sm1974[nm=n[sm8[nm).[cm~Kahnt, Christia
n Frederik [fy75,1]([cf2]b [cf1]Leipzig, [sm1823[nm; [cf2]d ~[cf1]Leipzig, [sm18
97[nm). Ger. mus. publisher. Founded his ~firm at Leipzig [sm1851[nm. Pubd. work
s by Liszt and ~Mahler. Firm moved to Bonn [sm1950[nm and then to ~Wasserburg.[c
m~Kaim, Franz [fy75,1]([cf2]b [cf1]Kirchheim, [sm1856[nm; [cf2]d [cf1]Munich, ~[
sm1935[nm). Ger. patron of mus. who founded Kaim ~concerts in Mu
nich [sm1893[nm, building hall and ~starting orch. (Kaim Orch.). Works by Mahler
 ~and Strauss were perf. at Kaim concerts which, in ~[sm1908[nm, were absorbed b
y new Konzertverein. The ~orch. in [sm1924[nm became the Munich P.O.[cm~Kaiserma
rsch [fy75,1](Emperor March). Orch. work by ~Wagner, comp. [sm1871[nm to celebra
te Ger. victory in ~Franco-Prussian War of [sm1870[nm and election of ~Wilhelm I
 as Ger. emperor. F.p. Berlin [sm1871[nm.[cm~Kaiserquartett [fy75,1](Haydn). See
 [cf2]Emperor Quartet.[cm~Kaiser-Walzer [fy75,1](Emperor Waltz). Waltz, Op. ~[sm
437[nm, by Johann Strauss II, comp. [sm1888[nm in honour ~of Emperor Franz Josef
 to mark [sm40[nmth anniversary ~of his accession. Arr. for chamber ens. [sm1925
[nm by ~[fy45,1]*[fy75,1]Schoenberg.[cm~Kajanus, Robert [fy75,1]([cf2]b [cf1]Hel
sinki, [sm1856[nm; [cf2]d [cf1]Helsinki, ~[sm1933[nm). Finn. cond. and composer.
 Studied Oslo, ~Leipzig, and Helsinki. Founded Helsinki Phil. ~Soc., [sm1882[nm,
 cond. Helsinki P.O. until [sm1932[nm. Taught ~mus. at Helsinki
Univ. [sm1897[nm=n[sm1926[nm (prof. from ~[sm1908[nm). Friend and interpreter of
 Sibelius, several ~of whose syms. he cond. for early recordings. ~Comp. syms.,
cantatas, hymns, etc.[cm~Kakadu Variations. [fy75,1]Variations on `Ich bin der ~
Schneider Kakadu' for pf. trio, Op. [sm121[nma, by ~Beethoven, probably comp. in
 [sm1798[nm but not ~pubd. until [sm1824[nm. Song is by Wenzel M;Auuller from ~m
us. play [cf2]Die Schwestern von Prag [cf1](The Sisters ~from Prague), ([sm1794[
nm). Kakadu is Ger. for cockatoo, ~but in this case refers to a character in the
 play.[cm~Kalabis, Viktor [fy75,1]([cf2]b [cf1];AkCerven;Aay Kostelec, Cz., [sm1
923[nm). ~Cz. composer. Studied Charles Univ., Prague, ~[sm1945[nm=n[sm9[nm and
Prague Acad. [sm1948[nm=n[sm52[nm. Man., mus. ~dept., Prague Radio since [sm1953
[nm. Works incl. [sm4[nm ~syms., symphonic variations for orch., vc. conc., ~vn.
 conc., pf. conc., [cf2]Concerto for Orchestra, [cf1]conc. ~for chamber orch. (`
Homage to Stravinsky'), [sm2[nm str. ~qts., vc. sonata, sonata f
or vn. and hpd., tb. sonata, ~cl. sonata, hn. sonata, songs, etc.[cm~Kalevala [f
y75,1](from [cf2]Kaleva, [cf1]Finland). Finn. nat. epic, ~transmitted orally ove
r several centuries, on ~which Sibelius based several works. In [sm1835[nm Elias
 ~L;auonnrot published an edn. of [sm12[nm,[sm000[nm verses and ~in [sm1849[nm a
 [sm2[nmnd edn. of [sm23[nm,[sm000[nm verses in trochaic ~verse, unrhymed, divid
ed into [sm50[nm cantos or runes. ~This has been trans. into Swed., Ger., Eng.,
and ~Fr. Sibelius works which draw on it incl. [fy45,1]*[fy75,2]Kullervo, ~[fy45
,1]*[fy75,2]Pohjola's Daughter, [cf1]and the [fy45,1]*[fy75,2]Lemmink;auainen [c
f1]works.[cm~Kalichstein, Joseph [fy75,1]([cf2]b [cf1]Tel Aviv, [sm1946[nm). Isr
aeli ~pianist. Studied Juilliard Sch., NY. D;aaebut NY, ~[sm1967[nm. Thereafter
int. concert career.[cm~Kalinnikov, Vasily [fy75,1](Sergeyevich) ([cf2]b [cf1]Go
vt. of ~Orel, [sm1866[nm; [cf2]d [cf1]Yalta, [sm1901[nm (old calendar [sm1900[nm
)). ~Russ. composer and cond. Ass. cond. Moscow It. ~Opera [sm18
93[nm=n[sm4[nm. Ill-health compelled resignation. ~Comp. [sm2[nm syms., cantata,
 str. qt., etc.[cm~Kalisch, Alfred [fy75,1]([cf2]b [cf1]London, [sm1863[nm; [cf2
]d [cf1]London, ~[sm1933[nm). Eng. mus. critic and librettist. Orig. a ~barriste
r, began writing on mus. [sm1894[nm, working ~for various papers. Strong champio
n of R. Strauss ~in Eng.; trans. libs. of [cf2]Salome, Elektra, Der ~Rosenkavali
er [cf1](much bowdlerized), and [cf2]Ariadne ~auf Naxos. [cf1]Also trans. lib. o
f Mascagni's [cf2]Iris.[cm~Kalkbrenner, Friedrich [fy75,1](Wilhelm) ([cf2]b [cf1
]Kassel, ~[sm1785[nm; [cf2]d [cf1]Enghien-les-Bains, [sm1849[nm). Fr. pianist, ~
teacher, and composer of Ger. extraction. Studied ~Paris Cons. [sm1798[nm=n[sm18
02[nm. Lived in London [sm1814[nm=n~[sm23[nm. Joined pf.-making firm of [fy45,1]
*[fy75,1]Pleyel in Paris, ~[sm1824[nm, establishing himself as renowned teacher,
 ~whose classes Chopin attended. Wrote pf. method. ~Comp. [sm4[nm pf. concs., [s
m13[nm pf. sonatas, and much ~chamber mus.[cm~Kalliwoda, Johann
Wenzel [fy75,1](=+=+=+Jan V;aaaclav) ([cf2]b ~[cf1]Prague, [sm1801[nm; [cf2]d [c
f1]Karlsruhe, [sm1866[nm). Cz. composer ~and violinist. Studied Prague Cons. For
 over [sm30[nm ~years Kapellmeister at court of Donaues[chchingen. ~Comp. [sm7[n
m syms., str. qts., ob. conc., song-cycle [cf2]Das ~deutsche Lied.[cm~Kallman, C
hester [fy75,1]([cf2]b [cf1]Brooklyn, NY, [sm1921[nm; [cf2]d ~[cf1]Athens, [sm19
75[nm). Amer. poet and librettist. Joint ~librettist with Auden for Stravinsky's
 [cf2]The Rake's ~Progress [cf1]and Henze's [cf2]The Bassarids [cf1]and [cf2]Ele
gy for ~Young Lovers. [cf1]Also joint translator, with Auden, ~of [cf2]Die Zaube
rfl;auote. [cf1]Trans. libs. of Verdi's [cf2]Falstaff, ~[cf1]Donizetti's [cf2]An
na Bolena [cf1]and Mozart's [cf2]Die Entf;auuhr~~ung aus dem Serail.[cm~K;aaalm;
aaan, Emmerich [fy75,1](Imre) ([cf2]b [cf1]Si;aaofok, [sm1882[nm; [cf2]d ~[cf1]P
aris, [sm1953[nm). Hung. composer who settled in ~Vienna until [sm1938[nm. In Pa
ris [sm1938[nm=n[sm40[nm, USA [sm1940[nm=n~[sm6[nm. Wrote succes
sful operettas, e.g. [cf2]Tat;aaarj;aaar;aaas [cf1](The ~Gay Hussars) ([sm1908[n
m); [cf2]Fr;auaulein Susi [cf1]([sm1915[nm); [cf2]Die ~Cs;aaard;aaasf;auurstin [
cf1](The Gipsy Princess) ([sm1915[nm); [cf2]Gr;auafin ~Mariza [cf1](Countess Mar
itza) ([sm1924[nm); [cf2]Die Zirkusprin~~zessin [cf1](The Circus Princess) ([sm1
926[nm).[cm~[PN373,0,0,R,I0]Kalmus, Alfred [fy75,1](August Uhlrich) ([cf2]b [cf1
]Vienna, ~[sm1889[nm; [cf2]d [cf1]London, [sm1972[nm). Eng. mus. publisher of ~A
ustrian birth. Studied law at Vienna Univ. and ~mus. under G. Adler. Joined mus.
 publishers ~Universal Edition in Vienna, [sm1909[nm. Went to ~London [sm1936[nm
 and opened branch of Universal ~Ed. Unceasing champion of [sm20[nmth century co
m~~posers, incl. Schoenberg, Berg, Webern, Bart;aaok, ~Jan;aaa;akcek, Berio, Bou
lez, Stockhausen, Birtwistle, ~David Bedford, and Hugh Wood.[cm~Kalomiris, Manol
is [fy75,1]([cf2]b [cf1]Smyrna, [sm1883[nm; [cf2]d [cf1]Athens, ~[sm1962[nm). Gr
. composer and pianist. Studied Athens, ~Constantinople, and Vie
nna Cons. ([sm1901[nm=n[sm6[nm). ~Taught piano Kharkov Cons. [sm1906[nm=n[sm10[n
m, pf. and ~harmony Athens Sch. of Mus. [sm1911[nm=n[sm19[nm. Founded ~Hellenic
Sch. of Mus. [sm1919[nm, being dir. until [sm1926[nm ~when he founded Nat. Sch.
of Music which he ~directed until [sm1948[nm. Comps., some of which use ~Gr. fol
k-song, incl. operas [cf2]The Master Builder ~[cf1]([sm1915[nm) and [cf2]The Sha
dowy Waters [cf1]([sm1950[nm=n[sm2[nm), sym.-~poems, other orch. works, pf. conc
., pf. preludes, ~vn. sonata, etc.[cm~Kamarinskaya [fy75,1](Wedding Song). Orch.
 fantasia ~on [sm2[nm Russ. folk-songs by Glinka, comp. [sm1848[nm in ~Warsaw. T
itle refers to Russ. dance. Version ~generally played contains revs. by Glazunov
 and ~Rimsky-Korsakov.[cm~Kaminski, Heinrich [fy75,1]([cf2]b [cf1]Tiengen, [sm18
86[nm; [cf2]d [cf1]Ried, ~nr. Benediktbeuren, [sm1946[nm). Ger. composer and ~co
nd. Studied in Berlin. Works, in markedly ~polyphonic style, incl. opera [cf2]J;
Auurg Jenatsch, [cf1][sm2[nm str. ~qts., str. quintet, cl. qt.,
church mus.[cm~Kaminski, Joseph [fy75,1]([cf2]b [cf1]Odessa, [sm1903[nm; [cf2]d[
cf1] Gedera, ~Israel, [sm1972[nm). Russ.-born violinist and composer. ~Studied W
arsaw, Vienna, and Berlin. Went to Tel ~Aviv [sm1935[nm, becoming leader Palesti
ne S.O. [sm1937[nm=n~[sm69[nm. Wrote vn. conc., tpt. concertino, etc.[cm~Kammer
[fy75,1](Ger.). Chamber. So [cf2]Kammercantate, ~[cf1]Chamber Cantata (see [cf2]
Cantata[cf1]); [cf2]Kammerduett, ~Kammertrio, [cf1]Chamber Duet, Chamber Trio (i
.e. ~for a room rather than a concert hall); [cf2]Kammercon~~cert, Kammerkonzert
, [cf1]either Chamber Concert, or ~Chamber Concerto; [cf2]Kammermusik, [cf1]Cham
ber Mu~~sic; [cf2]Kammersymphonie, [cf1]Chamber Symphony.[cm~Kammermusik [fy75,1
](Chamber Music). Title given by ~[fy45,1]*[fy75,1]Hindemith to [sm7[nm instr. w
orks comp. between ~[sm1922[nm and [sm1927[nm: No. [sm1[nm for small orch., No.
[sm2[nm (pf. ~conc.), No. [sm3[nm (vc. conc.), No. [sm4[nm (vn. conc.), No. [sm5
[nm ~(va. conc.), No. [sm6[nm (viola d'amore conc.), No. [sm7[nm
 (org. ~conc.).[cm~Kammers;auanger(in) [fy75,1](Ger.). Chamber Singer. ~Esteemed
 honorary title bestowed by Ger. and ~Austrian govts. on distinguished singers.[
cm~Kamu, Okko [fy75,1]([cf2]b [cf1]Helsinki, [sm1946[nm). Finn. cond., ~composer
, and violinist. Studied Sibelius Acad. ~[sm1952[nm=n[sm67[nm. D;Aaebut as violi
nist early [sm1950[nms, in str. ~qt. [sm1965[nm, as cond. [sm1968[nm=n[sm9[nm. V
iolinist in Helsinki ~P.O. [sm1965[nm=n[sm6[nm, leader Finn. Nat. Opera Orch. [s
m1966[nm=n~[sm9[nm, [sm3[nmrd cond. at Nat. Opera [sm1968[nm=n[sm9[nm. Guest con
d. ~Royal Swedish Opera [sm1969[nm=n[sm70[nm. Cond. Finn. Radio ~S.O. [sm1970[nm
=n[sm7[nm. Chief cond. and mus. dir. Oslo P.O. ~[sm1975[nm=n[sm9[nm. Chief cond.
 Helsinki P.O. from [sm1979[nm. ~Guest cond. of Brit. orchs. (London d;aaebut [s
m1970[nm, ~New Philharmonia). Won Karajan cond. compe~~tition [sm1969[nm. Compos
er of film mus., songs for ~children, etc.[cm~Kanawa, Kiri te. [fy75,1]See [cf2]
Te Kanawa, Kiri.[cm~Kantele. [fy75,1]Finnish variety of [fy45,1]
*[fy75,1]Gusli, plucked with ~the fingers.[cm~Kapell, William [fy75,1]([cf2]b [c
f1]NY, [sm1922[nm; [cf2]d [cf1]nr. San Francisco, ~in air crash, [sm1953[nm). Am
er. pianist of Russ. and ~Polish parentage. Studied Philadelphia Cons. NY ~d;aae
but [sm1941[nm. Brilliant virtuoso with deep musical ~sensibility. Never played
in Eng.[cm~Kapelle [fy75,1](Ger.). Chapel. A term at one period ~applied to the
whole staff of clergy, musicians, ~etc., attached to a royal chapel or the like.
 In time ~it came to be used for any organized body of ~musicians employed at co
urt, etc., and from this ~it ultimately became a designation for any orch. ~body
, from sym. orch. to dance band.[cm~Kapellmeister [fy75,1](Capellmeister) (Ger.)
. The dir. or ~cond. of a [fy45,1]*[fy75,2]Kapelle. Kapellmeistermusik [cf1]beca
me, ~sometimes unfairly, a derogatory term applied to ~mus. `composed to order'.
[cm~Kapr, Jan [fy75,1]([cf2]b [cf1]Prague, [sm1914[nm). Cz. composer, pianist, ~
and teacher. Studied Prague Cons. Mus. dir. ~Prague Radio [sm193
9[nm=n[sm46[nm, prof. of comp. Jan;aaa;Akcek ~Acad., Brno, [sm1961[nm=n[sm70[nm.
 Works incl. [sm8[nm syms., [sm7[nm str. ~qts. (one with bar. solo), [sm3[nm pf.
 sonatas, cl. ~concertino.[cm~Karajan, Herbert von [fy75,1]([cf2]b [cf1]Salzburg
, [sm1908[nm). Aus~~trian cond. Studied (to become pianist) Salzburg ~Mozarteum
and Vienna Univ. and Cons. D;aaebut ~Salzburg Landestheater [sm1927[nm in [cf2]F
idelio. [cf1]Cond. ~Ulm Opera [sm1929[nm=n[sm34[nm; Aachen [sm1934[nm=n[sm42[nm;
 Berlin ~State Opera [sm1938[nm=n[sm45[nm; art. dir. Vienna State Opera ~[sm1957
[nm=n[sm64[nm. Cond. at Bayreuth [sm1951=n2[nm, Salzburg ~Fests. Founded Salzbur
g Easter Fest. [sm1967[nm. Cond. ~Berlin P.O. since [sm1954[nm. Assoc. also with
 Philhar~~monia Orch., Orchestre de Paris ([sm1969[nm=n[sm70[nm), and ~La Scala,
 Milan. One of outstanding conds. of ~post-[sm1945[nm era, his career having bee
n halted up ~to [sm1947[nm because of his Nazi affiliations. Also opera ~produce
r on stage and film.[cm~Karel, Rudolf [fy75,1]([cf2]b [cf1]Pilse
n, [sm1880[nm; [cf2]d [cf1]Terez;aain, [sm1945[nm). ~Cz. composer. Comp. pupil o
f Dvo;akr;aaak. Prof. of ~comp. and orch., Prague Cons., [sm1923[nm=n[sm41[nm. W
rote ~[sm2[nm operas, sym., symphonic poems (incl. [cf2]The ~Demon, [cf1][sm1920
[nm), oratorio [cf2]Resurrection, [cf1]cantatas, ~chamber mus., etc. Died in Ger
. concentration ~camp.[cm~Karelia. [fy75,1]Ov. and suite for orch., Opp. [sm10[n
m and [sm11[nm ~by Sibelius, comp. [sm1893[nm. Karelia is province in ~southern
Finland.[cm~Karfreitagzauber [fy75,1](Wagner). See [cf2]Good Friday Music.[cm~[P
N374,0,0,L,I0]Karg-Elert [fy75,1](orig. Karg), [fy65][cf3]Sigfrid [fy75,1]([cf2]
b [cf1]Oberndorf-~am-Neckar, [sm1877[nm; [cf2]d [cf1]Leipzig, [sm1933[nm). Ger.
com~~poser, pianist, and organist. Studied Leipzig ~Cons., becoming prof. there
[sm1919[nm, succeeding ~Reger. Best known for strikingly orig. org. comps. ~Work
s incl. pf. conc., [sm5[nm pf. sonatas, [sm28[nm pf. preludes, ~vc. sonata, vn.
sonata, str. qt., chamber sym., org. ~sonata, [cf2][sm66[nm Chor
ale Improvisations [cf1]for org. ([sm1908=n~10[nm), [cf2]Fantasia and Fugue [cf1
]in D for organ, [cf2][sm20[nm Preludes ~and Postludes [cf1]for org., [sm2[nm so
natas for harmonium, ~[cf2]Sc;Agenes pittoresques [cf1]for harmonium, choral wor
ks. ~Arr. Elgar's syms. for pf. solo.[cm~Kar;umowicz, Mieczyslaw [fy75,1]([cf2]b
 [cf1]Wiszniewe, [sm1876[nm; [cf2]d ~[cf1]Tatra Mountains, [sm1909[nm). Polish c
omposer. After ~spells in Heidelberg, Prague, and Dresden, settled ~in Warsaw, s
tudying vn. Gave up career as ~violinist because of bad health, concentrated on
~comp., studying in Berlin [sm1895[nm=n[sm1901[nm with Urban. ~Dir., Warsaw Mus.
 Soc. from [sm1905[nm. In [sm1907[nm ~settled at Zakopane, at foot of Tatra Moun
tains. ~Died in avalanche. Works incl. sym. (`Revival', ~[cf2]Odrodzenie[cf1]) (
[sm1902[nm); vn. conc. ([sm1902[nm); and several ~sym.-poems, incl. [cf2]Stanisl
aw i Anna O;aaswiecimowie. ~[cf1]Strongly supported `Young Poland' group of ~Szy
manowski, Fitelberg, and Szeluto. His sym.-~poems, in an individ
ual style derived from ~Wagner and Strauss, reflect Schopenhauerian ~obsessions
with love, death, and pantheism.[cm~Karpeles, Maud [fy75,1]([cf2]b [cf1]London,
[sm1885[nm; [cf2]d [cf1]London, ~[sm1976[nm). English folk-song collector, ed.,
and ~scholar. With sister Helen, was one of folk ~dancing team who illustrated C
ecil [fy45,1]*[fy75,1]Sharp's ~lectures. Assoc. with Sharp's folk-song collectin
g ~from [sm1903[nm, she went with him in [sm1916[nm to ~Appalachian Mts., collec
ting songs which had ~travelled to N.Amer. with early immigrants. Also ~went alo
ne to Newfoundland [sm1929[nm and [sm1930[nm to ~collect songs there. Held many
administrative ~folk-song posts, incl. hon. secretaryship [fy45,1]*[fy75,1]Engli
sh ~Folk Dance and Song Society. In [sm1947[nm she founded ~International Folk M
usic Council, attending its ~conferences in many countries, first as secretary ~
and later pres. Wrote biography of Cecil Sharp ~and ed. many colls. of folk-song
s. O.B.E. [sm1961[nm.[cm~Karr, Gary [fy75,1](Michael) ([cf2]b [c
f1]Los Angeles, [sm1941[nm). ~Amer. double-bass player. D;aaebut recital NY [sm1
962[nm, ~also soloist with NY P.O. European tour [sm1964[nm. ~Has commissioned c
oncertos from Henze and ~Schuller.[cm~Kars, Jean-Rodolphe [fy75,1]([cf2]b [cf1]C
alcutta, [sm1947[nm). Austrian ~pianist. Studied Paris Cons. [sm1958[nm=n[sm64[n
m and with ~Katchen. London d;aaebut [sm1967[nm. Winner of [sm1968[nm ~Messiaen
Comp., Royan.[cm~Kassern, Tadeusz [fy75,1](Zygfryd) ([cf2]b [cf1]Lw;aaow, [sm190
4[nm; [cf2]d ~[cf1]NY, [sm1957[nm). Polish composer. Studied in Lw;aaow ~and Poz
n;aaan, later in Paris. Sought asylum in USA ~[sm1948[nm, teaching in NY. Works
incl. operas, conc. ~for str., conc. for sop. and orch., pf. sonatas, fl. ~conc.
, db. conc., choral mus.[cm~K;aaa;akta Kabanov;aaa [fy75,1](Katya Kabanova). Ope
ra in [sm3[nm ~acts by Jan;aaa;akcek to his own lib. based on the play ~[cf2]The
 Storm [cf1]([cf2]Groza[cf1]) ([sm1859[nm) by A. N. Ostrovsky ~([sm1823[nm=n[sm8
6[nm) in Cz. trans. by V. ;akCervinka. Comp. ~[sm1919[nm=n[sm21[
nm. Prod. Brno [sm1921[nm, London [sm1951[nm, Cleve~~land, Ohio, [sm1957[nm. (Th
is was first Jan;aaa;akcek opera to ~be staged in London, but a Brno perf. had b
een ~broadcast in [sm1948[nm.)[xm[cm~[ol0][ep~[xp[te~










[do31][j99]~~~~~~[sm153842[nm_K[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm002[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm27[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm48[nm[cm~[sm27[nm|Barnard[cm[sm5[nm[cm[sm3.8.84[nm[cm~U[sm
2[nm[cm~~~~[ap[j1]Katchen, Julius [fy75,1]([cf2]b [cf1]Long Branch, NJ, [sm1926[
nm; [cf2]d ~[cf1]Paris, [sm1969[nm). Amer. pianist. Studied NY. D;aaebut ~[sm193
7[nm with Philadelphia Orch. Settled in Paris and ~had int. career as virtuoso w
ith wide repertory.[cm~Kate and the Devil [fy75,1]([cf2];akCert a K;aaa;akca[cf1
]). Opera in [sm3[nm acts ~by Dvo;akr;aaak to lib. by A. Wenig. Comp. [sm1898=n9
[nm. ~Prod. Prague [sm1899[nm, Oxford [sm1932[nm.[cm~Katerina Izmaylova. [fy75,1
]Title given to rev. version ~([sm1956[nm) of Shostakovich's [sm4[nm-act opera [
cf2]Lady Macbeth ~of the Mtsensk District [cf1]([cf2]Ledi Makbet Mtsenskovo ~uye
zda[cf1]), comp. [sm1930=n2[nm as Op. [sm29[nm. Lib. by A.|Preys ~and composer,
after story ([sm1865[nm) by N.|Leskov. ~Prod. Moscow [sm1934[nm,
 Cleveland, Ohio, [sm1935[nm, ~London (concert) [sm1936[nm. Rev. version, Op. [s
m114[nm, ~Moscow [sm1963[nm, London CG, [sm1963[nm, San Francisco ~[sm1964[nm. O
rig. version was unperf. in USSR after ~Jan. [sm1936[nm when Soviet newspaper [c
f2]Pravda [cf1]attacked ~it as `leftist' and discordant, but there were prods. ~
in Venice [sm1947[nm and D;Auusseldorf [sm1959[nm.[cm~Katin, Peter [fy75,1](Roy)
 ([cf2]b [cf1]London, [sm1930[nm). Eng.-born ~pianist (now Canadian cit.). D;Aae
but London [sm1948[nm. ~Noted as interpreter of Chopin, Rakhmaninov, ~and Tchaik
ovsky.[cm~Katz, Mindru [fy75,1]([cf2]b [cf1]Bucharest, [sm1925[nm; [cf2]d [cf1]I
stanbul, ~[sm1978[nm). Romanian pianist. Studied Bucharest Royal ~Acad. D;aaebut
 with Bucharest P.O. [sm1947[nm. D;aaebut in ~West (Paris) [sm1957[nm, London d;
aaebut [sm1958[nm. Settled in ~Israel [sm1959[nm. On staff Rubin Acad. of Mus.,
Tel ~Aviv Univ., [sm1962[nm (prof. from [sm1972[nm).[cm~Kaun, Hugo [fy75,1]([cf2
]b [cf1]Berlin, [sm1863[nm; [cf2]d [cf1]Berlin, [sm1932[nm). ~Ge
r. composer. Studied Berlin Hochschule [sm1879[nm=n~[sm80[nm, by which time he h
ad comp. [sm160[nm works. ~Lived in Milwaukee, Wisconsin, [sm1887[nm=n[sm1902[nm
, ~during which time he comp. the symphonic ~poems [cf2]Minnehaha [cf1]and [cf2]
Hiawatha. [cf1]Returned to ~Berlin as teacher [sm1902[nm. Comp. [sm4[nm operas,
[sm3[nm syms., ~symphonic poem [cf2]Sir John Falstaff, [cf1][sm3[nm pf. concs.,
~choral works, chamber mus., etc.[cm~Kay, Ulysses Simpson [fy75,1]([cf2]b [cf1]T
ucson, Arizona, [sm1917[nm). ~Amer. composer. Studied with Hanson and B. ~Rogers
 at Eastman Sch. of Music and later with ~[fy45,1]*[fy75,1]Hindemith at Yale. Wo
n [cf2]Prix de Rome [cf1]and ~worked in It. [sm1949[nm=n[sm52[nm. Prof. of mus.,
 Lehman ~Coll. of City Univ., NY, from [sm1968[nm. Works incl. [sm4[nm ~operas,
ob. conc., [cf2]Concerto for Orchestra, Suite [cf1]for ~orch., sym., ballet [cf2
]Dance Calinda, [cf1]cantata [cf2]Song of ~Jeremiah, [cf1][sm3[nm str. qts., pf.
 sonata, fl. quintet, etc.[xm[cm~[j1]Kazoo [fy75,1](Fr. [cf2]mir
liton[cf1]). Children's mus. instr., ~consisting of a short tube with membrane a
t each ~end, played by humming or singing into a side-~hole to produce effect si
milar to comb-and-paper.[cm~[PN375,0,0,R,I0]Kb. [fy75,1](Ger.). Abbreviation for
 [cf2]Kontrabass, [cf1]i.e. the ~db.[cm~Keeffe, Bernard [fy75,1]([cf2]b [cf1]Lon
don, [sm1925[nm). Eng. cond. ~Prof. of cond. TCL. Noted broadcaster and ~introdu
cer of televised mus. Made Eng. trans. of ~Jan;Aaa;Akcek's [cf2]Diary of One who
 Disappeared.[cm~Keel Row [fy75,1](Keel;eqboat). Song of unknown orig. ~which fi
rst appeared in print in [cf2]A Collection of ~Favourite Scots Tunes [cf1](Edinb
urgh, [cf2]c.[cf1][sm1770[nm) but is ~principally assoc. with Newcastle and Tyne
side ~district. Quoted by Debussy in the [sm3[nmrd movement ~([cf2]Gigues[cf1])
of his [fy45,1]*[fy75,2]Images [cf1]for orch.[cm~Keen [fy75,1](Irish [cf2]Caoine
[cf1]). Irish funeral song acc. by ~wailing (keening). Reproduced in Vaughan Wil
~~liams's opera [fy45,1]*[fy75,2]Riders to the Sea.[cm~Keene, Ch
ristopher [fy75,1]([cf2]b [cf1]Berkeley, Calif., [sm1946[nm). ~Amer. cond. Found
ed own opera co. while at ~Univ. of Calif., staging two of Britten's operas. ~Wo
rked as ass. to Kurt Adler at San Francisco ~Opera. Ass. to Menotti, Spoleto Fes
t. [sm1968[nm. NY ~City Opera from [sm1970[nm, conducting [fy45,1]*[fy75,1]Ginas
tera's ~[cf2]Don Rodrigo; [cf1]art. supervisor from [sm1982[nm. Mus. dir. ~Syrac
use S.O. [sm1975[nm=n[sm84[nm. [cf1]Cond. f.p. of Villa-Lobos's ~[cf2]Yerma, [cf
1]Santa Fe, [sm1971[nm. NY Met. d;aaebut [sm1971[nm.[cm~Keilberth, Joseph [fy75,
1]([cf2]b [cf1]Karlsruhe, [sm1908[nm; [cf2]d [cf1]Munich, ~[sm1968[nm). Ger. con
d. Studied Karlsruhe, joined town's ~opera co. as r;aaep;aaetiteur [sm1925[nm, b
ecoming cond. ~Mus. dir. [sm1935[nm=n[sm40[nm. Cond., Ger. P.O., Prague, ~[sm194
0[nm=n[sm5[nm. Mus. dir. Dresden State Opera [sm1945[nm=n[sm50[nm; ~cond. Bavari
an State Opera, Munich, [sm1951[nm=n[sm68[nm ~(dir. from [sm1959[nm); art. dir.
Hamburg P.O. [sm1950[nm=n[sm9[nm, ~cond. Bamberg S.O. [sm1949[nm
=n[sm68[nm. Bayreuth Fest. ~[sm1952[nm=n[sm6[nm. Notable Strauss interpreter. Di
ed while ~cond. [cf2]Tristan.[cf1][cm~Keiser, Reinhard [fy75,1]([cf2]b [cf1]Teuc
hern, [sm1674[nm; [cf2]d [cf1]Ham~~burg, [sm1739[nm). Ger. composer. Pupil at Th
omas~~schule, Leipzig. At court of Brunswick [sm1694[nm ~where he succeeded [fy4
5,1]*[fy75,1]Kusser. Moved to Hamburg ~[sm1696[nm, achieving success with opera
[cf2]Mahumet II. [cf1]In ~next [sm40[nm years comp. over [sm100[nm operas for Ha
mburg, ~becoming dir. of the opera [sm1703[nm=n[sm7[nm. Visited ~Copenhagen, Lud
wigsburg, etc., returning to ~Hamburg [sm1724[nm. Cantor of cath. [sm1728[nm. Re
garded ~at one time as greatest orig. genius Ger. had prod. ~His operas contain
magnificent florid arias and ~instrumentation which was emulated by [fy45,1]*[fy
75,1]Han~~del, who was violinist and harpsichordist for ~Keiser at Hamburg. Keis
er's operas incl. [cf2]Der ~hochm;auutige, gest;Auurtzte und wieder erhabene Cro
esus ~[cf1]([sm1710[nm, rev. [sm1730[nm, modern edn. [sm1912[nm,
 rev. [sm1958[nm), ~[cf2]Die R;auomische Unruhe [cf1]([sm1705[nm), [cf2]Die verd
ammte Staat~~Sucht [cf1]([sm1705[nm), [cf2]Fredegunda [cf1]([sm1715[nm), and [cf
2]Der L;Auacher~~liche Prinz Jodelet [cf1]([sm1726[nm). Keiser also wrote ~drama
tic and striking oratorios, and settings of ~the Passions, incl. [cf2]Der blutig
e und sterbende Jesus ~[cf1]([sm1704[nm), and [cf2]St Mark Passion [cf1]([sm1717
[nm).[cm~K;aaeler-B;aaela [fy75,1](Adalbert von Keler) ([cf2]b [cf1]B;aaartfa, [
sm1820[nm; ~[cf2]d [cf1]Wiesbaden, [sm1882[nm). Hung. violinist, bandmaster, ~co
mposer, and cond. Worked in Vienna, Berlin, ~and Wiesbaden. Wrote waltzes and li
ght mus. of ~brilliant character.[cm~Kell, Reginald [fy75,1](Clifford) ([cf2]b [
cf1]York, [sm1906[nm; [cf2]d ~[cf1]Frankfort, Kentucky, [sm1981[nm). Eng. clarin
ettist. ~Studied RAM [sm1929[nm=n[sm32[nm. Prin. cl. Beecham's LPO ~[sm1932[nm=n
[sm6[nm and CG orch. [sm1932[nm=n[sm6[nm, LSO [sm1936[nm=n[sm9[nm, ~Liverpool P.
O. [sm1942[nm=n[sm5[nm, and Philharmonia [sm1945[nm=n~[sm8[nm. W
ent to USA [sm1948[nm. Prof. at Aspen Mus. Fest., ~Colorado, [sm1951[nm=n[sm7[nm
. Returned to Eng. [sm1971[nm, but ~died in USA. Prof. cl., RAM, [sm1935[nm=n[sm
9[nm and [sm1958[nm=n~[sm9[nm. Noted for artistic use of vibrato. Published Kell
 ~method, NY [sm1968[nm.[cm~Keller, Hans [fy75,1]([cf2]b [cf1]Vienna, [sm1919[nm
). Austrian-born ~violinist, violist, mus. critic, and author (natural~~ized Eng
., [sm1948[nm). Member of BBC mus. division ~[sm1959[nm=n[sm79[nm. Joint ed. of
book on Britten. Contrib. ~to many periodicals. Authority on Assoc. football. ~S
ee [cf2]Functional Analysis.[cf1][cm~Kelley, Edgar [fy75,1](Stillman) ([cf2]b [c
f1]Sparta, Wisconsin, ~[sm1857[nm; [cf2]d [cf1]NY, [sm1944[nm). Amer. composer,
organist, ~and author. Studied Chicago and Stuttgart. ~Organist in San Francisco
 and Oakland, mus. ~critic, San Francisco [cf2]Examiner [cf1][sm1893[nm=n[sm5[nm
. Worked in ~San Francisco [sm1880[nm=n[sm6[nm and [sm1892[nm=n[sm6[nm, coming i
nto ~contact with Chinese and their mus. Acting prof. ~and orch.
 cond., Yale Univ. Sch. of Music [sm1901[nm=n~[sm02[nm. Taught in Berlin [sm1902
[nm=n[sm10[nm, returning to USA ~to teach comp. at Cincinnati Cons. Works incl.
~incidental mus. to [cf2]Macbeth [cf1]and [cf2]Ben Hur[cf1]; [sm2[nm syms. ~(No.
[sm1[nm [cf2]Gulliver=mHis Voyage to Lilliput, [cf1]Op. [sm15[nm; No. ~[sm2[nm [
cf2]New England[cf1]); pantomime suite [cf2]Alice in ~Wonderland[cf1]; [cf2]Pilg
rim's Progress[cf1]; pf. quintet; str. ~qt., etc.[cm~Kelly, Bryan[fy75,1] ([cf2]
b[cf1] Oxford, [sm1934[nm). Eng. composer, ~pianist, and cond. Studied RCM [sm19
51[nm=n[sm5[nm with ~Jacob and Howells, then Paris with Boulanger. ~Taught at RS
AM. Prof. of comp. RCM from ~[sm1962[nm. Has written several works for children.
 ~Prin. comps.:[xm[cm~[j2][smorch[nm: [fy75,2]Latin Quarter Overture [cf1]([sm19
55[nm), [cf2]Music for ~Ballet[cf1] ([sm1957[nm), [cf2]The Tempest Suite[cf1], s
tr. ([sm1964[nm), ~[cf2]Cookham Concertino[cf1] ([sm1969[nm), ob. conc. ([sm1972
[nm), ~guitar conc. ([sm1978[nm), Sym. ([sm1983[nm); for brass b
and: ~[cf2]Divertimento[cf1] ([sm1969[nm), [cf2]Edinburgh Dances[cf1] ([sm1973[n
m), ~[cf2]Andalucia[cf1] ([sm1976[nm), [cf2]Concertante Music [cf1]([sm1979[nm).
[ep~[smchamber music[nm: [cf2][sm3[nm Pieces[cf1], vn. and pf. ([sm1959[nm), [cf
2]Aubade, ~Toccata, and Nocturne[cf1], guitar ([sm1964[nm), [cf2][sm2[nm Concert
 ~Pieces[cf1], cl. and pf. ([sm1964[nm), [cf2]Zodiac[cf1], cl., pf. ([sm1978[nm)
, ~[cf2]Suite parisienne[cf1], brass quintet ([sm1979[nm).[ep~[smchorus and orch
[nm: [cf2]Tenebrae Nocturnes[cf1], ten., ch., ~and orch. ([sm1965[nm), [cf2]The
Shell of Achilles[cf1], ten. and ~orch. ([sm1966[nm), [cf2]Stabat Mater[cf1], so
p., bass, ch., and ~orch. ([sm1970[nm), [cf2]At the round earth's imagined corne
rs[cf1], ~ten., ch., str. ([sm1972[nm), [cf2]Let there be light[cf1], sop., ~nar
rator, ch., and orch. ([sm1972[nm=n[sm3[nm), [cf2]Latin Magnifi~~cat[cf1], ch. a
nd wind instr. ([sm1979[nm).[ep~[smvocal[nm: [cf2]Magnificat and Nunc Dimittis [
cf1](`Latin Amer~~ican'), ch. and org. ([sm1965[nm), [cf2]Sleep
Little Baby[cf1], carol, ~SATB ([sm1968[nm), [cf2]O Be Joyful[cf1] (Caribbean Ju
bilate), ~ch. and org. ([sm1970[nm), [cf2]Abingdon Carols[cf1], unacc. ch. ~([sm
1973[nm), [cf2]Te Deum and Jubilate[cf1], ch. and org. ([sm1979[nm).[ep~[PN376,0
,0,L,I0][smkeyboard[nm: Pf. sonata ([sm1971[nm); [cf2]Prelude and Fugue[cf1], ~o
rg. ([sm1960[nm); [cf2]Pastorale and Paean[cf1], org. ([sm1973[nm).[ep~[smchildr
en[nm: [cf2]Herod, do your worst[cf1], nativity opera ~([sm1968[nm); [cf2]On Chr
istmas Eve[cf1], suite of carols for vv. ~and pf. ([sm1968[nm); [cf2]The Spider
Monkey Uncle King[cf1], ~opera pantomime ([sm1971[nm); [cf2]Half a Fortnight[cf1
], ~unison vv., pf., perc. ([sm1973[nm).[cm~[j1]Kelly, Frederick [fy75,1](Septim
us) ([cf2]b [cf1]Sydney, N.S.W., ~[sm1881[nm; [cf2]d [cf1]in action, Beaucourt-s
ur-Ancre, [sm1916[nm). ~Australian composer and pianist. Studied Frank~~furt und
er Knorr, [sm1903[nm=n[sm8[nm, then in London. As ~adviser to Classical Concert
Soc., London, pro~~moted contemporary mus. Comp. pf. pieces and
~other small works.[cm~Kelly, Michael [fy75,1]([cf2]b [cf1]Dublin, [sm1762[nm; [
cf2]d [cf1]Margate, ~[sm1826[nm). Irish ten. and composer. Studied with Arne ~an
d later with Rauzzini. D;aaebut Dublin [sm1779[nm in ~Piccinni opera, then furth
er study in Naples. Sang ~for [sm4[nm years at Vienna Court Opera, becoming ~fri
end of Mozart and creating roles of Basilio and ~Curzio in [cf2]Le Nozze di Figa
ro, [cf1][sm1786[nm. Sang in London ~[sm1787[nm; actor-man. King's Th., London,
[sm1793[nm. ~Comp. mus. for plays and songs. Retired [sm1811[nm. ~Wrote amusing
and informative [cf2]Reminiscences ~[cf1]([sm1826[nm; ed. R. Fiske, [sm1975[nm).
[cm~Kelterborn, Rudolf [fy75,1]([cf2]b [cf1]Basle, [sm1931[nm). Swiss com~~poser
 and cond. Studied in Basle, Salzburg (cond. ~with Markevich), and Detmold (comp
. with ~Fortner). Taught at Basle and at Detmold ([sm1960[nm=n~[sm8[nm). Prof. o
f comp. Z;auurich Musik[chhochschule from ~[sm1968[nm. Works incl. [sm2[nm opera
s, incl. [cf2]Ein Engel kommt ~nach Babylon [cf1](An Angel comes
 from Babylon) ~([sm1977[nm), oratorio [cf2]Die Flut, [cf1][sm3[nm syms. (incl.
No.[sm3[nm, ~[cf2]Espansioni, [cf1]for orch., bar., and tape), [sm3[nm str. qts.
, [sm2[nm ~chamber syms., octet, etc.[cm~Kemble, Adelaide [fy75,1]([cf2]b [cf1]L
ondon, [sm1814[nm; [cf2]d [cf1]Warsash, ~Hants., [sm1879[nm). Eng. sop. Concert
d;aaebut London ~[sm1835[nm. Went to It. to study with [fy45,1]*[fy75,1]Pasta. O
pera ~d;aaebut as Norma, Venice [sm1839[nm. Sang same role in ~Eng. at CG, [sm18
41[nm. Retired [sm1843[nm on marriage to ~E.|J. Sartoris.[cm~Kemp, Barbara [fy75
,1]([cf2]b [cf1]Kochem an der Mosel, [sm1881[nm; ~[cf2]d [cf1]Berlin, [sm1959[nm
). Ger. sop. Studied Strasbourg, ~d;aaebut there [sm1903[nm. Leading sop. Berlin
 Opera ~[sm1913[nm=n[sm31[nm. NY Met. [sm1922[nm=n[sm4[nm. Bayreuth Fest. (Senta
 ~and Kundry) [sm1914[nm=n[sm27[nm. Wife of Max von [fy45,1]*[fy75,1]Schill~~ing
s. Became stage dir. in Berlin in [sm1930[nms.[cm~Kemp, Ian [fy75,1]([cf2]b [cf1
]Edinburgh, [sm1931[nm). Scottish musi~~cologist and teacher. St
udied at Cambridge Univ. ~with R. Orr and P. Hadley. Worked for Schott's ~[sm195
4=n64[nm. Lect. in mus. Aberdeen Univ. [sm1964=n~71[nm, Cambridge Univ. [sm1972=
n6[nm. Prof. of mus. Leeds ~Univ. [sm1977=n81[nm, Manchester Univ. from [sm1981[
nm. ~Author of books on Tippett and Hindemith, ed. ~Vol. [sm13[nm [cf2]New Berli
oz Ed.[cf1][cm~Kempe, Rudolf [fy75,1]([cf2]b [cf1]Niederpoyritz, Dresden, [sm191
0[nm; ~[cf2]d [cf1]Z;auurich, [sm1976[nm). Ger. cond. Studied Dresden with ~F. [
fy45,1]*[fy75,1]Busch. Began career as oboist in Dortmund, ~becoming prin. obois
t Leipzig Gewandhaus Orch. ~[sm1929[nm=n[sm36[nm. R;aaep;aaetiteur and junior co
nd. Leipzig ~Opera [sm1936[nm=n[sm42[nm. Cond. d;aaebut Leipzig [sm1935[nm, ~Lor
tzing's [cf2]Der Wildsch;Auutz. [cf1]Cond. opera Chemnitz ~[sm1945[nm=n[sm8[nm,
Weimar [sm1948[nm=n[sm9[nm, Dresden [sm1949[nm=n[sm53[nm, ~Munich [sm1952[nm=n[s
m4[nm. CG d;Aaebut [sm1953[nm with Munich ~company. NY Met. [sm1954[nm=n[sm6[nm.
 Bayreuth from [sm1960[nm ~incl. new prod. of [cf2]Der Ring des
Nibelungen. [cf1]Cond. ~[cf2]Ring [cf1]cycles at CG [sm1955[nm=n[sm9[nm. Succeed
ed Beecham as ~chief cond. RPO [sm1961[nm=n[sm3[nm, art. dir. from [sm1964[nm, ~
prin. cond. for life from [sm1970[nm. Cond. Delius ~centenary fest. [sm1962[nm.
Art. dir. Tonhalle Orch., ~Z;auurich, [sm1965[nm=n[sm72[nm, Munich P.O. [sm1967[
nm. Prin. cond. ~BBC S.O. [sm1975[nm=n[sm6[nm. Recorded complete orch. works ~of
 R. Strauss.[cm~Kempen, Paul van [fy75,1]([cf2]b [cf1]Zoeterwoude, Leyden, ~[sm1
893[nm; [cf2]d [cf1]Hilversum, [sm1955[nm). Dutch cond. and ~violinist. Leader,
Concertgebouw Orch. under ~[fy45,1]*[fy75,1]Mengelberg. Cond. Dresden P.O. [sm19
34[nm=n[sm42[nm. ~Cond. Berlin State Opera [sm1940[nm, Aachen Opera ~[sm1942[nm.
 Chief cond. Hilversum Radio from [sm1949[nm, ~and in Bremen from [sm1953[nm.[cm
~Kempff, Wilhelm [fy75,1](Walter Friedrich) ([cf2]b [cf1]J;auuterbog, ~[sm1895[n
m). Ger. pianist and composer. Trained by his ~father and by Barth and Kahn in P
otsdam and ~Berlin. Reputation grew from [sm1916[nm as virtuoso
~pianist. Dir., Stuttgart Hochschule f;auur Musik, ~[sm1924[nm=n[sm9[nm. Noted f
or playing of Beethoven and ~classics. Comp. opera [cf2]King Midas, [cf1][sm2[nm
 syms., vn. ~conc., pf. conc., chamber mus., and choral works.[cm~Kennedy Center
 for Performing Arts. [fy75,1]Arts ~centre in Washington, D.C., opened in [sm197
1[nm and ~named in honour of late President J. F. Kennedy ~(assassinated [sm1963
[nm). Contains concert hall seating ~[sm2[nm,[sm700[nm, opera house ([sm2[nm,[sm
300[nm), and drama th. First ~event was [fy45,1]*[fy75,1]Bernstein's [cf2]Mass [
cf1](Sept. [sm1971[nm).[cm~Kennedy, Michael [fy75,1]([cf2]b[cf1] Chorlton-cum-Ha
rdy, ~Manchester, [sm1926[nm). Eng. critic, author, and ~journalist. On staff of
 [cf2]Daily Telegraph[cf1] in Man~~[chchester from [sm1941[nm (northern ed. from
 [sm1960[nm); staff ~mus. critic from [sm1950[nm. Author of histories of ~Hall;a
ae Orch. ([sm1960[nm and [sm1983[nm), RMCM ([sm1971[nm), and ~biog. studies of V
aughan Williams ([sm1964[nm), Elgar ~([sm1968[nm, rev. [sm1982[n
m), Barbirolli ([sm1971[nm), Mahler ~([sm1974[nm), Strauss ([sm1976[nm), and Bri
tten ([sm1981[nm). Ed., ~[cf2]Concise Oxford Dictionary of Music[cf1] ([sm3[nmrd
. ed. [sm1980[nm), ~[cf2]Oxford Dictionary of Music [cf1]([sm1[nmst ed. [sm1985[
nm). O.B.E. ~[sm1981[nm.[cm~Kennedy, Nigel [fy75,1]([cf2]b [cf1]Brighton, [sm195
6[nm). Eng. violin~~ist. Studied Yehudi Menuhin Sch. (initially as ~pianist). We
nt to Juilliard Sch., NY, [sm1972[nm. D;aaebut ~London [sm1977[nm. Rapidly went
to forefront of Eng. ~violinists. Toured Hong Kong and Australia as ~soloist wit
h Hall;aae Orch., [sm1981[nm. Amer. tour [sm1985[nm. ~Regarded as one of finest
exponents of Elgar conc. ~Regular jazz/improvisation concerts with S. ~[fy45,1]*
[fy75,1]Grappelli.[cm~Kennedy-Fraser, Marjory [fy75,1]([cf2]b [cf1]Perth, [sm185
7[nm; [cf2]d ~[cf1]Edinburgh, [sm1930[nm). Scots singer and collector of ~folk-s
ongs. As child, toured as accompanist to ~father, the singer David Kennedy ([sm1
825[nm=n[sm86[nm). ~[PN377,0,0,R,I0]Studied singing in Milan and
 with M. Marchesi ~in Paris. When widowed, taught singing and in ~[sm1905[nm vis
ited Outer Hebrides, where she began ~coll. of folk-songs which she arr. and pub
d. for v. ~and pf.[cm~Kent Bugle. [fy75,1]Obsolete (since [sm1815[nm) bugle with
 ~keys similar to saxophone. Invented [sm1810[nm by Irish ~bandmaster Halliday a
nd named after Duke of ~Kent, who took interest in it.[cm~Kent Opera. [fy75,1]En
g. opera company founded [sm1969[nm ~by Norman Platt and Roger Norrington. Regu~
~larly plays in Canterbury and Tunbridge Wells, ~but has toured widely in the so
uthern counties ~and has visited Manchester and various fests. ~Casts are mixtur
e of experienced and new singers, ~and repertory has extended from well-known ~V
erdi, Mozart, and Britten to rare works by ~Handel (f.p. of [cf2]Atalanta [cf1]s
ince [sm1736[nm in [sm1970[nm), ~Telemann, and others. Staged Tippett's [cf2]Kin
g Priam ~[cf1]in [sm1984=n5[nm season. Norrington's edns. of [sm3[nm Monte-[fjve
rdi operas ([cf2]The Coronation of Poppea[cf1], [cf2]Orfeo[cf1],
 and ~[cf2]The Return of Ulysses[cf1]) were given in [sm1974[nm, [sm1976[nm, ~an
d [sm1978[nm. In [sm1984[nm Ivan Fischer succeeded ~Norrington as mus. dir.[cm~K
entner, Louis [fy75,1](Philip) ([cf2]b [cf1]Karvinna, Hungary ~(now Czechoslovak
ia), [sm1905[nm). Hung.-born pianist ~(Brit. citizen [sm1946[nm). Studied Liszt
Acad., Budapest ~(pf. with Sz;aaekely, comp. with Kod;aaaly). Recital ~d;aaebut
[sm1920[nm, soon making int. reputation. Settled ~Eng. [sm1935[nm. NY d;aaebut [
sm1956[nm. Gave f. Hung. p. of ~Bart;aaok's [sm2[nmnd pf. conc., Budapest [sm193
3[nm, f.p. (with ~Ilona Kabos) of conc. for [sm2[nm pf. and perc., London ~[sm19
42[nm, and f.p. in Europe of [sm3[nmrd pf. conc., London ~[sm1946[nm. Noted play
er of Liszt. C.B.E. [sm1978[nm.[cm~Kenton, Stan[fy75,1](ley Newcomb) ([cf2]b [cf
1]Wichita, Kansas, ~[sm1912[nm; [cf2]d [cf1]Hollywood, [sm1979[nm). Amer. band l
eader, ~pianist, and composer. Protagonist of `progressive ~jazz'. Established r
eputation at ballroom in ~Balboa, Calif., where his [cf2]Peanut
Vendor[cf1] became a ~hit. Wrote ballet [cf2]Homage to the Princess[cf1], [sm195
6[nm, for ~wedding of Prince Rainier of Monaco to Amer. ~actress Grace Kelly. El
aborate arrs. a feature of his ~later style.[cm~Keraulophon [fy75,1](Gr.). Horn-
pipe voice. Rarely-~found metal labial org. stop of [sm8[nm;po pitch, resembling
 ~Fr. hn. in tone quality.[cm~Kerll [fy75,1](Kerl), [fy65][cf3]Johann [fy75,1](K
aspar) ([cf2]b [cf1]Adorf, Saxony, ~[sm1627[nm; [cf2]d [cf1]Munich, [sm1693[nm).
 Ger. organist and ~composer. Studied with Carissimi in Rome (and ~possibly with
 Frescobaldi). Kapellmeister, Mun~~ich [sm1656[nm=n[sm73[nm. Taught in Vienna [s
m1674[nm=n[sm7[nm, becom~~ing court organist [sm1677[nm=n[sm92[nm. Comp. operas,
 ~masses, motets, etc. Handel `borrowed' from one ~of his canzonas for ch. `Egyp
t was glad' in [cf2]Israel ~in Egypt.[cf1][cm~Kerman, Joseph [fy75,1](Wilfred) (
[cf2]b [cf1]London, [sm1924[nm). ~Amer. scholar and critic. Studied Princeton Un
iv. ~Prof. of mus., Univ. of Calif. since [sm1974[nm, having ~pr
eviously been on staff [sm1951[nm=n[sm71[nm. Prof. of mus. ~Oxford Univ. [sm1971
[nm=n[sm4[nm. Books incl. [cf2]Opera as Drama ~[cf1]([sm1956[nm, in which [cf2]T
osca [cf1]is described as `a shabby ~little shocker'), [cf2]The Beethoven Quarte
ts [cf1]([sm1967[nm).[cm~Kern, Adele [fy75,1]([cf2]b [cf1]Munich, [sm1901[nm; [c
f2]d [cf1]Munich, [sm1980[nm). ~Ger. sop. D;aaebut Munich [sm1924[nm. Frankfurt
Opera ~[sm1924[nm=n[sm9[nm. Vienna State Opera [sm1929[nm=n[sm30[nm, Munich ~Ope
ra [sm1937[nm=n[sm46[nm. CG d;aaebut [sm1931[nm. Salzburg Fest. ~[sm1927[nm=n[sm
35[nm. One of singers in famous Clemens ~[fy45,1]*[fy75,1]Krauss perfs. of Strau
ss and Mozart in Frankfurt, ~Munich, and Vienna.[cm~Kern, Jerome [fy75,1](David)
 ([cf2]b [cf1]NY, [sm1885[nm; [cf2]d [cf1]NY, [sm1945[nm). ~Amer. composer. Stud
ied with Paolo Gallico. ~Wrote his first successful song in [sm1904[nm. Comp. ~s
everal popular musicals incl. [cf2]Oh, Boy [cf1]([sm1917[nm), [cf2]Sally ~[cf1](
[sm1920[nm), [cf2]Sunny [cf1]([sm1925[nm), [cf2]Show Boat [cf1](
[sm1927[nm), [cf2]Music in ~the Air [cf1]([sm1932[nm), and [cf2]Roberta [cf1]([s
m1933[nm). [cf2]Show Boat ~[cf1]contained the songs `Ol' Man River', first sung
by ~Paul [fy45,1]*[fy75,1]Robeson, and `Can't help Lovin' dat Man of ~Mine'. Als
o comp. `Smoke Gets in your Eyes' (in ~[cf2]Roberta[cf1]) and other popular melo
dies, several ~being feat[chured in films.[cm~Kerr, Harrison [fy75,1]([cf2]b [cf
1]Cleveland, Ohio, [sm1897[nm; [cf2]d ~[cf1]Norman, Oklahoma, [sm1978[nm). Amer.
 composer. ~Studied Cleveland [sm1913[nm=n[sm20[nm, Amer. Cons., Fon~~[chtainebl
eau, [sm1921[nm (comp. with N. Boulanger). ~Various teaching and admin. posts in
 USA and ~worked as a critic. Works incl. [sm3[nm syms., vn. conc., ~[sm2[nm pf.
 sonatas, str. qt., pf. trio, vn. sonata, [cf2]Sinfonietta ~[cf1]for chamber orc
h., opera [cf2]The Tower of Kel.[cm~Kert;aaesz, Istv;aaan [fy75,1]([cf2]b [cf1]B
udapest, [sm1929[nm; [cf2]d [cf1]nr. Herzliya, ~Israel, [sm1973[nm). Hung.-born
cond. (Ger. naturaliza~~tion). Studied Liszt Acad., Budapest, an
d Rome. ~On staff Budapest Acad. [sm1952[nm=n[sm7[nm, then cond. at ~Gy;auor, Hu
ng., [sm1953[nm=n[sm5[nm. Cond. Budapest State Opera ~[sm1955[nm=n[sm7[nm, Augsb
urg [sm1958[nm=n[sm63[nm, Cologne Opera from ~[sm1964[nm, prin. cond. LSO, [sm19
65[nm=n[sm8[nm and guest cond. ~of most leading orchs. Brit. d;aaebut [sm1960[nm
 (Liver~~pool), Amer. d;aaebut [sm1961[nm, CG [sm1965[nm. Drowned ~while swimmin
g.[cm~Kes, Willem [fy75,1]([cf2]b [cf1]Dordrecht, [sm1856[nm; [cf2]d [cf1]Munich
, ~[sm1934[nm). Dutch cond. and violinist. Studied Leipzig ~Cons. and with Wieni
awski and Joachim. Leader ~of several Dutch orchs., first cond. Concertge~~bouw
of Amsterdam [sm1888[nm, Scottish Orch. [sm1895[nm=n~[sm8[nm. Cond. Moscow Phil.
 Soc. [sm1898[nm, dir. Moscow ~mus. sch. [sm1901[nm=n[sm5[nm. Dir., Koblenz orch
. and mus. ~sch. [sm1905[nm=n[sm26[nm.[cm~Ket;agelbey, Albert [fy75,1](William)
(Vodorinski, Anton) ~([cf2]b [cf1]Birmingham, [sm1875[nm; [cf2]d [cf1]Cowes, I.o
.W., [sm1959[nm). ~Eng. composer and cond. Studied TCL. Cond. ~L
ondon th. orchs. Comp. comic opera, [cf2]Concert~~[chst;auuck [cf1]for pf. and o
rch., wind quintet, but best ~known for orch. works such as [cf2]In a Monastery
~Garden [cf1]([sm1915[nm), [cf2]In a Persian Market [cf1]([sm1920[nm), [cf2]Bell
s ~Across the Meadows [cf1]([sm1921[nm), and [cf2]Sanctuary of the ~Heart [cf1](
[sm1924[nm).[cm~Kettledrum. [fy75,1]See [cf2]Drum.[cm~Kettledrum Mass [fy75,1](H
aydn). See [cf2]Paukenmesse.[xm[cm~[PN378,0,0,L,I0][j1]Key. [fy75,1]([sm1[nm) As
 a principle in mus. comp., implies ~adherence, in any passage, to the note-mate
rial of ~one of the major or minor scales (see [cf2]Scale[cf1])=mnot ~necessaril
y a rigid adherence (since other notes ~may incidentally appear), but a general
adherence, ~with a recognition of the [fy45,1]*[fy75,1]Tonic (or [fy45,1]*[fy75,
1]`key-note'=+=+) ~of the scale in question as a principal and ~governing factor
 in its effect. For instance we ~speak of a passage as being `in the key of=+=+=
+' C major, ~or F minor, and also use the same terms to ~describ
e a comp. (or movement) as a whole=min ~this latter case implying merely that th
e key ~mentioned is that in which the piece begins and ~sometimes but not always
 (e.g. Mahler) ends and ~is its governing one (see [cf2]Modulation[cf1]). If a p
iece in ~several movements is so spoken of it does not ~necessarily mean more th
an that the first move~~ment (usually also the last one) is in that key.[ep~^The
 element of key crept into European mus. ~in the early [sm17[nmth cent., as the
[fy45,1]*[fy75,1]Modes gradually ~fell out of use: it remained of supreme import
ance ~to the end of the [sm19[nmth cent. but in the [sm20[nmth cent., ~many comp
osers, led by [fy45,1]*[fy75,1]Schoenberg, have ~abandoned tonality. See [cf2]At
onal.[ep~^[cf1]([sm2[nm) A lever on an instr. which is depressed by ~finger or f
oot to produce a note, e.g. on a pf. by ~finger, on an org. by foot, on woodwind
 by finger ~(the levers covering the airholes).[cm~Keyboard. [fy75,1]([sm1[nm) A
 frame, or set, of [fy45,1]*[fy75,1]keys presented ~in a continu
ous arr. The purpose of kbds. is to ~enable the [sm2[nm hands (e.g. on pf. or ha
rmonium) or ~the [sm2[nm hands and [sm2[nm feet (org.) readily to control the ~s
ounds from a much larger number of str., reeds, ~or pipes than could otherwise b
e controlled. One ~standardized apparatus of this sort, which has ~been graduall
y developed over a long period, has ~come to be universally adopted: it is by no
 means ~the most convenient imaginable, but the con~~[chservatism of musicians w
ill probably prevent its ~supersession unless some drastic change in the ~scales
 used in mus. (e.g. by the general adoption ~of [fy45,1]*[fy75,1]Microtones) mak
es such a change imperative. ~The unchanging span of the octave is determined ~b
y the average span of the human hand.[ep~^The earliest kbd. was, apparently, tha
t of the ~org., used for perf. of sacred melodic plainsong. ~In those days, mus.
 was still modal and the longer ~finger-keys, as we still have them, were all th
at ~were needed. With the coming into use of the ~practice of [f
y45,1]*[fy75,2]musica ficta [cf1]a B;Yh was found to be ~desirable and space for
 it was made by placing a ~short finger-key between the A and B;Yj. (It appears
~that a few kbds. like this still existed as late as the ~beginning of the [sm17
[nmth cent.) Other finger-keys ~were similarly added, and our present-day kbd. ~
of [sm7[nm different long and broad keys and [sm5[nm short ~and narrow ones so c
ame into existence. This still ~leaves out many notes (e.g. B;Yi, if required, h
as to ~be played as C, F;Yh as E, etc.). The restricted no. of ~keys which the i
ndividual can manipulate, and ~the necessity of avoiding the high cost of ~provi
ding a large number of extra organ pipes, ~str., etc., precluded the provision o
f further ~finger-keys, and the difficulty was overcome by ~methods of tuning, a
t first, partially, with Mean-~tone tuning and then, fully, with Equal Tempera~~
[chment tuning (see [cf2]Temperament[cf1]). There have been ~a good many attempt
s at the invention of a kbd. ~which would be free (or largely fr
ee) from this ~principle of compromise, but whilst some of ~them have been scien
tifically interesting none ~has proved of practical value in mus. making. ~Vario
us ingenious inventions, such as the [fy45,1]*[fy75,1]Janko ~kbd., have also pro
ved ephemeral.[ep~^([sm2[nm) The term is also used generally, as in ~`keyboard w
orks', to indicate that the works may ~be played on more than one kind of kbd. i
nstr.[xm[cm~[ol0][ep~[xp[te~







[do31][j99]~~~~~~[sm153842[nm_K[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm003[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm28[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm93[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Keyboard
of Light. [fy75,1]See [cf2]Prometheus=mthe Poem of ~Fire.[cm~Key (Keyed) Bugle.
[fy75,1]Treble brass instr. of the ~[fy45,1]*[fy75,1]ophicleide type, introduced
 about [sm1810[nm but ~fading from the scene when the modern [fy45,1]*[fy75,1]co
rnet ~appeared. See also [cf2]Kent bugle.[cm~Keyed (Bass) Horn. [fy75,1]Not a hn
., but an improved ~form of [fy45,1]*[fy75,1]Serpent, without that instr.'s twis
ting ~shape.[cm~Key-note. [fy75,1]The prin. (and lowest) note of the scale ~out
of which a passage is constructed. Same as ~[fy45,1]*[fy75,2]Tonic.[cm~Keys, Ivo
r [fy75,1](Christopher Banfield) ([cf2]b [cf1]Littlehamp~~ton, [sm1919[nm). Eng.
 teacher, composer, and organist. ~Studied RCM ([sm1936[nm=n[sm8[nm). Ass. organ
ist Christ ~Church, Oxford, [sm1938[nm=n[sm40[nm, [sm1946[nm=n[s
m7[nm. Dir. of mus., ~Queen's Coll., Belfast, prof. [sm1951[nm. Prof. of mus. ~N
ottingham Univ. [sm1954[nm=n[sm68[nm, Birmingham Univ. ~[sm1968=n86[nm. Comps. i
ncl. cl. conc., vc. sonata, choral ~works. Frequent broadcaster. C.B.E. [sm1976[
nm.[cm~Key-Signature. [fy75,1]The sign, or no. of signs, written ~at the beginni
ng of each staff, to indicate the [fy45,1]*[fy75,1]key ~of the comp. Use of a ke
y-signature dispenses ~with the need to write [fy45,1]*[fy75,1]accidentals (shar
ps or ~flats) for the notes affected throughout the comp. ~The keys of C major a
nd A minor require no ~accidentals. The `natural' form of the minor scale ~deter
mines key-signature. Major and minor key-~signatures are indicated thus:[ep~[ln1
]^The white note in each case represents the major ~key, the black note the mino
r key with the same ~signature (called `Relative Minor').[ep~^It will be observe
d that, starting from C, the ~keynotes of the sharp keys rise [sm5[nm notes (a p
erfect ~[sm5[nmth) each remove, and that the keynotes of the ~fl
at keys fall [sm5[nm notes (a perfect [sm5[nmth) each remove.[ep~^It will also b
e observed that in the sharp major ~keys the keynote is immediately above the la
st ~sharp.[ep~^And that in the flat major keys the keynote is [sm4[nm ~notes bel
ow the last flat (i.e. is at the pitch of the ~last flat but one in the signatur
e).[ep~^And that [sm3[nm notes down any major scale we come ~to the keynote of i
ts relative minor or, conversely, ~[PN379,0,0,R,I0][sm3[nm notes up any minor sc
ale we come to the ~keynote of its relative major.[ep~^Note that keys with [sm6[
nm sharps (F;Yi major and D;Yi ~minor) are (on kbd. instr.) the equivalents of t
he ~keys with [sm6[nm flats (G;Yh major and E;Yh minor), and ~that keys with [sm
7[nm sharps (C;Yi major and A;Yi minor) ~are the equivalents of the keys with [s
m5[nm flats (D;Yh ~major and B;Yh minor). Thus composers use either ~one or the
other of these signatures, but it is ~much easier to write in D;Yh with [sm5[nm
flats than in ~C;Yi with [sm7[nm sharps.[ep~^The order of the sh
arps in the signatures is by ~rising [sm5[nmths, and the order of the flats by f
alling ~[sm5[nmths.[ep~[cf2]Sharps=m[cf1]F^C^G^D^A^E^B=m[cf2]Flats[qc~[el3][cf1]
Thus, one order is the other reversed.[cm~Khachaturian, Aram [fy75,1](Ilyich) ([
cf2]b [cf1]Tbilisi (Tiflis), ~[sm1903[nm; [cf2]d [cf1]Moscow, [sm1978[nm). Armen
ian composer. ~Planned to be biologist, but at [sm19[nm became vc. ~student at G
nessin Sch., Moscow, later joining ~comp. class as pupil of Mikhail Gnessin. In
[sm1929[nm ~entered Moscow Cons. as pupil of Miaskovsky. ~His Trio ([sm1932[nm)
attracted the attention of Proko~~fiev, who arranged perf. in Paris. His [sm1[nm
st Sym. ~([sm1934[nm) was a success at its f.p. in April [sm1935[nm, but ~even g
reater was that of his pf. conc. ([sm1936[nm). Held ~various state posts. His [s
m2[nmnd Sym. and vc. conc. ~incurred official disapproval in [sm1948[nm and he ~
switched to comp. of film mus. In [sm1950[nm he began ~to teach at Gnessin Insti
tute and Moscow Cons. ~and developed as cond. of his own works,
~travelling to It., Eng., Latin America, and ~elsewhere. In [sm1956[nm his balle
t [cf2]Spartacus [cf1]was ~acclaimed by Moscow critics as a masterpiece. His ~mu
s. is colourful and has continued the nationalist ~tradition of the St Petersbur
g sch. Prin. works:[xm[cm~[j2][smballets[nm: [fy75,2]Happiness [cf1]([sm1939[nm)
; [fy45,1]*[fy75,2]Gayane [cf1](incorporating ~mus. from [cf2]Happiness[cf1]) ([
sm1940[nm=n[sm2[nm, rev. [sm1952[nm; [sm2[nmnd ~version with new plot [sm1957[nm
); [fy45,1]*[fy75,2]Spartacus [cf1]([sm1954[nm, ~rev. [sm1968[nm).[ep~[smorch an
d chorus[nm: Syms.: No.[sm1[nm in E minor ([sm1934[nm), ~No. [sm2[nm in A minor
([sm1943[nm), No. [sm3[nm  ([sm1947[nm); [cf2]Dance ~Suite [cf1]([sm1932[nm=n[sm
3[nm); [cf2]Poem about Stalin, [cf1]with ch. ([sm1938[nm); ~[sm3[nm [cf2]Suites
[cf1]from [cf2]Gayane [cf1]([sm1943[nm); [cf2]Ode in memory of ~Lenin [cf1]([sm1
948[nm); [sm4[nm [cf2]Suites [cf1]from [cf2]Spartacus [cf1](Nos. [sm1=n3[nm, ~[s
m1955=n7[nm, No. [sm4[nm, [sm1967[nm); [cf2]Ode of Joy, [cf1]mez
. and ch. ~([sm1956[nm); [cf2]Lermontov [cf1]Suite ([sm1959[nm).[ep~[smconcertos
[nm: Pf. in D;Yh major ([sm1936[nm); Vn. in D ~minor ([sm1940[nm); Vc. in E majo
r ([sm1946[nm); conc.-~rhapsody for pf. ([sm1955[nm, rev. [sm1961[nm); conc.-~rh
apsody for vn. ([sm1961[nm); conc.-rhapsody for vc. ~([sm1962[nm).[ep~[smchamber
 music[nm: Vn. sonata in D ([sm1932[nm); Trio for ~pf., cl., and vn. ([sm1932[nm
).[ep~[smpiano[nm: [cf2]Poem [cf1]([sm1927[nm); [sm7[nm [cf2]Recitatives and Fug
ues ~[cf1]([sm1928[nm=n[sm66[nm); [cf2]Suite [cf1]([sm1932[nm); [sm3[nm [cf2]Mar
ches [cf1]([sm1929[nm=n[sm34[nm); ~sonatina in C ([sm1958[nm); sonata ([sm1961[n
m).[ep~[smincidental music[nm: [cf2]Macbeth [cf1]([sm1934[nm, [sm1955[nm); [cf2]
King Lear ~[cf1]([sm1958[nm).[ep~[smfilms[nm: [cf2]Lenin [cf1]([sm1948[nm=n[sm9[
nm); [cf2]Battle of Stalingrad [cf1]([sm1949[nm); ~[cf2]Othello [cf1]([sm1955[nm
).[cm~[j1]Khamma. [fy75,1]Ballet-pantomime in [sm3[nm scenes ([cf2]l;aaegende ~d
ans;aaee[cf1]) by Debussy, scenario by W. L. Courtney ~and Maud
Allan. Comp. and pubd. [sm1911=n12[nm with ~pf. acc. Prelude orch. Debussy, rest
 by Koechlin ~under composer's supervision, [sm1912=n3[nm, f.p. Paris ~[sm1924[n
m. First stage perf. Paris [sm1947[nm.[cm~Khovanshchina [fy75,1](The Khovansky A
ffair). Unfin~~ished opera in [sm5[nm acts by Mussorgsky to lib. by ~composer an
d V. Stasov. Completion and orch. ~by Rimsky-Korsakov, prod. St Petersburg [sm18
86[nm, ~Paris and London [sm1913[nm in version (now lost) ~altered by Stravinsky
 and Ravel, Philadelphia ~[sm1928[nm. Later completed by Shostakovich ([sm1959[n
m).[cm~Khrennikov, Tikhon [fy75,1](Nikolayevich) ([cf2]b [cf1]Elets, ~[sm1913[nm
). Russ. composer. Studied at Moscow Cons. ~with Shebalin. Held various official
 Soviet posts; ~as sec.-gen. of Union of Soviet Composers, ~denounced Prokofiev
and others for [fy45,1]*[fy75,1]`formalism' ~in [sm1948[nm. Became leader of Sov
iet Composers' ~Union, retaining post for over [sm25[nm years. Teacher ~of comp.
, Moscow Cons. from [sm1963[nm. Works incl. ~[sm3[nm operas, [sm
3[nm syms., vc. conc., vn. conc., [sm2[nm pf. concs., ~songs, and film scores.[c
m~Kidson, Frank [fy75,1]([cf2]b [cf1]Leeds, [sm1855[nm; [cf2]d [cf1]Leeds, [sm19
26[nm). ~Eng. scholar of folk-song and dance. One of ~founders of Folk-Song Soc.
 Authority on Brit. ~mus. publishing [sm1558[nm=n[sm1830[nm.[cm~Kienzl, Wilhelm
[fy75,1]([cf2]b [cf1]Waizenkirchen, [sm1857[nm; [cf2]d ~[cf1]Vienna, [sm1941[nm)
. Austrian composer. Studied at ~Prague and Leipzig Univs. and with Liszt at ~We
imar. Adopted Wagnerian principles for his [sm9[nm ~operas and mus. plays, most
successful being [cf2]Der ~Evangelimann [cf1](The Evangelist) ([sm1894[nm).[cm~K
iepura, Jan [fy75,1]([cf2]b [cf1]Sosnowiec, [sm1902[nm; [cf2]d [cf1]NY, [sm1966[
nm). ~Polish ten. Studied Warsaw. D;Aaebut Lw;aaow [sm1924[nm ~as Faust. Sang le
ading operatic roles in Vienna, ~Berlin, Milan, Budapest, and Buenos Aires [sm19
26[nm=n~[sm39[nm. NY Met. [sm1938[nm=n[sm41[nm, d;Aaebut as Rodolfo in [cf2]La ~
[PN380,0,0,L,I0]Boh;Ageme. [cf1]Made career in films. Sang with
wife, ~Hung. sop. Marta Eggerth ([cf2]b [cf1][sm1912[nm).[cm~Kilpinen, Yry;auo [
fy75,1]([cf2]b [cf1]Helsinki, [sm1892[nm; [cf2]d [cf1]Helsinki, ~[sm1959[nm). Fi
nn. composer and critic. Studied Helsinki ~Cons. and in Berlin and Vienna. Mus.
critic in ~Helsinki [sm1919[nm=n[sm31[nm. Taught at Helsinki Cons. State ~pensio
n enabled him to compose. Wrote over [sm800[nm ~songs, also pf. sonatas, etc.[cm
~Kindermann, Johann Erasmus [fy75,1]([cf2]b [cf1]Nuremberg, ~[sm1616[nm; [cf2]d
[cf1]Nuremberg, [sm1655[nm). Ger. composer and ~organist. By [sm15[nm was singin
g and playing vn. in ~concerts in Frauenkirche, Nuremberg. Went to ~It. [sm1635[
nm, possibly becoming pupil of Monte[chverdi ~and Cavalli. In [sm1640[nm became
org. of Egidi~~enkirche, Nuremberg, being also in demand as ~teacher. His [cf2]H
armonia organica [cf1]([sm1645[nm) contains [sm25[nm ~contrapuntal pieces. Comp.
 over [sm100[nm pieces for ~wind or strings and many for str. and hpd. ~Perhaps
the first Ger. composer to employ ~[fy45,1]*[fy75,1]scordatura.[
cm~Kinderscenen [fy75,1](Scenes from childhood). Suite of ~[sm13[nm pieces for p
f. by [fy45,1]*[fy75,1]Schumann, Op. [sm15[nm, comp. ~[sm1838[nm. No. [sm7[nm is
 [fy45,1]*[fy75,2]Tr;auaumerei.[cm~Kindertotenlieder [fy75,1](Songs of the death
 of child~~[chren). Song-cycle of [sm5[nm songs for bar. (or cont.) and ~orch. o
r pf. by [fy45,1]*[fy75,1]Mahler, to poems by R;auuckert. ~Comp. [sm1901[nm=n[sm
4[nm, pubd. [sm1905[nm, f.p. Vienna [sm1905[nm.[cm~Kindler, Hans [fy75,1]([cf2]b
 [cf1]Rotterdam, [sm1892[nm; [cf2]d [cf1]Watch ~Hill, Rhode Island, [sm1949[nm).
 Dutch-born (later ~Amer. citizen) cellist and cond. Studied Rotter~~dam Cons. S
olo cellist with Berlin P.O. [sm1910[nm. ~Went to USA [sm1914[nm, prin. cellist
Philadelphia ~Orch. [sm1914[nm=n[sm21[nm. Took up cond. [sm1927[nm. Founded ~Nat
. S.O., Washington, D.C., [sm1931[nm, remaining ~cond. until [sm1948[nm.[cm~King
, Alec [fy75,1](Alexander) [fy65][cf3]Hyatt [fy75,1]([cf2]b [cf1]Beckenham, ~[sm
1911[nm). Eng. librarian, bibliographer, and critic. ~Joined sta
ff Brit. Museum [sm1934[nm. Supt., mus. room ~at BM, [sm1944[nm=n[sm76[nm. Autho
rity on Mozart, Handel, ~and mus. printing.[cm~King Arthur, or The British Worth
y. [fy75,1]Semi-~opera in prol., [sm5[nm acts, and epilogue by Purcell to ~lib.
by Dryden, but really a play with extensive ~mus. Prod. London [sm1691[nm, NY [s
m1800[nm.[cm~King Christian II. [fy75,1]Play by Adolf Paul for which ~in [sm1898
[nm [fy45,1]*[fy75,1]Sibelius wrote incidental mus., suite ~from it ([sm7[nm mov
ements) being his Op. [sm27[nm.[cm~Kingdom, The. [fy75,1]Oratorio, Op. [sm51[nm,
 by Elgar for [sm4[nm ~soloists, ch., and orch. to words selected from the ~Bibl
e. Comp. [sm1901[nm=n[sm6[nm. Sequel to [cf2]The [fy45,1]*[fy75,2]Apostles. [cf1
]F.p. ~Birmingham [sm1906[nm.[cm~King, James [fy75,1]([cf2]b [cf1]Dodge City, [s
m1925[nm). Amer. tenor. ~Began career as bar. Teachers incl. Max Lorenz. ~Prof.
opera d;aaebut Florence [sm1961[nm (Cavaradossi in ~[cf2]Tosca[cf1]). Made caree
r mainly in European opera ~houses, singing Strauss's Bacchus in
 Vienna [sm1963[nm, ~Siegmund at Bayreuth [sm1965[nm, and Calaf in Milan ~[sm196
8[nm. Sang Emperor in [cf2]Die Frau ohne Schatten [cf1]at ~NY Met. ([sm1966[nm)
and CG ([sm1967[nm).[cm~King Lear. [fy75,1]Mus. works inspired by Shakespeare's
~play ([sm1606[nm) incl. ([sm1[nm) ov. by Berlioz, Op. [sm4[nm, comp. ~[sm1831[n
m;[ep~^([sm2[nm) ov. and incid. mus. by Balakirev, [sm1859[nm=n[sm61[nm;[ep~^([s
m3[nm) [sm2[nm movements of incid. mus. by Debussy ~[sm1904[nm;[ep~^([sm4[nm) op
era by Reimann, [sm1978[nm.[ep~^([sm5[nm) mus. by Shostakovich, comp. [sm1970[nm
, for Russ. ~film of Shakespeare's play in B. Pasternak's trans.[ep~^Various ope
ra composers, incl. Verdi and Brit~~ten, have contemplated but abandoned [cf2]Ki
ng Lear[cf1] ~projects.[cm~King of Prussia Quartets. [fy75,1]Title given to the
last ~[sm3[nm str. qts. written by Mozart=mNo. [sm21[nm in D, K[sm575[nm ~([sm17
89[nm), No. [sm22[nm in B;Yh, K[sm589[nm ([sm1790[nm) and No. [sm23[nm[fj~in F,
K[sm590[nm ([sm1790[nm)=mcommissioned by King[fj~Friedrich Wilhe
lm II of Prussia, a cellist (hence ~the prominent vc. parts). [sm6[nm were reque
sted, but ~only [sm3[nm written.[cm~King Olaf, Scenes from the Saga of. [fy75,1]
Cantata, ~Op. [sm30[nm, by Elgar for sop., ten., and bass soloists, ~ch., and or
ch. on text by Longfellow with ~additions by Acworth. Comp. [sm1894[nm=n[sm6[nm,
 f.p. Han~~ley, Staffs, [sm1896[nm, London (Crystal Palace) [sm1897[nm.[cm~King
Priam. [fy75,1]Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Tippett to his ~own lib
. based on Homer's [cf2]Iliad. [cf1]Comp. [sm1958[nm=n[sm61[nm. ~Prod. Coventry
[sm1962[nm, Karlsruhe [sm1963[nm, London ~(concert) [sm1980[nm, Canterbury (and
tour) by Kent ~Opera [sm1984=n5[nm, CG [sm1985[nm (cond. E. Howarth).[cm~King, R
obert [fy75,1]([cf2]=+=+=+=+fl. [cf1]London [sm1676[nm=n[sm1728[nm). Eng. ~compo
ser of songs and th. mus. Member of ~Charles II's band from [sm1680[nm remaining
 in royal ~band until [sm1728[nm. Promoted public concerts in ~London from [sm16
89[nm.[cm~King Roger [fy75,1]([cf2]Kr;Aaol Roger[cf1]). Opera in
 [sm3[nm acts by ~[fy45,1]*[fy75,1]Szymanowski to lib. by J. Iwaszkiewicz and ~c
omposer. Comp. [sm1918[nm=n[sm24[nm. Prod. Warsaw [sm1926[nm, ~Palermo [sm1949[n
m, London [sm1975[nm.[cm~King's Singers, The. [fy75,1]Male-v. ens. of [sm6[nm si
ngers ([sm2[nm ~counterten., ten., [sm2[nm bar., bass) formed in [sm1968[nm ~and
 so called because orig. members, with one ~Oxonian exception, were choral schol
ars at King's ~College, Cambridge. Specialize in part-songs and ~in arrs. of var
ious genres, incl. humorous songs. ~Range from Monteverdi to No;Auel Coward, wit
h ~several works written specially for them by ~contemporary composers.[cm~King
Stag [fy75,1](Henze). See [cf2]K;auonig Hirsch.[cm~King, Thea [fy75,1]([cf2]b [c
f1]Hitchin, [sm1925[nm). Eng. clarinettist. ~Studied at RCM with F. Thurston (wh
om she ~married [sm1953[nm). Prin. cl. London Mozart Players ~[sm1956[nm=n[sm64[
nm, ECO from [sm1964[nm. Member of Melos ~Ens. from [sm1974[nm. On staff RCM fro
m [sm1961[nm. ~Specialist in [sm20[nmth cent. Brit. mus., but ha
s also ~revived [sm18[nmth and [sm19[nmth cent. works for cl., e.g. ~those by Cr
usell.[cm~[PN381,0,0,R,I0]King, William [fy75,1]([cf2]b [cf1]Winchester, [sm1624
[nm; [cf2]d [cf1]Oxford, ~[sm1680[nm). Eng. composer and organist. Organist, ~Ne
w Coll., Oxford, from [sm1664[nm. Comp. songs, ~ayres, church mus.[cm~Kinsky, Ge
org [fy75,1]([cf2]b [cf1]Marienwerder, [sm1882[nm; [cf2]d[fj~[cf1]Berlin, [sm195
1[nm). Ger. musicologist. Teacher at[fj~Cologne Univ. [sm1921[nm=n[sm32[nm. Prep
ared catalogue of ~Beethoven's works, completed after his death by ~Hans Halm, p
ubd. [sm1955[nm.[cm~Kipnis, Alexander [fy75,1]([cf2]b [cf1]Zhitomir, Ukraine, [s
m1891[nm; ~[cf2]d [cf1]Westport, Conn., [sm1978[nm). Russ.-born bass (Amer. ~cit
izen from [sm1931[nm). Studied Warsaw, graduating ~as cond., then in Berlin. San
g in operetta, Berlin ~[sm1913[nm. Hamburg Opera [sm1915[nm=n[sm17[nm, Wiesbaden
 ~[sm1917[nm=n[sm22[nm, Berlin St;auadtische Oper from [sm1919[nm, ~Berlin State
 Opera from [sm1930[nm. Left Ger. [sm1935[nm. ~Vienna Opera [sm1
935[nm=n[sm8[nm. US d;aaebut, Baltimore [sm1923[nm, ~Chicago Opera [sm1923[nm=n[
sm32[nm, NY Met. [sm1940[nm=n[sm6[nm. D;aaebut ~at CG [sm1927[nm, returning [sm1
929[nm=n[sm35[nm as Hagen, King ~Mark, etc. Sang at Bayreuth Fest. [sm1927[nm=n[
sm33[nm, ~Glyndebourne ([sm1936[nm, Sarastro), and Salzburg. ~Also notable Liede
r singer. Taught at Juilliard ~Sch., NY, till he was past [sm80[nm.[cm~Kipnis, I
gor [fy75,1]([cf2]b [cf1]Berlin, [sm1930[nm). Amer. harpsichord~~ist and critic,
 son of Alexander [fy45,1]*[fy75,1]Kipnis. Studied ~Harvard Univ. Worked for rad
io until taking up ~hpd. D;aaebut [sm1959[nm. Contrib. to periodicals.[cm~Kirbye
, George [fy75,1]([cf2]b c.[cf1][sm1565[nm; [cf2]d [cf1]Bury St Edmunds, ~[sm163
4[nm). Eng. composer of motets and madrigals. ~Contribution to East's Psalter, [
sm1592[nm. His [sm6[nm-part ~[cf2]Bright Phoebus [cf1]was incl. in [cf2]The [fy4
5,1]*[fy75,2]Triumphs of Oriana.[cm~Kirchner, Leon [fy75,1]([cf2]b [cf1]Brooklyn
, NY, [sm1919[nm). Amer. ~composer and pianist. Studied mostly i
n Los ~Angeles, with Stravinsky, Schoenberg, Toch, and ~Klemperer, and later wit
h Bloch and Sessions. ~Taught at Univ. of S. Calif., Mills Coll., and ~Harvard U
niv. (since [sm1961[nm, becoming prof. of ~mus. [sm1966[nm). Comp., in idiom of
Berg and ~Schoenberg but not [sm12[nm-note, incl.: [cf2]Sinfonia, [cf1][sm2[nm p
f. ~concs., [sm3[nm str. qts., conc. for vn., vc., [sm10[nm winds, and ~perc., p
f. sonata, choral mus.[cm~Kirckman, Jacob [fy75,1]([cf2]b[cf1] Bischweiler, nr.
Strasbourg, ~[sm1710[nm; [cf2]d[cf1] Greenwich, [sm1792[nm). Ger. organist and ~
composer. Settled in Eng. [cf2]c.[cf1][sm1730[nm to work for ~Tabel, hpd.-maker,
 and became first of line of ~distinguished hpd.-makers. Organist, St George's,
~Hanover Square. Wrote several org. pieces. ~Succeeded by nephew, Abraham, who e
xtended ~business to pf. manufacture. Business merged ~with Collard, [sm1898[nm.
[cm~Kirkby, Emma [fy75,1]([cf2]b [cf1]Camberley, [sm1949[nm). Eng. ~soprano. Stu
died Classics at Oxford and taught ~before [sm1974[nm London d;a
aebut. Specialist in early ~mus. and has sung with Academy of Ancient ~Music, Lo
ndon Baroque, and Consort of Musicke. ~Amer. d;aaebut [sm1978[nm and three tours
 of Middle East ~with lutenist Anthony Rooley. Repertory ranges ~from the Italia
n quattrocentro to arias by Handel, ~Mozart, and Haydn.[cm~Kirkby-Lunn, Louise [
fy75,1]([cf2]b [cf1]Manchester, [sm1873[nm; [cf2]d ~[cf1]London, [sm1930[nm). En
g. mez. Studied Manchester ~and RCM. D;aaebut London [sm1893[nm in Schumann's ~[
cf2]Genoveva. [cf1]D;aaebut CG [sm1896[nm. Carl Rosa Opera [sm1897[nm=n~[sm9[nm,
 CG [sm1901[nm=n[sm14[nm, [sm1919[nm=n[sm22[nm, NY Met. [sm1902[nm=n[sm3[nm, [sm
1906[nm=n~[sm8[nm, [sm1912[nm=n[sm14[nm. Notable in Wagner roles. Sang Elgar's ~
[cf2]Sea Pictures [cf1]in NY with Mahler cond. [sm1910[nm.[cm~Kirkpatrick, John
[fy75,1]([cf2]b [cf1]NY, [sm1905[nm). Amer. pianist. ~Studied Princeton Univ. an
d in Paris with N. ~Boulanger and Nouneberg. Member of mus. ~faculty, Cornell Un
iv. from [sm1946[nm. Gave famous ~perf. of Ives's [fy45,1]*[fy75
,2]Concord Sonata, [cf1]NY, Jan. [sm1939[nm.[cm~Kirkpatrick, Ralph [fy75,1]([cf2
]b [cf1]Leominster, Mass., [sm1911[nm; ~[cf2]d [cf1]Guilford, Mass., [sm1984[nm)
. Amer. harpsichordist. ~Studied in Paris with [fy45,1]*[fy75,1]Landowska and [f
y45,1]*[fy75,1]Boulan~~ger. D;aaebut, Cambridge, Mass., [sm1930[nm. Prof. of ~mu
s., Univ. of Calif. [sm1964[nm, Yale Univ. [sm1940[nm=n[sm76[nm ~(prof. from [sm
1965[nm). Biography of Domenico ~Scarlatti ([sm1953[nm) incorporated catalogue o
f his ~works which has been accepted as definitive, ~works being given [fy45,1]*
[fy75,1]`K' nos. Ed. of over [sm60[nm ~Scarlatti sonatas, J. S. Bach's [cf2]Gold
berg Variations, ~[cf1]etc.[cm~Kirnberger, Johann Philipp [fy75,1]([cf2]b [cf1]S
aalfeld, Thurin~~gia, [sm1721[nm; [cf2]d [cf1]Berlin, [sm1783[nm). Ger. composer
. Pupil ~of J. S. Bach [sm1739[nm=n[sm41[nm. Wrote many choral works ~and fugues
 for [cf2]Klavier, [cf1]also theoretical treatises. ~Violinist in service of Fre
derick the Great, [sm1751[nm=n~[sm4[nm.[cm~Kirshbaum, Ralph [fy7
5,1]([cf2]b [cf1]Denton, Texas, [sm1946[nm). ~Amer. cellist and cond. Studied Da
llas with ~Aronson and at Yale Univ. with Parisot, then in ~Paris. D;aaebut with
 orch. Dallas [sm1959[nm. Settled in ~London [sm1971[nm. NY d;aaebut [sm1975[nm.
 Plays in pf. trio ~with Gy;auorgy Pauk (vn.) and Peter Frankl (pf.).[cm~Kiss, T
he [fy75,1]([cf2]Hubi;Akcka[cf1]). Opera in [sm3[nm acts by Smetana, ~comp. [sm1
875[nm to lib. by E. Kr;aaasnohorsk;aaa, after story ~by J. Mu;Akz;aaakov;aaa ([
sm1871[nm). Prod. Prague [sm1876[nm, ~Liverpool [sm1938[nm.[cm~Kissentanz [fy75,
1](Ger.). [fy45,1]*[fy75,1]Cushion Dance.[cm~Kit. [fy75,1]Pocket fiddle, about [
sm16[nm;pp in length, used by ~dancing masters in the [sm18[nmth and early [sm19
[nmth cents.[cm~Kitezh, The Tale of the Invisible City of [fy75,1](Rimsky-Korsak
ov). See ~[cf2]Invisible City of Kitezh, The.[cm~Kithara. [fy75,1]Ancient Gr. st
r. instr. shaped like lyre ~but plucked by fingers.[cm~Kitchen Department. [fy75
,1]Humorous term referring ~to orch.'s perc. section.[cm~Kittl,
Johann Friedrich [fy75,1](=+=+=+=+Jan Bed;akrich) ([cf2]b [cf1]Orlik ~nad Vltavo
u, [sm1806[nm; [cf2]d [cf1]Lissa, [sm1868[nm). Ger.-Bohemian ~composer. Dir., Pr
ague Cons. [sm1843[nm=n[sm65[nm. Friend of ~Wagner, who gave him his lib. [cf2]D
ie Franzosen vor ~Nizza [cf1]which he comp. as [cf2]Bianca und Giuseppe ~[cf1]([
sm1848[nm). Also wrote [sm3[nm other operas, [sm4[nm syms., ~chamber mus., songs
.[cm~Kjerulf, Halfdan [fy75,1](Charles) ([cf2]b [cf1]Christiania, [sm1815[nm; ~[
cf2]d [cf1]Grefsen, [sm1868[nm). Norweg. composer, nationalist ~[PN382,0,0,L,I0]
in feeling. Studied law but took up journalism in ~[sm1840[nm while studying mus
. theory, eventually at ~Leipzig ([sm1850[nm=n[sm1[nm). Returned to Norway as pf
. ~teacher. Wrote over [sm100[nm songs, many being ~settings of Bj;Uprnson, chor
al and pf. comps. His ~songs combined influence of Ger. Lieder with ~Norweg. fol
k mus., paving the way for Grieg.[cm~Kl. [fy75,1]Abbreviation for [cf2]Klarinett
e [cf1](Ger.), i.e. [fy45,1]*[fy75,1]Clari~~net.[cm~Kl. Fl. [fy7
5,1]Abbreviation for [cf2]kleine Fl;auote [cf1](Ger.), i.e. ~[fy45,1]*[fy75,1]Pi
ccolo.[cm~Klafsky, Katharina [fy75,1]([cf2]b [cf1]Sz. J;aaanos, Hungary, [sm1855
[nm; ~[cf2]d [cf1]Hamburg, [sm1896[nm). Hung. sop. In ch. of Vienna ~Komische Op
er [sm1874[nm. Tuition from M. Marchesi. ~Sang opera at Leipzig [sm1876[nm=n[sm8
6[nm. London d;aaebut ~[sm1882[nm in [cf2]Die Walk;auure. [cf1]Hamburg Opera [sm
1886[nm=n[sm95[nm. ~Sang in London [sm1892[nm, under Mahler, in roles of ~Leonor
e ([cf2]Fidelio[cf1]), Br;auunnhilde, and Isolde. Re~~turned [sm1894[nm, adding
Elsa and Agathe ([cf2]Freisch;auutz[cf1]). ~Married cond. Otto [fy45,1]*[fy75,1]
Lohse [sm1895[nm. Prin. sop., ~Damrosch Ger. Opera, NY, [sm1895[nm=n[sm6[nm.[xm[
cm~[ls1][bm2][cc27][ol7][ep~Sharp_ Flat_ Major_ Minor_ Major_ Minor[ep~[ol4][ep~
_C____G____^D____|A____^E_____B____^|F;yi____^C;yi[ep~[ol4][ep~_A____E____^B____
F;yi___^|C;yi^____G;yi^____D;yi____|^A;yi[ep~[ol4][ep~_C____F____B;yh____E;yh___
_A;yh____^D;yh____^|G;yh_____C;yh[ep~[ol4][ep~_A____D____G____C_
___|F____^|B;yh____^|E;yh_____A;yh[ep~[ol8][ep~[ol0][ep~[em[lx[cc13][xp[te~












[do31][j99]~~~~~~[sm153842[nm_K[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm004[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm28[nm.[sm9[nm.[s
m79[nm[cm[sm1[nm[cm[sm147[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[ol0][ep~[j1]Klage
nde Lied, Das [fy75,1](The Song of Sorrow). ~Cantata by [fy45,1]*[fy75,1]Mahler,
 to his own text, for sop., ~cont., ten., bass, ch., and orch. Orig. version in
[sm3[nm ~parts [sm1880[nm: [sm1[nm. [cf2]Waldm;auarchen [cf1](Forest Legend), [s
m2[nm. ~[cf2]Der Spielmann [cf1](The Minstrel), [sm3[nm. [cf2]Hochzeitst;auuck ~
[cf1](Wedding Piece). Rev. [sm1888[nm into [sm2[nm parts, [cf2]Wald~~m;auarchen
[cf1]being omitted. Further rev. [sm1893[nm=n[sm1902[nm. ~F.p. Vienna [sm1901[nm
. F.p. of complete orig. version: ~Vienna (radio) [sm1935[nm. F. Eng. p. of rev.
 version, ~London [sm1956[nm, cond. W. Goehr, of orig. version, ~London [sm1970[
nm, cond. Boulez.[cm~Klangfarbenmelodie [fy75,1](Ger.). Melody of tone ~colours.
 Term introduced by Schoenberg in his ~[cf2]Harmonielehre [cf1](
[sm1911[nm) to describe the contrasts in ~timbre which he introduced in the [sm3
[nmrd of his [sm5[nm ~[cf2]Orchestral Pieces [cf1]([sm1909[nm) and which now con
stitute ~a structural element in modern comp. comparable ~in importance with pit
ch, duration, etc. Further ~explorations into the possibilities of melodic ~cons
truction with points of tone colour were ~carried out by Webern.[cm~Klappenhorn
[fy75,1](from Ger., [cf2]Klappen, [cf1]keys). [fy45,1]*[fy75,1]Key ~Bugle.[cm~Kl
arinette(n) [fy75,1](Ger.). [fy45,1]*[fy75,1]Clarinet(s).[cm~Klaviatur [fy75,1](
Ger.). [fy45,1]*[fy75,1]Keyboard.[cm~Klavier [fy75,1](Clavier) (Ger.). Keyboard.
 Term for pf., ~hpd., clavichord, or any other domestic kbd. instr. ~In Eng. the
 word is chiefly used as synonym for ~organ manual.[cm~Klavierauszug [fy75,1](Ge
r.). Pf. arr.[cm~Klavierb;auuchlein [fy75,1](Little keyboard-book). Title ~given
 by J. S. Bach to [sm3[nm colls. of his kbd. mus.: ([sm1[nm) ~Pieces for the ins
truction of his eldest son, ~Wilhelm Friedemann [fy45,1]*[fy75,1
]Bach, [sm1720[nm.[ep~^([sm2[nm) Similar but small coll. for his [sm2[nmnd wife,
 Anna ~Magdalena, [sm1722[nm.[ep~^([sm3[nm) Larger coll. for his wife, [sm1725[n
m, incl. some ~vocal pieces.[cm~Klavierst;auuck [fy75,1](Ger.). Pf. piece.[cm~Kl
avierst;auucke I=nXI [fy75,1](Piano Pieces I=nXI). [sm11[nm pf. ~pieces by [fy45
,1]*[fy75,1]Stockhausen comp. between [sm1952[nm and ~[sm1956[nm, with IX and X
rev. [sm1961[nm. Many new ~techniques of pf.-playing are introduced for perf. ~o
f these pieces. The XIth is one of the first works ~in [fy45,1]*[fy75,1]open for
m. It has [sm19[nm sections printed on one ~large sheet of paper; the player has
 to play any ~piece at random, selecting his own tempo etc. ~Other permutations
follow. F. complete p. ~Darmstadt [sm1966[nm (Aloys Kontarsky).[cm~Klavier;auubu
ng [fy75,1](Klavier Exercise). J. S. Bach's title, ~borrowed from [fy45,1]*[fy75
,1]Kuhnau, for hpd. and org. works ~issued in [sm4[nm sections; (a) [sm6[nm part
itas or [fy45,1]*[fy75,1]German ~Suites, [sm1731[nm; (b) [sm2[nm
 pieces for double-manual hpd., ~the [cf2]Italian Concerto [cf1]and Partita in B
 minor (or ~French Overture) [sm1735[nm; (c) org. works incl. `St ~Anne' Fugue [
sm1739[nm; (d) [fy45,1]*[fy75,2]Goldberg Variations, [cf1][sm1742[nm.[cm~Klebe,
Giselher [fy75,1](Wolfgang) ([cf2]b [cf1]Mannheim, [sm1925[nm). ~Ger. composer.
Studied Berlin Cons. [sm1941[nm=n[sm3[nm, and ~with [fy45,1]*[fy75,1]Blacher [sm
1946[nm=n[sm51[nm. Worked for Berlin Radio. ~Uses serialism in several comps. Pr
in. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Die R;auauber [cf1]([sm1957[nm); [cf2
]Die T;auodlichen W;auunsche ~[cf1]([sm1959[nm); [cf2]Die Ermordung C;auasars [c
f1]([sm1959[nm); [cf2]Alkmene ~[cf1]([sm1961[nm); [cf2]Figaro l;auasst sich sche
iden [cf1](Figaro seeks a ~divorce) ([sm1963[nm); [cf2]Jacobowsky und der Oberst
 [cf1]([sm1965[nm); ~[cf2]Das M;auarchen von der Sch;auonen Lilie [cf1]([sm1969[
nm); [cf2]Ein ~wahrer Held [cf1](based on Synge's [cf2]Playboy of the ~Western W
orld[cf1]) ([sm1975[nm); [cf2]Das M;auadchen aus Dom~~r;aaemy [c
f1]([sm1976[nm); [cf2]Das Rendez-vous [cf1]([sm1977[nm). (All dates ~are of f.p.
)[ep~[smballet[nm: [cf2]Menagene [cf1](after Wedekind) ([sm1958[nm).[ep~[smorch[
nm: [cf2]Con moto; Divertissement joyeux; Die[fj~Zwitschermaschine; [cf1][sm2[nm
 Nocturnes; [sm4[nm Syms; conc. ~for vn., vc., and orch.; vc. conc.[ep~[smchambe
r music[nm: Va. sonata, [sm2[nm str. qts., vn. sonata, ~wind quintet, pf. quinte
t. Also choral works, pf. ~pieces, songs.[cm~[j1]Kleber, Leonhard [fy75,1]([cf2]
b [cf1]G;auoppingen, [cf2]c.[cf1][sm1495[nm; [cf2]d ~[cf1]Pforz[chheim, [sm1556[
nm). Ger. organist at Pforzheim ~from [sm1521[nm. Comp. pieces for org. and kbd.
 pubd. ~among [sm112[nm items in org. tablature ([sm1521[nm=n[sm4[nm).[cm~Klecki
. [fy75,1]See [cf2]Kletzki, Paul.[cm~Kleiber, Carlos[fy75,1] ([cf2]b[cf1] Berlin
, [sm1930[nm). Ger.-born cond. ~(Austrian cit. [sm1980[nm). Son of Erich [fy45,1
]*[fy75,1]Kleiber. ~Studied chemistry but turned to mus., Buenos ~Aires [sm1950[
nm. R;aaep;aaetiteur, G;auartnerplatz, Munich, ~[sm1953[nm. Cond
. Potsdam Opera, [sm1954[nm=n[sm6[nm, Vienna ~Volkstheater [sm1956[nm=n[sm8[nm.
Cond. D;auusseldorf Opera ~[sm1956[nm=n[sm64[nm, Z;auurich Opera [sm1964[nm=n[sm
6[nm, Stuttgart from ~[sm1966[nm, Munich from [sm1968[nm. Cond. [cf2]Wozzeck[cf1
] at ~Edinburgh Fest., [sm1966[nm. Bayreuth Fest. [sm1974[nm=n[sm6[nm ~([cf2]Tri
stan[cf1]). CG d;aaebut [sm1974[nm ([cf2]Rosenkavalier[cf1]). Milan ~[sm1977[nm
([cf2]Otello[cf1]). Guest cond. of leading sym. orchs.[cm~Kleiber, Erich [fy75,1
]([cf2]b [cf1]Vienna, [sm1890[nm; [cf2]d [cf1]Z;auurich, [sm1956[nm). ~Austrian-
born (Argentinian citizen [sm1938[nm) cond. ~[PN383,0,0,R,I0]Studied Prague Cons
. and Univ. Cond., Darmstadt ~court th. [sm1912[nm=n[sm18[nm, Wuppertal [sm1919[
nm=n[sm21[nm, Mann~~[chheim [sm1922[nm=n[sm3[nm. Gen. mus. dir. Berlin State Ope
ra ~[sm1923[nm=n[sm34[nm, one of its most brilliant periods, incl. ~f.p. of Berg
's [cf2]Wozzeck, [cf1][sm1925[nm (after, it is said, [sm137[nm ~rehearsals). Ame
r. d;aaebut [sm1930[nm with NY P.-S.O. ~Resigned post [sm1934[nm
 over [fy45,1]*[fy75,1]Hindemith controversy ~with Nazis, leaving Ger. Cond. Bue
nos Aires ~[sm1937[nm=n[sm49[nm, Amsterdam [sm1933[nm=n[sm8[nm. British concert
~d;aaebut [sm1935[nm (LSO). D;aaebut CG [sm1938[nm, working ~there regularly [sm
1950[nm=n[sm3[nm, cond. f. Eng. stage perf. ~of [cf2]Wozzeck [cf1]([sm1952[nm) a
nd notable [cf2]Der Rosenkavalier ~[cf1]perfs. Returned to post at Berlin State
Opera ~[sm1955[nm, but resigned because of political interfer~~ence before takin
g it up.[cm~Klein, Kleine [fy75,1](Ger.). ([sm1[nm) Little, as in [cf2]Kleine Fl
;auote ~[cf1](little fl., i.e. piccolo), [cf2]Eine kleine Nachtmusik [cf1](A ~Li
ttle Night Music).[ep~^([sm2[nm) Minor (of intervals).[cm~Kleine Nachtmusik, Ein
e [fy75,1](A Little Night ~Music, or Serenade). Comp. in [sm4[nm movements ~(K[s
m525[nm) by Mozart (for which occasion is not ~known) dating from [sm10[nm Aug.
[sm1787[nm. It is the ~Serenade No. [sm13[nm in G major, scored for [sm2[nm vn.,
 va., ~and bass, or small str. orch. Orig. MS. recovered ~in [sm
1955[nm, indicates that a [sm5[nmth movement, a [sm1[nmst ~minuet, was torn out.
[cm~Kleine Orgelmesse [fy75,1](Little Organ Mass). Nick~~name for Haydn's Mass N
o. [sm5[nm in B;Yh (see also [cf2]Grosse ~Orgelmesse[cf1]).[cm~Kleine Trommel [f
y75,1](Ger.). Small drum. The [fy45,1]*[fy75,1]side ~drum; otherwise Snare Drum.
[cm~Klemperer, Otto [fy75,1]([cf2]b [cf1]Breslau, [sm1885[nm; [cf2]d [cf1]Z;auur
ich, ~[sm1973[nm). Ger.-born cond. and composer. Studied ~Frankfurt Cons. and in
 Berlin with Pfitzner. Later ~encouraged by Mahler, whom he assisted with ~rehea
rsals of [sm8[nmth Sym., Munich [sm1910[nm. Cond. of ~opera Ger. Nat. Th., Pragu
e, [sm1907[nm=n[sm10[nm, Hamburg ~[sm1910[nm=n[sm12[nm, Bremen [sm1913[nm, Stras
bourg [sm1914[nm=n[sm17[nm, ~Cologne [sm1917[nm=n[sm24[nm, Wiesbaden [sm1924[nm=
n[sm7[nm, Berlin ~[sm1927[nm=n[sm33[nm (first at Kroll Opera then State Opera).
~Cond. first Berlin perfs. of [fy45,1]*[fy75,2]Cardillac, [fy45,1]*[fy75,2]Oedip
us ~Rex, Die [fy45,1]*[fy75,2]gl;auuckliche Hand[cf1], etc. Cond
. Los Angeles ~P.O. [sm1933[nm=n[sm9[nm. Seriously ill [sm1939[nm, remaining ~pa
rtially paralysed. Cond. Budapest Opera [sm1947[nm=n~[sm50[nm, Montreal S.O. [sm
1950=n3[nm. Began assoc. with ~Philharmonia Orch., London, [sm1951[nm, becoming
~prin. cond. [sm1959[nm and cond. for life in [sm1964[nm. Cond. ~series of famou
s Beethoven concerts. Cond. and ~prod. [cf2]Fidelio[cf1] at CG [sm1961[nm, [cf2]
Die Zauberfl;auote [cf1][sm1962[nm, and ~[cf2]Lohengrin [cf1][sm1963[nm. Retired
 [sm1972[nm. Comp. [sm6[nm syms., ~Mass, songs, etc.[cm~Klenau, Paul [fy75,1](Au
gust)[fy65][cf3] von [fy75,1]([cf2]b [cf1]Copenhagen, [sm1883[nm; ~[cf2]d [cf1]C
openhagen, [sm1946[nm). Danish composer and cond. ~Studied Copenhagen, in Berlin
 with Hali;Akr and ~Bruch, in Munich with Thuille, and in Stuttgart ~with Schill
ings. Cond. Freiburg Opera [sm1907[nm, ~Stuttgart [sm1908[nm=n[sm14[nm. Champion
 of Delius's mus. ~Comp. several operas, incl. [cf2]Kjarten und Gudrun ~[cf1]([s
m1924[nm) and [cf2]Rembrandt van Rijn [cf1]([sm1937[nm), [sm7[nm
 syms., ~str. qt., pf. pieces, and orch. work [cf2]Bank Holiday, ~Souvenir of Ha
mpstead Heath [cf1]([sm1922[nm).[cm~Klenovsky, Nikolay [fy75,1](Semyonovich) ([c
f2]b [cf1]Odessa, ~[sm1857[nm; [cf2]d [cf1]Petrograd, [sm1915[nm). Russ. compose
r and ~cond. Studied Moscow Cons. under Tchaikovsky. ~Ass. cond. Moscow Imperial
 Opera ([sm1883[nm=n[sm93[nm). ~Dir. Tiflis Mus. Sch. from [sm1893[nm. Wrote bal
lets, ~cantatas, th. mus.[cm~Klenovsky, Paul. [fy75,1]Pseudonym under which Sir
~Henry [fy45,1]*[fy75,1]Wood made orch. transcription ([sm1929[nm) of ~Bach's To
ccata and Fugue in D minor (in order to ~confuse the critics). [cf2]Klen [cf1]is
 the Russian word for a ~maple tree.[cm~Kletzki [fy75,1](Klecki), [fy65][cf3]Pau
l [fy75,1]([cf2]b[cf1] ;Ul;aaod;aaz, [sm1900[nm; [cf2]d[cf1] Liverpool, ~[sm1973
[nm). Polish-born (later Swiss) cond. and violinist. ~Violinist, ;Ul;aaod;aaz P.
O. [sm1914[nm=n[sm19[nm. Studied and cond. ~in Berlin [sm1921[nm=n[sm33[nm. Taug
ht comp., Milan, [sm1933[nm=n~[sm8[nm. Guest cond. of leading En
g. orchs. after [sm1947[nm, ~when he made d;aaebut with Philharmonia. Cond., ~Da
llas S.O. [sm1958[nm=n[sm61[nm, Orchestre de la Suisse ~Romande [sm1967[nm=n[sm9
[nm. Frequent cond. Israel P.O. ~Comp. syms., pf. conc., vn. conc., [sm4[nm str.
 qts.[cm~Klien, Walter [fy75,1]([cf2]b [cf1]Graz, [sm1928[nm). Austrian pianist.
 ~Studied Frankfurt, Vienna, and Graz. Prizes at ~int. contests at Bolzano [sm19
52[nm, Paris and Vienna ~[sm1953[nm. Int. tours. Has recorded complete solo pf.
~works of Brahms, Mozart, and Schubert.[cm~[fy65][cf3]Klindworth, Karl[fy75,1] (
[cf2]b[cf1] Hanover, [sm1830[nm; [cf2]d[cf1] Stolpe, ~[sm1916[nm). Ger. pianist,
 cond., and composer. Pupil of ~Liszt [sm1852[nm. Worked in London as cond., pia
nist, ~teacher, and impresario [sm1854[nm=n[sm68[nm. Prof. of pf., ~Moscow Cons.
 [sm1868[nm=n[sm81[nm, settling in Berlin [sm1882[nm, ~where he cond. Berlin P.O
. and founded pf. cons. ~([sm1884[nm). Arr. Wagner's [cf2]Ring[cf1] for pf. Crit
ical edn. of ~Chopin. Wrote many pf. pieces.[cm~[fy65][cf3]Klos;
aae, Hyacinth [fy75,1](El;aaeonore) ([cf2]b[cf1] Corfu, [sm1808[nm; [cf2]d[cf1]
~Paris, [sm1880[nm). Fr. clarinettist. Prof. of cl., Paris ~Cons.,[sm1839[nm=n[s
m68[nm. Improved method of fingering ~[sm1843[nm. Wrote methods of cl. and sax.,
 pieces for cl. ~and military band.[cm~Kluge, Die [fy75,1](The Clever Girl, or T
he Wise ~Woman). Opera in [sm6[nm scenes by [fy45,1]*[fy75,1]Orff to his own ~li
b. which is synthesis of different versions of ~folk-tale. Comp. [sm1941=n2[nm.
Prod. Frankfurt [sm1943[nm, ~Cleveland, Ohio, [sm1949[nm, London [sm1959[nm.[cm~
Knaben Wunderhorn, Des [fy75,1](Youth's Magic ~Horn). Anthology of Ger. folk poe
try pubd. ~[sm1805[nm=n[sm8[nm, ed. by Arnim and Brentano, songs from ~which hav
e been set by several composers incl. ~Strauss and, particularly, [fy45,1]*[fy75
,1]Mahler, who comp. ~over [sm20[nm [cf2]Wunderhorn [cf1]songs for v. and pf. or
 orch. ~and incorporated [cf2]Wunderhorn [cf1]songs into his [sm2[nmnd, ~[sm3[nm
rd, and [sm4[nmth syms. F. Eng. p. of Mahler's [cf2]Des ~Knaben
Wunderhorn [cf1]([sm10[nm songs for sop. and bar.) in ~orch. version, London, No
v. [sm1961[nm, cond. B. ~Fairfax.[cm~Knappertsbusch, Hans [fy75,1]([cf2]b [cf1]E
lberfeld, [sm1888[nm; [cf2]d ~[cf1]Munich, [sm1965[nm). Ger. cond. Studied Colog
ne Cons. ~[PN384,0,0,L,I0]with Steinbach. D;Aaebut Mulheim [sm1910[nm. Opera ~po
sts at Bochum, Elberfeld, Leipzig [sm1918[nm=n[sm19[nm, ~Dessau [sm1919[nm=n[sm2
2[nm. Cond. Bavarian State Opera, ~Munich, [sm1922[nm=n[sm36[nm, Vienna State Op
era [sm1936[nm=n[sm50[nm. ~Regular cond. Bayreuth Fest. from [sm1951[nm. Re~~tur
ned to Munich [sm1954[nm. Only London appear~~ance, [cf2]Salome, [cf1]CG [sm1937
[nm. Superb interpreter of ~Wagner (especially [cf2]Parsifal[cf1]) and Strauss.[
cm~Knecht, Justin [fy75,1](Heinrich) ([cf2]b [cf1]Biberach, Swabia, ~[sm1752[nm;
 [cf2]d [cf1]Biberach, [sm1817[nm). Ger. organist, composer, ~and impresario. Pi
oneer of annotated pro~~gramme. Dir. of mus. in Biberach (as well as prof. ~of l
iterature) [sm1771[nm=n[sm1807[nm. Dir. of opera and court ~conc
erts, Stuttgart, [sm1807[nm=n[sm9[nm. Returned to Biberach. ~His `grand symphony
' [cf2]Le Portrait musical de la ~nature [cf1]([cf2]c.[cf1][sm1784[nm) has a lit
erary programme closely ~anticipating Beethoven's [cf2]Past[choral [cf1]Symphony
 ~which Beethoven read in an advertisement on ~the cover of his earliest pubd. p
f. sonatas.[cm~Kneifend [fy75,1](Ger.). Plucking (same as [fy45,1]*[fy75,2]pizzi
cato[cf1]).[cm~Kneller Hall. [fy75,1]Headquarters of [fy45,1]*[fy75,1]Royal Mili
tary ~School of Music [cf1](founded [sm1857[nm) at Whitton, ~Twickenham, Middles
ex. Former home of ~painter Sir Godfrey Kneller ([sm1646[nm=n[sm1723[nm).[cm~Kni
plov;aaa, Nad;ake;akzda [fy75,1]([cf2]b [cf1]Ostrava, [sm1932[nm). Cz. ~soprano.
 Studied at Prague Cons. [sm1947[nm=n[sm53[nm and ~Acad. of Mus. Arts [sm1954[nm
=n[sm8[nm. Sang with Jan;aaa;akcek ~Opera, Brno, [sm1959[nm=n[sm64[nm, then beca
me prin. at ~Prague Nat. Th. Outstanding in strongly dramatic ~roles, e.g. Smeta
na's Libu;akse, Jan;aaa;akcek's Emilia ~Marty and Kostelni;akcka
, Isolde, Tosca, Ortrud, and ~Renata in Prokofiev's [cf2]The Fiery Angel.[cf1][c
m~Knipper, Lev [fy75,1](Konstantinovich) ([cf2]b [cf1]Tiflis, [sm1898[nm; ~[cf2]
d[cf1] Moscow, [sm1974[nm). Russ. composer. Studied in ~Moscow with [fy45,1]*[fy
75,1]Gli;agere and with [fy45,1]*[fy75,1]Jarnach in Berlin. ~Works incl. [sm14[n
m syms., several with choral finales, ~operas, symphonic poem, vn. conc., film m
us., ~chs., songs, etc.[cm~Knorr, Iwan [fy75,1]([cf2]b [cf1]Mewe, W. Prussia, [s
m1853[nm; [cf2]d ~[cf1]Frankfurt-am-Main, [sm1916[nm). Ger. composer and ~teache
r. Studied Leipzig Cons. with [fy45,1]*[fy75,1]Moscheles ~and [fy45,1]*[fy75,1]R
einecke. From [sm1886[nm, prin. teacher of ~comp., Hoch Cons., Frankfurt, where
he had ~several disting[chuished pupils, incl. Eng. composers ~who became known
as `Frankfurt group', i.e. N. ~O'Neill, Cyril Scott, Roger Quilter, and Balfour
~Gardiner. Dir. of Cons. [sm1908[nm=n[sm16[nm. Wrote operas, ~orch. mus., and so
ngs.[cm~Knote, Heinrich [fy75,1]([cf2]b [cf1]Munich, [sm1870[nm;
 [cf2]d [cf1]Garmisch, ~[sm1953[nm). Ger. ten. Studied Munich, d;aaebut there ~[
sm1892[nm, CG [sm1901[nm, NY Met. [sm1904[nm. Regular Wagner~~ian ten.=mesp. as
Tristan and Siegfried=mat CG to ~[sm1913[nm and the Met. up to [sm1908[nm.[cm~Kn
ot Garden, The. [fy75,1]Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Tippett ~to hi
s own lib. Comp. [sm1966[nm=n[sm69[nm, f.p. CG [sm1970[nm. ~Orch. reduced for ch
amber ens. of [sm22[nm players by ~M. Bowen, [sm1982[nm=n[sm3[nm. See also [cf2]
Songs for Dov.[cm~Kn;Auupfer, Paul [fy75,1]([cf2]b [cf1]Halle, [sm1866[nm; [cf2]
d [cf1]Berlin, [sm1920[nm). ~Ger. bass. D;aaebut Sondershausen [sm1885[nm. Leipz
ig ~[sm1887[nm=n[sm98[nm, Berlin [sm1898[nm=n[sm1920[nm, Bayreuth Fest. ~[sm1901
[nm=n[sm6[nm, CG [sm1909[nm=n[sm14[nm. First singer in England of ~Baron Ochs an
d Gurnemanz.[cm~Knussen, Oliver [fy75,1]([cf2]b [cf1]Glasgow, [sm1952[nm). Eng.
com~~poser and conductor. Began to compose at age of ~[sm6[nm. Studied comp. pri
vately with John Lambert ~[sm1963[nm=n[sm9[nm, and at Purcell Sc
h. Awarded fellowship ~at Tanglewood [sm1970[nm and studied with Gunther ~Schull
er [sm1970[nm=n[sm3[nm. Art. dir., Aldeburgh Fest. from ~[sm1983[nm. Prin. works
:[xm[cm~[j2][smoperas[nm: [cf2]Where the Wild Things Are[cf1], Op. [sm20[nm ([sm
1979[nm=n~[sm81[nm); [cf2]Higglety Pigglety Pop! [cf1]([sm1983[nm=n[sm4[nm).[ep~
[smorch[nm: Symphonies: No. [sm1[nm, Op. [sm1[nm ([sm1966[nm=n[sm7[nm), No. [sm2
[nm, ~Op. [sm7[nm, sop. and small orch. ([sm1970[nm=n[sm1[nm), No. [sm3[nm, Op.
~[sm18[nm ([sm1973[nm=n[sm9[nm); [cf2]Concerto for Orchestra[cf1], Op. [sm5[nm (
[sm1968[nm=n~[sm70[nm); [cf2]Choral[cf1], Op. [sm8[nm, wind, perc., dbs. ([sm197
0[nm=n[sm2[nm); ~[cf2]Ophelia Dances[cf1], Book I, Op. [sm13[nm, for [sm9[nm ins
tr. ([sm1975[nm); ~[cf2]Coursing[cf1], Op. [sm17[nm, chamber orch. ([sm1979[nm,
rev. ~[sm1981[nm).[ep~[smvoice and ens[nm: [cf2]Hums and Songs of Winnie-the-Poo
h[cf1], ~Op. [sm6[nm, sop. and ens. ([sm1970[nm=n[sm83[nm); Sym. No. [sm2[nm, Op
. ~[sm7[nm, sop. and small orch. (Texts by Trakl and Plath) ~([s
m1970[nm=n[sm1[nm); [cf2]Rosary Songs[cf1], Op. [sm9[nm, sop., cl., va., pf. ~([
sm1972[nm); [cf2]Oc;aaean de Terre[cf1], Op. [sm10[nm, sop. and ens. ~([sm1972[n
m=n[sm3[nm, rev. [sm1976[nm); [cf2]Trumpets[cf1], Op. [sm12[nm, sop. and ~[sm3[n
m cl. ([sm1975[nm); [cf2]Songs and a Sea Interlude[cf1], Op. [sm20[nma, ~sop. an
d orch. (from [cf2]Where the Wild Things Are[cf1]) ~([sm1979[nm=n[sm80[nm).[ep~[
smchamber music[nm: [cf2]Processionals[cf1], Op. [sm2[nm, wind quintet ~and str.
 qt. ([sm1968[nm=n[sm78[nm); [cf2]Masks[cf1], Op. [sm3[nm, fl. ([sm1969[nm); ~[c
f2]Fire[cf1], Op. [sm4[nm, fl., str. trio ([sm1969[nm); [cf2][sm3[nm Little Fant
asies[cf1], ~Op. [sm6[nma, wind quintet ([sm1970[nm, rev. [sm1976[nm); [cf2]Autu
mnal ~[cf1]([cf2]Triptych, Pt. I[cf1]), Op. [sm14[nm, vn., pf. ([sm1976[nm=n[sm7
[nm); [cf2]Cantata ~[cf1]([cf2]Triptych, Pt. III[cf1]), Op. [sm15[nm ([sm1977[nm
).[ep~[smpiano[nm: [cf2]Sonya's Lullaby [cf1]([cf2]Triptych, Pt. II[cf1]), Op. [
sm16[nm ~([sm1977[nm=n[sm8[nm).[cm~[j1]Koanga. [fy75,1]Opera in
prol., [sm3[nm acts, and epilogue by ~Delius to lib. by C.F. Keary after G.W. Ca
ble's ~novel [cf2]The Grandissimes [cf1]([sm1880[nm). Comp. [sm1896[nm=n[sm7[nm,
 ~rev. [sm1898[nm. Extracts perf. in concert version ~London [sm1899[nm. F.p. El
berfeld [sm1904[nm, cond. [fy45,1]*[fy75,1]Cassi~~rer; f. Eng. p. CG [sm1935[nm
cond. Beecham (with lib. ~rev. by Beecham and E. Agate). Concerns slaves ~on Mis
sissippi plantation. See also [cf2]Calinda, La.[cf1][cm~Kobb;aae, Gustav [fy75,1
]([cf2]b [cf1]NY, [sm1857[nm; [cf2]d [cf1]Long Island, [sm1918[nm). ~Amer. mus.
critic and writer. Studied mus. in ~Wiesbaden ([sm1867[nm=n[sm72[nm) and NY. Fro
m [sm1880[nm mus. ~critic for several NY papers, incl. the [cf2]Herald [cf1]for
~[sm18[nm years. Attended first [cf2]Parsifal [cf1]at Bayreuth [sm1882[nm. ~Wrot
e [sm2[nm-vol. life of Wagner ([sm1890[nm), and several ~other books. His [cf2]c
hef d'oeuvre [cf1]was [cf2]The Complete ~Opera Book, [cf1]a coll. of synopses an
d analyses of a ~large no. of operas which was on the point of ~
completion when he was killed by a seaplane ~striking his sailing-boat. [sm1[nms
t edn. pubd. [sm1922[nm, ~with additions by Katherine Wright. Extensive ~rev. [s
m1954[nm ed. by Earl of Harewood, who has ~continued revs. up to [sm9[nmth edn.,
 [sm1976[nm.[cm~[PN385,0,0,R,I0]K;auochel, Ludwig von [fy75,1]([cf2]b [cf1]Stein
, nr. Krems-on-the-~Danube, [sm1800[nm; [cf2]d [cf1]Vienna, [sm1877[nm). Austria
n botanist ~and mineralogist with immense admiration for ~mus. of Mozart. Compil
ed chronological them~~[chatic catalogue=m[cf2]Chronologisch-thematisches Ver~~z
eichnis=m[cf1]of Mozart's works, giving each a `K;auochel ~number' (e.g. K[sm488
[nm) by which they are now ~universally identified. First pubd. Leipzig [sm1862[
nm. ~Various revs. have been pubd., one being by A. ~Einstein, [sm1937[nm. [sm6[
nmth edn. [sm1964[nm.[cm~Kocsis, Zolt;aaan [fy75,1]([cf2]b [cf1]Budapest, [sm195
2[nm). Hung. pianist ~and composer. Studied with Kadosa and Kurt;aaag ~at Liszt
Acad. Won Hung. Radio Beethoven ~Comp. [sm1970[nm. Toured USA [s
m1971[nm, London d;aaebut ~[sm1972[nm. Liszt Prize [sm1973[nm.[cm~Koc;akzwara. [
fy75,1]See [cf2]Kotzwara, Franz.[cm~Kod;aaaly, Zolt;aaan [fy75,1]([cf2]b [cf1]Ke
cskem;Aaet, [sm1882[nm; [cf2]d [cf1]Budapest, ~[sm1967[nm). Hung. composer and t
eacher. He was born ~and had his early education in Gal;Aaanta. His father, ~a s
tate railways employee, played the vn., his ~mother the pf., and he grew up in a
 mus. ~atmosphere. He attended the Nagyszombat Gym~~nasium [sm1892[nm=n[sm1900[n
m, during which period his first ~orch. work was played by the school orch. In ~
[sm1900[nm he entered Budapest Univ. and the Franz ~Liszt Acad. of Mus., where h
is teacher was J;aaanos ~Koessler, who also taught [fy45,1]*[fy75,1]Bart;aaok an
d [fy45,1]*[fy75,1]Doh-[fj~n;aaanyi. He met Bart;aaok after his graduation, in ~
[sm1905[nm, and embarked on his first foray as a folk-~song collector in Gal;Aaa
nta. In [sm1906[nm his symphonic ~poem, [cf2]Summer Evening, [cf1]had its f.p.[e
p~^Kod;Aaaly continued his folk-song collecting be~~tween [sm190
7[nm and [sm1914[nm. Although he was insistent ~on folk mus. as a basis of nat.
culture, he had a ~wider view of the mus. scene and travelled to ~Bayreuth, Salz
burg, Berlin, and Paris. He taught ~theory at the Liszt Acad. in [sm1907[nm, and
 took over ~the comp. classes from Koessler in [sm1908[nm (prof. ~from [sm1911[n
m). From that time, too, he was closely ~involved with the mus. curriculum in Hu
ng. ~schs., and with Bart;Aaok he formed an organization ~for the perf. of conte
mporary mus. Alongside ~these activities he produced a steady flow of ~comps.[ep
~^In [sm1923[nm, for the [sm50[nmth anniversary of the ~unification of Buda and
Pest as the capital, he ~comp. [cf2]Psalmus Hungaricus, [cf1]which was soon perf
. ~throughout Europe and America under leading ~conds. such as Toscanini, Mengel
berg, and Furt~~[chw;auangler.[ep~^In [sm1926[nm he completed his opera [cf2]H;a
aary J;aaanos, ~[cf1]firmly rooted in folklore. Another opera, [cf2]The ~Spinnin
g Room, [cf1]followed in [sm1932[nm, and the orch. ~[cf2]Dances
of Gal;aaanta [cf1]in [sm1933[nm. In the same year Kod;aaaly ~and Bart;aaok were
 requested by the Hung. Acad. ~of Sciences to prepare for publication all availa
ble ~folk mus. material. After Bart;aaok went to the USA, ~Kod;aaaly took over s
ole editorial control. The first ~vol. appeared in [sm1951[nm. Two important com
mis~~sions were for the Amsterdam Concertgebouw ~Orch.'s [sm50[nmth anniv., [sm1
939[nm ([cf2]Variations on a Hungar~~ian Folk Song, The Peacock[cf1]) and the [s
m50[nmth anniv. of ~the Chicago S.O., [sm1941[nm ([cf2]Concerto for Orchestra[cf
1]). ~These were in contrast to the dozens of works for ~children's vv. which oc
cupied him for the last [sm30[nm ~years of his life. He retired from the Liszt A
cad. ~in [sm1942[nm. After World War II he travelled to Fr., ~Eng., the USA, and
 USSR to cond. his own works. ~A [sm3[nmrd opera, [cf2]Czinka Panna, [cf1]was pr
od. in [sm1948[nm. His ~sym., in memory of Toscanini, was prod. at ~Lucerne in [
sm1961[nm. He visited the USA again in ~[sm1965[nm and [sm1966[n
m.[ep~^Kod;aaaly's mus. is not as advanced in its harmonic ~idiom as Bart;aaok's
 and is less cosmopolitan. But it ~has the merits of complete conviction, finish
ed ~craftsmanship, and melodic inspiration. Prin. ~works are:[xm[cm~[j2][smopera
s[nm: [fy45,1]*[fy75,2]H;aaary J;aaanos [cf1]([sm1925[nm=n[sm6[nm); [cf2]The Spi
nning Room ~[cf1]([sm1924[nm=n[sm32[nm); [cf2]Czinka Panna [cf1]([sm1946[nm=n[sm
8[nm).[ep~[smorch[nm: [cf2]Summer Evening [cf1]([sm1906[nm, rev. [sm1929[nm=n[sm
30[nm); ~Suite, [cf2]H;aaary J;aaanos [cf1]([sm1927[nm); [cf2]Dances of Marossz;
aaek ~[cf1]([sm1930[nm, arr. of work for pf. [sm1927[nm); [fy45,1]*[fy75,2]Dance
s of ~Gal;aaanta [cf1]([sm1933[nm); [cf2]Variations on a Hungarian Folk ~Song, T
he [fy45,1]*[fy75,2]Peacock [cf1]([sm1938[nm=n[sm9[nm); [cf2]Concerto for Orches
~~tra [cf1]([sm1939[nm=n[sm40[nm); Sym. ([sm1930[nms=n[sm61[nm).[ep~[smchorus an
d orch[nm: [fy45,1]*[fy75,2]Psalmus Hungaricus, [cf1]ten., ch., ~and orch. ([sm1
923[nm); [cf2]Te Deum of Budav;aaar [cf1]([sm1936[nm); ~[cf2]Mis
sa brevis [cf1]([sm1944[nm); [cf2]At the Grave of the Martyr ~[cf1]([sm1945[nm);
 [cf2]The [fy45,1]*[fy75,2]Music Makers[cf1], vv., orch. ([sm1964[nm).[ep~[smcho
rus and organ, piano[nm, etc: [cf2]Pange lingua ~[cf1]([sm1929[nm); [cf2]Hymn to
 King St Stephen [cf1]([sm1938[nm); [cf2]Laudes ~Organi [cf1]([sm1966[nm).[ep~[s
munacc. choral[nm: [cf2]Evening [cf1]([sm1904[nm); [cf2]Birthday Greeting ~[cf1]
([sm1931[nm); [cf2]Jesus and the Traders [cf1]([sm1934[nm); [cf2]Ode to Ferenc ~
Liszt [cf1]([sm1936[nm); [cf2]Moln;aaar Anna [cf1]([sm1936[nm); [cf2]The Peacock
 ~[cf1]([sm1937[nm); [cf2]Forgotten Song of B;aaalint Balassi [cf1]([sm1942[nm);
 ~[cf2]Lament [cf1]([sm1947[nm); [cf2]Hymn of Zrinyi [cf1]([sm1954[nm); [cf2]Moh
;aaacs ~[cf1]([sm1965[nm).[ep~[smchamber music[nm: [cf1]Str. qts., No. [sm1[nm (
[sm1908[nm=n[sm09[nm), No. [sm2[nm ~([sm1916[nm=n[sm18[nm); Sonata for vc. and p
f. ([sm1909[nm=n[sm10[nm); ~[cf2]Duo[cf1], vn., vc. ([sm1914[nm); Solo vc. sonat
a ([sm1915[nm); ~[cf2]Capriccio, [cf1]solo vc. ([sm1915[nm); Ser
enade, [sm2[nm vn. and va. ~([sm1919[nm=n[sm20[nm).[ep~[ih0]Also many folk-song
arrs., children's chs., singing ~exercises, and transcrs. (Bach, etc.).[cm~[j1]K
oechlin, Charles [fy75,1]([cf2]b [cf1]Paris, [sm1867[nm; [cf2]d [cf1]le Canadel,
 ~Var, [sm1950[nm). Fr. composer. Began serious mus. ~studies only at age [sm22[
nm. Entered Paris Cons. [sm1890[nm=n~[sm7[nm, studying with Massenet and Faur;aa
e. Wrote large ~amount of mus., much of it still rarely heard. ~Followed no `sch
ool' or fashion, his music being ~influenced both by medieval procedures and by
~Satie, Stravinsky, etc. Bitonality and near-atonality ~feature in his works, so
me of which are marked ~by complex polyphony. Wrote several symphonic ~poems bas
ed on Kipling. One of founders, [sm1909[nm, ~of Soci;aaet;aae Musicale Ind;aaepe
ndante. Author of ~treatises, and of books on Debussy and Faur;aae. ~Prin. works
:[xm[cm~[j2][smorch[nm: [fy75,2][sm7[nm Stars Symphony [cf1](on characters of fi
lm ~stars) ([sm1933[nm), [cf2]Symphony of Hymns [cf1]([sm1936[nm
), Sym. ~No. [sm2[nm ([sm1943[nm=n[sm4[nm); [cf2][sm3[nm Po;agemes [cf1]after Ki
pling ([sm1899[nm=n~[PN386,0,0,L,I0][sm1910[nm), [cf2]La Course de printemps, [c
f1]after Kipling ~([sm1925[nm=n[sm7[nm), [cf2]La Loi de la jungle, [cf1]after Ki
pling ([sm1939[nm), ~[cf2]Les Bandar-Log, [cf1]after Kipling ([sm1939[nm=n[sm40[
nm); [cf2]Le ~Buisson ardent [cf1]([sm1938[nm, [sm1945[nm); [cf2]La For;afet [cf
1]([sm1897[nm=n~[sm1907[nm); [cf2]Partita [cf1]for chamber orch. ([sm1945[nm).[e
p~[smtheatre[nm: [cf2]Jacob chez Laban [cf1]([sm1[nm-act `biblical pastorale') ~
([sm1896[nm=n[sm1908[nm); [cf2]La For;afet paienne [cf1](ballet) ([sm1911[nm=n[s
m25[nm).[ep~[smchamber music[nm: [sm3[nm str. qts. ([sm1911[nm=n[sm13[nm, [sm191
5[nm=n[sm16[nm, ~[sm1921[nm), fl. sonata ([sm1913[nm), va. sonata ([sm1906[nm=n[
sm15[nm), ~ob. sonata ([sm1911[nm=n[sm16[nm), vn. sonata ([sm1916[nm), vc. ~sona
ta ([sm1917[nm), bn. sonata ([sm1919[nm), hn. sonata ~([sm1918[nm=n[sm25[nm), wi
nd trio ([sm1924[nm), [cf2]Primavera [cf1]for fl., ~vn., va., vc
., harp ([sm1936[nm), septet for wind quintet, ~cor anglais, alto sax., ([sm1937
[nm), [cf2]Epitaphe de Jean ~Harlow[cf1], fl., alto sax., pf. ([sm1937[nm).[ep~[
smpiano[nm: [cf2]Paysages et marines [cf1]([cf2]c.[cf1][sm1916[nm); [cf2]L'Ancie
nne ~Maison de campagne [cf1]([sm1932[nm=n[sm3[nm).[cm~[ol0][ep~[xp[te~









[do31][j99]~~~~~~[sm153842[nm_K[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm005[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm1[nm.[sm10[nm.[s
m79[nm[cm[sm1[nm[cm[sm197[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Koellreu
tter, Hans-Joachim [fy75,1]([cf2]b [cf1]Freiburg, [sm1915[nm). ~Ger. composer an
d flautist. Studied Berlin State ~Acad. (comp. with Hindemith) [sm1934[nm=n[sm6[
nm, Geneva ~Cons. [sm1936[nm=n[sm7[nm. Taught at Brazilian Cons., Rio de ~Janeir
o, [sm1937[nm=n[sm52[nm. Founder and dir., Free Acad. of ~Mus., S;Atao Paulo [sm
1952[nm=n[sm5[nm, and mus. dept., Bahia ~Univ. [sm1952[nm=n[sm62[nm. Head of pro
grammes, Goethe ~Institute, Munich, [sm1963[nm=n[sm5[nm; dir., Ger. cultural ~in
stitute, New Delhi, [sm1965[nm=n[sm9[nm. Prin., New Delhi ~Sch. of Mus. [sm1966[
nm=n[sm9[nm. Dir. of Goethe Inst., Tokyo, ~from [sm1970[nm. Works incl. chamber
sym., [sm4[nm [cf2]Pieces ~[cf1]for orch., [sm2[nm fl. sonatas, vn. sonata, [cf2
]M;Aausica [cf1]for ~orch., [cf2]Concretion [cf1]for orch., [cf2
]India Report [cf1]for sop., ~speaker, speaking ch., and orch., [cf2]Composition
 [sm70[nm ~[cf1]for sitar and chamber orch.[cm~Koenig, Gottfried [fy75,1](Michae
l) ([cf2]b [cf1]Magdeburg, ~[sm1926[nm). Ger. composer. Studied at Brunswick Mus
. ~Sch. [sm1946[nm=n[sm7[nm, Detmold [sm1947[nm=n[sm50[nm, and Cologne ~Hochschu
le f;auur Musik [sm1953[nm=n[sm4[nm. Ass. to Stockhau~~sen at Cologne elec. mus.
 studio [sm1954[nm=n[sm64[nm, then ~art. dir., elec. studio Utrecht Univ. Comps.
 mainly ~for tape and computers.[cm~Koffler, J;aaozef [fy75,1]([cf2]b [cf1]Stryj
, Poland (now Ukraine), ~[sm1896[nm; [cf2]d [cf1]Krak;aaow, [sm1943[nm or [sm4[n
m). Polish composer. ~Studied in Vienna with Schoenberg. Prof. of ~comp. and the
ory, Lw;aaow Cons., [sm1929[nm=n[sm41[nm. Comp. ~[sm3[nm syms., [sm15[nm [cf2]Va
riations [cf1]for str., str. trio, str. qt. ~Died in ghetto massacre.[cm~Kogan,
Leonid [fy75,1]([cf2]b [cf1]Dnepropetrovsk, [sm1924[nm; [cf2]d ~[cf1]Moscow, [sm
1982[nm). Ukrainian-born violinist. Studied ~Moscow Cons. [sm194
3[nm=n[sm51[nm. D;aaebut Moscow [sm1941[nm. ~London d;aaebut [sm1955[nm, Amer. [
sm1957[nm. On staff ~Moscow Cons. from [sm1952[nm. First Soviet violinist to ~pl
ay and record Berg conc. In trio with [fy45,1]*[fy75,1]Gilels ~(pf.) and [fy45,1
]*[fy75,1]Rostropovich (vc.).[cm~Kohs, Ellis [fy75,1](Bonoff=+=+) ([cf2]b [cf1]C
hicago, [sm1916[nm). Amer. ~composer. Studied Chicago Univ. [sm1933[nm=n[sm8[nm,
 Juil~~liard Sch. [sm1938[nm=n[sm9[nm (comp. with Wagenaar), Har~~vard Univ. [sm
1939[nm=n[sm41[nm (comp. with Piston). Teacher ~at Univ. of S. Calif. from [sm19
50[nm. Comps. incl. [sm2[nm ~syms.; [cf2]Concerto for Orchestra[cf1]; [sm2[nm st
r. qts.; opera ~[cf2]Amerika [cf1](after Kafka); pf. variations; [cf2]Capriccio
[cf1](for ~org.); [cf2]Psalm [sm23[nm.[cm~Kokkonen, Joonas [fy75,1]([cf2]b [cf1]
Iisalmi, Finland, [sm1921[nm). ~Finn. composer and pianist. Studied Sibelius ~Ac
ad., Helsinki, [sm1940[nm=n[sm1[nm, [sm1945[nm=n[sm9[nm, Helsinki Univ. ~[sm1940
[nm=n[sm1[nm, [sm1945[nm=n[sm8[nm. Teacher, Sibelius Acad. since
 ~[sm1950[nm (prof. of comp. [sm1959[nm=n[sm63[nm). Wrote mus. ~criticism [sm194
7[nm=n[sm63[nm. Works incl. [sm4[nm syms.; vc. conc.; ~[sm3[nm str. qts.; pf. tr
io; pf. qt.; [cf2]Missa a cappella; ~Symphonic Sketches[cf1]; opera [cf2]The [fy
45,1]*[fy75,2]Last Temptations ~[cf1]([sm1975[nm).[cm~Kolb, Karlmann [fy75,1]([c
f2]b [cf1]K;auosslarn, [sm1703[nm; [cf2]d [cf1]Munich, ~[sm1765[nm). Ger. organi
st and composer. Priest and ~organist, Benedictine Abbey at Asbach. Wrote ~organ
 preludes and fugues in quasi-It. style.[cm~Kolisch, Rudolf [fy75,1]([cf2]b [cf1
]Klamm am Semmering, ~[sm1896[nm; [cf2]d [cf1]Watertown, Mass., [sm1978[nm). Ame
r. violinist ~of Austrian birth. After childhood injury, used ~bow in left hand.
 Studied Vienna Mus. Acad. and ~Univ. and, after [sm1913[nm, with ;akSev;akcik (
vn.) and ~Schreker and Schoenberg (comp.). Formed Ko~~lisch Qt. [sm1922[nm, whic
h toured Europe, Africa, and ~USA where its members settled in [sm1935[nm. Playe
d ~standard repertory from memory and champi~~oned works by Scho
enberg (Kolisch's brother-in-~law after [sm1924[nm), Berg, and Webern. Gave f. p
s. of ~Schoenberg's [sm3[nmrd and [sm4[nmth str. qts. ([sm1927[nm and ~[sm1937[n
m), Berg's [cf2]Lyric Suite [cf1]([sm1927[nm), Webern's Str. Trio ~([sm1928[nm)
and str. qt. ([sm1938[nm), Bart;aaok's [sm5[nmth str. qt. ~([sm1935[nm) and [sm6
[nmth str. qt. ([sm1941[nm). Quartet disbanded ~[sm1941[nm. Kolisch led Pro Arte
 Qt. from [sm1942[nm and ~taught at Univ. of Wisconsin [sm1944[nm=n[sm67[nm.[cm~
Kollo[fy75,1] (Kollodzieyski), [fy65][cf3]Ren;aae [fy75,1]([cf2]b [cf1]Berlin, [
sm1937[nm). Ger. ~ten. Studied in Berlin with Elsa Varena. D;aaebut ~Braunschwei
g [sm1965[nm. D;auusseldorf Opera [sm1967[nm=n[sm71[nm. ~Sang Lohengrin at Bayre
uth Fest. [sm1971[nm. Leading ~Wagnerian roles at Salzburg, Vienna, CG (d;aaebut
 ~[sm1976[nm as Siegmund), NY Met. [sm1977[nm (Siegmund), ~Munich, Berlin, etc.[
cm~Kol Nidrei [fy75,1](Kol Nidre) (All vows). ([sm1[nm) For vc. and ~orch., Op.
[sm47[nm, by Bruch, comp. [sm1881[nm. Arr. for vc. ~and pf.[ep~^
([sm2[nm) Setting for rabbi, ch., and orch., Op. [sm39[nm, by ~[fy45,1]*[fy75,1]
Schoenberg ([sm1938[nm), f.p. Los Angeles [sm1938[nm cond. ~Schoenberg. The [cf2
]Kol Nidrei [cf1]is the opening prayer ~of the Jewish service on the eve of the
Day of ~Atonement ([cf2]Yom Kippur[cf1]). It has tragic associations ~with the S
p. persecution of the Jews in the [sm17[nmth ~cent.[cm~Kolodin, Irving [fy75,1](
[cf2]b [cf1]NY, [sm1908[nm). Amer. mus. critic. ~Studied Institute of Mus. Art,
NY, [sm1927[nm=n[sm31[nm. Ass. ~mus. critic to W. J. Henderson, NY [cf2]Sun [cf1
][sm1932[nm, ~eventually becoming chief critic until [sm1950[nm. Also ~critic of
 recordings in several publications. Author ~of history of NY Met., and other bo
oks.[cm~Kolomyika. [fy75,1]A quick Polish dance in duple time, ~usually with slo
w introduction ([fy45,1]*[fy75,2]dumka[cf1]). Popular ~among the mountain peasan
ts of Poland.[cm~Kondracki, Michal [fy75,1]([cf2]b [cf1]Poltawa, Poland; now ~Po
ltava, Ukraine, [sm1902[nm). Polish composer and ~critic. Studie
d Warsaw Cons. under [fy45,1]*[fy75,1]Szyman~~[PN387,0,0,R,I0][chowski and in Pa
ris with N. Boulanger and Dukas. ~Mus. critic in Warsaw [sm1933[nm=n[sm40[nm, wh
en he settled ~in Rio de Janeiro. Works incl. opera, ballets, sym., ~pf. conc.,
conc. for orch., etc.[cm~Kondrashin, Kyril [fy75,1](Petrovich) ([cf2]b [cf1]Mosc
ow, [sm1914[nm; ~[cf2]d [cf1]Amsterdam, [sm1981[nm). Russ. cond. Studied Moscow
~Cons. with Khaikin [sm1932[nm=n[sm6[nm. Cond., Maly Opera, ~Leningrad, [sm1936[
nm=n[sm43[nm, Bolshoy Opera, Moscow, ~[sm1943[nm=n[sm56[nm. Prin. cond. Moscow P
.O. [sm1960[nm=n[sm75[nm. Ass. ~prin. cond. Concertgebouw Orch., Amsterdam, ~[sm
1975[nm=n[sm81[nm. Cond. f.ps. of Shostakovich's [sm13[nmth Sym. ~([sm1962[nm),
[cf2]The Execution of Stepan Razin [cf1]([sm1964[nm), and ~[sm2[nmnd vn. conc. (
[sm1967[nm). Recorded all Shostakovich ~syms.[cm~K;auonig Hirsch [fy75,1](King S
tag). Opera in [sm3[nm acts by ~[fy45,1]*[fy75,1]Henze to lib. by H. von Cramer
after Gozzi. ~Prod. Berlin [sm1956[nm; rev. as [cf2]Il Re Cervo
[cf1]f.p. Kassel ~[sm1963[nm, Santa Fe [sm1965[nm, BBC [sm1973[nm.[cm~K;auonig S
tephan [fy75,1](King Stephen). Ov. and inciden~~tal mus. by Beethoven, Op. [sm11
7[nm, comp. [sm1811[nm for ~prol. by Kotzebue written for opening night of ~Ger.
 th. in Budapest, [sm1812[nm (see also [cf2]Die Ruinen von ~Athen[cf1]).[cm~K;au
onigin von Saba, Die [fy75,1](The Queen of Sheba). ~Opera in [sm4[nm acts by K.
Goldmark to lib. by H. von ~Mosenthal. Prod. Vienna [sm1875[nm, NY [sm1885[nm, M
an~~[chchester [sm1910[nm.[cm~K;auonigskinder [fy75,1](The King's Children). [sm
3[nm-act opera ~by Humperdinck to lib. by `Ernst Rosmer' (Elsa ~Bernstein-Porges
). Orig. play with incidental mus. ~(Munich and London [sm1897[nm, NY [sm1898[nm
) then ~converted into opera and prod. NY Met. [sm1910[nm, ~London [sm1911[nm.[c
m~Kontakte [fy75,1](Contacts). Comp. by [fy45,1]*[fy75,1]Stockhausen for ~pf., p
erc., and elec. sounds on [sm4[nm-track tape, [sm1959[nm=n~[sm60[nm.[cm~Kontarsk
y, Alfons [fy75,1]([cf2]b [cf1]Iserlohn, [sm1932[nm). Ger. ~pian
ist, brother of Aloys [fy45,1]*[fy75,1]Kontarsky. Studied ~Cologne Hochschule f;
auur Musik [sm1953[nm=n[sm5[nm and in ~Hamburg [sm1955[nm=n[sm7[nm. Held seminar
s at Darmstadt ~summer schools [sm1962[nm=n[sm9[nm. Has appeared as pf. duo ~wit
h brother since [sm1955[nm, giving f. ps. of works by ~Berio, Bussotti, Kagel, P
ousseur, Stockhausen, ~and Zimmermann.[cm~Kontarsky, Aloys [fy75,1]([cf2]b [cf1]
Iserlohn, [sm1931[nm). Ger. pianist, ~brother of Alfons [fy45,1]*[fy75,1]Kontars
ky. Studied Cologne ~Hochschule f;auur Musik [sm1953[nm=n[sm5[nm and in Hamburg
~[sm1955[nm=n[sm7[nm. Formed pf. duo with brother [sm1955[nm. Gave ~f. complete
p. of Stockhausen's [cf2]Klavierst;auucke I=nXI[cf1], ~Darmstadt [sm1966[nm. For
med duo with cellist Sieg~~fried [fy45,1]*[fy75,1]Palm.[cm~Kontrabass [fy75,1](G
er.). Db., generally the str. instr.[cm~Kontrabassposaune [fy75,1](Ger.). [fy45,
1]*[fy75,1]Double-bass Trom~~bone.[cm~Kontrafagott [fy75,1](Ger.). [fy45,1]*[fy7
5,1]Double Bassoon.[cm~Kontra-Punkte [fy75,1](Counter-points). W
ork by ~[fy45,1]*[fy75,1]Stockhausen, [sm1952[nm=n[sm3[nm, for [sm10[nm instr. (
fl., cl., bass ~cl., bn., tpt., tb., pf., harp, vn., vc.). It is a rev. of a ~wo
rk for orch. [cf2]Punkte [cf1]([sm1952[nm), itself rev. in [sm1962[nm.[cm~Konwit
schny, Franz [fy75,1]([cf2]b [cf1]Fulnek, N. Moravia, ~[sm1901[nm; [cf2]d [cf1]B
elgrade, [sm1962[nm). Ger. cond. Studied ~Leipzig. Played vn. and va. in various
 orchs. ~Cond. d;Aaebut [sm1927[nm, working in Stuttgart, Freiburg, ~Frankfurt,
and Hanover. Cond., Leipzig Gewand~~[chhaus Orch. [sm1949[nm=n[sm62[nm, Dresden
State Opera [sm1953[nm=n~[sm5[nm, Berlin State Opera from [sm1955[nm. Cond. [cf2
]The Ring[cf1] ~at CG, [sm1959[nm.[cm~Konzert [fy75,1](Ger.). ([sm1[nm) Concert.
[ep~^([sm2[nm) Concerto.[cm~Konzertst;auuck [fy75,1](Ger.). Concert piece, gener
ally ~with the implication of `concerted' piece, i.e. for ~solo instr. and orch.
 Term often applied to short ~or [sm1[nm-movement concs., e.g. Weber's [cf2]Konz
ertst;auuck ~[cf1]for pf. and orch.[cm~Koppel [fy75,1](Ger.). Co
upler (organ).[cm~Korbay, Francis [fy75,1](Alexander) ([cf2]b [cf1]Budapest, [sm
1846[nm; ~[cf2]d [cf1]London, [sm1913[nm). Hung. ten., pianist, and ~composer. S
tudied pf., comp., and singing with ~various teachers. Sang at Nat. Th., Budapes
t, ~[sm1865[nm=n[sm8[nm, then studied pf. with Liszt. Toured ~Europe. Went to US
A [sm1871[nm, where he resumed ~singing. Prof. of singing, RAM, London, [sm1894[
nm=n~[sm1903[nm. Comp. orch. works and songs. Made many ~folk-song transcrs.[cm~
Korchinska, Maria [fy75,1]([cf2]b [cf1]Moscow, [sm1895[nm; [cf2]d [cf1]London, ~
[sm1979[nm). Russ.-born harpist. Studied Moscow Cons. ~Prin. harpist Bolshoy Th.
, [sm1918[nm=n[sm24[nm, prof. of harp, ~Moscow Cons., [sm1918[nm=n[sm24[nm. Sett
led in Eng., [sm1926[nm. ~Took part in f.p. of Britten's [cf2]A Ceremony of Caro
ls, ~[cf1][sm1942[nm.[cm~Korchmaryov, Klimenty [fy75,1](Arkadyevich) ([cf2]b ~[c
f1]Verkhne-Dneprovsk, [sm1899[nm; [cf2]d [cf1]Moscow, [sm1958[nm). ~Russ. compos
er. Studied Odessa Cons. Comps., ~mainly on revolutionary themes
, incl. operas [cf2]Ivan ~the Soldier [cf1]([sm1927[nm), [cf2][sm10[nm Days That
 Shook the World[cf1]; ~ballet [cf2]The Serf Ballerina[cf1]; choral sym., [cf2]H
olland[cf1]; vn. ~conc., songs, etc.[cm~Korean Temple Block. [fy75,1]An oriental
 addition to ~the [sm20[nmth-cent. dance-band drummer's equip~~ment. A skull-sha
ped hollow block of wood, in ~several sizes giving different pitches, struck wit
h ~a drum-stick. Used in some symphonic works. ~Similar to the [cf2]Chinese Temp
le Block.[cm~Korn, Peter [fy75,1](=+=+=+Jona) ([cf2]b [cf1]Berlin, [sm1922[nm).
Ger.-Amer. ~composer and cond. Studied Berlin Hochschule ~f;auur Musik, Jerusale
m Cons. ([sm1936[nm=n[sm8[nm), Univ. of ~Calif., Berkeley ([sm1941[nm=n[sm2[nm),
 Univ. of S. Calif. ([sm1946[nm=n~[sm7[nm). Comp. teachers were Rubbra, Wolpe, S
choen~~berg, and Toch. Founder and cond. Los Angeles ~New Orch. [sm1948[nm=n[sm5
6[nm. Teacher of comp., Trapp ~Cons., Munich, [sm1960[nm=n[sm1[nm, dir., Strauss
 Cons., ~Munich, from [sm1967[nm. Works incl. [sm3[nm syms., [cf
2]Tom ~Paine [cf1]ov., concertino for hn., sax. conc., vc. sonata, ~ob. sonata,
hn. sonata, str. qt., pf. sonata, etc.[cm~[PN388,0,0,L,I0]Kornett [fy75,1](Ger.)
. The modern [fy45,1]*[fy75,1]Cornet or the ~ancient [fy45,1]*[fy75,1]Cornett.[c
m~Korngold, Erich [fy75,1](Wolfgang) ([cf2]b [cf1]Brno, [sm1897[nm; [cf2]d ~[cf1
]Hollywood, Calif., [sm1957[nm). Austrian-born com~~poser (Amer. citizen [sm1943
[nm) and cond. Son of mus. ~critic Julius [fy45,1]*[fy75,1]Korngold. Studied Vie
nna with ~[fy45,1]*[fy75,1]Zemlinsky, R. Fuchs, and Gr;auadener. Child ~prodigy
as pianist and composer. Schnabel played ~a pf. sonata he wrote at [sm13[nm. Con
d., Hamburg ~Opera [sm1919[nm. Prof., Vienna State Acad., [sm1927[nm. His ~opera
 [cf2]Die tote Stadt [cf1](The Dead City) was a success ~in Hamburg, and in Vien
na and NY, where Maria ~Jeritza sang prin. role. Settled in USA [sm1935[nm, ~wri
ting mus. for many successful films until ~[sm1947[nm. Prin. works:[xm[cm~[j2][s
mstage[nm: [fy75,2]Der Schneemann [cf1](pantomine, orch. Zemlin~
~sky) ([sm1910[nm); [cf2]Der Ring des Polykrates, Violanta [cf1]([sm1[nm-~act do
uble bill, f.p. Munich [sm1916[nm); [cf2]Die [fy45,1]*[fy75,2]tote Stadt ~[cf1](
simultaneous f.ps. Hamburg and Cologne, ~[sm1920[nm); [cf2]Das Wunder der Helian
e [cf1](Hamburg, [sm1927[nm); ~[cf2]Kathrin [cf1]([sm1937[nm, f.p. Stockholm [sm
1939[nm); [cf2]Die stumme ~Serenade [cf1]([sm1946[nm).[ep~[smorch[nm: Sym. in F;
yi major ([sm1951[nm=n[sm2[nm); [cf2]Schauspiel-~Overt;auure [cf1]([sm1911[nm);
[cf2]Sinfonietta [cf1]([sm1912[nm); [cf2]Symphonic ~Serenade [cf1]for str. ([sm1
947[nm); pf. conc. for left hand ~([sm1923[nm); vn. conc. ([sm1945[nm); vc. conc
. ([sm1946[nm).[ep~[smpiano[nm: [cf2]Fairy-Tale Pictures [cf1]([sm1910[nm); Pf.
sonatas: No. ~[sm1[nm ([sm1908[nm), No. [sm2[nm ([sm1910[nm), No. [sm3[nm ([sm19
31[nm).[ep~[smchamber music[nm: Str. qts., No. [sm1[nm in A ([sm1924[nm), No. [s
m2[nm ~in E;Yh ([sm1935[nm), No. [sm3[nm in D ([sm1945[nm).[ep~[smfilm music[nm:
 [cf2]Give Us This Night, Captain Blood, The ~Prince and the Pau
per, The Adventures of Robin ~Hood, The Sea Hawk, The Private Lives of Elizabeth
 ~and Essex, Between [sm2[nm Worlds, Devotion, [cf1]etc.[ep~^^In the [sm1920[nms
 Korngold re-orchestrated, re-arr., ~and practically re-comp. (for Theater an de
r ~Wien) operettas by Strauss (incl. [cf2]Eine Nacht in ~Venedig[cf1]), Offenbac
h, and Fall.[cm~[j1]Korngold, Julius [fy75,1]([cf2]b [cf1]Brno, [sm1860[nm; [cf2
]d [cf1]Hollywood, ~Calif., [sm1945[nm). Austrian mus. critic, father of Erich ~
[fy45,1]*[fy75,1]Korngold. Studied law. Mus. critic [cf2]Neue Freie ~Presse, [cf
1]Vienna, [sm1902[nm=n[sm34[nm. Collab. with son on lib. ~of Erich's opera [cf2]
Die [fy45,1]*[fy75,2]tote Stadt[cf1] under joint ~pseudonym `Paul Schott'.[cm~Ko
sakisch, Kosatcheck, [fy75,1]or [fy65][cf3]Kosachok. [fy75,1]A Cos~~sack dance,
the mus. of which is in quick duple ~time and of ever-increasing speed, and is o
ften in ~the minor.[cm~Kosler, Zden;akek [fy75,1]([cf2]b [cf1]Prague, [sm1928[nm
). Cz. cond. ~Studied Prague Acad. of Arts. D;aaebut, Prague Nat
. ~Th., [sm1951[nm. Opera dir., Olomouc [sm1958[nm, Ostrava ~[sm1962[nm; permane
nt cond. Prague S.O. [sm1966[nm; mus. ~dir. Berlin Komische Oper [sm1966[nm=n[sm
8[nm; cond. Czech ~P.O. [sm1971[nm; chief cond. of opera at Slovak Nat. ~Th., Br
atislava, [sm1971[nm=n[sm9[nm; chief cond. Prague Nat. ~Th. from [sm1980[nm.[cm~
Kossuth. [fy75,1]Symphonic-poem in [sm10[nm tableaux by ~[fy45,1]*[fy75,1]Bart;a
aok, based on life of Lajos Kossuth ([sm1802[nm=n~[sm94[nm), leader of unsuccess
ful Hungarian uprising ~against Austria, [sm1848[nm=n[sm9[nm. Comp. [sm1903[nm.
F.p. Buda~~pest [sm1904[nm; f. Eng. p. Manchester [sm1904[nm (cond. ~Richter). C
ontains distorted version of Austrian ~national hymn.[cm~Kostelanetz, Andr;aae [
fy75,1]([cf2]b [cf1]St Petersburg, [sm1901[nm; [cf2]d[cf1] ~Haiti, [sm1980[nm).
Russ.-born cond. Settled in USA ~[sm1922[nm. Cond. for CBS [sm1930[nm. Guest con
d. of NY ~P.O. Widely known for luscious arrs. of light ~mus. in which he cond.
his own orch.[cm~Kotelettenwalzer [fy75,1](Ger.). See [cf2]Chops
ticks.[cm~Koto. [fy75,1][sm13[nm-stringed Japanese psaltery, strs. being of ~wax
ed silk, tuned by movable bridges. [sm6[nm;po in ~length, [sm3[nm;pp high and [s
m9[nm;pp wide. Rests on floor, the ~right end being raised by [sm2[nm small legs
. Player sits ~on his heels, plucking the strs. with right hand ~and using plect
ra on thumb and first [sm2[nm fingers, ~modifying pitch with left hand. Used in
ritualistic ~mus. and regarded since [sm17[nmth cent. as Japanese ~nat. instr.[c
m~Kotter, Hans [fy75,1]([cf2]b [cf1]Strasbourg, [cf2]c.[cf1][sm1485[nm; [cf2]d [
cf1]Berne, ~[sm1541[nm). Swiss organist. Wrote org. book in tablature ~[sm1513[n
m, and other works for org.[cm~Kotzwara [fy75,1](Koc;akzwara)[fy65][cf3], Franz
[fy75,1]([cf2]b [cf1]Prague, [sm1750[nm; [cf2]d ~[cf1]London, [sm1791[nm). Bohem
ian-born violinist, db. ~player, and composer. Settled in London [sm1790[nm as ~
violinist at King's Th. Won popularity with ~fantasia [cf2]The [fy45,1]*[fy75,2]
Battle of Prague, [cf1]for pf. and optional ~extra instrs.[cm~Ko
ussevitzky [fy75,1](Kussevitzsky), [fy65][cf3]Serge [fy75,1](Sergey)[fj~(Alexand
rovich) [cf1]([cf2]b [cf1]Vishny Volochek, [sm1874[nm; [cf2]d ~[cf1]Boston, Mass
., [sm1951[nm). Russ.-born (Amer. citizen) ~cond. and db. player. Studied Moscow
 Cons., ~graduating [sm1894[nm. Recognized as db. virtuoso, ~becoming prof. at M
oscow Cons. D;Aaebut outside ~Russia as db. soloist, Berlin [sm1903[nm. D;Aaebut
 as cond., ~Berlin P.O. [sm1908[nm. Db. soloist d;Aaebut, London, ~[sm1907[nm, c
ond. LSO [sm1908[nm. With [sm1[nmst wife, Nathalie, ~founded publishing firm [sm
1909[nm, profits going to ~Russ. composers. Founded and cond. Koussev~~itzky S.O
. [sm1910[nm=n[sm18[nm. Dir., State sym. orchs. [sm1917[nm, ~dir., Grand Opera o
f Moscow [sm1918[nm. Left Russia ~for Paris, founding orch. and conducting Conce
rts ~Koussevitzky [sm1921[nm=n[sm8[nm. Guest cond. throughout ~Europe, introduci
ng Russ. operas to Sp. and Fr. ~From [sm1924[nm to [sm1949[nm was cond. of Bosto
n S.O., ~giving many f.ps. of mus. by Amer. composers. ~Especial
 champion of Sibelius. Through Koussev~~itzky Mus. Foundation, founded [sm1943[n
m in memory ~of wife, commissioned many works, incl. Bart;Aaok's ~[cf2]Concerto
for Orchestra [cf1]and Britten's [cf2]Peter Grimes. ~[cf1][sm2[nmnd wife Olga (f
rom [sm1947[nm) very active on behalf ~of foundation. Koussevitzky composed conc
. for ~db. and other pieces for the instr.[cm~Kova;akrovic, Karel [fy75,1]([cf2]
b [cf1]Prague, [sm1862[nm; [cf2]d [cf1]Prague, ~[sm1920[nm). Cz. conductor and c
omposer. Studied at ~Prague Cons. [sm1873[nm=n[sm9[nm and had private comp. ~les
sons with Fibich, [sm1878[nm=n[sm80[nm. Harpist at Prague ~Nat. Th. [sm1879[nm=n
[sm85[nm. Cond. some of first concerts of ~Czech P.O. [sm1896[nm=n[sm8[nm. Dir.
of opera Prague Nat. Th. ~from [sm1900[nm. Cond. f. ps. of operas by Ostr;akcil,
 ~[PN389,0,0,R,I0]Foerster, and Nov;aaak. Cond. f. Prague p. of ~Jan;aaa;akcek's
 [cf2]Jen;anufa[cf1], [sm1916[nm, having for [sm12[nm years rejected ~it because
 of a personal grudge, and  rev. and ~reorch. parts of it. Comp.
 several operas.[cm~Ko;akzeluh, Jan [fy75,1](Johann Anton) ([cf2]b [cf1]Velvary,
 [sm1738[nm; [cf2]d ~[cf1]Prague, [sm1814[nm). Cz. composer and organist. Ka~~pe
llmeister, Prague Cath. from [sm1784[nm. Wrote ~operas, church mus., bn. conc.,
pf. conc., etc.[cm~Ko;akzeluh, Leopold [fy75,1]([cf2]b [cf1]Velvary, [sm1747[nm;
 [cf2]d [cf1]Vienna, ~[sm1818[nm). Cz. composer and teacher. Instructor to ~Vien
nese aristocracy. Refused to succeed Mozart ~at Salzburg [sm1781[nm, but succeed
ed him as court ~composer in Prague [sm1792[nm. Wrote operas, ballets, ~oratorio
, syms., and pf. works. Arr. Scottish, ~Irish, and Welsh folk songs for George T
homson ~of Edinburgh. Cousin of Jan [fy45,1]*[fy75,1]Ko;akzeluh. Name ~frequentl
y spelt in Ger. style Kozeluch.[cm~Kraft, Anton [fy75,1]([cf2]b [cf1]Rokitzan, P
ilsen, [sm1749[nm; [cf2]d [cf1]Vienna, ~[sm1820[nm). Cz. cellist and composer. S
tudied in Prague ~and Vienna. Haydn persuaded him to join ~Esterh;aaaza orch. in
 [sm1778[nm. Haydn's vc. conc. in D ~was once attrib. to him. Hi
s fine playing inspired ~vc. part of Beethoven's triple conc.[cm~Kraft, Nicolaus
 [fy75,1]([cf2]b [cf1]Esterh;aaaza, [sm1778[nm; [cf2]d [cf1]Cheb, Cz., ~[sm1853[
nm). Cz. cellist and composer, son and pupil of ~Anton [fy45,1]*[fy75,1]Kraft. M
ember of Prince Karl Lichnow~~[chsky's orch. and later of Schuppanzigh's str. qt
. ~which gave f.ps. of several Beethoven qts. ~Chamber musician to Prince Lobkow
itz [sm1796[nm. In ~Vienna Court opera orch. [sm1809[nm=n[sm14[nm when he was ~e
ngaged by King of W;Auurttemberg. Wrote vc. ~pieces.[cm~Kraft, William [fy75,1](
[cf2]b [cf1]Chicago, [sm1923[nm). Amer. com~~poser. Studied Columbia Univ. [sm19
49[nm=n[sm52[nm and ~Juilliard Sch. [sm1948[nm=n[sm52[nm. From [sm1955[nm prin.
timpanist ~Los Angeles P.O. Jazz-influenced comps. incl. ~conc. for [sm4[nm perc
ussionists and orch., [cf2]Configurations, ~[cf1]for [sm4[nm perc. and jazz orch
., [cf2]Nonet [cf1]for brass, [cf2]Concerto ~grosso, Silent Boughs, [cf1]song-cy
cle for sop. and strs., ~[cf2]Double Trio [cf1]for prepared pf.,
 pf., elec. guitar, tuba, ~and [sm2[nm perc., [cf2]Triangles, [cf1]conc. for per
c. and [sm10[nm instr.[cm~Krakoviak, Krakowiak. [fy75,1]([sm1[nm) Polish dance f
rom ~Krak;aaow district, in lively ;D2;E4 time, with distinctive ~syncopation.[e
p~^([sm2[nm) Title of Chopin's concert rondo for pf. and ~orch., Op. [sm14[nm, c
omp. [sm1828[nm.[cm~Kramer, A. Walter [fy75,1]([cf2]b [cf1]NY, [sm1890[nm; [cf2]
d [cf1]NY, [sm1969[nm). ~Amer. composer, critic, and publisher. Studied ~vn., va
., and pf. at Coll. of City of NY. Wrote for ~[cf2]Musical America [cf1][sm1910[
nm=n[sm22[nm, then worked in Europe. ~Ed.-in-chief [cf2]Musical America [cf1][sm
1929[nm=n[sm36[nm. Man. dir., ~Galaxy Music Corp., [sm1936[nm=n[sm56[nm. Comp. o
rch. ~works, chamber mus., and songs.[cm~Kr;auamerspiegel [fy75,1](Shopkeeper's
Mirror). Cycle of ~[sm12[nm songs, Op. [sm66[nm, for v. and pf. by R. Strauss to
 ~poems by Alfred Kerr ([sm1867[nm=n[sm1948[nm), comp. [sm1918[nm. ~Poems contai
n satirical and punning references ~to most of leading Ger. mus.
 publishers with ~whom Strauss was in dispute over copyright. One ~of the work's
 melodies was used again by Strauss ~over [sm20[nm years later as the `Moonlight
 Music' in his ~last opera [cf2]Capriccio.[cm~Krasner, Louis [fy75,1]([cf2]b [cf
1]Cherkassy, Russ., [sm1903[nm). Amer. ~violinist. Studied New England Cons. and
 later in ~Europe. D;Aaebut Vienna. Commissioned and gave ~f.p. of Berg's conc.,
 Barcelona [sm1936[nm. Gave f.p. of ~Schoenberg's conc., Philadelphia [sm1940[nm
. Leader, ~Minneapolis S.O. [sm1944[nm=n[sm9[nm. Prof. of vn., Syracuse ~Univ. [
sm1949[nm=n[sm72[nm.[cm~Kraus, Alfredo [fy75,1]([cf2]b [cf1]Canary Is., [sm1927[
nm). Sp. tenor. ~D;aaebut, Turin [sm1956[nm as Alfredo in [cf2]La Traviata. ~[cf
1]London d;aaebut in same role, Stoll Th. [sm1957[nm, CG ~[sm1959[nm, La Scala [
sm1960[nm, NY Met. [sm1966[nm (Duke in ~[cf2]Rigoletto[cf1]). Outstandingly eleg
ant lyric tenor in ~such roles as Massenet's Werther and Des Grieux.[cm~Kraus, J
oseph [fy75,1](Martin) ([cf2]b [cf1]Miltenberg, Mainz, ~[sm1756[
nm; [cf2]d [cf1]Stockholm, [sm1792[nm). Ger. composer. Cond. ~at Stockholm Th. [
sm1778[nm, Kapellmeister [sm1781[nm, court ~Kapellmeister [sm1788[nm. Wrote [sm4
[nm operas, incl. [cf2]Prosper~~ina [cf1]([sm1781[nm, revived Drottningholm [sm1
981[nm) and ~[cf2]Aeneas i Carthago [cf1](f.p. [sm1799[nm; admired by Gluck ~and
 Haydn), syms., incidental mus., str. qts. His ~[cf2]Funeral Music for Gustavus
III [cf1]([sm1792[nm) has recently ~been revived.[xm[cm~[ol0][ep~[xp[te~







[do31][j99]~~~~~~[sm153842[nm_K[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm006[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm1[nm.[sm10[nm.[s
m79[nm[cm[sm1[nm[cm[sm249[nm[cm~[sm27[nm|Barnard[cm[sm5[nm[cm[sm3.8.84[nm[cm~U[s
m2[nm[cm~~~~[ap[j1]Kraus, Lili [fy75,1]([cf2]b [cf1]Budapest, [sm1905[nm). Hung.
-born ~pianist (Brit. subject [sm1948[nm). Studied with Bart;aaok ~and Kod;aaaly
, Budapest Acad., and at Vienna Cons. ~Private study with Schnabel. World tours
and ~soloist with leading orchs. Specialist in Mozart. ~First to record all Moza
rt pf. sonatas and first to ~perf. all his concs. in NY, [sm1966[nm=n[sm7[nm. Du
o with ~Szymon [fy45,1]*[fy75,1]Goldberg [sm1935[nm=n[sm40[nm. Interned in Java
~[sm1942[nm.[cm~Kraus, Otakar [fy75,1]([cf2]b [cf1]Prague, [sm1909[nm; [cf2]d [c
f1]London, [sm1980[nm). ~Cz.-born bar. (Brit. subject). Studied Prague and ~Mila
n priv[chately. D;aaebut Brno [sm1935[nm as Amonasro ~in [cf2]Aida. [cf1]Prin. b
ar., Bratislava Opera [sm1936[nm=n[sm9[nm, then ~settled in Eng.
, singing with Carl Rosa Opera. ~Joined [fy45,1]*[fy75,1]English Opera Group [sm
1946[nm, creating ~Tarquinius in Britten's [cf2]Rape of Lucretia. [cf1]Nether~~l
ands Opera [sm1950[nm=n[sm1[nm. Member of CG Opera Co. ~[sm1951[nm=n[sm73[nm. Cr
eated Nick Shadow in Stravinsky's ~[cf2]The Rake's Progress [cf1](Venice, [sm195
1[nm), Diomede in ~Walton's [cf2]Troilus and Cressida, [cf1]and King Fisher in ~
Tippett's [cf2]The Midsummer Marriage [cf1](both CG). ~Sang Alberich at Bayreuth
 Fest. [sm1960[nm=n[sm2[nm. O.B.E. ~[sm1973[nm.[cm~Krauss, Clemens [fy75,1](Hein
rich) ([cf2]b [cf1]Vienna, [sm1893[nm; [cf2]d ~[cf1]Mexico City, [sm1954[nm). Au
strian cond. Studied ~Vienna Cons. with Gr;auadener and Heuberger. ~Opera d;aaeb
ut Brno [sm1913[nm. Cond., Ger. th., Riga, ~[sm1913[nm=n[sm14[nm. Worked in Stet
tin and Graz. Ass. cond. ~Vienna State Opera [sm1922[nm=n[sm4[nm, earning admira
tion ~of R. Strauss of whom he became close friend and ~great interpreter. Dir.,
 Frankfurt Opera [sm1924[nm=n[sm9[nm, ~Vienna [sm1929[nm=n[sm34[
nm, Berlin [sm1935[nm=n[sm7[nm, Munich [sm1937[nm=n~[sm43[nm, Vienna [sm1947[nm=
n[sm54[nm. His Munich period was ~notable for superb standard of prods. London ~
d;aaebut CG [sm1934[nm, visits [sm1947[nm and [sm1949[nm and CG ~[PN390,0,0,L,I0
][sm1951[nm=n[sm3[nm. Amer. d;aaebut [sm1929[nm NY P.-S.O. Frequent ~cond. of Vi
enna P.O., Frankfurt Museum con~~certs. Cond. f.p. of Strauss's [fy45,1]*[fy75,2
]Arabella [cf1](Dresden ~[sm1933[nm), [fy45,1]*[fy75,2]Friedenstag [cf1](Munich
[sm1938[nm), [fy45,1]*[fy75,2]Capriccio, ~[cf1]for which he wrote part of lib. (
Munich [sm1942[nm), ~and [cf2]Die [fy45,1]*[fy75,2]Liebe der Danae [cf1](Salzbur
g [sm1944[nm dress reh. ~and Salzburg [sm1952[nm). Married sop. Viorica [fy45,1]
*[fy75,1]Ursu~~leac.[cm~Krebs, Johann [fy75,1](Ludwig) ([cf2]b [cf1]Buttlest;aua
dt, [sm1713[nm; [cf2]d ~[cf1]Altenburg, [sm1780[nm). Ger. org. and composer. Pup
il ~of Bach at Leipzig [sm1726[nm=n[sm35[nm. Then held various ~org. posts. Wrot
e religious choral works, fl. ~sonatas, fl. trios, and much org.
 mus., some of ~which is heard today.[cm~Krehbiel, Henry [fy75,1](Edward) ([cf2]
b [cf1]Ann Arbor, Mich., ~[sm1854[nm; [cf2]d [cf1]NY, [sm1923[nm). Amer. mus. cr
itic, author, ~and ed. Studied law but turned to journalism. ~Mus. critic [cf2]C
incinnati Gazette [cf1][sm1874[nm=n[sm80[nm, NY [cf2]Tribune ~[cf1][sm1880[nm=n[
sm1923[nm. Champion of Brahms, Dvo;Akr;aaak, and ~Wagner. Bitterly attacked Stra
uss's [cf2]Salome [cf1]and ~was severely critical of Mahler as composer and ~con
d. Wrote several books. Pubd. Eng. version of ~[cf2]Parsifal. [cf1]Rev. and comp
leted Eng. text of Thayer's ~[cf2]Life of Beethoven [cf1]([sm3[nm vols. [sm1921[
nm).[cm~Krein, Alexander [fy75,1](Abramovich) ([cf2]b [cf1]Nizhny-~Novgorod, [sm
1883[nm; [cf2]d [cf1]Moscow, [sm1951[nm). Russ. com~~poser. Studied Moscow Cons.
 Works, influenced ~by Jewish background, incl. [cf2]Hebrew Sketches [cf1]for ~c
l. and str. qt., [cf2]Salome [cf1](symphonic poem), several ~operas, sym., [cf2]
Threnody in memory of Lenin, [cf1]and ~[cf2]U.S.S.R., Shock Brig
ade of the World Proletariat.[cm~Krein, Grigory [fy75,1](Abramovich) ([cf2]b [cf
1]Nizhny-Novgo~~rod, [sm1879[nm; [cf2]d [cf1]nr. Leningrad, [sm1955[nm). Russ. c
om~~poser, brother of Alexander [fy45,1]*[fy75,1]Krein. Studied with ~Gli;Agere
and in Leipzig with Reger. Wrote [cf2]Hebrew ~Rhapsody [cf1]for cl. and orch., v
n. conc., str. qt., [sm2[nm pf. ~sonatas, [sm3[nm symphonic episodes on life of
Lenin.[cm~Kreisler, Fritz [fy75,1](Friedrich) ([cf2]b [cf1]Vienna, [sm1875[nm; [
cf2]d [cf1]NY, ~[sm1962[nm). Austrian-born violinist and composer ~(Amer. citize
n from [sm1943[nm). Entered Vienna Cons. ~at age [sm7[nm, studying under Auer an
d Hellmesberger. ~Paris Cons. [sm1885[nm, studying with Massart (vn.) and ~Delib
es (comp.). Amer. d;Aaebut [sm1888[nm in NY, ~followed by tour with pianist Mori
z [fy45,1]*[fy75,1]Rosenthal. ~Returned to Europe and abandoned mus. career, ~st
udying medicine in Vienna and art in Rome ~and Paris. Joined Austrian army, beco
ming officer ~in Uhlans regiment. Resumed career as violinist ~[
sm1899[nm in Berlin. Returned to USA [sm1900[nm=n[sm1[nm. London ~d;Aaebut May [
sm1901[nm. Thenceforward his brilliant ~technique and unmistakably personal tone
 put ~him in the forefront of int. violinists. In [sm1910[nm ~gave the f.p. of E
lgar's conc., which is ded. to ~him. Recalled to Austrian army [sm1914[nm, but ~
wounded and discharged. Lived in NY [sm1915[nm=n[sm24[nm ~but later returned to
Europe and in [sm1938[nm became ~Fr. citizen. Appeared regularly as conc. solois
t ~and solo recitalist in London, making many ~recordings. Returned to NY [sm194
0[nm, thereafter ~living chiefly in USA. Comp. str. qt. and many ~charming piece
s for vn., of which the best-known ~are [cf2]Caprice Viennois, Liebesfreud, Lieb
esleid, Sch;Auon ~Rosmarin [cf1]and [cf2]Tambourin Chinois. [cf1]Some of his ~co
mps. he attrib. (to confuse the critics) to various ~[sm17[nmth- =+and [sm18[nmt
h-cent. composers such as [fy45,1]*[fy75,1]Pugnani. ~Also transcr. works by Dvo;
Akr;Aaak, Paganini, and ~Tartini. Wrote cadenzas for Beethoven a
nd ~Brahms concs.[cm~Kreisleriana. [fy75,1]Set of [sm8[nm fantasy pf. pieces by
~Schumann, Op. [sm16[nm, comp. [sm1838[nm and ded. to ~Chopin (rev. [sm1850[nm).
 Title refers to the character ~Kreisler in E.T.A. Hoffmann's stories.[cm~Krej;a
kc;aai, I;aksa [fy75,1]([cf2]b [cf1]Prague, [sm1904[nm; [cf2]d [cf1]Prague, [sm1
968[nm). Cz. ~composer and cond. Studied Prague Cons. [sm1923[nm=n~[sm9[nm (comp
. with Jir;Aaak and Nov;Aaak, cond. with ~Talich). Cond., Bratislava opera [sm19
28[nm=n[sm32[nm; mus. ~dir. Prague Radio [sm1934[nm=n[sm45[nm; art. dir. Olomouc
 ~Opera [sm1945[nm=n[sm57[nm; cond. Prague Nat. Th. [sm1957[nm=n[sm68[nm. ~Style
 said to be comparable with that of Poulenc. ~Prin. works incl.: Opera, [cf2]Poz
dvi;Akzeni v Efesu ~[cf1](Tumult in Ephesus, based on Shakespeare's ~[cf2]Comedy
 of Errors[cf1]) ([sm1939[nm=n[sm43[nm); [cf2]Nonet [cf1]([sm1937[nm); [cf2]Sere
~~nade [cf1]for orch. ([sm1947[nm=n[sm50[nm); [sm4[nm syms.; [sm3[nm str. qts.[c
m~K;akrenek, Ernst [fy75,1]([cf2]b [cf1]Vienna, [sm1900[nm). Aus
trian-born ~composer (Amer. citizen from [sm1945[nm). Studied ~with F. [fy45,1]*
[fy75,1]Schreker at Vienna Acad. [sm1916[nm and ~Berlin Cons. [sm1920[nm=n[sm3[n
m. His chamber mus., neo-~classical in style, was played at Donaueschingen ~and
Nuremberg, and his scenic cantata [cf2]Zwingburg, ~[cf1]to a text by Franz Werfe
l, was prod. in Berlin, ~[sm1924[nm, under Kleiber. In [sm1925[nm=n[sm7[nm he wa
s ass. to ~Paul Bekker as gen. man. of opera at Kassel and ~Wiesbaden. In [sm192
6[nm he completed his opera [cf2]Jonny ~spielt auf [cf1](Johnny strikes up), usi
ng jazz idiom. ~After rejection by several Ger. opera houses, it ~was staged in
Leipzig in [sm1927[nm and was a sensational ~success, being perf. in over [sm100
[nm cities and trans. ~into [sm20[nm languages. It made K;Akrenek's name and ~fo
rtune. He returned to Vienna in [sm1928[nm and ~made extensive study of [sm12[nm
-note technique, later ~writing for [cf2]Frankfurter Zeitung [cf1][sm1930[nm=n[s
m3[nm. During ~this time he wrote an elaborate opera, [cf2]Karl
V, ~[cf1]using the [sm12[nm-note method. In some later works ~he employed a free
 atonal technique and also ~applied a `principle of rotation', in which serial ~
variants are formed through the systematic ~exchange of the pitches of a given s
eries with ~their adjacent pitches. He also used elec. proce~~dures and later re
turned to a more lyrical style. ~He emigrated to USA in [sm1938[nm, becoming pro
f. of ~mus. at Vassar Coll. [sm1939[nm=n[sm42[nm and at Hamline ~Univ., St Paul,
 [sm1942[nm=n[sm7[nm. In [sm1948[nm he settled near ~Los Angeles, devoting his t
ime to comp., lecture-~tours, etc. After [sm1945[nm he preferred his name to be
~spelt simply as Krenek. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Zwingburg[
cf1], Op. [sm14[nm (lib. by Werfel) ([sm1922[nm); ~[cf2]Der Sprung ;auuber den S
chatten[cf1], Op. [sm17[nm ([sm1923[nm); ~[cf2]Orpheus und Eurydike[cf1], Op. [s
m21[nm (lib. by Kokoschka) ~([sm1923[nm); [cf2]Bluff[cf1], Op. [sm36[nm ([sm1924
[nm=n[sm5[nm); [fy45,1]*[fy75,2]Jonny spielt auf[cf1], ~Op. [sm4
5[nm ([sm1925[nm=n[sm6[nm); [cf2]Der Diktator[cf1], Op. [sm49[nm ([sm1926[nm); ~
[cf2]Das geheime K;auonigreich[cf1], Op. [sm50[nm ([sm1926[nm=n[sm7[nm); [cf2]Sc
hwer~~[PN391,0,0,R,I0]gewicht [cf1]([sm1926[nm=n[sm7[nm); [cf2]Leben des Orest[c
f1], Op. [sm60[nm ([sm1928[nm=n~[sm9[nm); [cf2]Karl V[cf1], Op. [sm73[nm ([sm193
0[nm=n[sm3[nm); [cf2]Cefalo e Procri[cf1], Op. ~[sm77[nm ([sm1933[nm=n[sm4[nm);
[cf2]Tarquin[cf1], Op. [sm90[nm ([sm1940[nm); [cf2]What Price ~Confidence?[cf1],
 Op. [sm111[nm ([sm1945[nm=n[sm6[nm); [cf2]Dark Waters ~[cf1]([sm1950[nm); [cf2]
Pallas Athene weint [cf1]([sm1952[nm=n[sm5[nm); [cf2]The Bell ~Tower [cf1]([sm19
55[nm=n[sm6[nm); [cf2]Ausgerechnet und verspielt ~[cf1]([sm1961[nm); [cf2]Der go
ldene Bock[cf1], Op. [sm186[nm ([sm1963[nm); [cf2]Der ~Zauberspiegel [cf1]([sm19
66[nm); [cf2]Sardakai [cf1]([sm1967[nm=n[sm9[nm).[ep~[smballets[nm: [cf2]Der ver
tauschte Cupido[cf1], after Rameau ~([sm1925[nm); [cf2][sm8[nm-Column Line, [cf1
]Op. [sm85[nm ([sm1939[nm); [cf2]Jest of ~Cards [cf1]([sm1959[nm
).[ep~[smorch[nm: Syms.: No. [sm1[nm, Op. [sm7[nm ([sm1921[nm), No. [sm2[nm, Op.
 [sm12[nm ~([sm1922[nm), No. [sm3[nm, Op. [sm16[nm ([sm1922[nm), No. [sm4[nm, Op
. [sm34[nm, for ~wind and perc. ([sm1925[nm), No. [sm5[nm ([sm1949[nm), Sym. ~(u
nnumbered, [sm1947[nm), [cf2]Little Symphony, [cf1]Op. [sm58[nm ~([sm1928[nm), S
ym. [cf2]Pallas Athene [cf1]([sm1954[nm), Symphonic ~mus. for [sm9[nm instr., Op
. [sm11[nm ([sm1922[nm); pf. concs.: No. ~[sm1[nm, Op. [sm18[nm ([sm1923[nm), No
. [sm2[nm, Op. [sm75[nm ([sm1937[nm), No. [sm3[nm ~([sm1946[nm), No. [sm4[nm ([s
m1950[nm); [sm2[nm-pf. conc. ([sm1951[nm); [cf2]Concerto ~grosso [cf1]No. [sm1[n
m, Op. [sm10[nm, ([sm1921[nm), No. [sm2[nm, Op. [sm25[nm ~([sm1924[nm); vn. conc
s.: No. [sm1[nm, Op. [sm29[nm ([sm1924[nm), No. [sm2[nm ~([sm1954[nm); [sm7[nm [
cf2]Pieces, [cf1]Op. [sm31[nm ([sm1924[nm); [cf2]Potpourri, [cf1]Op. [sm54[nm ~(
[sm1927[nm); [cf2]Symphonic Piece [cf1]for str., Op. [sm86[nm ([sm1939[nm); ~[cf
2]Little Concerto [cf1]for pf., org., chamber orch., Op. ~[sm88[
nm ([sm1940[nm); [cf2]I Wonder as I Wander, [cf1]variations on ~N. Carolina folk
-song, Op. [sm94[nm ([sm1942[nm); [cf2]Symphonic ~Elegy [cf1]for str. (on death
of Webern) ([sm1946[nm); ~[cf2]Brazilian Sinfonietta [cf1]for str. ([sm1952[nm);
 [cf2]Kette, Kreis ~und Spiegel [cf1]([sm1956[nm=n[sm7[nm); [cf2]Quaestio tempor
is [cf1]([sm1958[nm=n[sm9[nm); ~[cf2]Marginal Sounds [cf1]([sm1960[nm); conc. fo
r vn. and pf., ~with small orch. ([sm1950[nm); vc. conc. ([sm1953[nm); ~[cf2]Cap
riccio [cf1]for vc. and small orch. ([sm1955[nm); harp ~conc. ([sm1951[nm); [cf2
]Horizon Circled [cf1]([sm1968[nm); conc. for ~org. and str. ([sm1979[nm).[ep~[s
mchamber music[nm: Str. qts.: No. [sm1[nm, Op. [sm6[nm ([sm1921[nm), No. ~[sm2[n
m, Op. [sm20[nm ([sm1923[nm), No. [sm3[nm, Op. [sm65[nm ([sm1931[nm), No. [sm4[n
m, ~Op. [sm78[nm ([sm1936[nm), No. [sm5[nm, Op. [sm96[nm ([sm1943[nm), No. [sm6[
nm ~([sm1936[nm), No. [sm7[nm ([sm1944[nm); Suite for solo vc., Op. [sm84[nm ~([
sm1939[nm); org. sonata, Op. [sm92[nm, No. [sm1[nm ([sm1941[nm);
 fl. and ~va. sonatina, Op. [sm92[nm, No. [sm2[nm ([sm1942[nm); sonata for ~solo
 va., Op. [sm92[nm, No. [sm3[nm ([sm1944[nm); [cf2]Pentagram [cf1]for ~wind quin
tet ([sm1957[nm); str. trio ([sm1948[nm); wind ~quintet ([sm1951[nm); solo vn. s
onata ([sm1948[nm); va. sonata ~([sm1948[nm); ob. sonatina; guitar suite; fl. pi
ece in [sm9[nm ~phases ([sm1959[nm).[ep~[smchoral[nm: [cf2]The Seasons [cf1](H;A
uolderlin), Op. [sm35[nm ([sm1925[nm); ~[cf2]Lamentio Jeremiae Prophetae, [cf1]O
p. [sm93[nm ([sm1941[nm); [cf2]The ~Santa Fe Time Table [cf1]([sm1945[nm); [sm6[
nm [cf2]Motets [cf1](Kafka) ~([sm1959[nm); [cf2]Canon `Igori' [cf1](for Stravins
ky's [sm80[nmth ~birthday, [sm1962[nm); [cf2]German Proper of the Mass for ~Trin
ity Sunday [cf1]([sm1966[nm=n[sm7[nm).[ep~[cf1][smsongs[nm: [sm9[nm Songs ([sm19
21[nm=n[sm3[nm); [cf2]Reisebuch aus den ~;Auosterreichischen Alpen [cf1](Diary f
rom the Austrian ~Alps), Op. [sm62[nm, [sm20[nm songs to own words ([sm1929[nm);
 ~[cf2]Die Nachtigall, [cf1]Op. [sm68[nm ([sm1931[nm); [sm5[nm S
ongs (Kafka) ~Op. [sm82[nm ([sm1938[nm); [cf2]Ballad of the Railroads [cf1]([sm1
944[nm); ~[cf2]Sestina [cf1]for sop. and [sm10[nm players ([sm1957[nm); [cf2]Wec
hsel~~rahmen [cf1](Change of Frames), [sm6[nm songs for sop. and ~pf. ([sm1968[n
m).[ep~[smpiano[nm: Sonatas: No. [sm1[nm, Op. [sm2[nm ([sm1919[nm), No. [sm2[nm,
 Op. [sm59[nm ~([sm1928[nm), No. [sm3[nm, Op. [sm92[nm No. [sm4[nm ([sm1943[nm),
 No. [sm4[nm ([sm1948[nm), ~No. [sm5[nm ([sm1950[nm), No. [sm6[nm ([sm1951[nm);
[sm2[nm Suites, Op. [sm26[nm ~([sm1924[nm); [sm5[nm Pieces, Op. [sm39[nm ([sm192
8[nm); completion of ~Schubert's C major sonata ([sm1921[nm); [cf2]Echoes from ~
Austria [cf1]([sm1958[nm); [sm8[nm Pieces ([sm1946[nm); [cf2]George Washing~~ton
 Variations [cf1]([sm1950[nm); [cf2][sm6[nm Vermessene [cf1]([sm1958[nm).[ep~[sm
electronic[nm: [cf2]Spiritus intelligentiae Sanctus, [cf1]oratorio ~for vv. and
sounds ([sm1956[nm); [cf2]San Fernando Sequence; ~Quintina, [cf1]for sop., tape,
 chamber ens. ([sm1965[nm).[ep~[smmiscellaneous[nm: Edn. and orc
h. of Monteverdi's ~[cf2]L'incoronazione di Poppea [cf1](Vienna [sm1937[nm); per
f. ~version of [sm1[nmst and [sm3[nmrd movements of Mahler's ~[sm10[nmth sym. (w
ith Berg and F. Schalk) (Vienna ~[sm1924[nm).[cm~[j1]Krenn, Werner [fy75,1]([cf2
]b [cf1]Vienna, [sm1943[nm). Austrian tenor. ~Member of Vienna Boys' Choir. Bass
oonist in ~Vienna S.O. [sm1962[nm=n[sm6[nm, then turned to singing. ~Stage d;aae
but Berlin [sm1966[nm (in Purcell's [cf2]Fairy Queen[cf1]). ~Brit. d;aaebut [sm1
970[nm (Scottish Opera). Also successful ~Lieder singer.[cm~Krenz, Jan [fy75,1](
[cf2]b[cf1] W;Umoc;Umawek, [sm1926[nm). Polish conduc~~tor. Studied ;Ul;aaod;aaz
 Cons. (pf., cond., and comp.). ~Cond. Pozna;aan P.O. [sm1951[nm=n[sm3[nm. Worke
d with G. ~Fitelberg. Chief cond. and art. dir. Polish Radio ~S.O., Katowice, [s
m1953[nm=n[sm67[nm. Cond., Danish Radio ~S.O. [sm1966[nm=n[sm8[nm. Eng. d;aaebut
 with BBC S.O. [sm1961[nm. ~First cond. at Warsaw Opera [sm1967[nm, later perm.
~guest cond. Chief cond. Polish Radio and TV ~orchs. Orch. works
 by Polish composers.[cm~Kreuz [fy75,1](Ger.). Cross. Ger. for the [fy45,1]*[fy7
5,1]sharp sign (;Yi).[cm~Kreutzer, Conradin [fy75,1]([cf2]b [cf1]Messkirch, Bade
n, [sm1780[nm; ~[cf2]d [cf1]Riga, [sm1849[nm). Ger. composer. Pupil of Albrechts
~~berger in Vienna. Held several Kapellmeister ~posts: to King of W;auurttemberg
, at Donaueschin~~gen ([sm1817[nm), Vienna ([sm1822[nm=n[sm7[nm, [sm1829[nm=n[sm
32[nm, [sm1835[nm=n[sm40[nm), ~and Cologne ([sm1840[nm=n[sm2[nm). Wrote operas,
incl. [cf2]Das ~Nachtlager von Granada [cf1]([sm1834[nm), incidental mus., ~cham
ber works, and songs.[cm~Kreutzer, Rodolphe [fy75,1]([cf2]b [cf1]Versailles, [sm
1766[nm; [cf2]d [cf1]Gen~~[cheva, [sm1831[nm). Fr. violinist and composer. Pupil
 of ~Stamitz. [sm1[nmst vn. in [cf2]Chapelle du Roi, [cf1][sm1785[nm, and ~soloi
st at Paris Th;aae;afatre des Italiens, [sm1790[nm. Two ~operas prod. there. Pro
f. of vn., Paris Cons. [sm1795[nm=n~[sm1826[nm, compiling (with Baillot) the est
ablishment's ~vn. method. In [sm1798[nm visited Vienna where he
~met Beethoven, who ded. to him his A major ~sonata, Op. [sm47[nm, completed [sm
1803[nm, and known as ~[fy45,1]*[fy75,1]`Kreutzer' Sonata (it is unlikely that K
reutzer ~ever played it). [sm1[nmst vn., Paris Op;aaera, from [sm1801[nm, ~cond.
 there from [sm1816[nm (his career as vn. soloist ~being cut short by broken arm
, [sm1810[nm). Retired ~[sm1826[nm. Comp. over [sm40[nm operas and ballets, [sm1
9[nm vn. ~concs., [sm17[nm str. qts., [sm15[nm trios, [sm3[nm double concs., ~so
natas, and many vn. pieces incl. [sm20[nm [cf2];aaEtudes ou ~Caprices.[cm~Kreutz
er Sonata. [fy75,1]([sm1[nm) Nickname of Beethoven's ~vn. sonata in A major, Op.
 [sm47[nm ([sm1803[nm) ded. to the ~Fr. violinist Rodolphe [fy45,1]*[fy75,1]Kreu
tzer, who is believed ~never to have played it.[ep~^([sm2[nm) Sub-title often gi
ven to Jan;aaa;akcek's Str. Qt. No. ~[sm1[nm, comp. [sm1923[nm=n[sm4[nm and inco
rporating part of ~scrapped pf. trio of [sm1908[nm=n[sm9[nm. On the score Jan;aa
a;akcek ~[PN392,0,0,L,I0]wrote: `Inspired by L. N. Tolstoy's [cf
2]Kreutzer-sonata' ~[cf1](novel pubd. [sm1890[nm).[cm~K;akri;akcka, Jaroslav [fy
75,1]([cf2]b [cf1]Kel;akc, Moravia, [sm1882[nm; [cf2]d ~[cf1]Prague, [sm1969[nm)
. Cz. composer and cond. Studied ~Prague and Berlin. Prof. at Prague Cons., from
 ~[sm1918[nm, later becoming dir. Comp. [sm2[nm syms., [sm13[nm ~operas, several
 str. qts., mus. for Maeterlinck's [cf2]The ~Blue Bird, [cf1]song-cycles, and wo
rks for children.[cm~Krieger, Johann [fy75,1]([cf2]b [cf1]Nuremberg, [sm1651[nm;
 [cf2]d [cf1]Zittau, ~[sm1735[nm). Ger. composer and organist. Court organ~~ist,
 Bayreuth, [sm1672[nm=n[sm7[nm. Town mus. dir., Zittau ~[sm1681[nm. Comp. prelud
es and fugues for organ much ~admired by Handel. Also wrote songs and church ~mu
s.[cm~Krieger, Johann [fy75,1](Philipp) ([cf2]b [cf1]Nuremberg, [sm1649[nm; ~[cf
2]d [cf1]Weissenfels, [sm1725[nm). Ger. composer and organist, ~brother of Johan
n [fy45,1]*[fy75,1]Krieger. Court organist and ~chamber musician at Halle [sm167
7[nm; Kapellmeister, ~Weissenfels from [sm1680[nm. Wrote operas,
 Singspiels, ~sonatas, partitas, etc.[cm~Krips, Henry [fy75,1](=+=+=+Joseph) ([c
f2]b [cf1]Vienna, [sm1912[nm). Austrian-~born cond., brother of Josef [fy45,1]*[
fy75,1]Krips. Studied ~Vienna Cons. and Univ. Guest cond. of many ~Brit. orchs.
and SW Opera. Went to Australia ~[sm1938[nm, becoming Australian cit. [sm1944[nm
. Worked for ~Australian radio. Cond. S. Australia S.O. [sm1949[nm=n~[sm72[nm.[c
m~Krips, Josef [fy75,1]([cf2]b [cf1]Vienna, [sm1902[nm; [cf2]d [cf1]Geneva, [sm1
974[nm). ~Austrian cond. Studied Vienna with [fy45,1]*[fy75,1]Weingart~~ner. Con
d. at Vienna Volksoper [sm1921[nm=n[sm4[nm, Dort~~mund [sm1925[nm=n[sm6[nm, Karl
sruhe [sm1926[nm=n[sm33[nm, Vienna State ~Opera [sm1933[nm=n[sm8[nm, Belgrade Op
era [sm1938[nm=n[sm9[nm. Banned ~by Nazis from conducting, [sm1939[nm=n[sm45[nm.
 Cond. first ~opera perf. in Vienna after war in [sm1945[nm, playing ~major part
 in restoring Vienna Opera's reputation ~[sm1945[nm=n[sm50[nm. Re-opened Salzbur
g Fest. [sm1946[nm. Guest ~cond. Eng. orchs. (Hall;Aae, etc.) fr
om [sm1947[nm. D;Aaebut ~CG [sm1947[nm with Vienna co. in Mozart. Cond.-in-~chie
f LSO [sm1950[nm=n[sm4[nm, Buffalo P.O. [sm1954[nm=n[sm63[nm, San ~Francisco S.O
. [sm1963[nm=n[sm70[nm. NY Met. d;aaebut [sm1966[nm.[cm~Kroll Oper. [fy75,1]Ger.
 opera house in Berlin, extant ~[sm1924[nm=n[sm31[nm. Was planned by Wilhelm II
in [sm1896[nm, ~the Krolls Theater, K;Auonigplatz, being purchased. ~Delays post
poned opening until [sm1924[nm. Under ~[fy45,1]*[fy75,1]Klemperer [sm1927[nm=n[s
m31[nm, the Kroll was among most ~adventurous opera houses of world. Nazis took
~over th. as home of Reichstag, [sm1933[nm.[cm~Krombholc, Jaroslav [fy75,1]([cf2
]b [cf1]Prague, [sm1918[nm; [cf2]d [cf1]Prague, ~[sm1983[nm). Cz. cond. Studied
Prague Cons. with ~Nov;aaak and Talich. Guest cond. Prague Nat. Th. ~and Czech P
.O. [sm1940[nm. Cond., Prague Nat. Th. ~[sm1949[nm=n[sm62[nm, [sm1[nmst cond. [s
m1963[nm=n[sm8[nm, head, Prague Nat. ~Th. Opera [sm1968[nm=n[sm70[nm, chief cond
. Nat. Th. Opera ~[sm1970[nm=n[sm5[nm. Chief cond. Cz. Radio [sm
1973[nm=n[sm8[nm. Cond. ~opera in Vienna, Budapest, London ([sm1959[nm), ~Warsaw
, Naples, Russia.[cm~Krommer, Franz [fy75,1]([cf2]b [cf1]Kamenitz, Moravia, [sm1
759[nm; [cf2]d ~[cf1]Vienna, [sm1831[nm). Moravian composer and violinist. ~Serv
ed in various court mus. posts, until succeed~~ing Ko;akzeluh as Vienna court Ka
pellmeister [sm1818[nm. ~Prolific composer of mus. for wind instrs., syms., ~mas
ses, cl. conc., etc.[cm~Krueger, Karl [fy75,1]([cf2]b [cf1]Atchison, Kansas, [sm
1894[nm; [cf2]d [cf1]Elgin, ~Ill., [sm1979[nm). Ger.-Amer. cond. Studied Heidelb
erg ~and Vienna Univ. Studied conducting under ~Schalk, Weingartner, and Nikisch
. Ass. cond. ~Vienna State Opera [sm1919[nm=n[sm24[nm. Cond., Seattle S.O. ~[sm1
925[nm=n[sm32[nm, Kansas City P.O. [sm1933[nm=n[sm43[nm, Detroit S.O. ~[sm1943[n
m=n[sm4[nm. Cond. several opera premi;ageres with NY ~Music Guild.[cm~Krumhorn,
Krummhorn [fy75,1](Ger.). [fy45,1]*[fy75,1]Crumhorn.[xm[cm~[ol0][ep~[xp[te~

[do31][j99]~~~~~~[sm153842[nm_K[sm007[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmK[sm007[nm[cm[sm31[nm[cm~[sm1[nm[cm[sm1[nm.[sm10[nm.[s
m79[nm[cm[sm1[nm[cm[sm276[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Krummbog
en, Krummb;auugel [fy75,1](Ger.). Bent-arch, ~or [fy65][cf3]Stimmbogen, [fy75,1]
Tuning-arch. Crook (of a brass ~instr.).[cm~Krumpholtz, Johann [fy75,1](Baptist)
 ([cf2]b [cf1]Zlonice, nr. ~Prague, [sm1742[nm; [cf2]d [cf1]Paris, [sm1790[nm).
Bohemian harpist ~and composer, pupil of Joseph Haydn. Originated ~several impro
vements in the harp. Comp. several ~works for harp. Drowned himself in Seine bec
ause ~of wife's infidelity.[cm~Krumpholtz, Wenzel [fy75,1]([cf2]b [cf1]Budenice,
 nr. Zlonice, ~[sm1750[nm; [cf2]d [cf1]Vienna, [sm1817[nm). Bohemian violinist,
~mandolin-player, and composer, brother of Jo~~hann Baptist [fy45,1]*[fy75,1]Kru
mpholtz. Violinist in Court ~opera orch., Vienna, from [sm1796[nm. Friend and ~c
hampion of Beethoven, to whom he may have ~given vn. lessons. Be
ethoven composed a man~~dolin sonata for him and the vocal trio [cf2]Gesang der
~M;auonche [cf1]in his memory.[cm~Kubelik, Jan [fy75,1]([cf2]b [cf1]Michle, nr.
Prague, [sm1880[nm; [cf2]d ~[cf1]Prague, [sm1940[nm). Cz.-born violinist and com
poser ~(Hungarian citizen from [sm1903[nm). Studied Prague ~Cons. [sm1892[nm=n[s
m8[nm with ;AkSev;Akcik. Concert d;Aaebut Prague, ~Vienna, [sm1898[nm. London d;
Aaebut [sm1900[nm. Notable ~virtuoso. Comp. [sm6[nm vn. concs. and [cf2]American
 ~Symphony [cf1]([sm1937[nm).[cm~Kubelik, [fy75,1](=+=+=+Jeronym) [fy65][cf3]Raf
ael [fy75,1]([cf2]b [cf1]B;Aaychory, [sm1914[nm). ~Cz. cond. and composer, son o
f Jan [fy45,1]*[fy75,1]Kubelik. ~Studied Prague Cons. D;Aaebut with Czech. P.O.
~[sm1934[nm; accompanist to father [sm1935[nm=n[sm6[nm; cond. Czech. ~P.O. [sm19
36[nm=n[sm9[nm, Brno Opera [sm1939[nm=n[sm41[nm, chief cond. ~Czech P.O. [sm1941
[nm=n[sm8[nm. Left Cz. [sm1948[nm. Cond. Chicago ~S.O. [sm1950[nm=n[sm3[nm; mus.
 dir. CG [sm1955[nm=n[sm8[nm (incl. first ~stage perfs. in Eng.
of [fy45,1]*[fy75,2]Jen;Anufa [cf1]and [cf2]Les [fy45,1]*[fy75,2]Troyens[cf1]);
~cond. Bavarian Radio S.O. [sm1961[nm=n[sm79[nm. Mus. dir. NY ~Met. [sm1973[nm=n
[sm4[nm. Works incl. [sm2[nm syms., [sm4[nm operas, [sm4[nm str. ~qts., vn. conc
., vc. conc., songs, chamber mus. ~Swiss citizen since [sm1973[nm.[cm~Kubik, Gai
l [fy75,1](Thompson) ([cf2]b [cf1]S. Coffeyville, Okla~~homa, [sm1914[nm; [cf2]d
[cf1] Covina, Calif., [sm1984[nm). Amer. composer and violinist. ~Studied Eastma
n Sch., Amer. Cons., Chicago, and ~Harvard Univ. ([sm1937[nm=n[sm8[nm, comp. wit
h Piston). ~Confidant of N. Boulanger from [sm1937[nm. Comp. ~mus. for films, ra
dio, and TV. Works incl. ~[sm3[nm syms., [sm2[nm vn. concs., folk-opera [cf2]Mir
ror for the Sky, ~[cf1]pf. sonata, [cf2]In Praise of Johnny Appleseed [cf1]for b
ass, ~ch., and orch., [cf2]Gerald McBoing Boing [cf1](film cartoon ~score and co
ncert version).[xm[cm~[PN393,0,0,R,I0][j1]Kubla Khan, Pleasure Dome of [fy75,1](
Griffes). See [cf2]Pleasure ~Dome of Kubla Khan.[cm~Kuhlau, Frie
drich [fy75,1]([cf2]b [cf1];auUlzen, Hanover, [sm1786[nm; [cf2]d ~[cf1]Copenhage
n, [sm1832[nm). Danish composer and pianist ~of Ger. birth. Studied theory and c
omp. in ~Hamburg from [sm1800[nm. Went to Copenhagen [sm1810[nm, ~becoming court
 musician [sm1813[nm. Chorusmaster, ~Royal Th., [sm1816[nm=n[sm17[nm. Went to Vi
enna [sm1821[nm and ~[sm1825[nm, meeting Beethoven. Wrote [sm45[nm operas, incl.
 ~[cf2]Lulu [cf1]([sm1824[nm), also a pf. conc. ([sm1810[nm), [sm3[nm pf. qts.,
a ~large amount of pf. music, and many works for ~the flute, although he did not
 play this instr.[cm~Kuhnau, Johann [fy75,1]([cf2]b [cf1]Geising, Bohemia, [sm16
60[nm; [cf2]d ~[cf1]Leipzig, [sm1722[nm). Bohemian composer and lawyer. ~Cantor
at Zittau until move to Leipzig [sm1682[nm. ~Organist, St Thomas's, Leipzig, fro
m [sm1684[nm, cantor ~[sm1701[nm. Bach's immediate predecessor at Leipzig. ~Wrot
e ably for clavichord and hpd., composing ~exercises which he called [fy45,1]*[f
y75,2]Klavier;Auubung, [cf1]a term ~later used by Bach. Among fi
rst to compose ~sonatas (as distinct from suites).[cm~Kujawiak. [fy75,1]A quick
Polish dance in triple time.[cm~Kulenkampff, Georg [fy75,1]([cf2]b [cf1]Bremen,
[sm1898[nm; [cf2]d [cf1]Schaff-[fj~hausen, [sm1948[nm). Ger. violinist and teach
er. Studied ~with Willy Hess in Berlin, [sm1912[nm=n[sm15[nm. Prof. of vn., ~Ber
lin Hochschule f;auur Musik, [sm1923[nm=n[sm6[nm. Leading ~soloist in Ger. betwe
en World Wars I and II, also ~member of pf. trio with Edwin Fischer (pf.) and ~E
nrico Mainardi (vc.) and partnered by Georg ~[fy45,1]*[fy75,1]Solti in several s
onata recitals. Succeeded Flesch ~at Lucerne [sm1943[nm. Career cut short by par
alysis. ~Several memorable recordings, particularly of ~Beethoven conc.[cm~Kulla
k, Theodor [fy75,1]([cf2]b [cf1]Krotoschin, [sm1818[nm; [cf2]d [cf1]Berlin, ~[sm
1882[nm). Ger. pianist, teacher, and composer. Pupil ~of [fy45,1]*[fy75,1]Czerny
 in Berlin [sm1842[nm. Court pianist to King ~of Prussia from [sm1846[nm. Founde
d cons. with Stern ~and Marx in Berlin, [sm1850[nm, and in [sm18
55[nm his own ~`Neue Akademie der Tonkunst'. Wrote pf. conc. ~and many short sal
on pieces. Best known for his ~instruction book [cf2]Octave-school.[cm~Kullervo.
 [fy75,1]([sm1[nm) Symphonic poem, Op. [sm7[nm, by Sibelius ~for sop., bar., mal
e ch., and orch., [sm1892[nm, based on ~Finnish legends in the [fy45,1]*[fy75,1]
Kalevala. F.p. [sm1892[nm, then ~withdrawn and not perf. again until [sm1958[nm.
[ep~^([sm2[nm) Sym. by R. [fy45,1]*[fy75,1]Kajanus.[cm~Kullman, Charles [fy75,1]
([cf2]b [cf1]New Haven, Conn., [sm1903[nm; ~[cf2]d [cf1]New Haven, Conn., [sm198
3[nm). Amer. ten. of Ger. ~parents. Studied Juilliard Sch. and Amer. Cons., ~Fon
tainebleau. Concert d;aaebut NY [sm1924[nm. Opera ~d;aaebut with Amer. Opera Co.
 (dir. by [fy45,1]*[fy75,1]Rosing), ~[sm1929[nm, then went to Berlin, making d;a
aebut as ~Pinkerton in [cf2]Madama Butterfly [cf1]at [fy45,1]*[fy75,1]Kroll Oper
, ~[sm1931[nm. Berlin State Opera [sm1932[nm=n[sm4[nm. CG d;aaebut [sm1934[nm=n~
[sm5[nm, NY Met. [sm1935[nm (appearing there regularly until ~[s
m1960[nm). Sang at Salzburg Fest., Buenos Aires, ~Florence, etc. Sang ten. songs
 in Walter's first ~([sm1936[nm) recording of Mahler's [cf2]Das Lied von der Erd
e ~[cf1](recorded at public perf. in Vienna). Taught at ~Bloomington, Ind., afte
r [sm1956[nm.[cm~[bnKunst der Fuge, Die [fy75,1](The Art of Fugue). ~Posthumous
and unfinished work by J. S. Bach, ~comp. [sm1748[nm=n[sm9[nm, pubd. posthumousl
y [sm1750[nm, and ~designed to establish the possibilities of a simple ~subject
in the various types of fugal and canonic ~writing.[ep~[ol34][ep~[xn^It is not c
lear what medium was intended to be ~employed, or, indeed, whether actual perf.
was ~in view. Modern edns. for pf. and versions for str. ~instr. and for orch. h
ave appeared. Completions ~of the final fugue have been made by Donald ~[fy45,1]
*[fy75,1]Tovey and by [fy45,1]*[fy75,1]Busoni in his [fy45,1]*[fy75,2]Fantasia c
ontrap~~puntistica.[cm~Kunstlied [fy75,1](Ger.). Art-song (as distinct from ~[cf
2]Volkslied, [cf1]folk-song).[cm~Kunz, Erich [fy75,1]([cf2]b [cf
1]Vienna, [sm1909[nm). Austrian bass-bar. ~Studied Vienna Cons. Opera d;aaebut T
roppau [sm1933[nm. ~Joined Glyndebourne ch. [sm1935[nm. Member Vienna ~State Ope
ra from [sm1940[nm. Frequent guest artist at ~Salzburg Fest., Bayreuth Fest., NY
 Met. CG d;aaebut ~[sm1947[nm with Vienna co. Notable Papageno and ~Beckmesser.
Sang Guglielmo in [cf2]Cos;agi fan tutte [cf1]at ~Glyndebourne, [sm1950[nm.[cm~K
uolema [fy75,1](Death). Play by A. J;auarnefelt for ~Helsinki prod. of which in
[sm1903[nm [fy45,1]*[fy75,1]Sibelius wrote ~incidental mus. incl. [fy45,1]*[fy75
,2]Valse triste [cf1]and [cf2]Scene with ~cranes.[cm~Kupferman, Meyer [fy75,1]([
cf2]b [cf1]NY, [sm1926[nm). Amer. com~~poser, self-taught. Teacher of comp. and
chamber ~mus. at Sarah Lawrence Coll. since [sm1951[nm. Mus., ~some of it highly
 experimental, influenced by ~jazz and [sm12[nm-note system. Works incl. [sm6[nm
 operas ~(incl. [cf2]Dr Faustus Lights the Lights, [cf1][sm1953[nm, lib. by ~Ger
trude Stein); [sm7[nm ballets; [sm4[nm syms.; [cf2]Concerto for
~Orchestra; [cf1]pf. conc.; conc. for vc. and jazz band; ~[cf2]Lyric Symphony[cf
1]; [sm5[nm str. qts.; [cf2]Cycle of Infinities[cf1], over ~[sm25[nm works of va
rious kinds all based on same [sm12[nm-~note row and, principally, same theme; c
horal ~works; pf. pieces; and songs.[cm~Kupper, Annelies [fy75,1]([cf2]b [cf1]Gl
atz, [sm1906[nm). Ger. soprano. ~Studied in Breslau, where she taught mus. [sm19
29[nm=n~[sm35[nm. Her singing was heard by mus. dir. of Breslau ~Opera who engag
ed her. After [sm1937[nm she was at ~Schwerin and Weimar, then at Hamburg State
~Opera until [sm1946[nm. Member of Bavarian State ~Opera, Munich, [sm1946[nm=n[s
m66[nm. Sang Eva at Bayreuth ~[sm1944[nm, and Danae in Strauss's [cf2]Die Liebe
der Danae ~[cf1]at Salzburg [sm1952[nm. CG d;aaebut [sm1953[nm (Chrysothemis ~in
 [cf2]Elektra[cf1]).[cm~Kurka, Robert [fy75,1]([cf2]b [cf1]Cicero, Ill., [sm1921
[nm; [cf2]d [cf1]NY, [sm1957[nm). ~Amer. composer. Studied Columbia Univ. and at
 ~Berkshire Music Center with Milhaud. Received ~Guggenheim fell
owships [sm1951[nm, [sm1952[nm. Works incl. ~[PN394,0,0,L,I0]opera [cf2]The Good
 Soldier Schweik [cf1](NY [sm1958[nm, Berlin ~[sm1960[nm), [sm2[nm syms., [cf2]M
usic for Orchestra, [cf1][sm3[nm [cf2]Pieces for ~Orch., [cf1]marimba conc., vn.
 conc., chamber sinfon~~ietta, [sm5[nm str. qts., pf. trio, [sm5[nm vn. sonatas,
 pf. pieces, ~and songs.[cm~Kurt;aaag, Gy;auorgy [fy75,1]([cf2]b [cf1]Lugoj, Rom
ania, [sm1926[nm). ~Hung. composer of Romanian birth. Studied at ~Budapest Acad.
 [sm1948[nm=n[sm55[nm (comp. with Veress and ~Farkas). In [sm1957[nm attended Pa
ris Cons. comp. classes ~of Milhaud and Messiaen. Worked as tutor at ~Bart;aaok
mus. sch., Budapest, [sm1958[nm=n[sm63[nm and as coach ~of Nat. Philhamonia [sm1
960[nm=n[sm8[nm. Prof. of pf., later of ~chamber mus., Budapest Acad. from [sm19
67[nm. ~Beginning as a disciple of Bart;aaok and Kod;aaaly, he ~later was influe
nced by Webernian serialism. ~Works incl. va. conc. ([sm1954[nm), [cf2]The Sayin
gs of P;aaeter ~Bornemisza[cf1], for sop. and pf. ([sm1963[nm=n[
sm8[nm), str. qt. ~([sm1959[nm), [cf2][sm4[nm Capriccios[cf1], sop., wind quinte
t, hp., perc., ~pf., cimbalom, str. quintet ([sm1971[nm), [cf2]Microludes[cf1],
str. ~qt. ([sm1977[nm), [cf2]Splitter[cf1], pf. ([sm1978[nm), [cf2][sm8[nm Choru
ses to Poems ~by Dezso Tandori, Games [cf1]([cf2]J;aaat;aaekok[cf1]) pf. studies
, ~[cf2]Messages of the late Miss R. V. Troussova[cf1], sop. and ~ens. ([sm1980[
nm), incid. mus. for plays incl. [cf2]Hamlet.[cf1][cm~Kurtz, Efrem [fy75,1]([cf2
]b [cf1]St Petersburg, [sm1900[nm). Russ.-born ~cond. (Amer. citizen from [sm194
4[nm). Studied St ~Petersburg Cons. and Stern Cons., Berlin. Early ~cond. engage
ments with Berlin P.O., [sm1921[nm=n[sm4[nm, ~mus. dir. Stuttgart P.O. [sm1924[n
m=n[sm33[nm, during which ~time he conducted much ballet in Europe. Cond. ~Balle
t Russe de Monte Carlo [sm1933[nm=n[sm42[nm. Guest ~cond. leading Amer. orchs. [
sm1933[nm=n[sm54[nm, chief cond. ~Kansas City P.O. [sm1943[nm=n[sm8[nm, Houston
S.O. [sm1948[nm=n[sm54[nm. ~Joint cond. Liverpool P.O. [sm1955[n
m=n[sm7[nm.[cm~Kurz, Selma [fy75,1]([cf2]b [cf1]Biala, Silesia, [sm1874[nm; [cf2
]d [cf1]Vienna, ~[sm1933[nm). Austrian sop. Studied Vienna. Opera d;Aaebut ~Hamb
urg [sm1895[nm. Engaged by Mahler for Vienna ~Opera [sm1899[nm, singing there un
til [sm1927[nm, first in ~lyric roles, then as coloratura. Notable Zerbinetta ~i
n Strauss's [cf2]Ariadne auf Naxos. [cf1]Sang at CG [sm1904[nm=n[sm7[nm ~and aga
in in [sm1924[nm as Mimi and Violetta.[cm~Kusser [fy75,1](Cousser),[fy65][cf3] J
ohann [fy75,1](Sigismund) ([cf2]b [cf1]Press~~burg, [sm1660[nm; [cf2]d [cf1]Dubl
in, [sm1727[nm). Ger. composer. ~Spent some years of his youth in Paris, changin
g ~name to Cousser and studying for [sm6[nm years with ~Lully. Lived at Stuttgar
t [sm1675[nm=n[sm81[nm. Kapellmeister, ~Brunswick opera [sm1690[nm=n[sm94[nm. Hi
s opera [cf2]Erindo [cf1]was ~prod. at Hamburg [sm1694[nm. Dir., Hamburg Opera ~
[sm1694[nm=n[sm5[nm, Stuttgart Opera [sm1700[nm=n[sm04[nm. Went to ~London and i
n [sm1710[nm settled in Dublin, where he ~was appointed `master
of the musick attending ~his Majesty's state in Ireland'.[cm~Kussevitzky. [fy75,
1]See [cf2]Koussevitzky, Serge.[cm~Kutcher Quartet. [fy75,1]Eng. str. qt. noted
for perf. of ~contemporary works. Founded by Samuel ~Kutcher ([cf2]b [cf1]London
, [sm1899[nm; [cf2]d [cf1]London, [sm1984[nm) in ~[sm1924[nm. Other members were
 Peter Tas ([sm2[nmnd vn.), ~Raymond Jeremy (va.), and Douglas Cameron ~(vc.) (s
ucceeded by John Barbirolli).[cm~K.V. [fy75,1]Ger. usage for the [fy45,1]*[fy75,
1]K;Auochel abbreviation, ~from [cf2]K;Auochel-Verzeichnis [cf1](K;Auochel Index
).[cm~Kvapil, Jaroslav [fy75,1]([cf2]b [cf1]Fry;akst;aaak, Moravia, [sm1892[nm;
[cf2]d ~[cf1]Brno, [sm1959[nm). Cz. composer, cond., and teacher. ~Pupil of Jan;
Aaa;Akcek at Brno org. sch. Prof., Brno ~Cons. from [sm1919[nm; mus. dir. Brno P
hil. Soc. [sm1920[nm=n~[sm45[nm. Works incl. [sm4[nm syms., [sm2[nm vn. concs.,
ob. conc., ~pf. conc., [cf2]Burlesque [cf1]for fl. and orch., opera [cf2]Romance
 ~in May [cf1](Prague [sm1950[nm), cantata [cf2]The Lion's Heart
 ~[cf1](Brno [sm1931[nm), [sm5[nm str. qts., etc. Cond. first Cz. perf. ~of Bach
's [cf2]St Matthew Passion [cf1]([sm1923[nm).[cm~Kynaston, Nicolas [fy75,1]([cf2
]b [cf1]Morebath, Devon, [sm1941[nm). ~Eng. organist. Studied with Germani in Si
ena and ~with Downes at RCM. Org. of Westminster Cath. ~[sm1960[nm=n[sm71[nm. To
ured USA [sm1974[nm. Specialist in Fr. ~works, notably those by Messiaen, and th
ose by ~Franck.[cm~Kyrie [fy75,1](Gr.). Lord. The section of the Ordinary of ~th
e [fy45,1]*[fy75,1]Mass which follows the Introit. Has [sm3[nm parts, ~[cf2]Kyri
e eleison, Christe eleison, Kyrie eleison, [cf1]thrice ~repeated (`Lord have mer
cy, Christ have mercy, ~Lord have mercy'). In medieval times, the [cf2]Kyrie ~[c
f1]was set as an independent movement, but after ~[fy45,1]*[fy75,1]Dufay it was
incorporated as the [sm1[nmst movement ~of a series.[cm~Kyung-Wha Chung. [fy75,1
]See [cf2]Chung, Kyung-Wha.[xm[cm~[j4]~[xp[te~

[do11][j99]~~~~~~[sm153842[nm_L[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmL[sm001[nm[cm[sm11[nm[cm~[sm1[nm[cm[sm28[nm.[sm9[nm.[s
m79[nm[cm[sm15[nm[cm[sm1[nm[cm~Tuf[cm7[cm15/10/84[cmU5[cm~~~[PN395,0,0,R,I0][ap[
j3]~L[cm~~[j1]L.[fy75,1] Abbreviated prefix given to nos. in the [fy45,1]*[fy75,
1]Longo ~catalogue of Domenico Scarlatti's kbd. works. A ~later catalogue was pr
epared by R. [fy45,1]*[fy75,1]Kirkpatrick.[cm~La.[fy75,1] The [sm6[nmth degree o
f the major scale, according ~to the system of vocal syllables derived from ~[fy
45,1]*[fy75,1]Guido d'Arezzo (see [fy45,1]*[fy75,1]Hexachord), and so used ~(spe
lt[cf2] Lah[cf1]) in [fy45,1]*[fy75,1]Tonic Sol-fa, in which it is also the ~[sm
1[nmst degree of the minor scale. In many countries, ~however, the name has beco
me attached (on ~`fixed-doh' principles) to the note A, in whatever ~key this ma
y occur.[cm~Labbette, Dora [fy75,1]([cf2]b[cf1] Purley, [sm1898[nm; [cf2]d [cf1]
Purley, [sm1984[nm). Eng. soprano. ~Studied GSM and with Liza Le
hmann. D;aaebut ~[sm1917[nm. Sang often in oratorios and concert works ~with Bee
cham, making[fjspeciality of Delius. Opera ~d;aaebut Oxford, [sm1934[nm. CG d;aa
ebut, under name Lisa Perli, at CG [sm1935[nm as ~Mimi. Fine actress, which made
 memorable her ~perfs. of Desdemona, M;aaelisande, and Delius's ~Vreli in [cf2]A
 Village Romeo and Juliet[cf1].[cm~Lab;ageque, Katia and Marielle [fy75,1]([cf2]
b[cf1] Bayonne, [sm1950[nm ~and [sm1952[nm respectively). Fr. piano duo. Studied
 ~with their mother and then at Paris Cons. Soon ~established themselves as spec
ialists in works of ~Messiaen, Boulez, and Berio. Also play jazz, ~collaborating
 with John McLaughlin, guitar.[cm~Labialstimme[fy75,1] (Ger., plural[cf2] Labial
stimmen[cf1]). Flue ~Stop (on the org.).[cm~Lablache, Luigi[fy75,1] ([cf2]b[cf1]
 Naples, [sm1794[nm;[cf2] d[cf1] Naples, [sm1858[nm). ~It. bass of Fr. and Irish
 parentage. Studied Naples, ~d;Aaebut there [sm1812[nm. Further study followed b
y [sm5[nm-~year engagement at Palermo. D;Aaebut Scala, Milan, ~[
sm1817[nm as Dandini in Rossini's[cf2] La Cenerentola[cf1]. Int. ~career followe
d, with appearances in Turin, ~Venice, Vienna (where he sang in Mozart's[cf2] ~R
equiem[cf1] at Beethoven's funeral, [sm1827[nm), Naples, ~and London ([sm1830[nm
). Became great favourite in ~Paris and London [sm1830[nm=n[sm56[nm. Created Ric
cardo in ~Bellini's[cf2] I Puritani[cf1] (Paris [sm1835[nm) and title-role in ~D
onizetti's [cf2]Don Pasquale[cf1] (Paris [sm1843[nm). Famous ~Bartolo and Lepore
llo. V. had compass of [sm3[nm ~octaves. Taught Queen Victoria singing.[cm~Labro
ca, Mario[fy75,1] ([cf2]b[cf1] Rome, [sm1896[nm; [cf2]d[cf1] Rome, [sm1973[nm).
~It. composer, critic, and impresario. Studied with ~Respighi and Malipiero. Wro
te [sm2[nm operas, sym.,[cf2] ~Stabat Mater[cf1], etc. Dir., Maggio Musicale, Fl
orence, ~[sm1935[nm=n[sm43[nm. Mus. dir., Radio Italiana [sm1949[nm=n[sm58[nm. ~
Administrator, Scala, Milan [sm1947[nm=n[sm9[nm, La Fenice, ~Venice, [sm1959[nm=
n[sm73[nm.[cm~Labunski, Feliks [fy75,1](Roderick) ([cf2]b[cf1] K
saweryn;aaow, ~Poland, [sm1892[nm; [cf2]d[cf1] Cincinnati, [sm1979[nm). Polish-b
orn ~composer, critic, and teacher (Amer. citizen from ~[sm1941[nm). Studied War
saw and later in Paris with ~Boulanger and Dukas. Founded assoc. of young ~Polis
h musicians in Paris, [sm1927[nm. Head of classical ~mus., Polish radio, [sm1934
[nm=n[sm6[nm. Went to USA [sm1936[nm. ~Taught at Cincinnati Coll. of Mus. [sm194
5[nm=n[sm64[nm. ~Works incl. sym., [sm2[nm str. qts., [sm2[nm pf. sonatas, chora
l ~works.[cm~Lachner, Franz[fy75,1] ([cf2]b[cf1] Rain am Lech, [sm1803[nm;[cf2]
d[cf1] ~Munich, [sm1890[nm). Ger. cond. and composer. Most ~eminent of remarkabl
e mus. family. Went to ~Vienna [sm1823[nm, becoming friend of Schubert. Cond. ~a
t K;auarntnerthor Th., [sm1827[nm=n[sm34[nm. Opera cond., Mann-[fj~heim, [sm1834
[nm=n[sm6[nm, Munich [sm1836[nm=n[sm65[nm (dir. from [sm1852[nm). ~Responsible f
or eminence of Munich Opera. ~Comp. operas, masses, oratorios, [sm8[nm syms., ch
amber ~mus., etc. Cherubini's [cf2]M;aaed;aaee [cf1]is usually p
erf. in ~his edn. which omits the spoken dialogue.[cm~Lachrimae.[fy75,1] [sm21[n
m pieces for [sm5[nm viols and lute by ~[fy45,1]*[fy75,1]Dowland pubd. [sm1604[n
m, of which [sm7[nm pavans are ~entitled[cf2] Lachrimae[cf1]. The other [sm14[nm
 are dances such ~as galliards. Each of the Pavans (=+`sevean teares ~figured in
 sevean passionate pavans'=+) begins with ~the theme of Dowland's song[cf2] Flow
 my tears[cf1] ~followed by variations.[cm~Lachrymae.[fy75,1] `Reflections on a
song of John ~Dowland' for va. and pf. by Britten, Op.|[sm48[nm, ~comp. [sm1950[
nm. Arr. for va. and orch. [sm1976[nm, f.p. ~Recklinghausen [sm1977[nm.[cm~Lacri
mosa.[fy75,1] See [cf2]Requiem[cf1].[cm~Lacrimoso, lagrimoso[fy75,1] (It.). Lach
rymose, tearful.[cm~Lady Macbeth of the Mtsensk District, The[fy75,1] ~([cf2]Led
i Makbet Mtsenskovo uyezda[cf1]) (Shostakovich). See[cf2] Katerina ~Izmaylova[cf
1].[cm~Lady of Shalott, The.[fy75,1] Cantata by Phyllis Tate, ~setting of Tennys
on's poem, for ten., va., perc., [sm2[nm ~pf., and celesta. Comp
. [sm1956[nm for [sm10[nmth anniv. of ~BBC [sm3[nmrd Programme. Also cantata by
Maurice ~[fy45,1]*[fy75,1]Jacobson.[cm~Lady Radnor's Suite.[fy75,1] Suite in [sm
6[nm movements for ~str. orch. by [fy45,1]*[fy75,1]Parry comp. [sm1894[nm for or
ch. cond. ~by amateur musician, Lady Radnor.[cm~Lage[fy75,1] (Ger.). Position, e
.g. in str. instr., or inversion ~of chord.[cm~Lah.[fy75,1] See[cf2] La[cf1].[cm
~Lai, Lay[fy75,1] (Fr.). A [sm13[nmth- and [sm14[nmth-cent. Fr. song-~form, cons
isting usually of [sm12[nm unequal stanzas ~sung to different tunes. Later examp
les are in ~several vv. Also a purely ~instr. piece.[cm~Lajtha, L;aaaszl;aao[fy7
5,1] ([cf2]b[cf1] Budapest, [sm1892[nm;[cf2] d[cf1] Budapest, ~[sm1963[nm). Hung
. composer, writer, and folk mus. ~[PN396,0,0,L,I0]expert. In [sm1910[nm joined
Bart;aaok and Kod;aaaly in ~expeditions to collect folk songs, later acting ~ind
ependently. After war service, joined staff of ~Nat. Cons., Budapest. Comp. [sm9
[nm syms., vc. conc., [sm2[nm ~masses, [sm10[nm str. qts., opera
, and [sm3[nm ballets. Kossuth ~Prize [sm1951[nm.[cm~Lakm;Aae.[fy75,1] Opera in
[sm3[nm acts by Delibes to lib. by ~Gondinet and Gille after former's[cf2] Le Ma
riage de ~Loti[cf1]. Prod. Paris and Chicago [sm1883[nm, London [sm1885[nm.[cm~L
alande, Michel [fy75,1](Richard)[fy65][cf3] de[fy75,1] ([cf2]b[cf1] Paris, [sm16
57[nm; [cf2]d[cf1] ~Versailles, [sm1726[nm). Fr. composer and organist, ~contemp
orary of [fy45,1]*[fy75,1]Lully. Taught daughters of ~Louis XIV, becoming Master
 of King's chamber ~mus., [sm1685[nm. Dir. of royal chapel from [sm1714[nm, ~hav
ing been sous-ma;afitre since [sm1683[nm. Comp. ~ballets and church mus.[cm~Lala
ndi, Lina[fy75,1] ([cf2]b[cf1] Athens, ?). Gr.-born harpsi~~chordist and clavich
ordist (Brit. citizen). Studied ~Athens Cons. London d;aaebut [sm1954[nm. Founde
r and ~art. dir., Eng. Bach Fest. Trust [sm1962[nm; art. dir. Eng. ~Bach Fest. f
rom [sm1963[nm. O.B.E. [sm1975[nm.[cm~Lalo, ;aaEdouard [fy75,1](Victor Antoine)
([cf2]b[cf1] Lille, [sm1823[nm;[cf2] d[cf1] ~Paris, [sm1892[nm).
 Fr. composer of Sp. descent. Studied ~vn. and vc. at Lille Cons. and vn. at Par
is Cons. ~from [sm1839[nm, studying comp. privately. Pubd. ~songs [sm1848[nm=n[s
m9[nm. Vn. conc. played by Sarasate [sm1874[nm, ~who a year later gave f.p. of[c
f2] Symphonie espagnole[cf1]. ~Violinist in str. qt. from [sm1855[nm. Works incl
.:[cm~[fy75,1][smoperas[nm:[fy75,2] Fiesque[cf1] ([sm1866[nm),[cf2] Le [fy45,1]*
[fy75,2]Roi d'Ys[cf1] ([sm1875[nm=n[sm87[nm),[cf2] La ~Jacquerie[cf1] ([sm1891=n
2[nm, completed by Coquard [sm1895[nm).[ep~[smballet[nm:[cf2] Namouna[cf1] ([sm1
882[nm).[ep~[smorch[nm:[cf2] Allegro symphonique[cf1] ([sm1875[nm),[cf2] Rapsodi
e norv;Aaeg~~[chienne[cf1] ([sm1881[nm), Sym. in G minor ([sm1886[nm); concs.: v
n. ~([sm1873[nm), [fy45,1]*[fy75,2]Symphonie espagnole[cf1] (vn. and orch.) ([sm
1874[nm),[cf2] ~Fantaisie norv;Aaegienne[cf1] (vn. and orch.) ([sm1880[nm),[cf2]
 ~Concerto russe[cf1] (vn. and orch.) ([sm1883[nm), vc. ([sm1877[nm), ~pf. ([sm1
889[nm).[ep~[smchamber music[nm: Vn. sonata, vc. sonata, str. qt
., [sm3[nm ~pf. trios.[cm~[j1]Lambe, Walter[fy75,1] ([cf2]b [cf1]?[sm1450[nm; [c
f2]d[cf1] [sm1499[nm). Eng. composer ~of church mus., especially motets.[cm~Lamb
ert, Constant[fy75,1] ([cf2]b[cf1] Fulham, London, [sm1905[nm;[cf2] d[cf1] ~Lond
on, [sm1951[nm). Eng. composer, cond., and critic. ~Studied RCM with Vaughan Wil
liams. Ballet ~[cf2]Romeo and Juliet[cf1] commissioned by Diaghilev and ~prod. M
onte Carlo [sm1926[nm. Series of brilliant works ~est. him with Walton among lea
ding younger ~Eng. composers. Influenced by jazz, esp. Duke ~Ellington. Took lea
ding part in est. of British ~ballet, and made th. orch. version of Vaughan ~Wil
liams's [fy45,1]*[fy75,2]Job[cf1], [sm1931[nm. Cond. Camargo Society ~ballet [sm
1930[nm and ballet and opera at SW, being ~mus. dir. Vic-Wells ballet from its f
oundation in ~[sm1931[nm until [sm1947[nm, then mus. adviser SW Ballet ~from [sm
1948[nm. Brilliant writer, his book[cf2] Music, Ho![cf1] ~([sm1934[nm) being an
important and idiosyncratic ~commentary on contemporary mus. at
that date. ~Witty conversationalist. Notable narrator in ~Walton's [fy45,1]*[fy7
5,2]Fa;Alcade[cf1] with Edith Sitwell. Champion ~of mus. of [fy45,1]*[fy75,1]Boy
ce, several of whose works he arr. ~Also advocate for Liszt when it was unfashio
nable ~in Eng. to admire him. Prin. works:[xm[cm~[j2][smballets[nm:[fy75,2] Rome
o and Juliet[cf1] ([sm1924=n5[nm); [cf2]Pomona[cf1] ([sm1926[nm); ~[cf2]Appariti
ons[cf1] (orch. of Liszt) ([sm1936[nm); [fy45,1]*[fy75,2]Horoscope[cf1] ~([sm193
7[nm); [fy45,1]*[fy75,2]Tiresias[cf1] ([sm1950[nm).[ep~[smorch[nm:[cf2] Elegiac
Blues[cf1] ([sm1927[nm);[cf2] Music for Orch.[cf1] ([sm1927[nm); ~pf. conc. ([sm
1931[nm); [fy45,1]*[fy75,2]Aubade h;Aaeroique[cf1] ([sm1942[nm); inci~~dental mu
s. for[cf2] Hamlet[cf1].[ep~[smchoral[nm:[cf2] The [fy45,1]*[fy75,2]Rio Grande[c
f1] ([sm1927[nm); [fy45,1]*[fy75,2]Summer's Last ~Will and Testament[cf1] ([sm19
32=n5[nm);[cf2] Dirge[cf1] (from[cf2] Cymbe~~line[cf1]) for ten. and bar. solos,
 vv., and str. ([sm1940[nm).[ep~[smvocal[nm:[cf1] [sm8[nm[cf2] C
hinese Songs[cf1] for v. and [sm8[nm instr. ([sm1926[nm=n~[sm9[nm).[ep~[smpiano[
nm: Sonata ([sm1928[nm=n[sm9[nm).[cm~[j1]Lambert, Michel[fy75,1] ([cf2]b[cf1] Vi
vonne, [sm1610[nm;[cf2] d[cf1] Paris, ~[sm1696[nm). Fr. lutenist. Master of roya
l chamber mus. ~from [sm1661[nm. Comp. songs. Father-in-law of Lully.[cm~Lambton
 Worm, The.[fy75,1] Opera in [sm2[nm acts by R. ~Sherlaw [fy45,1]*[fy75,1]Johnso
n to lib. by Anne Ridler based ~on medieval legend. Prod. Oxford [sm1978[nm.[cm~
Lament.[fy75,1] Piece of elegiac mus. expressing grief, ~specifically mus. for b
agpipes at Scottish clan ~funerals.[cm~Lamentations.[fy75,1] Lamentations of the
 prophet ~Jeremiah sung to plainchant melodies (or other ~settings such as the g
reat ones by Tallis) in R.C. ~churches in the week before Easter. Gr. word ~[cf2
]Threni[cf1] sometimes used.[cm~Lamentation Symphony.[fy75,1] Nickname for ~Hayd
n's Sym. No.|[sm26[nm in D minor, [sm1770[nm, because ~certain themes resemble t
he plainsong melodies ~sung in R.C. churches in the week before
Easter. ~Also sometimes known, for unknown reason, as ~`Christmas' Sym. ([cf2]We
ihnachtssymphonie[cf1]).[cm~Lamento[fy75,1] (It.). Lament. In [sm17[nmth-cent. o
pera, a ~tragic aria usually placed before the climax of the ~plot. A famous exa
mple is Monteverdi's [fy45,1]*[fy75,2]Lamento ~d'Arianna[cf1].[cm~Lamento d'Aria
nna[fy75,1] (Ariadne's Lament). Only ~surviving section of Monteverdi's opera [f
y45,1]*[fy75,2]Arianna[cf1], ~[sm1608[nm. Arr. by Monteverdi as [sm5[nm-part mad
rigal[cf2] ~Lasciatemi morire[cf1] (Leave me to die), Book VI, ~[sm1614[nm; this
 book also incl. [cf2]O Teseo mio[cf1], reduced ~from [sm20[nm bars of[cf2] Lasc
iatemi morire[cf1]. Also arr. by ~Monteverdi as one of his[cf2] Selva Morale e S
pirituale[cf1] ~([sm1640[nm),[cf2] Pianto della Madonna[cf1] on the[cf2] Lamento
 ~d'Arianna: Jam moriar fili mi[cf1], for solo v.[cm~Lamond, Frederic[fy75,1] ([
cf2]b[cf1] Glasgow, [sm1868[nm;[cf2] d[cf1] Stirling, ~[sm1948[nm). Scot. pianis
t and composer. Church organ~~ist at age [sm12[nm. Studied Raff
Cons., Frankfurt, [sm1882[nm, ~later with B;auulow, and with Liszt [sm1885[nm=n[
sm6[nm. D;aaebut ~Berlin [sm1885[nm, followed by int. tours. Visited Russia ~[sm
1896[nm. Specially noted as Beethoven player. Prof. ~of pf., The Hague Cons., fr
om [sm1917[nm. Toured USA ~[sm4[nm times between [sm1922[nm and [sm1929[nm and t
aught at ~Eastman Sch. Later prof. of pf. Royal Scottish ~[PN397,0,0,R,I0]Acad.
of Mus. Comp. sym., pf. trio, vc. sonata, pf. ~pieces.[cm~Lamotte[fy75,1] (Lamot
a), [fy65][cf3]Franz[fy75,1] ([cf2]b[cf1] Vienna (or Holland), ~[sm1751[nm; [cf2
]d[cf1] Holland, [sm1781[nm). Dutch violinist. Studied ~in London. Played in Vie
nna [sm1766[nm, then toured ~Europe. In court orch. of Empress Maria Theresia ~a
fter [sm1772[nm. In London [sm1776[nm=n[sm80[nm, leaving hurriedly ~because of a
lleged scandals. His playing was ~admired by Mozart. Comp. vn. concs. and sonata
s.[cm~Lamoureux, Charles[fy75,1] ([cf2]b[cf1] Bordeaux, [sm1834[nm;[cf2] d[cf1]
Paris, ~[sm1899[nm). Fr. cond. and violinist. Studied vn. at Par
is ~Cons. Played in orch. at Op;aaera. Ass. cond.[cf2] Soci;aaet;aae ~des Concer
ts du Conservatoire[cf1] [sm1872[nm=n[sm7[nm. Cond. Op;Aaera-~Comique [sm1876[nm
=n[sm7[nm, Op;Aaera [sm1877[nm=n[sm9[nm (resigned latter ~post in dispute over t
empo of aria in[cf2] Don Giovanni[cf1]). ~In [sm1881[nm founded[cf2] Nouveaux Co
ncerts[cf1], later known ~as[cf2] Concerts Lamoureux[cf1]. Among first to champi
on ~Wagner in France and young Fr. composers such ~as Lalo, Dukas, and Chabrier.
 Visited London ~[sm1881[nm, and took orch. there [sm1896[nm=n[sm9[nm. Succeeded
 by ~son-in-law [fy45,1]*[fy75,1]Chevillard. Lamoureux Orch., under ~various dis
tinguished conds., has remained ~among leading European orchs.[cm~Lampe, John [f
y75,1](Frederick) ([cf2]b[cf1] Saxony, [cf2]c.[cf1][sm1703[nm;[cf2] d[cf1] ~Edin
burgh, [sm1751[nm). Ger.-Eng. bassoonist and ~composer. Settled in Eng.[cf2] c[c
f1].[sm1725[nm to play bn. in ~opera orch. Comp. stage mus., songs, and hymns ~(
to words by C. Wesley).[cm~Lamperti, Francesco[fy75,1] ([cf2]b[c
f1] Savona, [sm1811[nm;[cf2] d[cf1] Como, ~[sm1892[nm). It. teacher of singing.
Studied Milan Cons. ~Dir. with Masini of Teatro Filodrammatico at ~Lodi which at
tracted students from all over ~Europe. Prof. of singing, Milan Cons., [sm1850[n
m=n[sm75[nm, ~pupils incl. Albani, Sembrich, Stolz, Waldmann, ~and Campanini. Hi
s son Giovanni Battista ([cf2]b[cf1] ~Milan, [sm1839[nm;[cf2] d[cf1] Berlin, [sm
1910[nm) was his pupil and ~also a singing-teacher. Author of[cf2] The Technique
 of ~Bel Canto[cf1] ([sm1905[nm).[cm~Lampugnani, Giovanni [fy75,1](Battista) ([c
f2]b[cf1] Milan, ~[sm1706[nm;[cf2] d[cf1] Milan, after [sm1786[nm). It. composer
. Suc~~ceeded [fy45,1]*[fy75,1]Galuppi as opera composer at King's Th., ~London,
 [sm1743[nm.[cf2] Maestro al cembalo[cf1], Milan, [sm1759[nm=n~[sm86[nm. Comp. n
early [sm30[nm operas.[cm~Lancashire Sol-Fa.[fy75,1] System of sight-singing mor
e ~properly called `Old English Sol-fa', since it was ~universally used in Eng.
from at least the early ~[sm17[nmth cent. and its latest textboo
k appeared in ~[sm1879[nm. It is a method of solmization applied to the ~normal
staff notation; the first [sm3[nm notes of every ~major scale are called [cf2]fa
-sol-la[cf1], and so are the ~second [sm3[nm notes, the remaining note being cal
led ~[cf2]mi[cf1]; the minor scale is read as if its notes were ~those of the re
lative major. In Amer. often called[cf2] ~Fasola[cf1].[cm~Lancers.[fy75,1] Type
of [fy45,1]*[fy75,1]quadrille dance popular in ~[sm19[nmth-cent. Eng.[cm~Lanchbe
ry, John[fy75,1] ([cf2]b[cf1] London, [sm1923[nm). Eng. cond. ~and composer. Mus
. dir. London Metropolitan ~Ballet [sm1947[nm=n[sm9[nm. Cond. SW Th. Ballet [sm1
951[nm=n[sm60[nm. ~Prin. cond. Royal Ballet [sm1960[nm=n[sm72[nm. Mus. dir. ~Aus
tralian Ballet from [sm1972[nm. Arr. mus. for many ~ballets, incl.[cf2] House of
 Birds[cf1],[cf2] La Fille mal gard;aaee[cf1],[cf2] The ~Dream[cf1],[cf2] Tales
of Beatrix Potter[cf1],[cf2] The Merry Widow[cf1].[cm~Landini[fy75,1] (Landino),
[fy65][cf3] Francesco[fy75,1] ([cf2]b[cf1] Florence, [sm1325[nm;
[cf2] ~d[cf1] Florence, [sm1397[nm). It. composer, who lost his sight ~as child
but played org., lute, fl., and other instrs. ~Comp. madrigals and over [sm140[n
m[cf2] ballate[cf1] (type of[cf2] ~virelai[cf1]).[cm~Landini Cadence.[fy75,1] Ca
dence named after Fran~~cesco [fy45,1]*[fy75,1]Landini ([sm1325[nm=n[sm97[nm) in
 which the [sm6[nmth degree ~is inserted between leading-note and the octave. ~F
ound in works of [fy45,1]*[fy75,1]Machaut, Despr;ages, Palestrina, ~Victoria, an
d Monteverdi.[cm~L;auandler[fy75,1] (Ger.). Type of slow waltz originating in ~t
he Landel (part of Austria north of Ems river). ~Examples were comp. by Beethove
n and Schu~~[chbert, and the rhythm is employed by Mahler in ~his syms.[cm~Landi
, Stefano [fy75,1]([cf2]b[cf1] Rome, [cf2]c[cf1].[sm1586[nm; [cf2]d[cf1] Rome, [
sm1639[nm). ~It. composer and teacher. Singer in Rome ~churches up to [sm1618[nm
 when he became choirmaster ~to Bishop of Padua, where he wrote his first opera,
 ~[cf2]La Morte d'Orfeo. [cf1]Returned to Rome [sm1620[nm, servi
ng ~Borghese and Barberini families. Sacred opera [cf2]Il ~Sant' Alessio[cf1] ([
sm1632[nm), perf. at Barberini palace, had ~elaborate stage effects. One of musi
cians chosen ~by Pope Urban VIII in [sm1634[nm to prepare new ~hymn-book pubd. i
n Antwerp in [sm1643[nm (now lost). ~His [cf2]Arie[cf1], of which he pubd. six b
ooks, are ~conventional.[cm~Land of Hope and Glory.[fy75,1] Title of finale for
~cont., ch., and orch. of Elgar's [fy45,1]*[fy75,2]Coronation Ode[cf1] ~([sm1902
[nm), words by A. C. Benson. Tune is adaptation ~of melody of trio section of [f
y45,1]*[fy75,2]Pomp and Circum~~stance March[cf1] No.|[sm1[nm. Also pubd. as sep
arate song ~for cont. and orch., this being the version now ~generally and commu
nally sung (with words ~different from those in[cf2] Coronation Ode[cf1]).[cm~La
nd of Lost Content, The.[fy75,1] Song-cycle by ~[fy45,1]*[fy75,1]Ireland, comp.
[sm1920[nm=n[sm1[nm, of [sm6[nm poems from A. E. ~Housman's[cf2] A Shropshire La
d[cf1]. Orig. for high v. and ~pf. Titles are: [sm1[nm.[cf2] The
 Lent Lily[cf1], [sm2[nm.[cf2] Ladslove[cf1], [sm3[nm.[cf2] Goal ~and wicket,[cf
1] [sm4[nm.[cf2] The vain desire[cf1], [sm5[nm.[cf2] The Encounter[cf1], [sm6[nm
.[cf2] ~Epilogue[cf1]. Ireland set [sm3[nm more Housman poems ~under title[cf2]
We'll To The Woods No More[cf1] ([sm1926[nm=n[sm7[nm), ~No.|[sm3[nm being for pf
. alone.[cm~Land of my Fathers [fy75,1]([cf2]Hen Wlad fy Nhadau[cf1]). Nat. ~ant
hem of Wales. Tune by James James, poem by ~Evan James of Pontypridd. Both first
 appeared in ~print in John Owen's [cf2]Gems of Welsh Melody, [cf1][sm1860[nm.[c
m~Land of Smiles, The[fy75,1] ([cf2]Das Land des L;auachelns[cf1]). ~Operetta in
 [sm3[nm acts by Leh;aaar to lib. by L. Herzer ~and F. L;auohner based on earlie
r ([sm1923[nm) operetta [cf2]Die ~gelbe Jacke[cf1] (The Yellow Jacket). F.p. Ber
lin [sm1929[nm ~(with Tauber); London [sm1931[nm; Vienna (State ~Opera), [sm1938
[nm.[cm~[PN398,0,0,L,I0]Land of the Mountain and the Flood.[fy75,1] Ov. by ~Hami
sh MacCunn, comp. [sm1887[nm when he was [sm19[nm.[cm~Landon, H[
fy75,1](oward) [fy65][cf3][fy65][cf3]C[fy75,1](handler) [fy65][cf3]Robbins  [fy7
5,1]([cf2]b [cf1]Bos~~ton, Mass., [sm1926[nm). Amer. musicologist. Studied ~Bost
on Univ. Settled in Vienna [sm1948[nm, undertaking ~meticulous research into lif
e and mus. of Joseph ~Haydn. Author of book on Haydn syms. ([sm1955[nm) ~and of
[cf2]Haydn: Chronicle and Works [cf1]([sm5[nm vols., [sm1976=n~80[nm), [cf2]Hayd
n: a Documentary Study [cf1]([sm1981[nm), also of ~edn. of syms. Discovered corr
ect attribution of ~[fy45,1]*[fy75,2]Jena Symphony[cf1]. Joint ed. of[cf2] The M
ozart Companion ~[cf1]and author of documentary study of Beethoven ~([sm1970[nm)
.[cm~Landowska, Wanda[fy75,1] ([cf2]b[cf1] Warsaw, [sm1877[nm;[cf2] d[cf1] Lake~
~ville, Conn., [sm1959[nm). Polish-born harpsichordist ~and pianist. Studied War
saw Cons. and in Berlin. ~Settled in Paris [sm1900[nm, touring Europe and USA in
 ~recitals of baroque mus. on pf. and hpd. Head of ~hpd. class, Berlin Hochschul
e, [sm1912[nm=n[sm19[nm. First in ~[sm20[nmth cent. to play cont
inuo of [cf2]St Matthew Passion ~[cf1]on hpd. (Basle, [sm1919[nm). Returned to F
r. [sm1919[nm=n[sm38[nm as ~teacher and to give concerts of early mus. Falla ~an
d Poulenc comp. hpd. works for her. Author ~of [cf2]Musique Ancienne [cf1]([sm19
09[nm). Lived in NY [sm1940[nm=n[sm7[nm ~and at Lakeville [sm1947[nm=n[sm59[nm.[
cm~Landr;aae, Guillaume Louis Fr;aaed;aaeric[fy75,1] ([cf2]b[cf1] The ~Hague, [s
m1905[nm;[cf2] d[cf1] Amsterdam, [sm1968[nm). Dutch ~composer and critic. Pupil
of his father Willem ~([sm1874[nm=n[sm1948[nm) and of [fy45,1]*[fy75,1]Pijper. W
orks incl. [sm4[nm syms.,[cf2] ~Sinfonia sacra[cf1] (in memory of his father), v
c. conc., ~vn. conc., [sm3[nm operas, and chamber mus.[xm[cm~[ol0][ep~[xp[te~




[do9][j99]~~~~~~[sm153842[nm_L[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise [sm0[n
mxford Dict. of ~Music[cmL[sm002[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm1[nm.[sm10[nm.[sm7
9[nm[cm[sm6[nm[cm[sm49[nm[cm~GC[cm4[cm20.7.84[cm~U1[cm~~~~[ap[j1]Lang, Paul Henr
y [fy75,1]([cf2]b [cf1]Budapest, [sm1901[nm). Hung.-~born musicologist and criti
c (Amer. citizen). ~Studied Budapest Acad., Heidelberg, Paris, and ~Cornell Univ
s. Chamber-mus. pianist and orch. ~bassoonist in Budapest. Went to USA [sm1928[n
m. Ass. ~prof. of mus. Vassar Coll., [sm1930[nm=n[sm1[nm, assoc. prof. of ~mus.
Wells Coll., [sm1931[nm=n[sm3[nm, assoc. prof. of musicol~~ogy, Columbia Univ. [
sm1933[nm=n[sm9[nm, prof. [sm1939[nm=n[sm69[nm. ~Mus. critic, [cf2]NY Herald Tri
bune [cf1][sm1954[nm=n[sm66[nm. Ed., ~[cf2]Musical Quarterly. [cf1]Author of sev
eral books incl. ~[cf2]Music in Western Civilisation [cf1](NY, [sm1941[nm).[cm~L
angdon, Michael [fy75,1]([cf2]b [cf1]Wolverhampton, [sm1920[nm). ~Eng. bass-bar.
 Studied GSM, later with Alfred ~Jerger in Vienna and Otakar Kra
us in London. ~D;aaebut CG [sm1950[nm. Prin. bass at Royal Opera House ~from [sm
1957[nm. Notable Ochs in [cf2]Rosenkavalier[cf1]. Dir., ~Nat. Opera Studio, [sm1
978[nm. C.B.E. [sm1973[nm.[cm~Langford, Samuel [fy75,1]([cf2]b [cf1]Manchester,
[sm1863[nm; [cf2]d ~[cf1]Manchester, [sm1927[nm). Eng. mus. critic. Studied ~Lei
pzig with C. Reinecke [sm1896[nm=n[sm1900[nm. Mus. critic, ~[cf2]Manchester Guar
dian, [cf1][sm1905[nm=n[sm27[nm. His widow Au~~drey was a singing teacher in Man
chester and ~London for [sm50[nm years after his death.[cm~Langgard, Rued [fy75,
1]([cf2]b [cf1]Copenhagen, [sm1893[nm; [cf2]d [cf1]Ribe, ~[sm1952[nm). Danish co
mposer and organist. D;aaebut as ~org. [sm1905[nm. His first Sym. ([sm1908[nm=n[
sm11[nm) was perf. in ~Berlin, [sm1913[nm. Influenced at first by Liszt and ~Mah
ler, later became disciple of Nielsen and ~eventually Hindemith. In [sm1920[nms,
 after an Ivesian ~period, abandoned experimentation for a roman~~tic style. Inc
reasingly isolated, he became organist ~of Ribe Cath. in [sm1940
[nm. He wrote [sm16[nm syms. between ~[sm1908[nm and [sm1951[nm, choral works, a
 biblical opera ~[cf2]Antikrist [cf1]([sm1916[nm=n[sm36[nm), and [sm6[nm str. qt
s.[cm~Langlais, Jean [fy75,1]([cf2]b [cf1]La Fontenelle, [sm1907[nm). Fr. ~organ
ist and composer, blind from infancy. ~Studied Paris Cons., comp. with Dukas, or
ch. ~with Messiaen. Teacher of org., comp., and choral ~singing, Institut Nation
al des Jeunes Aveugles, ~from [sm1931[nm, prof. from [sm1971[nm. Teacher of org.
, ~Schola Cantorum, Paris, from [sm1961[nm. Organist St ~Clotilde, Paris, from [
sm1945[nm. Works incl. [sm3[nm [cf2]Po;agemes ~;aaevang;aaeliques [cf1]([sm1932[
nm), [cf2]Suite fran;Alcaise [cf1]([sm1948[nm), [cf2]American ~Suite [cf1]([sm19
59[nm), [cf2]Suite baroque [cf1]([sm1974[nm), [cf2]Progression, [sm5[nm ~Pi;agec
es [cf1]([sm1979[nm), and [sm2[nm org. syms. ([sm1942[nm, [sm1977[nm).[cm~Langri
dge, Philip [fy75,1](Gordon) ([cf2]b [cf1]Hawkhurst, Kent, ~[sm1939[nm). Eng. te
nor. Studied vn. at RAM and played ~professionally until [sm1964
[nm. Began singing [sm1962[nm, ~having lessons from Bruce Boyce. Wide range of ~
operatic roles from Handel to Britten, incl. ~Berlioz's B;aaen;aaedict. In conce
rt-hall is equally ~effective in baroque or contemporary works.[cm~Langsam [fy75
,1](Ger.). Slow. [cf2]Langsamer, [cf1]slower.[cm~Lanier [fy75,1](Laniere), [fy65
][cf3]Nicholas [fy75,1]([cf2]b [cf1]London, [sm1588[nm; [cf2]d ~[cf1]London, [sm
1666[nm). Eng. composer. Wrote mus. for ~[sm4[nm masques by Ben Jonson. Appointe
d master of ~mus. to Prince Charles in [sm1618[nm, so when the ~prince became Ch
arles I in [sm1625[nm Lanier became ~first Master of the King's Mus. Held same o
ffice ~under Charles II from [sm1660[nm. Comp. cantatas and ~songs. Skilled pain
ter who bought pictures in It. ~for Charles I.[cm~Lankester, Michael [fy75,1]([c
f2]b [cf1]London, [sm1944[nm). Eng. ~cond. and composer. Studied RCM. Mus. dir.
Nat. ~Th., [sm1969[nm=n[sm75[nm. Has cond. Surrey P.O., ECO, etc. ~Founder, Cont
rapuncti. At Britten's request in ~[sm1976[nm, made orch. suite
of ballet [cf2]The Prince of the ~Pagodas[cf1], f.p. London [sm1979[nm (Proms.).
[cm~Lanner, Joseph [fy75,1](Franz Karl) ([cf2]b[cf1] Vienna, [sm1801[nm; [cf2]d
~[cf1]Oberd;auobling, [sm1843[nm). Austrian cond. and com~~poser. Largely self-t
aught. Began career by arrang~~ing potpourris of popular melodies for his ens. t
o ~play. In demand at court balls and other ~entertainments. Formed qt. in which
 Johann ~[fy45,1]*[fy75,1]Strauss I was violinist [sm1819[nm=n[sm25[nm. Appointe
d ~Kapellmeister, [sm2[nmnd B;auurger Regiment. In rivalry ~with Strauss, comp.
over [sm100[nm waltzes, also ~quadrilles, polkas, galops, marches, and L;auandle
r ~([sm208[nm in all). Arr. Weber's [fy45,1]*[fy75,2]Invitation to the Dance ~[c
f1]([sm1819[nm) for small orch., [cf2]c.[cf1][sm1828[nm.[cm~Lantins, Hugo de [fy
75,1]([cf2]=+=+=+=+fl. [cf1][sm1420[nm=n[sm30[nm). Dutch composer ~of sacred and
 secular songs.[cm~Lanza, Mario [fy75,1](orig. Coccozza, Alfred Arnold) ([cf2]b
~[cf1]Philadelphia, [sm1921[nm; [cf2]d [cf1]Rome, [sm1959[nm). A
mer. tenor ~and actor. Worked in family grocery business. ~Had audition with [fy
45,1]*[fy75,1]Koussevitzky in [sm1942[nm and ~was awarded schol. to Tanglewood.
After wartime ~[PN399,0,0,R,I0]military service, signed film contract and was ~c
hosen in [sm1951[nm for the title-role in [cf2]The Great ~Caruso. [cf1]His voice
 was heard also in [cf2]The Student ~Prince [cf1]([sm1954[nm).[cm~Laparra, Raoul
 [fy75,1]([cf2]b [cf1]Bordeaux, [sm1876[nm; [cf2]d [cf1]Suresnes, ~[sm1943[nm).
Fr. composer. Studied Paris Cons. ([cf2]Prix de ~Rome [cf1][sm1903[nm), pupil of
 Faur;aae and Massenet. Wrote ~instr. works and several operas, most successful
~of which was [cf2]La Haba;atnera [cf1](Paris [sm1908[nm, CG [sm1910[nm, ~NY Met
. [sm1924[nm).[cm~Lara, Isidore de [fy75,1](Cohen) ([cf2]b [cf1]London, [sm1858[
nm; [cf2]d ~[cf1]Paris, [sm1935[nm). Eng. composer and pianist. Studied ~in Mila
n. Comp. several operas perf. at CG, Monte ~Carlo, Paris, and NY Met. They incl.
 [cf2]The Light of ~Asia [cf1]([sm1892[nm), [cf2]Amy Robsart [cf
1]([sm1893[nm), [cf2]Messaline [cf1]([sm1899[nm), ~[cf2]Nail [cf1]([sm1910[nm),
[cf2]The Three Musketeers [cf1]([sm1920[nm). Wrote ~many songs and organized con
certs of new ~chamber works.[cm~Laredo, Jaime [fy75,1](Eduardo) ([cf2]b [cf1]Coc
habamba, Bolivia, ~[sm1941[nm). Amer. violinist of Bolivian birth. Studied ~Curt
is Institute, Philadelphia. D;aaebut [sm1952[nm. NY ~d;aaebut [sm1960[nm. Won Qu
een Elisabeth of Belgians ~competition, [sm1959[nm. London d;aaebut  [sm1961[nm.
 World ~tours. Specialist in Bach and Handel.[cm~[fy65][cf3]Largamente [fy75,1](
It.). Broadly. Slowish and dignified ~(see also [cf2]Largo[cf1]), more usually a
pplied to style of ~perf. than to specific tempo.[cm~Large, Brian [fy75,1]([cf2]
b [cf1]London, [sm1937[nm). Eng. musicolo~~gist, pianist, writer, and TV produce
r. Studied ~RAM and London Univ. Specialist in Cz. mus.; ~author of books on Sme
tana, Martin;anu, and Cz. ~opera. Joined BBC, with special responsibility for ~t
elevised opera.[cm~Larghetto [fy75,1](It.). The diminutive of [f
y45,1]*[fy75,2]Largo[cf1]. Slow ~and dignified, but less so than [cf2]Largo. Lar
ghezza[cf1], ~breadth.[cm~Largo [fy75,1](It.). Broad. Slow, dignified in style.
[cf2]Largo ~di molto, [cf1]very slow and dignified, etc.[cm~Largo [fy75,1](Hande
l). Title universally applied to the ~many spurious, if pleasing, instr. arrs. o
f the aria ~[cf2]Ombra mai f;Agu [cf1](which in fact is marked [cf2]larghetto[cf
1]), ~from [fy45,1]*[fy75,1]Handel's opera [fy45,1]*[fy75,2]Serse[cf1].[cm~Larig
ot [fy75,1](old name for Flageolet). Org. stop; same ~as [fy45,1]*[fy75,2]Ninete
enth[cf1].[cm~Lark Ascending, The. [fy75,1]Romance for vn. and ~orch. or chamber
 orch. by Vaughan Williams ~inspired by poem of that name by G. Meredith ~([sm18
28[nm=n[sm1909[nm). Comp. [sm1914[nm, rev. [sm1920[nm, f.p. in arr. ~for vn. and
 pf. [sm1920[nm, in orch. version [sm1921[nm.[cm~Lark Quartet [fy75,1](Haydn). S
ee [cf2]Lerchenquartett[cf1].[cm~Larner, Gerald [fy75,1]([cf2]b [cf1]Leeds, [sm1
936[nm). Eng. critic. ~Educated New Coll., Oxford. Ass. lecturer
 in Ger., ~Manchester Univ. [sm1960[nm=n[sm2[nm. Joined [cf2]Guardian [cf1]staff
 ~in Manchester as ass. mus. critic [sm1962[nm; chief ~Northern mus. critic sinc
e [sm1965[nm. Trans. lib. of ~Wolf's [cf2]Der Corregidor [cf1]into Eng. Wrote li
b. for ~McCabe's [cf2]The Lion, the Witch, and the Wardrobe ~[cf1][sm1971[nm. Ar
t. dir. Bowdon Fest. [sm1980=n4[nm.[cm~Larrocha, Alicia de [fy75,1]([cf2]b [cf1]
Barcelona, [sm1923[nm). Sp. ~pianist. Concert d;aaebut Madrid [sm1935[nm. In lat
e [sm1940[nms ~made int. reputation. London d;aaebut,  [sm1953[nm. NY ~d;aaebut
[sm1955[nm. Notable interpreter of Alb;aaeniz and ~Granados.[cm~Larsson, Lars-Er
ik [fy75,1]([cf2]b [cf1]Akarp, [sm1908[nm). Swed. ~composer, cond., and critic.
Studied Stockholm ~Royal Acad. [sm1925[nm=n[sm9[nm then in Vienna with [fy45,1]*
[fy75,1]Berg[cf1]. ~Ch. master Stockholm Opera [sm1931[nm. Worked as ~critic. Co
nd. for Swed. radio [sm1937[nm=n[sm54[nm, prof. of ~comp., Stockholm Cons., [sm1
947[nm=n[sm59[nm, dir. of mus. ~at Uppsala Univ. [sm1961[nm=n[sm
5[nm. Works incl. [sm3[nm syms. ~([sm1928[nm, [sm1936[nm, [sm1945[nm), [sm3[nm c
oncert ovs., sinfonietta for ~str., serenade for str., sax. conc., vn. conc., vc
. ~conc., [sm12[nm concertinos, opera, cantata, [sm3[nm str. qts., ~etc.[cm~La R
ue, Pierre de [fy75,1]([cf2]b [cf1]? Tournai, [cf2]c.[cf1][sm1460[nm; [cf2]d ~[c
f1]Courtrai, [sm1518[nm). Flemish composer. Singer at ~Cambrai Cath. [sm1483[nm.
 Returned to Netherlands ~[cf2]c.[cf1][sm1490[nm and in [sm1492[nm was in Burgun
dian court ~chapel. Moved to Mechelen [sm1508[nm. Became abbot ~at Courtrai [sm1
516[nm. Exemplar of medieval Nether~~lands style of comp. Wrote [sm31[nm Masses,
 mostly on ~plainchant [cf2]cantus firmus [cf1]but some on secular ~tunes, e.g.
`L'Homme arm;aae'. About [sm30[nm motets ~survive, also [sm30[nm secular [cf2]ch
ansons.[cf1][cm~LaSalle Quartet. [fy75,1]Amer. str. qt. formed [sm1949[nm by ~st
udents from Juilliard Sch. of Mus., NY. Mem~~bers are Walter Levin ([cf2]b [cf1]
Berlin, [sm1924[nm), a pupil of ~I. Galamian, Henry Meyer ([cf2]
b [cf1]Dresden, [sm1923[nm), ~studied with Enescu and Galamian, vns.; Peter ~Kam
nitzer ([cf2]b [cf1]Berlin, [sm1922[nm), studied at Juilliard ~Sch., va.; Lee Fi
ser ([cf2]b [cf1]Portland, Oregon, [sm1947[nm), ~vc., former player in Cincinnat
i S.O. Fiser replaced ~Jack Kirstein in [sm1975[nm. European tour [sm1954[nm. ~P
articularly known for perf. and recordings of ~Schoenberg, Zemlinsky, Berg, Webe
rn, and for ~the contemporary qts. of Apostel, Pousseur, ~Ligeti, Kagel, Pendere
cki, and Lutoslawski.[cm~La Scala, Milan [fy75,1](Teatro alla Scala). It. opera
~house built in [sm1778[nm and named after Regina della ~Scala, wife of a Duke o
f Milan, who had founded ~a church on the site in [sm14[nmth cent. Opened on [sm
3[nm ~Aug. [sm1778[nm, with opera by [fy45,1]*[fy75,1]Salieri. All the great ~[s
m19[nmth-cent. It. composers wrote works for La Scala. ~Among f.ps. there were t
hose of [cf2]La Gazza Ladra ~[cf1](Rossini), [cf2]Lucrezia Borgia [cf1](Donizett
i), [cf2]Norma [cf1](Bel~~lini), [cf2]Otello [cf1]and [cf2]Falst
aff [cf1](Verdi[cf1]), [cf2]Madama Butterfly ~[cf1]and [cf2]Turandot [cf1](Pucci
ni). [fy45,1]*[fy75,1]Toscanini was chief ~cond. [sm1898[nm=n[sm1902[nm, [sm1906
[nm=n[sm8[nm and [sm1921[nm=n[sm9[nm, periods ~during which the greatest opera s
ingers of the ~world worked in the co. Victor [fy45,1]*[fy75,1]de Sabata took ~o
ver dir. in [sm1930[nm, continuing until [sm1957[nm. In more ~recent times Claud
io [fy45,1]*[fy75,1]Abbado has been the ~outstanding Scala cond. Bombs almost de
stroyed ~the Scala in Aug. [sm1943[nm but by [sm1946[nm it had been ~rebuilt as
before in time for opening concert on ~[sm11[nm May cond. Toscanini. Seats [sm3[
nm,[sm600[nm. Maria ~[PN400,0,0,L,I0][fy45,1]*[fy75,1]Callas was in the co. [sm1
950[nm=n[sm8[nm and Renata [fy45,1]*[fy75,1]Tebaldi ~[sm1949[nm=n[sm54[nm. Chamb
er th. for [sm600[nm, [cf2]La Piccola Scala, ~[cf1]was opened in Dec. [sm1955[nm
.[cm~Laserna, Blas de [fy75,1]([cf2]b [cf1]Corella, [sm1751[nm; [cf2]d [cf1]Madr
id, ~[sm1816[nm). Sp. composer and cond. Wrote operas, ~[fy45,1]
*[fy75,2]zarzuelas, [cf1]and [fy45,1]*[fy75,2]tonadillas[cf1].[cm~Lassalle, Jean
 Louis [fy75,1]([cf2]b [cf1]Lyons, [sm1847[nm; [cf2]d [cf1]Paris, ~[sm1909[nm).
Fr. bar. Studied Paris Cons. and with ~Novelli. Opera d;aaebut Li;agege [sm1869[
nm. D;aaebut Paris ~Op;aaera [sm1872[nm as Guillaume Tell (Rossini), remain~~ing
 as prin. bar. until [sm1892[nm. Sang at CG [sm1879[nm=n[sm81[nm ~and [sm1888[nm
=n[sm93[nm. NY Met. d;aaebut [sm1892[nm, staying in co. ~[sm6[nm years. Notable
Sachs in de Reszke perfs. of [cf2]Die ~Meistersinger. [cf1]Retired [sm1901[nm. P
rof., Paris Cons. ~from [sm1903[nm.[cm~Lassen, Eduard [fy75,1]([cf2]b [cf1]Copen
hagen, [sm1830[nm; [cf2]d [cf1]Weimar, ~[sm1904[nm). Danish cond., composer, and
 opera dir. ~Studied Brussels Cons. ([cf2]Prix de Rome[cf1] [sm1851[nm). ~Succee
ded Liszt as opera dir. at Weimar [sm1858[nm=n~[sm95[nm. His opera [cf2]Landgrav
e Ludwigs Brautfahrt [cf1]was ~prod. Weimar [sm1857[nm under Liszt's sponsorship
. ~Comp. mus. for Goethe's [cf2]Faust[cf1].[cm~Lasso. [fy75,1]Se
e [cf2]Lassus, Orlande de[cf1].[cm~Lass of Richmond Hill, The. [fy75,1]Song with
 mus. ~by James [fy45,1]*[fy75,1]Hook and words by L. McNally. (N.B. ~The song r
efers to Richmond, Yorks., not Surrey.)[cm~Lass;aau. [fy75,1]Slow section of [fy
45,1]*[fy75,2]cs;aaard;aaas[cf1].[cm~Lassus, Orlande [fy75,1](Roland) [fy65][cf3
]de [fy75,1](It. Orlando di ~Lasso) ([cf2]b [cf1]Mons, [sm1532[nm; [cf2]d [cf1]M
unich, [sm1594[nm). Flemish ~composer. In boyhood and youth travelled in ~Sicily
 and Italy in service of various aristocrats. ~Choirmaster, St John Lateran, Rom
e, [sm1553[nm=n[sm4[nm. ~Returned to Flanders, possibly visiting Eng. and ~Fr. a
nd settling in Antwerp. Pubd. first vol. of ~madrigals, motets, and [cf2]chanson
s[cf1], [sm1556[nm. Entered ~service of Duke of Bavaria at court in Munich, ~[sm
1556[nm, becoming Kapellmeister [sm1563[nm, the year he ~began his [cf2][sm7[nm
Penitential Psalms [cf1]([sm1563[nm=n[sm70[nm). Visited ~Venice [sm1567[nm, Pari
s and Rome [sm1571[nm, and Rome ~[sm1585[nm. Wrote nearly [sm2,0
00[nm works, mainly motets, ~madrigals, masses, canzonas, [cf2]chansons[cf1], an
d psalms. ~Ranked with Palestrina and Victoria as among ~supreme masters of [sm1
6[nmth-cent. polyphonic art. ~Complete catalogue of works pubd. Berlin [sm1956[n
m ~(ed. W. Boetticher).[cm~Last Post. [fy75,1]British Army bugle call. The [cf2]
First Post ~[cf1]at [sm9[nm.[sm30[nm p.m. calls all men back to barracks and ~th
e [cf2]Last Post [cf1]at [sm10[nm p.m. ends the day. By a natural ~and poetical
association of ideas it has become the ~custom to sound the same call at militar
y funerals.[cm~Last Rose of Summer, 'Tis the. [fy75,1]Old Irish air, ~orig. [cf2
]Castle Hyde[cf1], which became [cf2]The Groves of ~Blarney c.[cf1][sm1790[nm by
 R. A. Millikin, and was incl. by ~Thomas Moore, to his own new words, in his [c
f2]Irish ~Melodies [cf1]([sm1813[nm). Beethoven set the air, Mendels~~sohn wrote
 a pf. fantasia on it (Op. [sm15[nm, [sm1827[nm), and ~it is sung by a sop. in A
ct [sm2[nm of Flotow's [cf2]Martha[cf1].[cm~Last Sleep of the Vi
rgin, The [fy75,1]([cf2]Le Dernier Sommeil ~de la Vierge[cf1]). Orch. interlude
from Massenet's ~oratorio [cf2]La Vierge [cf1]([sm1880[nm), much favoured as an
~encore by [fy45,1]*[fy75,1]Beecham and the RPO.[cm~Last Temptations, The [fy75,
1]([cf2]Viimeiset kinsaukset[cf1]). ~Opera in [sm2[nm acts by [fy45,1]*[fy75,1]K
okkonen to lib. by L. ~Kokkonen, based on life of Finn. evangelist Paavo ~Ruotsa
lainen ([sm1777[nm=n[sm1852[nm). Prod. Savonlinna ~[sm1977[nm, London (Finn. Nat
. Opera) [sm1979[nm.[cm~Laszl;ago, Magda [fy75,1]([cf2]b [cf1]Marosv;aaas;aaarhe
ly, [sm1919[nm). Hung. ~sop. Studied Liszt Acad., Budapest. Budapest ~Opera [sm1
943[nm=n[sm6[nm, then settled in Italy. Created role ~of the Mother in [fy45,1]*
[fy75,1]Dallapiccola's [cf2]Il prigioniero ~[cf1](radio [sm1949[nm, Florence [sm
1950[nm). Sang title-roles in ~Gluck's [cf2]Alceste [cf1]([sm1953[nm) and Montev
erdi's [cf2]L'Incoron~~azione di Poppea [cf1]([sm1962[nm) at Glyndebourne. Creat
ed ~role of Cressida in [fy45,1]*[fy75,1]Walton's [cf2]Troilus a
nd Cressida[cf1], ~CG [sm1954[nm.[cm~[fy65][cf3]Late Swallows. [fy75,1]Title of
[sm3[nmrd movement of Delius's ~[sm2[nmnd Str. Qt. ([sm1916[nm). Arr for str. or
ch. by Fenby ~[sm1963[nm (f.p. Houston S.O., Barbirolli, [sm1963[nm).[cm~Latham,
 Peter [fy75,1](Morton Sturges) ([cf2]b [cf1]London, ~[sm1894[nm; [cf2]d [cf1]Lo
ndon, [sm1970[nm). Eng. teacher and writer. ~Studied Oxford Univ. and RAM [sm191
9[nm=n[sm20[nm. Prof. ~of harmony, RAM, [sm1938[nm. [fy45,1]*[fy75,1]Gresham Pro
f. of Mus. ~[sm1941[nm=n[sm64[nm. Wrote books on Beethoven and Brahms.[cm~La;aau
d. [fy75,1]Sp. form of lute.[cm~Lauda Sion [fy75,1](Praise, O Zion). One of the
~[fy45,1]*[fy75,1]Sequences allowed to remain in the liturgy of ~the R.C. Church
 when the Council of Trent ~([sm1545[nm=n[sm63[nm) abolished the rest. It has it
s traditional ~plainsong, but has also been set by composers. ~The words were wr
itten by St Thomas Aquinas ~([cf2]c. [cf1][sm1264[nm) for the feast of Corpus Ch
risti (on which ~they are still sung).[cm~Laudi Spirituali [fy75
,1](Spiritual songs. More correctly ~[cf2]Laude spirituali[cf1]). Popular devoti
onal songs sung ~by the [cf2]Laudesi[cf1], a Florentine confraternity insti~~tut
ed in [sm1233[nm. Music was at first in unison but ~later in parts. [sm1[nmst pu
bd. coll. [sm1485[nm. Regarded as ~forerunner of oratorio.[cm~Laudon Symphony. [
fy75,1]Haydn's own sub-title for ~his Sym. in C major, No. [sm69[nm in Breitkopf
 edn., ~which he ded. to the Austrian field-marshal Ernst ~Gideon Freiherr von L
oudon (to give him his ~correct spelling) ([sm1716[nm=n[sm90[nm).[cm~Lauds. [fy7
5,1]The [sm2[nmnd of the Canonical Hours of the ~R.C. Church, formerly sung at s
unrise.[cm~Laurenti, Girolamo Bartolomeo [fy75,1]([cf2]b [cf1]Bologna, ~[cf2]c[c
f1].[sm1644[nm; [cf2]d [cf1]Bologna, [sm1726[nm). It. violinist and ~composer. W
rote [sm6[nm concs. for [sm3[nm vns., also for va., ~vc., and org.[cm~Lauri-Volp
i, Giacomo [fy75,1]([cf2]b [cf1]Rome, [sm1892[nm; [cf2]d [cf1]Valen~~cia, Spain,
 [sm1979[nm). It. ten. Trained as lawyer, but ~transferred to st
udy of mus. at S. Cecilia Acad., ~Rome. Opera d;aaebut under name Rubini at ~Vit
erbo [sm1919[nm, under own name Rome [sm1920[nm (in ~[PN401,0,0,R,I0]Massenet's
[cf2]Manon[cf1]). NY Met. [sm1923[nm=n[sm33[nm. Sang Calaf ~in Amer. f.p. of [cf
2]Turandot, [cf1][sm1926[nm. CG d;aaebut [sm1925[nm. ~Sang in Italy up to [sm196
5[nm and at a Barcelona gala ~in [sm1972[nm. Wrote several books.[cm~Laute [fy75
,1](Ger.). The [fy45,1]*[fy75,1]lute.[cm~Lautenmacher [fy75,1](Ger., Fr. [fy45,1
]*[fy75,2]luthier[cf1]). Maker of str. ~instrs.[cm~Lavall;aaee, Calixa [fy75,1](
[cf2]b [cf1]Verch;ageres, Quebec, [sm1842[nm; [cf2]d ~[cf1]Boston, Mass., [sm189
1[nm). Fr.-Canadian composer and ~pianist. Studied Paris Cons. (comp. with Boiel
~~dieu). Taught at Petersilea Acad., Boston. Wrote ~operas, sym., oratorio, [sm2
[nm str. qts., vn. sonata, etc., ~also Canadian nat. song. [fy45,1]*[fy75,2]O Ca
nada! [cf1]([sm1880[nm).[cm~Lawes, Henry [fy75,1]([cf2]b [cf1]Dinton, Wilts., [s
m1596[nm; [cf2]d [cf1]London, ~[sm1662[nm). Eng. composer and si
nger. Studied with J. ~Cooper ([fy45,1]*[fy75,1]Coprario). Gent. of Charles I's
Chapel ~Royal. Wrote mus. for Milton's masque [fy45,1]*[fy75,2]Comus[cf1] ~at Lu
dlow, [sm1634[nm, taking part of Attendant Spirit. ~Reinstated in court posts [s
m1660[nm. Comp. anthem ~[cf2]Zadok the Priest [cf1]for Charles II's coronation,
songs, ~and madrigals.[cm~Lawes, William [fy75,1]([cf2]b [cf1]Dinton or Salisbur
y, [sm1602[nm; [cf2]d ~[cf1]Chester, [sm1645[nm). Eng. composer, brother of Henr
y ~[fy45,1]*[fy75,1]Lawes. Also studied with [fy45,1]*[fy75,1]Coprario and was o
ne ~of private musicians attached to Charles I before ~and after he became King
([sm1625[nm). Comp. songs, ~madrigals, mus. for viols, and a large amount of ~mu
s. for the stage. Regarded as one of the greatest ~and most influential of Eng.
composers. Killed in ~Royalist army at siege of Chester.[cm~Lawrence, Marjorie [
fy75,1](Florence) ([cf2]b [cf1]Deans Marsh, ~Australia, [sm1909[nm; [cf2]d [cf1]
Little Rock, Arkansas, [sm1979[nm). ~Australian sop. Studied Mel
bourne and Paris. ~Opera d;aaebut Monte Carlo [sm1932[nm (Elisabeth in ~[cf2]Tan
nh;auauser[cf1]). Sang at Paris Op;aaera [sm1933[nm=n[sm6[nm, NY Met. ~[sm1935[n
m=n[sm41[nm. Stricken with poliomyelitis during [cf2]Die ~Walk;auure [cf1]at Mex
ico City [sm1941[nm. Despite inability to ~walk unaided, continued opera career,
 incl. ~Wagnerian roles in which she excelled, and gave ~recitals. After retirem
ent, prof. of v. Tulane Univ., ~[sm1956[nm=n[sm60[nm, prof. of v. and dir. of op
era workshop, ~S. Illinois Univ. from [sm1960[nm.[cm~Lay. [fy75,1]See [cf2]Lai[c
f1].[cm~Layolle, Franciscus de [fy75,1]([cf2]b [cf1]Florence[cf1], [sm1492[nm; [
cf2]d ~[cf1]Lyons, [cf2]c.[cf1][sm1540[nm). It. composer and organist. Organ~~is
t at Florence, then settled in Lyons [sm1521[nm. Taught ~mus. to Benvenuto Celli
ni. Wrote masses, motets, ~and madrigals.[cm~Layton, Robert [fy75,1]([cf2]b [cf1
]London, [sm1930[nm). Eng. critic and ~administrator. Studied at Oxford [sm1949[
nm=n[sm53[nm under ~Rubbra and Wellesz, then at Stockholm and ~U
ppsala [sm1953[nm=n[sm5[nm. On mus. staff BBC since [sm1959[nm. ~Author of books
 on Berwald and Sibelius and ~monographs on several Scandinavian composers.[cm~L
azarus, oder Die Feier der Auferstehung ~[fy75,1](Lazarus, or The Feast of the R
esurrection). ~Unfinished oratorio (`Easter Cantata') by Schubert ~(D[sm689[nm),
 to text by A. H. Niemayer ([sm1754[nm=n[sm1828[nm) ~comp. [sm1820[nm. What rema
ins contains marvellous ~mus.[cm~Lazzari, Sylvio [fy75,1]([cf2]b [cf1]Bozen, Tyr
ol, [sm1857[nm; [cf2]d [cf1]Paris, ~[sm1944[nm). Fr. composer. Studied Paris Con
s. with ~Guiraud and Franck. Wrote [sm6[nm operas, sym., ~symphonic poems, vn. s
onata, str. qt., songs, etc.[cm~L.B.C.M. [fy75,1]Licentiate of the Bandsman's Co
llege ~of Music.[cm~L.B.S.M. [fy75,1]Licentiate of the Birmingham School ~of Mus
ic.[cm~Leader. [fy75,1]([sm1[nm) (Amer. concertmaster; Ger. [cf2]konzert~~meiste
r[cf1]). Prin. [sm1[nmst vn. of sym. orch.[ep~^([sm2[nm)^Often used in USA for c
ond., e.g., `Ormandy ~leads the Philadelphia Orch. in .|.|.'[ep~
^([sm3[nm)^[sm1[nmst vn. of str. qt. or other chamber group.[xm[cm~[ol0][ep~[xp[
te~











[do9][j99]~~~~~~[sm153842[nm_L[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmL[sm003[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm1[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm105[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Leading Note. [f
y75,1][sm7[nmth degree of the scale, semitone ~below the tonic. So called becaus
e of tendency to ~rise, or `lead', to the tonic. In minor keys is ~sometimes fla
ttened in descent.[cm~Leading Seventh. [fy75,1]Chord of minor [sm7[nmth on ~[fy4
5,1]*[fy75,1]Leading Note of major scale (e.g. in C Major, B=n~D=nF=nA).[cm~Lead
, Kindly Light. [fy75,1]Hymn, words by John ~Henry Newman ([sm1801[nm=n[sm90[nm)
, written after an ~illness in Sicily. Tune, [cf2]Lux benigna[cf1], by Rev. John
 ~Bacchus Dykes, organist, first pubd. [sm1867[nm, under ~name [cf2]St Oswald [c
f1] in [cf2]Psalms and Hymns for the ~Church, School and Home[cf1], ed. D. T. Ba
rry, [sm1867[nm, ~and a year later in appendix to [cf2]Hymns Ancient and ~Modern
. [cf1]Another tune, [cf2]Alberta, [cf1]by W. H. Harris ~in [cf2
]Songs of Praise, [cf1]enlarged edn., [sm1931[nm.[cm~Lear. [fy75,1]Opera in [sm2
[nm acts by [fy45,1]*[fy75,1]Reimann to lib. by ~Claus Henneberg based on Shakes
peare's play ~[cf2]King Lear [cf1]([sm1606[nm). Prod. Munich [sm1978[nm (Fischer
-~Dieskau as Lear). San Francisco [sm1981[nm. See also ~[cf2]King Lear[cf1].[cm~
Lear, Evelyn [fy75,1]([cf2]b [cf1]Brooklyn, NY, [sm1926[nm). Amer. sop. ~Studied
 NY Univ., Hunter Coll., and Juilliard ~Opera Workshop. Won Fulbright scholarshi
p to ~Ger. [sm1955[nm. Opera d;aaebut in Strauss's [cf2]Ariadne auf ~Naxos[cf1],
 Berlin [sm1959[nm. Sang Strauss's [cf2]Vier letzte Lieder ~[cf1]with LSO, Londo
n [sm1957[nm. Sang title-role in Berg's ~[cf2]Lulu[cf1], Vienna [sm1962[nm and L
ondon [sm1966[nm, and Marie ~in [cf2]Wozzeck [cf1]in Vienna, Berlin, Munich, San
 ~Francisco, NY Met., and Milan ([sm1971[nm). Sang in ~premi;agere of Levy's [cf
2]Mourning becomes Electra[cf1], NY ~Met. [sm1967[nm. CG d;aaebut [sm1965[nm (El
vira in [cf2]Don ~Giovanni[cf1]). Has sung at Salzburg Fest. Not
able ~Marschallin in [cf2]Der Rosenkavalier, [cf1]Countess in [cf2]Le ~Nozze di
Figaro[cf1].[cm~Leavins, Arthur [fy75,1]([cf2]b [cf1]Leicester, [sm1917[nm). Eng
. violin~~ist. Studied RAM. D;aaebut NZ, [sm1925[nm. Member of ~Catterall Qt. Le
ader RPO, sub-leader BBC S.O., ~leader BBC Concert Orch.[cm~Leb;agegue, Nicolas
Antoine [fy75,1]([cf2]b [cf1]Laon, [cf2]c.[cf1][sm1631[nm; [cf2]d ~[cf1]Paris, [
sm1702[nm). Fr. organist and composer. Organist, ~church of St Merry, Paris, [sm
1664=n1702[nm, and court ~[PN402,0,0,L,I0]organist to Louis XIV, [sm1678[nm. Com
p. [sm2[nm vols. of ~hpd. works and [sm3[nm vols. of org. pieces ([sm1676[nm).[c
m~Lebewohl, Das [fy75,1](The Farewell). Beethoven's ~(therefore the correct) tit
le for his Pf. Sonata No. ~[sm26[nm in E;yh major Op. [sm81[nma, usually known a
s `Les ~Adieux'. Comp. [sm1809[nm=n[sm10[nm.[cm~Lebhaft [fy75,1](Ger.). Lively.
So [cf2]lebhafter, [cf1]livelier; ~[cf2]Lebhaftigkeit[cf1], liveliness.[cm~Lebru
n, Ludwig August [fy75,1]([cf2]b [cf1]Mannheim, [sm1752[nm; [cf2
]d ~[cf1]Berlin, [sm1790[nm). Ger. oboist. Member of Mann[chheim ~court orch. Co
mposed [sm7[nm ob. concs., [sm12[nm ob. trios, ~fl. conc., etc. Married sop. Fra
nziska Danzi [cf1]([sm1756[nm=n~[sm91[nm).[cm~Lechner, Leonhard [fy75,1]([cf2]b
[cf1]Austrian Tyrol, [cf2]c.[cf1][sm1550[nm; [cf2]d ~[cf1]Stuttgart, [sm1606[nm)
. Austrian composer. Chorister at ~Munich court under Lassus, an edn. of whose ~
motets he pubd. [sm1579[nm. Kapellmeister at W;auurttem~~berg from [sm1587[nm. C
omp. masses, motets, and ~psalms.[cm~Leclair, Jean-Marie [fy75,1]([cf2]b [cf1]Ly
ons, [sm1697[nm; [cf2]d [cf1]Paris, ~[sm1764[nm). Fr. composer and violinist, kn
own as `the ~elder' to distinguish him from his brother. Went ~to Turin as balle
t-master [sm1722[nm and took up vn. ~Settled in Paris [sm1723[nm  and played at
Concert ~Spirituel and in opera orch. [sm1729[nm=n[sm35[nm, during ~which time h
e studied comp. Court mus. in Paris ~[sm1735[nm=n[sm6[nm. Wrote opera [cf2]Scyll
a et Glaucus[cf1] (Paris [sm1746[nm, ~revived in concert perf.,
London [sm1979[nm) and ~ballets, and many vn. works incl. concs., sonatas, ~trio
s. Murdered by his nephew outside his house. ~His brother, also Jean-Marie ([cf2
]b[cf1] Lyons, [sm1703[nm; [cf2]d[cf1] ~Lyons, [sm1777[nm) was a violinist and c
omposed vn. ~sonatas and choral works.[cm~Lecocq, Alexandre Charles [fy75,1]([cf
2]b [cf1]Paris, [sm1832[nm; [cf2]d ~[cf1]Paris, [sm1918[nm). Fr. composer. Studi
ed Paris Cons. ~His setting of [cf2]Le [fy45,1]*[fy75,2]Docteur Miracle [cf1](wi
th [fy45,1]*[fy75,1]Bizet's) ~won prize offered by Offenbach, [sm1856[nm. From ~
[sm1868[nm to [sm1911[nm produced a series of popular ~operettas of which most s
uccessful were [cf2]La Fille ~de Madame Angot [cf1]([sm1872[nm) and [cf2]Girofl;
aae-Girofla [cf1]([sm1874[nm).[cm~Lecuona, Ernesto [fy75,1]([cf2]b [cf1]Guanabac
oa, [sm1896[nm; [cf2]d [cf1]S. ~Cruz de Tenerife, [sm1963[nm). Cuban composer an
d ~pianist. Studied at Nat. Cons., Havana, graduating ~in [sm1913[nm. After furt
her study with Nin, became ~leader of dance band, Lecuona's Cuba
n Boys. ~Lived for a time in NY, writing for musicals, ~films, and radio. Wrote
[sm2[nm zarzuelas, [cf2]Rapsodia ~negra [cf1]for pf. and orch. ([sm1943[nm), and
 many songs, ~incl. [cf2]Andalucia.[cf1][cm~Ledger, Philip [fy75,1](Stevens) ([c
f2]b [cf1]Bexhill-on-Sea, [sm1937[nm). ~Eng. organist, cond., pianist, and harps
ichordist. ~Studied King's Coll., Cambridge. Master of Mus., ~Chelmsford Cath. [
sm1962[nm=n[sm5[nm; dir. of mus., Univ. of ~E. Anglia [sm1965[nm=n[sm73[nm; dir.
 of mus. and organist ~King's Coll., Cambridge, [sm1974[nm=n[sm82[nm. Acc. ~to J
anet Baker, Robert Tear, etc. One of art. dirs. ~of Aldeburgh Fest. Prin., RSAM
from [sm1982[nm. C.B.E. [sm1985[nm.[cm~Ledger Lines [fy75,1](leger lines). Short
 lines added ~below or above the staff to accommodate notes ~too high or too low
 for the staff itself.[cm~Leeds Festival. [fy75,1]Mus festival, principally chor
al, ~held in Yorkshire city of Leeds since [sm1858[nm when ~it marked opening of
 town hall. Second festival, ~cond. by Costa, was in [sm1874[nm,
 third in [sm1880[nm ~(Sullivan), after which it was held triennially ~until [sm
1970[nm. Under Sullivan festival acquired ~international status, with choral wor
ks commis~~sioned from Dvo;akr;aaak, Massenet, Sullivan, Parry, ~and Stanford. W
hen Sullivan retired, Stanford ~took over until [sm1910[nm. Among works first pe
rf. at ~Leeds festivals were Elgar's [cf2]Caractacus [cf1]([sm1898[nm) and ~[cf2
]Falstaff [cf1]([sm1913[nm), Vaughan Williams's [cf2]A Sea Sym~~phony [cf1]([sm1
910[nm), Holst's [cf2]Choral Symphony [cf1]([sm1925[nm), ~Walton's [cf2]Belshazz
ar's Feast [cf1]([sm1931[nm), Britten's [cf2]Noc~~turne [cf1]([sm1958[nm), and B
lake's [cf2]Lumina [cf1]([sm1970[nm). Directors ~in recent years have included E
arl of Harewood ~and John Warrack.[cm~Leeds Piano Competition. [fy75,1]Internati
onal com~~petition for pianists est. [sm1963[nm by Fanny Waterman ~and Marion Th
orpe (then Lady Harewood). Held ~triennially. Winners have been Michael Roll, ~R
afael Orozco, Radu Lupu, Murray Perahia, ~Dmitri Alexeev, Michel
 Dalberto, Ian Hob~~son, and Jon Kimura Parker.[cm~Leer [fy75,1](Ger.). Empty; a
pplied to open str. of vn., ~etc.[cm~Lees, Benjamin [fy75,1]([cf2]b [cf1]Harbin,
 Manchuria, [sm1924[nm). ~Amer. composer. Studied Univ. of S. Calif., later ~wit
h Antheil. Went to Europe [sm1954[nm, returning to ~USA [sm1962[nm. Teacher at s
everal Amer. colleges. ~Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]The Oracle
[cf1]([sm1955[nm); [cf2]The Gilded Cage [cf1]([sm1971[nm).[ep~[smballet[nm: [cf2
]Scarlatti Portfolio [cf1]([sm1979[nm).[ep~[smorch[nm: Sym. No. [sm1[nm ([sm1953
[nm), No. [sm2[nm ([sm1958[nm), No. [sm3[nm ~([sm1969[nm); pf. conc. No. [sm1[nm
 ([sm1955[nm), No. [sm2[nm ([sm1966[nm); vn. ~conc. ([sm1958[nm); [cf2]Concertan
te breve [cf1]([sm1959[nm); [cf2]Concerto ~for Orchestra [cf1]([sm1959[nm); [cf2
]Prologue, Capriccio, and ~Epilogue [cf1]([sm1961[nm); ob. conc. ([sm1963[nm); c
onc. for str. ~qt. and orch. ([sm1964[nm); [cf2]Spectrum [cf1]([sm1964[nm); Conc
. for ~chamber orch. ([sm1966[nm); [cf2]Silhouettes [cf1]([sm196
7[nm); [cf2]Varia~~tions[cf1], pf. and orch. ([sm1976[nm); Va. conc. ([sm1977[nm
); ~[cf2]Portfolio [cf1]([sm1979[nm); [cf2]Mobiles [cf1]([sm1980[nm); double con
c. for ~pf., vc., and orch. ([sm1982[nm).[ep~[smvoice[nm([sms[nm) [smand orch[nm
: [cf2]Visions of Poets [cf1](Whitman), ~sop., ten., ch. ([sm1961[nm); [cf2]Mede
a of Corinth[cf1], [sm4[nm soloists, ~wind quintet, timp. ([sm1970[nm); [cf2]The
 Trumpet of the ~Swan[cf1], narrator and orch. ([sm1972[nm); conc. for brass, ~c
h., and orch. ([sm1983[nm).[ep~[smchamber music[nm: Str. Qts., No. [sm1[nm ([sm1
952[nm), No. [sm2[nm ~([sm1955[nm), No. [sm3[nm ([sm1981[nm); hn. sonata ([sm195
2[nm); vn. ~sonata No. [sm1[nm ([sm1953[nm), No. [sm2[nm ([sm1972[nm); [sm2[nm-p
f. sonata ~([sm1951[nm); [cf2]Collage[cf1], wind quintet, perc., str. qt. ~([sm1
973[nm); sextet (wind quintet and pf.) ([sm1977[nm); [sm4[nm ~pf. sonatas ([sm19
49[nm, [sm1950[nm, [sm1956[nm, [sm1963[nm); [cf2]Odyssey[cf1], ~pf. ([sm1970[nm)
; vc. sonata ([sm1981[nm); pf. trio ([sm1983[nm).[cm~[j1]Leeuw,
Ton de [fy75,1]([cf2]b [cf1]Rotterdam, [sm1926[nm). Dutch ~composer. Studied in
Breda, Paris, and Amster~~[PN403,0,0,R,I0]dam (comp. with [fy45,1]*[fy75,1]Badin
gs). Teacher at Amster~~dam Univ. since [sm1963[nm (dir. [sm1971[nm=n[sm3[nm). W
orks ~influenced by Schoenberg, [cf2]musique concr;agete, ~[cf1]Pijper's `germ-c
ell' melodic principle, and Asian ~mus. Has used proportional rhythmic notation
to ~represent unlimited scale of note-values. Works ~incl.: opera [cf2]The Dream
 [cf1]([sm1963[nm), radio oratorio [cf2]Job ~[cf1]([sm1956[nm), [cf2]Symphonies
of Winds[cf1], for [sm29[nm wind instr. ~([sm1963[nm), [sm2[nm str. qts. ([sm195
8[nm, [sm1964[nm), [cf2]Syntaxis [cf1]I for tape ~([sm1966[nm), [cf2]Spatial Mus
ic [cf1]I=nIV, [cf2]Litany of our Time ~[cf1]([sm1970[nm), etc.[cm~LeFanu, Nicol
a [fy75,1](Frances) ([cf2]b [cf1]Wickham Bishops, ~Essex, [sm1947[nm). Eng. comp
oser and teacher, daugh~~ter of Elizabeth [fy45,1]*[fy75,1]Maconchy. Studied Oxf
ord ~Univ., and with Jeremy Dale Roberts, Wellesz, ~and [fy45,1]
*[fy75,1]Petrassi. Cobbett chamber mus. prize [sm1968[nm, ~[sm1[nmst prize BBC c
omposers competition [sm1971[nm. ~Lecturer, Morley Coll. [sm1970[nm=n[sm5[nm, di
r. of mus. ~Francis Holland Sch. [sm1975[nm=n[sm7[nm. Lecturer in Mus., ~King's
Coll., London Univ. from [sm1977[nm. Works ~incl.:[xm[cm~[j2][smorch[nm: [fy75,2
]Preludio I, [cf1]str. ([sm1967[nm); [cf2]Preludio II, [cf1]str. ([sm1976[nm, ~r
ev. of I); [cf2]The Hidden Landscape [cf1]([sm1973[nm); [cf2]Columbia ~Falls [cf
1]([sm1975[nm); [cf2]Farne[cf1] ([sm1979[nm).[ep~[smtheatre[nm: [cf2]Antiworld,
[cf1]dancer, with sop., bar., fl., ~cl., and perc. [cf1]([sm1972[nm); [cf2]The L
ast Laugh[cf1], ballet, for ~sop., tape, and chamber orch. ([sm1972[nm); [cf2]Da
wnpath, ~[cf1]opera, for bar., sop., male dancer, and chamber ~orch. (prod. Lond
on [sm1977[nm).[ep~[smvocal and choral[nm: [cf2]Il Cantico del Cantici II [cf1](
[sm1968[nm); ~[cf2]But Stars Remaining, [cf1]sop. ([sm1970[nm); [cf2]Christ Call
s Man ~Home[cf1], unacc. SATB ([sm1971[nm); [cf2]Rondeaux, [cf1]
ten. and ~hn. ([sm1972[nm); [cf2]Paysage[cf1], bar. ([sm1973[nm); [cf2]The Valle
ys Shall ~Sing[cf1], for ch. and wind [cf1]([sm1973[nm); [cf2]The Same Day ~Dawn
s, [cf1]sop. and [sm5[nm players ([sm1974[nm); [cf2]The Little ~Valleys[cf1], fo
r [sm4[nm unacc. sop. ([sm1975[nm); [cf2]For We Are the ~Stars[cf1], [sm16[nm vv
. ([sm1978[nm); [cf2]Like a Wave of the Sea[cf1], ch. ~and ens. of early instrs.
 ([sm1981[nm); [cf2]The Old Woman ~of Beare[cf1], sop. and [sm13[nm players ([sm
1981[nm); [cf2]A Penny for ~a Song[cf1], sop., pf. ([sm1981[nm); [cf2]Stranded o
n my Heart[cf1], ~ten., ch., str. ([sm1984[nm).[ep~[smchamber and instr[nm: [cf2
]Soliloquy [cf1]for ob. ([sm1965[nm); ~Variations for Ob. Qt. [cf1]([sm1968[nm);
 [cf2]Chiaroscuro [cf1]for pf. ~([sm1969[nm); Cl. Quintet ([sm1971[nm); [cf2]Abs
tracts and a Frame[cf1], ~vn. and pf. ([sm1971[nm); [cf2]Songs and Sketches, [cf
1]vcs. ([sm1971[nm); ~[cf2]Omega, [cf1]org., ([sm1971[nm); [cf2]Collana [cf1]for
 [sm6[nm instr. ([sm1976[nm), ~[cf2]Deva, [cf1]vc. and [sm7[nm i
nstr. ([sm1979[nm); [cf2]Trio[cf1], fl., vc., perc. ~([sm1980[nm).[cm~[j1]Lef;aa
ebure, Yvonne [fy75,1]([cf2]b [cf1]Ermont, Seine-et-Oise, ~[sm1900[nm). Fr. pian
ist. Studied Paris Cons. with ~[fy45,1]*[fy75,1]Cortot. Prof., ;AaEcole Normale
de Musique, Paris, ~from [sm1924[nm, Paris Cons. [sm1952[nm=n[sm67[nm. Int. care
er as ~recitalist and soloist. Also writer and lecturer.[cm~Le Fleming, Christop
her [fy75,1](Kaye) ([cf2]b [cf1]Wimborne, ~[sm1908[nm). Eng. composer and teache
r. Educated ~Brighton Sch. of Mus. and RSCM. Holder of ~many posts in sch.  mus.
 education. Ed. of [cf2]Making ~Music [cf1]from [sm1946[nm. Comps. incl. choral
works, ~songs, pf. pieces.[cm~Legato [fy75,1](It.). Bound together. Perf. of mus
. so that ~there is no perceptible pause between notes, i.e. ~in a smooth manner
, the opposite of [fy45,1]*[fy75,2]staccato[cf1]. ~Indicated by slur or [fy45,1]
*[fy75,1]curved line. On str. instrs., ~legato passages are played with one stro
ke of the ~bow; in vocal mus., the legato passage is sung ~[fy45
,1]*[fy75,2]portamento[cf1], in one breath. [cf2]Legato touch [cf1]in pf. ~playi
ng requires holding down one key until the ~finger is on another. Superlative is
 [cf2]legatissimo.[cm~Legend [fy75,1](Ger. [cf2]Legende[cf1]). Title given to sh
ort comps. ~of lyrical or epic character. Well-known examples ~are [fy45,1]*[fy7
5,1]Dvo;Akr;aaak's [cf2]Legends, [cf1]Op. [sm59[nm (orch. from pf. ~duet) and Si
belius's [sm4[nm [fy45,1]*[fy75,2]Lemmink;auainen Legends [cf1]for ~orch., Op. [
sm22[nm.[cm~Legende von der Heiligen Elisabeth, Die [fy75,1](The ~Legend of St E
lizabeth). Oratorio by Liszt comp. ~[sm1857[nm=n[sm62[nm, f.p. Budapest [sm1865[
nm. Staged as opera-~oratorio Weimar [sm1881[nm and NY Met. [sm1918[nm.[cm~Legen
d of Joseph [fy75,1](Strauss). [cf1]See [cf2]Josephslegende[cf1].[cm~[fy65][cf3]
Legend of the Invisible City of Kitezh [fy75,1](Rimsky-Korsakov). See ~[cf2]Invi
sible City of Kitezh, The[cf1].[cm~Legend of Tsar Saltan, The. [fy75,1]Opera in
prol. and ~[sm4[nm acts by [fy45,1]*[fy75,1]Rimsky-Korsakov to l
ib. by Belsky ~after Pushkin's poem ([sm1832[nm). Prod. Moscow [sm1900[nm, ~Lond
on [sm1933[nm, NY [sm1937[nm. One of orch. interludes ~is [fy45,1]*[fy75,2]Fligh
t of the Bumble Bee[cf1].[cm~Leger Lines. [fy75,1]See [cf2]Ledger lines[cf1].[cm
~Legge, Harry [fy75,1]([cf2]b [cf1]Liverpool, [sm1914[nm). Eng. violinist ~and c
ond. Studied Oxford Univ. and RCM. Dir., ~RPO [sm1963[nm=n[sm73[nm. Cond. Rehear
sal Orch. and Brit. ~Youth Wind Orch. O.B.E. [sm1981[nm.[cm~Legge, Walter [fy75,
1]([cf2]b [cf1]London, [sm1906[nm, [cf2]d [cf1]S. Jean, Cap ~Ferrat, [sm1979[nm)
. Eng. impresario, critic, and author. ~Joined Gramophone Co. (HMV) [sm1927[nm,
becoming ~recording manager and holding similar post with ~Columbia from [sm1938
[nm. Instrumental in putting ~many famous artists under recording contract. ~Org
anized Wolf and Beethoven Sonata socs. for ~recordings. Contributed criticisms t
o [cf2]Manchester ~Guardian [cf1][sm1934[nm=n[sm8[nm. Ass. art. dir. CG [sm1938[
nm=n[sm9[nm. Dir. ~of mus. ENSA [sm1942[nm=n[sm5[nm. Founded [fy
45,1]*[fy75,1]Philharmonia ~Orch. [sm1945[nm, administering it until [sm1964[nm
when he ~unsuccessfully attempted to disband it. Married ~sop. Elisabeth [fy45,1
]*[fy75,1]Schwarzkopf [sm1953[nm.[cm~Leggero, leggere [fy75,1](It.). Light. So [
cf2]leggeramente [cf1]or ~[cf2]leggermente, [cf1]lightly, [cf2]leggerezza, legge
ranza, [cf1]light~~ness; [cf2]leggerissimo, [cf1]as light as possible.[cm~Leggia
dro, leggiadretto [fy75,1](It.). Graceful. So [cf2]leg~~giadramente, [cf1]gracef
ully.[cm~Leggiero, leggiere [fy75,1](It.). Light. So [cf2]leggieramente ~[cf1]or
 [cf2]leggiermente, [cf1]lightly; [cf2]leggierezza, leggieranza, ~[cf1]lightness
; [cf2]leggierissimo, [cf1]as light as possible.[cm~Leggio [fy75,1](It., from [c
f2]leggere, [cf1]to read). Music desk.[cm~Legno [fy75,1](It.). Wood. [cf2]Col le
gno, [cf1]`with the wood', i.e. ~in str. playing, tapping the str. with the stic
k of ~the bow instead of using the hair, thus producing ~a rather bizarre sound
as in finale of Berlioz's ~[fy45,1]*[fy75,2]Symphonie Fantastiqu
e[cf1]. [cf2]Bacchetta di legno[cf1], wooden-~[PN404,0,0,L,I0]headed drumstick,
[cf2]strumenti [cf1]([cf2]stromenti[cf1]) [cf2]di legno[cf1], ~woodwind instrs.[
cm~Legrand, Michel [fy75,1]([cf2]b [cf1]Paris, [sm1932[nm). Fr. composer ~and co
nductor. Studied at Paris Cons. [sm1943[nm=n[sm50[nm ~(cond. and score-reading w
ith N. Boulanger). ~Soon became known as brilliant orchestrator of ~light mus. a
nd jazz. Cond. for Maurice Chevalier ~in Paris and NY [sm1954[nm=n[sm5[nm. Gaine
d reputation with ~music for [cf2]Les Parapluies de Cherbourg [cf1]([sm1964[nm).
 ~Comp. many film scores, among them [cf2]Un Homme ~et Une Femme [cf1]([sm1961[n
m), [cf2]The Thomas Crown Affair ~[cf1]([sm1968[nm), [cf2]Summer of [sm42[nm [cf
1]([sm1971[nm), and [cf2]The Go-Between ~[cf1]([sm1971[nm).[cm~Legrenzi, Giovann
i [fy75,1]([cf2]b[cf1] Clusone, nr. Bergamo, ~[sm1626[nm; [cf2]d [cf1]Venice, [s
m1690[nm). It. composer and choir~~master. Organist in Bergamo [sm1645[nm=n[sm55
[nm, Ferrara ~[sm1656[nm=n[sm65[nm (while there he wrote his fir
st operas). ~At Conservatorio dei Mendicanti, Venice, [sm1671[nm=n~[sm81[nm, whe
n he became deputy choirmaster at St ~Mark's succeeding to the chief post in [sm
1685[nm. ~Comp. [sm19[nm operas, much instr. mus., masses, ~psalms, motets, chur
ch sonatas.[cm~Leh;aaar, Ferencz [fy75,1](Franz) ([cf2]b [cf1]Kom;aaaron, [sm187
0[nm; [cf2]d [cf1]Bad ~Ischl, [sm1948[nm). Hung. composer. First studied with ~f
ather, a military bandmaster, then Prague Cons. ~[sm1882[nm=n[sm8[nm. Advised by
 Dvo;Akr;aaak to concentrate on ~comp. Joined Elberfeld opera orch. as violinist
, ~then became ass. leader of his father's band. Cond. ~of various army bands [s
m1890[nm=n[sm1902[nm. Cond., Theater ~an der Wien, Vienna, [sm1902[nm. His [cf2]
Wiener Frauen ~[cf1]was produced there Nov. [sm1902[nm and after its ~success he
 stayed in Vienna and devoted his time ~to comp. His operetta, [cf2]Die lustige
Witwe [cf1](The ~[fy45,1]*[fy75,1]Merry Widow[cf1]) was a colossal success not o
nly at ~its Vienna premi;agere in [sm1905[nm but all over the ~w
orld ever since. He was the bridge between the ~Strausses and Zeller and the lat
er Oskar Straus, ~Fall, and K;aaalm;aaan. In the [sm1920[nms the v. of Richard ~
Tauber became indelibly associated with Leh;aaar ~roles and one above all=min [c
f2]Das Land des L;auachelns ~[cf1](The [fy45,1]*[fy75,1]Land of Smiles[cf1]) in
[sm1929[nm. He wrote a full-~scale opera, [cf2]Giuditta [cf1]([sm1934[nm) and se
veral other ~operettas: [cf2]Der Graf von Luxemburg ([cf2]The [fy45,1]*[fy75,2]C
ount of ~Luxemburg[cf1]) ([sm1909[nm), [cf2]Zigeunerliebe [cf1]([sm1910[nm), [cf
2]Frasquita ~[cf1]([sm1922[nm), [cf2]Paganini [cf1]([sm1925[nm), [cf2]Der Zarewi
tsch [cf1]([sm1927[nm), ~and [cf2]Friederike [cf1]([sm1928[nm). Also wrote sonat
as, sym~~phonic poems, vn. conc., marches, and dances ~(incl. the concert-waltz
[fy45,1]*[fy75,2]Gold and Silver[cf1], [sm1902[nm).[cm~Lehel, Gy;auorgy [fy75,1]
([cf2]b [cf1]Budapest, [sm1926[nm). Hung. con~~ductor. Studied with Kadosa and S
omogyi. D;aaebut ~[sm1946[nm. Prin. cond. Budapest Radio S.O. fr
om [sm1962[nm. ~Brit. d;aaebut, Cheltenham [sm1968[nm. Kossuth Prize ~[sm1973[nm
.[cm~Lehmann, Lilli [fy75,1]([cf2]b [cf1]W;auurzburg, [sm1848[nm; [cf2]d [cf1]Be
rlin, ~[sm1929[nm). Ger. sop. Childhood in Prague: studied pf. ~at [sm6[nm and a
t [sm12[nm was acc. to her mother, a sop., who ~also taught her singing. D;aaebu
t Prague [sm1865[nm as [sm1[nmst ~Boy in [cf2]Die Zauberfl;auote. [cf1]Later san
g at Danzig and ~Leipzig. Member, Berlin Opera [sm1870[nm=n[sm85[nm, singing ~ly
ric and coloratura roles. At first Bayreuth Fest. ~[sm1876[nm sang Woglinde, Hel
mwige, and Waldvogel ~(Wood bird) in [cf2]The Ring[cf1]. London d;aaebut [sm1880
[nm as ~Violetta in [cf2]Traviata. [cf1]Sang Isolde at CG [sm1884[nm cond. ~Rich
ter. D;aaebut NY Met. [sm1885[nm as Carmen and ~Br;auunnhilde in [cf2]Die Walk;a
uure. [cf1]Was first Amer. Isolde ~([sm1886[nm) and Br;auunnhilde in [cf2]Siegfr
ied [cf1]([sm1887[nm) and ~[cf2]G;auotterd;auammerung [cf1]([sm1888[nm). On retu
rn to Ger. in ~[sm1889[nm was banned from all opera by Kaiser be
cause ~she had overstayed her leave. Ban lifted [sm1891[nm. ~Excelled as Mozart
singer and sang at Salzburg ~Fest. [sm1905[nm, later becoming art. dir. Returned
 to ~Met. [sm1891[nm=n[sm2[nm and [sm1898[nm=n[sm9[nm. Sang Isolde in Vienna ~[s
m1909[nm and continued recitals until [sm1920[nm. Was ~superb actress and her vo
cal and dramatic range ~covered Wagner to Bellini, Mozart, and Beet-[fj~hoven; a
lso Supp;aae and Offenbach=min all, [sm170[nm ~roles in [sm119[nm operas. Taught
 for nearly [sm40[nm years, ~pupils incl. [fy45,1]*[fy75,1]Farrar and [fy45,1]*[
fy75,1]Fremstad. Author and ~translator of several books.[cm~Lehmann, Liza [fy75
,1](Elizabeth Nina Mary Frederika) ~([cf2]b [cf1] London, [sm1862[nm; [cf2]d [cf
1]Pinner, [sm1918[nm). Eng. composer ~and sop. Successful career as concert sing
er ended ~in [sm1894[nm, then devoted herself to comp. Best-~known work is song-
cycle [cf2]In a Persian Garden[cf1], ~setting for vocal qt. (SATB) of [sm30[nm q
uatrains from ~FitzGerald's [cf2]Rubaiy;aaat of Omar Khayy;aaam
[cf1](f.p. ~London [sm1896[nm).[cm~Lehmann, Lotte [fy75,1]([cf2]b [cf1]Perleberg
, [sm1888[nm; [cf2]d [cf1]Santa ~Barbara, Calif., [sm1976[nm). Ger.-born sop. (A
mer. ~citizen [sm1945[nm). Studied Berlin, finally with Math~~ilde Mallinger, wh
o created role of Eva. D;aaebut ~Hamburg [sm1909[nm as [sm3[nmrd Boy in [cf2]Die
 Zauberfl;auote. ~[cf1]Vienna d;aaebut [sm1914[nm. Joined Vienna Opera [sm1916[n
m, ~remaining until [sm1938[nm, singing leading roles in ~Wagner, Strauss, Mozar
t, Puccini, and Beethoven. ~First to sing successively all [sm3[nm sop. roles in
 Strauss's ~[cf2]Der Rosenkavalier [cf1](Sophie, Oktavian, and Mar~~schallin), e
ventually becoming outstanding Mar~~schallin of her time. Created roles of the C
omposer ~in Strauss's [cf2]Ariadne auf Naxos [cf1]([sm1916[nm), Dyer's Wife ~in
[cf2]Die Frau ohne Schatten [cf1]([sm1919[nm), and Christine in ~[cf2]Intermezzo
 [cf1](Dresden [sm1924[nm). First Vienna Arabella ~([sm1933[nm). London d;aaebut
 [sm1914[nm as Sophie; CG d;aaebut ~[sm1924[nm as Marschallin (h
er first assumption of this ~role) and sang there yearly until [sm1935[nm and ag
ain ~in [sm1938[nm. Salzburg Fest. from [sm1926[nm. Amer. d;aaebut, ~Chicago, [s
m1930[nm, as Sieglinde in [cf2]Die Walk;auure[cf1], NY ~Met. [sm1934[nm=n[sm45[n
m. Settled in USA at Santa Barbara ~[sm1938[nm, est. sch. of singing there. Sang
 last ~Marschallin at San Francisco [sm1946[nm. Farewell ~recital, NY Feb. [sm19
51[nm. Pupils incl. Grace [fy45,1]*[fy75,1]Bumbry ~and Jeannine [fy45,1]*[fy75,1
]Altmeyer. Gave master-classes in ~London [sm1957[nm and [sm1959[nm. Directed pr
od. of ~[cf2]Rosenkavalier [cf1]at NY Met. [sm1962[nm. Wrote several ~books incl
. novel and poems. Salzburg street ~named after her.[xm[cm~[ol0][ep~[xp[te~




[do9][j99]~~~~~~[sm153842[nm_L[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmL[sm004[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm2[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm146[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Leibowitz, Ren;aae [fy
75,1]([cf2]b [cf1]Warsaw, [sm1913[nm; [cf2]d  [cf1]Paris, [sm1972[nm). ~Polish-b
orn Fr. composer, cond., and musicolo~~gist. Settled in Paris [sm1926[nm; studie
d with Schoen~~berg in Berlin [sm1930[nm=n[sm3[nm and with Webern in ~Vienna, al
so had lessons from Ravel. Powerful ~[PN405,0,0,R,I0]advocate of Schoenberg's [s
m12[nm-note system, influ~~encing Boulez and Henze. Cond. and teacher at ~Darmst
adt Fest. from [sm1949[nm. Author of several ~books on dodecaphonic mus. Prolifi
c composer ~(operas, syms., concs., chamber mus.).[xm[cm~[j1]Leichtentritt, Hugo
 [fy75,1]([cf2]b [cf1]Pleschen, [sm1874[nm; [cf2]d [cf1]Cam~~bridge, Mass., [sm1
951[nm). Ger. composer, teacher, and ~scholar. Went to USA [sm1889[nm, studied H
arvard ~Univ. [sm1891[nm=n[sm4[nm, Berlin Hochschule f;auur Musi
k ~[sm1895[nm=n[sm8[nm, Berlin Univ. [sm1898[nm=n[sm1901[nm. Taught comp. ~and a
esthetics at Klindworth-Scharwenka Cons., ~Berlin, [sm1901[nm=n[sm24[nm and work
ed as critic in Berlin ~[sm1901[nm=n[sm17[nm. Returned to USA [sm1933[nm as lect
urer at ~Harvard until retirement in [sm1940[nm. Author of ~many books incl. bio
graphies of Chopin, Busoni, ~and Handel, ed. of old mus., and prolific composer
~in all forms.[cm~Leider, Frida [fy75,1]([cf2]b [cf1]Berlin, [sm1888[nm; [cf2]d
[cf1]Berlin, [sm1975[nm). ~Ger. sop. Studied in Berlin and Milan. D;aaebut ~Hall
e [sm1915[nm as Venus in [cf2]Tannh;auauser. [cf1]Opera at ~Rostock [sm1917[nm=n
[sm18[nm, K;auonigsberg [sm1918[nm=n[sm19[nm, Ham~~burg [sm1919[nm=n[sm23[nm, th
en Berlin State Opera [sm1923[nm=n[sm40[nm, ~esp. in Wagner roles (a great Isold
e and Br;auunn~~[chhilde). CG d;aaebut [sm1924[nm, returning annually until ~[sm
1938[nm. Chicago Opera [sm1928[nm=n[sm32[nm, NY Met. [sm1933[nm=n[sm4[nm, ~Bayre
uth [sm1928[nm=n[sm38[nm. Producer at Berlin State Opera ~after
[sm1945[nm, also taught at Hochschule f;auur Musik.[cm~Leigh, Walter [fy75,1]([c
f2]b [cf1]London, [sm1905[nm; [cf2]d [cf1]in action nr. ~Tobruk, [sm1942[nm). En
g. composer. Studied Cam~~bridge under [fy45,1]*[fy75,1]Dent and in Berlin with
Hinde~~[chmith. Wrote two light operas, [cf2]The Pride of the ~Regiment [cf1]([s
m1932[nm) and [cf2]Jolly Roger [cf1]([sm1933[nm), incidental ~mus. (incl. [cf2]A
 Midsummer Night's Dream[cf1]), concer~~tino for hpd. and str. ([sm1936[nm), son
gs, chamber mus.[cm~Leighton, Kenneth [fy75,1]([cf2]b [cf1]Wakefield, [sm1929[nm
). Eng. ~composer and pianist. Studied Oxford and with ~Petrassi in Rome, [sm195
1[nm. Comp. fellowship Leeds ~Univ. [sm1953[nm=n[sm6[nm; teacher of comp. Edinbu
rgh Univ. ~[sm1956[nm=n[sm68[nm, prof. from [sm1970[nm. Works incl.:[xm[cm~[j2][
smopera[nm: [cf2]Columba[cf1], Op. [sm77[nm ([sm1980[nm).[ep~[smorch[nm: [cf2]Ve
ris Gratia[cf1], Op. [sm9[nm, suite for ob., vc., str. ~([sm1950[nm); Vn. Conc.,
 Op. [sm12[nm ([sm1952[nm); Conc. for va. ~and harp, Op. [sm15[n
m ([sm1952[nm); Vc. Conc., Op. [sm31[nm ~([sm1956[nm); [cf2]Passacaglia, Chorale
, and Fugue[cf1], Op. [sm18[nm ~([sm1957[nm); Pf. Concs.: No. [sm1[nm, Op. [sm11
[nm ([sm1951[nm, rev. ~[sm1959[nm), No. [sm2[nm, Op. [sm37[nm ([sm1960[nm), No.
[sm3[nm, Op. [sm57[nm ~([sm1969[nm); [cf2]Concerto for Strings[cf1], Op. [sm39[n
m ([sm1961[nm); ~Symphonies: No. [sm1[nm, Op. [sm42[nm ([sm1964[nm), No. [sm2[nm
 ([cf2]Sinfonia ~Mistica[cf1]), Op. [sm69[nm ([sm1974[nm); [cf2]Dance Suite [cf1
]No. [sm1[nm, Op. ~[sm53[nm ([sm1968[nm), No. [sm2[nm, Op. [sm59[nm ([sm1970[nm)
; Org. Conc., Op. ~[sm58[nm ([sm1970[nm); [cf2]Dance Overture[cf1], Op. [sm60[nm
 ([sm1971[nm).[ep~[smvoice[nm([sms[nm) [smand instr[nm: [cf2]A Christmas Caroll[
cf1], Op. [sm21[nm, ~bar., ch., str., pf. ([sm1953[nm); [cf2]The Birds[cf1], Op.
 [sm28[nm, sop., ~ten., ch., orch. ([sm1954[nm); [cf2]The Light Invisible[cf1],
[cf2]sinfonia ~sacra[cf1], Op. [sm16[nm, ten., ch., orch. ([sm1958[nm); [cf2]Lau
des ~Montium[cf1], Op. [sm71[nm, bar., ch., orch. ([sm1975[nm);
Sym. ~No. [sm2[nm ([cf2]Sinfonia Mistica[cf1]), Op. [sm69[nm, sop., ch., orch. ~
([sm1974[nm); [cf2]Columba Mea[cf1], Op. [sm78[nm, ten., alto, ch., instr. ~([sm
1978[nm); [cf2]Animal Heaven[cf1], Op. [sm83[nm, sop., recorder, ~vc., hpd. ([sm
1980[nm).[ep~[smvoice[nm([sms[nm) [smand organ[nm: [cf2]Magnificat and Nunc Dimi
ttis[cf1], ~ch., org. ([sm1959[nm); [cf2]Crucifixus pro Nobis[cf1], Op. [sm38[nm
, ten. ~or sop., ch., org. ([sm1961[nm); [cf2]Missa Sancti Thomae[cf1], Op. ~[sm
40[nm, ch., org. ([sm1962[nm); [cf2]Te Deum[cf1], sop., bar., ch., org. ~([sm196
4[nm, with orch. [sm1966[nm); [cf2]Morning Canticles[cf1], ch., ~org. ([sm1968[n
m); [cf2]Awake My Glory[cf1], Op. [sm79[nm, sop., ch., ~org. ([sm1979[nm); [cf2]
Missa Cornelia[cf1], Op. [sm81[nm, treble vv., ~org. ([sm1980[nm); [cf2]These ar
e Thy Wonders[cf1], Op. [sm84[nm, ten. ~or sop., org. ([sm1981[nm).[ep~[smunacc.
 voices[nm: [cf2][sm3[nm Carols[cf1], Op. [sm25[nm, sop. and ch. ~([sm1948[nm=n[
sm56[nm); [cf2]God's Grandeur[cf1], Op [sm13[nm, No. [sm2[nm, ch
. ~([sm1957[nm); [cf2]Hymn of the Nativity[cf1], sop. and ch. ([sm1960[nm); ~[cf
2]Preces and Responses[cf1], ch. ([sm1964[nm); [cf2]Missa brevis[cf1], Op. ~[sm5
0[nm, ch. ([sm1967[nm); [cf2][sm3[nm Psalms[cf1], Op. [sm54[nm, male vv. ([sm196
8[nm); ~[cf2]Evening Hymn[cf1], sop. and ch. ([sm1979[nm).[ep~[smchamber music[n
m: [cf2]Fantasia on the Name BACH[cf1], Op. ~[sm29[nm, va., pf. ([sm1955[nm); pf
. quintet, Op. [sm34[nm ([sm1959[nm); ~[cf2]Nocturne[cf1], vn., pf. ([sm1959[nm)
; [cf2]Partita[cf1], Op. [sm35[nm, vc., pf. ~([sm1959[nm); [cf2][sm7[nm Variatio
ns [cf1]for str. qt., Op. [sm43[nm ([sm1964[nm); ~pf. trio, Op. [sm46[nm ([sm196
5[nm); [cf2]Metamorphoses[cf1], Op. [sm48[nm, ~vn., pf. ([sm1966[nm); vc. sonata
, Op. [sm52[nm ([sm1967[nm); ~[cf2]Contrasts and Variants[cf1], pf. qt., Op. [sm
63[nm ([sm1972[nm); ~[cf2]Fantasy [smO[nmn `The Shining River'[cf1], Op. [sm70[n
m, cl., vc., pf. ~([sm1974[nm); [cf2]Fantasy on a Chorale[cf1], Op. [sm80[nm, vn
., org. ~([sm1980[nm); [cf2]Alleluia Pascha Nostrum[cf1], Op. [s
m85[nm, vc., pf. ~([sm1981[nm); [cf2]Fantasy-Octet `Homage to Percy Grainger'[cf
1], ~Op. [sm87[nm, str. ([sm1982[nm).[ep~[smpiano[nm: [cf2][sm5[nm Studies[cf1],
 Op. [sm22[nm ([sm1953[nm); [cf2]Variations[cf1], Op. [sm30[nm ~([sm1955[nm); [c
f2]Fantasia Contrappuntistica, `Homage to ~Bach'[cf1], Op. [sm24[nm ([sm1956[nm)
; [cf2][sm9[nm Variations[cf1], Op. [sm36[nm ([sm1959[nm); ~[cf2]Pieces for Ange
la[cf1], Op. [sm47[nm ([sm1966[nm); [cf2]Conflicts[cf1], Op. [sm51[nm ~([sm1967[
nm); [cf2][sm6[nm Studies[cf1], Op. [sm56[nm ([sm1972[nm); [cf2]Household Pets[c
f1], ~Op. [sm86[nm ([sm1981[nm).[ep~[smorgan[nm: [cf2]Prelude, Scherzo and Passa
caglia[cf1], Op. [sm41[nm ~([sm1963[nm); [cf2]Elegy [cf1]([sm1965[nm); [cf2]Et R
esurrexit[cf1], Op. [sm49[nm ~([sm1966[nm); [cf2]Improvisation [cf1]([sm1969[nm)
; [cf2]Martyrs[cf1], Op. [sm73[nm ~([sm1976[nm); [cf2]Missa de Gloria[cf1], Op.
[sm82[nm ([sm1980[nm).[cm~[j1]Leinsdorf, Erich [fy75,1]([cf2]b [cf1]Vienna, [sm1
912[nm). Austrian-~born cond. (Amer. citizen). Studied Vienna. A
ss. ~cond. to Bruno Walter and Toscanini at Salzburg ~Fest. [sm1934[nm=n[sm7[nm.
 Opera cond. Bologna [sm1936[nm; ass. ~cond. NY Met. [sm1938[nm (d;aaebut in [cf
2]Die Walk;auure[cf1]), ~succeeded [fy45,1]*[fy75,1]Bodanzky as chief cond. of G
er. ~repertory [sm1939[nm=n[sm43[nm. Cond. Cleveland Orch. [sm1943[nm=n~[sm4[nm.
 Served US Army. Cond. Rochester P.O. [sm1947[nm=n~[sm55[nm. Dir., NY City Opera
 [sm1956[nm. Cond. NY Met. ~[sm1957[nm=n[sm62[nm. Cond. Boston S.O. [sm1962[nm=n
[sm9[nm. Thereafter ~guest cond. of leading orchs. of world.[cm~Leise [fy75,1](G
er.). Soft, gentle, as in [cf2]Leise, leise, [cf1]Agathe's ~aria in Act [sm2[nm
of Weber's [cf2]Der Freisch;auutz. Leiser, ~[cf1]softer.[cm~Leitmotiv [fy75,1](L
eading motive). A term (often ~misspelt [cf2]leitmotif=+=+=+=+[cf1]) invented ([
sm1871[nm) by F. W. J;auahns, ~the expert on Weber, to describe a short constant
ly ~recurring mus. phrase or theme used to denote a ~person, thing, or abstract
idea. `Representative ~theme' is a good Eng. alternative. Compos
ers ~throughout history have used the device in one ~form or another, e.g. Gluck
 and Mozart, Weber ~in [cf2]Der Freisch;auutz[cf1], Mendelssohn, Berlioz (the [c
f2]id;aaee ~fixe [cf1]in the [cf2]Symphonie Fantastique[cf1]), but it was raised
 ~[PN406,0,0,L,I0]to its highest and most complex form by Wagner, ~especially in
 [cf2]Der Ring des Nibelungen[cf1], where the ~subtle combinations of [cf2]leitm
otiv [cf1]create symphonic ~textures. Wagner used the term [cf2]Hauptmotiv [cf1]
in ~[sm1867[nm, but [cf2]leitmotiv [cf1]has become generally accepted. ~R. Strau
ss also developed a [cf2]leitmotiv [cf1]system in his ~operas.[cm~Leitner, Ferdi
nand [fy75,1]([cf2]b [cf1]Berlin, [sm1912[nm). Ger. cond. ~Studied Berlin with [
fy45,1]*[fy75,1]Schnabel and Karl [fy45,1]*[fy75,1]Muck. ~Ass. to [fy45,1]*[fy75
,1]Busch at Glyndebourne [sm1935[nm. Opera ~cond. Berlin [sm1943[nm, Hamburg [sm
1945[nm=n[sm6[nm, Munich ~[sm1946[nm=n[sm7[nm, mus. dir. Stuttgart Opera [sm1947
[nm=n[sm69[nm, ~Z;auurich [sm1969[nm=n[sm84[nm. Guest cond. in m
any countries. ~Prin. cond. Hague P.O. [sm1976[nm=n[sm80[nm.[cm~Lejeune. [fy75,1
]See [cf2]Jeune, Claude le[cf1].[cm~Lekeu, Guillaume [fy75,1]([cf2]b [cf1]Heusy,
 Belg., [sm1870[nm; [cf2]d ~[cf1]Angers, [sm1894[nm). Belg. composer. Studied Pa
ris with ~[fy45,1]*[fy75,1]Franck and [fy45,1]*[fy75,1]d'Indy. Died of typhoid,
leaving ~small body of works of exceptional promise and ~beauty, incl. pf. sonat
a, vn. sonata, [cf2]Fantaisie sur ~deux airs populaires angevins [cf1]for orch.,
 symphonic ~study on [cf2]Hamlet[cf1], pf. trio, and vc. sonata and str. ~qt. bo
th completed by d'Indy.[cm~L;aaelio, ou le retour ;aga la vie [fy75,1](L;aaelio,
 or the return ~to life). Monodrama by Berlioz, his Op. [sm14[nm [cf2]bis[cf1],
~comp. [sm1831[nm=n[sm2[nm as a sequel to [cf2]Symphonie Fantastique. ~[cf1]For
speaker, [sm2[nm ten., bar., ch., and orch. F.p. Paris, ~Nov. [sm1832[nm.[cm~Lem
are, Edwin [fy75,1](Henry) ([cf2]b [cf1]Ventnor, I.o.W., ~[sm1865[nm; [cf2]d [cf
1]Los Angeles, [sm1934[nm). Eng. organist and ~composer. Studied
 with his father and at RAM. ~Held various org. posts, incl. St Margaret's, ~Wes
tminster, [sm1897[nm=n[sm1902[nm, and gave many recitals. ~Visited USA [sm1900[n
m and settled there holding org. ~posts in Pittsburgh, San Francisco, Portland ~
(Maine), and Chattanooga. Composed [sm2[nm org. syms. ~and other works. [cf2]Moo
nlight and Roses[cf1], his best-~known comp., was adapted from an Andante for ~o
rg.[cm~Lemmens-Sherrington, Hellen [fy75,1]([cf2]b [cf1]Preston, ~[sm1834[nm; [c
f2]d [cf1]Brussels, [sm1906[nm). Eng. sop. Studied ~Rotterdam and Brussels. Lond
on d;aaebut in con~~certs, then opera at CG [sm1864[nm=n[sm5[nm. Long career in
~opera and oratorio, being regarded as leading ~Eng. sop. of her day. First prof
. of singing, RMCM ~[sm1893[nm=n[sm7[nm. Married Nicolas Jacques Lemmens ~([sm18
23[nm=n[sm81[nm), Belg. organist, composer, and teacher ~at Brussels Cons.[cm~Le
mmink;auainen Legends [fy75,1]([cf2]Lemmink;auais-sarja[cf1]). ~Suite for orch.
Op. [sm22[nm by Sibelius containing [sm4[nm ~movts.:[ep~^[sm1[nm
. [cf2]Lemmink;auainen and the Maidens of the Island ~[cf1]([cf2]Lemmink;auainen
 ja saaren neidot[cf1]) comp. [sm1895[nm, rev. ~[sm1897[nm, [sm1939[nm. [sm2[nm.
 [cf2]Lemmink;auainen in Tuonela [cf1]([cf2]Lemmin~~k;auainen Tuonelassa[cf1]) c
omp. [sm1895[nm, rev. [sm1897[nm, [sm1939[nm. ~[sm3[nm. [cf2]The Swan of Tuonela
 [cf1]([cf2]Tuonelan joutsen[cf1]) comp. ~[sm1893[nm, rev. [sm1897[nm, [sm1900[n
m. [sm4[nm. [cf2]Lemmink;auainen's Return ~[cf1]([cf2]Lemmink;auaisen paluu[cf1]
) comp. [sm1895[nm, rev. [sm1897[nm, [sm1900[nm. ~No. [sm3[nm was conceived as p
relude to abandoned ~opera [cf2]The Burning of the Boat [cf1]([cf2]Veenen luomin
en[cf1]) and ~No. [sm2[nm also had operatic origins, F.p. [sm1895[nm version, ~H
elsinki [sm1896[nm, cond. Sibelius; f.p. [sm1897[nm  revision, ~Helsinki [sm1897
[nm, cond. Sibelius; f. Eng. p. of ~complete [sm1897[nm version, BBC [sm1950[nm,
 cond. Cam~~eron; f.p. of Nos. [sm1[nm and [sm2[nm outside Finland, ~Bournemouth
 [sm1937[nm, cond. Wood; f. Eng. p. No. ~[sm3[nm, London [sm1905
[nm, cond. Wood; f. Eng. p. No. [sm4[nm, ~BBC Newcastle station broadcast [sm192
5[nm, cond. E. ~Clark.[cm~Lemnitz, Tiana [fy75,1]([cf2]b [cf1]Metz, [sm1897[nm).
 Ger. sop. Studied ~Metz. Opera d;aaebut Heilbronn [sm1921[nm. Aachen ~Opera [sm
1922[nm=n[sm8[nm, Hanover [sm1929[nm=n[sm33[nm, Berlin State ~Opera [sm1934[nm=n
[sm57[nm. CG d;aaebut [sm1936[nm (Eva in [cf2]Die ~Meistersinger[cf1]). Wide rep
ertory from Pamina to ~Jen;anufa. A fine Oktavian in [cf2]Rosenkavalier[cf1].[cm
~L;aaener Quartet. [fy75,1]Hung. str. qt. formed in [sm1918[nm by ~[sm4[nm membe
rs of Budapest Opera Orch.=mJen;auo ~L;aaener, Joseph Smilovits, Sandor Roth, an
d Irme ~Hartman. D;aaebut Budapest [sm1919[nm, Vienna and ~Paris [sm1920[nm, NY
[sm1929[nm. Became one of leading qts. ~of inter-war period, making several reco
rdings. ~Membership changed [sm1942[nm. Disbanded on L;aae~~ner's death, [sm1948
[nm.[cm~Lengnick & Co. [fy75,1]London mus. publishing firm ~founded [sm1892[nm b
y Alfred Lengnick. Limited co., ~[sm1924[nm. Specialists in educ
ational mus. Eng. repre~~sentatives of Ger. firm Simrock.[cm~Leningrad Philharmo
nic Orchestra. [fy75,1]Orch. ~based in Leningrad, founded [sm1921[nm from pre-~R
evolutionary court orch. Prin. conds. have been ~Emil Cooper ([sm1921[nm=n[sm2[n
m), Nikolay Malko ([sm1926[nm=n[sm9[nm), ~Alexander Gauk ([sm1930[nm=n[sm3[nm),
Fritz Stiedry ([sm1934[nm=n[sm7[nm), ~and Evgeny Mravinsky since [sm1938[nm, joi
ntly with Kurt Sanderling ([sm1941=n60[nm). Also closely ~ass. with it have been
 Arvid Yansons and Yury ~Temirkanov. Gave f. ps. of eight Shostakovich ~syms. (N
os, [sm1[nm, [sm2[nm, [sm3[nm, [sm5[nm, [sm6[nm, [sm9[nm, [sm10[nm, and [sm14[nm
).[cm~Leningrad Symphony. [fy75,1]Sub-title of [fy45,1]*[fy75,1]Shostako~~[chvic
h's Sym. No. [sm7[nm in C major, Op. [sm60[nm, comp. [sm1941[nm ~during Ger. sie
ge of Leningrad. F.p. Kuibyshev ~[sm1942[nm; f. Eng. p. London [sm1942[nm cond.
Wood. Ballet ~made from first movement, [sm1961[nm, Kirov Ballet ~(choreog. Igor
 Belsky). Theme from sym. is ~parodied by Bart;aaok in [cf2]Conc
erto for Orchestra ~[cf1]([sm1943[nm) in the [sm4[nmth movt., `Intermezzo inter~
~rotto'.[cm~Lent [fy75,1](Fr.), [fy65][cf3]lento [fy75,1](It.). Slow. So [cf2]le
ntando[cf1]; [cf2]lentato ~[cf1](It.). slowing, slowed (same as [cf2]rallentando
[cf1]); [cf2]lente~~ment [cf1](Fr.), [cf2]lentamente [cf1](It.), slowly; [cf2]le
nteur [cf1](Fr.), ~[cf2]lentezza [cf1](It.), slowness; [cf2]lentissimo, [cf1]ver
y slow.[cm~Lenya, Lotte [fy75,1](orig. Karoline Blamauer) ([cf2]b [cf1]Vienna, ~
[sm1898[nm; [cf2]d [cf1]NY, [sm1981[nm). Austrian-born singer of mez. ~quality (
later Amer. citizen). Went to Z;auurich ~[sm1914[nm, where she studied acting, d
ancing, and ~singing. Member of [cf2]corps de ballet[cf1], Z;auurich ~Stadttheat
er and made stage acting d;aaebut at ~Schauspielhaus. Moved to Berlin [sm1920[nm
, where she ~met the playwright Bertolt [fy45,1]*[fy75,1]Brecht and the ~compose
r Kurt [fy45,1]*[fy75,1]Weill, whose wife she became. ~[PN407,0,0,R,I0]Her disti
nctive singing style and accomplished ~acting made a major contr
ib[chution to the success ~of the Brecht-Weill collaborations such as [cf2]Maha~
~gonny[cf1], and [cf2]Der Dreigroschenoper[cf1], especially in such ~songs as `P
irate Jenny', `Surabaya Johnny' and ~`Alabama Song'. With Weill, went to USA in
[sm1933[nm ~and made new career in plays and films, incl. ~[cf2]From Russia with
 Love[cf1].[cm~Leo, Leonardo [fy75,1]([cf2]b [cf1]San Vito degli Schiavi, [sm169
4[nm; [cf2]d ~[cf1]Naples, [sm1744[nm). It. composer. Studied in Naples ~[sm1709
[nm=n[sm13[nm. Held org. posts. Wrote many operas, ~incl. several [cf2]opere buf
fe[cf1], church mus., and concs. ~for vn. and for vc. Pupils incl. [fy45,1]*[fy7
5,1]Jommelli, ~[fy45,1]*[fy75,1]Pergolesi, and [fy45,1]*[fy75,1]Piccinni.[cm~Leo
nard, Lawrence [fy75,1]([cf2]b[cf1] London, [sm1925[nm). Eng. ~cond. Studied RAM
 and ;aaEcole Normale de ~Musique, Paris. Ass. cond. BBC Northern S.O. ~Assoc. c
ond. Hall;aae [sm1964[nm=n[sm6[nm; cond. and mus. dir. ~Edmonton S.O., Canada, [
sm1969[nm=n[sm74[nm. Cond. f.p. in ~England of Bernstein's [cf2]
West Side Story[cf1], [sm1958[nm.[cm~Leoncavallo, Ruggiero [fy75,1]([cf2]b [cf1]
Naples, [sm1857[nm;[fj[cf2]d [cf1]Montecatini, [sm1919[nm). It. composer. Studie
d Naples Cons. ~Completed first opera, [cf2]Chatterton[cf1], in [sm1876[nm and ~
planned trilogy on Renaissance Italy of which ~only [sm1[nmst part [cf2]I Medici
 [cf1]([sm1893[nm) was written. Fame ~rests on successful [fy45,1]*[fy75,2]Pagli
acci [cf1](Milan [sm1892[nm). His [cf2]La ~[fy45,1]*[fy75,2]Boh;ageme [cf1]([sm1
897[nm) suffered from comparison with ~Puccini's, prod. [sm15[nm months earlier.
 Wrote series ~of operettas, but failed to win an audience. Last ~opera was [cf2
]Edipo Re [cf1](Chicago [sm1920[nm).[cm~Leonhardt, Gustav [fy75,1]([cf2]b [cf1]'
s-Graveland, Holland, ~[sm1928[nm). Dutch harpsichordist and organist. Studied ~
Basle Schola Cantorum. D;aaebut Vienna [sm1950[nm. Prof. ~of hpd., Vienna Acad.
[sm1952[nm=n[sm5[nm, Amsterdam Cons. ~from [sm1954[nm. Ed. of Bach's [cf2]Die Ku
nst der Fuge[cf1], and ~works of Sweelinck.[cm~Leoni, Franco [fy
75,1]([cf2]b [cf1]Milan, [sm1864[nm; [cf2]d [cf1]Hampstead, ~[sm1949[nm). It. co
mposer. Studied with Ponchielli. ~Settled in London [sm1891[nm=n[sm1914[nm and i
n later years. ~Comp. [sm3[nm oratorios, all perf. in London, and several ~opera
s, best-known being [cf2]L'[fy45,1]*[fy75,2]Oracolo [cf1](London ~[sm1905[nm).[c
m~Leoni, Leone [fy75,1]([cf2]b [cf1]Verona, [cf2]c.[cf1][sm1560[nm; [cf2]d [cf1]
Vicenza, [sm1627[nm). ~It. composer. Maestro di cappella, Vicenza, from ~[sm1588
[nm. Wrote motets and madrigals for double ch. ~Some motets had instr. acc.[cm~L
;aaeonin [fy75,1](Leoninus) (=+=+=+=+[cf2]fl. [cf1]Paris, [cf2]c.[cf1][sm1160[nm
=n[sm80[nm). Fr. ~composer. Known only from writings of Eng. ~theorist Anonymous
 IV ([cf2]=+=+=+=+fl. c.[cf1][sm1270[nm), who refers to ~L;aaeonin as best expon
ent of organum and that he ~compiled a large book (`magnus liber') of chants ~us
ed at Paris church later rebuilt as Notre Dame. ~Scholarship has not determined
whether any of ~L;aaeonin's comps. survive, if indeed he wrote a
ny.[cm~Leonore. [fy75,1]Beethoven's intended title for his opera ~[fy45,1]*[fy75
,2]Fidelio [cf1](but not used at [sm1805[nm f.p. as is sometimes ~supposed) and
the name of its heroine. The [sm3[nm ovs. ~are known in Eng. as [cf2]Leonora [cf
1](see [cf2]Fidelio[cf1]).[cm~L;aaeonore, ou L'Amour conjugal [fy75,1](Leonora,
or ~Married Love). Opera in [sm2[nm acts by [fy45,1]*[fy75,1]Gaveaux to ~text by
 J. N. Bouilly. Prod. Paris [sm1798[nm. First setting ~of story used by Pa;auer,
 Mayr, and Beethoven ~([cf2]Fidelio[cf1]).[cm~Leopold I, [fy75,1]Emperor of Aust
ria ([cf2]b [cf1]Vienna, [sm1640[nm; ~[cf2]d [cf1]Vienna, [sm1705[nm). Austrian
emperor who reigned ~[sm1658[nm=n[sm1705[nm. Patron of mus., esp. opera. Comp. ~
instr. sonatas, etc.[cm~Leppard, Raymond [fy75,1](=+=+=+John) ([cf2]b [cf1]Londo
n, [sm1927[nm). ~Eng. cond., composer, harpsichordist, and musi~~cologist. Studi
ed Cambridge Univ. Mus. dir. ECO ~since [sm1960[nm. Prin. cond. BBC Northern S.O
. [sm1973[nm=n~[sm80[nm. D;aaebut CG [sm1959[nm, Glyndebourne [s
m1962[nm, and SW ~[sm1965[nm. Editorial realizations of Monteverdi's [cf2]Ballo
~delle Ingrate [cf1]([sm1958[nm), [cf2]L'incoronazione di Poppea ~[cf1]([sm1962[
nm), [cf2]Orfeo [cf1]([sm1965[nm), and [cf2]Il ritorno d=+=+' Ulisse [cf1]([sm19
72[nm), ~and of Cavalli's [cf2]Messa Concertata  [cf1]([sm1966[nm), [cf2]L'Ormin
do ~[cf1]([sm1967[nm), [cf2]La Calisto [cf1]([sm1969[nm), [cf2]L'Egisto [cf1]([s
m1974[nm), [cf2]Orione ~[cf1]([sm1980[nm), also [cf2]Magnificat [cf1]([sm1970[nm
). These have been ~criticized on the grounds that they are harmoni~~cally too r
ich, musicologically too imprecise, ~contain too many transpositions, and too mu
ch ~music comp. by Leppard, but there is no doubt ~that they popularized baroque
 opera and paved ~the way for other, more austere, editions. Also ~effective con
d. of standard orch. repertoire. C.B.E. ~[sm1983[nm.[cm~Lerchenquartett [fy75,1]
(Lark Quartet). Nickname of ~Haydn's Str. Qt. in D, No. [sm11[nm of the [fy45,1]
*[fy75,2]Tostquartette[cf1]; ~it is sometimes described as Op. [
sm64[nm, No. [sm5[nm. Its ~nickname is derived from the opening. The ~rhythm of
the last movement has given rise to ~another, less frequently used, nickname, th
e ~`Hornpipe' Qt.[cm~Leroux, Xavier Henri Napol;aaeon [fy75,1]([cf2]b [cf1]Velle
tri, It., ~[sm1863[nm; [cf2]d [cf1]Paris, [sm1919[nm). Fr. composer. Studied Par
is ~Cons. with Massenet. Prof. of harmony there ~[sm1896[nm=n[sm1919[nm. Wrote s
eries of operas incl. [cf2]Evang;aaeline ~[cf1]([sm1895[nm), [cf2]La Reine Fiamm
ette [cf1]([sm1903[nm), and [cf2]Le Chemineau ~[cf1]([sm1906[nm). Ed. periodical
 [cf2]Musica[cf1].[cm~[fy65][cf3]Les Adieux [fy75,1](Beethoven). See [cf2]Lebewo
hl, Das[cf1].[cm~Leschetizky, Theodor [fy75,1](Leszetycki, Teodor) ([cf2]b ~[cf1
]Lancut, Poland, [sm1830[nm; [cf2]d [cf1]Dresden, [sm1915[nm). Polish ~pianist,
teacher, and composer. In demand as ~teacher at age of [sm14[nm and made success
ful recital ~tours. Dir. of pf. studies, St Petersburg Cons. ~[sm1862[nm=n[sm78[
nm, then settled in Vienna, where est. own ~sch. Retired from co
ncert-giving [sm1886[nm. Developed ~a teaching `method' and attracted pupils fro
m the ~world over. Among them were [fy45,1]*[fy75,1]Paderewski, ~[fy45,1]*[fy75,
1]Schnabel, and [fy45,1]*[fy75,1]Gabrilowitsch. Wrote [sm2[nm operas ~and pf. pi
eces.[xm[cm~[j1]Lesson. [fy75,1]Term used in [sm17[nmth and [sm18[nmth cents. fo
r ~short kbd. piece or exercise, and often synony-[fj~mous with sonata.[cm~Lesto
 [fy75,1](It.). Quick. So [cf2]lestamente, [cf1]quickly; [cf2]lestissimo[cf1], ~
very quickly.[cm~[PN408,0,0,L,I0]Le Sueur, Jean Fran;alcois [fy75,1]([cf2]b [cf1
]Drucat-Plessiel, nr. ~Abb;aaeville, [sm1760[nm; [cf2]d [cf1]Paris, [sm1837[nm).
 Fr. composer. ~Held church posts, becoming choirmaster of ~N;afotre Dame, Paris
, [sm1786[nm, and engaging large ~orch. to dramatize perfs. of masses and motets
. ~Dismissed [sm1788[nm because of opposition aroused. ~From [sm1792[nm wrote [c
f2]grands op;aaeras[cf1], incl. [cf2]Paul et ~Virginie [cf1]([sm1794[nm), [cf2]T
;aael;aaemaque [cf1]([sm1796[nm), and [cf2]Ossian, ou ~Les barde
s [cf1]([sm1804[nm). Inspector, Paris Cons. [sm1795[nm=n~[sm1802[nm. Succeeded P
aisiello as Choirmaster to ~Napoleon, [sm1804[nm. Prof. of comp., Paris Cons., f
rom ~[sm1818[nm. Excellent teacher, pupils incl. Berlioz. ~Interested in ancient
 Gr. mus.[cm~Lesur, Daniel [fy75,1](=+=+=+Jean Yves) ([cf2]b [cf1]Paris, [sm1908
[nm). Fr. ~composer and organist. Studied  Paris Cons. [sm1919[nm=n~[sm29[nm. As
s. organist Ste Clotilde [sm1927[nm=n[sm37[nm. In [sm1937[nm ~founded [cf2]Jeune
  France[cf1] group with Messiaen, ~Jolivet, and Baudrier. Prof. of counterpoint
 Schola ~Cantorum [sm1935[nm=n[sm64[nm, dir. [sm1957[nm=n[sm64[nm. On mus. staff
 ~Fr. radio from [sm1939[nm, mus. dir. Fr. TV (O.R.T.F.) ~from [sm1968[nm. Many
comps. incl. [cf2]La vie int;aaerieure [cf1]for ~org. ([sm1932[nm), and ballet w
ith Jolivet, [cf2]L'Infante et le ~monstre [cf1]([sm1938[nm).[cm~Let's Make an O
pera. [fy75,1]`Entertainment for young ~people', Op. [sm45[nm by Britten, lib. b
y Eric Crozier. In ~[sm2[nm parts, first being preparations by c
hildren and ~adults to put on an opera, second being the opera ~itself, [cf2]The
 Little Sweep [cf1](acc. for str. qt., pf. [sm4[nm hands, ~and perc.). Audience
participates in [sm4[nm songs. Prod. ~Aldeburgh [sm1949[nm.[cm~Let us Garlands B
ring. [fy75,1]Song-cycle of [sm5[nm songs by ~[fy45,1]*[fy75,1]Finzi for bar. an
d pf. (or orch.) to words by ~Shakespeare. F.p. London, [sm12[nm October, [sm194
2[nm, on ~[sm70[nmth birthday of Vaughan Williams, to whom it ~is dedicated. [sm
1[nm. [cf2]Come away, death [cf1]([sm1938[nm); [sm2[nm. [cf2]Who is ~Sylvia? [cf
1]([sm1929[nm); [sm3[nm. [cf2]Fear no more the heat o' the sun ~[cf1]([sm1929[nm
); [sm4[nm. [cf2]O mistress mine [cf1]([sm1942[nm); [sm5[nm. [cf2]It was a lover
 ~and his lass [cf1]([sm1940[nm).[cm~Letzt [fy75,1](Ger.). Last, e.g. [cf2]Vier
letzte Lieder[cf1], Four Last ~Songs (Strauss).[cm~Leutgeb, Ignaz [fy75,1](=+=+=
+Joseph) ([cf2]b [cf1]?Salzburg, [cf2]c.[cf1][sm1745[nm; [cf2]d ~[cf1]Vienna, [s
m1811[nm). Austrian hornplayer for whom ~Mozart wrote his [sm4[n
m hn. concs. [sm1[nmst hn. in ~archbishop's orch. at Salzburg from [sm1770[nm, b
ut ~was given leave to play in Paris, Vienna, and ~Milan. Settled in Vienna [sm1
777[nm when he inherited ~a cheese-shop.[cm~Levant, Oscar [fy75,1]([cf2]b [cf1]P
ittsburgh, [sm1906[nm; [cf2]d [cf1]Beverly ~Hills, Calif., [sm1972[nm). Amer. pi
anist and composer. ~Studied comp. with Schoenberg. Settled in ~Hollywood in [sm
1920[nms, becoming close friend and ~interpreter of [fy45,1]*[fy75,1]Gershwin. C
areer as wit on radio ~and TV and as film actor. Author of entertaining ~books.
Wrote [sm2[nm pf. concs., str. qt., etc.[cm~Levare [fy75,1](It.). To lift, or ta
ke off (past participle ~[cf2]levato, [cf1]plural [cf2]levati[cf1]; imperative [
cf2]levate[cf1]). [cf2]Si levano i ~sordini[cf1], the mutes are taken off.[cm~Le
ventritt Competition. [fy75,1]Int. competition, alter~~nately for violinists and
 pianists, est. [sm1939[nm by ~Leventritt Foundation, NY, in memory of Edgar ~M.
 Leventritt, lawyer and patron of mus. Prin. ~award is series of
 engagements with major orchs., ~an honorarium, and offer of recording contract.
[cm~Levi, Hermann [fy75,1]([cf2]b [cf1]Giessen, [sm1839[nm; [cf2]d [cf1]Munich,
~[sm1900[nm). Ger. cond. Studied Mannheim and Leipzig ~([sm1855[nm=n[sm8[nm). He
ld cond. posts at Saarbr;auucken, ~Rotterdam, and Karlsruhe before becoming chie
f ~cond. Munich Opera [sm1872[nm=n[sm96[nm. Fine interpreter ~of Wagner; cond. f
.p. of [cf2]Parsifal[cf1], Bayreuth [sm1882[nm, ~and mus. at Wagner's funeral. R
ev. libs. of Mozart ~operas and trans. text of Berlioz's [cf2]Les Troyens. ~[cf1
]Comp. pf. conc.[cm~Levine, James [fy75,1]([cf2]b[cf1] Cincinnati, [sm1943[nm).
Amer. cond. ~and pianist. Studied Cincinnati and at Juilliard ~Sch. Ass. cond. t
o [fy45,1]*[fy75,1]Szell, Cleveland Orch., [sm1964[nm=n~[sm70[nm. Cond. at NY Me
t. [sm1971[nm, becoming prin. cond. ~[sm1973[nm, mus. dir. [sm1975[nm. Brit. d;a
aebut with WNO, ~Cardiff [sm1970[nm ([cf2]Aida[cf1]). Salzburg Fest. [sm1976[nm.
 One of ~leading Mahler conds. of younger generation.[cm~Levy, M
arvin [fy75,1](David) ([cf2]b[cf1] Newark, NJ, [sm1932[nm). ~Amer. composer and
critic. Studied NY and ~Columbia Univ. Worked as mus. critic [sm1952[nm=n[sm8[nm
. ~Commissioned by NY Met. in [sm1961[nm to compose ~opera based on O'Neill's [c
f2]Mourning Becomes Electra ~[cf1](f.p. [sm1967[nm). Composer of [sm5[nm operas,
 choral works, ~sym., pf. conc., chamber mus.[xm[cm~[j1]Lewenthal, Raymond [fy75
,1]([cf2]b [cf1]San Antonio, Texas, ~[sm1926[nm). Amer. pianist, writer, musicol
ogist, and ~ed. Studied Juilliard Sch., NY, Siena, and with ~Cortot. World tours
. Specialist in Liszt and ~neglected [sm19[nmth-cent. composers. Ed. pf. mus. of
 ~[fy45,1]*[fy75,1]Alkan.[xm[cm~[ol0][ep~[xp[te~




[do9][j99]~~~~~~[sm153842[nm_L[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmL[sm005[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm2[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm196[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Lewis, [fy75,1](Sir) [
fy65][cf3]Anthony [fy75,1](Carey) ([cf2]b[cf1] Bermuda, [sm1915[nm; ~[cf2]d [cf1
]Haslemere, [sm1983[nm). Eng. cond., composer, ed., ~and teacher. Studied Cambri
dge Univ. and in ~Paris with Boulanger. On BBC mus. staff [sm1935[nm=n~[sm46[nm.
 Prof. of Mus., Birmingham Univ. [sm1947[nm=n[sm68[nm. ~Prin., RAM [sm1968[nm=n[
sm82[nm. Composer of hn. and tpt. ~concs. Founder and ed. [cf2]Musica Britannica
[cf1]. Cond. ~of many Handel opera revivals. Ed. of Handel ~operas, Purcell's [c
f2]Fairy Queen[cf1], etc. C.B.E. [sm1967[nm. ~Knighted [sm1972[nm.[cm~Lewis, Hen
ry [fy75,1]([cf2]b [cf1]Los Angeles, [sm1932[nm). Amer. ~cond., clarinettist, an
d db. player. Studied Univ. ~of S. Calif. Db. in Los Angeles P.O. Member and ~la
ter cond. U.S. [sm7[nmth Army S.O. [sm1955[nm=n[sm7[nm. Founder
~and dir. String Soc. of Los Angeles (later Los ~Angeles Chamber Orch.). Ass. co
nd. Los Angeles ~P.O. [sm1961[nm=n[sm5[nm, mus. dir. Los Angeles Opera Co. ~[sm1
965[nm=n[sm8[nm. Prin. cond. NJ S.O. from [sm1968[nm. NY Met. ~d;aaebut [sm1972[
nm. Guest cond. LSO, RPO, Milan.[cm~Lewis, Jeffrey [fy75,1]([cf2]b [cf1]Neath, [
sm1942[nm). Welsh composer, ~organist, pianist, and teacher. Studied Cardiff and
 ~with [fy45,1]*[fy75,1]Stockhausen, [fy45,1]*[fy75,1]Ligeti, and Don [fy45,1]*[
fy75,1]Banks. ~Pianist, Paris Chamber Ens. [sm1967[nm=n[sm8[nm. Lecturer in ~[sm
20[nmth-cent. comp. City of Leeds Coll. of Mus. ~[sm1969[nm=n[sm72[nm. Lecturer,
 Mus. Dept., Univ. Coll. of N. ~Wales, Bangor, from [sm1972[nm. Comps. incl. [cf
2]Aurora, ~[PN409,0,0,R,I0]Fanfares with Variations, Mutations[cf1] I (orch.), I
I ~(organ) etc.[cm~Lewis, Mary [fy75,1]([cf2]b [cf1]Hot Springs, Arkansas, [sm19
00[nm; [cf2]d ~[cf1]NY, [sm1941[nm). Amer. sop. Started career in Ziegfeld ~Foll
ies and was offered contract at NY Met. but ~refused it until sh
e had studied further. D;aaebut ~Vienna Volksoper [sm1923[nm. Sang in Monte Carl
o, ~Paris, Berlin, and London where she sang role of ~Mary in BNOC prod. of Vaug
han Williams's ~[cf2]Hugh the Drover, [cf1][sm1924[nm. NY Met. [sm1926[nm=n[sm30
[nm.[cm~Lewis, Richard [fy75,1](real name Thomas Thomas) ([cf2]b ~[cf1]Mancheste
r, [sm1914[nm). Eng. ten. and cond. Studied ~privately, then at RMCM [sm1939[nm=
n[sm41[nm with Norman ~Allin, returning to him at RAM [sm1945[nm. Began ~concert
 career in Denmark [sm1946[nm. Eng. concert ~d;aaebut Brighton [sm1947[nm. Opera
 d;aaebut Glyndebourne ~[sm1947[nm in Britten's [cf2]Rape of Lucretia[cf1]. Sang
 Peter ~Grimes at CG [sm1947[nm and Albert Herring with EOG ~[sm1948[nm. Success
ful concert career in oratorio, esp. ~Gerontius which he sang with Barbirolli an
d ~Sargent. Created role of Troilus in Walton's [cf2]Troilus ~and Cressida [cf1]
CG [sm1954[nm and at San Francisco [sm1955[nm, ~and roles of Mark and of Achille
s in Tippett's [cf2]The ~Midsummer Marriage [cf1]([sm1955[nm) an
d [cf2]King Priam [cf1]([sm1962[nm) ~respect[chively. Sang in f.p. of Stravinsky
's [fy45,1]*[fy75,2]Canticum ~Sacrum[cf1], Venice [sm1956[nm. Sang Aaron in Scho
enberg's ~[cf2]Moses und Aron [cf1]at CG [sm1965[nm, in Boston (stage) ~[sm1966[
nm, and in Paris ([sm1973[nm). Notable Mozart singer; ~frequent guest artist at
Glyndebourne and San ~Francisco. Took up cond. [sm1975[nm. C.B.E. [sm1963[nm.[cm
~Ley, Henry [fy75,1](George) ([cf2]b [cf1]Chagford, Devon, [sm1887[nm; ~[cf2]d [
cf1]Ottery-St-Mary, [sm1962[nm). Eng. organist, composer, ~and teacher. Org. sch
olar, Keble Coll., Oxford; ~while still undergraduate appointed organist of ~Chr
ist Church Cath., Oxford, [sm1909[nm=n[sm26[nm. Taught ~org. at RCM [sm1919[nm=n
[sm41[nm. Mus. dir. (precentor) Eton ~Coll. [sm1926[nm=n[sm45[nm. Comp. church m
usic, songs, etc.[cm~Leygraf, Hans [fy75,1]([cf2]b [cf1]Stockholm, [sm1920[nm).
Swed. ~pianist, composer, and cond. Studied Stockholm ~Cons., Munich, and Switze
rland. D;aaebut [sm1929[nm ~with Stockholm S.O. Specialist in Mo
zart. Com~~poser of pf., orch., and chamber works.[cm~Lezginka. [fy75,1]A dance
of the Mohammedan tribe ~the Lezghins (on the Persian border).[cm~L.G.S.M. [fy75
,1]Licentiate of the Guildhall School of ~Music and Drama.[xm[cm~[j1]L.H. [fy75,
1]Abbreviation for Left Hand.[cm~Lh;aaevinne, Josef [fy75,1]([cf2]b [cf1]Orel, [
sm1874[nm; [cf2]d [cf1]NY, [sm1944[nm). Russ. ~pianist and teacher. Studied Mosc
ow Cons. with ~Safonov. D;aaebut, Moscow [sm1889[nm. prof. of pf., ~Moscow Cons.
 [sm1902[nm=n[sm06[nm. NY d;aaebut [sm1906[nm with ~Russ. S.O. Many world tours.
 Lived in Ger. [sm1907[nm=n~[sm19[nm, settled in USA [sm1920[nm. On teaching sta
ff Juilliard ~Sch., NY, from [sm1922[nm.[cm~Lh;aaevinne, Rosina [fy75,1]([cf2]b
[cf1]Kiev, [sm1880[nm; [cf2]d [cf1]Glendale, ~Calif., [sm1976[nm). Russ. pianist
 and teacher, wife of ~Josef [fy45,1]*[fy75,1]Lh;aaevinne, whom she married in [
sm1898[nm on ~leaving Moscow Cons. Toured widely, gave many ~recitals with husba
nd. Still gave recitals in mid-~[sm1960[nms. On staff Juilliard
Sch. from [sm1922[nm. Pupils ~incl. Van Cliburn, James Levine, and John ~Brownin
g.[cm~Liberamente [fy75,1](It.). Freely (i.e. with regard to ~tempo, rhythm, etc
.).[cm~Libretto [fy75,1](It.). Little book. The text of a vocal ~work, particula
rly opera. Author is `librettist'. ~First known was for Peri's [cf2]Dafne [cf1](
[sm1594=n8[nm). ~Among famous librettists have been [fy45,1]*[fy75,1]Metastasio,
 ~[fy45,1]*[fy75,1]da Ponte, Scribe, Romani, Piave, [fy45,1]*[fy75,1]Illica, [fy
45,1]*[fy75,1]Gilbert, ~[fy45,1]*[fy75,1]Boito, and [fy45,1]*[fy75,1]Hofmannstha
l. Some composers ~have written own libs., e.g. Wagner, Leoncavallo, ~Delius, an
d Tippett.[cm~Licenza [fy75,1](It.). Licence, freedom (in such expres~~sions as
[cf2]Con alcuna licenza, [cf1]with some licence, i.e. ~freedom as to tempo and r
hythm or to form of a ~work).[cm~Licette, Miriam [fy75,1]([cf2]b [cf1]Chester, [
sm1892[nm; [cf2]d [cf1]Twyford, ~[sm1969[nm). Eng. sop. Studied Milan and Paris
with M. ~Marchesi, J. de Reszke, and Sabbatini. D;aaebut ~Rome [
sm1911[nm as Butterfly. Member of Beecham co. ~[sm1916[nm=n[sm20[nm, BNOC [sm192
2[nm=n[sm8[nm. Sang in CG int. seasons ~[sm1919[nm=n[sm29[nm.[cm~Lichfild [fy75,
1](Lichfield), [fy65][cf3]Henry [fy75,1]([cf2]=+=+=+=+fl. [cf1]late [sm16[nmth a
nd ~early [sm17[nmth cents.). Eng. musician, possible ama~~teur, in service of L
ady Cheney, of Toddington, ~nr. Luton. Composer of madrigals.[cm~Lichnowsky, [fy
75,1](Prince) [fy65][cf3]Karl [fy75,1]([cf2]b [cf1]Vienna, [sm1761[nm; [cf2]d ~[
cf1]Vienna, [sm1814[nm). Polish aristocrat who lived in ~Vienna. Patron of mus.,
 maintaining str. qt. and ~sponsoring orch. concerts at his entertainments. ~Fri
end and patron of Mozart, then of Beethoven ~(whose Opp. [sm1[nm, [sm13[nm, [sm2
6[nm, and [sm36[nm are ded. to him). ~Employed str. qt. led by Schuppanzigh whic
h ~gave f.ps. of qts. by Haydn and Beethoven.[cm~Lichnowsky, [fy75,1](Count) [fy
65][cf3]Moritz [fy75,1]([cf2]b [cf1]Vienna, [sm1771[nm; [cf2]d ~[cf1]Vienna, [sm
1837[nm). Polish aristocrat, brother of Prince ~[fy75,1]Karl. In
timate friend of Beethoven, whose Opp. ~[sm35[nm, [sm51[nm, and [sm90[nm are ded
. to him and his wife.[cm~Lidholm, Ingvar [fy75,1]([cf2]b [cf1]J;auonk;auoping,
[sm1921[nm). Swed. ~composer and cond. Comp. pupil of [fy45,1]*[fy75,1]Rosenberg
. ~Studied London with [fy45,1]*[fy75,1]Seiber [sm1954[nm and adopted ~[sm12[nm-
note system. Head of chamber mus., Swed. ~Radio [sm1956[nm=n[sm65[nm, dir. of ra
dio music planning ~from [sm1974[nm. Works incl. conc. for str., pf. sonata, ~ba
llet, chamber mus.[cm~Lie, Sigurd [fy75,1]([cf2]b [cf1]Drammen, [sm1871[nm; [cf2
]d [cf1]Drammen, ~[sm1904[nm). Norweg. composer, violinist, and cond. ~Studied B
erlin and Leipzig, [sm1891[nm=n[sm4[nm. Cond. in ~Bergen. Returned to Berlin for
 study. Works incl. ~sym., pf. quintet, vn. sonata, and songs.[cm~Li;aae [fy75,1
](Fr.). Bound, i.e. ([sm1[nm) Slurred.[ep~^([sm2[nm)^Tied.[xm[cm~[ol0][ep~[xp[te
~

[te












[do19][j99]~~~~~~[sm153842[nm_LA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmLA[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm28[nm/[sm9[nm/[sm79[nm
[cm[sm8[nm[cm[sm216[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Liebe der Danae, Die
 [fy75,1](The Love of Danae). ~Opera in [sm3[nm acts by R. Strauss, comp. [sm193
8[nm=n[sm40[nm to ~lib. by J. Gregor using a draft by Hofmannsthal. ~[PN410,0,0,
L,I0]Prod. Salzburg [sm1952[nm, London [sm1953[nm, Los Angeles ~[sm1964[nm (but
dress reh. was given at Salzburg [sm1944[nm ~in Strauss's presence, before ths.
were closed by ~Nazi edict).[cm~Liebermann, Rolf [fy75,1]([cf2]b[cf1] Z;auurich,
 [sm1910[nm). Swiss com~~poser, pupil of [fy45,1]*[fy75,1]Vogel. Head of orch. d
iv., Swiss ~Radio [sm1950[nm=n[sm7[nm, head of mus. N. Ger. Radio, ~Hamburg, [sm
1957[nm=n[sm9[nm, dir. Hamburg Opera [sm1959[nm=n~[sm73[nm, Paris Op;aaera [sm19
73[nm=n[sm80[nm. Champion of modern ~works, his Hamburg years seeing many splend
id ~prods. of new operas. Uses [sm12[nm-note system in his ~own
works which incl.: Operas: [cf2]Leonore [sm40[nm/[sm45[nm ~[cf1](Basle [sm1952[n
m), [cf2]Penelope[cf1] ([sm1954[nm), and [cf2]Die Schule der ~Frauen[cf1] ([sm19
55[nm); orchestral: [cf2]Furioso[cf1], Sym. No. [sm1[nm, ~Conc. for Jazz Band an
d Sym. Orch. ([sm1954[nm); also ~cantata, chamber mus., and songs.[cm~Liebesgeig
e [fy75,1](Ger.) . Love-fiddle. [fy45,1]*[fy75,1]Viola d'amore.[cm~Liebesliederw
alzer [fy75,1](Love-song waltzes). ~Brahms's Op. [sm52[nm (containing [sm18[nm w
altzes) for pf. duet with [sm4[nm vv. (SATB) [cf2]ad lib[cf1]. [sm1868[nm=n[sm9[
nm. Op. [sm52[nma ([sm1874[nm) ~is minus the vocal parts. Followed in [sm1874[nm
 and ~[sm1877[nm by the [cf2]Neue Liebesliederwalzer[cf1], also with v. ~parts [
cf2]ad lib[cf1].[cm~Liebesmahl der Apostel, Das [fy75,1](The Love Feast ~of the
Apostles). `Biblical scene' for male ch. and ~orch. (which enters late in the wo
rk) by Wagner. ~F.p. Dresden [sm1843[nm.[cm~Liebesoboe [fy75,1](Ger.). Love-oboe
, i.e. [fy45,1]*[fy75,1]oboe d'amore.[cm~Liebestod [fy75,1](Ger.
). Love-death. Title generally ~applied to Isolde's final aria at end of Act III
 of ~Wagner's [cf2]Tristan und Isolde [cf1](or to orch. arr. of it, ~often playe
d as concert-piece with the Prelude to ~Act [sm1[nm). Wagner applied the term to
 the love duet ~in Act II.[cm~Liebestr;auaume [fy75,1](Love-dreams). [sm3[nm noc
turnes for pf. ~([cf2]c.[cf1][sm1850[nm) by [fy45,1]*[fy75,1]Liszt, the [sm3[nmr
d in A;yh being the best-~known. They are transcrs. of his songs [cf2]Hohe Liebe
 ~[cf1]([cf2]c.[cf1][sm1849[nm), [cf2]Gestorben war ich[cf1] ([cf2]c.[cf1][sm184
9[nm), and [cf2]O Liebe, so ~lang du lieben kannst. [cf1]([cf2]c.[cf1][sm1845[nm
).[cm~Liebesverbot, Das [fy75,1](The Ban on Love). Opera in ~[sm2[nm acts by Wag
ner to his own lib. based on ~Shakespeare's [cf2]Measure for Measure [cf1]([sm16
04[nm=n[sm5[nm). ~Comp. [sm1835[nm=n[sm6[nm. Prod. Magdeburg [sm1836[nm, London
~[sm1965[nm.[cm~Lieblich Gedackt [fy75,1](from Ger. [cf2]Lieblich[cf1], `lovely'
). ~Org. stop, same as [fy45,1]*[fy75,2]Gedackt[cf1].[cm~Lied, L
ieder [fy75,1](Ger.). Song, songs. Lieder have ~existed since before [sm1400[nm,
 but they are principally ~associated in the public mind with a distinctive ~typ
e of Ger. solo vocal comp. that came into being ~as an outcome of the Romantic m
ovement of the ~late [sm18[nmth and early [sm19[nmth cents. In this type the ~qu
ality of the verse selected is very important. ~The treatment of the poem may be
 either `verse-~repeating' (strophic) or `through-composed' ~([cf2]durchkomponie
rt[cf1]) (i.e. either the same for every ~stanza or different for each), accordi
ng to the ~lyrical or dramatic demands of the poem. The pf. ~part (simple or hig
hly elaborate) is more than a ~mere acc. and, as much as the vocal part, demands
 ~artistic interpretation. Some great names in the ~history of the Lied are [fy4
5,1]*[fy75,1]Schubert, J. [fy45,1]*[fy75,1]Loewe, ~[fy45,1]*[fy75,1]Schumann, [f
y45,1]*[fy75,1]Franz, [fy45,1]*[fy75,1]Brahms, [fy45,1]*[fy75,1]Wolf, [fy45,1]*[
fy75,1]Mahler, ~and [fy45,1]*[fy75,1]Strauss. Certain poets occu
r frequently in ~these composers' Lieder, e.g. Goethe, Dehmel, ~Eichendorff, Hei
ne, Hesse, Liliencron, Mayrho~~fer, M;auorike, Rilke, R;auuckert, Schack, Schill
er, ~Trakl, Tieck. A [cf2]Lieder [cf1]recital should correctly ~contain only Ger
. songs. A succinct appreciation ~of singing[cf2] Lieder[cf1] has been made by P
eter [fy45,1]*[fy75,1]Stadlen: ~`The elusive art of suggesting the dramatic cont
ent ~of a text by other than operatic means.'[xm[cm~[j1]Liederzyklus [fy75,1](Ge
r.). [fy45,1]*[fy75,1]Song-cycle.[cm~Lieder eines fahrenden Gesellen [fy75,1](So
ngs of a ~wayfaring man). Song-cycle of [sm4[nm songs by Mahler ~to his own poem
s (based on, or imitative of, [cf2]Des ~[fy45,1]*[fy75,2]Knaben Wunderhorn[cf1])
 for bar. or mez. and pf. or ~orch. The movements are: [sm1[nm, [cf2]Wenn mein S
chatz ~Hochzeit macht [cf1](When my sweetheart has her ~wedding); [sm2[nm. [cf2]
Ging heut' Morgen ;auubers Feld [cf1](I walked ~this morning through the fields)
; [sm3[nm. [cf2]Ich hab' ein ~gl;auuhend Messer [cf1](I have a g
leaming knife); [sm4[nm. [cf2]Die ~zwei blauen Augen [cf1](Her two blue eyes). C
omp. ~[sm1884[nm, later rev. F.p. Berlin [sm1896[nm. Thematically ~linked to [sm
1[nmst Sym.[cm~Liederkranz [fy75,1](Ger.). Song-wreath, i.e. [fy45,1]*[fy75,1]So
ng-~cycle.[cm~Liederkreis [fy75,1](Ger.). General term for song-cycle; ~used spe
cifically by Schumann for [sm2[nm sets of songs, ~his [sm9[nm Heine settings, Op
 [sm24[nm, and his [sm12[nm Eichendorff ~settings, Op. [sm39[nm, both [sm1840[nm
. Term first used by ~Beethoven to describe [cf2]An die ferne Geliebte[cf1].[cm~
Liedertafel [fy75,1](plural [cf2]Liedertafeln[cf1]) (Ger.). Song table. ~Name gi
ven to Ger. male-v. singing socs. which ~flourished in the nationalistic climate
 of the early ~[sm19[nmth cent. Originally convivial occasions at which ~the mem
bers sat round a table with refreshments, ~but the aims later became more artist
ic. Particu~~larly assoc. with expatriates.[cm~Lied ohne Worte [fy75,1](Ger.; Fr
. [cf2]Chanson sans paroles[cf1]). ~Song without words. Term int
roduced by Men~~delssohn to describe pf. solo in which song-like ~melody progres
ses against acc. Pubd. in [sm8[nm books ~each containing [sm6[nm pieces: [cf2]Bo
ok I[cf1], Op. [sm19[nm, [sm1829[nm=n~[sm30[nm; [cf2]Book [sm2[nm[cf1], Op. [sm3
0[nm, [sm1835[nm; [cf2]Book [sm3[nm, [cf1]Op. [sm38[nm, [sm1837[nm; ~[cf2]Book [
sm4[nm[cf1], Op. [sm53[nm, [sm1841[nm; [cf2]Book [sm5[nm[cf1], Op. [sm62[nm, [cf
2]Book [sm6[nm[cf1], Op. ~[sm67[nm, [sm1843[nm=n[sm5[nm; [cf2]Book [sm7[nm[cf1],
 Op. [sm85[nm, [sm1842[nm; [cf2]Book [sm8[nm[cf1], Op. [sm102[nm, ~[sm1842[nm=n[
sm5[nm. Most of the titles given to these pieces ~were not Mendelssohn's, but th
e [sm3[nm [cf2]Venetian ~Gondola Songs [cf1]were. He also wrote a [cf2]Lied ohne
 ~Worte [cf1]for vc. and pf., Op. [sm109[nm.[cm~Lied von der Erde, Das [fy75,1](
The Song of the Earth). ~Sym. for cont. (or bar.), ten., and orch. by Mahler, ~b
eing settings of [sm6[nm Ger. versions by Hans Bethge ~(with additions by Mahler
) of [sm8[nmth-cent. Chinese ~poems. The movements are: [sm1[nm.
 [cf2]Das Trinklied vom ~Jammer der Erde [cf1](Drinking-Song of Earth's ~[PN411,
0,0,R,I0]Sorrow); [sm2[nm. [cf2]Der Einsame im Herbst [cf1](The Lonely ~One in A
utumn); [sm3[nm. [cf2]Von der Jugend [cf1](Of Youth); ~[sm4[nm. [cf2]Von der Sch
;auonheit [cf1](Of Beauty); [sm5[nm. [cf2]Der Trunkene ~im Fr;auuhling [cf1](The
 Drunkard in Spring); [sm6[nm. [cf2]Der ~Abschied [cf1](The Farewell). Comp. [sm
1907[nm=n[sm09[nm. F.p. ~Munich [sm1911[nm, London [sm1914[nm, Philadelphia [sm1
916[nm.[cm~Lie Strewn the White Flocks. [fy75,1]`Pastoral' by Bliss ~for mez., c
h., and orch. f.p. London [sm1929[nm. Settings ~of poems by Jonson, Fletcher, Po
liziano, Theocri~~tus, and Robert Nichols.[cm~Lieutenant Kij;aae. [fy75,1][sm5[n
m-movement symphonic suite ~for orch., Op. [sm60[nm, by Prokofiev, derived from
~mus. he wrote for film of same name. Comp. ~[sm1934[nm; suite f.p. Paris [sm193
7[nm.[cm~Life for the Tsar, A. [fy75,1]Opera in [sm4[nm acts and epilogue ~by [f
y45,1]*[fy75,1]Glinka to lib. by Baron Georgy Rosen on ~subject
suggested by poet Zhukovsky. Prod. St ~Petersburg [sm1836[nm, London [sm1887[nm.
 Prague prod. of ~[sm1866[nm was first perf. of Russ. opera abroad. Orig. ~title
 was [cf2]Ivan Susanin[cf1], the peasant who, by ~misleading Polish troops in [s
m1613[nm, saved life of ~Tsar Mikhail, founder of Romanov dynasty, at ~sacrifice
 of his own. During rehearsals Tsar ~Nicholas I visited Bolshoy Th., with result
 that ~the opera was ded. to him and its title changed. ~After [sm1917[nm revolu
tion, subject was embarrassing ~to r;Aaegime and various attempts to adapt mus.
to ~new subjects were made. In [sm1939[nm S. M. Gorodetsky ~re-wrote Rosen's lib
., re-focusing interest on ~leaders of uprising against Poles and restoring ~ori
g. title.[cm~Life's Dance. [fy75,1]Tone-poem for orch. by Delius, ~after Hilge R
ode's play [cf2]Dansen Gaar[cf1]. [sm1[nmst version ~[sm1899[nm as [cf2]La Ronde
 se d;aaeroule [cf1](The Dance goes on), ~rev. [sm1901[nm as [cf2]Life's Dance[c
f1], final rev. for publication ~[sm1912[nm. F.p. of orig., Lond
on [sm1899[nm; [sm1[nmst rev. ~D;auusseldorf [sm1904[nm cond. [fy45,1]*[fy75,1]B
uths, final version Berlin ~[sm1912[nm cond. [fy45,1]*[fy75,1]Fried.[cm~[bnLigat
ure. [fy75,1]([sm1[nm) The sign which in early notation ~([sm13[nmth=n[sm16[nmth
 cent.) combines several notes into one ~symbol:[ep~[ol39][ep~[xn^([sm2[nm) The
slur which in modern notation of vocal ~mus. shows that the [sm2[nm or more note
s it affects are ~to be fitted to the same syllable, or, in instr. mus., ~that t
he notes are to be phrased together.[ep~^([sm3[nm) The tie or bind (see [cf2]Tie
[cf1])=ma use of the word ~better avoided as unnecessary and confusing.[ep~^([sm
4[nm) The adjustable metal band which in instr. of ~the cl. family secures the r
eed to the mouthpiece. ~Some clarinettists use string ligature.[ep^See [cf2]Curv
ed ~Line, Various uses of[cf1].[cm~Ligendza, Caterina [fy75,1]([cf2]b[cf1] Stock
holm, [sm1937[nm). Swed. ~sop. Studied Vienna, Stuttgart, and Berlin (with ~Grei
ndl). Opera d;aaebut Linz [sm1963[nm (Countess in ~[cf2]Figaro[c
f1]). Brunswick Opera [sm1964[nm=n[sm5[nm. Became nota~~ble for Wagner roles. Sa
ng Br;auunnhilde ([cf2]Siegfried[cf1]=+=+), ~Geneva [sm1968[nm. Salzburg Easter
Fest. [sm1969[nm, Bay~~reuth Fest. [sm1971[nm=n[sm7[nm as Isolde and Br;auunnhil
de. CG ~d;aaebut [sm1972[nm (Senta), Vienna [sm1973[nm (Isolde), La Scala, ~Mila
n, [sm1970[nm (Arabella), NY Met. [sm1971[nm (Beet-[fj~hoven's Leonore).[cm~Lige
ti, Gy;auorgy [fy75,1]([cf2]b [cf1]Dics;auoszentm;aaaron, [sm1923[nm). ~Hung. co
mposer. Studied Kolozsv;aaar Cons., [sm1941[nm=n~[sm3[nm, with Farkas and after
the war at Budapest Acad. ~with Farkas and Veress, teaching there from ~[sm1950[
nm. Left Hungary [sm1956[nm, going to work first at ~Cologne elec. studio, then
settling in Austria. ~Though elec. stimulated his urge to compose, ~since [sm195
8[nm he has written only for `live' perform~~ers. His orch. writing uses precise
ly calculated ~textures and dense (but not thick) scoring, ~deriving ultimately
from Webern (Li-[fj~geti's term is `micropolyphony'). Prin. work
s:[xm[cm~[j2][smopera[nm: [fy75,2]Le [fy45,1]*[fy75,2]Grand Macabre [cf1]([sm2[n
m acts, f.p. Stockholm ~[sm1978[nm).[ep~[smorch[nm: [cf2]Apparitions [cf1]([sm19
58[nm=n[sm9[nm); [fy45,1]*[fy75,2]Atmosph;Ageres [cf1]([sm1961[nm); ~[fy45,1]*[f
y75,2]Lontano [cf1]([sm1967[nm); [fy45,1]*[fy75,2]Melodien [cf1]([sm1971[nm); [f
y45,1]*[fy75,2]San Francisco ~Polyphony [cf1]([sm1973[nm=n[sm4[nm).[ep~[smsolois
t and orch[nm: Vc. conc. ([sm1966[nm); Double Conc. ~for fl. and ob. ([sm1972[nm
).[ep~[smchoral[nm: [cf2]Requiem [cf1](sop., mez., [sm2[nm ch., orch.) ([sm1963[
nm=n~[sm5[nm); [cf2]Lux aeterna[cf1], [sm16[nm-part ch. ([sm1966[nm); [cf2]Clock
s and ~Clouds [cf1]for [sm12[nm-voice women's ch. and orch. ~([sm1972[nm=n[sm3[n
m).[ep~[smsmall orch[nm: [cf2]Fragment [cf1]for [sm11[nm instr. ([sm1961[nm); ~[
cf2]Adventures [cf1]for [sm3[nm singers and [sm7[nm instr. ([sm1962[nm); ~[cf2]N
ouvelles Aventures[cf1], [sm3[nm singers, [sm7[nm instr. ([sm1962[nm=n[sm5[nm);
~[fy45,1]*[fy75,2]Ramifications[cf1], for str., or [sm12[nm solo
 str. ([sm1968[nm=n[sm9[nm); ~Chamber Conc., for [sm13[nm instr. ([sm1969[nm=n[s
m70[nm).[ep~[smchamber music[nm: [sm10[nm [cf2]Pieces[cf1] for wind quintet ([sm
1968[nm); ~Str. Qt. No. [sm1[nm ([cf2]Metamorphoses nocturnes[cf1]) ([sm1953[nm=
n~[sm4[nm), No. [sm2[nm ([sm1968[nm); [sm6[nm [cf2]Miniatures [cf1]for [sm10[nm
wind instr. ~([sm1953[nm, scored [sm1975[nm by F. Wanek); hn. trio ~([cf2]Hommag
e ;aga Brahms[cf1]) ([sm1983[nm).[ep~[smorgan[nm: [cf2]Volumina [cf1]([sm1961[nm
=n[sm2[nm, rev. [sm1966[nm); [sm2[nm [cf2]Studies ~[cf1]([sm1967[nm, [sm1969[nm)
.[ep~[sm2[nm [smpianos[nm: [sm3[nm [cf2]Pieces [cf1]([cf2]Monument[cf1], [cf2]Se
lbstportr;auat[cf1], [cf2]Beweg~~[chung[cf1]) ([sm1976[nm); [cf2][sm3[nm Objekte
 [cf1]([sm1976[nm).[ep~[smmiscellaneous[nm: [cf2]Artikulation[cf1], for tape ([s
m1958[nm); [cf2]Po;ageme ~symphonique [cf1]for [sm100[nm metronomes ([sm1962[nm)
; [cf2]Contin~~uum [cf1]for hpd. ([sm1968[nm); [cf2]Horizont[cf1], for recorder
~([sm1971[nm).[cm~[j1]Light. [fy75,1]Adjective applied somewhat
patronizingly ~and vaguely to mus. which is supposed to need ~less concentration
 than `serious music' (another ~objectionable term). Thus there are also `light'
 ~orchs. and `light' opera. `Light' mus. can refer to ~Elgar's shorter pieces or
 to works by composers ~such as Ronald [fy45,1]*[fy75,1]Binge. `Light opera' pro
bably ~means [fy45,1]*[fy75,2]Merrie England [cf1]rather than [cf2]The Merry ~Wi
dow[cf1], but such classification is imprecise and ~unhelpful.[cm~Light Cavalry
[fy75,1]([cf2]Leichte Cavallerie[cf1]). Operetta by ~Supp;aae, in [sm2[nm acts,
lib. by C. Costa; prod. Vienna ~[sm1866[nm. Ov. exceedingly popular.[cm~[PN412,0
,0,L,I0]Lighthouse, The. [fy75,1]Chamber-opera in [sm1[nm act by ~[fy45,1]*[fy75
,1]Maxwell Davies to his own lib. Comp. [sm1979[nm. ~Based on actual event in [s
m1900[nm when the [sm3[nm keepers ~of the Flannan lighthouse in the Outer Hebrid
es ~unaccountably disappeared. F.p. Edinburgh [sm1980[nm. ~London [sm1981[nm, Bo
ston [sm1983[nm.[cm~Light of Life, The [fy75,1]([cf2]Lux Christi
[cf1]). Oratorio, Op. ~[sm29[nm, for SATB soloists, ch., and orch. by Elgar to ~
text by E. Capel-Cure. F.p. Worcester [sm1896[nm.[cm~Lights Out. [fy75,1]([sm1[n
m) Song-cycle of [sm6[nm songs, settings of ~poems by Edward Thomas ([sm1878[nm=
n[sm1917[nm) by Ivor ~[fy45,1]*[fy75,1]Gurney, comp. [sm1918[nm=n[sm25[nm, for v
. and pf.[ep~^([sm2[nm) [sm4[nm poems of Edward Thomas for bar. and pf. ~by R. [
fy45,1]*[fy75,1]Holloway, Op. [sm24[nm, [sm1974[nm.[cm~Lilac Time [fy75,1](Bert;
aae). See [cf2]Blossom Time[cf1].[cm~Lilburn, Douglas [fy75,1](Gordon) ([cf2]b[c
f1] Wanganui, N.Z., ~[sm1915[nm). N.Z. composer. Studied RCM with ~Vaughan Willi
ams (Cobbett Prize [sm1939[nm). Prof. of ~mus., Victoria Univ. Coll., Wellington
, N.Z. and ~dir. of its elec. mus studio. Comps. incl. [sm3[nm syms. ~and other
orch. works, str. qts., vn. sonatas, str. ~trio, pf. sonata, cl. sonata, song-cy
cles, film mus.[cm~Lill, John [fy75,1](Richard) ([cf2]b[cf1] London, [sm1944[nm)
. Eng. ~pianist. Studied RCM [sm1955[nm=n[sm64[nm and with Kempf
f. ~D;aaebut London [sm1963[nm. First prize Moscow Tchai~~kovsky competition [sm
1970[nm. Soloist with all leading ~orchs. Outstanding Beethoven player. O.B.E. ~
[sm1978[nm.[cm~Lilliburlero. [fy75,1]Tune of unknown origin, first ~appeared in
print in [sm1686[nm in a book of `lessons' ~for the recorder or fl., where it is
 styled ~`Quickstep'. In the following year it achieved ~popularity set to satir
ical verses (with the mock ~Irish word `Lilliburlero' as a refrain) referring to
 ~the appointment to the Lord-Lieutenancy of ~Ireland of General Talbot, newly-c
reated Earl of ~Tyrconnel, whose name is mentioned several ~times. It has remain
ed a song of the Orange party ~to the present day, set to different words as ~`P
rotestant Boys'. In Purcell's [cf2]Musick's Handmaid[cf1], ~it appears under the
 title `A New Irish Tune' as a ~hpd. piece: Purcell also used it as a [fy45,1]*[
fy75,1]ground bass ~in mus. for the play [cf2]The Gordian Knot unty'd ~[cf1]([sm
1691[nm).[cm~Lincoln Center for the Performing Arts. [fy75,1]Art
s ~centre in NY with following constituents: Met~~ropolitan Opera House, Philhar
monic Hall, Juil~~liard Sch., State Th. (headquarters of NY City ~Opera and City
 Ballet), Repertory Th., Film Soc., ~and Chamber Mus. Soc. First building to ope
n ~was Philharmonic Hall, home of NY P.O. in place ~of Carnegie Hall, [sm1962[nm
. State Th. opened [sm1964[nm, ~new Met. [sm1966[nm, and Juilliard Sch. [sm1969[
nm.[cm~Lincoln Portrait, A. [fy75,1]Work for speaker and orch. ~by Copland, comp
. [sm1942[nm. Spoken words are taken ~from the speeches of Abraham Lincoln.[cm~L
incoln, the Great Commoner. [fy75,1]Song by Ives to ~words by Edwin Markham, for
 ch. and orch. ~[sm1912[nm, for v. and pf. [sm1914[nm.[cm~Lindholm, Berit [fy75,
1]([cf2]b [cf1]Stockholm, [sm1934[nm). Swedish ~soprano. At Stockholm Opera Sch.
 [sm1961[nm=n[sm3[nm. D;aaebut ~Stockholm [sm1963[nm as Countess in [cf2]Figaro.
 [cf1]CG d;aaebut ~[sm1966[nm as Chrysothemis in Strauss's [cf2]Elektra. [cf1]Sa
ng ~Br;auunnhilde at Bayreuth, CG, and with Scottish ~Opera ([sm
1971[nm).[cm~Lind, Jenny [fy75,1](=+=+=+Johanna) ([cf2]b[cf1] Stockholm, [sm1820
[nm; [cf2]d[cf1] ~Malvern Wells, Worcs., [sm1887[nm). Swed. sop. Studied ~Stockh
olm. D;aaebut Stockholm Opera [sm1838[nm as ~Agathe in [cf2]Der Freisch;auutz[cf
1].Dissatisfied with her v., ~went to Paris [sm1841[nm to study with M. P. R. [f
y45,1]*[fy75,1]Garc;aaia. ~Meyerbeer commended her to Berlin, where she ~sang No
rma, [sm1844[nm, and created leading role in ~Meyerbeer's [cf2]Feldlager in Schl
esien [cf1](later rev. as ~[cf2]L'[fy45,1]*[fy75,2];aaEtoile du Nord[cf1]). Afte
r singing in Hamburg, ~Stockholm, Frankfurt, Vienna ([sm1846[nm), and else~~wher
e, causing a sensation wherever she appeared, ~she made her London d;aaebut at H
er Majesty's, ~[sm1847[nm, in [cf2]Robert le Diable[cf1]. In same year created r
ole ~of Amelia in Verdi's [cf2]I Masnadieri[cf1]. Excelled in ~brilliant colorat
ura roles ([cf2]Sonnambula[cf1], etc.). Re~~tired from opera [sm1849[nm, thereaf
ter singing only in ~oratorio and concerts. Visited US [sm1850[n
m=n[sm2[nm under ~auspices of Barnum and acc. by Julius Benedict, ~the conductor
, and Giovanni Belletti, the baritone ~who had advised her to consult Garc;aaia
in [sm1841[nm. ~In Boston, Mass., married the cond. Otto [fy45,1]*[fy75,1]Gold~~
schmidt, returning with him to Dresden [sm1852[nm=n[sm5[nm ~and then to London,
where she helped him to ~found the [fy45,1]*[fy75,1]Bach Choir. Retired [sm1870[
nm. Prof. of ~singing RCM [sm1883[nm. Worked for charitable causes. ~Her voice w
as remarkable for its purity and ~agility in cadenzas and ornamentation. Known a
s ~`The Swedish Nightingale'.[cm~Linda di Chamounix. [fy75,1]Opera in [sm3[nm ac
ts by ~Donizetti to lib. by Rossi based on [cf2]vaudeville La ~Grace de Dieu[cf1
]. Prod. Vienna [sm1842[nm, London [sm1843[nm, ~NY [sm1847[nm, Wexford [sm1983[n
m.[cm~Lindley, Robert [fy75,1]([cf2]b[cf1] Rotherham, [sm1776[nm; [cf2]d[cf1] Lo
ndon, ~[sm1855[nm). Eng. cellist, pupil of Cervetto. Prin. cellist ~of opera orc
h. in London [sm1794[nm=n[sm1851[nm. Recital ~partner with [fy45
,1]*[fy75,1]Dragonetti. First prof. of vc. RAM ~[sm1822[nm. Comp. vc. pieces.[cm
~Linear counterpoint. [fy75,1]Term used specifically to ~describe type of [sm20[
nmth-cent. counterpoint with ~emphasis on the individual strands of the fabric ~
rather than on their harmonic implications=mbut ~all counterpoint is by nature l
inear.[cm~Linke Hand [fy75,1]([cf2]Links[cf1]) (Ger.). Left hand.[cm~Linley, Tho
mas [fy75,1]([cf2]b [cf1]Badminton, [sm1733[nm; [cf2]d[cf1] London, ~[sm1795[nm)
. Eng. composer. Taught and gave concerts ~in Bath. Later joint manager of orato
rios at Drury ~Lane Th., London, which he partly owned from ~[sm1776[nm. Wrote m
us. for many plays, incl. Sheridan's ~[cf2]The Duenna [cf1]and [cf2]School For S
candal[cf1], also songs, ~cantatas, madrigals, and elegies. Daughter Eliza~~beth
 ([sm1754[nm=n[sm92[nm), sop., married Sheridan.[cm~Linley, Thomas [fy75,1]([cf2
]b[cf1] Bath, [sm1756[nm;[cf2] d [cf1]Grimsthorpe, ~Lincs., [sm1778[nm). Eng. co
mposer and violinist, son of ~[PN413,0,0,R,I0]Thomas [fy45,1]*[f
y75,1]Linley. Pupil of Boyce and later, at ~Florence, of Nardini. Friend of Moza
rt. Wrote ~opera [cf2]The Cady of Baghdad [cf1]([sm1778[nm), oratorio, ~incident
al mus. (incl. [cf2]The Duenna [cf1]with his father), ~[sm6[nm vn. sonatas, at l
east [sm20[nm vn. concs. (only one ~survives), and songs. Drowned in boating acc
i~~dent.[cm~Linz Symphony. [fy75,1]Mozart's Sym. No. [sm36[nm in C ~major (K[sm4
25[nm), comp. Linz [sm1783[nm and first played ~there.[cm~Lipatti, Dinu [fy75,1]
(Constantin) ([cf2]b[cf1] Bucharest, [sm1917[nm; [cf2]d ~[cf1]Geneva, [sm1950[nm
). Romanian pianist and composer. ~Studied Bucharest Cons. [sm2[nmnd prize, Vien
na int. ~contest [sm1934[nm. Studied in Paris with Cortot, ~Munch, Dukas, and Bo
ulanger. On staff Geneva ~Cons. Superb artist, whose career was ended by ~leukae
mia. Visited Eng. [sm4[nm times [sm1946[nm=n[sm8[nm. Comp. ~concertino for pf. a
nd chamber orch. ([sm1936[nm), ~[cf2]Romanian Dances [cf1]for orch., and pf. son
ata for left ~hand ([sm1941[nm).[xm[cm~[ol0][ep~[xp[te~
[do19][j99]~~~~~~[sm153842[nm_LA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmLA[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm1[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm260[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Lipkin, Malcol
m [fy75,1](Leyland) ([cf2]b[cf1] Liverpool, [sm1932[nm). ~Eng. pianist and compo
ser. Studied pf. with ~Gordon Green [sm1944[nm=n[sm59[nm, comp. with Seiber [sm1
954[nm=n~[sm7[nm, RCM [sm1949[nm=n[sm53[nm. D;aaebut, Holland [sm1951[nm. Extra-
~mural lecturer, Oxford Univ. [sm1965[nm=n[sm75[nm, Kent ~Univ. from [sm1975[nm.
 Prin. works:[xm[cm~[j2][smorch[nm: Symphonies: No. [sm1[nm ([cf2]Sinfonia di Ro
ma[cf1]) ~([sm1958[nm=n[sm65[nm), No. [sm2[nm ([cf2]The Pursuit[cf1]) ([sm1975[n
m=n[sm9[nm), No. [sm3[nm ~([cf2]Sun[cf1]) ([sm1979[nm=n[sm82[nm); Pf. Conc. ([sm
1957[nm); Vn. Conc. No. ~[sm2[nm ([sm1960[nm=n[sm2[nm); Fl. Conc. ([sm1974[nm);
[cf2]Pastorale[cf1], hn. and ~str. ([sm1963[nm, rev. [sm1979[nm); [cf2]Mosaics [
cf1]([sm1966[nm, rev. [sm1969[nm).[ep~[smchoral[nm: [cf2]Psalm [
sm96[nm[cf1], ch. and orch. ([sm1969[nm); [cf2]The White ~Crane[cf1], young vv.,
 orch. ([sm1972[nm).[ep~[smchamber music[nm: Str. qt. ([sm1951[nm); Vn. sonata (
[sm1957[nm); ~[cf2]Suite[cf1], fl. and vc. ([sm1961[nm); str. trio ([sm1963[nm=n
[sm4[nm); ~[cf2]Interplay[cf1], treble recorder, va. da gamba, hpd., ~perc. ([sm
1975[nm); [cf2]Clifford's Tower[cf1], fl., ob., cl., bn., ~hn., vn., va., vc. ([
sm1977[nm); [cf2]Pastorale[cf1], hn. (or ob.), ~pf. ([sm1979[nm); [cf2]Naboth's
Vineyard[cf1], recorders, vc., hpd. ~([sm1981[nm=n[sm2[nm).[ep~[smpiano[nm: Sona
ta No. [sm3[nm ([sm1951[nm, rev. [sm1979[nm), No. [sm4[nm ~([sm1955[nm).[cm~[j1]
Lipp, Wilma [fy75,1]([cf2]b[cf1] Vienna, [sm1925[nm). Austrian sop. ~Studied Vie
nna with Mildenburg and Jerger. ~D;aaebut Vienna [sm1943[nm. Vienna State Opera
from ~[sm1945[nm, CG d;aaebut [sm1951[nm (Gilda), Glyndebourne [sm1957[nm ~(Cons
tanze), S. Francisco [sm1962[nm (Nannetta).[cm~Lira [fy75,1](It.). ([sm1[nm) The
 [fy45,1]*[fy75,1]lyre.[ep~^([sm2[nm) One of names indiscriminat
ely applied in ~medieval times to various bowed str. instrs., e.g. ~[fy45,1]*[fy
75,2]rebec [cf1]and [fy45,1]*[fy75,2]vielle[cf1].[ep~^([sm3[nm) Part of compound
 name of such old instr. as ~[cf2]lira da braccio[cf1], offshoot of the fiddle w
hich evolved ~in [sm2[nmnd half of [sm15[nmth cent. and in size approximated ~to
 modern va. It had [sm7[nm str., incl. [sm2[nm drones, and was ~used by recitali
sts who improvised polyphonic ~accs. It was played against the shoulder, like a
vn. ~Leonardo da Vinci played it. From it developed ~the [cf2]lirone [cf1]or [cf
2]lira da gamba[cf1], a combination of bass ~viol and [cf2]lira da braccio, [cf1
]held between knees like a ~vc. It had drone strs., and from [sm9[nm to [sm14[nm
 stopped ~str., tuned in [sm4[nmths, [sm5[nmths, and octaves. Used in ~court ent
ertainments [cf2]c[cf1].[sm1550[nm=n[sm1650[nm, and in [cf2]inter~~medii[cf1].[c
m~Lira organizzata [fy75,1](It.). Organ lyre. Obsolete str. ~instr. like hurdy-g
urdy, in which wooden wheel ~replaced bow and small org. attachm
ent was built ~into body to enrich tone-colour effects. Haydn ~wrote [sm6[nm con
cs. (of which [sm5[nm survive) [cf2]c.[cf1][sm1786[nm and [sm9[nm ~[cf2]Notturno
s [cf1](of which [sm8[nm survive) for [sm2[nm [cf2]lire organizzate ~[cf1]in [sm
1788[nm=n[sm90[nm for King Ferdinand IV of Naples who ~enjoyed playing duets wit
h his teacher. The [sm2[nmnd ~and [sm4[nmth movements of his Sym. No [sm89[nm in
 F are ~revs. of material used in the [sm5[nmth of these concs., ~and the [sm2[n
mnd movt. of his Sym. No. [sm100[nm (`Military') ~originated in [sm3[nmrd conc.[
cm~Lisle. [fy75,1]See [cf2]Rouget de Lisle, Claude Joseph.[cm~Lisley, John [fy75
,1]([cf2]fl. [cf1][sm17[nmth cent.). Eng. composer. ~Madrigal [cf2]Fair Cytherea
 [cf1] incl. in [cf2]The [fy45,1]*[fy75,2]Triumphs of ~Oriana[cf1].[cm~L'Istesso
 [fy75,1](It.). See [cf2]Istesso[cf1].[cm~List, Eugene [fy75,1]([cf2]b [cf1]Phil
adelphia, [sm1918[nm). Amer. ~pianist. D;aaebut with Los Angeles P.O. [sm1930[nm
. ~Studied in Philadelphia with Olga Samaroff. Gave ~f. Amer. p.
 of Shostakovich's [sm1[nmst conc., Philadel~~phia [sm1934[nm. Champion of [fy45
,1]*[fy75,1]Gottschalk. Taught at ~Eastman Sch. of Mus., Rochester, [sm1964[nm=n
[sm75[nm, then ~at NY Univ.[cm~Liszt, Ferencz [fy75,1](Franz) (baptized as Franc
iscus) ([cf2]b[cf1] ~Raiding, Hung., [sm1811[nm; [cf2]d[cf1] Bayreuth, [sm1886[n
m). Hung. ~composer and pianist. A child prodigy, he gave ~his first pf. recital
 at age [sm9[nm. Went to Vienna in ~[sm1821[nm, having lessons from Salieri and
Czerny. ~Played in Paris [sm1823[nm and London [sm1824[nm (where he ~was receive
d by George IV). Returned to Eng. in ~[sm1825[nm and [sm1826[nm; operetta [cf2]D
on Sanche [cf1]was prod. in ~Paris, [sm1825[nm, where he lived [sm1823[nm=n[sm35
[nm, becoming ~friend of Berlioz and Chopin and of leading ~literary figures and
 painters. His fame as a ~virtuoso pianist, flamboyant in style and taste, ~was
at its height. From [sm1833[nm he lived with ~Countess Marie d'Agoult; of their
[sm3[nm children, ~Cosima ([cf2]b[cf1] [sm1837[nm) became the wi
fe of [fy45,1]*[fy75,1]B;Auulow and ~then of [fy45,1]*[fy75,1]Wagner. He returne
d to Vienna in [sm1838[nm ~and to London in [sm1840[nm and [sm1841[nm. Until [sm
1847[nm he ~toured widely, incl. Russia, his mistress by now ~being Princess Car
olyn Sayn-Wittgenstein.[ep~^In [sm1848[nm he became Kapellmeister at the Weimar
~court, staying until [sm1859[nm. In this decade he made ~Weimar a pre-eminent m
us. centre, conducting ~a vast number of works, notably by Berlioz and ~by his f
riend Wagner whom he had met in [sm1842[nm. ~In [sm1850[nm he conducted the f.p.
 of [fy45,1]*[fy75,2]Lohengrin[cf1]. These ~were also rich years for Liszt's own
 work; he ~wrote his [cf2]Faust [cf1]and [cf2]Dante [cf1]syms., [sm12[nm symphon
ic ~poems, and much else. From [sm1860[nm Liszt lived in ~Rome in the Villa d'Es
te, and in [sm1865[nm took minor ~orders, becoming the Abb;Aae Liszt. He comp. m
uch ~religious mus. at this period, incl. [cf2]The Legend of St. ~Elizabeth [cf1
]and [cf2]Christus[cf1]. From [sm1869[nm he divided his ~[PN414,
0,0,L,I0]time between Rome, Weimar, and Budapest, and ~his amorous adventures we
re still the talk of ~Europe. In the last [sm5[nm years of his life he ~concentr
ated on teaching, his pupils incl. [fy45,1]*[fy75,1]Ziloty, ~[fy45,1]*[fy75,1]La
mond, [fy45,1]*[fy75,1]Rosenthal, and [fy45,1]*[fy75,1]Weingartner, and ~entered
 a new and important compositional phase ~in which his harmonic innovations, alw
ays a ~significant feature, anticipated the `impression~~ism' of Debussy, e.g. i
n [cf2]Nuages gris [cf1]and the ~[cf2]Cs;aaard;aaas macabre[cf1]. In [sm1886[nm
he made a `jubilee tour' ~to mark his [sm75[nmth birthday, revisiting Paris and
~London.[ep~^As a pianist, Liszt was, from all reliable accounts, ~among the gre
atest, if not the greatest, there has ~ever been. His comps. have taken longer t
o win a ~rightful place, but they are now recognized as ~occupying a high place
for their own virtues as ~well as for their undoubted influence on Wagner, ~R. S
trauss, and subsequent composers. The pf. ~works are in a catego
ry of their own, the ~symphonic poems developed a new art-form, the ~syms. are c
ompelling and imaginative, the ~religious works are moving and visionary, and ~t
he songs hold their own in high company. He ~remains a romantic enigma of mus.,
a genius ~with a touch of the charlatan, a virtuoso with the ~flair of an actor-
manager, a man generous to ~colleagues and to the young. His championship ~of Wa
gner in the Weimar years, with its ~subsequent effect on Brahms and Schumann, ~t
hereby causing the great schism in [sm19[nmth-cent. ~mus., had incalculable resu
lts on the art. Prin. ~works:[xm[cm~[j2][smsymphonies[nm: [fy75,2]A [fy45,1]*[fy
75,2]Faust Symphony[cf1], for ten., male ~ch., orch. ([sm1854[nm-[sm7[nm); [fy45
,1]*[fy75,2]Dante Symphony [cf1]([sm1855[nm=n[sm6[nm, ~with choral [cf2]Magnific
at [cf1]as [sm3[nmrd movt.).[ep~[smsymphonic-poems[nm: [cf2]Ce qu'on entend sur
la montagne ~[cf1](`[cf2]Bergsymphonie[cf1]') (What one hears on the moun~~tain)
 ([sm1848[nm=n[sm9[nm, orch. Raff, rev. [sm1850[nm, [sm1854[nm);
 ~[cf2]Tasso: lamento e trionfo [cf1]([sm1849[nm, orch. Conradi, rev. ~[sm1850[n
m=n[sm1[nm, orch. Raff, rev. [sm1854[nm); [cf2]Les [fy45,1]*[fy75,2]Pr;aaeludes
~[cf1]([sm1848[nm, rev. before [sm1854[nm); [fy45,1]*[fy75,2]Orpheus [cf1]([sm18
53[nm=n[sm4[nm); ~[fy45,1]*[fy75,2]Prometheus [cf1]([sm1850[nm, orch. Raff, rev.
 [sm1855[nm); [fy45,1]*[fy75,2]Ma~~zeppa [cf1]([sm1851[nm, orch. with Raff, rev.
 before [sm1854[nm; ~based on [sm1840[nm pf. study); [cf2]Festkl;auange [cf1]([s
m1853[nm); ~[cf2]H;aaero;auide fun;agebre [cf1]([sm1849[nm=n[sm50[nm, orch. Raff
, rev. [cf2]c.[cf1][sm1854[nm); ~[cf2]Hungaria [cf1]([sm1854[nm); [fy45,1]*[fy75
,2]Hamlet [cf1]([sm1858[nm); [fy45,1]*[fy75,2]Hunnensch~~lacht [cf1]([sm1856[nm=
n[sm7[nm); [cf2]Die Ideale [cf1]([sm1857[nm); [cf2]Von der Wiege ~bis zum Grabe
[cf1](From the Cradle to the Grave) ~([sm1881[nm=n[sm2[nm).[ep~[smmisc. orch[nm:
 [cf2][sm2[nm Episodes from Lenau's [fy45,1]*[fy75,2]Faust[cf1]: [cf1][sm1[nm. [
cf2]Der ~n;auachtliche Zug [cf1](The Night Ride), [sm2[nm. [cf2]
Der Tanz in ~der Dorfschenke [cf1](Dance in the Village Inn, also ~[fy45,1]*[fy7
5,2]Mephisto Waltz No. [sm1[nm[cf1]) (before [sm1861[nm); [fy45,1]*[fy75,2]Mephi
sto ~Waltz No. [sm2[nm [cf1]([sm1880[nm=n[sm1[nm); [cf2]Huldigungsmarsch [cf1]([
sm1853[nm, ~rev. [sm1857[nm, orig. for pf.); [cf2][sm3[nm Odes fun;agebres [cf1]
([cf2]Les ~Morts; La Notte; Le triomphe fun;agebre du Tasse ~[cf1]([sm1860[nm=n[
sm6[nm); [fy45,1]*[fy75,2]R;aaak;aaoczy March [cf1]([sm1865[nm); [cf2][sm6[nm [f
y45,1]*[fy75,2]Hungarian ~Rhapsodies [cf1](orch., in collab. with F. Doppler, ~f
rom pf. solos. Orch. No. [sm1[nm is pf. No. [sm14[nm, No. [sm2[nm ~(No. [sm12[nm
), No. [sm3[nm (No. [sm6[nm), No. [sm4[nm (No. [sm2[nm), No. [sm5[nm (No. ~[sm5[
nm), No. [sm6[nm (No. [sm9[nm, [sm2[nmnd  version) (date unknown).[ep~[smpiano a
nd orch[nm: Conc. No. [sm1[nm in E;yh ([sm1849[nm, collab. ~Raff; rev. [sm1853[n
m, [sm1856[nm), No. [sm2[nm in A major ([sm1839[nm, ~revs. [sm1849[nm=n[sm61[nm)
; [cf2]Mal;aaediction[cf1], pf., str. ([cf2]c.[cf1][sm1840[nm);
~[cf2]Fantasia on Themes from Beethoven's Ruins of Athens ~[cf1](?[sm1852[nm); [
cf2]Fantasia on Hungarian Folk Melodies ~[cf1]([cf2]Hungarian Fantasia[cf1], bas
ed on [cf2]Hungarian Rhap~~sody [cf1]No. [sm14[nm in F minor for solo pf.) (?[sm
1852[nm); ~[fy45,1]*[fy75,2]Totentanz [cf1]([sm1849[nm, rev. [sm1853[nm, [sm1859
[nm); [fy45,1]*[fy75,2]Rapsodie ~espagnole [cf1]([cf2]c.[cf1][sm1863[nm solo pf.
, orch. Busoni).[ep~[smopera[nm: [cf2]Don Sanche [cf1]([sm1824[nm=n[sm5[nm, coll
ab. Paer).[ep~[smsacred choral[nm: [cf2]Die [fy45,1]*[fy75,2]Legende von der hei
ligen ~Elisabeth[cf1], oratorio, sop., cont., ten., [sm3[nm bar., bass, ~ch., or
g., orch. ([sm1857[nm=n[sm62[nm); [fy45,1]*[fy75,2]Christus[cf1], oratorio, ~sop
., cont., ten., bar., bass, ch., org., orch. ([sm1862[nm=n~[sm7[nm); [cf2]Cantic
o del Sol di S. Francesco d'Assisi[cf1], bar., ~male ch., org., orch. ([sm1862[n
m, rev. [sm1880[nm=n[sm1[nm); [cf2]Mass[cf1], ~[sm4[nm male vv., org. ([sm1848[n
m, rev. [sm1859[nm; [sm2[nmnd version, ~[sm1869[nm); [cf2]Missa
solemnis[cf1], sop., cont., ten., bass, ch., ~orch. ([sm1855[nm, rev. [sm1857[nm
=n[sm8[nm); [cf2]Missa Choralis[cf1], ch., ~org. ([sm1865[nm); [cf2]Hungarian Co
ronation Mass[cf1], sop., ~cont., ten., bass, orch. ([sm1867[nm); [cf2]Requiem[c
f1], [sm2[nm ten., [sm2[nm ~bass, male vv., org., opt. brass ([sm1867[nm=n[sm8[n
m); [cf2]Psalm ~[sm13[nm[cf1], ten., ch., orch. ([sm1855[nm, rev. [sm1859[nm); [
cf2]Psalm [sm116[nm[cf1], ~male vv., pf. ([sm1869[nm); [cf2]Ave verum corpus[cf1
], ch., opt. ~org. ([sm1871[nm); [cf2]St Christopher[cf1], bar., women's ch., ~p
f., harmonium (after [sm1874[nm); [cf2]Via Crucis [cf1]([sm1878[nm=n~[sm9[nm); [
cf2]Rosario [cf1]([sm1879[nm); [cf2]Psalm [sm129[nm[cf1], bar., male vv., org. ~
([sm1881[nm); [cf2]Qui seminant in lacrimis[cf1], mixed ch., org. ~([sm1884[nm);
 [cf2]Salve Regina[cf1], unacc. ch. ([sm1885[nm).[ep~[smsecular choral[nm: [cf2]
Second Beethoven Cantata[cf1], sop., ~cont., ten., bass, double ch., orch. ([sm1
869[nm=n[sm70[nm); [cf2]An ~die K;auunstler[cf1], [sm2[nm ten.,
[sm2[nm bass, male ch., orch. ([sm1853[nm, ~orch. Raff, rev. [sm1853[nm, [sm1856
[nm); [cf2]Choruses from ~Herder's Entfesseltem Prometheus[cf1], sop., cont., [s
m2[nm ~ten., [sm2[nm bass, double ch., orch. ([sm1850[nm, orch. Raff, ~rev. [sm1
855[nm); [cf2]Hungaria [sm1848[nm[cf1], cantata, sop., ten., ~bass, male vv., or
ch. ([sm1848[nm, orch. Conradi); [cf2]F;auur ~M;auannergesang[cf1], [sm12[nm son
gs, some with acc. ([sm1842[nm=n~[sm59[nm).[ep~[smchamber music[nm: [cf2]Romance
 oubli;aaee[cf1], pf. qt. ([sm1880[nm); [cf2]La ~lugubre gondola[cf1], pf. trio
([sm1882[nm, also pf. solo); [cf2]At ~Richard Wagner's Grave[cf1], str. qt., har
p ([sm1883[nm).[ep~[smpiano[nm: [cf2];aaEtude en [sm12[nm Exercises [cf1]([sm182
6[nm); [cf2][sm24[nm Grandes ~;aaEtudes [cf1]([sm1837[nm); [fy45,1]*[fy75,2]Maze
ppa [cf1]([sm1840[nm, orch. [sm1851[nm); [cf2][sm6[nm ~[fy45,1]*[fy75,2];aaEtude
s d'ex;aaecution  transcendante d'apr;ages Paganini ~[cf1]([sm1838[nm, rev. [sm1
851[nm as [cf2]Grandes ;aaEtudes de Paganini[cf1]); ~[cf2][sm12[
nm [fy45,1]*[fy75,2];aaEtudes d'ex;aaecution transcendante [cf1]([cf2]Transcende
n~~tal Studies[cf1]) ([sm1851[nm); [cf2]Apparitions [cf1]([sm1834[nm); [cf2]Albu
m d'un ~voyageur [cf1]([sm3[nm books, [sm1835[nm=n[sm6[nm); [cf2][sm3[nm [fy45,1
]*[fy75,2]Sonetti del Petrarca ~[cf1](?[sm1839[nm=n[sm46[nm); [cf2]Venezia e Nap
oli [cf1]([cf2]c.[cf1][sm1840[nm, rev. [sm1859[nm); ~[fy45,1]*[fy75,2]Ann;aaees
de P;agelerinage[cf1], Book [sm1[nm `Switzerland', [sm9[nm ~pieces ([sm1848[nm=n
[sm54[nm, all but [sm2[nm pieces based on [cf2]Album ~d'un  voyageur[cf1]), Book
 [sm2[nm `Italy', [sm7[nm pieces ([sm1837[nm=n[sm49[nm), ~Book [sm3[nm, [sm7[nm
pieces ([sm1867[nm=n[sm77[nm); [cf2]Harmonies po;aaetiques ~et r;aaeligieuses[cf
1], [sm10[nm pieces ([sm1845[nm=n[sm52[nm); [cf2][sm6[nm [fy45,1]*[fy75,2]Consol
ations ~[cf1]([sm1849[nm=n[sm50[nm); [cf2]Grosses Konzertsolo [cf1](?[sm1849[nm,
 arr. [sm2[nm pf. ~[cf2]c.[cf1][sm1855[nm as [cf2]Concerto path;aaetique[cf1], a
nd for pf. and ~orch. as [cf2]Grand Solo de Concert [cf1]?[sm185
0[nm); [fy45,1]*[fy75,2]Liebes~~tr;auaume=m[sm3[nm Notturnos [cf1]([cf2]c.[cf1][
sm1850[nm, transcr. of songs); ~[cf2]Scherzo und Marsch [cf1]([sm1851[nm); Sonat
a in B minor ~([sm1852=n3[nm); [cf2]Huldigungsmarsch [cf1]([sm1853[nm, arr. for
orch. ~[sm1853[nm, rev. [sm1857[nm); [cf2]Berceuse [cf1]([sm1854[nm, rev. [sm186
2[nm); [cf2][sm2[nm ~Concert Studies [cf1]([cf2]Waldesrauschen, Gnomenreigen[cf1
]) ~[PN415,0,0,R,I0](?[sm1862[nm=n[sm3[nm); [cf2][sm2[nm L;aaegendes [cf1](St Fr
ancis of Assisi ~preaching to the birds, St Francis of Paule ~walking on the wav
es) ([sm1863[nm); `Weinen, Klagen, ~Sorgen, Zagen' prelude ([sm1859[nm); [cf2]Ra
psodie espag~~nole [cf1]([cf2]c.[cf1][sm1863[nm); [cf2]Weihnachtsbaum[cf1], [sm1
2[nm pieces ([sm1874[nm=n~[sm6[nm); [cf2]Nuages gris [cf1]([sm1881[nm); [cf2]La
lugubre gondola [cf1]([sm1882[nm); ~[cf2]R.W.-Venezia [cf1]([sm1883[nm); [fy45,1
]*[fy75,2]Mephisto Waltz No. [sm3[nm ~[cf1]([sm1883[nm); [cf2][sm4[nm Valses oub
li;aaees [cf1]([sm1881[nm=n?[sm1885[nm); [cf2]Cs;aaard;aaas ~mac
abre [cf1]([sm1881[nm=n[sm2[nm); [cf2]Mephisto Waltz No. [sm4[nm [cf1]([sm1885[n
m); ~[cf2]Cs;aaard;aaas obstin;aae [cf1]([sm1886[nm); [cf2][sm19[nm [fy45,1]*[fy
75,2]Hungarian Rhapsodies ~[cf1]([sm1846[nm=n[sm85[nm, see also Orch.) (No. [sm1
[nm in C;yi, [sm1846[nm; ~No. [sm2[nm in C;yi, [sm1847[nm; No. [sm3[nm in B;yh;
No. [sm4[nm in E;yh; No. ~[sm5[nm [cf2]Hero;auide-el;aaegiaque [cf1]in E minor;
No. [sm6[nm in D;yh; No. ~[sm7[nm in D minor; No. [sm8[nm in F;yi; No. [sm9[nm i
n E;yh, [sm1[nmst ~version pubd. [sm1848[nm, [sm2[nmnd version pubd. [sm1853[nm;
 ~No. [sm10[nm in E; No. [sm11[nm in A minor; No. [sm12[nm in C;yi; ~No. [sm13[n
m in A minor; No. [sm14[nm in F minor; No. [sm15[nm ~[cf2]R;aaak;aaoczy March[cf
1], [sm1[nmst version pubd. [sm1851[nm, [sm2[nmnd ~version pubd. [sm1871[nm; No.
 [sm16[nm in A minor, [sm1882[nm; ~No. [sm17[nm in D minor; No. [sm18[nm in C;yi
, [sm1885[nm; No. [sm19[nm ~in D minor, [sm1885[nm).[ep~[smpiano transcriptions[
nm: Liszt's transcr. of his own ~works are too numerous for list
ing here. A ~selective list follows of his transcr. of works by ~other composers
 (operatic transcr. are listed ~separately): [smj. s. bach[nm: [cf2]Fantasia and
 Fugue [cf1]in G ~minor (BWV [sm542[nm) ([sm1863[nm); [smbeethoven[nm: Syms. ~No
s. [sm5[nm, [sm6[nm, and [sm7[nm ([sm1837[nm), remaining [sm6[nm ([sm1863[nm=n[s
m4[nm), ~[cf2]Septet[cf1], Op. [sm20[nm ([sm1841[nm); [smberlioz[nm: [cf2]Sympho
nie fantas~~tique [cf1]([sm1833[nm, finale rev. [sm1864[nm=n[sm5[nm), [cf2]Harol
d en Italie ~[cf1]([cf2]c.[cf1][sm1836[nm, rev. [sm1862[nm), [cf2]Danse des Sylp
hes [cf1]([cf2]c.[cf1][sm1860[nm); ~[smchopin[nm: [cf2][sm6[nm Chants Polonais [
cf1]([sm1847[nm=n[sm60[nm); [smmendels~~sohn[nm: [cf2][sm7[nm Lieder [cf1]([sm18
40[nm); [smpaganini[nm: [cf2]Grand Fantasia ~de bravoure sur La Clochette [cf1](
on [cf2]La Campanella ~[cf1]from Violin Conc. in B minor, Op. [sm7[nm) ([sm1831[
nm=n[sm2[nm, ~rev. as No. [sm3[nm of [cf2];aaEtudes d'ex;aaecution transcendante
 ~d'apr;ages Paganini[cf1], [sm1838[nm); [smrossini[nm: [cf2][sm
12[nm Soir;aaees ~Musicales [cf1]([sm1837[nm), [cf2]Ov., William Tell [cf1]([sm1
838[nm); [cf5]SAINT[cf1]-~[cf5]SA;auENS[cf1]: [cf2]Danse macabre [cf1]([sm1876[n
m); [smschubert[nm: [cf2][sm12[nm Lieder ~[cf1]([sm1837[nm=n[sm8[nm), [cf2]Schwa
nengesang [cf1]([sm1838[nm=n[sm9[nm), [cf2]Winterreise ~[cf1]([sm1839[nm); [smsc
humann[nm: [cf2]Widmung [cf1]([sm1848[nm).[ep~[smpiano transcriptions from opera
s[nm: [smbellini[nm: [cf2]R;aaem-[fjiniscences des Puritains [cf1]([sm1836[nm),
[cf2]Hexam;aaeron [cf1](vars. ~on march from [cf2]I Puritani[cf1], collab. with
Thalberg, ~Pixis, Herz, Czerny, Chopin) ([sm1837[nm), [cf2]Fantaisie ~sur les mo
tifs favoris de l'op;aaera La Sonnambula ~[cf1]([sm1839[nm, rev. [sm1840[nm=n[sm
1[nm), [cf2]R;aaeminiscences de Norma ~[cf1]([sm1841[nm); [smdonizetti[nm: [cf2]
R;aaeminiscences de Lucia di ~Lammermoor [cf1]([sm1835[nm=n[sm6[nm), [cf2]R;aaem
iniscences de Lucrezia ~Borgia [cf1]([sm1840[nm); [cf5]HAL;aaEVY[cf1]: [cf2]R;aa
eminiscences de La Juive ~[cf1]([sm1835[nm); [smmeyerbeer[nm: [c
f2]Grande Fantaisie sur des ~th;agemes de l'opera Les Huguenots [cf1]([sm1836[nm
), [cf2]R;aaeminis~~cences de Robert le Diable [cf1]([sm1841[nm); [smmozart[nm:
~[cf2]R;aaeminiscences de Don Juan [cf1]([sm1841[nm); [smtchaikovsky[nm: ~[cf2]E
ugene Onegin: Polonaise [cf1]([sm1880[nm); [smverdi[nm: [cf2]Concert ~Paraphrase
 on Themes from Ernani [cf1]([sm1847[nm), [cf2]Miserere ~du Trovatore [cf1]([sm1
859[nm), [cf2]Rigoletto: paraphrase de ~concert [cf1]([sm1859[nm), [cf2]Don Carl
os: Coro di festa e marcia ~funebre [cf1]([sm1867[nm=n[sm8[nm), [cf2]R;aaeminisc
ences de Simone Bocca~~negra [cf1]([sm1882[nm); [smwagner[nm: [cf2]Phantasiest;a
uuck on themes from Rienzi [cf1]([sm1859[nm), Ov. [cf2]Tannh;auauser ~[cf1]([sm1
848[nm), [cf2][sm2[nm Pieces from Lohengrin [cf1]([sm1854[nm), [cf2]Isolde's ~Li
ebestod [cf1]([sm1867[nm), [cf2]Am stillen Herd [cf1]from [cf2]Die ~Meistersinge
r [cf1]([sm1871[nm), [cf2]Feierlicher Marsch zum ~heiligen Gral, Parsifal [cf1](
[sm1882[nm); [smweber[nm: [cf2]Fantasia on ~Themes from Der Frei
sch;auutz [cf1]([sm1840[nm), Ov. [cf2]Oberon ~[cf1]([sm1843[nm), Ov. [cf2]Der Fr
eisch;auutz [cf1]([sm1846[nm).[ep~[smsongs[nm (selected list): [cf2]Tre [fy45,1]
*[fy75,2]Sonetti di Petrarca [cf1]([sm1838[nm=n~[sm9[nm); [cf2]Die Loreley [cf1]
(Heine) ([sm1841[nm); [cf2]Mignons Lied ~[cf1](Goethe) ([sm1842[nm); [cf2]Es war
 ein K;auonig in Thule ~[cf1](Goethe) ([sm1842[nm); [cf2]Oh! quand je dors [cf1]
(Hugo) ([sm1842[nm); ~[cf2]Du bist wie eine Blume [cf1](Heine) ([cf2]c.[cf1][sm1
843[nm); [fy45,1]*[fy75,2]Jeanne ~d'Arc au b;afucher [cf1](Dumas) ([sm1845[nm, a
rr. v. and orch. ~[sm1858[nm, rev. [sm1874[nm); [cf2]En ces lieux [cf1](Monnier)
 ([sm1854[nm); ~[cf2]Die drei Zigeuner [cf1](Lenau) ([sm1860[nm); [cf2]Go not, h
appy ~day [cf1](Tennyson) ([sm1879[nm); [cf2]Verlassen [cf1](Michell) ~([sm1880[
nm).[ep~[smorgan[nm: [cf2]Prelude and Fugue on the Name of Bach ~[cf1]([sm1885[n
m, rev. [sm1870[nm); [cf2]Requiem [cf1]([sm1879[nm); [cf2]At Richard ~Wagner's G
rave [cf1]([sm1883[nm).[cm~[j1]Litaize, Gaston[fy75,1] ([cf2]b[c
f1] M;aaenil-sur-Belvitte, [sm1909[nm). Fr. ~organist and composer, blind from y
outh. Studied ~Paris Cons. with M. Dupr;aae (org.) ~and Busser (comp.). Organist
, St Fran;alcois-Xavier, Paris, from [sm1946[nm. ~Composer of org. and church mu
s., also pf. sonata ~and pf. concertino.[cm~Litany. [fy75,1]Christian prayer for
 supplication=m`De~~liver us, O Lord', etc.=moften set to mus. ~Sometimes the ti
tle of instr. works, e.g. [fy45,1]*[fy75,1]Fricker's ~[cf2]Litany [cf1]for doubl
e str. orch.[cm~Literes, Antonio[fy75,1] ([cf2]b[cf1] Art;aaa, Majorca, [sm1673[
nm; [cf2]d[cf1] ~Madrid, [sm1747[nm). Sp. composer and organist. Org~~[chanist,
Chapel Royal, Madrid, from [sm1693[nm. Wrote ~church mus., operas, [cf2]zarzuela
s [cf1](incl. [cf2]Accis y ~Galatea[cf1], [sm1708[nm).[cm~Litolff, Henry Charles
 [fy75,1]([cf2]b[cf1] London, [sm1818[nm; [cf2]d[cf1] Paris, ~[sm1891[nm). Fr. c
omposer and pianist of Anglo-Alsatian ~parentage. Studied with [fy45,1]*[fy75,1]
Moscheles. D;Aaebut Lon~~don [sm1832[nm. Settled in Paris [sm183
5[nm. Cond. at Warsaw ~[sm1841[nm=n[sm4[nm. Became mus. publisher, Brunswick, ~[
sm1851[nm. Pioneered popular cheap edns. [sm1861[nm. ~Returned to Paris to compo
se. Wrote [sm6[nm operas, ~operettas, oratorio, [cf2]Scenes from Goethe's Faust[
cf1], pf. ~solos, chamber mus., and [sm5[nm [cf2]Concerts-symphoniques ~[cf1]for
 pf. and orch. (No. [sm4[nm, [cf2]c.[cf1][sm1852[nm, contains often-~played [cf2
]Scherzo[cf1]).[cm~Little Clavier-book [fy75,1](Bach). See[cf2] Klavierb;auuchle
in[cf1].[fj[ol0][cm~Little Night Music, A. [fy75,1]Eng. trans. of Mozart's ~titl
e [cf2]Eine [fy45,1]*[fy75,2]kleine Nachtmusik. [cf1]Also title of Amer. ~musica
l by Stephen [fy45,1]*[fy75,1]Sondheim.[cm~Little Organ-book [fy75,1](J. S. Bach
). See [cf2]Orgelb;Auuchlein[cf1].[cm~Little Organ Mass [fy75,1](Haydn). See [cf
2]Kleine Orgelmesse[cf1].[cm~`Little Russian' Symphony. [fy75,1]Nickname for ~[f
y45,1]*[fy75,1]Tchaikovsky's Sym. No. [sm2[nm in C minor ([sm1872[nm), so-~calle
d because of use of folk-songs from Ukraine ~(`Little Russia').
[sm2[nmnd vers. [sm1879[nm=n[sm80[nm.[cm~Little Sweep, The [fy75,1](Britten). Se
e [cf2]Let's Make an Opera[cf1].[cm~Liturgy. [fy75,1]This, properly, means the s
ervice of the ~Christian Eucharist, but in ordinary usage is now ~[PN416,0,0,L,I
0]applied to any written and officially authorized ~form of service. The evoluti
on of liturgies has ~had a great influence on the development of ~mus., especial
ly because, for many centuries, ~almost the only literate and trained musicians
~were those of the Church and the only fully ~organized mus. that of its service
s.[cm~Lituus. [fy75,1]Ancient Roman cavalry tpt., made of ~bronze. Bell was curv
ed and upturned to give ~shape of letter J. In Cantata No. [sm118[nm, Bach score
d ~for [sm2[nm [cf2]litui [cf1](ten. tpts.).[xm[cm~[j1]Liuto [fy75,1](It.). The
[fy45,1]*[fy75,1]Lute.[cm~Liverpool Philharmonic Orchestra. [fy75,1]See [cf2]Roy
al ~Liverpool Philharmonic Orchestra[cf1].[cm~L.L.C.M. [fy75,1]Licentiate of the
 London Coll. of Mus.[cm~Llewellyn, William [fy75,1](Benjamin Ja
mes) ([cf2]b [cf1]Farn~~worth, [sm1925[nm). Eng. cond., composer, and teacher. ~
Studied RAM. Ass. mus. master, Charterhouse ~Sch. [sm1950[nm=n[sm65[nm, dir. of
mus. from [sm1965[nm. Founder ~and cond. Linden Singers [sm1950[nm=n[sm9[nm. Com
poser of ~hymns and songs.[cm~Llobet, Miguel [fy75,1]([cf2]b [cf1]Barcelona, [sm
1878[nm; [cf2]d[cf1] Barcelona, ~[sm1938[nm). Sp. guitarist and composer. Pupil
of ~T;aaarrega. Settled in Paris [sm1902[nm=n[sm14[nm, making exten~~sive tours.
 Visited S. America [sm1910[nm and [sm1912[nm, ~USA [sm1915[nm=n[sm17[nm.[cm~Llo
yd, Charles [fy75,1](Harford) ([cf2]b[cf1] Thornbury, Glos., ~[sm1849[nm; [cf2]d
[cf1] Slough, [sm1919[nm). Eng. organist and com~~poser. Studied Oxford Univ. Or
ganist, Gloucester ~Cath. [sm1876[nm=n[sm82[nm, Ch. Ch. Cath., Oxford [sm1882[nm
=n[sm92[nm. ~Prof. of organ and comp. RCM [sm1887[nm=n[sm92[nm. Mus. ~dir., Eton
 Coll. [sm1892[nm=n[sm1914[nm. Organist, Chapel ~Royal from [sm1914[nm. Founder
Oxford Univ. Mus. ~Club. Wrote cantatas, church mus., motet, org
. ~conc., etc.[cm~Lloyd, Edward [fy75,1]([cf2]b[cf1] London, [sm1845[nm; [cf2]d
[cf1]Worthing, ~[sm1927[nm). Eng. ten. Chorister, Westminster Abbey ~to [sm1860[
nm. Gentleman of Chapel Royal [sm1869[nm=n[sm71[nm. ~Had great success at Glouce
ster Fest. [sm1871[nm in ~Bach's [cf2]St Matthew Passion[cf1], leading to outsta
nding ~career in oratorios and cantatas. Amer. d;aaebut ~[sm1888[nm. Sang ten. p
art at f.p. of Elgar's [cf2]King Olaf[cf1], ~[sm1896[nm, and was first Gerontius
 in[sm1900[nm, the year of ~his retirement.[cm~Lloyd, George [fy75,1]([cf2]b [cf
1]St Ives, Cornwall, [sm1913[nm). Eng. ~composer. Studied vn. with Albert [fy45,
1]*[fy75,1]Sammons ~and comp. with H. Farjeon. Composer of operas ~to libs. by h
is father, William Lloyd ([cf2]Iernin[cf1], [sm1933[nm=n~[sm4[nm; [cf2]The Serf[
cf1], [sm1936[nm=n[sm8[nm; and [cf2]John Socman[cf1], [sm1951[nm); [sm10[nm ~sym
s., [sm4[nm pf. concs., [sm2[nm vn. concs., pf. and vn. pieces, ~etc. O.B.E. [sm
1970[nm.[cm~Lloyd, Jonathan [fy75,1]([cf2]b [cf1]London, [sm1948
[nm). Eng. com~~poser. Studied comp. with E. Spira [sm1963[nm=n[sm5[nm, at ~RCM
[sm1965[nm=n[sm9[nm (comp. with Roxburgh, Lambert, ~and T. Cary). Attended Liget
i's classes at Tangle~~wood, [sm1973[nm. Lived in Paris [sm1969[nm=n[sm70[nm. Wa
s busker ~and street musician [sm1974[nm=n[sm7[nm. Works incl.:[xm[cm~[j2][smmus
ic theatre[nm: [cf2]Scattered Ruins[cf1], sop., ens. ([sm1973[nm); ~[cf2]Musices
 Genus[cf1], sop., ens. ([sm1974[nm).[ep~[smorch[nm: [cf2]Time Caught by the Tai
l[cf1], str. and perc. ([sm1969[nm); ~[cf2]Cantique [cf1]([sm1968[nm, rev. [sm19
70[nm); Va. Conc. ([sm1979[nm=n[sm80[nm); ~[cf2]Fantasy[cf1], vn., orch. ([sm198
0[nm); [cf2][sm3[nm Dances [cf1]([sm1981[nm=n[sm2[nm); ~[cf2]Rhapsody[cf1], vc.
and orch. ([sm1982[nm).[ep~[smvoice[nm([sms[nm) [smand instr[nm: [cf2]Everything
 Returns[cf1], sop. (word~~less) and orch. ([sm1977[nm=n[sm8[nm); [cf2]Towards t
he Whitening ~Dawn[cf1], ch., chamber orch. ([sm1980[nm); [cf2]If I Could Turn ~
You On[cf1], sop., chamber orch. ([sm1981[nm).[ep~[smensemble[nm
: [cf2]Won't It Ever be Morning? [cf1]([sm1980[nm); ~[cf2]Waiting for Gozo [cf1]
([sm1981[nm); [cf2]Don't Mention the War[cf1], ~[sm8[nm players ([sm1982[nm); [c
f2]The Shorelines of Certainty, [cf1][sm9[nm ~instr. ([sm1984[nm).[ep~[smvocal[n
m: [cf2]Till the Wind Blows[cf1], sop. ([sm1969[nm); [cf2][sm3[nm Songs[cf1], v.
, ~va., pf. ([sm1980[nm).[ep~[smchamber music[nm: [cf2]John's Journal[cf1], sax.
, pf. ([sm1980[nm); Str. ~Quintets No. [sm1[nm ([sm1982[nm), No. [sm2[nm, mandol
in, lute, ~guitar, hp., db. ([sm1982[nm); wind quintet ([sm1982[nm); ~brass quin
tet ([sm1982[nm).[cm~[j1]Lloyd, Richard [fy75,1]([cf2]b[cf1] Cheshire, [sm1933[n
m). Eng. organist ~and composer. Studied Lichfield Cath. Sch. and ~Cambridge Uni
v. Sub-organist, Salisbury Cath. ~[sm1957[nm=n[sm66[nm, organist, Hereford Cath.
 and cond. [sm3[nm ~Choirs Fest. [sm1966[nm=n[sm74[nm, Durham Cath. from [sm1974
[nm. ~Composer of anthems etc., mus. for children and ~incidental mus.[cm~Lloyd,
 Robert [fy75,1]([cf2]b [cf1]Southend-on-Sea, [sm1940[nm). Eng.
~bass-bar. Studied London Opera Centre and with ~Otakar [fy45,1]*[fy75,1]Kraus.
SW [sm1969[nm. CG from [sm1972[nm, singing ~Philip II in [cf2]Don Carlos [cf1]an
d the title-role in [cf2]Boris ~Godunov [cf1][sm1983[nm. La Scala, Milan, [sm197
6[nm ([cf2]Les Troyens[cf1]). ~Munich Critics' Prize [sm1979[nm. Frequent visito
r to ~Aix-en-Provence opera. Sang Gurnemanz in ~Syberberg film of [cf2]Parsifal[
cf1], [sm1981[nm. Fine interpreter ~of Schubert's [cf2]Winterreise[cf1]. Recorde
d Elgar's [cf2]Dream ~of Gerontius [cf1]with Boult.[cm~Lloyd-Jones, David [fy75,
1](Mathias) ([cf2]b[cf1] London, [sm1934[nm). ~Eng. cond. Studied Oxford Univ. G
uest cond. ~with many opera cos., incl. CG (d;aaebut [sm1971[nm, [cf2]Boris ~God
unov[cf1]), ENO, Wexford, Scottish Opera, and ~WNO, and BBC TV opera. Prin. cond
. Opera ~North (Leeds) from [sm1978[nm. Ed. full score of ~Mussorgsky's [fy45,1]
*[fy75,2]Boris Godunov[cf1], [sm1975[nm, and Borodin's ~[cf2]Prince Igor[cf1], [
sm1982[nm. Cond. f. Eng. ps. of Faur;aae's ~[cf2]P;aaen;aaelope
[cf1]([sm1970[nm) and Haydn's [cf2]La fedelt;aga premiata ~[cf1]([sm1971[nm) and
 f. Eng. stage p. of Prokofiev's [cf2]War and ~Peace [cf1]([sm1973[nm). Cond. f.
p. of Josephs's [cf2]Rebecca[cf1], [sm1983[nm.[fj[cm[el-8]~Lloyd Webber, Andrew
[fy75,1]([cf2]b[cf1] London, [sm1948[nm). Eng. ~composer. Studied Oxford Univ.,
GSM, and RCM. ~With Tim Rice ([cf2]b[cf1] [sm1944[nm) as librettist, comp. highl
y ~successful musicals, [cf2]Joseph and the Amazing Tech~~nicolor Dreamcoat [cf1
]([sm1968[nm), [cf2]Jesus Christ Superstar ~[cf1]([sm1970[nm), and [cf2]Evita [c
f1]([sm1976[nm). Wrote [cf2]Jeeves [cf1]([sm1975[nm) on ~text by Alan Ayckbourn,
 [cf2]Variations [cf1]([sm1978[nm) for vc. ~and jazz ens. (for brother Julian [f
y45,1]*[fy75,1]Lloyd Webber), ~musical [cf2]Cats [cf1]based on poems by T. S. El
iot ([sm1981[nm), ~[cf2]Song and Dance [cf1]([sm1983[nm), [cf2]Starlight Express
 [cf1]([sm1984[nm). ~Also film music.[cm~Lloyd Webber, Julian [fy75,1]([cf2]b [c
f1]London, [sm1951[nm). Eng. ~cellist. Studied RCM, and with P.
[fy45,1]*[fy75,1]Fournier in ~[PN417,0,0,R,I0]Geneva, [sm1973[nm. D;Aaebut Londo
n [sm1971[nm. Gave first ~London perf. of Bliss conc. at composer's request, ~[s
m1972[nm. Rodrigo wrote conc. for him, [sm1981[nm. Soloist ~with leading Brit. o
rchs.[cm~Lobe, Johann [fy75,1](Christian) ([cf2]b[cf1] Weimar, [sm1797[nm; [cf2]
d ~[cf1]Leipzig, [sm1881[nm). Ger. composer, theorist, and ~flautist. Studied wi
th Riemann. Fl. soloist, Leip~~[chzig, [sm1811[nm. Played fl. and va. in Weimar
court ~orch. until [sm1842[nm, then founded sch. of mus. there. ~Ed., [cf2]Allge
meine Musikalische Zeitung [cf1][sm1846[nm=n[sm8[nm. Wrote ~several theoretical
works pub. between [sm1846[nm and ~[sm1872[nm. Wrote [sm5[nm operas, [sm2[nm sym
s., chamber mus.[cm~Lobgesang [fy75,1](Hymn of Praise). Symphony-cantata ~in B;y
h (Sym. No. [sm2[nm) by Mendelssohn for ch. and ~orch., Op. [sm52[nm, in [sm4[nm
 movements of which only last ~is choral. F.p. Leipzig [sm1840[nm, Birmingham [s
m1840[nm.[rf[cm~Lobkowitz, [fy75,1](Prince) [fy65][cf3]Joseph Fr
anz Maximilian ~[fy75,1]([cf2]b [cf1]Roudnice nad Labem, [sm1772[nm; [cf2]d [cf1
]T;akrebo;akn, [sm1816[nm). ~Member of Bohemian aristocratic family who ~had a t
radition of patronage of mus. Sang bass in ~Handel's [cf2]Alexander's Feast [cf1
]in Vienna in [sm1812[nm. ~Also violinist and cellist. On board of administra~~t
ors of Vienna court theatres, [sm1807[nm=n[sm14[nm, being sole ~dir. of opera. F
ounder-member of Gesellschaft ~der Musikfreunde. Commissioned Haydn's Op. ~[sm77
[nm str. qts. F.p. of Beethoven's `Eroica' Sym. given ~in his home [sm1804[nm. B
eethoven dedicated his Op. ~[sm18[nm str. qts., the [sm3[nmrd, [sm5[nmth, and [s
m6[nmth Syms., the Triple ~Conc., the str. qt. Op. [sm74[nm, and the song-cycle
[cf2]An ~die ferne Geliebte[cf1], to him.[cm~Locatelli, Pietro [fy75,1]([cf2]b [
cf1]Bergamo, [sm1695[nm; [cf2]d[cf1] Amster~~dam, [sm1764[nm). It. violinist and
 composer. Pupil of ~[fy45,1]*[fy75,1]Corelli in Rome. Settled in Amsterdam wher
e ~he est. concert series. A great virtuoso, he ~introduced new
effects and techniques. Comp. [sm12[nm ~concerti grossi, [cf2]L'Arte del Violino
, [cf1]containing [sm12[nm ~concs. and [sm24[nm caprices for str. qt. and contin
uo, [sm6[nm ~vn. concs., [sm6[nm str. trios, [sm12[nm solo vn. sonatas, etc.[cm~
Locke [fy75,1](Lock), [fy65][cf3]Matthew [fy75,1]([cf2]b [cf1]Exeter, [cf2]c[cf1
].[sm1622[nm; [cf2]d[cf1] ~London, [sm1677[nm). Eng. composer, esp. of th. mus.
~Composer-in-ordinary to Charles II, [sm1661[nm. Wrote ~incidental mus. for Shad
well's and Davenant's ~versions of Shakespeare plays (e.g. [cf2]Macbeth [cf1]and
 ~[cf2]The Tempest[cf1]), many anthems, [sm6[nm suites (some for ~recorder), [cf
2]Music for his Majesty's Sackbuts and ~Cornetts[cf1], [cf2]Melothesia [cf1](stu
dies for continuo, [sm1673[nm). ~Also wrote pamphlets defending his style.[cm~Lo
ckhart, James [fy75,1](Lawrence) ([cf2]b [cf1]Edinburgh, ~[sm1930[nm). Scottish
cond., organist, and pianist. ~Studied Edinburgh Univ. and RCM. Ass. organist ~a
nd chorusmaster, St Giles Cath., Edinburgh, ~[sm1946[nm=n[sm51[n
m; organist and choirmaster, St John the ~Divine, Kennington, [sm1951[nm=n[sm3[n
m, All Souls, Langham ~Place, [sm1953[nm=n[sm4[nm. Apprentice cond. Yorkshire S.
O. ~[sm1954[nm=n[sm5[nm. Ass. cond. Munster Opera [sm1955[nm=n[sm6[nm, ~Bavarian
 State Opera, Munich, [sm1956[nm=n[sm7[nm, Glynde~~bourne [sm1957[nm=n[sm9[nm, r
;aaep;aaetiteur Glyndebourne [sm1962[nm=n~[sm8[nm. Prof. of cond. RCM [sm1962[nm
=n[sm72[nm. Mus. dir. WNO ~[sm1968[nm=n[sm73[nm; cond. Kassel Opera from [sm1972
[nm. Regular ~accompanist to sop. Margaret Price.[cm~Lockspeiser, Edward [fy75,1
]([cf2]b[cf1] London, [sm1905[nm; [cf2]d [cf1]Alfris~~ton, Sussex, [sm1973[nm).
Eng. critic and musicologist. ~Studied RCM, in Paris with N. Boulanger, and in ~
Berlin. On BBC staff [sm1942[nm=n[sm51[nm. Authority on ~Debussy, on whom he wro
te several books. Also ~author of books on Berlioz, Bizet, and Tchaikov~~sky.[cm
~Lockwood, Normand [fy75,1]([cf2]b[cf1] NY, [sm1906[nm). Amer. ~composer. Won Am
er. [cf2]Prix de Rome [cf1][sm1929[nm, ~studying with Boulanger
and Respighi. Assoc. ~prof. of comp., Oberlin Coll., [sm1933[nm=n[sm45[nm, after
wards ~teaching at several univs. Prof. of comp., Denver ~Univ. [sm1961[nm=n[sm7
1[nm. Comps. incl. [sm4[nm operas, sym., and ~many choral works incl. several Wh
itman set~~tings.[cm~Loco [fy75,1](It.). Place. Term used after a sign indicatin
g ~perf. an octave higher or lower than written ([cf2][sm8[nmva ~sopra[cf1], or
[cf2][sm8[nmva bassa[cf1]) to remind the performer that ~the effect of that sign
 is now cancelled. The ~expression [cf2]al loco [cf1](at the place) is often use
d.[cm~Loder, Edward [fy75,1](=+=+James) ([cf2]b [cf1]Bath, [sm1813[nm; [cf2]d[cf
1] London, ~[sm1865[nm). Eng. composer and cond. Studied at ~Frankfurt with Ferd
inand Ries. Cond. opera in ~London and Manchester (with [fy45,1]*[fy75,1]Hall;aa
e). Comp. ~operas, cantata, str. qts., and many songs, incl. ~[cf2]The Brooklet
[cf1](set by Schubert as [cf2]Wohin?[cf1]). His  opera ~[cf2]Raymond and Agnes [
cf1]([sm1855[nm) was  revived in Cam~~bridge, [sm1966[nm.[cm~Lod
ger, The. [fy75,1]Opera in [sm2[nm acts by Phyllis Tate to ~lib. by David Frankl
in based on novel by Mrs ~Belloc-Lowndes. Prod. RAM London [sm1960[nm, ~Manchest
er RMCM [sm1970[nm. The lodger of the title ~is Jack the Ripper.[xm[cm~[ol0][ep~
[xp[te~









[do19][j99]~~~~~~[sm153842[nm_LA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmLA[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm1[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm311[nm[cm~Collier[cm7[cm10.4.85[cm~3[cm~~~~[ap[j1]Lodo;auiska. [
fy75,1]Opera in [sm3[nm acts by Cherubini to lib. by ~Fillette-Loraux. Prod. Par
is [sm1791[nm, NY [sm1826[nm. Also ~subject of operas by [fy45,1]*[fy75,1]Kreutz
er ([sm1791[nm), [fy45,1]*[fy75,1]Storace ~([sm1794[nm), and J. [fy45,1]*[fy75,1
]Mayr ([sm1796[nm).[cm~Loeffler, Charles [fy75,1](Martin Tornow) ([cf2]b[cf1] Mu
lhouse, ~Alsace, [sm1861[nm; [cf2]d [cf1]Medfield, Mass., [sm1935[nm). Alsatian-
~Amer. composer and violinist. Son of writer ~whose pseudonym was Tornow. Childh
ood in ~Russia, Hungary, and Switzerland. Studied vn. in ~Berlin and later in Pa
ris with Massart; comp. with ~[fy45,1]*[fy75,1]Guiraud. Played in private orch.
In [sm1881[nm went ~to USA, becoming deputy leader Boston S.O., ~[sm1882[nm, sta
ying until [sm1903[nm, after which he concen~~trated on comp. Wo
rks, which reflect Fr. impres~~sionist techniques, incl. symphonic poems, choral
 ~settings (incl. Whitman's [cf2]Beat! Beat! Drums![cf1]), ~chamber mus., and so
ngs. Many unpub. pieces.[cm~Loeillet, Jacques [fy75,1]([cf2]b [cf1]Ghent, [sm168
5[nm; [cf2]d[cf1] Ghent, [sm1748[nm). ~Belg. composer, brother of Jean Baptiste
[fy45,1]*[fy75,1]Loeillet. ~Also flautist, oboist, and violinist. Oboist at ~Mun
ich.[cf2] Ma;afitre de chapelle [cf1]to Louis XV from ~[sm1727[nm. Wrote fl. son
atas, vn. pieces, etc.[cm~Loeillet, Jean Baptiste [fy75,1]([cf2]b[cf1] Ghent, [s
m1680[nm; [cf2]d[cf1] London, ~[sm1730[nm). Belg. composer, flautist, and harpsi
chord~~ist. Settled in London [sm1705[nm, playing in th. orch. ~[PN418,0,0,L,I0]
and teaching hpd. Introduced transverse fl. to ~London. Comp. many works for his
 instrs.[cm~Loesser, Frank [fy75,1]([cf2]b [cf1]NY, [sm1910[nm; [cf2]d[cf1] NY,
[sm1969[nm). Amer. ~composer. Wrote several successful Broadway ~musicals ([cf2]
The Most Happy Fella[cf1], [cf2]Guys and Dolls[cf1], ~[cf2]How t
o succeed in Business Without Really Trying) ~[cf1]and many songs.[cm~Loewe, Fre
derick [fy75,1]([cf2]b [cf1]Vienna, [sm1904[nm). Austrian-~born (later Amer.) co
mposer. Studied pf. with ~Busoni and d'Albert, comp with Rezni;akcek in ~Berlin.
 Settled in USA [sm1924[nm. Wrote mus. for ~[cf2]Brigadoon, Paint Your Wagon[cf1
], [fy45,1]*[fy75,2]My Fair Lady[cf1] ([sm1956[nm ~mus. version of Shaw's [cf2]P
ygmalion[cf1]), [cf2]Camelot [cf1](mus. ~version of White's [cf2]The Once and Fu
ture King[cf1]), and ~[cf2]Gigi [cf1](film). All these were in collab. with libr
ettist ~Alan Jay Lerner ([cf2]b [cf1]NY, [sm1918[nm).[cm~Loewe, Johann [fy75,1](
=+=+=+Jakob) [cf1]([cf2]b [cf1]Vienna, [sm1628[nm; [cf2]d ~[cf1]L;auuneburg, [sm
1703[nm). Ger. composer. Pupil of ~[fy45,1]*[fy75,1]Sch;auutz. One of earliest G
er. composers of solo ~songs ([sm1657[nm). Wrote sym., ballets, and [sm2[nm oper
as ~(incl. [cf2]Orpheus[cf1], [sm1659[nm).[cm~Loewe, [fy75,1](=+=+=+Johann) [fy6
5][cf3]Karl [fy75,1](Gottfried) ([cf2]b [cf1]L;auobej;auun, nr.
~Halle, [sm1796[nm; [cf2]d [cf1]Kiel, [sm1869[nm). Ger. composer, ~organist, con
d., and singer. Studied mus. with ~father. Mus. dir. at Stettin [sm1821[nm=n[sm6
6[nm. Cond. at ~D;auusseldorf and Mainz fests., [sm1837[nm. Visited Eng. ~[sm184
7[nm. Developed ballad for v. and pf. as art-form, ~setting [fy45,1]*[fy75,2]Erl
k;auonig[cf1], [cf2]Edward[cf1], [cf2]Tom der Reimer[cf1], etc. ~His ballads, le
gends, Lieder, and [cf2]Ges;auange[cf1], over ~[sm500[nm in all, were publd. in
[sm17[nm vols. [sm1899[nm=n[sm1903[nm. ~Also wrote [sm5[nm operas, [sm18[nm orat
orios, cantatas, [sm4[nm str. ~qts., pf. trio, [sm4[nm pf. sonatas, etc. Entered
 [sm6[nm-week ~trance, [sm1864[nm, a similar event causing his death.[cm~Loewenb
erg, Alfred [fy75,1]([cf2]b [cf1]Berlin, [sm1902[nm; [cf2]d[cf1] London, ~[sm194
9[nm). Ger.-born musicologist who settled in ~Eng., [sm1934[nm. Compiled [cf2]An
nals of Opera [sm1597[nm=n[sm1940[nm[cf1] ~(Cambridge [sm1943[nm, rev. ed. Z;auu
rich [sm1954[nm and [sm1978[nm, ~by H. D. Rosenthal) which lists
 details of [sm4[nm,[sm000[nm ~opera perfs. in chronological detail.[cm~Loewengu
th Quartet. [fy75,1]Fr. string quartet, formed ~in Paris in [sm1929[nm. Membersh
ip has changed except ~for [sm1[nmst vn., Alfred Loewenguth ([cf2]b [cf1]Paris,
[sm1911[nm; [cf2]d ~[cf1]Paris, [sm1983[nm). Has given f.ps. of many Fr. works,
~but is best known for playing of Beethoven and ~Bart;aaok.[cm~Logier, Johann Be
rnhard [fy75,1]([cf2]b [cf1]Kassel, [sm1777[nm; [cf2]d[cf1] ~Dublin, [sm1846[nm)
. Ger.-born flautist, bandmaster, ~org., and pf. teacher. Went to Eng. in [sm179
1[nm and ~settled in Dublin [sm1809[nm, opening music-shop and ~conducting at th
. In [sm1814[nm invented and patented ~the [fy45,1]*[fy75,2]Chiroplast[cf1], evo
lving system of teaching based ~on its use in training the hands for pf.-playing
. ~Went to Berlin for [sm3[nm years. Returned to Dublin ~[sm1829[nm, managing a
music-shop. His [cf2]Thoroughbass ~[cf1]([sm1818[nm) was first textbook studied
by Wagner. ~Wrote pf. conc., sonatas, etc.[cm~Logothetis, Anesti
s [fy75,1]([cf2]b [cf1]Pyrgos, Bulgaria, [sm1921[nm). ~Bulg.-born Gr. composer.
Studied Vienna Acad. ~of Mus., [sm1945[nm=n[sm51[nm, and in [sm1957[nm at Cologn
e elec. ~studio. Has employed graphic and other notation ~since [sm1959[nm. (See
 illustration p. [sm297[nm). Works incl. ~[cf2]Agglomeration [cf1]for vn. and st
r. ([sm1960[nm), [cf2]Labyrinthos ~[cf1]([sm1965[nm), ballet [cf2]Odysseus [cf1]
([sm1963[nm), and [cf2]Styx [cf1]([sm1969[nm) for ~orch. of plucked str. instr.[
cm~Logroscino, Nicola [fy75,1]([cf2]b[cf1] Bitonto, [sm1698[nm; [cf2]d [cf1]Pale
rmo, ~[cf2]c[cf1].[sm1765[nm). It. composer. Wrote several comic operas, ~incl.
[cf2]L'inganno per inganno [cf1](Trick for Trick), [sm1738[nm. ~Collaborated wit
h [fy45,1]*[fy75,1]Piccinni. Prof. of counter~~point, Palermo Cons. from [cf2]c.
[cf1][sm1756[nm.[cm~Lohengrin. [fy75,1]Opera in [sm3[nm acts by Wagner to his ~o
wn lib. Comp. [sm1846[nm=n[sm8[nm. Prod. Weimar (cond. ~Liszt) [sm1850[nm, NY [s
m1871[nm, London [sm1875[nm. The Bridal ~Chorus (wedding march),
 adapted by innumer~~[chable organists for church weddings, occurs early ~in Act
 [sm3[nm, Scene [sm1[nm. Lohengrin, Knight of the Holy ~Grail, is the son of [fy
45,1]*[fy75,2]Parsifal[cf1].[cm~L;auohr, Hermann [fy75,1](Frederic) ([cf2]b [cf1
]Plymouth, [sm1872[nm; [cf2]d ~[cf1]Tunbridge Wells, [sm1943[nm). Eng. composer.
 Studied ~RAM. Wrote popular ballads, e.g. [cf2]Where my ~caravan has rested [cf
1]([sm1909[nm) and [cf2]Little grey home in the ~West [cf1]([sm1911[nm).[cm~Lohs
e, Otto [fy75,1]([cf2]b [cf1]Dresden, [sm1858[nm; [cf2]d[cf1] Baden-Baden, ~[sm1
925[nm). Ger. cond. and composer. Studied Dresden ~Cons. Cellist in Dresden cour
t orch. [sm1877[nm=n[sm9[nm. ~Worked in Riga [sm1882[nm=n[sm9[nm, becoming opera
 cond. ~[sm1889[nm=n[sm93[nm. Ass. cond. to Mahler at Hamburg Opera ~[sm1893[nm=
n[sm5[nm. Ass. cond. to W. [fy45,1]*[fy75,1]Damrosch, Ger. opera ~in NY, [sm1895
[nm=n[sm7[nm. Cond. Strasbourg Opera [sm1897[nm=n~[sm1904[nm and at CG [sm1901[n
m=n[sm4[nm. Cond. Cologne Opera ~[sm1904[nm=n[sm11[nm, Leipzig [
sm1912[nm=n[sm23[nm. Married sop. Kathar~~ina [fy45,1]*[fy75,1]Klafsky in [sm189
5[nm. Wrote operetta and songs.[cm~L'Oiseau Lyre [fy75,1](Lyrebird Press). Fr. f
irm of mus. ~publishers, founded in Paris [sm1932[nm by Louise Dyer, ~an Austral
ian, who built up a catalogue of limited ~edns., incl. Byzantine liturgical mus.
, medieval ~polyphonic mus., motets by Attaignant, keyboard ~works by Byrd, comp
lete edn. of Couperin, etc. ~Dyer worked in Oxford [sm1940[nm=n[sm5[nm, returnin
g to ~Paris after the war. She died [sm1962[nm, when her ~husband, Jeffrey Hanso
n, ran firm until [sm1971[nm. ~His widow Margarita Hanson then added further ~vo
ls. Recordings issued since [cf2]c.[cf1][sm1938[nm, label now ~being part of Dec
ca group.[cm~Lombard, Alain [fy75,1]([cf2]b [cf1]Paris, [sm1940[nm). Fr. conduct
or. ~Studied at Paris Cons. Cond. d;aaebut [sm1951[nm with ~Pasdeloup Orch. Gold
 medal, Mitropoulos Comp. ~[sm1966[nm. Cond., Lyons Opera [sm1961[nm=n[sm5[nm. A
mer. d;aaebut ~[sm1963[nm, NY Met. [sm1967[nm (Gounod's [cf2]Fau
st[cf1]). Mus. dir. ~Strasbourg Opera from [sm1972[nm, Op;aaera du Rhin ~from [s
m1974[nm.[cm~Lombardi alla Prima Crociata, I [fy75,1](The Lom~~bards at the Firs
t Crusade). Opera in [sm4[nm acts by ~Verdi to lib. by Solera. Comp. [sm1842[nm.
 Prod. Milan ~[sm1843[nm, London [sm1846[nm, NY [sm1847[nm (first Verdi opera ~i
n USA). Fr. version under title [cf2]J;aaerusalem[cf1], in [sm4[nm ~acts, with l
ib. by Royer and Va;auez, prod. Paris ~[sm1847[nm, Milan [sm1850[nm. For [cf2]J;
aaerusalem[cf1], Verdi wrote ~[PN419,0,0,R,I0]new orch. prelude, rearranged the
order of some ~arias, revised others, and added some new items.[cm~London. [fy75
,1]Eng. city, capital of Great Britain. One ~of main musical centres of the worl
d, with rich ~and varied activities in all branches of the art. ~From [sm18[nmth
 cent. has enjoyed visits from leading ~performers and composers. Among the latt
er, ~Handel, J. C. Bach, Mozart, Haydn, Chopin, ~Weber, Mendelssohn, Liszt, Berl
ioz, Wagner, ~Bruckner, Mahler, Strauss, Hindemith, Ligeti, ~Ber
io, and Stockhausen are outstanding. This ~summary of London music will be divid
ed into ~sections, for ease of reference.[ep~^[cf2]Opera. [cf1]The first real op
eratic perf. in London ~was at Rutland House, [sm1656[nm, when Davenant's ~[cf2]
The Siege of Rhodes [cf1](mus. by [sm5[nm composers) was ~given. Purcell's [cf2]
Dido and Aeneas [cf1]was perf. at a ~Chelsea school in [sm1689[nm. Drury Lane Th
. was used ~for opera in the [sm1690[nms. Handel's first operatic ~perfs. in Lon
don after [sm1711[nm were mainly at the ~King's Th., Haymarket. Rival perfs. wer
e given ~at Lincoln's Inn Fields and [fy45,1]*[fy75,1]Covent Garden. From ~the [
sm1830[nms the Lyceum and Drury Lane staged ~important opera seasons. The King's
 (re-named ~Her Majesty's in [sm1837[nm) was the home of It. opera, ~but the fir
st London [cf2]Ring [cf1]cycle was given there ~in [sm1882[nm. After being rebui
lt smaller in [sm1897[nm, Her ~Majesty's was used less frequently for opera, ~al
though [fy45,1]*[fy75,1]Beecham cond. Strauss's [cf2]Feuersnot [
cf1]there ~in [sm1910[nm and the first version of [cf2]Ariadne auf Naxos ~[cf1]i
n [sm1913[nm. The [fy45,1]*[fy75,1]BNOC gave seasons there after[fj[sm1924[nm. F
rom [sm1931[nm London's second opera house ~was [fy45,1]*[fy75,1]Sadler's Wells
in Rosebery Avenue which ~housed the Vic-Wells Opera (SW Opera from ~[sm1934[nm)
 until [sm1939[nm and from [sm1945[nm to [sm1968[nm (it ~reopened on [sm7[nm Jun
e [sm1945[nm with f.p. of Britten's ~[cf2]Peter Grimes.[cf1]) The company moved
to the ~Coliseum in [sm1968[nm and changed its name in [sm1974[nm ~to English Na
tional Opera. Smaller companies, ~e.g. Handel Opera and New Opera Co., and ~visi
ting companies continue to use Sadler's Wells. ~The forerunner of Sadler's Wells
 was the Old Vic ~where Lilian Baylis had first staged opera in [sm1900[nm. ~Unt
il [sm1935[nm Vic-Wells Opera and Vic-Wells Ballet ~used both the Old Vic and Sa
dler's Wells.[ep~^[cf2]Orchestras. [cf1]Public concerts in London date from ~[sm
1672[nm. Thomas Britton's weekly gathering at ~Clerkenwell laste
d from [sm1678[nm to [sm1714[nm. Subscrip~~tion concerts were held at Hickford's
 Rooms, ~James Street, from [sm1729[nm to [cf2]c.[cf1][sm1752[nm. Geminiani ran
~rival concerts from [sm1731[nm to [sm1738[nm. The J. C. Bach-~C. F. Abel concer
ts began in [sm1765[nm at Carlisle ~House, Soho Square, and moved to Hanover ~Sq
uare Rooms in [sm1775[nm. They ceased in [sm1782[nm. ~Concerts organized by Cram
er, Clementi, and ~[fy45,1]*[fy75,1]Salomon ran from [sm1783[nm to [sm1793[nm, b
ut Salomon ~left to launch his own series in [sm1783[nm (it was to ~this series
that Haydn came). In the [sm19[nmth cent. ~concerts were given first in the Argy
ll Rooms, at ~the corner of Oxford and Argyll Streets, and it ~was there that th
e [fy45,1]*[fy75,1]Philharmonic Society gave its ~first concert on [sm8[nm March
 [sm1813[nm. The building  was ~demolished in [sm1818[nm and the New Argyll Room
s ~opened in [sm1820[nm (they burned down in [sm1830[nm). The ~Philharmonic move
d to the King's Th. in [sm1830[nm, ~to Hanover Square Rooms [sm1
833[nm=n[sm68[nm, St James's ~Hall [sm1869[nm=n[sm93[nm, Queen's Hall [sm1894[nm
=n[sm1941[nm, Royal ~Albert Hall [sm1941[nm=n[sm51[nm, Festival Hall from [sm195
1[nm. ~Important orch. concerts were given at the Crystal ~Palace, Sydenham, con
d. by August Manns [sm1855[nm=n~[sm1901[nm where the members of the orch. played
 ~continually together and were London's first ~permanent orch. The opening of t
he [fy45,1]*[fy75,1]Royal ~Albert Hall in [sm1871[nm added a hall with a capacit
y ~of [sm6[nm,[sm500[nm to London's musical life. It was used ~mainly for large-
scale events until [sm1941[nm when the ~destruction of Queen's Hall meant that n
early all ~symphony concerts were given there. It has ~remained the home since [
sm1941[nm of the Promenade ~Concerts, founded in [sm1895[nm by Robert Newman ~an
d Henry J. [fy45,1]*[fy75,1]Wood. The Queen's Hall, Langham ~Place, had opened i
n [sm1893[nm and was renowned for ~its acoustics. It replaced the St James's Hal
l, ~Piccadilly, built in [sm1858[nm. The Richter concerts ~were
given there from [sm1877[nm and, even though ~the Queen's Hall by then existed,
Elgar's [cf2]Enigma ~Variations [cf1]had their f.p. at a Richter concert in St ~
James's Hall in [sm1899[nm. It was demolished in [sm1905[nm. ~London's principal
 concert hall since [sm1951[nm has ~been the [fy45,1]*[fy75,1]Royal Festival Hal
l on the South Bank, ~with the Queen Elizabeth Hall and Purcell Room ~as smaller
 adjuncts since [sm1967[nm but not entirely ~replacing for recitals the usefulne
ss since [sm1901[nm of ~the [fy45,1]*[fy75,1]Wigmore Hall (Bechstein Hall until
[sm1917[nm) ~in Wigmore Street. The latest addition is the ~[fy45,1]*[fy75,1]Bar
bican Concert Hall.[ep~^No other city in the world supports as many ~orchestras
as London. The [fy45,1]*[fy75,1]BBC S.O. (founded ~[sm1930[nm) and the orchestra
s of the Royal Opera ~House and ENO are independent bodies and do ~not, as they
once would have done, share players ~with others. The four principal symphony or
chs. ~are [fy45,1]*[fy75,1]London Symphony (founded [sm1904[nm),
 [fy45,1]*[fy75,1]Lon~~don Philharmonic (founded [sm1932[nm), [fy45,1]*[fy75,1]P
hilhar~~monia (founded [sm1945[nm), and [fy45,1]*[fy75,1]Royal Philharmonic ~(fo
unded [sm1946[nm). In addition there are the [fy45,1]*[fy75,1]English ~Chamber O
rchestra (founded [sm1948[nm, renamed ~[sm1960[nm), [fy45,1]*[fy75,1]Academy of
St Martin-in-the-Fields ~(founded [sm1958[nm), [fy45,1]*[fy75,1]London Sinfoniet
ta (founded ~[sm1968[nm), and Orchestra of [fy45,1]*[fy75,1]St John's, Smith Squ
are ~(founded [sm1973[nm). Among the choirs are the [fy45,1]*[fy75,1]Bach ~Choir
 (founded [sm1876[nm), [fy45,1]*[fy75,1]Royal Choral Society ~(founded [sm1871[n
m), John [fy45,1]*[fy75,1]Alldis Choir (founded ~[sm1962[nm), London Choral Soci
ety (founded [sm1903[nm), ~Monteverdi Choir (founded [sm1964[nm), London Phil~~h
armonic Choir (founded [sm1947[nm),  London Sym~~phony Chorus (founded [sm1966[n
m), and Philharmonia ~Chorus (founded [sm1957[nm).[ep~^[cf2]Colleges. [cf1]The [
fy45,1]*[fy75,1]Royal Academy of Music was ~founded in [sm1822[n
m, the [fy45,1]*[fy75,1]Royal College of Music in ~[sm1882[nm, [fy45,1]*[fy75,1]
Trinity College of Music in [sm1872[nm, the ~[fy45,1]*[fy75,1]Guildhall School o
f Music and Drama in [sm1880[nm, ~and the [fy45,1]*[fy75,1]London College of Mus
ic in [sm1887[nm. In ~addition the Univ. of London has a thriving ~musical wing.
[ep~[PN420,0,0,L,I0]^[cf2]Miscellaneous. [cf1]In festivals, libraries, publishin
g ~firms, and not least the churches, from West~~minster Abbey, Westminster Cath
edral, St Paul's ~Cathedral, the Temple Church, and much besides, ~London's musi
c is blessed by abundance. The ~capital is fortunate in having and holding so ~m
uch; the only cavil is that some Londoners ~sometimes assume that nowhere else (
in Britain) ~has anything.[cm~London College of Music. [fy75,1]Mus. sch. founded
 ~(privately) [sm1887[nm. Incorporated [sm1939[nm. Recognized ~as examining body
.[cm~London Consort of Viols. [fy75,1]Ens. formed in [sm1948[nm.[cm~London [fy75
,1](orig. Burnstein)[fy65][cf3], George [fy75,1]([cf2]b[cf1] Mon
treal, ~[sm1919[nm; [cf2]d[cf1] NY, [sm1985[nm). Amer. bar. of Russo-Jewish pare
ntage. ~Studied Los Angeles. Opera d;aaebut in A. [fy45,1]*[fy75,1]Coates's ~[cf
2]Gainsborough[cf1], Hollywood Bowl [sm1941[nm, under name ~Geo. Burnson. San Fr
ancisco Opera [sm1944[nm. Member ~of Bel Canto Trio, touring USA from [sm1947[nm
. ~Vienna Opera from [sm1949[nm (d;aaebut as Amonasro); ~NY Met. [sm1951[nm=n[sm
66[nm; Bayreuth d;aaebut [sm1951[nm as ~Amfortas, appearing until [sm1964[nm. Gl
yndebourne ~[sm1950[nm (Figaro), La Scala, Milan, [sm1952[nm. Sang Wotan ~in com
plete [cf2]Ring[cf1], Cologne [sm1962[nm=n[sm4[nm. Sang Man~~dryka in NY Met.'s
first [cf2]Arabella[cf1], [sm1955[nm. Gave up ~opera through ill-health in [sm19
66[nm. Art. admin., ~Kennedy Center, Washington, [sm1968[nm=n[sm71[nm. Gen. ~dir
. Music Center Opera Assoc., Los Angeles, ~from [sm1971[nm. D;aaebut as stage di
rector, Seattle [sm1973[nm. ~Sang Boris Godunov at Bolshoy, Moscow, [sm1960[nm.[
cm~Londonderry Air. [fy75,1]Irish folk-tune first pubd. in ~[sm1
855[nm in [fy45,1]*[fy75,1]Petrie coll. Several sets of words have ~been fitted
to it: `Would I were Erin's apple ~blossom' by A. P. Graves, `Emer's Farewell',
also ~by Graves, and `Danny Boy' by F. E. Weatherly. ~Arr. for various combinati
ons by [fy45,1]*[fy75,1]Grainger (as ~[cf2]Irish Tune from County Derry[cf1]).[x
m[cm~[j1]London Mozart Players. [fy75,1]Chamber orch. special~~izing in mus. of
Mozart and Haydn formed by ~Harry [fy45,1]*[fy75,1]Blech. First concert, Wigmore
 Hall, ~London, [sm11[nm Feb. [sm1949[nm. Developed from London ~Wind Players, f
ormed by Blech in [sm1942[nm. Tours to ~It., Switzerland, Holland, Sweden, and G
er. Many ~fest. appearances. Blech retired as art. dir. [sm1984[nm, ~being  succ
eeded by Jane [fy45,1]*[fy75,1]Glover.[cm~London Opera House. [fy75,1]Th. built
in Kingsway, ~London, in [sm1911[nm by Oscar [fy45,1]*[fy75,1]Hammerstein I as ~
home for resident opera co. After [sm2[nm seasons it ~closed, becoming variety t
h. under name Stoll. ~Vladimir Rosing staged an opera season in
[sm1915[nm ~(giving f. p. in England of Tchaikovsky's [fy45,1]*[fy75,2]Queen ~of
 Spades[cf1]). It. opera seasons [sm1949[nm and [sm1952[nm=n[sm7[nm, ~Zagreb Ope
ra visit [sm1955[nm, [cf2]Porgy and Bess [cf1][sm1953[nm. ~Now demolished.[cm~Lo
ndon Overture, A. [fy75,1]Orch. work by [fy45,1]*[fy75,1]Ireland, ~[sm1936[nm; o
rig. written for brass band, [sm1934[nm, under ~title [cf2]Comedy Overture[cf1].
 One of prin. themes said to ~be inspired by bus cond.'s call of `Piccadilly!'[c
m~London Philharmonic Orchestra. [fy75,1]Founded by ~Sir Thomas Beecham in [sm19
32[nm as his answer to ~BBC S.O. and containing several superb players, ~e.g. Pa
ul Beard, George Stratton (vn.), Anthony ~Pini (vc.), Gerald Jackson (fl.), Leon
 [fy45,1]*[fy75,1]Goossens ~(ob.), Reginald Kell (cl.), Gwydion Holbrooke ~(bn.)
, and Marie Goossens (harp). First concert, ~Queen's Hall, London, [sm7[nm Oct.
[sm1932[nm. No connection ~with Phil. Soc. Toured Ger. [sm1936[nm. Self-governin
g ~from [sm1939[nm. Sir Adrian [fy45,1]*[fy75,1]Boult prin. cond
. [sm1951[nm=n~[sm7[nm; William [fy45,1]*[fy75,1]Steinberg [sm1958[nm=n[sm62[nm,
 John [fy45,1]*[fy75,1]Pritchard ~[sm1962[nm=n[sm7[nm; Bernard [fy45,1]*[fy75,1]
Haitink [sm1967[nm=n[sm79[nm; Sir Georg ~[fy45,1]*[fy75,1]Solti [sm1979[nm=n[sm8
3[nm; Klaus [fy45,1]*[fy75,1]Tennstedt from [sm1983[nm. ~Played for CG opera [sm
1933[nm=n[sm9[nm. Regular orch. at ~[fy45,1]*[fy75,1]Glyndebourne Opera since [s
m1964[nm.[cm~London Sinfonietta. [fy75,1]Eng. chamber orch. ~founded by David At
herton and Nicholas Snow~~man in [sm1968[nm, with Atherton as first mus. dir. ~S
pecializes in [sm20[nmth-cent. mus. and has given many ~first perfs. and first p
erfs. in Eng. Elgar Howarth ~regular cond. from [sm1973 [nmand Simon Rattle work
s ~often with it.[cm~London String Quartet. [fy75,1]Founded [sm1908[nm by ~Warwi
ck Evans, cellist, with Albert [fy45,1]*[fy75,1]Sammons ~and Thomas Petre, vns.,
 and H. Waldo Warner, ~va. First public concert Bechstein Hall, London, ~[sm26[n
m Jan. [sm1910[nm. Sammons succeeded by James Levey ~[sm1917[nm=
n[sm27[nm, in turn succeeded by John Pennington, ~[sm1927[nm=n[sm35[nm. Petre ab
sent [sm1914[nm=n[sm19[nm. Warner suc~~ceeded [sm1929[nm by Philip Sainton, in t
urn succeeded ~by William Primrose [sm1930[nm=n[sm5[nm. Toured USA and ~Canada a
nnually [sm1920[nm=n[sm35[nm. Set high standards. ~Disbanded Jan. [sm1935[nm. Ga
ve f.ps. of several British ~works and in [sm1914[nm perf. [sm3[nm movts. of Sch
oenberg's ~[sm2[nmnd str. qt. Name acquired [sm1958[nm by qt. comprising ~Erich
Gruenberg and Lionel Bentley (vns.), Keith ~Cummings (va.), and Douglas Cameron
(vc.). ~They had been New London Quartet [sm1950[nm=n[sm6[nm. ~Disbanded [sm1961
[nm.[cm~London Symphonies. [fy75,1]Collective name given to ~Joseph Haydn's last
 [sm12[nm syms., Nos. [sm93[nm=n[sm104[nm in ~Breitkopf ed., all written for the
 London impre~~sario J. P. [fy45,1]*[fy75,1]Salomon and first played in London ~
during Haydn's visits, [sm1791[nm=n[sm2[nm and [sm1794[nm=n[sm5[nm. The ~last, N
o. [sm104[nm, is usually known as the `London', ~for no special
or good reason. The list which ~follows gives the syms. in chronological order o
f ~comp., with Breitkopf numbering, according to ~the Haydn scholar H. C. Robbin
s [fy45,1]*[fy75,1]Landon:[xm[cm~[ol6][dt5,p6g,4,p6g,3][fy75,2,7,7][bt~[cf2]No.[
ep~[nt~Date on score[ep~[nt~F.p[ep~[nt~[cf1][bt~^[sm96[nm (`Miracle')[ep~[nt~Lon
don [sm1791[nm[ep~[nt~[sm1791[nm[ep~[et~[bt~^[sm95[nm[ep~[nt~London [sm1791[nm[e
p~[nt~[sm1791[nm[ep~[et~[bt~^[sm93[nm[ep~[nt~London [sm1791[nm[ep~[nt~Feb. [sm17
92[nm[ep~[et~[bt~^[sm94[nm (`Surprise')[ep~[nt~London [sm1791[nm[ep~[nt~Mar.[sm1
792[nm[ep~[et~[bt~^[sm98[nm[ep~[nt~London [sm1792[nm(?)[ep~[nt~Mar. [sm1792[nm[e
p~[et~[bt~^[sm97[nm[ep~[nt~London [sm1792[nm[ep~[nt~May [sm1792[nm[ep~[et~[el3][
ru5,13]~[el2][ep~[bt~^[sm99[nm[ep~[nt~(Austria [sm1793[nm)[ep~[nt~Feb. [sm1794[n
m[ep~[et~[bt~[sm100[nm (`Military')[ep~[nt~London [sm1794[nm[ep~[nt~Mar. [sm1794
[nm[ep~[et~[bt~[sm101[nm(`Clock')[ep~[nt~London [sm1794[nm[ep~[nt~Mar. [sm1794[n
m[ep~[et~[bt~[sm102[nm[ep~[nt~London [sm1794[nm[ep~[nt~Feb. [sm1
795[nm[ep~[et~[PN421,0,0,R,I0][bt~[sm103[nm (`Drum Roll')[ep~[nt~London [sm1795[
nm[ep~[nt~Mar. [sm1795[nm[ep~[et~[bt~[sm104[nm (`London')[ep~[nt~London [sm1795[
nm[ep~[nt~May [sm1795[nm[ep~[et~[el4][j1]London Symphony, A. [fy75,1]Sym. by [fy
45,1]*[fy75,1]Vaughan ~Williams (his [sm2[nmnd, first wholly orch.) comp. ~[sm19
11[nm=n[sm13[nm, f.p. [sm1914[nm, rev. [sm1918[nm, [sm1920[nm, [sm1933[nm. ~Thou
gh not programmatic, contains picturesque ~features such as Westminster chimes,
lavender-~seller's cry, jingle of hansom-cabs, and street ~musicians.[cm~London
Symphony Orchestra. [fy75,1]Founded [sm1904[nm, ~self-governing from start, by p
layers who seceded ~from Henry Wood's Queen's Hall Orch. because ~he banned the
system of deputies (by which a ~player could unilaterally send a deputy to a ~co
ncert while he took a more lucrative engage~~ment). First concert Queen's Hall,
London, [sm9[nm June ~[sm1904[nm, cond. [fy45,1]*[fy75,1]Richter, who remained p
rin. cond. ~until [sm1911[nm. Toured USA [sm1912[nm cond. Nikisc
h. Also ~assoc. with Elgar as cond. (he was prin. cond. ~[sm1911=n12[nm). For ma
ny years was regular orch. at [sm3[nm ~Choirs Fests. Conductors have incl. Alber
t [fy45,1]*[fy75,1]Coates ~and [fy45,1]*[fy75,1]Harty. Those appointed prin. con
d. since ~[sm2[nmnd World War have been Josef [fy45,1]*[fy75,1]Krips [sm1950[nm=
n[sm54[nm, ~Pierre [fy45,1]*[fy75,1]Monteux [sm1961[nm=n[sm4[nm, Istvan [fy45,1]
*[fy75,1]Kertesz [sm1965[nm=n~[sm8[nm, Andr;aae [fy45,1]*[fy75,1]Previn [sm1968[
nm=n[sm79[nm, Claudio [fy45,1]*[fy75,1]Abbado ~from [sm1979[nm.[cm~Long, Kathlee
n [fy75,1]([cf2]b[cf1] Brentwood, [sm1896[nm; [cf2]d [cf1]Cam~~bridge, [sm1968[n
m). Eng. pianist. Trained RCM [sm1910[nm=n~[sm16[nm. D;aaebut [sm1915[nm. On sta
ff of RCM from [sm1920[nm. ~Specialized in Mozart and Fr. composers, e.g. ~Faur;
aae [cf2]Ballade[cf1]. Player in chamber mus. with Casals, ~Sammons, and others.
 Sonata partnership with ~Antonio Brosa [sm1948[nm=n[sm66[nm. C.B.E. [sm1957[nm.
[cm~Long, Margu;aaerite [fy75,1](Marie Charlotte) ([cf2]b [cf1]N
;afimes, ~[sm1874[nm; [cf2]d[cf1] Paris, [sm1966[nm). Fr. pianist and teacher. ~
Studied Paris Cons., joining its staff [sm1906[nm and ~becoming prof. of pf. [sm
1920[nm=n[sm40[nm. Career of over [sm70[nm ~years. Noted interpreter of contempo
rary com~~posers and early champion of Debussy (whose ~pupil she was) and Ravel.
 Ravel's pf. conc. in G ~major is ded. to her; she gave f.p. Paris, Jan. [sm1932
[nm ~and f.p. in England, London, Feb. [sm1932[nm, both ~cond. composer. Also ga
ve f.p. of Ravel's [cf2]Le ~Tombeau de Couperin[cf1], April [sm1919[nm. Author o
f book ~[cf2]At the piano with Debussy [cf1]([sm1960[nm).[cm~Longa [fy75,1](Lat.
). Long. Time-value of a note in ~medieval notation system; was intermediate of
~[cf2]maxima [cf1]and [cf2]brevis[cf1]. A double long was equal to [sm4[nm ~brev
es.[cm~Long Christmas Dinner, The. [fy75,1]Opera in [sm1[nm act by ~Hindemith to
 lib. by Thornton Wilder. Comp. ~[sm1960[nm. Prod. Mannheim (as [cf2]Das lange W
eihnachts~~mahl [cf1]in Ger. trans. by Hindemith) [sm1961[nm, Ro
me ~[sm1962[nm. F.p. of orig. Eng. text NY Juilliard Sch. ~[sm1963[nm.[cm~Long d
rum. [fy75,1]Ten. drum=mbut sometimes the ~name is applied to the Bass drum.[cm~
Longo, Alessandro [fy75,1]([cf2]b[cf1] Amantea, [sm1864[nm; [cf2]d[cf1] Naples,
~[sm1945[nm). It. pianist and composer. Studied Naples ~Cons., where he became p
rof of pf. [sm1897[nm. Ed. ~complete hpd. works of D. [fy45,1]*[fy75,1]Scarlatti
 in [sm11[nm vols., ~giving each work a Longo ([fy45,1]*[fy75,1]L.) no. This ~nu
mbering system has been superseded by that ~of [fy45,1]*[fy75,1]Kirkpatrick.[cm~
Lontano [fy75,1](It.). Distant, e.g. [cf2]come da lontano[cf1], as if ~from a di
stance, i.e. faintly. [cf2]Lontananza[cf1], distance.[cm~Lontano [fy75,1](In the
 distance). Work for orch. by ~[fy45,1]*[fy75,1]Ligeti, comp. [sm1967[nm, f.p. D
onaueschingen [sm1967[nm; ~f. Eng. public p., Manchester [sm1972[nm (cond. ~Loug
hran).[cm~Lopatnikoff, Nikolai [fy75,1]([cf2]b[cf1] Reval, Russia, [sm1903[nm; [
cf2]d[cf1] ~Pittsburgh, [sm1976[nm). Russ.-born composer (Amer.
~citizen, [sm1944[nm). Studied St Petersburg Cons., ~Helsinki Cons., and private
ly with [fy45,1]*[fy75,1]Toch in ~Berlin where he met and was influenced by ~Hin
demith. Lived in London [sm1933[nm=n[sm9[nm. Taught in ~Pittsburgh [sm1945[nm=n[
sm69[nm. Works incl. opera [cf2]Danton[cf1], [sm4[nm ~syms., [sm2[nm pf. concs.,
 vn. conc., [sm2[nm vn. sonatas ([sm1[nmst ~with snare drum), pf. sonata, [sm3[n
m str. qts.[cm~Lopes-Gra;alca, Fernando [fy75,1]([cf2]b[cf1] Tomar, [sm1906[nm).
 Por~~tuguese composer and pianist. Studied Nat. Cons., ~Lisbon, [sm1923[nm=n[sm
31[nm and at Sorbonne [sm1937[nm=n[sm9[nm (musi~~cology). Private comp. study wi
th [fy45,1]*[fy75,1]Koechlin in ~Paris, [sm1938[nm. Taught piano Coimbra Mus. In
stitute ~[sm1932[nm=n[sm6[nm and at Lisbon Acad. of Friends of Mus. ~[sm1941[nm=
n[sm54[nm (becoming art. dir.). Author of many ~books on mus., incl. biographies
. Works incl. [sm2[nm ~pf. concs., vc. conc. (played by Rostropovich), pf. ~conc
ertino, [sm24[nm pf. preludes, [sm4[nm pf. sonatas, [sm4[nm sets
 of ~Portuguese folk-songs ([sm24[nm songs per set), [cf2][sm3[nm ~Portuguese Da
nces[cf1] for orch., etc.[cm~Loppert, Max [fy75,1](=+=+=+Jeremy) ([cf2]b[cf1] Jo
hannesburg, [sm1946[nm). ~S. African mus. critic, settled in Eng. Studied at ~Yo
rk Univ. Mus. critic of [cf2]Financial Times[cf1]. Contrib. ~to periodicals.[cm~
Lord, David [fy75,1](Malcolm) ([cf2]b[cf1] Oxford, [sm1944[nm). Eng. ~composer,
cond., and lecturer. Studied RAM. ~Pupil of Richard Rodney [fy45,1]*[fy75,1]Benn
ett. Works incl. ~[cf2]Incantare [cf1]for orch., hpd. conc., several song-cycles
, ~incl. [cf2]The Wife of Winter [cf1](comp. for Janet [fy45,1]*[fy75,1]Baker).[
cm~Loreley [fy75,1](Lorelei)[fy65][cf3], Die. [fy75,1]([sm1[nm) Unfinished opera
, Op. ~[sm98[nm, by Mendelssohn ([sm1847[nm) to lib. by E. von ~Giebel based on
Ger. legend of beautiful woman ~who sings on a mountain by the Rhine, luring ~sa
ilors to death on the rocks below. Some ~fragments, incl. an [cf2]Ave Maria[cf1]
, sometimes perf. in ~concert-hall. Operas on subject also by Ig
naz ~Lachner ([sm1846[nm), Wallace ([sm1847[nm), Bruch ([sm1863[nm), ~Catalani (
[sm1890[nm, rev. of [cf2]Elda[cf1], [sm1880[nm), and others. [ep~^([sm2[nm) Song
 by Liszt for v. and pf. to Heine's poem ~([sm1841[nm), also with orch. and tran
scr. for pf. solo.[cm~Lorengar, Pilar [fy75,1]([cf2]b [cf1]Zaragoza, [sm1928[nm)
. Sp. sop. ~Studied in Madrid, concert d;aaebut in [sm1952[nm. Sang ~at Glyndebo
urne [sm1956[nm (Pamina in [cf2]Die Zauberfl;auote[cf1]), ~San Francisco [sm1964
[nm, NY Met. [sm1966[nm. Also CG ~(d;aaebut [sm1955[nm, Violetta in [cf2]La trav
iata[cf1]), Berlin since ~[sm1958[nm, and Salzburg Fest.[cm~[PN422,0,0,L,I0]Lore
ntzen, Bent [fy75,1]([cf2]b [cf1]Stenvad, [sm1935[nm). Danish ~composer. Studied
 musicology at Aarhus Univ. ~and theory at Royal Danish Cons. until [sm1962[nm.
~Settled in Copenhagen [sm1971[nm. After Darmstadt in ~[sm1965[nm, turned to ele
c. mus. His opera [cf2]Euridice ~[cf1]([sm1965[nm) won [sm1970[nm Italia Prize.
Has written much ~chamber and choral mus. in addition to works o
n ~tape.[cmLorenz, Max [fy75,1]([cf2]b[cf1] D;auusseldorf, [sm1901[nm; [cf2]d[cf
1] Salzburg, ~[sm1975[nm). Ger. ten., specializing in Wagner. Studied ~Berlin. D
;aaebut Dresden [sm1927[nm in [cf2]Tannh;auauser[cf1]. Berlin ~State Opera [sm19
29[nm=n[sm7[nm, Vienna State Opera [sm1929[nm ~and regularly from [sm1937[nm. NY
 Met. [sm1931[nm=n[sm4[nm and ~[sm1947[nm=n[sm50[nm, CG [sm1934[nm and [sm1937[n
m. Bayreuth Fest. ~[sm1933[nm=n[sm44[nm and [sm1954[nm. Salzburg Fest. [sm1953[n
m=n[sm5[nm, [sm1961[nm. ~Also a remarkable Otello.[cm~Loriod, Yvonne [fy75,1]([c
f2]b [cf1]Houilles, Seine-et-Oise, [sm1924[nm). ~Fr. pianist. Studied Paris Cons
. with [fy45,1]*[fy75,1]Messiaen, ~whom she later married. Expert in Messiaen's
~mus., most of which she has recorded. Prof of pf. ~Paris Cons. Gave first Paris
 perfs. of concs. by ~Bart;Aaok and Schoenberg and of works by Jolivet, ~Barraqu
;aae, Boulez, and Messiaen. NY d;Aaebut [sm1949[nm.[cm~Lortzing, [fy75,1](Gustav
) [fy65][cf3]Albert [fy75,1]([cf2]b [cf1]Berlin, [sm1801[nm; [cf
2]d[cf1] ~Berlin, [sm1851[nm). Ger. composer, actor, singer, and ~librettist. So
n of actors. Played pf., vn., and vc., ~and comp. from early youth. Married actr
ess in ~[sm1823[nm and worked as actor. First opera [cf2]Ali Pascha ~von Janina
[cf1]prod. in [sm1824[nm. Leading ten. at Leipzig ~State Th. [sm1833[nm=n[sm43[n
m. While there, his operas [cf2]Die ~beiden Sch;auutzen [cf1]([sm1837[nm) and [f
y45,1]*[fy75,2]Zar und Zimmermann ~[cf1]([sm1837[nm) were successfully perf. His
 [cf2]Hans Sachs ~[cf1]([sm1840[nm) and [cf2]Casanova [cf1]([sm1841[nm) failed,
but [cf2]Der ~[fy45,1]*[fy75,2]Wildsch;Auutz [cf1]([sm1842[nm) was a triumph. In
 [cf2]Undine ~[cf1]([sm1845[nm), he made use of [fy45,1]*[fy75,2]leitmotiv[cf1].
 In [sm1846[nm he went ~to Vienna, returning to Leipzig [sm1849[nm for his ~[cf2
]Rolands Knappen[cf1]. Financial troubles led him to ~accept Berlin post in [sm1
850[nm conducting farces and ~vaudevilles, and largely caused his death. His las
t ~work was operetta [cf2]Die Opernprobe [cf1](The Opera ~Rehear
sal), [sm1851[nm.[cm~Los Angeles, Victoria de. [fy75,1]See [cf2]De Los Angeles[c
f1], ~[cf2]Victoria[cf1].[cm~Los Angeles Philharmonic Orchestra. ~[fy75,1]Founde
d [sm1919[nm with W. H. Rothwell as cond. ~[sm1919[nm=n[sm27[nm. Since Dec. [sm1
964[nm has played in Dorothy ~Chandler Pavilion of Los Angeles Mus. Center. ~Giv
es summer concerts in Hollywood Bowl. Prin. ~cond.: Georg [fy45,1]*[fy75,1]Schne
evoigt [sm1927[nm=n[sm9[nm, Artur [fy45,1]*[fy75,1]Rod~~zinski [sm1929[nm=n[sm33
[nm, Otto [fy45,1]*[fy75,1]Klemperer [sm1933[nm=n[sm9[nm, Alfred ~[fy45,1]*[fy75
,1]Wallenstein [sm1943[nm=n[sm56[nm, Eduard van [fy45,1]*[fy75,1]Beinum ~[sm1956
[nm=n[sm9[nm, Zubin [fy45,1]*[fy75,1]Mehta [sm1962[nm=n[sm77[nm, Carlo Maria ~[f
y45,1]*[fy75,1]Giulini [sm1978=n84[nm, Andr;aae Previn from [sm1986[nm. ~Toured
Europe, Iran, and India under Mehta ~[sm1967[nm.[cm~Lost Chord, The. [fy75,1]Son
g by [fy45,1]*[fy75,1]Sullivan, comp. [sm1877[nm ~in sorrow at his brother's dea
th. Poem by Adelaide ~Anne Procter. Regarded as the archetypal V
icto~~rian drawing-room ballad.[cm~Lothar, Mark [fy75,1]([cf2]b [cf1]Berlin, [sm
1902[nm). Ger. composer. ~Wrote operas [cf2]Tyll [cf1]([sm1928[nm), [cf2]Lord Sp
leen [cf1](based on ~Jonson's [cf2]Epicoene[cf1], as was Strauss's [cf2]Die schw
eigsame ~Frau[cf1]) ([sm1932[nm), [cf2]M;auunchhausen [cf1]([sm1933[nm), [cf2]Ra
ppelkopf ~[cf1]([sm1958[nm). Also choral works, chamber mus., pf. ~pieces.[xm[cm
~[ol0][ep~[xp[te~







[do19][j99]~~~~~~[sm153842[nm_LA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. ~Of Music[cmLA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm2[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm360[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Lott, Felicity [fy75
,1]([cf2]b[cf1] Cheltenham, [sm1947[nm). Eng. sop. ~Studied RAM. Opera d;aaebut
with City of London ~Fest. and Kent Opera. ENO [sm1975[nm (Pamina), Anne ~in Str
avinsky's [cf2]The Rake's Progress[cf1], Glyndebourne ~[sm1977[nm. Paris d;aaebu
t [sm1976[nm. Also concert-work and ~recitals. Member of [fy45,1]*[fy75,1]Songma
kers' Almanac. One ~of best Eng. singers of R. Strauss.[cm~Lotti, Antonio [fy75,
1]([cf2]b[cf1] Venice, [cf2]c[cf1].[sm1667[nm; [cf2]d[cf1] Venice, [sm1740[nm).
~It. composer. Studied Venice with [fy45,1]*[fy75,1]Legrenzi. In ~St Mark's choi
r [sm1687[nm, chief organist [sm1704[nm and ~[cf2]maestro di cappella [cf1][sm17
36[nm. Wrote [sm24[nm operas between ~[sm1693[nm and [sm1717[nm. Stayed in Dresd
en [sm1717[nm=n[sm19[nm, ~writing [sm3[nm operas there, and [cf2
]Constantino [cf1]for Vienna. ~Comp. only church mus. (of high quality) after ~[
sm1719[nm. Book of madrigals ([sm1705[nm).[cm~Loughran, James [fy75,1]([cf2]b [c
f1]Glasgow, [sm1931[nm). Scottish ~cond. Studied Bonn (with Peter Maag), Amster~
~dam, and Milan. Won first prize Philharmonia ~Orch. cond. competition, [sm1961[
nm. London d;aaebut ~with Philharmonia Orch. [sm1961[nm; assoc. cond. ~Bournemou
th S.O. [sm1962[nm=n[sm5[nm; prin. cond BBC ~Scottish S.O. [sm1965[nm=n[sm71[nm;
 prin. cond. Hall;Aae Orch. ~[sm1971[nm=n[sm83[nm and of Bamberg S.O. [sm1978[nm
=n[sm83[nm.[cm~Louise. [fy75,1]Opera ([cf2]roman musical[cf1]) in [sm4[nm acts b
y G. ~[fy45,1]*[fy75,1]Charpentier to his own lib. Completed [sm1896[nm. ~Prod.
Paris [sm1900[nm, NY [sm1908[nm, London [sm1909[nm. Sequel ~[cf2]Julien[cf1] ([s
m1913[nm).[cm~Louis Ferdinand, Prince [fy75,1](Prince Friedrich Chris~~tian Ludw
ig of Prussia) ([cf2]b[cf1] Friedrichsfelde, [sm1772[nm; ~[cf2]d[cf1] in battle
Saalfeld, [sm1806[nm). Ger. composer and ~pianist, nephew of Fre
derick the Great. Virtuoso ~pianist. Wrote large amount of chamber mus. ~Admirer
 of Beethoven, who dedicated [sm3[nmrd pf. ~conc. to him.[cm~Loure [fy75,1](Fr.)
. Type of Fr. bagpipe; also dance, like ~a slow jig, acc. by this instr.[cm~Lour
;aae. [fy75,1]Term applied in string-playing to a type ~of slurred staccato and
formerly called [cf2]portato. [cf1]An ~on-string stroke is executed at moderate
speed.[cm~Louri;aae, [fy65][cf3]Arthur [fy75,1](Vincent) ([cf2]b [cf1]St Petersb
urg, [sm1892[nm; ~[cf2]d[cf1] Princeton, NJ, [sm1966[nm). Russ.-born composer ~(
Amer. cit. from [sm1947[nm). Studied piano St. Peters~~burg Cons. Self-taught as
 composer. Settled in ~Paris [sm1923[nm=n[sm40[nm, then he moved to USA [sm1941[
nm. ~Friend of Stravinsky. Experimented with aton-[fjality and quarter-tones, bu
t later adopted modal ~style. Works incl. [sm2[nm operas, [sm2[nm syms., several
 large-~scale religious works, [sm3[nm str. qts. Wrote biography ~of [fy45,1]*[f
y75,1]Koussevitzky (Eng. edn. [sm1931[nm).[cm~Loveday, Alan [fy7
5,1](Raymond) ([cf2]b[cf1] Palmerston North, ~N.Z., [sm1928[nm). N.Z. violinist.
 Talent noted by ~Budapest Qt. on tour of N.Z. Studied under ~[PN423,0,0,R,I0][f
y45,1]*[fy75,1]Sammons from [sm1939[nm and at RCM. London ~d;aaebut [sm1946[nm.
Prof. of vn. RCM from [sm1955[nm. Soloist ~with leading orchs.[cm~Love for Three
 Oranges [fy75,1]([cf2]Lyubov k tryom apelsi~~nam[cf1]). Opera in [sm4[nm acts b
y Prokofiev, Op. [sm33[nm, to Fr. ~lib. by composer based on Gozzi's play [cf2]F
iabe dell' ~amore delle tre melarance [cf1]([sm1761[nm). Comp. [sm1919[nm. ~Prod
. Chicago [sm1921[nm, Edinburgh [sm1962[nm, London ~[sm1963[nm. Orch. suite [sm1
923[nm.[cm~Love in a Village. [fy75,1]Ballad opera ([cf2]pasticcio[cf1]) in [sm3
[nm ~acts with mus. collected and arr. by T. Arne and ~comp. by him and [sm16[nm
 other composers. Prod. ~London [sm1762[nm, Charleston [sm1766[nm. New edn. by ~
Arthur [fy45,1]*[fy75,1]Oldham, Aldeburgh Fest. [sm1952[nm.[cm~Loveland, Kenneth
 [fy75,1]([cf2]b [cf1]Sheerness, [sm1915[nm). Eng. ~mus. critic.
 Mus. critic [cf2]S. Wales Daily Argus [cf1](of ~which he was also for a time ed
.). Lecturer on ~mus. Contributor to [cf2]The Times [cf1]and periodicals.[cm~Lov
e of the Three Kings [fy75,1](Montemezzi). See ~[cf2]Amore dei tre re, L'[cf1].[
cm~Love-potion, The [fy75,1](Donizetti). See [cf2]Elisir d'amore, ~L'[cf1].[cm~L
over and the Nightingale, The [fy75,1](Granados). See [cf2]Maja y el ~ruisenor[c
f1], [cf2]La[cf1].[cm~Loveridge, Iris [fy75,1](Gwendoline May) ([cf2]b [cf1]Lond
on, ~[sm1917[nm). Eng. pianist. Trained RAM, and with Cyril ~Smith and Kentner.
Recitalist and chamber mus. ~player, often in duo with Evelyn [fy45,1]*[fy75,1]B
arbirolli (ob.).[cm~Love-song Waltzes [fy75,1](Brahms). See [cf2]Liebesliederwal
~~zer[cf1].[cm~Love, the Magician [fy75,1](Falla). See [cf2]Amor brujo, El.[cm~L
ovett, Terence [fy75,1](George) ([cf2]b[cf1] London, [sm1922[nm). Eng. ~cond. Pl
ays pf., timp., va., hn., tpt., and org. ~Studied RAM. D;aaebut, London [sm1941[
nm. Has held ~several posts as organist and choirmaster. Art. di
r. ~Hull Phil. Soc. Guest cond. leading orchs.[cm~Love went a-Riding. [fy75,1]So
ng for v. and pf. (or ~orch.) by Frank Bridge. Comp. [sm1914[nm. Poem by ~Mary C
ole[chridge ([sm1861[nm=n[sm1907[nm).[cm~L;auowe, Ferdinand [fy75,1]([cf2]b [cf1
]Vienna, [sm1865[nm; [cf2]d [cf1]Vienna, ~[sm1925[nm). Austrian cond. Studied at
 Vienna Cons. ~with Krenn and Bruckner. Taught pf. and choral ~singing at Vienna
 Cons. [sm1883[nm=n[sm96[nm. Cond. Kaim ~Orch., Munich, [sm1897[nm. Ass. cond. V
ienna Opera ~[sm1898[nm=n[sm1900[nm. Cond. Vienna Konzertverein Orch. ~(now Vien
na S.O.) [sm1900[nm=n[sm24[nm. Dir. Vienna Music ~Acad. [sm1912[nm=n[sm22[nm. Di
sciple and interpreter of ~Bruckner; one of those, who from friendliest if ~misg
uided motives, persuaded him to rev. and ~cut his syms. Ed. of spurious first pu
bd. edn. of ~[sm9[nmth Sym. ([sm1903[nm), heavily cut and rev.[cm~Lower Mordent.
 [fy75,1]See [cf2]Mordent[cf1].[cm~L.R.A.M. [fy75,1]Licentiate of the Royal Acad
emy of ~Music.[cm~L.R.S.M. [fy75,1]Licentiate of the Royal Schoo
ls of ~Music.[cm~L.T.C.L. [fy75,1]Licentiate of Trinity College of Music, ~Londo
n.[cm~L.T.S.C. [fy75,1]Licentiate of the Tonic Sol-fa College.[cm~Lualdi, Adrian
o [fy75,1]([cf2]b [cf1]Larino, [sm1885[nm; [cf2]d[cf1] Milan, [sm1971[nm). ~It.
composer. Studied Venice with Wolf-Ferrari. ~Worked as a critic ([cf2]Giornale d
'Italia[cf1], Rome). Dir., ~S. Pietro Cons., Naples, [sm1936[nm=n[sm43[nm, Flore
nce Cons. ~[sm1947[nm=n[sm56[nm. His operas, to his own libs., revived ~older It
. forms. They incl. intermezzo [cf2]Il cantico[cf1] ~([sm1915[nm), and [cf2]Guer
in Meschino[cf1], puppet opera ([sm1920[nm). ~Others were [cf2]La figlia del Re
[cf1]([sm1914[nm=n[sm17[nm), [cf2]Il Diavolo ~nel Campanile [cf1]([sm1919[nm=n[s
m23[nm), and [cf2]La Granceola [cf1]([sm1930[nm). ~Also symphonic poems and cham
ber mus.[cm~L;auubeck, Vincent [fy75,1]([cf2]b[cf1] Padingb;Auuttel, Hanover, ~[
sm1654[nm; [cf2]d[cf1] Hamburg, [sm1740[nm). Ger. organist and ~composer of cant
atas, org. pieces, and chorale ~preludes. Org. of St Nicolai, Ha
mburg, [sm1702[nm=n[sm40[nm, ~attaining widespread reputation.[cm~Lubotsky, Mark
 [fy75,1]([cf2]b [cf1]Leningrad, [sm1931[nm). Russ. ~violinist. Studied at Mosco
w Cons., completing ~studies under D. Oistrakh. Teacher at Gnessin ~Inst., Mosco
w, from [sm1967[nm. London d;aaebut [sm1970[nm in ~Britten's conc., which he rec
orded with the ~composer.[cm~Lucas, Leighton [fy75,1]([cf2]b [cf1]London, [sm190
3[nm; [cf2]d [cf1]London, ~[sm1982[nm). Eng. cond. and composer. Began career as
 ~dancer in Diaghilev Ballet, acquiring mus. know-[fj~ledge by own initiative. B
ecame ballet cond. at ~[sm19[nm; composer of religious works and film mus. ~(inc
l. [cf2]Target for Tonight[cf1], [sm1941[nm).[cm~Lucca, Pauline [fy75,1]([cf2]b
[cf1]Vienna, [sm1841[nm; [cf2]d[cf1] Vienna, [sm1908[nm). ~Austrian sop. Studied
 Vienna. Sang in ch. at ~Hofoper. D;aaebut Olm;auutz [sm1859[nm in [cf2]Ernani[c
f1]. Engaged ~for Berlin Opera [sm1861[nm on Meyerbeer's recommen~~dation. D;aae
but CG [sm1863[nm as Valentine in [cf2]Les ~Huguenots[cf1]. Left
 Berlin [sm1872[nm, touring USA for [sm2[nm ~years. Vienna Opera [sm1874[nm=n[sm
89[nm. Had range of [sm2[nm;FD ~octaves to C in alt.[cm~Luchetti, Veriano [fy75,
1]([cf2]b [cf1]Viterbo, [sm1939[nm). It. tenor. ~Sang at Wexford Fest. [sm1965[n
m as Alfredo in [cf2]La ~Traviata[cf1]. D;aaebut La Scala, Milan, [sm1975[nm. CG
 d;aaebut ~[sm1973[nm (Pinkerton).[cm~Lucia di Lammermoor. [fy75,1]Opera in [sm3
[nm acts by ~Donizetti to lib. by Cammarano based on Scott's ~novel [cf2]The Bri
de of Lammermoor [cf1]([sm1819[nm). Prod. ~Naples [sm1835[nm, London [sm1838[nm,
 New Orleans [sm1841[nm. ~The famous `Mad Scene', one of the finest vehicles ~fo
r a brilliant but sensitive coloratura sop., is ~usually perf. as Act [sm3[nm, S
c. [sm1[nm (the original Sc. [sm1[nm is ~usually omitted, although it has been r
ecorded). ~In the orig. score Lucia is acc. in this scene by ~glass harp, but a
fl. is generally substituted.[cm~Lucier, Alvin [fy75,1]([cf2]b [cf1]Nashua, New
Hampshire, [sm1931[nm). ~Amer. composer. Studied Yale Univ. [sm1
950[nm=n[sm6[nm, ~Brandeis Univ. [sm1958[nm=n[sm60[nm, and at Darmstadt ~summer
courses. Dir., elec. mus. studio Brandeis ~[PN424,0,0,L,I0]Univ. [sm1962[nm=n[sm
9[nm. Teacher at Wesleyan Univ. from ~[sm1970[nm. Has worked mainly with elec. a
pparatus. ~In his [cf2]Music for a Solo Performer [cf1]([sm1965[nm), [sm3[nm ele
ctrodes ~are attached to the performer's scalp picking up ~[sm10[nm-cycle alpha
brain waves. This signal is ampli~~fied and filtered, and directed to loudspeake
rs ~which activate sympathetic responses in perc. ~instrs. Various other unconve
ntional sources of ~sound are used in his works.[cm~Lucio Silla. [fy75,2]Dramma
per musica [cf1]in [sm3[nm acts (K[sm135[nm) ~by Mozart to lib. by G. da Gamerra
, altered by ~Metastasio. Prod. Milan [sm1772[nm, Dresden [sm1955[nm, ~London [s
m1967[nm. Also operas by Anfossi ([sm1774[nm) and ~J. C. Bach ([sm1774[nm).[cm~L
ucky Hand, The [fy75,1](Schoenberg). See [cf2]Gl;Auuckliche ~Hand, Die.[cm~Lucre
zia Borgia. [fy75,1]Opera in prol. and [sm2[nm acts by ~Donizett
i to lib. by Romani based on Hugo's ~tragedy ([sm1833[nm). Prod. Milan [sm1833[n
m, London [sm1839[nm, ~NY [sm1844[nm. At Paris prod. [sm1840[nm, Hugo raised ~ob
jections. The opera was withdrawn and the lib. ~re-written as [cf2]La Rinegata[c
f1], the action being re-~located in Turkey.[cm~Ludus Tonalis [fy75,1](The Play
of Notes). Pf. studies in ~counterpoint, tonal organization, and pf. playing ~by
 Hindemith, comp. [sm1942[nm, f.p. Chicago [sm1943[nm. ~Comprises prelude, [sm12
[nm fugues with [sm11[nm interludes, ~and postlude (inverted version of prelude)
.[cm~Ludwig, Christa [fy75,1]([cf2]b [cf1]Berlin, [sm1924[nm). Ger. sop. and ~me
z. Parents were singers at Vienna Volksoper. ~Studied with her mother and Felice
 H;Auuni-~Miha;Akcek. D;Aaebut Frankfurt [sm1946[nm, Orlofsky in [cf2]Die ~Flede
rmaus[cf1]. Sang in opera in Darmstadt, Hanover, ~and Hamburg. Salzburg Fest. [s
m1954[nm (Cherubino). ~Vienna Opera from [sm1955[nm. NY Met. d;aaebut [sm1959[nm
. ~CG d;aaebut [sm1968[nm (Amneris). Outstanding Marschal~~lin,
Oktavian, Eboli, and Leonore in [cf2]Fidelio[cf1]. Also ~noted interpreter of Li
eder, Mahler's orch. song-~cycles, Verdi [cf2]Requiem[cf1], etc.[cm~Ludwig II, K
ing of Bavaria [fy75,1]([cf2]b[cf1] Nymphenburg, ~[sm1845[nm; [cf2]d [cf1]Lake S
tarnberg, [sm1886[nm). Succeeded his ~father, Maximilian II, in [sm1864[nm. Was
passionate ~admirer of Wagner's mus., becoming his gener~~ous patron, buying him
 houses, and planning to ~build th. in Munich to stage [cf2]Der Ring des ~Nibelu
ngen[cf1]. Prime mover in Munich premi;Ageres of ~[cf2]Tristan und Isolde [cf1](
[sm1865[nm), [cf2]Die Meistersinger von ~N;auurnberg [cf1]([sm1868[nm), [cf2]Das
 Rheingold [cf1]([sm1869[nm), and [cf2]Die ~Walk;auure [cf1]([sm1870[nm). Becaus
e of scandal of Wagner's ~affair with Cosima von B;Auulow, Wagner had to ~leave
Munich, but despite breach in their ~friendship Ludwig con[chtinued to provide s
upport, ~and helped Wagner financially in building of ~Bayreuth Festspielhaus an
d Villa Wahnfried. A ~fascinating historical figure, his alleged
 `madness' ~is at the least questionable.[cm~Ludwig, Leopold [fy75,1]([cf2]b [cf
1]Witkowitz, [sm1908[nm; [cf2]d [cf1]L;auune~~burg, [sm1979[nm). Austrian cond.
Studied Vienna. ~Began career at Opava, [sm1931[nm. Mus. dir. Oldenburg ~[sm1936
[nm, Vienna Opera [sm1939[nm=n[sm43[nm, Berlin State Opera ~[sm1943[nm=n[sm51[nm
. Mus. dir. Hamburg Opera [sm1951[nm=n[sm70[nm, ~conducting many contemporary wo
rks and tak~~ing company to Edinburgh ([sm1952[nm), London [sm1962[nm ~(f. Brit.
 p. of Berg's [cf2]Lulu[cf1]), and NY ([sm1967[nm). NY Met. ~[sm1970[nm ([cf2]Pa
rsifal[cf1]). Glyndebourne [sm1959[nm ([cf2]Der Rosen~~kavalier[cf1]).[cm~Luenin
g, Otto [fy75,1]([cf2]b [cf1]Milwaukee, Wisconsin, [sm1900[nm). ~Amer. composer,
 cond., teacher, and flautist. ~Studied Munich Acad. [sm1914[nm=n[sm17[nm, Z;auu
rich Cons., ~and privately with Busoni. Worked as flautist and ~accompanist, [sm
1915[nm. Cond. opera in Munich and ~Z;auurich [sm1917[nm=n[sm20[nm. One of found
ers of Amer. Grand ~Opera Co., Chicago, [sm1920[nm. Dir., opera
dept., ~Eastman Sch. of Mus., Rochester, [sm1925[nm=n[sm8[nm. Prof. ~of mus. Bar
nard Coll., NY, [sm1944[nm=n[sm68[nm. Co-dir. ~Columbia-Princeton Elec. Mus. Cen
ter from ~[sm1959[nm. Large body of comps. incl. opera [cf2]Evangeline ~[cf1](Lo
ngfellow), fl. concertino, [cf2]Kentucky Concerto [cf1]for ~orch., song settings
 of Whitman and Blake, ~chamber mus. incl. [sm3[nm str. qts., various sonatas, ~
[cf2]Sonority Canon [cf1]for [sm2[nm to [sm37[nm fl., and pf. pieces. Also ~comp
. several elec. works, e.g. [cf2]Fantasy in Space [cf1]for ~fl. on tape, and [cf
2]Synthesis [cf1]for orch. Also elec. works ~in collab. with V. [fy45,1]*[fy75,1
]Ussachevsky, incl. [cf2]A Poem in ~Cycles and Bells [cf1]for tape recorder and
orch., and ~mus. for prods. of Shaw's [cf2]Back to Methuselah [cf1]and ~Shakespe
are's [cf2]King Lear[cf1].[xm[cm~[j1]Luftig [fy75,1](Ger.). Airy.[cm~Luigini, Al
exandre [fy75,1](Cl;aaement L;aaeon Joseph) ([cf2]b ~[cf1]Lyons, [sm1850[nm; [cf
2]d[cf1] Paris, [sm1906[nm). Fr. cond., violinist, ~and composer
. Studied Paris Cons. with Massenet. ~Cond. Lyons th. [sm1877[nm=n[sm97[nm, then
 at Paris Op;aaera-~Comique. Wrote operas, ballets (incl. [cf2]Egyptian ~Ballet[
cf1], [sm1875[nm), orch. works, etc.[cm~Luisa Miller. [fy75,1]Opera in [sm3[nm a
cts by Verdi to lib. by ~Cammarano after Schiller's [cf2]Kabale und Liebe ~[cf1]
([sm1784[nm). Comp. [sm1849[nm. Prod. Naples [sm1849[nm, NY [sm1854[nm, ~London
[sm1858[nm.[cm~Luk;aaa;aks, Zden;akek [fy75,1]([cf2]b [cf1]Prague, [sm1928[nm).
Cz. composer. ~Studied in Prague [sm1943[nm=n[sm6[nm. Dir., Cz. radio orch. ~[sm
1953[nm=n[sm65[nm. Early works influenced by folk-song, ~but later became [sm12[
nm-note, aleatory, and elec. ~Works incl. radio operas, [sm4[nm syms., conc. for
 vn. ~and va., str. qts., and the elec. [cf2]Nezabije;aks [cf1](`You do ~not kil
l') of [sm1971[nm.[cm~Lukomska, Halina [fy75,1]([cf2]b [cf1]Suchedni;aaow, [sm19
29[nm). Polish ~soprano. Studied in Pozna;aan [sm1951[nm=n[sm4[nm, then in ~Wars
aw. Won 's-Hertogenbosch Comp. [sm1956[nm, ~then went to Venice
for study with Toti dal ~Monte. Specialist in works of Webern, Boulez, ~Lutoslaw
ski, and Serocki. Recorded Boulez's [cf2]Pli ~selon pli [cf1]with composer.[cm~L
ullaby [fy75,1](Fr. berceuse; Ger. Wiegenlied). Cradle-~song, usually in triple
rhythm. Vocal lullabies ~occur in mus. of all periods. There are also ~instrumen
tal lullabies, such as Chopin's [cf2]Berceuse[cf1], ~Op. [sm57[nm ([sm1843=n4[nm
).[cm~[PN425,0,0,R,I0]Lully, Jean-Baptiste [fy75,1](orig. Lulli, Giovanni Bat~~t
ista) [cf1]([cf2]b [cf1]Florence, [sm1632[nm; [cf2]d [cf1]Paris, [sm1687[nm). It
.-born ~composer (Fr. nationality from [sm1661[nm). Taught ~himself vn. At [sm14
[nm went to Fr. and worked as ~scullion in noble house, until prowess as dancer
~and mime was noted. Entered service of Louis ~XIV [sm1653[nm, composing instr.
mus. for the court ~ballets. Some time before [sm1656[nm he created and ~became
leader of `les petits violons du Roi', a band ~of [sm21[nm players (an offshoot
of the `[sm24[nm violons du ~roi'). `Instrumental composer to th
e King' [sm1653[nm=n~[sm61[nm, `Superintendent of Mus. and chamber mus. ~compose
r' [sm1661[nm=n[sm2[nm; `music master to Royal ~Family' from [sm1662[nm. From [s
m1664[nm collab. with ~Moli;agere in series of comedy-ballets which were ~foreru
nners of Fr. opera, the last and most famous ~being [cf2]Le Bourgeois Gentilhomm
e[cf1], in which Lully ~danced role of the Mufti. Having assimilated both ~It. a
nd Fr. styles and tastes, from [sm1673[nm he turned ~to opera comp. and obtained
 from the King ~exclusive rights to arrange operatic perfs. in Paris. ~For the n
ext [sm14[nm years, working with the poet ~Quinault, he not only wrote about [sm
20[nm operas and ~ballets, but prod. and cond. them and trained the ~singers wit
h firm discipline. He developed the ~formal `French Ov.' and replaced It. [cf2]r
ecitativo secco ~[cf1]with acc. recit., placing special emphasis on a style ~of
declamation suited to Fr. language. He ~introduced professional female dancers i
nto the ~ballet. A supreme courtier and intriguer, he ~neverthel
ess made Fr. opera a popular art. His ~death was caused by a gangrenous abscess
which ~formed in his foot after he struck it with the long ~staff he used for be
ating time on the floor while ~conducting a [cf2]Te Deum [cf1]to celebrate Louis
 XIV's ~recovery from illness. Prin. works:[xm[cm~[j2][smoperas: [fy75,2]C[nmadm
us et Hermione[cf1] ([sm1673[nm), [cf2]Alceste [cf1]([sm1674[nm), ~[cf2]Th;aaes;
aaee[cf1] ([sm1675[nm), [cf2]Atys [cf1]([sm1676[nm), [cf2]Isis [cf1]([sm1677[nm)
, [cf2]Psych;aae ~[cf1]([sm1678[nm), [cf2]Bell;aaerophon [cf1]([sm1679[nm), [cf2
]Proserpine [cf1]([sm1680[nm), ~[cf2]Pers;aaee [cf1]([sm1682[nm), [cf2]Pha;aaeto
n [cf1]([sm1683[nm), [cf2]Amadis de Gaule ~[cf1]([sm1684[nm), [cf2]Roland [cf1](
[sm1685[nm), [cf2]Armide et R;aaenaud [cf1]([sm1686[nm), ~[cf2]Acis et Galath;aa
ee [cf1]([sm1686[nm), [cf2]Achille et Polix;agene [cf1](with ~Colasse, [sm1687[n
m, prod. posthumously).[ep~[smcomedy-ballets [nmwith [smmoli[cf5];agE[cf1][smre[
nm: [cf2]Le mariage forc;aae ~[cf1]([sm1664[nm), [cf2]L'amour m;
aaedecin [cf1]([sm1665[nm), [cf2]La Princesse ~d';aaElide [cf1]([sm1664[nm), [cf
2]Le Sicilien [cf1]([sm1667[nm), [cf2]Georges Dandin ~[cf1]([sm1668[nm), [cf2]Mo
nsieur de Pourceaugnac [cf1]([sm1669[nm), [cf2]Les ~amants magnifiques [cf1]([sm
1670[nm), [cf2]Le [fy45,1]*[fy75,2]Bourgeois Gentil~~homme [cf1]([sm1670[nm),[ep
~[smchoral[nm: Motets for [sm2[nm choirs ([sm1684[nm), [cf2]Miserere ~[cf1]([sm1
664[nm), [cf2]Te Deum [cf1]([sm1677[nm), [cf2]De Profundis [cf1]([sm1683[nm), [s
m5[nm ~[cf2]Grands Motets [cf1]([sm1685[nm).[cm~[j1]Lulu. [fy75,1]Opera in [sm3[
nm acts by Berg to his own lib. ~based on Frank Wedekind's [cf2]Erdgeist [cf1]([
sm1895[nm) and ~[cf2]Die B;auuchse der Pandora[cf1] ([sm1901[nm). Comp. [sm1929[
nm=n[sm35[nm, ~but full score of Act III uncompleted. Prod. ~Z;auurich [sm1937[n
m. London [sm1962[nm. Lulu, a [cf2]femme fatale[cf1], ~sinks to prostitution and
 ends as a victim of Jack ~the Ripper. Mus. is founded on a single note-row, ~fr
om which are derived [cf2]leitmotiv [cf1]assoc. with ~certain ch
aracters, differing from [fy45,1]*[fy75,2]Wozzeck [cf1]where ~each scene has a f
ormal designation. After death ~of Berg's widow in [sm1977[nm, short score of Ac
t III ~was orch. by Friedrich [fy45,1]*[fy75,1]Cerha and opera was ~given comple
te for first time at Paris Op;aaera [sm1979[nm, ~cond. Boulez. Also Santa Fe, [s
m1979[nm, CG [sm1981[nm.[cm~Lumbye, Hans Christian [fy75,1]([cf2]b [cf1]Copenhag
en, [sm1810[nm; ~[cf2]d [cf1]Copenhagen, [sm1874[nm). Danish cond. and composer
~of galops, marches, etc. Known as `the Northern ~Strauss'.[cm~Lumsdaine, David
[fy75,1]([cf2]b[cf1] Sydney, N.S.W., [sm1931[nm). ~Australian composer. Studied
Sydney Univ. and ~N.S.W. Cons. Went to Eng. [sm1953[nm to study with ~[fy45,1]*[
fy75,1]Seiber. Returned to Australia [sm1973[nm and [sm1976[nm. ~Lecturer in mus
., Durham Univ., where he ~inaugurated elec. studio. Prin. works:[xm[cm~[j2][smo
rch[nm: [fy75,2]Episodes [cf1]([sm1968[nm=n[sm9[nm); [cf2]Hagoromo [cf1]([sm1975
[nm=n[sm7[nm); ~[cf2]Shoalhaven [cf1]([sm1982[nm). [ep~[smchambe
r orch[nm: [cf2]Mandala II [cf1]([sm1969[nm); [cf2]Looking Glass ~Music [cf1]([s
m1970[nm); [cf2]Salvation Creek with Eagle [cf1]([sm1974[nm); ~[cf2]Sunflower [c
f1]([sm1975[nm); [cf2]Mandala III[cf1], pf. and ens. ~([sm1978[nm).[ep~[smbrass
band[nm: [cf2]Evensong [cf1]([sm1975[nm).[ep~[smvoice[cf1]([sms[nm)[sm and chamb
er ens[nm: [cf2]Annotations of Auschwitz[cf1], ~sop. and ens. ([sm1964[nm, rev.
[sm1970[nm); [cf2]Easter Fresco[cf1], ~sop. and ens. ([sm1966[nm, rev. [sm1971[n
m); [cf2]Aria For Edward ~John Eyre[cf1], sop and ens. ([sm1972[nm); [cf2]Tides[
cf1], narrator, ~[sm12[nm vv., perc. ([sm1979[nm); [cf2]The Ballad of Perse O'Re
illy[cf1], ~ten., male ch., [sm2[nm pf. ([sm1953=n81[nm); [cf2]What Shall I Sing
? ~[cf1]sop., [sm2[nm cl. ([sm1982[nm).[ep~[smchamber music[nm: [cf2]Mandala I[c
f1], wind quintet ([sm1967[nm); ~[cf2]Caliban Impromptu [cf1]([sm1972[nm); [cf2]
Mandala IV[cf1], str. qt. ~([sm1983[nm).[ep~[smpiano[nm: [cf2]Kelly Ground [cf1]
([sm1966[nm); [cf2]Flights[cf1], [sm2[nm pf. ([sm1967[nm); ~[cf2
]Kangaroo Hunt[cf1], pf. and perc. ([sm1971[nm); [cf2]Ruhe Sanfte, ~Sanfte Ruh'[
cf1] ([sm1974[nm); [cf2]Cambewarra [cf1]([sm1980[nm).[ep~[smsolo voice[nm: [cf2]
My Sister's Song[cf1], sop. ([sm1974[nm).[ep~[smtape[nm: [cf2]Big Meeting[cf1],
elec. fantasy ([sm1978[nm); [cf2]Wild Ride ~to Heaven [cf1](with N. [fy45,1]*[fy
75,1]LeFanu), `radiophonic ~adventure playground' ([sm1980[nm).[cm~[j1]Lumsden,
David [fy75,1](=+=+=+James) ([cf2]b [cf1]Newcastle upon ~Tyne, [sm1928[nm). Eng.
 organist, harpsichordist, cho~~rusmaster, and administrator. Studied Cambridge
~Univ. with Boris Ord and Thurston Dart. Org., ~Nottingham Univ., [sm1954[nm=n[s
m6[nm; dir. mus., Keele ~Univ., [sm1956[nm=n[sm9[nm; org., New Coll., Oxford, [s
m1959[nm=n~[sm78[nm; Prin., RSAM [sm1978[nm=n[sm82[nm; Prin., RAM from ~[sm1982[
nm. Authority on Eng. lute mus.[cm~Lungo, lunga [fy75,1](It.). Long. [cf2]Lunga
pausa [cf1]([sm1[nm) long ~pause; ([sm2[nm) long rest.[cm~Luogo [fy75,1](It.). S
ame as [fy45,1]*[fy75,2]loco[cf1].[cm~Luonnotar. [fy75,1]Tone-po
em for sop. and orch., Op. ~[sm70[nm, by Sibelius, to words from Finnish epic ~[
cf2]Kalevala [cf1]telling of creation of the world. Comp. ~[sm1913[nm.[cm~Lupo.
[fy75,1]Family of It.-born musicians at Eng. court ~[sm1540[nm=n[sm1640[nm. One
of them, Thomas, wrote fanta~~sies for viols, anthems, etc.[cm~Lupu, Radu [fy75,
1]([cf2]b [cf1]Galati, [sm1945[nm). Romanian pianist. ~Studied Moscow Cons. with
 H. Neuhaus. [sm1[nmst ~[PN426,0,0,L,I0]prize Van Cliburn competition, [sm1966[n
m; first prize ~Leeds int. competition [sm1969[nm. First London recital, ~Nov. [
sm1969[nm. Soloist with world's leading orchs. ~USA tour [sm1972[nm. Settled in
Eng.[xm[cm~[ol0][ep~[xp[te~




[do19][j99]~~~~~~[sm153842[nm_LA[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cm[sm5[nm[cm[sm19[nm[cm[sm1[nm[cm[sm3[nm/~[sm10[nm/[sm79[nm[cm
[sm8[nm[cm[sm408[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Lur. [fy75,1]([sm1[nm)
A prehistoric bronze tpt.[ep~^([sm2[nm) A wooden tpt.-like instr. used by herdsm
en ~in Scandinavia as the [fy45,1]*[fy75,1]Alphorn, which it some~~what resemble
s, is in Switzerland.[cm~Lush, Ernest [fy75,1]([cf2]b[cf1] Bournemouth, [sm1908[
nm). Eng. ~pianist and accompanist. Pupil of Matthay. BBC ~staff accompanist [sm
1927[nm=n[sm66[nm.[cm~Lusigando. [fy75,1]A term that appears sometimes in ~Debus
sy's mus. Apparently a mistake for [fy45,1]*[fy75,2]lusin~~gando[cf1].[cm~Lusing
ando [fy75,1](It.). Flattering, i.e. play in a coaxing, ~intimate manner. So, to
o, [cf2]lusinghevole, lusing~~[chhevolmente, lusinghiero, lusingante[cf1].[cm~Lu
stigen Weiber von Windsor, Die [fy75,1](The Merry ~Wives of Windsor). Opera in [
sm3[nm acts by [fy45,1]*[fy75,1]Nicolai to ~lib. by S. H. Mosent
hal based on Shakespeare's ~comedy ([sm1600[nm=n[sm1[nm). Comp. [sm1846=n7[nm. P
rod. Berlin ~[sm1849[nm, Philadelphia [sm1863[nm, London [sm1864[nm (in It.), ~[
sm1878[nm (in Eng.), [sm1907[nm (in Ger. at CG).[cm~Lustige Witwe, Die [fy75,1](
Leh;aaar). See [cf2]Merry Widow, ~The.[cm~Lute. [fy75,1]Fretted str. instr. of g
reat antiquity played ~by plucking with the fingers (occasionally with a ~plectr
um in earlier types). The `long lute', with ~neck longer than the body, dates ba
ck at least to ~[sm2000 bc[nm. The short lute, with neck slightly shorter ~than
the body, dates from [cf2]c[cf1].[sm800[nm [smbc[nm. It was ~transformed into th
e European lute, with distinct ~neck and central soundhole, probably in Spain in
 ~[sm14[nmth cent. Has a round body, like halved pear, ~flat neck with [sm7[nm o
r more frets, and separate ~pegbox usually bent back from neck at angle. In ~[sm
16[nmth cent. had [sm11[nm str. in [sm6[nm courses, tuned to ~convenient pitch.
Up to [sm6[nm bass courses were added ~in [sm17[nmth cent., unal
terable in pitch. In mid-[sm17[nmth ~cent., new system of tuning (called [cf2]no
uveau ton[cf1]) ~was introduced by Denis Gaultier. Lutes were ~much used for sol
os, acc., and in ens. Their mus. ~was played not from notation but from [fy45,1]
*[fy75,1]tablature ~which in the [sm16[nmth and [sm17[nmth cents. took the form
~of a staff with a space for each str. and small letters ~placed within the spac
e to indicate the fret to be ~used. Small marks above the staff gave the ~durati
on of the sounds.[ep~^Many varieties of lute were used in the [sm16[nmth and ~[s
m17[nmth cents., when it was the chief domestic inst. ~They incl. [cf2]mandola[c
f1], [cf2]mandolin[cf1], [cf2]angelica[cf1], and larger, ~deeper lutes called [c
f2]archlutes[cf1], of which the `long' ~was the [fy45,1]*[fy75,2]chittarone [cf1
]and the `short' the [fy45,1]*[fy75,2]theorbo[cf1]. All ~have the characteristic
 round back, differentiating ~them from the flat-back [cf2]guitar [cf1]family. I
n the [sm17[nmth ~cent., lute music was chiefly cultivated in Fr
., ~Ger., and Eng. ([fy45,1]*[fy75,1]Dowland was probably the ~greatest lute com
poser) while Sp. and It. turned ~to the guitar. The literature of lute mus. stre
tches ~from [sm1507[nm to [cf2]c[cf1].[sm1770[nm, among the latest composers ~to
 compose for it being Handel, J. S. Bach, ~Reusner, and Weiss. It came to be use
d in orch. ~mus., and there is a part for lute in Bach's [cf2]St John ~Passion [
cf1]([sm1723[nm). With the [sm20[nmth-cent. revival of ~interest in early mus. t
he lute has regained ~considerable popularity, especially through the ~agency of
 virtuosi such as Julian [fy45,1]*[fy75,1]Bream.[ep~^The term is also used gener
ically for a large ~group of str. instr., e.g. fiddles, viols, vielle, etc.[cm~L
ute Harpsichord [fy75,1](Ger. [cf2]Lautenclavicymbel[cf1]). Hpd. ~with gut inste
ad of metal strs., so-called because ~of lute-like sound. In [sm1740[nm J. S. Ba
ch had one ~made for his use.[cm~Lutenist [fy75,1](lutanist). Player of the [fy4
5,1]*[fy75,1]lute.[cm~Luth [fy75,1](Fr.). The [fy45,1]*[fy75,1]L
ute.[xm[cm~[j1]Luther, Martin [fy75,1]([cf2]b[cf1] Eisleben, [sm1483[nm; [cf2]d[
cf1] Eisleben, ~[sm1546[nm). Ger. Protestant church reformer. Player of ~lute an
d fl. Est. congregational singing. Wrote ~treatise on mus. ([sm1538[nm) and word
s of many hymns ~and chorales (possibly the mus., too), best-known ~being [fy45,
1]*[fy75,2]Ein' feste Burg ist unser Gott[cf1] (A safe ~stronghold our God is st
ill).[cm~Luthier [fy75,1](Fr., from [cf2]luth[cf1], lute; Ger. [fy45,1]*[fy75,2]
Lautenmacher[cf1]). ~A maker of str. instr., nowadays usually those of ~the vn.
family.[cm~Lutos;umawski, Witold [fy75,1]([cf2]b [cf1]Warsaw, [sm1913[nm). Polis
h ~composer, pianist, and cond. Studied Warsaw ~Univ. [sm1932[nm=n[sm6[nm and St
ate Cons., later in Hamburg. ~Worked as pianist in Warsaw caf;Aaes [sm1939[nm=n[
sm45[nm. His ~earlier works were comp. under the restraints ~imposed by official
 insistence on a style based on ~folk-song, but the [cf2]Concerto for Orchestra
[cf1]([sm1950[nm=n[sm4[nm) ~is a successful example from this pe
riod. After ~[sm1956[nm a freer approach was allowed and the ~influence of Weber
n became apparent in his ~work. He began to use the [sm12[nm-note system in ~[sm
1958[nm but did not find it fruitful. In [cf2]Gry weneckie[cf1] ~(Venetian Games
) of [sm1960[nm=n[sm1[nm, he employed ~[fy45,1]*[fy75,1]aleatory procedures with
in strictly defined ~limits. His later works, notably the [sm2[nmnd Sym., ~combi
ne this technique with  more traditional ~forms such as [cf2]ostinato [cf1]and h
armonic patterns. The ~mus. texture is all-important. Prin. works:[xm[cm~[j2][sm
orch[nm: [fy75,2]Symphonic Variations [cf1]([sm1938[nm); Syms: No. [sm1[nm ~([sm
1941[nm=n[sm7[nm), No. [sm2[nm ([sm1965[nm=n[sm7[nm), No. [sm3[nm ([sm1972=n83[n
m); ~[cf2]Overture [cf1]for str. ([sm1949[nm); [cf2]Little Suite [cf1]for chambe
r ~orch. ([sm1950[nm, rev. [sm1951[nm for full orch.); [sm5[nm [cf2]Folk-~Songs[
cf1] for str. ([sm1952[nm, from [cf2]Folk Melodies [cf1]for pf.); ~[cf2]Concerto
 for Orchestra [cf1]([sm1950[nm=n[sm4[nm); [cf2]Muzyka ;agzalobn
a ~[cf1](Funeral Music) for str. ([sm1958[nm); [sm3[nm [cf2]Postludes [cf1]([sm1
958[nm=n~[sm63[nm); [cf2]Gry weneckie [cf1]([fy45,1]*[fy75,1]Venetian Games) ([s
m1960[nm=n[sm1[nm); ~[cf2]Livre pour orchestre [cf1]([sm1968[nm); [cf2]Cello Con
certo [cf1]([sm1969[nm=n~[sm70[nm); [cf2]Preludes and Fugue [cf1]for [sm13[nm so
lo strings ([sm1972[nm); ~[cf2]Mi Parti [cf1]([sm1976[nm); [cf2]Variations on a
Theme of Paganini[cf1], ~version for pf. and orch. ([sm1978[nm, see [sm2 pianos[
nm); ~[cf2]Novelette [cf1]([sm1978[nm=n[sm9[nm); Conc. for ob., hp., and ~chambe
r orch. ([sm1979[nm=n[sm80[nm); [cf2]Chain I [cf1]([sm1983[nm).[ep~[PN427,0,0,R,
I0][smvoices and orch[nm: [sm2[nm [cf2]Fragments from a Requiem [cf1]for ~v., ch
., and orch. ([sm1937[nm); [cf2]Silesian Triptych [cf1]for sop. ~and orch. ([sm1
951[nm); [sm3[nm [cf2]Poems of Henri Michaux [cf1]for ~ch., wind, [sm2[nm pf., h
arp, and perc. ([sm1963[nm); [fy45,1]*[fy75,2]Paroles ~tiss;aaees [cf1]for ten.
and [sm20[nm solo instr. ([sm1965[nm); [cf2]Les ~espaces du somm
eil [cf1](The spaces of sleep), bar. and ~orch. ([sm1975[nm)[ep~[smchamber music
[sm: [sm30[nm small pieces for woodwind ~([sm1943[nm=n[sm4[nm); wind trio ([sm19
54[nm); [cf2]Dance Preludes [cf1]for ~cl. and pf. ([sm1954[nm, rev. [sm1955[nm f
or cl. and small ~orch., [sm1959[nm for nonet); Str. Qt. ([sm1964[nm); [cf2]Epit
aph[cf1], ~ob., pf. ([sm1979[nm); [cf2]Grave[cf1], vc., pf. ([sm1981[nm).[ep~[sm
2[nm [smpianos[nm: [cf2]Variations on a Theme of Paganini [cf1]([sm1941[nm); ~ve
rsion for pf. and orch. ([sm1978[nm).[ep~[smpiano[nm: Sonata ([sm1934[nm); [cf2]
Folk Melodies [cf1]([sm1945[nm, Nos. [sm9[nm=n~[sm12[nm rev. [sm1954[nm for [sm4
[nm vn. as [sm4[nm [cf2]Silesian Folk-Songs[cf1]; [sm5[nm ~of them arr. for str.
 as [sm5[nm[cf2] Folk-Songs[cf1], [sm1952[nm); ~[cf2]Invention [cf1]([sm1983[nm)
.[ep~[smvoice and piano[nm: [sm20[nm [cf2]Polish Carols [cf1]([sm1946[nm); [sm5[
nm Songs ~([sm1957[nm, rev. [sm1958[nm for mez. and [sm30[nm instr.).[ep~[smbras
s[nm: [cf2]Mini Overture[cf1] ([sm1981[nm).[cm~[j1]Lutto [fy75,1
](It.). Mourning. So [cf2]luttoso [cf1]or [cf2]luttuoso[cf1], ~mournful; [cf2]lu
ttosamente[cf1], mournfully.[cm~Lutyens, [fy75,1](Agnes)[fy65][cf3] Elisabeth [f
y75,1]([cf2]b [cf1]London, [sm1906[nm; [cf2]d ~[cf1]London, [sm1983[nm). Eng. co
mposer. Studied ;aaEcole ~Normale de Mus[chique, Paris, [sm1922[nm=n[sm3[nm, RCM
 (with ~Harold [fy45,1]*[fy75,1]Darke) [sm1926[nm=n[sm30[nm. One of first Eng. ~
composers to use [sm12[nm-note system. Comp. nearly ~[sm200[nm scores for films
and radio, also incidental ~mus. for plays. Helped to found Macnaghten-~Lemare c
oncerts, London, [sm1931[nm, and founded ~Composers' Concourse [sm1954[nm. Autho
r of books ~and articles. C.B.E. [sm1969[nm. Prin. works:[xm[cm~[j2][smoperas[nm
: [fy75,2]Infidelio [cf1]([sm1954[nm); [cf2]The Numbered [cf1]([sm1965[nm=n[sm7[
nm); ~[cf2]Isis and Osiris [cf1]([sm1969[nm=n[sm70[nm); [cf2]Time off? Not a Gho
st of ~a Chance! [cf1](charade in [sm4[nm scenes with [sm3[nm interrup~~tions) (
[sm1967[nm=n[sm8[nm); [cf2]The Goldfish Bowl[cf1] ([sm1975[nm);
[cf2]Like a ~Window [cf1]([sm1976[nm).[ep~[smorch[nm: [cf2][sm3[nm Pieces [cf1](
[sm1939[nm); [sm5[nm Chamber Concs. ([sm1939[nm=n~[sm46[nm); [cf2][sm3[nm Sympho
nic Preludes [cf1]([sm1942[nm); Va. Conc. ~([sm1947[nm); [cf2]Quincunx [cf1](wit
h sop. and bar.) ([sm1959[nm=n[sm60[nm); ~[cf2]Music for Orchestra [cf1]I [cf1](
[sm1955[nm), II ([sm1962[nm), III ([sm1963[nm), ~IV ([sm1981[nm); [cf2]Chorale [
cf1]([sm1956[nm); [cf2]Symphonies [cf1]for pf., ~wind, harps, perc. ([sm1961[nm)
; [cf2]Music for Piano and ~Orchestra [cf1]([sm1964[nm); [cf2]Novenaria [cf1]([s
m1967[nm); [cf2]The Winter ~of the World [cf1]([sm1974[nm); [cf2]Eos [cf1]([sm19
75[nm); [cf2]Rondel [cf1]([sm1976[nm); ~[cf2]Concert Aria[cf1], female v. and or
ch. ([sm1976[nm); [cf2][sm6[nm ~Bagatelles [cf1]([sm1976[nm); [cf2]Nox[cf1], pf.
 and [sm2[nm chamber orchs. ~([sm1977[nm); [cf2]Tides [cf1]([sm1978[nm); [cf2]Ec
hoi[cf1], with mez. ([sm1979[nm); ~[cf2]Rapprochement [cf1]([sm1980[nm); [cf2]Si
x [cf1]([sm1980[nm); [cf2]Wild Decembers ~[cf1]([sm1980[nm).[ep~
[smvoice[nm([sms[nm) [smand instr[nm: [cf2]O Saisons, O ch;afateaux [cf1](Rim~~b
aud), sop. and str. ([sm1946[nm); [cf2]Nativity[cf1], sop. and str. ~([sm1951[nm
); [cf2]De Amore [cf1](Chaucer), sop., ten., ch., orch. ~([sm1957[nm); [cf2]Cate
na[cf1], sop., ten., [sm21[nm instr. ([sm1961[nm); [cf2]The ~Valley of Hatsu-se[
cf1], sop., fl., cl., vc., pf. ([sm1965[nm); ~[cf2]Akapotik Rose[cf1], sop. and
ens. ([sm1966[nm); [cf2]And Suddenly ~It's Evening[cf1], ten. and [sm11[nm instr
. ([sm1967[nm); [cf2]Essence of ~Our Happinesses[cf1], ten., ch., orch. ([sm1968
[nm); [cf2]A Phoenix[cf1], ~sop., vn., cl., pf. ([sm1968[nm); [cf2]Anerca[cf1],
speaker, [sm10[nm ~guitars, perc. ([sm1970[nm); [cf2]Vision of Youth[cf1], sop.,
 [sm3[nm cl., ~pf., perc. ([sm1970[nm); [cf2]Islands[cf1], sop., ten., speaker,
ens. ~([sm1971[nm); [cf2]Requiescat [cf1](in mem. Stravinsky), sop., str. ~trio
or mez., [sm2[nm cl., bass cl. ([sm1971[nm); [cf2]Dirge for the ~Proud World[cf1
], sop., counterten., hpd., vc. ([sm1971[nm); ~[cf2]The Tears of
 Night[cf1], counterten., [sm6[nm sop., [sm3[nm instr. ~ens. ([sm1971[nm); [cf2]
Chimes and Cantos[cf1], bar., ens. ([sm1972[nm); ~[cf2]Laudi[cf1], sop., [sm3[nm
 cl., pf., perc. ([sm1973[nm); [cf2]Chorale Prelude ~and Paraphrase[cf1], ten.,
str. quintet, pf., perc. ~([sm1977[nm); [cf2]Elegy of the Flowers[cf1], ten. and
 [sm3[nm instr. ~groups ([sm1978[nm); [cf2]Cantata[cf1], sop.,  instr. ens. ([sm
1979[nm); ~[cf2]Cantata [cf1](Beaudelaire), sop., cont., bar., ens. ~([sm1979[nm
); [cf2]Echoes[cf1], cont., fl., cor ang., str. qt. ([sm1979[nm); ~[cf2]Concert
Aria [cf1](`Dialogo'), sop., ens. ([sm1980[nm); [cf2]Fleur ~du Silence[cf1], ten
., ens. ([sm1980[nm); [cf2]Mine Eyes, My Bread, ~My Spade[cf1], ten., str. qt. (
[sm1980[nm).[ep~[smchoral[nm: [cf2]Encomion[cf1], with brass and perc. ([sm1963[
nm); ~[cf2]Voice of Quiet Waters[cf1], with orch. ([sm1972[nm); [cf2]Counting ~Y
our Steps[cf1], with [sm4[nm fl., [sm4[nm perc. ([sm1972[nm); [cf2]The Roots of
~the World[cf1], with vc. obbl. ([sm1979[nm).[ep~[smunacc. chora
l[nm: [cf2]Excerpta Tractata=mLogico Philoso~~phici [cf1](Wittgenstein), motet (
[sm1952[nm); [cf2]The Country ~of the Stars [cf1]([sm1963[nm); [cf2]The Hymn of
Man[cf1], male vv. ~([sm1965[nm), rev. for mixed vv. ([sm1970[nm); [cf2]Magnific
at and ~Nunc Dimittis [cf1]([sm1965[nm); [cf2]The Tyme doth Flete [cf1]([sm1968[
nm); ~[cf2]Verses of Love [cf1]([sm1970[nm); [cf2]Roads[cf1], [sm2[nm sop., coun
terten., ~ten., bar., bass ([sm1973[nm); [cf2]Sloth=mOne of the Seven ~Deadly Si
ns[cf1], [sm2[nm counterten., ten., [sm2[nm bar., bass ~([sm1974[nm); [cf2]It is
 the Hour [cf1]([sm1976[nm).[ep~[smstring quartets[nm: No. [sm2[nm ([sm1938[nm),
 No. [sm3[nm ([sm1949[nm), No. [sm6[nm[fj([sm1952[nm), No. [sm12[nm ([sm1981[nm)
; Op. [sm139[nm ([sm1979[nm); Op. [sm158[nm ~([sm1982[nm); [cf2]Plenum III [cf1]
([sm1973[nm); [cf2]Mare et Minutiae ~[cf1]([sm1976[nm); [cf2]Doubles [cf1]([sm19
78[nm); `[cf2]Diurnal[cf1]', Op. [sm146[nm ([sm1980[nm).[ep~[smchamber ens[nm: S
tr. trio ([sm1939[nm); [cf2]Concertante [cf1]for fl., ~cl., vn.,
 vc., pf. ([sm1950[nm); [cf2]Nocturnes[cf1], vn., vc., guitar ~([sm1955[nm); [cf
2]Capricii[cf1], [sm2[nm hp., perc. ([sm1955[nm); [cf2][sm6[nm Tempi[cf1], for ~
[sm10[nm instr. ([sm1957[nm); wind quintet ([sm1960[nm); str. quintet ~([sm1963[
nm); wind trio ([sm1963[nm); [cf2]Fantasie-Trio[cf1], fl., cl., pf. ~([sm1963[nm
); str. trio ([sm1964[nm); [cf2]Scena[cf1], vn., vc., perc. ~([sm1964[nm); [cf2]
Music for Wind [cf1]([sm1964[nm); [cf2]The Fall of the ~Leafe[cf1], ob., str. qt
. ([sm1966[nm); [cf2]Music for Three[cf1], fl., ob., ~pf. ([sm1966[nm); [cf2]Hor
ai[cf1], vn., hn., pf. ([sm1968[nm); [cf2]Driving ~Out the Death[cf1], ob., str.
 trio ([sm1971[nm); [cf2]Rape of the ~Moone[cf1], wind octet ([sm1973[nm); [cf2]
Plenum II[cf1], ob., [sm13[nm ~instr. ([sm1973[nm); [cf2]Kareniana[cf1], va., [s
m10[nm instr. ([sm1974[nm); [cf2]Go, ~Said the Bird[cf1], elec. guitar, str. qt.
 ([sm1975[nm); [cf2]Fantasia[cf1], ~alto sax., [sm3[nm instr. groups ([sm1977[nm
); [cf2]O Absalom .|.|., ~[cf1]vn., ob., va., vc. ([sm1977[nm);
[cf2]Trio[cf1], cl., vc., pf. ([sm1979[nm); ~[cf2]Branches of the Night and of t
he Day[cf1], hn., str. qt. ~([sm1981[nm).[ep~[smsongs[nm (with pf. unless otherw
ise stated): [cf2][sm2[nm Songs ~by W. H. Auden [cf1]([sm1942[nm); [cf2][sm9[nm
Songs [cf1](Stevie Smith) ~([sm1948[nm); [cf2][sm3[nm Songs [cf1](Dylan Thomas),
 sop., instr. ~([sm1953[nm); [cf2]In the Temple of a Bird's Wing[cf1], bar. ([sm
1956[nm ~and [sm1965[nm); [cf2]The Egocentric[cf1], ten. or bar. ([sm1968[nm); ~
[cf2]Lament of Isis on the Death of Osiris[cf1], solo sop. ~([sm1969[nm); [cf2]T
he Supplicant[cf1], bass ([sm1970[nm); [cf2]In the Direction ~of the Beginning[c
f1], bass ([sm1970[nm); [cf2]Oda a la Tormenta[cf1], ~mez. ([sm1970[nm); [cf2]Di
alogo[cf1], ten., lute ([sm1972[nm); [cf2][sm2[nm Songs ~[cf1](D. H. Lawrence),
unacc. v. ([sm1974[nm); [cf2]The Hidden ~Power[cf1], [sm2[nm unacc. vv. ([sm1974
[nm); [cf2]Of the Snow[cf1], [sm3[nm unacc. ~vv. ([sm1974[nm); [cf2]Nocturnes an
d Interludes[cf1], sop. ([sm1976[nm); ~[cf2]Variations: Winter S
eries=mSpring Sowing[cf1], sop. ~([sm1977[nm); [cf2]By All These .^.^.[cf1], sop
., guitar ([sm1977[nm); [cf2]She ~[PN428,0,0,L,I0]Tells Her Love While Half Asle
ep [cf1](R. Graves), solo ~sop. ([sm1979[nm); [cf2]That Sun[cf1], cont. ([sm1979
[nm); [cf2]The Singing ~Birds[cf1], speaker, va. ([sm1980[nm).[ep~[smpiano[nm: [
cf2][sm5[nm Intermezzi [cf1]([sm1941[nm); [cf2][sm3[nm Improvisations [cf1]([sm1
948[nm); ~[cf2]Piano e Forte [cf1]([sm1958[nm); [cf2][sm5[nm Bagatelles [cf1]([s
m1962[nm); [cf2]Helix ~[cf1]([sm1967[nm); [cf2]Plenum I [cf1]([sm1972[nm); [cf2]
The Ring of Bone[cf1], with ~opt. speaking v. or vv. ([sm1975[nm); [cf2][sm5[nm
Impromptus ~[cf1]([sm1977[nm); [cf2][sm7[nm Preludes [cf1]([sm1978[nm); [cf2]The
 Great Seas [cf1]([sm1979[nm); ~[cf2] [sm3[nm Books of Bagatelles [cf1]([sm1979[
nm); [cf2]La Natura dell'Acqua ~[cf1]([sm1981[nm). [smhpd[nm: [cf2]Piet;aga [cf1
]([sm1975[nm).[ep~[smorgan[nm: [cf2]Sinfonia [cf1]([sm1955[nm); [cf2]Epithalaniu
m[cf1], with opt. ~sop. ([sm1968[nm); [cf2][sm3[nm Short Pieces[
cf1] ([sm1969[nm); [cf2]Plenum IV ~[cf1]([sm1974[nm).[ep~[smchamber music[nm ([s
m1[nm or [sm2[nm instr., classified instrumen~~tally): [cf2]Duo No. [sm3[nm[cf1]
, vn., pf. ([sm1957[nm); [cf2]Scroll for Li-Ho[cf1], ~vn., pf. ([sm1967[nm); [cf
2]Prelude[cf1], solo vn. ([sm1979[nm); [cf2]Madrigal[cf1], ~ob., vn. ([sm1977[nm
); [cf2]Morning Sea[cf1], ob., pf. ([sm1979[nm); ~[cf2]D;aaeroulement[cf1], ob.,
 guitar ([sm1980[nm); Sonata for solo ~va. ([sm1938[nm); [cf2]Aptote[cf1], solo
va. ([sm1948[nm); [cf2]Echo of the ~Wind[cf1], solo va. ([sm1981[nm); [cf2][sm9[
nm Bagatelles[cf1], vc., pf. ([sm1942[nm); ~[cf2]Duo No. [sm2[nm[cf1], vc., pf.
([sm1956[nm=n[sm7[nm); [cf2]Constants[cf1], vc., pf. ~([sm1976[nm); [cf2]The Tid
es of Time[cf1], db., pf. ([sm1969[nm); ~[cf2]Variations[cf1], fl. ([sm1957[nm);
 [cf2]Footfalls[cf1], fl., pf. ([sm1978[nm); ~[cf2]Presages[cf1], ob. ([sm1963[n
m); [cf2][sm5[nm Little Pieces[cf1], cl., pf. ([sm1945[nm); ~[cf2]Valediction[cf
1], cl., pf. ([sm1954[nm); [cf2]Tre[cf1], cl. ([sm1973[nm); [cf2
]Soli[cf1], ~cl., db. ([sm1980[nm); [cf2]This Green Tide[cf1], basset hn., pf. ~
([sm1975[nm); [cf2]Duo No. [sm1[nm[cf1], hn., pf. ([sm1956[nm=n[sm7[nm); [cf2]Th
e Dying ~of the Sun[cf1], guitar ([sm1969[nm); [cf2]Romanza[cf1], guitar ([sm197
7[nm); ~[cf2]The Living Night[cf1], perc. solo ([sm1981[nm).[ep~Also many film,
radio, and theatre scores.[cm~[j1]Luxon, Benjamin [fy75,1]([cf2]b [cf1]Redruth,
[sm1937[nm). Eng. bar. ~Studied GSM. Taught physical education until ~becoming p
rof. singer [sm1963[nm. Numerous recitals ~and concerts. Opera at Aldeburgh, Gly
ndebourne ~(d;aaebut [sm1972[nm as Monteverdi's Ulysses), CG (d;aaebut ~[sm1972[
nm in Maxwell Davies's [cf2]Taverner[cf1]), ENO (d;aaebut ~[sm1974[nm in [cf2]Do
n Carlos[cf1]), and other companies. Created ~role of Owen Wingrave in Britten's
 opera (BBC ~TV [sm1971[nm and CG [sm1973[nm).[cm~Lvov, Alexey [fy75,1](Fyodorov
ich) ([cf2]b [cf1]Reval, [sm1798[nm; [cf2]d [cf1]nr. ~Kovno, [sm1870[nm). Russ.
composer, cond., and violin~~ist. Served in army, becoming gener
al, then in ~[sm1837[nm succeeded father as dir. of St Petersburg ~court choir.
Led str. qt. Wrote [sm3[nm operas, vn. conc., ~[sm24[nm caprices, church mus., a
nd Imperial nat. ~anthem, [cf2]God Save the Tsar [cf1]([sm1833[nm), quoted by ~T
chaikovsky in [cf2][sm1812[nm Overture[cf1].[cm~Lyadov, Anatoly [fy75,1](Konstan
tinovich) ([cf2]b[cf1] St Peters~~burg, [sm1855[nm; [cf2]d [cf1]Novgorod, [sm191
4[nm). Russ. composer. ~Pupil of Rimsky-Korsakov at St Petersburg Cons., ~where
he later became prof. of comp. Researched ~Russ. folk mus. with [fy45,1]*[fy75,1
]Balakirev and [fy45,1]*[fy75,1]Lyapunov. ~His tone poems for orch. incl. [cf2]T
he Enchanted Lake ~[cf1]([cf2]Volshebnoye ozero[cf1]) ([sm1909[nm), [cf2]Baba Ya
ga [cf1]([sm1904[nm), and ~[cf2]Kikimora [cf1]([sm1910[nm). Collab. in Borodin's
 [fy45,1]*[fy75,2]Paraphrases ~[cf1]([fy45,1]*[fy75,1]Chopsticks version). Orig.
 choice to comp. mus. ~for ballet [cf2]The Firebird[cf1], but because he did not
 ~begin work on it, it was passed to [fy45,1]*[fy75,1]Stravinsky
 ~(some sources maintain that yet another composer ~was offered the commission b
efore Stravinsky).[cm~Lyapunov, Sergey [fy75,1](Mikhaylovich) [cf1]([cf2]b [cf1]
Yaroslavl, ~[sm1859[nm; [cf2]d[cf1] Paris, [sm1924[nm). Russ. composer. Studied
~Moscow Cons. [sm1878[nm=n[sm83[nm. Ass. dir. Imperial choir, ~St Petersburg, [s
m1884[nm=n[sm1902[nm. Worked with [fy45,1]*[fy75,1]Lyadov ~and [fy45,1]*[fy75,1]
Balakirev on folk-song research. Prof., St ~Petersburg Cons. [sm1910[nm=n[sm18[n
m. Ed. correspondence ~between Balakirev and Tchaikovsky. Works incl. ~[sm2[nm s
yms., [sm2[nm pf. concs., vn. conc., many songs, and ~pf. pieces.[cm~Lydian Mode
. [fy75,1]See [cf2]Modes[cf1].[cm~Lyke-Wake Dirge. [fy75,1][sm15[nmth-cent. anon
ymous Eng. ~poem set by [fy45,1]*[fy75,1]Britten in his [fy45,1]*[fy75,2]Serenad
e [cf1]for ten., ~hn., and str. ([sm1943[nm), by [fy45,1]*[fy75,1]Stravinsky in
his [cf2]Cantata ~[cf1]([sm1951[nm=n[sm2[nm) and by Whittaker for ch. and orch.
~([sm1924[nm).[cm~Lympany, Moura [fy75,1]([cf2]b [cf1]Saltash, [
sm1916[nm). Eng. pianist. ~Studied RCM and Li;agege, and with Matthay. ~Public d
;aaebut [sm1928[nm, Harrogate. Int. career. Gave f. ~London p. of Khachaturian's
 pf. conc. C.B.E. ~[sm1979[nm.[cm~Lyra [fy75,1](Lira). ([sm1[nm) The [fy45,1]*[f
y75,1]Lyre.[ep~^([sm2[nm) Early Ger. name for [fy45,1]*[fy75,1]hurdy-gurdy; see
[cf2]lira[cf1].[cm~Lyra organizzata. [fy75,1]See [cf2]Lira organizzata.[cm~Lyra
Viol. [fy75,1]Small bass [fy45,1]*[fy75,1]viol.[cm~Lyre. [fy75,1]Ancient Gr. ins
tr., like small harp, in which ~strings were fixed to a cross-bar between [sm2[n
m arms ~and plucked by fingers or plectrum.[cm~Lyre-Bird Press. [fy75,1]See [cf2
]L'Oiseau-Lyre[cf1].[cm~Lyric. [fy75,1]([sm1[nm) Strictly, vocal perf. with [fy4
5,1]*[fy75,1]lyre; hence ~[cf2]lyric drama [cf1];eq opera of all kinds (Fr. [cf2
]drame ~lyrique[cf1]), [cf2]lyric stage [cf1];eq operatic stage.[ep~^([sm2[nm) S
hort poem, not epic or narrative; composers ~such as Grieg adapted this meaning
to mus., e.g. ~[cf2]Lyric Piece[cf1], [cf2]Lyric Suite[cf1].[ep~
^([sm3[nm) Vocal description, e.g. [cf2]lyric tenor[cf1],[cf2] lyric soprano[cf1
], ~somewhere between `light' and `heavy' vocal ~weight.[ep~^([sm4[nm) The words
 of a song in a `musical' or of a ~popular [sm20[nmth-cent. song.[cm~Lyric Suite
. [fy75,1]([sm1[nm) Orch. by Grieg ([sm1904[nm) of [sm4[nm of his ~[sm6[nm [cf2]
Lyric Pieces [cf1](Book [sm5[nm), Op. [sm54[nm ([sm1891[nm) ([cf2]Shepherd's ~Bo
y[cf1], [cf2]Norwegian March[cf1],[cf2] Nocturne[cf1], and [cf2]March of the ~Dw
arfs[cf1]).[ep~^([sm2[nm) Work for str. qt. in [sm6[nm movements by [fy45,1]*[fy
75,1]Berg, ~comp. [sm1925[nm=n[sm6[nm, f.p. Vienna [sm1927[nm. [sm2[nmnd, [sm3[n
mrd and ~[sm4[nmth movements arr. for str. orch. [sm1928[nm, f.p. Berlin ~[sm192
9[nm. Research has lately disclosed that the [cf2]Lyric ~Suite[cf1] was a manife
station of Berg's love for Hanna ~Fuchs, wife of a Cz. industrialist, whom he me
t ~[sm1925[nm. In addition to quotations from Wagner's ~[cf2]Tristan[cf1], Zemli
nsky's [cf2]Lyric Symphony[cf1], and his own ~[cf2]Wozzeck[cf1],
 Berg used the notes representing Han~~na's and his initials (H(B nat.), F, A, a
nd B) in the ~note-row which is the basis of the work. The [sm6[nmth ~movement,
[cf2]Largo desolato[cf1], exists also in version ~with mez. voice as setting of
S. George's trans. of ~Baudelaire's `De profundis clamavi'. F. Eng. p. of ~suite
 with vocal finale, BBC broadcast [sm1979[nm.[cm~[PN429,0,0,R,I0]Lyrische Sympho
nie [fy75,1](Lyric Symphony). Zem~~linsky's Op. [sm18[nm, being seven songs afte
r poems by ~Rabindranath Tagore ([cf2]b [cf1]Calcutta, [sm1861[nm; [cf2]d [cf1]C
al~~cutta, [sm1941[nm) in Ger. trans. by the composer, for ~sop., bar., and orch
. Comp. [sm1922=n3[nm. [sm7[nm poems are: [sm1[nm. ~[cf2]Ich bin friedlos [cf1](
I am restless), [sm2[nm. [cf2]Mutter, der junge ~Prinz muss an unsere T;auure vo
rbeikommen [cf1](Mother, ~the young Prince is to pass our door), [sm3[nm. [cf2]D
u bist ~die Abendwolke [cf1](You are the evening cloud), [sm4[nm. ~[cf2]Sprich z
u mir Geliebter! [cf1](Speak to me, my love), [sm5[nm. ~[cf2]Bef
rei mich von den Banden deiner s;auusse Lieb! [cf1](Free ~me from the bonds of y
our sweetness, my love!), ~[sm6[nm. [cf2]Vollende denn das letzte Lied und lass
uns ~auseinandergehn [cf1](Then finish the last song and let ~us leave), [sm7[nm
. [cf2]Friede, mein Herz [cf1](Peace, my heart). ~In the [fy45,1]*[fy75,2]Lyric
Suite[cf1], which is dedicated to ~Zemlinsky, Berg in the [sm4[nmth movt. quotes
 the ~principal theme from No. [sm3[nm of the [cf2]Lyrische ~Symphonie[cf1], whi
ch occurs at the words `Du bist ~mein Eigen' (`You are my own'). F.p. Prague ~[s
m1924[nm, cond. Zemlinsky; f. Eng. p. [sm1977[nm, BBC ~broadcast, cond. S;auussk
ind.[cm~Lysenko, Mykola [fy75,1]([cf2]b [cf1]Hrynky, [sm1842[nm; [cf2]d [cf1]Kie
v, ~[sm1912[nm). Ukrainian composer. Studied Kiev Univ. ~[sm1860[nm=n[sm4[nm and
 in St Petersburg with Rimsky-~Korsakov [sm1874[nm=n[sm6[nm. Expert in Ukrainian
 folk-song, ~publishing [sm240[nm popular songs ([sm1868[nm=n[sm1911[nm). ~Comp.
 several operas, incl. [cf2]Taras Bulba[cf1], cantatas, ~songs,
etc.[cm~Lysy, Alberto [fy75,1](Ivan) ([cf2]b[cf1] Argentina, [sm1935[nm). Ukrain
~~ian-Argentine violinist and cond. Studied in ~Argentina, Paris, and London. [s
m1[nmst prize, Queen ~Elisabeth competition, Brussels, [sm1955[nm. Later ~studie
d with Menuhin. Founded chamber orch. ~in Buenos Aires, [sm1965[nm.[cm~Lyttelton
, Humphrey [fy75,1]([cf2]b [cf1]Eton, [sm1921[nm). Eng. jazz ~trumpeter and band
-leader. Prof. career began ~[sm1947[nm. Formed own band [sm1948[nm. Also writer
 and ~broadcaster.[xm[cm~[j4]~[xp[te~






[te












[do9][j99]~~~~~~[sm153842[nm_M[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmM[sm001[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm2[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm1[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[PN430,0,0,L,I0][ap[j3]~M
[cm~~[j1]M. [fy75,1]Surnames beginning M', Mc, or Mac, are all ~treated, in acco
rdance with most British reference ~books (though not with Amer. dictionaries),
as ~though spelt Mac.[cm~Ma [fy75,1](It.). `But', as in [cf2]ma non troppo[cf1],
 `but not too ~much'.[cm~Ma, Yo-Yo [fy75,1]([cf2]b [cf1]Paris, [sm1955[nm). Fr c
ellist of Chinese ~parents. Gave first recital at age of [sm6[nm. Studied at ~Ju
illiard Sch., NY, from [sm1962[nm with L. Rose. In ~[sm1970[nms achieved interna
tional eminence as soloist ~with world's leading orchs.[cm~Maag, Peter [fy75,1](
[cf2]b [cf1]St Gall, Switz., [sm1919[nm). Swiss cond. ~and pianist. Studied Z;au
urich and Geneva Univs. ~and with Furtw;auangler and Cortot. Cond. D;auussel~~do
rf Opera [sm1952[nm=n[sm4[nm, Bonn Opera [sm1954[nm=n[sm9[nm. Ch
ief ~cond. Vienna Volksoper [sm1964[nm=n[sm7[nm; mus. dir. Parma ~Opera from [sm
1971[nm, Turin Opera from [sm1974[nm. Brit. ~d;aaebuts [sm1959[nm (CG and Glynde
bourne), Amer. [sm1959[nm ~(Minneapolis S.O.), NY. Met. [sm1972[nm. Has conducte
d ~many unfamiliar operas and championed [sm20[nmth ~cent. works.[cm~Maayani, Am
i [fy75,1](Hay) [cf1]([cf2]b [cf1]Ramat-Gan, Israel, [sm1936[nm). ~Israeli compo
ser and cond. Studied architecture, ~Haifa, and founded Technion S.O. Studied mu
s. ~at Jerusalem Acad. [sm1950[nm=n[sm3[nm and Columbia Univ., ~NY ([sm1964[nm=n
[sm5[nm, elec. mus. with V. [fy45,1]*[fy75,1]Ussachevsky). ~Studied comp. privat
ely with Paul Ben-Haim ~[sm1956[nm=n[sm60[nm. Cond. of Israel Youth Orch. Comps.
 ~incl. [sm2[nm harp concs., vn. conc., vc. conc., va. conc., ~[sm2[nm-pf. conc.
, [cf2]Qumran[cf1], `symphonic metaphor' for ~orch., [cf2]Mismorim[cf1], for hig
h v. and orch., etc.[cm~Maazel, Lorin [fy75,1](Varencove) ([cf2]b [cf1]Neuilly,
[sm1930[nm). ~Amer. cond. and violinist. Studied Pittsburgh ~Uni
v. Cond. at NY World Fair and Hollywood ~Bowl [sm1939[nm when a child, leading A
mer. orchs., ~incl. NY P.O., NBC S.O., Chicago, and Cleveland, ~from [sm1941[nm.
 Violinist in Pittsburgh S.O. from ~[sm1948[nm. Cond. in It. from [sm1953[nm. Co
nd. Bayreuth ~Fest, [sm1960[nm, [sm1968[nm, [sm1969[nm; mus, dir. Deutsche Oper
~[sm1965[nm=n[sm71[nm, Berlin Radio S.O. [sm1965[nm=n[sm71[nm. Opera ~d;aaebuts
at La Scala, Milan, and Vienna [sm1966[nm. CG, ~[sm1978[nm. Ass. prin. cond. New
 Philharmonia [sm1970[nm=n~[sm2[nm; cond. and mus. dir. Cleveland Orch. [sm1972[
nm=n[sm82[nm. ~Dir., Vienna Opera [sm1982=n6[nm (first Amer. to hold ~post) but
left amid controversy in [sm1984[nm.[cm~M;aaacal, Zden;akek [fy75,1]([cf2]b [cf1
]Brno, [sm1936[nm). Cz. conductor. ~Studied under J;aailek at Brno Cons. [sm1951
[nm=n[sm6[nm and at ~Jan;aaa;akcek Acad. [sm1955[nm=n[sm60[nm. Cond. Moravian P.
O. ~(Olomouc) [sm1963[nm=n[sm7[nm. Won Besan;alcon int. cond. ~competition [sm19
65[nm. D;aaebut with Czech P.O. [sm1966[nm, ~taking orch. on tou
r to W. Ger. [sm1968[nm. Settled in ~Switzerland [sm1969[nm. Brit. d;aaebut Bour
nemouth S.O. ~[sm1969[nm. Cond. Cologne Radio S.O. [sm1970[nm=n[sm4[nm. Amer. ~d
;aaebut Chicago S.O. [sm1972[nm.[cm~McAllister, Rita [fy75,1](Margaret Notman) (
[cf2]b [cf1]Mossend, ~Lanarks., [sm1946[nm). Scottish writer and composer. ~Stud
ied Glasgow Univ. and RSAM (comp. with ~Anthony Hedges, Robin Orr, and Frederick
 ~Rimmer). Lecturer in mus., Edinburgh Univ. ~Composer of str. qt., song-cycles,
 cantata, etc. ~Authority on Prokofiev and other [sm20[nmth-cent. ~Russ. compose
rs.[cm~Macbeth. [fy75,1]([sm1[nm)^Opera in [sm4[nm acts by Verdi, his [sm10[nmth
, ~to lib. by Piave based on Shakespeare's tragedy. ~Comp. [sm1846[nm. Prod. Flo
rence [sm1847[nm, NY [sm1858[nm. Rev. ~for Paris [sm1865[nm in Fr. trans., this
version now being ~generally used. Glyndebourne [sm1938[nm.[ep~^([sm2[nm)^Sympho
nic poem Op. [sm23[nm by R. Strauss, ~comp. [sm1887[nm=n[sm8[nm, rev. [sm1889[nm
=n[sm90[nm, f.p. Weimar [sm1890[nm ~cond. Strauss.[ep~^([sm3[nm)
^Opera in prol. and [sm3[nm acts by Bloch to Fr. lib. ~by Edmond Fleg, after Sha
kespeare. Comp. [sm1903[nm=n~[sm9[nm, prod. Paris [sm1910[nm.[ep~^([sm4[nm)^Oper
a by L. Collingwood, lib. selected from ~Shakespeare. Prod. London [sm1934[nm.[x
m[cm~[j1]McBride, Robert [fy75,1]([cf2]b [cf1]Tucson, Ariz., [sm1911[nm). Amer.
~composer. Studied Arizona Univ. [sm1928[nm=n[sm35[nm, comp. ~with [fy45,1]*[fy7
5,1]Luening. Woodwind player in Tucson S.O. ~[sm1928[nm=n[sm35[nm. Taught theory
 and wind instr., Ben~~nington Coll. [sm1935[nm=n[sm46[nm. Composer-arranger ~Tr
iumph Films, NY, [sm1946[nm=n[sm57[nm. Teacher of theory, ~wind instr., and comp
. at Arizona Univ. from ~[sm1957[nm. Works incl. [cf2]Mexican Rhapsody, Punch an
d ~the Judy, Jazz Symphony [cf1](ballet), [cf2]Panorama of ~Mexico, Hill Country
 Symphony [cf1](all for orch.); ~[cf2]Workout, [cf1]ob. and pf.; ob. quintet; [c
f2]String Foursome ~[cf1]for str. qt; [cf2]Lament for the Parking Problem[cf1],
tpt., hn., ~tb.[cm~McCabe, John [fy75,1]([cf2]b [cf1]Huyton, [sm
1939[nm). Eng. composer, ~pianist, and critic. Studied Manchester Univ., ~RMCM (
comp. with [fy45,1]*[fy75,1]Pitfield), Munich Music ~Acad., and privately with H
arold Genzmer. As ~pianist specializes in [sm20[nmth-cent. Eng. mus. and ~Haydn.
 Pianist-in-residence Univ. Coll., Cardiff, ~[sm1965[nm=n[sm7[nm. Dir., London C
oll. of Mus. from [sm1983[nm. ~Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]The
 Play of Mother Courage [cf1]([sm1974[nm); [cf2]The ~Lion, The Witch, and The Wa
rdrobe [cf1]([sm1968[nm).[ep~[smballets[nm: [fy45,1]*[fy75,2]Mary, Queen of Scot
s [cf1]([sm1975[nm); [cf2]The ~Teachings of Don Juan [cf1]([sm1973[nm).[ep~[smor
ch[nm: Sym. for [sm10[nm wind instr. ([sm1964[nm); Syms.; No. ~[sm1[nm ([cf2]Ele
gy[cf1]) ([sm1965[nm), No. [sm2[nm ([sm1970[nm=n[sm1[nm), No. [sm3[nm ([cf2]Homm
ages[cf1]) ~([sm1978[nm); [cf2]Variations on a Theme by Hartmann [cf1]([sm1964[n
m); ~[cf2]Concertante Variations on a Theme of Maw [cf1]([sm1970[nm); ~[cf2]The
[fy45,1]*[fy75,2]Chagall Windows [cf1]([sm1974[nm); [cf2]Sonata
on a Motet ~[PN431,0,0,R,I0]for Strings [cf1]([sm1976[nm); [sm2[nm [cf2]Suites [
cf1]from ballet `Mary, ~Queen of Scots' ([sm1976[nm); [cf2]The Shadow of Light ~
[cf1]([sm1979[nm); [cf2]Concerto for Orchestra [cf1]([sm1982[nm).[ep~[smconcerto
s[nm: Pf., No. [sm1[nm ([sm1966[nm), No. [sm2[nm ([sm1970[nm), No. [sm3[nm ~([sm
1976[nm); Vn., No. [sm1[nm ([sm1959[nm), No. [sm2[nm ([sm1980[nm); Cl. ~([sm1978
[nm); [cf2]Concerto fun;agebre, [cf1]va. and chamber orch. ~([sm1962[nm); Chambe
r Conc., va., vc., and orch. ~([sm1965[nm); [cf2]Concertante, [cf1]hpd. and cham
ber ens. ~([sm1965[nm); [cf2]Metamorphoses, [cf1]hpd. and orch. ([sm1968[nm); ~o
b. d'amore ([sm1972[nm).[ep~[smvoice and orch[nm: [fy45,1]*[fy75,2]Notturni ed A
lba[cf1], for sop. and ~orch. ([sm1970[nm); [cf2]Voyage, [cf1][sm5[nm soloists,
boys' ch., ch., ~and orch. ([sm1972[nm); [cf2]Time Remembered[cf1], sop. and ens
. ~([sm1973[nm); [cf2]Stabat Mater[cf1], sop., ch., orch. ([sm1976[nm); ~[cf2]Re
flections on a Summer Night[cf1], ch. and orch. ~([sm1976[nm).[e
p~[smchamber music[nm: [cf2]Partita [cf1]for str. qt. ([sm1960[nm); [sm3[nm [cf2
]Pieces[cf1], ~cl. and pf. ([sm1964[nm); str. trio ([sm1965[nm); [cf2]Fantasy [c
f1]for ~brass qt. ([sm1965[nm); [cf2]Movements [cf1]for cl., vn., vc. [cf1]([sm1
964[nm, ~rev. [sm1966[nm); [cf2]Partita [cf1]for vc. ([sm1966[nm); [cf2]Nocturna
l [cf1]for ~pf. and str. qt. ([sm1966[nm); [cf2]Rounds [cf1]for brass quintet ~(
[sm1967[nm); [cf2]Canto [cf1]for guitar ([sm1968[nm); ob. qt. ([sm1968[nm); ~con
c. for pf. and wind quintet ([sm1969[nm); Str. Qt. ~No. [sm2[nm ([sm1972[nm), No
. [sm3[nm ([sm1979[nm); [cf2]The Goddess Trilogy, ~[cf1]hn. and pf. ([sm1973[nm=
n[sm5[nm).[ep~[smpiano[nm: [cf2]Variations [cf1]([sm1963[nm); [sm5[nm [cf2]Bagat
elles [cf1]([sm1964[nm); ~[cf2]Fantasy on a Theme of Liszt[cf1] ([sm1967[nm); [c
f2]Intermezzi ~[cf1]([sm1968[nm); [cf2]Capriccio [cf1]([sm1969[nm); [cf2]Sostenu
to [cf1]([sm1969[nm); [cf2]Gaudi ~[cf1]([sm1970[nm); [cf2]Aubade [cf1]([sm1970[n
m).[ep~[smorgan[nm: [cf2]Sinfonia [cf1]([sm1961[nm); [cf2]Prelud
e [cf1]([sm1964[nm); [cf2]Johannis-~Partita [cf1]([sm1964[nm); [cf2]Elegy [cf1](
[sm1965[nm); [cf2]Miniconcerto, [cf1]organ, ~perc., and audience ([sm485[nm penn
y whistles) ([sm1966[nm).[ep~[smvocal[nm: [cf2]Great Lord of Lords [cf1]([sm1966
[nm); [cf2]Hymn to God the ~Father [cf1]([sm1966[nm); [cf2]Canticles for Salisbu
ry [cf1]([sm1966[nm); [cf2]The ~Morning Watch [cf1]([sm1968[nm); [cf2]Behold a S
illy Tender Babe ~[cf1]([sm1975[nm); [cf2]Visions [cf1]([sm1984[nm).[cm~[j1]McCa
ldin, Denis [fy75,1]([cf2]b [cf1]Nottingham, [sm1933[nm). Eng. ~cond., writer, a
nd teacher. Studied Nottingham ~and Birmingham Univs., intending to be scientist
. ~Dir. of mus., Lancaster Univ. from [sm1971[nm. Guest ~cond. leading orchs.[xm
[cm~[j1]McCartney, Paul [fy75,1]([cf2]b [cf1]Liverpool, [sm1942[nm). Eng. ~songw
riter, guitarist, pianist, and organist. Mem~~ber of the [fy45,1]*[fy75,1]Beatle
s pop group [sm1960[nm=n[sm70[nm; formed ~new group Wings [sm1971[nm. Comp. many
 songs ~(some with John Lennon) incl. [cf2]Eleanor Rigby, ~Yeste
rday, [cf1]etc. Mus. for several films. Over ~[sm200,000,000[nm recordings of hi
s comps. sold. M.B.E. ~[sm1965[nm.[xm[cm~[j1]McCormack, John [fy75,1]([cf2]b [cf
1]Athlone, [sm1884[nm; [cf2]d [cf1]Dublin, ~[sm1945[nm). Irish-born ten. (Amer.
citizen [sm1917[nm). ~Without previous instruction, won gold medal at ~Nat. Iris
h Fest. [sm1902[nm, then studied in It. Opera ~d;aaebut Savona [sm1906[nm. Londo
n d;aaebut in concert ~[sm1907[nm, later that year at CG as Turidd;agu in [cf2]C
avalleria ~Rusticana[cf1]. NY d;aaebut, Manhattan Opera [sm1909[nm as ~Alfredo i
n [cf2]Traviata[cf1], same role [sm1910[nm NY Met. ~Member Boston Opera [sm1910[
nm=n[sm11[nm, Chicago [sm1912[nm=n~[sm14[nm. Then gave up opera and devoted hims
elf to ~concerts and recitals. Famous for singing of Irish ~and sentimental ball
ads, but his beautiful phras~~ing and pure tone in operatic roles can be heard ~
on recordings. Made papal Count, [sm1928[nm.[cm~McCracken, James [fy75,1]([cf2]b
 [cf1]Gary, Indiana, [sm1926[nm). ~Amer. ten. Acted in Broadway
plays and sang on ~radio before d;aaebut NY Met. [sm1953[nm. Sang opera in ~Z;au
urich and elsewhere  until return to Met. [sm1963[nm ~as Otello in Verdi's opera
, a role with which he ~became closely identified throughout world. CG ~d;aaebut
 [sm1964[nm.[cm~MacCunn, Hamish [fy75,1]([cf2]b [cf1]Greenock, [sm1868[nm; [cf2]
d [cf1]Lon~~don, [sm1916[nm). Scottish composer and cond. Studied ~with Parry at
 RCM [sm1883[nm=n[sm6[nm. Prof. of harmony ~RAM [sm1888[nm=n[sm94[nm and at GSM
from [sm1912[nm. Cond. ~Carl Rosa Opera after [sm1898[nm and later for Beecham ~
co. Wrote several operas, incl. [cf2]Jeanie Deans [cf1]([sm1894[nm) ~and [cf2]Di
armid [cf1]([sm1897[nm), cantatas, incl. [cf2]The Wreck of ~the Hesperus [cf1]([
sm1905[nm), concert-ovs., [cf2]The [fy45,1]*[fy75,2]Land of the ~Mountain and th
e Flood [cf1]([sm1887[nm) and [cf2]The Ship o' the ~Fiend [cf1]([sm1888[nm), par
t-songs, songs, pf. pieces.[cm~McDonald, Gerald [fy75,1]([cf2]b[cf1] Wallasey, [
sm1913[nm). Eng. ~mus. administrator. Studied in Dresden and wit
h ~Imogen Holst. Regional dir. Arts Council [sm1948[nm=n~[sm56[nm, gen. man. RLP
O [sm1956[nm=n[sm64[nm. Head of Mus. ~(North), BBC [sm1964[nm=n[sm9[nm, gen. man
. New Philhar~~monia Orch. [sm1969[nm=n[sm74[nm. Administrator, Musicians' ~Bene
volent Fund, [sm1974[nm=n[sm8[nm. Administrator, Nat. ~Opera Studio [sm1978=n84[
nm. Member of several mus. ~committees, trusts, etc. O.B.E. [sm1981[nm.[cm~Macdo
nald, Hugh [fy75,1](=+=+John) ([cf2]b [cf1]Newbury, [sm1940[nm). ~Eng. lecturer
and musicologist. Studied Cam~~bridge Univ. On mus. staff Cambridge Univ. ~[sm19
66[nm=n[sm71[nm, Oxford Univ. from [sm1971[nm. Specialist in ~Berlioz. Cond. Cam
bridge Phil. Soc. [sm1969[nm=n[sm71[nm. ~Prof., Glasgow Univ., from [sm1980[nm.[
xm[cm~[j1]MacDonald, Malcolm [fy75,1]([cf2]b[cf1] Bedford, [sm1916[nm). Eng. ~co
mposer, critic, teacher, and jazz pianist. Studied ~RCM. Lecturer, Cape Town Uni
v. [sm1948[nm=n[sm54[nm, prof. ~RAM from [sm1954[nm. Works incl. [sm2[nm syms.,
sinfonietta, ~hpd. conc., [cf2]Cuban Rondo, [cf1]etc.[cm~MacDona
ld, Malcolm [fy75,1](Calum) ([cf2]b [cf1]Nairn, [sm1948[nm). ~Scottish critic an
d composer. Studied Cambridge ~Univ. Composer of songs and pf. pieces. Author ~o
f many articles and of books on Havergal Brian, ~J. H. Foulds, and Schoenberg.[c
m~MacDowell, Edward [fy75,1](Alexander) ([cf2]b [cf1]NY, [sm1860[nm; ~[cf2]d [cf
1]NY, [sm1908[nm). Amer. composer and pianist. Studied ~pf. as child, having occ
asional lessons from Teresa ~[fy45,1]*[fy75,1]Carre;atno. Entered Paris Cons. [s
m1876[nm, Frankfurt ~Cons. [sm1879[nm, studying pf. with Heymann and ~comp. with
 [fy45,1]*[fy75,1]Raff. Teacher of pf., Darmstadt ~Cons. [sm1881[nm. In [sm1882[
nm visited Liszt at Weimar; on ~Liszt's recommendation, [cf2]First Modern Suite
[cf1]for pf. ~and first pf. conc. were pubd. From [sm1885[nm to [sm1888[nm ~live
d at Wiesbaden. Returned to USA [sm1888[nm, ~settling in Boston. Soloist in f.p.
 of [sm2[nmnd pf. conc., ~NY [sm1889[nm. First head of mus. dept., Columbia ~Uni
v., NY, [sm1896[nm=n[sm1904[nm, resigning amid contro~~versy. In
jured when knocked down in street, and ~was insane for last [sm3[nm years of his
 life. His mus. is ~[PN432,0,0,L,I0]romantic in style and charmingly melodic. Th
e ~MacDowell Colony in Peterboro, New Hamp~~shire, where composers and other art
ists can work ~peacefully, was founded in his memory. Prin. ~works:[xm[cm~[j2][f
y75,1][smorch[nm: Symphonic poems [cf2]Hamlet [cf1]and [cf2]Ophelia ~[cf1]([sm18
85[nm), [cf2]Lancelot and Elaine [cf1]([sm1886[nm), [cf2]Lamia [cf1]([sm1887[nm=
n~[sm8[nm), Suite No. [sm1[nm ([sm1888[nm=n[sm93[nm), No. [sm2[nm ([cf2]Indian[c
f1]) ([sm1891[nm=n~[sm5[nm).[ep~[smconcertos[nm: Pf., No. [sm1[nm in A minor ([s
m1882[nm), No. [sm2[nm in ~D minor ([sm1884[nm=n[sm6[nm).[ep~[smpiano[sm: [cf2][
sm1[nmst Modern Suite [cf1]([sm1880[nm=n[sm1[nm), [cf2][sm2[nmnd Modern ~Suite [
cf1]([sm1882[nm=n[sm3[nm); [cf2]Forest Idyls [cf1]([sm1884[nm); [cf2]Idyls [cf1]
([sm1887[nm, ~rev. as [cf2][sm6[nm Idyls After Goethe[cf1], [sm1901[nm); [cf2][s
m12[nm Studies ~[cf1]([sm1890[nm); Sonatas: [cf2]Tragica [cf1]([
sm1893[nm), [cf2]Eroica [cf1]([sm1895[nm), ~[cf2]Norse [cf1]([sm1900[nm), [cf2];
aaKeltic [cf1]([sm1900[nm); [cf2][sm12[nm Virtuoso Studies ~[cf1]([sm1894[nm); [
cf2][sm10[nm Woodland Sketches [cf1]([sm1896[nm, No. [sm1[nm is [cf2]To a ~Wild
Rose[cf1]); [cf2][sm8[nm Sea Pieces [cf1]([sm1898[nm); [cf2][sm6[nm Fireside Tal
es ~[cf1]([sm1902[nm); [cf2][sm10[nm New England Idyls [cf1]([sm1902[nm).[ep~Als
o many songs, part-songs, arrangements, and ~works pubd. under pseudonym Edgar T
horn.[cm~[j1]Mace, Thomas [fy75,1]([cf2]b [cf1]Cambridge, [sm1612[nm or [sm1613[
nm; [cf2]d ~[cf1]?Cambridge, [cf2]c.[cf1][sm1706[nm). Eng. writer on mus. Wrote
~[cf2]Musick's Monument [cf1]([sm1676[nm), a book about psal~~mody, lute-playing
, the viol, etc.[cm~Macero, Teo [fy75,1]([cf2]b [cf1]Glens Falls, NY, [sm1925[nm
). Amer. ~composer, arranger, cond., and saxophonist. ~Studied Juilliard Sch. [s
m1947[nm=n[sm53[nm. Composer of ~many film and TV scores, also [cf2]In Retrospec
t [cf1]for ~orch., [cf2]C[cf1] for alto sax., vn., va., and orch
. ([sm1957[nm), ~[cf2]Polaris [cf1]for orch., [cf2]Dylan [cf1](musical), and sev
eral ~dance scores for Anna Sokolow.[cm~McEwen, [fy75,1](Sir) [fy65][cf3]John [f
y75,1](Blackwood) ([cf2]b [cf1]Hawick, ~[sm1868[nm; [cf2]d [cf1]London, [sm1948[
nm). Scottish composer and ~teacher. Studied RAM [sm1893[nm, under Prout, Corder
, ~and Matthay. Prof. of harmony and comp., RAM, ~[sm1898[nm=n[sm1924[nm, prin.
[sm1924[nm=n[sm36[nm. Knighted [sm1931[nm. Bene~~[chfactor of chamber concerts.
Works incl. [cf2]Solway ~Symphony, [cf1]va. conc., ov. [cf2]Grey Galloway[cf1],
many str. ~qts. (incl. [cf2]Biscay[cf1]), choral mus., str. quintet, pf. ~pieces
, songs, etc.[cm~Macfarren, [fy75,1](Sir) [fy65][cf3]George [fy75,1](Alexander)
([cf2]b[cf1] London, ~[sm1813[nm; [cf2]d [cf1]London, [sm1887[nm). Eng. composer
 and ~teacher. Studied RAM with Cipriani Potter, Prof., ~RAM [sm1837[nm=n[sm87[n
m. Cond. at CG from [sm1845[nm. Prof. of ~mus., Cambridge Univ., [sm1875[nm. Pri
n., RAM [sm1875[nm=n~[sm87[nm. Knighted [sm1883[nm. Blind by [sm
1860[nm, dictating to ~amanuensis. Works incl. [sm12[nm operas ([cf2]Don Quixote
, ~[cf1][sm1846[nm, [cf2]Robin Hood, [cf1][sm1860[nm, [cf2]She Stoops to Conquer
, ~[cf1][sm1864[nm), [sm9[nm syms., oratorios, cantatas, ov. [cf2]Chevy Chase ~[
cf1]([sm1836[nm), pf. conc., vn. conc., sonatas, str. qts., and ~much church mus
. Also wrote textbooks on ~harmony and articles for [cf2]Grove's Dictionary[cf1]
, etc. ~Ed. works by Purcell and Handel, and colls. of ~Eng., Scottish, and Iris
h songs.[cm~McGuire, Edward [fy75,1]([cf2]b [cf1]Glasgow, [sm1948[nm). Scottish
~composer. Works incl. sym., trilogy for chamber ~ens. ([cf2]Rebirth, Interregnu
m, Liberation[cf1]), symphonic ~poem [cf2]Calgacus, [cf1]and [cf2]Rant [cf1]for
solo vn., [cf2]Life-Songs[cf1], ~solo vv., str.[cm~M;aaacha, Otmar [fy75,1]([cf2
]b [cf1]Ostrava, [sm1922[nm). Cz. composer. ~Studied Prague Cons. and Mus. Acad.
 Worked at ~Radio Prague [sm1945[nm=n[sm62[nm. Works incl. oratorio ~[cf2]Testam
ent of J. A. Comenius  [cf1]([sm1952[nm=n[sm5[nm), operas ~[cf2]
Infidelity Unmasked [cf1]([sm1956[nm=n[sm7[nm) and [cf2]The Lake Ukereve ~[cf1](
[sm1960[nm=n[sm3[nm), symphonic poem [cf2]Night and Hope [cf1]([sm1959[nm), ~[cf
2]Variants [cf1]for orch. ([sm1968[nm), vn. sonata, bn. sonata.[xm[cm~[j1]Machau
t [fy75,1](Machault), [fy65][cf3]Guillaume de [fy75,1]([cf2]b [cf1]Reims, ~[cf2]
c[cf1].[sm1300[nm; [cf2]d [cf1]Reims, [sm1377[nm). Fr. composer, cleric, poet, ~
and diplomat. Secretary to John, Duke of Lux~~embourg from [cf2]c[cf1].[sm1323[n
m to [sm1346[nm. Later in service of ~King of Navarre, King of Cyprus, Duke of B
erry, ~and others. Canon of churches at Reims, Verdun, ~and S. Quentin. Comp. mo
tet for election of ~Archbishop of Reims, [sm1324[nm. Outstanding practi~~tioner
 of [fy45,1]*[fy75,2]Ars Nova [cf1]and among first to comp. ~polyphonic setting
of poetry in fixed forms ~([cf2]ballade, rondeau, [cf1]and [cf2]virelai[cf1]), t
o write in [sm4[nm parts, ~and to compose integrated setting of entire ~Ordinary
 of the Mass. Also among last to compose ~in the medieval forms
of [fy45,1]*[fy75,2]Lai [cf1]and [cf2]Dit. [cf1]His most ~important works are pr
obably the [cf2]Messe de Notre ~Dame [cf1]for [sm4[nm vv. and the [cf2]Voir Dit
[cf1](Tale of Truth), a ~collection of letters, lyrics, and song-settings ~([cf2
]ballades [cf1]and [cf2]rondeaux[cf1]) written in praise of a ~woman (P;aaeronne
 d'Armenti;ageres). Machaut's ~works have appeared in [sm3[nm complete edns., by
 ~Ludwig ([sm1926[nm, [sm1954[nm), Schrade ([sm1956[nm), and Sylvette ~Leguy (Pa
ris, from [sm1977[nm).[cm~Machicotage. [fy75,1]([sm1[nm) Extemporary ornamentati
on ~of plainsong by the priest. Machicots were ~members of the lower clergy who
were singers ~(Lat. [cf2]macicoti[cf1]; It. [cf2]maceconchi[cf1]).[ep~^([sm2[nm)
 Addition of an improvised [sm2[nmnd part to a ~plainsong.[ep~^([sm3[nm) Singing
 of inferior quality.[cm~M;auachtig [fy75,1](Ger.). Mighty, powerful.[cm~McIntyr
e, Donald [fy75,1]([cf2]b [cf1]Auckland, N.Z., [sm1934[nm). ~N.Z. bar. Studied G
SM. Opera d;aaebut, Cardiff ~(WNO) [sm1959[nm. Member SW Opera [
sm1960[nm=n[sm7[nm, CG ~d;aaebut [sm1967[nm (Pizarro). Bayreuth d;aaebut [sm1967
[nm as ~Telramund. In [sm1973[nm became first British singer ~to sing Wotan in B
ayreuth [cf2]Ring [cf1]cycle and sang ~role in [sm1976[nm centenary cycle. Wotan
 in CG [cf2]Ring ~[cf1]cycle [sm1974[nm. NY Met. d;aaebut as Wotan [sm1974[nm. G
uest ~singer Vienna, Hamburg, Milan. O.B.E. [sm1977[nm.[cm~Mackenzie, [fy75,1](S
ir) [fy65][cf3]Alexander [fy75,1](Campbell) ([cf2]b [cf1]Edin~~burgh, [sm1847[nm
; [cf2]d [cf1]London, [sm1935[nm). Scottish composer, ~violinist, cond., and tea
cher. Studied Sondershau~~sen Cons. [sm1857[nm=n[sm62[nm, RAM [sm1862[nm=n[sm5[n
m. In Edinburgh ~[sm1865[nm=n[sm79[nm as violinist, cond., etc. Lived in Florenc
e ~[sm1879[nm=n[sm88[nm. Prin., RAM  [sm1888[nm=n[sm1924[nm. Cond., Philhar~~mon
ic Soc. [sm1892[nm=n[sm9[nm, giving f.Eng.p. of Tchaikov~~sky's [sm6[nmth sym. (
[sm1894[nm). Knighted [sm1895[nm, K.C.V.O. ~[sm1922[nm. Works incl. [sm5[nm oper
as (incl. [cf2]The Cricket on the ~Hearth, [cf1][sm1900[nm), ora
torios, cantatas (incl. [cf2]The Dream ~of Jubal[cf1], [sm1889[nm), [sm3[nm [cf2
]Scottish Rhapsodies[cf1], vn. conc., ~chamber mus., and songs.[cm~Mackerras, [f
y75,1](Sir) (Alan) [fy65][cf3]Charles [fy75,1]([cf2]b [cf1]Schenectady, ~NY, [sm
1925[nm). Australian cond. and oboist. Studied ~[PN433,0,0,R,I0]N.S.W. Cons. (Sy
dney). Prin. ob. Sydney S.O. ~[sm1943[nm=n[sm6[nm. Went to Eng. [sm1946[nm. Stud
ied cond. with ~Talich. Prague Acad., [sm1947[nm=n[sm8[nm. Cond., SW Opera ~[sm1
948[nm=n[sm53[nm. Prin. cond. BBC Concert Orch. [sm1954[nm=n~[sm6[nm. CG from [s
m1963[nm (d;aaebut cond. [cf2]Katerina Izmaylova[cf1]). ~First cond., Hamburg St
ate Opera [sm1966[nm=n[sm70[nm. Mus. ~dir. SW Opera (ENO from [sm1974[nm) [sm197
0[nm=n[sm8[nm; prin. ~cond. Sydney S.O. from [sm1982[nm. Cond. f.p. in ~England
of a Jan;aaa;akcek opera, [cf2]K;aaa;akta Kabanov;aaa[cf1], SW ~[sm1951[nm, foll
owing with several other Jan;aaa;akcek operas, ~some of which he has ed. Awarded
 Jan;aaa;akcek ~Medal, [sm1978[nm. Arr. mus. by Sullivan for bal
let ~[fy45,1]*[fy75,2]Pineapple Poll[cf1] and by Verdi for [cf2]The Lady and the
 ~Fool. [cf1]Guest cond. leading sym. orchs. Has cond. ~and ed. operas by Handel
, J. C. Bach, and Gluck. ~His [cf2]Nozze di Figaro [cf1]at SW [sm1965[nm was rem
arkable ~for addition of ornamentation and for [sm18[nmth cent. ~appoggiaturas.
C.B.E. [sm1974[nm. Knighted [sm1979[nm.[cm~McKie, [fy75,1](Sir) [fy65][cf3]Willi
am [fy75,1](Neil) ([cf2]b[cf1] Melbourne, ~Victoria, [sm1901[nm; [cf2]d[cf1] Ott
awa, [sm1984[nm). Australian organist and cond. ~Studied RCM. Dir. of mus., Clif
ton College, ~[sm1926[nm=n[sm30[nm, Melbourne city organist [sm1931[nm=n[sm8[nm,
 Mag~~dalen College, Oxford, [sm1938[nm=n[sm41[nm, organist and ~master of chori
sters, Westminster Abbey [sm1941[nm=n~[sm63[nm, Dir. of mus. for coronation of Q
ueen Elizabeth ~II, [sm1953[nm. Knighted [sm1953[nm.[cm~MacMillan, [fy75,1](Sir)
 [fy65][cf3]Ernest [fy75,1](Campbell) ([cf2]b [cf1]Mimico, ~Ontario, [sm1893[nm;
 [cf2]d [cf1]Toronto, [sm1973[nm). Candian cond., ~organist, and
 composer. Concert organist from ~age [sm10[nm. A.R.C.O. at age of [sm13[nm, F.R
.C.O. at [sm17[nm. ~Studied Edinburgh with Niecks and Hollins, then ~Paris. At B
ayreuth [sm1914[nm and interned throughout ~war, gaining his Oxford D.Mus. while
 prisoner. ~Prin., Toronto Cons. of Mus. [sm1926[nm=n[sm42[nm, dean of ~mus. Tor
onto Univ. [sm1927[nm=n[sm52[nm. Cond., Toronto ~S.O. [sm1931[nm=n[sm56[nm. Comp
osed choral works and arr. ~Canadian folk-songs. Knighted [sm1935[nm (first Cana
~~dian `for services to mus.').[cm~MacMillan, [fy75,1](Sir) [fy65][cf3]Kenneth [
fy75,1]([cf2]b [cf1]Dunfermline, ~[sm1929[nm). Scottish dancer, choreog., and di
r. Studied ~SW Ballet Sch. Joined SW Th. Ballet [sm1946[nm. ~Choreog., Royal Bal
let, [sm1965[nm. Ballet dir., Deutsche ~Oper, Berlin, [sm1966[nm=n[sm9[nm. Dir.,
 Royal Ballet [sm1970[nm=n[sm77[nm, ~prin.  choreog. from [sm1977[nm. Choreog. i
ncl. [cf2]Somnam~~bulism [cf1]([sm1953[nm), [cf2]Rite of Spring [cf1]([sm1962[nm
), [cf2]Romeo and ~Juliet [cf1]([sm1965[nm), [cf2]Song of the Ea
rth [cf1]([sm1965[nm), [cf2]Checkpoint ~[cf1]([sm1970[nm), [cf2][sm7[nm Deadly S
ins [cf1]([sm1973[nm), [cf2]Manon [cf1]([sm1974[nm), etc. ~Knighted [sm1983[nm.[
cm~[fy65][cf3]Macnaghten, Anne [fy75,1](Catherine) ([cf2]b [cf1]Whitwick, ~Leics
., [sm1908[nm). Eng. violinist. Studied Leipzig ~Cons. [sm1926[nm=n[sm9[nm and i
n London [sm1929[nm=n[sm34[nm with ~Andr;aae Mangeot. Founder and leader Macnagh
ten ~Str. Qt. [sm1932[nm=n[sm40[nm and co-founder in [sm1931[nm with Iris ~Lemar
e and E. Lutyens of Macnaghten concerts ~at which works by young Brit. composers
, notably ~Britten, were introduced. Quartet reorganized ~[sm1947[nm.[cm~McNaugh
t, William [fy75,1](Gray) ([cf2]b [cf1]London, [sm1849[nm; [cf2]d ~[cf1]London,
[sm1918[nm). Eng. writer, teacher, and choral ~cond. Studied RAM. Ass. inspector
 of mus., Board ~of Education, [sm1883[nm=n[sm1901[nm. Authority on tonic sol-~f
a. Ed., [cf2]Musical Times, [cf1][sm1909[nm=n[sm18[nm.[cm~McNaught, William [fy7
5,1]([cf2]b [cf1]London, [sm1883[nm; [cf2]d [cf1]Lon~~don, [sm19
53[nm). Eng. mus. critic, son of W. G. ~[fy45,1]*[fy75,1]McNaught. Worked for se
veral papers, incl. ~[cf2]Glasgow Herald. [cf1]Ed., [cf2]Musical Times, [cf1][sm
1944[nm=n[sm53[nm.[cm~Maconchy, Elizabeth [fy75,1]([cf2]b [cf1]Broxbourne, [sm19
07[nm). ~Eng. composer of Irish parentage. Studied RCM ~with Charles Wood and [f
y45,1]*[fy75,1]Vaughan Williams, and ~in Prague with Jir;aaak from [sm1929[nm wh
ere her pf. ~concertino was perf. by Prague P.O., [sm1930[nm. In the ~same year
her suite [cf2]The Land [cf1] was played at the ~London Proms. Her ob. quintet w
on [cf2]Daily ~Telegraph [cf1]chamber mus. prize, [sm1933[nm. She has ~concentra
ted on chamber mus., inspired by ~Bart;aaok's example. Her mus. is contrapuntal
and ~tends to have short concise thematic material, but ~a freer, more passionat
e style has developed in ~later works. Cobbett Medal for chamber mus. ~[sm1960[n
m, C.B.E. [sm1977[nm. Nicola [fy45,1]*[fy75,1]LeFanu is her daugh~~ter. Prin. wo
rks:[xm[cm~[j2][smoperas[nm: [sm3[nm [sm1[nm-act operas, [fy75,2
]The Sofa [cf1]([sm1956[nm=n[sm7[nm), [cf2]The ~Departure [cf1]([sm1960[nm=n[sm1
[nm), [cf2]The Three Strangers [cf1](Hardy) ~([sm1958[nm=n[sm67[nm) ([sm1[nmst p
erf. as trilogy, Middlesbrough ~[sm1977[nm); [cf2]The Birds [cf1]([sm1967[nm=n[s
m8[nm); [cf2]The Jesse Tree[cf1], masque ~([sm1970[nm); [cf2]The King of the Gol
den River [cf1]([sm1975[nm).[ep~[smorch[nm: Suite, [cf2]The Land[cf1] ([sm1930[n
m); ov. [cf2]Proud Thames ~[cf1]([sm1953[nm); [cf2]Concertino [cf1]for pf. and o
rch. ([sm1930[nm); ~[cf2]Dialogue [cf1]for pf. and orch. ([sm1940[nm); [cf2]Sere
nata ~Concertante [cf1]for vn. and orch. ([sm1963[nm); [cf2]Concertino ~[cf1]for
 bn. and str. ([sm1959[nm); [cf2]Variazioni Concertante ~[cf1]([sm1965[nm); [cf2
]Music [cf1]for brass and woodwind ([sm1966[nm); [sm3[nm ~[cf2]Cloudscapes [cf1]
([sm1968[nm); [sm3[nm [cf2]Poems by Gerard Manley ~Hopkins [cf1]for high v. and
chamber orch. ([sm1964[nm=n~[sm70[nm); [fy45,1]*[fy75,2]Ariadne [cf1](C. Day Lew
is) for sop. and orch. ~([sm1970[nm); [cf2]Epyllion [cf1]for vc.
 and [sm15[nm str. ([sm1975[nm); ~[cf2]Sinfonietta [cf1]([sm1975[nm=n[sm6[nm); [
cf2]Romanza[cf1], va., str. ([sm1979[nm); ~[cf2]Little Symphony [cf1]([sm1981[nm
); [cf2]Tribute[cf1], vn. and ens. ~([sm1982[nm=n[sm3[nm); [cf2]My Dark Heart[cf
1], sop. and ens. ([sm1982[nm); ~[cf2]Music for Strings [cf1]([sm1983[nm).[ep~[s
mchoral[nm: [cf2]And Death Shall Have No Dominion[cf1], ch. ~and brass ([sm1969[
nm); cantata, [cf2]Samson and the Gates of ~Gaza [cf1]([sm1964[nm); [cf2]H;aaelo
ise and Ab;aaelard[cf1], dramatic ~cantata for sop., ten., and bar. soloists, ch
., and ~orch. ([sm1979[nm); [cf2]Sirens' Song[cf1], unacc. ([sm1974[nm); [sm2[nm
 ~[cf2]Epitaphs[cf1], [cf1]unacc. women's ch. ([sm1975[nm); [sm4[nm [cf2]Minia~~
tures[cf1], unacc. ([sm1978[nm); [cf2]The Leaden Echo and the ~Golden Echo[cf1],
 ch., alto fl., va., hp. ([sm1978[nm); [cf2]Creatures[cf1], ~ch. ([sm1979[nm).[e
p~[smsong-cycle[nm: [cf2]Sun, Moon, and Stars[cf1], sop. and pf. ~([sm1978[nm).[
ep~[smchamber music[nm: Str. Qts. No. [sm1[nm ([sm1933[nm), No.
[sm2[nm ~([sm1937[nm), No. [sm3[nm ([sm1938[nm), No. [sm4[nm ([sm1939[nm=n[sm43[
nm), No. [sm5[nm ~([sm1948[nm), No. [sm6[nm ([sm1950[nm), No. [sm7[nm ([sm1955[n
m=n[sm6[nm), No. [sm8[nm ~([sm1966[nm), No. [sm9[nm ([sm1969[nm), No. [sm10[nm (
[sm1971[nm=n[sm2[nm), No. [sm11[nm ~([sm1976[nm), No. [sm12[nm ([sm1979[nm); ob.
 quintet ([sm1933[nm); ~[cf2]Reflections[cf1], ob., cl., va., and harp ([sm1961[
nm); [cf2]Notebook[cf1], ~hpd. ([sm1965[nm=n[sm6[nm); [sm3[nm [cf2]Bagatelles[cf
1], ob. and hpd. ([sm1972[nm); ~[sm3[nm [cf2]Songs[cf1], ten. and harp ([sm1974[
nm); [sm3[nm [cf2]Pieces[cf1], harp ~([sm1976[nm); [cf2]Contemplation[cf1], vc.
and pf. ([sm1978[nm); [cf2]Collo~~quy[cf1], fl., pf. ([sm1978[nm=n[sm9[nm); [cf2
]Fantasia[cf1], cl., pf. ([sm1979[nm); str. ~[PN434,0,0,L,I0]trio ([sm1980[nm);
[cf2]Piccola Musica[cf1], str. trio ([sm1981[nm); ~[cf2]Trittico[cf1], [sm2[nm o
b., bn., hpd. ([sm1981[nm); wind quintet ~([sm1982[nm); [cf2]Tribute[cf1], vn. a
nd [sm8[nm wind ([sm1983[nm).[ep~Also songs and pf. pieces.[cm~[
j1]McPhee, Colin [fy75,1]([cf2]b [cf1]Montreal, [sm1901[nm; [cf2]d [cf1]Los Ange
les, ~[sm1964[nm). Canadian-born Amer. composer and pian~~[chist. Studied Peabod
y Cons. until [sm1921[nm, then in ~Paris with Le Flem, [sm1924[nm=n[sm6[nm and i
n NY with ~[fy45,1]*[fy75,1]Var;agese. Lived in Bali [sm1934[nm=n[sm6[nm, studyi
ng native ~mus. and using its procedures in his orch. work ~[cf2]Tabuh-Tabuhan [
cf1]([sm1936[nm). Taught at Univ. of Calif. ~[sm1960[nm=n[sm64[nm. Other works i
ncl. pf. conc. ([sm1923[nm), ~[cf2]Balinese Ceremonial Music, [cf1][sm3[nm syms.
, and conc. for ~wind orch. Arr. Britten's [cf2]Variations on a Theme of ~Frank
Bridge [cf1]for [sm2[nm pf., [sm1942[nm.[cm~Madama Butterfly. [fy75,1]Opera orig
. in [sm2[nm acts by ~Puccini, comp. [sm1901[nm=n[sm3[nm, to lib. by Giacosa and
 ~Illica based on Belasco's play ([sm1900[nm) which in turn ~was taken from a st
ory by J. L. Long (possibly ~based on a real event). Prod. Milan [sm1904[nm. New
 ~version in [sm3[nm acts prod. Brescia [sm1904[nm ([sm3[nm mont
hs ~later), London [sm1905[nm, Washington (in Eng.) [sm1906[nm, ~NY Met. [sm1907
[nm. Version usually perf. today dates ~from Paris [sm1906[nm prod. for which Pu
ccini made ~further cuts and revs. [sm1978[nm WNO prod. restored ~over [sm400[nm
 measures of [sm1904[nm score.[cm~Madame Chrysanth;ageme. [fy75,1]Ballet in [sm1
[nm act to mus. ~by Rawsthorne, lib. and choreog. by Ashton. ~Prod. London [sm19
55[nm.[cm~Madame Sans-G;afene. [fy75,1]Opera in [sm3[nm acts by Giordano ~to lib
. by Simoni after play by Sardou and Moreau. ~Prod. NY Met. and Turin [sm1915[nm
.[xm[cm~[j1]Madeira [fy75,1](orig. Browning), [fy65][cf3]Jean [fy75,1]([cf2]b [c
f1]Centralia, Ill., ~[sm1918[nm; [cf2]d [cf1]Providence, Rhode Island, [sm1972[n
m). Amer. ~mez. Studied Juilliard Sch. Opera d;aaebut [sm1943[nm, ~Chautauqua in
 [cf2]Martha[cf1]. Appeared at San Carlo ~and on European tour in title-role of
[fy45,1]*[fy75,1]Menotti's ~[cf2]The Medium[cf1]. D;aaebut at NY Met. [sm1948[nm
 in [cf2]G;auotterd;auam~~merung [cf1](First Norn). Member of Vi
enna Opera ~[sm1955[nm (singing Carmen, Amneris, Azucena, etc.). ~CG d;aaebut [s
m1955[nm as Erda. Also sang in Paris, ~Bayreuth, Salzburg, Milan, and Buenos Air
es. ~Created Circe in Dallapiccola's [cf2]Ulisse[cf1], Berlin [sm1968[nm. ~A mem
orable Klytemnestra in Strauss's [cf2]Elektra[cf1].[cm~Maderna, Bruno [fy75,1]([
cf2]b [cf1]Venice, [sm1920[nm; [cf2]d[cf1] Darmstadt, ~[sm1973[nm). It. composer
 and cond., among leaders ~(with [fy45,1]*[fy75,1]Berio) of the It. [cf2]avant-g
arde[cf1]. Studied Milan ~Cons., Siena Acad., and S. Cecilia Acad., Rome ~(until
 [sm1940[nm). Comp. pupil of Malipiero and others, ~studied cond. with H. [fy45,
1]*[fy75,1]Scherchen. After service ~in World War II, was encouraged by Virgil ~
Thomson and met [fy45,1]*[fy75,1]Boulez. Taught at Venice ~Cons. [sm1947[nm=n[sm
50[nm and at Darmstadt summer courses ~(from [sm1951[nm). With Berio, founded el
ec. mus. ~studio of It. Radio at Milan, [sm1955[nm, later becoming ~mus. dir. Mi
lan Radio. Brilliant cond. of [sm20[nmth-~cent. mus. Cond. many
modern operas in Europe. ~Visited USA [sm1965[nm to conduct [fy45,1]*[fy75,1]Non
o's [cf2]Intolleranza ~[cf1]at Boston and sym. concerts in Chicago and NY. ~His
early works were influenced by Bart;aaok and ~Stravinsky. He adopted serialism i
n [sm1951[nm and ~Webernian features entered his work. He also ~used elec. media
, usually in combination with ~live perf. However complex his mus., his native ~
It. lyricism was always present. Prin. works:[xm[cm~[j2][smtheatre piece[nm: [fy
75,2]Hyperion [cf1](Venice [sm1964[nm), composite ~work i.e. [cf2]Dimensioni III
 ;Pl [cf2]Aria da Hyperion ;Pl [sm2[nm-~track tape[cf1]; [cf2]Hyperion II [cf1](
[cf2]Dimensioni III ;Pl [cf1]cadenza ~for fl. ;Pl [cf2]Aria da Hyperion[cf1]); [
cf2]Hyperion III [cf1]([cf2]Hyperion ~;Pl Stele per Diotima[cf1]); [cf2]Dimensio
ni IV [cf1]([cf2]Dimensioni III ~;Pl Stele per Diotima[cf1]); [cf2]Satyricon [cf
1]([sm1973[nm).[ep~[smorch[nm: [cf2]Serenata [cf1]for [sm11[nm instr. ([sm1946[n
m, rev. [sm1954[nm); ~[cf2]Introduzione e Passacaglia [cf1]([sm1
947[nm); [cf2]Quadrivium ~[cf1]([sm1948[nm); Conc. for [sm2[nm pf. and chamber o
rch. ([sm1948[nm); ~Studi per `Il Processo' di Kafka, for reciter, sop., ~and sm
all orch. ([sm1949[nm); fl. conc. ([sm1954[nm); [cf2]Compos~~izione in [sm3[nm t
empi [cf1]([sm1954[nm); [cf2]Serenata II [cf1]for [sm11[nminstr. ~([sm1957[nm);
pf. conc. ([sm1959[nm); vn. conc. ([sm1969[nm); conc. ~for ob., chamber ens., ta
pe [cf2]ad lib [cf1]([sm1962[nm, rev. ~[sm1965[nm); [cf2]Dimensioni III [cf1]for
 sop., fl., and orch. ~([sm1963[nm); [cf2]Aria da Hyperion [cf1]for sop., fl., a
nd orch. ~([sm1964[nm); [cf2]Stele per Diotima [cf1]([sm1965[nm); ob. conc. ([sm
1967[nm); ~[cf2]Music of Gaiety [cf1](based on virginals pieces by ~Byrd, Farnab
y, Dowland, and Philips) ([sm1969[nm); ~[cf2]Juilliard Serenade (Free Time I) [c
f1]([sm1970[nm); [cf2]Venetian ~Journal [cf1]for ten. and chamber orch. ([sm1971
[nm); ~[cf2]Giardino Religioso [cf1]([sm1972[nm); [cf2]Aura [cf1]([sm1972[nm); [
cf2]Biogramma ~[cf1]([sm1972[nm).[ep~[smtape[nm: [cf2]Musica su
[sm2[nm dimensioni, [cf1]fl. and [sm2[nm-track tape ~([sm1952[nm, rev. [sm1958[n
m); [cf2]Notturno [cf1]([sm1956[nm); [cf2]Syntaxis [cf1]([sm2[nm-~track) ([sm195
7[nm); [cf2]Continuo [cf1]([sm1958[nm); [cf2]Dimensioni II [cf1]([sm2[nm-~track)
 ([sm1960[nm); [cf2]Tempo libero I [cf1]([sm1971[nm); [cf2]Ages [cf1]([sm1972[nm
).[ep~[smchamber music[nm: Str. Qt. ([sm1955[nm); [cf2]Aulodia per Lothar, ~[cf1
]ob. d'amore, guitar ad lib ([sm1965[nm); [cf2]Widmung [cf1]for ~vn. ([sm1967[nm
); [cf2]Solo [cf1]([sm1971[nm); [cf2]Dialodia[cf1], [sm2[nm fl., recorder, ~ob.
([sm1972[nm); [cf2]Y despu;aaes[cf1], guitar ([sm1972[nm).[cm~[j1]Madetoja, Leev
i [fy75,1]([cf2]b[cf1] Ule;anaborg, [sm1887[nm; [cf2]d [cf1]Helsinki, ~[sm1947[n
m). Finn. composer and cond. Studied Helsinki ~Cons. (pupil of Sibelius), Paris
([sm1910[nm=n[sm11[nm, pupil of ~d'Indy), and Vienna ([sm1911[nm=n[sm12[nm). Con
d., Helsinski ~P.O. [sm1912[nm=n[sm14[nm. Prof. of mus., Helsinski Cons. ~[sm191
6[nm=n[sm39[nm. Comp. [sm2[nm operas, [sm3[nm syms., symphonic ~
poems, cantatas, etc.[cm~Madrigal [fy75,1](It. [cf2]madrigale[cf1]; orig. [cf2]m
atricale[cf1]=mpastoral ~in the mother-tongue). Vocal comp., of It. origin, ~for
 several vv., usually unacc. but sometimes with ~instr. acc. Texts usually secul
ar (amorous, satirical, ~or allegorical), but there are [cf2]madrigali spiritual
i. ~[cf1]Madrigals were first sung in It. towards the end ~of the [sm13[nmth cen
t. and early examples survive by ~Giovanni da Cascia and Jacopo da Bologna. The
~form was revived in a different style in the [sm16[nmth ~cent. by It. composers
 and by the Flemish ~Arcadelt, Verdelot, and Willaert. It became more ~complex a
nd experimental in the hands ~of[fy45,1]*[fy75,1]Lassus, [fy45,1]*[fy75,1]Palest
rina, and A. [fy45,1]*[fy75,1]Gabrieli and ~achieved its finest flowering in the
 works of ~Donati, Marenzio, Gesualdo, and, especially, ~Monteverdi. In the [sm1
7[nmth cent. it was superseded ~by the cantata.[ep~[PN435,0,0,R,I0]^The singing
of It. madrigals was imported to ~Eng. by It. composers such as
[fy45,1]*[fy75,1]Ferrabosco the ~elder who worked at Elizabeth I's court. Nichol
as ~Yonge, of St Paul's Cath., formed a madrigal choir ~and in [sm1588[nm pubd.
[fy45,1]*[fy75,2]Musica Transalpina[cf1], a coll. of ~It. madrigals to Eng. word
s. Eng. composers such ~as [fy45,1]*[fy75,1]Byrd, [fy45,1]*[fy75,1]Morley, and l
ater [fy45,1]*[fy75,1]Weelkes and ~[fy45,1]*[fy75,1]Wilbye, wrote superb madriga
ls, though they ~did not always call them by that name. In the ~[sm19[nmth cent.
, mock-madrigals were composed by ~[fy45,1]*[fy75,1]Sullivan and [fy45,1]*[fy75,
1]German.[ep~^See also [cf2]Fellowes[cf1], [cf2]E. H[cf1].[cm~Madrigal Comedy. [
fy75,1]Short drama set to mus. as ~series of secular vocal pieces (madrigals or
some ~other vocal form). First known example was ~Vecchi's [cf2]L'Amfiparnaso [c
f1]([sm1594[nm), followed by Ban~~chieri's [cf2]La pazzia senile [cf1]([sm1598[n
m).[cm~Madrigale. [fy75,1]See [cf2]Madrigal[cf1].[cm~Madrigali guerrieri e amoro
si [fy75,1](Madrigals of ~love and war). Monteverdi's [sm8[nmth
book of madri~~gals, [sm1638[nm, which contains [sm58[nm items, some purely ~ins
tr., some for [sm8[nm vv. with [sm2[nm vn. and basso ~continuo. Contains whole o
f [cf2]Il ballo delle ingrate[cf1], ~also separate extracts from it, and whole o
f [cf2]Il ~[fy45,1]*[fy75,2]combattimento di Tancredi e Clorinda[cf1], with sepa
rate ~extracts from it.[cm~Maelzel [fy75,1](M;aualzel), [fy65][cf3]Johann Nepomu
k [fy75,1]([cf2]b [cf1]Ratisbon, ~[sm1772[nm; [cf2]d [cf1]at sea, [sm1838[nm). G
er. inventor of mechanical ~mus. devices. Settled in Vienna [sm1792[nm. Construc
ted ~[fy45,1]*[fy75,1]Panharmonicon, a mechanical orch. for which ~his friend Be
ethoven wrote his [cf2]Battle Symphony ~[cf1]([sm1813[nm). Made mus. chronometer
 based on St;auo~~ckel's invention and, in [sm1814[nm, a metronome, ~based on Wi
nkel. The second movement of ~Beethoven's [sm8[nmth sym. begins with a theme sai
d to ~derive from a canon extemporized by Beethoven ~at a supper in honour of Ma
elzel, the tickings of ~the chronometer being represented by sta
ccato ~[sm16[nmth-notes, i.e. `Ta-ta-ta-ta .|.|. lieber Maelzel'.[cm~Maestoso [f
y75,1](It.). Majestic, dignified, hence [cf2]allegro ~maestoso.[cm~Maestro [fy75
,1](It.). Master. Title given in Italy to ~celebrated composers, conds., and tea
chers, e.g. ~[cf2]Maestro Verdi, Maestro Toscanini, Maestro Martini[cf1]. ~The t
endency has grown in USA (and has spread) ~to use it as a synonym only for conds
., e.g. `the ~maestro'. [cf2]Maestro di cappella [cf1]was the mus. dir. of ~a ch
apel or of an aristocratic mus. est.; [cf2]maestro al ~cembalo [cf1]was the musi
cian who, in [sm17[nmth and [sm18[nmth ~cents., directed perfs. from the hpd. or
 other ~continuo instr.[cm~Maestro di Cappella, Il [fy75,1](The Chorus Master).
~Intermezzo by Cimarosa, comp. [cf2]c.[cf1][sm1786=n93[nm, for ~bar. and orch. O
v. is that of Cimarosa's opera ~[cf2]L'Impresario in angustie[cf1], prod. [sm178
6[nm.[cm~Maestro di Musica, Il [fy75,1](The Music Master). ~Comic opera in [sm1[
nm act, being altered version of ~[cf2]Orazio,[cf1] opera by P.
Auletta to lib. by A. Palombo. ~Prod. Naples [cf2]c[cf1].[sm1737[nm. Often wrong
ly attrib. ~[fy45,1]*[fy75,1]Pergolesi.[cm~Magaloff, Nikita [fy75,1]([cf2]b [cf1
]St Petersburg, [sm1912[nm). Russ. ~pianist (later Swiss citizen). Studied Paris
 Cons., ~pf. with Philipp and comp. with Prokofiev. Began ~career in duo with [f
y45,1]*[fy75,1]Szigeti (vn.), then soloist with ~orchs. and recitalist in Europe
 and USA. Prof. of ~pf. Geneva Cons. [sm1949[nm=n[sm59[nm.[cm~Magelone, Die sch;
auone [fy75,1](The fair Magelone). [sm15[nm ~songs or romances for solo v. and p
f. by Brahms, ~Op. [sm33[nm, settings of extracts from the novel [cf2]Die ~sch;a
uone Magelone [cf1]by Ludwig Tieck ([sm1773[nm=n[sm1853[nm). ~Comp. [sm1861[nm=n
[sm8[nm.[xm[cm~[ol0][ep~[xp[te~



[do25][j99]~~~~~~[sm153842[nm_M[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmM[sm002[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm02[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm37[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Maggini, Giovanni [
fy75,1](Paolo) ([cf2]b [cf1]Botticino-Marino, ~[sm1580[nm; [cf2]d [cf1]Brescia,
[cf2]c[cf1].[sm1630[nm). It. maker of vns., vas., ~vcs., and dbs. valued nearly
as highly as instrs. by ~[fy45,1]*[fy75,1]Stradivari and [fy45,1]*[fy75,1]Guarne
ri. Introduced many ~improvements, particularly in way the wood was ~cut.[cm~Mag
giolata [fy75,1](It.). May Song, or Spring Song=m~either traditional or comp.[cm
~Maggiore [fy75,1](It.). Major.[cm~Maggot. [fy75,1]Old Eng. word meaning `fancif
ul idea', ~used by [sm16[nmth- and [sm17[nmth-cent. composers in titles ~of inst
r. pieces, often country dances, e.g. `My ~Lady Winwoods Maggot'. Revived in [sm
20[nmth-cent. ~by Peter [fy45,1]*[fy75,1]Maxwell Davies in his [fy45,1]*[fy75,2]
Miss Donni~~thorne's Maggot.[cm~Magic Flute, The [fy75,1](Mozart
). See [cf2]Zauberfl;auote, Die.[cf1][cm~Magic Fountain, The [fy75,1](`Watawa').
 Opera in [sm3[nm ~acts by Delius to lib. by comp. and Jutta Bell ~(?[sm1857[nm=
n[sm1934[nm). Comp. [sm1894[nm=n[sm5[nm. F. (concert) p. BBC ~broadcast recorded
 in London, July [sm1977[nm and ~relayed on [sm20[nm Nov. [sm1977[nm. Recording
of broadcast ~issued [sm1980[nm.[cm~Magnard, Alb;aaeric [fy75,1]([cf2]b [cf1]Par
is, [sm1865[nm; [cf2]d[cf1] Baron, [sm1914[nm). ~Fr. composer. Studied Paris Con
s. [sm1886[nm=n[sm8[nm under ~Massenet, then became pupil of d'Indy. Comps. ~are
 of strong structure, somewhat austere in ~effect. Wrote [sm3[nm operas ([cf2]Yo
lande [cf1][sm1891[nm, [cf2]Guercoeur ~[cf1][sm1903[nm, [cf2]B;aaer;aaenice[cf1]
 [sm1909[nm), [sm4[nm syms., [cf2]Chant fun;agebre[cf1], for ~orch., str. qt., s
ongs, pf. pieces. Died when his ~house was set on fire when he refused to surren
der ~after shooting dead [sm2[nm German soldiers who had ~entered his property.
Almost all his MSS. were ~burned with him.[cm~Magne, Michel [fy7
5,1]([cf2]b [cf1]Lisieux, [sm1930[nm). Fr. composer ~of [cf2]avant-garde [cf1]pr
oclivities. His [cf2]Symphonie humaine ~[cf1]([sm1955[nm) for [sm150[nm perfs. c
alls for inaudible `infra~~sounds' to produce psychological reaction ~through po
werful low frequencies. Wrote mus. ~for ballet [cf2]Le Rendezvous manqu;aae [cf1
]([sm1957[nm).[cm~Magnificat [fy75,1](Lat.). Canticle of the Virgin Mary ~(`My s
oul doth magnify the Lord') as it appears in ~St Luke's Gospel. The Lat. name is
 first word of ~Vulgate trans. (Magnificat anima mea Dom~~inum). Part of R.C. Ve
spers and of Anglican ~[PN436,0,0,L,I0]Evensong (where mus. setting is followed
by ~[fy45,1]*[fy75,1]Nunc Dimittis). Sung to plainchant in R.C. ~service and to
Anglican chant in latter, but there ~are many comp. settings for church and conc
ert ~perf., e.g. by Dunstable, Dufay, Lassus, Palestrina, ~Monteverdi, Bach, Sch
;auutz, and Vaughan Wil~~liams.[cm~Mahler, Fritz [fy75,1]([cf2]b [cf1]Vienna, [s
m1901[nm; [cf2]d [cf1]Winston-Salem, ~N. Carolina, [sm1973[nm).
Austrian-born cond. and ~composer (Amer. citizen [sm1939[nm). Nephew of ~Gustav[
fy45,1]*[fy75,1]Mahler. Studied with Berg, Schoenberg, ~and Adler at Vienna Univ
. Settled in USA [sm1936[nm. ~Taught cond. Juilliard Sch. [sm1938[nm=n[sm53[nm.
Cond. Erie ~(Penn.) S.O. [sm1947[nm=n[sm53[nm, Hartford S.O. [sm1953[nm=n[sm64[n
m. ~Wrote symphonic poem, chamber mus., and ~songs.[cm~Mahler, Gustav [fy75,1]([
cf2]b [cf1]Kali;akst, Bohemia, [sm1860[nm; [cf2]d ~[cf1]Vienna, [sm1911[nm). Aus
trian composer, cond., and ~pianist. Began to learn pf. at age [sm6[nm, giving p
ublic ~recital in [sm1870[nm. Entered Vienna Cons. [sm1875[nm, ~studying pf. und
er J. Epstein, harmony under R. ~Fuchs, and comp. with Franz Krenn. Became ~frie
ndly disciple, but not pupil, of [fy45,1]*[fy75,1]Bruckner, ~helping to make pf.
 duet arr. of [sm3[nmrd Sym. ([sm1878[nm). ~While at Cons. comp. and played in p
erfs. of his ~own pf. quintet and vn. sonata. On leaving Cons. ~in [sm1878[nm co
mp. cantata [cf2]Das klagende Lied[cf1], entering ~it in [sm1881
[nm for Beethoven Prize but it was rejected. ~Began career as cond. [sm1880[nm a
t Hall, Upper Austria, ~followed by posts at Laibach (Ljubljana), Olm;auutz ~([s
m1883[nm), and Kassel [sm1883[nm=n[sm5[nm. While in the Kassel ~post he had an u
nhappy love-affair recorded in ~his song-cycle [cf2]Lieder eines fahrenden Gesel
len[cf1]. ~Moved to Prague, [sm1885[nm, and the next year to ~Leipzig as [sm2[nm
nd cond. to [fy45,1]*[fy75,1]Nikisch. While there he ~was invited by Weber's des
cendants to construct ~an opera from the fragments of [cf2]Die drei Pintos[cf1].
 ~This, when prod. in [sm1888[nm, was very successful. ~That year he went to Bud
apest Opera as chief ~cond. There his genius as cond. and administrator ~had ful
l rein for the first time. In [sm1889[nm he ~conducted the f.p. of his first Sym
., then simply ~described as `symphonic poem'.[ep~^In [sm1891[nm Mahler became c
hief cond. of Hamburg ~Opera, where he built up a co. of remarkable ~singers (wh
om he coached also to be singer-~actors), and introduced many ne
w works. He ~took the co. to London in [sm1892[nm, his only visit, for ~perfs. o
f Wagner's [cf2]Ring [cf1]and [cf2]Tristan[cf1], and Beet~~[chhoven's [cf2]Fidel
io[cf1]. His [sm2[nmnd Sym. ([cf2]Resurrection[cf1]) was ~completed [sm1894[nm a
nd perf. in Berlin [sm1895[nm. For the ~rest of his life Mahler divided his time
 between ~comp. in the summer and cond. in the winter. ~His mus. met at first wi
th hostility, but its quality ~was recognized by his contemporary Richard ~Strau
ss. In [sm1897[nm, having converted from Judaism ~to Roman Catholicism, he becam
e dir. of the ~Vienna Court Opera, inaugurating a glorious ~decade during which
he set standards still scarcely ~surpassed and revolutionized the production and
 ~lighting of operas in collaboration with gifted ~colleagues. In [sm1902[nm he
married Alma Schindler, ~also a musician, by whom he had [sm2[nm daughters ~(the
 elder died in [sm1907[nm, aged [sm4[nm). Between [sm1896[nm ~and [sm1907[nm, wh
en he resigned his post after ~controversy, he comp. his Syms. [
sm3[nm to [sm8[nm, the song-~cycle [cf2]Kindertotenlieder, [cf1]and other songs
with orch. ~Each of the syms. was on a huge scale, but perfs. ~were becoming mor
e frequent throughout Eu~~rope, especially through the championship of ~[fy45,1]
*[fy75,1]Mengelberg.[ep~^Mahler made his Amer. d;aaebut on [sm1[nm Jan. [sm1908[
nm ~conducting [cf2]Tristan[cf1] at the NY Met. In [sm1909[nm he was ~appointed
cond. of the reorganized NY P.O. In ~[sm1910[nm in Munich he cond. the first [sm
2[nm perfs. of his ~[sm8[nmth Sym. ([fy45,1]*[fy75,2]Symphony of a Thousand[cf1]
), returning to ~NY [sm2[nm months later. From [sm1907[nm he lived under ~the sh
adow of death from a heart ailment. This ~led in [sm1911[nm to a severe blood in
fection which ~caused his premature death on [sm18[nm May. He left [sm3[nm ~larg
e posthumous works, the song-sym. [cf2]Das Lied ~von der Erde [cf1]and Syms. [sm
9[nm and [sm10[nm. [cf2]Das Lied [cf1]and the ~[sm9[nmth were f.p. in [sm1911[nm
 and [sm1912[nm respectively cond. ~by Bruno[fy45,1]*[fy75,1]Wal
ter in Munich and Vienna. The ~[sm10[nmth was long thought to be unfinished and
only ~[sm2[nm movements were pubd. and played until the ~Eng. scholar Deryck [fy
45,1]*[fy75,1]Cooke discovered in [sm1960[nm ~that the work was complete in shor
t score and ~made a performing version.[ep~^Mahler's greatness as a cond. was ne
ver contested. ~But his comps. for many years were regarded ~with fanatical admi
ration by a handful of disciples ~and admirers and equally fanatical scorn by a
~larger section of musicians. However the cham~~pionship of certain conds. and c
ritics led gradually ~in the late [sm1950[nms to a fervent revival of interest.
~His works were frequently recorded and entered ~the repertories of the world's
leading orchs. to ~public acclaim. His mus. appealed both to those ~elements who
 cherished its romantic eloquence ~and to the [cf2]avant-garde [cf1]who recogniz
ed that it ~bridged the divide between the old and the new. ~Deeply personal in
expression, the extreme ~chromaticism of works such as the [sm9[
nmth Sym. ~anticipates the innovations of Schoenberg. The ~unconventional form o
f the syms., their juxta~~position of popular elements with mystic pas~~sages, t
he [cf2]concertante [cf1]use of solo instrs., the ~complex and subtle instr. pol
yphony, the con~~trasts of irony, pathos, childlike simplicity, and ~psychologic
al insight, all appealed to later [sm20[nmth-~cent. composers; and audiences fou
nd in his mus. ~a cogent and comprehensive expression of the ~anxieties and comp
lexities of modern life. He ~championed the younger generation in his own ~lifet
ime and became their idol after his death. ~Prin. works:[xm[cm~[j2][smsymphonies
[nm: No. [sm1[nm in D major ([sm1884[nm=n[sm8[nm, rev. [sm1893[nm, ~[sm1896[nm r
educed from [sm5[nm to [sm4[nm movements, and ~[sm1897[nm=n[sm8[nm; excluded mov
ement, [fy75,2]Blumine[cf1], restored ~in some [sm20[nmth-cent. perf.). F.p. Bud
apest [sm1889[nm, ~f.p. in England [sm1903[nm. No. [sm2[nm in C minor ~([fy45,1]
*[fy75,2]Resurrection[cf1]; [sm1888[nm=n[sm94[nm, rev. [sm1910[n
m), for sop., ~cont., ch., and orch. F.p. Berlin [sm1895[nm, f.p. in ~[PN437,0,0
,R,I0]England [sm1931[nm. No. [sm3[nm in D minor ([sm1895[nm=n[sm6[nm), for ~con
t., women's and boys' chs., and orch. F.p. ~Krefeld [sm1902[nm, f.p. in England
[sm1947[nm. No. [sm4[nm in G ~major ([sm1899[nm=n[sm1900[nm, rev. [sm1910[nm), s
op. solo in finale. ~F.p. Munich [sm1901[nm, f.p. in England [sm1905[nm. No. [sm
5[nm ~in C;yi minor ([sm1901[nm=n[sm2[nm, rev. [sm1904[nm=n[sm10[nm). F.p. ~Colo
gne [sm1904[nm, f.p. in England [sm1945[nm ([cf2]Adagietto ~[cf1]only [sm1909[nm
). No. [sm6[nm in A minor ([sm1903[nm=n[sm5[nm, rev. ~[sm1908[nm), f.p. Essen [s
m1906[nm, f.p. in England [sm1950[nm ~(broadcast relay [sm1947[nm). No. [sm7[nm
in B minor ([sm1904[nm=n~[sm5[nm, rev. [sm1909[nm), f.p. Prague [sm1908[nm, f.p.
 in England ~[sm1913[nm. No. [sm8[nm in E;yh major ([sm1906[nm=n[sm7[nm), for [s
m8[nm soloists, ~ch., boys' ch., and orch. F.p. Munich [sm1910[nm, f.p. ~in Engl
and [sm1930[nm. No. [sm9[nm in D major ([sm1909[nm=n[sm10[nm). ~
F.p. Vienna [sm1912[nm, f.p.in England [sm1930[nm. No. [sm10[nm ~in F;yi major (
[sm1910[nm). F.p. of [cf2]Adagio [cf1]and [cf2]Purgatorio ~[cf1]Vienna [sm1924[n
m, f.p. in England [cf2]Adagio [cf1][sm1948[nm, ~[cf2]Adagio [cf1]and [cf2]Purga
torio [cf1][sm1955[nm. F.p. of Cooke ~version, London [sm1960[nm, rev. [sm1964[n
m, final rev. [sm1972[nm. ~Note that Mahler himself cond. the f.ps. of the ~firs
t [sm8[nm syms. (Strauss did not conduct f.p. of No. ~[sm2[nm, as often stated).
[ep~[smsong-symphony[nm: [cf2]Das[fy45,1]*[fy75,2]Lied von der Erde [cf1](The So
ng ~of the Earth) for cont. (or bar.), ten., and orch. ~([sm1907[nm=n[sm9[nm). F
.p. Munich [sm1911[nm; f.p. in Eng. [sm1914[nm; ~f.p. in Amer., Philadelphia [sm
1916[nm.[ep~[smcantata[nm: [cf2]Das [fy45,1]*[fy75,2]klagende Lied [cf1](The Son
g of Sorrow) ~for sop., cont., ten., bass, ch., and orch. ([sm1878[nm=n~[sm80[nm
). Orig. in [sm3[nm parts. Rev. [sm1888[nm to [sm2[nm parts. ~Further rev. betwe
en [sm1893[nm and [sm1902[nm. F.p. ~Vienna [sm1901[nm, f.p. in E
ngland [sm1956[nm. F.p. of ~complete [sm1880[nm version Vienna [sm1935[nm, f.p.
in ~England [sm1970[nm.[ep~[smsong-cycles[nm: [fy45,1]*[fy75,2]Lieder eines fahr
enden Gesellen [cf1](Songs ~of a Wayfarer) for v. and pf./orch. ([sm1884[nm, rev
. ~[cf2]c[cf1].[sm1892[nm, [sm1896[nm). F.p. Berlin [sm1896[nm, f.p. in England
~[sm1927[nm. [fy45,1]*[fy75,2]Kindertotenlieder [cf1](Songs of the Death of ~Chi
ldren) for v. and orch./pf. ([sm1901[nm=n[sm4[nm). F.p. ~Vienna [sm1905[nm, f.p.
 in England [sm1913[nm (pf.), [sm1924[nm ~(orch.).[ep~[smsongs[nm: [cf2][sm3[nm
Songs [cf1]for ten. and pf. ([sm1880[nm); [cf2][sm5[nm Songs [cf1]for ~v. and pf
. ([sm1880[nm=n[sm3[nm), later ([sm1892[nm) pubd. as Book I ~of [cf2]Lieder und
Ges;auange aus der Jugendzeit [cf1](Songs of ~Youth). Books II and III (comp. [s
m1888[nm=n[sm91[nm) are [sm9[nm ~settings from [cf2]Des [fy45,1]*[fy75,2]Knaben
Wunderhorn; Lieder ~aus Des Knaben Wunderhorn[cf1], [sm12[nm settings for v. ~an
d orch./pf. ([sm1888[nm=n[sm99[nm); [sm3[nm songs from [cf2]Des
~Knaben Wunderhorn: Wir geniessen die himmlischen ~Freuden [cf1]([sm1892[nm; inc
orporated into finale of [sm4[nmth ~Sym. [sm1899[nm), [cf2]Revelge [cf1]([sm1899
[nm), [cf2]Der Tamboursg'sell ~[cf1]([sm1901[nm); [sm5[nm [cf2]Lieder nach R;auu
ckert [cf1]for v. and orch./pf.: ~[sm1[nm. [cf2]Ich atmet' einen linden Duft [cf
1]([sm1901[nm), [sm2[nm. [cf2]Liebst du ~um Sch;auonheit [cf1]([sm1902[nm), [sm3
[nm. [cf2]Blicke mir nicht in die Lieder ~[cf1]([sm1901[nm), [sm4[nm. [cf2]Ich b
in der Welt abhanden gekommen ~[cf1]([sm1901[nm), [sm5[nm. [cf2]Um Mitternacht [
cf1]([sm1901[nm). F.p. Vienna ~[sm1905[nm (excluding No. [sm2[nm).[ep~[smchamber
 music[nm: Vn. sonata ([sm1876[nm); pf. quintet in ~A minor ([sm1876[nm); pf. qt
. in A minor ([sm1876[nm).[ep~[smarrangements[nm: J. S. Bach's Suite for Orch. i
n [sm4[nm ~movements ([sm1[nmst and [sm2[nmnd from Suite No. [sm2[nm, [sm3[nmrd
~and [sm4[nmth from Suite No. [sm3[nm). F.p. NY [sm1909[nm; ~Schubert's Str. Qt.
 in D minor ([cf2]Death and the ~Maiden[cf1]), for str. orch., [
cf2]c.[cf1][sm1894[nm; Beethoven's Str. ~Qt. in F minor, Op. [sm95[nm, for str.
orch. (f.p. Vienna, ~Jan. [sm1899[nm) and Str. Qt. in C;yi minor, Op. [sm131[nm,
 ~for str. orch.; Bruckner's [sm3[nmrd Sym. for pf. [sm4[nm ~hands ([sm1878[nm).
[ep~[smopera[nm: Completion of Weber's [cf2]Die [fy45,1]*[fy75,2]drei Pintos. ~[
cf1]F.p. Leipzig [sm1888[nm, f.p. in England [sm1962[nm[cm~[ol0][ep~[xp[te~








[do9][j99]~~~~~~[sm153842[nm_M[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmM[sm003[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm3[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm65[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Maid as Mistress, The [
fy75,1](Pergolesi). [cf1]See [cf2]Serva ~padrona, La[cf1].[cm~Maid of Orleans, T
he. [fy75,1]Opera in [sm2[nm acts by ~Tchaikovsky, comp [sm1878[nm=n[sm9[nm to h
is own lib. based ~on Schiller's play about Joan of Arc. Prod. St ~Petersburg [s
m1881[nm, London [sm1978[nm.[cm~Maid of Pskov, The [fy75,1]([cf2]Pskovityanka[cf
1]). Opera in [sm4[nm ~acts  by [fy45,1]*[fy75,1]Rimsky-Korsakov to his own lib.
 after ~play by Mey ([sm1860[nm). Comp. [sm1868[nm=n[sm72[nm. Prod. St ~Petersbu
rg [sm1873[nm; Moscow [sm1898[nm, rev. version ~[sm1876[nm=n[sm7[nm, [sm3[nmrd v
ersion [sm1891[nm=n[sm2[nm, prod. London [sm1913[nm. ~Also known under title [cf
2]Ivan the Terrible, [cf1]bestowed ~by Diaghilev, Paris [sm1909[nm.[cm~Maid of t
he Mill, The [fy75,1](Schubert). See [cf2]Sch;auone ~M;auullerin
, Die[cf1].[cm~Mai-Dun. [fy75,1]Symphonic rhapsody for orch. by ~[fy45,1]*[fy75,
1]Ireland comp. [sm1921[nm. Title refers to prehistoric ~Dorset fortification, M
aiden Castle.[cm~Maillart, Aim;aae [fy75,1](Louis) ([cf2]b [cf1]Montpellier, [sm
1817[nm; [cf2]d ~[cf1]Moulins, [sm1871[nm). Fr. composer. Studied Paris Cons. ~u
nder Hal;aaevy. Comp. several operas, best-known ~being [cf2]Les Dragons de Vill
ars [cf1]([sm1856[nm), and cantatas.[cm~Mainardi, Enrico [fy75,1]([cf2]b [cf1]Mi
lan, [sm1897[nm; [cf2]d [cf1]Munich, ~[sm1976[nm). It. cellist and composer. Pup
il of H. ~[fy45,1]*[fy75,1]Becker. Soloist with leading orchs. Gave master ~clas
ses from [sm1933[nm at S. Cecilia Acad., Rome, ~Salzburg Mozarteum, and Lucerne
Cons. Wrote ~[sm4[nm vc. concs., solo vc. sonatas, etc. Recorded [cf2]Don ~Quixo
te [cf1]with Strauss conducting ([sm1933[nm).[cm~Maine, Basil [fy75,1](Stephen)
([cf2]b [cf1]Norwich, [sm1894[nm; [cf2]d ~[cf1]Sheringham, [sm1972[nm). Eng. aut
hor, critic, organist, ~and composer. Studied Cambridge Univ. un
der ~Wood and Stanford. Ass. organist Durham Cath. ~Mus. critic, [cf2]Daily Tele
graph, [cf1][sm1921[nm=n[sm6[nm, [cf2]Morning Post ~[cf1][sm1926[nm=n[sm37[nm. W
rote several books, inc. [sm2[nm-vol. life and ~works of Elgar ([sm1933[nm). Com
p. orch. and choral ~mus. Narrator or `orator' in such works as ~Honegger's [cf2
]Le Roi David [cf1]and Bliss's [cf2]Morning ~Heroes[cf1]. Closely assoc. with No
rwich Fest. Or~~dained C. of E., [sm1939[nm.[cm~Mainzer, Joseph [fy75,1]([cf2]b
[cf1]Trier, [sm1801[nm; [cf2]d [cf1]Salford, [sm1851[nm). ~Ger. singing teacher,
 also mining engineer, priest, ~composer, and critic. Became priest [sm1826[nm,
later ~abb;aae. Taught singing at Tr;afeves, later Brussels. In ~Paris from [sm1
834[nm where he pubd. several mus. ~textbooks. Went to London [sm1841[nm, then E
din~~burgh, settling in Manchester [sm1847[nm. There he est. ~singing courses ba
sed on [fy45,1]*[fy75,1]Wilhem system. His ~[cf2]Singing for the Million [cf1]([
sm1841[nm) had large sale. ~Founded [cf2]Musical Times and Singi
ng-Class Circular ~[cf1][sm1842[nm, taken over by Novello [sm1844[nm as [cf2]Mus
ical ~[PN438,0,0,L,I0]Times. [cf1]His methods were challenged by those of ~[fy45
,1]*[fy75,1]Hullah. Comp. [sm2[nm operas.[cm~Maio, Gian [fy75,1](Francesco) [fy6
5][cf3]de [fy75,1]([cf2]b [cf1]Naples, [sm1732[nm; [cf2]d ~[cf1]Naples, [sm1770[
nm). It. composer. Organist at Naples ~royal chapel. Visited Vienna [sm1764[nm.
Wrote [sm20[nm ~operas and much church mus.[cm~Maisky, Mischa [fy75,1]([cf2]b [c
f1]Riga, [sm1948[nm). Soviet cellist. ~Studied Moscow Cons. D;aaebut with Lening
rad ~P.O. [sm1965[nm; London d;aaebut [sm1976[nm. Winner, Cassado ~competition,
Florence [sm1973[nm.[cm~Ma;afitre de Chapelle [fy75,1](Fr.). Equivalent of Ger.
~[fy45,1]*[fy75,2]Kapellmeister.[cm~Ma;afitrise. [fy75,1]A Fr. choir sch.[xm[cm~
[j1]Maja y el Ruisenor, La [fy75,1](The Love-sick Girl and ~the Nightingale). No
. [sm4[nm of the [cf2]Goyescas [cf1]by ~Granados orig. for pf., later incorporat
ed as song ~into Scene [sm2[nm of opera [cf2]Goyescas [cf1]and f
requently ~heard as separate concert aria with orch.[cm~[fy65][cf3]Major Bass. [
fy75,1]Organ stop of [sm16[nm;po pitch, generally an ~[cf2]Open Diapason[cf1].[c
m~Major Common Chord. [fy75,1]A common chord incl. ~the major [sm3[nmrd.[cm~Majo
r Flute. [fy75,1]Loud org. stop of [sm8[nm;po or [sm16[nm;po length ~and pitch.[
cm~Major Scale. [fy75,1]See [cf2]Scale[cf1].[cm~Makrokosmos. [fy75,1][sm12[nm fa
ntasy-pieces after the Zodiac ~for amplified pf. by [fy45,1]*[fy75,1]Crumb, comp
. [sm1972[nm. They ~are studies in [cf2]avant-garde [cf1]pf. technique, each ~be
ing assoc. with a sign of the Zodiac and with a ~friend of the composer's who wa
s born under ~that sign.[cm~Makropulos Affair, The [fy75,1]([cf2]V;akec Makropul
os[cf1]; liter~~ally `The Makropulos Thing', hence variations in ~trans. title,
e.g. `The Makropulos Case', `The ~Makropulos Secret'). Opera in [sm3[nm acts by
Jan;aaa;akcek ~to his own lib. based on play ([sm1922[nm) of same name ~by Karel
 ;akCapek ([sm1890[nm=n[sm1938[nm). Comp. [sm1923[nm=n[sm5[nm. F
.p. ~Brno [sm1926[nm, London [sm1964[nm, San Francisco [sm1966[nm.[cm~Maksymiuk,
 Jerzy [fy75,1]([cf2]b [cf1]Grodno, [sm1936[nm). Polish ~conductor, composer, an
d pianist. Studied at ~Warsaw Cons. Cond., Teatr Wielki, Warsaw, ~[sm1970[nm=n[s
m2[nm. Cond. Polish Chamber Orch. Cond. BBC ~Scottish S.O. from [sm1983[nm. Comp
. ballet, [cf2]Capriccio ~[cf1]for pf. and orch. ([sm1969[nm), str. trio, and pf
. pieces ~for children.[cm~Mal [fy75,1](Ger.). [cf1]Time, in such contexts as [c
f2]Erste Mal[cf1], ~first time; [cf2][sm2[nm Mal [cf1]([cf2]Zweimal[cf1]), twice
, etc.[cm~Malague;atna [fy75,1](Sp.). ([sm1[nm) Sp. dance of fandango ~variety f
rom M;aaalala and Murcia, exported to ~Mexico by Sp. settlers.[ep~^([sm2[nm) Sp.
 gipsy song involving improvisation and ~cadenzas and sung by amorous youths wit
h guitar ~accompaniment. Instr. malague;atnas occur in ~Chabrier's [cf2]Espa;amn
a [cf1]([sm1883[nm), Ravel's [cf2]Rapsodie espag~~nole [cf1]([sm1907[nm), and Al
b;aaeniz's [cf2]Iberia [cf1]([sm1906=n9[nm).[cm~Malbrouck s'en v
a-t-en guerre [fy75,1](Malbrouck goes ~off to the war). [sm18[nmth-cent. Fr. nur
sery song. In ~Britain the tune is sung to either `For he's a jolly ~good fellow
', or `We won't go home until ~morning'. Sung to various different sets of words
, ~it has enjoyed great European popularity. It is ~usually stated that `Malbrou
ck' refers to the [sm1[nmst ~Duke of Marlborough, but the name is found in ~medi
eval literature.[cm~Malcolm, George [fy75,1](=+=+=+John) ([cf2]b [cf1]London, [s
m1917[nm). Eng. ~harpsichordist, pianist, cond., and composer. ~Studied Oxford U
niv. and RCM. Master of the ~Music, Westminster Cath. [sm1947[nm=n[sm59[nm. On s
taff ~RAM. Frequent recitalist. Assoc. with Britten's ~mus. C.B.E. [sm1965[nm.[x
m[cm~[j1]Malcuzy;aanski, Witold [fy75,1]([cf2]b [cf1]Warsaw, [sm1914[nm; [cf2]d
[cf1]Palma, ~Majorca, [sm1977[nm). Polish pianist. Studied with ~[fy45,1]*[fy75,
1]Paderewski. Settled Paris [sm1939[nm, d;aaebut there ~[sm1940[nm. NY d;aaebut
[sm1942[nm. Worldwide tours. Special~~ized in Chopin, Liszt, etc
.[xm[cm~[j1]Male Voice Choir [fy75,1](or [fy65][cf3]Chorus[fy75,1]). One (usuall
y) of ~men only but it may be of boys and men.[cm~Male Voice Quartet. [fy75,1][s
m4[nm male vv., either alto, first ~and [sm2[nmnd ten., and bass (`with alto lea
d'), or first ~and [sm2[nmnd ten. and first and [sm2[nmnd bass (`with tenor ~lea
d').[cm~Malgoire, Jean-Claude [fy75,1]([cf2]b [cf1]Avignon, [sm1940[nm). Fr. ~co
nductor and oboist. Studied at Paris Cons. In ~[sm1966[nm founded La Grande ;aaE
curie et la Chambre ~du Roy which specializes in baroque mus., mixing ~modern in
str. with restored models.[cm~Malibran [fy75,1]([cf2]n;aaee [cf1]Garc;aaia), [fy
65][cf3]Maria [fy75,1](Felicit;aaa) [cf1]([cf2]b [cf1]Paris, ~[sm1808[nm; [cf2]d
 [cf1]Manchester, [sm1836[nm). Sp. mez. Studied with ~her father, Manuel [fy45,1
]*[fy75,1]Garc;aaia. Sang in Pa;auer's [cf2]Agnese ~[cf1]in Naples at age [sm5[n
m. First public perf. Paris [sm1824[nm. ~Opera d;aaebut London [sm1825[nm as Ros
ina in Rossini's ~[cf2]Il barbiere di Siviglia[cf1]. Went to NY
[sm1826[nm singing ~leading roles in her father's It. opera co. While ~there mar
ried Fran;alcois Eug;agene Malibran, but the ~union was short-lived. D;aaebut Pa
ris Op;aaera [sm1828[nm in ~Rossini's [cf2]Semiramide. [cf1]Triumphs followed in
 Lon~~don, Naples, Rome, Bologna, Venice, Lucca, and ~Milan. Sang title-role in
Donizetti's [fy45,1]*[fy75,2]Maria ~Stuarda [cf1][sm1835[nm. In [sm1836[nm marri
ed Belg. violinist ~Charles de [fy45,1]*[fy75,1]B;aaeriot with whom she had live
d since ~[sm1830[nm. Fell from horse in London, April [sm1836[nm, her ~injuries
leading to her death in Sept. when she ~collapsed after singing a duet at a Manc
hester ~fest. Her v. was notable for its colour and range, ~and was described as
 `like the costliest gold, but it ~had to be mined, forged, and stamped like met
al ~under the hammer to make it malleable'. Her ~lively temperament, intensity a
s an actress, and ~exciting life made her a legend. Her younger ~sister was Paul
ine [fy45,1]*[fy75,1]Viardot.[cm~Malimba. [fy75,1]See [cf2]Marim
ba[cf1].[cm~Malinconia, malinconico [fy75,1](It.). Melancholy. So ~[cf2]malincon
oso, malinconioso, malinconicamente[cf1], in mel~~[PN439,0,0,R,I0]ancholy fashio
n. Walton marked the slow move~~ment of his First Sym. `[cf2]con malincolia[cf1]
' ([cf2]sic[cf1]).[cm~[fy65][cf3]Malipiero, Gian Francesco [fy75,1]([cf2]b [cf1]
Venice, [sm1882[nm; [cf2]d ~[cf1]Treviso, [sm1973[nm). It. composer. Studied Vie
nna ~Cons. [sm1898[nm=n[sm9[nm, then in Venice and Bologna under ~Bossi. Settled
 in Venice [sm1904[nm=n[sm15[nm, but spent some ~months in Berlin in [sm1908[nm=
n[sm10[nm attending lectures ~by Bruch. In this period, in the Marciana Library,
 ~Venice, he discovered and transcr. the almost ~forgotten works of Monteverdi,
Galuppi, Tartini, ~Stradella, etc. This determined him to rebel ~against the `op
eratic tyranny' of It. mus. life. In ~[sm1913[nm he met [fy45,1]*[fy75,1]Casella
, who became his colleague ~in the struggle. Became prof. of comp., Parma, ~[sm1
921[nm=n[sm3[nm. Then settled at Asolo. Taught comp. at ~Liceo B
. Marcello, Venice, from [sm1932[nm, becoming ~dir. [sm1939[nm=n[sm52[nm. Pubd.
complete edn. of Monteverdi ~[sm1926[nm=n[sm42[nm which stimulated present reviv
al of ~interest. Also ed. many vols. of Vivaldi's complete ~works. Author of boo
ks on Vivaldi, Monteverdi, ~and Stravinsky. He destroyed most of his mus. ~writt
en before [sm1914[nm, but thereafter he was a ~prolific composer and wrote many
operas. His ~mus., naturally influenced by the early It. ~composers, also shows
traces of Debussy's impres~~sionism and, in the [sm1920[nms, the angularity of a
 ~Jan;aaa;akcek. The later works border on atonality, but ~he rejected serialism
. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]L'Orfeide [cf1](triptych: [cf2]La
 Morte delle mas~~chera[cf1], [sm1921[nm=n[sm2[nm, [cf2]Sette canzoni [cf1]([sm1
918[nm=n[sm9[nm), [cf2]Orfeo[cf1], ~[sm1919[nm=n[sm20[nm); [cf2]S. Francesco d'A
ssisi [cf1]([sm1920[nm=n[sm1[nm); [cf2]Tre ~Commedie Goldoniane [cf1](triptych:
[cf2]La bottega da caff;age[cf1], ~[sm1922[nm, [cf2]Sior Todero
Brontolon[cf1], [sm1922[nm, [cf2]Le baruffe ~chiozzote[cf1], [sm1920[nm); [cf2]F
ilomela e L'infatuato [cf1]([sm1925[nm); ~[cf2]Merlino mastro d'organi [cf1]([sm
1926[nm=n[sm7[nm); [cf2]Il Mistero di ~Venezia [cf1](triptych: [cf2]Le Aquile di
 Aquileia[cf1], [sm1928[nm, [cf2]Il ~finto Arlecchino[cf1], [sm1925[nm, [cf2]I C
orvi di S. Marco[cf1], [sm1928[nm); ~[cf2]Torneo Notturno [cf1]([sm1929[nm); [cf
2]I Trionfi d'amore [cf1](trip~~tych: [cf2]Castel smeraldo, [cf2]Mascherate, Gio
chi olimpici[cf1], ~comp. [sm1930[nm=n[sm1[nm. No. [sm2[nm perf. [sm1937[nm as [
cf2]Il festino[cf1]); [cf2]La ~Favola del figlio cambiato [cf1]([sm1932[nm=n[sm3
[nm); [cf2]Giulio Cesare ~[cf1]([sm1934[nm=n[sm5[nm); [cf2]Antonio e Cleopatra [
cf1]([sm1936[nm=n[sm7[nm); [cf2]Ecuba ~[cf1]([sm1940[nm); [cf2]La Vita ;age sogn
o [cf1]([sm1940[nm=n[sm1[nm); [cf2]I Capricci di ~Callot [cf1]([sm1941[nm=n[sm2[
nm); [cf2]L'Allegra brigata [cf1]([sm1943[nm); [cf2]Vergilii ~Aeneis [cf1]([sm19
43[nm=n[sm4[nm); [cf2]Mondi celesti e infernali [cf1]([sm1948[nm
=n~[sm9[nm); [cf2]Il Figliuol prodigo [cf1]([sm1952[nm); [cf2]Donna Urraca [cf1]
([sm1953[nm=n~[sm4[nm); [cf2]Il Capitan Spavento [cf1]([sm1954[nm=n[sm5[nm); [cf
2]Venere prigion~~iera [cf1]([sm1955[nm); [cf2]Rappresentazione e festa di Carna
sciale ~e della Quaresima [cf1]([sm1961[nm); [cf2]Don Giovanni [cf1]([sm1962[nm)
; [cf2]Le ~Metamorfosi di Bonaventura [cf1]([sm1963[nm=n[sm5[nm); [cf2]Don Tartu
fo ~Bacchettone [cf1]([sm1966[nm); [cf2]Il Marescalco [cf1]([sm1960[nm=n[sm8[nm)
; [cf2]Gli ~eroi di Bonaventura [cf1]([sm1968[nm); [cf2]Uno dei dieci [cf1]([sm1
970[nm); ~[cf2]L'Iscariota [cf1]([sm1970[nm).[ep~[smballets, [nmetc.: [cf2]Pante
a [cf1]([sm1917[nm=n[sm19[nm); [cf2]Stradivario [cf1]([sm1948[nm); ~[cf2]El Mond
o Novo [cf1]([sm1950[nm=n[sm1[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm (`in [sm4[n
m movements like the [sm4[nm ~seasons', [sm1933[nm), No. [sm2[nm ([cf2]Elegiaca[
cf1], [sm1936[nm), No. [sm3[nm ~([cf2]delle Campane[cf1], [sm1944[nm=n[sm5[nm),
No. [sm4[nm ([cf2]In Memoriam[cf1], ~[sm1946[nm), No. [sm5[nm ([
cf2]Concertante, in Eco, [cf1][sm1947[nm), No. [sm6[nm, ~for str. ([sm1947[nm),
No. [sm7[nm ([cf2]delle Canzoni[cf1], [sm1948[nm), No. [sm8[nm ~[cf1]([cf2]Sinfo
nia brevis[cf1], [sm1964[nm), No. [sm9[nm ([cf2]dell' ahim;age[cf1], [sm1966[nm)
, ~No. [sm10[nm ([cf2]Atropo, [cf1][sm1967[nm), No. [sm11[nm ([cf2]delle cornamu
se, ~[cf1][sm1970[nm); [cf2]Sinfonia in un tempo [cf1]([sm1950[nm); [cf2]Sinfoni
a dello ~Zodiaco [cf1]([sm1951[nm); [cf2]Impressioni dal Vero [cf1]I ([sm1910[nm
=n[sm11[nm), ~II ([sm1915[nm), III ([sm1921[nm=n[sm2[nm); [cf2]Pause del Silenzi
o [cf1]I ([sm1917[nm), ~II ([sm1925[nm=n[sm6[nm); [cf2]Concerti [cf1]([sm1931[nm
); [cf2][sm4[nm Invenzioni [cf1]([sm1933[nm), ~[cf2]Vivaldiana [cf1]([sm1952[nm)
.[ep~[smvoices and orch[nm: [cf2]La Principessa Ulalia [cf1]([sm1924[nm); [cf2]L
a ~Cena [cf1]([sm1927[nm); [cf2]La Passione [cf1]([sm1935[nm); [cf2]Missa pro mo
rtuis ~[cf1]([sm1938[nm); [cf2]La festa della Sensa [cf1]([sm1950[nm); [cf2]Magi
ster ~Josephus [cf1]([sm1957[nm).[ep~[sminstr. and orch[nm: [cf2
]Variazioni senza Tema[cf1], pf. and ~orch. ([sm1923[nm); Vn. Conc. No. [sm1[nm
([sm1932[nm), No. [sm2[nm ~([sm1963[nm); Pf. Conc. No. [sm1[nm ([sm1934[nm), No.
 [sm2[nm ([sm1937[nm), No. ~[sm3[nm ([sm1948[nm), No. [sm4[nm ([sm1950[nm), No.
[sm5[nm ([sm1958[nm), No. [sm6[nm ~([sm1964[nm); Vc. Conc. ([sm1937[nm); Triple
Conc. ([sm1938[nm); ~[cf2]Dialogo, [cf1][sm2[nm pf. ([sm1956[nm); Fl. Conc. ([sm
1968[nm).[ep~[smvoices and chamber ens[nm: [cf2]De profundis [cf1]([sm1937[nm);
~[cf2]Universa Universis [cf1]([sm1942[nm); [cf2]Mondi celesti [cf1]([sm1948[nm)
; ~[cf2]Ave Phoebe dum queror [cf1]([sm1964[nm).[ep~[smchamber music[nm: Str. Qt
. No. [sm1[nm ([sm1920[nm), No. [sm2[nm ([sm1923[nm), ~No. [sm3[nm ([sm1931[nm),
 No. [sm4[nm ([sm1934[nm), No. [sm5[nm ([sm1950[nm), No. [sm6[nm ~([sm1947[nm),
No. [sm7[nm ([sm1950[nm), No. [sm8[nm ([sm1963[nm=n[sm4[nm) (No. [sm5[nm based ~
on material from opera [cf2]I Capricci di Callot, [cf1][sm1941[nm=n~[sm2[nm); So
nata for vn., vc., and pf. ([sm1927[nm); vc. sonatina ~([sm1942[
nm); wind quintet ([sm1956[nm).[ep~Also songs and pf. pieces.[cm~[ol0][ep~[xp[te
~











[do9][j99]~~~~~~[sm153842[nm_M[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmM[sm004[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm3[nm.[sm10[nm[cm[sm79[nm
[cm[sm6[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Malipiero, Riccardo [fy75,
1]([cf2]b [cf1]Milan, [sm1914[nm). It. com~~poser. Studied Milan Cons. and Turin
 Cons. ~[sm1930[nm=n[sm7[nm and at Venice with his uncle G. F. ~[fy45,1]*[fy75,1
]Malipiero. Adopted [sm12[nm-note system [sm1945[nm and ~helped to organize firs
t Int. Congress of [sm12[nm-note ~mus., Milan, [sm1949[nm. Works incl. opera, vn
. conc., ~wind quintet, [cf2][sm6[nm Poems of Dylan Thomas [cf1]for sop. ~and [s
m10[nm instr., [sm3[nm syms., vc. conc., [sm3[nm str. qts., pf. ~quintet, ob. so
nata, and conc. for ballerina and ~orch.[cm~Malizia [fy75,1](It.). Malice. The s
cherzo of Walton's ~first sym. is marked [cf2]presto, con malizia[cf1].[cm~Malko
, Nikolay [fy75,1](Andreyevich) ([cf2]b [cf1]Brailov, [sm1883[nm; ~[cf2]d [cf1]S
ydney, N.S.W., [sm1961[nm). Russ.-born cond. (Amer. ~citizen [sm
1946[nm). Studied St Petersburg Cons. with ~Rimsky-Korsakov and Glazunov, and wi
th [fy45,1]*[fy75,1]Mottl ~in Munich. Cond. opera and ballet, St Petersburg ~[sm
1908[nm=n[sm18[nm. Prof. Leningrad Cons. [sm1918[nm=n[sm26[nm, cond. ~Leningrad
P.O. [sm1926[nm=n[sm9[nm. Prof. Moscow Cons. ~[sm1927[nm=n[sm33[nm. Went to Eng.
 Settled in Chicago [sm1940[nm. ~Cond. Yorkshire S.O. [sm1954[nm. Sydney S.O. [s
m1956[nm=n~[sm61[nm. Cond. f.p. of Shostakovich's [sm1[nmst and [sm2[nmnd ~Syms.
, Leningrad [sm1926[nm and [sm1927[nm.[cm~Mallinger [fy75,1](orig. Lichtenegger)
, [fy65][cf3]Mathilde [fy75,1]([cf2]b ~[cf1]Zagreb, [sm1847[nm; [cf2]d [cf1]Berl
in, [sm1920[nm). Croatian sop. ~Studied Zagreb, Prague, Vienna. D;aaebut as Norm
a, ~Munich [sm1866[nm. Created role of Eva in [cf2]Die ~Meistersinger von N;auur
nberg[cf1], Munich [sm1868[nm. Berlin ~Opera [sm1869[nm=n[sm82[nm, prof. of sing
ing Prague Cons. ~[sm1890[nm=n[sm5[nm, Berlin Eichelberg Cons. from [sm1895[nm.
~Taught Lotte [fy45,1]*[fy75,1]Lehmann.[cm~Malovec, Josef [fy75,
1]([cf2]b [cf1]Hurbanovo, [sm1933[nm). Cz. com~~poser. Studied Bratislava Acad.
[sm1951[nm=n[sm3[nm and Prague ~Acad. [sm1953[nm=n[sm7[nm. Worked for Cz. radio
from [sm1957[nm, ~helping establish elec. studio [sm1965[nm. Works incl. ~[PN440
,0,0,L,I0][cf2]Scherzo [cf1]for orch., [cf2]Concert Music [cf1]([sm1967[nm), [cf
2]Orthogenesis ~[cf1](tape, [sm1967[nm), [cf2]Tmel [cf1](synthesized and concret
e ~sounds on tape, [sm1968[nm), [cf2]Tabu [cf1](elec. sounds on tape, ~[sm1970[n
m).[cm~Mamelles de Tir;aaesias, Les [fy75,1](The Breasts of ~Tiresias). [cf2]Op;
aaera-bouffe [cf1]in [sm2[nm acts by Poulenc to lib. ~based on play by Apollinai
re. Prod. Paris [sm1947[nm, ~Brandeis Univ. [sm1953[nm, Aldeburgh [sm1958[nm, Le
eds ~[sm1978[nm, London (SW) [sm1978[nm.[cm~Ma m;agere l'Oye [fy75,1](Mother Goo
se). Suite in [sm5[nm ~movements by Ravel based on fairy-tales by ~P;aaericault.
 Orig. for [sm4[nm hands ([sm1[nm pf.) ([sm1908[nm=n[sm10[nm), ~orch. [sm1911[nm
 and prod. as ballet (to scenario by ~Ravel), Paris [sm1912[nm.
There are differences between ~the [sm2[nm versions. The [sm5[nm movements of pi
ano suite ~are ([sm1[nm) [cf2]Pavane de la Belle au Bois dormant [cf1](Sleeping
~Beauty's Pavan), ([sm2[nm) [cf2]Petit Poucet [cf1](Tom Thumb), ([sm3[nm) ~[cf2]
Laideronette Imp;aaeratrice des Pagodes [cf1](Empress of ~the Pagodas), ([sm4[nm
) [cf2]Les Entretiens de la Belle et la B;afete ~[cf1](Conversations of Beauty a
nd the Beast), ([sm5[nm) [cf2]Le ~Jardin  f;aaeerique [cf1](The Fairy Garden). F
or the ballet ~Ravel added a [cf2]Pr;aaelude, [cf1]the [cf2]Danse du Rouet [cf1]
and [sm4[nm ~extensive interludes.[cm~Man. [fy75,1]([sm1[nm, It.) Short for [cf2
]mano, [cf1]hand.[ep~^([sm2[nm, Ger.) Short for [cf2]Manuale, [cf1]manual (of or
gan); ~Man. I|;eq|Great; II, Swell; III, Choir; IV, Solo (but ~occasionally anot
her numeration is used, based ~on position, i.e. I, Choir; II, Great; III, Swell
; IV, ~Solo).[cm~Manchega. [fy75,1]An especially lively type of [fy45,1]*[fy75,2
]seguidilla ~[cf1]danced in the La Mancha province of Spain.[cm~
Manchester Camerata. [fy75,1]Chamber orchestra ~founded in Manchester in [sm1972
[nm under auspices of ~BBC Radio Manchester. Maximum strength [sm38[nm ~players.
 Became autonomous organization in ~[sm1979[nm. Main series in Manchester but pl
ays ~throughout North West of England and has ~visited France, Norway, and Hongk
ong. Prin. ~conds.: Frank Cliff [sm1972=n7[nm; Szymon Goldberg ~[sm1977=n80[nm;
Manoug Parikian [sm1980=n4[nm; Nicholas ~Braithwaite from [sm1984[nm. London d;a
aebut [sm1983[nm, ~cond. Braithwaite (Croydon [sm1976[nm, cond. Gold~~berg). Pla
ys for opera at Buxton Fest.[cm~Manchester School. [fy75,1]Title given to group
of ~composers=m[fy45,1]*[fy75,1]Maxwell Davies, [fy45,1]*[fy75,1]Birtwistle, ~[f
y45,1]*[fy75,1]Goehr, and [fy45,1]*[fy75,1]Ogdon=mwho studied in Man~~[chchester
 (RMCM and Univ.) under Richard [fy45,1]*[fy75,1]Hall ~in late [sm1950[nms and g
ave concerts there.[cm~Mancinelli, Luigi [fy75,1]([cf2]b [cf1]Orvieto, [sm1848[n
m; [cf2]d [cf1]Rome, ~[cf1][sm1921[nm). It. cond., composer, and
 cellist. Studied ~Florence. Th. orch. cond. Rome [sm1874[nm. Dir. Liceo ~Musica
le, Bologna, [sm1881[nm=n[sm6[nm. Cond. opera Drury ~Lane, London, [sm1887[nm, C
G [sm1888[nm=n[sm1905[nm; cond. f.ps. ~in England of Verdi's [cf2]Falstaff [cf1]
and Puccini's [cf2]Tosca. ~[cf1]Mus. dir. Madrid Th. Royal [sm1887[nm=n[sm93[nm.
 Chief cond. ~It. opera at NY Met. [sm1893[nm=n[sm1903[nm. Cond. Teatro ~Col;aao
n, Buenos Aires, [sm1908[nm=n[sm13[nm. Comp. operas [cf2]Ero ~e Leandro, Paolo e
 Francesca[cf1], and [cf2]Midsummer Night's ~Dream[cf1], also choral works and c
hurch mus.[cm~Mancini, Francesco [fy75,1]([cf2]b [cf1]Naples, [sm1672[nm; [cf2]d
 [cf1]Naples, ~[sm1737[nm). It. composer. Studied Naples. Maestro, ~royal chapel
 there. Wrote over [sm20[nm operas, of ~which [cf2]Idaspe Fedele [cf1]was the fi
rst opera to be sung ~in London wholly in It. ([sm1710[nm). Dir., Cons. di S. ~M
aria di Loreto [sm1720[nm=n[sm35[nm.[cm~Mancini, Henry [fy75,1](Nicole) ([cf2]b
[cf1]Cleveland, Ohio, ~[sm1924[nm). Amer. composer, cond., and a
rranger. ~Studied Juilliard Sch. [sm1942[nm=n[sm3[nm. Guest cond. leading ~sym.
orchs. Composer of numerous film scores, ~incl. [cf2]Breakfast at Tiffany's[cf1]
, with its hit-song [cf2]Moon ~River[cf1].[cm~Mandola, mandora, mandore [fy75,1]
(from Gr. [cf2]Pan~~doura[cf1]). Ancient instr. (possibly as early as [sm9[nmth
~cent.), a small ancestor of the [fy45,1]*[fy75,1]lute. Popular in ~Sp. and It.,
 reaching Eng. at end of [sm14[nmth cent. ~Had [sm9[nm frets and up to [sm6[nm s
tr. Played with plectrum ~and used for popular mus.-making. Ancestor of ~[fy45,1
]*[fy75,1]mandolin.[cm~Mandolin(e). [fy75,1]Plucked str. instr. of lute family,
~of It. orig., usually with [sm8[nm str. tuned in pairs and ~played with plectru
m, generally in a sustained ~tremolo. Used in informal mus.-making, but ~occurs
in several famous scores, e.g. [cf2]Alexander ~Balus [cf1](Handel, [sm1747[nm),
[cf2]L'Amant jaloux [cf1](Gr;aaetry, ~[sm1778[nm), [cf2]Don Giovanni [cf1](Mozar
t, [sm1787[nm), [cf2]Otello [cf1](Verdi, ~[sm1887[nm), [sm7[nmth
 Sym. and [cf2]Das Lied von der Erde ~[cf1](Mahler), [cf2]Serenade [cf1](Schoenb
erg), [cf2][sm5[nm Pieces [cf1](We~~bern), [cf2]Agon [cf1](Stravinsky), etc. Bee
thoven wrote ~some pieces for mandolin and pf., and Vivaldi ~several concs.[cm~M
andoline. [fy75,1]Poem by Verlaine set for v. and pf. ~by Debussy, [sm1882[nm, a
s no. [sm3[nm of [fy45,1]*[fy75,2]F;afetes galantes [cf1](orig. ~version), and b
y Faur;aae, [sm1891[nm, as No. [sm1[nm of [sm5[nm ~[cf2]M;aaelodies[cf1], Op. [s
m58[nm.[cm~Mandora. [fy75,1]See [cf2]Mandola[cf1].[cm~Manduell, John [fy75,1]([c
f2]b [cf1]Johannesburg, [sm1928[nm). S. ~African-born Eng. administrator and com
poser. ~Studied RAM. On staff of BBC [sm1956[nm=n[sm68[nm (chief ~planner, Mus.
Prog. [sm1964[nm=n[sm8[nm). Dir. of Mus., ~Lancaster Univ. [sm1968[nm=n[sm71[nm.
 Prin., RNCM from ~[sm1972[nm. Dir., Cheltenham Fest. since [sm1969[nm, having ~
been programme adv. [sm1961[nm=n[sm7[nm. Works inc. ov. ~[cf2]Sunderland Point[c
f1], str. qt., etc. C.B.E. [sm1982[nm.[cm~Mandyczewski, Eusebius
 [fy75,1]([cf2]b [cf1]Czernowitz, [sm1857[nm; ~[cf2]d [cf1]Vienna, [sm1929[nm).
Romanian musicologist and ~cond. Studied Vienna Cons. with Nottebohm and ~Fuchs.
 Cond. Vienna Singakademie [sm1880[nm, and ~archivist [cf2]Gesellschaft der Musi
kfreunde[cf1]. On staff ~Vienna Cons. from [sm1897[nm. Ed. the Lieder in ~comple
te Schubert ed. [sm1897[nm, [sm3[nm vols. of Haydn ~syms., works by Beethoven an
d Brahms. Wrote ~songs and pf. pieces.[cm~Manfred. [fy75,1]Verse-drama by Byron
([sm1817[nm) on which ~are based ([sm1[nm) Ov. and [sm15[nm items of incidental
mus. ~by Schumann, Op. [sm115[nm ([sm1848[nm=n[sm9[nm); ([sm2[nm) Sym. ~(unnumbe
red) by Tchaikovsky, Op. [sm58[nm ([sm1885[nm).[cm~[PN441,0,0,R,I0]Manfredini, F
rancesco [fy75,1]([cf2]b [cf1]Pistoia, [sm1684[nm; [cf2]d [cf1]Pistoia, ~[sm1762
[nm). It. violinist and composer. At Monaco ~court [sm1711[nm. Maestro di capell
a Pistoia Cath. from ~[sm1727[nm. Wrote several [cf2]concertini da camera [cf1](
[sm1704[nm), ~[sm12[nm [cf2]sinfonie da chiesa [cf1]([sm1709[nm)
, concs. for [sm2[nm vn. and ~continuo [cf1]([sm1718[nm).[cm~Manfredini, Vincenz
o [fy75,1]([cf2]b[cf1] Pistoia, [sm1737[nm; [cf2]d [cf1]St ~Petersburg, [sm1799[
nm). It. composer, son of F. [fy45,1]*[fy75,1]Man~~fredini. Court post in Russia
 [sm1758[nm=n[sm69[nm, returning ~to It. Comp. ballets, operas, [sm6[nm syms., a
nd kbd. ~sonatas.[cm~Mangeot, Andr;aae [fy75,1](Louis) ([cf2]b [cf1]Paris, [sm18
83[nm; [cf2]d [cf1]London, ~[sm1970[nm). Eng. violinist and impresario of Fr. bi
rth. ~Studied Paris Cons. Settled in London, becoming ~Brit. citizen. Played in
Queen's Hall Orch. under ~Wood and CG orch. under Richter ([sm1908[nm). ~Founded
 International String Quartet [sm1919[nm, ~specializing in Brit. works and conte
mporary ~mus. Gave f. Eng. p. of Faur;aae's str. qt. [sm1925[nm. Ed. ~[sm17[nmth
 cent. Eng. works for str. (with Peter ~Warlock).[cm~Manhattan School of Music.
[fy75,1]Mus. coll. in NY ~City, founded [sm1917[nm, permanent charter [sm1925[nm
. ~Pres. was John [fy45,1]*[fy75,1]Brownlee [sm1958[nm=n[sm69[nm
, succeeded by ~George Schick. Moved into buildings vacated by ~[fy45,1]*[fy75,1
]Juilliard School, [sm1962[nm.[cm~Mani [fy75,1](It., plural of [cf2]mano[cf1]).
Hands.[cm~Manica [fy75,1](It.). Shift (on vn., etc.; see [cf2]Position[cf1]).[cm
~Manichord. [fy75,1]See [cf2]Monochord[cf1].[cm~Manico [fy75,1](It.). Fingerboar
d (vn., etc.).[cm~Manieren [fy75,1](Ger.). [fy45,1]*[fy75,1]Ornaments, or graces
.[cm~Mann, William [fy75,1](Somervell) ([cf2]b [cf1]Madras, [sm1924[nm). ~Eng. m
us. critic. Studied Cambridge Univ. and ~with Seiber (comp.) and Ilona Kab;aaos
(pf). Ass. ~mus. critic [cf2]The Times [cf1][sm1948[nm=n[sm60[nm, chief mus. cri
tic ~[sm1960[nm=n[sm82[nm. Author of books on operas of R. Strauss ~and Mozart.
Many trans. of libs. and song-texts.[cm~M;auannergesangverein [fy75,1](Ger.). Ma
le singing soci~~ety, i.e. male v. ch. Developed from [fy45,1]*[fy75,2]Liedertaf
el[cf1].[cm~Manners, Charles [fy75,1](orig. Southcote Mansergh) ([cf2]b ~[cf1]Lo
ndon, [sm1857[nm; [cf2]d [cf1]Dublin, [sm1935[nm). Irish bass an
d ~impresario. Studied Dublin, RAM, and Florence. ~Joined D'Oyly Carte Opera [sm
1881[nm, created role of ~Private Willis in [cf2]Iolanthe [cf1][sm1882[nm. Carl
Rosa co., then ~CG from [sm1890[nm. Amer. d;aaebut [sm1893[nm. Married sop. ~Flo
rence Moody [sm1890[nm and with her est. [fy45,1]*[fy75,1]Moody-~Manners Opera C
o., [sm1898[nm.[cm~Mannes College of Music. [fy75,1]Mus. coll. in NY City ~found
ed [sm1916[nm as Mannes Mus. Sch. by violinist ~and cond. David Mannes ([cf2]b [
cf1]NY, [sm1866[nm; [cf2]d[cf1] NY, ~[sm1959[nm) and his wife Clara ([sm1869[nm=
n[sm1948[nm). Charter ~[sm1960[nm.[cm~Mannes, Leopold [fy75,1](Damrosch) ([cf2]b
 [cf1]NY, [sm1889[nm; [cf2]d ~[cf1]Vineyard Haven, Mass., [sm1964[nm). Amer. pia
nist, ~composer, teacher, and inventor. Son of David ~Mannes and nephew of Walte
r [fy45,1]*[fy75,1]Damrosch. ~Teacher of comp. at [fy45,1]*[fy75,1]Mannes Sch.,
ass. dir. [sm1939[nm, ~president from [sm1951[nm. Founded pf. trio [sm1949[nm. G
ave ~up mus. for period in [sm1920[nms while with Leopold ~Godow
sky jr. he invented Kodachrome photo~~graphic colour process. Wrote orch. and ch
amber ~mus.[cm~Mannheim School. [fy75,1]Name given by modern ~musicologists to g
roup of [sm18[nmth-cent. Ger. com~~posers based on Mannheim and assoc. with the
~court of the Elector of Pfalzbayern ([sm1724[nm=n[sm99[nm). ~Their importance,
shared to some extent with ~similar progressives in Vienna, Italy, and ~[chBohem
ia, was in laying foundation of the sym. as ~it was to be developed by Haydn and
 Mozart. ~They were headed by Johann W. [fy45,1]*[fy75,1]Stamitz ([sm1717[nm=n~[
sm57[nm), followed by Ignaz Holzbauer ([sm1711[nm=n[sm83[nm, in ~Mannheim from [
sm1753[nm), F. X. [fy45,1]*[fy75,1]Richter [cf1]([sm1709[nm=n[sm89[nm, ~in Mannh
eim from [sm1747[nm), [fy45,1]*[fy75,1]Cannabich ([sm1731[nm=n~[sm98[nm), and St
amitz's sons Karl ([sm1745[nm=n[sm1801[nm) and ~Anton ([sm1754[nm=n[sm1809[nm).
The elder Stamitz joined the ~Mannheim orch. in [sm1745[nm, soon becoming cond.
~He founded a new style of perf. suited to his ~works. Features
of this style incl. melodic ~prominence of vns., extended crescendi and ~precise
 dynamics, tremolando, and replacement ~of improvised continuo by written-out pa
rts.[xm[cm~[j1]Manning, Jane [fy75,1](Marian) ([cf2]b [cf1]Norwich, [sm1938[nm).
 Eng. ~sop., expert in contemporary mus. Studied RAM ~and Switzerland. D;aaebut
London [sm1964[nm in songs ~by Webern, Messiaen, and Dallapiccola. Has given ~f.
ps. of numerous works by Eng. composers.[cm~Manns, [fy75,1](Sir) [fy65][cf3]Augu
st [fy75,1](Friedrich) ([cf2]b [cf1]Stolzenberg, ~[sm1825[nm; [cf2]d [cf1]Norwoo
d, [sm1907[nm). Ger.-born cond. (natu~~ralized Eng.). After studies, was prin. c
larinettist ~in Danzig military band. In [sm1848[nm became first ~violinist in [
fy45,1]*[fy75,1]Gung'l's orch., Berlin. Bandmaster, ~K;auonigsberg and Cologne [
sm1851[nm=n[sm4[nm. Went to Lon~~don [sm1854[nm as ass. cond. of Crystal Palace
band. In ~[sm1855[nm became cond. and augmented band to sym. ~orch. From [sm1855
[nm to [sm1901[nm, when orch. was ~disbanded, Manns's Crystal Pa
lace concerts were ~most enterprising concerts in Eng., where many ~works receiv
ed their f.ps. in England. Manns ~cond. first London perf. of mus. by Elgar. ~In
stituted Saturday popular concerts [sm1856[nm. Cond. ~Handel Fest. [sm1883[nm=n[
sm1900[nm. Knighted [sm1903[nm.[cm~Manon. [fy75,1]Opera in [sm5[nm acts by [fy45
,1]*[fy75,1]Massenet to lib. by ~Meilhac and Gille, after Pr;aaevost's novel [cf
2]Manon ~Lescaut [cf1]([sm1731[nm). Prod. Paris [sm1884[nm, Liverpool and ~NY [s
m1885[nm, CG [sm1891[nm, NY Met. [sm1895[nm. Massenet ~wrote [sm1[nm-act sequel
[cf2]Le Portrait de Manon [cf1]([sm1894[nm). ~Operas on same subject by [fy45,1]
*[fy75,1]Auber ([sm1856[nm), ~[fy45,1]*[fy75,1]Puccini ([sm1890=n2[nm), Balfe ([
cf2]The Maid of Artois[cf1], ~[sm1836[nm), and Henze ([cf2]Boulevard Solitude[cf
1], [sm1951[nm).[cm~Manon Lescaut. [fy75,1]Opera in [sm4[nm acts by Puccini to ~
lib. by Giacosa, Illica, G. Ricordi, Praga, and Oliva, ~after Pr;aaevost's novel
. Comp. [sm1890=n2[nm. Prod. Turin ~[sm1893[nm, CG and Philadelp
hia [sm1894[nm, NY [sm1898[nm (Met. ~[sm1907[nm).[cm~[PN442,0,0,L,I0]Manowarda,
Josef von [fy75,1]([cf2]b [cf1]Krak;aaow, [sm1890[nm; [cf2]d ~[cf1]Berlin, [sm19
42[nm). Austrian bass. D;aaebut Prague [sm1913[nm. ~Member, Vienna Opera [sm1919
[nm=n[sm42[nm, Berlin Opera ~[sm1934[nm=n[sm42[nm. Salzburg Fest. from [sm1922[n
m. Bayreuth ~[sm1931[nm, [sm1934[nm, [sm1939[nm, [sm1942[nm. Outstanding King Ma
rk ~([cf2]Tristan[cf1]) and Gurnemanz ([cf2]Parsifal[cf1]).[cm~Mantovani, [fy75,
1](Annunzio Paolo) ([cf2]b [cf1]Venice, [sm1905[nm; [cf2]d ~[cf1]Tunbridge Wells
, [sm1980[nm). It.-born cond. and ~violinist. Studied TCL. Formed hotel orch., ~
Birmingham, [sm1923[nm. Recitalist in London. Broad~~casting orch. from [sm1927[
nm. Mus. dir. for many ~musicals, esp. those by No;auel Coward. Famous for ~`sin
ging strings' sound, heard chiefly in arrs. by ~Ronald [fy45,1]*[fy75,1]Binge.[c
m~Mantra. [fy75,1]Work for [sm2[nm amplified, ring-modulated ~pf. by [fy45,1]*[f
y75,1]Stockhausen, comp. [sm1969[nm=n[sm70[nm. F.p. [sm1970[nm,
~London [sm1971[nm. Fully notated. Pianists also play ~perc. instr. (wood-block
and little bells). Title ~refers to Indian word for a mystical repetition, a ~`s
ound which makes one see'.[cm~Manual. [fy75,1]Any of the org. kbds. provided for
 the ~hands (as opposed to pedal-kbd.). Hpds. have [sm1[nmst ~and [sm2[nmnd manu
als (kbds.).[cm~Manuale [fy75,1](Ger.). Manual (of organ). See [cf2]Man.[cm~Manu
alkoppel [fy75,1](Ger.). Manual coupler, i.e. (usu~~ally) Swell to Great.[cm~Man
uel [fy75,1](really L;aaevy), [fy65][cf3]Roland [fy75,1](Alexis) (some~~times Ro
land-Manuel or Manuel-L;aaevy) ([cf2]b [cf1]Paris, ~[sm1891[nm; [cf2]d [cf1]Pari
s, [sm1966[nm). Fr. composer and critic. ~Pupil of Roussel and Ravel. Comp. oper
ettas, ~ballets, pf. conc., etc. Wrote [sm3[nm books on Ravel. On ~staff Paris C
ons. from [sm1947[nm.[cm~Manzoni Requiem. [fy75,1]Title sometimes given to ~Verd
i's [cf2]Requiem[cf1], which was comp. in memory of ~It. novelist and poet Aless
andro Manzoni. F.p. ~Milan [sm1874[nm, London [sm1875[nm.[cm~Man
zuoli, Giovanni [fy75,1]([cf2]b [cf1]Florence, [cf2]c.[cf1][sm1720[nm; [cf2]d ~[
cf1]Florence, [sm1782[nm). It. castrato. Sang first in It., then ~in Madrid [sm1
749[nm=n[sm53[nm. Sang in London [sm1764[nm and ~[sm1765[nm, where he instructed
 the child Mozart, then ~settled in Florence. Ended career in Milan, [sm1771[nm,
 ~when he created title-r;afole in Mozart's [cf2]Ascanio in ~Alba [cf1](K[sm111[
nm). Retired to Florence to teach.[cm~Maraca [fy75,1](plural [cf2]maracas[cf1]).
 Lat.-Amer. perc. instr. ~made from a pair of dried Cuban gourds, with ~beans or
 beads inside. Shaken by handle to ~produce a rattling effect. (Sometimes made o
f ~other materials with lead shot inside, to give a ~stronger effect). Usually p
layed as a pair. Used by ~dance-bands, also in concert works by [sm20[nmth-cent.
 ~composers such as Var;agese, Prokofiev, Bernstein, ~Arnold, McCabe, etc.[cm~Ma
rais, Marin [fy75,1]([cf2]b [cf1]Paris, [sm1656[nm; [cf2]d [cf1]Paris, [sm1728[n
m). Fr. ~composer. Studied with Lully. Virtuoso player of ~viola
 da gamba in royal band. Became cond. of ~Paris Op;aaera orch. Wrote operas (inc
l. [cf2]Alcione[cf1], ~[sm1706[nm), [sm5[nm vols. of pieces for viol, chamber mu
s., ~etc.[cm~Marazzoli, Marco [fy75,1]([cf2]b [cf1]Parma, [cf2]c[cf1].[sm1602[nm
 or [cf2]c[cf1].[sm1608[nm; [cf2]d ~[cf1]Rome, [sm1662[nm). It. composer, singer
, and harpist. ~Singer in papal chapel [sm1637[nm=n[sm62[nm. With V. [fy45,1]*[f
y75,1]Mazzocchi, wrote what is believed to be first comic ~opera, [cf2]Chi soffr
e, speri [cf1](Rome [sm1639[nm, rev. of [cf2]Il ~falcone[cf1], [sm1637[nm), also
 other operas, oratorios, canta~~tas, etc.[cm~Marcando; marcato [fy75,1](It.). M
arking; marked, i.e. ~each note emphasized. [cf2]Marcatissimo [cf1]is the super~
~lative.[cm~Marcello, Alessandro [fy75,1]([cf2]b [cf1]Venice, [sm1669[nm; [cf2]d
 [cf1]Venice, ~[sm1747[nm). It. composer and mathematician, brother ~of Benedett
o [fy45,1]*[fy75,1]Marcello. Comp. cantatas, concs. ~for fls. and vns., and for
ob. and fl.[cm~Marcello, Benedetto [fy75,1]([cf2]b [cf1]Venice,
[sm1686[nm; [cf2]d [cf1]Brescia, ~[sm1739[nm). It. composer. Pupil of Gasparini.
 Also ~studied law, and held important State posts. ~Wrote operas, oratorios, ca
ntatas, instr. concs., and ~settings of [sm50[nm psalms for vv. with instr. acc.
[cm~March [fy75,1](Fr. [cf2]Marche, [cf1]Ger. [cf2]Marsch, [cf1]It. [cf2]Marcia[
cf1]). ~Form of mus. to accompany the orderly progress ~of large group of people
, especially soldiers; one ~of earliest known mus. forms. Military marches ~are
of [sm4[nm kinds: funeral ([sm4[nm/[sm4[nm time), slow (usually [sm4[nm/~[sm4[nm
), quick ([sm2[nm/[sm4[nm or [sm6[nm/[sm8[nm), and double-quick. The ~march ente
red art mus. in [sm17[nmth cent. in the works ~of [fy45,1]*[fy75,1]Couperin and
[fy45,1]*[fy75,1]Lully, but there are marches ~in virginals pieces by Byrd. Marc
hes occur in the ~operas of Mozart (e.g. [cf2]Die Entf;auuhrung, Figaro, Cos;agi
 ~fan tutte[cf1], and [cf2]Zauberfl;auote[cf1]); Schubert wrote [cf2]Marches ~mi
litaires [cf1]and Beethoven incorporated a [fy45,1]*[fy75,1]fune
ral ~march into his [cf2]Eroica [cf1]sym., as did Chopin into a ~pf. sonata. Fam
ous operatic marches were written ~by Meyerbeer, Wagner, and Verdi. It was furth
er ~developed in the sym. by Berlioz, Mahler, ~Tchaikovsky, and Elgar. Military
marches for ~concert perf. by sym. orch. were written by Elgar ~([fy45,1]*[fy75,
2]Pomp and Circumstance[cf1]) and R. Strauss. Some of ~the best military marches
 were written in the ~[sm19[nmth cent. by [fy45,1]*[fy75,1]Sousa, Johann Strauss
 I, and ~[fy45,1]*[fy75,1]Lanner.[cm~Marchal, Andr;aae [fy75,1]([cf2]b [cf1]Pari
s, [sm1894[nm; [cf2]d [cf1]Paris, [sm1980[nm). ~Fr. organist, blind from birth.
Studied Institut ~des Jeunes Aveugles and Paris Cons. Organist S. ~Germain-des-P
r;aaes, Paris, [sm1915[nm=n[sm45[nm, then S. Eus~~tache [sm1945[nm=n[sm63[nm. Be
gan career as recitalist [sm1923[nm, ~undertaking world tours. Noted for improvi
sa~~tions.[xm[cm~[ol0][ep~[xp[te~

[do25][j99]~~~~~~[sm153842[nm_M[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict of ~Music[cmM[sm005[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm03[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm[sm160[nm[cm~GC[cm4[cm8/10/84[cmU1[cm~~~[ap[j1]Marchand, Louis [fy
75,1]([cf2]b [cf1]Lyons, [sm1669[nm; [cf2]d [cf1]Paris, [sm1732[nm). ~Fr. organi
st and composer. Organist, Nevers Cath. ~at age of [sm14[nm. Organist, royal cha
pel [sm1708[nm=n[sm14[nm. ~Banished from Fr. High reputation in Fr. as kbd. ~vir
tuoso. On tour of Ger. in [sm1717[nm, he was involved ~in projected hpd. competi
tion with Bach in ~Dresden, but withdrew at the last minute, afraid ~of failure.
 Returned to Fr. as teacher. Works incl. ~kbd. pieces, opera, cantata, airs, and
 [sm3[nm [cf2]Cantiques ~spirituels [cf1](texts by Racine). Teacher of [fy45,1]*
[fy75,1]Daquin.[cm~Marchant, [fy75,1](Sir) [fy65][cf3]Stanley [fy75,1]([cf2]b [c
f1]London, [sm1883[nm; [cf2]d ~[cf1]London, [sm1949[nm). Eng. organist. Studied
RAM. Ass. ~[PN443,0,0,R,I0]organist, St Paul's Cath. [sm1903[nm,
 organist [sm1927[nm=n[sm36[nm. ~Prin., RAM [sm1936[nm=n[sm49[nm; prof. of mus.,
 London ~Univ. [sm1937[nm=n[sm49[nm. Knighted [sm1943[nm. Wrote church ~mus.[cm~
Marchesi, Blanche [fy75,1]([cf2]b [cf1]Paris, [sm1863[nm; [cf2]d [cf1]London, ~[
sm1940[nm). Fr. sop., daughter of Mathilde[fy45,1]*[fy75,1]Marchesi. ~D;aaebut P
rague [sm1900[nm, Br;auunnhilde in [cf2]Walk;auure[cf1]. ~Joined [fy45,1]*[fy75,
1]Moody-Manners co. Settled in London to ~teach.[cm~Marchesi de Castrone [fy75,1
](orig. Graumann), [fy65][cf3]Math~~ilde [fy75,1]([cf2]b [cf1]Frankfurt, [sm1821
[nm; [cf2]d [cf1]London, [sm1913[nm). Ger. ~mez. and teacher. Studied Vienna wit
h [fy45,1]*[fy75,1]Nicolai, ~Paris with [fy45,1]*[fy75,1]Garc;aaia ([sm1845[nm).
 Concert d;aaebut, Frank~~furt [sm1844[nm. Sang in London, [sm1849[nm. Married I
t. bar. ~and teacher Salvatore Marchesi ([sm1822[nm=n[sm1908[nm) in ~[sm1852[nm.
 Prof. of singing Vienna Cons. [sm1854[nm=n[sm61[nm and ~[sm1869[nm=n[sm78[nm, C
ologne Cons. [sm1865[nm=n[sm8[nm. Taught at own ~sch. in Paris [
sm1861[nm=n[sm5[nm and from [sm1881[nm. Wrote vocal ~method and [sm24[nm books o
f exercises. Pupils incl. ~Calv;aae, Eames, Mary Garden, and Melba.[cm~Marcovici
, Silvia [fy75,1]([cf2]b [cf1]Bacau, Romania, [sm1952[nm). ~Romanian-born violin
ist. Studied at Bacau and ~Bucharest Cons. Pupil of S. Gheorghiu. Soloist ~with
Hague Residentie Orch. in [sm1967[nm. In [sm1969[nm ~won Thibaud-Long comp. in P
aris, Enescu comp., ~Bucharest [sm1970[nm. London d;aaebut [sm1970[nm (LSO). ~Ch
osen by Stokowski as soloist at his [sm90[nmth ~birthday concert in [sm1971[nm.
Emigrated to Israel in ~[sm1976[nm, settling later in Ger.[cm~Marenzio, Luca [fy
75,1]([cf2]b [cf1]Coccaglio, Brescia, [sm1553[nm/[sm4[nm; [cf2]d[cf1] ~Rome, [sm
1599[nm). It. composer and singer. Probably a ~choirboy in Brescia Cath.; later
in employ of ~Cardinal Madruzzo in Rome in [sm1570[nms. From ~[sm1578[nm in empl
oy of Cardinal Luigi d'Este. Pubd. ~books of madrigals in [sm1580[nms, achieving
 wide~~spread popularity. In [sm1588[nm went to Florence to ~ser
ve Medici family. Was at Pol. court in Warsaw ~in [sm1596[nm=n[sm7[nm. Early mad
rigals and [cf2]villanelle [cf1]were ~noted for detailed illustration of the tex
ts. In ~[sm1590[nms his style became more chromatic and ~dissonant as his choice
 of texts became more ~serious. His earlier works were popular in Eng., ~where t
hey were pubd. in [fy45,1]*[fy75,2]Musica Transalpina ~[cf1]and influenced Wilby
e, Weelkes, and others.[cm~Margot-la-Rouge [fy75,1](`A Night in Paris'). Unpubd.
 ~opera in [sm1[nm act by Delius to libretto by `Rosenval' ~(Berthe Gaston-Danvi
lle), comp. [sm1901[nm=n[sm2[nm. Vocal ~score by Ravel [sm1902[nm (pubd. Paris [
cf2]c.[cf1][sm1905[nm). See [cf2]Idyll. ~[cf1]F.p. (in orch. by Fenby) BBC studi
o broadcast ~[sm1979[nm; f. stage p. (in orig. Delius orch.) St. Louis ~[sm1983[
nm; f. London stage p. [sm1984[nm.[cm~Maria di Rohan. [fy75,1]Opera in [sm3[nm a
cts by Donizetti to ~lib. by Cammarano. Prod. Vienna [sm1843[nm, London ~[sm1847
[nm, NY [sm1849[nm.[cm~Maria Golovin. [fy75,1]Opera in [sm3[nm a
cts by [fy45,1]*[fy75,1]Menotti to ~his own lib. Prod. Brussels and NY [sm1958[n
m, London ~[sm1976[nm.[cm~Maria Stuarda. [fy75,1]Opera in [sm3[nm acts by Donize
tti to ~lib. by G. Bardari based on Schiller's play. Prod. as ~[cf2]Buondelmonte
[cf1], Naples [sm1834[nm, with orig. title Milan ~[sm1835[nm, NY (concert) [sm19
64[nm, NY City Opera [sm1972[nm, ~London [sm1966[nm (St Pancras Fest.),[sm1973[n
m (SW).[cm~Mariani, Angelo [fy75,1]([cf2]b [cf1]Ravenna, [sm1821[nm; [cf2]d [cf1
]Genoa, ~[sm1873[nm). It. cond. and composer. Studied with ~Rossini in Bologna.
D;aaebut as opera cond. Messina ~[sm1844[nm. Court cond., Copenhagen [sm1847[nm=
n[sm8[nm. Cond., ~Genoa [sm1852[nm=n[sm73[nm. Cond. It. premi;ageres of [cf2]Loh
engrin ~[cf1]and [cf2]Tannh;auauser[cf1], and many important Verdi perfs. ~Comp.
 requiem, cantatas, songs.[cm~Marienleben, Das [fy75,1](The Life of Mary). Setti
ngs ~by Hindemith, Op. [sm27[nm, for sop. and pf. of [sm15[nm ~poems by R. M. Ri
lke, comp. [sm1922[nm=n[sm3[nm, f.p. ~Frankfurt [sm1923[nm. New
and rev. version, worked ~on from [sm1936[nm=n[sm48[nm, f.p. Hanover [sm1948[nm.
 [sm4[nm songs ~orch. by Hindemith [sm1938[nm, [sm2[nm more [sm1959[nm.[cm~Mari;
aaes de la Tour Eiffel, Les [fy75,1](The newly-weds ~of the Eiffel Tower). Balle
t in [sm1[nm act with mus. by ~[sm5[nm of [cf2]Les [fy45,1]*[fy75,2]Six [cf1](ex
cl. Durey). Lib. by Cocteau, ~choreog. by B;auorlin. Prod. Paris [sm1921[nm.[cm~
Marimba. [fy75,1]Lat.-Amer. perc. instr. of African ~origin. It consists of stri
ps of wood of different ~length with (tuned) resonators underneath, the ~whole f
ixed in a frame and struck with drum~~sticks=min fact, a super-xylophone large e
nough ~for perf. by [sm4[nm players (or [cf2]Marimberos[cf1]), standing or ~sitt
ing side by side. Now made with bars of ~rosewood and tubular metal resonators w
hich are ~struck with soft-headed hammers held by the ~player(s). Grainger score
d for the marimba in the ~suite [cf2]In a Nutshell [cf1]before [sm1916[nm. [fy45
,1]*[fy75,1]Milhaud wrote a ~conc. for marimba and vibraphone ([
sm1947[nm) and ~[fy45,1]*[fy75,1]Creston a conc. for marimba ([sm1940[nm). It no
w ~frequently occurs in orch. works.[ep~^The S. African original, known to Afrik
aans-~speaking Europeans as the [cf2]Kaffir Piano[cf1], is called ~the [cf2]Mali
mba [cf1]by natives.[cm~Marinetti, Filippo Tommaso [fy75,1]([cf2]b [cf1]Alexandr
ia, ~[sm1876[nm; [cf2]d[cf1] [sm1944[nm). It. apostle of [fy45,1]*[fy75,1]Futuri
sm. Advocated ~`noise-makers' of all kinds in mus.[cm~Marini, Biagio [fy75,1]([c
f2]b [cf1]Brescia, [sm1597[nm; [cf2]d[cf1] Venice, [sm1665[nm). ~It. violinist a
nd composer. Held court posts in It. ~and Ger. Wrote vn. concs., ballets, etc.[x
m[cm~[j1]Marinuzzi, Gino [fy75,1](Giuseppe) ([cf2]b [cf1]Palermo, [sm1882[nm; [c
f2]d ~[cf1]Milan, [sm1945[nm). It. cond. and composer. Studied ~Palermo Cons. D;
aaebut as cond. in Catania. Cond. ~at Palermo, Milan, Madrid, Buenos Aires, and
~Rio. Dir., Liceo Musicale, Bologna, [sm1915[nm=n[sm18[nm. ~Cond. f.p. of Puccin
i's [cf2]La Rondine[cf1], Monte Carlo ~[sm1917[nm. Cond., Chicag
o Opera [sm1919[nm=n[sm21[nm, Rome ~Opera [sm1928[nm=n[sm34[nm, Scala, Milan, [s
m1934[nm=n[sm44[nm. D;aaebut ~CG [sm1934[nm. Wrote [sm3[nm operas, requiem, and
cantata.[cm~Mario, Giovanni [fy75,1](Matteo) (Cavaliere de Candia) ~([cf2]b [cf1
]Cagliari, [sm1810[nm; [cf2]d[cf1] Rome, [sm1883[nm). It. ten. Army ~career took
 him to Paris, [sm1836[nm, where he was ~persuaded to become opera singer becaus
e of ~exceptional beauty of v. D;aaebut Paris Op;aaera [sm1838[nm ~in [cf2]Rober
t le Diable[cf1]. It. Opera in Paris, [sm1840[nm. London ~d;aaebut, Her Majesty'
s, [sm1839[nm, singing there until ~[PN444,0,0,L,I0][sm1846[nm. CG [sm1847[nm=n[
sm67[nm. With Giulia [fy45,1]*[fy75,1]Grisi, his ~lifelong companion after [sm18
39[nm, [fy45,1]*[fy75,1]Tamburini, and ~[fy45,1]*[fy75,1]Lablache sang in f.p. o
f Donizetti's [cf2]Don Pasquale[cf1], ~Paris [sm1843[nm. Handsome in appearance
and fine ~actor. Retired [sm1871[nm.[cm~Mariotte, Antoine [fy75,1]([cf2]b [cf1]A
vignon, [sm1875[nm; [cf2]d[cf1] Izieux, ~Loire, [sm1944[nm). Fr.
 composer. Studied Paris with ~d'Indy. Prof. of pf., Lyons Cons. [sm1902[nm=n[sm
20[nm, dir. ~Orl;aaeans Cons. [sm1920[nm=n[sm36[nm. Wrote several operas incl. ~
[cf2]Salom;aae [cf1]([sm1908[nm), based like Strauss's on Wilde play. ~Dir., Op;
aaera-Comique, Paris, [sm1936[nm=n[sm8[nm.[cm~Maritana. [fy75,1]Opera in [sm3[nm
 acts by W.V. [fy45,1]*[fy75,1]Wallace to ~lib. by E. Fitzball (with interpolate
d lyrics by ~Alfred Bunn) after play [cf2]Don C;aaesar de Bazan [cf1]by ~D'Enner
y and Dumanoir. Prod. London [sm1845[nm, ~Philadelphia [sm1846[nm, NY [sm1848[nm
.[xm[cm~[j1]Mark, Peter [fy75,1]([cf2]b [cf1]NY City, [sm1940[nm). Amer. violist
 and ~cond. Studied Columbia Univ. and Juilliard Sch. ~Prin. violist, Juilliard
Orch. [sm1960[nm=n[sm3[nm, Chicago ~Lyric Opera [sm1964[nm=n[sm6[nm, ass. prin.
violist Los Angeles ~P.O. [sm1968[nm=n[sm9[nm. Art. dir. and cond. Virginia Oper
a ~Assoc. from [sm1975[nm. Solo violist in f.p. of conc. by ~his wife Thea [fy45
,1]*[fy75,1]Musgrave.[xm[cm~[j1]Markevitch, Igor [fy75,1]([cf2]b
 [cf1]Kiev, [sm1912[nm; [cf2]d [cf1]Antibes, ~[sm1983[nm). It. cond., composer,
and writer of Russ. ~birth. Studied Paris [sm1926[nm with [fy45,1]*[fy75,1]Boula
nger. Guest ~cond. leading European orchs. Mus. dir. Stock~~holm S.O. [sm1952[nm
=n[sm5[nm, Montreal S.O. [sm1955[nm=n[sm60[nm. US ~d;aaebut Boston S.O. [sm1955[
nm. Cond., Lamoureux Orch. ~[sm1957[nm=n[sm61[nm, Spanish Radio-TV orch. [sm1965
[nm=n[sm8[nm; dir., ~Monte Carlo Opera [sm1968[nm. Fine interpreter of ~Stravins
ky. Composer of pf. conc., cantata [cf2]Paradise ~Lost, [cf1]ballet scores, etc.
[cm~Markiert [fy75,1](Ger.). Marked, i.e. clearly accented, or ~brought out. Use
d in connection with, for ~instance, the emphasis given to a melody above ~its a
cc.[cm~Markig [fy75,1](Ger. `vigorous'). Directive frequently ~found in Bruckner
 scores, e.g. [cf2]sehr markig [cf1]in finale ~of [sm8[nmth Sym.[cm~Marriage, Th
e [fy75,1]([cf2]Zhenitba[cf1]). ([sm1[nm) Unfinished opera ~by Mussorgsky to his
 own lib. based on Gogol's ~comedy ([sm1842[nm). [sm1[nm act com
pleted [sm1868[nm. Concert ~perf. at Rimsky-Korsakov's house [sm1906[nm, stage ~
(with pf. acc.) St Petersburg [sm1909[nm, [sm1[nmst full prod. ~in Rimsky's rev.
, Petrograd [sm1917[nm.[ep~^([sm2[nm) Opera in [sm1[nm act by Martin;anu to his
own lib. ~after Gogol. Amer. TV (NBC) [sm1953[nm; stage prod. ~Hamburg [sm1954[n
m.[cm~Marriage of Figaro, The [fy75,1](Mozart). See [cf2]Nozze di ~Figaro, Le.[c
m~Marriner, Neville [fy75,1]([cf2]b [cf1]Lincoln, [sm1924[nm). Eng. cond. ~and v
iolinist. Studied RCM. Taught at Eton Coll. ~[sm1948[nm. Member of Martin Str. Q
t. [sm1949[nm. Prof. of ~vn. RCM [sm1949[nm=n[sm59[nm. Violinist in Philharmonia
 ~Orch. [sm1952[nm, prin. [sm2[nmnd vn. LSO [sm1956[nm=n[sm68[nm. Founder, ~[fy4
5,1]*[fy75,1]Academy of St Martin-in-the-Fields, [sm1958[nm; dir. ~[sm1958[nm=n[
sm78[nm. Cond. Los Angeles Chamber Orch. ~from [sm1968[nm. D;aaebut as opera con
d. RNCM Manch~~ester ([cf2]Boh;ageme[cf1]) [sm1977[nm. Prin. cond. Minnesota Orc
h. ~[sm1979=n86[nm, cond. S.W. German Radio Orch. from ~[sm1983[
nm. C.B.E. [sm1979[nm.[cm~Marschalk, Max [fy75,1]([cf2]b [cf1]Berlin, [sm1863[nm
; [cf2]d [cf1]Poberowa-d-~Ostsee, [sm1940[nm). Ger. mus. critic and composer. ~F
riend of R. Strauss and Mahler. Critic for Berlin ~[cf2]Vossische Zeitung [cf1]f
rom [sm1895[nm. Wrote incidental ~mus. to plays (incl. some by his brother-in-la
w ~Gerhardt Hauptmann), orch. works, and songs.[xm[cm~[j1]Marschner, Heinrich [f
y75,1](August) ([cf2]b [cf1]Zittau, [sm1795[nm; ~[cf2]d [cf1]Hanover, [sm1861[nm
). Ger. composer and cond. ~Studied Leipzig. Went to Vienna [sm1817[nm and met ~
Beet[chhoven. Success of his opera [cf2]Heinrich IV und ~d'Aubign;aae[cf1], prod
. by Weber at Dresden [sm1820[nm, led ~to his appointment there as co-cond. with
 Weber. ~Appointed mus. dir. [sm1824[nm, resigning on Weber's ~death [sm1826[nm.
 Kapellmeister, Leipzig, [sm1827[nm, where ~his [cf2]Der [fy45,1]*[fy75,2]Vampyr
 [cf1]([sm1828[nm) was successful. In Dec. ~[sm1829[nm [cf2]Der Templer und die
J;auudin[cf1], based on Scott's ~[cf2]Ivanhoe[cf1], was prod. Co
urt Kapellmeister, Hanover, ~[sm1831[nm=n[sm59[nm. Most famous opera, [fy45,1]*[
fy75,2]Hans Heiling[cf1], prod. ~Berlin [sm1833[nm. [sm8[nm other operas followe
d, none ~successful. Wrote incidental mus. to Kleist's [cf2]Prinz ~von Homburg[c
f1], also [sm7[nm pf. sonatas, pf. trios, songs, ~etc. Occupies place between We
ber and Wagner ~in history of Romantic opera.[cm~Marseillaise, La. [fy75,1]Fr. n
at. anthem (first line ~`Allons, enfants de la patrie'). Words and mus., by ~Cla
ude Joseph [fy45,1]*[fy75,1]Rouget de Lisle, written on [sm24[nm ~April, [sm1792
[nm, under title [cf2]Chant de guerre pour ~l'arm;aaee du Rhin [cf1](War song fo
r the Rhine army). ~Received present title when sung by battalion of ~Marseilles
 troops as they entered Paris. Quoted by ~Schumann in [cf2]Faschingsschwank aus
Wien [cf1]and [cf2]Die ~beiden Grenadier[cf1], by Elgar in [cf2]The Music Makers
, ~[cf1]and by Tchaikovsky in his [cf2][sm1812[nm [cf1]ov. Elaborately ~arr. for
 soloists, ch., and orch. by Berlioz.[cm~Marsh, Roger [fy75,1]([
cf2]b [cf1]Bournemouth, [sm1949[nm). Eng. ~composer. Studied York Univ. with [fy
45,1]*[fy75,1]Rands. Ran ~mus.-th. group `Clap'. Univ. of Calif., San Diego, ~fr
om [sm1976[nm. Works incl.: [cf2]Dum's Dream [cf1]for str., ~singer, actor ([sm1
973[nm); [cf2]Cass[cf1], mus. th. ([sm1970[nm); [cf2]Calypso[cf1], ~mus. th. ([s
m1973[nm); [cf2]Sc;agenes de Ballet[cf1], mus. th. ([sm1974[nm); ~[cf2]Serenade
[cf1]for amplified db. ([sm1974[nm); [cf2]Deadpan's ~Romance[cf1], wind quintet
([sm1975[nm); [cf2]Not a Soul but ~Ourselves[cf1], [sm4[nm vv. with amplificatio
n ([sm1977[nm); [cf2]Varia~~tions[cf1], tb. and elec. ([sm1979[nm); [cf2]Bits an
d Scraps[cf1], SATB, ~technician, light ([sm1979[nm); [cf2]Point to Point[cf1],
[sm2[nm ob., [sm2[nm cl., ~[sm2[nm hn., [sm2[nm bn. ([sm1979[nm); [cf2][sm2[nm M
ovements[cf1], [sm2[nm fl., [sm2[nm cl., hp., ~str. qt. ([sm1979[nm); [cf2]Music
 for Ensemble [cf1]with [sm4[nm vv. ~([sm1980[nm); [cf2]Still [cf1]([cf2]as far
as may be[cf1]), ens. ([sm1980[nm); [cf2]The ~Wormwood and the G
all[cf1], mez. and ens. ([sm1981[nm); ~[cf2]Delilah[cf1], sop. and sax. ([sm1982
[nm); [cf2]Words of Love[cf1], bar., [sm2[nm ~ob., bn., hpd. ([sm1982[nm); [cf2]
Spit and Blow[cf1], tuba ([sm1983[nm); ~[cf2]Songs of Devotion[cf1], sop., cl.,
guitar ([sm1983=n4[nm); [cf2]Samson[cf1], ~ch. ([sm1984[nm).[cm~Marshall, Margar
et [fy75,1]([cf2]b [cf1]Stirling, [sm1949[nm). Scottish ~soprano. Studied RSAM a
nd with Hans [fy45,1]*[fy75,1]Hotter. ~[sm1[nmst prize Munich comp. [sm1974[nm.
London d;aaebut ~[PN445,0,0,R,I0][sm1975[nm, Edinburgh Fest. [sm1978[nm. Opera d
;aaebut Flor~~ence [sm1978[nm (Euridice in Gluck's [cf2]Orfeo[cf1]), CG [sm1980[
nm ~(Countess in [cf2]Figaro[cf1]), La Scala, Milan, and Salzburg ~[sm1982[nm (F
iordiligi in [cf2]Cos;agi fan tutte[cf1]). Amer. d;aaebut ~(concert) [sm1980[nm.
[cm~Marteau sans ma;afitre, Le [fy75,1](The hammer without ~a master). Work by [
fy45,1]*[fy75,1]Boulez for cont., alto fl., va., ~guitar, vibraphone, xylorimba,
 and perc. Comp. ~to text by Ren;aae Char [sm1952=n4[nm, rev. [s
m1957[nm. F.p.[fjBaden-Baden June [sm1955[nm, cond. Rosbaud, Paris ~[sm1956[nm,
cond. Boulez, London [sm1960[nm, cond. Boulez.[cm~Martel;aae [fy75,1](Fr.). Hamm
ered=mreferring to the ~manner of playing bowed instr. by a series of ~short, sh
arp blows with the bow upon the str. ~The point of the bow is to be used for thi
s process ~unless the heel is indicated by the expression ~[cf2]Martel;aae du ta
lon [cf1](see also [cf2]D;aaetach;aae[cf1]).[cm~Martellando; martellato [fy75,1]
(It.). Same as [cf2]Martel;aae[cf1], ~though the words are sometimes applied to
pf. ~playing and even singing.[cm~Martenot, Maurice [fy75,1]([cf2]b [cf1]Paris,
[sm1898[nm; [cf2]d [cf1]Paris, [sm1980[nm). ~Fr. musician and inventor. Studied
vc. and comp. ~at Paris Cons. Prof. at ;aaEcole Normale de Musique, ~Paris, and
dir. of ;aaEcole d'Art Martenot, Neuilly. ~Gave demonstration of his elec. mus.
instr. the ~[fy45,1]*[fy75,1]Ondes Martenot, at the Paris Op;aaera on [sm20[nm A
pril ~[sm1928[nm.[cm~Martha, or Richmond Fair [fy75,1]([cf2]Mart
ha, oder Der ~Markt von Richmond[cf1]). [sm4[nm-act opera by Flotow to lib. ~by
F. W. Riese after V. de Saint-Georges's ballet-~pantomime [cf2]Lady Henriette [c
f1]for which Flotow had ~comp. some mus. Makes use of `The Last Rose of ~Summer'
. Prod. Vienna [sm1847[nm, London [sm1849[nm, NY ~[sm1852[nm.[cm~Martin, Frank [
fy75,1]([cf2]b [cf1]Geneva, [sm1890[nm; [cf2]d [cf1]Naarden, ~Holland, [sm1974[n
m). Swiss composer, pianist, and ~harpsichordist. Studied Geneva with Lauber. ~S
tudied in Rome [sm1921[nm=n[sm3[nm. Taught at Geneva Cons. ~Dir., Technicum mode
rne de musique, Geneva, ~[sm1933[nm=n[sm9[nm. Taught Cologne Cons. [sm1952[nm=n[
sm8[nm. Works ~of high quality, notable for delicate colouring, ~contrapuntal sk
ill, and expressive nature. Used ~[sm12[nm-note system very freely in late works
. Prin. ~comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]Der Sturm [cf1](The [fy45,1]*[f
y75,1]Tempest) ([sm1952[nm=n[sm5[nm); ~[cf2]Monsieur de Pourceaugnac [cf1]([sm19
61[nm=n[sm2[nm).[ep~[smballets[nm: [cf2]Die blaue Blume [cf1]([s
m1936[nm); [cf2]Fairy-Tale of ~Cinderella [cf1]([sm1941[nm).[ep~[smorch[nm: [cf2
]Symphonie burlesque sur les  th;agemes savoyards[cf1], ~([sm1915[nm); [cf2]Ryth
mes [cf1]([sm1926[nm); [cf2]Guitare [cf1]([sm1933[nm); [fy45,1]*[fy75,2]Petite ~
Symphonie Concertante [cf1]([sm1946[nm); Concerto for [sm7[nm ~winds, timp., and
 str. ([sm1949[nm); [cf2];aaEtudes [cf1]for str. ~([sm1956[nm); [cf2]Passacaille
 [cf1]for str. ([sm1963[nm); [cf2]Les [sm4[nm ;aael;aaements ~[cf1]([sm1963[nm);
 [sm5[nm [cf2]Ballades[cf1]: alto sax., str., and pf. ([sm1938[nm); ~fl. and str
. ([sm1939[nm); pf. ([sm1939[nm); tb. ([sm1940[nm); vc. and ~small orch. ([sm194
9[nm).[ep~[smconcertos[nm: Pf. conc. No. [sm1[nm ([sm1934[nm), No. [sm2[nm ([sm1
968[nm=n~[sm9[nm); vn. conc. ([sm1951[nm); hpd. conc. ([sm1952[nm); vc. conc. ~(
[sm1966[nm); [cf2]Triptych[cf1], vn. and orch. ([sm1973=n4[nm).[ep~[smvoice and
orch[nm: [cf2]Der Cornet, [cf1]for cont. and small ~orch. ([sm1943[nm); [cf2]Sec
hs Monologe aus Jedermann ~[cf1](Hofmannsthal), bar. or cont. ([
sm1943[nm).[ep~[smchoral[nm: [cf2]Mass [cf1]([sm1922[nm=n[sm6[nm); [cf2]Le vin h
erb;aae[cf1], secular ~oratorio on Tristan legend ([sm1938[nm=n[sm41[nm); [cf2]I
n terra ~pax[cf1], oratorio ([sm1944[nm); [cf2]Golgotha[cf1], oratorio ([sm1945[
nm=n~[sm8[nm); [cf2]Pilate [cf1]([sm1964[nm); [cf2]Requiem [cf1]([sm1971[nm=n[sm
2[nm).[ep~[smchamber music[nm: Pf. quintet ([sm1919[nm); str. trio ([sm1936[nm);
 ~Str. Qt. No. [sm1[nm ([sm1936[nm), No. [sm2[nm ([sm1967[nm); Vn. Sonata ~No. [
sm1[nm ([sm1913[nm), No. [sm2[nm ([sm1931[nm=n[sm2[nm).[cm~[j1]Martinelli, Giova
nni [fy75,1]([cf2]b [cf1]Montagnana, [sm1880[nm; [cf2]d ~[cf1]NY, [sm1969[nm). I
t. ten. Played in regimental band, ~where his v. was noticed by bandmaster. Stud
ied ~Rome. D;aaebut Milan [sm1910[nm in Rossini's [cf2]Stabat ~Mater[cf1]. Engag
ed by Puccini to sing Dick Johnson ~in European premi;agere of [cf2]La Fanciulla
 del West ~[cf1]([sm1911[nm). London d;aaebut CG [sm1912[nm ([cf2]Tosca[cf1]). U
S d;aaebut ~Philadelphia [sm1913[nm, NY Met. [sm1913[nm ([cf2]Bo
h;ageme[cf1]). ~Member of NY Met. [sm1913[nm=n[sm46[nm, singing in [sm36[nm ~ope
ras.[cm~Martinet, Jean-Louis [fy75,1]([cf2]b [cf1]Ste-Bazeille, [sm1912[nm). Fr.
 ~composer. Studied Paris Cons. [sm1938[nm=n[sm45[nm, teachers ~incl. Roger-Duca
sse, Koechlin, Messiaen, and ~Munch. Instructed in Schoenberg theories by ~[fy45
,1]*[fy75,1]Leibowitz, [sm1945[nm. Vienna [sm1949[nm. Works incl. ~symphonic poe
m [cf2]Orph;aaee, Variations [cf1]for str. qt., [cf2][sm7[nm ~Poems by Ren;aae C
har[cf1], vocal qt. and orch., [sm2[nm [cf2]Images ~[cf1]for orch., Sym. ([sm196
2[nm=n[sm3[nm).[cm~Martini, Giovanni [fy75,1](Battista) (Giambattista; ~known as
 `Padre Martini') ([cf2]b [cf1]Bologna, [sm1706[nm; [cf2]d ~[cf1]Bologna, [sm178
4[nm). It. composer and theorist. Entered ~monastery [sm1722[nm; maestro di capp
ella San Fran~~cesco, Bologna, [sm1725[nm. Took minor orders [sm1725[nm, ~ordain
ed priest [sm1729[nm and devoted much time to ~scientific aspects of mus., amass
ing library of ~[sm17[nm,[sm000[nm books. Pupils incl. J. C. Bac
h, Gr;aaetry, ~Mozart, and Jommelli. Wrote church mus., instr. ~sonatas, and the
oretical books.[cm~Martini, Giovanni [fy75,1](Paolo) (Martini il Tedesco, ~`Mart
ini the German'; real name Johann Paul ~Aegidius Schwarzendorf) ([cf2]b [cf1]Fre
istadt, [sm1741[nm; [cf2]d ~[cf1]Paris, [sm1816[nm). Ger. organist and composer.
 After ~service with King Stanislaus, settled in France, ~changing name to Marti
ni. Held various court ~posts, was th. cond., and taught at Paris Cons. ~Wrote o
peras, church mus., and songs, of which ~best-known is [cf2]Plaisir d'amour.[xm[
cm~[j1]Martino, Donald [fy75,1](=+=+=+James) ([cf2]b [cf1]Plainfield, NJ, [sm193
1[nm). ~Amer. composer. Studied Syracuse and Princeton ~Univs. and in Italy [sm1
954[nm=n[sm6[nm. Comp. pupil of ~[fy45,1]*[fy75,1]Babbitt, [fy45,1]*[fy75,1]Sess
ions, and [fy45,1]*[fy75,1]Dallapiccola. Teacher at ~various Amer. univs. and ch
airman of comp. ~dept., New England Cons. Some of mus. uses [sm12[nm-~note techn
ique and dense polyphonic textures. ~Works incl. [cf2]Quodlibets
 [cf1]for fl., [cf2]Contemplations [cf1]for ~orch., pf. fantasy, cl. trio, pf. c
onc., sym., and ~triple conc. for cl., bass cl., and contrabass cl.[cm~Martinon,
 Jean [fy75,1]([cf2]b [cf1]Lyons, [sm1910[nm; [cf2]d [cf1]Paris, [sm1976[nm). ~F
r. cond., violinist, and composer. Studied Lyons ~Cons. and Paris Cons. [sm1923[
nm=n[sm9[nm (comp. with Roussel ~[PN446,0,0,L,I0]and cond. with D;aaesormi;agere
 and Munch). Prisoner-~of-war for [sm2[nm years during which he comp. several ~w
orks. Cond. f.p. of one of these in Paris, which ~led to post at Bordeaux. Ass.
to Munch with LPO ~[sm1946[nm. Cond. Radio Eireann Orch. [sm1948[nm=n[sm50[nm. M
us. ~dir. Lamoureux Orch., [sm1951[nm=n[sm8[nm, Israel P.O. [sm1958[nm=n~[sm60[n
m, Chicago S.O. [sm1963[nm=n[sm9[nm (Amer. d;aaebut Boston ~[sm1957[nm), French
Radio Orch. [sm1968[nm=n[sm75[nm, Hague ~Residentie [sm1975[nm=n[sm6[nm. First F
renchman to win ~Mahler Medal. Wrote [sm4[nm syms., opera, oratorio, [sm2[nm ~vn
. concs., vc. conc., [sm2[nm str. qts., etc.[cm~Martin;anu, Bohu
slav [fy75,1](=+=+=+Jan) ([cf2]b [cf1]Poli;akcka, [sm1890[nm; [cf2]d ~[cf1]Liest
al, Switz., [sm1959[nm). Cz. composer and violinist. ~Vn. lessons at [sm6[nm; be
gan composing at [sm10[nm. Studied ~Prague Cons. [sm1906[nm=n[sm10[nm with Suk.
Violinist, Czech ~P.O. [sm1918[nm=n[sm23[nm, whose cond. [fy45,1]*[fy75,1]Talich
 performed ~Martin;anu work in Prague [sm1923[nm. Went to Paris ~[sm1923[nm to s
tudy with Roussel. Stayed until [sm1941[nm, ~when settled in USA where he compos
ed [sm5[nm syms. ~Returned to Europe [sm1953[nm, living in Fr. and Switz. ~Proli
fic composer in all mus. forms. Remained ~essentially Cz. despite long exile. Hi
s works are ~uneven and flawed, but the best, such as the opera ~[cf2]Julietta [
cf1]and the syms., are progressive and full of ~rhythmical energy and imaginatio
n. Basically ~diatonic, but with wide, sometimes dissonant, ~harmonic range. Pri
n. works:[xm[cm~[j2][smoperas[nm: [fy75,2]The Three Wishes [cf1](film, [sm1929[n
m); [cf2]The Miracles ~of Mary [cf1]([sm1933[nm=n[sm4[nm); [fy45
,1]*[fy75,2]Comedy on the Bridge [cf1](radio, ~[sm1935[nm); [cf2]Theatre Behind
the Gate [cf1]([sm1936[nm); [fy45,1]*[fy75,2]Julietta ~[cf1]([sm1936[nm=n[sm7[nm
); [cf2]What Men Live By [cf1](TV, [sm1952[nm); [cf2]The ~[fy45,1]*[fy75,2]Marri
age [cf1](TV, [sm1952[nm); [cf2]Mirandolina [cf1]([sm1954[nm); ~[cf2]Ariadne [cf
1]([sm1958[nm); [cf2]The Greek Passion [cf1]([sm1956[nm=n[sm9[nm).[ep~[smballets
[nm: [cf2]I;akstar [cf1]([sm1918[nm=n[sm22[nm); [cf2]Who is the Most Powerful ~i
n the World[cf1]? ([sm1922[nm); [cf2]Revolt [cf1]([sm1925[nm); [cf2]The Butterfl
y ~that Stamped [cf1]([sm1926[nm); [cf2]Kitchen Revue [cf1]([sm1927[nm); [cf2];a
kSpal;agi;akcek ~[cf1]([cf2]The Chap Book[cf1], singing ballet) ([sm1931[nm=n[sm
2[nm); [cf2]The ~Strangler [cf1]([sm1948[nm).[ep~[smorch[nm: [cf2]The Angel of D
eath[cf1], sym.-poem ([sm1910[nm); [cf2]Half-~Time [cf1]([sm1924[nm); [cf2]La Ba
garre [cf1]([cf2]Tumult[cf1]) ([sm1926[nm); [cf2]Le jazz ~[cf1]([sm1928[nm); [cf
2]Serenade [cf1]([sm1930[nm); Sinfonia Concertante, [sm2[nm ~orc
h. ([sm1932[nm); [cf2]Invence [cf1]([sm1934[nm); [cf2]Concerto Grosso ~[cf1]([sm
1937[nm); [cf2]Double Concerto[cf1], for [sm2[nm str. orch., pf., timp. ~([sm193
8[nm); [fy45,1]*[fy75,2]Memorial to Lidi;akce [cf1]([sm1943[nm); [cf2]Intermezzo
 ~[cf1]([sm1950[nm); [cf2]The Rock [cf1]([sm1957[nm); [cf2][sm3[nm Estampes [cf1
]([sm1958[nm); ~Syms.: No. [sm1[nm ([sm1942[nm), No. [sm2[nm ([sm1943[nm), No. [
sm3[nm ([sm1944[nm), ~No. [sm4[nm ([sm1945[nm), No. [sm5[nm ([sm1946[nm), No. [s
m6[nm ([fy45,1]*[fy75,2]Fantaisies ~symphoniques[cf1]) ([sm1951[nm=n[sm3[nm).[ep
~[smconcertos[nm: Pf., No. [sm1[nm ([sm1925[nm), No.[sm2[nm ([sm1934[nm), No. [s
m3[nm ~([sm1948[nm), No. [sm4[nm ([cf2]Incantations[cf1]) ([sm1955[nm=n[sm6[nm),
 No. [sm5[nm ~([cf2]Fantasia Concertante[cf1]) ([sm1957[nm), Concertino, left ~h
and ([sm1926[nm), Concertino ([sm1938[nm), [sm2[nm pfs. ([sm1943[nm); ~vn. ([sm1
943[nm), [sm2[nm vns., No. [sm1[nm ([sm1937[nm), No. [sm2[nm ([sm1950[nm); ~Vc.,
 No. [sm1[nm ([sm1930[nm, rev. [sm1955[nm), No. [sm2[nm ([sm1944
[nm=n[sm5[nm), ~Concertino ([sm1924[nm); Misc., str. qt. and orch. ~([sm1931[nm)
, [sm2[nm concertinos, pf. trio, str. ([sm1933[nm), hpd. ~([sm1935[nm), fl., vn.
 ([sm1936[nm), [cf2]Concerto da camera[cf1], vn., ~pf., perc., str. ([sm1941[nm)
, [cf2]Sinfonia Concertante[cf1], ob., ~bn., vn., vc. ([sm1949[nm), [cf2]Rhapsod
y[cf1], va. ([sm1952[nm), vn., pf. ~([sm1953[nm), ob. ([sm1955[nm).[ep~[smchoral
[nm: [cf2]Czech Rhapsody [cf1]([sm1918[nm); [cf2]The Epic of ~Gilgamesh [cf1]([s
m1954[nm=n[sm5[nm); [cf2]Mike;aks of the Mountains [cf1]([sm1959[nm).[ep~[smcham
ber music[nm: Nonet, wind quintet, pf. qt. ~([sm1924[nm=n[sm5[nm), Nonet, wind q
uintet, str. trio, db. ~([sm1959[nm); Pf. Quintet ([sm1911[nm); Str. Quintet ([s
m1927[nm); ~wind quintet ([sm1930[nm); Pf. Quintet No. [sm1[nm ([sm1933[nm), ~No
. [sm2[nm ([sm1944[nm); Pf. Qt. ([sm1942[nm); Ob. Qt. ([sm1947[nm); Str. ~Trios,
 No. [sm1[nm ([sm1923[nm), No. [sm2[nm ([sm1934[nm); Pf. Trios, No. ~[sm1[nm ([s
m1930[nm), No. [sm2[nm ([sm1950[nm), No. [sm3[nm ([sm1951[nm); V
n. Sonatas, ~No. [sm1[nm ([sm1927[nm), No. [sm2[nm ([sm1931[nm), No. [sm3[nm ([s
m1944[nm); Vc. ~Sonatas, No. [sm1[nm ([sm1939[nm), No. [sm2[nm ([sm1941[nm), No.
 [sm3[nm ([sm1952[nm); ~Va. Sonata ([sm1955[nm); Fl. Sonata ([sm1945[nm); Cl. So
natina ~([sm1956[nm); Tpt. Sonatina ([sm1956[nm); Str. Qts., No. [sm1[nm ~([sm19
18[nm), No. [sm2[nm ([sm1925[nm), No. [sm3[nm ([sm1929[nm), No. [sm4[nm ([sm1937
[nm), ~No. [sm5[nm ([sm1938[nm), No. [sm6[nm ([sm1946[nm), No. [sm7[nm ([cf2]Con
c. da ~camera[cf1]) ([sm1947[nm).[ep~Many kbd. pieces and songs.[cm~[ol0][ep~[xp
[te~





[do9][j99]~~~~~~[sm153842[nm_M[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmM[sm006[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm4[nm.[sm10[nm.[sm79[nm[c
m[sm6[nm[cm[sm204[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Mart;aain y Sole
r, Vicente [fy75,1]([cf2]b [cf1]Valencia, [sm1754[nm; [cf2]d [cf1]St ~Petersburg
, [sm1806[nm). Sp. composer. Went to Italy ~[sm1780[nm, Vienna [sm1785[nm, and S
t Petersburg [sm1788[nm as ~dir. of It. opera. Wrote [sm20[nm operas, several to
 libs. ~by da Ponte, incl. [cf2]Una cosa rara [cf1]([sm1786[nm) from ~which Moza
rt quoted in the supper scene of [cf2]Don ~Giovanni [cf1]and two to libs. by Cat
herine II of Russia. ~In London [sm1794[nm=n[sm6[nm, returning to Russia as teac
her.[cm~Martirano, Salvatore [fy75,1]([cf2]b [cf1]Yonkers, NY, [sm1927[nm). ~Ame
r. composer. Studied Oberlin Cons. [sm1947[nm=n~[sm51[nm, Eastman Sch. [sm1952[n
m, Florence [sm1952[nm=n[sm4[nm (with ~Dallapiccola). Before Oberlin, was Marine
 bands~~man and in dance bands. Teacher at Illinois Univ. ~since
 [sm1963[nm. Works incl. Mass (unacc.); [cf2]Oooo That ~Shakespeherian Rag[cf1];
 vn. sonata; wind sextet; str. ~qt.; opera [cf2]The Magic Stones[cf1]; [cf2]Ball
ad [cf1]for amplified ~night-club singer and instr. ens.; [cf2]L's GA [cf1]for g
as-~masked politico, helium bomb, [sm3[nm [sm16[nm[cf1]mm. movie ~projectors, [s
m2[nm-channel tape (text is Lincoln's ~Gettysburg Address; the gas, when inhaled
 by ~the actor, changes the sound of his v.); [cf2]Election ~Night Address[cf1].
[cm~Marttinen, Tauno [fy75,1]([cf2]b [cf1]Helsinki, [sm1912[nm). Finnish ~compos
er. Studied Viipuri Institute of Mus. and ~Sibelius Acad. Dir., H;auameenlinna I
nstitute of ~Mus. Works incl. [sm5[nm syms.; opera [cf2]The Cloak [cf1](Gogol);
~[sm2[nm pf. concs., vn. conc., [sm3[nm Kalevala cantatas; ballets, ~vc. conc.,
etc.[cm~Martucci, Giuseppe [fy75,1]([cf2]b [cf1]Capua, [sm1856[nm; [cf2]d [cf1]N
aples, ~[sm1909[nm). It. cond., pianist, and composer. Studied ~Naples Cons. Pro
f. of pf. there [sm1880[nm=n[sm7[nm. Toured ~Europe [sm1875[nm.
Dir., Liceo Musicale, Bologna, ~[sm1886[nm=n[sm1902[nm, Naples Cons. [sm1902[nm=
n[sm9[nm. Est. orch. ~concerts at which he introduced many modern ~works to It.
audiences. Cond. f.p. in Italy of ~Wagner's [cf2]Tristan und [cf2]Isolde, [cf1]B
ologna [sm1888[nm. Comp. ~[sm2[nm syms., [sm2[nm pf. concs., pf. quintet, [sm2[n
m pf. trios, vc. ~sonata, many pf. pieces. Made many transcrs. of ~classical wor
ks.[cm~Martyrdom of St Magnus, The.[fy75,1] Chamber opera ~(mus. th.) in [sm1[nm
 act by [fy45,1]*[fy75,1]Maxwell Davies to his own ~lib. adapted from `Magnus' b
y George Mackay ~Brown. For ten., [sm2[nm bar., bass, and sop., and ~chamber ens
. Prod. St Magnus Cath., Kirkwall, ~Orkney, [sm1977[nm, London [sm1977[nm, Liver
pool [sm1978[nm.[cm~[PN447,0,0,R,I0]Martyre de Saint-S;aaebastien, Le [fy75,1](T
he Martyrdom ~of St Sebastian). Mus. by Debussy comp. in [sm1911[nm ~for [sm5[nm
-act mystery-play ([cf2]myst;agere[cf1]) by D'Annunzio ~perf. Paris in that year
. For sop., [sm2[nm cont., ch., and ~orch. Symphonic fragments (
[sm4[nm movements) f.p. ~in Eng. [sm1915[nm, cond. Wood.[cm~Martzy, Johanna [fy7
5,1]([cf2]b [cf1]Temesvar, [sm1924[nm; [cf2]d [cf1]R;auuschli~~kon, Switz., [sm1
979[nm[cf1]). Hung. violinist. Studied ~Budapest Acad. [sm1932[nm=n[sm42[nm. Sol
oist with Budapest ~P.O., cond. Mengelberg, [sm1943[nm. European tour ~[sm1947[n
m. US d;aaebut [sm1957[nm.[cm~Marx, Joseph [fy75,1]([cf2]b [cf1]Graz, [sm1882[nm
; [cf2]d [cf1]Graz, [sm1964[nm). ~Austrian composer. Studied musicology at Graz
~Univ. Dir., Vienna Acad. of Mus. [sm1922[nm=n[sm7[nm. Noted ~for his [sm120[nm
songs, but also wrote [cf2]Romantic [cf1]pf. ~conc., [cf2]Autumn Symphony[cf1],
pf. qt., vc. sonata, choral ~works, etc.[cm~[fy65][cf3]Mary, Queen of Scots. [fy
75,1]([sm1[nm) Opera in [sm3[nm acts by ~Thea [fy45,1]*[fy75,1]Musgrave to her o
wn lib. based on Amalia ~Elguera's play [cf2]Moray. [cf1]Prod. Edinburgh [sm1977
[nm, ~Stuttgart and Norfolk, Virginia, [sm1978[nm, Bielefeld ~[sm1984[nm.[ep~^([
sm2[nm) Ballet with mus. by John [fy45,1]*[fy75,1]McCabe, prod.
~Glasgow [sm1975[nm.[cm~Marziale [fy75,1](It.). Martial.[cm~Masaniello. [fy75,1]
Name usually given in Britain to ~Auber's opera in [sm5[nm acts [cf2]La Muette d
e Portici [cf1](The ~Dumb Girl of Portici) to lib. by Scribe and ~Delavigne. Pro
d. Paris [sm1828[nm, London [sm1829[nm, NY ~[sm1831[nm. Perf. in Brussels in [sm
1830[nm led to Belgian ~revolt (plot being based on Neapolitan uprising ~against
 Spanish oppressors, [sm1647[nm).[cm~Mascagni, Pietro [fy75,1]([cf2]b [cf1]Legho
rn, [sm1863[nm; [cf2]d [cf1]Rome, ~[sm1945[nm). It. composer and cond. Studied M
ilan ~Cons. with Ponchielli, having already had sym. ~and choral works performed
. Left Cons. to join ~touring opera co. as cond. Settled as pf. teacher at ~Ceri
gnola. In [sm1889[nm won first prize in competition ~sponsored by publisher Sonz
ogno with [sm1[nm-act ~opera [cf2]Cavalleria Rusticana. [cf1]The abundant succes
s ~of this work overshadowed his remaining operas, ~and the assertion that he is
 a one-opera composer ~([fy45,1]*[fy75,2]verismo [cf1]at that) h
as only recently been chal~~lenged. In his later years he associated himself ~wi
th Mussolini's Fascist r;aaegime. Prin. comps.:[xm[cm~[j2][smoperas[nm: [cf2]Pin
otta [cf1]([sm1880[nm); [cf2]Guglielmo Ratcliff [cf1]([sm1885[nm); ~[fy45,1]*[fy
75,2]Cavalleria Rusticana [cf1]([sm1888[nm); [cf2]L'[fy45,1]*[fy75,2]Amico Fritz
[cf1] ~([sm1891[nm); [cf2]I Rantzau [cf1]([sm1892[nm); [cf2]Silvano [cf1]([sm189
5[nm); [cf2]Zanetto ~[cf1]([sm1896[nm); [fy45,1]*[fy75,2]Iris [cf1]([sm1898[nm);
 [cf2]Le maschere [cf1]([sm1900[nm); [cf2]Amica ~[cf1]([sm1905[nm); [cf2]Isabeau
 [cf1]([sm1911[nm); [cf2]Parisina [cf1]([sm1913[nm); [cf2]Lodoletta ~[cf1]([sm19
17[nm); [cf2]Il piccolo Marat [cf1]([sm1921[nm); [fy45,1]*[fy75,2]Nerone [cf1]([
sm1934[nm).[ep~[smchoral[nm: [cf1]Cantata for Leopardi centenary [cf1]([sm1898[n
m); ~[cf2]Requiem [cf1]in memoriam Re Umberto ([sm1900[nm); [cf2]Inno ~del Lavro
 [cf1]([sm1928[nm); [cf2]Inno del Avanguardisti [cf1]([sm1929[nm).[cm~[j1]Mascar
ade [fy75,1](Fr.). In earlier use this means [fy45,1]*[fy75,2]Ma
sque ~[cf1]and in later use Masquerade, i.e. Masked Ball.[cm~Maschera,  Florenti
o [fy75,1]([cf2]b c.[cf1][sm1540[nm; [cf2]d [cf1]Brescia, [cf2]c.[cf1][sm1584[nm
). ~It. composer and organist. Organist Brescia Cath. ~[sm1557[nm=n[sm84[nm. Vol
. of instr. [cf2]canzone [cf1]for [sm4[nm vv., [sm1584[nm, ~and other org. and k
bd. comps.[cm~Mascheroni, Edoardo [fy75,1]([cf2]b [cf1]Milan, [sm1852[nm; [cf2]d
 [cf1]Ghirla, ~Como, [sm1941[nm). It. cond. and composer. D;aaebut ~Brescia [sm1
880[nm. Opera cond., Rome, [sm1885[nm=n[sm92[nm, ~introducing Beethoven's [cf2]F
idelio [cf1]to Italy; Scala, ~Milan, [sm1891[nm=n[sm4[nm, cond. f.ps. of Catalan
i's [cf2]La Wally ~[cf1]and Verdi's [cf2]Falstaff[cf1]. Toured Europe and S. ~Am
erica. Wrote [sm2[nm operas (libs. by Illica), choral ~works, and songs.[cm~Masc
hinenpauken [fy75,1](Ger.). Mechanically-tuned ~[cf1]kettledrums. See [cf2]Drum[
cf1].[cm~Mask, Maske. [fy75,1]Old spellings of [fy45,1]*[fy75,2]Masque. [cf1]Som
e~~times found attached to, for instance, a virginals ~piece, wh
ere it probably implies a dance of a ~suitable character for use in a masque.[cm
~Maskarade [fy75,1](Masquerade). Opera in [sm3[nm acts by ~[fy45,1]*[fy75,1]Niel
sen to lib. by V. Andersen based on play by ~Holberg. Comp. [sm1904=n6[nm. Prod.
 Copenhagen ~[sm1906[nm.[cm~Masked Ball, A [fy75,1](Verdi). See [cf2]Ballo in ma
schera, Un[cf1].[cm~Mask of Time, The. [fy75,1]Work for sop., mez., ten., ~bar.,
 ch., and instr., in two parts, by [fy45,1]*[fy75,1]Tippett. ~Comp. [sm1981[nm=n
[sm3[nm. F.p. Boston, Mass., April [sm1984[nm, ~cond. Sir Colin Davis. F. Europe
an p. London, ~July [sm1984[nm, cond. Andrew Davis.[cm~Masnadieri, I [fy75,1](Th
e Robbers). Opera in [sm4[nm acts by ~Verdi to lib. by Maffei from Schiller's pl
ay [cf2]Die ~R;auauber [cf1]([sm1781[nm). Comp. [sm1846=n7[nm. Prod. London ~[sm
1847[nm (with Jenny Lind; only Verdi opera written ~for London); NY [sm1860[nm.
Revived It. Radio [sm1951[nm ~and by WNO [sm1977[nm, Cardiff and elsewhere.[xm[c
m~[j1]Masnelli, Paolo [fy75,1](=+=+[cf2]b [cf1]Verona, [cf2]fl[c
f1].[sm1578[nm=n[sm1609[nm). It. ~composer. Court organist, Mantua, [sm1585[nm=n
[sm92[nm, ~Verona Cath. [cf2]c.[cf1][sm1596[nm. Wrote several books of ~madrigal
s.[cm~Mason, Colin [fy75,1]([cf2]b [cf1]Northampton, [sm1924[nm; [cf2]d [cf1]Lon
don, ~[sm1971[nm). Eng. mus. critic. Studied TCL and Budapest ~Acad. Authority o
n Bart;aaok. Mus. critic [cf2]Manchester ~Guardian [cf1][sm1950[nm=n[sm64[nm, [c
f2]Daily Telegraph [cf1]from [sm1964[nm. ~Ed. [cf2]Tempo [cf1][sm1964[nm=n[sm71[
nm. Active in promotion of ~contemporary works. Ed. suppl. [cf2]Cobbett's Cyclo~
~pedia of Chamber Music [cf1][sm1963[nm.[cm~Mason, Daniel [fy75,1](Gregory) ([cf
2]b [cf1]Brookline, Mass., ~[sm1873[nm; [cf2]d[cf1] Greenwich, Conn., [sm1953[nm
). Amer. com~~poser, writer, and teacher. Pupil of d'Indy, [sm1913[nm. ~Joined m
us. faculty Columbia Univ., becoming ~prof. [sm1929[nm. Retired [sm1942[nm. Wrot
e several books. ~Comps. incl. [sm3[nm syms. (No. [sm3[nm [cf2]A Lincoln Symphon
y[cf1]), ~qt. on Negro themes, [cf2]Elegy [cf1]for pf., pf. qt.,
 etc.[cm~Masonic Music by Mozart. [fy75,1]Mozart, a Freemason ~in a Vienna Lodge
, comp. several works for ~masonic purposes, the chief of which are: ~[fy45,1]*[
fy75,2]Maurerischer Trauermusik [cf1](Masonic funeral mu~~sic), (K[sm477[nm, [sm
1785[nm), cantata, [cf2]Die ihr des unermesslichen ~Weltalls Sch;auopfer ehrt [c
f1](K[sm619[nm, [sm1791[nm); song, [cf2]Die ihr ~einen neuem Grade [cf1](K[sm468
[nm, [sm1785[nm); cantata, [cf2]Dir, Seele ~[PN448,0,0,L,I0]des Weltalls [cf1](K
[sm429[nm, [sm1783[nm); choruses: [cf2]Ihr unsere ~neuen Leiter [cf1](K[sm484[nm
, [sm1785[nm), [cf2]Lasst uns mit geschlungnen ~H;auanden [cf1](K[sm623[nma, [sm
1791[nm), [cf2]Laut verk;auunde unsere Freude ~[cf1](K[sm623[nm, [sm1791[nm); so
ng, [cf2]O heiliges Band [cf1](K[sm148[nm, [sm1772[nm); ~cantata, [cf2]Sehen, wi
e dem starren Forscherange [cf1](K[sm471[nm, ~[sm1785[nm); ch., [cf2]Zerfliesset
 heut', geliebte Br;auuder [cf1](K[sm483[nm, ~[sm1785[nm).[cm~Masque [fy75,1](or
 [fy65][cf3]Mask [fy75,1]or [fy65][cf3]Maske[fy75,1]). An aristo
cratic ~ceremonial entertainment in the [sm17[nmth cent., ~consisting of a combi
nation of poetry, vocal and ~instr. mus., dancing, acting, costume, pageantry, ~
and scenic decoration, applied to the representa~~tion of allegorical and mythol
ogical subjects. It ~was much cultivated in It., from which country ~Eng. seems
to have learnt it, then carrying it to a ~very high pitch of artistic elaboratio
n. It deve[chloped ~from the [cf2]intermedii [cf1]and from mystery plays. In ~El
izabethan times, among the authors employed ~was Ben Jonson, a supreme master of
 the Eng. ~masque; he sometimes enjoyed the collab. of ~Inigo Jones as designer
of the decorations and ~machinery. Among composers of masque mus. ~were [fy45,1]
*[fy75,1]Campion, [fy45,1]*[fy75,1]Coprario, [fy45,1]*[fy75,1]Lanier, and the ~y
ounger [fy45,1]*[fy75,1]Ferrabosco. From a literary point of ~view the most famo
us masque is Milton's [cf2]Comus ~[cf1]([sm1634[nm); for this the mus. was suppl
ied by Henry ~[fy45,1]*[fy75,1]Lawes, but the finest masques of
this period had ~music by his brother William. Masques continued ~under the Puri
tan r;aaegime of the Commonwealth ~and Protectorate, some being arr., by authori
ty, ~for entertainment of distinguished foreign visi~~tors. After the Restoratio
n, masque episodes were ~popular in plays, and music for them was ~composed by J
ohn Blow, Pelham Humfrey, Louis ~Grabu, and Henry Purcell. A late example is ~Ar
ne's [cf2]Alfred [cf1]([sm1740[nm), written for perf. in the ~Prince of Wales's
garden: from it comes the song ~[cf2]Rule, Britannia![cf1][ep~^In the [sm20[nmth
 cent. Vaughan Williams described ~his ballet [fy45,1]*[fy75,2]Job[cf1] as a `ma
sque for dancing', to ~indicate that [sm19[nmth-cent. type of choreog. would ~no
t be appropriate. Lambert's [cf2]Summer's Last Will ~and Testament [cf1]is descr
ibed as a masque.[cm~Masques et Bergamasques [fy75,1](Masks and Bergo~~masks). D
ivertissement by Faur;aae to scenario by ~R. Fauchois, comp. [sm1919[nm, prod. M
onte Carlo ~[sm1919[nm. Suite for orch., Op. [sm112[nm, [sm4[nm
movements, f.p. ~Paris [sm1919[nm, London [sm1920[nm.[xm[cm~[ol0][ep~[xp[te~












[do19][j99]~~~~~~[sm153842[nm_MA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm3[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm231[nm[cm~JOH[cm7[cm12.4.85[cmU4[cm~~~~[ap[j1]Mass. [fy75,1]Owin
g to the importance the R.C. Mass ~holds in the minds of worshippers and the ~op
portunities it offers for mus. participation it ~has exercised a large influence
 upon the develop~~ment of mus. High Mass is sung, Low Mass is ~spoken. The Prop
er of the Mass (i.e. the parts ~which vary from season to season and day to day)
 ~has naturally usually been left to its traditional ~plainsong treatment. The [
sm5[nm passages that are ~frequently set for ch., or for ch. and soloists, are:
~(a) [cf2]Kyrie [cf1](Lord have mercy), (b) [cf2]Gloria in excelsis ~Deo [cf1](G
lory be to God on high), (c) [cf2]Credo [cf1](I believe), ~(d) [cf2]Sanctus, [cf
1]with [cf2]Benedictus [cf1]properly a part of it, ~but in practice often separa
ted (Holy, Holy .|.|. ~Blessed .|.|.), (e) [cf2]Agnus Dei [cf1](
O Lamb of God). These ~are, properly, the congregational element in the ~Ordinar
y, or Common of the Mass, i.e. the ~invariable part. Innumerable mus. settings h
ave ~been provided by hundreds of composers of all ~European nations. The earlie
st polyphonic setting ~was probably that by [fy45,1]*[fy75,1]Machaut in [sm14[nm
th cent. In ~the [sm15[nmth cent. [fy45,1]*[fy75,1]Dufay and others introduced ~
secular tunes as a [fy45,1]*[fy75,2]cantus firmus[cf1], e.g. the folk song ~[cf2
]L'Homme arm;aae[cf1]. A high point was reached at the ~end of the [sm16[nmth ce
nt., when the unacc. choral ~contrapuntal style of comp. reached its apogee ~(Pa
lestrina in It., Byrd in Eng., Victoria in Sp., ~etc.). In the [sm17[nmth and [s
m18[nmth cents. the development ~of solo singing and increased understanding of
~the principles of effective orch. acc. led to great ~changes in the style of mu
s. treatment of the ~Mass, and the settings of the late [sm18[nmth-cent. and ~ea
rly [sm19[nmth-cent. composers (Haydn, Mozart, ~Weber, Schubert,
 etc.), however musically effec~~tive, have not the devotional quality of the ~s
ettings of the late [sm16[nmth and early [sm17[nmth cents. The ~practice had gro
wn up of treating the [sm5[nm passages ~above mentioned as the opportunity of pr
oviding ~an extended work in oratorio style, two outstand~~ing examples of this
being the Mass in B minor ~of J. S. Bach ([sm1724[nm=n[sm49[nm) and the Mass in
D of ~Beethoven ([sm1819[nm=n[sm22[nm). Many impressive settings ~have been comp
. since Beethoven, e.g. by ~Bruckner, and in the [sm20[nmth cent. by Stravinsky,
 ~Vaughan Williams, Rubbra, and many others.[ep~^In large-scale settings the abo
ve-mentioned [sm5[nm ~passages tended to become subdivided. The great ~setting b
y Bach is as follows: (a) [cf2]Kyrie eleison [cf1](Lord, ~have mercy), [cf2]Chri
ste eleison [cf1](Christ, have mercy), ~[cf2]Kyrie eleison [cf1](Lord, have merc
y); (b) [cf2]Gloria in ~excelsis Deo [cf1](Glory be to God on high), [cf2]Laudam
us ~te [cf1](We praise Thee), [cf2]Gratias agimus tibi [cf1](We
give ~Thee thanks), [cf2]Domine Deus [cf1](Lord God), [cf2]Qui tollis ~peccata m
undi [cf1](Who takest away the sins of the ~world), [cf2]Qui sedes ad dexteram P
atris [cf1](Who sittest ~at the right hand of the Father), [cf2]Quoniam tu solus
 ~sanctus [cf1](For Thou only art holy), [cf2]Cum Sancto ~Spiritu [cf1](With the
 Holy Spirit); (c) [cf2]Credo in unum ~Deum [cf1](I believe in one God), [cf2]Pa
trem omnipotentem ~[cf1](Father almighty), [cf2]Et in unum Dominum [cf1](And in
~one Lord), [cf2]Et incarnatus est [cf1](And was incarnate), ~[cf2]Crucifixus [c
f1](Crucified), [cf2]Et resurrexit [cf1](And rose ~again), [cf2]Et in Spiritum S
anctum [cf1](And (I believe ) in ~the Holy Spirit), [cf2]Confiteor unum baptisma
 [cf1](I confess ~one baptism); (d) [cf2]Sanctus [cf1](Holy), [cf2]Hosanna in ex
celsis ~[cf1](Hosanna in the highest), [cf2]Benedictus qui venit ~[cf1](Blessed
is he that cometh); (e) [cf2]Agnus Dei [cf1](O Lamb ~of God), [cf2]Dona nobis pa
cem [cf1](Give us peace). See also ~[cf2]Missa [cf1]and [cf2]Req
uiem[cf1].[xm[cm~[j1]Massart, Joseph [fy75,1](Lambert) ([cf2]b [cf1]Li;agege, [s
m1811[nm; [cf2]d ~[cf1]Paris, [sm1892[nm). Belg. violinist. Pupil of [fy45,1]*[f
y75,1]Kreutzer in ~Paris. Prof. of vn. Paris Cons. [sm1843[nm=n[sm90[nm. Pupils
~incl. [fy45,1]*[fy75,1]Wieniawski and [fy45,1]*[fy75,1]Kreisler.[cm~Massenet, J
ules [fy75,1](;aaEmile Fr;aaed;aaeric) ([cf2]b [cf1]Montaud, St ~;aaEtienne, [sm
1842[nm; [cf2]d [cf1]Paris, [sm1912[nm). Fr. composer. ~[PN449,0,0,R,I0]Entered
Paris Cons. at [sm11[nm, becoming pupil of A. ~Thomas. Won [cf2]Grand Prix de Ro
me[cf1]. Spent [sm3[nm years ~in Rome; returned to Paris [sm1866[nm, his first (
[sm1[nm-act) ~opera being prod. at Op;aaera-Comique [sm1867[nm. His ~oratorios e
st. his name until the opera [cf2]H;aaerodiade ~[cf1](a version of the Salome st
ory) in [sm1881[nm, but his ~greatest success came in [sm1884[nm with [cf2]Manon
[cf1]. He ~was prof. of advanced comp. at Paris Cons. [sm1878[nm=n~[sm96[nm. Amo
ng his later successes was [cf2]Don Quichotte[cf1], ~prod. Monte
 Carlo [sm1910[nm, with Chaliapin in the ~title-role. Massenet used Wagner's [cf
2]leitmotiv [cf1]device, ~but translated it into his melodious and agreeable ~st
yle, a style considered by some to be saccharine ~but which has won admiration i
n the later [sm20[nmth ~cent. for its stylishness, craftsmanship, sense of ~th.,
 and understanding of the human v. Prin. ~works:[xm[cm~[j2][smoperas[nm: [fy75,2
]La Grand' Tante [cf1]([sm1867[nm); [cf2]Le Roi de Lahore ~[cf1]([sm1877[nm); [f
y45,1]*[fy75,2]H;aaerodiade [cf1]([sm1881[nm); [fy45,1]*[fy75,2]Manon [cf1]([sm1
883[nm); ~[cf2]Le[fy45,1]*[fy75,2]Cid [cf1]([sm1885[nm); [fy45,1]*[fy75,2]Esclar
monde [cf1]([sm1889[nm); [cf2]Le Mage ~[cf1]([sm1891[nm); [fy45,1]*[fy75,2]Werth
er [cf1]([sm1891[nm); [fy45,1]*[fy75,2]Tha;auis [cf1]([sm1894[nm); [cf2]Le ~Port
rait de Manon [cf1]([sm1894[nm);[cf2] La [fy45,1]*[fy75,2]Navarraise [cf1]([sm18
94[nm); ~[cf2]Amadis [cf1]([cf2]c.[cf1][sm1895[nm); [cf2]Sapho [cf1]([sm1897[nm)
; [fy45,1]*[fy75,2]Cendrillon ~[cf1]([sm1899[nm); [cf2]Gris;aael
idis [cf1]([sm1901[nm); [cf2]Le [fy45,1]*[fy75,2]Jongleur de Notre ~Dame [cf1]([
sm1901[nm); [cf2]Ch;aaerubin [cf1]([sm1902[nm); [cf2]Ariane [cf1]([sm1906[nm); ~
[cf2]Th;aaer;agese [cf1]([sm1907[nm); [cf2]Bacchus [cf1]([sm1909[nm); [fy45,1]*[
fy75,2]Don Quichotte ~[cf1]([sm1908=n9[nm); [cf2]Roma [cf1]([sm1911[nm); [cf2]Pa
nurge [cf1]([sm1912[nm); [cf2]Cl;aaeo~~p;afatre [cf1]([sm1912[nm).[ep~[smballets
[nm: [cf2]Le Carillon [cf1]([sm1892[nm); [cf2]Cigale [cf1]([sm1904[nm); [cf2]Esp
ada ~[cf1]([sm1908[nm).[ep~[smoratorios and cantatas[nm: [cf2]David Rizzio [cf1]
([sm1863[nm); ~[cf2]Marie-Magdeleine [cf1]([sm1873[nm, rev. as opera [sm1906[nm)
; [cf2]Eve ~[cf1]([sm1875[nm); [cf2]Narcisse [cf1]([sm1877[nm); [cf2]La Vierge [
cf1]([sm1880[nm); [cf2]Biblis ~[cf1]([sm1886[nm); [cf2]La Terre Promise [cf1]([s
m1900[nm).[ep~[smorch[nm: [cf2]Sc;agenes hongroises [cf1]([sm1871[nm); [fy45,1]*
[fy75,2]Sc;agenes pittoresques ~[cf1]([sm1874[nm); [cf2]Sc;agenes napolitaines [
cf1]([sm1876[nm); [cf2]Sc;agenes alsa~~ciennes [cf1]([sm1881[nm)
; [cf2]Marche solennelle [cf1]([sm1897[nm); [cf2]Fantaisie[cf1], ~vc. and orch.
([sm1897[nm); pf. conc. ([sm1903[nm).[ep~Also about [sm200[nm songs, some with o
rch.[cm~[j1]Mass in D [fy75,1]([cf2]Missa Solemnis[cf1]). For sop., cont., ten.,
 ~and bass soloists, ch., org., and orch. by Beethoven, ~Op. [sm123[nm, comp. [s
m1819[nm=n[sm22[nm. F.p. complete, St ~Petersburg, April [sm1824[nm; f.p. (incom
plete) to Ger. ~words, Vienna May [sm1824[nm in first part of concert ~which inc
l. f.p. of [sm9[nmth Sym.; complete but private ~perf. London [sm1832[nm; public
, but probably incom~~plete, London [sm1839[nm; first complete public perf. ~in
London [sm1846[nm.[cm~M;auassig  [fy75,1](Ger.). ([sm1[nm) Moderate, moderately,
 [cf2]m;auassiger[cf1], ~more moderate and [cf2]m;auassigen[cf1], to moderate. [
ep~^([sm2[nm) In the style of (e.g. [cf2]marschm;auassig[cf1], in march ~style).
[cm~Mass of Christ the King. [fy75,1]Choral work by ~[fy45,1]*[fy75,1]Williamson
 for sop., mez., ten., and bass soloists, ~ch., and orch., comp.
 [sm1977[nm=n[sm8[nm, f.p. (incomplete) ~Gloucester Fest. [sm1977[nm, (complete)
 Westminster ~Cath. [sm1978[nm.[cm~Mass of Life, A [fy75,1]([cf2]Eine Messe des
Lebens[cf1]). Choral ~work by Delius for SATB soloists, double ch., and ~orch. t
o Ger. text selected by F. [fy45,1]*[fy75,1]Cassirer from ~Nietzsche's [cf2]Also
 sprach Zarathustra[cf1]. Comp. [sm1904[nm=n~[sm5[nm. F.p. of Part [sm2[nm only,
 Munich [sm1908[nm; f. complete ~p. London [sm1909[nm (in Eng.) cond. Beecham. I
n [sm1898[nm ~Delius wrote unpubd. setting of the `Midnight ~Song' from [cf2]Zar
athustra [cf1]for bar., male ch., and ~orch. (perf. London [sm1899[nm).[cm~Mass
of Pope Marcellus [fy75,1](Palestrina). See [cf2]Missa ~Papae Marcelli[cf1].[cm~
Masson, Diego [fy75,1]([cf2]b [cf1]Tossa, Sp., [sm1935[nm). Fr. conductor. ~Stud
ied at Paris Cons. [sm1953[nm=n[sm9[nm, also comp. with ~Leibowitz [sm1955[nm=n[
sm9[nm and Maderna [sm1964[nm, and cond. ~with Boulez [sm1965[nm. Worked as perc
. player in Paris ~in [sm1960[nms, particularly at Domaine Music
al, and ~founded his ens. Musique Vivante in [sm1966[nm. Took ~part in several S
tockhausen f.ps. and recorded ~Boulez's [cf2]Domaines. [cf1]Mus. dir. Marseilles
 Op;aaera. ~London d;aaebut [sm1971[nm (SW).[cm~Masson, Paul Marie [fy75,1]([cf2
]b [cf1]S;agete, [sm1882[nm; [cf2]d[cf1] Paris, [sm1954[nm). ~Fr. mus. historian
, pupil of d'Indy and Koechlin. ~Lecturer, mus. history, Fr. Institute in Floren
ce ~[sm1910[nm=n[sm14[nm. Founded Fr. Institute, Naples, [sm1919[nm. ~Taught at
Paris Univ. [sm1931[nm=n[sm52[nm. Wrote books on ~Berlioz and Rameau and ed. mad
rigals of ~[fy45,1]*[fy75,1]Gesualdo.[cm~Master Class. [fy75,1]Form of teaching
in which ~celebrated performer instructs a group of pupils ~in front of other pu
pils or a paying audience. ~Master classes have become a popular feature at ~fes
tivals and on television, but there is sometimes ~doubt as to whether the pupils
 benefit from what ~can, in effect, become a solo perf. by the teacher.[cm~Maste
r of Music. [fy75,1]Degree awarded at some Brit. ~and Amer. univ
., according status between ~Bachelor and Doctor of Mus.[cm~Master of the King's
 (Queen's) Music.[fy75,1] Title of ~the only surviving mus. post in the British
royal ~household; carries honorarium and no fixed ~duties. The post originated i
n reign of Charles I ~(office being held by Nicholas Lanier) and meant ~the head
 of the sovereign's private band which ~accompanied him or her wherever he or sh
e ~went. In[sm1660[nm Charles II est. a band of [sm24[nm players ~of str. instr.
 Since [sm1893[nm the post has been given to ~some eminent musician, usually a c
omposer, who ~will write a fanfare, march, or larger work for ~some royal or sta
te occasion, and is an influential ~figure in the mus. world generally (mus. equ
iva~~lent of the Poet Laureate). Holders of the post ~since [sm1660[nm (some dat
es conjectural) are: Nicholas ~Lanier, [sm1660[nm; Louis Grabu, [sm1666[nm; Nich
olas ~Staggins, [sm1674[nm; John Eccles, [sm1700[nm; Maurice ~Greene, [sm1735[nm
?; William Boyce, [sm1755[nm; John ~Stanley, [sm1779[nm; William
 Parsons, [sm1786[nm; William ~Shield, [sm1817[nm=n[sm29[nm; Christian Kramer, [
sm1834[nm; George ~Frederick Anderson, [sm1848[nm=n[sm70[nm; William George ~Cus
ins, [sm1870[nm=n[sm93[nm; Walter Parratt, [sm1893[nm=n[sm1924[nm; ~Edward Elgar
 [sm1924[nm=n[sm34[nm; Walford Davies, [sm1934[nm=n~[sm41[nm; Arnold Bax, [sm194
2[nm=n[sm53[nm; Arthur Bliss, [sm1953[nm=n[sm75[nm; ~Malcolm Williamson from [sm
1975[nm.[cm~[PN450,0,0,L,I0]Master Peter's Puppet Show [fy75,1]([cf2]El Retablo
de Maese ~Pedro[cf1]). [sm1[nm-act opera by [fy45,1]*[fy75,1]Falla to lib. by co
mposer ~based on incident in Cervantes's [cf2]Don Quixote [cf1](Part ~[sm2[nm, C
h. [sm26[nm). For singers, puppets, and chamber ~orch. Comp. [sm1919[nm=n[sm22[n
m. F.p. (concert) Seville, Mar. ~[sm1923[nm; stage (private) Paris, June [sm1923
[nm; Paris, Nov. ~[sm1923[nm.[cm~Mastersingers of Nuremberg, The [fy75,1](Wagner
). See [cf2]Meister~~singer von N;auurnberg, Die[cf1].[cm~Masterson, Valerie [fy
75,1]([cf2]b [cf1]Birkenhead, [sm1937[nm). Eng. ~sop. Studied Li
verpool, RCM, and Milan. D;aaebut ~Salzburg Landesth. [sm1963[nm. D'Oyly Carte O
pera Co. ~[sm1966[nm=n[sm70[nm. Member of SW (later ENO) from [sm1970[nm. ~CG d;
aaebut [sm1974[nm ([cf2]Rheingold[cf1]). Paris d;aaebut [sm1978[nm. ~Amer. d;aae
but San Francisco [sm1980[nm ([cf2]La traviata[cf1]). ~Combines brilliant colora
tura with rich dramatic ~qualities, hence her particular success as Violetta ~([
cf2]La traviata[cf1]). Also admired as Handel singer ~(Cleopatra in ENO [cf2]Jul
ius Caesar [cf1][sm1979[nm and in CG ~[cf2]Semele [cf1][sm1982[nm).[cm~Masur, Ku
rt [fy75,1]([cf2]b [cf1]Brieg,  Silesia, [sm1927[nm). Ger. conduc~~tor. Studied
Breslau, [sm1942[nm=n[sm4[nm, and Leipzig Cons. ~[sm1946[nm=n[sm8[nm. Cond., Erf
urt [sm1951[nm=n[sm3[nm, Leipzig City Th. ~[sm1953[nm=n[sm5[nm, Dresden P.O. [sm
1955[nm=n[sm8[nm, Schwerin [sm1958[nm=n~[sm60[nm. Chosen by Felsenstein as mus.
dir., Berlin ~Komische Oper [sm1960[nm, staying until [sm1964[nm. Re~~turned to
Dresden P.O. [sm1964[nm=n[sm7[nm; cond., Leipzig ~Gewandhaus Orc
h. from [sm1970[nm. Eng. d;aaebut [sm1973[nm ~(New Philharmonia).[cm~Mata, Eduar
do [fy75,1]([cf2]b [cf1]Mexico City, [sm1942[nm). Mexican ~cond. and composer. S
tudied Mexico Nat. Cons. ~of Mus. (comp. with Ch;aaavez), later at Berkshire ~Mu
sic Center, USA. Cond. and mus. dir. Mexican ~Ballet Co. [sm1963[nm=n[sm4[nm, Gu
adalajara S.O. [sm1965[nm=n[sm6[nm, ~Orch. Phil. U.N.A.M., Mexico City from [sm1
966[nm; ~prin. cond. Phoenix S.O., Arizona, [sm1972[nm=n[sm8[nm, Dallas ~S.O. fr
om [sm1977[nm. Guest cond. of European orchs. ~Comps. incl. [sm3[nm syms., balle
t suite [cf2]Debora[cf1], str. qt., ~pf. sonata, [cf2]Trio to Vaughan Williams[c
f1], etc.[cm~Mata;akci;aac, Lovro von [fy75,1]([cf2]b[cf1] Su;aksak, [sm1899[nm;
 [cf2]d[cf1] Zagreb, [sm1985[nm). Yugoslav ~cond. Studied Vienna, where he was m
ember of ~[cf2]S;auangerknaben[cf1]. D;aaebut Cologne Opera [sm1919[nm; cond. ~o
pera Ljubljana [sm1924[nm=n[sm6[nm, Belgrade [sm1926[nm=n[sm31[nm, Za~~greb [sm1
932[nm=n[sm8[nm, returning to Belgrade as dir., [sm1938[nm. ~Chi
ef cond. Dresden Opera [sm1956[nm=n[sm8[nm and at Berlin ~jointly with Konwitsch
ny. Guest cond. Vienna ~and Milan [sm1958[nm, Chicago [sm1959[nm. Chief cond. ~F
rankfurt Opera [sm1961[nm; cond. Monte Carlo Opera ~until [sm1978[nm.[cm~Matassi
ns, Mattachins. [fy75,1]The dance also known ~as [fy45,1]*[fy75,2]Bouffons[cf1].
[cm~Matelotte [fy75,1](from Fr. [cf2]matelot[cf1], sailor). Dutch sailors' ~danc
e like a hornpipe, perf. in wooden shoes, the ~dancers' arms being interlaced be
hind their backs.[cm~Materna, Amalie [fy75,1]([cf2]b [cf1]St Georgen, [sm1844[nm
; [cf2]d [cf1]Vienna, ~[sm1918[nm). Austrian sop. D;aaebut Graz [sm1864[nm as so
u~~[chbrette, then sang in operetta in Vienna. Member, ~Vienna Court Opera [sm18
69[nm=n[sm97[nm. Chosen by Wagner ~as Br;auunnhilde for first Bayreuth [cf2]Ring
 [cf1][sm1876[nm and as ~Kundry in [cf2]Parsifal [cf1][sm1882[nm. Sang at Wagner
's London ~concerts, [sm1877[nm, and NY Met. [sm1885[nm. Joined W. ~Damrosch's G
er. opera co., NY [sm1894[nm. Taught after ~retirement, but last
 sang in public in [sm1913[nm at ~Wagner centenary concert in Vienna.[cm~Mather,
 Bruce [fy75,1]([cf2]b [cf1]Toronto, [sm1939[nm). Canadian ~composer. Studied To
ronto Royal Cons. [sm1953[nm=n[sm9[nm ~with [fy45,1]*[fy75,1]Beckwith, Paris [sm
1959[nm=n[sm62[nm with Messiaen ~and Milhaud. Teacher of comp. McGill Univ., ~Mo
ntreal, since [sm1966[nm. Works incl. [cf2]Cycle Rilke[cf1], ten. ~and guitar, [
cf2]Symphonic Ode [cf1]for orch., [cf2]Ombres [cf1]for ~orch., [cf2]Musique pour
 Rouen [cf1]for [sm12[nm str., sonata for [sm2[nm ~pf., etc.[xm[cm~[ol0][ep~[xp[
te~





[do19][j99]~~~~~~[sm153842[nm_MA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm4[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm253[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Mathias, Willi
am [fy75,1]([cf2]b [cf1]Whitland, Dyfed, [sm1934[nm). ~Welsh composer and pianis
t. Studied Univ. Coll. ~of Wales, Aberystwyth, RAM (comp. with Berke~~ley, pf. w
ith P. Katin). Bax Soc. prize [sm1968[nm. ~Lecturer in mus., Univ. Coll. of N. W
ales, Bangor, ~[sm1959[nm=n[sm68[nm, senior lecturer in comp. Edinburgh ~Univ. [
sm1968[nm=n[sm70[nm, prof. of mus. Univ. Coll. of N. ~Wales from [sm1970[nm. Art
. dir. N. Wales Mus. Fest. ~C.B.E. 1985. Prin. works:[xm[cm~[j2][smopera[nm: [cf
2]The Servants [cf1]([sm1980[nm).[ep~[smorch[nm: [cf2]Divertimento [cf1]str. ([s
m1958[nm); [cf2]Music for Strings ~[cf1]([sm1961[nm); [cf2]Serenade, Invocation
and Dance [cf1]([sm1962[nm); ~[cf2]Concerto for Orchestra [cf1]([sm1966[nm); Sym
s.: No. [sm1[nm ~([sm1966[nm), No. [sm2[nm ([cf2]Summer Music[cf
1]) ([sm1982[nm=n[sm3[nm); [cf2]Sinfonietta ~[cf1]([sm1967[nm); [cf2]Celtic Danc
es [cf1]([sm1972[nm); [cf2]Laudi [cf1]([sm1973[nm); [cf2]Vistas ~[cf1]([sm1975[n
m); [cf2]Requiescat [cf1]([sm1977[nm); [cf2]Dance Variations ~[cf1]([sm1977[nm).
[ep~[smconcertos[nm: Pf. No. [sm1[nm ([sm1955[nm), No. [sm2[nm ([sm1961[nm), No.
 [sm3[nm ~([sm1968[nm); harp ([sm1970[nm); hpd., str., perc. ([sm1971[nm); cl. ~
([sm1975[nm); hn. ([sm1984[nm); organ ([sm1984[nm).[ep~[smvoice[nm([sms[nm) [sma
nd orch. [nmor [smpiano[nm: [cf2]Ave Rex[cf1], mixed ch. ~and orch. ([sm1969[nm)
; [cf2]Elegy for a Prince[cf1], bar. and ~orch. ([sm1972[nm); [cf2]A Vision of T
ime and Eternity[cf1], cont., ~pf. ([sm1972[nm); [cf2]This Worldes Joie[cf1], so
loists, ch., orch. ~([sm1974[nm); [cf2]A May Magnificat[cf1], double ch. ([sm197
7[nm=n[sm8[nm); ~[cf2]Shakespeare Songs[cf1], ch., pf. ([sm1978[nm); [cf2]Lux Ae
terna[cf1], ~sop., mez., cont., ch., boys' ch., org., orch. ([sm1981[nm=n~[sm2[n
m); [cf2]Psalm [sm67[nm [cf1]([cf2]Let the People Praise Thee, O
 God[cf1]), ~ch., org. or orch. ([sm1981[nm); [cf2]Angelus[cf1], women's vv. ~([
sm1983[nm); [cf2]Let Us Now Praise Famous Men[cf1], ch., orch. ~([sm1984[nm).[ep
~[smchurch[nm: [cf2]Festival Te Deum [cf1]([sm1965[nm); [cf2]Magnificat and ~Nun
c Dimittis [cf1]([sm1970[nm); [cf2]Missa brevis[cf1], No. [sm1[nm ([sm1973[nm),
~No. [sm2[nm ([sm1984[nm); [cf2]Te Deum [cf1]([sm1981[nm); [cf2]Tantum Ergo[cf1]
, ch., ~org. ([sm1983[nm).[ep~[smchamber music[nm: Vn. sonata, No. [sm1[nm ([sm1
962[nm), No. [sm2[nm ~([sm1984[nm); wind quintet ([sm1963[nm); Pf. sonata, No. [
sm1[nm ~([sm1964[nm), No. [sm2[nm ([sm1979[nm); str. qt. No. [sm1[nm ([sm1968[nm
), No. [sm2[nm ~([sm1982[nm).[ep~[smorgan[nm: [cf2]Invocations[cf1]; [cf2]Partit
a[cf1]; [cf2]Variations on a Hymn-~Tune [cf1](`[cf2]Braint[cf1]'); conc. ([sm198
4[nm).[cm~[j1]Mathieson, Muir [fy75,1]([cf2]b[cf1] Stirling, [sm1911[nm; [cf2]d[
cf1] Oxford, ~[sm1975[nm). Scottish cond. and composer. Studied ~RCM. Occasional
 opera cond. at SW but promi~~nent as cond. of film mus. Worked
for Sir ~Alexander Korda, film producer, [sm1931[nm=n[sm9[nm. Mus. ~dir. Govt. f
ilm units [sm1940[nm=n[sm5[nm, then for J. Arthur ~Rank films. Responsible for p
ersuading Bliss, ~[PN451,0,0,R,I0]Vaughan Williams, Walton, Benjamin, Britten, ~
and Bennett to compose for films. O.B.E. [sm1957[nm.[cm~Mathilde di Shabran. [fy
75,2]Opera buffa [cf1]in [sm2[nm acts by ~Rossini to lib. by Ferretti, who rewro
te an earlier ~lib. [sm3[nm nos. comp. by Pacini. F.p. cond. by Paganini. ~Prod.
 Rome [sm1821[nm, Paris [sm1857[nm.[cm~Mathis der Maler [fy75,1](Matthias the Pa
inter). Opera ~in [sm7[nm scenes by [fy45,1]*[fy75,1]Hindemith to his own lib. b
ased ~on life of Matthias Gr;auunewald ([cf2]c[cf1].[sm1460[nm=n[sm1530[nm) and
~his altar-piece at Isenheim. Comp. [sm1933[nm-[sm5[nm. Prod. ~Z;auurich [sm1938
[nm, London (concert) [sm1939[nm, Edinburgh ~[sm1952[nm. Boston Univ. [sm1956[nm
. Nazis banned Ger. ~premi;agere in [sm1935[nm. Also Sym. for orch. in [sm3[nm ~
movements: ([sm1[nm) [cf2]Engelkonzert [cf1](Angels' Concert), ~
([sm2[nm) [cf2]Grablegung [cf1](Burial), ([sm3[nm) [cf2]Versuchung des heiligen
~Antonius [cf1](Temptation of St. Anthony). F.p. Berlin ~[sm1934[nm, cond. Furtw
;auangler.[cm~Mathis, Edith [fy75,1]([cf2]b [cf1]Lucerne, [sm1938[nm). Swiss sop
. ~Studied Lucerne Cons. D;aaebut Lucerne [sm1956[nm. Has ~sung at most leading
opera houses and fests. ~Cologne Opera [sm1959[nm=n[sm62[nm; Deutsche Oper, W. ~
Berlin, [sm1963[nm. Glyndebourne d;aaebut [sm1962[nm (Cheru~~bino in [cf2]Figaro
[cf1]), CG [sm1970[nm (Susanna in [cf2]Figaro[cf1]). ~Specialist in Mozart roles
 and songs.[cm~Matin, Le; Midi, Le; Soir, Le [fy75,1](Morning, ~Afternoon, Eveni
ng). Nickname for [sm3[nm Haydn ~syms., Nos. [sm6[nm=n[sm8[nm in Breitkopf edn.,
 Hob. I. [sm6[nm=n[sm8[nm. ~(respectively in D, C, and G), comp. [cf2]c.[cf1][sm
1761[nm. The ~last is also known as [cf2]Le Soir et la temp;afete [cf1](Evening
~and Storm).[cm~Matrimonio segreto, Il [fy75,1](The Secret Marriage). ~Opera buf
fa in [sm2[nm acts by Cimarosa to lib. by G. ~Bertati after the
comedy [cf2]The Clandestine Marriage ~[cf1]([sm1766[nm) by Colman and Garrick. P
rod. Vienna ~[sm1792[nm, London [sm1794[nm, NY [sm1834[nm.[cm~Matsudaira, Yorits
une [fy75,1]([cf2]b [cf1]Tokyo, [sm1907[nm). Japanese ~composer. Studied with [f
y45,1]*[fy75,1]Tcherepnin, winning ~Weingartner Prize [sm1936[nm. Works incl. [s
m2[nm-pf. conc. ~([sm1946[nm), [cf2]Ancient Japanese Dance [cf1]([sm1953[nm), [c
f2]Metamor~~phosis [cf1]on old Japanese melody ([sm1954[nm), [cf2]Circulating ~M
ovements[cf1], for [sm2[nm chamber orchs. ([sm1971[nm), [sm2[nm str. ~qts., etc.
[cm~Mattachins. [fy75,1]See [cf2]Bouffons[cf1].[cm~Mattei, Stanislao [fy75,1]([c
f2]b [cf1]Bologna, [sm1750[nm; [cf2]d [cf1]Bologna, ~[sm1825[nm). It. priest, co
mposer, and teacher. Pupil and ~ass. of Padre [fy45,1]*[fy75,1]Martini, succeedi
ng him as maestro ~di cappella at San Francesco, Bologna. Prof. of ~counterpoint
 at Liceo from [sm1804[nm. Pupils incl. ~Rossini and Donizetti. Wrote [sm8[nm ma
sses, a Passion, ~[sm28[nm syms., much church mus., and harmony
text-~book.[xm[cm~[j1]Matteis, Nicola [fy75,1](=+=+=+=+[cf2]fl. [cf1]late [sm17[
nmth cent.). It. violinist ~and composer who settled in London [sm1672[nm. Wrote
 ~and pubd. vn. solos [sm1685[nm=n[sm8[nm and guitar text-book. ~Also wrote [cf2
]Ode on St Cecilia's Day [cf1]and [sm2[nm books of ~songs.[cm~Matthay, Tobias [f
y75,1](Augustus) ([cf2]b[cf1] London, [sm1858[nm; [cf2]d ~[cf1]High Marley, Hasl
emere, [sm1945[nm). Eng. pianist, ~composer, and teacher. Studied RAM, joining ~
staff [sm1876[nm and becoming prof. of pf. [sm1880[nm=n[sm1925[nm. ~Gave up care
er as concert pianist to teach. Opened ~pf. sch. in London [sm1900[nm. Pupils in
cl. Myra Hess, ~Irene Scharrer, Harriet Cohen, and York Bowen. ~Evolved own meth
od of teaching, based on close ~observation of physical and psychological aspect
s ~of pf.-playing. Comp. much mus. and wrote ~several books on the pf.[cm~Matthe
son, Johann [fy75,1]([cf2]b [cf1]Hamburg, [sm1681[nm; [cf2]d [cf1]Ham~~burg, [sm
1764[nm). Ger. composer, singer, harpsichord~~ist, and theorist.
 Pupil of Hanff. Entered opera ~ch. [sm1690[nm, singing tenor roles [sm1697[nm=n
[sm1705[nm during ~which time he wrote [sm5[nm operas and met Handel, ~with whom
 he fought a duel after an argument ~during a perf. of Mattheson's opera [cf2]Cl
eopatra [cf1]in ~[sm1704[nm. Mus. dir. Hamburg Cath. [sm1715[nm=n[sm28[nm. Comp.
 ~church cantatas. Wrote [sm8[nm operas, [sm24[nm oratorios and ~cantatas, [sm12
[nm fl. sonatas, and much else. Also wrote ~important books, full of advanced vi
ews and ~much historical material. One of his operas was ~[cf2]Boris Goudenow [c
f1](Hamburg, [sm1710[nm).[cm~Matthews, Colin [fy75,1]([cf2]b [cf1]London, [sm194
6[nm). English ~composer. Studied Nottingham Univ., comp. ~with A. Whittall and
N. [fy45,1]*[fy75,1]Maw. Awards for comp. ~incl. BBC chamber mus. prize [sm1970[
nm, and Ian ~Whyte award [sm1975[nm. Taught at Sussex Univ. [sm1972[nm=n~[sm3[nm
 and [sm1976[nm=n[sm7[nm. Author of study of Mahler and ~authority on Berg. Coll
ab. with D. [fy45,1]*[fy75,1]Cooke on ~perf. version of Mahler's
 [sm10[nmth sym. Worked for ~Britten in composer's last years. Prin. works:[xm[c
m~[j2][smorch[nm: [fy75,2]Fourth Sonata [cf1]([sm1974[nm=n[sm5[nm); [cf2]Night M
usic [cf1]([sm1976[nm=n~[sm7[nm); [cf2]Little Suite [cf1]No. [sm1[nm ([sm1979[nm
), No. [sm2[nm ([sm1979[nm); [cf2]Sonata ~No. [sm5[nm [cf1]([cf2]Landscape[cf1])
 ([sm1979[nm=n[sm80[nm); vc. conc. ([sm1983[nm=n[sm4[nm); ~[cf2]Night's Mask[cf1
], chamber orch. ([sm1984[nm).[ep~[sminstr[nm: [cf2]Ceres[cf1], [sm3[nm fl., gui
tar, perc., [sm2[nm vc., db. ([sm1972[nm); ~[cf2]Specula[cf1], fl., keyed perc.,
 hp., va. ([sm1976[nm=n[sm7[nm); ~[cf2]Rainbow Studies[cf1], fl., ob., cl., bn.,
 pf. ([sm1977=n8[nm).[ep~[smvoice and instr[nm: [cf2]Un colloque sentimental[cf1
], v. and pf. ~([sm1971[nm=n[sm8[nm); [cf2][sm5[nm Sonnets: to Orpheus[cf1], ten
., hp. ([sm1975[nm=n~[sm6[nm); [cf2]Shadows in the Water[cf1], ten., pf. ([sm197
8[nm=n[sm9[nm).[ep~[smunacc. voices[nm: [cf2]Second-hand Flames[cf1], [sm5[nm vv
. ([sm1982[nm).[ep~[smchamber music[nm: [cf2]Partita[cf1], vn. (
[sm1975[nm); Str. Qt. No. [sm1[nm ~([sm1979[nm); [cf2]Little Suite[cf1], hp. ([s
m1979[nm); ob. qt. ([sm1981[nm); ~[cf2]Divertimento[cf1], double str. qt. ([sm19
82[nm).[ep~[smpiano[nm: [cf2][sm5[nm Studies [cf1]([sm1974[nm=n[sm6[nm); [cf2]Su
ite [cf1]([sm1977[nm=n[sm9[nm).[cm~[j1]Matthews, David [fy75,1]([cf2]b [cf1]Lond
on, [sm1943[nm). Eng com~~poser and writer, brother of Colin [fy45,1]*[fy75,1]Ma
tthews. ~Studied comp. with A. Milner. Worked with ~Britten and helped D. [fy45,
1]*[fy75,1]Cooke on perf. version of ~Mahler's [sm10[nmth Sym. Author of book on
 mus. of ~[fy45,1]*[fy75,1]Tippett ([sm1980[nm). Prin. works:[xm[cm~[j2][smorch[
nm: [cf2]Little Concerto[cf1], chamber orch. ([sm1971[nm); ~Syms.: No. [sm1[nm (
[sm1975[nm, rev. [sm1978[nm), No. [sm2[nm [cf1]([sm1976[nm=n[sm9[nm); ~Vn. Conc.
 ([sm1979[nm=n[sm82[nm); [cf2]White Nights[cf1], fantasy for ~vn. and small orch
. ([sm1980[nm); [cf2]Serenade[cf1], chamber ~orch. ([sm1982[nm).[ep~[sminstr[nm:
 [cf2]Introit[cf1], [sm2[nm tpt., str. ([sm1981[nm).[ep~[smvoice
[nm([sms[nm) [smand instr[nm: [cf2]Stars[cf1], ch. and orch. ([sm1970[nm); [cf2]
[sm3[nm ~Songs[cf1], sop. and orch. ([sm1971[nm).[ep~[PN452,0,0,L,I0][smchamber
music[nm: Str. Qts., No. [sm1[nm ([sm1970[nm, rev. [sm1980[nm), ~No. [sm2[nm ([s
m1976[nm, rev. [sm1980[nm), No. [sm3[nm ([sm1977[nm=n[sm80[nm), No. [sm4[nm ~([s
m1980[nm); [cf2]Fantasia[cf1], va. ([sm1970[nm); [cf2]Fantasia[cf1], vc. ([sm197
1[nm); ~[cf2]Songs and Dances of Mourning[cf1], vc. ([sm1976[nm).[cm~[j1]Matthew
s, Denis[nm [fy75,1]([cf2]b [cf1]Coventry, [sm1919[nm). Eng. ~pianist. Studied R
AM [sm1935[nm=n[sm40[nm, pf. with H. ~Craxton and comp. with Alwyn. D;aaebut, Lo
ndon ~(Prom) [sm1939[nm. Soloist with all leading orchs. Noted ~Mozartian and br
illiant lecturer. Gave f.p. of ~Rubbra's pf. conc. [sm1956[nm. Prof. of mus., Ne
wcastle ~upon Tyne Univ. [sm1972=n84[nm. C.B.E. [sm1975[nm.[cm~Mattinata [fy75,1
](It.). A Morning Song, or a piece with ~that assoc., i.e. the same as [cf2]auba
de [cf1](Fr.), [cf2]alborada ~[cf1](Sp.), and [cf2]Morgenlied [c
f1](Ger.).[cm~Matton, Roger [fy75,1]([cf2]b [cf1]Granby, Quebec, [sm1929[nm). Ca
na~~dian composer. Studied Montreal and in Paris ~with Boulanger. Teacher of com
p., Laval Univ., ~Quebec, since [sm1957[nm. Works incl. sax. conc., conc. ~for [
sm2[nm pf. and perc. and for [sm2[nm pf. and orch.[cm~Mauceri, John [fy75,1]([cf
2]b [cf1]NY, [sm1945[nm). Amer. conductor. ~Studied at Yale Univ. and Tanglewood
. Opera ~d;aaebut Wolf Trap Fest. [sm1973[nm. Mus. dir. Washington ~Opera [sm198
0=n2[nm. European opera d;aaebut Spoleto ~[sm1974[nm (Menotti's [cf2]Tamu-Tamu[c
f1]). NY City Opera ~d;aaebut [sm1977[nm (Boito's [cf2]Mefistofele[cf1]), NY Met
. [sm1976[nm ~([cf2]Fidelio[cf1]). Brit. opera d;aaebut [sm1974[nm (WNO [cf2]Don
 ~Carlos[cf1]), Royal Opera [sm1983[nm (Manchester, [cf2]Madama ~Butterfly[cf1])
. Brit. concert d;aaebut [sm1976[nm (SNO).[cm~Maultrommel [fy75,1](Ger.). [fy45,
1]*[fy75,1]Jew's harp.[cm~Maurel, Victor [fy75,1]([cf2]b [cf1]Marseilles, [sm184
8[nm; [cf2]d [cf1]NY, [sm1923[nm). ~Fr. bar. Studied Marseilles
and Paris Cons. D;aaebut ~Paris Op;aaera [sm1868[nm in [cf2]Les Huguenots[cf1].
Sang in St ~Petersburg, Cairo, and Venice before appearing ~at La Scala, Milan,
[sm1870[nm. London d;aaebut CG [sm1873[nm ~in [cf2]Un Ballo in Maschera[cf1], si
nging there until [sm1904[nm, ~particularly in Wagner. NY d;aaebut [sm1873[nm in
 [cf2]Aida[cf1]. ~Returned to Paris Op;aaera [sm1879[nm. Went into operatic ~man
agement [sm1883[nm. Sang in f.p. of Massenet's ~[cf2]H;aaerodiade [cf1][sm1881[n
m, created role of Iago in Verdi's ~[cf2]Otello[cf1], Milan [sm1887[nm, and titl
e-role in [cf2]Falstaff[cf1], Milan ~[sm1893[nm. Appeared as actor for short tim
e, then ~settled NY as teacher [sm1909[nm. Designed sets for ~Gounod's [cf2]Mire
ille[cf1], NY Met. [sm1919[nm. Wrote [sm4[nm books ~on singing.[cm~Maurerische T
rauermusik [fy75,1](Masonic Funeral ~Music). Work in C minor by Mozart (K[sm477[
nm) ~scored for [sm2[nm ob., cl., [sm3[nm basset hn., double bn., [sm2[nm ~hn.,
and str. Comp. in July [sm1785[nm for installation ~of a master
(a ritual which includes funerary ~imagery) and perf. again in Nov. [sm1785[nm a
t ~memorial service for two of Mozart's lodge ~brothers.[cm~Mauresco [fy75,1](Sp
.), [fy65][cf3]Mauresque [fy75,1](Fr.). Moorish (see ~also [cf2]Moresca[cf1]). E
lgar wrote a [cf2]S;aaer;aaenade mauresque.[cm~M;aaa Vlast [fy75,1](My Country).
 Cycle of [sm6[nm symphonic ~poems by Smetana, comp. [sm1874[nm=n[sm9[nm. They a
re: [sm1[nm. ~[cf2]Vy;aksehrad [cf1](The High Citadel), [sm2[nm. [cf2]Vltava [cf
1](River ~Moldau), [sm3[nm. [cf2];akS;aaarka [cf1](leader of Bohem. Amazons), [s
m4[nm. ~[cf2]Z ;akCeskych Luh;anu a H;aaaj;anu [cf1](From Bohemia's Meadows ~and
 Forests), [sm5[nm. [cf2]Tabor [cf1](stronghold of the Hussites), ~[sm6[nm. [cf2
]Bl;aaan;aaik [cf1](Valhalla of the Hussite heroes: a ~mountain in S. Bohemia).[
cm~Mavra. [fy75,1]Opera in [sm1[nm act by Stravinsky to lib. by ~Kochno after Pu
shkin's poem [cf2]The Little House at ~Kolomna. [cf1]Comp. [sm1921[nm=n[sm2[nm.
Prod. Paris [sm1922[nm, Lon~~don (broadcast) and Philadelphia [s
m1934[nm, Edin~~burgh [sm1956[nm, London (stage) [sm1978[nm.[cm~Maw, Nicholas [f
y75,1]([cf2]b [cf1]Grantham, [sm1935[nm). Eng. ~composer. Studied RAM [sm1955[nm
=n[sm8[nm and with N. ~Boulanger and Max Deutsch in Paris [sm1958[nm=n[sm9[nm. ~
One of the generation of `modern romantics' ~whose mus., while contemporary in s
ome of its ~procedures, remains attached to traditional forms ~and outlook. Prin
. works:[xm[cm~[j2][smoperas[nm: [fy75,2]One-Man Show [cf1]([sm2[nm acts, [sm196
4[nm, rev. [sm1966[nm); ~[cf2]The [fy45,1]*[fy75,2]Rising of the Moon [cf1]([sm1
967[nm=n[sm70[nm).[ep~[smorch[nm: [cf2]Sinfonia [cf1]([sm1966[nm); [cf2]Sonata[c
f1], str. and [sm2[nm hn. ([sm1967[nm); ~[cf2]Concert Music [cf1](derived from [
cf2]Rising of the Moon[cf1], ~[sm1972[nm); [cf2]Serenade [cf1]([sm1973[nm, rev.
[sm1977[nm); [cf2]Odyssey ~[cf1]([sm1973[nm=n[sm9[nm); [cf2]Summer Dances [cf1](
[sm1981[nm); [cf2]Toccata [cf1]([sm1982[nm); ~[cf2]Morning Music [cf1]([sm1982[n
m).[ep~[smvoice[nm([sms[nm) [smand orch[nm: [cf2]Nocturne[cf1],
mez. and chamber ~orch. ([sm1958[nm); [fy45,1]*[fy75,2]Scenes and Arias[cf1], so
p., mez., cont. ~([sm1961[nm=n[sm2[nm, rev. [sm1966[nm); [cf2]La Vita Nuova [cf1
](The New ~Life), sop., chamber ens. ([sm1979[nm).[ep~[smvoice[nm([sms[nm)[sm an
d piano [nmetc: [cf2]The Voice of Love[cf1], mez. ~([sm1966[nm); [cf2][sm6[nm In
teriors[cf1], ten. and guitar ([sm1966[nm).[ep~[smvocal[nm: [cf2][sm5[nm Epigram
s [cf1]([sm1960[nm); [cf2]Our Lady's Song [cf1]([sm1962[nm); ~[cf2]Corpus Christ
i Carol [cf1]and [cf2]Balulalow [cf1]([sm1964[nm); [cf2][sm5[nm Irish ~Songs [cf
1]([sm1972[nm); [cf2]Te Deum [cf1]([sm1975[nm); [cf2]Nonsense Songs ~[cf1]([sm19
76[nm); [cf2]The Ruin[cf1], with hn. obbl. ([sm1980[nm).[ep~[smchamber music[nm:
 Fl. sonatina ([sm1957[nm); [cf2]Chamber ~Music[cf1], ob., cl., hn., bn., pf. ([
sm1962[nm); Str. Qt. No. [sm1[nm ~([sm1965[nm), No. [sm2[nm ([sm1982[nm); [cf2]E
pitaph, Canon in mem. ~Stravinsky[cf1], fl., cl., harp ([sm1971[nm); [cf2]Life S
tudies [cf1]I-VIII, ~[sm15[nm str. ([sm1973=n6[nm); qt. for fl.
and str. ([sm1981[nm); [cf2]Night ~Thoughts[cf1], fl. ([sm1982[nm).[cm~Maxwell D
avies, Peter [fy75,1]([cf2]b [cf1]Salford, [sm1934[nm). Eng. ~composer, cond., a
nd teacher. Studied Manchester ~Univ. and RMCM (comp. with Richard Hall) at ~sam
e time as Birtwistle, Goehr, and Ogdon (all ~members of [fy45,1]*[fy75,1]Manches
ter School). In [sm1957[nm won ~It. Govt. scholarship and studied in Rome with ~
[fy45,1]*[fy75,1]Petrassi. His [cf2]Prolation [cf1]won Olivetti Prize [sm1958[nm
 ~and was f.p. ISCM fest., Rome [sm1959[nm. Mus. dir ~Cirencester Grammar Sch. [
sm1959[nm=n[sm62[nm. Studied ~Princeton Univ. [sm1962[nm=n[sm4[nm, with Sessions
. Resident ~composer Adelaide Univ. [sm1966[nm. In [sm1967[nm was co-~dir. of ch
amber ens., Pierrot Players, formed to ~perf. contemporary works; this was reorg
anized ~[sm1970[nm as The [fy45,1]*[fy75,1]Fires of London, for which many ~of M
axwell Davies's works have been written. ~Since [sm1970[nm he has lived intermit
tently in Orkney, ~where the landscape and solitude have had an
~undoubted effect on his music, notably in the ~chamber opera [cf2]The Martyrdom
 of St Magnus [cf1]and ~the large-scale sym. Mus. dir., Dartington Hall ~summer
sch. [sm1979=n84[nm. C.B.E. [sm1981[nm.[ep~[PN453,0,0,R,I0]^Maxwell Davies soon
became one of the most ~important of the Eng. so-called [cf2]avant-garde[cf1]. L
ike ~Britten, he has enjoyed writing for specific ~performers and his wide-rangi
ng imagination has ~devised striking sounds, freakish perhaps but ~always spring
ing from a genuine mus. impulse. ~Rhythms are sometimes complex, vocal lines ~an
gular. He developed [fy45,1]*[fy75,2]music theatre[cf1], staged ~pieces for a si
ngle performer, as in the remarkable ~[cf2]Eight Songs for a Mad King[cf1]. His
music is marked ~also by a strong dramatic impulse which found a ~full outlet in
 the opera [cf2]Taverner[cf1]. He has been ~inspired by the ability to combine a
nd contrast ~the music of medieval times with his own idiom, ~and has also made
much use of the [sm1920[nms fox-trot ~rhythm for nostalgic purpo
ses. Prin. works:[ep~[j2][smoperas[nm: [fy45,1]*[fy75,2]Taverner [cf1]([sm1962=n
70[nm); [cf2]The [fy45,1]*[fy75,2]Martyrdom of ~St Magnus [cf1]([sm1976[nm=n[sm7
[nm); [cf2]The Two Fiddlers [cf1](children's ~opera) ([sm1978[nm); [cf2]The [fy4
5,1]*[fy75,2]Lighthouse [cf1]([sm1979[nm).[ep~[smtheatre pieces[nm: [cf2]Notre D
ame des Fleurs[cf1], sop., mez., ~counterten., ens. ([sm1966[nm); [fy45,1]*[fy75
,2]Vesalii Icones [cf1]([cf2]Images ~from Vesalius[cf1]), dancer, vc., ens. ([sm
1969[nm); [cf2]Eight ~[fy45,1]*[fy75,2]Songs for a Mad King[cf1], male v., ens.
([sm1969[nm); ~[fy45,1]*[fy75,2]Blind Man's Buff[cf1], sop., mez., mime, and sta
ge ~band ([sm1972[nm); [fy45,1]*[fy75,2]Miss Donnithorne's Maggot[cf1], mez., ~e
ns. ([sm1974[nm); [cf2]Le [fy45,1]*[fy75,2]Jongleur de Notre Dame[cf1], mime, ~b
ar., ens., children's band ([sm1978[nm); [cf2]Cinderella [cf1](for ~children) ([
sm1980[nm); [cf2]The Medium[cf1], mez. ([sm1981[nm); [cf2]The ~Rainbow [cf1](for
 children) ([sm1981[nm); [cf2]The No. [sm11[nm Bus[cf1], ~mez.,
ten., bar., [sm2[nm dancers, mime, and ens. ~([sm1983[nm=n[sm4[nm).[ep~[smballet
[nm: [cf2]Salome [cf1]([sm1978[nm).[ep~[smorch[nm: [cf2]Prolation [cf1]([sm1958[
nm); [cf2][sm5[nm Klee Pictures [cf1]([sm1959[nm, rev. ~[sm1976[nm); [cf2][sm1[n
mst [fy45,1]*[fy75,2]Fantasia on an In Nomine of John ~[cf2]Taverner [cf1]([sm19
62[nm); [cf2][sm2[nmnd Fantasia [cf1]([sm1964[nm); [fy45,1]*[fy75,2]St Thomas ~W
ake [cf1]([sm1969[nm); [cf2]Worldes Blis [cf1]([sm1969[nm); Sym. No. [sm1[nm ~([
sm1973[nm=n[sm6[nm), No. [sm2[nm ([sm1980[nm), No. [sm3[nm ([sm1984[nm); [cf2]A
Mirror of Whitening ~Light [cf1]([sm1977[nm); [cf2]Dances from `Salome' [cf1]([s
m1979[nm).[ep~[smvoice[nm([sms[nm) [smand orch. or chamber ens[nm: [cf2][sm5[nm
Motets[cf1], ~SCTB soloists, double ch., instr. ([sm1959[nm); [fy45,1]*[fy75,2]O
 ~Magnum mysterium[cf1], cycle of carols, ch., instr., ~org. ([sm1960[nm); [cf2]
Te Lucis ante Terminum[cf1], ch. and ~chamber orch. ([sm1961[nm); [cf2]Frammenti
 di Leopardi[cf1], ~cantata for sop., cont., and instr. ([sm1962
[nm); [cf2]Veni ~Sancte Spiritus[cf1], sop., cont., and bass soloists, ch., ~orc
h. ([sm1963[nm); [cf1][cf2]Ecce Manus Tradentis[cf1], ch. and instr. ~([sm1965[n
m); [fy45,1]*[fy75,2]Revelation and Fall[cf1], sop. and [sm16[nm instr. ~([sm196
5[nm); [cf2]The Shepherd's Calendar[cf1], young vv. and ~instr. ([sm1965[nm); [f
y45,1]*[fy75,2]Missa super `L'Homme Arm;aae'[cf1], ~speaker and ens. ([sm1967=n8
[nm, rev. [sm1971[nm); [fy45,1]*[fy75,2]From ~Stone to Thorn[cf1], mez., chamber
 ens. ([sm1971[nm); ~[fy45,1]*[fy75,2]Hymn to St Magnus[cf1], sop., chamber ens.
 ([sm1972[nm); ~[cf2]Fool's Fanfare[cf1], sop., ens. ([sm1972[nm); [cf2]Tenebrae
 super ~Gesualdo[cf1], mez., guitar, chamber ens. ([sm1972[nm); ~[fy45,1]*[fy75,
2]Stone Litany[cf1], mez. and orch. ([sm1973[nm); [cf2]Fiddlers at ~the Wedding[
cf1], mez., chamber ens. ([sm1973[nm=n[sm4[nm); [cf2]My ~Lady Lothian's Lilt[cf1
], mez., ens. ([sm1975[nm); [cf2]Anakreon~~tika[cf1], Gr. songs for mez. and ins
tr. ([sm1976[nm); [cf2]The ~Blind Fiddler[cf1], sop. and instr.
([sm1976[nm); [cf2]Kirkwall ~Shopping Songs[cf1], children's vv., instr., pf. ([
sm1979[nm); ~[cf2]Black Pentecost[cf1], mez., bar., instr. ([sm1979[nm); [cf2]So
lstice ~of Light[cf1], ten., ch., org. ([sm1979[nm); [cf2]Into the Labyrinth[cf1
], ~ten, and orch. ([sm1983[nm).[ep~[smchamber ens[nm: [cf2]Alma Redemptoris Mat
er[cf1], [sm6[nm wind ~instr. ([sm1957[nm); [cf2]St Michael[cf1], sonata for [sm
17[nm wind instr. ~([sm1957[nm); [cf2]Ricercar and Doubles[cf1], [sm8[nm instr.
([sm1959[nm); ~[cf2]Sinfonia[cf1], chamber orch. ([sm1962[nm); [cf2][sm7[nm In N
omine ~[cf1]([sm1963[nm=n[sm5[nm); [cf2]Shakespeare Music [cf1]([sm1964[nm); [fy
45,1]*[fy75,2]Antechrist ~[cf1]([sm1967[nm); [cf2]Stedman Caters [cf1]([sm1968[n
m); [cf2]Eram quasi agnus[cf1], ~motet for instr. ([sm1969[nm); [cf2]Points and
Dances from ~`Taverner'[cf1] ([sm1970[nm); [cf2]Canon in Memory of Igor ~Stravin
sky[cf1] ([sm1972[nm); [cf2]Renaissance Scottish Dances ~[cf1]([sm1973[nm); [cf2
]Psalm [sm124[nm [cf1]([sm1974[nm); [cf2]Ave Maris Stella [cf1](
[sm1975[nm); ~[cf2]Runes from a Holy Island [cf1]([sm1977[nm); [cf2]Our Father ~
Whiche in Heaven Art [cf1]([sm1977[nm); [cf2]Dances from `The ~Two Fiddlers' [cf
1]([sm1978[nm); [cf2]A Welcome to Orkney [cf1]([sm1980[nm); ~[cf2]The Bairns of
Brugh [cf1]([sm1981[nm); [cf2]Image, Reflection, ~Shadow [cf1]([sm1982[nm); [cf2
]Sinfonia  Concertante [cf1]([sm1982[nm); [cf2]Sin~~fonietta Accademica [cf1]([s
m1983[nm).[ep~[smsolo voice[nm([sms[nm) [smand one instr[nm: [cf2]Shall I Die fo
r Mannis ~Sake?[cf1], sop., alto, pf. ([sm1965[nm); [cf2]Dark Angels[cf1], sop.,
 ~guitar ([sm1974[nm); [cf2]The Yellow Cake Review[cf1], [sm6[nm cabaret ~songs,
 v. and pf. ([sm1980[nm).[ep~[smvoices only[nm (SATB unless specified): [cf2][sm
4[nm Carols ~[cf1]([sm1962[nm); [cf2]The Lord's Prayer [cf1]([sm1962[nm); [cf2]A
ve, Plena ~Gracia[cf1], with opt. org. ([sm1964[nm); [cf2][sm5[nm Carols[cf1], w
omen's ~vv. ([sm1966[nm); [cf2]Ave Rex Angelorum[cf1], with opt. org. ~([sm1976[
nm); [cf2]Westerlings [cf1]([sm1977[nm); [cf2]Songs of Hoy [cf1]
([sm1981[nm); ~[cf2]Seven Songs Home [cf1]([sm1981[nm); [cf2]Lullabye for Lucy [
cf1]([sm1981[nm).[ep~[smchamber music[nm: [cf2]Sonata[cf1], tpt., pf. ([sm1955[n
m); cl. sonata ~([sm1956[nm=n[sm7[nm); Sextet ([sm1958[nm); Str. Qt. ([sm1961[nm
); [cf2]Solita[cf1], ~fl. with mus. box ([sm1966[nm); [cf2]Hymnos[cf1], cl., pf.
 ([sm1967[nm); ~[cf2]Stedman Doubles[cf1], cl., perc. ([sm1968[nm); [cf2]Bell To
wer ~[cf1]([cf2]Turris Campanarum Sonantium[cf1]), perc. ([sm1971[nm); ~[cf2]Ara
 Coeli: Lullaby for Ilian Rainbow[cf1], guitar ([sm1972[nm); ~[cf2]The Door of t
he Sun[cf1], va. ([sm1975[nm); [cf2]The Kestrel paced ~round the Sun[cf1], fl. (
[sm1975[nm); [cf2]The Seven Brightnesses[cf1], ~cl. in B;yh ([sm1975[nm); [cf2][
sm3[nm Studies for Percussion [cf1]([sm1975[nm); ~[cf2]Nocturne[cf1], alto fl. (
[sm1979[nm); [cf2]Little Quartets[cf1], str., No. ~[sm1[nm ([sm1980[nm), No. [sm
2[nm ([sm1981[nm); Sonatina, tpt. ([sm1981[nm); [cf2]Hill ~Runes[cf1], guitar ([
sm1981[nm); [cf2][sm2[nm Gesualdo Motets[cf1], brass ~quintet ([
sm1982[nm); [cf2]The Pole Star[cf1], brass quintet ~([sm1982[nm); [cf2][sm4[nm T
allis Voluntaries[cf1], brass quintet ([sm1982[nm); ~[cf2]Sea Eagle[cf1], hn. ([
sm1982[nm); [cf2]Birthday Music for John[cf1], fl., ~va., vc. ([sm1983[nm); sona
ta for vn. and cimbalom ~([sm1984[nm).[ep~[smpiano[nm: [cf2][sm5[nm Pieces [cf1]
([sm1956[nm); [cf2][sm5[nm Little Pieces [cf1]([sm1967[nm); [cf2]Sub ~tuam prote
ctionem [cf1]([sm1970[nm); [cf2]Ut Re Mi [cf1]([sm1971[nm); [cf2]Stevie's ~Ferry
 to Hoy [cf1]([sm1976[nm); [cf2][sm4[nm Lessons for [sm2[nm Keyboards ~[cf1]([sm
1978[nm); Sonata ([sm1980[nm=n[sm1[nm).[ep~[smorgan[nm: [cf2][sm3[nm Preludes [c
f1]([sm1976[nm);  Sonata ([sm1982[nm).[ep~[smbrass band[nm: [cf2]March: The Pole
 Star [cf1]([sm1982[nm); [cf2][sm4[nm Tallis ~Voluntaries [cf1]([sm1982[nm); [cf
2][sm2[nm Gesualdo Motets [cf1]([sm1982[nm).[ep~[smrealizations[nm: Purcell: [cf
2]Fantasia on a Ground and [sm2[nm ~Pavans[cf1], chamber ens. ([sm1968[nm), [cf2
]Fantasia on One ~Note[cf1], instr. ([sm1973[nm); Gabrieli: [cf2
]Canzona[cf1], wind and ~str. ([sm1969[nm); Buxtehude: [cf2]Cantata: Also hat Go
tt die ~Welt geliebet[cf1], sop., fl., vn., vc., hpd. ([sm1971[nm); J. S. ~Bach[
cf1]: [cf2]Prelude and Fugue [cf1]in C;yi minor, instr. ~([sm1972[nm), [cf2]Prel
ude and Fugue[cf1] in C;yi major, instr. ~([sm1974[nm); Dunstable: [cf2]Veni San
cte Spiritus[cf1], instr. ~([sm1972[nm); Kinloch: [cf2]Kinloch His Fantassie[cf1
], instr. ~([sm1976[nm); Anon.: Scottish [sm16[nmth cent.: [cf2][sm4[nm Instrume
ntal ~[PN454,0,0,L,I0]Motets[cf1], instr. ([sm1973[nm=n[sm7[nm), [cf2]Renaissanc
e Scottish ~Dances[cf1], instr. ([sm1973[nm).[ep~[smmisc[nm: [cf2]The Devils[cf1
], mus. for K. Russell film ([sm1971[nm); ~[cf2]The Boy Friend[cf1], mus for K.
Russell film and arrs. ~of Wilson's songs from musical ([sm1971[nm).[cm~[j1]May,
 Florence [fy75,1]([cf2]b[cf1] London, [sm1845[nm; [cf2]d[cf1] London, ~[sm1923[
nm). Eng. pianist. Pupil of Brahms, several of ~whose works she introduced to En
g. Author of ~his biography ([sm1905[nm, new edn. [sm1948[nm).[c
m~[j1]Maybrick, Michael [fy75,1]([cf2]b [cf1]Liverpool, [sm1844[nm; [cf2]d[cf1]
Bux~~ton, [sm1913[nm). Eng. bar. and composer. Studied ~Leipzig Cons. Under pseu
donym `Stephen Ad~~ams' wrote popular ballads, e.g. [cf2]Star of Bethlehem ~[cf1
]and [cf2]The Holy City[cf1].[cm~Mayer, [fy75,1](Sir) [fy65][cf3]Robert [fy75,1]
([cf2]b [cf1]Mannheim, [sm1879[nm; [cf2]d[cf1] London, [sm1985[nm). Ger.-~born b
usinessman and patron of mus. who settled ~in London [sm1896[nm and became Eng.
cit. ~Founder ([sm1923[nm), Robert Mayer children's concerts, ~founder and chair
man, Youth and Music. ~Knighted [sm1939[nm, C.H. [sm1973[nm, created K.C.V.O. on
 ~his [sm100[nmth birthday, [sm5[nm June [sm1979[nm. His first wife ~Dorothy ([c
f2]n;aaee [cf1]Moulton Piper) ([cf2]b [cf1]Crouch End, ~London, [sm1886[nm; [cf2
]d [cf1]Henham, Essex, [sm1974[nm) was one ~of the first sopranos to sing mus. b
y Schoenberg ~and Stravinsky in Britain before [sm1914[nm. She also ~wrote biogr
aphies of Marie-Antoinette and An~~gelika Kaufman and of Spohr (
London [sm1959[nm).[cm~Mayer-Lismann, Else [fy75,1](Mitia) ([cf2]b [cf1]Frankfur
t, ~[sm1914[nm). Ger. musician and lecturer. Studied Hochs ~Cons., Frankfurt. Se
ttled in Eng. Art dir. Mayer-~Lismann Opera Workshop. M.B.E. [sm1984[nm.[cm~Mayn
ard, John [fy75,1]([cf2]b [cf1]St Albans, [sm1577[nm; [cf2]d [cf1]after [sm1615[
nm). ~Eng. lutenist and song-writer. His [cf2]The XII Wonders ~of the World[cf1]
, settings of poems by Sir John Davies, ~was pubd. [sm1611[nm. These satirical s
ongs have ~accompaniments for lute and bass viol.[cm~May Night [fy75,1]([cf2]May
skaya Noch[cf1]). Opera in [sm3[nm acts by ~Rimsky-Korsakov to his own lib. base
d on story ~by Gogol. Prod. Moscow [sm1880[nm, London [sm1914[nm.[cm~Mayr, Richa
rd [fy75,1]([cf2]b [cf1]Henndorf, Austria, [sm1877[nm; [cf2]d[cf1] ~Vienna, [sm1
935[nm). Austrian bass-bar. Studied medi~~cine Vienna Univ., but became singer o
n Mahler's ~advice, studying at Vienna Cons. D;aaebut Bayreuth ~[sm1902[nm (Hage
n). Vienna Opera [sm1902[nm=n[sm35[nm, d;aaebut ~under Mahler in
 [cf2]Ernani[cf1]. Most famous role was ~Ochs in Strauss's [cf2]Der Rosenkavalie
r[cf1], written with ~him in mind though he did not create it, but ~sang at Vien
na premi;agere [sm1911[nm. CG d;aaebut [sm1924[nm ~(Ochs), NY Met. [sm1927[nm (P
ogner). Created role of ~Barak in Strauss's [cf2]Die Frau ohne Schatten[cf1], Vi
enna ~[sm1919[nm. Also renowned Gurnemanz in [cf2]Parsifal[cf1], ~Rocco in [cf2]
Fidelio[cf1], and Sarastro [cf1]([cf2]Zauberfl;auote[cf1]). ~[chFavourite singer
 at Salzburg Festivals.[cm~Mayr, [fy75,1](Johannes) [fy65][cf3]Simon [fy75,1]([c
f2]b [cf1]Mendorf, Bavaria, ~[sm1763[nm; [cf2]d [cf1]Bergamo, [sm1845[nm). Ger.-
born composer. ~Studied in Bergamo and Venice where his ~oratorios found favour.
 First opera [cf2]Saffo [cf1]([sm1794[nm) ~was successful and was followed by [s
m67[nm others ~until [sm1824[nm, his popularity in Italy being immense ~until ec
lipsed by Rossini's. Maestro di cappella, S. ~Maria Maggiore, Bergamo, [sm1802[n
m; prof. of coun~~terpoint at institute [sm1805[nm. Wrote only c
hurch ~mus. after [sm1816[nm. Taught Donizetti. His best ~operas are said to be
[cf2]La Lodo;auiska [cf1]([sm1795[nm, rev. [sm1799[nm), ~[cf2]L'Amor Coniugale [
cf1]([sm1805[nm, to same plot as Beethov~~en's [cf2]Fidelio [cf1]and f.p. [sm4[n
m months earlier), [cf2]Il ritorno di Ulisse [cf1]([sm1809[nm), and [cf2]Medea i
n Corinto [cf1]([sm1813[nm). ~Wrote life of Haydn. Also comp. instr. works, ~e.g
. [sm2[nm pf. concs.[cm~Mayuzumi, Toshiro[fy75,1] ([cf2]b [cf1]Yokohama, [sm1929
[nm). Japa~~nese composer. Studied Tokyo and Paris Cons. ~Organizer of modern mu
s. group [cf2]Ars Nova ~Japonica[cf1], and has worked in Tokyo Radio elec. ~stud
io. Works combine Japanese sources with ~[cf2]avant-garde [cf1]Western methods.
Wrote mus. for ~film [cf2]The Bible [cf1]([sm1965[nm). Other orch. comps. are [c
f2]Essay ~[cf1]for str., [cf2]Bacchanale[cf1], [cf2]Mandala [cf1]sym., [cf2]Micr
ocosmos[cf1], ~[cf2]Fireworks[cf1], [cf2]Samsara[cf1], [cf2]Texture[cf1], [cf2]T
onepleromas [sm55[nm[cf1], ~[cf2]Phonologie symphonique[cf1], [c
f2]Sph;aaenogrammes[cf1], [cf2]The Birth ~of Music[cf1], xylophone concertino, p
erc. conc.; ~operas: [cf2]The Temple of the Golden Pavilion[cf1], [cf2]Minoko[cf
1]; ~ballet: [cf2]Bugaku Olympics[cf1]; cantatas: [cf2]Nirvana [cf2]sym., ~[cf2]
Pratidesana[cf1]; elec. tape: [cf2]Aoi-no-ue [cf1](Princess Holly~~hock), [cf2]C
ampanology[cf1], [cf2]Olympic Campanology[cf1], [cf2][sm3[nm ~Hymns[cf1], [cf2]V
ariations sur [sm7[nm.[xm[cm~[ol0][ep~[xp[te~







[do19][j99]~~~~~~[sm153842[nm_MA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm4[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm293[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Mazas, Jacques F;aae
r;aaeol [fy75,1]([cf2]b [cf1]?Lavour, [sm1782[nm; [cf2]d ~[cf1]B;aaeziers, [sm18
49[nm). Fr. violinist and composer. Studied ~Paris Cons. under Baillot. Tours of
 Europe [sm1811[nm=n~[sm29[nm. Dir., mus. sch., Cambrai [sm1837[nm=n[sm41[nm. Wr
ote [sm2[nm ~operas, qts., trios, and many vn. solos, also ~methods for vn. and
va.[cm~Mazeppa. [fy75,1]([sm1[nm) Pf. pieces by [fy45,1]*[fy75,1]Liszt, [sm1[nms
t [sm1840[nm, [sm2[nmnd ~No. [sm4[nm of [cf2];aaEtudes d'ex;aaecution transcenda
nte [cf1]([sm1851[nm); ~and symphonic poem for orch. ([sm1851[nm) based on ~Hugo
's story (also for [sm2[nm pf. [sm1855[nm, and pf. [sm4[nm hands ~[sm1874[nm).[e
p~^([sm2[nm) Opera in [sm3[nm acts by Tchaikovsky to lib. by ~composer and Buren
in after Pushkin. Comp. ~[sm1881[nm=n[sm3[nm. Prod. Moscow [sm18
84[nm, Liverpool [sm1888[nm, ~Boston [sm1922[nm. Mazeppa ([sm1644[nm=n[sm1709[nm
) was Russ. ~historical character.[cm~Mazurka. [fy75,1]A traditional Polish coun
try dance ~(orig. sung as well as danced). Originated in ~Mazovia, near Warsaw,
inhabitants being Mazurs. ~It spread in the early [sm18[nmth cent. to Ger. and t
hen ~to Paris, and early in the [sm19[nmth to Brit. and the ~USA. It is in tripl
e time with a certain accentuation ~of the [sm2[nmnd beat of each measure and an
 ending of ~the phrases on that beat; dotted notes are a ~feature. It is not a f
ast dance, and a certain ~aristocratic pride of bearing, sometimes com~~bined wi
th a touch of abandon, helps to differen~~tiate it from the waltz. Its place in
concert mus. ~was est. by [fy45,1]*[fy75,1]Chopin, who wrote [cf2]c[cf1].[sm60[n
m for pf. These ~are in a greatly refined style and the tempo and ~rhythm are so
metimes changed from those that ~are traditional.[ep~^The [cf2]Polka-Mazurka [cf
1]differs from the Polka in ~being in triple time and from the M
azurka in ~having an accent on the [sm3[nmrd beat of the measure.[cm~[PN455,0,0,
R,I0]Mazurok, Yury [fy75,1]([cf2]b [cf1]Krasnik, Poland, [sm1931[nm). Polish ~ba
ritone. Studied with Sveshikovaya at Moscow ~Cons. and privately until [sm1963[n
m. Joined Bolshoy ~Th., [sm1963[nm. First prize Montreal int. singing comp. ~[sm
1967[nm. CG d;aaebut [sm1975[nm (Renato in [cf2]Un Ballo in ~Maschera[cf1]). Ame
r. d;aaebut S. Francisco [sm1977[nm (Ren~~ato), Vienna [sm1979[nm (Escamillo in
[cf2]Carmen[cf1]). Notable ~singer of role of Onegin.[cm~Mazzocchi, Domenico [fy
75,1]([cf2]b [cf1]Civita  Castellana, ~[sm1592[nm; [cf2]d [cf1]Rome, [sm1665[nm)
. It. composer and lawyer. ~Wrote opera ([sm1626[nm), oratorio [cf2]Querimonia d
i S. ~Maria Maddalena [cf1](Plaint of St Mary Magdalene, ~[sm1631[nm), and pubd.
 book of madrigals ([sm1640[nm) in ~which signs ;lt and ;mt for crescendo and ~d
iminuendo, [cf2]f [cf1]for [cf2]forte[cf1], [cf2]p [cf1]for [cf2]piano[cf1], and
 [cf2]tr [cf1]for trill ~first appear.[cm~Mazzocchi, Virgilio [f
y75,1]([cf2]b [cf1]Civita Castellana, [sm1597[nm; ~[cf2]d [cf1]Civita Castellana
, [sm1646[nm). It. composer, brother ~of Domenico [fy45,1]*[fy75,1]Mazzocchi. Ma
estro di cappella, St ~John Lateran, Rome, [sm1628[nm=n[sm9[nm, when he moved to
 ~similar post at St Peter's. With [fy45,1]*[fy75,1]Marazzoli, wrote ~what is sa
id to be first comic opera, [cf2]Chi soffre, speri ~[cf1](Rome [sm1639[nm, rev.
of [cf2]Il falcone[cf1], [sm1637[nm). Also wrote ~vocal mus.[cm~M.D. [fy75,1];eq
 [cf2]Main Droite [cf1](Fr.) [cf1]or [cf2]Mano Destra [cf1](It.), i.e. ~Right Ha
nd. Sometimes, also, used as abbreviation ~of Musical Director.[cm~Me. [fy75,1]S
ee [cf2]Mi[cf1].[cm~Meale, Richard [fy75,1](Graham) ([cf2]b [cf1]Sydney, N.S.W.,
 ~[sm1932[nm). Australian composer. Studied N.S.W. State ~Cons. (pf., hp., and c
l.=mhe never formally studied ~comp.). From [sm1955[nm gave recitals of contempo
rary ~pf. mus. and in [sm1961[nm visited Spain, developing ~interest in work of
the poet Lorca. Up to this ~point his comps. had been of the Bar
t;aaok-~Hindemith genre; thereafter he followed Mes~~siaen and Boulez, with a fu
rther influence from ~Indonesian mus. Programme planner for A.B.C. ~[sm1962[nm=n
[sm8[nm. Senior Lect., Mus. Dept., Adelaide Univ. ~from [sm1969[nm. M.B.E. [sm19
71[nm. Prin. works:[xm[cm~[j2][smorch[nm: Fl. Conc. ([sm1959[nm); [cf2]Homage to
 Garcia Lorca[cf1], [sm2[nm ~str. orch. ([sm1964[nm); [cf2]Images [cf1]([cf2]Nag
auta[cf1]) ([sm1966[nm); ~[cf2]Nocturnes[cf1], vibraphone, hp., celesta, orch. (
[sm1967[nm); ~[cf2]Very High Kings [cf1]([sm1968[nm); [cf2]Clouds Now and Then ~
[cf1]([sm1969[nm); [cf2]Soon It Will Die [cf1]([sm1969[nm); [cf2]Evocations[cf1]
, ob., ~chamber orch., vn. obbl. ([sm1973[nm); [cf2]Viridian[cf1], str. ~([sm197
9[nm).[ep~[sminstr[nm: [cf2]Divertimento[cf1], vn., pf., vc. ([sm1959[nm); fl. s
onata ~([sm1960[nm); [cf2]Las Alboradas[cf1], fl., hn., vn., pf. ([sm1963[nm); ~
[cf2]Intersections[cf1], fl., va., vib., pf. ([sm1965[nm); [cf2]Cyphers[cf1], fl
., ~va., vib., pf. ([sm1965[nm); wind quintet ([sm1970[nm); ~[cf
2]Interiors/Exteriors[cf1], [sm2[nm pf., [sm3[nm perc. ([sm1970[nm); [cf2]Incred
ible ~Floridas[cf1], fl., cl., vn., vc., pf., perc. ([sm1971[nm); [cf2]Plateau[c
f1], ~wind quintet ([sm1971[nm); [cf2]Fanfare[cf1], brass ([sm1978[nm); Str. ~Qt
. No. [sm1[nm ([sm1974[nm), No. [sm2[nm ([sm1980[nm).[ep~[smpiano[nm: [cf2]Sonat
ina patetica [cf1]([sm1957[nm); [cf2]Orenda [cf1]([sm1959[nm); ~[cf2]Coruscation
s [cf1]([sm1971[nm).[cm~[j1]Measure. [fy75,1]([sm1[nm) Old Eng. term, now adopte
d in USA ~and reintroduced into Britain in [sm19[nmth cent. by ~John [fy45,1]*[f
y75,1]Curwen, indicating time-content of nota~~tional space between one bar-line
 and the next, ~e.g. `[sm2[nm beats in the bar'.[ep~^([sm2[nm) The bar-line itse
lf. Note that the Eng. `bar' is ~the same as Amer. `measure'; Amer. `bar' means
~Eng. `bar-line'.[ep~^([sm3[nm) A stately Eng. dance of [sm15[nmth and [sm16[nmt
h cents. ~(`trod a measure' is a frequent phrase in Elizabe~~than drama).[cm~Mec
k, Nadezhda von [fy75,1]([cf2]b [cf1]nr. Smolensk, [sm1831[nm; [
cf2]d ~[cf1]Wiesbaden, [sm1894[nm). Russ. patroness of Tchaikov~~sky, whom she n
ever met. Gave him annual grant ~of [sm6[nm,[sm000[nm roubles to devote himself
to comp. Their ~correspondence was pubd. in USSR [sm1934[nm=n[sm6[nm. [sm4[nmth
~Sym. ded. to her. In [sm1880[nm and [sm1881[nm Debussy ~worked for her as a pia
nist.[cm~M;aaed;aaee [fy75,1]([cf2]Medea[cf1]). Opera in [sm3[nm acts by Cherubi
ni to ~lib. in Fr. by F. B. Hoffmann based on Euripides. ~Prod. Paris [sm1797[nm
, Berlin [sm1800[nm, London [sm1865[nm. ~Spoken dialogue of orig. set to mus. by
 F. Lachner ~[sm1854[nm and by Arditi for London prod. [sm1865[nm. F.p. ~in Engl
and of orig. score Durham [sm1967[nm, Univ. of ~Hartford, Conn., [sm1970[nm. Ope
ras on same subject ~by several composers, incl. Kusser ([sm1692[nm), M. A. ~Cha
rpentier ([sm1693[nm), Myslive;akcek ([sm1764[nm), J. A. ~Benda ([sm1775[nm), Ma
yr ([sm1813[nm), and Milhaud ([sm1938[nm). ~Also ballet by S. Barber ([sm1946[nm
).[xm[cm~[j1]Medesimo [fy75,1](It.). Same, e.g. [cf2]Medesimo mo
vimento[cf1], ~The same speed.[cm~Medial Cadence. [fy75,1]One in which leading c
hord is ~inverted instead of being in root position.[cm~Mediant. [fy75,1]The [sm
3[nmrd degree of the major or minor ~scale. So called because it is midway betwe
en the ~tonic and the dominant.[cm~Mediation. [fy75,1]Inflexion in [fy45,1]*[fy7
5,1]plainchant occurring at ~the end of first section of a psalm-tune.[cm~Medice
an Edition. [fy75,1]See [cf2]Plainsong[cf1].[cm~Medium, The. [fy75,1]Opera in [s
m2[nm acts by [fy45,1]*[fy75,1]Menotti to ~his own lib. Comp. [sm1945[nm. Prod.
Columbia Univ. ~[sm1946[nm, London [sm1948[nm.[cm~Medley. [fy75,1]Similar to [fy
45,1]*[fy75,1]pot-pourri: a collection of ~parts or passages of well-known songs
 or pieces ~arranged so that the end of one merges into the ~start of the next.[
cm~Medtner, Nicolas [fy75,1](Nikolay Karlovich) [cf1]([cf2]b [cf1]Mos~~cow, [sm1
880[nm; [cf2]d [cf1]London, [sm1951[nm). Russ. composer and ~pianist. Studied Mo
scow Cons. (pf. with Safonov, ~comp. with Arensky and Taneyev).
Prof. at ~Moscow Cons. [sm1909[nm=n[sm10[nm and [sm1914[nm=n[sm21[nm. Left Russi
a ~[sm1921[nm, living in Ger. and France and touring as ~virtuoso pianist. Amer.
 d;aaebut [sm1924[nm with Phila~~delphia Orch. Wrote much pf. mus.; was ~influen
ced by Ger. romanticism. Wrote book, ~[sm1935[nm, opposing modern innovations an
d affirm~~ing faith in tonality. Wrote [sm3[nm pf. concs., several ~pf. sonatas,
 many genre pieces for pf., e.g. series ~called [cf2] Fairy-Tales[cf1], [cf1]and
 many songs. Settled in ~Eng. [sm1935[nm. Patronized by Maharajah of Mysore.[cm~
[PN456,0,0,L,I0]Meet My Folks! [fy75,1]`Theme and relations', Op. [sm10[nm, ~by
[fy45,1]*[fy75,1]Crosse, comp. [sm1964[nm, being settings of poems ~by Ted Hughe
s for speaker, children's ch., perc. ~band, ob., cl., bn., hn., tpt., vc., pf.,
and ~percussionists. F.p. Aldeburgh Fest. [sm1964[nm.[cm~Mefistofele [fy75,1](Me
phistopheles). Opera in prol., [sm4[nm ~acts, and epilogue by [fy45,1]*[fy75,1]B
oito to his own lib., based ~on both parts of Goethe's [cf2]Faus
t[cf1]. Prod. Milan [sm1868[nm. ~Rev. version prod. Bologna [sm1875[nm, London [
sm1880[nm.[cm~[j1]Megaphone. [fy75,1]A large speaking tpt. Also a device ~introd
uced by Edison for listening at a distance ~of some miles without the use of wir
es or ~electricity=mpractically an improved ear-tpt. on a ~large scale.[cm~Mehta
, Zubin [fy75,1]([cf2]b [cf1]Bombay, [sm1936[nm). Indian cond., ~violinist, and
pianist. Son of Mehli Mehta, founder ~of Bombay S.O. and at one time violinist i
n Hall;aae ~Orch. Studied Vienna State Acad. of Mus. [sm1954[nm=n~[sm57[nm. Won
first prize, Liverpool int. conductors' ~competition [sm1958[nm, this leading to
 guest engage~~ments throughout world. Amer. d;aaebut [sm1970[nm ~(Philadelphia
Orch.). Mus. dir. Montreal S.O. ~[sm1961[nm=n[sm7[nm; mus. dir. Los Angeles P.O.
 [sm1962[nm=n[sm77[nm; ~mus. dir. New York P.O. from [sm1978[nm; mus. dir. ~Isra
el P.O. from [sm1977[nm. Salzburg Fest. d;aaebut [sm1962[nm, ~NY Met. [sm1965[nm
, CG [sm1977[nm. Frequent guest cond. ~Vienna P.O.[cm~M;aaehul,
;aaEtienne Nicolas [fy75,1]([cf2]b [cf1]Givet, nr. Mezi;ageres, ~[sm1763[nm; [cf
2]d [cf1]Paris, [sm1817[nm). Fr. composer. Organist at ~convent at age [sm10[nm.
 Taken to Paris [sm1778[nm by rich ~amateur who recognized his talent, studying
~under Edelmann. Befriended by [fy45,1]*[fy75,1]Gluck who ~advised him to compos
e for the stage. His ~[cf2]Euphrosine et Coradin [cf1]([sm1790[nm) won him fame
and ~imparted new dramatic force to op;aaera comique. ~[sm30[nm other stage-work
s followed in next [sm17[nm years, ~most famous being [cf2]Joseph [cf1]([sm1807[
nm) in which his ~strong dramatic sense and lyrical vein are found ~at their bes
t. Taught at Paris Cons. [sm1793[nm=n[sm1815[nm. ~Fortunes declined after fall o
f his patron Napo~~leon. Also wrote ballets, cantatas, songs, a Mass, ~and syms.
 His operas incl.: [cf2]Euphrosine et Coradin ~[cf1]([sm1790[nm), [cf2]Stratonic
e [cf1]([sm1792[nm), [cf2]Le Jeune Sage et le vieux ~fou [cf1]([sm1793[nm), [cf2
]Le Jeune Henri [cf1]([sm1797[nm), [cf2]Ariodant ~[cf1]([sm1799[
nm), [cf2]Les Deux Aveugles de Tol;agede [cf1]([sm1806[nm), [cf2]Uthal ~[cf1]([s
m1806[nm), [cf2]Joseph [cf1]([sm1807[nm), [cf2]Le Prince troubadour [cf1]([sm181
3[nm), ~[cf2]L'Oriflamme [cf1]([sm1814[nm).[cm~Meistersinger [fy75,1](Mastersing
ers). Middle-class Ger. ~literary and mus. movement of [sm15[nmth and [sm16[nmth
 ~cents. cultivated by craftsmen's guilds and repre~~senting continuation of ari
stocratic [fy45,1]*[fy75,1]Minnesinger ~of preceding [sm2[nm centuries. Movement
 declined in ~[sm17[nmth cent., the Ulm school being disbanded in ~[sm1839[nm an
d its last survivor dying in [sm1876[nm. The ~conduct of a mastersingers' guild
was very much ~as depicted by Wagner in his opera [cf2]Die [fy45,1]*[fy75,2]Meis
ter~~singer von N;auurnberg[cf1]. Rigid and pedantic rules ~governed the weekly
meetings (after church on ~Sunday); competitions were held and prizes ~awarded;
members were promoted into various ~classes: [cf2]Sch;auuler  [cf1](apprentice),
 [cf2]Schulfreund [cf1](friend), ~[cf2]S;auanger [cf1](singer),
[cf2]Dichter [cf1](poet), [cf2]Meister [cf1](master). ~Title [cf2]Dichter [cf1]w
as awarded for new poem ([cf2]Lied[cf1], ~[cf2]Gesang[cf1]), [cf2]Meister [cf1]f
or new melody[cf1] ([cf2]Ton[cf1], [cf2]Weise[cf1]). ~Several of the characters
in Wagner's opera were ~historical personages, e.g. Konrad Nachtigall and ~espec
ially Hans Sachs ([sm1494[nm=n[sm1576[nm). Some attrac~~tive songs by Sachs surv
ive, but generally ~Meistersinger melodies are dull and suffer from a ~surfeit o
f coloratura.[cm~Meistersinger von N;auurnberg, Die [fy75,1](The Master~~singers
 of Nuremberg). Opera in [sm3[nm acts by Wagner ~to his own lib. based on Wagens
eil and other ~sources. Gives accurate and heartwarming picture ~of medieval gui
ld of [fy45,1]*[fy75,1]Meistersinger, several of ~whom, notably Hans Sachs, actu
ally lived. Comp. ~[sm1862[nm=n[sm7[nm. Prod. Munich [sm1868[nm, London [sm1882[
nm, NY ~Met. [sm1886[nm.[cm~Melartin, Erkki Gustav [fy75,1]([cf2]b [cf1]K;auakis
almi, [sm1875[nm; [cf2]d[cf1] ~Pukinm;auaki, [sm1937[nm). Finn.
composer and pianist. ~Studied Helsinki Cons., Vienna, and elsewhere. ~Prof. at
Helsinki Cons., of which he was dir. ~[sm1911[nm=n[sm36[nm. Wrote opera [cf2]Ain
o[cf1], [sm8[nm syms., symphonic ~poems, ballet, vn. conc., [sm4[nm str. qts., [
sm400[nm pf. pieces, ~over [sm300[nm songs.[cm~Melba, [fy75,1](Dame) [fy65][cf3]
Nellie [fy75,1](Mrs Helen Porter[fj~Armstrong ([cf2]n;aaee [cf1]Mitchell)) ([cf2
]b[cf1] Richmond, nr.[fj~Melbourne, [sm1861[nm; [cf2]d [cf1]Sydney, N.S.W., [sm1
931[nm).[fj~Australian sop. As child, studied pf., organ, and ~theory, but sang
in churches and at local concerts. ~Studied Paris with M. [fy45,1]*[fy75,1]March
esi. D;aaebut in opera[fj~in Brussels [sm1887[nm as Gilda in [cf2]Rigoletto[cf1]
, CG [sm1888[nm[fj~as Lucia, Paris [sm1889[nm as Oph;aaelie. Her London[fjtriump
hs date from her Juliette (Gounod) in [sm1889[nm ~and she appeared regularly at
CG until [sm1914[nm ~(except [sm1909[nm) and then in [sm1919[nm, [sm1922[nm=n[sm
4[nm (BNOC), ~and [sm1926[nm. D;aaebut Scala, Milan, [sm1893[nm
(Lucia), and ~NY Met. same year. Her Met. appearances were ~[sm1893[nm=n[sm7[nm,
 [sm1898[nm=n[sm9[nm, [sm1900[nm=n[sm1[nm, [sm1904[nm=n[sm5[nm, [sm1910[nm. In [
sm1897[nm=n~[sm8[nm toured USA with own co. and was member of ~Manhattan Opera C
o. for several seasons from ~[sm1907[nm. Also sang with Chicago Opera. Final ~op
eratic appearance CG [sm1926[nm as Mimi (recording ~exists). V. notable for puri
ty, freshness, and ~brilliance of ornamentation in coloratura roles. ~Finest par
ts were Gilda, Mimi, Violetta, Desde~~mona, Nedda, and Margu;aaerite. In [sm1896
[nm in NY ~inadvisedly sang the [cf2]Siegfried [cf1]Br;auunnhilde. At CG ~her su
premacy enabled her to dictate casting of ~operas in which she sang. Her stage n
ame was ~adopted in tribute to Melbourne. The ice-cream ~sweet [cf2]p;afeche Mel
ba [cf1]and Melba toast are named after ~her. D.B.E. [sm1918[nm, G.B.E. [sm1929[
nm.[cm~Melchior, Lauritz [fy75,1]([cf2]b [cf1]Copenhagen, [sm1890[nm; [cf2]d[cf1
] Santa ~Monica, Calif., [sm1973[nm). Danish-born ten. (Amer. ~c
itizen [sm1947[nm). Studied Copenhagen, making ~d;aaebut there as bar. in [cf2]P
agliacci[cf1], [sm1913[nm. D;aaebut as ~ten. (Tannh;auauser) [sm1918[nm, at sugg
estion of Mme. ~Charles [fy45,1]*[fy75,1]Cahier. Studied [sm1921[nm=n[sm3[nm wit
h Biegel in ~London, Grenzebach in Berlin, Anna [fy45,1]*[fy75,1]Milden~~burg in
 Munich, and Karl Kittel in Bayreuth. ~[PN457,0,0,R,I0]D;aaebut London CG as Sie
gmund in [cf2]Die Walk;auure[cf1] ~opposite F. [fy45,1]*[fy75,1]Leider, then [sm
1926[nm=n[sm9[nm. Studied Wagner ~roles at Bayreuth, singing there [sm1924[nm=n[
sm31[nm. Amer. ~d;aaebut NY Met. [sm1926[nm, continuing there until ~[sm1950[nm.
 One of most famous Wagnerian [cf2]Heldenten~~ors[cf1], singing Tristan over [sm
200[nm times and appearing ~often as Siegfried, Lohengrin, Siegmund, and ~Parsif
al.[cm~Melisma [fy75,1](Gr. `song'; plural [cf2]melismata[cf1]). A group ~of not
es sung to a single syllable, as opposed to ~coloratura. Used in plainsong and i
n other song. ~[cf2]Melismata [cf1]is title of vocal pieces (mad
rigals, etc.) ~pubd. [sm1611[nm by Thomas [fy45,1]*[fy75,1]Ravenscroft.[cm~Melku
s, Eduard [fy75,1]([cf2]b [cf1]Baden, Austria, [sm1928[nm). Aus~~trian violinist
. Studied Vienna Univ. and Acad. of ~Mus. D;aaebut Vienna [sm1944[nm. Teaches vn
. and va., ~Vienna Hochschule f;auur Musik. Founder, Vienna ~Capella Academica,
specializing in [sm18[nmth-cent. ~works on authentic instr.[cm~Mellers, Wilfrid
[fy75,1](Howard) ([cf2]b [cf1]Leamington, [sm1914[nm). ~Eng. composer, critic, a
nd teacher. Studied ~Cambridge and Birmingham Univs., and pri~~vately with [fy45
,1]*[fy75,1]Wellesz and [fy45,1]*[fy75,1]Rubbra. Lecturer at ~Cambridge [sm1945[
nm=n[sm8[nm, Birmingham Univ. [sm1948[nm=n~[sm60[nm, Pittsburgh Univ. [sm1960[nm
=n[sm3[nm. Prof. of mus., York ~Univ., [sm1964[nm=n[sm81[nm. Interested in bridg
ing gap ~between symphonic mus., jazz, pop, and folk ~mus. Has written books on
Couperin and Amer. ~mus. Works incl. cantatas, song-cycles, chamber ~mus., and s
ongs. O.B.E. [sm1982[nm.[cm~Mellophone. [fy75,1]Brass instr. of
semi-conical bore, ~coiled in circular shape and played with a cup ~mouthpiece.
Has [sm3[nm piston valves. Sometimes used ~as substitute for French hn., being e
asier to play ~but not so rich in tone.[cm~Melodia. [fy75,1]Org. stop of [fy45,1
]*[fy75,2]Hohlfl;auote[cf1] type popular in ~USA, of [sm8[nm' length and pitch.[
cm~Melodic Minor Scale. [fy75,1]See [cf2]Scale.[cm~M;aaelodie [fy75,1](melody).
Term applied to Fr. solo song ~with acc., counterpart of the Ger. [fy45,1]*[fy75
,2]Lied[cf1].[cm~Melodien [fy75,1](Melodies). Work for orch. by [fy45,1]*[fy75,1
]Ligeti, ~comp. [sm1971[nm, f.p. Nuremberg [sm1971[nm.[cm~Melodrama. [fy75,1]Dra
matic comp., or part of play or ~opera, in which words are recited to a mus. ~co
mmentary. Popularized late in [sm18[nmth cent. ~Where one or two actors are invo
lved, `mono~~[chdrama' or `duodrama' is term used. J. A. [fy45,1]*[fy75,1]Benda'
s ~[cf2]Ariadne auf Naxos [cf1]([sm1774[nm) and [cf2]Medea [cf1]([sm1775[nm) are
 ~early examples. Mozart used melodramatic ~mono[chlogues in [cf
2]Zaide [cf1]([sm1780[nm). [fy45,1]*[fy75,1]Fibich wrote a ~trilogy [cf2]Hippoda
mia [cf1]([sm1888=n91[nm). Famous operatic ~examples occur in the dungeon scene
of Beethov~~en's [cf2]Fidelio[cf1], the Wolf=+=+=+=+'s Glen in Weber's [cf2]Der
~Freisch;auutz[cf1], Gertrude's aria in Marschner's [cf2]Hans ~Heiling[cf1], and
 the Prologue to Strauss's [cf2]Ariadne auf ~Naxos. [cf1]Other examples are R.|S
trauss's [cf2]Enoch ~Arden [cf1]([sm1898[nm), Honegger's [cf2]Jeanne d'Arc au b;
afucher ~[cf1]([sm1935[nm), Bliss's [cf2]Morning Heroes [cf1]([sm1930[nm), and V
aughan ~Williams's [cf2]An Oxford Elegy [cf1]([sm1949[nm). The word has ~also co
me to mean an over-dramatic play, hence ~the adjective `melodramatic', but in a
musical ~connotation the orig. meaning is conveyed.[cm~Melodramma [fy75,1](It.).
 [sm17[nmth-cent. term for opera. ~Nothing to do with [fy45,1]*[fy75,2]melodrama
[cf1].[cm~Melody [fy75,1](from Gr. `Melos'). A succession of notes, ~varying in
pitch, which have an organized and ~recognizable shape. Melody i
s `horizontal', i.e. the ~notes are heard consecutively, whereas in [fy45,1]*[fy
75,1]har~~mony notes are sounded simultaneously (`verti~~cal'). The mus. of many
 primitive races still ~remains purely melodic, as does European folk-~song and
also plainsong. Many apparently simple ~folk melodies will be found, on examinat
ion, ~however, to be highly organized, e.g. as regards ~the use at different pit
ch levels of some simple, ~brief [fy45,1]*[fy75,1]motif, the adroit use of a hig
h note as a ~point of climax, etc.; many such melodies will be ~found to be cast
 in some definite form, such as ~Simple Ternary form.[ep~^[fy45,1]*[fy75,1]Rhyth
m is an important element in melody, ~whether it be the prose rhythm of primitiv
e ~mus., plainsong, and the comps. of some modern ~composers, or the metrical rh
ythm of most other ~mus. Indeed this element is so much a governing ~factor in t
he effect of a melody that if, while the ~notes of a popular melody are left int
act, the ~rhythm is drastically altered, it becomes difficult ~t
o recognize the melody. The rhythm of many ~melodies is extraordinarily subtle a
nd repays close ~study.[ep~^Once harmony had become an element in mus. ~it began
 to influence melody in this way=mthat ~melodic passages are often found to be b
ased on ~the notes of a chord (with or without added ~decorative or intermediate
 notes).[ep~^It is difficult to define `originality' in melody. ~Apparently it l
ies mainly in mere detail, since, on ~critical examination, what we accept as an
 orig. ~melody is often found closely to resemble some ~previous and quite well-
known melody. It is often ~difficult to see what has led to the popularity of a
~particular melody, or what it is that gives some ~melodies durability while oth
ers prove to be ~merely ephemeral: however, it will generally be ~found that the
 long-lived melodies possess the ~valuable quality of logical organization.[ep~^
Racial and nat. feeling expresses itself strongly ~in melody, particular scales,
 intervals, and ~rhythms being typical of the mus. of particular
 ~races or nations.[ep~^The word is also sometimes used as the title for ~a smal
l, simple piece, e.g. Rubinstein's [cf2]Melody [cf1]in ~F.[xm[cm~[ol0][ep~[xp[te
~










[do19][j99]~~~~~~[sm153842[nm_MA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm5[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm334[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Melophone. [fy75,1]W
ind instr. with free-beating reeds, ~air being supplied by bellows operated by r
ight ~hand and concealed in body of guitar or vc. ~Invented [sm1837[nm by Lecler
c of Paris.[cm~Melos Ensemble. [fy75,1]Eng. instr. ensemble formed ~[sm1950[nm b
y Cecil [fy45,1]*[fy75,1]Aronowitz (va.), Gervase de Peyer ~[PN458,0,0,L,I0](cl.
), Richard Adeney (fl.), and Terence Weil (vc.) ~as a group of up to [sm12[nm pl
ayers (str. quintet, wind ~quintet, harp, and pf.). Took part in f.p. of ~Britte
n's [cf2]War Requiem [cf1]([sm1962[nm). Amer. d;aaebut [sm1966[nm.[cm~Melos Quar
tet of Stuttgart. [fy75,1]Ger. string qt. ~founded in [sm1965[nm. Won Geneva int
. comp. [sm1966[nm. ~Recorded all Beethoven qts. [sm1968[nm=n[sm70[nm. Personnel
 ~unchanged in first [sm20[nm years of existence.[cm~Melusina, T
he Fair [fy75,1]([cf2]M;auarchen von die sch;auonen ~Melusine[cf1]). Ov. in C ma
jor by Mendelssohn, Op. ~[sm32[nm, comp. [sm1833[nm and prompted by Conradin ~Kr
eutzer's opera [cf2]Melusine[cf1].[cm~Membranophone. [fy75,1]Term for mus. instr
. which ~produce sound from tightly stretched mem~~branes, either struck (as in
drums) or `singing' (as ~the kazoo). One of four classifications of instr. ~devi
sed by C. Sachs and E. M. von Hornbostel ~and pubd. in [cf2]Zeitschrift f;auur E
thnologie[cf1], [sm1914[nm. Other ~categories are [fy45,1]*[fy75,1]aerophones, [
fy45,1]*[fy75,1]chordophones, and ~[fy45,1]*[fy75,1]idiophones, to which [fy45,1
]*[fy75,1]electrophones have been ~recently added.[cm~Memento Vitae [fy75,1](Mem
ory of Life). Conc. for ~orch. in homage to Beethoven by [fy45,1]*[fy75,1]Musgra
ve, ~comp. [sm1969[nm=n[sm70[nm, f.p. Glasgow [sm1970[nm, cond. Lough~~ran.[cm~M
emorial to Lidi;akce. [fy75,1]Work for orch. by Martin;anu ~f.p. NY [sm1943[nm;
comp. in memory of Cz. village ~annihilated in Nazis' reprisal.[
cm~Mendelssohn[fy75,1] (Mendelssohn-Bartholdy), [fy65][cf3]Fanny ~C;auacilie [fy
75,1]([cf2]b[cf1] Hamburg, [sm1805[nm; [cf2]d[cf1] Berlin, [sm1847[nm). Ger. ~am
ateur pianist and composer, sister of Felix ~[fy45,1]*[fy75,1]Mendelssohn. Publi
shed [sm6[nm of her songs with her ~brother's, and (in her own name) [sm2[nm boo
ks of [cf2]Lieder ~ohne Worte[cf1] for pf., also oratorio, songs, and part-[fjso
ngs. ~Married painter Wilhelm Hensel in [sm1829[nm.[cm~Mendelssohn [fy75,1](Mend
elssohn-Bartholdy), (=+=+=+Jakob ~Ludwig) [fy65][cf3]Felix [fy75,1]([cf2]b[cf1]
Hamburg, [sm1809[nm; [cf2]d[cf1] Leipzig, ~[sm1847[nm). Ger. composer, pianist,
organist, and cond. ~Grandson of Moses Mendelssohn, philosopher, ~and son of ban
ker Abraham who added Bartholdy ~to his surname when he became Protestant ~Chris
tian. Felix was [sm2[nmnd of [sm4[nm children, eldest ~being Fanny [fy45,1]*[fy7
5,1]Mendelssohn, almost as good a ~pianist as her brother. His first pf. lessons
 were ~from his mother and in Berlin he was taught ~harmony by K
arl Zelter. Boy prodigy as pianist, ~making public d;aaebut at [sm9[nm. In [sm18
19[nm his setting of ~Ps. [sm19[nm was sung by Berlin [cf2]Singakademie[cf1]. In
 [sm1821[nm ~Zelter took him to Weimar to visit Goethe, a ~warm friendship devel
oping between the [sm72[nm-~year-old poet and the boy of [sm12[nm, who was alrea
dy ~a prolific composer. His comic opera, [cf2]Die Hochzeit ~des Camacho [cf1]wa
s completed [sm1825[nm and produced ~[sm1827[nm. In [sm1826[nm, at age [sm17[nm,
 he comp. the ov. to [cf2]A ~Midsummer Night's Dream[cf1], adding the remainder
~of the incidental mus. [sm16[nm years later. Attended ~Berlin Univ. [sm1826[nm=
n[sm9[nm, and finally determined ~upon mus. as a profession. In Mar. [sm1829[nm,
 he cond. ~Bach's [cf2]St Matthew Passion [cf1]at the [cf2]Singakademie [cf1](it
s ~first perf. since Bach's death in [sm1750[nm), one of his ~many services to t
he Bach revival. Visited Eng. ~[sm1829[nm, giving one of first perfs. there of B
eethoven's ~`Emperor' conc. From the outset he received ~adulati
on from Eng. public. Before leaving, ~toured Scotland and was inspired by scener
y to ~write [cf2]Hebrides [cf1]ov. Toured Ger., Austria, and It. in ~next [sm2[n
m years, composing [sm2[nm syms. and publishing ~[sm1[nmst book of [cf2]Lieder o
hne Worte[cf1]. Further visits to ~London [sm1832[nm and [sm1833[nm (when he con
d. f.p. of his ~[cf2]Italian [cf1]Sym.). Appointed cond., Lower Rhine ~Mus. Fest
., D;auusseldorf [sm1833[nm=n[sm6[nm and cond. of ~Leipzig Gewand[chhaus Orch. [
sm1835[nm=n[sm46[nm. Married ~[sm1837[nm and in next few years wrote several of
his ~finest works, incl. [cf2]Lobgesang[cf1], the [cf2]Variations S;aaer~~ieuses
[cf1], and vn. conc. Organized new cons. of mus. ~at Leipzig, becoming dir. when
 it opened in [sm1843[nm ~as well as teaching pf. and comp., with Schumann ~as a
ssociate. Made [sm8[nmth visit to Britain [sm1844[nm, and ~returned in [sm1846[n
m to cond. f.p. of oratorio [cf2]Elijah [cf1]at ~Birmingham Fest. Last ([sm10[nm
th) visit was in [sm1847[nm, ~when he conducted [cf2]Elijah [cf1
]in London, Manchester, ~and Birmingham, and played for Queen Victoria ~and Prin
ce Albert. Severe overwork, combined ~with the shock of his sister Fanny's sudde
n death ~in May [sm1847[nm, led to his own death in Nov. of that ~year.[ep~^[cf1
]Mendelssohn's gifts were phenomenal. He was ~a good painter, had wide literary
knowledge, and ~wrote brilliantly. He was a superb pianist, a good ~violist, an
exceptional organist, and an inspiring ~cond. He had an amazing mus. memory. He
was ~generous to other musicians, and keen to raise ~standards of popular taste.
 His genius as a ~composer led B;auulow to describe him as the most ~complete ma
ster of form after Mozart. In him, a ~classical upbringing was combined with rom
antic ~inclination, imparting to his work a poetic ~elegance which has caused it
 to be regarded as ~superficial because of its lack of impassioned ~features. Th
e popularity of his work in the [sm19[nmth ~cent. was followed by a severe react
ion, partly ~caused by a feeling that his life had been too ~com
fortably easy, but the pendulum has swung ~again and the best qualities of his m
usic, its ~craftsmanship, restraint, poetry, inventive orches~~tration, and melo
dic freshness are now highly ~valued. Prin. works:[xm[cm~[j2][smtheatre[nm: [fy7
5,2]Die [fy45,1]*[fy75,2]Hochzeit des Camacho[cf1], Op. [sm10[nm, comic ~opera (
[sm1825[nm); incidental mus. to [cf2]A [fy45,1]*[fy75,2]Midsummer ~Night's Dream
[cf1], [nm[cf1]Op. [sm61[nm ([sm1842[nm); [fy45,1]*[fy75,2]Son and Stranger ~[cf
1]([cf2]Die Heimkehr aus der Fremde[cf1]), operetta, Op. [sm89[nm ~([sm1829[nm);
 [fy45,1]*[fy75,2]Lorelei[cf1], unfinished opera ([sm1847[nm).[ep~[smorch[nm: [s
m13[nm early syms. for str.; Syms: No. [sm1[nm in C ~minor, Op. [sm11[nm ([sm182
4[nm), No. [sm2[nm [cf1]([fy45,1]*[fy75,2]Lobgesang[cf1]) in B;yh, ~Op. [sm52[nm
 ([sm1840[nm), No. [sm3[nm in A minor, Op. [sm56[nm ([fy45,1]*[fy75,2]Scotch[cf1
]) ~([sm1830[nm=n[sm42[nm), No. [sm4[nm in A, Op. [sm90[nm ([fy45,1]*[fy75,2]Ita
lian[cf1]) ([sm1833[nm); ~No. [sm5[nm in D minor, Op. [sm107[nm
([fy45,1]*[fy75,2]Reformation[cf1]) ([sm1830[nm=n~[sm2[nm); ov. [fy45,1]*[fy75,2
]Ruy Blas[cf1], Op. [sm95[nm ([sm1839[nm), ov. [cf2]A ~[fy45,1]*[fy75,2]Midsumme
r Night's Dream[cf1], Op. [sm21[nm [cf1]([sm1826[nm), ov. ~[cf2]Hebrides [cf1]([
fy45,1]*[fy75,2]Fingal's Cave[cf1] ([cf2]Fingals H;auohle[cf1])), Op. [sm26[nm ~
([sm1830[nm, rev. [sm1832[nm); [cf2]Meeresstille und Gl;auuckliche Fahrt ~[PN459
,0,0,R,I0][cf1]([fy45,1]*[fy75,1]Calm Sea and Prosperous Voyage), Op. [sm27[nm ~
([sm1832[nm); [cf2]Die sch;auone Melusina [cf1](Fair [fy45,1]*[fy75,1]Melusina),
 Op. ~[sm32[nm ([sm1833[nm).[ep~[smconcertos[nm, etc: Pf.: No. [sm1[nm in G mino
r, Op. [sm25[nm ~([sm1832[nm), No. [sm2[nm in D minor, Op. [sm40[nm ([sm1837[nm)
; ~[cf2]Capriccio brillant [cf1]in B minor, Op. [sm22[nm ([sm1832[nm), ~[cf2]Ron
do brillant [cf1]in E;yh, Op. [sm29[nm ([sm1834[nm), [cf2]Serenade and ~Allegro
giocoso [cf1]in B minor, Op. [sm43[nm ([sm1838[nm); Vn., ~in E minor, Op. [sm64[
nm ([sm1844[nm); Conc. in A minor ~for pf. and str. (op. posth.)
 ([sm1822[nm); Conc. in D ~minor, vn. and str. (op. posth.) ([sm1822[nm); Conc.
in ~E, [sm2[nm pf. and orch. (op. posth.) ([sm1823[nm); Conc. in ~A;yh, [sm2[nm
pf. and orch. ([sm1824[nm).[ep~[smchoral[nm: [cf2]Die [fy45,1]*[fy75,2]erste Wal
purgisnacht [cf1](The First ~Walpurgis Night), Op. [sm60[nm ([sm1831[nm, rev. [s
m1842[nm); ~Oratorios: [fy45,1]*[fy75,2]St Paul[cf1], Op. [sm36[nm ([sm1834[nm=n
[sm6[nm); [fy45,1]*[fy75,2]Elijah[cf1], ~Op. [sm70[nm ([sm1846[nm, rev. [sm1846[
nm=n[sm7[nm); [cf2]Christus[cf1], Op. [sm97[nm, ~unfinished ([sm1847[nm); [fy45,
1]*[fy75,2]Lobgesang [cf1](Hymn of Praise, ~Sym. No. [sm2[nm in B;yh), Op. [sm52
[nm ([sm1840[nm); [cf2]Lauda Sion[cf1], ~Op. [sm73[nm ([sm1846[nm); [fy45,1]*[fy
75,2]Hear My Prayer[cf1] ([sm1844[nm); [sm9[nm ~settings of Psalms.[ep~[smchambe
r music[nm: Str. Qts.: No. [sm1[nm in E;yh, Op. [sm12[nm ~([sm1823[nm), No. [sm2
[nm in A minor, Op. [sm13[nm ([sm1827[nm), No. [sm3[nm ~in D, No. [sm4[nm in E m
inor, No. [sm5[nm in E;yh, Op. [sm44[nm nos. ~[sm1[nm, [sm2[nm a
nd [sm3[nm ([sm1837[nm=n[sm8[nm), No. [sm6[nm in F minor, Op. [sm80[nm ~([sm1847
[nm); [cf2][sm4[nm Pieces [cf1]for str. qt., Op. [sm81[nm: [cf2]Andante [cf1]in
E ~major ([sm1847[nm), Scherzo in A minor ([sm1847[nm), ~[cf2]Capriccio [cf1]in
E minor ([sm1843[nm), [cf2]Fugue [cf1]in E;yh ([sm1827[nm); ~Pf. Qts: No. [sm1[n
m in C minor, Op. [sm1[nm ([sm1822[nm), No. [sm2[nm in ~F minor, Op. [sm2[nm ([s
m1823[nm), No. [sm3[nm in B minor, Op. [sm3[nm ~([sm1824[nm=n[sm5[nm); va. sonat
a in C minor ([sm1824[nm); cl. sonata ~in E;yh ([sm1824[nm); vn. sonata in F min
or, Op. [sm4[nm ~([sm1825[nm); [cf2]Variations concertantes[cf1] for pf. and vc.
, ~Op. [sm17[nm ([sm1829[nm); Str. Quintets: No. [sm1[nm in A, Op. [sm18[nm ~([s
m1831[nm), No. [sm2[nm in B;yh, Op. [sm87[nm ([sm1845[nm); Octet in E;yh, ~for s
tr., Op. [sm20[nm ([sm1825[nm); scherzo from Octet arr. ~for orch.; vc. sonatas:
 No. [sm1[nm in B;yh, Op. [sm45[nm ([sm1838[nm), ~No. [sm2[nm in D, Op. [sm58[nm
 ([sm1843[nm); Pf. Trios: No. [sm1[nm in D ~minor, Op. [sm49[nm
([sm1839[nm), No. [sm2[nm in C minor, Op. [sm66[nm ~([sm1845[nm); [cf2]Lied ohne
 Worte [cf1]in D for vc. and pf., Op. ~[sm109[nm ([sm1845[nm); sextet in D, Op.
[sm110[nm ([sm1824[nm); ~[cf2]Concertst;auuck[cf1], No. [sm1[nm in F minor for c
l., corno di ~bassetto, and pf., Op. [sm113[nm ([sm1833[nm), No. [sm2[nm in D ~m
inor, Op. [sm114[nm ([sm1833[nm).[ep~[smpiano[nm: [cf2]Capriccio [cf1]in F;yi mi
nor, Op. [sm5[nm ([sm1825[nm); ~sonatas: E major, Op. [sm6[nm ([sm1826[nm), G mi
nor, Op. ~[sm105[nm ([sm1821[nm), B;yh, Op. [sm106[nm ([sm1827[nm); [sm7[nm [cf2
]Characteristic ~Pieces[cf1], Op. [sm7[nm ([sm1827[nm); [cf2]Rondo capriccioso[c
f1], Op. [sm14[nm; ~[fy45,1]*[fy75,2]Lieder ohne Worte[cf1], Book [sm1[nm, Op. [
sm19[nm ([sm1829[nm=n[sm30[nm), II, ~Op. [sm30[nm ([sm1835[nm), III, Op. [sm38[n
m ([sm1837[nm), IV, Op. [sm53[nm ~([sm1841[nm), V, Op. [sm62[nm, VI, Op. [sm67[n
m ([sm1843[nm=n[sm5[nm), VII, Op. ~[sm85[nm ([sm1842[nm), VIII, Op. [sm102[nm ([
sm1842[nm=n[sm5[nm); [cf2]Fantasy[cf1], Op. ~[sm28[nm ([sm1833[n
m); [sm3[nm [cf2]Capriccios[cf1], Op. [sm33[nm ([sm1833[nm=n[sm5[nm); ~[cf2]Vari
ations s;aaerieuses [cf1]in D minor, Op. [sm54[nm ([sm1841[nm); ~[cf2]Variations
, [cf1]Op. [sm82[nm ([sm1841[nm), Op. [sm83[nm ([sm1841[nm); [cf2]Allegro ~brill
ant[cf1], pf. duet, Op. [sm92[nm ([sm1841[nm); [sm3[nm [cf2]Preludes and ~Studie
s[cf1], Op. [sm104[nm ([sm1836[nm=n[sm8[nm); [cf2]Capriccio [cf1]in E, Op. ~[sm1
18[nm ([sm1837[nm).[ep~[smvoice and piano[nm: [sm12[nm [cf2]Songs[cf1], Op. [sm8
[nm ([sm1830[nm); [sm12[nm [cf2]Songs[cf1], ~Op. [sm9[nm ([sm1829[nm); [sm6[nm [
cf2]Songs[cf1], Op. [sm19[nma ([sm1830[nm); [sm6[nm [cf2]Songs[cf1], ~Op. [sm34[
nm ([sm1834[nm=n[sm7[nm); [sm6[nm [cf2]Songs[cf1], Op. [sm47[nm ([sm1839[nm); [s
m6[nm [cf2]Songs[cf1], ~Op. [sm57[nm ([sm1839[nm=n[sm42[nm); [sm6[nm [cf2]Songs[
cf1], Op. [sm71[nm ([sm1845[nm=n[sm7[nm); [sm3[nm ~[cf2]Songs[cf1], Op. [sm84[nm
 ([sm1831[nm=n[sm9[nm); [sm6[nm [cf2]Songs[cf1], Op. [sm86[nm ([sm1826[nm=n~[sm4
7[nm); [sm6[nm [cf2]Songs[cf1], Op. [sm99[nm ([sm1841[nm=n[sm5[n
m); [sm2[nm [cf2]Sacred Songs[cf1], ~Op. [sm112[nm ([sm1835[nm).[ep~[smpart-song
s[nm: [sm6[nm for SATB, Op. [sm41[nm ([sm1834[nm); [sm6[nm SATB, ~Op. [sm48[nm (
[sm1839[nm); [sm6[nm TB, Op. [sm50[nm ([sm1837[nm=n[sm40[nm); [sm6[nm SATB, ~Op.
 [sm59[nm ([sm1837[nm=n[sm43[nm); [sm6[nm [sm2[nm-part songs, Op. [sm63[nm ([sm1
836[nm=n~[sm44[nm); [sm4[nm TB, Op. [sm75[nm ([sm1837[nm=n[sm44[nm); [sm4[nm TB,
 Op. [sm76[nm ~([sm1840[nm=n[sm7[nm); [sm3[nm [sm2[nm-part songs, Op. [sm77[nm (
[sm1836[nm=n[sm47[nm); [sm6[nm ~SATB, Op. [sm88[nm ([sm1839[nm=n[sm47[nm); [sm4[
nm TB, Op. [sm100[nm ([sm1839[nm=n~[sm44[nm); [sm4 [nmTB, Op. [sm120[nm ([sm1837
[nm=n[sm47[nm); these are settings ~mainly of Heine, Goethe, Eichendorff, Faller
sle~~ben, Uhland, and Scott; [fy45,1]*[fy75,2]Festgesang[cf1], male vv. ~and bra
ss ([sm1840[nm).[ep~[smorgan[nm: [cf1][sm3[nm Preludes and Fugues, Op. [sm37[nm
([sm1833[nm=n[sm7[nm); ~[sm6[nm Sonatas, Op. [sm65[nm ([sm1839[nm=n[sm44[nm); [c
f2]Andante and ~Variations [cf1]in D ([sm1844[nm).[cm~[j1]M;aaen
estrel [fy75,1](Fr.). Minstrel. Type of Fr. public mus. ~entertainer in [sm14[nm
th cent., orig. called [cf2]m;aaenestrier[cf1], ~the profession being known as [
cf2]m;aaenestrandie[cf1]. ~Spreading over the channel to Eng., the term ~became
`minstrel'. The minstrels (in effect profes~~sional musicians) formed a guild [c
f2]c[cf1].[sm1350[nm. See also ~[cf2]Jongleurs[cf1], [cf2]Meistersinger[cf1], an
d [cf2]Minnesinger[cf1].[cm~Mengelberg, [fy75,1](=+=+=+Josef=+=+) [fy65][cf3]Wil
lem [fy75,1]([cf2]b [cf1]Utrecht, [sm1871[nm; [cf2]d[cf1] ~Zuort, Switz., [sm195
1[nm). Dutch cond. Studied Col~~ogne Cons. (cond. under F. [fy45,1]*[fy75,1]W;au
ullner). Mus. dir., ~Lucerne [sm1891[nm. Appointed permanent cond. of ~[fy45,1]*
[fy75,1]Concertgebouw Orch. of Amsterdam [sm1895[nm, ~remaining until [sm1945[nm
 and making it one of the ~great orchs. of the world. He particularly cham~~pion
ed works of [fy45,1]*[fy75,1]Mahler and [fy45,1]*[fy75,1]Strauss in early ~years
 of [sm20[nmth cent., winning friendship and ~admiration of both
 composers, who went to ~Amsterdam to conduct the orch. in their own ~works. Str
auss ded. [cf2]Ein Heldenleben [cf1]to Mengelberg ~and the orch. In [sm1920[nm M
engelberg held a fest. in ~Amsterdam at which all Mahler's syms. and other ~majo
r works were perf., the first such proclama~~tion of faith in the composer. Cond
. NY P.O., ~[sm1921[nm=n[sm9[nm. Prof. of mus., Utrecht Univ. from [sm1933[nm. ~
Frequent guest cond. of Eng. orchs. In [sm1945[nm, ~because of alleged collabora
tion with the Nazi ~conquerors of Holland, was forbidden by Dutch ~govt. to `exe
rcise his profession in public in any ~matter whatever for a period of [sm6[nm y
ears [sm1945[nm=n[sm51[nm'. ~He died in exile in the [sm6[nmth year of this `sen
tence', ~the justice of which is now questioned.[cm~Menges, Herbert [fy75,1]([cf
2]b [cf1]Hove, [sm1902[nm; [cf2]d [cf1]London, ~[sm1972[nm). Eng. cond. of Ger.
parentage. First public ~appearance as violinist at [sm4[nm, then studied pf. wi
th ~Mathilde Verne and A. de Greef and comp. at ~RCM. Mus. dir.
and composer to Old Vic Theatre ~[sm1931[nm=n[sm50[nm. Cond. SW, [sm1941[nm=n[sm
4[nm. Mus. dir. and cond. ~Brighton P.O. from [sm1925[nm, introducing many rare
~Eng. contemporary works. Dir. of mus., Chich~~ester Fest. Th. from [sm1962[nm.
O.B.E. [sm1963[nm.[cm~Menges, Isolde [fy75,1]([cf2]b[cf1] Hove, [sm1893[nm; [cf2
]d[cf1] Richmond, ~Surrey, [sm1976[nm). Eng. violinist of Ger. parentage, ~siste
r of Herbert [fy45,1]*[fy75,1]Menges. Studied with Auer, St ~Petersburg. London
d;aaebut [sm1913[nm. Toured USA ~[sm1916[nm=n[sm19[nm. Founded Menges Qt. [sm193
1[nm. Prof. of vn., ~RCM from [sm1931[nm.[cm~[PN460,0,0,L,I0]Mennin [fy75,1](ori
g. Mennini), [fy65][cf3]Peter [fy75,1]([cf2]b [cf1]Erie, Penn., ~[sm1923[nm; [cf
2]d [cf1]NY, [sm1983[nm). Amer. composer. Studied at ~Oberlin Cons. and Eastman
Sch. of Mus. First ~recipient of Gershwin Memorial Award. Taught ~comp., Juillia
rd Sch., [sm1947[nm=n[sm58[nm. Dir., Peabody ~Cons., Baltimore, [sm1958[nm=n[sm6
2[nm. President, Juilliard ~Sch. from [sm1962[nm. Comps., somewh
at severe in ~style, won many awards. They incl. [sm8[nm syms. ~([sm1941[nm=n[sm
1973[nm; No. [sm4[nm ([cf2]The Cycle[cf1]) employs ch.); pf. ~conc., vc. conc.,
[cf2]Sinfonia [cf1]for chamber orch., ~[cf2]Concertato[cf1], [fy45,1]*[fy75,2]Mo
by Dick [cf1]([sm1952[nm), [cf2]Sinfonia [cf1]for large ~orch., cantata [cf2]The
 Pied Piper of Hamelin[cf1], [sm2[nm str. qts., ~org. sonata, pf. sonata, songs,
 etc.[cm~Meno [fy75,1](It.). Less, as in [cf2]meno mosso[cf1], less moved, i.e.
~slower.[cm~Menotti, Gian Carlo [fy75,1]([cf2]b [cf1]Cadegliano, It., [sm1911[nm
). It.-~born composer, librettist, and cond., mainly ~resident in USA and Scotla
nd. Taught as child by ~mother and wrote [sm2[nm operas before he was [sm15[nm.
~Studied Milan Cons. [sm1924[nm=n[sm7[nm, then, on Toscanini's ~advice, at Curti
s Institute, Philadelphia, under ~Rosario Scalero, [sm1928[nm=n[sm34[nm (taught
there [sm1948[nm=n[sm55[nm). ~His tendency as composer was always towards ~opera
 and his first adult essay, [cf2]Amelia Goes to the ~Ball[cf1],
was cond. by [fy45,1]*[fy75,1]Reiner in [sm1937[nm and later at ~NY Met. As with
 all his operas, he wrote his own ~lib. First outstanding success was in [sm1946
[nm with ~[cf2]The Medium[cf1], but this was eclipsed in [sm1950[nm by [cf2]The
~Consul[cf1], dealing with the plight of refugees at the ~mercy of heartless bur
eaucracy. [cf2]Amahl and the ~Night Visitors [cf1]was the first opera to be writ
ten for ~TV in America. His works have achieved consid~~erable popularity and hi
s intention to bring opera ~nearer to the Broadway theatregoer has been ~achieve
d if at some cost in originality of ~expression. But of his dramatic effectivene
ss and ~melodic gift there can be no doubt. Founded Fest. ~of Two Worlds at Spol
eto, It., [sm1958[nm. Wrote lib. ~for [fy45,1]*[fy75,1]Barber's opera [cf2]Vanes
sa [cf1]([sm1957[nm). Works incl.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Amel
ia Goes to the Ball [cf1](Amelia al Ballo) ~([sm1934[nm=n[sm7[nm); [cf2]The Old
Maid and the Thief [cf1]([sm1939[nm); [cf2]The ~Island God [cf1]
([sm1942[nm, withdrawn); [cf2]The [fy45,1]*[fy75,2]Medium ~[cf1]([sm1945[nm); [c
f2]The [fy45,1]*[fy75,2]Telephone [cf1]([sm1946[nm); [cf2]The [fy45,1]*[fy75,2]C
onsul ~[cf1]([sm1949[nm); [fy45,1]*[fy75,2]Amahl and the Night Visitors [cf1]([s
m1951[nm, TV); ~[cf2]The [fy45,1]*[fy75,2]Saint of Bleecker Street [cf1]([sm1954
[nm); [fy45,1]*[fy75,2]Maria Golovin ~[cf1]([sm1958[nm); [cf2]The Last Savage [c
f1]([sm1963[nm); [cf2]The Labyrinth ~[cf1](TV, [sm1963[nm); [cf2]Martin's Lie [c
f1]([sm1964[nm); [cf2]Help! Help! the ~Globolinks [cf1]([sm1968[nm, children); [
cf2]The Most Important ~Man [cf1]([sm1971[nm); [cf2]Tamu-Tamu [cf1]([sm1973[nm);
 [cf2]The Hero [cf1]([sm1976[nm); ~[cf2]The Egg [cf1]([sm1976[nm).[ep~[smballets
[nm: [cf2]Sebastian [cf1]([sm1944[nm); [cf2]Errand into the Maze ~[cf1]([sm1947[
nm); [cf2]The Unicorn, the Gorgon, and the Manticore ~[cf1]([sm1956[nm).[ep~[smc
antatas[nm: [cf2]The Death of the Bishop of Brindisi [cf1]([sm1963[nm); ~[cf2]La
ndscapes and Remembrances [cf1]([sm1976[nm).[ep~[sminstrumental[
nm: Pf. Conc. in F ([sm1945[nm); [cf2]Apocalypse ~[cf1]for orch. ([sm1951[nm); V
n. Conc. in A minor ([sm1952[nm); ~Triple Conc. a Tre, for [sm9[nm soloists ([sm
1970[nm); Sym. ~[cf2]The Halcyon [cf1]([sm1976[nm).[cm~[j1]Mensural Music. [fy75
,1]In the [sm13[nmth to [sm16[nmth cents. the ~contrast to [cf2]musica plana [cf
1](plainsong). It is poly~~phonic mus. in which every note has a strictly ~deter
mined value, distinct from the free rhythm ~of Gregorian chant.[cm~Mensural Nota
tion. [fy75,1]System of mus. notation ~est. [cf2]c[cf1].[sm1250[nm by Franco of
Cologne and used until ~[sm1600[nm. All shapes of notes and pauses had definite
~time values, in contrast with system of preceding ~epoch (modal notation) in wh
ich pattern of series ~of ligatures was key to required values. Basis of ~modern
 system.[cm~Menuet [fy75,1](Fr.), [fy65][cf3]Menuett [fy75,1](Ger.). See [cf2]Mi
nuet. [cf1]The ~spelling [cf2]Menuetto[cf1], used by Beethoven, is incorrect.[cm
~Menuhin, Hephzibah [fy75,1]([cf2]b [cf1]San Francisco, [sm1920[
nm; [cf2]d ~[cf1]London, [sm1981[nm). Amer. pianist, sister of Yehudi ~[fy45,1]*
[fy75,1]Menuhin. D;aaebut, San Francisco [sm1928[nm. Soloist in ~concs. and freq
uent recitalist with her brother. ~Settled in Australia [sm1938[nm, but continue
d to tour.[xm[cm~[ol0][ep~[xp[te~









[do35][j99]~~~~~~[sm153842[nm_MA[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmMA[sm5[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm8[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm357[nm[cm~GC[cm6[cm8.10.84[cm~U1[cm~~~~[ap[j1]Menuhin, Yehu
di [fy75,1]([cf2]b[cf1] NY, [sm1916[nm). Amer. violinist ~and cond. Child prodig
y. First public recital San ~Francisco [sm1924[nm. Studied with A. [fy45,1]*[fy7
5,1]Busch and G. ~[fy45,1]*[fy75,1]Enescu. D;aaebut with orch. San Francisco [sm
1926[nm, ~NY [sm1927[nm. In [sm1929[nm played concs. by Bach, ~Beethoven, and Br
ahms in one programme with ~Berlin P.O. cond. [fy45,1]*[fy75,1]Walter, in Berlin
, Dresden, ~and Paris. London d;aaebut [sm1929[nm, LSO cond. F. ~Busch. In [sm19
32[nm recorded Elgar's conc., cond. by ~composer, and played work under his bato
n in ~Paris [sm1933[nm. First recitals with sister Hephzibah in ~NY, London, and
 Paris [sm1934[nm, followed by world ~tour of [sm73[nm cities. His career and ta
lent continued ~beyond the `prodigy' years. Bart;aaok wrote the
solo ~vn. sonata for him ([sm1944[nm). Gave many concerts ~for troops during Wor
ld War II. After war ~continued his career as most famous of modern ~vn. virtuos
i, but settled in Eng. and also began to ~conduct in [sm1957[nm (fest. at Gstaad
). Art. dir. Bath ~Fest. [sm1959[nm=n[sm69[nm, conducting many concerts with ~ow
n chamber orch. US d;aaebut as cond. [sm1966[nm. ~Founded Menuhin Sch. of Mus.,
now at Stoke ~d'Abernon, Surrey, [sm1963[nm. Did much to encourage ~Western inte
rest in Indian mus. Hon. K.B.E. ~[sm1965[nm.[cm~Mephisto Waltzes [fy75,1]([cf2]M
ephistowalzer[cf1]). Mephisto is abbreviation ~for Mephistopheles. [sm4[nm works
 by Liszt. No. [sm1[nm, ~orig. for orch. as No. [sm2[nm ([cf2]Der Tanz in der Do
rfschenke[cf1]) ~of [cf2][sm2[nm Episodes from Lenau's [fy45,1]*[fy75,2]Faust[cf
1] (before [sm1861[nm), ~was transcr. for pf. solo and pf. duet ([sm1881[nm); No
. ~[sm2[nm, orig. for orch., transcr. pf. solo and duet ([sm1881[nm); ~No. [sm3[
nm for pf. ([sm1883[nm) orch. Riesenauer; No. [sm4[nm for ~pf. (
[sm1885[nm, pubd. [sm1952[nm).[cm~Mer, La [fy75,1](The Sea). [sm3[nm symphonic s
ketches for ~orch. by Debussy comp. [sm1903[nm=n[sm5[nm, f.p. Paris [sm1905[nm;
~London [sm1908[nm (cond. Debussy). Movements are ~named [cf2]De l'Aube ;aga mid
i sur la mer [cf1](From dawn to ~noon on the sea), [cf2]Jeux de vagues [cf1](Pla
y of the ~waves), and [cf2]Dialogue du vent et de la mer [cf1](Dialogue ~of the
wind and the sea).[cm~Merbecke [fy75,1](Merbeck, Marbeck, Marbecke), [fy65][cf3]
John[fy75,1] ~([cf2]b[cf1] Windsor, [cf2]c.[cf1][sm1510[nm; [cf2]d [cf1]Windsor,
 [cf2]c.[cf1][sm1585[nm). Eng. ~[PN461,0,0,R,I0]composer and organist. Chorister
, St George's ~Chapel, Windsor, [sm1531[nm, organist [sm1541[nm. Con~~demned to
death as heretic [sm1543[nm, but pardoned. ~In [sm1550[nm wrote first setting of
 prayer-book liturgy ~as authorized by [sm1549[nm Act of Uniformity. ~Compiled f
irst biblical concordance in Eng. and ~wrote theological pamphlets. Also comp. m
ass ~and motets.[cm~Mercadante, [fy75,1](Giuseppe) [fy65][cf3]Sa
verio [fy75,1](Raffaele) ([cf2]b[cf1] ~Altamura, [sm1795[nm; [cf2]d [cf1]Naples,
 [sm1870[nm). It. composer. ~Pupil of Zingarelli, Naples [sm1816[nm=n[sm20[nm. E
arly works ~were instr. and choral, but turned to opera in ~[sm1819[nm and wrote
 nearly [sm60[nm up to [sm1856[nm. With [cf2]Il ~giuramento[cf1] ([sm1837[nm), h
e threw off the Rossinian ~idiom of his earlier works and developed greater ~dra
matic power in the orch. in the style of ~Meyerbeer, but his works have failed t
o hold the ~stage except for occasional perfs. in Italy and in ~concert versions
 in Vienna. Maestro di cappella ~Novara Cath., [sm1833[nm. Dir., Naples Cons., [
sm1840[nm=n[sm70[nm. ~Wrote [sm17[nm masses, orch. fantasies, songs, etc. ~Opera
s incl. [cf2]Maria Stuarda, Elisa e Claudio[cf1] ([sm1821[nm); ~[cf2]Amleto [cf1
]([sm1822[nm); [cf2]Don Chisciotte [cf1]([sm1829[nm); [cf2]Francesca da ~Rimini
[cf1]([sm1830=n1[nm); [cf2]I briganti [cf1]([sm1836[nm); [cf2]Il bravo [cf1]([sm
1839[nm); ~[cf2]La Vestale [cf1]([sm1840[nm); and [cf2]Violetta
[cf1]([sm1853[nm). Blind from ~[sm1862[nm.[cm~Mercure, Pierre[fy75,1] ([cf2]b[cf
1] Montreal, [sm1927[nm; [cf2]d[cf1] Avallon, ~[sm1966[nm). Canadian composer. S
tudied Quebec, later ~in Paris with Boulanger and Tanglewood with ~Dallapiccola.
 Bassoonist, Montreal S.O. [sm1947[nm=n[sm52[nm. ~Worked as producer of TV progr
ammes for CBC ~Fr. network [sm1952[nm=n[sm66[nm. Worked with [cf2]musique ~concr
;agete[cf1] and elec. methods.[cm~Meril;auainen, Usko [fy75,1]([cf2]b[cf1] Tampe
re, Finland, [sm1930[nm). ~Finn. composer. Studied Sibelius Acad., Helsinki, ~an
d with Vogel in Switz. Chorusmaster at Finnish ~Opera. Works incl. [sm4[nm syms.
, [sm2[nm pf. concs., [cf2]Concerto ~for Orchestra[cf1], str. qt., etc.[cm~Merke
l, Gustav [fy75,1]([cf2]b [cf1]Oberoderwitz, [sm1827[nm; [cf2]d[cf1] Dres~~den,
[sm1885[nm). Ger. composer and organist. Court ~organist, Dresden, from [sm1864[
nm and prof., Dresden ~Cons. from [sm1861[nm. Wrote [sm9[nm org. sonatas, many ~
choral preludes, and other works.[cm~Merrick, Frank [fy75,1]([cf
2]b[cf1] Clifton, Glos., [sm1886[nm; [cf2]d [cf1]London, ~[sm1981[nm). Eng. pian
ist and composer. Studied with ~Leschetizky in Vienna [sm1898[nm=n[sm1901[nm and
 [sm1905[nm. First ~public appearance, Clifton [sm1895[nm; London d;aaebut ~[sm1
903[nm. Diploma of Honour, Rubinstein Competi~~tion, St Petersburg, [sm1910[nm.
Prof. of pf., RMCM ~[sm1911[nm=n[sm29[nm. On staff RCM [sm1929[nm=n[sm56[nm, TCL
 [sm1956[nm=n[sm75[nm. ~Comps. incl. [sm2[nm pf. concs. and `completion' of ~Sch
ubert's `Unfinished' Sym., also settings of ~Esperanto poems. Espoused cause of
many ~unfashionable composers and of Brit. composers, ~e.g. Ireland, Bax, Rawsth
orne, etc. C.B.E. [sm1978[nm.[cm~Merrie England. [fy75,1]Light opera in [sm2[nm
acts by ~[fy45,1]*[fy75,1]German to lib. by Basil Hood, introducing ~Queen Eliza
beth I, Raleigh, and other Elizabethan ~characters. Prod. London [sm1902[nm.[cm~
Merrill [fy75,1](orig. Miller), [fy65][cf3]Robert [fy75,1]([cf2]b[cf1] Brooklyn,
 NY, ~[sm1917[nm). Amer. bar. Studied with his mother, ~Lillian
Miller, and later with Margolis in NY. ~D;aaebut Trenton [sm1944[nm. Won Met. Au
ditions of Air, ~[sm1945[nm, making d;aaebut there in Dec. [sm1945[nm as ~Germon
t [cf2]p;agere[cf1] in [cf2]La traviata. [cf1]Sang in Toscanini ~opera recording
s. Long career at Met. in roles ~such as Figaro, Rigoletto, Iago, and Scarpia. C
G ~d;aaebut [sm1967[nm (Germont [cf2]p;agere[cf1]).[cm~Merry Widow, The [fy75,1]
([cf2]Die lustige Witwe[cf1]). Operetta ~in [sm3[nm acts by Leh;aaar to lib. by
V. L;aaeon and L. Stein ~after Meilhac's comedy [cf2]L'Attach;aae[cf1]. Prod. Vi
enna ~[sm1905[nm (first Widow was Mizzi G;auunther), London ~(Lily Elsie) and NY
 [sm1907[nm. Merry Widow's name ~is Hanna Glawari.[cm~Merry Wives of Windsor, Th
e [fy75,1](Nicolai). See ~[cf2]Lustigen Weiber von Windsor, Die.[cm~Mersenne [fy
75,1](Mersennus), [fy65][cf3]Marin [fy75,1]([cf2]b [cf1]La Soulti;agere, ~Maine,
 France, [sm1588[nm; [cf2]d[cf1] Paris, [sm1648[nm). Fr. theolo~~gian, mathemati
cian, and mus. theorist. Wrote ~[cf2]Harmonie universelle[cf1] (
[sm2[nm vols. [sm1636[nm=n[sm7[nm). Valuable ~source of information on contempor
ary instr.[cm~Merulo [fy75,1](orig. Merlotti), [fy65][cf3]Claudio [fy75,1]([cf2]
b[cf1] Correggio, ~[sm1533[nm; [cf2]d [cf1]Parma, [sm1604[nm). It. organist, pub
lisher, and ~composer. Organist, Brescia [sm1556[nm, St Mark's ~Venice, [sm1557[
nm=n[sm84[nm. Wrote motets, madrigals, and ~sacred songs, also opera in madrigal
-style [cf2]La ~tragedia [cf1](Venice [sm1574[nm). Org., ducal chapel, Parma, ~f
rom [sm1584[nm.[cm~Messa di Voce [fy75,1](It.). Placing of the voice. Practice ~
in [cf2]bel canto[cf1] of singing a crescendo then a ~diminuendo on a held note.
 Not to be confused ~with [cf2]mezza voce.[cm~Messager, Andr;aae [fy75,1](Charle
s Prosper) [cf1]([cf2]b[cf1] Montlu;alcon, ~[sm1853[nm; [cf2]d[cf1] Paris, [sm19
29[nm). Fr. composer, organist, and ~cond. Studied Paris, teachers incl. Saint-S
a;auens. ~Organist, St  Sulpice, [sm1874[nm. Cond., Paris Op;aaera-~Comique [sm1
898[nm=n[sm1903[nm, [sm1919[nm=n[sm20[nm. Cond. f.p. of ~Debussy
's [cf2]Pell;aaeas et M;aaelisande[cf1] ([sm1902[nm), which is ~ded. to him. Art
. dir. CG [sm1901[nm=n[sm6[nm, dir. and chief ~cond. Paris Op;aaera [sm1907[nm=n
[sm15[nm. Cond. Soci;aaet;aae des ~Concerts du Cons., [sm1908[nm=n[sm19[nm (tour
ing Argentina ~[sm1916[nm, USA [sm1918[nm). Wrote several successful light ~oper
as. Works incl.:[xm[cm~[j2][smoperas[nm: [fy75,2]La B;aaearnaise [cf1]([sm1885[n
m), [cf2]La Basoche[cf1] ([sm1890[nm), ~[cf2]Madame Chrysanth;ageme[cf1] ([sm189
3[nm), [cf2]Les p'tites Michu ~[cf1]([sm1897[nm), [fy45,1]*[fy75,2]V;aaeronique[
cf1] ([sm1898[nm), [cf2]Fortunio [cf1]([sm1907[nm), [cf2]B;aaea~~trice[cf1] ([sm
1914[nm), [fy45,1]*[fy75,2]Monsieur Beaucaire[cf1] ([sm1919[nm).[ep~[smballets[n
m: [cf2]Les [fy45,1]*[fy75,2]deux pigeons[cf1] ([sm1886[nm), [cf2]Le Chevalier a
ux ~fleurs [cf1]([sm1897[nm).[ep~Also wrote sym. and pf. pieces.[cm~[j1]Messa pe
r i defunti [fy75,1](Mass for the Dead). See ~[cf2]Requiem.[cm~Messchaert, Johan
nes [fy75,1]([cf2]b[cf1] Holland, [sm1857[nm; [cf2]d[cf1] ~Z;auu
rich, [sm1922[nm). Dutch bar. Studied under W;auullner ~and Stockhausen and beca
me outstanding inter~~preter of Christus in Bach's [cf2]St Matthew Passion. ~[cf
1]Sang bass part in Elgar's [cf2]Dream of Gerontius, ~[PN462,0,0,L,I0][cf1]D;auu
sseldorf [sm1902[nm. Taught in Berlin from [sm1911[nm ~and in Z;auurich from [sm
1920[nm.[cm~Messe des Morts[fy75,1] (Mass of the Dead). See [cf2]Requiem. ~[cf1]
For that by Berlioz, see [cf2]Grand' Messe des Morts.[cm~Messiaen, Olivier [fy75
,1](Eug;agene Prosper Charles) ([cf2]b[cf1] ~Avignon, [sm1908[nm). Fr. composer,
 organist, and ~teacher. Studied Paris Cons. [sm1919[nm=n[sm30[nm, studying ~com
p. with (among others) Caussade, Dupr;aae, and ~Dukas. In his youth he studied I
ndian and Greek ~mus. rhythms, plainchant, and folk mus. He also ~notated the so
ngs of all French birds, classifying ~them by region. Several of his works quote
 and ~make great use of birdsong. In [sm1931[nm he became ~organist of L';aaEgli
se de la Trinit;aae, Paris, holding ~the post ever since. In [sm
1936[nm he became a teacher ~at the ;aaEcole Normale de Musique and Schola ~Cant
orum, and founded [cf2]Jeune France[cf1], a group of ~young musicians, with Joli
vet, Daniel Lesur, and ~Baudrier. He was imprisoned by the Germans for ~[sm2[nm
years during the war, but on release, [sm1942[nm, he ~was appointed a teacher at
 Paris Cons. (harmony, ~then analysis from [sm1947[nm and comp. from [sm1966[nm)
. ~His pupils have incl. Boulez, Stockhausen, Bar~~raqu;aae, Xenakis, Amy, Sherl
aw Johnson, and ~Goehr. His [sm2[nmnd wife, the pianist Yvonne Loriod, ~has exer
cised great influence on his work.[ep~^Messiaen's mus., which is among the most
~influential and idiosyncratic of the century, is ~compounded from his deep Cath
olic faith, his ~celebration of human love, and his love of nature. ~He gave a n
ew dimension of colour and intensity ~to org. mus., making special use of acoust
ic ~reverberations and contrasts of timbres. His ~harmony, rich and chromatic, d
erives from ~Debussy's use of [sm7[nmths and [sm9[nmths and moda
l ~progressions of chords. In his orch. works he ~makes use of the [cf2]ondes Ma
rtenot[cf1] in the vast ~[cf2]Turangal;afila-symphonie[cf1] and of exotic perc.
instrs., ~giving an oriental effect. Birdsong is also a major ~feature. His trea
tment of rhythm is novel, ~involving irregular metres, some of them origi~~natin
g in ancient Gr. procedures. Messiaen also ~acknowledges the supremacy of melody
. Prin. ~works:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy75,2]Saint Fran;accois d'Assi
si [cf1](lib. by comp., f.p. ~Paris [sm1983[nm) ([sm1975[nm=n[sm83[nm).[ep~[smor
ch[nm: [fy75,2]Le Banquet eucharistique [cf1]([sm1928[nm); [cf2]Les [fy45,1]*[fy
75,2]Of~~frandes oubli;aaees[cf1] ([sm1930[nm); [cf2]Hymne au Saint Sacr;aaement
[cf1] ~([sm1932[nm); [cf2]L'[fy45,1]*[fy75,2]Ascension[cf1] ([sm1933[nm); [fy45,
1]*[fy75,2]Turangal;afila-sym~~phonie[cf1] ([sm1946[nm=n[sm8[nm); [cf2]R;aaeveil
 des oiseaux[cf1] ([sm1953[nm); ~[fy45,1]*[fy75,2]Oiseaux exotiques[cf1] ([sm195
5[nm=n[sm6[nm); [fy45,1]*[fy75,2]Chronochromie ~[cf1]([sm1960[nm
); [cf2][sm7[nm Hai-Kai [cf1]([sm1962[nm); [cf2]Couleurs de la cit;aae c;aaelest
e[cf1] ~([sm1963[nm); [fy45,1]*[fy75,2]Et exspecto resurrectionem mortuorum[cf1]
 ~([sm1964[nm); [fy45,1]*[fy75,2]Des canyons aux ;aaetoiles[cf1] ([sm1970[nm=n[s
m4[nm).[ep~[smvocal and choral[nm: [cf2][sm2[nm Ballades de Villon[cf1], v. and
pf. ~([sm1921[nm); [cf2][sm3[nm M;aaelodies[cf1], sop. and pf. ([sm1930[nm); [cf
2]Mass[cf1], [sm8[nm ~sop. and [sm4[nm vn. ([sm1933[nm); [cf2]Vocalise[cf1], sop
. and pf. ~([sm1935[nm); [fy45,1]*[fy75,2]Po;agemes pour Mi, [cf1]sop. and pf. (
[sm1936[nm) ~with orch. ([sm1937[nm); [cf2]O sacrum convivium [cf1]([sm1937[nm);
 ~[cf2]Chants de terre et de ciel [cf1]([sm1938[nm); [cf2][sm3[nm Petites Liturg
ies ~de la pr;aaesence divine[cf1], women's ch., pf., ondes ~Martenot, and orch.
 ([sm1944[nm); [fy45,1]*[fy75,2]Harawi, chant ~d'amour et de mort, [cf1]sop. and
 pf. ([sm1945[nm); [cf2][sm5[nm ~[fy45,1]*[fy75,2]Rechants[cf1], [sm12[nm unacc.
 vv. ([sm1949[nm); [cf2]La [fy45,1]*[fy75,2]Transfigu~~ration de
 Notre Seigneur J;aaesus-Christ[cf1], ten., bar., ~ch., and orch. ([sm1965[nm=n[
sm9[nm).[ep~[smpiano[nm: [cf2][sm8[nm Pr;aaeludes[cf1] ([sm1929[nm); [cf2]Fantai
sie burlesque[cf1] ([sm1932[nm); ~[cf2]Pi;agece pour le tombeau de Paul Dukas[cf
1] ([sm1935[nm); ~[fy45,1]*[fy75,2]Visions de l'Amen[cf1], [sm2[nm pf. ([sm1943[
nm); [cf2]Rondeau [cf1]([sm1943[nm); ~[cf2][sm20[nm [fy45,1]*[fy75,2]Regards sur
 l'Enfant J;aaesus[cf1] ([sm1944[nm); [cf2]Cant;aaeyod~~jay;afa [cf1]([sm1948[nm
); [cf2][sm4[nm ;aaEtudes de rythme[cf1] ([sm1949[nm=n[sm50[nm); ~[fy45,1]*[fy75
,2]Catalogue d'oiseaux[cf1] ([sm1956[nm=n[sm8[nm); [cf2]La Fauvette des ~jardins
 [cf1]([sm1972[nm).[ep~[smorgan[nm: [cf2]Variations ;aaecossaises[cf1] ([sm1928[
nm); [cf2]Le Banquet ~c;aaeleste[cf1] ([sm1928[nm); [cf2]Diptyque [cf1]([sm1930[
nm); [cf2]Apparition de ~l';aaEglise ;aaeternelle[cf1] ([sm1932[nm); [cf2]L'[fy4
5,1]*[fy75,2]Ascension [cf1]([sm1934[nm); [cf2]La ~[fy45,1]*[fy75,2]Nativit;aae
du Seigneur [cf1]([sm1935[nm); [cf2]Les [fy45,1]*[fy75,2]Corps g
lorieux[cf1] ~([sm1939[nm); [cf2]Messe de la Pentec;afote[cf1] ([sm1950[nm); [cf
2]Livre d'orgue[cf1] ~([sm1951[nm); [cf2]Verset pour la f;afete de la d;aaedicac
e[cf1] ([sm1960[nm); ~[cf2]M;aaeditations sur le myst;agere de la Sainte Trinit;
aae[cf1] ~([sm1969[nm).[ep~[smmisc. instr[nm: [cf2]Th;ageme et Variations[cf1],
vn. and pf. ([sm1932[nm); ~[cf2]F;afetes des belles eaux[cf1], [sm6[nm ondes Mar
tenot ([sm1937[nm); [cf2][sm2[nm ~Monodies en quart de ton[cf1], ondes Martenot
([sm1938[nm); ~[fy45,1]*[fy75,2]Quatuor pour la fin du temps[cf1], vn., cl., vc.
, pf. ~([sm1940[nm); [cf2]Le Merle noir[cf1], fl. and pf. ([sm1951[nm); [cf2]Tim
bres-~dur;aaees, musique concr;agete[cf1] ([sm1952[nm); [cf2]Le Tombeau de ~Jean
-Pierre Gu;aaezec[cf1], hn. ([sm1971[nm).[cm~[j1]Messiah. [fy75,1]Oratorio by Ha
ndel to lib. selected from ~scriptures by Charles Jennens. Comp. between [sm22[n
m ~Aug. and [sm14[nm Sept. [sm1741[nm, though parts are ~adaptations from other
works by Handel. F.p. ~Dublin, [sm13[nm April [sm1742[nm; London
, [sm23[nm March [sm1743[nm; ~Boston, Mass., [sm25[nm Dec. [sm1818[nm (extracts
in NY [sm1770[nm). ~There is no single definitive version, Handel ~having altere
d, rewritten, and added numbers for ~various perfs. It became the custom in the
[sm19[nmth ~cent. to perf. [cf2]Messiah[cf1] with grossly inflated forces, ~but
in the mid-[sm20[nmth cent. various performing ~edns. restored the work nearer t
o its original ~proportions and reverted to the correct tempo ~and rhythm for ma
ny nos. Mozart composed ~additional accs. for [cf2]Messiah[cf1] for an occasion
when ~no org. was available to provide the figured bass, ~and these are still fr
equently used.[cm~Messing [fy75,1](Ger.). Brass. So [cf2]Messinginstrumente, [cf
1]brass ~instr.[cm~Mesto [fy75,1](It.). Mournful, sad. So [cf2]Mestizia[cf1], sa
dness.[cm~Mesure[fy75,1] (Fr.). ([sm1[nm) Measure, bar.[ep~^([sm2[nm) Time; e.g.
 [cf2];aga la mesure=+=+|;eq|a tempo.[cf1][cm~Metallophone. [fy75,1]Percussion i
nstr. comprising ~[chseries of tuned metal bars arr. in a single
 or double ~row. [fy45,1]*[fy75,1]Orff scored for it in some of his comps. Far ~
Eastern versions influenced development of ~[fy45,1]*[fy75,1]glockenspiel and [f
y45,1]*[fy75,1]vibraphone.[cm~Metamorphosen. [fy75,1]Study in C minor for [sm23[
nm solo ~str. by R. Strauss, comp. [sm1945[nm as a lament for the ~destruction o
f the Ger. cultural world in which ~he had lived. Quotes from funeral march of ~
Beethoven's [cf2]Eroica[cf1] Sym. F.p. Z;auurich [sm1946[nm cond. ~[PN463,0,0,R,
I0]Paul Sacher; f. Eng. p. London, Dec. [sm1946[nm (Boyd ~Neel Orch.).[cm~Metamo
rphoses after Ovid, Six. [fy75,1]Work for solo ~ob., Op. [sm49[nm, by Britten, c
omp. [sm1951[nm. Movements ~are entitled [cf2]Pan, Phaeton, Niobe, Bacchus, Narc
issus, ~[cf1]and [cf2]Arethusa.[cm~Metamorphosis of Themes by Weber,[fj~Symphoni
c[fy75,1] (Hindemith). See [cf2]Symphonic Meta~~morphosis of Themes by Weber.[cm
~Metamorphosis. [fy75,1]Term used to describe manner ~in which composer may chan
ge tempo, rhythm, ~and notes of a theme yet preserve its essenti
al and ~recognizable characteristics. Employed by Liszt ~in his symphonic poems
and by Elgar and Franck ~in syms. Hindemith's [fy45,1]*[fy75,2]Symphonic Metamor
phosis ~of Themes by Weber[cf1] and Britten's [cf2][sm6[nm [fy45,1]*[fy75,2]Meta
morphoses ~after Ovid[cf1] are modern examples of the device. ~Strauss's use of
the term in his [fy45,1]*[fy75,2]Metamorphosen[cf1] ~refers to Goethe, not to mu
s. form.[cm~Metastasio[fy75,1] (orig. Trapassi), [fy65][cf3]Pietro Antonio ~Dome
nico Bonaventura[fy75,1] ([cf2]b[cf1] Rome, [sm1698[nm; [cf2]d[cf1] ~Vienna, [sm
1782[nm). It. poet and librettist. Pubd. first ~work at [sm14[nm and later enjoy
ed protection of the ~singer Marianna Benti-Bulgarelli. Lived in Vienna ~as cour
t poet from [sm1730[nm and devoted himself to ~providing composers with opera li
bs., mainly on ~classical subjects. They were set over [sm800[nm times ~by diffe
rent composers. Some texts from his vast ~output were used up to [sm70[nm times.
 [cf2]Artaserse [cf1]was ~set by [sm40[nm  composers. Among thos
e who set his ~libs. were Galuppi, Gluck, Handel, Hasse (who ~set nearly all), J
ommelli, Ko;akzeluh, Mercadante, ~Meyerbeer, Mozart, Paisiello, Piccinni, Sponti
ni, ~etc. Gluck's opera reforms were directed against ~the highly formal, artifi
cial, and conventional ~nature of Metastasio's works, with the develop~~ment of
the plot being halted continually for ~displays of vocal agility. Among Metastas
io's libs. ~were [cf2]Didone abbandonata, La Clemenza di Tito[cf1], and ~[cf2]Il
 R;age Pastore.[cf1][cm~Metre. [fy75,1]Term used of regular succession of ~rhyth
mical impulses, or beats, in poetry and ~mus., e.g. [cf9]3=-=-=-=-=-=-=K=K=K[cf1
3]4 [cf1]and [cf9]6=-=-=-=-=-=-=K=K=K[cf13]8 [cf1]being described as different ~
kinds of metres. Rhythm is no longer accepted as ~a sufficiently precise definit
ion, [cf2]metre[cf1] being ~considered as the basic pulse and rhythm as the ~act
ual time-patterns of the notes within a ~measure. E.g., in [cf9]3=-=-=-=-=-=-=K=
K=K[cf13]4 [cf1]the [sm3[nm beats=mstrong, weak, ~weak=mare metr
ical, while the time-values of the ~notes actually heard are the rhythm.[cm~Metr
ical Psalm. [fy75,1]A psalm versified in a regular ~syllabic metre which thus ca
n be sung to a hymn-~tune. Brought to Britain by Calvinists fleeing to ~Eng. and
 Scotland from Geneva. Famous treasury ~of Eng. sacred tunes is Sternhold and Ho
pkins's ~metrical psalter (London [sm1562[nm). It was followed ~by other such ps
alters (Este's [sm1592[nm, Ravenscroft's ~[sm1621[nm, Playford's [sm1677[nm, Tat
e and Brady's [sm1696[nm).[cm~Metric Modulation. [fy75,1]Term and technique intr
o~~duced by Amer. composer Elliott [fy45,1]*[fy75,1]Carter for ~changing the rhy
thm (not necessarily the metre) ~from one section to another.[xm[cm~[ol0][ep~[xp
[te~



[do35][j99]~~~~~~[sm153842[nm_MA[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary to Music[cmMA[sm6[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm8[nm.[sm10[nm.[sm
79[nm[cm[sm8[nm[cm[sm393[nm[cm~GC[cm4[cm24.9.84[cm~U1[cm~~~~[ap[j1]Metronome. [f
y75,1]Apparatus for sounding an adjusta~~ble number of beats per minute and ther
efore for ~fixing the tempo of a comp. An early form, called ~[cf2]chronom;agetr
e[cf1], was available at end of [sm17[nmth cent. and ~further experiments follow
ed. That most com~~monly used is a clockwork model patented by ~[fy45,1]*[fy75,1
]Maelzel, who appropriated the idea from the ~Dutch inventor D. N. Winkel and es
t. a metro~~nome factory in Paris, [sm1816[nm. Consists of steel rod, ~about [sm
7[nm;FD;pp long by ;D1;E8;pp wide, pierced near top ~through which comes the piv
ot on which the rod ~oscillates. This rod, governed by a double pendu~~lum, is s
uspended by a pivot in front of a wooden ~case and held perpendicular. By means
of a ~weight, the pendulum may be made to oscillate ~between [sm
40[nm and [sm208[nm times in a minute. Maelzel's ~graduated scale, fixed to the
case, gives speed of ~oscillation. A spiral spring keeps the instrument ~beating
 for a considerable period. A composer ~who wants [sm78[nm quarter-note (crotche
t) beats in [sm1[nm ~minute will write `M.M. (Maelzel metronome) ;Ya~;eq[sm78[nm
'. It should be mentioned that some compos~~ers' metronome markings are suspect.
 Eds. of ~early works have in many cases added metronome ~marks which they think
 are feasible. Elec. ~metronomes have been marketed by several ~firms, and there
 is a pocket-metronome, about ~the size of a watch, consisting merely of an ~adj
ustable pendulum.[ep~^The ticking of Maelzel's metronome is supposed ~to have in
spired the theme of the [sm2[nmnd movement ~of Beethoven's [sm8[nmth sym. Severa
l [sm20[nmth-cent. com~~posers have incorporated the ticking of actual ~metronom
es into their scores, e.g. [fy45,1]*[fy75,1]Ligeti's ~symphonic poem for [sm100[
nm metronomes and ~Gordon [fy45,1]*[fy75,1]Crosse's [cf2]Play Gr
ound.[cm~Metropolitan Opera House. [fy75,1]Chief Amer. opera ~house, now a const
ituent of NY's [fy45,1]*[fy75,1]Lincoln Center ~for the Performing Arts. Opened
Sept., [sm1966[nm, ~with Barber's [cf2]Antony and Cleopatra. [cf1]Seating ~capac
ity [sm3[nm,[sm800[nm. Orig. `Met.' opened [sm1883[nm, with ~Gounod's [cf2]Faust
. [cf1]After first season, Leopold Dam~~rosch was appointed art. dir., but died
before his ~first season was over and was succeeded by Anton ~Seidl and by Walte
r Damrosch, son of Leopold, ~who remained until [sm1890[nm=n[sm1[nm, giving all
operas in ~Ger. Singers at the Met. in the period up to [sm1903[nm ~incl. Nilsso
n, Materna, Sembrich, Nordica, Eames, ~the de Reszkes, Calv;aae, Melba, Plan;alc
on, Maurel, ~and Scotti. In [sm1903[nm Heinrich Conried became ~manager, engagin
g Caruso, Fremstad, Farrar, and ~Chaliapin. In [sm1907[nm he brought Mahler as c
ond., ~but resigned in [sm1908[nm and was followed by the ~joint direction of An
dreas Dippel and Giulio ~Gatti-Casazza who engaged Toscanini as
cond. ~Dippel resigned in [sm1910[nm and Gatti-Casazza re~~mained until [sm1935[
nm. An outstanding occasion was ~the f.p. in [sm1910[nm of Puccini's [cf2]La Fan
ciulla del West[cf1], ~with Caruso, Destinn, and Toscanini. Toscanini ~resigned
in [sm1914[nm=n[sm15[nm and was followed by a group ~[PN464,0,0,L,I0]of conducto
rs among whom Bodanzky, Serafin, ~and Wolff were outstanding. During Gatti-~Casa
zza's r;aaegime operas by Strauss, Jan;aaa;akcek, ~Respighi, and others had thei
r first Amer. ~performances. Gigli, Ponselle, Pinza, Flagstad, ~Leider, Melchior
, Muzio, Jeritza, and Tibbett ~were among the principal singers. Gatti-Casazza's
 ~successor was Herbert Witherspoon, who died ~almost immediately and the manage
ment passed ~to Edward Johnson, a member of the company ~since [sm1922[nm. In hi
s [sm15[nm years he encouraged Amer. ~singers, e.g. Warren, Peerce, Tucker, Trau
bel, ~Thebom, and strengthened the conducting by ~engaging Stiedry, Walter, Busc
h, Szell, Reiner, ~and others. From [sm1950[nm to [sm1972[nm, Ru
dolf Bing was ~manager. In his r;aaegime stage techniques were ~modernized and t
heatrical producers engaged. ~He extended the season from [sm30[nm to [sm45[nm w
eeks. ~Great singers in his era incl. Callas, Tebaldi, Price, ~Merrill, de los A
ngeles, Bergonzi, and Siepi. Bing ~was succeeded by Goeran Gentele, who was kill
ed ~before taking office, though not before he had ~appointed the Met.'s first m
us. dir. Rafael Kubelik. ~The manager from [sm1973[nm was Schuyler Chapin. ~He a
ppointed James Levine mus. dir. in [sm1975[nm. ~Broadcasting from the Met. began
 in [sm1931[nm. Since ~[sm1932[nm the Saturday matin;aaees have been relayed ~na
tionally.[cm~Mewton-Wood, Noel [fy75,1]([cf2]b [cf1]Melbourne, [sm1922[nm; [cf2]
d ~[cf1]London, [sm1953[nm). Australian pianist. Studied at ~Melbourne Cons. and
 RAM, later with Schnabel. ~London d;aaebut [sm1940[nm. Regarded as one of great
est ~pianists of his day. Brilliant exponent of Bliss's ~conc., Tippett's [sm1[n
mst sonata, and of works by Busoni ~and Britten. Acc. Pears in s
ong-cycles by Tippett. ~Gave f.p. of rev. version of Britten's pf. conc. ~[sm194
6[nm.[cm~Meyer, Kerstin [fy75,1](Margareta) ([cf2]b[cf1] Stockholm, [sm1928[nm).
 ~Swedish mez. D;aaebut Stockholm [sm1952[nm as Azucena ~in [cf2]Il trovatore[cf
1], then studied in Salzburg and Italy. ~Guest singer in opera Vienna, Venice, H
amburg, ~Berlin, since [sm1956[nm. Sang in Eng. from [sm1960[nm, esp. ~with Barb
irolli and Hall;aae (Angel in [cf2]Gerontius[cf1], ~Mahler, Chausson, etc.). D;a
aebuts CG (Dido in ~Berlioz's [cf2]Les Troyens[cf1]) and NY Met. [sm1960[nm, Bay
reuth ~[sm1962[nm. Frequent appearances at Glyndebourne ~(d;aaebut [sm1961[nm in
 [cf2]Elegy for Young Lovers[cf1]). Striking ~singing-actress, notably in modern
 operas. Cre~~ated leading roles in operas by Maw, Goehr, ~Schuller, Searle, Hen
ze, and Ligeti ([cf2]Le grand ~macabre[cf1], [sm1978[nm).[cm~Meyer, Krzysztof [f
y75,1]([cf2]b[cf1] Krak;aaow, [sm1943[nm). Polish composer, pianist, ~and writer
. Studied Krak;aaow and Amer. Cons., ~Fontainebleau. Prof. Krak;
aaow High School of Mus. ~Works incl. opera, [sm5[nm syms., [sm5[nm concs., [sm5
[nm str. qts., pf. ~sonatas, etc.[cm~Meyerbeer, Giacomo [fy75,1](really Jakob Li
ebmann ~Beer) ([cf2]b[cf1] Berlin, [sm1791[nm; [cf2]d [cf1]Paris, [sm1864[nm). G
er. composer ~who worked mainly in Paris. After receiving ~legacy from relative
named Meyer converted his ~name into Meyerbeer. Child prodigy pianist, ~playing
Mozart conc. in public at age [sm7[nm. Studied ~counterpoint with Vogler at Darm
stadt [sm1810[nm=n[sm12[nm, ~at which time he wrote [sm2[nm operas and and an ~o
ratorio. His comic opera was a failure in Vienna, ~where he was urged by Salieri
 to study vocal ~methods in It. He fell under Rossini's spell in ~[sm1815[nm and
 wrote [sm6[nm It. operas between [sm1817[nm and ~[sm1824[nm, all successful, es
pecially [cf2]Il Crociato in Egitto. ~[cf1]Weber advised him to turn to Ger. ope
ra, but ~after the Paris premi;agere of [cf2]Il Crociato[cf1] in [sm1826[nm he ~
concentrated on Fr. opera, spending the next few ~years assimila
ting Fr. history and character. He ~collaborated with the librettist Scribe and
their ~first opera, [cf2]Robert le Diable[cf1], in [sm5[nm acts and on a ~grand
scale, was an unprecedented success. This ~was followed by [cf2]Les Huguenots[cf
1] and [cf2]Le Proph;agete[cf1]. He ~was [cf2]Generalmusikdirektor[cf1] in Berli
n [sm1842[nm=n[sm9[nm, during ~which time he wrote [cf2]Ein Feldlager in Schlesi
en[cf1] for ~Jenny [fy45,1]*[fy75,1]Lind, later incorporating some of its nos. ~
into [cf2]L';aaEtoile du Nord[cf1]. The success of Meyerbeer's ~pageant-like ope
ras irked Wagner (who neverthe~~less learned from them in early works like [fy45
,1]*[fy75,2]Rienzi[cf1]) ~and Meyerbeer, born of Jewish parentage, was ~bitterly
 attacked in Wagner's pamphlet [cf2]Das ~Judentum in der Musik [cf1]in spite of
the fact that ~Meyerbeer had assisted him early in his career. ~He returned to P
aris in [sm1863[nm to supervise ~rehearsals of his longest opera, [cf2]L'Africai
ne[cf1], on ~which he had been working for nearly [sm25[nm years
 ~but he became ill and died. It had been customary ~to deride Meyerbeer for an
eclecticism which ~lacked sufficient inner conviction to give his ~operas life b
eyond their day and away from the ~spectacular dramatic productions they receive
d ~in Paris. Revivals of his operas, however, have ~revealed virtues which were
his alone, and, as ~with so many other figures in mus. history, it ~would be ras
h to write him off as forgotten. Prin. ~works:[xm[cm~[j2][smoperas[nm: [fy75,2]J
ephtas Gel;auubde [cf1]([sm1812[nm), [cf2]Wirth und Gast ~[cf1]([sm1813[nm, rev.
 [sm1820[nm as [cf2]Alimelek[cf1]), [cf2]Romilda e Costanza[cf1] ~([sm1817[nm),
[cf2]Semiramide Riconosciuta [cf1]([sm1819[nm), [cf2]Emma di ~Resburgo[cf1] ([sm
1819[nm), [cf2]Margherita d'Anjou [cf1]([sm1820[nm), ~[cf2]L'esule di Granata [c
f1]([sm1822[nm), [cf2]Il Crociato in Egitto[cf1] ~([sm1824[nm), [fy45,1]*[fy75,2
]Robert le Diable[cf1] ([sm1831[nm), [cf2]Les [fy45,1]*[fy75,2]Huguenots[cf1] ~(
[sm1836[nm), [cf2]Ein Feldlager in Schlesien[cf1] ([sm1844[nm, r
ev. [sm1847[nm ~as [cf2]Vielka[cf1]), [cf2]Le [fy45,1]*[fy75,2]Proph;agete[cf1]
([sm1849[nm), [cf2]L'[fy45,1]*[fy75,2];aaEtoile du Nord[cf1] ~([sm1854[nm), [cf2
]Le Pardon de Plo;auermel[cf1] or [fy45,1]*[fy75,2]Dinorah[cf1] ([sm1859[nm), ~[
cf2]L'[fy45,1]*[fy75,2]Africaine[cf1] ([sm1837[nm=n[sm64[nm).[ep~Also wrote orat
orio, marches, songs, and church ~mus.[cm~[j1]Meyerowitz, Jan[fy75,1] (orig. Han
s-Hermann) ([cf2]b[cf1] Bres~~lau, [sm1913[nm). Ger.-born composer (Amer. citize
n ~since [sm1951[nm). Studied Berlin Hochschule f;auur Musik ~[sm1930[nm=n[sm3[n
m with [fy45,1]*[fy75,1]Zemlinsky and in Rome [sm1933[nm=n[sm7[nm ~with [fy45,1]
*[fy75,1]Casella and [fy45,1]*[fy75,1]Respighi. Settled in USA [sm1946[nm, ~teac
hing at Tanglewood, Brooklyn, and in NY. ~Works incl. [sm7[nm operas, e.g. [cf2]
Esther [cf1]([sm1957[nm); choral ~works incl. [cf2]The Glory Around His Head[cf1
] ([sm1955[nm), ~[cf2]Stabat Mater, e.e. cummings Cantata [cf1]([sm1949[nm=n[sm5
6[nm), ~[cf2]Emily Dickinson Cantata[cf1] ([sm1948[nm), [cf2]Rob
ert Herrick ~[PN465,0,0,R,I0]Cantata[cf1] ([sm1948[nm=n[sm54[nm); Sym. [cf2]Midr
ash Esther[cf1] ([sm1957[nm); ~fl. conc., vc. sonata, songs, etc.[cm~Mezzo, mezz
a [fy75,1](It.). Half. [cf2]Mezza voce, [cf1]half-voice, ~i.e. half the vocal (o
r instr.) power possible. (Not ~to be confused with [fy45,1]*[fy75,2]Messa di vo
ce.[cf1]) [cf2]Mezzo-forte[cf1], ~half-loud, i.e. neither loud nor soft.[cm~Mezz
o-Soprano[fy75,1] (It.). Half-soprano. Female (or ~artificial male) v. midway be
tween sop. and cont. ~Several operatic roles written for sops. are ~traditionall
y sung by and better suited to mezzos, ~e.g. Dorabella in [cf2]Cos;agi fan tutte
[cf1], Carmen, Oktavian ~in [cf2]Der Rosenkavalier[cf1], the Composer in [cf2]Ar
iadne auf ~Naxos. [cf1]Occasionally a singer will describe herself ~as `mezzo-co
ntralto', meaning a little lower in ~range than mez.[cm~mf.[fy75,1];eq[cf2]Mezzo
 forte, [cf1]Half-loud.[cm~M.G.[fy75,1];eq[cf2]Main gauche[cf1] (Fr.). Left hand
.[cm~Mi. [fy75,1]([sm1[nm) The [sm3[nmrd degree of the major sca
le, ~according to the system of vocal syllables derived ~from Guido d'Arezzo (se
e [cf2]Hexachord[cf1]), and so used ~(spelt [cf2]Me[cf1]) in [fy45,1]*[fy75,1]To
nic Sol-fa, in which it is also the ~[sm5[nmth degree of the minor scale. In man
y countries, ~however, the name has become attached (on ~`fixed-doh' principles)
 to the note E, in whatever ~key it may occur.[ep~^([sm2[nm) [fy45,1]*[fy75,1]Me
ssiaen's intimate name for his first wife, ~the violinist Claire Desnos, for who
m he wrote ~his [fy45,1]*[fy75,2]Po;agemes pour Mi.[cm~Miaskovsky. [fy75,1]See [
cf2]Myaskovsky, Nikolay.[cm~Micheau, Janine[fy75,1] ([cf2]b[cf1] Toulouse, [sm19
14[nm; [cf2]d[cf1] Paris, ~[sm1976[nm). Fr. sop. Studied Toulouse and Paris. D;a
aebut ~Paris [sm1933[nm. Paris Op;aaera from [sm1936[nm, creating title-~roles o
f [fy45,1]*[fy75,1]Milhaud's [cf2]M;aaed;aaee [cf1]([sm1940[nm) and Manuela in ~
his [cf2]Bolivar[cf1] ([sm1950[nm). CG [sm1937[nm (Micaela in [cf2]Carmen[cf1]),
 ~San Francisco [sm1938[nm, Chicago [sm1956[nm. Prof. of ~singin
g, Paris Cons. from [sm1960[nm. Notable M;aaeli~~sande and Micaela.[cm~Michelang
eli, Arturo Benedetto[fy75,1] ([cf2]b[cf1] Brescia, ~[sm1920[nm). It. pianist. S
tudied Brescia and Milan Cons. ~[sm1[nmst prize Geneva Int. Mus. Competition [sm
1939[nm. ~Eng. d;aaebut [sm1946[nm. Remarkable artist, but appear~~ances infrequ
ent.[cm~Michelangelo Buonarroti, Suite on Verses of. ~[fy75,1][sm11[nm settings
by Shostakovich, Op. [sm145[nm, for bass and ~pf., comp. [sm1974[nm, f.p. Lening
rad [sm1975[nm. Orch. ~version, Op. [sm145[nma, [sm1974[nm, f.p. Moscow [sm1975[
nm.[cm~Michelangelo Sonnets [fy75,1](Britten). See [cf2]Seven Sonnets ~of Michel
angelo.[cm~Mi contra Fa. [fy75,1]The [fy45,1]*[fy75,1]tritone (interval of [sm3[
nm whole ~tones), from F up or down to B, difficult to sing, ~thus giving rise t
o the saying `Mi contra fa ~diabolus est in musica' (`Mi against fa ;obthe ~Hexa
chord system names for these notes;cb is the ~devil in music').[cm~Microtone. [f
y75,1]All intervals which lie between the ~semi-tones of the [sm
12[nm-note, equal-tempered tuning ~system. Several [sm20[nmth-cent. composers ha
ve exper~~imented in microtones and quarter-tones. Joseph ~Yasser proposed a sca
le of [sm19[nm notes per octave and ~Adriaan Fokker [sm31[nm per octave, but lit
tle mus. has ~been written using these temperaments because ~instrs. are not des
igned to play them. Elec. instrs., ~however, enable division of intervals other
than ~the octave in equal intervals, as in [fy45,1]*[fy75,1]Stockhausen's ~[cf2]
Gesang der J;auunglinge. [cf1]Among the earliest compos~~ers to employ microtone
s were [fy45,1]*[fy75,1]Ives, [fy45,1]*[fy75,1]Bart;aaok, ~and [fy45,1]*[fy75,1]
Bloch but as incidental features. More ~systematic use was devised by A. [fy45,1
]*[fy75,1]H;aaab;aaa, J. ~[fy45,1]*[fy75,1]Carrillo, and H. Partch.[cm~Middelsch
ulte, Wilhelm [fy75,1]([cf2]b[cf1] Werne, [sm1862[nm; [cf2]d[cf1] ~Werne, [sm194
3[nm). Ger. organist and composer. ~Studied Berlin. Organist, Lukaskirche, Berli
n, ~[sm1888[nm=n[sm91[nm, Chicago R.C. Cath. [sm1891[nm=n[sm5[nm
, St James's ~Ch., Wisconsin, [sm1899[nm=n[sm1919[nm. Wrote several org. ~works.
[cm~Middle C. [fy75,1]The note C found at approx. middle ~of pf. kbd., commonly
tuned to [sm256[nm Hz. The ~pitch represented by note on [sm1[nmst ledger line b
elow ~treble staff, or [sm1[nmst above bass staff.[cm~Midi, Le [fy75,1](Haydn).
See [cf2]Matin, Le.[cm~Midsummer Marriage, The. [fy75,1]Opera in [sm3[nm acts by
 ~[fy45,1]*[fy75,1]Tippett to his own lib. Comp. [sm1946[nm=n[sm52[nm. Prod. ~Lo
ndon [sm1955[nm, San Francisco [sm1983[nm. [cf2]Ritual Dances[cf1] ~from Act II
are often perf. as concert piece and ~were f.p. before opera was prod. (Basle, [
sm1953[nm, ~Liverpool [sm1954[nm).[cm~Midsummer Night's Dream, A. [fy75,1]Play (
[sm1593[nm=n[sm4[nm) ~by Shakespeare which has attracted several ~composers. ([s
m1[nm) [cf2]The Fairy Queen, [cf1][sm1691[nm, adaptation ~(by E. Settle?) of Sha
kespeare for which [fy45,1]*[fy75,1]Purcell ~wrote incidental mus. Shakespeare's
 text is not ~quoted.[ep~^[cf1]([sm2[nm) [fy45,1]*[fy75,1]Mendel
ssohn composed an Ov. in E major, ~Op. [sm26[nm, in [sm1826[nm when he was [sm17
[nm, adding additional ~items of incidental mus., Op. [sm61[nm, for a prod. of ~
the play at Potsdam in Oct. [sm1843[nm these being: [sm1[nm. ~[cf2]Scherzo [cf1]
(entr'acte after Act [sm1[nm). [sm2[nm. [cf2]Melodrama. [cf1][sm2[nma. ~[cf2]Fai
ry March[cf1] (Act [sm2[nm). [sm3[nm. [cf2]You spotted snakes[cf1] ([sm2[nm sop.
 ~and ch.) (Act [sm2[nm). [sm4[nm. [cf2]Melodrama[cf1] (Act [sm2[nm). [sm5[nm. [
cf2]Intermezzo[cf1] ~(entr'acte after Act [sm2[nm). [sm6[nm. [cf2]Melodrama [cf1
](Act [sm3[nm). [sm7[nm. ~[cf2]Nocturne[cf1] (entr'acte after Act [sm3[nm). [sm8
[nm. [cf2]Melodrama[cf1] (Act ~[sm4[nm). [sm9[nm. [cf2]Wedding March[cf1] (after
 end of Act [sm4[nm). [sm10[nm. ~[cf2]Melodrama.[cf1] [sm10[nma. [cf2]Funeral Ma
rch[cf1] (Act [sm5[nm). [sm11[nm. ~[cf2]Bergomask Dance[cf1] (Act [sm5[nm). [sm1
2[nm. [cf2]Melodrama. [cf1][sm12[nma. ~[cf2]Finale[cf1] (Act [sm5[nm).[ep~^([sm3
[nm) Incidental mus. by [fy45,1]*[fy75,1]Orff commissioned by ~N
azis when Mendelssohn's mus. was banned. [sm1[nmst ~version [sm1939[nm (f.p. Fra
nkfurt [sm1939[nm; withdrawn), ~[sm2[nmnd version [sm1944[nm (withdrawn), [sm3[n
mrd version [sm1952[nm ~(f.p. Darmstadt [sm1952[nm), [sm4[nmth version [sm1964[n
m (f.p. ~Stuttgart [sm1964[nm).[ep~^([sm4[nm) Opera in [sm3[nm acts by [fy45,1]*
[fy75,1]Britten to lib. (Shake~~speare's text) abbreviated by composer and Peter
 ~Pears. Prod. Aldeburgh [sm1960[nm, San Francisco and ~CG [sm1961[nm, NY [sm196
3[nm, Glyndebourne [sm1981[nm.[xm[cm~[ol0][ep~[xp[te~






[do19][j99]~~~~~~[sm153842[nm_MA[sm07[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm07[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm8[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm420[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Mighty Handful
 [fy75,1](Russ., [cf2]Moguchaya kuchka[cf1]). ~Term coined by critic V. Stasov a
nd applied to ~[PN466,0,0,L,I0]the [sm5[nm Russ. composers Balakirev, Borodin, C
ui, ~Mussorgsky, and Rimsky-Korsakov who were ~consciously nationalist in their
approach to mus. ~Sometimes known as `the [fy45,1]*[fy75,1]Five' or the `Mighty
~Five'.[cm~Mignon. [fy75,1]Opera in [sm3[nm acts by Ambroise Thomas to ~lib. by
Barbier and Carr;aae based on Goethe's novel ~[cf2]Wilhelm Meisters Lehrjahre [c
f1]([sm1795[nm=n[sm6[nm). Prod. Paris ~[sm1866[nm, London [sm1870[nm, New Orlean
s [sm1871[nm, NY [sm1883[nm.[cm~Mignone, Francisco [fy75,1]([cf2]b[cf1] S;atao P
aulo, [sm1897[nm). Brazil~~ian composer, cond., and pianist. Studied in S;atao ~
Paulo and Milan. Prof. of pf. and harmony Rio ~Cons. since [sm19
34[nm. Works incl. operas, ballets, ~orch. mus., and smaller pieces.[cm~Migot, G
eorges Elbert [fy75,1]([cf2]b [cf1]Paris, [sm1891[nm; [cf2]d[cf1] Levallois, ~[s
m1976[nm). Fr. composer. Studied Paris Cons. with ~Widor and d'Indy. Curator of
Paris Cons. museum ~of instrs. [sm1949[nm=n[sm61[nm. Influenced by Asian mus. an
d ~Fr. medieval polyphony. Prolific composer of [sm13[nm ~syms., several operas,
 ballets, oratorios, [cf2]Requiem[cf1], ~etc. Also painter and writer.[cm~Mihalo
vici, Marcel [fy75,1]([cf2]b [cf1]Bucharest, [sm1898[nm). Roman~~ian-born compos
er. Studied Bucharest and Paris ~([sm1919[nm=n[sm25[nm). Settled in Paris. Teach
er at Schola ~Cantorum [sm1959[nm=m[sm62[nm. Husband of pianist Mon-[fjique [fy4
5,1]*[fy75,1]Haas. Works incl. operas [cf2]Ph;agedre [cf1]([sm1948[nm=n[sm9[nm),
 ~[cf2]Die Heimkehr [cf1]([sm1954[nm=n[sm5[nm), [cf2]Krapp [cf1]([sm1959[nm=n[sm
60[nm), ballets, ~[sm5[nm syms., mus. for Eliot's [cf2]Murder in the Cathedral[c
f1], ~[sm3[nm str. qts., sonatas for several instr. (incl. cl.,
bn., ~va.).[cm~Mih;aaaly, Andr;aaas [fy75,1]([cf2]b[cf1] Budapest, [sm1917[nm).
Hung. ~composer. Studied Budapest Acad. [sm1933[nm=n[sm8[nm. ~Teacher of chamber
 mus. Budapest Acad. from ~[sm1950[nm. Founder and cond. Budapest Chamber Ens. ~
[sm1968[nm. Works incl. [sm3[nm syms., vc. conc., pf. conc., vn. ~conc., opera [
cf2]Together and Alone [cf1]([sm1965[nm), [sm2[nm str. qts., ~choral works, etc.
[cm~Mikado, The, or The Town of Titipu. [fy75,1]Operetta ~comp. [sm1884[nm=n[sm5
[nm by Sullivan to lib. by Gilbert. Prod. ~London, NY, Chicago, and Sydney, N.S.
W., [sm1885[nm.[cm~Mikrokosmos. [fy75,1][sm153[nm `progressive pieces for piano~
~[chforte' by Bart;aaok comp. between [sm1926[nm and [sm1939[nm ~and pubd. in [s
m6[nm vols. [sm7[nm pieces (Nos. [sm69[nm, [sm113[nm, [sm123[nm, ~[sm127[nm, [sm
135[nm, [sm145[nm, [sm146[nm) transcr. by Bart;aaok for [sm2[nm pf. [sm7[nm ~pie
ces (Nos. [sm102[nm, [sm117[nm, [sm137[nm, [sm139[nm, [sm142[nm, [sm151[nm, [sm1
53[nm) ~transcr. by Tib;aaor S;aaerly for orch. [sm5[nm pieces (
Nos. ~[sm102[nm, [sm108[nm, [sm116[nm, [sm139[nm, [sm142[nm) transcr. by S;aaerl
y for str. ~qt.[cm~Mil;aaan, Luis de[fy75,1] ([cf2]b[cf1] Valencia, [cf2]c[cf1].
[sm1500[nm; [cf2]d [cf1]Valencia, ~[cf2]c[cf1].[sm1561[nm). Sp. composer, poet,
and player of the ~[fy45,1]*[fy75,2]vihuela[cf1], for which he wrote many pieces
. Also ~wrote songs with [cf2]vihuela [cf1]acc., a book of them ~being pubd. [sm
1536[nm.[cm~Milanov [fy75,1](orig. Kunc), [fy65][cf3]Zinka [fy75,1]([cf2]b [cf1]
Zagreb, [sm1906[nm). ~Yugoslav sop. Studied Zagreb, then with [fy45,1]*[fy75,1]T
er~~nina. D;aaebut Ljubljana [sm1927[nm in [cf2]Trovatore[cf1]. Prin. ~sop., Zag
reb Opera [sm1928[nm=n[sm35[nm, singing [sm350[nm perfs. ~all in Croatian. Salzb
urg Fest. [sm1937[nm. NY Met. ~d;aaebut [sm1937[nm, appearing there regularly un
til [sm1966[nm, ~excluding [sm1947[nm=n[sm50[nm.[cm~Milanova, Stoika [fy75,1]([c
f2]b [cf1]Plovdiv, Bulgaria, [sm1945[nm). ~Bulgarian violinist. Studied Moscow C
ons. with ~D. [fy45,1]*[fy75,1]Oistrakh. [sm1[nmst prize City of
 London int. ~competition [sm1970[nm, also Flesch prize. London ~d;aaebut [sm197
0[nm. Hongkong Fest. with Hall;aae Orch. ~[sm1976[nm. Recitals with Radu Lupu.[x
m[cm~[j1]Mildenburg, Anna von [fy75,1]([cf2]b [cf1]Vienna, [sm1872[nm; [cf2]d ~[
cf1]Vienna, [sm1947[nm). Austrian operatic sop. Studied ~with Rosa Papier. D;aae
but Hamburg [sm1895[nm under ~[fy45,1]*[fy75,1]Mahler, whose mistress she was fo
r a time and ~about whom she wrote a valuable book of ~memoirs. Became eminent i
n Wagner: Bayreuth ~(Kundry) [sm1897[nm, CG (Isolde) [sm1906[nm. Sang at Vienna
~Opera in Mahler's directorship and was regular ~member of co.[sm1908[nm=n[sm16[
nm. Outstanding Klytemnes~~tra in Strauss's [cf2]Elektra[cf1]. Stage dir. Nat. T
h., Munich, ~[sm1921[nm=n[sm6[nm. Taught in Berlin [sm1938[nm. Married the ~writ
er Hermann Bahr, [sm1909[nm, with whom she ~wrote [cf2]Bayreuth und das Wagner-T
heater [cf1]([sm1910[nm).[cm~Mildmay, Audrey [fy75,1]([cf2]b [cf1]Herstmonceux,
[sm1900[nm; [cf2]d ~[cf1]London, [sm1953[nm). Eng. sop. Sang wit
h Carl Rosa ~and SW. Married John [fy45,1]*[fy75,1]Christie of [fy45,1]*[fy75,1]
Glynde~~bourne, [sm1931[nm, who built opera house for her and ~launched famous s
ummer operatic fest. [sm1934[nm. ~She sang Susanna [cf1]([cf2]Figaro[cf1]), Zerl
ina ([cf2]Don Giovanni[cf1]), ~and Norina ([cf2]Don Pasquale[cf1]) at Glyndebour
ne. ~Edinburgh Fest. was her idea.[cm~Milford, Robin [fy75,1]([cf2]b [cf1]Oxford
, [sm1903[nm; [cf2]d [cf1]Lyme Regis, ~[sm1959[nm). Eng. composer. Studied RCM u
nder Holst, ~Vaughan Williams, and R. O. Morris. Taught ~mus. in schools. Wrote
oratorios, [cf2]A Prophet in the ~Land [cf1]([sm1931[nm) and [cf2]The Pilgrim's
Progress[cf1], sym., vn. ~conc., ballets, and songs.[cm~Milhaud, Darius [fy75,1]
([cf2]b [cf1]Aix-en-Provence, [sm1892[nm; [cf2]d ~[cf1]Geneva, [sm1974[nm). Fr.
composer and pianist. Entered ~Paris Cons. [sm1909[nm, studying with G;aaedalge,
 Widor, ~and d'Indy. Attach;aae at Fr. legation, Rio de Janeiro, ~[sm1917[nm=n[s
m19[nm, meeting Claudel, poet-diplomat, who ~was to write libs.
for several of his works. ~Returned to Paris [sm1919[nm, becoming known as one ~
of [cf2]Les [fy45,1]*[fy75,2]Six [cf1]who owed allegiance to Satie and ~Cocteau.
 Visited USA [sm1922[nm as pianist in his own ~works. Left Fr. [sm1940[nm, settl
ing in USA, teaching at ~Mills Coll., Oakland, Calif., [sm1940[nm=n[sm71[nm and
in ~summers at Aspen, Colorado. Also taught at Paris ~Cons. [sm1947[nm=n[sm71[nm
. Extremely prolific composer, ~despite handicap of precarious health from late
~[sm1920[nms when rheumatic condition necessitated use ~of wheelchair. Dominatin
g feature of his mus. is ~use of [fy45,1]*[fy75,1]polytonality. Experimented wit
h many ~instr. combinations and also with tape. Prin. ~works:[xm[cm~[j2][smopera
s[nm: [fy75,2]Les Malheurs d'Orph;aaee [cf1]([sm1925[nm); [cf2]Le Pauvre ~Matelo
t [cf1]([sm1926[nm); [fy45,1]*[fy75,2]Christophe Colomb [cf1]([sm1928[nm); [cf2]
Max~~imilien [cf1]([sm1930[nm); [cf2]M;aaed;aaee [cf1]([sm1938[nm); [cf2]Bolivar
 [cf1]([sm1943[nm); ~[fy45,1]*[fy75,2]David [cf1]([sm1952[nm); [
cf2]La M;agere coupable [cf1](based on [sm3[nmrd ~play of Beaumarchais's Figaro
trilogy) ([sm1964[nm); [cf2]St ~Louis [cf1]([sm1970[nm).[ep~[PN467,0,0,R,I0][smb
allets[nm: [cf2]L`Homme et son d;aaesir [cf1]([sm1918[nm); [cf2]Le [fy45,1]*[fy7
5,2]Boeuf sur ~le toit [cf1]([sm1919[nm); [cf2]Les [fy45,1]*[fy75,2]Mari;aaes de
 la Tour Eiffel [cf1]([sm1921[nm); ~[cf2]La [fy45,1]*[fy75,2]Cr;aaeation du mond
e [cf1]([sm1923[nm); [cf2]Le Train bleu ~[cf1]([sm1924[nm); [cf2]La Bien-Aim;aae
e [cf1](after Schubert and Liszt) ~([sm1928[nm); [cf2]La Mort d'un tyran [cf1]([
sm1933[nm); [cf2]Mme Miroir ~[cf1]([sm1948[nm); [cf2]Jeux de printemps [cf1](Ima
gined Wing) ~([sm1944[nm); [cf2]The Bells [cf1]([sm1946[nm); [cf2]Les R;afeves d
e Jacob [cf1]([sm1949[nm); ~[cf2]Vendange [cf1]([sm1952[nm).[ep~[smtheatre[nm: [
cf2]Agamemnon[cf1], incidental mus. to Claudel ~adaptation of Aeschylus ([sm1913
[nm=n[sm14[nm); [cf2]Prot;aaee[cf1], inci~~dental mus. to drama by Claudel ([sm1
913[nm=n[sm19[nm); [cf2]Les ~Cho;auephores[cf1], Claudel, after
Aeschylus ([sm1915[nm); [cf2]Les ~Eum;aaenides[cf1], Claudel, after Aeschylus ([
sm1917[nm=n[sm22[nm); ~[cf2]L'Annonce faite ;aga Marie[cf1], incidental mus. to
Claudel ~drama ([sm1932[nm); [cf2]Le Jeu de Robin et Marion[cf1], mystery ~play
after [fy45,1]*[fy75,1]Adam de la Halle ([sm1951[nm); [cf2]L'Op;aaera des ~gueux
[cf1], arr. of [cf2]The Beggar's Opera [cf1]([sm1937[nm).[ep~[smorch[nm: [cf1][s
m6[nm syms. for small orch. ([cf2]Le Printemps[cf1], ~[cf2]Pastorale[cf1], [cf2]
Serenade[cf1], [sm10[nm str. instr., [sm10[nm wind instr., ~[sm4[nm vv., ob., vc
.) ([sm1917[nm=n[sm22[nm); [cf2]Saudades do Brazil ~[cf1]([sm1920[nm=n[sm1[nm, o
rig. for pf.); [cf2]Suite proven;alcale [cf1]([sm1937[nm); ~[cf2]Suite fran;alca
ise [cf1]([sm1945[nm); Syms. Nos. [sm1[nm=n[sm12[nm, comp. ~[sm1940[nm=n[sm62[nm
 (No. [sm3[nm [cf2]Hymnus ambrosianus[cf1] with ch.); ~va. conc. ([sm1927[nm); [
sm2[nm vc. concs. ([sm1935[nm, [sm1946[nm); cl. ~conc. ([sm1941[nm); harp conc.
([sm1954[nm).[ep~[smpiano and orch: [sm5[nm concs; [cf2][sm5[nm
;aaEtudes [cf1]([sm1920[nm); [cf2]Le ~Carnaval d'Aix [cf1]([sm1926[nm); Conc. fo
r [sm2[nm pf. ([sm1942[nm).[ep~[smviolin and orch[nm: [cf2]Concertino de printem
ps [cf1]([sm1934[nm); ~[sm3[nm concs. ([sm1927[nm=n[sm58[nm) (No. [sm3[nm [cf2]C
oncerto Royal[cf1]).[ep~[smmisc[nm: Conc., perc. and small orch. ([sm1930[nm); S
uite ~for harmonica (or vn.) and orch. ([sm1942[nm); ~[cf2]L'Apoth;aaeose de Mol
i;agere[cf1], hpd. and str. ([sm1948[nm); conc. ~for [fy45,1]*[fy75,1]marimba, v
ibraphone, and orch. ([sm1947[nm); ~[cf2]Concertino d'hiver[cf1], tb. and str. (
[sm1953[nm).[ep~[smchamber music[nm: [sm18[nm str. qts., comp. [sm1912[nm=n[sm62
[nm (Nos. ~[sm14[nm and [sm15[nm can be played separately or together ~as an oct
et, [sm1949[nm); [cf2]La [fy45,1]*[fy75,2]Chemin;aaee du roi Ren;aae[cf1], suite
 ~([sm1939[nm); str. trio ([sm1947[nm); str. septet ([sm1964[nm); ~sonatinas for
 vn. and va., fl. and pf., cl. and pf.; ~sonatas for va., and for vn. and hpd.;
[cf2]El;aaegie [cf1]for ~vc. and pf. ([sm1945[nm).[ep~[smpiano[n
m: Sonata No. [sm1[nm ([sm1916[nm), No. [sm2[nm ([sm1949[nm); [cf2]Saudades ~do
Brazil [cf1]([sm1920[nm=n[sm1[nm, also orch.); [nm[cf2]L'Album de Madame ~Bovary
 [cf1]([sm1934[nm); [cf2]Le Cand;aaelabre ;aga sept branches ~[cf1]([sm1951[nm);
 [fy45,1]*[fy75,2]Scaramouche [cf1]for [sm2[nm pf. ([sm1939[nm); [cf2]Paris[cf1]
, suite ~of [sm6[nm pieces for [sm4[nm pf. ([sm1948[nm).[ep~[smvocal[nm: [cf2]Ma
chines agricoles[cf1], v. and [sm7[nm instr. ([sm1919[nm); ~[cf2]Catalogue des f
leurs[cf1], v. and chamber orch. ([sm1920[nm); ~Sym. for vocal qt., ob. and vc.
([sm1923[nm); [cf2]Pacem in ~terris[cf1], ch. and orch. ([sm1963[nm).[ep~Also ma
ny songs and music for about [sm30[nm films, ~[sm1929=n59[nm, incl. [cf2]Madame
Bovary [cf1](dir. J. Renoir, ~[sm1933[nm) and [cf2]P;aaeron et Evita [cf1]([sm19
58[nm).[cm~[j1]Milit;auartrommel [fy75,1](Ger.). [fy45,1]*[fy75,1]Side drum.[cm~
Military band. [fy75,1]This term is used in Britain to ~describe either an actua
l army (or naval or air-~force) band or for one on the same mode
l, i.e. ~comprising both brass and woodwind instr. The ~composition of such band
s varies widely in ~different countries, and even in different regimen~~tal or o
ther units of the same country. One ~common Brit. combination is as follows: (a)
 [sm1[nm ~picc. (or fl., or both); [sm1[nm ob.; [sm1[nm small cl., [sm12[nm=n[sm
14[nm ~ordinary cl., [sm2[nm bass cl.; [sm1[nm alto and [sm1[nm ten. sax; [sm2[n
m bn. ~(b) [sm4[nm hn., [sm2[nm bars., [sm2[nm euphoniums, [sm4[nm bombardons. ~
(c) [sm4[nm cornets; [sm2[nm tpt.; [sm3[nm tb. (d) [sm2[nm drummers with a ~vari
ety of perc. instr. Sometimes, when conditions ~of perf. allow, [sm1[nm or [sm2[
nm str. db. may appear, as an ~alternative to the same number of bass wind ~inst
r. Bands in USA vary from the above scheme ~merely in detail.[ep~^The score and
parts of the military band, unlike ~those of the brass band, employ the ordinary
 ~orch. system of notation. The term `wind band' is ~used in USA.[cm~Military, T
he. [fy75,1]Nickname of Haydn's Sym. in G, ~No. [sm100[nm in Bre
itkopf edn., comp. [sm1794[nm in London. ~So called because of `military' instrs
. and solo tpt.-~call in [sm2[nmnd movement.[cm~Milkina, Nina [fy75,1]([cf2]b[cf
1] Moscow, [sm1919[nm). Russ.-born ~pianist. Studied Paris Cons. and with Margu;
aaerite ~Long, Harold Craxton, and T. Matthay. D;aaebut ~Paris, with Lamoureux O
rch. Specialist in Mozart ~and [sm18[nmth-cent. chamber mus. Settled in Eng.[cm~
Miller, Edward Jay[fy75,1] ([cf2]b [cf1]Miami, [sm1930[nm). Amer. ~composer. Stu
died Miami, Berlin (with [fy45,1]*[fy75,1]Blacher), ~and Tanglewood. Teacher of
comp. at Hartt Coll. ~[sm1959[nm=n[sm71[nm, Oberlin Coll. from [sm1971[nm. Works
 incl. ~[cf2]Reflections at the Bronx Zoo [cf1]for orch. and opera [cf2]The ~You
ng God[cf1].[cm~Miller, [fy75,1](Alton) [fy65][cf3]Glenn [fy75,1]([cf2]b [cf1]Cl
arinda, Iowa, [sm1904[nm; [cf2]d ~[cf1]between London and Paris, [sm1944[nm). Am
er. trom~~bonist, band-leader, composer, and arranger. ~Played in various bands
from [sm1921[nm until joining ~Dorsey brothers' orch. [sm1934[nm
. Devised reed section ~of cl. and [sm4[nm sax. while with Ray Noble [sm1935[nm.
 ~Formed own band [sm1937[nm; this became one of best-~known and most popular in
 the world because of ~its characteristic sound, exemplified in recordings ~such
 as [cf2]Moonlight Serenade, Chatanooga Choo-Choo, ~In the Mood, American Patrol
[cf1], etc. Disbanded [sm1942[nm ~when Miller joined US Army. In [sm1944[nm asse
mbled ~service band and went to Eng. same year. ~Disappeared on flight to Paris,
 Dec. [sm1944[nm, aircraft ~never being found. Band continued under other ~leade
rs, notably Ray McKinley ([sm1956[nm=n[sm65[nm).[cm~Mill;auocker, Karl [fy75,1](
[cf2]b [cf1]Vienna, [sm1842[nm; [cf2]d[cf1] Baden, [sm1899[nm). ~Austrian compos
er and cond. Studied Vienna ~Cons. Cond. posts at Graz and Vienna, where he ~was
 cond. and composer at Theater an der Wien ~from [sm1869[nm. Prolific composer o
f operettas, best-~known of which are [cf2]Der tote Gast[cf1] ([sm1865[nm), [cf2
]Der ~[fy45,1]*[fy75,2]Bettelstudent [cf1]([sm1882[nm), [cf2]Gas
parone [cf1]([sm1884[nm), [cf2]Der arme ~Jonathan [cf1]([sm1890[nm).[cm~Mills, C
harles [fy75,1]([cf2]b [cf1]Asheville, N. Carolina, [sm1914[nm; [cf2]d ~[cf1]NY,
 [sm1982[nm). Amer. composer. Played in jazz bands ~from age [sm17[nm. Studied N
Y with Copland, Sessions, ~and Harris. Winner of several prizes. Commis~~sioned
by [fy45,1]*[fy75,1]Mitropoulos to compose work for NY ~P.O., [sm1951[nm. Prin.
works incl. [sm4[nm syms., pf. conc., fl. ~conc., [cf2]Theme and Variations [cf1
]for orch., ob. concer~~[PN468,0,0,L,I0]tino, and many chamber works, some invol
ving ~jazz groups.[cm~Milner, Anthony [fy75,1](Francis Dominic) ([cf2]b [cf1]Bri
stol, ~[sm1925[nm). Eng. composer. Studied comp. with ~[fy45,1]*[fy75,1]Seiber,
[sm1944[nm=n[sm8[nm, and RCM [sm1945[nm=n[sm7[nm. Taught at ~Morley Coll. [sm194
6[nm=n[sm62[nm. Dir. and harpsichordist, ~London Cantata Ens., [sm1954[nm=n[sm65
[nm. Teacher at RCM ~from [sm1961[nm and at King's Coll., London, [sm1966[nm=n[s
m71[nm. ~Lecturer in mus., Goldsmith's Coll., London ~Univ. from
 [sm1971[nm. Visited USA as lecturer [sm1965[nm=n~[sm7[nm. Also writer on mus. W
orks mainly choral, ~with strong religious (R.C.) basis, incl.:[xm[cm~[j2][smorc
h[nm: [fy75,2]Variations [cf1]([sm1958[nm); [cf2]Divertimento [cf1]for str. ~([s
m1961[nm); Chamber Sym. ([sm1968[nm); Sym. No. [sm1[nm ~([sm1972[nm), No. [sm2[n
m for ten., ch., and orch. ([sm1978[nm); ~conc. for symphonic wind band ([sm1979
[nm); conc. ~for str. ([sm1982[nm).[ep~[smchorus and orch[nm: [cf2]Salutatio ang
elica [cf1]([sm1948[nm); ~[cf2]The[fy45,1]*[fy75,2]City of Desolation [cf1]([sm1
955[nm); [cf2]St Francis [cf1]([sm1956[nm); ~[cf2]The Water and the Fire [cf1]([
sm1960[nm=n[sm1[nm);[cf2] Break to be Built, ~O Stone [cf1]([sm1962[nm); [cf2]Fe
stival Te Deum [cf1]([sm1967[nm); [cf2]Roman ~Spring [cf1]([sm1969[nm); [cf2]Mot
et for Peace [cf1]([sm1973[nm); [cf2]Emmanuel ~Cantata [cf1]([sm1975[nm).[ep~[sm
unacc. chorus[nm: [cf2]Mass [cf1]([sm1951[nm); [cf2]Benedic anima mea ~Dominum [
cf1]([sm1954[nm); [cf2]The [fy45,1]*[fy75,2]Harrowing of Hell [c
f1]([sm1956[nm); ~[cf2]Cast Wide the Folding Doorways of the East [cf1]([sm1963[
nm); ~[cf2]Ashmansworth [cf1]([sm1963[nm); [cf2]The Leaden Echo and the ~Golden
Echo [cf1]([sm1974[nm).[ep~[smvoice and instr[nm: [cf2]The Song of Akhenaten[cf1
], sop. and ~chamber orch. ([sm1957[nm); [cf2]Our Lady's Hours[cf1], sop. ~and p
f. ([sm1957[nm); [cf2]Midway[cf1], mez. and chamber orch. ~([sm1974[nm).[ep~[smc
hamber music[nm: Ob. qt. ([sm1953[nm); wind quintet ~([sm1964[nm); str. qt. ([sm
1975[nm).[cm~[ol0][ep~[xp[te~






[do19][j99]~~~~~~[sm153842[nm_MA[sm08[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmMA[sm08[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm8[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm447[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Milnes, Rodney [fy75
,1]([cf2]b [cf1]Stafford, [sm1936[nm). Eng. critic ~and author, specialist in op
era. Studied Oxford ~Univ. Worked in journalism before specializing ~in mus. Ope
ra critic, [cf2]Spectator[cf1], from [sm1970[nm. Assoc. ~ed. [cf2]Opera [cf1]fro
m [sm1976[nm, deputy ed. from [sm1984[nm.[cm~Milnes, Sherrill [fy75,1]([cf2]b [c
f1]Downers Grove, Ill., [sm1935[nm). ~Amer. bar. Studied Drake and Northwestern
~Univs. and with Rosa [fy45,1]*[fy75,1]Ponselle, among others. ~Opera d;aaebut B
oston Opera Co., [sm1960[nm (Masetto in ~[cf2]Don Giovanni[cf1]). Member Goldovs
ky Opera Co. ~[sm1960[nm=n[sm5[nm, NY City Opera [sm1964[nm=n[sm7[nm; prin. bar.
 NY ~Met. from [sm1965[nm (d;aaebut as Valentin in Gounod's ~[cf2]Faust[cf1]). G
uest singer at world's leading opera ~houses. London d;aaebut [s
m1969[nm. CG d;aaebut [sm1971[nm ~(Renato in [cf2]Un ballo in maschera[cf1]). Ha
s cond. opera ~recordings.[cm~Milstein, Nathan [fy75,1]([cf2]b[cf1] Odessa, [sm1
904[nm). Russ.-born ~violinist (naturalized Amer.). Pupil of Ysa;aeye and ~Auer.
 D;aaebut Odessa [sm1920[nm. Toured Russia in duo ~with [fy45,1]*[fy75,1]Horowit
z. D;aaebut in USA [sm1929[nm with St ~Louis Orch., thereafter settling there. A
uthority ~on Romantic composers. Ed. of vn. mus.[cm~Milton, John[fy75,1] ([cf2]b
 [cf1]Stanton St John, nr. Oxford, ~[cf2]c[cf1].[sm1563[nm; [cf2]d [cf1] London,
 [sm1647[nm). Eng. composer of ~madrigals, viol mus., and psalms. Contributed ~`
Fair Orian' to [cf2]The [fy45,1]*[fy75,2]Triumphs of Oriana[cf1]. Father of ~poe
t John Milton ([sm1608[nm=n[sm74[nm).[cm~Mime. [fy75,1]([sm1[nm) Acting in dumb-
show (or the actor in ~such) sometimes acc. by mus.[ep~^([sm2[nm) The Nibelung d
warf, brother of Alberich in ~Wagner's [cf2]Der Ring des Nibelungen[cf1], who br
ings up ~Siegfried.[cm~Mimodrama. [fy75,1]Play or drama in which
 action is ~carried on in dumb-show, often to mus. Differs ~from ballet because
movements are not formal~~ized.[cm~Minaccevole; minaccevolmente [fy75,1](It.). M
enac~~ing; menacingly. So also [cf2]minacciando[cf1], [cf2]minaccioso[cf1], ~[cf
2]minacciosamente[cf1].[cm~Mines of Sulphur, The. [fy75,1]Opera in [sm3[nm acts
by ~Richard Rodney Bennett to lib. by Beverley Cross. ~Comp [sm1963[nm. Prod. Lo
ndon (SW) [sm1965[nm cond. C. ~Davis.[cm~Minim. [fy75,1]See [cf2]Half-note[cf1].
[cm~Minimalists. [fy75,1]Term applied to group of compos~~ers, e.g. Steve [fy45,
1]*[fy75,1]Reich and Philip [fy45,1]*[fy75,1]Glass, in whose ~music there is the
 minimum of material which ~is repeated to maximum effect.[cm~Minkus, L;aaeon [f
y75,1](really Aloisius Ludwig) [cf1]([cf2]b [cf1]Vienna, ~[sm1826[nm; [cf2]d [cf
1]Vienna, [sm1917[nm). Austrian composer of ~ballet mus. Collab. with Delibes on
 [cf2]La Source[cf1], ~Paris [sm1866[nm. Settled in Russia and wrote mus. for ~m
any Petipa ballets in St Petersburg, incl. [cf2]Don ~Quixote [cf
1]([sm1869[nm) and [cf2]La Bayad;agere [cf1]([sm1877[nm). From mus. ~point of vi
ew, had misfortune to be contemporary ~of Tchaikovsky.[cm~Minneapolis Symphony O
rchestra. [fy75,1]See [cf2]Minne~~sota Orchestra[cf1].[cm~Minnelied [fy75,1](Ger
.). Love song.[cm~Minnesinger [fy75,1](Ger.). `Singer(s) of love'. Ger. ~equival
ent of [cf1]troubadours, flourishing in [sm12[nmth-~and [sm13[nmth-cent. guilds.
 Mainly of aristocratic orig. ~in contrast to [fy45,1]*[fy75,2]Meistersinger [cf
1]who were of mer~~chant class. Among the most celebrated [cf2]Minnesin~~ger [cf
1]were Walther von der Vogelweide ([cf2]d[cf1] [sm1230[nm), ~Neidhardt von Reuen
thal ([cf2]c[cf1].[sm1180[nm=n[sm1240[nm), Hein~~rich von Meissen (Frauenlob, [c
f2]d[cf1] [sm1318[nm), Hermann, ~the Monk of Salzburg ([cf2]c[cf1].[sm1350[nm=n[
sm1410[nm), and Oswald ~von Wolkenstein ([cf2]c[cf1].[sm1377[nm=n[sm1445[nm). Wa
gner's [cf2]Tann~~h;auauser [cf1]and Strauss's [cf2]Guntram [cf1]are operas deal
ing ~with the [cf2]Minnesinger [cf1]class.[xm[cm~[j1]Minnesota O
rchestra. [fy75,1]Name since [sm1968[nm of ~Minneapolis S.O., USA, giving regula
r series of ~subscription concerts in Minneapolis and St Paul. ~Founded [sm1903[
nm by Emil Oberhoffer who was ~cond. until [sm1922[nm, followed by Bruno [fy45,1
]*[fy75,1]Walter ~[sm1922[nm=n[sm3[nm, Henry [fy45,1]*[fy75,1]Verbrugghen [sm192
3[nm=n[sm31[nm, Eugene ~[fy45,1]*[fy75,1]Ormandy [sm1931[nm=n[sm6[nm, Dimitri [f
y45,1]*[fy75,1]Mitropoulos [sm1937[nm=n~[sm49[nm, Antal [fy45,1]*[fy75,1]Dorati
[sm1949[nm=n[sm60[nm, Stanislaw [fy45,1]*[fy75,1]Skrowa~~czewski [sm1960[nm=n[sm
80[nm, Neville [fy45,1]*[fy75,1]Marriner [sm1979=n86[nm.[cm~Minor [fy75,1](It. [
cf2]Minore[cf1]; Fr. [cf2]mineur[cf1]). Opposite of major, ~applied to [fy45,1]*
[fy75,1]scale, key, chord, and intervals.[cm~[PN469,0,0,R,I0]Minor Common Chord.
 [fy75,1]Common chord of ~which the [sm3[nmrd is minor.[cm~Minor Intervals. [fy7
5,1]See [cf2]Interval.[cm~Minor Scale. [fy75,1]See [cf2]Scale[cf1].[cm~Minstrels
. [fy75,1]([sm1[nm) See [cf2]Men;aaestrel[cf1].[ep~^([sm2[nm) Bl
ack-faced entertainers, `nigger minstrels', ~popular in USA (though not with gen
uine blacks) ~from about [sm1830[nms whose songs and humour were ~based on those
 of Negroes. Debussy's [cf2]Minstrels [cf1]in ~his [cf2]Pr;aaeludes [cf1](Book [
sm1[nm, No.[sm12[nm), refers to these mus.-~hall troupes.[cm~Minton, Yvonne [fy7
5,1](Fay) ([cf2]b [cf1]Sydney, N.S.W., [sm1938[nm). ~Australian mez. Studied Syd
ney Cons. and in ~London (with H. Cummings and Joan [fy45,1]*[fy75,1]Cross). ~Wo
n international vocalist comp. at 's=+=+Herto-[fjgenbosch [sm1961[nm. Opera d;aa
ebut [sm1964[nm (Lucretia in[fjBritten's opera). CG d;aaebut [sm1965[nm. Created
 role of ~Thea in Tippett's [cf2]The Knot Garden[cf1] ([sm1970[nm). Cologne ~Ope
ra from [sm1969[nm. Chicago [sm1970[nm, NY Met. [sm1973[nm ~(Oktavian), Bayreuth
 [sm1974[nm (Brang;auane). Australian ~Opera [sm1972[nm=n[sm3[nm. Many concert a
ppearances, nota~~bly with Chicago S.O. and Solti. C.B.E. [sm1980[nm.[cm~Minuet
[fy75,1](Eng.), [fy65][cf3]Menuet [fy75,1](Fr.), [fy65][cf3]Menu
ett [fy75,1](Ger.), ~[fy65][cf3]Minuetto [fy75,1](It.). Dance in triple time, or
ig. as Fr. ~rustic dance and adapted by the court in the [sm17[nmth ~cent. So ca
lled because of small, dainty step ([cf2]menu ~[cf1];eq small) which is characte
ristic. Soon taken up ~by composers of art mus. from [fy45,1]*[fy75,1]Lully onwa
rds ~and became one of optional movements of the ~[fy45,1]*[fy75,1]Suite. It als
o occurred in ovs. by Bach and ~Handel. In [sm18[nmth cent. it was used in syms.
 (and ~other forms) by Wagenseil, Haydn, Mozart, and ~others, becoming the stand
ard [sm3[nmrd movement ~until supplanted from Beethoven onwards by the ~[fy45,1]
*[fy75,1]scherzo. Normally in A|B|A form, the B section ~being a contrasting min
uet called `trio' because ~some Fr. composers wrote it in [sm3[nm-part harmony ~
or reduced the performers to [sm3[nm. Note that, ~although Beet[chhoven and othe
r composers used it ~in their scores, the word [cf2]Menuetto [cf1]does not exist
 ~in any language.[cm~Minute Waltz. [fy75,1]Nickname for Chopin'
s Waltz in ~D;yh, Op. [sm64[nm, No. [sm1[nm, comp. [sm1847[nm, on the assumption
 ~that it can be played in [sm1[nm minute=mbut only if ~played too fast.[cm~Mira
cle. [fy75,1]Nickname of Haydn's Sym. in D major, ~No. [sm96[nm in Breitkopf edn
., comp. London [sm1791[nm. So ~called in error because it used to be said that
at its ~f.p. in London on [sm11[nm Mar. [sm1791[nm the audience ~rushed forward
at the end to congratulate the ~composer, thereby escaping injury when a ~chande
lier collapsed on to their vacated seats. ~Research has est. that this incident
occurred ~during Haydn's [sm2[nmnd visit to London, at a concert ~on [sm2[nm Feb
. [sm1795[nm and that the sym. which had been ~played, and which therefore reall
y deserves the ~nickname, was Haydn's No. [sm102[nm in B;yh.[cm~Miracle in the G
orbals. [fy75,1]Ballet in [sm1[nm act, mus. by ~Bliss, lib. by M. Benthall, chor
eog. R. Helpmann. ~Prod. London [sm1944[nm. The Gorbals is a notorious ~slum dis
trict of Glasgow.[cm~Miracle Plays, Mysteries, and Moralities. [
fy75,1]The ~custom of teaching Bible stories by means of ~sacred dramas (often i
n church) is venerable. ~These dramas were known as [cf2]Miracle Plays [cf1](or,
 ~simply, [cf2]Miracles[cf1]), another name, given by writers ~on the subject (a
pparently first in the [sm18[nmth cent.), ~being [cf2]Mystery[cf1]. Of similar c
haracter were the ~plays which, personifying virtues and vices, ~taught moral le
ssons, e.g. [cf2]Moralities[cf1]. Religious ~plays of such types as these are re
corded as early ~as the [sm4[nmth cent. In Eng., there are records of them ~from
 the [sm11[nmth to the [sm16[nmth cents., some of the ~finest being perf. in Yor
k and Chester. Even today ~there are traces of them in the rural perfs. of ~mumm
ers in the N. of Eng. (e.g. the play of St ~George and the Dragon).[ep~^Corpus C
hristi (June) was in some cities a great ~occasion for plays in the streets (at
Chester [sm24[nm ~such played in a single day, moving to different ~locations, w
ith all [sm24[nm given at each). Some of the ~plays involved a g
ood deal of singing, and ~contained the seeds of the future masque, oratorio, ~a
nd opera. In the [sm20[nmth cent. several composers ~have based works on the old
 mystery plays, ~notably Stravinsky and Britten (whose [fy45,1]*[fy75,2]Noye's ~
Fludde [cf1]is a fine example). Vaughan Williams ~described his opera based on B
unyan's [cf2]The ~[fy45,1]*[fy75,2]Pilgrim's Progress [cf1]as a morality.[cm~Mir
aculous Mandarin, The [fy75,1]([cf2]A csod;aaalatos man~~darin[cf1]). Pantomime
in [sm1[nm act, Op. [sm19[nm, by Bart;aaok to ~scenario by Menyh;aaert Lengyel,
f.p. in Cologne ~[sm27[nm Nov. [sm1926[nm. Orch. suite f.p. Budapest [sm1928[nm.
 ~Comp. [sm1918[nm=n[sm19[nm, rev. [sm1924[nm and [sm1926[nm=n[sm31[nm. Censor~~
ship dogged the early history of this work, which ~was not perf. in Budapest unt
il [sm1946[nm, the year ~after Bart;aaok's death.[cm~Mireille. [fy75,1]Opera in
[sm3[nm (orig. [sm5[nm) acts by [fy45,1]*[fy75,1]Gounod to ~lib. by Carr;aae bas
ed on Mistral's poem [cf2]Mir;ageco ~[cf1]([sm1859[nm). Prod. Pa
ris and London [sm1864[nm, Chicago ~[sm1880[nm.[cm~Mirliton. [fy75,1]Generic ter
m applied to acoustical ~devices, many of folk origin, which modify tonal ~chara
cteristics of other instruments by means of ~vibration of their membrane, as in
comb and ~paper.[cm~Miroirs [fy75,1](Mirrors). Set of [sm5[nm epoch-making pf. ~
pieces by Ravel, comp. [sm1905[nm, entitled [cf2]Noctuelles[cf1], ~[cf2]Oiseaux
tristes[cf1], [cf2]Une Barque sur l'oc;aaean[cf1], [fy45,1]*[fy75,2]Alborado ~de
l Gracioso[cf1], [cf2]La Vall;aaee des cloches[cf1]. In [sm1908[nm Ravel ~scored
 [cf2]Une Barque sur l'oc;aaean [cf1]for orch., followed ~in [sm1912[nm by [cf2]
Alborado[cf1].[cm~Mirror Canon, Mirror Fugue. [fy75,1]Canon or fugue ~in which t
he parts (or vv.) and intervals appear in ~the score simultaneously both the rig
ht way up ~and upside down, as if a mirror lay between ~them.[cm~Mirror on which
 to Dwell, A. [fy75,1]Cycle of [sm6[nm songs ~for sop., picc., [sm2[nm fl., ob.,
 cor anglais, E;yh cl., bass cl., ~[PN470,0,0,L,I0]perc., pf., v
n., va., vc., db. by [fy45,1]*[fy75,1]Carter to poems by ~Elizabeth Bishop, comp
. [sm1975[nm, f.p. NY Feb. [sm1976[nm, ~London Nov. [sm1976[nm. Titles are: [sm1
[nm. [cf2]Anaphora[cf1], [sm2[nm. ~[cf2]Argument[cf1], [sm3[nm. [cf2]Sandpiper[c
f1], [sm4[nm. [cf2]Insomnia[cf1], [sm5[nm. [cf2]View of the ~Capitol from the Li
brary of Congress[cf1], [sm6[nm. [cf2]O Breath[cf1].[cm~Miserere. [fy75,1]Ps. [s
m51[nm ([sm50[nm in R.C. numeration). In the ~R.C. Church it is sung in the serv
ice of [fy45,1]*[fy75,1]Lauds. It ~has frequently been set by composers. A famou
s ~operatic setting occurs in Act [sm4[nm of Verdi's [cf2]Il ~Trovatore[cf1], fo
r sop., ten., ch., and orch.[cm~Miserly Knight, The [fy75,1]([cf2]Skupoy rytsar[
cf1]). Opera in ~[sm3[nm scenes by [fy45,1]*[fy75,1]Rakhmaninov, a setting of Pu
shkin's ~poem. Comp. [sm1905[nm, prod. Moscow [sm1906[nm.[cm~Missa [fy75,1](Lat.
). [fy45,1]*[fy75,1]Mass. Thus one finds [cf2]Missa brevis[cf1], ~short mass; [c
f2]missa cantata[cf1], sung mass; [cf2]missa ad ~fugam [cf1]or [
cf2]missa ad canones[cf1], mass in fugal or canonic ~style; [cf2]missa sine nomi
ne[cf1], mass without a name, i.e. ~comp. (in [sm15[nmth and [sm16[nmth cents.)
with orig. ~material and not, as was customary, on an existing ~plainsong or sec
ular melody.[cm~Missa in tempore belli [fy75,1](Mass in time of war) ~(Haydn). S
ee [cf2]Paukenmesse[cf1].[cm~Missa Papae Marcelli [fy75,1](Mass of Pope Marcellu
s). ~Mass for [sm6[nm vv. by Palestrina comp. [cf2]c[cf1].[sm1561[nm. The ~Pope
Marcellus II, who resigned after only a few ~weeks, showed a desire to promote a
 reform in ~church mus. and this Mass is traditionally assoc. ~with the circumst
ance. But the romantic legend ~that has grown around the occurrence has no ~hist
orical basis.[cm~Missa pro defunctis[fy75,1] (Mass for the dead). See ~[cf2]Requ
iem.[cf1][cm~Missa solemnis [fy75,1](Lat., `Solemn Mass'). ([sm1[nm) Mass in ~wh
ich all sections=mapart from the readings of ~the Epistle and the Gospel=mare su
ng either in ~polyphony or plainchant. Term is also applied to ~
elaborate ceremonial setting.[ep~^([sm2[nm) See [cf2]Mass in D [cf1](Beethoven).
[cm~Missa super L'homme arm;aae. [fy75,1]Work for speaker ~or (male or female) s
inger and chamber ens. by ~[fy45,1]*[fy75,1]Maxwell Davies, comp. [sm1967[nm=n[s
m8[nm, rev. [sm1971[nm. F.p. ~London [sm1968[nm, rev. Perugia [sm1971[nm. See [c
f2]Homme arm;aae, ~L'[cf1].[cm~Miss Donnithorne's Maggot. [fy75,1]Th. piece by ~
[fy45,1]*[fy75,1]Maxwell Davies for mez. and chamber ens. ~(incl.[sm4[nm metrono
mes, football rattle, bosun's whis~~tle, chamois leather rubbed on glass). Text
by ~Randolph Stow. F.p. Adelaide, S. Australia, [sm1974[nm, ~with Mary Thomas (m
ez.), cond. composer.[cm~Miss Julie. [fy75,1]([sm1[nm) Opera in [sm2[nm acts by
Ned [fy45,1]*[fy75,1]Rorem to ~lib. by Kenward Elmslie after the play by ~Strind
berg ([sm1889[nm),  comp. [sm1964[nm, prod. NY [sm1965[nm.[ep~^([sm2[nm) Ballet
in [sm2[nm acts, based on Strindberg. Choreog. ~MacMillan, mus. by [fy45,1]*[fy7
5,1]Panufnik. Prod. Stuttgart ~[sm1970[nm.[ep~^([sm3[nm) Opera i
n [sm2[nm acts by W. [fy45,1]*[fy75,1]Alwyn to his own lib. ~based on Strindberg
. Comp. [sm1961[nm=n[sm76[nm. F.p. (broad~~cast) [sm1976[nm.[ep~^([sm4[nm) Opera
 by Bibalo, to lib. based on Strindberg, ~comp. [sm1973[nm, orch. rev. [sm1983=n
4[nm.[cm~Mistero, misterio [fy75,1](It.). Mystery. [cf2]Misterioso[cf1], mys~~te
riously; [cf2]misteriosamente[cf1], in a mysterious man~~ner.[cm~Misura [fy75,1]
(It.). Measure. ([sm1[nm) in the Eng. sense of ~`bar'.[ep~^([sm2[nm) In the gene
ral sense of regularity. So [cf2]alla ~misura[cf1], in strict time; [cf2]senza m
isura[cf1], without strict ~time. And so, too, [cf2]misurato[cf1], measured, i.e
. strictly ~in time.[cm~Mitchell, Donald [fy75,1](Charles Peter) ([cf2]b [cf1]Lo
ndon, ~[sm1925[nm). Eng. publisher, critic, and author. Man. ~dir., Faber Music
[sm1965[nm=n[sm71[nm, chairman from [sm1977[nm. ~Visiting Fellow, Sussex Univ. [
sm1970[nm, prof. of mus. ~[sm1971[nm=n[sm6[nm. Founder and co-ed., [cf2]Music Su
rvey [cf1][sm1947[nm=n~[sm52[nm; mus. critic for [cf2]Musical Ti
mes [cf1][sm1953[nm=n[sm7[nm, [cf2]Daily ~Telegraph [cf1][sm1959[nm=n[sm64[nm; e
d. [cf2]Tempo [cf1][sm1958[nm=n[sm62[nm. Joint ed. ~[cf2]Benjamin Britten [cf1](
[sm1952[nm), [cf2]The Mozart Companion ~[cf1](with H. C. Robbins Landon, [sm1956
[nm). Ed. [cf2]Gustav ~Mahler [cf1]by Alma Mahler (Eng. edn.). Author of ~[cf2]G
ustav Mahler: The Early Years [cf1]([sm1958[nm rev. ed. ~[sm1979[nm) and [cf2]Th
e Wunderhorn Years [cf1]([sm1975[nm); [cf2]The ~Language of Modern Music [cf1]([
sm1963[nm); [cf2]Benjamin Britten, ~[sm1913[nm=n[sm76[nm: Pictures from a Life [
cf1](with J. Evans, [sm1978[nm); ~[cf2]Britten and Auden in the Thirties [cf1]([
sm1981[nm).[cm~Mitchell, Howard [fy75,1]([cf2]b [cf1]Lyons, Nebraska, [sm1911[nm
). ~Amer. cond. and cellist. Studied Peabody Cons., ~Baltimore, and at Curtis In
stitute, Philadelphia, ~[sm1930[nm=n[sm5[nm with Felix Salmond. Prin. cellist, N
at. ~S.O., Washington, [sm1933[nm=n[sm41[nm, then ass. cond. [sm1941[nm=n~[sm9[n
m, cond. and mus. dir. [sm1949[nm=n[sm70[nm. Mus. dir. Nat. ~Orc
h. of Uruguay from [sm1970[nm.[cm~Mitchinson, John [fy75,1]([cf2]b[cf1] Blackrod
, Lancs., [sm1933[nm). ~Eng. ten. Studied RMCM, graduating [sm1955[nm. ~Founder-
member of BBC Northern Singers, [sm1953[nm. ~Sang in concert perf. [cf2]Don Giov
anni[cf1], [fy45,1]*[fy75,1]Chelsea ~Opera Group, [sm1955[nm. Successful career
in concert ~hall and opera house (roles incl. Peter Grimes). ~Notable interprete
r of Mahler's [cf2]Das Lied von der ~Erde[cf1], Stravinsky's [cf2]Oedipus Rex[cf
1], and Tristan in ~Wagner's opera.[cm~Mitridate, R;age di Ponto [fy75,1](Mitrid
ates, King of ~Pontus). Opera seria (K[sm87[nm) in [sm3[nm acts by Mozart to ~li
b. by V. A. Cigna-Santi, after Racine. Prod. ~Milan, [sm1770[nm.[cm~Mitropoulos,
 Dimitri [fy75,1]([cf2]b [cf1]Athens, [sm1896[nm; [cf2]d[cf1] Milan, ~[sm1960[nm
). Gr.-born cond., pianist, and composer ~(Amer. citizen from [sm1946[nm). Studi
ed Athens Cons. ~and with [fy45,1]*[fy75,1]Busoni in Berlin. R;aaep;aaetiteur, B
erlin ~State Opera [sm1921[nm=n[sm5[nm. Cond., Paris S.O. [sm193
2[nm=n[sm6[nm. US ~d;aaebut with Boston S.O. [sm1937[nm. Cond. Minneapolis ~S.O.
 (now [fy45,1]*[fy75,1]Minnesota Orch.) [sm1937[nm=n[sm49[nm, NY P.O. ~[sm1949[n
m=n[sm58[nm. D;aaebut NY Met. [sm1954[nm. ([cf2]Salome[cf1]). Cond. ~f.p. of Bar
ber's [cf2]Vanessa [cf1]NY Met. [sm1958[nm and at ~ Salzburg Fest. [sm1958[nm. F
ine exponent of [sm20[nmth-cent. ~mus. Wrote opera and orch. works. Int. competi
~~tion for young cond. named in his memory. Died ~[PN471,0,0,R,I0]after heart at
tack while rehearsing Mahler's [sm3[nmrd ~Sym.[cm~Mitte [fy75,1](Ger.). Middle,
e.g. [cf2]Auf der Mitte des Bogen[cf1], ~In the middle of the bow.[xm[cm~[j1]Mix
ed Chorus, Mixed Voices. [fy75,1]Body containing ~male and female vv.[cm~Mixed M
edia. [fy75,1]Term for theatrical works, events, ~or `happenings' in which sever
al forms of art are ~merged, e.g. mus., dance, film, elec. devices, etc. ~[cf2]A
vant-garde [cf1]composers such as Cage, Berio, ~Xenakis, Stockhausen, and Reich
have created ~mixed media works.[cm~Mixer. [fy75,1]Elec. device
which combines several ~signals and routes them to one or more channels ~corresp
onding to tracks on a magnetic tape, or to ~a loudspeaker.[cm~Mixolydian Mode. [
fy75,1]See [cf2]Modes[cf1].[cm~Mixture Stop. [fy75,1]Org. stop in which each fin
ger-~key (or pedal-key) played operates on a group of ~pipes corresponding to so
me of the higher ~harmonics of the note of that key. The group ~may be of from [
sm2[nm to [sm7[nm pipes and the stop is then ~spoken of as having that number of
 [cf2]Ranks ~[cf1](indicated in order specifications in Roman ~figures). It cann
ot be used alone, but adds ~brightness and richness when combined with ~stops of
 normal pitch in `Full Organ', etc. See also ~[cf2]Sesquialtera[cf1].[cm~M.K. [f
y75,1]Abbreviation for [cf2]Manualkoppel [cf1](Ger.), i.e. ~Manual Coupler (in o
rg. mus.=mfollowed by an ~indication of the particular manuals to be ~coupled).[
cm~Mlada. [fy75,1]Opera in [sm4[nm acts by Rimsky-Korsakov to ~his own lib. base
d on lib. for earlier scheme for ~opera-ballet to be written in
collab. with Borodin, ~Cui, and Mussorgsky, with ballet mus. by ~[fy45,1]*[fy75,
1]Minkus. Prod. St Petersburg [sm1892[nm.[cm~Ml;aaad;aai [fy75,1](Youth). [cf1]S
uite in [sm4[nm movements for wind ~sextet by Jan;aaa;akcek, comp. [sm1924[nm. F
or fl./picc., ob., ~cl., hn., bn., and bass cl. F.p. Brno [sm1924[nm, f.p. in ~E
ngland, London [sm1926[nm.[cm~Mlynarski, Emil [fy75,1](Simon) ([cf2]b [cf1]Kibar
ty, Lithuania, ~[sm1870[nm; [cf2]d [cf1]Warsaw, [sm1935[nm). Polish composer, vi
olin~~ist, and cond. Studied St Petersburg Cons. [sm1880[nm=n~[sm9[nm, vn. with
Auer, comp. with Lyadov. Int. career ~as violinist. Ass. cond. Warsaw Opera [sm1
897[nm=n[sm1903[nm, ~cond., Warsaw P.O. [sm1901[nm=n[sm5[nm, dir. Warsaw Cons. ~
[sm1904[nm=n[sm7[nm and  [sm1919[nm=n[sm22[nm. Cond. Scottish Orch., [sm1910[nm=
n~[sm16[nm. Cond., Bolshoy Th. Orch., Moscow, [sm1914[nm=n[sm17[nm. ~Dir., Warsa
w Opera [sm1919[nm=n[sm28[nm. Teacher of cond., ~Curtis Institute [sm1929[nm=n[s
m31[nm. Wrote opera, sym., and ~[sm2[nm vn. concs.[cm~M.M. [fy75
,1]([sm1[nm) See [cf2]Metronome[cf1].[ep~^([sm2[nm) Abbreviation for Master of M
usic (sometimes ~M.Mus.).[cm~M.Mus. [fy75,1]See [cf2]Master of Music[cf1].[cm~Mo
by Dick. [fy75,1]([sm1[nm) Cantata for [sm2[nm ten., [sm2[nm basses, male ~ch.,
and orch. by [fy45,1]*[fy75,1]Herrmann to text selected by ~W. Clark Harrington
from Herman Melville's ~novel ([sm1851[nm). Comp. [sm1936[nm=n[sm8[nm, f.p. NY [
sm1940[nm.[ep~^([sm2[nm) Symphonic poem by Douglas [fy45,1]*[fy75,1]Moore ([sm19
29[nm).[ep~^([sm3[nm) `Concertato' for orch. by [fy45,1]*[fy75,1]Mennin ([sm1952
[nm).[xm[cm~[ol0][ep~[xp[te~





[do20][j99]~~~~~~[sm153842[nm_MB[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Concis
e Dict. of ~Music[cmMB[sm01[nm[cm[sm20[nm[cm[sm1[nm[cm~[sm3[nm.[sm10[nm.[sm79[nm
[cm[sm19[nm[cm[sm504[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[ap[j1]Modal.[fy75,1] Pert
aining to the [fy45,1]*[fy75,1]modes; style of comp. ~in which the modes are use
d.[cm~Modes.[fy75,1] ([sm1[nm)^Names for each of the ways of ~ordering a scale,
i.e.[cf2] major mode[cf1] and [cf2]minor mode[cf1].[ep~^([sm2[nm)^The scales whi
ch dominated European mus. ~for [sm1[nm,[sm100[nm years (approx. [smad[nm [sm400
[nm to [smad[nm [sm1500[nm) and ~strongly influenced composers for another ~hund
red years (up to [cf2]c[cf1]. [sm1600[nm). They have since ~reappeared from time
 to time in the work of ~some composers, especially in the [sm20[nmth cent. ~Thr
oughout that total period of [sm1[nm,[sm500[nm years the ~plainsong of the Churc
h, which is entirely ~`modal', has continued to accustom the ears of ~fresh gene
rations to the melodic effect of the ~Modes. But the description
 `Church Modes' or ~`Ecclesiastical Modes' is wrong, since their use ~was genera
l.[ep~^The available mus. material at the time when ~the Modes became accepted w
as that which may ~be nowadays conveniently represented by the ~white keys of th
e pf. or org., the notes of which ~constitute (with slight differences of tuning
) the ~scale worked out scientifically in the [sm4[nmth cent. [smbc[nm ~by Pytha
goras and the Gr. thinkers of his time. ~In the [sm2[nmnd cent. [smad[nm the Gre
eks were using this ~scale in [sm7[nm different ways: Gr. influence was strong ~
in the early Christian Church and changes in the ~modal system developed among s
ingers as a ~practical measure. In the [sm5[nmth cent. [sm4[nm modes were ~adopt
ed (Authentic Modes) and at the time of ~Pope Gregory ([cf2]c[cf1].[sm540[nm=n[s
m604[nm) [sm4[nm more were added ~(Plagal) and later [sm4[nm more, making [sm12[
nm. In the ~Authentic Modes, the [sm5[nmth note (the Dominant), ~was much used a
s a reciting-note in plainsong, ~and the first (the Final), as a
 cadence-note, to close ~a passage. The Authentic Modes may be re-~created by pl
aying on the pf. octave scales of ~white notes beginning respectively on D, E, F
, ~and G. A melody played in one of the modes and ~then in another will alter in
 some of its intervals ~and hence in its general effect, as opposed to a ~melody
 played in our [sm12[nm major or minor scales, ~which are all alike as to interv
als.[ep~^The [cf2]Plagal Modes[cf1] were merely new forms of the ~others, being
the same [sm4[nm taken in a compass lying ~not between Final and Final of the co
rresponding ~authentic modes but between their Dominant ~and Dominant, the Final
, on which the cadences ~fell, thus coming in the middle. In order to avoid ~hav
ing the Reciting Note at the very top or ~bottom of the series of notes a new on
e was ~chosen, lying [sm3[nm notes below the original, and this ~was now regarde
d as the Dominant. The whole ~series was now as follows (A;eqAuthentic and P;eq~
Plagal):[xm[cm~[PN472,0,0,L,I0][bn[ep~[cl0][xfMode I (A)[sv1,1s]
[ep~ Range [sv2,1s][ep~D-D[sv3,1s][ep~ with [sv4,1s][ep~Dominant A^[sv5,1s][ep~[
va0,1,5][sv6,3s][vs7,6,29][vd0,2,7][dt7vg,1v,2v,3v,4v,5v][ep~[cl8][rf[bt~Mode I
(A)[ep~[nt~Range[qc~[nt~D-D[ep~[nt~with[qc~[nt~Dominant A^[ep~[et~[bt~II =+=+=+(
P)[qr~[nt~,,[qc~[nt~A-A[ep~[nt~,,[qc~[nt~__,,[wsF^[ep~[et~[bt~III (A)[qr~[nt~,,[
qc~[nt~E-E[ep~[nt~,,[qc~[nt~__,,[wsC;sd[fn1][ep~[et~[bt~IV =+=+(P)[qr~[nt~,,[qc~
[nt~B-B[ep~[nt~,,[qc~[nt~__,,[wsA^[ep~[et~[bt~V (A)[qr~[nt~,,[qc~[nt~F-F[ep~[nt~
,,[qc~[nt~__,,[wsC^[ep~[et~[bt~VI =+=+(P)[qr~[nt~,,[qc~[nt~C-C[ep~[nt~,,[qc~[nt~
__,,[wsA^[ep~[et~[bt~VII (A)[qr~[nt~,,[qc~[nt~G-G[ep~[nt~,,[qc~[nt~__,,[wsD^[ep~
[et~[bt~VIII =+=+=+(P)[qr~[nt~,,[qc~[nt~D-D[ep~[nt~,,[qc~[nt~__,,[wsC;sd[ep~[et~
[xnNearly a thousand years after Gregory a Swiss ~monk, Henry of Glarus, or Henr
icus Glareanus, ~brought forth, in a book called [cf2]Dodecachordon[cf1] ~([sm15
47[nm), a theory that there should, historically, be ~[sm12[nm modes instead of
[sm8[nm. He added modes on A and ~C (none on the unsuitable B),
with their Plagal ~forms, so that the table above was complemented ~as follows:[
ep~[bn[el2][ep~[cl0][xfXII (A)[sv1,1s][ep~ Compass [sv2,1s][ep~A-A[sv3,1s][ep~ w
ith [sv4,1s][ep~Dominant G[sv5,1s][ep~[va0,1,5][sv6,3s][vs7,6,29][vd0,2,7][dt7vg
,1v,2v,3v,4v,5v][ep~[cl8][rf[bt~IX (A)[qr~[nt~Range[qc~[nt~A-A[ep~[nt~with[qc~[n
t~Dominant[wsE[ep~[et~[bt~X =+=+=+(P)[qr~[nt~,,[qc~[nt~E-E[ep~[nt~,,[qc~[nt~__,,
[wsC[ep~[et~[bt~XI (A)[qr~[nt~,,[qc~[nt~C-C[ep~[nt~,,[qc~[nt~__,,[wsG[ep~[et~[bt
~XII =+=+=+(P)[qr~[nt~,,[qc~[nt~G-G[ep~[nt~,,[qc~[nt~__,,[wsE[ep~[et~[xn[el2]Gla
reanus gave his [sm12[nm modes what he thought to ~be their orig. Gr. names and
these (though ~incorrect) have become accepted:[ep~[bn[el2][dt6,0p6g,6p6][bt~[xf
VI[rfI.^Dorian[ep~[nt~VIII.^HypoMixolydian[ep~[et~[bt~[xfV[rfII.^HypoDorian[ep~[
nt~[xf=+II[rfIX.^;Jaolian[ep~[et~[bt~|=+III.^Phrygian[ep~[nt~[xfIII[rfX.^Hypo;ja
olian[ep~[et~[bt~[xfI[rfIV.^HypoPhrygian[ep~[nt~[xfII[rfXI.^Ionian[ep~[et~[bt~[x
fII[rfV.^Lydian[ep~[nt~[xfI=+[rfXII.^HypoIonian[ep~[et~[bt~[xfI[
rfVI.^HypoLydian[ep~[et~[bt~VII.^Mixolydian[ep~[et~[xn[el2]It should be clearly
understood that the difference ~between the various modes is not one of pitch ~b
ut of the order in which fall the tones and ~semitones. Any mode could be taken
at another ~than its original pitch (i.e. transposed), but in that ~case its int
ervals remained as before. Thus the ~whole series could be set out as beginning
on C, ~when the Dorian and Lydian (to take two ~examples) would appear as follow
s:[ep~[bn[el2][cf2]The Authentic Modes shown uniformly with C as final ~[cf1]([c
f2]with the semitones marked[cf1])[ep~I.^Dorian.[ep~[ol30][ep~V.^Lydian.[ep~[ol2
8][ep~[xnWith the development of harmonized music the ~modal system in time tend
ed to disintegrate: the ~two Authentic Modes added by Glareanus (the ~Ionian and
 ;jaolian) were felt to be the most suited ~to harmony and have remained as our
`major' ~and `minor' scales. The other modes, however, ~are in use in plainsong,
 some folk-song, and ~occasionally in the work of certain compos
ers ~such as Vaughan Williams, Bart;aaok, and Kod;aaaly.[ep~[el4][j1]Modinha.[fy
75,1] Type of song (not folk song) popular ~in Portugal and Brazil in the [sm18[
nmth and [sm19[nmth cents.[cm~M;auodl, Martha[fy75,1] ([cf2]b[cf1] Nuremberg, [s
m1912[nm). Ger. sop., ~orig. mez. Studied Nuremberg. Opera d;aaebut ~Remscheid [
sm1942[nm as Cherubino. D;auusseldorf Opera ~[sm1945[nm=n[sm9[nm as mez., Hambur
g Opera from [sm1949[nm, also ~Vienna State Opera. CG [sm1949[nm=n[sm50[nm (d;aa
ebut as ~Carmen) and [sm1953[nm; d;aaebut NY Met. [sm1956[nm. Sang ~as dramatic
sop. from [sm1950[nm; Kundry ([cf2]Parsifal[cf1]) at ~Bayreuth [sm1951[nm, follo
wed by other Wagner roles ~incl. Br;auunnhilde and Isolde. Sang in [sm1981[nm Sa
lzburg ~f.p. of Cerha's [cf2]Baal.[cf1][cm~Moderato [fy75,1](It., `restrained',
`moderate'). Direction ~used either alone, as in Elgar's Vc. Conc., or as ~quali
fication of another direction, e.g. [cf2]allegro ~moderato [cf1](a bit slower th
an [cf2]allegro[cf1]). Fr. [cf2]mod;aaer;aae.[cf1][xm[cm~[ol0][e
p~[fs1][el2][fy75,1,6,6]^;sdThe Dominants of the two modes so marked (one of the
m ~Authentic and the other Plagal) would normally be B, but this ~being found an
 unsuitable note C was adopted instead.[ep~^It will be noted that the odd-number
ed Modes are the Authentic ~ones and the even-numbered the Plagal.)[ep~[fx[xp[te
~








[do27][j99]~~~~~~[sm153842[nm_M[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmMB[sm02[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm3[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm511[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Modo[fy75,1]
(It.). ([sm1[nm) Manner, e.g.[cf2] In modo di[cf1], in the ~manner of.[ep~^([sm2
[nm) Mode (see [cf2]Modes[cf1]).[cm~Modulation.[fy75,1] The changing from one ke
y to ~another in the course of a section of a comp. by ~evolutionary mus. means
(not just by stopping ~and starting anew in another key) and as a part of ~the w
ork's formal organization. The simplest and ~most natural modulations are to the
 related keys ~(or attendant keys) i.e. to the relative minor or ~major, to the
[fy45,1]*[fy75,1]dominant and its relative major or ~minor and to the [fy45,1]*[
fy75,1]subdominant and its relative ~minor or major. The [fy45,1]*[fy75,1]tonic
major and minor are ~also related keys, modulation from one to the ~other being
simple, but they are not usually so ~described. [cf2]Chromatic m
odulation[cf1], found frequently ~in Wagner, Franck, and Strauss, in general mea
ns ~altering a chord by means of a chromatic change. ~It can also be achieved by
 moving basses up or ~down major or minor [sm3[nmrds. [cf2]Enharmonic modulation
[cf1] ~covers the use of chords altered by [fy45,1]*[fy75,1]enharmonic ~means, e
.g. turning a dominant [sm7[nmth chord to a ~Ger. [sm6[nmth. Modulation becomes
less of a feature in ~atonal mus. because of the enlargement of the ~scale. Firs
t composers to use modulation may ~have been Obrecht and Despr;ages. Chromatic ~
modulation occurs in madrigals of [fy45,1]*[fy75,1]Gesualdo and ~[fy45,1]*[fy75,
1]Monteverdi. John Bull's organ fantasia [cf2]Ut, re, mi, ~fa, sol, la[cf1] modu
lates a whole tone upward ~successively into different keys. With J. S. Bach, ~m
odulation became integral part of [fy45,1]*[fy75,1]fugue.[cm~Modulator.[fy75,1]
([sm1[nm) Elec. device by which frequency ~or amplitude of a waveform can be cha
nged.[ep~^([sm2[nm) Diagram used in teaching of [fy45,1]*[fy75,1
]tonic sol-fa on ~which note-names are ranged in order perpendic~~ularly.[cm~Mod
us Lascivus.[fy75,1] The Ionian mode, the same as ~the major scale of C.[cm~[PN4
73,0,0,R,I0]Moeran, E[fy75,1](rnest) [fy65][cf3]J[fy75,1](ohn) ([cf2]b[cf1] Hest
on, Middx., [sm1894[nm; ~[cf2]d[cf1] Kenmare, Co. Kerry, [sm1950[nm). Eng. compo
ser of ~Irish descent. Studied RCM and with John Ireland. ~Collected folksongs i
n Norfolk, where he lived ~for several years. Mus. first heard in London ~[sm192
3[nm. Comps., which are predominantly lyrical, ~incl.:[xm[cm~[j2][smorch[nm: [cf
2]In the Mountain Country [cf1]([sm1921[nm); Rhapsodies ~Nos. [sm1[nm and [sm2[n
m ([sm1924[nm); [cf2]Whythorne's Shadow [cf1]([sm1931[nm); ~[cf2]Lonely Waters[c
f1] ([sm1932[nm); Sym. in G minor ([sm1934[nm=n~[sm7[nm); [cf2]Overture for a ma
sque[cf1] ([sm1944[nm); [cf2]Sinfonietta[cf1] ~([sm1944[nm); [cf2]Serenade in G[
cf1] ([sm1948[nm).[ep~[smconcertos[nm: Vn. ([sm1942[nm); [cf2]Rhapsody[cf1] for
pf. and orch. ~([sm1943[nm); Vc. ([sm1945[nm).[ep~[smchamber mus
ic[nm: Str. qt.; vn sonata; sonata for [sm2[nm ~unacc. vns. ([sm1935[nm); ob. qt
. ([sm1946[nm); vc. sonata ~([sm1947[nm); [cf2]Prelude[cf1] for vc. and pf. ([sm
1948[nm).[ep~[smpiano[nm: [sm3[nm Pieces ([sm1919[nm); [cf2]Theme and Variations
[cf1] ~([sm1920[nm); [cf2]On a May Morning[cf1], [cf2]Stalham River[cf1], [cf2]T
occata[cf1] ~([sm1921[nm); [cf2][sm3[nm Fancies[cf1] ([sm1922[nm); [cf2][sm2[nm
Legends[cf1] ([sm1923[nm); [cf2]Bank ~Holiday[cf1], [cf2]Summer Valley[cf1] ([sm
1925[nm); [cf2]Irish Love Song[cf1] ~([sm1926[nm); [cf2]White Mountain[cf1] ([sm
1927[nm); [cf2]Prelude and ~Berceuse[cf1] ([sm1933[nm).[ep~[smsong[nm-[smcycle[n
m: [cf2]Ludlow Town[cf1], [sm4[nm Housman Songs for ~bar. and pf. ([sm1920[nm).[
cm~[j1]Moeschinger, Albert Jean[fy75,1] ([cf2]b[cf1] Basle, [sm1897[nm). Swiss ~
composer, pianist, and teacher. Studied Berne ~Cons., Leipzig Cons., and Munich
Cons. [sm1917[nm=n~[sm24[nm. Prof. of theory and comp. Berne Cons. [sm1937[nm=n~
[sm43[nm. Comp. incl. [sm5[nm syms., [cf2]Variations and Fugue o
n a ~Theme of Purcell[cf1] for str. and timp. ([sm1933[nm), cantata ~[cf2]The Li
ttle Mermaid[cf1] ([sm1947[nm), vn. conc. ([sm1934[nm, rev. ~[sm1950[nm), tpt. c
onc. ([sm1954[nm), [sm5[nm pf. concs. ([sm1964[nm), hpd. ~conc. ([sm1967[nm), co
nc. for ballerina, sax., and chamber ~orch. ([sm1968[nm), ballet [cf2]Amor und P
syche[cf1] ([sm1954[nm), and ~much chamber mus.[cm~Moevs, Robert Walter[fy75,1]
([cf2]b[cf1] La Crosse, Wisconsin, ~[sm1920[nm). Amer. composer and pianist. Stu
died ~Harvard Univ. with [fy45,1]*[fy75,1]Piston and at Paris Cons. ~[sm1947[nm=
n[sm51[nm (comp. with [fy45,1]*[fy75,1]Boulanger). On mus. staff ~Rutgers Univ.
from [sm1964[nm. Chairman, Dept. of ~Mus. from [sm1974[nm. Influenced by Boulez
and ~describes his method of comp. as `systematic ~chromaticism', a modified ser
ial technique. ~Works incl. ballet [cf2]Endymion[cf1], [cf2][sm3[nm Symphonic Pi
eces[cf1], ~pf. conc., [cf2]Cantata sacra[cf1], and other choral works ~incl. [c
f2]A Brief Mass[cf1] (ch., org., vibraphone, guitar, ~db., [sm19
68[nm), str. qt., sonata for solo vn., pf. sonata, ~etc.[cm~Moffo, Anna [fy75,1]
([cf2]b[cf1] Wayne, Penn., [sm1932[nm). Amer. sop. ~Studied Curtis Institute and
 in Rome. Opera ~d;aaebut, Spoleto [sm1955[nm as Norina in Donizetti's [cf2]Don
~Pasquale. [cf1]D;aaebut Chicago Lyric Opera [sm1957[nm ~(Nannetta in Verdi's [c
f2]Falstaff[cf1]), NY Met. [sm1959[nm ~(Violetta in [cf2]La traviata[cf1]), CG [
sm1964[nm (Gilda in [cf2]Rigo-[fjletto[cf1]).[cm~Mohaupt, Richard[fy75,1] ([cf2]
b[cf1] Breslau, [sm1904[nm; [cf2]d[cf1] Rei~~chenau, Austria, [sm1957[nm). Ger.
composer and cond. ~Held opera posts in Ger. until forced to leave. His ~opera [
cf2]Die Wirtin von Pinsk[cf1] was prod. Dresden ~[sm1938[nm and banned by the Na
zis after [sm2[nm perfs. Lived ~in USA [sm1939[nm=n[sm55[nm. Sym. and vn. conc.
f.p. by NY ~P.O. His operas [cf2]Bremer Stadtmusikanten[cf1] and [cf2]Der ~gr;au
une Kakadu[cf1] were prod. at Bonn ([sm1949[nm) and ~Hamburg ([sm1958[nm) respec
tively.[cm~Moise [fy75,1](Rossini). See [cf2]Mos;age in Egitto[c
f1].[cm~Moiseiwitsch[fy75,1] (Moiseivich), [fy65][cf3]Benno[fy75,1] ([cf2]b[cf1]
 Odessa, ~[sm1890[nm; [cf2]d[cf1] London, [sm1963[nm). Russ.-born pianist (Brit.
 ~nationality from [sm1937[nm). Studied at Odessa and ~became pupil of [fy45,1]*
[fy75,1]Leschetizky in Vienna, [sm1904[nm. ~First appeared in Eng. at Reading, [
sm1908[nm, London ~[sm1909[nm. Continental tours, then settled in Eng. ~[sm1914[
nm. Expert in classical repertory but noted ~above all for his playing of mus. o
f Rakhmaninov, ~regarded as surpassed in its day only by composer ~himself.[cm~M
oldau.[fy75,1] Ger. title for [cf2]Vltava [cf1]in Smetana's [fy45,1]*[fy75,2]M;a
aa ~Vl;aaast[cf1].[cm~Moldenhauer, Hans [fy75,1]([cf2]b [cf1]Mainz, [sm1906[nm).
 Amer. ~musical scholar of Ger. birth. Pupil of H. Rosbaud ~in Mainz. Emigrated
to USA [sm1938[nm. Founded ~Spokane Cons. [sm1942[nm (pres. since [sm1946[nm). C
reator ~and dir. of Moldenhauer Archive, large coll. at ~Spokane of MSS., letter
s, documents, etc., relating ~especially to Webern about whom he
 wrote the ~authoritative study [cf2]Anton von Webern: Chronicle of ~his Life an
d Work [cf1](NY and London [sm1978[nm, Ger. ~trans. [sm1979[nm).[cm~Molinari, Be
rnardino[fy75,1] ([cf2]b[cf1] Rome, [sm1880[nm; [cf2]d[cf1] Rome, ~[sm1952[nm).
It. cond. Studied Rome Cons. Cond. ~Augusteo, Rome, [sm1912[nm=n[sm43[nm. Freque
nt guest cond. ~Europe and USA. Expert in [sm20[nmth-cent. mus., esp. ~[fy45,1]*
[fy75,1]Respighi and [fy45,1]*[fy75,1]Malipiero.[cm~Molinari-Pradelli, Francesco
[fy75,1] ([cf2]b[cf1] Bologna, [sm1911[nm). ~It. cond. Studied with B. [fy45,1]*
[fy75,1]Molinari in Rome. ~Mainly cond. of opera, at Scala, Milan, from [sm1946[
nm. ~CG from [sm1955[nm, NY Met. from [sm1966[nm.[xm[cm~[j1]Molinaro, Simone[fy7
5,1] ([cf2]b[cf1] Genoa, [cf2]c.[cf1][sm1565[nm; [cf2]d [cf1]Genoa, ~[sm1615[nm)
. It. composer. Maestro di cappella, Genoa ~Cath., from [cf2]c.[cf1][sm1602[nm.
Wrote motets, masses, mad~~rigals, canzonets, church mus., but principally ~work
s for lute. Ed. some of [fy45,1]*[fy75,1]Gesualdo's madrigals, ~
[sm1613[nm.[cm~Molique, Wilhelm Bernhard [fy75,1]([cf2]b[cf1] Nuremberg, ~[sm180
2[nm; [cf2]d[cf1] Cannstadt, Stuttgart, [sm1869[nm). Ger. violinist ~and compose
r. Studied under Spohr. Member of ~orch. at Theater an der Wien, then leader of
~Munich court orch. [sm1820[nm=n[sm6[nm. Cond. royal orch., ~Stuttgart, [sm1826[
nm=n[sm49[nm. Settled in Eng. [sm1849[nm=n[sm66[nm as ~soloist and teacher. Wrot
e [sm6[nm vn. concs., [sm8[nm str. qts., ~sym., oratorio, vc. conc., vn. solos,
etc.[cm~Moll[fy75,1] (Ger.). Minor, in the sense of key, e.g. [cf2]A ~moll[cf1],
 A minor; [cf2]Moll Ton[cf1], or [cf2]Moll Tonart[cf1], minor ~key.[cm~Moln;aaar
, Antal[fy75,1] ([cf2]b[cf1] Budapest, [sm1890[nm). Hung. com~~poser, musicologi
st, and violist. Va.-player in ~Waldbauer Quartet and Dohn;aaanyi Pf. Qt. In [sm
1919[nm ~became teacher of harmony, Budapest Acad. until ~[PN474,0,0,L,I0][sm195
9[nm. Author of several books incl. studies of ~Bart;aaok and Kod;aaaly, whose m
us. he fervently ~championed. Comp. [sm3[nm concs. (vc., vn., ha
rp), ~wind quintet, [sm3[nm str. qts., and stage `legend' [fy45,1]*[fy75,2]Savit
ri[cf1] ~([sm1912[nm).[cm~Molter, Johann-Melchior[fy75,1] ([cf2]b[cf1] Tiefenort
, [sm1696[nm; [cf2]d[cf1] ~Durlach, [sm1765[nm). Ger. composer. Kapellmeister, ~
court of Baden [sm1722[nm=n[sm53[nm; dir. of church mus., ~Eisenach, [sm1733[nm.
 Returned to Baden post [sm1743[nm=n~[sm65[nm. Comp. over [sm165[nm syms., [sm44
[nm concs., [sm66[nm sonatas, ~etc.[cm~Molto[fy75,1] (It.). Much, very, e.g. [cf
2]allegro molto[cf1], very ~quickly.[cm~Momente[fy75,1] (Moments). Comp. by [fy4
5,1]*[fy75,1]Stockhausen ~for sop. solo, [sm4[nm ch. groups, and [sm13[nm instru
mentalists. ~The first `Donaueschingen' version dates from ~[sm1961[nm=n[sm4[nm,
 the [sm2[nmnd `Europa' from [sm1972[nm.[cm~Moment-Form.[fy75,1] Type of work de
vised by [fy45,1]*[fy75,1]Stock~~hausen, the `moment' being a short part of a ~c
omp. having its own mus. characteristic. What ~occurs within this moment may be
regarded as ~more important than the succession between ~moments
, which may be indeterminate as in ~Stockhausen's [fy45,1]*[fy75,2]Momente[cf1]
([sm1961=n4[nm).[cm~Moment Musical[fy75,1] (Fr.). Musical moment. Title ~popular
 in [sm19[nmth cent. for short pf. pieces, e.g. ~Schubert's [sm6[nm [cf2]Moments
 musicaux[cf1] (D[sm780[nm), completed ~[sm1828[nm.[cm~Mompou, Federico[fy75,1]
([cf2]b[cf1] Barcelona, [sm1893[nm). Sp. ~(Catalan) pianist and composer. Studie
d Barcelona ~Cons. and from [sm1911[nm in Paris with Philipp. ~Returned to Barce
lona [sm1914[nm=n[sm21[nm when he wrote ~most of his works, mainly pf. pieces in
 what he ~called [cf2]primitivista[cf1] style (no bar-divisions, key-~signatures
, or cadences). Lived in Paris [sm1921[nm=n[sm41[nm, ~when he again returned to
Barcelona and ~composed further pf. works and songs, religious ~settings for ch.
 and orch., and mus. for guitar.[cm~Monckton, Lionel[fy75,1] ([cf2]b[cf1] London
, [sm1861[nm; [cf2]d[cf1] London, ~[sm1924[nm). Eng. composer. Studied Oxford Un
iv. ~Mus. critic, [cf2]Daily Telegraph[cf1], for brief period. ~
Composer of popular light operas, e.g. [cf2]A Country ~Girl[cf1], [cf2]The Arcad
ians[cf1], [cf2]The Quaker Girl[cf1], [cf2]Our Miss ~Gibbs[cf1], etc.[cm~Mond, D
er[fy75,1] (The Moon). Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Orff ~to his ow
n lib. after Grimm. Comp. [sm1937=n8[nm, rev. ~[sm1945[nm. Prod. Munich [sm1939[
nm, NY [sm1956[nm.[cm~Mondo della luna, Il[fy75,1] (The World on the Moon). ~Ope
ra in [sm3[nm acts by Haydn to lib. by Goldoni (set ~previously by Galuppi and a
lso by Paisiello, ~Piccinni, and others). Prod. Esterh;aaaza [sm1777[nm, ~London
 (incomplete) [sm1951[nm. Restored by Robbins ~Landon and prod. Holland Fest. [s
m1959[nm.[cm~Mondonville, Jean Joseph Cassan;aaea de[fy75,1] ([cf2]b[cf1] ~Narbo
nne, [sm1711[nm; [cf2]d[cf1] Belleville, Paris, [sm1772[nm). Fr. ~violinist and
composer. Prominent in Paris from ~[sm1734[nm; dir. Royal Chapel [sm1744[nm and
of Concert ~Spirituel [sm1755[nm=n[sm62[nm. Active on Fr. side in `Querelle ~des
 [fy45,1]*[fy75,1]Bouffons', [sm1752[nm=n[sm4[nm. Comp. [cf2]Tit
an et l'Aurore[cf1] ~([sm1753[nm) and [sm6[nm other operas, [sm3[nm oratorios, v
n. sonatas, ~etc.[cm~Money, David [fy75,1]([cf2]b[cf1] London, [sm1912[nm). Eng.
 pianist, ~teacher, and critic. Studied RCM and with Louis ~Kentner, Kathleen Lo
ng, and George Reeves. ~D;aaebut London [sm1935[nm. Specialised as accompanist.
~On mus. staff [cf2]Daily Telegraph[cf1], from [sm1946[nm.[cm~Moniuszko, Stanis;
Umaw[fy75,1] ([cf2]b[cf1] Ubiel, Lithuania, [sm1819[nm; ~[cf2]d[cf1] Warsaw, [sm
1872[nm). Polish composer. Studied ~Warsaw [sm1827[nm=n[sm30[nm and in Berlin [s
m1837[nm=n[sm9[nm. org. at ~Wilno [sm1840[nm=n[sm58[nm. Lived in Warsaw from [sm
1858[nm. ~Cond. Warsaw Opera and prof. at Cons. Regarded ~as foremost Polish [sm
19[nmth-cent. composer after ~[fy45,1]*[fy75,1]Chopin. His opera [cf2]Halka[cf1]
 is regarded as first ~Polish nat. opera ([sm2[nm-act version [sm1846=n7[nm, rev
. in [sm4[nm ~acts [sm1857[nm and prod. Warsaw [sm1858[nm). Wrote other ~operas,
 none as successful. Composed symphonic ~poem [cf2]Bajka[cf1] (F
airy Tale), [sm7[nm masses, a [cf2]Requiem ~[cf1]([sm1890[nm), and over [sm300[n
m songs.[cm~Monk, William [fy75,1](Henry) ([cf2]b[cf1] London, [sm1823[nm; [cf2]
d[cf1] ~London, [sm1889[nm). Eng. composer and organist. ~Choirmaster King's Col
lege, London, [sm1847[nm, or~~ganist [sm1849[nm, prof. of vocal mus. [sm1874[nm.
 Ed., [sm1861[nm, ~of [cf2]Hymns Ancient and Modern[cf1]. Wrote mus. of ~hymn [c
f2]Abide with me [cf1](`Eventide').[cm~Monn, Georg [fy75,1](Matthias) ([cf2]b[cf
1] Vienna, [sm1717[nm; [cf2]d[cf1] ~Vienna, [sm1750[nm). Austrian organist and c
omposer. ~Organist, Karlskirche, Vienna. Wrote [sm21[nm syms., [sm7[nm ~hpd. con
cs., and a vc. conc. of which [fy45,1]*[fy75,1]Schoenberg ~made an edition in [s
m1911[nm=n[sm12[nm.[cm~Mono.[fy75,1] Abbreviation for [fy45,1]*[fy75,1]monophoni
c with ~special meaning in gramophone recording when ~long-playing records first
 appeared. Mono records ~were recorded on one channel requiring only one ~loudsp
eaker as opposed to [fy45,1]*[fy75,1]stereophonic [sm2[nm-~chann
el recording. Gradually stereo ousted mono, ~but certain transfers from the pre-
LP recording ~era can only be made in mono.[cm~Monochord[fy75,1] (Gr.). One stri
ng. ([sm1[nm) Scientific instr. ~consisting of soundbox over which is stretched
a ~single string which can be divided at any point ~by a movable bridge, the pos
ition of which can ~be exactly determined by scale of measurements ~on the surfa
ce across which it moves. By altering ~the ratios in which the str. is vibrating
, different ~notes of the [fy45,1]*[fy75,1]harmonic series may be prod. Used ~in
 Ancient Egypt and Ancient Gr. and is still used ~by modern acousticians.[ep~^([
sm2[nm) In later medieval times, monochords were ~made with [sm2[nm or [sm3[nm s
tr., capable of emitting intervals ~and chords. These were ancestors of [fy45,1]
*[fy75,1]clavichord, ~sometimes called in It. [cf2]monocordo.[cm~Monocordo[fy75,
1] (It.). One string. Term used in str. ~playing to indicate when certain passag
e or whole ~piece is to be perf. entirely on one str. Orig. with
 ~[fy45,1]*[fy75,1]Paganini in his `Napoleon' Sonata for G str.[cm~Monodrama[fy7
5,1] (Gr.). Single play. Stage work ~involving only one character, e.g. Schoenbe
rg's ~[fy45,1]*[fy75,2]Erwartung[cf1], and Poulenc's [cf2]La [fy45,1]*[fy75,2]Vo
ix humaine[cf1].[cm~[PN475,0,0,R,I0]Monody, Monodic.[fy75,1] Term sometimes used
 as ~synonym of [fy45,1]*[fy75,1]monophonic mus. or for acc. solo ~song, but pro
perly it is a particular kind of acc. ~solo song which developed [cf2]c[cf1].[sm
1600[nm as a reaction ~against [sm16[nmth-cent. polyphonic style. It is distin~~
guished by recit.-like v.-part and figured-bass acc. ~The members of [fy45,1]*[f
y75,1]Bardi's Camerata in Florence ~wrote in monodic style, Caccini publishing a
 coll. ~of monodies, [cf2]Le nuove musiche[cf1], in [sm1602[nm. By [sm1613[nm ~i
t was adopted for instr. mus. e.g. in trio sonatas ~of Rossi and Marini.[cm~Mono
phony, Monophonic[fy75,1] (Gr.). One sound. ~Mus. which has a single melodic lin
e of notes ~without harmonies or melody in counterpoint, ~as opp
osed to [fy45,1]*[fy75,1]polyphony and [fy45,1]*[fy75,1]homophony. ~Oldest type
of mus., being only type perf. in ~Ancient Gr., early church mus. (Gregorian etc
.), ~and mus. of [fy45,1]*[fy75,2]Minnesinger[cf1], [fy45,1]*[fy75,2]Meistersing
er[cf1], etc. All ~this mus. was in monophonic notation, which is ~a term coveri
ng several systems. For special [sm20[nmth-~cent. application, see [cf2]Mono[cf1
].[xm[cm~[j1]Monothematic[fy75,1] (Gr.). Having only one theme, ~and therefore a
pplied to comp. or movements ~based on one subject, e.g. a figure. Finales of ~s
everal Haydn syms. are examples of monothe~~matic construction.[cm~Monotone[fy75
,1] (Gr.). Recitation of liturgical text on ~unaltered pitch as in prayers, psal
ms, etc.[cm~Monsieur Beaucaire.[fy75,1] Operetta in prol. and [sm3[nm acts ~by M
essager to book by Frederick Lonsdale and ~lyrics by Adrian Ross, based on story
 by Booth ~Tarkington. Prod. Birmingham, London, and NY ~[sm1919[nm, Paris [sm19
25[nm.[cm~Monsigny, Pierre Alexandre[fy75,1] ([cf2]b[cf1] Fauque
m~~[chbergues, nr. St Omer, [sm1729[nm; [cf2]d[cf1] Paris, [sm1817[nm). Fr. ~com
poser. Not educated for mus. profession, ~though learned vn. Worked in noble hou
sehold ~from [sm1749[nm and took comp. lessons after hearing ~Pergolesi's [cf2]L
a serva padrona[cf1]. After [sm5[nm months ~wrote operetta [cf2]Les Aveux indisc
rets[cf1] ([sm1759[nm) which ~brought immediate fame. Wrote [sm12[nm more comic
~operas, incl. [cf2]La Belle Ars;agene[cf1] ([sm1773[nm) and, said to be ~his fi
nest, [cf2]Le D;aaeserteur[cf1] ([sm1769[nm). Ceased composing ~[sm1777[nm at he
ight of popularity, possibly unwilling ~to compete with [fy45,1]*[fy75,1]Gr;aaet
ry. Succeeded Piccinni as ~Inspector at Paris Cons., [sm1800[nm=n[sm02[nm.[cm~Mo
ntagnana, Domenico[fy75,1] ([cf2]b [cf1]Lendinara, [cf2]c.[cf1][sm1687[nm; ~[cf2
]d [cf1]Venice, [sm1750[nm). It. vn.-maker. Pupil of Goffriller ~in Venice; live
d in Cremona and Venice. Also ~made vas. and vcs. His instr. are scarce and very
 ~valuable.[cm~Monte, Philippe de[fy75,1] ([cf2]b[cf1] Mechlin,
[sm1521[nm; [cf2]d[cf1] Prague, ~[sm1603[nm). Flemish composer. In Naples [sm154
2=n51[nm and ~England [sm1554[nm=n[sm5[nm. Kapellmeister to Austrian em~~perors
at Vienna and Prague from [sm1568[nm. Visited ~It. and Eng. Comp. over [sm1200[n
m madrigals and ~similar works, also masses and motets.[cm~Mont;aaeclair, Michel
 Pinolet de[fy75,1] ([cf2]b[cf1] Andelot, ~[sm1667[nm; [cf2]d[cf1] St Denis, [sm
1737[nm). Fr. composer, teacher, ~and db. player. From [sm1699[nm db. player at
Paris ~Op;aaera. Wrote opera-ballet [cf2]Les Festes de l';aaet;aae[cf1], [sm1716
[nm, ~and other stage works; cantatas, motets, trio ~sonatas, etc., and a vn. me
thod.[cm~Montella, Giovanni Domenico[fy75,1] ([cf2]b[cf1] Naples, [sm1570[nm; ~[
cf2]d[cf1] Naples, [sm1607[nm). It. composer of madrigals and ~church mus. Luten
ist in Naples. Some of his ~madrigals have texts like [cf2]villanelle. [cf1]He w
as a ~master of counterpoint and used experimental ~harmonies.[cm~Montemezzi, It
alo[fy75,1] ([cf2]b[cf1] Vigasio, [sm1875[nm; [cf2]d[cf1] Vigasi
o, ~[sm1952[nm). It. composer. Intended for engineering ~career, but in Milan de
cided to become musician ~and at [sm3[nmrd attempt was admitted to Milan Cons. ~
His first opera was prod. Turin [sm1905[nm, but he ~achieved fame in [sm1913[nm
with [cf2]L'[fy45,1]*[fy75,2]amore dei tre re[cf1], a ~work in [fy45,1]*[fy75,2]
verismo[cf1] style but influenced by Debussy ~also. Lived in USA [sm1939[nm=n[sm
49[nm. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Giovanni Gallurese[cf1] (Tur
in [sm1905[nm), [cf2]Hellera[cf1] ~(Turin [sm1909[nm), [cf2]L'[fy45,1]*[fy75,2]a
more dei tre re[cf1] (Milan [sm1913[nm), ~[cf2]La nave[cf1] (Milan [sm1918[nm),
[cf2]La notte di Zoraima[cf1] (Milan ~[sm1931[nm), [cf2]L'incantesimo[cf1] (NY r
adio [sm1943[nm).[ep~[smorch[nm: Symphonic poems [cf2]Paolo e Virginia[cf1] ([sm
1929[nm), ~[cf2]Italia mia[cf1]! ([sm1944[nm).[cm~[j1]Monteux, Pierre[fy75,1] ([
cf2]b[cf1] Paris, [sm1875[nm; [cf2]d[cf1] Hancock, ~Maine, [sm1964[nm). Fr.-born
 cond. (Amer. citizen from ~[sm1942[nm). Studied vn. at Paris Co
ns. Played va. in ~orch. of Paris Op;aaera-Comique. Early years as ~cond. with D
iaghilev's Ballet Russe in Paris, when ~he cond. f.ps. of Stravinsky's [fy45,1]*
[fy75,2]Petrushka[cf1] ([sm1911[nm) ~and [fy45,1]*[fy75,2]Rite of Spring[cf1] ([
sm1913[nm), Debussy's [fy45,1]*[fy75,2]Jeux[cf1] ([sm1913[nm) ~and Ravel's [fy45
,1]*[fy75,2]Daphnis et Chlo;aae[cf1] ([sm1912[nm). Cond. Paris ~Op;aaera [sm1913
[nm=n[sm14[nm, incl. f.p. of Stravinsky's [cf2]The ~[fy45,1]*[fy75,2]Nightingale
[cf1]. Cond. NY Met. [sm1917[nm=n[sm19[nm, Boston ~S.O. [sm1919[nm=n[sm24[nm (in
troducing much modern mus.). ~Cond. Orchestre Symphonique de Paris [sm1929[nm=n[
sm38[nm. ~Cond. San Francisco S.O. [sm1935[nm=n[sm52[nm. NY Met. ~[sm1953[nm=n[s
m6[nm. Prin. cond. LSO [sm1961[nm=n[sm4[nm. Outstanding ~interpreter of Fr. and
Russ. mus., but of much ~else besides.[cm~Monteverdi, Claudio[fy75,1] ([cf2]b[cf
1] Cremona, [sm1567[nm; [cf2]d[cf1] ~Venice, [sm1643[nm). It. composer. Choriste
r, Cremona ~Cath., and pupil of [fy45,1]*[fy75,1]Ingegneri. At [
sm16[nm, when he ~was already a fine organist and viol player, he ~pubd. some sa
cred madrigals. Entered service of ~Duke of Mantua as viol player and singer of
~madrigals. Went with Duke on military expedi~~tions to Danube and Flanders, [sm
1595[nm and [sm1599[nm. ~Heard and was influenced by Florentine operas ~of the [
fy45,1]*[fy75,1]Camerata, notably Peri's [cf2]Euridice[cf1], [sm1600[nm. ~His ow
n first opera, [cf2]La favola d'Orfeo[cf1] was prod. in ~[sm1607[nm, notable in
history of mus. because for the ~first time the acc. was for a full (by the stan
dards ~of the time) orch. The following year his [cf2]Arianna[cf1] ~was perf. at
 a ducal celebration in Mantua; only ~the [cf2]Lamento[cf1], which was immediate
ly popular, ~survives. He left Cremona after the death of the ~Duke in [sm1612[n
m and in [sm1613[nm became Master of ~Mus. of the Venetian Republic. For St Mark
's, ~Venice, he composed a superb stream of sacred ~[PN476,0,0,L,I0]works which
spread his fame throughout Europe. ~He received a visit from [fy
45,1]*[fy75,1]Sch;auutz and his works ~were studied by M. [fy45,1]*[fy75,1]Praet
orius in Ger., [fy45,1]*[fy75,1]Mer~~senne in Fr., and [fy45,1]*[fy75,1]Tomkins
in Eng. [sm12[nm of the ~operas he had written in Mantua were destroyed ~there i
n [sm1630[nm when it was sacked by Austrian ~troops. In the same year the plague
 ravaged ~Venice; the combination of these catastrophes ~probably accounts for M
onteverdi's admission to ~holy orders in [sm1632[nm. When the first opera house,
 ~San Cassiano, was opened in Venice in [sm1637[nm, ~Monteverdi's interest in op
era was re-kindled and ~for the remaining [sm6[nm years of his life he comp. a ~
series of works of which only [sm2[nm survive.[ep~^Monteverdi's place in the his
tory of Renaissance ~mus. can be justly compared to Shakespeare's in ~literature
. Working from traditional beginnings, ~he transformed every genre in which he w
orked ~by imaginative use of available styles rather than ~by revolutionary mean
s. His madrigals cover a ~period of [sm40[nm years, from publica
tion of the [sm1[nmst ~book in [sm1589[nm to the [sm8[nmth in [sm1638[nm (the [s
m9[nmth was ~pubd. posthumously in [sm1651[nm). He soon intro~~duced instr. accs
., and chromatic modulations, ~and the dramatic nature of the mus. foreshadows ~
the solo cantata and operatic recit., culminating ~in [cf2]Il combattimento di T
ancredi e Clorinda[cf1] ([sm1624[nm) ~which is a miniature opera in style, acc.
by str. ~and employing descriptive effects.[ep~^His sacred mus. veered between e
laborate ~traditional polyphony and an advanced concerted ~style in which elemen
ts from his secular madri~~gals and operas lend colour and drama to the text, ~a
s in the famous [cf2]Vespers[cf1] comp. for Mantua in ~[sm1610[nm. The operas ta
ke the Florentine [fy45,1]*[fy75,1]melodra~~matic and monodic form and embellish
 it with ~all that he learned from It. madrigalists and Fr. ~composers. They are
, in effect, the first mus. ~dramas, making use of what came to be known ~as [fy
45,1]*[fy75,2]leitmotiv[cf1] and deploying many startling dra~~m
atic devices. They are also the first operas in ~which the characters are recogn
izably human ~rather than symbolic figures. Above all, the ~melodic genius and f
ertility of his mus. and its ~harmonic adventurousness are what make it so ~attr
active and `contemporary' in the [sm20[nmth cent. ~Naturally, the scores present
 many musicological ~problems; their solution by various eds. has ~caused consid
erable disagreement among stu~~dents of the period. Prin. works:[xm[cm~[j2][smop
eras and ballets[nm: [fy75,2]La [fy45,1]*[fy75,2]favola d'Orfeo[cf1] ([sm1607[nm
); ~[fy45,1]*[fy75,2]Arianna [cf1]([sm1608[nm, lost); [cf2]Il ballo delle Ingrat
e[cf1] ([sm1608[nm); ~[cf2]Tirsi e Clori[cf1] ([sm1616[nm); [cf2]Favola di Peleo
 e di Theti[cf1] ~([sm1617[nm, lost); [cf2]Il matrimonio d'Alceste con Admeto[cf
1] ~([sm1618[nm, lost); [cf2]Andromeda[cf1] ([sm1619[nm, lost); [cf2]Commento ~d
'Apollo[cf1] ([sm1620[nm, lost); [cf2]La finta Pazza Licori [cf1]([sm1627[nm, ~l
ost); [cf2]Mercurio e Marte[cf1] ([sm1628[nm, lost); [cf2]Adone[
cf1] ([sm1639[nm, ~lost); [cf2]Le nozze d'Enea con Lavinia[cf1] ([sm1641[nm, los
t); [cf2]Il ~[fy45,1]*[fy75,2]Ritorno d'Ulisse in patria[cf1] ([sm1640[nm); [cf2
]L'[fy45,1]*[fy75,2]incoronazione ~di Poppea[cf1] ([sm1642[nm).[ep~[smsacred[nm:
 [cf2]Madrigali spirituali[cf1], [sm4[nm vv. ([sm1583[nm); [fy45,1]*[fy75,2]Ves~
~perae[cf1] ([sm1610[nm); [cf2]Masses[cf1] for [sm4[nm vv., and psalms ([sm1650[
nm); ~[cf2]Selva morale e spirituale[cf1] ([sm1641[nm) for varying ~numbers of v
v. with varied instr. acc. in most ~cases; and a large number of motets, etc.[ep
~[smsecular vocal[nm: [cf2]Canzonette[cf1] for [sm3[nm vv. ([sm1584[nm); ~[cf2]M
adrigali[cf1]: Book I for [sm5[nm vv. ([sm1587[nm), II for [sm5[nm vv. ~([sm1590
[nm), III for [sm5[nm vv. ([sm1592[nm), IV for [sm5[nm vv. ([sm1603[nm), V ~for
[sm5[nm vv., some with instr. acc. ([sm1605[nm), VI for [sm5[nm ~vv., some with
instr. acc.; includes [fy45,1]*[fy75,2]Lamento ~d'Arianna[cf1], ([sm1614[nm), VI
I for vv. from [sm1[nm to [sm6[nm, with ~instr. acc., incl. [cf2
]Lettera amorosa[cf1] ([sm1619[nm), VIII ~[fy45,1]*[fy75,2]Madrigali guerrieri e
 amorosi[cf1] (Madrigals of Love ~and War) for vv. from [sm1[nm to [sm8[nm with
instr. acc., ~incl. [cf2]Il [fy45,1]*[fy75,2]Combattimento di Tancredi e Clorind
a [cf1]of ~[sm1624[nm ([sm1638[nm), IX [cf2]Madrigali e Canzonette[cf1] for [sm2
[nm to [sm3[nm ~vv., [sm4[nm with basso continuo ([sm1651[nm); [sm10[nm [fy45,1]
*[fy75,2]Scherzi ~musicali[cf1] for [sm1[nm or [sm2[nm vv., all with basso conti
nuo ~([sm1632[nm); [sm15[nm [cf2]Scherzi musicali[cf1] for [sm3[nm vv., unacc. ~
([sm1607[nm).[cm~[ol0][ep~[xp[te~





[do27][j99]~~~~~~[sm153842[nm_M[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmMB[sm03[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm3[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm574[nm[cm~GC[cm6[cm8.10.84[cm~U1[cm~~~~[ap[j1]Montgomery,
 Kenneth [fy75,1](Mervyn) ([cf2]b[cf1] Belfast, ~[sm1943[nm). Irish cond. Studie
d RCM. D;aaebut Glynde~~bourne [sm1967[nm. Staff cond. SW [sm1967[nm=n[sm70[nm.
Ass. cond. ~Bournemouth S.O. and Sinfonietta from [sm1970[nm; ~dir. Bournemouth
Sinfonietta [sm1973[nm=n[sm5[nm. Mus. dir. ~Glyndebourne Touring Opera [sm1975[n
m=n[sm6[nm. Cond. ~[cf2]Oberon [cf1]at Wexford, [sm1972[nm; cond. Strauss's [cf2
]Ariadne ~[cf1]and [cf2]Capriccio [cf1]for Netherlands Opera [sm1972[nm and ~[sm
1975[nm. Prin. cond. Netherlands Radio Orch. from ~[sm1976[nm. CG d;aaebut [sm19
75[nm ([cf2]Le Nozze di Figaro[cf1]).[cm~Mont Juic.[fy75,1] Orch. suite of Catal
an dances in [sm4[nm ~movements by [fy45,1]*[fy75,1]Britten (Op. [sm12[nm) and B
erkeley ~(Op. [sm9[nm). Comp. [sm1937[nm. Authorship of individu
al ~parts never disclosed. [sm3[nmrd movement is a Lament ~sub-titled [cf2]Barce
lona, July [sm1936[nm[cf1]. F.p. BBC concert [sm8[nm ~Jan. [sm1938[nm.[cm~Montoy
a, Carlos[fy75,1] ([cf2]b[cf1] Madrid, [sm1903[nm). Sp. guitarist ~whose skill i
n [fy45,1]*[fy75,1]flamenco style achieved its ~recognition on a par with classi
cal style. Played in ~caf;aaes at age [sm14[nm. In [sm1928[nm toured Europe with
 ~dancer La Argentina. First solo recitals [sm1948[nm. ~Comp. and arr. mus. for
flamenco guitar but ~could not read mus.[cm~Montreal Symphony Orchestra. [fy75,1
]Canadian ~orch., the successor of several previous organiza~~tions. From [sm189
7[nm to [sm1907[nm an orch. with this name ~was cond. by Joseph Goulet, a Belg.
violinist who ~lived in Montreal from [sm1890[nm. Douglas Clarke, ~dean of facul
ty of mus., McGill Univ., in [sm1930[nm ~formed sym. orch. which survived until
[sm1941[nm ~and introduced many important works and ~soloists to Canada. A rival
 orch., sharing some of ~the players, was formed in [sm1935[nm a
s Les Concerts ~Symphoniques, sometimes cond. by Wilfrid ~[fy45,1]*[fy75,1]Pelle
tier and after [sm1941[nm by the Belg. D;aaesir;aae ~[fy45,1]*[fy75,1]Defauw. In
 [sm1954[nm orch. was re-named Orchestre ~Symphonique de Montr;aaeal=mMontreal S
.O.[fjConds. after Defauw: O. Klemperer [sm1950=n3[nm; I.[fjMarkevich [sm1955=n6
0[nm; Z. Mehta [sm1961=n7[nm; F.-P.[fjDecker [sm1968=n75[nm; R. Fr;auuhbeck de B
urgos [sm1975=n6[nm;[fj~Charles Dutoit from [sm1978[nm.[cm~Montsalvatge, Xavier[
fy75,1] ([cf2]b[cf1] Gerona, [sm1912[nm). Sp. ~composer. Studied Barcelona Cons.
 [sm1923[nm=n[sm36[nm. ~[PN477,0,0,R,I0]Wrote opera [cf2]El gato con botas[cf1]
(Puss in Boots) ~([sm1947[nm), [cf2]Mediterranean Symphony[cf1] for orch. ([sm19
49[nm), ~[sm3[nm [cf2]Divertimenti[cf1] for pf. ([sm1941[nm), [cf2]Concerto brev
e[cf1] for pf. ~and orch., [cf2]Poema concertante[cf1] for vn., and orch. ~([sm1
952[nm), and [sm5[nm [cf2]Canciones negras[cf1] for sop. and pf. ~([sm1945[nm).[
cm~Moody, Fanny[fy75,1] ([cf2]b[cf1] Redruth, [sm1866[nm; [cf2]d
[cf1] Dundrum, ~Co. Dublin, [sm1945[nm). Eng. sop. Studied with Mme ~Sainton-Dol
by. D;aaebut London [sm1885[nm; stage d;aaebut ~with Carl Rosa Opera, Liverpool,
 [sm1887[nm. Married ~Charles [fy45,1]*[fy75,1]Manners [sm1890[nm, with whom she
 formed ~[fy45,1]*[fy75,1]Moody-Manners Opera Company. Sang at CG ~and was first
 Eng. Tatiana in Tchaikovsky's [cf2]Eugene ~Onegin[cf1].[cm~Moody-Manners Opera
Company.[fy75,1] Touring ~opera co. formed [sm1898[nm by Charles [fy45,1]*[fy75,
1]Manners and ~his wife Fanny [fy45,1]*[fy75,1]Moody and disbanded [sm1916[nm. A
t ~its peak was split into [sm2[nm cos., one of [sm175[nm members, ~the other of
 [sm95[nm.[cm~Moog, Robert [fy75,1](Arthur) ([cf2]b [cf1]Flushing, NY, [sm1934[n
m). ~Amer. audio-engineer and inventor. Studied ~Columbia Univ. and Cornell Univ
. Pres., Moog ~Mus. Inc., Williamsville, NY. Invented and ~patented Moog [fy45,1
]*[fy75,1]synthesizer ([sm1965[nm), manufac~~tured by his co., which greatly inc
reased options ~open to composers of elec. mus.[cm~Moonlight and
 Roses.[fy75,1] See [cf2]Lemare, E. H.[cf1][cm~Moonlight Sonata.[fy75,1] Popular
 nickname of Beet~~[chhoven's Pf. Sonata No. [sm14[nm in C;yi minor, Op. [sm27[n
m ~No. [sm2[nm, comp. [sm1800[nm=n[sm1[nm. The nickname originated ~in review by
 poet Heinrich Rellstab ([sm1799[nm=n[sm1860[nm) ~in which he wrote that the fir
st movement ~reminded him of moonlight on Lake Lucerne=m~a misleading approach t
o a movement with ~almost the character of a funeral march.[cm~Mo;aaor, Emanuel[
fy75,1] ([cf2]b[cf1] Kecskem;aaet, Hung., [sm1863[nm; [cf2]d[cf1] ~Chardonne, [s
m1931[nm). Hung. composer, pianist, and ~cond. Studied Budapest and Vienna. Tour
ed ~Europe and USA [sm1885[nm=n[sm7[nm as pianist and cond. ~Wrote [sm4[nm opera
s, [sm8[nm syms., [sm3[nm pf. concs., [sm2[nm vc. concs., ~[sm4[nm vn. concs., t
riple conc., harp conc., va. conc., ~much chamber mus., and over [sm500[nm songs
. ~Invented [fy45,1]*[fy75,1]Duplex-Coupler pf., [sm1921[nm, with [sm2[nm kbds.
~tuned octave apart.[cm~Moore, Douglas [fy75,1](Stuart) ([cf2]b[
cf1] Cutchogue, NY, ~[sm1893[nm; [cf2]d[cf1] Greenport, NY, [sm1969[nm). Amer. c
omposer, ~organist, and teacher. Studied with Horatio Parker ~at Yale and later
in Paris with d'Indy, Boulanger, ~and Bloch. Ass. prof. of mus. Columbia Univ.,
~NY, [sm1926[nm, becoming head of mus. dept. [sm1940[nm and ~MacDowell Prof. of
Mus. [sm1943[nm=n[sm62[nm. Works steeped ~in Amer. legends and history. Wrote [s
m2[nm books. ~Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]The [fy45,1]*[fy75,2
]Devil and Daniel Webster[cf1] ([sm1938[nm), [cf2]The ~Emperor's New Clothes[cf1
] ([sm1948[nm), [cf2]The Ballad of Baby ~Doe[cf1] ([sm1956[nm), [cf2]Carrie Nati
on[cf1] ([sm1966[nm).[ep~[smorch[nm: [cf2]Pageant of P.T. Barnum[cf1] ([sm1924[n
m), [fy45,1]*[fy75,2]Moby Dick[cf1] ~([sm1929[nm), [cf2]Village Music[cf1] ([sm1
941[nm), [cf2]Symphony in A[cf1] ~([sm1945[nm), [cf2]Farm Journal[cf1] ([sm1947[
nm).[ep~[smchamber music[nm: Vn. sonata ([sm1929[nm), str. qt. ([sm1933[nm), ~cl
. quintet ([sm1946[nm), pf. trio ([sm1953[nm).[ep~[smchoral[nm:
[cf2]Simon Legree[cf1] ([sm1938[nm), [cf2]Prayer for the United ~Nations[cf1] ([
sm1943[nm).[cm~[j1]Moore, Gerald[fy75,1] ([cf2]b[cf1] Watford, [sm1899[nm). Eng.
 pianist, ~known as one of the finest of accompanists. Spent ~boyhood in Canada.
 First recorded for HMV ~[sm1921[nm. Accompanist to tenor John [fy45,1]*[fy75,1]
Coates from ~[sm1925[nm. From early [sm1930[nms emerged as sensitive ~accompanis
t to leading singers. After [sm1945[nm closely ~assoc. with Kathleen [fy45,1]*[f
y75,1]Ferrier, Elisabeth ~[fy45,1]*[fy75,1]Schwarzkopf, Victoria [fy45,1]*[fy75,
1]de los Angeles, Janet ~[fy45,1]*[fy75,1]Baker, Dietrich [fy45,1]*[fy75,1]Fisch
er-Dieskau, and others. ~Made many records. Wrote several books, incl. ~[cf2]The
 Unashamed Accompanist[cf1] ([sm1943[nm, rev. [sm1957[nm) and ~[cf2]Am I Too Lou
d?[cf1] ([sm1962[nm). Frequent broadcaster. ~C.B.E. [sm1954[nm. Retired from con
certs [sm1967[nm but ~continued to record and lecture.[cm~Moore, Grace[fy75,1] (
[cf2]b[cf1] Nough, Tenn., [sm1898[nm; [cf2]d[cf1] Copen~~hagen i
n air crash, [sm1947[nm). Amer. sop. After singing ~in caf;aaes, night-clubs, an
d revues went in [sm1926[nm to ~Fr. to study for [sm2[nm years with Richard Bart
h;aaelemy. ~D;aaebut Paris and Nice [sm1927[nm with Amer.-Ger. ~Opera Co. NY Met
. [sm1928[nm as Mimi, appearing at ~Met. [sm1928[nm=n[sm32[nm, [sm1935[nm=n[sm46
[nm. CG [sm1935[nm. Paris Op;aaera-~Comique [sm1928[nm, [sm1938[nm, [sm1946[nm.
Sang [cf2]Louise[cf1] in Paris ~after study with [fy45,1]*[fy75,1]Charpentier. A
ppeared in ~several films, some with Jan [fy45,1]*[fy75,1]Kiepura, incl. [cf2]On
e ~Night of Love, New Moon[cf1], and [cf2]Love Me Forever[cf1].[cm~Moore, Jerrol
d Northrop [fy75,1]([cf2]b [cf1]Paterson, [smnj[nm, ~[sm1934[nm). Amer. musicolo
gist. Studied at Yale ~Univ. Settled in Eng. [sm1970[nm, becoming a leading ~aut
hority on Elgar and the history of gramophone ~recording. Joint ed. of Elgar Com
plete Edition. ~Ed. [cf2]Music and Friends: Seven Decades of Letters to ~Adrian
Boult [cf1]([sm1979[nm). Author of [cf2]An Elgar Discography[fj[
cf1]([sm1963[nm), [cf2]Elgar: a Life in Photographs [cf1]([sm1972[nm),[fj[cf2]El
gar on Record [cf1]([sm1974[nm), [cf2]A Voice in Time: the ~Gramophone of Fred G
aisberg [cf1]([sm1976[nm), [cf2]Spirit of ~England: Edward Elgar in his World [c
f1]([sm1984[nm), and ~[cf2]Edward Elgar: a Creative Life [cf1]([sm1984[nm). Trus
tee of ~Elgar's Birthplace.[cm~Moore, Thomas[fy75,1] ([cf2]b[cf1] Dublin, [sm177
9[nm; [cf2]d[cf1] Devizes, ~[sm1852[nm). Irish poet and musician. Studied Trinit
y ~Coll., Dublin, [sm1793[nm=n[sm8[nm. Self-taught musically. In ~[sm1802[nm beg
an to write words and mus. of songs ~pubd. [sm1807[nm=n[sm8[nm as [cf2]Irish Mel
odies[cf1]. By [sm1834[nm, [sm10[nm sets ~of these melodies and folk-song arrs.
had been ~pubd., the last [sm2[nm being harmonized by [fy45,1]*[fy75,1]Bishop. ~
Among the most enduring of his songs were [cf2]The ~Last Rose of Summer[cf1] (in
corporated into Flotow's ~[fy45,1]*[fy75,2]Martha[cf1]), [cf2]The Harp that Once
 in Tara's Halls[cf1], and ~[cf2]The Minstrel Boy[cf1], the word
s of which he set to ~traditional tunes. His [cf2]Lalla Rookh[cf1] ([sm1817[nm)
with its ~[sm4[nm interpolated poems (e.g. [cf2]Paradise and the Peri[cf1]), ~be
came the basis of several mus. comps. (by ~Spontini, Rubinstein, Stanford, Schum
ann, and ~Bantock).[cm~Moraes, Joao de Silva[fy75,1] ([cf2]b[cf1] Lisbon, [sm168
9[nm; [cf2]d[cf1] Lisbon, ~[sm1747[nm). Portuguese composer of religious mus.[cm
~[PN478,0,0,L,I0]Morales, Crist;aaobal de[fy75,1] ([cf2]b[cf1] Seville, [cf2]c[c
f1].[sm1500[nm; [cf2]d[cf1] M;aaalaga, ~[sm1553[nm). Sp. composer. Chapelmaster,
 ;aaAvila Cath., ~[sm1526[nm=n[sm31[nm. Member of Papal Choir, Rome, [sm1535[nm=
n~[sm45[nm. While in It. comp. most of his church mus. ~which ranks him with Vic
toria and Palestrina as ~a master of polyphony. Returned to Toledo [sm1545[nm=n~
[sm7[nm, chapelmaster at M;aaalaga Cath. [sm1551[nm=n[sm3[nm.[cm~Moralities.[fy7
5,1] See [cf2]Miracle Plays[cf1].[cm~Moralt, Rudolf [fy75,1]([cf2]b[cf1] Munich,
 [sm1902[nm; [cf2]d[cf1] Vienna, ~[sm1958[nm). Ger. cond. Ch. tr
ainer Munich Opera ~[sm1919[nm=n[sm23[nm. Held opera posts in Ger. and Austria.
~Cond. at Vienna State Opera [sm1940[nm=n[sm58[nm.[cm~Morasco.[fy75,1] See [cf2]
Moresca[cf1].[cm~Morbido; morbidezza[fy75,1] (It.). Soft, gentle; softness, ~gen
tleness. (Not morbid, or morbidity.)[cm~Morceau[fy75,1] (Fr.). Piece. So [cf2]Mo
rceau symphonique[cf1], ~Symphonic piece. (For [cf2]Morceau d'ensemble [cf1]see
~[cf2]Ensemble[cf1].)[cm~Morceaux en forme de poire, Trois[fy75,1] ([sm3[nm Pear
-~shaped pieces). Work for pf., [sm4[nm hands, by [fy45,1]*[fy75,1]Satie, ~[sm19
03[nm, containing, title notwithstanding, [sm6[nm items. ~Orch. version by R. D;
aaesormi;agere.[cm~Mordent[fy75,1] (from It. [cf2]mordere[cf1], to bite). Mus. ~
[fy45,1]*[fy75,1]ornament shown by a sign over the note. There ~are Upper and Lo
wer Mordents.[ep~^In Ger. [cf2]Mordent[cf1] means only the Lower Mordent. ~Examp
les are:[ep~[bn[el2][dt5p10,1p4g,5p10][bt~Upper Mordent[qc~(in German[qc~Pralltr
iller)[qc~[nt~Upper Mordent[qc~with inflected note[qc~[et~[ol33]
[ep~[bt~Lower Mordent[qc~(in German simply[qc~Mordent)[qc~[nt~Lower Mordent[qc~w
ith inflected note[qc~[et~[ol33][ep~[xn^In the case of the Upper Mordent these `
crushed ~in' notes are the main note itself and the note ~above; if the latter i
s to be inflected in any way ~the necessary sign (;Yi|;Yh|;Yj|;ts|;Yh;Yh) appear
s [cf2]above[cf1] the ~mordent sign.[ep~^In the case of the Lower Mordent the `c
rushed ~in' notes consist of the note itself and the note ~below; if this latter
 is to be inflected in any way ~the necessary sign appears[cf2] below[cf1] the L
ower ~Mordent sign (the interval is generally that of a ~semitone).[ep~^There is
 a confusion of terminology. The terms ~`Mordent' and `Inverted Mordent' are ver
y com~~monly used for the two forms, but some call the ~first one shown above th
e `Mordent' and the ~second one the `Inverted Mordent', and others ~reverse thes
e titles. The one way of avoiding all ~misunderstanding is always to use the wor
ds ~`Upper' and `Lower'. In addition to these [sm2[nm forms, ~ot
hers were used by earlier composers but in ~modern edns. those are set out in fu
ll. See also ~[cf2]Acciaccatura[cf1].[cm~Moreau, Jean-Baptiste[fy75,1] ([cf2]b[c
f1] Angers, [sm1656[nm; [cf2]d[cf1] Paris, ~[sm1733[nm). Fr. composer, organist,
 and choirmaster. ~After holding church posts went to Paris [sm1686[nm, ~composi
ng divertissements for the court. Wrote ~incidental mus. for Racine's [cf2]Esthe
r[cf1] ([sm1689[nm) and ~[cf2]Athalie[cf1] ([sm1691[nm).[cm~Morendo [fy75,1](It.
 `dying'). Instruction for the mus. to ~die away gradually, often used by Verdi
(also by ~Beethoven, at end of slow movt. of str. qt. Op. ~[sm74[nm).[cm~Moresca
[fy75,1] (Moresco), [fy65][cf3]Morisca[fy75,1] (Morisco). A Moor~~ish dance. App
arently the name (which was ~common from the [sm15[nmth to [sm17[nmth cents.) di
d not ~carry any fixed implications as to rhythm or style. ~Often it was applied
 to any rough-and-ready ~grotesque dance employing animal costumes, etc. ~In [fy
45,1]*[fy75,1]Arbeau's [cf2]Orch;aaesographie[cf1] ([sm1588=n9[n
m), it is said ~that some performers blacked their faces to ~resemble Moors and
wore bells on their legs; this ~has led to speculation that the Eng. [fy45,1]*[f
y75,1]Morris dance ~is a derivation.[cm~Moresque[fy75,1] (Fr.). Same as [fy45,1]
*[fy75,1]Moresca.[cm~Morgenbl;auatter[fy75,1] (Morning leaves, or morning ~newsp
apers). Title of waltz, Op. [sm279[nm, by Johann ~Strauss II comp. for Vienna Pr
ess Ball ([sm1864[nm).[cm~Morhange, Charles Henri.[fy75,1] Real name of [fy45,1]
*[fy75,1]Al~~kan.[cm~M;auorike-Lieder[fy75,1] (Songs of M;auorike). [sm53[nm son
gs by ~Hugo [fy45,1]*[fy75,1]Wolf for solo v. and pf. to poems by the ~Ger. poet
 Eduard Friedrich M;auorike ([sm1804[nm=n[sm75[nm), ~comp. [sm1888[nm, incl. [cf
2]Elfenlied[cf1], [cf2]Gesang Weylas[cf1], [cf2]Der ~Feuerreiter[cf1], and [cf2]
An die Geliebte[cf1]. [sm11[nm of them were ~later orchestrated.[cm~Morillo, Rob
erto Garcia[fy75,1] ([cf2]b[cf1] Buenos Aires, [sm1911[nm). ~Argentinian compose
r and critic. Studied with ~J.|J. Castro and in Paris [sm1926[nm
=n[sm30[nm. Taught at Nat. ~Cons., Buenos Aires; mus. critic of [cf2]La Nacion[c
f1]. ~Author of books on Mussorgsky and Rimsky-~Korsakov. Works incl. [sm2[nm sy
ms., pf. conc., [cf2][sm3[nm ~Paintings of Paul Klee[cf1] for orch., pf. qt., st
r. qt., ~mimodrama [cf2]The Fall of the House of Usher[cf1], [sm3[nm pf. ~sonata
s.[cm~Morison, Elsie [fy75,1](Jean) ([cf2]b[cf1] Ballarat, [sm1924[nm). Austra~~
lian sop. Studied Melbourne and RCM (with ~Clive Carey). D;aaebut London [sm1948
[nm in [cf2]Acis and ~Galatea[cf1]. In SW Opera Co. [sm1948[nm=n[sm54[nm and at
CG ~[sm1953[nm=n[sm62[nm, also many concert appearances in ~oratorio, etc. Sang
Blanche in Eng. premi;agere of ~Poulenc's [cf2]Dialogues des Carm;aaelites[cf1],
 CG [sm1958[nm, and ~Anne in f. Brit. p. of Stravinsky's [cf2]The Rake's ~Progre
ss[cf1] by Glyndebourne at Edinburgh Fest. ~[sm1953[nm. Wife of Rafael [fy45,1]*
[fy75,1]Kubelik.[cm~Morlacchi, Francesco[fy75,1] ([cf2]b[cf1] Perugia, [sm1784[n
m; [cf2]d[cf1] ~Innsbruck, [sm1841[nm). It. composer. Studied in
 Perugia ~[PN479,0,0,R,I0]and with Zingarelli in Loreto. Wrote cantata for ~Napo
leon's coronation as King of It. in Milan ~[sm1805[nm. Comp. [sm8[nm opera buffa
 [sm1807[nm=n[sm10[nm, then went ~to Dresden as cond. of It. opera there, remain
ing ~until his death. Wrote many operas, incl. [cf2]Il nuovo ~barbiere di Sivigl
ia [cf1](Dresden, [sm1816[nm), and much ~church mus. Morlacchi's absences in It.
 caused ~Weber, appointed Kapellmeister at Dresden, ~[sm1817[nm, to overwork.[xm
[cm~[ol0][ep~[xp[te~






[do20][j99]~~~~~[sm153842[nm_M[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmMB[sm04[nm[cm[sm20[nm[cm~[sm1[nm[cm[sm4[nm.[sm10[nm.[sm
79[nm[cm[sm19[nm[cm[sm606[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Morley,
Thomas[fy75,1] ([cf2]b [cf1]?Norwich, [sm1557[nm; [cf2]d [cf1]London, ~[sm1602[n
m). Eng. composer. Pupil of [fy45,1]*[fy75,1]Byrd. Mus.B., ~Oxford Univ., [sm158
8[nm. Organist, St Paul's Cath. ~[cf2]c[cf1].[sm1589[nm=n[sm92[nm. Almost certai
nly worked as a govern~~ment spy. Gentleman of Chapel Royal [sm1592[nm. In ~[sm1
598[nm, granted by Elizabeth I exclusive licence for ~[sm21[nm years to print so
ng-books of all kinds and mus. ~paper. Thus he pubd. not only his own mus. but ~
that of his contemporaries. Pubd. and ed. [cf2]The ~Triumphs of Oriana[cf1] ([sm
1601[nm), to which he contrib~~uted [cf2]Arise, awake[cf1] for [sm5[nm vv. and [
cf2]Hard by a crystal ~fountain[cf1] for [sm6[nm vv. Was one of great masters of
 Eng. ~madrigal. Probably friend of Shakespeare: setting ~of [cf
2]It was a lover and his lass[cf1] for [cf2]As You Like It [cf1]may ~have been f
or orig. prod., [sm1599[nm. Specialized in ~balletts. Also wrote church mus., in
cl. Burial ~Service; lute songs, and [cf2]A Plaine and Easie ~Introduction to Pr
acticall Musicke[cf1] ([sm1597[nm). Among ~his works and publications were: [cf2
]Canzonets[cf1] for [sm3[nm ~vv. ([sm1593[nm), [cf2]Madrigals[cf1] for [sm4[nm v
v. ([sm1594[nm), [cf2][sm1[nmst Book of ~Balletts[cf1], [sm5[nm vv. ([sm1595[nm)
, [cf2][sm1[nmst Book of Canzonets[cf1], [sm2[nm vv. ~([sm1595[nm), [cf2]Canzone
ts[cf1], [sm4[nm vv. (selected from `best It. ~authors' but incl. [sm2[nm by Mor
ley) ([sm1597[nm), [cf2]Madrigals[cf1], ~[sm5[nm vv. (selected from `best It. au
thors') ([sm1598[nm), [cf2][sm1[nmst ~Book of Consort Lessons[cf1], [sm6[nm inst
r. ([sm1599[nm), [cf2][sm1[nmst Book of ~Ayres[cf1], lute and bass viol ([sm1600
[nm), [cf2]The [fy45,1]*[fy75,2]Triumphs of ~Oriana[cf1], [sm5[nm and [sm6[nm vv
. `by divers several authors' ~([sm1601[nm).[cm~Morley College.[
fy75,1] Non-vocational adult education ~centre in London, founded [sm1889[nm. Ha
s flourishing ~and adventurous mus. dept., dirs. of which have ~incl. Holst (fro
m [sm1907[nm), Goldsbrough (from ~[sm1924[nm), Arnold Foster (from [sm1928[nm),
Tippett (from ~[sm1940[nm), Fricker (from [sm1953[nm), Gardner (from [sm1965[nm)
, ~Graubart (from [sm1969[nm).[cm~Morning Heroes.[fy75,1] Sym. for orator, ch.,
and orch. ~by Bliss, f.p. Norwich Festival [sm1930[nm. Comp. in ~memory of his b
rother, killed in [sm1914[nm=n[sm18[nm war in ~which Bliss also served. Texts us
ed are Iliad, ~Whitman, Li-Tai-Po, Wilfred Owen, and Robert ~Nichols.[cm~Morning
ton, Garrett Colley Wesley, [fy75,1][sm1[nmst Earl of ~([cf2]b[cf1] Dangan, Co.
Meath, [sm1735[nm; [cf2]d[cf1] London, [sm1781[nm). ~Irish composer and landowne
r, father of Arthur ~Wellesley, first Duke of Wellington, (surname ~changed to W
ellesley after Mornington's death). ~Self-taught in mus. Founded Dublin Acad. of
 ~Mus. Prof. of mus., Dublin Univ. [sm1764[nm=n[sm74[nm. ~Excell
ed in composing glees. Wrote church mus., ~incl. fine setting of the Burial Serv
ice, and an ~unpublished cantata, [cf2]Caractacus.[cf1][cm~Moro, Giacomo[fy75,1]
 (=+=+=+[cf2]fl.[cf1] [sm16[nmth=n[sm17[nmth cents.). It. com~~poser and Servite
 monk. Wrote much church ~mus. incl. collections of [cf2]concerti ecclesiastici
[cf1]([sm1604[nm, ~rev. [sm1613[nm).[cm~Moross, Jerome[fy75,1] ([cf2]b[cf1] Broo
klyn, NY, [sm1913[nm; [cf2]d [cf1]Miami, ~Flor., [sm1983[nm). Amer. composer. Be
longed to `young ~composers' group', NY [sm1934[nm=n[sm6[nm. Went to Holly~~wood
 [sm1938[nm to write film mus. Works incl.:[cf2] Paul ~Bunyan [cf1](ballet, [sm1
934[nm),[cf2] Frankie and Johnnie[cf1] (ballet, ~[sm1938[nm),[cf2] Susanna and t
he Elders[cf1] (ballet-opera, [sm1940[nm),[cf2] ~The Eccentricities of Davy Croc
kett[cf1] (ballet-opera, ~[sm1945[nm),[cf2] Gentlemen, Be Seated![cf1] (opera, [
sm1955[nm=n[sm6[nm), sym. ~([sm1941[nm=n[sm2[nm), [cf2]Suite[cf1] for chamber or
ch. ([sm1934[nm), sonata ~for db. and pf.[cm~Morris, Gareth [fy7
5,1](Charles Walter) ([cf2]b [cf1]Clevedon, ~[sm1920[nm). Eng. flautist. Studied
 privately with R. ~Murchie, then at RAM. D;aaebut as soloist, London ~[sm1939[n
m. Played with Boyd Neel Orch. and in Dennis ~Brain Wind Quintet. Prof. of fl.,
RAM, from ~[sm1945[nm. Prin. fl., Philharmonia Orch. [sm1948[nm=n[sm72[nm. ~Alwa
ys played wooden fl.[cm~Morris, Morrice.[fy75,1] A type of Eng. folk dance for ~
men, assoc. with Whitsuntide and perf. to the ~acc. of pipe and tabor. The dance
rs wear bells on ~their ankles: sometimes they are dressed to ~represent charact
ers (the Queen of the May, the ~Fool, etc.). The mus. is usually in duple or ~qu
adruple time. Some Eng. villages possess Morris ~troupes whose origin goes back
to an unknown ~antiquity. Conjecture that the dance derives from ~the [fy45,1]*[
fy75,2]moresca[cf1] is unsubstantiated.[cm~Morris, [fy65,3]R[fy75,1](eginald) [f
y65,3]O[fy75,1](wen) ([cf2]b[cf1] York, [sm1886[nm; [cf2]d[cf1] ~London, [sm1948
[nm). Eng. teacher and composer. ~Studied Oxford Univ. and RCM.
On staff RCM ~[sm1920[nm=n[sm6[nm. Dir. of theory and comp. Curtis Institute, ~P
hiladelphia, [sm1926[nm=n[sm8[nm; rejoined RCM [sm1928[nm. Au~~thor of several t
extbooks incl. [cf2]Contrapuntal ~Technique in the [sm16[nmth Century[cf1] ([sm1
922[nm). Had many ~distinguished pupils. Comp. sym. ([sm1935[nm), vn. ~conc., vc
. suite, str. qts., songs, and folk-song arrs. ~Brother-in-law of [fy45,1]*[fy75
,1]Vaughan Williams.  Compiled ~crosswords for [cf2]The Times.[cf1][cm~Morris, W
yn [fy75,1]([cf2]b[cf1] Trlech, [sm1929[nm). Welsh cond. ~Studied RAM and Salzbu
rg Mozarteum. Founder-~cond., Welsh S.O. [sm1957[nm=n[sm60[nm. Cond., Royal Chor
al ~Soc. [sm1968[nm=n[sm70[nm, Huddersfield Choral Soc. [sm1969[nm=n[sm74[nm. ~S
pecialist in mus. of Mahler. Cond. f.p. final rev. ~of Cooke perf. version of Ma
hler's [sm10[nmth Sym., ~[sm1972[nm.[cm~Morrison,[fy75,1] (Stuart) [fy65][cf3]An
gus[fy75,1] ([cf2]b[cf1] Maidenhead, [sm1902[nm). ~Eng. pianist. Studied RCM, jo
ining teaching staff ~[sm1926[nm. D;aaebut, London [sm1923[nm. A
lso played in trio ~with Jean Pougnet (vn.) and Anthony Pini (vc.). ~Champion of
 Fr. and Eng. composers, friend of ~Walton, Lambert, etc. Played solo pf. part i
n f.p. ~(broadcast) of Lambert's [cf2]Rio Grande[cf1], [sm1928[nm. C.B.E. ~[sm19
79[nm.[cm~Mortari, Virgilio[fy75,1] ([cf2]b[cf1] Passirana di Lainate, Milan, ~[
sm1902[nm). It. composer. Studied Milan Cons. with ~[PN480,0,0,L,I0]Bossi and Pi
zzetti. Wrote [sm4[nm operas, conc. for str. ~qt. and chamber orch., pf. conc.,
[cf2]Stabat Mater[cf1], ~etc. With [fy45,1]*[fy75,1]Casella, wrote book on moder
n orch. ~technique ([sm1950[nm). On staff of Venice Cons. [sm1933[nm=n~[sm40[nm;
 prof. of comp. Rome Cons. [sm1940[nm=n[sm73[nm.[cm~Mort de Cl;aaeop;afatre, La[
fy75,1] (The Death of Cleopatra). ~Lyric scene for sop. or mez. and orch. by Ber
lioz, ~comp. [sm1829[nm as entry for [cf2]Prix de Rome[cf1] but no prize ~was aw
arded. Part of a larger cantata, [cf2]Cl;aaeop;afatre[cf1], ~the rest being dest
royed.[cm~Mortimer, Harry[fy75,1] (Henry) ([cf2]b[cf1] Hebden Br
idge, ~Yorks., [sm1902[nm). Eng. brass-band conductor and ~trumpeter. Member of
celebrated brass-band ~family. Cornet-player at [sm7[nm. Trumpeter in Hall;aae ~
Orch. (under Harty) [sm1926[nm=n[sm30[nm, Liverpool P.O. ~[sm1930[nm=n[sm4[nm, B
BC Northern Orch. [sm1935[nm=n[sm42[nm. Cond. ~several championship brass bands,
 incl. Foden's, ~Fairey Aviation, Munn and Felton's, Morris ~Motors, and Black D
yke Mills. Brass and military ~bands supervisor, BBC [sm1942[nm=n[sm64[nm. C.B.E
. [sm1984[nm.[cm~Moscheles, Ignaz[fy75,1] ([cf2]b[cf1] Prague, [sm1794[nm; [cf2]
d[cf1] Leipzig, ~[sm1870[nm). Ger.-Bohemian pianist, composer, and ~teacher. Stu
died Prague Cons. and in Vienna with ~Albrechtsberger and Salieri. Made pf. scor
e of ~[cf2]Fidelio[cf1], [sm1814[nm, under Beethoven's supervision. ~After succe
ss of his [cf2]Variations[cf1], Op. [sm32[nm, in [sm1815[nm he ~toured Europe fo
r [sm10[nm years, visiting London [sm1821[nm ~and [sm1823[nm. Gave pf. lessons t
o [fy45,1]*[fy75,1]Mendelssohn [sm1824[nm. ~Settled in London [s
m1826[nm. Cond. f. (private) London ~p. of Beethoven's [cf2]Missa Solemnis[cf1],
 [sm1832[nm; and [sm9[nmth ~Sym. [sm1837[nm and [sm1838[nm at Philharmonic Soc.
~Founded series of chamber concerts and played ~Bach and Scarlatti on hpd. Prof.
 of pf. at new ~Leipzig Cons. [sm1846=n70[nm. Comp. [sm8[nm pf. concs. and ~nume
rous other works. Trans. Schindler's biog~~raphy of Beethoven into Eng., [sm1841
[nm.[cm~Mos;age in Egitto[fy75,1] (Moses in Egypt). Opera ([cf2]azione ~tragica-
sacra[cf1]) in [sm4[nm acts (orig. [sm3[nm) by Rossini to lib. ~by A. L. Tottola
. Prod. Naples [sm1818[nm (the well-~known `Prayer' being added for [sm1819[nm r
evival), ~Vienna [sm1821[nm (in Ger.), London [sm1822[nm (in It. as ~[cf2]Pietro
 l'Eremita [cf1](Peter the Hermit)), CG [sm1833[nm (in ~Eng. as [cf2]The Israeli
tes in Egypt[cf1] with adds. from ~Handel's [cf2]Israel in Egypt[cf1]), NY [sm18
32[nm. [sm4[nm-act version ~with Fr. lib. by Balocchi and de Jouy and mus. ~subs
tantially rev., prod. Paris [sm1827[nm under title ~[cf2]Mo;auis
e et Pharaon[cf1]. This version prod. CG (under ~title [cf2]Zora[cf1]) [sm1850[n
m, NY [sm1860[nm.[cm~Moser, Hans Joachim [fy75,1]([cf2]b[cf1] Berlin, [sm1889[nm
; [cf2]d[cf1] Berlin, ~[sm1967[nm). Ger. musicologist, singer, teacher, and ~his
torian. Son of Andreas Moser, violinist. Studied ~Berlin. Prof. of musicology, H
alle Univ. from ~[sm1922[nm, Heidelberg from [sm1925[nm. Dir. State Acad. for ~S
ch. and Church Mus., Berlin, [sm1927[nm=n[sm33[nm. Prof. of ~musicology, Jena Un
iv. [sm1947[nm; dir., Berlin Cons. ~[sm1950[nm=n[sm60[nm. Arr. Weber's [cf2]Eury
anthe [cf1]with new text, ~Berlin [sm1915[nm; ed. Handel's [cf2]Orlando [cf1]([s
m1922[nm); ed. ~works of Weber with A. Sandberg. Author of ~many books of mus. h
istory and biography, incl. ~[cf2]Musiklexikon[cf1] ([sm1932[nm=n[sm5[nm, [sm195
5[nm, suppl. [sm1963[nm), [cf2]Ge~~[chschichte der deutschen Musik[cf1] ([sm3[nm
 vols., [sm1920[nm=n[sm4[nm),[cf2][fj~J. S. Bach[cf1] ([sm1935[nm), [cf2]Heinric
h Sch;auutz[cf1] ([sm1936[nm, rev. [sm1954[nm), ~[cf2]Gluck [cf1
]([sm1940[nm),[cf2] Handel[cf1] ([sm1941[nm),[cf2] Weber[cf1] ([sm1941[nm), [cf2
]Goethe ~and Music [cf1]([sm1949[nm), [cf2]Buxtehude [cf1]([sm1957[nm). Also com
~~poser.[cm~Moses und Aron[fy75,1] (Moses and Aaron). Opera in [sm3[nm ~acts ([s
m3[nmrd act lib. only) by Schoenberg to his own ~lib. Comp. [sm1930[nm=n[sm2[nm.
 Prod. (concert) Hamburg ~[sm1954[nm, stage Z;auurich [sm1957[nm, Berlin [sm1959
[nm, London ~CG [sm1965[nm, Boston [sm1966[nm, Paris [sm1975[nm. Schoenberg in ~
[sm1951[nm said that the [sm3[nmrd act could be spoken, but ~Scherchen in Berlin
 had it spoken to mus. taken ~from Act [sm1[nm. Most perfs. keep to [sm2[nm comp
leted acts. ~Act [sm2[nm contains [cf2]Dance Before the Golden Calf.[cm~Mosonyi,
 Mih;aaaly [fy75,1](Brand, Michael) ([cf2]b [cf1]Boldogas~~szonyfalva, Hung., [s
m1815[nm; [cf2]d [cf1]Pest, [sm1870[nm). Hung. ~composer, teacher, and writer. S
tudied mus. in ~Pozsony from [sm1832[nm while earning living as ~copyist. From [
sm1835[nm to [sm1843[nm was pf. teacher to ~aristocratic family
and comp. str. qts. and pf. ~pieces. Moved to Pest [sm1842[nm as teacher of pf.
and ~comp. and also played db. in orch. In [sm1856[nm ~became friend of Liszt an
d in [sm1859[nm began to ~comp. in national style and took Hung. name of ~Mosony
i. Among his later works are cantatas and ~operas on Hung. themes. First to use
cimbalom ~in symphonic work. Also admirer and champion ~of Wagner.[cm~Mosso[fy75
,1] (It.). Moved, e.g. [cf2]pi;agu mosso[cf1], More moved, ~i.e. quicker.[cm~Mos
solov, Alexander [fy75,1](Vasilyevich) ([cf2]b[cf1] Kiev, ~[sm1900[nm; [cf2]d[cf
1] Moscow, [sm1973[nm). Russ. composer. Studied ~Moscow Cons. with Myaskovsky an
d Gli;agere. Early ~songs had newspaper advertisements as texts. Was ~among firs
t proponents of `Soviet realism' under ~name `constructivist music', e.g. ballet
 [cf2]The Factory[cf1] ~([sm1927[nm), which employed metal sheet, shaken in ~the
 orch., for realistic effects (perf. also as concert ~piece under names `Music o
f the Machines' or ~`Iron foundry'). This was criticised in Russ
ia as ~`decadent'. Mossolov was back in favour during ~[sm1941[nm=n[sm5[nm war w
ith patriotic works. Wrote [sm6[nm syms., ~[sm2[nm pf. concs., vc. conc., vn. co
nc., chamber mus., ~and songs.[cm~Mosto, Giovanni Battista [fy75,1]([cf2]b [cf1]
Udine, before [sm1550[nm; ~[cf2]d [cf1]Karlsburg, [sm1596[nm). It. composer. Mae
stro di ~cappella, Padua Cath., [sm1580[nm=n[sm9[nm and [sm1595[nm=n[sm6[nm. Wro
te ~[sm6[nm books of madrigals and church mus.[cm~Moszkowski, Moritz [fy75,1]([c
f2]b[cf1] Breslau, [sm1854[nm; [cf2]d[cf1] Paris, ~[sm1925[nm). Polish-Ger. pian
ist and composer. Studied ~Dresden. D;aaebut Berlin [sm1873[nm, London [sm1886[n
m. Wrote ~opera, vn. conc., pf. conc., and many songs, but ~chiefly known for hi
s lighter pf. pieces, esp. his ~[cf2]Spanish Dances [cf1]for pf. duet. Retired t
o Paris [sm1897[nm.[cm~Motet.[fy75,1] A form of short unaccompanied choral ~comp
. which eventually superseded [fy45,1]*[fy75,1]conductus, ~although both were in
 use from [sm13[nmth to early ~[sm16[nmth cents. In [sm13[nmth,
[sm14[nmth, and [sm15[nmth cents. the ~motet was exclusively sacred and was base
d on a ~[PN481,0,0,R,I0]pre-existing melody and set of words to which ~other mel
odies and words were added in counter~~point. [fy45,1]*[fy75,1]Machaut, [fy45,1]
*[fy75,1]Despr;ages, [fy45,1]*[fy75,1]Ockeghem, and ~others were masters of the
motet. [fy45,1]*[fy75,1]Dufay ~introduced secular melodies as the [fy45,1]*[fy75
,2]cantus firmus[cf1] ~of the motet. By the [sm16[nmth cent., the motet reached
~its apogee as a sacred comp., with the madrigal as ~its secular counterpart. Pa
lestrina wrote about ~[sm180[nm motets. Victoria, Morales, Tallis, Byrd, Bull, ~
and Taverner were great composers of motets, ~sometimes called [cf2]Cantiones Sa
crae[cf1]. J. S. Bach wrote ~motets (incl. [cf2]Singet dem Herren[cf1]), [sm4[nm
 of them for [sm8[nm ~vv. Soon the term came to be loosely applied by ~composers
, sometimes to works with acc. and ~even to works for solo v. and acc. In some c
ases, ~e.g. Parry's [cf2]Songs of Farewell[cf1], the words are n
ot ~ecclesiastical. Generally today the term signifies a ~church choral comp., w
ith Lat. words not fixed ~in the Liturgy. In [sm1951[nm=n[sm2[nm Bernard Naylor
wrote ~[sm9[nm motets to Eng. texts as a cycle for the [sm9[nm major ~church fes
tivals.[cm~Mother, The[fy75,1] ([cf2]Matka[cf1]). Opera in [sm10[nm scenes by ~A
.[fy45,1]*[fy75,1]H;aaaba to his own lib. Prod. Munich [sm1931[nm, rev. ~version
 Florence [sm1964[nm. First opera to employ ~quarter-tones.[cm~Mother Goose[fy75
,1] (Ravel). See [cf2]Ma M;agere l'oye[cf1].[cm~Motif [fy75,1](Fr.; Eng.[cf2] mo
tive[cf1]; Ger. [cf2]motiv[cf1]). The shortest ~intelligible and self-existent m
elodic or rhythmic ~figure (e.g. the first [sm4[nm notes of Beethoven's [sm5[nmt
h ~Sym.). Every `theme' or `subject' perhaps has ~several [cf2]motifs[cf1], and
almost every mus. passage will ~be found to be a development of some [cf2]motif[
cf1]. But ~the word has, in mus. analysis, been used as a ~synonym for `theme';
and Wagner's extension of ~it to [fy45,1]*[fy75,2]leitmotiv[cf1]
 has further complicated the issue. ~The adjective `motivic' is an invention of
analyti~~cal writers, functional but ugly and better ~avoided.[cm~Motion.[fy75,1
] ([sm1[nm) Term which denotes the course ~upwards or downwards of a melody or m
elodies. ~In the combination of any [sm2[nm `voices' or `parts' of a ~comp., if
they proceed in the same direction ~(notationally considered), they are said to
be in ~[cf2]Similar Motion[cf1], if in opposite directions, in ~[cf2]Contrary Mo
tion[cf1]. If one part holds (or repeats) a ~note and the other part moves up or
 down from ~it, that is [cf2]Oblique Motion[cf1]. Similar Motion in which ~the p
arts proceed by the same intervals (numeri~~cally considered) is [cf2]Parallel M
otion[cf1].[ep~^([sm2[nm)^In the shaping of a single part progress of ~one note
to an adjacent note by step is called ~[cf2]Conjunct Motion[cf1] and progress to
 some other note ~by leap [cf2]Disjunct Motion[cf1].[xm[cm~[j1]Moto [fy75,1](It.
). Motion. [cf2]Con moto[cf1], with motion, i.e. ~quickly. [cf2]
Moto perpetuo[cf1] (It.). Perpetual motion. See ~[cf2]Perpetuum mobile[cf1].[cm~
Motor Rhythm.[fy75,1] [sm20[nmth-cent. term for the type of ~rhythm which is as
though mechanized, i.e. like ~the sound of an engine. The ugly adjective ~`motor
ic' has, alas, been coined as descriptive of ~this kind of comp. or passage of c
omp.[cm~Mottl, Felix [fy75,1]([cf2]b[cf1] Unter-Sankt-Veit, nr. Vienna, ~[sm1856
[nm; [cf2]d[cf1] Munich, [sm1911[nm). Austrian cond. and ~composer. Studied Vien
na Cons. Appointed as ~one of Wagner's assistants at first Bayreuth Fest., ~[sm1
876[nm, becoming one of group of young admirers ~in Wagner's circle. Cond. Karls
ruhe Opera [sm1881[nm=n~[sm1903[nm, setting high standards. Cond. first complete
 ~perf. of Berlioz's [cf2]Les Troyens[cf1] (on [sm2[nm consecutive ~evenings), K
arlsruhe [sm1890[nm. Cond. Bayreuth Fest. ~[sm1886[nm=n[sm92[nm. Cond. CG [sm189
8[nm=n[sm1900[nm, NY Met. [sm1903[nm. ~Cond. Munich Opera [sm1903[nm=n[sm11[nm.
Comp. [sm3[nm operas, ~str. qt., songs, etc. Ed. vocal scores of
 all Wagner's ~works, made reduced orch. score for some of the ~operas. Orchestr
ated Wagner's [sm5[nm[cf2] Wesendoncklieder[cf1]. ~Also ed. Berlioz works. Colla
psed while conduct~~ing [cf2]Tristan [cf1]and died a few days later.[cm~Motto Th
eme.[fy75,1] A theme which recurs, sometimes ~transformed, throughout the course
 of a comp., ~e.g. in Beethoven's [sm5[nmth, Tchaikovsky's [sm4[nmth and ~[sm5[n
mth, and Elgar's [sm1[nmst Syms. It is akin to Wagner's ~[cf2]leitmotiv[cf1], Be
rlioz's [cf2]id;aaee fixe[cf1], and Liszt's metamor~~phosis of themes.[cm~Moule-
Evans, David[fy75,1] ([cf2]b [cf1]Ashford, Kent, [sm1905[nm). ~Eng. composer, co
nd., and teacher. Studied RCM ~under Howells and Sargent. Prof. of harmony, ~cou
nterpoint, and comp., RCM, from [sm1945[nm. ~Works incl. [cf2]Concerto for Strin
gs[cf1] ([sm1928[nm), ov. [cf2]Spirit ~of London[cf1] ([sm1942[nm), [cf2]Vienna
Rhapsody[cf1] ([sm1943[nm), Sym. ~([sm1944[nm), chamber mus., and songs.[cm~Moun
t of Olives[fy75,1] (Beethoven). See [cf2]Christus am ~;auOlberg
e[cf1].[cm~Mouret, Jean Joseph [fy75,1]([cf2]b[cf1] Avignon, [sm1682[nm; [cf2]d[
cf1] ~Charenton, [sm1738[nm). Fr. composer. Worked in Paris ~from [sm1707[nm. Di
r., Concert Spirituel [sm1728[nm=n[sm34[nm. ~Wrote operas, ballets, divertisseme
nts, and instr. ~works.[cm~Moussorgsky. [fy75,1]See [cf2]Mussorgsky, Modest[cf1]
.[cm~Mouth Organ.[fy75,1] See [cf2]Harmonica.[cf1][cm~Mouthpiece [fy75,1](Fr. [c
f2]bec [cf1](woodwind); [cf2]embouchure[cf1] ~(brass)). Part of a woodwind or br
ass instr. which ~is inserted in the player's mouth or to which he ~applies his
lips in order to produce a sound.[cm~Mouton, Jean[fy75,1] ([cf2]b[cf1] Holluigue
, [cf2]c[cf1].[sm1459[nm; [cf2]d[cf1] St Quentin, ~[sm1522[nm). Fr. composer. Se
rved at courts of Louis XII ~and Fran;alcois I. Wrote at least [sm15[nm masses,
over [sm100[nm ~motets, and [cf2]chansons. [cf1]Teacher of [fy45,1]*[fy75,1]Will
aert. His music ~has great technical polish, excellent contrapuntal ~mastery, an
d flowing polyphony, but perhaps ~lacks brilliance of Despr;ages
.[cm~Mouvement [fy75,1](Fr., abbreviated to [cf2]Mouvt[cf1].). Move~~ment, eithe
r in the sense of motion, or a section ~of a large comp., such as a sym. (see[cf
2] Movement[cf1]). ~Sometimes (as in Debussy), the word is used to ~indicate a r
eturn to the orig. speed after some ~tempo deviation. [cf2]Mouvement perp;aaetue
l[cf1] is the Fr. ~equivalent of [fy45,1]*[fy75,2]perpetuum mobile[cf1].[xm[cm~[
PN482,0,0,L,I0][j1]Movable-doh.[fy75,1] A term applied to that system of ~sight-
singing in which [cf2]Doh[cf1] is the name applied ~to the keynote of every majo
r scale,[cf2] ray[cf1] to the ~[sm2[nmnd note, [cf2]me[cf1] to the [sm3[nmrd, an
d so on=mas distinct ~from the[fy45,1]*[fy75,2]Fixed-doh[cf1] system in which C
is, in every ~key in which it occurs, called [cf2]doh[cf1], D called[cf2] ray[cf
1], ~and so on. (See [cf2]Sight-Reading, Tonic Sol-fa[cf1].)[cm~Movement.[fy75,1
] The primary, self-contained sections ~of a large comp. (sym., conc., sonata, s
uite, etc.), ~so called because each movement of a work ~usually
 has a separate tempo indication. Some ~comps. are in one movement, e.g. Sibeliu
s's [sm7[nmth ~Sym., and in many the movements are joined to ~play continuously.
 The word sometimes occurs ~in the title of a work, e.g. Stravinsky's [cf2]Symph
ony ~in [sm3[nm Movements [cf1]and his [fy45,1]*[fy75,2]Movements[cf1] for pf. a
nd ~orch.[cm~Movements.[fy75,1] Work in [sm5[nm short sections for pf. and ~orch
. by Stravinsky, comp. [sm1958[nm=n[sm9[nm. F.p. NY [sm1960[nm. ~Used as mus. fo
r ballet to choreog. by Balanchine, ~prod. NY, [sm1963[nm.[cm~Movimento[fy75,1]
(It.). Motion, as distinct from move~~ment in the structural sense. [cf2]Doppio
movimento ~[cf1]means `at double the preceding speed'.[cm~Mozart, [fy75,1](=+=+=
+Johann Georg)[fy65][cf3] Leopold[fy75,1] ([cf2]b[cf1] Augsburg, ~[sm1719[nm; [c
f2]d[cf1] Salzburg, [sm1787[nm). Ger. composer and ~violinist. Played in orch. o
f Prince-Archbishop of ~Salzburg, becoming court composer and Kapell~~meister [s
m1762[nm. Father of [sm2[nm prodigiously talented ~children, Wol
fgang and Anna, to whose training ~and exploitation he devoted much time. Comp.
~many types of mus., incl. famous [fy45,1]*[fy75,2]Toy Symphony ~[cf1](simplifie
d and reduced version of a [cf2]Cassation [cf1]in ~G) and author of influential
vn. method, [sm1756[nm.[cm~Mozart, Wolfgang Amadeus[fy75,1] (baptized Johannes ~
Chrysostomus Wolfgangus Theophilus) ([cf2]b[cf1] Salz~~burg, [sm1756[nm; [cf2]d[
cf1] Vienna, [sm1791[nm). Austrian composer, ~kbd. player, violinist, violist, a
nd cond. Son of ~Leopold [fy45,1]*[fy75,1]Mozart, Kapellmeister to Prince-Arch~~
bishop of Salzburg, Mozart showed exceptional ~musical precocity, playing the kl
avier at [sm3[nm and ~composing at [sm5[nm. His elder sister Maria Anna ~([sm175
1[nm=n[sm1829[nm) was also a brilliant kbd. player and ~in [sm1762[nm Leopold de
cided to present his children's ~talents at various European courts. They first
~visited Munich and Vienna in [sm1762[nm. Wolfgang ~was now able to play the vn.
 without having had ~formal teaching. In [sm1763[nm a longer jou
rney began, ~from Munich, Augsburg, Frankfurt, and other ~cities to Cologne, Bru
ssels, and Paris. They spent ~a fortnight at Louis XV's court at Versailles. In
~Apr. [sm1764[nm they arrived in London and were ~received by George III. While
in London, ~Wolfgang studied with [fy45,1]*[fy75,1]Abel, comp. with J. C. ~[fy45
,1]*[fy75,1]Bach, and singing with the castrato [fy45,1]*[fy75,1]Manzuoli. ~He w
rote his first [sm3[nm syms. in London. After visits ~to Holland and Switzerland
, the Mozart family ~returned to Salzburg in Nov. [sm1766[nm. Further visits ~to
 Vienna were made in [sm1767[nm and [sm1768[nm and ~Mozart comp. [sm2[nm operas,
 [cf2]La finta semplice[cf1] and ~[cf2]Bastien und Bastienne[cf1]. In Dec. [sm17
69[nm, Leopold took ~Mozart to It. where the boy's genius was ~everywhere acclai
med. He was taught by [fy45,1]*[fy75,1]Mar~~tini and met Nardini, [fy45,1]*[fy75
,1]Jommelli, and Burney. In ~Rome he heard Allegri's [cf2]Miserere[cf1] and wrot
e it out ~from memory. His opera [cf2]Mitridate, R;age di Ponto[
cf1] ~was successfully prod. in Milan in Dec. [sm1770[nm. ~Two further visits to
 It. speedily followed, but ~the new prince-archbishop of Salzburg was less ~wel
l-disposed towards the Mozarts and in [sm1777[nm ~Mozart left on a tour with his
 mother, Leopold ~not being well enough to go. They visited ~Munich, Augsburg, M
annheim (where he heard ~the famous orch.) and arrived in Paris in [sm1778[nm. ~
Mozart's mother died there in July of that year. ~No longer a [cf2]Wunderkind[cf
1], Mozart had less appeal ~for the Parisians, who were engrossed in the ~Gluck-
Piccinni controversy. Unable to obtain a ~court post, Mozart returned to Salzbur
g where ~he spent the next [sm2[nm years as court and cath. org. ~amid growing h
ostility to the archbishop. In ~[sm1780[nm the Elector of Bavaria commissioned a
n ~opera from Mozart ([cf2]Idomeneo[cf1]), prod. in Munich, ~Jan. [sm1781[nm. On
 Mozart's return to Salzburg he had ~a final confrontation with the archbishop a
nd ~resigned. He went to Vienna, where he married ~Constanze Web
er in Aug. [sm1782[nm, a few days after ~the first perf. of his opera [cf2]Die E
ntf;auuhrung aus dem ~Serail[cf1]. The last [sm9[nm years of his life were a ~ju
xtaposition of financial troubles with an aston~~ishing outpouring of masterpiec
es in almost ~every genre. In [sm1785[nm he frequently played the va. ~in str. q
ts. with Dittersdorf and Haydn. To the ~latter, who regarded Mozart as the great
est ~composer he knew, Mozart dedicated [sm6[nm str. qts. ~in the autumn of [sm1
785[nm, when he also began work ~on [cf2]Le nozze di Figaro[cf1]. He frequently
appeared as ~soloist in his own kbd. concs. Although [cf2]Figaro[cf1] ~was raptu
rously received in Vienna in [sm1786[nm, it ~was taken off after [sm9[nm perfs.,
 but was the rage of ~Prague when prod. there in [sm1787[nm. During his ~visit t
o the Bohemian capital, Mozart's Sym. in D ~(K[sm504[nm, No. [sm38[nm) received
its f.p., thereafter being ~known as the `Prague Sym'. He was subsequently ~comm
issioned to write an opera for Prague for ~the following autumn.
 The result was [cf2]Don ~Giovanni[cf1], written in a few months while the [sm2[
nm str. ~quintets in C major and G minor and [cf2]Eine kleine ~Nachtmusik[cf1] w
ere also composed. In the same year ~Leopold Mozart died at Salzburg. The new op
era ~was a success in Prague, but initially failed in ~Vienna, where it was prod
. with some extra ~numbers in May [sm1788[nm. A month later Mozart ~began to com
pose the first of his [sm3[nm last syms., ~completing them between [sm26[nm June
 and [sm10[nm Aug. ~In [sm1789[nm, under severe financial pressure, he ~played a
 conc. in Dresden on the way to Berlin. ~He visited Leipzig, playing Bach's org.
 at St ~Thomas's. In Berlin King Friedrich Wilhelm II, a ~cellist, commissioned
[sm6[nm str. qts. of which only [sm3[nm ~were written. In the autumn Emperor Jos
eph II ~of Austria commissioned a new comic opera, [cf2]Cos;agi ~fan tutte[cf1],
 which was prod. early in [sm1790[nm. Joseph ~[PN483,0,0,R,I0]died shortly after
wards, but Mozart's hope of ~being appointed by Leopold II Kapel
lmeister in ~place of Salieri was not fulfilled. In [sm1791[nm he was ~approache
d by the actor-manager Schikaneder ~with a view to composing a fairy-tale opera
on a ~lib. concocted by Schikaneder. [cf2]Die Zauberfl;auote [cf1]was ~almost co
mpleted by July, the month in which ~Mozart received a commission to compose a ~
[cf2]Requiem[cf1] for an anonymous patron (Count F. von ~Walsegg who wished to p
ass it off as his own). ~Mozart deferred work on it to compose an ~adaptation of
 Metastasio's [cf2]La clemenza di Tito[cf1] for ~Leopold II's coronation as King
 of Bohemia in ~Prague in Sept. This prod. was supervised by ~Mozart, who return
ed to Vienna, wrote the cl. ~conc., cond. the f.p. of [cf2]Die Zauberfl;auote[cf
1], and then ~resumed work on the [cf2]Requiem.[cf1] But ill-health ~which had b
een overtaking him for some time ~now became critical and he died on [sm5[nm Dec
., ~leaving the [cf2]Requiem[cf1] to be completed by his pupil ~S;auussmayr. He
received a cheap funeral with others ~who had died at the same t
ime, and the location ~of his grave remains unknown. The circumstances ~of Mozar
t's death and the unseemly and unnec~~essary haste with which one of Vienna's mo
st ~famous men was buried have given rise to many ~sensational theories, none pr
oved but all giving ~some ground for believing that things were not ~quite as th
ey seem.[ep~^The extent and range of Mozart's genius are so ~vast and so bewilde
ring that any concise sum~~ming-up of his achievement must risk being ~trite. He
 took the mus. small-change of his day, ~learned from childhood in the courts of
 Europe, ~and transformed it into a mint of gold. His sense ~of form and symmetr
y seems to have been innate ~and was allied to an infallible craftsmanship ~whic
h was partly learnt and partly instinctive. In ~his operas he not only displayed
 hitherto un-~equalled dramatic feeling, but widened the ~boundaries of the sing
er's art through contact ~with some of the greatest vv. of his day and, with ~hi
s amazing insight into human nature, at once ~perceptive and det
ached, he created characters on ~the stage who may be claimed in their context a
s ~the equal of Shakespeare's. His music was supra-~national, combining It., Fr.
, Austrian, and Ger. ~elements. Not by revolutionary deliberation but ~by the na
tural superiority of the mus. he wrote, ~he changed the course of the sym., the
pf. conc., ~the str. qt., the sonata, and much more besides. ~Perhaps the only e
lement missing from his mus. ~is the worship of Nature which Beethoven and ~late
r [sm19[nmth-cent. composers were to supply. There ~are brilliance and gaiety on
 the surface of Mozart's ~mus., but underneath a dark vein of melancholy ~which
gives his works ([cf2]Cos;agi fan tutte[cf1] in particular) ~an ambivalence whic
h is continually fascinating ~and provocative. `Mozart [cf2]is[cf1] music', a cr
itic said, ~and most composers since [sm1791[nm have agreed. A ~selective list o
f prin. works follows. Some of the ~dates, which are [fy45,1]*[fy75,1]K;auochel'
s, are conjectural:[xm[cm~[j2][smoperas[nm: [fy75,2]Apollo et Hy
acinthus[cf1], intermezzo (K[sm38[nm, ~[sm1767[nm);[fy45,1]*[fy75,2]Bastien und
Bastienne[cf1] (K[sm50[nm, [sm1768[nm); [cf2]La ~[fy45,1]*[fy75,2]finta semplice
[cf1] (K[sm51[nm, [sm1768[nm); [fy45,1]*[fy75,2]Mitridate, R;age di ~Ponto[cf1]
(K[sm87[nm, [sm1770[nm);[cf2] Ascanio in Alba[cf1] (K[sm111[nm, [sm1771[nm); ~[c
f2]Il sogno di Scipione[cf1] (K[sm126[nm, [sm1772[nm); [fy45,1]*[fy75,2]Lucio Si
lla ~[cf1](K[sm135[nm, [sm1772[nm); [cf2]La [fy45,1]*[fy75,2]finta giardiniera [
cf1](K[sm196[nm, [sm1774[nm); ~[cf2]Il [fy45,1]*[fy75,2]R;age Pastore [cf1](K[sm
208[nm, [sm1775[nm); [cf2][fy45,1]*[fy75,2]Zaide[cf1] (K[sm344[nm, [sm1780[nm);
~[fy45,1]*[fy75,2]Thamos, K;auonig in ;auAgypten[cf1] (K[sm345[nm, [sm1780[nm, i
ncid. ~music); [fy45,1]*[fy75,2]Idomeneo, R;age di Creta [cf1](K[sm366[nm, [sm17
80[nm); [cf2]Die ~[fy45,1]*[fy75,2]Entf;auuhrung aus dem Serail[cf1] (K[sm384[nm
, [sm1781=n2[nm); ~[cf2]L'[fy45,1]*[fy75,2]Oca del Cairo[cf1] (K[sm422[nm, [sm17
83[nm); [cf2]Lo sposo deluso ~[cf1](K[sm430[nm, [sm1783[nm); [cf
2]Der Schauspieldirektor [cf1](The [fy45,1]*[fy75,1]Im~~presario[cf1]) (K[sm486[
nm, [sm1786[nm); [cf2]Le [fy45,1]*[fy75,2]nozze di Figaro[cf1] (K[sm492[nm, ~[sm
1786[nm); [fy45,1]*[fy75,2]Don Giovanni[cf1] (K[sm527[nm, [sm1787[nm); [fy45,1]*
[fy75,2]Cos;agi fan ~tutte [cf1](K[sm588[nm, [sm1790[nm); [cf2]Die[cf1] [fy45,1]
*[fy75,2]Zauberfl;auote[cf1] (The Magic ~Flute) (K[sm620[nm, [sm1791[nm); [cf2]L
a [fy45,1]*[fy75,2]Clemenza di Tito[cf1] (K[sm621[nm, ~[sm1791[nm).[ep~[smballet
 music[nm: [cf2]Les [fy45,1]*[fy75,2]Petits Riens[cf1] (K app. [sm10[nm, [sm1778
[nm); ~for [cf2]Idomeneo[cf1] (K[sm367[nm, [sm1780[nm).[ep~[smsymphonies[nm (num
bered according to Breitkopf ~and H;auartel edn.): No. [sm1[nm in E;yh (K[sm16[n
m, [sm1764[nm); No. [sm4[nm ~in D (K[sm19[nm, [sm1764[nm); No. [sm5[nm in B;yh (
K[sm22[nm, [sm1765[nm); No. ~[sm6[nm in F (K[sm43[nm, [sm1767[nm); No. [sm7[nm i
n D (K[sm45[nm, [sm1768[nm); No. ~[sm8[nm in D (K[sm48[nm, [sm1768[nm); No. [sm9
[nm in C (K[sm73[nm, [sm1771[nm); No. ~[sm10[nm in G (K[sm74[nm,
 [sm1770[nm); No. [sm11[nm in D (K[sm84[nm, [sm1770[nm); ~No. [sm12[nm in G (K[s
m110[nm, [sm1771[nm); No. [sm13[nm in F (K[sm112[nm, ~[sm1771[nm); No. [sm14[nm
in A (K[sm114[nm, [sm1771[nm); No. [sm15[nm in G (K ~[sm124[nm, [sm1772[nm); No.
 [sm16[nm in C (K[sm128[nm, [sm1772[nm); No. [sm17[nm in ~G (K[sm129[nm, [sm1772
[nm); No. [sm18[nm in F (K[sm130[nm, [sm1772[nm); No. ~[sm19[nm in E;yh (K[sm132
[nm, [sm1772[nm); No. [sm20[nm in D (K[sm133[nm, ~[sm1772[nm); No. [sm21[nm in A
 (K[sm134[nm, [sm1772[nm); No. [sm22[nm in C ~(K[sm162[nm, [sm1773[nm); No. [sm2
3[nm in D (K[sm181[nm, [sm1773[nm); No. [sm24[nm ~in B;yh (K[sm182[nm, [sm1773[n
m); No. [sm25[nm in G minor (K[sm183[nm, ~[sm1773[nm); No. [sm26[nm in E;yh, ov.
 for [cf2]Thamos[cf1] (K[sm184[nm, ~[sm1773[nm); No. [sm27[nm in G (K[sm199[nm,
[sm1773[nm); No. [sm28[nm in C ~(K[sm200[nm, [sm1773[nm); No. [sm29[nm in A (K[s
m201[nm, [sm1774[nm); No. [sm30[nm ~in D (K[sm202[nm, [sm1774[nm); No. [sm31[nm
in D ([fy45,1]*[fy75,2]Paris[cf1], K[sm297[nm, ~[sm1778[nm); No.
 [sm32[nm in G, probably ov. to [cf2]Zaide[cf1] (K[sm318[nm, ~[sm1779[nm); No. [
sm33[nm in B;yh (K[sm319[nm, [sm1779[nm); No. [sm34[nm in C ~(K[sm338[nm, [sm178
0[nm); No. [sm35[nm in D ([fy45,1]Haffner[cf1], K[sm385[nm, ~[sm1782[nm); No. [s
m36[nm in C ([fy45,1]*[fy75,2]Linz[cf1], K[sm425[nm, [sm1783[nm); No. [sm37[nm ~
in G (only introduction, rest by M. Haydn) ~(K[sm444[nm, [sm1783[nm); No. [sm38[
nm in D ([fy45,1]*[fy75,2]Prague[cf1], K[sm504[nm, ~[sm1786[nm); No. [sm39[nm in
 E;yh (K[sm543[nm, [sm1788[nm); No. [sm40[nm in G ~minor (K[sm550[nm, [sm1788[nm
); No. [sm41[nm in C ([fy45,1]*[fy75,2]Jupiter[cf1], K[sm551[nm, ~[sm1788[nm); a
lso various others, some only fragmen~~tary, and some probably of doubtful authe
ntic~~ity.[ep~[smmisc. orch[nm: [cf2]Cassations[cf1]: B;yh (K[sm99[nm, [sm1769[n
m); [cf2]Kontret;auanze[cf1] ~(Country Dances): B;yh (K[sm123[nm, [sm1770[nm), S
et of [sm6[nm ~(K[sm462[nm, [sm1784[nm), [cf2]Das Donnerwetter[cf1] (K[sm534[nm,
 [sm1788[nm), [cf2]La ~Bataille[cf1] (K[sm535[nm, [sm1788[nm), S
et of [sm2[nm (K[sm565[nm, [sm1788[nm), [cf2]Der ~Sieg vom Helden Koburg [cf1](K
[sm587[nm, [sm1789[nm), Set of [sm2[nm ~(K[sm603[nm, [sm1791[nm), E;yh (K[sm607[
nm, [sm1791[nm), Set of [sm5[nm (K[sm609[nm, ~[sm1791[nm), G major (K[sm610[nm,
[sm1791[nm); [cf2]German Dances[cf1]: ~Set of [sm6[nm (K[sm509[nm, [sm1787[nm),
Set of [sm6[nm (K[sm536[nm, [sm1788[nm), Set ~of [sm6[nm (K[sm567[nm, [sm1788[nm
), Set of [sm6[nm (K[sm571[nm, [sm1789[nm), Set of ~[sm12[nm (K[sm586[nm, [sm178
9[nm), Set of [sm6[nm (K[sm600[nm, [sm1791[nm), Set of [sm4[nm ~(K[sm602[nm, [sm
1791[nm), Set of [sm3[nm (K[sm605[nm, [sm1791[nm), C major ~(K[sm611[nm, [sm1791
[nm); [fy45,1]*[fy75,2]Divertimenti:[cf1] No. [sm1[nm in E;yh (K[sm113[nm, ~[sm1
771[nm), No. [sm2[nm in D (K[sm131[nm, [sm1772[nm), D (K[sm136[nm, [sm1772[nm),
~B;yh (K[sm137[nm, [sm1772[nm), F (K[sm138[nm, [sm1772[nm), No. [sm3[nm in E;yh
~(K[sm166[nm, [sm1773[nm), No. [sm4[nm in B;yh (K[sm186[nm, [sm1773[nm), No. [sm
5[nm in ~[PN484,0,0,L,I0]C (K[sm187[nm, ?[sm1773[nm), No. [sm6[n
m in C (K[sm188[nm, [sm1776[nm), No. [sm7[nm ~in D (K[sm205[nm, [sm1773[nm), No.
 [sm8[nm in F (K[sm213[nm, [sm1775[nm), E;yh ~(K[sm226[nm, [sm1775[nm), B;yh (K[
sm227[nm, [sm1775[nm), No. [sm9[nm in B;yh ~(K[sm240[nm, [sm1776[nm), No. [sm10[
nm in F (K[sm247[nm, [sm1776[nm), No. [sm11[nm ~in D (K[sm251[nm, [sm1776[nm), N
o. [sm12[nm in E;yh (K[sm252[nm, [sm1776[nm), ~No. [sm13[nm in F (K[sm253[nm, [s
m1776[nm), No. [sm14[nm in B;yh (K[sm270[nm, ~[sm1777[nm), No. [sm15[nm in B;yh
(K[sm287[nm, [sm1777[nm), F (K[sm288[nm, ~[sm1777[nm), No. [sm16[nm in E;yh (K[s
m289[nm, [sm1777[nm), No. [sm17[nm in D ~(K[sm334[nm), [sm1779[nm); [cf2]Serenad
es[cf1]: G (K[sm63[nm, [sm1769[nm), No. [sm1[nm ~in D (K[sm100[nm, [sm1769[nm),
No. [sm2[nm in F ([cf2]Kontretanz[cf1]) (K[sm101[nm, ~?[sm1776[nm), No. [sm3[nm
in D (K[sm195[nm, [sm1773[nm), No. [sm4[nm in D ~(K[sm203[nm, [sm1774[nm), No. [
sm5[nm in D (K[sm204[nm, [sm1775[nm), [fy45,1]*[fy75,2]Serenata ~notturna[cf1],
No. [sm6[nm in D for [sm2[nm orch. (K[sm239[nm, [sm1776[nm), ~No
. [sm7[nm in D ([fy45,1]*[fy75,2]Haffner[cf1], K[sm250[nm, [sm1776[nm), No. [sm8
[nm in D ~([cf2]Notturno[cf1] for [sm4[nm orch., K[sm286[nm, [sm1776[nm=n[sm7[nm
), No. [sm9[nm in D ~([cf2]Posthorn[cf1], K[sm320[nm, [sm1779[nm), No. [sm10[nm
in B;yh for [sm13[nm wind ~instr. (K[sm361[nm, [sm1784[nm), No. [sm11[nm in E;yh
 for wind ~(K[sm375[nm, [sm1781[nm), No. [sm12[nm in C minor for wind ~(K[sm388[
nm, [sm1782[nm), No. [sm13[nm in G for str., [cf2]Eine [fy45,1]*[fy75,2]kleine ~
Nachtmusik [cf1](K[sm525[nm, [sm1787[nm); [fy45,1]*[fy75,2]Maurerische Trauer~~m
usik[cf1] ([fy45,1]*[fy75,1]Masonic Funeral Music) (K[sm477[nm, [sm1785[nm); ~[c
f2]Ein musikalischer Spass[cf1] (A [fy45,1]*[fy75,1]musical joke) (K[sm522[nm, ~
[sm1787[nm); [cf2]Sinfonia Concertante [cf1]in E;yh for ob., cl., bn., ~hn. (K[s
m297[nmb, [sm1778[nm, considered doubtful attribu~~tion by some scholars); also
Marches, Minuets, ~Gavottes.[ep~[smconcertos[nm: [smpiano[nm: No. [sm1[nm in F (
arr. of sonata-~movements by Raupach and Honauer, K[sm37[nm, ~[s
m1767[nm), No. [sm2[nm in B;yh (arr. of sonata-movements by ~Raupach and Schober
t, K[sm39[nm, [sm1767[nm), No. [sm3[nm in D ~(arr. of sonata-movements by Honaue
r, Eckart, ~and ?C.P.E. Bach, K[sm40[nm, [sm1767[nm), No. [sm4[nm in G (arr. of
~sonata-movements by Honauer and Raupach, ~K[sm41[nm, [sm1767[nm), No. [sm5[nm i
n D (K[sm175[nm, [sm1773[nm), No. [sm6[nm in ~B;yh (K[sm238[nm, [sm1776[nm), No.
 [sm8[nm in C (K[sm246[nm, [sm1776[nm), No. [sm9[nm ~in E;yh (K[sm271[nm, [sm177
1[nm), No. [sm11[nm in F (K[sm413[nm, [sm1782[nm=n[sm3[nm), ~No. [sm12[nm in A (
K[sm414[nm, [sm1782[nm), No. [sm13[nm in C (K[sm415[nm, ~[sm1782[nm=n[sm3[nm), N
o. [sm14[nm in E;yh (K[sm449[nm, [sm1784[nm), No. [sm15[nm in ~B;yh (K[sm450[nm,
 [sm1784[nm), No. [sm16[nm in D (K[sm451[nm, [sm1784[nm), No. ~[sm17[nm in G (K[
sm453[nm, [sm1784[nm), No. [sm18[nm in B;yh (K[sm456[nm, [sm1784[nm), ~No. [sm19
[nm in F (K[sm459[nm, [sm1784[nm), No. [sm20[nm in D minor ~(K[sm466[nm, [sm1785
[nm), No. [sm21[nm in C (K[sm467[nm, [sm1785[nm), No. [sm22[nm ~
in E;yh (K[sm482[nm, [sm1785[nm), No. [sm23[nm in A (K[sm488[nm, [sm1786[nm), ~N
o. [sm24[nm in C minor (K[sm491[nm, [sm1786[nm), No. [sm25[nm in C ~(K[sm503[nm,
 [sm1786[nm), No. [sm26[nm in D, [fy45,1]*[fy75,2]Coronation [cf1](K[sm537[nm, ~
[sm1788[nm), No. [sm27[nm in B;yh (K[sm595[nm, [sm1791[nm); [sm2[nm [smpianos[nm
: E;yh ~(K[sm365[nm, [sm1779[nm); [sm3[nm [smpianos[nm: F major (K[sm242[nm, [sm
1776[nm); ~Concert Rondo in D (K[sm382[nm, [sm1782[nm), in A (K[sm386[nm, ~[sm17
82[nm).[ep~[smviolin[nm: No. [sm1[nm in B;yh (K[sm207[nm, [sm1775[nm), No. [sm2[
nm in D ~(K[sm211[nm, [sm1775[nm), No. [sm3[nm in G (K[sm216[nm, [sm1775[nm), No
. [sm4[nm in ~D (K[sm218[nm, [sm1775[nm), No. [sm5[nm in A (K[sm219[nm, [sm1775[
nm, with ~alternative Adagio in E, K[sm261[nm, [sm1776[nm), [cf2]Rondo[cf1] in ~
C (K[sm373[nm, [sm1781[nm); [sm2[nm [smviolins[nm: Concertone in C ~(K[sm190[nm,
 [sm1773[nm); [smviolin and viola[nm: Sinfonia ~Concertante in E;yh (K[sm364[nm,
 [sm1779[nm); [smbassoon[nm: B;yh ~(K[sm191[nm, [sm1774[nm); [sm
clarinet[nm: A major (K[sm622[nm, [sm1791[nm); ~[smflute[nm: No. [sm1[nm in G (K
[sm313[nm, [sm1778[nm), No. [sm2[nm in D ~transcr. from ob. conc. in C (K[sm314[
nm, [sm1778[nm); ~[cf2]Andante[cf1] in C (K[sm315[nm, [sm1778[nm);[sm flute and
harp[nm: C ~major (K[sm299[nm, [sm1778[nm); [smhorn and strings[nm: No. [sm1[nm
in ~D (K[sm412[nm, [sm1782[nm), No. [sm2[nm in E;yh (K[sm417[nm, [sm1783[nm), No
. [sm3[nm ~in E;yh (K[sm447[nm, [sm1783[nm), No. [sm4[nm in E;yh (K[sm495[nm, [s
m1786[nm), ~No. [sm5[nm in E;yh, fragment (K[sm494[nma, [sm1786[nm); [cf2]Concer
t ~Rondo[cf1] for hn. and orch. in E;yh (K[sm371[nm, [sm1791[nm); ~[smoboe[nm: C
 major (K[sm314[nm, ?[sm1778[nm, transcr. for fl. as ~ conc. No. [sm2[nm in D).[
ep~[smchurch music[nm: [cf2]Kyrie[cf1] in F (K[sm33[nm, [sm1766[nm), [cf2]Missa
brevis[cf1] ~in G (K[sm49[nm, [sm1768[nm), in D minor (K[sm65[nm, [sm1769[nm), i
n C ~(K[sm115[nm, [sm1773[nm), in F (K[sm116[nm, [sm1771[nm), in F (Mass No. ~[s
m6[nm) (K[sm192[nm, [sm1774[nm), in D (K[sm194[nm, [sm1774[nm),
in C (Mass ~No. [sm10[nm) (K[sm220[nm, [sm1775[nm), in C (K[sm258[nm, [sm1776[nm
), in C ~(Mass No. [sm13[nm) (K[sm259[nm, [sm1776[nm), in B;yh (K[sm275[nm, [sm1
777[nm); ~Mass in C, [fy45,1]*[fy75,2]Dominicus [cf1](K[sm66[nm, [sm1769[nm), No
. [sm4[nm in C ~minor, [cf2]Waisenhausmesse [cf1](K[sm139[nm, [sm1768[nm), No. [
sm7[nm in ~C,[cf2] Missa in honorem S S[cf10]mae[cf2] Trinitatis[cf1] (K[sm167[n
m, [sm1773[nm), ~in C (K[sm257[nm, [sm1776[nm), in C,[cf2] Missa longa[cf1] (K[s
m262[nm, ~[sm1776[nm), No. [sm16[nm in C, [fy45,1]*[fy75,2]Coronation[cf1] (K[sm
317[nm, [sm1779[nm), in ~C major, [cf2]Missa solemnis [cf1](K[sm337[nm, [sm1780[
nm), No. [sm18[nm in ~C minor, unfinished (K[sm427[nm, [sm1782[nm=n[sm3[nm); [cf
2]Regina ~Coeli[cf1] (K[sm127[nm, [sm1772[nm); Motet, [fy45,1]*[fy75,2]Exsultate
, jubilate[cf1] for ~sop., orch., and organ (K[sm165[nm, [sm1773[nm); [cf2]Dixit
 ~Dominus [cf1](K[sm193[nm, [sm1774[nm); [cf2]Litaniae Lauretanae[cf1] (K[sm195[
nm, ~[sm1774[nm); [cf2]Litaniae de venerabili altaris Sacramento
 ~[cf1](K[sm243[nm, [sm1776[nm); [cf2]Vesperae de Dominica [cf1](K[sm321[nm, [sm
1779[nm); ~[cf2]Kyrie [cf1]in D minor (K[sm341[nm, [sm1780[nm=n[sm1[nm); [fy45,1
]*[fy75,2]Vesperae ~solennes de Confessore[cf1] (K[sm339[nm, [sm1780[nm); Motet,
 [cf2]Ave ~verum corpus [cf1](K[sm618[nm, [sm1791[nm); [cf2]Requiem Mass[cf1] in
 D ~minor (unfinished) (K[sm626[nm, [sm1791[nm).[ep~[smchorus and orch[nm: [cf2]
Die Schuldigkeit des ersten ~Gebotes[cf1], pt. I of sacred drama (K[sm35[nm, [sm
1767[nm); ~[cf2]Grabmusik[cf1], Passion cantata (K[sm42[nm, [sm1767[nm); [cf2]La
 Betulia ~liberata[cf1], oratorio (K[sm118[nm, [sm1771[nm); [fy45,1]*[fy75,2]Dav
idde Peni~~tente[cf1], cantata, mainly based on Mass in C minor, ~K[sm427[nm (K[
sm469[nm, [sm1785[nm); [cf2]Die Maurerfreude[cf1], cantata ~(K[sm471[nm, [sm1785
[nm); [cf2]Eine kleine Freimaurer-Kantate ~[cf1](K[sm623[nm, [sm1791[nm).[ep~[sm
unacc. voices[nm: [cf2]God is our Refuge[cf1], sacred madrigal ~(K[sm20[nm, [sm1
765[nm); [cf2][sm5[nm Riddle Canons[cf1] (K[sm89[nma, [sm1770[nm
); ~numerous [cf2]Canons[cf1] comp. between [sm1782[nm and ~[sm1788[nm, also var
ious secular trios, qts., and chs.[ep~[smsolo voice and orch[nm: (mainly concert
 arias): [cf2]Per ~piet;aga, bell' idol mio[cf1], sop. (K[sm78[nm, [cf2]c.[cf1][
sm1766[nm); Scena and ~aria, [cf2]Misera, dove son? Ah, non son'io che parlo[cf1
], ~sop. (K[sm369[nm, [sm1781[nm); Scena and rondo (extra ~number for [cf2]Idome
neo[cf1]) [cf2]Non pi;agu, tutto ascoltai. Non ~temer, amato bene[cf1], sop. (K[
sm490[nm, [sm1786[nm); Scena and ~rondo, [cf2]Ch'io mi scordi di te. Non temer a
mato bene[cf1], ~sop. with pf. obbl. (K[sm505[nm, [sm1786[nm); Scena and aria, ~
[cf2]Bella mia fiamma. Resta, oh caro[cf1], sop. (K[sm528[nm, [sm1787[nm); ~aria
, [cf2]Un bacio di mano[cf1], for Anfossi's [cf2]Le gelosie ~fortunate[cf1], for
 bass (K[sm541[nm, [sm1788[nm); rondo, extra ~aria for Susanna in [cf2]Figaro, A
l desio di chi t'adora[cf1], ~sop. (K[sm577[nm, [sm1789[nm); [cf2]Un moto di gio
ia[cf1], sop., extra ~number for Susanna in [cf2]Figaro[cf1] (K[
sm579[nm, [sm1789[nm); ~[cf2]Schon lacht der holde Fr;auuhling[cf1], sop. for [f
y45,1]*[fy75,1]Paisiello's ~[cf2]Il Barbiere di Siviglia [cf1](K[sm580[nm, [sm17
89[nm); [cf2]Vado, ma ~dove?[cf1], sop., for Martin's [cf2]Il burbero di buon co
re[cf1] ~(K[sm583[nm, [sm1789[nm);[cf2] Rivolgete a lui lo sguardo[cf1], bass, o
rig. ~for [cf2]Cos;agi fan tutte [cf1](K[sm584[nm, [sm1789[nm); [cf2]Per questa
bella ~mano[cf1], bass (K[sm612[nm, [sm1791[nm).[ep~[ol0][ep~[xp[te~







[do20][j99]~~~~~~[sm153842[nm_MB[sm07[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmMB[sm05[nm[cm[sm20[nm[cm~[sm1[nm[cm[sm4[nm.[sm10[nm.[s
m79[nm[cm[sm19[nm[cm[sm663[nm[cm~GC[cm5[cm24.9.84[cm~U1[cm~~~~[ap[j2][smstring q
uartets[nm: No. [sm1[nm in G (K[sm80[nm, [sm1770[nm), No. [sm2[nm in ~D (K[sm155
[nm, [sm1772[nm), No. [sm3[nm in G (K[sm156[nm, [sm1772[nm), No. [sm4[nm ~in C (
K[sm157[nm, [sm1772[nm=n[sm3[nm), No. [sm5[nm in F (K[sm158[nm, [sm1772[nm=n[sm3
[nm), ~No. [sm6[nm in B;yh (K[sm159[nm, [sm1773[nm), No. [sm7[nm in E;yh (K[sm16
0[nm, ~[sm1773[nm), No. [sm8[nm in F (K[sm168[nm, [sm1773[nm), No. [sm9[nm in A
(K[sm169[nm, ~[PN485,0,0,R,I0][sm1773[nm), No. [sm10[nm in C (K[sm170[nm, [sm177
3[nm), No. [sm11[nm in E;yh ~(K[sm171[nm, [sm1773[nm), No. [sm12[nm in B;yh (K[s
m172[nm, [sm1773[nm), No. [sm13[nm ~in D minor (K[sm173[nm, [sm1773[nm), Nos. [s
m14[nm=n[sm19[nm `Haydn ~Quartets': No. [sm14[nm in G (K[sm387[nm, [sm1782[nm),
No. [sm15[nm in ~D minor (K[sm421[nm, [sm1783[nm), No. [sm16[nm
in E;yh (K[sm428[nm, ~[sm1783[nm), No. [sm17[nm in B;yh ([fy45,1]*[fy75,2]Hunt[c
f1], K[sm458[nm, [sm1784[nm), No. [sm18[nm ~in A (K[sm464[nm, [sm1785[nm), No. [
sm19[nm in C ([fy45,1]*[fy75,2]Dissonanzen[cf1], ~K[sm465[nm, [sm1785[nm), No. [
sm20[nm in D ([cf2]Hoffmeister[cf1], K[sm499[nm, ~[sm1786[nm), Nos. [sm21[nm=n[s
m23[nm ([fy45,1]*[fy75,2]`King of Prussia[cf1] Quartets'): ~No. [sm21[nm in D (K
[sm575[nm, [sm1789[nm), No. [sm22[nm in B;yh (K[sm589[nm, ~[sm1790[nm), No. [sm2
3[nm in F (K[sm590[nm, [sm1790[nm); [cf2]Adagio and ~Fugue [cf1]in C minor, fugu
e identical with K[sm426[nm ~for [sm2[nm pf. of [sm1783[nm (K[sm546[nm, [sm1788[
nm).[ep~[smstring quintets[nm: No. [sm1[nm in B;yh (K[sm174[nm, [sm1773[nm), No.
 [sm2[nm ~in C minor, arr. of [cf2]Serenade No. [sm12[nm[cf1] for wind, ~K[sm388
[nm (K[sm406[nm, [sm1786[nm), No. [sm3[nm in C (K[sm515[nm, [sm1787[nm), ~No. [s
m4[nm in G minor (K[sm516[nm, [sm1787[nm), No. [sm5[nm in D ~(K[sm593[nm, [sm179
0[nm), No. [sm6[nm in E;yh (K[sm614[nm, [sm1791[nm).[ep~[smclari
net quintet[nm: A major (K[sm581[nm, [sm1789[nm);[sm clari~~net trio[nm, E;yh fo
r cl., va., pf. (K[sm498[nm, [sm1786[nm).[ep~[smflute quartets[nm: No. [sm1[nm i
n D (K[sm285[nm, [sm1777[nm), No. [sm2[nm ~in G (K[sm285[nma, [sm1777[nm), No. [
sm3[nm in C (K[sm285[nmb, [sm1777[nm), ~No. [sm4[nm in A (K[sm298[nm, [sm1778[nm
); [smflute[nm (or vn.) [smsonatas[nm, ~with hpd: No. [sm1[nm in B;yh (K[sm10[nm
, [sm1764[nm), No. [sm2[nm in G ~(K[sm11[nm, [sm1764[nm), No. [sm3[nm in A (K[sm
12[nm, [sm1764[nm), No. [sm4[nm in F ~(K[sm13[nm, [sm1764[nm), No. [sm5[nm in C
(K[sm14[nm, [sm1764[nm), No. [sm6[nm in B;yh~ (K[sm15[nm, [sm1764[nm).[ep~[smhor
n quintet[nm: E;yh (K[sm407[nm, [sm1782[nm).[ep~[smoboe quartet[nm: F major (K[s
m370[nm, [sm1781[nm).[ep~[smpiano quartets[nm: No. [sm1[nm in G minor (K[sm478[n
m, [sm1785[nm), ~No. [sm2[nm in E;yh (K[sm493[nm, [sm1786[nm).[ep~[smpiano and w
ind quintet[nm (pf., ob., cl., hn., bn.): ~E;yh (K[sm452[nm, [sm1784[nm).[ep~[sm
piano trios[nm: No. [sm1[nm in B;yh (K[sm254[nm, [sm1776[nm), No
. [sm2[nm in G ~(K[sm496[nm, [sm1786[nm), No. [sm3[nm in B;yh (K[sm502[nm, [sm17
86[nm), No. [sm4[nm in ~E (K[sm542[nm, [sm1788[nm), No. [sm5[nm in C (K[sm548[nm
, [sm1788[nm), No. [sm6[nm ~in G (K[sm564[nm, [sm1788[nm); in D minor/major, com
pleted ~by Stadler (K[sm442[nm, [sm1783[nm).[ep~[smmisc. chamber works[nm: [cf2]
Adagio and Rondo[cf1] in C ~minor for glass armonica, fl., ob., va., vc. (K[sm61
7[nm, ~[sm1791[nm); [cf2]Adagio [cf1]for cor anglais and str. (K[sm580[nma, ~[sm
1789[nm); [cf2]Adagio in Canon[cf1] in F for [sm2[nm basset hn. and ~bn. (K[sm41
0[nm, [sm1783[nm);[cf2] Adagio in F[cf1] for [sm2[nm cl. and [sm3[nm ~basset hns
. (K[sm411[nm, [sm1783[nm); [cf2][sm12[nm Duets[cf1] for [sm2[nm basset ~hns. (K
[sm487[nm, [sm1786[nm);[cf2] Duo[cf1] for vn. and va., No. [sm1[nm in ~G (K[sm42
3[nm, [sm1783[nm), No. [sm2[nm in B;yh (K[sm424[nm, [sm1783[nm); [cf2][sm5[nm ~D
ivertimenti[cf1] for [sm2[nm cl. and bn. (K[sm229[nm, [sm1783[nm); ~[cf2]Minuet[
cf1] in D, [sm2[nm vn., [sm2[nm hn., bass (K[sm64[nm, [sm1769[nm
); [cf2][sm7[nm ~Minuets with Trio[cf1], [sm2[nm vn. and bass (K[sm65[nma, [sm17
69[nm); ~[cf2]Adagio[cf1] in C for glass armonica (K[sm356[nm, [sm1791[nm).[ep~[
smsonatas[nm:[sm bassoon and cello[nm: B;yh (K[sm292[nm, [sm1775[nm); ~[smpiano[
nm: No. [sm1[nm in C, No. [sm2[nm in F, No. [sm3[nm in B;yh, No. [sm4[nm ~in E;y
h, No. [sm5[nm in G, No. [sm6[nm in D (K[sm279[nm=n[sm284[nm, [sm1774[nm, ~No. [
sm6[nm, [sm1775[nm), No. [sm7[nm in C (K[sm309[nm, [sm1777[nm), No. [sm8[nm in ~
A minor (K[sm310[nm, [sm1778[nm), No. [sm9[nm in D (K[sm311[nm, [sm1778[nm), ~No
. [sm10[nm in C, No. [sm11[nm in A, No. [sm12[nm in F, No. [sm13[nm in ~B;yh (K[
sm330[nm=n[sm333[nm, [sm1778[nm), No. [sm14[nm in C minor (K[sm457[nm, ~[sm1784[
nm), No. [sm15[nm in C (K[sm545[nm, [sm1788[nm), No. [sm16[nm in B;yh ~(K[sm570[
nm, [sm1789[nm), No. [sm17[nm in D (K[sm576[nm, [sm1789[nm); [smviolin ~and pian
oforte[nm: No. [sm1[nm in C (K[sm6[nm, [sm1762[nm=n[sm4[nm), No. [sm2[nm ~in D (
K[sm7[nm, [sm1763[nm=n[sm4[nm), No. [sm3[nm in B;yh (K[sm8[nm, [
sm1763[nm=n[sm4[nm), ~No. [sm4[nm in G (K[sm9[nm, [sm1764[nm), Nos. [sm5[nm=n[sm
10[nm, K[sm10[nm=n[sm15[nm (see ~[cf2]flute sonatas[cf1]), No. [sm11[nm in E;yh,
 No. [sm12[nm in G, No. [sm13[nm ~in C, No. [sm14[nm in D, No. [sm15[nm in F, No
. [sm16[nm in B;yh ~(K[sm26[nm=n[sm31[nm, [sm1766[nm), No. [sm17[nm in C (K[sm29
6[nm, [sm1778[nm), No. ~[sm18[nm in G, No. [sm19[nm in E;yh, No. [sm20[nm in C,
No. [sm21[nm in E ~minor, No. [sm22[nm in A, No. [sm23[nm in D (K[sm301[nm=n[sm3
06[nm, ~[sm1778[nm), No. [sm24[nm in F (K[sm376[nm, [sm1781[nm), No. [sm25[nm in
 F ~(K[sm377[nm, [sm1781[nm), No. [sm26[nm in B;yh (K[sm378[nm, [sm1779[nm), No.
 [sm27[nm ~in G major/minor (K[sm379[nm, [sm1781[nm), No. [sm28[nm in E;yh ~(K[s
m380[nm, [sm1781[nm), No. [sm29[nm in A (K[sm402[nm, [sm1782[nm, ~completed by S
tadler), No. [sm30[nm in C (K[sm403[nm, [sm1782[nm, ~unfinished), No. [sm31[nm i
n C (K[sm404[nm, [sm1782[nm, unfin~~ished), No. [sm32[nm in B;yh (K[sm454[nm, [s
m1784[nm), No. [sm33[nm in E;yh ~(K[sm481[nm, [sm1785[nm), No. [
sm34[nm in A (K[sm526[nm, [sm1787[nm), No. [sm35[nm ~in F (K[sm547[nm, [sm1788[n
m). Also sonata movt. in C minor ~(K[sm396[nm, [sm1782[nm, completed by Stadler)
.[ep~[el1][smstring trios[nm: B;yh, [sm2[nm vn. and bass, (K[sm266[nm, [sm1777[n
m), ~[cf2]Divertimento[cf1] in E;yh, vn., va., vc. (K[sm563[nm, [sm1788[nm). ~Al
so [sm6[nm [cf2]Fugue [cf1]arrs. from J. S. and W. F. Bach, ~with orig. introduc
tions (K[sm404[nmA, [sm1782[nm).[ep~[el1][smpiano[nm ([sm4[nm [smhands[nm): Sona
tas: in B;yh (K[sm358[nm, [sm1774[nm), D ~(K[sm381[nm, [sm1772[nm), F (K[sm497[n
m, [sm1786[nm), C (K[sm521[nm, [sm1787[nm); ~[cf2]Fugue[cf1] in G minor (K[sm401
[nm, [sm1782[nm); [cf2]Andante and ~Variations [cf1](K[sm501[nm, [sm1786[nm).[ep
~[el1][sm2[nm [smpianos[nm: [cf2]Fugue[cf1] in C minor (K[sm426[nm, [sm1783[nm,
arr. for ~str., with short [cf2]Adagio [cf1]as preface, [sm1788[nm), Sonata ~in
D (K[sm448[nm, [sm1781[nm).[ep~[el1][smsolo piano[nm (except Sonatas): [cf2]Minu
et and Trio[cf1] in G, ~[cf2]Minuet [cf1]in F,[cf2] Allegro[cf1]
 in B;yh, [cf2]Minuet[cf1] in F,[cf2] Minuet [cf1]in ~F (K[sm1[nm=n[sm5[nm, [sm1
761[nm=n[sm2[nm), [sm8[nm [cf2]Variations on `Laat ons juichen'[cf1] ~(air by C.
 E. Graaff) in G (K[sm24[nm, [sm1766[nm), [sm7[nm [cf2]Variations ~on `Wilhelmus
 van Nassouwe'[cf1] (K[sm25[nm, [sm1766[nm), [sm12[nm ~[cf2]Variations on a Minu
et by Fischer[cf1] (K[sm179[nm, [sm1774[nm), ~[cf2]Andantino[cf1] in E;yh (K[sm2
36[nm, [sm1790[nm), [sm9[nm [cf2]Variations on ~`Lison dormait'[cf1] from Dez;ag
ede's [cf2]Julie[cf1] (K[sm264[nm, [sm1778[nm), ~[sm12[nm [cf2]Variations on `Ah
, vous dirai-je, maman'[cf1] (K[sm265[nm, ~[sm1778[nm), [sm8[nm [cf2]Variations
on a March in Gr;aaetry's ~`Mariages Samnites'[cf1] (K[sm352[nm, [sm1781[nm), [s
m12[nm [cf2]Variations ~on `La Belle Fran;alcoise'[cf1] (K[sm353[nm, [sm1778[nm)
, [sm12[nm [cf2]Variations ~on `Je suis Lindor' in Beaumarchais's `Le Barbier de
 ~S;aaeville'[cf1] (K[sm354[nm, [sm1778[nm), [cf2]Minuet[cf1] in D (K[sm355[nm,
[cf2]c.[cf1][sm1786[nm), ~[cf2]Fantasia and Fugue[cf1] in C (K[s
m394[nm, [sm1782[nm), [cf2]Capriccio[cf1] ~in C (K[sm395[nm, [sm1778[nm), [cf2]F
antasia[cf1] in D minor (K[sm397[nm, ~[sm1782[nm), [sm6[nm [cf2]Variations on Pa
isiello's `Salve tu, Domine'[cf1] ~(K[sm398[nm, [sm1783[nm), [cf2]Suite [cf1]in
C (K[sm399[nm, [sm1782[nm), [sm1[nmst ~movement of Sonata in B;yh (K[sm400[nm, [
sm1782[nm), [cf2]Kleiner ~Trauermarsch [cf1]in C minor (K[sm453[nma, [sm1784[nm)
, [sm10[nm[cf2] ~Variations on Unser dummer P;auobel meint [cf1]from ~Gluck's [c
f2]La rencontre impr;aaevue [cf1](K[sm455[nm, [sm1784[nm), ~[cf2]Fantasia[cf1] i
n C minor (K[sm475[nm, [sm1785[nm), [cf2]Rondo [cf1]in D ~(K[sm485[nm, [sm1786[n
m),[cf2] Rondo[cf1] in F (K.[sm494[nm, [sm1786[nm), [sm12[nm ~[cf2]Variations on
 an Allegretto[cf1] in B;yh (K[sm500[nm, [sm1786[nm),[cf2] ~Rondo[cf1] in A mino
r (K[sm511[nm, [sm1787[nm), [cf2]Allegro[cf1] and ~[cf2]Andante[cf1] (K[sm533[nm
, [sm1788[nm, often used with [cf2]Rondo[cf1], ~K[sm494[nm, as finale to make `S
onata No. [sm18[nm'), [cf2]Adagio[cf1] ~in B minor (K[sm540[nm,
[sm1788[nm), [sm9[nm [cf2]Variations on a Minuet ~by Duport[cf1] (K[sm573[nm, [s
m1789[nm), [cf2]Gigue [cf1]in G (K[sm574[nm, [sm1789[nm), ~[sm8[nm [cf2]Variatio
ns on Schack's `Ein Weib ist das herrlichste ~Ding'[cf1] (K[sm613[nm, [sm1791[nm
).[ep~[el1][smorgan[nm: Sonatas with orch: C major (K[sm263[nm, [sm1776[nm), ~C
major (K[sm278[nm, [sm1777[nm), C major (K[sm329[nm, [sm1779[nm); ~[sm14[nm Sona
tas for org. and str., comp. between [sm1767[nm ~and [sm1780[nm.[ep~[PN486,0,0,L
,I0][smmechanical organ[nm: [cf2]Adagio and Allegro[cf1] in F minor ~(K[sm594[nm
, [sm1790[nm), [cf2]Fantasia[cf1] in F minor (K[sm608[nm, [sm1791[nm),[cf2] ~And
ante[cf1] in F (K[sm616[nm, [sm1791[nm).[ql[ih0]~[smsongs[nm (v. and pf.):[ih0p4
] Mozart wrote about [sm40[nm solo[fjsongs and Lieder, of which the best-known a
re: ~[cf2]Die Zufriedenheit[cf1] (K[sm349[nm, [sm1780[nm), [cf2]Ah, spiegarti, O
 ~Dio[cf1] (K[sm178[nm, [sm1772[nm), [cf2]Oiseaux, si tous les ans[cf1] (K[sm307
[nm, ~[sm1777[nm),[cf2] Komm, liebe Zither[cf1] (with mandolin)
(K[sm351[nm, ~[sm1780[nm),[cf2] An die Hoffnung[cf1] (K[sm390[nm, [sm1782[nm), [
cf2]Gesellenreise[cf1] ~(K[sm468[nm, [sm1785[nm), [cf2]Der Zauberer[cf1] (K[sm47
2[nm, [sm1785[nm), [cf2]Die ~betrogene Welt[cf1] (K[sm474[nm, [sm1785[nm), [cf2]
Das Veilchen [cf1](K[sm476[nm, ~[sm1785[nm), [cf2]Lied der Freiheit[cf1] (K[sm50
6[nm, [sm1786[nm), [cf2]Die Alte[cf1] ~(K[sm517[nm, [sm1787[nm), [cf2]Die Versch
weigung [cf1](K[sm518[nm, [sm1787[nm), ~[cf2]Das Lied der Trennung[cf1] (K[sm519
[nm, [sm1787[nm), [cf2]Als Luise[cf1] ~(K[sm520[nm, [sm1787[nm),[cf2] Abendempfi
ndung [cf1](K[sm523[nm, [sm1787[nm), [cf2]An ~Chloe [cf1](K[sm524[nm, [sm1787[nm
), [cf2]Des kleinen Freidrichs Geburts~~tag [cf1](K[sm529[nm, [sm1787[nm),[cf2]
Das Traumbild [cf1](K[sm530[nm, [sm1787[nm), ~[cf2]Die kleine Spinnerin [cf1](K[
sm531[nm, [sm1787[nm),[cf2] Sehnsucht nach ~dem Fr;auuhlinge [cf1](K[sm596[nm, [
sm1791[nm), [cf2]Das Kinderspiel[cf1] ~(K[sm598[nm, [sm1791[nm), [cf2]Eine klein
e deutsche Kantate, `Die ihr ~des unermesslichen Weltalls' [cf1]
(K[sm619[nm, [sm1791[nm).[ep~[smadditional accompaniments to works by handel[nm:
 ~[cf2]Acis and Galatea [cf1](K[sm566[nm, [sm1788[nm), [cf2]Messiah[cf1] (K[sm57
2[nm, ~[sm1789[nm), [cf2]Alexander's Feast [cf1](K[sm591[nm, [sm1790[nm), [cf2]O
de for St ~Cecilia's Day[cf1] (K[sm592[nm, [sm1791[nm).[ep^See [cf2]Masonic Musi
c by ~Mozart.[cf1][cm~[j1]Mozart and Salieri.[fy75,1] Opera in [sm2[nm acts by R
imsky-~Korsakov to his own lib. based on Pushkin's poem ~([sm1830[nm). Prod. Mos
cow [sm1898[nm, London (concert) ~[sm1927[nm, Forest Park, Penn., [sm1933[nm.[cm
~Mozartiana.[fy75,1] Sub-title of Tchaikovsky's Suite No. ~[sm4[nm for Orch. com
p. [sm1887[nm, the [sm4[nm movements ~consisting of arrs. of Mozart's ([sm1[nm)
[cf2]Gigue [cf1]for pf. ~(K[sm574[nm), ([sm2[nm)[cf2] Minuet [cf1]for pf. (K[sm3
55[nm), ([sm3[nm) [cf2]Ave verum ~corpus [cf1](K[sm618[nm) in orch. arr. by Lisz
t, ([sm4[nm) [cf2]Variations ~[cf1]for pf. on [cf2]Unser dummer P;auobel meint[c
f1] from Gluck's ~[cf2]La rencontre impr;aaevue [cf1](K[sm455[nm
).[cm~mp.[fy75,2] Mezzo piano[cf1], half-soft.[cm~Mravinsky, Evgeny [fy75,1](Ale
xandrovich) ([cf2]b[cf1] St Pe~~tersburg, [sm1906[nm). Russ. cond. Studied St Pe
tersburg ~Cons. Prin. cond., Leningrad P.O. since [sm1938[nm. ~Mus. dir., Kirov
Th. Ballet [sm1932[nm=n[sm8[nm. Prof., Lenin~~grad Cons. Cond. f.ps. of Shostako
vich's [sm5[nmth, [sm6[nmth, ~[sm8[nmth, [sm9[nmth, and [sm10[nmth Syms. and oth
er works.[cm~M.S.[fy75,2] Mano sinistra[cf1] (It.), left hand.[cm~Muck, Karl[fy7
5,1] ([cf2]b[cf1] Darmstadt, [sm1859[nm; [cf2]d[cf1] Stuttgart, ~[sm1940[nm). Ge
r. cond. and pianist. Studied Leipzig ~Cons. Chorus master Z;auurich, then posts
 as opera ~cond. at Salzburg, Brno, and Graz. Cond., ~Deutsches Landestheater, P
rague, [sm1886[nm. Cond. ~first Moscow and St Petersburg perfs. of Wagner's ~[cf
2]Ring[cf1], [sm1889[nm. Cond. Berlin Opera [sm1892[nm=n[sm1912[nm (chief ~cond.
 from [sm1908[nm), in that time cond. [sm103[nm different ~operas, [sm35[nm of t
hem new. CG London [sm1899[nm. ~Bayreuth Fest. ([cf2]Parsifal[cf
1]) [sm1901[nm=n[sm30[nm. Joint cond. ~Vienna P.O. [sm1903[nm=n[sm6[nm. Cond. Bo
ston S.O. [sm1906[nm=n[sm8[nm, ~becoming chief cond. [sm1912[nm=n[sm18[nm. Outcr
y against ~him when USA entered war led to his internment. ~Cond. Hamburg P.O. [
sm1922[nm=n[sm33[nm.[cm~Mudarra, Alonso [fy75,1]([cf2]b [cf1]Palencia diocese, S
p., [cf2]c[cf1].[sm1510[nm; ~[cf2]d[cf1] Seville, [sm1580[nm). Sp. composer of m
us. for [cf2]vihuela[cf1]. ~Pubd. vol. of [cf2]vihuela[cf1] pieces [sm1546[nm.[c
m~Mudd, John[fy75,1] ([cf2]b [cf1]London, [sm1555[nm; [cf2]d [cf1]Peterborough,
~[sm1631[nm). Eng. composer. Matriculated, Cambridge ~Univ. [sm1573[nm. Organist
, Peterborough Cath. [sm1583[nm=n~[sm1631[nm. Wrote church mus., anthems, etc.[c
m~Mudd, Thomas [fy75,1]([cf2]b [cf1]London, [cf2]c.[cf1][sm1560[nm; [cf2]d [cf1]
after [sm1619[nm). ~Eng. composer. Studied Cambridge Univ. [sm1578[nm, ~being Fe
llow of Pembroke Coll. up to [sm1590[nm. ~Became rector in Kent, [sm1592[nm. Wro
te church mus. ~and dances for viols, etc.[cm~Mudge, Richard [fy
75,1]([cf2]b[cf1] Bideford, [sm1718[nm; [cf2]d [cf1]?Bedworth, ~Warwicks., [sm17
63[nm). Eng. composer and clergyman, ~known principally for [sm6[nm concerti gro
ssi, pub. ~[sm1749[nm, tpt. conc., etc. Modern edns. of concerti arr. ~by G. [fy
45,1]*[fy75,1]Finzi.[cm~Mudie, Michael [fy75,1](Winfield) ([cf2]b[cf1] Mancheste
r, [sm1914[nm; ~[cf2]d[cf1] Brussels, [sm1962[nm). Eng. cond. Studied RCM. Cond.
 ~of opera with Carl Rosa [sm1935[nm=n[sm9[nm, SW [sm1946[nm=n[sm53[nm. ~Cond. f
.p. in England of Verdi's [cf2]Simon Boccanegra[cf1], ~[sm1948[nm. Retired [sm19
53[nm because of ill-health.[cm~Muette de Portici, La [fy75,1](Auber). See [cf2]
Masaniello.[cm~Muffat, Georg[fy75,1] ([cf2]b[cf1] Meg;ageve, Alsace, [sm1653[nm;
 [cf2]d[cf1] Passau, ~[sm1704[nm). Ger. composer and organist. Organist of ~Stra
sbourg Cath. until [sm1675[nm, to Bishop of Salzburg ~[cf2]c[cf1].[sm1687[nm. Or
ganist and later Kapellmeister to Bishop ~of Passau from [sm1690[nm. Wrote many
org. works, ~concerti grossi, etc.[cm~Muffat, Gottlieb[fy75,1] (
[cf2]b[cf1] Passau, [sm1690[nm;[cf2] d[cf1] Vienna, [sm1770[nm). ~Ger. composer
and organist, son of Georg ~[fy45,1]*[fy75,1]Muffat. Dir. of operas and chamber
mus., ~Vienna court, from [sm1717[nm. Wrote org. mus., hpd. ~works, etc. Handel
borrowed some of his themes.[cm~Muffling[fy75,1] (of drums). A way of muting ket
tle-~drums (e.g. at a funeral) by placing a cloth over ~the surface. Nowadays it
 is usual to use sponge-~headed drumsticks instead.[xm[cm~[ol0][ep~[xp[te~







[do27][j99]~~~~~~[sm153842[nm_MB[sm08[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmMB[sm06[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm4[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm683[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Mugnone
, Leopoldo[fy75,1] ([cf2]b[cf1] Naples, [sm1858[nm; [cf2]d[cf1] Naples, ~[sm1941
[nm). It. cond. and composer. Cond. at Teatro ~alla Fenice, Naples, [sm1874[nm.
Cond. f.p. of Mascagni's ~[cf2]Cavalleria rusticana[cf1], Rome [sm1890[nm, and P
uccini's ~[cf2]Tosca[cf1], Rome [sm1900[nm. Cond. La Scala, Milan, from ~[sm1891
[nm. London CG [sm1905[nm=n[sm6[nm, [sm1919[nm, and [sm1925[nm. D;aaebut ~USA [s
m1920[nm. Comp. operas.[cm~M;auuhlfeld, Richard[fy75,1] ([cf2]b[cf1] Salzungen,
[sm1856[nm; [cf2]d[cf1] Mein~~ingen, [sm1907[nm). Ger. clarinettist. Joined Gran
d ~Duke's orch. at Meiningen as violinist. Self-taught ~clarinettist, becoming p
rin. cl., Meiningen Orch., ~[sm1879[nm, and at Bayreuth [sm1884[nm=n[sm96[nm. Br
ahms's cl. ~works (trio, Op. [sm114[nm, quintet, Op. [sm115[nm,
and [sm2[nm ~sonatas, Op. [sm120[nm) were written for him.[cm~Mukle, May [fy75,1
](Henrietta) ([cf2]b[cf1] London, [sm1880[nm; [cf2]d[cf1] ~London, [sm1963[nm).
Eng. cellist. Studied RAM. Long ~career as soloist and chamber mus. player. Work
s ~written for her by Vaughan Williams and Holst.[cm~[PN487,0,0,R,I0]Muldowney,
Dominic[fy75,1] ([cf2]b[cf1] Southampton, [sm1952[nm). ~Eng. composer and cond.
Studied Southampton ~Univ. with Jonathan Harvey and in London with ~Birtwistle,
then at York Univ. with Bernard Rands ~and David Blake. Mus. dir. Nat. Th. from
[sm1976[nm. ~Prin. works:[xm[cm~[j2][smtheatre[nm: [fy75,2]An Heavyweight Dirge[
cf1] ([sm1971[nm); [cf2]Klavier-~Hammer[cf1] ([sm1973[nm); [cf2]Da Capo al Fine[
cf1], tape for ballet ~([sm1975[nm); [cf2]Earl of Essex's Galliard[cf1] for [sm3
[nm actors, ~dancer, and instr. ([sm1976[nm); ballet [cf2]Macbeth[cf1] ([sm1979[
nm); ~realization [cf2]The Beggar's Opera [cf1]([sm1982[nm).[ep~[smorch[nm: [cf2
]Driftwood to the Flow[cf1], str. ([sm1972[nm); [cf2]Music at ~C
hartres[cf1], chamber orch. ([sm1974[nm); [cf2]Perspectives[cf1], full ~orch. ([
sm1975[nm); Conc., [sm4[nm vn. and str. ([sm1980[nm); pf. ~conc. ([sm1983[nm); s
axophone conc. ([sm1984[nm).[ep~[smchamber ensemble[nm: [cf2]Love Music for Bath
sheba ~Everdene and Gabriel Oak[cf1] ([sm1974[nm); [cf2]Solo/Ensemble[cf1] ~([sm
1974[nm); [cf2][sm3[nm-part Motet[cf1] for [sm11[nm instr. ([sm1976[nm); [cf2][s
m12[nm ~Shorter Chorale Preludes of Bach[cf1] arr. for [sm8[nm ~woodwind instr.
([sm1976[nm); [cf2][sm10[nm Longer Chorale ~Preludes of Bach[cf1] arr. for [sm8[
nm woodwind instr. ([sm1976[nm); ~[cf2]Variations after Sweelinck[cf1] ([sm1977[
nm); [cf2]Double Helix[cf1] ~([sm1977[nm); [cf2]Entr'acte[cf1] ([sm1977[nm).[ep~
[smchamber music[nm: [cf2]In a Hall of Mirrors[cf1], alto sax., pf. ~([sm1979[nm
); Pf. Trio ([sm1980[nm); Str. Qt. No. [sm1[nm ([sm1973[nm), ~No. [sm2[nm ([sm19
80[nm).[ep~[smvocal and choral[nm: [cf2]Bitter Lemons[cf1] for women's vv. ~([sm
1970[nm); [cf2]Cantata[cf1] for soloists, speakers, [sm2[nm vc.
and ~perc. ([sm1975[nm); [cf2]Procurans Odium[cf1], sop. and [sm8[nm instr. ~([s
m1977[nm); [cf2]Five Psalms[cf1], sop., ten., ch., wind, tape ~([sm1979[nm); [cf
2][sm5[nm Theatre Poems [cf1](Brecht), mez. and ens. ~([sm1980[nm=n[sm1[nm); [cf
2]From Little Gidding [cf1](Eliot), bar., treble, ~pf. ([sm1980[nm); [cf2]In Dar
k Times [cf1](Brecht), sop., alto, ten., ~bass, ens. ([sm1981[nm); [cf2]The Dura
tion of Exile[cf1], mez., ens. ~([sm1983[nm); [cf2]A Second Show[cf1], cont., ha
rp, vn., alto sax., ~tape ([sm1983[nm).[ep~[smpiano[nm: [cf2]A Little Piano Book
[cf1], [sm24[nm pieces ([sm1979[nm).[cm~[j1]Mul;age, Giuseppe [fy75,1]([cf2]b[cf
1] Termini Imerese, [sm1885[nm; [cf2]d[cf1] ~Rome, [sm1951[nm). It. composer. St
udied Palermo ~Cons. Wrote [sm7[nm operas (incl. [cf2]Dafni[cf1], [sm1928[nm), o
rch. ~and chamber mus.[cm~M;auuller-Hartmann, Robert [fy75,1]([cf2]b[cf1] Hambur
g, [sm1884[nm; [cf2]d[cf1] ~Dorking, [sm1950[nm). Ger.-born composer, teacher, ~
and critic (Brit. citizen from [sm1948[nm). Studied Stern ~Cons.
, Berlin. Worked as mus. critic on several ~papers. Taught at Bernuth Cons., Ham
burg; ~lecturer, Hamburg Univ. [sm1923[nm=n[sm33[nm; mus. adv., N. ~German Radio
, [sm1931[nm=n[sm3[nm. Settled in Eng., [sm1933[nm, ~becoming friend of Vaughan
Williams, whose ~[cf2]The [fy45,1]*[fy75,2]Pilgrim's Progress[cf1] he partially
trans. into Ger. ~Works incl. Sym. ([sm1927[nm), ov., [cf2]Leonce and Lena[cf1]
~([sm1922[nm), [cf2]Variations on a Pastoral Theme[cf1] ([sm1925[nm), ~Sinfoniet
ta ([sm1943[nm), [cf2]Craigelly Suite[cf1] ([sm1944[nm), chamber ~mus., pf. piec
es, and songs.[cm~M;auuller, Maria [fy75,1]([cf2]b [cf1]Litom;ake;akrice, [sm189
8[nm; [cf2]d [cf1]Bayreuth, ~[sm1958[nm). Cz. soprano. Studied in Vienna with E.
 ~Schmedes. D;aaebut Linz [sm1919[nm (Elsa). NY Met. ~d;aaebut [sm1925[nm (Siegl
inde), singing each season until ~[sm1934[nm=n[sm5[nm. Sang in Berlin and regula
rly at Bayreuth ~[sm1930[nm=n[sm44[nm. CG d;aaebut [sm1934[nm (Eva). Sang Jen;an
ufa and ~Strauss's Helen. One of most radiant singers of ~Eva in
 [cf2]Die Meistersinger.[cf1][cm~M;auuller von Asow, Erich[fy75,1] ([cf2]b[cf1]
Dresden, [sm1892[nm; [cf2]d[cf1] ~Berlin, [sm1964[nm). Ger. musicologist. Studie
d with ~Riemann. Dir., contemporary mus. fest., Dres~~den, [sm1917[nm. Ed. of [s
m5[nm-vol. edn. of Mozart family's ~correspondence, [sm1942[nm. Author of books
on Sch;auutz, ~Handel, and Reger. Ed., thematic catalogue of R. ~Strauss's works
 ([sm1959[nm=n[sm74[nm, continued by A. Ott ~and F. Trenner). Ed. of mus. dictio
naries.[cm~M;auuller, Wenzel [fy75,1]([cf2]b [cf1]Tyrnau, [sm1767[nm; [cf2]d [cf
1]Baden, nr. ~Vienna, [sm1835[nm). Austrian composer and conductor. ~Child prodi
gy as instrumentalist. Joined th. orch. ~at Brno [sm1782[nm as violinist and com
p. Singspiel. ~Became Kapellmeister at Leopoldst;auadter Th., ~Vienna, [sm1786[n
m, staying until [sm1830[nm. Prolific com~~poser of Singspiels, incl. [cf2]Die S
chwestern von Prag ~[cf1]([sm1794[nm) and [cf2]Das lustige Beilager [cf1]([sm179
7[nm). From [sm1807[nm ~to [sm1813[nm was also cond. of Ger. ope
ra in Prague. ~Songs from his works attained=mand several ~retain=mwidespread po
pularity.[cm~Mulliner Book.[fy75,1] MS. coll. of Eng. mus. containing ~[sm131[nm
 comps., mainly for kbd. but also for cittern, ~made by Thomas Mulliner [cf2]c[c
f1].[sm1560[nm. Pubd. in ~modern notation [sm1951[nm, ed. Denis Stevens, rev. ~[
sm1962[nm.[cm~Mullings, Frank [fy75,1](Coningsby) ([cf2]b[cf1] Walsall, [sm1881[
nm; ~[cf2]d[cf1] Manchester, [sm1953[nm). Eng. ten. Studied Birming~~ham. D;aaeb
ut Coventry [sm1907[nm as Faust. Denhof Co. ~[sm1913[nm, Beecham Co. [sm1916[nm=
n[sm21[nm, BNOC [sm1922[nm=n[sm9[nm. ~First to sing Parsifal in Eng. ([sm1919[nm
). Noted singer ~of Otello and Tristan. Later taught at Birmingham ~Sch. of Mus.
 [sm1927[nm=n[sm46[nm and RMCM [sm1944=n9[nm.[cm~Mumma, Gordon [fy75,1]([cf2]b[c
f1] Framingham, Mass., [sm1935[nm). ~Amer. composer. Studied hn. and pf. Co-foun
der, ~Co-operative Studio for Elec. Mus., Ann Arbor, ~[sm1958[nm=n[sm66[nm. From
 [sm1966[nm composer with Merce ~Cunningham Dance Co. Among firs
t to use live ~elec. mus. processes, devising a computerized ~system which he ca
lls cybersonics. Comps. incl. ~[cf2]Swarm[cf1], for vn., concertina, bowed cross
cut saw, ~and cybersonic modification; and other similar ~works.[cm~Munch, Charl
es [fy75,1]([cf2]b[cf1] Strasbourg, [sm1891[nm; [cf2]d[cf1] Rich~~mond, Virginia
, [sm1968[nm). Fr. cond. and violinist. ~Studied vn. at Strasbourg and Berlin an
d with ~[fy45,1]*[fy75,1]Flesch. Prof. of vn., Strasbourg Cons., [sm1919[nm=n[sm
25[nm ~and leader of Strasbourg orch.; prof. Leipzig ~Cons. [sm1925[nm=n[sm32[nm
 and leader of Gewandhaus Orch. ~D;aaebut as cond. Paris [sm1932[nm. Founder and
 cond., ~Orchestre de la Soci;aaet;aae Philharmonique [sm1935[nm=n[sm8[nm. ~Lond
on d;aaebut [sm1938[nm. Cond., Soci;aaet;aae des Concerts ~du Conservatoire [sm1
938[nm=n[sm46[nm and prof. of cond. ~Paris Cons. US d;aaebut Boston [sm1946[nm.
Cond. Boston ~S.O. [sm1949[nm=n[sm62[nm; dir., Berkshire Mus. Center [sm1951[nm=
n~[sm62[nm. Toured Europe, Far East, and Australia with ~Boston
S.O. Organized Orchestre de Paris [sm1967[nm.[cm~M;auunchinger, Karl [fy75,1]([c
f2]b[cf1] Stuttgart, [sm1915[nm). Ger. cond. ~Studied Leipzig Cons. Cond. Hanove
r S.O.[fj[sm1941=n~[PN488,0,0,L,I0]3[nm. Founder-cond. [fy45,1]*[fy75,1]Stuttgar
t Chamber Orch., [sm1945[nm, ~with which he has made many int. tours. London ~d;
aaebut [sm1949[nm. Recorded Bach's Brandenburg Con~~certos three times=min mono,
 stereo, and quadra~~phonic sound.[cm~Mundharmonika[fy75,1] (Ger.). Mouth harmon
ica, i.e. ~mouth organ.[cm~Mundy, John [fy75,1]([cf2]b c[cf1].[sm1555[nm; [cf2]d
[cf1] Windsor, [sm1630[nm). Eng. ~composer and organist, son of William Mundy. ~
Organist St George's Chapel, Windsor for over [sm40[nm ~years. Wrote pieces for
viols and madrigals, incl. ~[cf2]Lightly she tripped[cf1] for [sm5[nm vv. in [cf
2]The [fy45,1]*[fy75,2]Triumphs of ~Oriana[cf1]. His kbd. fantasia [cf2]Faire We
ther [cf1]has ~descriptions of lightning and thunder.[cm~Mundy, William [fy75,1]
([cf2]b c[cf1].[sm1529[nm; [cf2]d [cf1]London, [sm1591[nm). ~Eng
. composer. Singer in Chapel Royal. Comp. ~motets and anthems, incl. [cf2]O Lord
, the maker of all ~things[cf1].[cm~Munich Philharmonic Orchestra. [fy75,1]Orch.
 in ~Munich, Bavaria, founded [sm1924[nm on basis of ~former [fy45,1]*[fy75,1]Ka
im Orch. ([sm1893[nm=n[sm1923[nm). Cond. have ~incl. Pfitzner, Rosbaud, and Kemp
e ([sm1967[nm=n[sm76[nm).[cm~Munrow, David [fy75,1](=+=+=+John) ([cf2]b[cf1] Bir
mingham, [sm1942[nm; [cf2]d[cf1] ~Chesham Bois, [sm1976[nm). Eng. player of reco
rder, ~crumhorn, etc., and specialist in early mus. and ~its instr. Founder-dir.
 of Early Music Consort, ~[sm1967[nm; lecturer in history of early mus., Leicest
er ~Univ. from [sm1967[nm. Prof. of recorder, RAM, from ~[sm1969[nm. Frequent br
oadcaster. Comp. and arr. mus. ~for films and TV. Author of [cf2]Instruments of
the ~Middle Ages and Renaissance[cf1], [sm1976[nm.[cm~Muradeli, Vano[fy75,1] ([c
f2]b[cf1] Gori, Tiflis, [sm1908[nm; [cf2]d[cf1] Tomsk, ~[sm1970[nm). Russ. (Geor
gian) composer. Studied Tiflis ~Cons. and with Myaskovsky at Mos
cow Cons. His ~opera [cf2]The Great Friendship[cf1] (Moscow [sm1947[nm) precip~~
itated the denunciation by Soviet officials in [sm1948[nm ~of `formalism', disto
rtion of history, and lack of ~melody in the mus. not only of Muradeli but of ~S
hostakovich and Prokofiev. He was reinstated in ~the Khruschev era, becoming dep
uty in Supreme ~Soviet and recipient of Order of Lenin, [sm1967[nm. ~Wrote [sm2[
nm syms. and opera [cf2]October[cf1].[cm~Murder in the Cathedral[fy75,1] (Pizzet
ti). See [cf2]Assassinio ~nella cattedrale[cf1].[cm~Murdoch, William [fy75,1](Da
vid) ([cf2]b[cf1] Bendigo, Aus~~tralia, [sm1888[nm; [cf2]d[cf1] Holmbury St Mary
, Surrey, [sm1942[nm). ~Australian pianist. Studied Melbourne Univ. and ~RCM. Se
ttled in Eng. [sm1905[nm and made reputation ~as chamber mus. player, especially
 in assoc. with ~Albert [fy45,1]*[fy75,1]Sammons, violinist. Prof. of pf. at RAM
 ~[sm1930[nm=n[sm6[nm. Wrote books on Brahms and Chopin, ~and arr. Bach's works
for pf. Was pianist in f.p. of ~Elgar's Pf. Quintet ([sm1919[nm)
.[cm~Muris, Johannes de [fy75,1](Jehan des Murs) ([cf2]b [cf1]Lisieux ~diocese,
[cf2]c.[cf1][sm1300[nm; [cf2]d c.[cf1][sm1350[nm). Fr. mus. theorist. Wrote ~tre
atise [cf2]Musica speculativa[cf1] at Sorbonne, Paris, ~[sm1323[nm, and [sm4[nm
other treatises, incl. one on counter~~point. Opposed the innovations of the [cf
2]ars nova[cf1].[cm~Murray, Ann [fy75,1]([cf2]b [cf1]Dublin, [sm1949[nm). Irish-
born mez. ~Studied RMCM with Frederic R. [fy45,1]*[fy75,1]Cox and at ~London Ope
ra Centre. Opera d;aaebut with Scottish ~Opera as Alceste (Snape Maltings, [sm19
74[nm). CG ~d;aaebut [sm1976[nm (Cherubino). NY d;aaebut [sm1979[nm (in [cf2]La
~Clemenza di Tito[cf1]). Notable B;aaeatrice in Berlioz's ~opera, Buxton Festiva
l [sm1980[nm. Song recitalist and ~oratorio singer.[cm~Murrill, Herbert [fy75,1]
(Henry John) ([cf2]b[cf1] London, [sm1909[nm; ~[cf2]d[cf1] London, [sm1952[nm).
Eng. composer, organist, and ~administrator. Studied RAM and Oxford Univ. ~Taugh
t comp. at RAM [sm1933[nm=n[sm52[nm. Dir. of Mus. ~BBC, [sm1950[
nm=n[sm2[nm. Wrote jazz opera [cf2]Man in Cage[cf1] ~([sm1929[nm), ballet [cf2]P
icnic[cf1] ([sm1927[nm), [sm2[nm vc. concs., str. qt., ~and incidental mus. for
plays.[cm~Mus.[fy75,1] Abbreviation for `Music', as in B.Mus. ~(Bachelor of Musi
c), D.Mus. (Doctor of Music), ~etc.[cm~Musette.[fy75,1] ([sm1[nm) Type of Fr. ba
gpipe popular in court ~circles in [sm17[nmth and [sm18[nmth cents. Was bellows-
blown ~and had [sm4[nm or [sm5[nm drones enclosed in cylinder. Used ~in orch. by
 Lully.[ep~^([sm2[nm) Variety of gavotte in which persistent drone ~bass suggest
s the above instr. Vaughan Williams's ~ob. conc. ([sm1944[nm) has a [cf2]musette
[cf1] in [sm2[nmnd movement.[cm~Musgrave, Thea[fy75,1] ([cf2]b [cf1]Barnton, Mid
lothian, [sm1928[nm). ~Scottish composer and cond. Studied Edinburgh ~Univ. [sm1
947[nm=n[sm50[nm with Mary Grierson and Hans G;aaal ~and in Paris [sm1952[nm=n[s
m4[nm with Nadia Boulanger. ~Lecturer in mus., London Univ. [sm1959[nm=n[sm65[nm
. Taught ~at Univ. of California [sm1970[nm. Her mus. developed
~from early diatonicism to a more chromatic ~idiom and to use of serialism; from
 various ~elements she has forged a mature style capable of ~rich expressiveness
 as in her opera [cf2]Mary, Queen of ~Scots[cf1]. In her orch. works, solo instr
. are often ~given virtuoso opportunities; and in her cl. conc. ~the soloist mov
es about the orch. to play with ~different sections in the manner of a jazz ~imp
rovisation. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]The Abbot of Drimock[c
f1], [sm1[nm-act ([sm1955[nm); [cf2]The ~Decision[cf1], [sm3[nm acts ([sm1964[nm
=n[sm5[nm); [cf2]The [fy45,1]*[fy75,2]Voice of Ariadne ~[cf1]([sm1972[nm=n[sm3[n
m); [fy45,1]*[fy75,2]Mary, Queen of Scots[cf1], [sm3[nm acts ([sm1976[nm); [cf2]
A ~Christmas Carol [cf1]([sm1978[nm=n[sm9[nm); [cf2]An Occurrence at Owl ~Creek
Bridge[cf1], radio opera ([sm1981[nm).[ep~[smballets[nm: [cf2]A Tale for Thieves
[cf1] ([sm1953[nm); [cf2]Beauty and the ~Beast[cf1] ([sm1968[nm=n[sm9[nm); [cf2]
Orfeo[cf1], with dancer (see Chamber ~Music below).[ep~[smorch[n
m: [cf2]Obliques[cf1] ([sm1958[nm); [cf2]Themes and Interludes ~[cf1]([sm1962[nm
); [cf2]Sinfonia [cf1]([sm1963[nm); [cf2]Festival Overture[cf1] ([sm1965[nm); ~[
fy45,1]*[fy75,2]Nocturnes and Arias[cf1] ([sm1966[nm); [cf2]Concerto for Orches~
~tra[cf1] ([sm1967[nm); cl. conc. ([sm1967[nm); [cf2]Night Music[cf1] ([sm1969[n
m); ~[fy45,1]*[fy75,2]Memento Vitae[cf1] (homage to Beethoven) ([sm1969[nm=n~[sm
70[nm); hn. conc. ([sm1971[nm); va. conc. ([sm1973[nm); [cf2]Space ~Play [cf1]([
sm1974[nm); [cf2]Peripateia [cf1]([sm1981[nm).[ep~[smchoral and vocal[nm: [cf2]T
riptych[cf1], ten. and small orch. ~([sm1959[nm); [cf2]The Phoenix and the Turtl
e[cf1], ch. and orch. ~([sm1962[nm); [cf2]The Five Ages of Man[cf1], ch. and orc
h. ~([sm1963[nm); [cf2]Rorate coeli[cf1], unacc. ([sm1974[nm, rev. [sm1976[nm);
[cf2]The ~Last Twilight[cf1], ch., brass, perc. ([sm1980[nm); [cf2]The Lord's ~P
rayer[cf1], ch. and org. ([sm1984[nm).[ep~[PN489,0,0,R,I0][smchamber music[nm: S
tr. qt. ([sm1958[nm); [cf2]Colloquy[cf1], vn.  and ~pf. ([sm1960
[nm); Trio, fl., ob., pf. ([sm1960[nm); [cf2]Serenade[cf1] ~([sm1961[nm); Chambe
r Conc. No. [sm1[nm ([sm1962[nm), No. [sm2[nm ~([sm1966[nm), No. [sm3[nm ([sm196
6[nm); [cf2]Soliloquy[cf1], guitar and ~prerecorded tape ([sm1969[nm); Impromptu
 No. [sm1[nm, fl., ~ob. ([sm1967[nm), No. [sm2[nm, fl., ob., cl. ([sm1970[nm); [
cf2]Elegy[cf1], va., ~vc. ([sm1970[nm); [cf2]Orfeo I[cf1], fl., tape ([sm1975[nm
, orch. vers. fl. ~and [sm15[nm str., [cf2]Orfeo II[cf1], [sm1975[nm).[cm~[j1]Mu
sica Antiqua[fy75,1] (Lat.). Old music. Coll. of [sm190[nm ~pieces of mus. compi
led and ed. by John Stafford ~Smith and pubd. [sm1812[nm. Ranges from ancient ~c
hants by Merbecke to Norman [cf2]chansons[cf1], and ~masques from time of James
I of Eng.[cm~Musica ficta [fy75,1](Lat.). Feigned music. [fy65][cf3]Musica falsa
 ~[fy75,1](It.). False music. In early mus., the sharpening or ~flattening of ce
rtain notes, conventionally pre~~scribed or permitted in modal mus. (see [cf2]Mo
des[cf1]) ~to avoid certain awkward intervals, etc. Its ~prevale
nce in mus. up to and incl. that of the ~[sm16[nmth cent. requires considerable
knowledge of ~performing practice of the period on the part of ~modern eds. In m
ost modern edns. the necessary ~alterations are written in.[cm~Musica figurata[f
y75,1] (It.), [fy65][cf3]Figuralmusik [fy75,1](Ger.). The ~term has [sm2[nm mean
ings: ([sm1[nm) Contrapuntal mus. in ~which the various melodic strands move mor
e or ~less independently, shorter notes in one v. against ~longer in others=mas
distinct from mere `note ~against note' counterpoint; ([sm2[nm) Decorated melody
 ~in plainsong, etc., as distinct from the more sober ~type (such decorated plai
nsong is also known as ~[cf2]musica colorata[cf1], coloured music).[cm~Musical A
merica.[fy75,1] American monthly mus. ~magazine founded as a weekly in [sm1898[n
m. Among ~eds. have been J. C. Freund, Deems Taylor, Oscar ~Thompson, and Everet
t Helm. Absorbed by [cf2]High ~Fidelity[cf1], [sm1965[nm.[cm~Musical Box.[fy75,1
] Toy in which pins on a rotating ~barrel pluck the teeth of a c
omb. These teeth are ~graduated in length, thus providing a scale of ~notes from
 which tunes can be produced. ~(Multiple sets of pins produce several tunes.) ~M
echanism usually activated by lifting of lid.[cm~Musical Comedy [fy75,1](Musical
s). Type of musical ~entertainment, [sm20[nmth cent. development of oper~~etta,
which relies for its popular success on a ~succession of catchy and easily memor
able tunes, ~either as songs, duets, or choruses. Some early ~Eng. examples date
 from end of [sm19[nmth cent., e.g. ~Lionel Monckton's [cf2]The Runaway Girl [cf
1]([sm1898[nm), but ~perhaps the first of the kind were Osmond Carr's ~[cf2]In T
own [cf1]([sm1892[nm) and Sidney Jones's [cf2]A Gaiety Girl ~[cf1]([sm1893[nm),
both staged by George Edwardes at the ~Prince of Wales Th., London. These were f
ollowed ~by Leslie Stuart's [cf2]Florodora [cf1]([sm1899[nm), [cf2]The Arcadians
 ~[cf1](Monckton, [sm1909[nm), and [cf2]The Maid of the Mountains ~[cf1](Fraser-
Simson, [sm1916[nm). The outstanding success of ~the First World
 War was Norton's [cf2]Chu Chin Chow ~[cf1]([sm1916[nm). After [sm1918[nm Americ
an shows began to visit ~London and the names became familiar of ~Youmans ([cf2]
No, No, Nanette[cf1], [sm1924[nm), Jerome Kern ~([cf2]The Cabaret Girl[cf1], [sm
1922[nm, [cf2]Sunny[cf1], [sm1925[nm, [cf2]Show Boat[cf1], ~[sm1927[nm), Gershwi
n ([cf2]Oh Boy[cf1], [sm1917[nm, [cf2]Lady[cf1], [cf2]Be Good[cf1], ~[sm1924[nm,
 [cf2]Funny Face[cf1], [sm1927[nm, [cf2]Girl Crazy[cf1], [sm1930[nm, [cf2]Strike
 ~up the Band[cf1], [sm1930[nm), Rodgers and Hart ([cf2]The Girl ~Friend[cf1], [
sm1926[nm, [cf2]Evergreen[cf1], [sm1930[nm, [cf2]On Your Toes[cf1], [sm1936[nm,
~[cf2]Pal Joey[cf1], [sm1940[nm), Cole Porter ([cf2]Gay Divorce[cf1], [sm1932[nm
, ~[cf2]Nymph Errant[cf1], [sm1933[nm, [cf2]Anything Goes[cf1], [sm1934[nm). Emi
gr;aae ~European composers such as Victor Herbert, ~Rudolf Friml ([cf2]Rose Mari
e[cf1], [sm1924[nm, [cf2]The Vagabond ~King[cf1], [sm1925[nm), and Sigmund Rombe
rg also contrib~~uted to the transatlantic successes. Romberg's
~shows incl. [cf2]The Student Prince [cf1]([sm1924[nm), [cf2]The Desert ~Song [c
f1]([sm1926[nm), and [cf2]New Moon [cf1]([sm1928[nm).[ep~^In England two native
composers dominated ~the musicals of the [sm1930[nms, No;auel Coward with ~[cf2]
Bitter-Sweet [cf1]([sm1929[nm) and [cf2]Operette [cf1]([sm1938[nm), and Ivor ~No
vello with [cf2]Glamorous Night [cf1]([sm1935[nm), [cf2]Careless ~Rapture [cf1](
[sm1936[nm), and [cf2]The Dancing Years [cf1]([sm1939[nm). ~Scarcely less popula
r were Vivian Ellis's [cf2]Mr ~Cinders [cf1]([sm1929[nm), [cf2]Jill Darling [cf1
]([sm1934[nm), and [cf2]Under Your ~Hat [cf1]([sm1938[nm), while Noel Gay's [cf2
]Me and My Girl ~[cf1]([sm1937[nm) made `The Lambeth Walk' almost a ~national so
ng for a time. After the Second World ~War, the [sm1930[nms type of musical come
dy lingered ~on with Ellis's [cf2]Bless the Bride [cf1]([sm1947[nm), Novello's ~
[cf2]King's Rhapsody [cf1]([sm1949[nm), Wilson's [cf2]The Boy Friend ~[cf1]([sm1
953[nm), and Julian Slade's [cf2]Salad Days [cf1]([sm1954[nm). B
ut ~the death-knell of this genteel kind of affair was ~sounded by the record-br
eaking [cf2]Oklahoma! [cf1]([sm1943[nm) ~of Rodgers and Hammerstein, first of an
 amazing ~series of shows from this duo: [cf2]Carousel [cf1]([sm1945[nm), ~[cf2]
South Pacific [cf1]([sm1949[nm), [cf2]The King and I [cf1]([sm1951[nm), [cf2]Flo
wer ~Drum Song [cf1]([sm1958[nm), and [cf2]The Sound of Music [cf1]([sm1959[nm).
 ~The stronger construction of these musicals ~attracted into the popular th. su
ch choreographers ~as Agnes de Mille, Jerome Robbins, and George ~Balanchine. Co
mparable with them were Irving ~Berlin's [cf2]Annie Get Your Gun [cf1]([sm1946[n
m) and [cf2]Call Me ~Madam [cf1]([sm1950[nm), Porter's [cf2]Kiss Me Kate [cf1]([
sm1948[nm, based ~on [cf2]The Taming of the Shrew[cf1]), and [cf2]Can-Can [cf1](
[sm1953[nm), ~and (a new team) Frederick Loewe's and Alan Jay ~Lerner's [cf2]Bri
gadoon [cf1]([sm1947[nm), [cf2]Paint Your Wagon ~[cf1]([sm1951[nm), [fy45,1]*[fy
75,2]My Fair Lady [cf1]([sm1956[nm, based on Shaw's ~[cf2]Pygmal
ion[cf1]), and [cf2]Camelot [cf1]([sm1960[nm).[ep~^A tougher vein was exploited
by Leonard ~[fy45,1]*[fy75,1]Bernstein with [cf2]On the Town [cf1]([sm1944[nm),
[cf2]Wonderful ~Town [cf1]([sm1953[nm), and [cf2]West Side Story [cf1]([sm1957[n
m). The ~lyrics of the last-named were written by Stephen ~Sondheim, who later c
omp. some of the best ~ musicals of the [sm1970[nms in [cf2]Company [cf1]([sm197
0[nm), [cf2]A Little ~Night Music [cf1]([sm1973[nm), and [cf2]Pacific Overtures
[cf1]([sm1976[nm). ~The Brit. challenge to the Amer. dominance after ~[sm1946[nm
 was best represented by Lionel Bart's [cf2]Fings ~ain't wot they used t'be [cf1
]([sm1959[nm) and [cf2]Oliver! [cf1]([sm1960[nm, ~based on [cf2]Oliver Twist[cf1
]), Bricusse's and Newley's ~[cf2]Stop the World=mI Want to Get Off [cf1]([sm196
1[nm), [cf2]Charlie ~Girl [cf1]([sm1965[nm, Taylor and Heneker), but it was left
 to ~Andrew [fy45,1]*[fy75,1]Lloyd Webber and Tim Rice to chart a ~new course wi
th [cf2]Joseph and the Amazing Technicolor ~Dreamcoat [cf1]([sm1
968[nm), [cf2]Jesus Christ Superstar [cf1]([sm1970[nm), ~[cf2]Evita [cf1]([sm197
6[nm, a life of Eva Peron), and [cf2]Cats [cf1]([sm1981[nm, ~based on T. S. Elio
t poems). Other significant ~[PN490,0,0,L,I0]musicals of the second half of the
[sm20[nmth cent. have ~been Frank Loesser's [cf2]Guys and Dolls [cf1]([sm1950[nm
), [cf2]The ~Most Happy Fella [cf1]([sm1956[nm), and [cf2]How to Succeed in ~Bus
iness Without Really Trying [cf1]([sm1961[nm), Adler's and ~Ross's [cf2]The Paja
ma Game [cf1]([sm1954[nm) and [cf2]Damn Yankees ~[cf1]([sm1955[nm), Jule Styne's
 [cf2]Funny Girl [cf1]([sm1964[nm), Herman's ~[cf2]Hello Dolly! [cf1]([sm1964[nm
), Bock's [cf2]Fiddler on the Roof ~[cf1]([sm1964[nm), Leigh's [cf2]Man of La Ma
ncha [cf1]([sm1965[nm, based on ~[cf2]Don Quixote[cf1]), Kander's [cf2]Cabaret [
cf1]([sm1966[nm, based on ~Isherwood's [cf2]Goodbye to Berlin[cf1]), MacDermot's
 [cf2]Hair ~[cf1]([sm1967[nm, a `rock' musical which incorporated elec. ~sounds)
, and Marvin Hamlisch's [cf2]Chorus Line [cf1]([sm1975[nm) ~and
[cf2]Jean Seberg [cf1]([sm1983[nm).[cm~Musical Glasses.[fy75,1] See [cf2]Glass A
rmonica[cf1].[cm~Musical Joke, A[fy75,1] ([cf2]Ein musikalischer Spass[cf1]). Di
ver~~timento in F for [sm2[nm hn. and str. qt. by Mozart ~(K[sm522[nm) comp. Vie
nna, [sm1787[nm, as satire on compos~~ers and perfs. of popular mus.[cm~Musical
Offering, The[fy75,1] ([cf2]Das musikalische Opfer[cf1]). ~Coll. of [sm13[nm com
ps. by Bach (BWV [sm1079[nm) in various ~contrapuntal forms, all using a theme g
iven to ~Bach for extemporization by King Frederick the ~Great of Prussia in Pot
sdam in [sm1747[nm. Some are for ~kbd., [sm2[nm for fl., and others for no parti
cular ~medium. Nos. [sm1[nm=n[sm8[nm constitute the actual offering, ~the remain
der having been added later. Modern ~performing edns. exist and various composer
s ~have orchestrated certain items, e.g. Webern ~[cf2]Ricercare. [cf1]The pieces
 are: [sm1[nm. [cf2]Ricercare a [sm3[nm[cf1], [sm2[nm. [cf2]Canon ~perpetuus[cf1
], [sm3[nm. [cf2]Canon a [sm2[nm violini in unisono[cf1], [sm4[n
m. [cf2]Canon a ~[sm2[nm per motum contrarium[cf1], [sm5[nm. [cf2]Canon a [sm2[n
m per ~augmentationem[cf1], [sm6[nm. [cf2]Canon a [sm2[nm per tonos[cf1], [sm7[n
m. [cf2]Canon a ~[sm2[nm[cf1], [sm8[nm.[cf2] Canon a [sm2[nm quaerendo invenieti
s[cf1], [sm9[nm. [cf2]Canon ~perpetuus[cf1], [sm10[nm. [cf2]Canon a [sm4[nm[cf1]
, [sm11[nm. [cf2]Fuga canonica[cf1], [sm12[nm. ~[cf2]Trio sonata[cf1], [sm13[nm.
 [cf2]Ricercare a [sm6[nm[cf1].[cm~Musical Switch.[fy75,1] A medley constructed
out of ~snatches of popular tunes dovetailed into each ~other so that one tune i
s `switched', after a few ~measures, to another.[cm~Musical Times.[fy75,1] Eng.
monthly mus. magazine ~founded [sm1844[nm. Eds. have incl. W. McNaught ~(father
and son), Martin Cooper, Harold Rutland, ~Andrew Porter, and Stanley Sadie.[cm~M
usica Mensurata[fy75,1] (Lat.). Measured music. ~Medieval system of notation, ne
cessitated by ~invention of figured mus. to denote relative ~duration and pitch
of each note of plainchant to ~be sung.[cm~Music and Letters.[fy
75,1] Eng. mus. quarterly founded ~[sm1920[nm by A.|H. Fox Strangways, who was e
d. until ~[sm1937[nm. Succeeded by Eric Blom [sm1937[nm=n[sm50[nm, Richard ~Cape
ll [sm1950[nm=n[sm4[nm, Blom [sm1954[nm=n[sm9[nm, J. A. Westrup ~[sm1959[nm=n[sm
76[nm, Denis Arnold and Edward Olleson ~[sm1976[nm=n[sm80[nm, Edward Olleson and
 Nigel Fortune ~from [sm1981[nm.[cm~Musica Reservata[fy75,1] (Lat.). Reserved mu
sic. ([sm1[nm) ~Term coined in early [sm16[nmth cent., possibly for ~expressive
style of composers such as Despr;ages and ~for its method of perf., but exact me
aning is ~unknown. One view applies it to mus. employing ~exceptional reserve in
 use of ornamentation and ~another theory is that it meant mus. reserved for ~wh
at would now be called `highbrows'.[ep~^([sm2[nm) Name of London ens. formed [sm
1960[nm to ~perform early mus. in authentic manner.[cm~Musica Transalpina.[fy75,
1] First printed coll. of It. (i.e. ~transalpine) madrigals with Eng. words, com
piled ~and pubd. in London by Nicholas Yonge in [sm2[nm ~vols.,
[sm1588[nm and [sm1597[nm (both It. and Eng. words ~were given). Had great influ
ence on Eng. ~composers. Vol. I contained [sm57[nm pieces, incl. ~examples by Ma
renzio, Palestrina, Byrd, de ~Lassus, and others; [sm2[nmnd vol. of [sm24[nm pie
ces incl. ~Ferrabosco, Marenzio, Venturi, etc.[cm~Music Centre.[fy75,1] Really a
 place, e.g. a hall, on which ~mus. activity is centred, but the term has been ~
appropriated by commerce for piece of equip~~ment in which stereo record-player,
 cassette-~player, recording equipment, and sometimes ~radio are all assembled i
nto single item of ~domestic furniture.[cm~Music Drama.[fy75,1] Term used by Wag
ner after ~[cf2]Lohengrin [cf1]to describe his operas in order to ~emphasize tha
t the mus., dramatic, and scenic ~elements were on equal terms=ma fusion of the
~arts as Gluck had proposed. Yet the old It. ~description of opera was [cf2]dram
ma per musica[cf1].[cm~Music for a While.[fy75,1] Song by [fy45,1]*[fy75,1]Purce
ll, part of his ~incidental mus. to Dryden's play [cf2]Oedipus[c
f1], [sm1692[nm.[cm~Music Hall. [fy75,1]Strictly, the place where a particular ~
type of variety entertainment was held, often ~attached to a public house or con
taining a bar ~where customers could drink while they listened ~and watched; but
 the term also means the ~entertainment itself. It flourished in Brit. from ~[cf
2]c.[cf1][sm1850[nm to [sm1914[nm. Among the most famous London ~music-halls wer
e the Surrey (Southwark), the ~Bedford (Camden Town), the Metropolitan (Edg~~war
e Road), and Collins's (Islington). By [sm1870[nm ~there were said to be [sm200[
nm in London and [sm300[nm ~elsewhere. Many `acts' were performed; musically ~th
e halls' importance lay in the association of a ~popular song with a particular
performer, e.g. ~Charles Coborn and [cf2]Two Lovely Black Eyes[cf1], Eugene ~Str
atton and [cf2]Lily of Laguna[cf1],  Albert Chevalier and ~[cf2]My Old Dutch[cf1
], Harry Champion and [cf2]Any Old Iron[cf1], ~Harry Lauder and [cf2]Roamin' in
the gloamin'[cf1], Vesta ~Victoria and [cf2]Waiting at the Churc
h[cf1], Florrie Forde ~and [cf2]Down at the ol' Bull and Bush[cf1], Will Fyffe a
nd [cf2]I ~Belong to Glasgow[cf1], and Ella Shields and [cf2]Burlington ~Bertie
from Bow. [cf1]After [sm1914[nm the consumption of ~food and drink in the audito
rium was forbidden ~and the music-hall gave way to the variety theatre ~and its
stars like Gracie Fields and Hetty King. ~Something of the music-hall spirit sur
vives in ~North of England working-men's clubs. It is an ~irony that while the s
ongs and their singers have ~acquired a kind of immortality in Eng. theatrical ~
folklore, the names of the composers are scarcely ~[PN491,0,0,R,I0]remembered, w
ith the exception of Leslie Stuart, ~who wrote for Eugene Stratton. Thousands of
 ~music-hall songs, for example, were comp. by ~Joseph Tabrar, yet for one whose
 melodies reached ~more lips than Mozart's and Beethoven's, the ~reward has been
 almost total obscurity.[cm~Musicians' Benevolent Fund.[fy75,1] British mus. ~ch
arity founded in [sm1921[nm orig. as fund in memory ~of the ten.
 Gervase [fy45,1]*[fy75,1]Elwes. Maintains [sm3[nm residential ~homes for elderl
y and retired musicians, and ~helps many other musicians in various ways.[cm~Mus
icians' Company.[fy75,1] See [cf2]Worshipful Company ~of Musicians[cf1].[cm~Musi
cians' Union.[fy75,1] Brit. trade union formed in ~[sm1921[nm by amalgamation of
 Nat. Orch. Assoc. of ~Professional Musicians ([sm1891[nm) and Amalgamated ~Musi
cians' Union ([sm1893[nm). Objective is to improve ~pay and conditions of profes
sional musicians.[cm~Music Makers, The.[fy75,1] Ode, Op. [sm69[nm, for cont. or
~mez., ch., and orch. by Elgar, to poem by A. ~O'Shaughnessy ([sm1844[nm=n[sm81[
nm), in which several self-~quotations occur (e.g. from [cf2]Enigma Variations[c
f1], ~first Sym., Vn. Conc., etc.). Comp. [sm1911=n12[nm, with ~earlier sketches
. F.p. Birmingham [sm1912[nm. Also set ~for vv. and orch. by Kod;aaaly, [sm1964[
nm.[cm~Musicology[fy75,1] (Ger. [cf2]Musikwissenschaft[cf1]). Mus. schol~~arship
. A [sm20[nmth-cent. word taken into the Eng. ~language (from th
e Fr. [cf2]Musicologie[cf1]), but the Ger. ~term [cf2]Musikwissenschaft [cf1]was
 coined by J. B. Logier ~in [sm1827[nm. It may be said to cover all study of mus
. ~other than that directed to proficiency in perf. or ~comp. Thus, a musicologi
st is one who is a ~specialist in some mus. study.[ep~^Among the divisions of mu
sicology are acous~~tics; the physiology of v., ear, and hand; the ~psychology o
f aesthetics and, more directly, of ~mus. appreciation and education; ethnology
so ~far as it bears on mus. (incl. folksongs, folk dances, ~etc.); rhythm and me
trics; modes and scales; the ~principles and development of instrs.; orchestra~~
tion; form; theories of harmony; the history of ~mus.; the bibliography of mus.;
 terminology=m~and so forth.[ep~^The International Mus. Soc. (IMS, [sm1900[nm=n[
sm14[nm) had ~as its purpose the promotion of musicological ~study, and its post
-war successor made its purpose ~clear in its name=m`Soci;aaet;aae International
e de ~Musicologie' (SIM, founded [sm1928[nm, publishes ~journal
[cf2]Acta Musicologica[cf1]). There are also nat. ~musicological socs. in many c
ountries. A Brit. ~musicological soc. (The Royal Mus. Assoc.) has ~existed since
 [sm1874[nm, and the Amer. Musicological ~Soc. was founded in [sm1934[nm: both s
ocs. publish ~journals.[cm~Music Review, The.[fy75,1] Brit. mus. quarterly, ~fou
nded [sm1940[nm. Ed. Geoffrey Sharp until [sm1974[nm, ~when A. F. Leighton Thoma
s took over.[cm~Music Theatre.[fy75,1] A type of comp., sometimes ~quasi-operati
c but more usually a concert piece, ~for which a semi-staged presentation is nec
essary. ~It developed after about [sm1950[nm, esp. in USA and ~Ger. An Eng. exam
ple is [fy45,1]*[fy75,1]Maxwell Davies's [cf2]Eight ~[fy45,1]*[fy75,2]Songs for
a Mad King[cf1]. The term is better avoided, ~for a precise definition is imposs
ible.[cm~Musikalische Opfer, Das[fy75,1] (Bach). See [cf2]Musical ~Offering[cf1]
,[cf2] The[cf1].[cm~Musique Concr;agete[fy75,1] (Fr.). Concrete music. Mus. ~pre
pared from recorded sounds, either natural ~(e.g. birdsong) or m
an-made (traffic, instr. etc.). ~Term originated by Pierre [fy45,1]*[fy75,1]Scha
effer in [sm1948[nm to ~differentiate between mus. assembled from con~~crete sou
nd objects and mus. based on the abstract ~medium of notation. Strictly, [cf2]mu
sique concr;agete[cf1] ~should not be modified electronically but the ~distincti
on between it and electronically synthe~~sized sound has been increasingly blurr
ed until ~the term elec. mus. covers the whole process.[cm~Mussorgsky, Modest [f
y75,1](Petrovich) ([cf2]b[cf1] Karevo, ~Pskov, [sm1839[nm; [cf2]d[cf1] St Peters
burg, [sm1881[nm). Russ. ~composer. Showed mus. talent as a child but was ~desti
ned for an army career. In [sm1857[nm he met ~Balakirev in St Petersburg and stu
died with him, ~resigning his commission the next year. His early ~songs and pf.
 pieces show little sign of his later ~achievement, but by [sm1864[nm he was wri
ting fine ~songs. He started and abandoned [sm2[nm operas, but ~began work in [s
m1868[nm on [cf2]Boris Godunov[cf1], which he ~rev. when it was
rejected by the Imperial Th. On ~its prod. in [sm1874[nm it pleased audiences bu
t not ~musicians, who resented its unconventional ~methods and unusual style in
which speech-~inflexion governed the vocal lines. Over the next ~few years Musso
rgsky worked on [sm2[nm operas, but ~his heavy drinking, a habit acquired at cad
et ~school, sapped his capacity for concentrated work. ~He was one of the group
of [sm5[nm Russ. composers of ~nationalist tendencies known as the [fy45,1]*[fy7
5,1]`Mighty ~handful'. After his death his works were com~~pleted and `improved'
 by Rimsky-Korsakov and ~others, but in the [sm20[nmth cent. his realistic and ~
progressive qualities have been recognized and ~his orig. scores have been resto
red where possible. ~Prin. comps.:[xm[cm~[j2][smoperas[nm: [cf2]Salammb;afo [cf1
](unfinished, [sm1863[nm=n[sm6[nm); [cf2]The ~[fy45,1]*[fy75,2]Marriage [cf1]([s
m1[nm act only finished) ([sm1868[nm); [cf2][fy45,1]*[fy75,2]Boris ~Godunov[cf1]
 ([sm1868[nm=n[sm9[nm, rev. [sm1871[nm=n[sm2[nm, rev. [sm1873[nm
); [cf2]Mlada[cf1] ~(projected [sm4[nm-act opera-ballet of which Cui, ~Rimsky-Ko
rsakov, and Borodin were to compose ~the other [sm3[nm acts, [sm1872[nm); [fy45,
1]*[fy75,2]Khovanshchina[cf1] ([sm1873[nm, ~[sm5[nmth act unfinished); [fy45,1]*
[fy75,2]Sorochintsy Fair[cf1] ([sm1874[nm=n[sm80[nm, ~unfinished).[ep~[smorch[nm
: [fy45,1]*[fy75,2]Night on the Bare Mountain[cf1] ([sm1867[nm).[ep~[smpiano[nm:
 [cf2]Souvenir d'Enfance[cf1] ([sm1857[nm); [cf2]Intermezzo[cf1] ~([sm1861[nm, o
rch. and expanded [sm1867[nm); [cf2]Memories of ~Childhood[cf1] ([sm1865[nm); [f
y45,1]*[fy75,2]Pictures at an Exhibition[cf1] ([sm1874[nm).[ep~[smsongs[nm: Many
 solo songs and [sm3[nm song-cycles: [cf2]The ~Nursery[cf1] ([sm7[nm songs) ([sm
1868[nm=n[sm72[nm); [cf2]Sunless[cf1] ([sm6[nm songs) ~([sm1874[nm); [fy45,1]*[f
y75,2]Songs and Dances of Death[cf1] ([sm4[nm songs) ~([sm1875[nm=n[sm7[nm). (Th
e famous [fy45,1]*[fy75,2]Song of the Flea[cf1] dates ~from [sm1879[nm.)[cm~[PN4
92,0,0,L,I0][j1]Mustel Organ.[fy75,1] Kbd. `cabinet organ' inven
ted by ~V. Mustel ([sm1815[nm=n[sm90[nm).[cm~Muta[fy75,1] (It., plural [cf2]muta
no[cf1]). Change, e.g. of kettle~~[chdrum tuning. [cf2]Muta D in C[cf1] means Ch
ange tuning ~from D to C (no connection with the word ~`mute'). Also used in con
nection with change of ~crook in brass instr.[cm~Mutation Stop.[fy75,1] Org. sto
p sounding not at normal ~or octave pitch, but at pitch of one of the non-~octav
e harmonics. See [cf2]Quint[cf1], [cf2]Twelfth[cf1], [cf2]Seventeenth[cf1], ~[cf
2]Nineteenth[cf1], [cf2]Flat Twenty-first[cf1].[cm~Mute.[fy75,1] A mechanical de
vice used to reduce the ~tonal vol. of an instr. and usually indicated by the ~t
erm [cf2]con sordini[cf1]. ([sm1[nm) In bowed instr. a small clamp ~to be placed
 on the bridge. ([sm2[nm) In brass instr. a ~pear-shaped stopper to be pushed in
to the bell or, ~in the case of the hn., putting the hand in the ~bell. It is im
possible to mute woodwind instr. ([sm3[nm) ~With the Kettledrums muting was form
erly ~effected by placing a cloth over the parchment ~heads but
it is usual now to employ sponge-~headed drumsticks instead. ([sm4[nm) In the pf
. the ~sound is muted by the left (soft) pedal. The mute ~should not be confused
 with the damper.[cm~Muti, Riccardo [fy75,1]([cf2]b[cf1] Naples, [sm1941[nm). It
. conductor. ~Studied Naples (pf.) and Milan (cond. with Votto). ~Cantelli Prize
 [sm1967[nm. Opera d;aaebut Florence [sm1966[nm ~in work by Paisiello. Salzburg
Fest., [sm1971[nm, Vienna ~[sm1973[nm, CG d;aaebut [sm1977[nm ([cf2]Aida[cf1]).
Chief cond., (New) ~Philharmonia Orch. [sm1973[nm=n[sm82[nm. Art. dir., Florence
 ~Fest. from [sm1977[nm. Prin. guest cond., Philadelphia ~Orch. from [sm1977[nm,
 prin. cond. from [sm1981[nm. Mus. ~dir. La Scala, Milan, from [sm1986[nm.[cm~Mu
zio, Claudia [fy75,1]([cf2]b[cf1] Pavia, [sm1889[nm; [cf2]d[cf1] Rome, [sm1936[n
m). ~It. sop. Daughter of ass. stage manager at CG and ~NY Met. Studied Turin an
d Milan. D;aaebut Messina ~[sm1910[nm as Gilda. CG [sm1914[nm, NY Met. [sm1916[n
m=n[sm22[nm and ~[sm1933[nm=n[sm4[nm, Chicago [sm1922[nm=n[sm31[
nm. Created role of Gior~~getta in Puccini's [cf2]Il Tabarro[cf1], NY [sm1918[nm
. Notable ~interpreter of Violetta, Desdemona, and Tosca.[cm~Myaskovsky, Nikolay
 [fy75,1](Yakovlevich) ([cf2]b[cf1] Novo~~[chgeorgyevsk, [sm1881[nm; [cf2]d[cf1]
 Moscow, [sm1950[nm). Russ. com~~poser. Studied with [fy45,1]*[fy75,1]Gli;agere,
 Lyadov, and Rimsky-~Korsakov. Prof. of comp. Moscow Cons., [sm1921[nm=n~[sm50[n
m, pupils incl. Kabalevsky, Khachaturian, and ~Shebalin. One of composers denoun
ced by Soviet ~officials in [sm1948[nm for [fy45,1]*[fy75,1]`formalism'. Wrote [
sm27[nm syms., ~the [sm1[nmst in [sm1908[nm, the last being perf. posthumously.
~No. [sm19[nm is for military band. Also comp. symphonic ~poems [cf2]Nevermore[c
f1] (after Poe's [cf2]The Raven[cf1]) and ~[cf2]Alastor[cf1] (after Shelley), si
nfonietta, vn. conc. ~([sm1938[nm), vc. conc. ([sm1944[nm=n[sm5[nm), [sm13[nm st
r. qts. (No.[sm1[nm [sm1929[nm=n~[sm30[nm, No. [sm13[nm [sm1949[nm), [sm9[nm pf.
 sonatas, and many songs.[cm~My Country[fy75,1] (Smetana). See [
cf2]M;aaa Vlast[cf1].[cm~Myers, Rollo [fy75,1](Hugh) ([cf2]b[cf1] Chislehurst, [
sm1892[nm; [cf2]d[cf1] Chichester, [sm1985[nm). Eng. ~writer on mus. Studied Oxf
ord Univ. and Paris. ~Mus. critic for [cf2]Times[cf1] then [cf2]Daily Telegraph[
cf1] ~[sm1920[nm=n[sm34[nm. BBC [sm1935[nm=n[sm44[nm. British Council ~officer i
n Paris [sm1944[nm=n[sm5[nm. Ed. [cf2]The Chesterian[cf1] [sm1947[nm. ~Author of
 books on [sm20[nmth-cent. mus. generally ~and on Satie and Debussy in particula
r. Trans. ~Strauss-Rolland correspondence (London, [sm1968[nm).[cm~My Fair Lady.
 [fy75,1]Musical version of G. B. Shaw's ~play [cf2]Pygmalion [cf1]([sm1912[nm)
with music by Frederick ~[fy45,1]*[fy75,1]Loewe and words by Alan Jay Lerner ([c
f2]b [cf1]NY, ~[sm1918[nm). F.p. NY [sm1956[nm, London [sm1958[nm, and has been
~in performance somewhere in the world almost ~ever since. Roles of Eliza Doolit
tle and Prof. ~Higgins created by Julie Andrews and Rex ~Harrison, the latter su
ccessfully employing a type ~of [cf2]Sprechstimme [cf1]for his s
ongs. Film version [sm1964[nm.[cm~My Lady Nevells Booke[fy75,1] (My Lady Nevill'
s ~Book). Coll. of [sm42[nm virginals pieces by Byrd transcr. ~in [sm1591[nm by
John Baldwin of Windsor for the use ~of Lady Nevell, or Nevill, believed by Dr.|
E.|H. ~[fy45,1]*[fy75,1]Fellowes to have been Rachel, wife of Sir Edward ~Nevill
. Modern ed. by Hilda Andrews, [sm1926[nm.[cm~Myslive;akcek, Josef[fy75,1] ([cf2
]b[cf1] Ober-S;aaarka, [sm1737[nm; [cf2]d[cf1] Rome, ~[sm1781[nm). Bohemian comp
oser. Studied Venice. His ~first opera [cf2]Medea [cf1]was a big success in Parm
a, ~[sm1764[nm, followed by [cf2]Il Bellerofonte[cf1], Naples [sm1767[nm. ~Went
to Vienna and Munich [sm1772[nm. In [sm1773[nm he ~composed [cf2]La Clemenza di
Tito [cf1]for Venice. Mozart ~admired his pf. sonatas and praised his oratorio ~
[cf2]Abramo ed Isacco[cf1], Munich [sm1777[nm. Comp. [sm27[nm operas, ~[sm6[nm o
ratorios, and instr. works of all kinds.[cm~Mysteries.[fy75,1] See [cf2]Miracle
Plays[cf1].[cm~Mystic Trumpeter, The.[fy75,1] ([sm1[nm) Scena, O
p. [sm18[nm, by ~Holst for solo v. (usually sop.) and orch. to words ~by Whitman
, comp. [sm1904[nm, rev. [sm1912[nm, f.p. [sm1905[nm ~(rev. version f.p. [sm1913
[nm).[ep~^([sm2[nm) Setting of same text for vv. and orch. by ~Harty, [sm1913[nm
.[ep~^([sm3[nm) Symphonic fantasy after Whitman for orch. ~by F. S. Converse, [s
m1904[nm.[xm[cm~[j4]~[ol0][ep~[xp[te~








[do19][j99]024791MIS1[ep[u1]024791MIS1[cmConcise Oxford Dictionary of Music (Mis
).[cmMIS1[cm19[cm1[cm29/10/79[cm8[cm1[cm12[cm2[cm6.11.79[cm1[cm[j1]Dominant. [fy
75][cf1]([sm1[nm) 5th degree of major or minor scale, thus if the key is B (majo
r or minor) the dominant is F. Chords built on this note are [cf2]dominant chord
s[cf1], for instance the [cf2]dominant seventh [cf1]which is a chord consisting
of the common chord of the dominant with the [sm7[nmth from its root added, e.g.
 in key C it is G=nB=nD=nF. It normally resolves on the Tonic or Submediant chor
d, the note constituting the [sm7[nmth falling a semitone. The three inversions
of the Dominant Seventh chord are, of course, in common use.[ep^([sm2[nm) See [f
y45][cf1]*[fy75][cf2]Modes[cf1].[cmDurch [fy75][cf1](Ger. `Through'). [fy65][cf3
]Durchaus. [fy75][cf1]`Through~out.' [fy65][cf3]Durchkomponiert [fy75][cf1]or [f
y65][cf3]durchcomponiert [fy75][cf1](`through-composed'). Applied to songs of wh
ich the music is different for each stanza of the poem, i.e. the
 opposite of [fy45][cf1]*[fy75][cf1]strophic; but use of the term has been widen
ed to mean a composition which has been `fully worked out', `thoroughly com~pose
d', as opposed to something that seems episodic or patchy. [fy65][cf3]Durchdring
ed [fy75][cf1](`through-forcing'). `Penetrating', `shrill'. [fy65][cf3]Durchf;Au
uhrung [fy75][cf1](`through-leading'). [fy45][cf1]*[fy75][cf1]`Development'. [fy
65][cf3]Durchweg. [fy75][cf1]([sm1[nm) `Throughout', `altogether'. ([sm2[nm) `Ge
nerally', `nearly always'.[cmEbony Concerto. [fy75][cf1]Conc. for jazz cl. (`ebo
ny stick') and jazz band by Stravinsky, written for Woody Herman, who gave f.p.
in N.Y. [sm1[nm[sm9[nm[sm4[nm[sm6[nm.[cmEimert, Herbert [fy75][cf1]([cf2]b [cf1]
Bad Kreuznach [sm1[nm[sm8[nm[sm9[nm[sm7[nm). Ger. composer and critic. Studied C
ologne Musik~[chhochsch;Auule [sm1[nm[sm9[nm[sm1[nm[sm9[nm=n[sm2[nm[sm4[nm and a
t Cologne Univ. On staff of West German Radio [sm1[nm[sm9[nm[sm2[nm[sm7[nm=n[sm3
[nm[sm3[nm. Music critic [cf2]K;Auolnischen Zeitung [cf1][sm1[nm
[sm9[nm[sm3[nm[sm6[nm=n[sm4[nm[sm5[nm. Dir. of night music programmes Cologne Ra
dio [sm1[nm[sm9[nm[sm4[nm[sm5[nm. Founded first [fy45][cf1]*[fy75][cf1]electroni
c music studio, Cologne [sm1[nm[sm9[nm[sm5[nm[sm1[nm. Co-editor periodical [cf2]
Die Reihe [cf1][sm1[nm[sm9[nm[sm5[nm[sm5[nm=n[sm6[nm[sm2[nm. Compositions incl.
[sm2[nm string quartets, [cf2]Glockenspiel [cf1](tape), [sm5[nm St;Auucke (tape,
 [sm1[nm[sm9[nm[sm5[nm[sm5[nm=n[sm6[nm), [cf2]Epitaph f;Auur Aikichi Kuboyama [c
f1](sprechstimme, harmonica, electronic sound, tape [sm1[nm[sm9[nm[sm0[nm[sm6[nm
=n[sm2[nm).[cmEisteddfod [fy75][cf1](Welsh. `Session', from [cf2]eistedd[cf1]. `
to sit'. Plur. [cf2]Eisteddfodau[cf1]). The national Welsh gathering of this nam
e is one of bards, and dates in its present form from [sm1[nm[sm8[nm[sm1[nm[sm7[
nm, though it is said to date back, in one form or another, as far as the [sm7[n
mth cent. with a break during the complete [sm1[nm[sm8[nmth cent. and a few year
s before and after it. It now takes place annually in August in
one Welsh town or another. Degrees of [cf2]Ofydd [cf1](Ovate), [cf2]Bardd [cf1](
Bard), and [cf2]Pencerdd [cf1](Chief Musician) are conferred on candidates who p
ass various tests and there is also a strong choral and competitive side to the
gathering. Many local Eisteddfodau exist, purely of the nature of Competition Fe
stivals. An internation Eisteddfod, at which choirs and dances from all over the
 world compete, has been held annually in Llangollen since [sm1[nm[sm9[nm[sm4[nm
[sm7[nm.[cmEncore [fy75][cf1]Fr. `Again') In Eng. has been adopted as the word o
f demand for the repetition of a performance (properly, perhaps, of the same pie
ce but it is often used of a mere return to the platform to give additional perf
ormance, whether of the same or another piece). The verb `to encore has also com
e into use.[ep^Although the word `encore' is Fr., its entry into the Eng. langua
ge was by corruption of the It. [cf2]ancora [cf1](with the same meaning), which,
 from the early [sm1[nm[sm8[nmth-cent. onwards, was in use among
st the audience of the It. Opera in London (indiffer~ently with the words [cf2]a
ltra volta, [cf1]`another time') The Fr. use [cf2]bis [cf1](Lat. `twice'), with
the verb [cf2]bisser[cf1].[cmEnglund, Einar Sven [fy75][cf1]([cf2]b [cf1]Ljugam,
 Sweden, [sm1[nm[sm9[nm[sm1[nm[sm6[nm). Finnish composer, critic, and pianist. S
tudied Sibelius Acad., Helsinki, [sm1[nm[sm9[nm[sm3[nm[sm5[nm=n[sm4[nm[sm1[nm, u
nder [fy45][cf1]*[fy75][cf1]Palm~gren for comp., and in U.S.A. with [fy45][cf1]*
[fy75][cf1]Copland. Worked for Finnish Radio from [sm1[nm[sm9[nm[sm5[nm[sm0[nm.
Teacher of comp., Sibelius Acad. from [sm1[nm[sm9[nm[sm5[nm[sm8[nm. Has composed
 [sm3[nm syms., vc. conc., pf. conc., chamber mus.[cmEqual Voices [fy75][cf1](It
. [cf2]Voci eguali[cf1]; Lat. [cf2]Voces aequales[cf1]; Ger. [cf2]Gleiche Stimme
n[cf1]). A choral comp. is said to be for `equal voices' when it is for vv. of t
he same kind, generally for [sm2[nm sop., or [sm3[nm sop. (sch. mus. and mus. fo
r women's choirs). In such mus., in fairness to the vv. of the p
erformers, the parts are usually so arr. that sometimes one v. and sometimes ano
ther is at the top. Occasionally the term is less correctly used as implying `fo
r children's vv.' (unmixed with adults), or `for women's vv.' (unmixed with men'
s), or `for men's vv.' (unmixed with women's).[cmEmperor's Hymn [fy75][cf1]`Gott
 erhalte Franz den Kaiser', i.e. `God preserve the Emperor Francis'=mthe tune be
ing found in many hymn-books under the name [cf2]Austria[cf1]. The national hymn
 of Austria from the time of the composition of the tune by Haydn ([sm1[nm[sm7[n
m[sm9[nm[sm7[nm) to the setting up of the Republic in [sm1[nm[sm9[nm[sm1[nm[sm8[
nm. Thereafter the tune was officially retained, but other words adopted=mthose
of Ottokar Kernstock, [cf2]Sei gesegnet ohne Ende [cf1](`Thine be never-ending b
lessings'). The original words were by Lorenz Leopold Haschka ([sm1[nm[sm7[nm[sm
4[nm[sm9[nm=n[sm1[nm[sm8[nm[sm2[nm[sm7[nm). Haydn, whose instructions were to co
m~pose something approaching in merit the Eng. [cf2]God save the
 King, [cf1]took one of the Croatian folk melodies of his childhood, which proba
bly suggested itself to him as fitting metrically and rhythmically the opening l
ines, and altered and extended its later part. For application of the tune in Ge
rmany see [fy45][cf1]*[fy75][cf2]Deutschland ;Auuber Alles[cf1].[cmFaburden [fy7
5][cf1](Eng.), [fy65][cf3]fauxbourdon [fy75][cf1](Fr.), [fy65][cf3]falsobor~done
 [fy75][cf1](It.). Literally `false bass or drone'. This term has had a surprisi
ngly large number of different applications at different periods.[ep^([sm1[nm) I
n very early use it meant the accompanying of a Plainsong melody with [cf2]paral
lel added parts=min [sm3[nmrds and [sm6[nmths.[ep^[cf1]([sm2[nm) In the [sm1[nm[
sm5[nmth cent. it meant any added part to such a plainsong melody, the [cf2]two
moving at the same rate[cf1]. It was apparently used especially of such passages
 interpolated among unison singing of the plainsong, e.g. in the psalms.[ep^([sm
3[nm) About the same period it was also used of the same kind of
 liturgical singing as that mentioned under ([sm2[nm), but without plainsong in
any of the vv. (This is sometimes spoken of as [cf2]free [cf1]Faburden as distin
ct from the previous type, spoken of as [cf2]strict[cf1].)[ep^([sm4[nm) The name
 came also to be given to a sort of chanting in which the whole of a phrase was
declaimed on one chord, except that the cadence was harmonized as such. (The sam
e mus. was used for every verse of a psalm, etc., as is done today with the Angl
ican Chant.)[ep^([sm5[nm) The name was also sometimes applied to a sort of monot
oning.[ep^([sm6[nm) And to a drone bass, such as that of a bagpipe.[ep^([sm7[nm)
 In [sm1[nm[sm6[nmth- and [sm1[nm[sm7[nmth-cent. Eng. usage it was sometimes app
lied to the ten. part of a metrical psalm tune, etc., which part then usually ca
rried the melody.[ep^([sm8[nm) It was also applied to a refrain to the verses of
 a song.[ep^([sm9[nm) Nowadays (as with [fy45][cf1]*[fy75][cf2]Descant[cf1]) the
 word is used in Brit. for a freely-written sop. part added to a
 hymn tune while the tune itself is sung by the choir's tens. or by the congrega
tion, or (more commonly of recent years) for a [sm4[nm-part harmoni~zation with
the tune in the ten.=mthis last a revival of the old Eng. practice.[ep^When this
 word is used in old mus. treatises or in modern mus. historical works any of th
e above senses may be intended.[xm[cm[j1]Fingering [fy75][cf1]of Keyboard Instru
ments. Since the end of the [sm1[nm[sm8[nmth cent., these have been standard~ize
d on something like modern principles. Before this period there was a good deal
of passing of the [sm3[nm middle fingers over one another and compara~tively lit
tle use of the thumb and little finger: this was partly due to the fall of the k
eys being much shallower than with modern instr. The pf. killed finger-crossing,
 since it demanded an actual blow (properly a blow by pressure=mone sufficient t
o [cf2]throw [cf1]the hammer at the str., yet so exactly controlled as to throw
it with either the greater force required by a fortissimo or the
 lesser required by a pianissimo).[ep^Clementi firmly est. the modern principles
: his use of the thumb was the same as ours, except that he did not use it on th
e black keys, as is sometimes done today. These modern principles include the di
vision of a scale into [sm2[nm groups of [sm3[nm and [sm4[nm notes respectively,
 with the thumb as the pivot between them, playing of arpeggio passages on the b
asis of the octave, some adaptation of fingering to the hand of the individual p
layer, the planning of the fingering of a passage by working backwards from the
point at which it is ultimately to arrive, and the division of such a passage in
to `physical groups' as units, each of these being considered as a chord.[ep^Org
. fingering follows much the same principles as piano fingering but, as the natu
re of the instrument generally calls for a very perfect legato, more substitutio
n of finger is required, a key often being depressed by one finger and then held
 by another, so freeing the first one for use on another key.[ep
^See also [cf2]Continental [cf1]and [cf2]English [cf1]fingering.[cmForm. [fy75][
cf1]The structure and design of a comp. Whereas in (say) the [sm1[nm[sm6[nmth an
d [sm1[nm[sm7[nmth cents., instr. comps. were practically all very brief (e.g. a
 movement in a kbd. suite of Byrd or Purcell), by the [sm1[nm[sm9[nmth cent. the
y were frequently long (e.g. a sonata or sym. movement of the later Beethoven, f
ollowed by Bruckner and Mahler). This implies an enormous growth in the understa
nding of the principles of Form and in mastery of the application of those princ
iples. However, despite all experiment, the forms so far devised can be generall
y classified into no more than [sm6[nm categories, all of them exploiting the id
ea of contrast plus variety both in the domain of content (Thematic Material) an
d in that of key (combinations of these are, of course, possible, e.g. in Simple
 Ternary Form each section can be in Binary Form, and so on). Individual works m
ay, of course, vary from these generalized descriptions.[ep^([sm
1[nm) Simple Binary Form (e.g. in the movements of Bach's kbd. suites) has no st
rong contrast of material. The first section opens, of course, in the Tonic key
and then (subject to an exception shortly to be mentioned) modulates, as it ends
, into the key of the Dominant. The [sm2[nmnd section then opens in that [sm2[nm
nd key and, before it ends, modulates back to the first. There are, then, [sm2[n
m distinct main cadences, or points of rest, the first in the Dominant and the [
sm2[nmnd in the Tonic. The exception just referred to is this: if the piece is i
n a minor key the first section sometimes ends in the relative major. This form,
 although it sometimes attained fairly considerable dimen~sions in the [sm1[nm[s
m8[nmth cent., is unsuitable for very long pieces, since the variety offered to
the listener is almost entirely confined to details of treatment and the element
 of key, the thematic material employed throughout being the same. This form has
 been little used since [cf2]c[cf1].[sm1[nm[sm7[nm[sm5[nm[sm0[nm
.[ep^([sm2[nm) Ternary Form. This is one of the most commonly used forms for sho
rt comps. It consists of a first section (more or less complete and self-contain
ed), a [sm2[nmnd section, contrasting as to mus. material and key (normally in t
he Dominant or the Tonic Minor or Relative Major), and then the first one repeat
ed. See [cf2]ABA[cf1].[ep^([sm3[nm) Compound Binary Form (also known as [cf2]Son
ata Form[cf1], because often employed in the first or some other movement or mov
ements of a Sonata; and as [cf2]First Movement Form [cf1]for the same reason). T
his derives historically from Simple Binary Form, but has developed into somethi
ng more resembling Ternary Form. Like the Simple Binary it falls into [sm2[nm se
ctions, of which the first modulates to the Dominant and the [sm2[nmnd takes us
back to the Tonic. But the sections have become elaborated as follows:[ep^[sm1[n
mst Section. Strain I (called [cf2]First Subject[cf1]) in Tonic key; followed by
 Strain II (called [cf2]Second Subject[cf1]) in Dominant key. Th
ose [sm2[nm strains (or `Subjects') are generally contrasted in character. This
section is called the [cf2]Exposition[cf1].[ep^[sm2[nmnd Section. Some [fy45][cf
1]*[fy75][cf2]Development [cf1](also called `Working-out' or `Free Fantasia') of
 the material in the previous section, followed by a repetition ([cf2]Recapitula
tion[cf1]) of that section, but this time with both subjects in the Tonic key so
 that the piece may end in the key with which it opened.[ep^Details are the foll
owing: ([cf2]a[cf1]) There is a [cf2]Bridge Passage[cf1], leading (in both secti
ons) from the First Subject to the Second; ([cf2]b[cf1]) At the end of each sect
ion there is some sort of a closing passage ([cf2]Coda[cf1]). A tendency towards
 the evolution of Simple Binary Form into Compound Binary Form may be observed i
n some of J. S. Bach's movements, but its first real exploitation is connected w
ith the name and fame of his son, C. P. E. Bach, and its further exploitation an
d elaboration with the names of Haydn, Mozart, Beethoven, and th
eir contemporaries. This form is still in frequent use, but [sm2[nm[sm0[nmth-cen
t. composers have modified it in detail.[ep^([sm4[nm) Rondo Form. This may be co
nsidered an extension of Ternnary Form. Let the [sm3[nm sections of that form be
 indicated by the formula A, B, A; then the Rondo Form must be indicated by[fjA,
 B, A, C, A, D, A, or some variant of this. (The sections B, C, D are often spok
en of as [cf2]Episodes[cf1].)[ep^[cf2]Sonata-Rondo Form[cf1], as its name implie
s, offers a combination of the Compound Binary and Rondo Forms. The general plan
 is as follows: [sm1[nmst Section: Subject I, Subject II in another key, Subject
 I reapeated. [sm2[nmnd Section: Development of the previous Subject-material. [
sm3[nmrd Section: Subject I and Subject II again, but the latter this time in th
e same key as Subject I. Sometimes the Development above mentioned is replaced b
y new material. And there are other variants.[ep^([sm5[nm) Air With Variations.
This form, which from the [sm1[nm[sm6[nmth cent. to the present
day has been popular with composers of every class from the most trivial to the
most serious, consists, as the name implies, of a theme (or `Subject'), first pl
ayed in its simplicity and then many times repeated with elaborations, each vari
ation thus taking on its own individuality.[ep^([sm6[nm) Combinations of several
 movements in different forms (Suite, Sonata, Symphony, Con~certo, etc.) are cal
led [cf2]Cyclic Forms[cf1].[ep^There are very many types of comp. to which disti
nctive names are given, each representing not a `Form', but rather a style in wh
ich one of the above forms is presented; such, for instance, are the Nocturne, t
he Gavotte, the Barcarolle, the Concertst;Auuck, and others.[ep^With the develop
ment of elec. mus. and the use of [fy45][cf1]*[fy75][cf1]aleatory techniques in
[sm2[nm[sm0[nmth-cent. comps., the use of form is stretched to meet whatever the
 composer may wish to do. Infinite flexibility would seem to be the guiding prin
ciple in works of this kind.[ep^See [cf2]Fugue[cf1].[xm[cm[j1]Fr
ankel, Benjamin [fy75][cf1]([cf2]b[cf1] London, [sm1[nm[sm9[nm[sm0[nm[sm6[nm; [c
f2]d [cf1]London, [sm1[nm[sm9[nm[sm7[nm[sm3[nm). Eng. composer and cond. Watchma
ker's apprentice. Studied mus. in Ger., returning to London (GSM) [sm1[nm[sm9[nm
[sm2[nm[sm3[nm. Worked as caf;Aae musician and as jazz-band violinist, leader, a
nd orchestra~tor. On staff GSM [sm1[nm[sm9[nm[sm4[nm[sm6[nm. Wrote mus. for over
 [sm1[nm[sm0[nm[sm0[nm films. Prin. works:[xm[cm[j2][smorch[nm: Vn. Conc. ([sm1[
nm[sm9[nm[sm5[nm[sm1[nm), [fy75][cf2]Concertante Lirico [cf1]for str. ([sm1[nm[s
m9[nm[sm5[nm[sm3[nm), [cf2]Serenata Concertante[cf1] pf. trio and orch. ([sm1[nm
[sm9[nm[sm6[nm[sm1[nm), va. conc. ([sm1[nm[sm9[nm[sm6[nm[sm7[nm), [cf2]Pezzi Mel
odici [cf1]for chamber orch. ([sm1[nm[sm9[nm[sm7[nm[sm2[nm). Syms., No. [sm1[nm
(__), No. [sm2[nm ([sm1[nm[sm9[nm[sm6[nm[sm2[nm), No. [sm3[nm ([sm1[nm[sm9[nm[sm
6[nm[sm4[nm), No. [sm4[nm ([sm1[nm[sm9[nm[sm6[nm[sm6[nm), No. [sm5[nm ([sm1[nm[s
m9[nm[sm6[nm[sm7[nm), No. [sm6[nm ([sm1[nm[sm9[nm[sm6[nm[sm9[nm)
, No. [sm7[nm ([sm1[nm[sm9[nm[sm6[nm[sm9[nm), No. [sm8[nm ([sm1[nm[sm9[nm[sm7[nm
[sm2[nm).[ep[smchamber music[nm: Str. Trio ([sm1[nm[sm9[nm[sm4[nm[sm4[nm), Solo
Vn. Sonata No. [sm1[nm ([sm1[nm[sm9[nm[sm4[nm[sm4[nm), No. [sm2[nm ([sm1[nm[sm9[
nm[sm6[nm[sm2[nm); Str. Qts., No. [sm1[nm ([sm1[nm[sm9[nm[sm4[nm[sm4[nm), No. [s
m2[nm ([sm1[nm[sm9[nm[sm4[nm[sm5[nm), No. [sm3[nm ([sm1[nm[sm9[nm[sm4[nm[sm7[nm)
, No. [sm4[nm ([sm1[nm[sm9[nm[sm4[nm[sm8[nm), No. [sm5[nm ([sm1[nm[sm9[nm[sm6[nm
[sm5[nm); [sm3[nm [cf2]Poems [cf1]for vc. and pf. ([sm1[nm[sm9[nm[sm5[nm[sm0[nm)
, Pf. Qt. ([sm1[nm[sm9[nm[sm5[nm[sm3[nm), [cf2]Bagatelles [cf1]for [sm1[nm[sm1[n
m instr. ([sm1[nm[sm9[nm[sm5[nm[sm9[nm).[ep[smvocal[nm: [cf2]The Aftermath, [cf1
]ten., tpt., str. ([sm1[nm[sm9[nm[sm4[nm[sm7[nm), [cf2][sm8[nm Songs[cf1], mediu
m v. and pf. ([sm1[nm[sm9[nm[sm5[nm[sm9[nm).[ep[smopera[nm: [cf2]Marching Song [
cf1]([sm1[nm[sm9[nm[sm7[nm[sm2[nm=n[sm3[nm), [sm3[nm acts, lib. by Hans Keller a
fter play by John Whiting.[cm[u1][te
[do19][j99]024791[ep[u1]024791[cmConcise Oxford Dictionary of Music (Mis)[cmMIS2
[cm19[cm1[cm29/10/79[cm8[cm17[cm12[cm2[cm6.11.79[cm1[cm[j1]Fugue. [fy75][cf1]Typ
e of contrapuntal composition for particular number of parts or `voices' (descri
bed thus whether vocal or instr.), e.g. fugue in [sm4[nm parts, fugue in [sm3[nm
 vv. The point of fugue is that the vv. enter successively in imitation of each
other, the [sm1[nmst v. entering with a short melody or phrase known as the [cf2
]Subject [cf1](different from sonata-form `subject' in that it is merely melodic
 and short). When all the vv. have entered, the [cf2]Exposition [cf1]is over. Th
en (normally) there comes an [cf2]Episode [cf1]or passage of connective tissue (
usually a develop~ment of something that has appeared in the exposition) leading
 to another entry or series of entries of the Subject=mand so on until the end o
f the piece, entries and episodes alternating.[ep^Contrasts of key constitute an
 important ele~ment in fugal construction. In the Exposition the
 Subject first appears, naturally, in the Tonic key; the [sm2[nmnd v. to enter w
ith it does so a [sm5[nmth higher (or lower), i.e. in the Dominant key, the name
 [cf2]Answer [cf1]now being attached to it; the [sm3[nmrd one is a repetition of
 the Subject (in a higher or lower octave) and so on. Subject and Answer thus ap
pearing alternately, according to the number of `voices' engaged, and Tonic and
Dominant keys thus also alternately. One function of the Episodes is to effect m
odulation to various related keys, so that the later entries may have the advant
age of this variety, but once the Exposition is over it is not considered necess
ary that further series of entries shall always alternate as to keys in the Subj
ect-Answer manner.[ep^In addition to the Subject there is often a [cf2]Countersu
bject [cf1]appearing in the Exposition and probably later in the Fugue. It is of
 the nature of a melodic accompaniment to the Answer and Subject (generally in d
ouble counterpoint=msee [cf2]Counterpoint[cf1]). The v. which ha
s just given out the Subject or Answer then goes on to the Counter~subject whils
t the next v. is giving out the Answer or Subject and so on.[ep^Sometimes in lat
er entries there is overlapping of the Subject, each v., as it gives out, not wa
iting for the previous v. to finish it but breaking in, as it were, prematurely.
 This device, which is called [cf2]Stretto[cf1], tends to increase the emotional
 tension of the entry in which it occurs.[ep^Occasionally, after the Exposition
(and possibly before the [sm1[nmst Episode) there is a [cf2]Counter-Exposi~tion[
cf1], much like the [sm1[nmst Exposition in that the same [sm2[nm keys are emplo
yed. Appearances of the Subject (in the Exposition or elsewhere) are sometimes s
eparated by something of the Episode nature but shorter, called a [cf2]Codetta[c
f1].[ep^There exist [sm2[nm types of Fugue with Two Subjects (or [cf2]Double Fug
ue[cf1]), one in which the [sm2[nm Subjects appear from the outset (in double-ha
rness, so to speak) and another in which the first Subject is tr
eated for a certain time, the other then appearing and being likewise treated, a
fter which the [sm2[nm are combined. In choral fugues (e.g. in an oratorio movem
ent) there is sometimes a free instr. part, an [cf2]Accompanied Fugue[cf1]. The
device of [fy45][cf1]*[fy75][cf2]Pedal [cf1]is often employed in fugue, especial
ly near its close.[ep_An explanation must now be given of a detail sometimes pre
sent in the Answer. There are cases in which, instead of its being an exact repl
ica of the Subject (a [cf2]Rear Answer[cf1]), it is, for reasons not easily expl
ained in so short a treatment as the present, slightly changed in [sm1[nm or [sm
2[nm of its intervals ([cf2]Tonal Answer[cf1]). The results are a [cf2]Real Fugu
e [cf1]and a [cf2]Tonal Fugue [cf1](an absurdity since the tonal treat~ment may
not extend beyond the exposition).[ep^A shortened type of fugue is sometimes cal
led a [cf2]Fughetta[cf1]. A passage in fugal style, not in itself an actual fugu
e, is called [cf2]Fugato[cf1].[ep^The above descriptions are of
the academic fugue form, but the great composers have, naturally, varied it, e.g
. Bach in [cf2]Der Kunst der Fuge[cf1]. Superb fugues occur in many works, e.g.
Beethoven's Great Fugue for str. qt., Op. [sm1[nm[sm3[nm[sm3[nm, known as the [c
f2]Grosse Fuge[cf1], in Elgar's [cf2]Introduction and Allegro [cf1]for str., and
 in many choral comps. Fugue-form is also used effectively in opera, e.g. the fi
nale of Act [sm2[nm of Wagner's [cf2]Die Meistersinger von N;Auurnberg [cf1]and
the finale of Verdi's [cf2]Falstaff.[xm[cm[j1]Funeral marches. [fy75][cf1]Among
the best known of these (all of them in some public use on occasions of mourning
) are the following: ([sm1[nm) Handel's [cf2]Dead March in Saul [cf1](from the o
ratorio of that name; ([sm2[nm) The [sm2[nmnd movement of Beethoven's [sm3[nmrd
Sym. ([cf2]Eroica[cf1]); ([sm3[nm) The [sm3[nmrd movement of Chopin's [sm2[nmnd
Pf. Sonata (in B;Yh minor, Op. [sm3[nm[sm5[nm); ([sm4[nm) Chopin's [cf2]Marche f
un;Agebre[cf1], Op. [sm7[nm[sm2[nmb in C minor.[ep^There are als
o ([sm5[nm) Beethoven's March `sulla morte d'un eroe' (on the death of a hero),
which is a movement in his Pf. Sonata in A;Yh, Op. [sm2[nm[sm6[nm; ([sm6[nm) Men
delssohn's [cf2]Song without Words [cf1]No. [sm2[nm[sm8[nm, in E minor (the titl
e `Funeral March' not, however, authentic); ([sm7[nm) The Funeral March for Sieg
fried from Wagner's [cf2]G;Auotterd;Auammerung[cf1]; ([sm8[nm) Grieg's Funeral M
arch for Nordraak (Military Band, but scored also by Halvorsen for orch.); ([sm9
[nm) Berlioz's [cf2]Funeral March for the Last Scene of `Hamlet'[cf1] (Op. [sm1[
nm[sm8[nm No. [sm3[nm; [sm1[nm[sm8[nm[sm4[nm[sm8[nm). Several symphonic movement
s (e.g. Elgars's [sm2[nmnd Sym. [cf2]Larghetto [cf1]and various examples in the
works of Mahler) have the character if not the title of funeral marches.[xm[cm[j
1]Gamut. [fy75][cf1]([sm1[nm) Properly, the note G at the pitch now indicated by
 the lowest line of the bass staff. Greek G or `gamma' was used for its designat
ion, and as the note just mentioned was the `Ut' (or as we shoul
d now say, `Doh') of the lowest [fy45][cf1]*[fy75][cf1]Hexa~[chchord this portma
nteau word came into use as a name for it.[ep^([sm2[nm) By extension the word ca
me to be used as a comprehensive name for the whole series of Hexachords as disp
layed in writing.[ep^([sm3[nm) By a further extension it came to mean `scale' in
 general (Fr. [fy45][cf1]*[fy75][cf2]gamme[cf1]).[ep^([sm4[nm) It came also to m
ean the whole range of mus. sounds from the lowest to the highest; and to be app
lied in a metaphorical way to a singer's or actor's range, i.e. `He coverd the w
hole gamut of tragic expression'.[cmGigue or Giga [fy75][cf1](Fr. and It.). Jig.
 A rustic Eng., Scot., and Irish dance type (see [cf2]Jig[cf1]), in which the mu
s. runs along quickly in rhythmic groups of [sm3[nm beats ([cf9]3[cf13][zs4[cf1]
, [cf9]6[cf13][zs8[cf1], [cf9]9[cf13][zs8[cf1], [cf9]12[cf13]=-=-=-[zs8=+=+=+=+[
cf1], etc.): often there is a long-short effect, a sort of merry limp (e.g. ;Ya
;Yb ;Ya ;Yb). Eng. virginalists were first to employ the [cf2]gi
gue[cf1], which was introduced to the Continent by [fy45][cf1]*[fy75][cf1]Frober
ger, [sm1[nm[sm6[nm[sm4[nm[sm9[nm. Pieces in gigue style came to be the customar
y closing movements of the suite: the form was binary, and, with J. S. Bach, the
 [sm2[nm halves often opened in something like fugal style, the subject of the f
irst half being often inverted as that of the [sm2[nmnd half. (Occasionally Bach
 applied the term `gigue' to a piece that was not such, being in simple duple or
 quadruple time.)[cmGlee. [fy75][cf1]A choral comp. in a no. of short self-conta
ined sections, each expressing the mood of some particular passage of the text,
the mus. predominantly harmonic (i.e. in blocks of chords), rather than contrapu
ntal. Properly it is for unacc. male vv. Its great period, during which a remark
able series of able composers, chief among them Samuel Webbe, made lavish contri
butions to the repertory, was from about [sm1[nm[sm7[nm[sm5[nm[sm0[nm to about [
sm1[nm[sm8[nm[sm3[nm[sm0[nm, after which it gradually gave way t
o the [fy45][cf1]*[fy75][cf1]part-song. It is a purely Eng. form, and was much f
ostered by the popularity of glee clubs. (In USA this name has been applied to u
niv. mus. clubs with much more general aims.)[cmGlissando [fy75][cf1](bastard It
., from Fr. [cf2]glisser[cf1], to slide). ([sm1[nm, pf., harp, xylophone, vibrap
hone, etc.) The drawing of a finger down or up a series of adjacent notes.[ep^([
sm2[nm, bowed instr.) Passing from one note to another on the same str. (or part
 of the way to this other) in much the same manner as above and with much the sa
me effect=mwith the difference that the pitches passed through, instead of repre
senting the fixed tones and semitones of a scale, are infinite in no. Tb. can al
so perform a satisfactory [cf2]glissando[cf1].[cmGod save the King (Queen). [fy7
5][cf1]The tune of the Brit. `National Anthem' must long have been the best-know
n tune in the world, having at one time or another been borrowed by about [sm2[n
m[sm0[nm countries as that of their official nat. song. The popu
larity of the words and tune in Brit. seems to date from the time of the landing
 of the Young Pretender, in [sm1[nm[sm7[nm[sm4[nm[sm5[nm, when they were introdu
ced in London ths. and widely adopted. The authorship of both words and tune is
obscure. The common attri~bution to Henry Carey is untenable.[ep^The tune is in
rhythm and style a galliard. There is a Geneva tune of this type with some phras
es resembling some in [cf2]God save the King[cf1]; it was introduced in [sm1[nm[
sm6[nm[sm0[nm[sm3[nm at a banquet celebrating the first anniversary of the unsuc
cessful attempt of the Duke of Savoy to seize the city (the `Escalade'). An Eng.
 Christmas carol printed in [sm1[nm[sm6[nm[sm1[nm[sm1[nm, [cf2]Remember, O thou
man[cf1], shows similar resem~blances. Much stronger resemblances are seen in a
kbd. piece of John [fy45][cf1]*[fy75][cf1]Bull, though this is in the minor, and
 his name is sometimes attached to the tune.[ep^In the Amer. colonies and the US
A the tune has at different times been sung to many different se
ts of words=m[cf2]God save America, God save George Washington, God save the Thi
rteen States[cf1], and the like. The present words [cf2]My country, `tis of thee
[cf1], date from [sm1[nm[sm8[nm[sm3[nm[sm1[nm and are the work of the Rev. Samue
l Francis Smith. The name usually given to the tune is [cf2]America.[cf1][ep^Man
y composers have introduced the tune into their comps. or based comps. upon it=m
Bee~thoven, Weber, Brahms, Donizetti, etc.[xm[cm[j1]Gramophone [fy75][cf1](or [f
y65][cf3]Phonograph[fy75][cf1]) [fy65][cf3]Recordings.[fy75][cf1] The idea of re
cording sound by attaching a needle to a membrane vibrating in sympathy and by a
llowing its point to mark a plate travelling at a fixed speed dates from as earl
y as the beginning of the [sm1[nm[sm9[nmth cent., the object being to add to aco
ustical knowledge about the differences in the vibrations evoked by sounds of va
rious pitches and timbres. Edison, in the USA. in [sm1[nm[sm8[nm[sm7[nm[sm7[nm c
onstructed such an apparatus, with the intention that it should
be used in a `dictating machine': this he called [cf2]The Phonograph - the Ideal
 Amanuensis[cf1], and the records, on wax cylinders, he called [cf2]Phonograms[c
f1]. The vv. of many celebrities of the day were crudely preserved in this way (
e.g. Gladstone, Irving, Tennyson) and in [sm1[nm[sm8[nm[sm7[nm[sm8[nm Lily Moult
on, an amateur singer, sang into Edison's device. Other musicians, incl. Brahms,
 made recordings in the [sm1[nm[sm8[nm[sm8[nm[sm0[nms.[ep^Emile Berliner, a Ger.
-born citizen of the USA, had by [sm1[nm[sm8[nm[sm8[nm[sm8[nm obtained patents f
or important improvements=ma circular plate of a shellac mixture instead of a wa
xed cylinder, and a horizontal motion of the needle instead of a perpendicular o
ne (i.e. a motion making lateral impressions on the sides of a spiral track inst
ead of the previous `hill and dale' impressions), and his principles were in tim
e developed and universally adopted. The patented title for the instr. which pla
yed Berliner's discs was `gramon~ophone', but the less accurate
`gramophone' was adopted.[ep^The flat disc record led to a boom among commercial
 cos. for preserving the vv. of cele~brated singers. The first singer to record
com~mercially and to make a reputation thereby was the Russian sop. Maria Mikhai
lova. Soon Calv;Aae, Van Rooy, Plan;Alcon, Kirkby-Lunn, Albani, Mau~rel, and Ben
 Davies were recorded, but it was the ten. [fy45][cf1]*[fy75][cf1]Caruso who `ma
de' the gramophone record. Instrumentalists, too, were recorded, among them Grie
g, Sarasate, Joachim, and Pugno. The historical importance of these discs is obv
ious, and many of them have been transferred on to modern records and tapes.[ep^
So far the processes used had been purely `Acoustic', the result of the direct a
ction of sound vibrations. The human v. could be fairly satisfac~torily and fait
hfully recorded by this means, but attempts to record orch. mus. were crude and
primitive. In [sm1[nm[sm9[nm[sm2[nm[sm5[nm appeared the earliest electri~cally-m
ade records, in which the vibrations had been received by means
of a microphone and converted into electrical vibrations, causing, in turn, mech
anical vibrations in a steel or fibre needle travelling over the recording disc.
 It was found that by the use of electrically-made records, operating at the sta
ndard speed of [sm7[nm[sm8[nm revolutions per minute, very much more faithful re
produc~tions could be secured, and the acoustic-made record in time disappeared
from the market. The motive power of the Edison and early Berliner instrs. had b
een supplied by a handle turned by the operator. This had been superseded by a c
lock-spring device, which in the more expensive instr. was, in turn, superseded
by electric power obtained by plugging in to the domestic electric circuit: such
 instr. also reproduced the sounds by electric means, reversing the process of e
lectrical recording as above described. The new apparatus was very commonly comb
ined with [sm1[nm for the reception of radio broadcasting and called a radiogram
. During the [sm1[nm[sm9[nm[sm2[nm[sm0[nms and [sm1[nm[sm9[nm[sm
3[nm[sm0[nms record~ings of most of the world's great orchs. and chamber groups
were made. the perfs. of great artists such as Rakhmaninov, Kreisler, and Heifet
z were preserved, and the composers Elgar and Strauss cond. their own music for
the gramophone. Whole operas were issued, and the significance of the gramophone
 as an educative force and as a means of widening the public's repertory became
apparent.[ep^A great disadvantage of the [sm7[nm[sm8[nm r.p.m. record was that c
omps. were cut up into sides lasting less than [sm5[nm minutes. An opera could r
un to [sm4[nm[sm0[nm or more sides. It was only in [sm1[nm[sm9[nm[sm4[nm[sm8[nm
that (at first in the USA) all the problems inherent in trying to combine a narr
ower groove and slower speed without loss of `high fidelity' throughout the grea
ter part of the range of audible frequencies was satisfactorily solved.[ep^This
was when the Columbia co. announced the long-playing, (LP), disc. Attempts to in
troduce LPs had been made in [sm1[nm[sm9[nm[sm0[nm[sm4[nm and [s
m1[nm[sm9[nm[sm3[nm[sm1[nm, but the [sm1[nm[sm9[nm[sm4[nm[sm8[nm version offered
 an average of [sm2[nm[sm3[nm mins. per side at [sm3[nm[sm3[nm r.p.m., with the
advantages of records made from non-breakable material, with greatly improved re
cording techniques, and with light~weight pick-ups and sapphire and diamond need
les. At first there was some resistance and a `battle' between the [sm3[nm[sm3[n
m r.p.m. and [sm4[nm[sm5[nm r.p.m. (for short items) speeds. In Britain, Decca w
as the first firm to market LPs in [sm1[nm[sm9[nm[sm5[nm[sm0[nm, the EMI group n
ot following until [sm1[nm[sm9[nm[sm5[nm[sm2[nm. However, the artistic advantage
s of being able to record a whole opera on [sm6[nm or [sm8[nm sides, a Mozart sy
mphony on [sm1[nm side, and to offer complete recitals by singers and instru~men
talists on [sm1[nm record revolutionized the indus~try and listening habits. The
 standards of record~ing improved constantly with the advent of the the record `
producer', who, like an opera producer, governed the whole recor
ding process. It could be argued that the remarkable growth of the public appeti
te for the mus. of Mahler is partly due to the fact that LPs enabled his vast sy
mphonies to be easily recorded. The rise of the LP was paralleled by the growth
of high-fidelity=m`hi-fi'=mreproductive equipment=mthe coupling of amplifier, sp
eakers, pick-up, and needle-car~tridge instead of the mass-produced radiogram.[e
p^The other important factor in LP recording was the use of magnetic tape instea
d of wax or acetate for the orig. recording process. Experiments with tape were
made, esp. in Germany, in the late [sm1[nm[sm9[nm[sm3[nm[sm0[nms and early [sm1[
nm[sm9[nm[sm4[nm[sm0[nms. Tape enables long stretches of mus. to be recorded wit
hout a break; it also enables flaws and errors to be corrected by the re-recordi
ng of the offending bar or two, so that a final recording may be, and often is,
a compilation of the best of several `takes', skilfully edited. The next `record
ing revolution' was in [sm1[nm[sm9[nm[sm5[nm[sm8[nm with the int
roduction of stereophonic (as opposed to monophonic) sound, whereby the sound of
 instr. or singers was as realistically `placed' as in the hall or opera house.
Eventually `stereo' replaced `mono' entirely; and demands for still more realist
ic and spectacular sound led in the [sm1[nm[sm9[nm[sm7[nm[sm0[nms to `quadraphon
ic' recordings (which means that the engineers have used four independent signal
 channels into the master tape).[ep^Of less commercial success at first was the
issue of recordings as tapes instead of discs (mono from [sm1[nm[sm9[nm[sm5[nm[s
m1[nm, stereo from [sm1[nm[sm9[nm[sm5[nm[sm6[nm in the USA). These did not appea
l to the public until, in [sm1[nm[sm9[nm[sm6[nm[sm5[nm, the automatic cassette w
as introduced, much more easily and conveniently playable. Soon the sales of cas
settes threatened to rival those of discs and to replace them.[ep^Along side the
 enormous expansion of recording has developed the `literary' side of the gramo~
phone, not only expert reviewing, but the specialized compilatio
n of lists of recordings made by individual artists, these being known as [fy45]
[cf1]*[fy75][cf2]discographies[cf1].[xm[cm[j1]Great Staff [fy75][cf1]or [fy65][c
f3]Great Stave [fy75][cf1](or Grand Staff or Stave). Fictional notational device
 rather unneces~sarily introduced by mus. pedagogues for the purpose of explaini
ng the clefs=m[ep[ep_____and__or__.[qc[qc^The two staves in common use are broug
ht near together. It suffices then to place between them [sm1[nm extra line for
Middle C (`middle' in a double sense: in the middle of this diagram, as it is in
 the middle of the pf. kbd.). The C Clef is placed on this line. The Treble (or
G) Clef now comes [sm2[nm lines above and the Bass (or F Clef=+=+) [sm2[nm lines
 below.[ep^The Treble Staff, Bass Staff, Soprano Staff (still in some choral use
 in Ger.), the Alto Staff (in use in older choral mus., in mus. for the Va., etc
.) and the Tenor Staff (in use in older choral mus., for the tb., etc.) are seen
 as sections of the [sm1[nm `Great Staff=+=+', with Middle C as
the connexion.[ep[ep__G__Soprano Staff Alto Staff Tenor Staff[epC_[ep__F[cmGreen
sleeves. [fy75][cf1]Old Eng. tune twice mentioned by Shakespeare in [cf2]The Mer
ry Wives of Windsor [cf1]and by other writers of this period and later. It is fi
rst referred to in the Stationers' Co. Register in [sm1[nm[sm5[nm[sm8[nm[sm0[nm,
 when it is called `a new Northern Dittye', but there is evidence that it is of
earlier date. There seem to be many ballads to the tune, as also some examples o
f its being converted to pious uses, as, for instance (again in [sm1[nm[sm5[nm[s
m8[nm[sm0[nm), `Green Sleeves moralized to the Scripture'. During the Civil War
of the [sm1[nm[sm7[nmth cent. [cf2]Greensleeves [cf1]was a party tune, the Caval
iers setting many political ballads to it. From this period the tune is sometime
s known as [cf2]The Blacksmith[cf1], and under that name Pepys alludes to it ([s
m2[nm[sm3[nm Apr. [sm1[nm[sm6[nm[sm6[nm[sm0[nm). The tune is sung by Mistress Fo
rd in Act [sm3[nm of Vaughan Williams's opera [cf2]Sir John in L
ove [cf1](based on [cf2]The Merry Wives[cf1]) to the words printed in [cf2]A Han
defull of Pleasant Delites[cf1], [sm1[nm[sm5[nm[sm8[nm[sm4[nm. An orch. fantasia
 from the opera is frequently played. The tune is also used by [fy45][cf1]*[fy75
][cf1]Holst in his [cf2]St Paul's Suite [cf1]for str.[cmGruppetto [fy75][cf1](It
.). Grouplet. The Turn, a type of ornament in vocal and instr. mus. [cf2]Gruppet
to [cf1]implies a [sm4[nm-note figure=mthe note above, the note itself, the note
 below, and the note itself. This figure is performed [cf2]after [cf1]the note i
tself or [cf2]instead of it[cf1], according to whether the turn sign is placed [
cf2]after [cf1]the note itself or [cf2]over [cf1]it.[ep[ep[ep[ep^The inflection
of the upper or lower note of the turn (in either form) is shown by the placing
of a sharp, flat, natural, etc., sign above or below.[ep[ep[ep[ep^When the [cf2]
Gruppetto [cf1]occurs after the note there is a good deal left to the taste of t
he performer as regards the division of the time available. The
general principle seems to be that the [cf2]gruppetto [cf1]is to be performed pr
etty quickly. To bring this about, the first example just given (if occurring in
 a slow tempo) might be treated thus:[ep[cf2]Largo[ep[ep[cf1]or[qc[qcwhilst in a
 very quick tempo it might be treated as follows (indeed there might be no time
to treat it in any other way):[ep[cf2]Prestissimo[ep[ep[cf1];Eq[qc[qc^The number
 of different examples given in different textbooks is very large, and no [sm2[n
m textbooks quite agree, but the above statement gives the chief general princip
les accepted by all. They also apply, of course, to the Inverted Turn, which beg
ins with the [cf2]lower [cf1]auxiliary note, instead of the upper one.[xm[cm[u20
][te



[do35][j99]MIS3[ep[u1]024791[cmConcise Oxford Dictionary of Music[cmMIS3[cm35[cm
1[cm29-10-79[cm8[cm35[cm12[cm2[cm6.11.79[cm1[cm[j1]Gymel[fy75][cf1] or [fy65][cf
3]Gimel[fy75][cf1] (from Lat. [cf2]gemellus[cf1], twin). The word has been used
in mus. in [sm3[nm senses, all with the idea of twinship.[ep^([sm1[nm) Style of
singing alleged to have been common in parts of Brit. as early as the [sm1[nm[sm
0[nmth or [sm1[nm[sm1[nmth cents. Whilst one body of singers took the tune of a
song another body would extemporaneously add a part in [sm3[nmrds beneath it.[ep
^([sm2[nm) Type of comp. found in the [sm1[nm[sm4[nmth and early [sm1[nm[sm5[nmt
h cents. in which, whilst the main tune, or [fy45][cf1]*[fy75][cf2]canto fermo[c
f1], was sung in a lower v., [sm2[nm upper vv. sang an acc. in which they moved
independently of the other v. but in [sm3[nmrds with one another.[ep^([sm3[nm) I
n [sm1[nm[sm6[nmth-cent. choral mus. the word [cf2]Gymel[cf1] on a vocal part me
ans that the singers of that part are here divided=mour [cf2]div
isi[cf1], in fact. The restoration of the [cf2]status quo[cf1] is then indicated
 by the word [cf2]Semel.[cmHabanera[fy75][cf1] (Fr. [cf2]havanaise[cf1]). Slow C
uban (orig. African) song and dance (Habana;eqHavana), which became very popular
 in Sp. It is in simple duple time and dotted rhythm. Famous examples are the Ha
ba;Atnera in Bizet's opera [cf2]Carmen [cf1](`L'amour est un oiseau rebelle') wh
ich is an adaptation of a popular song by [fy45][cf1]*[fy75][cf1]Yradier, and th
e [cf2]Habanera[cf1] for [sm2[nm pf. by Ravel, later incorporated in his [cf2]Ra
psodie espagnole[cf1] for orch.[cm%1%Harmony. [fy75][cf1]The simultaneous soundi
ng (i.e. combination) of notes, giving what is known as vertical mus., contraste
d with horizontal mus. ([fy45][cf1]*[fy75][cf1]Counterpoint). Composers, in much
 the greater proportion of their mus., maintain in their minds some melody which
 ranks as the principal [sm1[nm, and which they intend the listener to recognize
 as such, whilst other melodies which are combined with it, or c
hords with which it is acc., rank as subsidiary.[ep^The word [fy45][cf1]*[fy75][
cf1]chord may be defined as any combination of notes simultaneously perf., and e
ven when the main process in the composer's mind is a weaving together of melodi
c strands he has to keep before him this combinational element, both as regards
the notes thus sounded together and the suitability of one combination to follow
 and precede the adjacent combination.[ep^At different periods composers have gi
ven more attention to [sm1[nm or the other of the [sm2[nm aspects of their work:
 (a) the weaving together of melodic strands and (b) the chords thus brought int
o existence from point to point.[ep^The former aspect of the result is the [cf2]
Contrapun~tal[cf1] element (see [fy45][cf1]*[fy75][cf1]Counterpoint) and the lat
ter the [cf2]Harmonic[cf1] element. In less elaborate mus. (as, for instance, a
simple song with pf. acc.) the contrapuntal element may be unimportant or even n
on-existent. Counterpoint necessarily im~plies also harmony, but
 harmony does not necessarily imply counterpoint.[ep^Over a long period the reso
urces of harmony may be said to have widened: new combinations introduced by com
posers of pioneering spirit have been condemned by unaccustomed ears as ugly, ha
ve then gradually come to be accepted as commonplace, and have been succeeded in
 their turn by other experimental combinations. The following definitions concer
n traditional and basic harmonic procedures:[ep^([cf2]a[cf1]) [smdiatonic harmon
y[nm: Harmony which confines itself to the major or minor key in force at the mo
ment. [smchromatic harmony[nm Harmony which employs notes extraneous to the majo
r or minor key in force at the moment.[ep^([cf2]b[cf1]) [smopen harmony[nm: Harm
ony in which the notes of the chords are more or less widely spread. [smclose ha
rmony[nm: Harmony in which the notes of the chords lie near together.[ep^([cf2]c
[cf1]) [smprogression[nm: The motion of one note to another note or one chord to
 another chord.[ep^([cf2]d[cf1]) [smtriad[nm: A note with its [s
m3[nmrd and [sm5[nmth (e.g. C=nE=nG). [smcommon chord[nm: A Triad of which the [
sm5[nmth is perfect. [smmajor common chord[nm: A Common Chord of which the [sm3[
nmrd is major. [smminor common chord[nm: A Common Chord of which the [sm3[nmrd i
s minor. [smaugmented triad[nm: A Triad of which the [sm5[nmth is augmented. [sm
diminished triad[nm: A Triad of which the [sm5[nmth is diminished.[ep^([cf2]e[cf
1]) [smroot [nmof a chord. That note from which it originates. (For instance, in
 the common chord C=nE=nG we have C as the root, to which are added the [sm3[nmr
d and [sm5[nmth.) [sminversion[nm of a chord: The removal of the root from the b
ass to an upper part. [smfirst inversion[nm: That in which the [sm3[nmrd becomes
 the bass (e.g. E=nG=nC or E=nC=nG). [smsecond inversion[nm: That in which the [
sm5[nmth becomes the bass (e.g. G=nE=nC or G=nC=nE). [smthird inversion[nm: In a
 [sm4[nm-note chord that inversion in which the fourth note becomes the bass. (F
or instance, in the chord G=nB=nD=nF the form of it that consist
s of F=nG=nB=nD or F=nB=nG=nD, etc.) [smfundamental bass[nm: An imaginary bass o
f a passage, consisting not of its actual bass notes but of the roots of its cho
rds, i.e. the bass of its chords when uninverted.[ep^([cf2]=+=+=+f=+=+=+[cf1]) [
smconcord[nm. A chord satisfactory in itself (or an interval that can be so desc
ribed; or a note which forms a part of such an interval or chord). [smconsonance
[nm: The same as [cf2]Concord[cf1]. [smdiscord[nm: A chord which is restless, re
quiring to be followed in a particular way if its presence is to be justified by
 the ear (or the note or interval responsible for producing this effect). See, f
or instance, the examples given under [cf2]Dominant Seventh[cf1] and [cf2]Dimini
shed Seventh[cf1]. [smdissonance[nm: The same as [cf2]Discord[cf1]. [smresolutio
n[nm: The satisfactory following of a discordant chord (or the satisfactory foll
owing of the discordant note in such a chord). [smsuspension[nm: A form of disco
rd arising from the holding over of a note in one chord as a mom
entary (discordant) part of the combination which follows, it being then resolve
d by falling a degree to a note which forms a real part of the second chord. [sm
double suspension[nm: The same as the last with [sm2[nm notes held over.[ep^([cf
2]g[cf1]) [smanticipation[nm: The sounding of a note of a chord before the rest
of the chord is sounded. [smretardation[nm: The same as a Suspension but resolve
d by [cf2]rising[cf1] a degree.[ep^[smpreparation[nm: The sounding in one chord
of a concordant note which is to remain (in the same `part') in the next chord a
s a discordant note. (This applies both to Fundamental Discords and Suspensions.
) [smunprepared suspension[nm: A contra~diction in terms meaning an effect simil
ar to that of Suspension but without `Preparation'.[ep^[smfundamental discord[nm
: A discordant chord of which the discordant note forms a real part of the chord
, i.e. not a mere Suspension, Anticipation, or Retardation. Or the said discorda
nt note itself (e.g. [cf2]Dominant Seventh, Diminished Seventh[c
f1], etc.).[ep^[smpassing note[nm: A connecting note in one of the melodic parts
 (not forming a part of the chord which it follows or precedes).[ep^([cf2]h[cf1]
) [smfalse relation[nm: The appearance of a note with the same letter-name in di
fferent parts (or `voices') of contiguous chords, in one case inflected (sharp o
r flat) and in the other uninflected.[ep^([cf2]i[cf1]) [smpedal[nm (or `Point d'
Orgue'): The device of holding on a bass note (usually Tonic or Domi~nant) throu
gh a passage including some chords of which it does not form a part. [sminverted
 pedal[nm: The same as the above but with the held note in an upper part. [smdou
ble pedal[nm: A pedal in which two notes are held (generally Tonic and Dominant)
.[ep^From Wagner onwards the resources of har~mony have been enormously extended
, and those used by composers of the present day often submit to no rules whatev
er, being purely empirical, or justified by rules of the particular composer's o
wn devising. Among contemporary practices are:[ep^[fy45][cf1]*[f
y75][cf2]Bitonality[cf1]=min which two contrapuntal strands or `parts' proceed i
n different keys.[ep^[fy45][cf1]*[fy75][cf2]Polytonality[cf1]=min which the diff
erent contrapun~tal strands, or `parts', proceed in more than [sm1[nm key.[ep^[f
y45][cf1]*[fy75][cf2]Atonality[cf1]=min which no principle of key is observed.[e
p^[fy45][cf1]*[fy75][cf2]Microtonality[cf1]=min which scales are used having sma
ller intervals than the semitone.[ep^In the [sm2[nm[sm0[nmth cent. greater freed
om in the treatment of the above procedures has developed, together with a much
wider application of dissonance. Chords of [sm7[nmth, [sm9[nmth, [sm1[nm[sm1[nmt
h, and [sm1[nm[sm3[nmth are treated as primary chords, and there has been a retu
rn to the use of pentatonic scales, medieval modes, and the whole-tone scale. A
prin. revolu~tion [cf2]c.[cf1][sm1[nm[sm9[nm[sm1[nm[sm0[nm was the abandonment o
f the triad as the prin. and fundamental consonance. Com~[chposers such as Bart;
Aaok, Stravinsky, Schoenberg, and Webern widened the mus. spectr
um of tone-colour by showing that any combination of notes could be used as a ba
sic unresolved chord. The tritone has been used as the cause of harmonic tension
s in place of tonic-dominant relationships. Another [sm2[nm[sm0[nmth-cent. harmo
nic feature is the `layering' of sound, each layer following different principle
s of organization. Milhaud produces bitonal passages from [sm2[nm layers in diff
erent tonalities.[ep^Since [sm1[nm[sm9[nm[sm5[nm[sm0[nm much mus. has been comp.
 in which harmony has hardly any place, for example in some of the serial works
of Boulez and Stockhau~sen. Where non-pitched sounds are used, har~mony no longe
r exists and its place is taken by overtones, densities, and other concomitants
of `clusters', etc.[ep^In amplification of this entry see [cf2]Added Sixth, Augm
ented Sixth, Consecutive Fifth, Counterpoint[cf1], and [cf2]Chromatic Chords.[cm
%%2%Harp. [fy75][cf1]This instr., of very ancient lineage, can be simply defined
 as an open frame over which is stretched a graduated series of
str., set in vibration by plucking with the fingers. In the modern orch. harp th
e series is not normally chromatic, as it is in the pf., having merely [sm7[nm d
ifferent notes with the octave, these being in the major scale of B (treated for
 convenience as that of C;Yh). There are [sm7[nm pedals, each affecting one note
 of this founda~tional scale; each pedal works to [sm2[nm notches, and by depres
sing it to its first or [sm2[nmnd notch, respectively, the vibrating lengths of
all the relevant strings are simultaneously shortened by fractions representing
a semitone and a tone: thus all keys become possible, and by depressing all the
pedals together the pitch of the complete instr. can be raised from C;Yh (the no
rmal key) to C;Yj or C;Yi. The usual compass is [sm5[nm;FD octaves from C. Chord
s are normally played in more or less rapid succession of their notes, in the fo
rm understood by the word [cf2]arpeggio[cf1] (It. [cf2]arpa, [cf1]Harp). The typ
ical `sweeping' ([cf2]glissando[cf1]) action of the hand may be
used in many kinds of scale (but evidently not in the chromatic scale, however,
nor in any other scale passage employing more than [sm8[nm notes to the octave).
 In addition, of course, single str. may be plucked individually or in small gro
ups.[ep^The instr. described above is the [cf2]double-action[cf1] harp, introduc
ed by Erard ([cf2]c.[cf1][sm1[nm[sm8[nm[sm1[nm[sm0[nm), the word `double' markin
g its differences from its prede~cessors on which the pitches could be raised on
ly a semitone.[ep^One earlier form of the harp is the [cf2]Welsh harp[cf1] or [c
f2]telyn[cf1], with [sm3[nm rows of str., the [sm2[nm outer rows (tuned in uniso
n or octaves) giving the diatonic scale and the inner row the intermediate semit
ones: a simple modulation was effected by touching [sm1[nm of the inner str.[ep^
The harp has been much used as a solo instr. in Wales from time immemorial and i
n Eng. domestically during the Victorian period. It was a frequent member of the
 early [sm1[nm[sm7[nmth-cent. orch. but in later times was rarel
y found again in orch. use until the [sm1[nm[sm9[nmth cent. when the great Roman
tic orchestrators=mBerlioz, Wagner, Strauss, Mahler, Elgar, etc.=mmade effective
 use of it. In the [sm2[nm[sm0[nmth cent. it has been used in chamber mus. (e.g.
 by Debussy and Ravel). There are several harp concs. See also [cf2]Chromatic Ha
rp, Double Harp, Clarsach, Bell Harp, Dital Harp, Aeolian Harp.[cm%%3%Harper, Ed
ward James[fy75][cf1] ([cf2]b[cf1] Taunton, [sm1[nm[sm9[nm[sm4[nm[sm1[nm). Eng.
composer, pianist, and cond. Studied Christ Church, Oxford. Lecturer, Faculty of
 Mus., Edinburgh Univ., dir., New Music Group of Scotland. Comps. incl. pf. conc
. (__), [cf2]Ricercari in memoriam Luigi Dallapiccola[cf1] for chamber ens. ([sm
1[nm[sm9[nm[sm7[nm[sm5[nm), [cf2]Fantasias[cf1] I (chamber orch.) and II, for [s
m1[nm[sm1[nm solo str. ([sm1[nm[sm9[nm[sm7[nm[sm6[nm), sonata for chamber orch.
([sm1[nm[sm9[nm[sm7[nm^), opera [cf2]Fanny Robin[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm4
[nm), [cf2][sm7[nm poems by e.e. cummings[cf1], sop. and orch. (
[sm1[nm[sm9[nm[sm7[nm[sm7[nm), Sym. ([sm1[nm[sm9[nm[sm7[nm[sm8[nm=n[sm9[nm), qui
ntet for fl., cl., vn., vc., pf. ([sm1[nm[sm9[nm[sm7[nm^).[cm%Harvey, Jonathan D
ean[fy75][cf1] ([cf2]b[cf1] Sutton Coldfield, [sm1[nm[sm9[nm[sm3[nm[sm9[nm). Eng
. composer and teacher. Cellist in Nat. Youth Orch. Studied Cambridge and Glasgo
w Univs. and with Erwin Stein and Hans Keller. Impressed Stockhausen at Darmstad
t [sm1[nm[sm9[nm[sm6[nm[sm6[nm, and studied with [fy45][cf1]*[fy75][cf1]Babbitt
[sm1[nm[sm9[nm[sm6[nm[sm9[nm=n[sm7[nm[sm0[nm. Senior lecturer in mus., Southampt
on Univ. from [sm1[nm[sm9[nm[sm7[nm[sm0[nm. Comps., some of which use tape, incl
.:[xm[cm[el-4][j2][smorch.[nm: Sym. ([sm1[nm[sm9[nm[sm6[nm[sm6[nm), [fy75][cf2]B
enedictus[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm0[nm), [cf2]Persephone Dream[cf1] ([sm1[
nm[sm9[nm[sm7[nm[sm2[nm), [cf2]Inner Light III[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm5[n
m).[ep[sminstr. and chamber[nm: [cf2]Dialogue[cf1], vc. and pf. ([sm1[nm[sm9[nm[
sm6[nm[sm5[nm), [cf2]Variations[cf1], vn. and pf. ([sm1[nm[sm9[n
m[sm6[nm[sm5[nm), [cf2]Time-Points[cf1] mag~netic tape ([sm1[nm[sm9[nm[sm7[nm[sm
0[nm), [cf2][sm4[nm Images after Yeats[cf1], pf. ([sm1[nm[sm9[nm[sm6[nm[sm9[nm),
 [cf2]Inner Light I[cf1], instr. and tape ([sm1[nm[sm9[nm[sm7[nm[sm3[nm), pf. tr
io ([sm1[nm[sm9[nm[sm7[nm[sm1[nm), [cf2]Round the Star and Back[cf1], pf. and en
s. ([sm1[nm[sm9[nm[sm7[nm[sm4[nm).[ep[smvocal and orch[nm: [cf2]Cantata I[cf1] (
[sm1[nm[sm9[nm[sm6[nm[sm5[nm), [cf2]Cantata II=mLudos Amoris[cf1], sop., ten., s
peaker, ch. and orch. ([sm1[nm[sm9[nm[sm6[nm[sm9[nm), [cf2]Cantata VI[cf1], ch.
and str. ([sm1[nm[sm9[nm[sm7[nm[sm0[nm), [cf2]Cantata VII=mOn Vision[cf1], sop.,
 ten., ch., and chamber group ([sm1[nm[sm9[nm[sm7[nm[sm2[nm).[ep[smvoice and ins
tr[nm: [cf2]Angel Eros[cf1], v. and str. qt. ([sm1[nm[sm9[nm[sm7[nm[sm3[nm), [cf
2]Cantata II=m[sm3[nm Lovescapes[cf1], sop. and pf. ([sm1[nm[sm9[nm[sm6[nm[sm7[n
m), [cf2]Cantata III[cf1], sop. and chamber ens. ([sm1[nm[sm9[nm[sm6[nm[sm8[nm),
 [cf2]Cantata V=mBlack Sonnet[cf1], [sm4[nm singers and wind qui
ntet ([sm1[nm[sm9[nm[sm7[nm[sm0[nm), [cf2]The Dove Descending[cf1], unacc. ch. (
[sm1[nm[sm9[nm[sm7[nm[sm5[nm).[cmHorn Signal. [fy75][cf1]Nickname of Haydn's Sym
. in D major, No. [sm3[nm[sm1[nm in Breitkopf edn., composed in [sm1[nm[sm7[nm[s
m6[nm[sm5[nm probably to mark the arrival of [sm2[nm new hn.-players in the orch
. at Esterh;Aaaza.[xm[cm[u20][te








[do35][j99]~~~~~~MIS4[ep~[u1]~~~~024791[cmConcise Oxford Dic~~tionary of Music[c
mMIS4[cm35[cm~29-10-79[cm1[cm8[cm49[cm~12[cm2[cm6.11.79[cm~1[cm~~~~%4%[j1]Harpsi
chord Family[fy75][cf1] (Virginals, Spinet, ~Harpsichord). The[cf2] harpsichord[
cf1] is a wing-shaped ~kbd. instr. in which the str. are plucked mechan~~ically.
 It was developed during the [sm1[nm[sm5[nmth cent., the ~earliest surviving exa
mple (in the Victoria and ~Albert Museum, London) having been made in ~Bologna i
n [sm1[nm[sm5[nm[sm2[nm[sm1[nm, but there are illustrated ~representations of th
e instr. dating from nearly a ~century earlier, and a reference in a Ger. poem o
f ~[sm1[nm[sm4[nm[sm0[nm[sm4[nm to the [cf2]clavicimbalum[cf1], the earliest rec
orded ~use of the name from which the It. word ~[cf2]clavicembalo[cf1] is derive
d. The hpd. is fundamentally ~a mechanized [fy45][cf1]*[fy75][cf1]psaltery. Each
 key operates a ~mechanical device known as the `jack', equipped ~with a small l
eather or quill plectrum attached to ~a pivoted tongue. When the
 key is released the ~jack descends and, by positioning of a spring, the ~tongue
 pivots back, allowing the plectrum to pass ~the str. silently on its return. Wh
en the jack is ~back in its orig. position, a felt damper silences ~the vibratio
n of the str. Very few contrasts of ~tone or dynamics are possible, variation in
 finger ~touch having little effect.[ep~^Italy was the home of the first importa
nt sch. of ~hpd. makers; at the end of the [sm1[nm[sm6[nmth cent., ~however, Ant
werp became the centre of activity, ~particularly for the family of Ruckers. The
ir aim ~was to give the players some tonal contrast, a ~typical Ruckers single-m
anual instr. having a ~compass of four octaves from C and two sets of ~strings,
one [sm8[nm;Po and one [sm4[nm;Po. Hand stops in the right-~hand side of the cas
e brought [sm1[nm or both sets of ~jacks into contact with the strings. Ruckers
also ~prod. a [sm2[nm-manual hpd., the lower manual a [sm4[nmth ~below the upper
. From the [sm1[nm[sm7[nmth cent. to the end ~of the [sm1[nm[sm8
[nmth, the hpd. was the indispensable ~supporting basis for continuo in almost e
very ~instr. combination, as well as being a popular ~domestic instr. With the d
evelopment of the pf., ~the hpd fell into semi-oblivion during the [sm1[nm[sm9[n
mth ~cent., but in the [sm2[nm[sm0[nmth it has been revived both by ~modern comp
osers, several of whom=me.g. Falla ~and McCabe=mhave written concs. for it, and
in ~the authentic perf. of baroque mus. The [fy45][cf1]*[fy75][cf1]Dol~~metsch f
amily played a major part in the revival, ~and there are several distinguished m
odern hpd. ~manufacturers. [sm2[nm[sm0[nmth cent. virtuosi have incl. ~Wanda [fy
45][cf1]*[fy75][cf1]Landowska and Ralph [fy45][cf1]*[fy75][cf1]Kirkpatrick.[ep~^
[cf2]Virginal[cf1] or [cf2]Virginals[cf1]. This plucked kbd. instr. ~was first m
entioned [cf2]c.[cf1][sm1[nm[sm4[nm[sm6[nm[sm0[nm. The origin of the ~name is no
t, as is generally supposed, Eng. nor ~has anything to do with Elizabeth I, but
it is ~widely accepted that the name derives from the ~fact that
 young ladies were regularly depicted ~playing the instr. The main differences f
rom the ~hpd. are in the oblong shape of the soundbox, the ~placing of the str.
parallel to the kbd. instead of ~at right-angles, and the existence of [sm2[nm b
ridges. ~Sometimes one sees references to `double vir~~[chginals' or `a pair of
virginals'. The origins of these ~terms are obscure, since a double-manual virgi
nal ~was extremely rare; a likely explanation is that ~they referred to the inst
r.'s compass. Eng. virginal ~mus. of the [sm1[nm[sm7[nmth cent. is of major impo
rtance; ~colls. of it incl. the [fy45][cf1]*[fy75][cf2]Fitzwilliam Virginal Book
, [fy45][cf1]*[fy75][cf2]My ~Ladye Nevells Booke, [fy45][cf1]*[fy75][cf2]Benjami
n Cosyn's Virginal Book[cf1] ~and [fy45][cf1]*[fy75][cf2]Will Forster's Virginal
 Book. [cf1]The earliest ~pubd. coll. was [fy45][cf1]*[fy75][cf2]Parthenia[cf1]
([cf2]c.[cf1][sm1[nm[sm6[nm[sm1[nm[sm2[nm).[ep~^[cf2]Spinet[cf1]. This resembles
 the virginals in having [sm1[nm ~str. to a note, but differs fr
om it in being not ~rectangular but wing-shaped in an uneven [sm6[nm sides ~with
 the longest containing the kbd. It had a[fj~[sm4[nm-octave compass. The str. ei
ther run roughly ~parallel to the kbd. as with the virginals, or ~diagonally in
front of the player. (In the ~[cf2]Clavicytherium[cf1], however, a rarer form th
an that ~described above, the str. ran perpendicularly like ~those of an upright
 pf.) The spinet was in use ~from the later [sm1[nm[sm5[nmth cent. to the end of
 the [sm1[nm[sm8[nmth.[cm~%Haunted Ballroom, The. [fy75][cf1]Ballet in [sm1[nm a
ct to ~mus. by [fy45][cf1]*[fy75][cf1]Geoffrey Toye, choreog. de Valois. Prod. ~
London [sm1[nm[sm9[nm[sm3[nm[sm4[nm.[cm~Henry Watson Music Library. [fy75][cf1]P
rin. mus. ~library in Manchester, part of the corporation's ~Central Reference L
ibrary. Basis was coll. of [sm5[nm,[sm0[nm[sm0[nm[sm0[nm ~books and many more sc
ores handed over in ~[sm1[nm[sm8[nm[sm9[nm[sm9[nm by Henry Watson ([cf2]b[cf1] B
urnley, [sm1[nm[sm8[nm[sm4[nm[sm6[nm; [cf2]d[cf1] ~Salford, [sm1
[nm[sm9[nm[sm1[nm[sm1[nm), organist, choir cond., and teacher ~at RMCM, to Manch
ester Corporation and since ~greatly expanded.[cm~Hirt auf dem Felsen, Der[fy75]
[cf1] (Schubert). See ~[cf2]Shepherd on the Rock, The.[cm~Hoffnung, Gerard[fy75]
[cf1] ([cf2]b[cf1] Berlin, [sm1[nm[sm9[nm[sm2[nm[sm5[nm; [cf2]d[cf1] Hampstead,
~[sm1[nm[sm9[nm[sm5[nm[sm9[nm). Ger.-born artist, humorist, and tuba-player. ~Se
ttled in Britain as child; educated Highgate and ~at Hornsey Sch. of Art. Contri
b. as free-lance ~artist to various publications from [sm1[nm[sm9[nm[sm4[nm[sm0[
nm. Made ~series of illustrations, [sm1[nm[sm9[nm[sm4[nm[sm9[nm, to Ravel's [cf2
]L'Enfant et ~les sortil;Ageges[cf1]. Founded Hoffnung Mus. Fests. at ~which var
ious witty mus. parodies were perf. ~Drew series of amusing drawings of mus. sub
jects. ~Soloist in London, [sm1[nm[sm9[nm[sm5[nm[sm8[nm, in Vaughan Williams's ~
tuba conc.[cm~;AfIle joyeuse, L'[fy75][cf1] (The Island of Joy). Pf. piece by ~D
ebussy comp. [sm1[nm[sm9[nm[sm0[nm[sm4[nm, suggested by [sm1[nm
or other[fj~of Watteau's [sm2[nm pictures, [cf2]L'Embarquement pour[fj~Cyth;Ager
e[cf1] (delicately depicted early [sm1[nm[sm8[nmth-cent. scene ~of party about t
o embark for the island sacred to ~Venus).[cm~Incoronazione di Poppea, L'[fy75][
cf1] (The Coronation ~of Poppaea). Opera in prol. and [sm3[nm acts by ~Monteverd
i (his last), to lib. by Busenello after ~Tacitus. Prod. Venice [sm1[nm[sm6[nm[s
m4[nm[sm2[nm, Naples [sm1[nm[sm6[nm[sm5[nm[sm1[nm, Paris ~(D'Indy version, conce
rt) [sm1[nm[sm9[nm[sm0[nm[sm5[nm, stage [sm1[nm[sm9[nm[sm1[nm[sm3[nm, ~Northampt
on, Mass., [sm1[nm[sm9[nm[sm2[nm[sm6[nm, Oxford [sm1[nm[sm9[nm[sm2[nm[sm7[nm. Fi
rst ~opera on an historical, other than biblical, subject. ~In the [sm2[nm[sm0[n
mth cent. there have been several edns., ~incl. those by K;Akrenek, d'Indy, Benv
enuti, Malipi~~ero, Ghedini, W. Goehr, and R. Leppard. The ~Leppard version was
f.p. Glyndebourne [sm1[nm[sm9[nm[sm6[nm[sm2[nm, ~London [sm1[nm[sm9[nm[sm7[nm[sm
1[nm. Edn. by Roger Norrington, Kent ~Opera [sm1[nm[sm9[nm[sm7[n
m[sm4[nm.[xm[cm~[fy65][cc27,3,8,8]Inflection of Notes[ep~[dt5p6,1p6g,5p6,1p6g,6,
1g,6][fy75][cf1][bt~[smsharp[qc~[nt~double sharp[qc~[nt~flat[qc~[nt~double flat[
nm[qc~[et~[el4][bt~Raising the note a[qc~half-step or semi-[qc~tone[qc~[nt~Raisi
ng the note[qc~a full-step or[qc~tone[qc~[nt~Lowering the note[qc~a half-step or
[qc~semitone[qc~[nt~Lowering the note[qc~a full-step or[qc~tone[qc~[et~[bt~;Yi[q
c~[nt~;Ts[qc~[nt~;Yh[qc~[nt~;Yh;Yh[qc~[et~[ep~^After a Sharp or Flat the Natural
 Sign ;Yj restores the note to its normal pitch.[ep~^After a Double Sharp or Dou
ble Flat the Sign ;Yi or ;Yh (or ;Yj;Yi or ;Yj;Yh) changes the pitch of the note
 to that ~of a single Sharp or Flat.[ep~^After a Double Sharp or Double Flat the
 Sign ;Yj (rarely given ;Yj;Yj) restores the note to its normal pitch.[ep~^Any o
f these various signs is understood to affect not only the note before which it
immediately ~occurs, but also, unless contradicted, any other notes on that same
 line or space of the staff throughout ~the measure (bar), and i
f the last note of the measure is thus inflected and is tied to the same note at
 ~the opening of the next measure, that latter also is understood to be included
 in the inflection.[ep~[ep~Additions are made to the names of the notes as shown
 below:[qc~[cp7,7][dt2p3,p6g,4p3,p6g,4p3,1g,4p3,p6g,4p3,1g,4p3][bt~[nt~;Yi[qc~[n
t~;Ts[qc~[nt~;Yh[qc~[nt~;Yh;Yh[qc~[nt~;Yj[qc~[et~[ol5][ru5,27]~[ol3][ep~[bt~Engl
ish[qc~[nt~sharp[qc~[nt~double-sharp[qc~[nt~flat[qc~[nt~double-flat[qc~[nt~natur
al[qc~[et~[ol5][ru5,27]~[ol3][ep~[bt~[acGerman[qc~[nt~__^Cis[ep~__^Dis[ep~__^Eis
[ep~__^Fis[ep~__^Gis[ep~__^Ais[ep~__[fy45][cf1]*[fy75][cf1]His[ep~[nt~__^Cisis[e
p~__^Disis[ep~__^Eisis[ep~__^Fisis[ep~__^Gisis[ep~__^Aisis[ep~__[fy45][cf1]*[fy7
5][cf1]Hisis[ep~[nt~__^Ces[ep~__^Des[ep~__^Es[ep~__^Fes[ep~__^Ges[ep~__^As[ep~__
[fy45][cf1]*[fy75][cf1]B[ep~[nt~__^Ceses[ep~__^Deses[ep~__^Eses[ep~__^Feses[ep~_
_^Geses[ep~__^Ases[ep~__[fy45][cf1]*[fy75][cf1]Bes[ep~[nt~[ih1n]The sign is call
ed ~[cf2]Quadrat[cf1] or [cf2]Aufl;Auo~~sungszeichen[cf1] (`re~~
lease-sign')[ep~[et~[it0][bt~[nt~(The sign is called ~[cf2]Kreuz[cf1])[ep~[nt~(T
he sign is called ~[cf2]Doppel-kreuz[cf1])[ep~[nt~(The sign is called ~[cf2]Be[c
f1])[ep~[nt~(The sign is called ~[cf2]Doppel-Be[cf1])[ep~[et~[ol5][ru5,27]~[ol3]
[ep~[bt~French[qc~[nt~di;Agese[qc~[nt~double-di;Agese[qc~[nt~__b;Aaemol[ep~[nt~d
ouble.b;Aaemol[ep~[nt~_^b;Aaecarre[ep~[et~[ol5][ru5,27]~[ol3][ep~[bt~Italian[qc~
[nt~diesis[qc~[nt~doppio diesis[qc~[nt~__bemolle[ep~[nt~doppio bemolle[ep~[nt~_^
bequadro[ep~[et~[ol5][ru5,27]~[ol3][ep~[ih0][it0][if0][cp8,8]^Because of one or
two irregularities in the German names it has been thought best to set these out
 in ~full. Notice particularly the names marked [fy45][cf1]*[fy75][cf1].[ep~[ep~
[j1]Innig[fy75][cf1] (Ger.). Inmost, i.e. heartfelt. So the noun ~[cf2]Innigkeit
. [cf1]Word frequently used by Eng. mus. ~critics to describe mystical or spirit
ual quality of ~certain passages in the mus. of, say, Beethoven ~and Bruckner.[c
m~International Folk Music Council. [fy75][cf1]Organiza~~tion fo
rmed London [sm1[nm[sm9[nm[sm4[nm[sm7[nm at conference repre~~senting [sm2[nm[sm
8[nm countries. First pres. Vaughan ~Williams, succeeded [sm1[nm[sm9[nm[sm5[nm[s
m8[nm by Maud [fy45][cf1]*[fy75][cf1]Karpeles. ~Devoted to int. research in folk
 mus. and arr. of ~fests., etc.[cm~International Musicological Society[fy75][cf1
] (some~~times known as International Society for Musical ~Research). Founded [s
m1[nm[sm9[nm[sm2[nm[sm7[nm to resume and carry on ~the work of [fy45][cf1]*[fy75
][cf1]International Musical Soc. Head~~quarters at Basle. Journal, [cf2]Acta Mus
icologica.[cm~International Society for Contemporary Mu~~sic. [fy75][cf1]Founded
 after fest. by young Viennese ~composers in Salzburg in [sm1[nm[sm9[nm[sm2[nm[s
m2[nm, under the first ~presidency of E. J. [fy45][cf1]*[fy75][cf1]Dent with a l
arge no. of nat. ~sections. Object pursued is holding of annual ~fest., varying
the place year by year, at which the ~works of contemporary composers of all cou
ntries ~are given a hearing. Works to be played chosen ~by jury.
[cm~Interpretation[fy75][cf1] in mus. is merely the act of perf., ~with the impl
ication that in it the performer's ~judgement and personality have a share. Just
 as ~there is no means by which a dramatist can so ~write his play as to indicat
e to the actors precisely ~how they shall speak his lines, so there is no ~means
 by which a composer can indicate to a ~performer the precise way in which his m
us. is ~to be sung or played=mso that no [sm2[nm performers ~will adopt the same
 slackenings and hastenings ~of speed (incl. [fy45][cf1]*[fy75][cf2]Rubato[cf1])
, the same degree of ~emphasis on an accented note, and so forth. The ~matter is
 further complicated by composers' ~latitude in use of metronome markings as app
lied ~to a term such as [cf2]allegro[cf1] or [cf2]moderato[cf1] (e.g. varying ~i
n [sm1[nm work from ;Ya;eq[sm1[nm[sm6[nm[sm0[nm to ;Ya;eq[sm1[nm[sm0[nm[sm0[nm f
or [cf2]allegro[cf1]). ~Thus there is no `right' or `wrong' interpretation ~in t
he strict sense, but in matters of style and ~taste, a performer
's `interpretation' may be felt by ~listeners to be out of sympathy with, or a ~
distortion of, the composer's intentions.[cm~Interval. [fy75][cf1]The `distance'
 between [sm2[nm notes is called ~an `interval' i.e. the difference in pitch bet
ween ~any [sm2[nm notes. The size of any interval is expressed ~numerically, e.g
. C to G is a [sm5[nmth, because if we ~proceed up the scale of C the [sm5[nmth
note in it is G=m~and so on.[ep~^The somewhat hollow-sounding [sm4[nmth, [sm5[nm
th, and ~[sm8[nmve of the scale are all called [cf2]Perfect[cf1]. They possess ~
what we may perhaps call a `purity' distinguishing ~them from other intervals. T
he other intervals, as ~they are found in ascending the major scale from ~its ke
y-note, are called [cf2]Major[cf1] (`Major [sm2[nmnd', `Major ~[sm3[nmrd', `Majo
r 6th', `Major [sm7[nmth'). [ep~^If any Major interval be chromatically reduced
~by a semitone it becomes [cf2]Minor[cf1]; if any Perfect or ~Minor interval be
so reduced it becomes [cf2]Dimin~~ished[cf1]; if any Perfect or
Major interval be increased ~by a semitone it becomes [cf2]Augmented[cf1].[ep~^[
smenharmonic intervals[nm are those which differ ~from each other in name but no
t in any other ~way (so far as modern keyboard instruments are ~concerned, at al
l events). As an example take C to ~G sharp (an Augmented [sm5[nmth) and C to A
flat (a ~Minor [sm6[nmth).[ep~^[smcompound intervals[nm are those greater than a
n ~[sm8[nmve, e.g. C to the D an [sm8[nmve and a note higher, ~which may be spok
en of either as a Major [sm9[nmth or ~as a Compound Major [sm2[nmnd.[ep~^[sminve
rsion of intervals[nm is the reversing of the ~relative position of the [sm2[nm
notes defining them, ~e.g. C to G inverted becomes G to C. It will be ~found tha
t a [sm5[nmth when inverted becomes a [sm4[nmth, a ~[sm3[nmrd becomes a [sm6[nmt
h, and so on (i.e. the number-~name of the new interval;eq[sm9[nm minus the numb
er ~of the old interval). It will also be found that ~Perfect intervals remain P
erfect (C to G a Perfect ~[sm5[nmth; G to C a Perfect [sm4[nmth,
 etc.), Major ones become ~Minor, Minor becomes Major, Augmented be~~come Dimini
shed, and Diminished become ~Augmented.[ep~^Every interval is either [smconcorda
nt[nm or [smdiscor~~dant[nm. The Concordant comprise all Perfect ~intervals and
all Major and Minor [sm3[nmrds and [sm6[nmths; ~the Discordant comprise all Augm
ented and ~Diminished intervals and all [sm2[nmnds and [sm7[nmths. It ~follows f
rom what has been said in this and the ~previous paragraphs that all Concordant
intervals ~when inverted remain Concordant and all Discor~~dant intervals remain
 Discordant.[ep~^Musical examples of Intervals are as follows:[cm~Intonation. [f
y75][cf1]([sm1[nm) The opening phrase of a [fy45][cf1]*[fy75][cf1]plain~~song me
lody, perhaps so called because it was ~often sung by the precentor alone and ga
ve the ~pitch and (in the Psalms) the `tone' of what was ~to follow.[ep~^([sm2[n
m) The act of singing or playing in tune. Thus ~we speak of a singer or instrume
ntalist's `intona~~tion' as being good or bad.[cm~Intrada. [fy75
][cf1]The It. equivalent of [fy45][cf1]*[fy75][cf2]Entr;Aaee[cf1]. Used as ~name
 for a movement by [sm1[nm[sm8[nmth.-cent. composers ~and also in [sm2[nm[sm0[nm
th cent. (e.g. in Vaughan Williams's ~[cf2]Concerto Grosso[cf1]).[cm~Invention.
[fy75][cf1]The name given by Bach to [sm1[nm[sm5[nm of his ~shorter kbd. comps.
in [sm2[nm parts or `voices' incl. in ~his [cf2]Klavierb;Auuchlein[cf1], [sm1[nm
[sm7[nm[sm2[nm[sm0[nm. They are highly contra~~puntal, being largely imitative i
n nature. Each ~works out some short melodic motif. Bach also ~left another [sm1
[nm[sm5[nm comps. in the same style, known ~today as his `Three-part Inventions'
, but to these ~he gave the title `Symphonies'.[cm~Inventionshorn, Inventionstro
mpete[fy75][cf1] (Ger.). In~~vention Horn, Invention Trumpet. In the second ~hal
f of the [sm1[nm[sm8[nmth century, the natural hn. was ~provided with crooks, i.
e. additional lengths of ~tubing which could change the pitch of the instr. ~Thu
s a hn. in F could be changed into E or D, etc. ~At first the cr
ooks were inserted under the ~mouthpiece, which considerably increased the ~leng
th, and therefore the clumsiness, of the instr. ~The hn.-player Hampel of Dresde
n is said to have ~invented curved, sliding crooks, called `inven~~tions', which
 together with the use of stopped ~notes (also discovered by Hampel), made the ~
[cf2]Inventionshorn[cf1] an almost completely chromatic ~instr. Hampel's device
was adopted until ~superseded by the invention of valves, [cf2]c.[cf1][sm1[nm[sm
8[nm[sm1[nm[sm5[nm. ~The term [cf2]Inventionstrompete[cf1] was applied to the ~t
pt. equivalent of the [cf2]Inventionshorn[cf1], and also to ~the so-called `Ital
ian Trumpet' (coiled into hn. ~shape).[cm~Invitation to the Dance[fy75][cf1] ([c
f2]Aufforderung zum Tanz[cf1]). ~Title of Rondo Brillant in D;Yh, Op. [sm6[nm[sm
5[nm, for pf. by ~Weber ([sm1[nm[sm8[nm[sm1[nm[sm9[nm), representing a ballroom
scene. ~Often heard in orch. arr. by Berlioz ([sm1[nm[sm8[nm[sm4[nm[sm1[nm), and
 ~sometimes, much changed, in [sm1[nm by Weingartner. ~Adopted b
y Russian Ballet as mus. for their [cf2]Le ~Spectre de la rose.[xm[cm~[fy65][cc2
7,3,8,8][dt6,1g,0p9,0p9g,8,1g,0p9,0p9g,8]Irregular rhythmic groupings[ep~[fy75][
cf1](Duplets, Triplets, Quadruplets, etc.)[qc~[bt~Duplet or Couplet[ep~[nt~[sm3[
nm[sm4[nm[ep~[nt~Two in the time of three:[ep~[et~[ep~[ep~[ep~[el2][bt~Triplet (
see also under ~`Sextolet' below)[ep~[nt~[sm2[nm[sm4[nm[ep~[nt~Three in the time
 of two:[ep~[et~[ep~[ep~[ep~[el2][bt~Quadruplet[ep~[nt~[sm3[nm[sm4[nm[ep~[nt~Fou
r in the time of three:[ep~[et~[ep~[ep~[ep~[el2][bt~Quintuplet[ep~[nt~[sm3[nm[sm
4[nm[ep~[nt~[ds3]~Five in the time of four=mor of three[ep~[nt~[nt~[sm6[nm[ep~[s
m8[nm[ep~[et~[ep~[ep~[ep~[el2][bt~Sextolet or Sextuplet ~(and Double Triplet)[ep
~[nt~[sm2[nm[sm4[nm[ep~[nt~Six in the time of four:[ep~[nt~[sm2[nm[sm4[nm[ep~[nt
~If a grouping of [sm3[nm;Pl[sm3[nm is desired ~it should be written as below:[e
p~[et~[ep~[ep~[ep~[bt~[nt~[nt~(really a triplet it will be seen)[ep~[nt~[nt~(rea
lly a double triplet)[ep~[et~[el2][bt~Septolet, or Septuplet, ~o
r Septimole[ep~[nt~[sm2[nm[sm2[nm[ep~[nt~[ds3]~[atSeven in the time of four=mor
of six:[ep~[nt~[nt~[sm6[nm[ep~[sm4[nm[ep~[et~[ep~[cc13]Various other combination
s are possible, and it is ~hardly possible to list them or to lay down rules. ~W
hen an irregular combination occurs the ~performer should observe the other note
s of the ~measure, and he will quickly realize into what ~fraction of the measur
e the irregular grouping is ~to be fitted.[ep~[el4][j1]Isouard, Nicolo[fy75][cf1
] ([cf2]b[cf1] Malta, [sm1[nm[sm7[nm[sm7[nm[sm5[nm; [cf2]d[cf1] Paris, [sm1[nm[s
m8[nm[sm1[nm[sm8[nm). ~Maltese composer, known sometimes as Nicolo. ~Studied pf.
 in Paris, completing studies in Naples. ~[sm1[nmst opera prod. Florence [sm1[nm
[sm7[nm[sm9[nm[sm5[nm. Returned Paris ~[sm1[nm[sm7[nm[sm9[nm[sm9[nm, becoming po
pular opera composer in ~rivalry to Boieldieu. Of [sm3[nm[sm3[nm operas produced
 in [sm1[nm[sm6[nm ~years, the best was [cf2]Cendrillon[cf1] ([sm1[nm[sm8[nm[sm1
[nm[sm0[nm).[cm~Istrumento d'acciaio[fy75][cf1] (It.). Instrumen
t of steel. ~Mozart's name for his [fy45][cf1]*[fy75][cf1]Glockenspiel in [cf2]D
ie ~Zauberfl;Auote.[cm~Jaleadas. [fy75][cf1]The `Seguidillas Jaleadas' dance (se
e ~[cf2]Seguidilla[cf1]) is a vigorous form, showing the ~influence of the [fy45
][cf1]*[fy75][cf1]cachucha.[cm~Jew's Harp. [fy75][cf1][sm1[nm of the simplest an
d most widely ~distributed instr., being found throughout[fj~Europe and Asia. It
 consists of a tiny iron frame, ~open at [sm1[nm end, in which end a single stri
p of metal ~vibrates. The frame is held between the teeth and ~the strip then tw
anged by the finger. The strip, ~in itself, is obviously capable of producing on
ly [sm1[nm ~note, but the harmonics of this note become ~available by resonance,
 through various shapings ~of the cavity of the mouth. Thus tunes can be ~played
.[ep~^The origin of the name is unknown and seems ~to be unconnected with Jewry.
 The name `Jew's ~Trump' was recorded in [sm1[nm[sm5[nm[sm4[nm[sm5[nm. The Fr. c
alled the ~instr. [cf2]rebube[cf1] or [cf2]guimbarde[cf1], and i
n Ger. it is [cf2]Trumpel.[cm~Jig. [fy75][cf1]([sm1[nm) A dance once popular in
Eng., Scotland, ~and Ireland, in the last of which its popularity ~was of longes
t duration. For its general character ~and mus. see [cf2]Gigue[cf1].[ep~^([sm2[n
m) In the late [sm1[nm[sm6[nmth and [sm1[nm[sm7[nmth cents. the term was ~applie
d to a lively song and dance item, of comic ~character, used to terminate theatr
ical perfs.[ep~^([sm3[nm) Title of last movement of an [sm1[nm[sm8[nmth-cent. or
ch. ~suite.[xm[cm~[u20]~~[U402]~~[te~






[do19][j99]Concise Oxford Dictionary of MusicMIS5[ep[u1]024791[cmConcise Oxford
Dictionary of Music (Mis)[cmMIS5[cm19[cm1[cm30/10/79[cm8[cm76[cm12[cm2[cm6.11.79
[cm1[cm[j1]Johnson, Robert Sherlaw [fy75][cf1]([cf2]b [cf1]Sunderland, [sm1[nm[s
m9[nm[sm3[nm[sm2[nm). Eng. composer and pianist. Studied Durham Univ. [sm1[nm[sm
9[nm[sm5[nm[sm0[nm=n[sm3[nm, RAM [sm1[nm[sm9[nm[sm5[nm[sm3[nm=n[sm7[nm, and in P
aris [sm1[nm[sm9[nm[sm5[nm[sm7[nm=n[sm8[nm with Boulanger (comp.) and F;Aaevrier
 (pf.) Lecturer, Leeds Univ. [sm1[nm[sm9[nm[sm6[nm[sm1[nm=n[sm5[nm, York Univ. [
sm1[nm[sm9[nm[sm6[nm[sm5[nm=n[sm7[nm[sm0[nm. Lecturer, Oxford Univ. [sm1[nm[sm9[
nm[sm7[nm[sm0[nm. Specialist in mus. of [fy45][cf1]*[fy75][cf1]Messiaen and auth
or of book on him. Works incl.: opera [cf2]The [fy45][cf1]*[fy75][cf2]Lambton Wo
rm [cf1]([sm1[nm[sm9[nm[sm7[nm[sm8[nm); [cf2]Songs of Love and Springtime[cf1],
sop. and pf.; [cf2]Carmen Vernalia[cf1], sop. and chamber orch. ([sm1[nm[sm9[nm[
sm7[nm[sm2[nm); [cf2]Praises of Heaven and Earth[cf1], sop., pf.
, and tape ([sm1[nm[sm9[nm[sm6[nm[sm9[nm); [cf2]Green Whispers of Gold[cf1], sop
., pf., and tape ([sm1[nm[sm9[nm[sm7[nm[sm1[nm); [cf2]Festival Mass of the Resur
rection[cf1], ch. and orch.; [cf2]The Resurrection of F;Afeng-Huang[cf1], sop.,
unacc. ch. ([sm1[nm[sm9[nm[sm6[nm[sm8[nm); [cf2]Where the Wild Things Are[cf1],
sop. and tape; [cf2]Triptych[cf1], for fl., cl., va., vc., pf., and perc. ([sm1[
nm[sm9[nm[sm7[nm[sm3[nm); [sm2[nm pf. sonatas ([sm1[nm[sm9[nm[sm6[nm[sm3[nm, [sm
1[nm[sm9[nm[sm6[nm[sm7[nm); [sm2[nm str. qts., cl. quintet ([sm1[nm[sm9[nm[sm7[n
m[sm4[nm); [cf2][sm7[nm Short Piano Pieces [cf1]([sm1[nm[sm9[nm[sm6[nm[sm8[nm);
[cf2]Asterogenesis [cf1]for pf. ([sm1[nm[sm9[nm[sm7[nm[sm3[nm).[cmKaiserwalzer.
[fy75][cf1]See [fy45][cf1]*[fy75][cf2]Emperor Waltz[cf1].[xm[cm[j1]Key. [fy75][c
f1]([sm1[nm) As a principle in mus. comp., implies adherence, in any passage, to
 the note-material of one of the major or minor scales (see [fy45][cf1]*[fy75][c
f2]Scale[cf1])=mnot necessarily a rigid adherence (since other n
otes may incidentally appear), but a general adherence, with a recognition of th
e [fy45][cf1]*[fy75][cf1]Tonic (or [fy45][cf1]*[fy75][cf1]`keynote') or the scal
e in question as a prin. and governing factor in its effect. Thus we speak of a
passage as being `in the key of' (say) C major or F minor, and also use the same
 terms to describe a comp. (or movement) as a whole=min this latter case implyin
g merely that the key mentioned is the one in which the piece begins and sometim
es but not always (e.g. Mahler) ends and is its governing one (see [fy45][cf1]*[
fy75][cf2]Modulation[cf1]). If a piece of several movements is so spoken of it d
oes not necessarily mean more than that the first movement (usually also the las
t one) is in that key.[ep^It will be realised that all major keys are exactly al
ike, as are all minor keys, so that the particular key chosen for a comp. is mor
e a matter of the desired pitch-level than of anything more im~portant (see [cf2
]Transposition[cf1]).[ep^The element of key crept into European
mus. in the early [sm1[nm[sm7[nmth cent., as the [fy45][cf1]*[fy75][cf2]Modes [c
f1]gradually fell out of use: it remained of supreme importance to the end of th
e [sm1[nm[sm9[nmth cent., but in the [sm2[nm[sm0[nmth cent. many composers, led
by [fy45][cf1]*[fy75][cf1]Schoenberg, have abandoned tonality. See [cf2]Atonalit
y[cf1].[ep^([sm2[nm) A lever on an instrument which is depressed by finger or fo
ot to produce a note, e.g. on a pf. by finger, on an organ by foot, on woodwind
by finger (the levers covering the airholes).[xm[cm[j1]Keyboard. [fy75][cf1]([sm
1[nm) A frame, or set, of [fy45][cf1]*[fy75][cf1]keys presenting them in a conti
nuous arr. The purpose of kbds. is to enable the [sm2[nm hands (e.g. on pf. or h
armonium) or the [sm2[nm hands and [sm2[nm feet (org.) readily to control the so
unds from a much larger number of str., reeds or pipes than could other-wise be
controlled. One standardized apparatus of this sort, which has been gradually de
veloped over a long period, has come to be universally adopted:
it is by no means the most convenient imaginable, but the conservatism of musici
ans will probably prevent its supersession unless some drastic change in the sca
les used in mus. (e.g. by the general adoption of [fy45][cf1]*[fy75][cf1]Microto
nes) makes such a change imperative. The unchanging span of the octave is determ
ined by the average span of the human hand.[ep^The earliest kbd. was, apparently
, that of the organ, in the days when the melodic plainsong of the Church was pl
ayed on that instr., at first thumped out on keys as broad as the fists that ope
rated them. In those days, and for long after the keys had been adapted for fing
er-pressure, mus. was still modal and the longer finger-keys, as we still have t
hem, were all that were needed. With the coming into use of the practice of [fy4
5][cf1]*[fy75][cf2]musica ficta [cf1]a B;Yh was found to be desirable and space
for it was made by placing a short finger-key between the A and the B;Yj. (It ap
pears that a few kbds. like this still existed as late as the be
ginning of the [sm1[nm[sm7[nmth cent.). Other finger-keys were similarly added,
and our present-day kbd. of [sm7[nm different long and broad keys and [sm5[nm sh
ort and narrow ones so came into existence. This still leaves out many notes (e.
g. B;Yi, if required, has to be played as C, F;Yh as E, and so on). The restrict
ed number of keys which the individual can manipulate and the necessity of avoid
ing the high cost of providing a larger number of extra organ pipes, str., etc.,
 precluded the provision of further finger-keys, and the difficulty was over~com
e by methods of tuning: at first, partially, with Mean-tone tuning and then, ful
ly, with Equal [fy45][cf1]*[fy75][cf1]Temperament tuning. There have been many a
ttempts at the invention of a kbd. which would be free (or largely free) from th
is principle of compromise, but whilst some of them have been interesting scient
ifically none has proved of value practically in the making of mus. Various inge
nious inventions, such as the [fy45][cf1]*[fy75][cf1]Janko kbd.,
 have also proved ephemeral.[ep^([sm2[nm) The term is also used generally, as in
 `keyboard works', to indicate that the works may be played on more than one kin
d of keyed instr.[xm[cm[j1]Key-signature. [fy75][cf1]The sign, or no. of signs,
written at the beginnng of each staff, to indicate the [fy45][cf1]*[fy75][cf1]ke
y of the comp. No signature indicates a [fy45][cf1]*[fy75][cf1]natural key. A sh
arp (;Yi) or flat (;Yh) signature indicates a [fy45][cf1]*[fy75][cf1]chromatic k
ey. Use of a key-signature dispenses with the need to write [fy45][cf1]*[fy75][c
f1]accidentals for the notes affected throughout the comp. The keys of C major a
nd A minor require no chromatic alteration. The key of the [sm5[nmth above C, ro
ot G, requires [sm1[nm sharp. The `natural' form of the minor scale determines k
ey-signature. Major and minor key-signatures are indicated thus:[epSharp[ep[el32
]Flat[ep(Seldom used).[qrThe white note in each case represents the major key, t
he black note the minor key with the same signature (called `Rel
ative Minor').[ep^It will be observed that, starting from C, the keynotes of the
 Sharp Keys rise [sm5[nm notes (a Perfect [sm5[nmth) each remove, and that the k
eynotes of the Flat Keys fall [sm5[nm notes (a Perfect [sm5[nmth) each remove.[e
p^It will also be observed that in the Sharp Major Keys the keynote is immediate
ly above the last sharp.[ep^And that in the Flat major Keys the keynote is [sm4[
nm notes below the last flat (i.e. is at the pitch of the last flat but one in t
he signature).[ep^And that [sm3[nm notes down any Major Scale we come to the key
note of its Relative Minor or, to state it the other way, [sm3[nm notes up any M
inor Scale we come to the keynote of its Relative Major.[ep^Note that keys with
[sm6[nm sharps (F;Yi major and D;Yi minor) are (on kbd. instr.) the equivalents
of the keys with [sm6[nm flats (G;Yh major and E;Yh minor), and that keys with [
sm7[nm sharps (C;Yi major and A;Yi minor) are the equivalents of the keys with [
sm5[nm flats (D;Yh major and B;Yh minor). Thus composers use eit
her [sm1[nm or the other of these signatures, but it is much easier to write in
D;Yh with [sm5[nm flats than in C;Yi with [sm7[nm sharps.[ep^The order of the sh
arps in the signature is by rising [sm5[nmths, and the order of the flats is by
falling [sm5[nmths.[ep[el4][cf2]Sharps [cf1];BY;BZ F^C^G^D^A^E^B ;BX;BY [cf2]Fla
ts[cf1][qc[el4]That is, the [sm1[nm order is the other reversed.[xm[cm[j1]King's
 Singers, The. [fy75][cf1]Male-v. ens. of [sm6[nm singers ([sm2[nm counter-ten.,
 ten., [sm2[nm bar., bass) formed in [sm1[nm[sm9[nm[sm6[nm[sm8[nm and so called
because orig. members met at King's College, Cambridge. Specialize in part-songs
 and in arrs. of various genres, incl. humorous songs. Range from Monteverdi to
No;Auel Coward, with several works written specially for them by contemporary co
mposers.[cmKleine Nachtmusik, Eine [fy75][cf1](A little Night Music, or Serenade
). Comp. (K[sm5[nm[sm2[nm[sm5[nm) by Mozart (for which occasion is not known) da
ting from [sm1[nm[sm0[nmth Aug. [sm1[nm[sm7[nm[sm8[nm[sm7[nm, an
d in [sm4[nm movements. It is the serenade No. [sm1[nm[sm3[nm in G major, scored
 for `[sm2[nm violins, viola, and bassi' or small str. orch. Orig. MS, recovered
 [sm1[nm[sm9[nm[sm5[nm[sm5[nm, indicates that a [sm5[nmth movement, a first minu
et, was torn out.[cmKol Nidrei [fy75][cf1](Kol Nidre; All vows). ([sm1[nm) For v
c. and orch., Op. [sm4[nm[sm7[nm by Bruch, comp. in [sm1[nm[sm8[nm[sm8[nm[sm1[nm
. Arr. for vc. and pf.[ep^([sm2[nm) Setting for rabbi, ch., and orch., Op. [sm3[
nm[sm9[nm by [fy45][cf1]*[fy75][cf1]Schoenberg ([sm1[nm[sm9[nm[sm3[nm[sm8[nm), f
.p. los Angeles [sm1[nm[sm9[nm[sm3[nm[sm8[nm, cond. Schoenberg. The [cf2]Kol Nid
rei [cf1]is the opening prayer of the Jewish service on the evening of the Day o
f Atonement [cf1]([cf2]Yom Kippur[cf1]). It has tragic associations with the Sp.
 persecution of the Jews in the [sm1[nm[sm7[nmth cent.[cmKonzertst;Auuck [fy75][
cf1](Ger.). Concert piece, generally with the implication of `concerted' piece,
i.e. for solo instr. and orch. Term often applied to short or [s
m1[nm-movement cons., e.g. Weber's [cf2]Konzertst;Auuck [cf1]for pf. and orch.[c
mKorchinska, Maria [fy75][cf1]([cf2]b [cf1]Moscow, [sm1[nm[sm8[nm[sm9[nm[sm5[nm;
 [cf2]d [cf1]London, [sm1[nm[sm9[nm[sm7[nm[sm9[nm). Russ.-born harpist. Studied
Moscow Cons. Prin. harpist, Bolshoy Th., [sm1[nm[sm9[nm[sm1[nm[sm8[nm=n[sm2[nm[s
m4[nm, prof. of harp, Moscow Cons., [sm1[nm[sm9[nm[sm1[nm[sm8[nm=n[sm2[nm[sm4[nm
. Settled in Eng. [sm1[nm[sm9[nm[sm2[nm[sm6[nm. Took part in f.p. of Britten's [
cf2]A Ceremony of Carols[cf1], [sm1[nm[sm9[nm[sm4[nm[sm2[nm.[cmKrakoviak, Krakow
iak. [fy75][cf1]([sm1[nm) Polish dance from district of Krakow. In lively [cf9]2
[cf13][zs4[cf1] time, with distinctive syncopation.[ep^([sm2[nm) Title of Chopin
's concert rondo for pf. and orch., Op. [sm1[nm[sm4[nm, comp. [sm1[nm[sm8[nm[sm2
[nm[sm8[nm.[cmKunst der Fuge, Die[fy75][cf1] (The Art of Fugue). Posthumous and
unfinished work by J. S. Bach, comp. [sm1[nm[sm7[nm[sm4[nm[sm8[nm=n[sm9[nm, and
designed to establish the possibilities of [sm1[nm simple subjec
t in the various types of fugal and canonic writing.[ep[el24]^It is not clear wh
at medium was intended to be employed, or, indeed whether actual perf. was in vi
ew. Pubd. posthumously in [sm1[nm[sm7[nm[sm5[nm[sm0[nm. Modern edns. for pf. and
 versions for str. instr. and for orch. have appeared. Completions of the final
fugue have been made by Donald [fy45][cf1]*[fy75][cf1]Tovey and by [fy45][cf1]*[
fy75][cf1]Busoni in his [fy45][cf1]*[fy75][cf2]Fantasia Contrappuntistica[cf1].[
cmKing Lear. [fy75][cf1]Mus. works inspired by Shakespeare's play incl. ([sm1[nm
) ov. by Berlioz, Op. [sm4[nm, comp. [sm1[nm[sm8[nm[sm3[nm[sm1[nm.[ep^([sm2[nm)
Ov. and incid. mus. by Balakirev, [sm1[nm[sm8[nm[sm5[nm[sm9[nm=n[sm6[nm[sm1[nm.[
ep^([sm3[nm) [sm2[nm movements of incid. mus. by Debussy, [sm1[nm[sm9[nm[sm0[nm[
sm4[nm. Various opera xomposers, incl. Verdi and Britten, have contemplated but
abandoned [cf2]King Lear [cf1]projects.[cmB;Aaegue, Nicolas Antoine [fy75][cf1](
[cf2]b [cf1]Laon, [sm1[nm[sm6[nm[sm3[nm[sm1[nm; [cf2]d [cf1]Pari
s, [sm1[nm[sm7[nm[sm0[nm[sm2[nm). Fr. organist and composer. Organist, churches
of St Merry and St Med;Aaeric, Paris, and court organist to Louis XIV, [sm1[nm[s
m6[nm[sm7[nm[sm8[nm. Comp. [sm2[nm vols. of hpd. works and [sm3[nm vols. of org.
 pieces ([sm1[nm[sm6[nm[sm7[nm[sm6[nm).[cmLenya, Lotte [fy75][cf1](orig. Karolin
e Blamauer) ([cf2]b [cf1]Vienna, [sm1[nm[sm8[nm[sm9[nm[sm8[nm). Austrian-born si
nger of mez. quality (later Amer. citizen). Went to Z;Auurich [sm1[nm[sm9[nm[sm1
[nm[sm4[nm, where she studied acting, dancing, and singing. Member of [cf2]corps
 de ballet[cf1], Z;Auurich Stadttheater and made stage acting d;Aaebut at Schaus
pielhaus. Moved to Berlin [sm1[nm[sm9[nm[sm2[nm[sm0[nm, where she met the playwr
ight Bertolt [fy45][cf1]*[fy75][cf1]Brecht and the composer Kurt [fy45][cf1]*[fy
75][cf1]Weill, whose wife she became. Her distinctive singing style and accompli
shed acting made a major contri~bution to the success of the Brecht-Weill collab
~orations such as [cf2]Mahagonny[cf1], and [cf2]Der Dreigroschen
~oper[cf1], especially in such songs as `Pirate Jenny', `Surabaya Johnny' and `A
labama Song'. With Weill, went to USA in [sm1[nm[sm9[nm[sm3[nm[sm3[nm and made n
ew career on plays and films, incl. [cf2]From Russia with Love[cf1].[cmLutyens,
Agnes Elisabeth [fy75][cf1]([cf2]b [cf1]London, [sm1[nm[sm9[nm[sm0[nm[sm6[nm). E
ng. composer. Studied ;AaEcole Normale de[fjMusique, Paris, [sm1[nm[sm9[nm[sm2[n
m[sm2[nm=n[sm3[nm, RCM (with Harold [fy45][cf1]*[fy75][cf1]Darke) [sm1[nm[sm9[nm
[sm2[nm[sm6[nm=n[sm3[nm[sm0[nm. One of first Eng. composers to use [sm1[nm[sm2[n
m-note system. Has written nearly [sm2[nm[sm0[nm[sm0[nm scores for films and rad
io, also incidental mus. for plays. Helped to found Macnaughten-Lemare concerts,
 London, [sm1[nm[sm9[nm[sm3[nm[sm1[nm, and founded Composers' Con~course [sm1[nm
[sm9[nm[sm5[nm[sm4[nm. Author of books and articles. CBE [sm1[nm[sm9[nm[sm6[nm[s
m9[nm. Prin. works:[xm[cm[el-4][j2][smoperas[nm: [fy75][cf2]The numbered [cf1]([
sm1[nm[sm9[nm[sm6[nm[sm5[nm=n[sm7[nm); [cf2]Isis and Osiris [cf1
]([sm1[nm[sm9[nm[sm6[nm[sm9[nm=n[sm7[nm[sm0[nm); [cf2]Time off? Not a Ghost of a
 Chance[cf1]! [cf1](charade in [sm4[nm scenes with [sm3[nm interruptions) ([sm1[
nm[sm9[nm[sm6[nm[sm8[nm=n[sm7[nm[sm1[nm); [cf2]Like a Window [cf1]([sm1[nm[sm9[n
m[sm7[nm[sm6[nm).[ep[smorch[nm: [cf2][sm3[nm Pieces [cf1]([sm1[nm[sm9[nm[sm3[nm[
sm9[nm); [sm6[nm Chamber Concs. ([sm1[nm[sm9[nm[sm4[nm[sm0[nm=n[sm5[nm[sm7[nm);
[sm3[nm Symphonic Preludes ([sm1[nm[sm9[nm[sm4[nm[sm2[nm); [cf2]Music for Orches
tra [cf1]([sm1[nm[sm9[nm[sm5[nm[sm5[nm), [cf2]Quincunx[cf1] (with sop. and bar.)
 ([sm1[nm[sm9[nm[sm5[nm[sm9[nm=n[sm6[nm[sm0[nm); [cf2]Music for Orch. II [cf1]([
sm1[nm[sm9[nm[sm6[nm[sm2[nm); [cf2]Music for Orch. III [cf1]([sm1[nm[sm9[nm[sm6[
nm[sm3[nm); [cf2]Music for pf. and Orch[cf1]. ([sm1[nm[sm9[nm[sm6[nm[sm4[nm); [c
f2]Novenaria [cf1]([sm1[nm[sm9[nm[sm6[nm[sm7[nm); va. conc. ([sm1[nm[sm9[nm[sm4[
nm[sm7[nm); hn. conc. ([sm1[nm[sm9[nm[sm4[nm[sm7[nm). [cf2]Rondel [cf1]([sm1[nm[
sm9[nm[sm7[nm[sm6[nm); [cf2]Concert Aria[cf1], female v. and orc
h. ([sm1[nm[sm9[nm[sm7[nm[sm6[nm); [cf2]Tides [cf1]([sm1[nm[sm9[nm[sm7[nm[sm8[nm
).[ep[smvoice and instr[nm: [cf2]O saisons, O ch;Afateaux [cf1](Rimbaud) for sop
. and small orch. ([sm1[nm[sm9[nm[sm4[nm[sm6[nm;) [cf2]De amore[cf1], sop., ten.
, ch., and orch. ([sm1[nm[sm9[nm[sm5[nm[sm7[nm); [cf2]Catena[cf1], sop., ten., [
sm2[nm[sm1[nm instr. ([sm1[nm[sm9[nm[sm6[nm[sm1[nm=n[sm2[nm); [cf2]The Country o
f the Stars, The Valley of Hatsu-se[cf1], sop. and chamber ens. ([sm1[nm[sm9[nm[
sm6[nm[sm5[nm); [cf2]A Kapotic Rose[cf1], sop. and chamber ens. ([sm1[nm[sm9[nm[
sm6[nm[sm6[nm); [cf2]And Suddenly it's Evening, [cf1]ten. and chamber ens. ([sm1
[nm[sm9[nm[sm6[nm[sm7[nm); [cf2]Essence of our Happiness[cf1], ten., ch., and or
ch. ([sm1[nm[sm9[nm[sm6[nm[sm8[nm); [cf2]Voice of Quiet Waters[cf1], ch. and orc
h. ([sm1[nm[sm9[nm[sm7[nm[sm2[nm); [cf2]Spring Sowing[cf1], sop. and pf. ([sm1[n
m[sm9[nm[sm7[nm[sm9[nm).[ep[smchoral[nm: [cf2]Motet [cf1](Wittgenstein) ([sm1[nm
[sm9[nm[sm5[nm[sm3[nm); [cf2]The Tyme doth Flete [cf1]([sm1[nm[s
m9[nm[sm6[nm[sm8[nm).[ep[smchamber music[nm: [sm6[nm str. qts. ([sm1[nm[sm9[nm[s
m3[nm[sm7[nm=n[sm5[nm[sm2[nm); [cf2]Valediction[cf1], cl. and pf. ([sm1[nm[sm9[n
m[sm5[nm[sm4[nm); [sm6[nm [cf2]Tempi[cf1], wind sextet, str. trio, pf. ([sm1[nm[
sm9[nm[sm5[nm[sm7[nm); [cf2]Symphonies[cf1], pf., winds, harp, perc. ([sm1[nm[sm
9[nm[sm6[nm[sm1[nm); Str. Quintet ([sm1[nm[sm9[nm[sm6[nm[sm3[nm); Str. Trio ([sm
1[nm[sm9[nm[sm6[nm[sm4[nm); [cf2]Scena[cf1], vn., vc., perc. ([sm1[nm[sm9[nm[sm6
[nm[sm4[nm); [cf2]Scroll for Li-ho[cf1], vn., pf. ([sm1[nm[sm9[nm[sm6[nm[sm7[nm)
; [cf2]Horai[cf1], vn., hn., pf. ([sm1[nm[sm9[nm[sm6[nm[sm8[nm); [cf2]Plenum II,
 [cf1]ob. and [sm1[nm[sm3[nm instr. ([sm1[nm[sm9[nm[sm7[nm[sm3[nm); [cf2]Plenum
III[cf1], str. qt. ([sm1[nm[sm9[nm[sm7[nm[sm3[nm); [cf2]O Absalom [cf1]([sm1[nm[
sm9[nm[sm7[nm[sm7[nm).[ep[smpiano[nm: [sm5[nm Bagatelles ([sm1962[nm); [cf2]Plen
um I[cf1] ([sm1972[nm); 5 Impromptus ([sm1977[nm).[ep[smvoice and piano[nm: [sm9
[nm [cf2]Songs [cf1](S. Smith) ([sm1[nm[sm9[nm[sm4[nm[sm8[nm); [
sm3[nm Songs (D. Thomas) ([sm1[nm[sm9[nm[sm5[nm[sm3[nm); [cf2]Nocturnes and Inte
r~ludes [cf1]([sm1[nm[sm9[nm[sm7[nm[sm6[nm); [cf2]Variations: Winter Series=mSpr
ing Sowing [cf1]([sm1[nm[sm9[nm[sm7[nm[sm7[nm).[cm[j1]L.R.A.M. [fy75][cf1]Licent
iate of the Royal Academy of Music.[cmL.R.S.M. [fy75][cf1]Licentiate of the Roya
l Schools of Music.[cmL.T.C.L. [fy75][cf1]Licentiate of Trinity College of Music
, London.[cmL.T.S.C. [fy75][cf1]Licentiate of the Tonic Sol-fa College.[cmLa. [f
y75][cf1]The [sm6[nmth degree of the major scale, according to the system of voc
al syllables derived from [fy45][cf1]*[fy75][cf1]Guido d'Arezzo (see [cf2]Hexach
ord[cf1]), and so used (spelt [cf2]Lah[cf1]) in [fy45][cf1]*[fy75][cf1]Tonic Sol
-fa, in which it is also the first degree of the minor scale. In many countries,
 however, the name has become attached (on `fixed-doh' principles) to the note A
, in whatever key this may occur.[cmLai [fy75][cf1](Fr.), [fy65][cf3]Lay.[fy75][
cf1] A [sm1[nm[sm3[nmth-and [sm1[nm[sm4[nmth-cent. Fr. song-form
, usually [sm1[nm[sm2[nm unequal stanzas sung to different tunes. Later examples
 are in several vv. Also can mean purely instr. piece.[cmLancashire Sol-fa. [fy7
5][cf1]System of sight-singing more properly called `Old English Sol-fa', since
it was universally used in Eng. from at least the early [sm1[nm[sm7[nmth cent. a
nd its latest textbook appeared in [sm1[nm[sm8[nm[sm7[nm[sm9[nm. It is a method
of solmization applied to the normal staff notation; the first [sm3[nm notes of
every major scale are called [cf2]fa-sol-la[cf1], and so are the second [sm3[nm
notes, the remaining note being called [cf2]mi[cf1]; the minor scale is read as
if its notes were those of the relative major. In Amer. often called [cf2]Fasola
[cf1].[cmLast Temptations, The [fy75][cf1]([cf2]Viimeiset Kiusaukset[cf1]). Oper
a in [sm2[nm acts by [fy45][cf1]*[fy75][cf1]Kokkonen to lib. by L. Kokkonen, bas
ed on life of Finn. evangelist Paavo Ruotsalainen ([sm1[nm[sm7[nm[sm7[nm[sm7[nm=
n[sm1[nm[sm8[nm[sm5[nm[sm2[nm). Prod. Savonlinna [sm1[nm[sm9[nm[
sm7[nm[sm7[nm, London (Finn. Nat. Opera) [sm1[nm[sm9[nm[sm7[nm[sm9[nm.[cmLied; L
ieder [fy75][cf1](Ger.). Song; Songs. The word is applied to a distinctive type
of Ger. solo vocal comp. that came into being as an outcome of the Romantic move
ment of the late [sm1[nm[sm8[nmth and earlier [sm1[nm[sm9[nmth cents. In this ty
pe the poem chosen is of great importance. The treatment of the poem may be eith
er `verse-repeating' (strophic) or `through-composed' [cf1]([cf2]Durchkomponiert
) [cf1](i.e. either the same for every stanza or different for each), according
to the lyrical or dramatic demands of the poem. The pf. part (simple or highly e
laborate) is more than a mere acc. and, as much as the vocal part, demands an ar
tistic interpretation. Some great names in the history of the [cf2]Lied [cf2][cf
1]are [fy45][cf1]*[fy75][cf1]Schubert, [fy45][cf1]*[fy75][cf1]Loewe ([sm1[nm[sm7
[nm[sm9[nm[sm6[nm=n[sm1[nm[sm8[nm[sm6[nm[sm9[nm), Schumann, [fy45][cf1]*[fy75][c
f1]Franz, [fy45][cf1]*[fy75][cf1]Brahms, [fy45][cf1]*[fy75][cf1]
Wolf, [fy45][cf1]*[fy75][cf1]Mahler, and [fy45][cf1]*[fy75][cf1]Strauss. Certain
 poets occur frequently in these composers' Lieder, e.g. Goethe, Dehmel, Eichend
orff, Heine, Hesse, Liliencron, Mayrhofer, M;Auorike, Rilke, R;Auuckert, Schack,
 Schiker, Trakl, Tieck. A [cf2]Lieder [cf1]recital should correctly contain only
 Ger. songs.[xm[cm[u20][te








[do19][j99]~~~~~~024791MIS6[ep~[u1]~~~~024791[cmConcise Oxford diction~~ary of M
usic (Mis)[cmMIS6[cm19[cm~1[cm30/10/79[cm8[cm101[cm~12[cm2[cm6.11.79[cm~1[cm~~~~
[j1]Ligature. [fy75][cf1]([sm1[nm) The mark which in plainsong ~notation binds s
everal notes into [sm1[nm group.[ep~^([sm2[nm) The slur which in modern notation
 of vocal ~mus. shows that the [sm2[nm or more notes it affects are ~to be fitte
d to [sm1[nm and the same syllable or, in instr. ~mus., that the notes are to be
 phrased together.[ep~^([sm3[nm) The tie or bind (see [cf2]Tie[cf1]=ma use of th
e word ~better avioded as unnecessary and confusing.[ep~^([sm4[nm) The adjustabl
e metal band which in instr. of ~the cl. family secures the reed to the mouthpie
ce. ~See [cf2]Curved Line, Various uses of[cf1].[cm~Lilliburlero. [fy75][cf1]Tun
e of unknown origin, first ~appeared in print in [sm1[nm[sm6[nm[sm8[nm[sm6[nm in
 a book of `lessons' ~for the recorder or fl., where it is styled a ~`Quickstep'
. Next next year it became popular set ~to some satirical verses
 (with the mock Irish word ~`Lilliburlero' as a refrain) referring to the appoin
t~~ment to the Lord-Lieutenancy of Ireland of ~General Talbot, just created Earl
 of Tyrconnel, ~whose name is several times mentioned. It has ~remained a song o
f the Orange party to this day, ~set to the words `Protestant Boys'. in Purcell'
s ~[cf2]Musick's Handmaid[cf1], it appears, under the title `A ~New Irish Tune',
 as hpd. piece; he also used it as ~[fy45][cf1]*[fy75][cf1]ground bass in incide
ntal mus. for [cf2]The Gordian ~Knot unty'd[cf1], [sm1[nm[sm6[nm[sm9[nm[sm1[nm.[
xm[cm~[j1]Lloyd, Richard [fy75][cf1]([cf2]b [cf1]Cheshire, [sm1[nm[sm9[nm[sm3[nm
[sm3[nm). Eng. organist ~and composer. Studied Lichfield Cath. Sch. and ~Cambrid
ge Univ. Sub-organist, Salisbury Cath. ~[sm1[nm[sm9[nm[sm5[nm[sm7[nm=n[sm6[nm[sm
6[nm, organist, Hereford Cath. and cond. [sm3[nm ~Choirs Fest. [sm1[nm[sm9[nm[sm
6[nm[sm6[nm=n[sm7[nm[sm4[nm, Durham Cath. from [sm1[nm[sm9[nm[sm7[nm[sm4[nm. ~Co
mp. anthems, etc., mus. for children, and ~incidental mus.[cm~Ll
oyd Webber, Andrew [fy75][cf1]([cf2]b [cf1]London, [sm1[nm[sm9[nm[sm4[nm[sm8[nm)
. Eng. ~composer. Studied Oxford Univ., GSM, and RCM. ~With Tim Rice ([cf2]b [cf
1][sm1[nm[sm9[nm[sm4[nm[sm4[nm) as librettist, comp. highly ~successful musicals
, [cf2]Joseph and the Amazing Techn~~icolour Dreamcoat [cf1]([sm1[nm[sm9[nm[sm6[
nm[sm8[nm), [cf2]Jesus Christ Superstar ~[cf1]([sm1[nm[sm9[nm[sm7[nm[sm0[nm), an
d [cf2]Evita [cf1]([sm1[nm[sm9[nm[sm7[nm[sm6[nm). Wrote [cf2]Jeeves [cf1]([sm1[n
m[sm9[nm[sm7[nm[sm5[nm) to ~lir. by Alan Ayckbourn. [cf2]Variations [cf1]([sm1[n
m[sm9[nm[sm7[nm[sm8[nm) for vc. ~and jazz ens. Also film mus.[xm[cm~[j1]Modes[fy
75][cf1]=mcontinuation (remainder already set).[ep~[cf2]The Authentic Modes show
n uniformly with C as final ~[cf1]([cf2]with the semitones marked[cf1])[qc~I. Do
rian.[ep~[el24]V. Lydian.[ep~[el24]^With the development of harmonized music ~th
e modal system in time tended to disintegrate: ~the two Authentic Modes added by
 Glareanus ~(the Ionian and ;Jaolian) were felt to be the most ~
suited to harmony and have remaind as our ~`major' and `minor'. The other modes,
 however, ~are in use in plainsong, some folk song, and ~occasionally in the wor
k of certain com-[fj~posers. Such as Vaughan Williams, Bart;Aaok, and ~Kod;Aaaly
.[xm[cm~[j1]Moog, Robert (Arthur) [fy75][cf1]([cf2]b [cf1]Flushing, NY, [sm1[nm[
sm9[nm[sm3[nm[sm4[nm). ~Amer. audio-engineer and inventor. Studied ~Columbia Uni
v. and Cornell Univ. Pres., Moog ~Mus. Inc., Williamsville, NY. Invented and ~pa
tented Moog [fy45][cf1]*[fy75][cf1]synthesizer, manufactured by ~his co., which
greatly increased options open to ~composers of elec. mus.[cm~M;Auuthel, Johann
Gottfried [fy75][cf1]([cf2]b [cf1]M;Auolln, [sm1[nm[sm7[nm[sm2[nm[sm8[nm; [cf2]d
 ~[cf1]Brenenhof, nr. Riga, [sm1788[nm). Ger. composer and ~organist, Court orga
nist, Schwerin from [sm1[nm[sm7[nm[sm4[nm[sm7[nm, ~Riga from [sm1[nm[sm7[nm[sm5[
nm[sm3[nm (court organist [sm1[nm[sm7[nm[sm5[nm[sm3[nm=n[sm5[nm, St Peter's ~Chu
rch from [sm1[nm[sm7[nm[sm5[nm[sm5[nm). Friend of Bach and C. P.
 E. ~Bach. Wrote org. and kbd. works, church cantatas, ~and chamber mus.[cm~[fy7
5][cc27,1,8,8][dt4,1g,5,1g,18]PAUSE SIGNS[qc~[bt~;Yr[qc~Pause[qc~[nt~[cf2]lunga
pausa[qc~[cf1]long pause[qc~[nt~[cf2]G.P.[qc~[ih2n][cf1]`General Pause'=man inti
mation in an orchestral score that the ~whole orchestra pauses.[ep~[et~[ih0][ep~
PIANO SIGNS FOR `SPREADING' OF CHORDS[qc~[qc~(`Arpeggioed', i.e. harp-fashion)[q
c~[qc~^Instead of attacking the notes of the chord simultaneously, play them fro
m the bottom upwards, ~holding each as struck. (Occasionally in old music the no
tes are to be played from the top downwards ~and the question as to which is int
ended is sometimes a difficult one).[ep~^Sometimes the wavy line is not continuo
us between the two staves, and then it is to be understood ~that the composer in
tends the arpeggio effect to go on in the two hands simultaneously.[ep~[ep~^It i
s to be noted that all spread chords should be so played as not to destroy the r
hythm of the passage.[ep~[ep~[dt4,p6g,3,p6g,2p9,p6g,2p9,p6g,2p9,
p6g,2p9,p6g,2p9,p6g,2p9]PITCH NAMES OF THE NOTES[qc~[qc~[smi=+=+n =+=+e=+=+n=+=+
g=+=+l=+=+i=+=+s=+=+h=+,=+=+ g=+=+e=+=+r=+=+m=+=+a=+=+n=+,=+=+ f=+=+r=+=+e=+=+n=
+=+c=+=+h=+,=+=+ a=+=+n=+=+d=+=+ i=+=+t=+=+a=+=+l=+=+i=+=+a=+=+n[qc~[nm[ol5][ru5
,27]~[el24][ol5][ru5,27]~[ol3][ep~[bt~English[ep~[nt~C[qc~[nt~D[qc~[nt~E[qc~[nt~
F[qc~[nt~G[qc~[nt~A[qc~[nt~B[qc~[et~[ol5][ru5,27]~[ol3][ep~[bt~German[ep~[nt~,,[
qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~H[qc~[et~[ol5][ru5,27]~
[ol1.5][ru5,27]~[ol3][ep~[bt~French[ep~[nt~ut [cf2]or [cf1]do[qc~[nt~r;Aae[qc~[n
t~mi[qc~[nt~fa[qc~[nt~sol[qc~[nt~la[qc~[nt~si[qc~[et~[ol5][ru5,27]~[ol3][ep~[bt~
Italian[ep~[nt~do[qc~[nt~re[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc
~[et~[ol5][ru5,27]~[ol3][ep~Note that B flat in Eng. is B in Ger., and that B in
 Eng. is H in Ger.[qc~[qc~[u20]~~[U402]~[te~


[do35][j99]024791MIS7[ep[u1]024791[cmConcise Oxford Dictionary of Music[cmMIS7[c
m35[cm1[cm30-10-79[cm8[cm115[cm14[cm2[cm6.11.79[cm1[cm[j1]Pittsburgh Symphony Or
chestra. [fy75][cf1]Leading US orch., founded [sm1[nm[sm8[nm[sm9[nm[sm5[nm, firs
t concert [sm2[nm[sm7[nm Feb. [sm1[nm[sm8[nm[sm9[nm[sm6[nm, cond. Frederic Asker
. Prin. conds., [sm1[nm[sm8[nm[sm9[nm[sm8[nm=n[sm1[nm[sm9[nm[sm0[nm[sm4[nm, Vict
or [fy45][cf1]*[fy75][cf1]Herbert; [sm1[nm[sm9[nm[sm0[nm[sm4[nm=n[sm1[nm[sm0[nm,
 Emil Paur. Guest conds. incl. R. Strauss in [sm1[nm[sm9[nm[sm0[nm[sm3[nm=n[sm4[
nm season and Elgar in [sm1[nm[sm9[nm[sm0[nm[sm6[nm=n[sm7[nm. Disbanded March [s
m1[nm[sm9[nm[sm1[nm[sm0[nm, re-formed [sm1[nm[sm9[nm[sm2[nm[sm6[nm. Cond. Antoni
o Modarelli [sm1[nm[sm9[nm[sm3[nm[sm0[nm=n[sm7[nm. Re~[chorganized [sm1[nm[sm9[n
m[sm3[nm[sm7[nm by [fy45][cf1]*[fy75][cf1]Klemperer. Prin. cond. [sm1[nm[sm9[nm[
sm3[nm[sm8[nm=n[sm4[nm[sm8[nm, Fritz [fy45][cf1]*[fy75][cf1]Reiner; [sm1[nm[sm9[
nm[sm5[nm[sm2[nm=n[sm7[nm[sm6[nm, William [fy45][cf1]*[fy75][cf1
]Steinberg; from [sm1[nm[sm9[nm[sm7[nm[sm6[nm, Andr;Aae Previn. Toured Europe an
d Middle East [sm1[nm[sm9[nm[sm6[nm[sm3[nm, Japan and Korea [sm1[nm[sm9[nm[sm7[n
m[sm2[nm with Steinberg; Europe [sm1[nm[sm9[nm[sm7[nm[sm8[nm with Previn. Moved
into new hall, Heinz Hall for Performing Arts, [sm1[nm[sm9[nm[sm7[nm[sm1[nm.[cm%
8%Scale[fy75][cf1] (from It. [cf2]scala[cf1], `staircase', `ladder'; Ger. [cf2]T
onleiter[cf1]; It. [cf2]scala[cf1]; Fr. [cf2]gamme[cf1]). A series of single not
es progressing up or down stepwise. Thus, a series of notes within an octave use
d as the basis of comp. Scales are arbitrary, and the no. in use throughout the
world is incalculable.[ep^For the older European scales, used in the Church's pl
ainsong and in folk song, see [fy45][cf1]*[fy75][cf2]Modes[cf1]. Two of these an
cient Modes remained in use by composers, when the other [sm1[nm[sm0[nm were alm
ost abandoned, and these are our Major and Minor Scales=mthe latter, however, su
bject to some variations in its [sm6[nmth and [sm7[nmth notes. T
aking C as the keynote these scales (which have provided the chief material of m
usic from about [sma.d.[nm [sm1[nm[sm6[nm[sm0[nm[sm0[nm to [sm1[nm[sm9[nm[sm0[nm
[sm0[nm) run as follows:[ep[cp7,7][ih1n]Major Scale (Semitones [sm3[nm=n[sm4[nm
and [sm7[nm=n[sm8[nm=mthe two halves thus being alike).[ep[el24]Minor Scale=m`Ha
rmonic' Form (Semitones [sm2[nm=n[sm3[nm, [sm5[nm=n[sm6[nm, [sm7[nm=n[sm8[nm; th
ere is the interval of the Augmented Second, [sm6[nm=n[sm7[nm).[ep[el24]Minor Sc
ale=m`Melodic' Form (Semitones [sm2[nm=n[sm3[nm, [sm7[nm=n[sm8[nm ascending; [sm
6[nm=n[sm5[nm, [sm3[nm=n[sm2[nm descending; this avoids the interval of the augm
ented [sm2[nmnd while allowing the Leading Note to retain its function of `leadi
ng' to the Tonic).[ep[el24][ih0][cp8,8]^The Major and Minor scales are spoken of
 as [smdiatonic scales[nm, as distinct from a scale using nothing but semitones,
 which is the [smchromatic scale[nm, for which [sm2[nm different notations are e
mployed:[ep[el2][cp7,7][ih1n]Chromatic Scale (in `melodic' notat
ion=msharps upwards, flats downwards; this notation economizes accidentals),[ep[
epChromatic Scale (in `harmonic' notation).[ep[ep[cp8,8][ih0]^This scale when be
gun on other notes is `harmonically' notated according to the same principles; f
or instance, beginning on D it reads:[ep[ep[cp7,7][ih1n]The scheme is: the notes
 of the major scale, plus those of the harmonic minor scale, plus the minor [sm2
[nmnd and augmented [sm4[nmth.[ep[el2][ih0][cp8,8]^A scale comprising the same n
otes as the Chromatic Scale is the [fy45][cf1]*[fy75][cf1][smdodecaphonic scale[
nm, in which the [sm1[nm[sm2[nm notes are considered to be all of equal status a
nd are so treated, whereas the Chromatic Scale beginning on any particular note
is considered to comprise the Diatonic Scale of that note `coloured' (this is th
e literal meaning of `chromatic') by the addition of the extra semitones.[ep^Sca
les with smaller intervals than the semitone have been introduced. See [fy45][cf
1]*[fy75][cf2]Microtones.[ep[cf1]^The [smwhole-tone scale[nm is
free of semitones and thus allows of only [sm2[nm different series, each with [s
m6[nm notes:[ep[ep[cp7,7]The Whole-tone Scale.[qc[qc[cp8,8]^An extremely widespr
ead scale is the [sm5[nm-note or [smpentatonic scale[nm (common in Scottish, Chi
nese, and other music):[ep[ep[cp7,7]The Pentatonic Scale (commonest order of the
 intervals).[qc[qc[cp8,8]^The Scottish Highland Bagpipe is tuned to a scale that
 cannot be represented in orthodox notation. It is roughly that of the white not
es of the piano with the C and F about a quarter of a tone sharp.[xm[cm%%9%[j1]S
equence. [fy75][cf1]([sm1[nm) In mus. construction, the more or less exact repet
ition of a passage at a higher or lower level of pitch. If the repetition is of
only the melody it is called a [smmelodic sequence[nm; if it is of a series of c
hords it is a [smharmonic sequence[nm. If the intervals between the notes of the
 melody are to some extent altered (a major interval becoming a minor one and so
 forth, as is practically inevitable if the key is unchanged) it
 is called a [smtonal sequence[nm; if there is no variation in the intervals (us
ually achieved by altering not merely the pitch of the notes but also the key) i
t is called a [smreal sequence[nm. If there are several repetitions, some of the
m Tonal and some Real, the result is a [smmixed sequence[nm. A Harmonic Real Seq
uence is sometimes called [fy45][cf1]*[fy75][cf2]Rosalia[cf1] (some authorities,
 however, require as an additional qualification for this description a rise of
[sm1[nm degree of the scale at each repetition).[ep^([sm2[nm) In ecclesiastical
use the term Sequence is applied to a type of hymn which began as one of the man
y forms of interpolation in the original liturgy of the Western Christian Church
. As the traditional plainsong did not provide for such interpolations special m
elodies were composed. In the Church's service Sequences follow (whence the name
) the Gradual and Alleluia. The earliest Sequences were in prose, not, as later,
 in rhymed verse, and the term `Prose' is still sometimes used i
nstead of `Sequence'. The following are examples of the Sequence: [cf2]Dies Irae
[cf1] (now a part of the Requiem), [cf2]Veni Sancte Spiritus Lauda Sion[cf1], an
d [cf2]Stabat Mater dolorosa.[ep[cf1]^([sm3[nm) The It. composer [fy45][cf1]*[fy
75][cf1]Berio uses the title [cf2]Sequence[cf1] ([fy45][cf1]*[fy75][cf2]Sequenza
[cf1]) for a series of works for solo instr. and v.[cm%%10%Short Octave [fy75][c
f1]and [fy65][cf3]Broken Octave. [fy75][cf1]Devices for avoiding expenditure on
the lowest and biggest (and consequently most costly) pipes of the organ, and as
 they were adopted also in domestic kbd. instrs. such as virginals, spinet, and
clavichord, the economic motive probably operated in their case also.[ep^([sm1[n
m) Where the [smshort octave[nm device was adopted the lowest octave incl. only
[sm9[nm notes instead of [sm1[nm[sm3[nm (C, D, E, F, G, A, B;Yh, B, and C) and t
hese were distributed over [sm6[nm long finger-keys and [sm3[nm short ones, the
omitted notes being those which in the days before equal [fy45][
cf1]*[fy75][cf1]temperament were not likely to be needed in the bass.[ep^([sm2[n
m) Where the [smbroken octave[nm device was adopted the arrangement was generall
y the following or something like it. The lowest octave was complete from C to C
, except that the lowest C;Yi was replaced by a more useful note, the A from bel
ow. This device was still to be seen in some Eng. organs at the beginning of the
 [sm1[nm[sm9[nmth cent.[cm%[fy65][cc27,3,8,8]Slur. [fy75][cf1]Curved line, its v
arious uses being:[ep[ep[cf2]The Tie or Bind[qc[dt5,22][bt[nt[cf1,7,7]The two no
tes become one (see also article [cf2]Tie or Bind[cf1]).[ep[et[ep[ep[cf2,8,8]The
 Slur, or Legato[cf1] ([cf2]or Bowing Mark[cf1])[qc[cp7,7][bt[nt^All the notes a
ffected by the curve are to be played smoothly. In str. mus. they are to be play
ed in one movement of the bow.[ep[et[ep[ep[cf2,8,8]The Phrase Mark[qc[qc[dt9,18]
The Syllable Mark[qc[bt[nt^[cf1,7,7]The mark is to make clearer the fitting of t
he notes to the syllables.[ep[et[btThe sun=msinks to rest[ep[et[
cf2,8,8]The Portamento Mark[qc[bt[nt[cf1,7,7]^Instead of jumping cleanly  the si
nger is to slide from the one note to the other, taking all intervening pitches
en route. The same effect is possible on bowed instr. but here a wavy line is so
metimes the indication.[ep[et[ep[bt[abfor ev - er - more[qc[et[u20][te









[do35][j99]MIS8[ep[u1]024791[cmConcise Oxford Dictionary of Music[cmMIS8[cm35[cm
1[cm30.10.79[cm8[cm131[cm14[cm2[cm6.11.79[cm1[cm[j1]%1%Smalley, Roger[fy75][cf1]
 ([cf2]b[cf1] Swinton, [sm1[nm[sm9[nm[sm4[nm[sm3[nm). Eng. com~poser and pianist
. Studied RCM and later with Stockhausen. Specialized as pianist in contem~[chpo
rary mus. Dir., Intermodulation, instr. ens. for scores involving live elecs. Us
es elecs. and aleatory techniques in comps. Author of articles on contemporary m
us. Prin. works:[xm[cm[j2][smorch[nm: [fy75][cf2]Beat Music[cf1], with amplified
 instr. ([sm1[nm[sm9[nm[sm7[nm[sm1[nm); [cf2]Gloria tibi Trinitas I[cf1] ([sm1[n
m[sm9[nm[sm6[nm[sm5[nm); [cf2]Variations[cf1], str. ([sm1[nm[sm9[nm[sm6[nm[sm4[n
m=n[sm7[nm); [cf2]Strata[cf1], [sm1[nm[sm5[nm solo str. ([sm1[nm[sm9[nm[sm7[nm[s
m1[nm).[ep[smvocal[nm: [cf2]Elegies[cf1] ([sm4[nm Rilke poems), sop., ten., orch
. ([sm1[nm[sm9[nm[sm6[nm[sm5[nm); [cf2]The Crystal Cabinet[cf1], unacc. ch. ([sm
1[nm[sm9[nm[sm6[nm[sm7[nm); [cf2]Missa brevis[cf1], [sm1[nm[sm6[
nm solo vv. ([sm1[nm[sm9[nm[sm6[nm[sm7[nm); [cf2]The Song of the Highest Tower[c
f1], sop., bar., ch., orch.[ep[sminstr. ens.[nm: [cf2]Melody Study [cf1]I and II
 ([sm1[nm[sm9[nm[sm7[nm[sm0[nm); [cf2]Missa Parodia I[cf1] pf. solo, II, pf. non
et ([sm1[nm[sm9[nm[sm6[nm[sm7[nm); [cf2]Pulses[cf1], brass and perc. ([sm1[nm[sm
9[nm[sm6[nm[sm9[nm); [cf2]Monody[cf1], pf. and elecs. ([sm1[nm[sm9[nm[sm7[nm[sm2
[nm); [cf2]Transformation[cf1], pf. and live elecs.; [cf2]Zeitebenen[cf1], [sm4[
nm players and prepared tape ([sm1[nm[sm9[nm[sm7[nm[sm3[nm).[ep[smchamber mus.[n
m: Str. sextet ([sm1[nm[sm9[nm[sm6[nm[sm5[nm).[ep[smpiano[nm: Pf. pieces I=nV ([
sm1[nm[sm9[nm[sm6[nm[sm2[nm=n[sm3[nm); [cf2]Accord[cf1], [sm2[nm pf. ([sm1[nm[sm
9[nm[sm7[nm[sm5[nm).[cm%[j1]%2%Smith Brindle, Reginald[fy75][cf1] ([cf2]b[cf1] B
amber Bridge, Lancs., [sm1[nm[sm9[nm[sm1[nm[sm7[nm). Eng. composer and author. S
tudied Univ. College of N. Wales, Bangor, [sm1[nm[sm9[nm[sm4[nm[sm6[nm=n[sm9[nm,
 S. Cecilia Acad., Rome, [sm1[nm[sm9[nm[sm4[nm[sm9[nm=n[sm5[nm[s
m2[nm (comp. with Pizzetti). Studied privately with Dallapiccola in Florence [sm
1[nm[sm9[nm[sm4[nm[sm9[nm and [sm1[nm[sm9[nm[sm5[nm[sm2[nm=n[sm3[nm. Worked for
It. radio [sm1[nm[sm9[nm[sm5[nm[sm6[nm=n[sm6[nm[sm1[nm. Taught at Univ. Coll., B
angor, [sm1[nm[sm9[nm[sm6[nm[sm7[nm=n[sm7[nm[sm0[nm. Prof. of mus., Surrey Univ.
, from [sm1[nm[sm9[nm[sm7[nm[sm0[nm. Mus. influenced by It. [cf2]avant-garde[cf1
] sch. of Berio, Maderna, Nono, etc. Books incl. [cf2]Serial Composition[cf1] ([
sm1[nm[sm9[nm[sm6[nm[sm6[nm), [cf2]Contemporary Percussion[cf1] ([sm1[nm[sm9[nm[
sm7[nm[sm0[nm), [cf2]The New Music[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm5[nm). Prin. wo
rks:[xm[cm[j2][smopera[nm: [fy75][cf2]Antigone[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm9[n
m).[ep[smorch[nm.: Sym. ([sm1[nm[sm9[nm[sm5[nm[sm4[nm), [cf2]Variations on a The
me of Dallapiccola[cf1] ([sm1[nm[sm9[nm[sm5[nm[sm5[nm); [cf2]Epitaph for Alban B
erg[cf1], str. ([sm1[nm[sm9[nm[sm5[nm[sm5[nm); [cf2]Symphonic Variations[cf1] ([
sm1[nm[sm9[nm[sm5[nm[sm7[nm); [cf2]Cosmos[cf1] ([sm1[nm[sm9[nm[s
m5[nm[sm9[nm), [cf2]Via Crucis[cf1], str. ([sm1[nm[sm9[nm[sm6[nm[sm0[nm), [cf2]H
omage to H. G. Wells[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm0[nm); cl. conc. ([sm1[nm[sm9
[nm[sm6[nm[sm0[nm); [cf2]Creation Epic[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm4[nm); [cf2
]Apocalypse[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm0[nm).[ep[smchorus and orch.[nm: [cf2]
Gr;Agafico de la Peternera[cf1] ([sm1[nm[sm9[nm[sm5[nm[sm6[nm); [cf2]Extremum Ca
rmen[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm1[nm).[ep[smunacc. chorus[nm: [cf2]Vivo sin V
ivir[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm8[nm); [cf2]Discoveries[cf1] ([sm1[nm[sm9[nm[
sm7[nm[sm0[nm); [cf2]Windhover[cf1] ([sm1[nm[sm9[nm[sm7[nm[sm1[nm).[ep[smvoice a
nd instr.[nm: [cf2]Genesis Dream[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm2[nm); [cf2][sm3[
nm Japanese Lyrics[cf1] ([sm1[nm[sm9[nm[sm6[nm[sm6[nm); [cf2]Amalgam[cf1] ([sm1[
nm[sm9[nm[sm6[nm[sm8[nm).[ep[smchamber music[nm: [cf2]String Quartet Music[cf1]
([sm1[nm[sm9[nm[sm5[nm[sm8[nm); [cf2]Concerto for [sm5[nm instr. and perc. [cf1]
([sm1[nm[sm9[nm[sm6[nm[sm0[nm); [cf2]Tre dimensione[cf1], harp,
vibraphone, hpd. ([sm1[nm[sm9[nm[sm6[nm[sm5[nm); [cf2]Seg~ments and Variants[cf1
], wind quintet ([sm1[nm[sm9[nm[sm6[nm[sm5[nm); [cf2]In memoriam Jan Palach[cf1]
, elec. organ ([sm1[nm[sm9[nm[sm6[nm[sm9[nm).[ep[smguitar[nm: [cf2]Variants[cf1]
 ([sm1[nm[sm9[nm[sm7[nm[sm0[nm); [cf2]Trio[cf1], [sm3[nm guitars ([sm1[nm[sm9[nm
[sm7[nm[sm0[nm); [cf2]Concerto breve[cf1], [sm8[nm guitars and perc. ([sm1[nm[sm
9[nm[sm7[nm[sm0[nm).[ep[smelectronic[nm: [cf2]February Run[cf1], tape ([sm1[nm[s
m9[nm[sm7[nm[sm1[nm); [cf2][sm3[nm Pieces[cf1], tape ([sm1[nm[sm9[nm[sm7[nm[sm1[
nm).[cm%[j1]%11%Staccato[fy75][cf1] (It.). Detached. Method of playing a note (s
hown by a dot over the note) so that it is shortened=mand thus `detached' from i
ts succes~sor=mby being held for less than its full value. Superlative is [cf2]s
taccatissimo[cf1]. The various signs used to indicate degrees of staccato are:[x
m[cm[cc27][dt8,1p6g,8,1p6g,8][bt[smmezzo-staccato[nm[qc(shorten the note by[qcab
out ;FB)[qc[nt[smstaccato[nm[qc(shorten the notes by[qcabout ;FD
)[qc[nt[smstaccatissimo[nm[qc(shorten the notes by[qcabout ;FF)[qc[et[fy75][cf2]
Written[ep[ep[ep[bt[cf1]or[cf2][qc[et[ep[epPlayed (approximately)[ep[ep[ep[cf1]^
The sign ___ (i.e. a combination of accent marks and staccato marks) indicates a
 combination of pressure with a slight detachment.[ep%[ep[j1]%12%Stadlen, Peter[
fy75][cf1] ([cf2]b[cf1] Vienna, [sm1[nm[sm9[nm[sm1[nm[sm0[nm). Austrian-born pia
nist, cond., and mus. critic (Brit. citizen since [sm1[nm[sm9[nm[sm4[nm[sm6[nm).
 Studied Vienna Hochschule f;Auur Musik [sm1[nm[sm9[nm[sm2[nm[sm9[nm=n[sm3[nm[sm
3[nm (pf. with Kreutzer). Career as pianist from [sm1[nm[sm9[nm[sm3[nm[sm4[nm, s
pecializing in Viennese classics and [sm2[nmnd Viennese Sch. Gave f.ps. of Weber
n's Pf. Variations ([sm1[nm[sm9[nm[sm3[nm[sm7[nm), Krenek's [cf2]Bagatelles[cf1]
 for pf. duet, with composer ([sm1[nm[sm9[nm[sm3[nm[sm6[nm). Soloist in European
 f.p. of Schoenberg conc. (Darmstadt [sm1[nm[sm9[nm[sm4[nm[sm8[nm). Settled in E
ng. [sm1[nm[sm9[nm[sm3[nm[sm9[nm. Master classes in modern pf. w
orks, Darmstadt [sm1[nm[sm9[nm[sm4[nm[sm8[nm=n[sm5[nm[sm1[nm. Schoenberg Medal [
sm1[nm[sm9[nm[sm5[nm[sm2[nm. Mus. lecturer, Reading Univ., [sm1[nm[sm9[nm[sm6[nm
[sm5[nm=n[sm9[nm. Mus. critic, [cf2]Daily Telegraph[cf1], from [sm1[nm[sm9[nm[sm
6[nm[sm0[nm (chief critic from [sm1[nm[sm9[nm[sm7[nm[sm7[nm). Author of monograp
hs on Beet~[chhoven's metronome marks, decline of serialism, Schoenberg and [cf2
]Sprechgesang[cf1], and Schindler's Beethoven forgeries.[cm%%1%Takt[fy75][cf1] (
Ger.). (a) `Time' (b) `Beat' (c) `Measure' (i.e. bar). So [fy65][cf3]im Takt[fy7
5][cf1], `in time' (;eq`A tempo'); [fy65][cf3]ein Takt wie vorher zwei[fy75][cf1
], `one beat as previously two' (one beat allowed as much time as two beats prev
iously).[ep^Among compounds and derivatives of Takt, are: Taktart, `time-species
'=mduple, triple, etc.; taktfest (`time-firm'), `in steady time'; Takt halten, `
to hold (keep) time'; taktieren, `to beat time'; Taktschlag (`time-stroke'), `be
at'; Taktzeichen (`time-sign'), `signature'; Taktwechsel, `time-
change'; taktm;Auassig (`time moderated'), generally meaning the same as [fy45][
cf1]*[fy75][cf1]`Tempo commodo'; Taktnote (`bar-note'), `semibreve'; Taktpause,
`measure-rest' (i.e. bar-rest); Taktstock (`time-stick'), `baton'; Taktstrich (`
bar-stroke'), `bar-line'; taktig, `bar-ish', in such connexion as [sm3[nm-taktig
, `three-bar-ish', i.e. having [sm3[nm-bar ([sm3[nm-measure) phrases.[cm%2Tarant
ella[fy75][cf1] (It.), [fy65][cf3]Tarantelle[fy75][cf1] (Fr.). Neapolitan dance
in [cf9]6[cf13][zs8 [cf1]time which probably takes its name from Taranto, in the
 heel of Italy, or from a spider common there, the tarantula, whose bite is alle
ged to be poisonous and to cause the disease known as Tarantism, of which diseas
e the dance is supposed to be both symptom and cure. The music is of great rapid
ity with an approach to the [fy45][cf1]*[fy75][cf1]perpetuum mobile. The saltare
llo is a similar type. Chopin, Rossini, Liszt, and Mendelssohn are among compose
rs who have used the [cf2]tarantella[cf1] in their works.[cm%5%T
chaikovsky[fy75][cf1] (Chaykovsky), [fy65][cf3]Pyotr [fy75][cf1](Ilyich) ([cf2]b
[cf1] Votkinsk, [sm1[nm[sm8[nm[sm4[nm[sm0[nm; [cf2]d[cf1] St Petersburg, [sm1[nm
[sm8[nm[sm9[nm[sm3[nm). Russ. composer and cond. Studied law before entering St
Petersburg Cons. (comp. with A. Rubinstein) [sm1[nm[sm8[nm[sm6[nm[sm3[nm=n[sm5[n
m. Went to Moscow [sm1[nm[sm8[nm[sm6[nm[sm6[nm, becoming prof. of harmony at new
 Cons. under directorship of N. Rubinstein. During first [sm2[nm years there wro
te First Sym. and opera [cf2]Voyevoda[cf1]. In [sm1[nm[sm8[nm[sm6[nm[sm8[nm met
nationalist group of young Russ. composers headed by Rimsky-Korsakov and was sti
rred by their enthusiasm, as is shown by his [sm2[nmnd Sym., but later came to b
e regarded by them as cosmopolitan rather than truly Russ. From [sm1[nm[sm8[nm[s
m6[nm[sm9[nm to [sm1[nm[sm8[nm[sm7[nm[sm5[nm wrote [sm3[nm more operas and first
 pf. conc. and was mus. critic of [cf2]Russkiye vedomosti[cf1] [sm1[nm[sm8[nm[sm
7[nm[sm2[nm=n[sm6[nm, going to first Bayreuth Fest. [sm1[nm[sm8[
nm[sm7[nm[sm6[nm. In [sm1[nm[sm8[nm[sm7[nm[sm7[nm married one of his pupils, sep
arating from her [sm9[nm weeks later and coming near to mental collapse, psychol
ogical result of fatal step for a man of homosexual tendencies. At this time was
 taken under patronage of wealthy widow, Nadejda von Meck, who out of admiration
 gave him yearly allowance which enabled him to abandon teach~ing and devote him
self wholly to comp. She and Tchaikovsky met but never spoke to each other, thou
gh they corresponded voluminously. [sm4[nmth Sym. is ded. to her. Went to Switz.
 and It., composing opera [fy45][cf1]*[fy75][cf2]Evgeny Onegin[cf1], prod. by[fj
students of Moscow Cons. [sm1[nm[sm8[nm[sm7[nm[sm9[nm, with moderate success. By
 [sm1[nm[sm8[nm[sm8[nm[sm0[nm, his works were popular in Russia (thanks to advoc
acy of N. Rubinstein), and in Brit. and USA but still met with hostility in Pari
s and Vienna. In [sm1[nm[sm8[nm[sm8[nm[sm5[nm bought country house, first of sev
eral, at Klin, living in hermit-like isolation. There, wrote [fy
45][cf1]*[fy75][cf2]Manfred[cf1] and in [sm1[nm[sm8[nm[sm8[nm[sm7[nm made d;Aaeb
ut in Moscow as cond. of rev. version of opera [cf2]Vakula the Smith[cf1] under
title [cf2]Oxana's Caprice[cf1]. In [sm1[nm[sm8[nm[sm8[nm[sm8[nm toured Ger., Fr
., and London as cond., returning to Ger. and Eng. in [sm1[nm[sm8[nm[sm8[nm[sm9[
nm. Ballet [fy45][cf1]*[fy75][cf2]Sleeping Beauty[cf1] prod. [sm1[nm[sm8[nm[sm9[
nm[sm0[nm, after which Tchai~kovsky went to Florence to work on opera [fy45][cf1
]*[fy75][cf2]Queen of Spades[cf1], prod. St Petersburg [sm1[nm[sm8[nm[sm9[nm[sm0
[nm. Year ended with sudden rupture of relationship with Mme von Meck; illness h
ad dictated her decision, which wounded Tchaikovsky deeply. Visited USA with gre
at success [sm1[nm[sm8[nm[sm9[nm[sm1[nm, and in Jan. [sm1[nm[sm8[nm[sm9[nm[sm2[n
m heard Mahler conduct [cf2]Evgeny Onegin[cf1] at Hamburg. Ballet [fy45][cf1]*[f
y75][cf2]Nutcracker[cf1] comp. [sm1[nm[sm8[nm[sm9[nm[sm1[nm=n[sm2[nm, and work s
tarted on a [sm6[nmth Sym. In that year, again visited Vienna an
d in [sm1[nm[sm8[nm[sm9[nm[sm3[nm went to Eng., where hon. doctorate of mus. was
 conferred on him by Cambridge Univ. During [sm1[nm[sm8[nm[sm9[nm[sm3[nm wrote [
sm6[nmth Sym., having abandoned sym. begun in [sm1[nm[sm8[nm[sm9[nm[sm1[nm=n[sm2
[nm and re-worked it as a [sm3[nmrd pf. conc., eventually retaining only [sm1[nm
 movement ([sm2[nmnd and [sm3[nmrd orch. from the surviving sketches by Taneyev
after Tchaikov~sky's death). F.p. of the sym. was only moderately successful, th
ough Tchaikovsky was convinced it was his best work. It is usually stated that [
sm4[nm days later felt ill and drank a large glassful of unboiled water (possibl
y with deliberate intent) and developed cholera, which led to his death. But in
[sm1979[nm the Russian scholar Alexandra Orlova revealed some substantiation for
 the theory that the composer's death was suicide by poison, ordered by a privat
e court of his former law-student colleagues to prevent revelation of a homosexu
al sandal involving the aristocracy.[ep%%6%^Few composers are mo
re popular with audiences than Tchaikovsky; the reasons are several and understa
ndable. His music is extremely tuneful, luxuriously and colourfully scored, and
filled with emotional fervour directed to the heart rather than to the head (tho
ugh the notion that Tchaikovsky's syms. are lacking in symphonic thinking and st
ructure does not bear serious consideration). Undoubtedly the emotional tem~pera
ture of the mus. reflected the man's nature. He was doubly afflicted: by repress
ed homosex~uality (hence his disastrous attempt at marriage) and by the tendency
 to extreme fluctuations between elation and depression, each success being foll
owed by a period of introspective gloom and melancholy which stemmed from psycho
~logical defects rather than from `typical Russian melancholy'. This showed itse
lf also in his attitude to his visits abroad. As soon as he left Russia he was i
ll with homesickness; once back, he was restlessly planning to be off again.[ep^
In [sm1[nm[sm9[nmth-cent. Russ. mus., Tchaikovsky stands alone.
His [cf2]Romeo and Juliet[cf1] was ded. to Balakirev, one of the `Five', but he
never identified himself with out-and-out nationalism. He succumbed to the influ
ence of neither Brahms nor Wagner, but greatly admired the Fr. mus. of Bizet and
 Saint-Sa;Auens. This can be linked with his lifelong passion for Mozart, and ma
ny passages in Tchaikovsky's mus. are as delicately detailed and coloured as wor
ks by Bizet and Mozart. The other element of his nature, the fate-laden, Byronic
, emotional impact of the last [sm3[nm syms., is traceable in many episodes in t
he operas, notably [cf2]Evgeny Onegin[cf1]. None of his operas was a success on
its first appearance, but [cf2]Onegin[cf1] and [cf2]Queen of Spades[cf1] are now
 widely perf. and admired, and adventurous cos. have explored the others, which,
 however, are marred by dramatic defects. The true theat~rical Tchaikovsky is to
 be found in the ballets, a supreme combination of melodic inventiveness, grand
sweep, and constant freshness. Nor should the superb songs be fo
rgotten: in them, in miniature, the soul of Tchaikovsky is enshrined as surely a
s in the great syms., concs., and orch. masterpieces. Prin. works (dates of comp
.):[xm[cm[j2][smoperas[nm: [fy75][cf2]Voyevode[cf1], Op. [sm3[nm (____) [sm1[nm[
sm8[nm[sm6[nm[sm7[nm=n[sm8[nm; [cf2]Undine[cf1] (destroyed) [sm1[nm[sm8[nm[sm6[n
m[sm9[nm; [cf2]The [fy45][cf1]*[fy75][cf2]Oprichnik[cf1] ([cf2]The Life Guardsma
n[cf1]) [sm1[nm[sm8[nm[sm7[nm[sm0[nm=n[sm2[nm; [cf2]Vakula the Smith[cf1], Op. [
sm1[nm[sm4[nm ([cf2]Vakula kuznets[cf1]) [sm1[nm[sm8[nm[sm7[nm[sm4[nm, rev. [sm1
[nm[sm8[nm[sm8[nm[sm5[nm as [cf2]Cherevichki[cf1] (The Little Shoes) or [cf2]Oxa
na's Caprice[cf1]; [fy45][cf1]*[fy75][cf2]Eugene Onegin[cf1] ([cf2]Evgeny Onyegi
n[cf1]), Op. [sm2[nm[sm4[nm, [sm1[nm[sm8[nm[sm7[nm[sm7[nm=n[sm8[nm; [cf2]The Mai
d of Orleans[cf1] ([cf2]Orleanskaya Dyeva[cf1]) [sm1[nm[sm8[nm[sm7[nm[sm8[nm=n[s
m9[nm; [cf2]Mazeppa[cf1], [sm1[nm[sm8[nm[sm8[nm[sm1[nm=n[sm3[nm; [cf2]The Sorcer
ess[cf1] ([cf2]Charodeyka[cf1]) [sm1[nm[sm8[nm[sm8[nm[sm5[nm=n[s
m7[nm; [fy45][cf1]*[fy75][cf2]Queen of Spades[cf1] ([cf2]Pikovaya Dama[cf1]), Op
. [sm6[nm[sm8[nm, [sm1[nm[sm8[nm[sm9[nm[sm0[nm; [fy45][cf1]*[fy75][cf2]Yolanta[c
f1], Op. [sm6[nm[sm9[nm, [sm1[nm[sm8[nm[sm9[nm[sm1[nm.[ep%%7%[smballets[nm: [fy4
5][cf1]*[fy75][cf2]Swan Lake[cf1] ([cf2]Lebedino ozero[cf1]), Op. [sm2[nm[sm0[nm
 ([sm1[nm[sm8[nm[sm7[nm[sm5[nm=n[sm6[nm); [cf2]The [fy45][cf1]*[fy75][cf2]Sleepi
ng Beauty[cf1] ([cf2]Spyashchaya krasavitsa[cf1]), Op. [sm6[nm[sm6[nm ([sm1[nm[s
m8[nm[sm8[nm[sm8[nm=n[sm9[nm); [fy45][cf1]*[fy75][cf2]Nutcracker[cf1] ([cf2]Shch
elkunchik[cf1]), Op. [sm7[nm[sm1[nm ([sm1[nm[sm8[nm[sm9[nm[sm1[nm=n[sm2[nm).[ep[
smorch[nm: Symphonies: No. [sm1[nm in G minor, Op. [sm1[nm[sm3[nm ([cf2]Winter D
aydreams[cf1]), ([sm1[nm[sm8[nm[sm6[nm[sm6[nm), No. [sm2[nm in C minor, Op. [sm1
[nm[sm7[nm ([fy45][cf1]*[fy75][cf2]Ukrainian[cf1] or [fy45][cf1]*[fy75][cf2]Litt
le Russian[cf1]), ([sm1[nm[sm8[nm[sm7[nm[sm2[nm, rev. [sm1[nm[sm8[nm[sm7[nm[sm9[
nm), No. [sm3[nm in D, Op. [sm2[nm[sm9[nm ([fy45][cf1]*[fy75][cf
2]Polish[cf1]), ([sm1[nm[sm8[nm[sm7[nm[sm5[nm), No. [sm4[nm in F minor, Op. [sm3
[nm[sm6[nm ([sm1[nm[sm8[nm[sm7[nm[sm7[nm=n[sm8[nm), No. [sm5[nm in E minor, Op.
[sm6[nm[sm4[nm ([sm1[nm[sm8[nm[sm8[nm[sm8[nm), No. [sm6[nm in B minor, Op. [sm7[
nm[sm4[nm ([fy45][cf1]*[fy75][cf2]Pathetic[cf1]) ([sm1[nm[sm8[nm[sm9[nm[sm3[nm);
 Concertos, etc.: Piano: No. [sm1[nm in B;Yh minor, Op. [sm2[nm[sm3[nm ([sm1[nm[
sm8[nm[sm7[nm[sm4[nm=n[sm5[nm), No. [sm2[nm in G, Op. [sm4[nm[sm4[nm ([sm1[nm[sm
8[nm[sm7[nm[sm9[nm=n[sm8[nm[sm0[nm, rev. [sm1[nm[sm8[nm[sm9[nm[sm3[nm Ziloty), [
cf2]Concert Fantasy[cf1], Op. [sm5[nm[sm6[nm ([sm1[nm[sm8[nm[sm8[nm[sm4[nm): Vn.
 Conc. in D, Op. [sm3[nm[sm5[nm ([sm1[nm[sm8[nm[sm7[nm[sm8[nm), [cf2]S;Aaer;Aaen
ade m;Aaelancolique[cf1], vn., Op. [sm2[nm[sm6[nm ([sm1[nm[sm8[nm[sm7[nm[sm5[nm)
, [cf2]Valse-Scherzo[cf1], vn., Op. [sm3[nm[sm4[nm ([sm1[nm[sm8[nm[sm7[nm[sm7[nm
); [cf2]Variations on a Rococo Theme[cf1], vc., Op. [sm3[nm[sm3[nm ([sm1[nm[sm8[
nm[sm7[nm[sm6[nm), [cf2]Pezzo capric~cioso[cf1], vc., Op. [sm6[n
m[sm2[nm ([sm1[nm[sm8[nm[sm8[nm[sm7[nm); Symphonic fantasies: [cf2]The [fy45][cf
1]*[fy75][cf2]Tempest[cf1], Op. [sm1[nm[sm8[nm ([sm1[nm[sm8[nm[sm7[nm[sm3[nm), [
fy45][cf1]*[fy75][cf2]Francesca da Rimini[cf1], Op. [sm3[nm[sm2[nm ([sm1[nm[sm8[
nm[sm7[nm[sm6[nm); [cf2]Slavonic March[cf1], Op. [sm3[nm[sm1[nm ([sm1[nm[sm8[nm[
sm7[nm[sm6[nm); [cf2]Serenade[cf1], str., Op. [sm4[nm[sm8[nm ([sm1[nm[sm8[nm[sm8
[nm[sm0[nm), [fy45][cf1]*[fy75][cf2][sm1[nm[sm8[nm[sm1[nm[sm2[nm, Ceremonial Ove
rture[cf1], Op. [sm4[nm[sm9[nm ([sm1[nm[sm8[nm[sm8[nm[sm0[nm), [fy45][cf1]*[fy75
][cf2]Manfred Symphony[cf1], Op. [sm5[nm[sm8[nm ([sm1[nm[sm8[nm[sm8[nm[sm5[nm),
Ov., [cf2]The Storm[cf1], Op. [sm7[nm[sm6[nm ([sm1[nm[sm8[nm[sm6[nm[sm4[nm), sym
phonic poem [cf2]Fate[cf1], Op. [sm7[nm[sm7[nm ([sm1[nm[sm8[nm[sm6[nm[sm8[nm); F
antasy Overtures: [fy45][cf1]*[fy75][cf2]Hamlet[cf1], Op. [sm6[nm[sm7[nma ([sm1[
nm[sm8[nm[sm8[nm[sm8[nm), [fy45][cf1]*[fy75][cf2]Romeo and Juliet[cf1] ([sm1[nm[
sm8[nm[sm6[nm[sm9[nm, rev. [sm1[nm[sm8[nm[sm7[nm[sm0[nm and [sm1
[nm[sm8[nm[sm8[nm[sm0[nm); [cf2]Italian Caprice[cf1], Op. [sm4[nm[sm5[nm ([sm1[n
m[sm8[nm[sm8[nm[sm0[nm); Symphonic ballad, [cf2]Voyevoda[cf1], Op. [sm7[nm[sm8[n
m ([sm1[nm[sm8[nm[sm9[nm[sm1[nm); [cf2]Suites[cf1]: No. [sm1[nm in D, Op. [sm4[n
m[sm3[nm ([sm1[nm[sm8[nm[sm7[nm[sm8[nm=n[sm9[nm), No. [sm2[nm in C, Op. [sm5[nm[
sm3[nm ([sm1[nm[sm8[nm[sm8[nm[sm3[nm), No. [sm3[nm in G, Op. [sm5[nm[sm5[nm ([sm
1[nm[sm8[nm[sm8[nm[sm4[nm, [cf2]Theme and Variations[cf1] movement often perf. s
eparately), No. [sm4[nm [fy45][cf1]*[fy75][cf2]Moz~artiana[cf1], Op. [sm6[nm[sm1
[nm ([sm1[nm[sm8[nm[sm8[nm[sm7[nm), [cf2]Nutcracker[cf1], Op. [sm7[nm[sm1[nma ([
sm1[nm[sm8[nm[sm9[nm[sm2[nm). (N.B. The `Sym. No.|[sm7[nm in E;Yh' and the `Pf.
Conc. No. [sm3[nm in E;Yh' are compilations by other hands. The sym. was begun b
y Tchaikovsky in [sm1[nm[sm8[nm[sm9[nm[sm1[nm=n[sm2[nm, but abandoned. He scored
 first move~ment as pf. conc., Taneyev later adding [cf2]andante[cf1] and [cf2]f
inale[cf1] from sketches of the sym. S. Bogatyrev ([sm1[nm[sm8[n
m[sm9[nm[sm0[nm=n[sm1[nm[sm9[nm[sm6[nm[sm0[nm) prod. perf. version of orig. sym.
 from same sketches. Taneyev also completed vocal duet version ([sm1[nm[sm8[nm[s
m9[nm[sm3[nm) of part of [cf2]Romeo and Juliet[cf1] ov. for sop., ten., and orch
.).[ep[smchamber music[nm: Str. Qts.: No. [sm1[nm in D, Op. [sm1[nm[sm1[nm (cont
ains [cf2]Andante cantabile[cf1] often played sep~[charately) ([sm1[nm[sm8[nm[sm
7[nm[sm1[nm), No. [sm2[nm in F, Op. [sm2[nm[sm2[nm ([sm1[nm[sm8[nm[sm7[nm[sm4[nm
), No. [sm3[nm in E;Yh minor, Op. [sm3[nm[sm0[nm ([sm1[nm[sm8[nm[sm7[nm[sm6[nm);
 Pf. Trio in A minor (in memory of a great artist), Op. [sm5[nm[sm0[nm ([sm1[nm[
sm8[nm[sm8[nm[sm1[nm=n[sm2[nm); [cf2]Souvenir de Florence[cf1], str. sextet, Op.
 [sm7[nm[sm0[nm ([sm1[nm[sm8[nm[sm8[nm[sm7[nm=n[sm9[nm[sm2[nm).[ep[smpiano[nm: [
cf2]Valse Caprice[cf1], Op. [sm4[nm ([sm1[nm[sm8[nm[sm6[nm[sm8[nm); [cf2]Capricc
io[cf1], Op. [sm8[nm ([sm1[nm[sm8[nm[sm7[nm[sm0[nm); [cf2][sm3[nm Pieces[cf1], O
p. [sm9[nm ([sm1[nm[sm8[nm[sm7[nm[sm0[nm); [cf2]Nocturne[cf1] an
d [cf2]Humoreske[cf1], Op. [sm1[nm[sm0[nm ([sm1[nm[sm8[nm[sm7[nm[sm1[nm); [cf2][
sm6[nm Pieces[cf1], Op. [sm1[nm[sm9[nm ([sm1[nm[sm8[nm[sm7[nm[sm3[nm); [cf2][sm6
[nm Pieces on [sm1[nm Theme[cf1], Op. [sm2[nm[sm1[nm ([sm1[nm[sm8[nm[sm7[nm[sm3[
nm); Sonata in G, Op. [sm3[nm[sm7[nm ([sm1[nm[sm8[nm[sm7[nm[sm8[nm); [cf2]The Se
asons[cf1], [sm1[nm[sm2[nm characteristic pieces ([sm1[nm[sm8[nm[sm7[nm[sm5[nm=n
[sm6[nm); [cf2]Children's Album: [sm2[nm[sm4[nm Pieces[cf1], Op. [sm3[nm[sm9[nm
([sm1[nm[sm8[nm[sm7[nm[sm8[nm); [cf2][sm1[nm[sm2[nm Pieces[cf1], Op. [sm4[nm[sm0
[nm ([sm1[nm[sm8[nm[sm7[nm[sm8[nm); [cf2][sm6[nm Pieces[cf1], Op. [sm5[nm[sm1[nm
 ([sm1[nm[sm8[nm[sm8[nm[sm2[nm); [cf2]Dumka[cf1], Op. [sm5[nm[sm9[nm ([sm1[nm[sm
8[nm[sm8[nm[sm6[nm); [cf2][sm1[nm[sm8[nm Pieces[cf1], Op. [sm7[nm[sm2[nm ([sm1[n
m[sm8[nm[sm9[nm[sm3[nm; the [sm1[nm[sm0[nmth of these, [cf2]Scherzo-Fantaisie[cf
1] in E;Yh minor, exists in orch. sketch of [sm1[nm[sm8[nm[sm9[nm[sm1[nm=n[sm2[n
m and is presumed to have been intended as scherzo of projected
sym. Incorporated by Bogatyrev in `[sm7[nmth Sym.', see above); Sonata in C;Yi m
inor (posth.).[ep[smchoral[nm: [cf2]Liturgy of St John Chrysostom[cf1], Op. [sm4
[nm[sm1[nm ([sm1[nm[sm8[nm[sm7[nm[sm8[nm); [cf2]Russian Vesper Service[cf1], una
cc., Op. [sm5[nm[sm2[nm ([sm1[nm[sm8[nm[sm8[nm[sm1[nm=n[sm2[nm).[ep[smsongs[nm:
Tchaikovsky's songs were pubd. in the following groups (no. of songs, Op. no. an
d date): [sm6[nm, Op. [sm6[nm, [sm1[nm[sm8[nm[sm6[nm[sm9[nm; [sm6[nm, Op. [sm1[n
m[sm6[nm, [sm1[nm[sm8[nm[sm7[nm[sm2[nm; [sm6[nm, Op. [sm2[nm[sm5[nm, [sm1[nm[sm8
[nm[sm7[nm[sm4[nm; [sm6[nm, Op. [sm2[nm[sm7[nm, [sm1[nm[sm8[nm[sm7[nm[sm4[nm; [s
m6[nm, Op. [sm2[nm[sm8[nm, [sm1[nm[sm8[nm[sm7[nm[sm4[nm; [sm6[nm, Op. [sm3[nm[sm
8[nm, [sm1[nm[sm8[nm[sm7[nm[sm7[nm; [sm7[nm, Op. [sm4[nm[sm7[nm, [sm1[nm[sm8[nm[
sm7[nm[sm9[nm; [sm1[nm[sm6[nm for children, Op. [sm5[nm[sm4[nm, [sm1[nm[sm8[nm[s
m8[nm[sm3[nm; [sm6[nm, Op. [sm5[nm[sm7[nm, [sm1[nm[sm8[nm[sm8[nm[sm3[nm; [sm1[nm
[sm2[nm, Op. [sm6[nm[sm0[nm, [sm1[nm[sm8[nm[sm8[nm[sm6[nm; [sm6[
nm, Op. [sm6[nm[sm3[nm, [sm1[nm[sm8[nm[sm8[nm[sm8[nm; [sm6[nm, Op. [sm6[nm[sm5[n
m, [sm1[nm[sm8[nm[sm8[nm[sm8[nm; [sm6[nm, Op. [sm7[nm[sm3[nm, [sm1[nm[sm8[nm[sm9
[nm[sm3[nm. Among the best-known are: [cf2]Again as before[cf1]; [cf2]As they ke
pt on saying[cf1]; [cf2]At the ball[cf1]; [cf2]Behind the window[cf1]; [cf2]Crad
le Song[cf1]; [cf2]Deception[cf1]; [cf2]Don Juan's Serenade[cf1]; [cf2]Evening[c
f1]; [cf2]Exploit[cf1]; [cf2]In the early Spring[cf1]; [cf2]My spoiled darling[c
f1]; [cf2]Night[cf1]; [cf2]No, only he who has known[cf1] ([cf2]None but the lon
ely heart[cf1]) (Op. [sm6[nm No. [sm6[nm); [cf2]Not a word, my friend[cf1]; [cf2
]Over the golden cornfields[cf1]; [cf2]Reconciliation[cf1]; [cf2]To forget so so
on[cf1]; [cf2]Wait[cf1]; [cf2]Why did I dream of you?[cm%[j1]10Thomson, Bryden[f
y75][cf1] ([cf2]b[cf1] Ayr, [sm1[nm[sm9[nm[sm2[nm[sm8[nm). Scottish con~ductor.
Studied R.S.A.M. and conducting with Hans Schmidt-Isserstedt and Igor Markevich.
 Ass. to Ian [fy45][cf1]*[fy75][cf1]Whyte with B.B.C. Scottish O
rch. Cond. opera at Oslo and Stockholm. Prin. cond. BBC Northern S.O. [sm1[nm[sm
9[nm[sm6[nm[sm8[nm=n[sm7[nm[sm3[nm; mus. dir. Ulster Orch. from [sm1977[nm; chie
f guest cond. Trondheim S.O.; prin. cond. BBC Welsh S.O. from [sm1[nm[sm9[nm[sm7
[nm[sm9[nm.[cmTjeknavorian, Loris[fy75][cf1] ([cf2]b[cf1] Broudjerd, Persia, [sm
1[nm[sm9[nm[sm3[nm[sm7[nm). Persian composer, violinist, and conductor of Armeni
an descent. Studied Vienna Acad. of Mus. [sm1[nm[sm9[nm[sm5[nm[sm4[nm=n[sm6[nm[s
m0[nm. Dir., Teheran music archives [sm1[nm[sm9[nm[sm6[nm[sm1[nm. Composer-in-re
sidence, Concordia Univ., Min~nesota, [sm1[nm[sm9[nm[sm6[nm[sm6[nm. Ass. prof. o
f music, Moorhead State Coll., [sm1[nm[sm9[nm[sm6[nm[sm6[nm=n[sm9[nm. Prin. cond
., Teheran Opera [sm1[nm[sm9[nm[sm7[nm[sm2[nm. Mus. dir., London Percussion Virt
uosi. Eng. d;Aaebut as cond., Manchester [sm1[nm[sm9[nm[sm7[nm[sm4[nm, London [s
m1[nm[sm9[nm[sm7[nm[sm5[nm. Works incl. [cf2]Requiem for the Massacred[cf1] for
over [sm6[nm[sm0[nm percussion instrs., ([sm1[nm[sm9[nm[sm7[nm[s
m5[nm) operas, piano concerto, violin concerto, and over [sm3[nm[sm0[nm film sco
res. Settled in Eng.[cm%22%Transposing Instruments. [fy75][cf1]Instruments which
 are not notated at their true pitch but (mechani~cally and without any effort o
n the player's part) produce the effect of that pitch. For example, the cl. is m
ade in several sizes, the B;Yh and A being the most often used because these key
s reduce the difficulty of playing in the flat and sharp keys, respectively, by
reducing the number of flats or sharps with which the player has to cope. In the
 B;Yh instr., that key is to its player the `natural key' (as C is to the pianis
t): the player faced with music in (say) the key of E;Yh finds the music written
 in the key of F, i.e. there are [sm2[nm flats fewer to consider. Similarly with
 the A instrument a piece written in the key of B is notated in the key of D, i.
e. there are [sm3[nm sharps fewer to consider. Thus music for the B;Yh cl. is no
tated a tone higher than it is to sound and music for the A cl.
a minor [sm3[nmrd higher. Many players, with improved mechanism and developed te
chnique, use the B;Yh instrument for all keys, making the transposition mentally
. On the rare C cl. the note sounded is the note written; the E;Yh cl. transpose
s [sm1[nm;FD tones higher than written note; the bass clarinet in B;Yh an octave
 and a tone lower.[ep^The transposing instruments are as follows: (a) Bass Fl.;
(b) Cor Anglais, Ob. d'Amore, Ob. in[fjE;Yh, Heckelphone, Sarrusophone (c) Cl. i
n B;Yh and A, Bass Cl., High Cl. in E;Yh and D, Alto Cl. in E;Yh and F, Basset H
n., Pedal Cl. (d) Saxophones (e) Cornets (f) French Hns. (g) Tpts. (h) Saxhorns
(i) Kettle[chdrums (up to Mozart's period, but excluding Handel).[cm%[u20][te




[do25][j99]~~~~~~[sm024791[nm_N[sm001[nm[ep~[u1]~~~~[sm024791[nm[cmConcise Oxfor
d Dict. of ~Music[cmN[sm001[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm04[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm1[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~~[PN493,0,0,R,I0][ap[j3]~N[c
m~~[j1]Nabokov, Nicolai [fy75,1](Nicolas) ([cf2]b [cf1]Lubcha, nr. ~Minsk, [sm19
03[nm; [cf2]d[cf1] NY, [sm1978[nm). Russ.-born composer ~(Amer. citizen from [sm
1939[nm). Studied in Yalta, ~[sm1913[nm=n[sm20[nm, and at Stuttgart Acad. of Mus
., [sm1920[nm=n[sm1[nm, ~Berlin Hochschule f;Auur Musik, [sm1921[nm=n[sm3[nm, an
d ~Sorbonne, [sm1923[nm=n[sm6[nm. Lived in Paris and Ger. [sm1926[nm=n~[sm33[nm.
 Ballet-oratorio [cf2]Ode [cf1]prod. by Diaghilev's ballet ~co., [sm1928[nm. Set
tled in USA [sm1933[nm, teaching at various ~colls. and univs. Worked for US Gov
ernment in ~Berlin [sm1945[nm=n[sm7[nm; sec.-gen., Congress for Cultural ~Freedo
m [sm1951[nm=n[sm66[nm. Art. dir., Berlin Fest. of the ~Arts [sm1963[nm=n[sm6[nm
. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]The Holy Devil [
cf1](lib. by S. Spender, [sm1958[nm; ~rev. as [cf2]The Death of Rasputin[cf1], [
sm1959[nm); [cf2]Love's ~Labour's Lost [cf1](lib. by Auden and Kallman, [sm1970[
nm).[ep~[smballets[nm: [cf2]Ode, or Meditation at Night on the Majesty ~of God,
as revealed by Aurora Borealis [cf1](ballet-~oratorio for SATB, ch., and orch.,
[sm1928[nm); [cf2]Union ~Pacific [cf1]([sm1933[nm); [cf2]Vie de Polichinelle [cf
1]([sm1934[nm); [cf2]The Last ~Flower [cf1]([sm1941[nm); [cf2]Don Quixote [cf1](
[sm1964[nm=n[sm5[nm); [cf2]The Wan~~derer [cf1]([sm1966[nm).[ep~[smorch[nm: [cf2
]Symphonie lyrique[cf1], No. [sm1[nm ([sm1930[nm), No. [sm2[nm ~(Biblical) ([sm1
940[nm), No. [sm3[nm (A Prayer) ([sm1967[nm); ~symphonic suite, [cf2]The Last Fl
ower [cf1]([sm1957[nm); pf. ~conc. ([sm1932[nm), fl. conc. ([sm1948[nm), vc. con
c. ([sm1953[nm), ~[cf2]Studies in Solitude [cf1]([sm1962[nm); [cf2]Variations on
 a Theme by ~Tchaikovsky[cf1], vc. and orch. ([sm1968[nm).[ep~[smchoral[nm: [cf2
]Collectionneur d';aaechos[cf1], cantata ([sm1933[nm); [cf2]Job,
 ~[cf1]cantata ([sm1933[nm); [cf2]The Return of Pushkin[cf1], sop., orch. ~([sm1
948[nm); [cf2]La vita nuova[cf1], sop., ten., orch. ([sm1951[nm); [cf2][sm4[nm ~
Poems by Pasternak[cf1], bar., orch. ([sm1961[nm); [cf2][sm6[nm Poems by ~Anna A
khmatova[cf1], sop., orch. ([sm1966[nm).[cm~[j1]Nabucco [fy75,1](Nabucodonosor,
Nebuchadnezzar). ~Opera in [sm4[nm acts by Verdi to lib. by T. Solera ~written f
or and rejected by Nicolai. Comp. [sm1841[nm. ~Prod. Milan [sm1842[nm, London [s
m1846[nm, NY [sm1848[nm.[cm~Nach [fy75,1](Ger.). After, in the manner of, accord
ing ~to, towards, to. Hence [cf2]Nach und nach[cf1], bit by bit; ~[cf2]nach Es[c
f1], now tune to E;Yh; etc.[cm~Nachschlag [fy75,1](Ger., `after stroke'). ([sm1[
nm) The [sm2[nm notes ~that end the turn closing a shake. See [cf2]Trill.[ep~^[c
f1]([sm2[nm) Any ornamental note or notes added after ~another note; such notes
decorate the following ~note, but take their time-value from the preceding ~note
, and are therefore classified as an `after-~stroke'.[cm~Nachspi
el [fy75,1](Ger.). Afterplay. The equivalent of ~[fy45,1]*[fy75,1]postlude.[cm~N
achtanz [fy75,1](Ger.). After-dance. Term applied to ~the [sm2[nmnd of the two d
ance tunes which were ~commonly paired from the [sm15[nmth to the [sm17[nmth ~ce
nts., i.e. Pavan and Galliard, Passamezzo and ~Saltarello, Sarabande and Gigue,
etc. (The Saltar~~ello, especially, is known by this name.)[cm~Nachthorn [fy75,1
](Ger.). Org. stop, same as [fy45,1]*[fy75,2]Cor de ~nuit.[cm~Nacht in Venedig,
Eine [fy75,1](A Night in Venice). ~Operetta in [sm3[nm acts by Johann Strauss II
 to lib. by ~`F. Zell' (Camillo Walzel) and Gen;Aaee. Prod. Berlin ~[sm1883[nm,
NY [sm1889[nm, London [sm1944[nm.[cm~Nachtmusik [fy75,1](Ger.). Night-music. A s
erenade, ~such as Mozart's Serenade in G, [cf2]Eine [fy45,1]*[fy75,2]kleine ~Nac
htmusik.[cm~Nachtst;Auuck [fy75,1](Ger.). Night-piece. ([sm1[nm) The Ger. ~equiv
alent of [fy45,1]*[fy75,1]Nocturne.[ep~^([sm2[nm) A piece which conveys the impr
essions or ~feelings of night, such as the central ([sm3[nmrd) ~
movement of Bart;Aaok's [cf2]Concerto for Orchestra.[cm~Nacht und Tr;auaume [fy7
5,1](Night and Dreams). Song ~for v. and pf. by Schubert (D[sm827[nm) to poem by
 ~Matth;Auaus von Collin ([sm1779[nm=n[sm1824[nm), comp. [sm1825[nm.[cm~Naderman
, Fran;alcois [fy75,1](=+=+=+Joseph) ([cf2]b [cf1]Paris, [sm1781[nm; [cf2]d ~[cf
1]Paris, [sm1835[nm). Fr. harpist, pupil of Krumpholz. ~Harpist at Paris Op;Aaer
a and from [sm1816[nm in royal ~chapel. Prof. of harp, Paris Cons., from [sm1825
[nm. ~Wrote [sm2[nm concs., [sm7[nm sonatas, and other pieces for ~harp.[cm~Nail
 Fiddle [fy75,1](Nail Violin, Nail Harmonica). [sm18[nmth-~cent. instr. consisti
ng of a semicircular board ~with nails, graduated in size, fastened around the ~
curve: it was held in the left hand and bowed ~with the right.[cm~Naldi, Romolo
[fy75,1]([cf2]b [cf1]? Bologna, [cf2]c.[cf1] [sm1550[nm; [cf2]d [cf1]Rome, ~[sm1
612[nm). It. priest who lived in Rome and Bologna. ~Comp. book of madrigals ([sm
1589[nm), book of motets ~([sm1600[nm), and other pieces.[cm~Nam
ensfeier [fy75,1](Name Day). Concert ov. in C ~major by Beethoven, Op. [sm115[nm
, comp. [sm1814[nm for ~name-day festivities of Emperor Francis II of ~Austria.
F.p. [sm1815[nm, pubd. [sm1825[nm.[xm[cm~[j1]Names of the Notes and Rest Values.
 [fy75,1]The Eng. ~names of the longer notes are based upon the old ~Lat. names
of the early Middle Ages. The earlier ~It. names are similar. The Fr. names stan
d alone ~as being purely descriptive of the appearances. ~The Ger. names are ari
thmetical, and the Amer. ~practically a trans. of them. The Amer. and Ger. ~name
s require no remembering, being logically ~descriptive of time-values. They are
undoubtedly ~the best, and the Amer. names are now largely ~adopted in the Commo
nwealth.[cm~[PN494,0,0,L,I0][fp[gc[tn1]N;auanie [fy75,1](Ger., from Lat. [cf2]Na
enia, `[cf1]dirges'). Ode by ~Brahms, Op. [sm82[nm, for ch. and orch., comp. [sm
1880[nm=n~[sm1[nm, to text by Schiller.[cm~Nanino, Giovanni Bernardino [fy75,1](
[cf2]b [cf1]Vallerano, ~[cf2]c[cf1].[sm1560[nm; [cf2]d [cf1]Rome
, [sm1623[nm). It. composer, studied ~with his brother G. M. [fy45,1]*[fy75,1]Na
nino. Maestro di ~cappella, S. Luigi de' Francesi, Rome, [sm1591[nm=n[sm1608[nm,
 ~and later at S. Lorenzo in Damaso. One of first to ~use org. in acc. to church
 comps. Wrote [sm3[nm books ~of madrigals ([sm1588[nm, [sm1599[nm, [sm1612[nm),
[sm4[nm vols. of motets ~([sm1610[nm=n[sm18[nm), and other works.[cm~Nanino, Gio
vanni Maria [fy75,1]([cf2]b [cf1]Tivoli, [cf2]c[cf1].[sm1545[nm; [cf2]d ~[cf1]Ro
me, [sm1607[nm). It. composer. Studied Rome and ~sang ten. at S. Maria Maggiore
there, becoming ~maestro di cappella in [sm1567[nm. Maestro di cappella ~S. Luig
i de' Francesi, Rome [sm1575[nm=n[sm7[nm. Tenor in ~Sistine Chapel ch. from [sm1
577[nm, becoming maestro ~di cappella [sm1586[nm. Est. Rome's first public sch.
of ~mus. to be run by an Italian, being helped by his ~brother G. B. [fy45,1]*[f
y75,1]Nanino and Palestrina. Wrote ~madrigals, motets, canzonets, etc. Regarded
as ~one of greatest contrapuntists of his time.[cm~Napoleon, Ode
 to [fy75,1](Schoenberg). See [cf2]Ode to ~Napoleon Buonaparte.[cm~Napoli, Jacop
o [fy75,1]([cf2]b [cf1]Naples, [sm1911[nm). It. composer. ~Studied at Cons. S. P
ietro in Naples, of which he ~later became dir. [sm1954[nm=n[sm62[nm. Dir. Milan
 Cons. ~[sm1969[nm=n[sm72[nm, Rome Cons. [sm1972[nm=n[sm6[nm. Comp. comic ~opera
s incorporating Neapolitan songs. His [cf2]Mas~~aniello [cf1]([sm1953[nm) won a
prize in La Scala, Milan, ~competition.[cm~Napolitana [fy75,1](It.), [fy65][cf3]
Napolitaine [fy75,1](Fr.). A light and ~simple type of madrigal, presumably of N
eapoli~~tan origin, and much like the [fy45,1]*[fy75,2]Villanella[cf1]. During ~
the [sm20[nmth cent. a certain type of mus.-hall song ~also took the name `Napol
itana': it usually had ~verses in the minor  and chs. in the major.[cm~[PN495,0,
0,R,I0]N;aaapravn;aaik, Eduard [fy75,1](Franzevich) ([cf2]b [cf1]Bei;Akst, Boh~~
emia, [sm1839[nm; [cf2]d[cf1]  Petrograd, [sm1916[nm). Bohemian ~composer and co
nd. Studied Prague. Went to St ~Petersburg [sm1861[nm to conduct
 prince's orch., suc~~ceeding Lyadov as cond. of Imperial Russ. Opera ~[sm1869[n
m. Raised standards and cond. over [sm4[nm,[sm000[nm ~opera perfs., incl. f.ps.
of Mussorgsky's [cf2]Boris ~Godunov, [cf1]Rimsky-Korsakov's [cf2]The Maid of Psk
ov[cf1], ~and of [sm3[nm operas by Tchaikovsky. Cond. sym. ~concerts [sm1870[nm=
n[sm82[nm. Wrote [sm4[nm operas, incl. [cf2]Francesca ~da Rimini [cf1]([sm1902[n
m), [sm4[nm syms., [sm3[nm str. qts., songs, etc.[cm~Nardini, Pietro [fy75,1]([c
f2]b [cf1]Leghorn, [sm1722[nm; [cf2]d [cf1]Florence, ~[sm1793[nm). It. violinist
 and composer. Studied at Padua ~with [fy45,1]*[fy75,1]Tartini. Solo violinist a
t court of Stuttgart, ~[sm1762[nm=n[sm5[nm; dir. of mus. to Duke of Tuscany [sm1
770[nm. ~Wrote [sm16[nm vn. concs., vn. sonatas, str. qts., etc.[cm~Nares, James
 [fy75,1]([cf2]b [cf1]Stanwell, Middx., [sm1715[nm; [cf2]d ~[cf1]London, [sm1783
[nm). Eng. organist and composer. ~Chorister in Chapel Royal with Pepusch. Organ
~~ist, York Minster [sm1735[nm=n[sm56[nm, Chapel Royal [sm1756[n
m, ~master of the children [sm1757[nm=n[sm80[nm. Wrote [sm3[nm hpd. ~methods and
 comp. org. pieces, catches and glees, ~anthems, etc.[cm~Narrator [fy75,1](It. [
cf2]testo, [cf1]`witness'). Singer or speaker in ~oratorios, cantatas, and somet
imes operas who ~tells the basic story of the work, normally in recit. ~Among th
e first works to use a narrator was ~[fy45,1]*[fy75,1]Monteverdi's dramatic madr
igal [cf2]Il combattimento ~di Tancredi e Clorinda [cf1]([sm1624[nm). In the Pas
sion ~settings of the [sm17[nmth and [sm18[nmth cents. the narrator ~is often ca
lled the Evangelist, e.g, in Bach's [cf2]St ~Matthew Passion[cf1]. Narrators are
 used in many [sm20[nmth-~cent. works, e.g. Stravinsky's [cf2]The Soldier's Tale
, ~[cf1]Vaughan Williams's [cf2]An Oxford Elegy[cf1], and Honeg~~ger's [cf2]Le R
oi David[cf1]. The Male and Female Ch. in ~Britten's opera [cf2]The Rape of Lucr
etia [cf1]([sm1946[nm) act as ~narrators.[cm~Narv;aaaez, Luis de [fy75,1]([cf2]b
 [cf1][sm1500[nm; [cf2]d [cf2]c[cf1].[sm1555[nm). Sp. player ~of
 [fy45,1]*[fy75,2]vihuela [cf1]for which he wrote many pieces. Said ~to have int
roduced variation-form into Sp. mus.[cm~Nascimbeni, Maria Francesca [fy75,1]([cf
2]b [cf1]Ancona, ~[sm1657[nm=n[sm8[nm). It. composer, lived in Ascona. Pupil of
~Lazarini. Comp. madrigals, canzonas, and motets.[cm~Nash, Heddle [fy75,1]([cf2]
b [cf1]London, [sm1894[nm; [cf2]d [cf1]London, ~[sm1961[nm). Eng. ten. Chorister
, Westminster Abbey. ~Studied London and Milan with Borgatti. D;Aaebut ~Milan [s
m1924[nm as Almaviva in Rossini's [cf2]Il barbiere di ~Siviglia[cf1]. Sang opera
 in London at Old Vic and SW ~from [sm1925[nm. Sang with BNOC [sm1926[nm=n[sm9[n
m; CG [sm1929[nm=n~[sm39[nm, [sm1947[nm=n[sm8[nm; Glyndebourne [sm1934[nm=n[sm8[
nm. Outstanding ~in Mozart and Rossini tenor roles, and a famous ~David in Wagne
r's [cf2]Die Meistersinger. [cf1]Also had ~successful career in oratorio, e.g. [
cf2]Messiah[cf1], and was ~one of finest interpreters of Elgar's Gerontius, ~whi
ch he recorded [sm1944[nm.[cm~Naso, nasetto [fy75,1](It.). Nose,
 little nose. The point of ~the vn. bow.[cm~National Anthems. [fy75,1]Songs or h
ymns adopted by ~certain nations to be perf. on official occasions ~and to repre
sent them at int. events, e.g. when a ~competitor is awarded a medal in the Olym
pic ~Games. They are the mus. equivalent of the flag. ~Among the best-known (wit
h author and com~~poser, where both are known) are: Austria (since ~[sm1919[nm):
 [cf2]Land der Berge, Land am Strome [cf1](Preradovi;Akc; ~Mozart, adapted from
last part of [cf2]Kleine Frei~~maurer-Kantate[cf1], K[sm623[nm); (before [sm1919
[nm): [cf2]Gott erhalte ~unsern Kaiser [cf1](Haschka; J. Haydn, [sm1797[nm); Bel
gium: ~[cf2]Apr;Ages des Si;Agecles d'esclavage, [cf1]known as [cf2]La [fy45,1]*
[fy75,2]Braban~~;Alconne [cf1](Dechet; F. van Campenhout, [sm1830[nm); Chile: ~[
cf2]Dulce patria, recibe los votos [cf1](Pintado, rev. [sm1847[nm by ~Lillo; Car
nicer, [sm1828[nm); Denmark: [cf2]Kong Kristian ~[cf1](Ewald; Rogart, [sm1779[nm
); E. Germany: [cf2]Auferstanden ~aus Ruinen [cf1](Becher; Eisle
r, [sm1949[nm); France: [cf2]Allons, ~enfants de la patrie[cf1], known as [cf2]L
a [fy45,1]*[fy75,2]Marseillaise [cf1](R. ~de Lisle [sm1792[nm, words and mus.);
Germany (before ~[sm1945[nm): [cf2]Deutschland, Deutschland ;Auuber Alles [cf1](
Faller~~sleben; J. Haydn); Great Britain: [fy45,1]*[fy75,2]God Save the ~King [c
f1]([cf2]Queen[cf1]); Greece: [cf2]Segnorizo apo tin Kopsi ~[cf1](Solom;Aaos; Ma
ntzaros, [sm1828[nm); Israel: [cf2]Kol od balevav[cf1] ~(known as [cf2]Hatikvah[
cf1] (N. H. Imber, [sm1878[nm; mus. ~trad., arr. S. Cohen); Italy: [cf2]Fratelli
 d'Italia [cf1](Mameli; ~Novaro, [sm1847[nm); Netherlands: [cf2]Wilhelmus von Na
s~~souwe [cf1](Marnix, [cf2]c[cf1].[sm1570[nm; mus. in A. Valerius, ~[cf2]Gedenc
k-Clanck[cf1], [sm1626[nm); Norway: [cf2]Ja, vi elsker dette ~landet [cf1](Bj;up
rnson, [sm1864[nm; [fy45,1]*[fy75,1]Nordraak); Poland: ~[cf2]Jeszcze Polska nie
zgineta [cf1](Wybiski; Oginski, ~[cf2]c[cf1].[sm1795[nm); USA: [cf2]The Star-spa
ngled Banner [cf1](F. Scott ~Key, [sm1814[nm; mus. by John Staff
ord Smith comp. ~for [cf2]To Anacreon in Heaven[cf1]); USSR: [cf2]Gimn Sovetskov
o ~Soyuza [cf1](Mikhalov and Registan; Alexandrov, ~[sm1943[nm); West Germany: [
cf2]Einigkeit und Recht und ~Freiheit[cf1] (to Haydn's tune, since [sm1950[nm).[
cm~National Broadcasting Company. [fy75,1]See [cf2]NBC.[cm~National Conservatory
 of Music of America. ~[fy75,1]Mus. coll. founded in NY and Washington in ~[sm18
85[nm by Mrs Jeannette M. Thurber with charters ~from NY State and the US Congre
ss. [fy45,1]*[fy75,1]Dvo;Akr;Aaak was ~dir., [sm1892[nm=n[sm5[nm. Tuition free u
ntil [sm1915[nm.[cm~National Federation of Music Societies. [fy75,1]Brit. ~organ
ization founded [sm1935[nm by Sir George [fy45,1]*[fy75,1]Dyson ~with general ai
m of improving and advancing ~education by promoting `art and the practice and ~
the public performance' of mus. About [sm1[nm,[sm100[nm ~mus. socs. belong to th
e Federation, which aids ~them financially.[cm~National Gallery Concerts. [fy75,
1]Famous series of ~weekday lunchtime concerts given in Nat. Gal
~~lery, London, during World War II from [sm10[nm Oct. ~[sm1939[nm to [sm10[nm A
pr. [sm1946[nm (a total of [sm1[nm,[sm698[nm concerts). ~Est. by Dame Myra [fy45
,1]*[fy75,1]Hess, who herself played ~many times. Several works f.p. at these co
ncerts. ~Proceeds (nearly ;bp[sm16[nm,[sm000[nm) went to Musicians' ~Benevolent
Fund.[cm~Nationalism in Music. [fy75,1]A mus. movement ~which began during the [
sm19[nmth cent. and was ~marked by emphasis on nat. elements in mus. ~such as fo
lk-songs, folk dances, folk rhythms or ~on subjects for operas and symphonic poe
ms ~[PN496,0,0,L,I0]which reflected nat. life or history. It burgeoned ~alongsid
e political movements for independence, ~such as those which occurred in [sm1848
[nm, and as a ~reaction to the dominance of Ger. mus. Haydn ~was an early `natio
nalist' in his use of folk-song in ~many works. Chopin, by his use of Polish dan
ce ~rhythms and forms, e.g. the mazurka and the ~[fy45,1]*[fy75,2]Krakowiak[cf1]
, was a nationalist and wrote a [cf2]Fantasia ~on Polish Airs [c
f1]in [sm1828[nm. In Russ., Glinka's [cf2]A Life for ~the Tsar [cf1]([sm1836[nm)
 began the nationalist movement, ~which was sustained by Cui, Mussorgsky, Balak~
~irev, Rimsky-Korsakov, etc. Liszt expressed the ~Hungarian spirit in his works,
 and this spirit was ~later intensified by Bart;aaok and Kod;aaaly. Smetana, ~Dv
o;Akr;aaak, and Jan;aaa;Akcek were leading nationalists in ~Bohemia; in Norway,
Grieg; Finland, Sibelius; ~Spain, Falla, Alb;aaeniz, and Granados; England, ~Hol
st and Vaughan Williams; USA, Copland, ~Gershwin, Ives, and Bernstein; Brazil, V
illa-~Lobos.[cm~National Opera Studio. [fy75,1]Training sch. for opera ~singers,
 providing one-year courses for advanced ~post-graduate trainees. Dir., Michael
[fy45,1]*[fy75,1]Langdon. ~Established in [sm1978[nm as replacement for London ~
Opera Centre, founded [sm1963[nm and administered in ~collab. with Royal Opera h
ouse. First dir. was H. ~[fy45,1]*[fy75,1]Procter-Gregg, succeeded in [sm1964[nm
 by James ~[fy45,1]*[fy75,1]Robertson. The Centre took over the
work of ~the National Sch. of Opera, directed since [sm1948[nm ~by Joan [fy45,1]
*[fy75,1]Cross and Anne Wood.[cm~National Symphony Orchestra. [fy75,1]Amer. orch
. ~founded in Washington D.C., [sm1931[nm by Hans ~Kindler, who was cond. until
[sm1948[nm, when Howard ~Mitchell succeeded him. In [sm1970[nm Mitchell was ~suc
ceeded by Antal Dorati. In [sm1977[nm [fy45,1]*[fy75,1]Rostropovich ~was appoint
ed cond. Since [sm1971[nm concerts given in ~Kennedy Center for the Performing A
rts.[cm~National Training School of Music. [fy75,1]Mus. coll. ~founded in Kensin
gton, London, [sm1873[nm (although ~the idea originated with Prince Albert, who
died ~in [sm1861[nm). Opened [sm1876[nm, with Sullivan as prin., ~until succeede
d by Stainer in [sm1881[nm. Absorbed in ~[sm1882[nm by [fy45,1]*[fy75,1]Royal Co
llege of Music, which opened ~[sm1883[nm.[cm~National Youth Orchestra of Great B
ritain. ~[fy75,1]Sym. orch. for children aged between [sm13[nm and [sm19[nm ~fou
nded in [sm1947[nm by Ruth Railton (now Dame ~Ruth King). Assemb
led in Bath [sm1947[nm under ~conductorship of Reginald Jacques. Players sel;Dh[
fj~ected by audition, the orch. assembling in school ~holidays for rehearsal and
 study under guest ~cond. Very high standard achieved and many ~players have `gr
aduated' into leading sym. orchs.[cm~Nativit;aae du Seigneur, La [fy75,1](The Bi
rth of the ~Saviour). [sm9[nm meditations in [sm4[nm books for organ by ~[fy45,1
]*[fy75,1]Messiaen, comp. [sm1935[nm.[cm~Natural. [fy75,1]([sm1[nm) A note that
is neither raised ~(`sharpened') nor lowered (`flattened').[ep~^([sm2[nm) The si
gn ;Yj, which, after a note has been raised ~by a sharp or double-sharp, or lowe
red by a flat ~or double-flat, restores it to its orig. pitch. After a ~double-s
harp or double-flat the change to a single ~one is sometimes indicated ;Yj;Yi or
 ;Yj;Yh (at other ~times by the single accidental).[ep~^([sm3[nm) Type of [fy45,
1]*[fy75,1]harmonic in str.-playing.[cm~Naturale [fy75,1](It.). Natural. Directi
on to perf. to ~return to a natural style after performing in so
me ~unusual way, e.g. falsetto, or muted.[cm~Natural Harmonics. [fy45,1]*[fy75,1
]Harmonics produced ~from an open str., as distinct from artificial ~harmonics p
roduced from a stopped str.[cm~Natural Keys. [fy75,1]Keys with no sharp or flat
in the ~signature, i.e. C major and A minor.[cm~Natural Trumpet [fy75,1](Ger. [c
f2]Naturtrompete[cf1]). A tpt. ~without [fy45,1]*[fy75,1]crooks which can produc
e only notes ~of the harmonic series of its fundamental note. ~From [sm17[nmth c
ent. to late in the [sm19[nmth, crooks were ~used, i.e. additional lengths of tu
bing which ~lowered the pitch of the fundamental note and ~thus of the whole har
monic series. However, ~crooks could not be very quickly changed, ~removed, or i
nserted. In his [cf2]Pastoral Symphony ~[cf1]([sm1921[nm), [fy45,1]*[fy75,1]Vaug
han Williams requires use of the ~natural tpt.[cm~Nature, Life, and Love. [fy75,
1]Cycle of ovs. by Dvo;Akr;Aaak, ~comprising [cf2]Amid Nature [cf1]([cf2]V p;Akr
irod;Ake[cf1]), [cf2]Carneval ~[cf1]([cf2]Karneval[cf1]), and [c
f2]Othello[cf1], comp. [sm1891[nm=n[sm2[nm.[xm[cm~[ts1][bm2][cc27][dt3p6,1g,3p6,
1g,3p6,1g,4,1g,4,1g,3p6]NAMES^OF^THE^NOTES^AND^REST^VALUES[qc~[smenglish, italia
n, french, german, and american[nm[qc~[ol5][ru5][ep~[ol2][ep~[bt~[nt~English[qc~
[nt~Italian[qc~[nt~French[qc~[nt~German[qc~[nt~American[qc~[et~[ol3][ru5][ep~[ol
2][ep~[bt~[nt~breve[ep~[nt~breve[ep~[nt~carr;Aaee[ep~^(square)[ep~^or br;Ageve[e
p~[nt~Doppeltakt-[ep~^note (double[ep~^measure[ep~^note)[ep~[nt~double[ep~^whole
-note[ep~[et~[ol3][ru5][ep~[ol2][ep~[bt~;Yf[qc~[nt~semibreve[ep~[nt~semibreve[ep
~[nt~ronde[ep~^(round)[ep~[nt~Ganze Takt-[ep~^note (whole[ep~^measure[ep~^note)[
ep~[nt~whole-note[ep~[et~[ol3][ru5][ep~[ol2][ep~[bt~;Yg[qc~[nt~minim[ep~[nt~mini
ma [fy75,2]or[cf1][ep~^bianca[ep~^(white)[ep~[nt~blanche[ep~^(white)[ep~[nt~Halb
e (half)[ep~^[cf2]or [cf1]Halbenote[ep~^[cf2]or[cf1] Halbe[ep~^Taktnote[ep~[nt~h
alf-note[ep~[et~[ol3][ru5][ep~[ol2][ep~[bt~;Ya[qc~[qc~;Ym[qc~[nt~crotchet[ep~[nt
~semiminima[ep~^[cf2]or[cf1] nera[ep~^(black)[ep~[nt~noire[ep~^(
black)[ep~[nt~Viertel[ep~^(quarter)[ep~[nt~quarter-[ep~^note[ep~[et~[ol3][ru5][e
p~[ol2][ep~[bt~;Yb[qc~[qc~;Yn[qc~[nt~quaver[ep~[nt~croma[ep~[nt~croche[ep~^(hook
)[ep~[nt~Achtel[ep~^(eighth)[ep~[nt~eighth-[ep~^note[ep~[et~[ol3][ru5][ep~[ol2][
ep~[bt~;Yc[qc~[qc~;Yo[qc~[nt~semi-[ep~^quaver[ep~[nt~semi-croma[ep~[nt~double-[e
p~^croche[ep~^(double-[ep~^hook)[ep~[nt~Sechzehntel[ep~^(sixteenth)[ep~[nt~sixte
enth-[ep~^note[ep~[et~[ol3][ru5][ep~[ol2][ep~[bt~;Yd[qc~[qc~;Yp[qc~[nt~demisemi-
[ep~^quaver[ep~[nt~biscroma[ep~[nt~triple-[ep~^croche[ep~^(triple-[ep~^hook)[ep~
[nt~Zweiund-[ep~^dreissigstel[ep~^(thirty-[ep~^second)[ep~[nt~thirty-[ep~^second
[ep~^note[ep~[et~[ol3][ru5][ep~[ol2][ep~[bt~;Ye[qc~[qc~;Yq[qc~[nt~hemidemi-[ep~^
semiquaver[ep~[nt~semi-[ep~^biscroma[ep~[nt~quadruple-[ep~^croche[ep~^(quadruple
-[ep~^hook)[ep~[nt~Vierund-[ep~^sechzigs-[ep~^tel (sixty-[ep~^fourth)[ep~[nt~six
ty-[ep~^fourth note[ep~[et~[ol3][ru5][ep~[ol4][ep~[j1][fy75,1](The word `Rest' i
s in It. [cf2]Pausa[cf1]; Fr. [cf2]Silence, [cf1]or ~[cf2]Pause[
cf1]; Ger. [cf2]Pause[cf1].)[ep~[em[cc13][tx[xp[te~












[do25][j99]~~~~~~[sm024791[nm_N[sm002[nm[ep~[u1]~~~~[sm024791[nm[cmOxford Concis
e Dict. of ~Music[cmN[sm002[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm04[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm50[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Nat;auurlich
[fy75,1](Ger.). Natural (in same sense as given ~under [cf2]Naturale[cf1]).[cm~N
aumann, Johann Gottlieb [fy75,1]([cf2]b [cf1]Blasewitz, Dres~~den, [sm1741[nm; [
cf2]d [cf1]Dresden, [sm1801[nm). Ger. composer. ~Studied in It. with Tartini and
 Martini. Court ~composer of sacred mus., Dresden, [sm1764[nm. In It. ~[sm1765[n
m=n[sm8[nm when he wrote several operas incl. [cf2]La ~Clemenza di Tito [cf1]([s
m1769[nm) and  [cf2]Armida [cf1]([sm1773[nm). ~Kapellmeister, Dresden [sm1776[nm
. Went to Stockholm ~[sm1777[nm to reform Court orch. and to conduct opera. ~Was
 guest opera cond. and comp., Copenhagen, ~[sm1785[nm=n[sm6[nm, returning to Dre
sden as Oberkapellmeis~~ter. Comp. [sm24[nm operas, [sm13[nm oratorios, [sm21[nm
 masses, [sm18[nm ~syms., chamber mus., etc. Comp. so-called `Dr
es~~den Amen', from his Threefold Amen.[cm~Navarra, Andr;Aae [fy75,1]([cf2]b [cf
1]Biarritz, [sm1911[nm). Fr. cellist. ~Studied Toulouse and Paris Cons. and priv
ately. ~Played in str. qt. [sm1929[nm=n[sm35[nm. D;aaebut as soloist Paris, ~[sm
1931[nm. Eng. d;aaebut [sm1950[nm Cheltenham in Elgar ~conc. with Barbirolli. Wo
rld tours as soloist with ~orch. Recorded Elgar conc. with Barbirolli [sm1957[nm
. ~Prof. of vc., Paris Cons., from [sm1949[nm.[cm~Navarraise, La [fy75,1](The Gi
rl from Navarre). Opera ~(lyric episode) in [sm2[nm acts by Massenet to lib. by
~Jules Claretie and Henri Cain. Prod. CG [sm1894[nm, ~Paris [sm1895[nm, NY Met.
[sm1895[nm.[cm~Naylor, Bernard [fy75,1]([cf2]b [cf1]Cambridge, [sm1907[nm). Eng.
 ~composer, cond., and organist, son of E. W. ~[fy45,1]*[fy75,1]Naylor. Studied
RCM with Vaughan Williams ~and Holst. Cond. Winnipeg Phil. Orch., [sm1932[nm=n[s
m6[nm. ~Organist, Queen's Coll., Oxford, [sm1936[nm=n[sm9[nm. Foun~~[PN497,0,0,R
,I0]der-cond. Little Sym. Orch., Montreal, [sm1942[nm=n[sm7[nm.
~Lecturer, Oxford Univ. [sm1950[nm=n[sm2[nm, Reading [sm1953[nm=n~[sm9[nm. Settl
ed in Canada [sm1959[nm. Composer of choral ~and vocal works, incl. [cf2]Sonnets
 from the Portuguese ~[cf1](E. B. Browning) for v. and str. qt. His [cf2]Stabat
~Mater[cf1] was perf. at [sm3[nm Choirs Fest. [sm1961[nm. The [cf2][sm9[nm ~Mote
ts[cf1] ([sm1952[nm) are a cycle for the [sm9[nm major church ~festivals.[cm~Nay
lor, Edward [fy75,1](Woodall) ([cf2]b [cf1]Scarborough, ~[sm1867[nm; [cf2]d [cf1
]Cambridge, [sm1934[nm). Eng. organist, comp~~[choser, and musicologist. Studied
 RCM. Held several ~org. posts in London. Wrote church mus. and ~songs. Opera [c
f2]The Angelus [cf1]won Ricordi prize for ~Eng. opera (prod. CG [sm1909[nm, revi
ved [sm1921[nm). Books ~incl. [cf2]Shakespeare and Music [cf1]([sm1896[nm, rev.
[sm1931[nm) and ~analysis of [cf2]Fitzwilliam Virginal Book [cf1]([sm1905[nm).[c
m~NBC Symphony Orchestra. [fy75,1]Orch. created in ~NY in [sm1937[nm by the NBC
specially for Toscanini, ~who had just left the NY P.O. Made man
y ~recordings. When Toscanini retired in [sm1954[nm, orch. ~was disbanded by the
 NBC but continued for ~another decade as co-operative enterprise under ~name `S
ymphony of the Air'.[cm~NBC Television Opera. [fy75,1]Opera co. formed by ~NBC i
n NY in [sm1949[nm with Peter Herman Adler as ~mus. dir. Gave first Amer. perfs.
 of Britten's [cf2]Billy ~Budd [cf1]and Prokofiev's [cf2]War and Peace. [cf1]Com
mis~~sioned Menotti's [cf2]Amahl and the Night Visitors [cf1]and ~gave f.p. of M
artin;Anu's [cf2]The Marriage[cf1]. Has toured ~in over [sm50[nm Amer. cities.[c
m~Neaman, Yfrah [fy75,1]([cf2]b [cf1]Sidon, Lebanon, [sm1923[nm). ~Lebanese-born
 violinist. Studied Paris Cons. D;aae~~but Paris [sm1939[nm. Settled in Eng. as
base for int. ~career. Head of Str., GSM.[cm~Neapolitan School. [fy75,1]Term app
lied, with little ~real justification, to [sm18[nmth-cent. school of comp. ~said
 to have originated in Naples or been ~cultivated by composers who studied there
. ~Among these were A. Scarlatti, Porpora, Pergolesi, ~Jommelli,
 Anfossi, Piccinni, Paisiello, and Cima~~rosa, most of whom were active outside
Naples ~and It.[cm~Neapolitan Sixth. [fy75,1]A chromatic chord. It is a ~major c
ommon chord on the flattened supertonic ~in its [sm1[nmst inversion e.g. in key
C it comprises F=n~A;Yh=nD;Yh. Reason for its name is unknown, since it ~occurs
in [sm17[nmth-cent. mus. before the so-called ~Neapolitan sch. existed, e.g. in
mus. by Carissimi, ~Corelli, and Purcell (in [cf2]King Arthur[cf1]).[cm~Neary, M
artin [fy75,1](Gerard James) ([cf2]b [cf1]London, [sm1940[nm). ~Eng. organist, h
arpsichordist, and cond. Studied ~Cambridge Univ. Organist, St Margaret's, West~
~minster, [sm1965[nm=n[sm71[nm, Winchester Cath. from [sm1972[nm. ~Prof. of org.
 TCL from [sm1963[nm. Ed. of org. works.[cm~Neate, Charles [fy75,1]([cf2]b [cf1]
London, [sm1784[nm; [cf2]d [cf1]Brighton, ~[sm1877[nm). Eng. pianist and compose
r. Pupil of John ~Field. D;Aaebut CG [sm1800[nm. Founder-member of Phil. ~Soc.,
London, [sm1813[nm. Visited Beethoven in Vienna, ~[sm1815[nm. Fi
rst to play Beethoven's [sm5[nmth (`Emperor') ~pf. conc. in London, at Philharmo
nic Soc. concert, ~[sm8[nm May [sm1820[nm. Wrote pf. sonatas.[cm~Nebuchadnezzar
[fy75,1](Verdi). See [cf2]Nabucco.[cm~Neck. [fy75,1]The projecting portion of a
str. instr. such ~as a vn. or lute, which carries the fingerboard and ~terminate
s in the peg-box.[xm[cm~[j1]Nedbal, Oskar [fy75,1]([cf2]b[cf1] Tabor, [sm1874[nm
; [cf2]d[cf1] Zagreb, [sm1930[nm). ~Cz. composer, cond., and violist. Pupil of D
vo;Akr;Aaak. ~Member of Bohemian Str. Qt. [sm1891[nm=n[sm1906[nm. Cond. ~Czech P
.O. [sm1896[nm=n[sm1906[nm, taking it to London [sm1902[nm, ~then Tonk;Auunstler
 Orch., Vienna, [sm1906[nm=n[sm19[nm. Dir., ~Bratislava Opera from [sm1923[nm. W
rote opera, oper~~ettas, ballets.[cm~Neefe, Christian Gottlob [fy75,1]([cf2]b [c
f1]Chemnitz, [sm1748[nm; [cf2]d ~[cf1]Dessau, [sm1798[nm). Ger. musician who tau
ght [fy45,1]*[fy75,1]Beet;Dh[fj~hoven at Bonn. Studied under Hiller. Court org.,
 ~Bonn, [sm1782[nm, becoming Kapellmeister [sm1783[nm. Cond. ~op
era at Dessau [sm1796[nm. Wrote [sm8[nm operas, concs., ~church mus., etc.[cm~Ne
el, [fy75,1](Louis) [fy65][cf3]Boyd [fy75,1]([cf2]b [cf1]Blackheath, [sm1905[nm;
 [cf2]d[cf1] ~Toronto, [sm1981[nm). Eng. cond. Qualified as naval ~officer and d
octor of medicine, but turned to ~mus., founding Boyd Neel Str. Orch. [sm1933[nm
 which ~rapidly achieved an int. reputation for its perfs. ~of Eng. and other mu
s. for str., notably of the ~baroque era, which was at that time rarely played ~
with chamber forces. Played at Salzburg Fest. ~[sm1937[nm, giving f.p. of Britte
n's specially commis~~sioned [cf2]Variations on a Theme of Frank Bridge[cf1]. Co
nd. ~Robert Mayer Children's Concerts [sm1946[nm=n[sm52[nm. Dean ~of Toronto Roy
al Cons., [sm1953[nm=n[sm70[nm. Boyd Neel ~Orch. renamed Philomusica of London [
sm1957[nm. ~C.B.E. [sm1953[nm.[cm~Negro Spiritual. [fy75,1]See [cf2]Spiritual.[c
m~Neidlinger, Gustav [fy75,1]([cf2]b [cf1]Mainz, [sm1912[nm). Ger. bass-~bar. St
udied Frankfurt. Opera d;Aaebut Mainz [sm1931[nm. ~Hamburg Opera
 [sm1936[nm=n[sm50[nm, Stuttgart Opera from ~[sm1950[nm. Bayreuth Fest. [sm1952[
nm=n[sm75[nm. London d;Aaebut ~[sm1955[nm, CG [sm1963[nm, NY Met. [sm1972[nm (Al
berich). ~Renowned for singing of Alberich, Pizarro, and ~similar roles.[cm~Nell
. [fy75,1]Poem by Lecomte de Lisle set for v. and pf. ~by Faur;aae (Op. [sm18[nm
 No. [sm1[nm, [sm1880[nm).[cm~Nelson. [fy75,1]Opera in [sm3[nm acts by Lennox [f
y45,1]*[fy75,1]Berkeley to ~lib. by Alan Pryce-Jones. Prod. London (SW) ~[sm1954
[nm.[cm~Nelson Mass [fy75,1]([cf2]Nelsonmesse[cf1]). Nickname for ~Haydn's Mass
No. [sm9[nm in D minor ([cf2]Missa in angustiis[cf1]), ~comp. [sm1798[nm. A lege
nd says that the work ~celebrates Nelson's victory at Aboukir Bay in ~[sm1798[nm
, another that Nelson heard it perf. at ~Eisenstadt in [sm1800[nm.[cm~Nelsova, Z
ara [fy75,1]([cf2]b [cf1]Winnipeg, [sm1917[nm). Canadian-~born (later naturalize
d Amer.) cellist. Studied in ~London and with Feuermann and Casals. D;aaebut ~at
 age [sm12[nm with LSO, cond. Sargent. Amer. d;aaebut, ~NY [sm19
42[nm. Worldwide tours. On staff Juilliard ~[PN498,0,0,L,I0]Sch., NY, from [sm19
62[nm. Gave f.p. of Hugh Wood's ~vc. conc., London [sm1969[nm.[cm~Nenia [fy75,1]
(It. `Dirge'). In Ancient Rome, a funeral ~song in praise of the dead. Schiller'
s [cf2]N;auanie[cf1] were ~set by Goetz ([sm1874[nm), Brahms ([sm1880[nm=n[sm1[n
m), and Orff ~([sm1956[nm). Term has also been used by Birtwistle in ~his [cf2]N
enia on the death of Orpheus [cf1]([sm1970[nm).[cm~Nenna, Pomponio [fy75,1]([cf2
]b [cf1]Bari, [cf2]c.[cf1][sm1550[nm; [cf2]d [cf1]Rome, ~[sm1613[nm). It. compos
er influenced by [fy45,1]*[fy75,1]Gesualdo. ~Pubd. several books of madrigals, f
or [sm5[nm vv. [sm1582=n~1608[nm and [sm1618[nm (posth.), for [sm4[nm vv. [sm161
3[nm. Active ~mainly in Naples and Rome.[cm~Neo-Bechstein Piano. [fy75,1]Semi-el
ec. pf. dating from ~[sm1931[nm, based on research by W. Nernst of Berlin. ~Str.
 are set in vibration by hammers, but blow ~required is very light (;F1;E2;E0 th
at given on ordinary ~pf). No sound-board, the vibrations being
ampli~~fied through a loudspeaker. Vol. or tone con~~trolled by pedal acting on
the amplifier.[xm[cm~[j1]Neo-Classicism. [fy75,1]Term applied to [sm20[nmth-cent
. ~mus. trend which developed in the [sm1920[nms, when ~several composers wrote
works in [sm17[nmth- and [sm18[nm-~cent. forms and styles as a reaction against
the ~excessive orchestration of the late [sm19[nmth-cent. ~romantics. Prokofiev'
s [cf2]Classical Symphony [cf1]([sm1916=n~17[nm) and R. Strauss's [cf2]Ariadne a
uf Naxos [cf1]([sm1912[nm) can ~be claimed as neo-classical, but the movement ~b
egan in earnest with Stravinsky [cf2](Capriccio [cf1]for pf. ~and wind, pf. conc
., [cf2]Pulcinella[cf1], vn. conc., [cf2]Oedipus ~Rex[cf1], etc.) and Hindemith.
 In Eng. Vaughan ~Williams's vn. conc. (orig. [cf2]Concerto Accademico[cf1]) of
~[sm1925[nm was neo-classical in style, though, because ~for most composers the
model was Bach, neo-~baroque might be a more accurate description. ~(Prokofiev's
 [cf2]Classical Symphony[cf1], being a pastiche ~of Haydn, is tr
uly named.)[cm~Nera [fy75,1](It.). Black. Crotchet or Quarter-note.[cm~Neri, Mas
similiano [fy75,1]([cf2]b [cf1]? Brescia, ?[sm1615[nm; [cf2]d[cf1] Bonn, ~[sm166
6[nm). It. composer. Organist at St Mark's, Venice ~[sm1644[nm=n[sm64[nm. Court
organist, Cologne, [sm1664[nm. Wrote ~motets, [cf2]Sonate e canzone [cf1]([sm164
4[nm), and instr. sonatas ~([sm1651[nm).[cm~Nerone [fy75,1](Nero). ([sm1[nm) Ope
ra in [sm4[nm acts by [fy45,1]*[fy75,1]Boito to ~his own lib. Begun in [sm1877[n
m and still incomplete ~when Boito died in [sm1918[nm. Completed by Toscan~~ini,
 Tommasini, and Smareglia and prod. Milan ~[sm1924[nm, Rome [sm1928[nm.[ep~_([sm
2[nm)^Opera in [sm3[nm acts by Mascagni to lib. by ~Targioni-Tozzetti after come
dy by P. Cossa ([sm1872[nm). ~Prod. Milan [sm1935[nm.[cm~Neruda, Wilma [fy75,1](
Wilhelmina) ([cf2]b [cf1]Brno, [sm1839[nm; [cf2]d ~[cf1]Berlin, [sm1911[nm). Boh
em. violinist. D;aaebut Vienna ~[sm1846[nm. Toured Ger. as prodigy; London d;aae
but ~[sm1849[nm. Many tours of Europe and Russia. Married ~the S
wed. composer [fy45,1]*[fy75,1]Norman [sm1864[nm, playing ~under name Norman-Ner
uda. Regular visitor to ~Eng. after [sm1869[nm. In [sm1888[nm married Sir Charle
s ~[fy45,1]*[fy75,1]Hall;aae with whom she gave many recitals, ~touring S. Afric
a and Australia. Retired [sm1895[nm ~when Hall;aae died, but resumed playing [sm
1898[nm, ~touring USA [sm1899[nm. Lived in Berlin from [sm1900[nm.[cm~Nesbet, Jo
hn [fy75,1]([cf2]d[cf1] ? [sm1488[nm). Eng. composer of ~church mus. and songs,
about whom little is ~known except that he was a member of Christ ~Church Cathed
ral Priory, Canterbury, in the ~[sm1470[nms.[cm~Nessler, Victor [fy75,1]([cf2]b
[cf1]Baldenheim, [sm1841[nm; [cf2]d [cf1]Stras~~bourg, [sm1890[nm). Ger. compose
r and cond. Studied ~theology, but success of his opera [cf2]Fleurette [cf1]([sm
1864[nm) ~decided him on wholly mus. career. Ch. master, ~Leipzig, [sm1870[nm=n[
sm9[nm, becoming cond. at Caroltheater ~there [sm1879[nm. Had great success with
 operas [cf2]Der ~Rattenf;auanger von Hameln [cf1](The Pied Pipe
r of ~Hamlin) ([sm1879[nm) and [cf2]Der Trompeter von S;auackingen ~[cf1]([sm188
4[nm).[cm~Nesterenko, Evgeny [fy75,1]([cf2]b [cf1]Moscow, [sm1938[nm). Russ. ~ba
ss. Studied Leningrad [sm1963[nm (d;aaebut as Gremin ~in [cf2]Eugene Onegin[cf1]
). Among finest Russ. basses, a ~notable Boris, and also excellent in It. repert
ory. ~Joined Bolshoy Opera, Moscow, [sm1971[nm. Sang Boris ~with Bolshoy company
 in Milan [sm1973[nm, Vienna ~[sm1974[nm, NY Met. [sm1975[nm. D;aaebut at CG [sm
1978[nm (Don ~Basilio). Noted interpreter of Shostakovich's [sm14[nmth ~Sym.[cm~
Neues vom Tage [fy75,1](News of the Day). Comic ~opera in [sm3[nm parts by Hinde
mith to lib. by Marcellus ~Schiffer. Comp. [sm1928[nm=n[sm9[nm. Prod. Berlin [sm
1929[nm. Rev. ~(mus. and text) by Hindemith [sm1953[nm, prod. Naples ~[sm1954[nm
, Cologne [sm1956[nm, Santa Fe (in Eng.) [sm1961[nm.[cm~Neukomm, Sigismund, [fy7
5,1]Chevalier von ([cf2]b [cf1]Salz~~burg, [sm1778[nm; [cf2]d [cf1]Paris, [sm185
8[nm). Austrian composer. ~Chorister, Salzburg Cath. [sm1788[nm=
n[sm93[nm. Studied under ~Michael and Joseph Haydn. Kapellmeister at St ~Petersb
urg Ger. Th. [sm1806[nm. Settled in Paris [sm1809[nm, ~entering service of Talle
yrand. Lived in Brazil ~[sm1816[nm=n[sm21[nm, thereafter in Paris and London. Wr
ote ~around [sm1[nm,[sm300[nm works, all now forgotten, in many ~forms.[cm~Neuma
nn, Angelo [fy75,1]([cf2]b[cf1] Vienna, [sm1838[nm; [cf2]d [cf1]Prague, ~[sm1910
[nm). Austrian ten. and impresario. D;aaebut [sm1859[nm. ~Sang at Vienna Court O
pera [sm1862[nm=n[sm76[nm. Man. of ~Leipzig Opera [sm1876[nm=n[sm82[nm, Bremen O
pera [sm1882[nm=n[sm5[nm, ~Prague Landestheater [sm1885[nm=n[sm1910[nm (among co
nds. ~he engaged there was Mahler). Formed touring ~co. based on Leipzig to give
 Wagner's operas, ~especially [cf2]Der Ring des Nibelungen[cf1], in London, ~Par
is, Rome, St Petersburg, etc.[cm~Neumann, Franti;aksek [fy75,1]([cf2]b [cf1]P;ak
rerov, [sm1874[nm; [cf2]d [cf1]Brno, ~[sm1929[nm). Cz. conductor and composer. S
tudied at ~Leipzig Cons. Worked in various Ger. and Cz. ~opera h
ouses [sm1903=n19[nm. On [fy45,1]*[fy75,1]Jan;aaa;akcek's recommen~~dation, appo
inted cond. Brno Nat. Th. [sm1919=n29[nm. ~Collab. closely with Jan;aaa;akcek an
d cond. f.ps. of ~[cf2]K;aaa;akta Kabanov;aaa [cf1]([sm1921[nm), [cf2]The Cunnin
g Little Vixen ~[cf1]([sm1924[nm), [cf2];akS;aaarka [cf1]([sm1925[nm), and [cf2]
The Makropulos Affair ~[cf1]([sm1926[nm), also f.ps. of operas by Nov;aaak and O
str;akcil. ~His [sm8[nm operas incl. [cf2]Die Brautwerbung [cf1](Linz, [sm1901[n
m), ~[PN499,0,0,R,I0][cf2]Liebelei [cf1](Frankfurt, [sm1910[nm), [cf2]Herbststur
m [cf1](Berlin, ~[sm1919[nm), and [cf2]Beatrice Caracci [cf1](Brno, [sm1922[nm).
[cm~Neumann, V;aaaclav [fy75,1]([cf2]b [cf1]Prague, [sm1920[nm). Cz. cond. ~and
violist. Studied Prague Cons. Violist in ~Smetana Qt. and Cz. P.O. Deputy cond.
Cz. P.O. ~[sm1948[nm. Cond. Prague S.O. [sm1956[nm=n[sm63[nm, Prague P.O. ~[sm19
63[nm=n[sm4[nm, Komische Oper, Berlin, [sm1956[nm=n[sm64[nm, Leip~~[chzig Gewand
haus Orch. and Leipzig Opera [sm1964[nm=n~[sm7[nm; chief cond. C
zech P.O. from [sm1968[nm. Mus. dir. ~Stuttgart Opera [sm1970[nm=n[sm3[nm. Cond.
 Felsenstein's fam~~ous Berlin production of Jan;aaa;akcek's [cf2]The Cunning ~L
ittle Vixen[cf1], [sm1956[nm.[cm~Neum(e)s [fy75,1](from Gr. [cf2]neuma[cf1], `ge
sture' or `sigh'). ~System of mus. notation from [sm7[nmth to [sm14[nmth cents.
~Orig. generating forms were grave and acute ~accents with a horizontal line, bu
t developed into ~elaborate system for plainsong manuals of the ~church. Gave pr
ecise indication of pitch, but at ~first were merely approximate indications to
~singer of shape of the melody.[cm~Neusidler, Hans [fy75,1]([cf2]b [cf1]Pressbur
g, [sm1508[nm; [cf2]d [cf1]Nurem~~berg, [sm1563[nm). Ger. lutenist and composer
of dances ~and songs for lute.[cm~Nevada, Mignon [fy75,1]([cf2]b[cf1] Paris, [sm
1886[nm; [cf2]d [cf1]Long Melford, ~[sm1971[nm). Eng. sop., daughter of Amer. so
p. Emma ~Nevada ([sm1859[nm=n[sm1940[nm) with whom she studied. ~Opera d;aaebut
Rome [sm1907[nm as Rosina in [cf2]Il barbiere ~di Siviglia[cf1],
 CG [sm1910[nm with Beecham. Also sang in ~Milan, Paris, and other opera houses.
[cm~Neveu, Ginette [fy75,1]([cf2]b [cf1]Paris, [sm1919[nm; [cf2]d [cf1]San Migue
l, ~Azores, in air crash, [sm1949[nm). Fr. violinist. Studied ~Paris Cons. and w
ith Enescu and Carl Flesch. ~D;aaebut with Paris Colonne Orch. [sm1926[nm. Won ~
Wieniawski Prize, Warsaw Int. Competition, ~[sm1935[nm. Amer. d;aaebut [sm1937[n
m, Eng. [sm1945[nm. Brilliant ~interpreter of Sibelius conc.[cm~Nevin, Ethelbert
 Woodbridge [fy75,1]([cf2]b [cf1]Edgeworth, ~Penn., [sm1862[nm; [cf2]d [cf1]New
Haven, Conn., [sm1901[nm). Amer. ~composer and pianist. Studied Pittsburgh, Dres
~~den, and Berlin. Appeared as soloist in concs. in ~Pittsburgh and wrote popula
r songs and pf. pieces ~despite intermittent ill-health. [cf2]Narcissus [cf1]([s
m1891[nm) ~and [cf2]The Rosary [cf1]([sm1898[nm) were his most popular pf. ~piec
e and song respectively, the latter achieving a ~sale of [sm6[nm million copies
in [sm30[nm years.[cm~New England Conservatory of Music. [fy75,1
]Mus. ~sch. in Boston, Mass., founded in Feb. [sm1867[nm by ~Eben Tourj;aaee ([c
f2]b [cf1]Warwick, R.I., [sm1834[nm; [cf2]d [cf1]Boston, ~Mass., [sm1891[nm) in
assoc. with Robert Goldbeck. ~Within [sm10[nm years it was largest mus. sch. in
the ~USA with over [sm14[nm,[sm000[nm graduates. After Tourj;aaee, ~dirs. were C
arl Faelton ([sm1891=n7[nm), George W. ~Chadwick ([sm1897=n1931[nm), Wallace Goo
drich ([sm1931=n~42[nm), Harrison Keller ([sm1942=n66[nm), and Gunther ~Schuller
 from [sm1966[nm. Cons. has Afro-Amer. dept. ~and courses in jazz and ragtime. M
embers of ~Boston S.O. are among teaching staff.[cm~New England Holidays. [fy75,
1]Sym. (unnumbered) ~by [fy45,1]*[fy75,1]Ives for orch., comp. [sm1904[nm=n[sm13
[nm. Movements ~entitled [sm1[nm.^[cf2]Washington's Birthday. [cf1][sm2[nm.^[cf2
]Decoration ~Day[cf1]. [cf1][sm3[nm.^[cf2]Fourth of July. [cf1][sm4[nm.^[cf2]Tha
nksgiving and/or ~Forefathers' Day [cf1](with ch.).[cm~Newlin, Dika [fy75,1]([cf
2]b [cf1]Portland, Oregon, [sm1923[nm). Amer. ~musicologist and
composer. Studied U.C.L.A. and ~Columbia Univ., and privately with [fy45,1]*[fy7
5,1]Sessions ~and [fy45,1]*[fy75,1]Schoenberg. Est. mus. dept. at Drew Univ., ~M
adison, NJ, [sm1952[nm. Prof. of mus., North Texas ~State Univ. from [sm1965[nm.
 Has written on Mahler, ~Bruckner, and Schoenberg. Trans. Schoenberg's ~[cf2]Sty
le and Idea [cf1]([sm1950[nm). Composer of [sm12[nm-note ~chamber mus.[cm~Newman
, Ernest [fy75,1](orig. William Roberts) [cf1]([cf2]b ~[cf1]Everton, [sm1868[nm;
 [cf2]d [cf1]Tadworth, [sm1959[nm). Eng. mus. ~critic and author. Began career a
s bank employee, ~writing on economics and mus. Wrote first book, ~[cf2]Gluck an
d the Opera[cf1], in [sm1895[nm and [cf2]A Study of ~Wagner [cf1]in [sm1899[nm.
On staff Birmingham Midland ~Institute of Mus. [sm1903[nm=n[sm5[nm. Mus. critic
[cf2]Manchester ~Guardian [cf1][sm1905[nm=n[sm6[nm, [cf2]Birmingham Post [cf1][s
m1906[nm=n[sm19[nm, ~[cf2]Observer [cf1][sm1919[nm=n[sm20[nm, [cf2]Sunday Times
[cf1][sm1920[nm=n[sm58[nm. Au~~thority on Wagner, of whom he wro
te [sm4[nm-vol. ~biography ([sm1928[nm=n[sm47[nm) in addition to [cf2]Wagner as
~Man and Artist [cf1]([sm1914[nm, rev. [sm1924[nm), [cf2]Fact and Fiction ~about
 Wagner[cf1] ([sm1931[nm), and [cf2]Wagner Nights [cf1]([sm1949[nm). ~Also wrote
 studies of Elgar ([sm1906[nm), Wolf ([sm1907[nm), ~and Strauss [cf1]([sm1908[nm
); [cf2]The Unconscious Beethoven ~[cf1]([sm1927[nm), [cf2]The Man Liszt [cf1]([
sm1934[nm), [cf2]Opera Nights [cf1]([sm1943[nm), ~[cf2]Wagner Nights [cf1]([sm19
49[nm), [cf2]More Opera Nights [cf1]([sm1954[nm), ~and other books. Trans. most
of Wagner's libs., ~incl. perf. versions of [cf2]Tannh;auauser [cf1]and [cf2]Die
 Meister~~singer[cf1].[cm~Newman, Robert [fy75,1]([cf2]b [cf1][sm1859[nm; [cf2]d
 [cf1]London, [sm1926[nm). ~Eng. bass and impresario. Studied RAM. After ~singin
g career, became man. of Queen's Hall, ~London, [sm1893[nm and started Promenade
 concerts in ~assoc. with Henry J. [fy45,1]*[fy75,1]Wood in [sm1895[nm.[cm~Newma
rch, Rosa [fy75,1](Harriet) ([cf2]n;aaee [cf1]Jeaffreson) ([cf2]
b ~[cf1]Leamington, [sm1857[nm; [cf2]d [cf1]Worthing, [sm1940[nm). Eng. ~writer
on mus. Went to Russia in [sm1897[nm, working ~under Stasov at Imperial Public L
ibrary and ~meeting leading Russ. composers. On return to ~Eng. did much to spre
ad the fame of these ~composers and from [sm1908[nm to [sm1927[nm wrote pro~~gra
mme notes for the Promenade Concerts. ~Wrote several books and translated libs.
of Russ. ~operas. Also early advocate of Sibelius and Jan;aaa;akcek ~(whose [cf2
]Sinfonietta[cf1], [sm1926[nm, is ded. to her).[cm~New Music [fy75,1](Ger. [cf2]
Neue Musik[cf1]). Term which ~periodically recurs in the history of mus., e.g. (
[sm1[nm) ~[fy45,1]*[fy75,2]Ars nova [cf1]of [sm14[nmth cent.[ep~^([sm2[nm)^[cf2]
Nuove musiche [cf1]of [sm17[nmth cent. when new ~monodic style transformed the a
rt. In [sm1602[nm G. ~Caccini pubd. [cf2]Le nuove musiche[cf1] (The New Musics)
~containing arias and madrigals with monodic ~recitative.[ep~^([sm3[nm)^The mus.
 of Liszt, Wagner, and their ~followers from [cf2]c.[cf1][sm1850
[nm, compared with the `tradi~~tional' Brahms.[ep~^([sm4[nm)^In [sm20[nmth cent.
, atonal and elec. mus.[cm~[PN500,0,0,L,I0]New Opera Company. [fy75,1]Formed in
Cambridge ~in late [sm1950[nms as part-amateur, part-professional ~co., began to
 give short London seasons at SW in ~[sm1957[nm, making a speciality of rare, mo
dern, or ~Eng. operas. Among works they have staged are ~Benjamin's [cf2]A Tale
of Two Cities, [cf1]Vaughan Wil~~liams's [cf2]Sir John in Love, [cf1]Egk's [cf2]
Der Revisor, ~[cf1]Dallapiccola's [cf2]Il prigioniero, [cf1]Schoenberg's [cf2]Er
war~~tung, [cf1]Prokofiev's [cf2]Love for [sm3[nm Oranges, [cf1]Henze's ~[cf2]Bo
ulevard Solitude, [cf1]Szymanowski's [cf2]King Roger, ~[cf1]Martin;anu's [cf2]Ju
lietta[cf1], and Shostakovich's [cf2]The Nose[cf1].[cm~New Philharmonia Orchestr
a. [fy75,1]See [cf2]Philharmonia ~Orchestra[cf1].[cm~News of the Day [fy75,1](Hi
ndemith). See [cf2]Neues vom ~Tage[cf1].[cm~New Symphony Orchestra. [fy75,1]Lond
on orch. ~founded [sm1905[nm. Beecham became cond. [sm1906[nm, ~
succeeded by Landon Ronald in [sm1908[nm. In [sm1920[nm ~name changed to Royal A
lbert Hall Orch., which ~later disbanded.[cm~Newton, Ivor [fy75,1]([cf2]b [cf1]L
ondon, [sm1892[nm; [cf2]d[cf1] Bromley, ~[sm1981[nm). Eng. pianist, principally
accompanist. ~Worked with many celebrated artists, e.g. Melba, ~Gerhardt, Gigli,
 McCormack, Flagstad, Chaliapin, ~Casals, Ysa;Auye, Menuhin, etc. C.B.E. [sm1973
[nm.[xm[cm~[ol0][ep~[xp[u20]~~[te~







[do9][j99]~~~~~~[sm153842[nm_N[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dict. of ~Music[cmN[sm003[nm[cm[sm9[nm[cm[sm1[nm[cm~[sm5[nm.[sm10[nm.[sm79[nm[c
m[sm16[nm[cm[sm100[nm[cm~GC[cm4[cm24/9/84[cmU1[cm~~[ap~[j1]New World, From the [
fy75,1]([cf2]Z noveho sv;aaeta[cf1]). Sub-[fjtitle given by Dvo;akr;aaak to his
[sm9[nmth ([sm5[nmth in the old ~numbering) Sym. in E minor, Op. [sm95[nm, comp.
 ~[sm1893[nm and f.p. NY Dec. [sm1893[nm cond. Anton Seidl. ~Some themes are reg
arded as in the spirit of ~Amer. Negro folk tunes but none is directly ~quoted,
though the resemblance of one to `Swing ~low, sweet chariot' is often noticed. O
n the other ~hand, the Bohemian element is equally strong. ~The main theme of th
e [cf2]largo [cf1]has been made into ~a Negro spiritual to the words `Goin' Home
'. ~Dvo;akr;aaak himself hoped to write an opera based on ~Longfellow's [cf2]Hia
watha[cf1] and he said that the [cf2]largo ~[cf1]was a study for it.[cm~New York
 City Opera. [fy75,1]Opera co. founded [sm1943[nm ~as part of NY
 City Center of Music and Drama. ~[sm1[nmst prod. in Feb. [sm1944[nm, Laszlo Hal
;aaasz being mus. ~dir. until [sm1951[nm, succeeded by Joseph Rosenstock ~[sm195
2[nm=n[sm5[nm, Erich Leinsdorf [sm1956[nm, Julius Rudel [sm1957[nm=n~[sm79[nm, B
everly [fy45,1]*[fy75,1]Sills from [sm1979[nm. Moved to NY State ~Theatre in Lin
coln Center [sm1966[nm. Follows adven~~turous policy, presenting unusual and mod
ern ~operas. Has nurtured many fine singers, best ~known of whom are the sop. Be
verly Sills and the ~ten. Placido Domingo.[cm~New York Philharmonic Orchestra. [
fy75,1]America's ~oldest sym. orch., founded [sm1842[nm as Phil. Soc. of ~NY. Up
 to [sm1892[nm the conds. incl. Leopold Damrosch ~and Theodore Thomas. Since the
n the usual rule ~has been for there to be a `permanent' or prin. ~cond. with so
me guest conds., the post being one ~of the most highly prized in the mus. world
: ~[sm1891[nm=n[sm8[nm, Anton Seidl; [sm1898[nm=n[sm1902[nm, Emil Paur; ~[sm1902
[nm=n[sm3[nm, Walter Damrosch; [sm1903[nm=n[sm6[nm, guest cond.
~incl. Wood, Weingartner, R. Strauss, and F. ~Steinbach; [sm1906[nm=n[sm9[nm, Va
sily Safonov; [sm1909[nm=n[sm11[nm, ~Gustav Mahler; [sm1911[nm=n[sm21[nm, Josef
Stransky; [sm1921[nm=n~[sm9[nm, Willem Mengelberg; [sm1928[nm=n[sm36[nm, Arturo
Toscan~~ini (jointly with Mengelberg [sm1928[nm=n[sm9[nm); [sm1936[nm=n[sm42[nm,
 ~John Barbirolli; [sm1943[nm=n[sm7[nm, Artur Rodzinski; [sm1947[nm=n~[sm9[nm, B
runo Walter; [sm1949[nm=n[sm50[nm, Leopold Stokowski ~and Dimitri Mitropoulos; [
sm1950[nm=n[sm8[nm, Dimitri Mitro~~poulos; [sm1958[nm=n[sm69[nm, Leonard Bernste
in; [sm1971[nm=n[sm7[nm, ~Pierre Boulez; [sm1978[nm=n^, Zubin Mehta. Bernstein ~
in [sm1969[nm became cond. laureate for life. The orch. ~merged in [sm1928[nm wi
th the [fy45,1]*[fy75,1]New York Symphony ~Orchestra, becoming the Philharmonic-
Sym~~phony Orchestra of New York, but is now simply ~the NY P.O.[cm~New York Sym
phony Orchestra. [fy75,1]Founded by ~Leopold Damrosch, [sm1878[nm, who was cond.
 until ~his death in [sm1885[nm. Succeeded by his son Walter ~un
til merger with [fy45,1]*[fy75,1]New York Philharmonic ~Orchestra in [sm1928[nm.
[cm~Nicholls, Agnes [fy75,1]([cf2]b [cf1]Cheltenham, [sm1877[nm; [cf2]d [cf1]Lon
~~don, [sm1959[nm). Eng. sop. Studied RCM [sm1894=n7[nm.[fjOpera d;aaebut London
 [sm1895[nm as Purcell's Dido. CG, ~[sm1901[nm=n[sm24[nm, with Denhof, Beecham,
and BNOC cos. ~Sang  Sieglinde in [cf2]Die Walk;auure [cf1]and Br;auunnhilde in
~[cf2]Siegfried [cf1]in first Eng. [cf2]Ring [cf1]at CG in [sm1908[nm under ~Ric
hter. Successful career in oratorio, singing in ~f.p. of Elgar works. Wife of co
nd. Sir Hamilton ~[fy45,1]*[fy75,1]Harty.[cm~Nicholson, George [fy75,1]([cf2]b[c
f1] Durham, [sm1949[nm). Eng. ~composer and pianist. Studied at York Univ. with
~Rands and Blake. Has had several comps. com~~missioned by BBC and by various co
ntemporary ~mus. groups. Member of chamber group Nomos. ~Works incl.:[xm[cm~[j2]
[smtheatre[nm: [cf2]The Arrival of the Poet in the City[cf1], ~melodrama for act
or and [sm7[nm instr. ([sm1982[nm=n[sm3[nm).[ep~[smorch[nm: [cf2
]Recycle[cf1], [sm11[nm instr. ([sm1975[nm=n=n[sm6[nm); [cf2][sm1132[nm[cf1] ([s
m1976[nm); ~[cf2]The Convergence of the Twain[cf1], chamber orch. ~([sm1978[nm);
 [cf2]Chamber Concerto[cf1], [sm13[nm players ([sm1979[nm=n[sm80[nm).[ep~[smvoca
l[nm: [cf2]Colloque sentimental[cf1], sop., hp. ([sm1976[nm); ~[cf2]Rondeau[cf1]
, sop. ([sm1977[nm); [cf2]Settings[cf1], sop., pf. ([sm1977[nm); ~[cf2]Hallel[cf
1], sop., org. ([sm1979[nm); [cf2]Alla Luna[cf1], sop., cl., pf. ~([sm1981[nm);
[cf2]Aubade[cf1], sop., [sm5[nm players ([sm1981[nm).[ep~[smchamber music[nm: [c
f2]Overture[cf1], [sm7[nm wind instr. ([sm1976[nm); ~str. qt. ([sm1976[nm=n[sm7[
nm); brass quintet ([sm1977[nm); [cf2]The ~Seventh Seal[cf1], va. ([sm1977[nm);
[cf2]Nodus[cf1], cl., pf. ([sm1978[nm); ~[cf2]Winter Music[cf1], cl., hp., perc.
 ([sm1978[nm); [cf2]N'est-ce[fj~pas .|.|.?[cf1], vn. ([sm1979[nm); [cf2]Slide Sh
ow[cf1], tb. ([sm1981[nm); [cf2]So ~Low[cf1], db. ([sm1981[nm);[cf2] Ancient Lig
hts[cf1], fl., cl., bass cl., ~vn., va., vc., pf. ([sm1982[nm);
[cf2]Movements[cf1], [sm7[nm instr. ~([sm1982[nm=n[sm3[nm); pf. sonata ([sm1983[
nm).[cm~[j1]Nicholson [fy75,1](Nicolson), [fy65][cf3]Richard [fy75,1]([cf2]b c.[
cf1][sm1570[nm; [cf2]d ~[cf1]Oxford, [sm1639[nm). Eng. composer and organist. ~O
rganist and choirmaster Magdalen Coll., Ox~~ford. First prof. of mus., Oxford Un
iv., [sm1626[nm. ~Wrote madrigals, motets, and [cf2]Joan, quoth John, ~when will
 it be?[cf1] a madrigal cycle for [sm3[nm vv. which ~has been called the first s
ong-cycle. Contrib. [sm5[nm-~part madrigal [cf2]Sing shepherds all [cf1]to [cf2]
The [fy45,1]*[fy75,2]Triumphs ~of Oriana[cf1].[cm~[PN501,0,0,R,I0]Nicholson, [fy
75,1](Sir)[fy65][cf3] Sydney [fy75,1](Hugo) ([cf2]b[cf1] London, ~[sm1875[nm; [c
f2]d [cf1]Ashford, Kent, [sm1947[nm). Eng. organist and ~composer. Organist, Car
lisle Cath. [sm1904[nm=n[sm8[nm, ~Manchester Cath. [sm1908[nm=n[sm18[nm, Westmin
ster Abbey ~[sm1918[nm=n[sm27[nm. Founder-dir. Sch. of Eng. Church Mus., ~[sm192
7[nm, which became [fy45,1]*[fy75,1]Royal School of Church ~Musi
c [sm1945[nm. Wrote church mus. and org. pieces. ~Knighted [sm1938[nm.[cm~Nicod;
aae, Jean Louis [fy75,1]([cf2]b [cf1]Jerczik, [sm1853[nm; [cf2]d [cf1]Lange~~br;
auuck, [sm1919[nm). Ger. composer, cond., and pianist. ~Studied Berlin. Prof. Dr
esden Royal Cons. [sm1878[nm=n~[sm85[nm, cond. Dresden Phil. [sm1885[nm=n[sm8[nm
. Concentrated on ~comp. after [sm1900[nm and wrote sym. ode in [sm6[nm ~movemen
ts [cf2]Das Meer [cf1]([sm1889[nm), [cf2]Gloria! ein Sturm ~und Sonnenlied[cf1],
 ch. and orch. ([sm1905[nm), and other ~works.[cm~Nicolai, [fy75,1](Karl)[fy65][
cf3] Otto [fy75,1](Ehrenfried) ([cf2]b [cf1]K;auonigsberg, ~[sm1810[nm; [cf2]d [
cf1]Berlin, [sm1849[nm). Ger. composer and cond. ~Studied in Berlin and Rome. Ka
pellmeister and ~singing master of K;auarntnerthor Th., Vienna, ~[sm1837[nm, ret
urning to Rome [sm1838[nm, where he comp. ~several operas in It. style. Kapellme
ister, Vienna ~Court Opera [sm1841[nm=n[sm7[nm, founding Phil. concerts ~[sm1842
[nm. Credited with being first to insert Beethov~~en's [cf2]Leon
ora No. [sm3[nm[cf1] ov. into [cf2]Fidelio[cf1] as entr'acte ~([sm1841[nm). Dir.
, Berlin Opera [sm1847[nm, where his most ~successful opera, [cf2]Die [fy45,1]*[
fy75,2]Lustigen Weiber von Windsor, ~[cf1]was prod. [sm2[nm months before his de
ath. Also wrote ~[sm2[nm syms., pf. conc., str. qt., etc.[cm~Nicolini [fy75,1](N
icolino Grimaldi) ([cf2]b [cf1]Naples, [sm1673[nm; [cf2]d ~[cf1]Naples, [sm1732[
nm). It. castrato cont. Sang in It. [sm1694[nm=n~[sm1708[nm, then went to London
 where he achieved ~enormous success [sm1708[nm=n[sm11[nm and [sm1714[nm=n[sm18[
nm. Sang in ~many of Handel's operas and created  roles of ~Rinaldo and Amadigi.
[cm~Niedermeyer, [fy75,1](Abraham)[fy65][cf3] Louis [fy75,1]([cf2]b [cf1]Nyon, S
witz., ~[sm1802[nm; [cf2]d [cf1]Paris, [sm1861[nm). Swiss composer, pupil of ~Mo
scheles in Vienna and of Zingarelli in Naples. ~Wrote unsuccessful operas for Pa
ris. Took over ~sch. of church mus. now known as ;aaEcole ~Niedermeyer. Wrote ma
ss and other religious ~works.[xm[cm~[j1]Niederschlag [fy75,1](G
er.). ([sm1[nm) Down-beat (up-beat ~being [fy45,1]*[fy75,2]Aufschlag[cf1]).[ep~^
([sm2[nm) In str. playing, down-stroke of the bow (also ~called [cf2]Niederstric
h[cf1]).[cm~Nielsen, Carl [fy75,1](August) ([cf2]b [cf1]N;uprre-Lyndelse, [sm186
5[nm; ~[cf2]d [cf1]Copenhagen, [sm1931[nm). Danish composer, violinist, ~and con
d. Showed mus. talent as child and became ~military trumpeter at [sm14[nm at Ode
nse. Formed str. ~qt. in [sm1882[nm. Entered Royal Cons., Copenhagen, ~[sm1884[n
m, studying theory with Rosenhoff and mus. ~history with Gade. Joined th. orch.
as violinist, ~[sm1886[nm, and was violinist in Royal Opera orch. ~[sm1889[nm=n[
sm1905[nm. Made some appearances as cond., and ~became a cond. at Royal Th., Cop
enhagen, [sm1908[nm=n~[sm14[nm. Conducted Copenhagen Mus. Soc. [sm1915[nm=n[sm27
[nm. ~On staff of Royal Danish Cons. from [sm1915[nm, ~becoming dir. [sm1931[nm.
 Visited Berlin [sm1921[nm, London ~[sm1923[nm, and Paris [sm1926[nm to conduct
his own works. ~For many years his mus. was little known outside
 ~Denmark, but after World War II the power and ~originality of his syms. spread
 to other countries. ~The [sm5[nmth Sym. contains an early aleatory feature, ~wh
en the side-drummer is instructed to impro~~vise so as to drown the rest of the
orch. His First ~Sym. of [sm1891[nm=n[sm2[nm is one of earliest examples of ~`pr
ogressive tonality', i.e. it begins in one key and ~ends in another. Prin. comps
.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Saul and David [cf1]([sm1898[nm=n[sm
1901[nm); [fy45,1]*[fy75,1][cf2]Maskarade ~[cf1]([sm1906[nm).[ep~[smincidental m
usic[nm: [cf2]Snefrid [cf1]([sm1893[nm); [cf2]Hr. Oluf han ~rider [cf1](Master O
luf Rides) ([sm1906[nm); [cf2]Ebbe Skammelsen ~[cf1]([sm1925[nm); [cf2]Amor og D
igterer [cf1](Love and the Poet) ~([sm1931[nm).[ep~[smorch[nm: Syms.: No. [sm1[n
m in G minor ([sm1891=n2[nm), No. [sm2[nm ~([cf2]The [fy45,1]*[fy75,2]Four Tempe
raments[cf1]) ([sm1901[nm=n[sm2[nm), No. [sm3[nm ~([fy45,1]*[fy75,1][cf2]Sinfoni
a espansiva[cf1]) ([sm1910[nm=n[sm11[nm), No. [sm4[nm ([cf2]Det
~uudslukkelige[cf1], The [fy45,1]*[fy75,1]Inextinguishable) ([sm1915[nm=n[sm16[n
m); ~No. [sm5[nm ([sm1921[nm=n[sm22[nm), No. [sm6[nm ([fy45,1]*[fy75,2]Sinfonia
semplice[cf1]) ([sm1924[nm=n~[sm5[nm); [cf2]Little Suite [cf1]for str. ([sm1888[
nm); [cf2]Helios, [cf1]ov. ([sm1903[nm); ~[cf2]The Dream of Gunnar [cf1]([cf2]Sa
ga-Dr;Upm[cf1]) ([sm1908[nm); vn. ~conc. ([sm1911[nm); [cf2]Franz Neruda in memo
riam[cf1], speaker, ~orch. ([sm1918[nm); [cf2]Pan and Syrinx[cf1], pastorale ([s
m1917[nm); [cf2][sm7[nm ~Pieces from `Aladdin' [cf1]([sm1918[nm=n[sm19[nm); fl.
conc. ([sm1926[nm); ~[cf2]En Fantasirejse til Faer;Uperne[cf1], (An Imaginary Tr
ip ~to the Faroe Islands), rhapsody ([sm1927[nm); cl. conc. ~([sm1928[nm).[ep~[s
mchoral[nm: [fy45,1]*[fy75,2]Hymnus Amoris[cf1], sop., ten., bar., bass, ~childr
en's ch., male ch., mixed ch., and orch. ~([sm1896[nm); [cf2]S;upvnen [cf1](Slee
p), ch. and orch. ([sm1904[nm); ~[cf2]Fynsk Foraar [cf1](Springtime on Fyn), sop
., ten., ~bass-bar., ch., and orch. ([sm1921[nm); [cf2]Hyldest t
il Holberg ~[cf1](Homage to Holberg), solo vv., ch., orch. ([sm1922[nm); ~[cf2]H
ymne til Kunsten [cf1](Hymn to Art), sop., ten., ch., ~wind instr. ([sm1929[nm);
 [sm3[nm Motets, unacc. ch. ([sm1929[nm); ~various occasional cantatas, incl. on
e for the [sm50[nmth ~anniv. of Danish Cremation Union ([sm1931[nm).[ep~[smchamb
er music[nm: Str. Qts.: in D minor ([sm1882[nm=n[sm3[nm), in ~F ([sm1887[nm), No
. [sm1[nm in G minor ([sm1888[nm), No. [sm2[nm in F ~minor ([sm1890[nm), No. [sm
3[nm in E;Yh ([sm1898[nm), No. [sm4[nm in F ~([sm1906[nm); Str. Quintet in G ([s
m1888[nm), Wind Quintet ~([sm1922[nm); Vn. sonatas: in G ([sm1881[nm=n[sm2[nm),
No. [sm1[nm in A ~([sm1895[nm), No. [sm2[nm ([sm1912[nm); [cf2]Ved en ung Kunstn
ers Baare ~[cf1](At the bier of a young artist), str. qt. and db. ~([sm1910[nm);
 [cf2]Prelude and Theme with Variations[cf1], solo ~vn. ([sm1923[nm); [cf2]Seren
ata in vano[cf1], cl., bn., hn., vc., db. ~([sm1914[nm).[ep~[smpiano[nm: [cf2][s
m2[nm Characteristic Pieces [cf1]([cf2]c[cf1].[sm1882[nm=n[sm3[n
m); [cf2][sm5[nm Pieces ~[cf1]([sm1890[nm); [cf2]Symphonic Suite [cf1]([sm1894[n
m); [cf2][sm6[nm Humoresque-~Bagatelles [cf1]([sm1894[nm=n[sm7[nm); [cf2]Festive
 Prelude to the New ~Century[cf1] ([sm1899[nm); [cf2]Chaconne [cf1]([sm1916[nm);
 [cf2]Theme with ~Variations [cf1]([sm1916[nm); [cf2]Suite [cf1]([sm1919[nm); [c
f2]Tre Klaverstykker ~[cf1]([sm3[nm Pieces) ([sm1928[nm); [cf2]Piano Music for Y
oung and Old[cf1], ~[sm24[nm [sm5[nm-finger pieces ([sm1930[nm).[ep~[smvoice and
 piano[nm: [cf2][sm5[nm Poems by J. P. Jacobsen [cf1]([sm1891[nm); ~[cf2][sm6[nm
 Songs and Verses by J. P. Jacobsen [cf1]([sm1891[nm); [cf2][sm6[nm Songs ~[cf1]
(Holstein) ([sm1894[nm); [cf2][sm7[nm Strophic Songs [cf1]([sm1905[nm=n[sm7[nm);
 ~[cf2]Tove[cf1], [sm3[nm songs for Holstein's play ([sm1906[nm=n[sm8[nm); ~[cf2
]Willemoes[cf1], [sm5[nm songs for L.C. Nielsen's play ([sm1907[nm=n~[sm8[nm); [
cf2]Hymn to Denmark [cf1]([sm1917[nm); [cf2][sm3[nm Songs from ~`Aladdin' [cf1](
[sm1918[nm); [cf2][sm20[nm Popular Melodies [cf1]([sm1917[nm=n[s
m21[nm); ~[PN502,0,0,L,I0][cf2]Balladen om Bj;uprnen [cf1](Ballad of the Bear) (
[sm1923[nm); ~[cf2][sm10[nm Little Danish Songs [cf1]([sm1923[nm=n[sm4[nm).[ep~[
smorgan[nm: [cf2][sm29[nm Short Preludes [cf1](or for harmonium) ~([sm1929[nm);
[cf2][sm2[nm Preludes [cf1]([sm1930[nm); [cf2]Commotio [cf1]([sm1931[nm).[cm~[j1
]Nielsen, Riccardo [fy75,1]([cf2]b [cf1]Bologna, [sm1908[nm). It. com~~poser. St
udied with Carlo Gatti in Milan. Earlier ~works in neo-classical idiom, later in
 [sm12[nm-note; ~incl. radio opera [cf2]La via di Colombo [cf1](NY [sm1953[nm),
~[cf2]L'incubo[cf1], monodrama (Venice [sm1948[nm), [sm2[nm syms., ~conc. for or
ch., vn. conc., pf. concs., chamber ~mus.[cm~Niemann, Albert [fy75,1]([cf2]b [cf
1]Erxleben, [sm1831[nm; [cf2]d [cf1]Berlin, ~[sm1917[nm). Ger. ten. D;Aaebut Des
sau [sm1849[nm in minor ~operatic roles, then studied there and in Paris. ~Sang
in various Ger. opera cos. until joining ~Berlin Opera [sm1866[nm=n[sm88[nm. San
g Wagner roles of ~Tannh;Auauser (Paris [sm1861[nm), Siegmund (B
ayreuth ~[sm1876[nm). London d;Aaebut, as Siegmund, [sm1882[nm. NY ~Met. [sm1886
[nm=n[sm8[nm (first Amer. Tristan and Siegfried).[cm~Niente [fy75,1](It.). Nothi
ng. Term used (especially by ~Vaughan Williams) to indicate that the sound is ~g
radually to fade out of earshot.[cm~Nietzsche, Friedrich Wilhelm [fy75,1]([cf2]b
 [cf1]R;Auocken, [sm1844[nm; ~[cf2]d [cf1]Weimar, [sm1900[nm). Ger. philosopher,
 poet, and ~amateur composer. Friend and ardent disciple of ~Wagner but turned a
gainst him and denounced ~his influence in [sm3[nm pamphlets, the last and most
~effective of them being [cf2]Der Fall Wagner[cf1] ([sm1888[nm). ~Instead, champ
ioned Bizet. Wrote songs, pf. ~pieces, and choral mus. His epic prose-poem [cf2]
Also ~sprach Zarathustra [cf1]([sm1883[nm=n[sm5[nm) inspired mus. from ~R. Strau
ss, Mahler, and Delius.[cm~Nigg, Serge [fy75,1]([cf2]b [cf1]Paris, [sm1924[nm).
Fr. composer. Studied ~Paris Cons. [sm1941[nm=n[sm6[nm, pupil of Messiaen. In [s
m1945[nm=n[sm8[nm ~studied [sm12[nm-note technique with R. Leibo
witz. ~Later reacted against atonality and turned to ~more romantic idiom. Works
 incl. symphonic ~poems [cf2]Timour [cf1]([sm1944[nm), [cf2]Pour un po;agete cap
tif [cf1]([sm1950[nm); ~[sm2[nm pf. concs., vn. conc., fl. conc., vn. sonata, [s
m2[nm pf. ~sonatas, [cf2]J;Aaer;Afome Bosch Symphony [cf1]([sm1960[nm), etc.[cm~
Nightingale. [fy75,1]Imitative toy instr. used in an ~oratorio by A. Scarlatti,
in Leopold Mozart's [cf2]Toy ~Symphony, [cf1]and in Crosse's [cf2]Play Ground.[c
m~Nightingale, The [fy75,1](Russ. [cf2]Solovey[cf1]; Fr. [cf2]Le Rossignol[cf1])
. ~Opera in [sm3[nm acts by Stravinsky to lib. by composer ~and S. Mitusov, base
d on Hans Andersen. Comp. ~[sm1908=n9[nm, [sm1913=n14[nm. Prod. Paris and London
 [sm1914[nm, NY Met. ~[sm1926[nm. Also [cf2]Song of the Nightingale [cf1]([cf2]L
e Chant du ~Rossignol[cf1]) sym.-poem in [sm3[nm parts based on ~mus. from the o
pera, [sm1917[nm. F.p. Geneva [sm1919[nm; ~f.p. in England, London [sm1920[nm; [
cf2]Songs of the ~Nightingale and Chinese March [cf1]for vn. and
 pf., ~transcr. Stravinsky and S. Dushkin, [sm1932[nm.[cm~Night on the Bare Moun
tain [fy75,1]([cf2]Ivanova noch na ~lisoy gore, [cf1]St John's Night on the Bare
 Mountain). ~Orch. work by Mussorgsky inspired by witches' ~sabbath in Gogol's s
tory [cf2]St John's Eve. [cf1]Comp. [sm1867[nm ~for orch., rev. as choral piece
for inclusion in ~opera [cf2]Mlada[cf1], [sm1872[nm, again rev. as choral introd
uc~~tion to Act [sm3[nm of [fy45,1]*[fy75,2]Sorochintsy Fair[cf1], [sm1874[nm. T
his final ~version was freely rev. and orch. by Rimsky-~Korsakov, [sm1908[nm, an
d it is this version which is ~well-known, though it is scarcely accurate to ~de
scribe it as by Mussorgsky.[cm~Night Ride and Sunrise. [fy75,1]Tone poem for orc
h., ~Op. [sm55[nm, by [fy45,1]*[fy75,1]Sibelius, comp. [sm1907[nm, f.p. St ~Pete
rsburg [sm1909[nm (cond. Ziloti), f.p. in England ~Hastings [sm1930[nm.[cm~Night
s in the Gardens of Spain [fy75,1](Falla). See ~[cf2]Noches en los jardines de E
spa;Atna.[cm~Nijinsky [fy75,1](Nizhinsky), [fy65,3]Vaclav [fy75,
1]([cf2]b[cf1] Kiev, [sm1889[nm; [cf2]d[cf1] ~London, [sm1950[nm). Russ. dancer.
 Entered St Peters~~burg ballet sch. [sm1898[nm, graduated [sm1907[nm. Joined ~M
aryinsky Th. Danced with Pavlova in Fokine's ~[cf2]Pavillon d'Armide [cf1]([sm19
07[nm). Met [fy45,1]*[fy75,1]Diaghilev and ~became prin. attraction in Paris sea
sons of Ballet ~Russe. Noted for his dancing in [cf2]Les Sylphides ~[cf1]([sm190
9[nm), [cf2]Sh;aaeh;aaerazade [cf1]([sm1910[nm), [cf2]Spectre de la Rose [cf1]an
d ~[cf2]Petrushka [cf1]([sm1911[nm), [cf2]Daphnis and Chlo;aue [cf1]([sm1912[nm)
. Re~~signed from Maryinsky co. [sm1911[nm because his ~costume in [cf2]Giselle
[cf1]was considered indecent. ~Choreographer for Diaghilev prods. of [cf2]L'Apr;
ages-~midi d'un Faune[cf1] ([sm1912[nm), [cf2]Jeux [cf1]([sm1913[nm), and [cf2]L
e Sacre ~du Printemps [cf1]([sm1913[nm). His marriage led to break ~with Diaghil
ev. Estab. own co. [sm1914[nm but it failed. ~Rejoined Diaghilev [sm1916[nm, cho
reographing [cf2]Till ~Eulenspiegel[cf1]. Last solo perf. St Mor
itz [sm1919[nm. Spent ~last years in mental hospitals. One of the greatest ~arti
sts in history of ballet. His sister Bronislava ~Nijinska (properly Nijinskaya)
([cf2]b[cf1] Minsk, [sm1891[nm; [cf2]d[cf1] ~Los Angeles, [sm1972[nm) also creat
ed roles in Diaghilev ~ballets ([cf2]Carnaval[cf1], [sm1910[nm and [cf2]Petrushk
a[cf1], [sm1911[nm). ~Returned to Russ. [sm1914[nm but left [sm1921[nm to rejoin
 ~Diaghilev co. as dancer, prod., and choreographer. ~Created [cf2]Renard [cf1](
[sm1922[nm), [cf2]Les Noces [cf1]([sm1923[nm), [cf2]Les Biches ~[cf1]and [cf2]Le
 train bleu[cf1] ([sm1924[nm). Worked as choreog. for ~Paris Op;aaera, Teatro Co
l;aaon in Buenos Aires, and ~with Ida Rubinstein co. ([cf2]Le Baiser de la F;aae
e[cf1], [cf2]Bol;aaero[cf1], ~[sm1928[nm, [cf2]La Valse[cf1], [sm1929[nm). Later
 worked for Max ~Reinhardt in Berlin and opened ballet sch. in Los ~Angeles [sm1
938[nm. Guest choreog. for various cos. in ~[sm1940[nms. Prod. [cf2]Les Biches[c
f1] ([sm1964[nm) and [cf2]Les Noces [cf1][sm(1966[nm) ~for Royal
 Ballet at CG.[cm~Nikisch, Artur [fy75,1]([cf2]b [cf1]L;Aaeb;Aaenyi Szent-Mikl;a
aos, [sm1855[nm; ~[cf2]d [cf1]Leipzig, [sm1922[nm). Hung. cond. and violinist. C
hild ~prodigy pianist. Entered Vienna Cons. at [sm11[nm, ~staying until [sm1873[
nm. Played vn. in orch. at laying ~of Bayreuth foundation stone, May [sm1872[nm.
 Violin~~ist, Vienna Court Opera Orch. [sm1874[nm=n[sm7[nm. Engaged ~by A. [fy45
,1]*[fy75,1]Neumann as ch. master, Leipzig Opera, ~[sm1877[nm, [sm2[nmnd cond. t
here [sm1878[nm, [sm1[nmst cond. [sm1879[nm=n[sm89[nm ~(with Mahler as [sm2[nmnd
 cond. [sm1886[nm=n[sm8[nm). Cond. Boston ~S.O. [sm1889[nm=n[sm93[nm. Dir. Budap
est Opera [sm1893[nm=n[sm5[nm. ~Cond. Leipzig Gewandhaus Orch. and Berlin P.O. ~
 from [sm1895[nm. Frequent guest cond. in Eng. and ~USA. Took LSO on [sm1[nmst A
mer. tour [sm1912[nm. Cond. ~opera at CG [sm1907[nm, [sm1912[nm (Holbrooke's [cf
2]Children of ~Don[cf1]), and [sm1913[nm=n[sm14[nm ([cf2]The Ring[cf1]). Cond. m
uch Eng. ~mus. incl. Elgar's First Sym. and f.p. of Butter~~[PN5
03,0,0,R,I0]worth's [cf2]Shropshire Lad [cf1]Rhapsody (Leeds [sm1913[nm). ~Comp.
 chamber mus. and cantata.[cm~Nilsson, [fy75,1](M;auarta) [fy65][cf3]Birgit [fy7
5,1]([cf2]b [cf1]Karup, [sm1918[nm). Swed.[fjsop. Entered Stockholm Acad. [sm194
1[nm to study with ~Joseph Hislop. Opera d;Aaebut Stockholm [sm1946[nm as ~Agath
e in [cf2]Der Freisch;Auutz[cf1]. Sang variety of roles in ~Stockholm, esp. Wagn
er, Verdi, Puccini, and ~Strauss. Glyndebourne [sm1951[nm (Electra in [cf2]Idome
neo[cf1]). ~Sang Br;auunnhilde in [cf2]Der Ring des Nibelungen[cf1], ~Munich [sm
1955[nm, and Strauss's Salome. Sang Isolde ~and Sieglinde at Bayreuth [sm1957[nm
, being acknow~~[chledged as Flagstad's successor as leading Wagner~~ian sop. Ou
tstanding Turandot at Scala, Milan, ~[sm1958[nm. CG d;Aaebut (Br;Auunnhilde) [sm
1957[nm, San Francisco ~[sm1956[nm, NY Met. [sm1959[nm (Isolde). Added Dyer's Wi
fe ~in Strauss's [cf2]Die Frau ohne Schatten [cf1]to her repertoire ~in [sm1975[
nm. Retired from stage [sm1982[nm.[cm~Nilsson, Bo [fy75,1]([cf2]
b [cf1]Skelleftehamn, Sweden, [sm1937[nm). ~Swed. composer, largely self-taught.
 Serialist and ~has used elec. and [cf2]avant-garde [cf1]techniques. Works ~incl
. [cf2]Frequenzen[cf1], chamber ens. ([sm1956[nm), [cf2][sm20[nm Clusters ~[cf1]
for picc., ob., and cl. ([sm1958[nm=n[sm9[nm), cantata [cf2]And the ~hands of hi
s eyes were slowly turned back [cf1]([sm1959[nm), ~[cf2]Entr;Aaee [cf1]for orch.
 and tape ([sm1962[nm=n[sm3[nm), [cf2]Szene [cf1]I, II, and ~III for chamber ens
. ([sm1960[nm=n[sm2[nm), [cf2]Versuchungen [cf1]for ~orch. in [sm3[nm groups ([s
m1963[nm), [cf2]Nazm [cf1]for reciter, solo ~vv., ch., jazz group, orch. all amp
. ([sm1973[nm), [cf2]Taqsim-~Caprice-Maqam[cf1], ens. ([sm1974[nm), [cf2]Szene I
V[cf1], jazz sax., ch. ~([sm1975[nm), [cf2]Madonna[cf1], mez., ens. ([sm1977[nm)
, etc.[cm~Nilsson, Christine [fy75,1]([cf2]b [cf1]Sj;Auoabol, [sm1843[nm; [cf2]d
 [cf1]Stockholm, ~[sm1921[nm). Swed. sop. Studied Stockholm and Paris. ~D;aaebut
 Paris [sm1864[nm as Violetta, London [sm1864[nm. Sang ~opera re
gularly in London until [sm1881[nm and gave ~farewell concert there in [sm1891[n
m. NY [sm1870[nm=n[sm4[nm and ~[sm1883[nm=n[sm4[nm (sang Margu;Aaerite in Gounod
's [cf2]Faust [cf1]on ~opening night of NY Met. [sm1883[nm).[cm~Nimphes des Bois
 [fy75,1](Fr. `Wood Nymphs'). Title ~of poem by Jehan Molinet which is combined
~with the Latin Requiem as text for the six-part ~motet-chanson [cf2]La D;aaeplo
ration de la mort de Johannes ~(=+=+=+Jehan) Ockeghem [cf1]by Josquin [fy45,1]*[
fy75,1]Despr;ages. Written ~and composed [sm1497[nm (Ockeghem died on [sm6[nm Fe
b., ~[sm1497[nm). Text refers to several contemporary com~~posers, incl. Josquin
 himself. Requiem chant is ~used as [cf2]cantus firmus [cf1]to principal setting
.[cm~Nimrod. [fy75,1][sm9[nmth ([cf2]adagio[cf1]) of Elgar's [cf2]Enigma Variati
ons. ~[cf1]So called because it is a portrait of Elgar's friend ~A. J. Jaeger (J
;auager is Ger. for hunter: Nimrod was ~`mighty hunter' in Old Testament). Enshr
ines a ~day when the two men discussed Beethoven slow ~movements
 and is often used as a commemorative ~separate item.[cm~Nimsgern, Siegmund [fy7
5,1]([cf2]b [cf1]St Wendel, [sm1940[nm). Ger. ~bass. Studied at Saarbr;auucken.
Between [sm1967[nm and ~[sm1971[nm won singing comps. at 's Hertogenbosch, ~Colo
gne, Munich, and Berlin. Member of Saar~~br;auucken Staatstheater [sm1971[nm=n[s
m4[nm, then Deutsche ~Oper-am-Rhein. Brit. d;aaebut [sm1972[nm (concert perf. ~o
f [cf2]La Damnation de Faust[cf1], cond. Boulez), CG [sm1973[nm ~(Amfortas). Ame
r. d;aaebut San Francisco [sm1974[nm ~(=+=+=+Jokanaan in [cf2]Salome[cf1]), NY M
et. [sm1978[nm (Pizarro).[cm~Nin [fy75,1](y Castellanos), [fy65][cf3]Joaqu;aain
[fy75,1]([cf2]b [cf1]Havana, [sm1879[nm; [cf2]d ~[cf1]Havana, [sm1949[nm). Cuban
 pianist, composer, and ~musicologist. Studied Barcelona and later in Paris ~wit
h Moszkowski and d'Indy. Prof. of pf., Schola ~Cantorum, [sm1905[nm. Worked in B
erlin [sm1908[nm=n[sm10[nm. ~Specialized as pianist in old and modern Sp. mus. ~
Ed. several vols. of early Sp. mus. Wrote pf. ~works, songs, gui
tar pieces, etc.[cm~Nin-Culmell, Joaqu;aain [fy75,1](Maria) ([cf2]b [cf1]Berlin,
 [sm1908[nm). ~Ger.-born Amer. composer and pianist, son of ~Joaquin [fy45,1]*[f
y75,1]Nin. Studied Schola Cantorum, and ~Paris Cons. (with Dukas). Also studied
pf. ~privately with Cortot and Vi;atnes and comp. with ~Falla. Professional pian
ist [sm1930[nm=n[sm50[nm, cond. since ~[sm1940[nm, and teacher in Amer. colls. C
omps. incl. [cf2][sm48[nm ~Tonadas [cf1]for pf., vc. conc., pf. conc., choral mu
s., ~pf. quintet, etc.[xm[cm~[ol0][ep~[xp[u20]~~[te~






[do25][j99]~~~~~~[sm153842[nm_N[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Concis
e Dict of ~Music[cmN[sm004[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm05[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm[sm135[nm[cm~GC[cm5[cm24/9/84[cmU1[cm~~~[ap[j1]Nineteenth. [fy75,1
]Org. mutation stop. Length and ~pitch [sm1[nm;FM;po, pitch being thus a [sm19[n
mth ([sm2[nm octaves and a ~[sm5[nmth) above normal.[cm~Ninth. [fy75,1][fy45,1]*
[fy75,1]Interval of [sm9[nm steps, if bottom and top ~notes are counted. Chord o
f the [sm9[nmth is common ~chord plus the [sm7[nmth and [sm9[nmth.[cm~Ninth Symp
hony. [fy75,1]Although several composers ~published [sm9[nm syms., e.g. Mahler,
Bruckner, Dvo;Akr;aaak, ~and Vaughan Williams, this term to the general ~mus.-lo
ver means one work, Beethoven's Sym. ~No. [sm9[nm in D minor, the `Choral'.[cm~N
obile [fy75,1](It.). [cf1]Noble.[cm~Nobilissima Visione [fy75,1](Most noble visi
on). Cho~~reographic legend in [sm1[nm act and [sm5[nm scenes, lib. and ~mus. by
 Hindemith based on life of St Francis of ~Assisi. Choreog. Mass
ine, who danced in f.p. ~London (CG) [sm1938[nm. Danced in USA under title ~[cf2
]Saint Francis. [cf1]Also orch. suite in [sm3[nm movements.[cm~Nobilmente [fy75,
1](It.). Nobly, in a noble style. ~Directive closely, almost exclusively, assoc.
 with ~mus. of Elgar, who first used it in a pubd. score ~in the pf. transcripti
on of `Nimrod' in the [cf2]Enigma ~Variations[cf1] ([sm1899[nm), but not in full
 score. First used ~in pubd. orch. score in [cf2]Cockaigne [cf1]concert-ov., ~[s
m1901[nm. Though widely regarded as symbol of ~Elgar's `ceremonial' manner, it s
hould be noted ~that he did not apply it to the [cf2]Pomp and ~Circumstance [cf1
]marches, nor to the [cf2]Coronation Ode[cf1], ~but used it for themes of a part
icular emotional ~intensity, as in the Vn. and Vc. Concs., and the ~syms. Vaugha
n Williams also used the term in ~his [cf2]Coastal Command [cf1]film mus., [sm19
42[nm.[xm[cm~[j1]Noble, Dennis [fy75,1]([cf2]b [cf1]Bristol, [sm1899[nm; [cf2]d
[cf1]J;aaavea, Spain, ~[sm1966[nm). Eng. bar. Chorister Bristol
Cath. Heard by ~Percy [fy45,1]*[fy75,1]Pitt singing in cinema and offered CG ~au
dition. D;aaebut there [sm1924[nm. Sang there regularly ~until [sm1938[nm and al
so in [sm1947[nm. Also with BNOC and ~Carl Rosa. Sang bar. part in f.p. of Walto
n's ~[cf2]Belshazzar's Feast[cf1], Leeds [sm1931[nm.[cm~[PN504,0,0,L,I0]Noble, [
fy75,1](=+=+John) [fy65][cf3]Jeremy [fy75,1]([cf2]b [cf1]London, [sm1930[nm). En
g. ~musicologist and critic. Studied Oxford Univ. ~Wrote mus. criticism for [cf2
]The Times [cf1][sm1960[nm=n[sm3[nm, ~[cf2]Sunday Telegraph [cf1][sm1972[nm=n[sm
6[nm. Assoc. prof. State Univ. ~of NY at Buffalo [sm1966[nm=n[sm70[nm and from [
sm1976[nm. ~Specialist in Renaissance mus.[cm~Noble, John [fy75,1]([cf2]b [cf1]S
outhampton, [sm1931[nm). Eng. bar. ~Studied Cambridge Univ. Abandoned career as
~physicist [sm1954[nm when he sang Pilgrim in Vaughan ~Williams's [cf2]The Pilgr
im's Progress [cf1]at Cambridge. ~Since then has had successful career in orator
io ~and opera, with tours of Europe and USSR.[cm~Noble, Thomas [
fy75,1](Tertius) ([cf2]b [cf1]Bath, [sm1867[nm; [cf2]d ~[cf1]Rockport, Mass., [s
m1953[nm). Eng. organist and com~~poser. Studied at RCM with Parratt, Frederick
~Bridge, and Stanford. Ass. organist, Trinity Coll., ~Cambridge, [sm1890[nm=n[sm
2[nm. Organist, Ely Cath. [sm1892[nm=n[sm8[nm, ~York Minster [sm1898[nm=n[sm1912
[nm, St Thomas's Church, ~NY, [sm1912[nm=n[sm47[nm. Comps. incl. anthems, hymns,
 ~cantata, and org. pieces.[cm~Noces, Les [fy75,1](Russ. [cf2]Svadebka[cf1]; Eng
. `The Wedding'). ~`Choreographic scenes with song and music' by ~Stravinsky (wo
rds adapted by composer from ~popular sources) for mixed ch., [sm4[nm soloists,
[sm4[nm pf., ~and [sm17[nm perc. instr., in [sm4[nm scenes: [cf2]The Blessing of
 the ~Bride, The Blessing of the Bridegroom, The Bride's ~Departure from her Par
ents' Home, [cf1]and [cf2]The Wedding ~Feast. [cf1][sm1[nmst version [sm1917[nm
unfinished (scored for full ~wind, str. octet, with cimbalom, hps., perc., and ~
harmonium. Completed [sm1971[nm by R. Craft and C. ~Matthews). [
sm2[nmnd version [sm1919[nm, for perc., harmon~~ium, cimbalom, and pianola. Prod
. Paris [sm1923[nm, ~choreog. Nijinskaya, cond. Ansermet. Later cho~~reog. B;Aae
jart.[cm~Noches en los Jardines de Espa;atna [fy75,1](Nights in ~the Gardens of
Spain). Symphonic impressions ~for pf. and orch. by Falla, comp. [sm1909[nm=n[sm
16[nm, f.p. ~Madrid [sm1916[nm; f.p. in England, London [sm1921[nm ~(soloist Fal
la); f.p. in Amer., Boston, Mass., [sm1924[nm. ~Movements are: [sm1[nm. [cf2]En
el Generalife[cf1]. [sm2[nm. [cf2]Danza lejana ~[cf1](Dance in the distance). [s
m3[nm. [cf2]En los jardines de la ~Sierra de C;Aaordoba.[cm~Nocturne [fy75,1](Fr
., `pertaining to night'). A comp. ~which suggests a nocturnal atmosphere, e.g.
~Haydn's [cf2]Notturnos [cf1]for [fy45,1]*[fy75,1]lira organizzata, Mozart's ~[c
f2]Serenata Notturna[cf1], but more specifically a short ~pf. piece of romantic
character. First to use the ~title for this genre was John [fy45,1]*[fy75,1]Fiel
d, followed by ~[fy45,1]*[fy75,1]Chopin. An expressive melody in
 the right hand ~is accompanied in the left by broken chords.[cm~Nocturne. [fy75
,1]Song-cycle for ten., [sm7[nm obbl. instr., and ~str. orch., Op. [sm60[nm, by
Britten, comp. [sm1958[nm. Settings ~of [sm8[nm poems about night by Shelley, Te
nnyson, ~Coleridge, Middleton, Wordsworth, Owen, Keats, ~and Shakespeare. The op
ening poem is acc. by str. ~only; each succeeding setting is dominated by an ~ob
bl. instr. (bn., harp, hn., timp., cor anglais, and ~fl. and cl.), and the final
e is for the full ~complement. Ded. to Mahler's widow. F.p. Leeds ~[sm1958[nm.[c
m~Nocturnes. [fy75,1]Symphonic triptych for orch., and in ~the last movement wom
en's ch., by Debussy, ~comp. [sm1897[nm=n[sm9[nm. The [sm3[nm movements are [cf2
]Nuages ~[cf1](Clouds), [cf2]F;Afetes [cf1](Festivals), and [cf2]Sir;Agenes [cf1
](Sirens). F.p. ~(Nos. [sm1[nm and [sm2[nm), Paris[rf [sm1900[nm, f. complete p.
 Paris ~[sm1901[nm. F.p. in England, London [sm1909[nm, cond. ~Debussy. Arr. for
 [sm2[nm pf., [sm4[nm hands, by Ravel [sm1909[nm.[cm~Nocturnes a
nd Arias. [fy75,1]([sm1[nm) Orch. work by ~[fy45,1]*[fy75,1]Musgrave comp. [sm19
66[nm, f.p. Z;Auurich, cond. N. Del ~Mar.[ep~([sm2[nm) Settings by [fy45,1]*[fy7
5,1]Henze of poems by I. Bachmann ~for sop. and orch. Comp. [sm1957[nm. F. p. Do
naueschin~~gen (Gloria Davy; H. Rosbaud).[cm~Node [fy75,1](of a vibrating string
). Point of rest between ~two vibrating portions.[xm[cm~[j1]No;auel [fy75,1](Fr.
), [fy65][cf3]Nowell [fy75,1](Eng.). A popular Christmas ~song or carol. In Eng.
 several [sm15[nmth-cent. carols ~begin with the word `Nowell' and [fy45,1]*[fy7
5,1]Busnois ~([cf2]c.[cf1][sm1430=n92[nm) wrote a work for [sm4[nm vv. with the
word ~`No;auel' as the sole text. In the [sm17[nmth cent. the name ~`no;Auel' wa
s given to organ pieces to be played ~during the Christmas services and based on
 ~Christmas melodies.[cm~Noire [fy75,1](Fr.). The crotchet or Amer. quarter-note
.[cm~Nola, Domenico da [fy75,1]([cf2]b [cf1]Nola, Naples, early [sm16[nmth ~cent
.; [cf2]d [cf1]Naples, [sm1592[nm). It. composer. Between ~[sm15
41[nm and [sm1564[nm pubd. books of motets, madrigals, ~[cf2]villanelles[cf1], e
tc. Choirmaster, Ch. d'Annunziata, ~Naples, [sm1563[nm=n[sm88[nm.[cm~None. [fy75
,1]The [sm6[nmth of the Canonical Hours of the ~R.C. Church. Properly it takes p
lace at [sm3[nm p.m. (i.e. ~the `[sm9[nmth hour').[cm~Nonet [fy75,1](Eng.), [fy6
5][cf3]nonette [fy75,1](Fr.), [fy65][cf3]nonett [fy75,1](Ger.), [fy65][cf3]no~~n
etto [fy75,1](It.). Comp. for [sm9[nm solo instr. or [sm9[nm vv. Famous ~example
s are by Spohr, Rheinberger, Stanford, ~Ravel ([cf2][sm3[nm Po;agemes de Mallarm
;aae [cf1]for v. and [sm9[nm instr.), ~and Webern ([cf2]Concerto[cf1], Op. [sm24
[nm).[cm~Non-Harmonic Note. [fy75,1]Term in harmonic analy;Dh[fj~sis meaning a n
ote not part of the chord with ~which it sounds and therefore requiring explan;D
h[fj~ation, e.g. [fy45,1]*[fy75,1]passing-note or [fy45,1]*[fy75,2]appoggiatura.
[cm~Nonnengeige [fy75,1](Ger.). Nun's fiddle. The [fy45,1]*[fy75,1]Tromba ~Marin
a.[cm~Non Nobis Domine [fy75,1](Not unto us, O Lord). ~Vocal can
on, said to be by [fy45,1]*[fy75,1]Byrd, sung at the end ~of banquets or other f
estive occasions as a kind of ~`grace after meat'.[cm~Nono, Luigi [fy75,1]([cf2]
b [cf1]Venice, [sm1924[nm). It. composer. Law ~student at Padua Univ. but turned
 to mus., ~studying in Venice with [fy45,1]*[fy75,1]Malipiero and later ~with [f
y45,1]*[fy75,1]Maderna and H. [fy45,1]*[fy75,1]Scherchen. Early works ~showed We
bern's influence; later works became ~dominated by his commitment to Communist ~
political and social causes and themes. What may ~be called the `protest' elemen
t in his mus., ~expressed by heavy use of perc. and by use of pre-~recorded tape
, has not entirely obscured a ~[PN505,0,0,R,I0]characteristically Italian lyrici
sm, such as may be ~found in his early works and in [cf2]Liebeslied[cf1]. Prin.
~comps.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Intolleranza [sm1960[nm [cf1](
[sm1960[nm=n[sm1[nm); [cf2]Al gran sole ~carico d'amore[cf1] ([sm1974[nm=n[sm5[n
m, rev. [sm1977[nm).[ep~[smorch[nm: [cf2]Variazioni canoniche [c
f1]([sm1950[nm), [cf2]Composizione I ~[cf1]([sm1951[nm), [cf2]Due espressioni [c
f1]([sm1953[nm), [cf2]Composizione II ~[cf1]([sm1959[nm), [cf2]Per Bastiana Tai-
Yang Cheng[cf1], orch. and ~tape ([sm1967[nm).[ep~[sminstrumental[nm: [cf2]Polif
onica-Monodia-Ritmica[cf1], [sm7[nm play~~ers ([sm1951[nm), [cf2]Canti per tredi
ci [cf1]([sm1955[nm), [cf2]Incontri[cf1], [sm24[nm ~instr. ([sm1955[nm), [cf2]Va
rianti[cf1], vn., str., woodwinds ~([sm1957[nm).[ep~[smchorus and orch[nm: [fy45
,1]*[fy75,2]Epitaffio per Garc;Aaia Lorca ~[cf1]([sm1951[nm=n[sm3[nm), [cf2]Il m
antello rosso[cf1], ballet for sop., bar., ~ch., and orch. ([sm1953[nm), [cf2]La
 victoire de Guernica ~[cf1]([sm1954[nm), [cf2]Liebeslied [cf1]([sm1954[nm), [cf
2]Il canto sospeso [cf1]([sm1956[nm), ~[cf2]La terra e la compagna[cf1], sop., t
en., ch., and instr. ~([sm1958[nm), [cf2]Coro di Didone [cf1]([sm1958[nm), [cf2]
Canciones a Guiomar ~I[cf1], sop., [sm6[nm-part women's ch., and instr. ([sm1962
[nm), [cf2]II[cf1], ~[sm12[nm-part women's ch. and instr. ([sm19
63[nm), [cf2]Ricorda ~cosa ti hanno fatto in Auschwitz[cf1], solo vv. and tape ~
([sm1966[nm), [cf2]Non consumiamo Marx[cf1], vv. and tape ~([sm1969[nm), [cf2]Un
 volto e del mare[cf1], vv. and tape ([sm1969[nm), ~[cf2]Voci destroying Muros[c
f1], women's ch. and orch. ~([sm1970[nm), [cf2]Y entonces comprendio[cf1], [sm6[
nm women's vv., ~ch., and tape ([sm1970[nm), [cf2]Ein Gespenst geht um in der ~W
elt[cf1], sop., ch., and orch. ([sm1971[nm).[ep~[smunacc. voices[nm: [cf2]`Ha ve
nido', [cf1]sop. solo and [sm6[nm-part ~sop. ch. ([sm1960[nm), [cf2]Sar;Aga dolc
e tacere[cf1], [sm8[nm vv. ([sm1960[nm), ~[cf2]Siamo la giovent;agu del Vietnam
[cf1]([sm1973[nm).[ep~[smvoice and orch[nm: [cf2]Canti di vita e d'amore [cf1]([
cf2]Sul ponte ~di Hiroshima[cf1]), sop., ten., and orch. ([sm1962[nm); [cf2]La ~
fabbrica illuminata, [cf1]mez. and tape ([sm1964[nm); [cf2]Como ~una ola de Fuer
za y Luz, [cf1]sop., pf., orch., tape ~([sm1972[nm).[ep~[smtape[nm: [cf2]Omaggio
 a Vedova [cf1]([sm1960[nm), [cf2]Music for Die ~Ermittlung [cf1
](Weiss) ([sm1965[nm), [cf2]Contrappunto dialettico ~alla mente [cf1]([sm1968[nm
), [cf2]Musiche per Manzu [cf1]([sm1969[nm), [cf2]F;auur ~Paul Dessau [cf1]([sm1
974[nm), [cf2]Notturni-albe [cf1][sm(1974[nm), [cf2]Sofferte ~onde serene [cf1](
[sm1976[nm).[cm~[j1]Noonday Witch, The [fy75,1](The Mid-day Witch, Cz. ~[cf2]Pol
ednice[cf1]). Symphonic poem for orch., Op. [sm108[nm, ~by Dvo;Akr;Aaak, comp. [
sm1896[nm.[cm~Noras, Arto [fy75,1](Erkki) ([cf2]b [cf1]Turku, [sm1942[nm). Finn.
 cellist. ~Studied Paris Cons. with [fy45,1]*[fy75,1]Tortelier. [sm2[nmnd prize
~Tchaikovsky Competition, Moscow, [sm1966[nm. Soloist ~with leading orchs. Expon
ent of Walton and Bliss ~concs. Gave f.p. of conc. by [fy45,1]*[fy75,1]Sallinen.
[cm~Norcome [fy75,1](Norcombe, Norcum), [fy65][cf3]Daniel [fy75,1]([cf2]b [cf1][
sm1576[nm; ~[cf2]d [cf1]Windsor, before [sm1626[nm). Eng. lutenist and ~composer
. Contrib. [sm5[nm-part madrigal [cf2]With Angel's ~Face [cf1]to [cf2]The [fy45,
1]*[fy75,2]Triumphs of Oriana.[cf1] Lutenist at ~Danish court [s
m1599[nm=n[sm1601[nm.[cm~Nordheim, Arne [fy75,1]([cf2]b [cf1]Larvik, Norway, [sm
1931[nm). ~Norweg. composer. Studied Oslo Cons. Worked ~as mus. critic [sm1960[n
m=n[sm8[nm. Since [sm1968[nm has concentrated ~on elec. mus. not only in the con
cert-hall but by ~providing `accompaniment' for an Oslo sculpture. ~Works incl.:
[xm[cm~[j2][smballet[nm: [fy75,2]The Tempest [cf1]([sm1979[nm).[ep~[smorch[nm: [
cf2]Canzona [cf1]([sm1960[nm); [cf2]Floating [cf1]([sm1970[nm); [cf2]Katharsis,
~[cf1]suite ([sm1962[nm); [cf2]Epitaffio, [cf1]orch. and magnetic tape ~([sm1963
[nm); [cf2]Greening [cf1]([sm1973[nm); [cf2]Tenebrae[cf1], vc., orch. ~([sm1982[
nm).[ep~[smchamber music[nm: [cf2]Epigram[cf1], str. qt. ([sm1955[nm); str. qt.
~([sm1956[nm); [cf2]Aftonland[cf1], song-cycle for v. and chamber ~ens. ([sm1957
[nm); [cf2]Partita[cf1], va., hpd., perc. ([sm1963[nm).[ep~[smchoral[nm: [cf2]Ec
o [cf1](text by S. Quasimodo) for sop. solo, ~children's ch., mixed ch., and orc
h. ([sm1967[nm).[ep~[smelectronic[nm: [cf2]Favola[cf1], musical
play for TV, sop., ~ten., ch., orch., and elec. sound ([sm1965[nm); [cf2]Evoluti
on, ~[cf1]elec. and concrete sound on tape ([sm1966[nm); ~[cf2]Colorazione, [cf1
]Hammond organ and perc., [sm2[nm tape-~recorders, amplifiers, loudspeakers ([sm
1968[nm); [cf2]Soli~~taire, [cf1]elec. and concrete sound on tape ([sm1968[nm);
~[cf2]Partita II, [cf1]electric guitar ([sm1969[nm); [cf2]Lux et tenebrae ~[cf1]
([sm1970[nm); [cf2]Pace [cf1]([sm1970[nm); [cf2]Osaka-Music [cf1]([sm1970[nm); [
cf2]Dino-[fj~sauros, [cf1]for accordion and elec. sounds ([sm1970[nm).[cm~[j1]No
rdica [fy75,1](really Norton), [fy65][cf3]Lillian [fy75,1]([cf2]b [cf1]Farmingto
n, ~Maine, [sm1857[nm; [cf2]d [cf1]Batavia, Java, [sm1914[nm). Amer. ~soprano. S
tudied Boston. D;Aaebut NY [sm1877[nm, London ~[sm1878[nm, under name Lilly Nort
on. Lessons in Milan ~[sm1878[nm were followed by d;Aaebut (as `Nordica') in [cf
2]Don ~Giovanni [cf1](Elvira), [sm1879[nm. Paris d;Aaebut as Margu;Aaerite ~[sm1
882[nm, CG [sm1887[nm (Violetta), singing there regularly ~until
 [sm1893[nm. NY Met. d;Aaebut [sm1890[nm, joining co. ~[sm1893[nm. First Amer. t
o sing at Bayreuth (Elsa in ~[cf2]Lohengrin [cf1][sm1894[nm). Became noted singe
r of Isolde, ~Br;Auunnhilde, and Kundry in USA and Europe ~from [sm1895[nm to he
r death. Her technique enabled ~her to follow Br;Auunnhilde one night with Viole
tta ~the next night.[cm~Nordoff, Paul [fy75,1]([cf2]b [cf1]Philadelphia, [sm1909
[nm; [cf2]d[cf1] Herdecke, ~Ger., [sm1977[nm). Amer. composer and teacher. Studi
ed ~Philadelphia Cons. and Juilliard Sch., NY. Head ~of comp., Philadelphia Cons
. [sm1938[nm=n[sm43[nm, prof. of ~mus., Bard Coll., [sm1949[nm=n[sm58[nm. Specia
list in mus. as ~therapy for handicapped children. Works incl. [sm2[nm ~syms., [
sm2[nm pf. concs., vn. conc., operas, ballets for ~Martha Graham, chamber mus.[c
m~Nordraak, Rikard [fy75,1]([cf2]b [cf1]Christiania, [sm1842[nm; [cf2]d [cf1]Ber
lin, ~[sm1866[nm). Norweg. composer. Advocate of Norweg. ~nationalism and influe
nced Grieg. Wrote Nor~~weg. nat. anthem [cf2]Ja, vi elsker dette
 landet [cf1](`Yes, we ~love this land') ([sm1863[nm=n[sm4[nm).[cm~Norfolk Rhaps
ody. [fy75,1]Orch. work in E minor by ~Vaughan Williams comp. [sm1906[nm and rev
. in early ~[sm1920[nms. Based on [sm3[nm folk-songs collected in Norfolk ~in [s
m1905[nm by composer. F.p. London [sm1906[nm. [sm2[nm other ~[cf2]Norfolk Rhapso
dies, [cf1]in D minor and G minor, were ~written and f.p. in Cardiff [sm1907[nm,
 the orig. plan ~being a `Norfolk Symphony', but they were ~withdrawn in [sm1914
[nm.[cm~N;Uprg;anard, Per [fy75,1]([cf2]b [cf1]Gentofte, [sm1932[nm). Danish com
~~poser. Studied Copenhagen Cons. with Holmboe, ~then in Paris with Boulanger. W
orked as mus. ~critic in Copenhagen and teaches at Copenhagen ~Cons. and at ;anA
arhus Cons. since [sm1965[nm. Works ~make use of complex contrapuntal techniques
 ~[PN506,0,0,L,I0]and of some aspects of serialism. In [sm1959[nm ~developed `th
e infinite row', a [sm12[nm-note series ~which expands, it is said, to infinity,
 and has ~combined this with rhythms expressed in graphic ~notat
ion. Works incl.:[xm[cm~[j2][smoperas[nm: [fy75,2]The Labyrinth [cf1]([sm1963[nm
); [cf2]Gilgamesh [cf1]([sm1971[nm=n[sm2[nm).[ep~[smorch[nm: [sm4[nm syms.; [cf2
]Constellations[cf1], conc. for [sm12[nm solo str. ~or [sm12[nm str. groups ([sm
1958[nm); [cf2]Lyse Danse [cf1]([sm1959[nm); ~[cf2]Fragment VI [cf1]for [sm6[nm
orch. groups ([sm1959[nm=n[sm61[nm); [cf2]Iris ~[cf1]([sm1967[nm); [cf2]Luna [cf
1]([sm1968[nm); [cf2]Voyage into the Golden Screen[cf1], ~chamber orch. ([sm1968
[nm); [cf2]Lil;aaa[cf1], [sm11[nm instr. ([sm1972[nm); ~[cf2]Jousting[cf1], smal
l orch. ([sm1975[nm); [cf2]Twilight[cf1] ([sm1977[nm); [cf2]Illumination [cf1]([
sm1984[nm).[ep~[smballet[nm: [cf2]Le Jeune Homme ;Aga marier [cf1](Scenario by ~
Ionesco) ([sm1964[nm).[ep~[smchoral[nm: [cf2]Babel[cf1], oratorio ([sm1964[nm);
[cf2]Libra[cf1], ten., guitar, ~[sm2[nm mixed ch., and [sm2[nm vibraphones or [s
m2[nm pf. ([sm1973[nm); ~[cf2]Singe die G;auarten[cf1], [cf1][sm8[nm vv., [sm8[n
m instr. ([sm1974[nm), Sym. No. ~[sm3[nm, ch., orch. ([sm1972[nm
=n[sm5[nm); [cf2]Frostsalmer[cf1], [sm16[nm vv. ([sm1976[nm).[ep~[smchamber musi
c[nm: [cf2]Quartetto brioso [cf1](str. qt.) ([sm1958[nm); ~[sm2[nmnd str. qt. in
 [sm3[nm spheres ([sm1965[nm); [sm3[nmrd str. qt. ~[cf2]Inscape [cf1]([sm1969[nm
); wind quintet ([sm1970[nm); [cf2]Spell [cf1]for cl., ~vc., pf. ([sm1973[nm); [
cf2]Nova genitura[cf1], sextet ([sm1975[nm); [cf2]Solo Intimo[cf1], vc., pf. ([s
m1983[nm); [cf2]Ode to Plutonium[cf1], sop., vc. ([sm1984[nm).[cm~[j1]Norma. [fy
75,1]Opera in [sm2[nm acts by Bellini to lib. by ~Romani after play by Soumet. P
rod. Milan [sm1831[nm, ~London [sm1833[nm, New Orleans [sm1836[nm, NY [sm1841[nm
. The ~heroine, Norma, is a Druid priestess.[cm~Norman, Frederick [fy75,1](Vilhe
lm Ludwig) ([cf2]b [cf1]Stock~~holm, [sm1831[nm; [cf2]d [cf1]Stockholm, [sm1885[
nm). Swed. composer ~and cond. Studied Leipzig Cons. Cond. Royal ~Orch., Stockho
lm, [sm1859[nm=n[sm79[nm. Prof. of comp., Royal ~Swed. Acad. Married violinist W
ilma [fy45,1]*[fy75,1]Neruda, ~[sm1864[nm. Wrote [sm4[nm syms.,
pf. conc., and much ~chamber mus.[cm~Norman, Jessye [fy75,1]([cf2]b [cf1]Augusta
, Georgia, [sm1945[nm). ~Amer. sop. Studied Peabody Cons., [sm1967[nm, Univ. ~of
 Michigan [sm1967[nm=n[sm8[nm. Opera d;Aaebut, Deutsche ~Oper, Berlin, [sm1969[n
m (Elisabeth in [cf2]Tannh;auauser[cf1]), It. ~[sm1970[nm (Scala, Milan, [sm1972
[nm), CG [sm1972[nm (Cassandra in ~[cf2]Les Troyens[cf1]). US d;aaebut, Hollywoo
d Bowl [sm1972[nm, ~NY Met. [sm1983[nm. Noted Lieder singer and inter~~preter of
 such works as Berlioz's [cf2]Les Nuits d';aaet;aae[cf1]. ~Settled in Eng.[cm~No
rrington, Roger [fy75,1](Arthur Carver) ([cf2]b [cf1]Oxford, ~[sm1934[nm). Eng.
cond. Studied Cambridge Univ. and ~RCM. Professional tenor [sm1962[nm=n[sm70[nm.
 Mus. dir. ~[fy45,1]*[fy75,1]Kent Opera [sm1966[nm=n[sm84[nm, Sch;auutz Choir of
 London, ~London Str. Players, and London Baroque Ens. ~Ed. of Monteverdi's [cf2
]L'incoronazione di Poppea[cf1], ~[cf2]Orfeo[cf1], and [cf2]Il Ritorno d'Ulisse
in patria [cf1](Kent Opera, ~[sm1974[nm, [sm1976[nm, [sm1978[nm)
. SW d;aaebut [sm1971[nm, Amer. d;aaebut ~[sm1974[nm. O.B.E. [sm1980[nm.[cm~Norr
is, Geoffrey [fy75,1]([cf2]b [cf1]London, [sm1947[nm). Eng. musi~~cologist and a
uthor. Studied Durham, Liverpool, ~and Leningrad. Lecturer, RNCM [sm1975[nm=n[sm
6[nm. Spe~~cialist in Russ. composers. Author of books on ~Rakhmaninov and Shost
akovich., Mus. critic for ~[cf2]Times[cf1] and [cf2]Daily Telegraph[cf1]. Deputy
 ed., [cf2]New ~Oxford Companion to Music [cf1]from [sm1983[nm.[cm~Northcott, Ba
yan [fy75,1](Peter) ([cf2]b [cf1]Harrow-on-the-Hill, ~[sm1940[nm). Eng. mus. cri
tic. Studied Oxford and ~Southampton Univs. Mus. critic [cf2]New Statesman ~[cf1
][sm1973[nm=n[sm5[nm, [cf2]Sunday Telegraph [cf1]from [sm1975[nm. Author of ~boo
k on A. Goehr.[cm~North Country Sketches. [fy75,1]Orch. work by [fy45,1]*[fy75,1
]Del~~[chius, comp. [sm1913[nm=n[sm14[nm, in [sm4[nm movements: [sm1[nm. [cf2]Au
tumn ~[cf1](The wind soughs in the trees). [sm2[nm. [cf2]Winter landscape. ~[cf1
][sm3[nm. [cf2]Dance. [cf1][sm4[nm. [cf2]The march of Spring [cf
1](Woodlands, ~meadows, and silent moors). F.p. London [sm1915[nm.[cm~Northern S
infonia. [fy75,1]Chamber orch. based at ~Newcastle upon Tyne and serving north-e
astern ~area of Eng., though it regularly plays in London. ~Founded as freelance
 orch. in [sm1958[nm by Michael ~Hall; became first permanent chamber orch. in ~
Brit. [sm1961[nm. Has made several overseas tours, ~played for opera, and made s
everal recordings. ~Conductors have been: Hall [sm1958[nm=n[sm64[nm, Rudolf ~Sch
warz [sm1964[nm=n[sm73[nm (=+=+=+jointly with Boris Brott [sm1964[nm=n~[sm7[nm);
 Christopher Seaman [sm1973[nm=n[sm9[nm; Tam;aaas Vas;aaary ~and Ivan Fischer [s
m1979[nm=n[sm82[nm; Richard Hickox from ~[sm1982[nm. N. Marriner was ass. cond.
[sm1971[nm=n[sm3[nm. Title ~changed to Northern Sinfonia of England in ~[sm1982[
nm.[cm~North, Roger [fy75,1]([cf2]b[cf1] ? Tostock, Suffolk, [cf2]c.[cf1] [sm165
1[nm; [cf2]d[cf1] ~Rougham, Norfolk, [sm1734[nm). Eng. author, lawyer, ~and musi
cian. M.P. and Attorney-Gen. under ~James II but in [sm1688[nm r
etired to country life at ~Rougham. Wrote many essays on mus. His ~reminiscences
 span from the time of consorts of ~viols heard in his boyhood to Purcell and th
e It. ~`invasion' of early [sm18[nmth cent. They are specially ~valuable for the
ir detailed discussion of perform~~ing practice in his lifetime.[cm~ Northumbria
n Bagpipes. [fy75,1]See [cf2]Bagpipe.[cm~Nose, The [fy75,1]([cf2]Nos[cf1]). Oper
a in [sm3[nm acts by Shostakovich, ~Op. [sm15[nm, to lib. by E. Zamyatin, G. Yun
in, A. ~Preys, and composer, after Gogol. Comp. [sm1927[nm=n~[sm8[nm. Prod. Leni
ngrad [sm1930[nm; London, SW, New ~Opera Co. [sm1973[nm.[cm~Nota Cambiata [fy75,
1](It.). Exchanged note. See [cf2]Chang~~ing Note.[cm~Notation and Nomenclature.
 [fy75,1]The methods of ~writing down mus. so that it can be performed. ~These a
re devices for which the human being ~long felt no need, and although every race
 has its ~mus. they are still unknown to the larger part of ~the world's populat
ion. They are apparently ~purely European in origin and even in
Europe ~thousands of tunes existed which were transmit~~ted by one generation to
 another without ~achieving the dignity of being recorded on paper ~until the fo
lk-song collectors came on to the ~scene.[xm[cm[xp[u20]~~[te~










[do25][j99]~~~~~~[sm153842[nm_N[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmN[sm005[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm08[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm181[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1][fy75,1]^The namin
g of notes by letters of the alphabet ~goes back as far as the Ancient Greeks; t
he ~Romans also possessed an alphabetical system. In ~both cases, however, this
nomenclature served ~[PN507,0,0,R,I0]rather the purposes of scientific discussio
n than ~those of performance.[ep~^An early ([sm7[nmth-cent.) system of notation
was that ~of [cf2][fy45,1]*[fy75,2]neums [cf1]([cf2]neumes[cf1]). Our convention
al signs for ~the turn and the trill are derived from details of ~neum notation.
 The present exactitude in pitch ~indication has been effected by adding to the
one ~line of the early neum notation. Plainsong now ~uses a [fy45,1]*[fy75,1]sta
ff of [sm4[nm lines, and other mus. one of [sm5[nm ~lines. The [fy45,1]*[fy75,1]
clef derives from neum notation: ~attached to the Staff it fixes
 the pitch of one of its ~lines as middle C or some other note, from which ~all
the others may be deduced.[ep~^Proportional notation of an exact character (i.e.
 ~as to the time values) began in the [sm10[nmth cent. ~when the primitive devel
opments of polyphony ~brought about its necessity. Definite notes, of ~different
 shapes according to their intended ~proportionate length, were devised, from wh
ich ~our present series of semibreve (whole-note), ~minim (half-note), etc. is d
erived. [fy45,1]*[fy75,1]Bar lines ~became common only during the [sm16[nmth and
 [sm17[nmth ~cents. (the earliest use dates from [sm1448[nm): they ~were at firs
t casually drawn as aids to the eye=m~the idea of making them of equal time-valu
e ~coming later. They first arose in choral scoring to ~demonstrate the coincide
nce of the different vv., ~and were originally not present in the independ~~ent
vocal parts for the use of singers.[ep~^Adjustments to and changes in traditiona
l staff ~notation have increased in the [sm20[nmth cent., ~parti
cularly since [cf2]c[cf1].[sm1950[nm when total serialism, ~aleatory procedures,
 etc. have required a parallel ~development of notational signs, resulting in ~s
ome confusion where individual composers have ~devised their own methods which m
ay use terms ~employed by another composer for a different ~effect. Some mus. ca
nnot be written at all in ~conventional notation. The subject is too large ~for
more than an outline to be given here, but ~some of the changes can be mentioned
 briefly.[ep~^With the arrival of atonal and [sm12[nm-note mus., ~conventional p
itch notation, with its selection of ~accidentals, tended to become unworkable,
but ~no new system has been generally adopted, and ~makeshift adaptation of conv
entional methods ~has been favoured by performers. Systems of ~microtonal notati
on devised by A. [fy45,1]*[fy75,1]H;Aaaba and J. ~Carillo have not lasted.[ep~^T
raditional notation is little use in pulseless ~mus. and in mus. in which differ
ent and often ~complicated rhythms progress simultaneously at ~d
ifferent speeds. To cope with notating these ~durations, [fy45,1]*[fy75,1]propor
tionate notation has been ~employed, whereby durational proportions are ~transmu
ted into the graphic equivalent of notes ~spaced out horizontally along the staf
f according ~to their durations.[ep~^For graphic notation, see the separate entr
y ~under [cf2]Graphic scores[cf1]. Mention may be made here ~of [sm2[nm explicit
 new notational systems which have ~not yet found acceptance. [cf2]Equiton [cf1]
uses only [sm2[nm staff ~lines per octave. The [sm12[nm chromatic notes are ~not
ated with alternating black and white note-~heads and without accidentals. Note-
heads appear ~below, on, and above each staff line; and those ~between the staff
-lines occur close to lower or ~upper line and centred between the lines. Those
~close to the lines have ledger lines drawn through ~them. Notation of durations
 is proportionate. ~[cf2]Klavarscribo[cf1] uses a staff in which lines and space
s ~run vertically, being grouped according to the ~black and whi
te keys of the keyboard. No ~accidentals are needed. Black-and-white note-~heads
 are used for easy identification with ~corresponding keys. The mus. is read fro
m top to ~bottom. Notation of durations is proportionate ~and bar-lines are hori
zontal.[ep~[bn^Below is a selection of some of the generally ~accepted new notat
ional symbols:[xm[cm~[ol60][ep~[an[ol15][ep~[an[ol85][ep~[an[ol72][ep~[xn[j1]Not
e. [fy75,1]([sm1[nm) A single sound of a given mus. pitch ~and duration; in Amer
. called a [cf2]tone[cf1].[ep~^([sm2[nm) A written sign representing ([sm1[nm).[
ep~^([sm3[nm) A finger-key of the pf., organ, accordion, etc. ~to produce a soun
d of particular pitch.[cm~Note-row [fy75,1](Amer. `tone-row'). In [sm12[nm-note
mus., ~the order in which the composer decides to ~arrange the [sm12[nm notes wi
thin the octave, this order ~acting as the basis for the comp. (almost like a ~m
otto-theme). Strictly no note should be repeated ~before the row comes to an end
, but the rhythm ~in which they are presented may be. Also, any
~note in the row may appear an octave higher or ~lower than it did originally an
d the whole row ~can be used at any higher or lower level. But ~successive compo
sers have broken the rules.[cm~[PN508,0,0,L,I0]Notes In;aaegales [fy75,1](Fr. `u
nequal notes'). Rhythmic ~convention whereby certain divisions of the beat ~move
 in alternately long and short values even ~when written as equal. Inequality wa
s normal ~feature of musical teaching in [sm17[nmth and [sm18[nmth ~cent. in Fra
nce. Its use in baroque performance ~in modern times is subject of much controve
rsy.[cm~[bnNote values.[ep~[fy75,1][sm1[nm whole-note (semibreve)__;Yf[ep~[an[cf
2]equals[qc~[ol8][ep~;Yg____;Yg[qc~[cf1][ol8][ep~[sm2[nm half-notes (minims)[ep~
[an[cf2]or[cf1][qc~[an[ol8][ep~;Ya__;Ya__;Ya__;Ya[qc~[ol8][ep~[sm4[nm quarter-no
tes (crotchets)[ep~[an[cf2]or[cf1][qc~[an[ol8][ep~;Yb^;Yb^;Ya^;Ya__;Ya^;Ya^;Ya^;
Ya[qc~[ol8][ep~[cf1][sm8[nm eighth-notes (quavers)[ep~[an[cf2]or[cf1][qc~[an[ol2
4][ep~[cf1][sm16[nm sixteenth-notes (semiquavers)[ep~[an[cf2]or[
cf1][qc~[an[ol24][cf1][sm32[nm thirty-second notes (demisemiquavers).[ep~[an^Aft
er this follow [sm64[nmth notes (hemidemisemi-[fj~[an[ol5][ep~[anquavers) ;Ye an
d, occasionally, notes of [sm128[nm to the[fj~[an[ol9][ep~whole-note, ;Ye.[ep~[a
n^A dot after a note increases its value by half;[fj~[an[ol6][ep~thus|  ;Yg.|;eq
|;Yg|;Ya  |(but see exception mentioned[fj~[xnunder [cf2]Dot, Dotted Note[cf1]).
 A double dot after a note ~increases its value by a half plus a quarter; thus[f
j~[bn[ol4][ep~;Yg..|;eq|;Yg|;Ya|;Yb. A|third|dot|has|very|occasion-[fj~[an[ol2][
ep~ally been used; thus ;Yg...|;eq|;Yg|;Ya|;Yb|;Yc.[xm[cm~[ol4][ep~[xn[j1]Notre
Dame [fy75,1](Our Lady). Romantic opera in [sm2[nm ~acts by F. [fy45,1]*[fy75,1]
Schmidt to lib. by composer and ~Leopold Wilk after Hugo. Comp. [sm1902[nm=n[sm4
[nm. Prod. ~Vienna [sm1914[nm. The Intermezzo is a popular ~concert-piece.[cm~No
ttebohm, [fy75,1](Martin) [fy65][cf3]Gustav [fy75,1]([cf2]b [cf1]L;auudenscheid,
 ~Westphalia, [sm1817[nm; [cf2]d [cf1]Graz, [sm1882[nm). Ger. co
mposer ~and musicologist. Studied Berlin and Leipzig, ~having a few lessons from
 Schumann and ~Mendelssohn. Settled in Vienna [sm1846[nm, became ~friend of Brah
ms, and wrote some minor works, ~but is known for his valuable research into ~Be
ethoven's sketchbooks embodied in three ~books, pubd. [sm1872[nm and [sm1887[nm
(posth.). Also pubd. ~thematic catalogues of works of Beethoven ([sm1868[nm) ~an
d Schubert ([sm1874[nm). One of first authorities in ~textual criticism.[cm~Nott
urni ed Alba [fy75,1](Nocturnes and Dawn). Song-~cycle for sop. and orch. in [sm
5[nm movements, to words ~from medieval Lat. texts, by [fy45,1]*[fy75,1]McCabe.
F.p. ~Hereford Fest. [sm1970[nm. Perf. as ballet, Westfalen, ~[sm1976[nm.[cm~Not
turnino [fy75,1](It.). A miniature [fy45,1]*[fy75,1]nocturne.[cm~Notturno. [fy75
,1]See [cf2]Nocturne.[cf1][cm~Novachord. [fy75,1]Patented elec. kbd. instr. inve
nted ~by Laurens Hammond. It has [sm6[nm-octave kbd. like ~that of a pf. Chords
and not just single notes can ~be played. Tone is varied by manu
al controls and ~vol. is controlled by pedals, which also sustain ~notes.[cm~Nov
;akak, Jan [fy75,1]([cf2]b [cf1]Nov;aaa ;akR;aai;aksa na Morav;ake, [sm1921[nm).
 Cz. ~composer. Studied Brno Cons. [sm1940[nm=n[sm6[nm. In [sm1947[nm=n~[sm8[nm
studied with Copland in Tanglewood and ~Martin;anu in NY. Settled Brno [sm1948[n
m, but emigrated ~to Denmark [sm1968[nm=n[sm70[nm, thereafter to It. The neo-~cl
assical style of his early works gave way in [sm1958[nm ~to employment of jazz e
lements and [sm12[nm-note ~techniques. Works incl.: [cf2]Passion Play[cf1] ([sm1
965[nm), ob. ~conc. ([sm1952[nm), [sm2[nm-pf. conc. ([sm1955[nm), [cf2]Philharmo
nic ~Dances[cf1], orch. ([sm1955[nm=n[sm6[nm), [cf2]Variations on a Theme of ~Ma
rtin;anu[cf1], orch. ([sm1959[nm, pf. version [sm1949[nm), [cf2]Concentus ~Euryd
icae[cf1], guitar, str. ([sm1971[nm), [cf2]Dido[cf1], speaker, mez., ~male vv.,
orch. ([sm1967[nm), [cf2]Orpheus et Eurydice[cf1], sop., ~va. d'amore, pf. ([sm1
971[nm), [cf2]Voces latinae[cf1], ch., drum, ~pf., db. ([sm1975[
nm), and pf. pieces.[cm~Nov;aaak, V;aait;akezslav [fy75,1]([cf2]b [cf1]Kamenice,
 Cz., [sm1870[nm; [cf2]d ~[cf1]Skute;akc, [sm1949[nm). Cz. composer. Studied Pra
gue ~Cons. [sm1889[nm=n[sm92[nm (comp. with Knittl and Dvo;akr;aaak). ~Prof. of
comp. Prague Cons. [sm1909[nm=n[sm39[nm, influencing ~and teaching many Cz. comp
osers. His early ~works were Brahmsian in style but he became ~more nationalist
under the influence of Jan;aaa;akcek. ~Works incl.:[xm[cm~[j2][smoperas[nm: [fy7
5,2]Karl;akstejn [cf1]([sm1914[nm=n[sm15[nm); [cf2]Lucerna [cf1](The Lan~~tern)
([sm1919[nm=n[sm22[nm); [cf2]D;Akedu;Anv odkaz [cf1](Grandfather's ~Legacy) ([sm
1922[nm=n[sm5[nm).[ep~[smorch[nm: Serenade in F ([sm1894[nm); pf. conc. ([sm1895
[nm); [cf2][sm3 ~[nmBohemian Dances [cf1]([sm1897[nm); [cf2]V Tatr;Aaach [cf1](I
n the Tatras), ~symphonic poem ([sm1902[nm); [cf2]Slovak Suite [cf1]([sm1903[nm)
; ~[cf2]South Bohemian Suite [cf1]([sm1936[nm=n[sm7[nm); [cf2]De Profundis ~[cf1
]([sm1941[nm); [cf2]St Wenceslas Triptych [cf1]([sm1941[nm).[ep~
[smchoral[nm: [cf2][sm6[nm Men's Choruses [cf1]([sm1906[nm); [cf2]Bou;akre [cf1]
(The ~Storm), sea fantasy for soloists, ch., and orch. ~([sm1908[nm=n[sm10[nm);
[cf2]Svatebni Ko;aksile [cf1](The Spectre's Bride), ~soloists, ch., and orch. ([
sm1912[nm=n[sm13[nm); [cf2]Podzimn;aai ~symfonie [cf1](Autumn Sym.), ch. and orc
h. ([sm1931[nm=n~[sm4[nm); [cf2]M;aaajov;aaa symfonie [cf1](May Sym.), soloists,
 ch., and ~orch. ([sm1943[nm); [cf2]Hv;akezdy[cf1] (Stars), female vv. and orch.
 ~([sm1949[nm).[ep~[smchamber music[nm: Pf. Trios: G minor ([sm1892[nm), D ~mino
r ([sm1902[nm); Pf. Qt. ([sm1894[nm, rev. [sm1899[nm); Pf. ~Quintet ([sm1896[nm,
 rev. [sm1897[nm); Str. Qts.: in G ([sm1899[nm), ~in D ([sm1905[nm), in G ([sm19
38[nm); vc. sonata ([sm1941[nm).[ep~[PN509,0,0,R,I0][smpiano[nm: [cf2]Variations
 on a Theme of Schumann [cf1]([sm1893[nm); ~[cf2]Sonata eroica [cf1]([sm1900[nm)
; [cf2]Exotikon [cf1]([sm1911[nm); [sm6[nm Sonatinas ~([sm1919[nm=n[sm20[nm).[cm
~[j1]Novelette [fy75,1](Eng.), [fy65][cf3]Novellette [fy75,1](Ge
r.). A term ~introduced by Schumann as a compliment to the ~Eng. soprano Clara [
fy45,1]*[fy75,1]Novello as the title for his [sm8[nm ~pf. pieces Op. [sm21[nm, [
sm1838[nm. They have no individual ~titles but each, says the composer, is to be
 taken ~as the mus. equivalent of a romantic story. A few ~other composers have
adopted the term: it has no ~special connotation as to form.[cm~Novello, Clara [
fy75,1](Anastasia) ([cf2]b [cf1]London, [sm1818[nm; [cf2]d ~[cf1]Rome, [sm1908[n
m). Eng. soprano, daughter of Vincent ~[fy45,1]*[fy75,1]Novello. Studied in Pari
s. Sang at Worcester ~Fest. [sm1833[nm and in Mendelssohn's [cf2]St Paul[cf1] in
 ~Birmingham [sm1837[nm. Mendelssohn engaged her for ~Leipzig Gewandhaus concert
s, leading to ~triumphs in Ger. Went to Milan [sm1839[nm to study ~for operatic
stage, making her d;aaebut at Bologna ~in [sm1841[nm in Rossini's [cf2]Semiramid
e[cf1]. Rossini chose her ~as sop. soloist in f. It. p. of his [cf2]Stabat Mater
[cf1] in ~[sm1841[nm. Gave up career on marriage in [sm1843[nm t
o It. ~Count, but resumed it in [sm1849[nm. On return to Eng. ~in [sm1851[nm, be
came leading oratorio singer in choral ~fests. Retired [sm1861[nm.[cm~Novello, I
vor [fy75,1](Davies, David Ivor) ([cf2]b [cf1]Cardiff, ~[sm1893[nm; [cf2]d [cf1]
London, [sm1951[nm). Welsh composer, actor, ~playwright, and impresario, son of
choral cond. ~Clara Novello-Davies ([sm1861[nm=n[sm1943[nm). Composer of ~[cf2]K
eep the Home Fires Burning[cf1], one of the most ~popular songs during [sm1914[n
m=n[sm18[nm war. Wrote, ~comp., and acted in successful mus. comedies, ~e.g. [cf
2]Glamorous Night [cf1]([sm1935[nm), [cf2]Crest of the Wave ~[cf1]([sm1937[nm),
[cf2]The Dancing Years [cf1]([sm1939[nm), [cf2]King's Rhapsody ~[cf1]([sm1942[nm
), and [cf2]Perchance to Dream [cf1]([sm1945[nm). Acted in ~Shakespeare.[cm~Nove
llo, Vincent [fy75,1]([cf2]b [cf1]London, [sm1781[nm; [cf2]d [cf1]Nice, ~[sm1861
[nm). Eng. organist, publisher, and composer of ~It. origin. Organist, Portugues
e Em~~bassy chapel, London, [sm1797[nm=n[sm1822[nm. Founded ~pub
lishing house [fy45,1]*[fy75,1]Novello and Co. [sm1811[nm. Foun~~der-member of P
hil. Soc. Comp. sacred mus. and ~ed. classics. Pubd. [sm5[nm vols. of [sm17[nmth
 cent. It. church ~mus. under title [cf2]The Fitzwilliam Music[cf1], [sm1825[nm,
 and ~[sm5[nm vols. of Purcell's sacred mus., [sm1826=n9[nm. In [sm1829[nm ~orga
nized fund to assist Mozart's widow, going ~to Salzburg to give her the money an
d collect ~material for biography of Mozart which he never ~wrote. Diaries of th
is journey pubd. [sm1955[nm as [cf2]A ~Mozart Pilgrimage. [cf1]Also helped to pr
epare way for ~Bach revival in Eng.[cm~Novello and Co. [fy75,1]Eng. music publis
hers, founded ~in London [sm1811[nm by Vincent [fy45,1]*[fy75,1]Novello. His son
 ~Alfred, from [sm1829[nm to [sm1857[nm, followed by Henry ~Littleton ([sm1823=n
88[nm), made the business extremely ~successful by issuing standard edns. of the
 classics, ~particularly choral works. Most Eng. Victorian ~oratorios and cantat
as were pubd. by Novello, ~incl. those by [fy45,1]*[fy75,1]Elgar
. Its house magazine, [cf2]The ~[fy45,1]*[fy75,2]Musical Times[cf1], remains one
 of the most respected ~publications. Business was purchased by Granada, ~[sm197
0[nm.[cm~Novotn;aaa, Jarmila [fy75,1]([cf2]b[cf1] Prague, [sm1907[nm). Cz. sopra
no. ~Studied in Prague with [fy45,1]*[fy75,1]Destinn and in Milan. ~D;aaebut Pra
gue [sm1925[nm as Ma;akrenka in [cf2]The Bartered ~Bride[cf1]. Sang at Vienna Op
era [sm1933[nm=n[sm8[nm, and was a ~distinguished Oktavian in Strauss's [cf2]Der
 Rosen-[fj~kavalier[cf1] in Vienna and Salzburg. Created title role ~in Leh;aaar
's [cf2]Giuditta[cf1], with Tauber as ten., [sm1934[nm. ~Amer. d;aaebut S. Franc
isco [sm1939[nm as Butterfly. NY ~Met. [sm1940[nm=n[sm56[nm. Sang in Vienna and
Salzburg after ~Second World War.[cm~Nowak, Leopold [fy75,1]([cf2]b [cf1]Vienna,
 [sm1904[nm). Austrian ~musicologist. Prof. at Vienna Univ. Dir., mus. ~division
, Vienna Nat. Library [sm1946[nm=n[sm54[nm. Author ~of books on Liszt, Haydn, an
d Bruckner. Ed., ~following R. [fy45,1]*[fy75,1]Haas in [sm1954[
nm, of complete works ~of Bruckner.[cm~Nowak, Lionel [fy75,1]([cf2]b [cf1]Clevel
and, [sm1911[nm). Amer. ~composer and pianist. Studied Cleveland Institute ~of M
us. [sm1929[nm=n[sm36[nm, with Sessions and Q. Porter. ~Composer and mus. dir. H
umphrey-Weidman ~Dancers [sm1938[nm=n[sm42[nm, since when he has held teaching ~
posts. Wrote several ballets, ob. sonata, ob. qt., [sm3[nm ~vc. sonatas, etc.[cm
~Noye's Fludde. [fy75,1]Setting by Britten, Op. [sm59[nm, of ~Chester miracle pl
ay for adults' and children's ~vv., children's ch., chamber ens., and children's
 ~orch. F.p. Aldeburgh Fest. (Orford Church) [sm1958[nm.[cm~Nozze di Figaro, Le
[fy75,1](The Marriage of Figaro). ~[cf2]Commedia per musica [cf1]in [sm4[nm acts
 (K[sm492[nm, [sm1786[nm) by ~Mozart to lib. by da Ponte after Beaumarchais's ~c
omedy [cf2]La Folle Journ;aaee, ou Le Mariage de Figaro ~[cf1]([sm1778[nm). Prod
. Vienna [sm1786[nm, London [sm1812[nm, NY ~[sm1824[nm.[cm~Nuance [fy75,1](Fr.).
 Shade, distinction, gradation. A ~word frequently used by write
rs on mus. to imply ~those delicate differences of intensity and speed ~which la
rgely constitute the character of a perf.[xm[cm~[j1]Nuits d';aaet;aae, Les [fy75
,1](Summer Nights). [sm6[nm songs, Op. ~[sm7[nm, by Berlioz to poems by Th;aaeop
hile Gautier. ~Comp. [sm1840[nm=n[sm1[nm, rev. [sm1843[nm and [sm1856[nm. Orig.
for ~mez. or ten. with pf. acc. Berlioz orchestrated ~[cf2]Absence [cf1]in [sm18
43[nm, and the rest in [sm1856[nm. The songs ~are: [sm1[nm. [cf2]Villanelle. [cf
1][sm2[nm. [cf2]Le Spectre de la rose. [cf1][sm3[nm. [cf2]Sur les ~lagunes. [cf1
][sm4[nm. [cf2]Absence. [cf1][sm5[nm. [cf2]Au Cimiti;agere. [cf1][sm6[nm. [cf2]L
';afIle inconnue. ~[cf1]A problem arises in performing these songs: ~usually one
 singer (sop. or mez.) is engaged, but ~it is a rare v. which can encompass them
 all. The ~pubd. version for v. and pf. is marked `for mez. ~or ten.', but in or
chestrating the songs Berlioz ~rewrote them in some respects, also transposing ~
the first [sm3[nm. He also specified the v. for each song ~as fo
llows: [sm1[nm. Mez. or ten. [sm2[nm. Cont. [sm3[nm. Bar., cont., ~or mez. [sm4[
nm. Mez. or ten. [sm5[nm. Ten. [sm6[nm. Mez. or ten.[cm~Numbers. [fy75,1]Term us
ed for self-contained item in ~a musical or opera (because each piece of this ki
nd ~is separately numbered in the score). A `numbers ~[PN510,0,0,L,I0]opera' is
an opera in which these divisions occur, ~as opposed to Wagner's later operas, f
or example, ~where each act is written continuously without ~internal divisions
or pauses.[cm~Number Systems. [fy75,1]J. [fy45,1]*[fy75,1]Rousseau introduced a
~system of numerical notation in which the first [sm8[nm ~numerals are substitut
ed for the [sm8[nm notes in the ~scale. Nos. are popular among [sm20[nmth-cent.
compos~~ers, because of the concept of `parameters', in ~which mus. sounds are r
egarded as the sum of ~several components (pitch, duration, intensity, ~timbre,
and position in space). What is called the ~Fibonacci series (each no. the sum o
f the previous ~[sm2[nm) has been used to control these componen
ts by ~such composers as K;Akrenek, Stockhausen, and ~Nono.[cm~Nunc Dimittis. [f
y75,1]The Song of Simeon in St Luke's ~Gospel (Lord, now lettest thou thy servan
t depart ~in peace). It is a part of the service of Compline in ~the R.C. Church
 and of that of Evensong in the ~Anglican Church. It has its traditional plainso
ng ~in the former, and is often sung to an Anglican ~chant in the latter. It has
 also been set innumerable ~times by church composers, usually as an adjunct ~to
 a [fy45,1]*[fy75,1]Magnificat.[cm~Nun's Fiddle. [fy75,1]The [fy45,1]*[fy75,1]Tr
omba Marina.[cm~Nuove Musiche. [fy75,1]See [cf2]New Music.[cm~Nursery Suite. [fy
75,1][sm7[nm-movement orch. suite by Elgar, ~f.p. London [sm1931[nm, and ded. to
 the then Duchess ~of York and her daughters Princess Elizabeth ~(later Queen El
izabeth II) and Princess Margaret ~Rose. Ballet with choreog. by N. de Valois, ~
London [sm1932[nm.[xm[cm~[j1]Nusch-Nuschi, Das. [fy75,1][sm1[nm-act opera by Hin
demith, ~Op. [sm20[nm, for Burmese marionettes to lib. by Franz
~Blei. Prod. Stuttgart [sm1921[nm.[cm~Nussbaum, Der [fy75,1](The Nut tree). Song
 for v. and ~pf. by R. Schumann, to poem by Julius Mosen ~([sm1803[nm=n[sm67[nm)
, being No. [sm3[nm of cycle [cf2]Myrthen[cf1], Op. [sm25[nm ~([sm1840[nm).[cm~N
ut. [fy75,1]([sm1[nm) On a str. instr., the slight ridge over ~which the str. pa
ss on leaving the pegs. On a ~[fy45,1]*[fy75,1]ukelele and similar instr. a move
able nut is ~placed on the fingerboard which can shorten all ~str. equally and t
hus raise the pitch.[ep~^([sm2[nm) Device at the heel of the bow of a vn., etc.,
 ~which adjusts the tension of the bow-hairs.[cm~Nutcracker [fy75,1](Russ. [cf2]
Shchelkunchik[cf1], Fr. [cf2]Casse-Nois~~[chette[cf1]). Ballet in [sm2[nm acts a
nd [sm3[nm scenes with mus. by ~[fy45,1]*[fy75,1]Tchaikovsky, Op. [sm71[nm, comp
. [sm1891[nm=n[sm2[nm, choreog. ~by Ivanov, and lib. by Petipa based on Hoffmann
's ~[cf2]Der N;auuss[chknacker und der M;auausek;auonig [cf1](The Nut~~cracker a
nd the King of the Mice). Prod. St ~Petersburg [sm1892[nm, Londo
n (complete) [sm1934[nm. Has ~been choreog. also by Balanchine, Cranko, Nu~~reye
v, etc. Orch. suite of [sm8[nm numbers, Op. [sm71[nma, arr. ~Tchaikovsky, [sm189
2[nm.[cm~Nymphs and Shepherds. [fy75,1]Song by [fy45,1]*[fy75,1]Purcell, part ~o
f his incidental music for Shadwell's play [cf2]The ~Libertine[cf1], [sm1692[nm.
 Often sung by sop., but made ~famous in choral version recorded by Manchester ~
schoolchildren's choirs cond. [fy45,1]*[fy75,1]Harty in [sm1929[nm.[cm~Nystedt,
Knut [fy75,1]([cf2]b [cf1]Oslo, [sm1915[nm). Norweg. composer. ~Studied Oslo and
 in USA with Copland. Wrote ~orch. and choral mus. and [sm4[nm str. qts.[cm~Nyst
roem, G;auosta [fy75,1]([cf2]b [cf1]Silvberg, [sm1890[nm; [cf2]d [cf1]S;auar;auo
, [sm1966[nm). ~Swed. composer. Studied Copenhagen and later ~in Paris with d'In
dy. Mus. critic in Sweden [sm1932[nm=n~[sm47[nm. Wrote [sm6[nm syms. (incl. No.
[sm4[nm, [cf2]Sinfonia Shakespear~~iana[cf1], [sm1952[nm), [sm2[nm concs. for st
r., opera, ballet, vn. ~conc., va. conc., Sinfonia Concertante f
or vc. and ~orch., and many songs.[cm~NZ.[fy75,1] Neue Zeitschrift f;auur Musik.
 Ger. bi-monthly ~periodical, orig. [cf2]Neue Leipziger Zeitschrift f;auur Musik
[cf1], ~founded in Leipzig by Schumann in [sm1834[nm. Edited ~by Schumann until
[sm1844[nm. Present title adopted ~[sm1979[nm.[xm[cm~[j4]~[xp[u20]~~[te~









[do27][j99]~~~~~~[sm153842[nm_O[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmO[sm001[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm4[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm1[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[PN511,0,0,R,I0][ap[j3
]~O[cm~~[j1]O, od[fy75,1] (It.). Or.[cm~Oakeley,[fy75,1] (Sir) [fy65][cf3]Herber
t [fy75,1](Stanley) ([cf2]b[cf1] Ealing, [sm1830[nm; ~[cf2]d[cf1] Eastbourne, [s
m1903[nm). Eng. organist and composer. ~Studied Oxford and Leipzig. Prof. of mus
., ~Edinburgh Univ., [sm1865[nm=n[sm91[nm. Wrote church mus. ~Knighted [sm1876[n
m.[cm~Obbligato[fy75,1] (It.; Fr. [cf2]oblig;aae[cf1]; Ger. [cf2]obligat[cf1]).
Indispen~~sable. Adjective attached to the name of an instr., ~e.g. `vc. obbliga
to', where the instr.'s part is ~obligatory, and special or unusual in effect. T
o ~use the term in the opposite sense of optional or ~[cf2]ad libitum[cf1] is wr
ong, as is the frequently-encoun~~tered spelling [cf2]obligato[cf1].[cm~Oberhoff
er, Emil[fy75,1] ([cf2]b[cf1] Munich, [sm1867[nm; [cf2]d[cf1] Sa
n Diego, ~Calif., [sm1933[nm). Ger. pianist and cond. Studied in ~Paris with Phi
lipp. Settled in USA at St Paul, ~Minn., [sm1897[nm as cond. of local mus. soc.
His efforts ~led in [sm1903[nm to formation of Minneapolis S.O., ~which he cond.
 until [sm1922[nm. See [cf2]Minnesota Orch[cf1].[cm~Oberlin College[fy75,1] (Obe
rlin, Ohio). Amer. coll. est. ~[sm1833[nm, with cons. of mus. [sm1865[nm.[cm~Obe
rlin, Russell[fy75,1] ([cf2]b[cf1] Akron, Ohio, [sm1928[nm). Amer. ~counterten.
Studied Juilliard Sch., NY. Soloist ~with NY Pro Musica Antiqua [sm1953[nm=n[sm9
[nm. D;Aaebut CG ~[sm1961[nm as Oberon in Britten's [cf2]A Midsummer Night's ~Dr
eam[cf1].[cm~Oberon, or The Elf-King's Oath.[fy75,1] Opera in [sm3[nm ~acts by W
eber to Eng. lib. by J. R. Planch;Aae, after ~W. Sotheby's trans. ([sm1798[nm) o
f Wieland's poem ~[cf2]Oberon[cf1] ([sm1780[nm), which is based on the [sm13[nmt
h-cent. ~Fr. [cf2]chanson de geste[cf1], [cf2]Huon de Bordeaux[cf1]. Prod. ~Lond
on, CG [sm1826[nm, cond. Weber; Leipzig [sm1826[nm; ~NY [sm1828[
nm. Other operas on subject by Kunzen ~([cf2]Holger Danske[cf1], [sm1789[nm) and
 P. Wranitzky ([cf2]Oberon, ~K;auonig der Elfen[cf1], [sm1789[nm).[cm~Obertas(s)
.[fy75,1] A nat. Polish round dance of rather ~wild character, in quick triple t
ime.[cm~Oberto, Conte di San Bonifacio[fy75,1] (Oberto, Count ~of Bonifacio). Op
era in [sm2[nm acts by Verdi to lib. by ~A. Piazza, rev. with additions by T. So
lera. Comp. ~[sm1837[nm=n[sm8[nm, being Verdi's first opera to be prod. ~(Milan
[sm1839[nm). Chicago [sm1903[nm (concert version), ~London [sm1965[nm (concert),
 NY [sm1978[nm.[cm~Oberwerk[fy75,1] (Ger.). Upper-work, i.e. Swell Org. ~(Abbrev
iated to `[cf2]Obw[cf1]' or `[cf2]O.W[cf1].')[cm~Oblique motion.[fy75,1] See [cf
2]Motion[cf1].[cm~Oboe.[fy75,1] Org. reed stop of [sm8[nm;Po pitch, imitative of
 ~instr. whose name it bears.[cm~Oboe family.[fy75,1] The ob. is a woodwind inst
r. blown ~through a double reed and with a compass from ~the B;yh below middle C
 upwards for over [sm2[nm;FD ~octaves. Standard orch. instr., al
so in chamber ~mus. and military bands. It is the note A sounded ~on the oboe to
 which the rest of the orchestra ~tune their instr. Many concs. have been writte
n ~for its solo use, e.g. by Vivaldi, Albinoni, R. ~Strauss, Vaughan Williams, M
artin;Anu, etc. Derives ~from the [fy45,1]*[fy75,1]shawm and the [fy45,1]*[fy75,
1]curtal. Known in Fr. ~and Eng. in the [sm17[nmth cent. as [cf2]hautbois[cf1] a
nd [cf2]hautboy[cf1]. ~There also exist: ([sm1[nm) [cf2]Oboe d'amore[cf1] (ob. o
f love): ~pitched a minor [sm3[nmrd below normal oboe. Has ~pear-shaped bell, wh
ich gives it its mellow and ~individual tone-colour, and is midway in size ~betw
een ob. and cor anglais. Was favoured by ~Bach, but subsequently neglected. In [
sm20[nmth cent, ~has been used by R. Strauss in [cf2]Symphonia Domestica[cf1], ~
Holst in [cf2]Somerset Rhapsody[cf1], Ravel in [cf2]Bol;Aaero, [cf1]and ~John Mc
Cabe has written a conc. for it ([sm1972[nm). ([sm2[nm) ~[cf2]Oboe da caccia[cf1
] (hunting ob.): obsolete predecessor ~of cor anglais. See also
[cf2]cor anglais[cf1], [cf2]bassoon[cf1], ~[cf2]Heckelphone[cf1], [cf2]shawm[cf1
].[cm~Oborin, Lev [fy75,1](Nikolayevich) ([cf2]b[cf1] Moscow, [sm1907[nm; [cf2]d
[cf1] ~Moscow, [sm1974[nm). Russ. pianist. Studied Moscow ~Cons., where he taugh
t from [sm1928[nm, becoming ~prof. [sm1935[nm. Won first Warsaw int. Chopin comp
. ~[sm1927[nm. Many successful pupils, incl. [fy45,1]*[fy75,1]Ashkenazy.[cm~Obra
ztsova, Elena[fy75,1] (Vasilyevna) ([cf2]b[cf1] Leningrad, ~[sm1937[nm). Russ. m
ez. Studied Leningrad. Opera ~d;aaebut Moscow [sm1963[nm (Marina in [cf2]Boris G
odunov[cf1]). ~Has sung in Milan, Hamburg, Vienna, etc. NY ~Met. (with Bolshoy C
o.) [sm1975[nm. San Francisco [sm1975[nm ~(Azucena).[cm~Obrecht [fy75,1](Obertus
), [fy65][cf3]Jacob[fy75,1] ([cf2]b[cf1] Bergen-op-Zoom, ~[cf2]c[cf1].[sm1451[nm
;[cf2] d[cf1] Ferrara, [sm1505[nm). Flemish composer. ~Kapellmeister, Utrecht, [
cf2]c[cf1].[sm1474[nm; worked in Cam~~brai and Bruges [sm1484[nm=n[sm91[nm; Kape
llmeister, Ant~~werp Cath., [sm1491[nm. Visited It. several time
s. Wrote ~much church mus., incl. masses, motets, etc., and ~secular songs. Fore
runner of Josquin [fy45,1]*[fy75,1]Despr;ages. ~Used secular [cf2]cantus firmus[
cf1] in his masses, e.g. [cf2]Missa ~super Maria Zart[cf1]. Used number symbolis
m in his ~works, cabalistic significance having been discov~~ered in many of his
 structures, e.g. the number ~of [cf2]tactus[cf1] in his [cf2]Missa `Sub tuum pr
aesidium'[cf1] is [sm888[nm, ~the symbol of Christ. Some of his works are ~delib
erately imitative of other composers. The ~`boundless exuberance', as one schola
r has put it, ~of his music ranks it with the greatest of its time.[cm~Obukhov,
Nikolay [fy75,1]([cf2]b [cf1]Kursk, [sm1892[nm; [cf2]d[cf1] Paris, ~[sm1954[nm).
 Russ. composer. Pupil of Tcherepnin and ~Steinberg, and, after settling in Pari
s in [sm1918[nm, of ~Ravel. Developed elec. instr., [cf2]croix sonore[cf1], for
~which he comp. works. Invented new system of ~notation and [sm12[nm-note system
 independent of ~[PN512,0,0,L,I0]Schoenberg's. Devoted most of h
is life to mystical ~choral work [cf2]Le Livre de vie[cf1], soloists, ch., [sm2[
nm pfs., and ~orch., (begun in [sm1916[nm).[cm~Obw.[fy75,1] Abbreviation for [fy
45,1]*[fy75,2]Oberwerk [cf1](i.e. Swell Org. ~in Ger. org. mus.).[cm~O.C.[fy75,1
] Abbreviation for [cf2]Organo corale[cf1] (It.), choir ~org.[cm~Oca del Cairo,
L'[fy75,1] (The Goose of Cairo). Unfin~~ished [cf2]opera buffa [cf1]in [sm2[nm a
cts (K[sm422[nm) by Mozart [sm1783[nm ~to lib. by Varesco; prod. Paris [sm1867[n
m, London ~[sm1870[nm. Several modern edns., incl. one by [fy45,1]*[fy75,1]Redli
ch.[cm~O Canada![fy75,1] Canadian nat. song, especially popu[chlar ~among Fr.-Ca
nadians. The mus., by Calixa [fy45,1]*[fy75,1]Lav~~all;aaee, comp. [sm1880[nm, w
as orig. a hymn in honour of ~St John the Baptist.[cm~Ocarina [fy75,1](It. `Litt
le goose'). Small keyless wind ~instr., shaped rather like an egg with holes for
 ~fingers and invented [cf2]c.[cf1][sm1860[nm. Made of earthenware ~or metal. Ma
inly used as a toy and sometimes ~nicknamed `sweet potato' (as i
n once-popular song ~[cf2]Sweet Potato Piper[cf1]).[cm~Oceanides, The[fy75,1] ([
cf2]Aallottaret[cf1]). Symphonic poem ~for orch. by Sibelius, Op. [sm73[nm, comp
. [sm1914[nm. F.p. ~Norfolk, Conn., [sm1914[nm, cond. Sibelius.[cm~Ochsenkuhn, S
ebastian [fy75,1]([cf2]b [cf1]Nuremberg, [sm1521[nm; [cf2]d[cf1] ~Heidelberg, [s
m1574[nm). Ger. lutenist in service of ~Rhenish Electors. Wrote tablature book f
or lute ~([sm1558[nm) containing Fr. and Ger. secular songs.[cm~Ockeghem [fy75,1
](Okeghem), [fy65][cf3]Johannes[fy75,1] (=+=+Jean) ([cf2]b c.[cf1] ~[sm1410[nm;
[cf2]d[cf1] ? Tours, [sm1497[nm). Fr.-Flemish composer. In ~about [sm1445[nm was
 a singer in Notre Dame, Antwerp, ~and in [sm1446[nm was member of chapel of Duk
e of ~Bourbon at Moulins, nr. Dijon. About [sm7[nm years ~later was at Fr. court
, where he stayed for the rest ~of his life, serving three successive kings. Tra
velled ~on court missions to It. and Sp. Leading composer ~of period between Duf
ay and Josquin Despr;ages, ~but only [sm14[nm Masses, fewer than
 a dozen motets, ~and about [sm20[nm [cf2]chansons [cf1]survive, enough to show
~his stature. Style noted for contrapuntal richness. ~His [cf2]Missa `Fors seule
ment'[cf1] was one of first parody ~Masses, based on one of his own [cf2]chanson
s. [cf1]His ~[cf2]Missa pro Defunctis[cf1] is earliest surviving requiem, ~Dufay
's having been lost. His [cf2]chansons [cf1]were the ~`popular songs' of his day
. After he died, Molinet's ~commemorative poem [fy45,1]*[fy75,2]Nimphes des Bois
[cf1] was set ~to mus. by Despr;ages.[xm[cm~[ol0][ep~[xp[u20]~~[te~






[do20][j99]~~~~~~[sm153842[nmO[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmO[sm002[nm[cm[sm20[nm[cm~[sm1[nm[cm[sm5[nm.[sm10[nm.[sm
79[nm[cm[sm19[nm[cm[sm23[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[ap[j1]O Come, all y
e Faithful.[fy75,1] See [cf2]Adeste Fideles.[cf1][cm~Octandre [fy75,1](Plant wit
h [sm8[nm stamens). Work for small ~orch. (woodwind, brass, db.) by Var;agese, c
omp. ~[sm1923[nm, f.p. NY [sm1924[nm.[cm~Octave.[fy75,1] Interval of [sm8[nm not
es, counting bottom and ~top notes. Notes an octave apart have same letter-~name
s. Interval from, say, D to next D above is ~[cf2]perfect octave[cf1]; from D up
 to D;yh and from D up to ~D;yi are [cf2]diminished [cf1]and [cf2]augmented [cf1
]octaves respec~~tively. Also [cf2]double octave[cf1], [sm2[nm octaves; [cf2]at
the octave[cf1], ~to be perf. octave higher than written; [cf2]in octaves[cf1],
~to be perf. with each note doubled one or more ~octaves above or below.[cm~Octa
ve Coupler.[fy75,1] Device on org. or hpd. with ~which note stru
ck is doubled an octave higher.[cm~Octave Flute[fy75,1] (It. [fy45,1]*[fy75,2]ot
tavino[cf1]). [fy45,1]*[fy75,1]Piccolo.[cm~Octave quint.[fy75,1] Organ stop same
 as [fy45,1]*[fy75,2]Twelfth[cf1].[cm~Octaves graves, Octaves aigu;aues.[fy75,1]
 In Fr. org. mus. ~mean respectively the sub- and super-octave ~couplers.[xm[cm~
[fy65][cf3,8,8]Octave Signs.[ql~[dt6,1g,6][ol0][ep~[bt~[cp7,7][fy75,2][sm8[nmva[
cf1] or [cf2][sm8[nm[qc~[nt~[sm8[nmva bassa [cf1]or [cf2][sm8[nmva sotto[qc~[et~
[ih1n][bt~Ottava[cf1], i.e. perform an ~octave higher than writ~~ten.[ep~[nt~Per
form an octave lower ~than written ([cf2]sotto[fj~[cf1];equnder).[ep~[et~[dt5p6,
1g,6p6][bt~[cf2]loco[qc~[nt~con [sm8[nm[qc~[et~[bt~[cf1]Place, i.e. (after playi
ng ~an octave higher or ~lower) resume the ~playing as written.[ep~[nt~Play the
passage not in single ~notes, as marked, but in ~octaves (the added line of ~oct
aves will be above if the ~passage occurs in the treble ~of a pf. piece, and bel
ow if ~in the bass).[ep~[et~[el4][j1]Octavin[fy75,1] (Fr.). The
`Fifteenth' stop of the org. So[cf2] ~Octavin harmonique[cf1], Harmonic Piccolo.
[cm~Octet [fy75,1](Fr. [cf2]Octuor, Octette[cf1]; It.[cf2] Ottetto[cf1]; Ger.[cf
2] Oktett[cf1]). ~Any combination of [sm8[nm performers or any piece of ~mus. co
mp. for such. The normal str. octet is for ~[sm4[nm vn., [sm2[nm va., [sm2[nm vc
., as in Mendelssohn's. Schubert's ~Octet is for [sm2[nm vn., va., vc., db., cl.
, bn., and hn. ~That by Stravinsky is for wind instr.[cm~Octo-bass.[fy75,1] A st
r. db. [sm10[nm;po high invented by the ~great Paris [cf2]luthier[cf1] J. B. Vui
llaume in [sm1849[nm and ~recommended by Berlioz. The stopping was ~controlled b
y levers operated by the left hand and ~the feet; the instr. was bowed in the no
rmal way. ~It had a range of [sm2[nm octaves and a [sm5[nmth. Failed to ~catch o
n but a conc. written for it in [sm1984[nm.[cm~Octuor.[fy75,1] See [cf2]Octet[cf
1].[cm~Od [fy75,1](It.). Or.[cm~Ode.[fy75,1] In literature, a lyrical poem. In A
ncient ~Greece an ode was recited to mus. acc. In its mus. ~sens
e, the term often means a ceremonial work, ~e.g. Purcell's [cf2]Ode for St Cecil
ia's Day[cf1] and Elgar's ~[cf2]Coronation Ode[cf1], but sometimes the term is u
sed ~for works with particular significance to the ~composer, e.g. Elgar's [cf2]
The Music Makers[cf1] and ~Stravinsky's Ode: [cf2]Elegiacal Chant.[cm~Ode for St
 Cecilia's Day.[fy75,1] ([sm1[nm)^Title of [sm4[nm choral ~works by [fy45,1]*[fy
75,1]Purcell, [sm2[nm comp. in [sm1683[nm, another ~probably of that date, a [sm
4[nmth in [sm1692[nm. All except ~one (Lat.) have Eng. texts.[ep~^([sm2[nm)^Chor
al work by Handel, [sm1739[nm, being setting ~of Dryden's poem ([sm1698[nm).[ep~
^([sm3[nm)^Cantata by Hubert [fy45,1]*[fy75,1]Parry, [sm1889[nm.[ep~^([sm4[nm)^T
here are many other works with this title.[cm~[PN513,0,0,R,I0]Ode to Death.[fy75
,1] Setting for ch. and orch., Op. [sm38[nm, ~by Holst of text by Whitman. Comp.
 [sm1919[nm. F.p. ~Leeds Fest. [sm1922[nm, London [sm1923[nm.[cm~Ode to Napoleon
 Buonaparte.[fy75,1] Setting by ~Schoenberg, Op. [sm41[nm, of By
ron's poem ([sm1814[nm) for ~str. qt., pf., and reciter (whose part is rhythmica
lly ~notated at approx. pitch). Comp. [sm1942[nm. Version ~(Op. [sm41[nmb) for s
tr. orch., pf., and reciter f.p. NY ~[sm1944[nm.[cm~O.E.[fy75,1] Abbreviation fo
r [cf2]Organo espressivo[cf1] (It. Swell ~Organ).[cm~Oedipus Rex[fy75,1] (King O
edipus). Opera-oratorio in ~[sm2[nm acts by Stravinsky to lib. by J. Cocteau tra
ns. ~into Lat. by J. Dani;aaelou and based on Sophocles. ~Comp. [sm1926[nm=n[sm7
[nm. Prod. Paris [sm1927[nm (as oratorio), ~London [sm1928[nm (broadcast), [sm19
36[nm (concert). F.p. on ~stage Vienna [sm1928[nm. Boston [sm1928[nm (concert),
NY ~[sm1931[nm (stage).[cm~Oestvig, Karl [fy75,1](Aagaard) ([cf2]b[cf1] Oslo, [s
m1889[nm; [cf2]d[cf1] Oslo, ~[sm1968[nm). Norweg. ten. Studied Cologne Cons. Ope
ra ~d;aaebut Stuttgart [sm1914[nm. Vienna State Opera [sm1919[nm=n~[sm27[nm. Cre
ated role of Emperor in Strauss's [cf2]Die Frau ~ohne Schatten[cf1]. Also fine W
agnerian singer.[cm~Offenbach, Jacques[fy75,1] ([cf2]b[cf1] Deut
z, nr. Cologne, [sm1819[nm; ~[cf2]d[cf1] Paris, [sm1880[nm). Ger.-Fr. composer,
cond., and ~cellist. Orig. surname Eberst, Wiener, or Levy: ~took name Offenbach
 because family came from ~Offenbach-am-Main. Son of cantor of Cologne ~synagogu
e. Studied Paris Cons. [sm1833[nm=n[sm7[nm, also ~playing vc. in Op;aaera-Comiqu
e orch. Cond. at ~Th;aae;afatre Fran;Alcais, [sm1849[nm=n[sm55[nm. From [sm1853[
nm began to ~compose operettas, writing no fewer than [sm90[nm in ~the next quar
ter-cent. Man. of Th;aae;afatre Comte, ~renaming it Bouffes-Parisiens. The best
of his ~lighter works, [cf2]La Belle H;aael;agene, Orph;aaee aux Enfers ~[cf1]([
fy45,1]*[fy75,1]Orpheus in the Underworld), etc., symbolize ~the Fr. [sm2[nmnd E
mpire, but his fame rests equally ~securely on his sole grand opera [cf2]Les Con
tes ~d'Hoffmann[cf1] (The [fy45,1]*[fy75,1]Tales of Hoffmann), on which ~he work
ed for many years. It was prod. after his ~death in a version rev. and largely o
rchestrated ~by [fy45,1]*[fy75,1]Guiraud. Among his chief works
are:[xm[cm~[j2][smoperas[nm:[fy75,2] Die Rheinnixen [cf1](Vienna [sm1864[nm); [c
f2]Les Contes ~d'Hoffmann [cf1]([sm1881[nm).[ep~[smballet[nm-[smpantomime[nm: [c
f2]Le Papillon[cf1] ([sm1860[nm).[ep~[smoperettas[nm: [cf2]Barbe-bleue[cf1] ([sm
1866[nm); [cf2]La [fy45,1]*[fy75,2]Belle H;aael;agene[cf1] ~([sm1864[nm); [cf2]L
es Bergers de Watteau[cf1] ([sm1865[nm); [cf2]Daphnis et ~Chlo;aae[cf1] ([sm1860
[nm); [cf2]Les Deux Aveugles [cf1]([sm1855[nm); [cf2]Dragonette ~[cf1]([sm1857[n
m);[cf2] La Fille du tambour-major[cf1] ([sm1879[nm); [cf2]Gen;aaevi;ageve ~de B
rabant[cf1] ([sm1859[nm, rev. [sm1875[nm); [cf2]La [fy45,1]*[fy75,2]Grande Duche
sse ~de G;aaerolstein[cf1] ([sm1867[nm);[cf2] Madame Favart[cf1] ([sm1878[nm); [
cf2]Le ~Mariage aux lanternes[cf1] ([sm1857[nm); [cf2]Monsieur Choufleuri[cf1] ~
([sm1861[nm); [cf2]Orph;aaee aux enfers[cf1] ([sm1858[nm, rev. [sm1874[nm); [cf2
]La ~[fy45,1]*[fy75,2]P;aaerichole [cf1]([sm1868[nm);[cf2] Princesse de Tr;aaebi
zonde[cf1] ([sm1869[nm); ~[cf2]Robinson Cruso;aae[cf1] ([sm1867[
nm); [cf2]La [fy45,1]*[fy75,2]Vie parisienne [cf1]([sm1866[nm, ~see also [cf2]Ga
;afit;aae parisienne[cf1]); [cf2]Pomme d'api [cf1]([sm1873[nm); ~[cf2]Whittingto
n and his Cat[cf1] ([sm1874[nm).[cm~[j1]Offertory[fy75,1] (Fr. Offertoire; Lat.
Offertorium). The ~Offertory of the Mass consists of an [fy45,1]*[fy75,1]Antipho
n, a ~part of the Proper of the Mass, sung just after the ~Credo, while the prie
st is preparing the bread and ~wine and offering them upon the altar. The ~plain
song setting is generally insufficient to ~occupy the time, so a motet or org. v
oluntary ~may be interpolated.[cm~Offrandes oubli;aaees, Les[fy75,1] (The Forgot
ten Offer~~ings). Work for orch. by [fy45,1]*[fy75,1]Messiaen, comp. [sm1930[nm,
 ~f.p. Paris [sm1931[nm. In [sm3[nm parts, [cf2]The Cross, The Sin, The ~Euchari
st.[cm~[fy65][cf3]Ogdon, John[fy75,1] (Andrew Howard) ([cf2]b[cf1] Mansfield, ~[
sm1937[nm). Eng. pianist and composer. Studied RMCM ~(with Gordon Green) and wit
h Denis Matthews ~and Egon Petri. As a student gave f. ps. of wo
rks ~by Goehr, Maxwell Davies, and himself. Played ~Brahms's [sm1[nmst conc. wit
h Barbirolli, [sm1956[nm, when ~still a student; d;aaebut with Hall;aae Orch. [s
m1957[nm, ~London (Prom) [sm1959[nm. Joint first prize (with ~[fy45,1]*[fy75,1]A
shkenazy), Moscow Tchaikovsky competition ~[sm1962[nm (prize not shared; [sm2[nm
 first prizes awarded). ~Brilliant exponent of Liszt, Busoni, Alkan, in ~additio
n to wide repertory of concs. NY d;aaebut ~[sm1963[nm. Composer of pf. conc., et
c.[cm~Ogiwara, Toshitsugu[fy75,1] ([cf2]b[cf1] Osaka, [sm1910[nm). Japanese ~com
poser. Studied with [fy45,1]*[fy75,1]Tcherepnin. Works ~incl. str. qts. and orch
. pieces.[cm~O God, our Help in Ages Past.[fy75,1] Hymn, words ~(based on Psalm
[sm90[nm) by Isaac Watts ([sm1674[nm=n[sm1748[nm), ~first pubd. in his [cf2]Psal
ms of David[cf1] ([sm1719[nm) with first ~words `Our God, our help' which were a
ltered to ~`O God' by John Wesley in [cf2]Collection of Psalms and ~Hymns[cf1] (
[sm1737[nm). Tune (attrib. William [fy45,1]*[fy75,1]Croft) first
 ~appeared anonymously, set to Psalm [sm42[nm, in [sm1708[nm ~[cf2]Supplement [c
f1]to Tate and Brady Psalms. Known as ~[cf2]St Anne[cf1], Croft being organist o
f St Anne's, Soho, ~in [sm1708[nm. First line of tune is stock [sm18[nmth-cent.
~phrase and is found in J. S. Bach's org. fugue in ~E;yh which is therefore know
n in Eng. as `St Anne ~Fugue'. Has claim to be most popular of all ~hymns, and i
s especially assoc. with Remem~~[chbrance Day services.[cm~Ogura, Roh [fy75,1]([
cf2]b[cf1] Moji, [sm1916[nm). Japanese composer. ~Has written [sm2[nm syms., ope
ra, vn. conc., pf. conc., ~str. qts., etc.[cm~Ohana, Maurice[fy75,1] ([cf2]b[cf1
] Casablanca, [sm1914[nm). Fr. com~~poser and pianist. Studied Paris Schola Cant
orum ~([sm1937[nm=n[sm40[nm) and S. Cecilia Acad., Rome ([sm1944[nm=n[sm6[nm). ~
Mainly self-taught in composition. Works, in ~[cf2]avant-garde [cf1]idiom, incl.
 [sm2[nm operas, guitar conc., ~tpt. concertino, [cf2]Silenciaire [cf1]for [sm6[
nm percussionists, and ~[cf2]Tombeau de Claude Debussy[cf1] for
sop., zither, pf., ~and chamber orch.[cm~Ohlsson, Garrick[fy75,1] ([cf2]b[cf1] B
ronxville, [sm1948[nm). Amer. ~pianist. Studied Juilliard Sch., NY. Winner of ~B
usoni Competition, It., [sm1966[nm, Montreal Compe~~tition, [sm1968[nm, Warsaw I
nt. Chopin Competition, ~[sm1970[nm. Has pursued int. career as soloist and ~rec
italist.[cm~[PN514,0,0,L,I0]Oiseaux exotiques [fy75,1](Exotic birds). Orch. work
 by ~[fy45,1]*[fy75,1]Messiaen for pf., [sm2[nm cl., xylophone, glockenspiel, ~p
erc., small wind orch., comp. [sm1955[nm=n[sm6[nm. F.p. Paris ~[sm1956[nm, Lorio
d (pf.) R. Albert (cond.).[cm~Oistrakh, David[fy75,1] ([cf2]b[cf1] Odessa, [sm19
08[nm; [cf2]d[cf1] Amsterdam, ~[sm1974[nm). Russ. violinist and cond. Studied Od
essa ~Mus. Sch. Played Glazunov conc. with composer ~conducting, Kiev [sm1926[nm
. Moscow d;aaebut [sm1928[nm, ~joining staff of Cons. [sm1934[nm. [sm1[nmst priz
e Brussels Int. ~Competition, [sm1937[nm. D;aaebut Paris and London ~[sm1953[nm,
 USA [sm1955[nm. Dedicatee and first performer ~of both Shostako
vich vn. concs., No. [sm1[nm ([sm1955[nm); ~No. [sm2[nm ([sm1967[nm). One of gre
atest violinists of his day.[cm~Oistrakh, Igor [fy75,1]([cf2]b[cf1] Odessa, [sm1
931[nm). Russ, violinist, ~son of David [fy45,1]*[fy75,1]Oistrakh. Studied with
his father ~at Moscow Cons. D;aaebut [sm1948[nm. Frequently ap~~peared as joint
recitalist with his father, also in ~Bach's double vn. conc. and in Mozart's Sin
fonia ~Concertante, with father as violist. Won Wieni~~awski Competition, Poland
, [sm1952[nm. On staff ~Moscow Cons. from [sm1958[nm.[cm~Okeghem.[fy75,1] See [c
f2]Ockeghem, Johannes.[cm~Oker [fy75,1](Okeover), [fy65][cf3]John[fy75,1] ([cf2]
b[cf1] ? London, after [sm1590[nm; [cf2]d[cf1] ~Wells, [cf2]c[cf1]. [sm1663[nm).
 Eng. composer and organist. ~Organist Wells Cath., [sm1619[nm=n[sm39[nm and aga
in after ~[sm1660[nm. Gloucester Cath., [sm1640[nm=n[sm4[nm. Wrote fancies ~for
viols, and other instr. pieces.[cm~Oklahoma![fy75,1] Amer. musical with mus. by
Rich;Dh[fj~ard Rodgers and lyrics by Oscar Hammerstein II[fj~whi
ch is generally held to have pioneered new[fj~type of musical show. Prod. NY [sm
1943[nm, London ~[sm1947[nm. Contains songs [cf2]O, What a Beautiful Morning[cf1
] ~and [cf2]The Surrey with the Fringe on Top[cf1], among ~others equally good.[
cm~Oktave[fy75,1] (Ger.). Octave. So [cf2]Oktavfl;auote[cf1], octave flute, ~i.e
. [fy45,1]*[fy75,1]piccolo; [cf2]Oktavkoppel[cf1], octave coupler.[cm~Olczewska,
 Maria[fy75,1] (orig. Berchtenbreitner, ~Marie) ([cf2]b[cf1] Ludwigsschwaige, nr
. Donauw;auorth, ~[sm1892[nm; [cf2]d[cf1] Klagenfurt, [sm1969[nm). Ger. mez. Stu
died in ~Munich. Began career in operetta. Heard by ~[fy45,1]*[fy75,1]Nikisch, w
ho engaged her for Leipzig Opera ~[sm1916[nm.  Sang at Hamburg Opera [sm1917[nm=
n[sm20[nm, Vienna ~[sm1921[nm=n[sm3[nm, Munich [sm1923[nm=n[sm5[nm. Member of Vi
enna ~State Opera [sm1923[nm=n[sm30[nm, being a notable Oktavian ~in [cf2]Der Ro
senkavalier.[cf1] Sang at CG [sm1924[nm=n[sm32[nm, Chicago ~Opera [sm1928[nm=n[s
m32[nm, NY Met. [sm1933[nm=n[sm5[nm. Prof., Vienna ~Acad. from [
sm1947[nm. Fine Wagnerian singer and of ~roles such as Amneris in [cf2]Aida.[cm~
Old Hall Manuscript.[fy75,1] Early [sm15[nmth-cent. coll. of ~church mus. found
in the library of St Edmund's ~Coll., Old Hall, Herts., first described in [sm19
03[nm and ~pubd. [sm1933[nm=n[sm8[nm. Now in the Brit. Library. It offers ~a val
uable opportunity of studying the choral ~style of a period [cf2]c[cf1].[sm1415[
nm. Comprises [sm140[nm folios of ~church mus. by composers of the Chapel Royal.
[cm~Oldham, Arthur[fy75,1] ([cf2]b[cf1] London, [sm1926[nm). Eng. com~~poser, ch
.-master, and pianist. Studied RCM with ~Howells and privately with [fy45,1]*[fy
75,1]Britten. Mus. dir. ~Ballet Rambert. Adapted Arne's [cf2]Love in a Village[c
f1] ~for Aldeburgh Fest., [sm1952[nm. Works incl. ballets ~([cf2]Bonne-Bouche[cf
1] [sm1952[nm), choral works, [cf2]Divertimento ~[cf1]for str. etc. Ch.-master o
f Scottish Opera [sm1966[nm=n~[sm74[nm, LSO Chorus [sm1969[nm=n[sm76[nm.[cm~Old
Hundredth [fy75,1](Amer. Old Hundred). Metrical ~psalm tune of u
ncertain origin. Its name indicates ~that it was set to the [sm100[nmth psalm in
 the `old' ~version of the metrical psalms, i.e. Sternhold and ~Hopkins as disti
nct from Tate and Brady. The ~edn. of this version in which it first appeared wa
s ~Daye's of [sm1560[nm=n[sm1[nm, where it was set to the words ~`All people tha
t on earth do dwell' by W. Kethe. ~But the history of the tune goes back to Maro
t ~and B;aaeza's Genevan Psalter of [sm1551[nm, in which it is ~attached to the
[sm134[nmth psalm. An even earlier form ~of the tune appears in the Antwerp coll
ection ~[cf2]Souter Liederkens[cf1] ([sm1540[nm). A ceremonial arr. of the ~tune
 for ch., congregation, orch., organ, and `all ~available trumpets' was made by
Vaughan Wil~~liams for the coronation of Elizabeth II, [sm1953[nm. (It ~was also
 perf. at his funeral in Westminster ~Abbey, [sm1958[nm.)[cm~Old King Cole.[fy75
,1] Ballet for orch. and ch. (ad lib.) ~by Vaughan Williams to lib. by Mrs E. Vu
lliamy, ~prod. Cambridge [sm1923[nm. Based on Eng. folk dances;
~score incorporates some folk-songs.[cm~Oldman, Cecil [fy75,1](Bernard) ([cf2]b[
cf1] London, [sm1894[nm; [cf2]d[cf1] ~London, [sm1969[nm). Eng. musicologist. Jo
ined Brit. ~Museum staff [sm1920[nm, becoming Keeper of Printed ~Books [sm1947[n
m=n[sm59[nm. Expert on bibliography of ~Mozart, Beethoven, and Haydn. C.B.E. [sm
1952[nm.[cm~Old Vic.[fy75,1] Familiar name for S. London th. ~properly the Royal
 Victoria Hall, Waterloo Road. ~Built [sm1818[nm as Royal Coburg Hall, being ren
amed ~[sm1833[nm and becoming mus.-hall. Bought in [sm1880[nm ~by Emma Cons, a s
ocial reformer, who renamed ~it Royal Victoria Coffee Hall and staged operatic ~
excerpts. In [sm1898[nm her niece Lilian [fy45,1]*[fy75,1]Baylis took ~over and,
 with courageous single-mindedness, ~developed the th. as a home for cheap-seat
~Shakespeare and opera, the latter being given ~twice a week and on alternate Sa
turday matin;aaees. ~In [sm1931[nm the opera was transferred to new SW Th.[cm~Ol
e[fy75,1] (Sp.). A gipsy type of [fy45,1]*[fy75,1]Seguidilla als
o known ~as [cf2]Polo[cf1] or [cf2]Romalis.[cf1][cm~Oliphant [fy75,1](from Fr. [
cf2]cor d'olifant[cf1], elephant's horn). ~Hole-less type of cow-horn made of iv
ory, ~introduced into the W. from Byzantium in ~medieval times. Became symbol of
 royalty, owing ~to rich carving and decoration.[cm~Oliver, Stephen[fy75,1] ([cf
2]b [cf1]Liverpool, [sm1950[nm). Eng. com~~poser. Studied Oxford Univ. with [fy4
5,1]*[fy75,1]Leighton and ~elec. mus. with Sherlaw [fy45,1]*[fy75,1]Johnson. Tau
ght for [sm2[nm ~years at Huddersfield Sch. of Mus. Prolific ~composer of operas
 and mus. th. [cf2]Perseverance[cf1] calls ~for rock group, dance band, and skif
fle group. ~Works incl.:[xm[cm~[PN515,0,0,R,I0][j2][smvoice(s)[nm: [cf2]Sirens[c
f1], bar., pf. ([sm1972[nm); [cf2]Magnificat and ~Nunc Dimittis[cf1] ([sm1976[nm
); [cf2]Exchange[cf1], counterten., ten., ~bar., pf. ([sm1978[nm); [cf2]The Chil
d from the Sea[cf1], treble, ch., ~orch. ([sm1980[nm); [cf2] A String of Beads[c
f1], ch., orch. ([sm1980[nm); ~[cf2]Trinity Mass[cf1], unacc. ([
sm1981[nm); [cf2]Beauty and the Beast[cf1], ~solo vv. and orch. ([sm1984[nm).[ep
~[smtheatrical[nm (incl. [smopera[nm):[fy75,2] Slippery Soules[cf1], Christ~~mas
 drama ([sm1969[nm); [sm3[nm Mini-Operas ([cf2]Paid Off, Time ~Flies, Old Haunts
[cf1]) ([sm1973[nm);[cf2] Sufficient Beauty[cf1] ([sm1973[nm); ~[cf2]A Fur-Coat
for Summer[cf1] ([sm1973[nm); [cf2]Perseverance[cf1] ~([sm1973[nm=n[sm4[nm);[cf2
] Past Tense[cf1] ([sm1974[nm);[cf2] Cadenus Observed[cf1] ~(solo bar., [sm1974[
nm); [fy45,1]*[fy75,2]Tom Jones [cf1]([sm1974[nm=n[sm5[nm); [cf2]Bad Times[cf1]
~([sm1975[nm); [cf2]The Great McPorridge Disaster[cf1] ([sm1976[nm);[cf2] ~The W
aiter's Revenge[cf1] ([sm1976[nm); [cf2]The Girl and the ~Unicorn[cf1], children
's opera ([sm1978[nm); [cf2]The Duchess of ~Malfi [cf1]([sm1971[nm=n[sm7[nm); [c
f2]The Dreaming of the Bones [cf1]([sm1979[nm); ~[cf2]Nicholas Nickleby [cf1]([s
m1980[nm); [cf2]Sacha [cf1]([sm1982[nm); [cf2]Blondel ~[cf1]([sm1983[nm); [cf2]B
ritannia Preserv'd [cf1]([sm1984[nm).[ep~[smorch[nm: [cf2]The Bo
y and the Dolphin[cf1] ([sm1974[nm); [cf2]Luv[cf1] ([sm1975[nm); ~Sym. ([sm1976[
nm).[ep~[sminstr. and chamber[nm: [cf2]Music for the Wreck of the ~Deutschland[c
f1], pf. quintet ([sm1972[nm); [cf2]Ricercare[cf1], cl., ~vn., vc., pf. ([sm1973
[nm); [cf2]Bad Times[cf1], bar., str. qt. ~([sm1975[nm);[cf2] The Elixir[cf1], b
ar., cl., ch. ([sm1976[nm); guitar ~sonata ([sm1978[nm); [cf2]The Key to the Zoo
[cf1], spkr., [sm2[nm ob., ~bn., hpd. ([sm1980[nm); [cf2]Ricercare II [cf1]([sm1
981[nm).[ep~[smarr[nm: Peri's [cf2]Euridice [cf1]([sm1600[nm), for [sm13[nm solo
 vv., ch., ~and [sm8[nm players ([sm1980[nm).[cm~[j1]Olivera, Mercedes [fy75,1](
[cf2]b[cf1] Montevideo, [sm1919[nm). Uru~~guayan pianist and harpsichordist. D;a
aebut Monte~~[chvideo [sm1932[nm. London d;aaebut [sm1946[nm.[cm~Olivero, Magda
[fy75,1]([cf2]b[cf1] Saluzzo, [sm1912[nm). It. sop. Opera ~d;aaebut Turin [sm193
3[nm. Retired [sm1941[nm on marriage, but ~returned [sm1950[nm=n[sm1[nm. London
[sm1952[nm (Mimi in [cf2]La ~Boh;ageme[cf1]). Sang in USA [sm196
6[nm=n[sm77[nm, making her Met. ~d;aaebut in [sm1975[nm as Tosca. Notable singin
g-actress in ~such roles as Li;agu, Violetta, Mimi.[cm~Oliveros, Pauline[fy75,1]
 ([cf2]b[cf1] Houston, [sm1932[nm). Amer. ~composer. Worked at San Francisco Tap
e Centre ~[sm1961[nm=n[sm6[nm. Worked with David Tudor, pianist, and ~Elizabeth
Harris, dancer-choreog., [sm1963[nm=n[sm6[nm. Dir., ~tape mus. centre, Mills Col
l., [sm1966[nm; teacher of ~elec. mus., Univ. of California, San Diego, from ~[s
m1967[nm. After [sm1963[nm her works used mixed media ~and she prefers live elec
. perf. to prepared tape. ~Has written a trio for fl., pf., and page-turner ~([s
m1961[nm) and a work for orch., ch., elecs., and lights ~called [cf2]To Valerie
Solonas and Marilyn Monroe in ~recognition of their desperation [cf1]([sm1970[nm
).[cm~Olsen, Ole [fy75,1]([cf2]b[cf1] Hammerfest, [sm1850[nm; [cf2]d[cf1] Oslo,
[sm1927[nm). ~Norweg. composer. Studied Leipzig [sm1870[nm=n[sm4[nm. ~Inspector
of mus., Norweg. military acad. [sm1887[nm=n~[sm1903[nm. Wrote o
peras, oratorios, sym.[cm~Olympians, The.[fy75,1] Opera in [sm3[nm acts by [fy45
,1]*[fy75,1]Bliss to lib. ~by J. B. Priestley. Prod. London [sm1949[nm.[cm~O mag
num mysterium [fy75,1](O great mystery). Cycle ~of [sm4[nm carols for mixed ch.
with instr. sonatas and ~fantasia for org. by [fy45,1]*[fy75,1]Maxwell Davies. W
ritten for ~Cirencester Grammar Sch., [sm1960[nm.[cm~O'Mara, Joseph [fy75,1]([cf
2]b[cf1] Limerick, [sm1861[nm; [cf2]d[cf1] Dublin, ~[sm1927[nm). Irish ten. and
impresario. Studied Milan. ~D;aaebut London [sm1891[nm in [cf2]Ivanhoe[cf1]. San
g at CG, then ~became prin. ten. of [fy45,1]*[fy75,1]Moody-Manners co., [sm1902[
nm=n~[sm10[nm. Formed O'Mara Co. [sm1912[nm. Retired [sm1926[nm.[cm~Omar Khayy;A
aam.[fy75,1] Work for cont., ten., bass ~soloists, ch., and orch. by Bantock to
text drawn ~from Edward FitzGerald's [cf2]Rubaiy;aaat of Omar ~Khayy;aaam[cf1] (
[sm1859[nm). In [sm3[nm parts (Birmingham [sm1906[nm, ~Cardiff [sm1907[nm, Birmi
ngham [sm1909[nm, then perf. ~complete in London and Vienna [sm1
912[nm).[cm~Omphale's Spinning-wheel[fy75,1] (Saint-Sa;auens). See ~[cf2]Rouet d
'Omphale, Le[cf1].[cm~Oncina, Juan [fy75,1]([cf2]b[cf1] Barcelona, [sm1925[nm).
Sp. ten. Studied ~Barcelona, making d;aaebut there [sm1946[nm. Sang in It. ~[sm1
946[nm=n[sm52[nm, specializing in Rossini and Donizetti ~roles. Glyndebourne [sm
1952[nm=n[sm61[nm.[cm~Ondeggiando, ondeggiante, ondeggiamento[fy75,1] ~(It.). Un
dulating, i.e. [fy45,1]*[fy75,1]tremolo or [fy45,1]*[fy75,1]vibrato, or ~(also)
any swaying effect.[cm~Ondes Martenot.[fy75,1] Elec. instr. developed by ~Mauric
e [fy45,1]*[fy75,1]Martenot, a Fr. musician, who patented ~it in [sm1922[nm and
produced it in [sm1928[nm. Looks like a ~[fy45,1]*[fy75,1]spinet, with a kbd. of
 [sm5[nm octaves but can produce ~only one note at a time. Uses oscillating valv
es ~like [fy45,1]*[fy75,1]theremin, but is operated by a wire across ~the kbd.,
the player producing the desired pitch ~by manipulating the wire which moves a v
ariable ~condenser, the kbd. serving as a guide. The signal ~is
amplified through a loudspeaker. Tone-colour ~and timbre are obtained by pressin
g a button, ~and vol. is controlled by a key. The instr. is used ~in [fy45,1]*[f
y75,1]Messiaen's [fy45,1]*[fy75,2]Turangal;afila Symphony [cf1]and in[fj~[fy45,1
]*[fy75,1]Honegger's [fy45,1]*[fy75,2]Jeanne d'Arc au b;afucher.[cm~Ondine.[fy75
,1] See [cf2]Undine[cf1].[cm~Ondine[fy75,1] (Ravel). See [cf2]Gaspard de la nuit
.[cf1][cm~Ond;akr;aai;akcek, Franti;aksek [fy75,1]([cf2]b[cf1] Prague, [sm1857[n
m; [cf2]d[cf1] Milan, ~[sm1922[nm). Cz. violinist and composer. Studied Prague ~
Cons. and Paris Cons. (with Massart). D;aaebut Paris ~[sm1882[nm, followed by to
urs. Gave f.p. of Dvo;akr;aaak's vn. ~conc., Prague [sm1883[nm. Settled in Vienn
a [sm1907[nm, ~forming qt. Prof. of vn. Vienna Cons. [sm1911[nm=n[sm19[nm, ~Prag
ue Cons. [sm1919[nm=n[sm22[nm. With Mittelmann, wrote ~vn. method ([sm1908[nm).
Composed vn. conc. and other ~vn. pieces.[cm~Onegin, Sigrid [fy75,1]([cf2]b[cf1]
 Stockholm, [sm1889[nm; [cf2]d[cf1] Magliaso, ~Switz., [sm1943[n
m). Swed. cont. Studied Frankfurt, ~Munich, and Milan. D;aaebut Stuttgart [sm191
2[nm (with ~Caruso), creating role of Dryad in Strauss's [cf2]Ariadne ~auf Naxos
[cf1] in [sm1[nmst season. London d;aaebut [sm1913[nm ~(under name Lilli Hoffman
n-Onegin). Munich ~Opera [sm1919[nm=n[sm22[nm, Berlin [sm1926[nm=n[sm33[nm, NY M
et. [sm1922[nm=n~[sm4[nm, CG [sm1927[nm, Bayreuth [sm1933[nm=n[sm4[nm. V. of muc
h power ~and range. Notable as Lady Macbeth, Fricka, ~Herodias, Orfeo, and Brang
;auane.[cm~O'Neill, Norman[fy75,1] ([cf2]b[cf1] London, [sm1875[nm; [cf2]d[cf1]
London, ~[sm1934[nm). Eng. composer and cond. Studied London ~with [fy45,1]*[fy7
5,1]Somervell and in Frankfurt with [fy45,1]*[fy75,1]Knorr ~[PN516,0,0,L,I0](see
 [cf2]Frankfurt Group[cf1]). Treasurer, Royal Phil. Soc. ~[sm1918[nm=n[sm34[nm.
Teacher of harmony and comp., RAM ~[sm1924[nm=n[sm34[nm. Mus. dir. Haymarket Th.
 for many ~years, composing incidental mus. for Maeter~~linck's [cf2]The Blue Bi
rd[cf1] ([sm1909[nm) and Barrie's [cf2]Mary Rose[cf1] ~([sm1920[
nm). Also wrote orch. works and chamber mus.[cm~One-step.[fy75,1] Amer. dance in
 simple duple time and ~rather more vigorous than the [fy45,1]*[fy75,1]fox-trot.
 Became ~popular [cf2]c[cf1]. [sm1910[nm.[cm~Ongarese[fy75,1] (It.). Hungarian.[
cm~On Hearing the first Cuckoo in Spring[fy75,1] (Delius). ~No. [sm1[nm of [cf2]
[sm2[nm Moood Pictures [cf1]for small orch. comp. ~[sm1911=n13[nm, f.p. Leipzig
[sm23[nm Oct. [sm1913[nm, cond. Nikisch, ~f.p. in England [sm1914[nm (cond. Meng
elberg). Main ~theme based on No. [sm14[nm (`In Ola Valley') of Grieg's ~[cf2]No
rwegian Folk Tunes[cf1], Op. [sm66[nm.[cm~Onslow, Georges [fy75,1](Louis) ([cf2]
b[cf1] Clermont-Ferrand, ~[sm1784[nm; [cf2]d[cf1] Clermont-Ferrand, [sm1853[nm).
 Fr. pianist and ~comp[choser (Brit. father, Fr. mother). Studied pf. in ~London
 with J. L. Du;Aksek and Cramer and comp. ~in Paris with Reicha. Settled in Fr.,
 giving pf. ~recitals and lessons. Wrote [sm3[nm comic operas, [sm4[nm ~syms., [
sm35[nm str. qts., [sm34[nm str. quintets, and other ~chamber wo
rks.[cm~On this Island.[fy75,1] [sm5[nm songs for high v. and pf. by ~Britten, O
p. [sm11[nm, to poems by W. H. Auden. ~Comp. [sm1937[nm. F.p. BBC broadcast [sm1
937[nm.[cm~Onward, Christian Soldiers. [fy75,1]Hymn with words ~by the Rev. S. B
aring-Gould, first pubd. [sm1868[nm in ~appendix to [cf2]Hymns Ancient and Moder
n[cf1], with tune ~by J. B. [fy45,1]*[fy75,1]Dykes adapted from slow movt. of ~H
aydn's Sym. No. [sm53[nm. Became popular when set ~by [fy45,1]*[fy75,1]Sullivan
in [sm1871[nm as `St Gertrude', pubd. in ~[cf2]The Hymnary [cf1](ed. Barnby), bu
t first pubd. in ~[cf2]Musical Times. [cf1]Holst set same words in [sm1924[nm.[c
m~On Wenlock Edge.[fy75,1] Song-cycle by Vaughan ~Williams to [sm6[nm poems from
 A. E. Housman's [cf2]A ~Shropshire Lad[cf1] ([sm1896[nm) for ten., str. qt., an
d pf. F.p. ~[sm1909[nm. Also arr. by composer for ten. and orch. ~(f.p. [sm1924[
nm). First item of cycle is the poem [cf2]On ~Wenlock Edge[cf1].[cm~Op. [fy75,1]
(plural opp.). Abbreviation for [fy45,1]*[fy75,1]opus.[cm~Open.[
fy75,1] ([sm1[nm)^Applied to bowed or plucked instr., a ~str. which is allowed t
o vibrate throughout its ~full length, i.e. not `stopped' by a finger pressed ~o
n it.[ep~^([sm2[nm)^Of a hn., not `stopped' by the placing of the ~hand inside t
he bell.[cm~Open Diapason.[fy75,1] The chief manual stop of the ~org., [sm8[nm;p
o in length, contrasted with the `stopped ~diapason'.[cm~Open Form.[fy75,1] A st
ructural procedure whereby the ~sequence and/or construction of parts of a notat
ed ~work are variable. First employed by [fy45,1]*[fy75,1]Ives, ~[fy45,1]*[fy75,
1]Cowell, and [fy45,1]*[fy75,1]Grainger, but developed as inde~~terminacy by [fy
45,1]*[fy75,1]Cage and Earle [fy45,1]*[fy75,1]Brown. In ~Boulez's [sm3[nmrd pf.
sonata, for example, the [sm5[nm ~movements may be played in any order except ~t
he [sm3[nmrd which must stay central.[cm~Open Harmony.[fy75,1] Harmony in which
the notes ~of the chords are widely spread.[cm~Opening cuts. [fy75,1]Phrase used
 in operatic parlance, ~meaning that passages of an opera which
are ~usually omitted are being performed.[cm~Oper[fy75,1] (Ger.). Opera. Also re
fers to an opera co., ~e.g. Vienna Staatsoper (Vienna State Opera=mco. ~implied)
.[cm~Opera. [fy75,1]Monthly magazine covering news and ~reports of all operatic
matters founded [sm1950[nm by ~Earl of Harewood, who was ed. until [sm1953[nm, w
hen ~he was succeeded by Harold [fy45,1]*[fy75,1]Rosenthal.[cm~Opera [fy75,1](It
., work, but actually plural of Lat. [cf2]opus[cf1], ~a work; Fr. [cf2]Op;aaera[
cf1]; Ger. [cf2]Oper[cf1]). The term is an ~abbreviation of [cf2]opera in musica
[cf1]. Opera is a drama ~set to mus. to be sung with instr. acc. by singers ~usu
ally in costume. Recit. or spoken dialogue ~may separate the [fy45,1]*[fy75,1]nu
mbers, but the essence of ~opera is that the mus. is integral and is not ~incide
ntal, as in a `musical' or play with mus.[ep~^Although literary dramas and [cf2]
sacre rappresenta~~zione[cf1] were its precursors in some respects, opera ~is ge
nerally said to have originated in Florence ~towards the close o
f the [sm16[nmth cent. (see [cf2]Camerata[cf1]) ~with the earliest examples by [
fy45,1]*[fy75,1]Peri and [fy45,1]*[fy75,1]Caccini. ~Recit. was the dominant feat
ure, but with ~[fy45,1]*[fy75,1]Monteverdi, whose operatic career extended ~from
 [sm1607[nm to [sm1642[nm, opera developed rapidly, ~borrowing elements from the
 madrigal and from ~the ornate Venetian church mus. The aria became ~an importan
t element, and in [cf2]L`incoronazione di ~Poppea[cf1], the insight shown into t
he humanity of ~the characters anticipated [sm19[nmth-cent. develop~~ments. [fy4
5,1]*[fy75,1]Cavalli followed Monteverdi's lead, but ~a more formal approach was
 reintroduced by A. ~[fy45,1]*[fy75,1]Scarlatti, who comp. [sm115[nm operas betw
een [sm1679[nm ~and [sm1725[nm. He introduced instr. acc. for recit. in ~[sm1686
[nm. During the [sm17[nmth cent. opera was pioneered ~in Fr. by [fy45,1]*[fy75,1
]Lully and [fy45,1]*[fy75,1]Rameau and in Ger. by ~[fy45,1]*[fy75,1]Sch;auutz an
d [fy45,1]*[fy75,1]Keiser. But the next great figure in ~operati
c history was [fy45,1]*[fy75,1]Handel, whose operas were ~mostly comp. for Londo
n (between [sm1711[nm and ~[sm1741[nm) in the It. [cf2]opera seria[cf1] style. H
is glorious solo ~arias were written for the brilliant techniques ~and skills of
 the great [cf2]castrato[cf1] singers of his day ~and for equally fine sops.; in
 addition, he imparted ~a lengthened degree of dramatic tension to the ~form bot
h in arias and recits. It was left to J. C. ~[fy45,1]*[fy75,1]Bach in his London
 operas of the [sm1760[nms to ~restore the ch. to a place in opera, as was done
also ~by [fy45,1]*[fy75,1]Gluck, whose operas were written between ~[sm1741[nm a
nd [sm1779[nm. Gluck's [cf2]Orfeo[cf1], written for Vienna ~in [sm1762[nm, is a
revolutionary opera because it ~exploits to the full the mus. and dramatic ~poss
ibilities of the lib. Gluck scrapped the [cf2]da capo[cf1] ~aria, which was a pr
imary cause of holding up ~the dramatic development of the plot, and in his ~pre
face to [cf2]Alceste[cf1] ([sm1767[nm) he wrote of reducing ~[PN
517,0,0,R,I0]mus. to its true function `which is that of ~seconding poetry in th
e expression of sentiments ~and dramatic situations of a story'. Although ~[cf2]
opera seria [cf1]was to reach its culmination with ~Mozart's [cf2]Idomeneo[cf1]
([sm1781[nm), Gluck's reforms effec~~tively killed it off, even if fashion still
 prevented ~him from carrying out his theories fully.[ep~^[fy45,1]*[fy75,1]Haydn
's operas, mostly written for Esterh;aaaza, ~are rich in mus. content but were e
clipsed by the ~works of genius with which [fy45,1]*[fy75,1]Mozart ended the ~[s
m18[nmth cent., operas which brought the orch. into ~the forefront of the art, g
iving it a whole new ~dimension. Moreover they were works which ~defied classifi
cation under the old headings of ~[cf2]opera seria [cf1]and [cf2]opera buffa[cf1
]. After [cf2]Don Giovanni[cf1] ~almost anything was possible.[ep~^The beginning
 of the [sm19[nmth cent. was given a ~post-Mozartian sparkle by the brilliance,
wit, and ~zest of [fy45,1]*[fy75,1]Rossini's comic operas, and a
 generation ~of remarkable singers was served by Rossini, ~[fy45,1]*[fy75,1]Bell
ini, and [fy45,1]*[fy75,1]Donizetti. In Ger. the romantic ~movement, with its in
terest in folklore and ~fantasy, found an operatic spokesman in [fy45,1]*[fy75,1
]Weber, ~whose [cf2]Der Freisch;auutz, Oberon[cf1], and [cf2]Euryanthe ~[cf1]ope
ned the way for the colossal transformation ~wrought by [fy45,1]*[fy75,1]Wagner,
 who in his maturity ~dispensed with the established [fy45,1]*[fy75,1]numbers op
era ~and converted recit. and aria into a seamless, ~continuous, and symphonic w
eb of mus., with ~the orch. almost an extra character on the stage. ~He preferre
d the term `music drama' to `opera', ~wrote his own libs., and viewed opera as a
n ~amalgam of all the arts. In one sense his operas ~were a reaction against the
 spectacular `singers' ~operas' of [fy45,1]*[fy75,1]Meyerbeer which he had seen
in his ~Parisian youth. Meyerbeer was Ger., but it is with ~Paris that he is ass
oc., enjoying success while the ~much more talented [fy45,1]*[fy
75,1]Berlioz had little operatic ~success in his lifetime, though his [cf2]Les T
royens[cf1] is ~now recognized as a major masterpiece. The ~operas of Massenet,
Gounod, Bizet, and Saint-~Sa;auens dominated Fr. mus. in the latter half of the
~[sm19[nmth cent. But next to Wagner the outstanding ~figure was [fy45,1]*[fy75,
1]Verdi, also born in [sm1813[nm, who learned ~much from Donizetti and refined a
nd developed ~his art, keeping to a numbers-opera format, from ~[cf2]Oberto[cf1]
 of [sm1837[nm=n[sm8[nm to the magical [cf2]Falstaff[cf1] of [sm1889=n[fj~92[nm.
[ep~^Nationalist opera was principally an E. European ~development, beginning wi
th [fy45,1]*[fy75,1]Glinka's [cf2]A Life for ~the Tsar[cf1] in [sm1836[nm and co
ntinuing with [fy45,1]*[fy75,1]Mussorg~~sky's [cf2]Boris Godunov [cf1]and Borodi
n's [cf2]Prince Igor[cf1]. ~Tchaikovsky's operas, of which [cf2]Eugene Onegin [c
f1]is ~the best known, were not overtly nationalist, ~however. [fy45,1]*[fy75,1]
Smetana in Bohemia with [cf2]Dalibor[cf1] and ~[cf2]The Bartered
 Bride[cf1] est. a Cz. operatic tradition ~which reached its apogee in the first
 quarter of ~the [sm20[nmth cent. with the powerful, realistic, and ~orig. opera
s of [fy45,1]*[fy75,1]Jan;aaa;Akcek.[ep~^In Ger. the greatest post-Wagnerian fig
ure in ~opera was Richard [fy45,1]*[fy75,1]Strauss, whose first opera, ~[cf2]Gun
tram[cf1], was prod. [sm1894[nm and his last, [cf2]Capriccio[cf1], ~in [sm1942[n
m. He was continually trying to find new ~ways of reconciling words and mus., se
veral of ~his works having the advantage of fine libs. by ~the Austrian poet Hof
mannsthal. Other major ~operas from Ger. and Austria in the [sm20[nmth cent. ~we
re written by [fy45,1]*[fy75,1]Berg ([cf2]Wozzeck[cf1] and [cf2]Lulu[cf1]), ~Sch
oenberg, Pfitzner, Korngold, Einem, Orff, ~and Henze.[ep~^After Verdi in It. cam
e the [cf2]verismo[cf1] (reality) ~movement, in which operas, often but not ~nec
essarily in contemporary settings, strove to ~present the harsh realities of the
 situations with ~which they dealt. In many cases these derived
~from the realistic novels of Fr. literature in the ~late [sm19[nmth cent., e.g.
 Zola, but like all such ~categorizations, [cf2]verismo[cf1] is hard to define a
nd it ~could easily be said that Verdi's [cf2]La traviata[cf1] is ~[cf2]verismo[
cf1]. However, the term is generally applied ~to the works of [fy45,1]*[fy75,1]M
ascagni, [fy45,1]*[fy75,1]Leoncavallo, [fy45,1]*[fy75,1]Mon~~temezzi, [fy45,1]*[
fy75,1]Leoni, and, though he is a special case, ~to [fy45,1]*[fy75,1]Puccini, wh
ose operas achieved and have ~retained a wide popularity because of their mus. ~
and dramatic colour and immediate appeal. [cf2]La ~Boh;ageme[cf1] in particular
is among the most frequently ~perf. of all operas, with[cf2] Madama Butterfly[cf
1] running ~it close.[ep~^Opera in Eng. was for many years mainly an ~imported c
ommodity. Only [fy45,1]*[fy75,1]Purcell's short [cf2]Dido ~and Aeneas[cf1] ([sm1
689[nm) and the ballad-opera [cf2]The ~[fy45,1]*[fy75,2]Beggar's Opera[cf1] ([sm
1728[nm) were of any quality among ~native products, although Ba
lfe's [cf2]The Bohemian ~Girl [cf1]([sm1843[nm) achieved popularity. [fy45,1]*[f
y75,1]Sullivan wrote ~a grand opera ([cf2]Ivanhoe[cf1]) but won immortality ~thr
ough the light operas written in collab. with ~Gilbert in which his flair for pa
rody and pastiche ~could be exploited to the full. [fy45,1]*[fy75,1]Vaughan Will
iams ~comp. [sm5[nm operas which have excellent mus. ~qualities but are still he
ld to be dramatically ~weak. [fy45,1]*[fy75,1]Britten, with [cf2]Peter Grimes[cf
1] in [sm1945[nm, showed ~that Eng. had at last produced a natural operatic ~com
poser, as was shown by the eagerness with ~which these works were also staged ab
road. He ~wrote several operas which needed only a ~chamber orch. and also devel
oped a genre which ~he called `church parables'. These are midway ~between opera
 and medieval morality play. The ~example of Britten was followed by Tippett, ~B
ennett, Walton, Maxwell Davies, Oliver, Tave~~ner, and many others.[ep~^In the U
SA, native opera took even longer than ~in Brit. to find its fee
t. [fy45,1]*[fy75,1]Gershwin's [cf2]Porgy and Bess[cf1] ~has a claim to be the f
irst successful Amer. opera. ~Operas by the It.-born [fy45,1]*[fy75,1]Menotti an
d by [fy45,1]*[fy75,1]Barber ~followed the European tradition, and qualities of
~exuberance, raciness, and wit which the Ameri~~cans bring to mus. have been cha
nnelled most ~effectively into the genre of `musical' such as ~[cf2]Oklahoma![cf
1] and [cf2]Kiss Me Kate[cf1].[ep~^Some great composers have written only one ~o
pera, the supreme examples being [fy45,1]*[fy75,1]Beethoven, ~whose [cf2]Fidelio
[cf1] is regarded by many as the greatest ~of all operas, and [fy45,1]*[fy75,1]D
ebussy[cf1] ([cf2]Pell;aaeas et M;aaelisande[cf1]), ~while others have written n
one, e.g. Brahms, ~Bruckner, Elgar, Mahler, Ives, and Rubbra. Yet ~[PN518,0,0,L,
I0]opera remains for most composers the greatest ~and most attractive challenge.
 With the develop~~ment of mechanical and elec. techniques and the ~advance of t
he stage producer to an importance ~comparable with that of the
cond., the staging of ~operas has grown more exciting and controversial, ~and ha
s been exploited in the works of Henze, ~Maxwell Davies, [fy45,1]*[fy75,1]Ginast
era, and others. It has ~also become more expensive. Finance was a ~contributory
 cause of Britten's development of ~chamber operas, and has also led to the emer
gence ~of [fy45,1]*[fy75,1]music theatre, a genre in which works of ~quasi-opera
tic character, sometimes involving ~only one singer or reciter, can be perf. eit
her with ~a minimum of stage trappings (costumes, etc.) or ~with none at all but
 purely as a concert ~performance. A remarkable example of mus. ~theatre at its
best is Maxwell Davies's [sm8[nm [fy45,1]*[fy75,2]Songs for ~a Mad King[cf1]. Ye
t even here it can be argued that ~[sm20[nmth-cent. mus. theatre is merely a rev
ersion to ~Monteverdi's [cf2]Il combattimento di Tancredi e Clor~~inda.[cf1][ep~
^The term opera not only covers the form of ~mus. composition but the whole busi
ness of ~performing opera. Thus it embraces the famous ~opera ho
uses and cos. of It. in Milan, Rome, ~Naples, and Venice, of other parts of Euro
pe in ~Vienna, Salzburg, Berlin, Dresden, Frankfurt, ~Munich, Bayreuth, and Pari
s, of Russia in Moscow ~and Leningrad, in the USA in NY and Chicago, ~and in Eng
. in London. Two prin. cos. work in ~London, the Royal Opera at CG, and ENO at t
he ~Coliseum. Outside London there is the summer ~fest. at [fy45,1]*[fy75,1]Glyn
debourne, Sussex, but opera is ~provided on almost an all-the-year-round basis b
y ~the regional cos., Scottish Opera (based in ~Glasgow), WNO (Cardiff) and Oper
a North ~(Leeds). These cos. also tour. There are also many ~other cos., e.g. Ke
nt Opera, which provide ~excellent perfs. and reflect the immense develop~~ment
of operatic life in Britain since [sm1945[nm. All ~these activities, except Glyn
debourne, are heavily ~subsidized. Commercial sponsorship of opera has ~become a
 valuable and necessary contribution to ~its continuance.[cm~Op;aaera-ballet.[fy
75,1] Stage work, especially assoc. with ~Campra and Rameau in F
r. in the late [sm17[nmth and ~early [sm18[nmth cents., in which equal or nearly
 equal ~importance is given to singing and dancing.[cm~Opera buffa[fy75,1] (It.;
 Fr. [cf2]Op;Aaera bouffe[cf1]). Comic opera, ~the opposite of [fy45,1]*[fy75,2]
opera seria[cf1]. Began as use of a ~comic subject involving characters drawn fr
om ~everyday life. Examples are Mozart's [cf2]Le nozze di ~Figaro[cf1], Rossini'
s [cf2]Il barbiere di Siviglia[cf1], and Donizet~~ti's [cf2]Don Pasquale[cf1].[c
m~Op;aaera comique[fy75,1] (Fr.). Comic opera. By no means ~the Fr. equivalent o
f [cf2]opera buffa[cf1], and it has ~changed its meaning several times. It now m
eans ~opera in which there is spoken dialogue, but the ~subject-matter ought to
be light-hearted and ~treated thus. Beethoven's [cf2]Fidelio[cf1] and Bizet's ~[
cf2]Carmen[cf1] are technically [cf2]op;aaeras comiques[cf1] but cannot ~be clas
sified as such.[cm~Op;aaera-Comique, Paris[fy75,1]. The [sm2[nmnd opera house of
 ~Paris, orig. housing Fr. mus. works with spoken ~dialogue. It
has had a chequered history: opened ~[sm1715[nm, closed [sm1745[nm, reopened [sm
1752[nm. Moved to the ~rue Favart [sm1782[nm (still sometimes being known as ~th
e [fy45,1]*[fy75,1]Salle Favart). Closed [sm1801[nm, amalgamated ~with a rival c
o. Works by M;aaehul, Bo;auieldieu, and ~Auber were produced there in the first
half of the ~[sm19[nmth cent. as well as Donizetti's [cf2]La Fille du r;aaegimen
t[cf1] ~([sm1840[nm). Later, Offenbach's [cf2]Tales of Hoffmann[cf1] and ~Delibe
s's [cf2]Lakm;aae[cf1] had their f.ps. there. The building ~was burned down in [
sm1887[nm, the co. finding haven ~elsewhere until [sm1898[nm when the present th
. opened. ~Debussy's [cf2]Pell;aaeas et M;aaelisande[cf1] was given its f.p. in
~the new th. in [sm1902[nm. In [sm1959[nm administration of ~the Op;aaera-Comiqu
e and the Paris Op;aaera was ~merged under A. M. Julien, succeeded [sm1962[nm by
 ~[fy45,1]*[fy75,1]Auric, [sm1969[nm=n[sm71[nm by Nicoly. The th. closed in ~[sm
1972[nm and reopened [sm1973[nm as [cf2]Op;aaera Studio de Paris
[cf1] ~under dir. of L. Erlo. Op;Aaera Studio moved to ~Lyons [sm1976[nm, and Op
;Aaera-Comique, dir. by R. ~Liebermann, opened with old name of Salle ~Favart.[c
m~Opera North. [fy75,1]Opera company based in Leeds, ~Yorkshire, formed in [sm19
78[nm as northern arm of ~English National Opera at the London Coliseum. ~F.p. N
ovember [sm1978[nm, Grand Th., Leeds, Saint-~Sa;auens's [cf2]Samson et Dalila[cf
1]. Mus. dir. David Lloyd-~Jones. As financial independence grew, co. altered ~n
ame from English National Opera North to ~Opera North in [sm1981[nm. Gives regul
ar seasons in ~Manchester, York, Nottingham, etc. Commis~~sioned Wilfred Josephs
's [cf2]Rebecca[cf1] [sm1983[nm. Gave f. ~Eng. p. of K;akrenek's [fy45,1]*[fy75,
2]Jonny spielt auf[cf1], [sm1984[nm.[cm~Opera-Oratorio.[fy75,1] Term used by Str
avinsky to ~describe his [fy45,1]*[fy75,2]Oedipus Rex[cf1], which is designed to
 ~be presented on the stage but in the static manner ~of a concert perf. of an o
ratorio.[cm~Op;aaera, Paris.[fy75,1] See [cf2]Paris Op;aaera.[cm
~Opera Seria[fy75,1] (It.). Serious opera. In the [sm17[nmth and ~[sm18[nmth cen
ts., [cf2]opera seria [cf1]was the chief operatic ~genre, becoming very formal a
nd complex, with ~elaborate display arias. Mythological subjects were ~the norm,
 and most of these were written for ~various composers by the librettist [fy45,1
]*[fy75,1]Metastasio. ~The last and greatest examples of the form were ~Mozart's
 [cf2]Idomeneo[cf1] ([sm1781[nm) and [cf2]La clemenza di Tito ~[cf1]([sm1791[nm)
.[cm~Operetta[fy75,1] (It.; Fr. [cf2]op;aaerette[cf1]). Little opera. Strictly a
 ~play with ov., songs, entr'actes, and dances, but ~the term has become synonym
ous with `light ~opera', e.g. Offenbach's [cf2]La Belle H;aael;agene[cf1] and St
rauss's ~[cf2]Die Fledermaus[cf1], and `musical comedy', e.g. Cow~~ard's [cf2]Bi
tter-Sweet.[cf1][cm~Opernball, Der[fy75,1] (The Opera Ball). Operetta in [sm3[nm
 ~acts by [fy45,1]*[fy75,1]Heuberger to lib. by L;aaeon and Waldeberg ~after the
 farce [cf2]Les Dominos roses[cf1] by Delacour and ~[PN519,0,0,R
,I0]Henniquin. Prod. Vienna [sm1898[nm, NY [sm1909[nm. Con~~tains the song [cf2]
Une Chambre s;aaepar;aaee.[cm~Oper und Drama[fy75,1] (Ger.). Opera and Drama. Lo
ng ~essay by [fy45,1]*[fy75,1]Wagner, written in Z;auurich [sm1850[nm=n[sm1[nm,
in ~which he expounded his theories on mus. drama, ~speech-origins, etc.[cm~Ophi
cleide.[fy75,1] ([sm1[nm)^Obsolete keyed brass instr. of ~conical bore and playe
d with cup mouthpiece. ~Was a development of the [fy45,1]*[fy75,1]serpent and ex
isted ~in alto, bass, and double-bass sizes, but only the ~bass was much used. W
as used in military bands ~and is also incl. in early scores of Mendelssohn, ~Be
rlioz, Verdi, and Wagner. Superseded by the ~bass tuba.[ep~^([sm2[nm)^Org. stop
like [fy45,1]*[fy75,2]Tuba.[cm~Op. Posth.[fy75,1] Posthumous work, i.e. work pub
d. ~after composer's death. See [cf2]Opus.[cf1][cm~Opus[fy75,1] (Lat.). Work. Wo
rd used, followed by a ~number, e.g. Opus [sm50[nm, for the numbering of a ~comp
oser's works. This numbering gives a rough ~idea of the order in
 which works were comp., but ~can be misleading. Sometimes the Opus no. is ~allo
tted by the composer, sometimes by the ~publisher. Some composers, e.g. Mozart,
Haydn, ~did not number their works; some, e.g. Elgar, ~gave some works Opus nos.
 and not others; some, ~e.g. R. Strauss, did likewise but also reallotted ~Opus
nos. so that much confusion arises in his ~case. Dvo;Akr;aaak allowed early work
s to be given late ~Opus nos. by his publisher. In many cases an ~Opus no. cover
s a group of works, in which case ~the numbering is subdivided, e.g. Op. [sm59[n
m, No. [sm3[nm, ~or in a style often used, Op. [sm59[nm/[sm3[nm. In other cases,
 ~[sm2[nm versions of the same work exist and the ~composer uses letters after t
he number to ~differentiate them, e.g. Op. [sm49[nma, Op. [sm49[nmb. ~Although t
he Latin plural of Opus is Opera, it ~has become customary to write `opuses', to
 avoid ~confusion, just as in Italian `opera' has become a ~singular noun with t
he plural [cf2]opere[cf2].[cm~Oracolo, L'[fy75,1] (The Oracle).
Opera in [sm1[nm act by F. ~[fy45,1]*[fy75,1]Leoni to lib. by C. Zanoni from a s
tory `The Cat ~and the Cherub' by C. B. Fernald. Prod. CG [sm1905[nm, ~NY Met. [
sm1915[nm.[xm[cm~[ol0][ep~[xp[te~










[do27][j99]~~~~~~[sm153842[nm_O[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmO[sm003[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm5[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm120[nm[cm~Collier[cm7[cm10.4.85[cm~3[cm~~~~[ap[j1]Oration
.[fy75,1] `Concerto elegiaco' for vc. and orch. by ~Frank [fy45,1]*[fy75,1]Bridg
e, comp. [sm1930[nm.[cm~Oratorio.[fy75,1] ([sm1[nm) Strictly, a mus. setting of
a religious ~lib. for solo singers, ch., and orch., in dramatic ~form but usuall
y perf. without scenery or ~costumes in concert-hall or church. The form ~origin
ated in plays given in the Oratory of S. ~Philip Neri, Rome, in the mid-[sm16[nm
th cent., the ~mus. form developing [cf2]c[cf1].[sm1600[nm. The first oratorio ~
was Cavalieri's [cf2]La rappresentazione di anima e di ~corpo[cf1] (The Represen
tation of Soul and Body), a ~[fy45,1]*[fy75,1]morality set to music and perf. in
 costume. Later ~oratorios, in concert-form, were written by ~[fy45,1]*[fy75,1]C
arissimi, A. [fy45,1]*[fy75,1]Scarlatti, [fy45,1]*[fy75,1]Sch;au
utz, [fy45,1]*[fy75,1]Handel (esp. ~[fy45,1]*[fy75,2]Messiah[cf1], the most popu
lar of all oratorios), ~[fy45,1]*[fy75,1]Haydn, [fy45,1]*[fy75,1]Spohr, [fy45,1]
*[fy75,1]Beethoven, and [fy45,1]*[fy75,1]Mendelssohn ~([fy45,1]*[fy75,2]Elijah[c
f1]). Elgar wrote [sm3[nm oratorios (but [cf2]The Dream ~of Gerontius[cf1] is no
t an oratorio).[ep~^([sm2[nm) The term is also applied to works similar to ~thes
e cited above but on a non-religious subject, e.g. Handel's [cf2]Semele[cf1], [f
y45,1]*[fy75,1]Tippett's ~A [fy45,1]*[fy75,2]Child of our Time[cf1]. Stravinsky'
s [cf2]Oedipus Rex[cf1] is described as ~an [fy45,1]*[fy75,1]opera-oratorio.[cm~
Orb and Sceptre.[fy75,1] Coronation march by [fy45,1]*[fy75,1]Walton, ~comp. for
 coronation of Elizabeth II, [sm1953[nm and ~f.p. in Westminster Abbey, cond. Bo
ult, [sm2[nm June ~[sm1953[nm.[cm~Orch;aaesographie.[fy75,1] Treatise on dancing
 by Thoinot ~[fy45,1]*[fy75,1]Arbeau, written in Fr. and pubd. [sm1588[nm=n[sm9[
nm. ~Important source of information on ancient ~dances and thei
r tunes. They are described in a ~dialogue with his pupil Capriol, hence the tit
le ~[cf2]Capriol Suite[cf1] for [fy45,1]*[fy75,1]Warlock's work based on several
 ~of the dance tunes.[cm~Orchestra[fy75,1] (Fr. [cf2]orchestre[cf1], Ger. [cf2]O
rchester[cf1]). A mixed ~body of instrumentalists for the perf. of sym~~phonic a
nd other works. There are various types ~of orch., e.g. symphony orchestra, a bo
dy of ~(usually) over [sm90[nm players able to play elaborate ~works; chamber or
chestra, small version of above ~(from, say, [sm15[nm to [sm45[nm players); stri
ng orchestra, ~strings only; theatre orchestra, medium-size orch. ~used for musi
cals, etc., and often incl. saxs.[ep~^The orch. has changed and developed over t
he ~centuries, the standard version today comprising ~str., woodwind, brass, and
 perc. In the [sm17[nmth cent. ~the orch. was a haphazard affair, often incl. vi
ols, ~fls., obs., cornetts, tbs., drums, and hpd. In the ~[sm18[nmth cent., with
 instr. improvements, vns. ousted ~viols. Accs. were realized by
 the harpsichordist or ~org. from a figured bass. From [cf2]c[cf1].[sm1800[nm, t
he orch. ~became more elaborate and composers more ~skilled in its use, obtainin
g tone-colour by subtle ~combinations and by solo passages. In Beethoven's ~[sm1
[nmst Sym. ([sm1800[nm) the orch. consisted of: Vns., div. ~into [sm1[nmst and [
sm2[nmnd sections, vas., vcs., dbs., fls., obs., ~cls., bns., tpts., hns., timp.
 Later composers added ~the harp and Berlioz enlarged the woodwind, ~brass, and
perc. departments, as did Wagner and ~Liszt. Towards the end of the [sm19[nmth a
nd in the ~[sm20[nmth cents., composers enlarged the orch. enorm~~[chously, and
we have the marvellously rich, exotic, ~and grandiose orch. works of Strauss, Ma
hler, ~Elgar, Havergal Brian, Ravel, Stravinsky, and ~many more. Huge brass sect
ions are often a ~feature of their scores, with triple or quadruple ~woodwind (i
.e. [sm3[nm or [sm4[nm of each instr.). Later in the ~[sm20[nmth cent. even more
 variety in orch. use is ~encountered, with reversions to small
combina~~tions of instr., works scored for solo instr. and ~wind or brass instr.
 only, exotic perc. effects, and ~of course the addition of elec. instr., tape-r
ecorded ~and synthesized effects.[ep~^The lay-out of the standard sym. orch. is
~normally as shown in the accompanying diagram, ~but certain works call for spec
ial seating arrange~~[PN520,0,0,L,I0]ments and some conds. have individual prefe
r~~ences.[ln1][cm~Orchestral Employers' Association.[fy75,1] British ~advisory a
nd consultative committee of which ~the members are the managers of the prin. ~L
ondon and provincial sym. and opera orchs. ~Acts as advisory and consultative bo
dy on matters ~of common interest and represents its members ~in negotiations wi
th Musicians' Union on pay ~and conditions, and in representations to the ~Govt.
 Works in assoc. with [fy45,1]*[fy75,1]Arts Council.[cm~Orchestral oboe.[fy75,1]
 Org. stop.[cm~Orchestral Pieces, Five[fy75,1] ([cf2]F;auunf Orchesterst;auucke[
cf1]). ~Work for large orch. by Schoenberg, Op. [sm16[nm, ~comp.
 June=nAug. [sm1909[nm, rev. [sm1922[nm and [sm1949[nm ~(reduced to normal-sized
 orch.). F.p. Berlin (Nos. ~[sm1[nm, [sm2[nm, and [sm4[nm), Jan. [sm1912[nm, con
d. Schoenberg; f. ~complete p. London [sm1912[nm, cond. Wood (also ~cond. Schoen
berg in London [sm1914[nm). Arr. for ~chamber orch. [sm1925[nm by Felix Greissle
 and for [sm2[nm ~pf. by Webern.[cm~Orchestral Set.[fy75,1] Name of [sm2[nm orch
. works by [fy45,1]*[fy75,1]Ives. ~No. [sm1[nm is usually known as [fy45,1]*[fy7
5,2]Three Places in New ~England[cf1], [sm1908[nm=n[sm14[nm; No. [sm2[nm, comp.
[sm1909[nm=n[sm15[nm, has [sm3[nm ~movements: [sm1[nm. [cf2]An Elegy to our Fore
fathers[cf1]; [sm2[nm. [cf2]The ~Rockstrewn Hills Join in the People's Outdoor M
eeting[cf1]; ~[sm3[nm. [cf2]From Hanover Square North at the end of a Tragic ~Da
y ([sm1915[nm), the Voice of the People again Rose[cf1].[cm~Orchestration.[fy75,
1] ([sm1[nm) The art of scoring mus. for an ~orch. or band. Many composers show
special skill ~in this, e.g. Haydn, Mozart, and Beethoven, while
 ~Berlioz, Wagner, Mahler, Elgar, Strauss, Ravel, ~Rimsky-Korsakov, and Britten
are all masters of ~the art.[ep~^([sm2[nm) Arr. of a work for orch. which was co
mp. for ~another medium, e.g. Ravel's orchestration of his ~own [cf2]Ma M;agere
l'Oye[cf1], written for pf. duet.[cm~Orchestre de la Soci;aaet;aae des Concerts
du ~Conservatoire. [fy75,1]Fr. symphony orch. inaugurated ~by [fy45,1]*[fy75,1]H
abeneck on [sm5[nm Feb. [sm1828[nm, with Beethoven's ~[cf2]Eroica[cf1] Symphony,
 and comprising over [sm80[nm past ~and present students of the Conservatoire. H
abe~~neck was succeeded by Girard ([sm1849[nm), Tilmant ~([sm1861[nm), and Hainl
 ([sm1864[nm). Towards the end of the ~century Messager was cond. and after [sm1
945[nm ~Munch and Cluytens were associated with it. ~Disbanded [sm1967[nm and su
cceeded by the Orchestre ~de [fy45,1]*[fy75,1]Paris.[xm[cm~[j1]Orchestre de la S
uisse Romande.[fy75,1] Orch. based ~on Geneva founded [sm1918[nm by Ernest [fy45
,1]*[fy75,1]Ansermet, ~who was cond. until [sm1966[nm. His succe
ssors have ~been Paul [fy45,1]*[fy75,1]Kletzki [sm1967[nm=n[sm9[nm, Wolfgang [fy
45,1]*[fy75,1]Sawal~~lisch [sm1970[nm=n[sm80[nm, Horst [fy45,1]*[fy75,1]Stein [s
m1980[nm=n[sm5[nm, and Armin ~Jordan from [sm1985[nm.[cm~Ord, Boris[fy75,1] (Ber
nhard) ([cf2]b[cf1] Bristol, [sm1897[nm; [cf2]d[cf1] Cam~~bridge, [sm1961[nm). E
ng. organist, choirmaster, and ~composer. Studied RCM and Cambridge Univ. ~Organ
ist and choirmaster, King's Coll., Cam~~bridge, [sm1929[nm=n[sm57[nm, popularizi
ng through radio the ~famous Christmas Eve Fest. of Nine Lessons and ~Carols; le
cturer in mus., Cambridge Univ. [sm1936[nm=n~[sm58[nm; cond. Cambridge Univ. Mus
. Soc. [sm1938[nm=n[sm54[nm. ~[PN521,0,0,R,I0]Wrote one carol, [cf2]Adam lay y-b
ounden[cf1] ([sm1957[nm). ~C.B.E. [sm1958[nm.[cm~Ordinario[fy75,1] (It.). Ordina
ry, normal, e.g. [cf2]tempo ~ordinario[cf1].[cm~Ordre[fy75,1] (Fr.). Term synony
mous with [fy45,1]*[fy75,1]suite used ~by [fy45,1]*[fy75,1]Couperin and his cont
emporaries.[cm~Orel, Alfred[fy75,1] ([cf2]b[cf1] Vienna, [sm1889
[nm; [cf2]d[cf1] Vienna, [sm1967[nm). ~Austrian musicologist. Librarian, music d
iv., ~Austrian Nat. Library [sm1918[nm=n[sm40[nm and of Vienna ~Univ. musicologi
cal institute. Worked with R. ~[fy45,1]*[fy75,1]Haas from [sm1934[nm on collecte
d works of Bruckner. ~Wrote books on Beethoven, Bruckner, Mozart, ~Schubert, Wol
f, and Brahms, and ed. coll. of ~Bruckner's letters and other documentary source
s.[cm~Orfeo ed Euridice[fy75,1] (Orpheus and Eurydice). ~Opera ([cf2]azione teat
rale per musica[cf1]=mtheatrical action ~for mus.) in [sm3[nm acts by Gluck to l
ib. by Calzabigi ~based on mythological legend. Prod. Vienna ~[sm1762[nm, London
 [sm1770[nm, NY [sm1863[nm. Title-role sung at ~f.p. in Vienna by alto castrato
Gaetano [fy45,1]*[fy75,1]Guadagni. ~For Parma prod. [sm1769[nm, male sop. sang r
ole. Fr. ~version, [cf2]Orph;aaee[cf1], to trans. by Moline with title-~role tra
nsposed for high ten. prod. Paris [sm1774[nm. ~(Some mus. from ballet [cf2]Don J
uan[cf1] recurs, and ~other new mus. was added.) Orfeo is now ~g
enerally sung by mez. but sometimes by bar. ~Ed. by Berlioz prod. Paris [sm1859[
nm (with Viardot as ~Orpheus). See also [fy45,1]*[fy75,2]Favola d'Orfeo[cf1] (Mo
nteverdi) ~and [fy45,1]*[fy75,2]Orpheus[cf1]. Many composers have written ~works
 on the Orpheus legend.[cm~Orff, Carl[fy75,1] ([cf2]b[cf1] Munich, [sm1895[nm; [
cf2]d[cf1] Munich, [sm1982[nm). ~Ger. composer, teacher, and cond. Studied Mu-[f
j~nich Acad., leaving to join army [sm1914[nm. Worked[fj~in opera houses and ret
urned to Munich [sm1920[nm for ~further study with Kaminsky. In [sm1924[nm found
ed ~the G;auunther School, Munich, where his life-long ~interest in children's m
us. education began. ~About this time he made edns. of several operas ~by Montev
erdi, incl. [cf2]L'incoronazione di Poppea[cf1], ~comp. cantatas and an [cf2]Ent
rata[cf1] for orch. `after ~William Byrd'. In [sm1937[nm, when his [cf2]Carmina
Burana[cf1] ~was f.p., he disowned all his previous works, ~though some were lat
er rev. and restored. From ~then he comp. exclusively for the st
age, though ~not conventionally ([cf2]Carmina Burana[cf1], for example, ~is usua
lly given in a concert version). His mature ~style is dry and staccato, with muc
h use of perc. ~and the content of the mus. based on rhythmic ~patterns and thei
r variations. Harmony is reduced ~to basic elements, and melody is nearer to ~rh
ythmic speech than to the `expressive' ideal of ~other composers. Prin. works:[x
m[cm~[j2][smstage[nm: [fy75,2]Trionfi=mTrittico Teatrale[cf1] (Triumphs=m~thea[c
htrical triptych): [sm1[nm. [fy45,1]*[fy75,2]Carmina Burana[cf1] (Songs ~of Beur
en), [cf2]cantiones profanae[cf1] ([sm1935[nm=n[sm6[nm); [sm2[nm. ~[fy45,1]*[fy7
5,1][cf2]Catulli Carmina[cf1] (Songs of Catullus), [cf2]ludi scaenici[cf1] ~([sm
1943[nm); [sm3[nm. [fy45,1]*[fy75,2]Trionfo di Afrodite[cf1] (Triumph of ~Aphrod
ite), [cf2]concerto scenico[cf1] ([sm1950[nm=n[sm1[nm). [cf2]Der [fy45,1]*[fy75,
2]Mond[cf1] ~(The Moon), [cf2]ein Kleines Welttheater[cf1] ([sm1937=n8[nm, rev.
~[sm1945[nm); [cf2]Die [fy45,1]*[fy75,2]Kluge[cf1] (The Clever G
irl) ([sm1941[nm=n[sm2[nm); ~[cf2]Die [fy45,1]*[fy75,2]Bernauerin[cf1] ([sm1944[
nm=n[sm5[nm); [cf2]Astutuli[cf1] ([sm1945[nm=n[sm6[nm); ~[cf2]Antigonae[cf1] ([s
m1947[nm=n[sm8[nm); [cf2]Comoedia de Christi Resurrec~~tione[cf1], an Easter pla
y ([sm1955[nm); [cf2]Oedipus der Tyrann[cf1] ~([sm1957[nm=n[sm8[nm); [cf2]Ludus
de Nato Infante Mirificus[cf1], a ~Christmas play ([sm1960[nm); [cf2]Ein Sommern
achtstraum[cf1] ~(A [fy45,1]*[fy75,1]Midsummer Night's Dream), incidental ~mus.
for Shakespeare ([sm1939[nm, rev. [sm1944[nm (with~~drawn) and [sm1952[nm); [cf2
]Prometheus[cf1] ([sm1963[nm=n[sm7[nm); [cf2]De ~temporum fine comoedia[cf1] ([s
m1969[nm=n[sm71[nm).[ep~[smchorus and orch[nm: [cf2]Die S;auanger der Vorwelt[cf
1] (The ~Singer of Former Times) ([sm1955[nm); [cf2]N;auanie und ~Dithyrambe[cf1
] ([sm1956[nm); [cf2]Rota[cf1] ([sm1972[nm).[ep~[smeducational[nm: [cf2]Das Schu
lwerk, Musik f;auur Kinder[cf1], [sm5[nm ~vols. ([sm1930[nm=n[sm54[nm).[ep~[smar
rangements[nm: Monteverdi: [cf2]L'Incoronazione di ~Poppea [cf1]
([sm1925[nm, rev. [sm1940[nm); [cf2]Lamenti [cf1](triple bill, ~prod. Schwetzing
en [sm1958[nm, of [cf2]Lamento d'Arianna[cf1], ~[sm1925[nm, rev. [sm1940[nm, [cf
2]La Favola d'Orfeo[cf1], [sm1925[nm, rev. ~[sm1931[nm, [sm1940[nm, [cf2]Il Ball
o delle Ingrate[cf1], [sm1925[nm, rev. [sm1940[nm).[fj[ol0][cm~[j1]Organ [fy75,1
](Ger. [cf2]Orgel[cf1]; Fr. [cf2]orgue[cf1]; It. [cf2]organo[cf1]). Kbd. ~instr.
 operated by air blown by a bellows through ~pipes to sound the notes. Often kno
wn as `the ~king of instruments' because of its normal large ~size, although it
is made in various sizes. The ~phrase was coined by [fy45,1]*[fy75,1]Machaut, wh
o was ~probably referring also to the organ's versatility.[ep~^The principles of
 construction, in primary ~outline, are:[ep~^([sm1[nm) A row of Pipes, graduated
 as to size (and ~hence as to pitch), is placed in a corresponding ~row of holes
 in a Windchest, which is fed by a ~Bellows.[ep~^Under each hole in the Windches
t is a Pallet, i.e. ~a type of hinged cover which can be opened
and ~closed.[ep~^The pallets are operated, in the older orgs., by a ~series of r
ods, called Stickers, and these are ~connected with the kbd. of the instr. by le
vers ~called Backfalls and rods called Trackers: thus on ~depressing a finger-ke
y a current of air is admitted ~to its particular pipe, and on releasing it the
~current of air is then cut off. In many modern ~organs, instead of the Sticker-
Backfall-Tracker ~action there are the tubes of a [cf2]Pneumatic Action [cf1]or
~the wires of an [cf2]Electric Action[cf1].[ep~^What has been described is a the
oretical org. of ~only one row of pipes. But in practice the ~Windchest has seve
ral such rows, the pipes being ~some of wood and some of metal, some of normal ~
pitch and some of a pitch an octave below or ~above that pitch, etc., some being
 simple (`flue') ~pipes and others supplied with a vibrating tongue ~of metal ca
lled a Reed, and so on. The Pallets ~extend, [cf2]from front to back[cf1], under
 each of these ~rows, so admitting air to, or excluding it from,
 ~the pipes related to one finger-key of the organ, ~whilst [cf2]from side to si
de [cf1]of the Windchest, under ~each row of pipes, runs a board with holes in i
t, ~called a Slider; when slid into one position the ~holes in this board coinci
de with those under the ~pipes and so permit the pallets to operate as ~regards
that row; when slid into another position ~[PN522,0,0,L,I0]they no longer coinci
de, and so cut off the ~operation of the pallets in admitting air. The ~sliding
is accomplished [ch(mechanically, pneumat~~ically, or electrically) by connexion
 with handles ~or other devices; these are the Drawstops, Stop-~Keys, etc., resp
ectively, each of which operates ~one row of pipes=mcalled a Register or Stop (w
e ~speak of an organ of `[sm20[nm stops', of `[sm100[nm stops', etc.).[ep~^A kbd
. operated by the hands is called a Manual ~and one operated by the feet, a Peda
l-Board. All ~orgs. nowadays possess both types of kbd. When ~an instr. contains
 any considerable number of ~stops, differentiation in their use
 is made easier ~by their being distributed over [sm2[nm, [sm3[nm, or [sm4[nm ma
nuals ~(occasionally more). These are banked up stepwise ~before the player. The
 chief manual is that of the ~Great Organ, which contains a variety of stops, ~i
ncl. especially many of robust tone. Above it is ~that of the Swell Organ, the p
ipes belonging to ~which are enclosed in a Swell Box=mwith Venetian ~shutters wh
ich by means of a Swell Pedal can be ~opened or closed, so increasing or diminis
hing ~the volume of tone. Below the Great Organ ~manual, in a [sm3[nm-manual org
an, is that of the Choir ~Organ which contains softer stops, intended ~originall
y in a church, chiefly for the acc. of the ~choral body. If there is a [sm4[nmth
 manual (above the ~Swell manual) it is that of the Solo Organ (with ~special st
ops of the character indicated by that ~name), and there may also be an Echo Org
an, ~with very soft stops.[ep~^([sm2[nm) The two varieties of stop are respectiv
ely ~called Flue Pipes and Reed pipes. Both are ~graduated in si
ze, the larger producing the lowest ~notes and the smaller the highest. The norm
al ~pitch of an organ (the same, properly, as that of a ~pf.) is the product of
any set of open-ended flue ~pipes of which the largest (representing C two ~line
s below the bass staff=+=+) is [sm8[nm;po long, the length of ~the remaining pip
es of the set diminishing by ~half as each octave is ascended. The tone from the
 ~stops with these pipes of normal size can be ~reinforced by that from others o
f abnormal size, ~with their pipe for low C [sm4[nm;po or [sm2[nm;po long (so th
at the ~whole stop concerned gives an effect respectively ~[sm1[nm or [sm2[nm oc
taves higher than the normal) or, on the ~other hand, [sm16[nm;po or even [sm32[
nm;po long (so that the stop ~concerned gives an effect respectively [sm1[nm or
[sm2[nm ~octaves lower than normal). There are also stops ~of other lengths whic
h give intermediate pitches ~reinforcing some of the natural harmonics of the ~n
ormally pitched stops: these are called Mutation ~Stops or, if s
everal rows (Ranks) of them are ~operated in chorus as though they made one, ~[f
y45,1]*[fy75,2]Mixture stops. [cf1]The chief stops on the Pedal Organ ~are pitch
ed an octave below those of the manuals ~(i.e. whereas the chief stops of the ma
nuals are [sm8[nm;po ~stops, those of the Pedal are [sm16[nm;po stops).[ep~^Besi
des `open-ended flue pipes' there are flue ~pipes which have a stopper at the to
p (`End-~plugged' is a term used in various entries in this ~dictionary), which
lowers their pitch by an octave. ~The chief manual stop of the organ is the [sm8
[nm;po [fy45,1]*[fy75,2]Open ~Diapason[cf1]: but there is generally also a [cf2]
Stopped ~Diapason[cf1], also, from its pitch, spoken of as an [sm8[nm;po ~stop a
lthough, in actual physical length, [sm4[nm;po. (These ~stops are also to be fou
nd in the pedal department.)[ep~^By a system of [fy45,1]*[fy75,1]Couplers the Pe
dal organ can ~have one or more of the manuals connected with ~it. Some of the o
rgan's stops are imitative of other ~instrs. such as the Flute,
the Orchestral Oboe, ~Clarinet, and Trumpet (the last [sm3[nm being Reed ~Stops)
, and the Gamba (a String-Toned stop, ~supposed to reproduce the tone of the old
 viola ~da gamba). Stops presumably intended to be ~imitative are the Vox Humana
 (a reed stop) and ~the Vox Angelica or [cf2]Voix c;aaeleste [cf1](with [sm2[nm
flue pipes ~to each note slightly out of tune with each other, ~so producing a s
omewhat mysterious effect=mor, ~if only one, by the drawstop simultaneously ~bri
nging into action some normally tuned soft ~stop). The Tremulant is not a stop,
though ~operated by the player by similar means: it causes ~a slight fluctuation
 of the tone.[cm~_History[fy75,1]: the org. is the oldest kbd. instr. The ~first
 was built by Ktesibios, a Gr. engineer living ~in Alexandria, in the [sm3[nmrd
cent. [smbc[nm. This was called ~the [fy45,1]*[fy75,1]hydraulis, and wind pressu
re was stabilized ~by the use of water. During the [sm4[nmth cent. [smad[nm ~bel
lows replaced the hydraulic mechanism (cre~~ating the pneumatic
org.), and thereby increasing ~the vol. of sound. In the medieval org., pipes we
re ~of the `flute' type (voiced with a lip, like the ~recorder); instead of the
hydraulis kbd. (levers, ~each with a return mechanism, which were ~depressed by
fingers to play notes), there was a ~series of tongues or sliders which were pul
led or ~pushed manually; [sm2[nm players were often required, ~seated at the sam
e manual; pipes sometimes ~outnumbered sliders by [sm10[nm to [sm1[nm and each n
ote ~was prod. by a simultaneous `mixture' of different ~pipes, producing a vari
ety of timbre and pitch=m~there were unisons (basic pitch), octaves (octave ~hig
her), and quints ([sm1[nm or more octaves plus a [sm5[nmth ~higher).[ep~ ^During
 the [sm13[nmth and [sm14[nmth cents. the fashion for ~building very large instr
s. was succeeded by a ~trend to smaller varieties, with the clumsy slider ~movem
ent being replaced by the more flexible ~and sensitive kbd. One of the most popu
lar types ~of org. from the [sm13[nmth to the [sm16[nmth cent. w
as the ~portative org. (organetto), so called because it ~could be carried. Ther
e were usually [sm2[nm rows of ~pipes giving a range of up to [sm2[nm octaves. T
he player ~provided his own air supply, using the right hand ~for the kbd. and t
he left for the bellows. The ~portative org. was monophonic, suited to playing ~
a solo dance-tune. The `great' church org. gained ~additional kbds. to offer var
iety of tone, that at ~Halberstadt, Ger., built in [sm1361[nm, having [sm3[nm ma
nuals ~and a pedal kbd. It had [sm20[nm bellows worked by [sm10[nm ~men. When th
e wind pressure was strong, the ~player had to use the full power of his arm to
~hold down a key. Between the cath. and the ~portative orgs. in size was the pos
itive, which ~[PN523,0,0,R,I0]could be used in church and for chamber mus. It ~r
equired [sm2[nm or [sm3[nm sets of bellows and someone else ~to operate them so
that the player could use both ~hands on the kbd. Though not portable, the ~posi
tive could be easily moved, smaller versions ~often standing on
a table. In Eng. it became ~known as the `chair' org., corrupted into `choir' ~o
rg.[ep~^At the close of the Middle Ages, several ~improvements occurred in const
ruction of large ~church orgs., making them less unwieldy. By the ~beginning of
the [sm16[nmth cent. the kbd. had been ~altered to make it as responsive as that
 of smaller ~orgs; registration for each kbd. could be controlled ~by stops whic
h worked in a similar way to the ~slider mechanism; in addition to open and ~sto
pped `flue' pipes, there were `reed' pipes ~employing a single vibrating tongue
and a ~resonator; stops were contrasted, many of them ~being designed to imitate
 instr., and couplers ~were used to join manual to manual or manual ~to pedals.
Further improvements were added over ~the course of the next century. Pedals wer
e not ~introduced into Eng. org.-building until nearly ~the end of the [sm18[nmt
h cent. In Paris, [sm1867[nm, electricity ~was first used to activate the key ac
tion. Since that ~time every kind of refinement has been intro~~
duced to make orgs. capable of a wider and ~subtler range of tone-colour. The el
ec. org. was ~introduced in [sm1935[nm. See also [cf2]Regal[cf1].[cm~Organistrum
.[fy75,1] The [fy45,1]*[fy75,1]Hurdy-Gurdy.[cm~Organ Solo Mass.[fy75,1] Mozart's
 Mass in C, K[sm259[nm ~([sm1776[nm). So named because there is an important ~or
g. solo in the Benedictus.[cm~Organum.[fy75,1] An early form of melodic harmoni~
~zation which flourished from [cf2]c[cf1].[sm900[nm to [sm1200[nm. In ~plainchan
t the melody was harmonized by ~addition of [sm1[nm, [sm2[nm, or [sm3[nm parts,
usually parallel.[cm~Orgelb;auuchlein[fy75,1] (Little Organ Book). Unfinished ~c
oll. of [sm46[nm short chorale preludes for org. by Bach ~([sm164[nm were intend
ed), written for instruction and ~for pedalling practice.[cm~Orgue de Barberie.
[fy75,1]Small mechanical organ ~played by turning a handle. At one time ~frequen
tly heard in Eng. streets.[cm~Orgue expressif[fy75,1] (Fr.). [fy45,1]*[fy75,1]Ha
rmonium.[cm~O'Riada, Se;aaan [fy75,1](Reidy, John) ([cf2]b[cf1]
Cork, [sm1931[nm; [cf2]d[cf1] ~London, [sm1971[nm). Irish composer. Studied Univ
. ~Coll., Cork, under Fleischmann [sm1948[nm=n[sm52[nm. Ass. ~mus. dir. Radio ;a
aEireann [sm1954[nm=n[sm5[nm, mus. dir. Abbey ~Th., Dublin, [sm1955[nm=n[sm62[nm
. Lect., Univ. Coll., Cork, ~[sm1963[nm=n[sm71[nm. Works incl. [sm2[nm ballets;
[cf2]The Banks of ~Sullane[cf1], sym. essay ([sm1956[nm); [cf2]Nomos No. [sm4[nm
[cf1], pf., orch. ~([sm1957[nm=n[sm8[nm); [cf2]Requiem for a Soldier[cf1], sop.,
 ten., bar., ch., ~org. ([sm1968[nm).[cm~Orlando.[fy75,1] Opera in [sm3[nm acts
by Handel to It. lib. by ~G. Bracciotti based on Ariosto's [sm16[nmth-cent. poem
 ~[cf2]Orlando furioso[cf1] (Mad Orlando). Prod. London ~[sm1733[nm.[cm~Orlando
Paladino.[fy75,1] Opera in [sm3[nm acts by Haydn to ~lib. by N. Porta based on v
ersion by P. Guglielmi ~([sm1771[nm) of Ariosto's [cf2]Orlando furioso[cf1]. Pro
d. Esterh;aaaza ~[sm1782[nm.[cm~Orloff, Vladimir[fy75,1] ([cf2]b[cf1] Odessa, [s
m1928[nm). Russ.-born ~cellist. Studied Bucharest Cons. Prof., V
ienna ~Acad. [sm1967[nm, Toronto Univ. from [sm1971[nm. D;aaebut, ~Bucharest [sm
1947[nm. First prize Bucharest Int. Com~~petition, [sm1947[nm, Warsaw Int. compe
tition [sm1955[nm.[cm~Ormandy, Eugene [fy75,1](Blau, Jen;auo) ([cf2]b[cf1] Budap
est, ~[sm1899[nm; [cf2]d[cf1] Philadelphia, [sm1985[nm). Hung.-born cond. (Amer.
 citizen since ~[sm1927[nm). Entered Budapest Royal Acad. of Mus. at ~[sm5[nm to
 study vn. as pupil of Hubay. Toured Europe ~as child prodigy until [sm1914[nm.
Head of master ~classes, Budapest Cons. [sm1919[nm. Went to USA [sm1920[nm, ~bec
oming leader and later cond. of orch. at Capitol ~cinema, NY. Cond. Minneapolis
S.O. [sm1931[nm=n[sm6[nm; ~Philadelphia Orch. [sm1936[nm=n[sm80[nm. Hon. K.B.E.
[sm1976[nm.[cm~Ornaments[fy75,1] (Fr. [cf2]agr;aaements[cf1]; It. [cf2]fioriture
[cf1]; Ger. ~[cf2]Verzierungen[cf1], [cf2]Manieren[cf1]). Embellishments and ~de
corations of a melody as expressed through ~small notes or special signs. Furthe
r detail will be ~found under [fy45,1]*[fy75,1]Acciaccatura, [fy
45,1]*[fy75,1]Appoggiatura, ~[fy45,1]*[fy75,1]Mordent, [fy45,1]*[fy75,1]Gruppett
o, and [fy45,1]*[fy75,1]Trill. In early vocal ~mus. and opera, embellishments we
re improvised ~by the singers, some of whom carried them to ~ridiculous lengths.
 In the [sm19[nmth and early [sm20[nmth ~cent. this improvised ornamentation bec
ame ~almost unknown (except in jazz), but since the ~[sm1950[nms it has been res
tored to some perf. of ~oratorios and operas, incl. (under Charles Mack~~erras)
the operas of Mozart.[cm~Ornstein, Leo[fy75,1] ([cf2]b[cf1] Kremenchug, [sm1892[
nm). Russ.-born ~composer and pianist (Amer. citizen). Given pf. ~lessons by fat
her, a cantor. Studied Imperial Cons., ~St Petersburg, [sm1900[nm=n[sm07[nm. Set
tled in USA [sm1907[nm, ~studying in NY, where he made d;aaebut [sm1911[nm. ~Bec
ame leading soloist in Amer. and Europe. ~Introduced pf. mus. of Schoenberg to U
SA. ~Retired from public perf. in [sm1935[nm to devote time ~to comp. Taught in
Philadelphia and founded ~Ornstein Sch. of Mus. (retiring [sm195
3[nm). His early ~works ([cf2]c[cf1].[sm1913[nm) were regarded as extremely ~dis
cordant and innovatory. Prin. comps. incl.: ~[cf2]Lysistrata Suite[cf1] for orch
. ([sm1930[nm), [cf2]Nocturne and ~Dance of the Fates[cf1], orch. ([sm1936[nm),
vn. sonata ([sm1917[nm), ~pf. conc. ([sm1923[nm), [cf2]Hebraic Fantasy[cf1], vn.
 and pf. ~([sm1929[nm), str. qt. ([sm1940[nm), vc. sonata ([sm1916[nm); and for
~pf.: [cf2]Wild Men's Dance[cf1] ([sm1912[nm), [cf2]Impressions of ~Chinatown[cf
1] ([sm1917[nm), [cf2]Poems of [sm1917[nm [cf1]([sm1919[nm), [sm20[nm [cf2]Waltz
es[cf1] ~([sm1955[nm=n[sm68[nm), [cf2]Tarantella[cf1] ([sm1958[nm), and [sm4[nm
sonatas.[cm~Orozco, Rafael[fy75,1] ([cf2]b[cf1] C;aaordoba, [sm1946[nm). Sp. pia
nist. ~Studied Cordoba, Madrid Cons., and Siena Acad. ~with [fy45,1]*[fy75,1]Wei
ssenberg. Won Leeds Int. pf. competi~~tion [sm1966[nm. Int. career.[xm[cm~[ls1][
bm2][cc27][ai18p6][ol0][ep~[em[cc13][lx[xp[u20]~[el4]~[te~

[do27][j99]~~~~~~[sm153842[nm_O[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmO[sm004[nm[cm[sm27[nm[cm~[sm1[nm[cm[sm5[nm/[sm10[nm/[s
m79[nm[cm[sm19[nm[cm[sm159[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Orphari
on.[fy75,1] Development of the [fy45,1]*[fy75,1]cittern very ~popular in Eng. in
 [sm16[nmth and [sm17[nmth cent. Had [sm15[nm ~frets and wire strings. Bridge wa
s fixed and the ~str. ran over a small metal saddle into the bridge ~[PN524,0,0,
L,I0]and were fastened to small metal pegs driven into ~lower side of bridge. Or
ig. had [sm6[nm courses but a ~[sm7[nmth was added [cf2]c[cf1].[sm1600[nm. Speci
fied as alternative to ~lute in several books of lute tablature.[cm~Orph;aaee au
x enfers[fy75,1] (Offenbach). See [cf2]Orpheus in ~the Underworld[cf1].[cm~Orphe
us.[fy75,1] ([sm1[nm) Symphonic poem by Liszt, comp. ~[sm1853[nm=n[sm4[nm as int
roduction to his Weimar prod. of ~Gluck's [fy45,1]*[fy75,2]Orfeo[cf1].[ep~_([sm2
[nm) Ballet in [sm3[nm scenes to mus. by Stravinsky, ~comp. [sm1
947[nm, choreog. Balanchine, prod. NY [sm1948[nm, ~Hamburg [sm1962[nm. Other ver
sions choreog. Cranko, ~Georgi, and others.[cm~Orpheus Britannicus.[fy75,1] The
`British Orpheus', i.e. ~Purcell. Title given to [sm2[nm posthumous vols. of ~Pu
rcell's vocal mus. pubd. by H. Playford ([sm1698[nm=n~[sm1702[nm), also to vol.
of his songs pubd. by J. Walsh ~([sm1735[nm). [fy45,1]*[fy75,1]Britten and Pears
 realized and ed. [sm18[nm of ~these solo songs for v. and pf. and [sm6[nm duets
 for ~high and low vv. and pf. They also made a Suite ~of Songs for high v. and
orch. and arr. [sm3[nm songs for ~high v. and orch.[cm~Orpheus in the Underworld
 [fy75,1]([cf2]Orph;aaee aux Enfers[cf1]). ~[cf2]Op;Aaera-f;Aaeerie[cf1] by Offe
nbach to lib. by Cr;aaemieux ~and Hal;aaevy. Comp. in [sm2[nm acts [sm1858[nm, r
ev. in [sm4[nm-act ~version [sm1874[nm. Prod. Paris ([sm2[nm-act version) [sm185
8[nm; NY ~[sm1861[nm; London [sm1865[nm (adapted by Planch;Aae as ~[cf2]Orpheus
in the Haymarket[cf1]).[cm~Orr, Charles [fy75,1](Wilfred) ([cf2]
b[cf1] Cheltenham, [sm1893[nm; [cf2]d[cf1] ~Painswick, [sm1976[nm). Eng. compose
r and writer on ~mus. Studied GSM. Wrote mainly songs, incl. [sm24[nm ~settings
of Housman. Also [cf2]A Cotswold Hill-Tune[cf1] ~for str.[cm~Orr, Robin[fy75,1]
(Robert Kemsley) ([cf2]b[cf1] Brechin, [sm1909[nm). ~Scottish composer, organist
, and teacher. Studied ~RCM, Cambridge Univ., and privately with ~Casella and Bo
ulanger. Ass. lecturer in mus., ~Leeds Univ., [sm1936[nm=n[sm8[nm; organist, St
John's Coll., ~Cambridge, [sm1938[nm=n[sm51[nm; prof. of comp., RCM, ~[sm1950[nm
=n[sm6[nm; prof. of mus., Glasgow Univ., [sm1956[nm=n[sm65[nm; ~prof. of mus., C
ambridge Univ., [sm1965[nm=n[sm76[nm; ~chairman, Scottish Opera, [sm1962[nm=n[sm
76[nm. Works incl. ~operas [cf2]Full Circle[cf1] ([sm1967[nm) and [cf2]Hermiston
[cf1] ([sm1975[nm), [sm3[nm ~syms. ([sm1965[nm, [sm1971[nm, [sm1978[nm), chamber
 mus., and ~songs. C.B.E. [sm1972[nm.[cm~Orrego-Salas, Juan [fy75,1](Antonio) ([
cf2]b[cf1] Santiago, Chile, ~[sm1919[nm). Chilean composer. Stud
ied comp. privately ~with H. Allende and in [sm1944[nm=n[sm6[nm in Amer. with P.
 ~H. Lang, R. Thompson, and Copland. Dir., Lat.-~Amer. centre, Indiana Univ., fr
om [sm1961[nm. Mus. ~uses Sp. rhythms and melodic contours, [sm12[nm-note ~melod
ies (though no strict dodecaphonic system), ~and irregular rhythmic patterns. Ex
otic orchestra~~tion a feature. Works incl. [sm4[nm syms., pf. conc., ~choral wo
rks to Sp. texts, str. qt., pf. sonata, etc.[cm~Orrey, Leslie [fy75,1](Gilbert)
([cf2]b[cf1] Hawnby, Yorks., [sm1908[nm; ~[cf2]d[cf1] Bath, [sm1981[nm). Eng. pi
anist, cond., and writer. ~Studied RCM and Durham Univ. Lecturer and ~head of mu
s. dept., Goldsmiths' College, London ~Univ., [sm1945[nm=n[sm69[nm. Author of bo
oks on harmony, ~opera, programme mus., Bellini, and Gluck.[cm~Orthel, L;aaeon[f
y75,1] ([cf2]b[cf1] Roosendaal, [sm1905[nm). Dutch com~~poser and pianist. Studi
ed The Hague and Berlin ~Acad. Teacher of pf., Royal Cons., The Hague, ~[sm1941[
nm=n[sm71[nm, and of comp., Amsterdam Cons. [sm1949[nm=n~[sm71[n
m. Works incl. [sm6[nm syms., chamber mus., and ~songs.[cm~Ortiz, Cristina[fy75,
1] ([cf2]b[cf1] Bathia, Brazil, [sm1950[nm). Brazilian ~pianist. Studied with Ta
gliaferro in Paris and ~Serkin in Philadelphia. Recital d;Aaebut NY [sm1971[nm,
~London d;Aaebut [sm1973[nm (with LSO). Winner of prizes ~in several int. compet
itions. Soloist with leading ~orchs.[cm~Ortiz, Diego[fy75,1] ([cf2]b[cf1] Toledo
, [cf2]c[cf1].[sm1510[nm; [cf2]d[cf1] ? Naples, [cf2]c.[cf1] ~[sm1570[nm). Sp. c
omposer of church and lute mus. ~Chapelmaster to Duke of Alba at Sp. court in ~N
aples, [sm1557[nm=n[sm70[nm. Author of celebrated treatise on ~art of playing di
visions (variations) on bass viol ~([sm1553[nm).[cm~Orton, Richard[fy75,1] (Henr
y) ([cf2]b[cf1] Derby, [sm1940[nm). Eng. ~composer and teacher. Studied comp. at
 Birming~~ham Univ. and at Cambridge Univ. Lect. in mus., ~York Univ., from [sm1
967[nm, becoming dir. of elec. ~mus. studio there. His [cf2]Mug Grunt[cf1] ([sm1
972[nm) is a piece ~of wordless mus.-th.[cm~O Salutaris Hostia[f
y75,1] (O saving victim). R.C. hymn ~sung at Benediction and some other services
 to ~plainsong melody or one of many comp. settings.[cm~Osanna.[fy75,1] It. form
 of `Hosanna'.[cm~Osborne, Charles[fy75,1] ([cf2]b[cf1] Brisbane, [sm1927[nm). A
ustralian ~critic and writer. Studied pf. and singing. Ass. ed. ~[cf2]London Mag
azine[cf1] [sm1957[nm=n[sm66[nm; ass. literary dir., Arts ~Council [sm1966[nm=n[
sm71[nm, literary dir. from [sm1971[nm. Author ~of books on Verdi's ([sm1969[nm)
, Mozart's ([sm1978[nm), and ~Puccini's ([sm1982[nm), operas and ed. of coll. of
 Verdi's ~letters ([sm1971[nm), [cf2]Dictionary of Opera [cf1]([sm1983[nm). Cont
rib. ~to many periodicals.[cm~Osborne, George [fy75,1](Alexander) ([cf2]b[cf1] L
imerick, [sm1806[nm; ~[cf2]d[cf1] London, [sm1893[nm). Irish pianist. Self-taugh
t till age ~[sm18[nm. Went to Paris [sm1826[nm studying under Pixis, ~F;aaetis,
and [fy45,1]*[fy75,1]Kalkbrenner, becoming friend of ~Chopin, Berlioz, Hall;Aae,
 etc. Settled as teacher in ~London [sm1843[nm. Comp. chamber mu
s., pf. pieces, ~and [sm33[nm vn. duos in collab. with de B;Aaeriot.[cm~Osborne,
 Nigel[fy75,1] ([cf2]b[cf1] Manchester, [sm1948[nm). Eng. ~composer. Studied Oxf
ord Univ. with Wellesz ~and Leighton, later in Poland with Rudzi;aanski. ~While
in Poland worked with live elec. mus. ~group. Won Swiss Radio prize [sm1971[nm w
ith cantata ~[cf2][sm7[nm Words[cf1]. Lecturer in mus., Nottingham Univ. ~from [
sm1978[nm. Works incl. [cf2]Heaventree[cf1], unacc. ch. ~([sm1973[nm); [cf2]Reme
mbering Esenin[cf1], vc. and pf. ([sm1974[nm); ~[cf2]Musica da camera[cf1], vn.,
 tape, audience ([sm1975[nm); ~[cf2]Prelude and Fugue[cf1] for chamber ens. ([sm
1975[nm); ~[cf2]Chansonnier[cf1], ch. and ens. ([sm1975[nm); [cf2]The Sickle[cf1
], sop. ~and ens. ([sm1975[nm); [cf2]Passers By[cf1], bass recorder and vcs. ~([
sm1976[nm); [cf2]I am Goya[cf1], bar. and [sm4[nm instr. ([sm1977[nm); vc.[fj~[P
N525,0,0,R,I0]conc. ([sm1977[nm); [cf2]In Camera[cf1], for [sm13[nm instr. ([sm1
979[nm); [cf2]Songs ~from a Bare Mountain[cf1], unacc. ch. ([sm1
979[nm); [cf2]Madeleine ~de la Ste-Baume[cf1], sop., db. ([sm1979[nm); [cf2]Poem
 without a ~Hero[cf1], sop., mez., ten., bass., live elec. ([sm1980[nm; rev. ~[s
m1981[nm with instr. ens. added); [cf2]Gnostic Passion[cf1], [sm36[nm ~unacc. vv
. ([sm1980[nm); [cf2]Mythologies[cf1], fl., cl., tpt., hp., ~vn., vc. ([sm1980[n
m); fl. conc. ([sm1980[nm); [cf2]The Cage[cf1], ten. and ~ens. ([sm1981[nm); pf.
 sonata ([sm1981[nm); [cf2]For a Moment[cf1], vc. ~and women's ch. ([sm1981[nm);
 [cf2]Choralis [cf1]I, II, and III, [sm6[nm ~vv. unacc. ([sm1981[nm=n[sm2[nm); [
cf2]Sinfonia[cf1], orch. ([sm1982[nm); [cf2]Fanta~~sia[cf1], ens. ([sm1983[nm);
[cf2]Alba[cf1], mez., instr. ens., computer-~generated tape ([sm1984[nm).[cm~Osc
illator.[fy75,1] That part of electrical generator which ~produces a repetitive
waveform. The term is ~sometimes used to mean the whole generator.[cm~Ossia[fy75
,1] (It. [cf2]o sia[cf1], `it may be'). ([sm1[nm) Term used in the ~sense of `or
 else' to indicate an alternative version ~of a mus. passage, e.
g. composer's simplified ~alternative for a difficult section, or ed.'s emen~~da
tion of composer's text where it is presumed to ~be wrong.[ep~_([sm2[nm) Used in
 opera titles in the sense of `or', e.g. ~[cf2]Il dissoluto punito, ossia Il Don
 Giovanni[cf1].[cm~Osten, Eva Plaschke von der[fy75,1] ([cf2]b[cf1] Heligoland,
~[sm1881[nm; [cf2]d[cf1] Dresden, [sm1936[nm). Ger. sop. Studied ~Dresden, d;Aae
but there [sm1902[nm. Prin. sop., Dresden ~Opera, [sm1902[nm=n[sm27[nm. Created
role of Oktavian in ~Strauss's [cf2]Der Rosenkavalier[cf1] [sm1911[nm, also bein
g first ~to sing it at CG [sm1913[nm. First to sing Kundry in Eng.[fj~Member Ger
. Opera Co., USA, [sm1923[nm=n[sm4[nm. Wife of ~Friedrich Plaschke ([sm1875[nm=n
[sm1951[nm), bass-bar. at Dres~~den and later stage dir. (e.g. for [sm1933[nm pr
emi;agere of ~Strauss's [cf2]Arabella[cf1]).[cm~Ostinato[fy75,1] (It.). Obstinat
e, persistent. A persistent ~mus. phrase or rhythm. A basso ostinato is a ~figur
e in the bass which is persistently repeated.[cm~Ostr;akcil, Ota
kar[fy75,1] ([cf2]b[cf1] Prague, [sm1879[nm; [cf2]d[cf1] Prague, [sm1935[nm). ~C
z. composer and cond. Studied with [fy45,1]*[fy75,1]Fibich ~[sm1895[nm=n[sm1900[
nm. Chief cond. Prague Nat. Opera [sm1920[nm=n~[sm35[nm. Champion of Cz. operas
and of contemporary ~opera generally. Cond. f.p. of Jan;aaa;akcek's [cf2]Excursi
ons ~of Mr Brou;akcek[cf1], Prague [sm1920[nm. Comp. [sm6[nm operas, ~sym., symp
honic poems.[cm~Osud [fy75,1](Fate). Opera in [sm3[nm acts by Jan;aaa;Akcek to l
ib. by ~composer adapted by Fedora Barto;aksov;aaa. Comp. ~[sm1903[nm=n[sm6[nm.
F.p. Brno (broadcast) [sm1934[nm. F. stage p. ~Brno [sm1958[nm. F. public p. in
Eng. (concert) London [sm1983[nm. ~F. Eng. stage p. London (ENO) [sm1984[nm.[cm~
Otello[fy75,1] (Othello). ([sm1[nm) Opera in [sm4[nm acts by Verdi to ~lib. by B
oito based on Shakespeare's tragedy ~[cf2]Othello, the Moor of Venice[cf1] ([sm1
604[nm=n[sm5[nm). Comp. [sm1884=n~6[nm. Prod. Milan [sm1887[nm, NY [sm1888[nm, L
ondon [sm1889[nm, NY ~Met. [sm1894[nm.[ep~^([sm2[nm) Opera ([cf2
]Otello, ossia Il Moro di Venezia[cf1]) in [sm3[nm ~acts by Rossini to lib. by d
i Salsa. Prod. Naples ~[sm1816[nm, London [sm1822[nm, NY [sm1826[nm.[cm~;afOter[
fy75,1] (Fr.). To take off. [cf2];afOtez les sourdines[cf1], take off ~the mutes
. In org. mus. [cf2];afoter[cf1] means to discontinue ~use of a stop.[cm~Othello
.[fy75,1] Ov. for orch. Op. [sm93[nm, by Dvo;Akr;aaak, comp. ~[sm1891[nm=n[sm2[n
m as [sm3[nmrd of cycle of [sm3[nm ovs. called [fy45,1]*[fy75,2]Nature, ~Life, a
nd Love[cf1], the others being [fy45,1]*[fy75,2]Amid Nature[cf1] and ~[fy45,1]*[
fy75,1][cf2]Carneval[cf1]. See also [cf2]Otello[cf1].[cm~Othmayr, Kaspar[fy75,1]
 ([cf2]b[cf1] Amberg, [sm1515[nm; [cf2]d[cf1] Nurem~~berg, [sm1553[nm). Ger. com
poser. Studied Heidelberg ~Univ. Wrote secular songs, motets, etc.[cm~Ottava[fy7
5,1] (It., sometimes abbreviated `[sm8[nmva'). Octave. ~Indications to play a pa
ssage an octave higher are ~[cf2]all'ottava[cf1] (at the octave), [cf2]ottava al
ta[cf1] (high octave), ~and [cf2]ottava sopra [cf1](octave above
). Indications to ~play an octave below written pitch are [cf2]ottava bassa[cf1]
 ~(low octave), and [cf2]ottava sotto[cf1] (octave below).[ep~^An expression mea
ning `play in octaves' is [cf2]coll' ~ottava[cf1] (with the octave).[cm~Ottavino
[fy75,1] (It.). Modern name for small fl., known ~in other countries as [fy45,1]
*[fy75,1]piccolo.[cm~Otterloo, [fy75,1](=+=+Jan) [fy65][cf3]Willem van[fy75,1] (
[cf2]b[cf1] Winterswijk, ~[sm1907[nm; [cf2]d[cf1] Melbourne, Australia, [sm1978[
nm). Dutch ~cond., cellist, and composer. Cellist, Utrecht ~municipal orch., ass
. cond. [sm1933[nm, chief cond. ~[sm1937[nm. Cond., Residentie Orch., The Hague,
 [sm1949[nm=n~[sm73[nm; Melbourne S.O. [sm1967[nm=n[sm73[nm; D;auusseldorf S.O.
~[sm1974[nm=n[sm7[nm. Wrote sym., orch. suites, chamber mus., ~org. pieces.[cm~O
ttoni[fy75,1] (It.). Brass instrs.[cm~Our Hunting Fathers.[fy75,1] Symphonic son
g-cycle ~for high v. and orch., Op. [sm8[nm, by Britten to text ~devised by W. H
. Auden. F.p. Norwich Fest. ~[sm1936[nm. F. London p. [sm1937[nm
.[cm~Our Man in Havana.[fy75,1] Opera in [sm3[nm acts by ~Williamson to lib. by
Sidney Gilliat based on ~Graham Greene's novel. Prod. London [sm1963[nm.[cm~Ours
, L' [fy75,1](Haydn). See [cf2]Bear Symphony[cf1].[cm~Ouseley, [fy75,1](Sir) [fy
65][cf3]Frederick [fy75,1](Arthur) [fy65][cf3]Gore [fy75,1]([cf2]b[cf1] Lon~~don
, [sm1825[nm; [cf2]d[cf1] Hereford, [sm1889[nm). Eng. organist, ~composer, piani
st, and clergyman. Child prodigy ~musician. Studied Oxford Univ. Succeeded to ~b
aronetcy [sm1844[nm. Ordained as clergyman [sm1849[nm. ~Precentor, Hereford Cath
., [sm1855[nm. Prof. of mus., ~Oxford Univ. [sm1855[nm=n[sm89[nm (instituted for
mal exams. ~for degrees of Mus.B. and Mus.D.). Founded St ~Michael's Coll., Tenb
ury, [sm1854[nm, with special ~emphasis on church mus. Wrote oratorios, church ~
mus., org. pieces, and an opera ([sm1834[nm) on ~Metastasio's libretto [cf2]L'Is
ola disabitata[cf1]. Ed. sacred ~works of O. Gibbons.[cm~Ousset, C;aaecile [fy75
,1]([cf2]b[cf1] Tarbes, [sm1936[nm). French pianist. ~Gave first
 recital aged [sm5[nm. Studied Paris Cons. with ~Marcel Ciampi and won first pri
ze in pf. on ~graduation at age [sm14[nm. Brit. d;aaebut Edinburgh Fest. ~[sm198
0[nm. Int. concert career.[cm~Overblow.[fy75,1] To blow a woodwind instr. so har
d ~that its notes are stepped up from basic pitch. ~This is usually an octave bu
t the cl. overblows a ~[sm12[nmth.[cm~[PN526,0,0,L,I0]Overstrung.[fy75,1] When t
he str. of a pf. are set at two ~differing levels and crossing, to give greater
~length of str.[cm~Overtone.[fy75,1] Any note of the [fy45,1]*[fy75,1]harmonic s
eries ~except the fundamental.[cm~Overture[fy75,1] (from It. [cf2]overtura[cf1],
 opening). ([sm1[nm) Piece[fjof instr. mus. which precedes opera, oratorio, or ~
play. [fy45,1]*[fy75,1]Lully est. the [cf2]French Overture[cf1] in a [sm3[nm-~mo
vement style of slow=mfast (fugal)=mslow ~(concluding section). The [cf2]Italian
 Overture[cf1], intro~~duced by A. [fy45,1]*[fy75,1]Scarlatti, also had [sm3[nm
movements, ~quick=nslower=nquick (see [cf2]Symphony[cf1]). Gluck
 was ~the first to give ovs. a thematic connection with ~what followed. Weber's
ovs. were orchestral ~synopses of the opera. But in It. opera, ovs. were ~still
used as a way of stopping the audience talking ~and giving latecomers a chance t
o reach their ~seats. Thus one of Rossini's ovs. did duty for [sm3[nm of ~his op
eras (incl. [cf2]Il barbiere di Siviglia[cf1]). Wagner ~preferred the term [cf2]
Vorspiel[cf1] (Prelude). In the [sm20[nmth ~cent., operatic ovs. have become rar
e, composers ~often bringing up the curtain immediately. ~Strauss's orch. introd
uction to [cf2]Der Rosenkavalier[cf1] ~is almost an ov., as is the sextet which
opens ~[cf2]Capriccio[cf1]. For his comic opera [cf2]Die schweigsame ~Frau[cf1]
he wrote a [cf2]potpourri[cf1], a medley of tunes from ~the opera in the style o
f the composers of light ~operas, e.g. Sullivan.[ep~^([sm2[nm) Term sometimes us
ed as equivalent of [fy45,1]*[fy75,2]Suite[cf1] ~(by Handel and Bach) or [fy45,1
]*[fy75,2]Symphony[cf1] (Haydn's ~London programmes [sm1791[nm).
[ep~^([sm3[nm) See [cf2]Concert Overture[cf1].[cm~Overture, Scherzo, and Finale.
[fy75,1] Orch. work by ~Schumann, Op. [sm52[nm, comp. [sm1841[nm, rev. [sm1845[n
m.[cm~O.W.,[fy75,1] in Ger. org. mus.;Eq[fy45,1]*[fy75,2]Oberwerk[cf1], i.e. swe
ll ~org.[cm~Owen Wingrave.[fy75,1] Opera in [sm2[nm acts by Britten, Op. ~[sm85[
nm, to lib. by Myfanwy Piper based on Henry ~James. Comp. for BBC TV ([sm16[nm M
ay [sm1971[nm) and ~later rev. for first stage perf. at CG [sm10[nm May [sm1973[
nm. ~Santa Fe [sm1973[nm.[cm~Owl and the Pussy-Cat. The.[fy75,1] ([sm1[nm) Setti
ng for ~speaker, fl., vc., and guitar by [fy45,1]*[fy75,1]Searle ([sm1951[nm) of
 ~poem by Edward Lear ([sm1870[nm).[ep~^([sm2[nm) Setting for v. and pf. by Stra
vinsky ([sm1966[nm).[cm~Oxford Elegy, An.[fy75,1] Work for narrator, small ~mixe
d ch., and chamber orch. by Vaughan ~Williams, with text adapted from Matthew ~A
rnold's poems [cf2]The Scholar Gipsy[cf1] ([sm1853[nm) and ~[cf2]Thyrsis[cf1] ([
sm1867[nm), comp. [sm1949[nm. Some of text is ~spoken, some sung
 by ch., also wordless part for ~ch. F. public p. Oxford [sm1952[nm.[cm~Oxford S
ymphony.[fy75,1] Nickname for Haydn's Sym. ~No. [sm92[nm in G (Hob. I:[sm92[nm)
because it was perf. when ~Haydn received hon. doctorate at Oxford Univ. ~in [sm
1791[nm. Comp. [sm1789[nm with no thought of Oxford.[cm~Oxford University. [fy75
,1]Eng. university which has ~awarded degrees in music since [sm1499[nm (B.Mus.
and ~D.Mus.). William Heather (Heyther) founded ~lectureship in music in [sm1627
[nm, the holder of the ~post of choragus eventually becoming known as ~professor
. Post of choragus re-established [sm1848[nm. ~Professorship was long regarded a
s sinecure. ~Profs. of mus. since [sm1797[nm: William Crotch ([sm1797[nm=n~[sm18
47[nm), H. R. Bishop ([sm1848[nm=n[sm55[nm), F. A. Gore Ouseley ~([sm1855[nm=n[s
m89[nm), John Stainer ([sm1889[nm=n[sm1900[nm), Hubert ~Parry ([sm1900[nm=n[sm08
[nm), Walter Parratt ([sm1908[nm=n[sm18[nm), Hugh ~Allen ([sm1918[nm=n[sm46[nm),
 J. A. Westrup ([sm1947[nm=n[sm71[nm), Joseph ~Kerman ([sm1971[n
m=n[sm4[nm), Denis Arnold from [sm1975[nm. The ~Faculty of Music was created in
[sm1944[nm, largely ~thanks to Allen.[cm~Ox Minuet[fy75,1] (Ger. [cf2]Ochsenmenu
ett[cf1]). Minuet attrib. ~J. Haydn but comp. by his pupil I. X. von Seyfried ~(
[sm1776[nm=n[sm1841[nm) who introduced it into his opera [cf2]Das ~Ochsenmenuett
[cf1] ([sm1823[nm), compiled mainly from ~Haydn's works. Based on legend that Ha
ydn ~wrote a minuet for a butcher who gave him an ~ox in return.[cm~Ozawa, Seiji
[fy75,1] ([cf2]b [cf1]Hoten, Manchuria, [sm1935[nm). Japa~~nese cond. Studied To
ho Sch. of Mus., Tokyo, and ~in Berlin with [fy45,1]*[fy75,1]Karajan. Won Kousse
vitzky ~scholarship [sm1960[nm. D;Aaebut Tokyo, N.H.K. Orch. ~Ass. cond. to Bern
stein, NY P.O. [sm1961[nm=n[sm2[nm and ~[sm1964[nm=n[sm5[nm. Cond. Ravinia Park
Fest., Chicago, [sm1964[nm=n~[sm8[nm; Toronto S.O. [sm1965[nm=n[sm9[nm; San Fran
cisco S.O. [sm1970[nm=n~[sm6[nm; Boston S.O. from [sm1973[nm. London d;aaebut [s
m1965[nm ~(LSO). Opera d;aaebut Salzburg [sm1969[nm ([cf2]Cos;ag
i fan tutte[cf1]), ~CG [sm1974[nm ([cf2]Eugene Onegin[cf1]). Cond. f.p. of Messi
aen's ~[cf2]St Francis of Assisi [cf1](Paris, [sm1983[nm).[cm~Ozim, Igor[fy75,1]
 ([cf2]b [cf1]Ljubljana, Yugoslavia, [sm1931[nm). ~Yugoslav violinist. Studied L
jubljana Acad., RCM, ~and privately with Max Rostal. D;aaebut Ljubljana ~[sm1947
[nm. Carl Flesch medal [sm1951[nm. World tours. Has ~given f.ps. of several cont
emporary concertos.[xm[cm~[j4]~[xp[te~







[do25][j99]~~~~~~[sm153842[nm_P[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmP[sm001[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm08[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm1[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[PN527,0,0,R,I0][ap[j3]~P
[cm~~[j1]P. [fy75,1]Abbreviated prefix to numbers in the [fy45,1]*[fy75,1]Pinch~
~erle catalogue of Vivaldi's works.[cm~p. [fy75,1]Abbreviation of [cf2]piano [cf
1](It., soft), hence [cf2]pp, ppp, ~[cf1]and sometimes even quieter (Verdi optim
istically ~uses [cf2]pppp [cf1]in his [cf2]Requiem, [cf1]also Elgar in [cf2]Enig
ma ~Variations[cf1]).[cm~P. [fy75,1]In Fr. org. mus., this abbreviation sometime
s ~means [cf2]P;Aaedales [cf1](pedals) and sometimes [cf2]Positif ~[cf1](choir o
rg.).[cm~Pachelbel, Johann [fy75,1]([cf2]b [cf1]Nuremberg, [sm1653[nm; [cf2]d ~[
cf1]Nuremberg, [sm1706[nm). Ger. organist and composer. ~Held several important
org. posts. His comps. ~influenced Bach. Works incl. [cf2]Hexachordum Apol~~lini
s [cf1]([sm1699[nm), [sm6[nm sets of airs and variations for hpd
.; ~[sm78[nm chorale preludes ([sm1693[nm), incl. [cf2]Ein' feste Burg, ~Nun kom
m der Heiden Heiland, Vom Himmel hoch, ~[cf1]etc.; [cf2]Aria Sebaldina, [cf1]var
iations in F minor for ~hpd.; [cf2]Canon and Gigue [cf1]in D for [sm3[nm vns. an
d ~continuo; [cf2]Chaconne and [sm13[nm variations [cf1]for hpd., etc. ~His chur
ch music, for long disregarded, has been ~highly revalued, particularly his sacr
ed concertos ~and his [sm13[nm settings of the [cf2]Magnificat[cf1].[cm~Pachelbe
l, Wilhelm Hieronymus [fy75,1]([cf2]b [cf1]Erfurt, ~[sm1686[nm; [cf2]d [cf1]Nure
mberg, [sm1764[nm). Ger. organist and ~composer, son and pupil of Johann [fy45,1
]*[fy75,1]Pachelbel.[cm~Pachmann, Vladimir de [fy75,1]([cf2]b [cf1]Odessa, [sm18
48[nm; [cf2]d ~[cf1]Rome, [sm1933[nm). Russ. pianist. Studied Vienna Cons. ~D;aa
ebut Odessa [sm1869[nm, then retired for [sm8[nm years' ~further study; reappear
ed in public but then ~retired again for [sm2[nm years. From age of [sm32[nm bec
ame ~popular and successful recitalist, especially in ~mus. of C
hopin. D;Aaebut USA [sm1891[nm. Eccentric ~platform-manner, often making remarks
 to the ~audience in praise of himself or in disparagement ~of other pianists.[c
m~Pacific [sm231[nm. [fy75,1]`Mouvement symphonique' for orch. ~by Honegger, [sm
1923[nm. F.p. Paris [sm1924[nm, f.p. in ~England, Manchester [sm1924[nm. Pacific
 [sm231[nm is a ~locomotive.[cm~Pacini, Giovanni [fy75,1]([cf2]b [cf1]Catania, [
sm1796[nm; [cf2]d [cf1]Pescia, ~[sm1867[nm). It. composer and teacher. His first
 opera ~was unperformed, but his second was prod. in ~Milan in [sm1813[nm; he co
mp. [sm90[nm in all, mostly in the ~Rossini comic manner, although [cf2]Saffo [c
f1]([sm1840[nm) was ~more serious. [cf2]Maria Tudor [cf1]([sm1843[nm) was revive
d at ~Camden Fest. [sm1983[nm. Also wrote quantities of ~church mus. and a [cf2]
Dante Symphony. [cf1]Founded ~mus. sch. at Viareggio, moving to Lucca.[cmPaderew
ski, Ignacy Jan [fy75,1]([cf2]b [cf1]Kuryl;Aaowka, [sm1860[nm; [cf2]d ~[cf1]NY,
[sm1941[nm). Polish pianist, composer, and states~~man. Studied
at Warsaw Mus. Institute [sm1872[nm=n[sm8[nm, ~becoming pf. teacher there [sm187
9[nm=n[sm83[nm. Studied in ~Vienna with Leschetizky [sm1884[nm=n[sm7[nm. D;Aaebu
t Paris ~[sm1888[nm, London [sm1890[nm, NY [sm1891[nm. Became one of the ~most f
amous int. pianists. Began composing at ~age [sm6[nm. Up to [sm1899[nm he wrote
mainly pf. solos, incl. ~the [cf2]Tatra Album [cf1]([sm1885[nm), based on songs
and dances ~of the Polish Tatra mountain-dwellers. In the ~[sm1890[nms he comp.
a vn. sonata, the [cf2][sm6[nm Humoresques de ~Concert [cf1]for pf. (no. [sm1[nm
 of which is the famous ~Minuet in G), a pf. conc. in A minor, and the ~[cf2]Pol
ish Fantasy [cf1]for pf. and orch. His opera [cf2]Manru ~[cf1]([sm1900[nm) had i
ts f.p. in Dresden [sm1901[nm and was given ~at the NY Met. in [sm1902[nm. In [s
m1903[nm he wrote a pf. ~sonata, [sm12[nm songs to Fr. poems by Mend;Ages, and a
 ~set of Variations for pf. His Sym., avowedly ~patriotic, was completed in [sm1
907[nm and f.p. Boston, ~Mass., [sm1909[nm. In [sm1910[nm he spo
ke at the unveiling of ~a monument in Krak;aaow and thereafter symbol~~ized Poli
sh aspirations. During the [sm1914[nm=n[sm18[nm war ~he worked ceaselessly for t
he Polish cause. When ~Poland was created an independent nation in ~[sm1919[nm h
e became Prime Minister and Foreign ~Minister of the first govt. but retired a y
ear later ~after disagreement with other politicians. In [sm1922[nm ~he resumed
his recitals, raising large amounts of ~money for war victims. He sponsored seve
ral ~competitions and est. scholarships. In [sm1936[nm he ~appeared in a film, [
cf2]Moonlight Sonata[cf1], and in [sm1936[nm-~[sm8[nm supervised a complete Chop
in edn. pubd. in ~Warsaw. He died when Poland was again ~enslaved.[cm~Padiglione
 [fy75,1](It.). Pavilion, tent. Hence, the bell of ~a wind instr. [cf2]Padiglion
e cinese, [cf1]Turkish Crescent ~or [fy45,1]*[fy75,1]Jingling Johnny.[cm~Padovan
a [fy75,1](It.). See [cf2]Pavan.[cm~Paean. [fy75,1]Song of triumph or praise (or
ig. to ~Apollo).[cm~Paer, Ferdinando [fy75,1]([cf2]b [cf1]Parma,
 [sm1771[nm; [cf2]d [cf1]Paris, [sm1839[nm). ~It. composer. Orig. violinist but
gave it up for ~comp. First opera prod. Parma [sm1791[nm, then went ~as cond. to
 Venice where he wrote several more ~light operas. Worked in Vienna [sm1797[nm=n
[sm1802[nm. ~Became Kapellmeister at Dresden [sm1802[nm and wrote ~[cf2]Leonora,
 [cf1]on same plot as Beethoven was to use in ~[cf2]Fidelio. [cf1]In [sm1807[nm
went to Paris as cond. of Op;aaera-~Comique and [cf2]ma;Afitre de chapelle [cf1]
to Napoleon I. ~Succeeded Spontini [sm1812[nm as dir. of Th;aae;afatre des ~Ital
iens. Dismissed [sm1827[nm, becoming cond. of royal ~chamber mus. [sm1832[nm. Wr
ote [sm53[nm operas incl. [cf2]La ~Didone abbandonata [cf1]([sm1810[nm), [cf2]L'
oriflamme [cf1]([sm1814[nm), and ~[cf2]Le Ma;Afitre de chapelle [cf1]([sm1821[nm
), also oratorios, masses, ~cantatas, and numerous instr. works.[xm[cm~[PN528,0,
0,L,I0][j1]Paganini, Niccol;Ago [fy75,1]([cf2]b [cf1]Genoa, [sm1782[nm; [cf2]d [
cf1]Nice, [sm1840[nm). ~It. violinist and composer. Regarded as
greatest ~of all vn. virtuosos. Studied with father and later ~with other teache
rs. Made first tour at [sm13[nm and ~comp. difficult pieces for himself to play.
 During ~a love affair in [sm1801[nm=n[sm4[nm he took up the guitar, for ~which
he composed [sm6[nm str. qts. with a guitar part, ~and other works. Returned to
platform [sm1805[nm with ~sensational success. Dir. of mus. to Princess of ~Lucc
a [sm1805[nm=n[sm9[nm. Milan d;Aaebut [sm1813[nm, Vienna [sm1828[nm, ~Paris and
London [sm1831[nm. In Paris in [sm1833[nm ~commissioned va. conc. from Berlioz,
the result ~being [fy45,1]*[fy75,2]Harold in Italy[cf1], but he never played it.
 ~From [sm1834[nm he made few appearances: for some ~years he had been suffering
 from cancer of the ~larynx which killed him in [sm1840[nm. He left a ~fortune a
nd was generous to colleagues in need. ~Owned vns. by Stradivarius, Guarnerius,
and ~Amati, also Stradivarius va. and db. His Mephis~~tophelean appearance led t
o stories that his ~virtuosity stemmed from diabolical powers; h
e ~was a skilled showman and although his feats as ~a virtuoso are no longer reg
arded as unique or ~unapproachable, he pioneered the use of harmon~~ics, tuned h
is instr. to obtain special effects, used ~several styles of bowing, and exploit
ed staccato ~and pizzicato as never before. His intonation was ~unfailingly accu
rate. Works incl.:[xm[cm~[j2][smvn. concs.[nm: No. [sm1[nm in E;Yh (usually play
ed in D) ~(?[sm1817[nm), No. [sm2[nm in B minor, with [fy75,2]Rondo ;Aga la ~clo
chette [cf1] ([sm1826[nm), No. [sm3[nm in E major ([sm1826[nm), No. [sm4[nm ~in
D minor ([sm1830[nm), No. [sm5[nm in A minor ([sm1830[nm), ~and the so-called No
. [sm6[nm in E minor (comp.[fj[cf2]c[cf1].[sm1815[nm) (and others lost).[ep~[smv
n. and orch.[nm: [cf2]Le Streghe [cf1](Witches' Dance) based ~on air by S;auussm
ayer; Variations on [cf2]God Save the ~King[cf1]; [cf2]Moto perpetuo, allegro de
 concert[cf1]; Variations ~on [cf2]Non pi;agu mesta [cf1]([cf2]La Cenerentola[cf
1]); Variations on ~the air [cf2]Di tanti palpiti [cf1]([cf2]Tan
credi[cf1]).[ep~[smvc. and orch[nm: [cf2]Variations on [cf2]Theme of Rossini [cf
1]for [sm2[nm ~vc.[ep~[smsolo vn.[nm: [cf2][sm24[nm Caprices[cf1] ([cf2]c[cf1].[
sm1805[nm); Variations on [cf2]Le ~Carnaval de Venise[cf1]; [cf2]Duo in C[cf1];
Recitative and ~Variations on [sm3[nm airs for the [sm4[nmth string.[ep~[smchamb
er music[nm: [sm12[nm sonatas for vn. and guitar; [sm6[nm ~qts. for vn., va., gu
itar, and vc.; vn. sonata with ~vn. and vc. acc.; [cf2]Terzettos [cf1]for vn., v
c., guitar.[cm~[j1]Paganini Transcriptions. [fy75,1]There are several ~transcrs.
 by other composers of Paganini comps. ~and several comps. based on the theme of
 his ~[cf2]Caprice[cf1] No. [sm2[nm in A minor (e.g. Brahms's [cf2]Variations ~o
n a Theme of Paganini [cf1]for pf., [sm1862[nm=n[sm3[nm; Rakhman~~inov's [cf2]Rh
apsody on a Theme of Paganini, [cf1]for pf. and ~orch., [sm1934[nm; Blacher's [c
f2]Variations on a Theme of ~Paganini, [cf1]for orch., [sm1947[nm; Lutoslawski's
 [cf2]Variations ~on a Theme of Paganini, [cf1]for [sm2[nm pf.,
[sm1941[nm; Rochberg's ~[cf2][sm50[nm Caprice-Variations[cf1], for solo vn. [sm1
970[nm). Schu~~mann wrote [cf2][sm12[nm ;aaEtudes de Concert [cf1]based on ~Paga
nini's [cf2]Caprices [cf1]in [sm2[nm sets, Op. [sm3[nm, [sm1832[nm, Op. [sm10[nm
, ~[sm1833[nm. Liszt wrote a [cf2]Grande Fantaisie de Bravoure ~sur la clochette
 [cf1]([sm1831=n2[nm), on a theme from vn. ~conc. No. [sm2[nm in B minor, Op. [s
m7[nm, and [sm6[nm [cf2];aaEtudes ~d'ex;aaecution transcend[chante d'apr;ages Pa
ganini [cf1]([sm1838[nm, ~rev. [sm1851[nm as [cf2]Grandes ;aaEtudes d'apr;ages l
es caprices de ~Paganini, [cf1]No. [sm3[nm being [cf2]La campanella[cf1]).[cm~Pa
gliacci [fy75,1](Strolling players, or Clowns). Opera ~in [sm2[nm acts by [fy45,
1]*[fy75,1]Leoncavallo to his own lib. Prod. ~Milan [sm1892[nm, CG and NY [sm189
3[nm. Customarily perf. ~in double bill with [fy45,1]*[fy75,1]Mascagni's [fy45,1
]*[fy75,2]Cavalleria ~rusticana, [cf1]the result being colloquially known as ~`C
av and Pag'.[cm~Paik, Nam June [fy75,1]([cf2]b [cf1]Seoul, [sm19
32[nm). Korean com~~poser. Studied Tokyo Univ. and in Ger. with ~Fortner. Worked
 at Cologne elec. studio of W. ~Ger. Radio. Assoc. with NY Avant-Garde Fest. ~si
nce [sm1964[nm. Teacher of intermedia and video-~synthesis at Calif. Institute o
f Arts, Los Angeles, ~from [sm1970[nm. Has written vc. sonata and [cf2]Variation
s ~on a Theme by Saint-Sa;Auens, [cf1]also comps. such as ~[cf2]Hommage ;Aga Joh
n Cage [cf1]for [sm2[nm pf. which are destroyed ~during the perf., [sm3[nm tape
recorders, eggs, and ~motorbike, and [cf2];aaEtude [cf1]for pf. also involving ~
destruction of [sm2[nm pf., `cutting John Cage's necktie, ~and shampooing him wi
thout advance warning', ~etc.[cm~Paine, John Knowles [fy75,1]([cf2]b [cf1]Portla
nd, Maine, [sm1839[nm; ~[cf2]d [cf1]Cambridge, Mass., [sm1906[nm). Amer. compose
r, ~organist, and teacher. Studied in Ger. Became ~instructor in mus., Harvard U
niv. [sm1862[nm, ass. prof. ~of mus. [sm1873[nm, prof. [sm1875[nm (the first Ame
r. prof. of ~mus.). Pupils incl. D. G. Mason, J. A. Carpenter, ~
and Richard Aldrich. Wrote [sm2[nm operas, [sm2[nm syms., ~choral works incl. Ma
ss in D ([sm1866[nm=n[sm7[nm), and ~chamber mus.[cm~Paisiello, Giovanni [fy75,1]
([cf2]b [cf1]Taranto, [sm1740[nm; [cf2]d [cf1]Naples, ~[sm1816[nm). It. composer
. In youth wrote mainly ~church mus., but discovered flair for opera buffa ~and
wrote his first comic operas for Bologna [sm1764[nm. ~Settled in Naples as rival
 of Piccinni, then of ~Cimarosa. Went to St Petersburg [sm1776[nm as court ~cond
. and master of It. opera to Catherine the ~Great, while there composing his [cf
2]Il [fy45,1]*[fy75,2]barbiere di ~Siviglia [cf1]([sm1782[nm) which had such gre
at success in It. ~that Rossini's later setting encountered resent~~ment. Return
ed to Naples [sm1784[nm as court cond. to ~Ferdinand IV. Sided with Napoleon in
[sm1799[nm and ~went to Paris [sm1802[nm to organize and direct the ~mus. of his
 chapel. On return to Naples, remained ~out of favour with Bourbons and died in
relative ~poverty. Wrote over [sm100[nm operas, many of them ~ac
complished and pleasant, [sm12[nm syms., [sm6[nm pf. concs., ~comic cantatas, an
d other works. Prin. operas ~were: [cf2]Don Chisciotte [cf1]([sm1769[nm), [cf2]A
chille in Sciro [cf1]([sm1778[nm), ~[cf2]La serva padrona [cf1]([sm1781[nm), [cf
2]Il [fy45,1]*[fy75,2]barbiere di Siviglia ~[cf1]([sm1782[nm), [cf2]Il re Teodor
o in Venezia [cf1]([sm1784[nm), [cf2]La Molinara ~[cf1]([sm1789[nm), [cf2]Nina [
cf1]([sm1789[nm), [cf2]Didone abbandonata [cf1]([sm1794[nm), ~[cf2]Proserpina [c
f1]([sm1803[nm).[cm~[j1]Palestrina. [fy75,1]Opera ([cf2]Musikalische Legende[cf1
]) in [sm3[nm acts ~by [fy45,1]*[fy75,1]Pfitzner to his own lib. Comp. [sm1912[n
m=n[sm15[nm. ~Prod. Munich [sm1917[nm, London (Abbey Opera) [sm1981[nm. ~Based o
n untrue legend that Palestrina comp. the ~[cf2]Missa Papae Marcelli [cf1]to per
suade the Council of ~Trent not to ban polyphonic mus.[cm~[PN529,0,0,R,I0]Palest
rina, Giovanni Pierluigi da [fy75,1]([cf2]b [cf1]Palestrina, ~nr. Rome, [cf2]c[c
f1].[sm1525[nm; [cf2]d [cf1]Rome, [sm1594[nm). It. composer ~who
 took his name from his birthplace. Chorister ~at S. Maria Maggiore, Rome, in [s
m1537[nm. Studied in ~Rome [cf2]c[cf1].[sm1540[nm. Organist and choirmaster, Pal
es~~trina, [sm1544[nm. In [sm1550[nm the Bishop became Pope ~Julius III and in [
sm1551[nm summoned Palestrina to ~Rome as choirmaster of Cappella Giulia, a nurs
ery ~for Sistine Choir. The following year Palestrina ~published his first book
of Masses. In [sm1555[nm a new ~Pope, Paul IV, dismissed Palestrina and two othe
rs ~from the Sistine Choir because they were married. ~Palestrina was appointed
maestro di cappella of ~St John Lateran in [sm1555[nm in succession to [fy45,1]*
[fy75,1]Lassus. ~For this church he wrote his [cf2]Lamentations[cf1]. He ~resign
ed in [sm1560[nm over dissatisfaction with the ~way the choirboys were fed, beco
ming choirmas~~ter of S. Maria Maggiore in [sm1561[nm. He pubd. his ~first book
of motets [sm2[nm years later. In [sm1567[nm he ~resigned to enter service of Ca
rdinal Ippolito ~d'Este, having become dissatisfied with the pap
al ~reforms of church mus. which rendered [sm2[nm of his ~masses unliturgical be
cause they contained words ~foreign to the mass. In addition, others of his ~mas
ses incl. secular songs, such as [cf2]L'[fy45,1]*[fy75,2]Homme arm;aae[cf1]. ~Th
e cardinal kept a mus. establishment at his ~palace in Tivoli (the Villa d'Este)
. In [sm1571[nm ~Palestrina became dir. of the Cappella Giulia. ~Over the next f
ew years he lost both his sons and ~his wife through epidemics and decided to ~b
ecome a priest. But after a few weeks he changed ~his mind and married again, hi
s new wife being ~the rich widow of a fur merchant. Palestrina ~formed a partner
ship with one of the men in the ~business and made a fortune which enabled him ~
in the last [sm13[nm years of his life to publish [sm16[nm colls. ~of his mus.[e
p~^Palestrina's mus. is marked by flowing, smooth ~lines and a rich beauty of so
und in the way vv. ~are blended. He had neither the range nor the ~inventiveness
 of Byrd and Lassus, but the skill ~with which his sacred works
are based on the ~secular madrigal gives his mus. special character~~istics whic
h are greatly admired. His works incl.:[xm[cm~[j2][smmasses[nm: [sm4[nm for [sm8
[nm vv.; [sm22[nm for [sm6[nm vv. (incl. [fy45,1]*[fy75,2]Missa Papae ~Marcelli
[cf1]and [cf2]Hexachord Mass[cf1]); [sm39[nm for [sm4[nm vv.; [sm29[nm ~for [sm5
[nm vv. (incl. [cf2]L'Homme arm;aae[cf1]).[ep~[smmotets[nm: [sm6[nm for [sm12[nm
 vv. (incl. [cf2]Stabat Mater[cf1]); [sm56[nm for [sm8[nm ~vv.; [sm2[nm for [sm7
[nm vv.; [sm34[nm for [sm6[nm vv.; [sm79[nm for [sm5[nm vv.; [sm67[nm for ~[sm4[
nm vv.; [sm29[nm settings for [sm4[nm vv. from the [cf2]Song of ~Solomon[cf1].[e
p~[smcantiones sacrae[nm: [sm2[nm for [sm8[nm vv.; [sm4[nm for [sm4[nm vv.[ep~[s
mmagnificats[nm: [sm35[nm on the [sm8[nm tones.[ep~[smother works[nm: Hymns for
[sm4[nm vv.; Offertories for [sm5[nm ~vv.; Lamentations for [sm4[nm vv.; Psalms
for [sm12[nm vv.; ~Litanies; Antiphon; Sacred Madrigals for [sm5[nm, [sm4[nm, ~a
nd [sm3[nm vv.; Secular Madrigals.[cm~[j1]Pallavicino, Benedetto
 [fy75,1]([cf2]b[cf1] Cremona, [sm1551[nm; [cf2]d ~[cf1]Mantua, [sm1601[nm). It.
 monk, composer of madrigals ~and motets. Among first to write for as many as ~[
sm12[nm and [sm16[nm vv. Choirmaster at Mantua [sm1596[nm=n[sm1601[nm, ~precedin
g Monteverdi.[cm~Pallavicino, Carlo [fy75,1]([cf2]b [cf1]Sal;ago, Lake Garda; [c
f2]d [cf1]Dres-[fjden, ~[sm1688[nm). It. composer. Began career in Venice;[fjbec
ame Kapellmeister at Dresden, dividing his ~time between both cities. Wrote over
 [sm20[nm operas, ~all but one prod. Venice. Also wrote church mus.[cm~Palm, Sie
gfried [fy75,1]([cf2]b [cf1]Wuppertal, [sm1927[nm). Ger. cellist. ~Studied priva
tely. Cellist in L;auubeck municipal ~orch. [sm1945[nm=n[sm7[nm, N.W. Ger. Radio
 S.O. [sm1947[nm=n[sm62[nm, ~Cologne Radio S.O. [sm1962[nm=n[sm7[nm. Member, Har
mann ~Qt. [sm1951[nm=n[sm62[nm. Soloist with leading orchs. since ~[sm1962[nm. D
ir. of mus., vc. class, Cologne Nat. College ~of Mus. from [sm1962[nm. Dir., Deu
tsche Oper, Berlin, ~[sm1977[nm=n[sm81[nm. Has developed cello t
echnique to suit ~[cf2]avant-garde [cf1]works. Was first to play works by ~Pende
recki, Xenakis, Zillig, Ligeti, Zimmer~~mann, and Blacher. Penderecki wrote [cf2
]Capriccio ~per Siegfried Palm[cf1] ([sm1968[nm).[xm[cm~[j1]Palmer, Felicity [fy
75,1](Joan) [cf1]([cf2]b [cf1]Cheltenham, [sm1944[nm). ~Eng. sop. Studied GSM an
d at Munich Hochschule ~f;auur Musik. Sang in professional choirs, notably ~John
 Aldiss Ch. Soloist with orchs., and recitalist. ~Won Kathleen Ferrier Memorial
Prize [sm1970[nm. ~Opera d;aaebut, Kent Opera (Dido) [sm1971[nm, then with ~ENO
at Coliseum. Amer. d;aaebut Houston Opera ~[sm1973[nm. Specialist in Fr. songs (
notably Messiaen ~and Poulenc) and admired in Gluck's [cf2]Armide.[cf1][cm~Palme
r, Robert [fy75,1]([cf2]b [cf1]Syracuse, NY, [sm1915[nm). Amer. ~composer. Studi
ed Eastman Sch. [sm1934[nm=n[sm9[nm (with ~Hanson) and later with Harris and Por
ter. Teacher ~of comp. at Cornell Univ. since [sm1943[nm. Influenced ~by Quincy
[fy45,1]*[fy75,1]Porter and Bart;aaok. Works incl.:[xm[cm~[j2][s
morch[nm: [fy75,2]Concerto for Orchestra [cf1]([sm1944[nm); [cf2]Symphonic ~Vari
ations [cf1]([sm1945[nm); Sym. No. [sm1[nm ([sm1953[nm), No. [sm2[nm ~([sm1966[n
m); [cf2]Centennial Overture [cf1]([sm1966[nm); pf. conc. ~([sm1968[nm=n[sm70[nm
); [cf2]Symphonia Concertante[cf1], [sm9[nm instr. ~([sm1972[nm); [cf2]Organon I
I[cf1], str. ([sm1975[nm).[ep~[smchoral[nm: [cf2]Abraham Lincoln Walks at Midnig
ht [cf1]([sm1948[nm); ~[cf2]Slow, Slow, Fresh Fount [cf1]([sm1953[nm); [cf2]Nabu
chodonosor, ~[cf1]oratorio ([sm1960[nm=n[sm4[nm); [cf2]Portents of Aquarius[cf1]
, ch., org. ~([sm1975[nm).[ep~[smchamber music[nm: Str. Qts. Nos. [sm1[nm=n[sm4[
nm ([sm1939[nm=n[sm59[nm); pf. ~sonatas No. [sm1[nm ([sm1938[nm=n[sm46[nm), No.
[sm2[nm ([sm1942[nm=n[sm8[nm); pf. qt. ~No. [sm1[nm ([sm1947[nm), No. [sm2[nm ([
sm1974[nm); pf. quintet ([sm1950[nm); ~va. sonata ([sm1951[nm); wind quintet ([s
m1951[nm); cl. ~quintet ([sm1952[nm); pf. trio ([sm1958[nm); vc. sonata ([sm1976
[nm).[cm~[ol0][ep~[xp[te~
[do9][j99]~~~~~~[sm153842[nm_P[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmP[sm002[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm8[nm.[sm10[nm.[sm7
9[nm[cm[sm12[nm[cm[sm31[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Palmgren,
Selim [fy75,1]([cf2]b [cf1]Pori, [sm1878[nm; [cf2]d [cf1]Helsinki, [sm1951[nm).
~Finn. composer, pianist, and cond. Studied ~Helsinki Cons. [sm1895[nm=n[sm9[nm,
 then in Ger. and It. and ~with Busoni. Held cond. posts in Finland [sm1902[nm=n
~[sm12[nm. Toured USA [sm1921[nm as accom. to his wife, who ~sang his songs. Tau
ght at Eastman Sch. [sm1923[nm=n[sm6[nm. ~Prof. of harmony, Sibelius Acad., Hels
inki, [sm1936[nm=n~[sm51[nm. Wrote [sm2[nm operas, [sm5[nm pf. concs., songs, an
d many ~short pf. pieces.[cm~Palotache [fy75,1]([cf2]Palot;aaas[cf1]). Hung. typ
e of instr. piece in ~dance style ([sm2[nm beats to the measure), derivative of
~the [fy45,1]*[fy75,2]verbunkos[cf1].[cm~Pammelia [fy75,1](from Gk., all honey).
 First coll. of[fjvocal rounds, catches, and canons pubd. in Eng
. ~[PN530,0,0,L,I0](by T. Ravenscroft, [sm1609[nm, [sm2[nmnd edn. [sm1618[nm). P
art [sm2[nm ~([cf2]Deuteromelia[cf1]) also pubd. [sm1609[nm. No composers' ~name
s given.[cm~Panassi;aae, Hugues [fy75,1]([cf2]b [cf1]Paris, [sm1912[nm; [cf2]d[c
f1] Montauban, ~[sm1974[nm). Fr. mus. critic and specialist in jazz. ~Founded `H
ot Club de France' [sm1932[nm. Lectured on ~jazz at Sorbonne [sm1937[nm. Author
of several books ~on jazz, dictionary of jazz (Paris [sm1954[nm, London ~[sm1956
[nm), and biography of Louis [fy45,1]*[fy75,1]Armstrong.[cm~Pandiatonicism. [fy7
5,1]Term coined by Amer. musi~~cologist [fy45,1]*[fy75,1]Slonimsky to describe t
he free use in ~chord-formation of the [sm7[nm degrees of the [fy45,1]*[fy75,1]d
iatonic ~scale, e.g. the added [sm6[nmth in jazz.[cm~[fy65][cf3]Pandora, Pandore
. [fy75,1]See [cf2]Cittern[cf1].[cm~Pandorina. [fy75,1]Small type of wire-strung
 lute.[cm~Panerai, Rolando [fy75,1]([cf2]b [cf1]Campi Bisenzio, [sm1924[nm). It.
 ~bar. Studied Florence and Milan. D;aaebut Naples ~[sm1947[nm.
Leading bar. in several It. opera houses and ~at fests., notably in role of Ross
ini's Figaro. CG ~d;aaebut [sm1960[nm. Sang Falstaff at CG [sm1984[nm.[cm~Panhar
monicon. [fy75,1]Mechanical orch. invented by ~[fy45,1]*[fy75,1]Maelzel in [sm18
05[nm. Beethoven wrote his [fy45,1]*[fy75,2]Battle ~Symphony[cf1] ([sm1813[nm) f
or it.[xm[cm~[j1]Panizza, Ettore [fy75,1]([cf2]b [cf1]Buenos Aires, [sm1875[nm;
[cf2]d [cf1]Milan, ~[sm1967[nm). Argentinian cond. of It. descent. Studied ~Mila
n. D;aaebut Rome [sm1899[nm. Cond. at CG, [sm1907[nm=n~[sm14[nm, [sm1924[nm. Ass
. cond. to Toscanini at La Scala, ~Milan, [sm1921[nm=n[sm9[nm. Cond., La Scala,
[sm1930[nm=n[sm2[nm, [sm1946[nm=n[sm8[nm. ~NY Met. [sm1934[nm=n[sm42[nm. Col;aao
n, Buenos Aires, [sm1921[nm=n~[sm67[nm. Wrote [sm4[nm operas, ed. Berlioz's trea
tise on ~orchestration ([sm1913[nm). Cond. f.p. of d'Erlanger's ~[fy45,1]*[fy75,
2]Tess [cf1]at CG [sm1909[nm.[xm[cm~[j1]Pannain, Guido [fy75,1]([cf2]b [cf1]Napl
es, [sm1891[nm; [cf2]d [cf1]Naples, [sm1977[nm). ~It. musicologi
st, author, and composer. Studied ~Naples Univ. Prof. of mus. history, Naples Co
ns. ~[sm1915[nm=n[sm61[nm. Wrote [sm3[nm operas, vn. conc., and other ~works, bu
t best-known for historical books. Wrote ~[cf2]Modern Composers[cf1], pubd. in E
ng. [sm1932[nm. Mus. ~critic for various journals [sm1920[nm=n[sm57[nm.[cm~Panor
mo, Vincenzo [fy75,1]([cf2]b [cf1]Monreale, nr. Palermo, ~[sm1734[nm; [cf2]d [cf
1]London, [cf2]c.[cf1][sm1813[nm). Sicilian maker of vns. ~who worked in Paris,
London, and Dublin. Went ~to London [sm1772[nm, then to France, returning to ~En
g. in [sm1789[nm. Most of his instrs. were unsigned. ~One of his two sons, Georg
e Lewis Panormo ([cf2]d ~c.[cf1][sm1850[nm) made guitars and vn. bows.[cm~Pan-Pi
pes [fy75,1](Pandean Pipes, Syrinx). Instr. of ~classical antiquity, ancestor of
 the fl. Series ([sm4[nm to ~[sm12[nm or more) of short vertical pipes of wood,
cane, ~or pottery fixed side by side and graduated in ~length to give the pitche
s of the different notes. ~The player blows across the open ends
. The ~ancient Greeks credited the god Pan with its ~invention. Used by Papageno
 in Mozart's [cf2]Die ~Zauberfl;auote[cf1].[cm~Pantaleon. [fy75,1]([sm1[nm) Larg
e dulcimer invented by ~Pantaleon Hebenstreit ([sm1667[nm=n[sm1750[nm).[ep~^([sm
2[nm)^Term used by Ger. writers in late [sm18[nmth cent. ~to describe a small sq
uare piano.[cm~Pantomime [fy75,1](from Gk., `all imitating'). ([sm1[nm) Play ~in
 which artists use dumb show.[ep~^([sm2[nm)^Mimed episode in larger work, e.g. i
n Ravel's ~ballet [cf2]Daphnis et Chlo;aae [cf1]when story of Pan and ~Syrinx is
 mimed.[ep~^([sm3[nm)^Type of Eng. stage show usually presented ~at the Christma
s period, loosely based on a fairy-~story, containing songs, and in former times
 ~concluding with harlequinade.[cm~Pantonality. [fy75,1]Term coined by R. [fy45,
1]*[fy75,1]R;aaeti in [sm1958[nm to ~describe extension of tonality in late[sm19
[nmth cent., as ~developed by Debussy, Wagner, and others, ~whereby the mus. can
not be said to be `in' a key ~but moves in and out of discernibl
e key centres ~without becoming atonal. Thus it applies to mus. ~by Bart;aaok, H
indemith, Stravinsky, and others.[cm~ Pantoum [fy75,1](Fr., from Malay [cf2]pant
um[cf1]). Type of verse ~quatrain of Malayan origin adapted in Fr. verse ~by Vic
tor Hugo. The term was used by Ravel to ~describe [sm2[nmnd movement (scherzo) o
f his Pf. Trio ~([sm1914[nm).[cm~Panufnik, Andrzej [fy75,1]([cf2]b [cf1]Warsaw,
[sm1914[nm). Polish-~born composer and cond. (Brit. citizen from ~[sm1961[nm). S
tudied Warsaw Cons. [sm1934[nm=n[sm6[nm, then ~studied cond. with Weingartner in
 Vienna [sm1937[nm=n~[sm8[nm. Completed studies in Paris and London. Cond. ~Krak
;aaow P.O. [sm1945[nm=n[sm6[nm, Warsaw P.O. [sm1946[nm=n[sm7[nm. Guest ~cond. le
ading orchs. Left Poland in protest against ~political regimentation [sm1954[nm,
 settling in Eng. ~Cond. CBSO [sm1957[nm=n[sm9[nm, resigning to concentrate on ~
comp. His mus. has extraordinary intensity and ~power. His works up to [sm1944[n
m were destroyed ~during the Warsaw uprising of that year. Some
~of the `revisions' of pre=n[sm1944[nm works are recon~~structions. Prin. comps.
:[xm[cm~[j2][smballet[nm: [fy75,2][fy45,1]*[fy75,2]Miss Julie [cf1](Stuttgart [s
m1970[nm).[ep~[smorch[nm: [cf2]Tragic Overture [cf1]([sm1942[nm, rev. [sm1945[nm
, [sm1955[nm); ~[cf2]Lullaby [cf1] for [sm29[nm str. and [sm2[nm harps ([sm1947[
nm, rev. [sm1955[nm); ~[cf2]Nocturne [cf1]([sm1947[nm, rev. [sm1955[nm); Symphon
ies: [cf2]Sinfonia ~Rustica [cf1]([sm1948[nm, rev. [sm1955[nm), [cf2]Sinfonia El
egiaca [cf1]([sm1957[nm, ~rev. [sm1966[nm), [cf2]Sinfonia Sacra [cf1]([sm1963[nm
), [cf2]Sinfonia di Sfere ~[cf1]([sm1975[nm), [cf2]Sinfonia Mistica [cf1]([sm197
7[nm), [cf2]Sinfonia Votiva ~[cf1]([sm1981[nm); [cf2]Heroic Overture [cf1]([sm19
52[nm, rev. [sm1969[nm); [cf2]Rhap~~sody [cf1]([sm1956[nm); [fy45,1]*[fy75,2]Pol
onia [cf1]([sm1959[nm); [cf2]Autumn Music[cf1], ~chamber orch. ([sm1962[nm, rev.
 [sm1965[nm); pf. conc. ([sm1962[nm, ~rev. [sm1970[nm, re-composed [sm1972[nm);
[cf2]Landscape[cf1], str. ~([sm1962[nm, rev. [sm1965[nm); [cf2][
sm2[nm Lyric Pieces [cf1]([sm1963[nm); [cf2]Kat;aayn ~Epitaph [cf1]([sm1967[nm,
rev. [sm1969[nm); vn. conc., with str. ~([sm1971[nm); [cf2]Metasymphonia, [cf1]o
rgan and orch. ([sm1978[nm); ~Concertino, timp., perc., str. ([sm1980[nm); [cf2]
A Procession ~for Peace [cf1]([sm1982[nm=n[sm3[nm).[ep~[smvocal[nm: [cf2][sm5[nm
 Polish Peasant Songs[cf1], sop., fls., and cls. ~([sm1940[nm, rev. [sm1945[nm,
[sm1959[nm); [cf2]Hommage ;aga Chopin[cf1], sop. ~and pf. ([sm1949[nm, rev. [sm1
955[nm, orch. version [sm1966[nm); ~[cf2]Song to the Virgin Mary[cf1], unacc. ch
. ([sm1964[nm); ~[fy45,1]*[fy75,2]Universal Prayer, [cf1]cantata ([sm1968[nm=n[s
m9[nm); [cf2]Thames ~Pageant[cf1], cantata ([sm1969[nm); [cf2]Invocation for Pea
ce[cf1], ~trebles, [sm2[nm tpt., [sm2[nm tb. ([sm1972[nm); [cf2]Winter Solstice[
cf1], ~[PN531,0,0,R,I0]soloists, ch., brass, timp. ([sm1972[nm); [cf2]Night Thou
ghts[cf1], ~v. and pf. ([sm1977[nm).[ep~[smchamber music[nm: [cf2]Triangles[cf1]
, [sm3[nm fl., [sm3[nm vc. ([sm1972[nm); ~[cf2]Sinfonia Concerta
nte[cf1], fl., harp, str. ([sm1973[nm); [cf2]Prelude ~and Transformations[cf1],
str. qt. No. [sm1[nm ([sm1976[nm), ~[cf2]Messages[cf1], No. [sm2[nm ([sm1980[nm)
.[ep~[smpiano[nm: [sm12[nm Miniature Studies [cf1]([sm1947[nm, rev. [sm1955[nm,
~[sm1964[nm); [cf2]Reflections [cf1]([sm1969[nm).[cm~[j1]Panz;aaera, Charles [fy
75,1]([cf2]b [cf1]Hy;ageres, [sm1896[nm; [cf2]d [cf1]Paris, [sm1976[nm). ~Swiss
bar. Studied Paris Cons. Opera d;aaebut Op;aaera-~Comique [sm1919[nm in Massenet
's [cf2]Werther. [cf1]Later was ~celebrated Pell;aaeas. Noted recitalist and int
erpreter ~of Fr. song. Prof. of singing, Paris Cons., [sm1949[nm. ~Also taught a
t Juilliard Sch., NY. Author of [cf2]L`Art ~de chanter [cf1]([sm1945[nm).[cm~Pap
a;auioannou, Yannis [fy75,1](Andreou) ([cf2]b [cf1]Cavala, ~Greece, [sm1911[nm).
 Gr. composer. Studied Hellenic ~Cons. [sm1929[nm=n[sm34[nm. Primarily self-taug
ht as comp., ~but had lessons from Honegger in Paris [sm1939[nm. ~Taught comp. H
ellenic Cons. [sm1954[nm. Pioneer in ~Gr. of [cf2]avant-garde [c
f1]resources. Adopted total-serial ~methods in his syms. from [sm1963[nm and has
 used ~other techniques. Influenced by tribal mus. and ~Byzantine chant. Works i
ncl. [sm5[nm syms. ([sm1946[nm=n[sm64[nm), ~pf. conc., conc. for orch., [cf2]Hel
las,[cf1] symphonic poem ~after Shelley, str. qt., pf. sonata, guitar suite, ob.
 ~qt., and cantatas to texts by C. Cavafy.[cm~Papier, Rosa [fy75,1]([cf2]b [cf1]
Baden, nr. Vienna, [sm1858[nm; [cf2]d ~[cf1]Vienna, [sm1932[nm). Austrian mez. S
ang at Vienna ~Opera but throat infection forced retirement ~[sm1891[nm, whereup
on she became celebrated teacher. ~Prof. of singing, Vienna Cons. Her son was ~B
ernhard [fy45,1]*[fy75,1]Paumgartner. She was instrumental ~in securing Mahler's
 appointment to Vienna ~Opera in [sm1897[nm.[cm~[j1]Papillons [fy75,1](Butterfli
es). [sm12[nm short dance pieces for ~pf. solo, Op. [sm2[nm, by Schumann, comp.
[sm1829[nm=n[sm31[nm, ~inspired by masked-ball scene at end of Jean-Paul ~Richte
r's [cf2]Flegeljahre [cf1](Age of Indiscretion).[cm~Papineau-Cou
ture, Jean [fy75,1]([cf2]b [cf1]Montreal, [sm1916[nm). ~Canadian composer. Studi
ed Montreal and with ~Quincy Porter in Boston, [sm1940[nm. Worked later ~with Na
dia Boulanger in Montecito, Calif. Taught ~at Quebec Cons. (Montreal section) [s
m1946[nm=n[sm51[nm, then ~at Univ. of Montreal (dean [sm1968[nm=n[sm73[nm). Acti
ve in ~promoting Canadian contemporary mus. Prolific ~composer, works incl. pf.
conc., vn. conc., str. ~qts., and [cf2]Paysage [cf1](Landscape) for [sm8[nm narr
ators, [sm8[nm ~singers, and instr. ens. ([sm1968[nm).[cm~Parade. [fy75,1]`Balle
t r;aaealiste' in [sm1[nm act with mus. by ~[fy45,1]*[fy75,1]Satie to lib. by Co
cteau, choreog. Massine, d;aaecor ~Picasso. Prod. Paris [sm1917[nm (Diaghilev's
Ballet Russe, ~cast incl. Lopokova and Massine).[cm~Paradies [fy75,1](Paradisi),
 (Pietro) [fy65][cf3]Domenico [fy75,1]([cf2]b [cf1]Naples, ~[sm1707[nm; [cf2]d [
cf1]Venice, [sm1791[nm). It. composer and harpsi~~chordist. Studied with Porpora
. Settled in London ~[sm1747[nm as teacher. Wrote several operas
 and [sm12[nm hpd. ~sonatas.[cm~Paradis, Maria Theresia von [fy75,1]([cf2]b [cf1
]Vienna, [sm1759[nm; [cf2]d ~[cf1]Vienna, [sm1824[nm). Austrian pianist, blind f
rom ~childhood, also org., composer, and singer. Visited ~most European capitals
, incl. London. Mozart's ~pf. conc. in B;yh major (K[sm456[nm, [sm1784[nm), was
written ~for her. She comp. in a specially devised notation ~and founded a mus.
sch. for girls.[cm~Paradise and the Peri [fy75,1]([cf2]Das Paradies und die Peri
[cf1]). ~Part [sm2[nm of T. Moore's poem [cf2]Lalla Rookh [cf1]([sm1817[nm), the
 ~Peri being a benign spirit in Persian mythology ~seeking re-admission to Parad
ise. [sm3[nm comps. based ~on it, by ([sm1[nm) Schumann, Op. [sm50[nm, cantata f
or ~soloists, ch., and orch., based on free trans., f.p. ~Leipzig [sm1843[nm.[ep
~^([sm2[nm) Sterndale Bennett, fantasy-ov., Op. [sm42[nm, comp. ~[sm1862[nm.[ep~
^([sm3[nm) J. F. Barnett, cantata for soloists, ch., and ~orch., [sm1870[nm.[cm~
Paradise Lost. [fy75,1]([sm1[nm) Opera in [sm2[nm acts by [fy45,
1]*[fy75,1]Penderecki ~to lib. by Christopher Fry adapted from Milton's ~poem ([
sm1658[nm=n[sm64[nm, pubd. [sm1667[nm). Prod. Chicago, ~[sm1978[nm, Stuttgart [s
m1979[nm.[ep~^([sm2[nm)^Dramatic cantata by Christopher Steel, Op. ~[sm34[nm, fo
r sop., ten., and bass soloists, ch., and orch. ~Comp. [sm1966[nm. F. public p.
Gloucester Fest. [sm1974[nm.[cm~Parameter. [fy75,1]Orig. mathematical term, in m
usical ~connotation refers to `dimension' of a sound, its ~pitch, loudness, dura
tion, rhythm, and (contro~~versially) timbre.[cm~Paraphrase. [fy75,1]([sm1[nm) C
ompositional process in poly~~phonic works of [sm15[nmth and [sm16[nmth cent., i
nvolving ~quotation in one or more vv. of a plainchant ~melody, usually one that
 has been altered ~rhythmically or melodically.[ep~^([sm2[nm)^In [sm19[nmth cent
., term applied to works based ~on existing melodies or comps., especially as a
~vehicle for virtuosity. Thus, Liszt's many `para~~phrases' for pf. of arias fro
m It. operas.[ep~^([sm3[nm)^Scottish paraphrases are metrical ve
rsions of ~scriptural passages sung to psalm tunes in the ~Church of Scotland.[c
m~Paraphrases. [fy75,1]Collection of pf. duets ([sm24[nm variations ~and [sm14[n
m other pieces) based on [fy45,1]*[fy75,1][cf2]Chopsticks[cf1], by ~Borodin, Rim
sky-Korsakov, and others incl. Liszt.[cm~Paray, Paul [fy75,1]([cf2]b[cf1] Le Tr;
aaeport, [sm1886[nm; [cf2]d[cf1] Monte Carlo, ~[sm1979[nm). Fr. cond. and compos
er. Studied Paris ~Cons. Ass. cond. Lamoureux Orch. from [sm1920[nm, ~prin. cond
. from [sm1923[nm. Cond. Monte Carlo Orch. ~[sm1928[nm=n[sm32[nm, Orch. of Conce
rts Colonne, Paris, [sm1932[nm=n~[sm52[nm (excluding war years), Detroit S.O. [s
m1952[nm=n[sm63[nm. ~Wrote syms., ballet, oratorio [cf2]Jeanne d'Arc[cf1], Mass,
 ~etc.[xm[cm~[j1]Pardessus de viole. [fy75,1]Type of [fy45,1]*[fy75,1]viol, smal
ler than ~the treble.[cm~Parepa-Rosa, Euphrosyne [fy75,1]([cf2]b [cf1]Edinburgh,
 [sm1836[nm; ~[cf2]d [cf1]London, [sm1874[nm). Scottish sop. D;aaebut Malta [sm1
855[nm. ~CG d;aaebut [sm1857[nm as Elvira in [cf2]I Puritani[cf1
]. Sang in ~Handel fests. of [sm1862[nm and [sm1865[nm. Toured USA ~[sm1865[nm w
ith Carl Rosa, whom she married [sm1867[nm. ~[PN532,0,0,L,I0]Had range of [sm2[n
m;FD octaves. Prin. sop. Carl Rosa ~Opera Co. Career in oratorio also.[cm~Parerg
on [fy75,1](Gr., `supplementary work'). Term ~used by R. Strauss in title of his
 [cf2]Parergon zur ~Symphonia Domestica, [cf1]Op. [sm73[nm, for pf. (L.H.) and ~
orch., [sm1925[nm, comp. for Paul Wittgenstein and ~using theme from earlier [fy
45,1]*[fy75,2]Symphonia Domestica[cf1].[cm~Paride ed Elena [fy75,1](Paris and He
len). Opera in [sm5[nm ~acts by Gluck to lib. by Calzabigi. Prod. Vienna ~[sm177
0[nm, Manchester (RMCM) [sm1963[nm (in Eng. trans. ~by Arthur Jacobs).[cm~Pariki
an, Manoug [fy75,1]([cf2]b [cf1]Mersin, Turkey, [sm1920[nm). ~Turkish-born violi
nist (Brit. citizen). Studied ~TCL. Leader Liverpool P.O. [sm1947[nm=n[sm8[nm, P
hilhar~~monia Orch. [sm1949[nm=n[sm57[nm. D;aaebut as conc. soloist, ~Liverpool
[sm1947[nm, London [sm1949[nm. Prof. of vn., RCM, ~[sm1954[nm=n[
sm6[nm, RAM from [sm1959[nm. Frequent appearances ~as soloist, giving f.p. of wo
rks by Goehr, ~Rawsthorne, Musgrave, Hamilton, Wood, Crosse, ~and Maconchy. Mus.
 dir., Manchester Camerata ~[sm1980=n4[nm.[cm~Paris, Alain [fy75,1]([cf2]b [cf1]
Paris, [sm1947[nm). Fr. cond. Studied pf., ~solf;agege, mus. history, [sm1951[nm
=n[sm65[nm, harmony and ~cond. at ;aaEcole Normale de Musique, Paris, [sm1965[nm
=n~[sm8[nm, then studied cond. with [fy45,1]*[fy75,1]Fourestier and [fy45,1]*[fy
75,1]Paray. ~Guest cond. of leading orchs. since [sm1975[nm.[cm~Paris Conservato
ire de Musique. [fy75,1]Free sch. of ~mus. est. in Paris [sm1795[nm incorporatin
g [sm2[nm previous ~schs. Among dirs. have been Sarrette, Cherubini, ~Auber, Tho
mas, Dubois, Faur;aae, and Rabaud. For ~its distinguished teachers and pupils, s
ee this ~dictionary [cf2]passim[cf1]. Since [sm1911[nm has been in rue de ~Madri
d.[cm~Paris Op;aaera. [fy75,1]Premier opera house of Fr., its ~official title be
ing [cf2]Acad;aaemie de Musique, Paris[cf1]. ~Opened [sm1671[nm.
 Controlled by [fy45,1]*[fy75,1]Lully [cf1][sm1672[nm=n[sm87[nm. ~Destroyed by f
ire [sm1763[nm, also the next building ~[sm1781[nm. In [sm1794[nm moved to rue d
e Richelieu as ~Th;aae;afatre des Arts, then to rue Favart [sm1821[nm and to ~ru
e Lepeletier [sm1822[nm. Great period in its history ~followed, with operas by M
eyerbeer, Auber, and ~H;aaerold and commissioned works from Rossini ~[cf2](Guill
aume Tell[cf1]), Verdi ([cf2]Don Carlos [cf1]and [cf2]Les V;afepres ~siciliennes
[cf1]). New th. opened [sm1875[nm. Accommodates ~[sm2[nm,[sm600[nm people and ha
s large stage ([sm100[nm;po wide and ~[sm112[nm;po deep). See also [cf2]Op;aaera
-Comique[cf1].[cm~Paris, Orchestre de. [fy75,1]Fr. sym. orch. founded in ~[sm196
7[nm when the Orchestra de la Soci;aaet;aae des ~Concerts du Conservatoire (foun
ded in [sm1828[nm) was ~disbanded. First cond. was Munch ([sm1967[nm), suc~~ceed
ed by Karajan ([sm1969[nm), then Solti ([sm1971[nm) and ~Barenboim ([sm1976[nm).
[cm~Paris Symphonies [fy75,1](Haydn). Set of [sm6[nm syms. by ~J
oseph Haydn, Nos. [sm82[nm=n[sm87[nm (Hob. I:=+=+[sm82[nm=n[sm7[nm), comp. ~[sm1
785[nm=n[sm6[nm and commissioned by Comte d'Ogny, ~one of backers of a Masonic P
arisian concert ~society, `Le Concert de la Loge Olympique'. F.ps., ~Paris [sm17
87[nm. The works are: No. [sm82[nm in C, [cf2]L'Ours ~[cf1](The [fy45,1]*[fy75,1
]Bear); No. [sm83[nm in G minor, [cf2]La [fy45,1]*[fy75,2]Poule [cf1](The ~Hen);
 No. [sm84[nm in E;yh; No. [sm85[nm in B;yh, [cf2]La [fy45,1]*[fy75,2]Reine [cf1
](The ~Queen); No. [sm86[nm in D; No. [sm87[nm in A. Haydn's next ~[sm5[nm syms.
, Nos. [sm88[nm=n[sm92[nm, were also written for Paris.[cm~Paris Symphony. [fy75
,1]Nickname of Mozart's Sym. ~No. [sm31[nm in D (K[sm297[nm), comp. in Paris, [s
m1778[nm, where ~it was f.p. at the Concert Spirituel on Corpus ~Christi Day, [s
m18[nm June [sm1778[nm.[cm~Paris: The Song of a Great City. [fy75,1]Nocturne for
 ~orch. by Delius, [sm1899[nm. F.p. Elberfeld [sm1901[nm cond. ~[fy45,1]*[fy75,1
]Haym, Liverpool and London [sm1908[nm, cond. ~Beecham. Used for
 ballet by F. Ashton, SW [sm1936[nm ~(Fonteyn and Helpmann).[xm[cm~[j1]Parish-Al
vars, Elias [fy75,1]([cf2]b [cf1]Teignmouth, [sm1808[nm; [cf2]d ~[cf1]Vienna, [s
m1849[nm). Eng. harpist, pianist, and com~~poser. Lived mainly in Vienna from [s
m1834[nm. ~Important contributor to the development of ~harp-playing. Wrote many
 works for harp, incl. ~[sm2[nm concs.[cm~Parker, Charlie [fy75,1]([cf2]b[cf1] K
ansas City, [sm1920[nm; [cf2]d[cf1] NY, ~[sm1955[nm). Amer. jazz alto and ten. s
axophonist and ~composer. Became full-time professional musi~~cian on leaving sc
hool in [sm1935[nm. Worked mainly ~in Kansas City [sm1935[nm=n[sm9[nm with blues
 and jazz groups. ~First visited NY [sm1939[nm. Joined Earl Hines's band ~[sm194
2[nm and Billy Eckstine band [sm1944[nm. Led own ~group [sm1945[nm, worked with
Dizzy Gillespie (trum~~peter) and began to make recordings. In [sm1946[nm ~worke
d in Los Angeles, returning to NY [sm1947[nm. ~His greatest period was [sm1947[n
m=n[sm51[nm, when he made ~over half his surviving records and v
isited Europe ~three times. His last years were shadowed by drug ~addiction and
alcoholism. Parker was one of the ~most influential figures in jazz and a leader
 in the ~development of bop in the [sm1940[nms. His outstanding ~achievement was
 his improvisation.[cm~Parker, Horatio [fy75,1](William) ([cf2]b [cf1]Auburndale
, Mass., ~[sm1863[nm; [cf2]d [cf1]Cedarhurst, NY, [sm1919[nm). Amer. composer, ~
organist, and teacher. Studied with his mother ~and then at Munich Cons. with Rh
einberger ~[sm1881[nm=n[sm4[nm. Held org. posts in NY, and taught at Nat. ~Cons.
 when Dvo;Akr;aaak was dir. Organist and mus. ~dir. Trinity Church, Boston, from
 [sm1893[nm. Prof. of ~mus., Yale Univ., [sm1894[nm=n[sm1919[nm. Taught [fy45,1]
*[fy75,1]Ives[cf1]. His ~oratorio [cf2]Hora Novissima [cf1]([sm1893[nm) was the
first work ~by an Amer. to be perf. at a [sm3[nm Choirs Fest. ~(Worcester [sm189
9[nm). His [cf2]Wanderer's Psalm [cf1]was perf. ~Hereford [sm1900[nm, Part [sm3[
nm of [cf2]Legend of St Christopher ~[cf1]at Worcester [sm1902[n
m, complete work Bristol [sm1902[nm. ~Also wrote [sm2[nm operas, sym., symphonic
 poem, ~chamber mus., ch. works, org. pieces, and songs.[cm~Parker-Smith, Jane [
fy75,1]([cf2]b [cf1]Northampton, [sm1950[nm). ~Eng. organist. Studied RCM [sm196
7[nm=n[sm71[nm (org., pf., ~and hpd.). London d;aaebut Westminster Cath. ~[sm197
0[nm. Prom d;aaebut [sm1972[nm. Studied in Paris [sm1973[nm ~with Jean Langlais,
 later with Kynaston. Won ~Nat. Organ Competition, [sm1974[nm. Many foreign ~tou
rs as recitalist.[cm~Parkhouse, David [fy75,1]([cf2]b [cf1]Teignmouth, [sm1930[n
m). Eng. ~pianist. Studied RCM. Player in many chamber-~music ens.[cm~[PN533,0,0
,R,I0]Parkin, Eric [fy75,1]([cf2]b [cf1]Stevenage, [sm1924[nm). Eng. pianist. ~S
tudied TCL. D;aaebut London [sm1948[nm. Specialist in ~mus. of John Ireland.[cm~
Parlando, Parlante [fy75,1](It.). Speaking. ([sm1[nm) In vocal ~mus., a directiv
e for the tone of the v. to ~approximate to speech.[ep~^([sm2[nm)^In instr. mus.
, it calls for an expressive ~freedom greater than is implied by
 [cf2]cantabile.[cm~Parlato [fy75,1](It.). Spoken.[cm~Parma, Ildebrando da. [fy7
5,1]See [cf2]Pizzetti, Ildebrando[cf1].[cm~Parody. [fy75,1]The only true use of
the term applies to ~the [sm18[nmth- and [sm19[nmth-cent. parodies of the popula
r ~or most talked-about operas of the day, e.g. that ~of Wagner's [cf2]Tristan [
cf1]prod. in Munich [sm1865[nm and ~called [cf2]Tristanderl und S;auussholde[cf1
]. Examples of ~parodies of one composer by another or of a type ~of composition
 are to be found in Bart;aaok's ~[cf2]Concerto for Orchestra[cf1] (where Shostak
ovich is the ~target), Britten's [cf2]Midsummer Night's Dream [cf1](Italian ~[sm
19[nmth cent. opera), and Walton's [cf2]The Bear[cf1] (various).[cm~Parody Mass
[fy75,1](Lat. [cf2]Missa parodia[cf1]). Misleading ~term for a [sm15[nmth- and [
sm16[nmth-cent. Mass which ~incorporated material derived from a motet, ~[cf2]ch
anson[cf1], or madrigal. There was nothing of ~`parody' about this practice, mer
ely the use of ~already existing material.[xm[cm~[ol0][ep~[xp[te
~












[do9][j99]~~~~~~[sm153842[nm_P[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmP[sm003[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm8[nm.[sm10[nm.[sm7
9[nm[cm[sm12[nm[cm[sm80[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Paroles ti
ss;aaees [fy75,1](Woven words). Work for ten. ~and [sm20[nm solo instr. by [fy45
,1]*[fy75,1]Lutos;umawski, comp. [sm1965[nm. ~Text by Jean-Fran;Alcois Chabrun.
Commissioned ~and first sung by Peter [fy45,1]*[fy75,1]Pears.[cm~Parratt,[fy75,1
] (Sir) [fy65][cf3]Walter [fy75,1]([cf2]b [cf1]Huddersfield, [sm1841[nm; [cf2]d
~[cf1]Windsor, [sm1924[nm). Eng. organist and composer. ~Pupil of his father. He
ld organist post at age of ~[sm11[nm. Organist, Magdalen Coll., Oxford, [sm1872[
nm=n[sm82[nm, ~St George's Chapel, Windsor, [sm1882[nm=n[sm1924[nm. Prof. of ~or
g. RCM [sm1883[nm=n[sm1923[nm. Prof. of mus., Oxford ~Univ., [sm1908[nm=n[sm18[n
m, dean of mus., London Univ. ~from [sm1916[nm. Knighted [sm1892[nm, K.C.V.O. [s
m1921[nm. ~Master of the Queen's (King's) Mus. [sm1893[nm=n[sm19
24[nm. ~Bach specialist. Some comps.[cm~Parris, Robert [fy75,1]([cf2]b [cf1]Phil
adelphia, [sm1924[nm). Amer. ~composer, pianist, harpsichordist, and teacher. ~S
tudied Juilliard Sch. [sm1946[nm=n[sm8[nm with P. Mennin, ~later at Tanglewood w
ith Ibert and Copland, and ~in Paris with Honegger at ;aaEcole Normale, [sm1952[
nm=n~[sm3[nm. Ass. mus. critic, [cf2]Washington Post[cf1], [sm1959[nm=n[sm63[nm.
 ~Since [sm1963[nm on staff of George Washington Univ. ~Works incl. pf. conc., v
a. conc., conc. for [sm5[nm ~kettledrums, vn. conc., [sm2[nm syms., cantata [cf2
]The Hollow ~Men [cf1]([sm1949[nm), chamber mus., and songs.[cm~Parrott, Andrew
[fy75,1]([cf2]b[cf1] Walsall, [sm1947[nm). Eng. conduc~~tor. Began cond. at Oxfo
rd; dir. mus. Merton ~Coll. and research into perf. practice of [sm16[nmth and ~
[sm17[nmth cent. mus. Founded Taverner Choir [sm1973[nm ~and later Taverner Cons
ort and Players. Prom. ~d;aaebut [sm1977[nm with Monteverdi Vespers, RFH [sm1979
[nm. ~Gave f.p. in London of Bach's Mass in B minor ~with period
 instr.; also perfs. of [cf2]St Matthew Passion ~[cf1]and [cf2]Brandenburg[cf1]
concs. with authentic instr. Has ~cond. ECO, London Bach Orch., and Concerto ~Am
sterdam. Assoc. with Tippett and recorded his ~mus. for [cf2]The Tempest[cf1], [
sm1983[nm[cm~Parrott, [fy75,1](Horace)[fy65][cf3] Ian [fy75,1]([cf2]b [cf1]Londo
n, [sm1916[nm). Eng. ~composer and teacher. Studied RCM. Lecturer, ~Birmingham U
niv. [sm1947[nm=n[sm50[nm, prof. of mus., Univ. ~Coll., Aberystwyth, [sm1950[nm=
n[sm83[nm. Author of books on ~orchestration and Elgar. Comp. operas (incl. [cf2
]The ~Black Ram[cf1], [sm1951[nm=n[sm3[nm), [sm3[nm syms., symphonic poem ~[cf2]
Alamein[cf1], pf. conc., cor anglais conc., ob. qt., pf. ~trio, choral works, et
c.[xm[cm~[j1]Parry, [fy75,1](Sir) (Charles) [fy65][cf3]Hubert [fy75,1](Hastings)
 [cf1]([cf2]b[fj~[cf1]Bournemouth, [sm1848[nm; [cf2]d [cf1]Rustington, Sussex, [
sm1918[nm). ~Eng. composer, teacher, and writer. Studied ~Oxford Univ. (co-found
er of Mus. Club) with ~Sterndale Bennett and Macfarren. Entered
busi~~ness [sm1871[nm but [sm3[nm years later gave it up for mus. ~Studied pf. w
ith E. Dannreuther, who introduced ~his pf. conc., [sm1880[nm. His choral works,
 especially ~[cf2]Blest Pair of Sirens [cf1]([sm1887[nm), est. him, with Stanfor
d, ~in the forefront of Brit. composers at a time when ~Brahms and Bach were the
 admired models. He ~wrote prolifically in several genres (even compos~~ing an u
nprod. opera, [cf2]Guinevere [cf1][sm1885[nm=n[sm6[nm), and ~exerted a beneficia
l influence on Eng. mus. ~through his educational work. He joined staff of ~RCM
[sm1883[nm, becoming dir. [sm1894[nm until death. Prof. ~of mus., Oxford Univ. [
sm1900[nm=n[sm08[nm. Knighted [sm1898[nm, ~baronet [sm1903[nm. His [cf2]Songs of
 Farewell[cf1] are master~~pieces of [cf2]a cappella [cf1]writing and his settin
gs of ~English poetry, in the sets known as the [cf2]English ~Lyrics[cf1], are e
xtremely felicitous. In [sm1916[nm he wrote ~the unison setting of Blake's `Jeru
salem' which ~has become a nat. song like Elgar's `Land of Hope
~and Glory'. The scorn poured on Parry's choral ~works by Bernard Shaw put them
into critical ~purdah for many years, but the best of them are ~re-emerging, to
be regarded with delighted ~surprise, notably [cf2]The Soul's Ransom [cf1]and th
e [cf2]Nativity ~Ode[cf1]. His chamber music, too, amply rewards ~exploration. W
rote several books, among them ~[cf2]Studies of the Great Composers[cf1] ([sm188
6[nm), [cf2]The Evolution ~of the Art of Music [cf1]([sm1896[nm), [cf2]Style in
Musical Art ~[cf1]([sm1911[nm), [cf2]J. S. Bach [cf1]([sm1909[nm). Prin. comps.:
[xm[cm~[j2][smopera[nm: [cf2]Guinevere [cf1]([sm1885[nm=n[sm6[nm).[ep~[sminciden
tal music[nm: [cf2]The Birds [cf1]([sm1883[nm); [cf2]The Frogs ~[cf1]([sm1891[nm
); [cf2]Hypatia [cf1]([sm1893[nm); [cf2]Agamemnon [cf1]([sm1900[nm); [cf2]The ~C
louds[cf1] ([sm1905[nm); [cf2]The Acharnians[cf1] ([sm1914[nm).[ep~[smorch[nm: S
yms. No. [sm1[nm in G ([sm1878[nm=n[sm82[nm), No. [sm2[nm in F ~(`Cambridge') ([
sm1883[nm), No. [sm3[nm in C (`English') ~([sm1889[nm), No. [sm4
[nm in E minor ([sm1889[nm), No. [sm5[nm in B ~minor (orig. [cf2]Symphonic Fanta
sia[cf1]) ([sm1912[nm); [cf2]Alle~~gretto scherzando[cf1] in E;yh ([sm1867[nm);
[cf2]Intermezzo religioso[cf1] ~([sm1868[nm); Pf. conc. in F;yi ([sm1878[nm=n[sm
9[nm); [cf2]Suite Moderne ~[cf1]([sm1886[nm); [cf2]Suite[cf1] for str. in E mino
r ([sm1892[nm); [cf2]Overture ~to an Unwritten Tragedy [cf1]([sm1893[nm); [fy45,
1]*[fy75,1][cf2]Lady Radnor's ~Suite[cf1], str. ([sm1894[nm); [cf2]Symphonic Var
iations [cf1]([sm1897[nm); ~[cf2]Elegy for Brahms [cf1]([sm1897[nm); [cf2]From D
eath to Life[cf1], sym.-~poem ([sm1914[nm); [cf2]An [fy45,1]*[fy75,2]English Sui
te[cf1], str. ([sm1921[nm, posth.).[ep~[PN534,0,0,L,I0][smoratorios and sacred[n
m: [cf2]Magnificat and Nunc ~Dimittis[cf1] ([sm1864[nm); [cf2]Te Deum [cf1]in E;
yh ([sm1873[nm); [fy45,1]*[fy75,2]Judith[cf1], ~SATB soloists, ch., orch. ([sm18
88[nm); [fy45,1]*[fy75,2]Ode on St ~Cecilia's Day[cf1], sop., bass, ch., org. ([
sm1889[nm); [fy45,1]*[fy75,2]Job[cf1], ~sop., ten., [sm2[nm bass
es, ch., orch. ([sm1892[nm); [cf2]King Saul[cf1], ~SATB soloists, ch., orch. ([s
m1894[nm); [cf2]Te Deum[cf1] ([sm1900[nm); ~[cf2]The Love that casteth out fear[
cf1], ch., orch. ([sm1904[nm); ~[cf2]The Soul's Ransom[cf1], sinfonia sacra, sop
., bass, ch., ~orch. ([sm1906[nm); [cf2] Te Deum[cf1] in D (Coronation) ([sm1911
[nm); ~[cf2]An Ode on the Nativity[cf1], sop., ch., orch. ([sm1912[nm).[ep~[smmo
tets and anthems[nm: [cf2]De Profundis[cf1], sop., [sm12[nm vv., ~orch. ([sm1891
[nm); [cf2]Crossing the Bar [cf1]([sm1903[nm); [cf2]Voces ~clamantium[cf1], sop.
, bass, ch., orch. ([sm1908[nm); [cf2]Beyond ~these voices there is peace[cf1],
sop., bass, ch., orch. ~([sm1908[nm); [fy45,1]*[fy75,2]Songs of Farewell[cf1] ([
cf2]My soul, there is a ~country[cf1], [sm1916[nm, [cf2]I know my soul hath powe
r[cf1], [sm1916[nm, ~[cf2]Never weatherbeaten sail[cf1], [sm1916[nm, [cf2]There
is an old ~belief[cf1], [sm1916[nm, [cf2]At the round earth's imagin'd corners[c
f1], ~[sm1917[nm, [cf2]Lord, let me know mine end[cf1], [sm1918[
nm); [cf2]I Was ~Glad[cf1], with processional music ([sm1902[nm, Corona~~tion).[
ep~[smsecular choral[nm: [cf2]Scenes from Shelley's [fy45,1]*[fy75,2]Prometheus
~Unbound[cf1], cont., ten., bass, ch., orch. ([sm1880[nm); [cf2]The ~Glories of
Our Blood and State[cf1], ch., orch. ([sm1883[nm, ~rev. [sm1914[nm); [fy45,1]*[f
y75,2]Blest Pair of Sirens[cf1], ch., orch. ([sm1887[nm); ~[cf2]L'Allegro ed Il
Penseroso[cf1], sop., bass, ch., orch. ~([sm1890[nm); [cf2]Choric Song from The
Lotus Eaters[cf1], sop., ~ch., orch. ([sm1892[nm); [cf2]Invocation to Music[cf1]
, sop., ten., ~bass, ch., orch. ([sm1895[nm); [cf2]Ode to Music[cf1], sop., ten.
, ~bass, ch., orch. ([sm1901[nm); [cf2]War and Peace[cf1], SATB ~soloists, ch.,
orch. ([sm1903[nm); [cf2]The Pied Piper of ~Hamelin[cf1], ten., bass, ch., orch.
 ([sm1905[nm); [cf2]A Vision of ~Life[cf1], sop., bass, ch., orch. ([sm1907[nm,
rev. [sm1914[nm); [cf2]The ~Chivalry of the Sea[cf1], ch., orch. ([sm1916[nm); [
cf2]England[cf1], ~unison song ([sm1916[nm); [fy45,1]*[fy75,2]Je
rusalem[cf1], choral song, ~unison vv., orch. ([sm1916[nm).[ep~[smchamber music[
nm: Nonet in B;yh for wind ([sm1877[nm); Str. ~Quintet in E;yh ([sm1884[nm); Pf.
 Qt. in A ([sm1879[nm); Str. ~Qts., No. [sm1[nm in G minor ([sm1867[nm), No. [sm
2[nm in C minor ~([sm1868[nm), No. [sm3[nm in G ([sm1878[nm=n[sm80[nm); Pf. Trio
s, No. [sm1[nm in ~E minor ([sm1878[nm), No. [sm2[nm in B minor ([sm1884[nm), No
. [sm3[nm ~in G ([sm1884[nm=n[sm90[nm); [cf2][sm3[nm Movements[cf1], vn., pf. ([
sm1863[nm); [cf2][sm2[nm ~Duettinos[cf1], vc., pf. ([sm1868[nm); [cf2]Romance in
 D[cf1], vn. ~([sm1866[nm=n[sm8[nm); [cf2]Allegretto pastorale[cf1] in G, vn., p
f. ~([sm1870[nm); [cf2][sm6[nm Freundschaftslieder[cf1], vn., pf. ([sm1872[nm);
~[cf2]Fantasie-sonata[cf1] in B minor, vn., pf. ([sm1878[nm); Vc. ~sonata in A (
[sm1883[nm); [cf2]Partita in D minor[cf1], vn., pf. ~([sm1877[nm=n[sm86[nm); Vn.
 sonata in D (?[sm1888[nm=n[sm9[nm); [cf2][sm12[nm Short ~Pieces[cf1], vn., pf.
([sm1895[nm); [cf2]Suite in D[cf1], vn., pf. ([sm1907[nm); ~[cf2
]Suite in F[cf1], vn., pf. ([sm1907[nm).[ep~[smpiano[nm: [cf2]Andante[cf1] in C
([sm1867[nm); [cf2]Sonnets and Songs ~Without Words[cf1], Set I ([sm1869[nm), II
 ([sm1875[nm), III ([sm1877[nm); ~[sm7[nm [cf2]Charakterbilder[cf1] ([sm1872[nm)
; [cf2]Variations on an Air by ~Bach[cf1] ([sm1873[nm=n[sm5[nm); Sonatas, No. [s
m1[nm in F ([sm1877[nm), No. [sm2[nm ~in A ([sm1878[nm); [cf2]Theme and [sm19[nm
 Variations [cf1]in D minor ~([sm1878[nm=n[sm85[nm); [cf2][sm10[nm Shulbrede Tun
es[cf1] ([sm1914[nm); Suite, ~[cf2]Hands Across the Centuries[cf1] ([sm1918[nm).
[ep~[smsongs[nm: Over [sm40[nm part-songs ([sm1864[nm=n[sm1918[nm); over [sm100[
nm ~songs for v. and pf., [sm74[nm of them in [sm12[nm sets of ~[fy45,1]*[fy75,2
]English Lyrics[cf1].[cm~[j1]Parry, John [fy75,1]([cf2]b [cf1]Bryn Cynan, [cf2]c
[cf1].[sm1710[nm; [cf2]d[cf1] Ruabon, ~[sm1782[nm). Welsh harpist. Although blin
d, became ~most distinguished player of his time in Brit. ~From [sm1734[nm to de
ath was in service of Williams ~Wynn family at Wynnstay, Ruabon.
 His playing ~impressed Handel, and the Prince of Wales (later ~George III) beca
me his patron. After he had ~played at Cambridge [sm1757[nm, the poet Thomas Gra
y ~was inspired to complete his ode [cf2]The Bard[cf1]. ~Composed for the harp a
nd the guitar. In collab. ~with Evan Williams, another harpist, pubd. first ~col
l. of Welsh melodies ([sm1742[nm), later adding two ~more coll. under his own na
me. These contributed ~to the popularity of the harp melody in the late ~[sm18[n
mth cent.[cm~[j1]Parry, Joseph [fy75,1]([cf2]b [cf1]Merthyr Tydfil, [sm1841[nm;
[cf2]d [cf1]Penarth, ~[sm1903[nm). Welsh composer. Studied RAM. Prof. of ~mus.,
Univ. Coll., Aberystwyth [sm1873[nm=n[sm9[nm, becom~~ing lecturer in mus. at Uni
v. Coll. of S. Wales, ~Cardiff, [sm1888[nm=n[sm1903[nm. Wrote [sm5[nm operas, [s
m3[nm oratorios, ~cantatas, and hymn-tunes, incl. the superb [fy45,1]*[fy75,2]Ab
er~~ystwyth[cf1], to which are usually sung the words ~`Jesu, Lover of my Soul'.
 Tune appeared in [cf2]Ail ~Lyfr Tonau ac Emynau, [cf1][sm1879[n
m.[cm~Parry, Wilfrid [fy75,1]([cf2]b [cf1]Birmingham, [sm1908[nm). Eng. ~pianist
 and accompanist. Studied TCL. BBC staff ~accompanist [sm1961[nm. Member of seve
ral chamber ~ens.[cm~Parsifal. [fy75,1]Sacred fest. drama [cf1]([cf2]B;Auuhnenwe
ihfestspiel[cf1]) ~in [sm3[nm acts by Wagner to his own lib. His last opera, ~co
mposed [sm1878[nm=n[sm82[nm, f.p. Bayreuth [sm1882[nm, NY Met. ~[sm1903[nm, CG [
sm1914[nm. (Concert perfs., London [sm1884[nm, ~NY [sm1886[nm.) Wagner wanted [c
f2]Parsifal [cf1]to be perf. ~nowhere but at Bayreuth, and the Bayreuth Fest. ~h
ad a copyright on the work until [sm31[nm Dec. [sm1913[nm. ~Nevertheless this wa
s infringed by the NY Met. ~and in Z;auurich in [sm1903[nm and by perfs. in Bost
on, ~Mass., and other Amer. cities [sm1904[nm=n[sm5[nm, in Amster~~dam [sm1905[n
m, and in Buenos Aires and Rio [sm1913[nm.[cm~Parsley, Osbert [fy75,1]([cf2]b[cf
1] [sm1511[nm; [cf2]d[cf1] Norwich, [sm1585[nm). Eng. ~composer and singer. Sing
er in Norwich Cath. ~choir for over [sm50[nm years, according to
 tablet there ~in his memory. Wrote church mus. for Eng. and ~Latin rites, incl.
 two [sm4[nm-part morning services, ~[cf2]Magnificat[cf1] and [cf2]Nunc Dimittis
[cf1], and anthem. Also ~wrote for viols.[cm~Parsons, Geoffrey [fy75,1](Penwill)
 [cf1]([cf2]b [cf1]Sydney, N.S.W., ~[sm1929[nm). Australian pianist and accompan
ist. Stud~~ied N.S.W. State Cons. Toured Australia with ~Essie Ackland [sm1948[n
m and with Peter [fy45,1]*[fy75,1]Dawson ~[sm1949[nm. Went to London [sm1950[nm
as accompanist to ~Dawson and settled there. World tours as accom~~panist to lea
ding singers, e.g. Janet Baker, Nicolai ~Gedda, Elisabeth Schwarzkopf, and Hans
Hotter.[xm[cm~[j1]Parsons, Robert [fy75,1]([cf2]b [cf1]Exeter, [cf2]c[cf1].[sm15
30[nm; ? [cf2]d [cf1]Newark, ~[sm1570[nm). Eng. composer of church mus. and of ~
pieces for viols. Richness of harmony and ~contrapuntal ingenuity placed him hig
h among ~his contemporaries. Gentleman of Chapel Royal ~[sm1563[nm. Drowned in R
iver Trent.[xm[cm~[j1]Part [fy75,1](Fr. [cf2]Partie [cf1]or [cf2
]voix[cf1]; [cf1]Ger. [cf2]Part [cf1] or [cf2]Stimme[cf1]; It. ~[cf2]parte [cf1]
 or [cf2]voce[cf1]). ([sm1[nm) The mus. from which a ~[PN535,0,0,R,I0]particular
 perf. or singer in an ens. works, e.g. ~bass part, ob. part. One speaks of `sco
re and parts', ~to denote the full score (containing all the parts) ~and the ind
ividual parts.[ep~^([sm2[nm)^Individual line of notes to be perf. by any ~instr.
 or v., or group of instrs. or vv., thus, Fugue ~in [sm4[nm parts, etc.[ep~^([sm
3[nm)^A division of a large comp., e.g. Part I of [cf2]The ~Dream of Gerontius.
[cf1]See also [cf2]colla parte[cf1].[cm~P;auart, Arvo [fy75,1]([cf2]b [cf1]Paide
, [sm1935[nm). Estonian composer. ~Worked for Estonian radio [sm1957[nm=n[sm67[n
m. Studied at ~Tallinn Cons., graduating [sm1963[nm. Early works ~influenced by
Shostakovich, but later adopted ~strict serialism and eventually collages. Works
 ~incl.: [cf2]Nekroloog[cf1], orch. ([sm1960[nm); [cf2]Stride of the World[cf1],
 ~oratorio ([sm1960[nm); Syms. No. [sm1[nm ([sm1964[nm), No. [sm
2[nm ([sm1966[nm), ~No. [sm3[nm ([sm1971[nm); [cf2]Collage teemal BACH [cf1]([sm
1964[nm); [cf2]Pro et ~contra[cf1], vc., orch. ([sm1966[nm); [cf2]Credo[cf1], pf
., ch., orch. ~([sm1968[nm); [cf2]Song for the Beloved[cf1], cantata ([sm1975[nm
); [cf2]Dies ~Irae[cf1], ch., org., instr. ([sm1976[nm); [cf2]Arbos[cf1], chambe
r ens. ~([sm1977[nm); [cf2]Tabula Rasa[cf1], [sm3[nm vn., str., prepared pf. ~([
sm1977[nm); [cf2]Missa Sillabica[cf1], vv. and instr. ([sm1977[nm); ~[cf2]Fratre
s[cf1], str. and perc. ([sm1977[nm=n[sm83[nm), vn. and ens. ~([sm1980[nm), [sm12
[nm vc. ([sm1980[nm=n[sm2[nm); [cf2]De Profundis[cf1], male vv., ~org., perc. ([
sm1980[nm); [cf2]Summa[cf1], ten., bar., instr. ([sm1980[nm); ~conc. for vn., vc
., and chamber orch. ([sm1980[nm); ~[cf2]Cantus in Memory of Benjamin Britten[cf
1], str. and bell ~([sm1980[nm); [cf2]Wenn Bach bienen gez;auuchtet h;auatte [cf
1](If Bach ~had kept bees), two versions, hpd. and elec. or ~hpd. and str. ([sm1
980[nm); [cf2]St John Passion[cf1], ten., bass, solo ~vv., ch.,
org., and instr. ([sm1982[nm).[cm~Part Books [fy75,1](Ger. [cf2]Stimmb;auucher[c
f1]). MS. or printed ~books of [sm15[nmth and [sm16[nmth cents. containing mus.
~for an individual v. in a polyphonic comp.[cm~Partch, Harry [fy75,1]([cf2]b [cf
1]Oakland, Calif., [sm1901[nm; [cf2]d [cf1]San ~Diego, [sm1974[nm). Amer. self-t
aught composer and ~inventor. Comp. several large works before he ~was [sm25[nm
but destroyed them. Wandered over USA ~during depression as hobo. In [sm1943[nm,
 while a ~lumberjack, he received Guggenheim award ~enabling him to develop [sm2
0[nm instrs. he had ~invented. He used system of intonation with [sm43[nm ~notes
 to octave; instrs. incl. the `marimba eroica', ~`chromelodeon', etc. Research a
ssoc., Wisconsin ~Univ. [sm1944[nm=n[sm7[nm. Works incl. [cf2]Windsong, Barstow,
 [sm2[nm ~Settings from Finnegans Wake, [cf1]and [cf2]And on the [sm7[nmth ~Day
Petals Fell in Petaluma[cf1].[cm~Parthenia [fy75,1](Gk. `Maidenhood'). Title of
[sm1[nmst book ~of kbd. mus. printed in Eng. [sm1611[nm containi
ng [sm21[nm ~pieces by Byrd, Bull, and Gibbons=m`[cf2]Parthenia[cf1], or ~the Ma
idenhead of the first music that ever was ~printed for the virginals.' Reprinted
 [sm1613[nm and ~several other times in [sm17[nmth cent. Reprints [sm1847[nm, ~i
n facsimile by O. E. Deutsch, [sm1943[nm, and edn. by ~Thurston Dart, [sm1961[nm
. A companion work, [cf2]Par~~thenia inviolata [cf1](pun on `Inviolated' and `se
t for the ~viol') was pubd. shortly after [cf2]Parthenia [cf1]containing ~[sm20[
nm anon. pieces for virginals and bass viol. Only ~known copy in NY Public Libra
ry.[cm~Partials. [fy75,1]Constituents of the notes of the [fy45,1]*[fy75,1]har~~
monic series, the main (fundamental) note being ~the first partial [cf1]and the
remainder the upper ~partials.[cm~Particell [fy75,1](Ger.). Short [fy45,1]*[fy75
,1]score.[cm~Partie. [fy75,1]See ([sm1[nm) [cf2]Part[cf1]; ([sm2[nm) [cf2]Suite[
cf1].[cm~Partimento [fy75,1](It.). Division. Practice in [sm17[nmth and ~[sm18[n
mth cents. of improvising melodies above a ~written bass. In Eng
. viol-playing, `divisions' on a ~ground were a form of [cf2]partimento [cf1]tec
hnique.[cm~Partita [fy75,1](It.). Strict mus. meaning of this term is a ~variati
on, the total comp. being [cf2]partite[cf1]. But the ~ungrammatical custom of ap
plying [cf2]Partita [cf1]to a ~composite work such as a suite has developed ~fro
m the [sm6[nm Partitas in Bach's [cf2]Klavier;auubung [cf1]([sm1731[nm). ~Bach's
 [sm3[nm suites for solo vn. are actually termed on ~the autograph score [cf2]Pa
rtia[cf1].[xm[cm~[j1]Partition [fy75,1](Fr.). [fy45,1]*[fy75,1]Score.[cm~Partito
 [fy75,1](It.). Divided.[cm~Partitur [fy75,1](Ger.), [fy65][cf3]Partitura [fy75,
1](It.). [fy45,1]*[fy75,1]Score.[cm~Partos, ;auOd;auon [fy75,1]([cf2]b [cf1]Buda
pest, [sm1907[nm; [cf2]d[cf1] Tel Aviv, ~[sm1977[nm). Hung.-Israeli composer and
 violist. Studied ~Budapest Cons. with Hubay and Kod;aaaly. Worked ~in Berlin [s
m1928[nm=n[sm33[nm, Budapest, [sm1933[nm=n[sm6[nm. Settled in ~Palestine [sm1938
[nm as violist in Tel Aviv orch. Played ~in orch. until [sm1956[
nm. Dir., Tel Aviv Acad. of Mus. ~from [sm1951[nm. Comps. incl. [cf2]Yizkor [cf1
]([cf2]In Memoriam[cf1]), ~va. and str. ([sm1946[nm); [cf2]Choral Fantasia on Ye
menite ~Jewish Themes [cf1]([sm1946[nm); [sm3[nm va. concs. ([sm1949[nm, [sm1957
[nm, ~[sm1962[nm); vn. conc. ([sm1958[nm); [cf2]Arabesque[cf1], ob. and ~chamber
 orch. ([sm1975[nm); [cf2]Improvisation[cf1], [sm12[nm harps ~([sm1960[nm); [cf2
]Ballade[cf1], pf. qt. ([sm1977[nm); works for str. qt., ~and songs.[cm~Partridg
e, Ian [fy75,1]([cf2]b [cf1]Wimbledon, [sm1938[nm). Eng. ten. ~Studied RCM and G
SM. D;aaebut Bexhill [sm1958[nm. ~Lieder recit[chalist and specialist in Eng. so
ngs. CG ~d;aaebut [sm1969[nm ([cf2]Les Troyens[cf1]). Often acc. at pf. by his ~
sister Jennifer ([cf2]b [cf1]New Malden, [sm1942[nm).[cm~Part-Song. [fy75,1]Stri
ctly any song written for several ~vocal parts, but in practice, a comp. for mal
e, ~female, or mixed vv. (usually but not necessarily ~unacc.) which is not cont
rapuntal like the ~[fy45,1]*[fy75,1]madrigal but has the melody
in the highest part ~with accompanying harmonies in the other vv. ~Either throug
h-composed ([cf2]Durchkomponiert[cf1]) or ~strophic (verse-repeating). Is a part
icularly Eng. ~genre, developing in popularity with growth of ~choral socs. in e
arly [sm19[nmth cent., so there are many ~examples by Pearsall, Barnby, Stanford
, Elgar, ~Delius, Warlock, and many others. But examples ~exist by Schubert, Sch
umann, Mendelssohn, ~Brahms, etc.[cm~Part-Writing [fy75,1](Ger. [cf2]Stimmf;Auuh
rung[cf1]; Amer. voice-~leading). The organization of a comp. so that each ~indi
vidual part is blended into a euphonious ~whole.[cm~[bnPas [fy75,1](Fr.). ([sm1[
nm) A step in dancing and ballet, e.g. [cf2]Pas ~seul[cf1], solo dance, [cf2]pas
 de deux[cf1], dance for [sm2[nm, [cf2]pas ~d'action[cf1], dramatic ballet scene
.[ep~[PN536,0,0,L,I0]^([sm2[nm)^Not, as in [cf2]pas trop vite[cf1], not too fast
.[cm[xn~Pas d'acier, Le [fy75,1](Prokofiev). See [cf2]Age of Steel, The[cf1].[cm
~Pasdeloup, Jules ;aaEtienne [fy75,1]([cf2]b[cf1] Paris, [sm1819
[nm; [cf2]d ~[cf1]Fontainebleau, [sm1887[nm). Fr. cond. Studied Paris ~Cons., la
ter joining staff and becoming cond. of ~students' orch., [sm1851[nm. In [sm1861
[nm founded Concerts ~Populaires and cond. many works by contempor~~[chary Fr. c
omposers, also much Wagner. After his ~death concerts continued for a time under
 name ~Concerts Pasdeloup.[cm~Pashley, Anne [fy75,1]([cf2]b [cf1]Skegness[cf1],
[sm1937[nm). Eng. sop. ~Studied GSM. D;aaebut with Handel Opera Soc. in ~[cf2]Se
mele[cf1]. Soloist with leading orchs. and guest singer ~at CG, ENO, Scottish Op
era, WNO, Aldeburgh ~Fest. Also Olympic athlete.[xm[cm~[j1]Pasodoble [fy75,1](Sp
.). Double step. [sm20[nm-cent. Sp. dance ~in quick [sm2[nm/[sm4[nm time. The Ta
ngo-pasodoble in ~[fy45,1]*[fy75,1]Walton's [fy45,1]*[fy75,2]Fa;Alcade [cf1]is a
 parody (using `I do like to ~be beside the seaside').[cm~Pasquini, Bernardo [fy
75,1]([cf2]b [cf1]Massa da Valdinievole, ~Tuscany, [sm1637[nm; [cf2]d [cf1]Rome,
 [sm1710[nm). It. composer, ~organist, and harpsichordist. Organ
ist of S. Maria ~Maggiore, Rome, and influenced by mus. of his ~predecessor ther
e, [fy45,1]*[fy75,1]Palestrina. Played hpd. con~~tinuo in opera house orch. with
 Corelli as first ~violinist. Wrote operas and oratorios and dir. ~concerts for
Queen Christina of Sweden.[cm~Passacaglia[fy75,1]. See [cf2]Chaconne[cf1].[cm~Pa
ssage. [fy75,1]Section of a comp. which perhaps has ~no structural significance,
 e.g. a pizzicato passage, ~which may last only [sm2[nm bars. `Passage-work' is
often ~applied to brilliant display for the soloist.[cm~Passamezzo, Pass'e mezzo
 [fy75,1](It.). Dance in quicker ~tempo. It. dance of [sm16[nmth and [sm17[nmth
cents. similar ~to [fy45,1]*[fy75,1]pavan but faster and less serious. Examples
~by Byrd and Philips are in [fy45,1]*[fy75,1]Fitzwilliam Virginal ~Book.[cm~[fy6
5][cf3]Passecaille [fy75,1](Fr.). Passacaglia. See [cf2]Chaconne.[cm~Passepied [
fy75,1](Fr.; Eng. `Paspy'). Pass-foot. Lively ~dance in [cf9]3=-=-=-=-=-=-=-[cf1
3]8[cf1] or [cf9]6=-=-=-=-=-=-=-[cf13]8[cf1] said to have origin
ated among ~sailors of Basse-Bretagne and introduced to Paris ~in late [sm16[nmt
h cent. by street dancers, becoming ~popular at courts of Louis XIV and Louis XV
. ~Examples in Fr. operas of the period, e.g. by ~[fy45,1]*[fy75,1]Campra. The t
erm was incorrectly applied by ~Debussy to a [sm2[nm-in-a-measure piece.[cm~Pass
ing-Notes. [fy75,1]Harmonic term to describe note ~which forms a discord with th
e chord with which ~it is heard but is melodically placed between two ~non-disco
rdant notes.[cm~Passion Music. [fy75,1]The practice of setting to mus. ~the Pass
ion of Christ, for perf. during Holy Week, ~has [sm2[nm connected origins=mthe o
ld mysteries (see ~ [cf2]Miracle Plays[cf1]) and (a more direct and obvious ~sou
rce) a very ancient Holy Week practice of ~reading or reciting in church, in a m
ore or less ~dramatic fashion, the story of the Passion of ~Christ. It is known
to have existed in the [sm4[nmth ~cent.; by the [sm8[nmth its character was dete
rmined as ~follows: a priest recited, in Lat., the story of the
~Passion from one of the Gospels, in a speaking ~voice except for the words of C
hrist, which he ~gave out to a traditional plainsong. By the [sm12[nmth ~cent. [
sm3[nm of the clergy took part, a ten. as Narrator, ~a bass as Christ, and an al
to as the Crowd (Turba). ~By the [sm15[nmth cent. Passions of more musically ~el
aborate character became common. The Refor~~mation brought a further development
. The Ger. ~(Lutheran) reformers, acting on their principle ~that the people sho
uld be able to follow the words ~of the service, adapted it to the Ger. language
.[ep~^In the [sm16[nmth cent., unacc. polyphonic settings of ~the complete Lat.
text of the Passion were based ~on a plainchant [cf2]cantus firmus[cf1]. Among m
any such ~settings were those of [fy45,1]*[fy75,1]Obrecht, Daser, Ruffo, ~Lassus
, Victoria, and Byrd. One of the earliest ~settings by an Eng. composer was that
 by Richard ~[fy45,1]*[fy75,1]Davy.[ep~^Outstanding examples of the Ger. type of
 Passion ~are the settings of [fy45,1]*[fy75,1]Sch;auutz ([sm158
5[nm=n[sm1672[nm). He ~adopted a type of recit. derived from the new It. ~style
but which also had considerable affinity ~with the old plainsong. The [sm4[nm-pa
rt chs. are acc. by ~str. The various characters are allotted to different ~voca
l soloists and the works can be designated as ~`oratorio Passions'. In the [sm17
[nmth cent. the  `Passion ~oratorio' developed, in which the biblical text ~was
replaced by a metrical paraphrase, as in ~[fy45,1]*[fy75,1]Keiser's [cf2]Der blu
tige und sterbende Jesus [cf1]([sm1704[nm). But ~Bach, in his great [cf2]St John
[cf1] and [cf2]St Matthew [cf1]Passions, ~combined both types of setting, making
 use of ~biblical text, paraphrases, chorales, arias, and ~imparting to the mus.
 a startlingly dramatic ~quality. In the [sm19[nmth cent. oratorios on biblical
~subjects replaced the strict Passion settings, but ~[fy45,1]*[fy75,1]Penderecki
 in the [sm20[nmth cent. had remarkable ~success with his [cf2]St Luke Passion [
cf1]([sm1963[nm=n[sm6[nm).[xm[cm~[ol0][ep~[xp[u20]~~[te~
[do25][j99]~~~~~~[sm153842[nm_P[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmP[sm004[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm09[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm123[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[ap[j1]Passione, La. [f
y75,1]Nickname for Haydn's Sym. in F ~minor, No. [sm49[nm in Breitkopf edn., com
p. [sm1768[nm. ~Begins with [cf2]adagio [cf1]suggestive of Passion mus.[cm~Pasta
 [fy75,1](orig. Negri), [fy65][cf3]Giuditta [fy75,1]([cf2]b [cf1]Saronno, nr. ~M
ilan, [sm1797[nm; [cf2]d [cf1]Blevio, nr. Lake Como, [sm1865[nm). It. ~sop., amo
ng greatest of opera singers. Studied ~Milan. D;aaebut Brescia [sm1815[nm, Londo
n [sm1817[nm, both ~unsuccessful. Further study with Scappa was ~followed by suc
cessful d;aaebut [sm1819[nm in  Venice. ~Caused sensation in Paris, [sm1821[nm=n
[sm2[nm, where the ~immense range of her v. and her dramatic gifts ~were matched
 by poignancy of expression, ~though she was an uneven artist. Sang regularly ~i
n London, Paris, and St Petersburg [sm1824[nm=n[sm37[nm. ~Create
d role of Amina in Bellini's [cf2]La sonnambula, ~[cf1]Milan [sm1831[nm, and tit
le-roles in Bellini's [cf2]Norma, ~([cf1]Milan [sm1831[nm, London [sm1833[nm) an
d [cf2]Beatrice di Tenda[cf1] ~(Venice [sm1833[nm) and in Donizetti's [cf2]Anna
Bolena, ~[cf1]Milan [sm1830[nm.[xm[cm~[j1]Pasticcio [fy75,1](It.). Pie, pasty. (
[sm1[nm) A dramatic entertain~~ment with songs, ensembles, dances, and other ~[P
N537,0,0,R,I0]items assembled from the works of several ~composers, thus giving
the audience a medley of ~their favourite tunes. Popular in [sm18[nmth cent., e.
g. ~[cf2]Thomyris [cf1]([sm1707[nm).[ep~^([sm2[nm) An opera in which each act is
 by a different ~composer, e.g. [cf2]Muzio Scevola [cf1]([sm1721[nm) by Amadei,
~Bononcini, and Handel.[ep~^([sm3[nm) Instr. comp. containing different sections
 or ~items by different composers, e.g. Diabelli's ~[cf2]V;auaterlandischer K;au
unstlerverein [cf1]([sm1823[nm=n[sm4[nm), contain~~ing variations by [sm50[nm co
mposers; the [fy45,1]*[fy75,2]Hexam;aaeron ~[cf1]([sm1837[nm), a
nd [cf2]L'[fy45,1]*[fy75,2];aaEventail de Jeanne [cf1]([sm1927[nm).[cm~Pastiche
[fy75,1](Fr.). Imitation. Not the same as ~[fy45,1]*[fy75,1]pasticcio, being a w
ork deliberately written in ~the style of another period or manner, e.g. ~Prokof
iev's [cf2]Classical Symphony, [cf1]Strauss's [cf2]Ariadne ~auf Naxos, [cf1]and
Stravinsky's [cf2]Pulcinella. [cf1]Although ~[cf2]pastiche [cf1]has a meaning as
 `medley', it is invariably ~applied musically in the sense outlined above.[xm[c
m~[j1]Pastoral, Pastorale. [fy75,1]([sm1[nm) Type of instr. or vocal ~comp., gen
erally in [cf9]6=-=-=-=-=-=-=-[cf13]8 [cf1]or [cf9]12=-=-=-=-=-=-=-=-=-[cf13]8=+
=+=+=+, [cf1]which suggests rustic ~or bucolic subject, often by imitation of sh
ep~~herd's pipe. A [sm20[nmth-cent. use of the term is [fy45,1]*[fy75,1]Bliss's
~Pastoral, [fy45,1]*[fy75,2]Lie Strewn the White Flocks[cf1].[ep~^([sm2[nm) Stag
e piece dealing with legendary or pastoral ~subject. Began as a play but in Fr.
pastorals were ~set to mus. as an early form of [cf2]op;aaera-ba
llet [cf1]and ~were at height of popularity in [sm17[nmth and [sm18[nmth ~cents.
 Handel's [cf2]Acis and Galatea [cf1]is an example.[cm~Pastorale [fy75,1](Fr.).
[fy45,1]*[fy75,1]Pastoral.[cm~Pastorale d';aaet;aae [fy75,1](Summer Pastoral). S
ymphonic ~poem for small orch. by Honegger, comp. [sm1920[nm. ~F.p. Paris [sm192
1[nm.[cm~Pastoral Sonata. [fy75,1]Publisher's name for Beet~~[chhoven's Pf. Sona
ta No. [sm15[nm in D major, Op. [sm28[nm, ~comp. [sm1801[nm (presumably because
of rustic rhythm ~in finale).[cm~Pastoral Symphony. [fy75,1]([sm1[nm) Sym. No. [
sm6[nm in F major, ~Op. [sm68[nm, by Beethoven, comp. [sm1807[nm=n[sm8[nm, f.p.
Vienna ~[sm1808[nm. A `programme symphony' in which bird~~song and a storm are r
epresented. Each movement ~has a title, viz., `Awakening of happy feelings on ~a
rriving in the country', `By the brook', `Joyous ~gathering of country folk=msto
rm', `Shepherd's ~song; happy and thankful feelings after the ~storm'.[ep~^([sm2
[nm) [sm3[nmrd Sym. by Vaughan Williams comp. [sm1916[nm=n~[sm21
[nm, rev. [sm1950[nm=n[sm1[nm, f.p. London [sm1922[nm. Last move~~ment has wordl
ess solo for sop. (or cl.).[ep~^([sm3[nm) Short orch. movement in Handel's [cf2]
Messiah, ~[cf1]depicting calm of first Christmas Eve.[cm~Pastor Fido, Il [fy75,1
](The Faithful Shepherd). Opera ~in [sm3[nm acts by Handel to lib. by Rossi base
d on ~Guarini's pastoral play ([sm1585[nm). Prod. London ~[sm1712[nm, NY [sm1952
[nm. Also opera by [fy45,1]*[fy75,1]Salieri ([sm1789[nm).[cm~Pastourelle [fy75,1
](Fr.). Light Fr. song of pastoral type, ~popular in [sm18[nmth cent.[cm~`Pathet
ic' Symphony. [fy75,1]Subtitle, authorized by ~composer, of [fy45,1]*[fy75,1]Tch
aikovsky's Sym. No. [sm6[nm in B ~minor, Op. [sm74[nm. After f.p. in St Petersbu
rg [sm1893[nm, ~Modest Tchaikovsky suggested title `Tragic' but ~composer demurr
ed, immediately agreeing to ~[cf2]Pathetic. [cf1]No reason in Eng. why Fr. title
 [cf2]Symphonie ~Path;aaetique [cf1]should be used. Note that Russ. word ~[cf2]p
atetichesky [cf1]means `passionate' or `emotional' ~rather than
`pathetic'.[cm~Path;aaetique Sonata [fy75,1](Pathetic Sonata). Beethoven's ~Pf.
Sonata No. [sm8[nm in C minor, Op. [sm13[nm, comp. [sm1798[nm=n~[sm9[nm and enti
tled by him, in Fr., [cf2]Grande sonate ~path;Aaetique[cf1].[cm~Patience, or Bun
thorne's Bride. [fy75,1]Operetta by ~[fy45,1]*[fy75,1]Sullivan to lib. by Gilber
t. Prod. London [sm1881[nm, ~St Louis [sm1881[nm, NY [sm1882[nm. Satire on `aest
hetic' ~movement.[cm~Patterson, Paul [fy75,1]([cf2]b [cf1]Chesterfield, [sm1947[
nm). Eng. ~composer. Entered RAM [sm1964[nm to study tb., then ~comp. with R. St
oker. Private study with Richard ~Rodney [fy45,1]*[fy75,1]Bennett. Dir. of conte
mporary mus., ~Warwick Univ. [sm1974=n80[nm. Prof. of comp. and dir. ~elec. stud
ies, RAM, from [sm1975[nm. Works, some ~using elec. tape and [fy45,1]*[fy75,1]al
eatory methods, incl.:[xm[cm~[j2][smorch[nm: Tpt. conc. ([sm1969[nm); [fy75,2]Co
ncertante [cf1]([sm1969[nm); ~[cf2]Partita [cf1]([sm1970[nm); [cf2]Piccola Sinfo
nia [cf1]([sm1971[nm); [cf2]Symphonic ~Study II [cf1]([sm1971[nm
); hn. conc. ([sm1971[nm); [cf2]Fiesta Sinfonica ~[cf1]([sm1972[nm); [cf2]Sonors
 [cf1]([sm1972[nm); [cf2]Fusions [cf1]([sm1974[nm); [cf2]Strange ~Meeting [cf1](
[sm1975[nm); [cf2]The Circular Ruins [cf1]([sm1975[nm); cl. ~conc. (str. orch.)
([sm1976[nm); [cf2]Wildfire [cf1]([sm1976[nm); [cf2]Concerto ~for Orchestra[cf1]
 ([sm1981[nm); [cf2]Sinfonia for Strings[cf1] ([sm1982[nm).[ep~[smensemble[nm: W
ind quintet ([sm1967[nm); wind trio ([sm1968[nm); ~[cf2]Comedy [cf1]for [sm5[nm
winds ([sm1972[nm); [cf2]Conversations, [cf1]cl. and ~pf. ([sm1974[nm); [cf2]Div
ersions, [cf1]saxophone qt. ([sm1976[nm); ~[cf2]Floating Music [cf1]([sm1974[nm)
; [cf2]Intersections [cf1]([sm1973[nm); [cf2]Syn~~tony[cf1]; [cf2]Rebecca, [cf1]
speaker and ens.; [cf2]Cracowian ~Counterpoints[cf1], [sm14[nm instr. ([sm1977[n
m); [cf2]Deception Pass[cf1], ~brass ([sm1980[nm); [cf2]At the Still Point of th
e Turning ~World[cf1], octet ([sm1980[nm); [cf2]Duologue[cf1], ob., pf. ([sm1984
[nm).[ep~[smvocal[nm: [cf2]Kyrie, [cf1]ch. and pf. ([sm2[nm play
ers) ([sm1972[nm); ~[cf2]Timepiece, [cf1][sm6[nm male vv. ([sm1973[nm); [cf2]Glo
ria, [cf1]ch. and pf. ~([sm2[nm players) ([sm1973[nm); [cf2]Requiem, [cf1]ch. an
d orch. ([sm1975[nm); ~[cf2]Spare Parts, [cf1][sm6[nm male vv. ([sm1977[nm); [cf
2]Brain Storm[cf1], [sm4[nm vv. ~and elec. ([sm1978[nm); [cf2]Voices of Sleep[cf
1], sop., ch., orch. ~([sm1979[nm); [cf2]Sing Praises![cf1] ch. and orch. ([sm19
80[nm); [cf2]The ~Canterbury Psalms[cf1], ch. and orch. ([sm1981[nm; ch., ~brass
, and org. [sm1984[nm); [cf2]Mass of the Sea[cf1], SATB ~soloists, ch., and orch
. ([sm1983[nm; rev. for sop., bass, ~ch., and orch. [sm1983[nm=n[sm4[nm).[ep~[sm
piano[nm: [cf2][sm3[nm Portraits [cf1]([sm1984[nm).[cm~[j1]Patter-Song. [fy75,1]
Comic song, prevalent in opera, ~which is a rapid iteration of words, the mus. ~
merely being lightly supportive. Examples exist ~in Haydn, Mozart, and Rossini o
peras; there are ~many in the Sullivan operettas (e.g. `My name is ~John Welling
ton Wells', from [cf2]The Sorcerer[cf1]). ~Usually solos, but [c
f2]Ruddigore [cf1]has a patter-trio.[cm~Patti, Adelina [fy75,1]([cf2]b [cf1]Madr
id, [sm1843[nm; [cf2]d [cf1]Craig-y-Nos ~Castle, Wales, [sm1919[nm). It. sop. Da
ughter of singers. ~Taken to NY as child, making d;Aaebut there [sm1850[nm. ~[PN
538,0,0,L,I0]Studied singing with brother-in-law, M. Stra~~kosch. Stage d;Aaebut
 NY [sm1859[nm as Lucia; London CG ~[sm1861[nm as Amina in [cf2]Sonnambula, [cf1
]Paris [sm1862[nm. Rapidly ~recognized as leading sop. of day and [fy45,1]*[fy75
,1]Grisi's ~successor. V. had great range, flexibility, and ~purity of tone. Ess
entially a coloratura sop., but ~sang dramatic roles such as Leonora in [cf2]Tro
vatore ~[cf1]and Violetta in [cf2]Traviata. [cf1][sm1[nmst London[cf2] Aida[cf1]
 ([sm1876[nm). ~In [sm25[nm consecutive CG seasons sang over [sm30[nm roles ~by
Donizetti, Bellini, Rossini, Verdi, Meyerbeer, ~etc. Zerlina in [cf2]Don Giovann
i [cf1]was her only Mozart ~role. CG farewell [sm1895[nm; sang last operas in Mo
nte ~Carlo and Nice [sm1897[nm. Toured N. and S. Amer. and ~the
world's capitals. Highest-paid singer of her ~day. Farewell concert, London [sm1
906[nm, followed by ~provincial tour. Retired to her castle in Wales but ~gave c
harity concert in [sm1914[nm. Buried in Paris.[cm~Patzak, Julius [fy75,1]([cf2]b
 [cf1]Vienna, [sm1898[nm; [cf2]d [cf1]Rottach, [sm1974[nm). ~Austrian ten. Studi
ed Vienna Univ. and Sch. of ~Mus. Intended to be cond. but turned to singing, ~m
aking d;aaebut Reichenberg Opera [sm1926[nm, as ~Radam;ages in [cf2]Aida. [cf1]M
unich Opera [sm1928[nm=n[sm45[nm, Vienna ~Opera [sm1945[nm=n[sm60[nm, CG d;Aaebu
t [sm1938[nm as Tamino. ~Outstanding Florestan in [cf2]Fidelio [cf1]and Palestri
na in ~title-role of Pfitzner's opera. Superb singer of ~Lieder, oratorio, etc.[
cm~Pauk, Gy;auorgy [fy75,1]([cf2]b [cf1]Budapest, [sm1936[nm). Hung. violin~~ist
. Studied Budapest Liszt Acad. of Mus. with ~Weiner and Kod;Aaaly. Won Paganini
competition, ~Genoa [sm1956[nm, Munich competition, [sm1957[nm, Thibaud ~competi
tion, Paris [sm1959[nm. Eng. d;aaebut [sm1961[nm. Prof. ~of vn.
RMCM [sm1964[nm. Soloist with leading orchs. ~and member of trio, often with Pet
er [fy45,1]*[fy75,1]Frankl ~(pf.) and Ralph [fy45,1]*[fy75,1]Kirshbaum (vc.).[cm
~Pauke(n) [fy75,1](Ger.). Kettledrum(s). See [cf2]Drum[cf1].[cm~Paukenmesse [fy7
5,1](Kettledrum Mass). Popular sub-~title for Haydn's Mass No. [sm7[nm in C majo
r, comp. ~[sm1796[nm and named by composer [cf2]Missa in tempore ~belli [cf1](Ma
ss in time of war).[cm~Paukenwirbel Symphonie [fy75,1](Drum-roll Sym~~phony). Ni
ckname for [sm11[nmth of Haydn's `London' ~Syms., No. [sm103[nm in E;Yh major in
 Breitkopf edn., ~because it opens with a roll on the kettledrums.[cm~Paul Bunya
n. [fy75,1]([sm1[nm) Choral operetta by Britten in [sm2[nm ~acts and prol. to te
xt by Auden. F.p. Columbia ~Univ., NY, May [sm1941[nm. Then withdrawn until rev.
 ~in [sm1974[nm and publication as Op. [sm17[nm. First complete ~perf. in Englan
d, BBC broadcast, Feb. [sm1976[nm; f. ~stage p. Aldeburgh, June [sm1976[nm; f. p
rofessional ~Amer. p., St Louis [sm1984[nm.[ep~^([sm2[nm) Ballet
 for puppets and solo dancer by W. ~Bergsma, [sm1937[nm, prod. San Francisco [sm
1939[nm; also ~orch. suite [sm1937[nm, rev. [sm1945[nm.[cm~Paulus [fy75,1](Mende
lssohn). See [cf2]St Paul.[cm~Pauly, Rose [fy75,1](orig. Rose Pollak) ([cf2]b [c
f1]Eperjes, [sm1894[nm; ~[cf2]d [cf1]Tel Aviv, [sm1975[nm). Hung. sop. Studied V
ienna ~with [fy45,1]*[fy75,1]Papier. D;Aaebut Vienna [sm1918[nm. Cologne Opera ~
[sm1922[nm=n[sm7[nm, Berlin [sm1927[nm=n[sm31[nm, Vienna [sm1922[nm=n[sm38[nm, N
Y ~Met. [sm1938[nm=n[sm40[nm. CG d;Aaebut [sm1938[nm. Notable Elektra. ~Retired
to Israel.[cm~Paumgartner, Bernhard [fy75,1]([cf2]b [cf1]Vienna, [sm1887[nm; [cf
2]d ~[cf1]Salzburg, [sm1971[nm). Austrian cond., composer, and ~musicologist. So
n of Hans Paumgartner and Rosa ~[fy45,1]*[fy75,1]Papier. Studied Vienna Univ. an
d with Bruno ~Walter. Cond. at Vienna Opera, but became one ~of leading organize
rs of Salzburg Fest., often ~conducting there. Dir. Salzburg Mozarteum ~[sm1917[
nm=n[sm38[nm, [sm1945[nm=n[sm59[nm. Founded Salzburg Mozart ~Cha
mber Orch. Visited USA [sm1965[nm. Comp. operas, ~ballet, and other works. Wrote
 books on Mozart ~([sm1927[nm), Schubert ([sm1945[nm), and J. S. Bach ([sm1950[n
m).[cm~Paur, Emil [fy75,1]([cf2]b [cf1]Czernowitz, Bukovina, [sm1855[nm; [cf2]d
~[cf1]Mistek, Moravia, [sm1932[nm). Austrian cond., com~~poser, and violinist. E
ntered Vienna Cons. [sm1866[nm, ~studying vn. with Hellmesberger and comp. with
~Dessoff. Played in Vienna Opera Orch. from age ~[sm15[nm. Began cond. career at
 Kassel [sm1876[nm, becoming ~cond. of Mannheim opera and concerts [sm1880[nm. ~
Cond. Leipzig Stadttheater [sm1891[nm=n[sm3[nm, Boston S.O. ~[sm1893[nm=n[sm8[nm
, NY P.O. and dir. Nat. Cons. of Mus. ~[sm1898[nm=n[sm1902[nm. NY Met. [sm1899[n
m=n[sm1900[nm (Wagner), CG ~[sm1900[nm. Cond. Pittsburgh S.O. [sm1904[nm=n[sm10[
nm. Succeeded ~Muck at Berlin Opera [sm1912[nm, but stayed only [sm2[nm ~months.
 Comp. sym., vn. conc., and chamber ~works.[cm~Pausa [fy75,1](It.). Rest ([cf2]n
ot [cf1]Pause, which is [fy45,1]*[fy75,2]fermata[cf1]).[cm~[j1]P
ause [fy75,1](Eng.). ([sm1[nm) The sign ;Yr, which means that ~the note or rest
so indicated must be held longer ~than usual (at performer's discretion). Placed
 over ~a bar line, it means a short silence. The Fr. term ~is [fy45,1]*[fy75,2]p
oint d'orgue[cf1].[ep~^([sm2[nm) In the phrase General Pause (G.P.) it means ~th
e whole orch. is briefly silent.[ep~^([sm3[nm) [cf2]Lunga pausa[cf1], a long pau
se.[cm~Pause [fy75,1](Ger.). ([sm1[nm) A pause, as in Eng.[ep~^([sm2[nm) Rest.[e
p~^([sm3[nm) Interval of a concert.[cm~Pause [fy75,1](Fr.). ([sm1[nm) Pause.[ep~
^([sm2[nm) Rest, especially a whole-note rest and a ~measure rest.[cm~Pavan [fy7
5,1](Fr. [cf2]Pavane[cf1]; It. [cf2]Pavana[cf1]; old forms incl. ~[cf2]Pavin, Pa
vyn, Paven, [cf1]etc.). The Pavan was a dance ~of It. orig., popular in the [sm1
6[nmth and [sm17[nmth cents., ~and as the name sometimes appears as [cf2]Padovan
a ~[cf1]it is assumed that its orig. home was Padua. It was ~in simple duple tim
e, and of stately character. In ~Italy the Pavan gave way to the
 Passamezzo by ~the mid-[sm16[nmth cent., but was given a new lease of ~life by
its treatment by Eng. composers, e.g. Byrd, ~Dowland, Bull, and Philips. It was
usually paired ~with the [fy45,1]*[fy75,1]Galliard and their assoc. was the orig
. ~of the [fy45,1]*[fy75,1]suite. Some [sm19[nmth- and [sm20[nmth-cent. compos~~
ers have written works to which they gave the ~name [cf2]Pavan, [cf1]e.g. Faur;A
ae's [cf2][fy45,1]*[fy75,2]Pavane, [fy45,1]*[fy75,1]Ravel's [fy45,1]*[fy75,2]Pa~
~vane pour une infante d;Aaefunte[cf1], and the [cf2]Pavan [cf1]in ~Vaughan Will
iams's [fy45,1]*[fy75,2]Job.[cm~[PN539,0,0,R,I0]Pavane. [fy75,1]Work by [fy45,1]
*[fy75,1]Faur;Aae, Op. [sm50[nm, for orch. with ~optional mixed ch. Comp. [sm188
7[nm, f.p. Paris [sm1888[nm.[cm~Pavane pour une infante d;Aaefunte [fy75,1](Pava
n for a ~dead Infanta). Pf. piece by [fy45,1]*[fy75,1]Ravel comp. [sm1899[nm ~(f
.p. [sm1902[nm), orch. by composer [sm1910[nm (f.p. Paris ~[sm1910[nm). Recalls
Sp. court custom of solemn ~ceremonial dance at time of royal mo
urning.[cm~Pavarotti, Luciano [fy75,1]([cf2]b [cf1]Modena, [sm1935[nm). It. ten.
 ~Studied Mantua. Won int. competition at Reggio ~Emilia [sm1961[nm, making oper
a d;aaebut there later that ~year as Rodolfo in [cf2]La Boh;ageme[cf1]. Rapid su
ccess. CG ~d;aaebut [sm1963[nm (Rodolfo), Glyndebourne [sm1964[nm (Ida~~mante in
 [cf2]Idomeneo[cf1]). Toured Australia [sm1965[nm with ~Joan [fy45,1]*[fy75,1]Su
therland. D;Aaebut Milan [sm1966[nm, San Fran~~cisco [sm1967[nm, NY Met. [sm1968
[nm.[cm~Pavillon [fy75,1](Fr.). Pavilion. The bell of a brass instr. ~e.g. tpt.,
 hn., etc. So called because of tent-like ~shape. The direction to brass-players
 `pavillons en ~l'air' means hold the bells high (in order to ~increase vol.).[c
m~Pavillon Chinois [fy75,1](Fr.). See [cf2]Jingling Johnny.[cm~Paxton, Stephen [
fy75,1]([cf2]b [cf1]London, [sm1735[nm; [cf2]d [cf1]London, ~[sm1787[nm). Eng. c
ellist and composer of glees, catches, ~masses, and some fine works for vc.[cm~P
ayne, Albert [fy75,1]([cf2]b [cf1]Leipzig, [sm1842[nm; [cf2]d [c
f1]Leipzig, [sm1921[nm). ~Ger.-born son of Eng. mus. publisher in Leipzig. ~Stud
ied Leipzig Cons. and in Paris. Entered ~father's firm [sm1862[nm. Began publica
tion of cheap ~edns. of miniature chamber mus. scores, [sm1886[nm. ~Sold out to
E. [fy45,1]*[fy75,1]Eulenburg [sm1892[nm.[cm~Payne, Anthony [fy75,1](Edward) [cf
1]([cf2]b [cf1]London [sm1936[nm). ~Eng. composer and critic. Studied Durham Uni
v. ~[sm1958[nm=n[sm61[nm. Illness halted his creative work [sm1961[nm=n~[sm5[nm,
 but his [cf2]Phoenix Mass [cf1]was start of new phase. ~Mus. critic [cf2]Daily
Telegraph [cf1]from [sm1965[nm. Author of ~book on Schoenberg ([sm1968[nm) and a
uthority on ~[sm20[nmth-cent. Eng. composers, particularly Bax and ~Bridge. Work
s incl.:[xm[cm~[j2][sminstrumental[nm: [fy75,2]Contrapuncti[cf1], str. ([sm1958[
nm, rev. [sm1979[nm); ~[cf2]Conc. for Orch. [cf1]([sm1974[nm); [cf2]The World's
Winter, [cf1]sop., ~fl., ob., cl., hn., harp, str. trio ([sm1976[nm); [cf2]Fire
on ~Whaleness, [cf1]brass band and perc. ([sm1976[nm); [cf2]The
~Stones and Lonely Places Sing, [cf1]chamber ens. ([sm1979[nm); ~[cf2]The Song o
f the Clouds[cf1], ob., [sm2[nm hn., str., perc. ([sm1979[nm=n~[sm80[nm); [cf2]A
 Day in the Life of a Mayfly[cf1], fl., cl., pf., vn., ~vc., perc. ([sm1981[nm);
 [cf2]Spring's Shining Wake[cf1], orch. ~([sm1981[nm); [cf2]Songs and Dances[cf1
], str. ([sm1984[nm).[ep~[smchoral[nm: [fy45,1]*[fy75,2]Phoenix Mass[cf1], ch.,
[sm3[nm tpt., [sm3[nm tb. ([sm1965[nm=n[sm9[nm, ~with add. [sm1972[nm); [cf2][sm
2[nm Songs Without Words, [cf1]male v. ~quintet ([sm1970[nm); [cf2]A Little Pass
iontide Cantata, [cf1]unacc. ~ch. ([sm1974[nm); [cf2]First Sight of Her and Afte
r[cf1], [sm16[nm solo ~vv. ([sm1975[nm); [cf2]A Little Whitsuntide Cantata, [cf1
]unacc. ~ch. ([sm1977[nm); [cf2]A Little Ascensiontide Cantata[cf1], un~~acc.ch.
 ([sm1977[nm); [cf2]The Sea of Glass[cf1], ch., organ ([sm1977[nm).[ep~[smchambe
r music[nm: [cf2]Paraphrases and Cadenzas, [cf1]cl., va., ~pf. ([sm1969[nm); [cf
2]Sonatas and Ricercars, [cf1]wind quintet ~([sm1970[nm); str. q
t. ([sm1978[nm); [cf2]Footfalls Echo in the ~Memory[cf1], vn., pf. ([sm1978[nm);
 [cf2]Evening Land[cf1], v. and pf. ~([sm1981[nm).[ep~[smpiano[nm: [cf2]Paean [c
f1]([sm1971[nm).[ep~[smorgan[nm: [cf2]Reflections in the Sea of Glass[cf1] ([sm1
983[nm).[cm~[j1]Paz, Juan Carlos [fy75,1]([cf2]b [cf1]Buenos Aires, [sm1901[nm;
[cf2]d [cf1]Buenos ~Aires, [sm1972[nm). Argentinian composer and critic. ~Founde
d Grupo Renovaci;Aaon [sm1930[nm and Agrupa~~ci;Aaon Nueva M;Aausica [sm1944[nm.
 Moved from tonal style ~to use of [sm12[nm-note method and then to `open ~forms
'. Comps. incl. tone poems, concs., and ~chamber mus.[cm~Peabody Conservatory. [
fy75,1]Sch. of mus. at Balti~~more, Maryland, USA, which also houses library ~an
d art gallery. Founded [sm1857[nm, but opening ~delayed until [sm1868[nm. Confer
s degrees of B.Mus., ~M.Mus., and Doctor of Musical Arts.[cm~Peacock Variations.
 [fy75,2]Variations on a Hungarian ~Folk-Song `The Peacock' [cf1]for orch. by Ko
d;Aaaly, comp. ~[sm1938[nm=n[sm9[nm, commissioned for [sm50[nmth
 anniv. of Con~~certgebouw Orch. of Amsterdam, [sm1939[nm.[cm~Pears, [fy75,1](Si
r[cf1]) [fy65][cf3]Peter [fy75,1]([cf2]b [cf1]Farnham, [sm1910[nm). Eng. ten. ~a
nd organist. Studied RCM. Organist, Hertford ~Coll., Oxford. Dir. of mus., Grang
e Sch., Crow~~borough, [sm1930[nm=n[sm4[nm. Had lessons from E. [fy45,1]*[fy75,1
]Gerhardt. ~In BBC Singers [sm1934[nm=n[sm7[nm, New Eng. Singers [sm1936[nm=n~[s
m8[nm. Went to USA with friend Benjamin [fy45,1]*[fy75,1]Britten ~[sm1939[nm, re
turning [sm1942[nm. Stage d;Aaebut London [sm1942[nm ~as Hoffmann in [cf2]The Ta
les of Hoffmann[cf1]. SW Opera ~[sm1943[nm=n[sm6[nm. EOG from [sm1946[nm. Closel
y assoc. with ~mus. of Britten, giving f.ps. of many works (e.g. ~[cf2]Serenade,
 Nocturne, Seven Sonnets of Michelangelo, ~Holy Sonnets of John Donne, [cf1]etc.
) and creating ~several of Britten's operatic roles, e.g. title-roles in ~[cf2]P
eter Grimes [cf1]and [cf2]Albert Herring [cf1]and Male Chorus ~in [cf2]The Rape
of Lucretia, [cf1]Captain Vere in [cf2]Billy Budd, ~[cf1]Essex i
n [cf2]Gloriana, [cf1]Quint in [cf2]The Turn of the Screw, ~[cf1]Flute in [cf2]A
 Midsummer Night's Dream [cf1](of which he ~was co-librettist with Britten), Mad
woman in ~[cf2]Curlew River, [cf1]Sir Philip Wingrave in [cf2]Owen ~Wingrave, [c
f1]Aschenbach in [cf2]Death in Venice. [cf1]Created ~Pandarus in Walton's [cf2]T
roilus and Cressida[cf1], CG ~[sm1954[nm. Notable singer of Schubert, Bach (Evan
gel~~ist), and of Va;aksek in [cf2]The Bartered Bride. [cf1]Writer on ~mus. and
ed. (with Britten) of Purcell. NY Met. ~d;aaebut [sm1974[nm (Aschenbach). C.B.E.
 [sm1957[nm. Knighted ~[sm1978[nm.[cm~Pearsall, Robert [fy75,1](Lucas) ([cf2]b [
cf1]Clifton, [sm1795[nm; [cf2]d ~[cf1]Wartensee, [sm1856[nm). Eng. composer. Stu
died as ~lawyer but turned to mus. when in Ger., [sm1825[nm. ~Thereafter lived m
ainly abroad and bought castle ~of Wartensee on Lake Constance. Wrote madri~~gal
s in [sm16[nmth-cent. style. Comp. many part-songs, ~incl. [cf2]O Who will o'er
the Downs so Free[cf1]? His setting ~for [sm8[nm solo vv. and [s
m5[nm-part chorus of the Ger. ~macaronic carol [cf2]In dulci jubilo[cf1] was mad
e in [sm1834[nm ~and pubd. in [sm1836[nm. Also comp. [cf2]Requiem[cf1] [sm1853[n
m=n[sm6[nm.[xm[cm~[ol0][ep~[xp[u20]~~[te~










[do25][j99]~~~~~~[sm153842[nm_P[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmP[sm005[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm09[nm/[sm10[nm/[sm10[n
m[cm[sm12[nm[cm[sm166[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Pearson, H.
H. [fy75,1]See [cf2]Pierson, Henry Hugo.[cm~Peasant Cantata [fy75,1]([cf2]Bauern
kantate[cf1]). Light-hearted ~cantata by Bach, [sm1742[nm, to lib. by Picander.
It is ~Cantata No. [sm212[nm, [cf2]Mer hahn en neue Oberkeet[cf1], for ~sop., ba
ss, hn., fl., str., and continuo.[cm~[PN540,0,0,L,I0]P;afecheurs de perles, Les
[fy75,1](The Pearl Fishers). [sm3[nm-~act opera by Bizet to lib. by Cormon and C
arr;aae. ~Prod. Paris [sm1863[nm, London [sm1887[nm (under title [cf2]Leila,[cf1
] ~the heroine's name), Philadelphia [sm1893[nm. Action ~set in Ceylon (Sri Lank
a).[cm~Ped. [fy75,1]Abbreviation for [fy45,1]*[fy75,1]pedal. In pf. mus., means
~that the sustaining pedal is to be depressed until ~its release is indicated. I
n org. mus., means that ~mus. is to be played on the [fy45,1]*[f
y75,1]pedal-board.[cm~Pedal. [fy75,1]([sm1[nm) In [fy45,1]*[fy75,1]harmony, a no
te sustained below ~changing harmonies and called a [cf2]pedal-point [cf1]or ~[c
f2]pedal-bass[cf1]. If sustained but not in the bass, it is an ~[cf2]inverted pe
dal.[ep~[cf1]^([sm2[nm) Lowest, i.e. fundamental, note of [fy45,1]*[fy75,1]harmo
nic ~series, esp. in brass instrs.[ep~^([sm3[nm) Lever operated by the foot, as
in harp, hpd., ~kettledrum, organ, and pf.[cm~Pedal-Board. [fy75,1]Kbd. played w
ith the feet, as on an ~org. Also found (rarely) in hpd., clavichord, and ~pf.[x
m[cm~[j1]Pedal Clarinet. [fy75,1]Same as db. cl., a very rare form ~of cl., used
 mainly in military bands.[cm~P;Aaedalier [fy75,1](Fr.). [fy45,1]*[fy75,1]Pedal-
board or [fy45,1]*[fy75,1]pedal-piano.[cm~Pedalpauken [fy75,1](Ger.). Mechanical
ly-tuned kettle~~[chdrums.[cm~Pedal-Piano. [fy75,1]Pf. fitted with pedal kbd. in
 ~addition to manual. Used by orgs. for practice at ~home. Schumann and Alkan co
mp. for it.[cm~Pedal-Point. [fy75,1]See [cf2]Pedal [cf1]([cf2][s
m1[nm[cf1]).[cm~Pedrell, Felipe [fy75,1]([cf2]b [cf1]Tortosa, [sm1841[nm; [cf2]d
 [cf1]Barcelona, ~[sm1922[nm). Sp. composer and musicologist. Chorister, ~Tortos
a Cath. Believed that a nation should base ~its mus. on its folk-song. Ed. early
 Sp. church and ~secular mus., and complete works of [fy45,1]*[fy75,1]Victoria ~
(Leipzig, [sm1902[nm=n[sm13[nm). Taught at Madrid Cons. ~[sm1895[nm=n[sm1903[nm,
 pupils incl. [fy45,1]*[fy75,1]Albeniz, [fy45,1]*[fy75,1]Granados, ~and [fy45,1]
*[fy75,1]Falla. Comp. several operas, orch. works, ~and church mus.[cm~Peel, Ger
ald [fy75,1](Graham) [cf1]([cf2]b [cf1]Manchester, [sm1877[nm; [cf2]d ~[cf1]Bour
nemouth, [sm1937[nm). Eng. composer. Studied ~with Ernest Walker. Wrote many son
gs incl. ~settings of Housman's [cf2]A Shropshire Lad [cf1]poems.[cm~Peele, Geor
ge [fy75,1]([cf2]=+=+=+=+fl. [cf1][sm16[nmth cent.). Eng. composer of ~madrigals
.[cm~Peerce, Jan [fy75,1](orig. Jacob Pincus Perelmuth) ([cf2]b [cf1]NY, ~[sm190
4[nm; [cf2]d[cf1] New Rochelle, NY, [sm1984[nm). Amer. ten. Trai
ned as violinist, played and ~sang in dance-bands. Sang at Radio City Music ~Hal
l [sm1933[nm=n[sm9[nm. Opera d;Aaebut Philadelphia [sm1938[nm ~(Duke in [cf2]Rig
oletto[cf1]). NY Met. d;Aaebut [sm1941[nm (Alfredo ~in [cf2]La traviata[cf1]), b
ecoming regular member of co. ~and singing several times in Toscanini's NBC ~ope
ra broadcasts.[cm~Peer Gynt. [fy75,1]Play by Ibsen for which Grieg comp. ~[sm23[
nm items of incidental mus., Op. [sm23[nm, [sm1874=n5[nm, f.p. ~Christiania, Feb
. [sm1876[nm. Later arr. for pf., [sm4[nm hands, ~then as [sm2[nm orch. suites:
No. [sm1[nm (Op. [sm46[nm, [sm1874=n5[nm, rev. ~[sm1888[nm): [sm1[nm. [cf2]Morni
ng, [cf1][sm2[nm. [cf2]Death of Aase[cf1], [sm3[nm. [cf2]Anitra's ~Dance[cf1], [
sm4[nm. [cf2]In the Hall of the Mountain King[cf1]; No. [sm2[nm ~(Op. [sm55[nm,
[sm1874=n5[nm, rev. [sm1891[nm and [sm1892[nm): [sm1[nm. [cf2]Abduction ~of the
Bride [cf1]and [cf2]Ingrid's Lament[cf1], [sm2[nm. [cf2]Arabian Dance, ~[cf1][sm
3[nm. [cf2]Peer Gynt's Homecoming, [cf1][sm4[nm. [cf2]Solvejg's
Song. ~[cf1]Additional items sometimes perf. are [cf2]Wedding ~March, Solvejg's
Cradle Song, Prelude, Dance of the ~Mountain King's Daughter. [cf1]Incidental mu
s. also ~comp. by [fy45,1]*[fy75,1]Saeverud, [sm1947[nm ([sm2[nm orch. suites pu
bd.). ~Also opera by [fy45,1]*[fy75,1]Egk (Berlin [sm1938[nm).[xm[cm~[j1]Peerson
, Martin [fy75,1]([cf2]b [cf1]? nr. Ely, [cf2]c[cf1].[sm1572[nm; [cf2]d[cf1] Lon
don, ~[sm1651[nm). Eng. composer of church mus. and part-~songs. Also wrote for
viols and virginals. Organist ~of St Paul's Cath., London, from [cf2]c.[cf1][sm1
624[nm.[cm~Peeters, Flor [fy75,1]([cf2]b [cf1]Thielen, [sm1903[nm). Belg. organi
st ~and composer. Studied at Lemmens Institute, ~Mechelen (Malines), [sm1919[nm=
n[sm23[nm (org. with Depuydt) ~and worked privately with M. Dupr;Aae. Organist ~
Mechelen Cath. from [sm1923[nm. Prof. of org., Lem~~mens Institute [sm1925[nm=n[
sm52[nm, Royal Cons., Ghent, ~[sm1931[nm=n[sm48[nm, and Royal Flemish Cons., Ant
werp, ~[sm1948[nm=n[sm68[nm (dir. from [sm1952[nm). Ed. early Fl
emish, ~Dutch, and Eng. org. works and wrote [sm3[nm-vol. org. ~method ([cf2]Ars
 Organi, [cf1][sm1952[nm). World tours as org. ~recitalist. Comps. incl.:[xm[cm~
[j2][smorgan[nm: [fy75,2]Variations and Finale [cf1]([sm1929[nm); [cf2]Toccata,
~Fugue, and Hymn on Ave Maris Stella [cf1]([sm1931[nm); ~[cf2]Flemish Rhapsody [
cf1]([sm1935[nm); [cf2]Passacaglia and Fugue ~[cf1]([sm1938[nm); [cf2]Sinfonia [
cf1]([sm1940[nm); Conc. ([sm1944[nm); [cf2]Lied ~Symphony [cf1]([sm1948[nm); [sm
3[nm [cf2]Preludes and Fugues [cf1]([sm1950[nm); ~organ and pf. conc. ([sm1951[n
m); [cf2]Hymn Preludes for ~Liturgical Year [cf1]([sm1959[nm=n[sm64[nm); [sm6[nm
 Lyrical Pieces ([sm1966[nm); ~[cf2][sm10[nm Inventions[cf1] ([sm1969[nm); [cf2]
[sm10[nm Preludes on Old Flemish ~Songs[cf1] ([sm1972[nm); [cf2]Introduzione, fu
gato con corale supra ~`Pro Civitate'[cf1] ([sm1976[nm).[ep~[smvoice[nm([sms[nm)
 [smand organ[nm: [cf2]Mass for St Joseph [cf1]([sm1929[nm); ~[cf2]Speculum vita
e[cf1], sop. ([sm1935[nm); [cf2]Jubilate Deo [cf1]([sm1936[nm);
~[cf2]Te Deum [cf1]([sm1945[nm); [cf2]Missa festiva [cf1]([sm1958[nm); [cf2]Entr
ata ~festiva [cf1]([sm1959[nm); [cf2]Magnificat [cf1]([sm1962[nm); [cf2]Canticum
 gaudii[cf1] ~([sm1971[nm=n[sm2[nm).[cm~[j1]Peg [fy75,1](Ger. [cf2]Wirbel[cf1];
Fr. [cf2]cheville[cf1]; It. [cf2]bischero[cf1]). Movable ~wooden pin set in head
 of instr. of vn. family and ~used to adjust the tension of the str.[cm~Pell;Aae
as et M;Aaelisande. [fy75,1]([sm1[nm) Opera ([cf2]drame lyrique[cf1]) ~in [sm5[n
m acts, [sm12[nm [cf2]tableaux[cf1], by Debussy, comp. [sm1893[nm=n[sm5[nm ~and
[sm1901[nm=n[sm2[nm, being a nearly complete setting of ~the text of Maeterlinck
's play of this name ([sm1892[nm). ~Prod. Paris [sm1902[nm, NY [sm1908[nm, Londo
n [sm1909[nm.[ep~^([sm2[nm) Symphonic poem after Maeterlinck, Op. [sm5[nm, ~by S
choenberg, comp. [sm1902[nm=n[sm3[nm and f.p. [sm1905[nm ~(Vienna). F.p. in Engl
and [sm1930[nm.[ep~^([sm3[nm) Incidental mus. to Maeterlinck's play by ~Sibelius
, Op. [sm46[nm, comp. [sm1905[nm for prod. in Helsinki. ~Suite o
f [sm9[nm items for small orch. pubd. [sm1905[nm.[ep~^([sm4[nm) Incidental mus.
to Maeterlinck's play by ~Faur;aae, Op. [sm80[nm, comp. [sm1898[nm for London pr
od. ~(cond. Faur;aae). Suite of [sm4[nm items for orch. pubd. ~[sm1900[nm and f.
p. [sm1901[nm (also arr. for pf. solo, and pf., ~[sm4[nm hands).[cm~[PN541,0,0,R
,I0]Pellegrini, Vincenzo [fy75,1]([cf2]b[cf1] Pesaro, late [sm16[nmth cent.; ~[c
f2]d[cf1] Milan, [cf2]c[cf1].[sm1631[nm). It. composer. Wrote masses and ~other
church mus., canzonets and instr. pieces. ~Maestro di cappella, Milan Cath. [sm1
611[nm=n[sm31[nm.[cm~Pelletier, Wilfrid [fy75,1]([cf2]b [cf1]Montreal, [sm1896[n
m; [cf2]d[cf1] NY, ~[sm1982[nm). Canadian cond. Studied in Paris. Ass. cond. ~Mo
ntreal Opera Co., then of NY Met. [sm1917[nm, ~becoming cond. there [sm1932[nm=n
[sm50[nm. Initiated Met. ~Auditions of the Air. Cond. Ravinia Park, Chicago, ~an
d San Francisco Opera. Dir. Montreal Cons. ~[sm1942[nm=n[sm61[nm. Cond. Quebec S
.O. [sm1951[nm=n[sm66[nm.[cm~Penderecki, Krzysztof [fy75,1]([cf2
]b [cf1]Debica, [sm1933[nm). Polish ~composer. Studied Krak;aaow High Sch. for M
us. ~with Malawski until [sm1957[nm, then with Wiecho-[fj~wicz. Won all [sm3[nm
prizes at Warsaw autumn fest. ~[sm1959[nm. Teacher at Krak;aaow High Sch. for Mu
s. ~from [sm1958[nm, dir. from [sm1972[nm. Teacher at Yale Sch. ~of Mus. from [s
m1975[nm. After [sm1960[nm abandoned Boulez-~influenced style and was one of fir
st [cf2]avant-garde ~[cf1]composers to experiment with sounds such as ~sawing wo
od, rustling paper, typewriters, knock~~ing, hissing, screeching, etc., and vari
ous orig. ~effects obtained from conventional instr. by ~unconventional means, i
n particular microtonal ~glissandi and dense clusters. In choral mus., the ~sing
ers are asked to articulate consonants rapidly, ~to hiss and to whistle. Neverth
eless these freakish ~effects are put to artistic use and his [cf2]St Luke Passi
on ~[cf1]([sm1966[nm) was an immediate success with a wide ~public. Prin. works:
[xm[cm~[j2][smoperas[nm: [fy75,2]The [fy45,1]*[fy75,2]Devils of
Loudun [cf1](Diably z Loudun) ~([sm1968[nm=n[sm9[nm), [fy45,1]*[fy75,2]Paradise
Lost [cf1]([sm1976[nm=n[sm8[nm).[ep~[smorch[nm: [cf2]Emanations[cf1], [sm2[nm st
r. orch. ([sm1958[nm); [cf2]Anaklasis[cf1], ~[sm42[nm str., perc. ([sm1960[nm);
[fy45,1]*[fy75,2]Threnody for the Victims of ~Hiroshima [cf1]([cf2]Tren ofiarom
Hiroszimy[cf1]) [sm52[nm str. ([sm1960[nm); ~[cf2]Fonogrammi, [cf1]fl. and chamb
er orch. ([sm1961[nm); ~[cf2]Polymorphia[cf1], [sm48[nm str. ([sm1961[nm); [cf2]
Fluorescences [cf1]([sm1961[nm); ~[cf2]Canon[cf1], [sm52[nm str., [sm2[nm tapes
([sm1961[nm); [cf2]Sonata [cf1]for vc. and ~orch. ([sm1964[nm); [cf2]Capriccio[c
f1], ob. and str. ([sm1965[nm); [cf2]De ~natura sonoris [cf1](Of the nature of s
ound) I ([sm1966[nm), ~II ([sm1971[nm); [cf2]Pittsburgh Overture [cf1]for wind (
[sm1967[nm); ~[cf2]Capriccio[cf1], vn. and orch. ([sm1967[nm); [cf2]Pr;Aaelude[c
f1], for ~wind, perc., and dbs. ([sm1971[nm); vc. conc. No. [sm1[nm ~([sm1971[nm
=n[sm2[nm), No. [sm2[nm ([sm1981[nm=n[sm2[nm); [cf2]Partita[cf1]
, hpd., [sm5[nm elec. ~amplified solo instr. and orch. ([sm1971[nm=n[sm2[nm); [c
f2]Actions[cf1], ~jazz ens. ([sm1971[nm); Sym. No. [sm1[nm ([sm1973[nm), No. [sm
2[nm ([sm1980[nm); ~[cf2]The Dream of Jacob [cf1]([sm1974[nm).[ep~[smchorus and
orch[nm: [cf2]From the Psalms of David[cf1], ch. ~and chamber ens. ([sm1958[nm);
 [cf2]Strophes [cf1](Strofy) for ~sop., narrator, [sm10[nm instr. ([sm1959[nm);
[cf2]Dimensions of ~Time and Silence [cf1](Wymiary czasu i ciszy), ch. and ~cham
ber ens. ([sm1960[nm); [cf2]Stabat Mater[cf1], [sm3[nm ch. ([sm1963[nm); ~[cf2]C
antata in honorem Almae Matris Universitatis ~Iagellonicae[cf1], ch. and orch. (
[sm1964[nm); [fy45,1]*[fy75,2]St Luke Passion[cf1], ~narrator, soloists, ch., an
d orch. ([sm1963[nm=n[sm6[nm); [cf2]Dies ~Irae[cf1], soloists, ch., and orch. ([
sm1967[nm); [fy45,1]*[fy75,2]Utrenja[cf1]: ~Part I, [cf2]The Entombment of Chris
t[cf1], soloists, ch., and ~orch. ([sm1969[nm=n[sm70[nm), Part II, [cf2]The Resu
rrection of Christ[cf1], ~soloists, ch., and orch. ([sm1970[nm=n
[sm1[nm); [cf2]Kosmogonia[cf1], ~soloists, ch., and orch. ([sm1970[nm); [cf2]Can
ticum Cantico~~rum Salomonis [cf1](Song of Songs), ch., chamber ~orch., and danc
e pair ([sm1971[nm=n[sm2[nm); [cf2]Ecloga VIII ~[cf1](Virgil), [sm6[nm male vv.
([sm1972[nm); [cf2]Magnificat[cf1], bass, boys' ~vv., ch., orch. ([sm1974[nm); [
cf2]Te Deum[cf1], solo vv., ch., ~orch. ([sm1979[nm).[ep~[smchamber music[nm: St
r. qt, No. [sm1[nm ([sm1960[nm), No. [sm2[nm ([sm1968[nm); ~[cf2]Capriccio per S
iegfried Palm[cf1], vc. ([sm1968[nm).[ep~[smtape[nm: [cf2]Psalmus [cf1]([sm1961[
nm); [cf2]Brigade of Death[cf1] ([sm1963[nm).[cm~[ol0][ep~[xp[u20]~~[te~





[do35][j99]~~~~~~[sm153842[nm_PA[sm1[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmPA[sm1[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm9[nm-[sm10[nm-[sm7
9[nm[cm[sm8[nm[cm[sm192[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]P;aaen;aae
lope. [fy75,1]([sm1[nm) Opera ([cf2]drame lyrique[cf1]) in [sm3[nm acts by ~[fy4
5,1]*[fy75,1]Faur;aae to lib. by Ren;aae Fauchois. Prod. Monte ~Carlo and Paris
[sm1913[nm, London, [sm1970[nm.[ep~^([sm2[nm) Opera semi-seria in [sm2[nm parts
by Liebermann ~to text by H. Strobel. Prod. Salzburg [sm1954[nm. Other ~operas o
n Penelope legend are by Monteverdi ([cf2]Il ~[fy45,1]*[fy75,2]ritorno d'Ulisse
in patria[cf1]), Cimarosa, Galuppi, ~Piccinni, and Jommelli.[xm[cm~[j1]Penillion
. [fy75,1]Type of Welsh traditional singing in ~which improvised or set poems ar
e sung in ~counterpoint to well-known melody played by ~harpist. Also title of o
rch. work by Grace ~[fy45,1]*[fy75,1]Williams, comp. [sm1955[nm.[cm~Pennario, Le
onard[fy75,1] ([cf2]b[cf1] Buffalo, NY, [sm1924[nm). Amer. ~pian
ist. Public d;aaebut at [sm7[nm, played with Dallas S.O. ~at [sm12[nm. Served in
 World War II; on resumption of ~career played in trio with Heifetz (vn.) and ~P
iatigorsky (vc.). Many tours as conc. soloist.[cm~Penny for a Song, A. [fy75,1]O
pera in [sm2[nm acts by Richard ~Rodney Bennett to lib. by Colin Graham from ~pl
ay by John Whiting. Prod. London (SW) [sm1967[nm.[cm~Pentatonic Scale[fy75,1] (f
rom Gr. [cf2]pente[cf1], five). Scale of [sm5[nm ~notes widely found in folk mus
. (Scottish, ~Chinese, Negro, etc.) and found as early as [sm2000[nm ~[smbc[nm.
Can be easily prod. by playing [sm5[nm black keys ~only of pf., beginning with F
;Yi. The tune of [cf2]Auld ~Lang Syne[cf1] is pentatonic.[cm~Pentland, Barbara[f
y75,1] (Lally) ([cf2]b[cf1] Winnipeg, [sm1912[nm). ~Canadian composer. Studied W
innipeg and Mon~~treal [sm1921[nm=n[sm9[nm, Paris [sm1929[nm=n[sm30[nm, Juilliar
d Sch. [sm1936[nm=n~[sm9[nm, and Tanglewood [sm1941[nm, [sm1942[nm (comp. with ~
Copland). Taught theory and comp. Toronto ~Cons. [sm1943[nm=n[sm
9[nm, Univ. of B.C., Vancouver, [sm1949[nm=n~[sm63[nm. Works incl. [sm4[nm syms.
, [sm3[nm str. qts., pf. conc., vn. ~sonata, etc.[cm~P;Aaepin, Clermont[fy75,1]
([cf2]b[cf1] St Georges de Beauce, [sm1926[nm). ~Canadian composer. Studied Queb
ec, Montreal, ~Curtis Institute, Toronto Cons., and in Paris ~[sm1949[nm=n[sm51[
nm with Honegger, Jolivet, and Messiaen. ~Teacher of comp., Montreal. Works incl
. [sm4[nm syms., ~[sm2[nm pf. concs., [sm4[nm str. qts., symphonic poem [cf2]Gue
rnica[cf1], ~ballets [cf2]The Gates of Hell[cf1] and [cf2]The Phoenix.[cm~Peppin
g, Ernst[fy75,1] ([cf2]b[cf1] Duisburg, [sm1901[nm; [cf2]d [cf1]Berlin, ~[sm1981
[nm). Ger. composer. Studied in Berlin [sm1922[nm=n[sm6[nm ~with Gmeindl. Prof.
of comp. Berlin Hochschule ~[sm1953[nm=n[sm68[nm. Works incl. [sm3[nm syms., pf.
 conc., [sm2[nm org. ~concs., [sm4[nm pf. sonatas, and a large number of choral
~works incl. [cf2]Missa, Dona nobis pacem[cf1] ([sm1949[nm) and ~[cf2]Passionsbe
richt des Matth;Auaus[cf1] ([sm1950[nm).[cm~Pepusch, Johann Chri
stoph[fy75,1] ([cf2]b[cf1] Berlin [sm1667[nm; [cf2]d[cf1] ~London, [sm1752[nm).
Ger.-born composer, cond., and ~[PN542,0,0,L,I0]organist. Mainly self-taught; ex
pert in theory and ~history. Settled in London [sm1704[nm. Played vn. and ~cemba
lo in Drury Lane orch. One of founders of ~[fy45,1]*[fy75,1]Academy of Ancient M
usic. Organist and ~composer to Duke of Chandos [sm1715[nm=n[sm20[nm. From ~[sm1
715[nm comp. mus. for operas and masques at ~Drury Lane and Lincoln's Inn Th. Or
chestrated ~folk tunes and comp. ov. for Gay's [cf2]The [fy45,1]*[fy75,2]Beggar'
s ~Opera[cf1] ([sm1728[nm) and for its sequel [cf2]Polly[cf1] ([sm1729[nm). Wrot
e ~treatise on harmony ([sm1730[nm) and other theoretical ~books.[cm~Per[fy75,1]
 (It.). By, through, for, in order to, etc., e.g. ~[cf2]per stromentati[cf1], fo
r instrs.[cm~Peragallo, Mario[fy75,1] ([cf2]b[cf1] Rome, [sm1910[nm). It. compos
er. ~Pupil of [fy45,1]*[fy75,1]Casella. Works, in advanced style, incl. ~[sm5[nm
 operas, scenic cantata, conc. for orch., pf. conc., ~vn. conc.
(Rome prize [sm1954[nm), str. qts.[cm~Perahia, Murray[fy75,1] ([cf2]b[cf1] NY, [
sm1947[nm). Amer. pianist ~and cond. Studied Mannes Coll., NY. Winner ~Leeds Int
. pf. competition [sm1972[nm. Soloist with ~leading orchs. Frequently conducts f
rom kbd. in ~perfs. of Mozart concs. First London recital [sm1973[nm.[cm~Perciva
l, Allen [fy75,1](Dain) ([cf2]b[cf1] Bradford, Yorks., [sm1925[nm). ~Eng. teache
r and author. Studied Cambridge ~Univ. with Ord and Dart. Prin., GSM [sm1965[nm=
n[sm77[nm. ~Chairman, Stainer and Bell. C.B.E. [sm1975[nm.[cm~Percussion. [fy75,
1]Name for family of instrs. (perhaps ~the most ancient in existence) which are
usually ~played by striking a resonating surface with a ~stick or the hand, or b
y a pedal. The pf. may be ~used percussively (as in Orff, Stravinsky, Bart;Aaok,
 ~etc.) but is not classified as a perc. instr., nor is the ~celesta. The instr.
 are divided into those of definite ~pitch=m[fy45,1]*[fy75,1]kettledrum, [fy45,1
]*[fy75,1]tubular bells, [fy45,1]*[fy75,1]glocken~~spiel, [fy45,
1]*[fy75,1]vibraphone, [fy45,1]*[fy75,1]xylophone, [fy45,1]*[fy75,1]marimba=mand
 ~those of indefinite pitch=m[fy45,1]*[fy75,1]triangle, [fy45,1]*[fy75,1]gong, [
fy45,1]*[fy75,1]cas~~tanets, [fy45,1]*[fy75,1]whip, [fy45,1]*[fy75,1]rattle, [fy
45,1]*[fy75,1]anvil, [fy45,1]*[fy75,1]bass drum, ten. ~[fy45,1]*[fy75,1]drum, [f
y45,1]*[fy75,1]side drum, [fy45,1]*[fy75,1]tabor, [fy45,1]*[fy75,1]tambourine, ~
[fy45,1]*[fy75,1]bongo, and [fy45,1]*[fy75,1]cymbals. Various unusual devices ~s
uch as iron chains, motor horns, tin sheet, come ~into the perc. section of an o
rch.[cm~Perdendo, perdendosi[fy75,1] (It.; Fr. [cf2]se perdant[cf1]). Losing, ~i
.e. gradually dying away.[cm~Perfall, Karl, Freiherr von[fy75,1] ([cf2]b[cf1] Mu
nich, [sm1824[nm; [cf2]d[cf1] ~Munich, [sm1907[nm). Ger. opera-house administrat
or, ~cond., and composer. Civil servant until [sm1850[nm. ~Studied mus. Leipzig
[sm1848[nm=n[sm9[nm. Cond. Munich ~Liedertafel [sm1850[nm, oratorio soc. [sm1854
[nm=n[sm64[nm. Intendant ~of Munich court mus. [sm1864[nm=n[sm7[
nm, court th. [sm1867[nm=n~[sm93[nm. Despite the composer's hostility, was cham~
~pion of Wagner's music and over [sm700[nm Wagner ~perfs. were given in Munich d
uring his inten~~dancy. Wrote operas, cantatas, and songs.[cm~Perfect Cadence. [
fy75,1]See [cf2]Cadence.[cm~Perfect Fool, The. [fy75,1]Comic opera in [sm1[nm ac
t by Holst, ~Op. [sm39[nm, to lib. by composer. Comp. [sm1918[nm=n[sm22[nm. ~Pro
d. London, CG [sm1923[nm cond. E. Goossens; ~Wichita [sm1962[nm. Also separate o
rch. suite of ballet ~mus., f.p. [sm1920[nm.[cm~Perfect Intervals. [fy75,1]See [
cf2]Interval.[cm~Perfect Time. [fy75,1]See [cf2]Common Time.[cm~Perfect Pitch. [
fy75,1]See [cf2]Absolute Pitch.[cm~Performing Right Society. [fy75,1]Brit. assoc
. of com~~posers, authors, and mus. publishers founded ~[sm1914[nm for the purpo
se of collecting royalties for ~the non-dramatic public perf. and broadcasting ~
of members' works. (Often incorrectly described ~as the Performing Rights Societ
y.)[cm~Pergolesi, Giovanni Battista[fy75,1] ([cf2]b[cf1] Jesi, n
r. Ancona, ~[sm1710[nm; [cf2]d[cf1] Pozzuoli, nr. Naples, [sm1736[nm). It. compo
ser, ~violinist, and organist. Studied Naples [sm1725[nm. ~Principally talented
as composer of comic operas, ~the first of which, [cf2]Salustia, [cf1]was a fail
ure in Naples ~in [sm1732[nm. In [sm1733[nm he comp. [cf2]Il prigioner superbo,
~[cf1]now forgotten except for its intermezzo [cf2]La [fy45,1]*[fy75,2]serva ~pa
drona, [cf1]which has remained popular. His [cf2]Stabat ~Mater[cf1] ([sm1736[nm)
 for male sop., male alto, and orch. ~is still perf. After his early death from
tuberculosis, ~many works were and still are falsely ascribed to ~him, such as t
he comic opera [cf2]Il maestro di musica, ~[cf1]concs., and songs. Stravinsky in
 [fy45,1]*[fy75,2]Pulcinella[cf1] `re-~composed' material by Pergolesi, but even
 there ~some of the attributions are false.[cm~Peri, Jacopo[fy75,1] ([cf2]b[cf1]
 Rome, [sm1561[nm; [cf2]d[cf1] Florence, [sm1633[nm). ~It. composer, pupil of Ma
lvezzi. Dir. of mus. at ~Medici court and later at court of Ferr
ara. One of ~group of poets and musicians assoc. in Florence ~with Jacopo Corsi
and Count [fy45,1]*[fy75,1]Bardi in last quarter ~of [sm16[nmth cent. (see [cf2]
Camerata[cf1]), and whose interest ~in reviving elements of Gr. drama led to com
p. ~in monodic style of what is regarded as the first ~opera or mus.-drama, [cf2
]Dafne[cf1] ([sm1594=n8[nm), followed ~by [cf2]Euridice[cf1] ([sm1600[nm). He la
ter wrote other operas, ~some in collab., ballets, madrigals, etc., only a few ~
of which survive.[cm~P;aaeri, La [fy75,1](The Peri). Ballet ([cf2]po;Ageme dans;
aae[cf1]) by Dukas, ~choreog. Clustine, f.p. Paris [sm1912[nm. Orch. suite ~from
 mus.[xm[cm~[j1]P;aaerichole, La. [fy75,2]Op;Aaera-bouffe [cf1]by Offenbach to l
ib. ~by Meilhac and Hal;Aaevy after M;Aaerim;Aaee's [cf2]Le Carrosse ~du Saint S
acr;Aaement[cf1]. Orig. in [sm2[nm acts ([sm1868[nm), rev. in [sm3[nm ~acts  ([s
m1874[nm). Prod. Paris [sm1868[nm, NY [sm1869[nm, London ~[sm1870[nm.[xm[cm~[j1]
P;aaerigourdine. [fy75,1]Old Fr. dance to mus. in com~~pound dup
le time which was sung by the dancers. ~Its native home was P;Aaerigord.[cm~Perk
owski, Pyotr[fy75,1] ([cf2]b[cf1] Oweczacze, Ukraine, [sm1901[nm). ~Polish compo
ser and cond. Studied Warsaw Cons. ~and with Szymanowski and Roussel (in Paris).
 ~Founded assoc. of young Polish musicians in ~Paris, [sm1927[nm. Dir. Torun Con
s. [sm1935[nm=n[sm9[nm. Prof. of ~comp., Warsaw State Acad. [sm1946[nm=n[sm70[nm
 with interval ~[sm1950[nm=n[sm6[nm when he was dean of Wroc;Umaw Acad. of ~Mus.
 Cond. Polish Radio Orch. [sm1956[nm=n[sm8[nm. Works ~[PN543,0,0,R,I0]incl. syms
., concs., ballets, radio opera, and [cf2]Szkice ~torunskie [cf1](Torun Sketches
) for orch. ([sm1938[nm).[cm~Perle, George[fy75,1] ([cf2]b[cf1] Bayonne, NJ, [sm
1915[nm). Amer. ~composer. Studied De Paul Univ. [sm1934[nm=n[sm8[nm and ~later
with K;Akrenek. Prof. of mus., Queens Coll., ~City Univ. of NY, since [sm1961[nm
, having held ~teaching posts at other univs. since [sm1949[nm. Author ~of impor
tant book on [cf2]Serial Composition and ~Atonality[cf1] ([sm196
2[nm). Authority on music and life of ~Alban Berg. As a composer evolved his own
 ~serialist method. Works incl. [cf2]Hebrew Melodies[cf1] for ~vc. ([sm1945[nm),
 [sm6[nm str. qts., [sm3[nm wind quintets, vc. conc. ~([sm1966[nm), [cf2][sm3[nm
 Movements[cf1] for orch. ([sm1960[nm), [cf2][sm6[nm Bagatelles[cf1] ~for orch.,
 etc.[cm~Perlemuter, Vlado[fy75,1] ([cf2]b[cf1] Kowno (Kaunas), [sm1904[nm). ~Fr
. pianist of Polish birth. Studied with Mosz~~kowski and Cortot. Learned all Rav
el's pf. mus. ~between [sm1925[nm and [sm1927[nm and played it to the ~composer.
 His other specialization is  Chopin. ~Prof. of pf., Paris Cons. from [sm1950[nm
.[cm~Perlman, Itzhak[fy75,1] ([cf2]b[cf1] Tel Aviv, [sm1945[nm). Israeli ~violin
ist. Studied Tel Aviv Acad. of Mus. and ~Juilliard Sch. Recital on Amer. radio a
t age [sm10[nm, ~Carnegie Hall [sm1963[nm, with leading orchs. from ~[sm1964[nm.
 London d;Aaebut [sm1968[nm. Assoc. in chamber ~mus. with Barenboim, Ashkenazy,
Zukerman, ~etc. Plays seated because of polio.[cm~Perosi, Lorenz
o[fy75,1] ([cf2]b[cf1] Tortona, [sm1872[nm; [cf2]d[cf1] Rome, [sm1956[nm). ~It.
composer and priest. Studied Milan Cons. ~Maestro di cappella, St Mark's, Venice
, [sm1894[nm, ~ordained [sm1895[nm, maestro di cappella, Sistine Chapel ~[sm1898
[nm=n[sm1915[nm. Had remarkable success Milan [sm1897[nm ~with oratorio-trilogy.
 This was followed by [sm8[nm ~other oratorios before [sm1904[nm which had a spe
ctac~~ular but short-lived success. Also comp. [sm33[nm masses, ~many other reli
gious choral works, and several ~symphonic poems.[cm~P;Aaerotin[fy75,1] (known a
s Perotinus Magnus) ([cf2]c.[cf1][sm1160[nm=n~[sm1240[nm). Fr. composer. Choirma
ster of chapel on ~site of present Notre Dame Cath., Paris, and leader ~of what
became known as Notre Dame Sch. ~Wrote liturgical mus. in style known as [fy45,1
]*[fy75,2]Ars ~antiqua[cf1] and improved mus. notation.[cm~Perpetual Canon. [fy7
5,1]A [fy45,1]*[fy75,1]canon so arr. that each v., ~having arrived at the end, c
an begin again, and so ~continue indefinitely.[cm~Perpetuum Mobi
le[fy75,1] (Lat.; It. [cf2]moto perpetuo[cf1]). ~Perpetually in motion. Title of
ten given to type ~of instr. comp. based on rapid, repetitive note-~patterns.[cm
~Pers;Aaephone. [fy75,1]Melodrama in [sm3[nm scenes by Stravin~~sky to lib. by A
ndr;Aae Gide, choreog. Jooss, for ~narrator, ten., ch., children's ch., and orch
. Comp. ~[sm1933[nm=n[sm4[nm. Prod. Paris [sm1934[nm, concert version London ~[s
m1934[nm. In ballet version, performer of Pers;Aaephone ~must recite and dance.[
cm~Persiani [fy75,1]([cf2]n;Aaee[cf1] Tacchinardi), [fy65][cf3]Fanny[fy75,1] ([c
f2]b[cf1] Rome, [sm1812[nm; ~[cf2]d[cf1] Paris, [sm1867[nm). It. sop. Taught by
her father, a ten. ~D;Aaebut Leghorn [sm1832[nm. Created title-role in [cf2]Luci
a ~di Lammermoor[cf1], which Donizetti wrote for her, ~[sm1835[nm. London d;Aaeb
ut [sm1838[nm. At CG [sm1847[nm=n[sm9[nm, helping ~to establish it as Royal It.
Opera. Sang in Paris ~[sm1837[nm=n[sm48[nm. V. of great range and brilliance and
 ~capable of virtuoso ornamentation.[cm~Persichetti, Vincent[fy7
5,1] ([cf2]b[cf1] Philadelphia, [sm1915[nm). ~Amer. composer, cond., and teacher
. Studied ~Philadelphia Cons. and Curtis Institute. Taught ~by Roy Harris (comp.
), Fritz Reiner (cond.), and ~Olga Samaroff (pf.). Teacher of comp. at Philadel~
~phia Cons. [sm1942[nm=n[sm62[nm and Juilliard Sch. from [sm1947[nm. ~Publishing
 executive and lecturer. Prolific and ~fluent composer in wide range of styles.
Works ~incl. [sm9[nm syms., [sm12[nm pf. sonatas, [sm4[nm str. qts., septet [cf2
]King ~Lear, [cf1]cantatas, songs, etc. Wrote [cf2]Twentieth-Century ~Harmony[cf
1] (NY, [sm1961[nm).[cm~Pert, Morris[fy75,1] ([cf2]b[cf1] Edinburgh, [sm1947[nm)
. Scottish ~composer. Studied at Edinburgh Univ. and RAM ~(comp. with A. Bush, p
erc. with Blades). Won ~Royal Phil. Soc. award for orch. work [cf2]Xumbu-Ata[cf1
] ~([sm1970[nm). Worked for [sm2[nm years with Japanese percus~~sionist Stomu Ya
mash'ta, then formed own ~experimental mus. group `Suntreader'. Works ~comp. sin
ce [sm1971[nm incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Sun Dragon[cf
1]; Sym. in [sm1[nm movement; Sym. ~No. [sm2[nm (The Beltane Rites), [sm1979[nm.
[ep~[smensemble[nm: [cf2]Akhenaten[cf1]; [cf2]Alpha Centauri[cf1]; [cf2]Cernunno
s[cf1]; ~[cf2]Chromosphere[cf1]; [cf2]Eoastrion Luminos (a), [cf1]basset horn ~o
r cl. and pf.; [cf2]Omega Centauri[cf1]; cl. sonata; [cf2]The ~Ancient Pattern.[
ep~[cf1][smballets[nm: [cf2]Diary[cf1]; [cf2]Earth Dances[cf1]; [cf2]Continuum.[
ep~[cf1][smvocal[nm: [cf2]Epitaphs, [cf1]sop.; [cf2][sm5[nm Songs from the Japan
ese, ~[cf1]sop.; [cf2][sm4[nm Japanese Verses, [cf1]sop.; [cf2][sm2[nm Medieval
Latin ~Lyrics, [cf1]SATB; [cf2][sm2[nm Medieval Love Songs, [cf1][sm2[nm-part ch
., ~pf., perc.[ep~[smpiano[nm: [cf2]Luminos (b)[cf1]; [cf2]Sonores[cf1]; [cf2]Su
ilven Moon Voyage ~in Space[cf1]; [cf2]Fragmenti II [cf1](hpd.).[ep~[smtape[nm:
[cf2]Ionosphere[cf1]; [cf2]Magnificat N.G.C. [sm6853[nm[cf1]; [cf2]Theta ~Orioni
s.[cm~[j1]Perti, Giacomo Antonio[fy75,1] ([cf2]b[cf1] Bologna, [sm1661[nm; [cf2]
d[cf1] ~Bologna, [sm1756[nm). It. composer. After working in ~Ve
nice and Modena in his youth, returned to ~Bologna, where he was a choirmaster [
sm1690[nm=n[sm1756[nm. ~Wrote [sm26[nm operas but later devoted himself to ~reli
gious works, especially oratorios, cantatas, and ~masses. Also wrote sonatas for
 vn. and vc. and ~other instr. works.[cm~Pertile, Aureliano[fy75,1] ([cf2]b[cf1]
 Montagnana, [sm1885[nm; [cf2]d[cf1] ~Milan, [sm1952[nm). It. ten. D;Aaebut Vice
nza [sm1911[nm ~followed by further study. NY Met. [sm1921[nm=n[sm2[nm. CG ~[sm1
927[nm=n[sm31[nm. Leading ten. Scala, Milan, [sm1921[nm=n[sm37[nm, ~where he was
 greatly admired by Toscanini. ~Retired [sm1940[nm. Prof. of singing, Milan Cons
., ~[sm1945[nm=n[sm52[nm.[cm~Pes [fy75,1](Lat.). Foot. ([sm1[nm) Name for the te
n. in Eng. ~mus. MSS. of [sm13[nmth and [sm14[nmth cents., also for [sm2[nm ~low
er parts in [cf2]Sumer is icumen in [cf1](as ground bass).[ep~^([sm2[nm) Synonym
 for [cf2]podatus, [cf1]a melodic figure in the ~old [fy45,1]*[fy75,1]neume nota
tion.[cm~[PN544,0,0,L,I0]Pesante[fy75,1] (It.). Weighing, i.e. h
eavy or heavily as ~in [cf2]allegro pesante, [cf1]implying that the whole passag
e ~is to be perf. with weight, as opposed to [cf2]allegro ~marcato, [cf1]which m
eans that individual notes or ~groups of notes are to be emphasized.[cm~Peter an
d the Wolf [fy75,1]([cf2]Petya i volk[cf1]). Symphonic ~fairy-tale for narrator
and orch., Op. [sm67[nm, by ~Prokofiev to his own lib. F.p. Moscow Children's ~T
heatre Centre [sm1936[nm, f.Eng.p. London [sm1941[nm. The ~boy Peter's fooling o
f a wolf is narrated and ~brilliantly illustrated by solo orch. instrs.; the ~wo
rk is delightful in itself and a wonderful way ~of instructing children (and oth
ers) how to ~identify orch. instr.[cm~Peter Grimes. [fy75,1]Opera in prol. and [
sm3[nm acts by ~[fy45,1]*[fy75,1]Britten, op. [sm33[nm, to lib. by Montagu Slate
r ([sm1902[nm=n~[sm56[nm) based on poem `The Borough' ([sm1810[nm) by ~George Cr
abbe ([sm1754[nm=n[sm1832[nm). Comp. [sm1944=n5[nm. F.p. ~London, SW, [sm7[nm Ju
ne [sm1945[nm; Tanglewood, Mass. ~[sm1946[nm; CG [sm1947[nm.[cm~
Peters, Carl Friedrich [fy75,1]([cf2]b[cf1] Leipzig, [sm1779[nm; [cf2]d[cf1] ~So
nnenstein, Bavaria, [sm1827[nm). Ger. mus. publisher ~who bought K;Auuhnel and H
offmeister's business ~(est. [sm1800[nm) in [sm1814[nm and pubd. first complete
edns. ~of Bach and Haydn. On his death business was ~continued by others, notabl
y, after [sm1863[nm, by Max ~Abraham who developed the `Peters Edition' of ~inex
pensive classic scores and est. the Peters ~Library, opening it to the public in
 [sm1894[nm. He ~enriched the firm's catalogue with works by ~Brahms, Grieg, Bru
ch, and Wagner. His nephew, ~Henri Hinrichsen, assumed control on Abraham's ~dea
th in [sm1900[nm, expanded the catalogue, and was ~joined in partnership by his
sons in [sm1931[nm and ~[sm1933[nm. One of these, Max, settled in London [sm1937
[nm ~where he est. Peters Edition [sm1938[nm. His brother ~Walter ([sm1907[nm=n[
sm69[nm) settled in USA [sm1936[nm where he ~est. C. F. Peters Corp. [sm1948[nm,
 publishing many ~important Amer. composers. Leipzig house ~pass
ed into other hands [sm1939[nm, but Peters Edition ~was restored to Hinrichsen f
amily in [sm1948[nm. Firm ~of Peters Edition became state-owned company ~in Leip
zig, also the Peters Library. Hinrichsen ~interest divided into [sm3[nm equal pa
rtners in London, ~NY, and Frankfurt. Peters Frankfurt acquired ~Belyayev Editio
n in [sm1971[nm.[cm~Peter Schmoll und Seine Nachbarn[fy75,1] (`Peter ~Schmoll an
d his Neighbours'). Opera ([cf2]Singspiel[cf1]) in ~[sm2[nm acts by Weber, lib.
Joseph T;Auurk based on novel ~by C. G. Cramer ([sm1798[nm=n[sm9[nm). Dialogue n
ow lost. ~Comp. [sm1801[nm=n[sm2[nm. Prod. Augsburg [sm1803[nm (and ~possibly Mu
nich [sm1807[nm). Revived L;Auubeck [sm1927[nm ~with new dialogue by K. Eggert.
Reconstructed ~version by H. Hasse prod. Freiburg [sm1943[nm. Version ~based on
idea of R. Lauckner by W. W. G;Auottig ~published [sm1963[nm.[cm~Petite Fl;afute
[fy75,1] (Fr.). Little flute, i.e. the [fy45,1]*[fy75,2]Piccolo.[cm~Petite Messe
 solennelle [fy75,1](Little Solemn Mass). ~Setting of Mass by Ro
ssini for sop., cont., ten., ~and bar. soloists, ch., [sm2[nm pf., and harmonium
, ~[sm1863[nm. Arr. [sm1867[nm for full orch. by composer. The ~`petite' does no
t refer to the work's size but is ~Rossini's too modest evaluation of its import
ance.[cm~Petite Suite [fy75,1](Little Suite). Work for pf. [sm4[nm hands ~by Deb
ussy comp. [sm1886=n9[nm (arr. for pf. solo by ~Durand [sm1906[nm). [sm4[nm move
ments are [cf2]En bateau[cf1] (In a ~boat), [cf2]Cort;Agege[cf1] (Funeral Proces
sion), [cf2]Menuet[cf1], and ~[cf2]Ballet[cf1]. Orch. version by Busser, [sm1907
[nm (also version ~for small orch. by Mouton, [sm1909[nm).[cm~Petite Symphonie [
fy75,1](Little Symphony). Work in ~[sm4[nm movements for [sm9[nm wind instr. ([s
m2[nm each of obs., ~cls., hns., and bns., and [sm1[nm fl.) by [fy45,1]*[fy75,1]
Gounod, comp. ~[sm1885[nm for Paul Taffanel, Fr. flautist, and f.p. by ~[cf2]Soc
i;aaet;aae de Musique de la Chambre pour Instruments ;aga ~Vent, [cf1]Paris [sm1
885[nm.[cm~Petite Symphonie Concertante [fy75,1](Little concer~~
tante symphony). Work by Frank [fy45,1]*[fy75,1]Martin for ~harp, hpd., pf., and
 [sm2[nm str. orchs. F.p. Z;auurich [sm1946[nm.[xm[cm~[ol0][ep~[xp[te~











[do35][j99]~~~~~~[sm153842[nm_PA[sm2[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmPA[sm2[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm9[nm-[sm10[nm-[sm7
9[nm[cm[sm8[nm[cm[sm239[nm[cm~GC[cm4[cm13.8.84[cm~U1[cm~~~~[ap[j1]Petits Riens,
Les [fy75,1](The Little Nobodies). Ballet ~mus. by Mozart (K Anh. [sm10[nm) comp
. in Paris, June ~[sm1778[nm, for a perf. of a ballet-divertissement [cf2]Les ~P
etits Riens[cf1] with lib. and choreog. by the Parisian ~ballet-master Jean Nove
rre. Mus. lost until [sm1872[nm, ~when found in library of Paris Op;Aaera.[cm~Pe
trarch Sonnets, Three[fy75,1] (Liszt). See [cf2]Sonetti di ~Petrarca.[cm~Petrass
i, Goffredo[fy75,1] ([cf2]b[cf1] Zagarolo, [sm1904[nm). It. com~~poser. Educated
 at choir school. Worked in Rome ~mus. store and was given harmony lessons in hi
s ~free time. Studied S. Cecilia Acad., Rome, [sm1928[nm=n~[sm32[nm, where he be
came prof. of comp. [sm1939[nm=n[sm59[nm. ~Dir., La Fenice, Venice, [sm1937[nm=n
[sm40[nm. Comps. in neo-~classical style, using [sm12[nm-note me
thod in later ~works. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Il Cordovano[
cf1] ([sm1944[nm=n[sm8[nm); [cf2]La Morte dell' Aria[cf1] ~([sm1950[nm).[ep~[smb
allets[nm: [cf2]La Follia di Orlando[cf1] ([sm1942[nm=n[sm3[nm); [cf2]Ritratto d
i ~Don Chisciotte[cf1] ([sm1945[nm).[ep~[smorch[nm: [cf2]Divertimento[cf1] ([sm1
930[nm); [cf2]Ouverture da concerto[cf1] ~([sm1931[nm); [cf2]Passacaglia[cf1] ([
sm1931[nm); [cf2]Concertos for Orches~~tra, [cf1]No. [sm1[nm ([sm1933[nm=n[sm4[n
m), No. [sm2[nm ([sm1951[nm), No. [sm3[nm ~([cf2]R;aaecr;aaeation Concertante[cf
1]) ([sm1952[nm=n[sm3[nm), No. [sm4[nm, str. ~([sm1954[nm), No. [sm5[nm ([sm1955
[nm), No. [sm6[nm ([cf2]Invenzione concertata[cf1]), ~brass, str., perc. ([sm195
6[nm=n[sm7[nm), No. [sm7[nm ([sm1961[nm=n[sm2[nm, rev. ~[sm1964[nm), No. [sm8[nm
 ([sm1970[nm=n[sm2[nm); pf. conc. ([sm1936[nm=n[sm9[nm); fl. ~conc. ([sm1960[nm)
; [cf2]Estri[cf1], for [sm15[nm instr. ([sm1966[nm=n[sm7[nm).[ep~[smchamber musi
c[nm: [cf2]Sonata da camera[cf1] ([sm1948[nm); [cf2]Dialogo ~ang
elico, [cf1][sm2[nm fl. ([sm1948[nm); [cf2]Musica a due[cf1], [sm2[nm vc. ([sm19
52[nm); ~str. qt. ([sm1956[nm=n[sm7[nm); str. trio ([sm1959[nm); [cf2]Ala[cf1],
fl. and ~hpd. ([sm1972[nm).[ep~[smchoral[nm: [cf2]Salmo [sm9[nm[cf1], ch. and or
ch. ([sm1934[nm=n[sm6[nm); [cf2]Magnifi~~cat, [cf1]sop., ch., and orch. ([sm1939
[nm=n[sm40[nm); [cf2]Coro di morti, ~[cf1]male ch., [sm3[nm pf., brass, perc. ([
sm1940[nm=n[sm1[nm); [cf2]Noche ~oscura, [cf1]cantata ([sm1950[nm=n[sm1[nm); [cf
2]Orationes Christi[cf1], ch., ~brass, va., vc. ([sm1974[nm=n[sm5[nm).[cm~[j1]Pe
tri, Egon[fy75,1] ([cf2]b[cf1] Hanover, [sm1881[nm; [cf2]d[cf1] Berkeley, Calif.
, ~[sm1962[nm). Ger. pianist of Dutch ancestry. Son of H. ~V. Petri, violinist a
nd composer. Studied with ~Carre;atno and Busoni. Recitalist from [sm1902[nm, wi
th ~[PN545,0,0,R,I0]int. reputation. Prof. of pf. RMCM, [sm1906[nm=n[sm10[nm. ~S
ettled in Berlin, [sm1921[nm, as pf. prof. at Berlin ~Hochschule f;Auur Musik un
til [sm1925[nm. Lived in ~Poland [sm1925[nm=n[sm39[nm. D;Aaebut
USA [sm1932[nm. Pianist-in-~residence, Cornell Univ. [sm1940[nm=n[sm6[nm, Mills
Coll., ~Oakland, from [sm1947[nm. Returned to Europe to teach ~in Basle [sm1957[
nm. Specialist in Liszt and Busoni. ~Collab. with Busoni in edn. of Bach.[xm[cm~
[j1]Petri;aac, Ivo[fy75,1] ([cf2]b[cf1] Ljubljana, [sm1931[nm). Yugoslav com~~po
ser. Studied Ljubljana Acad. [sm1950[nm=n[sm8[nm. Influ~~enced in early works by
 [fy45,1]*[fy75,1]Bart;Aaok, turned to new ~types of sound after encountering mu
s. of [fy45,1]*[fy75,1]Luto-~s;Umawski, [fy45,1]*[fy75,1]Ligeti, and [fy45,1]*[f
y75,1]Penderecki. Works incl. ~[cf2]Goga[cf1] Sym. (No. [sm1[nm) ([sm1954[nm); [
cf2]Concerto grosso[cf1] ([sm1955[nm); ~fl. conc. ([sm1955[nm); Sym. No. [sm2[nm
 ([sm1957[nm), No. [sm3[nm ([sm1960[nm); ~cl. conc. ([sm1958[nm); [cf2]Symphonic
 Mutations[cf1] ([sm1964[nm); ~[cf2]Musique Concertante[cf1], pf., orch. ([sm197
1[nm); [cf2]Dialogues ~concertantes[cf1], vc., orch. ([sm1972[nm); [cf2][sm3[nm
Images[cf1], vn., orch. ~([sm1973[nm); [cf2]Nocturnes et Jeux[cf
1] ([sm1973[nm); [cf2]Gemini Conc[cf1]., vn., ~vc., orch. ([sm1975[nm); [cf2]Jeu
x, [cf1]v. and harp ([sm1965[nm); [cf2]Jeux II, ~[cf1]vocal and instr. sounds on
 tape ([sm1966[nm); [cf2]Int;aaegrals ~en couleur, [cf1]chamber ens. ([sm1968[nm
); str. qt. ([sm1969[nm); [cf2][sm3[nm ~Satires after Kriloff[cf1] for ch. and e
ns. ([sm1970[nm); ~[cf2]Meditations[cf1], pf. trio ([sm1971[nm); [cf2]Capriccio[
cf1], vc., [sm8[nm instr. ~([sm1973[nm); [cf2]Summer Music[cf1], fl., pf. ([sm19
73[nm); [cf2]Autumn ~Music[cf1], vn., pf. ([sm1974[nm); [sm3[nm wind quintets ([
sm1953[nm, ~[sm1959[nm, [sm1974[nm); Sonata, vn. ([sm1976[nm); [cf2]Winter Music
[cf1], cl., ~pf. ([sm1977[nm).[xm[cm~[j1]Petridis, Petro[fy75,1] ([cf2]b[cf1] Ni
gd;aae, Turkey, [sm1892[nm; [cf2]d[cf1] Athens, ~[sm1978[nm). Gr. composer. Stud
ied law at Sorbonne, ~Paris, and comp. briefly with Roussel ([sm1919[nm=n[sm20[n
m). ~Worked as mus. critic and lecturer. Works, ~influenced by folk and Byzantin
e church mus., ~incl. [sm5[nm syms., [sm2[nm pf. concs., conc. f
or [sm2[nm pf., vn. ~conc., oratorio [cf2]St Paul[cf1], opera [cf2]Zefyra.[cm~Pe
trie, George[fy75,1] ([cf2]b[cf1] Dublin, [sm1789[nm; [cf2]d[cf1] Dublin, [sm186
6[nm). ~Irish painter, violinist, and collector of folk-songs. ~Published standa
rd coll. of Irish folk-songs [sm1855[nm, ~new edn. ed. [fy45,1]*[fy75,1]Stanford
, [sm3[nm vols. [sm1902[nm=n[sm5[nm (containing ~[sm1[nm,[sm582[nm songs).[cm~Pe
trovics, Emil[fy75,1] ([cf2]b[cf1] Nagybecskerek, Yugoslavia, ~[sm1930[nm). Hung
. composer. Studied Liszt Cons., ~Budapest, with Farkas and Kod;aaaly. Mus. dir.
 ~Pet;auofi Th., Budapest, [sm1960[nm=n[sm4[nm. Teacher of comp. ~Liszt Cons. si
nce [sm1969[nm. Works incl. operas [cf2]C'est la ~Guerre, Lysistrata, [cf1]and [
cf2]Crime and Punishment[cf1]; fl. ~conc., str. qt., wind quintet, oratorio [cf2
]The Book of ~Jonah.[cm~Petrushka. [fy75,1](The title [cf2]P;Aaetrouchka[cf1] is
 merely the Fr. ~transliteration of the Russ. and should properly ~be used only
in Fr.) Ballet (burlesque) in [sm4[nm tableaux ~with mus. by Str
avinsky, comp. [sm1910[nm=n[sm11[nm to lib. ~by Benois, choreog. by Fokine. Prod
. Paris ~(Diaghilev Ballet) [sm1911[nm, London [sm1911[nm, NY [sm1916[nm. ~Nijin
sky created title-role, Karsavina the Bal~~[chlerina. Orch. suite f.p. Paris (co
nd. Monteux) ~[sm1914[nm; re-orch. [sm1947[nm as suite in [sm4[nm parts with [sm
15[nm ~movements. [sm3[nm movements ([cf2]Russian Dance, In ~Petrushka's Cell, [
cf1]and [cf2]Shrove-tide Fair[cf1]) arr. for pf. by ~Stravinsky, [sm1921[nm. Ver
sion for [sm2[nm pf. arr. Babin ~exists, also Suite of [sm5[nm pieces arr. for p
f. by Sz;aaant;Aao, ~[sm1922[nm.[cm~Pettersson, Allan [fy75,1]([cf2]b[cf1] Stock
holm, [sm1911[nm; [cf2]d[cf1] Stock~~holm, [sm1980[nm). Swed. composer and violi
st. Studied ~Stockholm Cons. [sm1930[nm=n[sm9[nm (vn., va., and counter~~point).
 Studied comp. with [fy45,1]*[fy75,1]Blomdahl and later ~with Honegger and Leibo
witz [sm1951[nm=n[sm2[nm. Violist, ~Stockholm P.O. [sm1940[nm=n[sm50[nm. Comps.
incl. [sm16[nm syms., ~conc. for vn. and str. qt., vn. conc., [s
m3[nm concs. for ~str. orch., [sm7[nm sonatas for [sm2[nm vn., song-cycle [cf2]V
ox ~Humana[cf1] for soloists, ch., and orch., songs, etc.[cm~Petto, Voce di[fy75
,1] (It.). Chest v.[cm~Petzold, Johann Christoph[fy75,1] ([cf2]b[cf1] Glatz, [sm
1639[nm; [cf2]d[cf1] ~Bautzen, [sm1694[nm). Ger. trumpeter and violinist; ~emplo
yed civic musicians in Leipzig and Bautzen. ~Wrote prolifically for wind instr.[
cm~Peuerl [fy75,1](B;Auaurl or Beurlin), [fy65][cf3]Paul[fy75,1] ([cf2]b [cf1]St
uttgart, [sm1570[nm; ~[cf2]d [cf1][sm1625[nm). Austrian composer and organist. C
redited ~with invention of Ger. variation-suite form. ~Wrote songs, instr. piece
s, and organ works.[xm[cm~[j1]Pevernage, Andreas[fy75,1] ([cf2]b[cf1] Harelbeke,
 nr. Courtrai, ~[sm1543[nm; [cf2]d[cf1] Antwerp, [sm1591[nm). Flemish composer o
f ~religious mus. and of madrigals ([cf2]Harmonia Celeste[cf1] ~[sm1583[nm). Cho
irmaster Antwerp Cath. from [sm1585[nm.[xm[cm~[j1]Peyer, Gervase de [fy75,1]([cf
2]b[cf1] London, [sm1926[nm). Eng. ~clarinettist and cond. Studi
ed RCM. D;Aaebut, ~broadcast of Mozart conc. while at school. Founder ~member, M
elos Ens. Prin. cl., LSO, [sm1955[nm=n[sm71[nm. Dir. ~LSO wind ens. Ass. cond. H
aydn Orch.[cm~Pezzo [fy75,1](It., plural [cf2]pezzi, [cf1]`piece'). A comp., the
 word ~sometimes being used as part of the title, e.g. ~[cf2]Pezzo concertante,
Tre pezzi.[cm~Pfeife [fy75,1](Ger.). Fife, fl. org. pipe.[xm[cm~[j1]Pfitzner, Ha
ns [fy75,1](Erich) ([cf2]b[cf1] Moscow, [sm1869[nm; [cf2]d[cf1] ~Salzburg, [sm19
49[nm). Ger. composer and cond. Studied ~with his father (violinist and mus. dir
., Frankfurt ~municipal th.) and at Hoch Cons., [sm1886[nm=n[sm90[nm. ~Taught pf
. Coblenz Cons. [sm1892[nm=n[sm3[nm. Cond. Mainz ~mus. th. [sm1894[nm=n[sm6[nm.
Taught comp. and cond. Stern ~Cons., Berlin, from [sm1897[nm. First cond. Theate
r des ~Westens, Berlin, from [sm1903[nm. Municipal mus. dir. ~and dir. of Cons.,
 Strasbourg, from [sm1908[nm, becom~~ing mus. dir. Strasbourg Opera [sm1910[nm=n
[sm16[nm. Taught ~in Berlin [sm1920[nm=n[sm9[nm. Prof. of comp.,
 Munich Acad. ~[sm1930[nm=n[sm3[nm. Influenced by Wagner and  Schopen~~hauer. We
ll-known as writer on mus. and ~determined critic of modern tendencies. Mahler ~
cond. two of his operas in Vienna, but his chief ~success was with [cf2]Palestri
na[cf1] (Munich [sm1917[nm) which ~has remained in the repertory in Ger. and has
 ~won many admirers beyond its frontiers. The ~Nazis upheld his mus. as in the b
est Ger. tradition ~and contrasted it with the `degeneracy' of Strauss. ~After t
he [sm1939[nm=n[sm45[nm war he was found in penury ~in a Munich home for the age
d by the president ~of the Vienna P.O. who took him to Vienna ~where he was supp
orted by the orch. His mus. is ~[PN546,0,0,L,I0]romantic in a Wagner-Strauss idi
om; his songs in ~particular are beautiful. Prin. works:[xm[cm~[j2][smoperas[nm:
 [fy75,2]Der arme Heinrich[cf1] ([sm1891[nm=n[sm3[nm); [cf2]Die Rose vom ~Liebes
garten[cf1] ([sm1897[nm=n[sm1900[nm); [cf2]Christelflein[cf1] ([sm1906[nm, rev.
~[sm1917[nm); [fy45,1]*[fy75,2]Palestrina[cf1] ([sm1912[nm=n[sm1
5[nm); [cf2]Das Herz [cf1]([sm1931[nm).[ep~[smorch[nm: [cf2]Scherzo[cf1] ([sm188
8[nm); [cf2]Kleine Symphonie[cf1] ([sm1939[nm); ~[cf2]Fantasie [cf1]([sm1947[nm)
; pf. conc. ([sm1922[nm); vn. conc. ~([sm1923[nm); vc. conc. No. [sm1[nm ([sm193
5[nm), No. [sm2[nm ([sm1944[nm); ~Sym. in C;Yi minor (adapted from [sm2[nmnd str
. qt.) ~([sm1932[nm); Sym. in C ([sm1940[nm).[ep~[smincidental music[nm: [cf2]Da
s Fest auf Solhaug[cf1] (Ibsen) ~([sm1889[nm=n[sm90[nm); [cf2]Das K;auathchen vo
n Heilbronn [cf1](Kleist) ~([sm1905[nm).[ep~[smchoral[nm: [cf2]Der Blumen Rache,
 [cf1]ballad for alto, ~women's ch., and orch. ([sm1888[nm); [cf2]Columbus, [cf1
][sm8[nm-part ~unacc. ch. ([sm1905[nm); [cf2]Rundgesang zum Neujahrsfest, ~[cf1]
bass, ch., and pf. ([sm1901[nm); [cf2]Von deutscher Seele, ~[cf1]cantata for [sm
4[nm soloists, ch., and orch. ([sm1921[nm, rev. ~[sm1937[nm); [cf2]Das dunkle Re
ich [cf1]([sm1929[nm).[ep~[smchamber music[nm: Str. qt. No. [sm1[nm ([sm1902[nm=
n[sm3[nm), No. [sm2[nm ~([sm1925[nm), No. [sm3[nm ([sm1942[nm);
pf. trio ([sm1896[nm); pf. quintet ~([sm1908[nm); vc. sonata ([sm1890[nm); pf. s
extet ([sm1945[nm).[ep~Over [sm90[nm Lieder with pf. acc. and songs with orch.[c
m~[j1]Phaedra. [fy75,1]([sm1[nm) Dramatic cantata by Britten, Op. ~[sm93[nm, for
 mez. and small orch., being setting of ~extracts from Racine's [cf2]Ph;Agedre[c
f1] trans. by Robert ~Lowell. Comp. [sm1975[nm. Ded. to Dame Janet Baker, ~who g
ave f.p. Aldeburgh [sm1976[nm.[ep~^([sm2[nm)^Monodrama for mez. and orch. by G.
~Rochberg (text drawn from Lowell by Gene ~Rochberg). F.p. NY, [sm1976[nm, by Ne
va Pilgrim with ~Syracuse S.O., cond. D. Loebel.[cm~Pha;aueton. [fy75,1]Symphoni
c poem, Op. [sm39[nm, by Saint-~Sa;Auens, comp. [sm1873[nm. Also opera by Lully
(Paris, ~[sm1683[nm).[cm~Phagotum. [fy75,1]Instr. invented [cf2]c.[cf1][sm1520[n
m by Canon ~Afranio of Ferrara ([cf2]c.[cf1][sm1489[nm=n[cf2]c.[cf1][sm1565[nm),
 being a kind ~of bellows-blown bagpipe. Nothing to do with ~bn. (fagott), the o
nly feature in common being ~use of parallel bores.[cm~Phal;ages
e, Pierre [fy75,1]([cf2]b [cf1]? Louvain, [cf2]c.[cf1][sm1510[nm; [cf2]d [cf1]?
Louvain, ~[cf2]c.[cf1][sm1574[nm). Dutch composer and founder ([cf2]c.[cf1][sm15
45[nm) of ~firm of publishers which existed until [sm1674[nm.[cm~Phantasie [fy75
,1](Ger.). Fantasy, fancy, hence [cf2]Phanta~~siest;Auuck[cf1] (more commonly sp
elt [cf2]Fantasiest;Auuck[cf1]), ~`fantasy piece'. See [cf2]Fantasia[cf1].[cm~Ph
antasy. [fy75,1]Same as Fantasy, but this spelling was ~preferred by W. W. [fy45
,1]*[fy75,1]Cobbett when he est. his ~prize in [sm1906[nm for works comp. in thi
s form. ~Hence the large number of Eng. works with this ~word in their title, e.
g. [cf2]Phantasy Quintet[cf1] by ~Vaughan Williams, [cf2]Phantasy Quartet[cf1] b
y Britten.[cm~Philadelphia Orchestra. [fy75,1]Amer. sym. orch. ~founded [sm1900[
nm by Fritz Scheel, who remained ~cond. until [sm1907[nm. Succeeded by Karl Pohl
ig [sm1907[nm=n~[sm12[nm. The orch.'s fame and style (rich and virtuoso) ~were e
st. under the conductorship [sm1912[nm=n[sm38[nm of ~Leopold Sto
kowski, who also introduced many ~new and adventurous works to Amer. audiences ~
(e.g. Mahler's [sm8[nmth Sym., [sm1916[nm, and works by ~Schoenberg). Eugene Orm
andy was co-cond. ~[sm1936[nm=n[sm8[nm and succeeded Stokowski, occupying the ~p
ost for the next [sm40[nm years and consolidating the ~orch.'s position as among
 the world's greatest. ~Riccardo Muti prin. cond. from [sm1981[nm.[cm~Philharmon
ia Orchestra. [fy75,1]Eng. sym. orch. ~founded [sm1945[nm by Walter [fy45,1]*[fy
75,1]Legge primarily to ~make recordings for the Gramophone Co. Among ~those who
 cond. it on records and in the concert-~hall were Karajan, Klemperer, Toscanini
, Furt~~[chw;auangler, Strauss, Giulini, Cantelli, Dobrowen, ~etc. Became princi
pally assoc. with Klemperer, ~who was made `conductor for life'. In [sm1964[nm,
after ~Legge had attempted to disband it, orch. became ~self-governing body unde
r title New Philhar~~monia, the `New' being dropped in [sm1977[nm. Maazel ~assoc
. prin. cond. [sm1971[nm=n[sm3[nm; Riccardo Muti prin. ~cond. [s
m1973[nm=n[sm82[nm; Giuseppe Sinopoli from [sm1984[nm.[cm~Philharmonic Society[f
y75,1] (of London). See [cf2]Royal ~Philharmonic Society.[cm~Philidor[fy75,1] (r
eal name Danican). Fr. family of ~musicians over several generations, [cf2]c.[cf
1][sm1600[nm=n[sm1800[nm. ~Best-known was Fran;Alcois Andr;Aae ([cf2]b[cf1] Dreu
x, [sm1726[nm; ~[cf2]d[cf1] London, [sm1795[nm), famous as composer (pupil of ~C
ampra) and as chess-player. Visited London ~annually to play chess from [sm1745[
nm and heard ~Handel's operas. Settled in Paris [sm1754[nm, composing ~successfu
l comic operas, e.g. [cf2]Tom Jones[cf1] and [cf2]L'amant ~d;aaeguis;aae. [cf1]H
is father, Andr;Aae ([cf2]b [cf1]Versailles, [cf2]c.[cf1][sm1647[nm; [cf2]d[cf1]
 ~Dreux, [sm1730[nm) was an oboist and composer. ~Compiled coll. of Fr. court mu
s. from reign of ~Henri III to end of [sm17[nmth cent., some of which is ~in Ver
sailles Municipal Library, and a large part, ~formerly at St Michael's College,
Tenbury, is now ~in the Biblioth;Ageque Nationale, Paris.[cm~Phi
lipp, Isidor[fy75,1] ([cf2]b[cf1] Budapest, [sm1863[nm; [cf2]d[cf1] Paris, [sm19
58[nm). ~Hung.-born pianist and teacher (Fr. citizen). ~Lived in Paris from age
[sm3[nm. Studied at Paris Cons. ~with Mathias and Saint-Sa;Auens. Recitalist and
 ~soloist with orchs. London d;Aaebut [sm1890[nm. Prof. of ~pf., Paris Cons., [s
m1893[nm=n[sm1934[nm, with long list of ~illustrious pupils. Lived in NY [sm1941
[nm=n[sm55[nm. Wrote ~books on pf. technique, comp. works for pf. and ~for orch.
, and arr. mus. by Bach, Massenet, and ~Mendelssohn for [sm2[nm pf.[cm~Philippot
, Michael Paul [fy75,1]([cf2]b [cf1]Verzy, [sm1925[nm). Fr. ~composer. Studied P
aris Cons. [sm1945[nm=n[sm7[nm and pri~~vately with [fy45,1]*[fy75,1]Leibowitz [
sm1945[nm=n[sm9[nm. Sound engineer, ~Fr. radio and TV [sm1949[nm=n[sm59[nm. Dir.
, [cf2]Groupe de ~Recherches Musicales [cf1][sm1959[nm=n[sm61[nm. Mus. dir., Fr.
 radio ~and TV [sm1964[nm. Works incl. sonata, pf. trio, [cf2]musique ~concr;age
te [cf1]on tape, etc.[cm~Philips, Peter[fy75,1] ([cf2]b c.[cf1][
sm1561[nm; [cf2]d[cf1] Brussels, [sm1628[nm). Eng. ~composer and organist. Choir
boy, St Paul's Cath., ~London, [sm1574[nm. First comp., a keyboard pavan, ~[sm15
80[nm. Fled country [sm1582[nm because he was Roman ~Catholic. Settled in Antwer
p [sm1590[nm as court ~organist, later organist of Chapel Royal, Brussels. ~Was
arrested [sm1593[nm and accused of conspiracy to ~[PN547,0,0,R,I0]assassinate El
izabeth I, but was exonerated and ~released. Comp. motets, madrigals, masses, an
d ~psalms, all of high quality and interest.[cm~Phillips, Montague [fy75,1](Fawc
ett) ([cf2]b[cf1] London, [sm1885[nm; ~[cf2]d[cf1] Esher, [sm1969[nm). Eng. comp
oser and organist. ~Studied RAM. Org. and choirmaster, Esher ~church, for many y
ears. Wrote sym., [sm2[nm pf. concs., ~and light opera [cf2]The Rebel Maid[cf1]
([sm1921[nm).[cm~`Philosopher, The' [fy75,1]([cf2]Der Philosoph[cf1]). Nickname
of ~Haydn's Sym. No. [sm22[nm in E;Yh (Hob. I:[sm22[nm) comp. ~[sm1764[nm. Known
 by this title in Haydn's lifetime in ~reference to opening [cf2
]adagio. [cf1]Haydn said he had ~once written a sym. in which God speaks to an ~
unrepentant sinner: this could be the work. A ~[sm2[nmnd version, omitting the [
cf2]adagio[cf1], was printed in ~Paris by Venier in [sm1773[nm.[cm~Phoebus and P
an[fy75,1] (Eng. title for [cf2]Der Streit ~zwischen Phoebus und Pan, [cf1]`The
Strife between ~Phoebus and Pan'). Cantata by J. S. Bach (BWV ~[sm201[nm), comp.
 ?[sm1729[nm, to lib. by Picander (based on ~Ovid) satirizing hostile mus. criti
c. Sometimes ~staged as opera.[cm~Phoenix Mass. [fy75,1]Choral work by [fy45,1]*
[fy75,1]Payne for ~mixed ch., [sm3[nm tpt., and [sm3[nm tb., comp. [sm1965[nm=n[
sm9[nm with ~[sm39[nm bars added to [cf2]Agnus Dei[cf1] in [sm1972[nm.[cm~Phoneu
ma. [fy75,1]Very soft org. stop of [fy45,1]*[fy75,2]Dulciana[cf1] tone ~and [cf2
]Quintat;Auon[cf1] effect.[cm~Phonograph. [fy75,1]Same as gramophone and used in
 ~USA. The term was devised by Edison for his ~recording machine, the record or
wax cylinder ~being called a [cf2]phonogram.[cm~Phrase. [fy75,1]
Short section of a comp. into which the ~mus., whether vocal or instr., seems na
turally to ~fall. Sometimes this is [sm4[nm measures, but shorter ~and longer ph
rases occur. It is an inexact term: ~sometimes a phrase may be contained within
one ~breath, and sometimes sub-divisions may be ~marked. In notation, phrase-mar
ks are the slurs ~placed over or under the notes as a hint of their ~proper punc
tuation in perf. (see [cf2]Curved line, ~various uses of[cf1]). The art of phras
ing by a perf. is ~often instinctive and is one of the features by ~which a supr
eme artist may be distinguished ~from one of lesser inspiration, whether cond.,
~singer, or instrumentalist.[cm~Phrygian Mode. [fy75,1]The [sm3[nmrd of the eccl
esiastical ~[fy45,1]*[fy75,1]modes, represented by white keys of pf. begin~~ning
 on E.[cm~Piacevole[fy75,1] (It.). Agreeable.[cm~Piangendo, piangente[fy75,1] (I
t.). Weeping; [fy65][cf3]piange~~vole, piangevolmente. [fy75,1]Plaintive; plaint
ively.[xm[cm~[ol0][ep~[xp[u20]~~[te~
[do19][j99]~~~~~~[sm153842[nm_PA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmPA[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm9[nm/[sm10[nm/[sm79[nm
[cm[sm8[nm[cm[sm284[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Piano [fy75,1](It.).
 Soft, quiet. ([sm1[nm) Instruction to play ~softly (abbreviation [cf2]p[cf1], o
r [cf2]pp[cf1], [cf2]pianissimo[cf1], very ~softly). Opposite of [cf2]forte[cf1]
, loud.[ep~^([sm2[nm) Eng. term for kbd. instr. whose full name is ~[cf2]pianofo
rte [cf1](It.), soft-loud. This instr. is, with regard ~to its str. and hammers,
 a descendant of the ~[fy45,1]*[fy75,1]dulcimer, and, to its kbd., a descendant
of the ~[fy45,1]*[fy75,1]harpsichord and [fy45,1]*[fy75,1]clavichord. The modern
 pf. ~has an iron frame and is either [cf2]grand [cf1](str. ~horizontal) or [cf2
]upright [cf1](str. vertical). It normally ~has [sm88[nm keys, with a standard c
ompass of [sm7[nm;FM ~octaves, but some models by B;Auosendorfer have a ~compass
 of [sm8[nm octaves.[ep~^Although there are other claimants to t
he ~invention of the instrument, it is generally ~accepted that the earliest ins
tr. of its type was ~made in Florence, [cf2]c[cf1].[sm1698[nm=n[sm1700[nm, by Ba
rtolomeo ~[fy45,1]*[fy75,1]Cristofori, who prod. what he called a [cf2]gravicem~
~balo col piano e forte[cf1], i.e. a `harpsichord with ~loudness and softness':
for the hpd.'s plucking of ~the str. he had substituted the blows of a series of
 ~hammers, and it was this that gave the players of ~his instr. their new power
of control of degrees of ~force. The Cristofori pfs. had a range of [sm4[nm to [
sm4[nm;FD ~octaves.[ep~^Cristofori's idea was taken up in Ger. by the ~org.-buil
der Gottfried Silbermann, who in [sm1726[nm ~made [sm2[nm pfs. which he submitte
d to Bach, whose ~opinion of them was unfavourable and perhaps ~led to the impro
vements which apparently were ~introduced. In [sm1747[nm Bach, on a visit to the
 court ~of Frederick the Great at Potsdam, played the ~Silbermann pfs. there. Al
l pfs. up to this point ~were of the hpd. shape=mrather like wha
t we now ~call the grand pf., with the str. horizontal and in ~line with the rel
evant finger-keys. The first pf. in ~clavichord shape, known as the square pf.,
was ~made by Frederici of Gera, but he was closely ~followed by one of Silberman
n's apprentices, ~Johannes Zumpe, who went to London and ~introduced there the p
opular rectangular form of ~the instr. Further impetus to the pf. was given by ~
J. C. Bach, when he settled in London, and by ~[fy45,1]*[fy75,1]Clementi. Develo
pments in the `action' of the ~instr. were made by Backers, John Broadwood, ~and
 Stodart. Broadwood made changes in the ~square pf. In Fr., ;aaErard made the sq
uare, and later ~grand pfs., while the Austrian Andreas Stein ~found a way of gi
ving extra lightness of touch to ~the grand. The first Amer.-built pfs. were by
J. ~Behrent in Philadelphia, [sm1775[nm.[ep~^The [cf2]Upright Pianoforte[cf1], i
n which the str. run ~perpendicularly, was developed by John Isaac ~Hawkins of P
hiladelphia ([sm1800[nm) and Robert ~Wornum, jun., of London ([s
m1811[nm, perfected [sm1829[nm): ~the existing model is largely founded on that
of ~Wornum. From the middle of the [sm19[nmth cent. it ~superseded the square fo
rm, but was itself almost ~ousted in the [sm20[nmth cent. by the `baby', i.e. sm
all-~sized, grand.[ep~^Hawkins also introduced the iron frame. One ~advantage wa
s the possibility of using str. at ~higher tension than the wooden frame allowed
, ~so making possible the use of thicker wire, ~producing a fuller tone. The ten
sion of a single ~str. today may be [sm180[nm=n[sm200[nm lb., the varying stress
 ~of the different sizes of str. being more or less ~equally distributed by [cf2
]Overstringing[cf1], i.e. by one ~group of str. passing more or less diagonally
over ~[PN548,0,0,L,I0]another: this principle as applied to the pf. dates ~from
[cf2]c[cf1].[sm1835[nm, but there had previously been ~occasional overstrung cla
vichords.[ep~^[sm18[nmth-cent. hpds. had more than [sm1[nm str. to each ~note an
d Cristofori's pf. had [sm2[nm throughout: the ~modern pf. has [
sm1[nm string for a few of the very ~lowest notes, [sm2[nm for the middle regist
er, and [sm3[nm for ~the highest (on account of the decrease of ~resonance with
the shorter str.): the lowest str. ~are wrapped with a copper coil to increase t
heir ~mass without too greatly decreasing their flexi~~bility.[ep~^The [cf2]Soun
d-board [cf1]of a pf. (lying behind the str. in ~an upright and below them in a
grand) fulfils the ~same function as the body of a vn.: without it the ~tone of
the instr. would be very faint and thin. ~The [cf2]Sustaining Pedal[cf1], when d
epressed, removes ~the whole series of dampers from the str.: thus ~any note or
chord played can be given some ~duration, even though the finger or fingers have
 ~been removed from the keys, and also the ~harmonics of the str. sounded are en
riched by the ~sympathetic resonance of those derived from ~other freely-vibrati
ng str., resulting in a fuller ~tone. (It is a mistake to call this pedal the `L
oud ~Pedal' as it is as much used in soft passages as in ~loud.)
 This pedal must of course normally be ~lifted at a change of harmony, as otherw
ise ~confusion will result. There is in most instr. ~manufactured in the USA and
 Canada a [cf2]Sostenuto ~Pedal[cf1]. It ingeniously enables the player to make
~(within limits) a selection as to the notes he wishes ~to be held over. It was
introduced by the Steinway ~firm and perfected in [sm1874[nm. The [cf2]Soft Peda
l [cf1]may ~act in one of several ways: (a) In grands by moving ~the kbd. and se
t of hammers sideways, so as to ~leave unstruck [sm1[nm str. of each note (see [
cf2]Corda[cf1]); (b) ~In uprights by moving the whole set of hammers ~nearer to
the str., so that the force of their blows ~is diminished, or by interposing a p
iece of felt ~between hammer and str. (a crude method now ~little used).[ep~^Exp
eriments in the construction of the pf. have ~been frequent; these have included
 pfs. with ~double kbd.; pfs. with indefinitely prolonged ~sounds (by means of a
 revolving wheel or other ~imitation of the vn. bow, or of a cur
rent of air ~tending to keep the str. in vibration, or by some ~electrical devic
e); pfs. with tuning-forks in place ~of str. (incapable of getting out of tune);
 ~combinations of the pf. principle with that of ~some other instr. (e.g. fl., o
rgan, hpd., clavichord); ~quarter-tone pfs. (see [cf2]Microtone[cf1]); various a
pplica~~tions of electricity, etc. See [cf2]Keyboard [cf1]for experi~~mental kbd
s.; see [cf2]prepared piano[cf1]; see [cf2]Aliquot [cf1]and ~[cf2]Duplex [cf1]sc
aling.[ep~^The pf. is, of course, principally used as a solo ~instr., or as the
solo instr. in a conc. with orch., or ~in chamber mus. (pf. trio, pf. qt., etc.)
. But many ~composers in the [sm20[nmth cent. have used it as an ~orch. instr.,
e.g. Stravinsky in [cf2]Petrushka[cf1], Vaughan ~Williams in [cf2]Sinfonia Antar
tica[cf1], Bart;Aaok in [cf2]Music for ~Strings, Percussion, and Celesta[cf1], a
nd numerous ~other works. Stravinsky's [cf2]Les Noces [cf1]is scored for [sm4[nm
 ~pf. used as perc. instrs. Later composers, from ~[fy45,1]*[fy7
5,1]Cage onwards, have conjured new sounds from ~the pf. by making adjustments t
o the str. (see ~[cf2]prepared piano[cf1]), having them plucked by hand, ~or use
d as resonators.[ep~^Since its first appearance, the pf. has called forth ~execu
tants of varying styles and techniques. C. P. ~E. Bach was among the first to de
velop the new ~methods of playing so different from those ~required for hpd. and
 clavichord, followed by ~[fy45,1]*[fy75,1]Clementi. Absolute evenness of touch
was his ~ideal, inculcated also in his pupil [fy45,1]*[fy75,1]Cramer. The ~Vienn
ese-made pf. was lighter, with less sonorous ~tone, than the heavier English typ
e. Mozart's ~playing was attuned to the Viennese action. His ~most famous pupil
was [fy45,1]*[fy75,1]Hummel. But Beethoven ~used an Eng. pf., suitable to his en
ergetic and ~dynamic playing. He was the first fully to profit ~by the opportuni
ties afforded by the sustaining ~pedal. His example was followed by Schubert, ~S
chumann, [fy45,1]*[fy75,1]Chopin, and Mendelssohn, whose ~works
would be unimaginable on a pedal-less ~instr. John [fy45,1]*[fy75,1]Field develo
ped the `singing touch' ~of legato playing and his exploitation of the ~[cf2]Noc
turne [cf1]influenced Chopin whose playing and ~comps. for the pf. opened up new
 possibilities of ~tone-colour. [fy45,1]*[fy75,1]Liszt was the first of the virt
uosi ~whose technique rivalled Paganini's on the vn., ~expanding it beyond all p
revious bounds, and ~pointing the way to the harmonic experiments ~of Debussy an
d Ravel and even to the percussive ~effects of Stravinsky and Bart;Aaok. Other g
reat [sm19[nmth-~cent. executants were Rubinstein, Thalberg, and ~B;Auulow, whil
e among the great composer-pianists ~born in the [sm19[nmth cent. were Busoni, R
akhmani~~nov, and Bart;Aaok. The [sm20[nmth cent. has been rich in ~superb virtu
osi. One need name only Arthur ~Rubinstein, Arrau, Horowitz, and Richter as ~exe
mplars.[cm~[j1]Pianoforte [fy75,1](It.). `Soft-loud'. The [fy45,1]*[fy75,1]piano
.[cm~Pianola. [fy75,1]Patented name (by the Aeolian Corp.) ~for
one of the group of pfs. known as `player-~pianos'. These instr. are fitted with
 a mechanism ~by which the keys are depressed not by the fingers ~but by air-pre
ssure supplied through bellows and ~pedals or by electricity. The air-pressure i
s applied ~through perforations on a paper roll which ~unwinds and which are arr
anged so that a comp. ~is played. It is not necessary for the perforations ~to b
e restricted to the number of notes which can ~be played by [sm2[nm (or [sm4[nm)
 hands. In some cases the ~rolls incorporate perforations made mechanically ~fro
m a perf. by an eminent pianist or musician, ~the instr. then reproducing this p
erf. (hence the ~name reproducing piano). Historic rolls of this ~kind preserve,
 for example, the playing of their ~own mus. by Mahler and Debussy.[cm~Piano Qua
rtet. [fy75,1]Group of [sm4[nm players=musually ~pianist, violinist, violist, an
d cellist=mor work ~written for them to perform.[cm~[PN549,0,0,R,I0]Piano Quinte
t. [fy75,1]Group of [sm5[nm players=musually ~pianist, [sm2[nm v
iolinists, violist, cellist=mor work ~written for them, but one of the most famo
us ~works, Schubert's `Trout' quintet, is for pf., vn., ~va., vc., and db.[cm~Pi
ano Score. [fy75,1]Score in which the orch. parts and ~vocal parts (if any) are
reduced to a pf. part.[cm~[bnPiano Signs For `Spreading' of Chords[ql~[ol3][ep[f
y75,1](`Arpeggioed', i.e. harp-fashion)[qc~[ol3][ep[dt6p6,6p6][bt~WRITTEN[qc~[nt
~PLAYED[qc~[et~[ol60][ep~[xn[bn[ol57][ep~^Instead of attacking the notes of the
chord ~simultaneously, play them from the bottom ~upwards, holding each as struc
k. (Occasionally in ~early mus. the notes are to be played from the top ~downwar
ds and the question as to which is ~intended is sometimes a difficult one.)[ep~[
xn[bn^Sometimes the wavy line is not continuous ~between the two staves, and the
n it is to be ~understood that the composer intends the arpeg~~gio effect to go
on in the two hands simultane~~ously.[ep~[ol48][ep~[xn^It is to be noted that al
l spread chords should be ~so played as not to destroy the rhyth
m of the ~passage.[cm~Piano Trio. [fy75,1]Group of [sm3[nm players=mpianist, vio
linist, ~cellist=mor work written for them to perform.[cm~Piatigorsky, Gregor[fy
75,1] ([cf2]b[cf1] Ekaterinoslav, [sm1903[nm; [cf2]d[cf1] ~Los Angeles, [sm1976[
nm). Russ.-born cellist (Amer. ~citizen from [sm1942[nm). Studied Moscow Cons. P
rin. ~cellist Moscow opera orch. and then ([sm1924[nm) Berlin ~P.O. under Furtw;
auangler until [sm1928[nm. Became ~internationally known as soloist and chamber
~mus. player. Amer. d;Aaebut [sm1929[nm. Taught at Curtis ~Institute and Boston
Univ. Dedicatee and first ~performer of Walton's vc. conc. ([sm1957[nm).[cm~Piat
ti [fy75,1](It.). [fy45,1]*[fy75,1]Cymbals.[cm~Piatti, Alfredo [fy75,1](Carlo) (
[cf2]b [cf1]Bergamo, [sm1822[nm; [cf2]d ~[cf1]Crocetta di Mozzo, nr. Bergamo, [s
m1901[nm). It. cellist ~and composer. Studied with Zanetti and at Milan ~Cons. [
sm1832[nm=n[sm7[nm with Merighi. D;Aaebut Milan [sm1837[nm, ~Paris and London [s
m1844[nm. Annual visitor to London, ~being particularly assoc. w
ith the Monday and ~Saturday Popular Chamber Concerts [sm1859[nm=n[sm98[nm. ~Liv
ed in London from [sm1846[nm. Piatti prize for ~cellists at RAM is in his memory
. Wrote [sm2[nm vc. ~concs., [sm6[nm vc. sonatas, other chamber works, and ~ed.
vc. sonatas by other composers.[cm~Piave, Francesco Maria[fy75,1] ([cf2]b [cf1]M
urano, [sm1810[nm; [cf2]d ~[cf1]Milan, [sm1876[nm). It. poet and librettist. Wro
te the ~libs. for [sm10[nm Verdi operas=m[cf2]Ernani[cf1], [cf2]I due Foscari, ~
Macbeth, Il corsaro, Stiffelio, Aroldo, Rigoletto, La ~traviata, Simon Boccanegr
a, [cf1]and [cf2]La forza del destino[cf1]. ~Also wrote libs. for Balfe, Mercada
nte, and Ricci.[cm~Pibroch [fy75,1](Gaelic [cf2]piobaireachd[cf1]). Type of Scot
. ~Highland bagpipe mus. in the form of variations.[cm~Picardie, Tierce de [fy75
,1](Fr.). Picardy third. See [cf2]Tierce ~de Picardie.[cm~Piccaver, Alfred [fy75
,1]([cf2]b [cf1]Long Sutton, Lincs., [sm1884[nm; [cf2]d ~[cf1]Vienna, [sm1958[nm
). Eng. ten. Studied NY. D;Aaebut ~Prague [sm1907[nm, then furth
er study in Milan and ~Prague. Leading ten. at Vienna Opera [sm1910[nm=n[sm37[nm
, ~Chicago [sm1923[nm=n[sm5[nm, CG [sm1924[nm. Noted for smooth ~legato and nobl
e phrasing. Returned to London ~[sm1937[nm=n[sm55[nm, giving some lessons, but w
ent back to ~Vienna as guest for re-opening of State Opera ~[sm1955[nm and remai
ned to teach.[xm[cm~[j1]Picchettato, picchiettato, picchiettando [fy75,1](It.).
~Knocked, knocking. In the playing of bowed ~instr., detaching the notes (See al
so [cf2]Spiccato[cf1]).[xm[cm~[j1]Picchi, Giovanni [fy75,1]([cf2]fl[cf1]. early
[sm17[nmth cent.). It. organist ~and composer. Pubd. book of hpd. pieces ([sm162
0[nm), ~canzoni with str. and wind, and other works.[cm~Piccinini, Alessandro [f
y75,1]([cf2]b [cf1]Bologna, [sm1566[nm; [cf2]d ~c[cf1].[sm1638[nm). It. composer
 and instrumentalist at courts ~of Modena and Ferrara. Wrote text-book on lute.[
cm~Piccinni, Niccol;Ago [fy75,1]([cf2]b [cf1]Bari, [sm1728[nm; [cf2]d [cf1]Passy
, [sm1800[nm). ~It. composer. Studied Naples [sm1742[nm=n[sm54[n
m. First opera, ~[cf2]Le donne dispettose [cf1]was success in Naples, [sm1755[nm
. ~His most popular opera buffa, [cf2]La cecchina, ossia La ~buona figliuola[cf1
], [sm1760[nm, based on Richardson's [cf2]Pamela[cf1], ~was perf. throughout Eur
ope. In [sm1776[nm moved to ~Paris to write Fr. operas at instigation of Marie ~
Antoinette, who became his singing pupil. His ~first Fr. opera was [cf2]Roland [
cf1]([sm1778[nm). This was perf. ~in the midst of the celebrated Gluck-Piccinni
~feud, engineered by the composers' supporters. ~The dir. of the Paris Op;Aaera
arranged for each to ~compose [cf2]Iphig;Aaenie en Tauride. [cf1]Gluck's version
 ~came first, [sm1779[nm, and eclipsed Piccinni's of [sm1781[nm. ~After Gluck le
ft Paris, [fy45,1]*[fy75,1]Sacchini became a rival. ~Piccinni became a teacher a
t the ;AaEcole Royale de ~Chant [sm1784[nm, but returned to Naples on the ~outbr
eak of the Revolution. There he was ~suspected of political intrigue and lived f
or [sm4[nm ~years under virtual house arrest. Returned to ~Paris
 [sm1798[nm but his star had waned. His operas, no ~rivals to Gluck's, neverthel
ess have excellent ~qualities. They incl. [cf2]Il curioso del suo proprio danno
~[PN550,0,0,L,I0][cf1]([sm1756[nm), [cf2]La Cecchina [cf1]([sm1760[nm), [cf2]L'O
limpiade [cf1]([sm1761[nm), ~[cf2]Alessandro nelle Indie [cf1]([sm1758[nm, rev.
[sm1774[nm), [cf2]Didon ~[cf1]([sm1783[nm), [cf2]P;Aaen;Aaelope [cf1]([sm1785[nm
), [cf2]La serva onorata [cf1]([sm1792[nm).[cm~Piccolo [fy75,1](from It. [cf2]fl
auto piccolo[cf1], little flute; also ~known as octave flute, It. [cf2]ottavino[
cf1]). Small fl. ~pitched octave higher than concert fl., used in ~orch. and mil
itary band. Famous picc. parts occur ~in Beethoven's [cf2]Egmont [cf1]ov. and in
 Sousa's march ~[cf2]The Stars and Stripes Forever[cf1]. Also organ stop, ~metal
 or wood, of [sm2[nm;Po length and pitch.[cm~Pick-Mangiagalli, Riccardo [fy75,1]
([nmb [cf1]Strakonice, ~[sm1882[nm; [cf2]d [cf1]Milan, [sm1949[nm). Bohemian-bor
n composer ~of partly It. descent; naturalized It. Studied Milan
 ~Cons. Dir., Milan Cons. [sm1936[nm=n[sm49[nm. Wrote operas, ~symphonic poems,
chamber mus., and songs.[cm~Pictures at an Exhibition [fy75,1]([cf2]Kartinki s v
ystavki[cf1]). ~Pf. comp. by Mussorgsky, [sm1874[nm, being mus. ~representation
of [sm10[nm pictures at a memorial ~exhibition for Russ. artist Victor Hartmann,
 who ~died in [sm1873[nm, with a `promenade' as linking ~passage. Orch. versions
 by Ravel, Henry Wood, ~Stokowski, Ashkenazy, Elgar Howarth (brass and ~perc.),
and others. The titles of the pieces are: [cf2]The ~Gnome[cf1], [cf2]The Old Cas
tle[cf1], [cf2]Tuileries, Bydlo [cf1](Polish farm ~cart), [cf2]Unhatched chicken
s[cf1], [cf2]Samuel Goldenberg and ~Shmuyle[cf1], [cf2]Market-place at Limoges[c
f1], [cf2]Catacombs[cf1], [cf2]Baba-~yaga [cf1]([cf2]The Hut on Fowl's Legs[cf1]
), [cf2]The Great Gate of ~Kiev[cf1].[cm~Pied en l'air [fy75,1](Fr.). Foot in th
e air. A particular ~motion in the [fy45,1]*[fy75,1]Galliard.[cm~Pieltain, Dieud
onn;Aae Pascal [fy75,1]([cf2]b[cf1] Li;Agege, [sm1754[nm; [cf2]d
 ~[cf1]Li;agege, [sm1833[nm). Belg. violinist and composer. At ~Paris Concert Sp
irituel [sm1778[nm=n[sm83[nm and in London ~[sm1783[nm=n[sm93[nm. Wrote concs.,
sonatas, qts., etc.[cm~Pieno, piena [fy75,1](It.). Full. [cf2]Organo pieno[cf1],
 full organ; ~[cf2]coro pieno[cf1], full choir (contrasted with passages for ~sm
aller ens.); [cf2]a voce piena[cf1], with full v.[cm~Piern;aae, [fy75,1](Henri C
onstant) [fy65][cf3]Gabriel [fy75,1]([cf2]b [cf1]Metz, [sm1863[nm; ~[cf2]d [cf1]
Ploujean, Finist;Agere, [sm1937[nm). Fr. composer, organ~~ist, and cond. Studied
 Paris Cons. from age [sm8[nm ~(organ with Franck, comp. with Massenet). ~Organi
st, Ste-Clotilde, [sm1890[nm=n[sm8[nm. Ass. cond., Con~~certs Colonne [sm1903[nm
, becoming prin. cond. [sm1910[nm=n~[sm34[nm. Works incl. ballet [cf2]Cydalise e
t le Ch;agevre-pied ~[cf1](Cydalise and the Satyr), [sm1923[nm, from which comes
 ~the `Entry of the Little Fauns'; oratorio [cf2]La Croisade ~des Enfants [cf1](
The Children's Crusade), [sm1902[nm, pf.. ~conc., incidental and
 chamber mus.[xm[cm~[ol0][ep~[xp[te~












[do19][j99]~~~~~~[sm153842[nmPA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmConcis Oxford
Dict. of ~Music[cmPA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm9[nm/[sm10[nm/[sm79[nm[c
m[sm8[nm[cm[sm314[nm[cm~GC[cm3[cm1.8.84[cm~U1[cm~~~~[ap[j1]Pierrot Lunaire [fy75
,1](Moonstruck Pierrot). Melo~~drama for female v., pf., fl., piccolo, cl., bass
 cl., ~vn., va., and vc., Op. [sm21[nm, by Schoenberg, comp. ~[sm1912[nm, f.p. B
erlin [sm1912[nm, London [sm1923[nm. Cycle of `[sm3[nm ~times [sm7[nm' songs=min
 [cf2]Sprechgesang[cf1]=mto poems by ~Albert Giraud trans. from Fr. into Ger. by
 O. E. ~Hartleben. The titles are: I, [cf2]Mondestrunken[cf1], ~[cf2]Colombine[c
f1], [cf2]Der Dandy[cf1], [cf2]Eine blasse W;Auascherin[cf1], [cf2]Valse ~de Cho
pin[cf1], [cf2]Madonna[cf1], [cf2]Der kranke Mond[cf1]. II, [cf2]Die ~Nacht[cf1]
, [cf2]Gebet an Pierrot[cf1],[cf2] Raub[cf1],[cf2] Rote Messe[cf1], [cf2]Galgenl
ied[cf1], ~[cf2]Enthauptung[cf1], [cf2]Die Kreuze[cf1]. III, [cf2]Heimweh[cf1],
[cf2]Gemeinheit[cf1], ~[cf2]Parodie[cf1],[cf2] Der Mondfleck[cf1
], [cf2]Serenade[cf1], [cf2]Heimfahrt[cf1], [cf2]O alter ~Duft[cf1].[cm~Pierrot
Players. [fy75,1]Instr. ens. founded [sm1967[nm by ~[fy45,1]*[fy75,1]Maxwell Dav
ies and Harrison [fy45,1]*[fy75,1]Birtwistle for ~perf. of contemporary mus., pa
rticularly their ~own. Title adopted because of frequent perf. of ~Schoenberg's
[fy45,1]*[fy75,2]Pierrot Lunaire[cf1]. Re-organized [sm1970[nm ~as [fy45,1]*[fy7
5,1]Fires of London.[cm~Pierson [fy75,1](orig. Pearson), [fy65][cf3]Henry Hugo [
fy75,1]([cf2]b [cf1]Oxford, ~[sm1815[nm; [cf2]d [cf1]Leipzig, [sm1873[nm). Ger.
composer and teacher ~of Eng. origin. Studied at Cambridge Univ. then ~in Ger. P
rof. of mus., Edinburgh Univ., [sm1844[nm, ~resigning after a few months to retu
rn to Ger. ~Wrote several operas, prod. Brno and Hamburg, ~oratorios, incl. [cf2
]Jerusalem [cf1](London [sm1852[nm), music ~for Goethe's [cf2]Faust, Part II [cf
1](Hamburg [sm1854[nm), part-~song [cf2]Ye Mariners of England[cf1], and other p
ieces. His ~songs are regarded as of considerable interest and ~
originality[cm~Piffaro, Piffero [fy75,1](It.). In [sm16[nmth cent., generic term
 ~for any kind of pipe. Specifically a rustic wind ~instr. of the [fy45,1]*[fy75
,2]shawm[cf1] family. When Handel wrote ~[cf2]pifa [cf1]above his `Pastoral Symp
hony' in [cf2]Messiah [cf1]he ~was referring to the [cf2]piffero.[cm~Pijper, Wil
lem[fy75,1] ([cf2]b[cf1] Zeist, [sm1894[nm; [cf2]d[cf1] Leidschendam, ~[sm1947[n
m). Dutch composer. Studied harmony and ~comp. with J. Wagenaar, [sm1911[nm=n[sm
16[nm. Mus. critic in ~Utrecht [sm1918[nm=n[sm23[nm. Prof. of comp. Amsterdam ~C
ons. [sm1925[nm=n[sm30[nm. Dir., Rotterdam Cons. [sm1930[nm=n[sm47[nm. ~Most pro
minent Dutch composer of his genera~~tion. Works incl. [sm3[nm syms. ([sm1918[nm
, [sm1921[nm, [sm1926[nm); [cf2][sm6[nm ~Symphonic Epigrammata[cf1]; pf. conc.,
vn. conc., vc. ~conc., [sm4[nm str. qts., and other chamber mus.[cm~Pilarczyk, H
elga [fy75,1]([cf2]b[cf1] Sch;auoningen, Brunswick, ~[sm1925[nm). Ger. sop. Stud
ied Hamburg and Hanover. ~D;Aaebut Brunswick [sm1951[nm as mez.
Member of ~Hamburg Opera from [sm1953[nm. Glyndebourne ~(Composer in Strauss's [
cf2]Ariadne auf Naxos[cf1]) and CG ~[sm1958[nm. Specialist in [sm20[nmth-cent. r
oles such as Salome, ~Marie ([cf2]Wozzeck[cf1]), and Lulu.[cm~Pilgrim's Progress
, The. [fy75,1]There have been several ~mus. settings based on the allegory by J
ohn ~Bunyan (Part I [sm1674[nm=n[sm9[nm, II [sm1684[nm). The best-known ~are: ([
sm1[nm) Opera (Morality) in [sm4[nm acts by [fy45,1]*[fy75,1]Vaughan ~Williams t
o his own adaptation of Bunyan, with ~Christian's name altered to Pilgrim. Comp.
 ~between [sm1925[nm and [sm1951[nm. Prod. CG [sm1951[nm, Cam~~bridge [sm1954[nm
. Act IV, Sc. [sm2[nm is [cf2]The [fy45,1]*[fy75,2]Shepherds of the ~Delectable
Mountains[cf1], which had been prod. as a ~separate `pastoral episode' in London
 in [sm1922[nm. ~Vaughan Williams also comp. incidental mus. ~(some of it later
incorporated into the opera) for ~BBC prod. of [cf2]The Pilgrim's Progress [cf1]
in [sm1943[nm. His ~[sm5[nmth Sym. ([sm1938[nm=n[sm43[nm) uses t
hemes from the opera, ~which at that time he did not expect to finish.[ep~^([sm2
[nm) Oratorio for soloists, ch., and orch. by ~[fy45,1]*[fy75,1]Bantock, [sm1928
[nm.[ep~^([sm3[nm) Oratorio by Robin [fy45,1]*[fy75,1]Milford.[cm~Pilkington, Fr
ancis [fy75,1]([cf2]b c[cf1].[sm1565[nm; [cf2]d [cf1]Chester, [sm1638[nm). ~Eng.
 composer. Chorister, Chester Cath. from ~[PN551,0,0,R,I0][sm1602[nm, later cler
gyman, and precentor of the cath. ~from [sm1623[nm. Wrote songs with lute or vio
la da ~gamba ([sm1605[nm), [sm2[nm sets of madrigals ([sm1614[nm and ~[sm1624[nm
), and religious part-songs. Contrib. [sm5[nm-part ~madrigal [cf2]When Oriana Wa
lked to Take the Air [cf1]to ~[cf2]The [fy45,1]*[fy75,2]Triumphs of Oriana.[cm~P
inc;aae [fy75,1](Fr.). Pinched. [fy45,1]*[fy75,1]Pizzicato. Also formerly a ~typ
e of [fy45,1]*[fy75,1]mordent.[cm~Pincherle, Marc [fy75,1]([cf2]b[cf1] Constanti
ne, Algeria, [sm1888[nm; ~[cf2]d[cf1] Paris, [sm1974[nm). Fr. musicologist. Stud
ied at ~Sorbonne. After [sm1918[nm taught history of vn. at ~;aa
Ecole Normale de Musique, Paris. Editor-in-chief ~[cf2]Monde musical [cf1][sm192
5[nm=n[sm7[nm, [cf2]Musique[cf1] [sm1927[nm=n[sm30[nm. Special~~ist in Fr. and I
t. mus. of [sm17[nmth and [sm18[nmth cent. His ~[sm1948[nm book on Vivaldi was a
 pioneering study and ~was followed by another in [sm1955[nm (Eng. trans. ~[sm19
57[nm).Wrote [sm2[nm books on Corelli ([sm1933[nm, [sm1954[nm), and ~books on Kr
eisler and Roussel.[cm~Pineapple Poll. [fy75,1]Ballet in [sm1[nm act and [sm3[nm
 scenes, lib. ~and choreog. by John Cranko to mus. by Sullivan ~arr. by [fy45,1]
*[fy75,1]Mackerras. Prod. SW [sm1951[nm. Story taken ~from W. S. Gilbert's Bab B
allad `The Bumboat ~Woman's Story'. Also concert suite.[cm~Pines of Rome [fy75,1
]([cf2]Pini di Roma[cf1]). One of [sm3[nm symphonic ~poems by [fy45,1]*[fy75,1]R
espighi about Rome. Comp. [sm1923[nm=n[sm4[nm[fj~(f.p. Rome [sm1924[nm, London [
sm1925[nm). Score incl. ~nightingale on a gramophone record. [sm4[nm sections ~a
re : [cf2]Villa Borghese[cf1], [cf2]A Catacomb[cf1], [cf2]Janicu
lum[cf1], and ~[cf2]Appian Way[cf1].[cm~Pini, Anthony [fy75,1]([cf2]b [cf1]Bueno
s Aires, [sm1902[nm). Eng. ~cellist. Prin. cellist LPO [sm1932[nm=n[sm9[nm, RPO
[sm1947[nm=n[sm63[nm, ~CG [sm1964[nm. Soloist with leading orchs. Prof of vc. ~R
CM. Member of several quartets and chamber ~ensembles.[cm~Pini-Corsi, Antonio [f
y75,1]([cf2]b [cf1]Zara, [sm1858[nm; [cf2]d [cf1]Milan, ~[sm1918[nm). It. bar. D
;Aaebut Cremona [sm1878[nm. Chosen by ~Verdi to create role of Ford in [cf2]Fals
taff[cf1], Milan ~[sm1893[nm. Sang at CG [sm1894[nm=n[sm6[nm, [sm1902[nm=n[sm3[n
m; NY Met. ~[sm1899[nm=n[sm1914[nm. Created roles of Schaunard in Pucci~~ni's [c
f2]La Boh;ageme[cf1] (Turin, [sm1896[nm) and of Happy in [cf2]La ~fanciulla del
West[cf1] (NY, [sm1910[nm).[xm[cm~[j1]Pinkham, Daniel [fy75,1]([cf2]b [cf1]Lynn,
 Mass., [sm1923[nm). Amer. ~composer, harpsichordist, organist., and cond. ~Stud
ied comp. at Harvard with [fy45,1]*[fy75,1]Piston, later ~with Boulanger, Coplan
d, and Honegger. Has ~held various teaching posts. Works incl. [
sm2[nm syms., ~pf. conc., vn. conc., chamber opera [cf2]The Garden of ~Artemis[c
f1], arr. (with additions) of [cf2]The Beggar's Opera ~[cf1]([sm1956[nm), [cf2]W
edding Cantata[cf1], [cf2]Christmas Cantata[cf1], [cf2]Re~~quiem[cf1], organ con
c. ([sm1970[nm), [cf2]Signs of the Zodiac [cf1]for ~orch., etc.[xm[cm~[j1]Pinnoc
k, Trevor [fy75,1](David) ([cf2]b [cf1]Canterbury, [sm1946[nm). ~Eng. harpsichor
dist. Studied RCM [sm1964[nm=n[sm7[nm. D;Aaebut ~as soloist London [sm1971[nm. P
layed with Galliard ~Harpsichord Trio [sm1966[nm=n[sm72[nm, English Concert from
 ~[sm1973[nm.[cm~Pinto, George Frederic [fy75,1](Saunders) ([cf2]b [cf1]Lambeth,
 ~[sm1785[nm; [cf2]d [cf1]Camden Town, [sm1806[nm). Eng. violinist, ~composer, a
nd pianist. Wrote [sm5[nm pf. sonatas and [sm3[nm ~vn. sonatas. The pf. sonatas,
 written when he was ~[sm16[nm, have been ed. by N. [fy45,1]*[fy75,1]Temperley a
nd revived ~([sm1979[nm) by John [fy45,1]*[fy75,1]McCabe, who has shown them ~to
 be works of extraordinary merit, which could ~easily be mistake
n for mature Schubert.[xm[cm~[j1]Pinza, Ezio [fy75,1]([cf2]b [cf1]Rome, [sm1892[
nm; [cf2]d [cf1]Stamford, Conn., ~[sm1957[nm). It. bass. Studied Bologna. D;Aaeb
ut Soncino, ~[sm1914[nm. After army service, made Rome d;Aaebut ~[sm1920[nm as K
ing Mark in [cf2]Tristan[cf1]. Sang at Scala, ~Milan, [sm1921[nm=n[sm4[nm, NY Me
t. [sm1926[nm=n[sm48[nm, CG [sm1930[nm=n[sm9[nm. ~Repertory of nearly [sm100[nm
roles. A great Don ~Giovanni. His noble voice and fine looks were ~matched by dr
amatic ability. After his operatic ~career, appeared in musicals and films, nota
bly in ~[cf2]South Pacific[cf1] on Broadway ([sm1949[nm).[cm~Piobaireachd. [fy75
,1]See [cf2]Pibroch.[cm~Pipe. [fy75,1]([sm1[nm) Hollow cone or cylinder in which
 air ~vibrates to produce a sound, e.g. in an org. or a ~blown wind instr.[ep~^(
[sm2[nm) A simple woodwind instr. without any ~mechanism such as bamboo pipes, o
r the [sm3[nm-holed ~pipe used in Eng. folk dances together with the ~tabor.[ep~
^([sm3[nm) The [fy45,1]*[fy75,1]bagpipe.[cm~Piqu;aae[fy75,1] (Fr
.). Pricked. A bowed instr. term, same ~as [fy45,1]*[fy75,2]Spiccato.[cm~Pique D
ame [fy75,1](Queen of Spades). ([sm1[nm) Operetta by ~Supp;aae, [sm1862[nm.[ep~^
([sm2[nm) For Tchaikovsky opera, see [cf2]Queen of Spades[cf1].[cm~Piquiren [fy7
5,1](Ger.). To play [fy45,1]*[fy75,2]Spiccato[cf1].[cm~Pirata, Il [fy75,1](The P
irate). Opera in [sm2[nm acts by Bellini ~to lib. by Romani. Prod. Milan [sm1827
[nm, London ~[sm1830[nm, NY [sm1832[nm.[cm~Pirates of Penzance, The, or The  Sla
ve of Duty. ~[fy75,1]Operetta by Sullivan to lib. by Gilbert. Prod. ~Paignton, D
evon, and NY [sm1879[nm, London [sm1880[nm.[cm~Pirouette [fy75,1](Fr.). Spinning
-top. ([sm1[nm) Funnel-shaped ~reed shield, made in variety of shapes, used on ~
[fy45,1]*[fy75,1]shawm and [fy45,1]*[fy75,1]rackett against which player could ~
press his lips while taking projecting part of reed ~into his mouth. Helped to a
void lip-fatigue and ~protected reed.[ep~^([sm2[nm) In dancing, one or more turn
s of the body ~on one leg, with the point of the working leg ~us
ually touching knee of supporting leg.[cm~Pisador, Diego [fy75,1]([cf2]b [cf1]Sa
lamanca, [sm1509[nm=n[sm10[nm; [cf2]d [cf1]after ~[sm1557[nm). Sp. [cf2]vihuela
[cf1]player and composer for his ~instr. Pubd. [cf2]Libro de musica de vihuela [
cf1]([sm1552[nm).[cm~Pisk, Paul [fy75,1](Amadeus) ([cf2]b[cf1] Vienna, [sm1893[n
m). Austrian-~born composer and musicologist. Studied Vienna ~(comp. with [fy45,
1]*[fy75,1]Schreker and [fy45,1]*[fy75,1]Schoenberg, musi~~cology with Adler). W
orked as mus. critic in ~Vienna. Settled in USA [sm1937[nm, becoming prof. of ~m
us. Redlands Univ., Calif., dir of sch. of mus. ~[sm1948[nm=n[sm50[nm; prof. of
mus., Univ. of Texas, Austin, ~[sm1951[nm=n[sm63[nm, Washington Univ., St Louis
[sm1963[nm=n[sm72[nm. ~[PN552,0,0,L,I0]Wrote [cf2]Life and Works of Sch;Auutz [c
f1]([sm1972[nm). Works incl. ~[cf2][sm3[nm Ceremonial Rites [cf1]for orch., str.
 qt., cantata [cf2]Die ~neue Stadt[cf1], etc.[xm[cm~[j1]Piston. [fy75,1]([sm1[nm
) A type of valve in brass instr., bored ~with passages which, w
hen it is depressed within ~its casing, deflect the air-stream passing through ~
it into the valve tubing. First valve lowers pitch a ~tone, [sm2[nmnd a semitone
, [sm3[nmrd [sm3[nm semitones. If a [sm4[nmth ~valve is added, it is adjusted to
 lower pitch [sm2[nm tones ~and a semitone, or a perfect [sm4[nmth. New harmonic
 ~series can be prod. from these valves singly or in ~combination.[ep~^([sm2[nm)
 (Fr.). Abbreviation for [cf2]cornet-;Aga-pistons[cf1], the ~[fy45,1]*[fy75,1]co
rnet.[cm~Piston, Walter [fy75,1](Hamor) ([cf2]b[cf1] Rockland, Maine, ~[sm1894[n
m; [cf2]d [cf1]Belmont, Mass., [sm1976[nm). Amer. composer. ~Studied Harvard Uni
v. and in Paris with Boulan~~ger. Joined mus. faculty at Harvard [sm1926[nm, ~be
coming prof. of mus. [sm1944[nm=n[sm60[nm. Author of [sm3[nm ~important textbook
s, [cf2]Harmony [cf1]([sm1941[nm), [cf2]Counter~~point [cf1]([sm1947[nm), [cf2]O
rchestration [cf1]([sm1955[nm). Prin. works:[xm[cm~[j2][smorch[nm: [fy75,2]Conce
rto for Orchestra [cf1]([sm1933[nm); Syms.: No. [sm1[nm ~([sm193
7[nm), No. [sm2[nm ([sm1943[nm), No. [sm3[nm ([sm1948[nm), No. [sm4[nm ([sm1951[
nm), ~No. [sm5[nm ([sm1956[nm), No. [sm6[nm ([sm1955[nm), No. [sm7[nm ([sm1960[n
m), No. [sm8[nm ~([sm1965[nm); [cf2]Sinfonietta [cf1]([sm1941[nm); vn. conc. No.
 [sm1[nm ([sm1939[nm), ~No. [sm2[nm ([sm1960[nm); pf. concertino ([sm1937[nm); [
cf2]Symphonic ~Suite [cf1]([sm1948[nm); va. conc. ([sm1957[nm); double pf. conc.
 ~([sm1959[nm); [cf2][sm3[nm New England Sketches [cf1]([sm1959[nm); [cf2]Variat
ions ~[cf1]for vc. and orch. ([sm1967[nm); cl. conc. ([sm1967[nm); ~[cf2]Ricerca
re [cf1]([sm1968[nm); [cf2]Fantasia[cf1], vn. and orch. ([sm1970[nm); ~fl. conc.
 ([sm1971[nm); conc. for str. qt., woodwind, ~perc. ([sm1976[nm).[ep~[smballet[n
m: [cf2]The [fy45,1]*[fy75,2]Incredible Flutist [cf1]([sm1938[nm), also orch. ~s
uite ([sm1938[nm).[ep~[smchamber music[nm: Fl. sonata ([sm1930[nm); ob. suite ([
sm1931[nm); ~str. qts., No. [sm1[nm ([sm1933[nm), No. [sm2[nm ([sm1935[nm), No.
[sm3[nm ([sm1947[nm), ~No. [sm4[nm ([sm1951[nm), No. [sm5[nm ([s
m1962[nm); pf. trio No. [sm1[nm ([sm1935[nm), ~No. [sm2[nm ([sm1966[nm); vn. son
ata ([sm1939[nm); fl. quintet ~([sm1942[nm); pf. quintet ([sm1949[nm); wind quin
tet ([sm1956[nm); ~str. sextet ([sm1964[nm); pf. qt. ([sm1964[nm); [cf2]Duo[cf1]
, vc., pf. ~([sm1976[nm).[cm~[ol0][ep~[xp[u20]~~[te~









[do35][j99]~~~~~~[sm153842[nm_PA[sm5[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmPA[sm5[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm10[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm341[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1][tn1]Pitc
h.[fy75,1] The location of a sound in the tonal scale, ~depending on the speed o
f vibrations from the ~source of the sound, fast ones producing a high ~pitch an
d slow ones a low. The rate of vibration ~per second is the note's `frequency'.
By int. ~agreement of [sm1939[nm, renewed and extended in ~[sm1960[nm, the prese
nt-day standard of `concert-pitch' ~to which instr. are tuned is that in which t
he A ~directly above middle C has [sm440[nm (double) vibra~~tions per second ([s
m440[nm Hz), which makes middle ~C [sm261[nm.[sm6[nm Hz. This replaced the stand
ard of [sm435[nm ~(diapason normal) fixed in Paris in [sm1859[nm and ~confirmed
in Vienna in [sm1885[nm. Before then, a ~variety of pitches existed. In Eng. in
the [sm16[nmth ~cent., domestic kbd. pitch was about [sm3[nm sem
itones ~lower than today's pitch and the church mus. ~pitch over [sm2[nm semiton
es higher. Between [sm1700[nm and ~[sm1850[nm, the note A varied between [sm415[
nm and [sm429[nm. ~Pitch can now be measured electronically, but ~still the most
 common way is by a tuning-fork. ~See [cf2]A[cf1].[cm~Pitchpipe. [fy75,1]Small w
ooden pipe of square section, ~about [sm18[nm in. in length, with whistle mouthp
iece, ~used in [sm18[nmth and [sm19[nmth cents. Leather-covered ~wooden stopper
can be inserted to shorten pipe ~and thus raise the pitch. On the stem of the ~s
topper the various notes were marked. Princi~~pally used in churches that had ne
ither organ nor ~band of musicians.[cm~[j1]Pitfield, Thomas [fy75,1](Baron) ([cf
2]b[cf1] Bolton, [sm1903[nm). Eng. ~composer and teacher, also poet, artist, and
 ~craftsman. Studied RMCM [sm1923[nm=n[sm7[nm, joined staff ~[sm1947[nm, becomin
g prof. of comp. and later at ~RNCM until [sm1973[nm. Pupils incl. A. Goehr, Max
well ~Davies, and McCabe. Comps. incl. pf. conc., ~cantata [cf2]
A Sketchbook of Women[cf1], songs, and chamber ~mus.[cm~Pitt, Percy[fy75,1] ([cf
2]b[cf1] London, [sm1869[nm; [cf2]d[cf1] London, [sm1932[nm). ~Eng. cond. Studie
d Leipzig and Munich [sm1886[nm=n~[sm91[nm. Ass. cond. CG [sm1902[nm, mus. dir.
Grand Opera ~Syndicate (CG) [sm1907[nm=n[sm24[nm. Assoc. with Beecham ~Opera Co.
 [sm1915[nm=n[sm18[nm. Art. dir., BNOC [sm1920[nm=n[sm4[nm, ~mus. dir. BBC [sm19
24[nm=n[sm30[nm. Also composer of sym., ~symphonic poem, incidental mus., etc.[c
m~[j1]Pittsburgh Symphony Orchestra. [fy75,1]US orch., ~founded [sm1895[nm, firs
t concert [sm27[nm Feb. [sm1896[nm, cond. ~Frederic Asker. Prin. conds., [sm1898
[nm=n[sm1904[nm, Victor ~[fy45,1]*[fy75,1]Herbert; [sm1904[nm=n[sm10[nm, Emil Pa
ur. Guest conds. incl. ~R. Strauss in [sm1903[nm=n[sm4[nm season and Elgar in [s
m1906[nm=n[sm7[nm. ~Disbanded March [sm1910[nm, re-formed [sm1926[nm. Cond. ~Ant
onio Modarelli [sm1930[nm=n[sm7[nm. Re[chorganized [sm1937[nm by ~[fy45,1]*[fy75
,1]Klemperer. Prin. cond. [sm1938[nm=n[sm48[nm, Fritz [fy45,1]*[
fy75,1]Reiner; ~[sm1952[nm=n[sm76[nm, William [fy45,1]*[fy75,1]Steinberg; [sm197
6=n86[nm, Andr;Aae ~Previn. Toured Europe and Middle East [sm1963[nm, ~Japan and
 Korea [sm1972[nm with Steinberg; Europe ~[sm1978[nm with Previn. Moved into new
 hall, Heinz ~Hall for Performing Arts, [sm1971[nm.[cm~Pitz, Wilhelm [fy75,1]([c
f2]b[cf1] Breinig, [sm1897[nm; [cf2]d[cf1] Aachen, [sm1973[nm). ~Ger. ch.-master
, cond., and violinist. Violinist, ~Aachen City Orch., [sm1913[nm=n[sm33[nm. Ch.
-master Aachen ~Opera [sm1933[nm=n[sm61[nm, also mus. dir., Aachen Choral ~Soc.
Cond., Aachen Opera from [sm1946[nm. Ch.-master ~[PN553,0,0,R,I0]Bayreuth Fest.,
 [sm1951[nm=n[sm71[nm. First ch.-master, Phil~~harmonia Ch. [sm1957[nm=n[sm71[nm
, establishing very high ~standards for conds. such as Klemperer, Karajan, ~Giul
ini, and Barbirolli. Hon. O.B.E. [sm1970[nm.[cm~Pi;Agu[fy75,1] (It.). More. [cf2
]Pi;Agu lento[cf1], slower; [cf2]pi;agu mosso[cf1], more ~movement, i.e. quicker
, etc.[cm~Piva[fy75,1] (It.). ([sm1[nm) Bagpipe.[ep~^([sm2[nm) [
sm16[nmth-cent. dance step.[cm~Pixis, Johann Peter [fy75,1]([cf2]b[cf1] Mannheim
, [sm1788[nm; [cf2]d[cf1] ~Baden=nBaden, [sm1874[nm). Ger. pianist, teacher, and
 ~composer. After concert career became teacher in ~Munich, Vienna, Paris (from
[sm1823[nm), and Baden-~Baden from [sm1840[nm. Wrote operas, sym., pf. conc., ~a
nd joined Chopin, Liszt, Czerny, Thalberg, and ~Herz as contributor to the [fy45
,1]*[fy75,2]Hexam;Aaeron.[cm~Pizzetti, Ildebrando[fy75,1] ([cf2]b[cf1] Parma, [s
m1880[nm; [cf2]d[cf1] Rome, ~[sm1968[nm). It. composer and teacher, sometimes ~k
nown as `Ildebrando da Parma'. Studied Parma ~Cons. [sm1895[nm=n[sm1901[nm, beco
ming pupil of Tebaldini ~who interested him in It. Renaissance and Baroque ~mus.
 Taught at Parma Cons. until [sm1908[nm, moving ~to Cherubini Institute, Florenc
e (dir. [sm1917[nm=n[sm24[nm). ~Dir. Milan Cons. [sm1924[nm=n[sm36[nm, prof. of
comp. S. ~Cecilia Acad., Rome, [sm1936[nm=n[sm58[nm. Though associated ~briefly
with It. [cf2]avant-garde[cf1] of his day (Malipiero, ~Casella,
etc.), he later advocated a return to ~`tradition'. His mus. character was divid
ed be~~tween a deeply religious vein, which is reflected ~in his operas (at the
other extreme from those of ~Puccini) and a hedonistic vein which found ~express
ion in collab. with d'Annunzio, for whose ~plays he wrote incidental mus. Toscan
ini cond. [sm2[nm ~of his operas in Milan. His choral works are ~especially fine
. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]Fedra[cf1] ([sm1909[nm=n[sm12[nm
); [cf2]Debora e Jaele[cf1] ([sm1915[nm=n~[sm21[nm); [cf2]Lo straniero[cf1] ([sm
1922[nm=n[sm5[nm); [cf2]Fra Gherardo[cf1] ([sm1925[nm=n~[sm7[nm); [cf2]Ors;Aaeol
o[cf1] ([sm1931[nm=n[sm5[nm); [cf2]L'Oro[cf1] ([sm1938[nm=n[sm42[nm); [cf2]Vanna
 ~Lupa[cf1] ([sm1947[nm=n[sm9[nm); [cf2]Ifigenia[cf1] ([sm1950[nm); [fy45,1]*[fy
75,2]Assassinio nella ~Catte[chdrale[cf1] ([sm1957[nm); [cf2]Il calzare d'argent
o[cf1] ([sm1961[nm); ~[cf2]Clitennestra[cf1] ([sm1961[nm=n[sm4[nm).[ep~[smorch[n
m: [cf2]Per l'Edipo Re di Sofocle[cf1] ([sm1903[nm); suite, [cf2
]La ~pisanella[cf1] ([sm1913[nm); [cf2]Sinfonia del fuoco[cf1] ([sm1914[nm); [cf
2]Concerto ~dell' estate[cf1] ([sm1928[nm); [cf2]Rondo Veneziano[cf1] ([sm1929[n
m); pf. ~conc. ([cf2]Canti della Stagione Alta[cf1]) ([sm1930[nm); vc. conc. ~([
sm1933[nm=n[sm4[nm); sym. ([sm1940[nm); vn. conc. ([sm1944[nm); [cf2]Preludio ~a
 un altro Giorno[cf1] (Prelude to Another Day) ~([sm1952[nm); harp conc. ([sm195
8[nm=n[sm60[nm).[ep~[smchorus and orch[nm: [cf2]Agamemnon[cf1] ([sm1931[nm); [cf
2]Epithala~~[chmium[cf1] ([sm1939[nm); [cf2]Cantico di Gloria `Attollite Portas'
[cf1] for ~[sm3[nm ch., [sm24[nm wind instr., [sm2[nm pf., perc. ([sm1948[nm); [
cf2]Vanitas ~Vanitatum, [cf1]cantata ([sm1958[nm).[ep~[smunaccompanied voices[nm
: [cf2][sm2[nm canzoni corali[cf1] ([sm1913[nm); ~[cf2]Canto d'amore[cf1] ([sm19
14[nm); [cf2]Requiem[cf1] ([sm1922[nm=n[sm3[nm); [cf2]De ~profundis[cf1] ([sm193
7[nm); [cf2][sm2[nm composizioni corali[cf1] ([sm1961[nm).[cm~[j1]Pizzicato[fy75
,1] (It., abbreviated to [cf2]pizz[cf1]; Fr. [cf2]pinc;Aae[cf1])
. ~Pinched. Direction that notes on str. instr. are to ~be prod. by plucking, no
t bowing, the str. An ~early use occurs in Monteverdi's [cf2]Il combattimento ~d
i Tancredi e Clorinda[cf1] ([sm1624[nm), but Tobias Hume in ~[cf2]Harke, harke[c
f1], one of his `Musicall Humors' from ~[cf2]The First Part of Ayres [cf1]([sm16
05[nm, [cf2]Musica Britannica [cf1]IX, ~[sm116[nm), written for bass viol and ly
ra viol, instructs ~the performers to `play [sm9[nm letters (i.e. notes) with ~y
our fingers'. In his vn. conc. ([sm1910[nm), Elgar uses ~the direction [cf2]pizz
icato tremolando[cf1], meaning that ~the players should `thrum' rapidly with the
 ~fingers across the str.[xm[cm~[j1]P.K. [fy75,1](Ger.). Abbreviation used in or
g. mus. for ~[cf2]Pedalkoppel[cf1] (pedal-coupler), followed by indica~~tion of
the particular manual to be coupled to the ~pedal.[cm~Pk. [fy75,1](Ger.). Abbrev
iation found in orch. scores for ~[cf2]Pauken[cf1], kettledrums. See [cf2]Drum[c
f1].[cm~Plagal Cadence. [fy75,1]Cadence with subdominant ~preced
ing the tonic, normally both in root ~position. Known also as `Amen cadence', be
cause ~it was used for the Amen of hymns in the [sm15[nmth ~and [sm16[nmth cents
. Use revived by Hindemith.[cm~Plainchant. [fy75,1]Same as [fy45,1]*[fy75,2]Plai
nsong.[cm~Plainsong. [fy75,1]The large body of traditional ritual ~melody of the
 Western Christian Church, in its ~final form called Gregorian chant. Comprises
~single line of vocal melody, properly (but not ~always nowadays) unacc. in free
 rhythm, not ~divided into bar-lengths. Has own system of ~notation, employing s
tave of [sm4[nm lines instead of [sm5[nm. ~The word is a trans. of [cf2]Cantus p
lanus[cf1]=min contra-~distinction to [cf2]Cantus figuratus[cf1] (florid song, i
mply~~ing a counterpoint added to the traditional ~melody) or [cf2]Cantus mensur
atus[cf1] (measured song, ~implying the regularity of rhythm assoc. with ~harmon
ic mus.). The Eastern (or `Greek') branch ~of the Christian Church and the Jewis
h Synagogue ~have similar bodies of melodic ritual song, but ~th
e term [cf2]Plainsong,[cf1] as ordinarily used, does not ~incl. them.[ep~^Plains
ong rhythm is the free rhythm of speech; ~it is a prose rhythm, which of course
arises from ~the unmetrical character of the words to be ~recited=mpsalms, praye
rs, and the like.[ep~^In character, plainsong falls into two essentially ~distin
ct groups=mthe responsorial (developed ~from recitation of psalms round a `domin
ant'), ~and antiphonal (developed as pure melody).[ep~^Plainsong developed durin
g the earliest centu~~ries of Christianity, influenced possibly by the ~mus. of
the Jewish synagogue and certainly by ~the Gr. modal system (see [cf2]Modes[cf1]
). A major reform ~was instituted in the [sm6[nmth cent. at, it is said, the ~re
quest of Pope Gregory.[ep~^Further reform was attempted at the end of the ~[sm16
[nmth cent., but the results were disastrous. ~[fy45,1]*[fy75,1]Palestrina was c
harged with the work of revising ~the plainsong of the Gradual, Antiphonal, and
~Psalter, but died almost immediately after accept~~ing the comm
ission. Felice Anerio and Soriano ~undertook the work, and their edn. was pubd.
by ~the Medicean Press in [sm2[nm vols., [sm1614[nm=n[sm15[nm. This ~[cf2]Medice
an Edition, [cf1]as it is called, with its addition ~and suppression of melismat
a, its altered melo~~[PN554,0,0,L,I0]dies, and its new ones, became the basis fo
r many ~cheaper performing edns. In the [sm18[nmth cent. there ~was a fashion fo
r introducing grace notes and ~passing notes into the plainsong (called in Fr. ~
[fy45,1]*[fy75,2]Machicotage[cf1]). In the [sm19[nmth cent. there was another ~c
ry for reform and the famous Ratisbon (Regens~~burg) edns. appeared=munfortunate
ly based on ~the [cf2]Medicean Edition[cf1]. Years of controversy fol~~lowed, fo
r the Benedictine monks of Solesmes, in ~Fr., had long been at work in the most
scientific ~spirit, photographing and collating innumerable ~manuscripts, in all
 the libraries of Europe. They ~pubd. their Gradual in [sm1883[nm and their Anti
phonal ~in [sm1891[nm. The Ratisbon edn. had had papal ~privileg
es conferred upon it, but in [sm1903[nm these ~expired and in the same year Pius
 X was chosen ~Pope and he at once issued his famous [cf2]Motu ~Proprio[cf1] on
church mus., laying down, among ~other things, the importance of plainsong and ~
the necessity of taking it from early and pure ~sources.[ep~^Among the reforms o
f the Solesmes monks ~(who, temporarily driven from France by anti-~clerical leg
islation in [sm1901[nm, carried on their work ~for some years in Eng.) was the i
ntroduction of a ~lighter and more rhythmic manner of perf.[cm~Planch;aae, James
 Robinson[fy75,1] ([cf2]b[cf1] London, [sm1796[nm; [cf2]d[cf1] ~London, [sm1880[
nm). Eng. writer for the th. Trans. ~many opera libs. (incl. those of operas by
Rossini, ~Bellini, Offenbach, Mozart, etc.). Made Eng. ~version of Weber's [cf2]
Der Freisch;Auutz[cf1] and was librettist ~for [cf2]Oberon.[cm~Plan;alcon, Pol [
fy75,1](Henri) ([cf2]b[cf1] Fumay, [sm1851[nm; [cf2]d[cf1] Paris, ~[sm1914[nm).
Fr. bass. Opera d;Aaebut Lyons [sm1877[nm, Paris ~[sm1880[nm. Pa
ris Op;Aaera [sm1883[nm=n[sm93[nm, CG [sm1891[nm=n[sm1904[nm, NY ~Met. [sm1893[n
m=n[sm1908[nm. V. of great range and flexibility, ~capable of trills like a sop.
 Famous Mephistopheles ~in Gounod's [cf2]Faust. [cf1]Created roles in Massenet ~
operas.[cm~Planets, The. [fy75,1]Suite for orch. by Holst, his Op. ~[sm32[nm. Co
mp. [sm1914[nm=n[sm16[nm. [sm7[nm movements based on ~astrological assocs.: [sm1
[nm. [cf2]Mars, the Bringer of War[cf1]; [sm2[nm. ~[cf2]Venus, the Bringer of Pe
ace[cf1]; [sm3[nm. [cf2]Mercury, the Winged ~Messenger[cf1]; [sm4[nm. [cf2]Jupit
er, the Bringer of Jollity[cf1]; [sm5[nm. [cf2]Saturn, ~the Bringer of Old Age[c
f1]; [sm6[nm. [cf2]Uranus, the Magician[cf1]; [sm7[nm. ~[cf2]Neptune, the Mystic
[cf1] (with wordless female ch.). ~F.p. (semi-private) [sm1918[nm; excl. nos. [s
m2[nm and [sm7[nm, [sm1919[nm; ~complete [sm1920[nm.[cm~Planquette, [fy75,1](=+=
+Jean) [fy65,3]Robert[fy75,1] ([cf2]b[cf1] Paris, [sm1848[nm; [cf2]d[cf1] Paris,
 ~[sm1903[nm). Fr. composer, Studied Paris Cons. Began ~career b
y writing songs for the `caf;Aaes-chantants', ~then turned to comic opera. Wrote
 about [sm20[nm ~operettas, most popular being [cf2]Les [fy45,1]*[fy75,2]cloches
 de ~Corneville[cf1] ([sm1877[nm). Also [cf2]Rip Van Winkle[cf1] ([sm1882[nm), ~
[cf2]Surcouf [cf1]([sm1887[nm, as [cf2]Paul Jones[cf1] [sm1889[nm), and [cf2]Pan
urge[cf1] ~([sm1895[nm).[cm~Plaqu;aae [fy75,1](Fr.). Indication that notes of a
chord ~should be played simultaneously, not as an ~arpeggio.[cm~Platti, Giovanni
[fy75,1] ([cf2]b[cf1] ? Venice, [cf2]c[cf1].[sm1700[nm; [cf2]d[cf1] W;Auurzburg,
 ~[sm1763[nm). It. composer, violinist, oboist, and singer. ~Court chamber music
ian to Bishop of Bamberg. ~Comp. sonatas and concs. for hpds. and other ~chamber
 works.[cm~Playera[fy75,1] (Sp.). Sp. [cf2]seguidilla[cf1] of Andalusian orig. ~
which is sung and danced.[cm~Player-Piano. [fy75,1]See [cf2]Pianola.[cm~Playford
, John[fy75,1] ([cf2]b[cf1] Norfolk, [sm1623[nm; [cf2]d[cf1] London, ~[sm1686[nm
). Eng. mus. publisher. Began business in ~[sm1647[nm. In [sm165
0[nm he registered [cf2]The English Dancing ~Master [cf1](pubd. [sm1651[nm), sou
rce-book of folk mus., ~followed by many other important publications. ~On his d
eath Purcell wrote an elegy. His son ~Henry ([sm1657[nm=n[cf2]c.[cf1][sm1720[nm)
 pubd. works by Purcell, also ~[fy45,1]*[fy75,2]Orpheus Britannicus, [cf1]and la
ter founded concerts ~in London and Oxford.[cm~Play of Daniel, The. [fy75,1]Medi
eval liturgical drama ~which exists in several versions, only the Beauvais ~vers
ion having survived with mus. complete. ~Comp. between [sm1227[nm and [sm1234[nm
 for perf. at ~Beauvais Cath. during matins probably on [sm1[nm Jan. ~In [sm2[nm
 parts, [sm1[nmst dealing with Daniel at Belshazzar's ~court, [sm2[nmnd with Dan
iel's trials at the court of ~Darius. Several modern edns., incl. one by David ~
Wulstan.[cm~Pleasure Dome of Kubla Khan, The. [fy75,1]Sym~~phonic poem by [fy45,
1]*[fy75,1]Griffes based on Coleridge's ~poem. Orig. pf. piece, comp. [sm1912[nm
; orch. [sm1917[nm, ~f.p. Boston S.O. [sm1919[nm.[cm~Plectrum. [
fy75,1]Small thin piece of horn, wood, ~tortoiseshell, metal, ivory, or other ma
terial used ~to pluck the str. of certain str. instrs. such as ~zither, mandolin
, lyre, lute, banjo, etc. On the ~hpd. it is a part of the mechanism.[cm~Pleeth,
 William[fy75,1] ([cf2]b[cf1] London, [sm1916[nm). Eng. cellist. ~Studied London
 Violoncello Sch. and Leipzig ~Cons. D;aaebut Leipzig [sm1932[nm, London [sm1933
[nm. Fre~~quent soloist with orchs. but principally chamber ~mus. player. Cellis
t in Blech Quartet [sm1936[nm=n[sm41[nm, ~Allegri Quartet [sm1953[nm=n[sm67[nm.
Prof. of vc., GSM, from ~[sm1948[nm. Pupils incl. Jacqueline [fy45,1]*[fy75,1]du
 Pr;Aae.[cm~Plein Jeu [fy75,1](Fr.). Full play. ([sm1[nm) Type of org. mixture ~
stop incl. only unison, octave, and [sm12[nmth.[ep~^([sm2[nm) Full org. in Fr. m
us.[cm~Pleyel, Ignaz [fy75,1](Joseph) ([cf2]b[cf1] Ruppersthal, Vienna, ~[sm1757
[nm; [cf2]d[cf1] Paris, [sm1831[nm). Austrian composer, violinist, ~pianist, and
 founder of pf. firm. Pupil for [sm5[nm years ~of Joseph Haydn a
nd also studied Rome. Became ~choirmaster at Strasbourg Cath. [sm1789[nm. Cond.
~concerts in London [sm1791[nm=n[sm2[nm. Set up as mus. dealer ~in Paris [sm1795
[nm, founding pf. factory [sm1807[nm. Very ~prolific composer of [sm29[nm syms.,
 [sm45[nm str. qts., [sm18[nm fl. ~qts., [sm2[nm vn. concs., [sm4[nm vc. concs.,
 [sm2[nm pf. concs., [sm6[nm pf. ~sonatas, etc. His son Camille ([sm1788[nm=n[sm
1855[nm) became ~his partner in [sm1821[nm and they were joined by ~[fy45,1]*[fy
75,1]Kalkbrenner in [sm1824[nm. Camille was succeeded by ~Auguste Wolff. After W
olff=+=+'s death, his son-in-~[PN555,0,0,R,I0]law Gustave Lyon ([sm1857[nm=n[sm1
936[nm) assumed control. ~In [sm1961[nm firm was merged with Gaveau-;aaErard, bu
t ~still made pianos under name Pleyel. Merged ~firm bought by Schimmel of Bruns
wick, [sm1976[nm.[cm~Pli selon pli[fy75,1] (Fold upon fold). `Portrait of ~Malla
rm;aae' for sop. and orch. by Boulez. In [sm5[nm ~sections, some involving choic
e of order by cond. ~Comp. [sm1957[nm=n[sm62[nm but liable to co
ntinuous rev. ~First Brit. perf. Edinburgh, Aug. [sm1965[nm, cond. ~Boulez.[cm~P
l;auotzlich[fy75,1] (Ger.). Suddenly.[cm~Plowright, Rosalind [fy75,1]([cf2]b[cf1
] Worksop, [sm1949[nm). Eng. ~sop., formerly mez. Studied RMCM with F. R. ~[fy45
,1]*[fy75,1]Cox, making opera d;aaebut [sm1968[nm in J. C. Bach's ~[cf2]Temistoc
le[cf1]. Sang Donna Elvira with  Glyndebourne ~Touring Opera [sm1977[nm. Won Sof
ia int. comp. [sm1979[nm. ~ENO d;aaebut [sm1979[nm (Miss Jessel in [cf2]The Turn
 of the ~Screw[cf1]), CG [sm1980[nm (Ortlinde). Amer. concert d;aaebut ~[sm1982[
nm (Philadelphia), opera San Diego [sm1982[nm. Fine ~singer of Desdemona, Donize
tti's Queen Eliza~~beth I, and Strauss's Danae and Ariadne. Sang ~Aida at CG [sm
1984[nm, Elena in [cf2]The Sicilian Vespers[cf1], ~ENO [sm1984[nm, and title-rol
e in Cherubini's [cf2]M;aaed;aaee[cf1], ~Buxton Fest. [sm1984[nm.[cm~Ployer, Bar
bara von [fy75,1]([cf2]fl[cf1]. [sm1770[nm=n[sm90[nm). Austrian ~pianist. Pf. an
d comp. pupil of Mozart, who in ~[sm1784[nm wrote for her his pf
. concs. No. [sm14[nm in E;yh ~(K[sm449[nm) and No. [sm17[nm in G (K[sm453[nm) o
f which she gave ~f.ps. in Vienna. Also played the sonata in D for [sm2[nm ~pf.
(K[sm448[nm) with Mozart. Daughter of Court ~Councillor Gottfried Ignaz von Ploy
er, from [sm1780[nm ~agent of Salzburg Court in Vienna.[cm~Pneuma[fy75,1] (Gr.).
 Breath, breathing. Term applied ~to the florid passages sung to a single vowel
at the ~end of certain pieces of plainsong. Such final ~vocalises were also know
n as [cf2]Jubili[cf1], indicating ~their intention as expressions of pious joy.[
cm~Pneumatic Action. [fy75,1]See [cf2]Organ[cf1]. [cm~Pochette[fy75,1] (Fr.; It.
 [cf2]sordino[cf1]). Pocket. Small type of ~vn. formerly used by [sm17[nmth-cent
. dancing-masters, ~and known in Eng. as a kit.[cm~~Poco[fy75,1] (It.). A little
, rather, e.g. [cf2]poco lento, [cf1]rather ~slow. [cf2]Poco a poco[cf1] means l
ittle by little, so [cf2]poco a ~poco animando, [cf1]becoming livelier by degree
s. ~[cf2]Pochetto, pochettino, [cf1]very little, very little ind
eed, ~[cf2]pochissimo, [cf1]the least possible.[cm~Podatus. [fy75,1]See [cf2]Pes
.[cm~Poem. [fy75,1]Literary term introduced into music by ~Liszt with the expres
sion `symphonic poem' to ~apply to his narrative orch. works. Famous ~individual
 works bearing this title are the [cf2]Poem[cf1] ~by [fy45,1]*[fy75,1]Fibich, a
movement from his orch. serenade ~[cf2]At Twilight[cf1] ([cf2]V Podve;Akcer[cf1]
), and the [cf2]Po;ageme[cf1] for vn. and ~orch., [sm1896[nm, by Chausson.[cm~Po
;ageme de l'amour et de la mer [fy75,1](Poem of Love ~and the Sea). Work for v.
(usually mez.) and orch. ~(or pf.) in [sm3[nm parts by Chausson, to words by ~Ma
urice Bouchor. Comp. [sm1882[nm=n[sm90[nm, rev. [sm1893[nm, f.p. ~Brussels [sm18
93[nm, f.p. in England, London [sm1919[nm ~(with orch.).[cm~Po;agemes pour Mi [f
y75,1](Poems for Mi). Song-cycle by ~[fy45,1]*[fy75,1]Messiaen, to his own poems
, for sop. and pf. ~([sm1936[nm); for sop. and orch. ([sm1937[nm). `Mi' was ~com
poser's intimate name for his first wife, the ~violinist Claire
Deslos. F.p. Paris [sm1937[nm.[cm~Poem of Ecstasy [fy75,1]([cf2]Poema ekstasa[cf
1]; Fr. [cf2]Le Po;Ageme ~d'extase[cf1]). Orch. work by [fy45,1]*[fy75,1]Skryabi
n, Op. [sm54[nm, comp. ~[sm1905[nm=n[sm8[nm and f.p. NY [sm1908[nm, London [sm19
10[nm. Inspired ~by his theosophical ideas on love and art.[cm~Poem of Fire [fy7
5,1](Skryabin). See [cf2]Prometheus, the Poem ~of Fire.[cm~Poet and Peasant [fy7
5,1]([cf2]Dichter und Bauer[cf1]). Play in [sm3[nm ~acts ([sm1846[nm) by K. Elma
r, for which ov. and ~incidental mus. were comp. by [fy45,1]*[fy75,1]Supp;aae.[x
m[cm[ol0][ep~[ts1][fy65,3,7,7]Pitch Names of the Notes[qc~[dt2p7,0p5g,1p6,0p5g,1
,0p5g,1,0p5g,1,0p5g,1,0p5g,1,0p5g,1][ru3][ep~[ep~[ep~[ep~[ol3][ep~[ru3][ep~[ol2]
[ep~[fy75,1][bt~English[ep~[nt~C[qc~[nt~D[qc~[nt~E[qc~[nt~F[qc~[nt~G[qc~[nt~A[qc
~[nt~B[qc~[et~[ol3][ep~[ru3][ep~[ol2][ep~[bt~German[ep~[nt~,,[qc~[nt~,,[qc~[nt~,
,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~H[qc~[et~[ol3][ep~[ru9][ep~[ol2][ep~[bt~F
rench[ep~[nt~ut or[qc~do[qc~[nt~r;Aae[qc~[nt~mi[qc~[nt~fa[qc~[nt
~sol[qc~[nt~la[qc~[nt~si[qc~[et~[ol3][ep~[ru3][ep~[ol2][ep~[bt~Italian[ep~[nt~do
[qc~[nt~re[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[nt~,,[qc~[et~[ol3][ep~[ru
3][ep~[ol2][ep~Note that Eng. B;yh ;Eq Ger. B; and that Eng. B ;Eq Ger. H.[ep~[t
x~[xp[te~









[do25][j99]~~~~~~[sm153842[nm_PB[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmPB[sm01[nm[cm[sm25[nm[cm[sm1[nm[cm~[sm09[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm[sm387[nm[cm~Tuf[cm7[cm13.10.84[cm~U5[cm~~~[ap~[j1]Poet's Echo, T
he. [fy75,1]Setting by Britten for high v. ~and pf., Op. [sm76[nm, of [sm6[nm po
ems (in Russ.) by Pushkin, ~comp. [sm1965[nm for [fy45,1]*[fy75,1]Vishnevskaya a
nd [fy45,1]*[fy75,1]Rostropovich, who gave f.p. in Moscow ~Cons. Dec. [sm1965[nm
.[cm~Poglietti, Alessandro [fy75,1]([cf2]b [cf1]?Tuscany; [cf2]d [cf1]Vienna, ~[
sm1683[nm). Austrian composer of It. birth. Court ~organist Vienna [sm1661[nm=n[
sm83[nm. Comp. works for org. ~and hpd. Killed in siege of Vienna.[cmPogorelich,
 Ivo [fy75,1]([cf2]b [cf1]Belgrade, [sm1958[nm). Yugoslav pianist, son of db. pl
ayer. Began lessons at age of [sm7[nm, and went to study in Moscow [sm1970[nm. W
on Casagrande competition at Terni [sm1978[nm and [sm1[nmst prize in Montreal in
t. comp. [sm1980[nm. His failure to reach the final rounds of th
e [sm1980[nm Int. Chopin Comp. in Warsaw led to resignation from the jury of Mar
tha [fy45,1]*[fy75,1]Argerich and to the launching of his career. Settled in Eng
. [sm1982[nm.[cm~Pohjola's Daughter. [fy75,1]Symphonic fantasia for ~orch., Op.
[sm49[nm, by Sibelius comp. [sm1906[nm and based ~on legend from the [fy45,1]*[f
y75,2]Kalevala[cf1]. F.p. St Petersburg ~[sm1906[nm.[cm~Pohl, Carl Ferdinand [fy
75,1]([cf2]b [cf1]Darmstadt, [sm1819[nm; [cf2]d ~[cf1]Vienna, [sm1887[nm). Ger.
musicologist and organist. ~Archivist and librarian of Vienna Society of the ~Fr
iends of Music ([cf2]Gesellschaft der Musikfreunde[cf1]) ~[sm1866[nm=n[sm87[nm.
Began huge biography of Haydn of ~which he completed only Vol. I (pubd. in [sm2[
nm parts ~[sm1875[nm, [sm1882[nm). Wrote book on [cf2]Mozart and Haydn in ~Londo
n [cf1]([sm1867[nm), living in London [sm1863[nm=n[sm6[nm while ~engaged on rese
ach, and treatise on glass armoni~~cas ([sm1862[nm) (he was grandson of first ma
ker of ~them).[cm~Pohl, Richard [fy75,1]([cf2]b [cf1]Leipzig, [s
m1826[nm; [cf2]d[cf1] Baden-Baden, ~[sm1896[nm). Ger. mus. critic and ardent cha
mpion of ~Wagner. Worked in Dresden ([sm1852[nm=n[sm4[nm) and ~Weimar ([sm1854[n
m=n[sm64[nm). Wrote books on Wagner, ~Liszt, and Berlioz.[cm~Poi [fy75,1](It.).
Then, e.g. (after some direction for the ~repetition of a passage) [cf2]poi la c
oda[cf1], then the Coda.[cm~[bnPoint. [fy75,1]([sm1[nm) The tip of the bow of vn
., etc., opposite ~to that held by the hand. ([sm2[nm) Same as [fy45,1]*[fy75,1]
pedal. [PN556,0,0,L,I0]([sm3[nm) See [fy45,1]*[fy75,1]pointing.[cm[xn~Point d'or
gue [fy75,1](Fr.). Organ-point. ([sm1[nm) [fy45,1]*[fy75,1]Pedal.[ep~^([sm2[nm)
The pause-sign, ;Yr.[ep~^([sm3[nm) A cadenza in a conc., so-called because of ~p
ause sign indicating where it begins.[cm~Pointillist(e). [fy75,1]A term used in
painting (meaning ~the use, by Seurat and other Post-Impressionists, ~of separat
e dots of pure colour instead of mixed ~pigments) and borrowed by writers on mus
. to ~describe passages where the notes seem to be in ~`dots' ra
ther than in melodic phrases, e.g. in the ~mus. of Webern.[cm~Pointing. [fy75,1]
In Anglican chant, the allotting of ~syllables to the notes on which they are to
 be ~sung (as in psalms and canticles). First attempt to ~present pointing in pr
inted form was by Robert ~Janes, organist of Ely Cath., in [sm1837[nm.[xm[cm~[j1
]Poisoned Kiss, The, or The Empress and the ~Necromancer. [fy75,1]Opera (romanti
c extravaganza) ~by Vaughan Williams to lib. by Evelyn Sharp ~([sm1869[nm=n[sm19
55[nm) derived from Richard Garnett's [cf2]The ~Poison Maid [cf1]and Nathaniel H
awthorne's [cf2]Rapacci~~ni's Daughter. [cf1]Comp. [sm1927[nm=n[sm9[nm, rev. [sm
1934[nm=n[sm5[nm, [sm1936[nm=n~[sm7[nm, [sm1956[nm=n[sm7[nm. Prod. Cambridge and
 London [sm1936[nm, ~NY [sm1937[nm. Spoken dialogue rev. by Ursula ~Vaughan Will
iams in [sm1957[nm and subsequently. All ~characters have botanical names, e.g.
Amaryllus ~and Persicaria.[xm[cm~[j1]Polacca [fy75,1](It.). [fy45,1]*[fy75,1]Pol
onaise.[cm~Polacco, Giorgio [fy75,1]([cf2]b [cf1]Venice, [sm1875
[nm; [cf2]d[cf1] NY, [sm1960[nm). ~It. cond. Studied St Petersburg, Venice, and
Milan. ~D;Aaebut London [sm1891[nm. Cond. Milan, Genoa, Rome, ~and in St Petersb
urg, where he won fame as a ~Wagnerian. Engaged for [sm3[nm seasons in Buenos ~A
ires and [sm7[nm in Rio de Janeiro. Amer. d;Aaebut at San ~Francisco [sm1905[nm.
 NY Met. [sm1912[nm=n[sm17[nm, Chicago Opera ~[sm1918[nm=n[sm30[nm. CG d;Aaebut
[sm1913[nm.[cm~Poldowski.[fy75,1] Pseudonym of Lady (Irene) Dean ~Paul ([cf2]b[c
f1] Brussels, [sm1880[nm; [cf2]d[cf1] London, [sm1932[nm), daughter ~of the viol
inist [fy45,1]*[fy75,1]Wieniawski. Composed popular ~ballads, sometimes singing
them to her own pf. ~accompaniment.[cm~Poliphant. [fy75,1]Eng. instr. of early [
sm17[nmth cent., strung ~with wire and evidently mixing the qualities of ~harp,
lute, and theorbo. Had [sm37[nm str.[cm~`Polish' Symphony. [fy75,1]Nickname for
Tchaikov~~sky's Sym. No. [sm3[nm in D, Op. [sm29[nm, because finale is in ~[fy45
,1]*[fy75,1]polonaise rhythm. Comp. [sm1875[nm.[cm~Polka. [fy75,
1]Bohem. dance which originated in the ~early [sm19[nmth cent. and quickly sprea
d throughout ~Europe. It was a round dance in quick duple ~time, with steps on t
he first [sm3[nm half-beats of the ~measure and a sort of rest on the [sm4[nmth.
 Introduced ~to Prague [sm1837[nm, Vienna and St. Petersburg [sm1839[nm, ~Paris
[sm1840[nm, and London [sm1844[nm. The mus. bears ~some resemblance to that of t
he Schottische, and ~a particular kind was, in fact, called [cf2]Schottische ~bo
h;ageme [cf1](or [cf2]Polka tremblante[cf1]). One of the first uses ~of the Polk
a in art-mus. was by [fy45,1]*[fy75,1]Smetana in [cf2]The ~Bartered Bride[cf1].[
cm~Pollak, Anna [fy75,1]([cf2]b [cf1]Manchester, [sm1912[nm). Eng. mez. ~Studied
 Holland and Manchester. Began career as ~actress, then studied singing with Joa
n [fy45,1]*[fy75,1]Cross, ~who engaged her for SW [sm1945[nm. D;aaebut London ~[
sm1945[nm as Dorabella in Mozart's [cf2]Cos;agi fan tutte[cf1]. ~Created role of
 Bianca in Britten's [cf2]The Rape of ~Lucretia[cf1], of Ruth in
 Berkeley's opera of that name, ~and Lady Nelson in Berkeley's [cf2]Nelson. [cf1
]Sang at ~Glyndebourne and CG. Prin. mez. SW [sm1945[nm=n[sm62[nm, ~guest artist
 [sm1962[nm=n[sm8[nm. O.B.E. [sm1962[nm.[cm~Pollarolo, Carlo Francesco [fy75,1](
[cf2]b [cf1]Brescia, [sm1653[nm; [cf2]d ~[cf1]Venice, [sm1723[nm). It. composer.
 Pupil of Legrenzi. ~[sm2[nmnd organist, St Mark's, Venice, [sm1690[nm, vice-~ma
estro di cappella there [sm1692[nm=n[sm1722[nm. Comp. [sm85[nm ~operas and [sm13
[nm oratorios.[cm~Pollini, Bernhard [fy75,1](orig. Baruch Pohl) ([cf2]b [cf1]Col
ogne, ~[sm1838[nm; [cf2]d [cf1]Hamburg, [sm1897[nm). Ger. impresario, ~formerly
ten. (d;aaebut in [cf2]I Puritani[cf1], Cologne [sm1857[nm). ~Later, bar. with I
t. Opera Co. of which he became ~man. Dir. of It. opera St Petersburg and Moscow
. ~Dir., Hamburg Opera [sm1876[nm=n[sm97[nm, engaging Mahler ~as cond. in [sm189
1[nm.[cm~Pollini, Maurizio [fy75,1]([cf2]b [cf1]Milan, [sm1942[nm). It. pianist
and ~conductor. D;aaebut at age of [sm9[nm. Studied with Carlo ~
Vidusso. Left Milan Cons. [sm1959[nm, won Warsaw ~Chopin Comp. [sm1960[nm. Since
 then has appeared in ~Europe and USA as recitalist and concerto soloist, ~worki
ng often with conductor Claudio [fy45,1]*[fy75,1]Abbado. ~Has wide repertory, fr
om Bach to [cf2]avant-garde[cf1] ~works such as Boulez's [sm2[nmnd sonata. Has p
layed ~complete pf. mus. of Schoenberg and was soloist ~in f.p. of Nono's [cf2]C
omo una ola de fuerza y luz[cf1], ~Milan [sm1972[nm. Like Ashkenazy, Barenboim,
Pera~~hia, and others, has often conducted from ~keyboard. Opera d;aaebut as con
d. Pesaro [sm1981[nm in ~Rossini's [cf2]La donna del lago[cf1].[cm~Pollitzer, Ad
olf [fy75,1](Adolphe) ([cf2]b[cf1] Budapest, [sm1832[nm; [cf2]d ~[cf1]London, [s
m1900[nm). Hung. violinist and teacher. ~Studied in Vienna and Paris (with Alard
). Settled ~in London [sm1851[nm. Led opera orch. under Costa for ~many years an
d led orch. of New Philharmonic ~Soc. Prof. of vn., London Acad. of Mus. from ~[
sm1861[nm, becoming principal [sm1890[nm. Wrote vn. ~caprices an
d ed. works of Alard and Vieuxtemps. ~In [sm1877[nm=n[sm8[nm gave private vn. le
ssons to Elgar.[cm~Polly. [fy75,1]Ballad opera in [sm3[nm acts written [sm1729[n
m by Gay, ~with mus. arr. by [fy45,1]*[fy75,1]Pepusch and Arnold. Sequel ~to [cf
2]The [fy45,1]*[fy75,2]Beggar's Opera[cf1]. Prod. London [sm1777[nm, NY ~[sm1925
[nm. Rev. version with text by Clifford Bax and ~mus. arr. Frederic Austin prod.
 London [sm1922[nm. ~Another modern version by John Addison (Alde~~burgh [sm1952
[nm).[cm~Polo. [fy75,1]Andalusian folk-song (and dance) in mod~~erate ;s3[cf13]=
-=-=-=-=-=-=-8[cf1] with syncopations and vocal coloraturas ~on words such as `O
le' and `Ay'. Example comp. ~by M. [fy45,1]*[fy75,1]Garc;aaia in his opera [cf2]
El criado fingido [cf1]was ~[PN557,0,0,R,I0]quoted by Bizet in prelude to Act IV
 of [cf2]Carmen. ~[cf1]No. [sm7[nm of Falla's [sm7[nm [cf2]Spanish Popular Songs
 [cf1]is a polo.[xm[cm~[j1]Polonaise [fy75,1](Fr.), [fy65][cf3]Polon;auase [fy75
,1](Ger.), [fy65][cf3]Polacca [fy75,1](It.). A ~nat. Polish danc
e, in simple triple time and of ~moderate speed; it should, perhaps, more prop~~
erly be described as a stately ceremonial procession ~rather than a dance, and p
robably originated ~among the aristocracy in [sm16[nmth cent. Certain ~rhythms a
re characteristic, such as the frequent ~division of the first beat of the measu
re with ~accentuation of its [sm2[nmnd half, the ending of phrases ~on the [sm3[
nmrd beat of the measure, etc. Many ~composers, incl. Bach, Handel, Mozart, Beet
~~[chhoven, and Schubert have written polonaises; ~Chopin's [sm13[nm examples, i
n which he found an ~outlet for his patriotic feeling, are outstanding.[cm~Polon
ia. [fy75,1]([sm1[nm) Concert-ov. by Wagner, comp. [sm1836[nm. ~F.p. Palermo [sm
1881[nm, London [sm1905[nm.[ep~^([sm2[nm) Symphonic prelude for orch., Op. [sm76
[nm, by ~Elgar, f.p. [sm1915[nm.[ep~^([sm3[nm) Suite for orch. by [fy45,1]*[fy75
,1]Panufnik, comp. and f.p. ~[sm1959[nm. Polonia means Poland.[cm~Polovtsian Dan
ces. [fy75,1]Sequence of choral and orch. ~pieces forming ballet
 scene in Act [sm2[nm of [fy45,1]*[fy75,1]Borodin's ~opera [fy45,1]*[fy75,2]Prin
ce Igor. [cf1]The Polovtsy were nomadic ~invaders of Russia who, in the opera, c
apture ~Igor.[cm~Polska. [fy75,1]Scandinavian dance in simple triple time, ~so-c
alled because of its Polish origin (it derives ~from the Mazurka). Dates from th
e union of ~Swedish and Polish crowns in [sm1587[nm.[cm~Polstertanz [fy75,1](Ger
.).  Pillow dance. Same as [cf2]Kissen~~tanz [cf1]or [fy45,1]*[fy75,1]Cushion Da
nce.[cm~Polyphony [fy75,1](Gr.). Many sounds. Mus. in which ~several simultaneou
s v. or instr. parts are com~~bined contrapuntally, as opposed to monophonic ~mu
s. (single melody) or homophonic mus. (one ~melodic line, the other parts acting
 as acc.). In ~historical terms, polyphonic era is defined as ~[sm13[nmth=n[sm16
[nmth cents., but polyphony survived beyond ~[sm1700[nm.[cm~Polyrhythm. [fy75,1]
Several different rhythms perf. ~simultaneously, as in many [sm20[nmth-cent. wor
ks. ~Mozart combined [sm3[nm different dance-rhythms ~simultaneo
usly in [cf2]Don Giovanni[cf1].[cm~Polytonality. [fy75,1]The simultaneous use of
 more than ~one key in different contrapuntal strands, an ~effect found in works
 by Holst, Milhaud, Bart;aaok, ~and others. The use of only two keys is [fy45,1]
*[fy75,1]bitonality.[cm~Pommer. [fy75,1]Type of [fy45,1]*[fy75,1]shawm, forerunn
er of the ob. ~[cf1]Often taken as meaning a large (lower-pitched) ~instr., but
antiquarian authorities apply the term ~indiscriminately.[cm~Pommier, Jean-Berna
rd [fy75,1]([cf2]b [cf1]B;aaeziers, [sm1944[nm). Fr. ~pianist. Studied Paris Con
s. [sm1958[nm=n[sm61[nm. Won first ~prize, int. competition [cf2]Jeunesses Music
ales [cf1][sm1960[nm, ~thereafter soloist with world's leading orchs. ~Amer. d;a
aebut [sm1973[nm=n[sm4[nm. Has acted as conductor/~soloist with Northern Sinfoni
a and other ensem~~bles.[xm[cm~[j1]Pomp and Circumstance. [fy75,1]Title given by
 Elgar ~(quoting Act [sm3[nm of Shakespeare's [cf2]Othello[cf1]) to set of [sm5[
nm ~marches for sym. orch., Op. [sm39[nm: No [sm1[nm in D major
~and No. [sm2[nm in A minor, f.p. Liverpool [sm1901[nm; No. [sm3[nm ~in C minor,
 f.p. London [sm1904[nm; No. [sm4[nm in G major, ~f.p. London [sm1907[nm; No. [s
m5[nm in C major, f.p. London ~[sm1930[nm. Trio section of No. [sm1[nm, slightly
 altered, ~became finale, with words by A. C. Benson ~beginning [fy45,1]*[fy75,1
]`Land of Hope and Glory', of [fy45,1]*[fy75,2]Coro~~nation Ode [cf1][sm1902[nm.
[xm[cm~[j1]Ponce, Manuel [fy75,1]([cf2]b [cf1]Fresnillo, [sm1882[nm; [cf2]d [cf1
]Mexico City, ~[sm1948[nm). Mexican composer. Studied in Mexico ~City, Berlin, a
nd Bologna. Lived in Paris [sm1925[nm=n~[sm33[nm. Taught at Nat. Cons., Mexico C
ity, [sm1909[nm=n[sm15[nm, ~[sm1917[nm=n[sm22[nm, becoming dir. [sm1934[nm=n[sm5
[nm. Founded mus. ~journal, [sm1936[nm=n[sm7[nm, and was first Mexican composer
~to carry out research on Creole and Meztiso ~folklore, which, together with Fr.
 composers such ~as Dukas, influenced his mus. Wrote many works ~for guitar, inc
l. [sm24[nm Preludes, [sm5[nm sonatas, and ~[cf2]Concierto del s
ur  [cf1]([sm1941[nm), also [sm2[nm pf. concs., vn. conc., ~and over [sm100[nm s
ongs and [sm100[nm pf. pieces.[cm~Ponchielli, Amilcare [fy75,1]([cf2]b [cf1]Pade
rno, [sm1834[nm; [cf2]d [cf1]Milan, ~[sm1886[nm). It. composer. Studied Milan Co
ns. [sm1843[nm=n~[sm54[nm. Organist at Cremona. First opera, [cf2]I promessi ~sp
osi[cf1], prod. Cremona [sm1856[nm and in rev. version at ~Milan [sm1872[nm. Com
p. ballet and several operas of ~which only [cf2]La [fy45,1]*[fy75,2]Gioconda[cf
1] (Milan [sm1876[nm) has held ~its place. Choirmaster Bergamo Cath., [sm1881[nm
. ~Taught comp. Milan Cons. from [sm1880[nm.[cm~Pons, Lily [fy75,1](orig. Alice
Jos;aaephine) ([cf2]b [cf1]Draguignan, ~[sm1898[nm; [cf2]d [cf1]Dallas, Texas, [
sm1976[nm). Fr.-born sop. (Amer. ~citizen [sm1940[nm). Studied Paris. Opera d;aa
ebut, Mul~~house [sm1928[nm as Lakm;aae. Recommended to [fy45,1]*[fy75,1]Gatti-~
Casazza of NY Met. where she made d;aaebut as ~Lucia [sm1931[nm, singing there r
egularly to [sm1940[nm. CG ~[sm1935[nm as Rosina. Made several f
ilms.[cm~Ponselle [fy75,1](orig. Ponzillo), [fy65][cf3]Rosa [fy75,1]([cf2]b [cf1
]Meriden, Conn., ~[sm1897[nm; [cf2]d [cf1]Green Valley, Baltimore, [sm1981[nm).
Amer. ~sop. First sang in cinemas and in vaudeville act ~with her sister Carmell
a. Studied NY with W. ~Thorner and Romani. At Caruso's suggestion was ~engaged f
or Leonora in [cf2]La forza del destino[cf1], NY ~Met. [sm1918[nm. Sang at Met.
[sm1918[nm=n[sm37[nm, CG [sm1929[nm=n[sm31[nm. ~One of greatest sops. of cent. i
n such roles as ~Norma, Violetta, Rachel [cf1]([cf2]La Juive[cf1]), and the ~[cf
2]Trovatore [cf1]Leonora. Retired at height of powers ~and taught at Baltimore,
becoming art. dir. of ~civic opera.[xm[cm~[j1]Ponticello [fy75,1](It.). Little b
ridge. Bridge of a str. ~instr. The direction [cf2]sul ponticello [cf1]means `pl
ay with ~the bow as close as possible to the bridge' to ~produce a special `meta
llic' tone-quality. In [cf2]bel ~canto [cf1]singing it means the join between th
e chest ~and head registers.[cm~Poole, Geoffrey [fy75,1]([cf2]b
[cf1]Chingford, Essex, [sm1949[nm). Eng. ~composer. Studied at Univ. of E. Angli
a [sm1968=n~[PN558,0,0,L,I0]70[nm, Southampton Univ. [sm1970=n1[nm (with A. Goeh
r ~and J. Harvey), Leeds Univ. [sm1973=n5[nm (with A. ~Goehr). Lect. in mus., Ma
nchester Univ., from ~[sm1977[nm. Works incl. [cf2]Wymondham Chants[cf1], chambe
r ~ch. ([sm1970[nm); [cf2]Algol of Perseus[cf1], pf. trio ([sm1973[nm); [cf2]Vis
ions[cf1], ~orch. ([sm1974=n5[nm); [cf2]Piano Pictures[cf1], pf. ([sm1974=n7[nm)
; ~[cf2]Harmonice Mundi[cf1], pf. quintet ([sm1977=n8[nm); [cf2]Chamber ~Concert
o [cf1]([sm1979[nm); [cf2]TEN[cf1], pf. ([sm1981[nm); [cf2]Prelude to the Net ~a
nd Aphrodite[cf1], orch. ([sm1982[nm); str. qt. ([sm1983=n4[nm).[cm~Poot, Marcel
 [fy75,1]([cf2]b [cf1]Vilvoorde, Belgium, [sm1901[nm). ~Belgian composer. Studie
d Brussels Cons. and ~Antwerp Cons. [sm1916[nm=n[sm23[nm, also with Paul Gilson
~and Dukas. One of Gilson pupils who founded ~[cf2]Les Synth;aaetistes[cf1], [sm
1925[nm, champions of new ideas. ~Taught at Brussels Cons. [sm19
38[nm=n[sm66[nm, dir. from ~[sm1949[nm. Worked as critic for [sm20[nm years. Wro
te [sm5[nm ~syms., oratorio, ballet, [sm2[nm pf. concs., cl. conc., ~symphonic p
oem [cf2]Charlot [cf1](Charlie Chaplin).[cm~Pop. [fy75,1]Abbreviation for `popul
ar'. Earlier meaning ~meant concerts appealing to a wide audience. The ~London P
opular Concerts were founded by ~[fy45,1]*[fy75,1]Benedict in [sm1858[nm and con
tinued until [sm1898[nm. ~Since the late [sm1950[nms, however, [cf2]pop[cf1] has
 had the ~special meaning of non-classical mus., usually in ~the form of songs,
perf. by such artists as the ~Beatles, the Rolling Stones, Abba, etc. Thus `pop
~groups' (performers of pop, usually singer(s), ~guitars, drums, sometimes sophi
sticated elec. ~effects), and `pop festivals'.[cm~Popp, Lucia [fy75,1]([cf2]b [c
f1]Bratislava, [sm1939[nm). Cz.-born Aus~~trian sop. Studied Bratislava Music Ac
ad. Prin. ~sop., Vienna State Opera, guest singer CG (from ~[sm1966[nm, d;aaebut
 as Oscar in Verdi's [cf2]Un ballo in maschera[cf1]), ~Salzburg
(from [sm1963[nm), NY Met. [sm1967[nm (Queen of ~the Night), and other leading o
pera houses. Also ~concert career.[cm~Popper, David [fy75,1]([cf2]b [cf1]Prague,
 [sm1843[nm; [cf2]d [cf1]Baden, Vienna, ~[sm1913[nm). Bohem. cellist, pupil of G
oltermann at ~Prague Cons. Played in orch., then from [sm1863[nm ~rose to leadin
g position among world's cellists. ~Prin. cellist, Vienna Opera [sm1868[nm=n[sm7
3[nm. Member of ~Hubay Qt. Taught at Budapest Acad. from [sm1896[nm. ~Composed [
sm4[nm vc. concs., [cf2]Requiem[cf1] for [sm3[nm vc. and ~orch. ([sm1892[nm), st
r. qt., suites for vc., and many ~short vc. pieces incl. the well-known [cf2]Dan
ce of the ~Elves[cf1].[cm~Porgy and Bess. [fy75,1]Opera in [sm3[nm acts by Gersh
win to ~lib. by Du Bose Heyward and I. Gershwin after ~play [cf2]Porgy [cf1]by D
u Bose and Dorothy Heyward. ~Prod. Boston, Mass., and NY [sm1935[nm, London [sm1
952[nm[cf1].[cm~Porpora, Nicola Antonio [fy75,1]([cf2]b [cf1]Naples, [sm1686[nm;
 [cf2]d ~[cf1]Naples, [cf1][sm1768[nm). It. composer and singing
 teacher. ~Studied Naples. Earliest operas prod. in Naples ~(from [sm1708[nm). T
aught in Naples [sm1715[nm=n[sm21[nm, produc~~ing many brilliant graduates. As t
eacher, held ~posts in several It. cities, in Ger., and in Austria. ~Went to Lon
don [sm1733[nm to est. opera in rivalry to ~Handel but was no match for him. Ret
urned to ~Venice and Vienna (where Haydn was for a time ~his pupil). Died in pov
erty. Wrote [sm48[nm operas, ~oratorios, syms., [sm12[nm vn. sonatas, etc.[cm~Po
rtamento [fy75,1](It.). Carrying. With the v. or a ~bowed instr., the carrying o
f the sound from note ~to note smoothly and without any break, hence ~very [cf2]
legato [cf1]and momentarily sounding the pitches ~in between any [sm2[nm indicat
ed by the notation. See ~[cf2]Curved Line, Various uses of[cf1].[cm~Portando, Po
rtato [fy75,1](It.). Carrying, carried. The ~same as [fy45,1]*[fy75,2]portamento
[cm~Portative Organ. [fy75,1]Medieval org. small enough to ~be carried by the pl
ayer.[cm~Port de voix [fy75,1](Fr.). Carrying of the voice. A vo
cal ~[fy45,1]*[fy75,2]portamento[cf1]. [sm1[nm or [sm2[nm obsolete `graces' also
 bore this ~name, either as it stands or with some added ~adjective.[cm~Porter,
Andrew [fy75,1]([cf2]b [cf1]Cape Town, [sm1928[nm). Eng. mus. ~critic. Studied O
xford Univ. Mus. critic [cf2]Man~~[chchester Guardian [cf1][sm1949[nm, [cf2]Fina
ncial Times [cf1][sm1953[nm=n[sm74[nm, ~[cf2]New Yorker [cf1]from [sm1972[nm. Ed
., [cf2]Musical Times, [cf1][sm1960[nm=n~[sm7[nm. Authority on opera and contrib
. to many ~periodicals and dictionaries. Trans. several opera ~libs. for perf.,
incl. Verdi's [cf2]Otello, Falstaff, Don ~Carlos[cf1], and [cf2]Rigoletto [cf1]a
nd Wagner's [cf2]Der Ring des ~Nibelungen[cf1] (for ENO). Responsible for redisc
overy ~and subsequent performance of [sm1[nmst version of ~Verdi's [cf2]Don Carl
os.[cf1][cm~Porter, Cole [fy75,1]([cf2]b [cf1]Peru, Ind., [sm1891[nm; [cf2]d [cf
1]Santa Monica, ~Calif., [sm1964[nm). Amer. composer and lyricist, ~successful i
n long series of Broadway musicals ~and films, e.g. [cf2]Gay Div
orce [cf1]([sm1932[nm, filmed as [cf2]The ~Gay Divorcee[cf1], [sm1934[nm), [cf2]
Anything Goes [cf1]([sm1934[nm), [cf2]Kiss Me, ~Kate [cf1]([sm1948[nm). His indi
vidual songs, marked by ~witty lyrics, incl. [cf2]Begin the Beguine, Let's Do It
, Night ~and Day, Miss Otis Regrets[cf1], and many others ~equally good and cher
ished. In [sm1919[nm he studied ~in Paris with D'Indy.[xm[cm~[j1]Porter, Quincy
[fy75,1]([cf2]b [cf1]New Haven, [sm1897[nm; [cf2]d [cf1]Bethany, ~Conn., [sm1966
[nm). Amer. composer and violist. ~Studied Yale Univ., and at Schola Cantorum, ~
Paris, with d'Indy [sm1920[nm=n[sm1[nm. Also with [fy45,1]*[fy75,1]Bloch in ~NY.
 Taught at Cleveland Institute, [sm1922[nm=n[sm28[nm and ~[sm1931[nm=n[sm2[nm. P
rof. of mus., Vassar Coll., [sm1932[nm=n[sm8[nm, dean ~of mus. faculty, New Engl
and Cons., [sm1938[nm=n[sm42[nm, ~dir. [sm1942[nm=n[sm6[nm. Prof. of mus., Yale
Univ., [sm1946[nm=n[sm65[nm. ~Works incl. [sm2[nm syms. ([sm1934[nm, [sm1964[nm)
, va. conc. ([sm1948[nm), ~[cf2]Concerto concertante [cf1]for [s
m2[nm pf. and orch. ([sm1954[nm), ~[cf2]New England Episodes [cf1]([sm1958[nm),
[sm10[nm str. qts., and ~other chamber mus.[xm[cm~[j1]Porter, Walter [fy75,1]([c
f2]b [cf1][cf2]c.[cf1][sm1595[nm; [cf2]d [cf1]London, [sm1659[nm). Eng. ~compose
r. Member of Choir of Chapel Royal ~[sm1617[nm=n[sm44[nm, master of choristers,
Westminster Ab~~bey, [sm1639[nm=n[sm44[nm. Said to have been pupil of ~Monteverd
i. Pubd. madrigals and airs with instr. ~acc. and interludes ([sm1632[nm).[cm~Po
rtsmouth Point. [fy75,1]([sm1[nm) Orch. ov. by [fy45,1]*[fy75,1]Walton ~after an
 etching by Rowlandson ([sm1756[nm=n[sm1827[nm). ~[PN559,0,0,R,I0]Comp. [sm1925[
nm. F.p. Z;auurich [sm1926[nm, London [sm6[nm days ~later.[ep~^([sm2[nm)^Orch. w
ork by Lord [fy45,1]*[fy75,1]Berners [cf2]c[cf1].[sm1920[nm of ~which score is l
ost; pubd. as pf. solo.[cm~Portunal, Portunalfl;auote [fy75,1](Ger.). An org. st
op of ~open wooden pipes wider at the top than the ~bottom. It has a smooth tone
.[cm~Pos. [fy75,1]([sm1[nm)^In Fr. org. mus., [cf2]Positif [cf1]
(i.e. Choir Org.).[ep~^([sm2[nm)^In str. mus., [cf2]Posizione [cf1](It.), [cf2]P
osition [cf1](Fr.), ~[fy45,1]*[fy75,1]Position.[cm~Posaune [fy75,1](Ger.). ([sm1
[nm) Tb., but tpt. in biblical sense ~of `the last tpt'.[ep~^([sm2[nm)^Org. reed
 stop of [sm8[nm;po or [sm16[nm;po pitch.[cm~Pos;aaement [fy75,1](Fr.). Steadily
, sedately.[cm~[fy65][cf3]Positif [fy75,1](Fr.). Choir org.[cm~Position. [fy75,1
]([sm1[nm)^In the playing of str. instr., term ~used for specifying the moving o
f left hand up or ~down the finger-board so that the fingers may ~produce differ
ent sets of notes, e.g. first position, ~`nearest the pegs', [sm2[nmnd etc. prog
ressively further ~from pegs.[ep~^([sm2[nm)^How far the slide should be pushed o
ut in ~tb. playing (first position is least extended).[ep~^([sm3[nm)^Lay-out of
a chord in harmony to determine ~which note comes at the bottom, so that one ~sp
eaks of a chord in `root position'.[xm[cm~[ol0][ep~[xp[te~

[do9][j99]~~~~~~[sm153842[nm_PB[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmPB[sm02[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm9[nm.[sm10[nm.[sm7
9[nm[cm[sm12[nm[cm[sm443[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Positive Organ.
 [fy75,1]Type of small org. which could ~be placed on floor or table in contrast
 with ~[fy45,1]*[fy75,1]portative organ.[cm~Posthorn. [fy75,1]Brass instr. witho
ut valves or keys ~which can produce only the notes of one ~[fy45,1]*[fy75,1]har
monic series. Made straight, oblong-coiled, ~or circular-coiled, and once used b
y postillions for ~signalling. Mozart's [cf2]Serenade [cf1]No. [sm9[nm in D (K[s
m320[nm, ~[sm1779[nm) is nicknamed [cf2]Posthorn.[cf1][cm~Posthorn Galop. [fy75,
1]Solo (with acc.) for posthorn ~comp. by cornet-player Koenig, [sm1844[nm.[cm~P
ostlude. [fy75,1]Piece played at the end, i.e. opposite of ~[fy45,1]*[fy75,1]pre
lude.[cm~Postnikova, Viktoria [fy75,1]([cf2]b [cf1]Moscow, [sm1944[nm). Russ. ~p
ianist. Studied Central Mus. Sch., Moscow, ~[sm1950[nm=n[sm62[nm
, Moscow Cons., [sm1962[nm=n[sm5[nm (with Yakov ~Flier). Prizewinner, Chopin Com
petition Warsaw ~[sm1965[nm; [sm2[nmnd prize, Leeds Int. Pf. Competition [sm1966
[nm. ~London d;aaebut [sm1967[nm. Soloist with world's leading ~orchs.[cm~Poston
, Elizabeth [fy75,1]([cf2]b [cf1]Highfield, Herts., [sm1905[nm). ~Eng. composer
and pianist. Studied RAM. On ~BBC staff [sm1940[nm=n[sm5[nm, becoming dir. of Eu
ropean ~Service. Authority on and arranger of folk-songs ~and carols. Composer o
f incidental mus. for radio, ~choral mus., chamber mus., and songs.[cm~Pothier,
Joseph [fy75,1]([cf2]b [cf1]Bouzemont, nr. St Di;aae, [sm1835[nm; ~[cf2]d [cf1]C
onques, Belg., [sm1923[nm). Fr. Benedictine monk, ~Abbot of Solesmes [sm1898[nm=
n[sm1923[nm. Leading figure in ~reformation and restoration of plainsong, and ~a
uthor of scholarly works on subject.[cm~Pot-Pourri [fy75,1](Fr.). Rotten-pot. Mu
s. application of ~this horticultural term is to a medley of tunes ~strung toget
her without development. R. Strauss ~called the ov. to his [cf2]
Die schweigsame Frau [cf1]a `pot-~pourri'.[cm~Potter, [fy75,1](Philip)[fy65][cf3
] Cipriani [fy75,1](Hambley) ([cf2]b [cf1]London, ~[sm1792[nm; [cf2]d [cf1]Londo
n, [sm1871[nm). Eng. composer, pianist, ~cond., and teacher. Pupil of [fy45,1]*[
fy75,1]Crotch. D;aaebut as ~pianist [sm1816[nm with Phil. Soc., London. Went to
~Vienna [sm1817[nm to study comp. with A. F;auorster and ~was advised by Beethov
en. Prof. of pf., RAM ~from [sm1822[nm, prin. [sm1832[nm=n[sm59[nm. Introduced [
sm3[nm Beet~~[chhoven pf. concs. (Nos. [sm1[nm, [sm3[nm, and [sm4[nm) to Eng. at
 Phil. ~concerts. Wagner praised one of his [sm9[nm syms. ~Wrote [sm3[nm pf. con
cs. and much other mus., ~including [cf2]`Enigma' Variations[cf1] for pf. ([cf2]
c[cf1].[sm1825[nm) ~composed `in the style of five eminent artists'.[xm[cm~[j1]P
ougnet, Jean [fy75,1]([cf2]b [cf1]Mauritius, [sm1907[nm; [cf2]d [cf1] Ferring, ~
Sussex, [sm1968[nm). Eng. violinist and  violist. Studied ~RAM [sm1918[nm=n[sm25
[nm. D;aaebut London [sm1923[nm. Leader LPO ~[sm1942[nm=n[sm5[nm
. Then career as soloist.[xm[cm~[j1]Pouishnoff, Leff [fy75,1](Nicolas) ([cf2]b [
cf1]Odessa, [sm1891[nm; [cf2]d ~[cf1]London, [sm1959[nm). Russ.-born pianist and
 composer. ~D;aaebut at age [sm5[nm. Studied St Petersburg Cons. ~London d;aaebu
t [sm1912[nm, USA [sm1923[nm. Settled in W., ~becoming noted interpreter of Roma
ntic mus.[cm~Poule, La [fy75,1](The Hen). Nickname for Haydn's ~Sym. in G. minor
, No. [sm83[nm in Breitkopf edn., ~comp. [sm1785[nm. A [sm19[nmth-cent. accretio
n, purporting ~to describe `clucking' [sm2[nmnd subject of [sm1[nmst move~~ment.
[cm~Poulenc, Francis [fy75,1]([cf2]b [cf1]Paris, [sm1899[nm; [cf2]d [cf1]Paris,
[sm1963[nm). ~Fr. composer and pianist. Taught pf. by his ~mother and began comp
osing at age of [sm7[nm. At [sm15[nm ~studied with Ricardo Vi;atnes, who encoura
ged his ~ambition to compose and introduced him to ~[fy45,1]*[fy75,1]Satie, [fy4
5,1]*[fy75,1]Casella, [fy45,1]*[fy75,1]Auric, and others. In [sm1917[nm his ~[cf
2]Rapsodie n;agegre [cf1]brought his name to notorious ~prominen
ce in Paris as one of a number of ~composers=m[cf2]Les Nouveaux Jeunes[cf1]=menc
ouraged by ~Satie and Cocteau. Even so, his technical know~~[chledge was still s
canty and in [sm1920[nm he studied ~harmony for [sm3[nm years with [fy45,1]*[fy7
5,1]Koechlin, but never ~studied counterpoint nor orchestration. His ~knowledge
of form was instinctive. In [sm1920[nm, a ~mus. critic, Henri Collet, selected [
sm6[nm of [cf2]Les ~Nouveaux Jeunes [cf1] and called them [cf2]Les [fy45,1]*[fy7
5,2]Six[cf1], Poulenc ~being among them. They gave concerts together, ~one of th
eir articles of faith being to draw ~inspiration from `Parisian folklore' i.e. s
treet ~musicians, mus.-halls, circus bands. This milieu ~is faithfully reflected
 in Poulenc's settings of ~Cocteau's [cf2]Cocardes[cf1]. These caught the ear of
 ~Stravinsky who recommended Poulenc to Di~~aghilev, the result being the ballet
 [cf2]Les Biches ~[cf1]([sm1923[nm), in which he expressed brittle [sm20[nms sop
his~~tication, a faithful understanding of the jazz ~idiom, and
(in the [cf2]adagietto[cf1]) the romantic lyricism ~[PN560,0,0,L,I0]that was inc
reasingly to dominate his work. ~Perhaps his finest achievements are contained i
n ~his many songs for v. and pf., particularly those ~written after [sm1935[nm w
hen he began to acc. the ~great Fr. bar. Pierre [fy45,1]*[fy75,1]Bernac. His set
tings of ~Apollinaire and of his friend Paul Eluard are ~particularly good, cove
ring a wide emotional ~range. He comp. [sm3[nm operas, the biggest being [cf2]Le
s ~Dialogues des Carm;aaelites [cf1]([sm1953[nm=n[sm6[nm), based on events ~of t
he Fr. Revolution, and his religious works ~have a tuneful ecstatic joy such as
one finds ~elsewhere only in Haydn. Of his instr. works, the ~organ conc. ([sm19
38[nm) is highly original in its ~treatment of the solo instr. His mus., eclecti
c yet ~strongly personal in style, is essentially diatonic ~and melodious, embro
idered with [sm20[nmth-cent. ~dissonances. It has wit, elegance, depth of feelin
g, ~and a bitter-sweetness which derives from the ~mixture in hi
s personality of gaiety and melan~~choly. Prin. works:[xm[cm~[j2][smoperas[nm: [
fy75,2]Les [fy45,1]*[fy75,2]Mamelles de Tir;aaesias[cf1] ([sm1944[nm); [cf2]Les
~[fy45,1]*[fy75,2]Dialogues des Carm;aaelites [cf1]([sm1953[nm=n[sm6[nm); [cf2]L
a [fy45,1]*[fy75,2]Voix ~humaine [cf1]([sm1958[nm).[ep~[smballets[nm: [cf2]Les [
fy45,1]*[fy75,2]Biches[cf1] ([sm1923[nm); contribution to ~[cf2]L'[fy45,1]*[fy75
,2]Eventail de Jeanne [cf1]([sm1927[nm); [cf2]Les Animaux mod;ageles ~[cf1]([sm1
941[nm).[ep~[smorch[nm: [cf2]Suite, Les Biches [cf1]([sm1940[nm, rescored); [cf2
]Suite, Les ~ Animaux mod;ageles [cf1]([sm1942[nm); Sinfonietta ([sm1947[nm).[ep
~[smconcertos[nm: [cf2]Concert champ;afetre[cf1], hpd. or pf. and ~orch. ([sm192
7[nm=n[sm8[nm); [cf2]Aubade[cf1], `concerto chor;aaeograph~~[chique', pf. and [s
m18[nm instr. ([sm1929[nm); [sm2[nm pf. and orch. ~([sm1932[nm); org., str., and
 timp. ([sm1938[nm); pf. and orch. ~([sm1949[nm.[ep~[smchamber mus.[nm: [sm2[nm-
cl. sonata ([sm1918[nm); sonata for cl. ~and bn. ([sm1922[nm); s
onata for tpt., tb., hn. ([sm1922[nm); ~trio for ob., bn., pf. ([sm1926[nm); pf.
 sextet ([sm1932[nm=n[sm40[nm); ~vn. sonata ([sm1942[nm=n[sm3[nm); vc. sonata ([
sm1940[nm=n[sm8[nm); str. qt. ~([sm1946[nm, but destroyed); fl. sonata ([sm1947[
nm); ob. ~sonata ([sm1961[nm); cl. sonata ([sm1962[nm).[ep~[smvoice and instr.[n
m: [cf2]Rapsodie n;agegre[cf1], bar., pf., str. qt., ~fl., cl. ([sm1917[nm); [cf
2]Le Bestiaire[cf1], v., fl., cl., bn., str. qt. ~([sm1919[nm); [cf2]Le Bal masq
u;aae[cf1], cantata for bar. (or mez.) ~and chamber ens. ([sm1932[nm); [cf2]La D
ame de Monte ~Carlo[cf1], sop. and orch. ([sm1961[nm).[ep~[smchoral[nm: [cf2][sm
7[nm Chansons, [cf1]unacc. ch. ([sm1936[nm); Mass in G, ~unacc. ch. ([sm1937[nm)
; [cf2]S;aaecheresses[cf1], ch. and orch. ~([sm1937[nm); [cf2][sm4[nm Motets pou
r un temps de p;aaenitence[cf1], unacc. ~ch. ([sm1938[nm=n[sm9[nm); [cf2]Salve R
egina[cf1], unacc. ch. ([sm1941[nm); ~[cf2]Figure humaine[cf1], cantata for unac
c. double ch. ~[cf1]([sm1943[nm); [cf2]Un soir de neige, [cf1]ca
ntata for [sm6[nm unacc. vv. ~([sm1944[nm); [cf2]Chansons fran;Alcaises, [cf1]un
acc. ch. ([sm1945[nm); ~[cf2]Stabat Mater[cf1], sop., ch., orch. ([sm1950[nm); [
cf2]Ave verum ~corpus[cf1], [sm3[nm female vv. ([sm1952[nm); [cf2]Gloria[cf1], s
op., ch., ~orch. ([sm1959[nm); [cf2][sm7[nm R;aaepons des  t;aaen;agebres[cf1],
male ch. and ~orch. ([sm1962[nm).[ep~[smpiano[nm: [cf2][sm3[nm mouvements perp;a
aetuels [cf1]([sm1918[nm); [cf2][sm5 [nm[cf2]Impromp~~tus [cf1]([sm1920[nm); [cf
2][sm10[nm Promenades [cf1]([sm1924[nm); Suite, [cf2]Napoli ~[cf1]([sm1925[nm);
[cf2]Pastourelle [cf1]([sm1927[nm); [cf2][sm2[nm Nouvellettes [cf1]([sm1927[nm=n
~[sm8[nm); [cf2][sm8[nm Nocturnes [cf1]([sm1929[nm=n[sm38[nm[cf1]); [cf2][sm12[n
m Improvisations ~[cf1]([sm1932[nm=n[sm42[nm); [cf2]Suite fran;Alcaise [cf1]([sm
1935[nm); [cf2]Les Soir;aaees de ~Nazelles [cf1]([sm1936[nm); [cf2]Intermezzo [c
f1]in A;Yh ([sm1944[nm); [cf2]Improv~~isation in D: Hommage ;aga Edith Piaf [cf1
]([sm1960[nm).[ep~[smpiano and narrator[nm: [cf2]Histoire de [fy
45,1]*[fy75,2]Babar le petit ~;aael;aaephant [cf1]([sm1940[nm=n[sm5[nm).[ep~[smp
iano [nm([sm4[nm [smhands[nm): Sonata ([sm1918[nm).[ep~[sm2[nm [smpianos[nm: Son
ata ([sm1953[nm); [cf2]El;aaegie [cf1]([sm1960[nm).[ep~[smsongs[nm: [cf2]Le Best
iare au cort;agege d'Orph;aaee [cf1](Apollinaire, ~[sm6[nm songs) ([sm1919[nm);
[fy45,1]*[fy75,2]Cocardes [cf1](Cocteau, [sm3[nm songs) ~([sm1919[nm); [cf2][sm5
[nm [cf2]Po;agemes de Ronsard[cf1] ([sm1924[nm=n[sm5[nm); [cf2]Chansons ~gaillar
des [cf1]([sm17[nmth-cent. anon., [sm8[nm songs) ([sm1926[nm); ~[cf2]Airs chant;
aaes  [cf1](Mor;aaeas, [sm4[nm songs) ([sm1927[nm=n[sm8[nm); [cf2][sm3[nm Po;age
mes ~de Louise Lalanne  [cf1](Apollinaire pseudonym, [sm3[nm ~songs) ([sm1931[nm
); [cf2][sm4[nm Po;agemes [cf1](Apollinaire) ([sm1931[nm); [cf2][sm5[nm ~Po;agem
es [cf1](Jacob) ([sm1931[nm); [cf2][sm8[nm Chansons  Polonaises ~[cf1]([sm1934[n
m); [cf2][sm4[nm Chansons pour enfants [cf1](Jaboune) ([sm1934[nm=n~[sm5[nm); [c
f2][sm5[nm Po;agemes [cf1](Eluard) ([sm1935[nm); [fy45,1]*[fy75,
2]Tel jour, telle nuit ~[cf1](Eluard) ([sm1936=n7[nm); [cf2][sm3[nm Po;agemes [c
f1](Vilmorin) ([sm1937[nm); ~[cf2][sm2[nm Po;agemes [cf1](Apollinaire) ([sm1938[
nm); [cf2]Miroirs br;afulants ~[cf1](Eluard, [sm2[nm songs) ([sm1938[nm); [cf2]L
a Grenouill;agere [cf1](Apol~~linaire) ([sm1938[nm); [cf2]Ce doux petit visage [
cf1](Eluard) ~([sm1938[nm); [cf2]Bleuet [cf1](Apollinaire) ([sm1938[nm); [cf2]Fi
an;alcailles ~pour rire [cf1](Vilmorin, [sm6[nm songs) ([sm1939[nm); [cf2]Banali
t;aaes ~[cf1](Apollinaire, [sm5[nm songs) ([sm1940[nm); [cf2]Chansons villa~~geo
ises [cf1](Fombeure, [sm6[nm songs) ([sm1942[nm, also with ~chamber orch.); [cf2
]M;aaetamorphoses [cf1](Vilmorin, [sm3[nm ~songs) ([sm1943[nm); [cf2][sm2[nm Po;
agemes [cf1](Aragon) ([sm1943[nm); ~[cf2]Montparnasse[cf1]; [cf2]Hyde Park [cf1]
(Apollinaire) ([sm1945[nm); ~[cf2]Le Pont; Un Po;ageme [cf1](Apollinaire) ([sm19
46[nm); [cf2][sm3[nm ~Chansons de F. Garcia Lorca [cf1]([sm1947[nm); [cf2]Main d
omin;aaee ~par le coeur [cf1](Eluard) ([sm1947[nm); [fy45,1]*[fy
75,2]Calligrammes ~[cf1](Apollinaire, [sm7[nm songs) ([sm1948[nm); [cf2]La Fra;a
ficheur et le ~feu [cf1](Eluard, [sm7[nm songs) ([sm1950[nm); [cf2]Parisiana [cf
1](Jacob, [sm2[nm ~songs) ([sm1954[nm); [cf2]Rosemonde [cf1](Apollinaire) ([sm19
54[nm); ~[cf2]Le Travail du peintre [cf1](Eluard, [sm7[nm songs) ([sm1956[nm); [
cf2]La ~Courte Paille [cf1](Car;afeme) ([sm1960[nm).[cm~[j1]Poulton, Diana [fy75
,1]([cf2]b [cf1]Storrington, [sm1903[nm). Eng. ~lutenist and historian. Studied
with A. Dolmetsch. ~Co-ed. of lute mus. of [fy45,1]*[fy75,1]Dowland. Prof. of lu
te ~RCM from [sm1971[nm. Wrote [cf2]Life of Dowland [cf1]([sm1972[nm).[cm~Pound,
 Ezra [fy75,1]([cf2]b [cf1]Hailey, Idaho, [sm1885[nm; [cf2]d [cf1]Venice, ~[sm19
72[nm). Amer. poet, mus. critic, and composer. ~Studied Hamilton Coll., Clinton,
 NY and Univ. ~of Penn. Went to It. [sm1908[nm, Eng. [sm1908[nm=n[sm20[nm, Paris
 ~[sm1920[nm=n[sm4[nm, It. [sm1924[nm=n[sm45[nm. Committed to Amer. mental ~hosp
ital, [sm1946[nm=n[sm58[nm. Returned to It. [sm1958[nm. Princi~~
pally known as poet, but wrote mus. criticism ~regularly in Eng. from [sm1908[nm
. Especially interested ~in mus. of medieval troubadours. Wrote [sm1[nm-act ~ope
ra [cf2]Le Testament de Francois Villon [cf1]([sm1920[nm=n[sm1[nm); ~[cf2]Hommag
e ;aga Froissart [cf1]for vn. ([sm1926[nm); [cf2]Cavalcanti ~[cf1](unfinished op
era, [sm1920[nms).[cm~Pouss;aae [fy75,1](Fr.). Pushed. Up-bow (in str. playing),
 ~contrasted with [cf2]tir;aae [cf1](pulled), down-bow.[cm~Pousseur, Henri [fy75
,1]([cf2]b [cf1]Malm;aaedy, Belg., [sm1929[nm). Belg. ~composer. Studied Li;ageg
e Cons. and Brussels Cons. ~[sm1947[nm=n[sm53[nm. Taught mus. at Brussels sch. [
sm1950[nm=n[sm60[nm. ~Influenced by Webern, Boulez, Stockhausen, and ~Berio. Com
p. his first elec. work in Cologne, ~[sm1954[nm. Has written many articles on co
ntemporary ~mus. and trans. Berg's writings into Fr. Has ~taught at Darmstadt. P
rof. of mus., State Univ. of ~NY at Buffalo, [sm1966[nm=n[sm8[nm. Prof. of comp.
, Li;agege ~Cons., from [sm1971[nm. Works incl.:[xm[cm~[PN561,0,
0,R,I0][j2][smoperas[nm: [fy75,2]Votre Faust [cf1]([sm1961[nm=n[sm7[nm); [cf2]Di
e Erprobung des ~Petrus Hebra;Auicus [cf1]([sm1974[nm).[ep~[smorch[nm: [cf2]Phon
;agemes couleurs crois;aaees [cf1]([sm1967[nm); [cf2]Les Eph;aaem~~;aaerides d'I
care II [cf1]([sm1970[nm); [cf2]Icare apprenti [cf1]([sm1970[nm); ~[cf2]L'Efface
ment du Prince Igor [cf1]([sm1971[nm).[ep~[smelectronic  and tape[nm: [cf2]Scamb
i [cf1]([sm1957[nm); [cf2]Rimes pour ~diff;aaerentes sources sonores [cf1]([sm19
58[nm=n[sm9[nm); [cf2][sm3[nm Visages de ~Li;agege [cf1]([sm1961[nm).[ep~[smcham
ber music[nm: [cf2]Quintet in mem. Anton Webern ~[cf1]([sm1955[nm); [cf2]R;aaepo
ns [cf1]([sm1960[nm, re-composed [sm1965[nm); [cf2]Ode[cf1], ~str. qt. ([sm1960[
nm=n[sm1[nm); [cf2]Madrigal II[cf1], fl., vn., viola da ~gamba, cembalo; [cf2]Ma
drigal III[cf1], cl., vn., vc., [sm2[nm ~perc., pf. ([sm1962[nm).[ep~[smpiano[nm
([sms[nm): [cf2]Mobile, [cf1][sm2[nm pf. ([sm1956[nm=n[sm8[nm); [cf2]Caract;ager
es [cf1]([sm1961[nm); ~[cf2]Apostrophes et [sm6[nm R;aaeflexions
 [cf1]([sm1964[nm=n[sm6[nm).[ep~[smvoices and instr.[nm: [cf2]Miroir de votre Fa
ust[cf1], pf., sop. ~ad lib. ([sm1964[nm=n[sm5[nm); [cf2]Mnemosyne [sm1[nm, [cf1
]monody for v. or ~instr. or ch. ([sm1968[nm); [cf2]Chronique berlinoise[cf1], b
ar., pf. ~quintet ([sm1976[nm); [cf2]Chronique illustr;aaee[cf1], bar., orch. ~(
[sm1976[nm); [cf2]Tales and Songs from the Bible of Hell[cf1], vv., ~tape, and l
ive elec. ([sm1979[nm); [cf2]Agonie[cf1], elec. vv. ~([sm1981[nm).[cm~[j1]Powell
, Mel [fy75,1]([cf2]b [cf1]NY, [sm1923[nm). Amer. composer and ~pianist. Pianist
 and arr. for Benny Goodman and ~Glenn Miller bands. Studied comp. with Wag~~[ch
enaar and J. Schillinger in NY [sm1937[nm=n[sm9[nm and with ~Toch in Los Angeles
 [sm1946[nm=n[sm8[nm. Worked in NY ~[sm1950[nm=n[sm7[nm. On comp. faculty Yale U
niv. [sm1958[nm=n[sm69[nm, ~est. elec. mus. studio there [sm1960[nm. Dean of Mus
., ~Calif. Institute of Arts from [sm1969[nm. His works, ~even those using elec.
 means, retain strong ~traditional features. Works incl. [cf2]Fi
ligree Setting[cf1], ~str. qt. ([sm1959[nm); [cf2]Haiku Setting[cf1], v. and pf.
 ([sm1961[nm); ~[cf2]Events[cf1], tape ([sm1963[nm); [cf2]Stanzas[cf1] for orch.
 ([sm1965[nm); ~[cf2]Analogs [sm1[nm=n[sm4[nm, [cf1]tape ([sm1966[nm); [cf2]Immo
biles [sm1[nm=n[sm4[nm, [cf1]tape and/~or orch. ([sm1967[nm); [cf2]Immobile [sm5
[nm, [cf1]tape and orch. ([sm1969[nm); ~[cf2]Setting[cf1], vn., tape, wind ([sm1
972[nm).[cm~Power, Lionel [fy75,1]([cf2]d [cf1]Canterbury, [sm1445[nm). Eng. ~co
mposer. Supposed colleague of [fy45,1]*[fy75,1]Dunstable. ~Wrote [sm2[nm treatis
es on mus. theory and much ~church mus., incl. [cf2]Salve Regina [cf1]and [cf2]M
ater ora ~filium[cf1]. Many works incl. in [fy45,1]*[fy75,1]Old Hall MS.[cm~pp,
ppp, [fy75,1]etc. Abbreviations for [cf2]Pianissimo, [cf1]very ~soft.[cm~P.R. [f
y75,1]In Fr. org. mus., abbreviation for [cf2]Positif-~R;aaecit[cf1], i.e. Choir
-Swell (Swell to Choir coupler).[cm~Practical Cats. [fy75,1]Work for speaker and
 orch. by ~Rawsthorne, settings of [sm6[nm poems from T. S. Elio
t's ~[cf2]Old Possum's Book of Practical Cats [cf1]([sm1939[nm). F.p. ~Edinburgh
 Fest. [sm1954[nm.[cm~Praeger, Ferdinand [fy75,1](Christian Wilhelm) ([cf2]b ~[c
f1]Leipzig, [sm1815[nm; [cf2]d [cf1]London, [sm1891[nm). Ger. pianist. ~Settled
in London [sm1834[nm, becoming London ~correspondent of Schumann's [cf2]Neue Zei
tschrift f;auur ~Musik, [cf1][sm1842[nm. Champion of Wagner, partly instru~~ment
al in engaging him to conduct in London ~[sm1855[nm. His book, [cf2]Wagner as I
Knew Him [cf1]([sm1885[nm, ~Ger. edn. [sm1892[nm) was withdrawn because of in-[f
j~accuracies. Wrote symphonic poems and cham-[fj~ber mus.[cm~Praeludium [fy75,1]
(Lat.). Prelude. Title of popular orch. ~work by [fy45,1]*[fy75,1]J;auarnefelt,
first played in Eng. [sm1909[nm.[cm~Praetorius. [fy75,1]Latinized form of Schulz
 or Schultz ~adopted by several Ger. musicians in [sm16[nmth and ~[sm17[nmth cen
ts. Among them are: [fy65][cf3]Hieronymus ~Praetorius [fy75,1]([cf2]b [cf1]Hambu
rg, [sm1560[nm; [cf2]d [cf1]Hamburg, ~[cf1][sm1629[nm). Comp. ch
urch mus., wedding songs, etc., ~much of it pubd. in [sm5[nm vol. [cf2]Opus musi
cum novum et ~perfectum [cf1]([sm1622[nm=n[sm5[nm). [fy65][cf3]Michael Praetoriu
s [fy75,1]([cf2]b [cf1]Kreuz~~berg, [sm1571[nm; [cf2]d [cf1]Wolfenb;auuttel, [sm
1621[nm). Prolific ~composer and important mus. historian. Began ~career as orga
nist, [sm1604[nm, to Duke of Brunswick. ~His [cf2]Syntagma musicum [cf1]([sm1614
[nm=n[sm20[nm, [sm3[nm vols.) is a wide ~survey of mus., the [sm2[nmnd vol. bein
g a prime source ~of information on mus. instr. of the time.[cm~Prague Symphony.
 [fy75,1]Nickname of Mozart's Sym. ~No. [sm38[nm in D (K[sm504[nm) comp. [sm1786
[nm and f.p. during ~Mozart's visit to Prague in [sm1787[nm. In [sm3[nm movement
s.[cm~Pralltriller [fy75,1](Ger.). Upper Mordent. See [cf2]Mordent[cf1].[cm~Prat
ella, Francesco Balilla [fy75,1]([cf2]b [cf1]Lugo, [sm1880[nm; [cf2]d ~[cf1]Rave
nna, [sm1955[nm). It. composer. Studied in Pesaro ~with [fy45,1]*[fy75,1]Mascagn
i. Dir., Lugo Mus. Acad. [sm1910[nm=n[sm26[nm, ~Liceo Musicale G
. Verdi, Ravenna, [sm1927[nm=n[sm45[nm. His ~first opera [cf2]Lilia [cf1]won pri
ze in Sonzogno contest ~[sm1903[nm. In [sm1910[nm, joined futurist movement of ~
Marinetti and Russolo and wrote manifesto of ~futurist musicians. Wrote [cf2]Mus
ica futurista [cf1]for ~ orch. [sm1912[nm. Also wrote symphonic poems, cham~~ber
 mus., and songs.[cm~Pratt, Stephen [fy75,1]([cf2]b [cf1]Liverpool, [sm1947[nm).
 Eng. com~~poser. Studied at Reading Univ. and Liverpool ~Univ. (comp. with Hugh
 Wood and privately to ~[sm1975[nm). Lect. in mus., Liverpool Inst. of Higher ~E
ducation. Works incl. pf. sonata ([sm1974=n5[nm); ~[cf2]Concert[cf1], chamber en
s. ([sm1973=n5[nm); Nonet ([sm1976[nm); ~[cf2]Star and Dead Leaves[cf1], fl., pf
. ([sm1977[nm); [cf2]Winter's ~Fancy[cf1], cl., pf. ([sm1978=n9[nm); [cf2]Some o
f their Number[cf1], orch. ~([sm1978[nm); [cf2]Between the Lines[cf1], chamber e
ns. ([sm1982[nm); hn. ~trio ([sm1980=n3[nm); [cf2]Salve Regina[cf1], ch. ([sm198
2[nm).[cm~Prausnitz, Frederik [fy75,1]([cf2]b [cf1]Cologne, [sm1
920[nm). Ger.-born ~cond. (Amer. citizen). Studied Juilliard Sch. NY. ~D;aaebut
Detroit S.O. [sm1944[nm. On staff Juilliard Sch. ~in various capacities [sm1947[
nm=n[sm61[nm. Guest cond. Brit. ~and European orchs. from [sm1957[nm. Cond., New
 ~Eng. Cons. S.O., Boston, [sm1961[nm=n[sm9[nm, Syracuse S.O. ~[sm1971[nm=n[sm4[
nm, chief cond. Peabody Institute, Baltimore, ~from [sm1976[nm. Has cond. f. Ame
r. ps. of works by ~Dallapiccola, Gerhard, Lutyens, Schoenberg, ~Stockhausen, Va
r;agese, and Webern.[cm~Precentor [fy75,1](Lat.). First singer. Ecclesiastical o
ffi~~cial, in charge of vocal mus. in Anglican caths.[cm~Preciosa. [fy75,1]Ger.
play about a gipsy by P. A. Wolff ~for which Weber in [sm1820[nm comp. ov., [sm4
[nm chs., song, ~[sm3[nm melodramas, and dances.[cm~Precipitato, Precipitoso[fy7
5,1], etc. (It.). Impetuously.[cm~Pre-Classical. [fy75,1]Term applied to compose
rs such ~as C. P. E. Bach who are considered to be later ~[PN562,0,0,L,I0]than b
aroque and leading to the `classical' style of ~Haydn, Mozart, e
tc.[xm[cm~[j1]Prelude. [fy75,1]A piece of mus. which precedes some~~thing else,
e.g. preceding a fugue; forming first ~movement of a suite; orch. introduction t
o opera. ~Also a self-contained short piece for pf., as those ~by Chopin, Rakhma
ninov, Debussy, etc.[cm~Pr;aaeludes. [fy75,1][sm2[nm books of pf. pieces by Debu
ssy. [cf2]Book ~I [cf1]([sm1910[nm): ([sm1[nm) [cf2]Danseuses de Delphes [cf1](D
ancing Women ~of Delphi), suggested by a pillar in the Louvre on ~which are scul
ptured [sm3[nm Bacchantes; ([sm2[nm) [cf2]Voiles ~[cf1](Sails); ([sm3[nm) [cf2]L
e Vent dans la plaine [cf1](The wind in the ~plain); ([sm4[nm) [cf2]Les Sons et
les parfums tournent dans l'air ~du soir [cf1](Sounds and perfumes in the evenin
g air); ~([sm5[nm)[cf2] Les Collines d'Anacapri [cf1](The hills of Anacapri); ~(
[sm6[nm) [cf2]Des Pas sur la neige [cf1](Footsteps on the snow); ([sm7[nm) ~[cf2
]Ce qu'a vu le vent d`Ouest [cf1](What the west wind ~saw); ([sm8[nm) [cf2]La fi
lle aux cheveux de lin [cf1](The girl with ~the flaxen hair), su
ggested by a poem of Leconte ~de Lisle; ([sm9[nm) [cf2]La S;aaer;aaenade interro
mpue [cf1](The inter~~rupted serenade), Spanish in its idioms; ([sm10[nm) [cf2]L
a ~Cath;aaedrale engloutie [cf1](The submerged cathedral), ~based on the legend
of the cath. of Ys, with its ~bell-tolling and chanting under the sea; ([sm11[nm
) [cf2]La ~Danse de Puck [cf1](Puck's dance); ([sm12[nm) [cf2]Minstrels[cf1]=m~N
egro or music-hall type. [cf2]Book II [cf1]([sm1912[nm=n[sm13[nm): ([sm1[nm) ~[c
f2]Brouillards [cf1](Mists); ([sm2[nm) [cf2]Feuilles mortes [cf1](Dead leaves);
~([sm3[nm) [cf2]La Puerta del Vino[cf1]=mname of famous gate of ~Alhambra; ([sm4
[nm) [cf2]Les F;aaees sont d'exquises danseuses ~[cf1](Fairies are exquisite dan
cers[cf1]); ([sm5[nm) [cf2]Bruy;ageres ~[cf1](Heaths); ([sm6[nm) [cf2]General La
vine=meccentric[cf1]=mParis ~mus.-hall performer; ([sm7[nm) [cf2]La Terrasse des
 audiences ~du clair de lune [cf1](Terrace of Moonlight Audiences); ~([sm8[nm) [
cf2]Ondine[cf1]=mthe water-spirit maiden of the early ~[sm19[nmt
h-cent. story of de la Motte Fouqu;aae; ([sm9[nm) ~[cf2]Hommage ;aga S. Pickwick
 Esq., P.P.M.P.C.[cf1]=mwith a ~touch of the Brit. nat. anthem; ([sm10[nm) [cf2]
Canope ~[cf1](Canopic vase[cf1]), ancient Egyptian cinerary urn; ~([sm11[nm) [cf
2]Les Tierces altern;aaees [cf1](Alternating [sm3[nmrds); ([sm12[nm) ~[cf2]Feux
d'artifice [cf1](Fireworks[cf1]).[xm[cm~[ol0][ep~[xp[te~








[do9][j99]~~~~~~[sm153842[nm_PB[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmPB[sm03[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm9[nm.[sm10[nm.[sm7
9[nm[cm[sm12[nm[cm[sm482[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Pr;aaelud
es, Les [fy75,1](The Preludes). Symphonic poem ~by Liszt, comp. [sm1848[nm, rev.
 before [sm1854[nm. Title ~from one of Lamartine's [cf2]Nouvelles M;aaeditations
 ~po;aaetiques[cf1]., but mus. was orig. comp. as ov. to [cf2]Les ~Quatre El;aae
ments[cf1], [sm4[nm male chs. with words by J. ~Autran and orch. by Conradi. Lis
zt's preface to ~rev. score states that life is treated as a series of ~preludes
 to the unknown after-life.[cm~Preludio [fy75,1](It.). Prelude.[cm~Preparation.
[fy75,1]Device in harmony whereby effect ~of discord is lessened: the note in a
chord which ~causes the chord to be discordant is sounded in ~the preceding chor
d where it is not a cause of ~discord, i.e. prepared discord. If this course is
not ~followed, the discord is unprepared.[cm~Prepared Piano. [fy
75,1]A pf. in which the strs. have ~been `doctored' in various ways to produce ~
abnormal tone-qualities. Introduced by [fy45,1]*[fy75,1]Cage for ~his [cf2]Bacch
anale[cf1] ([sm1938[nm).[cm~Pressando, pressante [fy75,1](It.), [fy65][cf3]press
ant [fy75,1](Fr.). Pressing ~on, [cf2]accelerando. [cf1]Sometimes the Fr. infini
tive ~[cf2]presser[cf1] is used.[cm~Prestant. [fy75,1]Org. stop, same as [fy45,1
]*[fy75,1]Principal in Brit. ~and Amer. instr.[cm~Presto [fy75,1](It.). [cf1]Qui
ck. [cf2]Prestezza, [cf1]quickness; [cf2]presta~~mente, [cf1]quickly; [cf2]prest
issimo, [cf1]very quick; [cf2]prestissi~~mamente, [cf1]very quickly.[cm~Preston,
 Simon [fy75,1](John) ([cf2]b [cf1]Bournemouth, [sm1938[nm). ~Eng. org., teacher
, harpsichordist, and cond. ~Studied Cambridge Univ. Sub-organist West~~minster
Abbey [sm1962[nm=n[sm7[nm. Cond. Oxford Bach Ch. ~[sm1967[nm=n[sm8[nm. Organist,
 Christ Church, Oxford, [sm1970[nm=n~[sm81[nm; organist and master of the choris
ters, West~~minster Abbey, from [sm1981[nm.[xm[cm~[j1]Pr;afetre,
 Georges [fy75,1]([cf2]b [cf1]Waziers, [sm1924[nm). Fr. cond. ~Studied Paris Con
s. Conducting pupil of [fy45,1]*[fy75,1]Cluy~~tens. Dir. of mus., opera houses o
f Marseilles, ~Lisle, and Toulouse [sm1946[nm=n[sm55[nm. Mus. dir. Op;Aaera-~Com
ique [sm1956[nm=n[sm9[nm; cond. f. Paris p. of Strauss's ~[cf2]Capriccio[cf1], [
sm1956[nm. London d;Aaebut [sm1961[nm, NY Met. ~[sm1964[nm. Regular guest cond.
at Paris Op;Aaera (mus. ~dir. [sm1970[nm=n[sm1[nm), Milan, Chicago, Vienna, etc.
 Con~~ductor at CG for Callas's [cf2]Tosca[cf1] [sm1965[nm and often ~conducted
for her in the theatre and recording ~studio. Cond. f.ps. of Poulenc's [cf2]La V
oix humaine ~[cf1]([sm1959[nm) and [cf2]Gloria[cf1] ([sm1959[nm).[xm[cm~[j1]Prev
in, Andr;aae [fy75,1](George) (orig. Andreas Ludwig ~Priwin) ([cf2]b [cf1]Berlin
, [sm1929[nm). Amer. (naturalized [sm1943[nm) ~pianist, cond., and composer. Edu
cated Berlin ~Cons. and Paris Cons. Once a jazz pianist, he later ~worked as com
poser and arranger of film mus. in ~Hollywood. Studied conductin
g with Monteux ~in [sm1951[nm. D;aaebut as cond., St Louis S.O. [sm1963[nm. ~Con
d.-in-chief, LSO, [sm1968[nm=n[sm79[nm; settled in Eng. ~where he won popular fo
llowing as presenter of ~mus. on TV. Champion of Eng. mus., notably ~Walton and
Vaughan Williams (whose [sm9[nm syms. ~he recorded). Cond. Houston S.O., [sm1967
[nm=n[sm9[nm, ~Pittsburgh S.O. [sm1976=n86[nm, mus. dir. RPO from ~[sm1985[nm, m
us. dir. Los Angeles P.O. from [sm1986[nm. ~Comps. incl. vc., vn., and guitar co
ncs., chamber ~mus., and works for solo pf., mus. for `play for ~actors and orch
', by Tom Stoppard, [cf2]Every Good ~Boy Deserves Favour[cf1], prod. London [sm1
978[nm (with ~LSO).[cm~Previtali, Fernando [fy75,1]([cf2]b [cf1]Adria, [sm1907[n
m). It. cond. ~and composer. Studied Turin Cons. (vc., pf., ~comp.). Cond. Flore
nce orch. and fest. [sm1928[nm=n[sm36[nm. ~Cond. It. Radio Orch. [sm1936[nm=n[sm
53[nm, S. Cecilia Orch. ~from [sm1953[nm. Guest cond. European orchs. from ~[sm1
948[nm. Amer. d;Aaebut, Cleveland Orch. [sm1955[nm. Noted ~for r
adio opera perfs. Author of books on mus. ~Wrote ballet and other works.[cm~Prey
, Hermann [fy75,1]([cf2]b [cf1]Berlin, [sm1929[nm). Ger. bar. Studied ~Berlin St
ate Mus. Acad. Joined Hamburg Opera ~[sm1953[nm. Guest singer Berlin and Vienna
Operas ~from [sm1956[nm. Salzburg Fest. from [sm1959[nm (Guglielmo ~in [cf2]Cos;
agi fan tutte[cf1], Papageno, etc.). Eng. d;aaebut [sm1965[nm ~[PN563,0,0,R,I0](
Edinburgh Fest.), CG since [sm1973[nm (d;aaebut as ~Rossini's Figaro). Amer. d;a
aebut in Lieder [sm1952[nm, ~NY Met. [sm1960[nm (Wolfram in [cf2]Tannh;auauser[c
f1]). Espe~~cially fine exponent of Lieder. Founder ([sm1976[nm), of ~annual Sch
ubert fest. at Hohenems.[cm~Pribaoutki [fy75,1](Song games). For v., fl., ob., c
or ~anglais, cl., bn., and str. qt. by [fy45,1]*[fy75,1]Stravinsky comp. ~[sm191
4[nm to Russ. popular texts. F.p. London [sm1918[nm, ~cond. Goossens. Items are:
 [sm1[nm. [cf2]L'Oncle Armand ~[cf1]([cf2]Kornillo[cf1]), [sm2[nm. [cf2]Le Four
[cf1]([cf2]Natashka[cf1]), [sm3[nm. [cf2]Le Colonel[cf1], [sm4[n
m. [cf2]Le ~Vieux et le li;agevre [cf1](The Old Man and the Hare).[cm~Price, Leo
ntyne [fy75,1]([cf2]b [cf1]Laurel, Miss., [sm1927[nm). Amer. ~sop. Studied Juill
iard Sch., NY, singing Mrs Ford ~in Verdi's [cf2]Falstaff [cf1]in student prod.
Chosen by ~Virgil Thomson to sing in revival of [cf2]Four Saints ~in Three Acts
[cf1]in NY and Paris, [sm1952[nm. Sang Bess in ~Gershwin's [cf2]Porgy and Bess[c
f1], [sm1953[nm=n[sm4[nm. Recital d;Aaebut ~NY [sm1954[nm. Opera d;Aaebuts at Sa
n Francisco [sm1957[nm, ~[sm1958[nm=n[sm9[nm, Chicago [sm1959[nm, Vienna [sm1958
[nm (as Aida), ~CG [sm1958[nm=n[sm9[nm, Salzburg [sm1960[nm (Donna Anna), Milan
~[sm1960[nm, NY Met. [sm1961[nm (Leonora in [cf2]Il Trovatore[cf1]), ~Rome [sm19
67[nm, Paris [sm1968[nm. One of finest Verdi sops. ~of her day. Also noted expon
ent of mus. of ~Samuel Barber (sang Cleopatra in NY Met. ~premi;agere of his [cf
2]Antony and Cleopatra[cf1], [sm1966[nm).[cm~Price, Margaret [fy75,1](Berenice)
([cf2]b[cf1] Blackwood, Wales, ~[sm1941[nm). Welsh sop. Studied
TCL. Opera d;Aaebut as ~Cherubino with WNO [sm1962[nm and at CG [sm1963[nm. ~Gue
st singer, especially in Mozart roles, in leading ~opera houses. Glyndebourne d;
aaebut [sm1968[nm (Con~~stanze in [cf2]Die Entf;auuhrung[cf1]). Amer. d;aaebut S
an ~Francisco [sm1969[nm, Paris [sm1973[nm. Has recorded role of ~Isolde with C.
 Kleiber. Noted Lieder singer. C.B.E. ~[sm1982[nm.[cm~Prick-song. [fy75,1]Old En
g. term (prick;eqmark) for ~mus. which was written down, i.e. `pricked' ~instead
 of being extemporized or traditional (as ~plainchant).[cm~Priestman, Brian [fy7
5,1]([cf2]b [cf1]Birmingham, [sm1927[nm). Eng. ~cond. Studied Birmingham Univ. a
nd Brussels ~Cons. Ass. cond. Yorkshire S.O. [sm1952[nm=n[sm4[nm, mus. dir. ~Roy
al Shakespeare Th., Stratford-upon-Avon, ~[sm1960[nm=n[sm3[nm. Cond. Edmonton S.
O. [sm1964[nm=n[sm8[nm, Baltimore ~S.O. [sm1968[nm=n[sm9[nm, Denver S.O. [sm1970
[nm=n[sm8[nm. Prin. cond. ~N.Z. Broadcasting Corporation [sm1973[nm=n[sm6[nm, Mi
ami ~P.O. [sm1978[nm=n[sm80[nm. Prof. of mus., Univ. of Cape Tow
n ~Coll. of Mus. from [sm1981[nm.[cm~Prigioniero, Il [fy75,1](The Prisoner). Ope
ra in prol. and ~[sm1[nm act by [fy45,1]*[fy75,1]Dallapiccola, comp. [sm1944[nm=
n[sm8[nm, to lib. by ~composer after Villiers de L'Isle Adam's [cf2]La Torture ~
par l'esp;Aaerance [cf1]([sm1883[nm) and Charles Coster's [cf2]La ~L;aaegende d'
Ulenspiegel et de Lamme Goedzak[cf1]. F.p. It. ~radio [sm1949[nm. Prod. Florence
 [sm1950[nm, NY [sm1951[nm, ~London [sm1959[nm.[xm[cm~[j1]Prima Donna [fy75,1](I
t.). First lady. Orig. the chief ~woman singer in an opera cast, but term has be
en ~generalized to mean a leading woman singer. ~Thus, for orig. meaning, one ha
s to use term ~[cf2]prima donna assoluta, [cf1]`the absolute first lady'. The ~s
ame process has occurred in ballet with [cf2]prima ~ballerina assoluta.[cm~Prima
 Donna. [fy75,1]Comic opera in [sm1[nm act by A. ~Benjamin to lib. by Cedric Cli
ffe. Comp. [sm1933[nm, ~prod. London [sm1949[nm, Philadelphia [sm1955[nm.[cm~Pri
mo, Prima [fy75,1](It.). First. Hence [cf2]primo[cf1], top part
~in pf. duets; [cf2]primo uomo[cf1], prin. male singer in ~opera (orig. the lead
ing castrato); [cf2]prima vista[cf1], first ~sight; [cf2]tempo primo[cf1], same
tempo as at beginning; ~[cf2]come prima[cf1], as at first; [cf2]prima volta[cf1]
, first time.[cm~Primrose, William [fy75,1]([cf2]b [cf1]Glasgow, [sm1903[nm; [cf
2]d[cf1] Provo, ~Utah, [sm1982[nm). Scottish-born violist and violinist ~(Amer.
cit. [sm1955[nm). Studied vn. at GSM and with ~[fy45,1]*[fy75,1]Ysa;Auye. Change
d to va. and played in London Str. ~Qt. [sm1930[nm=n[sm5[nm. Settled in USA [sm1
937[nm. Prin. va. NBC ~S.O. [sm1938[nm=n[sm42[nm. Many appearances as soloist. ~
Commissioned Bart;Aaok's va. conc. and gave f.p. ~Played in several chamber-mus.
 ens. C.B.E. [sm1953[nm.[cm~Prince Igor. [fy75,1]Opera in [sm4[nm acts, with pro
l., by ~[fy45,1]*[fy75,1]Borodin to his own lib. after an outline by ~Vladimir S
tasov. Begun in [sm1869[nm and left unfin~~ished in [sm1887[nm. Completed by Rim
sky-Korsakov ~and Glazunov; prod. St Petersburg [sm1890[nm, Lond
on ~[sm1914[nm, NY [sm1915[nm.[xm[cm~[j1]Prince of the Pagodas, The. [fy75,1]Bal
let in [sm3[nm acts by ~Britten, Op. [sm57[nm, choreog. John Cranko, comp. ~[sm1
956[nm, f.p. CG [sm1957[nm. `Pas de six', Op. [sm57[nma, pubd. ~separately for o
rch. Inspired by a visit to the Far ~East. [cf2]Pas de Six[cf1] pubd. separately
 [sm1957[nm; orch. suite, ~[cf2]Prelude and Dances from The Prince of the Pagoda
s[cf1], ~arr. N. Del Mar, f.p. [sm1963[nm; orch. suite, arr. M. ~Lankester, f.p.
 [sm1979[nm. Another suite has been ~compiled by A. Previn.[xm[cm~[j1]Princess I
da, or Castle Adamant. [fy75,1]Operetta in [sm3[nm ~acts by Sullivan to lib. by
Gilbert. Comp. [sm1883[nm. ~Prod. London and Boston, Mass., [sm1884[nm. `Respect
~~ful operatic perversion of Tennyson's [cf2]The Princess'.[cm~Principal. [fy75,
1]([sm1[nm) Leading player of orch. section, ~e.g. `prin. cl.', `prin. hn.', etc
.[ep~^([sm2[nm) Singer who takes main parts in opera=m`prin. ~ten.', meaning ten
. who sings prin. roles, not the ~chief tenor.[ep~^([sm3[nm) Ope
n diapason org. stop of [sm4[nm;Po length on ~manuals or [sm8[nm;Po on pedal.[cm
~Principale [fy75,1](It.). ([sm1[nm) Great Org.[ep~^([sm2[nm) Type of [sm17[nmth
- and [sm18[nmth-cent. tpt. part.[cm~Printemps [fy75,1](Spring). Symphonic suite
 for orch. ~and ch. by Debussy, comp. [sm1887[nm. Definitive ~version re-orch. B
usser [sm1913[nm without ch., f.p. Paris ~[sm1913[nm. Not to be confused with [c
f2]Rondes de printemps ~[cf1](see [cf2]Images[cf1]).[cm~Prinz von Homburg, Der [
fy75,1](The Prince of ~Homburg). Opera in [sm3[nm acts by Henze to lib. by ~Bach
mann after play by Kleist. Prod. Hamburg ~[sm1960[nm, London [sm1962[nm.[cm~Pris
e de Troie, La [fy75,1](The Capture of Troy). Part I ~(Acts [sm1[nm and [sm2[nm)
 of Berlioz's opera [cf2]Les [fy45,1]*[fy75,2]Troyens.[cm~[PN564,0,0,L,I0]Prison
er, The [fy75,1](Dallapiccola). See [cf2]Prigioniero, Il.[cm~Pritchard, [fy75,1]
(Sir)[fy65,3] John [fy75,1](Michael) ([cf2]b [cf1]London, [sm1921[nm). ~Eng. con
d. Studied pf., vn., org. Cond., Derby ~Str. Orch., [sm1943[nm=n
[sm5[nm. R;aaep;aaetiteur at Glyndebourne ~[sm1947[nm, becoming ch. master [sm19
49[nm and cond. [cf2]Don ~Giovanni, Cos;agi fan tutte[cf1], and [cf2]Figaro [cf1
][sm1951[nm. Prin. ~cond. Glyndebourne [sm1967[nm, mus. dir. [sm1969[nm=n[sm77[n
m. ~CG d;aaebut [sm1952[nm. Cond. f.ps. of Britten's [cf2]Gloriana ~[cf1]([sm195
3[nm) and Tippett's [cf2]The Midsummer Marriage ~[cf1]([sm1955[nm) and [cf2]King
 Priam [cf1]([sm1962[nm). Guest cond. at ~leading European opera houses. Prin. c
ond. RLPO ~[sm1957[nm=n[sm63[nm, LPO [sm1962[nm=n[sm7[nm. BBC S.O. from [sm1981[
nm. ~Opera d;aaebut Chicago [sm1969[nm, San Francisco [sm1970[nm, ~NY Met. [sm19
71[nm. Cond. Stuttgart Opera from [sm1978[nm. ~C.B.E. [sm1962[nm. Knighted [sm19
83[nm. Hamburg Shake~~speare Prize [sm1975[nm.[cm~Prix de Rome. [fy75,1]Prizes a
warded annually since ~[sm1803[nm by Institut de France to candidates selected ~
by competition from comp. students at Paris ~Cons. First prize ([cf2]Grand Prix
de Rome[cf1]) entitles ~winner to live in Rome for [sm4[nm years
 at Villa Medici ~(Fr. Acad.) while engaging in study and creative ~work. [sm2[n
mnd prize is a gold medal. Exam. takes ~place [cf2]en loge [cf1](in isolation);
candidates must set to ~mus. a cantata on a given subject. Jury's verdict ~must
be ratified by entire Acad;Aaemie des Beaux-~Arts. Among winners have been Berli
oz ([sm1830[nm), ~Gounod ([sm1839[nm), Bizet ([sm1857[nm), Massenet ([sm1863[nm)
, ~Debussy ([sm1884[nm), and Charpentier ([sm1887[nm). Ravel's ~failure to win w
as subject of famous scandal. ~Belg. awards prize of same name and does not ~ins
ist upon residence in Rome. An Amer. Prix de ~Rome was instituted in [sm1905[nm,
 the winner to reside ~at the Amer. Acad. in Rome. No award was made ~until [sm1
921[nm (Sowerby). Fr. competition suppressed ~[sm1968[nm; promising young compos
ers etc. now sent ~to Rome on teachers' recommendations.[cm~Pro Arte Quartet.[fy
75,1] Belgian str. qt., founded [sm1912[nm ~by graduates from Brussels Cons. D;a
aebut Brussels ~[sm1913[nm, achieving reputation for perfs. of c
ontem~~porary mus. Eng. d;aaebut [sm1925[nm, USA [sm1926[nm. Perf. ~annually in
Cambridge for a week [sm1932[nm=n[sm8[nm. Title ~passed to faculty qt. of Univ.
of Wisconsin at ~Madison. Austrian str. qt. of same name founded ~in Salzburg, [
sm1973[nm[cm~Pro Cantione Antiqua. [fy75,1]Eng. vocal ens. formed ~in [sm1968[nm
 by Mark Brown, Paul [fy45,1]*[fy75,1]Esswood, and ~James Griffett to perf. mus.
 of medieval, Renais~~sance, and baroque eras. D;aaebut Westminster ~Cath., [sm1
968[nm, cond. by Colin Mawby.[cm~Procesi;aaon del Rocio, La [fy75,1](The Process
ion of ~Rocio). Symphonic poem in [sm2[nm parts by Turina, ~[sm1913[nm. (The Roc
io is a place of pilgrimage near ~Seville.)[cm~Procter, Norma [fy75,1]([cf2]b [c
f1]Cleethorpes, [sm1928[nm). Eng. cont. ~Studied  with Roy Henderson and Paul Ha
m~~burger. Specialist in concert works and oratorio ~(Mahler, Britten, Elgar, et
c.). Sang Gluck's Orfeo ~at CG [sm1961[nm.[cm~Procter-Gregg, Humphrey [fy75,1]([
cf2]b [cf1]Kirkby Lonsdale, ~[sm1895[nm; [cf2]d [cf1]Grange-over
-Sands, [sm1980[nm). Eng. teacher, ~opera producer, composer, and trans. Studied
 ~Cambridge Univ. and RCM (with Stanford). ~Supervised college opera prods. Work
ed at Scala, ~Milan. Stage manager and designer, BNOC, Carl ~Rosa, and CG tourin
g cos. [sm1922[nm=n[sm33[nm. Founder and ~head of mus. dept., Manchester Univ. [
sm1936[nm, ~becoming first prof. of mus. [sm1954[nm=n[sm62[nm. Respons~~ible for
 BBC studio opera [sm1941[nm=n[sm5[nm, providing ~several new trans. Dir., Carl
Rosa Opera [sm1957[nm=n[sm8[nm. ~Dir., London Opera Centre [sm1963[nm=n[sm4[nm.
Wrote pf. ~mus., songs, and sonatas. Ed. book of memoirs ~about Beecham. C.B.E.
[sm1971[nm.[cm~Prodan;Aaa Neve;Akst;Aaa [fy75,1](Smetana). See [cf2]Bartered Bri
de, ~The.[cm~Prodigal Son, The. [fy75,1]There are several mus. ~comps. on this t
heme, among them: ([sm1[nm) [cf2]L'Enfant ~Prodigue[cf1], ballet by Prokofiev, O
p. [sm46[nm, [sm1928[nm=n[sm9[nm, ~choreog. Balanchine, prod. Paris [sm1929[nm.[
ep~^([sm2[nm) [cf2]The Prodigal Son[cf1], parable for church per
f., by ~Britten, Op. [sm81[nm, to lib. by W. Plomer, prod. ~Aldeburgh (Orford) [
sm1968[nm, NY [sm1969[nm.[ep~^([sm3[nm) [cf2]L'Enfant Prodigue[cf1], cantata for
 sop., ten., bar., ~by Debussy, [sm1884[nm, with which he won [cf2]Prix de ~Rome
.[ep~^[cf1]([sm4[nm) [cf2]The Prodigal Son[cf1], oratorio by Sullivan, perf. ~Wo
rcester Fest. [sm1869[nm.[cm~Programme Music. [fy75,1]Instr. mus. which tells a
~story, illustrates literary ideas, or evokes pictorial ~scenes. Though the term
 originated with Liszt, ~illustrative mus. has existed for as long as mus. ~itse
lf. Beethoven's [cf2]Pastoral Symphony [cf1]is a well-~nigh perfect example of m
us. which is both ~illustrative and satisfying purely as mus. In the ~[sm19[nmth
 cent., composers such as Berlioz, Liszt, ~Tchaikovsky, and R. Strauss lent the
full resources ~of the sym. orch. to this form of mus. art in ~works such as the
 [cf2]Symphonie fantastique, Romeo and ~Juliet, [cf1]and [cf2]Don Quixote[cf1].
The precept, once widely ~propagated, that `absolute mus.' was,
[cf2]ipso facto[cf1], ~superior to `programme mus.' is now, happily, ~outdated.[
cm~Progression. [fy75,1]The motion of one note to another ~note or one chord to
another chord, in logical ~progression.[cm~Progressive Tonality. [fy75,1]Beginni
ng a symphonic ~movement in one key and ending it in another, ~as in certain wor
ks of [fy45,1]*[fy75,1]Nielsen and [fy45,1]*[fy75,1]Mahler.[cm~Prohaska, Felix[f
y75,1] ([cf2]b[cf1] Vienna, [sm1912[nm). Austrian cond. ~Studied in Vienna. Taug
ht at Graz Cons., [sm1936[nm=n~[sm9[nm. Cond. of opera in Duisburg [sm1939[nm=n[
sm41[nm, Stras~~bourg [sm1941[nm=n[sm3[nm, Prague [sm1943[nm=n[sm5[nm. Cond. and
 teacher, ~Vienna, [sm1946[nm=n[sm55[nm; chief cond. Frankfurt Opera ~[sm1955[nm
=n[sm61[nm; dir., Hochschule f;auur Musik, Hanover, ~from [sm1961[nm.[cm~Prohask
a, Jaro [fy75,1]([cf2]b[cf1] Vienna, [sm1891[nm; [cf2]d[cf1] Munich, ~[sm1965[nm
). Austrian bass-bar. Studied Vienna. Mem~~ber of Vienna Boys' Choir [sm1898[nm=
n[sm1906[nm. Opera ~[PN565,0,0,R,I0]d;aaebut L;auubeck [sm1922[n
m. Nuremberg Opera [sm1925[nm=n[sm31[nm, ~Berlin State Opera [sm1931[nm=n[sm52[n
m, Bayreuth Fest. [sm1933[nm=n~[sm44[nm. Famous interpreter of Wagnerian roles o
f ~Sachs, Wotan, and Amfortas. Retired [sm1959[nm. Dir., ~opera school of West B
erlin Musikhochschule ~[sm1952[nm=n[sm9[nm, having taught there from [sm1947[nm.
 Her~~mann [fy45,1]*[fy75,1]Prey among his pupils.[xm[cm~[j1]Prokofiev, Sergey [
fy75,1](Sergeyevich) ([cf2]b [cf1]Sontsovka, ~[sm1891[nm; [cf2]d [cf1]Moscow, [s
m1953[nm). Russ. composer and ~pianist. Was taught pf. at age [sm3[nm by his mot
her, ~who encouraged him to compose (he wrote an ~opera at age [sm9[nm). Studied
 with [fy45,1]*[fy75,1]Gli;Agere [sm1902[nm. ~Entered St Petersburg Cons. [sm190
4[nm, studying ~harmony and counterpoint with Lyadov and ~orch. with Rimsky-Kors
akov. Later studied pf. ~with Anna Essipova and cond. with Tcherepnin. ~Comp. an
d pubd. several works while student, ~incl. [sm2[nm pf. sonatas and first pf. co
nc. Visiting ~London in [sm1914[nm he met Diaghilev, who commis~
~sioned a ballet from him (the war upset this plan ~and the mus. survives as the
 [cf2]Scythian Suite, Ala ~and Lolly[cf1]). In [sm1917[nm he comp. his first sym
., the ~[cf2]Classical[cf1], a superb [sm20[nmth-cent. reincarnation of ~Haydn.
After its f.p. in Petrograd in [sm1918[nm he left ~Russia for USA, appearing in
NY as solo pianist in ~his own works. His opera [cf2]Love for Three Oranges ~[cf
1]was commissioned by Chicago Opera, perf. [sm1921[nm. ~From [sm1920[nm he made
his home in Paris, writing [sm3[nm ~ballets for Diaghilev, and having several of
 his ~works perf. at the orch. concerts cond. [fy45,1]*[fy75,1]Koussev~~itzky, a
nother Russ. exile. Never fully at home in ~the W., Prokofiev returned to Russia
 in [sm1933[nm, ~choosing an inopportune moment when the ~doctrine of `socialist
 realism' in the arts had just ~been propounded. He found an outlet for his ~par
ticular gifts in film mus.=mbrilliant scores for ~[cf2]Lieutenant Kij;aae [cf1]a
nd [cf2]Alexander Nevsky=m[cf1]and ballet ~([cf2]Romeo and Julie
t [cf1]and, later, [cf2]Cinderella[cf1]), In [sm1941[nm he ~began work on his mo
st ambitious opera, [cf2]War ~and Peace[cf1], and in [sm1944[nm wrote his riches
t and most ~heroic sym., the [sm5[nmth. In spite of its success, he was ~among t
hose in [sm1948[nm condemned for [fy45,1]*[fy75,1]`formalism' ~and was compelled
 to `confess' his shortcomings ~in an open letter to the Union of Soviet Compose
rs.[ep~^Though regarded as impossibly dissonant and ~[cf2]avant-garde [cf1]in hi
s youth, Prokofiev can now be ~seen as in the direct line of Russ. comps., ~embo
dying the bold and colourful strokes of ~[sm19[nmth-cent. nationalists into a [s
m20[nmth-cent. style ~strongly marked  by its brittle wit and capacity ~for pung
ent dramatic characterization.^Like ~Walton and Poulenc, he was fundamentally a
~romantic melodist and his style is formed like ~theirs from a reconciliation of
 the two strains in ~his personality, the tough, astringent modernist ~and the l
yrical traditionalist. He was successful in ~a wide range of wor
ks: [cf2]War and Peace [cf1]is a great ~opera on the largest scale, the syms. an
d concs. ~are fine mus., at least [sm3[nm of his ballets are ~masterpieces, the
pf. sonatas are crucial to the ~[sm20[nmth-cent. pf. repertory; and in [cf2]Pete
r and the Wolf[cf1] ~he created the most enduring, touching, and ~instructive of
 young persons' guides to the orch. ~Prin. works: [xm[cm~[j2][smoperas[nm: [fy75
,2]Maddalena[cf1], Op. [sm13[nm ([sm1911[nm, rev. [sm1913[nm, ~completed in pf.
score but only Scene [sm1[nm orch. ~Scenes [sm2[nm=n[sm4[nm orch. Downes, [sm197
9[nm); [cf2]The [fy45,1]*[fy75,2]Gambler ~[cf1]([cf2]Igrok[cf1]), Op. [sm24[nm (
[sm1915[nm=n[sm17[nm, [sm2[nmnd version [sm1927[nm=n[sm8[nm); ~[fy45,1]*[fy75,2]
Love for Three Oranges [cf1]([cf2]Lyubov k tryom apelsinam[cf1]), ~Op. [sm33[nm
([sm1919[nm); [cf2]The [fy45,1]*[fy75,2]Fiery Angel [cf1]([cf2]Ognenn;auiy angel
[cf1]), ~Op. [sm37[nm ([sm1919[nm=n[sm23[nm, rev. [sm1926[nm=n[sm7[nm); [cf2]Sem
yon Kotko[cf1], ~Op. [sm81[nm ([sm1940[nm); [cf2]The [fy45,1]*[f
y75,2]Duenna[cf1] ([cf2]Betrothal in a ~monastery[cf1]), Op. [sm86[nm ([sm1940[n
m=n[sm1[nm); [fy45,1]*[fy75,2]War and Peace[cf1] ~([cf2]Voyna i mir[cf1]), Op. [
sm91[nm ([sm1941[nm=n[sm2[nm, [sm1946[nm=n[sm7[nm, and rev. ~up to [sm1953[nm);
[cf2]The Story of a Real Man [cf1]([cf2]Povest' o ~nastoyashchem cheloveke[cf1])
, Op. [sm117[nm ([sm1947[nm=n[sm8[nm).[ep~[smballets[nm: [cf2]The [cf2]Buffoon (
[fy45,1]*[fy75,2]Chout[cf1]), Op. [sm21[nm ([sm1915[nm, rev. ~[sm1920[nm); [fy45
,1]*[fy75,2]Age of Steel [cf1]([cf2]Le Pas d'acier[cf1]), Op. [sm41[nm[fj~([sm19
25[nm=n[sm6[nm); [cf2]The [fy45,1]*[fy75,2]Prodigal Son [cf1]([cf2]L'Enfant prod
igue[cf1]), ~Op. [sm46[nm ([sm1928[nm=n[sm9[nm); [cf2]Sur le Borysth;Agene[cf1],
 Op. [sm51[nm ([sm1930[nm=n~[sm1[nm); [fy45,1]*[fy75,2]Romeo and Juliet[cf1], Op
. [sm64[nm ([sm1935[nm=n[sm6[nm); [fy45,1]*[fy75,2]Cinder~~ella[cf1], Op. [sm87[
nm ([sm1940[nm=n[sm4[nm); [cf2]The [fy45,1]*[fy75,2]Stone Flower[cf1], Op. [sm11
8[nm ~([sm1948[nm=n[sm53[nm).[ep~[smorch[nm: Symphonies: No. [sm
1[nm ([cf2]Classical[cf1]), Op [sm25[nm ([sm1916[nm=n~[sm17[nm, f.p. [sm1918[nm)
, No [sm2[nm in D minor, Op. [sm40[nm ([sm1924[nm, ~f.p. [sm1925[nm), No. [sm3[n
m in C minor, Op. [sm44[nm ([sm1928[nm, f.p. ~[sm1929[nm), No. [sm4[nm in C, Op.
 [sm47[nm ([sm1929[nm=n[sm30[nm, f.p. [sm1930[nm, ~[sm2[nmnd version, Op. [sm112
[nm, [sm1947[nm), No. [sm5[nm in B;Yh, Op. ~[sm100[nm ([sm1944[nm, f.p. [sm1945[
nm), No. [sm6[nm in E;Yh minor, Op. ~[sm111[nm ([sm1947[nm, f.p. [sm1947[nm), No
. [sm7[nm in C;Yi minor, Op. ~[sm131[nm ([sm1951[nm=n[sm2[nm, f.p. [sm1952[nm);
[cf2]Sinfonietta[cf1], Op. [sm5[nm/[sm48[nm ~([sm1909, 1929[nm); [cf2]Esquisse a
utomnale[cf1], Op. [sm8[nm ([sm1910[nm); ~[fy45,1]*[fy75,2]Scythian Suite[cf1],
Op. [sm20 (1914[nm); [cf2]Overture[cf1] for [sm17[nm ~instr., Op. [sm42[nm ([sm1
926[nm); [cf2]Divertimento[cf1], Op. [sm43[nm ~([sm1929[nm); [cf2]Symphonic Song
[cf1], Op. [sm57 (1933[nm); Suite, ~[fy45,1]*[fy75,2]Lieutenant Kij;aae[cf1], Op
. [sm60 (1934[nm); [cf2]Egyptian Nights[cf1], ~Op. [sm61 (1934[n
m); [fy45,1]*[fy75,2]Peter and the Wolf[cf1], narrator and ~orch., Op. [sm67 (19
36[nm); [cf2]Russian Overture[cf1], Op. [sm72 ~(1936[nm); [cf2]Suite[cf1],[cf2]
[sm1941[nm[cf1], Op. [sm90 (1941[nm).[ep~[smconcertos[nm: Piano: No. [sm1[nm in
D;Yh, Op. [sm10 (1911[nm=n~[sm12[nm), No. [sm2[nm in G minor, Op. [sm16[nm ([sm1
912[nm=n[sm13[nm, rev. ~[sm1923[nm), No. [sm3[nm in C, Op. [sm26 (1917[nm=n[sm21
[nm), No. [sm4[nm in[fjB;yh, Op. [sm53[nm, left hand ([sm1931[nm), No. [sm5[nm i
n G, Op. [sm55 ~(1932[nm); Violin: No. [sm1[nm in D, Op. [sm19 (1916[nm=n[sm17[n
m), ~No. [sm2[nm in G minor, Op. [sm63 (1935[nm); Cello: No. [sm1[nm in ~E minor
, Op. [sm58 (1934[nm, rev. [sm1938[nm), No. [sm2[nm in E ~minor ([sm1950[nm=n[sm
1[nm) rev. as [cf2]Sinfonia Concertante[cf1], Op. ~[sm125 (1952[nm).[ep~[smchamb
er music[nm: [cf2]Overture on Hebrew Themes[cf1], Op. ~[sm34[nm, cl., pf., str.
qt. ([sm1919[nm; orch. version [sm1934[nm); ~quintet, wind and str., Op. [sm39 (
1924[nm); Str. Qt. ~No. [sm1[nm, Op. [sm50[nm ([sm1930[nm), No.
[sm2[nm, Op. [sm92[nm ([sm1942[nm); ~sonata for [sm2[nm vns., Op. [sm56 (1932[nm
); vn. sonata No. ~[sm1[nm, Op. [sm80 (1938[nm=n[sm45[nm), No. [sm2[nm (from Op.
 [sm94[nm) ([sm1944[nm); ~fl. sonata, Op. [sm94[nm ([sm1943[nm); solo vn. (or un
ison ~vns.) sonata, Op. [sm115[nm ([sm1947[nm); vc. sonata, Op. [sm119 ~(1949[nm
).[ep~[smchoral works[nm: [cf2]Seven, They are Seven[cf1], ten., ch., ~and orch.
, Op. [sm30 (1917[nm=n[sm18[nm, rev. [sm1933[nm); [cf2]Mass ~Songs[cf1], Op. [sm
68[nm, for ch. ([sm1936[nm); [cf2]Cantata on [sm20[nmth ~Anniversary of October
Revolution[cf1], Op. [sm74[nm, for ~orch., band, perc., [sm2[nm ch. ([sm1937[nm)
; [cf2]Songs of Our ~Days[cf1], Op. [sm77[nm, ch. and orch. ([sm1937[nm); [fy45,
1]*[fy75,2]Alexander ~Nevsky[cf1], Op. [sm78[nm, mez., ch., orch. ([sm1939[nm);
[cf2]Tale of ~[PN566,0,0,L,I0]Boy Who Remained Unknown[cf1], Op. [sm93[nm, ch. a
nd ~orch. ([sm1944[nm); [cf2]Winter Bonfire[cf1], reciters, boys' ch., ~orch. ([
sm1949=n50[nm); [cf2]On Guard For Peace[cf1], oratorio ~([sm1950
[nm).[ep~[smpiano[nm: Sonatas: No. [sm1[nm in F minor, Op. [sm1 (1909[nm), ~No.
[sm2[nm in D minor, Op. [sm14 (1912[nm), No. [sm3[nm in A ~minor, Op. [sm28 (190
7[nm=n[sm17[nm), No. [sm4[nm in C minor, Op. ~[sm29[nm ([sm1908[nm=n[sm17[nm), N
o. [sm5[nm in C, Op. [sm38 (1923[nm, rev. as ~Op. [sm135[nm, [sm1952[nm=n[sm3[nm
), No. [sm6[nm in A minor, Op. [sm82 ~(1940[nm), No. [sm7[nm in B;Yh, Op. [sm83
(1939[nm=n[sm42[nm), No. [sm8[nm in ~B;yh, Op. [sm84 (1939[nm=n[sm44[nm), No. [s
m9[nm in C, Op. [sm103 ~(1947[nm), No. [sm10[nm (unfinished); [cf2][sm4[nm ;aaEt
udes, [cf1]Op. [sm2 ~(1909[nm); [cf2][sm4[nm Pieces[cf1], Op. [sm3[nm ([sm1907[n
m=n[sm11[nm); [cf2][sm4[nm Pieces[cf1], Op. [sm4 ~(1908[nm=n[sm13[nm); [cf2][sm1
0[nm Pieces[cf1], Op. [sm12 (1908[nm=n[sm13[nm); [cf2]Sarcasms[cf1], ~Op. [sm17[
nm ([sm1912[nm=n[sm14[nm); [fy45,1]*[fy75,2]Visions fugitives[cf1], Op. [sm22 ~(
1915[nm=n[sm17[nm); [cf2]Tales of the Old Grandmother[cf1], Op. [sm13 ~(1918[nm)
; [cf2][sm2[nm Sonatines[cf1], Op. [sm54 (1931[nm); [cf2][sm10[n
m Pieces from ~Romeo and Juliet[cf1], Op. [sm76[nm ([sm1937[nm).[ep~[smsongs[nm:
 [cf2]The Ugly Duckling[cf1], Op. [sm18 (1914[nm); [cf2][sm5[nm Poems[cf1], ~Op.
 [sm23[nm ([sm1915[nm); [cf2][sm5[nm Songs to words of Anna ~Akhmatova[cf1], Op.
 [sm27 (1916[nm); [cf2][sm5[nm Melodies Without ~Words[cf1], Op. [sm35 (1920[nm)
; [cf2][sm7[nm Songs[cf1], Op. [sm79 (1939[nm).[ep~[smfilm and theatre music[nm:
 [cf2]Lieutenant Kij;aae[cf1] ([sm1934[nm); ~[cf2]Queen of Spades[cf1], Op. [sm7
0 (1936[nm); [cf2]Eugene Onegin[cf1], ~Op. [sm71 (1936[nm); [cf2]Boris Godunov[c
f1], Op. [sm74[nm ([sm1936[nm); ~[cf2]Alexander Nevsky[cf1] ([sm1938[nm); [cf2]I
van the Terrible[cf1] ([sm1942[nm=n~[sm5[nm).[cm~[ol0][ep~[xp[te~




[do25][j99]~~~~~~[sm153842[nm_PB[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOD
 ~DICT. OF MUSIC[cmPB[sm04[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm10[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm526[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Prolation. [fy75,
1]([sm1[nm) Division in medieval mensural ~notation of the whole-note (semibreve
) into [sm3[nm ~smaller time-units (major prolation) or [sm2[nm (minor).[ep~^([s
m2[nm) Work for orch. by [fy45,1]*[fy75,1]Maxwell Davies, [sm1959[nm.[cm~Promena
de Concerts. [fy75,1]Literally, concerts at ~which the audience can walk about,
but in ~modern usage concerts at which a section of the ~audience stands. First
Eng. promenade concerts ~were held in London [sm1838[nm under title `Promenade ~
Concerts ;Aga la Musard' (Musard was the leader). ~Later concerts on similar lin
es were promoted by ~[fy45,1]*[fy75,1]Jullien, [fy45,1]*[fy75,1]Balfe, Mellon, a
nd others. In [sm1895[nm ~Robert Newman began new series at Queen's ~Hall, cond.
 Henry [fy45,1]*[fy75,1]Wood. These still continue. ~They have b
een sponsored by BBC since [sm1927[nm, ~since when majority of concerts have bee
n given ~by BBC S.O. After Wood died in [sm1944[nm, Malcolm ~Sargent became prin
. cond. in [sm1948[nm, but after his ~death in [sm1967[nm no single cond. domina
ted. The ~`Proms', held in the Royal Albert Hall and other ~venues for [sm8[nm w
eeks from mid-July each year are ~in effect an enormous mus. fest., embracing se
mi-~staged opera perfs. and chamber mus. Several ~orchs. take part, each concert
 is broadcast, and ~several are televised. The Last Night has become ~a traditio
nal feature of Brit. life, especially the ~[sm2[nmnd half in which the audience
enthusiastically ~join in the perfs. of Elgar's [fy45,1]*[fy75,2]Land of Hope an
d ~Glory, [cf1]Parry's [fy45,1]*[fy75,2]Jerusalem, [cf1]and Wood's [fy45,1]*[fy7
5,2]Fantasia on ~British Sea-Songs[cf1]. Various other orchs., e.g. the ~Hall;Aa
e, CBSO, and SNO, give their own series of ~promenade concerts.[cm~Prometheus. [
fy75,1]Symphonic poem by Liszt. Orig. ~comp. (and orch. by Raff)
 [sm1850[nm as prelude to a ~setting of chs. from Herder's [cf2]Prometheus Unbou
nd[cf1]. ~Re-scored by Liszt [sm1855[nm.[cm~[j1]Prometheus, Die Gesch;Auopfe des
 [fy75,1](The Creatures ~of Prometheus). Ballet by Beethoven, Op. [sm43[nm, ~com
p. [sm1800[nm=n[sm1[nm (ov., introduction, and [sm16[nm nos.), ~f.p. Vienna [sm1
801[nm, choreog. Salvatore Vigan;Ago. ~Beethoven used [sm2[nm themes from the fi
nale of the ~ballet in other works, [cf2]viz. [cf1][sm1[nm. A theme in G major ~
appears as No. [sm11[nm of the [sm12[nm [cf2]Kontret;auanze [cf1]for orch., ~WoO
 [sm14[nm. [sm2[nm. A theme in E;Yh major is used as No. [sm7[nm ~of the [sm12[n
m [cf2]Kontret;auanze[cf1], WoO [sm14[nm; as the theme of ~the Piano Variations
([fy45,1]*[fy75,2]Eroica[cf1]) Op. [sm35[nm; and as the ~main theme of the final
e of Symphony No. [sm3[nm ~([fy45,1]*[fy75,2]Eroica[cf1]) Op. [sm55[nm.[cm~Prome
theus, the Poem of Fire [fy75,1]([cf2]Prometei, Poema ~Ogyna[cf1]). Symphonic po
em in F;Yi by Skryabin, Op. ~[sm60[nm, for orch. with pf., optio
nal ch., and `kbd. of ~light' (projecting colours on to screen). Comp. ~[sm1908[
nm=n[sm10[nm, f.p. Moscow [sm1911[nm, London [sm1913[nm, NY ~[sm1914[nm (this pe
rf. used `kbd. of light').[cm~Prometheus Unbound, Scenes from Shelley's. ~[fy75,
1]Work by Hubert [fy45,1]*[fy75,1]Parry for soloists, ch., and orch. ~to text by
 Shelley. F.p. Gloucester [sm1880[nm.[cm~Proph;agete, Le [fy75,1](The Prophet).
Opera in [sm5[nm acts by ~[fy45,1]*[fy75,1]Meyerbeer to lib. by Scribe. Prod. Pa
ris and ~London [sm1849[nm, New Orleans [sm1850[nm.[cm~Proportion. [fy75,1]Conce
ption in medieval mus. theory ~of relationship between vibration nos. of notes ~
and also between their time-signatures in men~~sural notation expressed by fract
ions.[cm~Proportionate [fy75,1](proportional) [fy65][cf3]Notation. [fy75,1]In [s
m20[nmth-~cent. mus. a graphic method of indicating ~durations, i.e. instead of
traditional notation, the ~horizontal spacing of symbols represents the ~intende
d length of durations.[cm~Proporz, Proportz [fy75,1](Ger.). Same
 as [fy45,1]*[fy75,2]Nachtanz.[cf1][cm~Prosa, Prose. [fy75,1]In the Christian ch
urch service, the ~earliest sequences (types of hymn sung to special ~melodies)
were in prose, and this term is ~sometimes still used instead of sequence.[xm[cm
~[j1]Proses Lyriques [fy75,1](Lyrics in prose). [sm4[nm songs for v. ~and pf. by
 Debussy to his own texts. Comp. ~[sm1892[nm=n[sm3[nm. Titles are: [cf2]De R;Afe
ve [cf1](Of a dream), [cf2]De Gr;Ageve ~[cf1](About the Shore), [cf2]De Fleurs [
cf1](About flowers), [cf2]De ~Soir [cf1](About evening).[cm~Protest Song. [fy75,
1]Term which gained currency (first ~in USA) in [sm1960[nms for song which voice
d feelings ~of protest about some social injustice, real or ~imagined, or about
some int. event which aroused ~strong emotions, e.g. Amer. part in Vietnam war.
~Among the prin. singers of the genre were Bob ~Dylan and Joan Baez.[cm~Prout, E
benezer [fy75,1]([cf2]b [cf1]Oundle, [sm1835[nm; [cf2]d[cf1] London, ~[sm1909[nm
). Eng. composer, organist, theorist, and ~teacher. Largely self
-taught. Organist in Islington ~[sm1861[nm=n[sm73[nm; pf. teacher Crystal Palace
 Sch. of Art ~[sm1861[nm=n[sm85[nm. Taught theory RAM from [sm1879[nm and at ~[P
N567,0,0,R,I0]GSM from [sm1884[nm. Prof. of mus. Dublin Univ. ~[sm1894[nm=n[sm19
09[nm. Comp. large no. of works in many ~forms, ed. Handel's [cf2]Messiah[cf1],
but best known for ~his mus. textbooks.[cm~Provenzale, Francesco [fy75,1]([cf2]b
[cf1] Naples, [cf2]c[cf1].[sm1626[nm; [cf2]d[cf1] ~Naples, [sm1704[nm). It compo
ser and teacher. Wrote ~first opera, [cf2]Il Ciro[cf1], for Naples [sm1653[nm. F
or its Venice ~prod. a year later, [fy45,1]*[fy75,1]Cavalli wrote additional mus
. ~Became choirmaster to City of Naples in [sm1665[nm ~and was teacher at a Napl
es Cons. from [sm1663[nm=n[sm75[nm, ~these posts leading to a diminution of his
operatic ~activities. Head of mus. staff at Cons. of S. Maria ~della Piet;aga de
i Turchini, [sm1675[nm=n[sm1701[nm. Forerunner ~of Neapolitan sch. of operatic a
nd vocal com~~[chposers.[cm~Prozess, Der [fy75,1](The Trial). Op
era by [fy45,1]*[fy75,1]Einem, Op. ~[sm14[nm, to lib. by Blacher and H. von Cram
er after ~novel by Kafka ([sm1925[nm). Prod. Salzburg [sm1953[nm.[cm~Prozession
[fy75,1](Procession). Comp. by [fy45,1]*[fy75,1]Stockhausen, ~[sm1967[nm, for ta
m-tam, va., electronium, pf., [sm2[nm ~microphones and controls, [sm2[nm filters
: [sm6[nm players. ~The players are instructed to play `events' from ~other Stoc
khausen works, i.e. [cf2][cf2]Mikrophonie I, Gesang ~der J;auunglinge, Kontakte,
 Momente, Telemusik, Solo, ~[cf1]and [cf2]Klavierst;auucke I=nXI.[cm~Prussian Qu
artets [fy75,1](Mozart). See [cf2]King of Prussia ~Quartets.[cm~Pryor, Gwenneth
[fy75,1](Ruth) [cf1]([cf2]b [cf1]Sydney, N.S.W., ~[sm1941[nm). Australian pianis
t. Studied N.S.W. State ~Cons. of Mus. London d;Aaebut [sm1965[nm. Soloist in ~c
oncs. of Malcolm Williamson.[cm~Ps. [fy75,1]Short for Ger. [cf2]Posaunen, [cf1]i
.e. tbs.[cm~Psalm. [fy75,1]Hymn acc. by harp or other str. instrs. ~But by the t
erm is generally understood the Old ~Testament Book of Psalms. I
n Christian church ~services these are sung antiphonally to various ~chants. Ver
se paraphrases of the psalms are ~known as metrical psalms. There are countless
~settings of individual psalms by composers from ~Bach to Britten (and by earlie
r and later compos~~ers).[cm~Psalmody. [fy75,1]Study of the psalms or of the tun
es ~used for metrical psalms.[cm~Psalmus Hungaricus. [fy75,1]Work for ten., ch.,
 org., ~and orch. by Kod;Aaaly, Op. [sm15[nm, based on text of ~Psalm [sm55[nm i
n paraphrase of [sm16[nmth-cent. Hung. poet ~Mih;Aaaly V;Aaegh. Commissioned for
 [sm50[nmth anniv. of ~union of Buda and Pest. F.p. Budapest [sm1923[nm, ~Z;auur
ich [sm1926[nm, Cambridge [sm1927[nm.[cm~Psalter. [fy75,1]A collection of Eng. v
erse paraphrases of ~the psalms, intended to be sung. Miles Coverdale ~pubd. a c
oll. in [sm1539[nm. The Sternhold and Hopkins ~coll. appeared in [sm1549[nm and
was completed by ~[sm1564[nm. Other famous psalters were those by John ~Day, Est
e, Ravens[chcroft, Playford, and Tate and ~Brady.[cm~Psaltery. [
fy75,1]Medieval str. instr., played by plucking ~with a plectrum or the fingers,
 trapeze-shaped, ~and usually strung horizontally over a sound-~board. Had sweet
, pure tone. Can be played with ~bow. Tavener scores for [sm4[nm bowed psalterie
s in ~[cf2]Toward the Son [cf1]([sm1982[nm).[cm~Psaume [fy75,1](Fr.). [fy45,1]*[
fy75,1]Psalm.[cm~Puccini, Giacomo [fy75,1]([cf2]b [cf1]Lucca, [sm1858[nm; [cf2]d
 [cf1]Brussels, ~[sm1924[nm). It. composer. [sm5[nmth of a line of It. church ~m
usicians. Organist at local church. Entered ~Milan Cons. [sm1880[nm, studying co
mp. with Bazzini ~and Ponchielli. Showed bias towards symphonic ~works, but Ponc
hielli sensed his pupil's operatic ~potentiality and persuaded him to enter Sonz
ogno ~[sm1[nm-act opera competition with [cf2]Le Villi[cf1]. Rejected by ~the ju
ry, the work was admired by Boito and ~prod. Milan, [sm1884[nm. It was heard by
Verdi's ~publisher, Ricordi, who commissioned an opera ~from Puccini. [cf2]Edgar
[cf1], when it appeared in [sm1889[nm, ~was a failure, but Ricor
di's faith was justified in ~[sm1893[nm by [cf2]Manon Lescaut[cf1], in which the
 mature ~Puccini is already evident in the ardent and ~profuse melodic mastery w
hich distinguishes the ~work. Strangely, Puccini's next opera, [cf2]La Boh;Ageme
[cf1], ~prod. Turin [sm1896[nm, was at first less successful than ~[cf2]Manon[cf
1], but it soon became what it remains, ~probably the most popular and generally
 beloved ~opera ever written, a masterpiece of characteriza~~tion, sentiment, an
d craftsmanship. Power of ~characterization also marked his next opera, ~[cf2]To
sca[cf1], based on a Sardou play. [cf2]Madama Butterfly ~[cf1]was his most succe
ssful psychological character-~study and requires exceptional vocal and his~~tri
onic skill from the sop. who sings the heroine. ~The work was a failure at its M
ilan premi;Agere, but ~Puccini re-cast it in [sm3[nm acts for Brescia [sm3[nm mo
nths ~later, where it was acclaimed as a triumph and ~has since almost rivalled
[cf2]Boh;Ageme [cf1]in popularity. ~[cf2]Butterfly [cf1]was set
in Japan and was based on a play ~by Belasco, who was author of the Amer. ~melod
rama [cf2]The Girl of the Golden West [cf1]which ~became Puccini's next opera ([
cf2]La fanciulla del West[cf1]). ~This was prod. at the NY Met. in [sm1910[nm bu
t has ~never attained a popularity equal to its predeces~~sors although on close
r acquaintance the mus. is ~revealed as of very high quality. Similar re-~assess
ment is due to [cf2]La rondine [cf1](Monte Carlo ~[sm1917[nm). Nothing illustrat
es Puccini's instinctive ~theatrical skill more remarkably than the success ~wit
h which he achieved the difficult feat of ~combining [sm3[nm contrasting [sm1[nm
-act operas in [cf2]Il trittico ~[cf1](Triptych): a thriller in [cf2]Il tabarro[
cf1], a sentimental ~tragedy in [cf2]Suor Angelica[cf1], and a comedy in [cf2]Gi
anni ~Schicchi[cf1]. For his next opera Puccini selected a lib. ~inspired by Goz
zi's play [cf2]Turandot[cf1]. But he died of ~cancer before he could complete th
e duet which ~was planned as the climax of the work. It was ~com
pleted skilfully by [fy45,1]*[fy75,1]Alfano and the opera has ~held its place de
spite this anti-climax because of ~the superb mus. earlier in the opera and beca
use ~the part of the cruel Princess Turandot is a ~glorious gift to dramatic sop
s.[ep~[PN568,0,0,L,I0]^Puccini lacks the nobility of Verdi, but few ~opera compo
sers can rival him in dramatic flair ~and skill. He is sentimental but it is a s
entiment~~[chality to which millions are glad to respond. His ~sense of characte
rization was highly developed ~and his genius for orchestration enabled him ~wit
h a few notes to hold an audience in the palm ~of his hand. Most of his operas c
ontain a heroine ~in whom there are elements of the `little girl', ~and there is
 a streak of sadistic cruelty which also ~marred the personality of the man hims
elf. He ~continued to develop as an artist and to respond ~to contemporary influ
ences, from Debussy to ~Schoenberg. Prin. works:[xm[cm~[j2][fy75,1][smoperas[nm:
 [cf2]Le [fy45,1]*[fy75,2]Villi [cf1]([cf2]The Wilis[cf1]) (firs
t, one-act, version, [sm1883[nm; ~[sm2[nm-act version, [sm1884[nm); [fy45,1]*[fy
75,2]Edgar [cf1]([sm4[nm-act version, [sm1884=n~8[nm; [sm3[nm-act version [sm189
2[nm, rev. [sm1901[nm, [sm1905[nm); [fy45,1]*[fy75,2]Manon ~Lescaut [cf1]([sm189
0=n2[nm); [cf2]La [fy45,1]*[fy75,2]Boh;ageme [cf1]([sm1894=n5[nm); [fy45,1]*[fy7
5,2]Tosca ~[cf1]([sm1898=n9[nm); [fy45,1]*[fy75,2]Madama Butterfly [cf1]([sm2[nm
-act version, ~[sm1901[nm=n[sm3[nm; [sm3[nm-act version, [sm1904[nm; further cut
s and ~rev., [sm1906[nm); [cf2]La [fy45,1]*[fy75,2]fanciulla del West [cf1]([sm1
908=n10[nm); [cf2]La ~[fy45,1]*[fy75,2]rondine [cf1](The Swallow) ([sm1914=n16[n
m); [cf2]Il [fy45,1]*[fy75,2]trittico [cf1]([cf2]Il ~[fy45,1]*[fy75,2]tabarro, [
fy45,1]*[fy75,2]Suor Angelica, [fy45,1]*[fy75,2]Gianni Schicchi[cf1]) ([sm1913=n
~18[nm); [fy45,1]*[fy75,2]Turandot [cf1]([sm1920=n6[nm, last scene completed by
~Alfano).[ep~[smchoral[nm: [cf2]Messa di Gloria [cf1]in A, for sop., ten., bar.,
 ~ch., and orch. ([sm1880[nm).[ep~[smorch[nm: [cf2]Preludio sinf
onico [cf1]([sm1876[nm); [cf2]Capriccio =+=+sinfonico ~[cf1]([sm1883[nm).[ep~[sm
chamber music[nm: [cf2]Crisantemi[cf1], str. qt. ([sm1890[nm); [cf2][sm3[nm ~Min
uets[cf1], str. qt. ([sm1892[nm, nos. [sm1[nm and [sm3[nm rev. [sm1898[nm).[cm~[
j1]Pugnani, Gaetano [fy75,1]([cf2]b [cf1]Turin, [sm1731[nm; [cf2]d[cf1] Turin, ~
[sm1798[nm). It. violinist and composer. Travelled widely ~[sm1754[nm=n[sm70[nm,
 staying for long spells in Paris and ~London. Returned to Turin as orch. leader
 and ~teacher. His pupils incl. [fy45,1]*[fy75,1]Viotti. Comp. operas, ~cantatas
, ballets, vn. conc., [sm20[nm vn. sonatas, [sm6[nm str. ~qts., and other works.
 A [cf2]Praeludium and Allegro ~[cf1]said to have been arr. from Pugnani by the
~violinist [fy45,1]*[fy75,1]Kreisler was admitted by Kreisler in ~[sm1935[nm to
be entirely his own work.[cm~Pugno, [fy75,1](St;Aaephane)[fy65][cf3] Raoul [fy75
,1]([cf2]b [cf1]Montrouge, N. Fr., ~[sm1852[nm; [cf2]d[cf1] Moscow, [sm1914[nm).
 Fr.-It. pianist, organist, ~and composer. Studied Paris Cons. O
rganist St ~Eug;Agene, Paris, [sm1872[nm=n[sm92[nm. Prof. of harmony, Paris ~Con
s. [sm1892[nm=n[sm6[nm, of pf. [sm1896[nm=n[sm1901[nm. Frequently ~played in duo
 with violinist [fy45,1]*[fy75,1]Ysa;auye. Wrote [sm4[nm ~comic operas, [sm6[nm
ballets, oratorio, and pf. pieces.[cm~Pulcinella. [fy75,1]Ballet, with song, in
[sm1[nm act by ~Stravinsky, comp. [sm1919[nm=n[sm20[nm, to lib. and choreog. ~by
 Massine. For sop., ten., bass, and small orch. ~Prod. Paris [sm1920[nm. The mus
., comprising [sm18[nm items, ~is a re-comp. of works by [fy45,1]*[fy75,1]Pergol
esi, though at ~least one item is a false attrib. Also suite of [sm8[nm ~movemen
ts for small orch., [cf2]c[cf1].[sm1922[nm, rev. [sm1947[nm. ~The [cf2]Suite ita
lienne [cf1]for vc. and pf. ([sm1932[nm) comprises ~[sm5[nm movements from [cf2]
Pulcinella[cf1], and the version for ~vn. and pf. ([cf2]c.[cf1][sm1933[nm) has [
sm6[nm.[cm~Pulitzer Prize. [fy75,1]Prizes in Amer. journalism, ~letters, and mus
. awarded since [sm1943[nm under will ~of the publisher Joseph P
ulitzer ([sm1847[nm=n[sm1911[nm). ~Administered by Columbia Univ., NY. Mus. priz
e ~(for comp.) incl. award of $[sm500[nm, and earlier a ~travelling scholarship
of $[sm1[nm,[sm500[nm was given to a ~student to enable him or her to study in E
urope. ~Since [sm1970[nm mus. critics have been eligible for ~award for criticis
m.[cm~Pult [fy75,1](Ger., plural [cf2]Pulte[cf1]). Orch. mus. stand (shared ~by
[sm2[nm performers, such as violinists, playing the ~same part). [cf2]Pultweise[
cf1], deskwise, i.e. in order of the ~players' desks.[cm~Punch and Judy. [fy75,1
]Opera in [sm1[nm act by Birtwistle, ~lib. by Stephen Pruslin (prod. Aldeburgh [
sm1968[nm).[cm~Punta [fy75,1](It.). Point. [cf2]A punta d'arco,[cf1] with the po
int ~of the bow.[cm~Punto coronato, Punto d'organo [fy75,1](It.). The pause ~sig
n ;Yr.[cm~Punto, Giovanni [fy75,1](Sti;akc, Jan V;aaaclav or Stich, ~Johann Wenz
el) ([cf2]b[cf1] Zehu;aksice, [sm1746[nm; [cf2]d[cf1] Prague, ~[sm1803[nm). Bohe
mian horn-player and violinist. Stud~~ied in Prague, Munich, and
 Dresden (under ~Hampel). Assumed It. name [sm1766[nm and in [sm1768[nm ~began E
uropean travels, visiting Eng. in [sm1770[nm ~and [sm1777[nm. At Mainz court [sm
1769[nm=n[sm74[nm. Met Mozart ~in Paris [sm1778[nm. Worked in Paris [sm1782[nm=n
[sm7[nm and [sm1789[nm=n~[sm99[nm. When he visited Vienna in [sm1800[nm, Beethov
en ~wrote his hn. sonata, Op. [sm17[nm, for him. Acclaimed ~as virtuoso of highe
st order. Wrote [sm11[nm hn. concs. ~(pubd. [cf2]c[cf1].[sm1787[nm=n [cf2]c[cf1]
.[sm1806[nm), [sm24[nm hn. qts., [sm20[nm hn. trios, ~[sm56[nm hn. duos, other c
hamber works, and a book of ~hn. exercises ([sm1795[nm).[cm~Purcell, Daniel [fy7
5,1]([cf2]b [cf1]London, [cf2]c[cf1].[sm1660[nm; [cf2]d [cf1]London, ~[sm1717[nm
). Eng. organist and composer, brother of ~the great Henry [fy45,1]*[fy75,1]Purc
ell. Organist, Magdalen ~Coll., Oxford, [sm1688[nm=n[sm95[nm, St Andrew's, Holbo
rn, ~[sm1713[nm=n[sm17[nm. In [sm1695[nm succeeded his brother as ~composer of i
ncidental mus. for plays. Prolific ~writer of other works.[cm~Pu
rcell, Edward [fy75,1](Cockram) [cf1](really Edward ~Purcell Cockram) ([cf2]d[cf
1] [sm1932[nm). Eng. composer best ~known for song [cf2]Passing by.[xm[cm~[ol0][
ep~[xp[te~










[do9][j99]~~~~~~[sm153842[nmPB[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmPB[sm05[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm10[nm.[sm10[nm.[sm7
9[nm[cm[sm16[nm[cm[sm563[nm[cm~GC[cm3[cm3.8.84[cm~U1[cm~~~~[ap[j1]Purcell, Henry
 [fy75,1]([cf2]b [cf1]London, [sm1659[nm; [cf2]d [cf1]London, ~[sm1695[nm). Eng.
 composer and organist. Son of ~Thomas Purcell, one of the King's musicians. Boy
 ~chorister of Chapel Royal. Studied with [fy45,1]*[fy75,1]Hum~~frey and [fy45,1
]*[fy75,1]Blow. In [sm1674[nm he was appointed tuner ~of Westminster Abbey org.
and at [sm18[nm, in [sm1677[nm, he ~succeeded Matthew Locke as `composer to the
~King's violins' (a str. band of [sm24[nm players). He ~succeeded Blow as organi
st of Westminster Abbey ~in [sm1679[nm. In the following year he pubd. the ~supe
rb Fantasias for strs., written for his private ~enjoyment and not for the royal
 band. From ~[sm1680[nm Purcell began to compose the long series of ~`welcome od
es' and other official choral pieces, ~his music by far transcen
ding the doggerel of the ~words. In that year, too, he comp. the first of the ~i
ncidental mus. he wrote for the London th., for ~plays by Dryden, Congreve, Shad
well, Brady, ~[PN569,0,0,R,I0]Behn, etc. In [sm1682[nm he became one of the [sm3
[nm ~organists of the Chapel Royal and in [sm1683[nm pubd. ~his sonatas in [sm3[
nm parts ([sm2[nm vn., and bass, with organ ~or hpd.), in the preface to which h
e admitted that ~he had attempted a `just imitation of the most ~fam'd Italian m
asters'. In [sm1685[nm his anthem [cf2]My ~Heart is Inditing [cf1]was comp. for
the coronation of ~James II and [sm4[nm years later he was involved in the ~coro
nation of William III. In [sm1689[nm his only opera, ~[cf2]Dido and Aeneas[cf1],
 was perf. at Josias Priest's ~boarding-school for girls at Chelsea. In the last
 ~few years of his life, Purcell was increasingly ~prolific, composing some of h
is greatest church ~mus. such as the [cf2]Te Deum [cf1]and [cf2]Jubilate in D[cf
1]. In ~[sm1695[nm, for Queen Mary's funeral, he comp. an ~anthe
m ([cf2]Thou knowest, Lord, the Secrets of our ~Hearts[cf1]), [sm4[nm canzonas f
or brass, and [sm2[nm elegies, which ~are among his most masterly works and were
 ~used for his own funeral later the same year.[ep~^Purcell's position as among
the greatest of Eng. ~composers was acknowledged in his lifetime, but ~it was no
t until the bicentenary of his death that ~this judgment came to be accepted by
later ~generations. The work of the Purcell Soc. and of ~composers such as Holst
 and Vaughan Williams ~helped to rehabilitate him, and Benjamin Britten ~of a la
ter generation paid him the compliment of ~imitation and also restored many of h
is works to ~the concert-hall, aided by the [sm20[nmth-cent. revival ~of interes
t in perf. the mus. of Purcell's time in ~authentic style. Purcell's brilliance
of invention, ~his sense of drama, and the `common touch' ~which endeared him to
 his contemporaries (both ~musicians and non-musicians) give his mus. ~freshness
 and immediacy. In [cf2]Dido and Aeneas[cf1], he ~comp. the firs
t great Eng. opera and set a new ~standard of sensitivity to words and word-~rhy
thms in addition to displaying rare depths of ~emotion. Yet it is in the instrum
ental works that ~the real genius of Henry Purcell dwells. Prin. ~works:[xm[cm~[
j2][smopera[nm: [fy45,1]*[fy75,2]Dido and Aeneas [cf1]([sm1689[nm).[ep~[smsemi-o
peras[nm: [cf2]The Prophetess, or The History of ~[fy45,1]*[fy75,2]Dioclesian [c
f1]([sm1690[nm); [fy45,1]*[fy75,2]King Arthur, or The British ~Worthy [cf1]([sm1
691[nm); [cf2]The [fy45,1]*[fy75,2]Fairy Queen [cf1]([sm1692[nm); [fy45,1]*[fy75
,2]The ~Indian Queen [cf1]([sm1695[nm); [cf2]The Tempest, or The En~~chanted Isl
and [cf1](?[sm1695[nm. See [cf2]Weldon, John[cf1]).[ep~[smincidental music[nm: [
cf2]Theodosius, or The Force of Love ~[cf1]([sm1680[nm); [cf2]Amphitryon [cf1]([
sm1690[nm); [cf2]Distressed Innocence ~[cf1]([sm1690[nm); [cf2]The Indian Empero
r [cf1]([sm1691[nm); [cf2]The Libertine ~[cf1](?[sm1692[nm); [cf2]The Double Dea
ler [cf1]([sm1693[nm); [cf2]Timon of Athens ~[cf1]([sm1694[nm);
[cf2]The Comical History of Don Quixote  [cf1]([sm1694[nm=n~[sm5[nm); [cf2]The M
arried Beau [cf1]([sm1694[nm); [cf2]Abdelazer [cf1]([sm1695[nm); ~[cf2]The Mock
Marriage [cf1]([sm1695[nm); [cf2]Bonduca, or The British ~Heroine[cf1] ([sm1695[
nm); [cf2]The Spanish Friar [cf1]([sm1694[nm=n[sm5[nm). (See ~also [cf2]Songs fr
om Theatre Music, [cf1]below.)[ep~[smchoral[nm: [cf2]Behold, I Bring you Good Ti
dings[cf1], Christmas ~anthem ([sm1687[nm); [fy45,1]*[fy75,2]Come ye sons of art
[cf1], ode for ~Queen Mary's birthday ([sm1694[nm); [cf2]Elegy on the death ~of
Queen Mary [cf1]([sm1695[nm); [cf2]Jehovah, quam multi, [cf1]motet; ~[cf2]Jubila
te Deo in D [cf1]([sm1694[nm); [cf2]Let God arise [cf1]([sm1679[nm); ~[cf2]Magni
ficat and Nunc Dimittis [cf1]in G minor; [cf2]My ~Beloved Spake [cf1]([cf2]c.[cf
1][sm1680[nm); [cf2]My Heart is Inditing[cf1], ~anthem ([sm1685[nm); [cf2]Now Do
es the Glorious Day ~Appear[cf1], ode for Queen Mary's birthday ([sm1689[nm); ~[
cf2]O God, thou art my God[cf1], anthem ([sm1682[nm); [cf2]O God
, ~thou has cast us out[cf1], anthem ([sm1682[nm); [cf2]O Lord God of ~hosts, [c
f1]anthem ([sm1682[nm); [cf2]O Sing unto the Lord [cf1]([sm1688[nm); ~[fy45,1]*[
fy75,2]Ode for St Cecilia's Day [cf1]([sm1683[nm=n[sm92[nm); [cf2]Rejoice in the
 ~Lord Alway, [cf1]the [fy45,1]*[fy75,2]Bell anthem [cf1]([sm1685[nm); [cf2]Reme
mber ~not, Lord, our offences[cf1], anthem ([sm1682[nm); [cf2]Te Deum ~in D [cf1
]([sm1694[nm); [cf2]They that go Down to the Sea in Ships[cf1], ~anthem ([sm1685
[nm); [cf2]Thou knowest, Lord, the Secrets of ~our Hearts[cf1], anthem ([fy45,1]
*[fy75,1]Queen Mary's Funeral ~Music, [sm1695[nm); [cf2]Thy Word is a Lantern, [
cf1]anthem ~([cf2]c[cf1].[sm1694[nm).[ep~[smsongs from theatre music[nm: [cf2]Ci
nthia frowns whene'er ~I woo her [cf1]([cf2]Distressed Innocence[cf1], [sm1690[n
m); [cf2]O Let me ~Weep; Turn then thine Eyes [cf1]([cf2]The Fairy Queen[cf1], ~
[sm1692[nm); [cf2]I Sighed and owned my Love [cf1]([cf2]The Fatal ~Marriage[cf1]
, [sm1694[nm); [cf2]I Attempt from Love's Sickness to ~Fly [cf1]
([cf2]The Indian Queen, [cf1][sm1695[nm); [cf2]Fairest Isle, all Isles ~Excellin
g; Shepherd, Leave Decoying [cf1]([cf2]King Arthur[cf1], ~[sm1691[nm); [fy45,1]*
[fy75,2]Nymphs and Shepherds [cf1]([cf2]The Libertine[cf1], ~?[sm1692[nm); [cf2]
No, Resistance is but Vain [cf1]([cf2]The Maid's Last ~Prayer, [cf1][sm1693[nm);
 [cf2]Man is for the Woman Made [cf1]([cf2]The ~Mock Marriage[cf1], [sm1695[nm);
 [fy45,1]*[fy75,2]Music for a while [cf1]([cf2]Oedipus[cf1], ~[sm1692[nm); [cf2]
My Dearest, my Fairest; Sweeter than Roses ~[cf1]([cf2]Pausania, [cf1][sm1695[nm
); [cf2]Arise ye Subterranean Winds; ~Halcyon Days; See, see, the Heavens Smile
[cf1]([cf2]The ~Tempest [cf1]?[sm1695[nm).[ep~[smsongs[nm: [cf2]Ah Cruel Nymph;
Fly Swift, ye Hours; The ~Father brave; I Lov'd fair Celia [cf1]([sm1694[nm); [c
f2]I Vowed to ~Die a Maid; If Music be the food of Love [cf1]([sm3[nm versions ~
[sm1692[nm, [sm1693[nm, [sm1695[nm); [cf2]Lord, What is Man[cf1]? ([sm1693[nm);
~[cf2]Love Arms himself in Celia's Eyes [cf1]([sm1695[nm); [cf2]
Love, thou ~art Best[cf1]; [cf2]Lovely Albina [cf1]([sm1695[nm); [cf2]Morning Hy
mn; ~Now that the Sun hath Veiled his Light [cf1]([fy45,1]*[fy75,2]Evening ~Hymn
[cf1], [sm1688[nm); [cf2]Queen's Epicedium[cf1]; [cf2]Sleep, Adam, ~sleep [cf1](
[sm1683[nm); [cf2]Tell me some Pitying Angel [cf1]([cf2]The ~[fy45,1]*[fy75,2]Bl
essed Virgin's Expostulation, [cf1][sm1693[nm); [cf2]What a Sad ~Fate is Mine; W
hen Night her Purple Veil[cf1].[ep~[sminstrumental[nm: [cf2]Strings, without con
tinuo: Chacony ~[cf1]in G minor, [sm4[nm parts; [sm3[nm [cf2]Fantasias[cf1], [sm
3[nm parts ([sm1680[nm); ~[sm9[nm [cf2]Fantasias, [cf1][sm4[nm parts ([sm1680[nm
); [cf2]Fantasia [cf1]upon [sm1[nm note, ~[sm5[nm parts; [cf2]In Nomine[cf1], [s
m6[nm parts; [cf2]In Nomine, [cf1][sm7[nm parts; ~[cf2]Pavan [cf1]in G minor, [s
m4[nm parts. [cf2]Strings, with continuo: ~Fantasia [cf1]on a ground in D, [sm4[
nm parts; [cf2]Overtures [cf1]in ~G, [sm4[nm parts; in D minor, [sm4[nm  parts;
in G minor, [sm5[nm ~parts; [sm12[nm Sonatas of [sm3[nm parts ([
sm1683[nm); [sm10[nm Sonatas of ~[sm4[nm parts (pubd. [sm1697[nm); [cf2]Sonata [
cf1] in G minor; [cf2]Suite [cf1]in ~G major; [cf2]Sonata [cf1]in D for tpt., st
rs., continuo; ~[cf2]Symphoniae sacrae[cf1], viol and organ; [cf2]Trumpet Tune ~
and Air. Brass: March and Canzona [cf1]for [sm4[nm tbs. ~([fy45,1]*[fy75,1]Queen
 Mary's Funeral Music, [sm1695[nm).[ep~[smkeyboard[nm: [cf1]Suites for hpd. (pub
d. [sm1696[nm): No. [sm1[nm in ~G, No. [sm2[nm in G minor, No. [sm3[nm in G, No.
 [sm4[nm in A ~minor, No. [sm5[nm in C, No. [sm6[nm in D, No. [sm7[nm in D minor
, ~No. [sm8[nm in F; [cf2]Musick's Handmaid [cf1]([sm1689[nm) in [sm2[nm parts ~
(No. [sm9[nm of part [sm2[nm is [cf2]New Irish tune in G[cf1], [fy45,1]*[fy75,2]
Lilliburlero[cf1]); ~[cf2]Air [cf1]in D minor; [cf2]Fanfare [cf1]in B;Yh; [cf2]G
round [cf1]in D ~minor; [cf2]Hornpipe [cf1]in E minor; [cf2]Pavans [cf1]in A min
or ~and G; [cf2]Round [cf1]in D; [cf2]Toccata [cf1]in A minor.[ep~[smorgan[nm: [
cf1]Voluntary on the Old [sm100[nmth; Voluntary ~in G.[cm~[PN570
,0,0,L,I0][j1]Purgatory. [fy75,1]Opera in [sm1[nm act by [fy45,1]*[fy75,1]Crosse
, Op. [sm18[nm, to ~lib. based on play by W. B. Yeats. Prod. ~Cheltenham [sm1966
[nm. For ten., bar., women's ch., ~and orch. Also opera by [fy45,1]*[fy75,1]Weis
gall.[cm~Puritani di Scozia, I [fy75,1]([cf2]I Puritani[cf1]; The Puritans of ~S
cotland). Opera in [sm3[nm acts by Bellini to lib. by C. ~Pepoli after play [cf2
]T;afetes rondes et cavaliers [cf1]by F. ~Ancelot and X. B. Saintine derived fro
m Scott's ~[cf2]Old Mortality [cf1]([sm1816[nm). Prod. Paris and London, ~[sm183
5[nm, Philadelphia [sm1843[nm, NY [sm1844[nm.[cm~Putnam's Camp. [fy75,1][sm2[nmn
d movement of Ives's [fy45,1]*[fy75,2]Three ~Places in New England [cf1]for orch
., sometimes played ~separately.[cm~Puyana, Rafael [fy75,1]([cf2]b [cf1]Bogota,
[sm1931[nm). Colombian ~harpsichordist. Studied New Eng. Cons. of Mus. ~and with
 W. [fy45,1]*[fy75,1]Landowska [sm1951[nm=n[sm7[nm. European tour ~[sm1955[nm, N
Y d;aaebut [sm1957[nm, London, [sm1966[nm. Dir., early ~mus. dep
t. of summer sch. at Santiago de ~Compostela, Sp., from [sm1961[nm. Several work
s ~written for him, e.g. by Evett, McCabe, Mompou, ~Orbon.[cm~Pygott, Richard [f
y75,1]([cf2]fl. [cf1]early [sm16[nmth cent.). Eng. ~composer. Trained choristers
 in Wolsey's chapel ~choir [sm1517[nm=n[sm29[nm. Gentleman of Chapel Royal, ~[sm
1524[nm=n[sm53[nm. Wrote mainly church mus.[cm~Pylkk;auanen, Tauno [fy75,1](Kall
ervo) ([cf2]b [cf1]Helsinki, [sm1918[nm; ~[cf2]d[cf1] Helsinki, [sm1980[nm). Fin
nish composer. Studied ~Helsinki and in Fr. and It. Worked for Finn. ~Radio [sm1
942[nm=n[sm61[nm. Art. dir. Finnish Nat. Opera ~[sm1960[nm=n[sm70[nm. Wrote near
ly a dozen operas in a style ~described as Finnish [cf2]verismo[cf1], sym., vc.
conc., and ~song-cycles.[cm~Pyne, James [fy75,1](Kendrick) [cf1]([cf2]b [cf1]Bat
h, [sm1852[nm; [cf2]d [cf1]London, ~[sm1938[nm). Eng. organist and composer. Stu
died org. ~with his father and later with S. S. Wesley. ~Organist at Bath church
 at age of [sm11[nm. Organist, ~Chichester Cath. [sm1873[nm, St
Mark's, Philadelphia, ~[sm1875[nm, Manchester Cath. [sm1876[nm=n[sm1908[nm. Prof
. of org., ~RMCM from [sm1893[nm. Dean of Faculty of Mus., ~Manchester Univ. [sm
1908[nm. Wrote church mus. and ~Lancashire dialect songs.[cm~Pyne, Louisa [fy75,
1](Fanny) [cf1]([cf2]b [cf1][sm1832[nm; [cf2]d [cf1]London, [sm1904[nm). ~Eng. s
op. Studied with Sir G. [fy45,1]*[fy75,1]Smart. Opera ~d;aaebut Boulogne [sm1849
[nm, thereafter singing regu~~larly in London. Toured USA [sm1854[nm=n[sm6[nm. C
o-director ~with William Harrison of Pyne-Harrison Opera ~Co., which gave season
s in London (incl. CG) ~[sm1858[nm=n[sm64[nm. Retired [sm1868[nm and became teac
her.[xm[cm~[j4]~[xp[te~




[do42][j99]~~~~~~153842_Q001[ep~[u1]~~~~153842[cmOxford Dictionary of ~Music[cmQ
001[cm42[cm1[cm~8/10/79[cm10[cm1[cm~GC[cm3[cm3.8.84[cm~U1[cm~~~~[PN571,0,0,R,I0]
[ap[j3]~Q[cm~~[j1]Quadrat [fy75,1](Ger.). Natural sign (;Yj).[cm~Quadrille. [fy7
5,1]Type of square dance popular at court ~of Napol;aaeon I in early [sm19[nmth
cent. In [sm5[nm sections ([sm4[nm ~of [sm32[nm bars each and finale), varying i
n time-~signature from [cf9]6=-=-=-=-=-=-=K=K=K[cf13]8[cf1] to [cf9]2=-=-=-=-=-=
-=K=K=K[cf13]4[cf1], the mus. being selected ~from popular tunes, operatic arias
, and sometimes ~sacred works. Elgar composed a series of quadrilles ~for use by
 the band which he cond. for staff ~dances at a lunatic asylum ([sm1879[nm=n[sm8
4[nm).[cm~Quadruple Counterpoint. [fy75,1]Counterpoint in ~which [sm4[nm vv. are
 concerned, which are capable of ~changing places with each other, thus making [
sm24[nm ~positions of the v. parts possible.[cm~Quadruple-Croche [fy75,1](Fr.).
Quadruple-hook. ~Hemi[chdemisemiquaver, or [sm64[nmth note.[cm~Q
uadruplet. [fy75,1]A group of [sm4[nm notes, of equal time-~value, written to be
 played in the time of [sm3[nm. See ~[cf2]Irregular rhythmic groupings.[cm~Quadr
uple Time. [fy75,1]See [cf2]Time-signature.[cm~Quail. [fy75,1]Toy instr. which i
mitates the cry of the ~quail; used in `toy symphonies'. Beet[chhoven ~imitated
the quail in his [cf2]Pastoral [cf1]Symphony but ~using normal instrs.[cm~Quantz
, Johann Joachim [fy75,1]([cf2]b [cf1]Oberscheden, Han~~over, [sm1697[nm; [cf2]d
 [cf1]Potsdam, [sm1773[nm). Ger. flautist and ~composer. Began mus. training [sm
1708[nm. In [sm1718[nm ~was oboist in Polish King's orch. in Dresden and ~Warsaw
, becoming flautist after study with ~Buffardin. Studied counterpoint with Gaspa
rini ~in Rome, [sm1724[nm. Engaged [sm1728[nm as teacher in ~Dresden of Crown Pr
ince Frederick of Prussia; in ~[sm1741[nm, when Frederick became King, entered r
oyal ~service as court composer, chamber musician, ~and dir. of royal concerts.
Added [sm2[nmnd key to fl. ~and invented sliding tuning device.
Wrote ~comprehensive method on fl.-playing ([sm1752[nm and ~many subsequent edns
.). Comp. [sm300[nm fl. concs. ~and [sm200[nm other comps. involving fl., mostly
 for ~the use of his royal patron.[cm~Quartal. [fy75,1]Medieval or modern term f
or harmony ~in which chords are constructed on basis of ~superimposed [sm4[nmths
.[cm~Quarter Note. [fy75,1]The note ;Ya as a time-value, called ~in Eng. the cro
tchet, although the Amer. usage is ~gaining wider currency. Quarter-note rests a
re ~notated ;Yl or ;Ym.[xm[cm~[j1]Quarter-Tone. [fy75,1]An interval of half a se
mitone ([sm24[nm ~quarter-tones to the octave). Introduced into ~Western mus. in
 [sm20[nmth cent. but poses special ~problems of notation. Some composers who ha
ve ~written in quarter-tones have built special pfs., ~e.g. Hans Barth and Alois
 H;Aaaba. Boulez, Stockhau~~sen, and other [cf2]avant-garde [cf1]serial composer
s have ~used quarter-tones.[cm~Quartet [fy75,1](Fr. [cf2]quatuor[cf1]; Ger. [cf2
]Quartett[cf1]; It. [cf2]Quartetto[cf1]). ~A comp. for [sm4[nm v
v. or instr. or the [sm4[nm singers or ~performers who sing or play such comps.
(e.g. ~Chilingirian Qt.). In the case of perfs., qt. usually ~implies a str. qt.
, i.e. [sm2[nm vn., va., vc. But there are ~also pf. qt. (pf. and [sm3[nm bowed
instr.), ob. qt. (ob. ~and [sm3[nm bowed instr.), etc. In opera, a qt. is for [s
m4[nm ~solo vv. (e.g. in the last act of [cf2]Rigoletto[cf1]). The vocal ~qt. fo
r unacc. vv. has existed since mid-[sm15[nmth cent.[cm~Quartetto Italiano. [fy75
,1]It. string quartet formed in ~[sm1945[nm, making d;aaebut at Carpi as Nuovo Q
uartetto ~Italiano. Noted for playing its repertory from ~memory, each piece bei
ng most carefully pre~~pared. Outstanding in Debussy, Ravel, and ~Beethoven. Fre
quent international tours. Mem~~bers are Paolo Borciani ([cf2]b[cf1] Reggo Emili
a, [sm1922[nm), ~Elisa Pegreffi ([cf2]b[cf1] Genoa, [sm1922[nm), Piero Farulli (
[cf2]b[cf1] ~Florence, [sm1920[nm; he replaced Lionello Forzanti in ~[sm1946[nm)
, and Franco Rossi ([cf2]b[cf1] Venice, [sm1921[nm).[cm~Quartett
satz [fy75,1](Quartet movement). Title given to ~a movement in C minor by Schube
rt (D[sm703[nm, ~[sm1820[nm) intended for str. qt. which was never ~completed.[c
m~Quartfagott [fy75,1](Ger.). Medieval bn. pitched a [sm4[nmth ~lower than norma
l.[cm~Quartfl;Auote [fy75,1](Ger.). Small fl. tuned [sm4[nmth above ~concert fl.
[cm~Quasi [fy75,1](It.). As if, almost. Thus, [cf2]sonata quasi ~fantasia[cf1],
sonata almost like a fantasia.[cm~Quattro [fy75,1](It.). Four. [cf2]Quattro mani
[cf1], four hands; ~[cf2]quattro voci, [cf1]four vv.[cm~Quattro pezzi sacri [fy7
5,1](Four Sacred Songs). Com~~posite title for [sm4[nm short works for ch. and o
rch. by ~Verdi ([sm1888[nm=n[sm97[nm): [cf2]Ave Maria, Stabat Mater, Te ~Deum, L
audi alla Vergine Maria.[cm~Quattro Rusteghi, I [fy75,1](The Four Rustics). Oper
a ~in [sm3[nm acts by Wolf-Ferrari, lib. by Pizzolato based ~on Goldoni's comedy
. Prod. Munich [sm1906[nm, ~London (SW) [sm1946[nm (as [cf2]The School for Fathe
rs[cf1]), NY ~[sm1951[nm.[cm~Quatuor pour la fin du temps [fy75,
1](Quartet for the ~end of time). Qt. by [fy45,1]*[fy75,1]Messiaen for pf., cl.,
 vn., ~and vc., comp. [sm1940[nm while Messiaen was in ~Silesian prisoner-of-war
 camp Stalag [sm8[nmA, where it ~had its f.p., [sm15[nm Jan., [sm1941[nm.[xm[cm~
[j1]Quaver [fy75,1](Fr. [cf2]croche[cf1]; Ger. [cf2]Achtelnote[cf1]; It. [cf2]cr
oma). [cf1]The ~[sm8[nmth-note, notated ;Yb (rest notated ;Yn): half value of ~[
fy45,1]*[fy75,1]quarter-note.[xm[cm~[PN572,0,0,L,I0][j1]Queen Mary's Funeral Mus
ic. [fy75,1]Mus. comp. by ~Purcell for the Westminster Abbey funeral on [sm5[nm
~Mar. [sm1695[nm of Queen Mary, wife of William III, ~who died of smallpox on [s
m28[nm Dec. [sm1694[nm. The mus. ~comprised two of the sentences from the burial
 ~service, which he had set at least [sm12[nm years earlier; ~the anthem [cf2]Th
ou knowest, Lord, the Secrets of our ~Hearts, [cf1]specially comp.; [sm2[nm canz
onas for slide tpts. ~and tbs.; and a March originally written for a ~scene in S
hadwell's [cf2]The Libertine [cf1](?[sm1692[nm), an ~adaptation
of the Don Juan legend. Some of the ~mus. was perf. in the Abbey in Nov. [sm1695
[nm for ~Purcell's funeral.[cm~Queen of Sheba, The [fy75,1](Goldmark). See [cf2]
K;auonigen ~von Saba, Die.[cm~Queen of Spades, The [fy75,1](Russ. [cf2]Pikovaya
Dama[cf1]; Fr. ~[cf2]Pique Dame[cf1]). Opera in [sm3[nm acts by Tchaikovsky to ~
lib. by M. Tchaikovsky after Pushkin's novel ~([sm1834[nm). Prod. St Petersburg
[sm1890[nm, NY Met. [sm1910[nm, ~London [sm1915[nm.[cm~Queen's Hall. [fy75,1]Pri
n. London concert-hall, in ~Langham Place, opened [sm1893[nm and destroyed by ~b
ombing [sm1941[nm. First home of Henry Wood ~Promenade Concerts and scene of man
y illus~~trious perfs.[cm~Queff;Aaelec, Anne [fy75,1]([cf2]b [cf1]Paris, [sm1948
[nm). Fr. pianist. ~Studied Paris Cons. [sm1[nmst prize, Munich Competi~~tion, [
sm1968[nm, finalist Leeds Pf. Competition, [sm1969[nm. ~Soloist with leading orc
hs. and recitalist.[cm~Queler, Eve [fy75,1]([cf2]b [cf1]NY, [sm1936[nm). Amer. c
ond. and ~pianist. Studied Mannes Coll. of Mus., NY and ~with Jo
seph Rosenstock. Cond. and vocal coach ~for NY City Opera. Founded Opera Orch. o
f NY ~[sm1967[nm.[cm~Querelle des Bouffons. [fy75,1]See [cf2]Bouffons, Querelle
des[cf1].[cm~ Querfl;Auote [fy75,1](Ger.). Transverse fl.[cm~Queue [fy75,1](Fr.)
. Tail. Tail or stem of a note, or tail-~piece of vn., vc., etc. [cf2]Piano ;Aga
 queue [cf1](Fr.). Grand pf.[cm~Quick-Step. [fy75,1]Lively march in ;s2[cf13]=-=
-=-=-=-=-=-4[cf1], also known as ~quick march ([cf2]c.[cf1][sm108[nm steps to th
e minute). Also a ~fast version of the foxtrot.[cm~Quiet City. [fy75,1]Work by C
opland for tpt., cor anglais, ~and str. Orig. incidental mus. to play by Irwin ~
Shaw. Prod. NY [sm1939[nm; as orch. work f.p. [sm1941[nm.[xm[cm~[j1]Quilico, Lou
is [fy75,1]([cf2]b [cf1]Montreal, [sm1929[nm). Canadian bar. ~Studied Quebec Con
s. and in NY. D;aaebut with NY ~City Opera [sm1953[nm, San Francisco [sm1955[nm,
 CG [sm1961[nm, ~NY Met. [sm1972[nm. Continued to sing regularly at ~Met. Teache
r at Univ. of Toronto from [sm1971[nm.[cm~Quilisma [fy75,1](Lat.
). Most important of decorative ~[fy45,1]*[fy75,1]neumes, something like the tri
ll.[cm~Quilter, Roger [fy75,1]([cf2]b [cf1]Brighton, [sm1877[nm; [cf2]d [cf1]Lon
don, ~[sm1953[nm). Eng. composer. Studied with [fy45,1]*[fy75,1]Knorr at ~Frankf
urt. Wrote highly distinguished songs, ~chiefly settings of Shakespeare, Tennyso
n ([cf2]Now ~Sleeps the Crimson Petal[cf1]), Herrick (cycle, [cf2]To Julia[cf1])
, ~and others. Wrote opera [cf2]Julia [cf1](London [sm1936[nm), [cf2]A ~Children
's Overture[cf1], incidental mus. to children's ~play [cf2]Where the Rainbow End
s[cf1], and some chamber ~mus.[cm~Quinault, Jean-Baptiste Maurice [fy75,1]([cf2]
b[cf1] Verdun, ~[sm1687[nm; [cf2]d [cf1]Gien, [sm1745[nm). Fr. composer, actor,
and ~singer. Wrote ballets, [cf2]divertissements, [cf1]and [cf2]in~~term;agedes[
cf1] for Fr. theatre [sm1714[nm=n[sm32[nm, incl. incid. music ~for Moli;agere's
[cf2]Le bourgeois gentilhomme[cf1].[cm~Quinault, Pierre [fy75,1]([cf2]b [cf1]Par
is, [sm1635[nm; [cf2]d [cf1]Paris, [sm1688[nm). ~Fr. dramatist a
nd poet. Valet to the poet Tristan ~l'Hermite, who gave him literary education.
~Studied law. Secretary to Duc de Guise from ~[sm1665[nm. Became court poet [sm1
668[nm. In [sm1671[nm, with part ~of divertissement [cf2]Psych;aae[cf1], began [
sm15[nm-year collab. as ~librettist with Lully. Also wrote verses for mus. ~by o
ther composers.[cm~Quinet, Marcel [fy75,1]([cf2]b [cf1]Binche, [sm1915[nm). Belg
. composer. ~Studied Mons Cons. and Brussels Cons. Teacher ~at latter from [sm19
43[nm. Works include sym., [sm3[nm pf. ~concs., va. conc., [cf2]Dialogues[cf1]
for [sm2[nm pf. and orch., str. ~qt., chamber opera, and pf. pieces.[cm~ Quint.
[fy75,1]Org. stop sounding a note a [sm5[nmth higher ~than key depressed. When o
n the pedal it is a [sm10[nm;FN;Po ~stop designed to be used in conjunction with
 [sm16[nm;Po ~stop, producing effect of [sm32[nm;Po stop. [cf2]Quintadena [cf1]a
nd ~[cf2]quintat;Auon [cf1]are types of org. stop which sound not ~only the note
 of the key depressed but also the ~note a [sm12[nmth higher. Al
so the [sm4[nmth partial tone of a ~bell when it is tuned a [sm5[nmth above the
strike note.[cm~Quinte [fy75,1](Fr.). ([sm1[nm) Interval of a [sm5[nmth.[ep~^([s
m2[nm) Obsolete Fr. name for va. (orig. ten. viol with ~[sm5[nm str., pitched [s
m5[nmth lower than vn.).[xm[cm~[j1]Quintet [fy75,1](Fr. [cf2]quintette, quintuor
[cf1]; Ger. [cf2]Quintett[cf1]; It. ~[cf2]quintetto[cf1]). Comp. for [sm5[nm ins
tr. or vv., or the singers ~or players who perform such comps. In vocal ~music u
sually [sm2[nm sop., alto, ten., and bass (there are ~many [sm5[nm-part madrigal
s). A str. quintet is usually ~[sm2[nm vns., [sm2[nm va., and vc., but sometimes
 (as in most ~of quintets by Boccherini and in those by Schubert ~and Vaughan Wi
lliams) for [sm2[nm vns., va., and [sm2[nm vc. ~A pf. quintet is usually for pf.
, [sm2[nm vns., va., vc., but ~note that Schubert's `Trout' Quintet is for pf.,
vn., ~va., vc., db. There are also cl. quintets, ob. ~quintets, etc. The customa
ry wind quintet is for ~fl., ob., hn., cl., bn., but Elgar's win
d quintets are ~for [sm2[nm fl., ob., cl., bn. There are also operatic ~quintets
, the most famous occurring in Act [sm3[nm of ~Wagner's [cf2]Die Meistersinger v
on N;auurnberg[cf1].[cm~Quintfagott [fy75,1](Ger.). Bn. pitched [sm5[nmth lower
than ~normal.[cm~Quintole [fy75,1](quintuplet). Group of [sm5[nm notes, or notes
 ~and rests, of equal time-value, written to be ~played in the time of [sm4[nm o
r [sm3[nm. See [cf2]Irregular rhythmic ~groupings.[cm~Quintuple Counterpoint. [f
y75,1]Counterpoint in ~which [sm5[nm vv. are concerned, which are capable of ~[P
N573,0,0,R,I0]changing places with each other, so making [sm120[nm ~positions of
 the v. parts possible.[cm~Quintuplet. [fy75,1]See [cf2]Quintole.[cm~Quintuple T
ime. [fy75,1]When there are [sm5[nm beats to a ~measure, with prin. accents on [
sm1[nmst, and [sm3[nmrd or [sm4[nmth ~beats according to whether the [sm5[nm are
 a compound ~of [cf9]2=-=-=-=-=-=-=K=K=K[cf13]4[cf1] and [cf9]3=-=-=-=-=-=-=K=K=
K[cf13]4[cf1] or of [cf9]3=-=-=-=-=-=-=K=K=K[cf13]4[cf1] and [cf
9]2=-=-=-=-=-=-=K=K=K[cf13]4[cf1]. Famous examples are in ~Chopin's pf. sonata i
n C minor, Op. [sm4[nm, Wagner's ~[cf2]Tristan und Isolde, [cf1]Act III, Sc. [sm
2[nm, and Tchaikovsky's ~[sm6[nmth Sym. ([sm2[nmnd movement).[cm~Quodlibet [fy75
,1](Lat.). What pleases. Light-hearted ~comp. comprising several popular tunes o
r ~fragments of tunes ingeniously put together, e.g.[fj~finale of Bach's [fy45,1
]*[fy75,2][cf2]Goldberg Variations[cf1], where [sm2[nm ~popular melodies of the
day, [cf2]Ich bin so lang nicht ~bei dir g'west  [cf1](I've been away from you s
o long) ~and [cf2]Kraut und R;Auuben [cf1](Cabbage and turnips), are ~combined w
ithin the harmonic outline of the ~theme.[xm[cm~[j4]~[xp[te~




[do42][j99]~~~~~~[cf3]BROMIDE TO S.CUBITT PLEASE[ep~[cf1][sm153842[nmBA[sm02[nm[
ep~[u1]~~~~[sm153842[nm[cmOxford Dictionary of ~Music[cmBA[sm02[nm[cm[sm42[nm[cm
[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[nm[cm[sm10[nm[cm[sm142[nm[cm~JS[cm[cm3-7-84[c
m~[cm~~~~[j1]Beat. [fy75,1]([sm1[nm) Unit of measurement of rhythmic pulse ~of m
us. (i.e. waltz has [sm3[nm beats to the measure), as ~indicated in time signatu
re. In [cf9][zs4[cf13]4[cf1] time each ~quarter-note (crotchet) is one beat, but
 in more ~complicated signatures much depends on the ~tempo selected. E.g. in [c
f9][zs1=+=+=+[cf13][zs8[cf9]=+=+=+2[cf1] time there are [sm12[nm beats ~to a mea
sure if taken very slowly, or else one for ~each dotted crotchet.[ep~[xm[cm~[ep~
[ep~[ep~;d4;i4[ep~[ep~[te~



[do42][j99]~~~~~~[sm153842[nmR[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Diction
ary of ~Music[cmR[sm001[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm8[nm/[sm10[nm/[sm79[nm[cm[
sm10[nm[cm[sm001[nm[cm~GC[cm4[cm13.8.84[cm~U1[cm~~~~[PN574,0,0,L,I0][ap[j3]~R[cm
~~[j1]R. [fy75,1]([sm1[nm) Abbreviation for right, e.g. R.H., right ~hand, in pf
. mus.[ep~^([sm2[nm) Abbreviation for Responsorium in church ~mus. (Gregorian ch
ant).[ep~^([sm3[nm) Abbreviation for [fy45,1]*[fy75,2][cf2]ripieno [cf1]in early
 orch. mus.[ep~^([sm4[nm) Abbreviation for [cf2]clavier de r;Aaecit, [cf2][cf1]t
he swell ~manual, in Fr. org. mus.[ep~^([sm5[nm) Abbreviation for [cf2]ritardand
o[cf1], found particu~~larly in Elgar's scores.[ep~^([sm6[nm) In catalogues of w
orks of [fy45,1]*[fy75,1]Vivaldi, abbrevia~~tion for Rinaldi or for Ryom (latter
 usually in ~form RV).[cm~Raabe, Peter [fy75,1]([cf2]b [cf1]Frankfurt-am-Oder, [
sm1872[nm; [cf2]d ~[cf1]Weimar, [sm1945[nm). Ger. cond., composer, and ~scholar.
 Cond. opera at K;Auonigsberg, Elberfeld, ~Amsterdam [sm1894[nm=
n[sm9[nm. Cond., Kaim Orch., Munich ~and Mannheim, [sm1903[nm=n[sm7[nm. Court co
nd., Weimar ~[sm1907[nm, curator Liszt Museum from [sm1910[nm. Dir. of ~mus. Aac
hen [sm1920[nm=n[sm34[nm. Succeeded R. Strauss as ~president of Reichsmusikkamme
r, [sm1935[nm=n[sm45[nm. ~Chairman, editorial board of Liszt complete edn. ~Wrot
e [sm2[nm-vol. book on Liszt. Comp. songs and pf. ~pieces.[cm~Raaff, Anton [fy75
,1]([cf2]b [cf1]Gelsdorf, Bonn, [sm1714[nm; [cf2]d [cf1]Munich, ~[sm1797[nm). Ge
r. ten. Studied Munich and Bologna. ~Sang in It. [sm1738[nm=n[sm42[nm, Ger. [sm1
742[nm=n[sm9[nm, Lisbon [sm1753[nm=n~[sm5[nm, Madrid [sm1755[nm=n[sm9[nm. In Man
nheim from [sm1770[nm and ~Munich from [sm1779[nm. Went to Paris with Mozart, ~[
sm1778[nm. Mozart wrote role of Idomeneo for him, ~[sm1781[nm.[cm~Rabaud, Henri
[fy75,1](Benjamin) ([cf2]b [cf1]Paris, [sm1873[nm; [cf2]d ~[cf1]Paris, [sm1949[n
m). Fr. composer, cond., and teacher. ~Studied Paris Cons., pupil of Massenet. W
on [cf2]Prix ~de Rome [cf1][sm1894[nm with cantata [cf2]Daphn;Aa
e. [cf1]Cond. Paris ~Op;aaera [sm1908[nm=n[sm18[nm (dir. [sm1914[nm=n[sm18[nm),
Boston S.O. [sm1918[nm=n~[sm19[nm. Prof. of harmony, Paris Cons., dir. [sm1920[n
m=n[sm41[nm. ~Wrote [sm8[nm operas, incl. [cf2]L'Appel de la mer [cf1]([fy45,1]*
[fy75,1]Riders to ~the Sea) [sm1924[nm, [sm2[nm syms., symphonic poems, oratorio
 ~[cf2]Job[cf1], vc. concertino, str. qt., etc. Wrote vc. method. ~Orch. Faur;Aa
e's [cf2]Dolly [cf1]suite.[cm~Rabin, Michael [fy75,1]([cf2]b [cf1]NY, [sm1936[nm
; [cf2]d [cf1]NY, [sm1972[nm). Amer. ~violinist, son of violinist in NY P.O. Stu
died ~Juilliard Sch., NY. Prof. d;Aaebut [sm1947[nm. Brilliant and ~sensitive ar
tist whose untimely death ended int. ~career.[cm~Race, Steve [fy75,1]([cf2]b [cf
1]Lincoln, [sm1921[nm). Eng. pianist, ~composer, writer, and broadcaster. Studie
d RAM. ~Career as jazz pianist followed by success as ~popular presenter of mus.
 on radio and [smtv[nm. Comp. ~[cf2]Variations on a Smoky Theme [cf1]for orch.,
film mus., ~and [cf2]Cyrano de Bergerac [cf1]for radio.[cm~Rachm
aninov. [fy75,1]See [cf2]Rakhmaninov, Sergey.[cm~Racket [fy75,1](Ger. [cf2]Racke
tt[cf1]). Renaissance woodwind ~instr., forerunner of bn., developed in Ger. in
late ~[sm16[nmth cent., when it was called [cf2]Raggett. [cf1]Had narrow ~cylind
rical bore of [sm9[nm parallel channels drilled in ~wooden or ivory cylinder and
 connected alter~~nately top and bottom. Existed in [sm4[nm types: ten., ~bass,
quint bass, great bass. Ten. was [sm4[nm;FD;Pp high, ~great bass just over [sm12
[nm;Pp. During latter part of [sm17[nmth ~cent., bass racket was redesigned, wit
h wider ~expanding conical bore, coiled crook inserted at ~side, central bulbous
 bell, and new disposition of ~finger-holes. This instr., in effect a narrow-bor
e ~bn., is known as the baroque racket. Modern ~versions of both Renaissance and
 Baroque racket ~available, former with a plastic reed.[cm~Radcliffe, Philip [fy
75,1](Fitzhugh) [cf1]([cf2]b [cf1]Godalming, ~[sm1905[nm). Eng. musicologist, co
mposer, and writer. ~Educated Cambridge Univ. Lecturer in Mus.,
~Cambridge Univ. [sm1947[nm=n[sm72[nm. Composer of str. qt., ~songs, mus. for Gr
. plays. Author of books on ~Mendelssohn, Schubert pf. sonatas, etc.[cm~Raddoppi
are [fy75,1](It.). To double. Hence [cf2]raddoppia~~mento, [cf1]doubling.[xm[cm~
[j1]Radetzky March. [fy75,1]March comp. [sm1848[nm by Johann ~Strauss the elder.
 Radetzky was Austrian field-~marshal.[cm~Radford, Robert [fy75,1]([cf2]b [cf1]N
ottingham, [sm1874[nm; [cf2]d [cf1]Lon~~don, [sm1933[nm). Eng. bass. Studied RAM
 with ~Randegger. Opera d;Aaebut CG [sm1904[nm as Commend~~atore in [cf2]Don Gio
vanni. [cf1]Sang Hagen and Hunding ~in Eng. [cf2]Ring [cf1]under Richter at CG [
sm1908[nm. Member ~of Beecham and BNO cos. First Eng. Boris ~Godunov. Equally su
ccessful in oratorio etc., ~singing at major choral fests. Taught at RAM ~after
[sm1928[nm.[cm~Radical Bass. [fy75,1]Same as fundamental bass; roots ~of various
 chords.[cm~Radical Cadence. [fy75,1]Any cadence of which the ~chords are in roo
t position, i.e. the roots of the ~chords in the bass.[cm~Raff,
[fy75,1](Joseph) [fy65,3]Joachim [fy75,1]([cf2]b [cf1]Lachen, Switz., [sm1822[nm
; ~[cf2]d [cf1]Frankfurt, [sm1882[nm). Ger. composer. School-teacher ~who taught
 himself pf., vn., and comp. Encour~~aged by Mendelssohn and Liszt. Orchestrated
 ~some of Liszt's works at Weimar. Espoused cause ~of `music of the future'. Pf.
 teacher, Wiesbaden, ~from [sm1856[nm. Dir., Hoch Cons., Frankfurt, [sm1877[nm=n
~[sm82[nm. Taught Amer. composer [fy45,1]*[fy75,1]MacDowell. Prolific ~and attra
ctive composer whose mus. has enjoyed ~a modest revival after being almost forgo
tten ~except for celebrated [cf2]Cavatina [cf1]for vn. and pf. ~Comps. incl. sev
eral operas; oratorio; [sm11[nm syms., ~[PN575,0,0,R,I0]incl. No. [sm3[nm [cf2]I
m Walde [cf1](In the Forest), No. [sm5[nm [cf2]Lenore, ~[cf1]No. [sm7[nm [cf2]In
 den Alpen [cf1](In the Alps), No. [sm9[nm [cf2]Im Sommer ~[cf1](In Summer); pf.
 conc., [sm2[nm vn. concs., [sm2[nm vc. concs., ~numerous chamber works, songs,
transcrs., etc.[xm[cm~[j1]R;amaga. [fy75,1]Indian melodic type,
first mentioned in ~[sm5[nmth cent. [smad[nm. Various r;Amaga systems have devel
oped ~over the centuries. A r;Amaga comprises an unchange~~able series of notes
presented as an ascending and ~descending scale, some notes being used only in ~
the ascending part, others only in the descending. ~R;Amagas are assoc. with moo
ds, e.g. loneliness, ~bravery, eroticism, and with particular times of ~day or y
ear, or with certain ceremonial occasions.[xm[cm~[j1]Ragtime. [fy75,1]Early type
 of jazz, particularly for solo ~pf., and comp. rather than improvised. Famous ~
exponent and composer of it was Scott [fy45,1]*[fy75,1]Joplin. ~Popular from [cf
2]c.[cf1][sm1895[nm=n[sm1920[nm, when other forms of ~jazz took over, but it had
 a revival in [sm1970[nms, when ~Joplin's mus. was used for the film [cf2]The St
ing. ~[cf1]Stravinsky comp. [cf2]Ragtime [cf1]for [sm11[nm instr. ([sm1918[nm) a
nd ~[cf2]Piano-Rag Music [cf1]([sm1919[nm). A [cf2]Rag [cf1]is a ragtime comp. ~
To [cf2]rag [cf1]is to play in ragtime.[cm~Railton, [fy75,1](Dam
e) [fy65][cf3]Ruth [fy75,1]([cf2]b [cf1]Folkestone, [sm1915[nm). Eng. ~pianist a
nd cond. D;Aaebut Liverpool [sm1936[nm. Dir. of ~mus. at several schs. Founder a
nd mus. dir. Nat. ~Youth Orch. and Nat. Junior Mus. Sch. [sm1947[nm=n[sm65[nm. ~
O.B.E. [sm1954[nm, D.B.E. [sm1966[nm.[cm~Railway Music. [fy75,1]Many comps. have
 reflected ~interest in railways and railway engines. Perhaps ~the earliest is B
erlioz's [cf2]Le chant des chemins de fer, ~[cf1][sm1846[nm, which exists in [sm
2[nm versions: as No. [sm3[nm of his [sm6[nm ~[cf2]Feuillets d'album, [cf1]Op. [
sm19[nm, for v. and pf., and for v. ~and orch. The cantata version was written f
or the ~opening of the Fr. Northern Railway and was ~perf. at Lille on [sm14[nm
June, [sm1846[nm. The text was by ~Jules Janin. Other works worthy of note are J
. ~Strauss's [cf2]Excursion Train Polka[cf1], Honegger's [fy45,1]*[fy75,2]Pacifi
c ~[sm231[nm[cf1], A. Butterworth's [cf2]Trains in the Distance[cf1], ~Lumbye's
[cf2]Copenhagen Steam Railway Galop, [cf1]and ~Villa-Lobos's [cf
2]Little Train of the Caipira. [cf1]Britten's ~song [cf2]Midnight on the Great W
estern, [cf1]from [cf2]Winter ~Words, [cf1]Op. [sm52[nm, is also memorable. The
first piece ~of [fy45,1]*[fy75,2]musique concr;Agete [cf1]by Schaeffer in [sm194
8[nm was an ~assemblage of railway noises called [cf2];AaEtude aux ~chemins de f
er. [cf1]There are also Vivian Ellis's light ~orch. piece [cf2]Coronation Scot,
[cf1]commemorating the ~L.M.S. [sm1937[nm `crack' engine, and the delightful ~Am
er. song [cf2]Chattanooga Choo-Choo[cf1] by Gordon and ~Warren. Possibly the fil
m mus. by Britten for ~[cf2]Night Mail [cf1]should also count as railway mus.[cm
~Raimann, Rudolf [fy75,1]([cf2]b [cf1]Veszpr;Aaem, Hung., [sm1861[nm; [cf2]d ~[c
f1]Vienna, [sm1913[nm). Hung. composer. Wrote [sm15[nm operas ~and operettas, in
cl. [cf2]Enoch Arden [cf1]([sm1905[nm), and songs ~and pf. pieces.[xm[cm~[j1]Rai
mondi, Pietro [fy75,1]([cf2]b [cf1]Rome, [sm1786[nm; [cf2]d [cf1]Rome, [sm1853[n
m). ~It. composer and cond. Studied Naples. Dir., ~Naples royal
ths. [sm1824[nm=n[sm32[nm, taught comp. Royal ~Cons. [sm1825[nm=n[sm32[nm, Paler
mo Cons. [sm1832[nm=n[sm52[nm, maestro ~di cappella, St Peter's, Rome, [sm1852[n
m. Famous ~contrapuntist. Wrote [sm3[nm oratorios ([sm1847[nm=n[sm8[nm) to be ~p
erf. simultaneously (as they were on tripartite ~stage in Rome, [sm1852[nm). Wro
te [sm64[nm-v. fugue for [sm16[nm ~[sm4[nm-part choirs, also about [sm50[nm oper
as, [sm21[nm ballets, and ~many other fugues capable of intricate combina~~tions
. Posterity, heartlessly, has preferred on the ~whole to attend to one work at a
 time, but to ~none by Raimondi.[xm[cm~[j1]Raimondi, Ruggero [fy75,1]([cf2]b [cf
1]Bologna, [sm1941[nm). It. bass. ~Studied in Rome. Opera d;aaebut Spoleto [sm19
64[nm, ~Glyndebourne [sm1969[nm (as Don Giovanni), NY Met. ~[sm1970[nm (Colline
in [cf2]La Boh;ageme[cf1]), CG [sm1972[nm as Silva in ~[cf2]Ernani [cf1]and Fies
co in [cf2]Simon Boccanegra[cf1]). Member ~of Scala, Milan, Co. from [sm1970[nm.
[xm[cm~[j1]`Raindrop' Prelude. [fy75,1]Nickname for Chopin's ~Pr
elude in D;Yh, Op. [sm28[nm, No. [sm15[nm ([sm1839[nm), on ~unauthenticated supp
osition that the repeated ~note A;Yh represents raindrops.[cm~Rainier, Priaulx [
fy75,1]([cf2]b [cf1]Howick, Natal, [sm1903[nm). S. ~African composer and violini
st. Entered S. African ~College of Mus. as vn. student [sm1913[nm. Won vn. ~scho
larship to RAM [sm1920[nm and settled in London. ~Worked as violinist and only c
oncentrated on ~comp. after grant in [sm1935[nm. Studied in Paris with ~Boulange
r to [sm1939[nm. Prof. of comp., RAM, [sm1943[nm=n~[sm61[nm. Prin. works:[xm[cm~
[j2][smorch[nm: [fy75,2]Sinfonia da Camera, [cf1]str. ([sm1947[nm); [cf2]Ballet
Suite ~[cf1]([sm1950[nm); [cf2]Phala-Phala, [cf1]dance conc. ([sm1960[nm=n[sm1[n
m); vc. ~conc. ([sm1964[nm); [cf2]Aequora Lunae [cf1]([sm1966[nm=n[sm7[nm); [cf2
]Trios and ~Triads[cf1], [sm10[nm trios and perc. ([sm1969[nm=n[sm73[nm); [cf2]P
lo;auermel, ~[cf1]winds and perc. ([sm1973[nm); vn. conc. ([cf2]Due canti e ~fin
ale[cf1]) ([sm1977[nm); [cf2]Concertante[cf1], ob., cl., orch ([
sm1981[nm).[ep~[smvocal[nm: [cf2][sm3[nm Greek Epigrams, [cf1]sop. and pf. ([sm1
942[nm); ~[cf2]Dance of the Rain[cf1], ten. and guitar ([sm1961[nm); ~[cf2]Ubunz
ima, [cf1]ten. or sop., guitar ([sm1973[nm); [cf2]Cycle for ~Declamation [cf1](D
onne), solo sop., ten., or bar. ~([sm1954[nm); [cf2]The Bee Oracles [cf1](E. Sit
well), ten. or bar., ~fl., ob., vn., vc., hpd. ([sm1969[nm); [cf2]Vision and Pra
yer[cf1], ~ten. and pf. ([sm1973[nm); [cf2]Prayers from the Air[cf1], ten., ~har
p ([sm1974[nm=n[sm5[nm).[ep~[smchamber music[nm: Str. Qt. ([sm1939[nm); [cf2]Sui
te [cf1]for cl. and ~pf. ([sm1943[nm); va. sonata ([sm1945[nm); [sm6[nm [cf2]Pie
ces [cf1]for fl., ob., ~cl., hn., bn. ([sm1954[nm); [cf2]Pastoral Triptych, [cf1
]ob. solo ~([sm1960[nm); [cf2]Quanta, [cf1]ob. and str. trio ([sm1961[nm=n[sm2[n
m); str. ~trio ([sm1965[nm=n[sm6[nm).[ep~[smkeyboard[nm: [cf2]Barbaric Dance Sui
te, [cf1]pf. ([sm1949[nm); [cf2]Quin;Dh[fj~que, [cf1]hpd. ([sm1971[nm); [cf2]Glo
riana, [cf1]org. ([sm1972[nm); [cf2]Primordial ~Canticles[cf1],
org. ([sm1974[nm).[cm~[j1]Raisa, Rosa [fy75,1](orig. Rose Burchstein) ([cf2]b [c
f1]Bialystok, ~Poland, [sm1893[nm; [cf2]d [cf1]Pacific Palisades, Calif., [sm196
3[nm). ~Polish-born sop. Child singer. Fled from pogrom ~in Poland to It. Taught
 by Eva Tetrazzini and by ~Marchisio at Naples Cons. Opera d;Aaebut Parma ~[sm19
13[nm (Leonora in Verdi's [cf2]Oberto[cf1]), then at Scala, ~Milan. Sang Aida at
 Chicago Opera [sm1913[nm, ~becoming member of co. [sm1917[nm=n[sm32[nm, [sm1933
[nm=n[sm6[nm. CG ~d;aaebut [sm1914[nm. Created role of Asteria in Boito's ~[cf2]
Nerone, [cf1]Milan, [sm1924[nm, and was chosen by Puccini ~to be first Turandot
(Milan [sm1926[nm). Much admired ~as Marschallin, Norma, and Tosca. Retired [sm1
938[nm ~and taught in Chicago.[cm~[PN576,0,0,L,I0]Rajah's Diamond, The.[fy75,1]
Opera for TV by ~[fy45,1]*[fy75,1]Hoddinott to lib. by Myfanwy Piper based on ~s
tory in R. L. Stevenson's [cf2]New Arabian Nights[cf1] ~([sm1882[nm). F.p. BBC T
V [sm1979[nm.[cm~Rajna, Thomas [fy75,1]([cf2]b[cf1] Budapest, [s
m1928[nm). Brit. pianist ~and composer of Hung. birth. Studied with ~[fy45,1]*[f
y75,1]Kod;aaaly and [fy45,1]*[fy75,1]Veress at Liszt Acad., Budapest, ~[sm1944[n
m=n[sm7[nm. Settled in London [sm1947[nm, studying under ~[fy45,1]*[fy75,1]Howel
ls for comp. and A. Morrison for pf. at ~RCM. Taught at GSM [sm1963[nm=n[sm7[nm,
 Univ. of Surrey ~[sm1967[nm=n[sm70[nm. Senior lect. in mus., Univ. of Cape ~Tow
n, from [sm1970[nm. Specialist in Stravinsky's pf. ~mus. Comps. incl. pf. conc.,
 chamber mus., and ~songs.[cm~Rakastava [fy75,1](The Lover). Comp. by [fy45,1]*[
fy75,1]Sibelius, Op. ~[sm14[nm, orig. [sm3[nm songs for unacc. male ch. with tex
t ~from Book [sm1[nm of [cf2]Kanteletar. [cf1][sm1[nm. [cf2]Where is my Beloved?
 ~[cf1][sm2[nm. [cf2]My Beloved's Path. [cf1][sm3[nm. [cf2]Good Evening, my Litt
le Bird. ~[cf1]Comp. [sm1893[nm, f.p. Helsinki [sm1894[nm. Version for male ~ch.
 and str. [sm1894[nm (unpubd.). Version for unacc. ~mixed ch., [sm1898[nm. Rewri
tten version for str. orch., ~triangle, and timp., [sm1911[nm, i
n [sm3[nm movements: [sm1[nm. [cf2]The ~Lover. [cf1][sm2[nm. [cf2]The Path of th
e Beloved. [cf1][sm3[nm. [cf2]Goodnight=m~Farewell.[cm~Rake's Progress, The. [fy
75,1]([sm1[nm) Opera in [sm3[nm acts and ~epilogue by [fy45,1]*[fy75,1]Stravinsk
y to lib. by W. H. Auden ~and Chester Kallman based on Hogarth's [sm8[nm ~engrav
ings ([sm1735[nm). Comp. [sm1948[nm=n[sm51[nm. Prod. Venice ~[sm1951[nm, NY Met.
 and Edinburgh [sm1953[nm (by Glynde-[fj~bourne co.).[ep~^([sm2[nm) Ballet in [s
m6[nm scenes with mus. by Gavin Gordon, ~choreog. N. de Valois, prod. London [sm
1935[nm.[cm~Rakhmaninov, Sergey [fy75,1](Vasilyevich) [cf1]([cf2]b [cf1]Semyon~~
ovo, Starorussky, [sm1873[nm; [cf2]d [cf1]Beverly Hills, Calif., ~[sm1943[nm). R
uss. composer, pianist, and cond. Entered ~St Petersburg Cons. [sm1882[nm; studi
ed pf. with ~Nikolay Zverev in Moscow, [sm1885[nm, and began to ~compose in [sm1
886[nm. Entered Ziloti's pf. class at ~Moscow Cons. [sm1888[nm, also studying co
unterpoint ~with Taneyev and harmony with Arensky. In ~[sm1890[n
m he began to compose his first pf. conc., ~completing it a year later. In the s
ummer of [sm1892[nm ~he wrote the Prelude in C;Yi minor which became ~his most c
elebrated comp. His first opera [cf2]Aleko ~[cf1]was staged at the Bolshoy, Mosc
ow, in [sm1893[nm and ~praised by Tchaikovsky. It was a success, unlike ~his fir
st Sym. which received a disastrous perf. ~under Glazunov in St Petersburg in [s
m1897[nm. ~Rakhmaninov withdrew the work, which was ~never again played in his l
ifetime. In [sm1897[nm=n[sm8[nm he ~became [sm2[nmnd cond. of the Moscow Private
 Russian ~Opera Co., forming a lifelong friendship with the ~co.'s then unknown
bass [fy45,1]*[fy75,1]Chaliapin. His first ~professional visit abroad was to Lon
don in [sm1899[nm, ~where he played `the' Prelude and cond. his orch. ~fantasy [
cf2]The Rock.[cf1] At this time he lost faith in his ~power of comp., but was he
lped by hypnosis ~treatment from Dr Nikolay Dahl, also an amateur ~musician, who
 had many talks on mus. with his ~patient. A few months later Ra
khmaninov began ~his [sm2[nmnd pf. conc., which was a great success at its ~f.p.
 and has remained immensely and rightly ~popular. Thenceforward Rakhmaninov comp
. ~fluently. He worked simultaneously on [sm2[nm operas, ~[cf2]The Miserly Knigh
t [cf1]and [cf2]Francesca da Rimini[cf1], both ~of which he cond. at the Bolshoy
 where he was ~cond. [sm1904[nm=n[sm6[nm. Worried by political unrest in ~Russia
, he moved to Dresden in [sm1906[nm, beginning ~work on a [sm2[nmnd Sym., the f.
p. of which he cond. ~on a visit to St Petersburg in [sm1908[nm. His first visit
 ~to USA followed in [sm1909[nm, where he was soloist in ~the f.p. of his [sm3[n
mrd pf. conc. in NY. He returned to ~live in Russia, conducting several Moscow P
hil. ~concerts in the [sm1912[nm=n[sm13[nm season and completing ~his choral sym
. [cf2]The Bells.[cf1] In [sm1917[nm he left Russia ~for ever and began a new ca
reer as int. concert ~pianist, making America his base. This reduced ~the time h
e had for comp. and it was not until ~[sm1926[nm that he complet
ed the [sm4[nmth pf. conc. he had ~begun in [sm1914[nm. The work was played [sm1
927[nm but ~was not, and never has been since, a success. After ~he signed a let
ter in [sm1931[nm attacking the Soviet ~r;aaegime his mus. was banned in Russia
until [sm1933[nm. ~In [sm1934[nm he comp. one of his finest works, the ~[cf2]Rha
psody on a Theme of Paganini, [cf1]which was ~followed in [sm1936[nm by the [sm3
[nmrd Sym. In [sm1938[nm he was ~in London to play at Henry Wood's jubilee ~conc
ert and gave his last London recital in Mar. ~[sm1939[nm. He comp. the [cf2]Symp
honic Dances [cf1]for orch. in ~[sm1940[nm. Despite failing health he embarked o
n an ~arduous Amer. tour in the winter of [sm1942[nm=n[sm3[nm, ~giving the proce
eds to war relief. After playing ~in Knoxville, Tennessee, on [sm15[nm Feb. he b
ecame ~seriously ill and died on [sm28[nm Mar.[ep~^Rakhmaninov was one of the gr
eatest of pianists, ~as is proved by his recordings not only of his own ~concs.
but of other composers' mus., incl. sonatas ~with the violinist
Kreisler. The vigour and ~attention to detail of his cond. are also preserved ~o
n records. But it is as a composer that his name ~will live longest. He was the
last of the colourful ~Russian masters of the late [sm19[nmth cent., with their
~characteristic gift for long and broad melodies ~imbued with a resigned melanch
oly which is ~never long absent. His operas have failed to hold ~the stage, main
ly because of defects in their libs., ~but recordings have enabled their splendi
d mus. ~to be appreciated. Three of the [sm4[nm pf. concs. are an ~ineradicable
part of the romantic repertory, and ~the syms., though long overshadowed by the
pf. ~works, have gained esteem and popularity. The ~songs are at last being reco
gnized as among ~Russia's best. In his later years his style grew ~subtler, as c
an be heard in the [cf2]Corelli Variations ~[cf1]for pf., the [cf2]Paganini Rhap
sody, [cf1]the last set of songs, ~and the [cf2]Symphonic Dances. [cf1]But his m
asterpiece is ~[cf2]The Bells, [cf1]in which all his powers are
fused and ~unified. Prin. works:[xm[cm~[ol0][ep~[xp[te~












[do42][j99]~~~~~~[sm153842[nm_R[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm002[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm8[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm032[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~[ap~[j2][smoperas[nm: [f
y45,1]*[fy75,2]Aleko [cf1]([sm1892[nm); [cf2]The [fy45,1]*[fy75,2]Miserly Knight
 [cf1]([cf2]Skupoy ~rytsar[cf1]) Op. [sm24[nm ([sm1903[nm=n[sm5[nm); [fy45,1]*[f
y75,2]Francesca da Rimini[cf1], ~Op. [sm25[nm ([sm1900[nm, [sm1904[nm=n[sm5[nm);
 [cf2]Monna Vanna [cf1]([sm1907[nm, one act in pf. score).[ep~[smorch[nm: [cf2]S
cherzo [cf1]in D minor ([sm1887[nm); [cf2]Prince Rostislav ~[cf1]([cf2]Knyaz Ros
tislav[cf1]) ([sm1891[nm); [cf2]The Rock [cf1]([cf2]Utyos[cf1]), Op. [sm7[nm ~[P
N577,0,0,R,I0]([sm1893[nm); [cf2]Caprice boh;Aaemien [cf1]([cf2]Kaprichchio na t
sigan~~skiye temi, [cf1]Capriccio on gipsy themes), Op. [sm12[nm ~([sm1892[nm=n[
sm4[nm); [cf1]Symphonies: No. [sm1[nm in D minor, Op. ~[sm13[nm ([sm1895[nm), No
. [sm2[nm in E minor, Op. [sm27[nm ([sm1906[nm=n[sm7[nm), ~No. [
sm3[nm in A minor, Op. [sm44[nm ([sm1935[nm=n[sm6[nm, rev. [sm1938[nm); ~[cf2]Th
e [fy45,1]*[fy75,2]Isle of the Dead [cf1]([cf2]Ostrov myortvikh[cf1]), Op. [sm29
[nm ~([sm1909[nm); [fy45,1]*[fy75,2]Symphonic Dances[cf1], Op. [sm45[nm ([sm1940
[nm).[ep~[smpiano and orch[nm: Concertos: No. [sm1[nm in F;Yi minor, ~Op. [sm1[n
m ([sm1890=n1[nm, rev. [sm1917[nm), No. [sm2[nm in C minor, ~Op. [sm18[nm ([sm19
00[nm=n[sm1[nm), No. [sm3[nm in D minor, Op. [sm30[nm ~([sm1909[nm), No. [sm4[nm
 in G minor, Op. [sm40[nm ([sm1914[nm=n[sm26[nm, rev. ~[sm1941[nm); [fy45,1]*[fy
75,2]Rhapsody on a Theme of Paganini, [cf1]Op. [sm43[nm ~([sm1934[nm).[ep~[smcho
ral[nm: [cf2][sm6[nm Choruses, [cf1]Op. [sm15[nm, women's or children's ~ch. ([s
m1895[nm=n[sm6[nm); [cf2]Spring [cf1]([cf2]Vesna[cf1]), Op. [sm20[nm, cantata, ~
bar., ch., and orch. ([sm1902[nm); [cf2]Liturgy of St John ~Chrysostom, [cf1]Op.
 [sm31[nm ([sm1910[nm); [cf2]The [fy45,1]*[fy75,2]Bells [cf1]([cf2]Kolokola[cf1]
), ~Op. [sm35[nm, sym. for sop., ten., bar., ch., and orch. ~([s
m1913[nm); [cf2]All-Night Vigil [cf1]([cf2]Vsenoshchnoye bdeniye[cf1]), ~Op. [sm
37[nm, soloists and ch. ([sm1915[nm); [cf2][sm3[nm Russian Songs[cf1], ~Op. [sm4
1[nm, ch. and orch. ([sm1926[nm).[ep~[smchamber music[nm: [sm2[nm movements for
str. qt. ([sm1889[nm, ~also arr. for orch. by Rakhmaninov, [sm1891[nm); [cf2]Tri
o ~;aael;aaegiaque, [cf1]No. [sm1[nm in G minor, pf., vn., vc. ([sm1892[nm); ~[c
f2][sm2[nm Pieces [cf1]for vc. and pf., Op. [sm2[nm ([sm1892[nm); [cf2][sm2[nm P
ieces [cf1]for ~vn. and pf., Op. [sm3[nm ([sm1893[nm); [cf2]Trio ;aael;aaegiaque
, [cf1]No [sm2[nm in ~D minor, Op. [sm9[nm ([sm1893[nm); [sm2[nm movements for s
tr. qt. ~(?[sm1896[nm); Vc. sonata in G minor, Op. [sm19[nm ([sm1901[nm).[ep~[sm
piano[nm: [cf2][sm3[nm Nocturnes [cf1]([sm1887[nm=n[sm8[nm); [cf2][sm4[nm Pieces
 [cf1](?[sm1888[nm); ~[cf2]Prelude [cf1]in F ([sm1891[nm); [cf2][sm5[nm Morceaux
 de Fantaisie, [cf1]Op. ~[sm3[nm (No. [sm2[nm is Prelude in C;Yi minor, also arr
. for [sm2[nm ~pf., [sm1938[nm) ([sm1892[nm); [cf2][sm7[nm Morce
aux de Salon, [cf1]Op. [sm10[nm ~([sm1893[nm=n[sm4[nm); [cf2][sm6[nm Moments Mus
icaux, [cf1]Op. [sm16[nm ([sm1896[nm); ~[cf2]Variations on a theme of Chopin, [c
f1]Op. [sm22[nm ([sm1902[nm=n[sm3[nm); ~[cf2][sm10[nm Preludes, [cf1]Op. [sm23[n
m (No. [sm1[nm in F;Yi minor, No. [sm2[nm in ~B;Yh major, No. [sm3[nm in D minor
, No. [sm4[nm in D major, ~No. [sm5[nm in G minor, No. [sm6[nm in E;Yh major, No
. [sm7[nm in C ~minor, No. [sm8[nm in A;Yh major, No. [sm9[nm in E;Yh minor, ~No
. [sm10[nm in G;Yh major) ([sm1903[nm, except No. [sm5[nm in ~[sm1901[nm); [cf2]
[sm13[nm Preludes, [cf1]Op. [sm32[nm (No. [sm1[nm in C, No. [sm2[nm in ~B;Yh min
or, No. [sm3[nm in E major, No. [sm4[nm in E minor, ~No. [sm5[nm in G major, No.
 [sm6[nm in F minor, No. [sm7[nm in F ~major, No. [sm8[nm in A minor, No. [sm9[n
m in A major, No. ~[sm10[nm in B minor, No. [sm11[nm in B major, No. [sm12[nm in
 G;Yi ~minor, No. [sm13[nm in D;Yh major) ([sm1910[nm); [cf2];AaEtudes ~tableaux
,[cf1] Op. [sm33[nm (No. [sm1[nm in F minor, No. [sm2[nm in C, ~
No. [sm3[nm in E;Yh minor, No. [sm4[nm in E;Yh major, No. [sm5[nm in ~G minor, N
o. [sm6[nm in C;Yi minor ([sm1911[nm) ([sm3[nm ;AaEtudes of ~Op. [sm33[nm were w
ithdrawn by composer before ~publication: orig. No. [sm4[nm in A minor (pubd. as
 ~Op. [sm39[nm, No. [sm6[nm), orig. No. [sm3[nm in C minor and orig. ~No. [sm5[n
m in D minor (both pubd. [sm1948[nm)); [cf2];AaEtudes ~tableaux, [cf1]Op. [sm39[
nm (No. [sm1[nm in C minor, No. [sm2[nm in A ~minor, No. [sm3[nm in F;Yi minor,
No. [sm4[nm in B minor, ~No. [sm5[nm in E;Yh minor, No. [sm6[nm in A minor, No.
[sm7[nm in ~C minor, No. [sm8[nm in D minor, No. [sm9[nm in D major ~([sm1916[nm
=n[sm17[nm, except No. [sm6[nm, comp. [sm1911[nm, rev. [sm1916[nm); ~[cf2]Orient
al Sketch [cf1]([sm1917[nm); [fy45,1]*[fy75,2]Variations on a Theme of ~Corelli
[cf1]([cf2]La folia[cf1]) ([sm1931[nm); Sonatas: No. [sm1[nm in D ~minor ([sm190
7[nm), No. [sm2[nm in B;Yh minor ([sm1913[nm, rev. ~[sm1931[nm).[ep~[smpiano due
t[nm: [cf2]Romance [cf1]in G (?[sm1893[nm); [cf2][sm6[nm Duets,
[cf1]Op. ~[sm11[nm ([sm1894[nm).[ep~[sm2[nm [smpianos[nm: [cf2]Russian Rhapsody
[cf1]in E minor ([sm1891[nm); ~[cf2]Fantaisie-tableaux [cf1]([cf2]Suite [cf1]No.
 [sm1[nm), Op. [sm5[nm ([sm1893[nm), [cf2]Suite ~[cf1]No. [sm2[nm, Op. [sm17[nm
([sm1900[nm=n[sm1[nm).[ep~[smsongs[nm: [cf2][sm6[nm Songs, [cf1]Op. [sm4[nm ([sm
1890[nm=n[sm3[nm); [cf2][sm6[nm Songs, [cf1]Op. [sm8[nm ~([sm1893[nm); [cf2][sm1
2[nm Songs, [cf1]Op. [sm14[nm ([sm1894[nm=n[sm6[nm); [cf2][sm12[nm Songs, [cf1]O
p. ~[sm21[nm ([sm1902[nm; No. [sm1[nm [sm1900[nm); [cf2][sm15[nm Songs, [cf1]Op.
 [sm26[nm ([sm1906[nm) ~(No. [sm7[nm is [fy45,1]*[fy75,2]To the Children, K dety
am[cf1]); [cf2]Letter to ~K.|S.|Stanislavsky [cf1]([sm1908[nm); [cf2][sm14[nm So
ngs, [cf1]Op. [sm34[nm ([sm1912[nm; ~No. [sm7[nm [sm1910[nm; No. [sm14[nm is [fy
45,1]*[fy75,2]Vocalise, [cf1]rev. [sm1915[nm); [cf2][sm6[nm ~Songs, [cf1]Op. [sm
38[nm ([sm1916[nm).[ep~Also several transcr., incl. [cf2]Scherzo [cf1]from Mende
ls~~sohn's [cf2]Midsummer Night's Dream [cf1]and [sm3[nm movts.
of ~J. S. Bach's [cf2]Partita [cf1]No. [sm3[nm for solo vn. (all [sm1933[nm).[cm
~[j1]R;aaak;aaoczy March. [fy75,1]Hung. march-tune dating from ~[cf2]c.[cf1][sm1
809[nm by unknown composer (possibly J;Aaanos ~Bihari, gipsy violinist) and name
d in honour of ~Prince Francis R;Aaak;Aaoczy, leader of the Hung. ~revolt agains
t Austria, [sm1703[nm=n[sm11[nm. Liszt played it at ~recitals in Hungary, where
its patriotic assocs. ~brought it into high popularity. Berlioz arr. it as ~[cf2
]Marche hongroise, [cf1][sm1846[nm, and added it to his [cf2]Scenes ~from Faust
[cf1]when he remodelled it as [cf2]La Damnation ~de Faust. [cf1]Also occurs in J
ohann Strauss's [cf2]Zigeuner~~baron.[cm~Ralf, Torsten [fy75,1]([cf2]b [cf1]Malm
;Auo, [sm1901[nm; [cf2]d [cf1]Stockholm, ~[sm1954[nm). Swed. ten. Studied Stockh
olm and Berlin. ~Opera d;Aaebut Stettin [sm1930[nm. Sang opera in Frankfurt ~[sm
1933[nm=n[sm5[nm, Dresden [sm1935[nm=n[sm44[nm. Created Apollo in R. ~Strauss's
[cf2]Daphne, [cf1][sm1938[nm. Sang at CG [sm1935[nm=n[sm9[nm and
 ~[sm1948[nm, NY Met. [sm1945[nm=n[sm8[nm. Notable Parsifal, Walther, ~and Radam
;Ages.[cm~Rallentando [fy75,1](It.). Slowing down, gradually. ~Abbreviated to [c
f2]rall. [cf1]in scores. Virtually the same ~as [fy45,1]*[fy75,2]ritardando.[cm~
R.A.M. [fy75,1][fy45,1]*[fy75,1]Royal Academy of Music, London.[cm~Rameau, Jean-
Philippe [fy75,1]([cf2]b [cf1]Dijon, [sm1683[nm; [cf2]d [cf1]Paris, ~[sm1764[nm)
. Fr. composer, harpsichordist, and organist. ~Self-taught in harmony and counte
rpoint. Visited ~It. [sm1701[nm. Organist, Clermont-Ferrand [sm1702[nm=n[sm5[nm,
 ~Paris [sm1705[nm=n[sm8[nm, Dijon [sm1709[nm=n[sm14[nm, Lyons [sm1714[nm=n[sm15
[nm, ~and then Clermont-Ferrand again, where he ~worked on his important [cf2]Tr
ait;Aae de l'harmonie, ~[cf1]pubd. in Paris [sm1722[nm, in which he set out the
then ~novel doctrines of inversions of chords and ~principles of chord-progressi
on. This was fol~~lowed by other textbooks on harmony between ~[sm1726[nm and [s
m1752[nm, and by his dissertation on methods ~of acc. for hpd. a
nd org. ([sm1732[nm). He taught the ~hpd. in Paris and wrote many works for the
instr. ~In [sm1730[nm he came under the patronage of Le Riche ~de la Pouplini;Ag
ere. In [sm1733[nm, at the age of [sm50[nm, his ~first opera, [cf2]Hippolyte et
Aricie, [cf1]met with no success, ~but he persevered and wrote over [sm20[nm ope
ras and ~opera-ballets, incl. [cf2]Castor et Pollux [cf1]and [cf2]Les Indes ~gal
antes. [cf1]These works, though controversial be~~cause of their novel use of co
lourful orchestration, ~bold harmonies, and use of recit., est. Rameau as ~[fy45
,1]*[fy75,1]Lully's successor in the field of Fr. opera. His ~champions opposed
those of [fy45,1]*[fy75,1]Pergolesi [cf1]in the ~[cf2]Querelle des  [fy45,1]*[fy
75,2]Bouffons. [cf1]In [sm1745[nm he was appointed ~chamber mus. composer to the
 King. Prin. works:[xm[cm~[PN578,0,0,L,I0][j2][smoperas and opera-ballets[nm (;P
l;eq opera-ballet): ~[fy75,2]Hippolyte et Aricie [cf1]([sm1733[nm, rev. [sm1742[
nm); [cf2]Les [fy45,1]*[fy75,2]Indes ~galantes [cf1]([sm1735[nm)
; [fy45,1]*[fy75,2]Castor et Pollux [cf1]([sm1737[nm); [cf2]Dar~~danus [cf1]([sm
1739[nm); [cf9];Pl[cf2]Les F;Afetes d'Heb;Aae [cf1]([sm1739[nm); [cf9];Pl[cf2]Le
s F;Afetes ~de Polymnie [cf1]([sm1745[nm); [cf2]Le Temple de la gloire [cf1]([sm
1745[nm); ~[cf9];Pl[cf2]La Princesse de Navarre [cf1]([sm1747[nm); [cf9];Pl [cf2
]Les F;Afetes de ~l'Hymen et de l'Amour [cf1]([sm1747[nm); [cf9];Pl[cf2]Zais [cf
1]([sm1748[nm); [cf9];Pl~[cf2]Pygmalion [cf1]([sm1748[nm); [cf2]Nais [cf1]([sm17
48[nm); [cf2]Zoroastre [cf1]([sm1749[nm); ~[cf9];Pl[cf2]Plat;Aaee [cf1]([sm1749[
nm); [cf2]Acante et C;aaephise [cf1]([sm1751[nm); [cf9];Pl[cf2]La ~guirlande [cf
1]([sm1751[nm); [cf2]Daphne et Egl;Aae [cf1]([sm1753[nm); [cf2]Lysis et ~Delia [
cf1]([sm1754[nm); [cf2]La Naissance d'Osiris [cf1]([sm1754[nm); [cf2]Z;aaephire
~[cf1]([sm1757[nm); [cf2]N;aael;Aaee et Mithis [cf1]([sm1757[nm); [cf2]Le Retour
 d'Astr;Aaee ~[cf1]([sm1757[nm); [cf9];Pl[cf2]Anacr;aaeon [cf1]([sm1757[nm); [cf
2]Les Surprises de l'amour ~[cf1]([sm1759[nm); [cf2]Les Sybarite
s [cf1]([sm1760[nm); [cf2]Les Paladins [cf1]([sm1760[nm); ~[cf2]Abaris ou Les Bo
r;Aaeades [cf1]([sm1764[nm).[ep~[smcantatas and sacred works[nm: [cf2]Th;aaetis
[cf1]([sm1718[nm); [cf2]Aquilon ~et Orinthi;aae [cf1]([sm1719[nm); [cf2] Les Ama
nts trahis [cf1]([sm1721[nm); ~[cf2]Orph;aaee[cf1] ([sm1721[nm); [cf2]L'Impatien
ce [cf1]([sm1715[nm=n[sm22[nm); [cf2]Le Berger ~fid;agele[cf1] ([sm1728[nm); [cf
2]Pour la f;afete de St-Louis [cf1]([sm1740[nm); [cf2]Deus ~Noster Refugium [cf1
](before [sm1716[nm); [cf2]In Convertendo ~[cf1]([sm1718[nm); [cf2]Quam dilecta
[cf1]([cf2]c.[cf1][sm1720[nm).[ep~[smchamber music[nm[cf1]: [cf2][sm5[nm Pi;Agec
es de clavecin en concert [cf1]for ~hpd., va. da gamba, baroque vn. ([sm1741[nm)
; [cf2][sm5[nm ~Concerts [cf1]for hpd., vn., fl. ([sm1741[nm).[ep~[smharpsichord
[nm[cf1]: (pubd. in [sm3[nm vols. of suites in ~Rameau's lifetime): [sm1[nm. [cf
2]Prelude, [cf1][sm2[nm. [cf2]Allemande [sm1[nm, [cf1][sm3[nm. ~[cf2]Allemande [
sm2[nm, [cf1][sm4[nm. [cf2]Courante, [cf1][sm5[nm. [cf2]Gigue, [
cf1][sm6[nm. [cf2]Sarabande ~[sm1[nm, [cf1][sm7[nm. [cf2]Sarabande [sm2[nm, [cf1
][sm8[nm. [cf2]La V;Aaen;Aaetienne, [cf1][sm9[nm. [cf2]Gavotte, [cf1][sm10[nm. ~
[cf2]Menuet, [cf1][sm11[nm. [cf2]Menuet en rondeau, [cf1][sm12[nm. [cf2]Allemand
e, ~[cf1][sm13[nm. [cf2]Courante, [cf1][sm14[nm. [cf2]Gigue en rondeau, [cf1][sm
15[nm. [cf2][sm2[nmnd Gigue ~en rondeau, [cf1][sm16[nm. [cf2]Le Rappel des oisea
ux, [cf1][sm17[nm. [cf2]Rigaudon ~[sm1[nm, [cf1][sm18[nm. [cf2]Rigaudon [sm2[nm,
 [cf1][sm19[nm. [cf2]Double, [cf1][sm20[nm. [cf2]Musette en ~rondeau, [cf1][sm21
[nm. [cf2]Tambourin, [cf1][sm22[nm. [cf2]La Villageoise [cf1](ron~~deau), [sm23[
nm. [cf2]Les Tendres Plaintes [cf1](rondeau), [sm24[nm. [cf2]Les ~Niais de Solog
ne, [cf1][sm25[nm. [cf2]Doubles I des Niais, [cf1][sm26[nm. [cf2]Doubles ~[sm2[n
m des Niais, [cf1][sm27[nm. [cf2]Les Soupirs, [cf1][sm28[nm. [cf2]La Joyeuse, [c
f1][sm29[nm. ~[cf2]L'Ollette [cf1](rondeau), [sm30[nm. [cf2]L'Entretien des Muse
s, [cf1][sm31[nm. ~[cf2]Les Tourbillons [cf1](rondeau), [sm32[nm
. [cf2]Les Cyclopes [cf1](ron~~deau), [cf1][sm33[nm. [cf2]Le Lardon [cf1](menuet
), [sm34[nm. [cf2]La Boiteuse, ~[cf1][sm35[nm. [cf2]Allemande, [cf1][sm36[nm. [c
f2]Courante, [cf1][sm37[nm. [cf2]Sarabande, [cf1][sm38[nm. ~[cf2]Les Trois Mains
, [cf1][sm39[nm. [cf2]Fanfarinette, [cf1][sm40[nm. [cf2]La Triom~~phante, [cf1][
sm41[nm. [cf2]Gavotte [cf1](with [sm6[nm doubles), [sm42[nm. [cf2]Les ~Tricotets
 [cf1](rondeau), [sm43[nm. [cf2]L'Indiff;aaerente, [cf1][sm44[nm. [cf2]Menuet ~I
, [cf1][sm45[nm. [cf2]Menuet [sm2[nm, [cf1][sm46[nm. [cf2]La Poule, [cf1][sm47[n
m. [cf2]Les Triolets, [cf1][sm48[nm. ~[cf2]Les Sauvages, [cf1][sm49[nm. [cf2]L'E
nharmonique, [cf1][sm50[nm. [cf2]L'Egyp~~tienne, [cf1][sm51[nm. [cf2]La Dauphine
, [cf1][sm52[nm. [cf2]La Laivri [cf1](rondeau), ~[sm53[nm. [cf2]L'Aga;Alcante, [
cf1][sm54[nm. [cf2]La Timide [cf1](rondeau), [sm55[nm. [cf2]La ~Timide [cf1](ron
deau), [sm56[nm. [cf2]L'Indiscr;Agete [cf1](rondeau).[cm~[j1]Ramifications. [fy7
5,1]Work for str. orch. or [sm12[nm solo str. ~by [fy45,1]*[fy75
,1]Ligeti, comp. [sm1968[nm=n[sm9[nm, f.p. (str. orch. version) ~Berlin, April [
sm1969[nm, cond. Gielen; (solo str. version) ~Saarbr;Auucken, Oct. [sm1969[nm, c
ond. Janigro.[cm~Ramm, Friedrich [fy75,1]([cf2]b [cf1]Mannheim, [sm1744[nm; [cf2
]d [cf1]after ~[sm1808[nm). Ger. oboist. Played in Bavarian electoral ~court orc
h. [sm1758[nm=n[sm1808[nm and was friend of Mozart ~and Beethoven.[cm~Rampal, Je
an-Pierre [fy75,1](Louis) [cf1]([cf2]b [cf1]Marseilles, [sm1922[nm). ~Fr. flauti
st. Studied Marseilles and Paris. Solo ~flautist at Paris Op;Aaera [sm1956[nm=n[
sm62[nm and in Orchestre ~de l'Association des instruments ;Aga vent. Founded ~F
rench Wind Quintet [sm1945[nm and Paris Baroque ~Ens. [sm1953[nm. Toured worldwi
de after [sm1945[nm as soloist ~in recitals and with orch. Prof. of fl. Paris Co
ns. ~Ed. of much early fl. mus. Author of [cf2]Ancient ~Music for the Flute [cf1
]([sm1958[nm).[cm~Ranalow, Frederick [fy75,1](Baring) [cf1]([cf2]b [cf1]Dublin,
[sm1873[nm; [cf2]d ~[cf1]London, [sm1953[nm). Irish bar. Studied
 RAM with ~[fy45,1]*[fy75,1]Randegger. Successful oratorio singer and prom~~inen
t member of Beecham Opera Co. as Figaro, ~etc. Sang part of Macheath in revival
of [cf2]The ~Beggar's Opera, [cf1][sm1920[nm, over [sm1[nm,[sm600[nm times.[cmRa
ndegger, Alberto [fy75,1]([cf2]b [cf1]Trieste, [sm1832[nm; [cf2]d [cf1]London, ~
[sm1911[nm). It.-born singing teacher, composer, and ~cond. Cond. opera in Italy
 [sm1852[nm=n[sm4[nm, settled in ~London [sm1855[nm becoming prof. of singing, R
AM, ~[sm1868[nm, and later also at RCM. Cond. Carl Rosa ~Opera [sm1879[nm=n[sm85
[nm, Drury Lane and CG [sm1887[nm=n[sm98[nm. ~Cond., Norwich Fest. [sm1881[nm=n[
sm1905[nm. Wrote operas, ~cantatas, church mus., etc.[cm~Rands, Bernard [fy75,1]
([cf2]b [cf1]Sheffield, [sm1935[nm). Eng. com~~poser. Studied at Univ. of Wales,
 then lived in It. ~where he studied with [fy45,1]*[fy75,1]Dallapiccola, [fy45,1
]*[fy75,1]Boulez, ~and [fy45,1]*[fy75,1]Maderna, and later with [fy45,1]*[fy75,1
]Berio. Spent [sm2[nm ~years in Amer. at Princeton and Univ. of
Illinois, ~Urbana. Member of mus. faculty York Univ. ~from [sm1974[nm. Founder-m
ember of mus.-th. ens., ~C.L.A.P. Worked in elec. mus. studios in various ~citie
s. His mus., [cf2]avant-garde [cf1]in style, and some~~times aleatory, is notabl
e for its richly colourful ~sonorities. Won Pulitzer Prize [sm1984[nm with [cf2]
Canti del Sole. [cf1]Works incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Per Esempio [cf1
]([sm1968[nm); [cf2]Agenda [cf1]([sm1969[nm=n[sm70[nm); ~[cf2]Wildtrack [cf1][sm
1[nm ([sm1969[nm), [sm2[nm ([sm1973[nm), [sm3[nm ([sm1974[nm=n[sm5[nm); ~[cf2]M;
aaesalliance, [cf1]pf. and orch. ([sm1972[nm); [cf2]Ology [cf1]([sm17[nm-piece ~
jazz orch.) ([sm1973[nm); [cf2]Aum, [cf1]harp and orch. ([sm1974[nm); ~[cf2]Sere
nata [sm75[nmb[cf1], fl., chamber orch. ([sm1976[nm).[ep~[smmusic theatre[nm: [c
f2]Serena, [cf1]singing actress, [sm2[nm mimes, ~and ens. ([sm1972[nm, rev. [sm1
977[nm=n[sm8[nm).[ep~[sminstr. ens[nm: [cf2]Actions for Six [cf1]([sm1962[nm=n[s
m3[nm); [cf2]Formants [cf2][sm2[nm ~[cf1]([sm1969[nm=n[sm70[nm);
 [cf2]Tableau [cf1]([sm1970[nm); [cf2]d;aaej;aga [cf1]([sm1972[nm); [cf2]`as all
 get ~out' [cf1]([sm1972[nm); [cf2];Aaetendre [cf1]([sm1974[nm); [cf2]Scherzi [c
f1]([sm1974[nm); ~[cf2]Cuaderna, [cf1]str. qt. ([sm1975[nm); [cf2]Madrigali[cf1]
 ([sm1977[nm); ~[cf2]Obbligato[cf1], str. qt. and tb. ([sm1980[nm).[ep~[smvoice
and instr[nm: [cf2]Ballad [sm1[nm, [cf1]mez. ([sm1970[nm); [cf2]Canti ~Lunatici[
cf1], sop. and ens. ([sm1980[nm), and orch. ([sm1981[nm); ~[cf2]Canti del Sole[c
f1], ten. and orch. ([sm1983[nm); [cf2]Metalepsis ~[sm2[nm, [cf1]mez. ([sm1971[n
m); [cf2]Deja [sm2[nm[cf1], sop. and ens. ([sm1980[nm); ~[cf2]Ballad [sm4[nm[cf1
], [sm8[nmvv. and ens. ([sm1980[nm).[ep~[smeducational music[nm: Sound Patterns
[sm1[nm=n[sm5[nm, for ~various combinations, with vv.[ep~[sminstr[nm: [cf2]Tre e
spressioni, [cf1]pf. ([sm1960[nm); [cf2]Espressione IV, [cf1][sm2[nm ~pf. ([sm19
64[nm); [cf2]Espressione Va [cf1]and [cf2]Vb, [cf1]pf. ([sm1969[nm=n[sm70[nm); ~
[cf2]Formants I, [cf1]harp ([sm1965[nm); [cf2]Memo [cf1][sm1[nm,
 db. ([sm1971[nm), [sm2[nm, ~tb. ([sm1973[nm), [sm3[nm, vc. ([sm1974[nm), [sm4[n
m, organ ([sm1975[nm), [sm5[nm, pf. ~([sm1975[nm); [cf2]Response, [cf1]db. and t
ape ([sm1973[nm); [cf2]Ballad [sm2[nm, ~[cf1]v. and pf. ([sm1970[nm), [cf2]Balla
d [sm3[nm, [cf1]sop. and tape ([sm1973[nm).[cm~[j1]Rangstr;auom, T;auure [fy75,1
]([cf2]b [cf1]Stockholm, [sm1884[nm; [cf2]d [cf1]Stock~~holm, [sm1947[nm). Swed.
 composer, teacher, and critic. ~Mainly self-taught, but studied comp. with ~[fy
45,1]*[fy75,1]Pfitzner. Cond., G;Auoteborg Orch. Soc. [sm1922[nm=n[sm5[nm. ~Wrot
e [sm4[nm syms. (No. [sm1[nm in memoriam Strindberg), ~[PN579,0,0,R,I0][sm3[nm o
peras, symphonic poems, concs., chamber-~mus., songs with orch., etc.[cm~Rank. [
fy75,1]Each separate set of org. pipes, particularly ~mixture stops.[cm~R;aaanki
, Dezs;auo [fy75,1]([cf2]b[cf1] Budapest, [sm1951[nm). Hung. pianist. ~Studied B
art;aaok Cons. [sm1964[nm=n[sm9[nm, and Budapest Acad. ~[sm1969[nm=n[sm73[nm. Li
szt Prize [sm1973[nm.[cm~Rankin, Nell [fy75,1]([cf2]b [cf1]Montg
omery, Alabama, [sm1926[nm). ~Amer. mez. Studied in NY, d;Aaebut there [sm1947[n
m. ~Z;auurich Opera [sm1949[nm. NY Met. as Amneris in [cf2]Aida ~[cf1][sm1951[nm
, remaining regular member of co. CG [sm1953[nm.[cm~Rankl, Karl [fy75,1]([cf2]b
[cf1]Gaaden, [sm1898[nm; [cf2]d [cf1]St Gilgen, [sm1968[nm). ~Austrian-born cond
. and composer. Studied ~comp. with Schoenberg and Webern. Cond. ~Vienna Volksop
er [sm1922[nm=n[sm5[nm. Cond. opera at Rei~~chenberg and K;auonigsberg, [sm1925[
nm=n[sm8[nm, then ch.-~master to Klemperer at Kroll Opera, Berlin, [sm1928[nm=n~
[sm31[nm. Graz Opera [sm1932[nm=n[sm7[nm, Prague [sm1937[nm=n[sm9[nm (conduct~~i
ng f.p. of K;Akrenek's [cf2]Karl V[cf1]). Settled in Eng. [sm1939[nm. ~Mus. dir.
 new CG Opera Co. [sm1946[nm=n[sm51[nm. Prin. cond. ~Scottish Orch. [sm1952[nm=n
[sm7[nm. Mus. dir. Elizabethan ~Opera Trust, Sydney, N.S.W., [sm1958[nm=n[sm60[n
m. Wrote [sm8[nm ~syms., oratorio, and opera [cf2]Deirdre of the Sorrows ~[cf1](
Fest. of Britain prizewinner, [sm1951[nm, but not prod.).[cm~Ran
t. [fy75,1]Old Eng. [sm17[nmth-cent. dance of the jig variety. ~It originated in
 Scotland and North of England. ~Four examples occur in Playford's [cf2]The Danc
ing ~Master[cf1] ([sm1657[nm and [sm1665[nm revisions).[cm~Ranz des vaches[fy75,
1] (Kuhreigen, Kuhreihen). Cow-~procession. A type of Swiss Alpine melody, sung
~or played on the [fy45,1]*[fy75,1]Alphorn to call the cows ~scattered over the
mountain-side. Every district ~has its own version, some of which (with ~modific
ations) have been introduced into comps., ~e.g. Rossini's [cf2]William Tell[cf1]
 ov., Beethoven's [cf2]Pastoral[cf1] ~sym., Berlioz's [cf2]Symphonie fantastique
[cf1], Schumann's ~[cf2]Manfred[cf1], Strauss's [cf2]Don Quixote[cf1] and [cf2]E
in Heldenleben[cf1]. ~Walton's [fy45,1]*[fy75,2]Fa;Alcade[cf1] contains a parody
 of a [cf2]Ranz des ~vaches.[cm~Rape of Lucretia, The. [fy75,1]Opera in [sm2[nm
acts by Britten ~to lib. by Ronald Duncan after Andr;aae Obey's [cf2]Le ~viol de
 Lucr;agece[cf1].F.p. Glyndebourne, [sm1946[nm. Britten's ~first
 chamber opera, comp. for English Opera ~Group. Rev. [sm1947[nm.[cm~Raphael, G;a
uunter [fy75,1]([cf2]b [cf1]Berlin, [sm1903[nm; [cf2]d [cf1]Herford, ~[sm1960[nm
). Ger. composer. Studied Berlin Hochschule ~[sm1922[nm=n[sm5[nm. Teacher Leipzi
g Cons. [sm1926[nm=n[sm34[nm. Works ~banned by Nazis. Taught at Duisburg [sm1949
[nm=n[sm53[nm ~and Cologne [sm1956[nm=n[sm8[nm. Wrote [sm5[nm syms., vn. conc.,
~requiem, and much chamber mus.[cm~Rappresentazione [fy75,1](It.). Representatio
n, staged ~action. Type of staged oratorio, precursor of opera.[cm~Rappresentazi
one di anima e di corpo, La [fy75,1](The ~Representation of the soul and the bod
y). Staged ~oratorio by [fy45,1]*[fy75,1]Cavalieri to text by Manni. Some~~times
 described as first opera. Prod. Rome [sm1600[nm.[cm~Rapsodie espagnole [fy75,1]
(Spanish Rhapsody). ([sm1[nm) ~Orch. work in [sm4[nm sections by [fy45,1]*[fy75,
1]Ravel, [sm1907[nm: [cf2]Pr;aaelude, ~Malague;atna, Haba;atnera, Feria. [cf1]Th
e [cf2]Haba;atnera [cf1]was ~orig. written for [sm2[nm pf., [sm1
895=n7[nm as No. [sm1[nm of the [cf2]Sites ~auriculaires.[ep~^[cf1]([sm2[nm) Wor
k for pf. by Liszt, comp. [sm1863[nm, arr. for ~pf. and orch. by Busoni.[cm~Rapt
ak [fy75,1](Rektah). A whirlwind type of dance ~which appears in Delibes's opera
 [cf2]Lakm;Aae.[cm~Rasch; rascher [fy75,1](Ger.). Quick; quicker.[cm~Rasi, Franc
esco [fy75,1]([cf2]b[cf1] Arezzo, [sm1574[nm; [cf2]d[cf1] after [sm1620[nm). ~It
. singer and composer. Pupil of [fy45,1]*[fy75,1]Caccini. Sang ~in Peri's [cf2]E
uridice, [cf1]Florence [sm1600[nm, and at court of ~Mantua for [sm20[nm years un
til [sm1620[nm. Almost certainly ~created title-role in Monteverdi's [cf2]Orfeo[
cf1], [sm1607[nm. ~Wrote cantatas, songs, madrigals, and chamber ~mus.[cm~Rasier
messerquartett [fy75,1](Razor Quartet). Nick~~name of Haydn's Str. Qt. in F mino
r, Op. [sm55[nm, No. ~[sm2[nm (Hob. III:[sm61[nm). The story is that Haydn excla
imed ~in [sm1787[nm when shaving `I'd give my best quartet ~for a new razor', an
d was taken at his word by a ~visitor, the London mus.-publisher
 Bland. This ~qt. was Haydn's side of the bargain.[cm~Raskin, Judith [fy75,1]([c
f2]b [cf1]NY, [sm1928[nm; [cf2]d[cf1] NY, 1985). Amer. sop. Studied ~Juilliard S
ch. Opera d;aaebut NBC [sm1957[nm as Susanna, ~NY Met. [sm1962[nm. Glyndebourne
[sm1963[nm (Pamina in ~[cf2]Die Zauberfl;auote[cf1]). Sang with NY City Opera ~a
nd other Amer. cos. Also concert soloist.[cm~Rasoumovsky [fy75,1](Razumovsky), [
fy65][cf3]Count [fy75,1](later ~Prince) [fy65][cf3]Andrey [fy75,1](Kyrilovich) (
[cf2]b [cf1]St Petersburg, ~[sm1752[nm; [cf2]d [cf1]Vienna, [sm1836[nm). Russ. m
us. patron. ~Admiral in Russ. navy, then ambassador in several ~capitals, culmin
ating in Vienna [sm1792[nm=n[sm1812[nm. ~Friend of Beethoven, whose three Op. [s
m59[nm qts. are ~ded. to him. From [sm1808[nm played [sm2[nmnd vn. in his ~own q
t., trying out Beethoven's chamber mus. ~for composer.[cm~Rasoumovsky [fy75,1](R
azumovsky) [fy65][cf3]Quartets. [fy75,1]Beet~~[chhoven's Str. Qts. Nos. [sm7[nm,
 [sm8[nm, and [sm9[nm, Op. [sm59[nm, Nos. [sm1[nm, ~[sm2[nm, and
 [sm3[nm, in F major, E minor, and C major, ~comp. [sm1806[nm and so called beca
use of ded. to Count ~Rasoumovsky, Russ. ambassador in Vienna, who ~was a keen q
t. player. Each qt. contains a Russ. ~theme; in two cases these are folk-tunes.[
xm[cm~[ol0][ep~[xp[te~









[do42][j99]~~~~~~[sm153842[nm_R[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm003[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm9[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm68[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[ap[j1]Rataplan. [fy75,1]Ono
matopoeic word for sound of a ~drum. Used as name for solos and ens. in operas ~
by Donizetti, Meyerbeer, and Verdi ([cf2]La forza del ~destino[cf1]).[cm~Ratchet
 [fy75,1](Ger. [cf2]Ratsche[cf1]). Rattle. Percussion instr. ~of indefinite pitc
h. A cogwheel is either revolved ~by means of a handle against one or several ~t
ongues of wood or metal, or twirled so that the ~tongues strike the cogs. Is use
d by Strauss in [cf2]Till ~Eulenspiegel[cf1], Ravel in his orch. of Mussorgsky's
 ~[cf2]Pictures at an Exhibition[cf1], and Walton in his [cf2]Fa;alcade ~[cf1]ba
llet suite No. [sm1[nm. But of course any instr. ~[PN580,0,0,L,I0]producing a ra
ttling noise, such as pebbles shaken ~in a dried gourd, is a rattle.[cm~Rathaus,
 Karol [fy75,1]([cf2]b [cf1]Tarnopol, Poland, [sm1895[nm; [cf2]d
 [cf1]NY, ~[sm1954[nm). Polish-born composer. Pupil of [fy45,1]*[fy75,1]Schreker
. ~Taught at Berlin Hochschule [sm1925[nm=n[sm33[nm. Settled in ~Paris [sm1932[n
m=n[sm4[nm, London [sm1934[nm=n[sm8[nm, then NY, becom~~ing prof. of comp. at Qu
eens Coll. Wrote opera, ~ballet, [sm3[nm syms., and chamber mus. Rev. and ~resto
red Mussorgsky's orig. orch. for [fy45,1]*[fy75,2]Boris ~Godunov, [cf1]NY Met. [
sm1953[nm. Amer. citizen from ~[sm1946[nm.[cm~Ratsche [fy75,1](Ger.). See [cf2]R
atchet.[cf1][cm~Rattle. [fy75,1]See [cf2]Ratchet.[cf1][cm~Rattle, Simon [fy75,1]
([cf2]b [cf1]Liverpool, [sm1955[nm). Eng. cond. ~Studied RAM [sm1971[nm=n[sm5[nm
. Played perc. in Merseyside ~Youth Orch. at age of [sm8[nm and later in RLPO. ~
Founded and cond. Liverpool Sinfonia [sm1970[nm=n[sm2[nm. ~Other early cond. exp
eriences with Liverpool ~Mozart Orch., Merseyside Youth Orch., and at ~RAM. Firs
t prize John Player int. cond. award ~[sm1974[nm, leading to [sm2[nm-year contra
ct with Bourne~~mouth S.O. and Sinfonietta. Festival Hall d;Aaeb
ut ~[sm1975[nm. Cond. Glyndebourne Touring Opera [sm1975[nm, ~Glyndebourne Fest.
 from [sm1977[nm. Worked with ~London Sinfonietta and Eng. Mus. Th., [sm1976[nm.
 ~Ass. cond. BBC Scottish S.O. [sm1977[nm=n[sm80[nm, ass. cond. ~RLPO [sm1977[nm
=n[sm80[nm. Prin. cond. CBSO from [sm1980[nm. ~Cond. f. Eng. public p. of Jan;aa
a;akcek's [cf2]Osud[cf1], London [sm1983[nm ~(concert).[cm~Ratz, Erwin [fy75,1](
[cf2]b[cf1] Graz, [sm1898[nm; [cf2]d[cf1] Vienna, [sm1973[nm). ~Austrian musicol
ogist. Studied with Adler at ~Vienna Univ. [sm1918[nm=n[sm22[nm, and was private
 pupil of ~Schoenberg [sm1917[nm. Founder with Schoenberg, ~Berg, and Pisk of th
e [fy45,1]*[fy75,1]Society for Private ~Performances, [sm1918[nm. Also studied c
omp. with ~Webern. For many years taught theory at Vienna ~Acad. of Mus. In [sm1
955[nm became ed. of Mahler ~critical edn. and pres. of International Gustav ~Ma
hler Soc.[cm~Rautavaara, Einojuhani [fy75,1]([cf2]b[cf1] Helsinki, [sm1928[nm).
~Finnish composer. Studied comp. with Merikanto ~at Sibelius Aca
d. [sm1948[nm=n[sm52[nm, with Persichetti at ~Juilliard Sch., NY, [sm1955[nm=n[s
m6[nm, with Copland and ~Sessions at Tanglewood [sm1955[nm=n[sm6[nm, with Vogel
in ~Ascona [sm1957[nm, and with Petzold in Cologne [sm1958[nm. ~Dir., K;auapyl;a
ua Mus. Sch., Helsinki, [sm1965[nm=n[sm6[nm, lect. in ~mus. Sibelius Acad. from
[sm1966[nm. Works incl. [sm5[nm ~operas, ballet, [sm4[nm syms., [cf2]Requiem in
Our Time[cf1] ([sm1953[nm), ~vc. conc., pf. conc., fl. conc., str. qts., bn. son
ata, ~and songs.[cm~Rauzzini, Venanzio [fy75,1]([cf2]b [cf1]Camerino, [sm1746[nm
; [cf2]d [cf1]Bath, ~[sm1810[nm). It. composer, male sop., and teacher. D;Aaebut
 ~Rome [sm1765[nm. Sang in f.p. of Mozart's [fy45,1]*[fy75,2]Lucio Silla, ~[cf1]
Milan [sm1772[nm. Mozart wrote [fy45,1]*[fy75,2]Exsultate, jubilate [cf1]for ~hi
m. Settled in Eng. [sm1774[nm. Wrote [sm5[nm operas for ~London and [sm5[nm for
Munich, also chamber mus. ~and songs. Became singing teacher in London ~and Bath
, pupils incl. Braham, Storace, Kelly, and ~Elizabeth Billington
. Haydn was his guest in ~[sm1794[nm.[cm~Ravel, Maurice [fy75,1](Joseph) [cf1]([
cf2]b [cf1]Ciboure, [sm1875[nm; [cf2]d ~[cf1]Paris, [sm1937[nm). Fr. composer an
d pianist. Born in ~Basque region but spent childhood in Paris. ~Entered Paris C
ons. [sm1889[nm, studying pf. with ~B;Aaeriot and comp. with Faur;Aae, and remai
ning for ~[sm16[nm years. By [sm1895[nm he had already developed a ~personal sty
le of comp., but his unconventional ~harmonies offended academic ears in spite o
f the ~classical basis of his work. He competed for the ~[cf2]Prix de Rome [cf1]
in [sm1901[nm, [sm1902[nm, [sm1903[nm, and [sm1905[nm. At ~the last attempt he w
as eliminated in the ~preliminary test. The ensuing outcry led to the ~resignati
on of Dubois as dir. of the Cons. He had ~already written several works now ackn
owledged ~as masterpieces, incl. the str. qt., [cf2]Sh;Aaeh;Aaerazade, [cf1]and
~the [cf2]Miroirs [cf1]for pf. Though a brilliant orchestrator, ~several of his
works were first written for pf. His ~outstanding achievement in
 orch. writing is the ~ballet [cf2]Daphnis et Chlo;Aae, [cf1]comp. for [fy45,1]*
[fy75,1]Diaghilev and ~f.p. in [sm1912[nm. In [sm1911[nm his comic [sm1[nm-act o
pera [cf2]L'Heure ~espagnole [cf1]had not been a success, but was later ~welcome
d for the brilliant piece it is. After service ~in the [sm1914[nm=n[sm18[nm war,
 Ravel captured the savage ~flavour of the end of an era in his [cf2]La Valse. [
cf1]Fragile ~health in the last [sm17[nm years of his life reduced the ~no. of h
is comps. but not the quality. To the late ~years belong his fascinating opera,
to a lib. by ~Colette, [cf2]L'Enfant et les sortil;Ageges, [cf1][sm2[nm pf. conc
s., his ~popular [cf2]Bol;Aaero [cf1](orginally a ballet score), chamber ~works,
 and the [cf2]Don Quixote [cf1]songs. He occasionally ~cond. his own works, but
held no official posts ~and had very few pupils, though one of them (for ~[sm3[n
m months) was [fy45,1]*[fy75,1]Vaughan Williams.[ep~^Ravel is conveniently class
ified with Debussy, ~but their dissimilarities are more striking
 and ~significant. He had more respect for classical ~forms than Debussy and was
 nearer to the ethos ~of Saint-Sa;Auens than to that of Massenet. Satie, ~Chabri
er, Strauss, Mussorgsky, the orientalism ~learned from the [sm1889[nm int. Expos
ition, and jazz ~were influences on him. Dance rhythms fre~~quently occur in his
 works. His harmonies, often ~`impressionist' in technique, extended the range ~
of tonality by the exploitation of unusual chords ~and by the use of bitonality.
 His melodies ~sometimes have a modal tendency. Repetition, ~sequences, and vari
ation are preferred to regular ~development. The charge that he was a miniatur~~
ist in his choice of forms can be sustained, but ~there is nothing small about t
he invention. That ~artificiality which led Stravinsky to call him `a ~Swiss clo
ck-maker' can also be perceived, but ~perhaps this is part of the price he paid
for the ~exceptional clarity of his thought and of his ~scoring. He was one of t
he great innovators in ~writing for the pf. Prin. works:[xm[cm~[
j2][smoperas[nm: [fy75,2]L'[fy45,1]*[fy75,2]Heure espagnole [cf1](The Spanish Ho
ur) ~([sm1907[nm=n[sm9[nm); [cf2]L'[fy45,1]*[fy75,2]Enfant et les sortil;ageges
[cf1](The Child ~and the Spells) ([sm1920[nm=n[sm5[nm).[ep~[PN581,0,0,R,I0][smba
llets[nm: [fy45,1]*[fy75,2]Daphnis et Chlo;Aae [cf1]([sm1909[nm=n[sm12[nm); [fy4
5,1]*[fy75,2]Bol;Aaero ~[cf1]([sm1928[nm); [cf2]Fanfare [cf1]for [cf2]L'[fy45,1]
*[fy75,2]Eventail de Jeanne [cf1]([sm1927[nm).[ep~[smorch[nm: [cf2]Sh;aaeh;aaera
zade[cf1], ov. ([sm1898[nm); [cf2]Menuet antique ~[cf1]([sm1929[nm, orch. versio
n of pf. piece); [fy45,1]*[fy75,2]Pavane pour ~une infante d;Aaefunte [cf1]([sm1
910[nm, arr. from the pf. ~version); [fy45,1]*[fy75,2]Alborada del gracioso [cf1
]([sm1918[nm, orch. ~version of No. [sm4[nm of [cf2]Miroirs [cf1]for pf.); [fy45
,1]*[fy75,2]Rapsodie ~espagnole [cf1]([sm1907[nm); [fy45,1]*[fy75,2]Ma M;Agere l
'oye [cf1]([sm1911[nm, orch. ~version of [sm4[nm-hands pf. work); [fy45,1]*[fy75
,2]Valses nobles et ~sentimentales [cf1]([sm1912[nm, orch. versi
on of pf. work); ~[fy45,1]*[fy75,2]Daphnis et Chlo;aae, [cf1]Suite No. [sm1[nm (
[sm1911[nm), Suite No. [sm2[nm ~([sm1913[nm); [cf2]Le [fy45,1]*[fy75,2]Tombeau d
e Couperin [cf1]([sm1919[nm, orch. ~version of pf. work); [cf2]La [fy45,1]*[fy75
,2]Valse [cf1]([sm1919[nm=n[sm20[nm); pf. ~conc. for left hand ([sm1929[nm=n[sm3
0[nm); pf. conc. in G ~([sm1929[nm=n[sm31[nm).[ep~[smchamber music[nm: Str. Qt.
in F ([sm1902[nm=n[sm3[nm); [cf2]Introduction ~and Allegro, [cf1]harp, str. qt.,
 fl., cl. ([sm1905[nm); [cf2]Pi;agece en ~forme d'Haba;atnera, [cf1]vn. and pf.
(version of [cf2]Vocalise, ~[cf1][sm1907[nm); pf. trio ([sm1914[nm); [cf2]Le Tom
beau de Claude ~Debussy, [cf1]vn. and vc. ([sm1920[nm); sonata for vn. and ~vc.
([sm1920[nm=n[sm2[nm); [cf2]Berceuse sur le nom de Gabriel Faur;aae, ~[cf1]vn. a
nd pf. ([sm1922[nm); [fy45,1]*[fy75,2]Tzigane, [cf1]vn. and pf. ([sm1924[nm, ~ve
rsion for vn. and orch. [sm1924[nm); [cf2]R;Afeves, [cf1]v. and pf. ~([sm1927[nm
); vn. sonata ([sm1923[nm=n[sm7[nm).[ep~[smvoice and orch[nm: [c
f2]Manteau de fleurs [cf1]([sm1903[nm); ~[cf2]Sh;aaeh;aaerazade [cf1]([sm1903[nm
); [cf2]Le No;auel des Jouets [cf1]([sm1905[nm, [sm2[nmnd ~version [sm1913[nm);
[cf2][sm5[nm M;aaaelodies populaires grecques [cf1]([sm5[nm ~Popular Greek Melod
ies) ([sm1904[nm=n[sm6[nm); [cf2][sm3[nm Po;agemes de ~St;aaephane Mallarm;aae,
[cf1]v. and chamber ens. ([sm1913[nm); ~[cf2][sm2[nm M;aaelodies h;aaebra;auique
s [cf1](?[sm1919[nm); [cf2]Ronsard ;aga son ;afame ~[cf1]([sm1924[nm); [cf2]Chan
sons mad;aaecasses, [cf1]v., fl., vc., pf. ([sm1926[nm); ~[fy45,1]*[fy75,2]Don Q
uichotte ;aga Dulcin;aaee [cf1]([sm1932[nm=n[sm3[nm).[ep~[smvoice and piano[nm:
[cf2]Un Grand Sommeil noir [cf1]([sm1895[nm); ~[cf2]Sainte [cf1]([sm1896[nm); [c
f2][sm2[nm ;AaEpigrammes [cf1]([sm1898[nm); [cf2]Manteau de ~fleurs [cf1]([sm190
3[nm); [cf2]Le No;Auel des jouets [cf1]([sm1905[nm); [cf2]Les Grands ~Vents venu
s d'outre-mer [cf1]([sm1906[nm); [cf2][sm5[nm M;Aaelodies popu~~laires grecques
[cf1]([sm1904[nm=n[sm6[nm); [fy45,1]*[fy75,2]Histoires naturelle
s ~[cf1]([sm1906[nm, orch. version by M. Rosenthal); [cf2]Sur l'herbe ~[cf1]([sm
1907[nm); [cf2]Vocalise en forme d'Haba;atnera [cf1]([sm1907[nm; also ~version f
or vn. and pf.); [cf2]Tripatos [cf1]([sm1909[nm); [cf2][sm2[nm ~M;aaelodies h;aa
ebraiques [cf1]([sm1914[nm); [cf2][sm3[nm Chansons [cf1]([sm1916[nm); [cf2][sm7[
nm ~Chants populaires [cf1]([sm1910[nm=n[sm17[nm; No. [sm4[nm, [cf2]Chanson ~h;a
aebraique, [cf1]orch. Delage); [cf2]Ronsard ;Aga son ;Afame ~[cf1]([sm1924[nm);
[cf2]R;afeves [cf1]([sm1927[nm); [fy45,1]*[fy75,2]Don Quichotte ;aga Dulcin;aaee
 ~[cf1]([sm1932[nm=n[sm3[nm).[ep~[smunacc. voices[nm: [cf2][sm3[nm Chansons [cf1
]([sm1915[nm; also v. and pf.).[ep~[smpiano[nm: [cf2]Menuet antique [cf1]([sm189
5[nm); [fy45,1]*[fy75,2]Pavane pour une ~infante d;Aaefunte [cf1]([sm1899[nm); [
fy45,1]*[fy75,2]Jeux d'eau [cf1]([sm1901[nm); [cf2]Sonatine ~[cf1]([sm1905[nm);
[fy45,1]*[fy75,2]Miroirs [cf1]([sm1905[nm); [fy45,1]*[fy75,2]Ma M;Afere l'oye [c
f1]([sm4[nm hands) ~([sm1908[nm=n[sm10[nm); [fy45,1]*[fy75,2]Gas
pard de la Nuit [cf1]([sm1908[nm); [cf2]Menuet ~sur le nom d'Haydn [cf1]([sm1909
[nm); [fy45,1]*[fy75,2]Valses nobles et ~sentimentales [cf1]([sm1911[nm); [cf2];
AgA la mani;Agere de ([sm1[nm) Borodin ~([sm2[nm) Chabrier [cf1]([sm1913[nm); [c
f2]Le [fy45,1]*[fy75,2]Tombeau de Couperin ~[cf1]([sm1914[nm=n[sm17[nm).[ep~[sm2
[nm [smpianos[nm: [cf2]Sites auriculaires [cf1]([sm1895[nm=n[sm7[nm, unpubd. but
 ~No. [sm1[nm, [cf2]Haba;atnera, [cf1]was incorporated in [cf2]Rapsodie ~espagno
le [cf1][sm1907[nm); [cf2]Frontispiece [cf1]([sm1918[nm). ([fy45,1]*[fy75,2]Ma M
;Agere ~l'oye [cf1]is for [sm1[nm pf., [sm4[nm hands.)[ep~[smtranscriptions etc.
 of other composers[nm: Cha~~brier: [cf2]Menuet pompeux, [cf1]orch. ([sm1920[nm)
; Debussy: ~[cf2]Nocturnes, [cf1][sm2[nm pf. ([sm1909[nm), [cf2]Pr;Aaelude ;Aga
l'apr;Ages-midi d'un ~faune, [cf1][sm2[nm pf. ([sm1910[nm), [cf2]Sarabande, [cf1
]orch. ([sm1920[nm), ~[cf2]Danse, [cf1]orch. ([sm1923[nm); Delius: vocal score o
f opera ~[cf2]Margot-la-Rouge [cf1]([sm1902[nm); Mussorgsky: [fy
45,1]*[fy75,2]Khovansh~~china, [cf1]completed and orch. by Ravel and ~Stravinsky
 (lost), [cf2]Tableaux d'une Exposition [cf1]([fy45,1]*[fy75,1]Pic~~tures at an
Exhibition), orch. [sm1922[nm; Satie, [cf2]Le ~Pr;Aaelude du fils des ;Aaetoiles
, [cf1]orch. [sm1913[nm; Schumann: ~[cf2]Carnaval, [cf1]orch. [sm1914[nm (unpubd
.).[cm~[j1]Ravenscroft, John [fy75,1]([cf2]d [cf1]London, [cf2]c.[cf1][sm1705[nm
). Eng. ~violinist and composer. Wrote hornpipes and ~sonatas for [sm2[nm vn. an
d bass viol (Rome [sm1695[nm, ~attrib.).[cm~Ravenscroft, Thomas [fy75,1]([cf2]b
c.[cf1][sm1582[nm; [cf2]d c.[cf1][sm1633[nm). Eng. ~composer and publisher. Stud
ied Cambridge ~Univ. Chorister, St Paul's Cath., London. Ed. of ~important psalt
er, [cf2]The Whole Booke of Psalmes ~[cf1]([sm1621[nm), in which he comp. [sm55[
nm of the [sm105[nm settings. ~Pubd. [cf2]Pammelia [cf1]([cf2]Musick's Miscellan
ie[cf1]), [sm1609[nm ([sm1[nmst ~coll. of [sm100[nm rounds, catches, and canons)
, and its ~successor [cf2]Deuteromelia, [cf1][sm1609[nm, coll. o
f [sm31[nm songs and ~rounds, incl. `Three blind mice'. Also comp. ~anthems.[cm~
Ravinia. [fy75,1]Park in Highland Park, Ill., a suburb of ~Chicago, Ill. Venue f
or summer season of opera ~by Ravinia Opera Co., [sm1911[nm=n[sm31[nm. Singers d
rawn ~from NY Met. and Chicago Opera. Summer fest. ~organised there since [sm193
6[nm, comprising concerts, ~recitals, operas in concert form, popular mus., ~etc
. with Chicago S.O. as mainstay.[cm~Ravvivando; ravvivato [fy75,1](It.). Quicken
ing; quick~~ened.[cm~Rawsthorne, Alan [fy75,1]([cf2]b [cf1]Haslingden, [sm1905[n
m; [cf2]d ~[cf1]Cambridge, [sm1971[nm). Eng. composer and pianist. ~Began as den
tal student then turned to mus. ~Entered RMCM [sm1926[nm, studying pf. with F. ~
Merrick and comp. with T. Keighley. Went ~abroad [sm1930[nm, continuing pf. stud
y with E. Petri. ~Taught at Dartington Hall [sm1932[nm=n[sm4[nm, settled in ~Lon
don [sm1935[nm, concentrating on comp. His mus., ~overshadowed by that of his co
ntemporary fellow ~Lancastrian Walton, has style, structural str
ength, ~and impeccable craftsmanship. C.B.E. [sm1961[nm. Prin. ~works:[xm[cm~[j2
][smorch[nm: Syms.: No. [sm1[nm ([sm1950[nm), No. [sm2[nm ([fy75,2]Pastoral[cf1]
) ([sm1959[nm), ~No. [sm3[nm ([sm1964[nm); [cf2]Symphonic Studies [cf1]([sm1939[
nm); [fy45,1]*[fy75,2]Street ~Corner Overture [cf1]([sm1944[nm); [fy45,1]*[fy75,
2]Cort;Ageges, [cf1]fantasy ov. ~([sm1945[nm); [cf2]Concerto for Strings [cf1]([
sm1949[nm); [cf2]Concertante ~Pastorale [cf1]([sm1951[nm); [cf2]Hall;Aae, [cf1]o
v. ([sm1958[nm); [cf2]Improvisations ~on a Theme of Constant Lambert [cf1]([sm19
61[nm); [cf2]Concerto ~for [sm10[nm Instruments [cf1]([sm1961[nm); [cf2]Divertim
ento [cf1]([sm1962[nm); ~[cf2]Elegiac Rhapsody, [cf1]str. ([sm1964[nm); [cf2]The
me, Variations, ~and Finale [cf1]([sm1967[nm); [cf2]Triptych [cf1]([sm1969[nm).[
ep~[smballet[nm: [fy45,1]*[fy75,2]Madame Chrysanth;Ageme [cf1]([sm1955[nm).[ep~[
smconcertos[nm: Piano: No. [sm1[nm, orig. version ([sm1939[nm) ~with str. and pe
rc., rev. with full orch. ([sm1942[nm), ~No. [sm2[nm ([sm1951[nm
); [sm2[nm pf. ([sm1968[nm); Vn.: No. [sm1[nm ([sm1948[nm), ~No. [sm2[nm ([sm195
6[nm); Vc. ([sm1966[nm); Ob., str. ([sm1947[nm); Cl., ~str. ([sm1936[nm).[ep~[sm
voices and instr.[nm: [cf2]A Canticle of Man, [cf1]bar., ch., fl., ~str. ([sm195
2[nm); [fy45,1]*[fy75,2]Practical Cats, [cf1]speaker and orch. ~([sm1954[nm); [c
f2]Medieval Diptych, [cf1]bar. and orch. ([sm1962[nm); ~[cf2]Carmen Vitale, [cf1
]sop., ch., and orch. ([sm1963[nm); [cf2]Tankas ~[PN582,0,0,L,I0]of the [sm4[nm
Seasons, [cf1]ten. and chamber ens. ([sm1965[nm); ~[cf2]The God in the Cave, [cf
1]ch. and orch. ([sm1967[nm).[ep~[smchoral[nm: [cf2]Canzonet, [cf1]sop. and unac
c. ch. (part of [cf2]A ~[fy45,1]*[fy75,2]Garland for the Queen, [cf1][sm1953[nm)
; [cf2][sm4[nm Seasonal Songs, ~[cf1]unacc. ch.; [cf2]Lament for a Sparrow, [cf1
]ch. and harp ~([sm1962[nm); [cf2]The Oxen, [cf1]unacc. ch.; [cf2]A Rose for Lid
i;Akce, ~[cf1]sop. and unacc. ch. ([sm1956[nm).[ep~[smchamber music[nm: Str. Qts
.: No. [sm1[nm ([cf2]Theme and ~Variations[cf1]) ([sm1939[nm), N
o. [sm2[nm ([sm1954[nm), No. [sm3[nm ([sm1965[nm); ~pf. trio ([sm1962[nm); cl. q
t. ([sm1948[nm); ob. qt. ([sm1970[nm); ~quintet (pf., cl., hn., vn., vc.) ([sm19
71[nm); quintet ~(pf., ob., cl., hn., bn.) ([sm1963[nm); pf. quintet ([sm1968[nm
); ~vn. sonata ([sm1959[nm); va. sonata ([sm1935[nm, rev. [sm1954[nm); ~vc. sona
ta ([sm1949[nm); [cf2]Theme and variations [cf1]for [sm2[nm vn. ~([sm1938[nm); [
cf2]Elegy [cf1](guitar) ([sm1971[nm).[ep~[smpiano[nm: [cf2][sm4[nm Bagatelles [c
f1]([sm1938[nm); [cf2][sm4[nm Romantic Pieces ~[cf1]([sm1953[nm); Sonatina ([sm1
949[nm); [cf2]Ballade [cf1]([sm1967[nm); Suite, ~[cf2]The Creel, [cf1]pf. duet (
[sm1942[nm); [cf2]Theme and [sm4[nm Studies ~[cf1]([sm1971[nm).[ep~^Also scores
for [sm22[nm films.[cm~[j1]Rawsthorne, Noel [fy75,1]([cf2]b [cf1]Birkenhead, [sm
1924[nm). Eng. ~organist. Studied RMCM. Organist, Liverpool ~Cath. [sm1955[nm=n[
sm80[nm.[cm~Razor Quartet [fy75,1](Haydn). See [cf2]Rasiermesserquartett.[cm~R.C
.M. [fy75,1]See [cf2]Royal College of Music, London.[cm~R.C.O. [
fy75,1]See [cf2]Royal College of Organists.[cm~Re. [fy75,1]The [sm2[nmnd degree
of the major scale, according ~to the system of vocal syllables derived from ~Gu
ido d'Arezzo (see [cf2]Hexachord[cf1]), and so used (spelt ~[cf2]Ray[cf1]) in To
nic Sol-fa (also in that system the [sm4[nmth ~degree of the minor scale; see [c
f2]Tonic Sol-fa[cf1]). In ~many countries the name has become attached ~(on `fix
ed-doh' principles) to the note D, in ~whatever key this may occur.[cm~Read, Ern
est [fy75,1]([cf2]b [cf1]Guildford, [sm1879[nm; [cf2]d [cf1]London, ~[sm1965[nm)
. Eng. cond. and teacher. Studied RAM ~[sm1896[nm=n[sm1906[nm. Founder, London J
unior Orch. [sm1926[nm; ~and Ernest Read Concerts for children, which ~still con
tinue. Prof. of cond. RAM [sm1919[nm=n[sm50[nm. ~Author of books on mus. trainin
g. C.B.E. [sm1956[nm.[cm~Read, Gardner [fy75,1]([cf2]b [cf1]Evanston, Ill., [sm1
913[nm). Amer. ~composer. Studied at Eastman Sch., Rochester, ~[sm1933[nm=n[sm7[
nm. Won NY Phil. orch. contest, [sm1937[nm, with ~first sym. Stu
died in Europe with [fy45,1]*[fy75,1]Pizzetti and ~in Amer. with [fy45,1]*[fy75,
1]Copland. Teaching posts at several ~Amer. univs. Comps. incl. [sm4[nm syms., o
pera [cf2]Villon, ~The Golden Journey to Samarkand [cf1](choral), vc. conc., ~pf
. quintet, str. qts., pf. and organ works.[cm~Reading, John [fy75,1]([cf2]b[cf1]
 Lincoln, [cf2]c.[cf1][sm1645[nm; [cf2]d [cf1]Winchester, ~[sm1692[nm). Eng. com
poser and organist. Vicar-choral, ~Lincoln Cath., [sm1667[nm, master of choriste
rs [sm1670[nm; ~organist, Winchester Cath. [sm1675[nm, Winchester ~College from
[sm1681[nm. Wrote song [cf2]Dulce domum ~[cf1](Sweet home) for Winchester Colleg
e.[cm~Real. [fy75,1]Term used in certain special senses as ~opposite to tonal, e
.g. in [fy45,1]*[fy75,1]fugue [cf2]real answer [cf1]is ~when the answer exactly
reproduces the subject ~(except for a [sm5[nmth displaced), the fugue being a [c
f2]real ~fugue. [cf1]In [fy45,1]*[fy75,1]sequence, if the intervals within a ~se
quence are unaltered, the result is called a [cf2]real ~sequence
.[cm~Realism. [fy75,1]Musically this term is applied to ([sm1[nm) ~operas where
the plot or characters are said to be ~`true to life' ([fy45,1]*[fy75,2]verismo[
cf1]) as distinct from remote. ([sm2[nm) ~The attitude required by Soviet bureau
cracy from ~Russian composers, meaning that their mus. ~should be optimistic, ea
sily comprehended, and ~`of the people'.[cm~Realize. [fy75,1]To give full artist
ic life to mus. left by ~the composer in a sparse condition, e.g. to fill out ~t
he continuo bass line of a [sm17[nmth- or [sm18[nmth-cent. ~comp., to write in o
rnamentation, to interpret ~vague directions as to the manner of perf. Thus ~one
 speaks of Britten's `realizations' of Purcell, ~etc., rather than his `arrangem
ents', and of ~Leppard's `realizations' of Venetian operas com~~pared with `edit
ions' by Harnoncourt, Glover, ~etc.[cm~Reaney, Gilbert [fy75,1]([cf2]b[cf1] Shef
field, [sm1924[nm). Eng. musi~~cologist. Studied Sheffield Univ. [sm1942[nm=n[sm
3[nm, [sm1946[nm=n~[sm52[nm, later at Sorbonne. Taught at Readin
g and ~Birmingham Univs. before becoming assoc. prof. ~([sm1960[nm) and prof. ([
sm1963[nm) at U.C.L.A. Authority on ~medieval and Renaissance mus. and theory, ~
particularly on Machaut.[cm~Rebec [fy75,1](ribible, rubible). One of the first b
owed ~str. instr., which probably originated in Moslem ~countries (as [cf2]rebab
 [cf1]or [cf2]rabab[cf1]) and was introduced ~to Europe in [sm8[nmth cent. [smad
[nm. It had rounded back ~carved out of the solid wood, with flat soundboard ~ad
ded. After [sm15[nmth cent., no. of str. varied from [sm1[nm ~to [sm5[nm. In Ren
aissance there were several sizes and ~pitches of rebec, e.g. sop., ten., and ba
ss. The ten. ~and bass were probably played gamba-wise, held ~between knees. Sma
ller versions were known as ~[cf2]ribecchino [cf1](It.) or [cf2]rubechette [cf1]
(Fr.).[xm[cm~[ol0][ep~[xp[te~


[do42][j99]~~~~~~[sm153842[nm_R[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm004[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm9[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm100[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[ap[j1]Rebel, Fran;alcois [
fy75,1]([cf2]b [cf1]Paris, [sm1701[nm; [cf2]d [cf1]Paris, [sm1775[nm). Fr. ~comp
oser and violinist, son of Jean-F;Aaery [fy45,1]*[fy75,1]Rebel. ~Member of Paris
 Op;aaera orch. at [sm13[nm. Music for [sm18[nm ~stage works in collab. with Fra
ncoeur [sm1726[nm=n[sm60[nm. ~Joint cond. Paris Op;Aaera [sm1733[nm=n[sm44[nm, l
ater becoming ~manager. Superintendent of mus. to Louis XV. ~Wrote cantatas, etc
.[cm~Rebel, Jean-F;aaery [fy75,1]([cf2]b [cf1]Paris, [sm1666[nm; [cf2]d [cf1]Par
is, [sm1747[nm). ~Fr. composer and violinist. Pupil of [fy45,1]*[fy75,1]Lully. O
ne ~of the `[sm24[nm violons du Roi' from [sm1705[nm. Chamber-~composer to king,
 [sm1726[nm. Violinist and cond., Paris ~Op;aaera. Wrote sonatas and pieces for
solo vn.[cm~Rebikov, Vladimir [fy75,1](Ivanovich) [cf1]([cf2]b [
cf1]Krasnoyarsk, ~Siberia, [sm1866[nm; [cf2]d [cf1]Yalta, [sm1920[nm). Russ. com
poser. ~Studied Moscow Cons. and Berlin. Early works ~suggest influence of Tchai
kovsky, but soon ~exploited whole-tone scale, new harmonies, and ~novel forms, e
.g. in his pf. pieces, [cf2]M;aaelomimiques, ~[cf1]in which mus. and mime are co
mbined. Wrote ~operas (incl. [cf2]The Christmas Tree, [cf1][sm1902[nm) and ~[PN5
83,0,0,R,I0]`psychological dramas', orch. works, and many ~pf. pieces, incl. [cf
2]Rythmod;aaeclamations.[cm~Recapitulation. [fy75,1]That section of a comp. in s
onata ~form and its variants in which the themes, or ~some of them, presented in
 the exposition are ~repeated, more or less in their orig. form.[cm~Re cervo, Il
 [fy75,1](Henze). See [cf2]K;Auonig Hirsch.[cm~Rechants, Cinq. [fy75,1][sm5[nm p
ieces by Messiaen for [sm12[nm-v. ~ch., one of [sm3[nm Messiaen works inspired b
y Tristan ~and Isolde legend (the others being [fy45,1]*[fy75,2]Harawi [cf1]and
~[fy45,1]*[fy75,2]Turangal;afila). [cf1]Comp. [sm1949[nm. F.p. B
ordeaux [sm1950[nm.[cm~R;aaecit [fy75,1](Fr.). ([sm1[nm) Short for [fy45,1]*[fy7
5,2]Recitative.[ep~[cf1]^([sm2[nm, not abbreviation). Swell Org.[cm~Recital. [fy
75,1]Term denoting a mus. perf. by soloists ~or duettists, e.g. an organ recital
, song recital (by ~[sm1[nm or [sm2[nm singers), pf. recital, sonata recital. Or
ig. ~referred only to singers, but was applied [cf2]c.[cf1][sm1840[nm ~to Liszt'
s concert perfs.[cm~Recitative [fy75,1](It. [cf2]recitativo). [cf1]Form of decla
matory ~speech-like singing used especially in opera or ~oratorio and free in rh
ythm. Serves for dialogue ~or narrative (as a means of advancing the plot), ~whe
reas the subsequent [fy45,1]*[fy75,2]aria [cf1]is often static or ~reflective. I
n [sm17[nmth- and [sm18[nmth-cent. opera, especially ~[fy45,1]*[fy75,2]opera ser
ia, [cf1]the distinction between recit. and ~aria was clear, but with Mozart's m
uch more ~expressive and inventive use of recitative (as in ~[cf2]Don Giovanni[c
f1]), the convention began to break up. ~Types of recit. are: [c
f2]recitativo accompagnato [cf1]or ~[cf2]stromentato [cf1](It., acc. or instr. r
ecit.), introduced ~[cf2]c.[cf1][sm1663[nm, in which the v. is acc. by instr.; [
cf2]recitativo ~secco [cf1](It., dry recit.), in which the notes and metre ~of t
he singing followed the verbal accents, ~accompanied only by occasional hpd. cho
rds, ~perhaps with a vc. or other instr. taking the bass ~line.[cm~Recorder [fy7
5,1](Fr. [cf2]fl;Afute ;Aga bec[cf1]; Ger. [cf2]Blockfl;Auote[cf1]; It. [cf2]fla
uto ~diretto[cf1]; Sp. [cf2]flauta de pico[cf1]). Woodwind instr. of ~ancient li
neage, made without reed. Forerunner ~of the fl., but end-blown through a whistl
e-~mouthpiece. In medieval times, the recorder was ~known under the Lat. name [c
f2]fistula, [cf1]hence `fipple-~flute'. It had [sm7[nm finger-holes in front and
 a thumb-~hole behind, and a beak-shaped mouthpiece. The ~antiquity of the instr
. is hard to determine because ~its playing position is so like that of similar
instr. ~(other whistle types), that contemporary illustra~~tions
 are of little help. But it has been est. as being ~in existence in the [sm12[nm
th cent., although the word ~`recorder' first appeared in a document in [sm1388[
nm. ~A recorder tutor was pub. in Venice, [sm1535[nm. By the ~[sm15[nmth cent. t
here were several sizes of recorder. ~Praetorius lists [sm8[nm, i.e. great bass,
 quint bass, bass, ~ten., alto, [sm2[nm sop., sopranino. Thus, recorder ~consort
s were a common feature of Renaissance ~mus. life. The instr. has been widely re
vived in ~the [sm20[nmth cent. both as an easy instr. for children ~and as part
of the revival in performing early ~mus. on authentic instr. Some modern compose
rs ~have written for it e.g. Britten, Arnold Cooke, ~and Rubbra. The most common
 size today is the ~descant (sop.), but there are also sopranino, treble ~(alto)
, ten., and bass.[cm~Recte et Retro [fy75,1](Lat.). In the right way and ~backwa
rds. Another name for the [fy45,1]*[fy75,2]canon cancri~~zans [cf1]in which the
theme of a canon is perf. ~normally in counterpoint with itself
perf. back~~wards.[cm~Redford, John [fy75,1]([cf2]b c.[cf1][sm1485[nm; [cf2]d [c
f1]London, [sm1547[nm). Eng. ~composer, organist, poet, and playwright. Organ~~i
st St|Paul's|Cath., London, from [cf2]c.[cf1][sm1530[nm. Comp. ~anthems|and|org.
|mus.[xm[cm~[j1]Redlich, Hans [fy75,1](Ferdinand) [cf1]([cf2]b [cf1]Vienna, [sm1
903[nm; [cf2]d ~[cf1]Manchester, [sm1968[nm). Austrian-born cond., com~~poser, a
nd scholar. Studied at univs. of Vienna, ~Munich, and Frankfurt. Opera cond. Ber
lin [sm1924[nm=n~[sm5[nm, Mainz [sm1925[nm=n[sm9[nm. Settled in Eng. [sm1939[nm
(Eng. ~citizen from [sm1947[nm), lecturer in mus. Cambridge ~Univ. [sm1942[nm=n[
sm55[nm, Birmingham Univ. [sm1949[nm=n[sm55[nm, ~Edinburgh Univ. [sm1955[nm=n[sm
62[nm. Prof. of mus., Manch~~ester Univ. [sm1962[nm=n[sm8[nm. Ed. of operas and
masses by ~Monteverdi, of Mozart's [cf2]L'Oca del Cairo, [cf1]and of ~works by H
andel. Comp. vocal works. Author of ~books on Mahler, Bruckner, Berg, Monteverdi
, ~and Wagner operas.[cm~Redowa. [fy75,1]Bohemian dance usually
in quick ;s3[cf13]=-=-=-=-=-=-=-4[cf1] ~time. It resembles the Polish dance, the
 Mazurka. ~See [cf2]Rejdova;akcka.[cm~Reed. [fy75,1]Sound-producing agent (of th
in cane, ~plastic, or metal) of various mouth-blown wind ~instr., such as ob. an
d harmonica, certain org. ~pipes, etc. A reed which vibrates [cf2]against [cf1]a
n air slot ~is a [cf2]Beating Reed[cf1]; one which vibrates [cf2]through [cf1]su
ch ~a slot (i.e. from one side to the other) is a [cf2]Free ~Reed. [cf1]Reeds ma
y be either single, as in cl. family, ~or double (in the latter the two halves o
f the ~mouthpiece itself being pieces of reed vibrating ~against each other, see
 [cf2]Oboe[cf1]). On an org., the [cf2]reed ~stop [cf1]controls pipes which have
 reeds.[cm~Reed-Cap Instruments. [fy75,1]From the late [sm15[nmth cent. ~some wo
odwind instr. were made with a reed-~cap which kept the reed from direct contact
 with ~the player's lips. The player blew through a slit in ~the top of the cap
to activate the reed. Most reed-~cap instr. cannot overblow and
have a restricted ~compass.[cm~Reed-Organ. [fy75,1]Name for kbd. instr. using fr
ee-~beating reeds and no pipe, as the [fy45,1]*[fy75,1]harmonium ~and the [fy45,
1]*[fy75,1]American org. Also for [fy45,1]*[fy75,1]accordion and ~[fy45,1]*[fy75
,1]harmonica. See also [cf2]Regal.[cm~Reed, William [fy75,1](Henry) ([cf2]b [cf1
]Frome, [sm1876[nm; [cf2]d ~[cf1]Dumfries, [sm1942[nm). Eng. violinist, composer
, and ~author. Studied RAM under Sauret. Violinist in ~London orchs. Leader, LSO
 [sm1912[nm=n[sm35[nm. Taught at ~RCM. Close friend of [fy45,1]*[fy75,1]Elgar, a
bout whom he ~wrote [sm2[nm books. Comp. orch. works, incl. [cf2]The ~Lincoln Im
p [cf1]([sm1921[nm), vn. conc., va. rhapsody, [sm5[nm str. ~qts., songs, etc. Lo
ng assoc. with [sm3[nm Choirs Fest.[cm~[PN584,0,0,L,I0]Reel. [fy75,1]Dance commo
n in Scotland, parts of ~England, and Ireland, for [sm2[nm or more couples. The
~mus. is rapid and smoothly flowing and generally ~in simple quadruple time. The
 [cf2]Highland Fling [cf1]is a ~particularly vigorous form of th
e Scottish reel. ~Scandinavian countries have similar dances. In N. ~Amer., the
[cf2]Virginia Reel, [cf1]said to be the same as ~the Eng. dance [cf2]Sir Roger d
e Coverley, [cf1]was probably ~introduced by Eng. settlers.[cm~Reeve, Stephen [f
y75,1]([cf2]b [cf1]London, [sm1948[nm). Eng. com~~poser. Worked as journalist, c
ontrib. to jazz ~magazines. Studied sitar and Indian mus. [sm1968[nm=n~[sm9[nm,
then studied in Li;Agege [sm1971[nm=n[sm3[nm, becoming pupil ~of [fy45,1]*[fy75,
1]Pousseur. Won Arts Council award [sm1972[nm for ~[cf2]Po;Ageme: Couleurs du Sp
ectre [cf1]for light projection and ~orch. Other works incl. [cf2]The Kite's Fea
thers [cf1]([sm1969[nm=n~[sm70[nm) for mez. and chamber ens., [cf2]Colour Music
~[cf1]([sm1970[nm), woodwind qt., [cf2]Mode [cf1]([sm1970[nm=n[sm1[nm), [sm4[nm
perc. and ~[sm15[nm obbligati, [cf2]La Chasse de la flamme [cf1]([sm1972[nm), pf
., ~[cf2]Summer Morning by a lake full of colours [cf1]([sm1974[nm), ~orch., [cf
2]Ardeurs de la flamme ouverte [cf1]([sm1974[nm=n[sm5[nm), vc. ~
and pf., [cf2]Strophe [cf1]([sm1975[nm), [sm4[nm guitars, .|.|. [cf2]aux r;Aaegi
ons ~;aaeth;aaer;aaees .|.|. [cf1]([sm1975[nm=n[sm6[nm), [sm3[nm chamber groups.
[cm~Reeves, Sims [fy75,1](orig. John) ( [cf2]b [cf1]Shooters Hill, [sm1818[nm; ~
[cf2]d [cf1]Worthing, [sm1900[nm). Eng. ten. Taught by father. ~D;Aaebut as bar.
, Newcastle upon Tyne [sm1838[nm, then ~studied in Paris and Milan, singing as t
en. at La ~Scala, Milan, [sm1846[nm, London [sm1846[nm (Dec.). First sang ~in or
atorio, Norwich Fest. [sm1848[nm and thereafter ~appeared more often on concert-
platform than in ~opera. Particularly assoc. with Handel Fests.[xm[cm~[j1]Refice
, Licinio [fy75,1]([cf2]b [cf1]Patrica, Rome, [sm1883[nm; [cf2]d [cf1]Rio de ~Ja
neiro, [sm1954[nm). It. composer and priest. Taught at ~sch. of church mus. in R
ome [sm1910[nm=n[sm50[nm and was ~choirmaster S. Maria Maggiore [sm1911[nm=n[sm4
7[nm. Comp. ~[sm2[nm operas, church mus., choral symphonic poems, ~requiem, etc.
[cm~Reformation Symphony. [fy75,1]Mendelssohn's Sym. ~No. [sm5[n
m in D minor, Op. [sm107[nm, comp. [sm1830[nm=n[sm2[nm. ~Written for tercentenar
y of Augsburg Confession ~of [sm1530[nm but not perf. until [sm1832[nm in Berlin
. The ~first and last movements quote the `Dresden ~Amen' and the Lutheran chora
le [fy45,1]*[fy75,2]Ein' feste Burg.[cm~Refrain. [fy75,1]That part of a song whi
ch recurs at the ~end of each stanza. Refers to both words and mus. ~Corresponds
 to poetic `burden'. In popular [sm20[nmth-~cent. mus., `chorus' is used as syno
nym.[xm[cm~[j1]Regal.[fy75,1] Small portable [sm1[nm-manual org. popular ~from [
sm15[nmth to [sm17[nmth cents. Had reed pipes of type ~known as `beating reeds'
(reeds which vibrate ~against an air slot). Variety known as Bible Regal ~folded
 in two like a book.[xm[cm~[j1]Regards sur l'enfant J;Aaesus, Vingt [fy75,1]([sm
20[nm looks at ~the Child Jesus). [sm20[nm pieces for solo pf. by Messiaen, ~com
p. [sm1944[nm. F.p. Paris [sm1945[nm (Loriod).[cm~Reger, [fy75,1](=+=+Johann Bap
tist Joseph) [fy65,3]Max [fy75,1](imilian) ([cf2]b ~[cf1]Brand,
[sm1873[nm; [cf2]d [cf1]Leipzig, [sm1916[nm). Ger. composer, ~pianist, organist,
 and teacher. Organ pupil in ~Sonderhausen and Wiesbaden [sm1890[nm=n[sm5[nm. Li
ved in ~Munich from [sm1901[nm, teaching at Acad. of Mus. ~[sm1905[nm=n[sm6[nm.
Dir. of mus. Leipzig Univ. [sm1907[nm=n[sm8[nm, prof. ~of comp. Leipzig Cons. [s
m1907[nm=n[sm16[nm. Cond., Meinin~~gen Orch. [sm1911[nm=n[sm14[nm. Toured Europe
 and Russia as ~organist. Was opponent of `programme' mus. and ~comp. only in `a
bsolute' forms. Master of poly~~phony and developed complex harmonic proce~~dure
s. Prolific composer, chief works incl.:[xm[cm~[j2][smorch[nm: [cf2][sm2[nm Roma
nces[cf1], vn., orch. ([sm1900[nm); [cf2]Variations ~and Fugue on a Theme of Bee
thoven[cf1] ([sm1915[nm, arr. of ~[sm2[nm-pf. work [sm1904[nm); [cf2]Sinfonietta
 [cf1]in A ([sm1904[nm=n[sm5[nm); ~[cf2]Serenade[cf1] in G ([sm1905[nm=n[sm6[nm)
; [cf2]Variations and Fugue on ~a Theme of J. A. Hiller [cf1]([sm1907[nm); Vn. C
onc. in A ~([sm1907[nm=n[sm8[nm); [cf2]Symphonic Prologue for a
Tragedy[cf1] in A ~minor ([sm1908[nm); Pf. Conc. in F minor ([sm1910[nm); ~[cf2]
Comedy Overture [cf1]([sm1911[nm); [cf2]Concerto in Olden Style ~[cf1]([sm1912[n
m); [cf2]Romantic Suite, after Eichendorff [cf1]([sm1912[nm); [cf2][sm4[nm ~B;au
ocklin Tone-Pictures[cf1] ([sm1913[nm); [cf2]Ballet Suite[cf1] in D ~([sm1913[nm
); [cf2]Variations and Fugue on a Theme of Mozart ~[cf1]([sm1914[nm, arr. for [s
m2[nm pf. [sm1914[nm)[ep~[smchoral[nm: [cf2]Hymne an den Gesang[cf1], male ch.,
orch. ~([sm1898[nm); [sm7[nm Male Choruses ([sm1899[nm); [cf2][sm4[nm Cantatas ~
[cf1]([sm1903[nm=n[sm5[nm); [cf2][sm10[nm Ges;auange[cf1], male vv. ([sm1904[nm,
 [sm1909[nm); ~[cf2]Psalm [sm100[nm[cf1], ch., orch., org. ([sm1908[nm=n[sm9[nm)
; [cf2]Geistliche ~Ges;auange[cf1], [sm5[nm vv. ([sm1912[nm); [cf2]Die Weihe der
 Nacht[cf1], male ~vv., orch. ([sm1911[nm); [cf2]R;auomischer Triumphgesang[cf1]
, male ~vv., orch. ([sm1912[nm).[ep~[smchamber music[nm: [sm6[nm str. qts. ([sm1
888[nm=n[sm9[nm, [sm1900[nm ([sm2[nm), ~[sm1903[nm=n[sm4[nm, [sm
1909[nm, [sm1911[nm); [sm2[nm pf. quintets ([sm1897[nm=n[sm8[nm, ~[sm1901[nm=n[s
m2[nm); [sm2[nm pf. qts. ([sm1910[nm, [sm1914[nm); str. sextet ~([sm1910[nm); cl
. quintet ([sm1915[nm); [sm7[nm vn. sonatas ([sm1905[nm); ~[sm3[nm vc. sonatas (
[sm1898[nm, [sm1904[nm, [sm1910[nm); [sm3[nm cl. sonatas ~([sm1900[nm ([sm2[nm),
 [sm1908[nm=n[sm9[nm).[ep~[smpiano[nm: [cf2][sm12[nm Waltz-Caprices[cf1], duet (
[sm1892[nm); [cf2][sm7[nm Waltzes ~[cf1]([sm1893[nm); [cf2]Lose Bl;auatter [cf1]
([sm1894[nm); [cf2][sm6[nm Morceaux [cf1]([sm1898[nm); [cf2][sm7[nm ~Fantasie-St
;auucke [cf1]([sm1898[nm); [cf2][sm7[nm Charakterst;auucke [cf1]([sm1899[nm); ~[
cf2][sm6[nm Intermezzi [cf1]([sm1900[nm); [cf2][sm7[nm Silhouettes [cf1]([sm1900
[nm); [cf2][sm12[nm Bl;auatter ~und Bl;auuten[cf1] ([sm1900[nm=n[sm2[nm); [cf2][
sm10[nm Pieces [cf1]([sm1901[nm=n[sm3[nm); [cf2]Varia~~tions and Fugue on a Them
e of J.S. Bach[cf1] ([sm1904[nm); [cf2]Aus ~meinen Tagebuch [cf1]([sm35[nm littl
e pieces) ([sm1904[nm=n[sm12[nm); ~[cf2]Variations and Fugue on
a Theme of Beethoven[cf1], [sm2[nm ~pf. ([sm1904[nm, orch. [sm1915[nm); [cf2][sm
4[nm Pieces[cf1] ([sm1901[nm=n[sm6[nm); [sm4[nm ~Sonatinas ([sm1905[nm, [sm1908[
nm); [cf2]Introduction, Passacaglia, ~and Fugue[cf1], [sm2[nm pf. ([sm1906[nm);
[cf2]Variations and Fugue on ~a Theme of Mozart[cf1], [sm2[nm pf. ([sm1914[nm, a
rr. of orch. ~work); [cf2]Variations and Fugue on a Theme of G. P. ~Telemann [cf
1]([sm1914[nm); [cf2]Tr;auaume am Kamin[cf1], [sm12[nm little ~pieces ([sm1915[n
m).[ep~[smorgan[nm: [cf2][sm3[nm Pieces [cf1]([sm1892[nm); [cf2]Chorale Fantasia
 `Ein' feste ~Burg' [cf1]([sm1898[nm); [cf2]Fantasia and Fugue[cf1] in C minor ~
([sm1898[nm); Sonatas, No. [sm1[nm in F;yi ([sm1899[nm), No. [sm2[nm in D ~minor
 ([sm1901[nm); [cf2]Fantasia and Fugue on BACH[cf1] ~([sm1900[nm); [cf2][sm6[nm
Trios[cf1] ([sm1900[nm); [cf2][sm5[nm Easy Preludes and Fugues[cf1] ~([sm1904[nm
); [cf2][sm12[nm Pieces [cf1]([sm1901[nm); [cf2][sm12[nm Pieces [cf1]([sm1902[nm
); [cf2][sm52[nm ~Easy Chorale Pieces [cf1]([sm1902[nm); [cf2][s
m10[nm Pieces [cf1]([sm1903[nm); ~[cf2]Variations and Fugue on an Original Theme
 in F;yi[cf1] ~([sm1903[nm); [cf2][sm13[nm Chorale Preludes[cf1] ([sm1901[nm=n[s
m3[nm); [cf2][sm12[nm Pieces ~[cf1]([sm1904[nm); [cf2][sm4[nm Preludes and Fugue
s [cf1]([sm1904[nm); [cf2]Introduction, ~Passacaglia, and Fugue[cf1] in E minor
([sm1913[nm); [cf2][sm9[nm Pieces ~[cf1]([sm1913[nm); [cf2][sm30[nm Little Chora
le Preludes [cf1]([sm1914[nm); [cf2]Fantasia ~and Fugue[cf1] in D minor ([sm1916
[nm); [cf2][sm7[nm Pieces [cf1]([sm1915[nm=n~[sm16[nm).[ep~[PN585,0,0,R,I0][smvo
cal[nm: [cf2]An die Hoffnung[cf1], alto and orch. or pf. ~([sm1912[nm); [cf2]Hym
nus der Liebe[cf1], bar. or alto, and orch. ~([sm1914[nm); [cf2][sm12[nm Sacred
Songs[cf1], v. and pf. or org. or ~harmonium ([sm1914[nm); also over [sm250[nm s
olo songs, [sm12[nm ~of them with orch. acc.[cm~[j1]Reggae. [fy75,1]Rhythmic mus
. indigenous to black ~culture of Jamaica and originating in mid-[sm1960[nms; ~e
xtremely eclectic, being drawn from African ~religious mus. and
cult drum mus., Christian ~black revival songs, and liturgical mus. of ~Rastafar
ian sect. Words usually relate news, social ~gossip, and political comment. Regg
ae spread ~into commercialized jazz field, being known first ~as `Rudie Blues',
then `Ska', later `Blue Beat', and ~`Rock Steady'.[cm~Register. [fy75,1]([sm1[nm
) Set of org. pipes belonging to a ~particular stop.[ep~^([sm2[nm) To `register'
 a piece of mus. is to select the ~stops to be employed in its various sections;
 ~hence, `registration', the art of selecting and using ~stops in playing organ
and harpsichord.[ep~^([sm3[nm) The part of the compass of an instr. having a ~di
stinctive tonal quality, e.g. [fy45,1]*[fy75,2]chalumeau [cf1]register ~of cl.[e
p~^([sm4[nm) Part of vocal compass, e.g. chest v., high ~register, etc.[cm~Rehfu
ss, Heinz [fy75,1](=+=+Julius) ([cf2]b [cf1]Frankfurt, [sm1917[nm). Ger.-~Swiss
bass-bar. and singing teacher. Member of ~Z;Auurich Stadttheater [sm1940[nm=n[sm
52[nm. Wide repertory of ~operatic roles and noted for singing o
f oratorio. ~Settled in USA. Taught at various schs. of mus.[cm~Reich, Steve [fy
75,1]([cf2]b [cf1]NY, [sm1936[nm). Amer. composer; one ~of the [fy45,1]*[fy75,1]
minimalists. Studied Juilliard Sch. [sm1958[nm=n~[sm61[nm and Mills College, Oak
land, [sm1962[nm=n[sm3[nm (comp. ~with Berio and Milhaud). Worked with San ~Fran
cisco tape mus. centre [sm1964[nm=n[sm5[nm, then est. own ~elec. studio in NY. T
hough influenced to some ~degree by African and Asian mus., his works deal ~excl
usively with very gradual changes in time. ~They incl.: [cf2]Pitch Charts [cf1](
[sm1963[nm), [cf2]Music, [cf1]for [sm3[nm or ~more pf. or pf., tape ([sm1964[nm)
, [cf2]Piano Phase, [cf1][sm2[nm pf. ~([sm1967[nm), [cf2]My Name Is, [cf1][sm3[n
m or more tape recorders, ~performers, audience ([sm1967[nm), [cf2]Pendulum Musi
c, ~[cf1]microphones, loud-speakers, amplifiers, perform~~ers ([sm1968[nm), [cf2
]Pulse Music, [cf1]for instr. invented by ~composer ([sm1968[nm=n[sm9[nm), [cf2]
Piano Store, [cf1]for store full of ~pfs. ([sm1969[nm), [cf2]Pha
se Patterns, [cf1][sm4[nm electric organs ([sm1970[nm), ~[cf2]Drumming, [cf1][sm
4[nm pairs of tuned bongos, [sm3[nm marimbas, ~[sm3[nm glockenspiels, male and f
emale vv. ([sm1971[nm), ~[cf2]Clapping Music[cf1], [sm2[nm musicians ([sm1972[nm
), [cf2]Six Pianos[cf1], [sm6[nm ~pf. ([sm1973[nm), [cf2]Music for Mallet Instru
ments, Voices and ~Organ [cf1]([sm1973[nm), [cf2]Music for Pieces of Wood[cf1],
claves ~([sm1973[nm), [cf2]Music for [sm18[nm Musicians [cf1]([sm1975[nm).[xm[cm
~[j1]Reich, Willi [fy75,1]([cf2]b [cf1]Vienna, [sm1898[nm; [cf2]d[cf1] Z;auurich
, [sm1980[nm). ~Austrian musicologist and critic. Studied with ~[fy45,1]*[fy75,1
]Berg and Webern. Settled in Switzerland [sm1938[nm. ~Wrote books on Berg, Mozar
t, Haydn, Wolf, ~Wagner, Bruckner, Mahler, and Schoenberg.[cm~Reicha, Anton;aain
 [fy75,1]([cf2]b [cf1]Prague, [sm1770[nm; [cf2]d [cf1]Paris, [sm1836[nm). ~Bohem
ian composer and flautist. Flautist in Bonn ~Elector's orch., [sm1785[nm=n[sm94[
nm, becoming friend of ~Beethoven. Lived in Hamburg [sm1794[nm=n
[sm9[nm, Paris ~[sm1799[nm=n[sm1802[nm, Vienna [sm1802[nm=n[sm8[nm, [sm1808[nm P
aris, becom~~ing prof. of comp. at Paris Cons. from [sm1818[nm ~(pupils incl. Li
szt and Gounod). Wrote [sm16[nm operas, ~[sm2[nm syms., [cf2]Sc;Agenes italienne
s [cf1]for orch., octet for str. ~and wind, [sm24[nm wind quintets, [sm20[nm str
. qts., [sm24[nm hn. ~trios, [sm12[nm vn. sonatas, and numerous other chamber ~w
orks. Remembered almost exclusively for his ~frequently-played wind quintets, ne
arly the first ~of their kind.[cm~Reichardt, Johann Friedrich [fy75,1]([cf2]b [c
f1]K;Auonigsberg, ~[sm1752[nm; [cf2]d [cf1]Giebichenstein, [sm1814[nm). Ger. com
poser, ~cond., and writer. Court composer and cond. to ~Frederick the Great and
Frederick II, [sm1775[nm=n[sm94[nm. ~Instituted many reforms. Visited London and
 ~Paris [sm1785[nm and again some years later. Dismissed ~from court post for sy
mpathy with Fr. Revolu~~tion. Cond. Kassel Opera [sm1808[nm. Wrote at least [sm1
2[nm ~operas, [cf2]Singspiele, [cf1]setting of Milton's [cf2]Mor
ning ~Hymn, [cf1]over [sm1500[nm songs (incl. setting of [cf2]Erlk;Auonig, ~[cf1
]highly praised by Mendelssohn), and much ~chamber mus. Author of several books
on comp.[cm~Reichmann, Theodor [fy75,1]([cf2]b [cf1]Rostock, [sm1849[nm; [cf2]d
~[cf1]Marbach, Bodensee, [sm1903[nm). Ger. bar. Studied ~Berlin, Prague, and Mil
an. D;Aaebut Magdeburg ~[sm1869[nm. Sang opera in Berlin, Munich, and Ham~~burg,
 joining Vienna Opera [sm1882[nm=n[sm9[nm, [sm1893[nm=n[sm1902[nm. ~Created Amfo
rtas in [cf2]Parsifal, [cf1]Bayreuth [sm1882[nm. ~London d;aaebut [sm1882[nm, CG
 [sm1884[nm, [sm1892[nm, NY Met. ~[sm1889[nm=n[sm91[nm. Last appearance Munich [
sm1902[nm, as Sachs.[cm~Reichwein, Leopold [fy75,1]([cf2]b [cf1]Breslau, [sm1878
[nm; [cf2]d [cf1]Vienna, ~[sm1945[nm). Ger. cond. Karlsruhe Opera [sm1909[nm=n[s
m13[nm, ~Vienna Opera [sm1913[nm=n[sm21[nm; dir. concerts of Vienna ~Musikfreund
e [sm1921[nm=n[sm6[nm, mus. dir. Bochum [sm1926[nm. ~Cond. f. Ger. p. of Vaughan
 Williams's [sm4[nmth sym. ~(Bochum, Jan. [sm1937[nm). Took his
own life when ~accused of being member of Austrian Nazi Party.[cm~Reid Concerts.
 [fy75,1]On foundation of chair of mus. ~at Edinburgh Univ., [sm1839[nm, through
 bequest by ~Gen. John Reid (really Robertson) ([sm1721[nm=n[sm1807[nm), ~Reid's
 stipulation of annual concert on the anniv. ~of his birth was observed. Under [
fy45,1]*[fy75,1]Oakeley the ~observance was widened, and [fy45,1]*[fy75,1]Tovey
est. the ~Reid concerts and orch. in [sm1917[nm, writing his ~celebrated program
me-notes for them.[cm~Reigen, Reihen [fy75,1](Ger.). Round dance, or simply ~dan
ce. [cf2]Elfenreigen, [cf1]elf dance, [cf2]gnomenreigen, [cf1]gnome ~dance.[cm~R
eilly, Tommy [fy75,1]([cf2]b [cf1]Guelph, Ontario, [sm1919[nm). ~Canadian-born m
outh-org. player, self-taught. ~Studied vn. at Leipzig Cons., [sm1937[nm=n[sm9[n
m, being ~interned on outbreak of World War II. Has ~transcr. mus. by Bach, Moza
rt, Smetana, and ~Chopin for his instr. Works written for him by ~Spivakovsky an
d Jacob. Soloist with leading orchs.[cm~Reimann, Aribert [fy75,1
]([cf2]b [cf1]Berlin, [sm1936[nm). Ger. com~~poser and pianist. Studied in Berli
n with [fy45,1]*[fy75,1]Blacher ~(comp.) and Rausch (pf.). Exceptional accompa~~
[PN586,0,0,L,I0]nist, often with [fy45,1]*[fy75,1]Fischer-Dieskau. Comps. influ~
~enced by Berg, Webern, and the mus. of India. ~Abandoned serialism in [sm1967[n
m. Has set texts by ~Shakespeare and Shelley. Prin. works:[xm[cm~[j2][smoperas[n
m: [fy75,2]Ein Traumspiel [cf1](A Dream Play), after ~Strindberg, ([sm1964[nm);
[cf2]Melusine [cf1]([sm1970[nm); [fy45,1]*[fy75,2]Lear ~[cf1]([sm1978[nm); [cf2]
Gespenstersonate [cf1]([sm1984[nm).[ep~[smballet[nm: [cf2]Stoffreste [cf1]([sm19
57[nm), rev. as [cf2]Die Vogelscheuchen ~[cf1](The Scarecrows), lib. by G;auunte
r Grass ([sm1970[nm).[ep~[smorch[nm: [cf2]Rondes [cf1]for str., ([sm1968[nm); [c
f2]Loqui, [cf1]([sm1969[nm); suite, ~[cf2]Ein Traumspiel, [cf1]([sm1965[nm); sui
te, [cf2]Die Vogelscheuchen, ~[cf1]([sm1972[nm); pf. conc. No. [sm1[nm, ([sm1961
[nm), No. [sm2[nm, ([sm1972[nm); ~vn. conc. ([sm1959[nm).[ep~[sm
vocal[nm: [cf2]Ein Totentanz, [cf1]bar. and chamber orch. ~([sm1960[nm); [cf2]H;
Auolderlin-Fragmente, [cf1]sop. and orch. ~([sm1963[nm); [cf2]Inane, [cf1]sop. a
nd orch. ([sm1968[nm); [cf2]Zyklus, [cf1]bar. ~and orch. ([sm1971[nm); [cf2]Epit
aph, [cf1]ten. and [sm7[nm instr. ~([sm1965[nm); [cf2][sm5[nm Poems of Paul Cela
n, [cf1]bar. and pf. ([sm1960[nm); ~[cf2][sm3[nm Shakespeare Sonnets, [cf1]bar.
and pf. ([sm1964[nm); [cf2]Lines ~[cf1](Shelley), sop. and [sm14[nm str. ([sm197
3[nm); [cf2]Wolkenloses ~Christfest [cf1](Cloudless Christmas), requiem for ~bar
., vc., and orch. ([sm1974[nm); [cf2]Verr;aga la Morte [cf1](Death ~Shall Come),
 cantata, sop., ten., and bar., [sm2[nm ch., ~and orch. ([sm1966[nm); [cf2]Lear,
 [cf1]sym. for bar. and orch. ~([sm1980[nm); [cf2]Unrevealed, [cf1]bar. and str.
 qt. ([sm1980[nm).[ep~[smchamber music[nm: Pf. sonata ([sm1958[nm); [cf2]Canzoni
 e ~Ricercare, [cf1]fl., va., vc. ([sm1961[nm); [cf2]Reflexionen, [cf1][sm7[nm i
nstr., ~([sm1966[nm); vc. sonata, ([sm1963[nm); [cf2]Invenzioni
[cf1]for [sm12[nm ~players, ([sm1979[nm).[cm~[ol0][ep~[xp[te~












[do42][j99]~~~~~~[sm153842[nm_R[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm005[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm10[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm141[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ctPLEASE NOTE: This file mo
st likely wont fit tries, this is because of Illustration insertions=mComp makeu
p.[ep[xc[ap[j1]Reine, La [fy75,1](The Queen). Nickname of Haydn's ~Sym. in B;Yh,
 No. [sm85[nm in Breitkopf edn., comp. [sm1785[nm, ~being abbreviation of `La Re
ine de France'. No. [sm4[nm ~of the [fy45,1]*[fy75,1]`Paris' syms. and much admi
red by Marie ~Antoinette.[cm~Reinecke, Carl [fy75,1](Heinrich Carsten) ([cf2]b [
cf1]Altona, ~[sm1824[nm; [cf2]d [cf1]Leipzig, [sm1910[nm). Ger. pianist, violini
st, ~composer, cond., and teacher. Pupil of his father. ~D;Aaebut as violinist [
sm1835[nm. Orch. violinist but then ~devoted himself to pf., making int. reputat
ion. ~After teaching in Cologne, Barmen, and Breslau, ~settled in Leipzig, becom
ing cond. of Gewand~~[chhaus Orch. [sm1860[nm=n[sm95[nm and prof
. of pf. and comp. at ~Cons. [sm1860[nm=n[sm92[nm, dir. [sm1892[nm=n[sm1902[nm.
Wrote [sm5[nm operas, ~oratorio, cantatas, [sm3[nm syms., [sm4[nm pf. concs., ha
rp conc., ~much chamber mus., and pf. pieces. Wrote over ~[sm40[nm cadenzas for
pf. concs. by other composers.[cm~Reiner, Fritz [fy75,1]([cf2]b [cf1]Budapest, [
sm1888[nm; [cf2]d [cf1]NY, [sm1963[nm). ~Hung.-born cond. Studied Budapest Acad.
 and ~also graduated in law at Univ. Chorusmaster ~Budapest Opera [sm1909[nm. Co
nd. Budapest Volksoper ~[sm1911[nm. Chief cond., Dresden Opera [sm1914[nm=n[sm22
[nm. ~Cond. Cincinnati S.O. [sm1922[nm=n[sm31[nm. Head of orch. ~and opera depts
., Curtis Institute, Penn., [sm1931[nm=n~[sm41[nm. Cond., Pittsburgh S.O. [sm193
8[nm=n[sm48[nm. NY Met. ~[sm1949[nm=n[sm53[nm. Cond., Chicago S.O. [sm1953[nm=n[
sm63[nm. London ~d;Aaebut with LSO, [sm1924[nm. CG [sm1936[nm=n[sm7[nm. Famed ~i
nterpreter of R. Strauss, Wagner, Bart;Aaok.[cm~Reiner, Karel [fy75,1]([cf2]b [c
f1];AkZatec, [sm1910[nm; [cf2]d[cf1] Prague, [sm1979[nm). ~Cz. c
omposer and pianist. Studied in Prague, and ~comp. privately with A. [fy45,1]*[f
y75,1]H;Aaaba ([sm1929[nm=n[sm30[nm) and ~Suk ([sm1930[nm=n[sm1[nm). Pianist spe
cializing in contempo~~rary mus., [sm1931[nm=n[sm8[nm, [sm1945[nm=n[sm7[nm; work
ed at [cf2]avant-~garde [cf1]th. in Prague [sm1935[nm=n[sm8[nm. Also critic and
ed. of ~mus. magazines. Holder of govt. posts [sm1951[nm=n[sm70[nm. ~Under influ
ence of H;Aaaba experimented in ~quarter-tone writing, later adopting free atona
l ~style. Prolific composer, works incl. sym., pf. ~conc., vn. conc., [sm3[nm pf
. sonatas, str. qts., db. sonata, ~and over [sm250[nm other chamber comps.[cm~Re
inhardt, Delia [fy75,1]([cf2]b [cf1]Elberfeld, [sm1892[nm; [cf2]d [cf1]Arles~~[c
hheim, [sm1974[nm). Ger. sop. D;Aaebut Wroc;Umaw [sm1913[nm. ~Munich Opera [sm19
17[nm=n[sm24[nm, Berlin Opera [sm1924[nm=n[sm32[nm. ~Sang at CG [sm1924[nm=n[sm9
[nm, NY Met. [sm1922[nm=n[sm4[nm. A famous ~Oktavian in [cf2]Der Rosenkavalier,
[cf1]also won acclaim ~for her Eva, Pamina, and Desdemona.[cm~Re
inhardt, Django [fy75,1](=+=+Jean Baptiste) ([cf2]b[cf1] Liberchies, ~[sm1910[nm
; [cf2]d[cf1] Fontainebleau, [sm1953[nm). Belg. jazz guitarist. ~Burned in fire
[sm1928[nm, mutilation of left hand ~causing him to devise new fingering method.
 ~Worked with the singer Jean Sablon and the ~violinist Stephane [fy45,1]*[fy75,
1]Grappelli. Founder-member ~with Grappelli of Quintet du Hot Club de France, ~[
sm1934[nm. Visited London [sm1946[nm and toured USA as ~soloist with [fy45,1]*[f
y75,1]Ellington's orch. Can claim to have ~been first really great European jazz
 musician.[cm~Reining, Maria [fy75,1]([cf2]b [cf1]Vienna, [sm1903[nm). Austrian
sop. ~Vienna Opera [sm1931[nm=n[sm3[nm, [sm1937[nm=n[sm55[nm. CG d;aaebut [sm193
8[nm ~(Elsa). Toscanini's choice for Eva in Salzburg [sm1937[nm ~[cf2]Meistersin
ger.[cf1] Famous for Strauss roles of Mar~~schallin, Arabella, and Ariadne. Chic
ago [sm1938[nm.[cm~Reinken [fy75,1](Reincken)[fy65,3], Johann Adam [fy75,1](=+=+
Jan Adams) ~([cf2]b [cf1]Wils[chhausen, Alsace, [sm1623[nm; [cf2
]d [cf1]Hamburg, [sm1722[nm). ~Ger. organist and composer. Pupil of Scheide~~man
n. Bach, while at L;Auuneburg [sm1700[nm=n[sm3[nm, several ~times walked to Hamb
urg to hear Reinken play ~at St Catherine's, where he had been organist ~since [
sm1663[nm. Was still active as organist at age [sm99[nm.[cm~Reiss, Albert [fy75,
1]([cf2]b [cf1]Berlin, [sm1870[nm; [cf2]d [cf1]Nice, [sm1940[nm). Ger. ~ten. Ori
g. actor until Pollini discovered his vocal ~ability in [sm1897[nm. Member of NY
 Met. co. [sm1901[nm=n~[sm20[nm. CG [sm1902[nm=n[sm5[nm, [sm1924[nm=n[sm9[nm. On
e of finest interpreters ~of David in [cf2]Die Meistersinger [cf1]and of Mime in
 [cf2]Der ~Ring des Nibelungen. [cf1]Created Nick in [cf2]La fanciulla ~del West
[cf1], [sm1910[nm.[cm~Reizenstein, Franz [fy75,1]([cf2]b [cf1]Nuremberg, [sm1911
[nm; [cf2]d ~[cf1]London, [sm1968[nm). Ger.-born composer, pianist, and ~cond. S
tudied in Berlin with [fy45,1]*[fy75,1]Hindemith. Settled ~in London [sm1934[nm,
 pupil of [fy45,1]*[fy75,1]Vaughan Williams at ~RCM. Taught at R
AM from [sm1958[nm, RMCM (pf.) ~from [sm1965[nm. Works incl. [sm2[nm radio opera
s, oratorio ~[cf2]Genesis, [cf1]cantata [cf2]Voices of Night, [cf1][sm2[nm pf. c
oncs., [sm2[nm vn. ~concs., vc. conc., much chamber mus. Frequently ~played in v
arious chamber ens. Composed [sm2[nm of ~best [fy45,1]*[fy75,1]Hoffnung concert
[cf2]pastiches[cf1], [cf2]Let's Fake an ~Opera[cf1] and [cf2]Concerto popolare[c
f1] (both [sm1958[nm).[cm~Rejdova;akcka [fy75,1]or [fy65][cf3]Rejdov;aaak. [fy75
,1]Bohemian dance in ~duple time, somewhat like the Polka but con~~[chsidered to
 be a variant of the [fy45,1]*[fy75,2]Redowa.[xm[cm~[PN587,0,0,R,I0][j1]Rejoice
in the Lord Alway. [fy75,1]Anthem by H. ~Purcell known as [fy45,1]*[fy75,2]Bell
Anthem.[cm~Rektah. [fy75,1]See [cf2]Raptak.[cm~Rel;afache [fy75,1](theatrical te
rm denoting `No show' or ~`Theatre closed'). `Ballet instantan;Aaeiste' in [sm2[
nm acts ~and cinematographic entr'acte by Ren;Aae Clair, ~with music by [fy45,1]
*[fy75,1]Satie to lib. by F. Picabia, choreog. ~B;auorlin. Prod.
 Paris [sm1924[nm.[cm~Related. [fy75,1]Term used for one key's harmonic ~distanc
e from, or closeness to, another. `Related ~keys' is an unspecific term, since a
ll keys are ~related in some way.[cm~Relative. [fy75,1]Term used to indicate con
nection ~between a major and a minor key having same ~key signature, e.g. A mino
r is the [cf2]relative minor [cf1]of ~C major, and C major the [cf2]relative maj
or [cf1]of A ~minor.[cm~Remedios, Alberto [fy75,1]([cf2]b[cf1] Liverpool, [sm193
5[nm). Eng. ~tenor. Studied RCM. Opera d;aaebut [sm1957[nm at SW ~(Tinca in [cf2
]Il tabarro[cf1]). CG d;aaebut [sm1965[nm as Dimitri in ~[cf2]Boris Godunov[cf1]
. Scored major success as Walther in ~[cf2]The Mastersingers[cf1] at SW [sm1968[
nm, under [fy45,1]*[fy75,1]Goodall. ~Frankfurt Opera [sm1968[nm=n[sm70[nm. Sang
Siegmund and ~Siegfried in SW [cf2]Ring[cf1] cycles cond. by Goodall, ~with Rita
 [fy45,1]*[fy75,1]Hunter as Br;auunnhilde. NY Met. d;aaebut ~[sm1976[nm (Strauss
's Bacchus).[cm~Rem;aaenyi [fy75,1](orig. Hoffmann), [fy65][cf3]
Eduard [fy75,1]([cf2]b [cf1]Miscolcz, ~Hung., [sm1828[nm; [cf2]d [cf1]San Franci
sco, [sm1898[nm). Hung. ~violinist. Studied at Vienna Cons. [sm1842[nm=n[sm5[nm.
 D;aaebut ~Pest [sm1846[nm, London [sm1848[nm. Was in USA [sm1848[nm=n[sm52[nm.
~Toured Europe [sm1852[nm=n[sm3[nm with Brahms as accom~~panist. Friend of Liszt
 at Weimar. Visited London ~[sm1854[nm, becoming court solo violinist to Queen ~
Victoria [sm1854[nm=n[sm9[nm. Austrian court violinist, [sm1860[nm. ~Many world
tours. Wrote vn. conc. and other ~pieces. The `gipsy' element in some of Brahms'
s ~music is probably attributable to his time with ~Rem;aaenyi. Died while playi
ng in a concert.[cm~Remettre [fy75,1](Fr.). To put back. The imperative ~[cf2]re
mettez [cf1]in Fr. org. mus. means to bring into use ~some stop that has been te
mporarily out of action.[cm~Remoortel, Edouard van [fy75,1]([cf2]b [cf1]Brussels
, [sm1926[nm; [cf2]d ~[cf1]Paris, [sm1977[nm). Belg. cond. Studied Brussels Cons
. ~[sm1945[nm=n[sm9[nm, Geneva Cons., and with Josef Krips. ~Chi
ef cond., Belg. Nat. Orch. [sm1951[nm. Cond. St ~Louis S.O. [sm1958[nm=n[sm62[nm
. Monte Carlo Opera [sm1965[nm=n[sm9[nm.[cm~Renaissance [fy75,1](Fr., `rebirth')
. In mus. parlance, the ~Renaissance period is that between `medieval' and ~`bar
oque', i.e. from early [sm15[nmth to early [sm17[nmth cents.[cm~Renard [fy75,1](
The Fox). [sm1[nm-act [cf2]histoire burlesque chant;aaee ~et jou;Aaee [cf1](burl
esque in song and dance) by ~Stravinsky to his own lib. after Russ. folk-tales i
n ~Fr. trans. by C. F. Ramuz. Comp. [sm1915[nm=n[sm16[nm. Prod. ~Paris [sm1922[n
m, NY [sm1923[nm.[xm[cm~[j1]Renaud, Maurice [fy75,1]([cf2]b [cf1]Bordeaux, [sm18
61[nm; [cf2]d [cf1]Paris, ~[sm1933[nm). Fr. bar. Studied Paris and Brussels. Ope
ra ~d;Aaebut Brussels [sm1883[nm. Member Brussels Opera ~[sm1883[nm=n[sm90[nm, P
aris [sm1890[nm=n[sm1902[nm, CG [sm1897[nm=n[sm1904[nm, NY ~Manhattan Opera [sm1
906[nm=n[sm10[nm, Met. [sm1910[nm=n[sm12[nm. Cre~~ated several Wagner roles in F
r. Fine actor and ~master of make-up.[cm~Renn, Samuel [fy75,1]([
cf2]b[cf1] Kedleston, Derbyshire, [sm1786[nm; [cf2]d[cf1] ~Manchester, [sm1845[n
m). Eng. organ-builder. Appren~~ticed [cf2]c[cf1]. [sm1800[nm to his uncle James
 Davis and became ~his foreman [sm1808[nm, supervising many installations. ~On D
avis's retirement, Renn took over his ~Lancashire business and traded as Renn &
Boston. ~Built [sm100[nm organs [sm1822[nm=n[sm45[nm. By standardizing ~dimensio
ns of pipes etc., he reduced costs. Built ~Chester Cath. organ [sm1829[nm and St
 Philip's, Salford. ~His nephew James Kirtland took over business ~when Renn die
d, being joined in [sm1846[nm by F. W. ~Jardine. The title Jardine & Co. was ado
pted [sm1867[nm ~and the firm survived until [sm1976[nm.[cm~Rennert, G;auunther
[fy75,1]([cf2]b [cf1]Essen, [sm1911[nm; [cf2]d [cf1]Salzburg, ~[sm1978[nm). Ger.
 producer and intendant. Film pro~~ducer [sm1933[nm. Worked in opera, at Felsens
tein's ~prompting, at Wuppertal, Frankfurt, and Mainz ~[sm1935[nm=n[sm9[nm, K;Au
onigsberg [sm1939[nm=n[sm42[nm, Berlin [sm1942[nm=n[sm4[nm, ~Mun
ich [sm1945[nm. Intendant, Hamburg Opera [sm1945[nm=n~[sm56[nm, making it leadin
g Ger. co. of its day and ~staged such [sm20[nmth cent. operas as [cf2]Peter Gri
mes, ~Wozzeck, Lulu,[cf1] and [cf2]The Rake's Progress[cf1]. Artistic ~counsello
r and head of prod., Glyndebourne ~[sm1959[nm=n[sm67[nm. Guest producer CG, NY M
et., and other ~leading opera houses.[cm~R;age Pastore, Il [fy75,1](The Shepherd
 King). [cf2]Dramma per ~musica [cf1]in [sm2[nm acts (K[sm208[nm) by Mozart to l
ib. by ~Metastasio. Prod. Salzburg [sm1775[nm, London [sm1954[nm. ~Lib. also use
d by Hasse, Gluck, and several others.[cm~Repeat Marks (for passages).[tn1][ep~[
ep~^[fy75,1]Or instead of the `[sm1[nm' there may be used the ~expression `[sm1[
nm[fy175][cf10]ma[fy75,1] Volta', or `Prima Volta', or `[sm1[nmst ~Time'.[ep~^In
stead of the `[sm2[nm' there may be used the ~expression `[sm2[nm[fy175][cf10]da
[fy75,1] Volta', or `Seconda Volta', or `[sm2[nmnd ~Time'.[ep~^When a return to
the opening of the piece, or of ~some section of it, is indicate
d but only a part is ~to be repeated and then the piece brought to an ~end, the
word [cf2]Fine[cf1] (end) shows where to stop.[ep~^For instance, a Minuet is oft
en followed by ~another Minuet called [fy45,1]*[fy75,1]Trio, after which the fir
st ~Minuet is to be repeated and then an end to be ~made. In this case the word
`Fine' is placed at the ~end of the first Minuet to indicate that this is the ~p
lace to conclude when performing the repeti~~tion.[ep~[ep~[j1]Repeat Marks (for
notes).[ln2][ep~(a)__ (b)__ (c)__ (d)[ep~[fy75,1]^There is a `catch' in ([cf2]c[
cf1]) and ([cf2]d[cf1]), the convention ~not being quite logical. In ([cf2]c[cf1
]) ([sm3[nm examples are ~given) the time-value to be filled is that of [cf2]one
[cf1] of ~the notes shown (in this case half-note); in ([cf2]d[cf1]) the ~time-v
alue to be filled is that of [cf2]both[cf1] of the notes ~shown (in this case ei
ghth notes).[ep~[PN588,0,0,L,I0]^[cf2]Note[cf1]. If [cf2]Tremolo[cf1] (or [cf2]T
rem.[cf1]) is added to any of the ~above or similar signs the no
tes concerned should ~be repeated very rapidly and without any ~attention to the
 exact number of repetitions ~attained during the time-value available.[cm~R;aae
p;aaetiteur[fy75,1] (Fr.; It. [cf2]maestro collaboratore[cf1]). Rehear~~[chser.
Member of mus. staff of opera house who ~coaches singers in their roles and also
 sometimes ~acts as chorusmaster, and prompter in perfs. ~Word is generally used
 in Eng., otherwise `coach'. ~Many distinguished opera conds. have learned ~thei
r craft as [cf2]r;aaep;aaetiteurs. [cf1]`Repet' is orch. players' ~term for the
inside [sm1[nmst vn. next to the leader.[cm~R;aaep;aaetition [fy75,1](Fr.). Repe
tition, i.e. Rehearsal. The ~[cf2]r;aaep;aaetition g;aaen;aaerale [cf1]is final
dress rehearsal.[cm~Repiano. [fy75,1]See [cf2]Ripieno.[cm~Reports, rapports [fy7
5,1](from Fr. [cf2]rapporter, [cf1]to carry ~back). In [sm17[nmth-cent. mus. par
lance, `report' was ~equivalent of `imitation'. It meant the re-intro~~duction,
by one v. or part, of a melodic phrase ~just heard from another.
[ep~^In the Scottish Psalter of [sm1635[nm some tunes are[fj~[PN589,0,0,R,I0][gc
headed `Heere are some Psalmes in Reports'. ~These are subjected to motet or ant
hem-like ~treatment.[cm~Reprise [fy75,1](Fr.). Repeat. In comp., a return to the
 ~first section after an intervening and contrasting ~section. In the works of R
ameau, Couperin, etc., ~the term means a short refrain at the end of a ~movement
 and intended to be repeated.[cm~Reproducing Piano. [fy75,1]See [cf2]Pianola.[cm
~Requiem. [fy75,1]The R. C. Mass for the Dead (Lat. ~[cf2]Missa pro defunctis[cf
1]) beginning `Requiem aeter~~nam' (Rest eternal). Text follows that of normal ~
Mass but with Gloria and Credo omitted and Dies ~Irae added. There are many mus.
 settings, from ~the traditional plainsong to elaborate versions ~more suitable
for concert perf. than for liturgical ~use, e.g. those by Berlioz and Verdi. Oth
er notable ~settings are by Palestrina, Mozart (incomplete), ~Faur;Aae, and Dvo;
Akr;Aaak. A typical disposition of the ~text in these large sett
ings is: [sm1[nm. [cf2]Requiem aeternam[cf1]; ~[cf2]Kyrie eleison[cf1]; [sm2[nm.
 [cf2]Dies Irae [cf1](Day of Wrath) divided ~into [cf2]Tuba mirum [cf1](Hark, th
e trumpet), [cf2]Liber scriptus ~[cf1](A book is written), [cf2]Quid sum miser [
cf1](How wretched ~am I), [cf2]Rex tremendae [cf1](King of glory), [cf2]Recordar
e ~[cf1](Remember), [cf2]Ingemisco [cf1](Sadly groaning), [cf2]Confuta~~tis [cf1
](From the accursed), [cf2]Lacrimosa [cf1](Lamentation); ~[sm3[nm. [cf2]Domine J
esu Christe [cf1](Lord Jesus Christ); [sm4[nm. ~[cf2]Sanctus [cf1](Holy); [sm5[n
m. [cf2]Agnus Dei [cf1](Lamb of God); [sm6[nm. ~[cf2]Lux aeterna [cf1](Eternal l
ight); [sm7[nm. [cf2]Libera me [cf1](Deliver ~me). This is Verdi's scheme: there
 are several ~variations of it. Not all Requiem settings follow ~the Lat. text.
Brahms's [cf2]Ein [fy45,1]*[fy75,2]Deutsches Requiem [cf1]uses ~texts from the G
er. Bible. Delius's [cf2]Requiem [cf1]is a ~setting of a text by H. Simon and wa
s described ~as `pagan'. Hindemith's setting of Whitman's ~poem
`When Lilacs Last in the Dooryard Bloom'd' ~is of the character of a Requiem. Br
itten's [fy45,1]*[fy75,2]War ~Requiem [cf1]uses the Lat. Mass interspersed with
~poems by Wilfred Owen. Geoffrey Burgon's ~[cf2]Requiem [cf1]also uses several s
ources. The term is ~occasionally used in other contexts as in Britten's ~[cf2]S
infonia da Requiem [cf1]for orch.[cm~Rescue opera. [fy75,1]Type of opera, or [cf
2]op;aaera comique[cf1], ~popular in Fr. after the Revolution, in which the ~her
o or heroine is saved from some dire fate by ~human heroism. The most famous res
cue opera ~is Beethoven's [cf2]Fidelio[cf1] ([sm1805[nm), based on a real-life ~
incident previously used as libretto by [fy45,1]*[fy75,1]Gaveaux ~in [sm1798[nm
([cf2]L;aaeonore, ou l'amour conjugal[cf1]=+=+).[xm[cm~[j1]Resnik, Regina [fy75,
1]([cf2]b [cf1]NY, [sm1922[nm). Amer. mez. ~Studied NY with Rosalie Miller. Conc
ert d;Aaebut as ~sop. Brooklyn Acad. of Mus. [sm1942[nm, opera d;Aaebut ~[sm1942
[nm NY (Lady Macbeth). NY City Opera [sm1944[nm, ~joined Met. [s
m1944[nm. Guest appearances San Fran~~cisco, Chicago, and Bayreuth (Sieglinde [s
m1953[nm). ~Changed to mez., [sm1955[nm. CG d;Aaebut [sm1957[nm (Carmen). ~Inter
preter of Amneris, Carmen, and Klytemnes~~tra. D;Aaebut as opera dir., Hamburg [
sm1971[nm ([cf2]Carmen[cf1]).[cm~Resolution. [fy75,1]The satisfactory following
of a ~discordant chord (or of the discordant note in ~such a chord) with a conco
rd or less acute discord.[cm~Resoluto, risoluto [fy75,1](It.). Resolute.[cm~Reso
nance. [fy75,1]([sm1[nm) Sympathetic vibration of bodies ~capable of producing s
ounds as soon as a pitch ~similar to that of the body or one of its overtones ~i
s heard.[ep~^([sm2[nm) The rebound of vibration-waves from a solid ~structure su
ch as walls of a hall or church.[ep~^([sm3[nm) Transmission of vibrations from t
he str. of a ~str. instr. to a sounding-board.[cm~Respighi, Ottorino [fy75,1]([c
f2]b [cf1]Bologna, [sm1879[nm; [cf2]d [cf1]Rome, ~[sm1936[nm). It. composer, con
d., [cf1]str.-player, pianist, ~and teacher. Studied vn. and com
p. in Bologna, ~[sm1891[nm=n[sm1901[nm. Went to St Petersburg [sm1900[nm as firs
t ~va. in opera orch. and from [sm1901[nm studied with ~[fy45,1]*[fy75,1]Rimsky-
Korsakov, then in Berlin with [fy45,1]*[fy75,1]Bruch, ~[sm1902[nm. From [sm1903[
nm to [sm1908[nm pursued career as ~violinist and violist and was pianist at Ber
lin ~singing-sch. [sm1908[nm=n[sm9[nm. Prof. of comp. at Liceo di S. ~Cecilia, R
ome, [sm1913[nm; dir. [sm1923[nm=n[sm5[nm. His mus., ~though based on classical
forms, was influenced ~by the brighter colours of Rimsky-Korsakov and ~Strauss,
and his symphonic poems are notable for ~their brilliant and luscious scoring. I
n his operas ~he reacted against Puccinian `realism', but they ~are more impress
ive orchestrally than vocally. ~Some of his most tender and exquisite work is to
 ~be found in his shorter vocal pieces. Prin. works:[xm[cm~[j2][smoperas[nm: [fy
75,2]Re Enzo [cf1]([sm1905[nm); [cf2]Semirama [cf1]([sm1910[nm); [fy45,1]*[fy75,
2]Belfagor ~[cf1]([sm1921[nm=n[sm2[nm); [cf2]La campana sommersa
 [cf1](The Sunken ~Bell) ([sm1923=n7[nm); [cf2]Maria Egiziaca [cf1]([sm1929[nm=n
[sm32[nm); [cf2]La ~Fiamma [cf1]([sm1930[nm=n[sm3[nm); [cf2]Lucrezia [cf1]([sm19
35[nm).[ep~[smballet[nm: [cf2]La [fy45,1]*[fy75,2]Boutique fantasque [cf1](The F
antastic ~Toyshop) adapted from mus. by Rossini ([sm1919[nm).[ep~[smorch[nm: [cf
2]Notturno [cf1]([sm1905[nm); [cf2]Sinfonia drammatica [cf1]([sm1913[nm=n~[sm14[
nm); [cf2]Fountains of Rome [cf1]([fy45,1]*[fy75,2]Fontane di Roma[cf1]) ([sm191
4[nm=n~[sm16[nm); [cf2]Old Airs and Dances for Lute, [cf1]transcr. for ~orch., [
sm1[nmst series ([sm1917[nm), [sm2[nmnd series ([sm1924[nm); [fy45,1]*[fy75,2]Pi
nes ~of Rome [cf1]([cf2]Pini di Roma[cf1]) ([sm1923[nm=n[sm4[nm); [cf2]Rossinian
a[cf1] (from ~Rossini pf. pieces) ([sm1925[nm); [cf2]Vetrate di Chiesa ~[cf1](Ch
urch Windows), [sm4[nm symphonic impressions ~([sm1925[nm); [cf2]Trittico Bottic
elliano [cf1]([sm1927[nm); [cf2]The [fy45,1]*[fy75,2]Birds ~[cf1]([cf2]Gli uccel
li[cf1]) ([sm1927[nm); [fy45,1]*[fy75,2]Feste Romane [cf1](Roman
 Festi~~vals) ([sm1928[nm).[ep~[smconcertos[nm etc.: Pf. conc. ([sm1902[nm); [cf
2]Concerto in the ~Old Style, [cf1]vn. ([sm1908[nm); [cf2]Concerto Gregoriano, [
cf1]vn. ~([sm1921[nm); [cf2]Adagio con variazioni, [cf1]vc. ([sm1920[nm); conc.
~for ob., hn., vn., db., pf., and str. ([sm1933[nm).[ep~[smvoice and orch[nm: [c
f2]Aretusa, [cf1]mez. and orch. ([sm1911[nm); ~[cf2]La primavera, [cf1]soloists,
 ch., and orch. ([sm1918[nm=n[sm9[nm); [cf2]Il ~Tramonto, [cf1]v. and str. qt. (
[sm1914[nm); [cf2]Deit;Aga silvane[cf1], ~sop. and pf. ([sm1917[nm), high v. and
 chamber ens. ~([sm1925[nm); [cf2]Lauda per la nativit;Aga del Signore[cf1], sop
., ~cont., ten., ch., orch. ([sm1928[nm=n[sm30[nm).[ep~[smchamber music[nm: Str.
 Qt. ([sm1907[nm); vn. sonata ([sm1917[nm); ~Doric str. qt. ([sm1924[nm).[ep~[sm
transcriptions[nm: Monteverdi: [cf2]Orfeo, [cf1]([sm1935[nm); [fy45,1]*[fy75,2]L
a~~mento d'Arianna, [cf1]([sm1908[nm); Marcello: [cf2]Didone, [cf1]can~~tata, ([
sm1935[nm); Rossini: [cf2]Soir;Aaees musicales [cf1]for ballet ~
[PN590,0,0,L,I0][cf2]La Boutique fantasque, [cf1]([sm1919[nm); J. S. Bach: [cf2]
Prelude ~and Fugue [cf1]in D, for orch. ([sm1930[nm); [sm3[nm Organ ~Chorals, fo
r orch. ([sm1931[nm); [cf2]Passacaglia [cf1]in C minor, ~for orch. ([sm1934[nm);
 Vitali: [cf2]Chaconne, [cf1]for vn., str., ~org. ([sm1909[nm).[cm~[j1]Responses
. [fy75,1]In Anglican church, the replies of the ~choir (or congregation) to the
 versicles of the ~priest. Usually in plainsong. Tallis, Byrd, Gibbons, ~etc. wr
ote superb harmonized versions.[cm~Responsorio. [fy75,1]Type of motet in which a
 soloist ~and the choir sing responsively=min Eng. a variety ~of `Solo Anthem'.[
cm~[bnRest. [fy75,1]([sm1[nm) Musical silence.[ep~^([sm2[nm) Notation of absence
 of sound in performer's ~part for a length of time corresponding to a given ~nu
mber of beats or measures, e.g. [sm4[nm measures' ~rest or an [sm8[nmth-note res
t. Notation of rests is as ~shown:[ep~[ol51][ep~[xn^The [xf;Yf[rf rest hangs dow
n; the [xf;Yg[rf rest remains on ~the surface. (Imagine the rest
 of greater value is ~the heavier.)[ep~^The [xf;Ya[rf rest ([xf;Ym[rf) turns to
the right (Mnemonic: ~cRotchet=mRight; or quarter Note=mRight); the ~[xf;Yb[rf r
est ([xf;Yn[rf) turns to the left.[ep~^In addition to the above there is the Dou
ble-~note rest, occupying the whole space between ~two lines=m_^_.[ep~^Also, the
 Whole-note rest is used as a whole-~measure rest, irrespective of the actual ti
me-value ~of the measure.[ep~[bn^A silence of several measures is often indicate
d ~thus (or in some similar way):[ep~[ol27][ep~[xn^Rests can be dotted and doubl
y dotted, as notes ~are, and with the same effect: this, however, is ~less commo
nly done.[ep~See also [cf2]Note values.[cm~Restez [fy75,1](Fr.). Remain, i.e. li
nger on a note rather ~than hurry off it; in str. mus., remain in the same ~posi
tion for the duration of a passage.[cm~Resultant Bass. [fy75,1]Org. stop; same a
s [fy45,1]*[fy75,2]Quint.[cm~Resultant Tone. [fy75,1]When [sm2[nm loud notes are
 heard ~together they produce a [sm3[nmrd sound, the resultant ~
tone, corresponding to the difference between ~the [sm2[nm vibration nos.: this
(low in pitch) is called a ~`difference tone'. They also produce a [sm4[nmth sou
nd, ~high and faint, corresponding to the sum of the ~[sm2[nm vibration numbers.
 This is a `summation tone'.[cm~Resurrection Symphony. [fy75,1]Sub-title of [fy4
5,1]*[fy75,1]Mahler's ~Sym. No [sm2[nm in C minor ([sm1888[nm=n[sm94[nm, rev. [s
m1910[nm) ~because finale is setting for sop. and alto soloists, ~ch., and orch.
 of the `Resurrection' ([cf2]Aufersteh'n[cf1]) ~chorale by Klopstock ([sm1724[nm
=n[sm1803[nm).[cm~Retablo de Maese Pedro, El [fy75,1](Falla). See [cf2]Master ~P
eter's Puppet Show.[cm~Retardando [fy75,1](It.). Same as [fy45,1]*[fy75,2]Ritard
ando.[cm~Retardation. [fy75,1]In harmony, the same as [fy45,1]*[fy75,2]suspen~~s
ion, [cf1]but with the discord resolved by rising a ~degree.[cm~Retenant; retenu
 [fy75,1](Fr.). Holding back; held back ~(immediately, like [fy45,1]*[fy75,2]rit
enuto, [cf1]not gradually, like ~[fy45,1]*[fy75,2]rallentando[cf
1]).[xm[cm~[ol0][ep~[ts1][fy65][bm2][cc27,3,8,8][dt5,p6g,5,p6g,5,p6g,5,p6g,5][fy
75,1][ih1n][bt~;Yw means return to ~;Yw or, if that does ~not occur, to the ~beg
inning of the ~piece.[ep~[nt~D.C. or [cf2]Da Capo[cf1], ~literally `From ~the he
ad', i.e. re~~turn to the begin~~ning.[ep~[nt~D.S. or [cf2]Dal Segno[cf1], ~i.e.
 from the sign, ~meaning the re~~turn to the ~mark[cf2]:=-[cp10][cb2]S[cb0][cp8]
=-=-=-:[cf1].[ep~[nt~A.S. (rare) or [cf2]Al ~Segno[cf1], i.e. to the ~sign. Usua
lly the ~expression is [cf2]D.C. ~al Segno e poi la ~Coda[cf1], i.e. `From ~the
beginning to ~the [cf2]:=-[cp10][cb2]S[cb0][cp8]=-=-=-:[cf1] and then ~the Coda'
.[ep~[nt~[cf2]Bis[cf1] means perform ~the passage twice.[ep~[et~[ol4][ep~^To avo
id needless writing or engraving (especially in orchestral mus.) the repetition
of a short passage ~is often indicated as below:[ep~[bn[ol36][ep~or[qc~[ol16][ep
~[xn^Sometimes when a section is marked to be repeated it ends in a way suitable
 for the return to the ~beginning, and, having been repeated, en
ds in a way suitable to proceed to the next section (or to ~close the whole comp
osition if nothing more follows). The two endings are then shown thus:[ep~[ai7p0
][ol0][ep~[em[cc13][fy75,1,8,8][tx[ls2][bm2][cc27][ai7p4][ol0][ep~[em[cc13][fy75
,1,8,8][lx[xp[te~









[do42][j99]~~~~~~[sm153842[nm_R[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm006[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm10[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm190[nm[cm~GC[cm5[cm25.9.84[cm~U1[cm~~~~[ap[j1]Rethberg [fy75,1](o
rig. S;auattler), [fy65][cf3]Elisabeth [fy75,1](orig. Lisbeth) ~([cf2]b [cf1]Sch
warzenburg, [sm1894[nm; [cf2]d [cf1]NY, [sm1976[nm). Ger.-born ~sop. (later Amer
. citizen). Studied Dresden Cons. ~(pf., later turned to singing). D;aaebut Dres
den [sm1915[nm ~in [fy45,1]*[fy75,2]Zigeunerbaron. [cf1]D;aaebut NY Met. [sm1922
[nm, staying ~with co. until [sm1942[nm, CG [sm1925[nm, [sm1934[nm=n[sm9[nm. Cre
ated ~title-role in Strauss's [cf2]Die ;auagyptische Helena, [cf1]Dresden ~[sm19
28[nm. A notable Aida, Marschallin, Elsa, and ~Sieglinde. Many concert appearanc
es. Retired ~[sm1942[nm.[cm~R;aaeti, Rudolph [fy75,1]([cf2]b [cf1]U;Akzice, Serb
ia, [sm1885[nm; [cf2]d [cf1]Mont~~clair, NJ, [sm1957[nm). Serbian-born musicolog
ist,[fj~pianist, and composer. Studied Vienna Cons. One ~of foun
ders of I.S.C.M., Salzburg, [sm1922[nm. Settled in ~USA [sm1938[nm. Wrote opera,
 orch. mus., and other ~pieces, but best known for books [cf2]The Thematic ~Proc
ess in Music [cf1](NY, [sm1951[nm) and [cf2]Tonality, Atonality, ~Pantonality [c
f1](NY, [sm1958[nm). Gave f.p. of Schoenberg's ~[cf2][sm3[nm Piano Pieces[cf1],
Op. [sm11[nm, in [sm1911[nm.[cm~Return of Lemmink;auainen [fy75,1](Sibelius). Se
e [cf2] Lem~~mink;auainen Legends.[cm~Reubke, Julius [fy75,1]([cf2]b [cf1]Hausne
indorf, [sm1834[nm; [cf2]d [cf1]Pillnitz, ~[sm1858[nm). Ger. pianist and compose
r, son of org.-~builder Adolf Reubke ([sm1805[nm=n[sm75[nm). Pupil of Liszt. ~Wr
ote org. sonata on Psalm [sm94[nm, pf. sonata, and pf. ~solos.[cm~Reusner, Esaja
s [fy75,1]([cf2]b [cf1]L;auowenberg, Silesia, [sm1636[nm; [cf2]d ~[cf1]C;auollna
m-Spree, [sm1679[nm). Ger. lutenist and com~~poser. Court lutenist in various Ge
r. towns. Wrote ~dance suites and many songs.[cm~Reutter, Hermann [fy75,1]([cf2]
b [cf1]Stuttgart, [sm1900[nm). Ger. ~composer and pianist. Studi
ed privately [sm1907[nm=n~[sm20[nm, Munich Acad. of Mus. [sm1920[nm=n[sm3[nm. Be
gan career ~as pf. accompanist to Sigrid Onegin and Karl Erb. ~Taught comp. Stut
tgart [sm1932[nm=n[sm6[nm, dir., Berlin ~Hochschule [sm1936[nm=n[sm45[nm, prof.
of comp. Stuttgart ~Acad. [sm1952[nm=n[sm6[nm, dir. [sm1956[nm=n[sm66[nm, prof.
of mus., ~Munich Acad. from [sm1966[nm. Prolific composer, ~especially of Lieder
 (over [sm200[nm), in which expres~~sive vocal line is supported by elaborate pf
. part. ~Friend of Hindemith. Comp. several operas, incl. ~[cf2]Saul [cf1]([sm19
28[nm, rev. [sm1947[nm), [cf2]Der verlorene Sohn [cf1](The ~Prodigal Son) ([sm19
29[nm), [cf2]Doktor Johannes Faust [cf1]([sm1935[nm, ~rev. [sm1955[nm), [cf2]Ody
sseus [cf1]([sm1942[nm), [cf2]Don Juan und Faust ~[cf1]([sm1950[nm), [cf2]The Br
idge of San Luis Rey [cf1]([sm1953[nm), [cf2]The Death ~of Empedocles [cf1]([sm1
965[nm); ballets; sym. for str. ([sm1960[nm); ~[PN591,0,0,R,I0]choral works, inc
l. [cf2]Pandora [cf1](text by Goethe); [sm4[nm pf. ~concs.; and
instr. works.[cm~Reveille [fy75,1](from Fr. [cf2]r;aaeveil, [cf1]wakening). The
military ~signal beginning the day (in the Brit. army ~pronounced `revelly' or `
revally').[cm~Revelation and Fall. [fy75,1]Work for sop. and [sm16[nm instr. ~by
 [fy45,1]*[fy75,1]Maxwell Davies to text from Georg Trakl's ~[cf2]Offenbarung un
d Untergang. [cf1]Comp. [sm1965[nm. F.p. ~London [sm1968[nm (Mary Thomas, mez.)
cond. com~~poser.[cm~Revenge, The [fy75,1]Choral ballad, setting of Tenny~~son's
 poem, by Stanford, Op. [sm24[nm, f.p. Leeds Fest. ~[sm1886[nm.[cm~`Revolutionar
y' Study. [fy75,1]Nickname for Chopin's ~pf. ;aaEtude in C minor, Op. [sm10[nm,
No. [sm12[nm ([sm1831[nm), ~supposedly because it expressed his patriotic fury ~
on hearing that Warsaw had been captured by ~the Russians; however, the story is
 unsupported ~by evidence.[cm~Revue. [fy75,1]Form of entertainment comprising a
~series of scenes, without a plot, and sketches, ~dances, songs, and ballet. Evo
lved in Fr. in early ~[sm19[nmth cent. as  purveyor of satire, l
ater becoming ~more spectacular and including [cf2]tableaux vivants. ~[cf1]In [s
m20[nmth cent. became more sophisticated, with ~personalites like Mistinguett ([
sm1873=n1956[nm), Maur~~ice Chevalier ([sm1888=n1971[nm), and Josephine Baker ~(
[sm1906=n75[nm), whose erotic dancing in a [sm1925[nm revue ~caused a scandal. I
n Brit., revue did not really take ~root until early in [sm20[nmth cent. The pro
ducer and ~impresario C. B. Cochran imported Fr. artists, ~notably Alice Delysia
. His revues, with those of ~Andr;aae Charlot, dominated the London stage in ~th
e [sm1920[nms. No;auel Coward and Ivor Novello wrote ~songs for Charlot and Coch
ran, and Coward later ~wrote his own revues (e.g. [cf2]Tonight at [sm8[nm.[sm30[
nm[cf1]). Brit. ~revue stars incl. Gertrude Lawrence, Beatrice ~Lillie, Jessie M
atthews, Jack Buchanan, and Leslie ~Henson. Berners comp. his ballet [cf2]Luna P
ark [cf1]for ~Cochran's [sm1930[nm revue and Walton his [cf2]The First ~Shoot [c
f1]for Cochran's [cf2]Follow the Sun [cf1]([sm1935=n6[nm). ~`Int
imate' revues by Herbert and Eleanor Farjeon ~brought fame to Hermione Baddeley
and Her~~mione Gingold. Later developments of revue ~were the shows which featur
ed Michael Flanders ~and Donald Swann ([cf2]At the Drop of a Hat[cf1], etc.) and
 ~the wittily satirical [cf2]Beyond the Fringe [cf1]([sm1961[nm). In ~the USA, r
evue developed from vaudeville. Its ~most successful form was in the [cf2]Follie
s [cf1]produced ~by Florenz Ziegfeld annually from [sm1907[nm until the ~mid-[sm
1920[nms.[cm~Revueltas, Silvestre [fy75,1]([cf2]b [cf1]Santiago Papasquiaro, ~[s
m1899[nm; [cf2]d [cf1]Mexico City, [sm1940[nm). Mexican com-[fj~poser and violin
ist. Studied in Mexico then[fj~at Chicago Mus. Coll. [sm1918[nm=n[sm20[nm and [s
m1922[nm=n[sm4[nm.[fj~Free-lance violinist and cond. until [sm1928[nm when[fj~[f
y45,1]*[fy75,1]Ch;aaavez appointed him assoc. cond. of Mexico[fj~S.O., a post he
 held until [sm1935[nm. Taught vn. and[fj~chamber mus. at Mexico Nat. Cons. Went
 to[fj~Sp. for Civil War. Picturesque and colourful[fj~comps., i
nfluenced by but not directly quoting[fj~Mexican folk-mus. Used atonalism from [
sm1930[nm. ~Works incl. [cf2]Esquinas [cf1]([sm1930[nm), [cf2]Colorines [cf1]([s
m1932[nm), ~[cf2]Janitzeo [cf1]([sm1933[nm), [cf2]Sensemay;aaa [cf1]([sm1938[nm)
 symphonic ~poems; [cf2][sm8[nm x Radio[cf1], chamber orch. ([sm1933[nm); [cf2]P
lanos, ~[cf1]`geometric dance', chamber orch. ([sm1934[nm); [cf2]Home~~naje a Ga
rcia-Lorca, [cf1]chamber orch. ([sm1935[nm=n[sm6[nm); [sm3[nm str. ~qts., songs,
 and film mus.[cm~[j1]Reyer, Ernest [fy75,1](orig. Rey, Louis Etienne) ([cf2]b ~
[cf1]Marseilles, [sm1823[nm; [cf2]d [cf1]Le Levandou, [sm1909[nm). Fr. ~composer
 and critic. Studied in Marseilles and ~continued to compose while civil servant
 in ~Algiers. Went to Paris [sm1848[nm, taking up mus. as ~career. His early ope
ras were praised by Berlioz ~and his [sm2[nm-act [cf2];aaErostrate [cf1]was perf
. at Baden-Baden ~at same time as [cf2]B;aaeatrice et B;aaen;aaedict [cf1]([sm18
62[nm). Planned ~opera on Nibelungen legends, but postponed ~pro
ject because of work as critic. Championed ~Berlioz, Wagner, Bizet, Franck, etc.
 Eventually ~the Nibelung opera appeared, [fy45,1]*[fy75,2]Sigurd [cf1](Brussels
 ~and CG [sm1884[nm, Paris [sm1885[nm). This was followed by ~[cf2]Salammb;afo,
[cf1]based on Flaubert's novel (Brussels ~[sm1890[nm, Paris [sm1892[nm, NY Met.
[sm1901[nm). Also wrote ~choral works and songs.[cm~Reynish, Timothy [fy75,1](=+
=+John) [cf1]([cf2]b [cf1]Axbridge, [sm1938[nm). ~Eng. cond. and hn.-player. Stu
died Cambridge ~Univ. and privately with Aubrey Brain and Sir ~Adrian Boult. Pri
n. hn. with Northern Sinfonia, ~SW, and CBSO, [sm1959[nm=n[sm71[nm. Guest cond.
leading ~Brit. orchs. [sm3[nmrd prize Mitropoulos competition, ~NY, [sm1971[nm.
On staff RNCM.[cm~Reynolds, Anna [fy75,1]([cf2]b [cf1]Canterbury, ?[sm1931[nm).
Eng. ~mez. Studied RAM. Opera d;aaebut at Parma [sm1960[nm. ~Has sung at La Scal
a, Milan, Bayreuth ([sm1970[nm=n[sm6[nm), ~NY Met., CG, etc., and in concert wor
ks. ~Glyndebourne [sm1962[nm (Genevi;ageve in [cf2]Pell;aaeas[cf
1]).[cm~Rezni;akcek, Emil Nikolaus von [fy75,1]([cf2]b [cf1]Vienna, [sm1860[nm;
~[cf2]d [cf1]Berlin, [sm1945[nm). Austrian composer and cond. ~Studied Leipzig C
ons. Cond. of various military ~bands and th. orchs. Court cond. Mannheim ~[sm18
96[nm=n[sm9[nm. Settled in Berlin [sm1902[nm, founding series ~of orch. concerts
 and teaching at Klindworth-~Scharwenka Cons. from [sm1906[nm. Mus. dir. Warsaw
~Phil. and Imperial Opera [sm1907[nm=n[sm9[nm. Returned to ~Berlin. Taught at Ho
chschule from [sm1920[nm. Visited ~London [sm1907[nm and cond. f.p. of [cf2]Harn
ham Down [cf1]by ~Vaughan Williams. Wrote several operas incl. ~[fy45,1]*[fy75,2
]Donna Diana [cf1]([sm1894[nm, rev. [sm1908[nm, [sm1933[nm) and [cf2]Till ~Eulen
spiegel [cf1]([sm1902[nm), requiem, [sm4[nm syms., and other ~orch. works, [sm3[
nm str. qts., pf. pieces.[cm~rf, rfz.;eq[fy45,1]*[fy75,2]Rinforzando.[cm~[fy65][
cf3]R.H. [fy75,1]Right Hand.[cm~Rhapsody. [fy75,1]Strictly, from the ancient Gr.
 usage, ~the recitation of parts of an epic poem. In mus. ~the t
erm has come to mean a comp. in one ~continuous movement, often based on popular
, ~nat., or folk melodies. Thus Liszt's [cf2]Hungarian ~Rhapsodies, [cf1]Stanfor
d's [cf2]Irish Rhapsodies, [cf1]Vaughan ~Williams's [cf2]Norfolk Rhapsody. [cf1]
Delius's [cf2]Brigg Fair, ~[PN592,0,0,L,I0][cf1]variations on an Eng. folk-song,
 is subtitled [cf2]An ~English Rhapsody, [cf1]and Rakhmaninov's variations ~on a
 caprice by Paganini are called [fy45,1]*[fy75,2]Rhapsody on ~a Theme of Paganin
i. [cf1]Brahms used the term for ~works for solo pf. and for his [cf2]Alto Rhaps
ody, [cf1]a ~setting for v., male ch., and orch. of verses by ~Goethe. Gershwin
used the term for his [fy45,1]*[fy75,2]Rhapsody ~in Blue[cf1] and Chabrier's [cf
2]Espa;atna[cf1] is a Sp. rhapsody.[cm~Rhapsody in Blue. [fy75,1]Work for pf. an
d orch. by ~[fy45,1]*[fy75,1]Gershwin, among first to combine jazz with ~symphon
ic procedures. Orch. by [fy45,1]*[fy75,1]Grof;Aae. F.p. NY ~[sm12[nm Feb. [sm192
4[nm, Gershwin (pf.) and Paul Whiteman's ~Orch.[cm~Rhapsody on a
 Theme of Paganini. [fy75,1]Work for ~pf. and orch. by Rakhmaninov, Op. [sm43[nm
, comp. ~and f.p. [sm1934[nm (Baltimore), f.p. in Eng., Manchester ~[sm1935[nm.
Contains [sm24[nm variations on Paganini's violin ~Caprice No. [sm2[nm in A mino
r.[cm~Rheinberger, Josef [fy75,1](Gabriel) ([cf2]b [cf1]Vaduz, Liechten~~stein,
[sm1839[nm; [cf2]d [cf1]Munich, [sm1901[nm). Ger. organist, ~pianist, cond., and
 composer. Organist at Vaduz ~church at age [sm7[nm. Studied Munich Cons. Taught
 at ~Munich Cons. [sm1859[nm=n[sm65[nm and [sm1867[nm=n[sm1901[nm. Organist, ~St
 Michael's, Munich, [sm1860[nm=n[sm6[nm, choral cond. in ~Munich and coach at co
urt opera. Prolific ~composer of operas, syms., chamber mus., and ~choral works
but remembered almost exclusively ~through his elaborate and challenging organ ~
comps. which incl. [sm2[nm concs., [sm20[nm sonatas, [sm22[nm trios, ~[sm12[nm [
cf2]Meditations, [cf1][sm24[nm fughettos, and [sm36[nm solo pieces.[cm~Rheingold
, Das [fy75,1](The Rhine Gold). Prol. in [sm1[nm act ~by Wagner,
 to his own lib., to his tetralogy [cf2]Der ~[fy45,1]*[fy75,2]Ring des Nibelunge
n.[cf1] Comp. [sm1853[nm=n[sm4[nm. Prod. ~separately Munich [sm1869[nm, London [
sm1882[nm, NY Met. ~[sm1889[nm; first prod. as part of [cf2]The Ring, [cf1]Bayre
uth ~[sm1876[nm.[xm[cm~[j1]`Rhenish' Symphony. [fy75,1]Name given to [fy45,1]*[f
y75,1]Schu~~mann's Sym. No. [sm3[nm in E;Yh major (No. [sm4[nm in order of ~comp
.), comp. [sm1850[nm, f.p. [sm1851[nm. The [sm4[nmth of its [sm5[nm ~movements w
as inspired by the installation of a ~cardinal at Cologne on the Rhine.[cm~Rhosy
medre [fy75,1](Lovely). Hymn-tune by J. D. ~Edwards ([sm1805[nm=n[sm85[nm), on w
hich Vaughan Williams ~based the [sm2[nmnd of his [cf2][sm3[nm Preludes [cf1]for
 org., founded ~on Welsh hymn-tunes, [sm1920[nm.[cm~Rhythm[fy75,1] (in the full
sense of the word) covers ~everything pertaining to the [cf2]time[cf1] aspect of
 mus. ~as distinct from the aspect of pitch, i.e. it incl. the ~effects of beats
, accents, measures, grouping of ~notes into beats, grouping of
beats into measures, ~grouping of measures into phrases, etc. When all ~these fa
ctors are judiciously treated by the ~performer (with due regularity yet with ar
tistic ~purpose=man effect of forward movement=mand ~not mere machine-like accur
acy) we feel and say ~that the performer possesses `a sense of rhythm'. ~There m
ay be `free' or `strict' rhythm.[ep~^The human ear seems to demand the perceptib
le ~presence of a unit of time (the [smbeat[nm); even in the ~`Free Rhythm' of [
fy45,1]*[fy75,1]Plainsong or of [fy45,1]*[fy75,1]Recitative ~this can be felt, t
hough in such mus. the grouping ~into measures is not present.[ep~^Apart from su
ch mus. as that just mentioned it ~will be found that the beats fall into regula
r ~groups of [sm2[nms or [sm3[nms, or of combinations of these (as ~a group of [
sm4[nm made up of [sm2[nm;Pl[sm2[nm, or a group of [sm6[nm ~made up of [sm3[nm;P
l[sm3[nm). Such groups or combinations ~of groups are indicated in our notation
by the ~drawing of bar-lines at regular intervals, so ~dividing
the mus. into [smmeasures[nm (or `bars'). The ~measures, in their turn, can be f
elt to build up ~into larger groups, or [smphrases[nm ([sm4[nm measures to a ~ph
rase being a very common but not invariable ~combination; cf. [cf2]Phrase[cf1]).
[ep~^It is chiefly [smaccent[nm that defines these groupings, ~e.g. taking the l
arger groupings, a [sm4[nm-measure ~phrase is normally accentuated something lik
e ~this:[ep~[ol30][ep~and if the beats are in any part of the music ~subdivided
into what we may call shorter beat-~units sub-accentuations are felt, as[ep~[ol2
4][ep~^Where the measures have [sm3[nm beats an accented ~note is followed by [s
m2[nm unaccented:[ep~[ol24][ep~and similarly in a [sm3[nm-measure phrase the fir
st ~measure will be more heavily accentuated than ~the [sm2[nm following measure
s[ep~[ol30][ep~^It will be seen, then, that what we may call the ~official beat-
unit of a composition is a convention, ~there being often present smaller units
and always ~present larger units, both of which may be ~consider
ed beats.[ep~^Another example of Free Rhythm may be seen ~in much of the choral
mus. of the polyphonic ~period (madrigals, motets, etc.): these may be said ~(in
 literary terms) to be in `prose rhythm', as ~opposed to the `verse rhythm' of m
ost tunes for ~marching and dancing.[ep~^Just as the traditional conception of t
onality ~dissolved at the beginning of the [sm20[nmth cent., so ~the organizatio
n of rhythm became more elab~~[chorate, irregular, and surprising. It can be div
ided ~into [sm2[nm categories ([sm1[nm) [cf2]Metrical[cf1], with irregular ~grou
ps of short units, ([sm2[nm) [cf2]Non-metrical[cf1], where ~there is no percepti
ble unit of measurement and ~no `traditional' tempo. Metrical rhythms predom~~in
ated at the start of the century, but the different ~uses possible are illustrat
ed by the contrast ~between Schoenberg's works [cf2]c.[cf1][sm1908[nm=n[sm15[nm,
 where ~[PN593,0,0,R,I0]constantly changing tempi and freer use of ~changing tim
e signatures make the rhythmic ~structure highly complex, and St
ravinsky's of the ~same period, where there are similar constant ~changes of tim
e signature but the irregularities ~are much more clearly defined. [fy45,1]*[fy7
5,2]Syncopation[cf1] has ~also invaded all types of mus. Although synco~~pated r
hythm can be found in the earliest music, ~in the [sm20[nmth cent. it has stemme
d mainly from ~jazz.[ep~^Non-metrical rhythm can be discerned in ~Wagner and its
 possibilities were outlined by ~Busoni, who wrote of the tense silence between
~movements being in itself mus. and more `elastic' ~than sound. [fy45,1]*[fy75,1
]Messiaen in the late [sm1930[nms developed ~`ametrical' rhythm and described in
 a treatise ~([sm1944[nm) that the techniques he used were `aug~~mented or dimin
ished rhythms', `retrograde' ~rhythms, and `polyrhythm'. Since [sm1940[nm com~~[
chposers such as [fy45,1]*[fy75,1]Babbitt, [fy45,1]*[fy75,1]Boulez, and [fy45,1]
*[fy75,1]Messiaen ~have developed these tendencies, though some ~find the result
s `static' rather than conveying the ~sense of impetus which is
the function of rhythm. ~Further revolutionary attitudes to rhythm have ~develop
ed since the [sm1950[nms, with the increasing ~use of [fy45,1]*[fy75,1]indetermi
nacy. Composers such as [fy45,1]*[fy75,1]Cage, ~[fy45,1]*[fy75,1]Stockhausen, [f
y45,1]*[fy75,1]Carter, and [fy45,1]*[fy75,1]Xenakis have writ~~ten works which l
eave the choice of duration and ~tempo to the performer. With the introduction ~
of elec. and scientific techniques into comp., there ~seems no limit to the expa
nsion and intricacy of ~rhythmic procedures in mus.[cm~Rhythmicon. [fy75,1]Kbd.
perc. instr. using photo-~electric cell and developed by Theremin and the ~Amer.
 composer [fy45,1]*[fy75,1]Cowell in [sm1931[nm in order to ~demonstrate the com
bination of complex ~rhythms. Cowell wrote his [cf2]Rhythmicana [cf1]for it.[cm~
Ribible [fy75,1]or [fy65][cf3]Rubible. [fy75,1]The [fy45,1]*[fy75,2]rebec.[cm~Ri
cci, Federico [fy75,1]([cf2]b [cf1]Naples, [sm1809[nm; [cf2]d [cf1]Conegliano, ~
[sm1877[nm). It. composer. Studied Naples Cons. under ~Bellini a
nd Zingarelli. Comp. [sm19[nm operas, some in ~collab. with his brother Luigi [f
y45,1]*[fy75,1]Ricci. One of his ~solo efforts was [cf2] La Prigione di Edimborg
o[cf1] ([sm1838[nm, ~based on Scott's [cf2]The Heart of Midlothian[cf1], [sm1818
[nm). ~Also wrote masses and cantatas.[cm~Ricci, Luigi [fy75,1]([cf2]b [cf1]Napl
es, [sm1805[nm; [cf2]d [cf1]Prague, [sm1859[nm). It. ~composer. Studied Naples C
ons. with Zingarelli. ~From [sm1836[nm choirmaster of Trieste Cath. Wrote ~some
[sm30[nm operas, some in collab. with his brother ~Federico [fy45,1]*[fy75,1]Ric
ci, incl. [cf2]Crispino e la comare [cf1](Venice ~[sm1850[nm, Wexford [sm1979[nm
), also masses, songs, etc.[cm~Ricci, Ruggiero [fy75,1]([cf2]b [cf1]San Francisc
o, [sm1918[nm). Amer. ~violinist. Pupil of Persinger and Kulenkampff. ~D;Aaebut
San Francisco at age [sm10[nm, NY [sm1929[nm, London ~[sm1932[nm. Brilliant int.
 career. Interpreter of many ~contemporary concs., such as those by [fy45,1]*[fy
75,1]Ginastera ~([sm1963[nm), written for him, Einem, and Schurm
ann. ~Special interest in Paganini, whose rediscovered ~[sm4[nmth conc. he intro
duced in [sm1971[nm. First to record ~the [cf2][sm24[nm Caprices[cf1] in their o
rig. form. Teacher at ~Juilliard Sch. from [sm1975[nm.[cm~Ricciarelli, Katia [fy
75,1]([cf2]b [cf1]Rovigo, [sm1946[nm). It. sop. ~Studied Marcello Cons., Venice.
 Opera d;Aaebut ~Mantua [sm1969[nm. Won Parma competition [sm1970[nm. ~Leading r
oles in It. opera at world's greatest opera ~houses. Amer. d;aaebut [sm1972[nm (
Chicago), CG [sm1974[nm ~([cf2]La Boh;ageme[cf1]), [sm1984[nm ([cf2]Aida[cf1]).[
cm~Ricercare [fy75,1](Ricercar, Ricercata) (It., Eng. `re~~search', Fr. `recherc
h;Aae'). To seek out. As noun, ~applied musically in [sm16[nmth to [sm18[nmth ce
nts. to ([cf2]a[cf1]) an ~elaborate contrapuntal instr. comp. in fugal or ~canon
ic style (a famous example being that by ~Bach in [cf2]Das musikalische Opfer[cf
1]), and ([cf2]b[cf1]) more ~loosely to any type of prelude (usually contrapun~~
tal in style).[cm~Ricercata [fy75,1](It., past participle of ver
b [cf2]ricercare, ~[cf1]and used as a noun in same sense). See [cf2]Ricercare.[c
m~Rich, John [fy75,1]([cf2]b [cf1]London, [cf2]c.[cf1][sm1692[nm; [cf2]d [cf1]Lo
ndon, [cf2]c.[cf1][sm1761[nm). ~Eng. theatrical producer and manager. Manager ~o
f Lincoln's Inn Fields Th., where he introduced ~[cf2]The [fy45,1]*[fy75,2]Begga
r's Opera [cf1]to London ([sm1728[nm). Built first ~CG Th., [sm1732[nm.[cm~Richa
rd Coeur de Lion [fy75,1](Richard the Lion~~hearted). Opera in [sm3[nm acts by [
fy45,1]*[fy75,1]Gr;Aaetry to lib. by ~Sedaine. Prod. Paris [sm1784[nm, London [s
m1786[nm, Boston ~[sm1797[nm. Beethoven comp. [cf2][sm8[nm Vars. on the Romance
`Un ~fi;agevre br;afulante' [cf1]from [cf2]`Richard Coeur de Lion'[cf1], for ~pf
., [cf2]c.[cf1][sm1795[nm (WoO [sm72[nm).[cm~Richard III. [fy75,1]Play by Shakes
peare ([sm1593[nm) for ~which incidental mus. was composed by Edward ~[fy45,1]*[
fy75,1]German ([sm1889[nm). Mus. for film of play comp. by ~[fy45,1]*[fy75,1]Wal
ton, [sm1955[nm. Symphonic poem by Smetana, ~[sm1858[nm. The nic
kname `Richard III' was given to ~the young Richard Strauss in Ger., indicating
that ~although he was regarded as a successor to ~Wagner, there could be no Rich
ard II.[xm[cm~[j1]Richards, Bernard [fy75,1](Roland) ([cf2]b [cf1]Coulsdon, [sm1
913[nm). ~Eng. cellist. Studied with [fy45,1]*[fy75,1]Feuermann. Career ~mainly
in chamber mus. with Int. Str. Qt., Martin ~Str. Qt., Richards Pf. Qt., and Amic
i Qt. Teacher ~at GSM.[cm~Richardson, Alan [fy75,1]([cf2]b[cf1] Edinburgh, [sm19
04[nm; [cf2]d[cf1] Lon~~don, [sm1978[nm). Scottish composer and pianist. Studied
 ~RAM [sm1929[nm=n[sm30[nm and was pupil of H. Craxton. Was ~acc. to Carl [fy45,
1]*[fy75,1]Flesch [sm1936[nm=n[sm9[nm. Married Janet ~[fy45,1]*[fy75,1]Craxton,
the oboist. Comp. pf. sonatinas, bn. ~sonata, va. sonata, fl. sonatina, and a la
rge body of ~works for ob.[cm~Richardson [fy75,1](really Heybourne), [fy65][cf3]
Ferdinand [fy75,1]([cf2]b c[cf1]. ~[sm1558[nm; [cf2]d[cf1] Tottenham, Middx., [s
m1618[nm). Eng. com~~poser, pupil of [fy45,1]*[fy75,1]Tallis. Wr
ote [sm8[nm works for ~[fy45,1]*[fy75,1]Fitzwilliam Virginal Book.[cm~Richettato
 [fy75,1](It.). Same as [fy45,1]*[fy75,2]Spiccato.[cm~Richter, Franz Xaver [fy75
,1]([cf2]b [cf1]Holleschau, Moravia, ~[sm1709[nm; [cf2]d [cf1]Strasbourg, [sm178
9[nm). Bohemian composer. ~Choirmaster at Kempten, Swabia, [sm1740[nm=n[sm50[nm.
 Bass ~singer and violinist at Mannheim court from ~[sm1747[nm. Choirmaster Stra
sbourg Cath. [sm1769[nm=n[sm89[nm. ~One of leaders of [fy45,1]*[fy75,1]Mannheim
sch. Wrote [cf2]c[cf1]. [sm70[nm ~[PN594,0,0,L,I0]syms., [sm6[nm str. qts., [sm6
[nm kbd. concs., chamber mus., ~oratorio, church mus., etc.[cm~Richter, Hans [fy
75,1]([cf2]b [cf1]Gy;Auor, Hung., [sm1843[nm; [cf2]d [cf1]Bayreuth, ~[sm1916[nm)
. Austro-Hung. cond. Choirboy in Vienna ~Court Chapel. Studied Vienna Cons., [sm
1860[nm=n[sm5[nm (pf., ~hn., vn., and comp.). Hn.-player, K;Auarntnerthor ~Th.,
Vienna, [sm1862[nm=n[sm6[nm. Worked with Wagner at ~Tribschen, [sm1866[nm=n[sm7[
nm, making fair copy of score of ~[cf2]Die Meistersinger. [cf1]R
ecommended by Wagner to ~von B;auulow as chorusmaster, Munich Opera, ~[sm1868[nm
=n[sm9[nm. Cond. Brussels premi;Agere of [cf2]Lohengrin, ~[cf1][sm1870[nm. Cond.
, Budapest Opera [sm1871[nm=n[sm5[nm, Vienna ~Opera [sm1875[nm=n[sm99[nm (mus. d
ir. [sm1893[nm=n[sm7[nm). Cond. Vienna ~P.O. and dir., Musikfreunde Gesellschaft
 [sm1875[nm=n~[sm98[nm. Chosen by Wagner to conduct first complete ~[cf2]Ring, [
cf1]Bayreuth [sm1876[nm. Went to London as co-cond. ~with Wagner [sm1877[nm, the
reafter giving annual ~series of Richter Concerts in London. London ~opera d;aae
but, Drury Lane [sm1882[nm (f. ps. in England ~of [cf2]Tristan [cf1]and [cf2]Mei
stersinger[cf1]), CG [sm1884[nm and [sm1903[nm=n~[sm10[nm (cond. first [cf2]Ring
 [cf1]sung in English, [sm1908[nm). ~Permanent cond. Hall;aae Orch., Manchester,
 [sm1899[nm=n~[sm1911[nm. Prin. cond. LSO, [sm1904[nm=n[sm11[nm. Cond. Birming~~
ham Fest. [sm1885[nm=n[sm1909[nm (incl. f.p. of Elgar's [cf2]The ~Dream of Geron
tius [cf1][sm1900[nm). Champion of Elgar, also ~cond. f.ps. of [
cf2]Enigma Variations [cf1]([sm1899[nm) and First ~Sym. ([sm1908[nm, ded. to him
). Cond. f.p. of Brahms's ~[sm2[nmnd and [sm3[nmrd Syms. and Bruckner's [sm8[nmt
h. Retired ~[sm1912[nm, last appearance as cond. of [cf2]Meistersinger [cf1]at ~
Bayreuth. Championed several Eng. composers ~besides Elgar and during his Hall;A
ae years intro~~duced mus. of Bart;Aaok and Sibelius. Organized ~and rehearsed p
rivate orch. for f.p. of Wagner's ~[cf2]Siegfried Idyll [cf1]on staircase at Tri
bschen, [sm1870[nm, ~playing tpt. (not hn., as often stated).[cm~Richter, Karl [
fy75,1]([cf2]b [cf1]Plauen, [sm1926[nm; [cf2]d[cf1] Munich, [sm1981[nm). ~Ger. o
rganist, harpsichordist, and cond. Studied ~Leipzig. Organist, Thomaskirche, Lei
pzig, [sm1947[nm=n~[sm50[nm. Joined staff of Munich Acad., [sm1951[nm, becoming
~prof., [sm1956[nm. Founder-cond. Munich Bach Choir. ~Specialist in Bach.[cm~Ric
hter, Svyatoslav [fy75,1](Teofilovich) [cf1]([cf2]b [cf1]Zhitomir, ~[sm1915[nm).
 Russ. pianist. Boy prodigy. D;aaebut Odessa ~[sm1934[nm. Studie
d Moscow Cons. [sm1937[nm=n[sm42[nm, pf. pupil ~of Neuhaus. Of exceptional virtu
osity, he soon ~won int. recognition. Specialist in works of ~Prokofiev, givings
 f.ps. of [sm7[nmth and [sm9[nmth pf. sonatas ~and conducting f.p. of [cf2]Symph
ony-Concerto[cf1] for vc. ~and orch. ([sm1952[nm, [fy45,1]*[fy75,1]Rostropovich
soloist). London ~d;aaebut [sm1961[nm; Amer. d;aaebut Chicago and NY [sm1960[nm=
n~[sm1[nm. Equally impressive in concs., solo recitals, and ~chamber mus. Has pl
ayed at Aldeburgh Fest. in ~assoc. with [fy45,1]*[fy75,1]Britten and Rostropovic
h.[xm[cm~[ol0][ep~[xp[te~





[do42][j99]~~~~~~[sm153842[nm_R[sm007[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmR[sm007[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm11[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm231[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~[ap~[j1]Richter-Haaser, Hans
[fy75,1]([cf2]b [cf1]Dresden, [sm1912[nm; [cf2]d[cf1] ~Braunschweig, [sm1980[nm)
. Ger. pianist, cond., and com~~poser. D;aaebut [sm1928[nm. Cond. Detmold Orch.,
 [sm1945[nm=n~[sm7[nm. Prof. of pf., N.W. Ger. Mus. Acad. from [sm1947[nm. ~Freq
uent world tours as pianist. Composer of ~sym., pf. concs., and other works.[cm~
Rickenbacher, Karl Anton [fy75,1]([cf2]b [cf1]Basle, [sm1940[nm). Swiss ~cond. S
tudied W. Berlin Cons., [sm1962[nm=n[sm6[nm. D;aaebut ~R.I.A.S., Berlin. Ass. co
nd., Z;auurich Opera, [sm1966[nm=n~[sm9[nm. Cond., Freiburg [sm1969[nm=n[sm74[nm
. Guest cond. of ~leading European orchs. Cond., BBC Scottish S.O. ~[sm1977[nm=n
[sm80[nm.[cm~Ricketts, Frederick Joseph. [fy75,1]See [cf2]Alford, Kenneth ~J[cf1
].[cm~Ricordi. [fy75,1]It. (orig. Sp.) family of mus. publishers
, ~founded in Milan [sm1808[nm. Pubd. operas and other ~works of Bellini, Rossin
i, and Donizetti. Under ~Giulio Ricordi ([sm1840[nm=n[sm1912[nm), the firm prosp
ered, ~especially through his championship of and ~friendship with Verdi, and la
ter Puccini. Suc~~ceeded by his son Tito ([sm1865[nm=n[sm1933[nm). London ~branc
h est. [sm1824[nm=n[sm8[nm, re-est.[sm1875[nm; Paris [sm1888[nm; NY ~[sm1911[nm
(now closed).[cm~Ridderbusch, Karl [fy75,1]([cf2]b [cf1]Recklinghausen, [sm1932[
nm). ~Ger. bass. Studied Duisburg Cons. as prot;aaeg;aae of ~Rudolf Schock and l
ater with Clemens Kaiser-~Breme in Essen. Opera d;aaebut M;auunster [sm1961[nm,
~Essen [sm1962[nm, D;auusseldorf [sm1965[nm, Vienna [sm1968[nm. ~Bayreuth d;aaeb
ut [sm1967[nm, Salzburg Easter Fest. [sm1968[nm. ~D;aaebut NY Met. [sm1967[nm (H
unding), CG [sm1971[nm (Fasolt, ~Hunding, and Hagen). Leading exponent of ~Wagne
rian bass roles, also in choral works by ~Mozart, Beethoven, etc.[cm~Riddick, Ka
thleen [fy75,1]([cf2]b [cf1]Epsom, [sm1907[nm). Eng. cond. ~and
cellist. Studied GSM and at Salzburg with ~[fy45,1]*[fy75,1]Malko. Formed Riddic
k Str. Orch., [sm1938[nm, and ~Surrey P.O. Champion of Eng. mus.[cm~Riddle, Fred
erick [fy75,1](Craig) ([cf2]b [cf1]Liverpool, [sm1912[nm). ~Eng. violist. Studie
d RCM, later on staff there. ~LSO [sm1933[nm=n[sm8[nm, LPO [sm1938[nm=n[sm52[nm,
 RPO from [sm1953[nm. ~Fine player of Walton conc., of which he made ~first reco
rding ([sm1937[nm). Prof. of va., RMCM, [sm1964[nm.[cm~Riders to the Sea. [fy75,
1]([sm1[nm) Opera in [sm1[nm act by Vaughan ~Williams, being an almost verbatim
setting of ~J.|M.|Synge's play ([sm1904[nm). Comp. [sm1925[nm=n[sm32[nm. Prod. ~
London (RCM) [sm1937[nm, Cambridge [sm1938[nm, Cleve~~land, Ohio, [sm1950[nm, SW
 [sm1953[nm, Naples [sm1959[nm.[ep~^([sm2[nm) Opera in [sm1[nm act, under title
[cf2]L`Appel de la mer, ~[cf1]by [fy45,1]*[fy75,1]Rabaud, based on Synge's play,
 prod. Paris ~[sm1924[nm.[cm~;AkR;aaidk;aay, Jaroslav [fy75,1]([cf2]b [cf1]Liber
ec, [sm1897[nm; [cf2]d [cf1]Pod;Akebrady, ~[sm1956[nm). Cz. comp
oser. Studied Prague Cons., with ~Foerster, [sm1919[nm=n[sm23[nm. Harpist, Czech
 P.O. [sm1924[nm=n[sm38[nm. ~Cond., Czech Phil. Ch., [sm1925[nm=n[sm30[nm. Taugh
t comp. ~at Prague Acad. of Music [sm1929[nm=n[sm56[nm.  Wrote [sm7[nm ~syms., [
sm5[nm str. qts., concs., songs, etc.[cm~Ridout, Alan [fy75,1](=+=+John) ([cf2]b
 [cf1]West Wickham, Kent, ~[sm1934[nm). Eng. composer. Studied RCM, later with ~
Fricker, Tippett, and Badings. Lecturer, Cam~~bridge Univ., [sm1963[nm=n[sm75[nm
, prof. RCM from [sm1960[nm. ~Works incl. [sm8[nm operas, [sm6[nm syms., [cf2]Ch
ristmas Oratorio, ~[cf1]chamber mus., song-cycles, etc.[cm~Ridout, Godfrey [fy75
,1]([cf2]b [cf1]Toronto, [sm1918[nm). Canadian ~composer. Studied Toronto Cons.,
 pupil of Healey ~Willan. Teacher at Toronto Univ. from [sm1948[nm, ~becoming se
nior prof. Works incl. [cf2]Esther [cf1](dra~~[PN595,0,0,R,I0]matic sym); [cf2]C
antiones mysticae, [cf1]No. [sm1[nm for sop. and ~orch., No. [sm2[nm for sop., t
pt., str.; chamber mus.; ~songs.[xm[cm~[j1]Riefling, Robert [fy7
5,1]([cf2]b [cf1]Oslo, [sm1911[nm). Norweg. pianist. ~Studied Oslo, Hanover, and
 Berlin (with Fischer ~and Kempff). D;aaebut Oslo [sm1925[nm. Prof., Royal ~Dani
sh Cons., Copenhagen, [sm1967[nm=n[sm73[nm, Norwegian ~Mus. H.S., Oslo, from [sm
1973[nm. Many tours of Europe ~and USA. Specialist in contemporary Scandina~~via
n works by Valen, Saeverud, etc.[cm~Riegger, Wallingford [fy75,1](Constantin) ([
cf2]b [cf1]Albany, ~Georgia, [sm1885[nm; [cf2]d [cf1]NY, [sm1961[nm). Amer. comp
oser and ~cond. As boy learned vn. and vc. Entered Cornell ~Univ. [sm1904[nm, tr
ansferring to Institute of Mus. Art ~(later Juilliard Sch.) [sm1905[nm. Studied
in Munich and ~Berlin [sm1907[nm=n[sm10[nm, making cond. d;Aaebut with Bl;Auuth~
~ner Orch., [sm1910[nm. Returned to USA as cellist in St ~Paul S.O., Minnesota.
Returned to Ger., [sm1913[nm=n[sm17[nm, ~as opera cond. and cond. of sym. concer
ts. On ~return to USA he held teaching posts at various ~univs. until settling i
n NY, [sm1923[nm. Wrote several ~scores for Amer. choreographers
, [sm1930[nm=n[sm41[nm. Under ~several pseudonyms made hundreds of arrs. of ~var
ious kinds of choral mus. to supplement ~income. Began composing in a [sm19[nmth
-cent. style; ~but under influence of the Schoenberg [sm12[nm-note ~method becam
e more adventurous. His use of ~atonality was always individual. Strong rhythmic
 ~drive and contrapuntal forms also characterize ~his mus. Prin. works:[xm[cm~[j
2][smorch[nm: Syms. No. [sm1[nm ([sm1944[nm), No. [sm2[nm ([sm1945[nm), No. [sm3
[nm ~([sm1946[nm=n[sm7[nm), No. [sm4[nm ([sm1957[nm); [fy75,2]Dichotomy [cf1]([s
m1931[nm=n[sm2[nm); ~[cf2]Little Black Sambo [cf1]([sm1946[nm); [cf2]Music for O
rchestra ~[cf1]([sm1951[nm); [cf2]Festival Overture [cf1]([sm1957[nm).[ep~[smdan
ce[nm: [cf2]Bacchanale [cf1]([sm1930[nm); [cf2]Evocation [cf1]([sm1933[nm); [cf2
]New ~Dance [cf1]([sm1935[nm); [cf2]Candide [cf1]([sm1937[nm); [cf2]Case History
 No.|.|. ~[cf1]([sm1937[nm); [cf2]Pilgrims' Progress [cf1]([sm1941[nm).[ep~[smso
loist with orch[nm: [cf2]Variations [cf1]for pf. and orch. ~([sm
1952[nm=n[sm3[nm); [cf2]Variations [cf1]for vn. and orch. ([sm1959[nm); ~[cf2]In
troduction and Fugue [cf1]for vc. and wind ([sm1960[nm); ~conc. for pf. and wood
wind quintet ([sm1953[nm).[ep~[smvocal[nm: [cf2]La Belle Dame sans merci [cf1]([
sm1923[nm); [cf2]From Some ~Far Shore [cf1]([sm1946[nm); [cf2]The Dying of the L
ight [cf1]([sm1954[nm); ~[cf2]Who Can Revoke? [cf1]([sm1948[nm).[ep~[smchamber m
usic[nm: Str. Qts: No.[sm1[nm ([sm1938[nm=n[sm9[nm), No. [sm2[nm ~([sm1948[nm),
No. [sm3[nm ([sm1945[nm=n[sm7[nm); [cf2]Romanza [cf1]for str. qt. ~([sm1954[nm);
 pf. quintet ([sm1951[nm); pf. trio ([sm1930[nm); vn. ~sonatina ([sm1947[nm); wo
odwind quintet ([sm1952[nm).[ep~[smpiano[nm: [cf2]Blue Voyage [cf1]([sm1927[nm);
 [cf2][sm4[nm Tone Pictures [cf1]([sm1932[nm); ~[cf2]New and Old [cf1]([sm1944[n
m).[cm~[j1]Riemann, [fy75,1](Karl Wilhelm Julius) [fy65][cf3]Hugo [fy75,1]([cf2]
b [cf1]Gross-~Mehlra, [sm1849[nm; [cf2]d [cf1]Leipzig, [sm1919[nm). Ger. musicol
ogist, ~teacher, and composer. Studied Leipzig Cons. ~Lecturer o
n mus., Leipzig Univ. [sm1878[nm. Taught ~pf., etc., Hamburg Cons. [sm1881[nm=n[
sm90[nm, Wiesbaden ~Cons., [sm1890[nm=n[sm5[nm. Returned to Leipzig [sm1895[nm,
prof. ~from [sm1901[nm. Dir., Institute of Mus. Science [sm1908[nm. ~Extremely p
rolific scholar and ed. of many ~learned symposiums, etc., trans. many scholarly
 ~works. Prin. achievement was his [cf2]Musiklexikon ~[cf1](dictionary of mus.),
 ([sm1882[nm and subsequent edns.). ~Comp. [sm2[nm str. qts. and other chamber w
orks.[cm~Rienzi [fy75,1](orig. [cf2]Cola Rienzi, der letzte der Tribunen, ~[cf1]
Cola Rienzi, the last of the Tribunes). Opera in [sm5[nm ~acts by Wagner to his
own lib. based on Bulwer ~Lytton's novel ([sm1835[nm) and Mary Russell Mitford's
 ~play ([sm1828[nm). Comp. [sm1838[nm=n[sm40[nm. Prod. Dresden [sm1842[nm, ~NY [
sm1878[nm, London (in Eng.) [sm1879[nm.[cm~Ries, Ferdinand [fy75,1]([cf2]b [cf1]
Bonn, [sm1784[nm; [cf2]d [cf1]Frankfurt, ~[sm1838[nm). Ger. pianist, composer, a
nd cond., son of ~Franz Anton [fy45,1]*[fy75,1]Ries. Pupil of hi
s father and of ~Beethoven in Vienna [sm1801[nm=n[sm5[nm. Toured Europe ~and Sca
ndinavia as pianist. Lived in London ~[sm1813[nm=n[sm24[nm as pianist and teache
r. Worked in Ger., ~esp. Frankfurt, from [sm1824[nm. Cond. at [sm8[nm of Lower ~
Rhine fests. [sm1825[nm=n[sm37[nm. With Wegeler, wrote ~[cf2]Biographical Notice
s of Beethoven, [cf1][sm1838[nm. Comp. [sm3[nm ~operas, [sm2[nm oratorios, [sm18
[nm syms., [sm9[nm pf. concs., [sm26[nm str. ~qts., [sm128[nm vn. sonatas, [sm14
[nm pf. sonatas, etc.[cm~Ries, Franz Anton [fy75,1]([cf2]b [cf1]Bonn, [sm1755[nm
; [cf2]d [cf1]Godesberg, ~[sm1846[nm). Ger. violinist. Leader of Bonn electoral
~court orch. [sm1779[nm=n[sm94[nm. Friend and teacher of ~Beethoven. Attended un
veiling of Beethoven ~statue in Bonn, [sm1845[nm, at age of [sm89[nm.[cm~Ries, H
ubert [fy75,1]([cf2]b [cf1]Bonn, [sm1802[nm; [cf2]d [cf1]Berlin, [sm1886[nm). Ge
r. ~violinist and teacher. Son and pupil of Franz ~Anton [fy45,1]*[fy75,1]Ries,
also pupil of [fy45,1]*[fy75,1]Spohr. Settled in ~Berlin [sm1824
[nm. In court orch. from [sm1825[nm (leader ~[sm1836[nm). Dir. of Phil. Soc. [sm
1835[nm. Taught at Royal ~Orch. Sch. [sm1851[nm=n[sm72[nm. Wrote vn. sch., [sm2[
nm vn. concs., ~and other works.[cm~Rieti, Vittorio [fy75,1]([cf2]b [cf1]Alexand
ria, Egypt, [sm1898[nm). It. ~composer (Amer. citizen from [sm1944[nm). Studied
pf. ~in Milan and comp. with Casella, Respighi, and ~Malipiero in Rome. Lived in
 Paris from [sm1925[nm. ~Wrote ballets for Diaghilev and mus. for plays ~and fil
ms of Louis Jouvet. Settled in USA [sm1939[nm. ~Taught at various Amer. colleges
. Works, often ~influenced by Stravinsky and [cf2]Les [fy45,1]*[fy75,2]Six[cf1],
 incl. [sm14[nm ~ballets, [sm7[nm operas, [sm5[nm syms., [sm3[nm pf. concs., [sm
2[nm-pf. conc., ~hpd. conc., [sm2[nm vc. concs., triple conc. (pf., vn., va.), ~
[sm4[nm str. qts., woodwind quintet, pf. pieces, and ~songs.[cm~Rietz, Julius [f
y75,1]([cf2]b [cf1]Berlin, [sm1812[nm; [cf2]d [cf1]Dresden, [sm1877[nm). ~Ger. c
ellist, composer, and cond. In Berlin th. ~orch. from [sm1828[nm
; ass. cond. to Mendelssohn at ~D;Auusseldorf Opera in [sm1834[nm, succeeding hi
m [sm1835[nm. ~Cond., Leipzig Opera [sm1847[nm=n[sm54[nm, dir. Gewandhaus ~conce
rts and teacher of comp., Leipzig Cons., ~[sm1848[nm=n[sm60[nm. Court cond. Dres
den from [sm1860[nm, also ~dir., Dresden Cons. Wrote [sm3[nm operas, operetta, [
sm3[nm ~syms., [sm4[nm concs., [cf2]Konzertst;auuck [cf1]for ob., str. qt., etc.
 ~Ed. complete works of Mendelssohn.[cm~Riff. [fy75,1]Jazz term meaning a short,
 repetitive, but ~not improvised, instr. passage, e.g. the beginning ~of [cf2]In
 the Mood.[cm~Rigaudon [fy75,1](Fr.), [fy65][cf3]Rigadoon [fy75,1](Old Eng.). An
cient ~Proven;alcal type of dance, in simple duple or ~quadruple time, similar t
o the [fy45,1]*[fy75,2]bourr;aaee. [cf1]Rameau ~[PN596,0,0,L,I0]used the rigaudo
n in nearly all his operas and ~there are [sm2[nm in Fux's [cf2]Concentus musicu
s [cf1]([sm1701[nm). It ~occurs in suites by Couperin, Lalande, Telemann, ~Muffa
t, and others. Also used by Grieg in [cf2]Holberg ~Suite [cf1]([
sm1884[nm), Saint-Sa;auens, MacDowell, and by ~Ravel in [cf2]Le Tombeau de Coupe
rin[cf1].[cm~Righini, Vincenzo [fy75,1]([cf2]b[cf1] Bologna, [sm1756[nm; [cf2]d[
cf1] Bologna, ~[sm1812[nm). It composer, teacher, and conductor. D;aaebut ~as te
n. in Parma [sm1775[nm. Joined opera co. in Prague ~[sm1776[nm, composing [cf2]I
l Convitato di Pietra [cf1]([cf2]Don ~Giovanni[cf1]) for it, (Haydn later cond.
it at Esterh;aaaza.) ~Dir., It. Opera in Vienna from [sm1780[nm. In much ~demand
 as singing teacher. Kapellmeister, Mainz ~electoral court [sm1787[nm. Comp. ora
torio [cf2]Der Tod Jesu[cf1] ~at this time, also highly praised [cf2]Missa Solem
nis[cf1] ~([sm1790[nm), the latter perf. at Coronation of Leopold ~II in Frankfu
rt. Court cond. and dir. of It. Opera, ~Berlin, from [sm1793[nm. His operas incl
. a setting of ~Goldoni's [cf2]La Vedova Scaltra [cf1]([sm1778[nm), later set by
 ~Wolf-Ferrari ([sm1931[nm). Beethoven comp. [sm24[nm vars. ~for pf. on Righini'
s arietta [cf2]Venni amore [cf1]in [sm1790=n1[nm ~(WoO [sm65[nm)
.[cm~Rignold, Hugo [fy75,1](Henry) [cf1]([cf2]b [cf1]Kingston-on-Thames, ~[sm190
5[nm; [cf2]d [cf1]Hampstead, [sm1976[nm). Eng. cond. and ~violinist. Studied vn.
 at Winnipeg in Canada, ~RAM [sm1920[nm. Worked as violinist in jazz bands, ~sym
. orchs., and str. qts. Cond. Cairo S.O. [sm1944[nm, ~CG ballet [sm1947[nm, Live
rpool P.O. [sm1948[nm=n[sm54[nm, Cape ~Town Orch. [sm1956[nm. Mus. dir., Royal B
allet [sm1957[nm=n~[sm60[nm; cond. CBSO [sm1960[nm=n[sm8[nm.[cm~Rigoletto. [fy75
,1]Opera in [sm3[nm acts by Verdi to lib. by ~Piave based on V. Hugo's play [cf2
]Le Roi s'amuse ~[cf1]([sm1832[nm). Orig. title was [cf2]La maledizione [cf1](Th
e Curse). ~Comp. [sm1850=n1[nm. Prod. Venice [sm1851[nm, London [sm1853[nm, ~NY
[sm1855[nm.[cm~Rig Veda [fy75,1](Holst). See [cf2]Hymns from the Rig Veda.[cm~Ri
hm, Wolfgang [fy75,1]([cf2]b [cf1]Karlsruhe, [sm1952[nm). Ger. ~composer. Studie
d theory and comp. at Karlsruhe. ~Studied with Stockhausen [sm1973[nm and Huber
[sm1974[nm. ~Lecturer at Karlsruhe Musikhochschule from ~[sm1973
[nm. Works incl.:[xm[cm~[j2][smchamber opera[nm: [cf2]Faust und Yorick [cf1]([sm
1976[nm).[ep~[smballet[nm: [cf2]Tutuguri[cf1] ([sm1981[nm=n[sm2[nm).[ep~[smorch[
nm: Syms. No. [sm1[nm ([sm1969[nm), No. [sm2[nm ([sm1972[nm=n[sm3[nm), No. [sm3[
nm ~[cf2]Ein imagin;auares Requiem[cf1], sop., bar., ch., orch. ~([sm1976[nm); [
cf2]Dis-Kontur [cf1]([sm1976[nm); [cf2]Cuts and Dissolves[cf1], ~conc. for [sm29
[nm players ([sm1977[nm); [cf2]La Musique Creuse Le ~Ciel[cf1], [sm2[nm pf., orc
h. ([sm1977[nm=n[sm9[nm); [cf2][sm5[nm Abgesangsszene ~[cf1]([sm1979[nm); [cf2]E
rste Abgesangsszene [cf1]([sm1979[nm); Conc. for [sm2[nm ~vas. ([sm1979[nm=n[sm8
3[nm); [cf2]Walzer [cf1]([sm1979[nm=n[sm81[nm); [cf2]Doppelgesang[cf1], ~va., vc
., orch. ([sm1980[nm); [cf2]Tutuguri I=nVII [cf1]([sm1981[nm=n[sm2[nm); ~[cf2]Ze
ichen[cf1], bass fl., bass cl., orch. ([sm1981[nm=n[sm2[nm); [cf2][sm2[nmnd ~Dop
pelgesang[cf1], cl., vc., orch. ([sm1981[nm=n[sm3[nm); [cf2]Monodram[cf1], ~vc.,
 orch. ([sm1982[nm=n[sm3[nm); [cf2]Schwarzer und Roter Tanz[cf1]
, ~fragment from [cf2]Tutuguri[cf1] ([sm1982[nm=n[sm3[nm).[ep~[smvoice(s) and in
str[nm: [cf2]Hervorgedunkelt[cf1], mez., ens. ~([sm1974[nm); [cf2][sm2[nmnd Abge
sangsszene[cf1], vv., orch. ([sm1979[nm); [cf2][sm4[nmth ~Abgesangsszene[cf1], v
v., orch. ([sm1979[nm=n[sm80[nm); [cf2][sm3[nmrd Abge~~sangsszene[cf1], bar., or
ch. ([sm1980[nm); [cf2][sm5[nmth Abgesangsszene[cf1], ~mez., bar., orch. ([sm197
9[nm=n[sm81[nm); [cf2]Umhergetrieben, ~aufgewirbelt[cf1], Nietzsche fragments fo
r bar., mez., ~ch., and fl. ([sm1981[nm); [cf2]W;auolfli-Lieder[cf1], bar., pf.,
 ens. ~([sm1981[nm=n[sm2[nm).[ep~[smensemble[nm: [cf2]Music-Hall Suite[cf1] [cf1
]([sm1979[nm); [cf2]L;auandler[cf1], [sm13[nm str. ~([sm1979[nm); [cf2]Nature-Mo
rte=mStill Alive[cf1], [sm13[nm str. ([sm1979[nm=n~[sm80[nm); [cf2]Chiffre I[cf1
], pf., [sm7[nm instr. ([sm1982[nm); [cf2]Gebild[cf1], tpt., ~perc., str. ([sm19
82[nm=n[sm3[nm); [cf2]Silence to be Beaten (Chiffre ~II)[cf1], ens. ([sm1983[nm)
; [cf2]Chiffre III[cf1], [sm12[nm players ([sm1983[nm).[ep~[smch
amber music[nm: [cf2]Paraphrase[cf1], vc., perc., pf. ([sm1972[nm); ~Str. qt. ([
sm1979[nm=n[sm81[nm); [cf2]Ohne Titel [cf1](str. qt.) ([sm1981[nm=n[sm3[nm); ~pf
. trio ([sm1981[nm); [cf2]Canzona[cf1], [sm4[nm va. ([sm1982[nm); [cf2]Fremde ~S
zene[cf1] I, vn., vc., pf. ([sm1982[nm), [cf2]II [cf1]([cf2]Charackterst;auuck[c
f1]), ~vn., vc., pf. ([sm1983[nm); [cf2]III[cf1], vn., vc., pf. ([sm1983[nm).[ep
~[smvoice and piano[nm: [cf2][sm4[nm Songs of Paul Celan[cf1] ([sm1973[nm); ~[cf
2]H;auolderlin-Fragmente [cf1]([sm1977[nm); [cf2]Neue Alexanderlieder ~[cf1]([sm
1979[nm); [cf2]Lenz-Fragmente [cf1]([sm1980[nm); [cf2]W;auolfli-Liederbuch ~[cf1
]([sm1980[nm=n[sm1[nm).[ep~[smkeyboard[nm: [cf2]Contemplatio[cf1], org. ([sm1967
[nm); [cf2][sm2[nm Fantasies[cf1], ~org. ([sm1967[nm); [cf2]Fantasie[cf1], org.
([sm1968[nm); [cf2]Siebengestalt[cf1], ~org., tam-tam ([sm1974[nm); [cf2]L;auand
ler[cf1], pf. ([sm1979[nm); [cf2]`Bann, ~Nachtschw;auarmerei'[cf1], org. ([sm198
0[nm); [cf2]Piano Piece No. [sm7[nm[cf1] ~([sm1980[nm).[cm~[j1]R
iisager, Knud;anage [fy75,1]([cf2]b [cf1]Port Kunda, Estonia, [sm1897[nm; ~[cf2]
d [cf1]Copenhagen, [sm1974[nm). Danish composer. Studied ~political science, Cop
enhagen Univ. [sm1916[nm=n[sm21[nm. ~Studied orch. with Roussel in Paris and cou
nter~~point with Grabner in Leipzig, [sm1932[nm. Worked in ~Danish Finance Minis
try [sm1925[nm=n[sm47[nm. Dir., Royal ~Danish Cons. [sm1956[nm=n[sm67[nm. Leader
 of Denmark's ~progressive composers and noted ballet composer. ~Wrote [sm5[nm s
yms., [sm6[nm str. qts., pf. sonatas, sinfonietta, ~syms. for str., etc. Best-kn
own ballets incl. [cf2]Land of ~Milk and Honey [cf1]([sm1942[nm), [cf2]Qarrtsilu
ni [cf1]([sm1942[nm), [cf2]The ~Phoenix [cf1]([sm1946[nm), [cf2]Etude [cf1]([sm1
948[nm), and [cf2]The Lady from ~the Sea [cf1]([sm1960[nm).[cm~Riley, Howard [fy
75,1]([cf2]b [cf1]Huddersfield, [sm1943[nm). Eng. ~pianist and composer. Studied
 Univ. of Wales and ~York Univ. Prof. GSM from [sm1970[nm. Comps. incl. ~str. qt
s., str. trio, etc.[cm~Riley, Terry [fy75,1](Mitchell) [cf1]([cf
2]b [cf1]Colfax, Calif., [sm1935[nm). ~Amer. composer and saxophonist. Studied S
an ~Francisco State Coll., [sm1955[nm=n[sm7[nm, and Univ. of Calif., ~Berkeley,
[sm1960[nm=n[sm1[nm. Frequent tours of Europe as ~performer of his own works, wh
ich `take the ~form of charts of repeated patterns and series, ~which must assum
e a form during rehearsal and ~performance'. Comps. incl. [cf2]Keyboard Studies
[cf1]for ~amplified or elec. instr., [sm1965[nm; [cf2]Dorian Reeds, [cf1]for ~so
p. sax., tape, time-lag and feedback system, ~[sm1966[nm; [cf2]Untitled Organ, [
cf1]amplified reed organ, [sm1966[nm; ~[cf2]Poppy Nogood and the Phantom Band, [
cf1]sop. sax., tape, ~time-lag and feedback system, [sm1968[nm; [cf2]Rainbow in
~Curved Air, [cf1]elec. kbd. instrs., [sm1970[nm. Since [sm1970[nm ~has been int
erested in Indian music.[cm~Rimbault, Edward [fy75,1](Francis) [cf1]([cf2]b [cf1
]London, [sm1816[nm; [cf2]d ~[cf1]London, [sm1876[nm). Eng. organist and scholar
. From ~[sm1832[nm organist at Soho and other London churches. ~
Wrote history of org. (with E. J. Hopkins) ([sm1855[nm, ~rev. [sm1877[nm), ed. c
oll. of Catholic chants, Morley's ~[cf2][sm1[nmst Book of Ballets, [cf1]Tallis's
 [cf2]Parthenia, [cf1]Gibbon's [sm3[nm-~[PN597,0,0,R,I0]part [cf2]Fantasies, [cf
1][sm2[nm colls. of Christmas carols, etc. ~Comp. mus. for the stage.[xm[cm~[j1]
Rimmer, Frederick [fy75,1](William) [cf1]([cf2]b [cf1]Liverpool, ~[sm1914[nm). E
ng. composer, organist, and teacher. ~Studied Cambridge Univ. Senior lecturer in
 mus. ~Homerton Coll., Cambridge, [sm1948[nm=n[sm51[nm. Lecturer ~in mus., Glasg
ow Univ. [sm1951[nm=n[sm66[nm, prof. [sm1966[nm=n[sm80[nm. ~Organist, Glasgow Un
iv. [sm1954[nm=n[sm66[nm. Composer of ~org. works and church mus.[cm~Rimmer, Joh
n [fy75,1](Francis) [cf1]([cf2]b [cf1]Auckland, N.Z., [sm1939[nm). ~New Zealand
composer and teacher. Works incl. ~[cf2]O Magnum Mysterium[cf1]; str. trio [cf2]
Abstract as White[cf1]; ~and many works employing elec. media.[xm[cm~[ol0][ep~[x
p[te~
[do42][j99]~~~~~~[sm153842[nmR[sm008[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Diction
ary of ~Music[cmR[sm008[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm11[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm263[nm[cm~GC[cm3[cm6.8.84[cm~U1[cm~~~~[ap[j1]Rimsky-Korsakov, Niko
lay [fy75,1](Andreyevich) [cf1]([cf2]b ~[cf1]Tikhvin, [sm1844[nm; [cf2]d [cf1]Ly
ubensk, [sm1908[nm). Russ. com~~poser and cond. Born into aristocratic family an
d ~had conventional mus. education. Ambition to ~be sailor; entered Corps of Nav
al Cadets [sm1856[nm in ~St Petersburg, where he had pf. lessons and ~attended o
pera and concerts. Nationalist works of ~Glinka deeply impressed him and he met
and ~was influenced by Balakirev. Wrote part of a ~sym., though ignorant of name
s of chords and[fj~of rules of part-writing. Away at sea [sm1862[nm=n[sm5[nm. ~C
ompleted sym. [sm1865[nm, first of importance by ~Russ. composer. In [sm1865[nm=
n[sm8[nm wrote [cf2]Sadko [cf1]and [cf2]Antar, ~[cf1]both later rev. In [sm1869[
nm was entrusted with ~completion of [fy45,1]*[fy75,1]Dargomyzhs
ky's opera [cf2]The Stone ~Guest [cf1]and in [sm1872[nm completed his own opera
[cf2]The ~Maid of Pskov. [cf1]In [sm1871[nm, while still a naval lieutenant ~and
 still unlearned in harmony and counterpoint, ~was appointed prof. of practical
comp. and ~instrumentation, St Petersburg Cons. Taught ~himself in secret. Inspe
ctor of Naval Bands, [sm1873[nm=n~[sm84[nm. For several years as part of his sel
f-education ~prod. `academic' comps. incl. str. qt., pf. quintet, ~pf. fugues, e
tc. His editing of [cf2][sm100[nm Russian Folk-~Songs, [cf1][sm1876[nm=n[sm7[nm,
 led him to a new, more attractive ~phase in his own works, incl. the operas [cf
2]May ~Night [cf1]and [cf2]Snegurochka [cf1](The Snow Maiden). From ~[sm1874[nm=
n[sm81[nm was dir. of the Free School of Mus. After ~[sm1882[nm much occupied wi
th administration, cond., ~and rev. and orchestration of [cf2]Khovanshchina [cf1
]and ~other works by [fy45,1]*[fy75,1]Mussorgsky. When Borodin died ~in [sm1887[
nm, completion and orch. of [cf2]Prince Igor [cf1]was ~undertake
n by Rimsky-Korsakov and his pupil ~[fy45,1]*[fy75,1]Glazunov. He interrupted th
is to write [sm2[nm of his ~most colourful works, the [cf2]Spanish Caprice [cf1]
and ~[cf2]Sheherazade. [cf1]Thereafter, influenced by the first ~Russ. perfs. in
 [sm1888[nm=n[sm9[nm of Wagner's [cf2]Ring, [cf1]devoted ~himself to opera. For
a time, neurasthenic illness ~robbed him of the will to work, but he resumed ~cr
eative work in the [sm1890[nms and in [sm1896[nm made his ~version of Mussorgsky
's [cf2]Boris Godunov [cf1]which, ~though it is now partly discredited, preserve
d this ~opera until scholars restored the composer's orig. ~In [sm1905[nm, havin
g shown sympathy with revolu~~tionary students, was temporarily removed from ~hi
s professorship at St Petersburg Cons. and a [sm2[nm-~month ban imposed on perf.
 of his works. This ~clash with authority is reflected in his last and ~satirica
l opera, [cf2]The Golden Cockerel, [cf1]which was ~banned by the govt. and not p
rod. until after his ~death. In [sm1906[nm, rev. [cf2]Boris Godu
nov, [cf1]and in [sm1907[nm ~cond. in Paris at Diaghilev's concerts of Russ. ~mu
s.[ep~^Less talented than his colleagues in the nation~~alist school, Rimsky-Kor
sakov excelled them all ~in the art of clear and colourful orchestration, ~and t
o us today his mus. seems to epitomize the ~brilliance and pageantry of Tsarist
Russia. Lately ~[PN588,0,0,L,I0]the splendour of his operas has been re-discover
ed. ~His influence on his most distinguished pupil, ~[fy45,1]*[fy75,1]Stravinsky
, can be discerned above all in [cf2]The ~Firebird. [cf1]Wrote textbooks on harm
ony and ~orchestration, also autobiography. Prin. comps.:[xm[cm~[j2][smoperas[nm
: [fy75,2]The [fy45,1]*[fy75,2]Maid of Pskov [cf1]([cf2]Ivan the Terrible[cf1])
~([sm1868[nm=n[sm72[nm, rev. [sm1876[nm=n[sm7[nm, rev. [sm1891[nm=n[sm2[nm); [fy
45,1]*[fy75,2]May ~Night [cf1]([sm1878[nm=n[sm9[nm); [fy45,1]*[fy75,2]Snow Maide
n [cf1]([cf2]Snegurochka[cf1]) ~([sm1880[nm=n[sm1[nm, rev. [cf2]c[cf1]. [sm1895[
nm); [fy45,1]*[fy75,2]Mlada [cf1]([sm1889[nm=n[sm90[nm); ~[cf2]C
hristmas Eve [cf1]([sm1894[nm=n[sm5[nm); [fy45,1]*[fy75,2]Sadko [cf1]([sm1894[nm
=n[sm6[nm); [fy45,1]*[fy75,2]Moz~~art and Salieri [cf1]([sm1897[nm); [cf2]Boyari
na Vera Sheloga ~[cf1](comp. [sm1877[nm as prol. to [cf2]Maid of Pskov, [cf1]rec
on~~structed as [sm1[nm-act opera [sm1898[nm); [cf2]The [fy45,1]*[fy75,2]Tsar's
Bride ~[cf1]([sm1898[nm); [cf2]The [fy45,1]*[fy75,2]Legend of Tsar Saltan [cf1](
[sm1899[nm=n[sm1900[nm); ~[cf2]Servilia [cf1]([sm1900[nm=n[sm1[nm); [cf2]Kashche
y the Immortal [cf1]([sm1901[nm=n~[sm2[nm); [cf2]Pan Voevoda [cf1]([sm1902[nm=n[
sm3[nm); [cf2]Tale of the [fy45,1]*[fy75,2]Invisible ~City of Kitezh [cf1]([sm19
03[nm=n[sm5[nm); [cf2]The [fy45,1]*[fy75,2]Golden Cockerel ~[cf1]([sm1906[nm=n[s
m7[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm in E;Yh minor ([sm1861[nm=n[sm5[nm, re
v. in ~E minor [sm1884[nm), No. [sm2[nm ([fy45,1]*[fy75,2]Antar[cf1], [sm1868[nm
, rev. [sm1876[nm ~and [sm1897[nm, symphonic suite [sm1903[nm), No. [sm3[nm in C
 ~([sm1866[nm=n[sm73[nm, rev. [sm1885[nm=n[sm6[nm); [cf2]Overtur
e on [sm3[nm Russian ~Themes [cf1]([sm1866[nm, rev. [sm1879[nm=n[sm80[nm); [cf2]
Fantasia on Serbian ~Themes [cf1]([sm1867[nm, reorch. [sm1886[nm=n[sm7[nm); [fy4
5,1]*[fy75,2]Sadko,[cf1] sym~~phonic picture ([sm1867[nm, rev. [sm1869[nm, [sm18
91[nm; see also ~opera); conc. for tb. and military band ([sm1877[nm); ~[cf2]Sin
fonietta on Russian Themes [cf1]([sm1879[nm for str. qt.; ~rev. and orch. [sm188
0[nm=n[sm4[nm); [cf2]Skazka [cf1](Legend) ([sm1879[nm=n~[sm80[nm); pf. conc. ([s
m1882[nm=n[sm3[nm); [cf2]Fantasia on Russian ~Themes, [cf1]vn. and orch. ([sm188
6[nm); [fy45,1]*[fy75,2]Spanish Caprice ~[cf1]([sm1887[nm); [fy45,1]*[fy75,2]She
herazade [cf1]([sm1888[nm); [fy45,1]*[fy75,2]Russian Easter ~Festival Overture [
cf1]([sm1888[nm); [cf2]Dubinushka [cf1]([sm1905[nm).[ep~[smchoral[nm: [cf2]Alexe
y the Man of God, [cf1]ch. and orch. ~([sm1877[nm); [cf2]Svitezyanka, [cf1]canta
ta ([sm1897[nm); [cf2]Song of Oleg ~the Wise, [cf1]cantata ([sm1899[nm); [cf2]Fr
om Homer [cf1]([sm1901[nm).[ep~[smchamber music[nm: Str. qt. ([s
m1875[nm); str. sextet ([sm1876[nm); ~pf. quintet (pf. and wind) ([sm1876[nm); [
cf2]Allegro [cf1]in B;Yh ~for str. qt. ([sm1899[nm)[ep~[smtranscriptions[nm etc.
: Borodin: [fy45,1]*[fy75,2]Prince Igor, [cf1]orch. ~and completed (with Glazuno
v), prod. [sm1890[nm; ~Mussorgsky: [fy45,1]*[fy75,2]Boris Godunov, [cf1]re-orch.
 [sm1896[nm, rev. ~[sm1906[nm, [fy45,1]*[fy75,2]Khovanshchina, [cf1]rev. and orc
h. [sm1882[nm=n[sm5[nm; ~Dargomyzhsky: [cf2]The [fy45,1]*[fy75,2]Stone Guest, [c
f1]orch. and ~completed [sm1870[nm=n[sm1[nm, rev. [sm1902[nm.[ep~Also songs, chs
., folk-song arrs. and pf. pieces.[cm~[ol0][ep~[xp[te~





[do42][j99]~~~~~~[sm153842[nm_RA[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm001[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm11[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm268[nm[cm~Collier[cm7[cm25.3.85[cm~3[cm~~~~[ap[j1]Rinaldo. [fy7
5,1]([sm1[nm) Opera in [sm3[nm acts by Handel (his first ~in Eng.) to lib. by Ro
ssi after sketch by Aaron ~Hill from Tasso ([sm1562[nm). Prod. [sm1711[nm.[ep~^(
[sm2[nm) Cantata, Op. [sm50[nm, by Brahms for ten., male ~ch., and orch. ([sm186
3[nm=n[sm8[nm).[cm~[PN598,0,0,L,I0]Rinaldo di Capua [fy75,1]([cf2]b [cf1]Capua o
r Naples, [cf2]c[cf1]. [sm1705[nm; [cf2]d[cf1] ~?Rome, [cf2]c[cf1]. [sm1780[nm).
 It. composer of about [sm30[nm operas, ~composed mainly for Rome after [sm1737[
nm ([cf2]La Zingara ~[cf1]and [cf2]La donna superba [cf1]prod. Paris [sm1752[nm=
n[sm3[nm). Only ~fragments of his works remain because son sold ~scores as waste
 paper.[cm~Rinck, Johann Christian Heinrich [fy75,1]([cf2]b [cf1]Elgers~~burg, T
huringia, [sm1770[nm; [cf2]d [cf1]Darmstadt, [sm1846[nm). Ger. ~
organist and composer. Studied at Erfurt [sm1786[nm=n~[sm9[nm. Organist at Giess
en from [sm1790[nm, Darmstadt ~from [sm1805[nm. Wrote many works for org., motet
s, ~pf. sonatas, and vc. sonatas. Also wrote org. sch. ~(re-ed. by Dienel [sm188
1[nm).[cm~Rinforzando; rinforzato [fy75,1](It.). Reinforcing; rein~~forced, i.e.
 stress is applied to individual notes or ~chords. So [cf2]rinforza, rinforzamen
te[cf1]; reinforcement. ~Abbreviation [cf2]rf, rfz.[cm~Ring des Nibelungen, Der
[fy75,1](The Nibelung's ~Ring). [sm4[nm operas (mus. dramas) by Wagner, to his ~
own libs., which he called a `stage festival for [sm3[nm ~days with a preliminar
y evening' ([cf2]Ein B;Auuhnenfest~~[chspiel f;Auur drei Tage und einen Vorabend
[cf1]). The cycle,[fj~often referred to as `the tetralogy', is based on ~version
s of the Scandinavian saga of the Niebe~~lungs involving gods and mortals. Among
 the ~characters in the operas are Wotan, Alberich, ~Siegfried, Mime, Siegmund,
Loge, Br;Auunnhilde, ~Fricka, Hagen, Gutrune, Sieglinde, Freia,
Fasolt, ~Fafner, Donner, and the Valkyries. The [sm4[nm operas, ~with details of
 their f.ps., are: [cf2]Das Rheingold [cf1](The ~Rhine Gold), prol. in [sm1[nm a
ct, comp. [sm1853[nm=n[sm4[nm, prod. ~Munich [sm1869[nm, Bayreuth (as part of co
mplete [cf2]Ring[cf1]) ~[sm1876[nm, London [sm1882[nm, NY [sm1889[nm; [cf2]Die W
alk;auure [cf1](The ~Valkyrie), [sm3[nm acts, comp. [sm1854[nm=n[sm6[nm, prod. M
unich ~[sm1870[nm, Bayreuth (as part of complete [cf2]Ring[cf1]) [sm1876[nm, ~NY
  (incomplete) [sm1877[nm, London [sm1882[nm; [cf2]Siegfried, [cf1][sm3[nm ~acts
, comp. [sm1856[nm=n[sm7[nm, [sm1864[nm=n[sm71[nm, prod. Bayreuth (as ~part of c
omplete [cf2]Ring[cf1]) [sm1876[nm, London [sm1882[nm, NY ~[sm1887[nm; [cf2]G;au
otterd;Auammerung [cf1](Twilight of the Gods), [sm3[nm ~acts, comp. [sm1869[nm=n
[sm74[nm, prod. Bayreuth (as part of ~complete [cf2]Ring[cf1]) [sm1876[nm, Londo
n [sm1882[nm, NY Met. ~[sm1888[nm. Writing and comp. of [cf2]The Ring[cf1] occup
ied ~Wagner intermittently from [sm1848[nm to [sm1874[nm.[ep~^Th
e first complete [cf2]Ring [cf1]cycle, sung in Ger., at ~[fy45,1]*[fy75,1]Bayreu
th was cond. Hans Richter on [sm13[nm, [sm14[nm, [sm16[nm, ~and [sm17[nm Aug., [
sm1876[nm. The first cycle to be perf. in ~London was at Her Majesty's, cond. An
ton Seidl, ~on [sm5[nm, [sm6[nm, [sm7[nm, and [sm9[nm May [sm1882[nm. Seidl also
 cond. first ~cycle at NY Met. on [sm4[nm, [sm5[nm, [sm8[nm, and [sm11[nm March
[sm1889[nm ~(although there had been perfs. of the cycle ~excluding [cf2]Das Rhe
ingold [cf1]in [sm1887[nm=n[sm8[nm, also under ~Seidl). First CG cycle in June [
sm1892[nm, cond. Mahler, ~but given out of sequence. First cycle in Eng. ~trans.
 at CG cond. Richter, [sm1908[nm, and in Brit. ~provinces by [fy45,1]*[fy75,1]De
nhof Co. in Edinburgh [sm1910[nm, ~cond. [fy45,1]*[fy75,1]Balling (Leeds, Manche
ster, Glasgow [sm1911[nm, ~Hull, Leeds, Liverpool [sm1912[nm). No further perfs.
 ~in provinces until Scottish Opera cycle (in Ger.) ~in Glasgow, Dec. [sm1971[nm
. F. ps. of new Eng. trans. ~by Andrew Porter for ENO [sm1970[nm
=n[sm3[nm, complete ~cycle, London, July=nAug. [sm1973[nm.[xm[cm~[j1]Rinuccini,
Ottavio [fy75,1]([cf2]b [cf1]Florence, [sm1563[nm; [cf2]d [cf1]Florence, ~[sm162
1[nm). It. poet. Wrote earliest opera libs. for [fy45,1]*[fy75,1]Peri ~([cf2]Daf
ne [cf1]and [cf2]Euridice[cf1]), [fy45,1]*[fy75,1]Monteverdi ([cf2]Arianna[cf1])
, ~[fy45,1]*[fy75,1]Gagliano, and [fy45,1]*[fy75,1]Caccini.[cm~Rio Grande, The.
[fy75,1]Work by C. [fy45,1]*[fy75,1]Lambert for ch., ~orch., and solo pf., comp.
 [sm1927[nm, f.p. BBC broadcast ~[sm1928[nm; in public, Manchester [sm1929[nm. S
etting of ~poem by Sacheverell Sitwell.[cm~Ripieno[fy75,1] (It.). Replenished, s
upplementary. ([sm1[nm) ~The term is used in older mus. to make a ~distinction b
etween passages to be played by the ~full body and others to be played by a grou
p of ~soloists, or [cf2]Concertante[cf1] (see [cf2]Concerto[cf1]). The term is ~
in this sense still used in Eng. brass bands, ~generally misspelt Ripiano or Rep
iano. Also used ~of a supplementary choral body, e.g. the boys'
vv. ~in Bach's [cf2]St Matthew Passion[cf1] are the [cf2]ripieno[cf1] ch.[ep~^([
sm2[nm) In It. organ mus., Mixture.[cm~Ripley, [fy75,1](Maud)[fy65][cf3] Gladys
[fy75,1]([cf2]b [cf1]Essex, [sm1908[nm; [cf2]d [cf1]Chich~~ester, [sm1955[nm). E
ng. cont., largely self-taught. ~Leading exponent of oratorio roles and of Angel
 ~in Elgar's [cf2]Dream of Gerontius. [cf1]Also sang in opera.[cm~Rippon, Michae
l [fy75,1](George) ([cf2]b [cf1]Coventry, [sm1938[nm). ~Eng. bass. Studied Cambr
idge Univ. Opera d;Aaebut ~CG [sm1969[nm. Has sung at Glyndebourne and in other
~leading houses. Fine exponent of solo role in ~Walton's [cf2]Belshazzar's Feast
 [cf1]and of Maxwell ~Davies's [cf2][sm8[nm Songs for a Mad King[cf1] and Henze'
s [cf2]El ~Cimarr;aaon[cf1].[cm~Ripresa [fy75,1](It.; Fr. [fy45,1]*[fy75,2]repri
se[cf1]). ([sm1[nm) Repeat, of a section ~of a comp.[ep~^([sm2[nm) Recapitulatio
n section of a movement in ~[fy45,1]*[fy75,1]Sonata form.[ep~^([sm3[nm) Revival,
 of opera, etc.[cm~Rise and Fall of the City of Mahagonny ~[fy75
,1]([cf2]Aufstieg und Fall der Stadt Mahagonny[cf1]). Opera in ~[sm3[nm acts by
Weill to lib. by Brecht. Prod. Leipzig ~[sm1930[nm, London [sm1963[nm, NY [sm197
0[nm. Comp. [sm1927[nm=n[sm9[nm; ~developed from `Songspiel' [cf2]Mahagonny[cf1]
 ([sm1927[nm).[cm~Rising of the Moon, The. [fy75,1]Opera in [sm3[nm acts by ~[fy
45,1]*[fy75,1]Maw to lib. by Beverley Cross. Prod. Glynde~~bourne [sm1970[nm, Gr
az (Ger. trans. by M. Vogel) [sm1978[nm.[cm~Risoluto; risolutamente [fy75,1](It.
). Resolute; reso~~lutely. So the superlative [cf2]risolutissimo. [fy65][cf3]Ris
olu~~zione, [fy75,1]resolution.[cm~Rispetto [fy75,1](It., plural [cf2]rispetti[c
f1]). A type of It. folk-~song with [sm8[nm lines to the stanza. Title used for
~mus. by Wolf-Ferrari, Malipiero, and others.[xm[cm~[j1]Risti;Akc, Milan [fy75,1
]([cf2]b [cf1]Belgrade, [sm1908[nm; [cf2]d[cf1] Belgrade, 1982). Yugoslav ~compo
ser. Studied Belgrade Acad. [sm1929[nm=n[sm32[nm, ~[sm1935[nm=n[sm7[nm, and at P
rague Cons. [sm1937[nm=n[sm9[nm (comp. with ~A. H;Aaaba). Mus. s
taff of Belgrade Radio from [sm1950[nm, ~dir. from [sm1963[nm. Composer of [sm7[
nm syms., vn. conc., ~pf. conc., [sm7[nm [cf2]Bagatelles [cf1]for orch., cl. con
c., [cf2]Concerto ~for Orchestra, [cf1]etc.[cm~Rit. [fy75,1]Short for [fy45,1]*[
fy75,2]ritardando.[cm~[PN599,0,0,R,I0]Ritardando, ritardare, ritardato [fy75,1](
It.). Holding ~back, to hold back, held back (gradually, i.e. same ~as [fy45,1]*
[fy75,2]rallentando[cf1]). Abbreviated to `Rit.' (but see also ~[cf2]Ritenuto[cf
1]). [fy65][cf3]Ritardo [fy75,1](It.). The act of holding back ~(i.e. of gradual
ly diminishing the speed).[cm~Ritchie, Margaret [fy75,1](Mabel) ([cf2]b [cf1]Gri
msby, [sm1903[nm; [cf2]d ~[cf1]Ewelme, Oxon., [sm1969[nm). Eng. sop. Early educa
tion ~in Austria. Studied RCM. Leading Eng. exponent ~of Schubert Lieder. Sang i
n opera at Glynde~~bourne, CG, EOG, etc. First to sing wordless sop. ~role in Va
ughan Williams's [cf2]Sinfonia Antartica ~[cf1]([sm1953[nm), also in film mus. (
[sm1948[nm). Created roles of ~Lucia and Miss Wordsworth in Brit
ten's [cf2]Rape of ~Lucretia[cf1] and [cf2]Albert Herring[cf1], [sm1946[nm and [
sm1947[nm.[cm~Ritenuto [fy75,1](It.). Held back, i.e. slower (immedi~~ately, not
 gradually as with [fy45,1]*[fy75,2]ritardando [cf1]and ~[fy45,1]*[fy75,2]rallen
tando[cf1]). Sometimes abbreviated to [cf2]Rit., [cf1]or ~[cf2]riten. [cf1]Also
[cf2]ritenendo, ritenente, [cf1]holding back.[cm~Rite of Spring, The [fy75,1]([c
f2]Vesna svyashchennaya [cf1](Spring ~the sacred), Fr. [cf2]Le Sacre du printemp
s[cf1]). Ballet ~(pictures from pagan Russia) in [sm2[nm parts, mus. by ~Stravin
sky, lib. Roerich, choreog. Nijinsky. ~Comp. [sm1911[nm=n[sm13[nm. Prod. Paris a
nd London [sm1913[nm, ~Boston and NY [sm1924[nm (concert version). Part I: [cf2]
The ~Adoration of the Earth, [cf1]Part II: [cf2]The Sacrifice. [cf1]Arr. for ~pf
. [sm4[nm hands by composer, [sm1913[nm. F.p. (cond. ~Monteux) on [sm29[nm May [
sm1913[nm at Th;aae;afatre des Champs-~Elys;aaees was occasion of celebrated rio
t.[cm~Ritmo [fy75,1](It.). Rhythm, as in [cf2]ritmo di tre battu
te, ~[cf1]rhythm of [sm3[nm measures. [fy65][cf3]Ritmico [fy75,1](It.). Rhythmic
.[cm~Ritornel [fy75,1](Fr. [cf2]ritournelle[cf1]; It. [cf2]ritornello[cf1]; Ger.
 [cf2]Ritor~~nell[cf1]). A return ([cf2]ritornello [cf1]is a little return). ([s
m1[nm) The ~refrain in [sm14[nmth and [sm15[nmth-cent. madrigal-type ~comps.[ep~
^([sm2[nm) An It. folk-song, each stanza of [sm3[nm lines, the ~last line rhymin
g with the first.[ep~^([sm3[nm) The repetition of the instr. introduction to a ~
song, and hence also the instr. introduction itself.[ep~^([sm4[nm) In the classi
cal conc., the return of the full ~orch. after a solo passage, same as [fy45,1]*
[fy75,2]tutti.[ep~[cf1]^([sm5[nm) Synonym for [fy45,1]*[fy75,2]Da capo.[xm[cm~[j
1]Ritorno d'Ulisse in patria, Il [fy75,1](Ulysses's return ~to his native land).
 Opera in prol. and [sm5[nm acts by ~[fy45,1]*[fy75,1]Monteverdi to lib. by G. B
adoaro. Prod. Venice ~[sm1640[nm. Revived in fragmentary concert-form ~Brussels
[sm1925[nm, Paris (d'Indy version) [sm1925[nm, London ~(d'Indy v
ersion broadcast in Eng.) [sm1928[nm, Florence ~(Dallapiccola stage version) [sm
1942[nm, Wuppertal ~(K;akrenek edn.) [sm1959[nm, Glyndebourne (Leppard edn.) ~[s
m1972[nm, Washington [sm1974[nm. F. stage p. in Britain was ~in London, [sm1965[
nm.[cm~Ritter, Alexander [fy75,1]([cf2]b [cf1]Narva, Estonia, [sm1833[nm; [cf2]d
 ~[cf1]Munich, [sm1896[nm). Ger. violinist, composer, and ~cond. Studied Leipzig
 Cons. [sm1849[nm=n[sm51[nm. Married ~Wagner's niece Franziska, [sm1854[nm, and
joined Liszt ~circle at Weimar. Cond., Stettin Opera [sm1856[nm=n[sm8[nm. ~Worke
d at theatre in W;auurzburg [sm1863[nm=n[sm82[nm. Violin~~ist in Meiningen Orch.
 under von B;Auulow, [sm1882[nm=n~[sm6[nm where he met R. Strauss and influenced
 him to ~follow Lisztian precepts. Wrote [sm2[nm operas, incl. ~[cf2]Der faule H
ans [cf1]([sm1885[nm), [sm6[nm symphonic poems, str. ~qt., etc.[cm~Ritter, Herma
nn [fy75,1](=+=+[cf2]b [cf1]Wismar, [sm1849[nm; [cf2]d [cf1]W;auurzburg, ~[sm192
6[nm). Ger. violist. Introduced the richer-toned ~[cf2]viola alt
a [cf1]which Wagner used at Bayreuth. Taught ~va. at W;Auurzburg from [sm1879[nm
. Formed str. qt. ~comprising vn., va. alta, va. tenore, and va. bassa, ~in [sm1
905[nm. Wrote about vas. and other str. instr., ~also biography of Schubert.[cm~
Ritual Dances. [fy75,1][sm4[nm dances for ch. and orch. in ~Tippett's opera [cf2
]The Midsummer Marriage [cf1]which ~are often played separately as a concert wor
k. [sm3[nm ~occur in Act [sm2[nm: [cf2]The Earth in Autumn [cf1](The Hound ~chas
es the Hare); [cf2]The Waters in Winter [cf1](The Otter ~pursues the Fish); [cf2
]The Air in Spring [cf1](The Hawk ~swoops on the Bird). In Act [sm3[nm occurs th
e [sm4[nmth dance ~[cf2]Fire in Summer [cf1](celebration of carnal love). F.p. ~
Basle [sm1953[nm, Liverpool [sm1954[nm (before f.p. of opera).[cm~Ritual Fire Da
nce.[fy75,1] One of dances in Falla's ballet ~[cf2]El [fy45,1]*[fy75,2]Amor Bruj
o [cf1]popularized in composer's pf. arr. ~and played with exceptional brillianc
e by Arthur ~Rubinstein. Also arr. for other instr., eg. vc.[cm~
Riverso, Al. [fy75,1]See [cf2]Rovescio, Al.[cm~Rivier, Jean [fy75,1]([cf2]b [cf1
]Villemomble, [sm1896[nm). Fr. com~~poser. Studied Paris Cons., where he taught
comp. ~[sm1948[nm=n[sm66[nm. Comp. [sm7[nm syms., comic opera [cf2]V;Aaenetienne
, ~Requiem, [cf1]vn. conc., pf. conc., conc. for brass, timp., ~and str.[cm~Rk.
[fy75,1]Rank, with reference to the [fy45,1]*[fy75,1]Mixture stops ~of an org.[c
m~R.M.C.M. [fy45,1]*[fy75,1]Royal Manchester College of Music.[cm~R.N.C.M. [fy45
,1]*[fy75,1]Royal Northern College of Music, ~Manchester.[cm~Robbins Landon, H.
C.[fy75,1] See [cf2]Landon, H. C. Robbins[cf1].[cm~Robert le diable [fy75,1](Rob
ert the Devil). Opera in [sm5[nm ~acts by [fy45,1]*[fy75,1]Meyerbeer to lib. by
Scribe. Prod. Paris ~[sm1831[nm, London [sm1832[nm, NY [sm1834[nm.[cm~Roberto De
vereux, conte di Essex. [fy75,1][sm3[nm-act opera ~by Donizetti to lib. by Camma
rano after Ancelot's ~play [cf2]Elisabeth d'Angleterre. [cf1]Prod. Naples [sm183
7[nm, ~London [sm1841[nm, NY [sm1849[nm.[xm[cm~[j1]Roberton, [fy
75,1](Sir) [fy65][cf3]Hugh [fy75,1](Stevenson) ([cf2]b [cf1] Glasgow, ~[sm1874[n
m; [cf2]d [cf1]Glasgow, [sm1952[nm). Scottish chorusmaster. ~Founder and cond. o
f Glasgow Orpheus Choir, ~[sm1906[nm=n[sm51[nm, which made several overseas tour
s and ~won innumerable competitions. Choir voluntar~~ily disbanded [sm1951[nm wh
en Roberton retired, but ~was later re-formed by younger members as ~Glasgow Pho
enix Choir, with Sir Hugh as hon. ~pres. Arr. Scottish folk-songs, etc. Knighted
 [sm1931[nm.[cm~Roberts, Bernard [fy75,1]([cf2]b [cf1]Manchester, [sm1933[nm). E
ng. ~pianist. Studied RCM. D;Aaebut London [sm1957[nm. ~Member of Parikian-Flemi
ng-Roberts Trio. Prof. ~of pf. RCM.[cm~[PN600,0,0,L,I0]Robertson, Alec [fy75,1](
[cf2]b [cf1]Southsea, [sm1892[nm; [cf2]d[cf1] Midhurst, ~[sm1982[nm). Eng. organ
ist, chorusmaster, critic, and ~broadcaster. Worked for the Gramophone Co. ~[sm1
920[nm=n[sm30[nm. Head of mus. talks, BBC, [sm1940[nm=n[sm52[nm. ~Authority on p
lainchant. Author of monographs ~and books on Schubert, Dvo;Akr;
Aaak, etc. Ed. of several ~reference books. Reviewer of records in [cf2]Gramo~~p
hone[cf1] for nearly [sm50[nm years (its music ed. [sm1952[nm=n[sm72[nm).[cm~Rob
ertson, James [fy75,1]([cf2]b [cf1]Liverpool, [sm1912[nm). Eng. cond. ~Studied C
ambridge Univ., Leipzig Cons., and ~RCM. Chorusmaster, Carl Rosa Opera [sm1938[n
m=n[sm9[nm; ~on staff Glyndebourne [sm1937[nm=n[sm9[nm; dir. and cond. SW ~Opera
 [sm1946[nm=n[sm54[nm; cond. N.Z. Nat. Broadcasting ~Orch. [sm1954[nm=n[sm7[nm;
Carl Rosa Opera [sm1958[nm; guest cond. ~SW Opera [sm1958[nm=n[sm63[nm; mus. dir
. N.Z. Opera [sm1962[nm=n~[sm3[nm; dir., London Opera Centre [sm1964[nm=n[sm78[n
m. C.B.E. ~[sm1969[nm.[cm~Robertson, Leroy [fy75,1]([cf2]b [cf1]Fountain Green,
Utah, [sm1896[nm; ~[cf2]d[cf1] Salt Lake City, [sm1971[nm). Amer. composer. Stud
ied ~in Boston and with Bloch in Europe. Taught at ~Brigham Young Univ. [sm1925[
nm=n[sm48[nm, prof. of mus. ~Utah Univ. [sm1948[nm=n[sm62[nm. Comps. incl. [cf2]
Punch and Judy ~Overture [cf1]([sm1945[nm), vn. conc. ([sm1948[n
m), [cf2]The Book of ~Mormon, [cf1]oratorio ([sm1953[nm), str. qt., pf. quintet,
 etc.[cm~Robertson, Rae [fy75,1]([cf2]b [cf1]Ardersier, Inverness, [sm1893[nm; [
cf2]d ~[cf1]Los Angeles, [sm1956[nm). Scottish pianist. Studied ~Edinburgh Univ.
 and RAM (pf. with Matthay). ~Began career as solo pianist but formed famous ~[s
m2[nm-pf. duo with his wife Ethel [fy45,1]*[fy75,1]Bartlett and toured ~world. B
ritten wrote [sm3[nm works for them.[cm~Robeson, Paul [fy75,1](Leroy) ([cf2]b [c
f1]Princeton, NJ, [sm1898[nm; [cf2]d ~[cf1]Philadelphia, [sm1976[nm). Amer. bass
 and actor. Studied ~as lawyer, but in [sm1922[nm entered professional th. as ~a
ctor in O'Neill plays. Won int. renown in Kern's ~musical [cf2]Show Boat [cf1]([
sm1927[nm) when he sang `Ol' Man ~River'. Famous as singer of Negro spirituals.
~Appeared in films ([cf2]Sanders of the River, [cf1]etc.) and ~was a notable Oth
ello. Career halted in [sm1950[nms ~when he fell into disfavour in USA because o
f ~alleged Communist sympathies.[cm~Robinson, Douglas [fy75,1]([
cf2]b [cf1]Leeds, [sm1913[nm; [cf2]d [cf1]Leeds, ~[sm1984[nm). Eng. organist and
 choirmaster. Organist, ~Christ Church, Harrogate, [sm1946[nm. Chorusmaster, ~CG
 Opera, [sm1946[nm=n[sm74[nm; Lyric Opera, Chicago, [sm1976[nm. ~Chorusmaster, H
uddersfield Choral Soc., [sm1972[nm.[cm~Robinson, Forbes[fy75,1]: (=+=+[cf2]b [c
f1]Macclesfield, [sm1926[nm). Eng. ~bass. Studied in Milan. Opera d;Aaebut CG [s
m1954[nm. ~Prin. bass, CG. Created title-role in Tippett's [cf2]King ~Priam[cf1]
, [sm1962[nm. Took speaking part of Moses in ~Schoenberg's [cf2] Moses und Aron[
cf1], [sm1965[nm. Guest singer ~with WNO, notably as Claggart in Britten's [cf2]
Billy ~Budd [cf1]and as Boris Godunov.[xm[cm~[j1]Robinson, Stanford [fy75,1]([cf
2]b [cf1]Leeds, [sm1904[nm; [cf2]d[cf1] Brighton, [sm1984[nm). Eng. cond. ~Studi
ed RCM. On BBC staff [sm1924[nm=n[sm66[nm. Chorus~~master BBC [sm1924[nm=n[sm32[
nm, founding BBC Singers, ~BBC Choral Soc. Ch. Cond., BBC Th. Orch. [sm1932[nm=n
~[sm46[nm. Opera dir., assoc. cond. BBC S.O. [sm1946[nm=n[sm9[nm
; ~cond. BBC Opera Orch. [sm1949[nm=n[sm52[nm; chief cond. ~Queensland S.O. [sm1
968[nm=n[sm9[nm. CG d;aaebut [sm1937[nm ([cf2]Die ~Fledermaus[cf1]). O.B.E. [sm1
972[nm.[cm~Robinson, Thomas [fy75,1](=+=+=+[cf2]fl. [cf1][sm1589=n1609[nm). Eng.
 com~~poser of mus. for lute and other instr. Wrote ~textbook [cf2]The Schoole o
f Musicke [cf1]([sm1603[nm, modern ~edn. Paris [sm1971[nm).[cm~Robles, Marisa [f
y75,1]([cf2]b [cf1]Madrid, Spain, [sm1937[nm). Sp.-born ~harpist. Studied Madrid
 Cons. D;Aaebut [sm1953[nm with ~Nat. Orch. of Sp. Prof. of harp, Madrid Royal ~
Cons., [sm1958[nm. Settled in Eng. [sm1959[nm. London d;aaebut ~[sm1963[nm. Prof
. of harp RCM from [sm1971[nm. Harp tutor ~Nat. Youth Orch. of G.B. Soloist with
 leading ~orchs.[cm~Rocca, Lodovico [fy75,1]([cf2]b [cf1]Torino, It., [sm1895[nm
). It com~~poser. Studied with Orefice at Milan Cons. Dir., ~Turin Cons. [sm1940
[nm=n[sm66[nm. Comps. incl. opera [cf2]Il Dibuk ~[cf1](The Dybbuk) ([sm1934[nm),
 symphonic poems, choral ~works, and chamber mus.[cm~Rochberg, G
eorge [fy75,1]([cf2]b [cf1]Paterson, NJ, [sm1918[nm). Amer. ~composer. Studied c
omp. with Leopold Mannes ~and Georg Szell at Mannes Sch. of Mus., NY, ~[sm1939[n
m=n[sm42[nm and with Rosario Scalero at Curtis ~Institute, [sm1945[nm. Teacher,
Curtis Institute, [sm1948[nm=n~[sm54[nm; chairman, mus. dept., Pennsylvania Univ
. ~[sm1961[nm=n[sm8[nm, prof. of mus. from [sm1968[nm. Influenced by ~Schoenberg
 and Mahler, his mus. developed an ~individual type of serialism but later retur
ned to ~tonality. Author of many critical articles. Works ~incl.:[xm[cm~[j2][smo
pera[nm: [cf2]The Confidence Man [cf1]([sm1982[nm).[ep~[smorch[nm: Syms. No. [sm
1[nm ([sm1948[nm=n[sm57[nm, in [sm3[nm movts; ~withdrawn [sm1977[nm; restored to
 [sm5[nm movts. [sm1977[nm), ~No. [sm2[nm ([sm1955[nm=n[sm6[nm), No. [sm3[nm, do
uble ch., chamber ch., ~soloists, orch. ([sm1966[nm=n[sm9[nm), No. [sm4[nm ([sm1
976[nm); [cf2]Night ~Music [cf1]([sm1948[nm); [cf2]Cheltenham Concerto[cf1] ([sm
1958[nm); [cf2]Time-~Span I [cf1]([sm1960[nm, withdrawn), [cf2]I
I [cf1]([sm1962[nm); [cf2]Zodiac ~[cf1]([sm1965[nm); [cf2]Music for the Magic Th
eater [cf1]([sm1965[nm=n[sm9[nm); ~[cf2]Imago Mundi [cf1]([sm1973[nm); Vn. conc.
 ([sm1974[nm); [cf2]Transcen~~dental Variations[cf1], str. (based on [sm3[nmrd m
ovt. of [sm3[nmrd ~str. qt.) ([sm1975[nm); ob. conc. ([sm1983[nm).[ep~[smsolo vo
ice and orch[nm: [cf2]David the Psalmist[cf1], ten. ~([sm1954[nm); [cf2][sm4[nm
Blake Songs[cf1], sop. and ens. ([sm1961[nm); [cf2]Music ~for `The Alchemist'[cf
1], sop. and [sm11[nm players ([sm1965[nm); ~[cf2]Tableaux[cf1], sop., [sm2[nm a
ctors' vv., ch., and [sm12[nm players ~([sm1968[nm); [cf2]Sacred Song of Reconci
liation[cf1], bass-bar. ~([sm1970[nm); [fy45,1]*[fy75,2]Phaedra[cf1], mez. ([sm1
973[nm=n[sm4[nm).[ep~[smensemble[nm: [cf2]Chamber Symphony[cf1], [sm9[nm instr.
([sm1953[nm); ~[cf2]Cantio Sacra[cf1], (transcr. of org. mus. by Scheidt) ~([sm1
954[nm); [cf2]Serenate d'Estate[cf1], [sm6[nm instr. ([sm1955[nm); [cf2]Apoca~~l
yptica[cf1], wind band ([sm1964[nm); [cf2]Black Sounds[cf1], win
ds ~and perc. ([sm1965[nm); [cf2]Fanfares[cf1], brass ([sm1968[nm).[ep~[smchambe
r music[nm: Str. qts., No. [sm1[nm ([sm1952[nm), No. [sm2[nm, with ~sop. ([sm195
9[nm=n[sm61[nm), No. [sm3[nm ([sm1972[nm), No. [sm4[nm ([sm1977[nm), No. ~[sm5[n
m ([sm1978[nm), No. [sm6[nm ([sm1978[nm), No. [sm7[nm, with bar. ([sm1979[nm); ~
[cf2]Duo Concertante[cf1], vn., vc. ([sm1953[nm); [cf2]Dialogues[cf1], cl., pf.
~([sm1956[nm); [cf2]La Bocca della Verit;aga[cf1], ob., pf. ([sm1958[nm=n[sm9[nm
, ~vn., pf. [sm1962[nm); Pf. Trio ([sm1963[nm); [cf2]Contra Mortem et ~Tempus[cf
1], vn., fl., cl., pf. ([sm1965[nm);  [cf2][sm50[nm Caprice-~Variations[cf1] (af
ter Paganini), solo vn. ([sm1970[nm); ~[cf2]Electrikaleidoscope[cf1], amp. ens.
of fl., cl., vc., pf., ~[PN601,0,0,R,I0]elec. pf. ([sm1972[nm); [cf2]Ricordanza[
cf1], vc., pf. ([sm1972[nm);[fj~[cf2]Ukiyo-e[cf1], harp ([sm1973[nm); Pf. Quinte
t ([sm1975[nm); [cf2]Slow ~Fires of Autumn[cf1], fl., hp. ([sm1978[nm); va. sona
ta ([sm1979[nm); ~[cf2]Duo[cf1], ob., bn., (orig. version [sm194
6[nm) ([sm1979[nm); [cf2]Trio[cf1], ~cl., hn., pf. ([sm1980[nm); Str. Quintet ([
sm1982[nm).[ep~[smvoices[nm: [cf2][sm3[nm Psalms[cf1], unacc. ([sm1954[nm); [cf2
]Passions According ~to the [sm20[nmth Century[cf1], singers, jazz quintet, bras
s, ~perc.,pf., tape ([sm1967[nm); [cf2]Behold, My Servant[cf1], unacc. ~([sm1973
[nm).[ep~[smsolo voice and instr[nm: [cf2]Songs of Solomon[cf1], v., pf. ~([sm19
47[nm); [cf2][sm3[nm Cantes flamencos[cf1], high bar. ([sm1969[nm); [cf2][sm11[n
m ~Songs to Poems by Paul Rochberg[cf1], v., pf. ([sm1969[nm); ~[cf2]Songs in Pr
aise of Krishna[cf1], mez., pf. ([sm1970[nm); ~[cf2]Fantasies[cf1], v., pf. ([sm
1971[nm); [cf2]Songs of Inanna and ~Dumuzi[cf1], alto, pf. ([sm1977[nm).[ep~[smp
iano[nm: [cf2]Variations on an Original Theme[cf1] ([sm1941[nm); [cf2][sm2[nm ~P
reludes and Fughettas [cf1]([sm1946[nm); [cf2][sm12[nm Bagatelles ~[cf1]([sm1952
[nm); [cf2]Sonata-Fantasia [cf1]([sm1956[nm); [cf2]Nach Bach[cf1], hpd. ~or pf.
([sm1966[nm); [cf2]Carnival Music [cf1]([sm1969[nm); [cf2]Partit
a ~Variations [cf1]([sm1976[nm); [cf2]Book of Contrapuntal Pieces[cf1] ~([sm1979
[nm).[cm~[j1]Roche, Jerome[fy75,1] (Lawrence Alexander) ([cf2]b[cf1] Cairo, ~[sm
1942[nm). Eng. musicologist. Studied at Cambridge ~Univ. [sm1959[nm=n[sm62[nm, [
sm1964[nm=n[sm7[nm. Lecturer, Durham Univ. ~[sm1967[nm. Studied at Cini Foundati
on, Venice, [sm1973[nm. ~Authority on [sm17[nmth cent. Italian sacred music. ~Au
thor of book on Palestrina, ed. [cf2]Dictionary of Early ~Music [cf1](with E. Ro
che).[cm~Rock. [fy75,1]Species of popular mus. originating in ~USA (as rock'n'ro
ll) in early [sm1950[nms and spreading ~throughout world. Perf. by `groups', e.g
. of v(v)., ~guitars, often electronically amplified, and drums. ~There are sub-
species such as [cf2]folk rock, jazz rock, ~[cf1]and [cf2]punk rock. [cf1]Rock w
as used in stage works such ~as [cf2]Hair, Tommy, [cf1]and [cf2]Jesus Christ Sup
erstar. [cf1]Lyrics ~often refer to social themes.[cm~Rock of Ages, Cleft for Me
. [fy75,1]Hymn, words by ~Rev. Augustus Montague Toplady ([sm174
0[nm=n[sm78[nm), ~Vicar of Broadhembury, Devon, first pubd. in ~[cf2]Gospel Maga
zine, [cf1]ed. Toplady, in [sm1776[nm. Tune by ~Richard Redhead, from [cf2]Churc
h Hymn Tunes, ~Ancient and Modern, [cf1][sm1853[nm.[cm~[ol0][ep~[xp[te~










[do42][j99]~~~~~~[sm153842[nm_RA[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm002[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm11[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm321[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~[ap~[j1]Rococo [fy75,
1](from Fr. [cf2]rocaille, [cf1]fancy rock-work in ~architecture). In visual art
s term is applied to the ~delicate, diverting style of Watteau and his ~contempo
raries. Mus. application refers to the ~decorative style e.g. of F. Couperin, an
d of certain ~works by Rameau and J. C. Bach. Musically it is a ~vague term, alm
ost synonymous with [cf2]galant[cf1] and ~the [sm18[nmth cent. and referring to
works which are ~no longer baroque and not yet classical.[cm~Rode, [fy75,1](Jacq
ues) [fy65,3]Pierre [fy75,1](Joseph) ([cf2]b [cf1]Bordeaux, ~[sm1774[nm; [cf2]d
[cf1]Ch;afateau de Bourbon, Damazon, [sm1830[nm). ~Fr. composer and violinist, p
upil in Paris of Viotti. ~D;aaebut, Paris [sm1790[nm. Prof. of vn., Paris Cons.,
 from ~[sm1795[nm and solo violinist at the Op;Aaera [sm1799[nm.
 Violinist ~to Napoleon, [sm1800[nm. Settled in St Petersburg [sm1803[nm=n~[sm8[
nm. Beethoven wrote vn. sonata in G, Op. [sm96[nm, for ~him. Skill declined and
he abandoned public ~concerts. Wrote [sm13[nm vn. concs., [sm12[nm ;Aaetudes, [s
m24[nm ~caprices, str. qts., and vn. method.[cm~Rodelinda. [fy75,1]Opera in [sm3
[nm acts by Handel to lib. by ~Salvi rev. by Haym. Prod. London [sm1725[nm; Nor~
~thampton, Mass., [sm1931[nm.[cm~Rodeo. [fy75,1]Ballet in [sm1[nm act by Copland
, [sm1942[nm, choreog. ~and lib. by Agnes de Mille. Sub-titled `The ~Courting at
 Burnt Ranch' and set (like [fy45,1]*[fy75,2]Billy the ~Kid[cf1]) in America's W
ild West. Uses traditional ~songs. Prod. [sm1942[nm. Suite of [sm4[nm movements
for orch. ~[sm1943[nm.[cm~Rodgers, Richard [fy75,1]([cf2]b [cf1]Hammels Station,
 Long Is., ~[sm1902[nm; [cf2]d[cf1] NY, [sm1979[nm). Amer. composer. Studied ~Co
lumbia Univ. [sm1919[nm=n[sm21[nm and Institute of Mus. ~Art, (later Juilliard S
ch.), NY [sm1921[nm=n[sm3[nm. With ~Lorenz Hart as lyric-writer,
 wrote successful ~Broadway musicals [cf2]Connecticut Yankee [cf1]([sm1927[nm),
[cf2]On ~Your Toes [cf1]([sm1936[nm), [cf2]Babes in Arms [cf1]([sm1937[nm), [cf2
]The Boys ~from Syracuse [cf1]([sm1938[nm), and [cf2]Pal Joey [cf1]([sm1940[nm).
 With ~Oscar [fy45,1]*[fy75,1]Hammerstein II, wrote [fy45,1]*[fy75,2]Oklahoma! [
cf1]([sm1943[nm), ~[cf2]Carousel [cf1]([sm1945[nm), [cf2]South Pacific [cf1]([sm
1949[nm), [cf2]The King and ~I [cf1]([sm1951[nm), and [cf2]The Sound of Music [c
f1]([sm1959[nm). Many of ~these made into films. Wrote mus. for TV ~documentary
[cf2]Victory at Sea[cf1]. Among the songs he ~composed are `There's a Small Hote
l', `My Funny ~Valentine', `The Lady is a Tramp', `Bewitched, ~bothered, and bew
ildered', `Blue Room', `O What ~a Beautiful Morning', `Some Enchanted Evening',
~`The Sound of Music', etc.[cm~Rodrigo, Joaquin [fy75,1]([cf2]b [cf1]Sagunto, [s
m1901[nm). Sp. com~~poser. Blind from age [sm3[nm. Studied with Dukas in ~Paris
from [sm1927[nm and encouraged by Falla. Won ~Sp. nat. prize [sm
1925[nm for orch. work [cf2]Cinco Piezas ~Infantiles. [cf1]Prof. of mus. history
, Madrid Univ. ~from [sm1946[nm. Works incl. symphonic poem [cf2]Per la ~flor de
l Uiri blau [cf1]([sm1934[nm), [fy45,1]*[fy75,2]Concierto de Aranjuez, ~[cf1]gui
tar and orch. ([sm1939[nm), [cf2]Concierto heroico, [cf1]pf. and ~orch. ([sm1943
[nm), [cf2]Concierto de estio, [cf1]vn. and orch. ~([sm1944[nm), [cf2]Concierto
en modo galante, [cf1]vc. and orch. ~([sm1949[nm), [cf2]Concierto serenata, [cf1
]harp and orch. ([sm1954[nm), ~[cf2]Fantasia para un gentilhombre, [cf1]guitar a
nd orch. ~([sm1955[nm), [cf2]Concierto Andaluz, [cf1][sm4[nm guitars and orch. ~
([sm1967[nm), [cf2]Concierto-madrigal, [cf1][sm2[nm guitars and orch. ~([sm1968[
nm), [cf2]Concierto pastoral, [cf1]fl. and orch. ([sm1978[nm), ~[cf2]Concierto c
omo un divertimento[cf1], vc. and orch. ([sm1979[nm=n~[sm81[nm), and choral work
s.[cm~Rodzinski, Artur [fy75,1]([cf2]b [cf1]Spalato (Split), Dalmatia, ~[sm1892[
nm; [cf2]d [cf1]Boston, Mass., [sm1958[nm). Polish-born cond. ~(
Amer. citizen from [sm1933[nm). Studied Vienna Cons. ~with Schalk. D;Aaebut Lw;A
aow [sm1921[nm. Cond. opera and ~concerts in Warsaw [sm1921[nm=n[sm5[nm. Ass. co
nd. Philadel~~phia Orch. [sm1926[nm=n[sm9[nm. Cond. Los Angeles P.O. [sm1929[nm=
n~[sm33[nm, Cleveland Orch. [sm1933[nm=n[sm43[nm, NY P.O. [sm1943[nm=n[sm7[nm, ~
Chicago S.O. [sm1947[nm=n[sm8[nm. Trained and selected players ~for Toscanini's
N.B.C. Orch., [sm1937[nm. Cond. Amer. ~premi;agere of Shostakovich's [cf2]The La
dy Macbeth of ~the Mtsensk District, [cf1]Cleveland [sm1935[nm. Cond. Pro~~kofie
v's [cf2]War and Peace, [cf1]Florence [sm1953[nm (f.p. outside ~Russia).[cm~Rog;
aae, Pascale [fy75,1]([cf2]b [cf1]Paris, [sm1951[nm). Fr. pianist. Studied ~Pari
s Cons. D;Aaebut Paris [sm1969[nm, London [sm1969[nm. First ~prize Margu;aaerite
 Long-Jacques Thibaud int. ~[PN602,0,0,L,I0]competition [sm1971[nm. Specialist i
n works of Ravel, ~Liszt, Bart;Aaok, etc. Soloist with leading orchs.[cm~Roger-D
ucasse, Jean [fy75,1](=+=+=+Jules Aimable) ([cf2]b[cf1] Bor~~dea
ux, [sm1873[nm; [cf2]d [cf1] Taillan-M;Aaedoc, [sm1954[nm). Fr. com~~poser and t
eacher. Studied Paris Cons. under ~Faur;aae (comp.) and de B;Aaeriot (pf.). Prof
. of comp., ~Paris Cons. [sm1935[nm=n[sm40[nm. Works incl. comic opera ~[cf2]Can
tegril [cf1]([sm1931[nm), mime-drama [cf2]Orph;Aaee [cf1]([sm1913[nm), [cf2]Suit
e ~fran;alcaise[cf1], orch. ([sm1907[nm), pf. qt., str. qt., motets, and ~songs.
 Completed and orch. Debussy's [cf2]Rhapsody ~[cf1]for sax. and orch. ([sm1919[n
m).[cm~Rogers, Benjamin [fy75,1]([cf2]b [cf1]Windsor, [sm1614[nm; [cf2]d [cf1]Ox
ford, ~[sm1698[nm). Eng. composer and organist. Organist, ~Christ Church Cath.,
Dublin, [sm1639[nm=n[sm41[nm; lay clerk ~St George's, Windsor, [sm1641[nm=n[sm4[
nm. Organist, Eton ~College Chapel [sm1660[nm=n[sm4[nm, lay clerk again at Winds
or ~[sm1662[nm; organist and choirmaster Magdalen Col~~lege, Oxford, [sm1664[nm=
n[sm86[nm. Comp. chamber and kbd. ~works and church mus., incl. [cf2]Hymnus euch
aristicus ~[cf1]([sm1660[nm) still sung from top of Magdalen Col
lege ~tower at dawn each May Day.[xm[cm~[j1]Rogers, Bernard [fy75,1]([cf2]b [cf1
]NY, [sm1893[nm; [cf2]d [cf1]Rochester, [sm1968[nm). ~Amer. composer. Studied In
stitute of Mus. Art, ~NY, [sm1919[nm=n[sm21[nm, and Cleveland Institute (comp. ~
with Bloch). Went to London and Paris [sm1927[nm=n[sm9[nm ~to study with F. Brid
ge and N. Boulanger. Chief ~critic, [cf2]Musical America, [cf1][sm1913[nm=n[sm24
[nm. Taught at ~Eastman Sch. [sm1929[nm=n[sm67[nm. Works incl. operas [cf2]The ~
Warrior [cf1]([sm1944[nm), [cf2]The Veil [cf1]([sm1950[nm), [cf2]The Nightingale
 ~[cf1]([sm1954[nm), [sm5[nm syms., oratorio [cf2]The Passion [cf1]([sm1942[nm),
 [cf2]The ~Musicians of Bremen, [cf1]narrator and [sm13[nm instr. ([sm1958[nm),
~[cf2]Variations on a Song of Mussorgsky [cf1]for orch. ([sm1960[nm), ~vn. sonat
a ([sm1962[nm), [sm2[nm str. qts., and [cf2]Dirge for [sm2[nm ~Veterans, [cf1]ch
. and pf. ([sm1967[nm).[cm~Rogg, Lionel [fy75,1]([cf2]b [cf1]Geneva, [sm1936[nm)
. Swiss organist ~and harpsichordist. Studied pf. with N. Magalo
ff. ~D;Aaebut as organist, Geneva [sm1961[nm, thereafter world ~career as recita
list. Prof. Geneva Cons. from [sm1960[nm. ~Recorded all J. S. Bach's organ works
.[cm~Rohrfl;Auote (Rohr Flute) [fy75,1](Ger.). Reed flute. Org. ~stop of [sm4[nm
;Po length and [sm8[nm;Po pitch; metal end-plugged ~pipes with narrow tube throu
gh plug. Reed of ~cl., ob., etc. is Rohrblatt.[cm~Rohrwerk, Rohrstimmen [fy75,1]
(Ger.). Reed dept. of ~the org.[cm~Roi David, Le [fy75,1](King David). `Psaume d
rama~~tique' (dramatic psalm) in [sm5[nm parts ([sm28[nm nos.), by ~Honegger for
 narrator, sop., mez., ten., ch., and ~orch. F.p. M;Aaezi;Ageres, [sm1921[nm. Re
v. and re-orch. [sm1923[nm, ~into [sm3[nm parts ([sm27[nm nos.). F.p. Winterthur
 [sm1923[nm (in ~Ger.), f.p. in England, London [sm1927[nm. Also orch. ~suite of
 [sm4[nm nos.[cm~Roi d'Ys, Le [fy75,1](The King of Ys). Opera in [sm3[nm acts by
 ~[fy45,1]*[fy75,1]Lalo to lib. by Blau. Prod. Paris [sm1888[nm, New ~Orleans [s
m1890[nm, London [sm1901[nm.[cm~Roi malgr;Aae lui, Le [fy75,1](K
ing despite himself=+=+=+). Opera ~in [sm3[nm acts by [fy45,1]*[fy75,1]Chabrier
to lib. by de Najac and ~Burani (rev. by Richepin). Prod. Paris [sm1887[nm. Rev.
 ~version by A. Carr;Aae, [sm1929[nm.[cm~Roland-Manuel.[fy75,1] See [fy65][cf3]M
anuel, Roland.[cm~Rold;aaan, Amadeo [fy75,1]([cf2]b [cf1]Paris, [sm1900[nm; [cf2
]d [cf1]Havana, [sm1939[nm). ~Cuban composer and cond. Studied Madrid Cons. ~Set
tled in Cuba [sm1921[nm where he was active as cond. ~and violinist. Cond. Havan
a P.O. from [sm1932[nm. ~Prof. of comp., Havana Cons. from [sm1935[nm. ~Interest
ed in African influence on Cuban mus. ~His works make liberal use of Afro-Cuban
~rhythms and themes. Works incl. [cf2]Overture on ~Cuban Themes [cf1]([sm1925[nm
), [cf2]La Rebambaramba, [cf1]Afro-~Cuban ballet ([sm1928[nm), [cf2]Ritmicas [cf
1]I=nIV, wind quintet, ~pf. ([sm1930[nm), [cf2]Ritmicas [cf1]V=nVI, perc. ([sm19
30[nm), [sm3[nm [cf2]Toques ~[cf1]for orch., [cf2]Negro Poem [cf1]for str. qt.,
etc.[cm~Rolfe Johnson, Anthony [fy75,1]([cf2]b [cf1]Tackley, Oxo
n, ~[sm1940[nm). Eng. ten. Took up singing [sm1967[nm after being ~farmer. Studi
ed GSM. Ch. and small roles, ~Glyndebourne [sm1972[nm=n[sm6[nm. Won John Christi
e ~Award. Opera appearances with ENO, WNO, and ~Eng. Mus. Th. Notable Mozart and
 Handel singer. ~Sang Aschenbach in Britten's [cf2]Death in Venice [cf1]for ~Sco
ttish Opera, [sm1983[nm. Also sings Lieder, [cf2]Dream of ~Gerontius, [cf1]Bach
Passions, etc.[cm~Roll [fy75,1](Ger. [cf2]Wirbel[cf1]). Rapid succession of note
s on a ~drum, becoming almost a continuous sound.[xm[cm~[j1]Rolland, Romain [fy7
5,1]([cf2]b [cf1]Clamecy, [sm1866[nm; [cf2]d [cf1]V;aaezelay, ~[sm1944[nm). Fr.
writer and musicologist. Studied in ~Paris and Rome. Prof. of mus. hist., Sorbon
ne, ~[sm1903[nm=n[sm13[nm. Lived in Switzerland [sm1913[nm=n[sm39[nm. Author ~of
 books on Beethoven and Handel. His huge ~novel, [cf2]Jean-Christophe [cf1]([sm1
904[nm=n[sm12[nm), concerns the life ~of a composer and won him the Nobel Prize
for ~literature. Friend of R. Strauss (their interesting ~corres
pondence has been pubd.).[cm~Roller, Alfred [fy75,1]([cf2]b [cf1]Brno, [sm1864[n
m; [cf2]d [cf1]Vienna, [sm1935[nm). ~Austrian stage designer and painter. Studie
d ~painting at Vienna Acad. In [sm1890[nms helped to ~found Vienna Sezession wit
h Schiele, Kokoschka, ~and Klimt. Prof. at Vienna School of Art [sm1900[nm, ~dir
. [sm1909[nm=n[sm34[nm. Engaged by Mahler at Vienna ~Court Opera, [sm1903[nm, to
 provide new sets for [cf2]Fidelio, ~Don Giovanni, Tristan und Isolde, [cf1]and
[cf2]Das Rheingold[cf1] ~and [cf2]Die Walk;auure[cf1]. These revolutionized stag
e ~design. Worked closely with Max Reinhardt at ~Salzburg Fest. Chief designer V
ienna Opera [sm1903[nm=n~[sm9[nm, [sm1918[nm=n[sm34[nm, and at Burgtheater [sm19
18[nm=n[sm34[nm. De~~signed orig. prods. of Strauss's [cf2]Elektra[cf1] and [cf2
]Der ~Rosenkavalier[cf1] (Dresden [sm1909[nm and [sm1911[nm) and [cf2]Die ~Frau
ohne Schatten[cf1] (Vienna [sm1919[nm).[cm~Rolling Stones. [fy75,1]Eng. rock gro
up formed in ~London [sm1962[nm. Orig members were Mick (Michael
 ~Philip) Jagger ([cf2]b[cf1] [sm1944[nm) v., Keith Richard ([cf2]b[cf1] [sm1944
[nm) ~v. and guitar, Brian Jones ([sm1944[nm=n[sm69[nm) guitar and ~harmonica, C
harlie (Charles Robert) Watts ([cf2]b[cf1] ~[sm1942[nm) drums, and Bill Wyman ([
cf2]b[cf1] [sm1941[nm) bass ~guitar. Jones's place was taken in [sm1969[nm by Mi
ck ~Taylor, who was succeeded in [sm1974[nm by Ron ~Wood. By [sm1964[nm Jagger a
nd Richard were compos~~[PN603,0,0,R,I0]ing most of their material and the group
 attracted ~a large following notwithstanding, perhaps be~~cause of, its rebelli
ous mode of dress and ~behaviour. Their songs included [cf2]Satisfaction[cf1], ~
[cf2]Mother's Little Helper[cf1], and [cf2]Let's Spend the Night ~Together[cf1].
 Jagger increasingly became a cult figure ~among the [cf2]avant-garde[cf1] of th
e pop world.[cm~Rollschweller [fy75,1](Ger.). The `General Crescendo' ~pedal of
an org. which gradually brings out all ~the stops.[cm~Romalis [fy75,1]([cf2]Ole,
 Polo[cf1]) (Sp.). Type of [fy45,1]*[fy75,2]Seguidilla.[cm~Roman
, Johan Helmich [fy75,1]([cf2]b [cf1]Stockholm, [sm1694[nm; [cf2]d ~[cf1]Haralds
m;anala, nr. Kalmar, [sm1758[nm). Swed. composer. ~In [sm1714[nm studied under P
epusch and Ariosti in ~London. Returned to Stockholm [sm1720[nm, becoming ~Kapel
lmeister [sm1729[nm. Wrote [sm7[nm sinfonias, [sm13[nm trio ~sonatas, Swed. Mass
, [sm12[nm fl. sonatas, and vn. solos.[cm~Roman Carnival, The [fy75,1](Berlioz).
 See [cf2]Carnaval ~Romain, Le.[cm~Romance [fy75,1](It. [cf2]Romanza, [cf1]Ger.
[cf2]Romanze[cf1]). Title with ~no strict formal application=mcomposers use it a
s ~they fancy, vocally or instrumentally. Generally ~it implies a specially pers
onal or tender quality. ~Mozart called the slow movement of his pf. conc. ~No. [
sm20[nm in D minor (K[sm466[nm) a `Romance'. Schumann ~wrote [cf2]Drei Romanzen.
 [cf1]Vaughan Williams used the ~term several times: his [cf2]The Lark Ascending
 [cf1]for vn. ~and orch. is a `Romance' ([sm1914[nm), he wrote a ~[cf2]Romance [
cf1]for harmonica, str., and pf. ([sm1951[nm), and ~the slow mov
ement of the [sm5[nmth Sym. ([sm1943[nm) is ~entitled [cf2]Romanza. [cf1]Elgar w
rote a [cf2]Romance [cf1]for bn. ~and the [sm13[nmth `Enigma' var. is [cf2]Roman
za.[cf1][cm~Romanesca [fy75,1](It.), [fy65][cf3]Romanesque [fy75,1](Fr.). ([sm1[
nm) Probably ~a kind of [fy45,1]*[fy75,1]galliard danced in the Romagna.[ep~^([s
m2[nm) A certain melody much used in the [sm17[nmth ~cent. as a [fy45,1]*[fy75,1
]ground bass.[ep~^([sm3[nm) A type of song (e.g. by Monteverdi).[cm~Roman Festiv
als [fy75,1](Respighi). See [cf2]Feste Romana.[cm~Romani, Felice [fy75,1]([cf2]b
 [cf1]Genoa, [sm1788[nm; [cf2]d [cf1]Moneglia, ~[sm1865[nm). It. poet and libret
tist. Wrote over [sm100[nm ~opera libs. for Mayr, Rossini, Bellini, Donizetti, ~
etc. Among best-known are those of [cf2]Norma, La ~sonnambula, L'Elisir d'amore,
 Lucrezia Borgia, [cf1]and [cf2]Il ~Turco in Italia.[cm~Romanian Rhapsodies. [fy
75,1][sm2[nm works for orch., No. ~[sm1[nm in A and No. [sm2[nm in D, by [fy45,1
]*[fy75,1]Enescu, Op. [sm11[nm.[xm[cm~[j1]Romantic(ism). [fy75,1
]Term used to describe literature, ~written mainly in the [sm2[nm decades [sm183
0[nm=n[sm1850[nm, and ~applied to mus. written in the period [cf2]c.[cf1][sm1830
[nm to ~[cf2]c.[cf1][sm1900[nm. It is a vague term, for there are `romantic' ~el
ements in all mus. of all ages. However, the ~composers generally classified as
Romantic are of ~the period of Weber, Schubert, Schumann, ~Chopin, Liszt, Berlio
z, Wagner, etc., in whose ~mus. emotional and picturesque expression ap~~peared
to be more important than formal or ~structural considerations. Thus Romanticism
 ~became the antithesis of Classicism. In literature ~the works of Byron, Scott,
 Wordsworth, Goethe, ~Hugo, Gautier, and Balzac were the heart of the ~Romantic
movement and composers such as ~Berlioz and Liszt were particularly influenced b
y ~Byron and Scott. The supernatural element in ~Romantic literature is reflecte
d musically in ~works such as Weber's [cf2]Der Freisch;Auutz, [cf1]and the ~[cf2
]Witches' Sabbath [cf1]movement of Berlioz's [cf2]Symphonie ~fan
tastique. [cf1]However, Chopin, an essentially Ro~~mantic composer, was not infl
uenced by literary ~models; and many movements in works by ~`Classical' composer
s such as Haydn, Mozart, ~Beethoven, and others, have Romantic leanings. ~As in
so many branches of mus., distinctions ~between one category and another are blu
rred, ~thus nationalism, impressionism, and post-ro~~manticism all impinge upon
Romanticism.[cm~`Romantic' Symphony. [fy75,1]([sm1[nm) Bruckner's sub-title ~for
 his Sym. No. [sm4[nm in E;Yh major ([sm1874[nm, rev. [sm1878[nm, ~[sm1879[nm=n[
sm80[nm, [sm1881[nm, [sm1886[nm).[ep~^([sm2[nm) Sub-title of Sym. No. [sm2[nm by
 Howard Hanson ~([sm1930[nm).[cm~Romanza. [fy75,1]See [cf2]Romance.[cm~Rombando
[fy75,1](It.). Humming.[cm~Romberg, Andreas Jakob [fy75,1]([cf2]b [cf1]Vechta, M
;Auunster, ~[sm1767[nm; [cf2]d [cf1]Gotha, [sm1821[nm). Ger. violinist and compo
ser. ~Played at Concert Spirituel, Paris, [sm1784[nm. Tours of ~Europe [sm1784[n
m=n[sm96[nm and member (with Beethoven ~and Ries) of Bonn electo
ral court orch. [sm1790[nm=n[sm3[nm. ~Lived in Hamburg [sm1801[nm=n[sm15[nm. Cou
rt cond., Gotha, ~from [sm1815[nm. Wrote [sm8[nm operas and operettas, choral ~m
us., [sm10[nm syms., incl. [cf2]Toy Symphony, [cf1][sm20[nm vn. concs., ~[sm19[n
m str. qts., etc.[cm~Romberg, Bernhard [fy75,1]([cf2]b [cf1]Dinklage, [sm1767[nm
; [cf2]d ~[cf1]Hamburg, [sm1841[nm). Ger. cellist and composer, ~cousin of Andre
as [fy45,1]*[fy75,1]Romberg with whom he ~toured in Europe [sm1784[nm=n[sm96[nm
and played in Bonn ~electoral court orch. [sm1790[nm=n[sm3[nm. Taught at Paris ~
Cons. [sm1800[nm=n[sm3[nm. Court cond., Berlin, [sm1815[nm=n[sm19[nm. ~Visited R
ussia and Eng. Wrote [sm5[nm operas, [sm5[nm syms., ~[sm10[nm vc. concs., and ch
amber works.[cm~Romberg, Sigmund [fy75,1]([cf2]b [cf1]Szeged, Hung., [sm1887[nm;
 [cf2]d ~[cf1]NY, [sm1951[nm). Hung.-born composer. Studied in ~Vienna with [fy4
5,1]*[fy75,1]Heuberger. Went to USA [sm1909[nm, ~settling eventually in NY and b
ecoming Amer. ~citizen. Wrote succession of popular operettas, ~
incl. [cf2]Maytime [cf1]([sm1917[nm), [cf2]The Student Prince [cf1]([sm1924[nm),
 ~[cf2]The Desert Song [cf1]([sm1926[nm), [cf2]New Moon [cf1]([sm1928[nm), and [
cf2]Up ~in Central Park [cf1]([sm1945[nm).[xm[cm~[j1]Romeo and Juliet. [fy75,1]S
everal mus. comps. have ~been based on this Shakespeare tragedy ([sm1594[nm=n[sm
5[nm). ~Among them are: ([sm1[nm) [cf2]Rom;aaeo et Juliette, [cf1]dramatic ~sym.
, Op. [sm17[nm, for sop., ten., bass, ch., and orch. by ~[fy45,1]*[fy75,1]Berlio
z, [sm1838[nm=n[sm9[nm.[ep~^([sm2[nm) [cf2]Rom;aaeo et Juliette, [cf1]opera in [
sm5[nm acts by [fy45,1]*[fy75,1]Gounod ~to lib. by Barbier and Carr;aae. Prod. P
aris, London, ~and NY, [sm1867[nm.[ep~^([sm3[nm) [cf2]Romeo and Juliet [cf1]([cf
2]Romeo i Dzhulietta[cf1]), fantasy-~ov. for orch. by [fy45,1]*[fy75,1]Tchaikovs
ky, [sm1869[nm (f.p. [sm1870[nm), ~[PN604,0,0,L,I0]rev. [sm1870[nm and [sm1880[n
m (f.p. [sm1886[nm). Also duet for sop., ~ten., and orch., partly based on fanta
sy-ov., [sm1893[nm, ~completed by Taneyev.[ep~^([sm4[nm) [cf2]Ro
meo and Juliet [cf1]([cf2]Romeo i Dzhulietta[cf1]), ballet in ~prol., [sm3[nm ac
ts, and epilogue by [fy45,1]*[fy75,1]Prokofiev, Op. [sm64[nm, ~to lib. by Lavrov
sky, Prokofiev, and Radlov, ~choreog. Psota. Comp. [sm1935[nm=n[sm6[nm. Prod. Br
no [sm1938[nm. ~Also Symphonic Suite No. [sm1[nm, Op. [sm64[nmb ([sm7[nm move-[f
j~ments), [sm1936[nm, No. [sm2[nm, Op. [sm64|[nmc ([sm7[nm movements), ~[sm1937[
nm, No. [sm3[nm, Op. [sm101[nm ([sm6[nm movements), [sm1944[nm.[ep~^([sm5[nm) [c
f2]Romeo und Julia, [cf1]opera by Sutermeister to his ~own lib. Prod. Dresden [s
m1940[nm. (There are also ~operas on this subject by [fy45,1]*[fy75,1]Zandonai,
[fy45,1]*[fy75,1]Zingarelli, ~and [fy45,1]*[fy75,1]Blacher. See also [fy45,1]*[f
y75,1]Bellini's [cf2]I [fy45,1]*[fy75,2]Capuleti e i ~Montecchi.[cf1])[xm[cm~[j1
]Rome Prize [fy75,1](French, Belgian, American). See ~[cf2]Prix de Rome.[cm~Rona
ld, [fy75,1](Sir)[fy65][cf3] Landon [fy75,1](orig. Russell, Landon ~Ronald) ([cf
2]b [cf1]London, [sm1873[nm; [cf2]d [cf1]London, [sm1938[nm). En
g. ~cond., composer, pianist, and administrator. Son ~of Henry [fy45,1]*[fy75,1]
Russell. Studied RCM. CG coach under ~Mancinelli [sm1891[nm, becoming cond. of A
ugustus ~Harris's touring opera co. Toured USA as [fy45,1]*[fy75,1]Melba's ~acco
mpanist, [sm1894[nm. CG d;aaebut as cond. [sm1896[nm ~([cf2]Faust=+[cf1]). Cond.
 mus. comedy in London [sm1898[nm=n~[sm1902[nm. Guest cond. LSO [sm1904[nm=n[sm7
[nm and later of Berlin ~P.O. and other leading orchs. Permanent cond. ~Royal Al
bert Hall Orch. [sm1909[nm=n[sm14[nm, Scottish Orch. ~[sm1916[nm=n[sm20[nm. Prin
., GSM [sm1910[nm=n[sm38[nm. Wrote mus. ~criticism. Friend and interpreter of El
gar, who ~ded. [cf2]Falstaff [cf1]to him. Wrote operetta and orch. ~mus. but rem
embered chiefly through his song ~[cf2]Down in the Forest, [cf1]one of nearly [s
m200[nm. Knighted ~[sm1922[nm.[cm~Ronde [fy75,1](Fr.). Round. ([sm1[nm) The [fy4
5,1]*[fy75,1]whole-note or ~[fy45,1]*[fy75,1]semibreve.[ep~^([sm2[nm) A round da
nce to vocal acc. by the dancers.[cm~Rondeau [fy75,1](Fr.).Mus.
form so called because of its ~circle of recurrence. ([sm1[nm) Type of medieval
song ~(also [cf2]rondel[cf1]) sung by troubadours in which ~sections of both wor
ds and mus. recurred.[ep~^([sm2[nm) Instr. form in [sm17[nmth and later cents. i
n which ~the first section recurs. See [cf2]Rondo.[cm~Ronde;atna. [fy75,1]A kind
 of [fy45,1]*[fy75,1]fandango of southern Sp. ~(named after Ronda in Andalusia),
 with the same ~harmonic peculiarity as the [fy45,1]*[fy75,1]malague;atna.[cm~Ro
ndes de printemps [fy75,1](Debussy). See [cf2]Images.[cm~Rondine, La [fy75,1](Th
e Swallow). Opera in [sm3[nm acts by ~Puccini to lib. by Adami trans. from Ger.
lib. by ~Willner and Reichert. Comp. [sm1914=n16[nm. Prod. ~Monte Carlo [sm1917[
nm, NY [sm1928[nm, London [sm1965[nm.[cm~Rondo [fy75,1](It., properly spelt [cf2
]rond;ago).[cf1] Round. Form ~of comp., usually instr., in which one section ~in
termittently recurs. By Mozart's day it was the ~usual form for the last movemen
t of a conc. or ~sonata. Frequent pattern is A B A C A D A etc.,
 A ~being the recurring rondo theme and B, C, and ~D contrasting episodes. Mozar
t and Beethoven ~combined this with sonata form into a [cf2]sonata-~rondo. [cf1]
Strauss's [cf2]Till Eulenspiegel [cf1]is designated a ~rondo. The term is also s
ometimes used in opera ~for an aria with a slow section followed by a faster ~on
e.[xm[cm~[ol0][ep~[xp[te~








[do42][j99]~~~~~~[sm153842[nm_RA[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm003[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm12[nm/[sm10[nm/[sm7910[
nm[cm[sm366[nm[cm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Ronger, Florimond.
[fy75,1]See [cf2]Herv;Aae.[cm~R;Auontgen, Julius [fy75,1]([cf2]b [cf1]Leipzig, [
sm1855[nm; [cf2]d [cf1]Utrecht, ~[sm1932[nm). Dutch composer, pianist, and cond.
 Stud~~ied Leipzig Cons. Accompanist to distinguished ~singers. Teacher at Amste
rdam Mus. Sch. [sm1878[nm. ~Cond. Maatschappij concerts, Amsterdam, [sm1886[nm=n
~[sm98[nm. Dir. Amsterdam Cons. [sm1918[nm=n[sm24[nm. Comp. ~operas, [sm21[nm sy
ms., concs., chamber mus., songs, ~etc.[cm~Rooley, Anthony [fy75,1]([cf2]b [cf1]
Leeds, [sm1944[nm). Eng. lutenist ~and specialist in early mus. Studied guitar a
t ~RAM [sm1965[nm=n[sm8[nm, becoming teacher there, of guitar ~and lute, [sm1969
[nm=n[sm71[nm. Founded (with James Tyler) ~the Consort of Musicke [sm1969[nm. Au
thor of several ~articles on lute and aspects of early mus. ~Fre
quently partners the sop. Emma [fy45,1]*[fy75,1]Kirkby.[cm~Root. [fy75,1]The not
e from which a chord originates, ~the lowest note when the chord is in its `basi
c' ~position, e.g. in chord of C major (common ~chord) C=nE=nG, the root is C.[c
m~Rootham, Cyril [fy75,1](Bradley) ([cf2]b [cf1]Bristol, [sm1875[nm; [cf2]d ~[cf
1]Cambridge, [sm1938[nm). Eng. organist and composer. ~Studied RCM and Cambridge
 Univ. Organist, St ~John's College, Cambridge, from [sm1901[nm. Lecturer ~in mu
s. Cambridge Univ. from [sm1913[nm. Wrote ~opera, choral works incl. [cf2]For th
e Fallen [cf1]([sm1915[nm), [sm2[nm ~syms., str. qts., songs, etc.[xm[cm~[j1]Rop
artz, Joseph Marie Guy- [fy75,1]([cf2]b [cf1]Guingamp, ~[sm1864[nm; [cf2]d [cf1]
Lanloup, [sm1955[nm). Fr. composer, cond., and ~teacher. Studied Paris Cons. und
er Massenet and ~later privately with Franck. Dir., Nancy Cons. ~[sm1894[nm=n[sm
1919[nm, cond. Strasbourg orch. [sm1919[nm=n[sm29[nm. ~Wrote operas, [sm5[nm sym
s., choral mus., [sm6[nm str. qts., etc.[cm~Roper, [fy75,1](Edga
r) [fy65][cf3]Stanley [fy75,1]([cf2]b [cf1]Croydon, [sm1878[nm; [cf2]d ~[cf1]Lon
don, [sm1953[nm). Eng. organist and composer. ~Chorister, Westminster Abbey. Ass
. organist, ~Westminster Abbey [sm1917[nm, organist, Chapels ~Royal [sm1919[nm.
Prin., TCL [sm1929[nm=n[sm44[nm. Wrote and ed. ~church mus.[cm~Rore, Cipriano [f
y75,1](Cyprian) [fy65][cf3]de [fy75,1]([cf2]b [cf1]Machelen, nr. ~Ghent, or Mech
elen, [sm1516[nm; [cf2]d [cf1]Parma, [sm1565[nm). ~Flemish composer. Pupil of [f
y45,1]*[fy75,1]Willaert in Venice. ~Held various It. church and court posts, suc
ceed~~ing Willaert as choirmaster of St. Mark's, [sm1563[nm. ~Comp. [cf2]St John
 Passion [cf1]([sm1557[nm) and many highly ~esteemed motets and madrigals.[cm~Ro
rem, Ned [fy75,1]([cf2]b [cf1]Richmond, Indiana, [sm1923[nm). Amer. ~composer an
d author. Studied in Chicago, at ~Curtis Institute, Penn., [sm1943[nm, and later
 at Juilliard ~Sch., NY, (comp. with Wagenaar). Worked in NY ~as copyist to Virg
il Thomson. Lived in Morocco ~and Paris [sm1949[nm=n[sm58[nm, an
d in [sm1951[nm=n[sm5[nm wrote [cf2]The Paris ~Diary of Ned Rorem, [cf1]entertai
ning journal, pubd. ~[sm1966[nm. Recipient of several awards and fellowships. ~[
PN605,0,0,R,I0]Prof. of mus., Buffalo Univ. [sm1959[nm=n[sm61[nm, prof. of ~comp
. Utah Univ. [sm1965[nm=n[sm7[nm. Studied in Fr. with ~Honegger, [sm1951=n2[nm.
The influence of Poulenc is ~discernible in his many songs, of which he is the ~
foremost Amer. composer. His orch. works are ~colourful and he sometimes uses a
modified serial ~technique. Has written several other books, incl. ~[cf2]Critica
l Affairs, A Composer's Journal [cf1]([sm1970[nm). Prin. ~comps.:[xm[cm~[j2][smo
peras[nm: [fy75,2]A Childhood Miracle [cf1]([sm1952[nm); [cf2]The Robbers ~[cf1]
([sm1956[nm); [cf2]Last Day [cf1]([sm1959[nm); [cf2]The Anniversary [cf1]([sm196
2[nm); ~[cf2]Fables [cf1]([sm5[nm very short operas) ([sm1970[nm); [fy45,1]*[fy7
5,2]Miss Julie ~[cf1]([sm1964[nm); [cf2]Bertha [cf1]([sm1968[nm=n[sm9[nm); [cf2]
Three Sisters Who Are ~Not Sisters [cf1]([sm1969[nm); [cf2]Heari
ng[cf1] ([sm1976[nm).[ep~[smorch[nm: [sm3[nm syms. ([sm1950[nm, [sm1955[nm, [sm1
957[nm); [sm3[nm pf. concs.; ~[cf2]Lento, [cf1]str. ([sm1950[nm); [cf2]Design [c
f1]([sm1954[nm); [cf2]Pilgrims, [cf1]str. ~([sm1958[nm); [cf2]Eagles [cf1]([sm19
58[nm); [cf2][sm11[nm Studies [cf1]([sm1959[nm); [cf2]Ideas ~[cf1]([sm1961[nm);
[cf2]Lions [cf1]([sm1964[nm); [cf2]Water Music, [cf1]cl., vn., small ~orch. ([sm
1967[nm); [cf2]Air Music [cf1]([sm1974[nm); [cf2]Assembly and Fall ~[cf1]([sm197
5[nm); [cf2]Sunday Morning [cf1]([sm1977[nm).[ep~[smvoice and orch[nm: [cf2][sm6
[nm Irish Poems [cf1]([sm1950[nm); [cf2][sm6[nm Songs ~[cf1]([sm1953[nm); [cf2]P
o;Agemes pour la paix [cf1]([sm1956[nm); [cf2]Sun, [cf1]sop. and ~orch. ([sm1966
[nm); [cf2]Gloria [cf1]([sm1970[nm); [cf2]Ariel[cf1] ([sm1971[nm); [cf2]Last ~Po
ems of Wallace Stevens [cf1]([sm1972[nm); [cf2]Serenade on [sm5[nm ~English Poem
s [cf1]([sm1976[nm).[ep~[smchoral[nm: [cf2]Laudemus Tempus Actum, [cf1]ch. and o
rch.; ~[cf2]Letters from Paris, [cf1]ch. and orch. ([sm1966[nm);
 [cf2]The Poets' ~Requiem, [cf1]sop., ch., and orch. ([sm1955[nm=n[sm6[nm); [cf2
]Little ~Prayers[cf1], sop., bar., ch., orch. ([sm1973[nm); [cf2]Missa brevis[cf
1], ~sop., ten., ch. ([sm1974[nm); [cf2][sm3[nm Christmas Choruses[cf1], ch. ~([
sm1978[nm).[ep~[cf1][smsong-cycles[nm[cf1] (with pf.): [cf2]Flight for Heaven, [
cf1]bar. ~([sm1950[nm); Cycle of Holy Songs ([sm1951[nm); [cf2]King Midas ~[cf1]
([sm1960[nm=n[sm1[nm); [cf2]Poems of Love and the Rain [cf1]([sm1962[nm=n[sm3[nm
); ~[cf2]Hearing [cf1]([sm1965[nm=n[sm6[nm); [cf2]War Scenes [cf1]([sm1969[nm);
[cf2]To Jane[cf1] ~([sm1974[nm); [cf2]Women's Voices[cf1] ([sm1976[nm); [cf2]A J
ourney[cf1] ([sm1976[nm); ~[cf2]After Long Silence[cf1], mez. and ob. ([sm1982[n
m).[ep~[smchamber music[nm: Vn. sonata ([sm1949[nm); [cf2]Day Music [cf1]and ~[c
f2]Night Music, [cf1]vn. and pf.; [cf2][sm11[nm Studies for [sm11[nm Players ~[c
f1]([sm1959[nm); [cf2]Lovers, [cf1]hpd., ob., vc., perc. ([sm1964[nm); [cf2]Arie
l, ~[cf1]sop., cl., pf. ([sm1971[nm); [cf2]Sky Music[cf1], harp
([sm1976[nm); ~[cf2]Romeo and Juliet[cf1], harp, guitar ([sm1977[nm).[ep~[smsong
s[nm: Among nearly [sm300[nm songs for v. and pf. are: ~[cf2]Alleluia [cf1]([sm1
946[nm); [cf2]The Lordly Hudson [cf1]([sm1947[nm); [cf2]Little ~Elegy [cf1]([sm1
949[nm); [cf2]Rain in Spring [cf1]([sm1949[nm); [cf2]The Tulip ~Tree, Sally's Sm
ile, Clouds [cf1]([sm1953[nm); [cf2]Youth, Day, Old ~Age, Night [cf1]([sm1954[nm
); [cf2]Look Down, Fair Moon [cf1]([sm1957[nm).[cm~[j1]Rosa, Karl [fy75,1](Carl)
 (August Nikolaus) (really Karl ~Rose) ([cf2]b [cf1]Hamburg, [sm1842[nm; [cf2]d
[cf1]Paris, [sm1889[nm). Ger. ~cond., violinist, and impresario. Studied Leipzig
 ~Cons. and Paris Cons. Leader of orch. in Hamburg, ~[sm1863[nm=n[sm5[nm. London
 d;Aaebut [sm1866[nm, in USA [sm1866[nm=n[sm71[nm. ~In NY [sm1867[nm married sop
. Euphrosyne Parepa and ~became manager and dir. of opera co. headed by ~his wif
e. After her death in [sm1874[nm formed [fy45,1]*[fy75,1]Carl ~Rosa Opera Co., b
ased in Eng. from [sm1875[nm.[cm~Rosa, Salvator [fy75,1]([cf2]b
[cf1]Arenella, Naples, [sm1615[nm; [cf2]d [cf1]Rome, ~[sm1673[nm). It. painter,
writer, and lutenist. Wrote [cf2]La ~Musica, [cf1]satire on church mus., pubd. p
osthu~~mously. Most or all of songs attrib. to him are by ~other composers.[cm~R
osalia. [fy75,1]Name sometimes given to harmonic ~real [fy45,1]*[fy75,1]sequence
 (because It. popular song [cf2]Rosalia, ~mia cara [cf1]began with this device).
 An example is ~Diabelli's theme set by Beethoven and others.[cm~Rosamunde, F;au
urstin von Cypern [fy75,1](Rosamund, ~Princess of Cyprus). Play by Helmina von C
h;Aaezy ~([sm1823[nm) for which [fy45,1]*[fy75,1]Schubert wrote ov., [sm3[nm ent
r'actes, ~[sm2[nm ballet pieces, and some vocal nos. The ov. played ~at the f.p.
 was that already comp. for [fy45,1]*[fy75,2]Alfonso und ~Estrella [cf1]and pubd
. under that title as Op. [sm69[nm[fj(D ~[sm732[nm). What we know as the [cf2]Ro
samunde [cf1]ov.[fj~(D [sm644[nm) was written in [sm1820[nm for melodrama by ~Ho
ffmann called [cf2]Die [fy45,1]*[fy75,2]Zauberharfe [cf1](The Ma
gic ~Harp).[cm~Rosbaud, Hans [fy75,1]([cf2]b [cf1]Graz, [sm1895[nm; [cf2]d [cf1]
Lugano, [sm1962[nm). ~Austrian cond. and pianist. Studied Frankfurt. ~Cond. and
dir., mus. sch., Mainz [sm1923[nm=n[sm30[nm; chief ~cond. Frankfurt radio orch.
[sm1928[nm=n[sm37[nm; M;auunster ~Opera [sm1938[nm=n[sm41[nm; Strasbourg Opera [
sm1941[nm=n[sm4[nm; Mun~~ich P.O. [sm1945[nm=n[sm8[nm; S.W. Ger. Radio Orch. [sm
1948[nm=n~[sm62[nm; Z;auurich Tonhalle Orch. [sm1950[nm (mus. dir. from ~[sm1957
[nm). Chief cond. Aix-en-Provence Fest. [sm1947[nm=n~[sm59[nm. Frequently cond.
at Donaueschingen. Cond. ~f.p. (radio and stage) of Schoenberg's [fy45,1]*[fy75,
2]Moses und ~Aron [cf1]([sm1954[nm and [sm1957[nm). Renowned interpreter and ~ch
ampion of [sm20[nmth-cent. mus. Cond. f.p. of Bart;aaok's ~[sm2[nmnd pf. conc.,
with composer as soloist, [sm1933[nm.[cm~Rose. [fy75,1]Sound-hole cut to aid res
onance in the lute, ~guitar, mandolin, etc. So-called owing to orna~~mental flow
er-like shape.[cm~Ros;aae, Arnold [fy75,1](Josef=+=+=+) ([cf2]b
[cf1]Jassy, Romania, [sm1863[nm; [cf2]d ~[cf1]London, [sm1946[nm). Austrian viol
inist. Studied Vienna ~Cons. D;Aaebut Leipzig Gewandhaus [sm1879[nm. Leader ~of
Vienna Court Opera Orch. and of Vienna P.O. ~for [sm57[nm years ([sm1881[nm=n[sm
1938[nm), also led orch. at ~Bayreuth Fest. Formed and led Ros;Aae Qt. from ~[sm
1883[nm. It gave f.ps. of works by Reger and ~Schoenberg. Taught at Vienna State
 Acad. until ~[sm1924[nm. Brother-in-law of Mahler. Fled to Eng. ~[sm1938[nm.[cm
~Rose, Bernard [fy75,1](William George) ([cf2]b [cf1]Little Halling~~bury, Herts
., [sm1916[nm). Eng. organist, cond., and ~teacher. Studied RCM [sm1933[nm=n[sm5
[nm and Cambridge ~Univ. Organist Queen's College, Oxford, [sm1939[nm=n~[sm57[nm
, Magdalen College, Oxford, [sm1957[nm=n[sm81[nm.[cm~Rose, Leonard [fy75,1]([cf2
]b [cf1]Washington D.C., [sm1918[nm; [cf2]d[cf1] NY, [sm1984[nm). Amer. ~cellist
. Studied Curtis Institute, Penn., with ~[fy45,1]*[fy75,1]Salmond [sm1934[nm=n[s
m8[nm. Member of N.B.C. Orch., ~under Toscanini. Prin. cellist C
leveland Orch. ~[sm1939[nm=n[sm43[nm, NY P.O. [sm1943[nm=n[sm51[nm, then success
ful solo ~career. Teacher at Curtis Institute [sm1951[nm=n[sm62[nm and at ~Juill
iard Sch. from [sm1947[nm.[cm~Roseingrave, Thomas [fy75,1]([cf2]b [cf1]Wincheste
r, [sm1688[nm; [cf2]d ~[cf1] Dunleary, Ireland, [sm1766[nm). Irish organist and
~composer, son and pupil of Daniel Roseingrave ~([cf2]d [cf1][sm1727[nm, organis
t of Gloucester, Winchester, and ~Salisbury caths. and of St Patrick's and Chris
t ~Church caths., Dublin). Studied in Italy, where ~he knew both Scarlattis. Org
anist, St George's, ~[PN606,0,0,L,I0]Hanover Sq., [sm1725[nm=n[sm52[nm. Wrote op
era, cantatas, ~extra numbers for D. Scarlatti's opera [cf2]Narciso [cf1]in ~Lon
don [sm1720[nm, hpd. pieces, etc.[cm~Rosen, Charles [fy75,1]([cf2]b [cf1]NY, [sm
1927[nm). Amer. pianist and ~author. Studied Juilliard Sch. [sm1934[nm=n[sm8[nm
(between ~the ages of [sm7[nm and [sm11[nm) and with M. Rosenthal. ~D;Aaebut NY
[sm1951[nm. Prof. of mus., State Univ. of NY ~from [sm1971[nm. A
uthor of [cf2]The Classical Style [cf1]([sm1971[nm) ~and [cf2]Schoenberg [cf1]([
sm1975[nm). Noted for his playing of ~Bach's [cf2]Goldberg Variations[cf1], the
late Beethoven ~sonatas, and Debussy. Has given important perfs. ~of Schoenberg,
 Webern, Carter, and Boulez.[cm~Rosenberg, Hilding [fy75,1](Constantin) ([cf2]b
[cf1]Bosj;Auokloster, ~Sweden, [sm1892[nm). Swedish composer, pianist, and ~cond
. Studied in Stockholm and later in Ger. and ~Austria. Taught pf. and theory, St
ockholm, [sm1916[nm=n~[sm30[nm. Cond., Royal Swedish Opera [sm1932[nm=n[sm4[nm.
Comps. ~reflect Scandinavian nationalist tendencies, also ~influence of Schoenbe
rg. Prin. works incl.:[xm[cm~[j2][smoperas[nm: [fy75,2]Resa till Amerika [cf1](V
oyage to America) ~([sm1932[nm); [cf2]Marionetter [cf1]([sm1939[nm); [cf2]Lycksa
lighetens ;Auo ~[cf1](Island of Felicity) ([sm1945[nm); [cf2]Josef och hans br;A
uoder ~[cf1](Joseph and his Brethren, after T. Mann) ([sm1945[nm=n~[sm8[nm); [cf
2]Hus med dubbel ing;Auang [cf1](House with two ~entrances) ([sm
1969[nm).[ep~[smorch[nm: [sm8[nm syms. ([sm1919[nm=n[sm74[nm); sym. for wind ([s
m1968[nm); ~[cf2]Orpheus in town [cf1](ballet and orch. suite) ([sm1938[nm); ~pf
. conc. ([sm1950[nm); [sm2[nm vn. concs. ([sm1924[nm, [sm1951[nm); ~[cf2]Rifless
ioni [sm1[nm=n[sm3[nm [cf1]for str. ([sm1959[nm=n[sm60[nm); [cf2]Symphonic ~Meta
morphoses [cf1][sm1[nm=n[sm3[nm ([sm1964[nm); tpt. conc. ([sm1928[nm); vc. ~conc
. ([sm1939[nm); va. conc. ([sm1942[nm); [cf2]Louisville Concerto ~[cf1]([sm1955[
nm).[ep~[smchoral[nm: [cf2]Den Heliga Natten [cf1](The Holy Night) ~([sm1936[nm)
; [cf2]Huvudskalleplats [cf1](Calvary) ([sm1938[nm); [cf2]Hym~~nus [cf1]([sm1965
[nm).[ep~[smvocal[nm: [cf2];anAt jordgudinnan [cf1](To The Earth Goddess), ~mez.
 or bar. and [sm6[nm instr. ([sm1960[nm); [cf2]Dagdrivaren[cf1] ~(The Sluggard),
 bar., orch. ([sm1962[nm).[ep~[smchamber music[nm: [sm12[nm str. qts.; [sm3[nm v
n. sonatas.[cm~[j1]Rosenkavalier, Der [fy75,1](The Knight of the Rose). ~Opera i
n [sm3[nm acts by Richard Strauss, his Op. [sm59[nm, to ~lib. (c
omedy for mus.) by Hugo von Hof~~mannsthal. Comp. [sm1909[nm=n[sm10[nm. Prod. Dr
esden [sm1911[nm; ~London and NY Met. [sm1913[nm. Among the famous ~characters i
n this opera are the Marschallin (wife ~of the field-marshal), Oktavian, Sophie,
 Baron ~Ochs, and Faninal. For silent film (first shown ~[sm1926[nm) with altere
d plot, Strauss arr. much of the ~mus. of the opera for chamber orch. ([sm1925[n
m) as ~accompaniment. He cond. for the film in Dresden ~and London but did not u
se this reduced score, ~which was not perf. until recorded in [sm1980[nm.[cm~Ros
enm;auuller, Johann [fy75,1]([cf2]b [cf1]Oelsnitz, [cf2]c[cf1]. [sm1619[nm; [cf2
]d ~[cf1]Wolfenb;Auuttel, [sm1684[nm). Ger. composer and organist. ~Studied Leip
zig. Organist, Nikolaikirche, Le~~ipzig, [sm1651[nm=n[sm5[nm. Taught in Venice f
or nearly [sm20[nm ~years. Court cond., Wolfenb;Auuttel from [sm1682[nm. ~Wrote
many instr. dance suites and sonatas, ~motets, and other church mus.[xm[cm~[j1]R
osenstock, Joseph [fy75,1]([cf2]b [cf1]Krak;aaow, [sm1895[nm). P
olish-~born cond. and pianist (Amer. citizen [sm1949[nm). ~Studied Krak;aaow Con
s. and Vienna Cons. Cond., ~Darmstadt Opera [sm1922[nm=n[sm5[nm, Wiesbaden [sm19
25[nm=n[sm7[nm, ~Mannheim [sm1930[nm=n[sm3[nm; mus. dir. Jewish Kultur~~bund, Be
rlin, [sm1933[nm=n[sm6[nm. D;aaebut NY Met. [sm1929[nm ~([cf2]Rosenkavalier[cf1]
). Cond. in Tokyo after [sm1938[nm. Settled ~in USA [sm1946[nm. Cond., NY City O
pera [sm1948[nm=n[sm55[nm ~(dir. from [sm1952[nm); mus. dir. Cologne Opera [sm19
58[nm=n~[sm61[nm. Returned to USA [sm1961[nm, conducting at NY ~Met. and San Fra
ncisco Opera.[xm[cm~[j1]Rosenthal, Harold [fy75,1](David) ([cf2]b [cf1]London, [
sm1917[nm). ~Eng. critic and author. Archivist, Royal Opera ~House, CG, [sm1950[
nm=n[sm6[nm. Ed., [cf2]Opera [cf1]from [sm1953[nm. Books ~incl. [cf2]Two Centuri
es of Opera at Covent Garden ~[cf1]([sm1958[nm). Co-ed., [cf2]Concise Oxford Dic
tionary of Opera ~[cf1]([sm2[nmnd edn., [sm1979[nm). Revised Loewenberg [cf2]Ann
als of ~Opera [cf1][sm1978[nm; supplement ([sm1940=n80[nm), [sm1
985[nm. Auto~~biography [cf2]My Mad World of Opera [cf1]([sm1983[nm). O.B.E. ~[s
m1983[nm.[cm~Rosenthal, Manuel [fy75,1]([cf2]b [cf1]Paris, [sm1904[nm). Fr. comp
oser ~and cond. Studied at Paris Cons. [sm1918[nm=n[sm23[nm and ~with Ravel ([sm
1926[nm=n[sm30[nm). Cond. of many Fr. orchs.; ~mus. dir. Fr. Nat. Radio Orch. [s
m1944[nm=n[sm7[nm. Cond. ~Seattle S.O. [sm1949[nm=n[sm51[nm. Works incl. oratori
o [cf2]St ~Francis of Assisi [cf1]([sm1936[nm=n[sm9[nm), orch. suite [cf2]Joan o
f Arc ~[cf1]([sm1936[nm), sym. ([sm1949[nm), mass ([sm1953[nm), operas, and ~cha
mber mus. Arr. of ballet [cf2]Ga;Afit;Aae parisienne [cf1]([sm1938[nm) ~from Off
enbach themes. Orch. transcrs. of works ~by Ravel.[cm~Rosenthal, Moriz [fy75,1](
[cf2]b [cf1]Lemberg, [sm1862[nm; [cf2]d [cf1]NY, ~[sm1946[nm). Ukrainian pianist
. Studied with Joseffy in ~Vienna [sm1875[nm and with Liszt in Weimar and ~Rome
[sm1877[nm. D;Aaebut Vienna [sm1876[nm. Studied philos~~ophy, Vienna Univ. [sm18
80[nm=n[sm6[nm. Began foreign tours ~[sm1887[nm, making int. rep
utation as one of the great ~pianists `in the grand manner'. London d;aaebut ~[s
m1895[nm. Taught at Curtis Institute, Penn. Settled in ~NY [sm1939[nm.[cm~Roses
from the South [fy75,1]([cf2]Rosen aus dem S;auuden[cf1]). ~Waltz, Op. [sm388[nm
, by Johann Strauss II. Occurs in ~operetta [cf2]Das Spitzentuch der K;Auonigin
[cf1](The Queen's ~Lace Handkerchief), [sm1880[nm.[cm~Rosetti, Francesco. [fy75,
1]See [cf2]R;auossler, Franz Anton.[cm~Rosiers, Charles [fy75,1]([cf2]b[cf1] Li;
agege, [sm1640[nm; [cf2]d[cf1] Cologne, ~[sm1725[nm). Flemish violinist. Vice-Ka
pellmeister, elec~~toral court at Bonn. Wrote [sm14[nm sonatas for vn. and ~ob.,
 motets, guitar method, and [cf2]Pi;Ageces choisies ;Aga la ~mani;agere italienn
e, [cf1]for various instr. ([sm1691[nm).[cm~Rosing, Vladimir [fy75,1](=+=+[cf2]b
 [cf1]St Petersburg, [sm1890[nm; [cf2]d [cf1]Los ~Angeles, [sm1963[nm). Russ.-bo
rn ten. (later Amer. ~citizen). Pupil of Jean [fy45,1]*[fy75,1]de Reszke. D;Aaeb
ut St ~Petersburg [sm1912[nm as Lensky in [cf2]Eugene Onegin. ~[
cf1]London concert d;aaebut [sm1913[nm. Settled in London. ~Dir. and sang in ope
ra season at London Opera ~House [sm1915[nm (sang Herman in Eng. premi;Agere of
~Tchaikovsky's [cf2]Queen of Spades[cf1]). Gave notable series ~of recitals in L
ondon and elsewhere [sm1916[nm=n[sm21[nm. ~Toured USA [sm1922[nm. Dir., opera de
pt., Eastman ~[PN607,0,0,R,I0]Sch. of Mus. [sm1923[nm. Dir., Amer. Opera Co., [s
m1927[nm=n~[sm9[nm. In [sm1936[nm, with Albert [fy45,1]*[fy75,1]Coates, organize
d Brit. ~Mus.-Drama Opera Co., which survived for one ~season at CG. Settled in
Los Angeles from [sm1939[nm, ~becoming ass. dir. S. California Opera Assoc. Prod
. ~opera for NY City Opera.[cm~Rosselli, Francesco [fy75,1]([cf2]b c.[cf1][sm151
0[nm; [cf2]d [cf1]after [sm1577[nm). It. ~composer, but may have been Fr. (Fran;
alcois ~Roussel). Choirmaster St Peter's, Rome, [sm1548[nm=n[sm50[nm. ~Wrote mot
ets, madrigals, and songs.[cm~Rossellini, Renzo [fy75,1]([cf2]b [cf1]Rome, [sm19
08[nm; [cf2]d[cf1] Monte Carlo, ~[sm1982[nm). It. composer and c
ritic. Wrote several ~operas, incl. [cf2]Una sgu;agardo dal ponte [cf1](based on
 A. ~Miller's play [cf2]A View from the Bridge, [cf1]prod. Rome ~[sm1961[nm), ba
llets, orch. works, chamber mus., and ~scores for films dir. by his brother Robe
rto ~Rossellini, incl. [cf2]Rome, Open City [cf1]([sm1945[nm). Art. dir. ~Monte
Carlo Opera, [sm1973[nm=n[sm82[nm.[cm~R;auossel-Majdan, Hildegard [fy75,1]([cf2]
b [cf1]Moosbierbaum, ~Austria, [sm1921[nm). Austrian cont. Studied in Vienna. ~C
areer in oratorio and concerts, Vienna [sm1948[nm=n[sm51[nm. ~Member, Vienna Sta
te Opera from [sm1951[nm.[cm~Rosseter, Philip [fy75,1]([cf2]b [cf1][sm1567[nm or
 [sm8[nm; [cf2]d [cf1]London, [sm1623[nm). ~Eng. composer and lutenist. Wrote ha
lf of [cf2]Booke ~of Ayres [cf1]([sm1601[nm) with [fy45,1]*[fy75,1]Campion, also
 works for ~broken consort, etc. Lutenist at court of James I, ~[sm1603[nm. Mana
ged company of boy actors (Children ~of Whitefriars) [sm1609[nm=n[sm17[nm.[cm~Ro
ssetto, Steffano [fy75,1]([cf2]b[cf1] Nice, [cf2]fl. [cf1][sm156
0[nm=n[sm80[nm). It. ~composer of madrigals and motets. Court organ~~ist, Munich
, [sm1579[nm=n[sm80[nm. Choirmaster at Novara, ~then in service of Medicis in Fl
orence, composing ~[sm17[nm-part [cf2]Lamento d'Olimpia[cf1] [sm1567[nm.[cm~Ross
i, Lauro [fy75,1]([cf2]b [cf1]Macerata, [sm1812[nm; [cf2]d [cf1]Cremona, ~[sm188
5[nm). It. composer and cond. Pupil in Naples of ~[fy45,1]*[fy75,1]Zingarelli. C
ond. in Rome and Milan [sm1832[nm=n[sm4[nm. ~Dir. It. opera co. in Mexico [sm183
5[nm=n[sm9[nm. Cond. opera ~in Havana, Cuba, [sm1839[nm=n[sm42[nm, New Orleans [
sm1842[nm=n~[sm3[nm. Dir., Milan Cons., [sm1850[nm=n[sm70[nm, Naples Cons. ~[sm1
870[nm=n[sm8[nm. Wrote nearly [sm30[nm operas, oratorio [cf2]Saul, ~[cf1]church
mus., etc.[cm~Rossi, Luigi [fy75,1]([cf2]b [cf1]Torre Maggiore, [sm1598[nm; [cf2
]d [cf1]Rome, ~[sm1653[nm). It. composer, singer, and organist. Church ~organist
 in Rome by [sm1633[nm and by [sm1640[nm was ~regarded as one of Italy's outstan
ding musicians. ~First opera perf. Rome [sm1642[nm, lasting seve
n hours. ~Went in [sm1646[nm to Paris where he comp. and sang ~in [cf2]Le mariag
e d'Orph;aaee et d'Euridice, [cf1]said to be first ~It. opera given in Paris ([s
m1647[nm). Wrote oratorio, ~many cantatas, and other church mus.[cm~Rossi, Mario
 [fy75,1]([cf2]b [cf1]Rome, [sm1902[nm). It. cond. Deputy ~cond., Augusteo Orch.
, Rome, [sm1926[nm=n[sm36[nm. Taught ~cond. at S. Cecilia Acad., Rome, [sm1931[n
m=n[sm6[nm. Cond., ~Maggio Musicale Fiorentino, [sm1936[nm=n[sm44[nm, Turin ~Rad
io Orch. [sm1946[nm=n[sm69[nm. Advocate of contemporary ~music.[cm~Rossi, Salomo
ne [fy75,1]([cf2]b [cf1]Mantua, [cf2]c.[cf1][sm1570[nm; [cf2]d [cf1]Mantua, ~[cf
2]c.[cf1][sm1630[nm). It. composer at court of Mantua [sm1587[nm=n~[sm1628[nm, w
here he was colleague of Monteverdi. ~Wrote [sm7[nm books of madrigals, and othe
r secular ~and sacred vocal mus. Pioneer of trio sonata form.[cm~Rossignol, Le [
fy75,1](Stravinsky). See [cf2]Nightingale, The.[cm~Rossi-Lemeni, Nicola [fy75,1]
([cf2]b [cf1]Istanbul, [sm1920[nm). It. bass ~of mixed It. and R
uss. parentage. Abandoned law ~for mus., [sm1943[nm. Opera d;Aaebut Venice [sm19
46[nm as ~Varlaam in [cf2]Boris Godunov. [cf1]Regular appearances at ~La Scala,
Milan, [sm1947[nm=n[sm60[nm. CG d;Aaebut [sm1952[nm, San ~Francisco [sm1951[nm=n
[sm3[nm, NY Met. [sm1953[nm=n[sm4[nm. Sang in f. It. ~p. of Britten's [cf2]Billy
 Budd[cf1] (Florence [sm1965[nm) and in ~f.p. of Pizzetti's [cf2]L'Assassinio ne
lla cattedrale [cf1](Milan ~[sm1958[nm).[xm[cm~[ol0][ep~[xp[te~







[do42][j99]~~~~~~[sm153842[nm_RA[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm004[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm12[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm411[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Rossini, Gioachino
Antonio [fy75,1]([cf2]b [cf1]Pesaro, [sm1792[nm; [cf2]d ~[cf1]Paris, [sm1868[nm)
. It. composer, son of town trumpeter ~and a singer. As child, apprenticed to bl
acksmith, ~sang in churches, and played hpd. in ths. Entered ~Bologna Acad. [sm1
806[nm and while a student wrote ~opera [cf2]Demetrio e Polibio. [cf1]In [sm1810
[nm Venetian impre~~sario commissioned him to write comic opera ([cf2]La ~cambia
le di matrimonia[cf1]), and in [sm1812[nm his [cf2]La pietra ~del paragone [cf1]
was produced at the Scala, Milan. [sm2[nm ~operas prod. in Venice, [sm1813[nm, e
st. his reputation ~outside It.=m[cf2]Tancredi, [cf1]an [cf2]opera seria[cf1], a
nd [cf2]L'Italiana ~in Algeri, [cf1]an [cf2]opera buffa[cf1]. In [sm1814[nm was
engaged as ~mus. dir. of both Neapolitan opera houses and for ~S
an Carlo wrote [cf2]Elisabetta, Regina d'Inghilterra, [cf1]in ~which he replaced
 [cf2]recitativo secco [cf1]with recits. acc. ~by str. Other operas for Naples w
ere [cf2]Otello [cf1]and [cf2]Il ~barbiere di Siviglia, [cf1]a failure at first
but soon to be ~hailed as an outstanding [cf2]opera buffa[cf1]. These were ~foll
owed by [cf2]La Cenerentola, La gazza ladra, [cf1]and ~[cf2]Mos;age in Egitto. [
cf1]In [sm1822[nm married sop. Isabella ~Colbran, who had created several of his
 sop. roles, ~incl. in [sm1823[nm [cf2]Semiramide, [cf1]the last opera of his It
. ~cycle.[ep~_In [sm1822[nm Rossini visited Vienna, where he met ~Beethoven; thi
s was followed by a trip to London. ~In [sm1824[nm settled in Paris as dir. of t
he Th;aae;afatre ~Italien, and wrote [sm3[nm operas for Paris, incl. [cf2]Guilla
ume ~Tell [cf1]([sm1829[nm). Appointed composer to King Charles ~X in [sm1825[nm
 and after success of [cf2]Tell [cf1]was commis~~sioned by Govt. to write [sm5[n
m operas in [sm10[nm years. But ~the [sm1830[nm revolution dethr
oned Charles, and the ~new govt. set aside the commissions. Rossini left ~Paris
for Italy in [sm1836[nm and for the next [sm19[nm years ~composed only three rel
igious works and some ~occasional pieces. The likely reason is his pro~~longed n
eurasthenic ill-health which followed ~the intensive work on [cf2]Guillaume Tell
. [cf1]In Bologna ~became hon. pres. of the Liceo Musicale and ~reformed its tea
ching methods, but left the town ~in [sm1848[nm. In [sm1855[nm he and his [sm2[n
mnd wife settled in ~Paris where, for the remaining [sm13[nm years of his ~life,
 Rossini was the centre of artistic and ~intellectual life. He also began to com
pose again, ~the [cf2]Petite Messe solennelle[cf1] in [sm1863[nm and the [sm150[
nm-odd ~piano pieces, songs, and ensembles which he ~called [cf2]P;aaech;aaes de
 vieillesse[cf1] (Sins of Old Age) ([sm1857[nm=n~[sm68[nm). Many of these were f
irst perf. at the Rossinis' ~`Samedi Soirs'. He was buried in Paris (at his ~[PN
608,0,0,L,I0]funeral Beethoven's Funeral March from Op. [sm26[nm
 ~was played by an ens. of instr. invented by ~Adolphe [fy45,1]*[fy75,1]Sax and
many of the greatest singers of ~the day were soloists, incl. [fy45,1]*[fy75,1]P
atti and [fy45,1]*[fy75,1]Nilsson). ~In [sm1887[nm he was reinterred in Florence
.[ep~^Rossini's comic operas have perpetuated his ~name. Their wit, speed, and g
race, their bubbling ~fun and entirely appropriate orchestration, are ~perennial
ly fresh. Several of them were written ~within the space of a fortnight: althoug
h there is ~nothing slipshod about them, the impression of ~spontaneity remains.
 Nevertheless his serious ~works, [cf2]Guillaume Tell, Tancredi, [cf1]and [cf2]S
emiramide, ~[cf1]contain superb mus., and although [cf2]Otello [cf1]has ~yielded
 to Verdi's masterpiece, it is still worth ~hearing. His [sm2[nm late religious
works are master~~pieces, and the sparkling str. sonatas (str. qts.) of ~his you
th testify to his grounding in the classics ~of Haydn and Mozart. Prin. works:[x
m[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Demetrio e Polibio [cf1]
([sm1806[nm); [cf2]La cambiale di ~matrimonio [cf1]([sm1810[nm); [cf2]L'equivoco
 stravagante [cf1]([sm1811[nm); ~[cf2]L'inganno felice [cf1]([sm1812[nm); [cf2]C
iro in Babilonia [cf1]([sm1812[nm); ~[cf2]La [fy45,1]*[fy75,2]scala di seta [cf1
]([sm1812[nm); [cf2]La pietra del paragone ~[cf1]([sm1812[nm); [cf2]L'occasione
fa il ladro [cf1]([sm1812[nm); [cf2]Il [fy45,1]*[fy75,2]signor ~Bruschino [cf1](
[sm1813[nm); [fy45,1]*[fy75,2]Tancredi [cf1]([sm1813[nm); [cf2]L'[fy45,1]*[fy75,
2]Italiana in ~Algeri [cf1]([sm1813[nm); [cf2]Aureliano in Palmira [cf1]([sm1813
[nm); [cf2]Il ~[fy45,1]*[fy75,2]Turco in Italia [cf1]([sm1814[nm); [cf2]Sigismon
do [cf1]([sm1814[nm); [fy45,1]*[fy75,2]Elis~~abetta, Regina d'Inghilterra [cf1](
[sm1815[nm); [cf2]Torvaldo e ~Dorliska [cf1]([sm1815[nm); [cf2]Il [fy45,1]*[fy75
,2]barbiere di Siviglia [cf1]([sm1816[nm); [cf2]La ~gazzetta [cf1]([sm1816[nm);
[fy45,1]*[fy75,2]Otello [cf1]([sm1816[nm); [cf2]La [fy45,1]*[fy75,2]Cenerentola
~[cf1]([sm1817[nm); [cf2]La [fy45,1]*[fy75,2]gazza ladra [cf1]([
sm1817[nm); [cf2]Armida [cf1]([sm1817[nm); ~[cf2]Adelaide di Borgogna [cf1]([sm1
817[nm); [fy45,1]*[fy75,2]Mos;age in Egitto ~[cf1]([sm1818[nm, rev. as [cf2]Mo;A
uise [cf1][sm1827[nm); [cf2]Adina [cf1]([sm1818[nm); ~[cf2]Ricciardo e Zoraide [
cf1]([sm1818[nm); [cf2]Ermione [cf1]([sm1819[nm); ~[cf2]Edoardo e Cristina [cf1]
([sm1819[nm); [cf2]La donna del lago ~[cf1]([sm1819[nm); [cf2]Bianca e Faliero [
cf1]([sm1819[nm); [cf2]Maometto II ~[cf1]([sm1820[nm); [fy45,1]*[fy75,2]Mathilde
 di Shabran [cf1]([sm1821[nm); [cf2]Zelmira ~[cf1]([sm1822[nm); [fy45,1]*[fy75,2
]Semiramide [cf1]([sm1823[nm); [cf2]Il viaggio a Reims ~[cf1]([sm1825[nm); [cf2]
Le [fy45,1]*[fy75,2]Si;Agege de Corinthe [cf1]([sm1826[nm, rev. and ~amplificati
on of [cf2]Maometto II[cf1]); [cf2]Le [fy45,1]*[fy75,2]Comte Ory ~[cf1]([sm1828[
nm); [fy45,1]*[fy75,2]Guillaume Tell [cf1]([sm1829[nm).[ep~[smcantatas[nm: [cf2]
Il pianto d'armonia [cf1]([sm1808[nm); [cf2]La morte di ~Didone [cf1]([sm1811[nm
); [cf2]Partenope [cf1]([sm1819[nm); [cf2]Il vero omaggio ~[cf1]
([sm1823[nm); [cf2]Il pianto delle Musi per la morte di Lord ~Byron [cf1]([sm182
3[nm); [cf2]Il serto votivo [cf1]([sm1829[nm).[ep~[smsacred music[nm: [cf2]Messa
 di gloria [cf1]([sm1820[nm); [cf2]Stabat Mater ~[cf1]([sm1842[nm); [fy45,1]*[fy
75,2]Petite Messe solennelle [cf1]([sm1863[nm).[ep~[smmiscellaneous[nm: [cf2]Inn
o dell' Indipendenza [cf1]([sm1815[nm); ~[cf2]Soir;Aaees musicales, [cf1]songs a
nd duets incl. [cf2]La Danza ~[cf1]([sm1835[nm); [cf2]Regata Veneziana, [cf1]son
g-cycle ([sm1857[nm).[ep~[sminstrumental[nm: [cf2]Introduction and Variations [c
f1]for cl. ~and orch. ([sm1809[nm); [cf2]Andante con variazioni [cf1]in F, ob. ~
and harp; [cf2]Prelude, Theme, and Variations, [cf1]hn. and ~pf.; Str. sonatas (
[cf2]sonatas a quattro[cf1]), [sm2[nm vn., vc., db. ~([sm1804[nm), No. [sm1[nm i
n G, No. [sm2[nm in A, No. [sm3[nm in C, No. [sm4[nm ~in B;Yh major, No. [sm5[nm
 in E;Yh, No. [sm6[nm in D. In [sm1808[nm ~Rossini transcribed [sm5[nm of these
sonatas as wind ~qts. which are given here in relation to the ~n
umbers of the str. versions: No. [sm1[nm in F, No. [sm2[nm ~in G, No. [sm4[nm in
 B;yh, No. [sm5[nm in F, No. [sm6[nm in D. The str. ~No. [sm3[nm has no wind ver
sion. A [sm6[nmth wind qt. (in F, ~two movts.) has no str. equivalent.[cm~[j1]R;
Auossler, Franz Anton [fy75,1]([cf2]b [cf1]Leitmeritz, Bohemia, [cf2]c.[cf1] ~[s
m1750[nm; [cf2]d [cf1]Ludwigslust, Ger., [sm1792[nm). Bohemian-~born Ger. compos
er and cond. Played db. in orch. ~of Prince ;AuOttingen-Wallerstein from [sm1773
[nm, be~~coming cond. [sm1785[nm. Court cond., Ludwigslust, ~from [sm1789[nm. It
alianized name to Francesco Antonio ~Rosetti. Wrote operas, requiem, oratorios,
over ~[sm30[nm syms., concs., and chamber mus.[cm~Rostal, Max [fy75,1]([cf2]b [c
f1]Teschen, [sm1905[nm). Austrian-born ~violinist, composer, and teacher. Studie
d with ~[fy45,1]*[fy75,1]Ros;Aae and [fy45,1]*[fy75,1]Flesch. Leader Oslo P.O. [
sm1927[nm. Ass. to ~Flesch [sm1927[nm=n[sm30[nm. Prof., Berlin State Acad. [sm19
30[nm=n[sm3[nm. ~Settled in Eng. [sm1934[nm (becoming Brit. citi
zen). ~Prof. GSM [sm1944[nm=n[sm58[nm. Prof. Cologne State Acad. ~and Berne Cons
. from [sm1957[nm. Noted exponent of ~contemporary mus. and much sought after as
 ~teacher. C.B.E. [sm1977[nm.[cm~Rostropovich, Mstislav [fy75,1](Leopoldovich) [
cf1]([cf2]b [cf1]Baku, ~[sm1927[nm). Russ. cellist, pianist, and cond. Studied ~
Moscow Cons. [sm1943[nm=n[sm48[nm. D;Aaebut [sm1942[nm. Prof. of vc., ~Moscow Co
ns. from [sm1956[nm. One of great cellists of ~his day, for whom Prokofiev, Shos
takovich, and ~Britten (all of whom were his friends) wrote ~works. Also pf. acc
ompanist to his wife, the sop. ~Galina [fy45,1]*[fy75,1]Vishnevskaya. London d;A
aebut [sm1956[nm. Art. ~dir., Aldeburgh Fest. from [sm1977[nm. D;aaebut as cond.
, ~Moscow Bolshoy [sm1968[nm ([cf2]Eugene Onegin[cf1]). Cond. ~d;aaebut in Londo
n [sm1974[nm (New Philharmonia). ~Cond. Nat. S.O., Washington, from [sm1977[nm.
Out of ~favour with Soviet authorities from [sm1970[nm because ~of public defenc
e of dissident novelist Solzhenit~~syn and was denied exit from
USSR for foreign ~engagements for over a year until he cond. opera ~ in Vienna.
Left USSR with wife [sm1974[nm, ostensibly ~for [sm2[nm years, but never returne
d. In [sm1978[nm he and ~his wife were deprived of Soviet citizenship.[cm~Roswae
nge [fy75,1](orig. Rosenving-Hansen), [fy65][cf3]Helge [fy75,1]([cf2]b ~[cf1]Cop
enhagen, [sm1897[nm; [cf2]d[cf1] Munich, [sm1972[nm). Danish ten. ~D;Aaebut [sm1
921[nm. Member Cologne Opera [sm1927[nm=n[sm30[nm, ~Berlin State Opera [sm1930[n
m=n[sm44[nm. Sang at Vienna Opera ~from [sm1936[nm, CG [sm1938[nm (Florestan), S
alzburg [sm1933[nm=n~[sm9[nm. Sang Parsifal at Bayreuth [sm1934[nm=n[sm6[nm.[cm~
Rota [fy75,1](Lat.). Wheel. ([sm1[nm) Term occasionally used ~for [fy45,1]*[fy75
,2]round, [cf1]as in Reading Rota, i.e. [fy45,1]*[fy75,2]Sumer is ~icumen in, [c
f1]thought to have been comp. by a monk ~of Reading Abbey.[ep~^([sm2[nm) Hurdy-g
urdy.[cm~Rota, Nino [fy75,1]([cf2]b [cf1]Milan, [sm1911[nm; [cf2]d [cf1]Rome, [s
m1979[nm). It. ~composer. Wrote oratorio at age of [sm11[nm and
opera ~at [sm14[nm. Studied comp. with Casella and Pizzetti ~and at Curtis Insti
tute, Penn. Taught at Liceo ~Musicale, Bari, from [sm1939[nm, becoming dir. [sm1
950[nm. ~Comp. [sm10[nm operas, [sm3[nm syms., concs. for pf., tb., vc., ~bn., p
f., db., and horn., chamber mus., and film ~scores.[cm~Roth, Daniel [fy75,1]([cf
2]b [cf1]Mulhouse, [sm1942[nm). Fr. organist ~and composer. Studied Paris Cons.
Deputy ~organist Sacr;Aae Coeur, Paris, [sm1963[nm=n[sm72[nm, organist ~from [sm
1972[nm; prof. of org., Marseilles Cons. from ~[PN609,0,0,R,I0][sm1973[nm. Recit
als in USA and Europe. Comps. for ~org. and choir.[cm~Rothenberger, Anneliese [f
y75,1]([cf2]b [cf1]Mannheim, [sm1924[nm). ~Ger. sop. noted for Mozart and R. Str
auss operatic ~roles and for singing of operetta. Studied at ~Mannheim Musikhoch
schule. D;aaebut Koblenz ~[sm1943[nm. Member Hamburg State Opera [sm1946[nm=n[sm
56[nm. ~Joined Deutsche Oper [sm1956[nm. Vienna d;aaebut [sm1957[nm. ~Glyndebour
ne d;aaebut [sm1959[nm (Sophie), NY Met. ~[sm1960[nm (Zdenka).[c
m~Rothm;Auuller, Marko [fy75,1]([cf2]b [cf1]Trnjani, [sm1908[nm). Yugoslav ~bar.
 Studied Zagreb Acad. and Vienna Cons. ~(comp. with Berg). Opera d;Aaebut Hambur
g [sm1932[nm ~in [cf2]Der Freisch;Auutz. [cf1]Zagreb Opera [sm1932[nm=n[sm4[nm,
Z;Auurich ~Opera [sm1935[nm=n[sm47[nm, CG [sm1939[nm and [sm1948[nm=n[sm55[nm, N
Y City ~Opera [sm1948[nm=n[sm52[nm, Met. [sm1959[nm=n[sm65[nm. First stage Wozze
ck in Eng. (CG [sm1952[nm, cond. Kleiber).[cm~Rothwell, Evelyn. [fy75,1]See [cf2
]Barbirolli, Evelyn.[cf1][cm~Rothwell, Walter Henry [fy75,1]([cf2]b [cf1]London,
 [sm1872[nm; [cf2]d ~[cf1]Los Angeles, [sm1927[nm). Eng. cond., composer, and ~p
ianist. Studied Vienna Cons. under Epstein, ~Fuchs, Bruckner, etc. Toured Europe
 as pianist, ~but abandoned kbd. for cond.'s rostrum when he ~became ass. to Mah
ler at Hamburg, [sm1895[nm. Cond. ~Savage Opera Co. in USA, incl. perfs. of [cf2
]Parsifal ~[cf1]in English. Cond. Amer. premi;Agere of [cf2]Madama ~Butterfly [c
f1](in Eng.) [sm1906[nm. Cond. St Paul S.O. [sm1908[nm=n~[sm14[n
m, Los Angeles P.O. [sm1919[nm=n[sm27[nm. Wrote pf. conc., ~chamber mus., and so
ngs.[cm~Rott, Hans [fy75,1]([cf2]b[cf1] Vienna, [sm1858[nm; [cf2]d[cf1] Vienna,
[sm1884[nm). ~Austrian composer and organist. Studied at ~Vienna Cons. (Bruckner
 for org., Krenn for ~comp.). Close friend of Mahler, whose methods ~are anticip
ated in Rott's Symphony in E ([sm1878[nm=n~[sm80[nm). Became insane [sm1880[nm.[
cm~Rotte [fy75,1](or rote). Name applied in Middle Ages to ~various instr., such
 as harp, lyre, crwth, and ~hurdy-gurdy. (Variant of [cf2]chrotta, crot, [cf1]et
c.)[cm~Rouet d'Omphale, Le [fy75,1](Omphale's Spinning-~Wheel). First symphonic
poem by Saint-Sa;auens, ~his Op. [sm31[nm, comp. [sm1871[nm=n[sm2[nm. Omphale wa
s mythical ~queen to whom Hercules was slave (wearing ~woman's dress) for [sm3[n
m years, spinning wool for her.[cm~Rouget de Lisle, Claude Joseph [fy75,1]([cf2]
b [cf1]Lons-le-~Saunier, [sm1760[nm; [cf2]d [cf1]Choisy-le-roi, [sm1836[nm). Fr.
 army ~engineer, poet, and composer. While stationed in ~Strasbo
urg, wrote on [sm25[nm April [sm1792[nm words and ~music of [cf2]Chant de guerre
 pour l'arm;aaee du Rhin[cf1]. This ~was perf. so often by Marseilles Volunteer
~Battalion it eventually became known as [cf2]La ~Marseillaise[cf1]. Sanctioned
as national song in [sm1795[nm, ~fell out of favour, restored to respectability
[sm1830[nm, ~adopted as Fr. nat. anthem [sm1879[nm.[cm~Roulade [fy75,1](Fr.). On
e of Fr. vocal ornaments, much ~like [fy45,1]*[fy75,2]divisions.[cm~Rouleau, Jos
eph [fy75,1](Alfred) ([cf2]b [cf1]Matane, Quebec, ~[sm1929[nm). Fr.-Canadian bas
s. Studied Montreal and ~Quebec, later in Milan. D;aaebut New Orleans [sm1955[nm
. ~Opera appearances in world's leading opera ~houses. CG from [sm1957[nm. Sang
Grand Inquisitor in ~first Fr.-language perf. of Verdi's [cf2]Don Carlos [cf1]at
 ~CG, [sm1983[nm.[cm~Round. [fy75,1]Short unacc. vocal `perpetual canon' at ~the
 unison or octave in which the vv. enter in ~turn. Popular in Eng. after [sm16[n
mth cent. Famous ~examples are [cf2]Three Blind Mice [cf1]and [c
f2]London's Burning.[cm~Round Dance. [fy75,1]([sm1[nm) A dance in which the ~per
formers turn round.[ep~^([sm2[nm, a more common use of the term) A dance in ~whi
ch they move round in a circle, i.e. a ring ~dance.[cm~Roundelay [fy75,1](Fr. [c
f2]rondelet). [cf1]Country songs or ballads ~common in [sm14[nmth cent. So calle
d because of ~constant recurrence of first verse.[cm~Rounseville, Robert [fy75,1
]([cf2]b [cf1]Attleboro, Mass., [sm1914[nm; [cf2]d ~[cf1]NY, [sm1974[nm). Amer.
ten. Studied in NY. Sang in ~night-clubs, on radio, and in musicals under ~name
Robert Field. Studied at Berkshire Music ~Center opera dept.; joined NY City Ope
ra [sm1948[nm, ~singing Pell;aaeas in Debussy's opera opposite ~Maggie Teyte. Sa
ng Hoffmann in Beecham film ~version of opera, [sm1950[nm. Created role of Tom ~
Rakewell in Stravinsky's [cf2]The Rake's Progress, ~[cf1]Venice [sm1951[nm. Retu
rned to Broadway mus. stage, ~singing in Bernstein's [cf2]Candide [cf1]and in [c
f2]Man of La ~Mancha.[cm~Rousseau, Jean-Jacques [fy75,1]([cf2]b
[cf1]Geneva, [sm1712[nm; [cf2]d ~[cf1]Ermenonville, [sm1778[nm). Swiss philosoph
er, com~~poser, and writer on mus. While working as ~copyist, devised new system
 of mus. notation ~which he published in [cf2]Dissertation sur la musique ~moder
ne [cf1](Paris, [sm1743[nm). Wrote [cf2]op;aaera-ballet, Les muses ~galantes [cf
1]([sm1747[nm), and very successful pastoral opera ~[cf2]Le Devin du village [cf
1](Fontainebleau [sm1752[nm). Took It. ~side in [cf2]Querelle des [fy45,1]*[fy75
,2]Bouffons [cf1]and attacked Fr. mus. ~in his [cf2]Lettre sur la musique fran;A
lcaise [cf1]([sm1753[nm). Pubd. ~[cf2]Dictionnaire de Musique [cf1]([sm1768[nm).
 Left unfinished ~opera [cf2]Daphnis et Chlo;aae [cf1]and wrote about [sm100[nm
songs.[cm~Rousseau, Samuel Alexandre [fy75,1]( [cf2]b [cf1]Neuve-Maison, ~[sm185
3[nm; [cf2]d [cf1]Paris, [sm1904[nm). Fr. composer and organist. ~Studied org. w
ith [fy45,1]*[fy75,1]Franck at Paris Cons. Won ~[cf2]Prix de Rome [cf1][sm1878[n
m. Choirmaster, Ste Clotilde. ~Worked as mus. critic. Comp. oper
as, org. pieces, ~church mus., pieces for harp, etc.[cm~Roussel, Albert [fy75,1]
([cf2]b [cf1]Tourcoing, [sm1869[nm; [cf2]d [cf1]Royan, ~[sm1937[nm). Fr. compose
r. Despite showing mus. ~tendencies as a child, began career as naval officer, ~
his service in Indo-China leaving profound ~impression. Resigned commission [sm1
894[nm to study ~mus. Worked with Gigout and from [sm1898[nm to ~[sm1909[nm at S
chola Cantorum under d'Indy. Prof. of ~counterpoint, Schola Cantorum, [sm1909[nm
=n[sm14[nm. Served ~in Fr. army [sm1914[nm=n[sm18[nm, thereafter devoting himsel
f ~to comp. and living secluded life because of ill-~health. Once free of d'Indy
 influence, Roussel ~developed a neo-classical style in which strong ~Stravinsky
an rhythms and daring harmonies ~[PN610,0,0,L,I0]were blended with a rich, somet
imes orientally ~exotic, orch. palette and expressive melodies. His ~[sm3[nmrd a
nd [sm4[nmth syms. represent him at his most ~individual, but his ballet [cf2]Ba
cchus et Ariane [cf1]is his ~best-known work. Prin. comps.:[xm[c
m~[j2][smopera-ballet[nm: [fy75,2]Padm;Afavat;Afi [cf1]([sm1914[nm=n[sm18[nm, pr
od. [sm1923[nm).[ep~[smopera[nm:  [cf2]Le Testament de la tante Caroline [cf1]([
sm1932[nm=n[sm3[nm).[ep~[smballets[nm:  [cf2]Le [fy45,1]*[fy75,2]Festin de l'ara
ign;aaee [cf1]([sm1912[nm); [fy45,1]*[fy75,2]Bacchus et ~Ariane [cf1]([sm1930[nm
); [cf2]Aeneas [cf1]([sm1935[nm).[ep~[smincidental music[nm: [cf2]Le Marchand de
 Sable qui passe ~[cf1]([sm1908[nm); [cf2]La Naissance de la lyre [cf1]([sm1923[
nm=n[sm4[nm).[ep~[smorch[nm: Syms: No. [sm1[nm [cf1]([cf2]Le Po;Ageme de la for;
afet[cf1]) ([sm1904[nm=n[sm6[nm), ~No. [sm2[nm in B;Yh ([sm1919[nm=n[sm21[nm), N
o. [sm3[nm in G minor ([sm1930[nm), ~No. [sm4[nm in A ([sm1934[nm); [cf2]Prelude
 to Tolstoy's Resurrection ~[cf1]([sm1903[nm); [cf2]Pour une f;Afete de printemp
s [cf1]([sm1920[nm); [sm2[nm suites ~from [cf2]Bacchus et Ariane [cf1]([sm1930[n
m); Suite in F ([sm1926[nm); ~pf. conc. ([sm1927[nm); [cf2]Petite Suite [cf1]([s
m1929[nm); [cf2]Sinfonietta, ~[cf1]str. ([sm1934[nm); [cf2]Rapso
die flamande [cf1]([sm1936[nm); vc. concer~~tino ([sm1936[nm).[ep~[smvoice(s) an
d orch[nm: [cf2]La M;aaenace [cf1]([sm1908[nm); [cf2]Madrigal ~aux muses [cf1]([
sm1923[nm); [cf2]Psalm [sm80[nm, [cf1]ten., ch., and orch. ~([sm1928[nm).[ep~[sm
chamber music[nm: pf. trio ([sm1902[nm); [cf2]Divertissement, [cf1]pf. ~and [sm5
[nm wind ([sm1906[nm); vn. sonata No. [sm1[nm ([sm1907[nm=n[sm8[nm), ~No. [sm2[n
m ([sm1924[nm); [cf2]Serenade, [cf1]fl., harp, str. trio ([sm1925[nm); ~[cf2]Jou
eurs de fl;afute, [cf1]fl. and pf. ([sm1924[nm); Trio for fl., va., ~vc. ([sm192
9[nm); str. qt. ([sm1932[nm); [cf2]Andante and Scherzo, ~[cf1]fl., pf. ([sm1934[
nm); str. trio ([sm1937[nm).[ep~[smpiano[nm: [cf2]Rustiques [cf1]([sm1904[nm=n[s
m6[nm); [cf2]Suite [cf1]([sm1909[nm=n[sm10[nm); Sona~~tina ([sm1912[nm); [cf2][s
m3[nm Pieces [cf1]([sm1933[nm).[ep~[smsongs[nm: [sm4[nm [cf2]Po;Agemes d'Henri d
e R;Aaegnier [cf1]([sm1903[nm); [sm4[nm [cf2]Po;Agemes ~d'Henri de R;Aaegnier [c
f1]([sm1907[nm); [cf2]Flammes [cf1]([sm1908[nm); [sm2[nm ~[cf2]S
ongs from the Chinese [cf1]([sm1907[nm=n[sm8[nm); [sm2[nm Songs ([cf2]Light, ~Fa
rewell[cf1]) ([sm1918[nm); [sm2[nm Songs ([cf2]Le Bachalier de Salam~~anque, Sar
abande[cf1]) ([sm1919[nm).[cm~[j1]Routh, Francis [fy75,1](=+=+John) ([cf2]b [cf1
]Kidderminster, [sm1927[nm). ~Eng. composer, organist, pianist, and author. ~Stu
died Cambridge Univ. and RAM [sm1951[nm=n[sm3[nm. ~Founder, Redcliffe Concerts o
f Brit. mus., [sm1963[nm. ~Works incl. sym., vc. conc., pf. conc., double ~conc.
, org. sonatina, etc. Author of books on the ~org., contemporary mus., Stravinsk
y, etc.[cm~Roux, Gaspard le [fy75,1]([cf2]b [cf1]Paris, [cf2]c.[cf1][sm1660[nm;
[cf2]d c.[cf1][sm1705[nm). Fr. ~composer. Wrote hpd. suites and pieces, motets,
~airs, etc.[cm~Rovescio, Al [fy75,1](It.). In reverse. Term which refers ~either
 to a passage that can be played backwards ~as well as forwards, or to a form of
 canon in ~which every descending interval in the leading v. ~is imitated by an
ascending one, and [cf2]vice versa.[xm[cm~[ol0][ep~[xp[te~
[do42][j99]~~~~~~[sm153842[nmRA[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmRA[sm005[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm12[nm/[sm10[nm/[sm79[nm[
cm[sm10[nm[cm[sm443[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Row. [fy75,1]S
ee [cf2]Note-row.[cm~Rowicki, Witold [fy75,1]([cf2]b [cf1]Taganrog, Russia, [sm1
914[nm). ~Polish cond. and composer. Studied Krak;aaow Cons. ~D;aaebut as cond.
[sm1933[nm. Chamber mus. performer ~[sm1932[nm=n[sm45[nm. Founder and mus. dir.
Katowice Radio ~S.O. [sm1945[nm=n[sm50[nm. Chief cond. Warsaw P.O. (now ~Nat. P.
O.) since [sm1950[nm. Dir., Teatr Wielki opera ~centre from [sm1965[nm.[cm~Rowle
y, Alec [fy75,1]([cf2]b [cf1]London, [sm1892[nm; [cf2]d [cf1]Weybridge, ~[sm1958
[nm). Eng. composer, pianist, and organist. ~Studied RAM. Wrote [sm2[nm pf. conc
s., ob. conc., ~[cf2]English Suite [cf1]for str., [cf2]Serenata [cf1]for str., [
cf2]The Boyhood ~of Christ [cf1](suite for str.), choral works, chamber ~mus., a
nd songs. Also much educational mus.[cm~Roxburgh, Edwin [fy75,1]
([cf2]b [cf1]Liverpool, [sm1937[nm). Eng. ~composer, cond., and oboist. Studied
RCM and ~Cambridge Univ. Later had lessons from Nono, ~Dallapiccola, and Boulang
er. Prin. oboist, SW ~Opera Orch. [sm1964[nm=n[sm7[nm. Prof. of comp. and dir. [
sm20[nmth ~cent. dept., RCM, from [sm1967[nm. Cond. and dir. ~[sm20[nmth-Cent. E
ns. of London. Works incl. [cf2]Variations[cf1] ~for orch. ([sm1963[nm), [cf2]Th
e Tower[cf1], ballet ([sm1964[nm), [cf2]The ~Rock[cf1], oratorio ([sm1979[nm), [
cf2]Chamber Music [cf1](=+=+Joyce), ten., ~perc., harp ([sm1972[nm), [cf2]Night
Music[cf1], sop., perc., orch. ~([sm1969[nm), [cf2]How Pleasant to Know Mr Lear[
cf1], narrator, ~orch. ([sm1971[nm), str. qt. ([sm1961[nm), [cf2]Images[cf1], ob
., pf. ([sm1967[nm), ~[cf2]Nebula II[cf1], wind quintet ([sm1974[nm).[cm~Roxolan
e, La. [fy75,1]Nickname of Haydn's Sym. No. ~[sm63[nm in C major, (Hob. I:[sm63[
nm), comp. [cf2]c.[cf1][sm1780[nm. Uses ~material from earlier mus., incl. incid
ental mus. ~for the play [cf2]Soliman II [cf1]whose heroine was
~Roxolane.[cm~Royal Academy of Music. [fy75,1]College of mus. in ~London institu
ted in Tenterden Street, [sm1822[nm; ~Royal charter [sm1830[nm. Lodging and boar
ding of ~students discontinued after [sm1853[nm, when first ~board of professors
 was appointed. Moved to ~Marylebone Road [sm1912[nm. Wide range of activities:
~premises incl. concert-hall (Duke's Hall), lecture ~hall, opera th., and librar
y. About [sm700[nm students, ~with teaching staff of [sm150[nm. Prins.: William
Crotch ~([sm1822[nm=n[sm32[nm), Cipriani Potter ([sm1832[nm=n[sm59[nm), Charles
~Lucas ([sm1859[nm=n[sm66[nm), Sterndale Bennett ([sm1866[nm=n[sm75[nm),[fj~G. A
. Macfarren ([sm1876[nm=n[sm87[nm), A. C. Mackenzie ~([sm1888[nm=n[sm1924[nm), J
. B. McEwen ([sm1924[nm=n[sm36[nm), S. Mar~~chant ([sm1936[nm=n[sm49[nm), R. S.
Thatcher ([sm1949[nm=n[sm55[nm), ~Thomas Armstrong ([sm1955[nm=n[sm68[nm), Antho
ny Lewis ~([sm1968[nm=n[sm82[nm), David Lumsden (from [sm1982[nm). RAM is ~suppo
rted by Govt. grant, subscriptions, dona~~tions, and fees. (The
name Royal Acad. of Mus. ~was also given to an operatic venture started ~success
fully in London in [sm1719[nm under directorship ~of Handel, Bononcini, and Ario
sti but which ~collapsed in [sm1728[nm.)[xm[cm~[j1]Royal Albert Hall. [fy75,1]La
rge, all-purpose, oval-~shaped hall in London (South Kensington) built ~in memor
y of Prince Consort ([cf2]d [cf1][sm1861[nm) and ~formally opened March [sm1871[
nm. Seating capacity ~[sm10[nm,[sm000[nm. Venue for many occasions incl. balls,
~pageants, fest. of remembrance, Miss World ~competition, etc., but best known a
s concert hall ~and especially, since destruction of Queen's Hall ~([sm1941[nm),
 as home of Henry Wood Promenade ~Concerts. Formerly acoustically notorious for
~echo, but this has been largely eliminated by ~special installations.[cm~Royal
Ballet. [fy75,1]Name bestowed by Royal charter ~in [sm1956[nm on former SW Balle
t (CG), SW Theatre ~Ballet (SW), and SW Ballet School. Originated in ~Acad. of C
horeographic Art, formed by Ninette ~[PN611,0,0,R,I0]de Valois i
n London, [sm1926[nm. This sch. moved in ~[sm1931[nm to newly-built SW Th. under
 direction of ~Lilian Baylis. Became Vic-Wells Ballet, dir. by ~Constant [fy45,1
]*[fy75,1]Lambert and with [fy45,1]*[fy75,1]Ashton and de ~Valois as leading cho
reogs. Visited Paris [sm1937[nm, ~Holland [sm1940[nm. Became resident co. at CG
from ~[sm1946[nm, opening with famous prod. of [cf2]The Sleeping ~Beauty. [cf1]S
econd co. (orig. SW Opera Ballet) formed ~[sm1946[nm. Many eminent dancers worke
d for prin. ~co., incl. Fonteyn (from [sm1934[nm), Dolin, Helpmann, ~Turner, Som
es, Grey, Shearer, Massine, Nerina, ~Beriosova, Blair, Nureyev, Sibley, Park, an
d ~Collier. Choreogs. have incl. Massine, Balanchine, ~Cranko, Tudor, and MacMil
lan. NY d;Aaebut [sm1949[nm. ~Art. dirs.: de Valois [sm1931[nm=n[sm63[nm, Ashton
 [sm1963[nm=n[sm70[nm, ~MacMillan [sm1970[nm=n[sm77[nm; Morrice from [sm1977[nm.
[cm~Royal Choral Society. [fy75,1]London choir of about ~[sm850[nm vv. which ori
ginated in choir formed and ~cond. by Gounod for opening of [fy4
5,1]*[fy75,1]Royal Albert ~Hall, [sm1871[nm. Taken over by Barnby, [sm1872[nm. N
ame ~at first was Royal Albert Hall Choral Soc., present ~name adopted [sm1888[n
m. Barnby was succeeded in ~[sm1896[nm by J. F. Bridge. Sir Malcolm Sargent had
~long assoc. as cond. from [sm1929[nm.[cm~Royal College of Music. [fy75,1]London
 mus. college, ~successor to [fy45,1]*[fy75,1]National Training School for Music
. ~Founded by Prince of Wales (later Edward VII) in ~[sm1882[nm and opened [sm18
83[nm, when it received Royal ~charter. Orig. housed in building occupied by ~Na
t. Training Sch., new building in Prince ~Consort Road was opened [sm1894[nm. La
rge concert-~hall added [sm1901[nm and later an opera th. (Parry ~Theatre). Furt
her extensions [sm1964[nm and [sm1973[nm. Has ~superb mus. library and valuable
coll. of historical ~instr. Governed by pres. and council, with dir., ~board of
professors, graduates, and donors. Dirs.: ~George Grove [sm1883[nm=n[sm94[nm; Hu
bert Parry [sm1894[nm=n~[sm1918[nm; H. P. Allen [sm1918[nm=n[sm3
7[nm; G. Dyson [sm1937[nm=n[sm52[nm; ~E. Bullock [sm1953[nm=n[sm60[nm; K. Falkne
r [sm1960[nm=n[sm74[nm; D. ~Willcocks [sm1974=n84[nm; M. Gough Matthews from ~[s
m1984[nm.[cm~Royal College of Organists. [fy75,1]Formed [sm1864[nm in ~London, a
mong aims being to provide examina~~tions and certificates to safeguard standard
s ~among organists and also to encourage comp. and ~study of sacred mus. Orig. h
oused in Bloomsbury, ~since [sm1894[nm in Kensington Gore in building ~vacated b
y RCM. Royal charter [sm1893[nm.[cm~Royal Festival Hall. [fy75,1]Concert-hall bu
ilt in ~London (by London County Council) on S. Bank ~of River Thames as part of
 Fest. of Brit. [sm1951[nm. ~Designed by R. H. Matthew, with org. by ~Harrison a
nd Harrison, Durham. Seating capacity ~[sm3[nm,[sm200[nm. Prin. home of London o
rch. concerts. ~Queen Elizabeth Hall and Purcell Room are part ~of S. Bank conce
rt-hall `complex'.[cm~Royal Hunt of the Sun, The. [fy75,1]Opera in [sm2[nm acts
by ~[fy45,1]*[fy75,1]Hamilton to his own lib. based on play by P
eter ~Shaffer. Comp. [sm1967[nm=n[sm9[nm. Prod. London [sm1977[nm.[cm~Royal Iris
h Academy of Music. [fy75,1]Mus. college ~founded in Dublin, [sm1848[nm, reorgan
ized [sm1856[nm. ~Governed by [sm24[nm governors and secretary.[xm[cm~[j1]Royal
Liverpool Philharmonic Orchestra and ~Society. [fy75,1]Soc. founded [sm1840[nm s
ince when it has ~promoted orch. concerts. Opened Phil. Hall [sm1849[nm, ~among
finest in Europe; destroyed by fire [sm1933[nm ~and replaced [sm1939[nm by prese
nt fine building. Title ~`Royal' bestowed [sm1957[nm. First cond. was John ~Russ
ell, succeeded in [sm1843[nm by violinist Zeugheer ~Herrmann, who stayed until h
is death in [sm1865[nm. ~He was followed by Alfred Mellon [sm1866[nm=n[sm87[nm,
~Julius Benedict [sm1867[nm=n[sm79[nm, Max Bruch [sm1880[nm=n[sm3[nm, ~Charles H
all;Aae [sm1883[nm=n[sm95[nm, Frederic Cowen [sm1895[nm=n~[sm1913[nm. Guest cond
s. were engaged until the ~appointment of Malcolm Sargent [sm1942[nm=n[sm8[nm, s
uc~~ceeded by Hugo Rignold [sm1948[nm=n[sm54[nm, Efrem Kurtz ~an
d John Pritchard [sm1955[nm=n[sm7[nm, John Pritchard [sm1957[nm=n~[sm63[nm, Char
les Groves [sm1963[nm=n[sm77[nm, Walter Weller [sm1977[nm=n~[sm80[nm, David Athe
rton [sm1980[nm=n[sm3[nm, Marek Janowski ~from [sm1983[nm. First tour abroad [sm
1966[nm.[xm[cm~[j1]Royal Manchester College of Music. [fy75,1]Mus. ~college foun
ded in Manchester [sm1893[nm, with title ~Royal from inception. Royal charter [s
m1923[nm. ~Founded on initiative of Sir Charles [fy45,1]*[fy75,1]Hall;aae, Prin.
 ~[sm1893[nm=n[sm5[nm. Successors: A. Brodsky [sm1895[nm=n[sm1929[nm, R. J. ~For
bes [sm1929[nm=n[sm53[nm, F. R. Cox [sm1953[nm=n[sm70[nm, J. Wray ~[sm1970[nm=n[
sm2[nm. From [sm1957[nm gave [sm4[nm diplomas. Premises ~were in Ducie Street, M
anchester. In [sm1972[nm merged ~with Northern Sch. of Mus. to become [fy45,1]*[
fy75,1]Royal ~Northern College of Music, Manchester.[xm[cm~[j1]Royal Military Sc
hool of Music. [fy75,1]Founded [sm1856[nm ~at Kneller Hall, Twickenham, Middlese
x, for ~training of army instrumentalists and bandmas~~ters.[cm~
Royal Musical Association. [fy75,1]Organization ~founded by Stainer and Pole in
London in [sm1874[nm ~`for investigation and discussion of subjects ~connected w
ith the art, science, and history of ~music'. Incorporated [sm1904[nm, prefix `R
oyal' since ~[sm1944[nm. Papers, etc., read to the Assoc. are pubd. in ~its [cf2
]Proceedings.[cm~Royal Northern College of Music, Manches~~ter. [fy75,1]Coll. of
 mus. opened in Manchester [sm1972[nm by ~amalgamation of Royal Manchester Coll.
 of Mus. ~and Northern Sch. of Mus. Housed in new ~building on Oxford Road conta
ining concert-~hall, opera th., recital room, tutorial rooms, etc. ~Financed by
[sm4[nm local authorities and governed by ~court and council. Prin. since incept
ion: John ~[fy45,1]*[fy75,1]Manduell.[cm~Royal Opera House. [fy75,1]See [cf2]Cov
ent Garden.[cm~Royal Philharmonic Orchestra. [fy75,1]Sym. orch. ~founded [sm1946
[nm by Sir Thomas Beecham, who ~remained prin. cond. until his death in [sm1961[
nm. ~Regular orch. at Glyndebourne Fest. [sm1947[nm=n[sm63[nm. ~
Tour of USA [sm1950[nm (first Brit. orch. to visit Amer. ~since LSO [sm1912[nm).
 Rudolf [fy45,1]*[fy75,1]Kempe became ass. ~cond. [sm1960[nm, chief cond. [sm196
1[nm=n[sm3[nm, art. dir. from ~[PN612,0,0,L,I0][sm1964[nm (cond. for life from [
sm1970[nm). Antal [fy45,1]*[fy75,1]Dorati ~was appointed cond.-in-chief [sm1975[
nm=n[sm8[nm, Walter ~Weller [sm1980[nm=n[sm5[nm. Andr;aae Previn from [sm1985[nm
. No ~connection with [fy45,1]*[fy75,1]Royal Philharmonic Society.[cm~Royal Phil
harmonic Society. [fy75,1] Founded in Lon~~don, Jan. [sm1813[nm for encouragemen
t of orch. and ~instr. concerts and immediately promoted annual ~series of conce
rts. First concert [sm8[nm Mar. [sm1813[nm. ~Concerts were given at first in Arg
yll Rooms, ~then successively at New Argyll Rooms, King's ~Th., Hanover Sq. Room
s, St. James's Hall, Queen's ~Hall, Royal Albert Hall, Royal Fest. Hall. Com~~mi
ssioned Beethoven's [sm9[nmth Sym. (though f.p. in ~Vienna) and gave the first E
ng. perf. under Smart ~on [sm21[nm Mar. [sm1825[nm. Sent Beethov
en ;bp[sm100[nm on his ~death-bed and waived claim to its return when it ~was fo
und among his effects. Since [sm1871[nm a replica ~of Schaller's bust of Beethov
en, presented to the ~Soc. in that year by Mme. F. Linzbauer, has been ~placed a
t the front of the platform at every Phil. ~concert. To commemorate centenary of
 Beethov~~en's birth in [sm1870[nm a Gold Medal was struck by the ~Soc. in [sm18
71[nm and is presented sporadically, at the ~re[chcom[chmendation of the dirs.,
to distinguished ~musicians (composers and executants), being ~among the most co
veted mus. awards. Most of ~the world's leading musicians have appeared on ~the
Soc.'s platform. Prefix `Royal' granted [sm1912[nm.[cm~Royal School of Church Mu
sic. [fy75,1]Founded as Sch. ~of Eng. Church Mus. [sm1927[nm by S. H. [fy45,1]*[
fy75,1]Nicholson ~and members of Church Mus. Soc. Royal charter ~[sm1945[nm. Mai
n training centre opened [sm1929[nm at ~College of St Nicolas; successively at C
hislehurst, ~Canterbury, and Croydon (since [sm1953[nm).[cm~Roya
l Schools of Music. [fy75,1]See [cf2]Associated Board of ~the Royal Schools of M
usic.[cm~Royal Scottish Academy of Music and Drama. ~[fy75,1]Mus. college in Gla
sgow, originating from Glas~~gow Athenaeum Sch. of Mus., founded [sm1890[nm. In
~[sm1929[nm, a Scottish Nat. Acad. of Mus. was formed ~to combine with univ. fac
ulty of mus., the Prin. ~combining office with that of univ. prof. of mus. ~Pref
ix `Royal' [sm1944[nm. Drama sch. added [sm1950[nm, ~present title dating from [
sm1968[nm. Separate Prin. ~appointed [sm1953[nm. Prins.: W. G. [fy45,1]*[fy75,1]
Whittaker [sm1929[nm=n~[sm41[nm; Ernest [fy45,1]*[fy75,1]Bullock [sm1941[nm=n[sm
52[nm; H. Havergal [sm1953[nm=n~[sm69[nm; K. Barritt [sm1969[nm=n[sm76[nm; D. Lu
msden [sm1978[nm=n[sm82[nm; ~Philip Ledger from [sm1982[nm.[cm~Royal Society of
Musicians of Great Britain. ~[fy75,1]Soc. for relief of infirm and distressed mu
sicians ~and their dependants, founded [sm1738[nm. Royal ~charter [sm1790[nm.[cm
~Rozhdestvensky, Gennady [fy75,1](Nikolayevich) ([cf2]b ~[cf1]Mo
scow, [sm1931[nm). Russ. cond., son of cond. Nikolay ~Anosov ([sm1900[nm=n[sm62[
nm); took his mother's surname. ~Studied pf. Moscow Cons. Ass. cond. Bolshoy Th.
, ~[sm1951[nm, on cond. staff there [sm1956[nm=n[sm60[nm. Chief cond. ~USSR Radi
o and TV Orch. [sm1960[nm=n[sm5[nm and [sm1970[nm=n[sm4[nm; ~prin. cond. Bolshoy
 [sm1965[nm=n[sm70[nm. Cond. Russian ~premi;agere of Britten's [cf2]Midsummer Ni
ght's Dream[cf1] ~([sm1965[nm). Toured USA [sm1973[nm as cond., Leningrad ~P.O.
London d;aaebut [sm1956[nm, CG d;aaebut [sm1970[nm ([cf2]Boris ~Godunov[cf1]). M
us. dir., Stockholm P.O. from [sm1975[nm. ~Chief cond. BBC S.O. [sm1978=n81[nm.[
cm~R;aaozsa, Mikl;aaos [fy75,1]([cf2]b [cf1]Budapest, [sm1907[nm). Hung.-born ~c
omposer (later Amer. citizen). Studied Leipzig ~Cons. [sm1925[nm=n[sm9[nm. Settl
ed in Paris [sm1932[nm, then in ~London, studying at TCL [sm1936[nm=n[sm40[nm. M
us. dir. and ~composer for Korda films [sm1936[nm=n[sm42[nm. Emigrated to ~USA [
sm1940[nm. Comp. for M.G.M. [sm1948[nm=n[sm62[nm. Taught ~at Uni
v. of S. Calif., [sm1945[nm=n[sm65[nm. Influenced by folk ~mus. His film mus. is
 rich and the essence of ~`Hollywood'; his other works combine dissonance ~and s
trong rhythms. Prin. comps. are [cf2]Concerto for ~Strings, [cf1]pf. conc., vn.
conc., vc. conc., str. qt., ~[cf2]Sinfonia Concertante [cf1]for vn., vc., and or
ch., pf. ~quintet, str. trio, pf. sonata, motet [cf2]The Vanities of ~Life, [cf1
]etc. Film scores incl. [cf2]Knight Without Armour ~[cf1]([sm1937[nm), [cf2]The
Thief of Bagdad [cf1]([sm1940[nm), [cf2]The Jungle Book ~[cf1]([sm1942[nm), [cf2
]Double Indemnity[cf1] ([sm1944[nm), [cf2]The Lost Weekend ~[cf1]([sm1945[nm), [
cf2]Spellbound [cf1]([sm1945[nm), [cf2]Double Life [cf1]([sm1948[nm), and ~[cf2]
Ben Hur [cf1]([sm1959[nm).[cm~Rubato, or Tempo rubato [fy75,1](It.). Robbed time
. A ~feature of perf. in which strict time is for a while ~disregarded=mwhat is
`robbed' from some note or ~notes being `paid back' later. When this is done ~wi
th genuine artistry and instinctive mus. sensi~~bility, the effe
ct is to impart an admirable sense ~of freedom and spontaneity. Done badly, ruba
to ~merely becomes mechanical. The question of ~rubato in Chopin is particularly
 contentious, ~since its use in his mus. may be dangerously open ~to abuse. Acco
unts of his playing (and of Mozart's) ~suggest that he kept the left-hand in str
ict time, ~and added rubato with the right.[cm~Rubbra, Edmund [fy75,1]([cf2]b [c
f1]Northampton, [sm1901[nm). Eng. ~composer and pianist. Worked at [sm14[nm as r
ailway ~clerk. Private comp. lessons from Cyril [fy45,1]*[fy75,1]Scott. ~Studied
 at Reading Univ. [sm1920[nm=n[sm1[nm, comp. with ~Holst, pf. with E. Howard-Jon
es, at RCM [sm1921[nm=n~[sm5[nm, comp. with Holst and Morris. Taught, wrote ~mus
. criticism, and comp. mus for a travelling ~th. group. Recognition came with pe
rf. of first ~Sym. ([sm1935[nm=n[sm7[nm). Lecturer in mus., Oxford Univ. ~[sm194
7[nm=n[sm68[nm, prof. of comp., GSM from [sm1961[nm. Served ~in army [sm1941[nm=
n[sm5[nm and was ordered to form pf. trio ~with which he gave co
ncerts to Servicemen and ~women throughout Brit. and, later, Ger. C.B.E. ~[sm196
0[nm. Contrib. to several works of reference, ~reviewer, etc. His prolific outpu
t covers all forms ~except for the th., and he is in the mould of Holst ~and Vau
ghan Williams, although folk-song as ~such plays no part in his work. His use of
 modal ~harmony and his large amount of religious mus. ~are in a particularly En
g. tradition, and his syms. ~have a mus. substance and spiritual grandeur ~which
 have still not been fully appreciated. Prin. ~works:[xm[cm~[j2][smorch[nm: Syms
.: No. [sm1[nm, Op. [sm44[nm ([sm1935[nm=n[sm7[nm), No. [sm2[nm, Op. ~[sm45[nm (
[sm1938[nm, rev. [sm1951[nm), No. [sm3[nm, Op. [sm49[nm ([sm1939[nm), No. ~[sm4[
nm, Op. [sm53[nm ([sm1941[nm), No. [sm5[nm, Op. [sm63[nm ([sm1947[nm=n[sm8[nm),
No. [sm6[nm, ~[PN613,0,0,R,I0]Op. [sm80[nm ([sm1954[nm), No. [sm7[nm, Op. [sm88[
nm ([sm1957[nm), No. [sm8[nm ~([fy75,2]Hommage ;Aga Teilhard de Chardin[cf1]), O
p. [sm132[nm ([sm1966[nm=n~[sm8[nm), No. [sm9[nm ([cf2]Sinfonia
Sacra[cf1], `the Resurrection') for ~sop., cont., bar., ch., and orch., Op, [sm1
40[nm ([sm1971[nm=n~[sm2[nm), No. [sm10[nm (Chamber sym.), Op. [sm145[nm ([sm197
4[nm), No. ~[sm11[nm, Op. [sm153[nm ([sm1978[nm=n[sm9[nm); [cf2]Festival Overtur
e, [cf1]Op. [sm62[nm; ~[cf2]Improvisations on Virginal Pieces by Giles Farnaby,
~[cf1]Op. [sm50[nm; Ov., [cf2]Resurgam, [cf1]Op. [sm149[nm; pf. conc., Op. ~[sm8
5[nm ([sm1956[nm); va. conc., Op. [sm75[nm ([sm1952[nm); vn. conc., ~Op. [sm103[
nm ([sm1959[nm); [cf2]Improvisation, [cf1]vn. and orch., Op. ~[sm89[nm; [cf2]Sin
fonia Concertante, [cf1]pf. and orch., Op. [sm38[nm; ~[cf2]Soliloquy, [cf1]vc. a
nd small orch., Op. [sm57[nm; orchestra~~tions of Brahms's [cf2]Variations on a
Theme of Handel ~[cf1]and of Rakhmaninov's Prelude in G minor.[ep~[smchorus and
orch[nm: [cf2]The Dark Night of the Soul, [cf1]Op. ~[sm41[nm, No. [sm1[nm (solo
cont.); [cf2]Song of the Soul, [cf1]Op. [sm78[nm; ~[cf2]The Morning Watch [cf1](
Vaughan), Op. [sm55[nm; [cf2]Cantata ~di Camera [cf1](Carey and
Spenser), Op. [sm111[nm, solo ~ten.; Suite, [cf2]In Die et Nocte Canticum, [cf1]
Op. [sm129[nm; ~[cf2]Inscape [cf1](G. M. Hopkins), Op. [sm122[nm; [cf2]Advent ~C
antata, [cf1]Op. [sm136[nm, solo bar.; [cf2]Veni, Creator Spiritus, ~[cf1]Op. [s
m130[nm.[ep~[xp[te~









[do42][j99]~~~~~~[sm153842[nm_RA[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm006[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm13[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm474[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j2][smunacc. choir[nm:
 [sm5[nm [fy75,2]Madrigals [cf1](Campion), Op. [sm51[nm; [sm5[nm ~[cf2]Motets [c
f1]Op. [sm37[nm (No. [sm3[nm is Donne's [cf2]Hymn to God the ~Father[cf1]); [cf2
]Missa Cantuariensis, [cf1]Op. [sm59[nm; [cf2]Missa in ~honorem Sancti Dominici,
 [cf1]Op. [sm66[nm; [sm9[nm [cf2]Tenebrae ~Motets, [cf1]Op. [sm72[nm; [sm3[nm [c
f2]Motets, [cf1]Op. [sm76[nm; [cf2]Agnus Dei, [cf1]Op. ~[sm143[nm; [sm3[nm Greek
 Folk Songs, Op. [sm151[nm; [cf2]Prayer for the ~Queen, [cf1]Op. [sm152[nm.[ep~[
smchamber music[nm: Str. Qts.: No. [sm1[nm in F minor, Op. ~[sm35[nm ([sm1934[nm
, rev. [sm1956[nm), No. [sm2[nm in E;Yh, Op. [sm73[nm ([sm1952[nm), ~No. [sm3[nm
, Op. [sm112[nm ([sm1962[nm=n[sm3[nm), No. [sm4[nm, Op. [sm150[nm ([sm1976[nm=n~
[sm7[nm); pf. trio No. [sm1[nm, Op. [sm68[nm, No. [sm2[nm, Op. [
sm138[nm; [cf2]Lyric ~Movement, [cf1]pf. and str. qt., Op. [sm24[nm; [cf2][sm4[n
m Easy pieces, ~[cf1]vn. and pf., Op. [sm29[nm; vn. sonatas: No. [sm1[nm, Op. [s
m11[nm, ~No. [sm2[nm, Op. [sm31[nm, No. [sm3[nm, Op. [sm133[nm; [cf2]Phantasy, [
cf1][sm2[nm vn. ~and pf., Op. [sm16[nm; Suite, [cf2]The Buddha, [cf1]Op. [sm64[n
m, fl., ~ob., vn., va., vc.; [cf2]Variations on a Phrygian Theme, ~[cf1]solo vn.
, Op. [sm105[nm; [cf2]Meditations on a Byzantine ~Hymn, [cf1]solo va., Op. [sm11
7[nm; [cf2]Improvisation, [cf1]solo vc., ~Op. [sm124[nm; [cf2]Pezzo Ostinato, [c
f1]harp, Op. [sm102[nm; vc. ~sonata, Op. [sm60[nm; ob. sonata, Op. [sm100[nm; [c
f2]Fantasia on ~a Theme of Machaut, [cf1]Op. [sm86[nm, recorder, str. qt., ~hpd.
; sonatina, Op. [sm128[nm, treble recorder and ~hpd.[ep~[smkeyboard[nm: [cf2][sm
8[nm Preludes [cf1]for pf., Op. [sm131[nm; [cf2]Introduction ~and Fugue [cf1]for
 pf., Op. [sm19[nm; [cf2][sm9[nm Pieces [cf1]for pf., Op. ~[sm74[nm: [sm1[nm. [c
f2]Question and Answer, [cf1][sm2[nm. [cf2]Pipe Tune, [cf1][sm3[
nm. [cf2]Hurdy ~Gurdy, [cf1][sm4[nm. [cf2]Slow Dance, [cf1][sm5[nm. [cf2]Catch m
e if you can, [cf1][sm6[nm. ~[cf2]Peasant Dance, [cf1][sm7[nm. [cf2]Cradle Song,
 [cf1][sm8[nm. [cf2]The Donkey, [cf1][sm9[nm. ~[cf2]The Shining River; Prelude a
nd Fugue, [cf1]Op. [sm69[nm, for ~pf.; [cf2]Introduction, Aria, and Fugue [cf1]f
or hpd. (or pf.), ~Op. [sm104[nm.[ep~[smsongs[nm: [cf2]Amoretti [cf1]([sm5[nm Sp
enser Sonnets), ten. and str. ~qt., Op. [sm43[nm; [cf2][sm5[nm Spenser Sonnets,
[cf1]ten. and str. orch., ~Op. [sm42[nm; [cf2][sm4[nm Medieval Latin Lyrics, [cf
1]bar. and str., Op. ~[sm32[nm; [cf2]The Jade Mountain, [cf1]high v. and harp, O
p. ~[sm116[nm; [cf2][sm3[nm Psalms, [cf1]low v. and pf., Op. [sm61[nm.[cm~[j1]Ru
bens, Paul [fy75,1](Alfred) ([cf2]b [cf1]London, [sm1875[nm; [cf2]d ~[cf1]Falmou
th, [sm1917[nm). Eng. composer. Studied law at ~Oxford Univ. Wrote some nos. for
 [cf2]Floradora ~[cf1]([sm1899[nm) and then devoted himself entirely to comp. ~o
f light operas, e.g. [cf2]Miss Hook of Holland [cf1]([sm1907[nm)
, ~[cf2]The Balkan Princess [cf1]([sm1910[nm), [cf2]Tonight's the Night ~[cf1]([
sm1915[nm), etc.[cm~Rubible. [fy75,1]The [fy45,1]*[fy75,2]rebec.[cm~Rubini, Giov
anni-Battista [fy75,1]([cf2]b [cf1]Romano, [sm1794[nm; [cf2]d ~[cf1]Romano, [sm1
854[nm). It. ten. Studied Bergamo. D;Aaebut ~Pavia [sm1814[nm. Sang in Naples [s
m1815[nm=n[sm31[nm and had ~sensational success in Paris [sm1825[nm=n[sm6[nm in
Rossini ~operas. Divided time between Paris and London ~[sm1831[nm=n[sm43[nm. To
ured with Liszt [sm1843[nm. Retired, ~immensely rich, [sm1845[nm. Especially not
able for his ~singing of Donizetti and Bellini, where his gift ~for broad cantab
ile and an exceptionally high ~range excelled. His tremolo, apparently remark~~a
ble, was imitated by lesser artists and reduced to ~vocal `sob' which disfigures
 much It. singing.[cm~Rubinstein, Anton [fy75,1](Grigorevich) ([cf2]b [cf1]Vekhv
ati~~nets, [sm1829[nm; [cf2]d [cf1]Peterhof, [sm1894[nm). Russ. pianist and ~com
poser. Taught by his mother, then by ~Villoing. D;Aaebut Moscow
[sm1839[nm, European tour ~[sm1840[nm=n[sm3[nm. Studied comp., Berlin [sm1844[nm
=n[sm6[nm. Returned ~to Russia [sm1848[nm, then went to Ger. [sm1854[nm with ~ma
ny of his own comps. Settled in St Petersburg ~[sm1858[nm as court pianist and c
ond. Founded St ~Petersburg Cons. [sm1862[nm (dir. until [sm1867[nm, then ~[sm18
87[nm=n[sm90[nm). Cond. Vienna P.O. [sm1871[nm=n[sm2[nm. Toured ~USA [sm1872[nm=
n[sm3[nm. Visited Eng. several times between ~[sm1841[nm and [sm1886[nm. Farewel
l recitals [sm1886[nm=n[sm7[nm. One of ~greatest pianists of his day and a proli
fic composer, ~whose work had insufficient individuality to ~survive, in spite o
f memorable perfs. He consid~~ered that Russ. composers should imitate Western ~
models. Remembered for his [cf2]Melody in F [cf1]for pf. ~Other works incl. [sm2
0[nm operas (incl. [cf2]The Demon, ~[cf1][sm1871[nm), [sm6[nm syms., incl. the `
Ocean', [sm5[nm pf. concs., vn. ~conc., [sm2[nm vc. concs., [sm10[nm str. qts.,
and much other ~chamber mus., also pf. pieces and songs.[cm~Rubi
nstein, Arthur [fy75,1](Artur) ([cf2]b [cf1];Ul;aaod;aaz, [sm1887[nm; [cf2]d[cf1
] ~Geneva, [sm1982[nm). Polish-born pianist (Amer. citizen ~[sm1946[nm). Child p
rodigy, giving recital in Warsaw at ~age [sm5[nm. Studied there with Rozycki, th
en taken by ~sister to Berlin to play for Joachim, who, with [sm3[nm ~others, pa
id for his mus. training in Berlin (pf., ~comp., and theory). Played Mozart conc
. cond. ~Joachim, Berlin [sm1900[nm. Began extensive overseas ~tours. First visi
ted USA [sm1906[nm (Philadelphia and ~NY). London d;aaebut [sm1912[nm. Settled i
n Paris but was ~in London [sm1914[nm and, speaking [sm8[nm languages ~fluently,
 became wartime interpreter. Gave recit~~als for charity with violinist [fy45,1]
*[fy75,1]Ysa;Auye. Had great ~success in Spain [sm1916[nm, becoming noted expone
nt ~of Falla's mus. Played frequently in USA [sm1919[nm=n~[sm27[nm but did not g
ain full success there until [sm1937[nm. ~Settled in Hollywood [sm1939[nm. Among
 greatest ~pianists of [sm20[nmth cent., a master in the classic
s, in ~Chopin, and in [sm20[nmth-cent. repertory. Played with ~almost undiminish
ed power and skill up to his ~[sm90[nmth birthday. Last London recital [sm30[nm
April, ~[sm1976[nm. Hon. K.B.E. [sm1977[nm.[cm~Rubinstein, Nikolay [fy75,1](Grig
orevich) ([cf2]b [cf1]Moscow, ~[sm1835[nm; [cf2]d [cf1]Paris, [sm1881[nm). Russ.
 pianist and composer, ~[PN614,0,0,L,I0]brother of Anton [fy45,1]*[fy75,1]Rubins
tein. Studied in Berlin ~[sm1844[nm=n[sm6[nm. Founded Moscow Cons. [sm1866[nm, r
emaining ~dir. until his death. Notable teacher, pupils incl. ~Taneyev and Zilot
i. Gave f.p. of Balakirev's ~[cf2]Islamey[cf1]. Tchaikovsky's Pf. Trio in A mino
r was ~composed in his memory.[cm~Ruckers. [fy75,1]Antwerp firm of hpd. and virg
inals ~makers between [sm1579[nm and [sm1667[nm, the founder ~being Hans Ruckers
 ([cf2]c.[cf1][sm1550[nm=n[sm1598[nm). Over [sm100[nm ~Ruckers instr. still exis
t. The aim of the hpds. ~made between [sm1580[nm and [sm1650[nm was to offer the
 ~player some contrast of tone or register. The ~single-manual i
nstr. had a short-octave compass ~of [sm4[nm octaves from C and had [sm2[nm sets
 of str., ~respectively [sm8[nm;Po and [sm4[nm;Po. Ruckers also made [sm2[nm-~ma
nual hpds., probably as transposing device to ~help accompanists. Hans Ruckers w
as helped and ~succeeded by his sons Jan ([sm1578[nm=n[sm1643[nm) and ~Andries (
[sm1579[nm=n[cf2]c.[cf1][sm1645[nm).[xm[cm~[j1]Ruddigore, or The Witch's Curse.
[fy75,1]Operetta by ~Sullivan to lib. by Gilbert. Prod. London and NY ~[sm1887[n
m.[cm~Rudel, Julius [fy75,1]([cf2]b [cf1]Vienna, [sm1921[nm). Austrian-born ~con
d. (Amer. citizen from [sm1944[nm). Studied Vienna ~Acad. Settled in USA [sm1938
[nm, attending Mannes ~Coll., NY. Cond. small opera socs. in NY and ~elsewhere,
then ass. cond. NY City Opera [sm1944[nm, ~art. dir. there [sm1957[nm=n[sm79[nm
(prin. cond. from [sm1979[nm). ~Mus. dir., Kennedy Center, Washington D.C., ~[sm
1971[nm=n[sm5[nm. D;Aaebut as cond. at NY Met. [sm1978[nm. ~Champion of contempo
rary works and of lighter ~stage works by Austrian and Amer. com
posers. ~Cond. Buffalo P.O. [sm1978=n85[nm.[cm~Rudersdorff, Hermine [fy75,1]([cf
2]b [cf1]Ivanovsky, [sm1822[nm; [cf2]d ~[cf1]Boston, Mass., [sm1882[nm). Russ.-b
orn Ger. sop. Pupil ~of Bordogni. Sang in opera in Ger. [sm1841[nm=n[sm54[nm. ~L
ondon d;Aaebut [sm1854[nm. Lived in Eng. until [sm1865[nm, ~winning reputation i
n oratorio. Visited USA [sm1869[nm ~and settled as teacher in Boston. Mother of
Amer. ~actor Richard Mansfield.[cm~Rudhyar, Dane [fy75,1](pseudonym of Daniel Ch
enne~~vi;Agere) ([cf2]b [cf1]Paris, [sm1895[nm). Fr.-born composer (Amer. ~citiz
en [sm1926[nm). Studied Paris (Sorbonne and Paris ~Cons.). Went to USA [sm1916[n
m with group of dancers ~and settled there [sm1917[nm. Deep interest in Indian ~
theosophy. Has comp. orch. tone-poems, ballets, ~and pf. pieces. Also poet and p
ainter. Author of ~books on Debussy and Hindu mus.[cm~Rudzi;aanski, Witold [fy75
,1]([cf2]b [cf1]Siebiez, Lithuania, [sm1913[nm). ~Polish composer. Studied at Vi
lna Univ. and ~Cons. ([sm1928[nm=n[sm37[nm) and at Institut Gr;A
aegorien, Paris, ~[sm1938[nm=n[sm9[nm (also with Boulanger and Koechlin). ~Taugh
t at Vilna Cons. [sm1939[nm=n[sm42[nm and L;aaod;aaz Cons. ~[sm1945[nm=n[sm7[nm.
 Cond. Warsaw Opera and P.O. [sm1948[nm=n[sm9[nm. ~Prof., Warsaw Cons. from [sm1
957[nm. Author of books ~on Bart;Aaok ([sm1964[nm) and ed. of letters of Moniusz
ko ~([sm1954[nm=n[sm70[nm). Works incl. operas, oratorios, [sm2[nm syms., ~pf. c
oncs., chamber mus.[cm~Rudzi;aanski, Zbigniew [fy75,1]([cf2]b [cf1]Czechowice, [
sm1935[nm). ~Polish composer. Studied Warsaw State Coll. of ~Mus. [sm1956[nm=n[s
m62[nm. Mus. dir. Warsaw documentary ~film studio [sm1960[nm=n[sm7[nm. Works inc
l. sym. for bass ch. ~and orch. ([sm1969[nm), str. trio ([sm1964[nm), sonata for
 [sm2[nm str. ~qts., pf., and timp. ([sm1960[nm), [cf2]Requiem[cf1] ([sm1971[nm)
, pf. ~sonata ([sm1975[nm).[cm~Rue, Pierre de la [fy75,1]([cf2]b [cf1]?Tournai,
[cf2]c.[cf1][sm1460[nm; [cf2]d [cf1]Courtrai, ~[sm1518[nm). Flemish composer. At
 Burgundian court ~[sm1492[nm=n[sm1516[nm. Follower of [fy45,1]*
[fy75,1]Despr;ages. Wrote [sm47[nm ~masses, many motets, and [cf2]chansons.[cf1]
[cm~Rueda. [fy75,1]Sp. round dance in quintuple time, ~popular in Castile.[cm~Ru
ffo, Titta [fy75,1](orig. Ruffo Cafiero Titta) ([cf2]b [cf1]Pisa, ~[sm1877[nm; [
cf2]d [cf1]Florence, [sm1953[nm). It. bar. Studied Rome ~and Milan. Opera d;Aaeb
ut as Herald in [cf2]Lohengrin[cf1], ~Rome [sm1898[nm. CG [sm1903[nm. Amer. d;Aa
ebut Philadelphia ~[sm1912[nm, then Chicago [sm1912[nm=n[sm14[nm, [sm1919[nm=n[s
m26[nm, NY Met. ~[sm1922[nm=n[sm9[nm. Superb singer of Verdi bar. roles. Famous
~as Puccini's Scarpia.[cm~Ruffo, Vincenzo [fy75,1]([cf2]b [cf1]Verona, [cf2]c.[c
f1][sm1510[nm; [cf2]d [cf1]Sacile, ~Udine, [sm1587[nm). It. composer. Choirmaste
r Verona ~Cath. from [sm1554[nm, Milan Cath. from [sm1563[nm, Pistoia ~[sm1574[n
m=n[sm9[nm, Milan from [sm1580[nm. Wrote much church ~mus. and pubd. several boo
ks of madrigals ~containing at least [sm260[nm examples.[cm~Rugby. [fy75,1]`Mouv
ement symphonique' No. [sm2[nm for ~orch. by Honegger, [sm1928[n
m. F.p. Paris [sm1928[nm, f.p. in ~England, London [sm1929[nm.[cm~Ruggles, Carl
[fy75,1](Charles Sprague) ([cf2]b [cf1]East Marion, ~Mass., [sm1876[nm; [cf2]d [
cf1]Bennington, Vermont, [sm1971[nm). ~Amer. composer. Earned living as youth as
 ~violinist in Boston th. orchs. Studied comp. ~privately with J. K. [fy45,1]*[f
y75,1]Paine. Studied Harvard ~Univ. with Paine [sm1903[nm=n[sm7[nm. Cond. Winona
, Minn., ~S.O. [sm1912[nm=n[sm17[nm. Thereafter concentrated on comp., ~but taug
ht at Univ. of Miami [sm1938[nm=n[sm43[nm. His mus. ~is uncompromisingly dissona
nt and employed ~atonal principles long before their general accept~~ance. Wrote
 few works, being slow and consci~~entious worker, discarding many attempts. Pri
n. ~comps.:[xm[cm~[j2][smorch[nm: [fy75,2]Men and Angels[cf1], ([sm1920[nm: [cf2
]Men[cf1] destroyed; ~[cf2]Angels[cf1] for [sm6[nm tpt., rev. [sm4[nm tpt., [sm3
[nm tb., [sm1938[nm); [cf2]Sun-~treader [cf1]([sm1926[nm=n[sm31[nm), rev. as [cf
2]Men[cf1] of [cf2]Men and ~Mountains[cf1]; [cf2]Men and Mountai
ns[cf1], small orch. ~([sm1924[nm), rev. large orch. [sm1936[nm, rev. [sm1941[nm
 (com~~prises [cf2]Men[cf1]; [cf2]Lilacs[cf1] for str.; [cf2]Marching Mountains[
cf1]); ~[cf2]Portals [cf1]for [sm13[nm str. ([sm1925[nm), rev. str. orch. [sm192
9[nm, ~further rev. [sm1941[nm and [sm1952[nm=n[sm3[nm; [cf2]Organum [cf1]([sm19
44[nm=n~[sm7[nm).[ep~[smvoice and orch[nm: [cf2]Vox clamans in deserto, [cf1]sop
. and ~small orch. ([sm1923[nm, comprises [cf2]Parting at Morning ~[cf1](Brownin
g), [cf2]Son of Mine [cf1](Meltzer), [cf2]A Clear ~Midnight [cf1](Whitman)).[ep~
[smsong[nm: [cf2]Toys[cf1], v. and pf. ([sm1919[nm).[ep~[smchamber music[nm: [cf
2]Mood[cf1], vn. and pf. ([cf2]c[cf1]. [sm1918[nm).[ep~[smpiano[nm: [cf2]Evocati
ons[cf1], [sm4[nm chants ([sm1935[nm=n[sm43[nm, rev. [sm1954[nm), ~No. [sm2[nm o
rch. [sm1942[nm, others later.[cm~[j1]Ruhe [fy75,1](Ger.). Peace, rest. [cf2]Ruh
ig, [cf1]peaceful; [cf2]Ruhelos, ~[cf1]peace-less, restless.[cm~[PN615,0,0,R,I0]
Ruhepunkt; Ruhezeichen [fy75,1](Ger.). Rest-point; ~rest-sign, i
.e. the sign ;Yr.[cm~R;auuhrtrommel [fy75,1](Ger.). Tenor drum.[cm~Ruimonte [fy7
5,1](Rimonte), [fy65][cf3]Pedro [fy75,1]([cf2]b [cf1]? Saragossa, ~[cf2]c.[cf1][
sm1507[nm; [cf2]d [cf1]after [sm1618[nm.). Sp. composer of madrigals ~and [fy45,
1]*[fy75,1]villancicos. Held court post at Brussels [sm1598=n~1614[nm.[cm~Ruinen
 von Athen, Die [fy75,1](The Ruins of Athens). ~Ov. and incidental mus. by Beeth
oven, Op. [sm113[nm, ~comp. [sm1811[nm for an epilogue by Kotzebue written ~for
first night of Ger. th. in Budapest, [sm1812[nm. (See ~also [cf2]K;auonig Stepha
n[cf1].) In [sm1922[nm=n[sm4[nm, Strauss and ~Hofmannsthal ed. and arr. [cf2]Die
 Ruinen von Athen ~[cf1]and included parts of [cf2]Die Gesch;auopfe des [fy45,1]
*[fy75,2]Prometheus.[cm~Rule, Britannia! [fy75,1]Song by [fy45,1]*[fy75,1]Arne t
o words by ~James Thomson, f.p. in masque [cf2]Alfred [cf1]at Maid~~enhead, [sm1
[nm Aug. [sm1740[nm. Handel quoted it [sm6[nm years ~later in his [cf2]Occasiona
l Oratorio. [cf1]Beethoven intro~~duced it into his [fy45,1]*[fy
75,1]Battle Sym. ([cf2]Wellington's Victory[cf1]) ~and wrote [sm5[nm pf. variati
ons in D on it (pubd. [sm1804[nm). ~Wagner wrote an ov. based on it ([sm1836[nm)
. It has ~been suggested that it is the `hidden theme' ~behind Elgar's [cf2]Enig
ma Variations [cf1](Elgar quoted it ~in [cf2]The Music Makers[cf1]).[cm~Rule of
the Octave [fy75,1](It. [cf2]Regola dell' ottava[cf1]). ~Formula for harmonizati
on of the ascending and ~descending scale in the bass.[cm~Ruler of the Spirits,
The [fy75,1]([cf2]Der Beherrscher der ~Geister[cf1]). Concert-ov., Op. [sm27[nm,
 by Weber, [sm1811[nm, ~being rev. of ov. to incomplete opera [cf2]R;Auubezahl.[
cm~Rullante, Tamburo  [fy75,1](It.). Rolling drum, i.e. tenor ~drum.[cm~Rumba. [
fy75,1]Cuban dance in [cf9]8=-=-=-=-=-=-=K=K=K[cf13]8[cf1] time which extended ~
into world of jazz =+=+[cf2]c.[cf1][sm1930[nm. Orig. perf. by instr. ~ens. with
singer uttering meaningless phrases and ~syllables. Arthur Benjamin wrote a [fy4
5,1]*[fy75,2]Jamaican ~Rumba [cf1]and rumba rhythm has been used
 by other ~composers, e.g. Tippett and McCabe.[xm[cm~[j1]Rumford, [fy75,1](Rober
t) [fy65][cf3]Kennerley [fy75,1]([cf2]b [cf1]Hampstead, ~[sm1870[nm; [cf2]d [cf1
]North Stoke, Oxford, [sm1957[nm). Eng. bar. ~Pupil of Henschel and Blume. D;Aae
but under ~Henschel [sm1893[nm. Gave many popular recitals with ~his first wife,
 Clara [fy45,1]*[fy75,1]Butt.[cm~Rummel, Christian [fy75,1]([cf2]b [cf1]Brichsen
stadt, Bavaria, ~[sm1787[nm; [cf2]d [cf1]Wiesbaden, [sm1849[nm). Ger. pianist, v
iolinist, ~clarinettist, cond., and composer. Cond., court ~orch. at Wiesbaden [
sm1815[nm=n[sm42[nm. Wrote concs., ~chamber mus., and pf. pieces.[cm~Rummel, Wal
ter [fy75,1]([cf2]b [cf1]Berlin, [sm1887[nm; [cf2]d [cf1]Bordeaux, ~[sm1953[nm).
 Ger. pianist and composer. Pupil of ~Godowsky. Settled in Paris and became asso
ciate ~of Debussy. Wrote str. qt., vn. sonata, [cf2]Invocation ~to Wagner [cf1]f
or vn. and orch., over [sm40[nm songs, etc.[cm~Runciman, John F. [fy75,1]([cf2]b
 [cf1][sm1866[nm; [cf2]d [cf1]London, [sm1916[nm). ~Eng. critic
and author. Mus. critic, [cf2]Saturday ~Review, [cf1][sm1894[nm=n[sm1916[nm. Wro
te books on Purcell and ~Wagner. Outspoken views involved him in ~several libel
suits.[cm~Running Set. [fy75,1]Eng. folk dance still in use in ~Appalachian moun
tains of USA. Also title of orch. ~work by Vaughan Williams ([sm1933[nm) based o
n ~traditional tunes assoc. with this dance.[cm~Rusalka. [fy75,1]([sm1[nm) [sm3[
nm-act opera by Dvo;Akr;Aaak to lib. by ~Kvapil. Comp. [sm1900[nm. Prod. Prague
[sm1901[nm, Chicago ~[sm1935[nm, London [sm1950[nm. Rusalka is a watersprite.[ep
~^([sm2[nm) [sm4[nm-act opera by [fy45,1]*[fy75,1]Dargomyzhsky to his own ~lib.
after Pushkin ([sm1832[nm). Prod. St Petersburg ~[sm1856[nm, London [sm1931[nm.[
cm~Ruslan and Lyudmila. [fy75,1]Opera in [sm5[nm acts by Glinka ~to lib. by V. F
. Shirkov and V. A. Bakhturin based ~on poem by Pushkin ([sm1820[nm). Comp. [sm1
837=n42[nm. ~Prod. St Petersburg [sm1842[nm, London [sm1931[nm, NY [sm1942[nm ~(
concert).[cm~Russell, Henry [fy75,1]([cf2]b [cf1]Sheerness, [sm1
812[nm; [cf2]d [cf1]London, ~[sm1900[nm). Eng. composer, singer, and organist. ~
Studied singing in Italy. Organist at Rochester, ~NY, for several years between
[cf2]c.[cf1][sm1835[nm and [sm1840[nm. ~Returned to Eng. [sm1841[nm and gave pop
ular enter~~tainments at which he sang his own songs, among ~them `Cheer, Boys,
Cheer' and `A Life on the ~Ocean Wave', accompanying himself at the piano. ~Wrot
e singing treatise. Had [sm2[nm sons, one being ~Landon [fy45,1]*[fy75,1]Ronald,
 the other Henry Russell ([cf2]b ~[cf1]London, [sm1871[nm; [cf2]d [cf1]London, [
sm1937[nm), impresario and ~singing teacher who presented opera at CG in ~[sm190
4[nm and was dir. of Boston, Mass., Opera Co. ~[sm1909[nm=n[sm14[nm.[cm~Russian
Bassoon. [fy75,1]Old form of [fy45,1]*[fy75,2]serpent [cf1]with bn. ~shape. Made
 of wood in [sm3[nm or [sm4[nm detachable sections, ~ending in brass bell. [sm6[
nm finger-holes and [sm3[nm or [sm4[nm ~keys.[cm~Russian Easter Festival Overtur
e. [fy75,1]Ov. by ~Rimsky-Korsakov, comp. [sm1888[nm, based on R
uss. ~Orthodox Church melodies.[cm~Russian Quartets [fy75,1]([cf2]Die Russischen
 Quartette[cf1]). ~Name given to Haydn's [sm6[nm str. qts., Op. [sm33[nm (Hob. ~
III:[sm33[nm), [sm1781[nm, ded. to Grand Duke Paul of Russia. ~Also known as [cf
2]Gli Scherzi, [cf1]from the character of ~their minuets, and as [cf2]Jungfernqu
artette [cf1](Maiden ~qts.).[cm~Russo, William [fy75,1]([cf2]b [cf1]Chicago, [sm
1928[nm). Amer. com~~poser. Studied in Chicago and privately with ~Jir;aaak, [sm
1955[nm=n[sm7[nm. Trombonist and composer-arran~~ger for Stan Kenton orch., [sm1
950[nm=n[sm4[nm. Dir., Russo ~Orch., NY, [sm1958[nm=n[sm61[nm and London Jazz Or
ch. ~[sm1962[nm=n[sm5[nm. Teacher and dir. Rock Theater, Peabody ~Institute, fro
m [sm1970[nm. Comps. incl. [sm2[nm syms., ballet ~[cf2]Les Deux Errants [cf1]([s
m1955[nm), opera [cf2]John Hooton [cf1]([sm1961[nm), ~vc. conc. ([sm1962[nm), [c
f2]The Civil War, [cf1]rock cantata ~([sm1968[nm), [cf2]David, [cf1]rock cantata
 ([sm1968[nm), [cf2]Liberation, [cf1]rock ~cantata ([sm1969[nm).
[cm~Russolo, Luigi [fy75,1]([cf2]b [cf1]Portogruaro, [sm1885[nm; [cf2]d [cf1]Cer
ro di ~Laveno, [sm1947[nm). It. composer and painter. Theorist ~of [fy45,1]*[fy7
5,1]futurism movement, for which he also comp. ~[PN616,0,0,L,I0]In [cf2]L'arte d
ei rumori [cf1]([sm1913[nm), advocated use of ~variety of sounds and noises as m
aterials for ~comp. and invented instrs. for which he devel~~oped graphic notati
on ([sm1926[nm). These were stored ~in Paris and destroyed during Second World W
ar.[cm~Rust, Friedrich Wilhelm [fy75,1]([cf2]b [cf1]W;auorlitz, nr. Dessau, ~[sm
1739[nm; [cf2]d [cf1]Dessau, [sm1796[nm). Ger. composer, violinist, ~cond., lute
nist, and kbd.-player. Studied in ~Potsdam with F. Benda and C. P. E. Bach. ~Ret
urned to Dessau where he promoted concerts ~and founded an opera theatre. Court
mus. dir., ~Dessau, from [sm1775[nm. Wrote vn. sonatas, operas, ~concs., and pf.
 sonatas regarded as precursors of ~Beethoven's.[cm~Rust, Wilhelm Karl [fy75,1](
[cf2]b [cf1]Dessau, [sm1787[nm; [cf2]d [cf1]Dessau, ~[sm1855[nm)
. Ger. organist and pianist, son of F. W. ~[fy45,1]*[fy75,1]Rust. Friend of Beet
hoven. Taught in Vienna ~[sm1807[nm=n[sm27[nm. Wrote pf. and organ pieces.[cm~[o
l0][ep~[xp[te~










[do42][j99]~~~~~~[sm153842[nm_RA[sm007[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmRA[sm007[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm13[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm520[nm[cm~GC[cm3[cm6.8.84[cm~U1[cm~~~~[ap[j1]Rustic Wedding [fy
75,1]([cf2]L;auandliche Hochzeit[cf1]). Title of ~sym. in [sm5[nm movements by K
. Goldmark, [sm1876[nm.[cm~Rustle of Spring [fy75,1]([cf2]Fr;auuhlingsrauschen[c
f1]). Title of pf. ~piece (No. [sm3[nm of [sm6[nm, Op. [sm32[nm, pubd. [sm1909[n
m) by Sinding, ~extremely popular and exists in many arrs. Comp. ~[sm1896[nm.[cm
~Rute, ruthe [fy75,1](Ger.). Rod. Type of birch brush used ~to beat the bass dru
m to obtain special effect. ~Called for by R. Strauss, Mahler in [sm7[nmth sym.,
 etc.[cm~Ruth. [fy75,1]Opera in [sm1[nm act by L. Berkeley to lib. by E. ~Crozie
r based on [cf2]Book of Ruth. [cf1]Prod. London [sm1956[nm. ~Also title of vario
us [sm19[nmth-cent. oratorios.[xm[cm~[j1]Rutland, Harold [fy75,1]([cf2]b [cf1]Lo
ndon, [sm1900[nm; [cf2]d [cf1]London, ~[sm1977[nm). Eng. pianist
, composer, adjudicator, and ~critic. Studied GSM, Cambridge Univ., and RCM. ~Wo
rked for BBC [sm1940[nm=n[sm56[nm. Ed., [cf2]Musical Times ~[cf1][sm1957[nm=n[sm
60[nm. Authority on John Ireland. Examiner ~TCL from [sm1959[nm.[cm~Rutter, John
 [fy75,1]([cf2]b [cf1]London, [sm1945[nm). Eng. composer. ~Studied Cambridge Uni
v. Dir. of mus., Clare ~Coll., Cambridge. Special interest in composing ~for you
ng people and for amateurs. Works incl.: ~[cf2]Bang! [cf1](opera, [sm1975[nm), [
cf2]Partita, [cf1]orch. ([sm1975[nm=n[sm6[nm), [cf2]The ~Falcon, [cf1]ch., semi-
ch., boy's ch., and orch. ([sm1969[nm), ~[cf2]Fancies, [cf1]ch. and orch. ([sm19
71[nm), [cf2]Gloria, [cf1]ch., brass, ~perc., org. ([sm1974[nm), [cf2][sm5[nm Ch
ildhood Lyrics, [cf1]unacc. ch. ~([sm1973[nm), anthems, carols, and church mus.[
cm~Ruy Blas. [fy75,1]Ov. by Mendelssohn, Op. [sm95[nm, comp. ~[sm1839[nm for a G
er. perf. of Victor Hugo's play of that ~name ([sm1838[nm).[cm~Ruyneman, Daniel
[fy75,1]([cf2]b [cf1]Amsterdam, [sm1886[nm; [cf2]d ~[cf1]Amsterd
am, [sm1963[nm). Dutch composer. Studied ~Amsterdam Cons. [sm1913[nm=n[sm16[nm.
Helped to found ~Netherlands Soc. for Development of Modern ~Mus. [sm1918[nm. Co
nd. of student mus. soc., Groningen ~Univ. [sm1924[nm=n[sm9[nm. Founder and dir.
, Netherlands Soc. ~for Contemporary Mus. [sm1930[nm=n[sm62[nm. Constant ex~~per
imenter with new sonorities. Works incl. ~opera [cf2]The Brothers Karamazov, [cf
1]sym., vn. conc., pf. ~conc., and str. qt. Influenced by Javanese mus.[cm~Ryom,
 Peter [fy75,1]([cf2]b [cf1][sm1937[nm). Danish musicologist. ~Catalogued works
of Vivaldi ([sm1973[nm), superseding ~earlier catalogues by Fanna, Pincherle, an
d ~Rinaldi.[cm~Rysanek, Leonie [fy75,1]([cf2]b [cf1]Vienna, [sm1926[nm). Austria
n sop. ~Studied Vienna Cons. with Alfred Jerger. Opera ~d;aaebut Innsbruck [sm19
49[nm as Agathe in [cf2]Der Freisch;auutz. ~[cf1]Munich State Opera from [sm1952
[nm, Vienna State ~Opera from [sm1954[nm. CG d;aaebut [sm1953[nm (Strauss's ~Dan
ae), NY Met. [sm1959[nm (Lady Macbeth). Bayreuth ~Fest. from [sm
1951[nm in several roles. Notable singer of ~R. Strauss roles (Empress in [cf2]D
ie Frau ohne Schatten, ~[cf1]etc.).[cm~Rzewski, Frederic [fy75,1](Anthony) ([cf2
]b [cf1]Westfield, Mass., ~[sm1938[nm). Amer. composer and pianist. Studied ~Har
vard Univ. (counterpoint with R. Thompson). ~Professional pianist from [sm1960[n
m. Taught at Cologne ~courses for new mus., [sm1963[nm, [sm1964[nm, [sm1970[nm.
Co-~founder, Musica Elettronica Viva studio, Rome. ~Returned to NY [sm1971[nm. D
isciple of Cage and ~Stockhausen. Has written works involving dan~~cers, film, t
ape, etc.[xm[cm~[j4]~[xp[te~





[do24][j99]~~~~~~[sm153842[nm_S[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmS[sm001[nm[cm[sm24[nm[cm~[sm1[nm[cm[sm13[nm-[sm10[nm-[
sm79[nm[cm[sm9[nm[cm[sm1[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[PN617,0,0,R,I0][ap[j3
]~S[cm~~[j1]S.[fy75,1] ([sm1[nm)^Abbreviation for [fy45,1]*[fy75,2]segno[cf1], [
fy45,1]*[fy75,2]sinistra[cf1], [fy45,1]*[fy75,2]subito.[ep~[cf1]^([sm2[nm)^Abbre
viation for [cf2]schola[cf1] (choir) in liturgical ~books.[ep~^([sm3[nm)^Abbrevi
ation for [fy45,1]*[fy75,1]Schmieder in catalogue ~of works of J. S. Bach.[cm~Sa
bbatini, Galeazzo[fy75,1] ([cf2]b[cf1] Pesaro, [sm1597[nm; [cf2]d[cf1] Pesaro, ~
[sm1662[nm). It. composer. Mus. dir. to Duke of ~Mirandola [sm1630[nm=n[sm9[nm.
Comp. madrigals and motets. ~Wrote treatise on figured bass.[cm~Sabr;aaa, Wad;aa
i[fy75,1] ([cf2]b[cf1] Beirut, [sm1876[nm; [cf2]d[cf1] Beirut, [sm1952[nm). ~Leb
anese composer and organist. Studied in ~Beirut and at Paris Cons. ([sm1893[nm).
 Organist of ~several Paris churches [sm1893[nm=n[sm1910[nm. Fou
nded mus. ~sch. in Lebanon. Returned to Paris [sm1919[nm and ~worked on problems
 of Arab scale, having special ~pf. purpose-built by Pleyel. Dir., Nat. Cons., ~
Beirut, [sm1925[nm. Proposed universal scale uniting ~Eastern and Western system
s. Comp. operas, ~oratorios, Lebanese folk-song settings, etc.[cm~Sacchini, Anto
nio [fy75,1](Maria Gasparo) ([cf2]b[cf1] Florence, ~[sm1730[nm; [cf2]d[cf1] Pari
s, [sm1786[nm). It. composer, influenced by ~Gluck's reforms. Studied in Naples.
 Active in ~Rome [sm1762[nm=n[sm9[nm. Worked in London [sm1772[nm=n[sm81[nm, ~wr
iting [sm17[nm operas which won him popularity. ~Settled in Paris [sm1782[nm whe
re he enjoyed even ~greater vogue. Piccinni's most formidable rival in ~It. Wrot
e over [sm40[nm operas, incl. [cf2]Semiramide, Armido ~e Rinaldo, [cf1]and [cf2]
Oedipe ;aga Colonne[cf1], [sm2[nm syms., [sm6[nm str. qts.[cmSacher, Paul[fy75,1
] ([cf2]b[cf1] Basle, [sm1906[nm). Swiss cond. Studied ~Basle Univ. and Cons. Fo
unded Basle Chamber ~Orch. [sm1926[nm, Schola Cantorum Basiliens
is [sm1933[nm. ~Cond. Z;auurich Collegium Musicum (chamber ~orch.) from [sm1941[
nm. Dir., Basle Acad. of Mus. [sm1954[nm=n~[sm69[nm. Cond. at Glyndebourne [sm19
54=n63[nm (d;aaebut in ~Stravinsky's [cf2]The Rake's Progress[cf1]). NY d;aaebut
 [sm1955[nm. ~Among works commissioned for his Basle and ~Z;auurich chamber orch
s. are Bart;aaok's [cf2]Divertimento[cf1] ~and [cf2]Music for Strings, Percussio
n and Celesta[cf1], and ~works by Berio, Fortner, Henze, Hindemith, ~Honegger, I
bert, K;akrenek, Malipiero, Martin, ~Strauss, Stravinsky, and Tippett.[cm~Sachs,
 Curt[fy75,1] ([cf2]b[cf1] Berlin, [sm1881[nm; [cf2]d[cf1] NY, [sm1959[nm). Ger.
-~born musicologist. Studied Berlin. Prof. of musi~~cology, Berlin Univ. and cur
ator of state coll. of ~mus. instrs. Left Ger. [sm1934[nm, settling first in Par
is, ~then USA. Author of books on instrs., rhythm ~and tempo, history of dance,
etc.[cm~Sachs, Hans[fy75,1] ([cf2]b[cf1] Nuremberg, [sm1494[nm; [cf2]d[cf1] Nure
mberg, ~[sm1576[nm). Ger. shoemaker and poet, foremost of ~Nurem
berg Mastersingers. Wrote over [sm4[nm,[sm000[nm ~master-sch. poems and nearly [
sm2[nm,[sm000[nm narrative and ~dramatic poems. His master-songs were pubd. in ~
[cf2]Das Singebuch des Adam Puschmann [cf1]ed. M;auunzer ~([sm1906[nm). Immortal
ized by Wagner in [cf2]Die Meister~~singer von N;auurnberg[cf1] ([sm1862=n7[nm).
[cm~Sackbut. [fy75,1]([sm1[nm) Early Eng. name for tb. Origin of ~name unknown (
sometimes occurs as [cf2]shagbolt[cf1]). ~Used from last years of [sm15[nmth cen
t. Most common ~size was tenor in B;Yh which could cope with alto, ~ten., or bas
s parts. Adaptable to different pitches. ~Little different from modern tb. excep
t that ~modern instr. has bell with greater flare. Matthew ~[fy45,1]*[fy75,1]Loc
ke's [cf2]Music for His Majesty's Sackbuts and ~Cornetts[cf1] dates from [sm1661
[nm.[ep~^([sm2[nm) Name of mus. periodical founded by Philip ~[fy45,1]*[fy75,1]H
eseltine, [sm1920[nm.[cm~Sackman, Nicholas[fy75,1] ([cf2]b[cf1] London, [sm1950[
nm). Eng. ~composer. Studied Nottingham Univ., then Leeds ~Univ.
 (with A. Goehr). Teaches in London. Works ~incl. [cf2]Ensembles and Cadenzas[cf
1] ([sm1972[nm) for chamber ~ens.; [cf2]From this moment a change[cf1] ([sm1973[
nm), chamber ~ens.; [cf2]A Pair of Wings[cf1] ([sm1970[nm=n[sm3[nm), [sm3[nm sol
o sop. and ~chamber ens.; [cf2]Ellipsis[cf1] ([sm1976[nm), orch. incl. pf., ~pre
pared pf., elec. org., sax.; [cf2]Doubles Group [sm1[nm[cf1] and ~[cf2]Group [sm
2[nm[cf1] ([sm1977[nm), for chamber ens.; str. qt. ([sm1979[nm); [cf2]And the Wo
rld a Wonder Waking[cf1], mez., [sm8[nm instr. ([sm1981[nm); [cf2]Holism[cf1], v
n., vc. ([sm1982[nm); pf. sonata ([sm1984[nm).[cm~Sacra rappresentazione[fy75,1]
 (It.). `Sacred representa~~tion'. Type of staged oratorio, precursor of opera,
~popular in Italy up to mid-[sm16[nmth cent.[cm~Sacred and Profane[fy75,1]. [sm8
[nm settings of medieval lyrics ~for unacc. vv. by Britten, Op. [sm91[nm, comp.
[sm1974[nm=n[sm5[nm: ~[sm1[nm. [cf2]St. Godric's hymn. [cf1][sm2[nm.[cf2] I mon
waxe wod. [cf1][sm3[nm.[cf2] Lenten is ~come. [cf1][sm4[nm.[cf2]
 The long night.[cf1] [sm5[nm.[cf2] Yif ic of luve can.[cf1] [sm6[nm.[cf2] Carol
. ~[cf1][sm7[nm.[cf2] Ye that pasen by.[cf1] [sm8[nm.[cf2] A death.[cf1] F.p. Sn
ape [sm1975[nm.[xm[cm~[j1]Sacred Harmonic Society.[fy75,1] Eng. choral soc. est.
 ~[sm1832[nm for perf. of sacred mus. Gave concerts at ~Exeter Hall [sm1834[nm=n
[sm80[nm, then evicted by YMCA, ~who bought the hall and objected to `oratorios
for ~amusement'. Dissolved [sm1889[nm.[cmSacred Service [fy75,1]([cf2]Avodath Ha
kodesh[cf1]). Setting by ~Bloch of Jewish Sabbath morning service for bar., ~ch.
, and orch. Hebrew text follows [sm5[nm traditional ~chief liturgical sections w
ith additions chosen by ~Bloch. Comp. [sm1930[nm=n[sm3[nm after request in [sm19
30[nm for ~setting for use in Reform Synagogue, NY. F.p., ~Turin [sm1934[nm.[cm~
Sacre du printemps, Le.[fy75,1] Fr. title for Stravinsky's ~[cf2]The [fy45,1]*[f
y75,2]Rite of Spring.[cm~Sada;aui, Yizhak[fy75,1] ([cf2]b[cf1] Sofia, [sm1935[nm
). Bulgarian com~~poser. Studied Tel Aviv Acad. of Mus. [sm1951[
nm=n[sm6[nm ~under Partos and Haubenstock-Ramati. Teacher ~in Jerusalem since [s
m1960[nm and at Tel Aviv Univ. ~since [sm1966[nm. Works incl. [cf2]Pr;Aaelude ;A
ga Jerusalem[cf1] for [sm3[nm ~reciters, ch., and orch. Since being influenced b
y ~[PN618,0,0,L,I0]Pierre Schaeffer in [sm1966[nm, many of his works have ~used
tape.[cm~Sadie, Stanley[fy75,1] (=+=+John) ([cf2]b[cf1] Wembley, [sm1930[nm). En
g. ~critic, writer, and editor. Studied Cambridge ~Univ. with Dart, Cudworth, an
d Hadley. On ~mus. staff of [cf2]The Times[cf1] [sm1964[nm=n[sm79[nm. Ed., [cf2]
Musical ~Times[cf1] from [sm1967[nm. Ed., [cf2]New Grove Dictionary of ~Music[cf
1] ([sm6[nmth edn. of Grove's [cf2]Dictionary of Music and ~Musicians[cf1]) [sm1
970[nm (pubd. [sm1980[nm). Author of books ~on Handel, Mozart, and Beethoven. C.
B.E. [sm1982[nm.[cm~[cj3,4,27]Sadko.[fy75,1] Opera ([cf2]opera-bylina[cf1]) in [
sm7[nm scenes by Rimsky-[fj~Korsakov to lib. by composer and Belsky. Comp. ~[sm1
894[nm=n[sm6[nm. Prod. Moscow [sm1898[nm, NY Met. [sm1930[nm, ~L
on[chdon [sm1931[nm. Developed from `symphonic pic~~ture' for orch., [cf2]Sadko[
cf1], comp. [sm1867[nm, rev. [sm1869[nm and ~[sm1891[nm.[cm~[nbSadler's Wells.[f
y75,1] Th. in N. London (Rosebery ~Avenue). Named because in [sm1683[nm a Mr Sad
ler ~discovered a well in his garden with supposedly ~medicinal properties and e
nlarged his buildings ~and grounds to accommodate customers, for ~whom he also p
rovided entertainment. In [sm1765[nm a ~th. was built on the site. Various enter
tainments ~were given there before it fell into disuse. In [sm1925[nm ~a public
appeal raised ;bp[sm70[nm,[sm000[nm in [sm5[nm years to ~restore the th. as a ho
me for opera and drama like ~the Old Vic. It opened, with a capacity of [sm1[nm,
[sm650[nm, ~in Jan. [sm1931[nm under management of Lilian [fy45,1]*[fy75,1]Bayli
s. ~Opera and ballet alternated with Shakespeare ~prods., between SW and Old Vic
, but from[sm1934[nm=n~[sm5[nm the opera was based at SW. In next [sm5[nm years,
 ~several operas had their f.ps. and f.ps. in England ~(incl. Ri
msky-Korsakov's [cf2]Snow Maiden[cf1] and the ~orig. [cf2]Boris Godunov[cf1]), a
nd many famous Eng. ~singers and conds. worked there. During war, co. ~concentra
ted on touring but was built up again ~under directorship of Joan Cross. For ret
urn to its ~London home in June [sm1945[nm the co. produced a ~new opera by Benj
amin Britten, [cf2]Peter Grimes[cf1]. In ~[sm1947[nm, Norman Tucker became co-di
r. (dir. [sm1954[nm=n~[sm66[nm), and post-war mus. dirs. incl. James Robertson ~
[sm1946[nm=n[sm54[nm, Alexander Gibson [sm1957[nm=n[sm9[nm, Colin Davis ~[sm1959
[nm=n[sm65[nm, Charles Mackerras [sm1970[nm=n[sm8[nm, Charles ~Groves [sm1978[nm
=n[sm9[nm, Mark Elder from [sm1979[nm. Since ~[sm1950[nm new operas by Berkeley,
 Gardner, Richard ~Rodney Bennett, Malcolm Williamson, and Gor~~don Crosse have
been prod. at SW and the co. has ~often toured the provinces. Its Jan;Aaa;Akcek
perfs. est. ~the composer in the Brit. public's favour, and ~there have been fam
ous prods. of [cf2]Cos;Agi fan tutte, ~Rusalka, Simon Boccanegra
[cf1], and many other operas. ~Stephen Arlen was dir. [sm1966[nm=n[sm72[nm, succ
eeded by ~the Earl of Harewood, whose tenure ended in ~[sm1985[nm when he was su
cceeded by Peter Jonas ([cf2]b ~[cf1]London, [sm1947[nm). Arlen pioneered the co
.'s move ~from the Rosebery Avenue th. to the London ~Coliseum and in [sm1974[nm
 the co.'s name was changed ~from SW Opera to [fy45,1]*[fy75,1]English National
Opera. A ~feature of Arlen's management was the engage~~ment of Reginald Goodall
 to conduct Wagner's ~[cf2]Master[chsingers[cf1] and later the complete [cf2]Rin
g[cf1] in a ~new Eng. trans. by Andrew Porter, and with Rita ~Hunter as Br;auunn
hilde. A separate opera co., ENO ~North, based in Leeds, was founded Nov. [sm197
8[nm, ~with David Lloyd-Jones as mus. dir. Its name was ~changed to [fy45,1]*[fy
75,1]Opera North in [sm1981[nm. For SW Ballet, ~see [cf2]Royal Ballet[cf1].[cm~S
;aaadlo [fy75,1](Z;aaatvrzsk;aay), [fy65,3]Milo;aks [fy75,1]([cf2]b[cf1] Prague,
 [sm1912[nm). Cz. ~cellist. Studied vn. and taught himself the v
c. ~Adopted name of his teacher K. P. S;aaadlo. D;aaebut ~as soloist [sm1929[nm,
 London [sm1937[nm. Studied at Prague ~Cons. [sm1938[nm=n[sm40[nm and with Casal
s in [sm1955[nm. Member ~of Prague Qt. ([sm1931[nm=n[sm3[nm) and other chamber g
roups ~incl. Prague Trio ([sm1966=n73[nm). Taught at Prague ~Acad. from [sm1950[
nm. Gave modern premi;agere of ~Dvo;akr;aaak's A major conc., which he edited.[c
m~Saeta.[fy75,1] Andalusian folk-song sung during Lent or ~Feast of the Nativity
 to acc. street processions.[cm~Saeverud, Harald [fy75,1](Sigurd Johan) ([cf2]b[
cf1] Bergen, ~[sm1897[nm). Norweg. composer. Studied Bergen Cons. ~[sm1915[nm=n[
sm20[nm and Berlin Hochschule f;auur Musik [sm1920[nm=n~[sm1[nm. Studied cond. i
n Berlin, [sm1935[nm, with C. Krauss. ~Mus. critic in Bergen [sm1929[nm=n[sm40[n
m. Works incl. [sm9[nm ~syms. ([sm1920[nm=n[sm65[nm), [cf2]Overtura appassionata
[cf1] for orch. ~([sm1920[nm), [cf2][sm50[nm Variazioni piccole[cf1] for chamber
 orch. ~([sm1931[nm), ob. conc. ([sm1938[nm), incidental mus. to
 [cf2]Peer ~Gynt[cf1] ([sm1947[nm, [sm2[nm orch. suites [sm1947[nm), [sm2[nm pf.
 concs., vn. ~conc. ([sm1956[nm), bn. conc. ([sm1963[nm), str. qt. ([sm1969[nm).
[cmSafonov [fy75,1](Safonoff), [fy65][cf3]Vasily [fy75,1](Ilyich)[cf1] ([cf2]b[c
f1] Itsyursk, ~Caucasus, [sm1852[nm; [cf2]d[cf1] Kislovodsk, [sm1918[nm). Russ.
pianist ~and cond. Pupil of Leschetizky in St Petersburg, ~where he made d;aaebu
t [sm1880[nm. Taught at St ~Petersburg Cons. [sm1881[nm=n[sm5[nm and at Moscow C
ons. ~[sm1885[nm=n[sm1905[nm (dir. from [sm1889[nm). Began career as ~cond. [sm1
889[nm. NY d;aaebut [sm1904[nm, cond. NY P.O. [sm1906[nm=n~[sm9[nm. Dir., Nat. C
ons., NY, [sm1906[nm=n[sm9[nm. London d;aaebut ~with LSO [sm1906[nm. Returned to
 Russia [sm1911[nm. Notable ~advocate of Tchaikovsky's mus.[cm~Saga, En[fy75,1]
(Sibelius). See [cf2]En Saga.[cm~Sainete[fy75,1] (Sp. `Farce', `titbit'). Sp. fo
rm of late [sm18[nmth-~cent. comic opera, usually employing scenes of ~low life.
 Among notable composers of [cf2]Sainetes[cf1] ~was [fy45,1]*[fy
75,1]Soler.[cm~St Anne.[fy75,1] Eng. hymn-tune of disputed orig. but ~probably c
omp. by William [fy45,1]*[fy75,1]Croft, who pubd. it ~in [sm1708[nm. Usually sun
g to words `O God, our help ~in ages past'. J.|S.|Bach's Fugue in E;Yh for org.
(last ~item of [cf2]Klavier;auubung[cf1], Book [sm3[nm, [sm1739[nm) begins with
~same notes and is known in Eng. as [cf2]St Anne Fugue.[cm~`St Anthony' Variatio
ns [fy75,1](Brahms). See [cf2]Variations ~on a Theme by Haydn[cf1].[cm~Saint-Foi
x, Marie Olivier Georges du Parc ~Poulain, Comte de[fy75,1] ([cf2]b[cf1] Paris,
[sm1874[nm; [cf2]d[cf1] Aix-en-~Provence, [sm1954[nm). Fr. musicologist. Studied
 at ~Schola Cantorum. Author, with T. de [fy45,1]*[fy75,1]Wyzewa, ~of life of Mo
zart in [sm5[nm vols., [sm1912[nm=n[sm46[nm (last [sm3[nm vols. ~by Saint-Foix a
lone). Wrote book on Mozart's ~syms. ([sm1932[nm, Eng. edn. [sm1947[nm).[cm~[PN6
19,0,0,R,I0]Saint Fran;alcois d'Assisi [fy75,1](St Francis of Assisi). ~Opera ([
cf2]sc;agenes franciscaines[cf1]) in [sm3[nm acts and [sm8[nm ta
bleaux ~by Messiaen to his own lib. Comp. [sm1975[nm=n[sm83[nm. F.p. ~Paris, Dec
. [sm1983[nm, cond. Ozawa.[cm~ Saint-George, George[fy75,1] ([cf2]b[cf1] Leipzig
, [sm1841[nm; [cf2]d[cf1] Lon~~don, [sm1924[nm). Eng. violinist and player of vi
ola ~d'amore. Studied in Dresden and Prague. Settled ~in London [sm1862[nm, manu
facturing instr. and giving ~recitals on viola d'amore and [fy45,1]*[fy75,1]crwt
h. His son ~Henry ([cf2]b[cf1] London, [sm1866[nm; [cf2]d[cf1] London, [sm1917[n
m) was ~also an expert on str. instr., ed. [cf2]The Strad[cf1] for [sm4[nm ~year
s, and wrote book on the bow ([sm1895[nm). Taught ~at TCL.[cm~St James's Hall.[f
y75,1] Chief concert-hall in London ~[sm1858[nm=n[sm1905[nm, in Regent St. Capac
ity [sm2[nm,[sm127[nm people. ~Home of chamber concerts known as `Monday ~Pops'
[sm1859[nm=n[sm98[nm and `Saturday Pops' [sm1865[nm=n[sm98[nm, Phil. ~Soc. conce
rts, Richter concerts, etc. Superseded ~by Queen's Hall and subsequently demolis
hed.[cm~St John Passion[fy75,1] ([cf2]=+=+Johannespassion[cf1];
properly in ~Eng. [cf2]The Passion According to St John[cf1]). Setting by ~Bach
(BWV[sm245[nm) for solo vv., ch., and orch. of the ~Passion of Christ narrated i
n St John's Gospel, ~with interpolations. F.p. Leipzig, Good Friday ~[sm1723[nm,
 f.p. in England [sm1872[nm. There are also [cf2]St John ~Passion[cf1] settings
by Selle ([sm1623[nm), [fy45,1]*[fy75,1]Sch;Auutz ([sm1666[nm), ~and [fy45,1]*[f
y75,1]Telemann ([sm1741[nm).[cm~St John's Night on the Bare Mountain[fy75,1] (Mu
s~~sorgsky). See [cf2]Night on the Bare Mountain.[cm~St John's, Smith Square. [f
y75,1]London church built ~between [sm1713[nm and [sm1728[nm. Converted into con
cert-~hall [sm1969[nm and used often for broadcasts of chamber ~mus. and chamber
 ensembles. Orch. of St John's, ~Smith Square, founded by John Lubbock, [sm1973[
nm.[cm~St Louis Symphony Orchestra. [fy75,1]Second oldest ~sym. orch. in USA, fo
unded in St Louis, Missouri, ~March [sm1881[nm. Complement of about [sm100[nm mu
si~~cians. Since [sm1968[nm has played in Powell Symphony ~Hall.
 Prin. conds. have incl. Joseph Otten, Alfred ~Ernst, Max Zach, Rudolph Ganz, Vl
adimir ~Golschmann ([sm1931[nm=n[sm58[nm), Edouard van Remoortel, ~Eleazar Carva
lho, Walter S;auusskind, Jerzy ~Semkow, and Leonard Slatkin.[cm~St Ludmila. [fy7
5,1]Oratorio, Op. [sm71[nm, by Dvo;Akr;aaak, comp. ~[sm1885[nm=n[sm6[nm and f.p.
 Leeds Fest. [sm1886[nm. Text by ~Vrchlick;aay. For sop., cont., [sm2[nm ten., b
ass, ch., and ~orch.[cm~St Luke Passion. [fy75,1]Oratorio by [fy45,1]*[fy75,1]Pe
nderecki for ~narrator, sop., bar., bass, boys' ch., [sm3[nm mixed ch., ~and orc
h. Comp. [sm1963[nm=n[sm6[nm. Commissioned by W. ~Ger. Radio (Cologne). F.p. M;a
uunster Cath. [sm1966[nm.[cm~[cj4,8,27]St Matthew Passion [fy75,1]([cf2]Matth;au
auspassion[cf1]; properly ~in Eng.[cf2] The Passion According to St Matthew[cf1]
). ~Setting by Bach (BWV[sm244[nm) for solo vv., ch., and ~orch. of the Passion
of Christ from St Matthew's ~Gospel with interpolations by Picander. F.p. ~Leipz
ig, Good Friday [sm1727[nm; revived by Mendels~~sohn, Berlin [sm
1829[nm (see [cf2]Bach Revival[cf1]), f.p. London ~[sm1854[nm (incomplete), [sm1
870[nm (complete, cond. ~Barnby). There are other settings of the [cf2]St Matthe
w ~Passion[cf1], incl. those by R. [fy45,1]*[fy75,1]Davy and [fy45,1]*[fy75,1]Sc
h;auutz ~([sm1665[nm).[cm~[nbSt Nicolas.[fy75,1] Cantata, Op. [sm42[nm, by Britt
en, text by ~Eric Crozier, for solo ten., ch., women's semi-ch., ~[sm4[nm boy si
ngers, str., pf. duet, perc., and org. Comp. ~[sm1947[nm=n[sm8[nm. F.p. Aldeburg
h [sm1948[nm.[cm~Saint of Bleecker Street, The. [fy75,1]Opera in [sm3[nm acts by
 ~[fy45,1]*[fy75,1]Menotti to his own lib. Prod. NY [sm1954[nm, Milan ~[sm1955[n
m, London (TV) [sm1956[nm.[cm~Sainton, Prosper [fy75,1](Philippe Cath;aaerine)[c
f1] ([cf2]b[cf1] Tou~~louse, [sm1813[nm; [cf2]d[cf1] London, [sm1890[nm). Fr. vi
olinist. Studied ~Paris Cons., [sm1831[nm=n[sm4[nm, with Habeneck. Prof., ~Toulo
use Cons. [sm1840[nm=n[sm5[nm. Settled in London [sm1845[nm, ~becoming prof. at
RAM, leader of Phil. Soc. orch. ~[sm1846[nm=n[sm54[nm, CG orch.
[sm1847[nm=n[sm71[nm. Wrote [sm2[nm vn. concs. ~and several vn. pieces. Retired
[sm1883[nm.[cm~Sainton-Dolby, Charlotte [fy75,1](Helen) ([cf2]b[cf1] London, ~[s
m1821[nm; [cf2]d[cf1] London, [sm1885[nm). Eng. cont. Studied RAM. ~D;aaebut as
soloist London [sm1842[nm. Sang at Leipzig ~Gewandhaus concerts [sm1845[nm=n[sm6
[nm. Mendelssohn ~wrote cont. part in [cf2]Elijah [cf1]for her. Married violinis
t ~Prosper [fy45,1]*[fy75,1]Sainton [sm1860[nm. Opened singing sch. in ~London [
sm1872[nm. Comp. [sm4[nm cantatas.[cm~St Paul[fy75,1] ([cf2]Paulus[cf1]). Orator
io by Mendelssohn, Op. ~[sm36[nm, for SATB soloists, ch., and orch., comp. [sm18
34[nm=n~[sm6[nm, f.p. D;auusseldorf [sm1836[nm cond. composer.[cm~St Paul's Suit
e.[fy75,1] Suite for str. orch., Op. [sm29[nm No. [sm2[nm, ~by Holst, comp. [sm1
912[nm=n[sm13[nm. Written for sch. orch. ~of St Paul's Girls' Sch., Hammersmith,
 where ~Holst was dir. of mus. from [sm1905[nm. [sm4[nm movements ~are [cf2]Jig,
 Ostinato, Intermezzo[cf1], and [cf2]Finale: the ~[fy45,1]*[fy75
,2]Dargason[cf1] (in which the tune [cf2]Greensleeves [cf1]is used ~as a counter
point).[cm~Saint-Sa;auens, [fy75,1](Charles) [fy65][cf3]Camille [fy75,1]([cf2]b[
cf1] Paris, [sm1835[nm; [cf2]d[cf1] ~Algiers, [sm1921[nm). Fr. composer, pianist
, and organist. ~Showed mus. aptitude as child almost comparable ~with Mozart's.
 Gave pf. recital in Paris [sm1846[nm. ~Entered Paris Cons. [sm1848[nm, studying
 org. with ~Benoist and comp. with Hal;aaevy. Organist, Eglise ~Ste-Merry, Paris
, [sm1853[nm=n[sm7[nm, Madeleine [sm1857[nm=n[sm76[nm. In ~[sm1852[nm met and be
came friends with Liszt, by ~whom he was much influenced. Wrote his first ~syms.
 [cf2]c.[sm[cf1]1848[nm and [sm1850[nm (unpubd.) and became pf. ~prof. at ;aaEco
le Niedermeyer [sm1861[nm=n[sm5[nm (his pupils incl. ~Faur;aae and Messager). Wr
ote first opera [sm1864[nm=n[sm5[nm and ~began work on [cf2]Samson et Dalila[cf1
] in [sm1868[nm. In [sm1871[nm ~was co-founder of Soci;aaet;aae Nationale de Mus
ique, ~formed to encourage development of Fr. instr. sch. To thi
s end wrote a series of excellent ~symphonic poems. By this time was in demand ~
as solo pianist and organist, and was soloist at the ~f.p. of his [sm5[nm pf. co
ncs. between [sm1865[nm and [sm1896[nm. ~First visit to Eng., [sm1871[nm, to pla
y Albert Hall org. ~Liszt prod. [cf2]Samson et Dalila [cf1]at Weimar [sm1877[nm,
 ~Parisian impresarios regarding the biblical subject ~as too serious (not prod.
 at the Op;aaera until [sm1892[nm). ~His best sym., No. [sm3[nm in C minor (the
`Organ') was ~[PN620,0,0,L,I0]ded. to Liszt's memory and f.p. in London, [sm1886
[nm. ~In later life Saint-Sa;auens travelled widely and stayed ~often in Algeria
, some of his later works reflecting ~local colour. Visited USA in [sm1915[nm. L
ast visited ~Eng. [sm1913[nm to conduct [cf2]The Promised Land [cf1]at ~Gloucest
er Fest. Wrote coronation march for ~Edward VII in [sm1902[nm.[ep^Saint-Sa;auens
's output was prolific and extended ~for most of his [sm86[nm years. Elegance of
 form and ~line, beautiful harmonies and chords were more ~impor
tant to him than emotional feeling or ~technical adventure, and his mus. has the
refore ~been condemned for its superficiality and facility. ~Nevertheless these
very qualities, to which may ~be added graceful melodic invention, have ~ensured
 the survival of a large amount of his ~work. It is not insignificant that he wa
s admired ~by Ravel, another emotionally undemonstrative ~composer. His best fea
tures are to be found in ~[cf2]Samson et Dalila[cf1], the [sm3[nmrd Sym., and th
e pf. concs. ~Hon. C.V.O. [sm1902[nm. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy7
5,2]La Princesse jaune[cf1] ([sm1872[nm); [cf2]Le Timbre ~d'argent[cf1] ([sm1877
[nm); [cf2]Etienne Marcel[cf1] ([sm1879[nm); [fy45,1]*[fy75,2]Samson ~et Dalila[
cf1] ([sm1868=n77[nm); [cf2]Henri VIII[cf1] ([sm1883[nm); [cf2]Proserpine[cf1] ~
([sm1887[nm); [cf2]Ascanio[cf1] ([sm1890[nm); [cf2]Phryn;aae[cf1] ([sm1893[nm);
[cf2]Les Bar~~bares[cf1] ([sm1901[nm); [cf2]H;aael;agene[cf1] ([sm1904[nm); [cf2
]L'anc;afetre[cf1] ([sm1906[nm); ~[cf2]D;aaejanire[cf1] ([sm1911
[nm).[ep~[smorch[nm: Syms: No. [sm1[nm in E;Yh ([sm1853[nm), No. [sm2[nm in A mi
nor ~([sm1859[nm), No. [sm3[nm in C minor, with org. ([sm1886[nm) ([sm2[nm ~othe
r syms., [sm2[nmnd and [sm3[nmrd in order of comp., ~[sm1852[nm and [sm1859[nm,
were withdrawn by the com~~poser); symphonic poems: [cf2]Le [fy45,1]*[fy75,2]Rou
et d'Omphale[cf1] ~([sm1871[nm=n[sm2[nm); [fy45,1]*[fy75,2]Pha;aueton[cf1] ([sm1
873[nm), [fy45,1]*[fy75,2]Danse macabre[cf1] ~([sm1874[nm), [cf2]La [fy45,1]*[fy
75,2]Jeunesse d'Hercule[cf1] ([sm1877[nm); [cf2]Marche ~h;aaeroique[cf1] ([sm187
1[nm); [cf2]Suite Alg;aaerienne [cf1]([sm1880[nm); [cf2]Une Nuit ~;aga Lisbonne[
cf1] ([sm1880[nm);[cf2] Jota Aragonesa[cf1] ([sm1880[nm); [cf2]Ouver~~ture de f;
afete[cf1] ([sm1910[nm).[ep~[sminstr. and orch[nm: Pf. Concs.: No. [sm1[nm in D
([sm1858[nm), ~No. [sm2[nm in G minor ([sm1868[nm), No. [sm3[nm in E;Yh ([sm1869
[nm), No. ~[sm4[nm in C minor ([sm1875[nm), No. [sm5[nm in F ([sm1896[nm); [cf1]
Vn. ~Concs.[cf1]: No. [sm1[nm in A major ([sm1859[nm), No. [sm2[
nm in C ~([sm1858[nm, pubd. [sm1879[nm), No. [sm3[nm in B minor ([sm1880[nm); ~V
c. Concs.: No. [sm1[nm in A minor ([sm1872[nm), No. [sm2[nm ~([sm1902[nm); Misce
llaneous:[cf2] Introduction and Rondo ~Capriccioso[cf1], vn. ([sm1863[nm, pubd.
[sm1870[nm), [cf2]Romance[cf1], vn. ~([sm1874[nm), [cf2]Morceau de Concert[cf1],
 vn. ([sm1880[nm), [cf2]Caprice ~Andalou[cf1], vn. ([sm1904[nm); [cf2]Allegro ap
passionato[cf1], pf. ~([sm1884[nm); [cf2]Rapsodie d'Auvergne[cf1], pf. ([sm1884[
nm); [cf2]Africa[cf1], ~fantasy, pf. ([sm1891[nm); [cf2]Tarantelle[cf1], fl., cl
. ([sm1857[nm); ~[cf2]Romance[cf1], fl. or vn. ([sm1871[nm); [cf2]Odelette[cf1],
 fl. ([sm1920[nm); ~[cf2]Romance[cf1], hn. or vc. ([sm1874[nm); [fy45,1]*[fy75,2
]Carnaval des ~Animaux[cf1], [sm2[nm pf. and orch. ([sm1886[nm).[ep~[smchorus an
d orch[nm: [cf2]Mass [cf1]([sm1856[nm); [cf2]Oratorio de No;auel ~[cf1]([sm1858[
nm); [cf2]Les Noces de Prom;Aaeth;Aaee [cf1]([sm1867[nm); [cf2]Psalm [sm18[nm[cf
1] ~([sm1865[nm); [cf2]Le D;aaeluge[cf1] ([sm1875[nm); [cf2]Requ
iem[cf1] ([sm1878[nm); [cf2]La Lyre ~et l'harpe[cf1] ([sm1879[nm); [cf2]Hymne ;A
ga Victor Hugo[cf1] ([sm1881[nm); [cf2]Le ~Feu c;Aaeleste[cf1] ([sm1900[nm); [cf
2]Psalm [sm150[nm[cf1] ([sm1907[nm); [cf2]The Promised ~Land[cf1] ([sm1913[nm);
[cf2]Hail, California[cf1] ([sm1915[nm); [cf2]Hymne ;Aga la ~Paix[cf1] ([sm1919[
nm).[ep~[smchamber music[nm: Str. Qt. No. [sm1[nm ([sm1899[nm), No. [sm2[nm ([sm
1918[nm); ~pf. quintet ([sm1865[nm); pf. trio No. [sm1[nm in F ([sm1863[nm), No.
 ~[sm2[nm in E minor ([sm1892[nm); pf. qt. ([sm1875[nm); [cf2]Septet[cf1], pf.,
~str., tpt. ([sm1881[nm); vn. sonata No. [sm1[nm in D minor ~([sm1885[nm), No. [
sm2[nm in E;Yh ([sm1896[nm); [cf2]Wedding-Cake[cf1], ~caprice-valse, pf. and str
. ([sm1886[nm); [cf2]Havanaise[cf1], vn. ~and pf. (or orch.) ([sm1887[nm); vc. s
onata No. [sm1[nm ([sm1872[nm), ~No. [sm2[nm ([sm1905[nm); [cf2]Cavatina[cf1], t
en. tb. and pf. ([sm1915[nm); ~[cf2]Elegy[cf1] No. [sm1[nm, vn. and pf. ([sm1915
[nm), No. [sm2[nm ([sm1920[nm); ob. ~sonata, cl. sonata, bn. son
ata ([sm1921[nm).[ep~[smpiano[nm: [cf2][sm6[nm Bagatelles[cf1] ([sm1855[nm); [cf
2][sm6[nm ;AaEtudes[cf1] ([sm1877[nm); [cf2][sm6[nm ~;AaEtudes[cf1] ([sm1899[nm)
; [cf2][sm6[nm Fugues [cf1]([sm1920[nm).[ep~[sm2[nm [smpianos[nm: [cf2]Variation
s on a Theme of Beethoven[cf1] ([sm1874[nm); ~[cf2]Polonaise[cf1] ([sm1886[nm);
[cf2]Caprice Arabe[cf1] ([sm1884[nm); [cf2]Caprice ~h;Aaeroique[cf1] ([sm1898[nm
).[ep~[smorgan[nm: [cf2]B;Aaen;Aaediction nuptiale[cf1] ([sm1859[nm); [cf2][sm3[
nm Preludes and ~Fugues[cf1] ([sm1894[nm); [cf2]Marche r;Aaeligieuse[cf1] ([sm18
97[nm); [cf2][sm3[nm Fan~~taisies[cf1] ([sm1857[nm, [sm1895[nm, [sm1919[nm).[cm~
[ol0][ep~[xp[te~




[do24][j99]~~~~~~[sm153842[nm_S[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmS[sm002[nm[cm[sm24[nm[cm~[sm1[nm[cm[sm18[nm-[sm10[nm-[
sm79[nm[cm[sm9[nm[cm[sm44[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]St Thoma
s Wake.[fy75,1] Foxtrot for orch by [fy45,1]*[fy75,1]Maxwell ~Davies on a Pavan
by John Bull. Scored for large ~orch., with many exotic instr., contrasting Bull
's ~tune with [sm20[nmth-cent. dance-band foxtrot, and ~inspired by composer's m
emories of air raid on ~Manchester [sm1940[nm. F.p. Dortmund [sm1969[nm, cond. ~
composer.[cm~Saite[fy75,1] (Ger., plural [cf2]Saiten[cf1]). String, thus [cf2]Sa
iten~~[chinstrumente[cf1], str. instr.[cm~Salas, Juan Orrego.[fy75,1] See [cf2]O
rrego-Salas, Juan[cf1].[cm~Salazar, Adolfo[fy75,1] ([cf2]b[cf1] Madrid, [sm1890[
nm; [cf2]d[cf1] Mexico City, ~[sm1958[nm). Sp. composer and critic. Pupil of Fal
la. ~Mus. critic Madrid[cf2] El Sol[cf1] [sm1918[nm=n[sm36[nm. Settled in ~Mexic
o [sm1939[nm as teacher. Wrote orch. mus. Author ~of books on Sp
. mus., ballet, and Bach.[cm~Salicional. [fy75,1]Org. stop of soft tone, [sm8[nm
;po length and ~pitch (sometimes [sm16[nm;po). [cf2]Salicet [cf1]is of [sm4[nm;p
o length and ~pitch.[cm~Salieri, Antonio[fy75,1] ([cf2]b[cf1] Legnago, [sm1750[n
m; [cf2]d[cf1] Vienna, ~[sm1825[nm). It. composer and cond. Studied at San ~Marc
o singing sch., Venice. Taken to Vienna ~[sm1766[nm as prot;Aaeg;Aae of Gassmann
. D;Aaebut as cond. ~Vienna Court Opera [sm1770[nm and in next [sm4[nm years had
 ~[sm9[nm operas prod. Returned to It. [sm1778[nm. Court cond. ~Vienna [sm1788[n
m=n[sm1824[nm (of choral concerts only after ~[sm1790[nm). Was hostile to Mozart
, but there is no ~truth in legend that he poisoned him (as is ~depicted in Rims
ky-Korsakov's [cf2]Mozart and Sali~~eri[cf1]). Taught Beethoven, Schubert, and L
iszt. ~Wrote over [sm40[nm operas, incl. [cf2]Tarare[cf1] ([sm1787[nm), [cf2]Fal
staff[cf1] ~([sm1798[nm), and [cf2]Prima la musica, poi le parole[cf1] ([sm1786[
nm), [sm4[nm ~oratorios, much church mus., and many vocal ~and i
nstr. pieces.[cm~Salignac, Thomas[fy75,1] (orig. Eustace Thomas) ([cf2]b[cf1] ~G
;aaen;aaerac, Gard, [sm1867[nm; [cf2]d[cf1] Paris, [sm1945[nm). Fr. ten. ~Studie
d Marseilles Cons. and Paris Cons. D;Aaebut ~Paris Op;aaera-Comique [sm1893[nm,
NY Met. [sm1896[nm=n[sm1903[nm, ~CG [sm1897[nm=n[sm9[nm, [sm1901[nm=n[sm4[nm, Pa
ris [sm1905[nm=n[sm13[nm. Dir., Nice ~Opera [sm1913[nm=n[sm4[nm. Created roles i
n operas by Mil~~haud, Massenet, etc. Notable Don Jos;aae in [cf2]Carmen[cf1]. ~
Prof. of singing, Fontainebleau [sm1923[nm=n[sm32[nm.[cm~Salinas, Francisco de[f
y75,1] ([cf2]b[cf1] Burgos, [sm1513[nm; [cf2]d[cf1] Sala~~manca, [sm1590[nm). Sp
. organist and theorist. Blind ~from age [sm10[nm. Served in Italy as organist t
o Sp. ~[PN621,0,0,R,I0]viceroy in Rome and Naples [sm1538[nm=n[sm61[nm. Prof., ~
Salamanca Univ. [sm1567[nm=n[sm87[nm. Pubd. [cf2]De musica libri ~septem[cf1], [
sm1577[nm.[cm~Salle Favart.[fy75,1] Colloquial name for Paris Op;aaera-~Comique
th., which is in the Rue Favart and was ~for a time known as Th;
aae;afatre de la rue Favart.[cm~Sallinen, Aulis [fy75,1](Heikki)[cf1] ([cf2]b[cf
1] Salmi, Finland, [sm1935[nm). ~Finn. composer. Studied Sibelius Acad. [sm1955[
nm=n[sm60[nm ~(comp. with Merikanto and Kokkonen). Manager, ~Finnish Radio S.O.
[sm1960[nm=n[sm70[nm. Teacher, Sibelius ~Acad. from [sm1965[nm. Comps. incl. [sm
4[nm syms. ([sm1971[nm, ~[sm1972[nm, [sm1975[nm, [sm1979[nm), [cf2]Funeral Music
[cf1], orch. ([sm1962[nm), ~vn. conc. ([sm1968[nm), vc. conc. ([sm1976[nm), [cf2
]Shadows[cf1], prelude ~for orch. ([sm1982[nm), [sm5[nm str. qts., operas [cf2]T
he Horseman[cf1] ~([sm1976[nm), [cf2]The Red Line[cf1] ([sm1978[nm), and [cf2]Th
e King Goes ~Forth to France [cf1]([sm1983[nm), [cf2]Chorali[cf1] for wind, perc
., ~harp, and celesta ([sm1970[nm), [cf2]Dies Irae[cf1], sop., bass, male ~ch.,
orch. ([sm1978[nm), and [cf2]The Beaufort Scale[cf1], chamber ~ch. ([sm1984[nm).
[cm~Salmenhaara, Erkki[fy75,1] ([cf2]b[cf1] Helsinki, [sm1941[nm). Finn. ~compos
er. Studied Sibelius Acad., Helsinki, [sm1957[nm=n~[sm64[nm (com
p. with Kokkonen) and privately with ~[fy45,1]*[fy75,1]Ligeti in Vienna [sm1963[
nm. Mus. critic in Helsinki ~[sm1963[nm=n[sm73[nm, lecturer Helsinki Univ. from
[sm1963[nm. ~Works incl. [sm4[nm syms., [cf2]Requiem profanum, Information ~Expl
osion[cf1] (elec.).[cm~Salmhofer, Franz[fy75,1] ([cf2]b[cf1] Vienna, [sm1900[nm;
 [cf2]d [cf1]Vienna, ~[sm1975[nm). Austrian composer and cond. Studied ~comp. wi
th Schreker at Vienna Acad. Cond., ~Hofburg Th. [sm1929[nm=n[sm39[nm; dir. Vienn
a Staatsoper ~[sm1945[nm=n[sm55[nm and of Volksoper [sm1955[nm=n[sm63[nm. Comp.
~operas, ballets, [sm2[nm syms., tpt. conc., vc. conc., ~chamber mus., and songs
.[cm~Salmond, Felix [fy75,1]([cf2]b[cf1] London, [sm1888[nm; [cf2]d[cf1] NY, [sm
1952[nm). ~Eng. cellist. Studied RCM [sm1905[nm=n[sm9[nm. Cellist in ~London Str
. Qt. and other chamber mus. ens. ~Soloist in f.p. of Elgar's Vc. Conc., [sm1919
[nm. D;aaebut ~NY [sm1922[nm, settling in USA. Formed Trio of NY ~[sm1937[nm. Ta
ught at Curtis Institute [sm1925[nm=n[sm42[nm and ~Juilliard Sch
. [sm1924[nm=n[sm52[nm. Pupils included Leonard ~[fy45,1]*[fy75,1]Rose.[cm~Salom
e.[fy75,1] ([sm1[nm)^Opera in [sm1[nm act by Richard Strauss, ~being setting of
Hedwig Lachmann's Ger. trans. ~of Wilde's Fr. play [cf2]Salom;aae.[cf1] Prod. Dr
esden [sm1905[nm, ~NY Met. [sm1907[nm, London [sm1910[nm.[ep~^([sm2[nm)^Opera, b
ased on Wilde's play, by Mariotte. ~Prod. Lyons [sm1908[nm, Paris [sm1910[nm.[ep
~^([sm3[nm)^Drama without words, [cf2]La trag;aaedie de Salom;aae[cf1], ~by F. S
chmitt. Prod. Paris [sm1907[nm, rev. [sm1910[nm.[ep~^([sm4[nm)^Ballet choreog. F
lemming Flindt, mus. by ~[fy45,1]*[fy75,1]Maxwell Davies, prod. Stockholm [sm197
8[nm.[cm~Salomon, Johann Peter[fy75,1] ([cf2]b[cf1] Bonn, [sm1745[nm; [cf2]d[cf1
] Lon-[fj~don, [sm1815[nm). Ger.-born violinist and impresario. ~Played in Bonn
court orch. [sm1758[nm=n[sm65[nm. Violinist ~and composer in royal orch. at Rhei
nsberg [sm1765[nm=n~[sm80[nm. Settled in London [sm1781[nm, winning special fame
 ~as qt. player. Began to organize concerts and ~introduced Hayd
n and Mozart syms. at series in ~[sm1786[nm. Brought Haydn to Eng. [sm1791[nm an
d [sm1794[nm ~(hence name `Salomon symphonies' for Haydn's ~last [sm12[nm). Sugg
ested [cf2]The Creation[cf1] to Haydn. Friend ~of Beethoven. Co-founder Phil. So
c. of London ~[sm1813[nm, leading orch. at first concert. Comp. operas, ~oratori
o, vn. concs. Buried in Westminster Abbey.[cm~Salomon, Karel[fy75,1] ([cf2]b[cf1
] Heidelberg, [sm1897[nm; [cf2]d [cf1]Beit ~Zayit, nr. Jerusalem, [sm1974[nm). G
er.-Israeli composer, ~bar., and cond. Studied with Wulfrum and R. ~Strauss. Con
d. in Hamburg [sm1920[nm=n[sm6[nm. Settled in ~Palestine [sm1933[nm. Mus. dir.,
Jerusalem Univ., then ~of Palestine Radio [sm1936[nm. Mus. dir. Israel radio ~[s
m1948[nm=n[sm57[nm. Works incl. opera [cf2]David and Goliath[cf1], [sm2[nm ~syms
., pf. conc., vc. conc., glockenspiel conc., ~chamber mus., etc.[cm~Salomon Symp
honies[fy75,1] (Haydn). See [cf2]London Sym~~phonies.[cm~Salon Music.[fy75,1] Te
rm applied, often pejoratively, ~to mus. of light character whic
h aims to please ~rather than to be profound, suitable for perf. in a ~salon. El
gar's lighter works are sometimes called ~`salon music' by those who wish to dis
parage ~them.[cm~Saltando; saltato[fy75,1] (It.). Leaping, leapt. Term used ~in
str. playing, meaning with a springing bow, ~i.e. same as [fy45,1]*[fy75,2]Spicc
ato.[cm~Saltarello[fy75,1] (modern It. [cf2]salterello[cf1]). Lively dance of ~S
p. and It. provenance in varying meters ([cf9]6[cf13]=-=-=-=-=-=-=-8[cf1], [cf9]
3[cf13]=-=-=-=-=-=-=-4[cf1], [cf9]3[cf13]=-=-=-=-=-=-=-8[cf1], ~[cf9]6[cf13]=-=-
=-=-=-=-=-4[cf1]), incorporating jumps. In [sm16[nmth cent. was the ~after-dance
 ([cf2]Nachtanz[cf1]) to a [fy45,1]*[fy75,1]pavan or [fy45,1]*[fy75,1]passa~~mez
zo, the mus. often being indistinguishable ~from a galliard. Mendelssohn called
the finale of ~his `Italian' Sym. a [cf2]saltarello.[cm~Saltbox.[fy75,1] Traditi
onal handy instr. used when ~joyous mus. was to be extemporized, domestically ~o
r publicly. The lid was flapped up and down and ~the side batter
ed with a rollingpin.[xm[cm~[j1]Salter, Lionel [fy75,1](Paul)[cf1] ([cf2]b[cf1]
London, [sm1914[nm). Eng. ~pianist, harpsichordist, composer, critic, and ~cond.
 Studied Cambridge Univ. and RCM. Pupil ~of C. Lambert (comp.) and A. Benjamin (
pf.). Ass. ~cond. BBC Th. Orch. [sm1945[nm=n[sm6[nm. Mus. supervisor, ~BBC Europ
ean service [sm1948[nm. Head of Mus., BBC ~TV [sm1956[nm. Head of TV Opera [sm19
63[nm, Ass. Controller ~of Mus. [sm1967[nm=n[sm74[nm. Translator of opera libs.,
 ed. of ~early mus. for perf. Critic for [cf2]The Gramophone[cf1] ~since [sm1948
[nm, contrib. to many mus. books. ~Authority on jazz.[cm~Salut d'amour[fy75,1] (
[cf2]Liebesgruss[cf1]) (Love's greeting). ~Short piece by Elgar, Op. [sm12[nm, o
rig. written as pf. ~solo [sm1888[nm, orch. [sm1889[nm, also arr. for vn. and pf
. and ~for many other combinations.[cm~Salve Regina[fy75,1] (Hail, Queen). One o
f [sm4[nm Antiphons ~to Virgin Mary, probably written in [sm11[nmth cent. ~Polyp
honic settings became numerous in [sm15[nmth ~and [sm16[nmth cen
ts.[cm~Salviucci, Giovanni[fy75,1] ([cf2]b[cf1] Rome, [sm1907[nm; [cf2]d[cf1] Ro
me, ~[sm1937[nm). It. composer. Studied with Respighi and ~Casella. Comp. [sm4[n
m symphonic poems ([sm1927[nm=n[sm31[nm), ~[PN622,0,0,L,I0]orch. suite [cf2]Camp
agna romana[cf1] ([sm1929[nm), [cf2]Sinfonia ~Italiana[cf1] ([sm1932[nm), etc.[c
m~Salzburg Festival.[fy75,1] Fest. held annually in Austrian ~town where Mozart
was born. Mus. coll. known ~as [cf2]Mozarteum[cf1] est. there [sm1880[nm. In [sm
1877[nm, first of [sm8[nm ~Mozart fests. up to [sm1910[nm was held there with ~R
ichter, Mottl, Mahler, Strauss, Muck, and Schalk ~among conds. In [sm1917[nm, Ho
fmannsthal, Strauss, ~Max Reinhardt, and Schalk became dirs. of ~planned new fes
t. The [sm1921[nm fest. was devoted to ~orchestral and chamber works and the [cf
2]Requiem[cf1]. ~Several operas were perf. in [sm1922[nm. In [sm1927[nm ~Festspi
elhaus was opened as opera house, and old ~riding school ([cf2]Felsenreitschule[
cf1]) was converted into ~th. Singers engaged were the best from
 Vienna ~and Munich, conds. incl. Krauss, Strauss, and ~Walter. Repertory mainly
 Mozart and Strauss, ~with Beethoven's [cf2]Fidelio[cf1], Verdi's [cf2]Falstaff[
cf1], and ~Wagner's [cf2]Die Meistersinger.[cf1] Toscanini cond. there ~[sm1934[
nm=n[sm7[nm; followed by Furtw;Auangler, B;Auohm, etc. ~After war, fest. resumed
 [sm1946[nm. Strauss's [cf2]Die [fy45,1]*[fy75,2]Liebe ~der Danae[cf1], which re
ached dress-rehearsal stage in ~[sm1944[nm, had f.p. there [sm1952[nm. New opera
s by Einem, ~Orff, Henze, Nono, Blacher, Liebermann, Egk, ~etc. prod. there. Fes
t. also incl. sym. concerts, ~chamber mus., recitals, plays. Karajan art. dir. ~
[sm1957[nm=n[sm60[nm and from [sm1964[nm. New Festspielhaus ~opened [sm1960[nm,
seating [sm2[nm,[sm160[nm. Has largest stage in ~world, [sm135[nm;Po wide, [sm70
[nm;Po deep, and [sm120[nm;Po high. In ~[sm1967[nm Karajan est. an Easter Fest.
at which he prod. ~Wagner operas.[cm~Salz;Aaedo, Carlos[fy75,1] ([cf2]b[cf1] Arc
achon, Fr., [sm1885[nm; [cf2]d[cf1] ~Waterville, Maine, [sm1961[
nm). Fr.-born harpist and ~composer (Amer. citizen from [sm1923[nm). Studied ~Pa
ris Cons. [sm1896[nm=n[sm1901[nm (pf. with de B;Aaeriot, harp ~with Hasselmans).
 Solo harpist Monte Carlo ~[sm1905[nm=n[sm9[nm, NY Met. [sm1909[nm=n[sm13[nm. Fo
unded Salz;Aaedo ~Harp Ens. [sm1917[nm. Taught at Curtis Institute and ~Juilliar
d Sch. Est. harpists' colony at Camden, ~Maine, [sm1931[nm. Wrote harp sonata, h
arp concs., and ~other works for harp. Devised new effects on ~instr.[cm~Salzedo
, Leonard [fy75,1](Lop;ages) ([cf2]b[cf1] London, [sm1921[nm). Eng. ~composer, v
iolinist, and cond. Studied RCM ~[sm1940[nm=n[sm4[nm. Violinist in LPO, RPO, etc
., [sm1947[nm=n[sm66[nm. ~Mus. dir., Ballet Rambert [sm1966[nm=n[sm72[nm. Prin.
cond. ~Scottish Th. Ballet [sm1972[nm=n[sm4[nm. Comp. [sm7[nm str. qts., perc. ~
conc., tpt. conc., brass sextet, part-songs, etc.[cm~Salzman, Eric[fy75,1] ([cf2
]b[cf1] NY, [sm1933[nm). Amer. composer, ~critic, and impresario. Studied Columb
ia and ~Princeton Univs. (comp. with Luening, Sessions, ~and Bab
bitt) and in Rome [sm1956[nm=n[sm8[nm with [fy45,1]*[fy75,1]Petrassi. ~Mus. crit
ic in NY [sm1958[nm=n[sm66[nm. Mus. dir. NY radio ~station [sm1962[nm=n[sm3[nm,
[sm1968[nm=n[sm71[nm. Organized concerts of ~new mus. in NY and multi-media mus.
 th. ens., ~[cf2]Quog[cf1], [sm1970[nm. Many of his works involve elecs.[cm~Sama
zeuilh, Gustave[fy75,1] ([cf2]b[cf1] Bordeaux, [sm1877[nm; [cf2]d[cf1] Paris, ~[
sm1967[nm). Fr. composer and critic. Studied with ~d'Indy at Schola Cantorum and
 with Chausson ~and Dukas. Wrote criticism for several papers, ~incl. [cf2]La Re
vue musicale.[cf1] Trans. lib. of Wagner's ~[cf2]Tristan und Isolde[cf1] and Str
auss's [cf2]Capriccio[cf1] into Fr. ~Wrote book on Dukas, and autobiography. Com
p. ~symphonic poems, chamber mus., and songs.[cm~Samba. [fy75,1]Brazilian dance
in two forms: rural ~samba, African-influenced, and urban samba ~known as the `s
amba-carioca', developed from the ~maxixe, a type of tango. Also a song-form. ~M
odern dance-form, closer to maxixe, has simple ~[cf9]2=-=-=-=-=-
=-=K=K=K[cf13]4[cf1] rhythm. Popularized in Brit. in [sm1940[nm by ~Edmundo Ros.
[cm~Saminsky, Lazare[fy75,1] ([cf2]b[cf1] Vale-Hotzulovo, Odessa, ~[sm1882[nm; [
cf2]d[cf1] Port Chester, NY, [sm1959[nm). Russ.-born ~composer. Pupil of Rimsky-
Korsakov at St Peters~~burg Cons. [sm1906[nm=n[sm10[nm. Dir., Tiflis Cons. [sm19
17[nm=n[sm18[nm. ~Left Russ. and settled in NY [sm1920[nm. Mus. dir., ~Temple Em
anu-El, NY, [sm1924[nm=n[sm58[nm. Expert on ~Jewish mus. and on Hassidic mystica
l songs. ~Wrote [sm5[nm syms., [cf2]The Daughter of Jephta[cf1] (cantata-~pantom
ime), and many pieces for Hebrew ~worship.[cm~Samisen. [fy75,1]Japanese [sm3[nm-
str. guitar, without frets, ~with strs. of waxed silk played by plectrum called
~`batsi'. Wrongly applied to perc. instr. in Puccini's ~[cf2]Madama Butterfly[cf
1] and Massenet's [cf2]Iris.[cm~Sammarco, Mario[fy75,1] ([cf2]b[cf1] Palermo, [s
m1868[nm; [cf2]d[cf1] Milan, ~[sm1930[nm). It. bar. Studied in Palermo and Milan
. ~D;aaebut Palermo [sm1888[nm, CG [sm1904[nm (as Scarpia), NY ~
[sm1908[nm=n[sm10[nm, Chicago [sm1911[nm=n[sm12[nm. Sang role of Alec in ~[fy45,
1]*[fy75,2]Tess [cf1]with [fy45,1]*[fy75,1]Destinn in title-role, CG [sm1909[nm.
[cm~Sammartini, Giovanni-Battista [fy75,1]([cf2]b c[cf1].[sm1700[nm; [cf2]d[cf1]
 ~Milan, [sm1775[nm). It. composer and organist. Leading ~Milan composer of his
day; choirmaster of eight ~churches. Pioneer of sonata form and teacher of ~Gluc
k, [sm1737[nm=n[sm41[nm. Said to have comp. [sm2[nm,[sm000[nm works ~in all genr
es, incl. some notable syms. and str. qts.[cm~Sammartini [fy75,1](San Martini)[f
y65][cf3], Giuseppe[fy75,1] ([cf2]b[cf1] Milan, ~[sm1695[nm; [cf2]d[cf1] London,
 [sm1750[nm). It. composer and oboist, ~brother of Giovanni [fy45,1]*[fy75,1]Sam
martini. Settled in Eng. ~[sm1728[nm, becoming oboist at the opera. Chamber-~mus
. dir. to Princess of Wales. Comp. instr. ~works, incl. concs., concerti grossi,
 trio sonatas, ~etc.[cm~Sammons, Albert [fy75,1](Edward) [cf1]([cf2]b[cf1] Londo
n, [sm1886[nm; [cf2]d[cf1] ~Southdean, [sm1957[nm). Eng. violini
st, mainly self-~taught. Heard in [sm1908[nm by [fy45,1]*[fy75,1]Beecham while p
laying ~in restaurant orch. and became leader of Beecham ~Orch. First vn. of Lon
don Str. Qt. [sm1908[nm=n[sm17[nm. ~Became concert soloist, memorable as interpr
eter ~of Elgar conc. Gave f.p. of Delius conc. (ded. to ~him) [sm1919[nm. Prof.
of RCM. Author of book on ~technique. In [sm25[nm-year partnership with the pian
ist ~William [fy45,1]*[fy75,1]Murdoch gave f.ps. of many British ~sonatas, notab
ly Ireland's No. [sm2[nm ([sm1917[nm). C.B.E. ~[sm1944[nm.[cm~Samson.[fy75,1] Or
atorio by Handel to text compiled ~from Milton's works, f.p. London [sm1743[nm.[
cm~[PN623,0,0,R,I0]Samson et Dalila[fy75,1] (Samson and Delilah). Opera ~in [sm3
[nm acts by Saint-Sa;auens to Fr. lib. by Lemaire ~based on Bible. Prod. Weimar
[sm1877[nm (in Ger.), NY ~[sm1892[nm (concert), CG [sm1893[nm (concert), [sm1909
[nm (stage). ~F.p. in Fr., Rouen [sm1890[nm, Paris [sm1892[nm.[cm~Samuel, Harold
[fy75,1] ([cf2]b[cf1] London, [sm1879[nm; [cf2]d[cf1] Hampstead,
 ~[sm1937[nm). Eng. pianist. As a child played in public ~houses. Studied RCM, p
upil of Dannreuther and ~Stanford. D;Aaebut, London [sm1894[nm. Became specialis
t ~in kbd. mus. of Bach, playing it practically ~complete in a series of recital
s spread over a week ~(first in London [sm1921[nm, then in NY [sm1924[nm, and ~s
everal times elsewhere). Toured USA almost ~every year after [sm1924[nm. Wrote m
us. comedy, ~incidental mus., songs, etc. Prof. of pf. RCM for ~many years.[cm~S
an Carlo, Naples, Teatro di.[fy75,1] It. opera house ~ranking next to Scala, Mil
an. Opened Nov. [sm1737[nm, ~destroyed by fire [sm1816[nm and replaced in [sm6[n
m months ~by present building, seating [sm3[nm,[sm500[nm. Extensive ~alterations
 [sm1844[nm, modernized stage [sm1929[nm. Rossini ~wrote several operas for San
Carlo, incl. [cf2]Otello[cf1], ~and Donizetti's [cf2]Lucia di Lammermoor[cf1] an
d Verdi's ~[cf2]Luisa Miller[cf1] had their premi;ageres there. Co. visited ~CG
[sm1946[nm.[cm~Sanchez de Fuentes, Eduardo[fy75,1] ([cf2]b[cf1]
Havana, [sm1874[nm; ~[cf2]d[cf1] Havana, [sm1944[nm). Cuban composer and writer.
 ~Studied Havana Cons. Studied Cuban folklore ~and collected folksongs. Presiden
t, Nat. Acad. of ~Art and Letters [sm1930[nm=n[sm42[nm. Wrote [sm5[nm operas (in
cl. ~one based on Tennyson's [cf2]Enoch Arden[cf1]), ballet, ~choral works, song
s, etc.[cm~Sancta Civitas[fy75,1] (Holy City). Oratorio by Vaughan ~Williams, co
mp. [sm1923[nm=n[sm5[nm, f.p. Oxford [sm1926[nm. Text ~from [cf2]Revelation[cf1]
, with additions from Taverner's ~Bible ([sm1539[nm) and other sources. For bar.
, ten., ch., ~boys' ch., and orch.[cm~Sanctus [fy75,1](Holy). One of [sm5[nm mai
n parts of the Mass. ~Settings by innumerable composers.[cm~Sanderling, Kurt [fy
75,1]([cf2]b[cf1] Arys, E. Prussia, [sm1912[nm). Ger. ~conductor. R;aaep;aaetite
ur at Berlin State Opera, [sm1931[nm. ~Left Ger. [sm1936[nm, becoming cond. Mosc
ow Radio ~S.O. [sm1937[nm=n[sm41[nm. Cond., Leningrad P.O. [sm1941[nm=n[sm60[nm
~(=+=+jointly with Mravinsky), East Berlin S.O. from ~[sm1960[nm
, Dresden Staatskapelle [sm1964[nm=n[sm7[nm. Eng. d;aaebut ~[sm1970[nm (with Lei
pzig Gewandhaus Orch.). Notable ~interpreter of classics and of Mahler and Shost
a~~kovich.[xm[cm~[j1]Sanders, John [fy75,1](Derek) ([cf2]b[cf1] Wanstead, [sm193
3[nm). Eng. ~organist and cond. Studied RCM and Cambridge ~Univ. Ass. organist,
Gloucester Cath. [sm1958[nm=n[sm63[nm. ~Organist, Chester Cath. [sm1963[nm=n[sm7
[nm, Gloucester Cath. ~from [sm1967[nm. Cond. [sm3[nm Choirs Fest. Comp. a [cf2]
Te ~Deum.[cm~Sanderson, Sibyl[fy75,1] ([cf2]b[cf1] Sacramento, [sm1865[nm; [cf2]
d[cf1] Paris, ~[sm1903[nm). Amer. sop. Studied San Francisco and Paris ~Cons. (w
ith Massenet, v. lessons from Marchesi ~and Sbriglia). D;aaebut (as Ada Palmer)
The Hague ~[sm1888[nm in [cf2]Manon.[cf1] Massenet wrote [cf2]Esclarmonde[cf1] a
nd ~[cf2]Tha;auis [cf1]for her to exploit the extraordinary range ~of her v. (g-
g;Pq). Saint-Sa;auens wrote [cf2]Phryn;aae[cf1] for her. ~CG d;aaebut [sm1891[nm
, NY Met. [sm1895[nm but was never as ~successful as in Paris. F
ine actress and very ~beautiful.[cm~S;aaandor, Gy;auorgy[fy75,1] ([cf2]b[cf1] Bu
dapest, [sm1912[nm). Hung.-born ~pianist (later Amer. citizen). Studied Budapest
 ~with Kod;aaaly (comp.) and Bart;aaok (pf.). Toured ~Europe [sm1930[nm=n[sm8[nm
, settled in USA [sm1939[nm. London ~d;aaebut [sm1937[nm. Soloist in f.p. of Bar
t;aaok's [sm3[nmrd conc., ~Philadelphia [sm1946[nm. Has recorded all Bart;aaok's
 and ~Kod;aaaly's pf. mus. and all Prokofiev's solo pf. ~works. Made pf. transcr
. of Dukas's [cf2]L'apprenti ~sorcier.[cm~San Francisco Opera Co.[fy75,1] Founde
d [sm1922[nm by ~Gaetano Merola, who was dir. until [sm1953[nm, then ~succeeded
by Kurt Herbert Adler. Ranks with ~Chicago in importance after NY Met. Opera ~ho
use, seating [sm3[nm,[sm252[nm, opened Oct. [sm1932[nm. Among ~[sm20[nmth-cent.
works staged for the first time in USA ~are Strauss's [cf2]Die Frau ohne Schatte
n[cf1], Poulenc's [cf2]Les ~Dialogues des Carm;aaelites[cf1], and Britten's [cf2
]A Midsummer ~Night's Dream.[cm~San Francisco Polyphony.[fy75,1]
 Work for orch. by ~[fy45,1]*[fy75,1]Ligeti, comp. [sm1973[nm=n[sm4[nm; f.p. San
 Francisco [sm1975[nm ~cond. Ozawa.[cm~San Francisco Symphony Orchestra.[fy75,1]
 Founded ~[sm1911[nm under sponsorship of Mus. Assoc. of San ~Francisco. Conds.:
 Henry Hadley [sm1911[nm=n[sm15[nm; Alfred ~Hertz [sm1915[nm=n[sm29[nm; Basil Ca
meron and Issay Dob~~rowen [sm1930[nm=n[sm2[nm; Dobrowen [sm1932[nm=n[sm4[nm; Pi
erre Mon~~teux [sm1935[nm=n[sm52[nm; Enrique Jorda [sm1954[nm=n[sm63[nm; Josef ~
Krips [sm1963[nm=n[sm70[nm; Seiji Ozawa [sm1970[nm=n[sm6[nm; Edo de ~Waart from
[sm1977[nm. Since [sm1980[nm has played in Louise ~M. Davies Symphony Hall.[cm~S
anguine Fan, The. [fy75,1]Ballet by Elgar, Op. [sm81[nm, ~comp. [sm1917[nm to sc
enario by Ina Lowther based on ~a fan design drawn in sanguine (blood-red crayon
) ~by Charles Conder showing Pan and Echo with ~[sm18[nmth-cent. figures in back
ground. Ballet was f.p. ~Chelsea [sm1917[nm at a matin;aaee to raise money for w
ar ~charities. After [sm2[nm perfs. and a recording of excerpts
~in [sm1920[nm, the mus. was unperf. until a recording ~in [sm1973[nm. Revived a
s ballet, choreog. Ronald Hynd, ~London [sm1976[nm.[cm~Sankey and Moody.[fy75,1]
 Joint Amer. compilers of ~hymn-tune colls. popular in late Victorian years. ~Ir
a David Sankey ([sm1840[nm=n[sm1908[nm) was an evangelistic ~singer from [sm1871
[nm when he joined forces with[fj~D. L. Moody and toured with him in USA and ~Br
it. until [sm1899[nm. [cf2]Sacred Songs and Solos[cf1] was pubd. ~[sm1873[nm. Mo
ody did not write the words of any ~hymns. Sankey wrote many tunes and collected
 ~as many others.[cm~Sanrom;Aaa, Jes;Aaus Maria[fy75,1] ([cf2]b[cf1] Carolina, P
uerto Rico, ~[sm1902[nm; [cf2]d[cf1] San Juan, [sm1984[nm). Puerto Rican pianist
, pupil of Schnabel in ~Berlin. Pianist with Boston S.O. [sm1925[nm=n[sm43[nm. T
aught ~at New Eng. Cons. Head of Mus. Dept., Puerto ~Rico Univ., from [sm1951[nm
.[cm~[PN624,0,0,L,I0]Santa Cruz, Domingo[fy75,1] ([cf2]b[cf1] La Cruz, Valparais
o, ~Chile, [sm1899[nm). Chilean composer. Studied Santiago ~and
Madrid. Held govt. posts [sm1921[nm=n[sm7[nm; taught ~mus. history and analysis,
 Santiago Nat. Cons. ~[sm1928[nm=n[sm53[nm (dean from [sm1932[nm), prof. of comp
. Chile ~Univ. [sm1942[nm=n[sm8[nm, vice-rector [sm1944[nm=n[sm9[nm. Founded man
y ~of leading Chilean mus. institutions, incl. Bach ~Soc. and nat. sym. concerts
. Works incl. [sm4[nm syms., ~choral works, [sm3[nm str. qts., wind quintet, pf.
 pieces, ~etc.[cm~Santa Fe Opera.[fy75,1] Opera co. in Santa Fe, New ~Mexico, fo
unded [sm1957[nm by John Crosby. Orig. ~theatre destroyed by fire [sm1967[nm, re
built [sm1968[nm. [sm2[nm-~month annual summer fest., theatre being ~partially i
n open-air. Adventurous policy, operas ~receiving f.ps. there including Floyd's
[cf2]Wuthering ~Heights[cf1] ([sm1958[nm), Berio's [cf2]Opera[cf1] ([sm1970[nm),
 and Villa-~Lobos's [cf2]Yerma[cf1] ([sm1971[nm). F.p. since [sm17[nmth cent. of
 ~Cavalli's [cf2]Egisto[cf1]. F.Amer.ps. of Berg's [cf2]Lulu[cf1] (both ~incompl
ete and complete versions), Henze's ~[cf2]Boulevard Solitude[cf1
] and [cf2]The Bassarids[cf1], Strauss's ~[cf2]Daphne[cf1], Shostakovich's[cf2]
The Nose[cf1], Britten's [cf2]Owen ~Wingrave[cf1], and Stephen Oliver's [cf2]Duc
hess of Malfi.[xm[cm~[ol0][ep~[xp[te~










[do24][j99]~~~~~~[sm153842[nm_S[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmS[sm003[nm[cm[sm24[nm[cm~[sm1[nm[cm[sm18[nm-[sm10[nm-[
sm79[nm[cm[sm9[nm[cm[sm97[nm[cm~GC[cm3[cm6.8.84[cm~U1[cm~~~~[ap[j1]Santa Mar;aai
a, Tom;aaas de[fy75,1] ([cf2]b[cf1] Madrid, [cf2]c[cf1].[sm1516[nm=n[sm20[nm; [c
f2]d[cf1] ~Ribadavia, [sm1570[nm). Sp. organist and monk. Wrote ~works for [cf2]
vihuela[cf1] and other instr.; and a treatise ~([sm1565[nm) on playing kbd. or [
cf2]vihuela[cf1] fantasias.[cm~Santini, Fortunato[fy75,1] ([cf2]b[cf1] Rome, [sm
1778[nm; [cf2]d[cf1] Rome, ~[sm1861[nm). It. musician and priest. Collected, cop
ied, ~and scored early classics of It. church mus.=mthe ~resulting valuable libr
ary of about [sm4[nm,[sm500[nm MSS. ~and [sm1[nm,[sm100[nm printed items now bei
ng at M;auunster ~Episcopal Seminary. Comp. requiem, motets, etc.[cm~Santley, [f
y75,1](Sir)[fy65][cf3] Charles[fy75,1] ([cf2]b[cf1] Liverpool, [sm1834[nm; [cf2]
d[cf1] ~London, [sm1922[nm). Eng. bar. and composer. Studied ~in
 Milan and in London (with [fy45,1]*[fy75,1]Garc;aaia). Opera ~d;aaebut Pavia [s
m1857[nm (as Doctor in [cf2]La Traviata[cf1]), ~London (concert) [sm1857[nm, CG
[sm1859[nm. Sang with ~various Eng. opera cos. Sang Valentine in Eng. ~premi;age
re of [cf2]Faust[cf1], [sm1863[nm (for [sm1864[nm revival Gounod ~added `Avant d
e quitter ces lieux' specially for ~him). Sang at Scala, Milan, [sm1865[nm=n[sm6
[nm. First sang ~Don Giovanni [sm1868[nm (Manchester). Sang title-role ~in Itali
an in [cf2]Der fliegende Holl;auander[cf1], first London ~prod. of any Wagner op
era ([sm1870[nm). Carl Rosa Co., ~[sm1875[nm=n[sm6[nm. Notable singer of oratori
os etc. (especially ~[cf2]Elijah[cf1]), appearing at Leeds Fests., [sm3[nm Choir
s ([sm1863[nm=n~[sm1906[nm), Birmingham Fest., Handel Fest. Knighted ~[sm1907[nm
, year of his golden jubilee. CG farewell [sm1911[nm ~but sang in [sm1915[nm at
concert for Belgian relief. ~Wrote books on singing, and autobiography. ~Comp. m
ass and other church mus.[cm~Santoro, Claudio [fy75,1]([cf2]b[cf
1] Man;aaaos, Brazil, [sm1919[nm). Brazil. ~composer and violinist. Studied Rio
and in Paris ~(with Boulanger). Co-founder Brazilian S.O., ~playing vn. in it [s
m1941[nm=n[sm7[nm. Teacher at various ~Brazil. institutions, mus. dir. Brasilia
cultural ~foundation [sm1962[nm=n[sm7[nm. Mus. dir., Teatro Novo, Rio, ~[sm1968[
nm=n[sm9[nm. Prof. of comp., Heidelberg-Mannheim ~Hochschule f;auur Musik, [sm19
70[nm. Comp. many scores ~for radio, TV, and films. Other works incl. [sm8[nm ~s
yms., [sm3[nm pf. concs., [sm2[nm vn. concs., [sm5[nm vn. sonatas, [sm6[nm ~str.
 qts., [cf2]Ode to Stalingrad[cf1] ([sm1947[nm), oratorio [cf2]Berlin, ~[sm13[nm
th August[cf1] ([sm1961[nm=n[sm2[nm), and songs.[cm~Sanz, Gaspar [fy75,1]([cf2]b
[cf1] Calanda, [sm1640[nm; [cf2]d[cf1] Madrid, [sm1710[nm). ~Sp. guitarist and c
omposer. Author of book on ~guitar-playing ([sm1674[nm).[cm~Sanzogno, Nino [fy75
,1]([cf2]b[cf1] Venice, [sm1911[nm; [cf2]d[cf1] Milan, [sm1983[nm). ~It. cond.,
composer, and violinist. Studied Venice, ~vn. with Guarneri, and
 comp. with [fy45,1]*[fy75,1]Malipiero. ~Later studied cond. with [fy45,1]*[fy75
,1]Scherchen in Brussels. ~Cond. La Fenice Orch., Venice. Cond. at La Scala, ~Mi
lan, from [sm1939[nm, being esp. assoc. with [sm20[nmth-~cent. works (cond. f.p.
 in Italy of Walton's [cf2]Troilus ~and Cressida[cf1], [sm1956[nm). Mus. dir. Sc
ala, [sm1962[nm=n[sm72[nm. ~Composer of va. and vc. concs., and chamber ~mus.[cm
~Sapellnikov [fy75,1](Sapelnikoff=+=+), [fy65][cf3]Vasily[fy75,1] ([cf2]b[cf1] O
dessa, ~[sm1867[nm; [cf2]d[cf1] San Remo, It., [sm1941[nm). Russ. pianist and ~c
omposer. Studied under Sophie Menter, St ~Petersburg Cons. D;Aaebut Hamburg [sm1
888[nm, London ~[sm1889[nm. Teacher Moscow Cons. [sm1897[nm=n[sm9[nm. Left Russi
a ~[sm1923[nm, settling in Ger. and It. Wrote opera and pf. ~mus.[cm~Sapieyevski
, Jerzy [fy75,1]([cf2]b[cf1] L;aaod;aaz, [sm1945[nm). Polish-born ~composer and
cond. Studied engineering but ~turned to mus. at Sopot Cons. Formed own ~experim
ental ens. [sm1966[nm. Settled in USA [sm1967[nm. ~Teacher at se
veral Amer. univs. Works incl. ~double pf. conc., conc. for va. and winds, [cf2]
Summer ~Overture[cf1], etc.[cm~Sarabande [fy75,1](Sp. Zarabanda). Dance form in
[sm17[nmth ~and [sm18[nmth cents. Originated in Lat. America, ~appearing in Sp.
in early [sm16[nmth cent. Was banned ~by Philip II in [sm1583[nm because it was
regarded as ~loose and ugly, `exciting bad emotions'. Intro~~duced to Fr. and En
g. in early [sm17[nmth cent., where ~a stately version, in slow triple time, was
 preferred ~to the lively Sp. original. Sarabandes became a ~standard movt. of t
he [fy45,1]*[fy75,1]suite in instr. works by ~Purcell, J. S. Bach, and Handel. I
n [sm20[nmth cent. it ~has been revived by Debussy, Satie, Vaughan ~Williams (in
 [cf2]Job[cf1]), and Britten (in [cf2]Simple Symphony[cf1]).[cm~Sarangi.[fy75,1]
 Indian [sm3[nm-str. viol with [sm4[nm-cornered, ~wooden, skin-covered soundbox,
 wide finger~~board, and [sm10[nm or more sympathetic understr. ~Tone like va. U
sed to acc. dancing. [sm4[nmth str. ~sometimes added, tuned in u
nison with highest ~of other [sm3[nm at middle C. Name sometimes applied ~to oth
er Indian bowed instr.[cm~Sarasate y Navascu;aaez, Pablo Mart;aain Melit;aaon ~d
e[fy75,1] ([cf2]b[cf1] Pamplona, [sm1844[nm; [cf2]d[cf1] Biarritz, [sm1908[nm).
Sp. ~violinist and composer, known as Pablo de ~Sarasate. Studied Paris Cons. [s
m1856[nm=n[sm9[nm with [fy45,1]*[fy75,1]Alard, ~then had int. success. London d;
aaebut [sm1861[nm. Had ~sweet tone and pure style. Lalo comp. [cf2]Symphonie ~es
pagnole[cf1] for him, Bruch his [sm2[nmnd conc. and [cf2]Scottish ~fantasy[cf1],
 and Saint-Sa;auens his [sm1[nmst and [sm3[nmrd concs. and ~[cf2]Introduction an
d Rondo Capriccioso[cf1]. Comp. several ~[PN625,0,0,R,I0]vn. pieces, incl. [cf2]
Zigeunerweisen[cf1] and [cf2]Jota Aragonesa, ~Carmen Fantasy[cf1] (with orch.),
and transcr. Sp. folk ~mus.[cm~Sardana.[fy75,1] Nat. Catalonian dance, perf. to
acc. of ~the [cf2]fluvial[cf1], Sp. equivalent of pipe and tabor. It is ~in sect
ions, partly in compound duple and partly ~in simple duple time.
 Participants link hands in ~a large ring, as in the [fy45,1]*[fy75,2]farandole.
[cm~Sargent,[fy75,1] (Sir) (Harold) [fy65][cf3]Malcolm [fy75,1](Watts) ([cf2]b[c
f1] ~Ashford, Kent, [sm1895[nm; [cf2]d[cf1] London, [sm1967[nm). Eng. ~cond., or
ganist, pianist, and composer. Organist, ~Melton Mowbray church [sm1914[nm=n[sm2
4[nm. Pf. pupil of ~[fy45,1]*[fy75,1]Moiseiwitsch [sm1919[nm=n[sm21[nm. Mus.D.,
Durham, [sm1919[nm. ~Cond. his own [cf2]Impression of a Windy Day[cf1] at ~Londo
n Promenade concert [sm1921[nm. On staff RCM ~as teacher of cond. from [sm1923[n
m. Cond. opera for ~BNOC (Vaughan Williams's [cf2]Hugh the Drover[cf1], ~London
[sm1924[nm, Holst's [cf2]At the Boar's Head[cf1], Manch~~ester [sm1925[nm). Mus.
 dir. Courtauld-Sargent Concerts ~[sm1929[nm=n[sm40[nm. Cond. of many choral soc
s., incl. Royal ~Choral Soc. (from [sm1928[nm), Huddersfield Choral ~Soc. (from
[sm1932[nm), Liverpool Welsh Choral Union ~(from [sm1941[nm), Leeds Phil. Soc. (
from [sm1947[nm). Prin. ~cond. Hall;Aae Orch. [sm1939[nm=n[sm42[
nm, Liverpool P.O. [sm1942[nm=n~[sm8[nm, BBC S.O. [sm1950[nm=n[sm7[nm, chief con
d., Henry Wood ~Promenade Concerts [sm1948[nm=n[sm67[nm. Cond. many f.ps. ~of Br
it. works, incl. Walton's [cf2]Belshazzar's Feast[cf1] ~(Leeds [sm1931[nm) and [
cf2]Troilus and Cressida[cf1] (CG [sm1954[nm). ~Frequently cond. D'Oyly Carte Op
era Co. Guest ~cond. of int. orchs. and ambassador for Eng. mus. ~Arr. carols an
d authentic tune of [cf2]Rule, Britannia[cf1]! ~Orchestrated Brahms's [cf2]Vier
ernste Ges;Auange[cf1] and ~[cf2]Nocturne[cf1] from Borodin str. qt. No. [sm2[nm
. Knighted ~[sm1947[nm.[cm~;akS;aaarka [fy75,1](Smetana). See [cf2]M;Aaa Vlast.[
cf1] Also operas by ~Fibich and Jan;aaa;akcek.[cm~Sarnia. [fy75,1]`An Island Seq
uence' of [sm3[nm pieces for pf. ~solo by Ireland, comp. [sm1940[nm=n[sm1[nm and
 descriptive of ~the Channel Island. Pieces entitled [sm1[nm. [cf2]Le Catioroc[c
f1], ~[sm2[nm. [cf2]In a May Morning[cf1], [sm3[nm. [cf2]Song of the Springtides
[cf1]. F.p. ~[sm1942[nm by Clifford Curzon.[cm~Sarod.[fy75,1] In
dian str. instr., bowed or plucked, ~usually with [sm6[nm strs. and [sm12[nm to
[sm15[nm sympathetic str.[cm~Sarrusophone. [fy75,1]Double-reed woodwind instr.,
~although made of brass, invented [sm1856[nm by Fr. ~bandmaster named Sarrus. Ma
de in [sm9[nm sizes (in ~keys E;Yh, B;Yh, and C) from sop. to db. Saint-Sa;auens
 ~and Delius (e.g. in [cf2]Songs of Sunset, Dance Rhapsody ~No.|[sm1[nm, Fennimo
re and Gerda, Arabesk, Song of the ~High Hills, Requiem, Eventyr[cf1]) have scor
ed for db. ~sarrusophone (usually played by double bn.).[cm~Sarti, Giuseppe[fy75
,1] ([cf2]b[cf1] Faenza, [sm1729[nm; [cf2]d[cf1] Berlin, [sm1802[nm). ~It. compo
ser, cond., and organist. Pupil of ~[fy45,1]*[fy75,1]Martini in Bologna. Organis
t, Faenza Cath. ~[sm1748[nm=n[sm52[nm; cond. of It. opera and court cond. in ~Co
penhagen [sm1753[nm=n[sm65[nm and [sm1768[nm=n[sm75[nm. Wrote [sm20[nm It. ~and
Danish operas in Denmark. Dir., Ospedaletto ~Cons., Venice, [sm1775[nm=n[sm9[nm;
 choirmaster Milan Cath. ~[sm1779[nm=n[sm84[nm (teacher of Cheru
bini); court cond. to ~Catherine II of Russia [sm1784[nm=n[sm7[nm, dir., Ukraine
 mus. ~sch. [sm1787[nm=n[sm91[nm, dir. St Petersburg Cons. from [sm1793[nm. ~Mad
e scientific study of acoustics. Wrote over [sm70[nm ~operas, incl. one with tex
t by Empress Catherine. ~At Don Giovanni's supper-party in last scene of ~his op
era, Mozart quotes the air [cf2]Come un agnello ~[cf1](Like a lamb) from Sarti's
 [cf2]Fra i due litiganti[cf1] ~(Between Two Litigants). Also choral mus. and ~m
any other works which have proved ephemeral.[cm~Sartorio, Antonio [fy75,1]([cf2]
b[cf1] Venice, [sm1630[nm; [cf2]d[cf1] Venice, ~[sm1680[nm). It. composer. Opera
 [cf2]Gl' amori infruttuosi di ~Pirro[cf1] prod. in Venice [sm1661[nm. Moved to
Hanover ~[sm1665[nm as cond. at court of Duke of Brunswick-~L;auuneburg. Stayed
until [sm1675[nm, but visited Venice ~each year to enlist musicians for the cour
t orch. ~and to comp. an opera for the carnival. On return ~to Venice became dep
uty choirmaster of S. Marco, ~[sm1676[nm. Noted for his laments
and tpt. arias. Wrote ~[sm15[nm operas and cantatas and sacred vocal mus.[cm~Sas
s, Sylvia[fy75,1] ([cf2]b[cf1] Budapest, [sm1951[nm). Hung. sop. ~Studied Budape
st. Opera d;Aaebut [sm1971[nm (Frasquita ~in [cf2]Carmen[cf1]). Brit. d;Aaebut S
cottish Opera, Glasgow, ~[sm1975[nm (Desdemona in Verdi's [cf2]Otello[cf1]). Lon
don CG ~[sm1976[nm ([cf2]I Lombardi[cf1]), NY Met. [sm1977[nm (Tosca). Had ~less
ons from [fy45,1]*[fy75,1]Callas, whose dramatic gifts she ~emulates. Fine singe
r of Judith in Bart;aaok's [cf2]Duke ~Bluebeard's Castle.[cf1][cm~S.A.T.B.[fy75,
1] Soprano, Alto, Tenor, Bass; meaning ~either a mixed ch. or [sm4[nm soloists.[
cm~Satie, Erik[fy75,1] (Eric Alfred Leslie) ([cf2]b[cf1] Honfleur, [sm1866[nm; ~
[cf2]d[cf1] Paris, [sm1925[nm). Fr. composer and pianist, son of ~Fr. father and
 Scottish mother. Moved to Paris ~[sm1878[nm. Studied Paris Cons. [sm1879[nm=n[s
m86[nm with little ~success. Worked as pianist in [sm1888[nm at Montmartre ~caba
ret. In same year wrote his [cf2]Gymnop;aaedies [cf1]for ~pf. Me
t Debussy in [sm1890[nm. In [sm1891[nm joined Catholic ~Rosicrucian sect and com
p. several works for it. ~Shortly afterwards seemed almost to have retired ~from
 comp., writing fewer than [sm10[nm works in [sm12[nm ~years. In [sm1905[nm ente
red Schola Cantorum as pupil ~of d'Indy and Roussel, leaving in [sm1908[nm. From
 ~about [sm1910[nm became something of a cult among ~young composers attracted b
y the eccentric, ~humorous titles of some of his works, e.g. [cf2]Trois ~Morceau
x en forme de poire [cf1](Three Pear-shaped ~Pieces). Strongly influenced group
of young ~composers known as [cf2]Les [fy45,1]*[fy75,2]Six[cf1]. Meeting with ~C
octeau in [sm1915[nm led to Diaghilev ballet [cf2]Parade[cf1] ~([sm1917[nm), in
which jazz rhythms are used and[fj~the instrumentation incl. typewriter, steamsh
ip[fj~whistle, and siren. Later, was assoc. with Surreal~~ists and Dadaists. Sat
ie's importance lay in ~directing a new generation of Fr. composers away ~from W
agner-influenced impressionism towards ~a leaner, more epigramma
tic style. His harmony ~is often characterized by unresolved chords, ~which may
have influenced Debussy (or he may ~have learned the device from Debussy=mnobody
 ~knows). Melody is simple, sometimes slightly ~archaic, and scoring economical,
 with few [cf2]tutti[cf1] ~passages. [cf2]Socrate[cf1] is the most ambitious of
his ~[PN626,0,0,L,I0]works, most of which are comparatively short, ~the majority
 being for solo pf. He anticipated ~many later [cf2]avant-garde[cf1] trends; e.g
. in [cf2]Gnossiennes[cf1] ~([sm1890[nm) there are no bar-lines and the score co
ntains ~verbal instructions bearing little relation to the ~mus. But beware=mbeh
ind the clown's mask is a ~serious composer. Prin. comps.:[xm[cm~[j2][smstage[nm
: [fy75,2]Le Fils des ;Aaetoiles[cf1], incidental mus. ([sm1891[nm, ~prelude re-
orch. Ravel [sm1913[nm); [cf2]Gen;Aaevi;Ageve de ~Brabant[cf1], marionette opera
 ([sm1899[nm); [cf2]Le Pi;Agege de ~M;Aaeduse[cf1], lyric comedy ([sm1913[nm); [
fy45,1]*[fy75,2]Parade[cf1], ballet ~([sm1917[nm); [cf2]Mercure[
cf1], ballet ([sm1924[nm); [fy45,1]*[fy75,2]Rel;Afache[cf1], ballet ~([sm1924[nm
).[ep~[smorch[nm: [cf2]En Habit de cheval[cf1] ([sm1911[nm); [cf2]Cinq Grimaces[
cf1] ~([sm1914[nm); [cf2]Trois petites pi;Ageces mont;Aaees [cf1]([sm1919[nm, al
so for ~pf. [sm4[nm hands, [sm1920[nm); [cf2]La belle excentrique[cf1] ([sm1920[
nm); ~[cf2]Jack-in-the Box[cf1] ([sm1900[nm, unperf. pantomime, orch. ~Milhaud [
sm1926[nm).[ep~[smchoral[nm: [cf2]Messe des Pauvres[cf1], with organ or pf. ~([s
m1895[nm, orch. version by D. Diamond [sm1960[nm); ~[cf2]Socrate[cf1], [sm4[nm s
op. and small orch. ([sm1918[nm).[ep~[smpiano[nm: [sm3[nm [nmSarabandes[cf1] ([s
m1887[nm=n[sm8[nm, orch. Caby); [sm3[nm ~[fy45,1]*[fy75,2]Gymnop;Aaedies[cf1] ([
sm1888[nm, nos. [sm1[nm and [sm3[nm orch. Debussy ~[sm1896[nm, no. [sm2[nm orch.
 H. Murrill and by Roland-~Manuel); [sm3[nm [cf2]Gnossiennes[cf1] ([sm1890[nm, o
rch. Lanchbery; ~no. [sm3[nm orch. Poulenc [sm1939[nm); [cf2]Trois Pr;Aaeludes [
cf1]from ~[cf2]Le Fils des ;Aaetoiles[cf1] ([sm1891[nm, orch. Ro
land-Manuel); ~[cf2]Valse, Je te veux[cf1] ([cf2]c.[cf1] [sm1900[nm, arr. for v.
 and orch., ~also arr. for orch. by C. Lambert); [sm9[nm [cf2]Danses ~gothiques
[cf1]([sm1893[nm); [sm4[nm [cf2]Pr;Aaeludes[cf1] ([sm1893[nm, nos. [sm1[nm and [
sm3[nm ~orch. Poulenc, [sm1939[nm); [cf2]Pr;Aaelude de la porte h;Aaeroique ~du
Ciel[cf1] ([sm1894[nm, orch. Roland-Manuel [sm1912[nm); [sm2[nm ~[cf2]Pi;ageces
froides[cf1] ([sm1897[nm); [sm3[nm [cf2]Nouvelles pi;Ageces froides[cf1] ~(pre-[
sm1910[nm); [cf2]Le Poisson r;Afeveur[cf1] ([sm1901[nm; version for ~pf. and orc
h. by Caby); [sm3[nm [fy45,1]*[fy75,2]Morceaux en forme de ~poire[cf1], for [sm4
[nm hands ([sm1903[nm; orch. D;aaesormi;agere); [sm12[nm ~[cf2]Petits chorals[cf
1] ([cf2]c.[cf1][sm1906[nm); [cf2]Passacaille[cf1] ([sm1906[nm); [cf2]Pr;aaelude
 ~en tapisserie[cf1] ([sm1906[nm); [cf2]Aper;alcus d;Aaesagr;Aaeables[cf1], for
[sm4[nm ~hands ([sm1908[nm=n[sm12[nm); [sm2[nm [cf2]R;afeveries nocturnes[cf1] (
[sm1910[nm=n~[sm11[nm); [cf2]En Habit de cheval[cf1], version fo
r [sm4[nm hands ~([sm1911[nm); [sm3[nm [cf2]V;aaeritables Pr;Aaeludes flasques [
cf1]([cf2]pour un ~chien[cf1]) ([sm1912[nm); [sm3[nm [cf2]Descriptions automatiq
ues[cf1] ([sm1913[nm); ~[sm3[nm [cf2]Embryons dess;aaech;Aaes[cf1] ([sm1913[nm);
 [sm3[nm [cf2]Croquis et agaceries ~d'un gros bonhomme en bois[cf1] ([sm1913[nm)
; [sm3[nm [cf2]Chapitres ~tourn;aaes en tous sens[cf1] ([sm1913[nm); [sm3[nm [cf
2]Vieux S;Aaequins et ~vieilles cuirasses[cf1] ([sm1913[nm); [cf2]Enfantines[cf1
] ([sm9[nm pieces) ~([sm1913[nm); [sm6[nm [cf2]Pi;Ageces de la p;aaeriode [sm190
6[nm=n[sm13[nm[cf1]; [sm21[nm [cf2]Sports ~et divertissements[cf1] ([sm1914[nm);
 [cf2]Heures s;aaeculaires et ~instantan;aaees[cf1] ([sm1914[nm); [sm3[nm [cf2]V
alses du pr;aaecieux dego;afut;aae[cf1] ~([sm1914[nm; orch. Greenbaum); [cf2]Ava
nt-derni;ageres pens;Aaees[cf1] ~([sm1915[nm); [cf2]Parade[cf1], suite for [sm4[
nm hands from ballet ~([sm1917[nm); [cf2]Sonatine bureaucratique[cf1] ([sm1917[n
m); [sm5[nm [cf2]Noc~~turnes[cf1] ([sm1919[nm); [cf2]Premier Men
uet [cf1]([sm1920[nm).[ep~[smvoice and piano[nm: [sm3[nm [cf2]M;aaelodies de [sm
1886[nm[cf1]; [sm3[nm [cf2]Po;Agemes ~d'Amour[cf1] ([sm1914[nm); [sm3[nm [cf2]M;
aaelodies[cf1] ([sm1916[nm); [cf2]Ludions[cf1] ([sm5[nm ~songs) ([sm1923[nm).[ep
~[smviolin and piano[nm: [cf2]Choses vues ;aga droit et ;aga gauche ~[cf1]([cf2]
sans lunettes[cf1]) ([sm1914[nm).[cm~[j1]Satyricon. [fy75,1]Comedy ov. by [fy45,
1]*[fy75,1]Ireland, comp. [sm1946[nm, ~headed by quotation from the [cf2]Satyric
on [cf1]of ~Petronius.[cm~Satz[fy75,1] (Ger.). `Setting'. Term used in several ~
different ways, e.g.: ([sm1[nm) Movement, as in Schub~~ert's qt. movement ([cf2]
Quartettsatz[cf1]). ([sm2[nm) Setting or ~comp. ([cf2]Tonsatz[cf1]). ([sm3[nm) T
heme or subject, i.e. ~[cf2]Hauptsatz[cf1], first subject or main theme. ([sm4[n
m) ~Texture. ([sm5[nm) Style.[cm~Saudades [fy75,1](Portuguese). Term expressive
of the ~haunting sense of sadness and regret for days ~gone by. It has been used
 (e.g by Milhaud and ~Warlock) as a title for pieces of instr. o
r vocal ~mus.[cm~Sauer, Emil von[fy75,1] ([cf2]b[cf1] Hamburg, [sm1862[nm; [cf2]
d[cf1] Vienna, ~[sm1942[nm). Ger. pianist and composer. Pupil of Liszt ~and N. R
ubinstein. Int. tours from [sm1882[nm, Eng. ~d;Aaebut [sm1894[nm. Dir. of pf. ma
ster-classes Vienna ~Cons. [sm1901[nm=n[sm7[nm and after [sm1915[nm. Comp. pf. c
oncs., ~pf. sonatas, [sm33[nm studies, etc. Ed. Brahms's pf. works.[cm~Sauguet,
Henri[fy75,1] (real name Jean Pierre Poupard) ~([cf2]b[cf1] Bordeaux, [sm1901[nm
). Fr. composer. Studied with ~[fy45,1]*[fy75,1]Canteloube, later with [fy45,1]*
[fy75,1]Koechlin. Became dis~~ciple of [fy45,1]*[fy75,1]Satie. Best known for hi
s ballets and has ~also comp. [cf2]musique concr;Agete.[cf1] Most considerable ~
work is his Stendhal opera [cf2]La Chartreuse de Parme[cf1] ~([sm1927[nm=n[sm36[
nm, prod. Paris [sm1939[nm). Wrote [sm5[nm other ~operas; [sm25[nm ballets, incl
. [cf2]Paul et Virginie, Les ~Mirages[cf1], and [cf2]La Dame aux Cam;aaelias[cf1
]; [sm3[nm pf. concs., [sm4[nm ~syms., [cf2]Symphonie expiatoire
[cf1], in memory of inno~~cent war victims, vn. conc., etc.[cm~Saul and David [f
y75,1]([cf2]Saul og David[cf1]). Opera in [sm4[nm acts ~by [fy45,1]*[fy75,1]Niel
sen to lib. by Einar Christiansen. Comp. ~[sm1898[nm=n[sm1901[nm. Prod. Copenhag
en [sm1902[nm, Glasgow ~(BBC concert perf.) [sm1959[nm, London (stage) [sm1977[n
m.[cm~Sauret, Emile [fy75,1]([cf2]b[cf1] Dun-le-Roi, [sm1852[nm; [cf2]d[cf1] Lon
don, ~[sm1920[nm). Fr. violinist (pupil of de B;aaeriot) and ~composer. Began Eu
ropean tours at age of [sm8[nm. ~Amer. d;aaebut [sm1872[nm. Played sonatas with
Liszt. ~Taught in Berlin [sm1880[nm=n[sm9[nm. Prof. of vn., RAM ~[sm1890[nm=n[sm
1903[nm, Chicago Mus. Coll. [sm1903[nm=n[sm6[nm, TCL ~from [sm1908[nm. Wrote vn.
 conc., over [sm100[nm vn. pieces, ~and [cf2]Gradus ad Parnassum[cf1] for vn. ([
sm1894[nm).[cm~Sausage Bassoon. [fy75,1]Name for the [fy45,1]*[fy75,2]racket[cf1
] (Ger. ~[cf2]Wurstfagott[cf1]).[cm~Sautill;aae [fy75,1](Fr.). Springing. Type o
f bowing on vn., ~va., vc., and db. like [fy45,1]*[fy75,2]spicca
to[cf1], the bow lightly ~rebounding off the str.[cm~Savile, Jeremy [fy75,1]([cf
2]=+=+fl.[cf1][sm1651[nm=n[sm65[nm). Eng. composer of ~songs and part-songs. Rem
embered for [cf2]Here's a ~health unto his Majesty.[xm[cm~[j1]Savitri. [fy75,1](
[sm1[nm) Chamber opera in [sm1[nm act, Op. [sm25[nm, by ~Holst to his own lib. t
aken from the Sanskrit ~[cf2]Mahabharata.[cf1] [sm3[nm characters, Savitri (sop.
), Satyavan ~(ten.), Death (bar.), with acc. of [sm2[nm fl., cor anglais, ~and s
tr. Comp. [sm1908[nm. Prod. London (students) ~[sm1916[nm, (professional) [sm192
1[nm, Chicago [sm1934[nm.[ep~^([sm2[nm)^`Legend' for stage by Moln;Aaar ([sm1912
[nm).[cm~Savoy Operas. [fy75,1]Name by which the operettas of ~Gilbert and Sulli
van are known because from ~[cf2]Iolanthe[cf1] ([sm1882[nm) onwards they were pr
od. at the ~[PN627,0,0,R,I0]Savoy Th., London, built specially for them. The ~pe
rformers were known as `Savoyards'.[cm~Sawallisch, Wolfgang [fy75,1]([cf2]b[cf1]
 Munich, [sm1923[nm). Ger. ~cond. and pianist. Studied in Munich
. D;Aaebut as ~cond. at Augsburg Stadttheater [sm1947[nm=n[sm53[nm, begin~~ning
as r;Aaep;Aaetiteur, leaving as first Kapellmeister. ~Gen. mus. dir., Aachen [sm
1953[nm=n[sm7[nm, Wiesbaden [sm1957[nm=n~[sm9[nm, Cologne [sm1959[nm=n[sm63[nm.
Cond. at Bayreuth Fest. ~[sm1957[nm=n[sm61[nm. Gen. mus. dir. Hamburg P.O. [sm19
61[nm=n~[sm73[nm. Cond. Orch. de Suisse Romande [sm1970[nm=n[sm80[nm. ~Gen. mus.
 dir., Bavarian State Opera, Munich, ~[sm1971=n86[nm. Amer. d;aaebut [sm1964[nm,
 CG [sm1972[nm. Fine ~accompanist (to H. Prey, etc.).[cm~Saw, Musical. [fy75,1]H
and-saw played for novel enter~~tainment by holding it between the knees and ~pl
aying with a vn. bow, the left hand altering the ~pitch of the note by bending t
he saw.[cm~Sax, Adolphe [fy75,1](Antoine Joseph) ([cf2]b[cf1] Dinant, [sm1814[nm
; ~[cf2]d[cf1] Paris, [sm1894[nm). Belg. instr.-maker. Studied fl. and ~cl. at B
russels Cons. About [sm1840[nm invented new ~brass instr., [fy45,1]*[fy75,1]saxo
phone, which he registered in ~[sm1846[nm. Also invented the [fy
45,1]*[fy75,1]saxhorn family of instr.[cm~Saxhorn. [fy75,1]Type of brass wind in
str. of wide ~semiconical bore, using cup mouthpiece and ~played with valves, in
vented by A. [fy45,1]*[fy75,1]Sax [cf2]c.[cf1][sm1845[nm. ~There are [sm7[nm var
ieties (deep bass to high treble), ~i.e. [sm2[nm sop., alto, ten., B;Yh bass, E;
Yh bass, and BB;Yh bass ~(BB signifies wider bore). They are transposing ~instrs
.: those used in Brit. brass bands are the E;Yh ~ten. (ten. hn.) and B;Yh bar. (
bar. hn.), both closely ~related to the [fy45,1]*[fy75,2]fl;Auugelhorn.[cf1] Nom
enclature for the ~group is somewhat confused, e.g. in the [sm4[nm higher ~instr
s.:[ep~[el2][ep~[cl0][xf^(b)^[sv1,1s][ep~[cl8][rf^(a)[ep~[ol0][ip1v]Sopranino sa
xhorn in E;Yh (or F), also called ~sop. saxhorn or (mistakenly) sop. fl;Auugelho
rn, ~or fl;Auugelhorn piccolo. Little different from ~E;Yh cornet.[ep~^(b)^[liSo
p. saxhorn in B;Yh (or C), also called alto ~saxhorn or (mistakenly) alto fl;Auu
gelhorn. ~Little different from B;Yh cornet.[ep~^(c)[ep~[ol0][ip
1v]Alto saxhorn in E;Yh (or F), also called saxhorn, ~or ten. saxhorn, or ten. h
n., or alto, or ~althorn in E;Yh (or F).[ep~^(d)^[liTen. in B;Yh (or C), also ca
lled bar., or bar. ~saxhorn, or althorn in B;Yh.[ep~[el2]The [sm3[nm lower saxho
rns are [cf1]whole-tube instrs., the ~[sm4[nm higher are [cf1]half-tube instrs.
The [sm3[nm lower instrs. ~are classified with tubas, e.g.[ep~[el2]^(e)[ep~[ol0]
[ip1v]Bass saxhorn in B;Yh (or C), almost identical ~with [fy45,1]*[fy75,1]eupho
nium.[ep~^(f=+=+)[ep~[ol0][ip1v]Bass saxhorn in E;Yh (or F), almost identical ~w
ith E;Yh bass tuba, otherwise E;Yh bombardon.[ep~^(g)[ep~[ol0][ip1v]Double-bass
saxhorn in B;Yh (or C), almost ~identical with B;Yh bass tuba but with ~complete
 range at bottom.[ep~[el2]These are not always used as transposing instr.: ~some
times the bass clef is used, sometimes the ~treble clef showing the notes an oct
ave higher ~than if the bass clef had been used. In each case, ~middle C represe
nts the octave of the fundamental ~note.[xm[cm~[j1]Saxophone. [f
y75,1]Family of wind instrs. invented by ~A. [fy45,1]*[fy75,1]Sax [cf2]c.[cf1][s
m1840[nm, having metal body. Played with a ~single beating reed, like cl., but c
onical in bore, ~like ob. Complete family is of [sm8[nm sizes, alternately ~in E
;Yh and B;Yh, i.e. sopranino in E;Yh, sop. in B;Yh, alto ~in E;Yh, ten. in B;Yh,
 bar. in E;Yh, bass in B;Yh, contrabass ~in E;Yh, subcontrabass in B;Yh. All are
 transposing ~instr., written in the treble clef, the most ~commonly used being
the alto and ten. The sax.'s ~tone is extremely flexible and variable, blending
~well with either woodwind or brass, capable of a ~fl.-like softness, str.-like
richness, and metallic ~stridency. It is a standard feature of jazz big ~bands,
where a section of saxs. takes the place of ~a sym. orch.'s str. section (e.g. i
n Glenn Miller's ~and Tommy Dorsey's bands). But it has also been ~effectively u
sed in symphonic mus. Berlioz, ~Meyerbeer, Bizet, Massenet, Saint-Sa;Auens, and
~others all scored for the sax. Strauss used [sm4[nm saxs. ~in [
cf2]Symphonia Domestica[cf1] (though he intended ~saxhorns), and he would have b
een preceded by ~Elgar, whose desire for [sm4[nm in [cf2]Caractacus[cf1] was ~th
warted only by economic considerations. De~~bussy, Ibert, Milhaud, Villa-Lobos,
and Eric ~Coates have written conc.-like works for sax. and ~orch. Vaughan Willi
ams uses it brilliantly in [cf2]Job[cf1], ~and in his [sm6[nmth and [sm9[nmth Sy
ms., and innumerable ~other [sm20[nmth-cent. composers have called upon it. ~The
 idea that it is mainly a jazz instr. and so not ~quite decent in symphonic mus.
 is therefore as ~inaccurate as it is snobbish.[cm~Sax(o)tromba. [fy45,1]*[fy75,
1]Sax's modification of the [fy45,1]*[fy75,1]sax~~horn [cf2]c.[cf1][sm1850[nm wi
th a more cylindrical bore some~~where between tb. and saxhorn. Seldom used.[cm~
Saxton, Robert [fy75,1]([cf2]b[cf1] London, [sm1953[nm). Eng. composer. ~Studied
 with E. Lutyens [sm1970[nm=n[sm4[nm, at Cambridge ~Univ. with Robin Holloway, a
t Oxford Univ. ~with Sherlaw Johnson, and with Berio. Works ~inc
l.:[xm[cm~[j2][smorch[nm: [cf2]Choruses to Apollo [cf1]([sm1980[nm); [cf2]Traums
tadt ~[cf1]([sm1980[nm); [cf2]Ring of Eternity [cf1]([sm1982[nm=n[sm3[nm); [cf2]
Concerto for ~Orchestra [cf1]([sm1984[nm).[ep~[smensemble[nm: [cf2]Reflections o
f Narziss and Goldmund[cf1], [sm2[nm ~chamber groups, hp., pf. or celesta ([sm19
75[nm); ~[cf2]Canzona[cf1], fl., ob., cl., hn., hp., str. trio ([sm1978[nm); ~[c
f2]Processions and Dances[cf1], [sm11[nm instr. ([sm1981[nm); [cf2]Piccola ~Musi
ca per Luigi Dallapiccola[cf1], fl., ob., va., vc., pf. ~or celesta ([sm1981[nm)
.[ep~[smvoice(s) and instr[nm: [cf2]La Promenade d`Automne[cf1], sop., ~fl., cl.
, perc., pf., str. trio ([sm1972[nm); [cf2]Where Are You ~Going To, My Pretty Ma
id?[cf1], arr. for sop., fl., cl., ~hp., guitar, vn., vc. ([sm1973[nm);[cf2]What
 does the song ~hope for?[cf1], sop., fl., ob., cl., pf., str. trio, tape ~([sm1
974[nm); [cf2]Brise Marine[cf1], sop., pf., tape ([sm1976[nm); ~[cf2]Cantata on
Poems of H;auolderlin[cf1], ten., counterten., ~pf. ([sm1979[nm)
; [cf2]Cantata No. [sm2[nm[cf1], ten., ob., pf. ([sm1980[nm); ~[cf2]Cantata No.
[sm3[nm[cf1], [sm2[nm sop. and tape delay ([sm1981[nm); [cf2]Eloge[cf1], ~sop.,
fl., ob., cl., hn., pf., str. qt. ([sm1980[nm).[ep~ [smunacc. chorus[nm: [cf2]Ch
aconne[cf1], double ch. ([sm1981[nm).[ep~[PN628,0,0,L,I0][smchamber music[nm: [c
f2]Krystallen[cf1], fl., pf. ([sm1973[nm); [cf2]Echoes of ~the Glass Bead Game[c
f1], wind quintet ([sm1975[nm); [cf2]Poems ~for M;aaelisande[cf1], fl., pf. ([sm
1977[nm); [cf2]Arias[cf1], ob., pf. ([sm1977[nm); ~[cf2]Study for a Sonata[cf1],
 fl., ob., vc., hpd. ([sm1977[nm); ~[cf2]Toccata[cf1], vc. ([sm1978[nm); [cf2]Ch
iaroscuro[cf1], perc. ([sm1981[nm); ~[cf2]Fantasiest;auuck[cf1], accordion ([sm1
982[nm).[ep~[smpiano[nm: [cf2]Ritornelli and Intermezzi[cf1] ([sm1972[nm); [cf2]
[sm2[nm Pieces ~[cf1]([sm1976[nm); [cf2]Sonatas for [sm2[nm Pianos [cf1]([sm1977
[nm); [cf2]Sonata (in ~memory of Bel;aaa Bart;aaok) [cf1]([sm1981[nm).[cm~[j1]Sa
ygun, Ahmed Adnan [fy75,1]([cf2]b[cf1] Izmir, [sm1907[nm). Turki
sh ~composer. Studied Paris Cons. and Schola Canto~~rum, Paris, [sm1928[nm=n[sm3
1[nm, with d'Indy. Returned to ~Turkey to hold various teaching posts, from [sm1
946[nm ~at Ankara State Cons. Works incl. operas, [sm4[nm syms., ~[sm3[nm str. q
ts., wind quintet, vn. sonata, vc. sonata, ~etc.[cm~Sbriglia, Giovanni-Battista[
fy75,1] ([cf2]b[cf1] Naples, [sm1832[nm; [cf2]d[cf1] ~Paris, [sm1916[nm). It. te
n. and teacher. D;Aaebut Naples ~[sm1853[nm, NY [sm1860[nm. Settled in Paris as
teacher [sm1875[nm, ~pupils incl. the [fy45,1]*[fy75,1]de Reszkes, [fy45,1]*[fy7
5,1]Nordica, [fy45,1]*[fy75,1]Plan;Alcon, ~and Sibyl [fy45,1]*[fy75,1]Sanderson.
[cm~Scala di seta, La [fy75,1](The Silken Ladder). Opera in [sm1[nm ~act by Ross
ini to lib. by Rossi after Planard. Prod. ~Venice [sm1812[nm, London [sm1954[nm.
[cm~Scala Enigmatica [fy75,1](Lat.). Enigmatic scale. Term ~applied to arbitrary
 scale used by Verdi in his [cf2]Ave ~Maria [cf1]([sm1897[nm), the first of his
[cf2]Quattro pezzi sacri[cf1]. ~Scale, which sounds like whole-t
one scale, is C-~D;Yh-E-F;Yi-G;Yi-A;Yi-B-C.[cm~Scala, La. [fy75,1]See [cf2]La Sc
ala.[cm~Scale[fy75,1] (from It. [cf2]scala[cf1], `staircase', `ladder'; Ger. ~[c
f2]Tonleiter[cf1]; Fr. [cf2]gamme[cf1]). A series of single notes ~progressing u
p or down stepwise. Thus, a series ~of notes within an octave used as the basis
of ~comp. Scales are arbitrary, and the no. in use ~throughout the world is inca
lculable.[ep~^For the older European scales, used in the ~Church's plainsong and
 in folk song, see [cf2]Modes[cf1]. ~Two of these ancient Modes remained in use
by ~composers, when the other [sm10[nm were almost ~abandoned, and these are our
 Major and Minor ~Scales=mthe latter, however, subject to some ~variations in it
s [sm6[nmth and [sm7[nmth notes. Taking C as ~the keynote these scales (which ha
ve provided the ~chief material of music from about [smad[nm [sm1600[nm to ~[sm1
900[nm) run as follows:[ep~[el3][cp7,7][ih1n]Major Scale (Semitones [sm3[nm=n[sm
4[nm and [sm7[nm=n[sm8[nm=mthe two halves ~thus being alike).[ep
~[ol24][ep~[el3]Minor Scale=m`Harmonic' Form (Semitones [sm2[nm=n[sm3[nm, [sm5[n
m=n[sm6[nm, [sm7[nm=n~[sm8[nm; there is the interval of the Augmented Second, [s
m6[nm=n[sm7[nm).[ep~[ol24][ep~Minor Scale=m`Melodic' Form (Semitones [sm2[nm=n[s
m3[nm, [sm7[nm=n[sm8[nm ~ascending; [sm6[nm=n[sm5[nm, [sm3[nm=n[sm2[nm descendin
g; this avoids the interval ~of the augmented [sm2[nmnd while allowing the Leadi
ng ~Note to retain its function of `leading' to the Tonic).[ep~[ol24][ep~[ol24][
ep~[ih0][el3][cp8,8]^The Major and Minor scales are spoken of as ~[smdiatonic sc
ales[nm, as distinct from a scale using ~nothing but semitones, which is the [sm
chromatic ~scale[nm, for which [sm2[nm different notations are em~~ployed:[ep~[e
l3][cp7,7][ih1n]Chromatic Scale (in `melodic' notation=msharps upwards, ~flats d
ownwards; this notation economizes accidentals),[ep~[ol26][ep~[ol26][ep~[el4]Chr
omatic Scale (in `harmonic' notation).[ep~[ol26][ep~[ol26][ep~[el4][cp8,8][ih0]^
This scale when begun on other notes is ~`harmonically' notated
according to the same ~principles; for instance, beginning on D it reads:[ep~[ol
24][ep~[el4][cp7,7][ih1n]The scheme is: the notes of the major scale, plus those
 of ~the harmonic minor scale, plus the minor [sm2[nmnd and ~augmented [sm4[nmth
.[ep~[el2][ih0][cp8,8]^A scale comprising the same notes as the ~Chromatic Scale
 is the [fy45,1]*[fy75,1][smdodecaphonic scale[nm, in ~which the [sm12[nm notes
are considered to be all of ~equal status and are so treated, whereas the ~Chrom
atic Scale beginning on any particular note ~is considered to comprise the Diato
nic Scale of ~that note `coloured' (this is the literal meaning of ~`chromatic')
 by the addition of the extra semi~~tones.[ep~^Scales with smaller intervals tha
n the semitone ~have been introduced. See [cf2]Microtone.[ep~[cf1]^The [smwhole-
tone scale[nm is free of semitones and ~thus allows of only [sm2[nm different se
ries, each with [sm6[nm ~notes:[ep~[el3][cp7,7]The Whole-tone Scale.[qc~[ol40][e
p~[el3][cp8,8]^An extremely widespread scale is the [sm5[nm-note
 or ~[smpentatonic scale[nm (common in Scottish, Chinese, ~and other music):[ep~
[PN629,0,0,R,I0][el3][bn[cp7,7]The Pentatonic Scale (commonest order of the inte
rvals).[ep~[ol26][ep~[xn[el4][cp8,8]^The Scottish Highland Bagpipe is tuned to a
 ~scale that cannot be represented in orthodox ~notation. It is roughly that of
the white notes of ~the piano with the C and F about a quarter of a ~tone sharp.
[cm~Scalero, Rosario [fy75,1]([cf2]b[cf1] Moncalieri, Turin, [sm1870[nm; [cf2]d[
cf1] ~Settimo Vittone, Turin, [sm1954[nm). It. violinist, ~composer, and teacher
 of vn. and of comp. Pupil ~of Sivori in Genoa and Wilhelmj in London. ~Taught i
n Fr. and It. before going to USA in [sm1919[nm. ~Head of vn. class, Mannes Sch.
, NY, [sm1919[nm=n[sm28[nm, ~Curtis Institute from [sm1928[nm. Pupils incl. [fy4
5,1]*[fy75,1]Barber, ~[fy45,1]*[fy75,1]Menotti, and L. [fy45,1]*[fy75,1]Foss. Wr
ote vn. conc., chamber ~mus., songs, etc.[cm~Scapino. [fy75,1]Comedy ov. by Walt
on, comp. [sm1940[nm to ~commission from Chicago S.O. who gave f
.p. in ~Apr. [sm1941[nm, cond. Frederick Stock. F. Eng. p. ~London, Nov. [sm1941
[nm. Rev. [sm1950[nm. Score is subtitled ~`after an etching from Jacques Callot'
s [cf2]Balli di ~Sfessania[cf1], [sm1622[nm'. Scapino was comic valet in ~[cf2]c
ommedia dell' arte [cf1]and the hero of Moli;agere's [cf2]Les ~Fourberies de Sca
pin[cf1].[xm[cm~[ol0][ep~[xp[te~








[do24][j99]~~~~~~[sm153842[nm_S[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmS[sm004[nm[cm[sm24[nm[cm~[sm1[nm[cm[sm19[nm-[sm10[nm-[
sm79[nm[cm[sm9[nm[cm[sm148[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Scaramouche.
[fy75,1]([sm1[nm)^Suite for [sm2[nm pf., [sm1939[nm, by ~[fy45,1]*[fy75,1]Milhau
d. Based on incidental mus. for play [cf2]The ~Flying Doctor[cf1], [sm1937[nm, p
rod. in Paris at Th;aae;afatre ~Scaramouche, hence title.[ep~^([sm2[nm)^Ballet i
n [sm3[nm scenes, mus. by Sibelius ([sm1913[nm), ~lib. by P. Knudsen, choreog. E
. Walbom. Prod. ~Copenhagen [sm1922[nm.[cm~Scarbo [fy75,1](Ravel). See [cf2]Gasp
ard de la nuit.[cm~Scarlatti, Alessandro [fy75,1]([cf2]b[cf1] Palermo, [sm1660[n
m; [cf2]d[cf1] Naples, ~[sm1725[nm). It. composer, specially important in ~devel
opment of opera and considered founder of ~so-called Neapolitan sch. Taken to Ro
me [sm1672[nm, ~said to have studied with [fy45,1]*[fy75,1]Carissimi, and wrote
~first opera there [sm1679[nm. Engaged by Queen ~Christina of Sw
eden, then living in Rome, as ~cond., [sm1680[nm=n[sm4[nm, for her private th. C
ourt cond., ~Naples, [sm1684[nm=n[sm1702[nm. Alternated between Rome ~and Naples
 for rest of life, in various court and ~church appointments. Contribution to op
era was ~liberation of dramatic expression. Est. the [cf2]da capo[cf1] ~aria, fi
rst in [cf2]Teodora[cf1] ([sm1692[nm), the opera in which ~orch. ritornello is s
upposedly used for the first ~time. The so-called `It. ov.' was introduced in ~[
sm1696[nm in a revival of [cf2]Dal male il bene[cf1]. In [sm1685[nm, in ~[cf2]L'
Olimpia vendicata[cf1], occurs the first recorded ~instance of acc. recit. His g
reatest opera is reckoned ~to be [cf2]Mitridate Eupatore[cf1] ([sm1707[nm), comp
. for Prince ~Ferdinando de' Medici. In his late Rome years, ~the general enthus
iasm for opera, stimulated by ~Scarlatti, overcame all ecclesiastical objections
. ~His [sm115[nm operas incl. only one comic opera, [cf2]Il ~trionfo dell' onore
[cf1] (Naples [sm1718[nm). About [sm70[nm survive, ~wholly or in
 part, of which revivals show superb ~craftsmanship and lofty invention. He also
 wrote ~some [sm20[nm oratorios, [sm10[nm masses, several settings of ~[cf2]Stab
at Mater[cf1], etc., over [sm40[nm motets, over [sm600[nm solo ~cantatas with ba
sso continuo and [sm60[nm with other ~instr., some [sm30[nm chamber cantatas for
 [sm2[nm vv., [sm28[nm ~serenatas, several madrigals, [sm12[nm chamber concs., ~
various sonatas, and hpd. pieces, incl. variations ~on [cf2]La Folia[cf1]. Fathe
r of Domenico [fy45,1]*[fy75,1]Scarlatti.[cm~Scarlatti, [fy75,1](Giuseppe) [fy65
][cf3]Domenico [fy75,1]([cf2]b[cf1] Naples, [sm1685[nm; ~[cf2]d[cf1] Madrid, [sm
1757[nm). It. composer and harpsichordist, ~son of A. [fy45,1]*[fy75,1]Scarlatti
. Thought to have been pupil ~of his father and after [sm1708[nm of Pasquini and
 ~Gasparini in Venice, where he met Handel. In ~[sm1709[nm, according to one bio
grapher,  Handel's ~patron, Cardinal Ottoboni, arranged a hpd.-~playing contest
between Handel and Scarlatti ~which was a tie, Handel being adju
dged a better ~organist. Maestro di cappella to Queen of Poland, ~composing oper
as for her private th. in Rome. ~Mus. dir., St Peter's, Rome [sm1715[nm=n[sm19[n
m. Court ~harpsichordist to King of Portugal and teacher of ~Princess Maria Barb
ara in Lisbon [sm1719[nm=n[sm28[nm; ~returned to Italy on leave [sm1725[nm=n[sm9
[nm; accompanied ~Maria Barbara to Spain on her marriage to the Sp. ~Crown Princ
e in [sm1729[nm. Stayed in Madrid for rest ~of his life. Domenico did for kbd.-p
laying what ~his father did for opera, by imparting to it a ~hitherto unsuspecte
d freedom of style. Introduced ~many new technical devices (rapid repetitions, ~
crossed hands, double-note passages, etc.) and the ~[sm550[nm single-movement so
natas he wrote in Sp. are ~exercises ([cf2]esercizi[cf1]) as well as innovatory
comps. ~foreshadowing sonata form. Also comp. [sm14[nm operas, ~masses, [cf2]Sta
bat Mater[cf1] for [sm10[nm vv., [cf2]Salve Regina[cf1], ~cantatas, at least [sm
12[nm concerti grossi, [sm17[nm sinfonias, ~and org. fugues. His
 works have been catalogued ~by R. [fy45,1]*[fy75,1]Kirkpatrick, superseding the
 [fy45,1]*[fy75,1]Longo ~catalogue begun in [sm1906[nm.[cm~Scarlatti, Giuseppe [
fy75,1]([cf2]b [cf1]Naples, [cf2]c[cf1].[sm1718[nm; [cf2]d [cf1]Vienna, ~[sm1777
[nm). It. composer, nephew of D. [fy45,1]*[fy75,1]Scarlatti. ~Comp. [sm30[nm ope
ras for Turin, Venice, Lucca, Naples, ~Florence, and Rome, then moved to Vienna
~where his subsequent operas incl. [cf2]La clemenza di ~Tito [cf1]([sm1757[nm).[
cm~Scat Singing. [fy75,1]Jazz term meaning the interpola~~tion of nonsense words
 and syllables and other ~vocal effects, introduced in [sm1920[nms by Cab Callow
ay ~and Louis Armstrong.[cm~Scemando [fy75,1](It.). Diminishing, in vol. of tone
. ~Same as [fy45,1]*[fy75,2]diminuendo.[cm~Scena [fy75,1](It.). Scene. Prin. mea
ning of this term is ~an elaborate concert aria for v. and orch. in several ~sec
tions, like the cantatas of Haydn, A. Scarlatti, ~etc. Examples are Beethoven's
[cf2]Ah! perfido[cf1], Bliss's ~[cf2]The Enchantress[cf1], Barbe
r's [cf2]Andromache's Farewell[cf1], ~and Britten's [cf2]Phaedra[cf1]. Other mea
nings are ([sm1[nm) a ~scene, subdivision of an act in opera; ([sm2[nm) solo ~op
eratic movement, less formal than an aria e.g. ~Leonore's [cf2]Abscheulicher![cf
1] in Beethoven's [cf2]Fidelio.[cm~[PN630,0,0,L,I0]Scenes and Arias. [fy75,1]Set
ting of medieval love-~letters for sop., mez., cont., and orch. by [fy45,1]*[fy7
5,1]Maw, ~comp. [sm1962[nm, rev. [sm1966[nm. F.p. London, [sm1962[nm, cond. ~N.
Del Mar.[cm~Scenes from Childhood [fy75,1](Schumann). See [cf2]Kinder~~scenen[cf
1].[cm~Scenes from Comus. [fy75,1]Work for sop. and ten. ~soloists and orch. by
Hugh [fy45,1]*[fy75,1]Wood, comp. [sm1962[nm=n~[sm5[nm, commissioned by BBC and
f.p. Promenade ~Concert, London, [sm1965[nm, cond. Norman Del Mar. ~Text from Mi
lton's masque [cf2]Comus[cf1] ([sm1634[nm).[xm[cm~[j1]Scenes from Goethe's Faust
 [fy75,1](Schumann). See ~[cf2]Faust, Scenes from Goethe's.[cm~Scenes from the B
avarian Highlands [fy75,1](Elgar). ~See [cf2]Bavarian Highlands,
 Scenes from the.[cm~Scenes from the Saga of King Olaf [fy75,1](Elgar). See ~[cf
2]King Olaf, Scenes from the Saga of.[cm~Sc;agenes historiques [fy75,1](Historic
al Scenes). Fr. title ~given by Sibelius to [sm2[nm suites of orch. pieces. No.
[sm1[nm ~(Op. [sm25[nm) dates from [sm1899[nm and comprises [cf2]All[cf1]'[cf2]
~Overtura[cf1],[cf2] Sc;agene[cf1], and [cf2]Festivo[cf1] (rev. [sm1911[nm). No.
 [sm2[nm (Op. ~[sm66[nm) dates from [sm1912[nm and comprises [cf2]The Chase[cf1]
,[cf2] ~Love-Song[cf1], and [cf2]At the Drawbridge.[cm~Sc;agenes pittoresques [f
y75,1](Picturesque Scenes). Orch. ~work by Massenet, comp. [sm1874[nm.[cm~Schack
 [fy75,1](orig. ;akZ;aaak), [fy65][cf3]Benedikt[fy75,1] ([cf2]b[cf1] Mirotice, [
sm1758[nm; ~[cf2]d[cf1] Munich, [sm1826[nm). Bohem. ten., composer, flautist, ~a
nd cond. Court cond., then joined [fy45,1]*[fy75,1]Schikaneder's ~co. [sm1786[nm
 as ten., singing with it in Salzburg, ~Vienna, Graz, and Munich until [sm1805[n
m. Created ~role of Tamino in Mozart's [cf2]Die Zauberfl;Auote[c
f1], [sm1791[nm, ~playing the fl. himself. Said to be one of group ~who sang par
ts of Mozart's [cf2]Requiem[cf1] to composer ~on his death-bed. Wrote several op
eras and church ~mus.[cm~Schaeffer, Boguslaw [fy75,1](=+=+Julian) ([cf2]b[cf1] L
w;aaow, [sm1929[nm). ~Polish composer, mainly self-taught, and pianist. ~Studied
 Krak;aaow State Coll. of Mus. [sm1949[nm=n[sm53[nm, ~where he has taught since
[sm1963[nm. First comp. [sm1946[nm ~in neo-classical style but with atonal leani
ngs. ~Wrote atonal chamber mus. [sm1946[nm=n[sm8[nm. First com~~poser in E. Euro
pe to use [sm12[nm-note system for orch. ~work ([cf2]Nocturne[cf1], [sm1953[nm).
 In [sm1955[nm discovered note-~less composing of mus., e.g. in [cf2]Study in Di
agram[cf1] ~for pf. ([sm1955[nm=n[sm6[nm) only intervals, directions of linear ~
motion, and articulations are used. In [sm1958[nm wrote ~[cf2]Tertium datur[cf1]
 with geometrical constructions ~written in graphical notation. Since [sm1959[nm
 his ~orch. scores have all been for unusual combina~~tions of i
nstr. Has written several jazz comps. ~since [sm1962[nm and elec. pieces since [
sm1964[nm. Many of ~his works inspired by paintings and literature. ~Uses `synec
tic' method of comp., i.e. performers ~themselves decide what they understand by
 ~special signs and graphics. Has written books on ~new mus. ([sm1958[nm, [sm196
9[nm), [cf2]Sounds and Signs [cf1]([sm1969[nm), ~and [cf2]Introduction to Compos
ition [cf1]([sm1976[nm, Eng. trans.). ~Prin. works:[xm[cm[j2][smstage[nm: [cf2]Q
uartet[cf1], [sm4[nm actors ([sm1966[nm); [cf2]TIS MW[sm2[nm[cf1], ens. ~([sm196
3[nm); [cf2]Scenario[cf1], actor ([sm1963[nm); [cf2]Audiences I-V[cf1], ~actors
([sm1964[nm); [cf2]Fragment[cf1], vc. and [sm2[nm actors ([sm1968[nm), ~also db.
 and [sm2[nm actors ([sm1980[nm); [cf2]Autogenic Composi~~tion[cf1], sop., fl.,
vc., pf., and [sm4[nm actors ([sm1980[nm).[ep~[smorch[nm: Sym.: No. [sm1[nm ([cf
2]Little Symphony: Scultura[cf1]) ~([sm1960[nm), No. [sm2[nm ([cf2]Codes[cf1]),
small orch. ([sm1961[nm), No. [sm3[nm ~([cf2]Musica ipsa[cf1]),
orch. of deep instr. ([sm1962[nm), No. [sm4[nm ~([cf2]Collage[cf1]) ([sm1964[nm)
, No. [sm5[nm ([sm1967[nm), No. [sm6[nm ([cf2]Texts[cf1]) ~([sm1971[nm), No. [sm
7[nm ([cf2]Symphony in [sm9[nm movements[cf1]) ([sm1973[nm), ~No. [sm8[nm ([cf2]
Tentative music for [sm159[nm instr.[cf1]) ([sm1973[nm), No. ~[sm9[nm ([cf2]Grav
esono[cf1]), wind and perc. orch. ([sm1977[nm), No. ~[sm10[nm ([cf2]Maah[cf1]),
with tape ([sm1979[nm); [cf2]Three Short Pieces[cf1], ~small orch. ([sm1951[nm);
 [cf2]Music for Strings: Nocturne ~[cf1]([sm1953[nm); [cf2]Monosonata[cf1], [sm6
[nm str. qts. ([sm1959[nm); [cf2]Equivalenze ~sonore[cf1], perc. orch. ([sm1959[
nm); [cf2]Topofonica[cf1], [sm40[nm instr. ~([sm1960[nm); [cf2]Harmonies and Cou
nterpoints:[cf1] No. [sm1[nm ~([cf2]Warsaw Overture[cf1]) ([sm1975[nm), No. [sm2
[nm ([cf2]Romuald ~Traugutt=+[cf1]), ov. ([sm1976[nm); [cf2]Kesukaan[cf1], str.
([sm1978[nm); [cf2]Five ~Introductions and An Epilogue[cf1], small orch. ([sm198
1[nm).[ep~[smconcertos[nm: Piano, No. [sm1[nm ([cf2]Quattro movi
menti[cf1]) ~([sm1957[nm), No. [sm2[nm ([sm1967[nm); Hpd., No. [sm1[nm ([cf2]Ter
tium datur[cf1]) ~([sm1958[nm), No. [sm2[nm ([cf2]Musica[cf1]) ([sm1961[nm); Vn.
 ([sm1963[nm); Vc. ~([cf2]Concerto breve[cf1]) ([sm1959[nm); Db. ([cf2]=+=+Jangw
a[cf1]) ([sm1979[nm); fl. ~([sm1963[nm); alto sax. ([cf2]S. alto[cf1]).[ep~[smch
amber ens[nm: [cf2]Extremes[cf1], [sm10[nm instr. ([sm1957[nm); [cf2]Azione a ~d
ue[cf1], pf., [sm12[nm instr. ([sm1961[nm); [cf2] Imago musicae[cf1], vn., [sm9[
nm ~instr. ([sm1961[nm); [cf2]Mare[cf1], pf., [sm9[nm instr. ([sm1971[nm); [cf2]
Matan[cf1], [sm5[nm ~perc. ([sm1980[nm).[ep~[smchamber mus[nm: Str. Qts.: No. [s
m1[nm ([cf2]Music[cf1]) ([sm1954[nm), No. ~[sm2[nm ([sm1957[nm), No. [sm3[nm ([c
f2]Concerto[cf1]) ([sm1959[nm), No. [sm4[nm ([sm1964[nm), ~No. [sm5[nm ([sm1971[
nm), No. [sm6[nm ([sm1973[nm); pf. trio ([sm1969[nm); ~[cf2]Andante[cf1], str. s
extet ([sm1947[nm); str. trios, No. [sm1[nm ([cf2]Four ~Pieces[cf1]) ([sm1962[nm
), No. [sm2[nm ([cf2]Estratto[cf1]) ([sm1971[nm); [cf2]Sonatina[
cf1], [sm2[nm ~vn. ([sm1946[nm); [cf2]Neues[cf1], [sm3[nm vn. ([sm1972[nm); [cf2
]Essentials[cf1], [sm3[nm vn. ~([sm1981[nm); oboe qt., ob., str. ([sm1966[nm); s
ax. qt. ([sm1980[nm); ~Octet, fl., ob., cl., bn., hn., tpt., tb., db. ([sm1980[n
m); [cf2][sm2[nm ~Pieces[cf1], vn., pf. ([sm1964[nm); [cf2]Duodrama[cf1], alto s
ax., perc. ~([sm1981[nm).[ep~[sm3 pianos[nm: [cf2]Concerto[cf1] ([sm1972[nm).[ep
~[sm2 pianos[nm: [cf2]Concerto[cf1] ([sm1951[nm); [cf2][sm15[nm Elements[cf1] ([
sm1971[nm); ~[cf2]blueS I[cf1], with tape ([sm1972[nm); [cf2]blueS III [cf1]([sm
1978[nm); [cf2][sm4[nmH/[sm1[nmP[cf1] ~([sm4[nm hands) ([sm1966[nm).[ep~[smpiano
[nm: [cf2]Models:[cf1] No. [sm1[nm ([sm1956[nm), No. [sm2[nm ([sm1957[nm), No. [
sm3[nm ~([sm1961[nm), No. [sm4[nm ([sm1963[nm), No. [sm5[nm ([sm1965[nm), No. [s
m6[nm ([sm1970[nm), ~No. [sm7[nm ([sm1971[nm), No. [sm8[nm ([sm1972[nm), No. [sm
9[nm ([sm1976[nm), No. [sm10[nm ~([sm1977[nm); [cf2]Sonatina[cf1] ([sm1952[nm);
[cf2]Study in Diagram [cf1]([sm1955[nm=n~[sm6[nm); [cf2][sm8[nm
Pieces [cf1]([sm1958[nm); [cf2][sm3[nm Studies [cf1]([sm1958[nm); [cf2]Non-stop
[cf1]([sm8[nm ~hours) ([sm1960[nm); [cf2]Contours [cf1]([sm1963[nm); [cf2]Emotio
graphs ~[cf1]([sm1966[nm).[ep~[smorgan[nm: [cf2]Tsiyur[cf1], with tape ([sm1979[
nm).[ep~[sminstr[nm: [cf2][sm2[nm Studies[cf1], solo fl. ([sm1953[nm); [cf2]Soun
d Forms[cf1], solo ~alto sax. ([sm1961[nm); [cf2]Constructions[cf1], solo vibrap
hone ~([sm1962[nm); [cf2][sm5[nm Short Pieces[cf1], harp ([sm1964[nm); [cf2]Cong
lomera~~tion[cf1], solo perc. ([sm1970[nm); [cf2]Heraklitiana[cf1], [sm12[nm alt
ernative ~perfs. and tape (fl., alto sax., perc., vibraphone, ~pf., prepared pf.
, hp., vc., db., actor, painter, ~composer) ([sm1970[nm); [cf2]Project[cf1] for
an instr. and tape ~([sm10[nm versions: ob., bass cl., bn., alto sax., tuba, vc.
, ~db., pf., perc., sop.) ([sm1970[nm); [cf2]Variants[cf1], ob. ([sm1971[nm); ~[
cf2]Interview[cf1], vn. ([sm1972[nm); [cf2]Free Form No. [sm2[nm (Evoca~~zioni)[
cf1], db. ([sm1972[nm); [cf2]aSa[cf1], clavichord ([sm1973[nm);
[cf2]aDieu[cf1], ~[PN631,0,0,R,I0]tb. ([sm1973[nm); [cf2]Self-expression[cf1], v
c. ([sm1978[nm); [cf2]Monologue[cf1], ~bass cl. ([sm1980[nm); [cf2]Euphony[cf1],
 db. ([sm1981[nm).[ep~[smvoice(s) and instr[nm: [cf2]Guillaume Apollinaires Poet
ries[cf1], ~sop., orch. ([sm1949[nm); Cantata ([cf2]Audiogram[cf1]), [sm60[nm vv
., ~orch. ([sm1966[nm); [cf2]Howl[cf1] (after Ginsberg), [sm3[nm actors, ~orch.
([sm1966[nm); [cf2]Te Deum[cf1], vv., orch. ([sm1979[nm).[ep~[smjazz ens[nm: [cf
2]Three Comps. for MJQ [cf1]([sm1961[nm[cf2]); [cf2]Music for ~MI[cf1], vibrapho
ne, sop., jazz ens., orch. ([sm1963[nm); ~[cf2]Collage and Form[cf1], orch. ([sm
1963[nm); [cf2]Jazz Concerto[cf1], ~jazz ens. ([sm12[nm instr.) and orch. ([sm19
69[nm); [cf2]blueS II[cf1], ~ens. ([sm1972[nm).[ep~[smelectronic[nm: [cf2]Sym. [
cf1]([sm1964[nm=n[sm6[nm); [cf2]Assemblages[cf1] ([sm1966[nm); ~[cf2]Monodrama [
cf1]([cf2]Ritsos, Seferis[cf1]) with voice of I. Jun ~([sm1968[nm); [cf2]Theme[c
f1], computer mus. ([sm1970[nm); [cf2]Missa ~elettronica[cf1], b
oys' ch. and tape ([sm1975[nm); [cf2]Poetries [cf1](C. ~Adler) ([sm1968[nm); [cf
2]Miserere[cf1], sop., ch., orch., tape ~([sm1978[nm); [cf2]Cantata [cf1]([sm198
0[nm).[cm~[j1]Schaeffer, Pierre [fy75,1]([cf2]b[cf1] Nancy, [sm1910[nm). Fr. com
poser. ~Trained as radio technician and has worked ~mostly for RTF, Paris. In [s
m1942[nm founded acoustical ~experiments studio. Began experiments in [sm1948[nm
 ~with comps. based on assemblage of recorded ~sounds. For these he coined the t
erm [cf2]musique ~concr;Agete[cf1], his first being [cf2];AaEtude aux chemins de
 fer[cf1], ~made from the sounds of railway trains. This and ~[sm4[nm other work
s were broadcast from Paris on [sm5[nm ~Oct. [sm1948[nm. In [sm1949[nm he began
to collaborate with ~the composer Pierre Henry. In [sm1951[nm RTF est. a ~studio
 under Schaeffer's dir., the first to be ~devoted to elec. mus. Dir. of research
, RTF [sm1959[nm. ~Prin. comps. incl. [cf2]Symphonie pour un homme seul[cf1] ~(c
ollab. Pierre Henry, [sm1949[nm=n[sm50[nm, rev. [sm1966[nm), [cf
2]Orph;aaee ~[sm53[nm[cf1] (with Henry, for vn., hpd., [sm2[nm singers, and tape
, ~[sm1951[nm=n[sm3[nm), [cf2]Sahara d'aujourd'hui[cf1] (collab. Henry, ~[sm1957
[nm), [cf2];aaEtudes aux objets[cf1] ([sm1959[nm, rev. [sm1966[nm=n[sm7[nm).[cm~
Schafe K;auonnen Sicher Weiden[fy75,1] (Sheep may ~safely graze). Recit. and air
 by Bach, with obbl. ~for [sm2[nm recorders, in secular cantata [cf2]Was mir beh
agt ~ist nur die munter Jagd! [cf1](What I enjoy is only the ~merry chase!) (BWV
[sm208[nm, ?[sm1713[nm). Several arrs. of ~it have been made, among them one by
Walton ~as [sm7[nmth no. of his ballet [cf2]The Wise Virgins[cf1] (No. [sm5[nm i
n ~orch. suite), [sm1940[nm, and one by Barbirolli for cor ~anglais and str., [c
f2]c.[cf1][sm1937[nm.[cm~Schafer, R. Murray[fy75,1] ([cf2]b[cf1] Sarnia, Ontario
, [sm1933[nm). ~Canadian composer, teacher, and writer. Studied ~pf., hpd., and
theory at Toronto Royal Cons., ~[sm1945[nm=n[sm55[nm, and comp. with J. Weinzwei
g at ~Toronto Univ. [sm1954[nm=n[sm5[nm. Went to Vienna [sm1956[
nm, ~then worked in Eng. Returned to Canada [sm1962[nm ~founding `[sm10[nm Centu
ries Concerts'. Composer-in-~residence Simon Fraser Univ., Vancouver, from ~[sm1
965[nm, founding elec. studio. Works incl. [cf2]Loving/~Toi[cf1], music th. ([sm
1963[nm=n[sm6[nm), [cf2]Requiems for the Party ~Girl[cf1], sop. and [sm9[nm inst
r. ([sm1966[nm), [cf2]Gita[cf1], ch., [sm8[nm brass, and ~tape ([sm1967[nm), [cf
2]Son of Heldenleben[cf1], orch. and tape ~([sm1968[nm), [cf2]Patria II[cf1], th
. piece ([sm1969[nm), [cf2]Music for the ~Morning of the World[cf1], mez., [sm4[
nm-track tape ([sm1970[nm), ~str. qts. No. [sm1[nm ([sm1970[nm), No. [sm2[nm ([c
f2]Waves[cf1]) ([sm1976[nm), ~ [cf2]Enchantress[cf1], mez., fl., [sm8[nm vc. ([s
m1971[nm, rev. [sm1972[nm), ~[cf2]Arcana[cf1], v., ens. ([sm1972[nm), [cf2]East[
cf1], chamber orch. ([sm1972[nm), ~[cf2]Patria I [cf1]([cf2]The Characteristics
Man[cf1]), music th. ([sm1972[nm), ~[cf2]Patria II [cf1]([cf2]Requiems for the P
arty Girl[cf1]), music th. ~([sm1972[nm), [cf2]North White[cf1],
 orch. ([sm1973[nm), [cf2]Adieu, Robert ~Schumann[cf1], alto, orch. ([sm1976[nm)
, [cf2]Hymn to Night[cf1], sop. ~and orch. ([sm1976[nm), [cf2]Cort;agege[cf1], o
rch. ([sm1977[nm), [cf2]Apocalypsis[cf1], ~music th. ([sm1977[nm). Books and art
icles incl. [cf2]Ezra ~Pound and Music[cf1] ([sm1977[nm) and [cf2]British Compos
ers in ~Interview[cf1] ([sm1963[nm).[xm[cm~[j1]Schale; Schalen [fy75,1](Ger.). [
fy45,1]*[fy75,1]Cymbal; cymbals.[cm~Schalk, Franz [fy75,1]([cf2]b[cf1] Vienna, [
sm1863[nm; [cf2]d[cf1] Edlach, [sm1931[nm). ~Austrian cond. Studied under Bruckn
er. Cond. in ~Liberec [sm1888[nm, Graz [sm1889[nm=n[sm95[nm, Prague [sm1895[nm=n
[sm8[nm, ~Berlin [sm1899[nm=n[sm1900[nm, Vienna Opera [sm1900=n29[nm (joint ~dir
. with R. Strauss [sm1919[nm=n[sm24[nm). CG [sm1898[nm, [sm1907[nm, ~and [sm1911
[nm ([sm3[nm [cf2]Ring[cf1] cycles); NY Met. [sm1898[nm=n[sm9[nm. Co-~founder of
 Salzburg Fest. Ed. several Bruckner ~syms., making cuts and, in the deplorable
case of ~No. [sm5[nm, recomposing parts and adding instr. Cond.
~f.p. of Strauss's [cf2]Die Frau ohne Schatten[cf1] (Vienna, ~[sm1919[nm). Joint
 ed. with K;akrenek of [cf2]Adagio [cf1]and ~[cf2]Purgatorio [cf1]movts. from Ma
hler's [sm10[nmth sym. and ~cond. their f.p., Vienna [sm1924[nm.[cm~Schallbecken
 [fy75,1](Ger.). [fy45,1]*[fy75,1]Cymbals.[cm~Schallplatte [fy75,1](Ger.). Sound
 plate. Gramophone ~record.[cm~Schalmey, Schalmei. [fy75,1]Another name for the
~[fy45,1]*[fy75,1]shawm.[cm~Scharf [fy75,1](Ger.). Sharply=min various contexts,
 such ~as [cf2]scharf betont[cf1], given out with emphatic accent. ~[cf2]Sch;aua
rfe[cf1], sharpness, definiteness, precision.[cm~Scharrer, Irene [fy75,1]([cf2]b
[cf1] London, [sm1888[nm; [cf2]d[cf1] London, ~[sm1971[nm). Eng. pianist. Pupil
of [fy45,1]*[fy75,1]Matthay at RAM ~from [sm1900[nm. Thereafter high reputation
as player. ~First visited USA [sm1925[nm. London d;aaebut [sm1904[nm, last ~appe
arance there [sm1958[nm. Cousin of Myra [fy45,1]*[fy75,1]Hess.[cm~Scharwenka, [f
y75,1](Franz)[fy65,3] Xaver [fy75,1]([cf2]b[cf1] Samter, Posen,
~[sm1850[nm; [cf2]d[cf1] Berlin, [sm1924[nm). Ger. pianist, cond., and ~composer
. Studied at Kullak Acad., Berlin, where ~he taught [sm1868[nm=n[sm73[nm. D;Aaeb
ut Berlin [sm1869[nm. European ~tours from [sm1874[nm. Visited London on occasio
ns ~between [sm1879[nm and [sm1899[nm. Founded cons. in Berlin ~[sm1881[nm (merg
ed with Klindworth Cons. [sm1893[nm). ~Lived in USA [sm1891[nm=n[sm8[nm, foundin
g cons. in NY. ~Returned to Ger. and was co-dir. Klindworth-~Scharwenka Cons. [s
m1898[nm=n[sm1914[nm. Opened new sch. ~in Berlin [sm1914[nm. Comps. incl. opera,
 sym., [sm4[nm pf. ~concs., [sm2[nm pf. sonatas, church mus., chamber mus., ~and
 many songs. Ed. Schumann's pf. works.[cm~Schauspieldirektor, Der [fy75,1](Mozar
t). See [cf2]Impresa~~rio, The.[xm[cm~[j1]Scheherazade. [fy75,1]See [cf2]Shehera
zade.[cm~Scheibler, Johann Heinrich [fy75,1]([cf2]b[cf1] Montjoie, nr. ~Aix-la-C
hapelle, [sm1777[nm; [cf2]d[cf1] Crefeld, [sm1837[nm). Ger. silk ~manufacturer w
ith interest in acoustics. Experi~~mented in measurement of pitc
h and in [sm1834[nm at ~Stuttgart proposed [sm440[nm vibrations for A at [sm69[n
m;DgF, ~adopted as `Stuttgart pitch'. Invented `Aura', first ~[PN632,0,0,L,I0]mo
uth harmonica, [sm1816[nm. Writings on subject ~pubd. [sm1838[nm.[cm~Scheidemann
, Heinrich [fy75,1]([cf2]b[cf1] W;auohrden, Holstein, ~[cf2]c.[cf1][sm1596[nm; [
cf2]d[cf1] Hamburg, [sm1663[nm). Ger. organist and ~composer. Pupil of [fy45,1]*
[fy75,1]Sweelinck in Amsterdam ~[sm1611[nm=n[sm14[nm. Organist, St Catherine's,
Hamburg, ~from [sm1629[nm. Comp. org. mus., hpd. pieces, and ~songs.[cm~Scheidt,
 Samuel [fy75,1]([cf2]b[cf1] Halle, [sm1587[nm; [cf2]d[cf1] Halle, [sm1654[nm).
~Ger. organist and composer. Pupil of [fy45,1]*[fy75,1]Sweelinck ~in Amsterdam.
Organist, Moritzkirche, Halle, ~from [cf2]c[cf1].[sm1603[nm; organist and choirm
aster to Mar~~grave of Brandenburg in Halle from [cf2]c[cf1].[sm1609[nm, ~becomi
ng court cond. [sm1619[nm. Best known in his ~day for his vocal works, incl. [cf
2]cantiones sacrae[cf1] for [sm8[nm ~vv. ([sm1620[nm) and [sm70[
nm [cf2]Symphonien auf Conzerten-Manier ~[cf1]with [sm3[nm vv. and basso continu
o ([sm1644[nm). Most ~important was his book of org. mus., [cf2]Tabulatura ~nova
[cf1] ([sm1624[nm, [sm3[nm vols.) proposing staff notation for ~org. instead of
[fy45,1]*[fy75,1]tablature and containing psalms, ~hymns, chorales, mass, etc.[c
m~Schein, Johann Hermann[fy75,1] ([cf2]b[cf1] Gr;Auunhain, Saxony, ~[sm1586[nm;
[cf2]d[cf1] Leipzig, [sm1630[nm). Ger. composer. Chorister, ~Dresden court chape
l from [sm1599[nm. Court Kapell~~meister, Weimar, from [sm1615[nm. Cantor of Tho
mas ~Sch., Leipzig, from [sm1616[nm. One of first Ger. ~musicians to benefit fro
m It. influence. Wrote ~nearly [sm100[nm chorale melodies and harmonizations, ~s
acred songs in It. style, [cf2]villanelles[cf1], madrigals, ~[cf2]Venus Kr;auant
zlein[cf1] (new secular songs, [sm1609[nm), ~motets, dance suites, wedding-songs
, etc.[cm~Schelle, Schellen [fy75,1](Ger.). Bell, bells. Also [cf2]Schellen~~bau
m[cf1] (bell-tree), [fy45,1]*[fy75,1]Jingling Johnny; [cf2]Schel
lengel;auaute[cf1] ~(bell-ringing), sleigh-bells; [cf2]Schellentrommel[cf1] (bel
l-~drum), [fy45,1]*[fy75,1]tambourine. [cf2]Schellbecken[cf1] is Ger. for ~cymba
ls.[cm~Schelling, Ernest Henry [fy75,1]([cf2]b[cf1] Belvidere, NJ, [sm1876[nm; ~
[cf2]d[cf1] NY, [sm1939[nm). Amer. pianist, composer, and cond. ~Child prodigy.
Studied in Paris, later becoming ~pupil of Moszkowski, Leschetizky, and Pader~~e
wski. After service in [sm1914[nm=n[sm18[nm war, became ~cond. Cond. Baltimore S
.O. [sm1935[nm=n[sm8[nm. Cond. of NY ~P.O. children's concerts from [sm1924[nm.
Works incl. ~sym., conc. for vn. and pf., vn. sonata, and pf. ~pieces.[cm~Schelo
mo [fy75,1](Hebrew, Solomon; Eng. translitera~~tion is [cf2]Shelomo[cf1], but Ge
r. version more often used). ~Rhapsody for vc. and orch. by Bloch, based on ~Boo
k of Ecclesiastes, authorship of which is attrib. ~to Solomon. Comp. [sm1916[nm,
 f.p. NY [sm1916[nm.[cm~Schemelli Hymn Book. [fy75,1]Coll. of [sm954[nm hymns an
d ~[sm69[nm tunes ([cf2]Musikalisches Gesangbuch[cf1]) pubd. [sm
1736[nm by ~Georg Christian Schemelli ([cf2]b[cf1] Herzberg, [cf2]c.[cf1] [sm167
6[nm; [cf2]d[cf1] ~Zeitz, [sm1762[nm), cantor of Zeitz castle, and ed. by[fj~J.
S. Bach, who comp. three of the tunes and[fj~provided or improved the figured ba
sses.[cm~Schenk, Johann Baptist [fy75,1]([cf2]b[cf1] Wiener Neustadt, ~[sm1753[n
m; [cf2]d[cf1] Vienna, [sm1836[nm). Austrian composer and ~teacher. Comp. syms.
as a boy. Went to Vienna ~[sm1773[nm to study with Wagenseil. By [sm1777[nm was
~composing religious works for St Stephen's Cath. ~and wrote incid. mus. and Sin
gspiels in [sm1780[nms. ~His masterpiece in this genre [cf2]Der Dorfbarbier[cf1]
 was ~perf.[sm1796[nm. Helped Beethoven with counterpoint ~and comp. exercises i
n [sm1793[nm and had been friend ~of Mozart. Also wrote cantatas, [sm10[nm syms.
, concs., ~and [sm5[nm str. qts.[cm~Schenk, Otto [fy75,1]([cf2]b[cf1] Vienna, [s
m1930[nm). Austrian producer ~and actor. Studied at Reinhardt Seminar and ~Vienn
a Univ. First opera prod. was [cf2]Die Zauberfl;auote[cf1] ~for
Salzburg Landestheater [sm1957[nm. Moved to ~forefront with Vienna Fest. prods.
of Einem's ~[cf2] Dantons Tod[cf1] and Berg's [cf2]Lulu[cf1], [sm1962[nm. Prod.
Jan;aaa;akcek's ~[cf2]Jen;anufa[cf1] at Vienna Opera [sm1964[nm. NY Met. d;aaebu
t ~[sm1970[nm ([cf2]Fidelio[cf1]), Scala, Milan, [sm1974[nm ([cf2]Le Nozze di ~F
igaro[cf1]), and CG [sm1975[nm ([cf2]Un Ballo in maschera[cf1]). Two ~of his mos
t successful prods. were of Weber's [cf2]Der ~Freisch;auutz[cf1] (Vienna [sm1972
[nm) and Strauss's [cf2]Der Rosen~~kavalier [cf1](Munich [sm1975[nm).[cm~Schenke
r, Heinrich [fy75,1]([cf2]b[cf1] Wisniowczyk, Galicia, ~[sm1868[nm; [cf2]d[cf1]
Vienna, [sm1935[nm). Austrian pianist, writer, ~and teacher. Pupil of Bruckner.
Ed. Beethoven's ~pf. sonatas, Handel's org. works, and C. P. E. ~Bach's kbd. mus
ic. Wrote several theoretical ~books. Inventor of famous system of analysis ~bas
ed on theory that one type of mus. structure ~was basis of all masterpieces from
 Bach to Brahms.[xm[cm~[ol0][ep~[xp[te~
[do20][j99]~~~~~~[sm153842[nm_SA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmSA[sm01[nm[cm[sm20[nm[cm~[sm1[nm[cm[sm13[nm.[sm10[nm.[
sm79[nm[cm[sm19[nm[cm[sm190[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Scherchen, H
ermann[fy75,1] ([cf2]b[cf1] Berlin, [sm1891[nm; [cf2]d[cf1] Florence, ~[sm1966[n
m). Ger. conductor and violist. Mainly self-~taught. Violist in Berlin P.O. [sm1
907[nm=n[sm10[nm. Worked ~with Schoenberg [sm1910[nm=n[sm12[nm, making d;aaebut
as ~cond. [sm1911[nm. Cond. Riga S.O. [sm1914[nm. Founded ~Berlin soc. for new m
us., [sm1918[nm. Cond. Frankfurt ~Museum concerts [sm1922[nm=n[sm4[nm. Dir., Mus
ikkollegium, ~Winterthur, [sm1922[nm=n[sm47[nm. Mus. dir. at K;auonigsberg ~[sm1
928[nm=n[sm31[nm. Left Ger. [sm1933[nm, making Switzerland his ~base and conduct
ing at mus. courses and summer ~classes. Ardent champion of [sm20[nmth-cent. mus
., ~especially that of Schoenberg and Webern. Cond., ~Z;auurich Radio Orch. [sm1
944[nm=n[sm50[nm. Opened elec. studio ~at Gravesano, [sm1954[nm.
 Amer. d;aaebut, Philadelphia ~[sm1964[nm. Wrote [cf2]Handbook of Conducting[cf1
] ([sm1929[nm) and ~[cf2]The Nature of Music[cf1] ([sm1946[nm). Cond. f.ps. of o
peras ~by Nono, Dallapiccola, Henze, and Dessau.[cm~Scherchen-Hsiao, Tona[fy75,1
] ([cf2]b[cf1] Neuch;Afatel, [sm1938[nm). ~Swiss composer. Studied at Peking Con
s. and ~Shanghai Cons., then with Messiaen and Ligeti. ~Works incl. [cf2]Wai [cf
1]([sm1966[nm) mez., str. qt., and perc., ~[cf2]Shen[cf1] ([sm1968[nm) for [sm6[
nm perc., [cf2]Khouang[cf1] ([sm1966[nm=n[sm8[nm) orch.,[cf2] ~Tzi[cf1] ([sm1969
[nm=n[sm70[nm) unacc. ch., [cf2]Tao[cf1] ([sm1971[nm) alto and ~orch., [cf2]Tjao
-Houen[cf1] ([sm1973[nm) chamber orch., [cf2]Lien[cf1] ~([sm1973[nm) va., [cf2]V
ague T'ao [cf1]([sm1974[nm=n[sm5[nm) orch., [cf2]L`Invitation ~au Voyage [cf1]([
sm1976[nm=n[sm7[nm), chamber orch., [cf2]Oeil de chat[cf1] ~([sm1976=n7[nm) orch
., [cf2]L;ano [cf1]([sm1978[nm=n[sm9[nm) tb., [sm12[nm str. ([sm1978[nm=n[sm9[nm
) ~[cf2]Ziguidor[cf1], wind quintet ([sm1977[nm). Has won severa
l ~comp. prizes in Paris. Daughter of H. [fy45,1]*[fy75,1]Scherchen.[cm~Scherz[f
y75,1] (Ger.). Fun, joke. [cf2]Scherzend, Scherzhaft[cf1], ~jocular. [fy65][cf3]
Scherzando, scherzante, scherzevole, ~scherzevolmente[fy75,1] (It., from [cf2]sc
herzare[cf1], `to joke'). ~Jokingly, playfully (superlative [cf2]scherzantissimo
[cf1]).[cm~[PN633,0,0,R,I0]Scherzetto, scherzino[fy75,1] (It.). A short [fy45,1]
*[fy75,2]scherzo.[cm~Scherzi, Gli[fy75,1] (Haydn). See [cf2]Russian Quartets.[cm
~Scherzi musicali[fy75,1] (Musical Jokes). [sm2[nm sets of ~madrigal-like songs,
 influenced by Fr. style, by ~Monteverdi. First set ([sm1607[nm) for [sm3[nm vv.
 contains [sm15[nm ~songs, the [sm2[nmnd ([sm1632[nm) for [sm1[nm or [sm2[nm vv.
 with basso ~continuo contains [sm10[nm.[cm~Scherzo[fy75,1] (It., plural [cf2]sc
herzi[cf1]). Jest, joke. Name for a ~movement in orch. mus., but the term was fi
rst ~applied in [sm17[nmth cent. to vocal mus., e.g. Monte~~[chverdi's [fy45,1]*
[fy75,2]Scherzi musicali[cf1]. Generally it is the [sm3[nmrd[fj~
(or [sm2[nmnd) movement of a sym. or str. qt., etc., the ~liveliest movement, us
ually but not necessarily ~the most light-hearted. It is the successor to the ~[
sm18[nmth-cent. Minuet and Trio, which was developed ~almost to [cf2]scherzo[cf1
] pitch by Haydn. A movement ~in S. Storace's [sm2[nmnd pf. quintet ([sm1784[nm)
 is a scherzo. ~Beethoven was the real creator of the scherzo (as ~early as the
Op. [sm1[nm pf. trios), investing the ~movement with a rough, almost savage humo
ur, ~with marked rhythm, generally in ;s3=-=-=-=-=-=-=-[cf13];i4[cf1] time. The
~contrasting section is known as the Trio, but not ~all scherzos have trios. Cho
pin called [sm4[nm of his pf. ~works [cf2]Scherzo[cf1], but they are marked more
 by ~vigour and intensity than by anything in the ~nature of a jest.[cm~Scherzos
o; scherzosamente[fy75,1] (It.). Playful; play~~fully, i.e. like a [fy45,1]*[fy7
5,2]scherzo.[cm~Schibler, Armin[fy75,1] ([cf2]b[cf1] Kreuzlingen, [sm1920[nm). S
wiss ~composer. Studied comp. with W. Burkhard in ~Z;auurich, [s
m1940[nm=n[sm5[nm, and at Darmstadt summer ~courses [sm1949[nm=n[sm53[nm with Ad
orno, Fortner, Leibow~~itz, and K;akrenek. Composer of concs. for a wide ~variet
y of instr. Other works incl. operas, syms., ~str. qts., oratorios, and mus. wit
h narrator.[cm~Schicksalslied[fy75,1] (Song of Destiny). Setting by ~Brahms, Op.
 [sm54[nm, for ch. and orch. of part of a ~poem by H;auolderlin. Comp. [sm1871[n
m.[cm~Schickele, Peter[fy75,1] ([cf2]b[cf1] Ames, Iowa, [sm1935[nm). Amer. ~comp
oser. Studied Fargo, N. Dakota, and Juilliard ~Sch., NY (comp. with Persichetti)
. Taught at ~Juilliard Sch. Wrote film scores, songs for Joan ~Baez, and formed
chamber-rock group, [sm1967[nm=n[sm70[nm. ~Works incl. [cf2]The Civilian Barber[
cf1] for orch. ([sm1953[nm), [cf2]A ~Zoo Called Earth[cf1] ([sm1970[nm), [cf2]Th
e Birth of Christ[cf1], ch. ~([sm1960[nm), [sm3[nm pf. sonatinas, [sm4[nm [cf2]R
ags[cf1] ([sm1972[nm), str. trio ~([sm1960[nm), etc.  Has writen series of humor
ous works ~under pseudonym `P. D. Q. Bach', including ~operas [c
f2]The Stoned Guest [cf1]and [cf2]The Abduction of Figaro ~[cf1]([sm1984[nm).[cm
~Schiff, Andras [fy75,1]([cf2]b[cf1] Budapest, [sm1953[nm). Hung. pianist. ~Stud
ied Liszt Acad., Budapest, and privately with ~George Malcolm. D;aaebut Budapest
 [sm1972[nm, then ~worldwide tours. Prizes in Tchaikovsky comp., ~Moscow [sm1974
[nm, Leeds [sm1975[nm.[cm~Schikaneder, Emanuel [fy75,1](=+=+Johann) (really Joha
n~~nes Joseph) ([cf2]b[cf1] Straubing, [sm1751[nm; [cf2]d[cf1] Vienna, [sm1812[n
m). ~Ger. th. manager, librettist, singer, and actor. Was ~singer and actor in t
roupe of strolling players ~before becoming manager of K;auarntnerthor Th., ~Vie
nna, and later of Theater an der Wieden there. ~For latter, persuaded Mozart to
write mus. for his ~lib. [cf2]Die Zauberfl;auote[cf1] ([sm1791[nm) and himself p
layed ~Papageno. In [sm1801[nm was partner in opening Theater ~an der Wien, mana
ging it until [sm1806[nm. Other libs. ~by him were set by Schack, [fy45,1]*[fy75
,1]Paisiello, [fy45,1]*[fy75,1]S;auussmayr, ~etc. His [cf2]Vesta
s Feuer[cf1], [sm1805[nm, was begun by ~Beethoven, but eventually set by Weigl.[
cm~Schiller, Allan [fy75,1]([cf2]b[cf1] Leeds, [sm1943[nm). Eng. pianist. ~Studi
ed RMCM and Moscow Cons. D;aaebut Leeds ~(with Hall;aae) [sm1954[nm. Member of v
arious chamber ~mus. ensembles.[cm~Schillinger, Joseph[fy75,1] ([cf2]b[cf1] Khar
kov, [sm1895[nm; [cf2]d[cf1] NY, ~[sm1943[nm). Russ.-born composer, teacher, and
 writer. ~Studied St Petersburg Cons. (comp. with Tcher~~epnin). Taught comp. Kh
arkov State Acad. [sm1918[nm=n~[sm22[nm; comp. for Leningrad State Acad. Th. [sm
1925[nm=n~[sm28[nm. Settled in USA [sm1928[nm, teaching comp., mathe~~matics, an
d art history at various institutions. ~Taught [fy45,1]*[fy75,1]Gershwin. Pubd.
manual of new tone ~progressions. Comp. [cf2]Airphonic Suite [cf1]for theremin ~
([sm1929[nm), also vn. sonata, [cf2]Symphonic Rhapsody[cf1] ([sm1927[nm), ~[cf2]
North Russian Symphony[cf1], accordion and orch. ~Writings incl.[cf2] Kaleidopho
ne, New Sources of Melody ~and Harmony[cf1] (NY [sm1940[nm), [cf
2]Schillinger System of ~Musical Composition[cf1] (NY [sm1941[nm=n[sm6[nm, [sm2[
nm vols.), and ~[cf2]Mathematical Basis of the Arts [cf1](NY [sm1948[nm).[cm~Sch
illings, Max von[fy75,1] ([cf2]b[cf1] D;auuren, [sm1868[nm;[cf2] d[cf1] Berlin,
~[sm1933[nm). Ger. composer, administrator, and cond. ~Studied in Bonn and Munic
h. Ass. stage cond. ~[sm1892[nm and from [sm1902[nm chorusmaster at Bayreuth ~Fe
st. Cond., court orch. and opera, Stuttgart ~[sm1908[nm=n[sm18[nm, gen. mus. dir
. Stuttgart Opera [sm1911[nm=n~[sm18[nm. Intendant Berlin State Opera [sm1919[nm
=n[sm25[nm. Visited ~USA [sm1924[nm and [sm1931[nm with Ger. Opera Co. Comp. ~[s
m4[nm operas, incl. [cf2]Mona Lisa[cf1] ([sm1915[nm), several mono~~[chdramas, v
n. conc., choral works, chamber mus., ~and songs, incl. the [cf2]Glockenlieder[c
f1] with orch. ~([sm1908[nm). Married sop. Barbara [fy45,1]*[fy75,1]Kemp.[cm~Sch
indler, Anton[fy75,1] ([cf2]b[cf1] Meedl, Moravia, [sm1795[nm; [cf2]d[cf1] ~Bock
enheim, Frankfurt, [sm1864[nm). Austrian violinist ~and cond., r
emembered as friend and biographer ~of Beethoven. Leader and cond. at Josephstad
t ~Th., Vienna, [sm1822[nm, K;auarntnerthor Th., [sm1825[nm. Cond. ~all Beethove
n's syms. under composer's supervi~~sion [sm1823[nm=n[sm4[nm. Choirmaster, M;auu
nster Cath., [sm1831[nm=n~[sm5[nm, mus. dir. and choirmaster, Aachen [sm1835[nm=
n[sm40[nm. ~Met Beethoven [sm1814[nm, becoming kind of secretary ~[sm1816[nm, li
ving in his house [sm1822[nm=n[sm4[nm, and caring for ~him in his last illness [
sm1826[nm=n[sm7[nm. Published biog~~raphy of Beethoven (M;auunster [sm1840[nm, m
any subse~~quent edns.), but despite its immense value, there ~are many inaccura
cies and scholarship has con~~victed him of forgeries in the Beethoven conver~~s
ation-books. Wrote [sm2[nm masses and chamber mus.[cm~Schindler, Kurt [fy75,1]([
cf2]b[cf1] Berlin, [sm1882[nm; [cf2]d[cf1] NY, [sm1935[nm). ~Ger.-born composer,
 organist, and cond. Pupil of ~Wolf and Thuille. Studied Berlin and Munich ~[PN6
34,0,0,L,I0]Univs. Ass. cond. Stuttgart Opera [sm1902[nm, W;auur
z~~burg [sm1903[nm. Ass. cond. NY Met. [sm1905[nm=n[sm8[nm. Formed ~MacDowell Ch
. [sm1909[nm, renaming it Schola Canto~~rum in [sm1912[nm. With this choir he pe
rformed many ~contemporary works and revived old mus., ~especially by Sp. compos
ers. Organist, Temple ~Emanu-El, NY, [sm1912[nm=n[sm25[nm. Comp. choral pieces ~
and wrote books on Russian song, Sp. choral ~mus., etc.[cm~Schi;Uptz, Aksel[fy75
,1] ([cf2]b[cf1] Roskilde, Denmark, [sm1906[nm; [cf2]d ~[cf1]Copenhagen, [sm1975
[nm). Danish ten. Studied lan~~guages at Copenhagen Univ. and became teacher. ~I
n [sm1939[nm made opera d;aaebut and in [sm1942[nm d;aaebut as ~recitalist. Eng.
 d;aaebut, [sm1946[nm, singing in Britten's ~[cf2]Rape of Lucretia[cf1] at Glynd
ebourne. Toured USA ~[sm1948[nm. Noted Lieder singer. Illness halted career ~[sm
1950[nm; later resumed it as bar. Taught at Minnesota ~Univ. [sm1955[nm=n[sm8[nm
, Royal Cons. of Mus., Toronto, ~[sm1958[nm=n[sm61[nm, Colorado Univ. [sm1961[nm
=n[sm8[nm. Returned to ~teach in Denmark [sm1968[nm. Danish knig
hthood ~[sm1947[nm.[cm~Schipa, Tito[fy75,1] ([cf2]b[cf1] Lecce, [sm1888[nm; [cf2
]d[cf1] Wickersham, NY, ~[sm1965[nm). It. ten. Studied in Milan. Opera d;aaebut
~Vercelli, [sm1910[nm, as Alfredo in [cf2]La Traviata[cf1]. Rome ~[sm1914[nm, Mi
lan [sm1915[nm. Created role of Ruggero in ~Puccini's [cf2]La Rondine[cf1], Mont
e Carlo [sm1917[nm. Member, ~Chicago Opera [sm1919[nm=n[sm32[nm. NY d;aaebut [sm
1920[nm. Sang at ~NY Met. [sm1932[nm=n[sm5[nm and [sm1940[nm=n[sm1[nm. Sang in I
t. until ~[sm1952[nm. Last stage appearances Buenos Aires and ~Lecce [sm1954[nm.
 Concert tour of Russia [sm1957[nm. Superb ~and elegant lyric ten., with impecca
ble phrasing, ~in such operas as [cf2]Don Pasquale, Il barbiere di Siviglia, ~Do
n Giovanni, Rigoletto[cf1], etc. Taught in Rome and ~wrote operetta ([sm1935[nm)
.[cm~[j1]Schippers, Thomas [fy75,1]([cf2]b[cf1] Kalamazoo, Michigan, ~[sm1930[nm
; [cf2]d[cf1] NY, [sm1977[nm). Amer. cond. Studied Curtis ~Institute, Philadelph
ia, [sm1944[nm=n[sm5[nm. D;aaebut NY [sm1948[nm. ~Closely assoc.
 with [fy45,1]*[fy75,1]Menotti and cond. f.p. in NY ~of [cf2]The Consul[cf1] [sm
1950[nm and f.p. in London [sm1951[nm, also ~premi;agere of [cf2]Amahl and the N
ight Visitors[cf1] (TV ~[sm1951[nm). Cond. NY City Opera [sm1952[nm=n[sm4[nm, co
nd. f.p. ~of Copland's [cf2]The Tender Land [cf1]and Menotti's [cf2]The ~Saint o
f Bleecker Street[cf1], [sm1954[nm. Cond. Cherubini's ~[cf2]Medea[cf1] for Calla
s, Milan [sm1962[nm. D;aaebuts NY Met. ~and Scala, Milan, [sm1955[nm. Cond. f.p.
 of Barber's ~[cf2]Antony and Cleopatra[cf1] [sm1966[nm. Cond. Spoleto Fest. ~[s
m1958[nm=n[sm76[nm. Bayreuth Fest. [sm1963[nm ([cf2]Die Meistersinger[cf1]). ~CG
 d;aaebut [sm1968[nm. Cond. Cincinnati S.O. from [sm1970[nm ~to his death.[cm~Sc
hirmer, G., Inc.[fy75,1] Firm of NY mus. publishers ~founded [sm1861[nm by Gusta
v Schirmer ([sm1829[nm=n[sm93[nm) and ~B. Beer. Schirmer gained full control [sm
1866[nm, and ~later his sons joined him as partners. Publishers ~of many leading
 Amer. composers, incl. Creston, ~Barber, Harris, Schuman, Menot
ti, and Bernstein. ~[cf2]The Musical Quarterly [cf1]was launched by the firm ~in
 [sm1915[nm. Schirmer Music Co. of Boston, founded ~[sm1921[nm by a nephew of G.
 Schirmer, is a separate ~firm and publishes many of the [cf2]avant-garde[cf1] A
mer. ~composers in addition to Copland, Del Tredici, ~R. Thompson, Piston, and R
orem.[cm~Schiske, Karl [fy75,1]([cf2]b[cf1] Raab, [sm1916[nm; [cf2]d[cf1] Vienna
, [sm1969[nm). ~Hung.-born composer. Studied at Vienna Mus. ~Acad., where he bec
ame prof. of comp. [sm1952[nm. ~Works incl. [sm5[nm syms., chamber conc., [sm2[n
m concs. for ~str., vn. conc., pf. conc., Mass, cl. sextet, wind ~quintet, [sm2[
nm str. qts., pf. trio, vn. sonata, songs, and ~pf. mus.[cm~Schlagen [fy75,1](Ge
r.). To strike; hence [cf2]Schl;auagel[cf1], drum~~stick; [cf2]Schlaginstrumente
[cf1], perc. instr.[cm~Schlagobers [fy75,1](Whipped cream). `Gay Viennese ~balle
t' in [sm2[nm acts by R. Strauss, Op. [sm70[nm, to his own ~lib., choreog. Kr;au
oller. Comp. [sm1921[nm=n[sm2[nm. Prod. ~Vienna and Breslau [sm1
924[nm.[cm~Schleifer.[fy75,1] ([sm1[nm) [fy45,1]*[fy75,2]L;auandler.[cf1][ep~^([
sm2[nm) Old ornament in instr. mus., the essential ~feature of which was the fil
ling in of an interval ~between [sm2[nm melodic notes with a kind of slide.[cm~S
chleppend[fy75,1] (Ger.). Dragging. Often found in ~Mahler's scores in the negat
ive, [cf2]Nicht schleppend[cf1], ~i.e. don't let the tempo drag.[cm~Schlesinger,
 Kathleen[fy75,1] ([cf2]b[cf1] Hollywood, Belfast, ~[sm1862[nm; [cf2]d[cf1] Lond
on, [sm1953[nm). Irish musicologist who ~made special study of ancient (especial
ly Gr.) ~mus. instr. Wrote book on modern orch. instr. ~([sm1910[nm).[cm~Schlesi
nger, Maurice [fy75,1]([cf2]b[cf1] Berlin, [sm1798[nm; [cf2]d[cf1] Baden-~Baden,
 [sm1871[nm). Fr. mus. publisher of Ger. descent. ~Settled in Paris [cf2]c[cf1].
 [sm1820[nm and started own business ~[sm1821[nm. Issued scores by Meyerbeer, Mo
scheles, ~Weber, Hummel, complete edns. of pf. works of ~Beethoven (whom he knew
), and pubd. his str. ~trios, qts., and quintets, and early work
s by ~Mendelssohn, Liszt, and Berlioz. Pubd. about [sm40[nm ~of Chopin's works.
Established the weekly [cf2]Gazette ~musicale de Paris [cf1][sm1834[nm (later [c
f2]Revue et gazette ~musicale[cf1], ceased publication [sm1880[nm). From [sm1840
[nm to ~[sm1842[nm employed Wagner to make pf. arrs. of scores ~by Donizetti, Ha
l;aaevy, and others. Sold business ~[sm1846[nm and retired.[cm~Schlick, Arnolt[f
y75,1] ([cf2]b [cf1]?Heidelberg, [cf2]c.[cf1][sm1460[nm; [cf2]d[cf1] ?Hei~~delbe
rg, after [sm1521[nm). Ger. composer, organist, and ~lutenist. Born blind. Wrote
 works for org. and ~lute, and important treatise on orgs. and org.-~building ([
sm1511[nm).[cm~Schlick, Johann Konrad[fy75,1] ([cf2]b[cf1] M;auunster, [cf2]c[cf
1].[sm1759[nm; [cf2]d[cf1] ~Gotha, [sm1825[nm). Ger. cellist and composer. In du
cal ~orch. at Gotha from [sm1776[nm. Comp. syms. and ~many chamber works.[cm~Sch
lumpf, Martin[fy75,1] ([cf2]b[cf1] Aarau, Switz., [sm1947[nm). Swiss ~composer a
nd pianist. Studied in Berlin. Works ~incl. songs with orch., fl
. trio, [cf2][sm5[nm Pieces for Orch.[cf1], ~str. qt., etc.[cm~Schlusnus, Heinri
ch[fy75,1] ([cf2]b[cf1] Braubach, [sm1888[nm; [cf2]d[cf1] ~Frankfurt, [sm1952[nm
). Ger. bar. Studied Frankfurt and ~Berlin. Concert d;aaebut Frankfurt [sm1912[n
m; in opera ~Nuremberg [sm1915[nm=n[sm17[nm. Sang at Berlin State Opera ~[sm1917
[nm=n[sm45[nm, also Chicago [sm1927[nm=n[sm8[nm, Bayreuth [sm1933[nm ~(Amfortas
in [cf2]Parsifal[cf1]). Leading Verdi bar. of his ~[PN635,0,0,R,I0]day in Ger.,
but at his finest in Lieder (especially ~Schubert).[cm~Schl;auussel [fy75,1](Ger
.). Clef. See [cf2]Notation[cf1].[cm~Schluss-Satz.[fy75,1] (Ger.). Coda. See [cf
2]Satz[cf1].[cm~Schlusszeichen[fy75,1] (Ger.). Close-sign. The double-~bar with
pause which indicates the end of a ~repeated section after which the movement en
ds.[cm~Schmachtend[fy75,1] (Ger.). Yearning, longing.[cm~Schmedes, Erik[fy75,1]
([cf2]b[cf1] Gjentofte, Copenhagen, [sm1868[nm; ~[cf2]d[cf1] Vienna, [sm1931[nm)
. Danish ten. Studied Berlin, ~Vienna, Dresden, and Paris (with
Art;afot). Opera ~d;aaebut as bar., Wiesbaden [sm1891[nm=n[sm4[nm. D;aaebut as l
yric ~ten. Nuremberg [sm1894[nm. Dresden [sm1894[nm=n[sm7[nm. Engaged ~by Mahler
 for Vienna Opera, making d;aaebut as ~Siegfried [sm1898[nm and remaining there
until [sm1924[nm. ~NY Met. [sm1908[nm=n[sm9[nm. Bayreuth [sm1899[nm=n[sm1902[nm.
 One of ~great Wagnerian tens. of Mahler r;aaegime.[cm~Schmelzer, Johann Heinric
h[fy75,1] ([cf2]b[cf1] Scheibbs, ~[cf2]c.[cf1][sm1620[nm=n[sm3[nm;[cf2] d[cf1] P
rague, [sm1680[nm). Austrian composer. ~Chamber musician at Vienna court from [s
m1649[nm, ~becoming Kapellmeister [sm1679[nm. Comp. opera-~ballets, chamber mus.
, esp. trio sonatas, and vocal ~works.[cm~Schmetternd [fy75,1](Ger.). In hn.-pla
ying, blared, i.e. ~notes prod. as stopped (with hand inserted in the ~bell), co
mbined with hard blowing. Normal Brit. ~indication is ;pl together with [cf2]ff[
cf1].[cm~Schmid, Erich[fy75,1] ([cf2]b[cf1] Balsthal, Switz., [sm1907[nm). Swiss
 ~cond. Studied Frankfurt [sm1927[nm=n[sm30[nm, Berlin (with ~Sc
hoenberg) [sm1930[nm=n[sm1[nm. Mus. dir. Glarus, Switz., ~[sm1934[nm=n[sm49[nm;
cond. Tonhalle Orch., Z;auurich, [sm1949[nm=n~[sm57[nm, Berom;auunster Radio Orc
h. [sm1957[nm=n[sm72[nm. Cham~~pion of [sm20[nmth-cent. mus. Made orch. arr. of
~Debussy's pf. duet [cf2]Six ;aaepigraphes antiques[cf1].[cm~Schmidt, Bernhard.
[fy75,1]See [cf2]Smith, `Father'.[cm~Schmidt, Franz[fy75,1] ([cf2]b[cf1] Pressbu
rg (Pozsony; now ~Bratislava), [sm1874[nm; [cf2]d[cf1] Perchtoldsdorf, Vienna, ~
[sm1939[nm). Austrian composer, pianist, cond., and ~cellist. Studied Vienna Con
s. (comp. with Bruck~~ner, theory with Fuchs). Pf. pupil of Leschetizky. ~Cellis
t in Vienna P.O. [sm1896[nm=n[sm1911[nm. Taught pf. ~Vienna Acad. of Mus. from [
sm1914[nm, prof. of comp. ~[sm1922[nm, dir. [sm1925[nm=n[sm7[nm, rector of Hochs
chule f;auur ~Musik [sm1927[nm=n[sm31[nm. Regarded in Austria as composer ~in tr
adition of Bruckner. Works incl.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Notre
 Dame[cf1] ([sm1902[nm=n[sm4[nm); [fy45,1]*[fy75,2]Fredigundis ~
[cf1]([sm1916[nm=n[sm21[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm in E major ([sm18
96[nm=n[sm9[nm), No. [sm2[nm in ~E;yh major ([sm1911[nm=n[sm13[nm), No. [sm3[nm
in A major ([sm1927[nm=n[sm8[nm), ~No. [sm4[nm in C major ([sm1932[nm=n[sm3[nm);
[cf2] Zwischenspiel ~[cf1](Intermezzo) from [cf2]Notre Dame [cf1]([sm1902[nm=n[s
m4[nm); [cf2]Varia~~tions on a Hussar Song[cf1] ([sm1930[nm=n[sm1[nm);[cf2] Chac
onne[cf1] in C;yi ~minor ([sm1931[nm, orch. of [sm1925[nm organ work); ~[cf2] Co
ncertante Variations on a Theme of Beethoven[cf1], pf. ~(left-hand) and orch. ([
sm1923[nm); pf. conc. in E;yh (left-~hand) ([sm1934[nm).[ep~[smchoral[nm: [cf2]D
as Buch mit sieben Siegeln[cf1] (The Book with ~Seven Seals), oratorio ([sm1935[
nm=n[sm7[nm); [cf2]Deutsche Auferste~~hung[cf1], cantata, soloists, ch., org., o
rch. ([sm1938=n9[nm).[ep~[smchamber music[nm: Pf. Quintet ([sm1926[nm); Cl. Quin
tet ~No. [sm1[nm in B major ([sm1932[nm), No. [sm2[nm in A major ~([sm1938[nm),
both scored for cl., vn., va., vc., and pf. ~left-hand; Str. Qt.
 No. [sm1[nm in A major ([sm1925[nm), No. ~[sm2[nm in G major ([sm1929[nm); Quin
tet in G, pf. left-hand, ~[sm2[nm vn., va., vc. ([sm1926[nm); [cf2][sm3[nm Littl
e Fantasy-Pieces[cf1] on ~Hung. nat. melodies, vc. and pf. ([sm1892[nm).[ep~[smo
rgan[nm: Fantasy and Fugue in D ([sm1924[nm); Prelude ~and Fugue in E;yh ([sm192
4[nm); [cf2]Chaconne [cf1]in C;yi minor ~([sm1925[nm); [cf2][sm4[nm Little Chora
l-Preludes [cf1]([sm1926[nm);[cf2] Solemn ~Fugue[cf1] ([sm1937[nm).[cm~[j1]Schmi
dt, Joseph [fy75,1]([cf2]b[cf1] Bavideni, Bukovina, [sm1904[nm; [cf2]d[cf1] ~Z;a
uurich, [sm1942[nm). Romanian ten. Studied Berlin ~Cons. Made name as radio sing
er and on ~gramophone records. Small stature prevented his ~operatic career. Set
tled Switz. [sm1939[nm.[cm~Schmidt, Ole[fy75,1] ([cf2]b[cf1] Copenhagen, [sm1928
[nm). Danish ~cond., composer, and pianist. Studied Copen~~hagen RAM [sm1947[nm=
n[sm55[nm. D;aaebut as cond. [sm1955[nm. Royal ~Opera, Copenhagen, [sm1958[nm=n[
sm65[nm, chief cond. Ham~~burg S.O. [sm1970[nm=n[sm1[nm, Danish
Radio S.O. from [sm1971[nm. ~Guest cond. of world's leading orchs. Comps. incl.
~[sm2[nm syms., pf. conc., [sm2[nm concs. for accordion, hn. ~conc., vn. conc.,
tuba conc., guitar conc., [sm5[nm str. ~qts., and ballets.[cm~Schmidt-Isserstedt
, Hans[fy75,1] ([cf2]b[cf1] Berlin, [sm1900[nm; [cf2]d[cf1] ~Hamburg, [sm1973[nm
). Ger. cond. and composer. ~Studied Heidelberg, M;auunster, and Berlin (with ~S
chreker). Cond. in Wuppertal, then Rostock ~[sm1928[nm=n[sm31[nm, Darmstadt [sm1
931[nm=n[sm3[nm, and at Hamburg ~State Opera [sm1935[nm=n[sm42[nm. Dir., Deutsch
es Opernhaus, ~Berlin, [sm1942[nm=n[sm5[nm. Founded N. Ger. Radio S.O. ~(Hamburg
 Radio S.O.) in [sm1945[nm, remaining cond. ~until [sm1971[nm. Toured Eng. with
it [sm1951[nm (first foreign ~orch. to play in rebuilt Free Trade Hall, Manch~~e
ster). Prin. cond. Stockholm P.O. [sm1955[nm=n[sm64[nm. ~Cond. Glyndebourne [sm1
958[nm ([cf2]Le Nozze di Figaro[cf1]) ~and CG [sm1962[nm ([cf2]Tristan[cf1]). Fr
equent guest cond. of ~Brit. orchs. Comp. comic opera, orch. mus
., and ~songs.[cm~Schmieder, Wolfgang [fy75,1]([cf2]b[cf1] Bromberg, [sm1901[nm)
. Ger. ~musicologist. Archivist, Breitkopf and H;auartel, ~Leipzig; head of mus.
 div. of Frankfurt State ~Library [sm1942[nm. Compiled thematic catalogue of ~Ba
ch's mus. (Leipzig [sm1950[nm) which provides ~standard method of numbering his
work. See ~[cf2]BWV.[cm~Schmitt, Aloys [fy75,1]([cf2]b[cf1] Erlenbach, [sm1788[n
m; [cf2]d[cf1] Frankfurt, ~[sm1866[nm). Ger. pianist, organist, and composer. Co
urt ~organist Hanover [sm1825[nm=n[sm9[nm. Comp. operas, oratorio, ~sym., [sm4[n
m pf. concs., chamber mus. His son Georg ~Aloys Schmitt ([cf2]b[cf1] Hanover, [s
m1827[nm; [cf2]d[cf1] Dresden, ~[sm1902[nm) was also a pianist and composer. Wro
te [sm3[nm ~operas, chamber mus., etc., and ed. and completed ~([sm1901[nm) Moza
rt's Mass in C minor.[cm~Schmitt, Florent [fy75,1]([cf2]b[cf1] Bl;afamont, Nancy
, [sm1870[nm; [cf2]d[cf1] ~Neuilly-sur-Seine, [sm1958[nm). Fr. composer. Studied
 ~[PN636,0,0,L,I0]Paris Cons. with Faur;aae and Massenet. Won [c
f2]Grand ~Prix de Rome[cf1] [sm1900[nm. Dir., Lyons Cons. [sm1922[nm=n[sm4[nm. ~
Frequent writer on mus. (in [cf2]Le Temps[cf1], etc.). Mus. ~is rich in orch. co
louring, often exotically scored. ~Works incl.:[xm[cm~[j2][smorch[nm: [fy75,2]Fe
uillets de Voyage [cf1]([sm1903[nm=n[sm13[nm, orch. from pf. ~duet); [cf2]La tra
g;aaedie de [fy45,1]*[fy75,2]Salom;aae[cf1], sym.-poem ([sm1910[nm, ~rev. of [sm
1907[nm mimodrama);  [cf2]L;aaegende[cf1], va. (or vn. ~or sax.) and orch. ([sm1
918[nm);[cf2] Antony and Cleopatra[cf1], ~[sm6[nm symphonic episodes ([sm1919[nm
=n[sm20[nm); [cf2]Salammb;afo[cf1], [sm6[nm ~symphonic episodes ([sm1925[nm); [c
f2]Symphonie concer~~tante[cf1], pf. and orch. ([sm1931[nm); Sym. ([sm1958[nm).[
ep~[smmimodrama[nm: [cf2]La trag;aaedie de [fy45,1]*[fy75,2]Salom;aae[cf1] ([sm1
907[nm, rev. as ~sym.-poem [sm1910[nm).[ep~[smvoice[nm([sms[nm) [smand orch[nm:
Psalm [sm47[nm ([sm46[nm in Vulgate), sop., ~ch., and orch. ([sm1904[nm); [sm4[n
m [cf2]Po;agemes de Ronsard[cf1] ([sm1940[nm).[ep~[smchamber mus
ic[nm: pf. quintet ([sm1901[nm=n[sm8[nm); vn. sonata ~([sm1918[nm=n[sm19[nm); sa
x. qt. ([sm1943[nm); str. trio ([sm1944[nm); fl. qt. ~([sm1944[nm); qt. for [sm3
[nm tb. and tuba ([sm1946[nm); str. qt. ~([sm1947[nm=n[sm8[nm); sextet, [sm6[nm
cl. ([sm1953[nm); [cf2]Chants aliz;aaes[cf1], wind ~quintet ([sm1952[nm=n[sm5[nm
); [cf2]Suite[cf1], fl., pf. ([sm1954[nm=n[sm8[nm).[ep~Also many pf. pieces and
songs.[cm~[j1]Schnabel, Artur[fy75,1] ([cf2]b[cf1] Lipnik, [sm1882[nm; [cf2]d[cf
1] Axenstein, ~Switz., [sm1951[nm). Austrian pianist, composer, and ~teacher. (A
mer. cit. from [sm1944[nm). Pupil of Lesche~~tizky. Public d;aaebut at age [sm8[
nm. Became one of ~world's most respected and admired pianists, ~famous for his
Beethoven and Schubert interpret~~ations. Devoted his career to music which was
~`better than it could be performed'. Leschetizky ~had told him, `You will never
 be a pianist; you ~are a musician'. Notable recordings. Taught at ~Berlin Hochs
chule [sm1925[nm=n[sm33[nm and later in Switzer~~land. Ed. Beeth
oven pf. sonatas and, with [fy45,1]*[fy75,1]Flesch, ~the Mozart and Brahms vn. s
onatas. Settled in ~USA [sm1939[nm=n[sm45[nm, before returning to Switz. Rarely
~played [sm20[nmth=ncent. mus. but comp. in atonal style: ~works incl. [sm3[nm s
yms., [sm5[nm str. qts., and pf. conc. Wrote ~[sm3[nm books.[cm~Schnabel, Karl U
lrich[fy75,1] ([cf2]b[cf1] Berlin, [sm1909[nm). Ger. ~born pianist (Amer. citize
n [sm1944[nm), son of Artur ~[fy45,1]*[fy75,1]Schnabel. Studied in Berlin. D;aae
but Berlin [sm1926[nm. ~Settled USA [sm1938[nm, teaching at Dalcroze Sch. of ~Mu
s., NY. Wrote [cf2]Modern Technique of the Pedal ~[cf1]([sm1950[nm).[cm~Schnarre
 [fy75,1](Ger.). Rattle.[cf2] Schnarrtrommel[cf1], side-~drum.[cf2] Schnarrsaite
[cf1], rattle-string, i.e. the snare. ~But the [cf2]Schnarrwerk[cf1] of an organ
 is the reed ~department.[cm~Schnebel, Dieter[fy75,1] ([cf2]b[cf1] Lahr, [sm1930
[nm). Ger. composer. ~Studied Freiburg [sm1949[nm=n[sm52[nm. Entered Lutheran ~c
hurch; teacher of religion in Frankfurt [sm1963[nm=n~[sm70[nm. B
elieves in theory that mus. can only be saved ~through abandonment. Hence works
incl. non-~mus. sounds and noises, and his [cf2]Nostalgie [cf1]([cf2]Visible ~Mu
sic II[cf1]), [sm1962[nm, is for cond. only. Has written ~books on K. Stockhause
n ([sm1963[nm=n[sm71[nm) and Kagel ~([sm1970[nm).[cm~Schn;aaeevoigt, Georg[fy75,
1] ([cf2]b[cf1] Viipuri, [sm1872[nm; [cf2]d[cf1] Malm;auo, ~[sm1947[nm). Finn. c
ond. and cellist. Studied Leipzig. ~Cellist in Helsinki P.O. for [sm8[nm years,
then toured ~Europe as soloist. Cond. d;aaebut Riga [sm1901[nm. Cond. ~Kaim Orch
., Munich, [sm1904[nm=n[sm8[nm. Formed new sym. ~orch. in Helsinki [sm1912[nm wh
ich in [sm1914[nm became ~Helsinki City Orch. Cond. Helsinki City Orch. ~[sm1916
[nm=n[sm41[nm (=+=+jointly with [fy45,1]*[fy75,1]Kajanus [sm1916[nm=n[sm32[nm).
Cond. ~in Stockholm [sm1915[nm=n[sm24[nm, Oslo P.O. [sm1919[nm=n[sm27[nm, Riga ~
Opera [sm1928[nm=n[sm32[nm, Los Angeles P.O. [sm1927[nm=n[sm9[nm, Malm;auo ~[sm1
930[nm=n[sm47[nm.[cm~Schneider, Alexander[fy75,1] ([cf2]b[cf1] V
ilna, [sm1908[nm). Russ.-~born violinist (later Amer. citizen). Studied ~Frankfu
rt Cons. Leader, Frankfurt S.O. [sm1925[nm=n[sm33[nm. ~[sm2[nmnd vn. Budapest Qt
. [sm1932[nm=n[sm44[nm, and [sm1955[nm=n[sm64[nm. ~Settled USA [sm1933[nm. Helpe
d [fy45,1]*[fy75,1]Casals to found Prades ~Fest. [sm1950[nm and Casals Fest., Pu
erto Rico, [sm1957[nm. ~Member of several chamber ens.[cm~Schneider, [fy75,1](=+
=+Johann Christian)[fy65,3] Friedrich [fy75,1]([cf2]b[cf1] Alt-~Waltersdorf, [sm
1786[nm; [cf2]d[cf1] Dessau, [sm1853[nm). Ger. com~~poser, cond., organist, and
teacher. Studied ~Leipzig Univ. Organist, St Thomas's, Leipzig, ~from [sm1812[nm
; court cond. Dessau from [sm1821[nm. Cond. ~of many Ger. choral fests. Wrote [s
m16[nm oratorios, [sm7[nm ~operas, [sm23[nm syms., many choruses and songs, [sm7
[nm pf. ~concs., much church and chamber mus. His perf. ~of Beethoven's [sm5[nmt
h pf. conc. in Leipzig, in Dec. ~[sm1810[nm is thought to have been work's f.p.[
cm~Schneiderhan, Wolfgang[fy75,1] ([cf2]b[cf1] Vienna, [sm1915[n
m). ~Austrian violinist. Studied in Vienna. Toured ~Europe at age of [sm11[nm. L
ived in Eng. [sm1929[nm=n[sm32[nm. ~Leader Vienna S.O. [sm1932[nm=n[sm6[nm, then
 played in opera ~orch. Leader Vienna P.O. [sm1937[nm=n[sm51[nm. Founded and ~le
d Schneiderhan Quartet [sm1937[nm=n[sm51[nm. Prof. of vn. ~Salzburg Mozarteum [s
m1938[nm=n[sm56[nm. On staff Lucerne ~Cons. from [sm1949[nm. Frequent soloist wi
th leading ~orchs.[cm~Schneider-Siemssen, G;auunther [fy75,1]([cf2]b [cf1]Augsbu
rg, ~[sm1926[nm). Austrian designer. Worked on first prod. ~in Bremen of Wagner'
s [cf2]Ring [cf1](from [sm1954[nm) and ~later at CG ([sm1962=n4[nm), Salzburg Ea
ster Fest. ([sm1967=n~70[nm), and NY Met. Notable collab. with Karajan at ~Salzb
urg incl. [cf2]Boris Godunov [cf1]([sm1965[nm), [cf2]Tristan und ~Isolde [cf1]([
sm1972[nm), and [cf2]Die Frau ohne Schatten [cf1]([sm1974[nm). ~Aims for realist
ic effects with modern methods, ~incl. subtle use of lighting.[cm~Schnell; schne
ller[fy75,1] (Ger.). Quick, Quicker. [cf2]Schnel~~ligkeit,[cf1]
Speed.[cm~Schnittke [fy75,1](Schnitke), [fy65,3]Alfred.[fy75,1] See [cf2]Shnitke
, Alfred[cf1].[cm~[j1]Schnorr von Carolsfeld, Ludwig[fy75,1] ([cf2]b[cf1] Munich
, ~[sm1836[nm; [cf2]d[cf1] Dresden, [sm1865[nm). Ger. ten. Studied ~Dresden, Lei
pzig, and Karlsruhe (with Devrient). ~Opera d;aaebut Karlsruhe [sm1855[nm. Prin.
 tenor Karls~~ruhe [sm1858[nm=n[sm60[nm, Dresden Opera [sm1860[nm=n[sm5[nm. Wagn
er, ~having heard him sing Lohengrin, asked him to ~create role of Tristan at Mu
nich, [sm1865[nm, with his ~Danish wife Malvina Schnorr von Carolsfeld ([cf2]b[c
f1] ~Copenhagen, [sm1825[nm; [cf2]d[cf1] Karlsruhe, [sm1904[nm) as Isolde. ~Ludw
ig died [sm6[nm weeks after [cf2]Tristan [cf1]premi;agere and ~Malvina became si
nging teacher.[cm~[PN637,0,0,R,I0]Schobert, Johann [fy75,1]([cf2]b c.[cf1][sm173
5[nm; [cf2]d[cf1] Paris, [sm1767[nm). ~Silesian composer and harpsichordist. Mov
ed to ~Paris, [cf2]c[cf1].[sm1760[nm, becoming court harpsichordist. ~Composer o
f variety of works in so-called ~Mannheim style, influencing Moz
art's early kbd. ~works. Died with his family after eating poisonous ~fungi.[cm~
Schock, Rudolf[fy75,1] ([cf2]b[cf1] Duisburg, [sm1915[nm). Ger. ten. ~Studied Co
logne and Hanover. Opera d;aaebut ~Duisburg, then sang chiefly in Berlin, Hambur
g, ~and Munich, joining Vienna Opera [sm1953[nm. CG ~[sm1949[nm. Many appearance
s at Salzburg and Bayreuth ~Fests.[cm~Schoeck, Othmar [fy75,1]([cf2]b[cf1] Brunn
en, Switz., [sm1886[nm; [cf2]d[cf1] ~Z;auurich, [sm1957[nm). Swiss composer and
cond. Studied ~Z;auurich Cons. and Leipzig Cons. (with [fy45,1]*[fy75,1]Reger).
~Mainly self-taught. Choral cond. [sm1909[nm=n[sm17[nm, then ~cond. St Gallen sy
m. concerts [sm1917[nm=n[sm44[nm. Noted for ~lyrical vocal comps. Works incl. [s
m5[nm operas, incl. ~[cf2]Penthesilea [cf1]([sm1924[nm=n[sm5[nm), [cf2]Elegie[cf
1], v. and chamber orch. ~([sm1922=n3[nm), [cf2]Lebendig begraben[cf1], low v. a
nd orch. ~([sm1926[nm), [cf2]Notturno[cf1], bar., str. qt. ([sm1931=n3[nm), seve
ral ~song-cycles with pf. acc., vc. conc., hn. conc., vn. ~conc.
, and chamber mus.[cm~Schoenberg [fy75,1](orig. Sch;auonberg)[fy65][cf3], Arnold
[fy75,1] ([cf2]b[cf1] Vienna, ~[sm1874[nm;[cf2] d[cf1] Los Angeles, [sm1951[nm).
 Austrian-born com~~poser, cond., and teacher (Amer. citizen from ~[sm1941[nm).
One of most influential figures in history ~of mus. Learned vn. and vc. as boy.
Mainly self-~taught in theory, but had lessons in counterpoint ~from [fy45,1]*[f
y75,1]Zemlinsky, [sm1894[nm. Began composing when ~youth; str. qt. and songs per
f. [sm1897[nm. Earned living ~scoring other composers' operettas and in [sm1901[
nm ~became cond. of Wolzogen's [cf2];auUberbrettl [cf1](satirical ~cabaret; Wolz
ogen was librettist of R. Strauss's ~[fy45,1]*[fy75,2]Feuersnot[cf1]). In [sm189
9[nm comp. [cf2]Verkl;auarte Nacht[cf1] and in ~[sm1900[nm began work on [cf2]Gu
rrelieder[cf1], both being in ~romantic post-Wagnerian style. On strength of ~Pa
rt I of [cf2]Gurrelieder[cf1], obtained teaching post and ~scholarship at Stern
Cons., Berlin, on recom~~[chmendation of Strauss. While there co
mp. tone-~poem [cf2]Pelleas und Melisande.[cf1] Returned to Vienna ~in [sm1903[n
m. At rehearsal of his chamber mus. by ~Ros;aae Qt., met Mahler. Among his stude
nts at this ~time were men who became lifelong disciples=m~Webern, Berg, Wellesz
, Erwin Stein. In Schoen~~berg's comps. of [sm1903[nm=n[sm7[nm, chromatic harmon
y was ~explored to its limits and tonal structures became ~ever more elusive unt
il, in [sm1909[nm, he arrived at ~[cf2]atonality [cf1]with the [cf2][sm3[nm Piec
es[cf1] for pf., Op. [sm11[nm, and the ~song-cycle [cf2]Das Buch der h;auangende
n G;auarten[cf1]. Perfs. ~of these works met with vehement hostility, and ~with
equally vehement acclaim from his support~~ers. In [sm1911[nm he pubd. his maste
rly book[cf2] Har~~[chmonielehre[cf1]. At this time, also painted in striking ~`
expressionist' style. In [sm1912[nm comp. [cf2]Pierrot Lunaire ~[cf1]for actress
 Albertine Zehme, a work for reciter ~(in [cf2]Sprechstimme[cf1]) and chamber en
s. Its Vienna ~perf. was the occasion of further hostility, but
the ~f.p. there of the early-style [cf2]Gurrelieder[cf1] was a ~success. The [cf
2][sm5[nm Orchestral Pieces[cf1] were first played ~complete in London, [sm1912[
nm. In [sm1918[nm founded in ~Vienna a Soc. for Private Mus. Perfs. from which ~
critics were excluded, no programme was an~~nounced in advance, and applause was
 forbidden. ~Wrote little between [sm1913[nm and [sm1921[nm, and when ~next comp
leted works appeared in [sm1923[nm=mthe [cf2][sm5[nm ~Piano Pieces[cf1], Op. [sm
23[nm and the [cf2]Serenade[cf1], Op. [sm24[nm=m~they introduced to the world th
e `method of ~comp. with [sm12[nm notes', which was Schoenberg's ~technique for
organizing atonal mus. [cf2]Suite[cf1] for ~pf., Op. [sm25[nm, was first work wh
olly in [sm12[nm-note ~method. Side-by-side with this revolutionary ~procedure,
Schoenberg also returned to a strict ~use of traditional forms. In [sm1925[nm wa
s invited to ~Berlin to teach comp. at the Prussian Acad. of ~Arts, remaining un
til [sm1933[nm when dismissed by ~Nazis and left Ger. Reconverte
d to Judaism in ~Paris in [sm1933[nm, and emigrated to USA. Settled in ~Los Ange
les and taught at Univ. of Calif. [sm1936[nm=n~[sm44[nm. At this time announced
his preference for ~spelling of his name Schoenberg instead of ~Sch;auonberg. In
 the next [sm18[nm years comp. inconsist~~ently in [sm12[nm-note or tonal styles
, dismaying his ~followers but not himself, for he said that all ~composers had
varied their styles to suit their ~creative needs and purposes. Also rev. earlie
r ~works, wrote several religious pieces, and re~~turned to two major undertakin
gs he had ~abandoned in Europe, the oratorio [cf2]Die Jakobsleiter[cf1], ~which
remained unfinished, and the opera [cf2]Moses ~und Aron[cf1], of which only two
of the [sm3[nm acts were ~completed and which, when prod. after his death, ~was
revealed as a deeply moving experience, ~although he wrote only a few bars for A
ct [sm3[nm in ~[sm1951[nm.[ep~^Schoenberg's mus., full of melodic and lyrical ~i
nterest, is also extremely complex, taking every ~element (rhyth
m, texture, form) to its furthest ~limit and making heavy demands on the listene
r. ~But more and more listeners find the effort worth ~making. His greatness lie
s not only in his own ~mus. but in his artistic courage and in his ~powerful and
 continuing influence on [sm20[nmth-cent. ~mus. He is likely to remain always a
controversial, ~revered, and revolutionary musician. He was also ~a talented pai
nter. Prin. works:[xm[cm~[j2][smstage[nm: [fy45,1]*[fy75,2]Erwartung[cf1], Op. [
sm17[nm, monodrama ([sm1909[nm); ~[cf2]Die [fy45,1]*[fy75,2]gl;auuckliche Hand[c
f1], Op. [sm18[nm, drama with mus. ~([sm1910[nm=n[sm13[nm); [fy45,1]*[fy75,2]Von
 Heute auf Morgen[cf1], Op. [sm32[nm, opera ~([sm1928[nm=n[sm9[nm); [fy45,1]*[fy
75,2]Moses und Aron[cf1] ([sm1930[nm=n[sm2[nm, [sm1951[nm).[ep~[smorch[nm: [fy45
,1]*[fy75,2]Verkl;auarte Nacht[cf1], Op. [sm4[nm (orig. str. sextet ~[sm1899[nm,
 arr. for str. orch. [sm1917[nm, rev. [sm1943[nm); [fy45,1]*[fy75,2]Pelleas ~und
 Melisande[cf1], Op. [sm5[nm ([sm1902[nm=n[sm3[nm); [cf2]Kammers
ymphonie ~[cf1](Chamber Symphony) No. [sm1[nm, Op. [sm9[nm, for [sm15[nm solo ~i
nstr. ([sm1906[nm, arr. for orch. [sm1922[nm; new version ~Op. [sm9[nmb, [sm1935
[nm; arr. by Webern for [sm5[nm instr. [sm1922[nm); ~[cf2][sm5[nm [fy45,1]*[fy75
,2]Orchestral Pieces [cf1]([cf2]F;auunf Orchesterst;auucke[cf1]), Op. [sm16[nm ~
([sm1909[nm, rev. [sm1922[nm and [sm1949[nm; arr. for [sm2[nm pf. by ~Webern);[c
f2] [sm3[nm Little Pieces[cf1] for chamber orch. ([sm1910[nm);[cf2] ~Variations[
cf1], Op. [sm31[nm ([sm1926[nm=n[sm8[nm); [fy45,1]*[fy75,2]Accompaniment to ~a F
ilm Scene[cf1] ([cf2]Begleitungsmusik zu einer Lichtspiel~~szene[cf1]) Op. [sm34
[nm ([sm1929[nm=n[sm30[nm); vc. conc. (after conc. ~[PN638,0,0,L,I0]for clavicem
balo by [fy45,1]*[fy75,1]Monn) ([sm1932[nm=n[sm3[nm); conc. for ~str. qt. and or
ch. (after Handel's Concerto Grosso ~Op. [sm6[nm No. [sm7[nm) ([sm1933[nm);[cf2]
 Suite[cf1] for str. ([sm1934[nm); Vn. ~conc., Op. [sm36[nm ([sm1934[nm=n[sm6[nm
); [cf2]Second Chamber Sym~~phony[cf1], Op. [sm38[nma ([sm1906[n
m=n[sm16[nm, [sm1939[nm); pf. conc., Op. ~[sm42[nm ([sm1942[nm);[cf2] Theme and
Variations[cf1], Op. [sm43[nma for ~band ([sm1943[nm), Op. [sm43[nmb for orch. (
[sm1943[nm).[ep~[smvoice[nm([sms[nm)[sm and instr[nm: [fy45,1]*[fy75,2]Gurrelied
er[cf1], [sm5[nm soloists, narra~~tor, ch., and orch. ([sm1900[nm=n[sm3[nm, [sm1
910[nm=n[sm11[nm); [cf2]Lied der ~Waldtaube[cf1] (Song of the Wood Dove) from ~[
cf2]Gurrelieder[cf1], mez. and chamber orch. ([sm1922[nm);[cf2] [sm6[nm ~Songs w
ith Orchestra[cf1], Op. [sm8[nm ([sm1903[nm=n[sm4[nm, also with ~pf.); [cf2]Herz
gew;auachse[cf1], Op. [sm20[nm, high sop., celesta, ~harmonium, harp ([sm1911[nm
); [fy45,1]*[fy75,2]Pierrot Lunaire[cf1], Op. ~[sm21[nm, speaker and chamber ens
. ([sm1912[nm); [cf2][sm4[nm Songs[cf1], ~Op. [sm22[nm, v. and orch. ([sm1913[nm
=n[sm16[nm); [cf2]Die [fy45,1]*[fy75,2]Jakobsleiter[cf1], ~oratorio (unfinished)
 for [sm6[nm soloists, speaking ch., ~ch., and orch. ([sm1917[nm=n[sm22[nm, scor
ing completed by ~W. Zillig); [fy45,1]*[fy75,2]Kol Nidre[cf1], O
p. [sm39[nm, rabbi, ch., and ~orch. ([sm1938[nm); [fy45,1]*[fy75,2]Ode to Napole
on Buonaparte[cf1], Op. ~[sm41[nm, str. qt., pf., reciter ([sm1942[nm), Op. [sm4
1[nmb for str. ~orch., pf., reciter ([sm1944[nm); [cf2]Genesis Prelude[cf1], Op.
 [sm44[nm, ~ch. and orch. ([sm1945[nm); [cf2]A [fy45,1]*[fy75,2]Survivor from Wa
rsaw[cf1], ~Op. [sm46[nm, narrator, male ch., and orch. ([sm1947[nm); ~[cf2]Mode
rne Psalmen[cf1], Op. [sm50[nmc, mixed ch., speaker, ~orch. ([sm1950[nm).[ep~[sm
unacc. chorus[nm: [cf2]Friede auf Erden [cf1](Peace on Earth), ~Op. [sm13[nm ([s
m1907[nm); [cf2][sm4[nm Pieces[cf1], Op. [sm27[nm (No. [sm4[nm with acc. ~of man
doline, cl., vn., vc.) ([sm1925[nm); [cf2][sm3[nm Satires[cf1], Op. ~[sm28[nm (N
o. [sm3[nm, [cf2]Der neue Klassizismus [cf1](The new ~classicism) with va., vc.,
 pf.) ([sm1925[nm); [cf2][sm3[nm German ~Folk-Songs [cf1]([sm1928[nm); [cf2][sm6
[nm Pieces[cf1], Op. [sm35[nm, male ch. ~([sm1929[nm=n[sm30[nm);[cf2] Birthday C
anons[cf1], [sm3[nm vv. ([sm1943[nm);[cf2] [sm3[nm Folk-~Songs[c
f1], Op. [sm49[nm ([sm1948[nm);[cf2] Dreimal tausend Jahre[cf1], Op. ~[sm50[nma
([sm1949[nm); [cf2]De Profundis[cf1], Op. [sm50[nmb ([sm1950[nm). Also ~many oth
er canons, [sm1905[nm=n[sm49[nm.[ep~[smchamber music[nm: Str. Qt. in D ([sm1897[
nm); Str. Qt. No. ~[sm1[nm in D minor, Op. [sm7[nm ([sm1905[nm), No. [sm2[nm in
F;yi minor, ~with sop. v. in [sm3[nmrd and [sm4[nmth movements, text by ~S. Geor
ge ([sm1907[nm=n[sm8[nm), No. [sm3[nm, Op. [sm30[nm ([sm1927[nm), No. [sm4[nm, ~
Op. [sm37[nm ([sm1936[nm); [fy45,1]*[fy75,2]Verkl;auarte Nacht[cf1], Op. [sm4[nm
, str. sextet ~([sm1899[nm; orch. version [sm1917[nm);[cf2] Serenade[cf1], Op. [
sm24[nm, for ~cl., bass cl., mandoline, guitar, vn., va., vc., and ~bar. in [sm4
[nmth of [sm7[nm movements ([sm1920[nm=n[sm3[nm); [cf2]Weih~~nachtsmusik [cf1]([
cf2]Christmas Music[cf1]), [sm2[nm vn., vc., harmon~~ium, pf. ([sm1921[nm); wind
 quintet, Op. [sm26[nm ([sm1923[nm=n[sm4[nm); ~[cf2]Suite [cf1](Septet[cf1]), Op
. [sm29[nm, pf., picc., cl. (or fl.), bass cl. ~(or bn.), vn., v
a., vc. ([sm1924[nm=n[sm6[nm); str. trio, Op. [sm45[nm ~([sm1946[nm); [cf2]Phant
asy[cf1], Op. [sm47[nm, vn. and pf. ([sm1949[nm).[ep~[smpiano[nm: [cf2][sm3[nm P
ieces[cf1], Op. [sm11[nm ([sm1909[nm, rev. [sm1924[nm; No. [sm2[nm ~orch. Busoni
 [sm1909[nm); [cf2][sm6[nm Little Pieces[cf1], Op. [sm19[nm ([sm1911[nm); ~[cf2]
[sm5[nm Pieces[cf1], Op. [sm23[nm ([sm1920[nm=n[sm3[nm); [cf2]Suite[cf1], Op. [s
m25[nm ([sm1921[nm); [cf2][sm2[nm ~Piano Pieces[cf1], Op. [sm33[nma ([sm1928[nm)
, Op. [sm33[nmb ([sm1931[nm).[ep~[smorgan[nm: [cf2]Variations on a Recitative[cf
1], Op. [sm40[nm ([sm1941[nm).[ep~[smsongs with piano[nm: [cf2][sm2[nm Songs[cf1
], Op. [sm1[nm ([sm1897[nm); [cf2][sm4[nm Songs[cf1], ~Op. [sm2[nm ([sm1899[nm);
 [cf2][sm6[nm Songs[cf1], Op. [sm3[nm ([sm1899[nm=n[sm1903[nm); ~[cf2]Cabaret So
ngs [cf1]([sm1901[nm); [cf2][sm8[nm Songs[cf1], Op. [sm6[nm ([sm1903[nm=n[sm5[nm
); [cf2][sm2[nm ~Ballads[cf1], Op. [sm12[nm ([sm1907[nm); [cf2][sm2[nm Songs[cf1
], Op. [sm14[nm ([sm1907[nm-[sm8[nm); ~[cf2][sm2[nm Songs[cf1] (
[sm1909[nm, pubd. [sm1966[nm); [cf2]Das [fy45,1]*[fy75,2]Buch der ~h;auangenden
G;auarten[cf1], Op. [sm15[nm, [sm15[nm songs for sop. ~([sm1908[nm=n[sm9[nm);[cf
2] German Folk-Songs[cf1] ([sm1930[nm); [cf2][sm3[nm Songs[cf1], Op. ~[sm48[nm (
[sm1933[nm).[ep~[smarrs. of other composers[nm: Bach: [cf2][sm2[nm Chorale-Prelu
des ~[cf1]arr. for large orch. ([sm1922[nm) ([sm1[nm. [cf2]Komm, Gott, ~Sch;auop
fer, Heiliger Geist[cf1]; [sm2[nm. [cf2]Schm;auucke dich, O liebe ~Seele[cf1]);
[cf2]Prelude and Fugue[cf1] in E;yh (org.) arr. for large ~orch. ([sm1928[nm). B
rahms: Pf. Qt. No. [sm1[nm in G minor, ~Op. [sm25[nm, arr. for orch. ([sm1937[nm
). Loewe:[cf2] Der N;auock[cf1], ~ballad, arr. for orch. (?[sm1910[nm). J. Strau
ss II: ~[cf2]Kaiserwalzer[cf1] (Emperor Waltz), arr. for fl., cl., ~str. qt., pf
. ([sm1925[nm).[ep~[smbooks[nm: [cf2]Harmonielehre [cf1](Treatise on harmony) (V
i~~enna [sm1911[nm, [sm2[nmnd edn. [sm1922[nm, abridged Eng. trans. ~by D. Adams
, NY [sm1948[nm; complete Eng. trans. ~by R. E. Carter [sm1978[n
m); [cf2]Style and Idea [cf1](NY [sm1950[nm, ~enlarged edn. London [sm1972[nm);
[cf2]Structural Functions ~of Harmony[cf1] (NY [sm1954[nm).[ep~See also [cf2]Ato
nal[cf1];[cf2] Serialism[cf1];[cf2] Klangfarbenmelodie.[cm~[ol0][ep~[xp[te~










[do20][j99]~~~~~~[sm153842[nm_SA[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmDictionary of
 Music[cm~SA[sm02[nm[cm[sm20[nm[cm[sm1[nm[cm~[sm15[nm.[sm10[nm.[sm79[nm[cm[sm19[
nm[cm[sm259[nm[cm~Collier[cm6[cm18.3.85[cm~3[cm~~~~[ap[j1]Sch;auoffler, Paul [fy
75,1]([cf2]b[cf1] Dresden, [sm1897[nm;[cf2] d[cf1] Amersham, ~[sm1977[nm). Ger.-
born Austrian bar. Studied Dresden, ~Berlin, and Milan. Opera d;aaebut Dresden [
sm1925[nm. ~Member, Dresden Opera [sm1925[nm=n[sm37[nm, then Vienna ~Opera until
 early [sm1970[nms. CG d;aaebut [sm1934[nm (as ~Donner), singing there each year
 to [sm1939[nm and ~[sm1949[nm=n[sm53[nm. NY Met. [sm1949[nm=n[sm53[nm, Bayreuth
 [sm1943[nm, ~[sm1944[nm, [sm1956[nm. Outstanding in Verdi roles, but best ~know
n for his Wagner parts (Sachs, Wotan, ~Dutchman) and as Strauss's Barak in [cf2]
Die Frau ohne ~Schatten[cf1]. Sang role of Jupiter in Strauss's [cf2]Die Liebe ~
der Danae[cf1] (Salzburg [sm1952[nm) and created title-role ~in Einem's [cf2]Dan
tons Tod[cf1] (Salzburg [sm1947[nm). Settled ~in Eng.[cm~Scholes
, Percy [fy75,1](Alfred)[cf1] ([cf2]b[cf1] Leeds, [sm1877[nm; [cf2]d[cf1] V;aaev
ey, ~Switz., [sm1958[nm). Eng. mus. critic, organist, teacher, ~and lexicographe
r. Active in `music appreciation' ~movement. Founded [cf2]Music Student[cf1] ([s
m1908[nm; now ~[cf2]Music Teacher[cf1]). Wrote on mus. for [cf2]The Observer[cf1
], ~[sm1920[nm=n[sm7[nm, and [cf2]Radio Times[cf1] ([sm1923[nm=n[sm9[nm). Compil
ed and ~ed. [cf2]Oxford Companion to Music[cf1] ([sm1938[nm and subse~~quent edn
s.), [cf2]Concise Oxford Dictionary of Music[cf1] ~([sm1952[nm and subsequent ed
ns.), and [cf2]The Mirror of ~Music [sm1844[nm=n[sm1944[nm [cf1]([sm1947[nm, [sm
2[nm vols.). Wrote books on ~[cf2]God Save the King[cf1] ([sm1942[nm), opera, En
g. mus., ~Puritans and mus., etc. O.B.E. [sm1957[nm.[cm~Schollum, Robert [fy75,1
]([cf2]b[cf1] Vienna, [sm1913[nm). Austrian ~composer, cond., and teacher. Studi
ed New ~Vienna Cons. [sm1927[nm=n[sm32[nm and at Vienna State Acad. ~of Music (c
omp. with J. Marx). Cond. and teacher ~since [sm1933[nm. Teacher
 at Vienna Hochschule from ~[sm1959[nm. Follower of Schoenberg's [sm12[nm-note t
ech~~nique, but not strict after [cf2]c[cf1].[sm1967[nm. Works incl. [sm5[nm ~sy
ms., [sm2[nm vn. concs., octet, etc.[cm~Sch;auonbach, Dieter[fy75,1] ([cf2]b[cf1
] Stolp, [sm1931[nm). Ger. composer ~and cond. Studied in Detmold [sm1949[nm=n[s
m57[nm and later ~with [fy45,1]*[fy75,1]Fortner. Dir. of Bochum elec. studio sin
ce ~[sm1959[nm. Formed multi-media team [sm1967[nm. Comps. ~incl. pf. conc., mul
ti-media opera, several works ~named [cf2]Canzona da Sonar[cf1], for various ins
tr. groups, ~incl. prepared pf., tape, etc.[cm~Schonberg, Harold C. [fy75,1]([cf
2]b[cf1] NY, [sm1915[nm). Amer. mus. ~critic and author. Studied NY Univ. Mus. c
ritic, ~[cf2]NY Sun [cf1][sm1946[nm=n[sm50[nm, [cf2]NY Times[cf1] [sm1950[nm (se
nior critic ~[PN639,0,0,R,I0][sm1960[nm=n[sm80[nm). Pulitzer Prize for criticism
 [sm1971[nm. ~Author of books on pianists, conds., and compos~~ers.[cm~Sch;auone
 Melusine, Die[fy75,1] (Mendelssohn). See [cf2]Melu~~sina, The F
air[cf1].[cm~Sch;auone M;auullerin, Die [fy75,1](The Fair Maid of the ~Mill). So
ng-cycle by Schubert, D[sm795[nm, comp. [sm1823[nm, ~for male v. and pf. to [sm2
0[nm poems by Wilhelm ~M;auuller ([sm1794[nm=n[sm1827[nm) from [cf2]Gedichte aus
 den hinter~~lassenen Papieren eines reisenden Waldhornisten[cf1] ~([sm1821[nm).
 Songs are: [cf2]Das Wandern[cf1] (Wandering); ~[cf2]Wohin? [cf1](Where to?); [c
f2]Halt[cf1]; [cf2]Danksagung an den Bach[cf1] ~(Grateful address to the millstr
eam); [cf2]Am Feier~~[chabend [cf1](After the day's work); [cf2]Der Neugierige[c
f1] ~(Curiosity); [cf2]Ungeduld[cf1] (Impatience); [cf2]Morgengruss ~[cf1](Morni
ng greeting);[cf2] Des M;auullers Blumen[cf1] (The ~Miller's Flowers);[cf2] Tr;A
uanenregen[cf1] (Rain of Tears);[cf2] ~Mein [cf1](Mine); [cf2]Pause[cf1];[cf2] M
it dem gr;auunen Lautenbande[cf1] ~(With the Lute's green ribbon); [cf2]Der J;au
ager [cf1](The ~Huntsman); [cf2]Eifersucht und Stolz[cf1] (=+=+=+Jealousy and ~P
ride); [cf2]Die liebe Farbe [cf1](The beloved colour); [cf2]Die
~b;auose Farbe [cf1](The hated colour); [cf2]Trockne Blumen[cf1] (Dry ~flowers);
 [cf2]Der M;auuller und der Bach[cf1] (The Miller and ~the Millstream); [cf2]Des
 Baches Wiegenlied[cf1] (The ~Millstream's lullaby).[cm~Sch;auonherr, Max[fy75,1
] ([cf2]b[cf1] Marburg, [sm1903[nm; [cf2]d[cf1] Vienna, [sm1984[nm). Austrian ~c
ond. and composer. Studied Graz Cons. Cond. ~opera at Graz, then at Volksoper an
d Theater an ~der Wien, Vienna. Cond. Vienna Radio [sm1931[nm=n~[sm68[nm. Specia
list in Johann Strauss, Leh;aaar.[cm~Sch;auonzeler, Hans-Hubert[fy75,1] ([cf2]b
[cf1]Leipzig, [sm1925[nm). ~Ger.-born cond. and musicologist (naturalized ~Eng.
[sm1947[nm). Studied N.S.W. State Cons., Sydney. ~Cond. [sm20[nmth-Cent. Ens., L
ondon, [sm1957[nm=n[sm61[nm; West~~ern Australian S.O. [sm1967[nm. Specialist in
 Bruckner, ~on whom he has written a book ([sm1970[nm). Cond. ~f.p. of original
version ([sm1884[nm=n[sm7[nm) of Bruckner's ~Sym. No. [sm8[nm in BBC broadcast [
sm1973[nm.[cm~School for Fathers. [fy75,1]Eng. title of Dent's t
rans. of ~Wolf-Ferrari's [cf2]I [fy45,1]*[fy75,2]Quattro rusteghi.[cf1][cm~Schoo
lmaster, The [fy75,1](Haydn). See [cf2]Schulmeister, ~Der.[cf1][cm~Schools of Mu
sic. [fy75,1]See under names of individual ~schools and colleges.[cm~Sch;auopfun
g, Die [fy75,1](Haydn). See [cf2]Creation, The[cf1].[cm~Schorr, Friedrich[fy75,1
] ([cf2]b[cf1] Nagyvar;aaad, [sm1888[nm; [cf2]d[cf1] Far~~mington, Conn., [sm195
3[nm). Hung.-born bass-bar. ~(later Amer. citizen). Studied Vienna. Sang minor ~
operatic roles at Chicago [sm1912[nm, later same year ~sang Wotan in [cf2]Die Wa
lk;auure[cf1] at Graz. Sang at ~Prague Opera [sm1916[nm=n[sm18[nm, Cologne [sm19
18[nm=n[sm23[nm, Berlin ~[sm1923[nm=n[sm31[nm, CG [sm1924[nm=n[sm33[nm, Bayreuth
 [sm1925[nm=n[sm31[nm, NY ~Met. [sm1924[nm=n[sm43[nm. Singer of great nobility a
nd rich ~tone, the outstanding Wagnerian bass of the ~inter-war years.[cm~Schott
, B., und S;auohne[fy75,1] (Schott and Sons[cf1]). Firm of ~Ger. mus. publishers
 est. at Mainz [sm1780[nm by ~Bernhard Schott ([sm1748[nm=n[sm18
09[nm), succeeded in [sm1817[nm ~by his sons. London branch founded [sm1835[nm,
also ~branches in Paris, Leipzig, Rotterdam, and NY. ~Acquired Eulenburg [sm1957
[nm. Publishes much con~~temporary music, e.g. Tippett, Maxwell Davies, ~Goehr,
etc. Publisher of Hoboken's Haydn cata~~logue.[cm~Schottishe[fy75,1] (Ger. plura
l). Scottish. Type of ball~~room round dance similar to polka, introduced ~to En
g. in [sm1848[nm and known as `German polka'. ~No connection with [fy45,1]*[fy75
,2];aaEcossaise [cf1]and none with ~Scotland.[cm~Schrammel Quartet.[fy75,1] Vien
nese instr. combina~~tion for perf. of light mus.=m[sm2[nm vn., guitar, and ~acc
ordion (replacing the G cl.). Called after Joseph ~Schrammel ([sm1850[nm=n[sm93[
nm), leader of a qt. of this kind ~and composer of waltzes etc. for it. Original
ly a ~trio, formed [sm1878[nm, qt. from [sm1886[nm.[cm~Schrecker, Bruno [fy75,1]
([cf2]b[cf1] Frankfurt, [sm1928[nm). Ger.-born ~cellist. Studied RCM and with Ca
sals. Member ~Oromonte Str. Trio and Pf. Trio, Allegri Qt.[cm~Sc
hreier, Peter [fy75,1](Max) ([cf2]b[cf1] Meissen, [sm1935[nm). Ger. ten. ~and co
nd. Studied Dresden Hochschule [sm1956[nm=n[sm60[nm. ~D;aaebut Dresden [sm1961[n
m (Dresden co. [sm1959[nm=n[sm63[nm); ~Berlin Staatsoper since [sm1963[nm. Londo
n SW [sm1966[nm ~(Ferrando in [cf2]Cos;agi fan tutte [cf1]in Hamburg co. visit),
 ~NY Met. [sm1968[nm (Tamino). Specialist in Lieder and ~Mozart roles. Recital d
;aaebut London [sm1978[nm. D;aaebut ~as cond. [sm1969[nm.[cm~Schreierpfeifen [fy
75,1](Ger.). Crying fife. Renaissance ~reed-cap woodwind instr., member of shawm
 ~family, made in [sm4[nm sizes (bass, [sm2[nm ten., alto). ~Sometimes known as
[cf2]Schryari[cf1]. Were used in ~military bands outdoors. None extant.[cm~Schre
ker, Franz [fy75,1]([cf2]b[cf1] Monaco, [sm1878[nm; [cf2]d[cf1] Berlin, ~[sm1934
[nm). Austrian composer and cond. Studied ~Vienna, under R. Fuchs. Founded and c
ond. ~Vienna Phil. Ch. [sm1908[nm=n[sm20[nm. Taught comp. at ~Vienna Acad. Cond.
 at Volksoper. Dir., Berlin ~Hochschule f;auur Musik [sm1920[nm=
n[sm32[nm. His mus. is ~powerful and expressionist, his biggest success ~being w
ith the opera [cf2]Der [fy45,1]*[fy75,2]ferne Klang[cf1] in [sm1912[nm ~which in
fluenced Berg's [cf2]Wozzeck[cf1]. Among his ~other operas were [cf2]Das Spielwe
rk und die Prinzessin[cf1] ~([sm1909[nm=n[sm12[nm, rev. [sm1920[nm), [cf2]Die Ge
zeichneten [cf1]([sm1913[nm=n[sm15[nm), ~[cf2]Der Schatzgr;auaber[cf1] ([sm1915[
nm=n[sm18[nm), [cf2]Irrelohe [cf1]([sm1919=n24[nm), ~[cf2]Christophorus [cf1]([s
m1924[nm=n[sm7[nm), [cf2]Der singende Teufel [cf1]([sm1924=n~8[nm), and [cf2]Der
 Schmied von Gent [cf1]([sm1929=n32[nm). In [sm1908[nm ~he composed a ballet-pan
tomime based on Wilde, ~[cf2]Der Geburtstag der Infantin[cf1], for str. orch., p
roduc~~ing a [cf2]Suite [cf1]from it scored for full orch. in [sm1923[nm. ~Wrote
 chamber sym., works for str., and about ~[sm50[nm songs.[cm~Schr;auoder-Devrien
t, Wilhelmine[fy75,1] ([cf2]b[cf1] Hamburg, ~[sm1804[nm; [cf2]d[cf1] Coburg, [sm
1860[nm). Ger. sop. Studied with ~her parents. Began career as a
ctress. Opera d;aaebut ~Vienna [sm1821[nm as Pamina in [cf2]Die Zauberfl;auote.[
cf1] In [sm1822[nm ~sang Leonore in [cf2]Fidelio [cf1]in presence of Beethoven ~
in Vienna. Sang in Dresden [sm1823[nm=n[sm47[nm, Paris [sm1830[nm=n~[sm32[nm, Lo
ndon [sm1832[nm, [sm1833[nm, [sm1837[nm. Wagner was so ~[PN640,0,0,L,I0]overwhel
med by her singing that he vowed to ~dedicate his life to creating a new kind of
 opera. ~She created [sm3[nm Wagner roles: Adriano in [cf2]Rienzi[cf1] ~([sm1842
[nm), Senta in [cf2]Der fliegende Holl;auander[cf1] ([sm1843[nm), ~and Venus in
[cf2]Tannh;auauser[cf1] ([sm1845[nm). Retired [sm1847[nm. ~Schumann's song [cf2]
Ich grolle nicht[cf1] was dedicated to ~her. Also sang in Rossini, Bellini, and
Gluck. ~Though her vocal technique was apparently ~flawed, her dramatic powers m
ade her interpret~~ations unforgettable.[cm~Schubart, Christian Friedrich Daniel
[fy75,1] ([cf2]b[cf1] Sont-[fjheim, [sm1739[nm; [cf2]d[cf1] Stuttgart, [sm1791[n
m). Swabian organist, ~composer, and poet. Court opera dir., Stu
ttgart, ~from [sm1787[nm. Spent [sm10[nm years in prison [sm1777[nm=n[sm87[nm, ~
ostensibly for insulting a duke's mistress but ~probably for `free-thinking' wri
tings. Works incl. ~operetta, cantatas, and songs. Wrote words of ~Schubert's so
ngs [cf2]Die Forelle, An mein Klavier, An ~den Tod[cf1], and [cf2]Grablied auf e
inen Soldaten[cf1].[cm~Schubert, Franz [fy75,1]([cf2]b[cf1] Dresden, [sm1808[nm;
 [cf2]d[cf1] Dresden, ~[sm1878[nm). Ger. violinist and composer. Played in ~Dres
den court orch. [sm1823[nm=n[sm73[nm (leader from [sm1861[nm). ~Comp. works for
vn. and orch. and popular vn. ~piece [cf2]L'Abeille [cf1](The Bee).[cm~Schubert,
 Franz[fy75,1] (Seraph Peter) ([cf2]b[cf1] Vienna, [sm1797[nm; ~[cf2]d[cf1] Vien
na, [sm1828[nm). Austrian composer. Son of ~impoverished school-master, who was
his first ~teacher. In [sm1808[nm admitted as boy sop. to imperial ~chapel, livi
ng in the Konvikt. Played vn. in sch. ~orch., for which he wrote his First Sym.
([sm1813[nm). ~Became pupil of [fy45,1]*[fy75,1]Salieri for theo
ry, [sm1812[nm. Left ~Konvikt when v. broke [sm1813[nm, and worked as ass. ~scho
olmaster to father, but continued to compose ~prolifically. Frequently attended
opera in Vienna ~and wrote his first opera, [cf2]Des Teufels Lustschloss[cf1] in
 ~[sm1814[nm, the first of many stage works, none of ~which was successful. On [
sm19[nm October [sm1814[nm set ~Goethe's poem [cf2]Gretchen am Spinnrade[cf1], h
is first ~masterpiece and the song that, it is inaccurately ~but understandably
said, gave birth to the [cf2]Lied[cf1]. ~This released a flood of inspiration. I
n [sm1815[nm ~Schubert comp. [sm144[nm songs, incl. [sm8[nm in one day in ~Oct.
In addition, comp. a sym., [sm2[nm Masses, and ~other works. Altogether wrote ov
er [sm600[nm songs, of ~which about [sm200[nm are different settings of poems ~h
e had already set=mhe set some poems (particu~~larly those by Goethe and Schille
r) up to [sm6[nm times.[ep~^In [sm1817[nm he abandoned teaching and lived in ~Vi
enna with one or other of his friends, among ~whom the poet Mayr
hofer was the closest. They ~talked, drank, discussed the questions of the day,
~and made mus. in coffee-houses and at their ~homes. Schubert also met at this t
ime the bar. ~Michael [fy45,1]*[fy75,1]Vogl, one of the outstanding opera ~singe
rs of the day, who became the foremost ~interpreter of his songs, often acc. by
the ~composer. Apart from church mus., the first ~public concert of Schubert's m
us. was in March ~[sm1818[nm, at which were perf. (on [sm2[nm pf.) the ovs. he ~
had written in imitation of Rossini, whose operas ~were all the rage in Vienna f
rom [sm1816[nm. In [sm1818[nm ~spent summer as teacher to the [sm2[nm daughters
of ~Count Johann Esterh;aaazy at summer estate at ~Zseliz, where he heard Slav a
nd gipsy folk-mus. ~On return to Vienna, Schubert lived with ~Mayrhofer and H;au
ultenbrenner, latter acting as ~factotum, assembling Schubert's MSS. His [cf2]Si
ng~~spiel, Die Zwillingsbr;auuder[cf1], received [sm6[nm perfs. in ~Vienna in Ju
ne [sm1820[nm, with Vogl singing the roles ~of the twin brothers
; and in Aug. his incidental ~mus. for [cf2]Die Zauberharfe[cf1] was used at the
 Theater ~an der Wien. Other works comp. in this period ~were the `Trout' Quinte
t, written at Steyr, Upper ~Austria, during holiday in [sm1819[nm with Vogl, the
 ~oratorio [cf2]Lazarus[cf1], setting of [cf2]Psalm [sm23[nm, [cf2]Wanderer ~Fan
tasy[cf1], and the [cf2]Quartettsatz[cf1]. In [sm1821[nm Diabelli ~pubd. song [c
f2]Erlk;auonig[cf1], the first mus. by Schubert to ~appear in print. Others foll
owed. In [sm1820[nm=n[sm1[nm, the ~Schubert circle of friends changed as some ~m
embers left Vienna. Among new associates ~were painters Leopold Kupelweiser and
Moriz ~von Schwind, and musician Franz Lachner.[ep~^In [sm1821[nm sketched his [
sm7[nmth Sym., in E major, but ~left it unorch. (several musicians have `complet
ed' ~it, among them J. F. Barnett, [sm1884[nm, Felix ~Weingartner, [sm1935[nm, a
nd Brian Newbould, [sm1977[nm). ~The following year, comp. an [sm8[nmth Sym. in
B ~minor, but completed only [sm2[nm movements in full ~and [sm1
30[nm bars of a scherzo. However, the ~`Unfinished' Sym. is a complete work of a
rt in ~itself as it stands. Schubert heard Weber conduct[cf2] ~Der [fy45,1]*[fy7
5,2]Freisch;auutz [cf1]and [fy45,1]*[fy75,2]Euryanthe[cf1] in Vienna and ~himsel
f wrote several stage works between [sm1821[nm ~and [sm1823[nm, the operas [cf2]
Alfonso und Estrella[cf1] and [cf2]Der ~h;auausliche Krieg[cf1], and incidental
mus. for [cf2]Rosamunde, ~F;auurstin von Cypern[cf1], a play by Helmina von Ch;a
aezy ~(librettist of [cf2]Euryanthe[cf1]) which ran for [sm2[nm perfs.[ep~^Ill-h
ealth began to trouble Schubert in [sm1823[nm; ~while in hospital that year comp
. some of the ~songs of the song-cycle [cf2]Die sch;auone M;auullerin[cf1]. At ~
Zseliz in [sm1824[nm with the Esterh;aaazy family, wrote ~A minor str. qt. and [
cf2]Grand Duo [cf1]for pf. duet. In ~the summer of [sm1825[nm, joined Vogl for a
 [sm5[nm-month ~tour of Austria, composing all the time. At ~Gmunden and Gastein
 said to have comp. a sym. ~of which no trace has been found, bu
t modern ~scholarship tends to take the view that this is the ~`Great' C major S
ym. (No. [sm9[nm), usually ascribed to ~[sm1828[nm but now thought to date from
[sm1825[nm. ~Scholarship is equally divided over what personal ~contact there wa
s between Schubert and Beet~~[chhoven, but incontrovertibly Schubert was a ~torc
hbearer at Beethoven's funeral in [sm1827[nm and ~had earlier visited him on his
 deathbed.[ep~^The last [sm2[nm years of Schubert's short life are fully ~docume
nted in [cf2]Schubert: The Final Years[cf1] by John ~Reed ([sm1972[nm). To them
belong the song-cycle ~[cf2]Winterreise, [cf1]the E;yh pf. trio, [cf2]Moments mu
sicaux[cf1] and ~[sm3[nm pf. sonatas, many songs, and Str. Quintet in C ~major.
All Schubert's mus., even the happiest, has ~a tinge of sadness; the works of hi
s last years, ~when illness increasingly afflicted him, are at an ~extreme of po
ignancy. In Mar. [sm1828[nm gave a public ~concert of his works in Vienna. It ma
de a profit ~[PN641,0,0,R,I0]for him, but none of the city's mus
. critics ~attended. Died on [sm19[nm Nov. [sm1828[nm and was buried ~near to Be
ethoven at W;auahring. Both composers ~were later exhumed and reburied in the Ce
ntral ~Cemetery of Vienna.[ep~^Many of the works by Schubert which we hold ~most
 dear were not perf. until several years after ~his death. As a composer of song
s he has no equal ~in fertility of melodic invention, but all his work ~is so gr
aced with melody of the most seraphic ~kind that there was at one time a tendenc
y to ~regard him as an `undisciplined' composer for ~whom form meant little. How
 wrong a judge~~ment this was can be realized simply by studying ~the great cham
ber works and late pf. sonatas ~alone. He ranks among the very greatest of ~comp
osers in all forms except opera, and concs. ~(of which he wrote none), and the l
istener has a ~lifetime of discoveries among his vast output. His ~works were ca
talogued by O. E. [fy45,1]*[fy75,1]Deutsch and are ~now given Deutsch (D) nos. P
rin. comps.:[xm[cm~[j2][smoperas[nm:[fy75,2] Des Teufels Lustsch
loss[cf1] ([sm1813[nm=n[sm14[nm, D[sm84[nm);[cf2] Die ~B;auurgschaft[cf1] (fragm
ent, [sm1816[nm); [fy45,1]*[fy75,2]Alfonso und Estrella ~[cf1]([sm1821[nm=n[sm22
[nm, D[sm732[nm);[cf2] Der h;auausliche Krieg[cf1] ([sm1823[nm; orig. ~title [cf
2]Die Verschworenen[cf1] (The Conspirators)); ~[cf2]Fierabras[cf1] ([sm1823[nm,
D[sm796[nm).[ep~[smoperettas[nm: [cf2]Claudine von Villa Bella[cf1] ([sm1815[nm,
 D[sm239[nm);[cf2] ~Die Freunde von Salamanka[cf1] ([sm1815[nm); [cf2]Fernando[c
f1] ~([sm1815[nm); [cf2]Der vierj;auahrige Posten[cf1] ([sm1815[nm); [cf2]Die [f
y45,1]*[fy75,2]Zwil~~lingsbr;auuder[cf1] ([sm1819[nm, D[sm647[nm).[ep~[smstage m
usic[nm: [cf2]Die [fy45,1]*[fy75,2]Zauberharfe[cf1] (The Magic Harp), ~melodrama
 ([sm1820[nm, D[sm644[nm); [fy45,1]*[fy75,2]Rosamunde, F;auurstin ~von Cypern [c
f1]([sm1823[nm, entr'actes, ballet mus., Ro~~manza for sop., Shepherd's Song, an
d choruses, ~D[sm797[nm).[ep~[smorch[nm: Symphonies: No. [sm1[nm in D ([sm1813[n
m, D[sm82[nm), No. ~[sm2[nm in B;yh ([sm1814[nm=n[sm15[nm, D[sm1
25[nm), No. [sm3[nm in D ([sm1815[nm, ~D[sm200[nm), No. [sm4[nm in C minor (`Tra
gic', [sm1816[nm, D[sm417[nm), ~No. [sm5[nm in B;yh ([sm1816[nm, D[sm485[nm), No
. [sm6[nm in C major ~([sm1818[nm, D[sm589[nm), No. [sm7[nm in E major ([sm1821[
nm, unscored ~by Schubert), No. [sm8[nm in B minor ([fy45,1]*[fy75,1]`Unfinished
', [sm2[nm ~movements only, [sm1822[nm, D[sm759[nm), No. [sm9[nm in C major ~(`G
reat', [sm1825[nm, D[sm944[nm); Overtures: in B;yh ([sm1812[nm, ~D[sm11[nm), in
C major (D[sm591[nm) and D major (D[sm590[nm) ~(both `in Italian style', [sm1817
[nm), in D ([sm1817[nm, D[sm556[nm), ~in E minor ([sm1819[nm, D[sm648[nm);[cf2]
[sm5[nm German Dances[cf1] ~([sm1813[nm, D[sm90[nm); [cf2][sm5[nm Minuets with [
sm6[nm Trios[cf1] ([sm1813[nm, D[sm89[nm);[cf2] ~Rondo[cf1] in A major, vn. and
orch. ([sm1816[nm, D[sm438[nm).[ep~[smchurch music[nm: [cf2]Masses[cf1]: F major
 ([sm1814[nm, D[sm105[nm with ~[sm2[nmnd Dona nobis [sm1815[nm, D[sm185[nm), G m
ajor ([sm1815[nm, ~D[sm167[nm), C major ([sm1816[nm, D[sm452[nm)
, A;yh ([sm1819[nm=n[sm22[nm, ~D[sm678[nm), B;yh ([sm1815[nm, D[sm324[nm), E;yh
([sm1828[nm, D[sm950[nm), ~[cf2]Deutsche Messe[cf1] ([sm1826[nm=n[sm7[nm, D[sm87
2[nm); [fy45,1]*[fy75,2]Lazarus[cf1], orato~~rio ([sm1820[nm, D[sm689[nm); [cf2]
Hymn to the Holy Spirit[cf1], male ~vv. and wind ([sm1828[nm, D[sm964[nm);[cf2]
Kyrie[cf1] in D minor ~([sm1812[nm, D[sm31[nm), B;yh ([sm1813[nm, D[sm45[nm), D
minor ([sm1813[nm, ~D[sm49[nm), F major ([sm1813[nm, D[sm66[nm); [cf2]Salve Regi
na[cf1], sop., ~orch., organ ([sm1812[nm, D[sm27[nm); [cf2]Psalm [sm23[nm[cf1],
women's vv. ~([sm1820[nm, D[sm706[nm);[cf2] Tantum ergo[cf1] in C ([sm1822[nm, D
[sm739[nm), in ~D ([sm1822[nm, D[sm750[nm).[ep~[smvoices and orch[nm: [cf2]Canta
ta in honour of Spendou[cf1] ~([sm1816[nm, D[sm472[nm); [cf2]Prometheus[cf1] ([s
m1816[nm, lost, D[sm451[nm);[cf2] ~Namensfeier [cf1]([sm1813[nm, D[sm80[nm).[ep~
[smvoices[nm (unacc. or with pf./guitar): [cf2]An die Sonne[cf1] ~([sm1816[nm, D
[sm439[nm);[cf2] Die Advokaten[cf1] ([sm1812[nm, D[sm37[nm); ~[c
f2]Begr;auabnislied[cf1] ([sm1815[nm, D[sm168[nm); [cf2]Cantata for Vogl's ~birt
hday[cf1] ([sm1819[nm, D[sm666[nm);[cf2] Cantata for Salieri's jubilee[cf1] ~([s
m1816[nm, D[sm441[nm); [cf2]Christ ist erstanden [cf1]([sm1816[nm, D[sm440[nm);
~[cf2]Coronach[cf1] ([sm1825[nm, D[sm836[nm); [cf2]Das Leben ist ein Traum[cf1]
~([sm1815[nm, D[sm269[nm);[cf2] Der Entfernten[cf1] ([cf2]c.[cf1][sm1816[nm, D[s
m331[nm);[cf2] Der ~Geistertanz [cf1]([sm1816[nm, D[sm494[nm); [cf2]Der Tanz[cf1
] ([sm1825[nm, D[sm826[nm); ~[cf2]Fr;auuhlingsgesang [cf1]([sm1822[nm, D[sm740[n
m); [cf2]Gebet [cf1]([sm1824[nm, ~D[sm815[nm); [cf2]Geist der Liebe [cf1]([sm182
2[nm, D[sm747[nm);[cf2] Gesang der ~Geister ;auuber den Wassern [cf1](Song of th
e Spirit over ~the Waters) ([sm1817[nm, [sm2[nm versions, D[sm538[nm, [sm1821[nm
 with ~orch. D[sm714[nm); [cf2]Gondelfahrer[cf1] ([sm1824[nm, D[sm809[nm);[cf2]
Gott der ~Weltsch;auopfer[cf1] ([cf2]c[cf1].[sm1815[nm, D[sm986[nm); [cf2]Gott i
m Ungewitter[cf1] ~([cf2]c[cf1].[sm1815[nm, D[sm985[nm);[cf2] Go
tt in der Natur [cf1]([sm1822[nm, D[sm757[nm); ~[cf2]Grab und Mond[cf1] ([sm1826
[nm, D[sm893[nm); [cf2]Hymne an den ~heiligen Geist[cf1] ([sm1828[nm, D[sm964[nm
); [cf2]Hymne an den ~Unendlichen[cf1] ([sm1815[nm, D[sm232[nm);[cf2] Im Gegenw;
auartigen ~Vergangenes [cf1]([cf2]c[cf1].[sm1821[nm, D[sm710[nm); [cf2]J;auungli
ngswonne ~[cf1](?[sm1822[nm, D[sm983[nm); [cf2]Lebens[chlust[cf1] ([sm1818[nm, D
[sm609[nm);[cf2] Monden~~schein[cf1] ([sm1826[nm, D[sm875[nm); [cf2]Nachthelle [
cf1]([sm1826[nm, D[sm892[nm);[cf2] ~Nur wer die Sehnsucht kennt[cf1] ([sm1819[nm
, D[sm877[nm/[sm4[nm); ~[cf2]Punschlied[cf1] ([sm1815[nm, D[sm277[nm); [cf2]St;a
uandchen [cf1]([sm1827[nm, D[sm920[nm); ~[cf2]Trinklied[cf1] ([sm1815[nm, D[sm14
8[nm);[cf2] Verschwunden sind die ~Schmerzen[cf1] ([sm1813[nm, D[sm88[nm).[ep~[s
mchamber music[nm: String Quartets: No. [sm1[nm in B;yh ~([sm1812[nm, D[sm18[nm)
, No. [sm2[nm in C ([sm1812[nm, D[sm32[nm), No. [sm3[nm in B;yh~ ([sm1813[nm, D[
sm36[nm), No. [sm4[nm in C ([sm1813[nm, D[sm46[nm), No. [sm5[nm
in B;yh~ ([sm1813[nm, D[sm68[nm), No. [sm6[nm in D ([sm1813[nm, D[sm74[nm), No.
[sm7[nm in D, ~([sm1814[nm, D[sm94[nm), No. [sm8[nm in B;yh ([sm1814[nm, D[sm112
[nm), No. [sm9[nm in ~G minor ([sm1815[nm, D[sm173[nm), No. [sm10[nm in E;yh ([s
m1813[nm, ~D[sm87[nm), No. [sm11[nm in E ([sm1816[nm, D[sm353[nm), No. [sm12[nm
in C ~minor ([fy45,1]*[fy75,2]Quartettsatz[cf1]) ([sm1820[nm, D[sm703[nm), No. [
sm13[nm in A ~minor ([sm1824[nm, D[sm804[nm), No. [sm14[nm in D minor ([fy45,1]*
[fy75,1]Death ~and the Maiden, [sm1824[nm, D[sm810[nm), No. [sm15[nm in G ([sm18
26[nm, ~D[sm887[nm); String Quintet ([sm2[nm vn., va., [sm2[nm vc.), C major ~([
sm1828[nm, D[sm956[nm); Piano Quintet, A major ([cf2]Die ~Forelle[cf1] ([fy45,1]
*[fy75,1]Trout), [sm1819[nm, D[sm667[nm); Quartet for ~guitar, fl., va., vc. (ar
r. of [cf2]Notturno[cf1] by Matiegka) ~([sm1814[nm D[sm96[nm); Piano Trios: No.
[sm1[nm in B;yh ([sm1827[nm, ~D[sm898[nm), No. [sm2[nm in E;yh ([sm1827[nm, D[sm
929[nm), [cf2]Notturno[cf1] in E;yh~ for pf. trio ([sm1825[nm, D
[sm897[nm), sonata for pf. trio in ~B;yh ([sm1812[nm, D[sm28[nm); Sonatas: vn. a
nd pf. in A ([sm1817[nm, ~D[sm574[nm), [fy45,1]*[fy75,1]arpeggione (or vc.) and
pf. in A minor ~([sm1824[nm, D[sm821[nm); Sonatinas: vn. and pf., No. [sm1[nm in
 D ~([sm1816[nm, D[sm384[nm), No. [sm2[nm in A minor ([sm1816[nm, D[sm385[nm), ~
No. [sm3[nm in G minor ([sm1816[nm, D[sm408[nm); [cf2]Octet[cf1] in F ([sm2[nm v
n., ~va., vc., db., cl., bn., hn.) ([sm1824[nm, D[sm803[nm). ~Mis[chcellaneous:
[cf2]Adagio and Rondo Concertante[cf1], pf., ~vn., va., vc. ([sm1816[nm, D[sm487
[nm), [cf2]Fantasia [cf1]in C, vn, and ~pf. ([sm1827[nm, D[sm934[nm); [cf2]Rondo
 brillant [cf1]in B minor, vn. ~and pf. ([sm1826[nm, D[sm895[nm); [cf2]Introduct
ion and Variations ~on Trock'ne Blumen[cf1], fl. and pf. ([sm1824[nm, D[sm802[nm
); ~[cf2]Minuet and Finale[cf1] in F for wind octet ([sm1813[nm, ~D[sm72[nm).[ep
~[sm2 pianos[nm:[cf2] Divertissement ;aga la hongroise[cf1] ([sm1824[nm?, ~D[sm8
18[nm), [cf2]Fantasia[cf1] in F minor ([sm1828[nm, D [sm940[nm),
 Sonata ~in B;yh ([sm1818[nm, D[sm617[nm), Sonata in C ([fy45,1]*[fy75,1]Grand D
uo) ~([sm1824[nm, D[sm813[nm), [cf2]Introduction and Variations on an ~Original
Theme[cf1] in B;yh ([cf2]c[cf1].[sm1818[nm, D[sm603[nm), [sm2[nm [cf2]Marches ~[
PN642,0,0,L,I0]caract;aaeristiques[cf1] in C ([sm1826[nm, D[sm886[nm), [sm3[nm [
cf2]Marches ~militaires[cf1] (No. [sm1[nm in D, No. [sm2[nm in G, No. [sm3[nm in
 E;yh, ~[sm1822[nm, D[sm733[nm, also for orch.); also polonaises, ~rondos, ovs.,
 and sets of variations.[ep~[smpiano[nm: Sonatas: No. [sm1[nm in E ([sm1815[nm,
D[sm157[nm), No. [sm2[nm in ~C ([sm1815[nm, D[sm279[nm, unfinished), No. [sm3[nm
 in E ([sm1816[nm, ~D[sm459[nm), No. [sm4[nm in A minor ([sm1817[nm, D[sm537[nm)
, No. [sm5[nm in ~A;yh ([sm1817[nm, D[sm557[nm), No. [sm6[nm in E;yh ([sm1817[nm
, D[sm568[nm), No. ~[sm7[nm in F;Yi minor ([sm1817[nm, D[sm570[nm/[sm1[nm unfini
shed), No. [sm8[nm ~in B ([sm1817[nm, D[sm575[nm), No. [sm9[nm in A minor ([sm18
17[nm, ~D[sm537[nm), No. [sm10[nm in C ([sm1818[nm, D[sm613[nm u
nfinished), ~No. [sm11[nm in F minor ([sm1818[nm, D[sm625[nm), No. [sm12[nm in C
;yi ~minor ([sm1819[nm, D[sm655[nm unfinished), No. [sm13[nm in A ~([sm1819[nm,
D[sm664[nm), No. [sm14[nm in A minor ([sm1823[nm, D[sm784[nm), ~No. [sm15[nm in
C ([sm1825[nm, D[sm840[nm), No. [sm16[nm in A minor ~([sm1825[nm, D[sm845[nm), N
o. [sm17[nm in D ([sm1825[nm, D[sm850[nm), No. [sm18[nm ~in G ([sm1826[nm, D[sm8
94[nm), No. [sm19[nm in C minor ([sm1828[nm, ~D[sm958[nm), No. [sm20[nm in A ([s
m1828[nm, D[sm959[nm), No. [sm21[nm in B;yh ~([sm1828[nm, D[sm960[nm); [cf2]Alle
gretto[cf1] in C minor ([sm1827[nm, ~D[sm915[nm); [cf2]Fantasia[cf1] in C ([fy45
,1]*[fy75,1]Wanderer, [sm1822[nm, D[sm760[nm; ~version for pf. and orch. by Lisz
t); [sm11[nm [cf2]Impromptus[cf1] ~([sm1828[nm): No. [sm1[nm in C minor, No. [sm
2[nm in E;yh, No. [sm3[nm in ~G;yh, No. [sm4[nm in A;yh (D[sm899[nm), No. [sm5[n
m in F minor, No. [sm6[nm ~in A;yh, No. [sm7[nm in B;yh, No. [sm8[nm in F minor
(D[sm935[nm), No. ~[sm9[nm in E;yh minor, No. [sm10[nm in E;Yh,
No. [sm11[nm in C (D[sm946[nm); ~[cf2]Klavierst;auuck[cf1] in A ([sm1818[nm, D[s
m604[nm); [sm12[nm [cf2]L;auandler[cf1] ([sm1823[nm, ~D[sm790[nm); [sm6[nm [cf2]
Moments musicaux[cf1] ([sm1823[nm=n[sm8[nm, D[sm780[nm): No. ~[sm1[nm in C, No.
[sm2[nm in A;yh, No. [sm3[nm in F minor, No. [sm4[nm in ~C;yi minor, No. [sm5[nm
 in F minor, No. [sm6[nm in A;yh; [sm3[nm ~[cf2]Klavierst;auucke[cf1] ([sm1828[n
m, D[sm946[nm): No. [sm1[nm in E;yh minor, ~No. [sm2[nm in E;yh, No. [sm3[nm in
C; [cf2]Rondo[cf1] in D ([sm1818[nm, ~D[sm608[nm);[cf2] [sm2[nm Scherzos[cf1] ([
sm1817[nm, D[sm593[nm); [cf2]Hungarian ~Melody[cf1] ([sm1824[nm, D[sm817[nm);[cf
2] Valses nobles[cf1] ([sm1827[nm, D[sm969[nm); ~[sm13[nm [cf2]Variations in A m
inor on a theme of Anselm ~H;auuttenbrenner[cf1] ([sm1817[nm, D[sm576[nm); [cf2]
[sm12[nm Waltzes[cf1] ([sm1815[nm=n~[sm21[nm, D[sm145[nm); [cf2][sm36[nm Waltzes
[cf1] ([sm1816[nm=n[sm21[nm, D[sm365[nm).[ep~[smsong[nm-[smcycles[nm: [cf2]Die [
fy45,1]*[fy75,2]sch;auone M;auullerin[cf1] ([sm1823[nm, D[sm795[
nm); ~[fy45,1]*[fy75,2]Winterreise[cf1] ([sm1827[nm, D[sm911[nm); [fy45,1]*[fy75
,2]Schwanengesang[cf1] ~([sm1828[nm, D[sm957[nm, publisher's coll., not conceive
d as ~cycle). See individual entries for names of ~component songs.[ep~[smsongs[
nm: It is impossible to list all Schubert's songs. ~A selection of the best know
n is given here, with ~poet's name:[ql~[cf2]Abendstern[cf1] (Mayrhofer, [sm1824[
nm, D[sm806[nm), [cf2]Die abge~~bl;auuhte Linde[cf1] (Sz;aaech;aaenyi, [sm1817[n
m, D[sm514[nm), [cf2]Alinde[cf1] ~(Rochlitz, [sm1827[nm, D[sm904[nm),[cf2] Allei
n, nachdenklich wie ~gelahmt [cf1](Petrarch, [sm1818[nm, D[sm629[nm), [cf2]Die A
llmacht[cf1] ~(Pyrker, [sm1825[nm, D[sm852[nm), [cf2]Am Bach im Fr;auuhling ~[cf
1](Schober, [sm1816[nm, D[sm361[nm), [cf2]Am Grabe Anselmos[cf1] ~(Claudius, [sm
1816[nm, D[sm504[nm), [cf2]Am See[cf1] (Bruchmann, ~[sm1823[nm, D[sm746[nm),[cf2
] An den Fr;auuhling[cf1] (Schiller, [sm1815[nm, ~D[sm245[nm),[cf2] An den Mond[
cf1] (Goethe, [sm1815[nm, D[sm296[nm), [cf2]An ~die Entfernte [c
f1](Goethe, [sm1822[nm, D[sm765[nm), [cf2]An die Freude[cf1] ~(Schiller, [sm1815
[nm, D[sm189[nm), [cf2]An mein Klavier [cf1](Schubart, ~[cf2]c[cf1]. [sm1816[nm,
 D[sm342[nm), [cf2]An die Laute[cf1] (Rochlitz, [sm1827[nm, ~D[sm905[nm), [cf2]A
n die Leier[cf1] (Bruchmann, [sm1822[nm, D[sm737[nm), ~[cf2]An die Musik[cf1] (S
chober, [sm1817[nm, D[sm547[nm), [cf2]An die ~Nachtigall[cf1] (Holty, [sm1815[nm
, D[sm196[nm), [cf2]An die unterge~~hende Sonne[cf1] (Kosegarten, [sm1816[nm, D[
sm457[nm), [cf2]An eine ~Quelle [cf1](Claudius, [sm1817[nm, D[sm530[nm),[cf2] An
 schwager ~Kronos[cf1] (Goethe, [sm1816[nm, D[sm369[nm), [cf2]An Sylvia[cf1] (Sh
ake~~speare, [sm1826[nm, D[sm891[nm), [cf2]Auf dem Wasser zu singen[cf1] ~(Stolb
erg, [sm1823[nm, D[sm774[nm), [cf2]Auf der Bruck[cf1] (Schulze, ~[sm1825[nm, D[s
m853[nm), [cf2]Auf der Donau[cf1] (Mayrhofer, [sm1817[nm, ~D[sm553[nm),[cf2] Auf
l;auosung[cf1] (Mayrhofer, [sm1824[nm, D[sm807[nm), [cf2]Ave ~Maria[cf1] (Ellen'
s Song, W. Scott, trans. Storck, ~[sm1825[nm, D[sm839[nm), [cf2]
Bei dir Allein [cf1](Seidl, [sm1826[nm, D[sm866[nm/[sm2[nm), ~[cf2]Beim Winde[cf
1] (Mayrhofer, [sm1819[nm, D[sm669[nm), [cf2]Berthas ~Lied in der Nacht[cf1] (Gr
illparzer, [sm1819[nm, D[sm653[nm),[cf2] Der ~blinde Knabe[cf1] (Cibber, [sm1825
[nm, D[sm833[nm, [sm2[nmnd version), ~[cf2]Die B;auurgschaft[cf1] (Schiller, [sm
1815[nm, D[sm246[nm),[cf2] Cronnan[cf1] ~(Ossian, [sm1815[nm, D[sm282[nm), [cf2]
Delphine [cf1](Sch;auutz, [sm1825[nm, ~D[sm857[nm), [cf2]Des Fischers Liebesgl;a
uuck[cf1] (Leitner, [sm1827[nm, ~D[sm933[nm), [cf2]Du bist die Ruh'[cf1] (R;auuc
kert, [sm1823[nm, D[sm776[nm),[cf2] ~Der Einsame [cf1](Lappe, [sm1825[nm, D[sm80
0[nm), [cf2]Epistel[cf1] (Collin, ~[sm1822[nm, D[sm749[nm), [fy45,1]*[fy75,2]Erl
k;auonig[cf1] (Goethe, [sm1815[nm, D[sm328[nm),[cf2] ~Die erste Liebe [cf1](Fell
inger, [sm1815[nm, D[sm182[nm), [cf2]Der Fischer[cf1] ~(Goethe, [sm1815[nm, D[sm
225[nm),[cf2] Fischerweise[cf1] (Schlechta, ~[sm1826[nm, D[sm881[nm), [cf2] Die
Forelle[cf1] (Schubart, [sm1817[nm, D[sm550[nm), ~[cf2]Fr;auuhli
ngsglaube[cf1] (Uhland, [sm1820[nm, D[sm686[nm), [cf2]Fr;auuhlings~~lied [cf1](A
non, [sm1816[nm, D[sm398[nm), [cf2]Ganymed[cf1] (Goethe, [sm1817[nm, ~D[sm544[nm
),[cf2] Geheimes[cf1] (Goethe, [sm1821[nm, D[sm719[nm), [cf2]Geheimnis[cf1] ~(Ma
yrhofer, [sm1816[nm, D[sm491[nm), [cf2]Die G;auotter Griechen~~lands[cf1] (Schil
ler, [sm1819[nm, D[sm677[nm),[cf2] Grab[chlied[cf1] (Kenner, ~[sm1815[nm, D[sm21
8[nm), [fy45,1]*[fy75,2]Gretchen am Spinnrade[cf1] (Goethe, ~[sm1814[nm, D[sm118
[nm), [cf2]Gruppe aus dem Tartarus[cf1] (Schiller, ~[sm1817[nm, D[sm583[nm),[cf2
] Harfenspieler I=mWer sich der ~Einsamkeit ergibt[cf1] (Goethe, [sm1816[nm, D[s
m478[nm); [cf2]II=mAn ~die T;auuren will ich schleichen[cf1] (Goethe, [sm1816[nm
, D[sm479[nm);[cf2] ~III=mWer nie sein Brot [cf1](Goethe, [sm1816[nm, D[sm480[nm
), ~[cf2]Heidenr;auoslein[cf1] (Goethe, [sm1815[nm, D[sm257[nm),[cf2] Heimliches
 ~Lieben [cf1](Klenke, [sm1827[nm, D[sm922[nm),[cf2] Heiss' mich nicht ~reden[cf
1] (Goethe, Mignon Song, [sm1826[nm, [sm2[nmnd version ~D[sm877[
nm/[sm2[nm),[cf2] Hektors Abschied[cf1] (Schiller, [sm1815[nm, D[sm312[nm), ~[cf
2]Hermann und Thurnelda [cf1](Klopstock, [sm1815[nm, D[sm322[nm),[cf2] ~Herrn Jo
sef Spaun[cf1] (Collin, [sm1822[nm, D[sm749[nm), [cf2]Der Hirt ~auf dem Felsen[c
f1] (The [fy45,1]*[fy75,1]Shepherd on the Rock[cf1]) with ~cl. obbl. (M;auuller
and von Ch;aaezy, [sm1828[nm, D[sm965[nm),[cf2] ~Horch, horch, die Lerch[cf1] (S
hakespeare, [sm1826[nm, D[sm889[nm), ~[cf2]Im Abendrot[cf1] (Lappe, [sm1824[nm,
D[sm799[nm), [cf2]Im Fr;auuhling[cf1] ~(Schulze, [sm1826[nm, D[sm882[nm),[cf2] I
m Haine[cf1] (Bruchmann, ~[sm1822[nm, D[sm738[nm),[cf2] Iphigenia[cf1] (Mayrhofe
r, [sm1817[nm, D[sm573[nm), ~[cf2]J;auager, ruhe von der Jagd [cf1](W. Scott, [s
m1815[nm, D[sm838[nm), ~[cf2]Die junge Nonne[cf1] (Craigher, [sm1825[nm, D[sm828
[nm), [cf2]Der ~J;auungling am Bache [cf1](Schiller, [sm3[nm versions, [sm3[nmrd
, [sm1819[nm, ~D[sm638[nm), [cf2]Der J;auungling an der Quelle[cf1] ([sm1821[nm,
 D[sm300[nm),[cf2] ~Der J;auungling und der Tod[cf1] (Spaun, [sm
1817[nm, D[sm545[nm), ~[cf2]Kennst du das Land?[cf1] (Goethe, [sm1815[nm, D[sm32
1[nm),[cf2] Der ~K;auonig in Thule[cf1] (Goethe, [sm1816[nm, D[sm367[nm),[cf2] L
achen und ~Weinen[cf1] (R;auuckert, [sm1823[nm, D[sm777[nm), [cf2]Licht und Lieb
e[cf1] ~(Collin, [sm1816[nm, D[sm352[nm),[cf2] Die Liebende schreibt[cf1] ~(Goet
he, [sm1819[nm, D[sm673[nm),[cf2] Liebhaber in allen Gestalten[cf1] ~(Goethe, [s
m1817[nm, D[sm558[nm),[cf2] Lied eines Schiffers an die ~Dioskuren[cf1] (Mayrhof
er, [sm1816[nm, D[sm360[nm),[cf2] Das M;auadchen[cf1] ~(Schlegel, [sm1819[nm, D[
sm652[nm),[cf2] Das M;auadchen aus der ~Fremde [cf1](Schiller, [sm1814[nm, D[sm1
17[nm), [cf2]Meeresstille[cf1] ~(Goethe, [sm1815[nm, D[sm216[nm),[cf2] Mignon un
d der Harfer[cf1] ~(Goethe, [sm1826[nm, D[sm877[nm/[sm1[nm), [cf2]Minnelied[cf1]
 (Holty, [sm1816[nm, ~D[sm429[nm),[cf2] Miriams Siegesgesang[cf1] for sop. and c
h. ~(Grillparzer, [sm1828[nm, D[sm942[nm),[cf2] Morgenlied [cf1](Werner, ~[sm182
0[nm, D[sm685[nm),[cf2] Der Musensohn[cf1] (Goethe, [sm1822[nm,
~D[sm764[nm), [fy45,1]*[fy75,1][cf2]Nacht und Tr;auaume[cf1] (Collin, [sm1822[nm
, D[sm827[nm), ~[cf2]Nachtgesang[cf1] (Kosegarten, [sm1815[nm, D[sm314[nm), [cf2
]Nachtvio~~[chlen[cf1] (Mayrhofer, [sm1822[nm, D[sm752[nm), [cf2]N;auahe des Gel
iebten[cf1] ~(Goethe, [sm1816[nm, D[sm162[nm),[cf2] Normans Gesang[cf1] (W. Scot
t, ~[PN643,0,0,R,I0]trans. Storck, [sm1825[nm, D[sm846[nm), [cf2]Nunmehr, da Him
mel, ~Erde[cf1] (Petrarch, [sm1818[nm, D[sm630[nm), [cf2]Nur wer die ~Sehnsucht
Kennt[cf1] (Goethe, Mignon song, [sm5[nm ver~~sions. [sm5[nmth, [sm1826[nm, D[sm
877[nm/[sm4[nm),[cf2] La pastorella [cf1](Goldoni, ~[sm1817[nm, D[sm528[nm), [cf
2]Der Pilgrim[cf1] (Schiller, [sm1823[nm, D[sm794[nm), ~[cf2]Prometheus [cf1](Go
ethe, [sm1819[nm, D[sm674[nm), [cf2]Rastl;auose Liebe[cf1] ~(Goethe, [sm1815[nm,
 D[sm138[nm),[cf2] Raste, Krieger[cf1] (Scott, [sm1825[nm, ~D[sm837[nm),[cf2] Di
e Rose[cf1] (Schlegel, [sm1822[nm, D[sm745[nm),[cf2] Das ~Rosenband[cf1] (Klopst
ock, [sm1815[nm, D[sm280[nm), [cf2]Der S;auanger ~[cf1](Goethe,
[sm1815[nm, D[sm149[nm),[cf2] Sch;auafers Klagelied[cf1] (Goethe, ~[sm1814[nm, D
[sm121[nm), [cf2]Der Schiffer[cf1] (Mayrhofer, [sm1817[nm, ~D[sm536[nm), [cf2]Sc
hlummerlied[cf1] (Mayrhofer, [sm1817[nm, D[sm527[nm),[cf2] ~Der Schmetterling[cf
1] (Schiegel, [sm1815[nm, D[sm633[nm),[cf2] Schwes~~tergruss [cf1](Bruchmann, [s
m1822[nm, D[sm762[nm), [cf2]Sehnsucht[cf1] ~(Schiller, [sm1813[nm, D[sm52[nm), [
cf2]Sei mir gegr;auusst [cf1](R;auuckert, ~[sm1822[nm, D[sm741[nm), [cf2]Seligke
it[cf1] (Holty, [sm1816[nm, D[sm433[nm), [cf2]So ~lasst mich scheinen [cf1](Goet
he, Mignon song, [sm2[nm ~versions, [sm2[nmnd, [sm1826[nm, D[sm877[nm/[sm3[nm),
[cf2]Sprache der Liebe[cf1] ~(Schlegel, [sm1816[nm, D[sm410[nm),[cf2] St;auandch
en[cf1] ([cf2]Horch, horch, ~die Lerche[cf1]) (Grillparzer, [sm1827[nm, D[sm921[
nm), [cf2]Die Sterne[cf1] ~(Leitner, [sm1828[nm, D[sm939[nm), [cf2]Suleika's Son
gs I=mWas ~bedeutet die Bewegung[cf1] (Goethe, [sm1821[nm, D[sm720[nm), [cf2]II=
m~Ach, um deine feuchten Schwingen[cf1] (Goethe, [sm1821[nm, ~D[
sm717[nm),[cf2] Der Tod und das M;auadchen [cf1]([fy45,1]*[fy75,1]Death and ~the
 Maiden) (Claudius, [sm1817[nm, D[sm531[nm), [cf2]Totengr;aua~~bers Heimweh [cf1
](Craigher, [sm1825[nm, D[sm842[nm),[cf2] Trost im ~Liede[cf1] (Schober, [sm1817
[nm, D[sm546[nm), [cf2];auUber Wildemann[cf1] ~(Schulze, [sm1826[nm, D[sm884[nm)
, [cf2]Dem Unendlichen [cf1](Klop~~stock, [sm1815[nm, D[sm291[nm),[cf2] Der Vate
r mit dem Kind[cf1] ~(Bauernfeld, [sm1827[nm, D[sm906[nm), [cf2]Versunken[cf1] (
Goethe, ~[sm1821[nm, D[sm715[nm),[cf2] Die V;auogel[cf1] (Schlegel, [sm1820[nm,
D[sm691[nm),[cf2] ~Der Wanderer [cf1](L;auubeck, [sm1816[nm, D[sm493[nm),[cf2] D
er Wan~~derer an den Mond[cf1] (Solde, [sm1826[nm, D[sm870[nm),[cf2] Wander~~ers
 Nachtlied[cf1] (Goethe, [sm2[nm settings, [sm2[nmnd [sm1822[nm, ~D[sm768[nm),[c
f2] Wehmut[cf1] (Collin, [sm1823[nm, D[sm772[nm), [cf2]Wiegenlied ~[cf1](Anon.,
[sm1815[nm, D[sm498[nm), [cf2]Wiegenlied [cf1](Seidl, [sm1826[nm, ~D[sm867[nm),[
cf2] Der z;auurnende Barde [cf1](Bruckmann, [sm1823[nm, ~D[sm785
[nm),[cf2] Der Zwerg [cf1](Collin, [sm1822[nm, D[sm771[nm).[cm~[j1]Schuch, Ernst
 von [fy75,1]([cf2]b[cf1] Graz, [sm1846[nm; [cf2]d[cf1] K;auotzschen~~broda, nr.
 Dresden, [sm1914[nm). Austrian cond. Studied ~in Graz, Vienna, and Breslau, lea
rning vn. and pf. ~D;aaebut as cond., Breslau [sm1867[nm. Cond. Dresden ~Court O
pera [sm1872[nm=n[sm1914[nm (gen. mus. dir. from ~[sm1889[nm). Ennobled by Austr
ian emperor [sm1898[nm. ~Raised standards at Dresden, making it among ~world's l
eading opera houses. During his [sm42[nm-year ~r;aaegime, Dresden had [sm51[nm w
orld premi;ageres of ~operas and [sm117[nm other operas were added to the ~Dresd
en repertory. Cond. f.ps. of Strauss's [cf2]Feuers-[fj~not[cf1] ([sm1901[nm), [c
f2]Salome[cf1] ([sm1905[nm), [cf2]Elektra[cf1] ([sm1909[nm), and [cf2]Der ~Rosen
kavalier [cf1]([sm1911[nm). NY Met. [sm1900[nm. Married ~Clementine Schuch-Prosk
a (orig. Proch;aaazka) ~([sm1850[nm=n[sm1932[nm), leading coloratura sop. at Dre
sden ~[sm1873[nm=n[sm1904[nm.[cm~Schuh, Willi [fy75,1]([cf2]b[cf
1] Basle, [sm1900[nm). Swiss mus. critic ~and author. Studied in Berne and Munic
h. Mus. ~critic of [cf2]Neue Z;auuricher Zeitung [cf1][sm1928[nm=n[sm65[nm; teac
her at ~Z;auurich Cons. [sm1930[nm=n[sm44[nm. Ed. Busoni and Wagner ~letters. Fr
iend of and authority on R. Strauss, who ~appointed him his official biographer.
 First vol., ~[cf2]Richard Strauss: Jugend und fr;auuhe Meisterjahre ~[sm1864[nm
=n[sm98[nm[cf1], pubd. Z;auurich [sm1976[nm (Cambridge [sm1982[nm, ~trans. Mary
Whittall).[cm~Schulhoff, Erwin[fy75,1] ([cf2]b[cf1] Prague, [sm1894[nm: [cf2]d[c
f1] W;auulzbourg ~concentration camp, [sm1942[nm). Cz. pianist and ~composer. St
udied in Prague, Vienna, Leipzig, ~Cologne, and Berlin. Worked with A. [fy45,1]*
[fy75,1]H;Aaaba on ~microtones and also influenced by jazz. Wrote [sm6[nm ~syms.
, opera, [sm2[nm ballets, pf. conc., conc. for str. qt. ~and wind orch.[cm~Schul
ler, Gunther [fy75,1]([cf2]b[cf1] NY, [sm1925[nm). Amer. com~~poser, cond., and
hn.-player, son of violinist in ~NY P.O.. Studied Manhattan Sch.
 of Mus. Prin. ~hn., Cincinnati S.O. [sm1943[nm=n[sm5[nm. Joined NY Met. ~orch.
in [sm1945[nm, playing in it until [sm1959[nm. Taught ~hn. Manhattan Sch. [sm195
0[nm=n[sm63[nm. Assoc. prof. of ~mus., Yale Univ. [sm1964[nm=n[sm7[nm, president
, New England ~Cons. [sm1967[nm=n[sm77[nm, supervising contemporary mus. ~concer
ts at Tanglewood since [sm1965[nm. Influenced ~by Webern and Stravinsky but with
 great interest ~in jazz, his comps. drawing on jazz elements ~being among the m
ost successful and convincing ~yet written. Commissioned by Hamburg Opera ~to co
mpose [cf2]The Visitation[cf1] (Hamburg [sm1966[nm). Joint ~art. dir., Berkshire
 Music Center from [sm1970[nm. ~Author of books on jazz and hn. technique. Guest
 ~cond. of leading Amer. and Brit. orchs. Prin. ~comps.:[xm[cm~[j2][smoperas[nm:
 [fy75,2]The Visitation[cf1] ([sm1966[nm); [cf2]The Fisherman and ~his Wife [cf1
]([sm1970[nm).[ep~[smballet[nm: [cf2]Variants[cf1] ([sm1961[nm, choreog. Balanch
ine).[ep~[smorch[nm: Sym. ([sm1965[nm);[cf2] Symphony for Brass
and ~Percussion [cf1]([sm1950[nm);[cf2] Symphonic Tribute to Duke ~Ellington[cf1
] ([sm1955[nm); [cf2]Contours[cf1] ([sm1956[nm); Concertino for ~jazz qt. and or
ch. ([sm1959[nm); [cf2][sm7[nm [cf2]Studies on Themes of ~Paul Klee[cf1] ([sm195
9[nm); [cf2]Spectra[cf1] ([sm1960[nm); [cf2]American ~Triptych[cf1] ([sm1965[nm)
;[cf2] Shapes and Designs[cf1] ([sm1968[nm); ~[cf2]Concerto for Orchestra[cf1] (
[sm1965[nm=n[sm6[nm); [cf2]Contrasts[cf1], wood~~wind quintet and orch. ([sm1961
[nm);[cf2] Colloquy[cf1], [sm2[nm pf. ~([sm1966[nm); [cf2]Museum Piece [cf1]for
Renaissance instr. and ~orch. ([sm1970[nm); hn. conc. No. [sm1 [nm[sm(1944[nm),
No. [sm2[nm ~([sm1977[nm); vc. conc. ([sm1945[nm);[cf2] Fantasia Concertante[cf1
] for ~[sm3[nm tb.; [cf2]Capriccio[cf1] for tuba; pf. conc. ([sm1962[nm); db. ~c
onc. ([sm1968[nm); vn. conc. ([sm1976[nm); [cf2]Dea;aui[cf1], [sm2[nm orch. ~([s
m1978[nm).[ep~[smchamber music[nm: Vc. sonata ([sm1947[nm); qt. for [sm4[nm db.
~([sm1947[nm); hn. trio ([sm1948[nm); ob. sonata ([sm1948[nm=n[s
m51[nm); ~[cf2]Conversations[cf1] for jazz qt. and str. qt.; [cf2][sm5[nm Pieces
[cf1] for ~[sm5[nm hn.; [sm2[nm str. qts.; woodwind quintet ([sm1958[nm); ~Fanta
sy Quartet for [sm4[nm vc. ([sm1959[nm).[ep~[smvocal[nm: [cf2][sm5[nm Shakespear
e Songs[cf1], bar. and orch.[cm~[j1]Schulmeister, Der [fy75,1](The Schoolmaster)
. Nick~~name for Haydn's Sym. No. [sm55[nm in E;yh (Hob. I: [sm55[nm) ~comp. [sm
1774[nm. Dotted figure in slow movement ~suggests admonishing finger of schoolma
ster, ~and scholars believe Haydn authorized title.[cm~Schuman, William [fy75,1]
(Howard) ([cf2]b[cf1] NY, [sm1910[nm). ~Amer. composer and administrator. As you
th ~composed jazz arrs. and studied at sch. of ~commerce. Abandoned this for ser
ious mus. ~studies with Max Parsin and Charles Haubiel and ~[PN644,0,0,L,I0]at J
uilliard Summer Sch. In [sm1933[nm enrolled for ~teacher's course at Columbia Un
iv., attended ~Salzburg Mozarteum summer course [sm1935[nm where ~he began work
on First Sym. This he submitted ~for advice to Roy Harris, who g
ave him private ~lessons. His [sm2[nmnd Sym. was eventually played in ~Boston un
der [fy45,1]*[fy75,1]Koussevitzky, who became his ~champion. Henceforward compos
ed prolifically, ~and became prof. at Sarah Lawrence Coll., ~Larchmont. In [sm19
45[nm became president of Juilliard ~Sch., holding this post until [sm1961[nm; p
resident of ~Lincoln Center for Performing Arts, [sm1961[nm=n[sm9[nm.[ep~^His sy
ms. are a major feature of Amer. mus. His ~mus. has a firm melodic basis, large
in gesture ~and conception, with strong contrapuntal ele~~ment and motor rhythms
, some derived from ~jazz. He has comp. in most forms, incl. ballets for ~Antony
 Tudor and Martha Graham, and been ~much honoured by Amer. institutions. Prin. ~
works:[xm[cm~[j2][smopera[nm: [fy75,2]The Mighty Casey[cf1] (baseball opera, [sm
1951[nm=n[sm3[nm, ~rev. as cantata [cf2]Casey at the Bat[cf1], [sm1976[nm).[ep~[
smballets[nm: [cf2]Undertow[cf1] ([sm1945[nm); [cf2]Night Journey[cf1] ([sm1947[
nm);[cf2] ~Judith [cf1]([sm1949[nm); [cf2]Voyage for a Theater[c
f1] ([sm1953[nm); [cf2]The ~Witch of Endor[cf1] ([sm1965[nm).[ep~[smorch[nm: Sym
phonies: No. [sm1[nm ([sm1935[nm; withdrawn), ~No. [sm2[nm ([sm1937[nm, withdraw
n), No. [sm3[nm ([sm1941[nm), No. [sm4[nm ~([sm1941[nm), No. [sm5[nm ([cf2]Symph
ony for Strings[cf1]) ([sm1943[nm), No. ~[sm6[nm ([sm1948[nm), No. [sm7[nm ([sm1
960[nm), No. [sm8[nm ([sm1962[nm), No. [sm9[nm ([cf2]Le ~Fosse ardeatine[cf1]) (
[sm1968[nm), No. [sm10[nm ([cf2]American Muse[cf1]) ~([sm1976[nm); [cf2]American
 Festival Overture[cf1] ([sm1939[nm); pf. ~conc. ([sm1942[nm); [cf2]William Bill
ings Overture[cf1] ([sm1944[nm), ~[cf2]Circus Overture [cf1]([sm1944[nm for smal
l orch., [sm1945[nm for ~large); [cf2]New England Triptych[cf1] ([sm1956[nm); vn
. conc. ~([sm1947[nm, rev. [sm1954[nm, [sm1959[nm); [cf2]Song of Orpheus[cf1], v
c. and ~orch. ([sm1961[nm);[cf2] Orchestra Song [cf1]([sm1963[nm);[cf2] To Thee
Old ~Cause[cf1] ([sm1968[nm); [cf2]In Praise of Shahn[cf1] ([sm1969[nm); [cf2]Vo
yage[cf1] ~([sm1972[nm).[ep~[smchoral[nm: [cf2]Pioneers![cf1] ([
sm1937[nm); [cf2]This is Our Time[cf1] ([sm1940[nm); ~[cf2]Te Deum[cf1] ([sm1944
[nm); [cf2]Carols of Death[cf1] ([sm1958[nm).[ep~[smchamber music[nm: String Qua
rtets: No. [sm1[nm ([sm1936[nm, ~withdrawn), No. [sm2[nm ([sm1937[nm), No. [sm3[
nm ([sm1939[nm), No. [sm4[nm ~([sm1950[nm); [cf2]Amaryllis[cf1], str. trio ([sm1
964[nm).[ep~[smpiano[nm: [cf2]Voyage [cf1]([sm1953[nm, orch. [sm1972[nm); [cf2][
sm3[nm Piano Moods[cf1] ~([sm1958[nm).[cm~[ol0][ep~[xp[te~







[do20][j99]~~~~~~[sm153842[nm_SA[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmDictionary of
 Music[cm~SA[sm03[nm[cm[sm20[nm[cm[sm1[nm[cm~[sm15[nm.[sm10[nm.[sm79[nm[cm[sm19[
nm[cm[sm310[nm[cm~GC[cm3[cm7.8.84[cm~U1[cm~~~~[ap[j1]Schumann, Clara [fy75,1](=+
=+Josephine) (n;aaee Wieck) ([cf2]b[cf1] ~Leipzig, [sm1819[nm; [cf2]d[cf1] Frank
furt, [sm1896[nm). Ger. pianist ~and composer, wife of Robert [fy45,1]*[fy75,1]S
chumann. ~Daughter and pupil of F. [fy45,1]*[fy75,1]Wieck. D;aaebut aged [sm9[nm
. ~Toured Ger. [sm1831[nm and elsewhere in Europe from ~[sm1832[nm. Overcame fie
rce parental opposition to ~marriage to  Schumann [sm1840[nm, becoming his ~fore
most interpreter. Toured Russia [sm1844[nm. First ~visit to Eng. [sm1856[nm, oft
en thereafter to [sm1888[nm. Lived ~in Berlin [sm1856[nm=n[sm63[nm. Head of pf.
faculty, Hoch ~Cons., Frankfurt, [sm1878[nm=n[sm92[nm. Championed Brahms ~in his
 youth and remained lifelong friend. Last ~public perf. [sm1891[nm. Comp. pf. co
nc. (in A minor), ~pf. trio, many pf. pieces, several songs, and
 ~cadenzas for concs. by Mozart and Beethoven. ~Had distinguished pupils. Was re
nowned for the ~breadth and integrity of her playing.[cm~Schumann, Elisabeth [fy
75,1]([cf2]b[cf1] Merseburg, [sm1888[nm;[cf2] d[cf1] ~NY, [sm1952[nm). Ger.-born
 sop. (Amer. citizen from ~[sm1944[nm). Studied Berlin, Dresden, and Hamburg. ~O
pera d;aaebut Hamburg [sm1909[nm, remaining member ~of co. until [sm1919[nm. NY
Met. [sm1914[nm=n[sm15[nm, d;aaebut as ~Sophie in [cf2]Der Rosenkavalier[cf1], o
ne of her most ~famous and effective roles. Vienna Opera [sm1919[nm=n~[sm37[nm;
CG [sm1924[nm=n[sm31[nm. Toured USA [sm1921[nm in recitals ~with R. Strauss as a
ccompanist. One of best-loved ~and most admired singers of her day, notable ~int
erpreter of Strauss Lieder and of such Mozart ~[cf2]soubrette[cf1] roles as Susa
nna, Zerlina, Despina, ~Blonde. Also memorable Ad;agele in [cf2]Fledermaus. ~[cf
1]Left Austria [sm1938[nm and settled in USA, teaching ~for a brief spell at Cur
tis Institute.[cm~Schumann, Robert [fy75,1](Alexander) [cf1]([cf
2]b[cf1] Zwickau, ~[sm1810[nm; [cf2]d[cf1] Endenich, [sm1856[nm). Ger. composer,
 pianist, ~cond., and critic. Studied law at Leipzig and ~Heidelberg Univs., but
 main interests were mus. ~and Romantic literature, e.g. Jean-Paul Richter. ~In
[sm1828[nm met Clara Wieck, to whose father ~Friedrich he went for pf. lessons i
n [sm1829[nm, lodging ~with him and beginning to compose. In [sm1832[nm ~permane
ntly injured hand by device he had ~invented to keep [sm4[nmth finger immobile w
hile ~practising. Was already contributing mus. criti~~cism to Ger. papers and i
n [sm1831[nm called attention ~to Chopin's genius. Depressed by mus. situation ~
in Ger., founded `David Club' in [sm1834[nm to fight ~artistic philistines, and
periodical [cf2]Neue Zeitschrift ~f;Auur Musik[cf1], which he ed. for [sm10[nm y
ears. In writings ~and comps., gave himself dual personality: ~Florestan for his
 impetuous self and Eusebius for ~his contemplative side. In [sm1838[nm visited
Vienna ~and discovered MS. of Schubert's `Great' C major ~sym.,
which he sent to Mendelssohn. Married ~Clara Wieck [sm1840[nm after long opposit
ion from her ~father, this being followed by outpouring of ~songs and song-cycle
s. In [sm1841[nm concentrated on ~syms., in [sm1842[nm on chamber mus., and in [
sm1843[nm ~choral works. Taught comp. at Leipzig Cons. ~Toured Russia with Clara
, [sm1844[nm. On return had ~severe attack of depression. Moved to Dresden in ~s
earch of quiet, living there until [sm1850[nm. In [sm1846[nm ~Clara gave f.p. of
 his pf. conc. and Mendelssohn ~cond. f.p. of [sm2[nmnd Sym. In [sm1850[nm moved
 to ~D;auusseldorf in hope of earning more by conduct~~ing, but was not a succes
s. Met [sm20[nm-year-old ~Brahms in [sm1853[nm, acclaiming him in article `New ~
Paths'. The next year his mental health failed and ~he threw himself into Rhine,
 but was saved and ~taken to private asylum where he lived another [sm2[nm ~year
s.[ep~^Schumann was one of the greatest composers ~for pf., enriching its litera
ture with a series of ~poetic works in which classical structure
 and ~Romantic expression are combined. His vocal ~and chamber mus. is of compar
able quality, with ~the freshness, vitality, and lyricism which also ~characteri
ze the orch. works. His orchestration is ~sometimes criticised for its thickness
 and lack of ~fluency, and various attempts have been made to ~[PN645,0,0,R,I0]`
improve' the scoring, e.g. by Mahler, but the ~present-day tendency is to prefer
 the spontaneity ~of Schumann's own. His songs, particularly his ~song-cycles, a
re among the glories of Lieder. His ~works contain many musical quotations and ~
allusions and a number of his themes have been ~shown to be musical cryptograms.
 Prin. comps.:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy75,2]Genoveva[cf1], Op. [sm81[
nm ([sm1847[nm=n[sm9[nm).[ep~[smincidental music[nm: [fy45,1]*[fy75,2]Manfred[cf
1], Op. [sm115[nm (Byron) ~([sm1848[nm=n[sm9[nm).[ep~[smorch[nm: Symphonies: No.
 [sm1[nm in B;yh ([cf2]Fr;auuhling[cf1], ~[fy45,1]*[fy75,1]Spring), Op. [sm38[nm
 ([sm1841[nm), No. [sm2[nm in C, Op. [sm61[nm ~([sm1845[nm=n[sm6
[nm), No. [sm3[nm in E;yh ([fy45,1]*[fy75,2]Rhenish[cf1]), Op. [sm97[nm ([sm1850
[nm), ~No. [sm4[nm in D minor (begun [sm1841[nm, [sm2[nmnd in order of ~comp., r
ev. [sm1851[nm), Op. [sm120[nm; [cf2]Overture, Scherzo, ~and Finale[cf1], Op. [s
m52[nm ([sm1841[nm, rev. [sm1845[nm);[cf2] Overture to ~Shakespeare's Julius Cae
sar[cf1], Op. [sm128[nm ([sm1851[nm); ~[cf2]Overture on Goethe's Hermann and Dor
othea[cf1], Op. ~[sm136[nm ([sm1851[nm).[ep~[smconcertos[nm, etc.: Pf. conc. in
A minor, Op. [sm54[nm ([sm1[nmst ~movement written as [cf2]Fantasie[cf1] [sm1841
[nm, rest added ~[sm1845[nm); [cf2]Konzertst;auuck[cf1], [sm4[nm hn., in F, Op.
[sm86[nm ([sm1849[nm);[cf2] ~Introduction and Allegro appassionato[cf1], pf., Op
. [sm92[nm ~([sm1849[nm); vc. conc. in A minor, Op. [sm129[nm ([sm1850[nm);[cf2]
 ~Fantasy [cf1]in C, vn., Op. [sm131[nm ([sm1853[nm);[cf2] Concert-Allegro ~and
Introduction[cf1] in D minor, pf., Op. [sm134[nm ([sm1853[nm); ~vn. conc. in D m
inor, Op. [sm2[nm posth. ([sm1853[nm).[ep~[smchamber music[nm: S
tring Quartets: Op. [sm41[nm, No. [sm1[nm in ~A minor, No. [sm2[nm in F, No. [sm
3[nm in A ([sm1842[nm); pf. qt. in ~E;yh, Op. [sm47[nm ([sm1842[nm); pf. quintet
 in E;yh, Op. [sm44[nm ~([sm1842[nm); Piano Trios: No. [sm1[nm in D minor, Op. [
sm63[nm ~([sm1847[nm), No. [sm2[nm in F, Op. [sm80[nm ([sm1847[nm), No. [sm3[nm
in G ~minor, Op. [sm110[nm ([sm1851[nm); Vn. Sonata No. [sm1[nm in A ~minor, Op.
 [sm105[nm ([sm1851[nm, No. [sm2[nm in D minor, Op. ~[sm121[nm ([sm1851[nm); [cf
2]Adagio and Allegro[cf1] in A;yh, hn. (or vn. ~or vc.) and pf., Op. [sm70[nm ([
sm1849[nm);[cf2] Fantasiest;auucke[cf1], cl. ~(or vn. or vc.) and pf., Op. [sm73
[nm ([sm1849[nm);[cf2] Fantasie~~[chst;auucke[cf1], pf., vn., vc., Op. [sm88[nm
([sm1842[nm); [sm3[nm [cf2]Romanzen[cf1], ~ob. (or vn. or cl.) and pf., Op. [sm9
4[nm ([sm1849[nm); ~[cf2]M;auarchenbilder[cf1], va. (or vn.) and pf., Op. [sm113
[nm ~([sm1851[nm);[cf2] [sm5[nm Pieces in Folk Style[cf1], vc. (or vn.) and pf.,
 ~Op. [sm102[nm ([sm1849[nm); [cf2]M;auarchenerz;auahlungen[cf1]
, pf., cl. (or ~vn.), and va., Op. [sm132[nm ([sm1853[nm); pf. accs. to [sm6[nm
vn. ~partitas by J. S. Bach ([sm1854[nm).[ep~[smpiano[nm: [fy45,1]*[fy75,2]Abegg
 Theme with Variations[cf1], Op. [sm1[nm ([sm1830[nm); ~[fy45,1]*[fy75,2]Papillo
ns[cf1], Op. [sm2[nm ([sm1829[nm=n[sm31[nm); [sm12[nm [cf2]Concert Studies ~on P
aganini Caprices[cf1], Set I, Op. [sm3[nm ([sm1832[nm), Set II, ~Op. [sm10[nm ([
sm1833[nm); [sm6[nm[cf2] Intermezzi[cf1], Op. [sm4[nm ([sm1832[nm); ~[cf2]Improm
ptus on a Theme by Clara Wieck[cf1], Op. [sm5[nm ~([sm1833[nm, rev. [sm1850[nm);
 [sm18[nm [fy45,1]*[fy75,2]Davidsb;auundlert;auanze[cf1], Op. [sm6[nm ~([sm1837[
nm, rev. [sm1850[nm); [cf2]Toccata[cf1] in C, Op. [sm7[nm ([sm1830[nm); ~[cf2]Al
legro[cf1] in B minor, Op. [sm8[nm ([sm1831[nm); [fy45,1]*[fy75,2]Carnaval: ~Sc;
agenes mignonnes sur [sm4[nm notes[cf1], Op. [sm9[nm ([sm1834[nm=n[sm5[nm); ~Son
atas: No. [sm1[nm in F;yi minor, Op. [sm11[nm ([sm1833[nm=n[sm5[nm), ~No. [sm2[n
m in G minor, Op. [sm22[nm ([sm1833[nm=n[sm8[nm), No. [sm3[nm in
 F ~minor, Op. [sm14[nm ([sm1835[nm, rev. [sm1853[nm); [sm8[nm [fy45,1]*[fy75,2]
Fantasie~~[chst;auucke[cf1], Op. [sm12[nm ([sm1838[nm); [fy45,1]*[fy75,2];aaEtud
es symphoniques ~[cf1](Symphonic Studies), Op. [sm13[nm ([sm1834[nm=n[sm7[nm, re
v. ~[sm1852[nm); [fy45,1]*[fy75,2]Kinderscenen[cf1], Op. [sm15[nm ([sm1838[nm);
[fy45,1]*[fy75,2]Kreisler~~iana[cf1], Op. [sm16[nm ([sm1838[nm, rev. [sm1850[nm)
; [cf2]Fantasy[cf1] in C, Op. ~[sm17[nm ([sm1836[nm); [cf2]Arabeske[cf1] in C, O
p. [sm18[nm ([sm1839[nm); ~[cf2]Blumenst;auuck[cf1] in D;yh, Op. [sm19[nm ([sm18
39[nm);[cf2] Humoreske[cf1] in ~B;yh, Op. [sm20[nm ([sm1839[nm); [sm8[nm [fy45,1
]*[fy75,2]Novelletten[cf1], Op. [sm21[nm ([sm1838[nm); ~[sm4[nm [cf2]Nachtst;auu
cke[cf1], Op. [sm23[nm ([sm1839[nm); [fy45,1]*[fy75,2]Faschingsschwank ~aus Wien
[cf1], Op. [sm26[nm ([sm1839[nm); [sm3[nm [cf2]Romanzen[cf1], Op. [sm28[nm ~([sm
1839[nm); [cf2]Album f;auur die Jugend[cf1], Op. [sm68[nm, Book I ~containing [s
m18[nm pieces, Book II, [sm25[nm ([sm1848[nm); ~[fy45,1]*[fy75,2
]Waldscenen[cf1], Op. [sm82[nm ([sm1848[nm=n[sm9[nm); [cf2]Bunte Bl;auatter[cf1]
, Op. ~[sm99[nm ([sm1852[nm); [sm3[nm [cf2]Fantasiest;auucke[cf1], Op. [sm111[nm
 ([sm1851[nm); [sm3[nm pf. ~sonatas `fur die Jugend', Op. [sm118[nm ([sm1853[nm)
; ~[fy45,1]*[fy75,2]Albumbl;auatter[cf1], Op. [sm124[nm ([sm1832[nm=n[sm45[nm);
[sm7[nm [cf2]Piano Pieces ~in the form of fugues[cf1], Op. [sm126[nm ([sm1853[nm
); [cf2][sm5[nm Ges;auange ~der Fr;auuhe[cf1], Op. [sm133[nm ([sm1853[nm).[ep~[s
mpiano duets[nm: [sm6[nm [cf2]Impromptus[cf1], Op. [sm66[nm ([sm1848[nm), [cf2]B
all-~Scenen[cf1], Op. [sm109[nm ([sm1851[nm).[ep~[xp[te~





[do27][j99]~~~~~~[sm153842[nm_SA[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmDictionary of
 Music[cm~SA[sm04[nm[cm[sm27[nm[cm[sm1[nm[cm[sm15[nm/~[sm10[nm/[sm79[nm[cm[sm19[
nm[cm[sm317[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j2][smorgan[nm: [sm6[nm [fy75,2
]Fugues on the Name of Bach[cf1], Op. [sm60[nm ~([sm1845[nm).[ep~[smchorus and o
rch[nm: [cf2]Das Paradies und die Peri[cf1] ~([fy45,1]*[fy75,1]Paradise and the
Peri), Op. [sm50[nm ([sm1843[nm); [cf2]Requiem ~f;auur Mignon[cf1], Op. [sm98[nm
b ([sm1849[nm); [cf2]Nachtlied[cf1], Op. [sm108[nm ~([sm1849[nm); [cf2]Der Rose
Pilgerfahrt[cf1], Op. [sm112[nm ([sm1851[nm); ~[cf2]Mass[cf1], Op. [sm147[nm ([s
m1852[nm); [cf2]Requiem[cf1], Op. [sm148[nm ([sm1852[nm); ~[cf2]Scenes from Goet
he's [fy45,1]*[fy75,2]Faust[cf1] ([sm1844[nm=n[sm53[nm).[ep~[smpart[nm-[smsongs[
nm: Mixed: [cf2][sm5[nm Lieder[cf1], Op. [sm55[nm ([sm1846[nm); ~[cf2]Romanzen u
nd Balladen[cf1], [sm4[nm vols., Opp. [sm67[nm, [sm75[nm, [sm145[nm, ~[sm146[nm
([sm1846[nm=n[sm9[nm); Women's: [cf2]Romanzen[cf1], [sm2[nm vols
., Opp. ~[sm69[nm, [sm91[nm ([sm1849[nm); Men's: [cf2][sm6[nm Lieder[cf1], Op. [
sm33[nm ([sm1840[nm); [cf2][sm5[nm ~Hunting-Songs[cf1], with [sm4[nm optional hn
., Op. [sm137[nm ~([sm1849[nm).[ep~[smsongs and song[nm-[smcycles[nm: [fy45,1]*[
fy75,2]Liederkreis[cf1] (Heine), Op. ~[sm24[nm ([sm1840[nm); [cf2]Myrthen[cf1],
cycle of [sm26[nm songs, Op. [sm25[nm ~([sm1840[nm); [cf2]Lieder und Ges;auange[
cf1], I, Op. [sm27[nm ([sm1840[nm), II, ~Op. [sm51[nm ([sm1842[nm), III, Op. [sm
77[nm ([sm1840[nm and [sm1850[nm), IV, ~Op. [sm96[nm ([sm1850[nm); [cf2][sm12[nm
 Gedichte[cf1], Op. [sm35[nm ([sm1840[nm); [cf2][sm6[nm ~Gedichte[cf1], Op. [sm3
6[nm ([sm1840[nm); [cf2][sm12[nm Gedichte aus Liebes~~fr;Auuhling[cf1], Op. [sm3
7[nm ([sm1840[nm); [fy45,1]*[fy75,2]Liederkreis[cf1] (Eichen~~dorff=+=+=+), Op.
[sm39[nm ([sm1840[nm); [fy45,1]*[fy75,2]Frauenliebe und -Leben[cf1], ~song-cycle
, Op. [sm42[nm ([sm1840[nm); [cf2]Romanzen und Bal~~laden[cf1], I, Op. [sm45[nm
([sm1840[nm), II, Op. [sm49[nm ([sm1840[nm), III, Op. ~[sm53[nm
([sm1840[nm), IV, Op. [sm64[nm ([sm1841[nm and [sm1847[nm); ~[fy45,1]*[fy75,2]Di
chterliebe[cf1], song-cycle, Op. [sm48[nm ([sm1840[nm); [cf2]Lieder~~album f;Auu
r die Jugend[cf1], Op. [sm79[nm ([sm1849[nm); [cf2][sm3[nm Ges;auange[cf1], ~Op.
 [sm83[nm ([sm1850[nm); [cf2][sm6[nm Ges;Auange[cf1], Op. [sm89[nm ([sm1850[nm);
 [cf2][sm6[nm ~Gedichte[cf1], Op. [sm90[nm ([sm1850[nm); [cf2][sm3[nm Ges;Auange
[cf1], Op. [sm95[nm ([sm1849[nm); ~[cf2][sm9[nm Lieder und Ges;Auange aus Wilhel
m Meister[cf1], Op. [sm98[nma ~([sm1849[nm); [cf2][sm7[nm Lieder[cf1], Op. [sm10
4[nm ([sm1851[nm); [cf2][sm6[nm Ges;auange[cf1], Op. ~[sm107[nm ([sm1851[nm=n[sm
2[nm); [cf2][sm4[nm Husarenlieder[cf1], Op. [sm117[nm ([sm1851[nm); ~[cf2][sm3[n
m Gedichte[cf1], Op. [sm119[nm ([sm1851[nm); [cf2][sm5[nm Heitere Ges;Auange[cf1
], Op. ~[sm125[nm ([sm1851[nm); [cf2][sm5[nm Lieder und Ges;Auange[cf1], Op. [sm
127[nm ([sm1850[nm=n~[sm1[nm); [cf2]Gedichte der K;Auonigin Maria Stuart[cf1], O
p. [sm135[nm, ~([sm1852[nm); [cf2][sm4[nm Ges;auange[cf1], Op. [
sm142[nm ([sm1852[nm).[cm~[j1]Schumann-Heink[fy75,1] (orig. R;auossler), [fy65][
cf3]Ernestine [fy75,1]([cf2]b[cf1] ~Lieben, [sm1861[nm; [cf2]d[cf1] Hollywood, C
alif., [sm1936[nm). Cz.-~born cont. (Amer. citizen from [sm1908[nm). Studied in
~Graz and Dresden, teachers incl. F. W;auullner. ~D;aaebut Graz [sm1876[nm in Be
ethoven's [sm9[nmth Sym.; opera ~d;aaebut Dresden [sm1878[nm as Azucena in [cf2]
Il Trovatore[cf1]. ~Member Hamburg Opera [sm1883[nm=n[sm98[nm. CG d;aaebut ~[sm1
892[nm as Erda. Bayreuth [sm1896[nm=n[sm1914[nm (excl. [sm1904[nm). ~Amer. d;aae
but Chicago [sm1898[nm as Ortrud, NY Met. ~[sm1899[nm. Sang mainly in USA until
retirement [sm1932[nm. ~Created role of Klytemnestra in Strauss's [cf2]Elektra[c
f1], ~Dresden [sm1909[nm. Repertory of [sm150[nm roles. Voice of ~[PN646,0,0,L,I
0]power and range allied to exceptional dramatic ~skill.[cm~Schuppanzigh, Ignaz[
fy75,1] ([cf2]b[cf1] Vienna, [sm1776[nm; [cf2]d[cf1] Vienna, ~[sm1830[nm). Austr
ian violinist and cond. Friend of ~Beethoven, whom he taught vn.
 and va. Member ~of Prince [fy45,1]*[fy75,1]Lichnowsky's qt. [sm1794[nm=n[sm5[nm
. Formed his ~own str. qt. [sm1804[nm=n[sm5[nm. Leader of Count [fy45,1]*[fy75,1
]Rasoumov~~sky's qt. [sm1808[nm=n[sm14[nm, giving f.p. of several Beethoven ~qts
. Member of Vienna court opera orch. from ~[sm1824[nm, conducting there from [sm
1828[nm. Comp. some ~vn. pieces.[cm~Schuricht, Carl[fy75,1] ([cf2]b[cf1] Danzig,
 [sm1880[nm; [cf2]d[cf1] Corseaux-sur-~ V;Aaevey, Switz., [sm1967[nm). Ger. cond
. Studied Berlin ~Hochschule f;Auur Musik [sm1901[nm=n[sm3[nm. Cond. posts in ~M
ainz, Dortmund, etc. Chief cond., Wiesbaden ~[sm1911[nm=n[sm44[nm where he champ
ioned Delius, Ravel, ~Stravinsky, and Schoenberg. Guest cond. of many ~orchs. Se
ttled Switzerland [sm1944[nm.[cm~Schurmann, Gerard[fy75,1] ([cf2]b[cf1] Kertoson
o, Indonesia, ~[sm1928[nm). Indonesian-born Dutch composer and ~cond. Settled in
 Eng. [sm1941[nm. Studied comp. with ~[fy45,1]*[fy75,1]Rawsthorne. Cond. Dutch r
adio, Hilversum. ~Works incl. [cf2][sm6[nm Studies of Francis Ba
con[cf1], orch., ~([sm1968[nm), [cf2]Variants[cf1], orch. ([sm1970[nm), pf. conc
. ([sm1972[nm=n[sm3[nm), ~vn. conc. ([sm1975[nm=n[sm8[nm), fl. sonatina ([sm1968
[nm), [cf2]Contrasts[cf1], ~pf. ([sm1973[nm), wind quintet ([sm1963[nm, rev. [sm
1976[nm), ~[cf2]Chuench'i[cf1], v. and pf. ([sm7[nm songs from Chinese, trans. ~
Waley) ([sm1966[nm, also with orch. [sm1967[nm), [cf2]The Double ~Heart[cf1], ca
ntata ([sm1976[nm), [cf2]Piers Plowman[cf1], SCTB, ch., ~orch. ([sm1979[nm=n[sm8
0[nm), [cf2]Duo[cf1], vn., pf. ([sm1984[nm).[cm~Sch;auutz, Heinrich[fy75,1] ([cf
2]b[cf1] K;auostritz, [sm1585[nm; [cf2]d[cf1] Dresden, ~[sm1672[nm). Ger. compos
er and organist, one of greatest ~of Bach's predecessors. Studied law, but patro
n, ~impressed by his mus. ability, sent him in [sm1609[nm ~to study in Venice wi
th G. Gabrieli until [sm1612[nm. ~Court organist, Kassel, [sm1613[nm. Kapellmeis
ter, Dres~~den electoral court, [sm1617[nm. Spent [sm3[nm periods as court ~cond
. in Copenhagen [sm1633[nm=n[sm45[nm. In Dresden with ~court orc
h. from [sm1645[nm. Comp. first Ger. opera, ~[cf2]Dafne[cf1], [sm1627[nm (mus. d
estroyed by fire [sm1760[nm). ~Revisited It. [sm1628[nm=n[sm9[nm. His special im
portance lies ~in his grafting of It. choral and vocal style on to ~Ger. polypho
nic tradition. Wrote magnificent ~settings of Passions, Christmas oratorio, [cf2
][sm7[nm Words ~from Christ on the Cross[cf1], etc. Works pubd. in [sm16[nm ~vol
s. [sm1885[nm=n[sm94[nm, ed. [fy45,1]*[fy75,1]Spitta, with suppl. vol. [sm1927[n
m, ~contents as follows: [sm1[nm. [sm4[nm Passions, [cf2]Resurrection[cf1] ~orat
orios, and [cf2]Sieben Worte Jesu Christi am Kreuz[cf1]; ~[sm2[nm and [sm3[nm. P
salms and Motets, [sm1619[nm; [sm4[nm. [cf2]Cantiones ~sacrae[cf1], [sm4[nm vv.,
 [sm1625[nm; [sm5[nm. [cf2]Symphoniae sacrae[cf1], Pt. I, ~[sm1629[nm; [sm6[nm.
[cf2]Geistliche Concerte[cf1], [sm1[nm=n[sm5[nm vv., [sm1636[nm and ~[sm1639[nm;
 [sm7[nm. [cf2]Symphoniae sacrae[cf1], Pt. II, [sm1647[nm; [sm8[nm. ~[cf2]Musica
lia ad chorum sacrum[cf1], [sm1648[nm; [sm9[nm. It. madrigals, ~
Venice [sm1611[nm; [sm10[nm and [sm11[nm. [cf2]Symphoniae sacrae[cf1], Pt. III,
~[sm1630[nm; [sm12[nm=n[sm15[nm. Motets, concs., arias, psalms, etc; ~[sm16[nm.
Psalms for [sm4[nm vv. Suppl.: Christmas oratorio: ~[cf2]Die Historia von der fr
euden und gnadenreichen ~Geburt Gottes und Mariens Sohns[cf1] ([sm1664[nm, lost
until ~[sm1908[nm).[xm[cm~[j1]Schwanda the Bagpiper[fy75,1] ([cf2];AkSvanda Dud;
Aaak[cf1]). Opera ~in [sm2[nm acts by [fy45,1]*[fy75,1]Weinberger to lib. by Kar
e;Aks and ~Max Brod after folk-tale by Tyl. Prod. Prague ~[sm1927[nm, NY Met. [s
m1931[nm, CG [sm1934[nm.[cm~Schwanendreher, Der[fy75,1] (The Swan-turner). Conc.
 ~for va. and small orch. by Hindemith based on ~Ger. folk-songs, the soloist be
ing (in composer's ~words) one `who comes among merry company ~and performs the
music he has brought from ~afar: songs grave and gay and, to conclude, a ~dance'
. Movements are entitled: ([sm1[nm) [cf2]Zwischen Berg ~und tiefem Tal[cf1] (Bet
ween mountain and deep ~valley); ([sm2[nm) [cf2]Nun laube, Lindl
ein, laube[cf1] (Now shed ~your leaves, little linden); ([sm3[nm) [cf2]Seid ihr
nicht der ~Schwanendreher[cf1]? (Is it not the swan-turner?). F.p. ~Amsterdam [s
m1935[nm, Hindemith (soloist), Mengel~~berg (cond.).[cm~Schwanengesang[fy75,1] (
Swan Song). Coll. of [sm14[nm song-~settings by Schubert (D[sm957[nm) issued aft
er his death ~as a `cycle' by publisher Haslinger; comp. [sm1827[nm=n~[sm8[nm. T
he poets are Heine, Rellstab, and Seidl. The ~songs, in pubd. order, are: [cf2]L
iebesbotschaft[cf1] (Love-~message), [cf2]Kriegers Ahnung[cf1] (Warrior's presen
ti~~ment), [cf2]Fr;auuhlingssehnsucht[cf1] (Longing for Spring), ~[cf2]St;auandc
hen [cf1](Serenade), [cf2]Aufenthalt [cf1](Staging-post), [cf2]In ~der Ferne [cf
1](In the distance), [cf2]Abschied[cf1] (Farewell), [cf2]Der ~Atlas [cf1](Atlas)
, [cf2]Ihr Bild [cf1](Her Portrait), [cf2]Das Fischer~~m;auadchen [cf1](The Fish
er Girl), [cf2]Die Stadt[cf1] (The Town), ~[cf2]Am Meer[cf1] (By the Sea), [cf2]
Der Doppelg;auanger[cf1] (The ~ghostly double), [cf2]Die Taubenp
ost[cf1] (The Pigeon-post).[cm~Schwarz, Rudolf [fy75,1]([cf2]b[cf1] Vienna, [sm1
905[nm). Austrian-~born cond. (Brit. citizen from [sm1952[nm). Studied in ~Vienn
a. Violist in Vienna P.O. Ass. cond. D;auussel~~dorf Opera [sm1923[nm, later at
Karlsruhe [sm1927[nm=n[sm33[nm. ~Mus. dir. J;auudischer Kulturbund, Berlin, [sm1
936[nm. ~Spent some years in Belsen camp after [sm1940[nm. ~Released [sm1945[nm
and settled in Eng. Cond. Bourne~~mouth Municipal Orch. [sm1946[nm=n[sm51[nm, CB
SO [sm1951[nm=n~[sm57[nm. Chief cond. BBC S.O. [sm1957[nm=n[sm62[nm. Prin. cond.
 ~Northern Sinfonia Orch. [sm1964[nm=n[sm73[nm. C.B.E. [sm1973[nm.[cm~Schwarzend
orf.[fy75,1] See [cf2]Martini, G. P.[cf1][cm~Schwarzkopf, Elisabeth[fy75,1] ([cf
2]b[cf1] Jarocin, nr. Pozn;aaan, ~[sm1915[nm). Ger. sop. Studied Berlin Hochschu
le f;auur ~Musik and with Maria Ivog;auun. Opera d;aaebut [sm1938[nm, ~Berlin, a
s Flower Maiden in [cf2]Parsifal[cf1]. Vienna ~d;aaebut [sm1942[nm as Zerbinetta
 in Strauss's [cf2]Ariadne auf ~Naxos[cf1], remaining there in c
oloratura roles until ~[sm1948[nm. Salzburg d;aaebut [sm1947[nm as Susanna. CG d
;aaebut ~[sm1947[nm as Elvira in [cf2]Don Giovanni[cf1]. Settled in Eng. ~[sm194
8[nm, member of CG co. [sm1948[nm=n[sm51[nm. Milan d;aaebut ~[sm1948[nm, San Fra
ncisco from [sm1955[nm. NY Met. [sm1964[nm ~(Marschallin). Created role of Anne
Trulove in ~Stravinsky's [cf2]The Rake's Progress[cf1] [sm1951[nm. Walton ~wrote
 Cressida for her, but she never sang it on ~stage. Famous in Strauss roles such
 as Marschallin. ~One of greatest sops. of her generation, superb ~interpreter o
f Lieder, especially Wolf. Major asset ~was her intelligent and considered appro
ach to ~each song, sometimes resulting in lack of ~spontaneity, but this defect
many times out~~weighed by rare insight. Was wife of Walter ~[fy45,1]*[fy75,1]Le
gge, who produced many of her recordings.[cm~[PN647,0,0,R,I0]Schwebung[fy75,1] (
Ger.). Fluctuation. ([sm1[nm) The 'beats' ~between [sm2[nm notes nearly but not
quite in tune.[ep~^([sm2[nm, Org.) The [fy45,1]*[fy75,2]tremulan
t[cf1].[cm~Schweigen[fy75,1] (Ger.). Silence, or to be silent. [cf2]Schweigt, ~[
fy45,1]*[fy75,2]tacet[cf1]; [cf2]Schweigezeichen[cf1] (`silence-sign'), [fy45,1]
*[fy75,1]rest.[cm~Schweigsame Frau, Die[fy75,1] (The Silent Woman). ~Opera in [s
m3[nm acts by R. Strauss to lib. by Stefan ~Zweig after Ben Jonson's [cf2]Epicoe
ne[cf1] ([sm1609[nm). Comp. ~[sm1933[nm=n[sm4[nm. Prod. Dresden [sm1935[nm, NY [
sm1958[nm, CG [sm1961[nm, ~Glyndebourne [sm1977[nm.[cm~Schweitzer, Albert[fy75,1
] ([cf2]b[cf1] Kaysersberg, Alsace, [sm1875[nm; ~[cf2]d[cf1] Lambar;Aaen;Aae, Ga
bon, [sm1965[nm). Fr. (Alsatian) organist ~and Bach scholar (also theologian and
 medical ~missionary). Studied Strasbourg, Paris, and Berlin ~and with [fy45,1]*
[fy75,1]Widor. Organist, Strasbourg Bach ~concerts from [sm1896[nm and Paris Bac
h concerts from ~[sm1906[nm. Ed. Bach's org. works (first [sm5[nm vols. ([sm1912
[nm=n~[sm14[nm) with Widor, remainder ([sm1954[nm=n[sm67[nm) with Nies-~Berger).
 Biography of Bach (in Fr. [sm1905[nm, rewritten ~in Ger. [sm190
8[nm; Eng. trans. by E. Newman, [sm1911[nm). ~Wrote book on Fr. and Ger. orgs. [
sm1906[nm. Worked ~as medical missionary in Fr. Congo, returning ~[sm1922[nm to
give org. recitals to raise money for ~mission. Nobel Peace Prize [sm1952[nm. Ho
n. O.M. ~[sm1954[nm.[cm~Schweizerpfeife[fy75,1] (Ger.). Swiss pipe. Renaissance
~name for military fife or [cf2]Feldpfeife[cf1] (Field pipe).[cm~Schwellen[fy75,
1] (Ger.). To swell, i.e. to increase in vol. ~of tone ([fy45,1]*[fy75,2]crescen
do[cf1]). [cf2]Schweller[cf1], the [fy45,1]*[fy75,1]swell of an ~org., [cf2]Schw
ellwerk[cf1], Swell Org.; [cf2]Schwellkasten[cf1], Swell ~Box.[cm~Schwer[fy75,1]
 (Ger.). ([sm1[nm) Heavy (in style).[ep~^([sm2[nm) Difficult. [cf2]Schwerm;auuti
g, Schwermutsvoll. [cf1]Heavy-~hearted.[cm~Schwindend[fy75,1] (Ger.). Diminishin
g (in tone, i.e. ~[fy45,1]*[fy75,2]diminuendo[cf1]).[cm~Schwung[fy75,1] (Ger.).
Swing. Term beloved of critics ~when describing an idiomatic perf. of, for ~exam
ple, [cf2]Die Fledermaus[cf1]. Also [cf2]Schwungvoll[cf1], full
of ~go, vigorous.[cm~Scimone, Claudio [fy75,1]([cf2]b[cf1] Padua, [sm1934[nm). I
t. conductor. ~Studied with Mitropoulos and others. Founded ~chamber ens. I Soli
sti Veneti, [sm1959[nm, to specialize ~in [sm18[nmth cent. It. instr. mus. and c
ontemporary ~works by Bussotti, Donatoni, Malipiero, etc. ~Teacher at Venice Con
s. [sm1961[nm=n[sm7[nm, Verona [sm1967[nm=n~[sm74[nm, and dir., Padua Cons., fro
m [sm1974[nm.[cm~Sciolto, scioltamente[fy75,1] (It.). Untied. Loosely, i.e. ~in
a free and easy manner. The noun is [cf2]scioltezza[cf1].[cm~Sciutti, Graziella[
fy75,1] ([cf2]b[cf1] Turin, [sm1932[nm). It. sop. Studied ~Rome. Opera d;Aaebut
Aix-en-Provence [sm1951[nm as ~Lucy in Menotti's [cf2]The Telephone[cf1]. Glynde
bourne ~[sm1954[nm=n[sm9[nm, d;aaebut as Rosina, and [sm1977[nm when she ~produc
ed and sang Poulenc's [cf2]La voix humaine. [cf1]CG ~[sm1956[nm=n[sm62[nm. Scala
, Milan, since [sm1956[nm. Amer. d;aaebut ~S. Francisco [sm1961[nm (Susanna). Ou
tstanding in ~soubrette roles (Despina, Norina, etc.).[cm~Scivol
ando[fy75,1] (It.). Sliding, i.e. [fy45,1]*[fy75,2]glissando[cf1].[cm~Scontrino,
 Antonio[fy75,1] ([cf2]b[cf1] Trapani, Sicily, [sm1850[nm; [cf2]d[cf1] ~Florence
, [sm1922[nm). It. composer and db. player. ~Studied Palermo Cons. and in Munich
. Played in ~opera orch. in London [sm1874[nm=n[sm5[nm. Taught in Milan ~[sm1875
[nm=n[sm91[nm, Florence from [sm1892[nm. Wrote [sm5[nm operas, ~syms., [sm3[nm s
tr. qts., church and chamber mus., etc.[xm[cm~[j1]Scordatura[fy75,1] (It.). Mist
uning. Abnormal tuning of ~a str. instr. in order to obtain special chordal ~eff
ects and changes of tonal quality. Prevalent in ~vn. mus. (e.g. of Heinrich Bibe
r), of [sm17[nmth and ~[sm18[nmth cents., possibly originating with lute. ~Pagan
ini and B;Aaeriot in [sm19[nmth cent. tuned G string ~of vn. up a tone to increa
se vol. and to make ~certain passages easier. In [cf2]andante[cf1] movement of ~
Schumann's Pf. Qt., the C string of the vc. is ~tuned down to B;Yh to increase t
he compass. Mahler ~in the scherzo of his [sm4[nmth sym. has a s
olo vn. tuned ~up a tone to represent the `dance of death'. Other ~[sm20[nmth ce
nt. examples of [cf2]Scordatura[cf1] occur in ~Kod;aaaly's sonata for unacc. vc.
, Stravinsky's [cf2]Fire~~bird[cf1], and Bart;aaok's [cf2]Contrasts [cf1](finale
).[cm~Score.[fy75,1] A mus.-copy which shows in ordered form ~the parts allotted
 to the various performers, as ~distinct from `parts' which show only that of on
e ~performer. Thus to speak of [cf2]score and parts[cf1] means ~a comprehensive
copy, used by the cond., and ~separate copies for individual instrs. and singers
. ~A [cf2]full score[cf1] shows all the parts separately displayed. ~A [cf2]voca
l score[cf1] gives all the v. parts of a choral work ~or opera with the orch. pa
rts reduced to a pf. part. ~[cf2]Short score[cf1] is a stage in comp. where the
composer ~may write out his mus. giving indications (but ~not full details) of s
coring and harmonization. ~Mahler's [sm10[nmth Sym. was left mainly in short sco
re. ~[cf2]Piano score[cf1] is a reduction to a pf. part of [cf2]
all[cf1] the ~parts of a work. A [cf2]Miniature, study, [cf1]or [cf2]pocket scor
e[cf1] ~is a full score issued in a handy size for study or ~for following a wor
k at a concert. Conds. who ~know a work very well (and have good eyesight) ~some
times use a miniature score.[cm~Scoring.[fy75,1] ([sm1[nm) The art and process o
f orchestrating ~a comp.[ep~^([sm2[nm) Taking the separate parts of a work and ~
assembling them in a score, e.g. where only the ~parts have been preserved.[cm~S
correndo, scorrevole[fy75,1] (It.). Scouring. ([sm1[nm) Gliding ~from note to no
te, i.e. [fy45,1]*[fy75,2]glissando[cf1].[ep~^([sm2[nm) In a flowing style.[cm~S
cotch Snap (Catch).[fy75,1] A rhythmic figuration in ~which a dotted note is pre
ceded by a note of ~shorter value. It is a feature of the [fy45,1]*[fy75,1]Strat
hspey ~and is found in some Scottish songs. It seems to ~be not earlier than [sm
18[nmth-cent., and of unknown ~origin. Occurs in the mus. of composers, e.g. ~Ro
ssini, who have never been within hailing ~distance of Scotland.
[cm~Scotch Symphony.[fy75,1] Mendelssohn's Sym. No. [sm3[nm in ~A minor, Op. [sm
56[nm, begun [sm1830[nm and completed ~[PN648,0,0,L,I0][sm1842[nm. Inspired by v
isit to Holyrood, Edinburgh, ~and ded. to Queen Victoria. F.p. Leipzig, March ~[
sm1842[nm, f. Eng. p. London, June [sm1842[nm.[cm~Scott, Anthony [fy75,1](Leonar
d Winstone) ([cf2]b[cf1] Datchet, ~[sm1911[nm). Eng. composer, organist, and org
an-~restorer. Studied RCM (comp. with Howells, org. ~with Ley) and privately wit
h Finzi. Organist, ~Lambourn, Berks., [sm1953[nm=n[sm71[nm. Works incl. org. ~pi
eces, part-songs, vn. conc., pf. sinfonia, [sm2[nm [sm1[nm-act ~operas.[xm[cm~[j
1]Scott, Cyril [fy75,1](Meir) ([cf2]b[cf1] Oxton, [sm1879[nm; [cf2]d [cf1]Eastbo
urne, ~[sm1970[nm). Eng. composer, poet, and pianist. Studied ~in Frankfurt at a
ge of [sm12[nm and again at [sm16[nm under ~[fy45,1]*[fy75,1]Knorr. Settled in L
iverpool [sm1898[nm as pf. teacher. ~Composed [cf2]Heroic Suite[cf1], cond. Rich
ter in Liverpool ~and Manchester [sm1900[nm, and First Sym. perf
. in ~Darmstadt same year. Pf. quintet perf. London ~[sm1901[nm and [sm2[nmnd Sy
m. (later rev. as [cf2][sm3[nm Symphonic ~Dances[cf1]) cond. Wood [sm1903[nm. Th
rough terms of ~publisher's contract, wrote many short pf. pieces ~in impression
ist style which earned him title of ~`English Debussy' and reputation as miniatu
rist. ~Other works incl. vn. sonata ([sm1908[nm=n[sm10[nm), notable ~for constan
t changes of time-signature, [cf2]La Belle ~Dame sans merci[cf1] for ch. and orc
h. ([sm1915[nm=n[sm16[nm), opera ~[cf2]The Alchemist[cf1] (prod. Essen [sm1925[n
m), [sm2[nm other operas, ~sym. [cf2]The Muses[cf1], ([sm1939[nm), [sm2[nm pf. c
oncs. ([sm1913[nm=n[sm14[nm, ~[sm1958[nm), [sm3[nm vn. concs. ([sm1927[nm, [sm19
35[nm), [sm2[nm-vn. conc., vc. ~conc., [cf2]The Ballad of Fair Helen of Kirkconn
el[cf1], for ~bar. and orch., [sm4[nm str. qts., [sm3[nm pf. sonatas, and [sm2[n
m str. ~trios. Also wrote poetry and philosophical and ~medical books. Taught [f
y45,1]*[fy75,1]Rubbra comp.[cm~Scott, Marion [fy75,1](Margaret)
([cf2]b[cf1] London, [sm1877[nm; [cf2]d[cf1] ~London, [sm1953[nm). Eng. writer o
n mus. Studied ~RCM [sm1896[nm=n[sm1904[nm (vn., pf., comp., etc.). Formed ~str.
 qt. Founded Soc. of Women Musicians, [sm1911[nm. ~Wrote mus. criticism for [cf2
]Christian Science Monitor[cf1] ~[sm1919[nm=n[sm33[nm. Noted for research on Hay
dn, especially ~the str. qts. Wrote books on Beethoven and ~Mendelssohn.[cm~Scot
ti, Antonio[fy75,1] ([cf2]b[cf1] Naples, [sm1866[nm; [cf2]d[cf1] Naples, [sm1936
[nm). ~It. bar. Studied Naples. Opera d;aaebut Malta [sm1889[nm ~as Amonasro in
[cf2]Aida[cf1]. Sang for [sm9[nm seasons in It., Sp., ~Russia, and S. America. S
ang Sachs at Scala, Milan, ~[sm1898[nm. CG d;aaebut as Don Giovanni [sm1899[nm,
singing ~there regularly until [sm1910[nm. Amer. d;aaebut, Chicago ~[sm1899[nm.
NY Met. [sm1899[nm=n[sm1933[nm. First to sing Scarpia ~in London and NY. During
years at Met. was ~heard frequently as Scarpia, Sharpless, Falstaff, ~Iago, and
Rigoletto. Fine actor in addition to ~having v. of rare beauty b
ut not of unusual ~power. For [sm4[nm years, [sm1919[nm=n[sm23[nm, managed and ~
financed touring opera co.[cm~Scottish Chamber Orchestra. [fy75,1]Chamber orch.
~with headquarters in Queen's Hall, Edinburgh, ~and serving all Scotland. Founde
d [sm1974[nm with ~Roderick [fy45,1]*[fy75,1]Brydon as art. dir. R. [fy45,1]*[fy
75,1]Leppard prin. ~guest cond. from [sm1978[nm. Played for Scottish Opera, ~whe
n appropriate, up to [sm1979[nm. Has toured abroad, ~appearing at Aix-en-Provenc
e [sm1978[nm, [sm1980[nm, [sm1981[nm.[cm~Scottish Fantasy.[fy75,1] Fantasia on S
cottish Folk Tunes ~for vn. and orch. by Bruch, comp. [sm1879[nm=n[sm80[nm, f.p.
 ~Hamburg [sm1880[nm (Sarasate). In [sm4[nm movements, last ~being an [cf2]Alleg
ro guerriero[cf1] (warlike). Scottish tune ~featured in each movement: [cf2]Auld
 Rob Morris[cf1], [cf2]The ~Dusty Miller[cf1], [cf2]I'm a doun for lack of Johnn
ie[cf1], and [cf2]Scots ~wha hae wi'Wallace bled[cf1].[cm~Scottish National Orch
estra.[fy75,1] Prin. prof. sym. ~orch. of Scotland, based in Gla
sgow and giving ~regular series of concerts in Glasgow, Edinburgh, ~and other Sc
ottish towns. Formed [sm1891[nm as Scottish ~Orch., with George [fy45,1]*[fy75,1
]Henschel as cond. [sm1891[nm=n[sm95[nm. ~His successors were Willem [fy45,1]*[f
y75,1]Kes ([sm1895[nm=n[sm8[nm), Max ~[fy45,1]*[fy75,1]Bruch ([sm1898[nm=n[sm190
0[nm), Frederic [fy45,1]*[fy75,1]Cowen ([sm1900[nm=n~[sm10[nm), Emil [fy45,1]*[f
y75,1]Mlynarski ([sm1910[nm=n[sm16[nm), Landon [fy45,1]*[fy75,1]Ronald ~([sm1916
[nm=n[sm20[nm), Julius [fy45,1]*[fy75,1]Harrison ([sm1920[nm=n[sm3[nm). From [sm
1923[nm ~to [sm1933[nm there was no regular cond. except in [sm1926[nm ~when V;A
aaclav [fy45,1]*[fy75,1]Talich was in charge. [fy45,1]*[fy75,1]Barbirolli ~was c
ond. [sm1933[nm=n[sm6[nm, followed by [fy45,1]*[fy75,1]Szell [sm1936[nm=n[sm9[nm
, W. ~[fy45,1]*[fy75,1]Braithwaite [sm1940[nm=n[sm6[nm, and Walter [fy45,1]*[fy7
5,1]S;Auusskind ~[sm1946[nm=n[sm52[nm. Reorganized [sm1950[nm as Scottish Nat. ~
Orch., with players on annual contracts and much ~enlarged sched
ule. Karl [fy45,1]*[fy75,1]Rankl became cond. ~[sm1952[nm=n[sm7[nm, Hans [fy45,1
]*[fy75,1]Swarowsky [sm1957[nm=n[sm9[nm, Alexander ~[fy45,1]*[fy75,1]Gibson [sm1
959[nm=n[sm84[nm, and Neeme [fy45,1]*[fy75,1]J;auarvi from [sm1984[nm. ~During G
ibson's r;aaegime the orch. increased its ~repertory, gave many f.ps., toured ab
road, and ~played in the pit for [fy45,1]*[fy75,1]Scottish Opera. Stockhau~~sen'
s [fy45,1]*[fy75,2]Gruppen[cf1], and several works by Henze ~received first Brit
. perfs. from Gibson and SNO, ~and Scottish composers received particular en~~co
uragement. Schoenberg's vn. conc. had first ~Brit. public perf. in [sm1960[nm.[c
m~Scottish Opera.[fy75,1] Opera co. based in Glasgow but ~giving seasons in Edin
burgh, Aberdeen, and ~elsewhere in Scotland, also paying regular visits ~to Eng.
 provinces. Has played in London, at ~Edinburgh Fest., and made several tours ab
road. ~Founded [sm1962[nm by Alexander [fy45,1]*[fy75,1]Gibson, first season ~be
ing of [sm2[nm operas, [cf2]Madama Butterfly[cf1] and [cf2]Pell;
Aaeas et ~M;Aaelisande[cf1], in King's Th., Glasgow. With Peter ~Hemmings as adm
inistrator from [sm1963[nm, co. began ~to build a reputation for striking produc
tions, ~with excellent sets and lighting; singers were ~mainly Brit. but with se
veral int. artists who ~worked with the co. for long spells, e.g. Helga ~[fy45,1
]*[fy75,1]Dernesch. Contemporary works were perf., ~notably of Britten, and oper
as were commissioned ~from Scottish composers, e.g. Wilson's [cf2]Confessions ~o
f a Justified Sinner[cf1]. In [sm1969[nm, Berlioz's [cf2]Les Troyens[cf1] ~was p
erf., with Janet Baker as Dido, and in [sm1966[nm, ~with [cf2]Die Walk;Auure[cf1
], the co. began to build a [cf2]Ring[cf1] ~cycle, culminating in [sm1971[nm in
Glasgow with the ~first Brit. perf. of the [cf2]Ring[cf1] outside London for ~ab
out [sm40[nm years. In [sm1975[nm the co. moved into the ~re-equipped and re-fur
bished Th. Royal, Glasgow, ~as its permanent headquarters, setting the seal on ~
the finest and most important operatic develop~~ment in Britain
since the foundation of Glynde~~bourne. In [sm1976[nm Hemmings was appointed dir
. ~of Australian Opera and was succeeded by Peter ~Ebert, former chief prod. of
Scottish Opera. He ~[PN649,0,0,R,I0]resigned in [sm1980[nm. His successor was Jo
hn [fy45,1]*[fy75,1]Cox, ~appointed in [sm1982[nm. In addition to the SNO, orchs
. ~playing regularly for the co. were the BBC Scottish ~S.O., the Scottish Chamb
er Orch., and the Scottish ~Philharmonia, but in [sm1980[nm the company formed ~
its own orch. With Edinburgh Fest. and expanded ~life of SNO, Scottish Opera is
a remarkable ~example of the flowering of Scottish mus. life ~since [sm1945[nm,
especially under the aegis of Sir ~Alexander Gibson.[xm[cm~[j1]Scotto, Renata[fy
75,1] ([cf2]b[cf1] Savona, [sm1933[nm). It. sop. Studied ~Milan. Opera d;aaebut
Milan [sm1953[nm. Member of Scala ~Co. since [sm1953[nm. London d;aaebut (Stoll)
 [sm1957[nm. At ~Edinburgh Fest., [sm1957[nm, replaced Callas in [cf2]La ~Sonnam
bula[cf1] at very short notice. CG d;aaebut [sm1962[nm, ~NY Met.
 [sm1965[nm (as Butterfly on both occasions). ~Specially successful in Puccini a
nd Verdi.[cm~Scozzese[fy75,1] (It.). Scottish.[cm~Scriabin.[fy75,1] See [cf2]Skr
yabin, Alexander[cf1].[cm~Scribe, [fy75,1](Augustin)[fy65,3] Eug;Agene[fy75,1] (
[cf2]b[cf1] Paris, [sm1791[nm; [cf2]d[cf1] Paris, ~[sm1861[nm). Fr. dramatist an
d librettist. Most prolific ~librettist of his day, complete works comprising ~[
sm76[nm vols. Among composers for whom he wrote ~libretti were Adam, Auber ([sm3
8[nm), Bellini ([cf2]Sonnam~~bula[cf1]), Boieldieu ([cf2]La dame blanche[cf1]),
Cherubini, Cil;aaea ~([cf2]Adriana Lecouvreur[cf1]), Donizetti ([sm5[nm, incl. [
cf2]L'Elisir ~d'Amore [cf1]and[cf2] La Favorite[cf1]), Gounod, Hal;Aaevy ([sm6[n
m, incl. ~[cf2]La Juive[cf1]), H;aaerold, Macfarren, Meyerbeer ([sm5[nm, incl. ~
[cf2]L'Africaine[cf1], [cf2]Les Huguenots[cf1], and [cf2]Le Proph;agete[cf1]), O
ffen~~bach, Rossini ([sm2[nm, incl. [cf2]Le Comte Ory[cf1]), Supp;aae, Verdi ~([
cf2]V;afepres siciliennes[cf1] and [cf2]Un ballo in maschera[cf1
]), and ~Zandonai.[cm~Sculthorpe, Peter [fy75,1](Joshua)[cf1] ([cf2]b[cf1] Launc
eston, Tas~~mania, [sm1929[nm). Australian composer and pianist. ~First pf. less
on at age [sm8[nm. Studied at Melbourne ~Univ. Cons. of Mus. and later at Oxford
 with ~Wellesz and Rubbra, [sm1957[nm=n[sm60[nm. Teacher at Sydney ~Univ. from [
sm1963[nm. Composer-in-residence Yale ~Univ., [sm1966[nm; visiting prof., Sussex
 Univ., [sm1972[nm=n[sm3[nm. ~O.B.E. [sm1977[nm. Set out to be `Australian' comp
oser ~in sense that Copland expressed something ~peculiarly American and Bloch d
epicted biblical ~wilderness. Rejected atonality and serialism as ~inappropriate
 to his task, and concentrated on ~rhythmic procedures and orch. sonorities. Inf
lu~~enced also by Balinese melodies and rhythms. ~Prin. works:[xm[cm~[j2][smorch
[nm: [fy75,2]Irkanda IV[cf1], vn., str., perc. ([sm1961[nm); [cf2]The [sm5[nmth
~Continent[cf1], speaker and orch. ([sm1963[nm); [cf2]Sun Music[cf1] I ~([sm1965
[nm), III ([sm1967[nm), IV ([sm1967[nm), V ([cf2]Ketjak[cf1]) ([
sm1969[nm); ~[cf2]From Tabuh Tabuhan[cf1], str. and perc. ([sm1968[nm); [cf2]Lov
e ~[sm200[nm[cf1], rock band, [sm2[nm singers, orch. ([sm1970[nm); [cf2]Music ~f
or Japan[cf1] ([sm1970[nm); [cf2]Overture for a Happy Occasion[cf1] ~([sm1970[nm
); [cf2]Rain[cf1] ([sm1970[nm); [cf2]Love [sm200[nm[cf1], rock band and ~chamber
 orch. ([sm1970[nm); [cf2]Love [sm201[nm[cf1], rock band and ~chamber orch. ([sm
1971[nm); [cf2]Lament for Strings [cf1]([sm1976[nm); ~[cf2]Port Essington[cf1],
str. trio and str. orch. ([sm1977[nm).[ep~[smchamber music[nm: Solo vn. sonata (
[sm1954[nm); [cf2]The ~Loneliness of Bunjil[cf1], str. trio ([sm1954[nm); [cf2]I
rkanda I[cf1], solo ~vn. ([sm1955[nm), II, str. qt. ([sm1959[nm), III, pf. trio
([sm1961[nm); ~va. and perc. sonata ([sm1960[nm); [cf2]Red Landscape[cf1] ([sm7[
nmth ~str. qt.) ([sm1966[nm); [cf2]Tabuh Tabuhan[cf1], wind quintet and ~perc. (
[sm1968[nm); Str. Qt. Mus. ([sm8[nmth str. qt.) ([sm1969[nm); ~[cf2]Dream[cf1] (
[sm1970[nm); [cf2]How the Stars were made[cf1], perc. ~ens. ([sm
1971[nm); [sm9[nmth str. qt. ([sm1975[nm); [cf2]Alone[cf1], vn. ([sm1976[nm); ~[
cf2]Little Serenade[cf1], str. qt. ([sm1977[nm).[ep~[smpiano[nm: Sonatina ([sm19
54[nm); [cf2][sm3[nm Haiku[cf1] ([sm1966[nm); [cf2]Night ~Pieces [cf1]([sm1971[n
m); [cf2]Landscape[cf1], pf. with tape echo and ~pre-recorded tape ([sm1971[nm);
 [cf2]Koto Music I and II[cf1], ~amplified pf. and pre-recorded tape loop ([sm19
73[nm=n~[sm6[nm).[ep~[smvocal and choral[nm: [cf2]Sun Music II[cf1], vv. and per
c. ~([sm1966[nm); [cf2]Morning Song for the Christ Child[cf1], unacc. ~ch. ([sm1
966[nm); [cf2]Autumn Song[cf1], unacc. ch. ([sm1968[nm); ~[cf2]Ketjak[cf1], [sm6
[nm male vv. with tape echo ([sm1972[nm); [cf2]The ~Song of Tailitnama[cf1], v.,
 [sm6[nm vc., and perc. ([sm1974[nm); ~[cf2]Eliza Fraser Sings[cf1], sop., fl.,
pf. ([sm1978[nm).[ep~[smstage[nm: [cf2]Ulterior Motifs[cf1] ([sm1956[nm); [cf2]S
un Music[cf1], ballet ~([sm1968[nm); [cf2]Rites of Passage[cf1] ([sm1972[nm=n[sm
3[nm).[cm~[j1]Scythian Suite [fy75,1](Ala and Lolly). Work for o
rch. ~in [sm4[nm movts. by Prokofiev, his Op. [sm20[nm. Comp. ~[sm1914[nm=n[sm15
[nm. F.p. Petrograd [sm1916[nm cond. Prokofiev, ~f.Eng.p. London [sm1920[nm, con
d. Coates.[xm[cm~[ol0][ep~[xp[te~










[do35][j99]~~~~~~[sm153842[nm_SB[sm1[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmSB[sm1[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm13[nm-[sm10[nm.[sm
79[nm[cm[sm8[nm[cm[sm364[nm[cm~Collier[cm6[cm25.3.85[cm~3[cm~~~~[ap[j1]Sdrucciol
ando[fy75,1] (It.). Sliding, i.e. [fy45,1]*[fy75,2]glissando.[cm~Sea, The. [fy75
,1]Suite for orch. by Frank Bridge, comp. ~[sm1910[nm=n[sm11[nm and pubd. by Car
negie Trust.[cm~Sea Drift. [fy75,1]Setting by Delius for bar., ch., and ~orch. o
f extract from Whitman's [cf2]Out of the cradle ~endlessly rocking. [cf1]Comp. [
sm1903[nm=n[sm4[nm. F.p. Essen [sm1906[nm, ~Sheffield [sm1908[nm (cond. Wood), L
ondon [sm1909[nm (cond. ~Beecham).[cm~Sea Fever. [fy75,1]Setting for v. and pf.
by [fy45,1]*[fy75,1]Ireland, ~[sm1913[nm, of poem by John Masefield beginning `I
 ~must down to the seas again', but the song begins ~`I must go down|.|.|.'[cm~S
ea Interludes, Four. [fy75,1]Concert work Op. [sm33[nma by ~Britten of the descr
iptive mus. in his opera [fy45,1]*[fy75,2]Peter ~Grimes[cf1] ([s
m1945[nm). Comprises [cf2]Dawn[cf1] (Act I), [cf2]Sunday ~Morning[cf1] (Act II),
 [cf2]Moonlight[cf1] (Act III), and [cf2]Storm[cf1] ~(Act I); the [cf2]Passacagl
ia[cf1] (Act II) Op. [sm33[nmb is often ~added. F.p. Cheltenham, [sm1945[nm.[cm~
Seaman, Christopher[fy75,1] ([cf2]b[cf1] Canterbury, [sm1942[nm). Eng. ~cond. St
udied King's Coll., Cambridge and GSM ~(conducting). Timpanist, Nat. Youth Orch.
, LPO ~[sm1964[nm=n[sm7[nm. Ass. cond. BBC Scottish S.O. [sm1968[nm=n[sm70[nm, ~
prin. cond. [sm1971[nm=n[sm7[nm. Prin. cond. Northern Sinfonia ~[sm1973[nm=n[sm9
[nm. Chief guest cond., Utrecht S.O. Cond., ~Gelders Orch., Arnhem, from [sm1980
[nm. Chief cond., ~Robert Mayer children's concerts.[cm~Sea Pictures. [fy75,1]So
ng-cycle, Op. [sm37[nm, for cont. or ~mez. and orch. (or pf.) by Elgar to [sm5[n
m poems by ~Noel, C.|A.|Elgar, E. B. Browning, Garnett, and ~Lindsay Gordon. F.p
. Norwich [sm1899[nm (with Clara ~Butt); [sm4[nm of the songs were sung in Londo
n [sm2[nm days ~later by Butt with Elgar playing pf. acc.[cm~Sea
rle, Humphrey [fy75,1]([cf2]b[cf1] Oxford, [sm1915[nm; [cf2]d[cf1] London, ~[sm1
982[nm). Eng. composer and writer on mus. Studied ~Oxford Univ. and RCM (comp. w
ith R. O. Morris ~[PN650,0,0,L,I0]and Ireland), and in Vienna with Webern, [sm19
37[nm=n~[sm8[nm. Worked for BBC mus. dept. [sm1938[nm=n[sm40[nm and ~[sm1946[nm=
n[sm8[nm. Prof. of comp. RCM from [sm1965[nm. C.B.E. ~[sm1968[nm. Expert on mus.
 of Liszt, about which he ~wrote book ([sm1954[nm, rev. [sm1967[nm). In own work
s used ~version of [sm12[nm-note technique and showed predi~~lection for unusual
 forms. Several settings of ~poems by Edith Sitwell. Works incl.:[xm[cm~[j2][smo
peras[nm: [fy75,2]Diary of a Madman[cf1] ([sm1958[nm); [cf2]Photo of the ~Colone
l[cf1] ([sm1963[nm=n[sm4[nm); [fy45,1]*[fy75,2]Hamlet[cf1] ([sm1964[nm=n[sm8[nm)
.[ep~[smballets[nm: [cf2]Noctambules[cf1] ([sm1956[nm); [cf2]The Great Peacock[c
f1] ~([sm1957[nm=n[sm8[nm); [cf2]Dualities[cf1] ([sm1963[nm).[ep~[smorch[nm: Sym
phonies: No. [sm1[nm ([sm1953[nm), No. [sm2[nm ([sm1956[nm=n[sm8
[nm), ~No. [sm3[nm ([sm1958[nm=n[sm60[nm), No. [sm4[nm ([sm1961[nm=n[sm2[nm), No
. [sm5[nm ([sm1964[nm); ~Piano Concertos: No. [sm1[nm ([sm1944[nm), No. [sm2[nm
([sm1955[nm); ~Suites No. [sm1[nm for str. ([sm1942[nm), No. [sm2[nm ([sm1943[nm
); [cf2]Night ~Music[cf1] ([sm1943[nm); [cf2]Poem[cf1] for [sm22[nm str. ([sm195
0[nm); concer~~tante, pf., str., perc. ([sm1954[nm); [cf2]Hamlet Suite[cf1] ([sm
1968[nm); ~Sinfonietta ([sm1968[nm=n[sm9[nm); [cf2]Zodiac Variations[cf1] ([sm19
70[nm); ~[cf2]Labyrinth[cf1] ([sm1971[nm).[ep~[smchorus and orch[nm: [fy45,1]*[f
y75,2]Gold Coast Customs[cf1] ([sm1947[nm=n[sm9[nm); ~[cf2]The River-run[cf1] (J
oyce), speaker and orch. ([sm1951[nm); ~[cf2]The Shadow of Cain[cf1], speakers,
male ch., and orch. ~([sm1952[nm); [cf2]Jerusalem[cf1], speakers, ten., ch., orc
h. ~([sm1970[nm); [cf2]Dr Faustus[cf1], solo vv., ch., orch. ([sm1977[nm).[ep~[s
mvoice and orch[nm: [cf2][sm3[nm Songs of Jocelyn Brooke[cf1], high v. ~and ens.
 ([sm1954[nm); [cf2]Oxus[cf1], ten. and orch. ([sm1967[nm); ~[cf
2]Contemplations[cf1], mez. and orch. ([sm1975[nm); [cf2]Kubla ~Khan[cf1], ten.,
 orch. ([sm1973[nm).[ep~[smunacc. chorus[nm: [cf2]The Canticle of the Rose[cf1]
(Sitwell) ~([sm1965[nm).[ep~[smchamber music[nm: Bn. quintet ([sm1945[nm); [cf2]
Intermezzo[cf1] for ~[sm11[nm instr. ([sm1946[nm); qt. for cl., bn., vn., va. ([
sm1948[nm); ~[cf2]The [fy45,1]*[fy75,2]Owl and the Pussy-Cat[cf1], speaker, fl.,
 vc., ~guitar ([sm1951[nm); vc. fantasia ([sm1972[nm); [cf2]Five, [cf1]guitar ~(
[sm1974[nm); [cf2]Il Penseroso e L'Allegro[cf1], vc., pf. ([sm1975[nm).[ep~[smso
ng-cycle[nm: [cf2]Les fleurs du mal[cf1], ten., hn., pf. ([sm1972[nm).[ep~[smson
g[nm: [cf2]Counting the Beats[cf1], high v. and pf. ([sm1963[nm).[ep~[smpiano[nm
: Sonata ([sm1951[nm); [cf2]Suite[cf1] ([sm1955[nm); [cf2]Prelude on ~Theme by R
awsthorne[cf1] ([sm1965[nm).[cm~[j1]Seasons, The [fy75,1]([cf2]Die Jahreszeiten[
cf1]). ([sm1[nm) Secular oratorio ~by Joseph Haydn (Hob. XXI:[sm3[nm) to Ger. te
xt by G. ~van Swieten based on Eng. poem ([sm1726[nm=n[sm30[nm)
by ~James Thomson ([sm1700[nm=n[sm48[nm). F.p. Vienna [sm1801[nm.[ep~^([sm2[nm)
[sm1[nm-act ballet by Glazunov, Op. [sm67[nm ([sm1899[nm).[cm~Sea Symphony, A. [
fy75,1]Sym. (his first) by Vaughan ~Williams for sop., bar., ch., and orch., to
text ~taken from poems by Whitman. Comp. [sm1903[nm=n[sm9[nm. ~F.p. Leeds Fest.
[sm1910[nm, cond. composer.[cm~Sebastiani, Johann [fy75,1]([cf2]b [cf1]nr. Weima
r, [sm1622[nm; [cf2]d ~[cf1]K;auonigsberg, [sm1683[nm). Ger. composer. Settled i
n ~K;auonigsberg [sm1650[nm, becoming cantor of cath. [sm1661[nm. ~Court Kapellm
eister of Brandenburg [sm1663=n79[nm. ~His major work was a [cf2]St Matthew Pass
ion[cf1], comp. ~[cf2]c.[cf1][sm1663[nm, scored for soloists, [sm5[nm-part ch.,
and [sm2[nm vns., ~[sm4[nm viols, and continuo, and the earliest setting ~known
to incl. chorales. Also comp. [cf2]Funeral Songs ~[cf1]for [sm5[nm vv. and conti
nuo ([sm1663=n80[nm), and many ~occasional pieces.[cm~Sec [fy75,1](Fr.). Dry. Di
rection for note to be played and ~released sharply; in perc. pl
aying, indication that ~the note should be damped, i.e. not allowed to ~ring on.
[cm~Secco [fy75,1](It.). Dry. See [cf2]Recitative.[cm~Sechter, Simon[fy75,1] ([c
f2]b[cf1] Friedberg, [sm1788[nm; [cf2]d[cf1] Vienna, ~[sm1867[nm). Ger.-Bohem. c
omposer, organist, and ~teacher of theory. Studied Vienna with Ko;akzeluh. ~Cour
t organist, Vienna [sm1824[nm; prof., Vienna Cons. ~[sm1851[nm=n[sm63[nm. Taught
 Bruckner. Wrote comic opera, ~str. qts., org. pieces, etc. Schubert, just befor
e his ~death, had one lesson from him.[cm~Sechzehntel[fy75,1] or Sechzehntelnote
 (Ger.). Sixteenth ~or sixteenth-note (semiquaver).[cm~Second. [fy75,1]([sm1[nm)
 As noun: interval in melody or ~harmony, being [sm2[nm steps in major or minor
scale. ~[cf2]Minor second[cf1] is a semitone, e.g. C up to D;Yh; [cf2]major ~sec
ond[cf1] is [sm2[nm semitones, e.g. C up to D; [cf2]augmented ~second[cf1] is [s
m3[nm semitones, e.g. C up to D;Yi.[ep~([sm2[nm) As adjective: term denoting per
f. of lower-~pitched part, such as [sm2[nmnd vn., [sm2[nmnd tb.[
cm~Second Inversion. [fy75,1]In lay-out of a chord, that in ~which the [sm5[nmth
 becomes the bass.[cm~Secondo [fy75,1](It.). Second. Lower of the [sm2[nm parts
in pf. ~duet, higher being [fy45,1]*[fy75,2]primo.[cm~Second Viennese School. [f
y75,1]Somewhat imprecise ~generalization, usually understood to mean the ~group
of composers who worked in Vienna ~between [sm1910[nm and [sm1930[nm under the m
oral leader~~ship of Schoenberg (e.g. Berg, Webern, Skalkot~~tas); their common
ground being adoption of the ~[sm12[nm-note method of comp.[cm~Secret Marriage,
The [fy75,1](Cimarosa). See [cf2]Matrimonio ~segreto, Il.[cm~Secret of Susanna,
The [fy75,1](Wolf-Ferrari). See [cf2]Segreto ~di Susanna, Il.[cm~Secret, The[fy7
5,1] ([cf2]Tajemstv;aai[cf1]=+=+=+). Opera in [sm3[nm acts by ~[fy45,1]*[fy75,1]
Smetana to lib. by E. Kr;aaasnohorsk;aaa. Prod. Prague ~[sm1878[nm, Oxford [sm19
56[nm.[cm~Sedl;aaak. [fy75,1]Same as [fy45,1]*[fy75,2]Furiant.[cm~Seefried, Irmg
ard[fy75,1] ([cf2]b[cf1] K;auongetried, Bavaria, [sm1919[nm). ~G
er. sop. of Austrian parentage. Studied Augsburg ~and Munich. D;aaebut Aachen [s
m1939[nm where she ~remained until [sm1943[nm. Vienna Opera from [sm1943[nm. ~Sa
ng Composer in [cf2]Ariadne auf Naxos [cf1]in Vienna ~[sm1944[nm in honour of St
rauss's [sm80[nmth birthday. D;aaebut ~CG [sm1947[nm, NY Met. [sm1953[nm. Outsta
nding in Strauss ~and Mozart, one of most appealing artists of her ~time. Wife o
f violinist Wolfgang [fy45,1]*[fy75,1]Schneiderhan, ~Henze's [cf2]Ariosi[cf1] fo
r sop., vn., and orch. ([sm1963[nm) being ~comp. for them. Last stage appearance
, as K;aaa;akta ~Kabanov;aaa, Vienna [sm1976[nm. Also noted for singing ~of Lied
er, etc.[cm~Seele[fy75,1] (Ger.). Soul. ([sm1[nm) Feeling. [cf2]Seelenvoll[cf1],
 soulful.[ep~^([sm2[nm) The soundpost of a bowed instr.[cm~Segal, Uri[fy75,1] ([
cf2]b[cf1] Jerusalem, [sm1944[nm). Israeli conductor. ~ Studied vn. and cond. Ru
bin Cons., Jerusalem, ~cond. at GSM [sm1966[nm=n[sm9[nm. Won [sm1969[nm Mitropou
los ~[PN651,0,0,R,I0]Comp., NY. Cond. d;aaebut Copenhagen [sm196
9[nm. Brit. ~d;aaebut [sm1970[nm (BBC Welsh S.O.). Amer. d;aaebut with ~Chicago
S.O. at Ravinia Park Fest. [sm1972[nm. Opera ~d;aaebut Santa Fe [sm1973[nm ([cf2
]Der fliegende Holl;auander[cf1]). ~Prin. cond. Bournemouth S.O. [sm1980[nm=n[sm
2[nm.[cm~Segerstam, Leif[fy75,1] ([cf2]b[cf1] Vasa, Finland, [sm1944[nm). Finn.
~cond. and composer. Studied Sibelius Acad. [sm1952[nm=n~[sm63[nm (comp. with En
glund and Kokkonen) and ~Juilliard Sch. [sm1963[nm=n[sm5[nm, (comp. with Overton
 and ~Persichetti). Cond. Finnish Nat. Opera [sm1965[nm=n[sm8[nm ~(dir. [sm1973[
nm=n[sm4[nm), Stockholm Royal Opera [sm1968[nm=n[sm72[nm, ~Deutsche Oper, Berlin
, [sm1971[nm=n[sm3[nm, and guest cond. ~of many Amer. and European orchs. Works
incl. ~vn. conc., [sm12[nm str. qts., [cf2]Pandora[cf1] (essay for orch. and ~[s
m9[nm dancers), songs, etc.[cm~Segno[fy75,1] (It.). The `sign' (see [cf2]Dal seg
no, Al segno[cf1]).[cm~Segovia, Andr;Aaes[fy75,1] ([cf2]b[cf1] Linares, [sm1893[
nm). Sp. guitarist ~and composer. Studied Granada Mus. Institute
, ~specializing in guitar. D;Aaebut in Granada [sm1908[nm. ~More than any other
man responsible for revival ~of interest in guitar as `classical' instr. Works ~
specially comp. for him by Castelnuovo-Tedesco, ~Falla, Ponce, etc. Transcr. wor
ks by Bach and ~others for guitar. Continued world tours well ~into his [sm80[nm
s. Wrote pieces for guitar.[cm~Segreto di Susanna, Il [fy75,1](Susanna's Secret)
. Opera ~in [sm1[nm act by [fy45,1]*[fy75,1]Wolf-Ferrari to lib. by Golisciani.
~Prod. (as [cf2]Susannas Geheimnis[cf1]) Munich [sm1909[nm, NY ~and CG [sm1911[n
m. The secret is that Susanna smokes: ~what her jealous husband smells is not a
lover's ~cigarette smoke.[cm~Segue[fy75,1] (It.). Follows. Direction that next s
ection is ~to follow without a break.[cm~Seguidilla. [fy75,1]Andalusian dance, f
ound as early as ~[sm16[nmth cent., in simple triple time, similar to the ~boler
o but quicker. The participants interpolate ~vocal passages called [cf2]coplas[c
f1], which are in short ~lines of alternately [sm5[nm and [sm7[n
m syllables, with ~assonance (agreement of vowels) rather than ~rhyme. Castanets
, and usually guitar, are used for ~acc. Many regional variants.[cm~Seguidillas
Gitanas. [fy75,1]See [cf2]Playera.[cm~Sehnsucht[fy75,1] (Ger.). Longing, yearnin
g (noun). ~Adjectives are [cf2]sehnsuchtsvoll, sehns;Auuchtig. [cf1]Several ~Lie
der, e.g. by Schubert and Strauss, bear the title ~[cf2]Sehnsucht.[cm~Seiber, M;
aaaty;aaas [fy75,1](Gy;auorgy) ([cf2]b[cf1] Budapest, [sm1905[nm; [cf2]d[cf1] ~K
ruger Nat. Park, S. Africa, in car crash, [sm1960[nm). ~Hung.-born composer and
cellist. Studied Buda~~pest Acad. [sm1919[nm=n[sm24[nm (vc. with Shiffer, comp.
with ~Kod;aaaly). Settled in Ger. where he played in th. ~orchs. and taught jazz
 at Frankfurt. Went to Eng. ~[sm1935[nm, working for publisher. Taught at Morley
 ~Coll. from [sm1942[nm. Co-founder of Committee (now ~Soc.) for Promotion of Ne
w Mus., [sm1942[nm. Founder ~and cond., Dorian Singers, [sm1945[nm. Great influe
nce ~as teacher. Eclectic in style, his mus. is distin~~guished
by fastidious craftsmanship and imagi~~nation. Works incl. cantata [cf2]Ulysses[
cf1] ([sm1946[nm=n[sm7[nm), [cf2][sm3[nm ~Fragments from Joyce's Portrait of the
 Artist as a ~Young Man[cf1] for ch. ([sm1956[nm=n[sm7[nm), [cf2]Missa brevis[cf
1] ([sm1924[nm), ~[cf2]Fantasia Concertante, [cf1]vn. and str. ([sm1943[nm=n[sm4
[nm), cl. ~concertino ([sm1954[nm), [cf2]Elegy, [cf1]va. and str. ([sm1953[nm),
[cf2]Tre ~Pezzi, [cf1]vc. and orch. ([sm1956[nm), [cf2][sm4[nm Greek Folk-Songs,
 [cf1]sop. ~and str. ([sm1942[nm), [sm3[nm str. qts. ([sm1924[nm, [sm1934[nm=n[s
m5[nm, [sm1948[nm=n~[sm51[nm), [cf2]Permutazione a cinque[cf1], wind quintet ([s
m1958[nm), ~vn. sonata ([sm1960[nm), pf. pieces, and film mus. ~(notably for Orw
ell's [cf2]Animal Farm[cf1]).[cm~Seidl, Anton[fy75,1] ([cf2]b[cf1] Budapest, [sm
1850[nm; [cf2]d[cf1] NY, [sm1898[nm). ~Hung. cond. Studied Leipzig Cons. In [sm1
872[nm went ~to Bayreuth where he made first copy of score of ~[cf2]Der Ring des
 Nibelungen[cf1] for Wagner and, in [sm1876[nm, ~assisted at fir
st fest. Cond., Leipzig Opera [sm1879[nm=n~[sm82[nm. Toured Ger., Holland, Eng.,
 and It. [sm1882[nm as ~cond. of Neumann's Wagner co. Cond. first [cf2]Ring[cf1]
 ~cycle in London, [sm1882[nm (Her Majesty's Th.). Cond. ~Bremen Opera [sm1883[n
m=n[sm5[nm. Cond. of Ger. opera at ~NY Met. from [sm1885[nm, cond. f. Amer. ps.
of ~[cf2]Meistersinger[cf1] ([sm1886[nm), [cf2]Tristan[cf1] ([sm1886[nm), and co
mplete ~[cf2]Ring[cf1] ([sm1889[nm). Cond. NY P.O. [sm1891[nm=n[sm8[nm. Cond. f.
p. of ~Dvo;Akr;Aaak's [cf2]New World[cf1] Sym., [sm1893[nm. CG d;Aaebut [sm1897[
nm.[cm~Seinemeyer, Meta[fy75,1] ([cf2]b[cf1] Berlin, [sm1895[nm; [cf2]d[cf1] Dre
sden, ~[sm1929[nm). Ger. sop. whose early death was tragic loss. ~Studied Berlin
. Opera d;Aaebut Berlin [sm1918[nm. Sang at ~Berlin Opera [sm1918[nm=n[sm25[nm.
NY d;Aaebut [sm1923[nm. Dresden ~[sm1925[nm=n[sm9[nm. CG d;Aaebut [sm1929[nm (as
 Sieglinde, Elsa, and ~Eva). Notable Verdi singer.[cm~Seite[fy75,1] (Ger.). Side
, e.g. page of book, end of drum, ~and side of gramophone record
.[cm~Seixas, [fy75,1](=+=+Jos;aae) [fy65,3]Carlos de[fy75,1] ([cf2]b[cf1] Coimbr
a, [sm1704[nm; [cf2]d[cf1] ~Lisbon, [sm1742[nm). Portuguese composer, organist,
~and harpsichordist. Organist at Coimbra and, ~after [sm1720[nm, at Royal Chapel
, Lisbon. Wrote hpd. ~sonatas and conc., org. pieces, orch. works, and ~church m
us.[cm~Sekles, Bernhard[fy75,1] ([cf2]b[cf1] Frankfurt, [sm1872[nm; [cf2]d[cf1]
Frankfurt, ~[sm1934[nm). Ger. composer, cond., and teacher. Studied ~Hoch Cons.,
 Frankfurt. Cond. at Heidelberg ~[sm1893[nm=n[sm4[nm and Mainz [sm1894[nm=n[sm5[
nm. Taught at Hoch ~Cons., Frankfurt, from [sm1896[nm (co-dir. from [sm1916[nm,
~dir. [sm1923[nm=n[sm33[nm). Works incl. operas, sym., sym~~phonic poem, chamber
 mus., songs, etc.[cm~Selle, Thomas [fy75,1]([cf2]b[cf1] Z;auorbig, nr. Bitterfe
ld, [sm1599[nm; [cf2]d[cf1] ~Hamburg, [sm1663[nm). Ger. composer. Studied at ~Le
ipzig Univ. Kantor in various NW Ger. towns ~from [sm1624[nm to [sm1641[nm when
he became civic dir. of ~church mus. in Hamburg. Wrote much voca
l ~mus., incl. [cf2]St John Passion[cf1] ([sm1641[nm, enlarged [sm1643[nm), ~the
 first Passion to incl. instr. interludes, and [cf2]St ~Matthew Passion [cf1]([s
m1636[nm). His own catalogue of his ~works listed [sm282[nm comps.[cm~Sellick, P
hyllis [fy75,1](Doreen) [cf1]([cf2]b[cf1] Newbury Park, ~Essex, [sm1911[nm). Eng
. pianist. Studied RAM [sm1925[nm=n[sm7[nm. ~D;aaebut Harrogate [sm1933[nm (Grie
g conc.). Duettist ~with husband, Cyril [fy45,1]*[fy75,1]Smith. O.B.E. [sm1971[n
m.[cm~Sellinger's Round, Variations on an Elizabe~~than Theme. [fy75,1]Composite
 work for str. orch. ~[PN652,0,0,L,I0]comprising [sm6[nm variations on Elizabeth
an tune ~`Sellinger's Round' comp. to celebrate Coronation ~of Elizabeth II [sm1
953[nm and f.p. at Aldeburgh Fest. ~that year, cond. Britten. Composers were Old
ham, ~Tippett, L. Berkeley, Britten, Searle, and Walton. ~Tippett expanded his c
ontribution into his ~[cf2]Divertimento[cf1] ([sm1953[nm=n[sm4[nm), the tune app
earing in all [sm5[nm ~movements.[cm~Sembrich, Marcella[fy75,1]
(orig. Prakseda Marcelina ~Koch;aaansk;aaa) ([cf2]b[cf1] Wi;aasniewczyk, [sm1858
[nm; [cf2]d[cf1] NY, [sm1935[nm). ~Polish sop. Child pianist and violinist. Lisz
t urged ~her to study singing. Studied Vienna [sm1875[nm=n[sm6[nm and ~Milan (wi
th Lamperti). D;aaebut Athens [sm1877[nm in [cf2]I ~Puritani. [cf1]Dresden Opera
 [sm1878[nm=n[sm80[nm. London d;aaebut ~(CG) [sm1880[nm as Lucia di Lammermoor,
returning ~each season to [sm1884[nm and in [sm1895[nm. NY Met. d;aaebut ~[sm188
3[nm. Member of Met. co. [sm1898[nm=n[sm1909[nm. Sang in ~concerts to [sm1917[nm
. V. of beauty and brilliance, ~controlled by superb technique. Taught at Curtis
 ~Institute and Juilliard Sch. from [sm1924[nm. Became ~Amer. cit.[cm~Semele. [f
y75,1]Secular oratorio by Handel to text ~adapted from Congreve's lib. for Eccle
s's opera ~[cf2]Semele[cf1] about Semele's love for Jupiter. F.p. London ~[sm174
4[nm. Contains arias [cf2]Sleep, why dost thou leave me?[cf1] ~and [cf2]Where'er
 you walk. [cf1]Revived CG [sm1982[nm.[cm~Semibiscroma[fy75,1] (
It.). [sm64[nmth note or hemidemi~~[chsemiquaver.[cm~Semibreve ([xf;Yf[rf). [fy7
5,1]The Whole-Note, half the time-~value of the [fy45,1]*[fy75,1]breve and doubl
e the value of the ~half-note or minim.[cm~Semichorus. [fy75,1]Half-chorus. In s
ome choral works, ~e.g. Elgar's [cf2]Dream of Gerontius[cf1] and Vaughan ~Willia
ms's [cf2]Sea Symphony[cf1], special antiphonal effect ~is created by contrastin
g small group of singers ~(semich.) with full body, or the semich. alone is ~use
d for certain passages.[cm~Semicroma [fy75,1](It.). [sm16[nmth note or semiquave
r.[cm~Semidemisemiquaver ([xf=+;ye=+[rf)[fy75,1] or [fy65][cf3]Hemidemisemi-[fj~
[ol10]quaver. [fy75,1]The [sm64[nmth note, i.e. ;F1;E6;E4 the time-value of ~the
 whole-note or semibreve.[cm~Semiminima[fy75,1] (It.). The quarter-note or crotc
het.[cm~Semi-opera. [fy75,1]Term denoting type of Eng. Resto~~ration drama in wh
ich there were extensive mus. ~episodes, similar to [fy45,1]*[fy75,1]masques, pe
rf. only by ~subsidiary characters. Form was developed by ~Bette
rton with [cf2]The Tempest[cf1], [sm1674[nm, an adaptation ~of Shakespeare's pla
y with mus. by Humfrey, ~Locke, and others. Another example was [cf2]King ~Arthu
r[cf1], text by Dryden ([sm1684[nm) and mus. by ~Purcell ([sm1691[nm). Purcell w
as also involved in ~[cf2]Dioclesian [cf1]([sm1690[nm), [cf2]The Fairy Queen [cf
1]([sm1692[nm, rev. ~[sm1693[nm), and [cf2]The Indian Queen [cf1]([sm1695[nm). O
nly [cf2]King ~Arthur[cf1] was specifically devised as a semi-opera, ~the others
 being Betterton versions of earlier ~plays. Daniel Purcell, John Eccles, and D'
Urfey ~also wrote semi-operas, but early in the [sm18[nmth cent. ~the form was s
uperseded by It. opera.[cm~Semi-Perfect Cadence. [fy75,1]Perfect cadence with [s
m3[nmrd ~or [sm5[nmth of tonic in highest part.[cm~Semiquaver ([xf=+;yc=+[rf). [
fy75,1]The [sm16[nmth-note, i.e. ;F1;E1;E6 the time-~value of the whole-note or
semibreve.[xm[cm~[ol0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_SB[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmSB[sm02[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm15[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm415[nm[cm~Tuf[cm6[cm13/10/84[cmU5[cm~~~[ap[j1]Semiramide. [fy75
,1]Opera in [sm2[nm acts by Rossini to lib. by ~Rossi after Voltaire's [cf2]S;aa
emiramis [cf1]([sm1748[nm). Prod. ~Venice [sm1823[nm, London [sm1824[nm, New Orl
eans [sm1837[nm. ~Also subject of about [sm40[nm other operas, incl. those ~by P
orpora, Vivaldi, Hasse, Gluck, Galuppi, ~Paisiello, Salieri, Meyerbeer, and Resp
ighi. With ~exception of Respighi's, all were settings of text ~by [fy45,1]*[fy7
5,1]Metastasio.[cm~Semitone. [fy75,1]Half a tone. Smallest interval in ~European
 mus. On pf., interval between any note ~and the next, up or down. There are thr
ee types ~of semitone: [cf2]diatonic [cf1](same as a minor [sm2[nmnd); ~[cf2]chr
omatic [cf1](difference between major [sm2[nmnd and ~minor [sm2[nmnd); and [cf2]
enharmonic [cf1](doubly diminished ~[sm3[nmrd). Diatonic semiton
e has ratio of [sm16[nm/[sm15[nm, and ~two chromatic semitone intervals are reco
gnized ~(`lesser semitone' of [sm25[nm/[sm24[nm and `greater semitone' ~of [sm13
5[nm/[sm128[nm). These intervals occur between values ~of chromatic-scale notes
conventionally accepted ~as `just' or `perfect'.[cm~Semkow, Jerzy [fy75,1]([cf2]
b[cf1] Radomsko, Poland, [sm1928[nm). ~Polish cond. Studied Krak;Aaow and Lening
rad ~Cons. ([sm1951[nm=n[sm3[nm). Ass. cond. Leningrad P.O. [sm1954[nm=n~[sm6[nm
; cond. Bolshoy Opera and Ballet, [sm1956[nm=n[sm8[nm; prin. ~cond. Warsaw Opera
 [sm1959[nm=n[sm62[nm; cond. Royal ~Opera, Copenhagen, [sm1966[nm=n[sm76[nm. Lon
don d;aaebut ~[sm1968[nm (LPO), CG [sm1970[nm ([cf2]Don Giovanni[cf1]). Amer. d;
aaebut ~Cleveland [sm1970[nm=n[sm1[nm. Mus. dir. St. Louis S.O. [sm1976[nm=n~[sm
9[nm. Art. dir. RAI Rome from [sm1979[nm.[cm~Semplice; semplicit;Aga [fy75,1](It
.). Simple, simplicity. ~[cf2]semplicemente[cf1], simply; [cf2]semplicissimo[cf1
], extremely ~simple.[cm~Sempre [fy75,1](It.). Always; e.g. [cf2
]sempre legato[cf1], the whole ~passage or comp. to be played smoothly.[cm~Senai
ll;Aae, Jean-Baptiste [fy75,1]([cf2]b[cf1] Paris, [cf2]c[cf1].[sm1688[nm; [cf2]d
 [cf1]Paris, ~[sm1730[nm). Fr. violinist and composer. Pupil in It. of ~T. A. [f
y45,1]*[fy75,1]Vitali. From [sm1720[nm member of Louis XV's ~court orch. Introdu
ced It. methods to Fr. sch. of ~vn.-playing. Comp. numerous vn. sonatas, incl. ~
[sm50[nm for solo vn.[cm~Senesino [fy75,1](orig. Francesco Bernardi) ([cf2]b [cf
1]Siena, ~[cf2]c[cf1].[sm1680[nm; [cf2]d[cf1] Siena, by [sm1759[nm). It. male me
z. Pupil of ~Bernacchi in Bologna. Sang in Dresden, [sm1717[nm=n[sm20[nm. ~Hande
l heard him and engaged him for London, ~where he sang with Handel's co. [sm1720
[nm=n[sm8[nm (singing ~in [sm32[nm operas, [sm13[nm by Handel) and [sm1730[nm=n[
sm3[nm when he ~joined Porpora's rival co. until [sm1736[nm. Returned to ~Italy
after having made fortune. Created leading ~roles in [sm17[nm Handel operas. Voi
ce was considered ~more beautiful even than Farinelli's.[cm~Senf
l, Ludwig [fy75,1]([cf2]b [cf1]Z;Auurich or Basle, [cf2]c[cf1].[sm1486[nm; [cf2]
d[cf1] ~Munich, [cf2]c[cf1].[sm1543[nm). Swiss-born composer. Studied ~under Isa
ac, following him as cond. of the ~Imperial chapel, Vienna. Court cond., Munich,
 ~[PN653,0,0,R,I0][sm1530[nm=n[sm40[nm. Leading Ger. composer of his day, ~compo
sing Lieder, motets, masses, and other ~works remarkable for expressive qualitie
s.[cm~Sensibile; sensibilit;Aga [fy75,1](It.). Sensitive; sensitivity ~(the [cf2
]nota sensibile [cf1]is the [fy45,1]*[fy75,1]leading note).[cm~Senza [fy75,1](It
.). Without, hence [cf2]senza sordino[cf1], or [cf2]senza ~sordini[cf1], without
 mute(s), of str. instr. In pf.-~playing, [cf2]senza sordini [cf1]means without
dampers, ~i.e. use the right pedal, which throws the dampers ~out of action and
leaves the strs. to vibrate freely.[cm~S;Aaepar;Aae [fy75,1](Fr.). Separated. In
 Fr. org. mus., uncou~~pled.[xm[cm~[j1]Septet [fy75,1](Fr. [cf2]septette[cf1], [
cf2]septuor[cf1]; It. [cf2]settimino[cf1], [cf2]septetto[cf1]; ~
Ger. [cf2]Septett[cf1]). Any combination of [sm7[nm performers ~(usually instr.)
, or any piece of mus. for such, e.g. ~Beethoven's [cf2]Septet [cf1]in E, Op. [s
m20[nm, for vn., va., hn., ~cl., bn., vc., and db.[cm~Septi;ageme [fy75,1](Fr.).
 Seventh. Org. stop, same as [fy45,1]*[fy75,2]Flat ~Twenty-first[cf1].[cm~Septim
ole, Septolet. [fy75,1]See [cf2]Septuplet[cf1].[cm~Septuor. [fy75,1]See [cf2]Sep
tet[cf1].[cm~Septuplet. [fy75,1]Group of [sm7[nm notes of equal time-values ~wri
tten where a group of [sm4[nm or [sm6[nm notes is suggested ~by time-signature.
See [cf2]Irregular rhythmic group~~ings[cf1].[cm~[j1]Sequence. [fy75,1]([sm1[nm)
 In mus. construction, the more or ~less exact repetition of a passage at a high
er or ~lower level of pitch. If the repetition is of only ~the melody it is call
ed a [smmelodic sequence[nm; if it is ~of a series of chords it is a [smharmonic
 sequence[nm. If ~the intervals between the notes of the melody are ~to some ext
ent altered (a major interval becoming ~a minor one and so forth
, as is practically ~inevitable if the key is unchanged) it is called a ~[smtona
l sequence[nm; if there is no variation in the ~intervals (usually achieved by a
ltering not merely ~the pitch of the notes but also the key) it is called ~a [sm
real sequence[nm. If there are several repetitions, ~some of them Tonal and some
 Real, the result is ~a [smmixed sequence[nm. A Harmonic Real Sequence is ~somet
imes called [fy45,1]*[fy75,2]Rosalia[cf1] (some authorities, ~however, require a
s an additional qualification ~for this description a rise of one degree of the
~scale at each repetition).[ep~^([sm2[nm) In ecclesiastical use the term Sequenc
e is ~applied to a type of hymn which began as one of ~the many forms of interpo
lation in the original ~liturgy of the Western Christian Church. As the ~traditi
onal plainsong did not provide for such ~interpolations, special melodies were c
omposed. ~In the Church's service Sequences follow (whence ~the name) the Gradua
l and Alleluia. The earliest ~Sequences were in prose, not, as l
ater, in rhymed ~verse, and the term `Prose' is still sometimes used ~instead of
 `Sequence'. The following are examples ~of the Sequence: [cf2]Dies Irae[cf1] (n
ow a part of the ~Requiem), [cf2]Veni Sancte Spiritus, Lauda Sion[cf1], and ~[cf
2]Stabat Mater dolorosa.[ep~[cf1]^([sm3[nm) The It. composer [fy45,1]*[fy75,1]Be
rio uses the title [cf2]Sequence[cf1] ~([fy45,1]*[fy75,2]Sequenza[cf1]) for a se
ries of works for solo instr. and ~v.[cm~Sequencer. [fy75,1]Elec. device enablin
g a succession of ~several sounds (together with modifications in ~each) to be p
re-set.[cm~Sequenza [fy75,1](Sequence). Title given by [fy45,1]*[fy75,1]Berio to
 ~series of short aleatory virtuoso works for solo ~instr. e.g. harp, vn., tb.,
pf., ob., fl., va., perc., and ~female v. Nos. II, VI, and VII were later arr. w
ith ~orch. and called [cf2]Chemins I[cf1], [cf2]II[cf1], and [cf2]IV[cf1] respec
tively.[cm~Serafin, Tullio [fy75,1]([cf2]b [cf1]Rottanova di Cavarzere, Venice,
~[sm1878[nm; [cf2]d [cf1]Rome, [sm1968[nm). It. cond. Studied Mi
lan ~Cons. Played vn. in orch. of La Scala, Milan. ~D;aaebut as cond. Ferrara [s
m1898[nm. Turin [sm1903[nm, Rome ~[sm1906[nm, then cond. at Scala [sm1909[nm=n[s
m14[nm and at ~subsequent intervals to [sm1946[nm=n[sm7[nm. CG [sm1907[nm, [sm19
31[nm, ~[sm1959[nm, [sm1960[nm. NY Met. [sm1924[nm=n[sm34[nm, cond. f. Amer. ps.
 ~of [cf2]Turandot [cf1]and [cf2]Simon Boccanegra[cf1]. Chief cond. ~and art. di
r., Rome Opera, [sm1934[nm=n[sm43[nm and from ~[sm1962[nm. Chicago Opera [sm1956
[nm=n[sm8[nm. Cond f.ps. in Italy ~of Strauss's [cf2]Der Rosenkavalier[cf1], Ber
g's [cf2]Wozzeck[cf1], and ~Britten's [cf2]Peter Grimes[cf1]. Encourager of [fy4
5,1]*[fy75,1]Callas in ~early years.[cm~Seraglio, The [fy75,1](Mozart). See [cf2
]Entf;Auuhrung aus dem ~Serail, Die[cf1].[cm~Serebrier, Jos;Aae [fy75,1]([cf2]b[
cf1] Montevideo, [sm1938[nm). Uruguayan ~composer, cond., and teacher. Studied a
t Curtis ~Institute, Minnesota Univ. (cond. with Dorati), ~Tanglewood (with Copl
and), and Maine. Mus. ~dir., Amer. Shakespeare Fest. [sm1962[nm=
n[sm4[nm. Taught at ~Eastern Michigan Univ. [sm1966[nm=n[sm8[nm. Cond., Amer. ~S
.O. [sm1962[nm=n[sm6[nm. Composer-in-residence with Cleve~~land Orch. [sm1968[nm
=n[sm70[nm. Works incl. sonatas for solo ~vn. and solo va., sym. for perc., sax.
 qt., sym., ~[cf2]Partita [cf1]for orch., [cf2]Variations on a Theme from ~Child
hood [cf1]for tb. and str. qt. or orch., [cf2]Erotica[cf1], for ~sop., tpt., woo
dwind quintet, [cf2]Nueve [cf1]for db. and ~orch., etc. [xm[cm~[j1]Serenade [fy7
5,1](Fr.). Evening music. Properly, open-~air evening mus. (opposite of [fy45,1]
*[fy75,2]aubade[cf1]) such as ~song by lover outside beloved's window (as by ~Do
n Giovanni in Mozart's opera), but a term ~extended to other meanings. The instr
. serenade ~was developed towards the end of [sm18[nmth cent. as ~type of work s
imilar to cassation and diverti~~mento, particularly by Mozart (e.g. his [cf2]Ei
ne kleine ~Nachtmusik[cf1]). It was scored for small ens. and ~sometimes for win
d instr. alone, and written in ~several movements (midway betwee
n sym. and ~suite). Beethovens's serenades were chamber ~works. Other fine examp
les are those by Brahms, ~Dvo;Akr;Aaak, Tchaikovsky, Elgar, and Strauss. In Ger.
, ~[cf2]Nachtmusik [cf1]implies the instr. form and [cf2]St;Auandchen ~[cf1]the
vocal.[cm~Serenade for Tenor, Horn, and Strings. [fy75,1]Song-~cycle by Britten,
 Op. [sm31[nm, being prol. and epilogue ~(for unacc. hn.) enclosing [sm6[nm sett
ings of poems on ~theme of evening by Cotton, Tennyson, Blake, ~[PN654,0,0,L,I0]
Anon. (Lyke-Wake Dirge), Jonson, and Keats. F.p. ~London [sm1943[nm (Pears, D. B
rain, cond. W. Goehr).[cm~Serenade to Music. [fy75,1]Setting by Vaughan Williams
 ~for [sm16[nm solo vv. ([sm4[nm sop., [sm4[nm cont., [sm4[nm ten., [sm4[nm bass
) and ~orch. of passage from Shakespeare's [cf2]The Merchant ~of Venice[cf1], co
mp. for Sir Henry Wood's golden ~jubilee as a cond., London, Oct. [sm1938[nm. Or
ig. ~singers were Stiles Allen, Isobel Baillie, Elsie ~Suddaby, Eva Turner, Marg
aret Balfour, Muriel ~Brunskill, Astra Desmond, Mary Jarred, Par
ry ~Jones, Heddle Nash, Frank Titterton, Walter ~Widdop, Norman Allin, Robert Ea
ston, Roy ~Henderson, and Harold Williams. Also arr. for [sm4[nm ~soloists and o
rch., for ch. and orch., or for orch. ~([sm1940[nm).[cm~Serenata [fy75,1](It.).
Serenade. ([sm1[nm) Instr. serenade, as ~Mozart's [cf2]Serenata Notturna[cf1] ([
sm1776[nm, K[sm239[nm).[ep~^([sm2[nm) [sm18[nmth-cent. term for dramatic cantata
s which ~might also be called `semi-operas', such as Handel's ~[cf2]Acis and Gal
atea[cf1]. In [sm16[nmth cent. meant a satirical ~polyphonic comp. of the [cf2]v
illanelle [cf1]type. Term first ~appeared in print in [sm1560[nm as the title of
 one of ~Alessandro Stiggio's [sm6[nm-part madrigals.[cm~Serenata Notturna [fy75
,1](Nocturnal Serenade). Title ~of Mozart's Serenade No. [sm6[nm in D (K[sm239[n
m) for [sm2[nm ~small orchs., comp. [sm1776[nm.[cm~Seria [fy75,1](It.). [cf1]Ser
ious; e.g. [fy45,1]*[fy75,2]opera seria[cf1], serious (or ~tragic) opera=mas dis
tinct from [fy45,1]*[fy75,2]opera buffa[cf1], comic ~opera.)[cm~
Serialism, Serial Technique, Serial Music. ~[fy75,1]Terms applied to the [sm20[n
mth-cent. revolution in ~comp. whereby traditional melodic, harmonic, ~rhythmic,
 and tonal rules and conventions were ~replaced. Serial mus. is that in which a
structural ~`series' of notes governs the total development of ~the comp. It ori
ginated in [fy45,1]*[fy75,1]Schoenberg's atonal~~ity, leading to his system of c
omposing with [sm12[nm ~notes ([sm1923[nm). This system is based on use of a ~se
ries of intervals (note-row) involving in turn all ~[sm12[nm notes of the chroma
tic scale in any order ~selected by the composer. In its strictest applica~~tion
, no note should be repeated until the other ~[sm11[nm have appeared and the ord
er of the [cf2]series ~[cf1] remains unaltered throughout the work, with ~certai
n permitted modifications. Schoenberg later ~broke his own rules and other modif
ications were ~introduced by [fy45,1]*[fy75,1]Berg and [fy45,1]*[fy75,1]Webern.
While the ~[cf2]series [cf1]in Schoenberg's hands remained compa
rable ~with a theme, in Webern's it was more subtly ~pervasive and often not per
ceptible as a given ~sequence of [sm12[nm notes. The next stage in [cf2]serialis
m ~[cf1]was foreshadowed in [sm1944[nm by [fy45,1]*[fy75,1]Messiaen in his ~[cf2
]Technique de mon langage musical[cf1], in which he ~wrote about serialization o
f durations. By the ~[sm1950[nms several components (parameters) of a work ~were
 being serialized by, for example, Babbitt, ~Boulez, and Stockhausen. With the i
ntroduction ~of elec. media, the scope for serial permutations ~became much enla
rged, in relation to time. By ~the end of the [sm1960[nms, many composers renoun
ced ~serialism as too restrictive; others, incl. Boulez, ~questioned its continu
ed necessity because [fy45,1]*[fy75,1]alea~~tory developments and new sounds ava
ilable ~through elec. means achieve by synthesis the ends ~of serialism. Whateve
r the future of serialism, it ~remains a development which radically altered ~th
e tenets of mus. comp.[cm~Serinette [fy75,1](from Fr. [cf2]serin
[cf1], canary). Small hand org. ~reproducing [sm10[nm=n[sm13[nm high-pitched not
es and for~~merly used to teach canaries to sing.[cm~Serkin, Peter [fy75,1]([cf2
]b [cf1]NY, [sm1947[nm). Amer. pianist, son of ~Rudolf [fy45,1]*[fy75,1]Serkin.
Studied with his father at Curtis ~Institute, [sm1958[nm=n[sm64[nm. D;aaebut [sm
1959[nm, playing in NY ~same year. Subsequent career as conc. soloist and ~chamb
er mus. performer.[cm~Serkin, Rudolf [fy75,1]([cf2]b [cf1]Eger, Bohemia, [sm1903
[nm). Aus~~trian-born pianist. Studied in Vienna (pf. with R. ~Robert, comp with
 Marx and Schoenberg). D;aaebut ~Vienna [sm1915[nm. Played in chamber mus. and s
onata ~recitals with the violinist Adolf [fy45,1]*[fy75,1]Busch, whose ~son-in-l
aw he became. Amer. d;aaebut with Busch ~[sm1933[nm. Settled in USA, joining tea
ching staff at ~Curtis Institute [sm1939[nm, becoming dir. [sm1968[nm=n[sm76[nm.
 ~One of greatest pianists of his time, especially but ~not exclusively in class
ics. Art. dir. of Marlboro ~music festivals in Vermont.[xm[cm~[j
1]S;aaerly, Tib;aaor [fy75,1]([cf2]b[cf1] Losonc, [sm1900[nm; [cf2]d [cf1]London
, [sm1978[nm). ~Hung.-born composer, cond., and str. player. ~Taken to USA in [s
m1905[nm. Studied Budapest Cons. ~[sm1922[nm=n[sm4[nm (vn. with Hubay and comp.
with Bart;aaok ~and Kod;aaaly). Played va. in Cincinnati S.O. and ~NBC S.O. [sm1
927[nm=n[sm37[nm. Settled in NY as teacher, ~[sm1937[nm. Comp. va. conc., [sm2[n
m syms., chamber mus., ~etc. Completed last few bars of Bart;aaok's [sm3[nmrd pf
. ~conc. and completed Bart;aaok's va. conc. from ~composer's sketches, [sm1945[
nm.[cm~Sermisy, Claude de [fy75,1](Claudin) ([cf2]b c[cf1].[sm1490[nm; [cf2]d [c
f1]Paris, ~[sm1562[nm). Fr. composer and priest. Singer at Fr. ~Chapel Royal fro
m [sm1508[nm, and attended Field of ~the Cloth of Gold [sm1520[nm. Wrote over [s
m200[nm [cf2]chansons[cf1], ~many Masses, motets, etc.[cm~Serocki, Kazimierz [fy
75,1]([cf2]b [cf1]Torun, Poland, [sm1922[nm; [cf2]d[cf1] ~Warsaw, [sm1981[nm). P
olish composer and pianist. ~Studied L;aaod;aaz [sm1947[nm=n[sm5
1[nm, and in Paris with Boulan~~ger [sm1947[nm=n[sm8[nm. In [sm1949[nm, with Bai
rd and Krenz, ~formed `Group [sm49[nm'. Concert pianist until [sm1952[nm. ~Co-fo
under, Warsaw fest. of modern mus., [sm1956[nm. ~Began in neo-classicist, folk-i
nfluenced style of ~comp., wrote Webern-type serial mus. in [sm1950[nms, ~develo
ping use of aleatory procedures. Works ~incl. syms. (No. [sm2[nm with sop., bar.
, ch., and orch.), ~tb. conc., [cf2]Segmenti [cf1]for [sm19[nm instr., [cf2]Symp
honic Frescoes: ~Forte e piano[cf1], [sm2[nm pf. and orch., [cf2]Niobe[cf1], [sm
2[nm narrators, ~ch., and orch.[cm~Serov, Alexander [fy75,1](Nikolayevich) ([cf2
]b [cf1]St Peters~~burg, [sm1820[nm; [cf2]d [cf1]St Petersburg, [sm1871[nm). Rus
s. com~~poser and critic. Studied law and became civil ~servant, but also studie
d mus. In [sm1851[nm began ~career as mus. critic, becoming keen Wagnerian ~[PN6
55,0,0,R,I0]in [sm1858[nm and antipathetic to new Russ. Sch. Wrote ~[sm6[nm oper
as, orch. works, and religious pieces.[cm~Serpent. [fy75,1]Obsol
ete bass member of [fy45,1]*[fy75,2]cornett [cf1]family, ~[sm8[nm;Po long and ro
ughly S-shaped, hence the name. ~Made of wood, sometimes of metal; had [sm6[nm ~
fingerholes and sometimes keys. First introduced ~in Fr. towards end of [sm16[nm
th cent., where it was ~used in church to double male vv. Became ~popular milita
ry-band instr. and was in use in ~Eng. church bands to mid-[sm19[nmth cent. (men
tioned ~by Thomas Hardy).[cm~Serpette, [fy75,1](Henri Charles Antoine)[fy65,3] G
aston [fy75,1]([cf2]b ~[cf1]Nantes, [sm1846[nm; [cf2]d [cf1]Paris, [sm1904[nm).
Fr. composer. Pupil ~at Paris Cons. of Thomas ([cf2]Prix de Rome [cf1][sm1871[nm
). ~Wrote [sm17[nm operettas, incl. [cf2]La Petite Muette [cf1]([sm1877[nm).[cm~
Serr;aae [fy75,1](Fr.). Tightened. With increasing tension ~and speed, as in It.
 [fy45,1]*[fy75,2]stringendo[cf1].[cm~Serse [fy75,1]([cf2]Xerxes[cf1]). Opera in
 [sm3[nm acts by Handel to text ~from a lib. by Minato written for Cavalli in [s
m1654[nm ~and rev. for Bononcini [sm1694[nm. Prod. London [sm173
8[nm, ~Northampton, Mass., [sm1928[nm. Contains in Act I aria ~[cf2]Ombra mai f;
agu [cf1]for Serse, male sop., praising a tree ~that gives him shade. It is mark
ed [cf2]larghetto[cf1], but ~the tune, in countless spurious arrs., has become ~
known as `Handel's [fy45,1]*[fy75,2]Largo[cf1]'.[cm~Serva padrona, La [fy75,1](T
he maid as mistress). ~Intermezzo (to [cf2]Il prigioner superbo[cf1]) in [sm2[nm
 parts by ~Pergolesi to lib. by Federico; prod. Naples [sm1733[nm, ~London [sm17
50[nm, Baltimore [sm1790[nm.[cm~Service. [fy75,1]In mus. sense, elaborate  and c
ontinuous ~setting of the canticles from the Anglican prayer-~book for morning a
nd evening services, or ~Communion service. The terms [cf2]Short Service [cf1]an
d ~[cf2]Great Service [cf1]were used in [sm16[nmth and early [sm17[nmth ~cents.
to distinguish between normal daily service ~and that for an elaborate special o
ccasion. Tye, ~Tallis, Byrd, Gibbons, Tomkins, Weelkes, etc. all ~comp. fine ser
vices. Later examples are by ~Walmisley, S.S. Wesley, Stanford,
Vaughan Wil~~liams, Howells, etc.[cm~Sesquialtera [fy75,1](Lat.). One and a half
. ([sm1[nm) Org. ~mixture stop properly of [sm2[nm ranks ([sm12[nmth and [sm17[n
mth) ~but sometimes of [sm3[nm=n[sm5[nm ranks.[ep~^([sm2[nm) Relationship of [sm
3[nm=+=+:=+=+[sm2[nm in mensural mus.[cm~Sessions, Roger [fy75,1](Huntington) [c
f1]([cf2]b [cf1]Brooklyn, NY, ~[sm1896[nm; [cf2]d[cf1] Princeton, NJ, [sm1985[nm
). Amer. composer and teacher. Wrote opera at age of [sm13[nm. Harvard ~Univ. [s
m1910[nm=n[sm15[nm, Yale Univ. [sm1915[nm=n[sm17[nm (comp. with ~H. [fy45,1]*[fy
75,1]Parker). Mus. faculty Smith Coll., Northamp~~ton, Mass., [sm1917[nm=n[sm21[
nm, studying privately with ~Bloch. Became ass. to Bloch at Cleveland Institute
~of Mus., [sm1921[nm=n[sm5[nm. Lived in Florence, Rome, Berlin ~[sm1927[nm=n[sm3
3[nm. His first sym. ([sm1927[nm) perf. Boston [sm1927[nm ~and at ISCM Fest., Ge
neva, [sm1929[nm. Taught Boston ~Univ. [sm1933[nm=n[sm5[nm, Princeton Univ. [sm1
935[nm=n[sm45[nm; prof. of ~mus., Univ. of Calif., Berkeley, [sm
1945[nm=n[sm51[nm; prof. of ~mus., Princeton, [sm1953[nm=n[sm65[nm. Taught at Ju
illiard ~Sch. from [sm1965[nm. Pupils incl. Babbitt, Imbrie, and ~Diamond. Sessi
ons's mus. has been described as ~`constructively eclectic', drawing on the chie
f ~[sm20[nmth-cent. influences but retaining a serious ~individual stamp. Author
 of several books, and ~tireless champion of contemporary mus. Prin. ~works:[xm[
cm~[j2][smoperas[nm: [fy75,2]The Trial of Lucullus [cf1]([sm1947[nm); [cf2]Monte
zuma ~[cf1]([sm1941[nm=n[sm63[nm).[ep~[smorch[nm: Symphonies: No. [sm1[nm ([sm19
27[nm), No. [sm2[nm ([sm1944[nm=n[sm6[nm), ~No. [sm3[nm ([sm1957[nm), No. [sm4[n
m ([sm1958[nm), No. [sm5[nm ([sm1964[nm), No. [sm6[nm ~([sm1966[nm), No. [sm7[nm
 ([sm1967[nm), No. [sm8[nm ([sm1968[nm); vn. conc. ~([sm1935[nm, with orch. with
out vns. and with [sm5[nm cl.); ~[cf2]Idyll of Theocritus[cf1], sop. and orch. (
[sm1954[nm); pf. conc. ~([sm1956[nm); [cf2]Divertimento [cf1]([sm1959[nm); [cf2]
Rhapsody [cf1]([sm1970[nm); ~Conc. for vn., vc., and orch. ([sm1
971[nm); [cf2]Concertino ~[cf1]([sm1972[nm).[ep~[smchamber music[nm: String Quar
tets No. [sm1[nm ([sm1936[nm), No. ~[sm2[nm ([sm1951[nm); solo vn. sonata ([sm19
53[nm); str. quintet ~([sm1958[nm); [cf2][sm6[nm Pieces [cf1]for vc. ([sm1966[nm
); [cf2]Canons[cf1], str. qt. ~([sm1971[nm).[ep~[smchoral[nm: [cf2]Turn, O Liber
ated[cf1], ch. and [sm2[nm pf. or orch. ~([sm1944[nm); Mass ([sm1955[nm); [cf2]W
hen Lilacs Last in the ~Dooryard Bloom'd[cf1], soloists, ch., and orch. ([sm1970
[nm).[ep~[smpiano[nm: [sm3[nm sonatas ([sm1930[nm, [sm1946[nm, [sm1965[nm); [cf2
]From my ~Diary [cf1]([sm1939[nm); [cf2][sm5[nm Pieces [cf1]([sm1975[nm).[cm~[j1
]Set. [fy75,1]Term normally applied to [fy45,1]*[fy75,1]atonal mus., ~meaning a
small group of notes (a cell or a unit) ~which the composer or the analyst of th
e work ~concerned deems to be of structural significance, ~e.g. the notes B-C-F
in the [sm4[nmth of Webern's [cf2][sm5[nm ~Movements[cf1] for str. qt. In a seri
al work the series or ~part of it may be considered as the set.
And so can ~the opening notes of Beethoven's [sm5[nmth Sym.![cm~Seter, Mordecai
[fy75,1]([cf2]b[cf1] Novorossiysk, Russ., [sm1916[nm). ~Russ.-born Israeli compo
ser. Studied at ;AaEcole ~Normale, Paris (comp. with Dukas and Boulan~~ger). Tea
cher at Israeli Acad. of Mus. since [sm1952[nm. ~Mus. influenced by Jewish litur
gical chants and ~serialism. Works incl. [cf2]Sabbath Cantata [cf1]([sm1940[nm=n
[sm7[nm); ~[cf2]Ricercar[cf1], str. ([sm1953[nm=n[sm6[nm); [cf2]Variations[cf1]
for orch. ([sm1959[nm); ~[cf2]Midnight Vigil[cf1], oratorio ([sm1962[nm); [cf2]T
he Daughter of ~Jephthah[cf1], orch. ([sm1965[nm); [cf2]Jerusalem[cf1], sym. for
 ch. and ~orch. ([sm1966[nm, rev. [sm1967[nm=n[sm8[nm); and [sm4[nm str. qts. ([
sm1975[nm=n~[sm7[nm).[xm[cm~[ol0][ep~[xp[te~



[do19][j99]~~~~~~[sm153842[nm_SB[sm03[nm[ep~[u1]~~~~153842[cmConcis Oxford Dict.
 of ~Music[cmSB[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm15[nm/[sm10[nm/[sm79[nm[cm[sm
8[nm[cm[sm461[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1];akSev;akcik, Otakar
 [fy75,1](b [cf1]Horazdowitz, Bohemia, [sm1852[nm; ~[cf2]d[cf1] Pisek, [sm1934[n
m). Cz. violinist and teacher. Studied ~Prague Cons. [sm1866[nm=n[sm70[nm; d;aae
but Vienna [sm1873[nm. ~Settled in Russia. Taught Imperial Russ. Mus. ~Sch., Kie
v, [sm1875[nm=n[sm92[nm. Taught at Prague Cons. ~[sm1892[nm=n[sm1906[nm. Dir., v
n. master-sch., Vienna Acad. ~of Mus. [sm1909[nm=n[sm19[nm. Returned to Prague [
sm1919[nm. ~Among his pupils were Kubelik and Marie Hall. ~Developed special int
onation and bowing tech~~niques, set out in detail in his pubd. method.[cm~Seven
 Deadly Sins, The [fy75,1]([cf2]Die sieben Tods;Auunden der ~Kleinb;Auurger[cf1]
). [cf1]Ballet with songs, for sop., male ch., ~and orch., in prol., [sm7[nm sce
nes, and epilogue by ~[fy45,1]*[fy75,1]Weill to lib. by Brecht,
choreog. Balanchine. ~Prod. Paris [sm1933[nm. New Balanchine choreog. NY ~[sm195
8[nm.[cm~[PN656,0,0,L,I0]Seven Last Words of our Saviour from the ~Cross, The [f
y75,1]([cf2]Die sieben letzten Worte unseres Erl;auosers ~am Kreuz[cf1]). Work b
y Haydn commissioned by ~Cadiz Cath. [sm1785[nm as orch. interludes to separate
~the sermons on Good Friday. Pubd. in Vienna as ~[sm7[nm [cf2]sonate, con un' in
troduzione, ed al fine un terremoto ~[cf1]([sm7[nm sonatas, with an introduction
, and at the end ~an earthquake). In [sm1787[nm arr. by Haydn for str. qt. ~as O
p. [sm51[nm, Nos. [sm1[nm=n[sm7[nm (qts. Nos. [sm50[nm-[sm6[nm), and also arr. ~
by him as cantata with soloists and ch. ([cf2]c[cf1].[sm1796[nm).[cm~Seven Sonne
ts of Michelangelo.[fy75,1] Song-cycle, Op. ~[sm22[nm, for ten. and pf. by Britt
en, comp. [sm1939[nm=n[sm40[nm, ~f.p. [sm1942[nm. It. settings of sonnets [sm16[
nm, [sm31[nm, [sm30[nm, [sm55[nm, [sm38[nm, ~[sm32[nm, and [sm24[nm.[cm~Seventee
nth. [fy75,1]Org. [fy45,1]*[fy75,1]mutation stop; length and ~pi
tch [sm1[nm;FN;Po, sounding [sm2[nm octaves and a [sm3[nmrd (i.e. [sm17[nmth) ~a
bove normal.[cm~Seventh. [fy75,1]Interval in melody or harmony when [sm2[nm ~not
es, major or minor, are [sm7[nm steps apart (counting ~bottom and top notes). A
up to G;Yi is [cf2]major ~seventh[cf1]; A up to G;Yj is [cf2]minor seventh[cf1];
 A up to G;Yh is ~[cf2]diminished seventh[cf1].[cm~S;aaev;aaerac, [fy75,1](=+=+J
oseph Marie)[fy65,3] D;aaeodat de [fy75,1]([cf2]b[cf1] St F;aaelix de ~Caraman,
[sm1872[nm; [cf2]d [cf1]C;aaeret, [sm1921[nm). Fr. composer. ~Studied at Toulous
e Cons. and at Schola Canto~~rum, Paris, under Magnard and d'Indy [sm1896[nm=n~[
sm1907[nm. Mus. (esp. his songs) evoke atmosphere of ~his native Provence. Wrote
 [sm3[nm operas, [sm4[nm symphonic ~poems, chamber works, pf. pieces, and songs.
[cm~Severn Suite. [fy75,1][sm5[nm-movement suite for brass band, ~Op. [sm87[nm,
by Elgar, comp. [sm1930[nm (using sketches ~from as far back as [sm1879[nm) for
Crystal Palace ~competitive band fest. (Brass band orch. from ~E
lgar's piano score by H. Geehl. Rev. edn. ~(restoring orig. key of C major) by G
. Brand, ~[sm1983[nm.) Ded. to Bernard Shaw. Arr. for orch. by ~composer [sm1932
[nm. Arr. for org. as sonata No. [sm2[nm, Op. ~[sm87[nma, by I. [fy45,1]*[fy75,1
]Atkins, [sm1933[nm (this omits a movt. and ~contains mus. comp. by Atkins).[cm~
Sevillana. [fy75,1]([sm1[nm) Seville variety of the Sp. [cf2]seguidilla ~[cf1]fo
lk-dance.[ep~^([sm2[nm) Orch. work, Op. [sm7[nm, by Elgar, f.p. Worcester ~[sm18
84[nm, London [sm1884[nm (first Elgar work perf. in ~London).[cm~Sextet [fy75,1]
(Fr. [cf2]sextette [cf1]or [cf2]sextuor[cf1]; It. [cf2]sestetto[cf1]; Ger. ~[cf2
]sextett[cf1]). Performing group of [sm6[nm instrumentalists ~or singers, or wor
k written for them to perform, ~e.g. Brahms's str. sextets. Schoenberg's [fy45,1
]*[fy75,2]Verkl;auarte ~Nacht [cf1]([sm1899[nm) was orig. a str. sextet. Jan;aaa
;akcek's [cf2]Ml;aaad;aai[cf1] ~([sm1924[nm) is a wind sextet. Strauss's opera [
cf2]Capriccio[cf1] ~([sm1940[nm=n[sm1[nm) opens with a str. sext
et. The most ~famous operatic sextet is in Donizetti's [cf2]Lucia di ~Lammermoor
[cf1].[cm~Sextolet. [fy75,1]See [cf2]Sextuplet[cf1].[cm~Sextuor. [fy75,1]See [cf
2]Sextet[cf1].[xm[cm~[j1]Sextuplet. [fy75,1]Group of [sm6[nm notes of equal time
-values ~written where a group of [sm4[nm notes is suggested by ~time-signature.
 See [cf2]Irregular rhythmic groupings[cf1].[cm~Seyfried, Ignaz Xaver,  [fy75,1]
Ritter von ([cf2]b [cf1]Vienna, ~[sm1776[nm; [cf2]d [cf1]Vienna, [sm1841[nm). Au
strian composer. Pupil ~of Mozart and Ko;Akzeluh for pf. and of Haydn for ~comp.
 Close friend of Mozart. Cond at [fy45,1]*[fy75,1]Schika~~neder's ths. [sm1797[n
m=n[sm1826[nm. Wrote over [sm100[nm stage ~works, biblical dramas, church mus.,
and cham~~ber works. Arr. Mozart pf. pieces as [cf2]Ahasuerus ~[cf1]([sm1823[nm)
 and Haydn themes as Singspiel [cf2]Das ~Ochsenmenuette [cf1]([sm1823[nm). Cond.
 [sm1806[nm revival of ~Beethoven's [cf2]Fidelio[cf1] in Vienna.[cm~sf, sfz. [fy
75,1]Abbreviation for [cf2]sforzando, sforzato[cf1].[cm~Sfogato
[fy75,1](It.). Airy, evaporated. Light and easy in ~style. [cf2]Soprano sfogato
[cf1]is a light sop. Term used by ~Chopin indicating need for delicate touch in
his ~mus.[cm~Sforzando, Sforzato [fy75,1](It.). Reinforced. Direction ~that a no
te or chord be strongly accented or ~played in a `forced' manner. Usually found
in ~abbreviation [cf2]sf. [cf1]or [cf2]sfz[cf1]. Beethoven made much use ~of it.
[cm~sfp. [fy45,1]*[fy75,2]Sforzando [cf1]followed immediately by [cf2]piano[cf1]
.[cm~Sgambati, Giovanni [fy75,1]([cf2]b [cf1]Rome, [sm1841[nm; [cf2]d [cf1]Rome,
 ~[sm1914[nm). It. composer, cond., and pianist. Had Eng. ~mother. Pf. pupil of
Barbieri and of Liszt (in ~Rome). Settled in Rome [sm1860[nm. Founded orch. and
~chamber concerts in Rome [sm1866[nm, introducing ~Ger. classics to It. audience
s. Toured Ger., Eng., ~It., Fr., and Russia as pianist and cond. Founder ~Liceo
Musicale, Rome, and pf. prof. Wagner ~persuaded Schott to publish Sgambati's [sm
2[nm pf. ~quintets. Rich melodic gift and one of few It. ~compos
ers of [sm19[nmth cent. interested in instr. mus. ~Wrote [sm2[nm syms., [cf2]Req
uiem Mass[cf1], pf. conc., str. qt., ~pf. pieces, and songs.[cm~Shacklock, Const
ance [fy75,1]([cf2]b [cf1]Sherwood, Notts., ~[sm1913[nm). Eng. mez. Studied in N
ottingham and at ~RAM. Professional d;aaebut [sm1944[nm. Member CG co. ~[sm1946[
nm=n[sm56[nm, singing Amneris, Brang;auane, Oktavian, ~and Carmen. Also sang in
oratorio, notably as ~Angel in Elgar's [cf2]Gerontius [cf1]with Barbirolli. Sang
 ~opera in Berlin with Kleiber. Prof of singing, ~RAM, from [sm1968[nm. O.B.E. [
sm1970[nm.[cm~Shaffer, Elaine [fy75,1]([cf2]b [cf1]Altoona, Penn., [sm1925[nm; [
cf2]d[cf1] ~London, [sm1973[nm). Amer. flautist. Studied Curtis ~Institute. Prin
. flautist, Houston S.O., and soloist ~with leading orchs. Married cond. Efrem [
fy45,1]*[fy75,1]Kurtz.[cm~Shafir, Shulamith [fy75,1]([cf2]b [cf1]Odessa, [sm1923
[nm). Russ.-born ~pianist. Studied Palestine, It. with [fy45,1]*[fy75,1]Schnabel
, and ~in London with Solomon. D;aaebut [sm1934[nm. Settled in ~
Eng. [sm1935[nm and pursued successful career as conc. ~soloist and recitalist.[
cm~Shake. [fy75,1]Early Eng. name for [fy45,1]*[fy75,2]Trill[cf1].[cm~Shakers [f
y75,1](Shaking Quakers). Name for members ~of the United Society of Believers in
 Christ's ~Second Appearing, a religious celibate commu~~nity founded in the USA
 after [sm1774[nm by Ann Lee ~([sm1736[nm=n[sm84[nm), formerly of Manchester in
Eng. They ~developed their own hymnology, incl. spirituals ~[PN657,0,0,R,I0]and
dance, and in the [sm1840[nms two tunebooks were ~pubd. giving details of Shaker
 mus. theory, ~notation, and tunes. When a Shaker had a religious ~seizure which
 resulted in a hymn or dance-tune, ~a scribe wrote down the tune in a primitive
~letteral notation. The words of the songs were ~sometimes in Eng., at others we
re nonsense, or ~derived from Indian or Negro speech. [fy45,1]*[fy75,1]Copland ~
quotes the Shaker tune [cf2]Simple Gifts[cf1] in his ~[fy45,1]*[fy75,2]Appalachi
an Spring[cf1]. Shakers are now almost ~extinct, but their mus.
has been collected and is ~studied.[cm~Shakespeare and Music. [fy75,1]The influe
nce of ~William Shakespeare ([cf2]b [cf1]Stratford-upon-Avon, ~[sm1564[nm; [cf2]
d [cf1]Stratford, [sm1616[nm) upon composers, from ~his own time until today, is
 of such magnitude ~that a short entry is essential. [fy45,1]*[fy75,1]Morley com
p. ~songs for the f.ps. of some of the plays. Since then ~nearly every composer
of note has set a Shake~~[chspeare song=mamong the greatest being Schubert's ~[c
f2]Who is Sylvia? [cf1]Incidental mus. to the plays ranges ~from Mendelssohn's a
nd Orff's for [cf2]A Midsummer ~Night's Dream [cf1]to Walton's for [cf2]Macbeth[
cf1]. Walton ~and Shostakovich are among those who have ~written mus. for Shakes
peare films. In categories ~of their own are Berlioz's dramatic sym. and ~Tchaik
ovsky's fantasy-ov. [cf2]Romeo and Juliet[cf1], Elgar's ~symphonic study [cf2]Fa
lstaff[cf1], and Vaughan Wil~~liams's [cf2]Serenade to Music [cf1](a setting of
words from ~[cf2]The Merchant of Venice[cf1]). Operas based on S
hake~~speare are many. Chief among them are Verdi's ~[cf2]Falstaff, Otello[cf1],
 and [cf2]Macbeth[cf1]; Britten's [cf2]A Midsum~~mer Night's Dream[cf1]; Berlioz
's [cf2]B;aaeatrice et B;aaen;aaedict ~[cf1]([cf2]Much Ado About Nothing[cf1]);
Vaughan Williams's ~[cf2]Sir John in Love[cf1] ([cf2]Merry Wives of Windsor[cf1]
); and ~Wagner's [cf2]Das Liebesverbot [cf1]([cf2]Measure for Measure[cf1]). ~Pu
rcell's [cf2]The Fairy Queen [cf1]is a masque based on [cf2]A ~Midsummer Night's
 Dream [cf1]although no word of ~Shakespeare's text is set. Bellini's [cf2]I Cap
uleti e i ~Montecchi [cf1]is based on [cf2]Romeo and Juliet [cf1]but not on ~Sha
kespeare's version. Walton's [cf2]Troilus and Cres~~sida [cf1]is also [cf2]not [
cf1]based on Shakespeare's play.[cm~Shakespeare, William [fy75,1]([cf2]b [cf1]Cr
oydon, [sm1849[nm; [cf2]d[cf1] ~London, [sm1931[nm). Eng. ten., pianist, compose
r, and ~teacher. Church organist at [sm13[nm. Studied with ~[fy45,1]*[fy75,1]Mol
ique, then at RAM, Leipzig Cons., and ~Milan (with Lamperti). Fr
om [sm1875[nm was concert ~and oratorio singer in Eng. Prof. of singing, RAM, ~f
rom [sm1878[nm. Cond. RAM concerts and others. ~Comp. sym. and other works. Wrot
e books on ~singing.[cm~Shakuhachi. [fy75,1]Japanese end-blown long fl., dating
~from [cf2]c[cf1].[sm14[nmth cent., made in several types, one ~having [sm4[nm f
ingerholes, another [sm7[nm.[cm~Shalyapin. [fy75,1]See [cf2]Chaliapin, Fyodor[cf
1].[cm~Shankar, Ravi [fy75,1]([cf2]b [cf1]Varanasi, Uttar Pradesh, [sm1920[nm).
~Indian sitar-player and composer. Trained by his ~brother Uday Shankar, with wh
ose troupe of ~musicians and dancers he worked. Dir. of instr. ~ens., India Radi
o, [sm1949[nm=n[sm56[nm. Founder-dir., Kinnara ~Sch. of Mus., Bombay, [sm1962[nm
. Toured Europe and ~N. Amer. giving sitar recitals which led to ~awakening of i
nterest in Indian mus. Wrote [sm2[nm ~concs. for sitar and orch. ([sm1971[nm, [s
m1976[nm), ballet ~scores, and film mus. On staff Calif. Institute of ~Mus.[cm~S
hanty [fy75,1](Chanty). Sailors' work-song, originating ~in days
 of sailing ships, sung while pulling ~together on a rope and helping to secure
rhythmic ~unanimity. `Shanty man', placed apart, sang the ~tune, the rest joinin
g in ch. Tune and words are ~traditional. Famous examples are [cf2]Shenandoah, T
he ~Rio Grande, What shall we do with a drunken sailor?, ~[cf1]etc.[cm~Shapero,
Harold [fy75,1]([cf2]b [cf1]Lynn, Mass., [sm1920[nm). Amer. ~composer. Jazz pian
ist and arranger in his teens. ~Began serious study of mus. [sm1936[nm with N. ~
Slonimsky at Boston. Harvard Univ. [sm1938[nm=n[sm41[nm ~(comp. with Piston and
K;abrenek). Later studies ~were with Boulanger and Hindemith. Prof. of ~mus., Br
andeis Univ. since [sm1952[nm (chairman, mus. ~dept., [sm1966[nm=n[sm9[nm). Work
s comp. in classical forms ~with harmonic idiom based on Copland and ~occasional
 use of [sm12[nm-note system. Works incl. pf. ~sonatas, tpt. sonata, str. qt., s
ym., [cf2]Hebrew Cantata[cf1], ~and pieces for synthesizer.[cm~Shaporin, Yury [f
y75,1]([cf2]b [cf1]Glukov, [sm1887[nm; [cf2]d [cf1] Moscow, ~[sm
1966[nm). Russ. composer. Studied Petrograd Cons. ~(comp. with Glazunov and Tche
repnin). Comp. ~in traditional idiom. Works incl. opera, [cf2]The ~Decembrists [
cf1]([sm1920[nm=n[sm53[nm), sym., patriotic cantatas, pf. ~sonata, and songs.[cm
~Sharp. [fy75,1]([sm1[nm) As noun, the sign (;Yi) which, placed by ~a note, rais
es its pitch by a semitone. A sharp in ~the key signature affects all notes on c
orrespond~~ing degree of scale. See [cf2]Inflection of Notes[cf1]. (In ~Amer. us
age a note is `sharped'; in Eng. `sharp~~ened'.)[ep~^([sm2[nm) As adjective, des
cribes singing or playing ~which departs from correct intonation upwards ~(oppos
ite of flat, downwards).[cm~Sharp, Cecil [fy75,1](James) [cf1]([cf2]b [cf1]Denma
rk Hill, London, ~[sm1859[nm; [cf2]d [cf1]Hampstead, [sm1924[nm). Eng. folk-song
 and ~folk-dance collector and ed., organist, and writer. ~Studied mus. at Cambr
idge Univ. Trained as ~lawyer and practised as such in Australia. Organ~~ist, Ad
elaide Cath., [sm1889[nm=n[sm92[nm. Prin., Hampstead ~Cons. of M
us. [sm1896[nm=n[sm1905[nm. In [sm1899[nm began system~~atic coll. of Eng. folk-
dances and in [sm1903[nm began ~to collect folk-songs. Though not first in the f
ield, ~his proselytizing and energy inspired others to ~emulate him. Founded Eng
lish Folk Dance Soc., ~[sm1911[nm. With M. [fy45,1]*[fy75,1]Karpeles, collected
folk-songs in ~Appalachian mountains of N. Amer., [sm1916[nm=n[sm18[nm. ~Pubd. m
any arrs. and colls. of folk-songs and ~dances (some in collab. with G. Butterwo
rth, ~Vaughan Williams, C. L. Marson, etc.). Wrote ~[cf2]English Folk Song [cf1]
and other books. After his death ~Cecil Sharp House, in London, was built as ~he
adquarters of amalgamated [fy45,1]*[fy75,1]English Folk ~Dance and Song Society.
[xm[cm~[PN658,0,0,L,I0][j1]Sharpe, Cedric [fy75,1]([cf2]b [cf1]London, [sm1891[n
m; [cf2]d [cf1]Steyning, ~[sm1978[nm). Eng. cellist and composer. Pupil of W. H.
 ~Squire at RCM. Prin. cellist, LSO, and in other ~London orchs. Noted chamber-m
us. player. Prof. ~of vc., RAM [sm1928[nm=n[sm66[nm. Wrote orch.
 works and ~songs.[cm~Sharp mixture. [fy75,1]Org. [fy45,1]*[fy75,1]Mixture stop
of high-~pitched pipes and bright tone.[xm[cm~[ol0][ep~[xp[te~











[do25][j99]~~~~~~[sm153842[nm_SB[sm4[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmSB[sm4[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm15[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm497[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Shaw, Geo
ffrey [fy75,1](Turton) ([cf2]b[cf1] London, [sm1879[nm; [cf2]d[cf1] ~London, [sm
1943[nm). Eng. composer and organist. ~Brother of Martin [fy45,1]*[fy75,1]Shaw.
Trained in St Paul's ~Cath. choir and at Cambridge Univ. Organist, St ~Mary's Ch
., Primrose Hill. Inspector of sch. mus. ~Campaigner for better church mus. Wrot
e orch. ~and choral works, and ed. song colls. (with his ~brother).[cm~Shaw, Geo
rge Bernard[fy75,1] ([cf2]b[cf1] Dublin, [sm1856[nm; [cf2]d[cf1] Ayot ~St Lawren
ce, [sm1950[nm). Irish playwright, essayist, ~and mus. critic. Taught mus., esp.
 singing, by his ~mother. Wrote mus. criticism=marguably the ~most brilliant in
the language=mfor London ~periodicals, the [cf2]Star[cf1] and the [cf2]World[cf1
], from [sm1888[nm to ~[sm1894[nm having earlier (from [cf2]c[cf
1]. [sm1876[nm) `ghosted' for ~music critic of [cf2]The Hornet[cf1]. Adopted pse
udonym ~`Corno di Bassetto', until [sm1890[nm. Early champion ~of Wagner's mus.
and one of first to put political ~interpretation on [cf2]The Ring[cf1] (in [cf2
]The Perfect Wagner~~ite[cf1], [sm1898[nm). Criticisms reprinted in [cf2]London
Music[cf1] ~[sm1888[nm=n[sm9[nm, [cf2]Music in London[cf1] [sm1890[nm=n[sm94[nm
([sm3[nm vols.), and ~[cf2]How to become a Musical Critic[cf1] (ed. Laurence [sm
1960[nm). ~Friend of Elgar, whose [cf2]Severn Suite[cf1] is ded. to ~Shaw. His p
lay [cf2]Arms and the Man[cf1] was basis of ~operetta[cf2] The Chocolate Soldier
[cf1] ([cf2]Der tapfere Soldat[cf1], ~[sm1908[nm) by O. Straus, and his [cf2]Pyg
malion[cf1] became ~Loewe's musical [cf2]My Fair Lady[cf1] ([sm1956[nm). Compose
rs ~of music for films based on Shaw plays incl. ~Honegger ([cf2]Pygmalion[cf1],
 [sm1938[nm), Walton ([cf2]Major ~Barbara[cf1], [sm1941[nm), Auric ([cf2]Caesar
and Cleopatra[cf1], [sm1945[nm), ~and Richard Rodney Bennett ([c
f2]The Devil's Disciple[cf1], ~[sm1959[nm).[cm~Shaw, Martin [fy75,1](Edward Fall
as) ([cf2]b[cf1] London, [sm1875[nm; ~[cf2]d[cf1] Southwold, [sm1958[nm). Eng. c
omposer, organist, and ~cond. Studied RCM. Organist, St Martin-in-the-~Fields, [
sm1920[nm=n[sm4[nm. Campaigner for better church ~mus. and for Eng. opera. Co-ed
. with Vaughan ~Williams of hymn-book [cf2]Songs of Praise[cf1] ([sm1925[nm, rev
. ~[sm1931[nm) and [cf2]Oxford Book of Carols[cf1] ([sm1928[nm). Comp. ~ballad-o
pera[cf2] Mr Pepys[cf1] ([sm1926[nm), anthems, hymns, ~songs, etc. O.B.E. [sm195
5[nm.[cm~Shaw, Robert[fy75,1] ([cf2]b[cf1] Red Bluff, Calif., [sm1916[nm). Amer.
 ~cond., particularly of choirs. Studied Pomona ~Coll. Founder and cond. Collegi
ate Chorale, NY, ~[sm1941[nm=n[sm54[nm. Cond., Robert Shaw Chorale [sm1948[nm=n[
sm66[nm. ~Taught at Juilliard Sch. Cond. San Diego S.O. ~[sm1953[nm=n[sm7[nm. As
s. cond. Cleveland Orch., [sm1956[nm=n[sm67[nm. ~Cond. Atlanta S.O. from [sm1967
[nm. One of most gifted ~of choral conductors and trainers. At C
leveland ~he created a remarkable chorus, as fine in Verdi ~as in Haydn or Mozar
t. Was first professional ~conductor to give perfs. in USA of Bach's Mass in ~B
minor and Handel's [cf2]Messiah[cf1] with small forces.[cm~Shaw, [fy75,1](Harold
) [fy65][cf3]Watkins[fy75,1] ([cf2]b[cf1] Bradford, Yorks., ~[sm1911[nm). Eng. w
riter, teacher, and musicologist. ~Studied Oxford Univ. and RCM. Lecturer, ~Worc
ester Coll. of Education [sm1949[nm=n[sm71[nm. Hon. ~librarian, St Michael's Col
l., Tenbury Wells, from ~[sm1948[nm. Keeper, Parry Room Library, RCM [sm1971[nm=
n~[sm80[nm. Specialist in church mus. and Handel's [cf2]Messiah[cf1] ~(of which
he made celebrated edn., [sm1965[nm). Hon. ~gen. ed., Church Mus. Soc. [sm1956[n
m=n[sm70[nm. O.B.E. [sm1985[nm.[cm~Shawe-Taylor, Desmond [fy75,1](Christopher) (
[cf2]b [cf1]Dub~~lin, [sm1907[nm). Irish mus. critic and author. Studied ~Oxford
 Univ. Wrote mainly literary criticism ~until [sm1939[nm, then contrib. mus. cri
ticism to [cf2]The ~Times, New Statesman [cf1]([sm1945[nm=n[sm58
[nm) etc. Mus. critic, ~[cf2]Sunday Times[cf1], [sm1958[nm=n[sm83[nm. Specialist
 in opera. Author ~of book on CG. Ed. (with E. Sackville-West) of ~[cf2]The Reco
rd Guide [cf1]([sm1951[nm, rev. [sm1955[nm with A. Porter ~and W. S. Mann; suppl
. [sm1956[nm). C.B.E. [sm1965[nm.[cm~Shawm[fy75,1] (from Lat. [cf2]calamus[cf1],
 `reed'; Eng. [cf2]shawm, ~shalm[cf1]; Fr. [cf2]chalemie[cf1], Ger. [cf2]schalme
i[cf1]). Woodwind ~instr., double-reeded forerunner of the ob., made ~in [sm7[nm
 sizes from sopranino to great bass, with keys. ~Some shawms were described as [
cf2]bombards[cf1]. Had ~piercing brilliance of tone, with great carrying ~power
outdoors. In Middle Ages, had broad cane ~reed controlled by player's lips. On l
argest sizes, ~reed was placed on end of crook (as in bn.); on ~smaller, it was
placed on a staple inside a [fy45,1]*[fy75,2]pirouette[cf1]. ~All shawms had a n
umber of vent-holes, placed ~between little-finger hole and end of bell. Modern
~reproductions have been made for perf. of early ~mus.[cm~Shched
rin, Rodion [fy75,1](Konstantinovich) ([cf2]b[cf1] Mos~~cow, [sm1932[nm). Russ.
comp. Studied Moscow Cons. ~[sm1950[nm=n[sm55[nm (comp. with Shaporin) and taugh
t comp. ~there [sm1964[nm=n[sm9[nm. Specialist in Russian folk mus. of ~the vari
ous regions. Some of his later works use ~Western [cf2]avant-garde[cf1] processe
s formerly frowned ~upon in Soviet Union. Prin. comps. incl. [sm2[nm syms. ~([sm
1958[nm and [sm1965[nm, the [sm2[nmnd subtitled [cf2][sm25[nm Preludes for ~Orch
estra[cf1]); [sm2[nm pf. concs.; [sm4[nm-act ballet [cf2]Little Hump-~Backed Hor
se[cf1] ([cf2]Konyok-gorbunok[cf1]) ([sm1959[nm); [sm3[nm-act opera ~[cf2]Not Lo
ve Alone[cf1] ([cf2]Ne tol'o linbov[cf1]) ([sm1961[nm); Conc. for ~Orch., No. [s
m1[nm, [cf2]Naughty Limericks[cf1] ([cf2]Ozornyye chas~~tushki[cf1]) ([sm1963[nm
); No. [sm2[nm, [cf2]Chimes[cf1] ([cf2]Zvon;aui[cf1]) ([sm1967[nm); [sm24[nm ~Pr
eludes and Fugues for pf. ([sm1963[nm=n[sm70[nm); oratorio ~[cf2]Poetoria[cf1],
for poet, woman's v., ch., and orch. ~([sm1968[nm); [sm1[nm-act
ballet [cf2]Carmen [cf1] ([sm1968[nm), transcr. from ~Bizet; [sm3[nm-act opera [
cf2]Anna Karenina[cf1] ([sm1972[nm); cantata ~[cf2]Lenin Lives [cf1]([cf2]Lenin
zhiryot[cf1]) ([sm1972[nm); songs, etc.[cm~Shcherbachov, Vladimir [fy75,1](Vladi
mirovich) ([cf2]b[cf1] ~Warsaw, [sm1889[nm; [cf2]d[cf1] Leningrad, [sm1952[nm).
Russ. com~~poser. Studied St Petersburg Cons. and with ~Lyadov. Prof. of comp. a
t Leningrad Cons. [sm1923[nm=n~[sm31[nm, and in Tbilisi [sm1931[nm=n[sm4[nm. Wro
te [sm5[nm syms., ~oratorios, opera, film mus., and pf. suite on poems ~by Alexa
nder Blok.[cm~Shebalin, Vissarion[fy75,1] ([cf2]b[cf1] Omsk, [sm1902[nm; [cf2]d[
cf1] Moscow, ~[sm1963[nm). Russ. composer. Studied Moscow Cons. ~with Myaskovsky
. Prof. of comp., Moscow Cons., ~[PN659,0,0,R,I0]from [sm1935[nm, dir. [sm1942[n
m=n[sm8[nm. Relieved of post in [sm1948[nm ~when, like Shostakovich and Prokofie
v, was ~condemned for [fy45,1]*[fy75,2]formalism[cf1]. Completed Mussorg~~sky's
opera [cf2]Sorochintsy Fair[cf1] [sm1930[nm. Wrote [sm5[nm syms.
 ~between [sm1925[nm and [sm1962[nm, choral symphonic poem ~[cf2]Lenin[cf1], ope
ra [cf2]The Taming of the Shrew[cf1] ([sm1946[nm=n[sm56[nm), ~vn. conc., hn. con
certino, [sm9[nm str. qts., pf. trio, pf. ~mus., and songs.[cm~Sheep may safely
graze[fy75,1] (Bach). See [cf2]Schafe k;auonnen ~sicher weiden.[cm~Sheherazade.
[fy75,1]([sm1[nm) Symphonic suite for orch., `after ~the Thousand and One Nights
' by Rimsky-~Korsakov, Op. [sm35[nm, comp, [sm1888[nm, f.p. St Petersburg, ~[sm1
889[nm.[ep~^([sm2[nm) [cf2]Sh;aaeh;aaerazade[cf1], ov. for orch. by Ravel, comp.
 ~[sm1898[nm, f.p. Paris [sm1899[nm, unpubd.[ep~^([sm3[nm) Song-cycle for v. and
 orch. by Ravel to poems ~by Tristan Klingsor (pseudonym of L;aaeon Lecl;agere),
 ~comp. [sm1903[nm, f.p. Paris [sm1904[nm. Songs are: [sm1[nm. [cf2]Asie[cf1] ~(
Asia), [sm2[nm. [cf2]La fl;afute enchant;aaee[cf1] (The magic flute), [sm3[nm. ~
[cf2]L`Indiff;aaerent[cf1] (The indifferent one).[cm~Shelley, Howard [fy75,1](Go
rdon) ([cf2]b[cf1] London, [sm1950[nm). ~Eng. pianist. Studied R
CM [sm1967[nm=n[sm71[nm and with H. ~Craxton, Kendall Taylor, Lamar Crowson, and
 ~Ilona Kabos. D;aaebut London [sm1971[nm, followed by ~int. career. Pf. duettis
t with wife, Hilary Macna~~mara, and recitalist with Malcolm Messiter (ob.) ~and
 Jane Manning (sop.). Has recorded [sm1[nm-pf. ~version of Vaughan Williams's co
nc.[cm~Shepherd, Arthur[fy75,1] ([cf2]b[cf1] Paris, Idaho, [sm1880[nm; [cf2]d[cf
1] ~Cleveland, [sm1958[nm). Amer. composer. Studied New ~England Cons., pupil of
 Chadwick. Teacher, Salt ~Lake City, [sm1897[nm=n[sm1908[nm and New England Cons
. ~[sm1908[nm=n[sm17[nm; assoc. cond. Cleveland Orch. [sm1920[nm=n[sm6[nm. ~Prof
. of mus., Western Reserve Univ., [sm1927[nm=n[sm50[nm. ~Works incl. [sm2[nm sym
s., [sm4[nm str. qts., pf. quintet, choral ~mus., vn. conc., [sm2[nm pf. sonatas
, etc.[cm~Shepherd Fennel's Dance. [fy75,1]Orch. piece by ~Balfour [fy45,1]*[fy7
5,1]Gardiner, [sm1910[nm, based on Hardy's story ~[cf2]The Three Strangers[cf1]
(from [cf1]Wessex Tales[cf1], [sm1888[nm).[cm~Shepherd, John[fy7
5,1] ([cf2]b c.[cf1][sm1515[nm; [cf2]d c.[cf1][sm1560[nm). Eng. ~composer and or
ganist. Organist, Magdalen Coll., ~Oxford, [sm1542[nm=n[sm3[nm and [sm1545[nm=n[
sm7[nm. Member of Chapel ~Royal in Mary's reign. Wrote [sm4[nm Masses, incl. ~[c
f2]Western Wynde Mass[cf1] and [cf2]French Mass[cf1], also [cf2]Haec ~dies[cf1],
 many motets, anthems, etc.[cm~Shepherd on the Rock, The[fy75,1] ([cf2]Der Hirt
auf dem ~Felsen[cf1]). Song by Schubert (Oct. [sm1828[nm, D[sm965[nm) for ~sop.
and pf. with cl. obbl., setting of words by ~M;auuller and H. von Ch;aaezy put t
ogether, presum~~ably, by the sop. Anna Milder who commissioned ~the song.[cm~Sh
epherds of the Delectable Mountains, The. ~[fy75,1]Pastoral episode in [sm1[nm a
ct by Vaughan Williams to ~his own lib. based on Bunyan's [cf2]The Pilgrim's ~Pr
ogress[cf1] ([sm1678[nm, [sm1684[nm). Prod. London [sm1922[nm. Incor~~porated, w
ith final section omitted, into morality ~[cf2]The [fy45,1]*[fy75,2]Pilgrim's Pr
ogress[cf1] ([sm1951[nm) as Scene [sm2[nm of Act IV.[cm~Sheppard
, Honor[fy75,1] ([cf2]b[cf1] Leeds, [sm1931[nm). Eng. sop. ~Studied RMCM. Member
 of Deller Consort. ~Specialist in Purcell and other mus. of [sm17[nmth and ~[sm
18[nmth cents.[cm~Shera, Frank [fy75,1](Henry)[cf1] ([cf2]b[cf1] Sheffield, [sm1
882[nm; [cf2]d[cf1] ~Sheffield, [sm1956[nm). Eng. teacher, writer, and com~~pose
r. Studied RCM and Cambridge Univ. Dir. ~of mus., Malvern Coll., [sm1916[nm=n[sm
28[nm; prof. of mus., ~Sheffield Univ., [sm1928[nm=n[sm48[nm. Wrote [cf2]Miniatu
re Sym~~phony[cf1], chamber mus., etc. Author of books on ~Debussy and Ravel ([s
m1925[nm) and Elgar ([sm1931[nm).[cm~Sheridan, Margaret[fy75,1] ([cf2]b[cf1] Cas
tlebar, [sm1889[nm; [cf2]d[cf1] Dublin, ~[sm1958[nm). Irish sop. Studied RAM and
 Milan. D;aaebut ~Rome [sm1918[nm as Mimi in [cf2]La Boh;ageme[cf1], CG [sm1919[
nm and ~[sm1925[nm=n[sm30[nm; Scala, Milan, [sm1921[nm=n[sm4[nm. Also sang with
~Chicago Opera.[cm~Sheriff, Noam[fy75,1] ([cf2]b[cf1] Ramat-Gan, Israel, [sm1935
[nm). Israeli ~composer. Studied Hebrew Univ., Jerusalem ~(philo
sophy) and at Berlin Hochschule f;auur Musik ~[sm1960[nm=n[sm2[nm (comp. with [f
y45,1]*[fy75,1]Blacher). Private study ~[sm1949[nm=n[sm57[nm with P. [fy45,1]*[f
y75,1]Ben-Haim. Founder and cond. ~Hebrew Univ. S.O. [sm1955[nm=n[sm9[nm. Teache
r of orchestra~~tion, Jerusalem Acad. of Mus. from [sm1966[nm and Tel ~Aviv Nat.
 Acad. from [sm1967[nm. Works incl. [cf2]Songs of ~Degrees[cf1], orch. ([sm1959[
nm); pf. sonata ([sm1962[nm); [cf2]Metamor~~phoses on a Galliard[cf1], orch. ([s
m1966[nm); [cf2]Chaconne[cf1], orch. ~([sm1968[nm); [cf2]Cain[cf1], choreog. dra
ma with elec. mus. on ~tape ([sm1969[nm); [cf2]Sonata[cf1], chamber orch. ([sm19
73[nm); str. qt. ~([sm1973[nm); harp quintet ([sm1975[nm=n[sm6[nm); [cf2]The Sto
ry of ~Deborah[cf1], choreog. movement for ch., brass, perc., ~synthesizers ([sm
1976[nm); va. sonata ([sm1976[nm).[cm~Sherlaw Johnson, Robert. [fy75,1]See [cf2]
Johnson, Robert ~Sherlaw.[cm~Sherman, Alec[fy75,1] ([cf2]b[cf1] London, [sm1907[
nm). Eng. cond. and ~violinist. Joined BBC S.O. as violinist, [s
m1930[nm. ~Founder and cond. New London Orch. from ~[sm1941[nm. Co-cond., SW Bal
let [sm1943[nm=n[sm5[nm. Cond. in ~Portugal and at weekly concerts at Cambridge
~Th., London, [sm1945[nm=n[sm9[nm. Husband of pianist Gina ~[fy45,1]*[fy75,1]Bac
hauer.[cm~Shield, William[fy75,1] ([cf2]b[cf1] Swalwell, Co. Durham, [sm1748[nm;
 ~[cf2]d[cf1] London, [sm1829[nm). Eng. composer, pupil of ~[fy45,1]*[fy75,1]Avi
son. Violinist in travelling orchs. and theatre ~cos. Giardini heard him at Scar
borough and ~advised him to go to London. Played in orch. at ~King's Th., Haymar
ket, [sm1773[nm=n[sm91[nm, first as violinist, ~then as prin. va. Wrote first op
era, [cf2]The Flitch of ~Bacon[cf1], in [sm1778[nm, the forerunner of [sm35[nm m
ore. In ~most of his operas about one-third of the mus. ~was borrowed or arr. fr
om other sources.In his ~first opera for CG, [cf2]Rosina[cf1] ([sm1782[nm), the
ov. ends ~with a tune orchestrated to suggest bagpipes ~which later became popul
ar as [cf2]Auld Lang Syne[cf1]. ~(He may well have heard the tun
e in Northum~~bria.) The song [cf2]The Plough Boy[cf1], often thought to ~be a f
olk-song and popularized in the [sm20[nmth cent. ~by [fy45,1]*[fy75,1]Pears and
[fy45,1]*[fy75,1]Britten, was comp. by Shield for ~[cf2]The Farmer[cf1] ([sm1787
[nm), with a piccolo solo as part of ~the acc. Master of the King's Mus. [sm1817
[nm=n[sm29[nm, ~composing in [sm1818[nm the last of Eng. court odes. ~[PN660,0,0
,L,I0]Comp. str. qts., str. trios, vn. duets, and wrote ~text-books on harmony (
[sm1800[nm) and thoroughbass ~([sm1815[nm).[cm~Shifrin, Seymour[fy75,1] ([cf2]b[
cf1] Brooklyn, NY, [sm1926[nm; [cf2]d[cf1] ~Boston, [sm1979[nm). Amer. composer.
 Studied comp. ~privately with W. Schuman, with O. Luening at ~Columbia Univ., a
nd with [fy45,1]*[fy75,1]Milhaud in Paris. ~Teacher at Univ. of Calif., Berkeley
, [sm1952[nm=n[sm66[nm ~(prof. of mus. from [sm1964[nm); and prof. of mus., ~Bra
ndeis Univ. from [sm1966[nm. Mus., in intensely ~chromatic style, uses highly co
ntrasted material. ~Works incl. [sm5[nm str. qts., chamber sym.,
 [cf2]Satires of ~Circumstance[cf1] (Hardy) for mez. and chamber ens., ~vc. sona
ta, etc.[cm~Shimizu, Osamu[fy75,1] ([cf2]b[cf1] Osaka, [sm1911[nm). Japanese ~co
mposer. Studied Tokyo Music Acad. On staff ~Tokyo Radio. Works incl. several ope
ras and ~ballets, [sm3[nm syms., [cf2]Olympic Hymn[cf1] [sm1964[nm, several ~can
tatas, chamber mus., and songs.[cm~Shinner, Emily[fy75,1] ([cf2]b[cf1] Cheltenha
m, [sm1862[nm; [cf2]d[cf1] London, ~[sm1901[nm). Eng. violinist, pupil of Joachi
m. D;aaebut ~London [sm1881[nm. Founded first all-female str. qt., ~[sm1887[nm.[
cm~Shirley, George [fy75,1](Irving) [cf1]([cf2]b[cf1] Indianapolis, [sm1934[nm).
 ~Amer. ten. Studied Wayne State Univ. D;aaebut ~with Turnau Opera Players, Wood
stock, NY, ~[sm1959[nm. Won Metropolitan Opera Auditions [sm1960[nm=n~[sm1[nm. N
Y Met. d;aaebut [sm1961[nm as Ferrando in [cf2]Cos;agi fan ~tutte[cf1], subseque
ntly opera perfs. in Buenos Aires ~[sm1964[nm, Glyndebourne [sm1966[nm (Tamino),
 CG and ~Scottish Opera (Pell;aaeas) [sm1967[nm, Netherlands Ope
ra ~and Monte Carlo [sm1976[nm. Noted singer of Pell;aaeas in ~Debussy's opera.[
cm~Shirley-Quirk, John [fy75,1](Stanton) ([cf2]b[cf1] Liverpool, ~[sm1931[nm). E
ng. bar. Studied Liverpool Univ. and ~with Roy Henderson. D;aaebut [sm1961[nm. N
oted Lieder ~singer and also active in opera. Created several ~roles in operas o
f Britten incl. all [sm7[nm bar. roles in ~[cf2]Death in Venice[cf1] ([sm1973[nm
). Has sung Eugene Onegin ~with Glyndebourne and in Henze's [cf2]Elegy for ~Youn
g Lovers[cf1] with Scottish Opera. NY Met. d;aaebut ~[sm1974[nm ([cf2]Death in V
enice[cf1]). Outstanding interpreter of ~choral works by Elgar, Tippett, Britten
, etc. C.B.E. ~[sm1975[nm.[cm~Shnitke [fy75,1](Schnitke, Schnittke), [fy65,3]Alf
red [fy75,1](Garriyev~~ich) ([cf2]b[cf1] Engels, USSR, [sm1934[nm). Russ. compos
er. ~Private lessons in Vienna [sm1946[nm=n[sm8[nm. Studied at ~Moscow Cons. [sm
1953[nm=n[sm61[nm, then teacher of counter~~point and comp. there [sm1961[nm=n[s
m72[nm. Also worked in ~Moscow Experimental Studio of Elec. Mus.
 ~Influenced by [sm12[nm-note composers, also by  Stock~~hausen, Cage, and Liget
i, but after [sm1966[nm gave ~dramatic, programmatic basis to his works, using ~
quotations and pastiche. Has written articles on ~aspects of Shostakovich's work
. Prin. works:[xm[cm~[j2][smopera[nm: [cf2]The [sm11[nmth Commandment [cf1]([cf2
]Odinnadtsataya ~Zapoved=+=+[cf1]) ([sm1962[nm).[ep~[smballets[nm: [cf2]The Laby
rinth [cf1]([cf2]Labirint;aui=+[cf1]) ([sm1971[nm); [cf2]Yellow ~Sound [cf1]([cf
2]Zhyolt;auiy zvuk=+[cf1]), mime, [sm9[nm musicians, tape, ~lighting ([sm1974[nm
).[ep~[smorch[nm: Syms. No. [sm1[nm ([sm1969[nm=n[sm72[nm), No. [sm2[nm ([cf2]St
 Florian[cf1]), ~chamber ch., and orch. ([sm1979[nm); Concertos, Pf. ~([sm1960[n
m), Vn. No. [sm1[nm ([sm1957[nm, rev. [sm1962[nm), No. [sm2[nm ([sm1966[nm), ~No
. [sm3[nm ([sm1978[nm), No. [sm4[nm ([sm1981[nm=n[sm2[nm), Ob. and hp. with ~str
. ([sm1970[nm); [cf2]Poem of the Cosmos[cf1] ([sm1961[nm); [cf2]Music for ~Chamb
er Orch[cf1]. ([sm1964[nm); [cf2]Music for Piano and ~Chamber Or
ch[cf1]. ([sm1964[nm); [cf2]Pianissimo [cf1]([sm1968[nm); [cf2]Concerto ~Grosso[
cf1], [sm2[nm vn., hpd., [sm21[nm str. ([sm1977[nm); [cf2]Passacaglia ~[cf1]([sm
1979[nm=n[sm80[nm).[ep~[smchoral[nm: [cf2]Nagasaki[cf1], oratorio, mez., ch., or
ch. ~([sm1958[nm); [cf2]Songs of War and Peace[cf1], cantata ([sm1959[nm); ~[cf2
]Voices of Nature[cf1], women's ch., vib. ([sm1972[nm); ~[cf2]Minnesang[cf1], fo
r [sm52[nm vv. ([sm1980[nm=n[sm1[nm); [cf2]`Seid N;auuchtern ~und Wachet . . .'
History of Dr Johann Faust[cf1], cantata, ~counterten., cont., ten., bass, ch.,
org., orch. ~([sm1982[nm).[ep~[smchamber music[nm: Str. Qts., No. [sm1[nm ([sm19
66[nm), No. [sm2[nm ~([sm1981[nm); Vn. sonatas, No. [sm1[nm ([sm1963[nm), No. [s
m2[nm ([sm1968[nm); ~[cf2]Dialogue[cf1], vc., fl., ob., cl., hn., tpt., pf., per
c. ~([sm1965[nm); [cf2]Serenade[cf1], cl., pf., perc., vn., db. ([sm1968[nm); ~[
cf2]Canon in memory of Stravinsky[cf1], str. qt. ([sm1971[nm); ~[cf2]Hymn[cf1],
vc., hp., timp. ([sm1974[nm); [cf2]Cantus perpetuus[cf1], ~hpd.,
 perc. ([sm1975[nm); [cf2]Prelude in memory of Shostakov~~ich[cf1], [sm2[nm vn.
([sm1975[nm); [cf2]Moz-Art ;aga la Haydn[cf1], [sm2[nm vn., [sm11[nm ~str. ([sm1
977[nm); vc. sonata ([sm1978[nm); Septet, fl., [sm2[nm cl., str. ~qt. ([sm1982[n
m); [cf2]Sound and Fury[cf1], perc., org. ([sm1983[nm).[ep~[smpiano[nm: [cf2]Pre
lude and Fugue [cf1]([sm1963[nm); [cf2]Improvisation and ~Fugue [cf1]([sm1965[nm
).[ep~[smorgan[nm: [cf2][sm2[nm Little Pieces [cf1]([sm1981[nm).[ep~[smtape[nm:
[cf2]The Stream [cf1]([cf2]Potok[cf1]) ([sm1969[nm).[cm~[j1]Shofar [fy75,1](Heb.
). Wind instr. made of ram's horn, ~used in Jewish synagogue rituals, sounding o
nly ~natural scale. Elgar employs it in [cf2]The Apostles[cf1] ~([sm1903[nm), si
mulated by brass.[cm~Shore, Bernard [fy75,1](Alexander Royle) ([cf2]b[cf1] Londo
n, ~[sm1896[nm). Eng. va.-player. Studied RCM (org. with ~Alcock, va. with Bent,
 comp. with Dunhill). ~Studies interrupted by war; on return to RCM ~studied va.
, hn. (with Borsdorf), and cond. (with ~Boult). Also had va. tui
tion from [fy45,1]*[fy75,1]Tertis. Joined ~Queen's Hall Orch. [sm1922[nm; d;aaeb
ut as soloist [sm1925[nm. ~Prin. va. BBC S.O. [sm1930[nm=n[sm40[nm. Prof. of va.
, RCM. ~Mus. dir., Rural Mus. Schools Assoc. Inspector of ~Schools and Staff Ins
pector, Ministry of Education ~[sm1948[nm=n[sm59[nm. Composer of vn. pieces and
songs. ~Author of notable character-studies of conds. in ~[cf2]The Orchestra Spe
aks[cf1] ([sm1938[nm), also of [cf2]Sixteen ~Symphonies[cf1] ([sm1949[nm). C.B.E
. [sm1955[nm.[cm~Short Octave [fy75,1]and [fy65][cf3]Broken Octave. [fy75,1]Devi
ces for ~avoiding expenditure on the lowest and biggest ~(and consequently most
costly) pipes of the organ, ~and as they were adopted also in domestic kbd. ~ins
trs. such as virginals, spinet, and clavichord, ~the economic motive probably op
erated in their ~case also.[ep~^([sm1[nm) Where the [smshort octave[nm device wa
s adopted ~the lowest octave incl. only [sm9[nm notes instead of [sm13[nm ~(C, D
, E, F, G, A, B;Yh, B, and C) and these were ~distributed over [
sm6[nm long finger-keys and [sm3[nm short ~ones, the omitted notes being those w
hich in the ~[PN661,0,0,R,I0]days before equal [fy45,1]*[fy75,1]temperament were
 not likely ~to be needed in the bass.[ep~^([sm2[nm) Where the [smbroken octave[
nm device was adopted ~the arrangement was generally the following or ~something
 like it. The lowest octave was complete ~from C to C, except that the lowest C;
Yi was ~replaced by a more useful note, the A from below. ~This device was still
 to be seen in some Eng. ~organs at the beginning of the [sm19[nmth cent.[cm~Sho
rt Score. [fy75,1]See [cf2]Score.[cm~Short Service. [fy75,1]See [cf2]Service.[xm
[cm~[ol0][ep~[xp[te~




[do35][j99]~~~~~~[sm1538421[nm_SB[sm5[nm[ep~[u1]~~~~[sm1538421[nm[cmConcise Oxfo
rd Dic~~tionary of Music[cmSB[sm5[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm15[nm-[sm10[nm-[
sm79[nm[cm[sm8[nm[cm[sm530[nm[cm~GC[cm3[cm7.8.84[cm~U1[cm~~~~[ap[j1]Shostakovich
, Dmitry [fy75,1](Dmitryevich) ([cf2]b[cf1] St Pe~~tersburg, [sm1906[nm; [cf2]d[
cf1] Moscow, [sm1975[nm). Russ. composer ~and pianist. Had pf. lessons from his
mother at ~age [sm9[nm and later at Glasser Sch. of Mus. [sm1916[nm=n[sm18[nm. ~
Entered Petrograd Cons. [sm1919[nm, encouraged and ~helped by Glazunov, and stud
ied pf. with ~Nikolayev and comp. with M. Steinberg. Com~~pleted pf. course in [
sm4[nm years and made several ~concert appearances. Gained `honourable men~~tion
' in Int. Chopin Comp., Warsaw, [sm1927[nm. His ~diploma work, the [sm1[nmst Sym
., was perf. in ~Leningrad and Moscow in [sm1926[nm and earned the ~composer wor
ld fame at the age of [sm20[nm. As a ~convinced believer in Russ. socialism, he
sought ~ways in which his mus. could serve the state. ~Prompted
by the cond. Malko, he wrote for the ~stage and films, in the next decade produc
ing his ~opera [cf2]The Nose[cf1], the ballets [cf2]The Age of Gold[cf1] and [cf
2]The ~Bolt[cf1], and several cinema scores. These works, ~particularly [cf2]The
 Nose[cf1], reflect the then-permitted ~influence of Western [cf2]avant-garde [c
f1]music. His opera[cf2] ~The Lady Macbeth of the Mtsensk District[cf1] and ball
et ~[cf2]Bright Stream[cf1] had both been successfully prod. ~when on [sm28[nm J
an. [sm1936[nm the opera was savagely ~attacked in the official Soviet newspaper
 [cf2]Pravda[cf1] ~for `leftist distortion', `petty-bourgeois sensation~~alism',
 and `formalism' in an article headed `Chaos ~instead of Music' ([cf2]Sumbur vme
sto muz=+=+yki[cf1]). This ~article is said to have been written by Stalin ~hims
elf, who had hated the opera. Another article ~attacking the ballet [cf2]Bright
Stream[cf1] appeared in ~[cf2]Pravda[cf1] [sm10[nm days later. It almost seemed
that ~Shostakovich's career was at an end, and he ~withdrew his
[sm4[nmth Sym. after initial rehearsals. His ~response was his [sm5[nmth Sym. ([
sm1937[nm), described by ~an unidentified commentator as `A Soviet artist's ~pra
ctical creative reply to just criticism', a work ~which became and has remained
one of his most ~popular. Significantly he avoided the stage for ~many years and
 between [sm1938[nm and [sm1953[nm wrote [sm5[nm ~more syms. and [sm4[nm str. qt
s. He taught comp. at ~Leningrad Cons. [sm1937[nm=n[sm41[nm and was a fire-fight
er ~during Ger. siege of Leningrad in [sm1941[nm. From ~these experiences came h
is [sm7[nmth Sym. (the [cf2]Lenin~~grad[cf1]), which had a tremendous wartime su
ccess ~not only in USSR but in Eng. and USA. His pf. ~quintet ([sm1940[nm) won t
he Stalin Prize. In [sm1943[nm he ~settled in Moscow, becoming prof. of comp. at
 ~the Cons. In [sm1948[nm, with other leading Russ. ~composers, he was again in
disgrace following ~the notorious Zhdanov decree against [fy45,1]*[fy75,1]`forma
l~~ism' and `anti-people art'. He was relieved of his ~Moscow pr
ofessorship and did not resume the ~post until [sm1960[nm. He made an official r
ecantation, ~but his published works from [sm1948[nm to [sm1953[nm ~(when Stalin
 died) were chiefly film music and ~patriotic cantatas, exceptions being the [cf
2][sm24[nm Preludes ~and Fugues[cf1] for pf. The first Vn. Conc. ([sm1947[nm=n[s
m8[nm, ~rev. [sm1955[nm), the [sm4[nmth str. qt., and the song-cycle ~[cf2]From
Jewish Folk Poetry[cf1] were all withheld from ~performance until after Stalin's
 death, and the ~arrival, under Khruschev, of a relatively and ~temporarily more
 liberal political and cultural ~climate.[ep~^In [sm1953[nm the [sm10[nmth Sym.
appeared, a masterpiece ~which is one of several highly personal works ~using th
e motif DSCH (based on the initials of ~his name). This sym. inaugurates the gre
at final ~period of his career, [sm22[nm years in which he comp. ~some of his fi
nest mus.=mthe [sm10[nmth to [sm15[nmth Syms., ~the [sm6[nmth to [sm15[nmth str.
 qts., [sm2[nm vc. concs., [cf2]The Execution ~of Stepan Razin[c
f1] to a text by the poet Yevtushenko, ~the [sm2[nmnd vn. conc., the vn. and va.
 sonatas, and the ~[cf2]Suite on Verses of Michelangelo[cf1]. He visited England
 ~in [sm1958[nm and [sm1974[nm, becoming a close friend and ~admirer of [fy45,1]
*[fy75,1]Britten. In [sm1969[nm he had a severe heart ~attack and was in fragile
 health thereafter.[ep~^Many consider that Shostakovich is the greatest ~[sm20[n
mth-cent. composer. In his [sm15[nm syms., [sm15[nm qts., and ~in other works he
 demonstrated mastery of the ~largest and most challenging forms with mus. of ~g
reat emotional power and technical invention. ~Nearly all the significant featur
es of his mus. are ~present in the [sm1[nmst Sym.: sectionalized structures, ~wi
th themes built up into a mosaic, and frequent ~use of solo instr. in their high
est and lowest ~registers. All his works are marked by emotional ~extremes=mtrag
ic intensity, grotesque and bizarre ~wit, humour, parody, and savage sarcasm. He
 ~frequently uses quotation, of himself and others. ~After his i
llness his mus. seemed preoccupied ~with death, and the great final works have a
n ~extraordinary and alarming power and tension. ~His admiration for, and knowle
dge of, Mahler is ~evident in his symphonic works, and he follows ~the Mahlerian
 precedent of juxtaposing the banal ~and the sublime. His student days in the de
cade ~following the Revolution were a time of compar~~ative liberalism in Lening
rad and it is evident ~from his [sm1[nmst Sym. that he had studied the Western ~
[cf2]avant-garde[cf1] of the time (Berg, Hindemith, and ~K;Akrenek). The influen
ce of Berg's [cf2]Wozzeck[cf1], perf. ~in Leningrad, [sm1927[nm, may be discerne
d in the [cf2]Lady ~Macbeth[cf1] opera, No one can know whether ~Shostakovich be
came disillusioned with the ~Soviet system and whether the intensifying ~darknes
s and bitterness of his work reflects a ~spiritual misery connected with externa
l events ~(his attributed memoirs, published in the West ~in [sm1979[nm, suggest
 that he was and it does). What is ~certain is that the tensions
 within him, whatever ~their cause, produced a succession of masterpieces. ~Prin
. works:[xm[cm~[PN662,0,0,L,I0][j2][smoperas[nm: [fy75,2]The [fy45,1]*[fy75,2]No
se [cf1]([cf2]Nos[cf1]), Op. [sm15[nm ([sm1927[nm=n[sm8[nm); [cf2]The ~Lady Macb
eth of the Mtsensk District[cf1] ([cf2]Ledi Makbet ~Mtsenskovo uyezda[cf1]), Op.
 [sm29[nm ([sm1930[nm=n[sm2[nm) rev. [sm1956[nm ~as [fy45,1]*[fy75,2]Katerina Iz
maylova[cf1], Op. [sm29[nm/[sm114[nm; [cf2]Moscow, ~Cheryomushki[cf1], musical c
omedy (ov. and [sm39[nm nos.), ~Op. [sm105[nm ([sm1958[nm); [cf2]The [fy45,1]*[f
y75,2]Gamblers[cf1] ([cf2]Igroki[cf1]), Op. [sm63[nm ~unfinished ([sm1941[nm; co
ncert perf. Leningrad ~[sm1978[nm).[ep~[smballets[nm: [cf2]The [fy45,1]*[fy75,2]
Age of Gold[cf1] ([cf2]Zolotoy vek[cf1]), Op. [sm22[nm ~([sm1927[nm=n[sm30[nm);
[cf2]The [fy45,1]*[fy75,2]Bolt [cf1]([cf2]Bolt[cf1]), Op. [sm27[nm ([sm1930[nm=n
[sm1[nm); ~[cf2]Bright Stream[cf1] ([cf2]Svetytoly ruchey[cf1]), Op. [sm39[nm ([
sm1934[nm=n[sm5[nm); ~[cf2]The Dreamers[cf1], mus. drawn chiefly
 from [cf2]The Age ~of Gold[cf1] and [cf2]The Bolt[cf1], with some new material
~([sm1975[nm).[ep~[smorch.[nm: (except for syms. and concs., listed ~separately)
:[cf2] Scherzo[cf1] in F;Yi minor, Op. [sm1[nm ([sm1919[nm); ~[cf2]Theme with Va
riations[cf1], Op. [sm3[nm ([sm1921[nm=n[sm2[nm); [cf2]Scherzo [cf1]in ~E;Yh, Op
. [sm7[nm ([sm1924[nm); [cf2]Prelude and Scherzo[cf1] for str. ~octet or str. or
ch., Op. [sm11[nm ([sm1924[nm=n[sm5[nm); [cf2]Tahiti Trot[cf1] ~([fy45,1]*[fy75,
1]Tea for Two), Op. [sm16[nm ([sm1928[nm); [cf2][sm2[nm Scarlatti Pieces[cf1], ~
transcr. for wind, Op. [sm17[nm ([sm1928[nm); [cf2]Suite, Age of ~Gold[cf1], Op.
 [sm22[nma ([sm1929[nm=n[sm32[nm); [cf2]Suite, The Bolt[cf1] ([cf2]Ballet ~Suite
[cf1] No. [sm5[nm), Op. [sm27[nma ([sm1931[nm); [cf2]Suite, Golden ~Mountains[cf
1], Op. [sm30[nma ([sm1931[nm); [fy45,1]*[fy75,2]Hamlet[cf1], suite of [sm13[nm
~movements, for small orch., Op. [sm32[nma ([sm1932[nm); ~[cf2]Suite for Jazz Or
ch[cf1]., No. [sm1[nm ([sm1934[nm), No. [sm2[nm ([sm1938[nm); [c
f2][sm5[nm ~Fragments[cf1], for small orch., Op. [sm42[nm ([sm1935[nm); ~[cf2]Fr
agments from Maxim Film-Trilogy[cf1] (assembled ~by L. Atoumian), Op. [sm50[nma
([sm1938[nm, [sm1961[nm); [cf2]Suite ~from Pirogov[cf1] (assisted by Atoumian),
Op. [sm76[nma ~([sm1947[nm); [cf2]Suite from Young Guards[cf1] (assisted by ~Ato
umian), Op. [sm75[nma ([sm1947[nm=n[sm8[nm, [sm1951[nm); [cf2]Suite from ~Meetin
g on the Elbe[cf1], Op. [sm80[nma ([cf2]c.[cf1][sm1948[nm); Ballet Suite ~No. [s
m1[nm ([sm1949[nm), No. [sm2[nm ([sm1951[nm), No. [sm3[nm ([sm1952[nm), No. [sm4
[nm ~([sm1953[nm); [cf2]Fragments from The Memorable Year [sm1919[nm[cf1] ~(assi
sted by Atoumian), Op. [sm89[nma ([sm1951[nm, ?[sm1955[nm); ~[cf2]Festival Overt
ure[cf1], Op. [sm96[nm ([sm1954[nm); [cf2]Fragments from ~The Gadfly[cf1] (assis
ted by Atoumian), Op. [sm97[nma ~([sm1955[nm); [cf2]Suite in [sm5[nm scenes from
 Katerina Izmaylova[cf1] ~([sm1956[nm); [cf2]Novorossiysk Chimes[cf1] ([sm1960[n
m); [cf2]Suite from [sm5[nm ~Days, [sm5[nm Nights[cf1] (assisted
 by Atoumian), Op. [sm111[nma ~([sm1961[nm); [cf2]Overture on Russian and Kirghi
z Folk ~Themes[cf1], Op. [sm115[nm ([sm1963[nm); [cf2]Suite from Hamlet[cf1] (fi
lm ~mus.) (assisted by Atoumian), Op. [sm116[nma ([sm1964[nm); ~[cf2]Chamber Sym
phony[cf1] (arr. of [sm8[nmth Str. Qt. for str. by ~Barshay); [cf2]Symphony for
Strings[cf1] (arr. of [sm10[nmth Str. ~Qt.); [cf2]Funeral-Triumphal Prelude[cf1]
, Op. [sm130[nm ([sm1967[nm); ~[cf2]October[cf1], symphonic poem, Op. [sm131[nm
([sm1967[nm).[ep~[smsymphonies[nm: No. [sm1[nm in F minor, Op. [sm10[nm ([sm1924
[nm=n[sm5[nm), ~f.p. Leningrad, cond. Malko, [sm1926[nm; No. [sm2[nm in B ~major
 ([cf2]October[cf1]) with ch. (text by A. Bezymen~~sky), Op. [sm14[nm ([sm1927[n
m), f.p. Leningrad, cond. Malko, ~[sm1927[nm; No. [sm3[nm in E;Yh ([cf2]First of
 May[cf1]) with ch. (text ~by S. Kirsanov[cf1]), Op. [sm20[nm ([sm1929[nm), f.p.
 Leningrad, ~cond. A. Gauk, [sm1930[nm; No. [sm4[nm in C minor, Op. [sm43[nm ~([
sm1935[nm=n[sm6[nm) (withdrawn during rehearsal), f.p. ~Moscow,
cond. Kondrashin, [sm1961[nm; No. [sm5[nm in D ~minor ([cf2]A [fy45,1]*[fy75,2]S
oviet Artist's Practical Creative Reply ~to Just Criticism[cf1]), Op. [sm47[nm (
[sm1937[nm), f.p. Leningrad, ~cond. Mravinsky, [sm1937[nm; No. [sm6[nm in B mino
r, Op. ~[sm54[nm ([sm1939[nm), f.p. Leningrad, cond. Mravinsky, ~[sm1939[nm; No.
 [sm7[nm in C major ([fy45,1]*[fy75,2]Leningrad[cf1]), Op. [sm60[nm ~([sm1941[nm
), f.p. Kuibyshev, cond. S. Samosud, [sm1942[nm; ~No. [sm8[nm in C minor, Op. [s
m65[nm ([sm1943[nm), f.p. Moscow, ~cond. Mravinsky, [sm1943[nm; No. [sm9[nm in E
;Yh, Op. [sm70[nm ~([sm1945[nm), f.p. Leningrad, cond. Mravinsky, [sm1945[nm; ~N
o. [sm10[nm in E minor, Op. [sm93[nm ([sm1953[nm), f.p. Leningrad, ~cond. Mravin
sky, [sm1953[nm; No. [sm11[nm in G minor ([cf2]The ~Year [sm1905[nm[cf1]), Op. [
sm103[nm ([sm1957[nm), f.p. Moscow, cond. ~N. Rachlin, [sm1957[nm; No. [sm12[nm
in D minor ([cf2][sm1917[nm[cf1]), ~Op. [sm112[nm ([sm1961[nm), f.p. Moscow, con
d. Kondrashin, ~[sm1961[nm; No. [sm13[nm in B;Yh minor ([fy45,1]
*[fy75,2]Babi-Yar[cf1]), Op. [sm113[nm, ~for bass, bass ch., and orch. (poems by
 Y. ~Yevtushenko) ([sm1962[nm), f.p. Moscow, V. Gromad~~sky (bass), cond. Kondra
shin, [sm1962[nm; No. [sm14[nm, for ~sop., bass, str., and perc., Op. [sm135[nm
([sm11[nm poems by ~Lorca, Apollinaire, K;Auuchelbecker, and Rilke) ~([sm1969[nm
), f.p. Leningrad, G. Vishnevskaya (sop.), ~M. Reshetin (bass), cond. Barshay, [
sm1969[nm; No. [sm15[nm ~in A major, Op. [sm141[nm ([sm1971[nm), f.p. Moscow, co
nd. ~M. Shostakovich, [sm1972[nm.[ep~[smconcertos[nm: Pf.: No. [sm1[nm in C mino
r, pf., tpt., str., ~Op. [sm35[nm ([sm1933[nm), No. [sm2[nm in F, Op. [sm102[nm
([sm1957[nm); Vn.: ~No. [sm1[nm in A minor, Op. [sm77[nm ([sm1947[nm=n[sm8[nm, f
.p. [sm1955[nm and ~orig. pubd. as Op. [sm99[nm), No. [sm2[nm in C;Yi minor, Op.
 ~[sm129[nm ([sm1967[nm); Vc.: No. [sm1[nm in E;Yh, Op. [sm107[nm ([sm1959[nm),
~No. [sm2[nm in G, Op. [sm126[nm ([sm1966[nm).[ep~[smsolo voice[nm([sms[nm) [sma
nd orch[nm:[cf2] [sm2[nm Fables of Krylov[cf1], Op. [sm4[nm, ~me
z. (also with pf., [sm1922[nm); [cf2]Suite, The Nose[cf1], Op. ~[sm15[nma, ten.,
 bar. ([sm1927[nm=n[sm8[nm); [cf2][sm6[nm Romances on Words by ~Japanese Poets[c
f1], Op. [sm21[nm, ten. ([sm1928[nm=n[sm32[nm); [cf2][sm8[nm English ~and Americ
an Folksongs[cf1], low v. ([sm1944[nm); [cf2]From ~Jewish Folk-Poetry[cf1], Op.
[sm79[nm, sop., cont., ten. ([sm1963[nm) ~(with pf. [sm1948[nm); [cf2][sm7[nm Ro
mances on Poems of Alexander ~Blok[cf1], Op. [sm127[nm, suite for sop. and pf. t
rio ([sm1967[nm); ~[cf2][sm6[nm Romances on Verses of English Poets[cf1], Op. [s
m140[nm, ~bass ([sm1971[nm) (with pf., Op. [sm62[nm, [sm1942[nm); [cf2][sm6[nm P
oems of ~Marina Tsvetayeva[cf1], Op. [sm143[nma, cont. ([sm1973[nm), (with ~pf.,
 Op. [sm143[nm, [sm1973[nm); [cf2]Suite on Verses of [fy45,1]*[fy75,2]Michelan~~
gelo Buonarroti[cf1], Op. [sm145[nma, bass, [sm1974[nm (with pf., ~Op. [sm145[nm
, [sm1974[nm).[ep~[smchorus and orch.[nm (excl. syms.): [cf2]Poem of the ~Mother
land[cf1], cantata, Op. [sm74[nm, mez., ten., [sm2[nm bar., ~bas
s soloists ([sm1947[nm); [cf2]The Song of the Forests[cf1], ~oratorio, Op. [sm81
[nm, ten., bass soloists, and children's ~ch. ([sm1949[nm); [cf2]The Sun Shines
over our Motherland[cf1], ~cantata, Op. [sm90[nm, with children's ch. ([sm1952[n
m); ~[cf2]Fragments from the [sm1[nmst Echelon[cf1], Op. [sm99[nma ([sm1956[nm);
 ~[cf2]The [fy45,1]*[fy75,2]Execution of Stepan Razin [cf1]([cf2]Kazn' Stepana ~
Razina[cf1]), cantata, Op. [sm119[nm, bass soloist ([sm1964[nm).[ep~[smunacc. ch
orus[nm: [cf2][sm10[nm Poems on Texts by Revolutionary ~Poets[cf1], SATB, Op. [s
m88[nm ([sm1951[nm); [cf2][sm2[nm Russian Folksong ~Adaptations[cf1], SATB, Op.
[sm104[nm ([sm1957[nm); [cf2]Loyalty[cf1], [sm8[nm ~ballads for male ch., Op. [s
m136[nm ([sm1970[nm).[ep~[smvoice and piano[nm: [cf2][sm2[nm Fables of Krilov[cf
1], Op. [sm4[nm, mez. ~([sm1922[nm); [cf2][sm4[nm Romances on Verses of Pushkin[
cf1], Op. [sm46[nm, ~bass ([sm1936[nm); [cf2][sm6[nm Romances on Verses of Engli
sh Poets[cf1], ~Op. [sm62[nm, bass ([sm1942[nm); [cf2]Vow of the
 People's Commissar[cf1], ~bass and ch. ([sm1942[nm); [cf2][sm2[nm Songs[cf1] (t
exts by Svetlov), ~Op. [sm72[nm ([sm1945[nm); [cf2]Homesickness[cf1] ([sm1948[nm
, arr. by ~composer [sm1956[nm); [cf2]From Jewish Folk-Poetry[cf1], Op. [sm79[nm
, ~sop., cont., ten. ([sm1948[nm); [cf2][sm2[nm Romances on Verses by ~Lermontov
[cf1], Op. [sm84[nm, male v. ([sm1950[nm); [cf2][sm4[nm Songs to ~words by Dolma
tovsky[cf1], Op. [sm86[nm ([sm1951[nm); [cf2][sm4[nm Mono~~logues on Verses of P
ushkin[cf1], Op. [sm91[nm, bass ([sm1952[nm); [cf2][sm5[nm ~Romances (Songs of o
ur Days)[cf1], Op. [sm98[nm, bass ([sm1954[nm); ~[PN663,0,0,R,I0][cf2][sm6[nm Sp
anish Songs[cf1], Op. [sm100[nm, sop. ([sm1956[nm); [cf2]Satires ~(Pictures of t
he Past), [sm5[nm Romances[cf1], Op. [sm109[nm, sop. ~([sm1960[nm); [cf2][sm5[nm
 Romances on texts from Krokodil Maga~~zine[cf1], Op. [sm121[nm, bass ([sm1965[n
m); [cf2]Preface to the Complete ~Collection of my Works, and Brief Reflections
apropos ~this Preface[cf1], Op. [sm123[nm, bass ([sm1966[nm); [c
f2]Spring, Spring[cf1] ~(Pushkin), Op. [sm128[nm, bass ([sm1967[nm); [cf2][sm6[n
m Poems of ~Marina Tsvetayeva[cf1], Op. [sm143[nm, cont. ([sm1973[nm); [cf2]Suit
e ~on Verses of [fy45,1]*[fy75,2]Michelangelo Buonarroti[cf1], Op. [sm145[nm, ~b
ass ([sm1974[nm); [cf2][sm4[nm Verses of Capitan Lebyadkin[cf1], Op. ~[sm146[nm,
 bass (texts by Dostoyevsky) ([sm1974[nm).[ep~[smchamber music[nm: Str. Qts.: No
. [sm1[nm in C, Op. [sm49[nm ~([sm1938[nm), No. [sm2[nm in A, Op. [sm68[nm ([sm1
944[nm), No. [sm3[nm in F, ~Op. [sm73[nm ([sm1946[nm), No. [sm4[nm in D, Op. [sm
83[nm ([sm1949[nm. also ~arr. for [sm2[nm pf. by composer), No. [sm5[nm in B;Yh,
 Op. [sm92[nm ~([sm1953[nm), No. [sm6[nm in G, Op. [sm101[nm ([sm1956[nm), No. [
sm7[nm in F;Yi ~minor, Op. [sm108[nm ([sm1960[nm), No. [sm8[nm in C minor, Op. ~
[sm110[nm ([sm1960[nm, arr. for str. orch. by Barshay as ~[cf2]Chamber Symphony[
cf1]), No. [sm9[nm in E;Yh, Op. [sm117[nm ([sm1964[nm), ~No. [sm10[nm in A;Yh, O
p. [sm118[nm ([sm1964[nm, arr. for str. orch. ~by Barshay as [cf
2]Symphony for Strings[cf1]), No. [sm11[nm in F ~minor, Op. [sm122[nm ([sm1966[n
m), No. [sm12[nm in D;Yh, Op. [sm133[nm ~([sm1968[nm), No. [sm13[nm in B;Yh mino
r, Op. [sm138[nm ([sm1970[nm), No. ~[sm14[nm in F;Yi major, Op. [sm142[nm ([sm19
72[nm=n[sm3[nm), No. [sm15[nm in E;Yh ~minor, Op. [sm144[nm ([sm1974[nm); Pf. Tr
io No. [sm1[nm, Op. [sm8[nm ~([sm1923[nm), No. [sm2[nm in E minor, Op. [sm67[nm
([sm1944[nm); [cf2][sm2[nm Pieces ~[cf1]([cf2]Prelude and Scherzo[cf1]) for str.
 octet, Op. [sm11[nm ([sm1924[nm=n~[sm5[nm); Pf. Quintet in G minor, Op. [sm57[n
m ([sm1940[nm).[ep~[smpiano[nm: Sonatas: No. [sm1[nm, Op. [sm12[nm ([sm1926[nm),
 No. [sm2[nm in B ~minor, Op. [sm61[nm ([sm1942[nm); [cf2][sm8[nm Preludes[cf1],
 Op. [sm2[nm ([sm1919[nm=n~[sm20[nm); [cf2][sm5[nm Preludes[cf1] ([sm1920[nm=n[s
m1[nm); [cf2][sm3[nm Fantastic Dances[cf1], Op. ~[sm5[nm ([sm1922[nm); [cf2][sm1
0[nm Aphorisms[cf1], Op. [sm13[nm ([sm1927[nm); [cf2]Polka[cf1] ([cf2]Age ~of Go
ld[cf1]) ([sm1935[nm, arr. for [sm4[nm hands [sm1962[nm); [cf2][
sm24[nm Preludes[cf1], ~Op. [sm34[nm ([sm1932[nm=n[sm3[nm) (No. [sm14[nm, orch.
Stokowski); ~[cf2]Children's Notebook[cf1], Op. [sm69[nm ([sm1944[nm=n[sm5[nm);
[cf2][sm24[nm Preludes ~and Fugues[cf1], Op. [sm87[nm ([sm1950[nm=n[sm1[nm); [cf
2][sm7[nm Dances of the Dolls[cf1] ~([sm1952[nm=n[sm62[nm).[ep~[sm2[nm [smpianos
[nm: [cf2]Suite[cf1] in F;Yi minor, Op. [sm6[nm ([sm1922[nm); [cf2]Polka ~[cf1](
[cf2]Age of Gold[cf1]) ([sm1962[nm); [cf2]Prelude and Fugue[cf1] No. [sm15[nm ~f
rom Op. [sm87[nm (?[sm1963[nm); [cf2]Concertino[cf1], Op. [sm94[nm ([sm1953[nm);
 ~[cf2]Tarantella from The Gadfly[cf1] (?[sm1963[nm).[ep~[smincidental music for
 plays[nm: [cf2]The Flea [cf1]([cf2]Klop[cf1]) ~(Mayakovsky), Op. [sm19[nm ([sm1
929[nm); [cf2]Rule Britannia! ~[cf1](Pyotrovsky), Op. [sm28[nm ([sm1931[nm); [fy
45,1]*[fy75,2]Hamlet[cf1] (Shakes~~[chpeare), Op. [sm32[nm ([sm1931[nm=n[sm2[nm)
; [cf2]The Human Comedy[cf1] ~(Sukotkin, after Balzac), Op. [sm37[nm ([sm1933[nm
=n[sm4[nm); [cf2]Salute ~to Spain[cf1] (Apinogenov), Op. [sm44[n
m ([sm1936[nm); [cf2]King Lear[cf1] ~(Shakespeare), Op. [sm58[nma ([sm1940[nm).[
ep~[smfilm music[nm: [cf2]New Babylon[cf1], Op. [sm18[nm ([sm1928[nm, score ~mis
sing: suite reconstructed by [fy45,1]*[fy75,1]Rozhdestven~~sky, [sm1976[nm); [cf
2]Alone[cf1], Op. [sm26[nm ([sm1930[nm=n[sm1[nm); [cf2]Golden ~Mountains[cf1], O
p. [sm30[nm ([sm1931[nm, lost, new version ~[sm1936[nm); [cf2]Encounter[cf1], Op
. [sm33[nm ([sm1932[nm); [cf2]Love and Hate[cf1], ~Op. [sm38[nm ([sm1934[nm); [c
f2]Maxim's Youth[cf1] ([cf2]The Bolshevik[cf1]), Op. ~[sm41[nm (i) ([sm1934[nm=n
[sm5[nm); [cf2]Girl Companions[cf1], Op. [sm41[nm (ii) ~([sm1934[nm=n[sm5[nm); [
cf2]The Tale of the Priest and his worker ~Balda[cf1], Op. [sm36[nm ([sm1936[nm,
 not released); [cf2]Maxim's ~Return[cf1], Op. [sm45[nm ([sm1936[nm=n[sm7[nm); [
cf2]Volochayev Days[cf1], Op. ~[sm48[nm ([sm1936[nm=n[sm7[nm); [cf2]Vyborg Distr
ict[cf1], Op. [sm50[nm ([sm1938[nm); ~[cf2]Friends[cf1], Op. [sm51[nm ([sm1938[n
m); [cf2]The Great Citizen[cf1] ([cf2]Part I[cf1]), ~Op. [sm52[n
m ([sm1938[nm); [cf2]Man at Arms, [cf1]Op. [sm53[nm ([sm1938[nm); [cf2]The ~Grea
t Citizen[cf1] ([cf2]Part II[cf1]), Op. [sm55[nm ([sm1939[nm); [cf2]Zoya[cf1], O
p. ~[sm64[nm ([sm1944[nm); [cf2]Simple Folk[cf1], Op. [sm71[nm ([sm1945[nm); [cf
2]Pirogov[cf1], ~Op. [sm76[nm ([sm1947[nm); [cf2]Young Guards[cf1], Op. [sm75[nm
 ([sm1947[nm=n[sm8[nm); ~[cf2]Michurin[cf1], Op. [sm78[nm ([sm1948[nm); [cf2]Mee
ting on the Elbe[cf1], Op. ~[sm80[nm ([sm1948[nm); [cf2]The Fall of Berlin[cf1],
 Op. [sm82[nm ([sm1949[nm); ~[cf2]Belinsky[cf1], Op. [sm85[nm ([sm1950[nm); [cf2
]The Memorable Year ~[sm1919[nm[cf1], Op. [sm89[nm ([sm1951[nm); [cf2]Song of a
Great River[cf1], Op. ~[sm95[nm ([sm1954[nm); [cf2]The Gadfly[cf1], Op. [sm97[nm
 ([sm1955[nm); [cf2]The [sm1[nmst ~Echelon[cf1], Op. [sm99[nm ([sm1956[nm); [cf2
]Five Days=mFive Nights[cf1], ~Op. [sm111[nm ([sm1960[nm); [cf2]Cheryomushki[cf1
] ([sm1962[nm); [fy45,1]*[fy75,2]Hamlet[cf1], ~Op. [sm116[nm (Shakespeare, trans
. Pasternak, [sm1963[nm=n~[sm4[nm); [cf2]A Year Like a Life[cf1]
, Op. [sm120[nm ([sm1965[nm); [cf2]Sofya ~Perovoskaya[cf1], Op. [sm132[nm ([sm19
67[nm); [fy45,1]*[fy75,2]King Lear[cf1], Op. ~[sm137[nm ([sm1970[nm).[ep~[smarrs
. of other composers[nm: Scarlatti: [cf2][sm2[nm Scarlatti ~Pieces[cf1] for wind
 orch., Op. [sm17[nm ([sm1928[nm); Mussorgsky: ~[fy45,1]*[fy75,2]Boris Godunov[c
f1], re-orch., Op. [sm58[nm ([sm1939[nm=n[sm40[nm, f.p. ~[sm1959[nm); [fy45,1]*[
fy75,2]Khovanshchina[cf1], ed. and orch., Op. [sm106[nm, ~([sm1959[nm, for film
version, f. stage p. [sm1960[nm), [fy45,1]*[fy75,2]Songs ~and Dances of Death[cf
1] (orch. [sm1962[nm); Davidenko ~([sm1899[nm=n[sm1934[nm): [cf2][sm2[nm Choruse
s,[cf1] arr. for ch. and orch., ~Op. [sm124[nm ([sm1962[nm); Schumann: vc. conc.
, re-orch. ~([sm1963[nm); Youmans: [fy45,1]*[fy75,2] Tea for Two[cf1], orch. as
[cf2]Tahiti ~Trot[cf1], Op. [sm16[nm ([sm1928[nm).[cm~[j1]Shostakovich, Maxim[fy
75,1] ([cf2]b [cf1]Leningrad, [sm1938[nm). Russ. ~cond. and pianist, son of Dmit
ry [fy45,1]*[fy75,1]Shostakovich. ~Studied Leningrad Cons. and p
rivately (cond.) ~with Gauk and [fy45,1]*[fy75,1]Rozhdestvensky. D;Aaebut, Mosco
w ~S.O. [sm1965[nm. Toured Europe, Japan, USA, and ~Mexico. London concert d;aae
but [sm1968[nm (LPO). Prin. ~cond., USSR Radio and TV S.O. from [sm1971[nm. D;aa
ebut ~as opera cond., London [sm1979[nm ([cf2]The [fy45,1]*[fy75,2]Nose[cf1]). C
ond. ~f.ps. of D. Shostakovich's [cf2]October[cf1], [sm1967[nm, Sym. No. ~[sm15[
nm, [sm1972[nm, and [cf2]Suite on Verses of Michelangelo[cf1] (orch. ~version),
[sm1975[nm. Solo pf. in f.p. of Pf. Conc. No. [sm2[nm, ~[sm1957[nm. Cond. of man
y recordings of his father's ~works. Settled in USA [sm1981[nm.[cm~Shropshire La
d, A. [fy75,1]Book of poems by A. E. ~Housman ([sm1859[nm=n[sm1936[nm) pubd. [sm
1896[nm which had ~profound influence on many Eng. composers. ~Settings of the p
oems (to the poet's dislike) by, ~among others, Vaughan Williams ([cf2]On Wenloc
k ~Edge, Along the Field[cf1]), John [fy45,1]*[fy75,1]Ireland ([cf2]Land of Lost
 ~Content[cf1]), Ivor [fy45,1]*[fy75,1]Gurney, Graham [fy45,1]*[
fy75,1]Peel, [fy45,1]*[fy75,1]Somer~~vell, Frank Lambert, C. W. [fy45,1]*[fy75,1
]Orr, and George ~[fy45,1]*[fy75,1]Butterworth. Butterworth's song-cycle retaine
d ~the name [cf2]A Shropshire Lad[cf1], and he later based an ~orch. rhapsody ([
sm1913[nm) of the same title on a theme ~from the song [cf2]Loveliest of trees.[
cm~Shrubsole, William[fy75,1] ([cf2]b[cf1] Canterbury, [sm1760[nm; [cf2]d[cf1] ~
London, [sm1806[nm). Eng. composer and organist. ~Organist, Bangor Cath. [sm1782
[nm=n[sm4[nm and Lady Hun~~tingdon's Chapel, Clerkenwell, [sm1784[nm=n[sm1806[nm
. ~Wrote hymn-tune [cf2]Miles Lane[cf1] (pubd. anony~~mously [sm1799[nm), sung t
o words `All hail the power ~of Jesu's name' by E. Perronet ([sm1762[nm=n[sm92[n
m), and ~others. Subject of famous essay ([sm1943[nm) by Vaughan ~Williams.[cm~S
huard, Amy[fy75,1] ([cf2]b[cf1] London, [sm1924[nm; [cf2]d[cf1] London, [sm1975[
nm). ~Eng. sop. Studied TCL and with Eva [fy45,1]*[fy75,1]Turner. ~Opera d;aaebu
t Johannesburg [sm1949[nm as Aida. Member ~SW Opera [sm1949[nm=n
[sm55[nm. CG [sm1954[nm till death. Fine ~dramatic sop. in roles such as Turando
t, Elektra, ~[PN664,0,0,L,I0]Santuzza, and Aida. Sang at Bayreuth [sm1965[nm. Fi
rst ~Eng.-born sop. to sing Br;Auunnhilde at CG, [sm1964[nm. ~Sang K;aaa;akta Ka
banov;aaa and Jen;anufa in first Eng. stage ~perfs. Vienna [sm1961[nm, Milan [sm
1962[nm. C.B.E. [sm1966[nm.[cm~Shudi[fy75,1] (Tschudi), [fy65][cf3]Burkat[fy75,1
] (Burkhardt) ([cf2]b[cf1] Schwan~~den, Switz., [sm1702[nm; [cf2]d[cf1] London,
[sm1773[nm). Swiss-born ~hpd.-maker who settled in Eng. [sm1718[nm. Founded ~own
 business [sm1742[nm to which in [sm1772[nm his son-in-~law John [fy45,1]*[fy75,
1]Broadwood succeeded. Among those ~who bought his instrs. were Frederick the Gr
eat, ~Maria Theresia, Haydn, Handel, Gainsborough, ~and Reynolds. From [sm1769[n
m Shudi hpds. had the ~`Venetian swell', enabling volume to be varied by ~moveme
nt of louvres worked by a foot-pedal.[cm~Shumsky, Oscar [fy75,1]([cf2]b[cf1] Phi
ladelphia, [sm1917[nm). Amer. ~violinist and conductor. D;aaebut
 with Stokowski ~and Philadelphia Orch. [sm1925[nm. Studied with Auer ~from [sm1
925[nm and at Curtis Inst. [sm1928[nm=n[sm38[nm (with ~Auer and Zimbalist). Join
ed NBC S.O. under ~Toscanini [sm1938[nm and became leader of Primrose ~Qt. D;aae
but as cond. [sm1959[nm. On staff of Juilliard Sch., ~NY, from [sm1953[nm. After
 virtually abandoning ~concert-platform for [sm30[nm years, he returned in the ~
early [sm1980[nms to clamorous critical acclaim.[cm~Shylock. [fy75,1][sm6[nm ite
ms of incidental mus. by Faur;Aae, ~Op. [sm57[nm, for a verse-drama (based on Sh
akespeare's ~[cf2]Merchant of Venice[cf1]) by Edmund Haraucourt. F.p. ~Paris [sm
1889[nm.[cm~Si[fy75,1] (Fr.). The note B (see [fy45,1]*[fy75,1]Pitch names of th
e ~notes). [cf2]Si b;aaemol[cf1], B;Yh, [cf2]Si di;agese[cf1], B;Yi. Also [sm7[n
mth degree of ~major scale according to d'Arezzo system. In ~[fy45,1]*[fy75,1]To
nic sol-fa it has been changed to [fy45,1]*[fy75,2]Te.[xm[cm~[ol0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_SB[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. ~Of Music[cmSB[sm06[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm16[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm551[nm[cm~GC[cm3[cm7.8.84[cm~U1[cm~~~~[ap[j1]Sibelius, Jean[fy7
5,1] (orig. Johan Julian Christian) ([cf2]b[cf1] ~H;Auameenlinna (Tavastehus), [
sm1865[nm; [cf2]d [cf1]J;Auarvenp;Aua;Aua, ~[sm1957[nm). Finn. composer, the nat
. mus. v. of his ~country. In boyhood was called Janne by his ~friends and later
 adopted first name of an uncle, ~Jean Sibelius. Comp. as a child before he had
~technical instruction. Learned pf. and vn., hoping ~to become virtuoso of latte
r. Studied comp. in ~text-books. Entered Helsinki Univ. as law student ~[sm1885[
nm, taking special courses in mus. at Cons. and ~abandoning law in [sm1886[nm. S
tudied comp. with ~Wegelius and vn. with Csillag at Helsinki Cons. ~[sm1886[nm=n
[sm9[nm, being encouraged also by [fy45,1]*[fy75,1]Busoni, in ~Berlin [sm1889[nm
=n[sm90[nm (comp. with A. Becker), and at ~Vienna Cons. [sm1890[
nm=n[sm1[nm (comp. with K. Goldmark ~and R. Fuchs). Taught vn. and theory, Helsi
nki ~Mus. Institute [sm1892[nm=n[sm7[nm. Inspired by nationalist ~feeling sweepi
ng Finland in protest at Russ. ~domination, comp choral sym. for soloists, male
~ch., and orch., [cf2]Kullervo[cf1], based on Finn. nat. epic ~[fy45,1]*[fy75,2]
Kalevala[cf1]. This had great success in Helsinki, ~[sm1892[nm, but was withdraw
n and not perf. again ~until after composer's death, when it was found ~to conta
in, amid immaturities, many indications ~of the later Sibelius. In the period [s
m1893[nm=n[sm7[nm he ~wrote the [sm4[nm Kalevala [cf2]Legends [cf1]about the her
o ~Lemmink;Auainen and in [sm1892[nm the highly original ~tone-poem [cf2]En Saga
[cf1], a theme of which was taken ~from a student str. octet. In [sm1897[nm the
Finnish state ~voted Sibelius an annual pension (increased in ~[sm1926[nm) to en
able him to concentrate solely on ~comp. His tone-poem [cf2]Finlandia[cf1], whic
h became ~almost a nat. emblem, dates from [sm1899[nm, the year
~of his first visit to It. He had by then completed ~his First Sym., which blend
s Sibelian originality ~with a Slav romanticism derived from Tchaikov~~sky. The
[sm2[nmnd Sym. ([sm1902[nm), while still classical in ~outline, contains more of
 Sibelius's individual use ~of short themes gradually building into a larger ~wh
ole, his fondness for ostinati, and his predilec~~tion for long, atmospheric str
. passages (often ~inevitably likened to the Finnish wind) and for ~unusual and
effective grouping of instr., esp. ~woodwind. The vn. conc. was written in [sm19
03[nm, its ~warm middle movement reflecting the It. visit, ~and rev. [sm1905[nm
when Strauss cond. it in Berlin. ~The [sm3[nmrd Sym., often regarded as traditio
nal but ~one of the most original of the [sm7[nm, followed in ~[sm1904[nm=n[sm7[
nm. It is ded. to [fy45,1]*[fy75,1]Bantock, one of his earliest ~Eng. champions.
 Sibelius first visited Eng. in ~[sm1905[nm, conducting the [sm2[nmnd Sym. in Li
verpool. In ~Nov. [sm1907[nm [fy45,1]*[fy75,1]Mahler visited him
 in Helsinki and ~they had a famous conversation in which they ~expressed their
contrasted views of the sym. For ~Mahler it was `the world=mit must embrace ~eve
rything'; for Sibelius, it was the `profound ~logic creating a connection betwee
n all the motifs' ~and the `severity of style' which were the ~attractions. His
[sm4[nmth Sym. ([sm1911[nm) is indeed the ~antithesis of the Mahlerian symphony,
 epigram~~matic, austere (but not lacking passion), econom~~ically scored, the w
hole work severely ~concentrated. Its intro[chspective character, like that ~of
the str. qt. [cf2]Voces Intimae [cf1]of [sm1908[nm=n[sm9[nm, is possibly ~attrib
utable to his fear that a throat ailment from ~which he suffered at that period
might be cancer. ~In [sm1914[nm he visited the USA, conducting at the ~Norfolk F
est., Conn., and taking a new symphonic ~poem, [cf2]The [cf2]Oceanides[cf1]. On
return to Finland he was ~isolated by World War I but celebrated his [sm50[nmth
~birthday by composing the [sm5[nmth Sym., later much ~rev. This
 work, in the heroic key of E;Yh major, is ~among his most popular works, summin
g up all ~the familiar Sibelian characteristics and possessing ~a strong emotion
al power. After the war he ~revisited London in [sm1921[nm and in [sm1923[nm com
pleted ~his [sm6[nmth Sym., the most `pastoral' and elusive of ~the set, with mo
dal harmonies and a flavour of ~his admiration for Palestrina. In [sm1924[nm he
finished ~the [sm7[nmth Sym., compressed into [sm1[nm movement but ~with the con
ventional [sm4[nm symphonic movements ~easily recognizable. This was followed by
 incid. ~mus. for [cf2]The Tempest. [cf1]Another tone-poem, [cf2]Tapiola[cf1], ~
commissioned by the NY Sym. Soc., appeared in ~[sm1926[nm. He wrote some male ch
s., and some pieces ~for vn. and pf., and [sm2[nm pieces for org. in [sm1931[nm.
 ~Thereafter, though he is said to have written and ~destroyed an [sm8[nmth Sym.
, he never pubd. another ~note in the remaining [sm26[nm years of his life. Yet
~despite this silence he remained a dominating ~figure, elevated
 to heroic status in his own ~[PN665,0,0,R,I0]country, in Eng., and the USA, but
 not in Ger. or ~Fr. In Eng. in the [sm1930[nms he was regarded by many ~compose
rs as almost the only worthwhile figure ~in contemporary mus. and this effective
ly closed ~Eng. ears to Schoenberg, Berg, Webern, and to a ~large extent Stravin
sky, until a rearguard action ~was fought on their behalf coincident with ~Sibel
ius's death. His reputation then suffered an ~exaggerated relapse, but a more ba
lanced view of ~his highly original and rewarding style, particu~~larly in the s
yms., now prevails. His mastery of ~the orch. has overshadowed the beauty of his
 ~choral works and his songs. Like Elgar, he wrote ~a good deal of lighter music
 of high worth and ~his incidental mus. is among the finest in ~existence. The p
icture of him as an ascetic, bleak ~figure is not supported by the facts of his
far from ~austere life, nor is the mus. the `cold, forbidding' ~art which some w
riters have portrayed. His place ~in symphonic development is as
sured, particu~~larly if he is regarded as complementary to Mahler ~and the late
 romantics rather than as the antithesis. ~Prin. works:[xm[cm~[j2][smorch[nm: Sy
mphonies: No. [sm1[nm in E minor, Op. [sm39[nm ~([sm1898[nm=n[sm9[nm, f.p. Helsi
nki [sm1899[nm, f.p. in England, ~London [sm1903[nm), No. [sm2[nm in D, Op. [sm4
3[nm ([sm1901[nm=n[sm2[nm, f.p. ~Helsinki [sm1902[nm, f.p. in England, Mancheste
r ~[sm1905[nm), No. [sm3[nm in C, Op. [sm52[nm ([sm1904[nm=n[sm7[nm, f.p. Helsin
ki ~[sm1907[nm, f.p. in England, London [sm1908[nm), No. [sm4[nm in A ~minor, Op
 [sm63[nm ([sm1911[nm, f.p. Helsinki [sm1912[nm, f.p. in ~England, Birmingham [s
m1912[nm), No. [sm5[nm in E;Yh, Op. ~[sm82[nm ([sm1914[nm=n[sm15[nm, rev. [sm191
6[nm and [sm1919[nm, f.p. Helsinki ~[sm1915[nm, [sm1916[nm version, Helsinki [sm
1916[nm, [sm1919[nm version ~Helsinki [sm1919[nm, f.p. in England,  London [sm19
21[nm), ~No. [sm6[nm in D minor, Op. [sm104[nm ([sm1923[nm, f.p. Helsinki ~[sm19
23[nm, f.p. in England, Gloucester [sm1925[nm), No. [sm7[nm ~in
C, Op. [sm105[nm ([sm1924[nm, f.p. under title [fy75,2]Fantasia ~sinfonica[cf1],
 Stockholm [sm1924[nm, f.p. in England, ~London [sm1927[nm); Symphonic poems: [f
y45,1]*[fy75,2]Kullervo[cf1], ~sop., bar., male ch., and orch., Op. [sm7[nm ([sm
1892[nm, f.p. ~Helsinki [sm1892[nm, f.p. in England, Bournemouth ~[sm1970[nm), [
fy45,1]*[fy75,2]En Saga[cf1], Op. [sm9[nm ([sm1892[nm, rev. [sm1901[nm), [cf2]Th
e ~Wood Nymph [cf1]([cf2]Skogsr;anaet[cf1]), Op. [sm15[nm ([sm1895[nm), [cf2]Spr
ing ~Song [cf1]([cf2]V;Anars;Anang[cf1]), Op. [sm16[nm ([sm1894[nm), [cf2]Tiera[
cf1], brass and ~perc., ([sm1898[nm), [fy45,1]*[fy75,2]Finlandia[cf1], Op. [sm26
[nm ([sm1899[nm, rev. ~[sm1900[nm, orig. [sm6[nmth tableau of `Press Celebration
' ~mus. from which [cf2][fy45,1]*[fy75,2]Sc;Agenes historiques [cf1]were also ~t
aken), [fy45,1]*[fy75,2]Pohjola's Daughter [cf1](symphonic fantasia), ~Op. [sm49
[nm ([sm1906[nm), [fy45,1]*[fy75,2]Night Ride and Sunrise[cf1], Op. [sm55[nm ~([
sm1907[nm), [fy45,1]*[fy75,2]Luonnotar[cf1], Op. [sm70[nm, sop.
and orch. ([sm1910[nm=n~[sm13[nm), [cf2]The Dryad[cf1], Op. [sm45[nm, No. [sm1[n
m ([sm1910[nm), [cf2]The [fy45,1]*[fy75,2]Bard[cf1], ~Op. [sm64[nm ([sm1913[nm,
rev [sm1914[nm), [cf2]The [fy45,1]*[fy75,2]Oceanides[cf1], Op. [sm73[nm ~([sm191
4[nm), [fy45,1]*[fy75,2]Tapiola[cf1], Op. [sm112[nm ([sm1925[nm=n[sm6[nm); Suite
s, etc: ~[fy45,1]*[fy75,2]Karelia[cf1], ov., Op. [sm10[nm, suite Op. [sm11[nm ([
sm1893[nm), ~[fy45,1]*[fy75,2]Rakastava[cf1], str., triangle, and timp., Op. [sm
14[nm ~([sm1911[nm, see also [smunacc. voices[nm); [fy45,1]*[fy75,2]Lemmink;Auai
nen [cf1]([sm4[nm ~[cf2]Legends[cf1]), Op. [sm22[nm ([sm1893[nm=n[sm7[nm), No. [
sm3[nm is [cf2]The [fy45,1]*[fy75,2]Swan of ~Tuonela[cf1]; [cf2]King Christian I
I[cf1], Op. [sm27[nm ([sm1898[nm), [fy45,1]*[fy75,2]Sc;Agenes ~historiques [cf1]
I, Op. [sm25[nm ([sm1899[nm, rev. [sm1911[nm), II, Op. [sm66[nm ~([sm1912[nm), [
cf2]Romance [cf1]in C for str., Op. [sm42[nm ([sm1903[nm), ~[fy45,1]*[fy75,2]Val
se triste[cf1], Op. [sm44[nm ([sm1904[nm, being rev. of item of
~incidental mus. to [fy45,1]*[fy75,2]Kuolema[cf1]), [cf2]Scene with cranes[cf1],
 ~Op. [sm44[nm ([sm1906[nm, being rev. of Nos. [sm3[nm and [sm4[nm of ~[cf2]Kuol
ema[cf1]), Vn. Conc., Op. [sm47[nm ([sm1903[nm, f.p. Helsinki ~[sm1904[nm, rev.
[sm1905[nm, f.p. Berlin [sm1905[nm, f.p. in England, ~London [sm1907[nm), [cf2]A
utumn Evening[cf1], Op. [sm38[nm No. [sm1[nm ~([sm1907[nm, orch. of song), [cf2]
Dance Intermezzo[cf1], Op. [sm45[nm ~No. [sm2[nm ([sm1907[nm, orch. of pf. piece
), [fy45,1]*[fy75,2]Pell;Aaeas et ~M;Aaelisande[cf1], Op. [sm46[nm ([sm1905[nm),
 [fy45,1]*[fy75,2]Belshazzar's Feast[cf1], Op. ~[sm51[nm ([sm1906[nm=n[sm7[nm),
[cf2]Pan and Echo[cf1], Op. [sm53[nm ([sm1906[nm), ~[cf2]Swanwhite[cf1], Op. [sm
54[nm ([sm1908[nm=n[sm9[nm), [cf2]In Memoriam[cf1], ~funeral march, Op. [sm59[nm
 ([sm1909[nm), [cf2][sm2[nm Pieces [cf1]([cf2]Canzonetta ~[cf1]and [cf2]Valse ro
mantique[cf1]), Op. [sm62[nm ([sm1911[nm, for rev. ~version of [fy45,1]*[fy75,2]
Kuolema[cf1]), [sm2[nm [cf2]Serenades[cf1], vn. and orch., ~D ma
jor and G minor, Op. [sm69[nm ([sm1912[nm=n[sm13[nm), [sm2[nm ~[cf2]Pieces[cf1],
 vn. (or vc.) and orch., [cf2]Cantique [cf1]and ~[cf2]Devotion[cf1], Op. [sm77[n
m ([sm1914[nm), [sm2[nm[cf2] Humoresques[cf1], vn. and ~orch., Op, [sm87[nm ([sm
1917[nm), [sm4[nm [cf2]Humoresques[cf1], vn. and ~orch., Op. [sm89[nm ([sm1917[n
m, [sm2[nm with str. only), [cf2]Valse ~lyrique[cf1], Op. [sm96[nm No. [sm1[nm (
[sm1920[nm), [cf2]Valse chevaleresque[cf1], ~Op. [sm96[nm No. [sm3[nm ([sm1920[n
m), [cf2]Suite mignonne[cf1], fl. and str., ~Op. [sm98[nm No. [sm1[nm ([sm1921[n
m), [cf2]Suite champ;Afetre[cf1], str., Op. [sm98[nm ~No. [sm2[nm ([sm1921[nm),
[cf2]Andante festivo[cf1], str. ([sm1922[nm, orig. str. ~qt.), [cf2]Suite caract
;aaeristique[cf1], harp and str., Op. [sm100[nm ~([sm1922[nm), [cf2]The [fy45,1]
*[fy75,2]Tempest[cf1], Suites I and II, Op. [sm109[nm ~([sm1925[nm).[ep~[smtheat
re music[nm: [cf2]Karelia [cf1]([sm1893[nm, unpubd.); [fy45,1]*[fy75,2]King ~Chr
istian II [cf1](A. Paul) Op. [sm27[nm ([sm1897[nm=n[sm8[nm); [fy
45,1]*[fy75,2]Kuolema ~[cf1](Death) (A. J;auarnefelt) Op.[sm44[nm ([sm1903[nm, [
sm6[nm `scenes' for ~str., bass drum, and church bell); [fy45,1]*[fy75,2]Pell;aa
eas et ~M;aaelisande [cf1](Maeterlinck), Op. [sm46[nm ([sm1905[nm); [fy45,1]*[fy
75,2]Belshazzar's Feast [cf1](H. Procop;Aae), Op. [sm51[nm ([sm1906[nm); [cf2]Sw
anwhite ~[cf1](Strindberg), Op. [sm54[nm ([sm1908[nm); [cf2]The Lizard [cf1]([cf
2];auOdlan[cf1]) ~(Lybeck), Op. [sm8[nm, for vn. and str. quintet ([sm1909[nm, ~
unpubd.); [cf2][sm2[nm Songs for `Twelfth Night' [cf1](Shakes~~[chpeare), Op. [s
m60[nm, v. and guitar (or pf.) ([sm1909[nm); ~[cf2]Scaramouche [cf1](Knudsen and
 Bloch), Op. [sm71[nm ([sm1913[nm); ~[fy45,1]*[fy75,2]Everyman [cf1](Hofmannstha
l), Op. [sm83[nm ([sm1916[nm, un~~pubd.); [cf2]The [fy45,1]*[fy75,2]Tempest [cf1
](Shakespeare), Op. [sm109[nm ~([sm1925[nm).[ep~[smvoice[nm([sms[nm)[sm and inst
r[nm: [cf2]Kullervo[cf1], Op. [sm7[nm (see [smorches~~tral[nm); [cf2]The Rapids-
Shooter's Brides [cf1]([cf2]Koskenlaskijan ~morsiamet[cf1]), Op.
 [sm33[nm, bar. or mez., and orch. ~([sm1897[nm); [cf2]Song of the Athenians [cf
1]([cf2]Atenarnes s;Anang[cf1]), Op. ~[sm31[nm No. [sm3[nm, boys' and men's vv.,
 wind, and perc. ~([sm1899[nm); [cf2]Impromptu[cf1], Op. [sm19[nm, women's ch. a
nd ~orch. ([sm1902[nm, rev [sm1910[nm); [cf2]The Origin of Fire [cf1]([cf2]Tulen
 ~synty[cf1]), Op. [sm32[nm, bar., male ch., and orch. ([sm1902[nm, ~rev. [sm191
0[nm); [cf2]The Liberated Queen[cf1] ([cf2]Vapautettu ~Kuningatar[cf1]), Op. [sm
48[nm, cantata ([sm1906[nm); [fy45,1]*[fy75,2]Luonnotar ~[cf1](see [smorchestral
[nm); [cf2]Scout March[cf1], Op. [sm91[nm No. [sm2[nm, ch. ~and orch. (?[sm1917[
nm); [cf2]Song of the Earth [cf1]([cf2]=+=+=+=+Jordens ~s;Anang[cf1]), Op. [sm93
[nm, cantata ([sm1918[nm); [cf2]V;Auain;Auo's song [cf1]([cf2]V;Auain;Auon ~virs
i[cf1]), Op. [sm110[nm ([sm1926[nm); [cf2]Masonic Ritual Music[cf1], Op. ~[sm113
[nm, male vv., pf., organ ([sm1927[nm); [cf2]Karelia's Fate[cf1], ~male ch. and
pf. ([sm1930[nm).[ep~[smunacc. voices[nm: [fy45,1]*[fy75,2]Rakas
tava [cf1](The Lover), Op. [sm14[nm, ~male vv. ([sm1893[nm, see also [smorchestr
al[nm); [cf2]Natus in ~curas[cf1], Op. [sm21[nm No. [sm2[nm, male vv. ([sm1896[n
m); [sm10[nm [cf2]Songs ~for Mixed Chorus[cf1], Op. [sm23[nm ([sm1897[nm, from [
cf2]Cantata for ~University Ceremonies of [sm1897[nm[cf1]); [cf2]Carminalia [cf1
]([sm1899[nm); ~[cf2]Nostalgia [cf1]([cf2]Kotikaipaus[cf1]), [sm3[nm women's vv.
 ([sm1902[nm); [sm9[nm ~[cf2]Partsongs[cf1], Op. [sm18[nm, male vv. ([sm1893[nm=
n[sm1904[nm); [sm2[nm ~[cf2]Partsongs[cf1], Op. [sm65[nm, mixed ch. ([sm1911[nm=
n[sm12[nm); [sm3[nm [cf2]Songs ~for American Schools[cf1], children's vv. ([sm19
13[nm); [sm5[nm ~[PN666,0,0,L,I0][cf2]Partsongs[cf1], Op. [sm84[nm, male vv. ([s
m1914[nm=n[sm15[nm); [cf2]In the ~moonlight [cf1]([cf2]Kuntamolla[cf1]), male vv
. ([sm1916[nm); [cf2]Fridolin's ~Folly[cf1], [cf2]The roaring of a wave, Jonah's
 voyage, One ~hears the storm outside[cf1], male vv. ([sm1917[nm=n[sm18[nm); [sm
2[nm ~[cf2]Partsongs[cf1], Op. [sm108[nm, male vv. ([sm1925[nm);
 [cf2]Introductory ~Antiphons[cf1], mixed ch. ([sm1925[nm); [cf2]The way to scho
ol[cf1], ~children's vv. ([sm1925[nm); [cf2]You are mighty, O Lord[cf1], ~mixed
ch. ([sm1927[nm).[ep~[smchamber music[nm: [sm2[nm [cf2]Pieces[cf1], Op. [sm2[nm,
 vn. and pf. ([sm1888[nm, ~rev. [sm1912[nm); [cf2]Malinconia[cf1], Op. [sm20[nm,
 vc. and pf. ([sm1901[nm); ~Str. Qt. in D minor ([fy45,1]*[fy75,2]Voces Intimae[
cf1]), Op. [sm56[nm ~([sm1908=n9[nm); [sm4[nm [cf2]Pieces[cf1], Op. [sm78[nm, vn
. (or vc.) and pf. ~([sm1915[nm=n[sm19[nm); [sm6[nm [cf2]Pieces[cf1], Op. [sm79[
nm, vn. and pf. ([sm1915[nm); ~sonatina in E, Op. [sm80[nm, vn. and pf. ([sm1915
[nm); [sm5[nm ~[cf2]Pieces[cf1], Op. [sm81[nm, vn. and pf. ([sm1915[nm); [sm5[nm
[cf2] Danses ~Champ;Afetres[cf1], Op. [sm106[nm, vn. and pf. ([sm1925[nm); [sm4[
nm [cf2]Pieces[cf1], ~Op. [sm115[nm, vn. and pf. ([sm1929[nm); [sm3[nm [cf2]Piec
es[cf1], Op. [sm116[nm, ~vn. and pf. ([sm1929[nm).[ep~[smpiano[nm: [cf2][sm6[nm
Impromptus[cf1], Op. [sm5[nm ([sm1893[nm); sonata in F, ~Op. [sm
12[nm ([sm1893[nm); [cf2][sm10[nm pieces[cf1], Op. [sm24[nm ([sm1894[nm=n[sm1903
[nm); [cf2][sm6[nm ~Finnish Folksongs [cf1]([sm1903[nm); [cf2]Kyllikki [cf1]([sm
3[nm Lyric Pieces), ~Op. [sm41[nm ([sm1904[nm); [cf2]Dance Intermezzo[cf1], Op.
[sm45[nm No. [sm2[nm ~([sm1904[nm); [cf2][sm10[nm Pieces[cf1], Op. [sm58[nm ([sm
1909[nm); [sm3[nm sonatinas, Op. ~[sm67[nm, F;Yi minor, E major, B;Yh minor ([sm
1912[nm); [cf2][sm2[nm ~Rondinos[cf1], Op. [sm68[nm ([sm1912[nm); [sm10[nm  [cf2
]Pens;aaes Lyriques[cf1], Op. ~[sm40[nm ([sm1912[nm=n[sm14[nm); [cf2][sm4[nm Lyr
ic Pieces[cf1], Op. [sm74[nm ([sm1914[nm); [cf2][sm5[nm ~Pieces[cf1], Op. [sm75[
nm [cf1]([sm1914[nm); [cf2][sm13[nm Pieces[cf1], Op. [sm76[nm ([cf2]c[cf1].[sm19
14[nm); ~[cf2][sm10[nm Pieces[cf1], Op. [sm34[nm ([sm1914[nm=n[sm16[nm); [cf2][s
m5[nm Pieces[cf1], Op. [sm85[nm ~([sm1916[nm); [cf2]Mandolinato [cf1]([sm1917[nm
); [cf2][sm6[nm Pieces[cf1], Op. [sm94[nm ~([sm1919[nm); [cf2][sm6[nm Bagatelles
[cf1], Op. [sm97[nm ([sm1920[nm); [cf2][sm8[nm Pieces[cf1], Op.
~[sm99[nm ([sm1922[nm); [cf2][sm5[nm Romantic Pieces[cf1], Op. [sm101[nm ([sm192
3[nm); [cf2][sm5[nm ~Pieces[cf1], Op. [sm103[nm [cf1]([sm1924[nm); [cf2]Morceau
romantique ~[cf1]([sm1925[nm); [cf2][sm5[nm Esquisses[cf1], Op. [sm114[nm ([sm19
29[nm).[ep~[smorgan[nm: [cf2][sm2[nm Pieces[cf1], Op. [sm111[nm ([sm1925[nm=n[sm
31[nm).[ep~[smsongs [cf1]([smvoice and piano[nm): [cf2][sm7[nm Songs of Runeberg
[cf1], Op. ~[sm13[nm ([sm1891[nm=n[sm2[nm); [cf2][sm7[nm Songs[cf1], Op. [sm17[n
m ([sm1894[nm); [cf2][sm6[nm Songs[cf1], Op. ~[sm36[nm ([sm1899[nm); [cf2][sm5[n
m Songs[cf1], Op. [sm38[nm ([sm1903[nm=n[sm4[nm, No. [sm1[nm, ~[cf2]Autumn Eveni
ng[cf1], with orch. [sm1907[nm); [cf2]Extinct ~[cf1]([cf2]Erloschen[cf1]) ([sm19
06[nm); [cf2][sm6[nm Songs[cf1], Op. [sm50[nm ([sm1906[nm); [cf2][sm2[nm ~Songs[
cf1], Op. [sm35[nm ([sm1907[nm=n[sm8[nm); [cf2][sm8[nm Songs[cf1], Op. [sm57[nm
([sm1909[nm); ~[cf2][sm8[nm Songs[cf1], Op. [sm61[nm ([sm1910[nm); [cf2][sm5[nm
Christmas Songs[cf1], Op. [sm1[nm ~([sm1895[nm=n[sm1913[nm); [cf
2][sm6[nm Songs[cf1], Op. [sm72[nm ([sm1907[nm=n[sm15[nm); [cf2][sm6[nm Songs[cf
1], ~Op. [sm86[nm ([sm1916[nm); [cf2][sm6[nm Songs[cf1], Op. [sm88[nm ([sm1917[n
m); [cf2][sm6[nm Songs[cf1], ~Op. [sm90[nm ([sm1917[nm).[cm~[j1]Siciliano (a) [f
y75,1](It.), [fy65][cf3]Sicilienne [fy75,1](Fr.). Sicilian. Type ~of dance, song
, or instr. piece, presumably of ~Sicilian origin, in compound duple or quadrupl
e ~time and with a swaying rhythm, often in minor ~key. Usually pastoral in char
acter and popular in ~[sm18[nmth cent. `Pastoral symphony' in Handel's ~[cf2]Mes
siah [cf1]is [cf2]alla siciliana[cf1]. Style uncommon after ~[sm18[nmth cent., b
ut Faur;aae used siciliano as [sm3[nmrd entr'acte ~of his incidental music to [c
f2]Pell;aaeas et M;aaelisande[cf1] ~([sm1898[nm).[cm~Sicilian Vespers, The [fy75
,1](Verdi). See [cf2]V;Afepres sici~~liennes, Les[cf1].[cm~Side-Drum [fy75,1](sn
are-drum). Small cylindrical drum ~with parchment at each end, one having str. ~
(snares) across it to add a rattling effect and thus ~increase b
rilliance of tone, other end being left ~for use of [sm2[nm drumsticks. Famous p
assage for side-~drum occurs in first movement of [fy45,1]*[fy75,1]Nielsen's [sm
5[nmth ~sym., where player is instructed to improvise in ~order to drown the sou
nd of the rest of the orch.[cm~Sieben Letzten Worte, Die [fy75,1](Haydn). See [c
f2]Seven ~Last Words, The[cf1].[cm~Si;Agege de Corinthe, Le [fy75,1](The Siege o
f Corinth). ~Opera by Rossini to Fr. lib., prod. Paris [sm1826[nm, ~London [sm18
34[nm, NY [sm1835[nm. Rev. of earlier opera ~[cf2]Maometto II[cf1], prod. Naples
 [sm1820[nm, with It. lib. by C. ~della Valle.[cm~Siege of Rhodes, The. [fy75,1]
Opera with mus. (lost) by ~Locke, H. Lawes, H. Cooke, C. Coleman, and G. ~Hudson
 to lib. by W. D'Avenant. Prod. London ~[sm1656[nm. Said to be first Eng. opera.
[cm~Siegfried. [fy75,1]Mus. drama in [sm3[nm acts by Wagner to his ~own lib., be
ing [sm3[nmrd part of [cf2]Der [fy45,1]*[fy75,2]Ring des ~Nibelungen[cf1]. Comp.
 [sm1856[nm=n[sm7[nm, [sm1864[nm=n[sm71[nm. F.p. Bay~~reuth [sm1
876[nm, London [sm1882[nm, NY Met. [sm1887[nm.[cm~Siegfried Idyll. [fy75,1]Comp.
 for orch. by Wagner, ~comp. [sm1870[nm as birthday gift for his wife Cosima ~an
d f.p. on Christmas morning [sm1870[nm, her [sm33[nmrd ~birthday, and twice late
r in same day. F.p. by ~about [sm15[nm musicians, incl. Hans [fy45,1]*[fy75,1]Ri
chter (who ~learned tpt. specially for the occasion), cond. ~Wagner, standing ou
tside Cosima's bedroom in ~their villa at [fy45,1]*[fy75,1]Tribschen on shore of
 Lake Lucerne. ~Orig. scoring was for a few str., fl., ob., [sm2[nm cl., tpt., ~
[sm2[nm hn., and bn., but Wagner later scored it for ~larger orch. Material is b
ased on themes from ~unfinished str. qt., comp. [sm1864[nm when Wagner ~met Cosi
ma, [cf2]motifs [cf1]from opera [cf2]Siegfried[cf1], on Act ~III of which he was
 working in [sm1869[nm when their ~son Siegfried was born, and a lullaby he had
noted ~(or comp.) in [sm1868[nm. MS. ded. stated: `Tribschen ~Idyll, with Fidi's
 Bird-Song and Orange Sunrise, ~presented as a Symphonic Birthda
y Greeting to ~his Cosima by her Richard, [sm1870[nm.' `Fidi' was ~domestic name
 for Siegfried, the `orange sunrise' ~referred to memory of how the sunrise lit
up the ~orange wallpaper on the morning of his birth. ~The Idyll was never inten
ded for public perf., but ~financial hardship compelled Wagner to sell it in ~[s
m1877[nm and it was pubd. [sm1878[nm.[cm~Siegfrieds Tod [fy75,1](Siegfried's Dea
th). Proposed ~opera by [fy45,1]*[fy75,1]Wagner, lib. of which he wrote in ~[sm1
848[nm. From it developed the scheme for a [sm4[nm-opera ~cycle on the legend of
 Siegfried and the Nibelung's ~Ring. [cf2]Siegfrieds Tod[cf1], much rev., eventu
ally be~~came [cf2]G;Auotterd;Auammerung [cf1](f.p. Bayreuth [sm1876[nm).[cm~Sie
gmeister, Elie [fy75,1]([cf2]b[cf1] NY, [sm1909[nm). Amer composer. ~Studied Col
umbia Univ. from [sm1924[nm (comp. with ~S. Bingham and private lessons with [fy
45,1]*[fy75,1]Riegger), ~Paris [sm1927[nm=n[sm32[nm (comp. with Boulanger), and
~Juilliard Sch., NY, [sm1935[nm=n[sm8[nm. Worked in NY as ~cond.
, pianist, and teacher. Founded Amer. Ballad ~Singers [sm1939[nm and toured with
 them for [sm5[nm years to ~promote Amer. folk mus. Joined teaching faculty ~at
Hofstra Coll. (now Univ.) near NY, [sm1949[nm, ~becoming prof. of mus. and compo
ser-in-resi~~[PN667,0,0,R,I0]dence [sm1966[nm. Author of several books. Works in
cl. ~opera [cf2]The Plough and the Stars [cf1]([sm1963[nm=n[sm9[nm), [sm5[nm sym
s., ~[sm3[nm vn. sonatas, [sm2[nm str. qts., pf. conc., vn. conc., cl. ~conc., f
l. conc., choral works, sextet for brass and ~perc., etc.[cm~Siems, Margarethe [
fy75,1]([cf2]b [cf1]Wroc;Umaw, [sm1879[nm; [cf2]d [cf1]Dresden, ~[sm1952[nm). Ge
r. sop. Studied with Orgeni. Opera ~d;Aaebut Prague [sm1902[nm. Member of Dresde
n Opera ~[sm1908[nm=n[sm22[nm. CG d;aaebut [sm1913[nm. Created Strauss roles of
~Chrysothemis in [cf2]Elektra[cf1], Marschallin in Rosen~~kavalier[cf1], and Zer
binetta in [cf2]Ariadne auf Naxos ~[cf1](first version, [sm1912[nm). Taught in B
erlin [sm1920[nm and ~in Dresden and Wroc;Umaw until [sm1940[nm.
 Sang in ~concerts after Second World War and taught in ~Dresden.[cm~Siepi, Cesa
re [fy75,1]([cf2]b [cf1]Milan, [sm1923[nm). It. bass. Self-taught. ~Opera d;Aaeb
ut at Schio, near Vicenzo, [sm1941[nm as ~Sparafucile in [cf2]Rigoletto[cf1]. Me
mber of Scala, Milan, ~co. from [sm1946[nm. CG d;Aaebut [sm1950[nm (Colline in [
cf2]La ~Boh;ageme[cf1]), NY Met. [sm1950[nm (Philip II in [cf2]Don Carlos[cf1]),
 ~Salzburg Fest. [sm1953[nm=n[sm8[nm. Memorable Don Gio[chvanni, ~singing it wit
h Furtw;Auangler on several occasions. ~Member of Met. co. for [sm24[nm years.[c
m~Siesta. [fy75,1]Comp. for small orch. by Walton, f.p. ~London [sm1926[nm. Perf
. as ballet [cf2]pas de deux[cf1], choreog. ~Ashton, London [sm1936[nm, and with
 new choreog. by ~Ashton [sm1972[nm.[cm~Siffl;Auote [fy75,1](Ger.). Whistle-flut
e. High-pitched org. ~stop ([sm2[nm;Po or [sm1[nm;Po).[cm~Sight-Reading, Sight-S
inging. [fy75,1]The reading or ~singing of mus. at first sight in order to perfo
rm ~it. Various methods of sight-singing have been ~used through
 the centuries, from d'Arezzo's ~[fy45,1]*[fy75,2]Hexachords [cf1]in the [sm11[n
mth cent. to [fy45,1]*[fy75,1]Tonic sol-fa. ~Most Eng.-speaking countries now us
e systems ~based on [fy45,1]*[fy75,2]movable doh [cf1]or [fy45,1]*[fy75,2]fixed
doh[cf1].[cm~Signal horn. [fy75,1]Another name for [fy45,1]*[fy75,1]bugle.[cm~Si
gnature. [fy75,1]A `sign' placed at the opening of a ~comp. or of a section of a
 comp., indicating the ~key (Key Signature) or the value of the beat and ~the no
. of beats in each measure (Time Signature). ~The key signature consists of one
or more sharps ~or flats; the time signature usually  of figures ~resembling a f
raction, e.g. [cf9]3[cf13]=-=-=-=-=-=-=-4[cf1].[xm[cm~[ol0][ep~[xp[te~




[do42][j99]~~~~~~[sm153842[nm_SC[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmSC[sm001[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm15[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm580[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Signature-Tune. [fy
75,1]A term which gained currency ~in the [sm1920[nms with the growing popularit
y of ~dance-bands, especially when broadcasting. As a ~means of quick identifica
tion, each band began ~and ended its perf. with a tune, known as the ~`signature
 tune'. Most bands used one tune, e.g. ~Jack Payne's [cf2]Say it with music, [cf
1]but some used one ~tune at the beginning and another `to sign off', ~e.g. Henr
y Hall played [cf2]It's just the time for dancing ~[cf1]at the start and [cf2]He
re's to the next time [cf1]at the end. ~Individual variety artists introduced th
eir acts ~with a signature-tune; and if one wished to be ~facetious, one could s
ay that the [cf2]leitmotiv [cf1]of ~characters in Wagner's [cf2]Ring [cf1]are th
eir `signature-~tunes'.[cm~Signor Bruschino, Il; ossia il figlio
 per Azzardo. [fy75,1]Opera in [sm1[nm act by Rossini to lib. by Foppa ~after Fr
. comedy by de Chazet and Ourry. Prod. ~Venice [sm1813[nm, NY Met. [sm1932[nm, O
rpington [sm1960[nm.[cm~Sigurd. [fy75,1]Opera in [sm5[nm acts by [fy45,1]*[fy75,
1]Reyer to lib. by Du ~Locle and Blau. Prod. Brussels and CG [sm1884[nm, New ~Or
leans [sm1891[nm. Lib. is based on Nibelung legend ~which supplied basis of Wagn
er's [cf2]Ring [cf1]tetralogy.[cm~Sigurd Jorsalfar [fy75,1](Sigurd the Crusader)
. Play by ~Bj;uprnson for which Grieg wrote [sm5[nm items of ~incidental mus., O
p. [sm22[nm, for Oslo perf. celebrating ~dramatist's [sm70[nmth birthday, [sm187
2[nm. Titles are: [sm1[nm. ~[cf2]Borghild's Dream [cf1](intermezzo), [sm2[nm. [c
f2]Trial of Strength[cf1], ~[sm3[nm. Song: [cf2]The Northern people will wander[
cf1], [sm4[nm. ~[cf2]Ceremonial March[cf1], [sm5[nm. [cf2]The King's song. [cf1]
Nos. [sm1[nm, [sm2[nm, and ~[sm4[nm arr. for orch. as Op. [sm56[nm and rev. [sm1
892[nm (also arr. ~for pf. [sm2[nm hands and [sm4[nm hands). No.
 [sm2[nm also arr. for ~vn. and pf., [sm1874[nm.[cm~Siki, B;aaela [fy75,1]([cf2]
b [cf1]Budapest, [sm1923[nm). Hung.-born pianist. ~Studied Budapest Univ. and Fr
anz Liszt Acad. ~with Dohn;aaanyi and at Geneva Cons. with Lipatti. ~D;aaebut Bu
dapest [sm1945[nm. Won Liszt competition ~[sm1943[nm. Settled in USA. Int. conce
rt career. Prof. of ~pf., Univ. of Washington, Seattle, from [sm1965[nm. ~Much i
n demand as juror for pf. comps.[cm~Sikorski, Kazimierz [fy75,1]([cf2]b [cf1]Z;A
uurich, [sm1895[nm). Polish ~composer. Studied Chopin Sch., Warsaw, and in ~Pari
s. Prof. of comp., Warsaw State Cons., [sm1928[nm. ~Dir., L;aaod;aaz Cons. from
[sm1947[nm. Works incl. [sm4[nm syms., ~[sm3[nm str. qts., hn. conc., choral mus
., etc.[cm~Sikorski, Tomasz [fy75,1]([cf2]b [cf1]Warsaw, [sm1939[nm). Polish ~co
mposer and pianist. Studied Warsaw State Coll. ~of Mus., [sm1956[nm=n[sm62[nm (c
omp. with his father K. ~[fy45,1]*[fy75,1]Sikorski, pf. with Drzewiecki). Concer
t pianist, ~esp. in contemporary works. Comps. incl. [cf2]Concer
to ~breve [cf1]for pf., [sm24[nm winds, [sm4[nm percussionists, pf. sonata, ~[cf
2]Diafonia [cf1]for [sm2[nm pf., radio opera [cf2]Sinbad the Sailor, [cf1]and ~[
cf2]Music from afar [cf1]for ch. and instr. Possibly first ~Polish [fy45,1]*[fy7
5,1]minimalist.[cm~Silbermann. [fy75,1]Ger. firm of org.-builders, hpd. and ~pf.
 manufacturers, founded in Strasbourg by ~Andreas Silbermann ([cf2]b [cf1]Klein-
Bobritzsch, [sm1678[nm; [cf2]d ~[cf1]Strasbourg, [sm1734[nm) and his brother Got
tfried ([cf2]b ~[cf1]Klein-Bobritzsch, [sm1683[nm; [cf2]d [cf1]Dresden, [sm1753[
nm). Gott~~fried settled in Freiburg, building cath. org. there ~in [sm1714[nm a
nd [sm46[nm other orgs., incl. Dresden court ~church. Was first Ger. pf.-maker.
Andreas built ~Strasbourg Cath. org. and [sm29[nm others. Business ~carried on b
y descendants.[cm~Silent Woman, The [fy75,1](R. Strauss). See [cf2]Schweigsame ~
Frau, Die.[cm~Silja, Anja [fy75,1]([cf2]b [cf1]Berlin, [sm1940[nm). Ger. sop. Op
era d;Aaebut ~Brunswick [sm1955[nm. Notable Wagnerian (Bayreuth
~from [sm1960[nm). CG [sm1967[nm ([cf2]Fidelio[cf1]). Amer. d;aaebut ~Chicago [s
m1968[nm (Senta), NY Met. [sm1972[nm. Remarkable ~singer-actress, especially in
Wagnerian roles, as ~Strauss's Salome and Elektra, and as Berg's Marie ~and Lulu
.[cm~[PN668,0,0,L,I0]Silk, Dorothy [fy75,1]([cf2]b[cf1] King's Norton, [sm1883[n
m; [cf2]d [cf1]Alve~~church, [sm1942[nm). Eng. sop. Studied in Vienna. ~Notable
singer of Bach and of Eng. mus., esp. ~works of Holst, Vaughan Williams, etc. Ga
ve ~enterprising series of chamber concerts [sm1921[nm=n[sm6[nm ~in which she sa
ng works by the then rarely-~performed Sch;auutz and others.[cm~Silken Ladder, T
he [fy75,1](Rossini). See [cf2]Scala di seta, ~La.[cm~Sills, Beverly [fy75,1](or
ig. Belle Silverman) ([cf2]b [cf1]Brooklyn, ~NY, [sm1929[nm). Amer. sop. Studied
 NY. Child ~performer on radio and later in Gilbert and ~Sullivan. Opera d;aaebu
t Philadelphia [sm1947[nm. NY City ~Opera [sm1955[nm as Rosalinde in [cf2]Die Fl
edermaus, ~[cf1]beginning long assoc. with co. Sang Cleopatra in
 ~Handel's [cf2]Giulio Cesare [cf1][sm1966[nm. Milan d;Aaebut [sm1969[nm in ~[cf
2]Siege of Corinth, [cf1]CG as Lucia di Lammermoor ~[sm1970[nm, NY Met. [sm1975[
nm ([cf2]Siege of Corinth[cf1]). Outstanding ~in coloratura roles. Dir., NY City
 Opera from ~[sm1979[nm.[cm~Siloti, Alexander. [fy75,1]See [cf2]Ziloti, Alexande
r[cf1].[cm~Silver Band. [fy75,1]Brass band with instr. coated with ~substance gi
ving impression of silver.[cm~Silveri, Paolo [fy75,1]([cf2]b [cf1]Ofena, nr. Aqu
ila, [sm1913[nm). It. bar. ~Studied Florence and Rome. Opera d;Aaebut as bass, ~
Rome [sm1939[nm. Bar. from [sm1944[nm. CG d;Aaebut [sm1946[nm, ~member of co. [s
m1947[nm=n[sm9[nm. NY Met. [sm1950[nm=n[sm3[nm. Sang ~ten. role of Verdi's Otell
o, Dublin [sm1959[nm. Outstand~~ing as Falstaff, Scarpia, etc. Teacher in Rome f
rom ~[sm1970[nm.[xm[cm~[j1]Silverstein, Joseph [fy75,1]([cf2]b [cf1]Detroit, [sm
1932[nm). Amer. ~violinist and cond. Studied Curtis Institute [sm1945[nm=n~[sm50
[nm. Violinist in Houston S.O. and Philadelphia ~Orch., then lea
der Denver S.O. Joined Boston S.O. ~[sm1955[nm, becoming leader [sm1961[nm and a
ss. cond. [sm1971[nm. ~Frequent soloist and chamber-mus. player. ~Teacher at New
 England Cons.[cm~Silvestri, Constantin [fy75,1]([cf2]b [cf1]Bucharest, [sm1913[
nm; [cf2]d ~[cf1]London, [sm1969[nm). Romanian-born cond., pianist, ~and compose
r (Brit. citizen from [sm1967[nm). Studied ~Bucharest Cons. Career as pianist un
til [sm1935[nm, then ~coach and cond. Bucharest Opera [sm1935=n60[nm (mus. ~dir.
 from [sm1955[nm). Cond., Bucharest P.O. [sm1946[nm. ~Prof. of cond. Bucharest A
cad. of Mus. [sm1949[nm. ~Cond. Bournemouth S.O. [sm1961[nm=n[sm9[nm. Wrote orch
. ~and chamber mus.[cm~Similar Motion. [fy75,1]When any [sm2[nm vv. or parts of
a ~comp. proceed notationally in the same direction ~they are in [cf2]similar mo
tion. [cf1]If the procession is by ~the same intervals (numerically considered),
 it is ~called [cf2]parallel motion.[cm~Simile, Simili [fy75,1](It.). The same.
Composer's direc~~tion in score to indicate that phrase, etc., i
s to be ~perf. in same manner as parallel preceding phrase, ~thus avoiding copyi
ng expression marks at each ~repetition.[cm~Simionato, Giulietta [fy75,1]([cf2]b
 [cf1]Forl;Agi, [sm1910[nm). It. coloratura ~mez. Studied Rovigo. Winner of Bel
Canto ~Competition, Florence [sm1933[nm. Regular member of ~Scala, Milan, co. [s
m1939[nm=n[sm66[nm. Sang at first Edinburgh ~Fest. [sm1947[nm. CG d;Aaebut [sm19
53[nm (Adalgisa, Amneris, ~and Azucena, all with [fy45,1]*[fy75,1]Callas), NY Me
t. [sm1959[nm=n~[sm63[nm; Chicago from [sm1954[nm. Voice of wide range and ~agil
ity enabling her to sing brilliant Rossini, ~Bellini, and Donizetti roles. Retir
ed [sm1966[nm.[cm~Simmes, William [fy75,1]([cf2]=+=+=+fl. [cf1][sm1607=n16[nm).
Eng. composer ~of viol fantasies, anthems, etc.[cm~Simon, Abbey [fy75,1]([cf2]b
[cf1]NY, [sm1922[nm). Amer. pianist. ~Studied Curtis Institute, Penn., from age
[sm8[nm. ~Recital d;Aaebut NY [sm1940[nm. Lived in Europe [sm1949[nm=n~[sm59[nm.
 Int. career as conc. soloist. Teacher at Indiana ~Univ.[cm~Simo
neau, L;aaeopold [fy75,1]([cf2]b [cf1]Quebec City, [sm1918[nm). ~Canadian ten. S
tudied NY. Opera d;Aaebut Montreal ~[sm1941[nm as Hadji in [cf2]Lakm;aae. [cf1]P
aris Op;Aaera and CG [sm1947[nm=n~[sm9[nm, Glyndebourne [sm1951[nm (Idamante in
[cf2]Idomeneo [cf1]and ~Don Ottavio in [cf2]Don Giovanni[cf1]) and other seasons
. ~Chicago Opera [sm1954[nm. NY Met. [sm1963[nm. Guest singer ~at Vienna Opera,
Milan, Salzburg Fest., etc. Noted ~Mozartian. Art. dir. L'Op;aaera du Quebec [sm
1971[nm=n[sm2[nm.[cm~Simone Boccanegra. [fy75,1]Opera in prol. and [sm3[nm acts
~by Verdi to lib. by Piave and Montanelli, based ~on play [cf2]Sim;Aaon Boccaneg
ra [cf1]by Guti;aaerrez. Comp. ~[sm1856=n7[nm. Prod. Venice [sm1857[nm. Lib. rev
. by Boito ~[sm1880[nm, Verdi revising the score and composing ~new council cham
ber scene (Act I, Sc. [sm2[nm). Prod. ~Milan [sm1881[nm, NY Met. [sm1932[nm, Lon
don (SW) [sm1948[nm.[cm~Simonov, Yury [fy75,1](Ivanovich) [cf1]([cf2]b [cf1]Sara
tov, [sm1941[nm). ~Russ. cond. Studied Leningrad Cons. [sm1956[n
m=n[sm68[nm. ~Won [sm5[nmth int. cond. competition, Rome, [sm1968[nm. ~Cond. Kis
lovodsk Phil. Soc. [sm1967[nm=n[sm9[nm, ass. cond. ~Leningrad P.O. [sm1968[nm=n[
sm9[nm, Bolshoy Opera, Moscow, ~[sm1969[nm, chief cond. from [sm1970[nm. Teacher
 at Moscow ~Cons. from [sm1975[nm.[cm~Simple Symphony. [fy75,1][sm4[nm-movement
work for str. ~orch. (or str. qt.), Op. [sm4[nm, by Britten, based on ~themes he
 wrote in [sm1923[nm, [sm1924[nm, [sm1925[nm, and [sm1926[nm ~and re-scored in [
sm1933[nm. Movements are named: ~[cf2]Boisterous Bourr;Aaee, Playful Pizzicato,
Sentimental ~Saraband, Frolicsome Finale. [cf1]F.p. Norwich, [sm1934[nm.[cm~Simp
le Time [fy75,1](duple, triple, quadruple, etc.). ~Time in which each beat in a
measure has a ~simple note value, e.g. [cf9]3=-=-=-=-=-=-=K=K=K[cf13]4[cf1] mean
s [sm3[nm quarter-note ~(crotchet) beats in a measure, [cf9]4=-=-=-=-=-=-=K=K=K[
cf13]2[cf1] means four half-~notes (minims) in a measure. Each beat has two ~equ
al subdivisions. See also [cf2]Compound Time [cf1]and ~[cf2]Time
 Signature[cf1].[xm[cm~[j1]Simpson [fy75,1](Sympson), [fy65][cf3]Christopher [fy
75,1]([cf2]b [cf1]?Westonby, ~Yorks., [cf2]c.[cf1][sm1605[nm; [cf2]d [cf1]?Holbo
rn, London, [sm1669[nm). Eng. ~com[chposer, author, and player of viola da gamba
. ~Wrote fancies, divisions, etc., for str. Author of ~impor[chtant treatises, e
.g. [cf2]The Division Violist [cf1]([sm1659[nm), ~[cf2]Principles of Practical M
usic [cf1]([sm1665[nm).[cm~Simpson, Robert [fy75,1](Wilfred Levick) ([cf2]b [cf1
]Leaming~~ton, [sm1921[nm). Eng. composer, musicologist, and ~author. Pupil of [
fy45,1]*[fy75,1]Howells [sm1942[nm=n[sm6[nm. On BBC mus. ~[PN669,0,0,R,I0]staff
[sm1951[nm=n[sm80[nm. Author of [cf2]Carl Nielsen, Symphonist ~[cf1]([sm1952[nm)
 and [cf2]The Essence of Bruckner [cf1]([sm1967[nm). Awarded ~Nielsen Medal ([sm
1956[nm) and Bruckner Medal ([sm1962[nm). ~Works firmly based in tonality, with
Beethoven ~as model for organic unity. Prin. works:[xm[cm~[j2][smorch[nm: Syms.:
 No. [sm1[nm ([sm1951[nm), No. [sm2[nm ([sm1956[nm), No. [sm3[nm
 ~([sm1962[nm), No. [sm4[nm ([sm1972[nm), No. [sm5[nm ([sm1972[nm), No. [sm6[nm
and ~No. [sm7[nm ([sm1977[nm), No. [sm8[nm ([sm1979[nm); pf. conc. ([sm1967[nm);
 vn. ~conc. ([sm1959[nm); [fy75,2]Allegro deciso, [cf1]str.; [cf2]Canzona [cf1]f
or ~brass ([sm1958[nm).[ep~[smincidental music[nm: [cf2]The Pretenders [cf1](Ibs
en), [cf2]Samson ~Agonistes [cf1](Milton).[ep~[smbrass band[nm: [cf2]Energy, [cf
1]symphonic study ([sm1971[nm).[ep~[smchamber music[nm: [cf1]Str. Qts.: No. [sm1
[nm ([sm1952[nm), No. [sm2[nm ~([sm1953[nm), No. [sm3[nm ([sm1954[nm), No. [sm4[
nm ([sm1973[nm), No. [sm5[nm ([sm1974[nm), ~No. [sm6[nm ([sm1975[nm), No. [sm7[n
m ([sm1977[nm), No. [sm8[nm ([sm1979[nm); ~[cf2]Variations and Fugue, [cf1]recor
der and str. qt. ([sm1959[nm); ~Trio, cl., vc., pf. ([sm1967[nm); cl. quintet ([
sm1968[nm); horn ~qt. ([sm1976[nm).[ep~[smpiano[nm: [cf2]Variations and Finale o
n a Theme of Haydn ~[cf1]([sm1948[nm); pf. sonata ([sm1946[nm).[cm~[j1]Simpson,
Thomas [fy75,1]([cf2]b [cf1]Milton-next-Sittingbourne, ~Kent, [s
m1582[nm; [cf2]d[cf1] after [sm1630[nm). Eng. composer and ~viol player. Around
[sm1610[nm was in Heidelberg court ~orch., and from [sm1622[nm to [sm1625[nm in
Copenhagen ~royal orch. Pubd. [sm3[nm collections of consort music, ~incl. [sm53
[nm of his own works.[cm~Simrock, Nikolaus [fy75,1]([cf2]b [cf1]Mainz, [cf1][sm1
751[nm; [cf2]d [cf1]Bonn, ~[sm1832[nm). Ger. publisher. Played hn. in Bonn court
 ~orch. with Beethoven. Founded publishing firm ~[sm1793[nm in Bonn, issuing man
y of Beethoven's ~works. Business continued by son and grandson. ~Firm moved to
Berlin [sm1870[nm. Publishers of ~Brahms's mus. Branches opened in London and ~P
aris. Sold to Benjamin, of Hamburg, [sm1929[nm.[cm~ Sin' [fy75,1](It.). Abbrevia
tion of [fy45,1]*[fy75,2]sino, [cf1]until, e.g. [cf2]sin' al ~segno, [cf1]until
the sign.[cm~Sinatra, Frank [fy75,1](Francis Albert) ([cf2]b[cf1] Hoboken, NJ, ~
[sm1915[nm). Amer. singer (light bar.) and actor. Radio ~d;aaebut [sm1938[nm. Sa
ng with Harry James Band ([sm1939[nm) ~and Tommy Dorsey Band ([s
m1940[nm=n[sm2[nm). Solo career ~from [sm1942[nm, with radio shows. Inspired exc
itement ~among `bobbysoxers' of [sm1940[nms unequalled until ~advent of Elvis Pr
esley and Beatles. Had successful ~career as `straight' film actor, e.g. [cf2]Fr
om Here to ~Eternity[cf1] ([sm1952[nm), [cf2]Von Ryan's Express [cf1]([sm1965[nm
), and ~[cf2]The Detective [cf1]([sm1968[nm). Resumed vocal career and ~made int
ernational tours in [sm1970[nms. Secret of his ~artistry was his emphasis on sig
nificance of a ~song's lyrics.[cm~Sinclair, George [fy75,1](Robertson) [cf1]([cf
2]b [cf1]Croydon, [sm1863[nm; ~[cf2]d [cf1]Birmingham, [sm1917[nm). Eng. organis
t and cond. ~Studied Royal Irish Acad. of Mus. Ass. organist, ~Gloucester Cath.
[sm1879[nm. Organist and choirmaster, ~Truro Cath., [sm1880[nm=n[sm9[nm. Organis
t, Hereford Cath., ~[sm1889[nm=n[sm1917[nm, cond. at [sm3[nm Choirs Fest. [sm189
1[nm=n[sm1912[nm. ~Cond. Birmingham Choral Union [sm1899[nm=n[sm1917[nm. ~Friend
 and champion of Elgar, who incl. him as ~the [sm11[nmth (G.R.S.
) of [fy45,1]*[fy75,2]Enigma Variations [cf1](though ~the mus. is really about S
inclair's bulldog Dan).[cm~Sinclair, Monica [fy75,1]([cf2]b [cf1]Evercreech, Som
erset, [sm1926[nm). ~Eng. mez. Studied RAM and RCM. Opera d;Aaebut, ~Carl Rosa [
sm1948[nm. CG from [sm1949[nm. Glyndebourne ~[sm1954[nm. Created role of Mme Pop
ova in Walton's ~[cf2]The Bear, [cf1][sm1967[nm.[cm~Sinding, Christian [fy75,1](
[cf2]b [cf1]Kongsberg, Norway, [sm1856[nm; ~[cf2]d [cf1]Oslo, [sm1941[nm). Norwe
g. composer and pianist. ~Studied in Leipzig ([sm1874[nm=n[sm8[nm), Berlin, Dres
den, and ~Munich ([sm1880[nm=n[sm2[nm). Lived in Oslo from [sm1882[nm apart ~fro
m spell as teacher at Eastman Sch., NY, [sm1921[nm=n~[sm2[nm. Life pension from
Norweg. Govt. [sm1910[nm. Works ~incl. operas, [sm4[nm syms., [sm3[nm vn. concs.
, pf. conc., pf. ~quintet, str. qt., over [sm200[nm songs, and many pf. ~pieces,
 incl. famous [fy45,1]*[fy75,2]Rustle of Spring [cf1]([cf2]Fr;Auuhlings~~rausche
n[cf1]), one of [cf2][sm6[nm Pieces, [cf1]Op. [sm32[nm ([sm1896[
nm).[cm~Sinfonia [fy75,1](It.). Symphony. ([sm1[nm) Symphony.[ep~^([sm2[nm) Bach
's term for his [sm3[nm-part inventions.[ep~^([sm3[nm) Name given in Baroque per
iod to orch. piece ~which served as [sm3[nm-movement introduction to ~opera, sui
te, or cantata, i.e. an early form of ov. ~Operatic [cf2]sinfonia [cf1]standardi
zed [cf2]c.[cf1][sm1690[nm by A. ~Scarlatti into so-called `Italian overture'.[e
p~^([sm4[nm) In [sm20[nmth cent., often means a chamber orch., ~e.g. Northern Si
nfonia, English Sinfonia.[cm~Sinfonia Antartica [fy75,1](Antarctic Symphony). Ti
tle ~given by [fy45,1]*[fy75,1]Vaughan Williams to his [sm7[nmth sym. for ~orch.
, sop. solo, and women's ch., f.p. Manchester ~[sm1953[nm. Work based on mus. co
mposed [sm1947[nm=n[sm8[nm for ~film [cf2]Scott of the Antarctic, [cf1]about Cap
t. Scott's last ~expedition to S. Pole, [sm1910=n12[nm. Score contains ~part for
 wind-machine.[cm~Sinfonia Concertante. [fy75,1]Term preferred to conc. ~by Hayd
n, Mozart, and others, for comp. for ~more than one solo instr.
and orch., e.g. Mozart's ~for vn. and va. In [sm20[nmth cent. Walton, Williamson
, ~and others have used the term even where only ~one solo instr. is employed, t
o imply that solo ~part is more closely integrated with orch. than in ~a `displa
y' conc.[cm~Sinfonia da Requiem. [fy75,1]Orch. work in [sm3[nm move~~ments, Op.
[sm20[nm, by Britten, comp. [sm1940[nm in memory ~of his parents. F.p. NY [sm194
1[nm, London [sm1942[nm. ~Commissioned by Japanese Govt. to celebrate ~(spurious
) [sm2[nm,[sm600[nmth anniversary of Mikado's dyn~~[chasty in [sm1940[nm, and fu
riously rejected because of ~work's reference to terms from R.C. liturgy, e.g. ~
[cf2]Dies Irae.[cm~Sinfonia Eroica [fy75,1](Beethoven). See [cf2]Eroica Sym~~pho
ny.[cm~Sinfonia Espansiva [fy75,1](Expansive Symphony). Sub-~title of Nielsen's
[sm3[nmrd Sym., Op. [sm27[nm, comp. [sm1910[nm=n~[sm11[nm. F.p. Copenhagen [sm19
12[nm, cond. Nielsen; f. Eng. ~p. [sm1937[nm (broadcast), London (public) [sm196
2[nm. Sop. ~and bar. solo vv. used.[xm[cm~[j1]Sinfonia Sacra. [f
y75,1]Sym. by [fy45,1]*[fy75,1]Panufnik, comp. [sm1963[nm, ~f.p. Monte Carlo, co
nd. Fr;Aaemaux [sm1964[nm.[cm~Sinfonia Semplice [fy75,1](Simple Symphony). Sub-t
itle ~of Nielsen's [sm6[nmth sym., Op. posth., comp. [sm1924[nm=n[sm5[nm. ~[PN67
0,0,0,L,I0]F.p. Copenhagen [sm1925[nm, cond. Nielsen; f.p. in ~England [sm1954[n
m.[cm~Sinfonietta [fy75,1](It.). Little symphony. ([sm1[nm) Short, and ~perhaps
light, sym., e.g. those by Moeran, Roussel, ~and Jan;aaa;akcek, whose [cf2]Sinfo
nietta [cf1]([sm1926[nm) has a special ~brass ens. of [sm9[nm tpts., [sm2[nm ten
. tubas, and [sm2[nm bass tpts., ~with [sm2[nm pairs of timpani. In finale [sm12
[nm tpts. are used.[ep~^([sm2[nm) Small sym. orch., such as Bournemouth ~Sinfoni
etta, London Sinfonietta, etc.[cm~Singakademie [fy75,1](Ger.). Singing-school. C
hoir ~founded in Berlin [sm1791[nm by [fy45,1]*[fy75,1]Fasch. Mendelssohn ~cond.
 it in [sm1829[nm revival of Bach's [cf2]St Matthew ~Passion. [cf1]Name has been
 appropriated by other ~choirs.[cm~Singing. [fy75,1]Mus.-making
by the human v. either ~solo or with others. Styles of singing and methods ~of v
. prod. have varied over the centuries. In [sm14[nmth ~and [sm15[nmth cents., us
e of [fy45,1]*[fy75,2]falsetto [cf1]was favoured, ~hence high range of much mus.
 of that era; in ~[sm17[nmth and [sm18[nmth cents., the [fy45,1]*[fy75,2]castrat
i [cf1]imparted ~special brilliance, purity, and flexibility to oper~~atic roles
, qualities inherited by the [fy45,1]*[fy75,2]bel canto ~[cf1]singers of early [
sm19[nmth cent. opera (Bellini, Doni~~zetti, Rossini, etc.). In the [sm19[nmth c
ent. the growing ~expressive and dramatic nature of mus., e.g. the ~works of Bee
thoven, Berlioz, Verdi, Wagner, etc., ~led to a new style of singing in which vo
cal ~characterization was regarded as of more impor~~tance than mere technical a
gility. In [sm20[nmth cent., ~with jazz, [cf2]Sprechstimme, [cf1]and a host of e
ffects ~required by [cf2]avant-garde [cf1]composers, the demands ~on singers' vi
rtuosity and versatility became even ~heavier. At the same time,
 revival of interest in ~early and baroque mus. restored styles of earlier ~cent
uries.[cm~Singing Saw. [fy75,1]Ordinary handsaw held between ~player's knees and
 played on by a vn. bow (or, ~more rarely, struck with a drumstick); its blade ~
is meanwhile bent, under a lesser or greater ~tension, by the player's left hand
, so producing ~different pitches.[cm~Singspiel [fy75,1](Ger.). Song-play. Type
of opera, Ger. ~equivalent of [cf2]dramma per musica, [cf1]which developed ~[cf2
]c.[cf1][sm1700[nm, term orig. being applied to all operas. ~From [cf2]c.[cf1][s
m1750[nm, [cf2]Singspiel [cf1]implied an opera with ~spoken dialogue, comparable
 to Eng. ballad-opera ~and Fr. [cf2]op;Aaera comique, [cf1]e.g. those by Hiller
and ~Benda. Zenith was reached with Mozart's [cf2]Die ~Entf;Auuhrung aus dem Ser
ail, [cf1][sm1782[nm and [cf2]Die Zauberfl;Auote, ~[cf1][sm1791[nm. Beethoven's
[cf2]Fidelio [cf1]is technically a [cf2]Singspiel, ~[cf1]but term generally impl
ies a comic or light ~subject.[cm~Sinigaglia, Leone [fy75,1]([cf
2]b [cf1]Turin, [sm1868[nm; [cf2]d [cf1]Turin, [sm1944[nm). ~It. composer. Pupil
 of Mandyczewski in Vienna ~and Dvo;akr;aaak in Prague, [sm1900[nm=n[sm1[nm. Rar
e among It. ~composers of his day in writing no opera. Wrote ~mainly instr. work
s, incl. orch. variations, [cf2]Ro~~manza [cf1]for vc. and orch., chamber mus.,
choral ~pieces, and songs.[cm~Sinistra[fy75,1] (It.). Left (hand).[cm~Sink-a-Pac
e [fy75,1](from Fr. [cf2]cinque-pace[cf1]). Name by ~which orig. [sm5[nm-step fo
rm of [fy45,1]*[fy75,2]Galliard [cf1]was known.[cm~Sino [fy75,1](It.). Until. [c
f2]Sin' al fine, [cf1]until the end; [cf2]sin' al ~segno, [cf1]until the sign, e
tc.[cm~Sinopoli, Giuseppe [fy75,1]([cf2]b[cf1] Venice, [sm1946[nm). It. composer
 ~and conductor. Studied Venice Cons. and gradu~~ated in medicine from Padua Uni
v. [sm1971[nm. ~Attended Darmstadt summer courses [sm1968[nm and ~studied cond.
with Swarowsky in Vienna [sm1972[nm. ~Founded Bruno Maderna Ens., Venice, [sm197
5[nm, to ~play  contemporary mus. CG d;aaebut [sm1983[nm (Puccin
i's ~[cf2]Manon Lescaut[cf1]). Works incl. opera [cf2]Lou Salome ~[cf1]([sm1981[
nm), pf. conc. ([sm1974[nm=n[sm5[nm), [cf2]Symphonic Imaginaire ~[cf1]for [sm3[n
m solo vv., [sm10[nm children's vv., [sm3[nm ch., [sm3[nm orch. ~([sm1972[nm=n[s
m3[nm), pf. sonata ([sm1973[nm=n[sm5[nm), str. qt. ([sm1977[nm). Prin. ~cond. Ph
ilharmonia Orch. from [sm1984[nm.[cm~Sir John in Love. [fy75,1]Opera in [sm4[nm
acts by Vaughan ~Williams to his own lib. based on Shakespeare's ~[cf2]The Merry
 Wives of Windsor [cf1]([sm1600[nm=n[sm01[nm), with ~interpolations from other E
lizabethan dramatists. ~Comp. [sm1924[nm=n[sm8[nm. Score quotes several folk-son
gs, ~incl. [cf2]Greensleeves, [cf1]which is sung by Mrs. Ford in ~Act III. Prod.
 London (RCM) [sm1929[nm, NY (Columbia ~Univ.) [sm1949[nm, London (SW) [sm1946[n
m. See also [cf2]In ~Windsor Forest.[cm~[ol0][ep~[xp[te~


[do42][j99]~~~~~~[sm153842[nm_SC[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmSC[sm02[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm16[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm628[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Sir Roger de Coverley
. [fy75,1]Eng. country dance to ~tune of uncertain orig. (being variant of [cf2]
The ~Maltman, [cf1]a Scottish tune sometimes called [cf2]Roger ~the Cavalier[cf1
]). First printed by Playford, [sm1685[nm. Arrs. ~by Grainger, Bridge, etc.[xm[c
m~[j1]Sistrum. [fy75,1]Ancient type of rattle used in worship ~of goddess Isis,
comprising rings or bells which ~jingled on a metal frame when shaken by handle.
 ~Sometimes called for by [sm19[nmth-cent. composers.[cm~Sitar. [fy75,1]Indian l
ong-necked lute, with [sm18[nm movable ~frets and wooden body. Orig. had [sm3[nm
 str., but [sm4[nm to ~[sm7[nm now common ([sm5[nm melody and [sm2[nm drone if t
he ~latter). Nine to [sm13[nm or more sympathetic under-~str. increase resonance
. Played with plectrum ~worn on right forefinger or with finger-
nails. ~Popularized outside India in [sm1950[nms by virtuosity ~of Ravi [fy45,1]
*[fy75,1]Shankar.[cm~Sivori, [fy75,1](Ernesto)[fy65,3] Camillo [fy75,1]([cf2]b [
cf1]Genoa, [sm1815[nm; [cf2]d ~[cf1]Genoa, [sm1894[nm). It. violinist and compos
er. Pupil of ~[fy45,1]*[fy75,1]Paganini, who wrote sonatas for him. Played in ~P
aris [sm1827[nm, London [sm1828[nm, thereafter touring ~Europe extensively. Visi
ted N. and S. Amer. ~[sm1846[nm=n[sm50[nm. Retired [sm1870[nm. Had amazing techn
ique ~but small tone. Wrote vn. concs., vn. pieces, ~[cf2]Souvenir de Norma, [cf
1]etc.[cm~Six ;aaEpigraphes Antiques [fy75,1]([sm6[nm Ancient Inscrip-[fjtions).
 Set of pf. duets by Debussy, comp. [sm1914[nm. ~[sm1[nm. [cf2]Pour invoquer Pan
, dieu du vent d';aaet;aae [cf1](To invoke ~Pan, god of the summer wind); [sm2[n
m. [cf2]Pour un tombeau ~sans nom [cf1](For a nameless tomb); [sm3[nm. [cf2]Pour
 que la nuit ~soit propice [cf1](That night may be propitious); [sm4[nm. ~[cf2]P
our la danseuse aux crotales [cf1](For the dancing girl ~[PN671,
0,0,R,I0]with castanets); [sm5[nm. [cf2]Pour l';Aaegyptienne [cf1](For the ~Egyp
tian girl); [sm6[nm. [cf2]Pour remercier la pluie du matin ~[cf1](To thank the m
orning rain). Orch. versions by ~Rudolf Escher and Erich Schmid.[cm~Six-Four Cho
rd. [fy75,1][sm2[nmnd [fy45,1]*[fy75,1]inversion of a chord, e.g. ~C major chord
 with G in bass.[cm~Six, Les [fy75,1](Fr.). The Six. Name applied by Fr. mus. ~c
ritic Henri Collet in [sm1920[nm to group of young Fr. ~composers who, under inf
luence of [fy45,1]*[fy75,1]Satie and ~Cocteau, had achieved notoriety for their
ad~~vanced ideas. They were Auric, Durey, Honegger, ~Milhaud, Poulenc, and Taill
eferre. However, they ~soon went their separate ways and did not long ~operate a
s a group.[cm~Sixteenth Note. [fy75,1]The note [xf;Yc[rf (semiquaver). Its[fj~re
st is notated ;Yo.[cm~Sixth. [fy75,1]Interval in melody or harmony, encom~~passi
ng [sm6[nm degrees of the major or minor scale, ~counting bottom and top notes.
[cf2]Major [sm6[nmth [cf1]is ~distance, for instance, from C up
to A, [cf2]minor [sm6[nmth ~[cf1](semitone less) from C up to A;Yh, [cf2]augment
ed [sm6[nmth ~[cf1](semitone more) from C up to A;Yi. See [cf2]Neapolitan ~[sm6[
nmth.[cm~Sixty-Fourth Note. [fy75,1]The note [xf;ye[rf (hemidemi~~[ol10][chsemiq
uaver). Rest is notated [xf;yq[rf.[cm~Sizzle Cymbal. [fy75,1]Cymbal with [sm5[nm
 or [sm6[nm small jingles ~(sizzlers) loosely attached to its upper surface. ~Pl
ayed with special type of side-drumstick.[cm~Skalkottas, Nikolaos [fy75,1](Nikos
) ([cf2]b [cf1]Chalkis, [sm1904[nm; [cf2]d ~[cf1]Athens, [sm1949[nm). Greek comp
oser and violinist. ~Studied at Athens Cons. [sm1914[nm=n[sm20[nm and from [sm19
21[nm=n~[sm33[nm in Berlin, being comp. pupil of Weill, Jarnach, ~and, most impo
rtant, Schoenberg ([sm1927[nm=n[sm31[nm). ~Studied vn. with Willy Hess, [sm1921[
nm=n[sm3[nm. Returned ~to Gr. [sm1933[nm, where his mus. attracted little ~atten
tion and he comp. mainly in secret, working ~as back-desk orch. violinist. Colle
cted Greek folk ~mus. After his death, committee was formed to ~
promote interest in and publication of his mus., ~much of which was written in t
he [sm12[nm-note system, ~but after [sm1938[nm was often freely atonal. Works ~i
ncl.:[xm[cm~[j2][smorch[nm: [fy75,2]Symphonic Suite [cf1]No. [sm1[nm ([sm1929[nm
, rev. [sm1935[nm), No. ~[sm2[nm ([sm1944[nm, orch. [sm1946[nm=n[sm9[nm); Conc.
for wind ([sm1929[nm); ~conc. for pf. and vn. ([sm1929[nm=n[sm30[nm); pf. concs.
: No. ~[sm1[nm ([sm1931[nm), No. [sm2[nm ([sm1937[nm=n[sm8[nm), No. [sm3[nm for
[sm10[nm winds and ~perc. ([sm1939[nm); [cf2][sm36[nm Greek Dances [cf1]([sm1933
[nm=n[sm6[nm); [cf2][sm9[nm Greek ~Dances [cf1]for large wind orch. (transcr. fr
om [cf2][sm36[nm ~Greek Dances, [cf1][sm1936[nm); vc. conc. ([sm1937[nm=n[sm8[nm
); [cf2]The ~Maid and Death, [cf1]ballet suite ([sm1938[nm); vn. conc. ~([sm1937
[nm=n[sm8[nm); conc. for vn., va., large wind orch. ~([sm1939[nm=n[sm40[nm); [cf
2][sm10[nm Sketches [cf1]for str. ([sm1940[nm); db. conc. ~([sm1942[nm=n[sm3[nm)
; [cf2]Little Suite [cf1]for str. ([sm1942[nm); [cf2]The Return
~of Ulysses [cf1]([sm1942[nm=n[sm3[nm); conc. for [sm2[nm vn. ([sm1944[nm=n[sm5[
nm); [cf2][sm5[nm ~Short Greek Dances [cf1]([sm1946[nm); [cf2]Classical Symphony
 [cf1]in ~A, for wind ([sm1947[nm); [cf2]Sinfonietta [cf1]in B;Yh ([sm1948[nm);
~[cf2]Ballet Suite [cf1]([sm1948[nm); [cf2]The Sea, [cf1]ballet ([sm1949[nm); Pf
. ~Concertino in C ([sm1949[nm).[ep~[smchoral,[nm etc.: [cf2]The Unknown Soldier
 [cf1]([sm1949[nm); [cf2]The ~Mayday Spell, [cf1]narrator, sop., dancers, orch.
~([sm1944[nm=n[sm9[nm).[ep~[smchamber music[nm: Str. Qt. ([sm1923[nm=n[sm24[nm);
 Str. Qts.: No. ~[sm1[nm ([sm1928[nm), No. [sm2[nm ([sm1929[nm), No. [sm3[nm ([s
m1935[nm), No. [sm4[nm ~([sm1940[nm); Easy Str. Qt. ([sm1929[nm); Str. Trio ([sm
1923[nm=n[sm4[nm); ~sonata, solo vn. ([sm1925[nm); Vn. Sonatinas, No. [sm1[nm ~(
[sm1928[nm), No. [sm2[nm ([sm1929[nm), Nos. [sm3[nm and [sm4[nm ([sm1935[nm); vn
. ~sonata No. [sm1[nm ([sm1928[nm), No. [sm2[nm ([sm1940[nm); Octet, [sm4[nm ~wo
odwind and str. qt. ([sm1931[nm); [cf2]Piece [cf1]for [sm8[nm ~w
oodwind or double str. qt. ([sm1931[nm); pf. trio ~([sm1936[nm); [cf2]March of t
he Little Soldiers, [cf1]vn. and pf. ~([sm1937=n8[nm); [cf2]Rondo, [cf1]vn. and
pf. ([sm1936[nm); [cf2]Little Chorale ~and Fugue, [cf1]vn. and pf. ([sm1936[nm);
 [cf2][sm8[nm Variations on a ~Greek Theme, [cf1]pf. trio ([sm1938[nm); [cf2]Sui
te, [cf1]vc. and pf. ~([sm1938[nm); vc. sonata ([sm1938[nm); concertino, ob. and
 pf. ~([sm1939[nm); [cf2]Duo, [cf1]vn. and pf. ([sm1938[nm); [cf2]Largo, [cf1]vc
. and ~pf. ([sm1941[nm=n[sm2[nm); Qt. for pf. and winds, No. [sm1[nm ([sm1941[nm
=n~[sm3[nm), No. [sm2[nm ([sm1941[nm=n[sm3[nm); concertino, tpt. and pf. ~([sm19
40[nm=n[sm2[nm); [cf2]Sonate concertante, [cf1]bn., pf. ([sm1943[nm); [cf2]Littl
e ~Suite, [cf1]vn. and pf., No. [sm1[nm ([sm1946[nm), No. [sm2[nm ([sm1949[nm);
~[cf2]Echo, [cf1]harp ([sm1947[nm); [cf2]Duo, [cf1]vn. and vc. ([sm1947[nm); [cf
2]Bolero, ~[cf1]vc. and pf. ([sm1945[nm); [cf2]Little Serenade, [cf1]vc. and pf.
 ~([sm1945[nm); vc. sonatina ([sm1949[nm); [cf2]Tender Melody, [
cf1]vc. ~and pf. ([sm1949[nm).[ep~[smvoice(s) and piano[nm: [cf2]Sometime [cf1](
[sm1939[nm); [cf2]The Moon ~[cf1]([sm1942[nm); [cf2][sm16[nm Songs [cf1](poems b
y Evelpidis) ([sm1941[nm).[ep~[smpiano[nm: [cf2]Greek Suite [cf1]([sm1924[nm); [
cf2]Suite [cf1]for [sm2[nm pf. ([sm1924[nm); ~[cf2]Sonatina [cf1]([sm1927[nm); [
cf2][sm15[nm Little Variations [cf1]([sm1927[nm); [cf2][sm10[nm ~Canons [cf1]([s
m1936[nm); [cf2][sm32[nm Pieces [cf1]([sm1940[nm); [cf2]Piano Suites, [cf1]No. ~
[sm1[nm ([sm1936[nm), Nos. [sm2[nm, [sm3[nm, and [sm4[nm ([sm1940[nm); [cf2][sm4
[nm ;AaEtudes [cf1]([sm1940[nm).[cm~[j1]Sketch [fy75,1](Ger. [cf2]Skizze[cf1]; F
r. [cf2]esquisse[cf1]). ([sm1[nm) Short piece, ~usually for pf. and often pictor
ial in intention, ~e.g. `Woodland Sketch'.[ep~^([sm2[nm) Composer's preliminary
jottings out of which ~work is built, of great fascination to mus. scholars ~as
showing workings of composer's mind (e.g. ~Beethoven's sketchbooks show how a co
mp. went ~through many stages over several years).[cm~Skram, Knu
t [fy75,1]([cf2]b [cf1]Hj;Auorundfjord, [sm1937[nm). Norweg. ~bar. Studied Wiesb
aden and Rome. Sang with ~Norwegian Opera, Oslo, from [sm1964[nm. Glynde~~bourne
 from [sm1969[nm. Also Lieder singer (esp. ~Strauss).[cm~Skrowaczewski, Stanisla
w [fy75,1]([cf2]b [cf1]Lw;Aaow, [sm1923[nm). ~Polish-born cond. and composer (Am
er. cit. from ~[sm1963[nm). Studied at Lw;Aaow Acad., Krak;aaow Cons., ~and in P
aris with Boulanger. Early career as ~pianist until injury. Comp. [sm4[nm syms.,
 str. qt., film ~scores, and songs, but became known as cond.: ~Wroc[ch;Umaw P.O
. [sm1946[nm=n[sm7[nm, Katowice Nat. P.O. [sm1949[nm=n~[sm54[nm, Krak;Aaow P.O.
[sm1955[nm=n[sm6[nm, Warsaw Nat. P.O. ~[sm1957[nm=n[sm9[nm. Amer. d;aaebut Cleve
land Orch. [sm1958[nm. Mus. ~dir. Minneapolis (later Minnesota) S.O. [sm1960[nm=
n[sm79[nm. ~Prin. cond. Hall;aae Orch. from [sm1984[nm.[cm~Skryabin, Alexander [
fy75,1](Nikolayevich) [cf1]([cf2]b [cf1]Moscow, ~[sm1872[nm; [cf2]d [cf1]Moscow,
 [sm1915[nm). Russ. composer and ~pianist, son of a lawyer and h
is wife who was a ~brilliant pianist. Prodigy pianist; enrolled in ~Moscow Cadet
 School but studied pf. with N. S. ~Zverev. Entered Moscow Cons. [sm1888[nm, stu
dying ~[PN672,0,0,L,I0]pf. with Safonov and comp. with Taneyev and ~Arensky. Whi
le at the cons., attracted notice of ~the publisher Belayev who issued his early
 comps. ~under generous terms and in [sm1896[nm sponsored ~Skryabin's tour of Eu
rope as pianist in his own ~works. Prof. of pf., Moscow Cons., [sm1898[nm=n[sm19
03[nm, ~an occupation with which he became increasingly ~bored. Settled in Switz
. [sm1903[nm when former pupil ~settled annuity on him. Toured USA [sm1906[nm=n[
sm7[nm and ~found new publisher and champion in [fy45,1]*[fy75,1]Koussev~~itzky.
 Since [sm1905[nm he had been under the influence ~of Mme. Blavatsky's theosophy
 and mystical ~influences; regarded his works from that date as ~preparation for
 a `supreme ecstatic mystery' which ~would accompany a final cataclysm. Toured R
uss. ~[sm1910[nm with Koussevitzky's orch. and in [sm1911[nm per
f. ~his works with Mengelberg and Concertgebouw ~Orch. of Amsterdam. Visited Lon
don [sm1914[nm for ~perf. of his [cf2]Prometheus [cf1]under Wood and to play ~hi
s pf. conc. and give recitals. Toured Russ. [sm1914[nm ~then became ill, dying f
rom septicaemia from ~tumour on his lip.[ep~^Skryabin's early works are strongly
 flavoured by ~Chopin and Liszt. As he developed his personal ~theories he grew
harmonically bolder in his pf. ~works, using chords built of [sm4[nmths and some
times ~of [sm2[nmnds, sometimes achieving what has been ~called `impressionist a
tonality'. In his sym.-poem, ~[cf2]Prometheus, [cf1]and [sm7[nmth pf. sonata, he
 developed the ~`mystic' chord, a series of [sm4[nmths=mC, F;Yi, B;Yh, E, A, ~an
d D. This extreme chromaticism was combined ~with a strong feeling for classical
 form. His ~obsession with extra-mus. ideas has tended to ~divert attention from
 the undoubted excellent ~qualities of his mus. Prin. works:[xm[cm~[j2][smorch[n
m: Syms.: No. [sm1[nm in E, with ch. ([sm1899[nm=n[sm1900[nm, ~f
.p. [sm1900[nm), No. [sm2[nm in C minor ([cf2]c[cf1]. [sm1901[nm, f.p. [sm1903[n
m), ~No. [sm3[nm in C, [fy75,2]Bozhestvennaya poema [cf1]([fy45,1]*[fy75,1]Divin
e Poem, ~[sm1902[nm=n[sm4[nm, f.p. [sm1905[nm); Sym.-Poems: [cf2]Poema ekstasa ~
[cf1]([fy45,1]*[fy75,1]Poem of Ecstasy, [sm1905[nm=n[sm8[nm, f.p. [sm1908[nm), [
cf2]Prome~~tei=mPoema ogyna [cf1]([fy45,1]*[fy75,1]Prometheus=mThe Poem of ~Fire
, [sm1908[nm=n[sm10[nm, f.p. [sm1911[nm); Pf. Conc. in F;Yi minor ~([sm1896[nm).
[ep~[smpiano[nm: Sonatas: No. [sm1[nm in F minor ([sm1892[nm), No. [sm2[nm in ~G
;Yi minor ([cf2]Fantasy[cf1]) ([sm1892[nm=n[sm7[nm), No. [sm3[nm in F;Yi minor ~
([sm1897[nm), No. [sm4[nm in F;Yi ([sm1903[nm), No. [sm5[nm in F;Yi ([sm1907[nm)
, ~No. [sm6[nm in G ([sm1911[nm), No. [sm7[nm in F;Yi ([cf2]White Mass[cf1]) ~([
sm1911[nm), No. [sm8[nm in A ([sm1913[nm), No. [sm9[nm in F ([cf2]Black Mass[cf1
]) ~([sm1913[nm), No. [sm10[nm in C ([sm1913[nm); [sm24[nm [cf2];AaEtudes[cf1];
[sm85[nm ~[cf2]Preludes[cf1]; [cf2]Concert Allegro [cf1]in B;Yh
minor; Waltzes, ~Impromptus, Mazurkas, etc.[cm~[j1]Sladen, Victoria [fy75,1]([cf
2]b [cf1]London, [sm1910[nm). Eng. sop. ~Studied Berlin, Vienna, and London. Ope
ra d;Aaebut ~London [sm1942[nm. Member SW opera co. [sm1943[nm=n[sm50[nm, ~CG [s
m1947[nm=n[sm8[nm, [sm1950[nm=n[sm2[nm.[cm~Slancio [fy75,1](It.). Dash. Impetuos
ity, outburst, thus ~[cf2]con slancio, [cf1]with impetuosity.[cm~Slargando, Slar
gandosi [fy75,1](It.). Slowing. Same as ~[fy45,1]*[fy75,2]rallentando.[cm~Slatki
n, Leonard [fy75,1]([cf2]b [cf1]Los Angeles, [sm1944[nm). Amer. ~cond. and piani
st. Studied Juilliard Sch. and with ~S;Auusskind. D;Aaebut with Youth S.O. of NY
, [sm1966[nm. ~Mus. dir. New Orleans P.O. and of St Louis S.O. ~from [sm1979[nm.
 London d;Aaebut [sm1974[nm (RPO). Guest ~cond. of leading Amer., Brit., and Eur
opean ~orchs.[cm~ Slavonic Dances. [fy75,1][sm2[nm sets of dances by [fy45,1]*[f
y75,1]Dvo;Akr;Aaak in ~folk-mus. style but `original' in melody. Written ~for pf
. duet, Nos. [sm1[nm=n[sm8[nm, Op. [sm46[nm, in [sm1878[nm, Nos.
 [sm9[nm=n~[sm16[nm, Op. [sm72[nm, in [sm1886[nm. All orch. by Dvo;akr;aaak, in
~which form they are now usually heard.[cm~Slavonic Rhapsodies. [fy75,1][sm3[nm
comps. for orch. by ~Dvo;akr;aaak, Op. [sm45[nm, comp. [sm1878[nm, in vein of fo
lk-mus. ~but all `original': No. [sm1[nm in D, No. [sm2[nm in G minor, ~No. [sm3
[nm in A;Yh.[cm~Sleeping Beauty, The [fy75,1]([cf2]Spyashchaya krasavitsa[cf1]).
 ~Ballet in prol. and [sm3[nm acts with mus. by [fy45,1]*[fy75,1]Tchaikov~~sky t
o lib. by Petipa and Vsevolojsky, based on ~Perrault's fairy-tale, choreog. Peti
pa. Comp. ~[sm1888[nm=n[sm9[nm. Prod. St Petersburg [sm1890[nm, London [sm1921[n
m ~(under title [cf2]The Sleeping Princess[cf1]). Last act some~~times perf. sep
arately as [fy45,1]*[fy75,2]Aurora's Wedding. ~[cf1]Additions to orig. choreog.
by Ashton, [sm1968[nm, and ~MacMillan [sm1973[nm.[cm~Slentando [fy75,1](It.). Be
coming slower; same as [fy45,1]*[fy75,2]rallen~~tando.[cm~Slezak, Leo [fy75,1]([
cf2]b [cf1]Kr;Aaasn;Aaa Hora, [sm1873[nm; [cf2]d [cf1]Egern am ~
Tegernsee, [sm1946[nm). Austro-Cz. ten. Studied with J. ~de Reszke in Paris [sm1
908[nm=n[sm9[nm. Sang in ch. of Brno ~Opera, making d;Aaebut there [sm1896[nm as
 Lohengrin. ~Berlin Royal Opera [sm1898[nm=n[sm9[nm. Engaged by Mahler ~for Vien
na Opera [sm1901[nm, remaining until [sm1927[nm ~(when he was made hon. member a
nd made ~occasional guest appearances until [sm1933[nm). CG ~d;aaebut [sm1900[nm
 (Lohengrin) and [sm1909[nm (Otello). NY ~Met. [sm1909[nm=n[sm13[nm (singing Her
man in Amer. pre~~mi;agere of [cf2]Queen of Spades [cf1]under Mahler, [sm1910[nm
). ~Guest singer in world's leading opera houses. Man ~of towering height with d
ramatic power and ~sense of humour to match. Fine Lieder singer. ~On retirement
wrote several books and appeared ~in Austrian films as comedian. His son Walter
~was in several Hollywood films and in [cf2]Die ~Fledermaus [cf1]at NY Met.[cm~S
lide. [fy75,1]([sm1[nm) In vn.-playing, expressive means of ~passing from one no
te to another, usually at ~distance of a [sm3[nmrd or [sm4[nmth.
 Paganini introduced ~virtuoso slide by executing chromatic passages, ~singly or
 in [sm3[nmrds, with the same fingers.[ep~^([sm2[nm) Device fitted to wind instr
. to adjust the ~pitch by altering length of vibrating air-column. ~Mainly used
on tb.[ep~^([sm3[nm) An ornament; when [sm2[nm or more notes ~approach main note
 by conjunct [fy45,1]*[fy75,1]motion.[cm~Slide Trumpet. [fy75,1]Mechanism, as in
 the tb., was ~fitted to tpts. as early as [sm15[nmth cent. Bach probably ~meant
 this instr. when he scored for [cf2]tromba da ~tirarsi. [cf1]At beginning of [s
m19[nmth cent. new device was ~invented with springs to bring back slide to ~[PN
673,0,0,R,I0]normal position. This lacked agility and became ~obsolete on invent
ion of valve tpt.[cm~Slobodskaya, Oda [fy75,1]([cf2]b [cf1]Vilno, [sm1888[nm; [c
f2]d [cf1]London, ~[sm1970[nm). Russ. sop. Studied St Petersburg. Opera ~d;Aaebu
t there [sm1918[nm in [cf2]Queen of Spades [cf1](Lisa). Left ~Russia for Paris [
sm1922[nm. London d;Aaebut [sm1931[nm (CG ~[sm1932[nm). Appeared
 in operetta in London [sm1930[nm=n[sm2[nm ~as Odali Careno. Sang in first Londo
n stage perf. ~of Delius's [cf2]Koanga [cf1][sm1935[nm. Created role of Prasha i
n ~Stravinsky's [cf2]Mavra, [cf1][sm1922[nm.[cm~Slonimsky, Nicolas [fy75,1]([cf2
]b [cf1]St Petersburg, [sm1894[nm). ~Russ.-born Amer. cond., composer, and lexic
o-[fj~grapher. Studied pf. and comp. at St Petersburg ~Cons. Settled in USA [sm1
923[nm, becoming Amer. ~citizen [sm1931[nm. Cond. concerts of Amer. mus. in ~Eur
ope [sm1931[nm=n[sm2[nm, incl. [fy45,1]*[fy75,1]Ives's [cf2]Three Places in New
~England[cf1], and cond. f.ps. in USA of works by ~Var;agese (world premi;ageres
), Riegger, Cowell, and ~Ch;aaavez. Comps. used atonal, polytonal, and ~quarter-
tone effects. Founder and cond., Boston ~Chamber Orch., [sm1927[nm=n[sm34[nm. Ed
. of complete rev. ~of [cf2]Baker's Biographical Dictionary of Musicians [cf1]([
sm5[nmth, ~[sm6[nmth, and [sm7[nmth edns. [sm1958[nm, [sm1978[nm, [sm1984[nm). A
uthor of ~[cf2]Music Since [sm1900[nm [cf1](chronological list o
f major mus. ~events throughout world), contrib. to many ~dictionaries and encyc
lopaedias.[cm~Slonimsky, Sergey [fy75,1]([cf2]b [cf1]Leningrad, [sm1932[nm). Rus
s. ~composer, nephew of Nicolas [fy45,1]*[fy75,1]Slonimsky. Stud~~ied Moscow (co
mp. with Shebalin) [sm1943[nm=n[sm5[nm, ~Leningrad Mus. Sch. (comp. with Arapov)
 [sm1945[nm=n~[sm50[nm, Leningrad Cons. (comp. with Evlakhov) ~[sm1950[nm=n[sm5[
nm. Teacher of comp., Leningrad Cons. from ~[sm1959[nm. Collector of folk mus.,
which has influenced ~his works. Comps. incl. operas, syms., chamber ~mus., cant
atas, song-cycles, ballet, and [cf2]Choreo~~graphic Miniatures [cf1]for orch. ([
sm1963[nm).[cm~Slur. [fy75,1]Curved line used in musical notation to ~group toge
ther notes. Most common indication ~is that notes concerned are to be played or
sung ~smoothly ([cf2]legato[cf1]). For a str.-player, this signifies ~that the n
otes should be taken in one stroke of ~the bow, for a wind-player or singer that
 they ~should be taken in one breath. If notes within ~slur have
 dots above or below, this means they ~are to be played slightly detached. Slur
also used ~in vocal mus. to indicate that one syllable is to be ~sung to several
 notes.[cm~Smallens, Alexander [fy75,1]([cf2]b [cf1]St Petersburg, [sm1889[nm; [
cf2]d ~[cf1]Tucson, Arizona, [sm1972[nm). Russ.-born cond. Taken ~to USA [sm1890
[nm, Amer. citizen from [sm1919[nm. Studied ~Institute of Mus. Art, NY, and Pari
s Cons., [sm1909[nm=n~[sm11[nm. Ass. cond., Boston Opera House [sm1911[nm=n[sm14
[nm; ~cond. Chicago Opera [sm1919[nm=n[sm23[nm, mus. dir. Phila~~delphia Civic O
pera [sm1924[nm=n[sm31[nm. Ass. cond., Phila~~delphia Orch. [sm1927[nm=n[sm34[nm
. Mus. dir. Radio City ~Music Hall, NY, [sm1947[nm=n[sm50[nm. Long assoc. with ~
contemporary mus. Cond. f.ps. of Prokofiev's ~[cf2]Love for [sm3[nm Oranges [cf1
](Chicago [sm1921[nm), de Koven's [cf2]Rip ~Van Winkle, [cf1]Thomson's [cf2]Four
 Saints in Three Acts, ~[cf1]and Gershwin's [cf2]Porgy and Bess [cf1]([sm1935[nm
; also cond. ~revival [sm1942[nm and int. tour [sm1956[nm). Cond
. f. Amer. ~ps. of Strauss's [cf2]Feuersnot [cf1]([sm1927[nm) and [cf2]Ariadne a
uf ~Naxos, [cf1]([sm1928[nm) and of Rimsky-Korsakov's [cf2]Invisible ~City of Ki
tezh.[cm~Smalley, Roger[fy75,1] ([cf2]b[cf1] Swinton, Manchester, [sm1943[nm). ~
Eng. composer and pianist. Studied RCM [sm1961[nm=n~[sm5[nm and later with Stock
hausen. Specialized as ~pianist in contem[chporary mus. Co-founder, [sm1969[nm,
~of Intermodulation, instr. ens. for scores involving ~live elecs. (disbanded [s
m1976[nm). Uses elec. and aleatory ~techniques in comps. On staff Univ. of W. ~A
ustralia from [sm1976[nm. Author of articles on ~contemporary mus. Prin. works:[
xm[cm~[j2][smorch[nm: [fy75,2]Beat Music[cf1], with amplified instr. ([sm1971[nm
); ~[cf2]Gloria tibi Trinitas I[cf1] ([sm1965[nm); [cf2]Variations[cf1], str. ([
sm1964[nm=n~[sm7[nm); [cf2]Strata[cf1], [sm15[nm solo str. ([sm1971[nm); [cf2]Ko
nzertst;auuck[cf1], vn. ~and orch. ([sm1980[nm); Sym. ([sm1979[nm=n[sm81[nm).[ep
~[smvocal[nm: [cf2]Elegies[cf1] ([sm4[nm Rilke poems), sop., ten
., orch. ~([sm1965[nm); [cf2]The Crystal Cabinet[cf1], unacc. ch. ([sm1967[nm);
~[cf2]Missa brevis[cf1], [sm16[nm solo vv. ([sm1967[nm); [cf2]The Song of the ~H
ighest Tower[cf1], sop., bar., ch., orch. ([sm1968[nm); ~[cf2]William Derrincour
t[cf1], bar., male vv., chamber ens. ~([sm1977[nm).[ep~[sminstr. ens.[nm: [cf2]M
elody Study [cf1]I and II ([sm1970[nm); [cf2]Missa ~Parodia I[cf1], pf. solo, II
, pf. nonet ([sm1967[nm); [cf2]Pulses[cf1], ~brass and perc. ([sm1969[nm); [cf2]
Monody[cf1], pf. and elecs. ~([sm1972[nm); [cf2]Transformation[cf1], pf. and liv
e elecs.; ~[cf2]Zeitebenen[cf1], [sm4[nm players and prepared tape ([sm1973[nm).
[ep~[smchamber mus.[nm: Str. sextet ([sm1965[nm); [cf2][sm6[nm Modular Pieces[cf
1], ~[sm4[nm fl. ([sm1976[nm=n[sm7[nm); str. qt. ([sm1979[nm); [cf2]Movement[cf1
], fl., pf. ~([sm1980[nm).[ep~[smpiano[nm: Pf. pieces I=nV ([sm1962[nm=n[sm3[nm)
; [cf2]Accord[cf1], [sm2[nm pf. ~([sm1975[nm).[cm~[j1]Smallman, [fy75,1](Frederi
ck) [fy65][cf3]Basil [fy75,1](Rowley) ([cf2]b [cf1]Croy~~don, [s
m1921[nm). Eng. teacher, pianist, and cond. ~Studied Oxford Univ. Lecturer in mu
s., Not~~tingham Univ., [sm1950[nm=n[sm64[nm, prof. of mus. Liverpool ~Univ. fro
m [sm1965[nm.[cm~Smanioso [fy75,1](from It. [cf2]smania, [cf1]`frenzy'). With fu
rious ~excitement; also [cf2]smaniato [cf1]and [cf2]smaniante.[cm~Smareglia, Ant
onio [fy75,1]([cf2]b [cf1]Pola, [sm1854[nm; [cf2]d [cf1]Grado, ~[sm1929[nm). It.
 composer. Studied Milan Cons. [sm1873[nm=n~[sm7[nm. Wrote [sm9[nm operas in Wag
nerian style, most ~famous being [cf2]Nozze Istriane [cf1](Trieste [sm1895[nm),
and ~symphonic poem [cf2]Eleonora [cf1]([sm1877[nm). Blind from ~[sm1903[nm.[cm~
[ol0][ep~[xp[te~




[do42][j99]~~~~~~[sm153842[nm_SC[sm003[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmSC[sm003[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm16[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm664[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Smart, [fy75,
1](Sir) [fy65][cf3]George [fy75,1](Thomas) ([cf2]b [cf1]London, [sm1776[nm; ~[cf
2]d [cf1]London, [sm1867[nm). Eng. cond., composer, organist, ~violinist, and te
acher. Chorister in Chapel Royal. ~Violinist, [fy45,1]*[fy75,1]Salomon's concert
s. Knighted [sm1811[nm. ~Organist, Chapel Royal from [sm1822[nm, composer to ~Ch
apel Royal from [sm1838[nm. One of founders of Phil. ~Soc., London, [sm1813[nm,
and one of its conds. [sm1813[nm=n~[sm44[nm. Cond. f.p. in England of Beethoven'
s [sm9[nmth ~Sym., [sm1825[nm. Weber died while staying at Smart's ~London home,
 [sm1826[nm. Cond. many Eng. choral ~fests. Cond. f.ps. in England of Beethoven'
s ~[cf2]Christus am ;AuOlberge [cf1](London [sm1814[nm) and Mendels~~sohn's [cf2
]St Paul [cf1](Liverpool, [sm1836[nm). Was cond. at ~Manchester
fest. [sm1836[nm on occasion of [fy45,1]*[fy75,1]Malibran's ~[PN674,0,0,L,I0]fat
al collapse. Dir. of mus. for coronations of ~William IV ([sm1830[nm) and Victor
ia ([sm1837[nm). Notable ~singing teacher. Wrote church mus., ed. O. ~Gibbons's
madrigals and Handel's [cf2]Dettingen Te ~Deum.[cm~Smet;aaa;akcek, V;aaaslav [fy
75,1]([cf2]b[cf1] Brno, [sm1906[nm). Cz. conductor ~and oboist. Studied Prague C
ons. [sm1922[nm=n[sm30[nm (oboe ~with Skuhrovsk;aay, cond. with Dole;akzil and D
;akede~~;akcek). Founded Prague Wind Quintet [sm1928[nm, ~playing in it until [s
m1955[nm. Oboist in Czech P.O. ~[sm1930[nm=n[sm33[nm. Cond., Prague Radio Orch.,
 [sm1934[nm=n[sm43[nm. ~Prof. of oboe and cond., Prague Cons. and Prague ~Acad.,
 [sm1945[nm=n[sm66[nm. Eng. d;aaebut [sm1938[nm. Noted inter~~preter of operas o
f Smetana and Jan;aaa;akcek.[cm~Smetana, Bed;akrich [fy75,1]([cf2]b [cf1]Litomy;
Aksl, [sm1824[nm; [cf2]d [cf1]Prague, ~[sm1884[nm). Bohem. composer, pianist, an
d cond., ~regarded as the founder of Czech mus. Played in ~str.
qt. at age [sm5[nm, pf. recital at [sm6[nm, and wrote first ~comp. at [sm8[nm. S
ettled in Prague in [sm1843[nm, working as ~teacher to aristocratic family while
 having lessons ~from J. Proksch. Heard Liszt play and became ~close friend. Too
k part in fighting at barricades ~during abortive [sm1848[nm nationalist uprisin
g. Set up ~mus. sch. but in [sm1856[nm went to Sweden as dir. of ~G;Auoteborg Ph
il. Soc. Visited Liszt in Weimar and ~comp. [sm3[nm symphonic poems on Lisztian
lines, incl. ~[cf2]Wallenstein's Camp [cf1]([sm1858[nm=n[sm9[nm). Returned to Pr
ague ~[sm1861[nm but, through financial instability, toured ~Europe as concert p
ianist until [sm1863[nm, coinciding ~with reawakening of Cz. nationalist fervour
 after ~Austria's defeat by Hungary. Became cond. of a ~Prague choral soc. and c
ritic for daily newspaper. ~His patriotic opera [cf2]The Brandenburgers in Bohem
ia, ~[cf1]was prod., after much controversy, at Prague ~Provisional Th. (est. [s
m1862[nm) in [sm1866[nm and won him ~public success. Smetana was
 appointed cond. of ~the th. and dir. f.p. of [cf2]The Bartered Bride [cf1]([sm1
866[nm), ~which was a triumph. For laying of foundation-~stone of permanent Prag
ue Nat. Th. in [sm1868[nm he ~comp. the opera [cf2]Dalibor. [cf1]This was failur
e and was ~criticized as insufficiently nationalist because of ~Wagnerian influe
nces on score. Resigned conduc~~torship of Provisional Th. in [sm1874[nm because
 of total ~deafness, the result of venereal disease. Over next ~[sm5[nm years co
mp. his cycle of [sm6[nm symphonic poems ~[cf2]M;Aaa Vlast [cf1](My Country) and
 in [sm1876[nm wrote his E ~minor str. qt. subtitled `From My Life', in which ~t
he high-pitched note heard in finale represents ~the noise in his head which he
experienced ~continually during onset of deafness. Living in ~isolation in the c
ountry, he comp. choral pieces ~and [sm2[nm operas [cf2]The [cf2]Kiss [cf1]and [
cf2]The Secret. [cf1]During [sm1880[nms ~nat. celebrations marked his achievemen
t and his ~opera [cf2]Libu;Akse [cf1]was chosen to inaugurate Pr
ague Nat. ~Th. in [sm1881[nm. Encouraged, comp. last opera, [cf2]The ~Devil's Wa
ll, [cf1]but this was a failure in [sm1882[nm, though ~it contains some of his b
est mus. He worked on ~[cf2]Viola, [cf1]an adaptation of Shakespeare's [cf2]Twel
fth Night ~[cf1]which had occupied him for many years, but wrote[fj~only [sm363[
nm bars before he became insane and died[fj~in asylum.[ep~^Smetana was buried as
 a nat. hero. With [cf2]The ~Bartered Bride [cf1]he wrote the incomparable maste
r~~piece of folk-opera. His other operas had to wait ~until many years after his
 death for a proper ~appreciation of their virtues. Inevitably there was ~a Germ
anic influence on his work, since he grew ~up under Austrian domination of Czech
 culture, ~but although Jan;Aaa;Akcek and later composers are ~more truly `Czech
', the ground was furrowed by ~Smetana, and his mus. has freshness and strength
~which ensure its popularity. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]The B
randenburgers in Bohemia [cf1]([cf2]Branibori u ~;AkCech;Aaach[c
f1]) ([sm1863[nm); [cf2]The [fy45,1]*[fy75,2]Bartered Bride [cf1]([cf2]Prodan;Aa
a ~Nev;Akest;Aaa[cf1]) ([sm1863[nm=n[sm6[nm, rev. [sm1869[nm and [sm1870[nm); [f
y45,1]*[fy75,2]Dalibor ~[cf1]([sm1865[nm=n[sm7[nm, rev. [sm1870[nm); [cf2]Libu;A
kse [cf1]([sm1869[nm=n[sm72[nm); [cf2]The [fy45,1]*[fy75,2]Two ~Widows [cf1]([cf
2]Dv;Ake vdovy[cf1]) ([sm1873[nm=n[sm4[nm, rev. [sm1877[nm, [sm1882[nm); ~[cf2]T
he [fy45,1]*[fy75,2]Kiss [cf1]([cf2]Hubi;Akcka) [cf1]([sm1875[nm); [cf2]The [fy4
5,1]*[fy75,2]Secret [cf1]([cf2]Tajemstv;aai[cf1]=+) ~([sm1877[nm=n[sm8[nm); [cf2
]The Devil's Wall [cf1]([cf2];AbCertova St;Akena[cf1]) ([sm1879[nm=n~[sm82[nm);
[cf2]Viola [cf1](unfinished, [sm1874[nm, [sm1883[nm=n[sm4[nm).[ep~[smorch[nm: [c
f2]Triumph Symphony [cf1]in E ([sm1854[nm); symphonic ~poems: [cf2]Richard III [
cf1]([sm1858[nm), [cf2]Wallenstein's Camp ~[cf1]([sm1858[nm=n[sm9[nm), [cf2]Hako
n Jarl [cf1]([sm1861[nm); [cf2]Festival Overture ~[cf1]([sm1868[nm); [fy45,1]*[f
y75,2]M;Aaa Vlast [cf1]([sm1874[nm=n[sm9[nm); [cf2]Carnival in P
rague ~[cf1]([sm1883[nm).[ep~[smchamber music[nm: Pf. Trio in G minor ([sm1855[n
m, rev. ~[sm1857[nm); Str. Qts.: No. [sm1[nm in E minor ([cf2]Z m;Aaeho ;Akzivot
a, ~[cf1]Eng. [fy45,1]*[fy75,2]From my Life, [cf1]Ger. [cf2]Aus meinem Leben[cf1
]) ~([sm1876[nm); No. [sm2[nm in D minor ([sm1882[nm=n[sm3[nm); [cf2]From my ~Ho
me, [cf1]duets for vn. and pf. ([sm1880[nm).[ep~[smvocal[nm: Male vv.: [cf2]The
Three Horsemen [cf1]([sm1882[nm), [cf2]The ~Renegade [cf1]([sm1864[nm), [cf2]The
 Farmer, Peasant Song [cf1]([sm1868[nm), ~[cf2]Sea Song [cf1]([sm1877[nm), [cf2]
The Dower, [cf1]Prayer ([sm1880[nm). ~Female vv.: [cf2][sm3[nm Choruses [cf1]([s
m1878[nm). Mixed vv.: [cf2]Song ~of the Czechs, [cf1]cantata with orch. ([sm1878
[nm), [cf2]Our Song ~[cf1]([sm1883[nm).[ep~[smpiano[nm: [cf2][sm6[nm Characteris
tic Pieces [cf1]([sm1848[nm), [cf2]Album Leaves ~[cf1]([sm1851[nm), [cf2]Sketche
s [cf1]([sm1856[nm=n[sm7[nm), [cf2][sm3[nm Polkas, [sm3[nm Poetical ~Polkas [cf1
]([sm1855[nm), [cf2]Memories of Bohemia [cf1]([sm1859[nm=n[sm60[
nm), [cf2]At ~the Seashore [cf1]([sm1862[nm), [cf2]Dreams [cf1]([sm1874[nm=n[sm5
[nm), [cf2][sm14[nm Czech ~Dances [cf1]([sm1877[nm=n[sm9[nm, orch. by others).[c
m~[j1]Smetana Quartet. [fy75,1]Cz. string quartet formed in ~[sm1945[nm by stude
nts of J. Micka at Prague Cons. ~D;aaebut Prague, Nov. [sm1945[nm. First va. pla
yer was ~V;aaaclav [fy45,1]*[fy75,1]Neumann, who left in [sm1946[nm to pursue ~c
ond. career. Other changes in personnel have ~also occurred. First tour abroad (
Poland) [sm1950[nm. ~London d;aaebut [sm1955[nm, NY [sm1957[nm. Quartets by ~Dvo
;akr;aaak, Jan;aaa;akcek and Smetana are basis of ~repertory. Many recordings.[c
m~Smeterlin, Jan [fy75,1]([cf2]b [cf1]Bielsko, [sm1892[nm; [cf2]d [cf1]London, [
sm1967[nm). ~Polish-born pianist. Studied in Vienna; pupil of ~Godowsky. Amer. d
;Aaebut [sm1930[nm. Int. reputation as ~Chopin player. Settled in Eng.[cm~Smit,
Leo [fy75,1]([cf2]b [cf1]Philadelphia, [sm1921[nm). Amer. composer ~and pianist.
 Studied Curtis Institute [sm1930[nm=n[sm2[nm. ~Comp. studies wi
th N. Nabokov, [sm1935[nm. Worked ~as pianist with Balanchine ballet [sm1936[nm=
n[sm7[nm and NY ~City Sym. [sm1947[nm=n[sm8[nm. Taught at various colleges and ~
univs. Prof. Fred Hoyle, Eng. astronomer, wrote ~lib. for his opera [cf2]The Alc
hemy of Love [cf1]([sm1969[nm). ~Works incl. ballet [cf2]Virginia Sampler [cf1](
[sm1947[nm), [sm2[nm ~[PN675,0,0,R,I0]syms., pf. conc., [cf2]Academic Graffiti [
cf1]for v. and ~chamber ens. (text by Auden), chamber mus., ~etc.[cm~Smith, Alic
e Mary [fy75,1]([cf2]b [cf1]London, [sm1839[nm; [cf2]d [cf1]London, ~[sm1884[nm)
. Eng. composer. Pupil of Macfarren. Wrote ~[sm2[nm syms., [sm5[nm cantatas (inc
l. [cf2]Ode to the Passions, ~[cf1]Hereford Fest. [sm1882[nm), [sm3[nm str. qts.
, [sm4[nm pf. qts., cl. ~conc., and many songs.[cm~Smith, Cecil [fy75,1]([cf2]b
[cf1]Chicago, [sm1906[nm; [cf2]d [cf1]London, [sm1956[nm). ~Amer. mus. critic. S
tudied with [fy45,1]*[fy75,1]Piston at ~Harvard Univ. Taught at Chicago Univ. [s
m1929[nm=n~[sm46[nm. Mus. critic, [cf2]Chicago Tribune [cf1][sm1
936[nm=n[sm42[nm. Ed., ~[cf2]Musical America [cf1][sm1948[nm=n[sm51[nm. Worked i
n Eng. from ~[sm1951[nm as mus. critic, [cf2]Daily Express. [cf1]Contributor to
~[cf2]Opera, [cf1]etc.[cm~Smith, Cyril [fy75,1](=+=+=+James) [cf1]([cf2]b [cf1]M
iddlesbrough, [sm1909[nm; [cf2]d ~[cf1]East Sheen, [sm1974[nm). Eng. pianist. St
udied RCM. ~Played at Henry Wood Promenade Concert [sm1929[nm. ~Prof. of pf. RCM
 from [sm1934[nm. Fine interpreter of ~Rakhmaninov. Well-known as pf. duettist w
ith ~wife, Phyllis [fy45,1]*[fy75,1]Sellick. On their visit to USSR ~[sm1956[nm,
 had stroke which deprived him of use of ~one hand, but continued to play duets
for [sm3[nm ~hands, several works being specially comp. for ~them (by Bliss, Arn
old, Jacob, etc.). O.B.E. [sm1971[nm.[cm~Smith, David [fy75,1](Stanley) [cf1]([c
f2]b [cf1]Toledo, [sm1877[nm; [cf2]d [cf1]New ~Haven, Conn., [sm1949[nm). Amer.
composer, teacher, ~and cond. Studied with H. [fy45,1]*[fy75,1]Parker at Yale, t
hen ~in Munich and Paris. Joined Yale Univ. mus. ~faculty [sm191
6[nm, succeeding Parker as dean, [sm1920[nm=n~[sm46[nm. Cond., New Haven S.O. Wr
ote [sm4[nm syms. and ~other orch. works, cantatas, [sm10[nm str. qts., str. sex
tet, ~songs, etc.[cm~Smith, `Father' [fy75,1](really Bernhard Schmidt) ([cf2]b ~
c.[cf1][sm1630[nm; [cf2]d [cf1]London, [sm1708[nm). Ger.-born org.-builder. ~Wen
t to Eng. [sm1666[nm after Restoration, when use ~of org. was renewed in churche
s. With [sm2[nm nephews, ~built orgs. for St Margaret's, Westminster ([sm1675[nm
), ~St Paul's Cath. ([sm1697[nm), Temple Church ([sm1684[nm), ~Banqueting Hall,
Whitehall ([sm1699[nm), Durham ~Cath. ([sm1683[nm), Sheldonian Th., Oxford, etc.
 Organ~~ist, St Margaret's, Westminster, from [sm1676[nm.[cm~Smith [fy75,1](Schm
idt), [fy65][cf3]John Christopher [fy75,1]([cf2]b [cf1]Anspach, ~[sm1712[nm; [cf
2]d [cf1]Bath, [sm1795[nm). Ger.-born composer and ~kbd. player. Went to Eng. as
 child, becoming ~pupil of Handel, Pepusch, and Roseingrave. In ~Europe [sm1745[
nm=n[sm8[nm. Organist, Foundling Hospital ~Chapel from [sm1754[n
m; played org. and hpd. at Handel ~oratorio perfs. Wrote [sm10[nm operas (incl.
[cf2]The Tempest[cf1]), ~oratorio [cf2]Paradise Lost [cf1]and others, songs, hpd
. ~suites, and ovs. for Garrick productions at Drury ~Lane.[cm~Smith, John Staff
ord [fy75,1]([cf2]b [cf1]Gloucester, [sm1750[nm; [cf2]d ~[cf1]London, [sm1836[nm
). Eng. composer, ten., and organist. ~Taught by father (organist of Gloucester
Cath.) ~and Boyce. Chorister, Chapel Royal [sm1761[nm, Gentle~~man, Chapel Royal
 from [sm1784[nm, organist from ~[sm1802[nm, master of choristers [sm1805[nm=n[s
m17[nm. Pubd. [cf2]Musica ~Antiqua, [cf1][sm1812[nm, coll. of Eng. mus. from [sm
12[nmth to ~[sm18[nmth cents. Wrote church mus., canons, glees, etc. ~Wrote song
 [cf2]To Anacreon in Heaven [cf1]from which ~[cf2]The Star-Spangled Banner [cf1]
was adapted.[cm~Smith, Julia [fy75,1]([cf2]b [cf1]Denton, Texas, [sm1911[nm). Am
er. ~composer and pianist. Studied Juilliard Sch. ~(comp. with R. Goldmark, orch
. with Wagenaar) ~and NY Univ. Taught at various colleges of mus
., ~then devoted herself from [sm1946[nm to comp. and ~playing. Works incl. [sm6
[nm operas, pf. conc., str. qt., ~etc.[cm~Smith, Nicholas [fy75,1](Richard Norma
n) ([cf2]b [cf1]Manches~~ter, [sm1948[nm). Eng. cond. Studied Birmingham Univ. ~
and N.S.M. Taught RNCM, Manchester, [sm1973[nm=n[sm5[nm. ~Prin. cond. Northern C
hamber Orch. from [sm1971[nm.[xm[cm~[j1]Smith, Ronald [fy75,1]([cf2]b [cf1]Londo
n, [sm1922[nm). Eng. pianist ~and composer. Studied RAM and privately in ~Paris.
 D;Aaebut, London [sm1942[nm. Specialist in mus. of ~[fy45,1]*[fy75,1]Alkan, abo
ut whom he has written books. Some ~orch. comps.[cm~Smith, Russell [fy75,1]([cf2
]b [cf1]Tuscaloosa, Alabama, [sm1927[nm). ~Amer. composer. Studied Columbia Univ
. [sm1948[nm=n~[sm53[nm, later with Copland. Teacher at various colleges. ~Ed. f
or Ricordi in NY [sm1961[nm=n[sm5[nm and H. W. Gray ~[sm1965[nm=n[sm66[nm. Compo
ser-in-residence Cleveland Orch. ~[sm1966[nm=n[sm7[nm, New Orleans P.O. [sm1969[
nm=n[sm70[nm. Also writer ~on mus. Comps. incl. opera, [sm2[nm p
f. concs., ballet ~[cf2]Antigone, Anglican Mass, [cf1]chamber mus., etc.[cm~Smit
h, William Charles [fy75,1]([cf2]b [cf1]London, [sm1881[nm; [cf2]d ~[cf1]Bromley
, [sm1972[nm). Eng. musicologist, authority on ~Handel. Had large Handel coll. a
nd wrote books ~about him. On staff British Museum [sm1900[nm=n[sm44[nm, ~being
Assistant Keeper of Printed Books [sm1920[nm=n~[sm44[nm. Specialist in mus. bibl
iography, esp. of [sm17[nmth ~and [sm18[nmth cents., with interest in Eng. mus.
~engravers and publishers of the period.[cm~Smith Brindle, Reginald[fy75,1] ([cf
2]b[cf1] Bamber Bridge, ~Lancs., [sm1917[nm). Eng. composer and author. Studied
~Univ. College of N. Wales, Bangor, [sm1946[nm=n[sm9[nm, S. ~Cecilia Acad., Rome
, [sm1949[nm=n[sm52[nm (comp. with ~Pizzetti). Studied privately with Dallapicco
la in ~Florence [sm1949[nm and [sm1952[nm=n[sm3[nm. Worked for It. radio ~[sm195
6[nm=n[sm61[nm. Taught at Univ. Coll., Bangor, [sm1967[nm=n~[sm70[nm. Prof. of m
us., Surrey Univ., from [sm1970[nm. Mus. ~influenced by It. [cf2
]avant-garde[cf1] sch. of Berio, ~Maderna, Nono, etc. Books incl. [cf2]Serial Co
mposition[cf1] ~([sm1966[nm), [cf2]Contemporary Percussion[cf1] ([sm1970[nm), [c
f2]The New ~Music[cf1] ([sm1975[nm). Prin. works:[xm[cm~[j2][smopera[nm: [fy75,2
]Antigone[cf1] ([sm1969[nm).[ep~[smorch[nm.: Sym. ([sm1954[nm); [cf2]Variations
on a Theme of ~Dallapiccola[cf1] ([sm1955[nm); [cf2]Epitaph for Alban Berg[cf1],
 str. ~([sm1955[nm); [cf2]Symphonic Variations[cf1] ([sm1957[nm); [cf2]Cosmos[cf
1] ~([sm1959[nm); [cf2]Via Crucis[cf1], str. ([sm1960[nm); [cf2]Homage to H. G.
~Wells[cf1] ([sm1960[nm); cl. conc. ([sm1960[nm); [cf2]Creation Epic[cf1] ~([sm1
964[nm); [cf2]Apocalypse[cf1] ([sm1970[nm); [cf2]Interface[cf1] ([sm1972[nm); [c
f2]Fons ~bonitatis II [cf1]([sm1973[nm).[ep~[smchorus and orch.[nm: [cf2]Gr;aaaf
ico de la Petenera[cf1] ([sm1956[nm); ~[cf2]Extremum Carmen[cf1] ([sm1961[nm); [
cf2]Worlds Without End[cf1], ~speaker, vv., orch., tapes ([sm1973[nm).[ep~[PN676
,0,0,L,I0][smunacc. chorus[nm: [cf2]Vivo sin Vivir[cf1] ([sm1968
[nm); [cf2]Discoveries[cf1] ~([sm1970[nm); [cf2]Windhover[cf1] ([sm1971[nm).[ep~
[smvoice and instr.[nm: [cf2]Genesis Dream[cf1] ([sm1962[nm); [cf2][sm3[nm Japan
ese ~Lyrics[cf1] ([sm1966[nm); [cf2]Amalgam[cf1] ([sm1968[nm).[ep~[smchamber mus
ic[nm: [cf2]String Quartet Music[cf1] ([sm1958[nm); ~[cf2]Concerto [cf1]for [sm5
[nm instr. and perc. ([sm1960[nm); [cf2]Tre ~dimensione[cf1], harp, vibraphone,
hpd. ([sm1965[nm); [cf2]Seg~~ments and Variants[cf1], wind quintet ([sm1965[nm);
 [cf2]In ~memoriam Jan Palach[cf1], elec. organ ([sm1969[nm); [cf2]Tubal ~Cain's
 Legacy[cf1], tb., pf. ([sm1973[nm); [cf2]The Walls of Jericho[cf1], ~tuba, tape
 ([sm1975[nm); [cf2]Conc. on Cum Jubilo[cf1], brass ~quintet ([sm1975[nm).[ep~[s
mguitar[nm: [cf2]Variants[cf1] ([sm1970[nm); [cf2]Trio[cf1], [sm3[nm guitars ([s
m1970[nm); ~[cf2]Concerto breve[cf1], [sm8[nm guitars and perc. ([sm1970[nm); ~[
cf2]Memento[cf1] ([sm1973[nm); [cf2]Conc. de Angelis,[cf1] [sm4[nm guitars ([sm1
973[nm, ~arr. [sm3 [nmguitars [sm1974[nm); [cf2]November Memorie
s[cf1] ([sm1974[nm); ~[cf2]Do not go gentle[cf1] ([sm1974[nm); [cf2][sm4[nm Poem
s of Lorca[cf1] ([sm1975[nm); ~[cf2]Guitar Cosmos[cf1] ([sm1976[nm).[ep~[smelect
ronic[nm: [cf2]February Run[cf1], tape ([sm1971[nm); [cf2][sm3[nm Pieces[cf1], ~
tape ([sm1971[nm).[cm~[j1]Smorzando [fy75,1](It., abbreviation [cf2]Smorz., [cf1
]past partici~~ple [cf2]Smorzato[cf1]). Extinguishing. Gradually dying ~away.[cm
~Smyth, [fy75,1](Dame) [fy65][cf3]Ethel [fy75,1](Mary) ([cf2]b [cf1]Footscray, K
ent, ~[sm1858[nm; [cf2]d [cf1]Hook Heath, Woking, [sm1944[nm). Eng. ~composer an
d cond. Studied Leipzig Cons. and in ~Berlin with Herzogenberg. Came into promi~
~nence with Mass in D, perf. London [sm1893[nm. First [sm3[nm ~operas were prod.
 in Ger. Active in militant ~campaign for women's suffrage and was jailed ~[sm19
11[nm. Comp. [cf2]March of the Women [cf1]as their battle-~song and cond. it in
Holloway Jail with tooth~~brush. D.B.E. [sm1922[nm. Music was Ger.-influenced ~b
ut with breezy Eng. quality typical of her ~personality. Her ope
ras [cf2]The [cf2]Wreckers [cf1]and [cf2]The ~Boatswain's Mate [cf1]contain mus.
 of considerable ~quality. Wrote highly entertaining autobiogra~~phy. Prin. work
s:[xm[cm~[j2][smoperas[nm: [fy75,2]Fantasio [cf1]([sm1892[nm=n[sm4[nm); [cf2]The
 Forest [cf1]([cf2]Der Wald[cf1]=+=+) ~([sm1899[nm=n[sm1901[nm); [cf2]The [fy45,
1]*[fy75,2]Wreckers [cf1]([sm1903[nm=n[sm4[nm); [cf2]The [fy45,1]*[fy75,2]Boat~~
swain's Mate [cf1]([sm1913[nm=n[sm14[nm); [cf2]F;Afete galante [cf1]([sm1923[nm)
; ~[cf2]Entente Cordiale [cf1]([sm1925[nm).[ep~[smorch[nm: [cf2]Serenade [cf1]in
 D ([sm1890[nm); [cf2]On the Cliffs of ~Cornwall [cf1](prelude, Act II, [cf2]The
 Wreckers[cf1]) ([sm1928[nm); ~conc. for vn., hn., orch. ([sm1927[nm).[ep~[smcho
ral[nm: Mass in D ([sm1891[nm, rev. [sm1925[nm); [cf2]March of the ~Women [cf1](
[sm1911[nm); [cf2]The Prison [cf1]([sm1930[nm).[ep~[smchamber music[nm: Str. qui
ntet ([sm1884[nm); str. qt. ([sm1902[nm=n~[sm12[nm); vc. sonata ([sm1887[nm); vn
. sonata ([sm1887[nm); pf. ~sonatas; organ preludes; songs (some
 with orch.).[cm~[j1]Snare Drum. [fy75,1]See [cf2]Side drum.[cm~Snegurochka [fy7
5,1](Rimsky-Korsakov). See [cf2]Snow ~Maiden, The.[cm~Snow Maiden, The [fy75,1](
[cf2]Snegurochka[cf1]). Opera and ~prol. in [sm4[nm acts by Rimsky-Korsakov to h
is own ~lib. based on Ostrovsky's play ([sm1873[nm). Comp. ~[sm1880[nm=n[sm1[nm,
 rev. [cf2]c[cf1].[sm1895[nm. Prod. St Petersburg [sm1882[nm, ~NY Met. [sm1922[n
m, London [sm1933[nm.[cm~Soap Opera. [fy75,1]Nothing to do with opera. Term to ~
describe long-running, often daily or several-~times-weekly serial on TV and rad
io, e.g. (in ~Britain) [cf2]Crossroads, Coronation Street, The Archers. ~[cf1]Ge
nre originated in USA on commercial radio ~and was sponsored by a firm=msoap man
ufacturer, ~for instance=mwishing to advertise its product. ~Irreverently, one c
ould claim [cf2]The Ring [cf1]as the ~biggest soap opera in the world.[cm~Soave;
 soavit;aga [fy75,1](It.). Suave; suavity (or gentle; ~gentleness). [cf2]Soaveme
nte, [cf1]suavely.[cm~Sociable Songs. [fy75,1]Title given by [fy
45,1]*[fy75,1]Warlock to [sm3[nm ~settings of anonymous poems for male vv. and ~
pf., comp. [sm1924[nm=n[sm5[nm, pubd. [sm1926[nm. Titles are: [sm1[nm. [cf2]The
~Toper's Song, [cf1][sm2[nm. [cf2]One more river, [cf1][sm3[nm. [cf2]The Lady's
~Birthday.[cm~Society for the Private Performance of Music ~[fy75,1]([cf2]Verein
 f;auur Musikalische Privatauff;auuhrungen[cf1]). Soci~~ety founded in Vienna in
 Nov. [sm1918[nm by [fy45,1]*[fy75,1]Schoen~~berg, with Berg, Ratz, and Paul A.
Pisk. Aim was ~presentation of `all modern mus. from that of ~Mahler and Strauss
 to the newest' under best ~possible conditions. Subscribers only admitted; ~cri
tics were excluded. Comps. frequently perf. ~twice. Much organizational work und
ertaken by ~Berg. Dissolved [sm1922[nm. Among composers whose ~mus. was played w
ere Schoenberg, Berg, Webern, ~Mahler, Stravinsky, Skryabin, Debussy, Marx, ~Wel
lesz, Bart;aaok, Ravel, and Suk. The pianist on ~several occasions was Rudolf Se
rkin. Prague ~branch under presidency of [fy45,1]*[fy75,1]Zemlin
sky [sm1921[nm=n[sm4[nm.[cm~Socrate [fy75,1](Socrates). Symphonic drama in [sm3[
nm parts ~for [sm4[nm sop. and orch. by [fy45,1]*[fy75,1]Satie to lib. by Plato
~(trans. by V. Cousin). Parts are entitled [sm1[nm. [cf2]Portrait ~de Socrate, [
cf1][sm2[nm. [cf2]Les bords de l'Ilussus, [cf1][sm3[nm. [cf2]Mort de ~Socrate. [
cf1]Comp. [sm1918[nm. F.p. Paris [sm1920[nm; f.p. in ~England BBC broadcast [sm1
949[nm.[cm~S;auoderstr;auom, Elisabeth [fy75,1]([cf2]b [cf1]Stockholm, [sm1927[n
m). ~Swed. sop. Studied singing at Royal Swedish ~Acad. of Mus. Opera d;Aaebut D
rottningholm [sm1947[nm ~while still student. Joined Stockholm Royal Opera ~[sm1
950[nm. Salzburg d;aaebut [sm1955[nm, Glyndebourne [sm1957[nm ~(Composer in [cf2
]Ariadne auf Naxos[cf1]), NY Met. [sm1959[nm=n~[sm60[nm, CG [sm1960[nm. Notable
Strauss singer, but wide ~repertory of roles, including Jan;Aaa;Akcek roles of ~
Emilia Marty in [cf2]The Makropoulos Affair, [cf1]K;aaa;akta ~Kabanov;aaa, and J
en;Anufa. Is also accomplished singer ~of Britten's vocal music
in addition to his operatic ~roles.[cm~Soft Pedal. [fy75,1]Pf. pedal, operated b
y left foot, which ~reduces vol. by causing fewer than normal ~number of str. to
 be struck or by bringing the ~hammers nearer the str. before they start to move
.[cm~Soggetto [fy75,1](It.). Subject, meaning, in a mus. sense, ~the subject of
a fugue.[cm~Soh. [fy75,1]See [cf2]Sol.[cm~Sohal, Naresh [fy75,1]([cf2]b[cf1] Har
sipind, Punjab, [sm1939[nm). ~Indian composer. Studied science and mathemat~~ics
 at Punjab Univ., but as interest lay in ~composing Western mus. went to Eng. [s
m1962[nm, ~[PN677,0,0,R,I0]studying with Jeremy Dale Roberts. Research on ~micro
-intervals under A. Goehr. Works incl. [cf2]Asht ~Prahar [cf1]for orch. ([sm1965
[nm), [cf2]Aalaykhyam I [cf1]([sm1970[nm=n[sm1[nm) ~and II ([sm1971[nm=n[sm2[nm)
 for chamber orch., [cf2]Indra-Dhanush ~[cf1]([sm1973[nm) for orch., harmonica c
onc. ([sm1966[nm), [cf2]Dhyan ~I, [cf1]vc. and small orch. ([sm1974[nm), [cf2]In
scape[cf1], ch., fl., perc. ~([sm1979[nm), [cf2]The Wanderer[cf1
], bar., ch., orch ([sm1981[nm), brass ~quintet No. [sm1[nm ([sm1983[nm), No. [s
m2[nm ([sm1984[nm), [cf2]Undulation[cf1], vc. ~([sm1984[nm), [cf2]Shades IV[cf1]
, va. ([sm1984[nm), other chamber mus., ~songs, and choral works.[cm~Soir;aaees
musicales [fy75,1](Musical Evenings). Coll. of ~songs and duets by [fy45,1]*[fy7
5,1]Rossini, pubd. [sm1835[nm. [fy45,1]*[fy75,1]Britten ~orch. [sm5[nm of these
([sm1936[nm) under same title, others ~were orch. by [fy45,1]*[fy75,1]Respighi i
n ballet [cf2]La [fy45,1]*[fy75,2]Boutique ~fantasque[cf1]. [sm12[nm were transc
r. for pf. by Liszt, [sm1837[nm.[cm~Soir (et la Temp;afete), Le [fy75,1](The Eve
ning (and the ~Storm)). Nickname of Haydn's Sym. No. [sm8[nm (Hob. ~I:[sm8[nm) [
cf2]c.[cf1][sm1761[nm, Nos. [sm6[nm and [sm7[nm being known respectively ~as [cf
2]Le [fy45,1]*[fy75,2]Matin [cf1](Morning) and [cf2]Le Midi [cf1](Noon) (Hob. ~I
:[sm6[nm and [sm7[nm).[xm[cm~[j1]Sokoloff, Nikolay [fy75,1](Grigorovich) [cf1]([
cf2]b [cf1]nr. Kiev, ~[sm1886[nm; [cf2]d [cf1]La Jolla, Calif.,
[sm1965[nm). Russ.-born cond. ~and violinist (later Amer. citizen). Studied Yale
 ~Univ. Violinist in Boston S.O. Cond. San Francisco ~P.O. [sm1916[nm, first con
d. of Cleveland Orch., [sm1918[nm=n~[sm33[nm, cond. Seattle S.O. [sm1938[nm=n[sm
40[nm.[cm~Sol. [fy75,1]The [sm5[nmth degree (dominant) of major scale ~and so us
ed (spelt [cf2]soh[cf1]) in [fy45,1]*[fy75,1]Tonic Sol-fa. In many ~countries, w
here [fy45,1]*[fy75,2]fixed-doh [cf1]principles apply, it ~means the note G in a
ny key, thus [cf2]sol di;Agese [cf1]is G;Yi ~in Fr.[xm[cm~[ol0][ep~[xp[te~






[do42][j99]~~~~~~[sm153842[nm_SC[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmSC[sm004[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm16[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm702[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Solares, Enrique [f
y75,1]([cf2]b [cf1]Guatemala City, [sm1910[nm). ~Guatemalan composer and pianist
. Studied Gua~~temala Nat. Cons. [sm1933[nm=n[sm5[nm and Brussels Cons. ~[sm1936
[nm, later privately with K;Akri;Akcka in Prague [sm1936[nm=n~[sm9[nm and Casell
a in Rome [sm1939[nm=n[sm42[nm. Piano teacher at ~Guatemala Nat. Cons. [sm1943[n
m=n[sm8[nm. Entered Guate~~malan diplomatic service [sm1948[nm. Adopted [sm12[nm
-note ~procedures in [sm1968[nm. Works incl. pieces for guitar, ~[cf2]Partita [c
f1]for str., [cf2][sm4[nm Short Pieces [cf1]for orch., [cf2][sm12[nm ~Microtrans
parencias [cf1]for pf. ([sm1969[nm=n[sm70[nm).[cm~Soldaten, Die [fy75,1](The Sol
diers). Opera in [sm4[nm acts by ~B. A. [fy45,1]*[fy75,1]Zimmermann to lib. by c
omposer after ~J.|M.|Reinhold Lenz, comp. [sm1958[nm=n[sm60[nm,
rev. [sm1963[nm=n~[sm4[nm. For orch., singing and speaking vv., elecs., and ~[cf
2]musique concr;Agete, [cf1]with ballet, mime, film, and ~lighting effects. Prod
. Cologne [sm1965[nm, Edinburgh ~[sm1972[nm. Also orch. suite.[cm~Soldier's Tale
, The [fy75,1](Stravinsky). See [cf2]Histoire du ~Soldat, L'.[cf1][cm~Soleil des
 eaux, Le [fy75,1](The sun of the waters). ~Music by Boulez orig. comp. for radi
o play by ~Ren;aae Char ([sm1948[nm). Rev. [sm1950[nm as cantata for sop., ~ten.
, bass, chamber orch. Rev. [sm1958[nm for sop., ten., ~bass. ch., and orch. Rev.
 [sm1965[nm for sop. and ch. ~F.p. [sm1965[nm version, Berlin [sm1965[nm.[cm~Sol
emn Melody. [fy75,1]Comp. for org. and str. by ~Walford [fy45,1]*[fy75,1]Davies,
 [sm1908[nm.[cm~Solenne, solennemente, solennita [fy75,1](It.); [fy65][cf3]solen
nel ~(le), solennellemente [fy75,1](Fr.); [fy65][cf3]Solemnis, solennis ~[fy75,1
](Lat.). Solemn, solemnly, solemnity.[cm~Soler, Antonio [fy75,1]([cf2]b [cf1]Olo
t, nr. Gerona, [sm1729[nm; [cf2]d [cf1]El ~Escorial, [sm1783[nm)
. Sp. composer, organist, and friar. ~Studied Montserrat from age [sm6[nm. Choir
master at ~L;aaerida. Became monk [sm1752[nm, entering Escorial ~monastery as or
ganist [sm1753[nm. Wrote theoretical ~treatise [sm1762[nm. Disciple of D. Scarla
tti and wrote ~[sm120[nm keyboard sonatas. Also comp. several quintets ~for org.
 and str. qt., church mus., etc.[cm~Solesmes. [fy75,1]Fr. village near Le Mans w
here the ~monks of the Benedictine monastery became ~famous for their work on re
storation of liturgical ~mus. Order founded [sm1833[nm by Dom Prosper ~Gueranger
. Important publications on nature of ~plainsong issued in [sm1883[nm, [sm1891[n
m, and [sm1896[nm. When ~Pope Pius X in [sm1904[nm est. commission to prepare ~n
ew official edn. of plainchant, the Solesmes ~Benedictines were appointed eds. T
his edn. was ~known as Vatican Edn. (but some authorities on ~the subject strong
ly criticize its interpretation of ~Gregorian rhythm). In [sm1901[nm, because of
 their ~non-compliance with Law of Associations, the ~monks were
 expelled from Solesmes and moved ~to I.o.W. and later to Quarr Abbey, near Ryde
. ~Returned to Solesmes [sm1922[nm.[cm~Solfeggio [fy75,1](It., plural [cf2]solfe
ggi[cf1]; Fr. [cf2]solf;Agege[cf1]). Term for ~method of sight-reading or vocal
exercise in ~which names of the notes are used as in [fy45,1]*[fy75,2]fixed-doh
~[cf1]system, e.g. [cf2]do [cf1]for C, [cf2]sol [cf1]for G, etc. Fr. term [cf2]s
olf;Agege ~[cf1]is also used to cover all rudimentary mus. ~instruction.[cm~Soli
 [fy75,1](It.). Alone; plural of [fy45,1]*[fy75,2]solo, [cf1]but `solos' in ~gen
eral usage today.[cm~Sollberger, Harvey [fy75,1]([cf2]b [cf1]Cedar Rapids, Iowa,
 [sm1938[nm). ~Amer. composer, cond., and flautist. Studied Iowa ~Univ. [sm1956[
nm=n[sm60[nm. Teacher at Columbia Univ. from ~[sm1965[nm. Works influenced by [f
y45,1]*[fy75,1]Babbitt's use of [sm12[nm-~note system but gradually with a less
rigid ~application. Works incl. fl. qt., mus. for Sopho~~cles's [cf2]Antigone [c
f1](with elec. tape), str. trio, etc.[cm~Solmization. [fy75,1]Sy
stem of designating notes by the ~sol-fa syllables in any of the various methods
 used ~since Guido d'Arezzo in [sm11[nmth cent., as in the It. ~[cf2]do, re, mi,
 fa, [cf1]etc. and Tonic sol-fa [cf2]doh, ray, me, fah, ~[cf1]etc.[cm~Solo [fy75
,1](It.). Alone. A vocal or instr. piece or passage ~perf. by one performer, i.e
. a solo song is for one ~singer, with or without acc. The solo instr. in a ~con
c. might also be acc. by a solo passage for one ~of the orch. players. The word
[cf2]soloistic [cf1]is sometimes ~used to denote a composer's use of the individ
ual ~qualities of an instr., but its use is to be regretted.[xm[cm~[j1]Solomon.
[fy75,1]Oratorio by Handel to text adapted ~from Bible by unknown author. F.p. L
ondon ~[sm1749[nm (comp. [sm1748[nm).[cm~[PN678,0,0,L,I0]Solomon [fy75,1](orig.
Solomon Cutner) ([cf2]b [cf1]London, ~[sm1902[nm). Eng. pianist. Pupil of Mathil
de [fy45,1]*[fy75,1]Verne. ~D;Aaebut at [sm8[nm, playing Tchaikovsky's first con
c. at ~Queen's Hall, London. Amer. d;Aaebut [sm1926[nm. Gave ~f.
p. of Bliss's pf. conc., NY World Fair [sm1939[nm. ~Brilliant career as conc. so
loist, recitalist, and ~chamber-mus. player of exceptional sensitivity ~cut shor
t by incapacitating illness [sm1955[nm. C.B.E. ~[sm1946[nm.[cm~Solomon, Yonty [f
y75,1]([cf2]b[cf1] Cape Town, [sm1938[nm). Brit. ~pianist of S. African birth. S
tudied at Cape Town ~Univ. [sm1953[nm=n[sm8[nm. Moved to London [sm1963[nm to st
udy ~with Myra [fy45,1]*[fy75,1]Hess. Has given f.ps. of works by ~Richard Rodne
y Bennett, W. Josephs, and Meri~~laainen. Wide repertory from Bach to Ives ~([cf
2]Concord Sonata[cf1]).[cm~Solo Organ. [fy75,1]Manual on some orgs., with solo ~
stops such as cl., tuba, fl., etc.[cm~Solo Pitch. [fy75,1]Tuning of instrs. rath
er higher than ~normal pitch in order to obtain greater brilliance ~of tone.[cm~
Solo Stop. [fy75,1]Any org. stop used solo against acc. of ~softer stops played
on a different kbd. Some stops ~are more suitable than others for solo use.[cm~S
olti, [fy75,1](Sir) [fy65][cf3]Georg [fy75,1]([cf2]b [cf1]Budape
st, [sm1912[nm). Hung.-born ~cond. and pianist (Brit. citizen since [sm1972[nm).
 Studied ~Budapest, pupil of Kod;Aaaly, Bart;Aaok, and Dohn;Aaanyi. ~Ass. at Bud
apest Opera [sm1930[nm. D;aaebut as cond. ~Budapest [sm1938[nm ([cf2]Le Nozze di
 Figaro[cf1]). Assisted ~Toscanini at Salzburg Fest. [sm1936[nm and [sm1937[nm.
Left ~Hungary for Switz. [sm1939[nm, earning living as ~pianist. Mus. dir. Munic
h Opera [sm1946[nm=n[sm52[nm, Frank~~furt Opera [sm1952[nm=n[sm61[nm, CG [sm1961
[nm=n[sm71[nm (his tenure ~there being a decade of particular distinction). ~Mus
. dir. Chicago S.O. from [sm1969[nm, LPO [sm1979[nm=n[sm83[nm. ~Cond., Orchestre
 de Paris [sm1971[nm=n[sm5[nm. Amer. d;Aaebut, ~San Francisco Opera [sm1953[nm,
NY Met. [sm1960[nm. ~Glyndebourne d;aaebut [sm1954[nm ([cf2]Don Giovanni[cf1]),
CG ~[sm1959[nm ([cf2]Der Rosenkavalier[cf1]). Cond. f. Eng. perf. of ~Schoenberg
's [cf2]Moses und Aron [cf1]([sm1965[nm). Cond. f.p. of ~Tippett's [sm4[nmth Sym
. (Chicago) ([sm1977[nm). Fine cond. of ~Wagner, Strauss, Mahler
, Elgar, etc. Cond. first ~complete studio recording of Wagner's [cf2]Ring. ~[cf
1]Cond. Bayreuth Fest. [cf2]Ring[cf1], [sm1983[nm. Hon. K.B.E. ~[sm1971[nm.[cm~S
ombrero de tres picos, El [fy75,1](Falla). See [cf2]Three-~cornered Hat, The.[cm
~Somers, Harry [fy75,1](Stewart) ([cf2]b [cf1]Toronto, [sm1925[nm). ~Canadian co
mposer, pianist, and guitarist. Studied ~Toronto (comp. with Weinzweig) [sm1945[
nm=n[sm9[nm, Paris ~(with Milhaud) [sm1949[nm=n[sm50[nm. Worked as taxi-driver,
~copyist, radio commentator, and later as teacher. ~In some works tonal and aton
al materials are ~juxtaposed in the manner of Ives. Works incl. ~operas, notably
 [cf2]Louis Riel, [cf1]syms., ballets, sonatas, ~str. qts., and [cf2]Voiceplay [
cf1](for singer-actor, male or ~female, any range).[cm~Somervell, [fy75,1](Sir)
[fy65][cf3]Arthur [fy75,1]([cf2]b [cf1]Windermere, [sm1863[nm; [cf2]d ~[cf1]Lond
on, [sm1937[nm). Eng. composer. Studied Cam~~bridge Univ. (comp. with Stanford),
 Berlin, and ~RCM (comp. with Parry). Teacher at RCM [sm1894[nm=
n~[sm1901[nm. From [sm1901[nm, inspector of mus. to Board of ~Education and Scot
tish Education Dept. (chief ~inspector [sm1920[nm=n[sm8[nm). Prolific composer,
his song-~cycle [cf2]Maud [cf1]being of high quality. Possibly first to ~set Hou
sman [cf2]Shropshire Lad [cf1]poems ([sm1904[nm). ~Knighted [sm1929[nm. Works in
cl. sym., [cf2]Normandy ~[cf1](symphonic variations for pf. and orch., [sm1912[n
m), ~[cf2]Highland Concerto [cf1](pf. and orch., [sm1921[nm), vn. conc. ~([sm193
2[nm), cl. quintet, [sm2[nm Masses, [cf2]Ode on the Intimations ~of Immortality
[cf1](Leeds Fest. [sm1907[nm), song-cycles [cf2]Maud ~[cf1]and [cf2]A Shropshire
 Lad, [cf1]solo songs, etc.[cm~Sommer, Raphael [fy75,1]([cf2]b [cf1]Prague, [sm1
937[nm). Cz. cellist. ~Studied Jerusalem and Paris Cons. (with Tortelier). ~Won
Casals Int. Competition [sm1961[nm and other ~prizes. Prof. of vc., RMCM [sm1967
[nm=n[sm71[nm, RNCM from ~[sm1972[nm. Soloist with leading orchs.[cm~Sommer, Vla
dimir [fy75,1]([cf2]b [cf1]Doln;aai Ji;akret;aain, [sm1921[nm).
Cz. ~composer. Studied Prague Cons. [sm1942[nm=n[sm6[nm and ~Prague Acad. of Mus
. [sm1946[nm=n[sm50[nm. Worked for ~Prague Radio and as mus. critic. Taught at C
harles ~Univ. in Prague from [sm1960[nm. Works incl. syms., ~str. qts., vn. conc
., vc. conc., and [cf2]The Black Man, ~[cf1]tone-poem for ten., bass, orch.[xm[c
m~[j1]Son and Stranger [fy75,1]([cf2]Die Heimkehr aus der Fremde, ~[cf1]The Home
coming from Abroad). Operetta in [sm1[nm ~act by [fy45,1]*[fy75,1]Mendelssohn, O
p. [sm89[nm, to lib. by K. ~Klingemann, comp. [sm1829[nm for family perf. in ~ce
lebration of his parents' silver wedding, Dec. ~[sm1829[nm. F.public p. Leipzig
[sm1851[nm, f.Eng.p. (in trans. ~by H. F. [fy45,1]*[fy75,1]Chorley) [sm1851[nm.[
cm~Sonata [fy75,1](It., sounded, from [cf2]suonare, [cf1]to sound; Fr., ~Ger. [c
f2]Sonate[cf1]). Instr. comp. for pf., or for other ~instr(s). with pf. acc., e.
g. vc. sonata, fl. sonata, in ~several movements (sometimes in one, as in ~Liszt
's B minor pf. sonata). Formal features of the ~sonata are found
 in other instr. comps., such as ~sym., qt., trio, but the term sonata is usuall
y ~reserved for works involving not more than [sm2[nm ~performers. The sonata or
iginated in the [sm16[nmth ~cent., when it meant anything not sung but ~played.
During early part of [sm17[nmth cent., comps. ~for instr. ens., which were div.
into [sm5[nm or more ~contrasting sections were known as sonatas. From ~these th
e baroque sonata developed, having [sm3[nm=n[sm6[nm ~movements like a suite, and
 taking [sm2[nm forms, the ~[cf2]sonata da camera [cf1](`chamber sonata', often
for [sm2[nm or ~more players with kbd. acc., in dance rhythms) ~and [cf2]sonata
da chiesa [cf1](`church sonata', of more ~serious character). The earliest sonat
as for kbd. ~alone are by Salvatore and Kuhnau, and these ~reached their apogee
with D. Scarlatti and C. P. ~E. Bach. Later in that century, the Viennese ~class
ical sonata of Haydn, Mozart, and Beethoven, ~usually but not invariably in [sm3
[nm movements, ~marked the greatest period in the development ~o
f the form, leading to the superb romantic era. ~Like the orch. sym., the sonata
 remains the most ~important form for [sm1[nm or [sm2[nm instr., and the majorit
y ~of important [sm20[nmth-cent. composers have written ~[PN679,0,0,R,I0]them. M
ost sonatas are written in [fy45,1]*[fy75,1]sonata-form ~or a version of it. The
 Haydn/Mozart sonata is ~usually in [sm3[nm movements, allegro=nandante=nalle~~g
ro. Beethoven introduced the minuet (later ~scherzo), as [sm3[nmrd movement, but
 in his Op. [sm111[nm pf. ~sonata he anticipated the [sm1[nm-movement sectional
~structure adopted by later composers. The last ~movement of a [sm3[nm- or [sm4[
nm-movement sonata is often ~in sonata or [fy45,1]*[fy75,1]rondo form, or is som
etimes a set of ~variations. Some [sm20[nmth-cent. composers have re~~vived [sm1
8[nmth-cent. application of term to works for ~several instr., e.g. Walton's [cf
2]Sonata for Strings [cf1]and ~C. Matthews's [cf2]Sonata [cf1]for orch. The fact
 is that a ~sym. is a sonata for orch., a str. qt. a sonata for
[sm4[nm ~str. instr., etc.[cm~Sonata da Camera [fy75,1](It.). Chamber sonata. Ba
roque ~type of sonata, the term originally indicating ~place (i.e. court, chambe
r), rather than type, of ~perf. Had several dance-like movements for [sm2[nm or
~[sm3[nm str. players with kbd. acc. Corelli standardized ~the form as a suite c
onsisting of introduction, ~followed by [sm3[nm or [sm4[nm dances.[cm~Sonata da
Chiesa [fy75,1](It.). Church sonata. Like the ~[fy45,1]*[fy75,2]sonata da camera
, [cf1]but of a more serious character ~appropriate to ecclesiastical surroundin
gs. The ~standard Corelli [cf2]sonata da chiesa [cf1]is in [sm4[nm movements, ~s
low=nfast=nslow=nfast.[cm~Sonata Form. [fy75,1]Type of mus. construction (some~~
times known as compound binary form) nor~~mally used in first movement of a [fy4
5,1]*[fy75,1]sonata, sym., ~or conc. (and in other types of work). Used also in
~other movements. Regular sonata form implies [sm3[nm ~sections: [sm1[nm. [cf2]E
xposition [cf1](containing first subject, in ~tonic key, and [sm
2[nmnd subject, in dominant, and ~sometimes further subjects), often repeated an
d ~followed by [sm2[nm. [cf2]Development [cf1](in which the material ~of the Exp
osition is worked out in a kind of free ~fantasia), and [sm3[nm. [cf2]Recapitula
tion [cf1](in which the ~Exposition is repeated, though often with modi~~ficatio
n, and with the [sm2[nmnd subject now in the ~tonic). The Recapitulation has a c
oda, a peroration ~of moderate length though some composers, incl. ~Beethoven, e
xtend it into what amounts to a [sm2[nmnd ~Development section. The basis of son
ata form is ~key relationships.[cm~Sonata Rondo. [fy75,1]Movement designed as co
mbi~~nation of sonata and rondo form (e.g. finale of ~Beethoven's [sm8[nmth Sym.
). Outline is: [cf2]Exposition ~[cf1](A|B|A, i.e. first subject in tonic: rondo
theme; ~[sm2[nmnd subject in dominant or another key; first ~subject in tonic),
[cf2]Development [cf1](C), [cf2]Recapitulation ~[cf1](A|B|A, i.e. rondo first su
bject in tonic; [sm3[nmrd ~episode, with [sm2[nmnd subject now i
n tonic; rondo ~theme leading to coda). There are many variants.[cm~Sonatina [fy
75,1](It.; Fr. [cf2]sonatine[cf1]). Little sonata. A short ~sonata, usually ligh
ter and easier (but several ~[sm20[nmth-cent. sonatinas, e.g. by Ravel, Milhaud,
 ~Busoni, etc. are technically difficult).[cm~Sondheim, Stephen [fy75,1](Joshua)
 [cf1]([cf2]b [cf1]NY, [sm1930[nm). Amer. ~composer and lyric-writer. Studied Wi
lliams ~College, Mass. Wrote lyrics for [fy45,1]*[fy75,1]Bernstein's [cf2]West ~
Side Story[cf1] ([sm1957[nm) and for Jule Styne's [cf2]Gypsy [cf1]([sm1959[nm).
~Comp. successful musicals incl. [cf2]A Little Night ~Music[cf1] ([sm1973[nm), [
cf2]Company[cf1] ([sm1970[nm), [cf2]Pacific Overtures[cf1] ~([sm1976[nm), and [c
f2]Sweeney Todd [cf1]([sm1979[nm), writing words ~and mus.[cm~Sonetti di Petrarc
a, Tre [fy75,1]([sm3[nm Petrarch Sonnets). [sm3[nm ~songs by Liszt ([sm1839[nm)
which he later transcr. for ~pf. as Nos. [sm4[nm=n[sm6[nm of the [cf2]Seconde An
n;Aaee [cf1]([cf2]Italie[cf1]) of ~[fy45,1]*[fy75,2]Ann;Aaees de
 p;Agelerinage[cf1] ([sm1837[nm=n[sm49[nm).[cm~Song. [fy75,1]Short vocal comp.,
acc. or solo. Song is the ~natural human means of mus. self-expression (as ~it i
s for most birds). There are various types of ~song=mthe individual folk-song, t
he part-song for ~a group of vv., the art-song for the trained ~performer. Today
 a `song recital' generally means ~an evening of Eng. songs (mus. settings of po
ems), ~Ger. [fy45,1]*[fy75,1]Lieder, or Fr. [cf2]chansons. [cf1]In opera the ter
m ~[cf2]aria [cf1]or air is preferred to `song' for a solo vocal ~item. Many com
posers, Berlioz, Mahler, Strauss, ~Elgar, Britten, Shostakovich, etc.=mhave writ
ten ~songs with orch., and the term is sometimes ~applied to a large-scale piece
, e.g. [cf2]Song of the Earth ~[cf1](Mahler) and [cf2]Song of Destiny [cf1](Brah
ms).[ep~^Probably prehistoric man uttered some sort of ~song, and the origins of
 folk-songs are beyond ~discovery (though not beyond speculation!). ~Synagogue a
nd church were among the official ~institutions where song devel
oped, through ~chants and hymns, some of the latter being ~adaptations of folk a
nd popular songs. With [sm12[nmth-~cent. minstrels and troubadours, the love-son
g ~and ballad developed, to be followed in the [sm14[nmth ~and [sm15[nmth cents.
 by songs of the Ger. [fy45,1]*[fy75,2]Minnesinger ~[cf1]and [fy45,1]*[fy75,2]Me
istersinger. [cf1]By the end of the [sm15[nmth cent., ~following the revolution
of [fy45,1]*[fy75,2]Ars Nova[cf1], song colls., ~many of them polyphonic setting
s, were pubd. ~in several countries. In Eng. in the [sm16[nmth and [sm17[nmth ~c
ents. the lute-songs, exemplified by Dowland ~and the madrigals of Weelkes and B
yrd, in Sp. ~the lute-songs of Mil;Aaan, and in It. the madrigals ~of Monteverdi
 and others all played a significant ~role in the growth of elaborate song-writi
ng. Ger. ~developed the [cf2]Lied, [cf1]beginning with Hassler and ~Abert, and c
ontinuing through Mozart and ~Beethoven to the great flowering of Schubert, ~who
 more than any composer made the song a ~mus. form into which as
 much emotional and ~dramatic expression could be poured as into a ~sym. Some of
 his songs are [cf2]strophic, [cf1]i.e. repeating ~the tune in successive stanza
s, others are `through-~composed' ([cf2]durchkomponiert[cf1]), i.e. developing ~
freely from start to finish. Schubert was followed ~by Schumann, Brahms, Wolf, L
oewe, Marx, ~Mahler, Strauss, Pfitzner, and others. In Fr., ~Duparc, Debussy, an
d especially Faur;Aae developed ~the [cf2]chanson [cf1]in as distinctive and com
plex a fashion ~as the great Germans developed the [cf2]Lied. [cf1]Indeed, ~in t
he [sm19[nmth and [sm20[nmth cents., composers in Eng., ~Sp., USA, Russia, Hunga
ry, etc. have added ~masterpieces to the world's treasury of song. Nor ~should t
he immense world of `popular song', ~[PN680,0,0,L,I0]from [sm19[nmth-cent. mus.-
hall songs to today's `pop' ~songs be forgotten, ignored, or under-rated. Brave
~the man who will make a didactic value-judgment ~between [cf2]Dives and Lazarus
, Gretchen am Spinnrade, ~[cf1]and [cf2]Smoke gets in your eyes.
[xm[cm~[ol0][ep~[xp[te~












[do42][j99]~~~~~~[sm153842[nm_SC[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dicti
onary of ~Music[cmSC[sm005[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm17[nm/[sm10[nm/[sm79[nm
[cm[sm10[nm[cm[sm737[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Song-cycle [fy75,1]
(Ger. [cf2]Liederkreis[cf1]). Set of songs grouped ~into an artistic unity by th
e composer in a ~particular order and referring to a particular ~theme=mlove, de
ath, jealousy, nature, etc.=mor ~telling a story, or both. Examples are Beethove
n's ~[fy45,1]*[fy75,2]An die ferne Geliebte, [cf1]Schubert's [fy45,1]*[fy75,2]Wi
nterreise, ~[cf1]Schumann's [fy45,1]*[fy75,2]Frauenliebe und -Leben, [cf1]Mahler
's ~[fy45,1]*[fy75,2]Kindertotenlieder, [cf1]Berlioz's [cf2]Les [fy45,1]*[fy75,2
]Nuits d';Aaet;Aae, [cf1]Elgar's ~[fy45,1]*[fy75,2]Sea Pictures, [cf1]Vaughan Wi
lliams's [fy45,1]*[fy75,2]On Wenlock ~Edge, [cf1]Britten's [fy45,1]*[fy75,2]Noct
urne, [cf1]etc. Some of the above ~are with pf. acc., some with chamber ens., an
d ~some with orch. Coprario's [cf2]Funeral Teares [cf1]([sm1606[
nm) ~is one of the earliest, if not the earliest, song-~cycles.[cm~Song-form. [f
y75,1]Another, if misleading, name for ~ordinary [fy45,1]*[fy75,2]ternary [cf1]f
orm as generally applied in an ~instr. slow movement.[cm~Song for the Lord Mayor
's Table, A. [fy75,1]Cycle of [sm6[nm ~songs for sop. and pf. by [fy45,1]*[fy75,
1]Walton to words ~collected by Christopher Hassall from poems by ~Blake, Thomas
 Jordan, Charles Morris, Words~~worth, and [sm2[nm anon. [sm18[nmth-cent. poets.
 Written for ~City of London Fest. [sm1962[nm. F.p. Schwarzkopf ~[sm1962[nm. Re-
scored for sop. and orch. [sm1970[nm. F.p. City ~of London Fest. [sm1970[nm with
 Janet Baker.[cm~Songmakers' Almanac, The. [fy75,1]Eng. ensemble ~who give song-
recital programmes devoted to a ~particular theme, often literary, in which song
s ~are perf. with complementary readings (e.g. ~Scott's influence on composers;
Schubert in [sm1827[nm, ~etc.). Founded [sm1976[nm (d;Aaebut London, August) wit
h ~art. dir. Graham [fy45,1]*[fy75,1]Johnson and Felicity [fy45,
1]*[fy75,1]Lott ~(sop.), Ann Murray (mez.), Anthony Rolfe John~~son (ten.), and
Richard Jackson (bar.). Fest. ~appearances Aldeburgh, King's Lynn, Buxton, ~Edin
burgh, etc.[cm~Song of Destiny [fy75,1](Brahms). See [cf2]Schicksalslied.[cm~Son
g of the Earth, The [fy75,1](Mahler). See [cf2]Lied von ~der Erde, Das.[cm~Song
of the Flea. [fy75,1]Song for v. and pf. by ~Mussorgsky, [sm1879[nm, setting of
Mephistopheles's ~song in Goethe's [cf2]Faust.[cf1] Also set by Beethoven, in ~[
cf2][sm6[nm Lieder[cf1], Op. [sm75[nm, No. [sm3[nm.[cm~Song of the High Hills, T
he. [fy75,1]For orch. and ch. ~(wordless) by Delius, with solo parts for sop. an
d ~ten. from ch. Comp. [sm1911[nm, f.p. London [sm1920[nm, ~cond. Coates.[cm~Son
gs and Dances of Death [fy75,1]([cf2]Pesni i plyaski ~smerti[cf1]). Cycle of [sm
4[nm songs for v. and pf. by ~Mussorgsky, [sm1875[nm=n[sm7[nm, to poems by Golen
ischev-~Gutuzov. Titles are: [sm1[nm. [cf2]Trepak, Death and the ~Peasant. [cf1]
[sm2[nm. [cf2]Cradle Song, the Child breathes gently. [cf1][sm3[
nm. ~[cf2]Death the Serenader, Soft is the Night. [cf1][sm4[nm. [cf2]Field Marsh
al ~Death, War Rumbles[cf1]. Orch. by Shostakovich, [sm1962[nm.[cm~Songs for a M
ad King, Eight. [fy75,1]Th. piece by ~[fy45,1]*[fy75,1]Maxwell Davies for male a
ctor-singer and ~chamber ens. (incl. railway whistle, dijeridu, ~chains). Text b
y Randolph Stow and King George ~III. Has [sm8[nm movements. F.p. London [sm1969
[nm.[cm~Songs for Dov. [fy75,1]Cycle of songs for ten. and small ~orch. (with [s
m6[nm perc. players) by [fy45,1]*[fy75,1]Tippett, [sm1970[nm, the ~texts written
 by himself. Based on songs for the ~character Dov in Tippett's [sm3[nmrd opera
[cf2]The [fy45,1]*[fy75,2]Knot ~Garden. [cf1]F.p. Cardiff [sm1970[nm, Gerald Eng
lish and ~London Sinfonietta, cond. Tippett.[cm~Songs my Mother Taught Me. [fy75
,1]Song for high v. ~and pf. by Dvo;Akr;Aaak, to words by Heyduk, being ~No. [sm
4[nm of his [cf2]Gipsy Songs, [cf1]Op. [sm55[nm ([sm1880[nm).[cm~Songs of a Wayf
arer [fy75,1](Mahler). See [cf2]Lieder eines ~fahrenden Gesellen
.[cm~Songs of Farewell. [fy75,1]([sm1[nm) [sm6[nm unacc. secular motets by ~[fy4
5,1]*[fy75,1]Parry, comp. [sm1916[nm=n[sm18[nm to texts from the Bible, ~Donne,
Vaughan, J. Davies, Campion, and Lock~~hart. Nos. [sm1[nm=n[sm5[nm f.p. London [
sm1916[nm, No. [sm6[nm f.p. Oxford ~[sm1918[nm, f. complete p. Oxford [sm1919[nm
 (cond. Hugh ~[fy45,1]*[fy75,1]Allen in each case).[ep~^([sm2[nm) [sm5[nm settin
gs of Whitman for double ch. and ~orch. by Delius, comp. [sm1930[nm, f.p. London
 [sm1932[nm ~cond. Sargent. One of works written with help of ~E. [fy45,1]*[fy75
,1]Fenby.[cm~Songs of Gurra [fy75,1](Schoenberg). See [cf2]Gurrelieder.[cm~Songs
 of Sunset. [fy75,1]Delius's settings of poems by ~Ernest Dowson for mez., bar.,
 ch., and orch. ~[sm1906[nm=n[sm8[nm. F.p. London [sm1911[nm cond. Beecham.[cm~S
ongs of the Fleet. [fy75,1]Five settings of poems by ~Henry Newbolt ([sm1862[nm=
n[sm1938[nm) for bar., ch., and ~orch. by [fy45,1]*[fy75,1]Stanford, Op. [sm117[
nm, f.p. Leeds Fest. [sm1910[nm. ~No. [sm3[nm is [cf2]The Middle
 Watch[cf1].[cm~Songs of the Sea. [fy75,1]Five settings of poems by ~Henry Newbo
lt ([sm1862[nm=n[sm1938[nm) for bar., male ch., ~and orch. by [fy45,1]*[fy75,1]S
tanford, Op. [sm91[nm, f.p. Leeds Fest. ~[sm1904[nm.[cm~Songs of Travel. [fy75,1
]Song-cycle for v. and pf. by ~Vaughan Williams to [sm9[nm poems by Robert Louis
 ~Stevenson from his [cf2]Songs of Travel. [cf1]F.p. London ~[sm1904[nm. Incl. [
cf2]The Vagabond, The Roadside Fire, ~Whither must I wander? [cf1]and [cf2]Brigh
t is the Ring of ~Words, [cf1]all often sung separately. [sm9[nmth song not ~per
f. until [sm1960[nm. F.p. as cycle, May [sm1960[nm (BBC).[cm~Songs on the Death
of Children [fy75,1](Mahler). See ~[cf2]Kindertotenlieder.[cm~Songs without Word
s [fy75,1](Mendelssohn). See [cf2]Lieder ~ohne Worte.[cm~Sonnambula, La [fy75,1]
(The Sleepwalking Girl). Opera ~in [sm2[nm acts by Bellini to lib. by Romani. Pr
od. Milan ~and London [sm1831[nm, NY [sm1835[nm.[cm~Sonnleithner, Joseph [fy75,1
]([cf2]b [cf1]Vienna, [sm1766[nm; [cf2]d [cf1]Vienna, ~[sm1835[n
m). Austrian art-collector and impresario. ~[PN681,0,0,R,I0]Manager of Vienna co
urt ths. [sm1804[nm=n[sm14[nm and of ~Theater an der Wien until [sm1807[nm. Tran
s. opera ~libs., incl. Beethoven's [cf2]Fidelio. [cf1]Friend of Grillparzer ~and
 Schubert. One of founders of Gesellschaft der ~Musikfreunde ([sm1812[nm).[cm~So
nnleithner, Leopold Edler von [fy75,1]([cf2]b [cf1]Vienna, ~[sm1797[nm; [cf2]d [
cf1]Vienna, [sm1873[nm). Austrian connoisseur, son ~of Ignaz Sonnleithner ([cf2]
b [cf1]Vienna, [sm1770[nm; [cf2]d [cf1]Vienna, ~[sm1831[nm, who was a doctor and
 amateur bass singer). ~Friend of Schubert, preserving many of his songs ~and, w
ith others, pubd. [cf2]Erlk;Auonig, [cf1]etc. Aided [fy45,1]*[fy75,1]Jahn ~with
material for life of Mozart.[cm~Sonore [fy75,1](Fr.), [fy65][cf3]sonoro [fy75,1]
(It.). Sonorous; so [cf2]sonorit;Aae ~[cf1](Fr.) and [cf2]sonorit;Aga [cf1](It.)
, sonority; [cf2]sonoramente [cf1](It.), ~sonorously.[cm~Sons bouch;aaes [fy75,1
](Fr.). Stopped notes in hn. playing.[cm~Sontag, Henriette [fy75
,1](orig. Gertrud Walburga) ([cf2]b ~[cf1]Koblenz, [sm1806[nm; [cf2]d [cf1]Mexic
o City, [sm1854[nm). Ger. sop. ~First public appearance at age [sm6[nm. Studied
Prague ~Cons. Opera d;aaebut [sm1821[nm in Boieldieu's [cf2]Jean de ~Paris. [cf1
]Sang in Vienna from [sm1822[nm. At Weber's ~request created title-role in [cf2]
Euryanthe, [cf1][sm1823[nm. Sang ~sop. part in f.p. of Beethoven's [sm9[nmth Sym
., Vienna ~[sm1824[nm. Berlin d;Aaebut [sm1825[nm, Paris [sm1826[nm, London ~[sm
1828[nm, all in Rossini roles in which she excelled, ~her voice being exceptiona
lly clear and reaching ~E [cf2]in alt [cf1]with ease. Retired from stage on marr
iage ~to Count Rossi, but continued concert work. ~Returned to opera [sm1849[nm,
 toured USA [sm1852[nm, died ~of cholera in Mexico.[cm~Sonzogno, Edoardo [fy75,1
]([cf2]b [cf1]Milan, [sm1836[nm; [cf2]d [cf1]Milan, ~[sm1920[nm). It. publisher.
 Firm founded at end of [sm18[nmth ~cent.; he began publication of Fr. and It. m
us. in ~[sm1874[nm. Est. series of competitions for new operas ~
[sm1883[nm, [sm2[nmnd contest in [sm1889[nm being won by Mascagni ~with [cf2]Cav
alleria Rusticana. [cf1]Last contest [sm1903[nm.[cm~Sonzogno, Giulio Cesare [fy7
5,1]([cf2]b [cf1]Milan, [sm1906[nm; [cf2]d[cf1] ~Milan, [sm1976[nm). It. compose
r, studied with [fy45,1]*[fy75,1]Pick-~Mangiagalli. Mainly instr. mus., incl. sy
mphonic ~poems, [cf2]Il Negro [cf1]for vc. and orch., some songs.[cm~Sopra [fy75
,1](It.). On, above. [cf2]Sopra una corda, [cf1]on [sm1[nm str. ~(of vn., etc.);
 for pf. application see [cf2]Corda[cf1]; [cf2]come ~[cf1]([cf2]di[cf1]) [cf2]so
pra, [cf1]as above.[cm~Sopranino [fy75,1](It.). Little soprano. Name given to ~s
ize of instr. higher than sop., e.g. sopranino ~recorder, sopranino sax., sopran
ino fl;Auugelhorn, ~etc.[cm~Soprano [fy75,1](from It. [cf2]sopra, [cf1]`above').
 ([sm1[nm) The highest ~register of female (or artificial male) v. A boy sop. ~i
s known as a [fy45,1]*[fy75,1]treble. Normal female range is ~from middle C upwa
rds for [sm2[nm octaves. The male ~sop. was a [fy45,1]*[fy75,2]c
astrato, [cf1]used in opera and church ~mus. in [sm17[nmth and [sm18[nmth cents.
 In the opera house, ~many sub-divisions of the term [cf2]soprano [cf1]exist, e.
g. ~dramatic, lyric, coloratura, soubrette, character, ~etc.[ep~^([sm2[nm) Sop.
clef is obsolete clef, with middle C on ~bottom line of staff.[ep~^([sm3[nm) The
 term is also used for high instr. register, ~e.g. soprano cornet, soprano sax.
(See also [cf2]sopran~~ino[cf1]).[ep~^See also [cf2]Mezzo-soprano.[cm~Sor [fy75,
1](orig. Sors), [fy65][cf3]Fernando [fy75,1](orig. Ferdinando) ([cf2]b ~[cf1]Bar
celona, [sm1778[nm; [cf2]d [cf1]Paris, [sm1839[nm). Sp. guitarist and ~composer.
 Studied at Montserrat. Virtuoso of ~guitar, teaching in Paris, London, and else
where. ~Played his `concertante' for guitar and vn., va., ~and vc. at Phil. Soc.
 concert in London, [sm1817[nm. ~Wrote many pieces for guitar, an opera, ballet
~[cf2]Cendrillon[cf1], perf. in London [sm1822[nm, syms., and str. ~qts.[cm~Sora
bji, Kaikhosru Shapurji [fy75,1](orig. Leon Dudley ~Sorabji) ([c
f2]b [cf1]Chingford, Essex. [sm1892[nm). Eng.-born ~composer, pianist, and write
r. Son of Parsi father ~and Sp.-Sicilian mother. Self-taught as composer. ~Playe
d his pf. works in London and Paris [sm1921[nm ~and Vienna [sm1922[nm, but there
after discouraged ~public perf. of his mus. until relenting in mid-~[sm1970[nms,
 though he remained something of a cult ~figure. Wrote music criticism notable f
or acerbity ~and wit, also for championship of then unfashion~~able composers, e
.g. Mahler and Szymanowski. ~Works are of great complexity, the [cf2]Opus clavic
em~~balisticum [cf1]for pf. being in [sm3[nm parts with [sm12[nm sub-~divisions,
 incl. a theme with [sm44[nm variations, and ~lasting over [sm2[nm hours. Other
works, demanding ~elaborate forces, incl. syms., organ syms., [sm5[nm pf. ~concs
., pf. sonatas, etc.[cm~Sorcerer, The. [fy75,1]Operetta by Sullivan to lib. by ~
Gilbert. Prod. London [sm1877[nm, NY [sm1879[nm.[cm~Sorcerer's Apprentice, The [
fy75,1](Dukas). See [cf2]Ap~~prenti sorcier, L'.[cm~Sordino, sor
dina [fy75,1](It., plural [cf2]sordini[cf1]). A mute for ~an instr. Thus, [cf2]c
on sordini, [cf1]with mutes, means put ~the mutes on. Other phrases are [cf2]sor
dini alzati [cf1]or ~[cf2]sordini levati, [cf1]mutes raised (taken off). On the
pf., ~[cf2]sordini [cf1]means the dampers; [cf2]senza sordini [cf1]is without ~d
ampers, meaning that the sustaining pedal is to ~be depressed.[cm~Sordun [fy75,1
](Ger.). ([sm1[nm) See [cf2]Sourdine.[ep~[cf1]^([sm2[nm) Org. stop of muffled to
ne ([sm8[nm;Po and [sm16[nm;Po).[cm~Soriano [fy75,1](Suriano), [fy65][cf3]France
sco [fy75,1]([cf2]b [cf1]Soriano, [sm1549[nm; [cf2]d ~[cf1]Rome, [sm1621[nm). It
. composer and singer. Chorister, ~St John Lateran, at [sm15[nm. Pupil of Palest
rina. Dir. of ~mus. for Gonzaga family in Mantua, [sm1581[nm=n[sm6[nm. ~Choirmas
ter at [sm3[nm Rome churches: S. Maria ~Maggiore [sm1587[nm=n[sm99[nm, [sm1601[n
m=n[sm3[nm, St John Lateran ~[sm1599[nm=n[sm1601[nm, St Peter's [sm1603[nm=n[sm2
0[nm. Wrote church ~mus. and madrigals.[cm~Sorochintsy Fair [fy7
5,1]([cf2]Sorochintskaya Yarmarka[cf1]). [sm3[nm-act ~unfinished opera by Mussor
gsky to composer's ~lib. based on Gogol's story. Begun [sm1874[nm. Mussorg~~sky
completed only the prelude, the market scene ~and part of the next, most of Act
[sm2[nm, a scene based ~on his [fy45,1]*[fy75,2]Night on the Bare Mountain, [cf1
]an instr. ~episode, and [sm2[nm songs. Ed. [sm1904[nm and [sm1912[nm by ~Lyadov
 and Karatygin: version from these edns. ~[PN682,0,0,L,I0]prod. Moscow [sm1913[n
m. Completion by [fy45,1]*[fy75,1]Cui prod. ~St Petersburg [sm1917[nm; by [fy45,
1]*[fy75,1]Tcherepnin prod. Monte ~Carlo [sm1923[nm, NY Met. [sm1930[nm, London
[sm1934[nm. ~Completion by Shebalin pubd. [sm1933[nm. Sometimes ~spelt [cf2]Soro
chints Fair [cf1]or called [cf2]The Fair at Sorochinsk.[cm~Sospirando, sospirant
e, sospirevole, sospiroso ~[fy75,1](It.). Sighing, i.e. plaintive in style.[cm~S
ospiri [fy75,1](Sighs). Comp. for str., harp, and org., ~Op. [sm70[nm, by Elgar,
 f.p. London [sm1914[nm. Also arr. for ~vn. and pf.[cm~Sostenuto
 [fy75,1](It.). Sustained. Direction that notes ~must be sustained to their full
 value in a smooth ~flow; it can also be interpreted as meaning that a ~passage
is to be played at a slower but uniform ~speed. Also [cf2]sostenendo, [cf1]susta
ining.[cm~Sotin, Hans[fy75,1] ([cf2]b[cf1] Dortmund, [sm1939[nm). Ger. bass. ~St
udied at Dortmund Cons. D;aaebut Essen [sm1962[nm ~([cf2]Der Rosenkavalier[cf1])
. Hamburg Opera from [sm1964[nm, ~becoming prin. bass and singing Wotan in [cf2]
Das ~Rheingold[cf1] and [cf2]Die Walk;auure[cf1]. Glyndebourne d;aaebut ~[sm1970
[nm (Sarastro), Chicago [sm1971[nm, NY Met. [sm1972[nm ~(Fafner), Bayreuth [sm19
72[nm, CG [sm1974[nm (Hunding), ~and La Scala [sm1976[nm (Ochs).[cm~Sotto Voce [
fy75,1](It.). Below the voice. In an undertone ~or barely audible (as in an asid
e). Applied to vocal ~and instr. perf.[cm~Soubasse [fy75,1](Fr.). Contra-bourdon
 org. stop ([sm32[nm;Po).[cm~Soubrette [fy75,1](Fr.). Light sop. taking rather p
ert roles ~in opera and operetta such as Despina in [cf2]Cos;Agi
 fan ~tutte, [cf1]Blonde in [cf2]Die Entf;Auuhrung aus dem Serail, ~[cf1]Ad;Agel
e in [cf2]Die Fledermaus, [cf1]etc.[cm~Sound-board. [fy75,1]([sm1[nm) Wooden boa
rd on pf. (and ~other kbd. instr.) placed behind the str. in an ~upright instr.,
 below them in a grand, to amplify ~the vol. of sound.[ep~^([sm2[nm) In an org.,
 the upper portion of wind chest ~on which pipes sound.[cm~Sound-holes. [fy75,1]
The holes, shaped like an f, cut in ~the belly of a vn. and related instr. to as
sist ~resonance. In lutes, guitars, etc., the holes are ~more ornamental and are
 called `roses'.[cm~Soundpost. [fy75,1]Piece of wood fixed inside a vn. and ~oth
er str. instr., vertically connecting upper and ~lower surfaces and helping to s
upport pressure of ~str. on the bridge. Thus the vibrations of the str. ~are dis
tributed over the body of the instr.[cm~Sourdine [fy75,1](Fr.). Mute. ([sm1[nm)
Mute, used in same ~sense as [fy45,1]*[fy75,2]sordino. Mettez [cf1](put on), [cf
2];Afotez [cf1](take off) [cf2]les ~sourdines.[ep~[cf1]^([sm2[nm
) Fr. name for early form of bn. (Ger. [cf2]Sordun, ~[cf1]It. [cf2]sordone[cf1])
, also known as [cf2]courtaut. [cf1]Appeared first ~in [sm16[nmth cent. and was
made in several sizes from ~bass to descant. Had no bell, the sound coming ~from
 lateral hole at top near the crook. Had [sm12[nm ~finger-holes, some also havin
g [sm2[nm keys.[cm~Souris, Andr;Aae [fy75,1]([cf2]b [cf1]Marchienne-au-Pont, Bel
gium, ~[sm1890[nm; [cf2]d [cf1]Paris, [sm1970[nm). Belg. composer and cond. ~Stu
died Brussels Cons. [sm1911[nm=n[sm18[nm. Cond., Belgian ~Radio-TV Orch. [sm1937
[nm=n[sm46[nm. Dir., mus. dept. Brus~~sels Seminary of Arts [sm1944[nm=n[sm8[nm,
 and of Marchienne ~Acad. of Mus. [sm1949[nm. Founded journal [cf2]Polyphonies ~
[cf1]in Paris, [sm1947[nm. Prof. of harmony, Brussels Cons., ~[sm1949[nm=n[sm64[
nm. Works incl. [cf2]Symphonies [cf1]for orch. ([sm1939[nm), ~cantata [cf2]Le ma
rchand d'images [cf1]([sm1954[nm=n[sm65[nm), wind ~trio, etc.[cm~Sousa, John Phi
lip [fy75,1]([cf2]b [cf1]Washington D.C., [sm1854[nm; [cf2]d ~[c
f1]Reading, Penn., [sm1932[nm). Amer. composer and ~bandmaster. As youth played
vn. in th. orchs. ~Cond., US Marine Corps band [sm1880[nm=n[sm92[nm. Formed ~own
 military band [sm1892[nm which became very ~popular and toured Europe [sm4[nm t
imes between [sm1900[nm ~and [sm1905[nm and the world in [sm1910[nm=n[sm11[nm. I
t was a ~victim of the [sm1931[nm Depression. Best known for ~his superb marches
, of which he comp. nearly ~[sm100[nm, among them [cf2]The Stars and Stripes For
ever, ~The Washington Post, El Capit;Aaan, Semper Fidelis, ~Liberty Bell, King C
otton, Hands across the Sea, [cf1]etc. ~Also wrote several operettas, incl. [cf2
]El Capit;Aaan ~[cf1]([sm1895[nm), [cf2]The Queen of Hearts, [cf1]and [cf2]Victo
ry.[cm~Sousaphone. [fy75,1]Amer. helical form of bass tuba ~made to circle the p
layer's body, with a large bell ~turned up through [sm2[nm right angles to face
forward ~and terminating in a flange [sm2[nm;Po wide. Made first in ~[sm1898[nm
for Sousa's band, the earliest model having ~bell which opened d
irectly upward. New version ~dates from [sm1908[nm. Also used in jazz.[cm~Souste
r, Tim [fy75,1](Andrew James) ([cf2]b [cf1]Bletchley, [sm1943[nm). ~Eng. compose
r. Studied Oxford Univ. [sm1961[nm=n[sm5[nm, at ~Darmstadt summer courses, and p
rivately with ~R. R. Bennett, [sm1965[nm. BBC mus. producer [sm1965[nm=n[sm7[nm.
 ~Composer-in-residence, King's Coll., Cambridge, ~[sm1969[nm=n[sm71[nm. Teachin
g ass. to [fy45,1]*[fy75,1]Stockhausen, Cologne, ~[sm1971[nm=n[sm3[nm. Co-founde
r, [sm1969[nm, of elec. group Inter~~modulation. Research fellow in elec. mus.,
Keele ~Univ. [sm1975[nm=n[sm7[nm. Also writer on mus. Works incl. ~[cf2]Titus Gr
oan Music [cf1]for wind quintet, tape, elec. ~apparatus; [cf2]Pelvic Loops [cf1]
for [sm2[nm-track tape; [cf2]Chinese ~Whispers [cf1]for perc. and [sm3[nm synthe
sizers; [cf2]Triple Music ~II [cf1]for [sm3[nm orch. ([sm1970[nm); [cf2]Music fo
r Eliot's `Waste Land' ~[cf1]([sm1970[nm); [cf2]World Music [cf1]([sm1971[nm=n[s
m4[nm); [cf2]Eastern Arts [cf1]([sm1975[nm).[cm~Soutenu [fy75,1]
(Fr.). Sustained; used in same way as ~[fy45,1]*[fy75,2]sostenuto.[cm~Souvenirs
de Bayreuth [fy75,1](Memories of Bayreuth). ~`Fantaisie en forme de quadrille su
r les th;Agemes ~favoris de l'Anneau du Nibelung de Richard ~Wagner', for pf. du
et ([sm4[nm hands) by Faur;Aae and ~Messager. Pubd. [sm1930[nm. Arr. for pf. sol
o by ~Samazeuilh.[cm~Souzay, G;Aaerard [fy75,1](really Tisserand, G;Aaerard Marc
el) ~([cf2]b [cf1]Angers, [sm1920[nm). Fr. bar. Studied Paris Cons. and ~with Pi
erre [fy45,1]*[fy75,1]Bernac. Recital d;Aaebut [sm1945[nm. NY ~d;Aaebut [sm1950[
nm. Occasional appearances in opera, ~d;aaebut NY City Center as Monteverdi's Or
feo, ~[sm1960[nm. Sang the Count in [cf2]Le Nozze di Figaro, [cf1]NY ~Met. [sm19
65[nm, but best-known for fine singing of Fr. ~songs and Ger. Lieder. Accompanis
t since [sm1954[nm, ~Dalton Baldwin.[cm~[PN683,0,0,R,I0]Soviet Artist's Practica
l Creative Reply to Just ~Criticism, A. [fy75,1]Sub-title of Shostakovich's [sm5
[nmth ~Sym., provided by an anonymous commentator ~in [sm1937[nm
 after the Soviet hierarchy had criticized ~`formalist' tendencies in the compos
er's opera [cf2]The ~Lady Macbeth of the Mtsensk District [cf1]and ballet ~[cf2]
Bright Stream.[cm~Sowerby, Leo [fy75,1]([cf2]b [cf1]Grand Rapids, Mich., [sm1895
[nm; [cf2]d ~[cf1]Port Clinton, Ohio, [sm1968[nm). Amer. composer and ~organist.
 Studied in Chicago and [sm3[nm years in Italy ~as first Amer. [cf2]Prix de Rome
 [cf1]fellow for mus., [sm1921[nm=n~[sm4[nm. Taught comp., Amer. Univ., Chicago,
 [sm1925[nm=n~[sm62[nm. Founded College of Church Musicians, ~Washington, [sm196
2[nm. Prolific composer of org. mus. ~but wrote in most genres except opera. Wor
ks ~incl. [sm5[nm syms., [sm2[nm pf. concs., choral works, vn. conc., ~vc. conc.
, org. sym., [sm2[nm org. concs., [cf2]Symphonia Brevis ~[cf1]for org., several
cantatas, and over [sm300[nm songs.[cm~Soyer, Roger[fy75,1] (Julien Jacques) ([c
f2]b[cf1] Paris, [sm1939[nm). Fr. ~bass. Studied at Paris Cons. D;aaebut Paris O
p;aaera ~[sm1962[nm=n[sm3[nm season. Sang Pluto in Monteverdi's
[cf2]Orfeo[cf1], ~Aix Fest. [sm1965[nm. Amer. d;aaebut [sm1968[nm, Miami ([cf2]R
om;aaeo ~et Juliette[cf1]). Wexford Fest. [sm1968[nm. In much demand ~internatio
nally as Don Giovanni.[xm[cm~[ol0][ep~[xp[te~










[do13][j99]~~~~~~153842_SD01[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tiona
ry of Music[cmSD[sm01[nm[cm[sm13[nm[cm~[sm1[nm[cm[sm15[nm-[sm10[nm-[sm79[nm[cm[s
m18[nm[cm[sm791[nm[cm~Tuf[cm5[cm13/10/84[cmU5[cm~~~[ap[j1]Spagnoletti, Paolo [fy
75,1](really Paolo Diana) ([cf2]b [cf1]Cre~~mona, [sm1768[nm; [cf2]d [cf1]London
, [sm1834[nm). It. violinist. ~Studied Naples Cons. Went to London [sm1802[nm, ~
playing in various orchs. One of first associates of ~Phil. Soc., [sm1813[nm. Le
ader of orch. at King's Th. ~from [sm1817[nm. Wrote vn. pieces and songs.[cm~Spa
gnoletto, spagnoletta, spagniletta, spagni~~coletta. [fy75,1]Old round dance, pr
obably related to the ~[fy45,1]*[fy75,2]Pavan.[cm~Spanisches Liederbuch [fy75,1]
(Spanish Songbook). [sm44[nm ~songs for v. and pf. by [fy45,1]*[fy75,1]Wolf, com
p. [sm1889[nm=n[sm90[nm, ~being Ger. trans. by Paul von Heyse ([sm1830[nm=n[sm19
14[nm) ~and Emanuel Geibel ([sm1815[nm=n[sm84[nm) of Sp. poems ~pubd. [sm1852[nm
 as [cf2]Spanisches Liederbuch.[cm~Spanish Caprice. [fy75,1]Orch
. work by Rimsky-~Korsakov, Op. [sm34[nm, comp. [sm1887[nm, often known by ~mixe
d It.-Fr. title [cf2]Capriccio espagnol.[cm~Spanish Hour, The [fy75,1](Ravel). S
ee [cf2]Heure espagnole, ~L'.[cm~Spanish Lady, The. [fy75,1]Title of projected o
pera in [sm2[nm ~acts by Elgar, Op. [sm89[nm, to lib. by Barry Jackson ~based on
 Jonson's [cf2]The Devil is an Ass [cf1]([sm1616[nm). Begun ~[sm1932[nm. [sm2[nm
 songs, ed. P. M. Young, pubd. [sm1955[nm, and ~suite for str., ed. Young, [sm19
56[nm.[cm~Spanish Rhapsody [fy75,1](Ravel). See [cf2]Rapsodie espag~~nole.[cm~Sp
anish Symphony [fy75,1](Lalo). See [cf2]Symphonie espag~~nole.[cm~Sparta, sparto
; spartita, spartito [fy75,1](It.). [fy45,1]*[fy75,1]Score.[cm~Spartacus [fy75,1
]([cf2]Spartak[cf1]). Ballet in [sm4[nm acts, mus. by ~[fy45,1]*[fy75,1]Khachatu
rian, lib. by Volkov, choreog. Jacobson. ~Comp. [sm1954[nm, rev. [sm1968[nm. Fou
r suites, Nos. [sm1=n3[nm ~([sm1955=n7[nm), No. [sm4[nm ([sm1967[nm). Prod. Leni
ngrad [sm1956[nm, ~Moscow [sm1958[nm. Extract from mus. used as
theme ~mus. for Brit. TV series [cf2]The Onedin Line.[cm~Spassapensieri [fy75,1]
(It.). [fy45,1]*[fy75,1]Jew's harp.[cm~Speaker-Keys. [fy75,1]Keys fitted to reed
 wind instr. to ~facilitate production of harmonics. They open ~hole(s) which br
eak continuity of air column. ~Obs. have two and cls. one.[cm~Speaks, Oley [fy75
,1]([cf2]b [cf1]Canal Winchester, Ohio, [sm1874[nm; [cf2]d ~[cf1]NY, [sm1948[nm)
. Amer. bar. and composer. Of his [sm200[nm ~songs, best-known are [cf2]The Road
 to Mandalay [cf1]and ~[cf2]When the Boys Come Home.[cm~Specht, Richard [fy75,1]
([cf2]b [cf1]Vienna, [sm1870[nm; [cf2]d [cf1]Vienna, ~[sm1932[nm). Austrian mus.
 critic and writer. Studied ~architecture in Vienna but turned to mus. on ~advic
e of Brahms. Mus. critic of [cf2]Die Zeit [cf1]from ~[sm1895[nm. Wrote for [cf2]
Die Musik [cf1][sm1908[nm=n[sm15[nm. Co-founder ~[cf2]Der Merker [cf1][sm1909[nm
, directing it until [sm1919[nm. Author[fj~of books on Mahler ([sm1906[nm, rev.
[sm1913[nm), Johann ~Strauss ([sm1909[nm), Richard Strauss ([sm1
920[nm=n[sm1[nm), Furt-[fjw;auangler ([sm1922[nm), Brahms ([sm1928[nm), Beethove
n ([sm1931[nm), and ~Puccini ([sm1931[nm).[cmSpecies. [fy75,1]Name given to each
 of [sm5[nm types of process ~in strict counterpoint. The species are: [sm1[nm.
Added ~voice (i.e. the counterpoint melody) proceeds at ~same pace as [fy45,1]*[
fy75,2]cantus firmus [cf1]([sm1[nm note to a measure). ~[sm2[nm. Added voice pro
ceeds at [sm2[nm or [sm3[nm times pace of ~[cf2]cantus firmus. [cf1][sm3[nm. Add
ed voice proceeds at [sm4[nm or [sm6[nm ~times pace of [cf2]cantus firmus. [cf1]
[sm4[nm. Added voice ~proceeds (as in [sm2[nm) at rate of [sm2[nm:=+=+[sm1[nm, b
ut [sm2[nmnd note is ~tied over to [sm1[nmst note of following measure ~(syncopa
tion). [sm5[nm. Added voice uses mixture of ~processes of other [sm4[nm species
and also introduces ~shorter notes (florid counterpoint).[cm~Spectre de la rose,
 Le. [fy75,1][sm1[nm-act ballet, choreog. ~Fokine, set to mus. of Weber's [cf2]A
ufforderung zum ~Tanz [cf1]([fy45,1]*[fy75,2]Invitation to the D
ance[cf1]), Op. [sm65[nm, [sm1819[nm, and ~danced by Karsavina and Nijinsky, Mon
te Carlo ~[sm1911[nm. Also poem by T. Gautier set by Berlioz as ~No. [sm2[nm of
song-cycle [cf2]Les [fy45,1]*[fy75,2]Nuits d';aaEt;aae [cf1]([sm1840=n1[nm).[cm~
Spectre's Bride, The [fy75,1]([cf2]Svatebni ko;aksile[cf1], The Wed~~ding Shift)
. Cantata by Dvo;Akr;aaak, Op. [sm69[nm, comp. ~[sm1884[nm, to text by K. J. Erb
en, f.p. (in Eng.) ~Birmingham Fest. [sm1885[nm. Same text set by Nov;aaak ~[sm1
913[nm, as his Op. [sm48[nm.[cm~Speer, Daniel [fy75,1]([cf2]b [cf1]Breslau, [sm1
636[nm; [cf2]d [cf1]G;auoppingen, ~[sm1707[nm). Ger. musician, cantor in various
 towns. ~Wind-player at G;auoppingen. Wrote songs, incl. [cf2]Die ~lustige Tafel
musik [cf1](Jolly table-music) for [sm3[nm vv. and ~[sm4[nm instr., [sm1685[nm,
[cf2]Musikalisch-Turkischer Eulenspiegel ~[cf1]([sm1688[nm), and sonatas for tbs
., tpts., timp., and ~continuo.[cm~Spells. [fy75,1]Setting of poems by Kathleen
Raine for ~sop., ch., and orch. by Richard Rodney [fy45,1]*[fy75
,1]Bennett, ~comp. [sm1974[nm, f.p. Worcester Fest. [sm1975[nm. ([sm2[nmnd and ~
[sm5[nmth movements arr. as [cf2]Love Spells [cf1]for sop. and ~orch. ([sm1974[n
m). F. p. London [sm1978[nm.[cm~Spem in alium nunquam habui. [fy75,1]Motet by ~[
fy45,1]*[fy75,1]Tallis in [sm40[nm parts for [sm8[nm [sm5[nm-v. choirs.[cm~[PN68
4,0,0,L,I0]Spencer, Robert [fy75,1]([cf2]b [cf1]Ilford, [sm1932[nm). Eng. luteni
st, ~guitarist, and singer. Studied GSM and Dartington ~Sch. of Mus. Member of J
ulian Bream Consort ~from [sm1960[nm. Formed duo with wife, Jill Nott-~Bower, so
p. Ed. of Elizabethan duets for guitars, ~etc.[cm~Spendiarov [fy75,1](Spendiarya
n),[fy65,3] Alexander [fy75,1]([cf2]b [cf1]Kak~~hovka, Crimea, [sm1871[nm; [cf2]
d [cf1]Erevan, [sm1928[nm). Armenian ~composer and conductor. Studied St Petersb
urg ~with Rimsky-Korsakov. Wrote early orch. works ~in Russ. oriental style, but
 made name with [sm2[nm ~series of [cf2]Crimean Sketches [cf1]in which he used l
ocal ~tunes and rhythms. Went to Armenia [sm1924[nm, ~where he w
rote opera [cf2]Almast[cf1], prod. Moscow ~[sm1930[nm.[cm~Sphaerophon. [fy75,1]S
ingle-voiced elec. instr. devel~~oped by a German, Jong Mager, about [sm1924[nm.
 Had ~oscillating radio valves, the frequency being ~altered by means of a varia
ble condenser.[cm~Spianato, spianata [fy75,1](from It. [cf2]spiana[cf1], carpent
er's ~plane). Planed, levelled, smoothed.[cm~Spiccato [fy75,1](It.). Separated.
In playing of bowed str. ~instr., form of staccato bowing in which the bow ~is a
llowed to bounce on the str.; prod. by rapid ~movements with restricted (central
) portion of ~the bow. Same as [fy45,1]*[fy75,2]Saltando[cf1]. See also [cf2]Sau
till;aae.[cm~Spider's Feast, The [fy75,1](Roussel). See [cf2]Festin de ~l'araign
;aaee, Le.[cm~Spiegl, Fritz [fy75,1]([cf2]b [cf1]Zurndorf, [sm1926[nm). Austrian
-born ~flautist, writer, and broadcaster. Prin. flautist ~RLPO [sm1948[nm=n[sm63
[nm. Expert on mus. curiosities, also ~on misuse of Eng. language. Ed. of old mu
s.[cm~Spiel; Spielen [fy75,1](Ger.). Play; To play. So [cf2]Spie
lend[cf1], ~playing, playful; [cf2]Volles Spiel[cf1], Full Org.; [cf2]Spieler[cf
1], ~player.[cm~Spiering, Theodore [fy75,1]([cf2]b [cf1]St Louis, [sm1871[nm; [c
f2]d [cf1]Munich, ~[sm1925[nm). Amer. violinist and cond. Pupil of Joachim ~in B
erlin [sm1892[nm. Member of Chicago S.O. [sm1892[nm=n[sm6[nm. ~Founded str. qt.
in Chicago, [sm1893[nm=n[sm1905[nm. Went to ~teach at Stern Cons., Berlin, [sm19
05[nm, returning to ~USA as leader of NY P.O., [sm1909[nm. Cond. last ~concerts
of Mahler's last NY season, [sm1910[nm=n[sm11[nm ~when Mahler became mortally il
l. Taught NY ~College of Mus. [sm1914[nm=n[sm16[nm.[cm~Spies, Claudio [fy75,1]([
cf2]b [cf1]Santiago, [sm1925[nm). Chilean-born ~composer (Amer. citizen from [sm
1966[nm). Settled in ~USA [sm1942[nm. Studied in Boston, Mass., [sm1943[nm with
~Boulanger and at Harvard Univ. [sm1947[nm=n[sm50[nm (comp. ~with Hindemith, Pis
ton). Taught at Harvard ~[sm1954[nm=n[sm7[nm, Swarthmore College [sm1958[nm=n[sm
64[nm, and Prin~~ceton Univ. from [sm1970[nm. Friend of and infl
uenced ~by Stravinsky, becoming [sm12[nm-note practitioner ~after [sm1959[nm. Wo
rks incl. several song-cycles, also ~[cf2]Ensembles [cf1]for orch., [cf2]Viopiac
em [cf1]for va. and hpd. or ~pf., [cf2][sm5[nm Orchestral Songs [cf1]for sop. an
d orch., [cf2]Times [sm2[nm ~[cf1]for [sm2[nm hn., etc. Author of articles on St
ravinsky's ~works.[cm~Spinet [fy75,1](Fr. [cf2];aaepinette[cf1]; It. [cf2]spinet
ta[cf1]). Small type of ~early kbd. instr. of hpd. family in which str. ran ~dia
gonally in front of player or more or less ~parallel to kbd. as on virginals. Of
ten made in ~uneven [sm6[nm-sided shape with kbd. on longest side. ~Normally one
 set of str. and [sm4[nm-octave compass. ~The name `spinet' is indiscriminately
applied to a ~no. of plucked kbd. instr. First mentioned [sm1496[nm. ~A theory i
s that it was named after Giovanni ~Spina, an instr.-maker active in late [sm15[
nmth cent., ~another that the name derives from its thorn-like ~plectra, [cf2]sp
inetta [cf1]being diminutive of [cf2]spina[cf1], a ~thorn. The [
sm19[nmth-cent. square pf. is often incor~~rectly called a spinet.[cm~Spink, Ian
 [fy75,1]([cf2]b[cf1] London, [sm1932[nm). Eng. teacher and ~authority on Eng. l
ute-songs. Studied TCL. ~Lecturer in mus. Sydney Univ., NSW, [sm1962[nm=n[sm9[nm
. ~Head of mus. dept., Royal Holloway Coll., London ~Univ. from [sm1969[nm, dean
, Faculty of Arts [sm1973[nm=n[sm5[nm, ~dean, Faculty of Mus., London Univ. from
 [sm1974[nm. ~Ed. Stainer and Bell edn. of [cf2]English Lute-Songs [cf1]vols. ~[
sm17[nm, [sm18[nm, and [sm19[nm, [cf2]English Song [sm1625[nm=n[sm60[nm [cf1]in
[cf2]Musica ~Britannica, [cf1]xxxiii, etc.[cm~Spinner, Leopold[fy75,1] ([cf2]b[c
f1] Lw;aaow, [sm1906[nm). Austrian ~composer and teacher. Studied in Vienna [sm1
926[nm=n~[sm30[nm with Pisk and [sm1935[nm=n[sm8[nm with Webern. Though ~influen
ced by Webern, his works are on a larger ~scale. They incl.: Sym. ([sm1934[nm),
[cf2]Passacaglia[cf1] for ~chamber orch. ([sm1936[nm), Pf. conc with chamber ~or
ch. ([sm1947[nm), [cf2]Concerto for Orchestra[cf1] ([sm1957[nm),
 [cf2]Ricer~~cata[cf1], orch. ([sm1965[nm), str. qt. ([sm1934[nm), vn. sonata ([
sm1936[nm), ~str. qt. No. [sm1[nm ([sm1941[nm), No. [sm2[nm ([sm1952[nm), pf. so
nata ~([sm1943[nm), pf. trio ([sm1950[nm), quintet for cl., bn., hn., ~guitar, d
b. ([sm1961[nm), cl. sonata ([sm1961[nm), vc. sonatina ~([sm1973[nm), cantata [c
f2]Lebenslauf[cf1] (H;auolderlin), sop., ch., ~orch. ([sm1955[nm), and songs.[cm
~Spinnerlied [fy75,1](Ger.). Spinning Song.[cm~Spinto [fy75,1](It.). Pushed, urg
ed on. Term used of ~certain variety of v., particularly sop. or ten., e.g. ~[cf
2]soprano lirico spinto[cf1], meaning a v. which has been ~`pushed' into more fo
rceful singing. Butterfly is ~an example of a [cf2]spinto [cf1]sop. role.[cm~Spi
rito; Spiritoso [fy75,1](It.). Spirit, spirited.[cm~Spirit of England, The. [fy7
5,1]Settings by Elgar, Op. ~[sm80[nm, for sop. or ten. soloist, ch., and orch. o
f [sm3[nm ~poems by Binyon, ([sm1[nm) [cf2]The [sm4[nmth of August[cf1], ([sm2[n
m) [cf2]To ~Women[cf1], ([sm3[nm) [cf2]For the Fallen[cf1]. Comp
. [sm1915=n16[nm. F.p. of ~([sm1[nm) Birmingham [sm1917[nm, of ([sm2[nm) and ([s
m3[nm) Leeds [sm1916[nm, ~of complete work London [sm1917[nm.[cm~Spiritual. [fy7
5,1]Folk-hymn which developed during ~Amer. religious revival of [cf2]c[cf1].[sm
1740[nm and took its ~name from `spiritual song', the term by which ~publishers
distinguished it from hymns and ~metrical psalms. Negroes attended revivalist ~m
eetings and their characteristic adaptations of ~spirituals became the religious
 folk-songs of the ~Amer. Negro, e.g. [cf2]Swing low, sweet chariot, Go ~down Mo
ses, Deep River[cf1], etc. Became prominent ~[cf2]c.[cf1][sm1871[nm in concerts
by Fisk Jubilee Singers, but ~[PN685,0,0,R,I0]even better known in [sm20[nmth ce
nt. through singing ~of Paul Robeson and Marian Anderson. Dvo;Akr;aaak ~was deep
ly touched by Negro spirituals, though ~their influence on his Amer. works is ar
guable; ~and Tippett used some very effectively as chorales ~in his oratorio [cf
2]A [fy45,1]*[fy75,2]Child of Our Time.[cm~Spisak, Michal [fy75,
1]([cf2]b [cf1]Dabrowa G;aaornicza, [sm1914[nm; [cf2]d ~[cf1]Paris, [sm1965[nm).
 Polish composer. Studied Warsaw ~and in Paris [sm1937[nm with Boulanger. Settle
d in Fr. ~Works incl. bn. conc., [cf2]Divertimento [cf1]for [sm2[nm pf. and ~orc
h., pf. conc., [sm2[nm-pf. conc., chamber mus., pf. ~pieces.[cm~Spitfire Prelude
 and Fugue. [fy75,1][sm2[nm items from film ~mus. for [cf2]The First of the Few
[cf1]by Walton ([sm1942[nm) ~rearr. for full orch. F.p. Liverpool [sm1943[nm. Ti
tle ~refers to Spitfire fighter aircraft used by RAF in ~Battle of Britain, [sm1
940[nm (the film told story of its ~designer, R. J. Mitchell).[cm~Spitta, Julius
 August Philipp [fy75,1]([cf2]b [cf1]Wechold, Hoya, ~[sm1841[nm; [cf2]d [cf1]Ber
lin, [sm1894[nm). Ger. mus. scholar and ~writer. Studied at G;auottingen, then t
aught in ~various towns incl. Leipzig. Prof. of mus. history, ~Berlin, [sm1875=n
94[nm and permanent secretary to ~Berlin Acad. of Arts. Dir., Berlin Hochschule
f;auur ~Musik, [sm1875[nm=n[sm94[nm. Contrib. to several diction
aries, ~histories, etc. Wrote [sm2[nm-vol. life of Bach ([sm1873[nm, ~[sm1880[nm
, Eng. trans. [sm1884[nm=n[sm5[nm) and history of Ger. ~romantic opera. Ed. orga
n works of Buxtehude, ~([sm1876[nm=n[sm7[nm), complete works of Sch;auutz ([sm18
85[nm=n[sm94[nm), ~and selected works of Frederick the Great ([sm1889[nm).[cm~Sp
itze [fy75,1](Ger.). Point. Hence, in str. playing, [cf2]an der ~Spitze[cf1], at
 the point (of the bow).[cm~Spitzfl;auote [fy75,1](Ger.). Point-flute. Metal org
. stop of ~slightly conical shape; [sm8[nm;po, [sm4[nm;po, or [sm2[nm;po length
and ~pitch.[cm~Spivakovsky, Tossy [fy75,1]([cf2]b [cf1]Odessa, [sm1907[nm). Russ
.-born ~violinist (later Amer. citizen). Studied in Berlin ~with W. Hess, making
 d;aaebut there [sm1917[nm. Toured ~Europe [sm1920[nm=n[sm33[nm, settled in Aust
ralia [sm1933[nm=n[sm41[nm. ~Went to USA [sm1941[nm. Developed new techniques ~o
f playing.[cm~Spleen. [fy75,1]Poem by Verlaine set for v. and pf. by ~Debussy, [
sm1887[nm=n[sm8[nm, as no. [sm6[nm of [fy45,1]*[fy75,2]Ariettes
oubli;aaees [cf1]and ~by Faur;aae, [sm1889[nm, as No. [sm3[nm of his Op. [sm51[n
m.[cm~Spofforth, Reginald [fy75,1]([cf2]b [cf1]Southwell, Notts., [sm1770[nm; ~[
cf2]d [cf1]Brompton, London, [sm1827[nm). Eng. composer of ~glees, the [sm2[nm m
ost popular being [cf2]Hail, smiling morn ~[cf1](No. [sm6[nm of [cf2]Six Glees,[
cf1] [sm1810[nm) [cf1]and [cf2]How calm the evening ~[cf1](pubd. [cf2]c[cf1].[sm
1796[nm).[cm~Spohr, Ludwig [fy75,1](Louis) ([cf2]b [cf1]Brunswick, [sm1784[nm; [
cf2]d ~[cf1]Kassel, [sm1859[nm). Ger. composer, violinist, and cond. ~Child prod
igy as violinist and composer. At [sm14[nm ~member of Duke of Brunswick's court
orch. ~Toured Russ. [sm1802[nm, meeting Clementi and Field. ~From [sm1805[nm tou
red Ger. as violinist and cond., ~composing operas and oratorios. Vienna d;aaebu
t ~[sm1812[nm, becoming leader of orch. at Theater an der ~Wien until [sm1815[nm
. London d;aaebut at Philharmonic ~Soc. concert [sm1820[nm as solo violinist in
his own [sm8[nmth ~conc., thereby inaugurating Spohr vogue in En
g. ~Was one of first conds. to use baton. Appointed ~court cond. for life at Hes
se-Kassel [sm1822[nm (gen. ~mus. dir. from [sm1847[nm). Completed vn. method ~[s
m1831[nm. Early champion of Wagner, conducting ~[cf2]Der fliegende Holl;auander
[cf1]at Kassel [sm1843[nm and [cf2]Tann~~h;auauser [cf1][sm1853[nm. Spohr's oper
as were successful in ~their day (and [cf2]Faust [cf1]was successfully revived i
n ~London, [sm1984[nm), but it is the melodic charm of his ~chamber mus. and his
 vn. concs. which has ~principally led to a moderate revival of interest ~in his
 work. Prin. comps.:[xm[cm~[j2][smoperas[nm: [fy75,2]Der Zweikampf mit der Gelie
bten [cf1]([sm1811[nm), ~[cf2]Faust [cf1]([sm1813[nm, rev. [sm1852[nm), [cf2]Zem
ire und Azor [cf1]([sm1819[nm), ~[cf2]Jessonda [cf1]([sm1823[nm), [cf2]Der Alchy
mist [cf1]([sm1830[nm).[ep~[smoratorio[nm: [cf2]The Last Judgment [cf1]([sm1825=
n6[nm).[ep~[smorch[nm: Symphonies: No. [sm1[nm in E;yh, No. [sm2[nm in D ~minor,
 No. [sm3[nm in C minor, No. [sm4[nm ([cf2]Die Weihe der ~T;auon
e, [cf1]The Power of Sound), No. [sm5[nm in C minor, ~No. [sm6[nm in G ([cf2]His
torical Symphony[cf1]), No. [sm7[nm in C ~(Double Symphony, [cf2]Irdisches und G
;auottliches in ~Menschenleben[cf1]), No. [sm8[nm in G minor, No. [sm9[nm in B ~
minor ([cf2]The Seasons[cf1]); [sm6[nm ovs.; Waltzes.[ep~[cf1][smconcertos[nm: [
sm15[nm for vn. ([sm1802[nm=n[sm44[nm), No. [sm8[nm in A ~minor being sub-titled
 [cf2]Gesangszene[cf1], `in the form ~of a vocal scena'; [sm4[nm for cl.; potpou
rris for vn., vc., ~and orch.; conc. for str. qt.[ep~[smchamber music[nm: [sm34[
nm str. qts.; [sm4[nm double str. qts.; [sm7[nm ~str. quintets; octet in E major
 (str. and wind); ~septet for pf. and wind; nonet in F for str. qt., ~fl., ob.,
cl., bn., hn.; pf. and wind quintet; [sm3[nm pf. ~trios; str. sextet; sonatas, e
tc.[cm~[j1]Spontini, Gaspare[fy75,1] (Luigi Pacifico) ([cf2]b [cf1]Majolati, ~An
cona, [sm1774[nm; [cf2]d [cf1]Majolati, [sm1851[nm). It. composer. ~Studied Napl
es Cons. Some church mus. earned ~him opera commission for Rome,
 [sm1796[nm. [sm5[nm other ~operas followed. Went to Paris [sm1803[nm, meeting ~
with barely moderate success until the triumph ~of [cf2]La Vestale [cf1]in [sm18
07[nm. Became cond. of It. Opera ~in Paris [sm1810[nm, improving standards and g
iving f. ~Paris p. of Mozart's [cf2]Don Giovanni [cf1]in its orig. form. ~Dismis
sed [sm1812[nm, but reinstated [sm1814[nm. Cond., ~Berlin Court Opera [sm1819[nm
. There, too, his tenure ~was stormy and controversial, partly because his ~quic
k temper and pompous manner made him ~hard to work with, and partly because he ~
continued to promote his own Italianate works ~in the face of the new enthusiasm
 for Ger. ~romantic opera engendered by the success of ~Weber's [cf2]Der Freisch
;auutz. [cf1]When his royal patron ~died in [sm1840[nm, Spontini was dismissed i
n [sm1841[nm but ~generously treated. Thereafter he lived chiefly in ~Paris unti
l returning  to his native village, to ~whose poor he left all his property. Ope
ras incl.: ~[cf2]Li puntigli delle donne [cf1]([sm1796[nm), [cf2
]L'eroismo ridicolo ~[cf1]([sm1798[nm), [cf2]Il finto pittore [cf1]([sm1800[nm),
 [cf2]La fuga in maschera ~[cf1]([sm1800[nm), [cf2]La finta filosofa [cf1]([sm17
99[nm), [cf2]Milton [cf1]([sm1804[nm), [cf2]La ~[fy45,1]*[fy75,2]Vestale [cf1]([
sm1807[nm), [cf2]Fernand Cortez [cf1]([sm1809[nm), [cf2]Olympie ~[cf1]([sm1819[n
m), [cf2]Nurmahal [cf1]([sm1822[nm), [cf2]Alcidor [cf1]([sm1825[nm), [cf2]Agnes
von ~Hohenstaufen [cf1]([sm1829[nm). Fest. pageant: [cf2]Lalla Rookh ~[PN686,0,0
,L,I0][cf1]([sm1821[nm). Most of Spontini's operas were rev. several ~times. Som
e have been perf. in It. since [sm1945[nm.[cm~[fy65][cf3]Sprechgesang, Sprechsti
mme [fy75,1](Ger.). Spoken ~song, speech-song. Type of vocal perf. between ~spee
ch and song. First used by [fy45,1]*[fy75,1]Humperdinck in ~first version of his
 opera [cf2]K;auonigskinder [cf1]([sm1897[nm), ~where singers were told to appro
ximate the ~pitches but were doubled by instr. playing exact ~pitches. [fy45,1]*
[fy75,1]Schoenberg used the idea in his [fy45,1]*[fy75,2]Gurre~~
lieder [cf1]([sm1900[nm=n[sm11[nm), in [cf2]Die [fy45,1]*[fy75,2]gl;auuckliche H
and [cf1]([sm1910[nm=n~[sm13[nm), and especially in [fy45,1]*[fy75,2]Pierrot Lun
aire [cf1]([sm1912[nm) and ~in his opera [cf2]Moses und Aron[cf1] ([sm1930[nm=n[
sm2[nm). Berg used ~the device in [cf2]Wozzeck[cf1], and many others have ~used
it since. Schoenberg was liberal in his ~attitude to manner of perf., as his rec
ording of ~[cf2]Pierrot Lunaire [cf1]shows. In general usage, [cf2]Sprech~~[chge
sang [cf1]is the term for the vocal technique, ~[cf2]Sprechstimme [cf1]for the v
.-part employing it. A well-~known example of [cf2]Sprechgesang[cf1] is that of
Rex ~Harrison (and his successors) as Prof. Higgins in ~[cf2]My  Fair Lady[cf1].
[cm~Springer [fy75,1](Norweg.). ([sm1[nm) Norweg. folk-dance in [cf9]3[cf13]=-=-
=-=-=-=-=-4[cf1] ~time, used in their mus. by Grieg and Svendsen.[ep~^([sm2[nm)
(Ger. [cf2]Nachschlag[cf1]). Ornament in which an ~extra note, indicated in smal
ler mus.-type, takes ~part of the preceding note's time-value, i
.e. the ~opposite of [fy45,1]*[fy75,1]appoggiatura.[cm~Spring Sonata [fy75,1]([c
f2]Fr;auuhlingssonate[cf1]). Nickname given ~by someone other than Beethoven to
his Sonata ~in F, Op. [sm24[nm, for vn. and pf. ([sm1801[nm) =n the name is ~not
 inappropriate.[cm~Spring Song [fy75,1]([cf2]Fr;auuhlingslied[cf1]). Unauthorize
d name ~for Mendelssohn's [cf2]Lied ohne Worte[cf1], No. [sm30[nm in A, ~Op. [sm
62[nm, No. [sm6[nm.[cm~Spring Symphony, A. [fy75,1]Choral work, Op. [sm44[nm, by
 ~Britten for sop., cont., and ten. soloists, ch., boys' ~choir, and orch. Setti
ng of poems by Herrick, ~Auden, Barnefield, Peele, Blake, Beaumont, ~Fletcher, N
ashe, Vaughan, Spenser, Clare, Milton ~and Anon. F. p. Amsterdam [sm1949[nm, f.
London p. [sm1950[nm.[cm~`Spring' Symphony. [fy75,1]Title given to Schumann's ~S
ym. No. [sm1[nm in B;yh major ([sm1841[nm).[cm~Spugna, Bacchetta di [fy75,1](It.
). Sponge-headed drum~~stick.[cm~Square Piano. [fy75,1]Rectangular form of [fy45
,1]*[fy75,1]piano ~invented in London in [sm18[nmth cent. and la
ter made ~by the firm of Broadwood. Several restored instr. ~are now used to pla
y mus. of the period.[cm~Squillante, squillanti [fy75,1](It.). Clanging. (Applie
d to ~cymbals, it means that they should be suspended ~and struck with drumstick
s.)[cm~Squire, William Barclay [fy75,1]([cf2]b [cf1]London, [sm1855[nm; [cf2]d ~
[cf1]London, [sm1927[nm). Eng. mus. scholar and critic. ~Studied Frankfurt and C
ambridge Univ. Became ~solicitor but then joined staff of Brit. Museum ~[sm1885[
nm, in charge of printed mus. until [sm1917[nm. Mus. ~critic of various London j
ournals [sm1890[nm=n[sm1904[nm. ~Wrote libs. Hon. sec., Purcell Soc., and contri
b. to ~[cf2]Grove's Dictionary. [cf1]Ed. works by Purcell, Byrd, ~Palestrina, Ha
ndel, etc., also [fy45,1]*[fy75,1]Fitzwilliam Virginal ~Book (with Fuller Maitla
nd).[cm~Squire, William Henry [fy75,1]([cf2]b [cf1]Ross, [sm1871[nm; [cf2]d [cf1
]London, ~[sm1963[nm). Eng. cellist and composer. Studied RCM. ~D;aaebut London
[sm1890[nm. Played in CG orch. [sm1894[nm=n[sm7[nm, ~Queen's Hal
l Orch. [sm1897[nm=n[sm1901[nm. Prof. of vc., RCM ~[sm1898[nm=n[sm1917[nm and GS
M [sm1911[nm=n[sm17[nm. Wrote vc. conc. ~and songs. Recorded Elgar conc. with Ha
rty.[cm~Staatskapelle [fy75,1](Ger.). Literally `State chapel', but ~any est. mu
s. institution such as an orch., deriving ~from the time of princely courts. Thu
s, the [sm400[nm-~year-old Dresden orch. is known still as [cf2]Staats~~[chkapel
le Dresden[cf1].[cm~Staatsoper [fy75,1](Ger.). State opera-house or co.[cm~Staba
t Mater Dolorosa [fy75,1](Lat.). A grief-stricken ~mother was standing. Devotion
al poem about ~Virgin Mary's vigil by Christ's Cross, used as ~sequence in R.C.
liturgy since [sm1727[nm to plainchant ~melody. Text once attrib. Jacopo de Bene
detti, ~known as Jacopone da Todi ([cf2]c[cf1].[sm1228[nm=n[sm1306[nm). ~Among t
he many comp. settings are those by ~Palestrina, Pergolesi, Haydn, Rossini, Verd
i, ~Dvo;Akr;aaak, Stanford, Szymanowski, Berkeley, and ~others.[cm~St;auabchen [
fy75,1](Ger.). Little staff. [fy45,1]*[fy75,1]Triangle beater.[c
m~Stabile, Mariano [fy75,1]([cf2]b [cf1]Palermo, [sm1888[nm; [cf2]d [cf1]Milan,
~[sm1968[nm). It. bar. Studied in Rome. Opera d;aaebut ~Palermo [sm1911[nm as Ma
rcello in Puccini's [cf2]Boh;ageme. ~[cf1]Sang title-role in Verdi's [cf2]Falsta
ff [cf1]at La Scala, Milan, ~in [sm1921[nm under Toscanini, this becoming his mo
st ~famous and successful role: he sang it until [sm1961[nm ~and his perf. is re
garded as unsurpassed. Sang at ~CG [sm1926[nm=n[sm31[nm, Glyndebourne [sm1936[nm
=n[sm9[nm. Returned ~to London at Cambridge and Stoll Th.s' opera ~seasons [sm19
46[nm=n[sm8[nm. Salzburg Fest. [sm1935[nm=n[sm9[nm. Repertory ~of over [sm60[nm
parts.[cm~Staccato[fy75,1] (It.). Detached. Method of playing a note ~(shown by
a dot over the note) so that it is ~shortened=mand thus `detached' from its succ
es~~sor=mby being held for less than its full value. ~Superlative is [cf2]stacca
tissimo[cf1]. For signs used ~to indicate degrees of staccato see diagram p. [sm
687[nm.[tn1][cm~Stade, Frederica von [fy75,1]([cf2]b [cf1]Somerv
ille, NJ, [sm1945[nm). ~Amer. mez. Studied Mannes Coll. of Mus., NY. ~Opera d;aa
ebut with NY Met. [sm1970[nm. Sang Cheru~~bino at Paris Op;aaera [sm1973[nm and
Glyndebourne. CG ~d;aaebut [sm1975[nm (Rosina in [cf2]Il barbiere di Siviglia[cf
1]). Guest ~singer at Milan, NY City Opera, Holland Fest., ~etc. Exceptional Okt
avian in [cf2]Der Rosenkavalier.[cm~Staden, Johann [fy75,1]([cf2]b [cf1]Nurember
g, [sm1581[nm; [cf2]d [cf1]Nurem~~berg, [sm1634[nm). Ger. organist and composer.
 Held ~various court organist posts. Wrote much church ~mus., also secular instr
. pieces and songs.[cm~Stader, Maria [fy75,1]([cf2]b [cf1]Budapest, [sm1911[nm).
 Hung.-born ~Swiss sop. Studied at Karlsruhe, Z;auurich, and ~Milan. Celebrated
singer of Mozart and Strauss. ~Teacher at Z;auurich Mus. Acad. Retired [sm1969[n
m.[cm~[PN687,0,0,R,I0]Stadlen, Peter[fy75,1] ([cf2]b[cf1] Vienna, [sm1910[nm). A
ustrian-born ~pianist, cond., and mus. critic (Brit. citizen since ~[sm1946[nm).
 Studied Vienna Hochschule f;Auur Musik ~[sm1929[nm=n[sm33[nm (p
f. with Kreutzer). Career as pianist ~from [sm1934[nm, specializing in Viennese
classics and ~[sm2[nmnd Viennese Sch. Gave f.ps. of Webern's Pf. ~Variations ([s
m1937[nm), K;Akrenek's [cf2]Bagatelles[cf1] for pf. duet, ~with composer ([sm193
6[nm). Soloist in European f.p. of ~Schoenberg conc. (Darmstadt [sm1948[nm). Set
tled in ~Eng. [sm1939[nm. Master classes in modern pf. works, ~Darmstadt [sm1948
[nm=n[sm51[nm. Schoenberg Medal [sm1952[nm. ~Mus. lecturer, Reading Univ., [sm19
65[nm=n[sm9[nm. Mus. ~critic, [cf2]Daily Telegraph[cf1], from [sm1960[nm (chief
critic ~from [sm1977[nm). Author of monographs on Beet~~[chhoven's metronome mar
ks, decline of serialism, ~Schoenberg and [cf2]Sprechgesang[cf1], and Schindler'
s ~Beethoven forgeries.[cm~Stadler, Anton [fy75,1]([cf2]b [cf1]Bruck an der Leit
ha, [sm1753[nm; [cf2]d ~[cf1]Vienna, [sm1812[nm). Austrian clarinettist and bass
et-~hn. player. Member of Vienna court orch. [sm1787[nm=n~[sm99[nm. Friend of Mo
zart, who greatly admired his ~playing of the `basset clarinet'
(a cl. with a ~downward extension of [sm4[nm semitones) and wrote ~for him the C
l. Trio in E;yh (K[sm498[nm, [sm1786[nm), the Cl. ~Quintet in A (K[sm581[nm, [sm
1789[nm), and the Cl. Conc. in ~A (K[sm622[nm, [sm1791[nm), as well as other pie
ces such as the ~cl. and basset-horn obbligati in [cf2]La Clemenza di Tito[cf1]
~which Stadler played at the f.p. in Prague, [sm1791[nm. ~The quintet and conc.
were pubd. in altered form ~to suit a normal cl., but in the [sm20[nmth cent. Al
an ~[fy45,1]*[fy75,1]Hacker has played the orig. versions to good ~effect. Stadl
er and Mozart played together in f.p. ~of Mozart's E;yh quintet (K[sm452[nm), Vi
enna [sm1784[nm.[cmStadlmayer, Johann [fy75,1]([cf2]b [cf1]Freising, Bavaria, [c
f2]c[cf1].[sm1575[nm; ~[cf2]d [cf1]Innsbruck, [sm1648[nm). Ger. composer and cho
irmas~~ter at several courts until settling in Innsbruck ~[sm1607[nm. Wrote larg
e amount of church mus. ~(masses, motets, cantatas, psalms, etc.).[cm~St;auadtis
che Oper [fy75,1](Ger.). [cf1]City or municipal opera-~house or
co.[cm~Stadtpfeifer[fy75,1] (Ger.). Town piper. Musician(s) in ~employ of town c
ouncil. Term used since late ~[sm14[nmth cent. in European cities. Duties of the
se ~musicians incl. perf. at official festivities, wed~~dings, baptisms, royal v
isits, etc. They had ~exclusive right to provide mus. in the city ~boundaries.[c
m~Staempfli, Edward [fy75,1]([cf2]b [cf1]Berne, [sm1908[nm). Swiss com~~poser an
d pianist. Studied at Cologne [sm1929[nm=n[sm30[nm ~and with Dukas in Paris [sm1
930[nm=n[sm1[nm. Interest in [sm12[nm-~note mus. stimulated by hearing f.p. of B
erg vn. ~conc. [sm1936[nm. Settled in Berlin [sm1954[nm. Works incl. [sm3[nm ~sy
ms., [sm4[nm pf. concs., [sm3[nm vn. concs., opera [cf2]Medea[cf1], ~oratorios,
[sm6[nm str. qts., cl. qt., etc.[cm~Staff [fy75,1](Stave, plural staves). The sy
stem of parallel ~lines on and between which the notes are written, ~from which
mus. is played, the pitch being ~determined by the [fy45,1]*[fy75,1]clef written
 at the beginning ~of the staff. Normally of [sm5[nm lines, but
plainsong ~uses a staff of [sm4[nm lines. In medieval tablature a [sm6[nm- or ~e
ven [sm7[nm-line staff was used. `Staff notation' means ~ordinary notation as di
stinct from Tonic Sol-fa, ~etc. See also [cf2]Great Staff.[cf1][xm[cm~[ol0][ep~[
ts1][bm2][cc27][dt8,1p6r5,8,1p6r5,8][bt~[smmezzo-staccato[nm[qc~(shorten the not
e by[qc~about ;FB)[qc~[nt~[smstaccato[nm[qc~(shorten the notes by[qc~about ;FD)[
qc~[nt~[smstaccatissimo[nm[qc~(shorten the notes by[qc~about ;FF)[qc~[et~[bt~[cf
2]Written[ep~[ep~[ep~[ep~[cf1]or[cf2][qc~[ep~[ep~[ep~Played (approximately)[ep~[
ep~[ep~[ep~[nt~[ep~[ep~[ep~[ep~[ep~[ep~[ep~[ep~[ep~[nt~[ep~[ep~[ep~[ep~[ep~[ep~[
ep~[ep~[ep~[et~[ep~[cf1]^The sign ___ (i.e. a combination of accent marks and st
accato marks) indicates a combination of[fj~[ol9][ep~ pressure with a slight det
achment.[ep~[em[cc13][tx[xp[te~


[do13][j99]~~~~153842_SD02[ep~~[u1]~~~~[sm153842[nm[cmCOD of Music[cm~SD[sm02[nm
[cm[sm13[nm[cm[sm1[nm[cm[sm17[nm-~[sm10[nm-[sm79[nm[cm[sm18[nm[cm[sm864[nm[cm~Co
llier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Staggins, Nicholas [fy75,1]([cf2]d [cf1]Wi
ndsor, [sm1700[nm). Eng. ~composer and violinist. Appointed Master of the ~King'
s Band (i.e. Master of the King's Musick) by ~Charles II in [sm1674[nm. First pr
of. of mus. Cambridge ~Univ., [sm1684[nm. Wrote songs.[cm~Stagione [fy75,1](It.)
. Season. Term used with reference ~to opera. [cf2]Stagione lirica [cf1]is the o
pera season at It. ~ths.; a [cf2]Stagione [cf1]th. is one which stages a seasona
l ~repertory.[cm~Stainer and Bell. [fy75,1]Eng. firm of mus. publishers, ~founde
d [sm1907[nm by group of composers to publish ~Brit. music (there was no Mr Stai
ner nor Mr Bell). ~Publisher of Carnegie coll. of modern Brit. works ~from [sm19
17[nm. Also pubd. Eng. madrigalists, lute-~song writers, works of Byrd, etc.[cm~
Stainer, Jacob [fy75,1]([cf2]b [cf1]Absam, nr. Hall, Tyrol, ?[sm
1617[nm; ~[cf2]d [cf1]Absam, [sm1683[nm). Austrian violin-maker. Appren~~[PN688,
0,0,L,I0]ticed to Ger. violin-maker who lived in It. Oldest ~surviving example o
f his work is dated Absam ~[sm1638[nm. Court employee from [sm1658[nm. Last vn.
dated ~[sm1682[nm. Also made viols, cellos, and double basses. ~Though admired f
or [sm150[nm years, Stainer's violins ~were superseded in [sm19[nmth cent. by th
ose made in ~Cremona which produced a greater volume of ~sound.[cm~Stainer, [fy7
5,1](Sir) [fy65][cf3]John [fy75,1]([cf2]b [cf1]London, [sm1840[nm; [cf2]d [cf1]V
erona, ~[sm1901[nm). Eng. composer, organist, teacher, and ~scholar. Chorister,
St Paul's Cath., [sm1849[nm=n[sm54[nm. ~Studied Oxford Univ. Organist, St Paul's
 [sm1872[nm=n~[sm88[nm. Prof. of org. and harmony, Nat. Training Sch. ~of Mus.,
and prin. from [sm1881[nm. Prof. of mus., ~Oxford Univ., from [sm1889[nm. Wrote
books on ~harmony and about [fy45,1]*[fy75,1]Dufay. His [cf2]Early Bodleian ~Mus
ic[cf1] ([sm1901[nm) is one of first serious studies of ~medieva
l music. [cf1]Comp. much church mus., incl. ~[cf2]Sevenfold Amen[cf1], and orato
rios and cantatas of ~which the best-known is [cf2]The [fy45,1]*[fy75,2]Crucifix
ion [cf1]([sm1887[nm). ~Knighted [sm1888[nm.[cm~Stamitz [fy75,1](orig. Stamic),
[fy65][cf3]Anton [fy75,1](Johann) (orig. Jan ~Anton;aain) ([cf2]b [cf1]N;akemeck
;aay Brod, [sm1750[nm; [cf2]d [cf1]?Paris, after ~[sm1789[nm). Member of Cz. fam
ily of musicians who ~settled in Ger. and adopted Ger. form of surname. ~Son of
Johann Wenzel [fy45,1]*[fy75,1]Stamitz. Went with ~brother Karl to Paris in [sm1
770[nm and settled there as ~comp., violinist, and viola player. Wrote [sm12[nm
syms., ~various concs., str. qts., etc.[cm~Stamitz [fy75,1](orig. Stamic), [fy65
][cf3]Johann Wenzel [fy75,1](orig. Jan ~V;aaaclav Anton;aain) ([cf2]b [cf1]N;ake
meck;aay Brod, Bohemia, ~[sm1717[nm; [cf2]d [cf1]Mannheim, [sm1757[nm). Bohem.-b
orn violinist ~and composer. Studied with his father. Played vn. ~at coronation
of Karl VII [sm1742[nm and was heard by ~Elector of Mannheim who
 made him court ~violinist and mus. dir. in [sm1745[nm. Raised the orch. ~there
to standards which became famous through~~out Europe and influenced composers su
ch as ~Haydn and Mozart. Visited Paris [sm1754[nm=n[sm5[nm, playing ~at Concert
Spirituel. As composer, greatly ex~~panded sonata-form principles in the sym., g
iving ~new importance to development section. Wrote ~[sm58[nm syms., [sm15[nm vn
. concs., vn. sonatas, and much ~else.[cm~Stamitz [fy75,1](orig. Stamic), [fy65]
[cf3]Karl [fy75,1](orig. Karel) ([cf2]b ~[cf1]Mannheim, [sm1745[nm; [cf2]d [cf1]
Jena, [sm1801[nm). Ger. composer ~and violinist, son of Johann Wenzel [fy45,1]*[
fy75,1]Stamitz. ~Violinist in Mannheim orch. [sm1762[nm=n[sm70[nm. Went to ~Pari
s with brother in [sm1770[nm and to London [sm1777[nm=n~[sm9[nm. Returned to Ger
. as cond. at Jena. Also visited ~Russ. Wrote operas, over [sm50[nm syms., [sm38
[nm sinfonie ~concertanti (for vn. and va., etc.), concs. for ~various instr. (i
ncl. vn., vc., va. d'amore, bn., cl., ~fl., hpd.), and chamber m
us.[cm~St;auandchen [fy75,1](Ger.). Serenade. Songs by Schubert, ~R. Strauss, et
c., carry this title.[cm~Standford, Patric [fy75,1](John) ([cf2]b [cf1]Barnsley,
 [sm1939[nm). Eng. ~composer. Studied GSM with [fy45,1]*[fy75,1]Rubbra. Awarded
~Mendelssohn Schol. [sm1964[nm and went to It. to study ~with Gianfrancesco Mali
piero and Lutos;Umawski, ~[sm1964[nm=n[sm5[nm. Prof. of comp. GSM from [sm1967[n
m; has also ~taught at Goldsmith's Coll and Chetham's Sch. of ~Mus., Manchester.
 Awarded City of Geneva's ~Ansermet Prize [sm1983[nm for his [sm3[nmrd Sym. Work
s ~incl.:[xm[cm~[j2][smopera[nm: [cf2]Villon[cf1] ([sm1972[nm=n[sm84[nm).[ep~[sm
orch[nm: Syms., No. [sm1[nm ([cf2]The Seasons[cf1]) ([sm1971[nm=n[sm2[nm), No. [
sm5[nm ~([sm1984[nm); [cf2]A Christmas Carol Symphony[cf1] ([sm1965[nm); ~[cf2]S
aracinesco[cf1], sym.-poem ([sm1966[nm=n[sm8[nm); [cf2]Suite[cf1] ([sm1966[nm);
~[cf2]Notte[cf1], poem for chamber orch. ([sm1968[nm); [cf2]Celestial ~Fire[cf1]
, ballet suite ([sm1969[nm); [cf2]Antitheses[cf1] (in memoriam ~
Sir John Barbirolli), [sm15[nm str. ([sm1971[nm); [cf2]Reflections[cf1], ~ballet
 suite ([sm1980[nm); [cf2]Folksongs for Strings[cf1] ([sm1982[nm).[ep~[smconcert
os[nm: Vc. Conc. ([sm1974[nm); Vn. Conc. ([sm1975[nm); ~Sym. No. [sm4[nm ([cf2]T
aikyoku[cf1]) for [sm2[nm pf. and [sm6[nm perc. ~([sm1975[nm=n[sm6[nm); Pf. Conc
. ([sm1979[nm); [cf2]Dialogues[cf1], cimbalom ~and orch. ([sm1981[nm).[ep~[smcho
ral & vocal[nm: Syms., No. [sm2[nm ([cf2]Christus-Requiem[cf1]), ~oratorio, [sm4
[nm male soloists, narrator, ch., children's ~ch., org., orch. ([sm1971[nm=n[sm2
[nm), No. [sm3[nm ([cf2]Towards ~Paradise[cf1]), ch. and orch. ([sm1973[nm, rev.
 [sm1982[nm); [cf2]Stabat ~Mater[cf1] ([sm1966[nm); [cf2][sm3[nm Motets in memor
y of Benjamin ~Britten[cf1] ([sm1977[nm); [cf2]Psalm Dances[cf1], sop., alto, ba
sses, ~orch. ([sm1977[nm); [cf2]Mass[cf1], ch. and brass ([sm1980[nm); [cf2]Ave
~Maris Stella[cf1], women's vv. ([sm1981[nm)[ep~[smchamber music[nm: Str. Qt. No
. [sm1[nm ([sm1964[nm), No. [sm2[nm ([sm1973[nm); ~[cf2]Bagatell
es[cf1], str. qt. ([sm1969[nm); pf. trio ([sm1970[nm); solo vn. ~sonata ([sm1971
[nm).[ep~[smpiano[nm: [cf2]Variations[cf1] ([sm1969[nm); sonata ([sm1979[nm).[cm
~[j1]Stanford, [fy75,1](Sir) [fy65][cf3]Charles Villiers [fy75,1]([cf2]b [cf1]Du
blin, [sm1852[nm; ~[cf2]d [cf1]London, [sm1924[nm). Irish composer, cond., organ
ist, ~and teacher. Studied Cambridge Univ. [sm1870[nm. ~Organist, Trinity Colleg
e, Cambridge, [sm1873[nm=n[sm92[nm. ~Studied in Leipzig with Reinecke and in Ber
lin ~with Kiel [sm1874[nm=n[sm6[nm. Cond., Cambridge Univ. Mus. ~Soc. from [sm18
73[nm, winning it high reputation and ~giving f. Eng. ps. of works by Brahms. Te
nnyson ~asked him to write incidental mus. for his play ~[cf2]Queen Mary, [cf1][
sm1876[nm. Prof. of comp., RCM, [sm1883[nm=n~[sm1924[nm, pupils incl. Vaughan Wi
lliams, Bliss, ~Howells, Ireland, Holst, Gurney, etc. Prof. of ~mus., Cambridge
Univ., [sm1887[nm=n[sm1924[nm. Cond., Bach ~Choir [sm1885[nm=n[sm1902[nm, also c
ond. of orch. concerts ~and opera at RCM. Cond. of several Leeds
 Fests. ~after [sm1901[nm. Knighted [sm1901[nm. Prolific composer, ~whose best w
ork is to be found in his operas, ~choral mus., and songs rather than in his orc
h. ~and chamber mus., where his admiration for ~Brahms tended to become paramoun
t. One of ~prin. figures in late [sm19[nmth-cent. `renaissance' of ~Brit. mus. E
d. and arr. colls. of Irish traditional ~tunes. Chief works:[xm[cm~[j2][smoperas
[nm: [fy75,2]The Veiled Prophet of Khorassan[cf1] ([sm1877[nm); ~[cf2]Savonarola
 [cf1]([sm1884[nm); [cf2]The [fy45,1]*[fy75,2]Canterbury Pilgrims ~[cf1]([sm1884
[nm); [cf2]Lorenza [cf1](unpubd.); [cf2]Shamus O'Brien ~[cf1]([sm1896[nm); [cf2]
Much Ado About Nothing [cf1]([sm1900[nm); [cf2]The ~[fy45,1]*[fy75,2]Critic [cf1
]([sm1915[nm); [cf2]The [fy45,1]*[fy75,2]Travelling Companion [cf1]([sm1919[nm).
[ep~[smorch[nm: Syms.: No. [sm1[nm in B;yh ([sm1875[nm), No. [sm2[nm in D ~minor
 ([cf2]Elegiac[cf1]) ([sm1882[nm), No. [sm3[nm in F minor ([fy45,1]*[fy75,2]Iris
h[cf1]) ~([sm1887[nm), No. [sm4[nm in F ([sm1888[nm), No. [sm5[n
m in D ([cf2]L'Allegro ~ed il Pensieroso[cf1]) ([sm1894[nm), No. [sm6[nm in E;yh
 ([sm1905[nm), No. [sm7[nm ~[PN689,0,0,R,I0]in D minor ([sm1911[nm); [cf2]Overtu
re in the Style of A ~Tragedy [cf1]([sm1904[nm); [cf2][sm6[nm Irish Rhapsodies[c
f1]; cl. conc. ~([sm1902[nm); vc. conc.; [sm3[nm pf. concs.; [sm2[nm vn. concs.[
ep~[smchoral[nm: Oratorios: [cf2]The Three Holy Children [cf1]([sm1885[nm), ~[cf
2]Eden [cf1]([sm1891[nm); [cf2]Requiem [cf1]([sm1897[nm); [cf2]Te Deum [cf1]([sm
1898[nm); ~[cf2]Stabat Mater [cf1]([sm1907[nm); [cf2]Magnificat in G[cf1]; [cf2]
The [fy45,1]*[fy75,2]Re~~venge[cf1], choral ballad ([sm1886[nm); [cf2]Phaudrig C
rohoore ~[cf1]([sm1896[nm); [cf2]The Last Post [cf1]([sm1900[nm); [sm5[nm [fy45,
1]*[fy75,2]Songs of the Sea[cf1], ~bar., male ch., and orch. ([sm1904[nm); [sm5[
nm [fy45,1]*[fy75,2]Songs of the ~Fleet[cf1], bar. and ch. ([sm1910[nm).[ep~[smc
hamber music[nm: [sm8[nm str. qts., [sm2[nm str. quintets, [sm2[nm pf. ~trios, [
sm2[nm pf. qts., pf. quintet, [sm2[nm vn. sonatas, [sm2[nm vc. ~
sonatas, cl. sonata.[ep~Also organ preludes, songs, partsongs (incl. [cf2]The ~[
fy45,1]*[fy75,2]Blue Bird[cf1]), anthems, and church services (no~~[chtably that
 in B;yh, Op. [sm10[nm, [sm1879[nm with additions ~[sm1910[nm).[cm~[j1]Stanley,
[fy75,1](Charles) [fy65][cf3]John [fy75,1]([cf2]b [cf1]London, [sm1712[nm; [cf2]
d ~[cf1]London, [sm1786[nm). Eng. composer and organist, ~blinded at age [sm2[nm
. Pupil of Maurice [fy45,1]*[fy75,1]Greene from ~age [sm7[nm. Organist of variou
s London churches, incl. ~the Temple, from [sm1734[nm. Wrote [sm6[nm cantatas, [
sm1748[nm, ~oratorio [cf2]Jephtha [cf1][sm1751=n2[nm. The [sm6[nm concs. for str
., ~with org. or hpd., Op. [sm10[nm, have considerable ~appeal, influenced by Ha
ndel, and he also wrote ~[sm30[nm org. voluntaries, fl. solos, etc. Succeeded Bo
yce ~as Master of the King's Musick, [sm1779[nm.[cm~Star Clusters, Nebulae, and
Places in Devon. ~[fy75,1]Work for mixed double ch. and brass by David ~[fy45,1]
*[fy75,1]Bedford, comp. [sm1971[nm; arr. Bram Wiggins, [sm1974[n
m, ~for mixed double ch. and brass band.[cm~Starer, Robert [fy75,1]([cf2]b [cf1]
Vienna, [sm1924[nm). Austrian-born ~composer (Amer. citizen since [sm1957[nm). S
tudied ~Vienna State Acad. and after [sm1938[nm at Jerusalem ~Cons. Went to NY [
sm1947[nm, studying at Juilliard ~Sch., joining teaching faculty [sm1949[nm. Tea
cher at ~Brooklyn College [sm1963[nm (prof. from [sm1966[nm). Works ~incl. [sm2[
nm operas, [sm3[nm syms. ([sm1950[nm, [sm1951[nm, [sm1969[nm), [sm3[nm pf. ~conc
s. ([sm1947[nm, [sm1953[nm, and [sm1972[nm), va. conc., vc. conc., ~vn. and vc.
conc., [cf2]Concerto a tre [cf1](cl., tpt., tb., and ~str.) ([sm1954[nm), [cf2]K
ohelet [cf1](Hebrew text) for soloists, ch., ~and orch. ([sm1952[nm), [cf2]Josep
h and his Brothers[cf1] ([sm1966[nm), ~ballet [cf2]The Dybbuk [cf1]([sm1960[nm),
 and ballets for Martha ~Graham.[cm~Stark [fy75,1](Ger.). Strong, loud; so [cf2]
st;auarker[cf1], stronger, ~louder. [fy65][cf3]Stark anblasen, stark blasend. [f
y75,1]Strongly ~blown (wind instr.).[cm~Starker, J;aaanos [fy75,
1]([cf2]b [cf1]Budapest, [sm1924[nm). Hung.-born ~cellist (Amer. citizen). Studi
ed Liszt Acad., ~Budapest. D;aaebut age of [sm10[nm. Prin. cellist Budapest ~Ope
ra and P.O., [sm1945=n6[nm. Settled in USA [sm1948[nm. ~Prin. cellist Dallas S.O
. [sm1948[nm=n[sm9[nm, NY Met. opera ~orch. [sm1949[nm=n[sm53[nm, Chicago S.O. [
sm1953[nm=n[sm8[nm. Prof. of vc., ~Indiana Univ., from [sm1958[nm. Soloist with
leading ~orchs. since [sm1958[nm. Invented a vc. bridge.[cm~Starlight Express, T
he. [fy75,1]Incidental mus. by ~Elgar, Op. [sm78[nm, to play by Violet Pearn bas
ed on ~Algernon Blackwood's [cf2]Prisoner in Fairyland[cf1]. Prod. ~London [sm19
15[nm. Contains songs for sop. and bass ~soloists. Quotes themes from [fy45,1]*[
fy75,2]Wand of Youth[cf1]. ~Cowbells and wind-machine used in score.[cm~Starokad
omsky, Mikhail [fy75,1]([cf2]b [cf1]Brest-Litovsk, ~[sm1901[nm; [cf2]d [cf1]Mosc
ow, [sm1954[nm). Russ. composer and ~organist. Studied Moscow Cons. (comp. with
~Myaskovsky, org. with Goedicke). Wrote opera ~and light operas,
 also orch. works in neoclassical ~style, incl. [cf2]Concerto for Orchestra[cf1]
, vn. conc., org. ~conc., oratorio, str. qts., pf. pieces, and songs.[cm~Star-Sp
angled Banner, The. [fy75,1]Nat. anthem of ~USA, officially adopted under Senate
 Bill in [sm1931[nm ~but long used as such before that. Words written ~by Franci
s Scott Key ([sm1779[nm=n[sm1843[nm) of Baltimore ~on [sm15[nm Sept. [sm1814[nm,
 after he had seen defence of ~Fort McHenry, near Baltimore, against Brit. ~bomb
ardment. First appeared in [cf2]Baltimore Patriot[cf1], ~[sm20[nm Sept. [sm1814[
nm. Metre of poem indicates it was ~written to tune of [cf2]To Anacreon in Heave
n [cf1]by Eng. ~composer J. Stafford [fy45,1]*[fy75,1]Smith which was then ~popu
lar in Amer. as official song of Anacreontic ~socs. there.[cm~Starzer, Josef [fy
75,1]([cf2]b [cf1]Vienna, [cf2]c[cf1].[sm1726[nm; [cf2]d [cf1]Vienna, [sm1787[nm
). ~Austrian composer and violinist. Violinist in ~orch. of Burgtheater, Vienna,
 [sm1752[nm=n[sm7[nm. Court ~composer St Petersburg [sm1760[nm=n
[sm70[nm. Returning to ~Vienna in [sm1768[nm, became popular composer of ~ballet
s, of which he wrote over [sm20[nm. Also comp. ~divertimenti.[cm~Stasov [fy75,1]
(Stassov), [fy65][cf3]Vladimir [fy75,1](Vasilyevich) ([cf2]b [cf1]St ~Petersburg
, [sm1824[nm; [cf2]d [cf1]St Petersburg, [sm1906[nm). Russ. ~critic. Worked in a
rt div. of Imperial Public ~Library from [sm1857[nm. Champion of Russ. national~
~ism in arts, esp. mus. Wrote monographs on ~Mussorgsky, Borodin, Cui, Rimsky-Ko
rsakov, ~Dargomizhsky, Glinka, and others. Coined phrase ~`mighty handful' ([cf2
]moguchaya kuchka[cf1]) later applied ~to Russ. nationalist composers known as `
The ~Five'.[cm~Stave. [fy75,1]Same as [fy45,1]*[fy75,2]Staff.[cm~Stavenhagen, Be
rnhard [fy75,1]([cf2]b [cf1]Greiz, [sm1862[nm; [cf2]d [cf1]Gen-[fjeva, [sm1914[n
m). Ger. pianist and cond. Studied with ~Kiel, Rudorff, and Liszt. Mendelssohn p
f.-playing ~prize [sm1880[nm. Settled in Weimar [sm1885[nm, becoming ~court pian
ist [sm1890[nm and Kapellmeister [sm1895[nm. Dir., ~Munich Acad.
 of Mus., [sm1901[nm=n[sm4[nm. Returned to ~Weimar, but left to cond. Geneva sub
scription ~concerts from [sm1907[nm. Wrote [sm2[nm pf. concs., pf. pieces, ~etc.
[cm~Steber, Eleanor [fy75,1]([cf2]b [cf1]Wheeling, W. Virginia, [sm1916[nm). ~Am
er. sop. Studied in Boston and NY, giving ~recitals and becoming church soloist
in NY. Won ~Metropolitan Auditions of the Air [sm1940[nm, making ~d;aaebut at Me
t. in Dec. [sm1940[nm as Sophie in [cf2]Der ~Rosenkavalier. [cf1]Member of Met.
co. until [sm1963[nm, ~being highly successful in Mozart and Strauss, ~also in P
uccini and as Marie in [cf2]Wozzeck. [cf1]Created ~title-role in Barber's [cf2]V
anessa [cf1][sm1958[nm. Sang with ~Glyndebourne at Edinburgh Fest. [sm1947[nm. B
ayreuth ~[sm1953[nm. Sang title-role in f. Amer. p. of [cf2]Arabella[cf1] (NY ~[
PN690,0,0,L,I0]Met. [sm1955[nm) and gave f.p. of Barber's [cf2]Knoxville: ~Summe
r of [sm1915[nm[cf1] ([sm1948[nm) which she commissioned. ~After retirement from
 stage, gave Lieder recitals ~(in London in [sm1964[nm) and taug
ht at Cleveland ~Institute of Mus., New England Cons., and ~Juilliard Sch.[cm~St
eel Band. [fy75,1]Type of instr. ens. in the Caribbean, ~`instruments' being old
 oil drums whose heads ~are indented, etc., so that each head will produce ~seve
ral notes. Used extensively in calypso mus.[cm~Steel, Christopher [fy75,1]([cf2]
b [cf1]London, [sm1939[nm). Eng. ~composer. Studied RAM [sm1957[nm=n[sm61[nm (co
mp. with ~[fy45,1]*[fy75,1]Gardner) and in Munich from [sm1961[nm. Taught ~mus.
at Cheltenham College, [sm1963[nm=n[sm6[nm, ass. dir. of ~mus. Bradfield College
 [sm1966[nm=n[sm8[nm, dir. from [sm1968[nm. ~Has written several works for amate
ur enjoyment ~in addition to orch. mus. and choral pieces. Chief ~comps.: [sm4[n
m syms. ([sm3[nmrd being [cf2]A Shakespeare Symphony ~[cf1]for bar., ch., and or
ch., [sm1965[nm), conc. for str. qt. ~and orch. ([sm1966[nm), org. conc., [cf2]O
dyssey [cf1](suite for ~brass band, [sm1973[nm), [cf2]Mass [cf1]in [sm5[nm movem
ents for sop., ~ten., ch., and orch. ([sm1964[nm), [cf2]Gethsema
ne[cf1], cantata ~([sm1964[nm), [cf2]Mary Magdalene[cf1], cantata ([sm1966[nm),
[fy45,1]*[fy75,2]Paradise ~Lost[cf1], cantata for sop., tenor, bass, ch., and or
ch. ~([sm1966[nm), [cf2]Passion and Resurrection according to St ~Mark[cf1], sop
., ten., bass soloists, ch., and orch. ~([sm1979[nm), pf. sonatinas, cl. sonatin
a, [cf2]Divertimento [cf1]for ~wind quintet, pf. trio, str. qt., [cf2][sm6[nm Pi
eces [cf1]for org., ~org. sonata, fl. trio, etc.[cm~Stefano, Giuseppe di. [fy75,
1]See [cf2]Di Stefano, Giuseppe.[cm~Stefan, Paul [fy75,1]([cf2]b [cf1]Brno, [sm1
879[nm; [cf2]d [cf1]NY, [sm1943[nm). Austrian ~critic and scholar. Studied at Br
no (then Br;auunn) ~and Vienna Univ. Pupil of Schoenberg. Mus., art, ~and litera
ry critic of Vienna newspaper [cf2]Die Stunde ~[cf1]for many years, also foreign
 correspondent for [sm28[nm ~years of [cf2]Neue Z;auuricher Zeitung [cf1]and oth
er news~~[chpapers. Co-founder of ISCM. Left Austria [sm1938[nm, ~settling event
ually in USA. Author of books on ~Vienna Opera ([sm1932[nm), Sch
oenberg ([sm1924[nm), Mahler ~([sm1910[nm and many other edns.), Schubert ([sm19
28[nm), ~Hofmannsthal, Max Reinhardt, Bruno Walter ~([sm1936[nm), Toscanini ([sm
1935[nm). Ed. E. T. A. Hoffmann's ~mus. writings.[cm~Steffani, Agostino [fy75,1]
([cf2]b [cf1]Castelfranco, [sm1654[nm; [cf2]d ~[cf1]Frankfurt, [sm1728[nm). It.
composer, diplomat, and ~priest. Chorister, then taken to Munich [sm1667[nm and
~educated at Elector's expense. Went for further ~studies in Rome, returning to
Munich [sm1675[nm as ~court organist. Became priest [sm1680[nm. Wrote [sm6[nm ~o
peras for Munich [sm1680[nm=n[sm8[nm. Court Kapellmeister, ~Hanover, [sm1688[nm,
 where he wrote [sm9[nm operas. Became ~successful diplomat and was made Bishop
of Spiga ~[cf2]in partibus infidelium [cf1][sm1706[nm. Wrote [sm3[nm operas for
~D;auusseldorf [sm1703[nm=n[sm9[nm. Left Hanover [sm1711[nm, being ~succeeded by
 Handel. Worked in It. [sm1722[nm=n[sm5[nm. His ~operas were much admired in the
ir day (and ~[cf2]Tassilone [cf1]([sm1709[nm) was revived in [sm
1980[nms), and his ~church mus., particularly the [cf2]Stabat Mater[cf1], and ~c
hamber duets are worth exploration.[cm~Steg [fy75,1](Ger.). Bridge (of vn., etc.
). [cf2]Am Steg[cf1], same as ~[fy45,1]*[fy75,2]Sul ponticello[cf1], i.e. bow on
 (near) the bridge.[cm~Stehle, Sophie [fy75,1]([cf2]b [cf1]Hohenzollern-Sigmarin
gen, ~[sm1838[nm; [cf2]d [cf1]Schloss Harterode, Hanover, [sm1921[nm). Ger. ~sop
. D;aaebut Munich Opera [sm1860[nm. Created roles of ~Fricka in Wagner's [cf2]Da
s Rheingold[cf1], Munich [sm1869[nm, ~and of Br;auunnhilde in [cf2]Die Walk;auur
e[cf1], Munich [sm1870[nm.[cm~Steibelt, Daniel [fy75,1]([cf2]b [cf1]Berlin, [sm1
765[nm; [cf2]d [cf1]St Petersburg, ~[sm1823[nm). Ger. pianist and composer. From
 [sm1790[nm to ~[sm1797[nm was fashionable teacher and pianist in Paris, ~where
his opera [cf2]Romeo and Juliet [cf1]was prod. [sm1793[nm. ~From [sm1797[nm to [
sm1808[nm he was often in London, as ~well as in Vienna, [sm1799[nm, where he wa
s involved ~in an improvisation contest with Beethoven and ~came
 off much the worse. In Paris, [sm1800[nm, he cond. ~Haydn's [cf2]The Creation [
cf1]with additions and altera~~tions of his own. Wrote ballets for London, [sm18
04[nm=n~[sm5[nm. Court cond. to Emperor Alexander in St ~Petersburg [sm1808[nm,
succeeding Boieldieu as cond. ~of Fr. opera there in [sm1810[nm. Wrote [sm8[nm p
f. concs., ~over [sm160[nm vn. sonatas, and a pf. method.[cm~Stein, Erwin [fy75,
1]([cf2]b [cf1]Vienna, [sm1885[nm; [cf2]d [cf1]London, [sm1958[nm). ~Austrian-bo
rn cond., ed., and critic, later Eng. ~citizen. Pupil of Schoenberg [sm1906[nm=n
[sm10[nm and active ~as opera cond. Ed. for Universal Edition in Vienna ~[sm1924
[nm=n[sm38[nm. Settled in London [sm1938[nm, joining Boosey ~and Hawkes. Ed. Sch
oenberg's letters. Associate ~and friend of Britten. Book of essays, [cf2]Orpheu
s in ~New Guises[cf1], [sm1953[nm. Daughter [fy65][cf3]Marion [fy75,1]([cf2]b [c
f1]Vienna, ~[sm1927[nm) is pianist, dir., Aldeburgh Fest. and Leeds ~pf. competi
tion, and wife of ([sm1[nm) Earl of Harewood, ~([sm2[nm) Jeremy
Thorpe.[cm~Stein, Fritz [fy75,1](Wilhelm) ([cf2]b [cf1]Gerlachsheim, Baden, ~[sm
1879[nm; [cf2]d [cf1]Berlin, [sm1961[nm). Ger. musicologist and ~cond. Studied L
eipzig Cons. Mus. dir., later prof., ~Jena Univ. [sm1906[nm=n[sm14[nm, [sm1915[n
m=n[sm18[nm, court cond., ~Meiningen [sm1914[nm=n[sm15[nm, prof. of mus. Kiel Un
iv. ~[sm1928[nm=n[sm33[nm, dir., Berlin Hochschule f;auur Musik ~[sm1933[nm=n[sm
45[nm. While at Jena found in library parts of ~sym. which he pubd. in [sm1911[n
m as `an unknown ~sym. of Beethoven's youth'. This became known ~as [fy45,1]*[fy
75,2]Jena Symphony. [cf1]In [sm1957[nm Robbins Landon ~discovered it was the wor
k of Friedrich Witt.[cm~Stein, Horst[fy75,1] ([cf2]b[cf1] Elberfeld, [sm1928[nm)
. Ger. conductor. ~Studied at Cologne Hochschule f;auur Musik, then ~cond. in Wu
ppertal. Cond. at Hamburg Opera ~[sm1951[nm, Berlin State Opera [sm1955[nm=n[sm6
1[nm, Mannheim ~[sm1963[nm=n[sm70[nm, Vienna [sm1970[nm=n[sm2[nm. Gen. mus. dir.
 Ham~~burg State Opera from [sm1972[nm. Cond., Orchestre de ~la
Suisse Romande [sm1980[nm=n[sm5[nm. Regular cond. at ~Bayreuth Fest.[cm~Stein, R
ichard Heinrich [fy75,1]([cf2]b [cf1]Halle, [sm1882[nm; [cf2]d [cf1]S. ~Brigida,
 Canary Is., [sm1942[nm). Ger. composer. Studied ~Berlin Hochschule. Lived in Sp
ain [sm1914[nm=n[sm19[nm, then ~Berlin. Settled in Canary Is. [sm1933[nm. Experi
mented ~with quarter-tones in pf. comps. from [sm1906[nm. ~Wrote books on Grieg
and Tchaikovsky.[cm~Steinbach, Emil [fy75,1]([cf2]b [cf1]Lengenrieden, Baden, [s
m1849[nm; ~[cf2]d [cf1]Mainz, [sm1919[nm). Ger. cond. and composer, elder ~[PN69
1,0,0,R,I0]brother of Fritz [fy45,1]*[fy75,1]Steinbach. Studied Leipzig Cons. ~[
sm1867[nm=n[sm9[nm and with H. [fy45,1]*[fy75,1]Levi. Court cond., Darm-[fj~stad
t [sm1872[nm=n[sm7[nm, then at Mainz [sm1877[nm=n[sm1909[nm. Cond. ~at CG [sm189
3[nm. Wagner interpreter; cond. f. public ~p. of [cf2]Siegfried Idyll[cf1], [sm1
877[nm. Wrote orch. works and ~songs.[cm~Steinbach, Fritz [fy75,1]([cf2]b [cf1]G
r;auunsfeld, Baden, [sm1855[nm; [cf2]d ~[cf1]Munich, [sm1916[nm)
. Ger. cond. and composer. Studied ~with his brother Emil [fy45,1]*[fy75,1]Stein
bach and at Leipzig ~Cons. [sm1873[nm. [sm2[nmnd cond. at Mainz [sm1880[nm=n[sm6
[nm. Taught ~in Frankfurt [sm1883[nm=n[sm6[nm. Cond. Meiningen Orch. ~[sm1886[nm
=n[sm1902[nm, taking it on tour (incl. England) ~[sm1902[nm. Guest cond. NY P.O.
 [sm1906[nm. Cond. G;auurzenich ~concerts, Cologne (succeeding W;auullner) and d
ir., ~Cologne Cons. from [sm1902[nm. Famous as Brahms ~interpreter, also cond. s
everal Elgar works in Ger. ~Wrote chamber mus. and songs.[cm~Steinberg, Maximili
an [fy75,1]([cf2]b [cf1]Vilna, [sm1883[nm; [cf2]d [cf1]Lenin~~grad, [sm1946[nm).
 Russ. composer. Studied with Rim~~sky-Korsakov (his father-in-law from [sm1908[
nm), and ~Glazunov. Prof. of comp. St Petersburg Cons. ~from [sm1908[nm, becomin
g dir. [sm1934[nm. Pupils incl. ~[fy45,1]*[fy75,1]Shostakovich. Comps. incl. [sm
4[nm syms. ([sm1907[nm, [sm1909[nm, ~[sm1928[nm, [sm1933[nm), ballets, choral wo
rks, str. qts., etc.[cm~Steinberg, William [fy75,1]([cf2]b [cf1]
Cologne, [sm1899[nm; [cf2]d [cf1]NY, ~[sm1978[nm). Ger.-born cond. (Amer. citize
n). Ass. cond. ~to Klemperer at Cologne Opera [sm1920[nm. Cond., ~German Th. in
Prague [sm1925[nm=n[sm9[nm. Mus. dir. Frank~~furt Opera [sm1929[nm=n[sm33[nm (co
nd. f.p. of Schoenberg's ~[cf2]Von Heute auf Morgen [cf1][sm1930[nm); mus. dir.
Jewish ~Culture League, Ger., [sm1933[nm=n[sm6[nm. In Palestine [sm1936[nm=n~[sm
8[nm. Settled in USA [sm1938[nm. Ass. cond. NBC S.O. ~[sm1938[nm=n[sm41[nm. Cond
. Buffalo P.O. [sm1945[nm=n[sm52[nm, Pittsburgh ~S.O. [sm1952[nm=n[sm76[nm. Prin
. cond. LPO [sm1958[nm=n[sm62[nm, Boston ~S.O. [sm1969[nm=n[sm72[nm, prin. guest
 cond. NY P.O. [sm1964[nm=n[sm8[nm.[cm~Steiner, Max[fy75,1](imilian Raoul) ([cf2
]b [cf1]Vienna, [sm1888[nm; [cf2]d ~[cf1]Hollywood, Calif., [sm1971[nm). Austria
n-born com~~poser (Amer. citizen). Studied in Vienna. Cond. ~musical comedies in
 London [sm1905[nm=n[sm11[nm. Settled in ~USA [sm1914[nm. Worked in NY as orches
trator and ~cond. of musicals. Went to Hollywood [sm1929[nm and
~wrote mus. for many successful films, incl. [cf2]The ~Informer, Now, Voyager, G
one With the Wind[cf1], and ~[cf2]Since You Went Away.[cm~Steinitz, [fy75,1](Cha
rles) [fy65][cf3]Paul [fy75,1](Joseph) ([cf2]b [cf1]Chichester, ~[sm1909[nm). En
g. organist and choral cond. Studied ~RAM, later joining teaching staff. Organis
t, St ~Bartholomew the Great, Smithfield, [sm1949[nm=n[sm61[nm. ~Founder and con
d., London Bach Soc. from [sm1946[nm. ~Famous for perfs. of Bach's [cf2]St Matth
ew Passion [cf1]in ~Ger. with forces near to Leipzig orig. O.B.E. [sm1985[nm.[cm
~Steinspiel [fy75,1](Ger.). Stone-play. Perc. instr. specially ~made for [fy45,1
]*[fy75,1]Orff's operas [cf2]Antigone [cf1]and [cf2]Oedipus ~Tyrannus[cf1]. Shap
ed like a kbd., it is an arr. of ~varying-sized stone bars, which are struck by
~beaters held in the player's hand.[cm~Steinway and Sons. [fy75,1]NY firm of pf.
 manufacturers ~founded [sm1853[nm by Henry Engelhardt Steinway ~(orig. Steinweg
) ([cf2]b [cf1]Wolfshagen, [sm1797[nm; [cf2]d [cf1]NY, [sm1871[n
m) ~and his sons Charles and Henry, who in [sm1851[nm had ~gone to NY from Hambu
rg where they were ~involved in the Steinweg firm which eventually ~became Grotr
ian-Steinweg. At [sm1855[nm NY World ~Fair, Steinway prod. iron-framed pf. of mu
ch ~greater sonority than had hitherto been heard. A ~[sm3[nmrd son, Theodore, j
oined the firm in the [sm1860[nms ~and developed the concert-grands which made ~
the firm world-famous. Branch opened in London ~[sm1875[nm by [sm4[nmth son, Wil
liam, and factories est. in ~Hamburg [sm1880[nm. Amer. factory moved to Long ~Is
land to site which became known as Steinway. ~Firm sold to CBS in [sm1972[nm.[xm
[cm~[ol0][ep~[xp[te~




[do13][j99]~~~~~~153842_SD03[ep~[u1]~~~~[sm153842[nm[cmCOD of Music[cm~SD[sm03[n
m[cm[sm13[nm[cm[sm1[nm[cm[sm17[nm-~[sm10[nm-[sm79[nm[cm[sm18[nm[cm[sm905[nm[cm~G
C[cm2[cm21.8.84[cm~U1[cm~~~~[ap[j1]Stendendo [fy75,1](It.). Extending, i.e. spac
ing out the ~notes (same as [fy45,1]*[fy75,2]rallentando[cf1]).[cm~Stendhal [fy7
5,1](orig. Marie-Henri Beyle) ([cf2]b [cf1]Grenoble, ~[sm1783[nm; [cf2]d [cf1]Pa
ris, [sm1842[nm). Fr. writer. Wrote life of ~Rossini ([sm1824[nm), an entertaini
ng but inaccurate ~book.[cm~Stenhammar, Wilhelm Eugen [fy75,1]([cf2]b [cf1]Stock
holm, ~[sm1871[nm; [cf2]d [cf1]Stockholm, [sm1927[nm). Swedish pianist, ~compose
r, and cond. Studied in Stockholm and ~Berlin. Mus. dir., Stockholm Phil. [sm189
7[nm=n[sm1900[nm, ~[sm2[nmnd cond. Royal Th., Stockholm, [sm1900[nm=n[sm1[nm, co
nd. ~G;auoteborg S.O. [sm1906[nm=n[sm22[nm. Wrote [sm2[nm operas, [sm2[nm syms.,
 ~[sm2[nm pf. concs., vn. conc., [cf2][sm2[nm Sentimental Romances [cf1]for ~vn.
 and orch. ([sm1910[nm), chamber mus., etc.[cm~Steppes of Centra
l Asia, In the [fy75,1](Borodin). See [cf2]In ~the Steppes of Central Asia.[cm~S
teptoe, Roger [fy75,1](Guy) ([cf2]b [cf1]Winchester, [sm1953[nm). Eng. ~composer
, pianist, and teacher. Studied at Reading ~Univ. and RAM [sm1974[nm=n[sm6[nm (c
omp. with Alan Bush). ~Composer-in-residence Charterhouse Sch. [sm1976[nm=n~[sm9
[nm. Works incl.:[xm[cm~[j2][smopera[nm: [cf2]King of Macedon[cf1] ([sm1978[nm=n
[sm9[nm).[ep~[smorch[nm: [cf2][sm2[nm Miniatures[cf1] ([sm1977[nm); [cf2]Sinfoni
a Concertante[cf1], ~vn., va., vc., str. ([sm1981[nm); ob. conc., str. ([sm1982[
nm).[ep~[smvoice and orch[nm: [cf2]The Inheritor[cf1], bar. ([sm1979[nm).[ep~[sm
chamber ens[nm: Str. qt. ([sm1976[nm); cl. quintet ([sm1980[nm); ~ Sonata No. [s
m1[nm ([cf2]Aurora[cf1]), str. qt., pf., cl., tpt. ([sm1982[nm), ~[cf2]No. [sm2[
nm[cf1], [sm2[nm hn., pf. ([sm1982[nm).[ep~[smbrass[nm: [cf2]Ceremonial Fanfare
[cf1]([cf2]for Aberdeen[cf1]) ([sm1981[nm); ~[cf2]Sonata No. [sm3[nm[cf1] ([cf2]
The Knight of the Sun[cf1]), brass quintet ~([sm1982[nm); [cf2]D
ance Music[cf1] (rev. [sm1982[nm).[ep~[smvocal[nm: [cf2][sm5[nm Songs[cf1], ten.
, pf. ([sm1977[nm); [cf2]Aspects[cf1], high v., ~pf. ([sm1978[nm); [cf2]The Look
ing Glass[cf1], sop., ob., pf. ([sm1980[nm); ~[cf2]A Little Music[cf1], bar., pf
. ([sm1981[nm); [cf2][sm5[nm Chinese Lyrics[cf1], ~sop., pf. ([sm1982[nm).[ep~[s
mchoral[nm: [cf2]The Jumblies[cf1], cantata for children ([sm1975[nm); ~[cf2]Kin
g of Glory, King of Peace[cf1], ch., org. ([sm1980[nm).[ep~[smchamber music[nm:
[cf2][sm2[nm Impromptus[cf1], cl. ([sm1976[nm); From ~[cf2]Hyperion[cf1], ob., p
f. ([sm1977[nm); [cf2]Study[cf1], vn. ([sm1978[nm); pf. ~sonata ([sm1979[nm); [c
f2]Equinox[cf1], pf. ([sm1981[nm); [cf2][sm2[nm Impromptus[cf1], ~vc., guitar ([
sm1981[nm); [cf2]Study[cf1] No. [sm2[nm, guitar ([sm1981[nm); ~[cf2]Dance Suite[
cf1], str. qt., cl., ob. ([sm1984[nm).[cm~[j1]Sterbend [fy75,1](Ger.). Dying awa
y.[cm~Sterling, Antoinette [fy75,1]([cf2]b [cf1]Sterlingville, NY, [sm1850[nm; ~
[cf2]d [cf1]London, [sm1904[nm). Amer. cont. Studied in NY, ~Bad
en (with Viardot-Garc;aaia), Cologne (with Mar~~[PN692,0,0,L,I0]chesi), and Lond
on (with Garc;aaia). Returned to ~USA [sm1871[nm but went to London [sm1873[nm w
here she ~became very popular as singer of ballads (Sulli~~van's [cf2]The Lost C
hord[cf1], [sm1877[nm, was written for her).[cm~Stern, Isaac [fy75,1]([cf2]b [cf
1]Kremenets, [sm1920[nm). Russ.-born ~Amer. violinist, taken as infant to San Fr
ancisco. ~Studied with Blinder and Persinger. D;aaebut [sm1935[nm ~(recital) and
 [sm1936[nm with San Francisco S.O. NY ~d;aaebut [sm1937[nm. Int. career as conc
. soloist, also fine ~chamber-mus. player, esp. in assoc. with Eugene ~Istomin (
pf.) and Leonard Rose (vc.).[cm~Stern, Julius [fy75,1]([cf2]b [cf1]Breslau, [sm1
820[nm; [cf2]d [cf1]Berlin, [sm1883[nm). ~Ger. violinist, cond., composer, and t
eacher. ~Studied Berlin, Dresden, and Paris. Founded ~Sternscher Gesangverein, B
erlin, [sm1847[nm (disbanded ~[sm1912[nm). In [sm1850[nm, with Kullak and Marx,
founded ~conservatory in Berlin.[cm~Steso [fy75,1](It., `Spread
out'). Slow.[cm~Stesso, stessa, stessi, stesse [fy75,1](It.). Same.[cm~Steuerman
n, Eduard [fy75,1]([cf2]b [cf1]Sambor, nr. Lw;aaow, ~[sm1892[nm; [cf2]d [cf1]NY,
 [sm1964[nm). Polish-born pianist and ~composer (Amer. citizen). Studied in Berl
in ~(pf.with Busoni, theory with Schoenberg, comp. ~with Humperdinck). Pianist i
n f.ps. of Schoen~~berg's [cf2]Pierrot Lunaire[cf1] [sm1912[nm and of several ot
her ~Schoenberg works with pf. part. Also gave f.p. of ~Berg's sonata. Pianist f
or Schoenberg's Society for ~Private Musical Performances. Taught pf. at ~Lw;aao
w and at Krak;Aaow Cons. ([sm1932[nm=n[sm6[nm). Settled in ~USA [sm1936[nm, teac
hing and playing in NY. Taught ~at Philadelphia Cons. [sm1948[nm=n[sm52[nm and a
t Juilliard ~Sch. [sm1952[nm=n[sm64[nm. Tireless champion of [sm12[nm-note mus.,
 ~especially Schoenberg's, several of whose orch. ~works he transcr. for pf. Gav
e series of concerts of ~contemporary mus. in NY. Works incl. cantata to ~text b
y Kafka, [cf2]Variations [cf1]for orch., [cf2]Suite [cf1]for ~ch
amber orch., song-cycles, str. qts., etc.[cm~Stevens, Bernard [fy75,1]([cf2]b [c
f1]London, [sm1916[nm; [cf2]d[cf1] Great ~Maplestead, Essex, [sm1983[nm). Eng. c
omposer. Studied ~Cambridge Univ. and RCM [sm1937[nm=n[sm40[nm (with Jacob, ~R.
O. Morris, Benjamin). Prof. of comp., RCM, ~from [sm1948[nm. Works incl. [cf2]Sy
mphony of Liberation ~[cf1]([sm1945[nm), vn. conc., vc. conc., chamber mus., son
gs, ~film mus.[cm~Stevens, Denis [fy75,1](William) [cf1]([cf2]b [cf1]High Wycomb
e, ~[sm1922[nm). Eng. musicologist, critic, violinist, and ~cond. Studied Oxford
 Univ. with Wellesz. ~Worked as mus. critic in Calcutta and Oxford. ~Played vn.
and va. in Philharmonia Orch. [sm1946[nm=n~[sm9[nm. On BBC mus. staff as produce
r specializing in ~Renaissance and Baroque mus. [sm1949[nm=n[sm54[nm. Cond., ~Am
brosian Singers [sm1956[nm=n[sm60[nm. Prof., RAM [sm1956=n~61[nm, prof. of music
ology, Columbia Univ., NY, ~[sm1964=n74[nm and visiting prof. at other Amer. uni
vs. ~Ed. of Monteverdi's[cf2] Vespers [cf1]([sm1961[nm) and [cf2
]Orfeo ~[cf1]([sm1967[nm), author of books on Tudor church mus. ~and Thomas Tomk
ins, ed. of Eng. madrigals, ~Tudor org. mus., etc. C.B.E. [sm1984[nm.[cm~Stevens
, Halsey [fy75,1]([cf2]b [cf1]Scott, NY, [sm1908[nm). Amer. ~composer and writer
. Studied at Syracuse Univ. ~[sm1926[nm=n[sm31[nm and with Bloch in Calif. [sm19
44[nm. Held ~various univ. teaching posts from [sm1935[nm, becoming ~prof. and c
hairman of mus. dept. at Univ. of S. ~California Sch. of Mus. from [sm1948[nm. A
uthor of [cf2]Life ~and Music of B;aaela Bart;aaok [cf1](NY [sm1953[nm and later
 edns.). ~Prolific composer, works incl. syms., vc. conc., ~choral pieces (many
unacc.), songs, and much ~chamber mus.[cm~Stevens, Horace [fy75,1](Ernest) [cf1]
([cf2]b [cf1]Melbourne, Victoria, ~[sm1876[nm; [cf2]d [cf1]Melbourne, [sm1950[nm
). Australian bass. ~Chorister, St Paul's Cath., Melbourne. London ~d;aaebut [sm
1919[nm. Fine reputation in oratorio and opera ~(esp. Wagner). Frequently sang i
n USA.[cm~Stevens, Paul [fy75,1](James) [cf1]([cf2]b [cf1]London
, [sm1923[nm). Eng. ~composer. Studied GSM, Paris Cons., and Berlin ~Hochschule
f;auur Musik. Works incl. several syms., ~song-cycle [cf2]The Infinite Heart[cf1
], solo songs, and pf. ~mus.[cm~Stevens, Richard [fy75,1](John Samuel) [cf1]([cf
2]b [cf1]London, ~[sm1757[nm; [cf2]d [cf1]London, [sm1837[nm). Eng. composer and
 ~organist. Organist, Temple Church from [sm1786[nm ~and Charterhouse from [sm17
96[nm. Gresham Prof. of ~Mus. [sm1801[nm. Wrote hpd. sonatas, songs, glees (e.g.
 ~[cf2]Ye spotted snakes[cf1]), and ed. church mus. by Eng. ~and It. composers.[
cm~Stevens, Ris;aue [fy75,1]([cf2]b [cf1]NY, [sm1913[nm). Amer. mez. Studied ~at
 Juilliard Sch. and in Vienna (with Gutheil-~Schoder). D;aaebut in NY [sm1931[nm
 in [cf2]The Bartered Bride. ~[cf1]Sang in Prague [sm1936[nm=n[sm8[nm, also in V
ienna and Buenos ~Aires. NY Met. d;aaebut [sm1938[nm, Glyndebourne [sm1939[nm ~a
nd [sm1956[nm (Cherubino and Dorabella). Member of ~Met. co. for many years but
sang in Vienna, ~Milan, San Francisco. Outstanding as Carmen, ~O
ktavian, Delilah, and Orlofsky (in [cf2]Die Fleder~~maus[cf1]). Appeared in film
s. Gen. man., Met. Nat. ~Touring Co. [sm1964[nm. Dir. of Opera, Mannes College ~
[sm1973[nm=n[sm8[nm.[cm~Stevenson, Ronald [fy75,1]([cf2]b [cf1]Blackburn, [sm192
8[nm). Scottish ~pianist and composer. Studied RMCM [sm1945[nm=n[sm8[nm ~and S.
Cecilia Acad., Rome, [sm1955[nm. Taught comp. ~at Cape Town Univ. [sm1963[nm=n[s
m5[nm. Mus. influenced by ~Busoni and Scottish folk mus. Self-confessed aim ~is
for an `epic music .|.|. absorbing elements from ~East and from Africa, as well
as from Western ~culture'. Works incl. [cf2]Prelude, Fugue, and Fantasy ~on Buso
ni's Faust [cf1]for pf. ([sm1949[nm=n[sm59[nm); [cf2]Passacaglia on ~DSCH [cf1]f
or pf. ([sm1961[nm=n[sm2[nm); [cf2]Jamboree for Grainger [cf1]for ~orch. ([sm196
1[nm); [cf2]Weyvers o' Blegburn [cf1](Weavers of ~Blackburn), for boy's broken v
., weak amateur ~ten., amateur ch., and pf. (to Lancashire dialect) ~([sm1961[nm
); hpd. sonata ([sm1968[nm); Pf. Conc. No. [sm1[nm ([cf2]Faust ~
Triptych[cf1]) ([sm1960[nm), No. [sm2[nm ([cf2]The Continents[cf1]) ([sm1972[nm)
; ~[cf2]Peter Grimes Fantasy[cf1], pf. ([sm1971[nm); [cf2]Border Boyhood[cf1], ~
song-cycle, ten., pf. ([sm1970[nm); [cf2][sm9[nm Haiku[cf1], sop., ten., pf./~ha
rp ([sm1971[nm); [cf2]Ben Dorain[cf1], choral sym. ([sm1973[nm); vn. ~conc. ([cf
2]The Gipsy[cf1]) ([sm1973[nm).[cm~Stewart, Thomas [fy75,1](James) [cf1]([cf2]b
[cf1]San Saba, Texas, ~[sm1928[nm). Amer. baritone. Studied Juilliard Sch., NY.
~[PN693,0,0,R,I0]Opera d;aaebut as student NY [sm1954[nm ([cf2]Capriccio[cf1]).
After ~singing at NY City and Chicago Operas, went for ~further study in Europe.
 Sang in Berlin [sm1960[nm ~(Escamillo). CG d;aaebut [sm1960[nm, Bayreuth [sm196
0[nm=n[sm75[nm, ~NY Met. [sm1966[nm (Ford in [cf2]Falstaff[cf1]), San Francisco
~[sm1971[nm (Onegin). Particularly impressive in Wag~~ner.[cm~Stich, Johann Wenz
el. [fy75,1]See [cf2]Punto, Giovanni.[cm~Stich-Randall, Teresa [fy75,1]([cf2]b [
cf1]West Hartford, Conn., ~[sm1927[nm). Amer. sop. Studied pf. a
t age [sm3[nm. Entered ~Hartford Sch. of Mus. [sm1938[nm, Columbia Univ. Sch. ~o
f Mus. [sm1942[nm. While at Columbia sang in Amer. ~premi;ageres of Thomson's [c
f2]The Mother of us all [cf1]and ~Bloch's [cf2]Macbeth. [cf1]In [sm1949[nm chose
n by Toscanini to ~sing in NBC perfs. of [cf2]Aida [cf1]and [cf2]Falstaff. [cf1]
Went to ~Europe [sm1951[nm; won Lausanne int. competition for ~opera singers. Sa
lzburg Fest. [sm1952[nm. D;aaebut Vienna ~Opera [sm1952[nm as Violetta in [cf2]L
a Traviata. [cf1]Chicago ~Opera [sm1955[nm, NY Met. [sm1961[nm (as Fiordiligi).
First ~American to be made an Austrian [cf2]Kammers;auan~~gerin[cf1], [sm1962[nm
.[cm~Sticker. [fy75,1]Light wooden rod in org. which operates ~the pallet.[cm~St
iedry, Fritz [fy75,1]([cf2]b [cf1]Vienna, [sm1883[nm; [cf2]d [cf1]Z;auurich, [sm
1968[nm). ~Austrian-born cond. (Amer. citizen). Studied at ~Vienna Cons. Recomme
nded by Mahler to ~[fy45,1]*[fy75,1]Schuch, who engaged him at Dresden Opera ~[s
m1907[nm=n[sm8[nm. [sm2[nmnd cond. Kassel court opera [sm1913[nm
; first ~cond. Berlin Opera [sm1914[nm=n[sm23[nm; cond. Vienna ~Volksoper [sm192
4[nm=n[sm5[nm, (cond. f.p. of Schoenberg's [cf2]Die ~gl;auuckliche Hand[cf1], Vi
enna [sm1924[nm); Berlin St;auadtische ~Oper [sm1928[nm=n[sm33[nm. Mus. dir., Le
ningrad P.O. [sm1934[nm=n~[sm7[nm. Went to USA [sm1938[nm. Cond., New Opera Co.,
 ~NY, [sm1941[nm, Chicago [sm1945[nm=n[sm6[nm, NY Met. [sm1946[nm=n[sm58[nm, ~be
ing prin. Wagner cond. but, as in Berlin, cond. ~major Verdi prods. Cond. Glynde
bourne [sm1947[nm ~([cf2]Orfeo[cf1], with Ferrier), CG [sm1953[nm=n[sm4[nm ([cf2
]The Ring [cf1]and ~[cf2]Fidelio[cf1]). Guest cond. of leading sym. orchs. Retir
ed ~to Z;auurich.[cm~Stierhorn [fy75,1](Ger., `Bull horn'). Giant medieval ~bugl
e horn used in war. Straight tubes with exact ~conical bore and no bell flare. W
agner requires ~them off-stage in [cf2]Die Walk;auure[cf1], Act [sm2[nm, and in
~[cf2]G;auotterd;auammerung[cf1], Acts [sm2[nm and [sm3[nm. [sm3[nm special inst
rs. ~were made, in C, D;yh, and D, played by ~trombonists.[cm~St
iffelio. [fy75,1]Opera in [sm3[nm acts by Verdi to lib. by Piave ~after play [cf
2]Le Pasteur [cf1]by E. Souvestre and E. ~Bourgeois. Comp. [sm1850[nm. Prod. Tri
este [sm1850[nm and ~later staged, because of censorship problems, ~under title
[cf2]Guglielmo Wellingrode. [cf1]Revived at ~Parma [sm1968[nm. Rev. as [fy45,1]*
[fy75,2]Aroldo[cf1], [sm1856=n7[nm, with new ~lib. by Piave and newly composed [
sm4[nmth act. Prod. ~Rimini [sm1857[nm, NY [sm1863[nm.[cm~Stignani, Ebe [fy75,1]
([cf2]b [cf1]Naples, [sm1904[nm; [cf2]d[cf1] Imola, [sm1974[nm). It. ~mez. Studi
ed Naples Cons. D;aaebut Naples (San ~Carlo) [sm1925[nm as Amneris in [cf2]Aida.
 [cf1]Engaged by ~Toscanini for Scala, Milan, [sm1925[nm=n[sm6[nm, where her ~Eb
oli in Verdi's [cf2]Don Carlos [cf1]and other mez. roles ~were considered the fi
nest of the day. CG d;aaebut ~[sm1937[nm, San Francisco [sm1938[nm. V. of immens
e range ~in top register. Last appearance [sm1958[nm (as Azucena) ~in London.[cm
~Stile antico[fy75,1] (It.). Old style. Term to describe ~church
 mus. written after [cf2]c[cf1].[sm1600[nm in an archaic ~style, in imitation of
 Palestrina, by Soriano, ~Anerio, and Allegri. Its antithesis was [cf2]Stile mod
erno[cf1].[cm~Stile Concertante [fy75,1](It.). In concerto-like style. ~Style of
 baroque mus. in which instr. are treated ~as rivals in conc.-like fashion.[cm~S
tile Concitato [fy75,1](It.). In excited style. Style of ~baroque mus. in which
dramatic expression and ~excitement were paramount, e.g. in Monteverdi's ~[cf2]I
l combattimento di Tancredi e Clorinda[cf1], [sm1624[nm.[cm~Stile Rappresentativ
o [fy75,1](It.). In representational ~style. Term used by early It. composers of
 opera ~and oratorio to describe their new device of recit., ~in which human spe
ech was represented dramat~~ically as in Peri's [cf2]Euridice[cf1] ([sm1600[nm)
and Monteverdi's ~[cf2]Arianna [cf1]([sm1608[nm).[cm~Stiles Allen, Lilian [fy75,
1]([cf2]b [cf1]London, [sm1896[nm; [cf2]d[cf1] Tun~~bridge Wells, [sm1982[nm). E
ng. sop. Studied GSM and ~in Vienna. Noted for oratorio perfs. b
ut also sang ~Br;auunnhilde and other dramatic sop. roles. One of ~orig. [sm16[n
m singers in Vaughan Williams's [cf2]Serenade ~to Music [cf1][sm1938[nm. Teacher
 after retirement, pupils ~incl. Julie Andrews, popular mus. comedy and ~film ac
tress ([cf2]My Fair Lady, The Sound of Music[cf1], ~etc.).[cm~Still, Robert [fy7
5,1]([cf2]b [cf1]London, [sm1910[nm; [cf2]d [cf1]Bucklebury, ~Berks., [sm1971[nm
). Eng. composer. Studied Oxford ~Univ. under Ernest Walker, RCM under C. H. ~Ki
tson, and privately with Hans Keller. Taught ~at Eton Coll. Author of essay on M
ahler from ~psycho-analytical standpoint ([sm1960[nm). Works incl. ~[sm4[nm syms
., pf. conc., vn. conc., [sm5[nm str. qts., [sm3[nm pf. ~sonatas, vn. sonata, cl
. quintet, pf. quintet, cl. trio, ~ob. qt., quintet for [sm3[nm fl., vn., and vc
., motets, orch. ~fantasy [cf2]The Delphic Oracle, Elegy[cf1] for ten. (or bar.)
, ~ch., and orch., songs, org. voluntaries.[cm~Still, William Grant [fy75,1]([cf
2]b [cf1]Woodville, Miss., [sm1895[nm; ~[cf2]d [cf1]Los Angeles,
 [sm1978[nm). Amer. composer and cond. ~Studied Wilberforce Coll. [sm1911[nm=n[s
m15[nm and at Oberlin ~Cons. [sm1917[nm=n[sm18[nm and [sm1919[nm=n[sm22[nm. Stud
ied privately ~with [fy45,1]*[fy75,1]Var;agese [sm1922[nm=n[sm5[nm and with G. W
. Chadwick ~at New England Cons. [sm1922[nm. Played vn., vc., and ~ob. in orchs.
 and worked in [sm1920[nms as orchestrator ~for Paul Whiteman's band and for Bro
adway ~musicals and radio shows. Worked for CBS from ~[sm1935[nm. Works incl. [s
m5[nm syms., first being [cf2]Afro-~American Symphony [cf1]([sm1930[nm), several
 operas and ~ballets, [cf2]Pages from Negro History [cf1]for orch. ([sm1943[nm),
 ~chamber mus.[cm~Stimme [fy75,1](Ger., plural [cf2]Stimmen[cf1]). Voice. ([sm1[
nm) The ~human v.[ep~^([sm2[nm) Instr. part and org. stop. Part-writing or v.-~l
eading in Ger. is [cf2]Stimmf;auuhrung.[cm~[PN694,0,0,L,I0]Stimmung [fy75,1](Ger
.). Mood. ([sm1[nm) Atmosphere or ~mood, hence [cf2]Stimmungsbild[cf1], mood pic
ture, title ~given to short comp. evoking particular mood, ~e.g.
 Strauss's [cf2][sm5[nm Stimmungsbilder[cf1], Op. [sm9[nm, for pf., ~[sm1883[nm=
n[sm4[nm.[ep~^([sm2[nm) Tuning.[cm~Stimmung [fy75,1](Tuning). Comp. by K. [fy45,
1]*[fy75,1]Stockhausen, ~[sm1968[nm, for [sm6[nm unacc. singers ([sm2[nm sop., [
sm1[nm alto, [sm2[nm ten., [sm1[nm ~bass) vocalizing without words for [sm75[nm
mins.[cm~Stinguendo [fy75,1](It.). Extinguishing, i.e. fading out.[cm~Stirando,
stirato; stiracchiando, stiracchiato ~[fy75,1](It.). Stretching, stretched, i.e.
 making the mus. ~last out. Same as [fy45,1]*[fy75,2]ritardando.[cm~Stochastic [
fy75,1](from Gr., `point of aim' or `target'). ~Term first used by Swiss [sm18[n
mth-cent. mathemati~~cian Bernoulli regarding mathematical laws of ~probability.
 Applied by [fy45,1]*[fy75,1]Xenakis to mus. proce~~dures whereby overall sound
contours are deter~~mined but inner details are left to chance or ~worked out ma
thematically by composer or by ~computer, i.e. [fy45,1]*[fy75,2]Chance [cf1]in s
tochastic works is ~restricted to the comp. process, the result
being ~fully notated for the performer.[cm~Stock, Frederick [fy75,1](August) [cf
1]([cf2]b [cf1]J;auulich, Prussia, ~[sm1872[nm; [cf2]d [cf1]Chicago, [sm1942[nm)
. Ger.-born cond., violinist, ~and composer. Studied Cologne Cons. [sm1886[nm=n[
sm90[nm ~(with W;auullner, Humperdinck, etc.). Violinist in ~Cologne orch. [sm18
90[nm=n[sm5[nm. Went to USA as violinist ~in Chicago S.O. Became ass. cond. to T
heodore ~Thomas [sm1899[nm, succeeding him [sm1905[nm and remain~~ing cond. unti
l his death. Gave f.p. of several ~Amer. works and introduced many modern ~works
 to Amer. audiences. Commissioned Wal~~ton's [cf2]Scapino [cf1]ov., [sm1940[nm.
Wrote [sm2[nm syms., vn. conc., ~chamber mus., etc.[cm~Stockhausen, Julius [fy75
,1]([cf2]b [cf1]Paris, [sm1826[nm; [cf2]d [cf1]Frankfurt, ~[sm1906[nm). Fr.-born
 Ger. bar., son of harpist-composer ~and his singer wife. As child learned sever
al instr. ~Studied at Paris Cons. and in London with Garc;aaia. ~Sang in [cf2]El
ijah [cf1]at Basle, [sm1848[nm, and joined Paris ~Op;aaera-Comiq
ue [sm1857[nm. Gave f. public p. of ~Schubert's [cf2]Die sch;auone M;auullerin[c
f1], Vienna, May [sm1856[nm. ~Dir., Hamburg Phil. Concerts and Choir [sm1863[nm=
n[sm7[nm. ~Many recital tours. Cond., Sternscher Gesangver~~ein, Berlin, [sm1874
[nm=n[sm8[nm (see [cf2]Stern, Julius[cf1]); teacher at ~Hoch Cons., Frankfurt, [
sm1878[nm=n[sm80[nm and [sm1883[nm=n[sm4[nm. ~Wrote [sm2[nm-vol. singing method,
 [sm1886[nm=n[sm7[nm. Regarded ~as one of finest interpreters of Schubert's [cf2
]Winter~~reise [cf1]and other Lieder. Brahms ded. songs to him.[cm~Stockhausen,
Karlheinz [fy75,1]([cf2]b [cf1]M;auodrath, nr. Col~~ogne, [sm1928[nm). Ger. comp
oser, regarded as leader of ~elec. [cf2]avant-garde. [cf1]Son of village schoolm
aster. ~Began to learn pf. at [sm5[nm, also vn. and ob. Worked ~after [sm1945[nm
 as farmhand, also played pf. in dance-~bands. Studied at Cologne Musik-Hochschu
le ~[sm1947[nm=n[sm51[nm (pf. and theory) and Cologne Univ. ~[sm1952[nm. Studied
 comp. [sm1950[nm with Frank [fy45,1]*[fy75,1]Martin ~and began
his own analytical studies of Schoen~~berg, Bart;aaok, and Webern. At Darmstadt
int. ~summer school [sm1951[nm met Messiaen and Boulez. ~At this time he wrote h
is [cf2]Kreuzspiel [cf1]for pf., ob., ~bass cl., and perc. Lived in Paris [sm195
2[nm=n[sm3[nm, studying ~with Messiaen. Worked in [cf2]musique concr;agete [cf1]
studios ~of Fr. Radio and experimented with use of elec. ~tone generators. In [s
m1953[nm returned to Cologne, ~becoming assistant to Herbert [fy45,1]*[fy75,1]Ei
mert in elec. ~mus. studio of W. Ger. Radio. Became dir. of the ~studio in [sm19
63[nm. From [sm1954[nm to [sm1956[nm studied ~phonetics and acoustics with W. Me
yer-Eppler at ~Bonn Univ., this enabling him to have a complete ~understanding o
f his mus. material through ~ability to produce an infinite number of sounds ~an
d their permutations and to analyse them ~scientifically. In [sm1954[nm became e
d. of new maga~~zine for serial mus., [cf2]Die Reihe[cf1], founded by Eimert. ~G
ave first lecture-concerts in USA [sm1958[nm and since ~then has
 toured frequently as lecturer and cond. ~of small ens. Pupils from all over the
 world went ~to study with him and in [sm1957[nm he was appointed ~head of comp.
 courses at Darmstadt. Visiting ~prof. at several Amer. univs. Founded, [sm1963[
nm, ~Cologne Course for New Mus., teaching comp. ~until [sm1968[nm. Prof. of com
p., Cologne Musik-~Hochschule from [sm1971[nm. Collected writings pubd. ~in seve
ral vols.[ep~^Few composers of the [sm20[nmth-cent. `New Music' ~can approach St
ockhausen in the length and ~extent of his studies for his task. The first and ~
strongest influence on his development was the ~mus. of Webern. Through detailed
 and profound ~analysis of Webern's mus., he realized how much ~further he could
 take Webern's techniques. He ~evolved the theory of `parameters' or dimensions
~of sound: pitch, intensity, duration, timbre, and ~position in space. As Webern
 had serialized ~pitches, so Stockhausen in his early works ~serialized each par
ameter. Webern's method of ~composing with small `cells' of [cf2
]motifs [cf1]was devel~~oped by Stockhausen into what he called `group ~composit
ion', a group being a slice of mus. time ~(the larger groups are called `moments
'). How ~various groups are inter-related decides the formal ~design of a work.
The culmination of this period ~came in [sm1961[nm=n[sm4[nm with [cf2]Momente. [
cf1]The next step was ~a new attitude to mus. mobility, whereby the ~order of se
lf-contained groups could be varied so ~that mus. continuity could be altered. T
he [sm11[nmth ~([sm1956[nm) of his series of pf. works [cf2]Klavierst;auucke [cf
1]is in ~mobile form, the groups being playable in any ~order the performer sele
cts. In [cf2]Zyklus [cf1]([sm1959[nm) for ~solo percussionist, the performer may
 start at any ~of its [sm17[nm pages and go on until he returns to his ~starting
-point (he may read from left to right or ~turn over the score and go from right
 to left). The ~element of [fy45,1]*[fy75,2]chance [cf1]in these works means tha
t no ~[sm2[nm perfs. are ever likely to be identical. In elec. ~
mus., Stockhausen explored the spatial parameter ~(and transferred the same proc
edures to live mus. ~in his [cf2]Gruppen [cf1]for [sm3[nm orchs.). He began to s
pecify ~the procedures=mplacing and use of microphones, ~etc.=mfor producing sou
nds, sometimes, as in ~[cf2]Carr;aae[cf1], calculating beforehand the basic mate
rials ~[PN695,0,0,R,I0]and forms but leaving realization of details to ~someone
else. In [cf2]Prozession [cf1]([sm1967[nm), the mus. events ~are taken from vari
ous of his earlier comps.[ep~^The whole concept of elec. mus. is still so strang
e ~to ears accustomed to the disciplines of instr. ~comp. that the majority of a
udiences find it ~beyond their ken. But Stockhausen has an ~enormous following.
He is constantly re-exam~~ining his theories, restructuring his comps., and ~exp
loring new media, in contrast to Boulez who ~seems to have remained where he was
 [sm20[nm years ~earlier. He has reached a wide audience with such ~works as [cf
2]Gesang der J;auunglinge[cf1], which combines ~elec. sounds wit
h the v. of a boy sop. altered by ~echo-effects, filters, etc., and the Orient-i
nspired ~[cf2]Stimmung[cf1], in which for [sm75[nm minutes [sm6[nm singers take
~up elec. tones coming from concealed speakers ~and create a trance-like but eve
r-shifting vocali~~zation. Prin. works:[xm[cm~[j2][smopera[nm: [cf2]Donnerstag a
us Licht[cf1] (Milan [sm1981[nm); [cf2]Samstag ~aus Licht[cf1] (Milan, [sm1984[n
m) ([sm2[nm parts of projected opera ~cycle, [cf2]Licht[cf1], one for each day o
f the week).[ep~[smorch[nm: [fy75,2]Formel [cf1]([sm1951[nm); [cf2]Punkte [cf1](
[sm1952[nm, rev. [sm1962[nm; rev. ~as [fy45,1]*[fy75,2]Kontra-Punkte [cf1]for [s
m10[nm instr. [sm1952[nm=n[sm3[nm); [cf2]Spiel ~[cf1]([sm1952[nm, rev. [sm1973[n
m); [fy45,1]*[fy75,2]Gruppen[cf1], for [sm3[nm orch. ([sm1955[nm=n~[sm7[nm); [cf
2]Carr;aae[cf1], for [sm4[nm orch. and [sm4[nm choirs ([sm1959[nm=n[sm60[nm); ~[
cf2]Stop [cf1]([sm1965[nm; Paris version [sm1969[nm for [sm18[nm players in ~[sm
6[nm groups; London version [sm19[nm instrs., [sm1973[nm); ~[cf2
]Fresco[cf1], for [sm4[nm orch. groups ([sm1969[nm); [cf2]Trans [cf1]([sm1971[nm
); ~[cf2]Inori [cf1]([cf2]Adorations[cf1])[cf1], soloist and orch. ([sm1973[nm=n
[sm4[nm); ~[cf2]Jubil;auaum[cf1] ([sm1977[nm); Scenes from [cf2]Licht [cf1](Part
 I, [cf2]Der ~Jahreslauf[cf1], dancers and orch. [sm1977[nm; Part [sm2[nm [cf2]M
ichaels ~Reise um die Erde[cf1], tpt. and ens. [sm1978[nm; Part [sm3[nm, ~[cf2]M
ichaels Jugend[cf1], sop., ten., bass, tpt., basset horn, ~tb., modulated pf., [
sm3[nm dancers, tape, [sm1978[nm=n[sm9[nm; Part ~[sm4[nm, [cf2]Michaels Heimkehr
[cf1], as Part [sm3[nm except that ch. ~and orch. replace tape, [sm1979[nm).[ep~
[smchamber ensemble[nm: [cf2][sm3[nm Lieder[cf1], for high v. and ~chamber orch.
 ([sm1950[nm); [cf2]Kreuzspiel[cf1], ob., bass cl., ~pf., and perc. ([sm1951[nm)
; [cf2]Percussion trio[cf1], pf. and perc. ~([sm1952[nm, rev. [sm1974[nm); [fy45
,1]*[fy75,2]Kontra-punkte[cf1], for [sm10[nm instr. ~([sm1952[nm=n[sm3[nm, rev.
of [cf2]Punkte [cf1]for orch.); [cf2]Zeitmasse[cf1], for ~[sm5[n
m winds ([sm1955[nm=n[sm6[nm); [cf2]Refrain[cf1], pf., celesta, perc. ~([sm1959[
nm); [fy45,1]*[fy75,2]Momente[cf1], sop., [sm4[nm ch. groups, [sm13[nm instr. ~(
[sm1961[nm=n[sm4[nm, another version [sm1972[nm); [cf2]Adieu[cf1], wind ~quintet
 ([sm1966[nm); [fy45,1]*[fy75,2]Aus den sieben Tagen[cf1], [sm15[nm comps. ~for
ens. ([sm1968[nm); [cf2]F;auur Dr. K[cf1], sextet ([sm1969[nm); [cf2]F;auur ~Kom
mende Zeiten[cf1], [sm17[nm texts for intuitive mus. ~([sm1968[nm=n[sm70[nm); [c
f2]Ylem[cf1], for [sm19[nm players or singers ([sm1972[nm); ~[cf2]Tierkreis [cf1
]([cf2]Zodiac[cf1]) ([sm1975=n7[nm); [cf2]In Freundschaft[cf1], fl., ~cl., ob.,
tpt., vn., va. ([sm1977[nm).[ep~[smelectronic[nm: [cf2]Electronic Study I [cf1](
[sm1953[nm), II ([sm1954[nm); ~[fy45,1]*[fy75,2]Gesang der J;auunglinge[cf1], on
 tape (boy's v.) ([sm1955[nm=n~[sm6[nm); [fy45,1]*[fy75,2]Kontakte[cf1], pf., pe
rc., elec. sounds ([sm1959[nm=n[sm60[nm), ~also for elec. sounds ([sm1959[nm=n[s
m60[nm), and [cf2]Originale ~[cf1]([sm1961[nm), mus. th. piece w
ith [cf2]Kontakte[cf1]; [cf2]Mikrophonie ~[cf1]I, tam-tam and elecs. ([sm1964[nm
), II for ch., Hammond ~organ, and elecs. ([sm1965[nm); [cf2]Mixtur [cf1]for [sm
5[nm orch. and ~elecs. ([sm1964[nm), reduced scoring ([sm1967[nm); [cf2]Solo[cf1
], ~melody instr. with feedback ([sm1965[nm=n[sm6[nm); [cf2]Telemusik[cf1], ~on
tape ([sm1966[nm); [fy45,1]*[fy75,2]Hymnen[cf1], tape and concrete ~mus. ([sm196
6[nm=n[sm7[nm), tape and concrete mus. with [sm4[nm ~soloists ([sm1966[nm=n[sm7[
nm), with orch. ([sm1969[nm, much shorter ~version); [fy45,1]*[fy75,2]Prozession
[cf1], tam-tam, pf., elecs. ([sm1967[nm); ~[cf2]Kurzwellen [cf1]([cf2]Short-wave
[cf1]), tam-tam, pf., elecs. ~([sm1968[nm); [cf2]Spiral[cf1], soloist with short
-wave receiver ~([sm1969[nm); [cf2]Sirius[cf1], elecs. with [sm4[nm soloists ([s
m1975[nm).[ep~[smvoices[nm: [cf2]Ch;auore f;auur Doris[cf1], unacc. mixed ch. ([
sm1950[nm); ~[cf2]Choral, [cf1]unacc. ch. ([sm1950[nm); [fy45,1]*[fy75,2]Stimmun
g[cf1], [sm6[nm singers ~([sm1968[nm); `[cf2]Am Himmel wandre Ic
h[cf1] .|.|.', [sm12[nm Indian ~songs ([sm1972[nm); [cf2]Atmen gibt das Leben[cf
1] .|.|., mixed ch. ~([sm1974[nm, rev. as `choral opera' [sm1977[nm).[ep~[smpian
o(s)[nm: [fy45,1]*[fy75,2]Klavierst;auucke[cf1]: I=nIV ([sm1952[nm=n[sm3[nm), V
([sm1954=n~5[nm), VI ([sm1954[nm=n[sm5[nm), VII ([sm1954[nm=n[sm5[nm), VIII ([sm
1954[nm), IX ~([sm1954[nm=n[sm5[nm, rev. [sm1961[nm), X ([sm1954[nm=n[sm5[nm, re
v. [sm1961[nm), XI ~([sm1956[nm); [cf2]Pole[cf1], [sm2[nm pf. and [sm2[nm short-
wave receivers ~([sm1969[nm=n[sm70[nm); [cf2]Expo[cf1], [sm3[nm pf. ([sm1969[nm=
n[sm70[nm); [fy45,1]*[fy75,2]Mantra[cf1], [sm2[nm ~pianists and elecs. ([sm1969=
n70[nm); [cf2]Klavierst;auucke XIII ~[cf1](part of [cf2]Samstag aus Licht [cf1](
[sm1984[nm)).[ep~[smsolo percussion[nm: [fy45,1]*[fy75,2]Zyklus [cf1]for [sm1[nm
 percussionist ~([sm1959[nm).[ep~[smchamber music[nm: Sonatina for vn. and pf. (
[sm1951[nm); ~[cf2]Laub und Regen[cf1], cl. and va. ([sm1974[nm); [cf2]Harlekin[
cf1], cl. ~([sm1975[nm); [cf2]Der kleine Harlekin[cf1], cl. ([sm
1975[nm); [cf2]Amour[cf1], [sm5[nm ~pieces, cl. ([sm1976[nm).[cm~[ol0][ep~[xp[te
~











[do25][j99]~~~~~~[sm153842[nm_SE[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmSE[sm01[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm15[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm952[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Stoker, Ri
chard [fy75,1]([cf2]b [cf1]Castleford, Yorks., [sm1938[nm). Eng. ~composer. Stud
ied Huddersfield Sch. of Mus. and ~RAM, later with L. Berkeley and Boulanger. Pr
of. ~of comp., RAM, from [sm1963[nm. Works incl. operas ~(incl. [cf2]Ther;Agese
Raquin, [cf1]after Zola), cantata [cf2]Ecce ~Homo[cf1], sextet, wind quintet, or
g. sonatas, str. qts., ~etc.[cm~Stokowski, Leopold [fy75,1]([cf2]b [cf1]London,
[sm1882[nm; [cf2]d [cf1]Nether ~Wallop, Hants., [sm1977[nm). Eng.-born cond. and
 ~organist, son of Polish father and Irish mother, ~who became Amer. citizen [sm
1915[nm. Studied Oxford ~Univ. and RCM. Organist, St James's, Piccadilly, ~[sm19
00[nm, then St Bartholomew's NY, [sm1905[nm=n[sm8[nm. Re~~turned to London and c
ond. orch. concerts, but ~settled in USA shortly afterwards. Con
d. Cincin~~nati S.O. [sm1909[nm=n[sm12[nm, Philadelphia Orch. [sm1912[nm=n[sm38[
nm ~(last [sm2[nm years jointly with [fy45,1]*[fy75,1]Ormandy). Made ~Philadelph
ia one of world's finest orchs. and ~introduced many major works to USA, e.g. ~M
ahler's [sm8[nmth Sym., Berg's [cf2]Wozzeck[cf1], Stravinsky's ~[cf2]Rite of Spr
ing[cf1], Schoenberg's [cf2]Gurrelieder[cf1], etc. Also ~championed new Amer. mu
s., incl. that of Ives. ~Cond. f.ps. of [sm3[nm Rakhmaninov works, Sym. No. ~[sm
3[nm, Pf. Conc. No. [sm4[nm, and [cf2]Rhapsody on a Theme of ~Paganini[cf1]. App
eared in films and cond. mus. for ~Disney's [cf2]Fantasia[cf1], [sm1940[nm, in w
hich mus. and ~cartoons were allied. Founder and cond. All-~American Youth Orch.
 [sm1939[nm=n[sm41[nm; chief guest ~cond. NBC Orch. [sm1941[nm=n[sm44[nm; founde
r and cond. ~NY City S.O. [sm1944[nm=n[sm5[nm; chief guest cond. NY P.O. ~[sm194
6[nm=n[sm50[nm; cond. Houston S.O. [sm1955[nm=n[sm61[nm, Amer. ~S.O. of NY [sm19
62[nm=n[sm72[nm. Returned to Eng. [sm1972[nm, ~frequently conduc
ting LSO. Made transcrs. of ~Bach (for large sym. orch.). Was a master of sound
~and put his stamp on every orch. he cond. ~Opinions differed on quality of that
 stamp, for he ~took unusual liberties (which included alterations ~to the compo
ser's scoring) in order to obtain ~effects he required, but that he was a superb
 cond. ~[PN696,0,0,L,I0]can scarcely be denied. He was active to the day ~of his
 death.[cm~Stoltzer, Thomas [fy75,1]([cf2]b [cf1]Schweidnitz, Silesia, [cf2]c[cf
1].[sm1480=n~5[nm; [cf2]d [cf1]Ofen, [sm1526[nm). Ger. composer. Kapellmeister ~
to King of Hungary from [sm1522[nm. Wrote church ~mus. and a few secular songs.[
cm~Stolz, Robert [fy75,1]([cf2]b [cf1]Graz, [sm1880[nm; [cf2]d[cf1] Berlin, [sm1
975[nm). ~Austrian composer, pianist, and cond. Son of ~mus. teacher and pianist
, and great-nephew of ~Teresa [fy45,1]*[fy75,1]Stolz. Studied at Vienna Cons. wi
th R. ~Fuchs and later with Humperdinck. Toured ~Europe as pianist, playing Moza
rt at age [sm7[nm. First ~comp. pubd. in Berlin, [sm1891[nm. Suc
ceeded Bodanzky ~as chief cond., Theater an der Wien, Vienna, ~[sm1905[nm=n[sm17
[nm. Cond. f.p. of Straus's [cf2]Der tapfere Soldat ~[cf1]([sm1908[nm). Wrote ov
er [sm60[nm operettas, over [sm100[nm film ~scores, and some [sm1[nm,[sm500[nm s
ongs (incl. [cf2]Im Prater ~bl;auuh'n wieder die B;auaume[cf1]). Lived in Paris
[sm1938[nm=n[sm40[nm ~and in USA [sm1940[nm=n[sm6[nm, returning to Austria [sm19
46[nm=n~[sm50[nm. Wrote music for ice revues [sm1952[nm=n[sm71[nm. While ~in USA
, composed scores for Hollywood films, ~winning [sm2[nm `Oscars'. His most succe
ssful operettas ~were [cf2]Der Tanz ins Gl;Auuck [cf1](Waltz into Happiness) ~[s
m1921[nm and [cf2]Wo die kleinen Veilchen bl;Auuhen [cf1](Wild ~Violets) [sm1932
[nm; wrote extra mus. for [cf2]Im Weissen ~R;Auossl [cf1](White Horse Inn). Acti
ve as cond. in his ~[sm90[nms.[cm~Stolz, Teresa [fy75,1](orig. Terezie Stolzov;a
aa) ([cf2]b [cf1]Elbekos~~teletz, [sm1834[nm; [cf2]d [cf1]Milan, [sm1902[nm). Cz
. sop. Studied ~Prague, Trieste, and Milan (with Lamperti). Oper
a ~d;Aaebut at Tiflis [sm1857[nm. It. d;Aaebut at Turin [sm1863[nm. ~Became mist
ress of cond. Mariani. Milan d;Aaebut ~[sm1865[nm. Intimate friend of Verdi. San
g Elisabeth in ~[cf2]Don Carlos, [cf1]Milan [sm1868[nm, first It. Aida, [sm1872[
nm; ~created sop. role in Verdi's [cf2]Requiem[cf1], [sm1874[nm. Retired ~from o
pera [sm1877[nm, concerts [sm1879[nm. Voice of great ~range, dramatic expression
, and flexibility.[cm~Stolze, Gerhard [fy75,1]([cf2]b [cf1]Dessau, [sm1926[nm; [
cf2]d [cf1]Garmisch-~Partenkirchen, [sm1979[nm). Ger. ten. Studied in Dres~~den,
 where he made d;Aaebut [sm1949[nm. Bayreuth Fest. ~from [sm1951[nm. D;Aaebut Vi
enna [sm1957[nm, CG [sm1960[nm. ~Splendid character-ten. e.g. as Mime in [cf2]Th
e Ring ~[cf1](recorded with Solti), Herod in [cf2]Salome.[cm~Stone Flower, The [
fy75,1]([cf2]Kamenny tsvetok[cf1]). Ballet in ~prol. and [sm3[nm acts by Prokofi
ev, Op. [sm118[nm, lib. by M. ~Mendelson and Lavrovsky, choreog. Lavrovsky, ~com
p. [sm1948[nm=n[sm53[nm. Prod. Moscow [sm1954[nm. New ~choreog.
by Grigorovich, Leningrad [sm1957[nm.[cm~Stone Guest, The [fy75,1]([cf2]Kamenny
Gost[cf1]). Opera in [sm3[nm acts ~by Dargomyzhsky, a setting of Pushkin's drama
 ~([sm1830[nm) on same story as [cf2]Don Giovanni. [cf1]Begun [sm1866[nm ~and le
ft almost finished. Orch. by Rimsky-~Korsakov, ov. by Cui. Prod. St Petersburg [
sm1872[nm, ~Florence [sm1954[nm.[cm~Stone Litany. [fy75,1]`Runes from a House of
 the Dead' ~for mez. and orch. by [fy45,1]*[fy75,1]Maxwell Davies. F.p. ~Glasgow
 [sm1973[nm by Jan de Gaetani (mez.), SNO, ~cond. [fy45,1]*[fy75,1]Gibson.[cm~St
op [fy75,1](as noun). ([sm1[nm) Row of pipes on org. (registers), ~all operated
by handles or draw-stops placed near ~the player. Both the pipes and the handles
 are ~called [cf2]stops.[ep~[cf1]^([sm2[nm) Hpd. mechanism for similar purpose a
s org. ~stop, i.e. to vary tone-colour, simulate sounds of ~other instr., etc.[c
m~Stop [fy75,1](verb). ([sm1[nm) on str. instr., `stopping' means the ~placing o
f the fingers on a str., thereby determin~~ing length of portion
 of str. which is to vibrate. ~Thus double-stopping, triple stopping, means this
 ~action on [sm2[nm, [sm3[nm str. at once.[ep~^([sm2[nm) In hn.-playing, the ins
ertion of a hand into ~the bell of the hn. to alter pitch and tone-quality ~of a
 note.[ep~^([sm3[nm) In orgs.: to block passage of air through one ~end of pipe
(i.e. end-stopped pipe), thereby ~producing note an octave lower than would ~oth
erwise be sounded.[cm~Storace, Anna [fy75,1](Selina) [cf1](orig. Nancy) ([cf2]b
[cf1]London, ~[sm1765[nm; [cf2]d[cf1] Dulwich, [sm1817[nm). Eng. sop., daughter
of ~It. father. D;Aaebut as singer, Haymarket Th., ~London, [sm1774[nm. Became p
upil of Rauzzini, singing ~in [sm1777[nm at CG in oratorio and at Hereford Fest.
 ~Went to Venice [sm1778[nm to study with Sacchini. Sang ~in Florence [sm1780[nm
, Parma [sm1781[nm, and Milan [sm1782[nm. ~Engaged as prin. sop. at Imperial Th.
, Vienna, ~[sm1784[nm. Created role of Susanna in Mozart's [cf2]Le ~Nozze di Fig
aro[cf1], [sm1786[nm. Returned to Eng., [sm1787[nm, ~singing in
It. comic operas. For her farewell perf. ~in Vienna, Mozart comp. concert aria [
cf2]Ch'io mi ~Scordi di te [cf1](K[sm505[nm) for sop., pf., and orch., and ~play
ed kbd. part himself. She sang in her brother ~Stephen [fy45,1]*[fy75,1]Storace'
s [cf2]The Haunted Tower[cf1], [sm1789[nm, ~thereafter confining herself to comi
c roles in Eng. ~works. Sang at Handel Fest. [sm1791[nm. Became mistress ~of ten
. [fy45,1]*[fy75,1]Braham, bearing him a son, and touring ~Europe with him. CG [
sm1801[nm=n[sm8[nm. Died very wealthy.[cm~Storace, Stephen [fy75,1]([cf2]b [cf1]
London, [sm1762[nm; [cf2]d [cf1]London, ~[sm1796[nm). Eng. composer, brother of
Anna [fy45,1]*[fy75,1]Storace. ~Child violinist. Studied in Naples from [sm1776[
nm. ~Joined his sister in It. when she arrived in [sm1778[nm ~and went with her
to Vienna, where [sm2[nm of his ~operas, [cf2]Gli sposi malcontenti [cf1]([sm178
5[nm) and [cf2]Gli equivoci ~[cf1]([sm1786[nm, with lib. by da Ponte), were prod
. Friend ~of Mozart. Returned to Eng. [sm1787[nm. Wrote series ~
of dialogue-operas in which he incorporated ~popular airs and adapted other comp
osers' mus. ~Among them were [cf2]The Haunted Tower [cf1]([sm1789[nm), [cf2]No ~
Song, No Supper [cf1]([sm1790[nm), [cf2]The Siege of Belgrade [cf1]([sm1791[nm),
 ~[cf2]The Pirates [cf1]([sm1792[nm), [cf2]The Prize [cf1]([sm1793[nm), [cf2]Che
rokee ~[cf1]([sm1794[nm), etc. His last full-scale opera, [cf2]Dido, Queen of ~C
arthage[cf1], was prod. at King's Th. in May [sm1792[nm. ~Many of his scores wer
e lost in the Drury Lane ~fire of [sm1809[nm, but [cf2]The Pirates [cf1]was reco
nstructed in ~[sm1975[nm by Richard Vardigans from vocal score and ~MS. lib. [cf
2]Gli equivoci, [cf1]based on Shakespeare's [cf2]Comedy ~of Errors[cf1], was rev
ived in [sm1975[nm and showed that ~Storace's contemporary reputation was deserv
ed.[cm~Storchio, Rosina[fy75,1] ([cf2]b[cf1] Venice, [sm1876[nm; [cf2]d[cf1] Mil
an, [sm1945[nm). ~It. soprano. Studied at Milan Cons., making her ~[PN697,0,0,R,
I0]d;aaebut there as Micaela in [cf2]Carmen[cf1]. Sang Sophie in
 ~[cf2]Werther[cf1] at La Scala [sm1895[nm. Created title-role of ~[cf2]Madama B
utterfly[cf1] [sm1904[nm. Sang in Barcelona [sm1898[nm=n~[sm1923[nm and in Bueno
s Aires [sm1904[nm=n[sm14[nm. NY d;aaebut ~[sm1921[nm.[cm~Stornello [fy75,1](It.
, plural [cf2]Stornelli[cf1]). A traditional type ~of Tuscan folk-song often imp
rovised by a ~[cf2]Stornellatore [cf1](masc.) or [cf2]Stornellatrice [cf1](fem.)
. The ~stanza has [sm3[nm lines each of [sm11[nm syllables.[cm~Straccinato [fy75
,1](It.). Stretched out, i.e. [fy45,1]*[fy75,2]ritardando.[cm~Stradella, Alessan
dro [fy75,1]([cf2]b [cf1]Montefestino, [sm1644[nm; [cf2]d ~[cf1]Genoa, [sm1682[n
m). It. composer. Taught singing in ~Venice and Rome. From [sm1658[nm was in ser
vice of ~Queen Christina of Sweden in Rome, composing ~motets for her. Wrote ope
ras, oratorios, cantatas, ~all notable for richness of expression and instr. ~ac
c. Was murdered. Flotow's opera [cf2]Alessandro ~Stradella [cf1](Hamburg [sm1844
[nm) is a romanticized and ~inaccurate account of events leading
 to his death.[cm~Stradivari [fy75,1](Stradivarius). Family of vn.-makers ~of Cr
emona, N. Italy. The greatest of them was ~Antonio Stradivari ([cf2]b [cf1][sm16
44[nm; [cf2]d [cf1]Cremona, [sm1737[nm), ~apprenticed as youth to Nicola [fy45,1
]*[fy75,1]Amati, continu~~ing connection with Amati's workshop to [sm1684[nm. ~I
nserted his own label into vn. [sm1666[nm (signing ~himself, as always afterward
s, by Maltese cross ~and initials A. S. enclosed within double circle). ~After [
sm1684[nm, his work developed experimentally ~towards perfection of design and b
alance, leading ~in [sm1690[nm to invention of the `Long Strad'. [sm1700[nm=n~[s
m20[nm was Stradivari's `golden period' during which ~he prod. a series of magni
ficent instr., inc. vcs. ~and vas., and those made in the last [sm17[nm years of
 ~his life show no decline in craftsmanship. He ~made his last vn. in [sm1737[nm
 at age [sm92[nm. It is calculated ~in the standard work on Stradivari by the Hi
ll ~brothers ([sm1902[nm, rev. [sm1909[nm) that he made [sm1116[
nm ~instruments after [sm1666[nm of which over [sm600[nm are still ~in existence
. Many are known by names e.g. La ~Pucelle, Viotti, Alard, Messie, Rode, etc. He
 paid ~vigilant attention to detail and personally de~~signed pegs, fingerboards
, tailpieces, inlaid pat~~terns, and bridges; he designed the cases and also ~ma
de bows. His application of the varnish was ~unsurpassed, soft in texture and sh
ading from ~orange to red. The tone of the instrs. varies, of ~course, but is ge
nerally a sop. tone compared with ~the more cont. [fy45,1]*[fy75,1]Guarneri. Str
adivari was assisted ~by his sons Francesco ([cf2]b [cf1]Cremona, [sm1671[nm; [c
f2]d [cf1][sm1743[nm) ~and Omobono ([cf2]b [cf1]Cremona, [sm1679[nm; [cf2]d [cf1
][sm1742[nm) and by ~Carlo Bergonzi. These instruments bore the label ~`sotto la
 disciplina d'Antonio Stradivari' but in ~many cases these were later unscrupulo
usly ~removed and a label substituted attributing the ~instr. to Stradivari hims
elf. Hence the controver~~sies over the authenticity of certain
`Strads', highly ~important in view of the high prices the genuine ~instr. can f
etch.[cm~Strambotto [fy75,1](It.). `Rustic Song'. It. Renaissance ~poetical form
, often set to mus. on the lines of ~the [fy45,1]*[fy75,1]Frottola. Poem had [sm
8[nm lines, rhyming ~abababcc; and the mus. setting was usually ~strophic, with
only [sm2[nm lines set to mus. and ~repeated for each remaining pair. See also [
cf2]Rispetto.[cm~Straniera, La [fy75,1](The Foreigner). Opera in [sm2[nm acts by
 ~Bellini to lib. by Romani. Prod. Milan [sm1829[nm, ~London [sm1832[nm, NY [sm1
834[nm.[cm~Stransky, Josef [fy75,1]([cf2]b [cf1]Humpolec, Bohemia, [sm1872[nm; [
cf2]d ~[cf1]NY, [sm1936[nm). Bohemian cond. Studied medicine, ~qualifying as doc
tor in Prague [sm1896[nm. While at ~univ. also studied mus., becoming comp. pupi
l ~of Fuchs, Bruckner, and Dvo;Akr;Aaak in Vienna. Prin. ~cond., Landestheater,
Prague, [sm1898[nm, Hamburg ~[sm1903[nm=n[sm10[nm. Also cond. in Berlin, Dresden
, London, ~Amsterdam, etc. Succeeded Mahler as cond. NY ~P.O. [s
m1911[nm, holding post until [sm1921[nm. Retired [sm1925[nm, ~going into art-dea
ling business. Wrote operas and ~other works, and adapted Berlioz's [cf2]B;aaeat
rice et ~B;aaen;aaedict[cf1]. Figures in R. Strauss's opera [cf2]Intermezzo ~[cf
1]as Stroh; he was the cond. for whom Strauss was ~mistaken by an importunate la
dy, thereby nearly ~precipitating Strauss's divorce.[cm~Strascicando; strascinan
do; strascinato [fy75,1](It.). ~Dragging; dragged (e.g. heavily slurring notes i
n ~bowing, singing [fy45,1]*[fy75,2]portamento[cf1], etc.).[cm~Stratas, Teresa [
fy75,1](orig. Anastasia Strataki) ([cf2]b [cf1]Tor-[fjonto, [sm1938[nm). Canadia
n sop. of Gr. parentage. ~Studied Toronto Royal Cons. and in NY. Opera ~d;aaebut
 Toronto [sm1958[nm as Mimi in [cf2]La Boh;Ageme[cf1]. Won ~NY Met. opera auditi
ons [sm1959[nm, making her d;Aaebut ~at Met. in Oct. [sm1959[nm. Excellent Mozar
t singer in ~roles such as Despina. Sang Lulu in f. complete p. ~of opera, Paris
 [sm1979[nm, and is an impressive Salome.[cm~Strathspey. [fy75,1
]Slow dance of Scotland, as the reel is ~its quick dance. Mus. is in simple quad
ruple time, ~with many dotted notes and some use of the ~[fy45,1]*[fy75,1]Scotch
 Snap. Appeared in mid-[sm18[nmth cent.[cm~Stratton, George [fy75,1](Robert) [cf
1]([cf2]b [cf1]London, [sm1897[nm; [cf2]d ~[cf1]London, [sm1954[nm). Eng. violin
ist and cond. Studied ~GSM. Leader, LSO [sm1933[nm=n[sm52[nm, occasionally con~~
ducting it. Leader and founder, Stratton Qt. ~[sm1925[nm=n[sm42[nm. Prof. of vn.
, RCM, from [sm1942[nm.Wrote ~book on playing of chamber mus. O.B.E. [sm1954[nm.
[cm~Straube, Karl [fy75,1]([cf2]b [cf1]Berlin, [sm1873[nm; [cf2]d [cf1]Leipzig,
[sm1950[nm). ~Ger. organist, cond., and teacher. Had Eng. ~mother. Studied in Be
rlin (organ with H. ~Reimann). Toured Ger. giving org. recitals [sm1894[nm=n~[sm
7[nm, winning high reputation. Organist, Thomas~~kirche, Leipzig (Bach's post) f
rom [sm1902[nm and cond. ~of Leipzig Bach Soc. Prof. of org., Leipzig Cons., ~fr
om [sm1907[nm. Cantor of Thomasschule from [sm1918[nm. ~Cond. se
veral Bach Fests. [sm1904[nm=n[sm23[nm and [sm1925[nm ~Handel Fest. which led to
 formation of Handel ~Soc. Friend of Reger and champion of his mus., ~as of that
 of other [sm20[nmth-cent. composers, incl. ~Vaughan Williams and Holst. Ed. cho
ral works ~of Bach and Handel, and organ works by Bach ~and Liszt.[cm~[PN698,0,0
,L,I0]Straus, Oscar [fy75,1]([cf2]b [cf1]Vienna, [sm1870[nm; [cf2]d [cf1]Bad Isc
hl, [sm1954[nm). ~Austrian-born composer (Fr. citizen from [sm1939[nm). ~Studied
 in Vienna and with Bruch in Berlin. ~Cond. of th. orchs. in Ger. [sm1895[nm=n[s
m1900[nm, then ~pianist for Wolzogen's ;AuUberbrettl in Berlin, for ~which he co
mp. several pieces. Wrote orch. and ~chamber mus., but best known for operettas
~comp. between [sm1904[nm and [sm1926[nm. Most successful ~of these were [cf2]Ei
n Walzertraum [cf1](A Waltz Dream), ~Vienna [sm1907[nm; [cf2]Der tapfere Soldat,
 [cf1]based on Shaw's ~[cf2]Arms and the Man [cf1]([sm1894[nm), Vienna [sm1908[n
m, NY as [cf2]The ~[fy45,1]*[fy75,2]Chocolate Soldier [cf1][sm19
09[nm; and [cf2]Der letzte Walzer [cf1](The ~Last Waltz), Vienna [sm1920[nm. Lef
t Berlin [sm1927[nm, living ~mainly in Paris and USA until after [sm1945[nm. His
 last ~success was with the music for the film [cf2]La Ronde[cf1], ~[sm1950[nm.[
cm~Strauss, Eduard I [fy75,1]([cf2]b [cf1]Vienna, [sm1835[nm; [cf2]d [cf1]Vienna
, ~[sm1916[nm). Austrian composer and cond., youngest ~son of Johann [fy45,1]*[f
y75,1]Strauss I. D;Aaebut as cond. [sm1862[nm, ~succeeding brother Johann [fy45,
1]*[fy75,1]Strauss II at St ~Petersburg [sm1865[nm. In [sm1872[nm took over cond
uctorship ~of court balls which Johann had held since [sm1863[nm. ~Took Strauss
orch. to London [sm1885[nm, disbanded it ~[sm1901[nm. Wrote over [sm300[nm dance
s, many of them ~polkas. In [sm1907[nm burned all original MSS. of Strauss ~fami
ly because he believed world no longer ~deserved to possess them. Thus many walt
zes ~have been preserved only in pf. reductions.[cm~Strauss, Eduard[fy75,1] (Leo
pold Maria) [fy65,3]II [fy75,1]([cf2]b[cf1] Vienna, ~[sm1910[nm;
 [cf2]d[cf1] Vienna, [sm1969[nm). Austrian cond., nephew ~of J. Strauss III. D;a
aebut [sm1949[nm. Cond. Vienna S.O. ~in recordings and toured with Vienna Johann
 ~Strauss Orch.[cm~Strauss, Franz Joseph [fy75,1]([cf2]b [cf1]Parkstein, [sm1822
[nm; [cf2]d ~[cf1]Munich, [sm1905[nm). Ger. hn.-player and composer. ~Prin. hn.,
 Munich Court opera orch. [sm1847[nm=n[sm89[nm. ~Taught at Munich Acad. until [s
m1896[nm. Cond. semi-~professional orch. [sm1875[nm=n[sm96[nm. Though disliking
~Wagner's mus., played in several Wagner pre~~mi;Ageres and was consulted by com
poser on ~Siegfried's hn.-call. Wrote hn. conc., works for ~hn. and pf., etc. Th
e composer Richard [fy45,1]*[fy75,1]Strauss ~was his son by his [sm2[nmnd wife.[
cm~Strauss, Johann I [fy75,1]([cf2]b[cf1] Vienna, [sm1804[nm; [cf2]d[cf1] Vienna
, ~[sm1849[nm). Austrian composer, cond., and violinist, ~founder of the `Straus
s Waltz Dynasty', and ~known as Johann Strauss I to distinguish him ~from his so
n. Studied vn. and played va. in [sm1819[nm ~in [fy45,1]*[fy75,1
]Lanner's qt. With Lanner until [sm1825[nm, when ~he began to compose his own wa
ltzes. In [sm1826[nm ~appeared with [sm14[nm-piece orch. at the `Swan' in the ~R
ossau suburb of Vienna and captivated public. ~With larger orch. engaged for [sm
6[nm years at the ~`Sperl', in the Leopoldstadt. Among those who ~heard him ther
e were Chopin, Wagner, and Hans ~Christian Andersen. Also appointed Kapellmeis~~
ter of first B;Auurger-regiment, responsible for mus. ~at court f;Afetes and dan
ces. Toured Ger. and other ~parts of Europe from [sm1833[nm. Visited London [sm1
838[nm, ~giving [sm72[nm concerts and playing at festivities in ~honour of Victo
ria's coronation. In [sm1840[nm intro~~duced the quadrille to replace the galop.
 Succes~~sive tours were triumphal processions for Strauss. ~Visited Eng. again
[sm1849[nm, and died of scarlet fever ~shortly after return to Vienna. Comp. [sm
251[nm works, ~[sm152[nm of which were waltzes, but his fame in this ~respect wa
s eclipsed by his eldest son and his ~[fy45,1]*[fy75,2]Radetzky
March [cf1]([sm1848[nm) is by far the strongest ~survivor of his life's work.[cm
~Strauss, Johann II [fy75,1]([cf2]b [cf1]Vienna, [sm1825[nm; [cf2]d[cf1] Vienna,
 ~[sm1899[nm). Austrian composer, cond., and violinist, ~eldest son of Johann [f
y45,1]*[fy75,1]Strauss, and deservedly ~known as `the Waltz King'. Because his f
ather did ~not want his sons to choose mus. as career, worked ~as bank clerk but
 learned vn. secretly and studied ~comp. with Drechsler. In [sm1844[nm formed ow
n orch. ~of [sm24[nm and appeared as cond. of his own and his ~father's waltzes.
 When his father died, amalgam~~ated both orchs. and toured Austria, Poland, and
 ~Ger. In [sm1855[nm engaged to direct summer concerts ~in Petropaulovsky Park,
St Petersburg, for [sm10[nm ~years. Cond. of Austrian court balls [sm1863[nm=n[s
m72[nm. ~Comp. nearly [sm400[nm waltzes which have come to ~epitomize Viennese g
aiety and sentiment. Visited ~Paris [sm1867[nm, London [sm1867[nm, USA [sm1872[n
m. Turned to ~stage [sm1871[nm, when first of a series of succes
sful ~operettas was produced at the Theater an der ~Wien, the most famous being
[cf2]Die Fledermaus ~[cf1]([sm1874[nm). Of his waltzes, the [cf2]Blue Danube [cf
1]([sm1867[nm),[cf2] ~Roses from the South [cf1]([sm1880[nm), the great [cf2]Emp
eror ~Waltz[cf1] ([sm1888[nm), and [cf2]Tales from the Vienna Woods ~[cf1]([sm18
68[nm) are beloved wherever mus. is played, as ~are his polkas and other dances.
 Was friend and ~admirer of Wagner, who, like Brahms and other ~composers incl.
Schoenberg, were what we should ~now call `fans' of Strauss, recognizing a supre
me ~master of a genre who comp. with style, elegance, ~taste, and wit. Prin. wor
ks:[xm[cm~[ol0][ep~[xp[te~




[do25][j99]~~~~~~[sm153842[nm_SE[sm02[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmSE[sm02[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm16[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm983[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j2][smoperett
as[nm: [fy75,2]Indigo und die vierzig R;Auauber [cf1]([sm1871[nm); ~[cf2]Der Kar
neval in Rom [cf1]([sm1873[nm); [cf2]Die [fy45,1]*[fy75,2]Fledermaus ~[cf1]([sm1
874[nm); [cf2]Cagliostro in Wien [cf1]([sm1875[nm); [cf2]Prinz Methusa~~lem [cf1
]([sm1877[nm); [cf2]Blindekuh [cf1]([sm1878[nm); [cf2]Das Spitzentuch der ~K;Auo
nigin [cf1]([sm1880[nm); [cf2]Der lustige Krieg [cf1]([sm1881[nm); [cf2]Eine ~[f
y45,1]*[fy75,2]Nacht in Venedig [cf1]([sm1883[nm); [cf2]Der [fy45,1]*[fy75,2]Zig
eunerbaron ~[cf1]([sm1885[nm); [cf2]Simplicuis [cf1]([sm1887[nm); [cf2]Ritter P;
Aaazm;Aaan [cf1]([sm1892[nm); ~[cf2]F;auurstin Ninetta [cf1]([sm1893[nm); [cf2]J
ubuka [cf1]([sm1894[nm); [cf2]Waldmeis~~ter [cf1]([sm1895[nm); [cf2]Die G;auotte
n der Vernunft [cf1]([sm1897[nm).[ep~[smballet[nm: [cf2]Cinderel
la[cf1] ([sm1899[nm; completed as [cf2]Aschenbr;auo~~del[cf1] by J. Bayer, f.p.
Berlin [sm1901[nm, f.Eng.p. ~Manchester [sm1979[nm).[ep~[smwaltzes[nm: [cf2]Absc
hied von St Petersburg[cf1], Op. [sm210[nm; ~[cf2]Accelerationen[cf1], Op. [sm23
4[nm; [cf2]An der sch;auonen blauen ~Donau [cf1](On the beautiful [fy45,1]*[fy75
,1]Blue Danube), Op. ~[sm314[nm; [cf2]Architektenball-T;auanze[cf1], Op. [sm36[n
m; [cf2]Cagliostro[cf1], ~Op. [sm370[nm; [cf2]Erinnerung an Covent Garden, [cf1]
Op. [sm139[nm; ~[cf2]Freuet euch des Lebens, [cf1]Op. [sm340[nm; [cf2]Fr;Auuhlin
gsstimmen ~[cf1](Voices of Spring), Op. [sm410[nm; [cf2]Geschichten aus dem ~Wie
nerwald [cf1]([fy45,1]*[fy75,1]Tales From the Vienna Woods), ~Op. [sm325[nm; [cf
2]Grossf;Auurstin Alexandra, [cf1]Op. [sm181[nm;[fj~[cf2]Hofballt;auanze, [cf1]O
p. [sm298[nm; [cf2]Juristenballt;auanze, [cf1]Op. [sm177[nm; ~[fy45,1]*[fy75,2]K
aiser-Walzer [cf1](Emperor Waltz) Op. [sm437[nm; [cf2]Kron~~ungslieder, [cf1]Op.
 [sm184[nm; [cf2]K;Auunstlerleben, [cf1]Op. [sm316[nm; [cf2]Der
~Kuss, [cf1]Op. [sm400[nm; [cf2]Lagunen, [cf1]Op. [sm411[nm; [cf2]Liebesliederwa
l~~[PN699,0,0,R,I0]zer, [cf1]Op.[sm114[nm; [fy45,1]*[fy75,2]Morgenbl;Auatter [cf
1](Morning Papers), ~Op. [sm279[nm; [cf2]Nordseebilder, [cf1]Op. [sm380[nm; [cf2
]O sch;auoner Mai, ~[cf1]Op. [sm365[nm; [cf2]Rathausballt;auanze, [cf1]Op. [sm43
8[nm; [cf2]Rosen aus ~dem S;auuden [cf1]([fy45,1]*[fy75,1]Roses from the South),
 Op. [sm388[nm; ~[cf2]Schneeglockchen, [cf1]Op. [sm143[nm; [cf2]Seid umschlungen
 Milli~~[chonen, [cf1]Op. [sm443[nm; [cf2]Wein, Weib und Gesang [cf1](Wine, ~Wom
an and Song), Op. [sm333[nm; [cf2]Wiener Blut [cf1](Vienna ~Blood), Op. [sm354[n
m; [cf2]Wiener Bonbons, [cf1]Op. [sm307[nm; [cf2]Wo ~die Zitronen bl;auuh'n, [cf
1]Op. [sm364[nm.[ep~[smpolkas[nm: [cf2]Aesculap, [cf1]Op. [sm130[nm; [cf2]Annen,
 [cf1]Op. [sm117[nm; ~[cf2]Armenball, [cf1]Op. [sm176[nm; [cf2]Aurora, [cf1]Op.
[sm165[nm; [cf2]B;auurgerball, ~[cf1]Op. [sm145[nm; [cf2]Champagne, [cf1]Op. [sm
211[nm; [cf2]Damenspende, [cf1]Op. ~[sm305[nm; [cf2]Demolierer,
[cf1]Op. [sm269[nm; [cf2]Electropher, [cf1]Op. [sm297[nm; ~[cf2]Explosionen, [cf
1]Op. [sm43[nm; [cf2]Figaro, [cf1]Op. [sm320[nm; [cf2]Juristenball, ~[cf1]Op. [s
m280[nm; [cf2]Lagerlust, [cf1]Op. [sm431[nm; [cf2]Leichtes Blut[cf1], Op. ~[sm31
9[nm; [cf2]Pizzicato Polka [cf1](with Josef Strauss); [cf2]Tritsch, ~Tratsch, [c
f1]Op. [sm214[nm; [cf2]Unter Donner und Blitz [cf1](Thun~~der and Lightning), Op
. [sm324[nm.[ep~Also, marches, galops, and [cf2]Perpetuum Mobile, [cf1]Op. ~[sm2
57[nm.[cm~[j1]Strauss, Johann [fy75,1](Maria Eduard) [fy65,3]III [fy75,1]([cf2]b
[cf1]. Vienna, ~[sm1866[nm; [cf2]d [cf1]Berlin, [sm1939[nm). Austrian composer a
nd ~cond. Son of Eduard Strauss I. Became a civil ~servant (accountant), but suc
cess of his operetta ~[cf2]Katze und Maus [cf1]([sm1898[nm) caused him to follow
 ~family tradition. Conducted imperial court balls ~in Vienna [sm1901[nm=n[sm05[
nm, relinquishing post after ~criminal conviction for debt.[xm[cm~[j1]Strauss, J
osef [fy75,1]([cf2]b [cf1]Vienna, [sm1827[nm; [cf2]d [cf1]Vienna
, [sm1870[nm). ~Austrian composer, [sm2[nmnd son of Johann [fy45,1]*[fy75,1]Stra
uss I. ~Became architect, but studied mus. secretly and ~cond. in place of his b
rother Johann in [sm1853[nm. ~Formed own orch. and comp. waltzes, etc., for it,
~writing [sm283[nm pieces. Polkas more often played ~today than his waltzes, but
 the latter incl. ~[cf2]Dynamiden, [cf1]Op. [sm173[nm ([sm1865[nm), borrowed by
R. ~Strauss for one of waltz-themes in opera [cf2]Der ~Rosenkavalier[cf1], and [
cf2]Dorfschwalben aus ;auOsterreich ~[cf1]([cf2]Village Swallows[cf1]), Op. [sm1
64[nm.[cm~Strauss, Richard [fy75,1](Georg) ([cf2]b [cf1]Munich, [sm1864[nm; [cf2
]d ~[cf1]Garmisch-Partenkirchen, [sm1949[nm). Ger. composer, ~cond., and pianist
. Son of Franz [fy45,1]*[fy75,1]Strauss, hn.-~player in Munich court orch. Had p
f. lessons at [sm4[nm ~and began composing at [sm6[nm. Vn. lessons at [sm8[nm. ~
Studied theory with F. Meyer [sm1875[nm, but went to ~no mus. acad., having norm
al education, ending ~at Munich Univ. At [sm16[nm wrote first sy
m. and str. ~qt., both being perf. in Munich, [sm1881[nm. In [sm1882[nm ~[cf2]Se
renade [cf1]for wind perf. in Dresden, leading to ~commission from [fy45,1]*[fy7
5,1]B;Auulow for Meiningen Orch. ~[sm2[nmnd Sym. perf. NY [sm1884[nm. Ass. cond.
 to B;Auulow at ~Meiningen [sm1885[nm, succeeding him after a month. ~Left Meini
ngen [sm1886[nm, visited It., and became [sm3[nmrd ~cond. at Munich Opera. His [
cf2]Aus Italien [cf1]perf. ~Munich [sm1887[nm. Ass. cond. to Levi at Bayreuth ~[
sm1889[nm. [sm3[nmrd cond. Weimar Opera [sm1889[nm. Success of ~symphonic poem [
cf2]Don Juan [cf1]est. him as most ~important young composer in Ger. and natural
 ~successor to Wagner, whose widow took great ~interest in his career. Married s
op. Pauline de ~[fy45,1]*[fy75,1]Ahna [sm1894[nm and wrote many songs for her, ~
appearing as her accompanist. First opera [cf2]Guntram ~[cf1]failure at Weimar [
sm1894[nm. [cf1]Ass. cond., Munich ~Opera [sm1894[nm, chief cond. [sm1896[nm=n[s
m8[nm. Cond. Berlin ~P.O. [sm1894[nm=n[sm5[nm. Series of tone-po
ems=m[cf2]Till Eulenspie~~gel, Also sprach Zarathustra, Don Quixote, [cf1]and [c
f2]Ein ~Heldenleben=m[cf1]between [sm1895[nm and [sm1899[nm confirmed ~his statu
re as master of the orch. [sm2[nmnd opera ~[cf2]Feuersnot [cf1]success in Dresde
n and Vienna, [sm1901[nm ~and [sm1902[nm. Visited Eng. [sm1903[nm, USA [sm1904[n
m. F.p. of ~[cf2]Symphonia Domestica [cf1]in NY. Operas [cf2]Salome [cf1]([sm190
5[nm) ~and [cf2]Elektra [cf1]([sm1909[nm) caused sensations through their ~suppo
sedly `obscene' treatment of biblical and ~classical subjects. In latter Strauss
 first collab. with ~Austrian poet Hugo von [fy45,1]*[fy75,1]Hofmannsthal, who ~
was to be librettist of [sm5[nm more of his operas, ~beginning in [sm1911[nm wit
h the [sm18[nmth-cent. comedy ~[cf2]Der Rosenkavalier. [cf1]This work was a triu
mph at its ~Dresden premi;Agere, went straight into the reper~~tory of world's l
eading opera houses, and has ~stayed there. Since [sm1898[nm Strauss had been co
nd. ~of Berlin Royal Opera, living in the capital, but ~after [s
m1908[nm lived in villa at Garmisch and was in ~constant demand as cond. of his
own works. ~Completed his last full-scale orch. work, [cf2]Eine ~Alpensinfonie,
[cf1]in [sm1915[nm. Resigned Berlin post [sm1918[nm ~and became joint dir., Vien
na Opera, [sm1919[nm=n[sm24[nm. ~His opera [cf2]Die Frau ohne Schatten [cf1]and
ballet ~[cf2]Schlagobers [cf1]produced there [sm1919[nm and [sm1924[nm. Opera ~[
cf2]Intermezzo, [cf1]to his own lib. representing incident ~in his own marriage,
 prod. Dresden [sm1924[nm. During ~comp. of [cf2]Arabella[cf1], Hofmannsthal die
d, [sm1929[nm. In ~[sm1933[nm new Nazi r;aaegime in Ger. appointed Strauss ~(wit
hout consultation) pres. of Reichsmusikkam~~mer, but removed him in [sm1935[nm b
ecause of ~disapproval of his collab. with Jewish librettist ~Stefan [fy45,1]*[f
y75,1]Zweig on opera [cf2]Die [cf2]schweigsame Frau, ~[cf1]which was banned afte
r [sm4[nm perfs. Thereafter Strauss ~was tolerated by r;Aaegime but kept under s
urveil~~lance because of Jewish daughter-in-law. Visited ~London
 [sm1936[nm, receiving Gold Medal of Royal ~Phil. Soc. and conducting at CG. [sm
1[nm-act operas ~[cf2]Friedenstag [cf1]and [cf2]Daphne [cf1]prod. [sm1938[nm. Du
ring World ~War II lived mostly in Vienna and comp. operas ~[cf2]Die Liebe der D
anae [cf1]and [cf2]Capriccio. [cf1]In [sm1943[nm reverted ~to instr. comps., wri
ting [sm2[nmnd hn. conc., wind ~sonatinas, ob. conc., and `poem for [sm23[nm str
ings' ~[cf2]Metamorphosen, [cf1]inspired by destruction of Ger. ~opera houses in
 bombing raids. Moved to ~Switzerland [sm1945[nm=n[sm9[nm, not returning to Garm
isch ~until officially cleared of complicity in Nazi ~r;aaegime. Visited London
[sm1947[nm, conducting own ~works and attending perfs. cond. by Beecham. ~His la
st work completed [sm23[nm Nov., [sm1948[nm, was a song [cf2]Malven ~[cf1](Knobe
l), ded. to Maria [fy45,1]*[fy75,1]Jeritza.[ep~^Strauss, like his friend and con
temporary Mah~~ler, had immense dual reputation as composer ~and cond. He was a
master of several mus. forms. ~No sym. orch. can reasonably exis
t without ~having in its repertory his series of magnificent ~tone-poems, in whi
ch brilliance of scoring and ~vividness of representational detail are matched ~
by satisfying mus. construction. Of his [sm15[nm operas ~at least half are regul
arly in the repertories of the ~[PN700,0,0,L,I0]major opera houses. They provide
 superb singing ~roles, particularly for women's vv., of which, ~through his mar
riage to a sop., he had a profound ~understanding. In [cf2]Der Rosenkavalier [cf
1]alone, he ~wrote parts for [sm3[nm sop. in which many a [sm20[nmth-cent. ~repu
tation has been made and which have ~contributed to making it the most popular o
pera ~written in the [sm20[nmth cent., with the probable ~exception of [fy45,1]*
[fy75,2]Madama Butterfly. [cf1]In [cf2]Elektra [cf1]he ~approached the atonal an
d neuro-psychological ~world of Schoenberg and Berg, but turned aside ~to what S
travinsky called the `time-travelling' of ~[cf2]Der Rosenkavalier [cf1]and [cf2]
Ariadne auf Naxos, [cf1]the latter ~being one of several operas
in which Strauss ~treated subjects from classical mythology, invest~~ing them wi
th [sm20[nmth-cent. traits e.g. [cf2]Die ;Auagyptische ~Helena, Daphne, [cf1]and
 [cf2]Die Liebe der Danae. [cf1]His last ~opera, a `conversation piece', [cf2]Ca
priccio, [cf1]has also ~become popular. Strauss's mus. is in the Ger. ~[sm19[nmt
h-cent. tradition deriving from Mendelssohn, ~Liszt, and especially Wagner. Howe
ver, his love ~for Mozart, of whose mus. he was a fine cond., is ~also reflected
 in many works, leading to a curious ~but satisfying blend of [sm18[nmth-cent. e
legance and ~Wagnerian richness as in [cf2]Rosenkavalier, Ariadne, ~[cf1]and [cf
2]Capriccio, [cf1]and particularly in the superb instr. ~works of his last years
. His natural gift for ~counterpoint leads to complex and interweaving ~textures
 in all his works, which has led his critics ~to complain of `note-spinning' for
 its own sake (a ~charge that has some justification), but the former ~tendency
to `write off' Strauss operas comp. ~between [sm1919[nm and [sm1
940[nm is gradually being ~reversed as their virtues become apparent. ~Though he
 wrote some concs., his big display ~pieces are for full orch. and for vv. His u
nacc. ~choral works are in a class of their own, and he ~wrote many first-rate L
ieder, some with orch. A ~song such as [cf2]Morgen[cf1], for example, is a perfe
ct ~blend of melody and expression of the text, while ~its style epitomizes the
highly-developed melodic ~conversational-recit. which was Strauss's lifelong ~pr
eoccupation in his operas and which even ~forms part of the subject-matter of [c
f2]Capriccio. [cf1]His ~last work, the [cf2]Vier letzte Lieder [cf1]([cf2][sm4[n
m Last Songs[cf1]) for ~sop. and orch. is a remarkable and moving ~summing-up of
 his life's work as well as a ~testament to all that the late-romantic style had
 ~meant to the art of mus. Prin. works:[xm[cm~[j2][smoperas[nm (with dates of f.
p. and cond.'s name): ~[fy45,1]*[fy75,2]Guntram[cf1], Op. [sm25[nm, Weimar, [sm1
894[nm (Strauss); ~[fy45,1]*[fy75,2]Feuersnot, [cf1]Op. [sm50[nm
, Dresden, [sm1901[nm (Schuch); ~[fy45,1]*[fy75,2]Salome, [cf1]Op. [sm54[nm, Dre
sden, [sm1905[nm (Schuch); ~[fy45,1]*[fy75,2]Elektra, [cf1]Op. [sm58[nm, Dresden
, [sm1909[nm (Schuch); [cf2]Der ~[fy45,1]*[fy75,2]Rosenkavalier, [cf1]Op. [sm59[
nm, Dresden, [sm1911[nm (Schuch); ~[fy45,1]*[fy75,2]Ariadne auf Naxos, [cf1]Op.
[sm60[nm, Stuttgart, [sm1912[nm ~(Strauss); rev. version, Vienna, [sm1916[nm (Sc
halk); ~[cf2]Die [fy45,1]*[fy75,2]Frau ohne Schatten, [cf1]Op. [sm65[nm, Vienna,
 [sm1919[nm ~(Schalk); [fy45,1]*[fy75,2]Intermezzo, [cf1]Op. [sm72[nm, Dresden,
[sm1924[nm ~(Busch); [cf2]Die [fy45,1]*[fy75,2];Auagyptische Helena, [cf1]Op. [s
m75[nm, Dresden, ~[sm1928[nm (Busch); [fy45,1]*[fy75,2]Arabella, [cf1]Op. [sm79[
nm, Dresden, [sm1933[nm ~(Krauss); [cf2]Die [fy45,1]*[fy75,2]schweigsame Frau, [
cf1]Op. [sm80[nm, Dresden, ~[sm1935[nm (B;auohm); [fy45,1]*[fy75,2]Friedenstag,
[cf1]Op. [sm81[nm, Munich, ~[sm1938[nm (Krauss); [fy45,1]*[fy75,2]Daphne, [cf1]O
p. [sm82[nm, Dresden, [sm1938[nm ~(B;auohm); [cf2]Die [fy45,1]*[
fy75,2]Liebe der Danae, [cf1]Op. [sm83[nm, dress ~rehearsal only Salzburg, [sm19
44[nm (Krauss); Salzburg, ~[sm1952[nm (Krauss); [fy45,1]*[fy75,2]Capriccio, [cf1
]Op. [sm85[nm, Munich, [sm1942[nm ~(Krauss).[ep~[smballets and other stage works
[nm: [fy45,1]*[fy75,2]Josephslegende, ~[cf1]Op. [sm63[nm ([sm1913[nm=n[sm14[nm);
 [cf2]Der B;Auurger als Edelmann [cf1]([cf2]Le ~[fy45,1]*[fy75,2]Bourgeois Genti
lhomme[cf1]), incidental mus. for[fj~Moli;agere-Hofmannsthal play, Op. [sm60[nm
([sm1912[nm=n[sm17[nm); ~[fy45,1]*[fy75,2]Schlagobers[cf1], Op. [sm70[nm ([sm192
1[nm=n[sm2[nm); [cf2]Des Esels Schatten[cf1], ~children's mus. play ([sm1947=n8[
nm, completed from ~sketches by K. Haussner), Ettal [sm1964[nm, London ~[sm1970[
nm.[ep~[smorch[nm: [cf2]Serenade [cf1]in E;Yh, for [sm13[nm wind instr., Op. [sm
7[nm ~([sm1881[nm=n[sm2[nm); [cf2]Suite [cf1]in B;Yh, for [sm13[nm wind instr.,
Op. [sm4[nm ~([sm1883[nm=n[sm4[nm); Symphonies: No. [sm1[nm in D minor ([sm1880[
nm, ~unpubd.), No. [sm2[nm in F minor, Op. [sm12[nm ([sm1883[nm=
n[sm4[nm), ~[fy45,1]*[fy75,2]Symphonia Domestica, [cf1]Op. [sm53[nm ([sm1902[nm=
n[sm3[nm), [cf2]Eine ~[fy45,1]*[fy75,2]Alpensinfonie[cf1], Op. [sm64[nm ([sm1911
[nm=n[sm15[nm); [fy45,1]*[fy75,2]Aus Italien, ~[cf1]symphonic fantasy, Op. [sm16
[nm ([sm1886[nm); [cf1]Symphonic ~poems[cf1]: [fy45,1]*[fy75,2]Macbeth, [cf1]Op.
 [sm23[nm ([sm1887[nm=n[sm8[nm, rev. [sm1889[nm=n~[sm90[nm), [fy45,1]*[fy75,2]Do
n Juan, [cf1]Op. [sm20[nm ([sm1888[nm), [fy45,1]*[fy75,2]Tod und ~Verkl;Auarung,
 [cf1]Op. [sm24[nm ([sm1888[nm=n[sm9[nm), [fy45,1]*[fy75,2]Till Eulenspiegels ~l
ustige Streiche, [cf1]Op. [sm28[nm, ([sm1894[nm=n[sm5[nm), [fy45,1]*[fy75,2]Also
 sprach ~Zarathustra, [cf1]Op. [sm30[nm ([sm1896[nm), [fy45,1]*[fy75,2]Don Quixo
te, [cf1]Op. [sm35[nm ~([sm1896[nm=n[sm7[nm), [cf2]Ein [fy45,1]*[fy75,2]Heldenle
ben, [cf1]Op. [sm40[nm, ([sm1897[nm=n[sm8[nm); ~[cf2]Festliches Pr;Aualudium, [c
f1]orch. and organ, Op. [sm61[nm ~([sm1913[nm); [cf2]Suite, Le [fy45,1]*[fy75,2]
Bourgeois Gentilhomme, [cf1]Op. [sm60[nm, ~([sm1918[nm); [cf2]Da
nce Suite [cf1](after Couperin) ([sm1922[nm); ~Sonatina No. [sm1[nm in F, for [s
m16[nm wind instr. ([sm1943[nm), ~No. [sm2[nm in E;Yh, for [sm16[nm wind instr.
([sm1944[nm=n[sm5[nm); ~[fy45,1]*[fy75,2]Metamorphosen, [cf1]for [sm23[nm solo s
tr. ([sm1945[nm).[ep~[smconcertos[nm etc: Hn. Conc. No. [sm1[nm in E;Yh, Op. [sm
11[nm ~([sm1882[nm=n[sm3[nm), No. [sm2[nm in E;Yh ([sm1942[nm); Vn. Conc. in D ~
minor, Op. [sm8[nm ([sm1881[nm=n[sm2[nm); [fy45,1]*[fy75,2]Burleske [cf1]in D mi
nor, ~pf. and orch. ([sm1885[nm=n[sm6[nm, rev. [sm1890[nm); [fy45,1]*[fy75,2]Par
ergon zur ~Symphonia Domestica, [cf1]pf. (left hand) and orch., ~Op. [sm73[nm ([
sm1925[nm); [cf2]Panathen;Auaenzug, [cf1]pf. (left hand) ~and orch., Op. [sm74[n
m ([sm1927[nm); oboe conc. ([sm1945[nm=n[sm6[nm); ~[cf2]Duett-Concertino, [cf1]c
l., bn., str., and harp ([sm1947[nm).[ep~[smchamber music[nm: Str. Qt., Op. [sm2
[nm ([sm1879[nm=n[sm80[nm); Pf. Qt., ~Op. [sm13[nm ([sm1883[nm=n[sm4[nm); Vc. So
nata, Op. [sm6[nm ([sm1881[nm=n[sm3[nm); ~Vn. Sonata, Op. [sm18[
nm ([sm1887[nm=n[sm8[nm).[ep~[smpiano[nm: Sonata in B minor, Op. [sm5[nm ([sm188
1[nm); [cf2][sm5[nm ~Stimmungsbilder, [cf1]Op. [sm9[nm ([sm1883[nm=n[sm4[nm).[ep
~[smchoral[nm: [cf2]Wandrers Sturmlied, [cf1]Op. [sm14[nm, ch. and orch. ~([sm18
84[nm); [cf2]Der Abend [cf1]and [cf2]Hymne, [cf1]Op. [sm34[nm, for unacc. ~ch. (
[sm1897[nm); [cf2]Taillefer, [cf1]Op. [sm52[nm, sop., ten., bar., ch., ~and orch
. ([sm1903[nm); [fy45,1]*[fy75,2]Deutsche Motette, [cf1]Op. [sm62[nm, sop., ~alt
o, ten., bass, and unacc. ch. ([sm1913[nm, rev. [sm1943[nm); ~[cf2]Die Tageszeit
en, [cf1]Op. [sm76[nm, [sm4[nm songs for male ch. and ~orch. ([sm1928[nm); [cf2]
Die G;Auottin im Putzzimmer, [cf1]unacc. ~ch. ([sm1935[nm); [fy45,1]*[fy75,2]An
den Baum Daphne, [cf1]unacc. ch. ~([sm1943[nm).[ep~[smsong[nm-[smcycles[nm: [fy4
5,1]*[fy75,2]Kr;Auamerspiegel, [cf1]Op. [sm66[nm, v. and pf. ~([sm1918[nm); [fy4
5,1]*[fy75,2]Vier letzte Lieder [cf1]([sm4[nm Last Songs) for high ~v. and orch.
 ([sm1948[nm).[ep~[smsongs[nm (with pf. and/or orch.): Strauss w
rote over ~[sm200[nm songs, publishing them in groups. Listed ~below alphabetica
lly is a selective group of the ~best-known, with opus numbers where applica~~bl
e. The sign ;sd means that an orch. acc. (not ~[PN701,0,0,R,I0]necessarily by St
rauss) exists: [cf2]Allerseelen, [cf1]Op. [sm10[nm ~No. [sm9[nm ([sm1885[nm), [c
f2]All' mein Gedanken, [cf1]Op. [sm21[nm No. [sm1[nm ~([sm1888[nm), ;sd[cf2]Das
B;Auachlein [cf1]([sm1933[nm), ;Sd[cf2]Befreit, [cf1]Op. [sm39[nm No. ~[sm4[nm (
[sm1898[nm), ;sd[cf2]C;auacilie[cf1], Op. [sm27[nm No. [sm2[nm ([sm1894[nm), [cf
2]Du meines ~Herzens Kr;Auonelein, [cf1]Op. [sm21[nm No. [sm2[nm ([sm1888[nm), [
cf2]Einerlei, ~[cf1]Op. [sm69[nm No. [sm3[nm ([sm1918[nm), [cf2]Einkehr, [cf1]Op
. [sm47[nm No. [sm4[nm ~([sm1900[nm), ;Sd[cf2]Freundliche Vision, [cf1]Op. [sm48
[nm No. [sm1[nm ([sm1900[nm), ~[cf2]Gefunden, [cf1]Op. [sm56[nm No. [sm1[nm ([sm
1903[nm=n[sm6[nm), [cf2]Hat gesagt, [cf1]Op. ~[sm36[nm No. [sm3[nm ([sm1897[nm),
 ;Sd[cf2]Die Heiligen drei K;Auonigen, [cf1]Op. ~[sm56[nm No. [s
m6[nm ([sm1906[nm), ;Sd[cf2]Heimkehr, [cf1]Op. [sm15[nm No. [sm5[nm ([sm1886[nm)
, ~;Sd[cf2]Heimliche Aufforderung, [cf1]Op. [sm27[nm No. [sm3[nm ([sm1894[nm), ~
;Sd[cf2]Ich wollt' ein Str;auausslein binden, [cf1]Op. [sm68[nm No. [sm2[nm ~([s
m1918[nm), ;Sd[cf2]Liebes-hymnus, [cf1]Op. [sm32[nm No. [sm3[nm ([sm1896[nm), ~;
Sd[cf2]Mein Auge, [cf1]Op. [sm37[nm No. [sm4[nm ([sm1897[nm), ;Sd[cf2]Meinem Kin
de, ~[cf1]Op. [sm37[nm No. [sm3[nm ([sm1897[nm), ;Sd[cf2]Morgen[cf1], Op. [sm27[
nm No. [sm4[nm ~([sm1894[nm), ;Sd[cf2]Muttertanderlei, [cf1]Op. [sm43[nm No. [sm
2[nm ([sm1899[nm), ~[cf2]Die Nacht, [cf1]Op. [sm10[nm No. [sm3[nm ([sm1885[nm),
[cf2]Nachtgang, [cf1]Op. ~[sm29[nm No.[sm3[nm ([sm1895[nm), [cf2]Nichts, [cf1]Op
. [sm10[nm No. [sm2[nm ([sm1885[nm) ;Sd[cf2]Das ~Rosenband, [cf1]Op. [sm36[nm No
. [sm1[nm ([sm1897[nm), ;Sd[cf2]Ruhe, meine ~Seele, [cf1]Op. [sm27[nm No. [sm1[n
m ([sm1894[nm), ;Sd[cf2]S;Auausle, Liebe Myrthe, ~[cf1]Op. [sm68[nm No. [sm3[nm
([sm1918[nm), [cf2]Schlechtes Wetter, [cf1]Op. [sm69[nm ~No. [sm
5[nm ([sm1918[nm), ;Sd[cf2]St;Auandchen, [cf1]Op. [sm17[nm No. [sm2[nm ([sm1887[
nm), ~[cf2]Der Stern, [cf1]Op. [sm69[nm No. [sm1[nm ([sm1918[nm), ;Sd[cf2]Traum
durch die ~D;Auammerung, [cf1]Op. [sm29[nm No. [sm1[nm ([sm1895[nm), ;Sd[cf2]Wal
dseligkeit, ~[cf1]Op. [sm49[nm No. [sm1[nm ([sm1901[nm), ;Sd[cf2]Wiegenlied, [cf
1]Op. [sm41[nm No. [sm1[nm ~([sm1899[nm), [cf2]Wozu noch, M;Auadchen, [cf1]Op. [
sm19[nm No. [sm1[nm ([sm1887[nm=n~[sm8[nm), ;Sd[cf2]Zueignung, [cf1]Op. [sm10[nm
 No. [sm1[nm ([sm1885[nm).[cm~[j1]Stravaganza, La [fy75,1](The Extraordinary). T
itle of ~Vivaldi's Op. [sm4[nm, [sm12[nm vn. concs., pubd. Amsterdam ~[cf2]c[cf1
].[sm1714[nm.[cm~[ol0][ep~[xp[u20]~~[te~




[do25][j99]~~~~~~[sm153842[nm_SE[sm03[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT OF MUSIC[cmSE[sm03[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm16[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm999[nm[cm~GC[cm3[cm25.9.84[cm~U1[cm~~~~[ap[j1][j1]Stravinsky,
 Igor [fy75,1](Fyodorovich) ([cf2]b [cf1]Oranienbaum, ~[sm1882[nm; [cf2]d [cf1]N
Y, [sm1971[nm). Russ.-born composer, cond., ~pianist, and writer (Fr. citizen [s
m1934[nm, Amer. citizen ~[sm1945[nm). Son of prin. bass at Imperial Opera, St ~P
etersburg. Went to St Petersburg Univ. [sm1901[nm to ~study law but increasingly
 spent time in mus. ~pursuits. Spent much time at Rimsky-Korsakov's ~house, beco
ming his pupil in [sm1903[nm. Began first ~sym., [sm1905[nm, also pf. sonata. Wh
en his short orch. ~pieces [cf2]Fireworks [cf1]and [cf2]Scherzo fantastique [cf1
]were ~played in St Petersburg in [sm1909[nm, they were heard ~by [fy45,1]*[fy75
,1]Diaghilev, who had by then formed the ~famous Ballets Russes in Paris. He inv
ited ~Stravinsky to compose a ballet on the legend of ~[cf2]The
Firebird, [cf1]Lyadov having failed to meet his ~deadline, for [sm1910[nm season
. Its success made ~Stravinsky world-famous, and was followed by ~[cf2]Petrushka
 [cf1]([sm1911[nm) and by [cf2]The Rite of Spring [cf1]([sm1913[nm), ~the f.p. o
f the latter causing a riot. By then, ~Stravinsky was regarded as the leader of
the mus. ~[cf2]avant-garde. [cf1]With the Russ. Revolution of [sm1917[nm, ~resul
ting in confiscation of his property, and the ~financial troubles of the Diaghil
ev co., Stravinsky ~thought of forming a small touring th. co. to ~present inexp
ensively mounted productions. The ~result was [cf2]The Soldier's Tale [cf1]([cf2
]L'Histoire du Soldat[cf1]), ~for chamber ens.; it also enabled him to combine ~
[sm2[nm of his main interests, Russ. folk-rhythms and ~Amer. jazz. His ballet [c
f2]Pulcinella[cf1], composed for ~Diaghilev in [sm1919[nm=n[sm20[nm, was a `re-c
omposition' of ~mus. attrib. to Pergolesi and initiated the `neo-~classical' pha
se in Stravinsky's career. His last ~overtly Russ. works of this
 period were the ballet ~[cf2]Les Noces [cf1]and the opera [cf2]Mavra. [cf1]Sett
ling in Fr., he ~wrote a series of works in which the spirit of the ~[sm18[nmth
cent. is invoked but with unmistakably ~[sm20[nmth-cent. harmonic and rhythmic f
lavouring. ~The pf. conc., in which he played the solo part, ~the [cf2]Capriccio
 [cf1]for pf. and orch., the vn. conc., the ~ballet [cf2]Apollo Musagetes, [cf1]
the Sym. in C major and, ~most of all the Hogarthian opera [cf2]The Rake's ~Prog
ress [cf1]([sm1951[nm), are the finest flowers of this facet ~of Stravinsky's ar
t. On the other hand, the opera-~oratorio [cf2]Oedipus Rex [cf1]([sm1926[nm=n[sm
7[nm), for which Cocteau ~wrote the text, is [sm19[nmth cent. and Verdian in its
 ~heroic melodies. In [sm1939[nm he settled in the USA, ~moving eventually to Lo
s Angeles where the ~climate suited one who had contracted tubercu~~losis in [sm
1936[nm=n[sm7[nm. His first major `American' work ~was the [cf2]Symphony in [sm3
[nm Movements [cf1]of [sm1945[nm. Yet ~another turning-point was
 the ballet [cf2]Orpheus ~[cf1]([sm1947[nm), which had led Stravinsky to study o
f ~Monteverdi, and a meeting with the young ~Amer. cond. Robert [fy45,1]*[fy75,1
]Craft, who (besides an ~enthusiasm for Stravinsky) combined interest in ~the Ba
roque period with intense sympathy for ~the [sm2[nmnd Viennese Sch. of Schoenber
g, etc. ~Stravinsky had lately shown awareness of serial~~ism, particularly as p
ractised by Webern, and, ~spurred by Craft, his work now began to reflect ~these
 new interests, as in the [cf2]Canticum Sacrum [cf1]of ~[sm1955[nm, the [cf2]Thr
eni [cf1]of [sm1958[nm, the ballet [cf2]Agon, [cf1]and ~[cf2]Movements [cf1]for
pf. and orch. In [sm1962[nm he was invited ~to return to Russ., a triumphant tou
r ending in ~his reception by the then Soviet leader Khruschev ~at the Kremlin.
In his final years he wrote short, ~bare works, many of them religious in feelin
g ~and form, at the opposite pole from the opulence ~of his early successes. He
is buried in Venice near ~to Diaghilev, as he wished.[ep~^Stravi
nsky's place as a seminal figure in [sm20[nmth-~cent. mus. and individually as a
 great composer ~seems assured. Though it used to be said he ~`changed his skin'
 every few years, and though he ~did, superficially at any rate, alter his style
 more ~than once, he remained fundamentally himself ~throughout his life. Like h
is antithesis Strauss, he ~was a time-traveller, at home in centuries other ~tha
n his own. Yet when he touched Pergolesi, ~Gesualdo, and Tchaikovsky, they becam
e Stravin~~skyan re-creations. Where the prin. features of ~Strauss's mus. are c
omplex harmonic and contra~~puntal textures, the overriding feature of Stravin~~
sky from first to last is rhythm. It is rhythm, in ~many wonderful forms from th
e primitive ([cf2]Les ~Noces[cf1]) to the sophisticated ([cf2]Rite of Spring[cf1
]), which ~is the mainspring of his work. With the great ~Diaghilev ballets he t
ook part in a golden age in ~assoc. with some of the most extraordinary talents
~of the century, not only Diaghilev but Nijinsky, ~Picasso, Baks
t, Fokine, and others. Later Cocteau, ~Auden, and Dylan Thomas came within his o
rbit. ~The sense of th. and of the dance is never wholly ~absent from even his m
ost austere works, such as ~the [cf2]Mass [cf1]of [sm1948[nm, nor his delight in
 childlike fun ~[PN702,0,0,L,I0](the [cf2]Circus Polka[cf1],[cf2] Jeu de cartes[
cf1], etc.), and his ~sardonic humour. It seems appropriate that ~almost his las
t work was a setting of Lear's [cf2]The ~Owl and the Pussycat. [cf1]His critics
once used to write ~of a `soulless' mus., bare of expression and ~emotion. As he
 recedes from us and his mus. ~comes into perspective, the wrongheadedness of ~t
his judgment provokes either mirth or anger. ~Prin. works:[xm[cm~[j2][smoperas[n
m: [fy75,2]The [fy45,1]*[fy75,2]Nightingale [cf1]([sm1908=n9[nm, [sm1913=n14[nm)
; ~[fy45,1]*[fy75,2]Mavra [cf1]([sm1921[nm=n[sm2[nm); [fy45,1]*[fy75,2]Oedipus R
ex [cf1]([sm1926[nm=n[sm7[nm, also ~can be perf. as oratorio); [cf2]The [fy45,1]
*[fy75,2]Rake's Progress ~[cf1]([sm1948[nm=n[sm51[nm).[ep~[smthe
atre pieces[nm: [fy45,1]*[fy75,2]Renard, [cf1]burlesque ([sm1915[nm=n[sm16[nm);
~[cf2]L'[fy45,1]*[fy75,2]histoire du soldat [cf1]([cf2]The Soldier's Tale[cf1])
[cf1]([sm1918[nm); ~[fy45,1]*[fy75,2]Pers;Aaephone, [cf1]melodrama for ten., ch.
, and orch. ~([sm1933[nm=n[sm4[nm); [cf2]The [fy45,1]*[fy75,2]Flood, [cf1]mus. p
lay ([sm1961[nm=n[sm2[nm).[ep~[smballets[nm: [cf2]The [fy45,1]*[fy75,2]Firebird
[cf1]([cf2]Zhar-Ptitsa[cf1]) ([sm1909[nm=n[sm10[nm); ~[fy45,1]*[fy75,2]Petrushka
 [cf1]([sm1910[nm=n[sm11[nm); [cf2]The [fy45,1]*[fy75,2]Rite of Spring [cf1]([cf
2]Vesna ~Svyashchennaya[cf1]) ([sm1911[nm=n[sm13[nm); [cf2]Les[fy45,1]*[fy75,2]N
oces [cf1]([sm1914[nm=n[sm17[nm, ~and revisions); [fy45,1]*[fy75,2]Pulcinella [c
f1](after Pergolesi) ~([sm1919[nm=n[sm20[nm); [fy45,1]*[fy75,2]Apollo Musagetes
[cf1]([sm1927[nm=n[sm8[nm); [cf2]The ~Fairy's Kiss [cf1]([cf2]Le [fy45,1]*[fy75,
2]baiser de la f;aaee[cf1]) (after Tchaikov~~sky) ([sm1928[nm); [fy45,1]*[fy75,2
]Jeu de cartes [cf1]([sm1936[nm); [fy45,1]*[fy75,2]Circus Polka
~[cf1]([sm1942[nm); [fy45,1]*[fy75,2]Orpheus [cf1]([sm1947[nm); [fy45,1]*[fy75,2
]Agon [cf1]([sm1953[nm, [sm1956[nm=n[sm7[nm).[ep~[smorch[nm: Symphonies: No. [sm
1[nm in E;Yh ([sm1905[nm=n[sm7[nm), Sym. ~in C ([sm1938[nm=n[sm40[nm), [fy45,1]*
[fy75,2]Symphony in [sm3[nm Movements ~[cf1]([sm1942[nm=n[sm5[nm); [cf2]Scherzo
Fantastique [cf1]([sm1907[nm=n[sm8[nm); [fy45,1]*[fy75,2]Fire~~works [cf1]([sm19
08[nm); [cf2]Suite, The Firebird [cf1](first version ~[sm1911[nm, [sm2[nmnd vers
ion [sm1919[nm, [sm3[nmrd version [sm1945[nm); [cf2]Song ~of the Nightingale, [c
f1]symphonic poem from mus. ~of the opera ([sm1917[nm), [cf2]Ragtime, [cf1][sm11
[nm instr. ([sm1918[nm); ~[cf2]Suites [cf1]for small orch., No. [sm1[nm ([sm1917
[nm=n[sm25[nm), No. [sm2[nm ~([sm1921[nm); [cf2]Symphonies of Wind Instruments [
cf1]([sm1920[nm, ~rev. [sm1945[nm=n[sm7[nm); [cf2]Suite [cf1]from [cf2]Pulcinell
a[cf1], chamber ~orch. ([cf2]c.[cf1][sm1922[nm, rev. [sm1947[nm); [cf2]Divertime
nto [cf1](arr. from ~[cf2]The Fairy's Kiss[cf1]) ([sm1934[nm, re
v. [sm1949[nm); [cf2]Preludium ~[cf1](orig. for jazz band [sm1936[nm=n[sm7[nm, o
rch. [sm1953[nm); Conc. ~for chamber orch. [fy45,1]*[fy75,2]Dumbarton Oaks [cf1]
([sm1937[nm=n[sm8[nm); ~[bc[cf2]Danses Concertantes [cf1]([sm1941[nm=n[sm2[nm);
[cf2][sm4[nm Norwegian Moods ~[cf1]([sm1942[nm); [cf2]Ode [cf1]([sm1943[nm); [cf
2]Scherzo ;aga la Russe [cf1]([sm1943[nm=n[sm4[nm, ~version for Paul Whiteman Ba
nd [sm1944[nm); [fy45,1]*[fy75,2]Circus ~Polka [cf1]([sm1944[nm, orch. of pf. pi
ece [sm1942[nm); Conc. in D ~for str. ([sm1946[nm); [cf2]Tango[cf1], for [sm19[n
m instr. ([sm1953[nm, orch. ~of pf. piece [sm1940[nm); [cf2]Greetings Prelude [c
f1]([sm1955[nm);[ec ~[cf2]Monumentum pro Gesualdo di Venosa ad CD ~annum, [cf1][
sm3[nm Gesualdo madrigals recomposed for ~instr. ([sm1960[nm); [cf2]Variations [
cf1](in memoriam Aldous ~Huxley) ([sm1963[nm=n[sm4[nm).[ep~[smsolo instr. and or
ch[nm: Conc. for pf. and wind ~instr. ([sm1923[nm=n[sm4[nm); [cf2]Capriccio, [cf
1]pf. and orch. ([sm1928[nm=n~[sm9[nm); Vn. Conc. ([sm1931[nm);
[fy45,1]*[fy75,2]Ebony Concerto, [cf1]cl. and ~chamber orch. ([sm1945[nm); [fy45
,1]*[fy75,2]Movements, [cf1]pf. and orch. ~([sm1958[nm=n[sm9[nm).[ep~[smvoices a
nd instr[nm: [cf2]The King of the Stars, [cf1]cantata, ~male ch. and orch. ([sm1
911[nm=n[sm12[nm); [fy45,1]*[fy75,2]Symphony of ~Psalms, [cf1]ch. and orch. ([sm
1930[nm); [cf2]Babel, [cf1]cantata, ~narrator, male ch., and orch. ([sm1944[nm);
 [cf2]Mass, ~[cf1]mixed ch. and double wind quintet ([sm1944[nm=n[sm8[nm); ~[fy4
5,1]*[fy75,2]Cantata, [cf1]sop., ten., female ch., and chamber ~ens. ([sm1951[nm
=n[sm2[nm); [fy45,1]*[fy75,2]Canticum Sacrum ad honorem ~Sancti Marci Nominis, [
cf1]ten., bar., ch., and orch. ~([sm1955[nm); [fy45,1]*[fy75,2]Threni, [cf1]sop.
, alto, [sm2[nm tens., bass, basso ~profundo, ch., and orch. ([sm1957[nm=n[sm8[n
m); [cf2]A Sermon, A ~Narrative, and a Prayer, [cf1]cantata, alto, ten., ~speake
r, ch., and orch. ([sm1960[nm=n[sm1[nm); [fy45,1]*[fy75,2]Abraham and ~Isaac, [c
f1]bar. and chamber orch. ([sm1962[nm=n[sm3[nm); [cf2]Introitus
~[cf1](T. S. Eliot in memoriam), tens., basses, chamber ~ens. ([sm1945[nm); [cf2
]Requiem Canticles, [cf1]alto, bass, ch., and ~orch. ([sm1965[nm=n[sm6[nm).[ep~[
smunacc. voices[nm: [cf2]Saucers: [sm4[nm Russian Peasant Songs, ~[cf1]unacc. fe
male vv. ([sm1914[nm=n[sm17[nm, rev. for equal vv., [sm4[nm ~hn., [sm1954[nm); [
cf2]Pater Noster, [cf1]mixed ch. ([sm1926[nm); [cf2]Credo, ~[cf1]mixed ch. ([sm1
932[nm, [sm1949[nm, [sm1964[nm); [cf2]Ave Maria, [cf1]mixed ~ch. ([sm1934[nm,[sm
1949[nm); [cf2]Little Canon, [cf1][sm2[nm tens. ([sm1947[nm); [cf2]The ~Dove Des
cending[cf1], mixed ch. ([sm1962[nm).[ep~[smchamber music[nm: [cf2][sm3[nm Piece
s, [cf1]cl. ([sm1919[nm); [cf2]Concertino [cf1]for ~str. qt. ([sm1920[nm), arr.
for [sm12[nm instr. ([sm1952[nm); [cf2]Octet [cf1]for ~fl., cl., [sm2[nm bn., [s
m2[nm tpt., ten. tb., bass tb. ([sm1922[nm=n[sm3[nm, ~rev. [sm1952[nm); [cf2]Duo
 Concertant, [cf1]vn. and pf. ([sm1931[nm=n~[sm2[nm); [cf2]Suite Italienne [cf1]
(arr. from [cf2]Pulcinella[cf1]), vn. or vc. ~and pf. ([sm1932[n
m); [cf2]Elegy, [cf1]vn. con sordini ([sm1944[nm); ~[cf2]Septet, [cf1]cl., hn.,
bn., pf., vn., va., vc. ([sm1952[nm=n[sm3[nm); ~[cf2]Epitaphium[cf1], fl., cl.,
hp. ([sm1959[nm).[ep~[smpiano[nm: Sonata in F;Yi minor ([sm1903[nm=n[sm4[nm); [c
f2][sm4[nm Studies ~[cf1]([sm1908[nm); [cf2][sm3[nm Easy Pieces, [cf1]duet ([sm1
914[nm=n[sm15[nm); [cf2][sm5[nm Easy ~Pieces, [cf1]duet ([sm1916[nm=n[sm17[nm);
[cf2]Piano Rag-Music [cf1]([sm1919[nm); ~[cf2]Sonata [cf1]([sm1924[nm); [cf2]Ser
enade [cf1]in A ([sm1925[nm); Conc., [sm2[nm ~solo pf. ([sm1931[nm, [sm1934[nm=n
[sm5[nm); [cf2]Tango [cf1]([sm1940[nm, arr. for [sm19[nm ~instr. [sm1953[nm); [f
y45,1]*[fy75,2]Circus Polka [cf1]([sm1942[nm, arr. for orch. ~[sm1944[nm); Sonat
a, [sm2[nm pf. ([sm1943[nm=n[sm4[nm).[ep~[smsongs with piano or other instr.[nm:
 [cf2]Faun and ~Shepherdess, [cf1]song suite, mez. and orch. ([sm1906[nm); ~[cf2
]Pastorale, [cf1]sop. and pf. ([sm1907[nm); [cf2][sm2[nm Melodies, [cf1]mez. ~an
d pf. ([sm1907[nm=n[sm8[nm); [cf2][sm2[nm Verlaine Poems, [cf1]b
ar. and pf. ~([sm1910[nm, with orch. [sm1951[nm); [cf2][sm2[nm Balmont Poems, [c
f1]high ~v. and pf. ([sm1911[nm, with chamber orch. [sm1954[nm); [cf2][sm3[nm ~J
apanese Lyrics, [cf1]sop. and pf. ([sm1912[nm=n[sm13[nm); [fy45,1]*[fy75,2]Priba
~~outki, [cf1]v. and instr. ([sm1914[nm); [cf2]Cat's Cradle Songs, [cf1]alto ~an
d [sm3[nm cls. ([sm1915[nm=n[sm16[nm); [cf2]Berceuse, [cf1]v. and pf. ([sm1917[n
m); ~[cf2][sm3[nm Shakespeare Songs, [cf1]mez., fl., cl., va. ([sm1953[nm); [cf2
]In ~Memoriam Dylan Thomas, [cf1]ten., str. qt., [sm4[nm tbs. ~([sm1954[nm); [cf
2]Elegy for J.F.K. [cf1];obJ. F. Kennedy, President ~of USA;cb, bar., [sm3[nm cl
s. ([sm1964[nm); [cf2]The [fy45,1]*[fy75,2]Owl and the ~Pussycat, [cf1]v. and pf
. ([sm1966[nm).[ep~[smarrangements[nm: Chopin: [cf2]Nocturne [cf1]in A;Yh and [c
f2]Valse ~brillante [cf1]in E;Yh, orch. for [cf2]Les Sylphides [cf1]([sm1909[nm)
; ~Bach: [cf2]Vom Himmel hoch, [cf1]mixed ch. and orch. ~([sm1955=n6[nm); [cf2][
sm2[nm Preludes and Fugues [cf1]from the `[sm48[nm', ~str., wood
wind ([cf2]c[cf1].[sm1969[nm); Gesualdo[cf1]: [cf2]Tres sacrae ~cantiones, [cf1]
reconstructed parts ([sm1957[nm and [sm1959[nm); ~Sibelius[cf1]:[cf2] Canzonetta
, [cf1]Op. [sm62[nma (orig. for str., [sm1911[nm), ~arr. for [sm4[nm hns., [sm2[
nm cls., harp, db. ([sm1963[nm); Wolf: [cf2][sm2[nm ~Sacred Songs[cf1] from [cf2
]Spanisches Liederbuch[cf1], mez. and ~[sm9[nm instr. ([sm1968[nm). Other works:
 [cf2]Song of the Volga ~Boatmen[cf1], orch. ([sm1917[nm); [cf2]La Marseillaise,
 [cf1]for solo ~vn. ([sm1919[nm); [cf2]The Star-Spangled Banner[cf1], for orch.
~and optional ch. ([sm1941[nm).[cm~[j1]Stravinsky, Svyatoslav [fy75,1](Soulima)
([cf2]b [cf1]Lausanne, ~[sm1910[nm). Swiss-born pianist, son of Igor [fy45,1]*[f
y75,1]Stravinsky. ~Studied Paris with I. Philipp and N. Boulanger. ~Stravinsky w
rote the Conc. for [sm2[nm solo pf. ([sm1931[nm=n~[sm5[nm) for Soulima and himse
lf to play and they gave ~f.p. in Paris, [sm1935[nm. Settled in USA.[cm~[PN703,0
,0,R,I0]Street Corner. [fy75,1]Ov. for orch. by Rawsthorne, f.p.
 ~[sm1944[nm. Version for wind band by R. O'Brien.[cm~Street Piano. [fy75,1]Inst
r. used by vagrant musicians, ~being a mechanical type of pf. By turning a ~hand
le to operate a barrel-and-pin mechanism, a ~selection of tunes is available. So
metimes called ~[cf2]piano-organ.[cm~Streich [fy75,1](Ger.). Stroke (of bow). [c
f2]Streichquartett, ~[cf1]string quartet, [cf2]Streichstimmen, [cf1]string-toned
 stops ~(org.), etc.[cm~Streich, Rita [fy75,1]([cf2]b [cf1]Barnaul, [sm1920[nm).
 Ger. sop., studied ~in Berlin with Erna Berger, Maria Ivog;Auun, and ~Willi Dom
graf-Fassb;Auander. Opera d;Aaebut Aussig ~[sm1943[nm. Berlin State Opera [sm194
6[nm=n[sm50[nm, Berlin City ~Opera [sm1950[nm=n[sm3[nm, Vienna State Opera from
[sm1953[nm. ~London d;Aaebut [sm1954[nm, San Francisco [sm1957[nm, Glyn~~debourn
e [sm1958[nm. Outstanding in Mozart and ~Strauss (Queen of the Night, Constanze,
 Pamina, ~Zerbinetta, Sophie, Verdi's Gilda, etc.).[xm[cm~[j1]Strepitoso [fy75,1
](It.). `Noisy', `loud'. Direction to play ~forcefully, with the
 implication of headlong ~excitement. Elgar used it as an expression mark. ~Lisz
t's [cf2]Tasso[cf1] begins [cf2]allegro strepitoso[cf1].[xm[cm~[j1]Strepponi, Gi
useppina [fy75,1]([cf2]b [cf1]Lodi, [sm1815[nm; [cf2]d[cf1] Busseto, ~[sm1897[nm
). It. sop. and [sm2[nmnd wife of Giuseppe [fy45,1]*[fy75,1]Verdi. ~Studied Mila
n Cons. [sm1830[nm=n[sm4[nm. Opera d;Aaebut Trieste ~[sm1835[nm in Rossini's [cf
2]Mathilde di Shabran. [cf1]Sang in ~Vienna, Rome, Venice, etc., before Milan d;
Aaebut ~[sm1842[nm in Donizetti's [cf2]Belisario. [cf1]Instrumental in ~getting
Verdi's first opera [cf2]Oberto [cf1]staged at Milan, ~[sm1839[nm. Created Abiga
ille in [cf2]Nabucco, [cf1]Milan, [sm1842[nm. ~Retired from stage [sm1846[nm to
live with Verdi. ~Married him [sm1859[nm.[cm~Stretta [fy75,1](It.). Drawn togeth
er, tightening (femi~~nine of [fy45,1]*[fy75,2]stretto[cf1]). Passage at end of
It. operatic aria, ~ens., or act where tempo is quickened for final ~climax.[cm~
Stretto [fy75,1](It.). Drawn together. ([sm1[nm) Quicker tempo.[
ep~^([sm2[nm) In fugue: when entry of the answer occurs ~before subject is compl
eted, overlapping with it. ~This is a way of increasing excitement, as in a [sm4
[nm-~part fugue when all [sm4[nm vv. enter in [cf2]stretto.[cm~Strich [fy75,1]or
 [fy65][cf3]Bogenstrich [fy75,1]or [fy65][cf3]Anstrich [fy75,1](Ger.). A ~stroke
 (with a bow); hence [cf2]mit breitem Strich, [cf1]with ~the breadth of the whol
e bow, and so forth. So ~also [cf2]Strichart, [cf1]manner of bowing; [cf2]Aufstr
ich, [cf1]up-~bow; [cf2]Niederstrich, [cf1]down-bow.[cm~Strict Canon. [fy45,1]*[
fy75,1]Canon in which intervals of the ~imitating v. are same as those of v. imi
tated.[cm~Strict Counterpoint. [fy75,1]See [cf2]Counterpoint.[cm~Striggio, Aless
andro [fy75,1]([cf2]b[cf1] Mantua, [cf2]c[cf1].[sm1540[nm; [cf2]d[cf1] ~Mantua,
[sm1592[nm). It. composer. Prin. composer at ~court of Medicis in Florence in [s
m1560[nms, writing ~[cf2]intermedi[cf1] for ceremonial occasions. Visited Eng. ~
as political emissary [sm1567[nm. Wrote madrigals for ~Ferrara [
sm1584[nm. Returned to Mantua [sm1584[nm. Skilled ~instrumentalist, playing lira
 da gamba and ~descant viol. Unusual for his time in composing ~little sacred mu
s.[cm~String(s). [fy75,1]The sound-producing agent of certain ~instr., i.e. thin
 strands of wire or gut vibrated on ~vn., va., vc., db., etc. by bow, on pf. by
hammers, ~and on hpd., harp, guitar, etc. by plucking. But ~[cf2]strings, [cf1]m
eaning str. instr., is taken as referring in ~an orch. to the vns., vas., vcs.,
and dbs. A [cf2]string ~orchestra [cf1]comprises these only. A [cf2]string quart
et [cf1]is ~[sm2[nm vn., va., vc.; [cf2]string trio, [cf1]vn., va., vc.[cm~Strin
gendo [fy75,1](It.). Squeezing. Direction that inten~~sity of the mus. is to be
increased, by quickening ~the tempo (as when approaching a climax).[xm[cm~[j1]St
ring Quartet. [fy75,1]Group of [sm4[nm players (almost always ~[sm2[nm vn., va.,
 vc.) or comp. written for them to play. ~Like the sym. in orch. mus., the str.
qt. in ~chamber mus. has become the highest medium ~for a compos
er's thought. Form first developed at ~beginning of [sm18[nmth cent. with A. Sca
rlatti, Tartini, ~etc., but achieved its flowering with Haydn, ~Mozart, Beethove
n, and Schubert. Since then ~most composers have written str. qts., and the ~[sm
19[nmth and [sm20[nmth cent. produced many superb qts. ~of performers, e.g. the
Joachim, Brodsky,[fj~Bohemian, L;aaener, Griller, Amadeus, Gabrieli,[fj~Vermeer,
 etc.[cm~String Quintet. [fy75,1]Group of performers ([sm2[nm vn., [sm2[nm ~va.,
 vc.; or [sm2[nm vn., va., [sm2[nm vc.; or [sm2[nm vn., va., vc., db.) ~or work
written for them. Great examples are ~those by Mozart and Schubert.[cm~String-to
ned stops. [fy75,1]Org. stops whose tone quality ~resembles that of str. instr.,
 e.g. [fy45,1]*[fy75,2]Gamba.[cm~String Trio. [fy75,1]Group of [sm3[nm players (
usually [sm2[nm vn. ~and vc., or vn., va., vc.) or comp. written for them ~to pe
rf. Trios for [sm2[nm vn. and vc. were derived from ~baroque trio sonata. Haydn
seems to have been ~the first to write for vn., va., and vc. and
 was ~emulated by Boccherini. Mozart's Divertimento ~(K[sm563[nm) is a notable e
xample and there are others ~by Beethoven. An unusual combination of instr. ~is
Dvo;akr;aaak's [cf2]Terzetto[cf1] for [sm2[nm vn. and va. ([sm1887[nm). In ~the
[sm20[nmth cent. trios for vn., va., and vc. have been ~written by Webern ([sm19
27[nm), Schoenberg ([sm1945[nm), ~Dohn;aaanyi, Hindemith, Roussel, Moeran, and L
. ~Berkeley. In [sm1938[nm Vaughan Williams wrote a ~double str. trio ([sm2[nm v
n., [sm2[nm va., [sm2[nm vc.), revised it in ~[sm1942[nm, and rewrote it [sm1946
[nm=n[sm8[nm as [cf2]Partita[cf1] for str.[cm~Strisciando [fy75,1](It.). Trailin
g. Smooth, correct It. ~term for what is usually called [fy45,1]*[fy75,2]glissan
do.[cm~Strohfiedel [fy75,1](Ger.). Xylophone. ([cf2]Stroh;eq[cf1]straw, on ~rope
s of which the wooden blocks of the instr. ~formerly rested).[cm~Stromento [fy75
,1](It., old form of [cf2]strumento[cf1]). Instru~~ment, [cf2]Stromento a corde,
 [cf1]str. instr.; [cf2]stromenti d'arco, ~[cf1]bowed instr.; [c
f2]stromenti di legno, [cf1]woodwind instr.; ~[cf2]stromenti d'ottone, [cf1]bras
s instr.; [cf2]stromenti a percossa, ~[cf1]perc. instr.; [cf2]stromenti a fiato,
 [cf1]wind instr.; [cf2]stromenti ~[PN704,0,0,L,I0]da tasto, [cf1]kbd. instr. Al
so, [cf2]recitativo stromentato, [cf1]acc. ~recit.[cm~Strophic [fy75,1](from Gk.
 [cf2]strophe[cf1]). Term applied to ~song in which the same mus. is repeated, p
erhaps ~with very minor change, for each successive ~stanza of setting of a poem
, in manner of folk-~song. The opposite, where the mus. progresses, is ~called `
through-composed' (Ger. [cf2]Durchkomponiert[cf1]). ~In general, the strophic so
ng is simple and lyrical, ~the through-composed more dramatic or com~~plex.[cm~S
tuart, Leslie [fy75,1](really Thomas Barrett) ([cf2]b [cf1]South~~port, [sm1864[
nm; [cf2]d [cf1]Richmond, Surrey, [sm1928[nm). Eng. ~composer and organist. Orga
nist, Salford Cath., ~and Church of the Holy Name, Manchester. ~Went to London [
sm1895[nm where he became composer ~of such popular songs as [cf
2]Soldiers of the Queen ~[cf1]([sm1895[nm), [cf2]Little Dolly Daydream [cf1]([sm
1897[nm), [cf2]Lily of Laguna ~[cf1]([sm1898[nm), and operettas [cf2]Florodora [
cf1]([sm1899[nm), [cf2]The Belles ~of Mayfair [cf1]([sm1906[nm), etc.[cm~St;auuc
k [fy75,1](Ger.). Piece, as in [fy45,1]*[fy75,2]Konzertst;Auuck, [cf1]concert ~p
iece.[cm~Stucken, Frank Valentine van der [fy75,1]([cf2]b [cf1]Freder~~icksburg,
 Texas, [sm1858[nm; [cf2]d [cf1]Hamburg, [sm1929[nm). Amer. ~cond. and composer.
 Studied vn. in Brussels ~[sm1866[nm=n[sm76[nm, then comp. in Leipzig with Grieg
 and ~Reinecke. Returned to USA [sm1884[nm conducting NY ~Arion Soc. (male ch.)
until [sm1895[nm. Cond. Cincinnati ~S.O. [sm1896[nm=n[sm1907[nm (gave f.p. in US
A of Mahler's [sm5[nmth ~Sym., Mar. [sm1905[nm). Dir., Cincinnati Coll. of Mus.
~[sm1895[nm=n[sm1903[nm. Thereafter spent much time in Ger. ~Wrote opera, orch.
works, etc.[xm[cm~[ol0][ep~[xp[u20]~~[te~

[do25][j99]~~~~~~[sm153842[nm_SE[sm04[nm[ep~[u1]~~~~[sm153842[nm[cmOXFORD CONCIS
E ~DICT. OF MUSIC[cmSE[sm04[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm17[nm/[sm10[nm/[sm79[n
m[cm[sm12[nm[cm~~[sm1031[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Stuckensc
hmidt, Hans Heinz [fy75,1]([cf2]b [cf1]Strasbourg, ~[sm1901[nm). Ger. critic, au
thor, and composer. Studied ~with Schoenberg and cond. concerts of new mus. ~in
Hamburg, [sm1923[nm=n[sm4[nm. Mus. critic in Berlin [sm1929[nm=n~[sm34[nm, when
removed by Nazis, and in Prague [sm1937[nm=n~[sm41[nm. Head of new mus. dept., B
erlin radio, [sm1946[nm. ~Returned to Berlin mus. criticism [sm1947[nm. Prof. of
 ~mus. history, Berlin Tech. Univ. from [sm1948[nm ~(emeritus from [sm1967[nm).
Author of books on Busoni, ~Stravinsky, Ravel, Blacher, and David. His major ~bi
ography of Schoenberg appeared in [sm1974[nm (Eng. ~trans. [sm1978[nm).[cm~Study
. [fy75,1]See [cf2];AaEtude.[cm~Sturm und Drang [fy75,1](Ger., `Storm and stress
'). ~Term applied to period, roughly [sm1760[nm=n[sm80[nm, in Ge
r. ~literature and mus. when emotionalism was at ~height. Specially applied to w
orks comp. by ~Joseph [fy45,1]*[fy75,1]Haydn at that time, particularly syms. ~(
roughly nos. [sm40[nm=n[sm59[nm), and str. qts. These works ~are marked by new a
nd audacious formal and ~harmonic features. Also used to describe much ~kbd. mus
. by C. P. E. Bach.[cm~Stuttgart Chamber Orchestra. [fy75,1]Founded by Karl ~[fy
45,1]*[fy75,1]M;auunchinger, first concert [sm18[nm Sept. [sm1945[nm. Tours to ~
France, Britain, and Spain [sm1949[nm, Central and S. ~Amer. [sm1952[nm, USA [sm
1954[nm, Far East [sm1955[nm, and Russsia ~[sm1959[nm. Has made many recordings,
 notably of ~Bach's Brandenburg Concs. and his choral works. ~Orch. augmented in
 [sm1966[nm to [sm45[nm players to form ~Stuttgart Klassische Philharmonie.[cm~S
tyle Galant [fy75,1](Fr.). [fy65][cf3]Galanter Stil [fy75,1](Ger.). See [cf2]Gal
ant.[cm~Su [fy75,1](It., other forms incl. [cf2]sul, sull', sulla, sulle, [cf1]e
tc.). ~([sm1[nm) On, near. [cf2]Sul G [cf1](in vn. playing), on
the G str.[ep~^([sm2[nm) Up, e.g. [cf2]arcata in su, [cf1]up-bowed.[cm~Sub-bourd
on. [fy75,1]Org. pedal end-plugged stop of [sm16[nm;Po ~length and [sm32[nm;Po p
itch.[cm~Subdominant. [fy75,1][sm4[nmth degree of major or minor ~scale, e.g. F
in key of C. So called because it is the ~same distance below the tonic as the [
fy45,1]*[fy75,1]dominant ~is above it (not because it is the note below the ~dom
inant or less important).[cm~Subito [fy75,1](It.). Suddenly. Quickly, immediatel
y, as ~in [cf2]volti subito [cf1](abbreviated to [cf2]V.S.[cf1]), turn over at ~
once; [cf2]attacco subito, [cf1]go on without a break. ~Sometimes [cf2]subitamen
te [cf1]is used.[cm~Subject. [fy75,1]([sm1[nm) Term in mus. analysis meaning a ~
motif, phrase, or melody which forms a basic ~element in the construction of a c
omp. Thus, in ~sonata-form, one has the first and [sm2[nmnd subjects, ~sometimes
 more. These are introduced in the ~exposition, then developed and recapitulated
.[ep~^([sm2[nm) In [fy45,1]*[fy75,1]fugue, the melodic theme whi
ch is stated ~at the beginning, reappearing at various places ~and pitches durin
g the comp. The answer is the ~imitation of the subject.[cm~Submediant. [fy75,1]
[sm6[nmth degree of major or minor scale, ~e.g. A in key of C major, A;Yh in key
 of C minor, ~lies midway between tonic and subdominant in ~the same way as the
[fy45,1]*[fy75,1]mediant is midway between ~tonic and dominant.[cm~Sub-Octave Co
upler. [fy75,1]Coupler on pedal organ ~which duplicates notes played an octave l
ower on ~same stop.[xm[cm~[j1]Subotnick, Morton [fy75,1]([cf2]b [cf1]Los Angeles
, [sm1933[nm). Amer. ~composer and clarinettist. Studied Mills Coll. ~[sm1957[nm
=n[sm9[nm (comp. with Milhaud). Played cl. in ~orchs., then became mus. dir. Lin
coln Center ~Repertory Th., [sm1967[nm. Est. elec. mus. studio at ~Pittsburgh Un
iv. On staff Calif. Institute of the ~Arts, [sm1969[nm. Mainly concerned with el
ec. mus., ~using synthesizer designed for him by D. Buchla. ~His [cf2]Silver App
les of the Moon [cf1]([sm1967[nm) was first elec. ~work comp. fo
r records. At NY toyshop, devised ~panels of buttons for shoppers to push which
~enabled instant creation of elec. works.[cm~Sucher [fy75,1](orig. Hasselbeck),
[fy65][cf3]Rosa [fy75,1]([cf2]b [cf1]Velburg, ~Bavaria, [sm1849[nm; [cf2]d [cf1]
Eschweiler, Aachen, [sm1927[nm). Ger. ~sop., outstanding in Wagnerian roles. Stu
died ~Munich. Sang in Berlin and Leipzig, where she ~married cond. Josef Sucher
([sm1843[nm=n[sm1908[nm). London ~d;aaebut (Drury Lane) [sm1882[nm. [sm1[nmst Lo
ndon Isolde and ~Eva. CG [sm1892[nm (Br;Auunnhilde), Bayreuth [sm1886[nm=n[sm96[
nm, ~Berlin [sm1888[nm=n[sm98[nm, NY Met. [sm1895[nm. Retired Berlin ~[sm1903[nm
. Taught singing in Vienna after [sm1908[nm.[cm~[PN705,0,0,R,I0]Sucho;akn, Eugen
 [fy75,1]([cf2]b [cf1]Pezinok, [sm1908[nm). Cz. composer. ~Studied Bratislava an
d Prague Cons. ([sm1931[nm=n[sm3[nm, ~comp. with Nov;aaak). Teacher in Bratislav
a [sm1933[nm=n~[sm74[nm. Author of textbooks on harmony. Works incl. ~opera [cf2
]Kr;Aaut;Aknava [cf1](Whirlpool), [cf2]Serenade [cf1]for wind ~q
uintet, [cf2]Rhapsodic Suite [cf1]for pf. and orch. Adopted ~serialism from [sm1
959[nm.[cm~Suddaby, Elsie [fy75,1]([cf2]b [cf1][sm1898[nm; [cf2]d [cf1]Radlett,
[sm1980[nm). Eng. ~sop. Trained as pianist but turned to singing, ~making big re
putation in oratorio. One of orig. ~[sm16[nm soloists in Vaughan Williams's [cf2
]Serenade to ~Music, [cf1][sm1938[nm.[cm~Sug;aaar, Rezs;auo [fy75,1]([cf2]b [cf1
]Budapest, [sm1919[nm). Hung. com~~poser. Studied Budapest Acad. of Mus. [sm1937
[nm=n[sm42[nm ~(comp. with Kod;Aaaly). Teacher of comp., Bart;Aaok ~Cons., Budap
est, [sm1949[nm=n[sm69[nm, Budapest Acad. from ~[sm1969[nm. Works incl. [cf2]Con
certo for Orchestra, Rhapsody ~[cf1]for vc. and pf., [cf2]Heroic Song, [cf1]cant
ata, and str. qts.[cm~Suggia, Guilhermina [fy75,1]([cf2]b [cf1]Oporto, [sm1888[n
m; [cf2]d [cf1]Oporto, ~[sm1950[nm). Portuguese cellist. Taught as child by ~fat
her. Prin. cellist of Oporto orch. at age [sm12[nm. In ~[sm1904[nm went to Leipz
ig to study under Klengel. ~D;Aaebut at Gewandhaus cond. Nikisch
, followed ~by tours. Studied in [sm1906[nm with Casals. Resumed ~int. career [s
m1912[nm and settled in London. Subject of ~highly dramatic portrait by Augustus
 John, [sm1923[nm. ~Came out of retirement to play at Edinburgh ~Fest. [sm1949[n
m.[cm~Suisse Romande, Orchestre de la. [fy75,1]See [cf2]Orchestre ~de la Suisse
Romande[cf1].[cm~Suite [fy75,1](Fr., Eng.; Old Fr. [cf2]Ordre[cf1]; Old Eng. [cf
2]Lesson; ~[cf1]Old Ger. [cf2]Partita [cf1]or [cf2]Partia[cf1]; Old It. [cf2]son
ata da ~camera[cf1]). A following. Orig. a piece of instr. mus. ~in several move
ments, usually in dance-style. ~During [sm17[nmth and [sm18[nmth cents. was one
of most ~important forms of instr. mus. During Baroque ~period, typical [cf2]Sui
te [cf1]would have framework of ~Allemande, Courante, Sarabande, and Gigue, ~wit
h frequent interpolations of Minuet, Gavotte, ~Passepied, Bourr;Aaee, Musette, a
nd Rigaudon. The ~various movements were usually based on one ~key, though modul
ations occurred within indi~~vidual movements. Nearly all moveme
nts were ~in simple binary form. Fr. kbd. suites sometimes ~contained up to [sm1
8[nm movements, but these were ~not necessarily all intended to be perf. at once
: ~the composer left it to the player to make a ~selection. In importance the su
ite was superseded ~by the sonata and the sym., and the title was ~given to work
s of a lighter type, e.g. Grieg's ~[cf2]Holberg [cf1]and Elgar's [cf2]Wand of Yo
uth [cf1]Suites, and ~assemblages of movements from opera or ballet ~scores, e.g
. Ravel's [cf2]Daphnis et Chlo;Aae [cf1]suites. [sm20[nmth-~cent. neo-classic co
mposers revived the term ~(Stravinsky for example).[cm~Suite Bergamasque [fy75,1
](Bergomask suite). Pf. suite ~by Debussy containing [sm4[nm movements, [cf2]Pr;
Aaelude, ~Menuet, [fy45,1]*[fy75,2]Clair de Lune, [cf1]and [cf2]Passepied. [cf1]
Comp. [sm1890[nm, ~rev. [sm1905[nm. Orch. version of Nos. [sm1[nm, [sm2[nm, and
[sm4[nm by G. ~Cloez, No. [sm3[nm by [fy45,1]*[fy75,1]Caplet.[cm~Suite on Verses
 of Michelangelo [fy75,1](Shostakovich). ~See [cf2]Michelangelo
Buonarroti, Suite on Verses of.[cm~Suitner, Otmar [fy75,1]([cf2]b[cf1] Innsbruck
, [sm1922[nm). Austrian ~conductor. Studied pf. at Innsbruck Cons. and ~Salzburg
 Mozarteum, also cond. with C. [fy45,1]*[fy75,1]Krauss. ~Mus. dir., Ludwigshafen
 [sm1957[nm. Chief cond. ~Dresden Opera and State Orch. [sm1960[nm=n[sm4[nm. Gen
. ~mus. dir., Deutsche Staatsoper, Berlin, from [sm1964[nm.[cm~Suk, Josef [fy75,
1]([cf2]b [cf1]K;Akre;Akcovice, [sm1874[nm; [cf2]d [cf1]Bene;Aksov, [sm1935[nm).
 ~Cz. composer and violinist. Studied Prague Cons. ~[sm1885[nm=n[sm92[nm (comp.
with Stecker and Dvo;Akr;Aaak, ~chamber mus. with Wihan). [sm2[nmnd vn. in Bohem
ian ~Str. Qt. [sm1892[nm=n[sm1933[nm. Married Dvo;Akr;Aaak's daughter ~([cf2]d [
cf1][sm1905[nm). Prof. of comp., Prague Cons. [sm1922[nm=n[sm35[nm. ~Early works
 influenced by Dvo;Akr;Aaak, but later ~developed a more complex harmonic and po
ly~~phonic style, sometimes near to atonality. Works ~incl.:[xm[cm~[j2][smorch[n
m: [fy75,2]Serenade [cf1]in E;Yh, for str. ([sm1892[nm); Sym. in
 E ~([sm1899[nm); [cf2]Poh;aaadka, [cf1]suite ([sm1899[nm=n[sm1900[nm); [cf2]Fan
tastic ~Scherzo [cf1]([sm1903[nm); [cf2]Praga [cf1](Prague), symphonic poem ~([s
m1904[nm); Sym., [fy45,1]*[fy75,2]Asrael [cf1]([sm1905[nm=n[sm6[nm); [cf2]Poh;Aa
adka l;Aaeta [cf1](A ~Summer's Tale) ([sm1907[nm=n[sm9[nm); [cf2]Zr;Aaani [cf1](
Harvest Time), ~symphonic poem ([sm1912[nm=n[sm17[nm); [cf2]War Triptych, [cf1]O
p. ~[sm35[nm, No. [sm1[nm [cf2]Svat;Aay V;Aaaclave [cf1](Oh, St Wenceslas), ~[cf
2]Meditation on an old Bohemian Chorale [cf1]([sm1914[nm), No. ~[sm2[nm [cf2]Leg
end of the Dead Victors [cf1]([sm1919[nm), No. [sm3[nm Sokol ~ceremonial march,
[cf2]V nov;Aay ;Akzivot [cf1](Towards a New ~Life, [sm1919[nm=n[sm20[nm); [cf2]F
antasia [cf1]in G minor, vn. and ~orch. ([sm1902[nm).[ep~[smchoral[nm: [cf2][sm1
0[nm Songs [cf1]for women's ch. ([sm1899[nm); [cf2][sm4[nm Songs ~[cf1]for male
ch. ([sm1900[nm).[ep~[smvoice(s) and piano[nm/[smorch[nm: [cf2]Chant d'Amour[cf1
], v. and ~pf. ([sm1892[nm); [cf2]O matince [cf1](About Mother),
 [sm5[nm songs ~for v. and pf. ([sm1907[nm); [cf2];AkZivotem a snem [cf1](Life a
nd ~Dreams), v. and pf. ([sm1909[nm); [cf2]Epilogue[cf1], sop., bar., ~bass, ch.
, and orch. ([sm1920[nm=n[sm9[nm).[ep~[smchamber music[nm: [sm2[nm str. qts. ([s
m1896[nm, [sm1911[nm); pf. qt., pf. ~quintet, pf. trio; [cf2][sm4[nm Pieces [cf1
]for vn. and pf.; [cf2]Ballad, ~[cf1]vn. and pf.; [cf2]Meditation on old Bohemia
n Chorale ~[cf1]Op. [sm35[nma ([sm1914[nm), arr. for str. qt. from orch. work.[c
m~[j1]Suk, =+=+Josef=+=+ [fy75,1]([cf2]b [cf1]Prague, [sm1929[nm). Cz. violinist
, ~grandson of Josef [fy45,1]*[fy75,1]Suk. Studied Prague Cons. ~D;Aaebut Prague
 [sm1951[nm. Won Cz. State Prize [sm1964[nm. ~Soloist in concs. with world's lea
ding orchs. ~London d;aaebut [sm1964[nm.[cm~Sul, sull', sulla, sui, sugli, sulle
 [fy75,1](It.). See [cf2]Su.[cm~;akSulek, Stjepan [fy75,1]([cf2]b [cf1]Zagreb, [
sm1914[nm). Yugoslav com~~poser, cond., and violinist. Studied Zagreb Acad. ~of
Mus. [sm1923[nm=n[sm36[nm. Teacher of comp., Zagreb Acad. ~since
 [sm1945[nm. Works incl. [sm7[nm syms., [sm3[nm pf. concs., vn. ~conc., va. conc
., cantata, pf. sonata, and incidental ~mus. for Shakespeare's [cf2]The Tempest
[cf1]and [cf2]Coriolanus.[cm~Sul G [fy75,1](Sul IV) (It.). Term used in vn. mus.
 ~meaning on the G ([sm4[nmth) str.[cm~Suliotis, Elena [fy75,1]([cf2]b [cf1]Athe
ns, [sm1943[nm). Gr. sop. Studied ~Buenos Aires and Milan. Opera d;Aaebut, Naple
s ~[sm1964[nm. Milan d;aaebut [sm1966[nm, CG [sm1969[nm. Outstanding ~[PN706,0,0
,L,I0]in dramatic roles (Lady Macbeth, etc.). Vocal ~problems caused early end t
o career.[cm~Sullivan, [fy75,1](Sir) [fy65][cf3]Arthur [fy75,1](Seymour) ([cf2]b
 [cf1]Lambeth, ~[sm1842[nm; [cf2]d [cf1]Westminster, [sm1900[nm). Eng. composer,
 ~cond., and organist. Son of Irish bandmaster at ~Sandhurst. Chorister, Chapel
Royal, [sm1854[nm. First ~comp., an anthem, pubd. [sm1855[nm. First holder of ~M
endelssohn Scholarship, RAM, [sm1856[nm, becoming ~pupil of Goss and Sterndale B
ennett. Went to ~Leipzig Cons. where his teachers incl. Rietz, ~
David, and Moscheles. Returned to Eng. [sm1861[nm ~and became organist, St Micha
el, Chester Sq. In ~[sm1862[nm his mus. for Shakespeare's [cf2]The Tempest [cf1]
was ~played under Manns at Crystal Palace and made ~Sullivan's name. Ballet [cf2
]L'Ile enchant;Aaee [cf1]prod. CG ~[sm1864[nm and cantata [cf2]Kenilworth [cf1]B
irmingham Fest. ~later same year. To [sm1864[nm also belongs comp. of ~[cf2]Iris
h Symphony. [cf1]Prof. of comp. RAM [sm1866[nm, in ~which year he wrote vc. conc
. for Piatti. Went ~with [fy45,1]*[fy75,1]Grove to Vienna in [sm1867[nm to recov
er ~Schubert's [cf2]Rosamunde [cf1]mus. and to examine MS. ~of `Great' C major S
ym. In [sm1866[nm wrote light opera ~[cf2]Cox and Box, [cf1]first of works in ge
nre which was to ~ensure Sullivan's lasting fame.[ep~^For a time, however, Sulli
van persisted with ~oratorio ([cf2]The Prodigal Son, [cf1]Worcester [sm1869[nm)
and ~incidental mus. to Shakespeare. However in [sm1871[nm ~met playwright Willi
am Schwenck Gilbert ~([sm1836[nm=n[sm1911[nm) and collaborated i
n unsuccessful ~light opera [cf2]Thespis, [cf1]following it in [sm1872[nm with t
une ~for hymn `Onward, Christian Soldiers'. [cf2]Festival Te ~Deum [cf1]followed
, then another Birmingham ora~~torio, [cf2]The Light of the World [cf1]([sm1873[
nm). By now much ~in demand as cond. and administrator, and was ~also friend of
royalty. In [sm1875[nm another collabora~~tion with Gilbert, engineered by Richa
rd D'Oyly ~Carte, resulted in successful curtain-raiser [cf2]Trial by ~Jury. [cf
1]This led to D'Oyly Carte's leasing of Op;Aaera-~Comique Th. especially to prod
uce operas by ~Gilbert and Sullivan. [cf2]The Sorcerer [cf1]([sm1877[nm) justifi
ed ~the risk, running for [sm175[nm nights, but this was ~eclipsed by the [sm700
[nm-night run of [cf2]H.M.S. Pinafore ~[cf1]([sm1878[nm). Despite copyright pira
tes, these works ~were in demand throughout the Western world, ~particularly in
USA. [cf2]The Pirates of Penzance [cf1]([sm1879[nm) ~continued run of success, f
ollowed by [cf2]Patience ~[cf1]([sm1881[nm). During run of [cf2]
Patience, [cf1]D'Oyly Carte ~opened his new th., the Savoy, and the operas ~beca
me known as the Savoy operas and the cast ~`Savoyards'. Sullivan was knighted [s
m1883[nm. It is a ~tragic irony that Sullivan and some of his friends ~felt that
 the success of the operettas was beneath ~the dignity of the dir. of the Nat. T
raining Sch. ~for Mus., [sm1876[nm=n[sm81[nm; they were happier with [cf2]The ~M
artyr of Antioch [cf1](Leeds [sm1880[nm) and [cf2]The Golden ~Legend [cf1]([sm18
86[nm) than with [cf2]Iolanthe [cf1]([sm1882[nm), [cf2]Princess ~Ida [cf1]([sm18
83[nm), and [cf2]The Mikado [cf1]([sm1885[nm). These were ~followed by further `
hits': [cf2]Ruddigore [cf1]([sm1886[nm), [cf2]The ~Yeomen of the Guard [cf1]([sm
1888[nm), and [cf2]The Gondoliers ~[cf1]([sm1889[nm). During run of the last-nam
ed, the [sm2[nm ~partners quarrelled (supposedly over a new carpet ~at the Savoy
 Th.). [cf2]Haddon Hall [cf1]([sm1892[nm) was comp. ~to a lib. by S. Grundy. Rec
onciliation with Gilbert ~led to [cf2]Utopia Limited [cf1]([sm18
93[nm) and [cf2]The Grand Duke ~[cf1]([sm1896[nm). During quarrel, Sullivan's on
ly `grand ~opera', [cf2]Ivanhoe, [cf1]to a lib. by Julian Sturgis, was ~prod. in
 [sm1891[nm at new Eng. Opera House built by ~D'Oyly Carte. Had [sm160[nm perfs.
, but costly venture ~failed and th. became a mus.-hall. By then, ~Sullivan's he
alth was beginning to rebel against ~the strain he put on it. He was cond. of th
e Phil. ~Soc. [sm1885[nm=n[sm7[nm, frequently cond. at the Hall;Aae ~Concerts in
 Manchester, was cond. of the Leeds ~Fest. from [sm1883[nm, and continued to wri
te th. mus., ~anthems, etc. In his last years his path crossed that ~of the risi
ng Elgar. He died on St Cecilia's Day ~[sm1900[nm at comparatively early age of
[sm58[nm.[ep~^Sullivan's `serious' work, by which he set such ~store, survives i
n the occasional ch. from [cf2]The ~Golden Legend [cf1]and the infrequent reviva
ls of his ~sym. and incidental mus. and of [cf2]Ivanhoe[cf1]. These ~show talent
, not quite as much, it could be ~argued, as in his hymn-tunes a
nd in his popular ~ballads, such as [cf2]My dearest heart [cf1]and [cf2]The [fy4
5,1]*[fy75,2]Lost ~Chord [cf1](written in [sm1877[nm on the death of his brother
 ~and given a further lease of fame by the Amer. ~comedian Jimmy `Schnozzle' Dur
ante in his song ~`The guy who found the Lost Chord'). But in the ~Savoy operett
as there is genius. In them Sullivan's ~melodic felicity, light-fingered orchest
ration, and ~truly astonishing gift for pastiche and parody ~(Handel, Verdi, Don
izetti, Wagner=mall are paid ~the compliment of witty imitation) found their ~pr
oper outlet and gave England a unique type of ~mus. entertainment and cult. Some
times parody ~seems to have taken over completely and one ~longs to call out `Wi
ll the real Sullivan stand up?' ~At other times, Gilbert's cruelties and facetio
us~~ness become oppressive; also the stylized, un~~changing ritual of the D'Oyly
 Carte prods. became ~wearisome except to devotees, of whom there are ~millions,
 seemingly versed in every phrase of ~both mus. and lib. With su
ch a following, ~Sullivan's fame seems secure for as long as one ~dares to foret
ell. Prin. works:[xm[cm~[j2][smopera[nm: [fy45,1]*[fy75,2]Ivanhoe [cf1]([sm1890[
nm).[ep~[smoperettas[nm [cf1](Where no librettist is given, Gilbert is ~implied)
: [fy45,1]*[fy75,2]Cox and Box [cf1](Burnand, [sm1866[nm); [cf2]Contra~~bandista
 [cf1](Burnand, [sm1867[nm); [fy45,1]*[fy75,2]Thespis [cf1]([sm1871[nm, lost); ~
[fy45,1]*[fy75,2]Trial by Jury [cf1]([sm1875[nm); [cf2]The Zoo [cf1](Stevenson,
[sm1875[nm); ~[cf2]The [fy45,1]*[fy75,2]Sorcerer [cf1]([sm1877[nm); [fy45,1]*[fy
75,2]H.M.S. Pinafore [cf1]([sm1878[nm); ~[cf2]The [fy45,1]*[fy75,2]Pirates of Pe
nzance [cf1]([sm1879[nm); [fy45,1]*[fy75,2]Patience [cf1]([sm1880[nm=n~[sm1[nm);
 [fy45,1]*[fy75,2]Iolanthe [cf1]([sm1882[nm); [fy45,1]*[fy75,2]Princess Ida [cf1
]([sm1883[nm); [cf2]The ~[fy45,1]*[fy75,2]Mikado [cf1]([sm1884[nm=n[sm5[nm); [fy
45,1]*[fy75,2]Ruddigore [cf1]([sm1886[nm); [cf2]The [fy45,1]*[fy75,2]Yeo~~men of
 the Guard [cf1]([sm1888[nm); [cf2]The [fy45,1]*[fy75,2]Gondolie
rs [cf1]([sm1889[nm); ~[cf2]Haddon Hall [cf1](Grundy, [sm1892[nm); [fy45,1]*[fy7
5,2]Utopia Limited ~[cf1]([sm1893[nm); [cf2]The Chieftain [cf1](Burnand, [sm1894
[nm); [cf2]The ~[fy45,1]*[fy75,2]Grand Duke [cf1]([sm1895[nm=n[sm6[nm); [cf2]The
 Beauty Stone [cf1](Pinero ~and Comyns Carr, [sm1898[nm); [cf2]The Rose of Persi
a ~[cf1](Hood, [sm1899[nm); [cf2]The [fy45,1]*[fy75,2]Emerald Isle [cf1](Hood, [
sm1900[nm, ~mus. completed by [fy45,1]*[fy75,1]German).[ep~[smincidental music[n
m: Shakespeare: [cf2]The Tempest ~[cf1]([sm1862[nm); [cf2]The Merchant of Venice
 [cf1]([sm1871[nm); [cf2]The Merry ~Wives of Windsor [cf1]([sm1874[nm); [cf2]Kin
g Henry VIII [cf1]([sm1877[nm); ~[PN707,0,0,R,I0][cf2]Macbeth [cf1]([sm1888[nm);
 [cf2]The Foresters [cf1](Tennyson, [sm1892[nm); ~[cf2]King Arthur [cf1](Comyns
Carr, [sm1894[nm).[ep~[smorch[nm: Sym. in E ([cf2]Irish[cf1]) ([sm1864[nm=n[sm6[
nm); Ov., [fy45,1]*[fy75,2]In ~Memoriam [cf1]([sm1866[nm); [cf2]Overture Di Ball
o [cf1]([sm1870[nm); ~[cf2]Imperial March [cf1]([sm1893[nm); Vc.
 Conc. [cf1]([sm1866[nm).[ep~[smchoral[nm: Oratorios: [cf2]The [fy45,1]*[fy75,2]
Prodigal Son [cf1]([sm1869[nm); [cf2]The ~Light of the World [cf1]([sm1873[nm, r
ev. [sm1890[nm); [cf2]The Martyr ~of Antioch [cf1]([sm1880[nm, rev. as opera [sm
1898[nm); Cantatas: ~[cf2]Kenilworth [cf1]([sm1864[nm); [cf2]On Shore and Sea [c
f1]([sm1871[nm); [cf2]The ~[fy45,1]*[fy75,2]Golden Legend [cf1]([sm1886[nm).[ep~
Also songs, chamber mus., ballads, hymns, ~anthems, organ pieces.[cm~[j1]Sul Pon
ticello [fy75,1](It.). On the bridge. Instruction to ~the player of the vn., va.
, vc., and db. that he is to ~take the bow as near as possible to the bridge to
~produce a rather metallic but mysterious sound-~effect.[cm~Sul Tasto [fy75,1](I
t.). On the touch. Direction to player ~of vn., etc., to take the bow over the f
ingerboard, ~giving a rich, mellow sound. [cf2]Sulla tastiera [cf1](on the ~fing
erboard) means the same.[cm~[ol0][ep~[xp[u20]~~[te~

[do25][j99]~~~~~~[sm153842[nm_SE[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT. OF MUSIC[cmSE[sm05[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm17[nm/[sm10[nm*[sm9[nm
[cm[sm12[nm[cm~~[sm1065[nm[cm~Collier[cm6[cm25.3.85[cm~3[cm~~~~[ap[j1]Sumer is I
cumen In [fy75,1](Old Eng.). Summer is ~coming in. Eng. comp., dating supposedly
 from ~[cf2]c.[cf1][sm1240[nm, sometimes known as the Reading Rota ~because the
MS. originated at Reading Abbey. ~The conjectural author was a monk of Reading,
~[fy45,1]*[fy75,1]John of Fornsete. An infinite canon at the unison ~for [sm4[nm
 ten. vv., with [sm2[nm basses repeating a ground ~bass or [cf2]pes, [cf1]also i
n canon at the unison. Can claim ~to be the earliest extant canon, [sm6[nm-part
comp., ~example of ground bass, and mus. setting of both ~sacred (Latin) and sec
ular words.[cm~Summation Tone. [fy75,1]Acoustical phenomenon ~whereby, when [sm2
[nm loud notes are sounded, another ~note, higher than orig. [sm2[nm, may also b
e heard, ~corresponding to sum of their vibrations.[cm~Summer Ni
ght on the River. [fy75,1]Title of [sm2[nmnd of [cf2][sm2[nm ~Mood Pictures [cf1
]for small orch. by Delius, comp. ~[sm1911[nm and f.p. in Leipzig [sm1913[nm, Lo
ndon [sm1914[nm. ~First piece is [fy45,1]*[fy75,2]On hearing the first cuckoo in
 Spring ~[cf1]([sm1912[nm). Not to be confused with Delius's [sm2[nm chs. [cf2]T
o ~be sung of a summer night on the water, [cf1][sm1917[nm.[cm~Summer's Last Wil
l and Testament. [fy75,1]Work by ~C. [fy45,1]*[fy75,1]Lambert for solo bar., ch.
, and orch., comp. ~[sm1935[nm, f.p. London [sm1936[nm. Setting of [sm5[nm lyric
s from ~play of same name ([sm1593[nm) by Thomas Nashe, ~movements being entitle
d [cf2]Intrata, Drinking Cho~~rus, King Pest [cf1](rondo burlesca for orch.), [c
f2]Madrigal, ~Sarabande.[cm~Sumsion, Herbert [fy75,1](Whitton) ([cf2]b =+=+[cf1]
Gloucester, ~[sm1899[nm). Eng. organist, cond., and composer. Pupil ~of [fy45,1]
*[fy75,1]Brewer at Gloucester [sm1915[nm=n[sm17[nm, acting as ass. ~organist Glo
ucester Cath. [sm1916[nm=n[sm17[nm and again ~[sm1919[nm=n[sm22[
nm. Organist, Christ Church, Lancaster ~Gate, London, [sm1922[nm=n[sm6[nm. Prof.
 of harmony and ~counterpoint, Curtis Institute, Philadelphia, ~[sm1926[nm=n[sm8
[nm. Organist and choirmaster Gloucester ~Cath. [sm1928[nm=n[sm67[nm, cond. at [
sm3[nm Choirs Fests. within ~that period. Dir. of mus., Cheltenham Ladies ~Colle
ge, [sm1935[nm=n[sm68[nm. Wrote org. mus., church ~services, etc. C.B.E. [sm1961
[nm.[cm~Sunderland [fy75,1](n;Aaee Sykes), [fy65][cf3]Susan [fy75,1]([cf2]b [cf1
]Brighouse, ~[sm1819[nm; [cf2]d [cf1]Brighouse, [sm1905[nm). Eng. sop. Sang in ~
Halifax Choral Society. D;Aaebut as soloist, Bradford ~[sm1838[nm. Studied in Lo
ndon and then returned north ~to become known as `Yorkshire's Queen of Song', ~r
emaining for [sm25[nm years leading singer of extracts ~from oratorio and of pop
ular songs. Expressive ~voice of great power. London d;Aaebut [sm1849[nm in ~[cf
2]Messiah, [cf1]continuing as soloist in oratorios there ~until [sm1856[nm. Sang
 at opening of Leeds Town Hall ~and first Leeds Fest. Retired [s
m1864[nm. Had she been ~fully trained her career might have been of int. ~celebr
ity. Remembered still through `Mrs Sun~~derland' competitive fest. held in her m
emory.[cm~Suo [fy75,1](It.). Its own, e.g. [cf2]Suo loco, [cf1]indicating a retu
rn ~to `its own place' after transposition of vocal or ~instr. part up or down a
n octave, etc.[cm~Suolahti, Heikki [fy75,1]([cf2]b[cf1] Helsinki, [sm1920[nm; [c
f2]d [cf1]Helsinki, ~[sm1936[nm). Finn. composer. Studied Helsinki Cons. ~Youth
of great promise. Wrote [cf2]Sinfonia piccola ~[cf1]([sm1935[nm), vn. conc., [cf
2]Agnus Dei, [cf1]and left large works ~unfinished.[cm~Suor Angelica [fy75,1](Si
ster Angelica). Opera in [sm1[nm act ~by Puccini to text by Forzano. Part [sm2[n
m of [cf2]Il[fy45,1]*[fy75,2]Trittico. ~[cf1]Comp. [sm1917[nm. Prod. NY Met. [sm
1918[nm, Rome and ~Chicago [sm1919[nm, London [sm1920[nm.[xm[cm~[j1]Super-Octave
 Coupler. [fy75,1]Coupler on an org. which ~duplicates notes played an octave hi
gher on same ~stop.[cm~Supertonic. [fy75,1][sm2[nmnd degree of t
he scale, lying whole ~tone above tonic, e.g. note D in key of C (major ~or mino
r) lying immediately above tonic ([sm1[nmst ~degree).[cm~Supervia, Conchita [fy7
5,1]([cf2]b [cf1]Barcelona, [sm1895[nm; [cf2]d [cf1]Lon~~don, [sm1936[nm). Sp. m
ez. and mezzo-cont. Studied ~Barcelona. D;Aaebut at [sm14[nm in Buenos Aires, si
nging ~Carmen in Rome [sm1911[nm. First Rome Oktavian in ~[cf2]Rosenkavalier, [c
f1][sm1911[nm. Chicago Opera [sm1915[nm=n[sm16[nm and ~[sm1932[nm=n[sm3[nm, CG [
sm1934[nm=n[sm5[nm. Sang Rossini roles of Isabella ~in [cf2]L'Italiana in Algeri
, [cf1]Rosina in [cf2]Il barbiere di ~Siviglia, [cf1]and Angelina in [cf2]La Cen
erentola [cf1]in orig. ~keys, dating from appearances with [fy45,1]*[fy75,1]Gui
in ~Turin, [sm1925[nm. Created title-role in Leh;Aaar's [cf2]Frasquita ~[cf1]([s
m1922[nm). Singer of vivacious originality, with ~distinctive timbre.[cm~Supp;aa
e, Franz von [fy75,1]([cf2]b [cf1]Split (Spalato), [sm1819[nm; [cf2]d ~[cf1]Vien
na, [sm1895[nm). Austrian composer, born in ~Dalmatia, of Belg.
descent. Name is Ger. form of ~Francesco Ezechiele Ermenegildo, Cavaliere ~Supp;
Aae-Demelli. Studied Padua Univ., later at ~Vienna Cons. with Sechter and Seyfri
ed. Relative ~of Donizetti, who helped him. Became cond. at ~Josephstadt Th., Vi
enna, [sm1841[nm, later in Pressburg ~and Baden, [cf2]c[cf1].[sm1862[nm at Theat
er an der Wien, and ~[sm1865[nm=n[sm95[nm, at Leopoldstadt Th., Vienna. Comp. ~s
erious works, incl. [cf2]Requiem [cf1]([sm1855[nm), but fame rests ~on series of
 tuneful operettas (about [sm30[nm in ~[PN708,0,0,L,I0]number). These incl. [fy4
5,1]*[fy75,2]Pique Dame [cf1]([cf2]Die Kartensch~~l;auagerin[cf1]) ([sm1862[nm);
 [cf2]Die sch;Auone Galatea [cf1](The [fy45,1]*[fy75,1]Beautiful ~Galathea) ([sm
1865[nm), [cf2]Leichte Cavallerie [cf1]([fy45,1]*[fy75,1]Light Cav~~alry) ([sm18
66[nm), [cf2]Banditenstreiche [cf1](The Jolly Robbers) ~([sm1867[nm), and [fy45,
1]*[fy75,2]Boccaccio [cf1]([sm1879[nm). The famous [cf2]Poet ~and Peasant [cf1]o
v. ([sm1846[nm) is part of the incidental ~mus. to Elmar's play
[cf2]Dichter und Bauer.[xm[cm~[j1]Supprimez [fy75,1](Fr.). Suppress. In Fr. org.
 mus. it ~means `put out of use' the stop in question.[cm~Surinach, Carlos [fy75
,1]([cf2]b [cf1]Barcelona, [sm1915[nm). Sp.-born ~composer and cond. (Amer. citi
zen [sm1959[nm). Studied ~Barcelona, D;Auusseldorf, Cologne, and Berlin. Cond. ~
Barcelona P.O. [sm1944[nm, and in Paris [sm1947[nm=n[sm50[nm. Settled ~in USA [s
m1951[nm and wrote scores for dancers, e.g. ~Martha Graham and Pearl Lang. In [s
m1954[nm transcr. ~for orch. those movements of Alb;Aaeniz's [cf2]Iberia ~[cf1]w
hich Arb;aaos left unfinished. Works incl. ballet ~[cf2]David and Bathsheba [cf1
](NY [sm1960[nm, staged in London ~[sm1961[nm as [cf2]A Place in the Desert[cf1]
), [cf2]Sinfonietta flamenca, ~[cf1]Conc. for Orch., [cf2]Passacaglia Symphony,
[cf1]pf. concer~~tino, guitar sonatina, songs, etc.[cm~Sur la touche [fy75,1](Fr
.). On the fingerboard. Direction ~in str. playing to bow over the fingerboard.[
cm~Sur le chevalet [fy75,1](Fr.). On the bridge. Direction in ~s
tr. playing to bow on or near the bridge, same as ~[fy45,1]*[fy75,2]Sul ponticel
lo.[cm~Surprise Symphony. [fy75,1]Nickname of Haydn's Sym. ~in G major, No. [sm9
4[nm (Hob. I: [sm94[nm)., comp. London ~[sm1791[nm, so called because of sudden
[cf2]forte [cf1]drumbeat ~in slow movement. In Ger., sym. is known as [cf2]mit ~
dem Paukenschlag [cf1](With the drumstroke).[cm~Sursum Corda [fy75,1](Lift up yo
ur hearts). ([sm1[nm) Work ~for str., brass, and org., Op [sm11[nm, by Elgar, f.
p. ~Worcester Cath. [sm1894[nm. Comp. for visit of Duke of ~York (later King Geo
rge V) to Worcester.[ep~_([sm2[nm) No. [sm7[nm of Liszt's [cf2]Troisi;Ageme ann;
Aaee [cf1](pubd. [sm1883[nm) ~of the [cf2]Ann;Aaees de p;Agelerinage [cf1]for so
lo pf.[cm~Survivor from Warsaw, A. [fy75,1]For narrator, male ~ch., and orch. by
 Schoenberg, Op. [sm46[nm, comp. Aug. ~[sm1947[nm. Eng. text by Schoenberg, Fr.
version by R. ~Leibowitz, Ger. by Maquet Peter. F.p. Albuquer~~que, New Mexico,
[sm1948[nm, f.p. in England [sm1951[nm.[cm~Susanna's Secret [fy7
5,1](Wolf-Ferrari). See [cf2]Segreto di ~Susanna, Il.[cm~Susato, Tylman [fy75,1]
([cf2]b [cf1]?Cologne, [cf2]c[cf1].[sm1500[nm; [cf2]d [cf1]?Antwerp, ~[cf2]c.[cf
1][sm1561[nm). Ger. mus. publisher and composer. Town ~musician in Antwerp [sm15
29[nm=n[sm49[nm, where in [sm1543[nm he ~est. a printing firm. Pubd. over [sm50[
nm vols. of church ~mus. and [cf2]chansons. [cf1]His songs and instr. dances are
 ~attractive.[cm~Suspended Cadence. [fy75,1]Delay before final cadence ~of a com
p. so that performer in conc. (or, ~formerly, aria) may insert cadenza.[cm~Suspe
nsion. [fy75,1]Opposite of [fy45,1]*[fy75,1]anticipation: a note in ~a chord is
held over (sounded slightly late) as a ~momentary discordant part of the combina
tion ~which follows; it is then resolved by falling a ~degree to a note which fo
rms a real part of the ~[sm2[nmnd chord. When [sm2[nm notes are held over it is
called ~a double suspension. In many [sm20[nmth-cent. works ~suspensions are oft
en left unresolved.[cm~S;auusskind, [fy75,1](=+=+=+Jan) [fy65][c
f3]Walter [fy75,1]([cf2]b [cf1]Prague, [sm1918[nm; [cf2]d[cf1] ~Berkeley, Calif.
, [sm1980[nm). Cz.-born cond. and pianist ~(Eng. citizen). Studied Prague Acad.
of Mus. with ~Suk, H;aaaba, and Szell. D;Aaebut as cond., Ger. Opera, ~Prague, [
sm1934[nm=n[sm8[nm. Pianist in London Czech Trio ~[sm1938[nm=n[sm42[nm. Prin. co
nd. Carl Rosa Opera, [sm1943[nm=n[sm5[nm. ~Cond., Scottish Orch. [sm1946[nm=n[sm
52[nm, Victorian S.O. of ~Melbourne, [sm1953[nm=n[sm5[nm, Toronto S.O. [sm1956[n
m=n[sm65[nm, St ~Louis S.O. [sm1968[nm=n[sm75[nm. Guest cond. of many Brit. ~orc
hs. and opera cos.[cm~S;auussmayr, Franz Xaver [fy75,1]([cf2]b [cf1]Schwanenstad
t, [sm1766[nm; ~[cf2]d [cf1]Vienna, [sm1803[nm). Austrian composer. Studied ~Vie
nna with Salieri and Mozart. Cond. at Nat. ~Th., Vienna, [sm1792[nm, [sm2[nmnd c
ond., court th. [sm1794[nm. ~Wrote several operas, oratorios, masses, etc. ~Assi
sted in completion of Mozart's [cf2]Requiem ~[cf1](K[sm626[nm).[cm~Sustaining Pe
dal. [fy75,1]Pf. pedal, often erroneously ~called `loud pedal',
operated by right foot to ~prolong sound by holding off the dampers. ~Beethoven,
 as a player, was said to make telling ~use of this pedal, which is much exploit
ed by ~Romantic composers.[cm~Susurrando, susurrante [fy75,1](It.). Whispering.[
cm~Sutermeister, Heinrich [fy75,1]([cf2]b [cf1]Feuerthalen, [sm1910[nm). ~Swiss
composer. Studied Basle and Munich Acad. ~[sm1934[nm=n[sm5[nm. Worked as [cf2]r;
Aaep;Aaetiteur [cf1]at Berne Stadtthea~~ter. Influenced by Verdi's last works an
d by [fy45,1]*[fy75,1]Orff, ~determined to write melodic [sm20[nmth-cent mus. ~W
orks incl.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Romeo und Julia [cf1](after
 Shakespeare; ~[sm1939[nm); [cf2]Die Zauberinsel [cf1](The Magic Island, after ~
Shakespeare's [cf2]Tempest[cf1]; [sm1942[nm); [cf2]Niobe [cf1]([sm1946[nm); ~[cf
2]Raskolnikoff [cf1](after Dostoyevsky; [sm1945[nm=n[sm7[nm); [cf2]Der ~rote Sti
efel [cf1](The Red Shoe; [sm1951[nm); [cf2]Titus Feuerfuchs ~[cf1]([sm1957[nm=n[
sm8[nm); [cf2]Die schwarze Spinne [cf1](The Black Spider; ~[sm19
48[nm=n[sm9[nm); [cf2]Seraphine [cf1](after Rabelais; [sm1959[nm); [cf2]Mad~~ame
 Bovary [cf1](after Flaubert; [sm1966[nm=n[sm7[nm); [cf2]Das Gespenst ~von Cante
rville [cf1](The Canterville Ghost (after ~Wilde), [sm1966[nm).[ep~[smorch[nm: S
uite, [cf2]Romeo und Julia [cf1]([sm1940[nm); [cf2]Die Alpen ~[cf1]([sm1948[nm);
 Divertimento No. [sm1[nm for str. ([sm1936[nm), No. ~[sm2[nm for orch. ([sm1959
[nm=n[sm60[nm); [cf2]Serenade [cf1]([sm1970[nm); [sm3[nm pf. ~concs. ([sm1944[nm
, [sm1954[nm, [sm1961[nm=n[sm2[nm); vc. conc. ([sm1954[nm=n[sm5[nm).[ep~[smchora
l[nm: [sm8[nm Cantatas ([sm1938[nm=n[sm1966[nm); [cf2]Requiem, [cf1]sop., ~bar.,
 ch., and orch. ([sm1952[nm); [cf2]Te Deum [cf1]([sm1975[nm).[ep~Also songs with
 pf./orch., pf. pieces, etc.[cm~[j1]Suthaus, Ludwig [fy75,1]([cf2]b [cf1]Cologne
, [sm1906[nm; [cf2]d [cf1]Berlin, ~[sm1971[nm). Ger. ten. Studied Cologne. Opera
 d;Aaebut ~Aachen [sm1928[nm as Walther in [cf2]Die Meistersinger[cf1]. ~Stuttga
rt Opera [sm1933[nm=n[sm41[nm, Berlin [sm1941[nm=n[sm9[nm, [sm19
48[nm=n~[sm65[nm, Vienna [sm1948[nm=n[sm71[nm, CG [sm1952[nm=n[sm3[nm. Bayreuth
from ~[sm1943[nm. Amer. d;aaebut San Francisco [sm1953[nm. Mainly ~sang Wagneria
n roles, especially Tristan and ~Siegmund.[cm~[PN709,0,0,R,I0]Sutherland, [fy75,
1](Dame) [fy65][cf3]Joan [fy75,1]([cf2]b [cf1]Sydney, N.S.W., ~[sm1926[nm). Aust
ralian sop. Studied Sydney and RCM. ~D;Aaebut Sydney [sm1947[nm in Purcell's [cf
2]Dido and Aeneas. ~[cf1]CG [sm1952[nm, joining co. Created role of Jenifer in ~
Tippett's [cf2]The Midsummer Marriage [cf1][sm1955[nm and was ~New Prioress in f
.p. in England of Poulenc's ~[cf2]Carmelites. [cf1]Sang Gilda and under guidance
 of ~Richard Bonynge developed dramatic coloratura ~possibilities of her v., sco
ring enormous success ~as Lucia in Donizetti's opera, CG [sm1959[nm. Thereafter
~sang many [cf2]bel canto [cf1]roles in works specially ~revived for her. Also f
ine Handel singer. Took ~own opera co. to Australia [sm1965[nm. C.B.E. [sm1961[n
m. ~D.B.E. [sm1979[nm.[cm~Suzuki, Shin;poichi [fy75,1]([cf2]b [c
f1]Nagoya, [sm1898[nm). Japanese vn. ~teacher. Son of maker of violins. Studied
vn. with ~K;amo And;amo in Nagoya and in Berlin [sm1921[nm=n[sm8[nm with ~K. Kli
ngler. Founded Suzuki Qt. [sm1928[nm. Founded ~Tokyo Str. Orch. which introduced
 baroque mus. ~to Japanese listeners. Pres. of Teikoku Mus. Sch. ~from [sm1930[n
m and put into practice his belief that ~any child could reach a high standard o
f ability as ~a violinist by adapting external stimuli. Taught ~vn. from [sm1950
[nm at Sain;amo Ky;amoiku Kenky;amu-kai, ~Matsumoto. Visited USA [sm1964[nm, Eng
. [sm1973[nm.[cm~Svanholm, Set [fy75,1]([cf2]b [cf1]V;Auasteras, [sm1904[nm; [cf
2]d [cf1]Stockholm, ~[sm1964[nm). Swed. ten., orig. bar. Studied Stockholm ~Cons
., teaching singing there [sm1929[nm after spell as ~church organist. Studied si
nging with Forsell and ~made d;Aaebut as bar., [sm1930[nm. Resumed training, ~th
en made ten. d;Aaebut in [sm1936[nm. Sang first Wagner ~roles [sm1937[nm. Salzbu
rg Fest. [sm1938[nm. Bayreuth [sm1942[nm, ~NY Met. [sm1946[nm=n[
sm56[nm, CG [sm1948[nm=n[sm57[nm. In [sm1940[nms and ~[sm1950[nms was world's le
ading Wagnerian ten., in ~demand as Siegfried and Tristan and frequently ~singin
g with [fy45,1]*[fy75,1]Flagstad. First Peter Grimes in ~Stockholm. Intendant, S
tockholm Opera [sm1956[nm=n~[sm63[nm.[cm~Svegliando; svegliato [fy75,1](It.). Aw
akening; awak~~ened, i.e. brisk, alert.[cm~Svendsen, Johan [fy75,1](Severin) [fy
75,1]([cf2]b [cf1]Christiania, [sm1840[nm; ~[cf2]d [cf1]Copenhagen, [sm1911[nm).
 Norweg. composer, cond., ~and violinist. Studied Leipzig Cons. [sm1863[nm=n[sm7
[nm. ~Went to Paris [sm1868[nm, playing in orch. there. Met ~Liszt at Weimar [sm
1870[nm. Sym. played at Leipzig, ~[sm1871[nm. Became close friend of Wagner and
played ~in orch. at laying of Bayreuth foundation-stone, ~[sm1872[nm. Returned t
o Norway as cond. and teacher, ~[sm1872[nm=n[sm7[nm. First visit to London [sm18
70[nm. Court cond. ~Copenhagen from [sm1883[nm. Works incl. [sm2[nm syms., vc. ~
conc., vn. conc., [fy45,1]*[fy75,2]Carnaval ;Aga Paris, [sm4[nm
Norwegian ~Rhapsodies, Romance [cf1]for vn. and orch., and ~chamber mus. and son
gs.[cm~Svetlanov, Yevgeny [fy75,1](Fyodorovich) ([cf2]b [cf1]Moscow, ~[sm1928[nm
). Russ. cond. and composer. Studied Moscow ~Cons. Cond. Moscow Radio [sm1953[nm
. Cond., Bolshoy ~Th., Moscow, [sm1954[nm=n[sm62[nm, chief cond. [sm1962[nm=n[sm
5[nm. ~Cond. USSR State S.O. from [sm1965[nm. Has comp. ~symphonic poems, cantat
a, sonatas, songs.[cm~Sviridov, Georgy [fy75,1](Vasilyevich) ([cf2]b [cf1]Fatezh
, [sm1915[nm). ~Russ. composer and pianist. Studied Leningrad ~Cons. [sm1936[nm=
n[sm41[nm (comp. with Shostakovich). First ~secretary, Soviet Union of Composers
 since [sm1968[nm. ~Works mainly comprise songs, settings of Blok ~and Pasternak
, and some of Russ. trans. of Burns ~and Shakespeare, also [cf2]Emotional Orator
io [cf1]([sm1959[nm).[cm~Svoboda, Josef [fy75,1]([cf2]b[cf1] ;akCaslav, [sm1920[
nm). Cz. stage ~designer. Studied architecture Prague Art Coll. ~[sm1945[nm=n[sm
50[nm. Chief designer and tech. dir., Prague ~Nat. Th. [sm1951[n
m=n[sm6[nm. Influenced by Appia and Craig, ~developed concept of `psychoplastic
stage', concen~~trating on `inner meaning' of work. Has made ~inspired use of mo
dern lighting techniques, incl. ~laser beams in his [sm1970[nm [cf2]Zauberfl;auo
te [cf1]in Munich. ~Other celebrated opera designs were seen at CG ~in Strauss's
 [cf2]Die Frau ohne Schatten[cf1], [sm1966[nm, Debussy's ~[cf2]Pell;aaeas[cf1],
[sm1969[nm, [cf2]The Ring[cf1], [sm1974=n6[nm, at Munich in ~Zimmermann's [cf2]D
ie Soldaten[cf1], [sm1969[nm, and in Verdi's ~[cf2]Sicilian Vespers[cf1], Hambur
g, [sm1969[nm, and London, [sm1984[nm.[cm~Swan of Tuonela, The. [fy75,1]`Symphon
ic legend' by ~[fy45,1]*[fy75,1]Sibelius, orig. comp. as prelude to unfinished ~
opera, [sm1893[nm, but pubd. as Op. [sm22[nm, No. [sm3[nm, one of ~the [sm4[nm [
fy45,1]*[fy75,2]Lemmink;Auainen Legends [cf1]for orch. Rev. [sm1897[nm ~and [sm1
900[nm. F.p. Helsinki [sm1896[nm, f.p. in England ~[sm1905[nm. Tuonela is Finnis
h Hades. Cor anglais solo ~depicts swan.[cm~Swan Lake [fy75,1]([
cf2]Lebedinoye ozero[cf1]; Fr. [cf2]Le lac des cygnes[cf1]). ~Ballet in [sm4[nm
acts, mus. by Tchaikovsky, comp. ~[sm1875[nm=n[sm6[nm, to lib. by Begitchev and
Geltser, choreog. ~Reisinger, prod. Moscow [sm1877[nm. Later choreog. ~Petipa an
d Ivanov (St Petersburg [sm1895[nm).[cm~Swan Song [fy75,1](Schubert). See [cf2]S
chwanengesang.[xm[cm~[j1]Swarowsky, Hans [fy75,1]([cf2]b [cf1]Budapest, [sm1899[
nm; [cf2]d [cf1]Salzburg, ~[sm1975[nm). Hung. cond. Studied in Vienna with ~Scho
enberg. Cond. posts in Stuttgart, Berlin, ~Hamburg, and Z;Auurich. Cond. Polish
P.O. in ~Krak;Aaow, [sm1944[nm=n[sm6[nm. Dir. Graz Opera [sm1947[nm=n[sm9[nm. Co
nd. ~SNO [sm1957[nm=n[sm9[nm. Ed. Fr. versions of Gluck's [cf2]Alceste ~[cf1]and
 [cf2]Orph;Aaee. [cf1]Wrote parts of lib. of Strauss's [cf2]Capriccio ~[cf1](inc
l. the Sonnet) but his part in this was ~suppressed by C. Krauss, the official l
ibrettist.[cm~Swarthout, Gladys [fy75,1]([cf2]b [cf1]Deepwater, Missouri, ~[sm19
00[nm; [cf2]d [cf1]Florence, [sm1969[nm). Amer. mez. Studied in
~Chicago, and with Mugnone. D;Aaebut Chicago ~[sm1924[nm. NY Met. [sm1929[nm=n[s
m45[nm, singing variety of roles ~incl. Carmen and Mignon.[cm~Swayne, Giles [fy7
5,1](Oliver Cairnes) [cf1]([cf2]b [cf1]Stevenage, ~[sm1946[nm). Eng. composer an
d cond. Studied Cam~~bridge Univ. and RAM ([sm1968[nm), also with N. Maw. ~Cond.
 course at Siena, [sm1968[nm. Opera [cf2]r;Aaep;Aaetiteur [cf1]at ~Wexford Fest.
 [sm1972[nm and [sm1973[nm and Glyndebourne ~[sm1973[nm=n[sm4[nm. Teacher at Bry
anston Sch. and St Paul's ~Girls' Sch. Won Lancaster Univ. composer's prize, ~[s
m1974[nm. Studied with Messiaen after [sm1976[nm. Works ~incl.:[xm[cm~[j2][smorc
h[nm: [fy75,2]Orlando's Music [cf1]([sm1974[nm); [cf2]Pentecost Music ~[cf1]([sm
1977[nm); Sym. ([sm1983[nm); [cf2]Song for Haddi[cf1], chamber ~ens. ([sm1983[nm
); [cf2]Naaotwa's Song [cf1]([sm1984[nm).[ep~[PN710,0,0,L,I0][smchamber music[nm
: Str. Qts., No. [sm1[nm ([sm1971[nm), No. [sm2[nm ~([sm1977[nm); [cf2][sm4[nm L
yrical Pieces, [cf1]vc. and pf. ([sm1971[nm); Trio, ~fl., ob., p
f. ([sm1972[nm); [cf2]Canto, [cf1]for guitar ([sm1972[nm), pf. ~([sm1973[nm), vn
. ([sm1973[nm), cl. ([sm1975[nm), vc. ([sm1981[nm); [cf2]Duo, ~[cf1]vn. and pf.
([sm1975[nm); [cf2]Suite, [cf1]guitar ([sm1976[nm); [cf2]Freewheel~~ing[cf1], va
., baryton, vc. ([sm1980[nm).[ep~[smopera[nm: [cf2]Le Nozze di Cherubino[cf1] ([
sm1983[nm=n[sm4[nm).[ep[smvocal[nm: [cf2][sm3[nm Shakespeare Songs, [cf1]mixed c
h. ([sm1969[nm); [cf2]The ~Good Morrow, [cf1]Donne cycle of [sm5[nm songs, mez.
and ~pf. ([sm1971[nm); [cf2]Cry, [cf1][sm28[nm amplified solo vv. ([sm1978[nm);
~[cf2]Count-Down[cf1], [sm16[nm-pt. ch. and [sm2[nm perc. players ([sm1981[nm);
~[cf2]Magnificat[cf1], unacc. ch. ([sm1982[nm).[ep[smpiano[nm: [cf2]Synthesis[cf
1], [sm2[nm pf. ([sm1974[nm); [cf2]Phoenix Variations ~[cf1]([sm1968[nm=n[sm79[n
m).[ep~[smorgan[nm: [cf2]Paraphrase on a theme of Tallis [cf1]([sm1971[nm); [cf2
]Riff-~Raff [cf1]([sm1983[nm).[cm~[j1]Sweelinck, Jan Pieterszoon [fy75,1]([cf2]b
 [cf1]Deventer or ~Amsterdam, [sm1562[nm; [cf2]d [cf1]Amsterdam,
 [sm1621[nm). Dutch ~composer, organist, harpsichordist, and teacher. ~Succeeded
 father as organist of Old Church, ~Amsterdam, [cf2]c[cf1].[sm1580[nm, remaining
 in post until ~death. First composer to give independent part to ~the pedal and
 to write fully worked-out fugues, ~thus pioneering and establishing form to be
used ~by Bach. Taught most of great N. Ger. school of ~organists and was of imme
nse influence. Wrote ~over [sm250[nm vocal works and [sm70[nm for keyboard. Set
~the entire psalter. Keyboard works show Eng. ~and It. influences.[cm~Swell. [fy
75,1]Mechanical device on org. and certain ~other kbd. instr., e.g. hpd., for in
creasing (and ~lessening) the vol. of sound.[cm~Swell Organ [fy75,1](Swell). Sec
tion of organ in which ~the pipes are enclosed in a [cf2]Swell Box. [cf1]Player
can ~increase or diminish vol. of sound by means of ~[cf2]Swell Pedal [cf1]which
 opens and closes a Venetian ~shutter. Manual controlling this is placed above ~
[fy45,1]*[fy75,1]Great Org. and is known as [cf2]Swell Manual. [
cf1]On ~some modern orgs. `swell' effect may be obtained ~also on Choir and Solo
 manuals.[cm~Swieten, Gottfried, Baron van [fy75,1]([cf2]b[cf1] Leiden, [sm1733[
nm; ~[cf2]d[cf1] Vienna, [sm1803[nm). Dutch-born Austrian patron of ~mus. Went t
o Vienna [sm1745[nm when his father ~became empress's physician. Held diplomatic
 ~posts in Brussels, Paris, and London, and was ~ambassador to Berlin [sm1770[nm
=n[sm7[nm. Prefect of Imperial ~Lib., Vienna, [sm1778[nm=n[sm1803[nm. Wrote ligh
t operas, but ~remembered for commissioning works from[fj~C. P. E. Bach, Haydn,
and Mozart. Introduced ~Mozart to mus. of Bach and Handel [sm1782[nm=n[sm3[nm. ~
Mozart made his arrs. of Handel oratorios and ~other vocal works for private con
certs van Swieten ~founded. Wrote or adapted texts of Haydn's [cf2]Seven ~Last W
ords [cf1](ch. version [sm1796[nm), [cf2]The Creation [cf1]([sm1798[nm), ~and [c
f2]The Seasons [cf1]([sm1801[nm). Helped the young ~Beethoven, who dedicated his
 [sm1[nmst Sym. to him.[cm~Swing. [fy75,1]See [cf2]Jazz.[xm[cm~[
ol0][ep~[xp[u20]~~[te~












[do25][j99]~~~~~~[sm153842[nm_SE[sm06[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT OF MUSIC[cmSE[sm06[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm18[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm1110[nm[cm~GC[cm4[cm25.9.84[cm~U1[cm~~~~[ap[j1]Sydney Symphon
y Orchestra. [fy75,1]Orch. based in ~Sydney, N.S.W. Began in [sm1934[nm as broad
casting ~orch. (A.B.C.) also giving public and schools ~concerts. Title of Sydne
y S.O. adopted perma~~nently in [sm1945[nm. Prin. conds. have incl. Joseph ~Post
, Nikolay Malko, Dean Dixon, Moshe Atz~~mon, Willem van Otterloo, and Sir Charle
s ~Mackerras. Gives over [sm160[nm concerts a year.[xm[cm~[j1]Sygietynski, Tadeu
sz [fy75,1]([cf2]b [cf1]Warsaw, [sm1896[nm; [cf2]d [cf1]War~~saw, [sm1955[nm). P
olish cond. Studied Lw;aaow, Leipzig ~(with Reger), and Vienna (with Schoenberg)
. ~Founded state dance ens. [sm1949[nm to popularize ~Polish folk-dance and with
 it toured Europe and ~USA. Arr. Polish folk-songs.[cm~Sylphides, Les [fy75,1](T
he Sylphs). Ballet in [sm1[nm act, orig. ~called [cf2]Chopiniana
, [cf1]arr. to mus. of Chopin, choreog. ~Fokine. Prod. St Petersburg [sm1907[nm
(Pavlova among ~dancers). This first version used [sm5[nm pieces orch. by ~Glazu
nov: [cf2]Polonaise [cf1]in A, Op. [sm40[nm No. [sm1[nm, [cf2]Nocturne ~[cf1]in
F, Op. [sm15[nm No. [sm1[nm, [cf2]Mazurka [cf1]in C;Yi minor, Op. [sm50[nm ~No.
[sm3[nm, [cf2]Waltz [cf1]in C;Yi minor, Op. [sm64[nm No. [sm2[nm, and ~[cf2]Tare
ntella [cf1]in A;Yh, Op. [sm43[nm. Rev. version by Fokine ~prod. St Petersburg [
sm1908[nm with additional pieces ~orch. by Maurice Keller. This comprised [cf2]P
olonaise ~[cf1]in A, Op. [sm40[nm No. [sm1[nm (in most Western versions ~[cf2]Pr
elude [cf1]in A, Op. [sm28[nm No. [sm7[nm), [cf2]Nocturne [cf1]in A;Yh, Op. ~[sm
32[nm No. [sm2[nm, [cf2]Waltz [cf1]in G;Yh, Op. [sm70[nm No. [sm1[nm, [cf2]Mazur
ka [cf1]in ~D, Op. [sm33[nm No. [sm2[nm, [cf2]Mazurka [cf1]in C, Op. [sm67[nm No
. [sm3[nm, ~[cf2]Prelude [cf1]in A, Op. [sm28[nm No. [sm7[nm, [cf2]Mazurka [cf1]
in C;Yi minor, ~Op. [sm50[nm No. [sm3[nm, [cf2]Grand Waltz [cf1]
in E;Yh, Op. [sm18[nm No. [sm1[nm. ~Later Fokine choreographed [cf2]Mazurka [cf1
]in C, Op. ~[sm33[nm No. [sm3[nm as alternative to Op. [sm67[nm No. [sm3[nm. Rev
ived ~by Diaghilev, Paris [sm1909[nm. Extra items were scored ~by Tcherepnin and
 Lyadov, and Stravinsky re-~scored the [cf2]Nocturne [cf1]in A;Yh, Op. [sm32[nm
No. [sm2[nm and the ~[cf2]Grand Waltz [cf1]in E;Yh, Op. [sm18[nm No. [sm1[nm. On
e of most ~popular ballets in repertory. Eng. versions have ~used Chopin arrs. b
y Roy Douglas, Gordon Jacob, ~Malcolm Sargent, and others.[cm~Sylvia, ou La Nymp
he de Diane. [fy75,1]Ballet in [sm3[nm ~acts, mus. by Delibes, lib. by Barbier a
nd de ~Reinach, choreog. M;Aaerante. Prod. Paris [sm1876[nm, ~London [sm1911[nm.
 New choreog. by Ashton CG [sm1952[nm.[cm~Sympathetic Strings. [fy75,1]Those str
. on a bowed, ~plucked, or hammered instr. which vibrate (and ~thereby sound a n
ote) in sympathetic resonance ~with the note sounded near them by some other ~ag
ent. Certain instr., e.g. viola d'amore, were ~strung with sympa
thetic str., tuned to certain ~pitches, which vibrated because of proximity to ~
bowed str. above them and thus enriched the ~tone.[cm~Symphonia. [fy75,1]([sm1[n
m) Gr. word taken into Lat. and ~sometimes used by composers instead of `sym~~ph
ony'. Thus R. Strauss's [cf2]Symphonia Domestica [cf1]is ~correct title given by
 composer, not [cf2]Sinfonia ~Domestica [cf1](It.).[ep~^([sm2[nm) Name given in
medieval period to hurdy-~gurdy, first str. instr. to which kbd. principle was ~
applied. Perhaps so called because it was used in ~polyphonic mus., a master of
polyphony being ~then sometimes called a [cf2]symphoneta [cf1](Gr.).[cm~[PN711,0
,0,R,I0]Symphonia Domestica [fy75,1](Domestic Symphony). ~Orch. tone-poem by R.
Strauss, Op. [sm53[nm, comp. ~[sm1902[nm=n[sm3[nm, f.p. NY [sm1904[nm, f.Eng.p.
London [sm1905[nm. ~Depicts a day in the life of the Strausses, with ~themes rep
resenting wife Pauline, their baby son, ~and himself, but is also a sectional sy
m. in one ~movement not solely dependent on programme ~for mus.
effectiveness.[cm~Symphonic Dances. [fy75,1]Orch. work in [sm3[nm movements ~by
Rakhmaninov, Op. [sm45[nm, comp. [sm1940[nm, f.p. ~Philadelphia [sm1941[nm.[cm~S
ymphonic Metamorphosis of Themes by[fj~Carl Maria von Weber. [fy75,1]Orch. work
by Hinde-[fj~mith, comp. [sm1940[nm=n[sm3[nm, f.p. NY [sm1944[nm. Originated in
~sketches ([sm1940[nm) for ballet for Massine on Weber ~themes, using [cf2]Turan
dot [cf1]ov. The Weber themes ~used are: [sm1[nmst movt. ([cf2]Allegro[cf1]), No
. [sm4[nm ([cf2]All'Ongarese[cf1]) ~of [cf2]Eight Pieces[cf1] for pf. duet, [sm1
818[nm=n[sm19[nm; [sm2[nmnd movt. ~([cf2]Turandot Scherzo[cf1]), theme from ov.
to incid. mus. ~for Schiller's trans. of Gozzi's [cf2]Turandot, Prinzessin ~von
China[cf1], [sm1809[nm; [sm3[nmrd movt. ([cf2]Andantino[cf1]), No. [sm2[nm of ~[
cf2][sm6[nm Petites Pi;ageces faciles[cf1], pf. duet, [sm1801[nm; [sm4[nmth movt
. ~([cf2]Marsch[cf1]), No. [sm7[nm of [cf2]Eight Pieces [cf1]for pf. duet, [sm18
18[nm=n~[sm19[nm.[xm[cm~[j1]Symphonic Poem [fy75,1](Ger. [cf2]Si
nfonische Dichtung[cf1]). ~Descriptive term first applied by [fy45,1]*[fy75,1]Li
szt to his [sm13[nm ~one-movement orch. works which, while on a ~symphonic scale
, were not `pure' syms. because ~they dealt with descriptive subjects taken from
 ~classical mythology, Romantic literature, recent ~history, or imaginative fant
asy e.g. [cf2]Prometheus, ~Mazeppa, Les Pr;Aaeludes, [cf1]etc. In other words, t
hey ~were `programmatic'. Other composers followed ~his line, e.g. Smetana ([cf2
]Wallenstein's Camp, [cf1]etc.), ~Tchaikovsky ([cf2]Francesca da Rimini, [cf1]et
c.), Saint-~Sa;Auens ([cf2]Le Rouet d'Omphale, [cf1]etc.), Franck ([cf2]Le chass
eur ~maudit, [cf1]etc.), and many others. Richard Strauss, ~who carried pictoria
lism a stage further, preferred ~the term [cf2]Tondichtung [cf1]for his works in
 this form ~([cf2]Don Juan, [cf1]etc.). This is usually translated as `tone-~poe
m', but it has been well suggested that `sound-~poem' comes nearer to the intent
ion. Most late ~[sm19[nmth- and early [sm20[nmth-cent. composers
 wrote ~symphonic poems though they did not always so ~describe them, e.g. Deliu
s's [cf2]In a Summer Garden. ~[cf1]Elgar used designation `concert-ov.' for what
 are ~in effect [sm3[nm symphonic poems, [cf2]Froissart, Cockaigne, ~[cf1]and [c
f2]In the South, [cf1]and he called [cf2]Falstaff [cf1]a [fy45,1]*[fy75,1]sym~~p
honic study. Later [sm20[nmth-cent. composers have ~shown less interest in the f
orm, but it still survives ~in such works as Birtwistle's [cf2]The Triumph of Ti
me ~[cf1]([sm1972[nm).[cm~Symphonic Study. [fy75,1]Term used by various com~~pos
ers in different ways. Schumann called his ~[sm1837[nm set of pf. variations [cf
2];AaEtudes symphoniques[cf1]; ~Elgar applied the term to his symphonic poem ~[c
f2]Falstaff, [cf1]presumably to show that it was an `in ~depth' character-study;
 Rawsthorne described an ~orch. set of variations as [cf2]Symphonic Studies.[cm~
Symphonie espagnole[fy75,1] (Spanish Symphony). ~Orch. work for vn. and orch. by
 Lalo, Op. [sm21[nm, ~comp. [sm1874[nm, written for and first pl
ayed by ~[fy45,1]*[fy75,1]Sarasate in [sm1875[nm.[cm~Symphonie Fantastique [fy75
,1](Fantastic Symphony). ~Orch. work, Op. [sm14[nm, in C major by Berlioz, comp.
 ~[sm1830[nm when he was [sm26[nm, and f.p. Paris, [sm5[nm Dec. [sm1830[nm. ~F.E
ng.p. Manchester, cond. Hall;aae, [sm9[nm Jan. [sm1879[nm. F. ~complete London p
., cond. W. Ganz, April [sm1881[nm. ~One of most remarkable Romantic comps. and
~forerunner of the programme-syms. and sym~~phonic poems of Liszt, Mahler, Strau
ss, Tchaikov~~sky, and others. Sub-titled `Episode in the Life of ~an artist', i
t was inspired by Berlioz's then ~unrequited love for the Irish actress Harriet
~Smithson, whom he later married. This is ~symbolized in the mus. by a melody ([
cf2]id;Aaee fixe[cf1]) ~which acts as a motto-theme recurring in various ~guises
, like a Wagnerian leitmotiv, in each of the ~[sm5[nm movements. A theme in the
[sm1[nmst movement was ~taken from a song Berlioz wrote when he was [sm12[nm ~an
d the [cf2]March to the Scaffold [cf1]was taken from his ~unfini
shed opera [cf2]Les Francs Juges [cf1]([sm1826[nm). Berlioz ~rev. the [cf2]Symph
onie Fantastique [cf1]in Rome, [sm1831[nm=n[sm2[nm, ~and made other re-touchings
 before publication ~[sm1846[nm. Titles of the movements are: [sm1[nm. [cf2]R;af
everies, ~passions [cf1](Dreams, Passions). [sm2[nm. [cf2]Un bal [cf1](A ball).
[sm3[nm. ~[cf2]Sc;agene aux champs [cf1](Scene in the fields). [sm4[nm. [cf2]Mar
che ~au supplice [cf1](March to the Scaffold). [sm5[nm. [cf2]Songe d'une ~nuit d
u Sabbat [cf1](Witches' Sabbath). Arr. for pf. by ~Liszt, [sm1833[nm. See also [
cf2]L;aaelio.[cm~Symphonie fun;agebre et triomphale [fy75,1](`Funereal ~and triu
mphal symphony'). Work by Berlioz, ~sometimes known as [cf2]Grande Symphonie fun
;agebre et ~triomphale[cf1], composed [sm1840[nm to commission by ~French Govern
ment to mark tenth anniversary ~of [sm1830[nm Revolution. Originally scored for
large ~military band and perf. out of doors. Berlioz in ~[sm1842[nm added parts
for optional str. orch. and later ~also for chorus to patriotic
text by A. Deschamps. ~In [sm3[nm movements: [sm1[nm. [cf2]Marche fun;agebre[cf1
] in F minor; [sm2[nm. ~[cf2]Oraison fun;agebre [cf1]in G; [sm3[nm. [cf2]L'Apoth
;aaeose [cf1]in B;yh. Probably ~comp. from earlier sketches.[cm~Symphonie Liturg
ique. [fy75,1]Honegger's Sym. No. [sm3[nm, ~comp. [sm1945[nm=n[sm6[nm. F.p. Z;Au
urich [sm1946[nm.[cm~Symphonie sur un chant montagnard fran;Alcais ~[fy75,1](Sym
phony on a French mountain song). D'Indy's ~Op. [sm25[nm, sub-titled [cf2]Sympho
nie C;Aaevenole [cf1]because the ~theme comes from the C;Aaevennes region. Speci
fied ~as `for orch. and pf.'. Comp. [sm1886[nm, f.p. Paris, ~Lamoureux concert [
sm1887[nm.[cm~Symphony [fy75,1](from Gk., `a sounding together'; ~Ger. [cf2]Sinf
onie, [cf1]Fr. [cf2]Symphonie, [cf1]It. [cf2]Sinfonia, [cf1]Gk.-Lat. ~[cf2]Symph
onia[cf1]). A term which has had several ~meanings over the centuries: ([sm1[nm)
 In [sm17[nmth and [sm18[nmth ~cents., [cf2]Sinfonia [cf1]meant what we should n
ow call ~an `overture' to an opera, etc., i.e. a short instr. ~p
iece often consisting of [sm3[nm short sections or ~movements in quick-slow-quic
k form.[ep~^([sm2[nm) It was also used of an orch. interlude, e.g. the ~`Pastora
l' sym. in Handel's [cf2]Messiah, [cf1]in a vocal ~work. Some [sm20[nmth-cent. c
omposers have revived ~[PN712,0,0,L,I0]this archaic usage of the term, e.g. Stra
vinsky in ~his [cf2]Symphonies of Wind Instruments [cf1]([sm1920[nm).[ep~^([sm3[
nm) As the word is now generally used, it means ~a large-scale orch. comp. (usua
lly in [sm4[nm movements ~but often in [sm1[nm, [sm3[nm, or [sm5[nm, occasionall
y in [sm2[nm), a [fy45,1]*[fy75,1]Sonata ~for orch., the first movement and othe
rs being in ~sonata-form. It is reserved by composers for their ~most weighty an
d profound orch. thoughts, but ~of course there are many light-hearted, witty, a
nd ~entertaining syms. The movements of the Classi~~cal and early Romantic sym.
were usually an ~opening allegro, followed by a slow movement, ~then a minuet or
 scherzo, finally another allegro ~or rondo. Frequently the slow
 movement is ~placed [sm3[nmrd, sometimes last. Early composers of ~the [sm18[nm
th-cent. [sm4[nm-movement sym. were Sammar~~tini, Wagenseil, Gossec, J. C. and C
. P. E. Bach, ~Boyce, and especially the composers of the ~Mannheim School, Stam
itz, Cannabich, Richter, ~and others, who made innovations in dynamics, ~expande
d the development of themes, and ~broadened the harmonic idiom. The average ~[sm
18[nmth-cent. sym. orch. comprised str., double ~woodwind (cls. later), hns., an
d a continuo instr., ~usually hpd. The sym. was brought to a new peak ~by Joseph
 Haydn, who wrote [sm107[nm, and was the ~first composer to demonstrate what lat
er compos~~ers also seized upon, namely that the word ~`symphony' should not imp
ly rigidity of form or ~material. Some of Haydn's syms. have [sm6[nm move~~ments
; some utilize mus. he wrote for plays; ~some themes are based on folk-songs; mo
st have ~slow introductions; many movements are mono~~[chthematic; rondos, varia
tions, and minuets are ~used; wit and humour are deployed; rare
keys ~are explored; deep emotions are aroused. Haydn's ~example was followed and
 improved upon by ~Mozart, especially in his [sm3[nm last syms. of [sm1788[nm, a
nd ~these in turn led to even further marvels from ~Haydn in his last [sm12[nm s
yms. written for his [sm2[nm visits ~to Eng.[ep~^Taking over from Haydn and Moza
rt, Beet[chhoven ~raised the sym. to a new plane of emotional ~expression, his [
sm3[nmrd Symphony ([cf2]Eroica,[cf1] [sm1803[nm=n[sm4[nm) ~ending the [sm18[nmth
 cent. at a stroke and striding ~forward into an age when democracy, revolution,
 ~and ethics were to become influential factors in ~art, while at the same time
effecting a mus. ~revolution by its enlarged dimensions, boldness ~of harmony, s
ubtlety of key relationships, and ~general scope. In the [cf2]Pastoral Symphony,
 [cf1]No. [sm6[nm ~([sm1807[nm=n[sm8[nm), Beethoven reconciled perfectly the ~cl
aims of `absolute' and `descriptive' mus., and in ~the [sm9[nmth ([sm1817[nm=n[s
m23[nm) he introduced human vv. into ~the finale in a setting of
 Schiller's [cf2]Ode to Joy. [cf1]The ~floodgates were now open. Schubert's syms
. ~bridged the way to the Romantic period. The ~syms. of Mendelssohn and Schuman
n combine ~classical outlines with romantic feeling and some ~pictorialism, as i
n the former's [cf2]Scotch [cf1]and [cf2]Italian ~[cf1]syms. and the latter's [c
f2]Spring [cf1]and [cf2]Rhenish. [cf1]Brahms's ~[sm4[nm syms. eschew pictorial a
ssociations and uphold ~the virtues of classical design (though they are ~deeply
 romantic in essence and also formally ~unusual in places) as an antidote to the
 growing ~craze for Lisztian symphonic poems and the ~operas of Wagner (who wrot
e only one early sym. ~but was contemplating others when he died). ~Berlioz's [f
y45,1]*[fy75,2]Symphonie Fantastique [cf1]([sm1830[nm) is one of ~the most remar
kable works in the genre, frankly ~programmatic, brilliantly orchestrated, and o
pen~~ing up horizons which were not further explored ~until the picturesque late
-[sm19[nmth-cent. syms. of ~Tchaikovsky. Yet the epitome of the
Romantic ~sym., imbued still with classical prin[chciples while ~on a huge archi
tectural scale, is to be found in the ~[sm9[nm syms. of Bruckner. Berlioz's pion
eering was ~taken a stage further by Mahler, whose [sm10[nm syms. ~not only brid
ge the [sm19[nmth and [sm20[nmth cents. but also ~form a `transition passage' of
 their own between ~[sm19[nmth-cent. mus. idioms and the new [sm20[nmth-cent. ~p
reoccupation with the dissolution of tonality. ~The crisis of the sym. in the ea
rly years of the ~[sm20[nmth cent. is exemplified by the contrasting ~approaches
 of Sibelius and Mahler. The former ~expressed his faith in compression, concent
ration, ~and `absolute' mus. whereas Mahler said that `the ~symphony must embrac
e everything'. In Sibelius, ~especially in the [sm4[nmth and [sm7[nmth syms., sy
mphonic ~thought and processes are elliptical and pared to ~essentials. In Mahle
r, vv. are used in [sm4[nm of the ~syms., philosophical and religious theories a
re at ~the root of their inspiration, and wildly juxtaposed ~the
matic material is brought into cohesive unity ~by sheer force of conviction, the
 instrumentation ~being exotic and multiple. The two attitudes, ~regarded as mut
ually exclusive, are in fact not ~incompatible and a compromise has governed ~th
e development of the [sm20[nmth-cent. sym., often ~within the works of the same
composer, e.g., ~compare the severe `classicism' of Vaughan ~Williams's [sm4[nmt
h Sym. with the programmatic [sm7[nmth, ~[cf2]Sinfonia Antartica[cf1]; compare S
hostakovich's [sm5[nmth ~Sym. with his [sm13[nmth and [sm14[nmth.[ep~^From time
to time throughout the [sm20[nmth cent. ~composers and pundits have pronounced t
he ~sym. dead but it shows an encouraging refusal to ~lie down. Nielsen ([sm6[nm
), Vaughan Williams ([sm9[nm), Bax ~([sm7[nm), Shostakovich ([sm15[nm), Ives ([s
m4[nm), W. Schuman ([sm9[nm), ~Rubbra ([sm11[nm), and many others show that the
sym. ~has not lost either its attraction or challenge for ~composers. Argument f
requently occurs over ~whether certain works designated `symphon
y' ~really merit the description, e.g. Stravinsky's ~[cf2]Symphony in [sm3[nm Mo
vements [cf1]([sm1945[nm), Messiaen's ~[cf2]Turangal;Afila [cf1]([sm1946[nm=n[sm
8[nm), etc. An answer to this is ~that no mus. form can be regarded as immutable
. ~The [sm18[nmth-cent. composer (with the likely excep~~tion of Haydn) would sc
arcely recognize some ~[sm20[nmth-cent. syms. in form, but there is more to a ~s
ym. than its title. It implies an attitude of mind, ~a certain mental approach b
y the composer, and ~in this respect the [sm4[nm syms. of Tippett and the ~three
 large-scale syms. by Maxwell Davies, as well ~as many others comp. since [sm196
0[nm, suggest that, ~for some considerable time to come, reports of ~[PN713,0,0,
R,I0]the demise of the sym. will prove to have been ~exaggerated.[ep~^([sm4[nm)
In the USA `symphony' also means `symphony ~orchestra'.[ep~^([sm5[nm) Sym. conce
rt means, pedantically, a concert ~at which a sym. is played, but it is generall
y used ~to mean a concert by a sym. orch., whatever it is ~playi
ng.[cm~[j1][j1]Symphony in [sm3[nm Movements. [fy75,1]Orch. work by ~[fy45,1]*[f
y75,1]Stravinsky comp. [sm1942[nm=n[sm5[nm and f.p. NY P.O. cond. ~Stravinsky [s
m1946[nm. F.Eng.p. [sm1946[nm, cond. Ansermet ~(broadcast). Work's genesis is of
 special interest; ~first movement began, in [sm1942[nm, as pf. conc. or ~conc.
for orch. with [cf2]concertante [cf1]pf. part, inspired ~by film on China's `sco
rched earth' tactics. [sm2[nmnd ~movement was written as acc. for apparition of
~Virgin Mary in film [cf2]Song of Bernadette, [cf1]an abortive ~project where St
ravinsky was concerned. [sm3[nmrd ~movement influenced by wartime newsreels.[cm~
Symphony of a Thousand. [fy75,1]Nickname, not ~wholly approved by the composer,
for Mahler's ~Sym. No. [sm8[nm in E;Yh major, comp. [sm1906[nm=n[sm7[nm, f.p. ~M
unich [sm1910[nm (cond. Mahler), because of the huge ~forces employed to perf. i
t. It is, however, not ~necessary to use [sm1[nm,[sm000[nm people, although at t
he f.p. ~more than that number were on the platform. ~F.Eng.p. L
ondon [sm1930[nm (Wood).[cm~Symphony of Psalms. [fy75,1]Work for mixed ch. and ~
orch. in [sm3[nm movements by [fy45,1]*[fy75,1]Stravinsky, Lat. text ~being draw
n from the Psalms [sm39[nm, [sm40[nm, and [sm150[nm. ~Comp. [sm1930[nm to commis
sion from Boston S.O. for ~[sm50[nmth anniversary. F.p. Brussels [sm1930[nm, con
d. ~Ansermet; f.p. in USA [sm6[nm days later, Boston, cond. ~Koussevitzky; f.p.
in England London [sm1931[nm, ~cond. Stravinsky.[cm~Syncopation. [fy75,1]Device
used by composers in order ~to vary position of the stress on notes so as to ~av
oid regular rhythm. Syncopation is achieved ~by accenting a weak instead of a st
rong beat, by ~putting rests on strong beats, by holding on over ~strong beats,
and by introducing a sudden change ~of time-signature. First used at time of [cf
2]Ars Nova, ~[cf1]and exploited to fullest capabilities by jazz ~musicians, ofte
n in improvisation. Stravinsky, ~Bart;Aaok, etc. also employ syncopation with dr
a~~matic effect.[xm[cm~[ol0][ep~[xp[u20]~~[te~
[do25][j99]~~~~~~[sm153842[nm_SE[sm07[nm[ep~[u1]~~~~[sm153842[nm[cmCONCISE OXFOR
D ~DICT OF MUSIC[cmSE[sm07[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm19[nm/[sm10[nm/[sm79[nm
[cm[sm12[nm[cm~~[sm1136[nm[cm~A.G.S.[cm2[cm13/6/84[cm~U4[cm~~~~[ap[j1]Synthesize
r. [fy75,1]Term for system of elec. apparatus ~which can be used to control or p
roduce sounds ~(usually from a kbd.). Used by composers of elec. ~mus. Its inven
tion, by Robert Moog in [sm1965[nm, ~revolutionized elec. comp. by speeding up t
he ~process and doing away with drudgery of ~assembling and splicing small secti
ons of tape. ~The first synthesizer was built from voltage-~controlled and selec
ted non-voltage-controlled ~components. It could play itself in mobile sound ~pa
tterns which might be recurrent or non-~repetitive and could also, by use of a d
evice called ~a `sequencer', memorize long and complex mus. ~structures and play
 them live without recording ~or tape editing. (It is possible to reproduce inst
r. ~mus. on a synthesizer, as was convincingly ~demonstrated in
[sm1969[nm by the success of Walter ~Carlos's commercial recording `Switched-on
~Bach'.) Its numerous functions are controlled by ~punched paper tape. A means o
f producing ~mobility is by an `envelope shaper', a device to ~control the shape
 of a sound or other parameter. ~It has controls which est. the time of attack,
~sustain, decay, and end of a sound. An initial ~drawback was that most synthesi
zers could ~perform only one note at a time. Since [sm1976[nm, ~however, polypho
nic synthesizers have been ~developed. See also [cf2]Electronic music.[cm~Syrinx
. [fy75,1]For solo fl., by Debussy, comp. [sm1913[nm for ~Louis Fleury who gave
f.p. Paris [sm1913[nm. Syrinx was ~the Gr. term for the [fy45,1]*[fy75,1]panpipe
s, instr. played by ~the mythical god Pan (half-goat, half-man).[cm~Szab;Aao, Fe
renc [fy75,1]([cf2]b [cf1]Budapest, [sm1902[nm; [cf2]d [cf1]Budapest, ~[sm1969[n
m). Hung. composer. Studied Liszt Acad. of ~Mus., Budapest, [sm1922[nm=n[sm6[nm
(comp. with Kod;Aaaly, ~etc.). Lived in Russia and Ger. [sm1932[
nm=n[sm45[nm. Prof. of ~comp. Liszt Acad. [sm1945[nm=n[sm67[nm (dir. from [sm195
8[nm). ~Works incl. Conc. for Orch., oratorio, ballets, [sm2[nm ~str. qts., solo
 vn. sonatas, etc.[cm~Sz;aaant;aao, Theodor [fy75,1]([cf2]b [cf1]Vienna, [sm1877
[nm; [cf2]d [cf1]Budapest, ~[sm1934[nm). Austrian-born Hung. pianist. Studied in
 ~Budapest. Rev. version of Delius's pf. conc. ([sm1906=n~7[nm) is ded. to him;
gave f.p. at Promenade Concert ~in London [sm1907[nm.[cm~Sz;Aaekely, Endre [fy75
,1]([cf2]b [cf1]Budapest, [sm1912[nm). Hung. ~composer, cond., and critic. Studi
ed Budapest ~Acad. Active in Hung. Communist party mus. ~work. Dir., Municipal T
h., Budapest. Prolific ~writer about mus. Comp. choral works, [cf2]Musica ~nottu
rna [cf1]for pf. and chamber ens., songs, etc.[cm~Sz;Aaekely, Zolt;Aaan [fy75,1]
([cf2]b [cf1]Kocs, [sm1903[nm). Hung.-born ~violinist (Amer. citizen from [sm196
0[nm). Studied ~Budapest with Hubay and Kod;Aaaly. Founded ~Hungarian Str. Qt.,
[sm1935[nm. Gave f.p. in Amsterdam, ~[sm1938[nm, of Bart;Aaok's
Vn. Conc. No. [sm2[nm, which is ded. ~to him. Settled in USA [sm1949[nm. Taught
at Amer. ~univ.[cm~Szel;Aaenyi, Istvan [fy75,1]([cf2]b [cf1]Z;aaolyom, [sm1904[n
m; [cf2]d[cf1] Budapest, ~[sm1972[nm). Hung. composer, pianist, writer, and ~tea
cher. Studied Liszt Acad. of Mus., Budapest. ~Prof. of pf., Hung. Gymnasium, [sm
1948[nm=n[sm51[nm, ed., ~[cf2]New Review of Music, [cf1]Hungary, [sm1951[nm=n[sm
6[nm, prof. of ~comp., Bart;Aaok Cons., Budapest, from [sm1945[nm (dir. ~from [s
m1956[nm), Liszt Acad. [sm1956[nm=n[sm72[nm. Works incl. ~sym., [sm3[nm str. qts
., [sm6[nm sonatas, oratorios, etc. Wrote ~biography of Liszt.[cm~Szell, Georg [
fy75,1]([cf2]b [cf1]Budapest, [sm1897[nm; [cf2]d [cf1]Cleveland, ~Ohio, [sm1970[
nm). Hung.-born cond., pianist, and ~composer (Amer. citizen [sm1946[nm). Studie
d with ~Reger. Solo pianist at age [sm10[nm with Vienna S.O. ~and at [sm17[nm co
nd. Berlin P.O. in one of his own ~comps. Cond., Strasbourg Stadttheater [sm1917
[nm, on ~recommendation of R. Strauss. Cond., Deutsches ~[PN714,
0,0,L,I0]Landtheater, Prague, [sm1919[nm=n[sm21[nm, Darmstadt [sm1921[nm=n~[sm2[
nm, D;Auusseldorf [sm1922[nm=n[sm4[nm, Berlin [sm1924[nm=n[sm9[nm. Returned ~to
Prague [sm1930[nm=n[sm6[nm. Cond., Scottish Orch. [sm1936[nm=n[sm9[nm. ~Amer. d;
Aaebut [sm1931[nm, St Louis S.O. Settled in USA ~[sm1939[nm, teaching at Mannes
Sch. Cond. NY Met. ~[sm1942[nm=n[sm5[nm. Cond. Cleveland Orch. [sm1946[nm=n[sm70
[nm, making ~it one of the finest in world and taking it on int. ~tours. Cond. a
t post-[sm1946[nm Salzburg Fests., e.g. ~premi;Ageres of Liebermann's [cf2]Penel
ope [cf1]([sm1954[nm) and ~Egk's [cf2]Irische Legende [cf1]([sm1955[nm). Noted f
or his Wagner, ~Strauss, Mahler, and the classics but outstanding ~in modern sco
res. Many stories are told of his ~amazing memory for mus. and mus. detail and ~
of his caustic wit.[cm~Szenkar, Eugen [fy75,1]([cf2]b [cf1]Budapest, [sm1891[nm;
 [cf2]d[cf1] D;Auusseldorf, ~[sm1977[nm). Hung. cond. Studied Budapest Acad. Con
d. ~Deutsches Landtheater, Prague, [sm1911[nm=n[sm13[nm, Buda~~p
est Volksoper [sm1913[nm=n[sm15[nm, Salzburg Mozarteum ~[sm1915[nm=n[sm16[nm, Al
tenburg [sm1916[nm=n[sm20[nm, Frankfurt Opera ~[sm1920[nm=n[sm3[nm, Berlin Volks
oper [sm1923[nm=n[sm4[nm, Cologne Opera ~[sm1924[nm=n[sm33[nm. Left Ger. for Rus
sia [sm1933[nm. Cond., ~Brazilian S.O., Rio, [sm1939[nm. Returned to Mannheim ~O
pera [sm1950[nm=n[sm1[nm, D;Auusseldorf Opera [sm1952[nm=n[sm6[nm.[cm~Szerv;aaan
szky, Endre [fy75,1]([cf2]b [cf1]Budat;aaet;aaeny, [sm1911[nm; [cf2]d[cf1] ~Buda
pest, [sm1977[nm). Hung. composer. Studied Liszt ~Acad. of Mus., Budapest, [sm19
23[nm=n[sm8[nm, [sm1931[nm=n[sm6[nm. Prof. ~of comp. Budapest Cons. [sm1942[nm=n
[sm8[nm and at Liszt ~Acad. from [sm1948[nm. Authority on, and influenced ~by, m
us. of Bart;Aaok. Works incl. Conc. for Orch., ~cl. conc., fl. conc., [cf2]Seren
ade [cf1]for cl. and orch., ~[cf2]Variations [cf1]for orch., [sm2[nm str. qts.,
vn. sonata, [sm2[nm wind ~quintets, [cf2]Dark Heaven [cf1](Requiem) ([sm1963[nm)
, songs, ~etc.[cm~Szeryng, Henryk [fy75,1]([cf2]b [cf1]Warsaw, [
sm1918[nm). Polish-born ~violinist, Mexican citizen since [sm1946[nm. Studied ~w
ith Hess, Flesch, Thibaud, and comp. for six ~years with Boulanger. D;Aaebut [sm
1933[nm. Settled in ~Mexico [sm1946[nm where he taught. Int. career as ~virtuoso
 violinist.[cm~Szidon, Roberto [fy75,1]([cf2]b [cf1]Porto Alegre, Brazil, [sm194
1[nm). ~Brazilian pianist. Studied Porto Alegre and NY. ~D;Aaebut Porto Alegre a
t age [sm9[nm. Int. career as soloist. ~Settled in Ger.[cm~Szigeti, Josef [fy75,
1]([cf2]b [cf1]Budapest, [sm1892[nm; [cf2]d [cf1]Lucerne, ~[sm1973[nm). Hung.-bo
rn violinist (Amer. citizen [sm1951[nm). ~Studied Budapest RAM with Hubay. D;Aae
but Berlin ~[sm1905[nm, followed by world tours. London d;aaebut ~[sm1907[nm, li
ving there until [sm1913[nm and giving f.p. of ~Harty's vn. conc. [sm1909[nm. Ta
ught at Geneva Cons. ~[sm1917[nm=n[sm24[nm. Settled in USA [sm1926[nm after Phil
adelphia ~d;aaebut [sm1925[nm. Wide repertory from Bach to modern ~composers suc
h as Prokofiev, Bart;Aaok, and Bloch, ~whose conc. he championed
. Retired to Switz. ~[sm1960[nm. Wrote cadenzas and made many transcrip~~tions f
or vn. and pf., including one of Elgar's ~[cf2]Serenade [cf1]for pf. ([sm1932[nm
).[cm~Szokolay, S;aaandor [fy75,1]([cf2]b [cf1]K;aaun;aaagota, [sm1931[nm). Hung
. ~composer. Studied Budapest Acad. (comp. with ~Szab;Aao and Farkas). Worked fo
r Hung. radio [sm1957[nm=n~[sm61[nm. Teacher at Budapest Acad. from [sm1966[nm.
Works ~incl. operas [cf2]Hamlet [cf1]([sm1966[nm=n[sm8[nm), [cf2]V;Aaern;Aaasz [
cf1](Blood ~Wedding, after Lorca, [sm1962[nm=n[sm4[nm), vn. conc., pf. ~conc., t
pt. conc., [cf2]D;Aaeploration, [cf1]in memoriam ~Poulenc, ch. and orch. ([sm196
4[nm), etc.[cm~Sz;auoll;auosy, Andr;Aaas [fy75,1]([cf2]b [cf1]Sz;Aaaszv;Aaaros,
[sm1921[nm). Hung. ~composer and writer. Studied Budapest Acad. ~(with Kod;Aaaly
) and S. Cecilia Acad., Rome (with ~Petrassi). Ed. writings of Bart;Aaok and Kod
;Aaaly. ~Works incl. [sm5[nm Concs. for Orch., [cf2]Music for Orchestra, ~[cf1][
sm3[nm pieces for fl. and pf., hpd. conc., etc.[cm~Szymanowski,
Karol [fy75,1]([cf2]b [cf1]Tymoshovka, Ukraine, ~[sm1882[nm; [cf2]d [cf1]Lausann
e, [sm1937[nm). Polish composer. ~Boyhood spent in Ukraine, where many Poles ~ow
ned land. Showed early mus. promise and ~because of leg injury which compelled a
 sedentary ~life, studied much mus. and conceived lifelong ~enthusiasm for Chopi
n. Studied theory with ~Neuhaus and wrote [sm9[nm pf. preludes in [sm1900[nm. In
 ~[sm1901[nm went to Warsaw to study comp. with ~Noskowski. Moved to Berlin [sm1
905[nm, attracted by ~brilliance of Strauss and others, and wrote first ~sym. th
ere. With [sm3[nm compatriots (Fitelberg,[fj~R;Aaozycki, and Szeluta) formed `Yo
ung Poland in ~Music' soc., the Berlin P.O. giving a concert of ~their works. Le
ft Berlin [sm1908[nm, returning to ~Tymoshovka, his mus. being championed by ~ot
her Polish musicians, e.g. the pianist Arthur ~Rubinstein, the cond. Fitelberg,
and his sister ~Stanislawa, for whose sop. v. he wrote many of ~his songs. Anoth
er Polish virtuoso, the violinist ~Paul Koch;aaansky, was inspir
ation of the [sm1[nmst vn. ~conc. and other works. Family home was de~~stroyed i
n [sm1917[nm and for four years Szymanowski ~abandoned music while he wrote a lo
ng novel ~[cf2]Efebos[cf1] (the manuscript was destroyed in Warsaw ~in [sm1939[n
m). Left Russia [sm1920[nm for Warsaw, but visited ~Paris, London, and NY, takin
g part in concerts of ~modern mus. Back in Poland, wrote several works ~inspired
 by folklore. Became dir., Warsaw Cons. ~[sm1926[nm, revolutionizing teaching me
thods. F.p. in ~[sm1928[nm of his [cf2]Stabat Mater [cf1]was his first big Polis
h ~triumph. Resigned directorship [sm1929[nm because of ~tuberculosis but became
 rector of Warsaw Acad. ~(which replaced Cons.) in [sm1930[nm, resigning in [sm1
932[nm ~after a dispute. Completed [sm2[nmnd vn. conc. [sm1933[nm, ~f.p. being g
iven by Koch;aaansky shortly before he ~died. In [sm1933[nm=n[sm4[nm, Szymanowsk
i toured Europe as ~solo pianist in his [cf2]Symphonie Concertante, [cf1]but ~co
ntinued ill-health weakened him and he died ~in a sanatorium.[ep
~^Szymanowski is typical of many [sm20[nmth-cent. ~composers who searched for so
me key to the ~liberation of what they felt to be their individual ~characterist
ics. Through his works can be traced ~the influence of the Ger. school of Straus
s, etc., ~from which he was released by admiration for ~Debussy and the Fr. `imp
ressionist' composers. ~From them he took what he needed, experiment~~ing furthe
r with atonality, polytonality, micro~~tones, elaborate rhythms, and declamatory
 ~passages. The return to Poland awakened his ~latent nationalism=minspired by C
hopin=mas he ~[PN715,0,0,R,I0]studied his native mus., particularly the songs ~a
nd dances of the Tatra mountaineers, which led ~to the [cf2]Mazurek [cf1]for pf.
 and the colourful, exotic ~ballet [cf2]Harnasie. [cf1]His opera [cf2]King Roger
 [cf1]is among his ~best works, a notable example of modern ~romanticism, and th
e vn. concs. are particularly ~rewarding. The [cf2]Stabat Mater [cf1]is an espec
ially ~beautiful setting. Prin. comps.:[xm[cm~[j2][smoperas[nm:
[fy75,2]Hagith, [cf1]Op. [sm25[nm ([sm1912[nm=n[sm13[nm); [fy45,1]*[fy75,2]King
Roger ~[cf1]([cf2]Kr;Aaol Roger[cf1]), Op. [sm46[nm ([sm1918[nm=n[sm24[nm).[ep~[
smballets[nm: [cf2]Mandragora, [cf1]Op. [sm43[nm ([sm1920[nm); [cf2]Harnasie,[fj
~[cf1]Op. [sm55[nm ([sm1923[nm=n[sm31[nm).[ep~[smorch[nm: Symphonies: No. [sm1[n
m in F minor, Op. [sm15[nm ~([sm1907[nm), No. [sm2[nm in B;Yh, Op. [sm19[nm ([sm
1909[nm=n[sm10[nm), No. [sm3[nm for ~ten. (or sop.), male ch., and orch. ([cf2]S
ong in the ~Night [cf1]to Cz. trans. of [sm13[nmth-cent. Persian text), ~Op. [sm
27[nm ([sm1914[nm=n[sm16[nm), No. [sm4[nm, [cf2]Symphonie Concertante, ~[cf1]pf.
 and orch. ([sm1931[nm=n[sm2[nm); Violin Concertos: No. [sm1[nm, ~Op. [sm35[nm (
[sm1916[nm), No. [sm2[nm, Op. [sm61[nm ([sm1932[nm=n[sm3[nm); Concert ~Ov. in E,
 Op. [sm12[nm ([sm1904[nm=n[sm5[nm, rev. [sm1912[nm, [sm1913[nm).[ep~[smvoice[nm
([sms[nm)[sm and orch[nm: [cf2]Penthesilea[cf1], sop. and orch., Op. ~[sm18[nm (
[sm1908[nm, reorch. [sm1912[nm); [cf2]Love Songs of Hafiz[cf1],
Op. ~[sm26[nm, v. and orch. ([sm1914[nm, incl. orch. of Nos. [sm1[nm, [sm4[nm, &
 ~[sm5[nm of Op. [sm24[nm, [sm1911[nm, for v. and pf.); [cf2]Demeter, [cf1]alto,
 ~women's ch., and orch., Op. [sm38[nm ([sm1917[nm, reorch. ~[sm1924[nm); [cf2]A
gawa, [cf1]sop., ch., and orch., Op. [sm39[nm ([sm1917[nm); ~[cf2]Stabat Mater,
[cf1]sop., cont., bar., women's ch., and ~orch., Op. [sm53[nm ([sm1926[nm); [cf2
]Veni Creator, [cf1]sop., ch., and ~orch., Op. [sm57[nm ([sm1930[nm); [cf2]Litan
y of the Virgin Mary, ~[cf1]([cf2]Litania do Marii Panny[cf1]), sop., women's ch
., and ~orch. ([sm1930[nm=n[sm33[nm).[ep~[smchamber music[nm: [cf1]Vn. Sonata in
 D minor, Op. [sm9[nm ~([sm1904[nm); String Quartets: No. [sm1[nm, Op. [sm37[nm
([sm1917[nm), ~No. [sm2[nm, Op. [sm56[nm ([sm1927[nm).[ep~[smviolin and piano[nm
: [cf2]Romance, [cf1]Op. [sm23[nm ([sm1910[nm); ~[cf2]Notturno e Tarantella, [cf
1]Op. [sm28[nm ([sm1915[nm); [sm3[nm [cf2]Myths ~[cf1]([cf2]Mity[cf1]) ([cf2]The
 [fy45,1]*[fy75,2]Fountain of Arethusa, Narcissus, ~Dryads and P
an[cf1]), Op. [sm30[nm ([sm1915[nm); [sm3[nm [cf2]Paganini ~Caprices, [cf1]trans
cr., Op. [sm40[nm ([sm1918[nm); [cf2]Berceuse d'Ai~~tacho Enia, [cf1]Op. [sm52[n
m ([sm1925[nm).[ep~[smpiano[nm: [cf2][sm9[nm Preludes, [cf1]Op. [sm1[nm ([sm1900
[nm); [cf2]Variations [cf1]in B;Yh ~minor, Op. [sm3[nm ([sm1903[nm); [cf2][sm4[n
m Studies, [cf1]Op. [sm4[nm ([sm1902[nm); ~Sonatas: No. [sm1[nm in C minor, Op.
[sm8[nm ([sm1904[nm), No. [sm2[nm ~in A minor, Op. [sm21[nm ([sm1911[nm), No. [s
m3[nm, Op. [sm36[nm ([sm1917[nm); ~[cf2]Variations on a Polish Theme, [cf1]Op. [
sm10[nm ([sm1904[nm); ~Fantasy in F minor, Op. [sm14[nm ([sm1905[nm); [cf2]M;Aae
topes, [cf1][sm3[nm ~poems ([cf2]The Sirens' Isle, Calypso, Nausicaa[cf1]), Op.
~[sm29[nm ([sm1915[nm); [cf2][sm12[nm Studies, [cf1]Op. [sm33[nm ([sm1916[nm); [
cf2][sm3[nm Masques ~[cf1]([cf2]Maski[cf1]), Op. [sm34[nm ([cf2]Sh;Aaeh;Aaerazad
e[cf1], [cf2]Tantris the clown, ~Don Juan's Serenade[cf1]) ([sm1916[nm); [cf2]Ma
zurek [cf1]([sm1925[nm); [cf2][sm4[nm ~Polish Dances, [cf1]Op. [
sm47[nm ([sm1926[nm); [cf2][sm20[nm Mazurkas, [cf1]Op. ~[sm50[nm ([sm1924[nm=n[s
m5[nm); [cf2][sm2[nm Mazurkas, [cf1]Op. [sm62[nm ([sm1934[nm).[ep~[smvoice and p
iano[nm: [cf2][sm12[nm Songs, [cf1]Op. [sm17[nm ([sm1907[nm); [cf2][sm6[nm Songs
, ~[cf1]Op. [sm20[nm ([sm1909[nm); [cf2]Love Songs of Hafiz, [cf1][sm1[nmst cycl
e of [sm6[nm, ~Op. [sm24[nm ([sm1911[nm); [cf2][sm6[nm Songs of the Fairy Prince
ss, [cf1]Op. ~[sm31[nm ([sm1915[nm); [cf2][sm4[nm Songs [cf1]to poems by Tagore,
 Op. [sm41[nm ~([sm1918[nm), [cf2][sm6[nm Songs of the Infatuated Muezzin[cf1],
Op. [sm42[nm ~([sm1918[nm); [cf2][sm2[nm Basque Songs[cf1], [cf1]Op. [sm44[nm ([
sm1921[nm); [cf2]Slopiewnie, ~[cf1][sm5[nm songs, Op. [sm45[nm ([sm1921[nm); [cf
2][sm3[nm Lullabies, [cf1]Op. [sm48[nm ([sm1922[nm); ~[cf2][sm20[nm Children's R
hymes [cf1]([cf2]Rymy dzieciece[cf1]), Op. [sm49[nm ~([sm1923[nm); [cf2][sm4[nm
Songs [cf1]to words by Joyce, Op. [sm54[nm ([sm1926[nm); ~[cf2][sm12[nm Kurpian
Songs, [cf1]Op. [sm58[nm ([sm1930[nm=n[sm3[nm).[cm~[j4]~[xp[te~
[do9][j99]~~~~~~[sm153842[nmT[sm001[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmT[sm001[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm11[nm.[sm10[nm.[sm7
9[nm[cm[sm12[nm[cm[sm1[nm[cm~GC[cm5[cm26.9.84[cm~U1[cm~~~~[PN716,0,0,L,I0][ap[j3
]~T[cm~~[j1]t. [fy75,1]Tonic sol-fa symbol for [sm7[nmth degree of scale, ~prono
unced [cf2]te[cf1].[cm~Tabachnik, Michel [fy75,1]([cf2]b [cf1]Geneva[cf1], [sm19
42[nm). Swiss ~cond. and composer. Studied Geneva Cons. Ass. ~cond. to Boulez fo
r [sm4[nm years. D;aaebut Royan Fest. ~Guest cond. with European and Brit. orchs
. ~Cond., Gulbenkian Orch., Lisbon, [sm1973[nm=n[sm5[nm. Art. ~dir. Ensemble Int
er-Contemporain, Fr., [sm1976[nm=n[sm7[nm, ~Cond. Lorraine P.O. from [sm1975[nm.
[cm~Tabarro, Il [fy75,1](The Cloak). Opera in [sm1[nm act by Puccini ~to lib. by
 Adami, after Didier Gold's play [cf2]La ~Houppelande [cf1]([sm1910[nm). Part [s
m1[nm of [cf2]Il [fy45,1]*[fy75,2]trittico. [cf1]Comp. ~[sm1913=n6[nm. Prod. NY
Met. [sm1918[nm, Rome and Chicago ~[sm1919[nm, London [sm1920[nm
.[cm~Tabla. [fy75,1]Indian small hand-drum with single head ~but double body of
[sm2[nm truncated cones. Played ~with fingers. Usually wedged in crook of right
~knee of seated player. Some Western composers ~have scored for it, e.g. Berio a
nd Cowell.[cm~Tablature. [fy75,1]System of writing down mus. to be ~perf. other
than by use of notes. Instead figures, ~letters, and similar signs were used. Th
ere were ~systems of org. and lute tablature in which the ~symbols represented t
he position of the player's ~fingers, not the pitch. Diagrammatic notation ~used
 today in popular mus. for guitar, ukelele, ~etc. is type of tablature.[cm~Tabor
. [fy75,1]Small drum used in medieval times to ~accompany folk-dancing, usually
played in con~~junction with end-blown pipe. Performer struck ~drum with one han
d, holding pipe in the other.[cm~Tacet [fy75,1](Lat.). It is silent. Indication
that particular ~performer or instr. has no part to play for ~considerable time.
 [cf2]Tacet al fine [cf1]means he has no ~more to play.[cm~[cj3,
6,27]Tactus [fy75,1](Lat.). Term used in [sm15[nmth and [sm16[nmth cents. ~to de
signate a specified `beat', either a unit of time, ~or the cond.'s beat. For a c
onsiderable period, the ~[cf2]tactus [cf1]was the equivalent of the whole-note.[
cm~[nbTaddei, Giuseppe [fy75,1]([cf2]b [cf1]Genoa, [sm1916[nm). It. bar. Opera ~
d;aaebut Rome [sm1936[nm. London d;aaebut [sm1947[nm, Salzburg ~[sm1948[nm, CG [
sm1960[nm. Famous as Scarpia in [cf2]Tosca[cf1], and ~in buffo roles.[cm~Tafelmu
sik [fy75,1](Ger.). Table-music. Mus. to be sung ~or played during or after a me
al. Telemann wrote ~a fine example of [cf2]Tafelmusik [cf1][sm1733[nm, in [sm3[n
m sections, ~each with [sm6[nm movements, for various groups of ~instr. In [cf2]
Der Rosenkavalier[cf1], the off-stage band in ~Act III is described to Baron Och
s as [cf2]Tafelmusik[cf1].[xm[cm~[j1]Tagliabue, Carlo [fy75,1]([cf2]b [cf1]Maria
no Comense, [sm1898[nm; [cf2]d[cf1] ~Monza, [sm1978[nm). It. bar. Opera d;aaebut
 Lodi [sm1922[nm as ~Amonasro. Sang at Scala, Milan, [sm1930[nm=
n[sm53[nm. CG ~[sm1938[nm and [sm1946[nm, NY Met [sm1937[nm=n[sm9[nm. Noted Verd
i ~bar., also sang Wagner parts in It.[cm~Tagliavini, Ferruccio [fy75,1]([cf2]b
[cf1]Reggio Emilia, [sm1913[nm). ~It. ten. Studied Parma and Florence. Opera d;a
aebut ~Florence [sm1939[nm. Leading It. lyric ten. during World ~War II, then Bu
enos Aires [sm1946[nm=n[sm7[nm, NY Met. ~[sm1947[nm=n[sm54[nm, CG [sm1950[nm. Ex
celled in [cf2]bel canto [cf1]roles, ~such as Nemorino, Duke of Mantua, etc.[cm~
Tahiti Trot [fy75,1](Shostakovich). See [cf2]Tea for Two[cf1].[cm~Taille [fy75,1
](Fr.). Old name for middle v., particularly ~ten., and for instr. of similar re
gister, e.g. [cf2]taille de ~basson[cf1], ten. ob., or [cf2]taille[cf1], va. In
Bach's cantatas, ~[cf2]taille [cf1]is taken to mean ten. ob. [cf1]([cf2]oboe da
caccia[cf1]).[cm~Tailleferre, Germaine [fy75,1]([cf2]b [cf1]Parc St Maur, nr. Pa
ris, ~[sm1892[nm; [cf2]d[cf1] Paris, [sm1983[nm). Fr. composer and pianist, ~one
 of [cf2]Les [fy45,1]*[fy75,2]Six[cf1]. Studied Paris Cons. Pupi
l of Ravel. ~Comps. incl. pf. conc., harp concertino, conc. for ~[sm2[nm pf., v.
, and orch., conc. for bar., pf., and orch., ~str. qts., vn. sonata, ballets, et
c.[cm~Tajo, Italo [fy75,1]([cf2]b [cf1]Pinerolo, [sm1915[nm). It. bass. Studied
in ~Turin. Opera d;aaebut Turin [sm1935[nm as Fafner. Sang at ~first Edinburgh F
est., [sm1947[nm, with Glyndebourne ~Co. San Francisco [sm1948[nm=n[sm56[nm, CG
[sm1950[nm, NY Met. ~[sm1948[nm=n[sm50[nm. Outstanding in Donizetti buffo roles.
 ~After [sm1966[nm taught at Cincinnati Cons.[cm~Tak;aaacs, Jen;auo [fy75,1]([cf
2]b[cf1] Cinfalva, [sm1902[nm). Austrian com~~poser, pianist, and teacher. Studi
ed comp. in ~Vienna with G;aaal and Marx. Taught at Cairo Cons. ~[sm1927[nm=n[sm
32[nm, [sm1934[nm=n[sm6[nm, Univ. of Philippines, Manila, ~[sm1932[nm=n[sm4[nm.
Visit to USA as pianist [sm1938[nm. Dir., P;aaecs ~Cons. [sm1942[nm=n[sm8[nm. Ta
ught at Univ. of Cincinnati ~from [sm1970[nm. Deeply interested by folk mus. of
~many nations. Works incl. [cf2]Tarantella [cf1]for pf. and ~orc
h., chamber mus., and many pf. pieces.[cm~Takemitsu, Toru [fy75,1]([cf2]b [cf1]T
okyo, [sm1930[nm). Japanese ~composer, mainly self-taught except for study ~with
 Kiyose [sm1948[nm=n[sm50[nm. Organized experimental ~workshop for painters and
composers in Tokyo, ~[sm1951[nm. Art. dir. of Space Theatre at Osaka ~Exposition
 [sm1970[nm. His mus. uses [cf2]avant-garde ~[cf1]procedures and much of it is o
n tape. Influenced ~at first by Schoenberg, Messiaen, and Schaeffer's ~[cf2]musi
que concr;agete[cf1]. Much concerned, like Ligeti, ~with timbre. Works incl. [cf
2]Relief statique [cf1]on tape ~([sm1955[nm), [cf2]Requiem [cf1]for str. ([sm195
7[nm), [cf2]Music of Tree[cf1], orch. ~([sm1961[nm), [cf2]Coral Island[cf1], sop
. and orch. ([sm1962[nm), [cf2]The ~Dorian Horizon, [cf1][sm17[nm str. ([sm1966[
nm), [cf2]November Steps [cf1]No. ~[sm1[nm, shakuhachi, biwa, orch. ([sm1967[nm)
, [cf2]Asterism[cf1], pf. ~and orch. ([sm1968[nm), [cf2]Cassiopeia[cf1], perc. a
nd orch., ~[cf2]Crossing[cf1], [sm12[nm women's vv., guitar, har
p, pf., ~[PN717,0,0,R,I0]vibraphone, and [sm2[nm orchs. ([sm1969[nm). [cf2]Eucal
ypts I[cf1], fl., ~ob., harp, str. ([sm1970[nm), [cf2]Winter[cf1], orch. ([sm197
1[nm), [cf2]Corona[cf1], ~[sm22[nm str. ([sm1971[nm). [cf2]Gitimalay[cf1] ([cf2]
Bouquet of Songs[cf1]), mar~~imba and orch. ([sm1975[nm), [cf2]Quatrain[cf1], vn
., vc., cl., pf., ~and orch. ([sm1975[nm), [cf2]A Flock descends into the pentag
onal ~garden[cf1], orch. ([sm1977[nm), [cf2]Rain Spell[cf1], ens. ([sm1982[nm),
[cf2]Orion[cf1], ~vc., pf. ([sm1984[nm), [cf2]Star Isle[cf1], orch. ([sm1984[nm)
, conc. for guitar, oboe d'amore, orch. ([sm1984[nm), and pf. ~works incl. [cf2]
Far away, Piano distance, Undisturbed ~Rest[cf1].[cm~Takt[fy75,1] (Ger.). (a) `T
ime' (b) `Beat' (c) `Measure' (i.e. ~bar). So [fy65][cf3]im Takt[fy75,1], `in ti
me' (;eq`A tempo'); [fy65][cf3]ein ~Takt wie vorher zwei[fy75,1], `one beat as p
reviously ~two' (one beat allowed as much time as two beats ~previously).[ep~[cj
3,6,27]^Among compounds and derivatives of Takt, are: ~Taktart,
`time-species'=mduple, triple, etc.; taktfest ~(`time-firm'), `in steady time';
Takt halten, `to hold ~(keep) time'; taktieren, `to beat time'; Taktschlag ~(`ti
me-stroke'), `beat'; Taktzeichen (`time-sign'), ~`signature'; Taktwechsel, `time
-change'; taktm;auas~~sig (`time moderated'), generally meaning the ~same as [fy
45,1]*[fy75,1]`Tempo commodo'; Taktmesser (time-~measure), `metronome'; Taktnote
 (`bar-note'), ~`semibreve'; Taktpause, `measure-rest' (i.e. bar-~rest); Taktsto
ck (`time-stick'), `baton'; Taktstrich ~(`bar-stroke'), `bar-line'; taktig, `bar
-ish', in such ~connexion as [sm3[nm-taktig, `three-bar-ish', i.e. having [sm3[n
m-~bar ([sm3[nm-measure) phrases.[cm~[nbTal [fy75,1](orig. Gruenthal), [fy65][cf
3]Josef [fy75,1]([cf2]b [cf1]Pinne, [sm1910[nm). ~Polish-born Israeli composer a
nd pianist. Studied ~Berlin Hochschule [sm1928[nm=n[sm30[nm. Settled in Palestin
e ~[sm1934[nm. Prof. of pf. and comp., Jerusalem Cons. ~[sm1937[nm. Dir., Israel
 Acad. of Mus. [sm1948[nm=n[sm52[nm. Chair~~man, musicology dept
., Hebrew Univ. from ~[sm1965[nm. Dir., Israel elec. mus. centre from [sm1961[nm
. ~Works incl. several choral works to Heb. texts, [sm3[nm ~syms., [sm6[nm pf. c
oncs. (Nos. [sm4[nm, [sm5[nm, and [sm6[nm with tape), va. ~conc., hpd. conc. wit
h tape, woodwind quintet, ~elec. ballets, [sm6[nm operas (incl. [cf2]Ashmedai [c
f1]and [cf2]Die ~Versuchung, [cf1][sm1973[nm=n[sm4[nm), ob. sonata, and [cf2][sm
5[nm Instructive ~Compositions [cf1]in [cf2]Dodecaphonic Technique [cf1]for pf.[
cm~Tala. [fy75,1]Indian term for rhythm, being a fixed ~time-span for mus., repe
ated in cycles, and ~articulated by hand-beats, drum-beats, or by a ~percussive
[fy45,1]*[fy75,1]idiophone.[cm~Tale of Two Cities, A. [fy75,1]Opera in [sm3[nm a
cts by A. ~Benjamin to lib. by Cedric Cliffe after Dickens. ~Comp. [sm1949[nm=n[
sm50[nm and awarded a Fest. of Britain ~prize ([sm1951[nm) but not prod. until [
sm1957[nm (London, ~SW). San Francisco [sm1960[nm.[cm~Tales from the Vienna Wood
s [fy75,1]([cf2]Geschichten aus ~dem Wienerwald[cf1]). Waltz, Op
. [sm325[nm, by Johann ~Strauss II. Comp. [sm1868[nm.[cm~[cj3,6,27]Tales of Hoff
mann, The[fy75,1] ([cf2]Contes d'Hoffmann, Les[cf1]). ~Opera in prol., [sm3[nm a
cts, and epilogue by [fy45,1]*[fy75,1]Offenbach ~to lib. by J. Barbier and M. Ca
rr;aae based on stories ~[cf2]Der Sandmann, Geschichte von verlorenen Spiegelbil
de[cf1], ~and [cf2]Rat Krespel[cf1] by E.T.A. [fy45,1]*[fy75,1]Hoffmann. Left ~i
ncomplete at Offenbach's death (many numbers ~unfinished, sketches only of other
s). At f.p. the ~Giulietta act was omitted and Guiraud provided ~revisions, reci
tatives (in place of the correct spoken ~dialogue), and some of the orchestratio
n. In [sm1893[nm, ~Giulietta act was restored as Act [sm2[nm, where it is ~place
d in the largely corrupt Choudens edn. of ~[sm1907[nm. New edn. by Fritz Oeser (
[sm1980[nm) attempts to ~interpret Offenbach's final intentions, with acts in ~t
he order: [sm1[nm, Olympia; [sm2[nm, Antonia; [sm3[nm, Giulietta. ~F.p. Paris [s
m1881[nm, NY [sm1882[nm, London [sm1907[nm. Famous ~[cf2]Barcaro
lle[cf1], orig. written for [cf2]Die Rheinnixen [cf1]([sm1864[nm), ~occurs in Gi
ulietta act as orch. intermezzo before ~epilogue.[cm~[nbTalich, V;aaaclav [fy75,
1]([cf2]b [cf1]Krom;ake;akr;aai;akz, Moravia, [sm1883[nm; [cf2]d ~[cf1]Beroun, [
sm1961[nm). Cz. cond. and violinist. Studied ~Prague Cons. [sm1897[nm=n[sm1903[n
m under ;akSev;akcik, later ~studying cond. with Nikisch. Leader, Berlin P.O. ~[
sm1903[nm=n[sm4[nm. Taught vn. in Tiflis [sm1905[nm=n[sm07[nm. Cond. ~Ljubljana
P.O. [sm1908[nm, then opera at Plze;akn (Pilsen) ~[sm1912[nm=n[sm15[nm. Chief co
nd., Cz. P.O. [sm1919[nm=n[sm41[nm, during ~which the orch. became world-famous
through ~tours and records. Re-orch. substantial parts of ~Jan;aaa;akcek's opera
s, [cf2]K;aaa;akta Kabanov;aaa [cf1]and [cf2]The Cunning ~Little Vixen[cf1]. Art
. dir. and cond. Prague Nat. Opera ~[sm1935[nm=n[sm45[nm; dismissed [sm1945[nm,
restored to post [sm1947[nm, ~again removed [sm1948[nm and restored [sm1954[nm.
Founded ~Slovak P.O. of Bratislava [sm1949[nm=n[sm52[nm. Retired
 [sm1956[nm.[cm~Tallis, Thomas [fy75,1]([cf2]b c.[cf1][sm1505[nm; [cf2]d [cf1]Gr
eenwich, [sm1585[nm). ~Eng. composer and organist. Organist, Waltham ~Abbey from
 [cf2]c[cf1]. [sm1538[nm to [sm1540[nm. Lay clerk, Canter~~bury Cath. [sm1540[nm
=n[sm2[nm. Gentleman of the Chapel ~Royal [sm1540[nm=n[sm85[nm, serving under He
nry VIII, ~Edward VI, Mary, and Elizabeth I, and organist ~jointly with [fy45,1]
*[fy75,1]Byrd. [cf1]In [sm1575[nm Elizabeth granted ~Tallis and Byrd letters pat
ent giving them [sm21[nm-~year monopoly for printing mus. and mus. paper. ~In th
at year they pubd. [sm34[nm [cf2]Cantiones sacrae [cf1]in [sm5[nm ~and [sm6[nm p
arts ([sm16[nm by Tallis and [sm18[nm by Byrd). Tallis ~wrote some pieces for kb
d. and viols, but is ~mainly known for church mus. of great contra~~puntal ingen
uity and technical dexterity. In this ~respect his masterpiece is perhaps the [s
m40[nm-part ~motet [fy45,1]*[fy75,2]Spem in alium[cf1], in the opening section o
f ~which [sm20[nm vv. enter successively with theme in ~imitatio
n. The other [sm20[nm then enter with new ~material and, after passages for vary
ing numbers ~of vv., all [sm40[nm combine for the ending. Of special ~interest,
too, is the use of modulation in the [sm2[nm ~[cf2]Lamentations [cf1]from near t
he end of his long career. ~The tune known as [cf2]Tallis's Canon [cf1]was one o
f [sm9[nm ~which Tallis comp. for Archbishop Parker's ~metrical [cf2]Whole Psalt
er[cf1], [sm1567[nm, where it is attached ~to Ps. [sm67[nm. In [sm1732[nm it was
 linked with Bishop Ken's ~Winchester evening hymn, `Glory to thee, my ~God, thi
s night'. Another tune written for this ~psalter was that used by Vaughan Willia
ms in ~[sm1910[nm as the basis of his [fy45,1]*[fy75,2]Fantasia on a Theme by ~T
homas Tallis [cf1]for str.[cm~Talma, Louise [fy75,1]([cf2]b [cf1]Arcachon, [sm19
06[nm). Fr.-born ~Amer. composer. Studied NY [sm1922[nm=n[sm30[nm (with H. ~Broc
kway) and Columbia Univ. [sm1923[nm=n[sm33[nm, and in ~summers in Fr. with I. Ph
ilipp and N. Boulanger ~[sm1926[nm=n[sm39[nm. Teacher since [sm1
928[nm at Hunter Coll., NY, ~[PN718,0,0,L,I0]becoming prof. of mus. [sm1952[nm.
Winner of several ~prizes and scholarships. Works incl. opera [cf2]The ~Alcestia
d[cf1],[sm1955[nm=n[sm8[nm, (Frankfurt [sm1962[nm), oratorio [cf2]The ~Divine Fl
ame, Dialogues [cf1]for pf. and orch., vn. ~sonata, str. qt., [cf2]All the days
of my life[cf1], ten., cl., vc., ~pf., and perc. ([sm1965[nm), [cf2]Voices of Pe
ace[cf1], ch. and str. ~([sm1973[nm), [cf2]Summer Sounds[cf1], cl., str. qt. ([s
m1973[nm), and ~[cf2]Textures[cf1], pf. ([sm1978[nm).[cm~Talon [fy75,1](Fr.). He
el. The nut end of the bow of a ~str. instr.[cm~Talvela, Martti [fy75,1](Olavi)
[cf1]([cf2]b [cf1]Hiitola, [sm1935[nm). Finn. ~bass. Sang at Royal Opera, Stockh
olm, [sm1961[nm=n[sm2[nm, ~Bayreuth, [sm1962[nm (Titurel), then at Deutsche Oper
, ~Berlin, Hamburg, Vienna, Milan, CG (Gurne~~manz, [sm1973[nm), etc. Salzburg F
est. from [sm1962[nm. Art. ~dir. Savonlinna Opera Fest., Finland, [sm1972[nm=n[s
m80[nm.[cm~Tamagno, Francesco [fy75,1]([cf2]b [cf1]Turin, [sm185
0[nm; [cf2]d [cf1]Varese, ~[sm1905[nm). It. ten. Studied Turin Cons. and sang in
 ~ch. of Turin Opera, [sm1870[nm. Opera d;aaebut [sm1873[nm in ~Donizetti's [cf2
]Poliuto. [cf1]Sang at Scala, Milan, from ~[sm1877[nm. Toured S. America [sm1880
[nm, then sang in ~Lisbon and Madrid. Chosen by Verdi to create ~title-role in [
cf2]Otello [cf1]in Milan [sm1887[nm, his famous ~`trumpet tone' being ideally su
ited. London d;aaebut ~[sm1889[nm at Lyceum in [cf2]Otello[cf1], CG [sm1895[nm.
Chicago ~[sm1889[nm=n[sm90[nm. NY Met. (as Otello) [sm1890[nm, [sm1894[nm=n[sm5[
nm. ~Retired [sm1902[nm.[cm~Tamberlik, Enrico [fy75,1]([cf2]b [cf1]Rome, [sm1820
[nm; [cf2]d [cf1]Paris, ~[sm1889[nm). It. ten. Studied Rome and Naples, making ~
opera d;aaebut at Naples [sm1841[nm in Bellini's [cf2]I Capuleti ~e =+=+i Montec
chi[cf1]. CG [sm1850[nm [cf1]in [cf2]Masaniello[cf1], then regularly ~until [sm1
864[nm. NY [sm1873[nm=n[sm4[nm. Created Alvaro in Verdi's ~[cf2]La forza del des
tino[cf1], [sm1862[nm, St Petersburg. First Eng. ~Manrico in [cf
2]Il trovatore. [cf1]Noted as Rossini's Otello ~and as Florestan in [cf2]Fidelio
[cf1]. Some authorities say ~he was Romanian, orig. Nikita Torna.[cm~Tambour[fy7
5,1] (Fr.). Drum. [cf1]Hence, [cf2]tambour de Basque[cf1], ~tambourine; [cf2]tam
bour militaire[cf1], side-drum.[cm~Tambourin [fy75,1](Fr.). ([sm1[nm)^Small [sm2
[nm-headed medieval ~drum, i.e. the tabor.[ep~^([sm2[nm)^Old Proven;alcal dance,
 orig. acc. by pipe and ~tabor. Rameau's operas contain several [cf2]tambourins[
cf1], ~and he wrote kbd. pieces in the style of the dance.[xm[cm~[j1]Tambourine.
 [fy75,1]Type of perc. instr. of Arab orig. ~but known in Europe before [sm1300[
nm. Small, shallow, ~single-headed drum; `jingles' (circular metal discs) ~are i
nserted into its wooden frame. It can be ~played by (a) hitting the head with kn
uckles, ~clenched fist, or back of the hand, or by striking ~it on the player's
knee; (b) shaking it so that the ~jingles rattle; (c) rubbing a thumb along the
edge ~to cause a tremolo from the jingles; (d) playing ~near rim
 with fingers or sticks. Mozart used the ~tambourine in his [cf2]German Dances[c
f1] (K[sm571[nm, [sm1787[nm) ~and it was also used by Weber and Berlioz, and ~of
ten since then, especially in scenes of revelry, ~etc.[cm~Tambura [fy75,1](also
[cf2]tanbura, tanpura[cf1]). Long-necked ~Indian lute, unfretted and round-bodie
d. [sm4[nm wire ~str. all played open and together as drone acc. ~Plucked with f
ingers.[cm~Tamburin [fy75,1](Ger.), [fy65][cf3]tamburino [fy75,1](It.). Usually
the ~[fy45,1]*[fy75,1]tambourine, but sometimes the tabor.[cm~Tamburini, Antonio
 [fy75,1]([cf2]b [cf1]Faenza, [sm1800[nm; [cf2]d [cf1]Nice, ~[sm1876[nm). It. ba
r. Played hn. as child and sang in ~Faenza opera ch. at [sm12[nm. Opera d;aaebut
 Cento [sm1818[nm. ~Sang in main It. opera houses [sm1824[nm=n[sm32[nm. London ~
d;aaebut [sm1832[nm, Paris [sm1832[nm=n[sm43[nm during period of ~Rubini, Lablac
he, Grisi, and Viardot. Created ~Ernesto in Bellini's [cf2]Il Pirata [cf1][sm182
7[nm, Valdeburgo in ~[cf2]La Straniera[cf1] [sm1829[nm, Riccardo
 in [cf2]I Puritani [cf1][sm1835[nm, ~and Malatesta in Donizetti's [cf2]Don Pasq
uale [cf1][sm1843[nm. ~Was also noted Don Giovanni. Retired [sm1855[nm, but ~fiv
e years later in Nice sang Rossini's Figaro.[cm~Tamburo [fy75,1](It.). Drum. Thu
s [cf2]tamburo Basco, [cf1]tam~~bourine; [cf2]tamburo grande [cf1]or [cf2]grosso
 [cf1](or [cf2]gran ~tamburo[cf1]), bass drum; [cf2]tamburo militare[cf1] and [c
f2]tamburo ~piccolo[cf1], side drum; [cf2]tamburo rullante[cf1], ten. drum.[cm~T
amburone [fy75,1](It.). Bass drum.[cm~Taming of the Shrew, The [fy75,1]([cf2]Der
 widerspenstigen ~Z;auahmung[cf1]). Opera in [sm4[nm acts by [fy45,1]*[fy75,1]Go
etz to lib. by J. ~V. Widmann based on Shakespeare's play. Comp. ~[sm1868=n72[nm
. Prod. Mannheim [sm1874[nm; London [sm1879[nm; ~NY [sm1886[nm.[cm~Tamir, Alexan
der. [fy75,1]See [cf2]Eden and Tamir[cf1].[cm~Tam O'Shanter. [fy75,1]([sm1[nm) C
oncert-ov. by Malcolm ~[fy45,1]*[fy75,1]Arnold, Op. [sm51[nm ([sm1955[nm) based
on the poem by ~Burns.[ep~^([sm2[nm)^Symphonic ballad for orch.
by George ~[fy45,1]*[fy75,1]Chadwick ([sm1911[nm).[ep~^([sm3[nm)^Mackenzie's [cf
2]Scottish Rhapsody [cf1]No. [sm3[nm for orch. ~([sm1911[nm).[cm~Tampon [fy75,1]
(Fr.). Drumstick. [cf2]Tampon double [cf1]is [sm2[nm-~headed stick used to produ
ce roll on bass drum ~(imitating thunder, etc.).[cm~Tam-tam. [fy75,1]The gong, e
specially one of indefinite ~pitch. Nothing to do with [fy45,1]*[fy75,1]tom-tom.
[cm~Tancredi. [fy75,1]Opera ([cf2]melodramma eroico[cf1]) in [sm2[nm acts by ~Ro
ssini to lib. by Rossi after Tasso's [cf2]Gerusalemme ~liberata [cf1]([sm1575[nm
) and Voltaire's [cf2]Tancr;agede [cf1]([sm1760[nm). ~Prod. Venice [sm1813[nm, L
ondon [sm1820[nm, NY [sm1825[nm.[cm~Taneyev, Alexander [fy75,1](Sergeyevich) [cf
1]([cf2]b [cf1]St Peters~~burg, [sm1850[nm; [cf2]d [cf1]Petrograd, [sm1918[nm).
Russ. composer. ~Studied with Rimsky-Korsakov. Wrote operas, [sm3[nm ~syms., [sm
3[nm str. qts., pf. pieces, etc.[cm~Taneyev, Sergey [fy75,1](Ivanovich) [cf1]([c
f2]b [cf1]Govt. of Vladi~~mir, [sm1856[nm; [cf2]d [cf1]Dyudkovo,
 [sm1915[nm). Russ. composer ~and pianist. Studied Moscow Cons. [sm1866[nm=n[sm7
5[nm (pf. ~with N. Rubinstein, comp. with Tchaikovsky). ~D;aaebut as pianist, Ja
n. [sm1875[nm, in Brahms's D minor ~pf. conc. Gave f. Moscow p. of Tchaikovsky's
 B;yh ~minor conc. Dec. [sm1875[nm. Toured with violinist ~Auer [sm1876[nm. Prof
. of instrumentation Moscow ~Cons. [sm1880[nm, then of pf. and later of comp. [s
m1883[nm=n~[sm7[nm, dir., [sm1885[nm=n[sm9[nm, prof. of counterpoint [sm1888[nm=
n[sm1906[nm. ~[PN719,0,0,R,I0]Opponent of nationalist sch. in Russia. Student of
 ~works of Ockeghem, Despr;ages, and Lassus. Wrote ~books on theory. Completed v
ocal version of ~Tchaikovsky's [cf2]Romeo and Juliet. [cf1]Wrote [sm4[nm syms. ~
(No. [sm1[nm in E minor, [sm1874[nm; No. [sm2[nm in B;yh, [sm1877[nm=n[sm8[nm, ~
orch. Blok [sm1974[nm; No. [sm3[nm in D minor, [sm1884[nm; No. [sm4[nm ~in C min
or, [sm1898[nm), [cf2]Overture on Russian Themes[cf1], ~choral works, [sm9[nm st
r. qts., much other chamber ~mus., and songs.[cm~Tangent [fy75,1
](from Lat. [cf2]tangere[cf1], to touch). Part of ~[fy45,1]*[fy75,1]clavichord,
a small metal `tongue', which touches ~a str. when key is struck and produces so
und. ~Remains in contact with str. while note sounds.[cm~Tanglewood. [fy75,1]Est
ate near Lennox, Mass., which ~in [sm1937[nm was offered to the Boston S.O. so t
hat it ~could establish the Berkshire Music Center for ~instruction in conductin
g, opera and instrumen~~tal perf., and composition. The summertime ~Berkshire Fe
st., directed by the incumbent cond. ~of the Boston S.O. and his guests, has ove
r the ~years accommodated thousands of students and ~enthusiasists.[cm~Tango. [f
y75,1]Argentinian dance, possibly imported ~into America by African slaves, perf
. by couples ~at slow walking pace to mus. in simple duple ~time and with dotted
 rhythm like [cf2]haba;atnera. ~[cf1]Became popular ballroom dance after [sm1907
[nm. Some ~composers have used the tango in their works, ~e.g. Walton, in his su
ite [cf2]Fa;alcade[cf1], and Stravinsky.[cm~Tango, Egisto [fy75,
1]([cf2]b [cf1]Rome, [sm1873[nm; [cf2]d [cf1]Copenhagen, ~[sm1951[nm). It. cond.
 Studied Naples. D;aaebut [sm1896[nm. NY ~Met. d;aaebut [sm1909[nm in [cf2]Werth
er. [cf1]Cond. in Vienna ~(Volksoper) and for [sm7[nm years in Budapest. Cond. ~
f.p. of Bart;aaok's [cf2]Duke Bluebeard's Castle[cf1], Budapest ~[sm1918[nm. Set
tled in Copenhagen [sm1925[nm.[cm~Tannh;auauser und Der S;auangerkrieg auf Wart~
~burg [fy75,1](Tannh;auauser and the Singing Contest at the ~Wartburg, usually a
bbreviated to [cf2]Tannh;auauser[cf1]). ~Opera ([cf2]Handlung[cf1]) in [sm3[nm a
cts by Wagner to his own ~lib. Comp. [sm1843[nm=n[sm5[nm. Prod. Dresden [sm1845[
nm, NY ~[sm1859[nm, CG [sm1876[nm. Rev. of [sm1861[nm, known as `Paris ~version'
, prod. Paris [sm1861[nm (occasion of Jockey ~Club riot), NY [sm1889[nm, CG [sm1
896[nm. Paris version is ~now usually perf., but Dresden version was used ~at CG
 [sm1984[nm.[cm~Tansman, Aleksander [fy75,1]([cf2]b [cf1];ul;aaod;aaz, [sm1897[n
m). Polish-~born Fr. composer and pianist. Studied L;aaod;aaz ~C
ons. [sm1902[nm=n[sm14[nm, Warsaw Univ. [sm1915[nm=n[sm19[nm. Settled ~in Paris
[sm1919[nm except for spell in USA [sm1940[nm=n[sm6[nm, ~when he wrote film mus.
 in Hollywood. Works ~incl. [sm8[nm syms., [sm2[nm pf. concs., va. conc., vn. co
nc., vc. ~conc., cl. conc., guitar concertino, oratorio[cf2] Isaiah ~the Prophet
, [cf1]Conc. for Orch., [cf2]Resurrection[cf1] for orch., ~ob. concertino, fl. c
oncertino, [sm8[nm str. qts., vc. ~sonata, etc. Wrote book on Stravinsky.[cm~Tan
to [fy75,1](It.). So much, as much, too much. [cf2]Non ~tanto[cf1], not too much
, don't overdo it! (e.g. Allegro ~non tanto). [cf2]Tantino [cf1]means A very lit
tle.[cm~Tantum ergo [fy75,1](Lat., `Therefore we before Him ~bending, this great
 sacrament revere', in Eng. ~version). Opening words of last section of St ~Thom
as Aquinas's Corpus Christi hymn [cf2]Pange ~lingua[cf1]. Used in services other
 than that of Corpus ~Christi and especially in that of Benediction. Has ~own pl
ainsong, but has often been set by ~composers.[cm~Tanz, T;auanze
 [fy75,1](Ger.). Dance, dances. [cf2]T;auanzchen[cf1], ~little dances.[cm~Tap Bo
x[fy75,1]. See [cf2]Chinese Wood Block.[xm[cm~[j1]Tapfere Soldat, Der [fy75,1](S
traus). See [cf2]Chocolate Soldier, ~The[cf1].[cm~Tapiola. [fy75,1]Tone-poem for
 orch., Op. [sm112[nm, by ~[fy45,1]*[fy75,1]Sibelius, comp. [sm1926[nm to commis
sion by NY Sym. ~Soc. who gave f.p. in NY [sm1926[nm, cond. W. ~Damrosch. F.p. i
n England London [sm1928[nm. Tapio ~was god of Finnish forests.[cm~Tarantella[fy
75,1] (It.), [fy65][cf3]Tarantelle[fy75,1] (Fr.). Neapolitan ~dance in ;d6;i8 [c
f1]time which probably takes its name ~from Taranto, in the heel of Italy, or fr
om a spider ~common there, the tarantula, whose bite is mildly ~poisonous. The m
usic is of great rapidity with an ~approach to the [fy45,1]*[fy75,1]perpetuum mo
bile. The saltar~~ello is a similar type. Chopin, Rossini, Liszt, and ~Mendelsso
hn are among composers who have ~used the [cf2]tarantella[cf1] in their works.[c
m~Taras Bulba. [fy75,1]([sm1[nm)^Rhapsody for orch. by Jan;aaa;a
kcek, ~comp. [sm1915[nm=n[sm18[nm, f.p. Brno [sm1921[nm, f. Eng. p. [sm1928[nm.
~Bulba was historical Ukrainian Cossack leader; ~Jan;aaa;akcek based this work o
n story about him by ~Gogol. The [sm3[nm movements are: [sm1[nm.^[cf2]Death of A
ndrea ~[cf1]([cf2]Smrt Andrijova[cf1]). [sm2[nm.^[cf2]Death of Ostap [cf1]([cf2]
Smrt Ostapova[cf1]). ~[sm3[nm.^[cf2]Capture and Death of Taras Bulba [cf1]([cf2]
Proroctv;aai a ~smrt Tarase Bulby[cf1]).[ep~^([sm2[nm)^Opera by Argentinian comp
oser Berutti ~([sm1895[nm).[cm~Tarbouka. [fy75,1]Flower-pot-shaped drum from N.
~Africa, used by Berlioz in the Slave Dance in [cf2]Les ~Troyens[cf1].[cm~Tardo,
 tarda [fy75,1](It.). Slow. So [cf2]tardamente[cf1], slowly; ~[cf2]tardando, tar
dantemente, [cf1]slowing (gradually); [cf2]tar~~dato[cf1], slowed (gradually).[x
m[cm~[ol0][ep~[xp[te~


[do9][j99]~~~~~~[sm153842[nm_T[sm002[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmT[sm002[nm[cm[sm9[nm[cm~[sm1[nm[cm[sm11[nm.[sm10[nm.[sm
79[nm[cm[sm12[nm[cm[sm56[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Tar;aaoga
t;aao. [fy75,1]Hung. single-reed, conical-bore wood~~wind instr. similar to sax.
, with cl. mouth-piece, ~which is sometimes used for [sm2[nmnd of the shepherd's
 ~tunes in Act [sm3[nm of Wagner's [cf2]Tristan und Isolde[cf1]. ~Wagner specifi
es a [cf2]Holztrompete [cf1](wooden tpt.), ~but while at Budapest Opera ([sm1888
[nm=n[sm91[nm) Mahler ~used the tar;aaogat;aao and this was also adopted at ~Bay
reuth by Richter. Orig. tar;aaogat;aao was a wooden ~cornett, sounding only natu
ral notes, used for ~military signals.[cm~[PN720,0,0,L,I0]Tarr, Edward [fy75,1](
Hankins) ([cf2]b[cf1] Norwich, Conn., ~[sm1936[nm). Amer. trumpeter and musicolo
gist. Stud~~ied trumpet in Boston ([sm1953[nm) and Chicago ([sm1958[nm=n~[sm9[nm
) and musicology in Basle ([sm1959[nm=n[sm64[nm). Specialist ~in
 reviving of early trumpet works on modern ~and old instr. Works written for him
 by Kagel ~and Stockhausen. Founded Edward Tarr Brass ~Ensemble [sm1967[nm. Taug
ht in Cologne [sm1968[nm=n[sm70[nm and ~in Basle from [sm1972[nm. Has edited man
y baroque ~works for modern perf., notably trumpet works ~of Torelli.[cm~T;aaarr
ega, Francisco [fy75,1]([cf2]b [cf1]Villarreal, [sm1852[nm; [cf2]d [cf1]Barce~~l
ona, [sm1909[nm). Sp. guitarist and composer. Studied ~Madrid Cons. Gave recital
s in Paris and London ~[sm1880[nm, being acclaimed as `Sarasate of the guitar'.
~Prof. of guitar, Madrid Cons. Wrote many guitar ~preludes, and transcr. works b
y Granados, Al~~b;aaeniz, Beethoven, and Chopin.[cm~Tartini, Giuseppe [fy75,1]([
cf2]b [cf1]Pirano, Istria, [sm1692[nm; [cf2]d ~[cf1]Padua, [sm1770[nm). It. viol
inist, composer, teacher, and ~inventor. Studied law at Padua Univ., though ~lea
rned vn. as child. Fled from Padua [sm1710[nm ~because of disapproval of his mar
riage. Took ~refuge in monastery at Assisi where he studied ~com
p. and acoustics, invented new vn. bow, and ~gave vn. recitals. Returned to Padu
a, forgiven, ~[sm1715[nm. Played as orch. violinist; became first vn. at ~Cappel
la  del Santo, Padua, [sm1721[nm=n[sm3[nm. Kapellmeister ~of Count Kinsky's band
, Prague, [sm1723[nm=n[sm5[nm, playing ~also in Vienna. On return to Padua found
ed, ~[sm1728[nm, school of vn.-playing , becoming known as ~`Master of Nations'
and numbering many subse~~quently celebrated violinists among his pupils. ~Was t
eaching up to [sm1768[nm. Discovered [fy45,1]*[fy75,1]`resultant ~tones', which
he then called [cf2]terzo suono [cf1]([sm3[nmrd ~sound), though it was left to [
fy45,1]*[fy75,1]Helmholtz to ~explain them years later. Wrote several treatises
~and comp. some religious vocal mus. and [cf2]canzone ~[cf1]in addition to [sm42
[nm vn. sonatas, [sm12[nm sonatas for vn. ~and vc., [sm135[nm vn. concs., vc. co
ncs., and concs. for ~other instr. incl. cls., obs., and tpt. Celebrated ~[fy45,
1]*[fy75,1]`Devil's Trill' sonata was almost certainly com~~pose
d after [sm1745[nm, but no autograph exists.[cm~Taste, Tasten [fy75,1](Ger.). Ke
y(s) of kbd. instr., etc.[xm[cm~[j1]Tastiera [fy75,1](It.). Same meanings as [cf
2]Tasto[cf1], below. ~Thus [cf2]sulla  tastiera;eqsul tasto[cf1].[cm~Tasto, tast
i [fy75,1](It.). ([sm1[nm) Key(s) (i.e. of kbd. instr.). In ~early mus. with fig
ured bass, [cf2]Tasto solo [cf1]means ~`Play the key alone', i.e. only the bass
line, without ~adding chords.[ep~^([sm2[nm)^The fingerboard of a bowed str. inst
r. [cf2]Sul ~tasto [cf1](on the fingerboard) means `bow over the ~fingerboard'.
See also [cf2]Tastiera[cf1].[cm~Tate, Jeffrey [fy75,1]([cf2]b [cf1]Farnham, Surr
ey, [sm1943[nm). Eng. ~conductor. Studied medicine at Cambridge Univ. ~and quali
fied as doctor. Turned to mus. [sm1970[nm, ~joining Else [fy45,1]*[fy75,1]Mayer-
Lismann's Opera Workshop ~as pianist. Worked at London Opera Centre. ~R;aaep;aae
titeur CG [sm1971[nm. Ass. to Boulez on [sm1976[nm ~Bayreuth Fest. prod of [cf2]
The Ring. [cf1]Cond. d;aaebut ~Gothenburg [sm1978[nm ([cf2]Carme
n[cf1]), CG [sm1982[nm ([cf2]Die[fjZauberfl;auote[cf1]), NY Met. [sm1983[nm ([cf
2]Lulu[cf1]). ~Dir., Cologne Opera [sm1984[nm. Prin. cond. C.G. from [sm1986[nm.
[cm~Tate, Nahum [fy75,1]([cf2]b [cf1]? Dublin, [sm1652[nm; [cf2]d [cf1]London, ~
[sm1715[nm). Irish-born poet and playwright, poet ~laureate from [sm1692[nm. Wro
te lib. of Purcell's [cf2]Dido ~and Aeneas [cf1]and collab. with Nicholas Brady
[cf1]([cf2]b ~[cf1]Bandon, Co. Cork, [sm1659[nm; [cf2]d [cf1]Richmond, Surrey, ~
[sm1726[nm) in metrical version of Psalms [cf1](pubd. [sm1696[nm).[cm~Tate, Phyl
lis [fy75,1](Margaret Duncan) ([cf2]b [cf1]Gerrards ~Cross, [sm1911[nm). Eng. co
mposer. Studied RAM [sm1928[nm=n~[sm32[nm. Has held no official posts, devoting
herself to ~comp. Imaginative and skilled composer, writing ~especially well for
 vv. and small ens. Works incl.:[xm[cm~[j2][smoperas[nm: The [fy45,1]*[fy75,2]Lo
dger [cf1]([sm1959[nm=n[sm60[nm); [cf2]Dark Pilgrimage ~[cf1]([sm1963[nm).[ep~[s
morch[nm: [cf1]Sax. conc. ([sm1944[nm); [cf2]Panorama, [cf1]str.
 ([sm1977[nm).[ep~[smvoice[nm([sms[nm) [smand[nm [sminstr[nm([sms[nm): [cf2]The[
fy45,1]*[fy75,2]Lady of Shalott, [cf1]ten. and ~chamber ens. ([sm1956[nm); [cf2]
Nocturne, [cf1]SATB soloists, ~str. qt., db., bass cl., celesta ([sm1946[nm); [c
f2]Apparitions[cf1], ~ten., harmonica, pf. quintet ([sm1968[nm); [cf2]A Victoria
n ~Garland[cf1], sop., cont., hn., pf.; [cf2]Scenes from Kipling, ~[cf1]bar. and
 pf. ([sm1978[nm).[ep~[smchoral[nm: [cf2]Choral Scene from The Bacchae[cf1], mix
ed ch. ~and optional org. ([sm1953[nm); [cf2]A Secular Requiem[cf1], ~mixed ch.,
 org., orch. ([sm1967[nm); [cf2]Serenade to ~Christmas[cf1], mez., ch., and orch
. ([sm1972[nm); [cf2]St Martha ~and the Dragon[cf1], narrator, soloists, ch., or
ch. ~([sm1976[nm); [cf2]All the World's a Stage[cf1], ch., orch. ([sm1977[nm); ~
[cf2]Compassion[cf1], ch., orch. (or org.) ([sm1978[nm).[ep~[smchamber music[nm:
 [cf2]The Rainbow and the Cuckoo[cf1], ob., ~str. trio ([sm1975[nm); cl. and vc.
 sonata ([sm1947[nm); [cf2]Air and ~Variations, [cf1]vn., cl., p
f. ([sm1958[nm); [cf2]Seasonal Sequence[cf1], ~va., pf. ([sm1977[nm).[ep~[smpian
o[nm: [cf2]Explorations around a Troubadour Song ~[cf1]([sm1974[nm); [cf2]Lyric
Suite[cf1], [sm2[nm pf. ([sm1973[nm).[cm~[j1]T;aaatrai Quartet. [fy75,1]Hung. st
ring quartet formed in ~[sm1946[nm from soloists of Budapest Municipal Orch. ~Wo
n [sm1948[nm Bart;aaok Comp. Toured Europe [sm1952[nm. ~Has recorded complete cy
cles of Beethoven and ~Bart;aaok qts.[cm~[j1]Tattermuschov;aaa, Helena [fy75,1](
[cf2]b [cf1]Prague, [sm1933[nm). Cz. ~sop. Member of Prague Nat. Opera co. Studi
ed ~Prague Acad. of Mus. Opera d;aaebut Ostrava [sm1954[nm. ~At Prague Opera sin
ce [sm1956[nm. Many tours abroad. ~Exponent of sop. roles in Jan;aaa;akcek opera
s.[cm~Tattoo. [fy75,1]The mus. of bugles and drums, recalling ~soldiers to their
 barracks at night. In the Brit. ~Army it begins with the [cf2]First Post[cf1],
lasts about [sm30[nm ~minutes, and ends with the [fy45,1]*[fy75,2]Last Post[cf1]
. Another ~meaning is a display by the army, involving ~mock bat
tles, etc., as at the Aldershot Tattoo.[cm~Tauber, Richard [fy75,1](orig. Seiffe
rt) ([cf2]b [cf1]Linz, [sm1892[nm; [cf2]d ~[cf1]London, [sm1948[nm). Austrian-bo
rn ten., cond., and ~composer (later Brit. citizen from [sm1940[nm). Studied ~Fr
eiburg and Frankfurt. D;aaebut Chemnitz [sm1913[nm ~as Tamino in [cf2]Zauberfl;a
uote[cf1]. Dresden Opera [sm1913[nm=n~[sm25[nm, Vienna Opera [sm1926[nm=n[sm38[n
m. CG [sm1938[nm=n[sm9[nm but had ~often sung in Eng. before then in operettas.
~[PN721,0,0,R,I0]Superb Mozart and Lieder singer, also known for ~his perfs. in
operetta, especially those of Leh;aaar, ~such as [cf2]Das Land des L;auachelns [
cf1](The Land of Smiles), ~[cf2]Paganini[cf1], etc. Also wrote musicals, e.g. [c
f2]Old Chelsea[cf1]. ~Made last appearance at CG autumn [sm1947[nm, singing ~Ott
avio in [cf2]Don Giovanni [cf1]with colleagues of Vienna ~Opera on their visit t
o London although he had ~serious lung trouble which led to death a few ~months
later.[cm~Taubert, [fy75,1](Karl Gottfried) [fy65,3]Wilhelm [fy7
5,1]([cf2]b [cf1]Berlin, ~[sm1811[nm; [cf2]d[cf1] Berlin, [sm1891[nm). Ger. comp
oser and pianist. ~Studied in Berlin. Mus. dir., Berlin Royal Opera ~[sm1845=n8[
nm, court cond. [sm1845[nm=n[sm69[nm. Wrote operas (incl. ~[cf2]Macbeth[cf1] [sm
1857[nm), [sm4[nm syms., chamber mus., and nearly ~[sm300[nm songs.[cm~Taubman,
Howard [fy75,1]([cf2]b[cf1] NY, [sm1907[nm). Amer. mus. ~critic and author. Stud
ied Cornell Univ. Ass. mus. ~critic, [cf2]New York Times [cf1][sm1930[nm=n[sm55[
nm, chief mus. critic ~[sm1955[nm=n[sm60[nm, drama critic [sm1960[nm=n[sm66[nm.
Wrote biography ~of Toscanini ([sm1951[nm).[cm~Tauriello, Antonio [fy75,1]([cf2]
b [cf1]Buenos Aires, [sm1931[nm). ~Argentine composer, pianist, and cond. Studie
d ~Argentine Nat. Cons., pf. with Gieseking and ~comp. with Ginastera. Cond. bal
let at Teatro ~Col;aaon, Buenos Aires. Cond. of `Ritmus' perc. ens. ~Opera coach
 and r;aaep;aaetiteur, Chicago Lyric Opera, ~NY City Opera, etc. Works incl. Rab
elais opera ~[cf2]Les Guerres Picrocholines, [cf1][sm2[nm pf. co
ncs., [cf2]Canti [cf1]for vn. ~and orch., [cf2]Serenade [cf1]for orch., [cf2]Ari
a [cf1]for fl. and ens.[cmTausig, Karl [fy75,1]([cf2]b[cf1] Warsaw, [sm1841[nm;
[cf2]d[cf1] Leipzig, [sm1871[nm). ~Polish pianist and composer. Pupil of Liszt a
t ~Weimar from [sm1855[nm. D;aaebut Berlin [sm1858[nm, where ~he settled [sm1865
[nm, founding pf. sch. Wrote pf. pieces ~and concs. and made many arrs. of Bach
organ ~works and of mus. by other composers (Wagner, ~Schubert, Schumann, Weber,
 etc.).[cm~Tausky, Vilem [fy75,1]([cf2]b [cf1]Prerov, Cz., [sm1910[nm). Cz.-born
 ~cond. and composer (Eng. citizen). Studied Brno ~Univ., Jan;aaa;akcek Cons., B
rno, and Prague. Cond. at ~Brno Opera [sm1929[nm=n[sm39[nm. Settled in Eng. Mus.
 dir., ~Carl Rosa Opera [sm1945[nm=n[sm9[nm. Guest cond. CG, SW, ~BBC from [sm19
50[nm. Art. dir. Phoenix Opera from ~[sm1967[nm. Dir. of opera GSM from [sm1966[
nm. Cond. f. Eng. p. (BBC) of Jan;aaa;akcek's [cf2]Osud[cf1], [sm1972[nm. Cond.
f. ~Eng. p. of Supp;aae [cf2]Requiem[cf1], [sm1984[nm. Works inc
l. ob. ~conc., harmonica concertino, [cf2]Divertimento [cf1]for str. ~C.B.E. [sm
1981[nm.[cm~Tavener, John [fy75,1](Kenneth) [cf1]([cf2]b[cf1] London, [sm1944[nm
). Eng. ~composer and organist. Studied RAM [sm1961[nm=n[sm5[nm ~(comp. with L.
Berkeley and privately with D. ~Lumsdaine, [sm1965[nm=n[sm7[nm). Organist, St Jo
hn's, Ken~~sington, from [sm1960[nm. Teacher of comp., TCL from ~[sm1969[nm. Mus
. of rich imaginative and eclectic ~resource, e.g. cantata [cf2]The Whale, [cf1]
and of profound ~religious spirit, as in [cf2]Ultimos ritos [cf1]and [cf2]Celtic
 ~Requiem, [cf1]in which children's games are linked to ~the idea of death. Conv
ert to Gr. Orthodox ~Church. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Th;aae
r;agese [cf1]([sm1973[nm=n[sm6[nm); [cf2]A Gentle Spirit [cf1](after ~Dostoyevsk
y), sop., ten., and small ens. ([sm1976[nm).[ep~[smorch[nm: Pf. conc. ([sm1962[n
m=n[sm3[nm); Chamber Conc. ([sm1965[nm, ~rev. [sm1968[nm); [cf2]Grandma's Footst
eps, [cf1][sm5[nm mus. boxes, ~chamber ens. ([sm1967[nm=n[sm8[nm
); [cf2]In Memoriam Igor ~Stravinsky, [cf1][sm2[nm alto fl., organ, bells ([sm19
71[nm); [cf2]Varia~~tions on [sm3[nm Blind Mice [cf1]([sm1972[nm); [cf2]Palintro
pos, [cf1]pf. and ~orch. ([sm1978[nm=n[sm9[nm); [cf2]Towards the Son: Ritual Pro
cession[cf1], ~tb., [sm4[nm gongs, [sm4[nm bowed psalteries, perc., str. ([sm198
2[nm).[ep~[smchoral[nm: [cf2]The Cappemakers, [cf1][sm2[nm narrators, [sm10[nm s
oloists, ~male ch., orch. ([sm1964[nm, rev. for stage [sm1965[nm); [cf2]The ~[fy
45,1]*[fy75,2]Whale, [cf1]mez., bar., mixed ch., orch., tape ([sm1965[nm=n~[sm6[
nm); [cf2]Introit for March [sm27[nm, [cf1]sop., alto, ch., orch. ~([sm1967[nm=n
[sm8[nm); [fy45,1]*[fy75,2]Celtic Requiem, [cf1]sop., ch., orch. ([sm1969[nm); ~
[cf2]Coplas, [cf1]SATB soloists, ch., tape ([sm1970[nm); [cf2]Responso~~rium in
memory of Annon Lee Silver, [cf1][sm2[nm sop., ch., [sm2[nm ~fl. ([sm1971[nm); [
cf2]Requiem for Father Malachy, [cf1]ten., ch., ~org., str. qt. ([sm1973[nm, rev
. [sm1979[nm); [fy45,1]*[fy75,2]Ultimos Ritos, ~[cf1]SATB solois
ts, ch., [sm5[nm speakers, orch. ([sm1972[nm); ~[cf2]Canticle of the Mother of G
od, [cf1]sop., unacc. ch. ~([sm1976[nm); [cf2]Kyklike Kin;aaesis[cf1], sop., vc.
, ch., pf., str. ~([sm1978[nm); [cf2]Liturgy of St John Chrysostom[cf1], unacc.
ch. ~([sm1978[nm); [cf2]Akhmatova: Requiem[cf1], sop., bar., orch. ~([sm1979[nm=
n[sm80[nm); [cf2]Risen![cf1] ch., orch., pf., organ, str. ~([sm1980[nm); [cf2]Fu
neral Ikos[cf1], ch. ([sm1981[nm); [cf2]Ikon of Light[cf1], ch., ~str. trio ([sm
1984[nm).[ep~[smvoice and orch[nm: [cf2][sm3[nm Holy Sonnets of Donne, [cf1]bar.
 and ~orch. ([sm1962[nm); [cf2]Cain and Abel, [cf1]cantata, SATB soloists ~and o
rch. ([sm1965[nm); [cf2]In Alium, [cf1]sop., orch., tape ~([sm1968[nm); [cf2][sm
6[nm Russian Folk Songs, [cf1]v. and ens. ([sm1978[nm); ~[cf2]The Immurement of
Antigone, [cf1]monodrama for sop. ~and orch. ([sm1978[nm).[ep~[smchamber music[n
m: [cf2]Greek Interludes[cf1], fl. and pf. ([sm1979[nm); ~[cf2]Mandelion[cf1], o
rgan ([sm1981[nm); [cf2]Trisagion[cf1], brass quintet ~([sm1981[
nm).[ep~[smchamber music with voices[nm: [cf2][sm3[nm Sections from T. S. ~Eliot
's [sm4[nm Quartets, [cf1]ten., pf. ([sm1963[nm=n[sm4[nm); [cf2][sm3[nm Surreali
st ~Songs, [cf1]mez., tape, pf. ([sm1967[nm=n[sm8[nm); [cf2]Canciones espano~~la
s, [cf1][sm2[nm sops. or counterten. and ens. ([sm1972[nm); [cf2][sm6[nm ~Russia
n Folk Songs[cf1], sop. and ens. ([sm1978[nm); [cf2][sm6[nm Abbasid ~Songs[cf1],
 ten. and flutes ([sm1979[nm); [cf2]Sappho: Lyrical ~Fragments[cf1], [sm2[nm sop
., str. ([sm1980[nm).[ep~[smvoice and piano[nm: [cf2]Last Prayer, Lamentation, a
nd ~Exaltation, [cf1]sop. and handbells or pf. ([sm1977[nm).[ep~[smpiano[nm: [cf
2]Palin [cf1]([sm1977[nm; expanded as [cf2]Palintropos [cf1]with ~orch.).[cm~[j1
]Taverner. [fy75,1]Opera in [sm2[nm acts by [fy45,1]*[fy75,1]Maxwell Davies to ~
his own lib. drawn from [sm16[nmth-cent. letters and ~documents concerning life
of composer John ~[fy45,1]*[fy75,1]Taverner, with [sm14[nm singing roles, ch., a
nd boys' ~ch. Comp. [sm1962[nm=n[sm8[nm, rev. [sm1970[nm, [sm198
3[nm. Prod. London ~CG [sm1972[nm, cond. E. Downes; Boston [sm1984[nm.[cm~Tavern
er, John [fy75,1]([cf2]b c[cf1].[sm1490[nm; [cf2]d[cf1] Boston, Lincs., [sm1545[
nm). ~Eng. composer and organist. Organist of Cardinal ~Coll. (now Christ Church
), Oxford, [sm1526[nm=n[sm30[nm. One ~of great polyphonic masters of [sm16[nmth-
cent. Eng. ~mus. Wrote [sm8[nm Masses, incl. one based on secular ~song [cf2]The
 Western Wynde [cf1]([sm36[nm variations, [sm9[nm in each ~of [sm4[nm movements)
. His Mass [cf2]Gloria tibi Trinitas [cf1]was ~fount of the [fy45,1]*[fy75,2]In
nomine [cf1]form for str.; this came ~about because the instr. comps. by Taverne
r ~called [cf2]In nomine [cf1]are transcrs. of the passage in the ~Benedictus of
 his Mass which sets the words [cf2]In ~nomine Domini. [cf1]Other composers foll
owed his ~[PN722,0,0,L,I0]example and used the same title. Also wrote [sm3[nm ~M
agnificats and several motets. Taverner was link ~between medieval mus. and Rena
issance. Max~~well Davies's opera [fy45,1]*[fy75,2]Taverner [cf1
]is based on legend ~about his life.[cm~Taylor, Charles [fy75,1]([cf2]b [cf1]Man
chester, [sm1911[nm). Eng. ~violinist. Studied RMCM (pupil of Catterall). ~Found
er and leader, Taylor Str. Qt., [sm1934[nm=n[sm50[nm. ~Leader, orch. of Royal Op
era, CG, [sm1952[nm=n[sm76[nm. ~O.B.E. [sm1972[nm.[cm~Taylor, [fy75,1](Joseph)[f
y65][cf3] Deems [fy75,1]([cf2]b [cf1]NY, [sm1885[nm; [cf2]d[cf1] NY, ~[sm1966[nm
). Amer. composer, critic, and author. ~Studied NY Univ. Mus. critic, [cf2]New Y
ork World ~[cf1][sm1921[nm=n[sm5[nm. Orch. works well received; commis~~sioned b
y NY Met. to write opera [cf2]The King's ~Henchman [cf1]([sm1926[nm=n[sm7[nm), t
his being followed by [cf2]Peter ~Ibbetson [cf1]([sm1930[nm=n[sm1[nm). Became mu
s. adviser to CBS ~[sm1936[nm and well-known for narrations of NY Met. ~broadcas
ts and NY P.O. concerts. Spoke narration ~in Disney's [cf2]Fantasia. [cf1]Popula
r orch. works incl. ~[cf2]Through the Looking Glass [cf1]([sm1922[nm) and [cf2]M
arco Takes ~a Walk [cf1]([sm1942[nm).[cm~Taylor, Samuel Coleridg
e-. [fy75,1]See [cf2]Coleridge-Taylor, ~Samuel.[cm~Tchaikovsky [fy75,1](Chaykovs
ky), [fy65][cf3]Boris [fy75,1](Alexandrov~~ich) ([cf2]b [cf1]Moscow, [sm1925[nm)
. Russ. composer and pianist. ~Studied Moscow Cons. (comp. with Shostakovich, ~S
hebalin, and Myaskovsky). Works, several based ~on folk mus., incl. syms., opera
 [cf2]The Star [cf1]([sm1949[nm), ~[cf2]Fantasia on Russian Folk Themes [cf1]for
 orch. ([sm1950[nm), ~[cf2]Capriccio on English Themes, [cf1]for orch. ([sm1954[
nm), cl. ~concertino ([sm1957[nm), Sinfonietta, str. qts., pf. trio, ~vn. sonata
, pf. quintet, and film scores.[cm~Tchaikovsky[fy75,1] (Chaykovsky), [fy65][cf3]
Pyotr [fy75,1](Ilyich) ([cf2]b[cf1] ~Votkinsk, [sm1840[nm; [cf2]d[cf1] St Peters
burg, [sm1893[nm). Russ. ~composer and cond. Studied law before entering ~St Pet
ersburg Cons. (comp. with A. Rubinstein) ~[sm1863[nm=n[sm5[nm. Went to Moscow [s
m1866[nm, becoming prof. ~of harmony at new Cons. under directorship of ~N. Rubi
nstein. During first [sm2[nm years there wrote ~First Sym. and o
pera [cf2]Voyevoda[cf1]. In [sm1868[nm met ~nationalist group of young Russ. com
posers ~headed by Rimsky-Korsakov and was stirred by ~their enthusiasm, as is sh
own by his [sm2[nmnd Sym., ~but later came to be regarded by them as ~cosmopolit
an rather than truly Russ. From [sm1869[nm ~to [sm1875[nm wrote [sm3[nm more ope
ras and first pf. conc. ~and was mus. critic of [cf2]Russkiye vedomosti[cf1] [sm
1872[nm=n[sm6[nm, ~going to first Bayreuth Fest. [sm1876[nm. In [sm1877[nm ~marr
ied one of his pupils, separating from her [sm9[nm ~weeks later and coming near
to mental collapse, ~psychological result of fatal step for a man of ~homosexual
 tendencies. At this time was taken ~under patronage of wealthy widow, Nadezhda
~von Meck, who out of admiration gave him ~yearly allowance which enabled him to
 abandon ~teaching and devote himself wholly to comp. She ~and Tchaikovsky never
 spoke to each other, ~though they corresponded voluminously. [sm4[nmth ~Sym. is
 ded. to her. Went to Switz. and It., ~composing opera [cf2]Euge
ne Onegin[cf1], prod. by[fj~students of Moscow Cons. [sm1879[nm, with moderate ~
success. By [sm1880[nm, his works were popular in ~Russia (thanks to advocacy of
 N. Rubinstein), and ~in Brit. and USA but still met with hostility in ~Paris an
d Vienna. In [sm1885[nm bought country house, ~first of several, at Klin, living
 in hermit-like ~isolation. There, wrote [cf2]Manfred[cf1] and in [sm1887[nm mad
e ~d;aaebut in Moscow as cond. of rev. version of opera ~[cf2]Vakula the Smith[c
f1] under title [cf2]Oxana's Caprice[cf1]. In ~[sm1888[nm toured Ger., Fr., and
London as cond., ~returning to Ger. and Eng. in [sm1889[nm. Ballet [cf2]Sleeping
 ~Beauty[cf1] prod. [sm1890[nm, after which Tchaikovsky went ~to Florence to wor
k on opera [cf2]Queen of Spades[cf1], ~prod. St Petersburg [sm1890[nm. Year ende
d with sudden ~rupture of relationship with Mme von Meck; ~illness had dictated
her decision, which wounded ~Tchaikovsky deeply. Visited USA with great ~success
 [sm1891[nm, and in Jan. [sm1892[nm heard Mahler ~conduct [cf2]E
ugene Onegin[cf1] at Hamburg. Ballet [cf2]Nut~~cracker[cf1] comp. [sm1891[nm=n[s
m2[nm, and work started on a [sm6[nmth ~Sym. In that year, again visited Vienna
and in ~[sm1893[nm went to Eng., where hon. doctorate of mus. ~was conferred on
him by Cambridge Univ. ~During [sm1893[nm wrote [sm6[nmth Sym., having abandoned
 ~sym. begun in [sm1891[nm=n[sm2[nm and re-worked it as a [sm3[nmrd ~pf. conc.,
eventually retaining only one move~~ment ([sm2[nmnd and [sm3[nmrd orch. from the
 surviving ~sketches by Taneyev after Tchaikovsky's death). ~F.p. of the sym. wa
s only moderately successful, ~though Tchaikovsky was convinced it was his ~best
 work. It is usually stated that [sm4[nm days later he ~felt ill and drank a lar
ge glassful of unboiled ~water (possibly with deliberate intent) and devel~~oped
 cholera, which led to his death. But in [sm1979[nm ~the Russian scholar Alexand
ra Orlova revealed ~some substantiation for the theory that the ~composer's deat
h was suicide by poison, ordered ~by a private court of his form
er law-student ~colleagues to prevent revelation of a homosexual ~scandal involv
ing the aristocracy. Not all special~~ists on the composer accept the validity o
f this ~research.[ep~^Few composers are more popular with audiences ~than Tchaik
ovsky; the reasons are several and ~understandable. His music is extremely tunef
ul, ~luxuriously and colourfully scored, and filled ~with emotional fervour dire
cted to the heart ~rather than to the head (though the notion that ~Tchaikovsky'
s syms. are lacking in symphonic ~thinking and structure does not bear serious ~
consideration). Undoubtedly the emotional tem~~perature of the mus. reflected th
e man's nature. ~He was doubly afflicted: by repressed homosex~~uality (hence hi
s disastrous attempt at marriage) ~and by the tendency to extreme fluctuations ~
between elation and depression, each success ~being followed by a period of intr
ospective gloom ~and melancholy which stemmed from psycholog~~ical defects rathe
r than from `typical Russian ~melancholy'. This showed itself al
so in his attitude ~to his visits abroad. As soon as he left Russia he ~[PN723,0
,0,R,I0]was ill with homesickness; once back, he was ~restlessly planning to be
off again.[ep~^In [sm19[nmth-cent. Russ. mus., Tchaikovsky stands ~alone. His [c
f2]Romeo and Juliet[cf1] was ded. to Balakirev, ~one of the `Five', but he never
 identified himself ~with out-and-out nationalism. He succumbed to ~the influenc
e of neither Brahms nor Wagner, but ~greatly admired the Fr. mus. of Bizet and S
aint-~Sa;auens. This can be linked with his lifelong passion ~for Mozart, and ma
ny passages in Tchaikovsky's ~mus. are as delicately detailed and coloured as ~w
orks by Bizet and Mozart. The other element of ~his nature, the fate-laden, Byro
nic, emotional ~impact of the last [sm3[nm syms., is traceable in many ~episodes
 in the operas, notably [cf2]Eugene Onegin[cf1]. ~None of his operas was a succe
ss on its first ~appearance, but [cf2]Onegin[cf1] and [cf2]Queen of Spades[cf1]
are ~now widely perf. and admired, and adventurous ~cos. have ex
plored the others, which, however, ~are marred by dramatic defects. The true the
atri~~cal Tchaikovsky is to be found in the ballets, a ~supreme combination of m
elodic inventiveness, ~grand sweep, and constant freshness. Nor should ~the supe
rb songs be forgotten: in them, in ~miniature, the soul of Tchaikovsky is enshri
ned ~as surely as in the great syms., concs., and orch. ~masterpieces. Prin. wor
ks:[xm[cm~[j2][smoperas[nm: [fy75,2]Voyevoda[cf1], Op. [sm3[nm ([cf2]Dream on th
e Volga[cf1]) ~([sm1867[nm=n[sm8[nm); [cf2]Undine[cf1] (destroyed) ([sm1869[nm);
 [fy45,1]*[fy75,2]Oprichnik[cf1] ~([cf2]The Life Guardsman[cf1]) ([sm1870[nm=n[s
m2[nm); [cf2]Vakula the Smith[cf1], ~Op. [sm14[nm ([cf2]Vakula kuznets[cf1]) ([s
m1874[nm, rev. [sm1885[nm=n[sm7[nm as ~[cf2]Cherevichki[cf1] (The Little Shoes)
or [cf2]Oxana's Caprice[cf1]); ~[fy45,1]*[fy75,2]Eugene Onegin[cf1] ([cf2]Evgeny
 Onyegin[cf1]), Op. [sm24[nm ([sm1877[nm=n~[sm8[nm); [cf2]The [fy45,1]*[fy75,2]M
aid of Orleans[cf1] ([cf2]Orleanskaya Deva[cf1]) ~([sm1878[nm=n[
sm9[nm, rev. [sm1882[nm); [fy45,1]*[fy75,2]Mazeppa[cf1] ([sm1881[nm=n[sm3[nm); [
cf2]The ~Sorceress[cf1] ([cf2]Charodeyka[cf1]) ([sm1885[nm=n[sm7[nm); [fy45,1]*[
fy75,2]Queen of Spades[cf1] ~([cf2]Pikovaya Dama[cf1]), Op. [sm68[nm ([sm1890[nm
); [fy45,1]*[fy75,2]Yolanta[cf1], Op. ~[sm69[nm ([sm1891[nm).[ep~[smballets[nm:
[fy45,1]*[fy75,2]Swan Lake[cf1] ([cf2]Lebedinoye ozero[cf1]), Op. [sm20[nm ~([sm
1875[nm=n[sm6[nm); [cf2]The [fy45,1]*[fy75,2]Sleeping Beauty[cf1] ([cf2]Spyashch
aya ~krasavitsa[cf1]), Op. [sm66[nm ([sm1888[nm=n[sm9[nm); [fy45,1]*[fy75,2]Nutc
racker[cf1] ~([cf2]Shchelkunchik[cf1]), Op. [sm71[nm ([sm1891[nm=n[sm2[nm).[ep~[
smorch[nm: Symphonies: No. [sm1[nm in G minor, Op. [sm13[nm ~([cf2]Winter Daydre
ams[cf1]) ([sm1866[nm, rev. [sm1874[nm), No. [sm2[nm in ~C minor, Op. [sm17[nm (
[fy45,1]*[fy75,2]Ukrainian[cf1] or [fy45,1]*[fy75,2]Little Russian[cf1]) ~([sm18
72[nm, rev. [sm1879[nm=n[sm80[nm), No. [sm3[nm in D, Op. [sm29[nm ([fy45,1]*[fy7
5,2]Polish[cf1]) ~([sm1875[nm), No. [sm4[nm in F minor, Op. [sm3
6[nm ([sm1877[nm=n[sm8[nm), No. ~[sm5[nm in E minor, Op. [sm64[nm ([sm1888[nm),
No. [sm6[nm in B minor, ~Op. [sm74[nm ([fy45,1]*[fy75,2]Pathetic[cf1]) ([sm1893[
nm); Concertos, etc.: Piano: ~No. [sm1[nm in B;Yh minor, Op. [sm23[nm ([sm1874[n
m=n[sm5[nm), No. [sm2[nm in G, ~Op. [sm44[nm ([sm1879[nm=n[sm80[nm, rev. [sm1893
[nm Ziloti), [cf2]Concert ~Fantasy[cf1], Op. [sm56[nm ([sm1884[nm): Vn. Conc. in
 D, Op. [sm35[nm ~([sm1878[nm), [cf2]S;aaer;aaenade m;aaelancolique[cf1], vn., O
p. [sm26[nm ([sm1875[nm), ~[cf2]Valse-Scherzo[cf1], vn., Op. [sm34[nm ([sm1877[n
m); [cf2]Variations on a ~Rococo Theme[cf1], vc., Op. [sm33[nm ([sm1876[nm), [cf
2]Pezzo capriccioso[cf1], ~vc., Op. [sm62[nm ([sm1887[nm); Symphonic fantasies:
[cf2]The ~[fy45,1]*[fy75,2]Tempest[cf1], Op. [sm18[nm ([sm1873[nm), [fy45,1]*[fy
75,2]Francesca da Rimini[cf1], ~Op. [sm32[nm ([sm1876[nm); [cf2]Slavonic March[c
f1], Op. [sm31[nm ([sm1876[nm); ~[cf2]Serenade[cf1], str., Op. [sm48[nm ([sm1880
[nm); [cf2][sm1812[nm, Ceremonial ~Overture[cf1], Op. [sm49[nm (
[sm1880[nm); [fy45,1]*[fy75,2]Manfred Symphony[cf1], ~Op. [sm58[nm ([sm1885[nm);
 Ov., [cf2]The Storm[cf1], Op. [sm76[nm ([sm1864[nm); ~symphonic poem [cf2]Fate[
cf1], Op. [sm77[nm ([sm1868[nm); Fantasy ~Overtures: [fy45,1]*[fy75,2]Hamlet[cf1
], Op. [sm67[nma ([sm1888[nm), [fy45,1]*[fy75,2]Romeo and ~Juliet[cf1] ([sm1869[
nm, rev. [sm1870[nm and [sm1880[nm); [fy45,1]*[fy75,2]Italian Caprice[cf1], ~Op.
 [sm45[nm ([sm1880[nm); Symphonic ballad, [cf2]Voyevoda[cf1], Op. ~[sm78[nm ([sm
1891[nm); [cf2]Suites[cf1]: No. [sm1[nm in D, Op. [sm43[nm ([sm1878[nm=n[sm9[nm)
, ~No. [sm2[nm in C, Op. [sm53[nm ([sm1883[nm), No. [sm3[nm in G, Op. [sm55[nm ~
([sm1884[nm, [cf2]Theme and Variations[cf1] movement often ~perf. separately), N
o. [sm4[nm [fy45,1]*[fy75,2]Mozartiana[cf1], Op. [sm61[nm ~([sm1887[nm), [cf2]Nu
tcracker[cf1], Op. [sm71[nma ([sm1892[nm). (N.B. The ~`Sym. No.|[sm7[nm in E;Yh'
 and the `Pf. Conc. No. [sm3[nm in[fjE;yh~, are compilations by other hands. The
 sym. was ~begun by Tchaikovsky in [sm1891[nm=n[sm2[nm, but aban
~~doned. He scored first movement as pf. conc., ~Taneyev later adding [cf2]andan
te[cf1] and [cf2]finale[cf1] from ~sketches of the sym. S. Bogatyryov ([sm1890[n
m=n[sm1960[nm) ~prod. perf. version of orig. sym. from same ~sketches. Taneyev a
lso completed vocal duet ~version ([sm1893[nm) of part of [cf2]Romeo and Juliet[
cf1] ov. for ~sop., ten., and orch.).[ep~[smchamber music[nm: Str. Qts.: No. [sm
1[nm in D, Op. [sm11[nm ~(contains [cf2]Andante cantabile[cf1] often played sep~
~[charately) ([sm1871[nm), No. [sm2[nm in F, Op. [sm22[nm ([sm1874[nm), No. [sm3
[nm ~in E;Yh minor, Op. [sm30[nm ([sm1876[nm); Pf. Trio in A minor ~(in memory o
f a great artist), Op. [sm50[nm ([sm1881[nm=n[sm2[nm); ~[cf2]Souvenir de Florenc
e[cf1], str. sextet, Op. [sm70[nm ([sm1887[nm=n~[sm90[nm, rev. [sm1891[nm=n[sm2[
nm).[ep~[smpiano[nm: [cf2]Valse Caprice[cf1], Op. [sm4[nm ([sm1868[nm); [cf2]Cap
riccio[cf1], Op. ~[sm8[nm ([sm1870[nm); [cf2][sm3[nm Pieces[cf1], Op. [sm9[nm ([
sm1870[nm); [cf2]Nocturne[cf1] and ~[cf2]Humoreske[cf1], Op. [sm
10[nm ([sm1871[nm); [cf2][sm6[nm Pieces[cf1], Op. [sm19[nm ([sm1873[nm); ~[cf2][
sm6[nm Pieces on [sm1[nm Theme[cf1], Op. [sm21[nm ([sm1873[nm); Sonata in G, ~Op
. [sm37[nm ([sm1878[nm); [cf2]The Seasons[cf1], [sm12[nm characteristic ~pieces
([sm1875[nm=n[sm6[nm); [cf2]Children's Album: [sm24[nm Pieces[cf1], Op. ~[sm39[n
m ([sm1878[nm); [cf2][sm12[nm Pieces[cf1], Op. [sm40[nm ([sm1878[nm); [cf2][sm6[
nm Pieces[cf1], Op. ~[sm51[nm ([sm1882[nm); [cf2]Dumka[cf1], Op. [sm59[nm ([sm18
86[nm); [cf2][sm18[nm Pieces[cf1], Op. ~[sm72[nm ([sm1893[nm; the [sm10[nmth of
these, [cf2]Scherzo-Fantaisie[cf1] in ~E;Yh minor, exists in orch. sketch of [sm
1891[nm=n[sm2[nm and ~is presumed to have been intended as scherzo of ~projected
 sym. Incorporated by Bogatyryov in ~`[sm7[nmth Sym.', see above); Sonata in C;Y
i minor ~(posth.).[ep~[smchoral[nm: [cf2]Liturgy of St John Chrysostom[cf1], Op.
 [sm41[nm ~([sm1878[nm); [cf2]Russian Vesper Service[cf1], unacc., Op. [sm52[nm
~([sm1881[nm=n[sm2[nm).[ep~[smsongs[nm: Tchaikovsky's songs were
 pubd. in the ~following groups (no. of songs, Op. no. and ~date): [sm6[nm, Op.
[sm6[nm, [sm1869[nm; [sm6[nm, Op. [sm16[nm, [sm1872[nm; [sm6[nm, Op. [sm25[nm, ~
[sm1874[nm; [sm6[nm, Op. [sm27[nm, [sm1874[nm; [sm6[nm, Op. [sm28[nm, [sm1874[nm
; [sm6[nm, Op. ~[sm38[nm, [sm1877[nm; [sm7[nm, Op. [sm47[nm, [sm1879[nm; [sm16[n
m for children, Op. ~[sm54[nm, [sm1883[nm; [sm6[nm, Op. [sm57[nm, [sm1883[nm; [s
m12[nm, Op. [sm60[nm, [sm1886[nm; [sm6[nm, ~Op. [sm63[nm, [sm1888[nm; [sm6[nm, O
p. [sm65[nm, [sm1888[nm; [sm6[nm, Op. [sm73[nm, [sm1893[nm. ~Among the best-know
n are: [cf2]Again as before[cf1]; [cf2]As ~they kept on saying[cf1]; [cf2]At the
 ball[cf1]; [cf2]Behind the window[cf1]; ~[cf2]Cradle Song[cf1]; [cf2]Deception[
cf1]; [cf2]Don Juan's Serenade[cf1]; ~[cf2]Evening[cf1]; [cf2]Exploit[cf1]; [cf2
]In the early Spring[cf1]; [cf2]My spoiled ~darling[cf1]; [cf2]Night[cf1]; [cf2]
No, only he who has known[cf1] ([cf2]None ~but the lonely heart[cf1]) (Op. [sm6[
nm No. [sm6[nm); [cf2]Not a word, my ~friend[cf1]; [cf2]Over the
 golden cornfields[cf1]; [cf2]Reconciliation[cf1]; ~[cf2]To forget so soon[cf1];
 [cf2]Wait[cf1]; [cf2]Why did I dream of you?[cm~[j1]Tchaikowsky, Andr;aae [fy75
,1]([cf2]b[cf1] Warsaw, [sm1935[nm; [cf2]d[cf1] ~Oxford, [sm1982[nm). Polish-bor
n pianist and composer. ~Studied Warsaw and Paris Cons. D;aaebut Paris ~[sm1948[
nm. Leading recitalist. Settled in Eng. Comps. ~incl. pf. conc., str. qt., cl. s
onata. Bequeathed skull ~[PN724,0,0,L,I0]to Royal Shakespeare Co. for use in per
fs. of ~[cf2]Hamlet[cf1] (d;aaebut [sm1984[nm).[cm~Tcherepnin, Alexander [fy75,1
](Nikolayevich) ([cf2]b[cf1] St ~Petersburg, [sm1899[nm; [cf2]d[cf1] Paris, [sm1
977[nm). Russ.-born ~composer and pianist (Amer. citizen [sm1958[nm), son ~of Ni
kolay [fy45,1]*[fy75,1]Tcherepnin. Studied with his father ~and at St Petersburg
 Cons. with Lyadov and ~Sokolov, and later at Tiflis with Hartmann. Went ~to Par
is [sm1921[nm and studied comp. at Cons. Earned ~int. reputation as pianist and
in [sm1923[nm wrote ballet, ~[cf2]Ajanta's Frescoes, [cf1]for Pa
vlova, who prod. it at CG. ~His first sym. (Paris [sm1927[nm) caused protests be
cause ~of its dissonance. Wrote several more ballets and ~scored Mussorgsky's un
finished opera, [cf2]The Mar~~riage. [cf1]Visited USA [sm1926[nm. Prof. of pf. a
nd comp. at ~De Paul Univ., Chicago, [sm1949[nm=n[sm64[nm. In tours of Far ~East
 [sm1934[nm=n[sm7[nm taught young Chinese and Japanese ~composers. Mus. influenc
ed by Georgian and ~Oriental folk-mus. and by his formulation of [sm9[nm-~note s
cale, leading to complex chords. Comp. [sm3[nm ~operas (one to libretto by Hofma
nnsthal), [sm4[nm syms., ~[sm6[nm pf. concs., harmonica conc., [cf2]The Story of
 Ivan the ~Fool [cf1](cantata after Tolstoy, using elec. devices, ~[sm1968[nm),
chamber mus., and pf. pieces.[cm~Tcherepnin, Nikolay [fy75,1]([cf2]b [cf1]St Pet
ersburg, [sm1873[nm; [cf2]d ~[cf1]Issy-les-Moulineaux, nr. Paris, [sm1945[nm). R
uss. com~~poser. Studied St Petersburg Cons. with Rimsky-~Korsakov [sm1895[nm=n[
sm8[nm, after abandoning law studies. ~Cond. of Belyayev concert
s [sm1901[nm and at Maryinsky ~Th. Cond. for Diaghilev Ballet [sm1909[nm=n[sm14[
nm. Principal, ~Tiflis Cons. [sm1918[nm=n[sm21[nm. Settled in Paris [sm1921[nm,
with ~son Alexander [fy45,1]*[fy75,1]Tcherepnin. Wrote operas, bal~~lets, orch.
works, and pf. conc. Completed ~[fy45,1]*[fy75,1]Mussorgsky's [fy45,1]*[fy75,2]S
orochintsy Fair [cf1](prod. Monte ~Carlo [sm1923[nm).[cm~T.C.L., T.C.M. [fy45,1]
*[fy75,1]Trinity College of Music, ~London.[cm~Te. [fy75,1]In [fy45,1]*[fy75,1]T
onic sol-fa, spoken name for [sm7[nmth degree ~of scale, written [fy45,1]*[fy75,
2]t.[cm~Te Deum Laudamus [fy75,1](We praise thee, O God). ~Ecclesiastical cantic
le, or hymn of thanksgiving, ~the words of which were probably written in [sm5[n
mth ~cent. Adopted by both R.C. and Anglican ~churches. Has traditional plainson
g melody, but ~has been set by innumerable composers, incl. ~Purcell, Handel, Be
rlioz, Verdi, Dvo;akr;aaak, Bruck~~ner, Vaughan Williams, Britten, Walton, often
 ~on highly elaborate scale for soloists, ch., and ~orch. as wel
l as more simply.[xm[cm~[j1]Tea for Two. [fy75,1]Song by[fy45,1]*[fy75,1]Youmans
, comp. for ~musical [cf2]No, No, Nanette [cf1]([sm1925[nm). In [sm1928[nm orch.
 ~version was made by Shostakovich in, it is said, ~[sm45[nm mins. at the reques
t of the cond. [fy45,1]*[fy75,1]Malko who ~wanted something extra to perf. at a
concert of ~Shostakovich's mus. at Moscow Cons. on [sm25[nm Nov. ~[sm1928[nm. Th
e cond. Aleksandr Gauk included it as ~an entr'acte in Shostakovich's ballet [cf
2]The Age of ~Gold[cf1]. Shostakovich gave the arrangement the title ~[cf2]Tahit
i Trot (Taiti trot)[cf1] because this was the Russ. ~name for the song, which en
joyed great popular~~ity in the USSR when it was new.[cm~Tear, Robert [fy75,1]([
cf2]b [cf1]Barry, Glamorgan, [sm1939[nm). Welsh ~ten. Choral scholarship to King
's, Cambridge, ~where he read mus. but took degree in Eng. ~Studied singing with
 Julian Kimbell. In [sm1960[nm ~appointed lay vicar, St Paul's Cath., and worked
 ~with Ambrosian Singers. Operatic d;aaebut with ~English Opera
Group [sm1963[nm as Quint in Britten's ~[cf2]Turn of the Screw[cf1]. CG d;aaebut
 as Lensky in [cf2]Eugene ~Onegin. [cf1]Created role of Dov in Tippett's [cf2]Th
e Knot ~Garden[cf1], [sm1970[nm. Has sung with Scottish Opera in ~Verdi and Moza
rt. Sang The Painter in f.p. of ~complete [cf2]Lulu[cf1], Paris [sm1979[nm. C.B.
E. [sm1984[nm.[cm~Tebaldi, Renata [fy75,1]([cf2]b [cf1]Pesaro, [sm1922[nm). It.
sop. Studied ~Parma. Opera d;aaebut [sm1944[nm as Elena in Boito's ~[cf2]Mefisto
fele. [cf1]Chosen by Toscanini for re-opening of ~Scala, Milan, [sm1946[nm, and
sang there [sm1949[nm=n[sm54[nm and ~[sm1959[nm. CG d;aaebut [sm1950[nm. NY Met.
 [sm1955[nm (as ~Desdemona), singing there regularly afterwards ~until [sm1973[n
m. Chicago [sm1955[nm=n[sm69[nm. V. of power and ~beauty, esp. in Verdi and Pucc
ini roles.[cm~Tedesco, Tedesca [fy75,1](It., plural [cf2]tedeschi, tedesche[cf1]
). ~German. Found in the term [cf2]alla tedesca, [cf1]`in the ~Ger. style', whic
h has had several meanings. ~Beethoven indicated a Ger. waltz by
 it, others ~mean a Ger. dance of any kind. In his tuba conc., ~[sm1954[nm, Vaug
han Williams's [cf2]Rondo alla tedesca ~[cf1]means a rondo as in a Ger. comp.[xm
[cm~[ol0][ep~[xp[te~










[do25][j99]~~~~~~[sm153842[nm_T[sm003[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmCONCISE O
XFORD ~DICT. OF MUSIC[cmT[sm003[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm12[nm/[sm10[nm/[sm
79[nm[cm[sm12[nm[cm[sm91[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Teil [fy75,1]or
 [fy65][cf3]Theil [fy75,1](Ger.). Part, in the sense of portion ~or section. So
[cf2]Teilen [cf1]or [cf2]Theilen, [cf1]to divide.[cm~Te Kanawa, [fy75,1](Dame) [
fy65,3]Kiri [fy75,1]([cf2]b [cf1]Gisborne, Auckland, ~N.Z., [sm1944[nm). N.Z. so
prano. Studied at London ~Opera Centre and with Vera Rosza. Opera d;aaebut ~in R
ossini's [cf2]La Donna del Lago[cf1], Camden Fest. [sm1969[nm, ~then as Flower M
aiden in [cf2]Parsifal [cf1]at CG [sm1970[nm. ~First major CG role was Countess
in [cf2]Le Nozze di ~Figaro [cf1][sm1971[nm. Amer. d;aaebut, San Francisco [sm19
72[nm. ~Glyndebourne [sm1973[nm (Countess). NY Met. d;aaebut ~[sm1974[nm (Desdem
ona). Chosen by bridegroom to ~sing at wedding of Prince of Wales and Lady ~Dian
a Spencer in St Paul's Cath., [sm1981[nm. Fine lyric ~sop., espe
cially in Mozart, Verdi, and the Strauss ~roles of Arabella and Marschallin. O.B
.E. [sm1973[nm. ~D.B.E. [sm1982[nm.[cm~Tel Aviv Quartet. [fy75,1]Israeli str. qt
. founded in ~[sm1962[nm, making an international tour every year ~since then. S
trong modern representation in ~repertory. [sm2[nmnd vn. has changed three times
, ~otherwise personnel remains the same as at first ~concert.[cm~Telemann, Georg
 Philipp [fy75,1]([cf2]b [cf1]Magdeburg, [sm1681[nm; ~[cf2]d[cf1] Hamburg, [sm17
67[nm). Ger. composer and organist. ~Self-taught by study of scores (esp. those
of Lully ~and Campra). Organist, Neuekirche, Leipzig, ~[sm1704[nm, having alread
y written several operas. ~Kapellmeister at Eisenach [sm1708[nm=n[sm12[nm, movin
g then ~to Frankfurt. In [sm1721[nm he went to Hamburg as ~Kantor of the Johanne
um and mus. dir. of the [sm5[nm ~[PN725,0,0,R,I0]main churches. When in [sm1722[
nm an attempt was ~made to prevent his taking part in operatic ~performances, he
 retaliated by applying for the ~vacant post of Kantor at the Th
omaskirche, ~Leipzig. He was appointed, in preference to J. S. ~Bach, but Hambur
g retained him by increasing ~his salary and appointing him mus. dir. of the ~Op
era. Extremely prolific composer, skilled in ~counterpoint and of great facility
, but his mus. ~has surface charm rather than depth. The best of ~it, however, i
s delightful. Among his voluminous ~output, which incl. [sm600[nm ovs. in the It
. style, [sm44[nm ~Passions, [sm12[nm complete services, and [sm40[nm operas, ar
e ~the following:[xm[cm~[j2][smoperas[nm: [fy75,2]Pimpinone [cf1]([sm1725[nm); [
cf2]Der geduldige Sokrates[cf1] ~([sm1721[nm).[ep~[smoratorios[nm: [cf2]Der Tag
des Gerichts [cf1](The Day of ~Judgement), [cf2]Die Tageszeiten [cf1](The Times
of Day), ~[cf2]Der Tod Jesu [cf1](The Death of Jesus), [cf2]Die Auferstehung ~Ch
risti [cf1](The Resurrection of Christ), [cf2]St Luke ~Passion [cf1]([sm1728[nm,
 [sm1744[nm), [cf2]St Mark Passion [cf1]([sm1759[nm), [cf2]St ~Matthew Passion [
cf1]([sm1730[nm).[ep~[smcantatas[nm: [cf2]Cantata oder Trauer-Mu
sik eines kunster~~fahrenen Kanarien-Vogels [cf1](Funeral Music for a ~sweet-sin
ging canary); [cf2]Der Schulmeister [cf1](The ~Schoolmaster); [cf2]Die Landlust
[cf1](The Joy of Country ~Life); [cf2]In dulci jubilo[cf1].[ep~[smorch[nm: [cf2]
Tafelmusik [cf1](Table Music) I, II, and III; Suite, ~[cf2]Don Quichotte, [cf1]s
tr. and b.c.; [cf2]La Lyra, [cf1]suite in E;Yh, ~str. and b.c.; Concertos; [sm3[
nm tpt., drums, [sm2[nm ob., str., ~b.c.; in G for vn., str., b.c.; A minor for
~concertino vn., str., b.c.; C major, [sm2[nm vn., str.,; E ~minor, fl., str.; E
 minor, [sm2[nm fl., vn., str.; E minor, ~ob., str.; A major, ob. d'amore, str.;
 A minor, ~treble recorder, viola da gamba, str.; D major ~for D tpt., str.; D m
ajor, hn., str.; C major, [sm4[nm ~vn.; G major, [sm4[nm vn.; [sm12[nm [sm12[nm-
part qts.[ep~Also many trio sonatas, suites, fl. qts., etc.[cm~[j1]Telephone, Th
e. [fy75,1]Opera in [sm1[nm act by [fy45,1]*[fy75,1]Menotti to ~his own lib. Pro
d. NY [sm1947[nm, London [sm1948[nm.[cm~Tel jour, telle nuit [fy
75,1](Such a day, such a night). ~Song-cycle by Poulenc to [sm9[nm poems by Paul
 Eluard. ~Comp. [sm1936=n7[nm, f.p. by Pierre Bernac acc. Poulenc. ~Titles are:
[cf2]Bonne Journ;aaee, Une Ruine coquille vide, Le ~Front comme un drapeau perdu
, Une Roulotte couverte ~en tuile, ;agA Toutes brides, Une Herbe pauvre, Je n'ai
 ~envie que de t'aimer, Figure de force br;afulante et ~farouche, Nous avons fai
t la nuit.[cm~Teller [fy75,1](Ger.). Plate (e.g. of cymbal).[cm~Telm;aaanyi, Emi
l [fy75,1]([cf2]b [cf1]Arad, Hung. (now Romania), ~[sm1892[nm). Hung. violinist
and cond. Studied Budapest ~Acad. of Mus. with Hubay and Popper. D;aaebut, ~with
 Berlin P.O. [sm1911[nm, when he gave f.p. on ~Continent of Elgar conc. Thereaft
er leading soloist ~and chamber-mus. player. London d;aaebut [sm1923[nm ~on visi
t with [fy45,1]*[fy75,1]Nielsen, whose works he played ~and conducted. Founded o
wn str. quintet. Cond. ~concerts in Europe, opera in Budapest. Invented ~special
 Vega (arched) bow for perf. of Bach's vn. ~works. Transcr. and
arr. works by Handel, ~Beethoven, Brahms, etc. Settled in Copenhagen ~[sm1919[nm
. On staff ;anAarhus Cons. from [sm1940[nm.[cm~Tema [fy75,1](It.). Theme, as in
[cf2]Tema con variazioni, ~[cf1]Theme and Variations.[cm~Temperament. [fy75,1]Ad
justment in tuning (i.e. `tem~~pering') of mus. intervals away from `natural' ~s
cale so that such pairs of notes as B;Yi and C, or ~C;Yi and D;Yh, are combined
instead of being treated ~individually. This leaves neither note accurate ~but s
ufficiently so for the ear to accept it. In kbd. ~instr. this avoids unmanageabl
e number of finger-~keys. The pf., organ, and other fixed-pitch modern ~instr.,
are tuned to [cf2]equal temperament[cf1], in which ~each semitone is made an equ
al interval, making ~it easy to play in any key and to modulate. Before ~Equal T
emperament (which was introduced for ~pfs. in Eng. in [sm1846[nm and for organs
a little later), ~the commonest system was [cf2]mean-tone tempera~~ment, [cf1]wh
ich left certain keys tolerable, others less ~so, and some unusa
ble. The untempered scale is ~known as [cf2]just intonation. [cf1]Instr. such as
 the vn. ~family can have no system of temperament, the ~player determining the
pitch and checking it by ~ear. Some [sm20[nmth-cent. composers have restored [sm
12[nm-~note scale to [cf2]just intonation.[cf1] Others have used ~microtonal sca
les in just relationship. [cf1]Still more ~have used `prepared' instr. producing
 unexpected ~pitches, or elec. systems, or computers.[cm~Temperley, Nicholas [fy
75,1]([cf2]b [cf1]Beaconsfield, [sm1932[nm). ~Eng. musicologist, composer, and p
ianist. Studied ~RCM and Cambridge Univ. Ass. lecturer in mus., ~Cambridge Univ.
 [sm1961[nm=n[sm6[nm. Ass. prof., Yale Univ. ~[sm1966[nm; assoc. prof. Univ. of
Illinois [sm1967[nm (prof. and ~chairman of musicology dept. from [sm1972[nm). H
as ~written organ pieces. Ed. of [fy45,1]*[fy75,1]Pinto's pf. sonatas. ~Author o
f [cf2]The Music of the English Parish Church[cf1] ~([sm1979, 2[nm vols.). Ed. [
fy45,1]*[fy75,1]Loder's opera [cf2]Raymond and ~Agnes [cf1](prod
. [sm1966[nm) and Berlioz's [cf2]Symphonie Fantas~~tique [cf1](new Berlioz edn.,
 xvii, Kassel [sm1972[nm, a ~collation of [sm14[nm versions).[cm~Tempest, The. [
fy75,1]Play by Shakespeare (his last, ~[sm1612[nm=n[sm13[nm) for which various c
omposers have ~written songs and incidental mus. Among works ~connected with the
 play are: ([sm1[nm) [cf2]The Tempest, ~[cf1]incidental mus. Op. [sm109[nm, by [
fy45,1]*[fy75,1]Sibelius, comp. ~[sm1925[nm, in [sm34[nm parts for soloists, ch.
, harmonium, ~and orch. F.p. Copenhagen [sm1926[nm. [sm2[nm orch. suites, ~with
Prelude, No. [sm1[nm of [sm9[nm items, No. [sm2[nm of [sm9[nm; ~f.Eng.p. of [cf2
]Prelude, [cf1]Hastings [sm1930[nm, of Suite [sm1[nm ~Leeds [sm1934[nm;[ep~^([sm
2[nm) Symphonic-fantasy for orch., Op. [sm18[nm by ~Tchaikovsky, [sm1873[nm;[ep~
^([sm3[nm) Opera [cf2]Der Sturm [cf1]([sm1952[nm=n[sm5[nm) by Frank [fy45,1]*[fy
75,1]Martin, ~prod. Vienna [sm1956[nm;[ep~^([sm4[nm) Opera by [fy45,1]*[fy75,1]S
utermeister [cf2]Die Zauberinsel [cf1](The ~Magic Island), prod.
 Dresden [sm1942[nm;[ep~^([sm5[nm) Incidental mus. by John [fy45,1]*[fy75,1]Weld
on for ~Restoration version of play, [cf2]c. [cf1][sm1712[nm;[ep~^([sm6[nm) Symp
honic prelude [cf2]The Magic Island [cf1]by ~[fy45,1]*[fy75,1]Alwyn, [sm1953[nm.
[xm[cm~[PN726,0,0,L,I0][j1]Temple Block. [fy75,1]See [cf2]Korean Temple Block.[c
m~Templeton, Alec Andrew [fy75,1]([cf2]b [cf1]Cardiff, [sm1909[nm; [cf2]d[cf1] ~
Greenwich, Conn., [sm1963[nm). Welsh-born pianist and ~composer, born blind. Stu
died RCM and RAM. ~After career in London as radio entertainer, ~settled in USA
[sm1936[nm. Wrote orch. and pf. works, ~but best-known for his witty `skit', [cf
2]Bach Goes to ~Town, [cf1]a jazzed-up pastiche of Bach.[cm~Templeton, John [fy7
5,1]([cf2]b [cf1]Riccarton, Kilmarnock, ~[sm1802[nm; [cf2]d[cf1] New Hampton, [s
m1886[nm). Scot. ten. Sang in ~churches as youth. Studied in London, making ~ope
ra d;aaebut at Drury Lane [sm1831[nm. Chosen by ~[fy45,1]*[fy75,1]Malibran to si
ng opposite her in [cf2]La sonnambula, ~[cf1][sm1833[nm, subsequ
ently doing so on several occasions ~and becoming known as `Malibran's ten.'. Ha
d ~repertory of [sm80[nm roles. Toured USA [sm1845[nm=n[sm6[nm. Retired ~[sm1852
[nm.[cm~Tempo, Tempi [fy75,1](It.). Time(s). The speed at which ~a piece of mus.
 is perf. The anglicized `tempos' is ~an acceptable plural, like `concertos'. Am
ong the ~many mus. terms containing the word are the ~following: [cf2]a tempo, [
cf1]resume orig. speed; [cf2]tempo a ~piacere, [cf1]please yourself what speed;
[cf2]tempo comodo, ~[cf1]at a convenient or moderate speed; [cf2]tempo di ballo,
 ~[cf1]in dance time, or a movement in dance style; ~[cf2]tempo di gavotta, [cf1
]in gavotte tempo; [cf2]tempo di ~minuetto, [cf1]in minuet time; [cf2]tempo gius
to, [cf1]in exact ~time, or at speed the style of the mus. demands; ~[cf2]tempo
maggiore, [cf1]same as [cf2]alla breve [cf1](take the half-~note as your beat un
it); [cf2]tempo minore, tempo ~ordinario, [cf1]ordinary time, moderate speed, sa
me ~speed as before; [cf2]tempo primo, [cf1]resume orig. speed;
~[cf2]tempo rubato, [cf1]see [cf2]rubato[cf1]; [cf2]tempo wie vorher [cf1](Ger.)
, ~same as [cf2]tempo primo.[cm~Temps [fy75,1](Fr.). Time, same as [fy45,1]*[fy7
5,2]tempo [cf1]but also used ~in the sense of `beat'.[cm~Ten. [fy75,1]Short for
([sm1[nm) [fy45,1]*[fy75,1]Tenor,[ep~^([sm2[nm) [fy45,1]*[fy75,2]tenuto.[cm~Tend
er Land, The. [fy75,1]Opera in [sm2[nm acts by [fy45,1]*[fy75,1]Copland ~to lib.
 by H. Everett. Prod. NY [sm1954[nm, Cambridge ~[sm1962[nm.[cm~Tenducci, Giusto
Ferdinando [fy75,1]([cf2]b [cf1]Siena, [cf2]c[cf1].[sm1736[nm;[fj[cf2]d[cf1] ~Ge
noa, [sm1790[nm). It. male sop. Went to London [sm1758[nm, ~being hailed as Guad
agni's successor. In Dublin ~[sm1765[nm=n[sm8[nm, where he married a pupil. Sang
 at Handel ~Fests. [sm1784[nm and [sm1791[nm. Mozart wrote song for him ~(lost).
 Wrote hpd. sonatas and treatise on singing. ~Last appearance [sm1785[nm as Orfe
o (Gluck).[cm~Tenebroso [fy75,1](It.). Dark. Gloomy.[cm~Tenendo [fy75,1](It.). S
ustaining, e.g. [cf2]tenendo il canto, ~[cf1]sustaining the melo
dy.[cm~Tenero [fy75,1](It.). Tender. So [cf2]teneroso, teneramente, ~[cf1]tender
ly; [cf2]tenerezza, [cf1]tenderness.[cm~Tennstedt, Klaus[fy75,1] ([cf2]b[cf1] Me
rseburg, [sm1926[nm). Ger. ~conductor and violinist. Studied Leipzig Cons. ~Lead
er of theatre orch. at Halle [sm1948[nm, becoming ~ch. cond. On cond. staff, Dre
sden Opera, [sm1958[nm=n~[sm62[nm; cond. Schwerin State Orch. [sm1962[nm=n[sm71[
nm. Worked ~in Scandinavia from [sm1971[nm, then in W. Ger. as ~mus. dir. Kiel O
pera. Amer. d;aaebut [sm1974[nm (Boston ~S.O.), London [sm1976[nm (LSO). Prin. g
uest cond. ~Minnesota Orch. Prin. cond. N. Ger. Radio S.O. ~[sm1979[nm=n[sm82[nm
. Prin. cond. LPO from [sm1983[nm. NY Met. ~d;aaebut [sm1983[nm ([cf2]Fidelio[cf
1]). Fine interpreter of Mahler.[cm~Tenor [fy75,1](from It. [cf2]tenore, [cf1]`h
olding'). ([sm1[nm) Highest ~normal male v., its name deriving from medieval ~ti
mes when it was the v. which carried the ~plainsong or other [cf2]cantus firmus
[cf1]while other vv. ~sang a counterpoint. There are various cat
egories ~of ten., e.g. [cf2]tenor di forza, [cf1]heroic ten., as for Verdi's ~Ot
ello; [cf2]tenor di grazia, [cf1]lyrical ten., as Nemorino ~in [cf2]L'elisir d'a
more[cf1]; [cf2]tenor robusto, [cf1]powerful ten., as ~Manrico in [cf2]Il trovat
ore[cf1]; [cf2]tenor spinto, [cf1]forceful lyric ~ten., as Rodolfo in [cf2]La Bo
h;ageme[cf1]; [cf2]Heldentenor [cf1](Ger.), ~heroic, powerful ten., as in Wagner
 and some ~Strauss roles; [fy45,1]*[fy75,2]Countertenor[cf1], male alto.[ep~^([s
m2[nm) Name given to certain instr. deemed to be ~equivalent in range, etc., of
ten. v., e.g. ten. sax., ~ten. tuba, etc.[ep~^([sm3[nm) The va.[xm[cm~[j1]Tenor
Clef. [fy75,1]Type of clef, almost obsolete but still ~sometimes used for vc., t
en. tb., bn., in which ~middle C is indicated on [sm2[nmnd line down of staff.[c
m~Tenor Cor. [fy75,1]The mellophone, instr. of hn.-like ~character but easier to
 play, used in some bands ~as substitute for hns.[cm~Tenuto [fy75,1](It.). Held.
 Direction to hold note to its ~full value, sometimes even longe
r.[cm~Ternary. [fy75,1]In [sm3[nm parts or sections. [cf2]Ternary Form [cf1]is ~
the form of a movement in [sm3[nm sections, the [sm3[nmrd ~being an exact or nea
r-exact repetition of first. ~Term still applies if first section is stated twic
e, ~making [sm4[nm sections but only [sm3[nm where subject-~matter is concerned.
[cm~Ternina, Milka [fy75,1]([cf2]b [cf1]Vezisce, [sm1863[nm; [cf2]d[cf1] Zagreb,
 ~[sm1941[nm). Croatian sop. Studied Zagreb and Vienna ~([sm1880[nm=n[sm2[nm wit
h G;auanzbacher). Opera d;aaebut while ~student at Zagreb, [sm1882[nm. Sang oper
a at Leipzig ~[sm1883[nm=n[sm4[nm, Graz [sm1884[nm=n[sm6[nm, Bremen [sm1886[nm=n
[sm9[nm, Munich ~[sm1890[nm=n[sm99[nm. Excelled in Wagnerian roles. London ~d;aa
ebut, concert [sm1895[nm. CG d;aaebut [sm1898[nm (Isolde), ~singing regularly to
 [sm1906[nm. Was first London ~Tosca, [sm1900[nm, and first NY Tosca [sm1901[nm.
 Amer. ~d;aaebut [sm1896[nm with Damrosch's German Opera Co. ~in Boston, Mass.,
as Br;auunnhilde. NY Met. [sm1900=n~4[nm. Bayreuth [sm1899[nm as
 Kundry in [cf2]Parsifal, [cf1]but ~banned from Bayreuth after [sm1903[nm when s
he sang ~in `pirate' [cf2]Parsifal [cf1]in NY. One of greatest singers ~of her d
ay and type, forced by illness to retire, ~[sm1906[nm.[cm~Terry, Charles Sanford
 [fy75,1]([cf2]b[cf1] Newport Pagnell, ~[sm1864[nm; [cf2]d[cf1] Westerton of Pit
fodels, Aberdeen, [sm1936[nm). ~Eng. historian and mus. scholar. Chorister, St ~
Paul's Cath. Prof. of history, Aberdeen Univ. ~[sm1903[nm=n[sm30[nm. Became inte
rested in life and time of ~Bach, becoming leading authority of day on ~[PN727,0
,0,R,I0]subject. Wrote life of Bach ([sm1928[nm, rev. [sm1933[nm) and ~of J. C.
Bach ([sm1929[nm), ed. Bach's chorales in [sm3[nm vols. ~([sm1915[nm=n[sm21[nm),
 also Mass in B minor, and arr. [cf2]Coffee ~Cantata [cf1]for stage under title
[cf2]Coffee and Cupid ~[cf1]([sm1924[nm; perf. by BNOC).[cm~Terry, [fy75,1](Sir)
[fy65][cf3] Richard [fy75,1](Runciman) [cf1]([cf2]b[cf1] Ellington, ~Northumberl
and, [sm1865[nm; [cf2]d[cf1] London, [sm1938[nm). Eng. ~organist
, cond., composer, and scholar. Organist ~and choirmaster St John's Cath., Antig
ua, [sm1892[nm, ~Downside Abbey [sm1896[nm=n[sm1901[nm. While at Downside ~reviv
ed church mus. by early Eng. composers, ~reviving Byrd's Masses for [sm5[nm and
[sm3[nm vv. and works ~by Tallis, Taverner, etc. Organist and dir. of mus., ~Wes
tminster Cath. [sm1901[nm=n[sm24[nm, where he raised ~standard of choral singing
 to new height, ~continued to revive Tudor mus., Palestrina, and ~others. Works
specially written for Westminster ~Cath. choir by Howells, Stanford, Holst, Bax,
 and ~Vaughan Williams. Knighted [sm1922[nm. Wrote [sm5[nm ~masses, [cf2]Requiem
, [cf1]motets, etc. Ed. [cf2]Westminster ~Hymnal [cf1][sm1912[nm, and [sm2[nm vo
ls. of Shanties.[cm~Terschak, Adolf [fy75,1]([cf2]b [cf1]Hermannstadt, [sm1832[n
m; [cf2]d[cf1] ~Breslau, [sm1901[nm). Ger. flautist. Studied Vienna Cons. ~Many
tours as solo flautist, playing his own ~works, of which there are over [sm150[n
m.[xm[cm~[j1]Tertis, Lionel [fy75,1]([cf2]b [cf1]West Hartlepool
, [sm1876[nm; [cf2]d ~[cf1]Wimbledon, [sm1975[nm). Eng. violist, son of Russ. ~f
ather and Polish mother, both naturalized ~Britons. Studied TCL (pf. first study
, vn. [sm2[nmnd, ~later concentrating on vn. with Carrodus), Leipzig ~Cons., and
 RAM. Took up va. at [sm19[nm to play in str. ~qt. Prof. of va. RAM [sm1901[nm.
Prin. va. Queen's Hall ~Orch. [sm1900[nm=n[sm04[nm. Prin. va. Beecham Orch. [sm1
909[nm. ~Gave f.ps. of many works for va. written for him ~or as a result of his
 artistry. Devoted life to cause ~of va., then the `Cinderella' of str. instr. P
layed in ~several str. qts. Dir. of ens. class, RAM [sm1924[nm=n[sm9[nm. ~Design
ed Tertis Model viola, [sm16[nm;FF;Pp long. Arr. and ~ed. many works for va., in
cl. Elgar vc. conc., ~Delius vn. sonatas, Brahms cl. sonatas. Many ~distinguishe
d pupils. Last played in public at age ~of [sm87[nm. C.B.E. [sm1950[nm.[cm~Terze
tto [fy75,1](It.). Generally applied to a comp. for ~any combination of [sm3[nm
vv., but also used sometimes ~(instead of trio) for instr. comps
., e.g. Dvo;akr;aaak's ~[cf2]Terzetto [cf1]for [sm2[nm vn. and va., Op. [sm74[nm
 ([sm1887[nm) and ~Holst's [cf2]Terzetto [cf1]for fl., ob., and va. ([sm1925[nm)
.[cm~Teschemacher, Margarete [fy75,1]([cf2]b [cf1]Cologne, [sm1903[nm; [cf2]d[cf
1] ~Bad Wiessee, [sm1959[nm). Ger. sop. Opera d;aaebut ~Cologne [sm1924[nm (as M
icaela in [cf2]Carmen[cf1]). Mannheim ~Opera [sm1928[nm=n[sm30[nm, Stuttgart [sm
1930[nm=n[sm5[nm, Dresden [sm1935[nm=n~[sm46[nm. Created title-role in Strauss's
 [cf2]Daphne [cf1]and was ~first Dresden [cf2]Capriccio [cf1]Countess. Joined D;
auussel~~dorf Opera [sm1948[nm=n[sm52[nm. CG d;aaebut [sm1931[nm. Admired ~in St
rauss and as Jen;anufa.[cm~Tess. [fy75,1]Opera in [sm4[nm acts by F. d'Erlanger
to lib. by ~Illica, based on Hardy's novel [cf2]Tess of the d'Urber~~villes [cf1
]([sm1891[nm). Prod. Naples [sm1906[nm and CG [sm1909[nm ~(with [fy45,1]*[fy75,1
]Destinn as Tess).[cm~Tessarini, Carlo [fy75,1]([cf2]b [cf1]Rimini, [cf2]c[cf1].
 [sm1690[nm; [cf2]d[cf1] ?Amster~~dam, after [sm1766[nm). It. vi
olinist and composer, ~possibly pupil of Corelli. Violinist at St Mark's, ~Venic
e, [sm1720[nm, later at Brno (Br;auunn). Wrote many ~vn. sonatas and concerti gr
ossi.[cm~Tessitura [fy75,1](It.). Texture. Term which indicates ~prevailing or a
verage position of a comp.'s notes ~in relation to compass of v. or instr. for w
hich it ~was written, high, low, or medium.[cm~Testore, Carlo Giuseppe [fy75,1](
=+=+[cf2]fl. [cf1][sm1690=n1720[nm). It. ~violin-maker, pupil of Grancino. Somet
imes ~criticised for hasty construction. Instr. often ~branded with emblem of an
 eagle. His two sons, ~Carlo Antonio and Paolo Antonio, also made vns.[cm~Tetrac
hord [fy75,1](Gr. `Four string'). Succession of four ~notes contained within com
pass of a perfect ~fourth. In Ancient Gr. mus. a tetrachord consisted ~of [sm4[n
m notes descending through a perfect fourth in ~the order tone-tone-semitone (A=
nG=nF=nE) and ~joined together to form a series of eight-note ~modes. The modern
 diatonic scale is divisible into ~two tetrachords (C=nD=nE=nF,
and G=nA=nB=nC).[cm~Tetrazzini, Eva [fy75,1]([cf2]b[cf1] Milan, [sm1862[nm; [cf2
]d[cf1] Salsomaggiore, ~[sm1938[nm). It. sop., sister of Luisa [fy45,1]*[fy75,1]
Tetrazzini. Studied ~Florence. Opera d;aaebut Florence [sm1882[nm as Margu;aaer~
~ite in Gounod's [cf2]Faust. [cf1]First to sing Desdemona in ~Verdi's [cf2]Otell
o [cf1]in NY ([sm1888[nm). CG d;aaebut [sm1890[nm. ~Retired on marriage to cond.
 Campanini.[cm~Tetrazzini, Luisa [fy75,1]([cf2]b [cf1]Florence, [sm1871[nm; [cf2
]d[cf1] Milan, ~[sm1940[nm). It. sop. Studied Florence and with her sister ~Eva.
 Opera d;aaebut Florence [sm1890[nm as Inez in ~Meyerbeer's [cf2]L'Africaine. [c
f1]Sang for several years in ~Argentina. Major success at San Francisco [sm1904[
nm. ~CG [sm1907[nm, sensational acclaim for her Violetta ([cf2]La ~traviata[cf1]
), Lucia, and Gilda ([cf2]Rigoletto[cf1]); sang there ~[sm1908[nm=n[sm12[nm. NY
d;aaebut [sm1908[nm, Met. [sm1911[nm. Concert ~appearances only after [sm1918[nm
 until [sm1934[nm. Brilliant ~coloratura technique.[cm~Teutsch.
[fy75,1]Mozart's (and Old Ger.) way of spelling ~[cf2]Deutsch [cf1](Ger.) as in
[cf2]Teutsche T;auanze [cf1](Ger. Dances).[cm~Teyte, [fy75,1](Dame) [fy65][cf3]M
aggie [fy75,1](orig. Margaret Tate) ([cf2]b ~[cf1]Wolverhampton, [sm1888[nm; [cf
2]d[cf1] London, [sm1976[nm). Eng. ~sop. Studied RCM and in Paris with J. [fy45,
1]*[fy75,1]de Reszke, ~[sm1903[nm=n[sm07[nm. D;aaebut Monte Carlo [sm1907[nm as
Tyrcis in ~Offenbach's [cf2]Myriam et Daphn;aae. [cf1]Sang M;aaelisande in ~Debu
ssy's opera, Paris, [sm1908[nm, having studied role ~with composer. London opera
 d;aaebut [sm1910[nm (Cher~~ubino). Sang with BNOC from [sm1922[nm. Amer. ~d;aae
but [sm1911[nm, Chicago (Cherubino). In inter-war ~years appeared also in mus. p
lays ([cf2]Monsieur ~Beaucaire, Tantivy Towers, [cf1]etc.). Sang Eva in [cf2]Die
 ~Meistersinger [cf1]with CG touring co., [sm1938[nm. Sang her ~last M;aaelisand
e, NY, [sm1948[nm. Last operatic role, ~Belinda in Purcell's [cf2]Dido and Aenea
s, [cf1]London [sm1951[nm ~(with [fy45,1]*[fy75,1]Flagstad). Sup
erb interpreter of songs by ~Debussy, Faur;aae, Hahn, etc. D.B.E. [sm1958[nm.[xm
[cm~[ol0][ep~[xp[te~











[do25][j99]~~~~~~[sm153842[nm_T[sm004[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmCONCISE O
XFORD ~DICT OF MUSIC[cmT[sm004[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm12[nm/[sm10[nm/[sm7
9[nm[cm[sm12[nm[cm~~[sm131[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~[ap~[j1]Tha;auis. [fy
75,1]Opera in [sm3[nm acts by Massenet to lib. by L. ~Gallet after the novel by
Anatole France ([sm1890[nm). ~Prod. Paris [sm1894[nm, NY [sm1907[nm, CG [sm1911[
nm.[cm~[PN728,0,0,L,I0]Thalben-Ball, [fy75,1](Sir) [fy65,3]George [fy75,1](Thoma
s) ([cf2]b[cf1] Sydney, ~N.S.W., [sm1896[nm). Australian-born organist and ~comp
oser. Studied RCM. Settled in Eng. Organist, ~Temple Church, London, [sm1923[nm,
 City of Birming~~ham, [sm1949[nm. C.B.E. [sm1967[nm. Knighted [sm1982[nm.[cm~Th
alberg, Sigismond [fy75,1]([cf2]b [cf1]Geneva, [sm1812[nm; [cf2]d[cf1] Posil-[fj
~lipo, [sm1871[nm). Swiss-born Austrian pianist and ~composer. Studied Vienna (t
heory with Sechter, ~pf. with Hummel). Public d;aaebut [sm1826[nm. London ~d;aae
but [sm1830[nm, followed by tour of Ger., playing his ~own conc.
 and other works. Paris [sm1835[nm, where he ~studied with Pixis and Kalkbrenner
. London ~[sm1836[nm, after which he and Liszt were regarded as ~[sm2[nm greates
t rival virtuosi. Toured USA [sm1856[nm with ~Vieuxtemps, entering opera managem
ent. Wrote ~[sm2[nm operas, pf.conc., and many pf. works and songs. ~Contrib. to
 [fy45,1]*[fy75,2]Hexameron[cf1], [sm1837[nm.[cm~Thamos, K;auonig in ;auAgypten
[fy75,1](Thamos, King of ~Egypt). Play by Tobias von Gebler for which ~Mozart co
mp. incidental mus. (K[sm345[nm) for prod. ~by Schikaneder's co. in Salzburg, [s
m1780[nm. Mozart ~had written [sm2[nm chs. for this play in Vienna in [sm1773[nm
 ~and these were rev.[cm~Thayer, Alexander Wheelock [fy75,1]([cf2]b [cf1]South N
atick, ~Mass., [sm1817[nm; [cf2]d[cf1] Trieste, [sm1897[nm). Amer. writer, the ~
biographer of Beethoven. Studied Harvard Univ., ~working in library there after
graduation. While ~student, determined to write life of Beethoven ~and went to G
er., Austria, and Bohemia [sm1849[nm=n[sm52[nm ~to begin coll. o
f material. Over next decade spent ~much time interviewing people who had known
~Beethoven and examining documents. Book, ~entitled [cf2]Ludwig van Beethovens L
eben, [cf1]was written ~in Eng., trans. into Ger. by H. Deiters of Bonn, ~and pu
bd. in Berlin, Vol. I ([sm1770[nm=n[sm96[nm) in [sm1866[nm, ~Vol. II ([sm1797[nm
=n[sm1806[nm) in [sm1872[nm, Vol. III ([sm1807[nm=n[sm16[nm) in ~[sm1879[nm. Vol
. IV was unfinished when he died and ~was completed by [fy45,1]*[fy75,1]Riemann
and pubd. in [sm1907[nm. ~Riemann pubd. Vol. V in [sm1908[nm and rev. of Vols. ~
II and III in [sm1910[nm=n[sm11[nm. Eng. edn. in [sm3[nm vols. by H. ~E. Krehbie
l was pubd. in NY, [sm1921[nm, and by E. ~Forbes, pubd. in Princeton [sm1964[nm,
 rev. [sm1967[nm.[cm~Theater an der Wien. [fy75,1]Vienna th. built by ~[fy45,1]*
[fy75,1]Schikaneder and opened [sm1801[nm. Held [sm1[nm,[sm230[nm ~people. F.ps.
 of Beethoven's [cf2]Fidelio [cf1]([sm1805[nm) and ~Strauss's [cf2]Die Fledermau
s [cf1]([sm1874[nm), given there, also ~Viennese premi;ageres of
 several Rossini operas. ~Home of Vienna State Opera [sm1945[nm=n[sm54[nm while
~Staatsoper was being rebuilt. Bought by city of ~Vienna [sm1961[nm, renovated,
and reopened [sm1962[nm.[cm~Theatre Organ. [fy75,1]Org., also called cinema org.
, ~installed in cinemas in [sm1920[nms and [sm1930[nms to provide ~mus. during b
reaks in the programme. Usually a ~[fy45,1]*[fy75,1]unit org., with special effe
cts. In [sm17[nmth and [sm18[nmth ~cents., the term applied to organs used in th
eatrical ~entertainments, operas, and concerts.[cm~Thebom, Blanche [fy75,1]([cf2
]b [cf1]Monessen, Penn., [sm1918[nm). ~Amer. mez. of Swed. parents. Studied with
 Edyth ~Walker. Concert d;aaebut NY [sm1941[nm. NY Met. d;aaebut ~[sm1944[nm as
Fricka, singing with this company until ~[sm1966[nm=n[sm7[nm. Glyndebourne [sm19
50[nm (Dorabella). CG ~[sm1957[nm (Dido in [cf2]Les Troyens[cf1]). Later sang in
 operetta. ~Art. dir., Atlanta opera co. [sm1967[nm.[cm~Theil [fy75,1](Ger.). Se
e [cf2]Teil.[cm~Theile, Johann [fy75,1]([cf2]b [cf1]Naumburg, Sa
xony, [sm1646[nm; [cf2]d ~[cf1]Naumburg, [sm1724[nm). Ger. composer. Studied Lei
p~~[chzig Univ. and with [fy45,1]*[fy75,1]Sch;auutz at Weissenfels. Settled ~in
Hamburg [sm1675[nm, then Kapellmeister at Wolfen~~b;auuttel [sm1685[nm and Merse
burg [sm1689[nm. Wrote much ~church mus. of great contrapuntal skill and some ~c
hurch operas.[xm[cm~[j1]Thievish Magpie, The [fy75,1](Rossini). See [cf2]Gazza ~
ladra, La.[cm~Thematic Material. [fy75,1]The themes, subjects, mo~~tifs, rhythmi
c figures, from which a comp. is ~constructed.[cm~Theme. [fy75,1]Succession of n
otes which play important ~part in construction of a comp. Same as [cf2]subject,
 ~[cf1]but also refers to part of a subject. In [cf2]Theme and ~Variations[cf1],
 means the mus. statement on which ~variations are built. [cf2]Theme-song [cf1]i
s an unspecific ~term with several meanings, e.g. in a mus. play ~or film, a the
me-song is a song which recurs ~several times, or has a special significance in
a ~plot, or is the song from which the play takes its ~title. Al
so, tune assoc. with a variety artist and ~played when he or she comes on to the
 stage to ~perform is called his or her `theme song', like ~[fy45,1]*[fy75,2]sig
nature-tune.[cm~Theodora. [fy75,1]Oratorio by Handel to lib. by T. ~Morell. F.p.
 London [sm1750[nm.[cm~Theodorakis, Mikis [fy75,1]([cf2]b [cf1]Chios, Gr., [sm19
25[nm). Gr. ~composer. Studied Athens and Paris Cons. Lived ~in Paris [sm1954[nm
=n[sm61[nm. Works incl. oratorios, ballets, ~sym., pf. conc., [cf2][sm7[nm Songs
 of Lorca,[cf1] and mus. for film ~[cf2]Zorba The Greek.[cm~Theorbo [fy75,1](Fr.
 [cf2]th;aaeorbe[cf1], Ger. [cf2]Theorb[cf1], It. [cf2]tiorba[cf1]; ~possibly fr
om Arabic [cf2]tarab[cf1]). Renaissance instr., a ~larger type of [fy45,1]*[fy75
,1]lute (but not so large as [fy45,1]*[fy75,1]chitta~~rone). Used as accompanyin
g instr., but solo ~repertory exists. Resonant lower register, caused ~by longer
 fingerboard and greater str. length. ~Probably developed in It.; first mentione
d [sm1544[nm. ~Had between [sm14[nm and [sm16[nm courses, plus e
xtra bass ~str. Gut str. Often used for continuo instead of ~organ and hpd. in E
ng. [sm17[nmth-cent. songs. Handel ~scored for it in [cf2]Esther [cf1]([sm1732[n
m) and [cf2]Athalia [cf1]([sm1733[nm). ~Modern revivals for early mus. perf.[cm~
Theremin. [fy75,1]`Space-controlled' elec. instr. deve~~[chloped by the Russian,
 Lev Theremin ([cf2]b[cf1] St ~Petersburg, [sm1896[nm), and first publicly demon
~~strated in the Soviet Union [sm1920[nm. Introduced to ~USA [sm1927[nm. `Space-
controlled' means that it is ~played by movements of the hands, which do not ~to
uch the instr. The theremin is built like a radio ~receiver, with an antenna pro
truding from the ~right and a metal loop on the left. The mus. is ~prod. by [sm2
[nm high-frequency circuits, employing ~[PN729,0,0,R,I0]oscillating (thermionic)
 valves, one being at ~constant frequency while that of the other is ~altered wh
en the player moves his hand through ~the air in front of the antenna. The resul
tant ~oscillation is called `heterodyning' (`beating to~~gether'
), and the heterodyne frequency can be ~made audible by amplification through a
loud~~speaker. Vol. is controlled by a switch and by the ~movement of the player
's left hand over the ~metal loop. Sounds similar to the human v. or to ~those o
f about [sm7[nm instr. can be prod. Plays only one ~note at a time; range of [sm
5[nm octaves. First comp. to ~use instr. was Pashchenko's [cf2]Symphonic Mystery
[cf1], ~for theremin and orch., Leningrad, [sm1924[nm. Martin;anu ~wrote a [cf2]
Fantasy [cf1]for theremin, str. qt., ob., and pf.[cm~Theresienmesse [fy75,1](The
resa Mass). Nickname of ~Haydn's Mass No. [sm10[nm in B;Yh, comp. [sm1799[nm, re
ferring ~to consort of Emperor Francis II of Austria.[cm~These Things Shall Be.
[fy75,1]Cantata for bar. (or ten.) ~solo, ch., and orch. by [fy45,1]*[fy75,1]Ire
land, text taken from ~[cf2]A Vista [cf1]by J. A. Symonds. Comp. [sm1936[nm=n[sm
7[nm, f.p. ~[sm1937[nm.[cm~Thespis, or The Gods Grown Old.[fy75,1] `Grotesque ~o
pera' by Sullivan to lib. by Gilbert (their first ~collab.). Sco
re now lost. Prod. London [sm1871[nm.[cm~Thibaud, Jacques [fy75,1]([cf2]b [cf1]B
ordeaux, [sm1880[nm; [cf2]d [cf1]in air ~crash near Mt. Cemet, Fr. Alps, [sm1953
[nm). Fr. violinist. ~Studied Paris Cons. Soloist many times in [sm1898[nm ~with
 Colonne Orch., Paris. Thereafter world ~tours. Member of pf. trio with Cortot a
nd Casals. ~Taught at ;aaEcole Normale de Musique, Paris.[cm~Things to Come. [fy
75,1]Korda film ([sm1935[nm) based on ~H.|G. Wells's futuristic novel [cf2]Shape
 of Things to ~Come [cf1]([sm1933[nm) for which Bliss wrote the mus. and ~from w
hich he later arr. an orch. suite, the March ~being especially well known.[cm~Th
ird [fy75,1](noun). Melodic and harmonic interval, ~reckoned as taking [sm3[nm s
teps in scale (major or ~minor) counting bottom and top notes, thus, ~[cf2]major
 third [cf1](C up to E) or [cf2]minor third [cf1](C up to[fj~E;Yh) or [cf2]dimin
ished third [cf1](C;Yi up to E;Yh).[cm~Third Inversion. [fy75,1]In harmony, when
 determin~~ing lay-out of a chord, that inversion in a [sm4[nm-n
ote ~chord in which [sm4[nmth note becomes the bass is the ~[cf2]Third Inversion
[cf1], e.g. in chord G=nB=nD=nF, the form ~F=nG=nB=nD or F=nB=nG=nD, etc.[cm~Thi
rd Stream. [fy75,1]Term coined in [sm1950[nms by Gunther ~[fy45,1]*[fy75,1]Schul
ler to describe mus. in which the styles of ~both jazz and concert works are com
bined.[cm~Thirty-Second Note. [fy75,1]Demisemiquaver, notated ~;Yd, with rest no
tated as ;Yp.[cm~This Day [fy75,1](Vaughan Williams). See [cf2]Hodie.[cm~This Ha
ve I Done for my True Love. [fy75,1]Work for ~unacc. ch., Op. [sm34[nm, by Holst
, comp. [sm1916[nm. Setting ~of traditional carol.[cm~Thomas, [fy75,1](Charles L
ouis)[fy65][cf3] Ambroise [fy75,1]([cf2]b [cf1]Metz, ~[sm1811[nm; [cf2]d [cf1]Pa
ris, [sm1896[nm). Fr. composer. Studied Paris ~Cons. ([cf2]Prix de Rome [cf1][sm
1832[nm). Wrote some ballets for ~Paris Op;aaera, but from [sm1840[nm concentrat
ed on ~operas for Op;aaera-Comique, achieving greatest ~success with [fy45,1]*[f
y75,2]Mignon [cf1]([sm1866[nm) and [fy45,1]*[fy75,2]Hamlet [cf1]
([sm1868[nm). ~Prof. of comp. Paris Cons. from [sm1856[nm, dir. from ~[sm1871[nm
. Other stage works incl. [cf2]Raymond [cf1]([sm1851[nm), [cf2]Le ~[fy45,1]*[fy7
5,2]Carnaval de Venise [cf1]([sm1857[nm), and [cf2]Fran;alcoise de Rimini ~[cf1]
([sm1882[nm). Also wrote choral works, [cf2]Fantasia [cf1]for pf. ~and orch., ch
amber mus., and songs.[cm~Thomas, Arthur Goring [fy75,1]([cf2]b [cf1]Ratton Park
, Sussex, ~[sm1850[nm;[cf2] d [cf1]London, [sm1892[nm). Eng. composer. Studied ~
Paris [sm1873[nm=n[sm7[nm with Durand, RAM with Sullivan ~and Prout, later orche
stration with Bruch. Opera ~[cf2]Esmeralda [cf1]commissioned by Carl Rosa, [sm18
83[nm, ~followed by [cf2]Nadeshda [cf1]([sm1885[nm), both being perf. ~also in G
er. Wrote other operas, orch. works, and ~cantata [cf2]The Swan and the Skylark
[cf1](orch. by ~Stanford). Became insane [sm1891[nm.[cm~Thomas, Jess [fy75,1]([c
f2]b [cf1]Hot Springs, S. Dakota, [sm1927[nm). ~Amer. ten. Opera d;aaebut San Fr
ancisco [sm1957[nm as ~Malcolm in Verdi's [cf2]Macbeth. [cf1]Car
eer then mainly ~in Ger., Baden [sm1958[nm (Lohengrin), Bayreuth [sm1961[nm ~(Pa
rsifal), also Vienna Opera and Milan. NY Met. ~d;aaebut [sm1962[nm (Walther in [
cf2]Die Meistersinger[cf1]). CG ~d;aaebut [sm1969[nm (Walther).[xm[cm~[j1]Thomas
, Michael Tilson [fy75,1]([cf2]b [cf1]Hollywood, Calif., ~[sm1944[nm). Amer. con
d. and pianist. Studied Univ. of ~S. Calif., then at Bayreuth, [sm1966[nm, and B
erkshire ~Mus. Center [sm1968[nm=n[sm9[nm. Ass. cond. Boston S.O. [sm1969[nm. ~M
us. dir. Buffalo P.O. [sm1971[nm=n[sm9[nm. London d;aaebut ~with LSO [sm1970[nm.
[cm~Thomas, Theodore [fy75,1]([cf2]b [cf1]Esens, Hanover, [sm1835[nm; [cf2]d ~[c
f1]Chicago, [sm1905[nm). Ger.-born cond. (Amer. citizen). ~Taken to USA in [sm18
45[nm. Played vn. and hn. Played ~vn. in [fy45,1]*[fy75,1]Jullien's orch. [sm185
3[nm, in NY P.O. [sm1854[nm. ~Leader of NY Acad. of Mus. Orch., [sm1856[nm, taki
ng ~over at short notice as cond. for perf. of [cf2]La Juive ~[cf1]in [sm1858[nm
. Formed own orch. [sm1862[nm and gave ~concerts in many inland
cities which had never ~before heard an orch., always incl. some unfamil~~iar wo
rk. Dir., Philadelphia Centennial Concerts ~[sm1876[nm. Cond., NY P.O. [sm1877[n
m=n[sm8[nm; dir., Cincinnati ~Coll. of Mus. [sm1878[nm=n[sm9[nm; cond. NY P.O. [
sm1879[nm=n[sm91[nm. ~First cond. Chicago S.O. [sm1891[nm=n[sm1905[nm. Always ~p
rogressive in his taste, introduced many modern ~works to USA, e.g. f.p. of R. S
trauss's F minor ~Sym. in NY [sm1884[nm.[cm~Thom;aae, Fran;alcois Luc Joseph [fy
75,1]([cf2]b [cf1]Port Louis, ~Mauritius, [sm1850[nm; [cf2]d[cf1] Paris, [sm1909
[nm). Fr. composer. ~Studied Paris Cons. Wrote ballets, operetta, and ~pf. piece
, [cf2]Simple Aveu [cf1](Simple avowal), known in ~many and various arrs.[cm~Tho
mpson, Oscar [fy75,1]([cf2]b [cf1]Crawfordsville, Ind., [sm1887[nm; ~[cf2]d [cf1
]NY, [sm1945[nm). Amer. critic, author, and ed. Entered ~journalism, graduating
to criticism. Critic for ~[cf2]Musical America [cf1][sm1919[nm, becoming ed. [sm
1936[nm=n[sm43[nm. ~Mus. critic [cf2]NY Evening Post [cf1][sm192
8[nm=n[sm34[nm, [cf2]NY Sun ~[cf1]from [sm1937[nm. Taught at Curtis Institute, P
enn., and ~Columbia Univ. Wrote book on Debussy. Ed.-in-~[PN730,0,0,L,I0]Chief,
[cf2]International Cyclopedia of Music and Musi~~cians [cf1]([sm1[nmst-[sm3[nmrd
 edns.).[cm~Thompson, Randall [fy75,1]([cf2]b [cf1]NY, [sm1899[nm; [cf2]d [cf1]B
oston, ~Mass., [sm1984[nm). Amer. composer and teacher. ~Studied Harvard. After
holding various teaching ~posts, became prof. of mus., Univ. of Calif. at ~Berke
ley, [sm1937[nm. Dir., Curtis Institute, [sm1939[nm=n[sm41[nm. ~Head of mus. dep
t., Virginia Univ., [sm1941[nm=n[sm6[nm. Prof. ~of mus., Princeton Univ. [sm1946
[nm=n[sm8[nm, Harvard Univ. ~[sm1948[nm=n[sm65[nm. Comp. [sm3[nm syms., opera, m
any choral ~works, incl. [cf2]St Luke Passion[cf1], unacc. [cf2]Requiem [cf1]and
 ~[cf2]Americana[cf1], and str. qt. [cf2]The Wind in the Willows.[cm~Thomson, Br
yden[fy75,1] ([cf2]b[cf1] Ayr, [sm1928[nm). Scottish con~~ductor. Studied RSAM a
nd conducting with Hans ~Schmidt-Isserstedt and Igor Markevich.
Ass. to ~Ian [fy45,1]*[fy75,1]Whyte with BBC Scottish Orch. Cond. opera ~at Oslo
 and Stockholm. Prin. cond. BBC Northern ~S.O. [sm1968[nm=n[sm73[nm; mus. dir. U
lster Orch. [sm1977[nm=n[sm85[nm; ~chief guest cond. Trondheim S.O.; prin. cond.
 ~BBC Welsh S.O. from [sm1979[nm.[cm~Thomson, C;aaesar [fy75,1]([cf2]b [cf1]Li;a
gege, [sm1857[nm; [cf2]d[cf1] Bissone, nr. ~Lugano, [sm1931[nm). Belg. violinist
. Studied with ~Vieuxtemps, Wieniawski, and Massart. Leader of ~orch. in Berlin,
 [sm1879[nm. Prof. of vn., Li;agege Cons., ~[sm1883[nm=n[sm97[nm, Brussels Cons.
, [sm1898[nm=n[sm1914[nm, Paris Cons., ~[sm1914[nm=n[sm24[nm, Ithaca Cons., NY,
and Juilliard Sch., NY, ~[sm1924[nm=n[sm7[nm. Ed. works of Tartini, Corelli, and
 Vivaldi.[cm~Thomson, George [fy75,1]([cf2]b [cf1]Limekilns, Dunfermline, ~[sm17
57[nm; [cf2]d [cf1]Leith, [sm1851[nm). Scot. publisher and educa~~tionist. Secre
tary, board of trustees for encourage~~ment of arts and manufactures in Scotland
 [sm1780[nm=n~[sm1830[nm. Collected folk-songs. Commissioned ~Ha
ydn, Pleyel, and Beethoven to compose accs. ~for Scottish and Welsh songs. Haydn
 made [sm187[nm ~Scots settings for Thomson (and a further [sm221[nm for ~anothe
r Edinburgh publisher) and Beethoven ~[sm126[nm. Those by Haydn pubd. in Vols. [
sm3[nm and [sm4[nm of ~Scottish Songs ([sm1802[nm, [sm1805[nm), [sm4[nm in Vol.
[sm5[nm ([sm1818[nm), [sm12[nm ~in Vol. [sm6[nm ([sm1841[nm) and some in [sm2[nm
nd edn. of Vol. [sm2[nm ~([sm1803[nm). Of those by Beethoven, [sm26[nm were in V
ol. [sm5[nm ~and [sm13[nm in Vol. [sm6[nm. Of Haydn's Welsh songs, [sm20[nm ~wer
e in Vol. [sm1[nm ([sm1809[nm), [sm17[nm in Vol. [sm2[nm ([sm1811[nm), and [sm4[
nm ~in Vol. [sm3[nm ([sm1814[nm); of Beethoven's, [sm26[nm in Vol. [sm3[nm. In ~
[sm1818[nm=n[sm20[nm, Beethoven wrote variations on a dozen ~Scot. melodies, pub
d. by Thomson, and in [sm1825[nm ~Weber arr. [sm10[nm Scots songs for him. In vi
ew of ~Haydn's age, some scholars believe many of his ~arrs. must have been done
 by pupils or associates.[cm~Thomson, Virgil [fy75,1]([cf2]b [cf
1]Kansas City, [sm1896[nm). Amer. ~composer, critic, and organist. Mus. child pr
odigy. ~Studied Harvard Univ., and in Paris with Boulan~~ger [sm1921[nm=n[sm22[n
m and in NY with Scalero [sm1923[nm=n[sm4[nm. ~Wrote criticism for [cf2]Vanity F
air. [cf1]Lived in Paris ~[sm1925[nm=n[sm32[nm, associating with [cf2]Les Six[cf
1] and Gertrude ~Stein. Returned to NY permanently [sm1940[nm, becom~~ing mus. c
ritic of [cf2]Herald-Tribune[cf1] until [sm1954[nm. ~Wrote several successful fi
lm scores and much ~incidental mus., esp. for Shakespeare plays. ~Influenced by
Debussy and Satie. Inveterate ~champion of [sm20[nmth-cent. mus. Works incl.:[xm
[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Four Saints in Three Acts [cf1]([sm1928[n
m); [cf2]The ~Mother of us all [cf1]([sm1947[nm); [cf2]Lord Byron [cf1]([sm1961[
nm=n[sm8[nm).[ep~[smorch[nm: [sm3[nm syms. [cf1]([sm1928[nm, [sm1931[nm, [sm1972
[nm, [sm3[nmrd being ~transcr. of [sm2[nmnd Str. Qt., [sm1932[nm); [cf2]Suite [c
f1]([cf2]Portraits[cf1]) ~Nos. [sm1[nm and [sm2[nm ([sm1944[nm);
 vc. conc. ([sm1949[nm).[ep~[smchamber music[nm: [sm3[nm str. qts.; [cf2][sm5[nm
 Portraits [cf1]for [sm4[nm cl. ~([sm1929[nm); [cf2][sm4 [nmPortraits[cf1], vn.
and pf. ([sm1931[nm); [cf2][sm7[nm Portraits[cf1], ~vn. ([sm1928[nm).[ep~[smvoca
l[nm: [cf2]Capital, Capitals[cf1], [sm4[nm male vv. and pf. ([sm1927[nm).[ep~Als
o [sm4[nm pf. sonatas and other works, songs, etc.[cm~[j1]Thorborg, Kerstin [fy7
5,1]([cf2]b [cf1]Venjan, [sm1896[nm; [cf2]d [cf1]Falun, ~Dalarna, [sm1970[nm). S
wed. mez. Studied Stockholm; ~d;aaebut Royal Opera Stockholm [sm1924[nm as Ortru
d. ~Stockholm Opera [sm1924[nm=n[sm30[nm, Prague [sm1932[nm=n[sm3[nm, ~Berlin [s
m1933[nm=n[sm5[nm, Vienna [sm1935[nm=n[sm8[nm. Salzburg Fests. ~[sm1935[nm=n[sm7
[nm. CG d;aaebut [sm1936[nm in Wagner's [cf2]Ring[cf1], and ~until [sm1939[nm. N
Y Met. [sm1936[nm=n[sm50[nm. Mainly Wagner ~and Strauss operatic roles. Soloist
in famous [sm1936[nm ~Bruno Walter recording in Vienna of Mahler's ~[cf2]Das Lie
d von der Erde.[cm~Thoroughbass. [fy75,1]See [cf2]Basso continuo
.[xm[cm~[j1]Three Choirs Festival. [fy75,1]Name for the annual ~meeting of the [
sm3[nm (Cath.) Choirs of Gloucester, ~Hereford, and Worcester, held by rotation
in ~these cities. First was held probably in [sm1715[nm with ~aim of alleviating
 poverty of widows and orphans ~of clergy in the [sm3[nm dioceses. Early meeting
s lasted ~[sm2[nm days, and in [sm18[nmth cent. mus. of Handel was ~frequently p
erf. In [sm1737[nm William Boyce was ~engaged for Worcester as chief cond. of fe
st. ~[cf2]Messiah [cf1]was first oratorio to be perf. complete in ~the caths. (H
ereford [sm1759[nm, Worcester [sm1761[nm, ~Gloucester [sm1769[nm). In [sm19[nmth
 cent., `star' singers ~became chief attractions and the mus. of Men~~delssohn t
he staple fare. In [sm1875[nm the church ~authorities at Worcester refused use o
f the cath. ~because the perfs. could not be equated with the ~idea of worship.
In the [sm2[nmnd half of the [sm19[nmth cent. ~the fests. became a leading forum
 for Eng. ~oratorios etc., from Sullivan's [cf2]The Prodigal Son
 ~[cf1]([sm1869[nm) to Parry's [cf2]Job [cf1]in [sm1892[nm. In [sm1878[nm one of
 the ~orch. violinists was a local man, Edward Elgar (a ~Catholic), who was to b
ecome the prin. figure at ~the fests. from [sm1902[nm to [sm1933[nm, although fe
w of his ~works were specially written for the [sm3[nm Choirs. ~Exceptions were
[cf2]Froissart [cf1]([sm1890[nm), [cf2]Lux Christi ~[cf1]([sm1896[nm), and the [
cf2]Te Deum and Benedictus [cf1]([sm1897[nm). ~The organists at this period, Ivo
r Atkins (Worces~~ter), G. R. Sinclair (Hereford), and Herbert Brewer ~(Gloucest
er) were Elgar's friends, Sinclair being ~immortalized as G.R.S. in the [cf2]Eni
gma Variations. ~[cf1]Elgar cond. [cf2]Gerontius [cf1]at Worcester, [sm1902[nm;
there~~after his conducting of his own major works was ~the foundation of the pr
ogrammes each year. ~Other composers who came to be assoc. with the ~[sm20[nmth-
cent. fests. were Coleridge Taylor, Walford ~Davies, Vaughan Williams (several o
f whose ~works had f.ps. at the fests., e.g. [cf2]Tallis Fantasi
a, [sm5[nm ~Mystical Songs [cf1]and [cf2]Hodie[cf1]), Holst ([cf2]Choral Fantasi
a[cf1]), ~Bliss, Howells, Finzi, etc. Sibelius's[cf2] Luonnotar [cf1]had ~f.p. a
t Gloucester in [sm1913[nm, and Kod;aaaly's [cf2]Psalmus ~[PN731,0,0,R,I0]Hungar
icus [cf1]was cond. by the composer there in ~[sm1928[nm. There were no fests. [
sm1914[nm=n[sm19[nm but they ~resumed at Worcester in [sm1920[nm. A similar brea
k ~occurred [sm1939[nm=n[sm45[nm. Since [sm1945[nm the programmes, ~both sacred
and secular, have been much ex~~panded and a more adventurous policy has been ~f
ollowed. For many years the LSO led by W. H. ~Reed provided the chief orch. supp
ort, but the ~RPO and CBSO have lately been engaged. Works ~by John McCabe, Geof
frey Burgon, Philip Can~~non, Malcolm Williamson, Jonathan Harvey, ~Gordon Cross
e, Maxwell Davies, Christopher ~Steel, and others have been commissioned or ~per
formed, and the programmes have been ~broadened to include Mahler's [sm8[nmth Sy
m., David ~Fanshawe's [cf2]African Sanctus[cf1], and Walton's [c
f2]Belshazzar's Feast [cf1](for many years regarded as too ~`barbaric' for these
 surroundings).[xm[cm~[ol0][ep~[xp[te~











[do25][j99]~~~~~~[sm153842[nm_T[sm005[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmCONCISE O
XFORD ~DICT OF MUSIC[cmT[sm005[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm13[nm/[sm10[nm/[sm7
9[nm[cm[sm12[nm[cm~~[sm174[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Threepenny Op
era, The [fy75,1](Weill). See [cf2]Dreigros~~chenoper, Die.[cm~Threnody. [fy75,1
]Dirge.[cm~Three-Cornered Hat, The [fy75,1]([cf2]El sombrero de tres ~picos[cf1]
; Fr. [cf2]Le Tricorne[cf1]). [sm1[nm-act ballet with mus. by ~Falla, choreog. b
y Massine, and scenario by ~Martinez Sierra based on P. A. de Alarcon's story ~[
cf2]El sombrero de tres picos [cf1]([sm1874[nm). F.p. London [sm1919[nm ~(Diaghi
lev Ballet Russe). Rev. version of panto~~[chmime by Sierra and Falla, [cf2]El c
orregidor y la ~molinera[cf1], Madrid [sm1917[nm. Same plot as [fy45,1]*[fy75,1]
Wolf's opera ~[cf2]Der [fy45,1]*[fy75,2]Corregidor.[cm~Three Places in New Engla
nd. [fy75,1]Orch. work ~(with optional org.) by [fy45,1]*[fy75,1]Ives, also know
n as ~[cf2]Orchestral Set No. [sm1[nm. [cf1]Comp. [sm1908[nm=n[s
m14[nm. Movements ~are [sm1[nm. [cf2]Boston Common[cf1]: [cf2]Colonel Shaw and h
is Colored ~Regiment. [cf1][sm2[nm. [cf2]Putnam's Camp. [cf1][sm3[nm. [cf2]The H
ousatonic at ~Stockbridge. [cf1]F.p. NY [sm1931[nm, f.p. in England, London ~[sm
1960[nm.[cm~Threni [fy75,1](id est Lamentationes Jeremiae Prophetae) ~(That is t
o say, the lamentations of the Prophet ~Jeremiah). Setting of biblical words for
 [sm6[nm soloists ~(sop., cont., [sm2[nm ten., bass, basso profundo), mixed ~ch.
, and orch. by [fy45,1]*[fy75,1]Stravinsky. Comp. [sm1957[nm=n[sm8[nm. ~F.p. Ven
ice [sm1958[nm, f.p. in England, London [sm1959[nm.[cm~Through-composed [fy75,1]
(Ger. [cf2]Durchkomponiert[cf1]). ~See [cf2]Durch[cf1] and [cf2]Strophic.[cm~Thu
ille, Ludwig [fy75,1](Wilhelm Andreas Mario) [cf1]([cf2]b ~[cf1]Bozen, Tyrol, [s
m1861[nm; [cf2]d [cf1]Munich, [sm1907[nm). Ger. ~composer. Studied at Innsbruck
and Munich ~([sm1879[nm=n[sm81[nm), pupil of Rheinberger. Prof., Munich ~Sch. of
 Mus. from [sm1883[nm. Friend of R. Strauss, who ~cond. several
of his early works. Wrote [sm3[nm operas: ~[cf2]Theuerdank [cf1]([sm1893[nm=n[sm
5[nm), [cf2]Lobetanz [cf1]([sm1896[nm), and [cf2]Gugeline ~[cf1]([sm1898[nm=n[sm
1900[nm), also works for orch., and ch. and ~orch., pf. quintet, sextet for wind
 and pf., vc. ~sonata, vn. sonata, org. sonata.[cm~Thule, the Period of Cosmogra
phy. [fy75,1]Madrigal ~for [sm6[nm vv. by [fy45,1]*[fy75,1]Weelkes pubd. [sm1600
[nm; one of most ~remarkable examples of mus. settings of ostensi~~bly unmus. wo
rds.[cm~Thunder Machine. [fy75,1]Theatrical contraption for ~imitating sound of
thunder, required by some ~composers in their scores, e.g. Strauss for [cf2]Eine
 ~Alpensinfonie.[cm~Thunder Stick, Bull Roarer, Whizzer [fy75,1](Ger. ~[cf2]Schw
irrholz[cf1], `whirlingwood'; Fr. [cf2]planchette ron~~flante,[cf1] `roaring boa
rd'). Instr. in use among Amer. ~Indians, Australian aborigines, natives of Cent
ral ~Africa, etc. A thin, flat piece of wood, swung to ~produce a whirring noise
, rising or falling in ~pitch with changing speed of motion.[cm~
Thurston, Frederick [fy75,1]([cf2]b [cf1]Lichfield, [sm1901[nm; [cf2]d [cf1]Lon~
~don, [sm1953[nm). Eng. clarinettist. Studied RAM (pupil ~of Charles Draper). Pr
in. cl. BBC S.O. [sm1930[nm=n[sm46[nm ~and other orchs. Prof. of cl., RCM. C.B.E
. [sm1952[nm. ~Several Eng. composers (e.g. Bliss, Howells, Bax) ~wrote works fo
r him.[cm~Thus Spake Zoroaster [fy75,1](Strauss). See [cf2]Also sprach ~Zarathus
tra.[cm~Tibbett, Lawrence [fy75,1](Mervil) [cf1]([cf2]b [cf1]Bakersfield, Calif.
, ~[sm1896[nm; [cf2]d [cf1]NY, [sm1960[nm). Amer. bar. Began career as ~actor, t
hen sang in light opera. Studied NY with ~Frank la Forge. Opera d;aaebut NY Met.
 [sm1923[nm as ~monk in [cf2]Boris Godunov[cf1]. Made name as Ford in ~Verdi's [
cf2]Falstaff, [cf1]NY Met. [sm1925[nm. Sang at Met. until ~[sm1950[nm, creating
bar. roles in Taylor's [cf2]The King's ~Henchman [cf1]and [cf2]Peter Ibbetson [c
f1]and Gruenberg's ~[cf2]Emperor Jones. [cf1]Outstanding Iago in [cf2]Otello [cf
1]and in ~other Verdi roles, e.g. Amonasro, Simon Bocca~~negra,
Rigoletto, and Germont [cf2]p;agere, [cf1]and such ~Puccini roles as Jack Rance,
 Gianni Schicchi, and ~Scarpia. Outstanding success in Gershwin's [cf2]Porgy ~an
d Bess[cf1]. CG d;aaebut [sm1937[nm as Scarpia. Made several ~films. Equally pop
ular as concert singer.[cm~Tibia. [fy75,1]Org. stop, not brilliant but full-tone
d. ~Varieties are: [cf2]Tibia Major [cf1]([sm8[nm;Po or [sm16[nm;Po length and ~
pitch); [cf2]Tibia Minor [cf1]([sm4[nm;Po or [sm8[nm;Po); [cf2]Tibia Plena [cf1]
([sm8[nm;Po, loud); ~[cf2]Tibia Profunda [cf1]([sm16[nm;Po); [cf2]Tibia Dura [cf
1]([sm4[nm;Po, hard in tone); ~[cf2]Tibia Clausa [cf1]([sm4[nm;Po).[cm~Tichatsch
ek [fy75,1](orig. Ticha;akcek), [fy65][cf3]Joseph [fy75,1]([cf2]b [cf1]Ober-~Wec
kelsdorf, [sm1807[nm; [cf2]d[cf1] Blasewitz, [sm1886[nm). Bohem. ~ten. Abandoned
 medicine for mus. Studied in ~Vienna. In ch. at K;auarntnerthor Th., [sm1830[nm
. Prin. ~ten. at Graz and Vienna. D;aaebut Dresden [sm1837[nm, ~remaining there
to [sm1872[nm. Coached by [fy45,1]*[fy75,1]Schr;auoder-~Devrient
. Created roles of Rienzi ([sm1842[nm), and ~Tannh;auauser ([sm1845[nm). Sang in
 London [sm1841[nm.[cm~Tie [fy75,1](or bind). Curved line placed over note and ~
its repetition to indicate that the [sm2[nm shall be perf. ~as one unbroken note
 of their combined time-~value. Thus [cf2]tied note.[xm[cm~[j1]Tief [fy75,1](Ger
.). Deep, low, thus [cf2]tiefgespannt, [cf1]deep-~stretched, i.e. of a drum, so
as to give a low sound.[cm~Tiefland [fy75,1](Lowland). Opera in prol. and [sm3[n
m acts by ~d'[fy45,1]*[fy75,1]Albert, to text by R. Lothar after Catalan play ~b
y Guimer;aaa. Prod. Prague [sm1903[nm, NY (revised ~version) [sm1908[nm, CG [sm1
910[nm.[cm~[PN732,0,0,L,I0]Tierce [fy75,1](Fr. noun). Third. ([sm1[nm) Interval
of a [sm3[nmrd, ~major or minor.[ep~^([sm2[nm) [sm4[nmth of series of natural ha
rmonics.[ep~^([sm3[nm) Org. stop of same pitch as similarly-named ~harmonic.[cm~
Tierce de Picardie [fy75,1](Fr.). Picardy third. Term ~applied to major [sm3[nmr
d used at end of a comp. ~which is otherwise in a minor key, thu
s convert~~ing expected minor chord into major, e.g. in key ~of C minor the expe
cted chord C=nE;Yh=nG becomes ~C=nE;Yj=nG. Commonly used up to end of [sm18[nmth
 cent. ~Reason for name unknown.[cm~Tiersot, [fy75,1](=+=+Jean-Baptiste Elis;aae
e) [fy65,3]Julien [fy75,1]([cf2]b [cf1]Bourg-en-~Bresse, [sm1857[nm; [cf2]d [cf1
]Paris, [sm1936[nm). Fr. musicologist and ~composer. Pupil of Massenet and Franc
k at Paris ~Cons. from [sm1876[nm. Worked in library at Paris Cons. ~[sm1883[nm=
n[sm1921[nm. Authority on Fr. folk-songs, many of ~which he ed.; author of books
 on Berlioz, Gluck, ~and Rousseau. Wrote orch. and choral works.[cm~Tietjen, Hei
nz [fy75,1]([cf2]b [cf1]Tangier, [sm1881[nm; [cf2]d [cf1]Baden-Baden, ~[sm1967[n
m). Ger. cond., producer, and opera dir. Cond. ~and producer at Trier [sm1904[nm
=n[sm7[nm, intendant [sm1907[nm=n~[sm22[nm. Intendant at Breslau [sm1922[nm=n[sm
4[nm, Berlin City ~Opera [sm1925[nm=n[sm30[nm, Berlin State Opera [sm1927[nm=n[s
m45[nm. Art. ~dir., Bayreuth Fest. [sm1931[nm=n[sm44[nm (cond. [
cf2]The Ring [cf1]and ~other operas). Intendant Berlin City Opera [sm1948[nm=n~[
sm54[nm, Hamburg [sm1954[nm=n[sm9[nm. Prod. CG [sm1950[nm and [sm1951[nm. ~Last
cond. at Bayreuth [sm1959[nm.[cm~Tietjens, Th;aaer;agese [fy75,1](Carolina Johan
na Alexandra) ~[cf1]([cf2]b [cf1]Hamburg, [sm1831[nm; [cf2]d[cf1] London, [sm187
7[nm). Ger. sop. ~Studied Hamburg and Vienna. Opera d;aaebut ~Altona [sm1849[nm
as Lucrezia Borgia. Frankfurt Opera ~[sm1850[nm=n[sm6[nm, Vienna [sm1856[nm=n[sm
9[nm. London d;aaebut [sm1858[nm, ~thereafter settling in Eng. Sang in NY [sm187
4[nm and ~[sm1876[nm. One of great opera and oratorio singers of ~her day, famou
s as Norma and Donna Anna. Was ~first to sing Margu;aaerite in Gounod's [cf2]Fau
st [cf1]in ~London ([sm1863[nm), also created several Verdi roles ~for London.[c
m~Till Eulenspiegel. [fy75,1]Tone-poem for orch., Op. [sm28[nm, ~by R. Strauss,
full title being [cf2]Till Eulenspiegels ~lustige Streiche, nach alter Schelmenw
eise=min Ron~~deauform=mf;auur grosses Orchester gestetzt [cf1](
Till Eulen~~spiegel's merry pranks, in the manner of an old ~rogue=min rondo for
m=mset for full orchestra). ~Comp. [sm1894[nm=n[sm5[nm, f.p. Cologne [sm1895[nm
cond. W;auullner. ~Strauss abandoned idea of opera on the subject ~[sm1893[nm=n[
sm4[nm. Till's adventures were first told in a [sm15[nmth-~cent. book and remain
 part of Ger. folklore. Other ~composers who have treated the subject incl. ~Alp
aerts (symphonic poem), Blockx (opera, [sm1900[nm), ~Jeremi;aaa;aks (opera, [sm1
949[nm), Rezni;akcek (opera, [sm1902[nm), ~and M. Steinberg (ballet). Strauss's
score has been ~basis of several ballets, incl. one by Nijinsky ~([sm1916[nm).[c
m~Tilney, Colin [fy75,1]([cf2]b[cf1] London, [sm1933[nm). Eng. harpsi~~chordist.
 Studied at Cambridge Univ., hpd. with ~Mary Potts, and later with Leonhardt in
Amster~~dam. Soloist and ens. performer since [sm1960[nms. ~Amer. d;aaebut [sm19
71[nm. Plays kbd. works on most ~appropriate instr., using clavichords and early
 ~pianos (historical and modern replica). Ed. of ~Forqueray's hp
d. mus. Has recorded [fy45,1]*[fy75,2]Parthenia[cf1] ~and complete kbd. works of
 Locke.[cm~Tilson Thomas, Michael. [fy75,1]See [cf2]Thomas, Michael ~Tilson.[cm~
Timbales. [fy75,1]Pair of single-headed cylindrical ~drums, usually assoc. with
Latin-Amer. dance ~orch. but also used by composers of modern orch. ~mus., e.g.
Lipkin in [cf2]Interplay[cf1] ([sm1975[nm), who uses six ~instead of timpani.[cm
~Timbre [fy75,1](Fr.; Ger. [cf2]Klangfarbe[cf1]). Tone-colour; that ~which disti
nguishes the quality of tone or v. of ~one instr. or singer from another, e.g. f
l. from cl., ~sop. from mez., etc.[cm~Timbrel. [fy75,1]Medieval tambourine. Also
 Hebrew ~instr. in biblical times, thought to be similar to ~tambourine.[cm~Time
. [fy75,1]Fundamental rhythmical patterns of mus., ~e.g. [cf9]3=-=-=-=-=-=-=K=K=
K[cf13]8[cf1] time;eq[sm3[nm [sm8[nmth-notes to the measure. One ~speaks of walt
z time ([cf9]3=-=-=-=-=-=-=K=K=K[cf13]4[cf1]) and march time (usually ~[cf9]2=-=
-=-=-=-=-=K=K=K[cf13]4[cf1]), and more generally of `quick time'
.[cm~Time Signature. [fy75,1]Sign placed after the clef and ~[fy45,1]*[fy75,1]ke
y signature at the beginning of a piece of ~music, or during the course of it, t
o indicate the ~time or metre of the music. Normally it comprises ~two numbers,
one above the other, the lower ~defining the unit of measurement in relation to
~the whole-note, the upper indicating the number ~of those units in each measure
 (bar). Thus the ~time-signature ;d3;i4[cf1] indicates three quarter-notes ~(cro
tchets) to the measure, one of ;d6;i8[cf1] that there are ~six eighth-notes (qua
vers) in the measure. But see ~also [cf2]Compound Time [cf1]and [cf2]Simple Time
[cf1].[cm~Timpani [fy75,1](It.). See [cf2]Drum[cf1].[cm~Tinctoris, Johannes [fy7
5,1]([cf2]b[cf1] Braine l'Allend, [cf2]c[cf1]. [sm1435[nm; ~[cf2]d[cf1] ?[sm1511
[nm). Franco-Flemish theorist and composer. ~Entered service of King of Naples [
cf2]c[cf1].[sm1472[nm as tutor ~to King's daughter. His treatise[cf2] Terminorum
 ~musicae diffinitorium[cf1] (Treviso, [sm1495[nm) was probably
~written in [sm1472[nm. It contains [sm299[nm definitions of ~terms then in use.
 His [cf2]Liber de arte contrapuncti[cf1] ~([sm1477[nm) contains principles of c
onsonance and ~dissonance and discussions on counterpoint. ~Comp. several masses
 and secular songs. Was also ~painter, lawyer, and mathematician.[cm~Tinel, Edga
r [fy75,1]([cf2]b [cf1]Sinaai, Belg., [sm1854[nm; [cf2]d [cf1]Brussels, ~[sm1912
[nm). Belg. composer and pianist. Studied ~Brussels Cons. Dir., Institute for Ch
urch Mus., ~Malines, [sm1881[nm. Prof. of counterpoint, Brussels ~Cons., [sm1896
[nm, dir. [sm1909[nm. Wrote mainly religious ~works, pf. sonata, etc.[cm~Tinsley
, Pauline[fy75,1] (Cecilia) [cf1]([cf2]b [cf1]Salford, [sm1928[nm). Eng. ~sop. S
tudied NSM, Manchester, and Opera Sch., ~London. Opera d;aaebut as Desdemona in
Rossini's ~[cf2]Otello[cf1], London [sm1951[nm. Thereafter guest singer with ~ma
ny opera cos., e.g. CG (d;aaebut [sm1965[nm), ENO, ~Scottish Opera, WNO, etc. We
ll known for Verdi ~[PN733,0,0,R,I0]roles such as Lady Macbeth,
also for Jan;aaa;akcek and ~Strauss (Elektra).[cm~Tintagel. [fy75,1]Orchestral t
one-poem by Bax, comp. ~[sm1917[nm=n[sm19[nm. F.p. London, [sm1920[nm. Quotes mo
tif from ~Wagner's [cf2]Tristan und Isolde[cf1].[cm~Tin-Whistle. [fy75,1][sm6[nm
-holed keyless wind instr. made ~of metal. Also called penny-whistle.[cm~Tiomkin
, Dimitri [fy75,1]([cf2]b[cf1] St Petersburg, [sm1894[nm; [cf2]d[cf1] ~London, [
sm1979[nm). Russ.-born composer and pianist ~(Amer. citizen). Studied St Petersb
urg Cons. ~Toured Europe as pianist. NY d;aaebut [sm1926[nm. Settled ~in USA [sm
1929[nm and became prolific composer of ~film scores, incl. those for [cf2]Lost
Horizon[cf1], [cf2]High Noon[cf1], ~[cf2]The Guns of Navarone[cf1], and many mor
e.[cm~Tippett,[fy75,1] (Sir)[fy65][cf3] Michael[fy75,1] (Kemp) [cf1]([cf2]b [cf1
]London, [sm1905[nm). ~Eng. composer. Studied RCM (comp. with ~Charles Wood, con
d. with Boult and Sargent). ~Became schoolmaster and cond. choral soc.; in ~[sm1
920[nm studied counterpoint and fugue with R. O. ~Morris. Mus. d
ir., Morley College, [sm1940[nm=n[sm51[nm, dir. ~of Bath Fest. [sm1969[nm=n[sm74
[nm. Imprisoned during [sm1943[nm ~for failure to comply with conditions of his
~conscientious exemption from military service. ~C.B.E. [sm1959[nm. Knighted [sm
1966[nm. C.H. [sm1979[nm. O.M. ~[sm1983[nm.[ep~^Tippett's life is his mus. A lat
e developer, he did ~not achieve any kind of recognition until [sm1935[nm ~with
his first str. qt. The work which made his ~name more familiar was the Conc. for
 Double ~Str. Orch. ([sm1938[nm=n[sm9[nm). His oratorio [cf2]A Child of Our ~Tim
e[cf1], comp. [sm1939[nm=n[sm41[nm, was among the first of his ~works which reco
ncile personal vision with ~expression of `collective' feeling. After [sm6[nm ye
ars of ~work he completed his first opera, [cf2]The Midsummer ~Marriage [cf1]in
[sm1952[nm. Though not successful until its ~revival over [sm20[nm years later,
this opera marks the ~culmination of Tippett's early lyrical style, a style ~tha
t is complex in its madrigalian, contrapuntal, ~inter-weaving bu
t which repays close study. He ~entered a tougher middle phase in [sm1962[nm wit
h the ~opera [cf2]King Priam [cf1]and the [sm2[nmnd pf. sonata, works of ~rhetor
ic and drama. This period culminated in ~the [cf2]Concerto for Orchestra [cf1]an
d the elaborate choral ~work [cf2]The Vision of St Augustine[cf1]. With the oper
a ~[cf2]The Knot Garden [cf1]([sm1969[nm) Tippett entered a [sm3[nmrd ~period in
 which he fused his [sm2[nm earlier periods, the ~`lyrical' and the `disjunct',
as they have been ~called, and also extended his bounds by reference ~to popular
 and serious mus., past and present, e.g. ~`blues', quotations from Monteverdi,
and a tighter ~control of form as shown in the [sm3[nmrd pf. sonata ~and the [sm
4[nmth sym. Yet, like all great composers, ~Tippett has remained essentially him
self, and the ~flowing lines of the Double Conc. are still ~discernible in [cf2]
King Priam, [cf1]just as the exuberant, ~life-enhancing lyricism of [cf2]The Mid
summer Mar~~riage [cf1]spills over into the pf. conc., the [cf2]
Corelli ~Fantasia[cf1], and the [sm4[nmth sym. Some of his deter~~minedly popula
r passages in recent years may ~come to sound increasingly self-conscious, but ~
this is part of the price one pays for Tippett's ~open-eyed, even naive outlook
on the world ~expressed in mus. of exceptional technical sophis~~tication. Prin.
 works:[xm[cm~[j2][smoperas[nm: [fy75,2]The [fy45,1]*[fy75,2]Midsummer Marriage
[cf1]([sm1946[nm=n[sm52[nm); ~[fy45,1]*[fy75,2]King Priam [cf1]([sm1958[nm=n[sm6
1[nm); [cf2]The [fy45,1]*[fy75,2]Knot Garden [cf1]([sm1966[nm=n~[sm9[nm); [cf2]T
he [fy45,1]*[fy75,2]Ice Break [cf1]([sm1973[nm=n[sm6[nm).[ep~[smorch[nm: Symphon
ies: No. [sm1[nm ([sm1944[nm=n[sm5[nm, f.p. [sm1945[nm), ~No. [sm2[nm ([sm1956[n
m=n[sm7[nm, f.p. [sm1958[nm), No. [sm3[nm, sop. and orch. ~([sm1970[nm=n[sm2[nm,
 f.p. [sm1972[nm), No. [sm4[nm ([sm1976[nm=n[sm7[nm, f.p. [sm1977[nm); ~Conc. fo
r Double Str. Orch. ([sm1938[nm=n[sm9[nm); [fy45,1]*[fy75,2]Fantasia ~on a Theme
 of Handel[cf1], pf. and orch. ([sm1939[nm=n[sm41[nm); ~[cf2]Lit
tle Music[cf1], for str. ([sm1946[nm); [cf2]Suite in D for the ~Birthday of Prin
ce Charles [cf1]([sm1948[nm); [fy45,1]*[fy75,2]Ritual Dances ~from The Midsummer
 Marriage [cf1]([sm1952[nm=n[sm3[nm); [cf2]Diver~~timento on Sellinger's Round [
cf1]([sm1953[nm=n[sm4[nm); Pf. Conc. ~([sm1953[nm=n[sm5[nm); [fy45,1]*[fy75,2]Fa
ntasia Concertante on a Theme of ~Corelli [cf1]for str. ([sm1953[nm); [cf2]Conce
rto for Orchestra ~[cf1]([sm1962[nm=n[sm3[nm); Conc. for str. trio and orch. ([s
m1978[nm=n[sm9[nm).[ep~[smchoral[nm: [cf2]A [fy45,1]*[fy75,2]Child of Our Time[c
f1], SATB soloists, ch., ~and orch. ([sm1939[nm=n[sm41[nm); [cf2]The Source[cf1]
 and [cf2]The Wind-[fj~hover[cf1], unacc. ch. ([sm1942[nm); [cf2]Plebs angelica[
cf1], unacc. ~double ch. ([sm1943[nm); [cf2]The Weeping Babe[cf1], sop. and ~mix
ed ch. ([sm1944[nm); [cf2]Crown of the Year[cf1], women's ~ch. and chamber ens.
([sm1958[nm); [cf2]Magnificat and ~Nunc Dimittis [cf1]([sm1961[nm); [cf2]The [fy
45,1]*[fy75,2]Vision of St Augustine[cf1], ~bar., ch., and orch.
 ([sm1963[nm=n[sm5[nm); [cf2]The Shires Suite[cf1], ch. ~and orch. ([sm1965[nm=n
[sm70[nm); [cf2]The [fy45,1]*[fy75,2]Mask of Time[cf1], sop., ~mez., ten., bar.,
 ch., and orch. ([sm1981[nm=n[sm3[nm).[ep~[smvoice and orch[nm/[sminstr[nm: [fy4
5,1]*[fy75,2]Boyhood's End[cf1], ten. and ~pf. ([sm1943[nm); [cf2]The [fy45,1]*[
fy75,2]Heart's Assurance [cf1]([sm1950[nm=n[sm1[nm); ~[cf2]Songs for Achilles[cf
1], ten. and guitar ([sm1961[nm); [cf2]Songs ~for Ariel[cf1], v. and pf. (or hpd
.) ([sm1962[nm); [fy45,1]*[fy75,2]Songs for ~Dov, [cf1]ten. and small orch. ([sm
1970[nm).[ep~[smchamber music[nm: [cf1]String Quartets: No. [sm1[nm ([sm1934[nm=
n[sm5[nm, ~rev. [sm1943[nm), No. [sm2[nm ([sm1941[nm=n[sm2[nm), No. [sm3[nm ([sm
1945[nm=n[sm6[nm), No. ~[sm4[nm ([sm1977[nm=n[sm8[nm); [cf2][sm4[nm Inventions [
cf1]for descant and treble ~recorders ([sm1954[nm); Sonata for [sm4[nm hn. ([sm1
955[nm); [cf2]The ~Blue Guitar[cf1], guitar ([sm1983[nm).[ep~[smpiano[nm: [cf2]S
onatas[cf1]: No. [sm1[nm ([sm1936[nm=n[sm7[nm, rev. [sm1942[nm,
[sm1954[nm), ~No. [sm2[nm ([sm1962[nm), No. [sm3[nm ([sm1972[nm=n[sm3[nm), No. [
sm4[nm ([sm1984[nm).[ep~[smorgan[nm: [cf2]Preludio al Vespro di Monteverdi [cf1]
([sm1946[nm).[ep~[smbrass[nm: [cf2]Festal Brass with Blues[cf1] ([sm1983[nm); [c
f2]Suite in D for ~the Birthday of Prince Charles[cf1] (arr. B. Bowen, ~[sm1983[
nm).[ep~[smeditions[nm (in collab. with W. Bergmann): J.|S. ~Bach: songs, [cf2]A
more traditore[cf1], cantata for bass, [cf2]If ~thou art near[cf1], [cf2]Come sw
eet death[cf1], and [cf2]Jesu, in thy ~love[cf1]; Handel: [cf2]Lucretia[cf1], ca
ntata for sop.; Humfrey:[cf2] ~A Hymne to God the Father[cf1]; Purcell: [cf2]Com
e ye sons ~of art[cf1], sop., [sm2[nm altos, bass, ch., orch., [cf2]Ode for St ~
Cecilia's Day[cf1] ([sm1692[nm), sop., [sm2[nm altos, ten., bar., bass, ~ch., an
d orch., [cf2]Golden Sonata[cf1], [sm2[nm vns. and basso ~continuo; and songs an
d duets.[cm~[ol0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_TA[sm01[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise O
xford Dict. of ~Music[cmTA[sm01[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm11[nm/[sm10[nm/[sm
79[nm[cm[sm8[nm[cm[sm213[nm[cm~Collier[cm6[cm25.3.85[cm~3[cm~~~~[ap[j1]Tirana. [
fy75,1]Sp. song-dance popular in Andalusia, ~usually with rhythmic guitar acc. i
n [cf9]6=-=-=-=-=-=-=K=K=K[cf13]8[cf1] time.[cm~Tirasse [fy75,1](Fr.). Coupler o
f organ=mgenerally a pedal ~coupler. So [cf2]Tirasse du Positif, du R;aaecit, du
 Grand ~Orgue, [cf1]mean respectively Choir to Pedal, Swell to ~Pedal, Great to
Pedal. These may be abbreviated ~to [cf2]Tir[cf1]. [cf2]P[cf1]., [cf2]Tir[cf1].
[cf2]R[cf1]., and [cf2]Tir. G.O. Tirasse G.P.R. ~[cf1]means that all [sm3[nm cou
plers are to be used.[cm~[PN734,0,0,L,I0]Tiresias. [fy75,1]Ballet in [sm3[nm sce
nes, lib. and mus. by ~[fy45,1]*[fy75,1]Lambert, choreog. Ashton. Prod. London [
sm1951[nm.[cm~Tir;aaesias, Les mamelles de [fy75,1](Poulenc). See [cf2]Ma~~melle
s de Tir;aaesias, Les[cf1].[cm~[j1]Tirimo, Martino[fy75,1] ([cf2
]b[cf1] Larnaca, Cyprus, [sm1942[nm). ~Cyprus-born pianist. Studied RAM, Vienna
Acad. ~D;aaebut London [sm1965[nm. Won Geneva int. pf. ~competition [sm1972[nm.
Specialist in Schubert sonatas.[cm~Tishchenko, Boris[fy75,1] (Ivanovich) ([cf2]b
[cf1] Leningrad, ~[sm1939[nm). Russ. composer. Studied with Salmanov ~and Shosta
kovich. Teacher at Leningrad Cons. ~Works incl. ballets, [sm5[nm syms., pf. conc
., [sm2[nm vc. concs. ~(No. [sm1[nm orch. by Shostakovich [sm1969[nm, No. [sm2[n
m for ~soloist with [sm48[nm vc. and [sm2[nm db.), conc. for fl. and pf., ~harp
conc., vn. conc., chamber mus., songs, film ~mus.[cm~Ti Tzu. [fy75,1]Chinese fl.
, played transversely. [sm6[nm ~fingerholes and extra hole covered with mem~~bra
ne which vibrates to give characteristic reedy ~tone.[cm~Tjeknavorian, Loris[fy7
5,1] ([cf2]b[cf1] Broudjerd, Persia, [sm1937[nm). ~Persian composer, violinist,
and conductor of ~Armenian descent. Studied Vienna Acad. of Mus. ~[sm1954[nm=n[s
m60[nm. Dir., Teheran music archives [sm1961[nm. ~Composer-in-re
sidence, Concordia Univ., Min~~nesota, [sm1966[nm. Ass. prof. of music, Moorhead
 State ~Coll., [sm1966[nm=n[sm9[nm. Prin. cond., Teheran Opera [sm1972[nm. ~Mus.
 dir., London Percussion Virtuosi. Eng. ~d;aaebut as cond., Manchester [sm1974[n
m, London [sm1975[nm. ~Works incl. [cf2]Requiem for the Massacred[cf1] for over
[sm60[nm ~percussion instrs. ([sm1975[nm), operas, piano concerto, ~violin conce
rto, and over [sm30[nm film scores. Settled ~in Eng.[cm~Toccata[fy75,1] (It.). T
ouched. One of oldest names for ~kbd. piece (org., hpd., etc.), orig. a short mo
ve~~ment, often merely a prelude, in which the ~player's `touch' was displayed t
hrough rapidity ~and delicacy. But note that Monteverdi's first ~opera [cf2]Orfe
o[cf1], [sm1607[nm, begins with a [cf2]Toccata [cf1]for ~baroque tpts. Later the
 toccata form was com~~bined with a ricercare, and Bach wrote several ~toccatas
and fugues. Bach also comp. hpd. toccatas ~in several movements. Several [sm20[n
mth-cent. compos~~ers have used the term [cf2]toccata[cf1] for m
ovements of ~orch. works, e.g. Vaughan Williams for first ~movement of pf. conc.
 and [sm4[nmth movement of [sm8[nmth ~Sym. First printed source for use of word
is G. A. ~Casteliono's [cf2]Intabolatura de leuto de diversi autori[cf1] ~([sm15
36[nm). Earliest printed keyboard toccatas were ~by S. Bertoldo ([sm1591[nm).[cm
~Toch, Ernst[fy75,1] ([cf2]b[cf1] Vienna, [sm1887[nm; [cf2]d[cf1] Santa Monica,
~Calif., [sm1964[nm). Austrian-born composer and pianist ~(Amer. citizen from [s
m1940[nm). Studied at Mannheim ~and Frankfurt. Taught comp. at Mannheim ~[sm1913
[nm=n[sm29[nm, privately in Berlin [sm1929[nm=n[sm32[nm. Went to ~Eng. [sm1933[n
m, writing mus. for BBC [sm1934[nm; then to ~USA [sm1934[nm, teaching in NY [sm1
934[nm=n[sm6[nm. Went to ~Hollywood, composed some film scores, and ~became prof
. of comp., U.C.L.A., [sm1940[nm=n[sm8[nm. Wrote ~[sm7[nm syms. ([sm1950[nm=n[sm
64[nm), also choral sym. [cf2]To My ~Fatherland[cf1]; [cf2]The Chinese Flute[cf1
], sop. and chamber ~orch. ([sm1922[nm, rev. [sm1949[nm); [cf2]B
ig Ben[cf1], variations for ~orch. ([sm1934[nm); vc. conc., [sm2[nm pf. concs.,
pf. sonata, pf. ~quintet, and [sm13[nm str. qts.[cm~Tod Jesu, Der[fy75,1] (The D
eath of Jesus). Passion-~cantata by [fy45,1]*[fy75,1]Graun to text by Ramler. Be
rlin [sm1755[nm, ~London [sm1877[nm. Annually perf. in Berlin far into ~[sm20[nm
th cent.[cm~Tod und das M;auadchen, Der[fy75,1] (Death and the ~Maiden). Song by
 Schubert ([sm1817[nm, D[sm531[nm), to ~poem by Claudius, which is also used as
theme ~for variations in [sm2[nmnd movement of Str. Qt. No. ~[sm14[nm in D minor
 ([sm1824[nm, D[sm810[nm).[cm~Tod und Verkl;auarung[fy75,1] (Death and Transfigu
ra~~tion). Orch. tone-poem, Op. [sm24[nm, by R. Strauss ~depicting a man's death
-bed visions. Comp. [sm1888[nm=n~[sm9[nm; f.p. Eisenach [sm1889[nm, cond. Straus
s.[cm~To;aueschi, Carlo Giuseppe[fy75,1] ([cf2]b[cf1] Ludwigsburg, [sm1731[nm; ~
[cf2]d[cf1] Munich, [sm1788[nm). It. composer and violinist. Pupil ~of [fy45,1]*
[fy75,1]Stamitz. Violinist in [fy45,1]*[fy75,1]Mannheim orch. fr
om ~[sm1752[nm, leader from [sm1759[nm. Dir. of mus., Munich, ~[sm1780[nm. Wrote
 over [sm60[nm syms. and other instr. works.[cm~Togli[fy75,1] (It.). Take away,
used in org. mus. for the ~shutting off of any stop, etc.[cm~Togni, Camillo[fy75
,1] ([cf2]b[cf1] Gussago, [sm1922[nm). It. composer. ~Studied Siena [sm1939[nm=n
[sm42[nm with [fy45,1]*[fy75,1]Casella, earlier ~privately at Brescia [sm1935[nm
=n[sm40[nm (pf. with Michelan~~geli). Active as pianist in contemporary mus. ~[s
m1950[nm=n[sm5[nm. At Darmstadt summer courses [sm1951[nm=n[sm7[nm. ~Worked at M
ilan elec. studio from [sm1961[nm. Adopted ~[sm12[nm-note system [sm1940[nm. Wor
ks incl. settings of T. S. ~Eliot for ch. and orch., fl. sonata, [cf2]Recitative
[cf1] on ~tape, etc.[cm~Tom;aaa;aksek, V;aaaclav Jan[fy75,1] ([cf2]b[cf1] Sku;ak
c, Bohem., [sm1774[nm; [cf2]d[cf1] ~Prague, [sm1850[nm). Bohem. composer, organi
st, and ~pianist. Studied at Chrudim and Iglau. Became ~teacher in Prague. Wrote
 operas, [sm3[nm syms., [sm2[nm pf. ~concs., vocal scenas, [sm7[
nm pf. sonatas, [cf2]Hungarian ~Dances[cf1] for pf., [sm42[nm [cf2]Eclogues[cf1]
 for pf., etc.[cm~Tomasi, Henri Fr;aaedien[fy75,1] ([cf2]b[cf1] Marseilles, [sm1
901[nm; [cf2]d[cf1] ~Avignon, [sm1971[nm). Fr. composer and cond. Studied ~Paris
 Cons. with d'Indy. Mus. dir., Fr. Indo-China ~radio [sm1930[nm=n[sm5[nm. Dir.,
Monte Carlo Opera [sm1946[nm=n[sm50[nm. ~Wrote [sm8[nm operas, incl. [cf2]Le sil
ence de la mer [cf1]([sm1959[nm), [sm10[nm ~ballets, [cf2]Tam Tam[cf1] for sop.,
 male ch., and orch., ~and [sm16[nm concs. for different instr. (incl. sax., gui
tar, ~tb., harp, and db.).[cm~Tomasini, Luigi[fy75,1] ([cf2]b[cf1] Pesaro, [sm17
41[nm; [cf2]d[cf1] Eisenstadt, ~[sm1808[nm). It. violinist. Member of Haydn's or
ch. for ~Prince Esterh;aaazy from [sm1757[nm at Eisenstadt, becom~~ing leader [s
m1761[nm. Later dir. of chamber mus., ~Haydn composing qts. with his playing in
mind. ~Wrote vn. concs., qts., and [sm24[nm divertimenti for ~[fy45,1]*[fy75,1]b
aryton.[cm~Tombeau[fy75,1] (Fr.). Tomb, tombstone. Fr. [sm17[nmt
h-cent. ~composers' term for memorial works, revived by ~[PN735,0,0,R,I0]several
 [sm20[nmth-cent. composers, notably by Ravel in ~[cf2]Le [fy45,1]*[fy75,2]Tombe
au de Couperin[cf1] ([sm1914[nm=n[sm17[nm).[cm~Tombeau de Couperin, Le[fy75,1] (
The Tomb of ~Couperin). Suite for solo pf. by Ravel of [sm6[nm ~movements each d
ed. to memory of friends who ~died in World War I, comp. [sm1914[nm=n[sm17[nm: [
sm1[nm. [cf2]Pr;aaelude[cf1], ~[sm2[nm. [cf2]Fugue[cf1], [sm3[nm. [cf2]Forlane[c
f1], [sm4[nm. [cf2]Rigaudon[cf1], [sm5[nm. [cf2]Menuet[cf1], [sm6[nm. ~[cf2]Tocc
ata[cf1]. F.p. Paris [sm1919[nm. Nos. [sm1[nm, [sm3[nm, [sm5[nm, and [sm4[nm (in
 ~that order) orch. by Ravel [sm1919[nm, f.p. [sm1920[nm. Prod. ~as ballet, Pari
s [sm1920[nm, choreog. Berlin, later ~choreog. Balanchine, NY [sm1975[nm.[cm~Tom
 Jones. [fy75,1]([sm1[nm) Opera in [sm3[nm acts by Stephen ~[fy45,1]*[fy75,1]Oli
ver to his own lib. based on Fielding's novel ~([sm1749[nm). Prod. Snape [sm1976
[nm (Eng. Music Th.), ~Nottingham and London [sm1976[nm.[ep~^([s
m2[nm) Comic opera in [sm3[nm acts by [fy45,1]*[fy75,1]German, lib. by ~A.|M. Th
ompson and R. Courtneidge based on ~Fielding. Prod. Manchester and London [sm190
7[nm.[cm~Tomkins, Thomas[fy75,1] ([cf2]b[cf1] St David's, Pembroke, ~[sm1572[nm;
 [cf2]d[cf1] Martin Hussingtree, Worcs., [sm1656[nm). Welsh ~composer, grandson
of organist of Worcester ~Cath. and one of large family of musicians. ~Thought t
o have studied with Byrd. Organist, ~Worcester Cath. [sm1596[nm=n[sm1646[nm, Cha
pel Royal from ~[sm1621[nm. Comp. mus. for Charles I's coronation ~[sm1625[nm. W
rote mus. for consorts, pavans and ~galliards (incl. [cf2]Sad Pavan for these di
stracted times[cf1]), ~[sm95[nm anthems, and services, but his finest work is ~t
o be found in his polyphonic madrigals [cf2]Songs of ~[sm3[nm, [sm4[nm, [sm5[nm,
 and [sm6[nm parts[cf1], pubd. [sm1622[nm. These incl. [cf2]Above ~the stars[cf1
], [cf2]Music divine[cf1], [cf2]Oft did I marle[cf1], [cf2]See, see, the ~shephe
rd's queen[cf1], [cf2]When David heard that Absalom ~was slain[c
f1], and [cf2]When I observe[cf1]. His sacred works ~were pubd. posthumously in
[cf2]Musica Deo sacra[cf1] ~([sm1668[nm).[cm~Tomlinson, Ernest[fy75,1] ([cf2]b[c
f1] Rawtenstall, [sm1924[nm). Eng. ~composer, organist, and cond. Studied Manche
s~~ter Univ. and RMCM. Organist, [sm3[nmrd Church of ~Christ Scientist, London,
[sm1948[nm=n[sm58[nm. Comp. sym. ~for jazz and sym. orch., conc. for [sm5[nm sax
. and orch., ~incidental mus., elec. mus.[cm~Tommasini, Vincenzo[fy75,1] ([cf2]b
[cf1] Rome, [sm1878[nm; [cf2]d[cf1] Rome, ~[sm1950[nm). It. composer. Studied in
 Rome and in ~Berlin with Bruch. Wrote operas and orch. works ~but is remembered
 for his arr. of mus. by D. ~Scarlatti for Diaghilev ballet[cf2] The [fy45,1]*[f
y75,2]Good-humoured ~Ladies[cf1] ([cf2]Le donne di buon umore[cf1]), (comp. [sm1
916[nm, prod. ~Rome [sm1917[nm, suite [sm1920[nm).[cm~Tom-Tom. [fy75,1]Type of d
rum, imitative of African ~small hand-played drums, used in Western dance-~bands
 from [sm1920[nms and sometimes in orch. works. ~May or may not
be tuned. Not the same as [fy45,1]*[fy75,2]tam-~tam.[cm~Ton [fy75,1](Fr.). Pitch
, key, mode, tone, crook, sound, ~note; e.g. [cf2]donner le ton[cf1], to give th
e pitch; [cf2]ton de ~cor[cf1], horn crook.[cm~Ton [fy75,1](Ger.). Pitch, key, m
ode, note, sound, mus., ~e.g. [cf2]Tonfarbe[cf1], tone-colour; [cf2]Tonkunst[cf1
], tonal art (i.e. ~mus.), [cf2]Tondichtung[cf1], tone-poem.[cm~Tonada [fy75,1](
Sp.). Tune or air; used as title of works ~by some Sp. composers.[cm~Tonadilla[f
y75,1] (Sp.). ([sm1[nm) Diminutive of [fy45,1]*[fy75,2]Tonada.[ep~^[cf1]([sm2[nm
) Cantata with vocal solos, usually incl. choral ~and instr. movements. Such wor
ks were used as ~satirical intermezzi in the th.; their popularity ~was est. by
Lu;aais Mis;aaon, Sp. fl. virtuoso and cond. ~(who from [cf2]c.[cf1][sm1757[nm w
rote over [sm100[nm), and others. ~Form revived by Granados. Originally a topica
l ~solo song, with guitar acc., added to Sp. theatrical ~interludes.[cm~Tonal. [
fy75,1]([sm1[nm) Opposite to [cf2]real[cf1] in such technicaliti
es ~as [fy45,1]*[fy75,2]Answer[cf1] and [fy45,1]*[fy75,2]Sequence. [cf1]See [cf2
]Fugue.[ep~^[cf1]([sm2[nm) Of keys, as in [cf2]tonal[cf1] basis.[ep~^([sm3[nm) O
f [fy45,1]*[fy75,1]tonality, i.e. the opposite of [fy45,1]*[fy75,2]atonal[cf1],
as in ~[cf2]tonal[cf1] comp.[cm~Tonality. [fy75,1]Key, meaning particularly obse
rvance ~of a single tonic key as basis of comp., thus, ~[cf2]bitonality[cf1], us
e of [sm2[nm keys at once; [cf2]polytonality, [cf1]use of ~several keys at once;
 [cf2]atonality[cf1], loyalty to no key.[cm~Tonart[fy75,1] (Ger.). Mode, scale,
or key.[cm~Tondichter[fy75,1] (Ger.). Sound-poet, i.e. composer.[cm~Tondichtung[
fy75,1] (Ger.). Tone-poem; term preferred ~to [fy45,1]*[fy75,2]symphonic poem[cf
1] by R. Strauss.[cm~Tone. [fy75,1]([sm1[nm) Mus. sound, as in analysis to show
that ~a vn. note has several different [cf2]tones.[ep~^[cf1]([sm2[nm) Interval o
f major [sm2[nmnd, e.g. C-D, E-F;Yi.[ep~^([sm3[nm) Quality of sound, as in `swee
t [cf2]tone[cf1]', `harsh[cf2] ~tone[cf1]', `dry[cf2] tone[cf1]'
.[ep~^([sm4[nm) Plainsong melody, as in Gregorian tone.[ep~^([sm5[nm) Amer. usag
e for `note', hence [cf2][sm12[nm-tone mus.[cf1] ~and [cf2]tone-row[cf1] instead
 of [sm12[nm-note and note-row.[cm~Tone-Cluster. [fy75,1]Amer. term for [fy45,1]
*[fy75,2]cluster[cf1], i.e. group ~of notes on pf. played by placing the forearm
 flat ~on the keys.[cm~Tone-Colour. [fy75,1]See [cf2]Timbre.[cm~Tone-Poem. [fy75
,1]See [cf2]Symphonic Poem.[cm~Tone Roads. [fy75,1]Name of [sm2[nm works by [fy4
5,1]*[fy75,1]Ives. No. [sm1[nm ~for small orch., comp. [sm1911[nm; No. [sm3[nm f
or chamber ~orch., comp. [sm1915[nm.[cm~Tonguing. [fy75,1]Use of the tongue to a
rticulate certain ~notes in playing of wind instr. Thus, single-, ~double-, and
triple-tonguing refer to increasingly ~fast playing. [cf2]Flutter-tonguing[cf1]
(Ger. [cf2]Flatterzunge[cf1]) is ~used chiefly by flautists, but occasionally by
 ~clarinettists and trumpeters, for a trilling effect ~required by composers fro
m R. Strauss and ~Mahler to the present day.[cm~Tonic. [fy75,1]F
irst degree of the major or minor scale. ~The `key-note' from which the key take
s its name, ~as Key of A etc.[cm~Tonic Sol-Fa.[fy75,1] Eng. system of sight-sing
ing and ~notation first mooted by D. Sower in [sm1832[nm, ~developed by Sarah An
n Glover ([sm1785[nm=n[sm1867[nm) as ~[cf2]Norwich Sol-fa[cf1], and pioneered by
 John Curwen ~([sm1816[nm=n[sm80[nm) in the [sm1840[nms. Based on [cf2]movable-d
oh[cf1] ~[PN736,0,0,L,I0]system of [fy45,1]*[fy75,1]Solmization. Notes of major
scale are ~named (in ascending order) [cf2]doh, ray, me, fah, soh, ~lah, te, [cf
1]where [cf2]doh[cf1] is the tonic, other notes being ~thus related to tonic of
the moment, not fixed in ~pitch. Minor is treated as mode of the major, first ~n
ote being [cf2]lah, [cf1][sm2[nmnd[cf2] te, [cf1][sm3[nmrd[cf2] doh[cf1], etc. I
n notation ~notes are written as d, r, m, f, s, l, t. Sharps and ~flats are indi
cated by change of vowel, sharps to ~`e', flats to `a' (pronounced `aw'). E.g. [
cf2]doh[cf1] sharpened ~is [cf2]de[cf1]; [cf2]me[cf1] flattened
is [cf2]ma[cf1]. Double dots (:) separate ~beat from beat; single dots are used
when a beat ~has to be divided into a half-beat, commas to ~divide half-beats in
to quarters. Horizontal lines ~show that notes are held; blanks indicate rests.[
cm~Tonkunst [fy75,1](Ger.). `Sound art'. Music.[cm~Tono[fy75,1] (It., plural [cf
2]toni[cf1]). Tone=min all the various ~senses of the English word (see [cf2]Ton
e[cf1]). Also mode, ~key.[cm~Tono[fy75,1] (Sp.). Type of part-song or madrigal,
of [sm2[nm or ~[sm3[nm stanzas, sung before play in [sm17[nmth cent.[cm~Tonreihe
[fy75,1] (Ger.). [fy45,1]*[fy75,2]Note-row.[cm~Tonus Peregrinus [fy75,1](Lat.).
Foreign tone. ([sm1[nm) ~Medieval term for minor scale.[ep~^([sm2[nm) Plainsong
for Psalm [sm114[nm ([cf2]When Israel went ~out of Egypt[cf1]).[cm~Torelli, Gius
eppe [fy75,1]([cf2]b[cf1] Verona, [sm1658[nm; [cf2]d[cf1] Bologna, ~[sm1709[nm).
 It. violinist and composer. Attached to ~Church of San Petronio, Bologna, [sm16
86[nm=n[sm95[nm. ~Visited Vienna. Leader of band at court of ~Ma
rgrave of Brandenburg-Anspach, [sm1697[nm=n[sm99[nm. ~Returned to Bologna [sm170
1[nm. Comp. mus. for str. ~and continuo, incl. [sm12[nm concerti grossi, Op. [sm
8[nm ~([sm1708[nm), guitar conc., tpt. concs., suites for tpt., ~str., and conti
nuo, etc.[cm~Tornada[fy75,1] (Sp.). Type of refrain in many of the ~folk-songs o
f Catalonia.[cm~T;aaorroba, Federico Moreno[fy75,1] ([cf2]b[cf1] Madrid, [sm1891
[nm; [cf2]d[cf1] ~Madrid, [sm1982[nm). Sp. composer of zarzuelas, guitar ~works,
 flamenco conc., etc. Dir., Royal Acad. des ~Beaux Arts de Madrid.[cm~Tortelier,
 Paul[fy75,1] ([cf2]b[cf1] Paris, [sm1914[nm). Fr. cellist, cond., ~and composer
. Studied Paris Cons., winning first ~vc. prize [sm1930[nm (playing Elgar conc.)
. Prin. vc. ~Monte Carlo Orch. [sm1935[nm=n[sm7[nm; [sm3[nmrd cellist, Boston ~S
.O. [sm1937[nm=n[sm40[nm; prin. cellist Soci;aaet;aae des Concerts ~du Conservat
oire, Paris, [sm1946[nm=n[sm7[nm, then solo career ~with world's leading orchs.
Eng. d;aaebut (in ~Strauss's [cf2]Don Quixote[cf1]), London [sm1
947[nm. Lived in ~Israel [sm1955[nm=n[sm6[nm. Prof. of vc., Paris Cons., from [s
m1956[nm. ~Works incl. [sm2[nm vc. concs., conc. for [sm2[nm vc., [cf2]Israel ~S
ymphony[cf1], vc. sonata, [cf2]Suite[cf1] for unacc. vc. Also ~chamber-mus. play
er with wife Maud Martin ~Tortelier ([cf2]b[cf1] [sm1926[nm) cellist, daughter M
aria de la ~Pau ([cf2]b[cf1] [sm1950[nm) pianist, and son Yan Pascal ([cf2]b[cf1
] [sm1947[nm) ~violinist and cond.[cm~Tosca. [fy75,1]Opera in [sm3[nm acts by Pu
ccini to lib. by ~Giacosa and Illica based on Sardou's play [cf2]La Tosca[cf1] ~
([sm1887[nm). Comp. [sm1898=n9[nm. Prod. Rome and London ~[sm1900[nm; NY Met. [s
m1901[nm.[cm~Toscanini, Arturo[fy75,1] ([cf2]b[cf1] Parma, [sm1867[nm; [cf2]d[cf
1] NY, [sm1957[nm). ~It. cond. and cellist. Entered Parma Cons. [sm1876[nm, ~stu
dying vc. and comp. Engaged as cellist in ~opera orch. for S. American tour, [sm
1886[nm and in Rio ~de Janeiro replaced regular cond., conducting ~[cf2]Aida[cf1
] from memory. In It. later that year cond. ~Catalani's [cf2]Edm
ea[cf1] in Turin. Played vc. in f.p. of ~Verdi's [cf2]Otello[cf1], Milan [sm1887
[nm. Cond. Turin municipal ~orch. and opera in various It. cities. Cond. f.p. of
 ~[cf2]Pagliacci[cf1] in Milan (Teatro dal Verme), [sm1892[nm, f.p. ~of Puccini'
s [cf2]La Boh;ageme[cf1], Turin [sm1896[nm. Cond. f. ps. in ~Italy of [cf2]G;auo
tterd;auammerung[cf1], Turin [sm1895[nm, and of ~[cf2]Siegfried[cf1], Milan [sm1
899[nm. D;aaebut at La Scala [sm1896[nm as ~cond. of [sm4[nm orch. concerts; ope
ra d;aaebut there [sm1898[nm ~in [cf2]Die Meistersinger[cf1] as prin. cond. unde
r manage~~ment of [fy45,1]*[fy75,1]Gatti-Casazza. Stayed till [sm1903[nm, resign
ing ~after demonstration when he refused to allow ~ten. an encore in a Verdi ope
ra. Returned [sm1906[nm=n~[sm8[nm. Went to NY Met. with Gatti-Casazza [sm1908[nm
, ~making d;aaebut in [cf2]Aida[cf1]. Cond. f.p. of Puccini's [cf2]La ~fanciulla
 del West[cf1] [sm1910[nm, and f. ps. in USA of several ~operas, incl. [cf2]Bori
s Godunov[cf1] ([sm1913[nm). Cond. Verdi's ~[cf2]Requiem[cf1] at
 Met. [sm1909[nm and Beethoven's [sm9[nmth Sym. ~there [sm1913[nm. Returned to I
t. [sm1915[nm and again ~became chief cond. at La Scala [sm1921[nm=n[sm9[nm, one
 of its ~golden periods. Friction with Fascists led to his ~departure. Cond. par
t of NY P.O. seasons [sm1926[nm=n~[sm28[nm (orch. becoming Phil.-Sym. Orch. of N
Y, ~[sm1928[nm), prin. cond. [sm1928[nm=n[sm36[nm. Took orch. on ~European tour
[sm1930[nm. Cond. at Bayreuth [sm1930[nm and ~[sm1931[nm, at Salzburg [sm1934[nm
=n[sm7[nm (famous perfs. of ~[cf2]Falstaff, Fidelio[cf1], and [cf2]Die Meistersi
nger[cf1]). D;aaebut with ~Vienna P.O. [sm1933[nm. Refused to cond. in Ger., It.
, ~and Austria under Nazi and Fascist r;aaegimes. ~Cond. inaugural concerts of P
alestine S.O. (now ~Israel P.O.), [sm1936[nm. NBC formed new orch in NY ~for him
 which he cond. [sm1937[nm=n[sm54[nm, giving public ~concerts and many famous co
ncert perfs. of ~operas. Guest cond. in London of BBC S.O. [sm1935[nm ~and [sm19
37[nm=n[sm9[nm, with whom he recorded Beethoven's ~[cf2]Pastoral
 Symphony[cf1], [sm1938[nm, and of Philharmonia ~Orch. [sm1952[nm in Brahms seri
es. Returned to La Scala ~[sm1946[nm, conducting a concert of It. operatic music
 ~and, in subsequent years, several other concerts. ~Last appearance as cond. NY
 June [sm1954[nm. Encour~~aged Amer. composers, especially Barber and ~Hanson. A
lways cond. from memory, but not ~only because he was extremely short-sighted. ~
Tyrannized orchs., but drilled them to remark-[fj~able standards. Regarded by ma
ny Amer. critics ~as beyond criticism, but, like all conds., had his ~limitation
s, far outweighed in his case by virtues ~of clarity, expressiveness, and ens. O
utstanding ~in It. opera, but also in Wagner and in a limited ~range of composer
s of symphonic mus. from ~Haydn to his own day.[cm~Toselli, Enrico[fy75,1] ([cf2
]b[cf1] Florence, [sm1883[nm; [cf2]d[cf1] Florence, ~[sm1926[nm). It. pianist an
d composer. Studied with ~Martucci and Sgambati. Wrote operetta, sym~~[PN737,0,0
,R,I0]phonic poem, chamber mus., and songs, incl. the ~well-know
n [cf2]Serenata[cf1] ([sm1900[nm).[cm~Tosti, [fy75,1](Sir) (Francesco) [fy65,3]P
aolo [fy75,1]([cf2]b[cf1] Ortano sul Mare, ~Abruzzi, [sm1846[nm; [cf2]d[cf1] Rom
e, [sm1916[nm). It.-born composer ~and singing-teacher. Studied Naples, [sm1858[
nm. Be~~came singing-teacher to future Queen of It. ~Visited Eng. [sm1875[nm, ap
pointed royal singing-~master [sm1880[nm. Took Eng. nationality [sm1906[nm and w
as ~knighted [sm1908[nm. Wrote songs and duets to It., Fr., ~and Eng. texts. His
 [cf2]Good-bye[cf1] extremely popular.[cm~Tosto[fy75,1] (It.). ([sm1[nm) Rapid;
so [cf2]piuttosto, [cf1]more rapid. But ~[cf2]pi;agu tosto, [cf1]or [cf2]pi;agut
-tosto,[cf1] as ordinary It. expressions ~mean rather, in either sense of this w
ord. ~Superlative is [cf2]tostissimo, [cf1]very rapid, [cf2]tostissama~~mente, [
cf1]very rapidly.[ep~^([sm2[nm) `Immediately.'[cm~Tost Quartets. [fy75,1]Name gi
ven to [sm12[nm str. qts. by ~Haydn, [sm1788[nm=n[sm90[nm (Hob. III [sm57[nm=n[s
m68[nm; or Op. [sm54[nm, Nos. ~[sm1[nm=n[sm3[nm, Op. [sm55[nm No
s. [sm1[nm=n[sm3[nm, Op. [sm64[nm Nos. [sm1[nm=n[sm6[nm). So-called ~because of
ded. to Viennese violinist Johann Tost.[cm~Total Serialism. [fy75,1]Comp. which
treats all mus. ~parameters serially, not only pitch but time-~values, vol., etc
.[xm[cm~[ol0][ep~[xp[te~









[do35][j99]~~~~~~[sm153842[nm_TA[sm02[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise O
xford Dic~~tionary of Music[cmTA[sm02[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm12[nm-[sm10[
nm-[sm79[nm[cm[sm8[nm[cm[sm267[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~[ap~[j1]Totentanz
[fy75,1] (Dance of Death). Work by Liszt for ~pf. and orch., being variations on
 [cf2]Dies irae. [cf1]Comp. ~[sm1849[nm, rev. [sm1853[nm, [sm1859[nm. Also arr.
Busoni ([sm1918[nm).[cm~Tote Stadt, Die[fy75,1] (The Dead City). Opera in [sm3[n
m acts ~by Erich [fy45,1]*[fy75,1]Korngold to lib. by `Paul Schott' ~(himself an
d his father J. Korngold) based on Ger. ~trans. by S. Trebitsch of G. Rodenbach'
s play [cf2]Le ~Mirage[cf1], itself adapted from his novella [cf2]Bruges la ~Mor
te[cf1] ([sm1892[nm). Prod. Hamburg and Cologne (joint ~premi;ageres) [sm1920[nm
; Vienna and NY [sm1921[nm.[cm~To The Children[fy75,1] ([cf2]K detyam[cf1]). Son
g for v. and pf. ~by Rakhmaninov, Op. [sm26[nm, No. [sm7[nm ([sm1906[nm), a sett
ing ~of poem by Khomyakov. F.p. Moscow [sm1907[nm by ~Ivan Grizu
nov.[cm~Touch[fy75,1] (Ger. [cf2]Anschlag[cf1]). ([sm1[nm) Applied to kbd. instr
., ~the weight required to bring keys into effect. ~Applied to performers it mea
ns the manner of ~pressing or striking the keys and is one of the ~most subtle a
nd indefinable facets of the art of ~pf.-playing.[ep~^([sm2[nm) (Old Eng.). Soun
d. Also used in [sm16[nmth and ~[sm17[nmth cents. to mean [fy45,1]*[fy75,1]tocca
ta, e.g. a [cf2]touch[cf1] by Byrd.[cm~Touche[fy75,1] (Fr.). Fingerboard=mof vn.
, etc., e.g. [cf2]sur ~la touche[cf1], bow over the fingerboard.[cm~Tourel [fy75
,1](orig. Davidovich), [fy65,3]Jennie[fy75,1] ([cf2]b[cf1] ?St Peters~~burg, [sm
1900[nm; [cf2]d[cf1] NY, [sm1973[nm). Probably Russian-born ~mez. (Amer. citizen
 [sm1946[nm). Studied Paris with ~Anna El-Tour (whose name is an anagram of ~Tou
rel, although the singer denied choosing her ~stage name for that reason). Opera
 d;aaebut, Paris ~[sm1931[nm in [cf2]Prince Igor[cf1]. Sang in Paris until [sm19
40[nm. NY ~Met. d;aaebut [sm1937[nm. Settled in USA [sm1940[nm.
NY Met. ~[sm1943[nm=n[sm7[nm. Created Baba the Turk in Stravinsky's ~[cf2]The Ra
ke's Progress[cf1], [sm1951[nm. Taught at Juilliard Sch. ~Last stage appearance
Chicago [sm1973[nm.[cm~Tournemire, Charles [fy75,1](Arnould) ([cf2]b[cf1] Bordea
ux, ~[sm1870[nm; [cf2]d[cf1] Arcachon, [sm1939[nm). Fr. organist and ~composer.
At age of [sm11[nm, org. of St Pierre, Bordeaux, ~later of St Seurin. Went to Pa
ris Cons., studying ~pf. with B;aaeriot and winning [cf2]premier prix[cf1] for o
rg. ~in Widor's class. Org. of Ste Clotilde, Paris, from ~[sm1898[nm. Prof. at P
aris Cons. from [sm1919[nm. Deeply ~influenced by Franck and Widor. Comp. [sm4[n
m operas ~([sm3[nm unpubd.), [sm8[nm syms. (last [sm3[nm unpubd.), songs, ~chora
l works, chamber mus., and many works ~for org., incl. [cf2]L'Orgue mystique[cf1
] ([sm1927[nm=n[sm32[nm), which ~lasts as long as the entire org. mus. of J. S.
Bach.[cm~Tournier, Marcel[fy75,1] ([cf2]b[cf1] Paris, [sm1879[nm; [cf2]d[cf1] Pa
ris, [sm1951[nm). ~Fr. harpist. Studied Paris Cons., where he be
came ~harp prof. [sm1912[nm. Wrote many works for harp.[cm~Tours, Berthold[fy75,
1] ([cf2]b[cf1] Rotterdam, [sm1838[nm; [cf2]d[cf1] London, ~[sm1897[nm). Dutch-b
orn violinist, teacher, organist, ~and mus. ed. Studied Brussels and Leipzig. Sp
ent ~[sm2[nm years in Russia. Settled in London [sm1861[nm, as orch. ~violinist,
 writer, and teacher. Organist, Swiss ~Church, Holborn, [sm1862[nm. Mus. adviser
 and ed. to ~Novello from [sm1878[nm. Made pf. reduction of ~Beethoven's Mass in
 C, Mendelssohn's [cf2]Elijah[cf1], etc. ~Wrote hymns and anthems, pf. pieces, a
nd songs. ~Author of vn. primer.[cm~Tourte, Fran;alcois[fy75,1] ([cf2]b[cf1] Par
is, [sm1747[nm; [cf2]d[cf1] Paris, [sm1835[nm). ~Fr. maker of vn. bows, one of a
 family, and ~known as `the Stradivari of the bow'. Developed ~between [sm1782[n
m and [sm1790[nm the modern bow, known ~as `Tourte bow'. Selected Pernambuco woo
d ~which he set in permanent curvature by subjec~~tion to moderate heat. Determi
ned true length ~and curvature, tapered it towards point, and ~d
etermined height of point and nut. Invented ~method of fixing hairs on face of n
ut by means ~of movable metal band.[cm~Tovey, [fy75,1](Sir)[fy65][cf3] Donald [f
y75,1](Francis)[cf1] ([cf2]b[cf1] Eton, [sm1875[nm; [cf2]d[cf1] ~Edinburgh, [sm1
940[nm). Eng. pianist, composer, cond., ~teacher, and writer. Began to compose a
t [sm8[nm. ~Studied with Parratt, later with Parry. Oxford ~Univ. [sm1894[nm=n[s
m8[nm. Pianist with Joachim [sm1894[nm. Played ~own works at London chamber conc
erts [sm1900[nm=n[sm1[nm. ~Prof. of Mus., Edinburgh Univ. from [sm1914[nm. Est.
~Reid orch. concerts [sm1917[nm, for which he wrote ~celebrated programme-notes
(pubd. in [sm6[nm vols. as ~[cf2]Essays in Musical Analysis[cf1], [sm1935[nm=n[s
m8[nm). Wrote opera ~[cf2]The Bride of Dionysus[cf1] ([sm1918[nm), vc. conc. (fo
r Casals, ~[sm1935[nm), much chamber mus. Made conjectural ~completion of unfini
shed fugue in Bach's [cf2]Die ~[fy45,1]*[fy75,2]Kunst der Fuge[cf1]. Many books
and articles on mus. ~subjects. Knighted [sm1935[nm.[cm~Toward t
he Unknown Region. [fy75,1]Song for mixed ~ch. and orch. by Vaughan Williams to
words by ~Whitman from [cf2]Whispers of Heavenly Death[cf1] ([sm1870[nm). ~Comp.
 [sm1905[nm=n[sm7[nm. F.p. Leeds Fest. [sm1907[nm. Set simul~~taneously in frien
dly competition by Holst, whose ~setting was judged (by the composers themselves
) ~as inferior, and suppressed.[cm~Toye. [fy75,1]Light [sm16[nmth- and early [sm
17[nmth-cent. comp. for ~virginals or lute.[cm~[PN738,0,0,L,I0]Toye, Francis [fy
75,1](John) [cf1]([cf2]b[cf1] Winchester, [sm1883[nm; [cf2]d[cf1] ~Florence, [sm
1964[nm). Eng. mus. critic and author. ~Pupil of E. J. Dent. Wrote for various E
ng. papers ~and journals, incl. [cf2]Morning Post[cf1] [sm1925[nm=n[sm37[nm. Aut
hor ~of books on Verdi ([sm1931[nm) and Rossini ([sm1934[nm). ~Lived later years
 in It. Comp. songs. Dir., Brit. ~Institute, Florence [sm1936[nm=n[sm9[nm. C.B.E
. [sm1954[nm.[cm~Toye, Geoffrey[fy75,1] ([cf2]b[cf1] London, [sm1889[nm; [cf2]d[
cf1] London, ~[sm1942[nm). Eng. cond. and composer, brother of ~
Francis [fy45,1]*[fy75,1]Toye. Studied RCM, then became Lloyds ~marine underwrit
er but combined career as cond. ~of opera and th. mus. Cond. f.p. of orig. versi
on ~of Vaughan Williams's [cf2]London Symphony[cf1], [sm1914[nm. ~Cond., Beecham
 Opera Co. and D'Oyly Carte ~Opera Co. Manager, SW Opera [sm1931[nm=n[sm4[nm; ma
n. ~dir., CG [sm1934[nm=n[sm6[nm. Wrote sym., songs, and popular ~ballet[cf2] Th
e [fy45,1]*[fy75,2]Haunted Ballroom[cf1] ([sm1934[nm).[cm~Toy Symphony[fy75,1] (
Ger. [cf2]Kindersymphonie[cf1]). Simple ~sym. in which toy instr. are used, in a
ddition to ~str. and pf. Most popular example, formerly ~attrib. to Joseph Haydn
, is by Leopold Mozart, ~with toy instr. probably added by M. Haydn. ~Several ot
hers exist, e.g. by A. Romberg, and by ~Malcolm Arnold ([sm1957[nm).[cm~Tr. [fy7
5,1]Abbreviation for ([sm1[nm) trill or [cf2]tremolo, tremolando, ~[cf1]([sm2[nm
) trumpet.[cm~Trabaci, Giovanni Maria[fy75,1] ([cf2]b[cf1] Monte Pelusio, ~[cf2]
c.[cf1][sm1575[nm; [cf2]d[cf1] Naples, [sm1647[nm). It. organist
 and composer. ~Organist at Naples churches [sm1597[nm=n[sm1614[nm, becom~~ing c
hoirmaster of royal chapel of Sp. viceroys in ~Naples [sm1614[nm=n[sm47[nm. Wrot
e motets, madrigals, and ~org. pieces.[cm~Tracker. [fy75,1]Rod (thin flat strip
of wood) in ~mechanism of org. which connects kbd. to pallets. ~[cf2]Tracker act
ion[cf1] is the operating of this linking-~system, later succeeded by pneumatic
or electric ~action, or by tracker-pneumatic action, a combi~~nation of both.[cm
~Tradotto [fy75,1](It.), [fy65][cf3]traduit[fy75,1] (Fr.). ([sm1[nm) Translated.
[ep~^([sm2[nm) Arranged (see [cf2]Arrangement[cf1]).[ep~^([sm3[nm) Transposed.[c
m~Traduzione[fy75,1] (It.), [fy65][cf3]traduction[fy75,1] (Fr.). ([sm1[nm) Trans
lation.[ep~^([sm2[nm) [fy45,1]*[fy75,1]Arrangement.[ep~^([sm3[nm) Transposition.
[cm~Traetta, Tommaso [fy75,1](Michele Francesco Saverio) ~([cf2]b[cf1] Bitonto,
[sm1727[nm; [cf2]d[cf1] Venice, [sm1779[nm). It. composer. ~Studied in Naples [s
m1738[nm=n[sm48[nm. Opera [cf2]Il Farnace[cf1] prod. ~with succe
ss at Naples [sm1751[nm. Wrote [sm43[nm operas in ~all, [sm2[nm of them for Vien
na. Succeeded Galuppi as ~Russ. Empress Catherine II's court composer ~[sm1768[n
m=n[sm75[nm. Visited London without success. Also ~wrote choral works and instr.
 divertimenti.[cm~Tragic Overture[fy75,1] ([cf2]Tragische-ouvert;auure[cf1]). Co
ncert-~ov. by Brahms, Op. [sm81[nm, comp. [sm1880[nm=n[sm1[nm and f.p. ~Breslau
[sm1881[nm. No particular tragedy is depicted.[cm~Tragic Symphony. [fy75,1]Schub
ert's own title for his ~Sym. No. [sm4[nm in C minor (D[sm417[nm), comp. [sm1816
[nm. ~Mahler orig. intended to call his [sm6[nmth Sym. ([sm1903[nm=n~[sm5[nm) th
e `Tragic', but changed his mind.[cm~Train;aae[fy75,1] (Fr.). Dragged, slurred,
lingering.[cm~Trampler, Walter[fy75,1] ([cf2]b[cf1] Munich, [sm1915[nm). Ger.-bo
rn ~violist (Amer. citizen [sm1944[nm). Studied Munich ~State Acad. Member Strub
 Qt., violist in Ger. ~Radio S.O. Went to USA [sm1939[nm. Founding member ~of Ne
w Mus. Qt. [sm1947[nm=n[sm56[nm. Sometimes played ~with Budapest
 Qt. as extra va. for Mozart str. ~quintets and in Juilliard Qt. Prof., Juilliar
d Sch. ~from [sm1962[nm. Soloist and chamber-mus. player. ~Commissioned and gave
 f.ps. of Berio's [cf2]Chemins[cf1] II ~and III ([sm1969[nm). Gave f.p. of va. c
onc. by Bainbridge ~([sm1978[nm).[cm~Tranchell, Peter [fy75,1](Andrew)[cf1] ([cf
2]b[cf1] Cuddalore, India, ~[sm1922[nm). Eng. composer. Studied Cambridge Univ.
~(org. and pf. with B. Ord and H. Darke). Music ~lecturer Cambridge Univ. from [
sm1950[nm; dir. of ~mus. Gonville and Caius Coll. from [sm1960[nm. Comp. ~opera
[cf2]The Mayor of Casterbridge[cf1] ([sm1951[nm), mus. ~comedy [cf2]Zuleika[cf1]
, several `concert entertainments', ~incl. [cf2]The Mating Season [cf1](based on
 P. G. Wodehouse, ~[sm1962[nm, rev. [sm1969[nm), anthems, etc.[cm~Tranquillo[fy7
5,1] (It.). Tranquil. So [cf2]tranquillamente, ~[cf1]tranquilly; [cf2]tranquilli
t;aga, tranquillezza, [cf1][cf1]tranquillity.[cm~Transcendental Studies[fy75,1]
(Liszt). See [cf2];aaEtudes d'ex;aae~~cution transcendante.[cm~T
ranscription. [fy75,1]([sm1[nm) Arr. of mus. comp. for a ~performing medium othe
r than orig. or for same ~medium but in more elaborate style.[ep~^([sm2[nm) Conv
ersion of comp. from one system of ~notation to another.[cm~Transfiguration de N
otre Seigneur J;aaesus-~Christ, La. [fy75,1]Work in [sm14[nm movements to texts
from ~the Bible, the Missal, and St Thomas Aquinas by ~[fy45,1]*[fy75,1]Messiaen
 for ten., bar., ch., pf., and orch. Comp. ~[sm1965[nm=n[sm9[nm. F.p. Lisbon, [s
m1969[nm, cond. Baudo.[cm~Transfigured Night [fy75,1](Schoenberg). See [cf2]Verk
l;auarte ~Nacht.[cm~Transition. [fy75,1]([sm1[nm) Modulation from one key to ~an
other, particularly of a sudden and abrupt ~nature.[ep~^([sm2[nm) Transition pas
sage is one which acts as link ~between [sm2[nm more substantial passages (in sy
m., ~conc., etc.).[cm~Transposing Instruments. [fy75,1]Instruments which ~are no
t notated at their true pitch but (mechani~~cally and without any effort on the
player's part) ~produce the effect of that pitch. For example, t
he ~cl. is made in several sizes, the B;Yh and A being ~the most often used beca
use these keys reduce ~the difficulty of playing in the flat and sharp ~keys, re
spectively, by reducing the number of ~flats or sharps with which the player has
 to cope. ~In the B;Yh instr., that key is to its player the ~`natural key' (as
C is to the pianist): the player ~faced with music in (say) the key of E;Yh find
s the ~music written in the key of F, i.e. there are [sm2[nm flats ~[PN739,0,0,R
,I0]fewer to consider. Similarly with the A instru~~ment a piece written in the
key of B is notated in ~the key of D, i.e. there are [sm3[nm sharps fewer to ~co
nsider. Thus music for the B;Yh cl. is notated a ~tone higher than it is to soun
d and music for the ~A cl. a minor [sm3[nmrd higher. Many players, with ~improve
d mechanism and developed technique, ~use the B;Yh instrument for all keys, maki
ng the ~transposition mentally. On the rare C cl. the note ~sounded is the note
written; the E;Yh cl. transposes ~[sm1[nm;FD tones higher than w
ritten note; the bass ~clarinet in B;Yh an octave and a tone lower.[ep~^The tran
sposing instruments are as follows: (a) ~Bass Fl.; (b) Cor Anglais, Ob. d'Amore,
 Ob. in[fj~E;Yh, Heckelphone, Sarrusophone (c) Cl. in B;Yh and ~A, Bass Cl., Hig
h Cl. in E;Yh and D, Alto Cl. in E;Yh ~and F, Basset Hn., Pedal Cl. (d) Saxophon
es (e) ~Cornets (f) French Hns. (g) Tpts. (h) Saxhorns (i) ~Kettle[chdrums (up t
o Mozart's period, but exclud~~ing Handel).[cm~Transposition. [fy75,1]Changing o
f the pitch of a comp. ~without other change, e.g. the raising of the pitch ~of
a piece in the key of C to that of key D, or its ~lowering to the key of B or A.
[cm~Transverse Flute. [fy75,1]Side-blown fl., distinguished ~from recorder, whic
h is end-blown and therefore ~held pointing downwards.[cm~Trascinado[fy75,1] (It
.). Dragging. Holding back, same ~as [fy45,1]*[fy75,2]rallentando.[cm~Trattenuto
[fy75,1] (It.). ([sm1[nm) Held back. ([sm2[nm) Sustained.[cm~Tratto [fy75,1](It.
). Dragged (used in the negative, [cf2]non ~tratto[cf1], not dra
gged).[cm~Traubel, Helen[fy75,1] ([cf2]b[cf1] St Louis, [sm1899[nm; [cf2]d[cf1]
Santa Monica, ~Calif., [sm1972[nm). Amer. sop. Studied St Louis, making ~d;aaebu
t with St Louis S.O. [sm1926[nm. Created role of ~Mary in W. Damrosch's [cf2]The
 Man Without a ~Country[cf1], NY Met. [sm1937[nm. Notable Met. success as ~Siegl
inde, [sm1939[nm. Leading Wagnerian sop. at Met. ~after Flagstad left, [sm1941[n
m=n[sm53[nm. Left over disagree~~ment about singing in night clubs. Wrote ~detec
tive stories.[cm~Trauer[fy75,1] (Ger.). Mourning, grief. Hence, [cf2]Trauer~~mar
sch,[cf1] funeral march; [cf2]Trauermusik[cf1], funeral mus.; ~[cf2]traurig[cf1]
, heavily, mournfully.[cm~Tr;auaumerei[fy75,1] (Reverie). Pf. piece by Schumann,
 ~No. [sm7[nm of his [fy45,1]*[fy75,2]Kinderscenen[cf1], Op. [sm15[nm, [sm1838[n
m.[cm~Trauermusik[fy75,1] (Mourning Music). Work for va. ~(or vn. or vc.) and st
r. by Hindemith comp. ([sm1936[nm) ~in a few hours on death of King George V for
 ~perf. at concert the next day. Last of [sm4[nm short ~movement
s uses chorale [cf2]Vor deinen Thron tret ich ~hiermit[cf1] (The Old Hundredth).
[cm~Trautonium. [fy75,1]Elec. instr. first exhibited in Berlin ~in [sm1930[nm by
 Friedrich Trautwein ([cf2]b[cf1] W;auurzburg, ~[sm1888[nm; [cf2]d[cf1] D;auusse
ldorf, [sm1956[nm). Similar to [fy45,1]*[fy75,1]theremin, ~but with extra device
s enabling the player to ~obtain the correct notes of the tempered scale and ~a
variety of tone-colour. Hindemith wrote conc. ~for it in [sm1931[nm.[cm~Travelli
ng Companion, The. [fy75,1]Opera in [sm4[nm acts by ~Stanford to lib. by Henry N
ewbolt, based on story ~by Hans Andersen, comp. [sm1919[nm, prod. Bristol, ~[sm1
926[nm.[cm~Travers, John[fy75,1] ([cf2]b c.[cf1][sm1703[nm; [cf2]d[cf1] London,
[sm1758[nm). Eng. ~composer and organist. Chorister, St George's ~Chapel, Windso
r, studying with M. Greene and ~Pepusch. Organist St Paul's CG, [sm1726[nm, Chap
el ~Royal [sm1737[nm. Wrote psalm-settings for v. with ~kbd. continuo, services,
 and org. voluntaries.[cm~Travesti[fy75,1] (Fr.; Eng. `trousers-
role', `breeches-part', ~Ger. [cf2]Hosenrolle[cf1]). Term to describe operatic r
oles ~which, though male characters, are sung by ~women, e.g. Romeo in Bellini's
 [cf2]I Capuleti e i ~Montecchi,[cf1] Cherubino in Mozart's [cf2]Le Nozze di ~Fi
garo, [cf1]Prince Orlofsky in J. Strauss's [cf2]Die Fleder~~maus[cf1], Oktavian
and the Composer in R. Strauss's ~[cf2]Der Rosenkavalier[cf1] and [cf2]Ariadne a
uf Naxos.[cm~Traviata, La [fy75,1](The Wayward One, or The Woman ~Gone Astray).
Opera in [sm3[nm acts by Verdi to lib. by ~Piave based on Dumas [cf2]fils[cf1]'s
 play [cf2]La Dame aux ~cam;aaelias[cf1] ([sm1852[nm), based in turn on his part
ly ~autobiographical novel of the same name ([sm1848[nm). ~Comp. [sm1852=n3[nm.
Prod. Venice [sm1853[nm, London and ~NY [sm1856[nm.[cm~Travis, Roy [fy75,1](Elih
u) [cf1]([cf2]b[cf1] NY, [sm1922[nm). Amer. com~~poser. Studied Juilliard Sch. [
sm1947[nm=n[sm50[nm (comp. with ~Wagenaar), Columbia Univ. [sm1950[nm=n[sm1[nm,
and Paris ~Cons. [sm1951[nm=n[sm2[nm (comp. with Milhaud). Teach
er in ~NY [sm1952[nm=n[sm7[nm, then at Univ. of Calif. from [sm1957[nm, ~working
 since [sm1969[nm in elec. studio. Comps. incl. ~opera [cf2]The Passion of Oedip
us[cf1] ([sm1965[nm), [cf2]African Sonata[cf1] ~for pf., [cf2]Collage[cf1] for o
rch., pf. conc., septet, conc. ~for fl., pre-recorded African instr., and synthe
s~~izer.[cm~Treatise on Orchestration[fy75,1] ([cf2]Grande Trait;aae de ~l'instr
umentation et d'orchestration modernes[cf1]). Ber~~lioz's historic book on orch.
 scoring pubd. in Paris ~in [sm1843[nm as his Op. [sm10[nm. [sm2[nmnd edn. ([sm1
855[nm) incl. suppl.: ~[cf2]Le Chef d'orchestre, th;aaeorie de son art[cf1]. Tra
ns. into ~several languages. (Eng. [sm1855[nm). Ed. and enlarged ~by R. Strauss
[sm1904=n5[nm, in Ger.[cm~Trebelli[fy75,1] (orig. Gillebert), [fy65][cf3]Z;aaeli
a[fy75,1] ([cf2]b[cf1] Paris, [sm1838[nm; [cf2]d[cf1] ~;aaEtretat, [sm1892[nm).
Fr. mez. Studied singing with ~Wartel. Opera d;aaebut Madrid [sm1859[nm as Rosin
a in [cf2]Il ~barbiere di Siviglia[cf1], followed by brilliant s
uccess in ~Ger. London d;aaebut [sm1862[nm, CG [sm1868[nm=n[sm71[nm, [sm1881[nm=
n[sm2[nm, ~[sm1888[nm. Particularly admired in [fy45,1]*[fy75,2]travesti[cf1] ro
les.[cm~Treble. [fy75,1]([sm1[nm) Highest v. in choral singing, term ~today usua
lly being applied to children, adult ~equivalent being [fy45,1]*[fy75,1]soprano.
[ep~^([sm2[nm) Upper part of comp., opposite in pitch of ~bass.[ep~^([sm3[nm) Ap
plied as adjective to certain high-pitched ~instr. e.g. treble recorder, treble
viol.[cm~[PN740,0,0,L,I0]Treble Clef. [fy75,1]The sign [cp12];Ys [cp8](derived f
rom old letter ~G) which indicates that the line on which it is ~placed is the G
 a [sm5[nmth above middle C. Used for ~high-pitched instr., for high vv., and fo
r right-~hand pf. parts. For ten. v., treble clef is modified ~to indicate that
notes are sounded octave lower ~than written.[xm[cm~[ol0][ep~[xp[te~


[do19][j99]~~~~~~[sm153842[nm_TA[sm03[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise O
xford Dict. of ~Music[cmTA[sm03[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm12[nm/[sm10[nm/[sm
79[nm[cm[sm8[nm[cm[sm316[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Tremblay, Georg
e [fy75,1](Amed;aaee) [cf1]([cf2]b [cf1]Ottawa, [sm1911[nm; [cf2]d[cf1] ~Tijuana
, Mexico, [sm1982[nm). Canadian composer. ~Studied with Schoenberg [sm1936[nm. I
n [sm1965[nm founded ~Los Angeles Sch. for Discovery and Advancement ~of New Ser
ial Techniques. Works incl. [sm3[nm syms. ~([sm3[nmrd being based on all-interva
l row and its [sm288[nm ~permutations), [sm4[nm str. qts., ob. qt. etc.[cm~Tremb
lay, Gilles [fy75,1]([cf2]b[cf1] Arvida, Quebec, [sm1932[nm). Fr.-~Canadian comp
oser. Studied Montreal Cons. and ~in Paris, [sm1954[nm=n[sm61[nm, with Messiaen,
 Y. Loriod, and ~Martenot, also Fr. radio elec. studio. His mus. ~concentrates o
n wind and perc. and incl. [cf2]Sonori~~zation[cf1] (elec. sounds on [sm24[nm ta
pe channels), [cf2]Cantique ~de dur;aaees [cf1]for orch., [cf2]K
;aaekoba[cf1], ondes Martenot, ~[cf2]Champs [cf1]I, II, and III (I pf., [sm2[nm
perc., II wind, brass, ~perc., pf., db., III wind, brass, perc., str.), [cf2]Sol
stices[cf1], ~woodwind, perc., db., [cf2]Fleuves[cf1], orch., and pf. ~works.[cm
~Tremolando[fy75,1] (It.). Trembling. With [fy45,1]*[fy75,2]tremolo[cf1] ~effect
.[cm~Tremolo[fy75,1] (It.). Shaking, trembling. ([sm1[nm) In playing ~of str. in
str., the rapid reiteration of a note or ~chord by back-and-forth strokes of the
 bow; also, ~on other instr. as well as str., the very rapid ~alternation betwee
n [sm2[nm notes. Note that [cf2]tremolo[cf1] is ~the rapid iteration or alternat
ion of [cf2]notes[cf1], whereas ~[fy45,1]*[fy75,2]vibrato[cf1] is fluctuation of
 [cf2]pitch.[cm~Tremulant. [fy75,1]Mechanical org. device, operated by ~a stop-k
nob, which varies the wind-pressure and ~thus imparts a `wobbling' effect to the
 note being ~sounded.[cm~Trepak. [fy75,1]Lively Russ. popular dance in ;d2;i4 ti
me, ~introduced by some Russ. composers, e.g. Mus~~sorgsky, into
 their works. Famous example is in ~Tchaikovsky's [cf2]Nutcracker[cf1].[cm~Triad
. [fy75,1]Chord of [sm3[nm notes, basically a `root' and the ~notes a third and
a fifth above it, forming two ~superimposed thirds, e.g. C=nE=nG (`common ~chord
' of C major). If lower third is major and ~the upper minor, the triad is major.
 If lower third ~is minor and the upper major, the triad is minor. ~If both are
major the triad is [cf2]Augmented[cf1]. If both ~are minor, the triad is [cf2]Di
minished[cf1].[cm~Trial. [fy75,1]Term applied at Paris Op;aaera-Comique to ~ten.
 of dramatic rather than vocal powers who ~specializes in comedy. Named after An
toine Trial ~([cf2]b[cf1] Avignon, [sm1737[nm; [cf2]d[cf1] Paris, [sm1795[nm).[c
m~Trial by Jury. [fy75,1]Operetta in [sm1[nm act (styled `dramatic ~cantata') by
 Sullivan, lib. by Gilbert, the only one ~of their works sung throughout (i.e. n
o spoken ~dialogue). Prod. London [sm1875[nm.[xm[cm~[j1]Triangle. [fy75,1]Perc.
instr. of indefinite pitch, made of ~metal shaped into a triangl
e and struck with ~metal stick to give tinkling sound. Much used by ~composers t
o intensify excitement, e.g. in [sm3[nmrd ~movement of Brahms's [sm4[nmth Sym. L
iszt's Pf. Conc. ~No. [sm1[nm in E;Yh has important part for triangle.[xm[cm~[j1
]Tribschen [fy75,1](Triebschen). Villa near Lucerne, ~Switz., on Vierwaldst;auat
ter lake, where Wagner ~lived from [sm1866[nm until [sm1872[nm when he moved to
~Bayreuth. On its staircase on Christmas Day [sm1870[nm, ~[cf2]Siegfried Idyll [
cf1]was f.p. (orig. title [cf2]Tribschen Idyll[cf1]). ~[cf1](The spelling [cf2]T
riebschen[cf1], although incorrect, was ~Wagner's own.)[cm~Tricorne, Le[fy75,1]
(Falla). See [cf2]Three-Cornered Hat, The[cf1].[cm~Trill [fy75,1](shake). Orname
nt comprising rapid alter~~nation of main note and note above, normally ~slurred
, and assoc. with cadences. Occurs instru~~mentally and vocally. Is indicated by
 [cf2]tr[cf1][ws[fj~and _. Wavy line often indicates length of trill.[cm~Trillo
del Diavolo [fy75,1](Tartini). See [cf2]Devil's Trill[cf1].[cm~T
rimble, Lester Albert [fy75,1]([cf2]b[cf1] Bangor, Wisconsin, ~[sm1923[nm). Amer
. composer. Studied Carnegie Inst. of ~Technology [sm1944[nm=n[sm8[nm, at Tangle
wood [sm1947[nm with ~Milhaud, and in Paris [sm1948[nm with Milhaud, ~Honegger,
and N. Boulanger. Mus. critic [cf2]NY ~Herald Tribune [cf1][sm1951[nm=n[sm9[nm.
Prof. of mus., Univ. of ~Maryland [sm1963[nm=n[sm7[nm and at Juilliard Sch. [sm1
971[nm=n[sm3[nm. ~Works incl. opera [cf2]Boccaccio's Nightingale[cf1], [sm3[nm s
yms., ~[cf2]Sonic Landscape [cf1]for orch., [cf2][sm4[nm Fragments from The ~Can
terbury Tales [cf1]for sop. and ens.[cm~Trinity College of Music, London.[fy75,1
] Mus. coll. ~incorporated as Trinity Coll., London, [sm1875[nm, ~developed from
 mus. soc. founded [sm1872[nm. In [sm1874[nm ~complete system of testing by exam
ination, both ~of teachers and their pupils, was organized at ~centres throughou
t Brit. and Ireland and, from ~[sm1876[nm, at centres in S. Africa and other pla
ces then ~under Brit. rule. Today TCL examiners visit ~nearly [s
m40[nm countries. Now part of Univ. of London. ~Awards graduate diploma (GTCL).[
cm~Trinklied [fy75,1](Ger.). Drinking song.[cm~Trio [fy75,1](It.). Three. ([sm1[
nm) Any body of [sm3[nm performers ~together, or piece of mus. written for them
to ~perform, e.g. [fy45,1]*[fy75,2]string trio[cf1], usually vn., va., vc., ~[cf
2]piano trio[cf1], usually pf., vn., vc. The comp. called a ~trio is usually in
sonata form and in [sm3[nm movements.[ep~^([sm2[nm) The central section of a min
uet, scherzo, or ~march, usually in gentler contrast to the first ~section and i
ts repeat. So called because formerly ~it was written in [sm3[nm-part harmony, a
s for a trio.[ep~^([sm3[nm) A vocal trio may be acc. or unacc. In the [sm16[nmth
 ~cent. the minor-key sections of the mass were ~often written for [sm3[nm vv.;
there were also [sm3[nm-part ~canzonets. In opera, the simultaneous combina~~tio
n of [sm3[nm vv. is a [cf2]trio[cf1], a famous example being ~that for [sm3[nm s
op. in Act [sm3[nm of Strauss's [cf2]Der ~Rosenkavalier[cf1], bu
t there are of course many ~examples of trios for [sm3[nm different types of v.[
ep~[PN741,0,0,R,I0]^([sm4[nm) For the org. a [cf2]trio [cf1]is intended for manu
als ~and the pedals, each in a different registration for ~contrast (and, of cou
rse, played by one performer).[cm~Trionfi [fy75,1](It.). Triumphs. Theatrical tr
iptych by ~[fy45,1]*[fy75,1]Orff comprising [fy45,1]*[fy75,2]Carmina Burana[cf1]
, [fy45,1]*[fy75,2]Catulli Car~~mina[cf1], [fy45,1]*[fy75,2]Trionfo di Afrodite[
cf1].[cm~Trionfo di Afrodite [fy75,1](Triumph of Aphrodite). ~Scenic conc. by [f
y45,1]*[fy75,1]Orff, the [sm3[nmrd part of his trilogy ~[fy45,1]*[fy75,2]Trionfi
[cf1]. Comp. [sm1950[nm=n[sm1[nm, to Lat. and Gr. texts by ~Catullus, Sappho, an
d Euripides. For soloists, ch., ~and orch. Prod. Milan [sm1953[nm.[xm[cm~[j1]Tri
o Sonata. [fy75,1]Comp. prevalent in late [sm17[nmth and ~early [sm18[nmth cents
. (Baroque period), usually for [sm2[nm ~vn. and vc. or bass viol, with kbd. con
tinuo. The ~most important genre of Baroque chamber mus. ~Toward
s the end of the [sm17[nmth cent. the form ~diverged into the [fy45,1]*[fy75,2]s
onata da chiesa [cf1]and the [fy45,1]*[fy75,2]sonata ~da camera[cf1]. Among the
most celebrated examples ~of the trio sonata are the [sm48[nm by Corelli, [sm12[
nm by ~Purcell, [sm28[nm by Handel, [sm14[nm by Fran;alcois Couperin, ~and [sm12
[nm by Vivaldi.[cm~Triple Concerto. [fy75,1]Conc. for [sm3[nm solo instr. and or
ch. ~or ens. Beethoven's is for pf., vn., and vc., but ~there are other combinat
ions, e.g. Tippett's for ~vn., va., and vc.[cm~Triple Counterpoint. [fy75,1]That
 concerning [sm3[nm vv. or ~parts which are capable of changing places with ~one
 another, so making [sm6[nm positions of the parts ~possible.[cm~Triple-croche [
fy75,1](Fr.). Triple-hook. [sm32[nmnd note, or ~demisemiquaver.[cm~Triplet. [fy7
5,1]Group of [sm3[nm notes, or notes and rests, ~equal in time-value, written wh
ere a group of [sm2[nm ~notes is suggested by time-signature. Usually ~indicated
 by adding numeral [sm3[nm above each group.[cm~Triple Time. [fy
75,1]Where the primary division is into ~[sm3[nm beats. Usually indicated by fig
ure [sm3[nm (in simple ~time) or [sm9[nm (in [fy45,1]*[fy75,1]compound time) as
upper digit of ~a [fy45,1]*[fy75,1]time-signature, e.g. ;d3;i4[cf1] or ;d9;i8[cf
1].[cm~Tristan. [fy75,1]Preludes for pf., orch., and tape by ~[fy45,1]*[fy75,1]H
enze. Comp. [sm1973[nm. F.p. London, [sm1974[nm (Hom~~ero Francesch, C. Davis).[
cm~Tristan und Isolde. [fy75,1]Mus. drama ([cf2]Handlung[cf1], ~action) in [sm3[
nm acts by Wagner to his own lib., based ~on G. von Strassburg's [cf2]Tristan[cf
1], [cf2]c. [cf1][sm1210[nm, and ~ultimately on Arthurian legend. Comp. [sm1857[
nm=n[sm9[nm. ~Prod. Munich [sm1865[nm, London [sm1882[nm, NY Met. [sm1886[nm. ~T
he Prelude to Act I and Isolde's [cf2]Liebestod [cf1](Love ~Death) are often per
f. as concert item.[cm~Tritone. [fy75,1]Interval of augmented [sm4[nmth which ~c
omprises [sm3[nm whole tones, e.g. from F up or down ~to B. Difficult to sing, a
nd in medieval times its ~use was prohibited. There was saying,
involving ~the Hexachord names for the notes, [cf2]Mi contra fa ~diabolus est in
 musica[cf1], `Mi against fa is the devil in ~music', hence the frequent use of
the tritone in ~comps. to suggest evil.[cm~Trittico, Il[fy75,1] (The Triptych).
Set of [sm3[nm [sm1[nm-act operas ~for perf. on one evening by Puccini, comprisi
ng ~[cf2]II[fy45,1]*[fy75,2]tabarro [cf1](The Cloak) ([sm1913=n6[nm), [fy45,1]*[
fy75,2]Suor Angelica ~[cf1](Sister Angelica) ([sm1917[nm), [fy45,1]*[fy75,2]Gian
ni Schicchi [cf1]([sm1917=n8[nm). ~Prod. NY Met. [sm1918[nm, Rome and Chicago [s
m1919[nm, ~London [sm1920[nm.[cm~Triumphlied [fy75,1](Song of Triumph). Setting
by ~Brahms, his Op. [sm55[nm, for ch. and orch. of text from ~[cf2]Revelation[cf
1]. Comp. [sm1871[nm, f.p. [sm1872[nm, to celebrate ~Prussia's defeat of Fr.[cm~
Triumph of Neptune, The. [fy75,1]Eng. pantomime in ~[sm10[nm scenes, mus. by [fy
45,1]*[fy75,1]Berners, lib. by S. Sitwell, ~choreog. Balanchine. Prod. London [s
m1926[nm. Some ~of this was scored by [fy45,1]*[fy75,1]Walton. O
rch. suite ([sm1926[nm=n~[sm7[nm), arr. Berners, longer suite arr. R. Douglas.[x
m[cm~[j1]Triumphs of Oriana, The. [fy75,1]Coll. of Eng. madri~~gals in [sm5[nm a
nd [sm6[nm parts by various composers, ed. by ~[fy45,1]*[fy75,1]Morley in honour
 of Elizabeth I and dated [sm1601[nm ~but issued only after her death in [sm1603
[nm. Modelled ~on It. [cf2]Trionfo di Dori [cf1][sm1592[nm. In first edn. [sm24[
nm ~composers were incl., as follows; Michael Este ~([cf2]Hence Stars[cf1]); Dan
iel Norcome ([cf2]With Angel's Face[cf1]); ~John Mundy [cf1]([cf2]Lightly she Tr
ipped[cf1]); Ellis Gibbons ~([cf2]Long live fair Oriana[cf1]); John Benet ([cf2]
All Creatures ~now are Merry-minded[cf1]); John Hilton ([cf2]Fair Oriana, ~beaut
y's Queen[cf1]); George Marson ([cf2]The Nymphs and ~Shepherds danced[cf1]); Ric
hard Carlton ([cf2]Calm was the ~Air[cf1]); John Holmes ([cf2]Thus Bonny-boots[c
f1]); Richard ~Nicholson ([cf2]Sing shepherds all[cf1]); Thomas Tomkins ~([cf2]T
he Fauns and Satyrs[cf1]); Michael Cavendish ([cf2]Come ~gentle
Swains[cf1]); William Cobbold ([cf2]With Wreaths of ~Rose and Laurel[cf1]); Thom
as Morley ([cf2]Arise, awake[cf1]); ~John Farmer ([cf2]Fair Nymphs[cf1]); John W
ilbye ([cf2]The ~Lady Oriana[cf1]); Thomas Hunt ([cf2]Hark, did ye ever ~Hear so
 Sweet a Singing[cf1]?); Thomas Weelkes ([cf2]As ~Vesta was from Latmos Hill des
cending[cf1]); John Milton ~[cf1]([cf2]Fair Orian[cf1]); Ellis Gibbons ([cf2]Rou
nd about her ~Chariot[cf1]); G. Kirbye ([cf2]Bright Phoebus[cf1]) ([cf2]With Ang
el's ~Face[cf1]); Robert Jones ([cf2]Fair Oriana[cf1]); John Lisley ~([cf2]Fair
Cytherea[cf1]); Thomas Morley ([cf2]Hard by a Crystal ~Fountain[cf1]); Edward Jo
hnson ([cf2]Come blessed Bird[cf1]); ~[cf1]Giovanni Croce ([cf2]Hard by a Crysta
l Fountain[cf1]). To ~these in later edns. were added: Thomas Bateson ~([cf2]Whe
n Oriana walked to Take the Air [cf1]and [cf2]Hark, hear ~you not[cf1]?) and Fra
ncis Pilkington ([cf2]When Oriana ~walked to Take the Air[cf1]). There were [sm2
[nm issues of first ~edn: in the first Kirbye's madrigal has the
 words ~[cf2]With Angel's Face[cf1], already set by Norcome, and in ~the [sm2[nm
nd the same mus. is set to [cf2]Bright Phoebus[cf1].[ep~^For [sm20[nmth-cent. En
g. composers' similar tribute ~to Elizabeth II, [sm1953[nm, see [cf2]Garland for
 the Queen[cf1].[cm~Troilus and Cressida. [fy75,1]Opera in [sm3[nm acts by [fy45
,1]*[fy75,1]Walton ~to lib. by Christopher Hassall based on Chaucer ~and other s
ources (but not Shakespeare). Comp. ~[sm1948[nm=n[sm54[nm. Prod. CG [sm1954[nm,
San Francisco and NY ~[sm1955[nm, Milan [sm1956[nm; rev. and prod. CG [sm1963[nm
; ~further rev., with Cressida's role altered to mez., ~[sm1972[nm=n[sm6[nm, pro
d. CG [sm1976[nm.[cm~Tromba. [fy75,1]([sm1[nm) (It.). Trumpet.[ep~^([sm2[nm) [sm
8[nm;po organ stop.[cm~[PN742,0,0,L,I0]Tromba da Tirarsi [fy75,1](It.). Drawing-
out trumpet. ~Slide tpt., probably invented in [sm14[nmth cent., and ~required b
y Bach in [sm7[nm of his cantatas.[cm~Tromba Marina [fy75,1](It.). Marine trumpe
t. Not a ~tpt., but a type of [fy45,1]*[fy75,1]monochord, develo
ped in ~[sm12[nmth cent. Had [sm3[nm-sided body about [sm4[nm;po long, ~tapering
 towards pegbox. Single str. ([sm2[nm after [sm15[nmth ~cent.) and played with b
ow. Produced only ~natural harmonics (hence assoc. with tpt. tone): ~player's le
ft thumb lightly touched str(s)., his ~right hand drawing bow across str(s). Rea
son for ~`marine' in title remains obscure (possibly corrup~~tion of Marian).[cm
~Tromba Spezzata [fy75,1](It.). Broken trumpet, i.e. ~[fy45,1]*[fy75,1]Trombone.
[cm~Tromboncino, Bartolomeo [fy75,1]([cf2]b [cf1]Verona, [cf2]c[cf1].[sm1470[nm;
 [cf2]d ~[cf1]?Venice, after [sm1535[nm). It. composer, prolific com~~poser of [
fy45,1]*[fy75,1]frottole. Was at Mantua [sm1487[nm=n[sm1501[nm. In ~[sm1499[nm h
e murdered his wife and her lover. He was ~pardoned, but fled from Mantua in [sm
1501[nm and for ~the next [sm6[nm years was in service of Lucrezia Borgia ~in Fe
rrara. In [sm1521[nm he settled in Venice.[cm~Trombone [fy75,1](from It., large
trumpet). ([sm1[nm) Non-~transposing brass instr., derived from[
fy45,1]*[fy75,2]sackbut[cf1], of ~semi-cylindrical bore and cup-mouthpiece, gen~
~erally equipped with slide which serves to extend ~length of the tube. In any o
ne of the [sm7[nm recognized ~slide positions, the [sm7[nm fundamental notes of
~harmonic series can be prod. a semitone apart. A ~few pedal notes can also be p
rod.: the first tones ~of the harmonic series in various positions. Tbs. ~make a
 noble sound and have been used by ~composers for dramatic effect, e.g. by Mozar
t in ~[cf2]Don Giovanni [cf1]and by Beethoven in his [sm5[nmth sym., ~(their fir
st use in sym.). Several tb. concs. have ~been written. In baroque times they we
re ~confined to church mus. but are now standard in ~military and brass bands, a
nd have been effectively ~used in jazz (several brilliant solo players incl. ~To
mmy Dorsey and Glenn Miller). Members of ~the tb. family are: [cf2]Treble[cf1]:
required in scores by ~Purcell and Bach; [cf2]Alto[cf1]: much used in baroque ~m
us. but later replaced by ten. Britten uses one ~in [cf2]The Bur
ning Fiery Furnace[cf1]: [cf2]Tenor[cf1]: the most ~generally used, notated in e
ither ten. or bass clef, ~with chromatic range from E below bass stave ~upwards
for about [sm2[nm;FD octaves; [cf2]Bass[cf1]: compass is a ~[sm4[nmth below that
 of ten.;[cf2] Tenor-bass[cf1]: ten. with a ~mechanism which allows for extra le
ngth of ~tubing for conversion to bass;[cf2] Double-bass[cf1] or ~[cf2]Contrabas
s[cf1]: octave in pitch below ten., sometimes ~required by Wagner; [cf2]Valve[cf
1]: with valves in place ~of a slide. made in ten. and bass sizes.[ep~^([sm2[nm)
 Org. stop, type of [cf2]tuba [cf1]or [cf2]tromba[cf1], [sm16[nm;po pitch, ~gene
rally on pedal.[xm[cm~[j1]Trombonino [fy75,1](It.). Alto trombone.[cm~Trommel [f
y75,1](Ger.). Drum, thus [cf2]kleine Trommel[cf1], side-~drum; [cf2]grosse Tromm
el[cf1], bass drum; [cf2]Trommelschl;aua~~gel[cf1], drumstick.[cm~Trompete [fy75
,1](Ger.). [fy45,1]*[fy75,1]Trumpet.[cm~Trompette [fy75,1](Fr.). [fy45,1]*[fy75,
1]Trumpet, hence [cf2]trompette ;aga ~coulisse[cf1], slide tpt.;
 [cf2]trompette ;aga pistons[cf1], normal tpt.; ~[cf2]trompette basse[cf1], bass
 tpt.; [cf2]trompette cromatique[cf1], ~valve tpt.[cm~Tronco, Tronca [fy75,1](It
.). Broken off short, truncated ~(used of a note, especially in singing).[cm~Tro
pe. [fy75,1]([sm1[nm) Interpolations in plainsong words, ~resulting either in mu
s. melisma on one note or ~a fragment of new melody. Practice flourished ~from [
sm9[nmth to [sm15[nmth cent., was abused, and finally ~banned by Tridentine refo
rm. Survived only as ~the [fy45,1]*[fy75,2]sequence [cf1](trope set to final mel
isma of ~Alleluia).[ep~^([sm2[nm) Term used by [fy45,1]*[fy75,1]Hauer to describ
e [sm44[nm pairs of ~unordered hexachords which are basis of his ~version of [sm
12[nm-note technique.[cm~Troppo [fy75,1](It.). Too much. Found usually in such ~
directions as [cf2]allegro ma non troppo[cf1], fast but not too ~fast.[cm~Trouba
dours. [fy75,1]See [cf2]Minstrels[cf1].[cm~Trouble in Tahiti. [fy75,1][sm1[nm-ac
t opera by Leonard ~Bernstein, to own lib. Prod. Brandeis Univ.
June ~[sm1952[nm, cond. Bernstein; NY [sm1958[nm.[cm~Troutbeck, John [fy75,1]([c
f2]b[cf1] Blencowe, Cumberland, ~[sm1832[nm; [cf2]d [cf1]Westminster, [sm1899[nm
). Eng. translator and ~clergyman. Studied Oxford Univ. Precentor, ~Manchester C
ath. [sm1865[nm=n[sm9[nm, minor canon, West~~minster Abbey from [sm1869[nm. For
Novello's, trans. ~Bach [cf2]Passions[cf1], [cf2]Christmas Oratorio[cf1], [cf2]M
agnificat[cf1], etc., ~Beethoven [cf2]Mount of Olives[cf1], Brahms [cf2]Song of
Destiny[cf1], ~Dvo;akr;aaak [cf2]Spectre's Bride[cf1], [cf2]St Ludmilla[cf1], Go
unod ~[cf2]Redemption[cf1], Weber [cf2]Jubilee Cantata[cf1]. His opera trans. ~i
ncl. Mozart's [cf2]Cos;agi fan tutte [cf1]and [cf2]Die Entf;auuhrung aus ~dem Se
rail[cf1], Wagner's [cf2]Der fliegende Holl;auander[cf1], and ~Gluck's [cf2]Orfe
o, Iphigenia in Tauris[cf1], and [cf2]Iphigenia in ~Aulis[cf1].[cm~`Trout' Quint
et. [fy75,1]Nickname of pf. quintet in A ~major by Schubert (D[sm667[nm), so cal
led because [sm4[nmth ~of [sm5[nm movements is set of variations
 on his song ~[cf2]Die Forelle [cf1](The [fy45,1]*[fy75,1]Trout, [sm1817[nm, D[s
m550[nm). Comp. ~[sm1819[nm.[cm~Trout, The [fy75,1]([cf2]Die Forelle[cf1]). [cf1
]Song for v. and pf. by ~Schubert comp. [sm1817[nm (D[sm550[nm) to words by ~[fy
45,1]*[fy75,1]Schubart. Exists in [sm4[nm versions, differing in only ~minor way
s; last version ([sm1821[nm) has [sm5[nm-measure pf. ~prelude. Used as theme for
 variations in [cf2]andantino ~[cf1]([sm4[nmth) movement of his pf. quintet in A
 major ~([sm1819[nm, D[sm667[nm), which is therefore known as the ~[fy45,1]*[fy7
5,1]`Trout' Quintet.[cm~Trouv;ageres. [fy75,1]See [cf2]Minstrels[cf1].[cm~Trovat
ore, Il[fy75,1] (The Troubadour). Opera in [sm4[nm acts ~by Verdi to lib. by Cam
marano (with part of [sm3[nmrd ~act and all [sm4[nmth act completed after Cammar
ano's ~death by L. E. Bardare). Based on play [cf2]El trovador ~[cf1]by Guti;aae
rrez. Comp. [sm1851[nm=n[sm2[nm. Prod. Rome [sm1853[nm, ~NY and London [sm1855[n
m.[cm~[PN743,0,0,R,I0]Trowell, Brian [fy75,1](Lewis) ([cf2]b[cf1
] Wokingham, [sm1931[nm). ~Eng. musicologist. Studied Cambridge Univ. ~with Thur
ston [fy45,1]*[fy75,1]Dart. Lecturer in mus. at ~Birmingham Univ., [sm1957[nm=n[
sm62[nm, and King's Coll., ~London, [sm1964[nm=n[sm5[nm. Head of radio opera, BB
C, ~[sm1967[nm=n[sm70[nm. Returned to King's Coll. [sm1970[nm as reader, ~becomi
ng prof. [sm1974[nm. Authority on [sm15[nmth cent. ~Eng. mus. and on opera of al
l periods. Has written ~important articles on Elgar.[cm~Troyanos, Tatiana [fy75,
1]([cf2]b [cf1]NY, [sm1938[nm). Amer. mez. ~Studied Juilliard Sch., NY, graduati
ng [sm1963[nm, and ~with Hans Heinz. Joined NY City Opera (d;aaebut ~in Britten'
s [cf2]Midsummer Night's Dream[cf1], [sm1963[nm), then ~NY Met. Went to Ger. to
sing with Hamburg ~Opera, Aix-en-Provence Fest., [sm1966[nm (Composer in ~Straus
s's [cf2]Ariadne[cf1]). Salzburg Fest. [sm1969[nm. CG d;aaebut ~[sm1969[nm (Okta
vian), La Scala [sm1977[nm (Adalgisa).[cm~Troyens, Les [fy75,1](The Trojans). Op
era in [sm5[nm acts by ~Berlioz to his own lib. from Virgil's [c
f2]Aeneid[cf1]. ~Comp. [sm1856[nm=n[sm8[nm. To achieve a staging, Berlioz in ~[s
m1863[nm divided it into two operas: Acts I and II ~became [cf2]La Prise de Troi
e [cf1](The Capture of Troy) in ~[sm3[nm acts; Acts III, IV, and V became [cf2]L
es Troyens ;aga ~Carthage [cf1](The Trojans at Carthage) in [sm5[nm acts with ~p
relude not in orig. score, this part being perf. in ~Paris [sm4[nm Nov. [sm1863[
nm. First prod. of whole work but ~with the [sm2[nm parts on successive evenings
, Karlsruhe, ~[sm6[nm=n[sm7[nm Dec. [sm1890[nm, cond. F. Mottl, likewise in ~Gla
sgow [sm18[nm=n[sm19[nm March [sm1935[nm, cond. E. Chisholm. ~F.p. on one evenin
g, London, CG [sm1957[nm, cond. ~Kubelik, (but cut by [sm20[nm mins), f.p. compl
ete on ~one evening, sung in Eng., Glasgow (Scottish ~Opera) May [sm1969[nm, con
d. Gibson, f.p. complete on ~one evening, sung in Fr., London CG Sept. [sm1969[n
m, ~cond. C. Davis.[xm[cm~[ol0][ep~[xp[te~

[do19][j99]~~~~~~[sm153842[nm_TA[sm04[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise O
xford Dict. of ~Music[cmTA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm12[nm/[sm10[nm/[sm
79[nm[cm[sm8[nm[cm[sm361[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Trumpet. [fy75,
1]([sm1[nm) Metal wind instr. of cylindrical ~bore, which in last quarter of its
 length widens ~into a moderate-sized bell. Cup-shaped mouth~~piece. Since mid-[
sm19[nmth cent. fitted with [sm3[nm valves ~which admit air to additional length
s of tubing, ~making available harmonic series at [sm6[nm pitches. ~Either a tra
nsposing instr. in B;Yh (which may be ~switched to A) with compass from e upward
s for ~nearly [sm3[nm octaves, or non-transposing in C (a tone ~higher). Used in
 orch. and jazz bands, also in ~military and brass bands (though sometimes ~repl
aced by cornet). Medieval tpts. without slides, ~valves, or finger-holes, were r
estricted to `natural' ~notes of harmonic series. Straight tpt. of that time ~wa
s over [sm6[nm;po long, made in jointed metal sections, ~often w
ith flared bell. Known as buisine. Shorter ~tpts. were called [cf2]claro [cf1]or
 [cf2]clarion[cf1]. In Renaissance, ~new methods of metalworking greatly improve
d ~sound quality, and the brilliant, high-pitched ~effects required from the bar
oque tpt. by Montev~~erdi and others were obtained from the [cf2]clarino[cf1]. ~
Mutes in that day were inserted so far into the ~bell that they raised pitch by
whole tone. Members ~of tpt. family are: [cf2]bass trumpet[cf1]: rare, sounding
in ~C an octave lower than normal valved tpt.; [cf2]piccolo ~trumpet[cf1]; pitch
ed octave higher, and sometimes ~has [sm4[nm valves; [cf2]Bach trumpet[cf1]: [sm
19[nmth-cent instr., in D, ~specially made (with valves) to play high tpt. ~part
s in works of Baroque period. Ravel, Stravin~~sky, and Britten have included it
in certain scores, ~and Maxwell Davies wrote a sonata for it. See also ~under [c
f2]Crook[cf1].[ep~^([sm2[nm) Org. reed stop, [sm8[nm;po pitch.[cm~Trumpet Marine
 [fy75,1](Marine Trumpet). See [cf2]Tromba ~marina[cf1].[cm~Trum
pet Tune [fy75,1]or [fy65][cf3]Voluntary. [fy75,1]Piece which, ~while not comp.
for a tpt., imitates its sound, as ~on tpt.-like org. stop. Title [cf2]Trumpet V
oluntary [cf1]was ~given by Henry Wood to his transcr. of a kbd. ~piece for orga
n, brass, and kettledrums. This piece ~was mistakenly attrib. to Purcell, but is
 now ~known to be by Jeremiah [fy45,1]*[fy75,1]Clarke.[cm~Tryon, Valerie [fy75,1
](Ann) [cf1]([cf2]b[cf1] Portsmouth, [sm1934[nm). Eng. ~pianist. Studied RAM and
 with Jacques F;aaevrier in ~Paris. D;aaebut London [sm1953[nm. Specialist in Li
szt.[cm~Tsar's Bride, The [fy75,1]([cf2]Tsarskaya nevesta[cf1]). Opera in [sm3[n
m ~acts by Rimsky-Korsakov to lib. adapted from L. ~A. Mey's play ([sm1849[nm) w
ith extra scene by I. F. ~Tumenev. Comp. [sm1898[nm. Prod. Moscow [sm1899[nm, ~S
eattle [sm1922[nm, London [sm1931[nm.[cm~Tschaikowsky [fy75,1](Ger.). See [cf2]T
chaikovsky, Pyotr[cf1].[cm~Tschudi. [fy75,1]See [cf2]Shudi, Burkat[cf1].[cm~Tuba
. [fy75,1]([sm1[nm) Type of bass brass instr. played in ~vertica
l position in contrast to horizontal position ~of tpt., tb., etc. Term covers se
veral kinds of brass-~band instr., e.g. [fy45,1]*[fy75,2]euphonium[cf1], but ter
m tuba usually ~means the standard orch. [cf2]bass tuba [cf1]in F (invented ~[sm
1835[nm) with compass from f an octave below bass ~clef upwards for about [sm3[n
m octaves. Vaughan ~Williams comp. a conc. for bass tuba, [sm1954[nm. There ~is
a French [sm6[nm-valve tuba which can cover four ~octaves and play Wagner contra
bass parts. The ~[cf2]contrabass tuba[cf1] has become standard in orchestras ~si
nce the [sm1940[nms, where it is known as the `double ~C' (CC) tuba. This is a w
hole tone higher than the ~`double B;yh' (BB;yh), with either [sm3[nm or [sm4[nm
 valves, which ~is generally used in bands.  Most of tuba family ~are of semi-co
nical bore, with from [sm3[nm to [sm5[nm valves, ~and cup mouthpiece. The [cf2]t
enor tuba [cf1]is rare, but is ~required by Strauss in [cf2]Don Quixote[cf1], an
d in Brit. is ~identical with [cf2]euphonium[cf1]. Brass and mil
itary band ~tubas, sometimes called `basses' are in E;Yh (same as ~double-bass t
uba). See also [cf2]sousaphone [cf1]and [cf2]Wagner ~tuba[cf1].[ep~^([sm2[nm) So
norous organ stop, like [cf2]trumpet[cf1], [sm8[nm;po, [sm16[nm;po, or ~[sm4[nm;
po pitch.[cm~Tuba mirum [fy75,1](Hark, the trumpet). Part of the ~Requiem Mass,
being a section of the [cf2]Dies Irae[cf1]. ~Verdi's setting is especially fine.
[cm~Tubb, Carrie [fy75,1](Caroline Elizabeth) [cf1]([cf2]b [cf1]London, ~[sm1876
[nm; [cf2]d [cf1]London, [sm1976[nm). Eng. sop. Studied GSM. ~Principally known
for work in oratorio, etc., but ~sang in opera ([cf2]Elektra, H;auansel und Gret
el [cf1]etc.) at ~[PN744,0,0,L,I0]CG [sm1910[nm and later in Beecham co. Taught
at GSM ~for over [sm30[nm years from [sm1930[nm.[cm~Tubin, Eduard [fy75,1]([cf2]
b [cf1]Kallaste, [sm1905[nm; [cf2]d [cf1]Stockholm, ~[sm1982[nm). Estonian compo
ser and conductor. Studied ~comp. at Tartu Acad., [sm1924=n30[nm. Cond. Vane~~mu
ine Th. Orch., Tartu, [sm1930=n44[nm. Keen inter~~preter of Stra
vinsky, Bart;aaok, and Kod;aaaly. Settled ~in Swed. [sm1944[nm. His mus. is stro
ngly melodic and ~attractively scored. Comps. incl.:[xm[cm~[j2][smorch[nm: Syms.
, No. [sm1[nm ([sm1934[nm), No. [sm2[nm ([sm1937[nm), No. [sm3[nm ~([sm1942[nm),
 No. [sm4[nm ([sm1943[nm), No. [sm5[nm ([sm1946[nm), No. [sm6[nm ([sm1954[nm), ~
No. [sm7[nm ([sm1958[nm), No. [sm8[nm ([sm[sm1966[nm), No. [sm9[nm ([sm1970[nm),
 No. [sm10[nm ~([sm1973[nm); Vn. Conc. No. [sm1[nm ([sm1941[nm), No. [sm2[nm ([s
m1945[nm); ~Db. Conc. ([sm1948[nm); Conc. for chamber orch. ~([sm1963[nm).[ep~[s
mvocal[nm: [cf2][sm5[nm Hasjasoidu Songs[cf1], bar. and orch. ([sm1975[nm); ~als
o [sm2[nm operas ([sm1967[nm, [sm1970[nm).[ep~[smchamber mus[nm: Vn. sonata No.
[sm1[nm ([sm1936[nm), No. [sm2[nm ~([sm1949[nm), No. [sm3[nm ([sm1963[nm); pf. s
onata ([sm1950[nm).[cm~[j1]Tubular Bells. [fy75,1]Orch. instr. in form of suspen
ded ~tubes, tuned to the diatonic scale, struck by ~hammer held by player. Set o
f tubular bells ~sometimes spans an octave. Vaughan Williams ~wr
ote for them in finale of his [sm8[nmth Sym., [sm1953[nm=n[sm5[nm.[cm~Tucker, No
rman [fy75,1]([cf2]b [cf1]Wembley, [sm1910[nm; [cf2]d [cf1]Ruislip, ~[sm1978[nm)
. Eng. pianist, opera administrator, and ~translator. Studied Oxford Univ. and R
CM (pf. ~with H. Samuel and theory with R. O. Morris). ~Promising career as Moza
rt pianist cut short by ~manual disability. Co-dir., SW Th., [sm1947[nm=n[sm54[n
m, dir. ~[sm1954[nm=n[sm66[nm. Under his aegis Jan;aaa;akcek operas were ~brough
t into the Eng. repertory and (at that time) ~rare Verdi operas such as [cf2]Sim
on Boccanegra[cf1], [cf2]Don ~Carlos[cf1], and [cf2]Luisa Miller[cf1]. Nurtured
Eng. singers ~such as Peter Glossop and Amy Shuard and conds. ~Colin Davis, Char
les Mackerras, and Alexander ~Gibson. Trans. [cf2]Simon Boccanegra [cf1]and [cf2
]Luisa Miller[cf1], ~Jan;aaa;akcek's [cf2]K;aaa;akta Kabanov;aaa[cf1], [cf2]Excu
rsions of Mr Brou;akcek[cf1], ~Einem's [cf2]Visit of the Old Lady[cf1], and othe
r works. ~C.B.E. [sm1956[nm.[cm~Tucker, Richard [fy75,1](orig. R
euben Ticker) [cf1]([cf2]b [cf1]Brook~~lyn, NY, [sm1913[nm; [cf2]d [cf1]Kalamazo
o, [sm1975[nm). Amer. ten. ~Sang in synagogues as cantor, then studied NY ~with
P. Althouse. Opera d;aaebut NY Met. [sm1945[nm, ~becoming prin. ten. there in It
. and Fr. operas. ~CG d;aaebut [sm1958[nm as Cavaradossi in [cf2]Tosca[cf1]. San
g ~opposite Callas at Verona in her It. d;aaebut, [sm1947[nm. ~Sang in Toscanini
 concert-opera perfs.[xm[cm~[j1]Tucket. [fy75,1]Old Eng. term for fanfare or flo
urish.[cm~Tuckwell, Barry [fy75,1](Emmanuel) [cf1]([cf2]b [cf1]Melbourne, ~[sm19
31[nm). Australian hn.-player. Hn.-player in Syd~~ney S.O. [sm1947[nm=n[sm50[nm.
 Settled in Brit. [sm1951[nm. Hall;aae ~[sm1951[nm=n[sm3[nm, SNO [sm1953[nm=n[sm
4[nm, Bournemouth S.O. [sm1954[nm=n~[sm5[nm, LSO [sm1955[nm=n[sm68[nm. Prof. of
hn., RAM [sm1963[nm=n[sm74[nm. ~Formed Tuckwell Wind Quintet. Soloist in concs.
~and chamber works. O.B.E. [sm1965[nm.[cm~Tudor, Antony [fy75,1](orig. William C
ook) ([cf2]b [cf1]London, ~[sm1908[nm). Eng. choreog., dancer, a
nd teacher. Studied ~with Rambert [sm1928[nm, then with others. Joined ~Ballet R
ambert [sm1930[nm. Founded Dance Th. with ~A. de Mille [sm1937[nm. Formed London
 Ballet [sm1938[nm. ~Worked in NY [sm1940[nm=n[sm50[nm as dancer and choreog. ~R
oyal Swed. Ballet [sm1949[nm=n[sm50[nm, NY City Ballet [sm1951[nm=n~[sm2[nm. Dir
. NY Met. Opera Ballet Sch. [sm1950[nm. Joined ~teaching staff, Juilliard Sch. D
ir., Royal Swed. ~Ballet [sm1963[nm=n[sm4[nm. Ass. dir., Amer. Ballet Th. [sm197
4[nm. ~One of foremost and most perceptive [sm20[nmth-cent. ~choreogs. Ballets (
composers in parentheses) incl. ~[cf2]Dark Elegies [cf1](Mahler) [sm1937[nm, [cf
2]Judgement of Paris ~[cf1](Weill) [sm1938[nm, [cf2]Gala Performance [cf1](Proko
fiev) [sm1938[nm, ~[cf2]Romeo and Juliet [cf1](Delius) [sm1943[nm, [cf2]Lady of
the Camellias ~[cf1](Verdi) [sm1951[nm, [cf2]Shadowplay [cf1](Koechlin) [sm1967[
nm, [cf2]Knight ~Errant[cf1] (R. Strauss) [sm1968[nm.[cm~Tudor Church Music. [fy
75,1]Name of famous critical ~edn. of mus. by Eng. composers of
[sm16[nmth and [sm17[nmth ~cents. pubd. in [sm10[nm vols., [sm1929[nm, with appe
ndix ~[sm1948[nm, under editorship of Percy Buck, E. H. ~Fellowes, Sylvia Townse
nd Warner, and A. ~Ramsbotham. Vols. contain: [sm1[nm. Taverner Masses. ~[sm2[nm
. Byrd Services, etc. [sm3[nm. Taverner motets. [sm4[nm. ~Gibbons services and a
nthems. [sm5[nm. Whyte. [sm6[nm. Tallis. ~[sm7[nm. Byrd Graduals. [sm8[nm. Tompk
ins services, etc. [sm9[nm. ~Byrd masses, etc. [sm10[nm. Merbecke, Aston, and ~P
arsley.[cm~Tudor, David [fy75,1]([cf2]b [cf1]Philadelphia, [sm1926[nm). Amer. ~p
ianist, organist, and composer. Studied in ~Philadelphia and NY (with S. Wolpe).
 Organist, ~St Mark's, Philadelphia [sm1938[nm=n[sm43[nm, Swarthmore ~Coll. [sm1
944[nm=n[sm8[nm. Taught pf. in NY [sm1948[nm. Musician ~with Merce Cunningham Da
nce Co. from [sm1953[nm. ~Began assoc. with [fy45,1]*[fy75,1]Feldman and [fy45,1
]*[fy75,1]Cage [sm1948[nm=n[sm9[nm. ~Member [sm1951[nm=n[sm3[nm of Cage's elec.
studio project. ~Helped Cage in [sm1960[nms to pioneer `live' el
ec. mus., ~as distinct from pre-recorded. Took part as pianist ~in f.p. of sever
al Cage works, incl. [cf2]Music of ~Changes[cf1], pf. conc., and [cf2]Atlas Ecli
pticalis with Winter ~Music[cf1]. Gave f.p. of [fy45,1]*[fy75,1]Bussotti's [cf2]
[sm5[nm Piano Pieces for ~David Tudor [cf1]and f. Amer. p. of Boulez's [sm2[nmnd
 pf. ~sonata. Also plays bandoneon, performing works ~written for it by Kagel. E
xpertise in elec. works ~has pioneered many techniques for composers. ~His own w
orks use visual forces, e.g. light ~systems, laser projections, dance TV, etc. T
hey ~incl.: [cf2]Fluorescent Sound[cf1], [cf2]Rain Forest[cf1], [cf2]Assemblage[
cf1], ~[cf2]Video/Laser [cf1]I, II, and III, [cf2][sm4[nm Pepsi Pieces[cf1], and
 many ~`collaborative realizations' of mus. by Cage, ~Oliveros, etc.[cm~Tudway,
Thomas [fy75,1]([cf2]b c[cf1].[sm1650[nm; [cf2]d [cf1]Cambridge, [sm1726[nm). ~E
ng. composer and organist. Chorister, Chapel ~Royal, under Blow, [sm1660[nm. Org
., King's Coll., ~Cambridge, [sm1670[nm=n[sm1726[nm. Prof. of mu
s., Cam~~bridge Univ., from [sm1705[nm (he was suspended from ~his university po
sts from July [sm1706[nm to March ~[sm1707[nm for making uncomplimentary puns ab
out ~Queen Anne). Wrote church mus. and compiled ~([sm1714[nm=n[sm20[nm) [sm6[nm
 MS. vols. of Eng. church mus. from ~Reformation to Restoration.[cm~Tunder, Fran
z [fy75,1]([cf2]b [cf1]Bannesdorf, [sm1614[nm; [cf2]d [cf1]L;auubeck, ~[sm1667[n
m). Ger. organist and composer. Organist, ~Marienkirche, L;auubeck, from [sm1641
[nm. Founded ~[PN745,0,0,R,I0]L;auubeck [cf2]Abendmusiken [cf1](Musical Evenings
) of ~church mus. played by str. and brass. Succeeded ~by son-in-law Buxtehude.
Wrote org. works, ~church cantatas, etc.[cm~Tune. [fy75,1]([sm1[nm) As noun. Mel
ody.[ep~^([sm2[nm) Upper part of any simple comp.[ep~^([sm3[nm) As verb. To est.
 correct intonation of an ~instr., e.g. to [cf2]tune [cf1]a pf. so that it is `i
n tune'.[cm~Tuning. [fy75,1]Adjustment of pitch in any instr. so that ~it corres
ponds to accepted norm. Str. players tune ~their instrs. just be
fore playing by simple ~adjustments to the str., but kbd. instr. need ~lengthy p
rofessional attention.[cm~Tuning-Fork. [fy75,1][sm2[nm-pronged metal instr., inv
ented ~[sm1711[nm by the trumpeter John Shore ([cf2]b[cf1] [cf2]c[cf1]. [sm1662[
nm; [cf2]d[cf1] ~London, [sm1752[nm; noted for his playing of Purcell ~and Hande
l). When set in vibration, it produces a ~sound wherewith to check the pitch of
instr. and ~to give the pitch to singers. Gives a `pure' tone, ~without upper ha
rmonics.[cm~Tuominen, Harri Olavi [fy75,1]([cf2]b[cf1] Kuusankoskc, [sm1944[nm).
 ~Finnish composer and cond. Studied in Helsinki, ~Prague, and Budapest. Comp. c
hiefly choral ~works.[cm~Turandot. [fy75,1]([sm1[nm) Opera in [sm3[nm acts by Pu
ccini to lib. ~by Adami and Simoni after Gozzi's play ([sm1762[nm). ~Comp. [sm19
20=n6[nm. His last work, the final scene ~being completed by [fy45,1]*[fy75,1]Al
fano. Prod. Milan [sm1926[nm, ~NY Met. [sm1926[nm, London [sm1927[nm.[ep~^([sm2[
nm) Opera in [sm2[nm acts by Busoni to his own lib. after ~Gozzi
, prod. Z;auurich [sm1917[nm. Based on incidental ~mus. to the play comp. [sm191
1[nm.[ep~^([sm3[nm) Incidental music by Weber, comprising an ~ov. and [sm6[nm in
str. items, to Schiller's trans. of Gozzi's ~play, prod. Stuttgart, Sept. [sm180
9[nm. Hindemith used ~a theme from it in his [fy45,1]*[fy75,2]Symphonic Metamorp
hosis ~of Themes by Weber[cf1].[cm~Turangal;afila Symphonie [fy75,1](Sanskrit, [
cf2]Turanga[cf1], `the ~passage of time, movement, rhythm', and [cf2]l;afila, ~[
cf1]`play in the sense of divine action on the cosmos, ~also the play of creatio
n, destruction, life and ~death, also love'). Sym. in [sm10[nm movements by ~[fy
45,1]*[fy75,1]Messiaen for large orch. incl. ondes Martenot, ~pf., and section o
f pitched and unpitched perc. ~Largest of [sm3[nm works inspired by Tristan and
Isolde ~legend (the others being [cf2][sm5[nm [fy45,1]*[fy75,2]Rechants [cf1]and
 [fy45,1]*[fy75,2]Harawi[cf1]). ~Commissioned by [fy45,1]*[fy75,1]Koussevitzky,
comp. between ~July [sm1946[nm and Nov. [sm1948[nm. F.p. Boston
S.O. cond. ~Bernstein, [sm1949[nm. F.p. in England BBC broadcast, ~cond. W. Goeh
r, [sm1953[nm; public, [sm1954[nm. Movements ~entitled: [cf2]Introduction[cf1],
[cf2]Chant d'amour[sm1[nm[cf1], [cf2]Turangal;afila ~[sm1[nm[cf1], [cf2]Chant d'
amour [sm2[nm[cf1], [cf2]Joie du sang des ;aaetoiles[cf1], [cf2]Jardin ~du somme
il d'amour[cf1], [cf2]Turangal;afila [sm2[nm[cf1],[cf2] D;aaeveloppement ~de l'a
mour, Turangal;afila [cf1][sm3[nm[cf1], [cf2]Final[cf1]. Basis of complete ~ball
et, choreog. Petit, Paris [sm1968[nm, and choreog. ~Vesak, San Francisco [sm1971
[nm. In [sm1960[nm at Hamburg ~[sm3[nm movements were used for ballet, choreog.
Van ~Dyk.[cm~Turbae [fy75,1](Lat.). Crowds. Name given to the chs. in ~oratorios
 and Passions in which the crowd ~participate in the action, e.g. in Bach's [cf2
]St Matthew ~Passion[cf1].[xm[cm~[ol0][ep~[xp[te~


[do35][j99]~~~~~~[sm153842[nm_TA[sm5[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise Ox
ford Dic~~tionary of Music[cmTA[sm5[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm13[nm-[sm10[nm
-[sm79[nm[cm[sm8[nm[cm[sm393[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ep~[ap[j1]Turca,
Alla[fy75,1] (It.). In the [fy45,1]*[fy75,1]Turkish style.[cm~Turchi, Guido [fy7
5,1]([cf2]b [cf1]Rome, [sm1916[nm). It. composer, ~pupil of Pizzetti. On staff o
f Rome Cons. from ~[sm1941[nm (prof. of comp. from [sm1959[nm). Dir. Parma and ~
Florence Cons., [sm1967[nm=n[sm72[nm. Authority on Bart;aaok. ~Works incl. opera
 [cf2]The Good Soldier Schweik[cf1], ~[cf2]Concerto breve[cf1] for str. (in memo
riam Bart;aaok), [cf2][sm5[nm ~Comments on Bacchae of Euripides [cf1]for orch.,
fl. trio, ~etc.[cm~Turco in Italia, Il[fy75,1] (The Turk in Italy). Opera in ~[s
m2[nm acts by Rossini to lib. by Romani. Prod. Milan ~[sm1814[nm, London [sm1821
[nm, NY [sm1826[nm.[cm~Tureck, Rosalyn[fy75,1] ([cf2]b[cf1] Chicago, [sm1914[nm)
. Amer. ~pianist and cond. Studied with Chiapusso [sm1929[nm=n~[
sm31[nm, then at Juilliard Sch. D;aaebut, Chicago [sm1923[nm, ~NY [sm1935[nm. To
ured Europe from [sm1957[nm, specializing ~in playing Bach on the modern pf. For
med ~Tureck Bach Players, London, [sm1959[nm. First woman ~to cond. NY P.O., [sm
1958[nm. Prof. at Juilliard Sch. ~from [sm1972[nm. Author of several books.[cm~T
urina[fy75,1] (y Perez), [fy65][cf3]Joaquin[fy75,1] ([cf2]b[cf1] Seville, [sm188
2[nm; [cf2]d[cf1] ~Madrid, [sm1949[nm). Sp. composer, cond., and pianist. ~Studi
ed in Seville and Madrid, later at Schola ~Cantorum, Paris, [sm1905[nm=n[sm13[nm
 (comp. with d'Indy). ~Cond. ballet in Sp.; prof. of comp., Madrid Cons., ~from
[sm1931[nm. Wrote mus. criticism. Works, nation~~alist in style, incl.:[xm[cm~[j
2][smoperas[nm: [fy75,2]Margot [cf1]([sm1914[nm); [cf2]Jard;aain de oriente [cf1
]([sm1923[nm).[ep~[smorch[nm: [cf1]La [fy45,1]*[fy75,2]procesi;aaon del Rocio[cf
1] ([sm1913[nm); [cf2]Danzas ~fant;aaasticas[cf1] ([sm1920[nm); [cf2]Sinfonia Se
villana[cf1] ([sm1920[nm); [cf2]Ritmos[cf1] ~([sm1928[nm); pf. c
onc. ([sm1931[nm).[ep~[smchamber music[nm: Str. qt. ([sm1911[nm); [cf2]La oraci;
aaon del torero[cf1] ~for str. qt. (also str. orch.) ([sm1925[nm); [sm2[nm vn. s
onatas ~([sm1929[nm, [sm1934[nm); [cf2]Circulo[cf1], pf. trio ([sm1942[nm).[ep~[
smpiano[nm: [cf2]Sonata rom;aaantica [cf1]([sm1909[nm); [cf2][sm3[nm Andalusian
~Dances[cf1] ([sm1912[nm); [cf2]Mujeres espanoles[cf1] ([sm2[nm sets, [sm1917[nm
, ~[sm1932[nm); [cf2]Jardines de Andalucia[cf1] ([sm1924[nm); [cf2][sm5[nm Tarje
tas ~postales[cf1] ([sm1930[nm); [cf2][sm5[nm Siluetas[cf1] ([sm1932[nm).[ep~[sm
voice and piano[nm: [cf2]Poema en forma de cancionces[cf1] ~([sm1918[nm); [cf2]S
aeta en forma de salve[cf1]; [cf2]Triptico[cf1] ([sm1929[nm).[ep~[smguitar[nm: S
onata ([sm1931[nm); sonatina; [cf2]Fandanguillo[cf1] ~([sm1926[nm); [cf2]Hommage
 a T;aaarrega[cf1] ([sm1932[nm); [cf2]Sevillana[cf1] ~([sm1923[nm).[cm~[j1]Turin
i, Francesco[fy75,1] ([cf2]b[cf1] Prague, [cf2]c.[cf1][sm1589[nm; [cf2]d[cf1] Br
escia, ~[sm1656[nm). Bohem.-born It. composer. Studied Venice ~a
nd Rome. Organist Brescia Cath. [sm1620[nm=n[sm56[nm. ~Wrote church mus., madrig
als, and instr. sonatas ~(among the earliest trio sonatas).[cm~Turkish Music. [f
y75,1]Name given in [sm18[nmth cent. to ~mus. for cymbals, triangles, and bass d
rum, the ~typical perc. instr. of Turkish military bands, ~several of which visi
ted Austria. Thus Mozart ~introduced `Turkish' effects into his opera [cf2]Die ~
Entf;auuhrung aus dem Serail[cf1], K[sm384[nm ([sm1782[nm) and called ~the final
e of his pf. sonata No. [sm11[nm in A, K[sm331[nm ~([sm1778[nm) a [cf2]rondo all
a turca.[cm~[PN746,0,0,L,I0]Turn. [fy75,1]See [cf2]Gruppetto.[cm~Turner, [fy75,1
](Dame) [fy65][cf3]Eva[fy75,1] ([cf2]b[cf1] Oldham, [sm1892[nm). Eng. sop. ~Stud
ied RAM. Joined ch., Carl Rosa Opera, [sm1916[nm, ~singing with them to [sm1924[
nm. Went to Milan [sm1924[nm ~for audition with Toscanini. D;aaebut at Scala, ~M
ilan, [sm1924[nm, as Freia in [cf2]Das Rheingold[cf1]. Thereafter ~est. as leadi
ng dramatic sop. in It. and Wagnerian ~repertory, particularly a
s Br;auunnhilde and as ~Puccini's Turandot (although she did not create ~the rol
e). Sang with BNOC, then CG [sm1928[nm=n[sm30[nm, ~[sm1933[nm, [sm1935[nm=n[sm9[
nm, [sm1947[nm=n[sm8[nm. Member of Chicago ~Opera. Prof. of singing, Oklahoma Un
iv. [sm1950[nm=n~[sm9[nm. Taught in London from [sm1959[nm. One of orig. [sm16[n
m ~soloists in Vaughan Williams's [cf2]Serenade to Music[cf1] ~[sm1938[nm. D.B.E
. [sm1962[nm.[cm~Turner, Walter James[fy75,1] ([cf2]b[cf1] Shanghai, [sm1889[nm;
 [cf2]d[cf1] ~London, [sm1946[nm). Australian writer on mus., and ~poet. Mus. cr
itic, [cf2]New Statesman[cf1] [sm1916[nm=n[sm40[nm. Wrote ~books on Beethoven, W
agner, Mozart, and ~aesthetics.[cm~Turn of the Screw, The. [fy75,1]Opera in prol
. and [sm2[nm ~acts, Op. [sm54[nm, by Britten to lib. by Myfanwy Piper ~based on
 Henry James's story ([sm1898[nm). Prod. Venice ~and London [sm1954[nm, NY [sm19
58[nm. The `screw' is ~represented by a theme and [sm15[nm variations, ~interlud
es between the [sm16[nm scenes. Scored for ~chamber orch.[cm~Tur
novsky, Martin[fy75,1] ([cf2]b[cf1] Prague, [sm1928[nm). Cz. cond. ~Studied Prag
ue Acad. of Mus. D;aaebut [sm1952[nm, Prague ~S.O. Cond., Brno State P.O. [sm196
0[nm=n[sm3[nm, Pilsen Radio ~Orch. [sm1963[nm=n[sm7[nm, Dresden Staatskapelle [s
m1967[nm=n[sm8[nm. ~Mus. dir. Norwegian Opera, Oslo [sm1975[nm=n[sm80[nm, Bonn ~
Opera from [sm1981[nm. Guest cond. leading European ~orchs.[cm~Turski, Zbigniew[
fy75,1] ([cf2]b[cf1] Warsaw, [sm1908[nm; [cf2]d[cf1] Warsaw, ~[sm1979[nm). Polis
h composer and cond. Studied War~~saw. Mus. dir., Warsaw Radio [sm1936[nm=n[sm9[
nm, cond. ~Baltic P.O. [sm1945[nm=n[sm6[nm. Works incl. [sm3[nm syms., [sm2[nm v
n. ~concs., opera, str. qts., etc.[cm~Tutti[fy75,1] (plural of It. [cf2]tutto[cf
1], other forms[cf2] tutta, tutte[cf1]). ~All. ([sm1[nm) [cf2]Tutti[cf1], meanin
g `everybody', is loosely used. ~A [cf2]tutti[cf1] is a passage, e.g. in conc.,
where the orch. ~(but not necessarily or even usually the whole ~orch.) plays wi
thout the soloist. `The opening ~tutti' is a phrase often used i
n this connection.[ep~^([sm2[nm) [cf2]Tutte le corde[cf1], `all the str.': In pf
. mus., means ~`cease to play[cf2] Una [fy45,1]*[fy75,2]Corda'. Tutto il cembalo
[cf1] means ~the same.[cm~Tuukkanen, Kalervo[fy75,1] ([cf2]b[cf1] Mikkeli, [sm19
09[nm; [cf2]d[cf1] Hel~~sinki, [sm1979[nm). Finn. composer and cond. D;aaebut as
 ~choral cond. [sm1930[nm. Works incl. [sm5[nm syms., [sm3[nm sym.-~poems, [sm2[
nm vn. concs., vc. conc., opera, and songs.[cm~Tuxen, Erik[fy75,1] ([cf2]b[cf1]
Mannheim, [sm1902[nm; [cf2]d[cf1] Copenhagen, ~[sm1957[nm). Ger.-born Danish con
d. (Danish parentage; ~settled in Denmark [sm1916[nm). Studied Copenhagen, ~Pari
s, Vienna, and Berlin. Cond. Danish State ~Radio Orch. [sm1936[nm=n[sm41[nm. Gue
st cond. of leading ~orchs. in USA and Europe.[cm~Tveitt, Geirr[fy75,1] ([cf2]b[
cf1] Kvam, [sm1908[nm; [cf2]d[cf1] Oslo, [sm1981[nm). ~Norweg. composer and pian
ist. Studied Leipzig ~Univ. and Vienna State Acad., also privately with ~Honegge
r, Schmitt, and Villa-Lobos. Toured as ~pianist. Works incl. [sm
6[nm pf. concs., [sm4[nm operas, [sm3[nm ballets, ~[sm2[nm concs. for Hardanger
fiddle, sym., and [sm4[nm str. qts.[cm~Twelfth. [fy75,1]Org. stop of the [fy45,1
]*[fy75,1]Mutation kind. ~Length and pitch [sm2[nm;FN;po sounding an octave and
a ~[sm5[nmth (i.e. a [sm12[nmth) above normal.[cm~Twelve-Note Composition[fy75,1
] (Ger. [cf2]Zw;auolftonmusik[cf1]). ~System of comp. in which all [sm12[nm note
s within ~octave ([sm7[nm white and [sm5[nm black notes of pf.) are ~treated as
`equal', in an ordered relationship where ~no group of notes predominates as in
major/~minor key system. One of first, if not the first, to ~devise such a syste
m was J. M. [fy45,1]*[fy75,1]Hauer, but it is ~generally assoc. with [fy45,1]*[f
y75,1]Schoenberg, whose ~`method of composing with [sm12[nm notes which are ~rel
ated only to one another' was developed ~gradually [sm1920[nm=n[sm25[nm and firs
t used by him partially ~in his Op. [sm23[nm and Op. [sm24[nm (the [cf2][sm5[nm
Piano Pieces[cf1] and ~[cf2]Serenade[cf1]) and throughout his Op
. [sm25[nm (the [cf2]Suite[cf1] for ~pf.). In the Schoenberg method, all pitches
 are ~related to a fixed order of the [sm12[nm chromatic notes, ~this order prov
iding the work's basic shape. The ~fixed order is called a note-row (or series o
r set). ~No note is repeated within a row, which therefore ~comprises [sm12[nm d
ifferent notes and no other. The ~note-row is not a theme but a source from whic
h ~the comp. is made. It can be transposed to begin ~on any of the [sm12[nm pitc
hes, and it may appear in ~retrograde, inversion, and retrograde-inversion. ~Sin
ce each of these transformations may also be ~transposed, each note-row can have
 [sm48[nm related ~pitch successions. Schoenberg's foremost contem~~porary disci
ples were [fy45,1]*[fy75,1]Berg and [fy45,1]*[fy75,1]Webern, but it ~should be n
oted that their application of his ~theory differs considerably from his own, pa
rtic~~ularly in the case of Webern, who explored the ~possibility of `cellular'
comp., i.e. self-contained ~structures within the note-row. From
 his type of ~serialism, later composers progressed to [fy45,1]*[fy75,2]total ~s
erialism.[ep~[cf1]^Certain composers, e.g. Dallapiccola, Frank ~Martin, and Stra
vinsky, have used [sm12[nm-note tech~~nique but have retained not only their mar
ked ~individuality of style but a relationship in their ~work to the major/minor
 system of tonality. ~Other composers who do not subscribe to ~Schoenbergian ten
ets have used all [sm12[nm notes ~without repeating any one note. Examples of th
is ~are to be found in Walton, Britten, Hindemith, ~and Shostakovich.[ep~^Argume
nt will no doubt continue about which ~composer was the first to use [sm12[nm-no
te technique. ~Medieval candidates may be found, and Skry~~abin's `mystic chord'
 is a pointer. Hauer's system ~pre-dated Schoenberg's; and the Ger. critic Her~~
bert Eimert has written that Jef Golyscheff comp. ~`the first unequivocal [sm12[
nm-note music' in [sm1914[nm.[xm[cm~[PN747,0,0,R,I0][j1]Twilight of the Gods [fy
75,1](Wagner). See [cf2]G;auotterd;auam~~merung.[cm~Two Widows,
The[fy75,1] ([cf2]Dv;ake vdovy[cf1]). Comic opera in ~[sm2[nm acts by Smetana to
 lib. by Emanuel Z;auungel ~adapted from [cf2]Les Deux Veuves[cf1] by F;aaelicie
n Malle~~fille. Comp. [sm1873[nm=n[sm4[nm, rev. [sm1879[nm and [sm1882[nm, prod.
 ~Prague [sm1874[nm, Wexford [sm1978[nm.[cm~Tye, Christopher[fy75,1] ([cf2]b c.[
cf1][sm1505[nm; [cf2]d [cf1]Doddington-cum-~Marche, [sm1573[nm). Eng. composer.
Lay clerk at King's ~College, Cambridge, [sm1537[nm, having taken Mus.B. ~in [sm
1536[nm after [sm10[nm years' study and teaching. ~Choirmaster, Ely Cath. [sm154
3[nm=n[sm61[nm; Mus.D., Cam~~bridge, [sm1545[nm. Thought to have been teacher of
 ~Edward VI. In [sm1553[nm pubd. [cf2]The Acts of the Apostles[cf1], ~trans. int
o Eng. metre, for [sm4[nm vv., with lute. ~Ordained [sm1560[nm and in [sm1561[nm
 became rector of ~Doddington-cum-Marche, Isle of Ely. Wrote ~anthems in popular
 and tuneful style, several ~motets, services, and masses, incl. a `Western ~Wyn
de' mass, and the [cf2]Euge bone[cf1] mass. Also instr. ~[cf2]In
 nomines.[cm~Tympanon. [fy75,1]Medieval name for [fy45,1]*[fy75,2]dulcimer.[cm~T
ympanum, Tympana. [fy75,1]The kettledrum(s) as ~spelt in medieval documents (som
etimes [cf2]tymbal[cf1]), ~but the modern spelling [cf2]timpani[cf1] is now stan
dard.[cm~Tyson, Alan[fy75,1] ([cf2]b[cf1] Glasgow, [sm1926[nm). Scottish musicol
~~ogist. Studied Oxford Univ. ([sm1947[nm=n[sm51[nm). Visiting ~prof. of mus., C
olumbia Univ., NY, [sm1969[nm and ~Univ. of Calif. at Berkeley [sm1977[nm=n[sm8[
nm. Authority on ~Beethoven. Pubd. Clementi thematic catalogue ~[sm1967[nm.[cm~T
zigane[fy75,1] (Gipsy). Concert rhapsody for vn. and ~pf. by Ravel, comp. [sm192
4[nm; also orch. version, ~[sm1924[nm.[xm[cm~[j4]~[xp[te~




[do19][j99]~~~~~~[sm153842[nm_U[sm001[nm[ep~[ep~[u1]~~~~[sm153842[nm[cmConcise O
xford Dict. of ~Music[cmU[sm001[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm16[nm/[sm10[nm/[sm
79[nm[cm[sm8[nm[cm[sm1[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ep~[PN748,0,0,L,I0][ap[
j3]~U[cm~~[j1];auUberbrettl. [fy75,1]Type of cabaret est. in Berlin[fj~[sm1901[n
m=n[sm2[nm by the writer Ernst von Wolzogen ~(librettist of Strauss's [cf2]Feuer
snot[cf1]), in assoc. with the ~poets Bierbaum and Wedekind. Their aim was to ~r
aise standard of variety theatre by mimes, poems ~recited with mus., etc. Mus. c
ontributions from ~such composers as Oscar Straus, Zemlinsky, and Schoenberg ~(w
hose [cf2]Pierrot Lunaire [cf1]of [sm1912[nm demonstrates the ~surviving influen
ce of the cabaret).[cm~Uccelli, Gli [fy75,1](Respighi). See [cf2]Birds, The[cf1]
.[cm~Uhde, Hermann [fy75,1]([cf2]b [cf1]Bremen, [sm1914[nm; [cf2]d [cf1]Copen~~h
agen, [sm1965[nm). Ger. bass-bar. Studied Bremen. ~Opera d;aaebut Bremen [sm1936
[nm as Titurel in [cf2]Parsifal[cf1]. ~Freiburg Opera [sm1938[nm
=n[sm40[nm, Munich [sm1940[nm=n[sm2[nm, Ham~~burg [sm1949[nm=n[sm50[nm, Munich a
gain after [sm1951[nm. Bay~~reuth Fest. [sm1951[nm=n[sm7[nm. CG d;aaebut [sm1953
[nm as Mandryka ~in [cf2]Arabella[cf1], and [sm1954[nm=n[sm60[nm. NY Met. [sm195
5[nm=n[sm61[nm. ~Created Creon in Orff=+=+=+'s [cf2]Antigonae[cf1], Salzburg [sm
1949[nm. ~Particularly fine as Wagner's Dutchman.[cm~Uhl, Alfred [fy75,1]([cf2]b
 [cf1]Vienna, [sm1909[nm). Austrian composer. ~Studied Vienna Hochschule f;auur
Musik (comp. ~with F. Schmidt). Teacher there from [sm1945[nm. ~Works incl. [sm4
8[nm cl. studies, [cf2]Konzertante sinfonie[cf1], cl. ~and orch., [cf2][sm4[nm C
apriccios [cf1]for orch., [cf2]Gilgamesch[cf1], ~oratorio, str. qts., etc.[cm~Uh
l, Fritz [fy75,1]([cf2]b [cf1]Vienna, [sm1928[nm). Austrian ten. Studied ~Vienna
 State Acad. of Mus. [sm1947[nm=n[sm52[nm. Opera d;aaebut ~Graz [sm1952[nm. Muni
ch Opera [sm1956[nm, Vienna from ~[sm1961[nm. Bayreuth [sm1957[nm, Salzburg Fest
s. [sm1968[nm=n[sm72[nm.[cm~Uilleann Pipes [fy75,1]([cf2]uillean
n[cf1], `elbow'). Irish bagpipes, ~played by wind supplied by bellows held under
 ~player's arm.[cm~Ukelele [fy75,1](ukulele) (from Hawaiian `leaping flea'). ~Sm
all [sm4[nm-str. instr. like a guitar, of Portuguese orig. ~and introduced by th
e Portuguese to Sandwich ~Island [cf2]c[cf1].[sm1877[nm. Patented in Hawaii [sm1
917[nm, where it ~became very common, its popularity spreading ~to USA and Europ
e. Easy to learn, with special ~notation. Played by strumming with fingers. ~Eng
. popularity much aided by its assoc. with the ~Lancashire comedian George Formb
y ([sm1905[nm=n[sm61[nm).[cm~Ukrainian Symphony. [fy75,1]One of nicknames for ~T
chaikovsky's Sym. No. [sm2[nm in C minor, Op. [sm17[nm, ~[sm1872[nm (the other b
eing `Little Russian') owing to ~use of Ukrainian folk-tunes in [sm1[nmst and [s
m4[nmth ~movements.[cm~Ulster Orchestra, The. [fy75,1]Sym. orch. of N. Ireland.
~Founded [sm1966[nm to give regular concert series in ~Belfast and in other town
s in province. First ~recording [sm1979[nm (music by Harty to ma
rk his ~centenary). Prin. conds.: M. Miles [sm1966[nm=n[sm7[nm;[fj S. ~Comission
a [sm1967[nm=n[sm9[nm; E. Cosma [sm1969[nm=n[sm74[nm;[fjA. Francis (ass. cond. f
rom [sm1969[nm) [sm1974[nm=n[sm7[nm;[fjB. Thomson [sm1977=n85[nm; V. Handley fro
m [sm1985[nm. Orch. ~has toured England and has added several more ~works by Har
ty and Bax to its list of recordings.[cmUltimos Ritos [fy75,1](Last Rites). Orat
orio by [fy45,1]*[fy75,1]Tavener ~for sop., alto, ten., and bass soloists, [sm5[
nm priests ~(speakers), ch., large orch., Comp. [sm1972[nm. F.p. ~Haarlem [sm197
4[nm, f.p. in England, Winchester and ~London [sm1975[nm.[cm~Ulysses. [fy75,1]([
sm1[nm) Cantata by [fy45,1]*[fy75,1]Seiber, [sm1946[nm=n[sm7[nm, based on ~text
from Joyce's novel of same name ([sm1922[nm).[ep~^([sm2[nm) Opera ([cf2]Ulisse[c
f1]) by [fy45,1]*[fy75,1]Dallapiccola, [sm1959[nm=n[sm68[nm, to ~his own lib. ba
sed on Homer.[cm~Umstimmen [fy75,1](Ger.). To tune in some special way ~(see [cf
2]Scordatura[cf1]). So the noun [cf2]Umstimmung[cf1].[xm[cm~[j1]
Unanswered Question, The[fy75,1] (or A Contempla~~tion of a Serious Matter). Orc
h. work by [fy45,1]*[fy75,1]Ives, ~comp. [sm1906[nm, for tpt., [sm4[nm fl. (or [
sm2[nm fl., ob., cl.), str., ~and pf.[cm~Unda Maris [fy75,1](Wave of the sea). O
rg. stop much ~like [fy45,1]*[fy75,2]Voix c;aaeleste[cf1].[cm~Undine [fy75,1](On
dine). Ballet in [sm3[nm acts and [sm5[nm scenes by ~Henze, choreog. Ashton. Pro
d. London [sm1958[nm, ~Munich, Berlin, [sm1959[nm.[cm~Unessential Note. [fy75,1]
A passing note, suspension, ~appoggiatura, etc., whereas an essential note is an
 ~actual note of a chord.[cm~`Unfinished' Symphony. [fy75,1]There are many unfin
~~ished syms. (e.g. by Tchaikovsky, Mahler, Elgar, ~Shostakovich) but this title
 is generally taken to ~refer only to Schubert's No. [sm8[nm in B minor ([sm1822
[nm, ~D[sm759[nm). His [sm7[nmth in E was also left incomplete. No ~one knows wh
y the [sm8[nmth was left unfinished=m[sm2[nm ~movements were completed and sketc
hes exist ~for the scherzo. Romantic solutions have been ~invent
ed, but the truth seems to be that Schubert ~either forgot about it or abandoned
 it because he ~could not find comparable inspiration for the [sm3[nmrd ~and [sm
4[nmth movements. F.p. Vienna, Dec. [sm1865[nm, ~cond. Herbeck. Among `completio
ns' of the sym. ~are those by G. Abraham ([sm1971[nm) and B. Newbould.[cm~Ungar,
 Ungarisch [fy75,1](Ger.). Hungarian.[cm~Unger, Caroline [fy75,1]([cf2]b [cf1]Vi
enna, [sm1803[nm; [cf2]d [cf1]Florence, ~[sm1877[nm). Austrian cont. Studied in
Milan and ~Vienna (with Vogl and Aloysia [fy45,1]*[fy75,1]Weber). Opera ~d;aaebu
t Vienna [sm1821[nm as Dorabella in [cf2]Cos;agi fan tutte[cf1]. ~In [sm1824[nm
in Vienna sang in f.p. of Beethoven's [sm9[nmth ~Sym. (it was she who turned the
 deaf Beethoven ~to face the audience after the [sm9[nmth so that he could ~see
applause). Sang for several years in It., creating ~roles in Donizetti operas an
d Bellini's [cf2]La straniera[cf1]. ~[PN749,0,0,R,I0]Paris d;aaebut [sm1833[nm,
winning high praise from ~Rossini. Retired on marriage [sm1843[n
m.[cm~Unger, Georg [fy75,1]([cf2]b[cf1] Leipzig, [sm1837[nm; [cf2]d [cf1]Leipzig
, [sm1887[nm). ~Ger. ten. The first Wagner [cf2]Heldentenor[cf1]. Created ~role
of Siegfried at first Bayreuth Fest. [sm1876[nm. Sang ~in London [sm1877[nm at W
agner's concerts in Royal ~Albert Hall, although he frequently failed to ~appear
. Sang at Leipzig Opera until [sm1881[nm.[cm~Unger, Gerhard [fy75,2](b[cf1] Bad
Salzungen, Thuringia, ~[sm1916[nm). Ger. tenor. Studied at Eisenach. Opera ~d;aa
ebut Weimar [sm1947[nm. Berlin Deutsche Staatsoper ~[sm1952[nm=n[sm61[nm, Stuttg
art from [sm1961[nm. Wide repertory of ~character parts, e.g. Captain in [cf2]Wo
zzeck[cf1], Skuratov ~in [cf2]From the House of the Dead[cf1], and Wagner's Mime
 ~and David, which he has sung in most of the ~world's leading opera houses.[cm~
Unger, Heinz [fy75,1]([cf2]b [cf1]Berlin, [sm1895[nm; [cf2]d [cf1]Toronto, [sm19
65[nm). ~Ger.-born cond. Cond. Berlin P.O. [sm1919[nm=n[sm33[nm, ~Leningrad Radi
o Orch. [sm1934[nm=n[sm6[nm. Spent some years ~in Eng., guest co
nd. of leading orchs. Settled ~Toronto [sm1948[nm.[cm~Ungherese [fy75,1](It.). H
ungarian.[xm[cm~[j1]Unison. [fy75,1]Sounding of the same note by all perf., ~e.g
. [cf2]Unison singing[cf1], everyone singing the same ~tune but not in harmony.[
cm~Uniti [fy75,1](It.). United. Term used to revoke a ~direction such as [fy45,1
]*[fy75,2]Divisi[cf1].[cm~Unit Organ. [fy75,1]Type of org., sometimes called ~ex
tension org., which, to save space, has various ~stops which `borrow' pipes from
 each other, e.g. ~pipes of [sm8[nm;Po stop may also be used for [sm4[nm;Po stop
 by a ~connexion which draws on them an octave higher ~throughout. Cinema orgs.
are unit orgs.[cm~Universal Edition. [fy75,1]Publishing house formed in ~Vienna
[sm1901[nm by amalgamation of several pri~~vately-owned businesses. In [sm1904[n
m bought Munich ~firm of Aibl which brought in many R. Strauss ~works. Other fir
ms were absorbed and after ~Alfred Kalmus joined the firm in [sm1909[nm the ~cat
alogue was extended to include a large number ~of contemporary c
omposers (Delius, Bart;aaok, ~Mahler, Schoenberg, Webern, Zemlinsky, Szy~~manows
ki, and Jan;aaa;akcek among them). Since the ~Second World War the firm has publ
ished works ~by Berio, Birtwistle, Boulez, Dallapiccola, Einem, ~Kagel, Kurtag,
Ligeti, Shostakovich, and Stock~~hausen. Universal Edn. (London) was founded by
~Kalmus in [sm1937[nm and is an independent house.[cm~Universal Prayer. [fy75,1]
Cantata by [fy45,1]*[fy75,1]Panufnik to ~poem by Pope for sop., cont., ten., and
 bass ~soloists, [sm3[nm harps, org., and mixed ch. F.p. NY ~(Cath. of St John t
he Divine) cond. Stokowski, ~[sm1970[nm.[cm~Un poco [fy75,1](It., sometimes shor
tened to [cf2]un po'[cf1]; Fr. ~[cf2]un peu[cf1]). A little (often in the sense
of `rather').[cm~Unprepared Suspension. [fy75,1]Effect similar to [fy45,1]*[fy75
,2]sus~~pension [cf1]but without [fy45,1]*[fy75,1]preparation, i.e. the sound~~i
ng in a chord of a concordant note which is to ~remain (in the same `part') in n
ext chord as a ~discordant note.[cm~Unterwerk [fy75,1](Ger.). Un
der work. [fy45,1]*[fy75,2]Choir Organ[cf1].[cm~Up-Beat. [fy75,1]Upward movement
 of cond.'s baton or ~hand, especially to indicate beat preceding bar-~line.[cm~
Upper Mordent. [fy75,1]See [cf2]Mordent[cf1].[cm~Upper Partials. [fy75,1][sm2[nm
nd, [sm3[nmrd, [sm4[nmth, and higher tones ~in harmonic series which are at fixe
d intervals ~above fundamental.[xm[cm~[j1]Uppman, Theodore [fy75,1]([cf2]b [cf1]
Pao Alto, Calif., [sm1920[nm). ~Amer. bar. Studied Curtis Institute, Penn., with
 ~Steuart Wilson, Univ. of Calif. with C. Ebert. ~Opera d;aaebut Stanford Univ.,
 [sm1946[nm as Papageno. ~San Francisco Opera [sm1948[nm, later NY City Opera as
 ~Pell;aaeas. Created role of Billy Budd in Britten's ~opera, CG [sm1951[nm. D;a
aebut, NY Met., [sm1953[nm (Pell;aaeas). ~Sang Billy Budd in f. Amer. stage perf
. Chicago, ~[sm1970[nm.[cm~Upright Piano. [fy75,1]Pf. in which str. are upright,
 ~(vertical), not, as in grand pf., horizontal. First ~built by Hawkins of Phila
delphia, [sm1800[nm.[cm~Urhan, Chr;aaetien [fy75,1]([cf2]b [cf1]
Montjoie, [sm1790[nm; [cf2]d[cf1] Paris, ~[sm1845[nm). Fr. violinist and compose
r. Pupil of ~LeSueur. Joined Paris Op;aaera orch. [sm1816[nm, becoming ~leader [
sm1831[nm. Comp. str. qts., pf. pieces, etc.[cm~Ursuleac, Viorica [fy75,1]([cf2]
b [cf1]Cernauti, Romania, [sm1894[nm). ~Romanian sop. Studied Vienna and Berlin
with ~Lilli Lehmann. Opera d;aaebut Agram [sm1922[nm; Frank~~furt Opera [sm1927[
nm=n[sm30[nm, Vienna [sm1930[nm=n[sm4[nm, Berlin ~[sm1935[nm=n[sm7[nm, Munich [s
m1937[nm=n[sm44[nm. Salzburg Fest. [sm1930[nm=n~[sm4[nm and [sm1942[nm. R. Strau
ss's favourite sop. in [sm1930[nms. ~Created roles of Arabella, Maria in [cf2]Fr
iedenstag[cf1], ~and Countess in [cf2]Capriccio[cf1]. Also sang Danae at ~Salzbu
rg dress rehearsal of [cf2]Die Liebe der Danae[cf1] ~[sm1944[nm. Married to cond
. Clemens [fy45,1]*[fy75,1]Krauss. CG ~d;aaebut [sm1934[nm. Had [sm83[nm roles i
n her repertory and ~sang [sm506[nm perfs. of [sm12[nm Strauss roles during her
~career.[cm~Urtext [fy75,1](Ger.). Orig. text, meaning an edn. o
f a ~score giving, or purporting to give, composer's ~intentions without later e
ditorial additions=m~much needed in case of [fy45,1]*[fy75,1]Bruckner, for examp
le.[cm~Ussachevsky, Vladimir [fy75,1]([cf2]b [cf1]Hailar, Manchuria, ~[sm1911[nm
). Manchurian-born composer of Russ. ~[chparentage. Settled in USA [sm1930[nm. S
tudied Pomona ~Coll., Calif., Eastman Sch. [sm1935[nm=n[sm9[nm (with Hanson), ~a
nd Columbia Univ. [sm1947[nm=n[sm8[nm. Taught at Columbia ~Univ. from [sm1947[nm
. Co-dir., Columbia-Princeton ~elec. mus. centre from [sm1959[nm. Up to [sm1951[
nm wrote ~mus. with Russ. romantic flavour, then experi~~mented with tape-record
er comp. Since then has ~comp. mainly elec. mus., incl. scores for radio, ~TV, a
nd films.[cm~Ut. [fy75,1]Keynote of major scale, according to system ~of vocal s
yllables derived from d'Arezzo, now ~[PN750,0,0,L,I0]generally replaced by [cf2]
do [cf1]([cf2]doh [cf1]in [fy45,1]*[fy75,1]Tonic Sol-fa). In ~many countries, in
cl. France, [cf2]ut [cf1]and [cf2]doh [cf1]have ~become attached
 to C in whatever key this may ~occur.[cm~Utility Music. [fy75,1]See [cf2]Gebrau
chsmusik.[cm~Utopia Limited, or The Flowers of Progress. ~[fy75,1]Operetta by Su
llivan to lib. by Gilbert. Prod. ~London [sm1893[nm, NY [sm1894[nm.[cm~Utrecht T
e Deum and Jubilate. [fy75,1]Setting by ~Handel, [sm1712[nm=n[sm13[nm, to celebr
ate Peace of Utrecht ~and f.p. in St Paul's Cath., London, [sm7[nm July, [sm1713
[nm.[cm~Utrenja. [fy75,1]Choral work by [fy45,1]*[fy75,1]Penderecki ([sm1969[nm=
n[sm71[nm) ~in [sm2[nm parts, both commissioned by W. Ger. Radio ~(Cologne). Par
t I, [cf2] The Entombment of Christ[cf1], sop., ~cont., ten., bass, and basso pr
ofundo soloists, [sm2[nm ~mixed ch., and orch. F.p. Altenberg Cath. [sm1970[nm.
~Part II, [cf2]The Resurrection of Christ[cf1], for same forces ~plus boys' ch.
F.p. M;auunster Cath. [sm1971[nm. `Utrenja' ~is the Russ. Orthodox matins.[xm[cm
~[j4]~[xp[te~

[do42][j99]~~~~~~153842_V[sm001[nm[ep~[ep~[u1]~~~~153842[cmOxford Dictionary of
~Music[cmV[sm001[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[nm[cm[sm10[n
m[cm[sm001[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[PN751,0,0,R,I0][ap[j3]~V[cm~~[j1]Va
. [fy75,1]Short for viola.[cm~Valdengo, Giuseppe [fy75,1]([cf2]b [cf1]Turin, [sm
1914[nm). It. bar. ~Studied Turin. Opera d;aaebut Parma [sm1936[nm as ~Rossini's
 Figaro. Milan [sm1939[nm. NY City Centre ~Opera [sm1946[nm=n[sm8[nm, Met. [sm19
46[nm=n[sm54[nm, Glyndebourne ~[sm1955[nm. Sang Iago and Falstaff in Toscanini's
 NBC ~opera broadcasts.[cm~Valen, Fartein [fy75,1](Olav) [cf1]([cf2]b [cf1]Stava
nger, [sm1887[nm; [cf2]d ~[cf1]Haugesund, [sm1952[nm). Norweg. composer. Spent ~
early years in Madagascar. Studied Oslo Cons. ~[sm1906[nm=n[sm9[nm and Berlin Ho
chschule f;auur Musik [sm1909[nm=n~[sm11[nm (comp. with Bruch) and stayed in Ber
lin until ~[sm1916[nm. Mus. librarian Oslo Univ. [sm1927[nm=n[sm39[nm. Came ~und
er influence of Schoenberg in [sm1913[nm, and ~evolved own syste
m of atonal polyphony. Wrote ~[sm5[nm syms. ([sm5[nmth unfinished), vn. conc., p
f. conc., [sm2[nm ~str. qts., [cf2]Sonette di Michelangelo [cf1]for orch., [sm2[
nm pf. ~sonatas, organ works, etc.[cm~Valkyrie, The [fy75,1](Wagner). See [cf2]W
alk;auure[cf1],[cf2] Die.[cm~Vallas, L;aaeon [fy75,1]([cf2]b [cf1]Roanne, Loire,
 [sm1879[nm; [cf2]d [cf1]Lyons, ~[sm1956[nm). Fr. musicologist and historian. Ab
andoned ~medicine for mus. Lecturer, history of mus., ~Lyons Univ. from [sm1908[
nm. Author of books on ~Debussy and Franck (both trans. into Eng.), and ~on d'In
dy.[cm~Vall;aaee d'Obermann [fy75,1](Obermann Valley). Pf. ~work by Liszt, No. [
sm6[nm of [cf2]Premi;agere Ann;aaee [cf1]([cf2]Suisse[cf1]) of ~[cf2]Ann;aaees d
e p;agelerinage [cf1]([sm1848[nm=n[sm54[nm).[cm~Valois, [fy75,1](Dame) [fy65][cf
3]Ninette de [fy75,1](orig. Edris Stannus) ~([cf2]b [cf1]Baltiboys, Ireland, [sm
1893[nm). Irish dancer, choreog., ~and administrator. Studied with Cecchetti. ~D
anced at CG in opera ballet [sm1919[nm and with ~Ballets Russes
[sm1923[nm=n[sm6[nm. Opened London Acad. of ~Choreog. Art [sm1926[nm (closed [sm
1931[nm) and began collab. ~with Lilian Baylis at Old Vic. First choreog. for ~M
ozart's [cf2]Les Petits Riens, [cf1][sm1928[nm. Dir., Vic-Wells ~Ballet (later S
W Ballet) [sm1931[nm, running SW Ballet ~sch. at same time. Founded SW Opera Bal
let (later ~SW Theatre Ballet) [sm1946[nm (became Royal Ballet ~[sm1956[nm). Res
igned as dir., Royal Ballet, [sm1963[nm. ~Among ballets she choreog. are [cf2]La
 Cr;aaeation du ~monde [cf1](Milhaud, [sm1931[nm), [cf2]Job [cf1](Vaughan Willia
ms, ~[sm1931[nm), [cf2]The Haunted Ballroom [cf1](Toye, [sm1934[nm), [cf2]The ~R
ake[cf1]'[cf2]s Progress [cf1](Gordon, [sm1935[nm), [cf2]The Gods go a-~begging
[cf1](Handel-Beecham, [sm1936[nm), [cf2]Checkmate [cf1](Bliss, ~[sm1937[nm), [cf
2]The Prospect before us [cf1](Boyce-Lambert, ~[sm1940[nm), and [cf2]Don Quixote
 [cf1](Gerhard, [sm1950[nm). C.B.E. ~[sm1947[nm, D.B.E. [sm1951[nm.[cm~Valse. [f
y75,1]See [cf2]Waltz.[cm~Valse, La [fy75,1](The Waltz). [cf2]Po;
ageme chor;aaeographique [cf1]for ~orch. by Ravel. Begun [sm1906[nm=n[sm14[nm, c
ompleted [sm1919[nm=n~[sm1920[nm. F.p. Paris [sm1920[nm. Also prod. as [sm1[nm-a
ct ballet, ~Paris [sm1928[nm, Monte Carlo [sm1929[nm, choreog. by ~Nijinskaya fo
r Ida Rubinstein. Other versions by ~Balanchine [sm1951[nm, Ashton [sm1958[nm. V
ersions for solo ~pf. and [sm2[nm pf. by Ravel, for [sm4[nm hands by L. Garban.[
cm~Valses Nobles et Sentimentales [fy75,1](Noble and ~Sentimental Waltzes). Work
 for solo pf. by Ravel, ~comp. and f.p. [sm1911[nm (arr. for [sm4[nm hands by L.
 ~Garban). Orch. by Ravel [sm1912[nm for ballet [cf2]Ad;aaela;auide[cf1],[cf2] ~
ou Le Langage des fleurs [cf1]to lib. by Ravel, choreog. ~Clustine, prod. Paris
[sm1912[nm (later lib. and choreog. ~Lifar [sm1938[nm, Ashton [sm1947[nm, MacMil
lan [sm1966[nm, Hynd ~[sm1975[nm).[cm~Valse Triste [fy75,1](Sad Waltz). Waltz by
 [fy45,1]*[fy75,1]Sibelius, Op. ~[sm44[nm, orig. comp. for str. [sm1903[nm as on
e of [sm6[nm items of ~incidental mus. to play [cf2]Kuolema [cf1
](Death) by Arvid ~J;auarnefelt, in Helsinki. Rev. for orch. [sm1904[nm. Also ~a
rr. for pf.[cm~Valve [fy75,1](Fr. [cf2]piston[cf1]; Ger. [cf2]Ventil[cf1]; It. [
cf2]pistone[cf1]). Mecha~~nism invented [cf2]c.[cf1][sm1813[nm by the horn-playe
r Heinrich ~St;auolzel and improved in [sm1818[nm in collaboration ~with Friedri
ch Bl;auuhmel, whereby all the notes of ~the chromatic scale were made available
 to brass ~instr. Pitch altered by increasing or decreasing ~length of tube thro
ugh which wind must go to ~produce sound (except normal [fy45,1]*[fy75,1]trombon
es, for ~which slide is sufficient). [sm2[nm types in use, [cf2]piston[cf1], in
~which piston works up and down in casing, and ~[cf2]rotary[cf1], a [sm4[nm-way
stop-cock turning in cylindrical ~case and governed by a spring. Credit for the
first ~type of valve must go to Charles Clagget, an ~Irishman, who patented an i
nvention in [sm1788[nm ~which enabled pitch to be altered by means of a ~lever.[
cm~Valve Instruments. [fy75,1]Brass instrs. which have ~[fy45,1]
*[fy75,1]valves, i.e. all except certain [fy45,1]*[fy75,1]trombones.[cm~Valverde
, Joaquin [fy75,1]([cf2]b [cf1]Badajoz, [sm1846[nm; [cf2]d [cf1]Madrid, ~[sm1910
[nm). Sp. composer, cond., and flautist. Played ~fl. in th. orchs. [sm1859[nm=n[
sm71[nm, then cond. [sm1871[nm=n[sm91[nm. ~Wrote [fy45,1]*[fy75,2]zarzuelas [cf1
]and songs incl. the popular ~[cf2]Clavelitos [cf1](Carnations).[cm~Vamping. [fy
75,1]Improvised acc. to a song or instr. ~solo, often by pianist who cannot read
 notation ~but `plays by ear'.[cm~Vampyr, Der [fy75,1](The Vampire). Opera in [s
m2[nm acts by ~Marschner to lib. by Wohlbr;auuck. Comp. [sm1827[nm. ~Prod. Leipz
ig [sm1828[nm, London [sm1829[nm.[cm~Van Allan, Richard [fy75,1]([cf2]b [cf1]Cli
pstone, Notts., [sm1935[nm). ~Eng. bass. Studied Birmingham Sch. of Mus. with ~D
. Franklin. Glyndebourne ch. [sm1964[nm (=+=+John ~Christie Award [sm1966[nm). C
G d;aaebut [sm1971[nm. Created ~Jowler in Maw's [cf2]The Rising of the Moon[cf1]
 (Glynde~~bourne [sm1970[nm). Has sung with ENO, WNO, Paris ~[PN
752,0,0,L,I0]Op;aaera, and at Wexford Fest. Sang Ochs in [cf2]Der ~Rosenkavalier
[cf1] for first time at San Diego [sm1976[nm.[cm~van Beinum. [fy75,1]See [cf2]Be
inum, Eduard van.[cm~van Biene. [fy75,1]See [cf2]Biene, August van.[cm~Van Dam,
Jos;aae [fy75,1]([cf2]b[cf1] Brussels, [sm1940[nm). Belg. bass. ~Studied in Brus
sels. Sang minor roles at Paris ~Op;aaera and Op;aaera-Comique [sm1961[nm=n[sm5[
nm. Geneva ~Opera [sm1965[nm=n[sm7[nm, singing in f.p. of Milhaud's [cf2]La ~m;a
gere coupable[cf1] ([sm1966[nm). Deutsche Oper, Berlin, from ~[sm1967[nm. CG d;a
aebut [sm1973[nm as Escamillo, a role he has ~sung with much success in all lead
ing opera ~houses. Created title-role in Messiaen's [cf2]St Francis ~of Assisi[c
f1], Paris [sm1983[nm.[cm~ Vandernoot, Andr;aae [fy75,1]([cf2]b [cf1]Brussels, [
sm1927[nm). Belg. ~cond. Studied Brussels Cons. and Vienna Acad. ~Mus. dir., Bel
g. Nat. Orch. [sm1954[nm, Brussels Th;aae;afatre ~Royal de la Monnaie orch. from
 [sm1960[nm.[cm~van der Stucken. [fy75,1]See [cf2]Stucken, Frank
 V. van der.[cmvan Dieren. [fy75,1]See [cf2]Dieren, Bernard van.[cm~Vanhal. [fy7
5,1]See [cf2]Wanhal, Johann Baptist.[cm~Van Kampen, Christopher [fy75,1](Francis
 Royle) [cf1]([cf2]b ~[cf1]Pinner, [sm1945[nm). Eng. cellist. Studied King's Col
l., ~Cambridge, and RAM [sm1966[nm=n[sm9[nm. D;aaebut with ~Bournemouth S.O. [sm
1967[nm in Elgar conc. Prin. vc., ~RPO [sm1970[nm=n[sm3[nm, London Sinfonietta.
Soloist with ~leading orchs.[cm~Van Rooy, Anton|[fy75,1](ius Maria Josephus) ([c
f2]b[cf1] Rotter~~dam, [sm1870[nm; [cf2]d[cf1] Munich, [sm1932[nm). Dutch bass-b
ar. ~Studied with J. Stockhausen in Frankfurt. Sang ~Wotan at Bayreuth [sm1897[n
m and thereafter at every ~fest. until [sm1902[nm, also Sachs in [sm1899[nm and
Dutchman ~[sm1901[nm and [sm1902[nm. Sang Wagner roles at CG [sm1898[nm=n~[sm191
3[nm (except one season) and NY Met. [sm1898[nm=n[sm1908[nm ~(except one season)
. Sang Amfortas in unauthor~~ized [cf2]Parsifal[cf1], NY [sm1903[nm, and was ban
ned from ~Bayreuth. Finest male Wagnerian of his genera~~tion, a
nd equally good in Lieder. Retired [sm1913[nm.[cm~van Wyk. [fy75,1]See [cf2]Wyk,
 Arnold van.[cm~Varady, Julia [fy75,1]([cf2]b[cf1] Oradia, [sm1941[nm). Romanian
 sop. ~Studied Budapest Cons. Cluj State Opera [sm1960[nm=n~[sm70[nm, Frankfurt
[sm1970[nm=n[sm2[nm, Munich from [sm1972[nm. Brit. ~d;aaebut Edinburgh Fest., [s
m1974[nm as Gluck's Alcestis. ~Outstanding Vitellia in [cf2]La clemenza di Tito[
cf1] and ~other dramatic roles.[cm~Varella-Cid, Sergio [fy75,1]([cf2]b [cf1]Lisb
on, [sm1935[nm). Portuguese ~pianist. Studied with father, later in London with
~Harold [fy45,1]*[fy75,1]Craxton and Ilona Kabos. D;aaebut [sm1942[nm. ~Prot;aae
g;aae of [fy45,1]*[fy75,1]Moiseiwitsch. Int. career.[xm[cm~[j1]Var;agese, Edgard
 [fy75,1]([cf2]b [cf1]Paris, [sm1883[nm; [cf2]d [cf1]NY, [sm1965[nm). Fr.-~born
composer and cond. (Amer. citizen from ~[sm1926[nm). Studied in Turin, Schola Ca
ntorum, Paris, ~[sm1904[nm (comp. with d'Indy, theory with Roussel), ~and Paris
Cons. with Widor. Lived mainly in ~Berlin [sm1907[nm=n[sm15[nm,
active as cond. Went to NY [sm1915[nm. ~Founder-cond. New S.O. [sm1919[nm to per
form modern ~mus.; resigned because of pressure to popularize ~programmes. With
Salzedo, founded Interna~~tional Composers' Guild [sm1921[nm, devoted to new ~mu
s., which lasted until [sm1927[nm, when (with ~Slonimsky, Ives, Cowell, and Ch;a
aavez) founded ~Pan-American Assoc. of Composers. Returned to ~Paris [sm1928[nm=
n[sm32[nm, then taught at Amer. colleges. ~Founded ch. to perform early mus. in
NY [sm1940[nm. ~Began to experiment with tape and elecs. [sm1953[nm. ~Tireless e
xperimenter with unusual sounds and ~instr. combinations, many of his works bein
g ~patterns of rhythm and accents. Most of his early ~works, in a romantic idiom
, are lost or destroyed. ~Prin. comps.:[xm[cm~[j2][smorch[nm: [fy45,1]*[fy75,2]A
m;aaeriques [cf1]([sm1918[nm=n[sm21[nm); [cf2]Hyperprism[cf1], small ~orch. and
perc. ([sm1923[nm); [fy45,1]*[fy75,2]Octandre[cf1], small orch. ~([sm1923[nm); [
fy45,1]*[fy75,2]Int;aaegrales[cf1], woodwind, brass, perc. ~([sm
1924[nm=n[sm5[nm); [cf2]Arcana [cf1]([sm1925[nm=n[sm7[nm); [fy45,1]*[fy75,2]Ioni
sation[cf1], perc. ~([sm1929[nm=n[sm31[nm); [cf2]D;aaeserts [cf1](with optional
tapes) (?[sm1950[nm=n~[sm4[nm).[ep~[smvoice and orch[nm: [cf2]Offrandes[cf1], so
p., small orch. ~([sm1921[nm); [cf2]Ecuatorial[cf1], bass v. and orch. ([sm1933[
nm=n[sm4[nm); ~[cf2]Nocturnal[cf1], sop., bass ch., orch. ([sm1961[nm, unfinishe
d; ~ed. and completed [sm1973[nm by Chou Wen-chung).[ep~[sminstrumental[nm: [cf2
]Density [sm21[nm.[sm5[nm[cf1], solo fl. ([sm1936[nm).[ep~[smelectronic[nm: [cf2
]Good Friday Procession in Verges ~[cf1]([sm1955[nm=n[sm6[nm); [cf2]Po;ageme ele
ctronique [cf1]([sm1957[nm=n[sm8[nm).[cm~[j1]Varga, Tib;aaor [fy75,1]([cf2]b[cf1
] Gy;auor, [sm1921[nm). Brit. violinist of ~Hung. birth. Studied Budapest Acad.
[sm1931[nm=n[sm8[nm ~with Hubay and Flesch. D;aaebut [sm1931[nm. Prof. of vn., ~
Detmold Acad. [sm1949[nm=n[sm55[nm. Founded chamber orch. ~[sm1954[nm. Settled i
n Switzerland [sm1955[nm. Founder of ~Sion Fest. [sm1964[nm.[cm~
Variant. [fy75,1]([sm1[nm) Name for differing versions of same ~piece of mus.[ep
~^([sm2[nm) Sudden changes from major to minor.[ep~^([sm3[nm) Differing versions
 of folk-songs, the tune ~often slightly altering from region to region.[cm~Vari
ation. [fy75,1]Piece of mus. which is a varied version ~of a well-known tune or
of an orig. theme ~specially comp. as basis for variations. Some ~variations fol
low the orig. tune closely, others ~make the briefest reference to it, sometimes
 ~harmonically rather than thematically. Popular ~form with composers from [sm16
[nmth cent., `divisions ~on a ground' being the same as `variations on a ~theme'
. In some comps., one movement takes the ~form of a theme with variations, e.g.
the finale of ~Beethoven's [cf2]Eroica [cf1]sym., and movements of ~several Hayd
n syms. Among famous sets of ~variations are Beethoven's on a waltz by Diabelli,
 ~Brahms's on a theme by Haydn, Schumann's ~[cf2];aaEtudes symphoniques[cf1], St
rauss's [cf2]Don Quixote[cf1], Elgar's ~[cf2]Enigma[cf1], Rakhma
ninov's [cf2]Rhapsody on a theme of ~Paganini[cf1], and Britten's [cf2]Variation
s on a Theme of ~Frank Bridge.[cm~Variations. [fy75,1][sm6[nm works comp. betwee
n [sm1958[nm ~and [sm1966[nm in which [fy45,1]*[fy75,1]Cage took [fy45,1]*[fy75,
1]indeterminacy ~to remarkable limits. Some of them consist of ~transparent plas
tic sheets inscribed with lines and ~circles, and instructions explaining how th
ese can ~[PN753,0,0,R,I0]be `performed' by any number of players using ~any mean
s. In Var. V the performer is merely ~supplied with a description of previous pe
rfs., ~involving actions as well as sounds.[cm~Variations and Fugue on a Theme b
y Purcell[fy75,1] ~(Britten). [cf1]See [cf2]Young Person[cf1]'[cf2]s Guide to th
e Orchestra.[cm~Variations on `America' [fy75,1]([cf2]Variations on a National ~
Hymn[cf1], `[cf2]America[cf1]'). Orig. work for organ by [fy45,1]*[fy75,1]Ives ~
comp. [sm1891[nm or [sm1892[nm. Arr. for orch. by William ~Schuman [sm1964[nm an
d for concert band by Schuman ~and W. Rhoads.[cm~Variations on a
 Theme by Haydn. [fy75,1]Orch. comp., ~[sm1873[nm, by Brahms, Op. [sm56[nma, or
in version for [sm2[nm pf., ~Op. [sm56[nmb. Often called the `St Anthony' Variat
ions, ~because the theme is called the `St Anthony ~Chorale'. Brahms took the th
eme from a suite in ~B;Yh for military band ([cf2]Feld-partita[cf1]) by Haydn bu
t ~research has shown that the theme was borrowed ~by Haydn. However, since Brah
ms named the ~work `Variations on a Theme by Haydn' there ~seems no good reason
to discard this title for a ~musicological nicety.[cm~Variations on a Theme of F
rank Bridge. [fy75,1]Work ~for str. orch. Op. [sm10[nm, by Britten comp. [sm1937
[nm for ~Salzburg Fest. Theme is taken from [fy45,1]*[fy75,1]Bridge's ~[cf2]Idyl
l [cf1]No. [sm2[nm for str. qt. Arr. for [sm2[nm pfs., [sm1942[nm, by ~Colin McP
hee for ballet [cf2]Jinx[cf1].[cm~Varnay, Astrid [fy75,1]([cf2]b [cf1]Stockholm,
 [sm1918[nm). Swed.-born ~sop. of Austro-Hungarian parentage, resident in ~USA s
ince childhood. Studied with her mother ~and H. Weigert. Opera d
;aaebut NY Met. [sm1941[nm as ~last-minute deputy for Lotte [fy45,1]*[fy75,1]Leh
mann as ~Sieglinde in [cf2]Die Walk;auure. [cf1]Stayed at Met. until ~[sm1956[nm
, becoming leading Wagnerian and Strauss ~sop. CG [sm1948[nm=n[sm9[nm, [sm1951[n
m, [sm1958[nm=n[sm9[nm, and [sm1968[nm. ~Bayreuth [sm1951[nm=n[sm67[nm. Exciting
 Wagnerian singer. ~Late in career sang mez. roles, e.g. Strauss's ~Klytemnestra
, and made deep impression as ~Kostelni;akcka in Jan;aaa;akcek's [cf2]Jen;anufa[
cf1].[xm[cm~[j1]Varsoviana, Varsovienne. [fy75,1]A dance originating ~in France
during [sm1850[nms, a slow, genteel type of ~[fy45,1]*[fy75,1]mazurka. Popular a
t balls in the Tuileries. ~Named from Fr. form of `Warsaw'.[cm~Varviso, Silvio [
fy75,1]([cf2]b [cf1]Z;auurich, [sm1924[nm). Swiss cond. ~Studied Z;auurich Univ.
 and in Vienna with Krauss. ~[sm1[nmst cond., Basle Opera [sm1950[nm=n[sm62[nm.
Leading opera ~cond. at int. fests. NY Met. d;aaebut [sm1961[nm, CG [sm1962[nm,
~Glyndebourne [sm1962[nm ([cf2]Rosenkavalier[cf1]). Prin. cond.
~Stockholm Royal Opera [sm1965[nm=n[sm71[nm. Mus. dir., ~W;auurttemberg Opera, S
tuttgart, [sm1972[nm=n[sm8[nm. Bayreuth ~Fest. [sm1969[nm=n[sm74[nm ([cf2]Die Me
istersinger[cf1]). Mus. dir. Paris ~Op;aaera from [sm1981[nm.[cm~V;aaas;aaary, T
am;aaas [fy75,1]([cf2]b [cf1]Hungary, [sm1933[nm). Hung. pianist ~and cond. Stud
ied Liszt Acad., Budapest, with ~Hernadi and Kod;aaaly. D;aaebut at age [sm8[nm.
 Taught ~theory, Liszt Acad. Swiss resident from [sm1958[nm. ~London d;aaebut [s
m1961[nm, NY [sm1962[nm. World tours. ~Specialist in Liszt. Joint cond., Norther
n Sinfonia ~[sm1979[nm=n[sm82[nm.[cm~Vasilenko, Sergey [fy75,1]([cf2]b [cf1]Mosc
ow, [sm1872[nm; [cf2]d [cf1]Moscow, ~[sm1956[nm). Russ. composer. Studied Moscow
 Cons. ~Prof. of comp., Moscow Cons. [sm1906[nm=n[sm41[nm, [sm1943[nm=n~[sm56[nm
. Wrote [sm5[nm operas (incl. [cf2]Christopher Columbus[cf1], ~[sm1933[nm), [sm5
[nm syms., symphonic poems, ballets, bala~~laika conc., [sm3[nm str. qts., songs
, etc.[cm~Vaudeville [fy75,1](Fr., either from [cf2]vaux de vire
 [cf1]or [cf2]voix ~de ville[cf1]). ([sm1[nm) In late [sm16[nmth cent., song wit
h amorous ~words as sung in the valleys ([cf2]vaux[cf1]) near Vire or ~catches s
ung in the streets of towns.[ep~^([sm2[nm) In [sm18[nmth cent., the term came to
 mean a song ~with different verses sung in turn by different ~singers, and this
 meaning was incorporated into ~operatic terminology, e.g. a `vaudeville finale'
, as ~in Mozart's [cf2]Die Entf=+=+;auuhrung aus dem Serail.[ep~[cf1]^([sm3[nm)
In [sm19[nmth cent., meant short comedies inter~~spersed with popular songs, as
in Fr. revues.[ep~^([sm4[nm) In late [sm19[nmth and [sm20[nmth cents., a synonym
 for a ~variety show or mus.-hall, particularly in USA.[cm~Vaughan, Denis [fy75,
1]([cf2]b [cf1]Melbourne, Victoria, [sm1926[nm). ~Australian cond., organist, an
d musicologist. ~Studied Melbourne Univ. and at RCM (org. with ~Thalben-Ball, db
. with E. Cruft). Org. and kbd. ~recitalist in Europe and USA [sm1948[nm=n[sm56[
nm. Played db. ~in Beecham's RPO from [sm1949[nm. Operatic work
at ~Glyndebourne, Munich, Bayreuth, and in It. Ass. ~cond. to Beecham [sm1954[nm
=n[sm7[nm. Made special study of ~Verdi's and Puccini's autographs, noting discr
ep~~ancies in printed scores, etc.[cm~Vaughan, Elizabeth [fy75,1]([cf2]b [cf1]Ll
anfyllin, Montgomery, ~[sm1937[nm). Welsh soprano. Studied RAM (with Olive ~Grov
es) and won [sm1959[nm Ferrier schol. Sang ~Abigaille with WNO [sm1960[nm. CG d;
aaebut [sm1961[nm, where ~she has sung Mimi, Tosca, Li;agu, Tytania, and ~Violet
ta. NY Met. d;aaebut [sm1972[nm (Donna Elvira). A ~particularly fine Butterfly.[
cm~Vaughan Williams, Ralph [fy75,1]([cf2]b [cf1]Down Ampney, ~Glos., [sm1872[nm;
 [cf2]d [cf1]London, [sm1958[nm). Eng. composer, ~cond., and organist. Studied a
t Cambridge Univ. ~and RCM, teachers incl. Parry, Charles Wood, ~Alan Gray, and
Stanford; later in Ger. with Bruch ~and in Paris [sm1908[nm with Ravel. Organist
, St ~Barnabas, S. Lambeth, [sm1897[nm. Began collecting ~Eng. folk-songs [sm190
2[nm. Mus. ed., [cf2]English Hymnal[cf1], ~[sm1906[nm. Cond. Lei
th Hill (Dorking) Fest., [sm1905[nm=n[sm53[nm. ~Prof. of comp. RCM [sm1919[nm=n[
sm39[nm. Cond., Bach Choir, ~London, [sm1920[nm=n[sm7[nm. O.M. [sm1935[nm.[ep~^O
ne of leaders, with Holst and others, of [sm20[nmth-~cent. revival of Eng. mus.
in wake of Elgar. Early ~works mainly songs, such as the famous [cf2]Linden ~Lea
 [cf1]and [cf2]Silent Noon[cf1], and chamber mus. Deeply ~influenced by revival
of interest in Eng. [sm16[nmth-~cent. composers and by his own folk-song ~collec
ting. Studied for [sm3[nm months with Ravel when ~[sm36[nm and thereafter produc
ed series of major works, ~incl. [cf2]Fantasia on a Theme by Thomas Tallis [cf1]
for str., ~[cf2]On Wenlock Edge[cf1], song-cycle on Housman's ~`Shropshire Lad'
poems, and [cf2]A London Symphony ~[cf1]([sm1913[nm). Served in [sm1914[nm=n[sm1
8[nm war although over ~military age and after war was active in every ~phase of
 Eng. mus. life as cond. of amateur choral ~[PN754,0,0,L,I0]fests., teacher, wri
ter, and of course composer. ~Lived at Dorking, Surrey, [sm1929[
nm=n[sm53[nm, then returned ~to London. Gave constant encouragement to ~young mu
sicians; had strong prejudices, about ~which he wrote entertainingly in various
essays.[ep~^Vaughan Williams's mus. is strongly individual, ~with the modal harm
onies characteristic of folk-~song composers, yet owing something to Fr. ~influe
nce of Ravel and Debussy. He wrote works ~in almost every genre, from operas and
 syms. to ~choral works for amateurs as well as for highly ~professional choirs,
 concs. for neglected instrs. ~such as harmonica and tuba, a suite for pipes, et
c. ~He believed that a composer should `make his art ~an expression of the whole
 life of the community', ~but he was paradoxically a very personal composer ~rat
her than a state laureate. His operas have not ~so far held the stage, except fo
r [cf2]Riders to the Sea[cf1], ~[cf1]but all are spasmodically revived, for they
 contain ~fine mus. His [sm9[nm syms. range from the choral [cf2]Sea ~Symphony [
cf1](Whitman text) and the picturesque ~[cf2]London [cf1]to the
programmatic [cf2]Antartica [cf1]and the ~sternly `absolute' Nos. [sm4[nm, [sm5[
nm, [sm6[nm, and [sm9[nm. A wide range ~of orch. colour is deployed in these wor
ks and in ~his large-scale choral works such as [cf2]Sancta Civitas. ~[cf1]The b
asis of his work is melody, rhythm ~sometimes being unsubtle, but its visionary
~quality, as in the masque [cf2]Job [cf1]and the [sm5[nmth and [sm9[nmth ~syms.,
 its broad humanity, and its appeal at ~several levels make it a remarkable expr
ession of ~the nat. spirit in mus. just as the man himself ~personified all that
 was best in the liberal [sm19[nmth-~cent. tradition of which he was a scion. Pr
in. ~works:[xm[cm~[ol0][ep~[xp[te~




[do42][j99]~~~~~~153842_V[sm002[nm[ep~[ep~[u1]~~~~153842[cmOxford Dictionary of
~Music[cmV[sm002[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[nm[cm[sm10[n
m[cm[sm046[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j2][smoperas[nm: [fy45,1]*[fy75,
2]Hugh the Drover [cf1]([sm1910[nm=n[sm14[nm, rev. [sm1924[nm and ~[sm1956[nm);
[cf2]The [fy45,1]*[fy75,2]Shepherds of the Delectable Mountains ~[cf1]([sm1921[n
m=n[sm22[nm); [fy45,1]*[fy75,2]Sir John in Love [cf1]([sm1924[nm=n[sm8[nm); [fy4
5,1]*[fy75,2]Riders to ~the Sea [cf1]([sm1925[nm=n[sm32[nm); [cf2]The [fy45,1]*[
fy75,2]Poisoned Kiss [cf1]([sm1927[nm=n[sm9[nm, ~rev. [sm1934[nm=n[sm7[nm, [sm19
56[nm=n[sm7[nm); [cf2]The [fy45,1]*[fy75,2]Pilgrim[cf1]'[cf2]s Progress ~[cf1]([
sm1925[nm=n[sm36[nm, [sm1944[nm=n[sm51[nm).[ep~[smorch[nm: [cf1]Symphonies[cf1]:
[cf2] A [fy45,1]*[fy75,2]Sea Symphony[cf1], sop., bar., ~ch., and orch. ([sm1903
[nm=n[sm9[nm), [cf2]A [fy45,1]*[fy75,2]London Symphony ~[cf1]([sm1911[nm=n[sm13[
nm), [cf2]A [fy45,1]*[fy75,2]Pastoral Symphony [cf1]([sm1916[nm=
n[sm21[nm), No. ~[sm4[nm in F minor ([sm1931[nm=n[sm4[nm), No. [sm5[nm in D ([sm
1938[nm=n[sm43[nm), ~No. [sm6[nm in E minor ([sm1944[nm=n[sm7[nm), [fy45,1]*[fy7
5,2]Sinfonia Antartica ~[cf1]([sm1949[nm=n[sm52[nm), No. [sm8[nm in D minor ([sm
1953[nm=n[sm5[nm), No. [sm9[nm in ~E minor ([sm1956=n7[nm, rev. [sm1958[nm); [cf
2]In the Fen Country ~[cf1]([sm1904[nm, rev. [sm1905[nm, [sm1907[nm, [sm1908[nm,
 [sm1935[nm); [fy45,1]*[fy75,2]Norfolk ~Rhapsody [cf1]([sm1906[nm, rev. [cf2]c.[
cf1][sm1921[nm); Aristophanic Suite, ~[cf2]The [fy45,1]*[fy75,2]Wasps [cf1]([sm1
909[nm, orig. incidental mus.); ~[fy45,1]*[fy75,2]Fantasia on a Theme by Thomas
Tallis[cf1], str. qt. and ~double str. orch. ([sm1910[nm, rev. [sm1913[nm, [sm19
19[nm); ~[cf2]Charterhouse Suite [cf1]([sm1923[nm, orch. of [sm6[nm pf. pieces);
 ~[cf2]English Folk Songs[cf1], suite for military band ([sm1923[nm, ~arr. full
orch. Jacob [sm1942[nm, brass band Jacob ~[sm1956[nm); [cf2]Sea Songs [cf1]([sm1
942[nm, version of march for ~bands [sm1923[nm); [cf2]The Runnin
g Set [cf1]([sm1933[nm); [fy45,1]*[fy75,2]Fantasia ~on Greensleeves [cf1](arr. f
rom [cf2]Sir John in Love[cf1] by ~Greaves, [sm1934[nm); [cf2][sm2[nm Hymn-Tune
Preludes [cf1]([sm1936[nm); ~[fy45,1]*[fy75,2]Serenade to Music [cf1]([sm1940[nm
, orch. version of ch. ~work); [cf2]Partita[cf1], double str. orch. ([sm1946[nm=
n[sm8[nm); [cf2][sm5[nm ~[cf2]Variants of [fy45,1]*[fy75,2]Dives and Lazarus, [c
f1]str. and harps ~([sm1939[nm); Suite, [cf2]Story of a Flemish Farm [cf1]([sm19
45[nm; see ~Film Music); [cf2]Concerto grosso[cf1], str. ([sm1950[nm); [cf2]Prel
ude ~on an old carol tune [cf1]([sm1953[nm); [cf2]Prelude on [sm3[nm Welsh ~Hymn
 Tunes[cf1], brass band ([sm1954[nm); [cf2]Variations[cf1], brass ~band ([sm1957
[nm; arr. for orch. Jacob [sm1959[nm); [cf2]Flourish ~for Glorious John [cf1]([s
m1957[nm, `Glorious John' being ~affectionate name for [fy45,1]*[fy75,1]Barbirol
li).[ep~[smconcertos[nm, etc: [cf2]The [fy45,1]*[fy75,2]Lark Ascending[cf1], Rom
ance, vn. ~and orch. ([sm1914[nm, rev. [sm1920[nm); [fy45,1]*[fy
75,2]Flos Campi[cf1], suite ~for va., ch., and orch. ([sm1925[nm); vn. conc. in
D ~minor, with str. ([sm1924[nm=n[sm5[nm); pf. conc. in C ([sm1926[nm=n~[sm31[nm
, rev. [sm1946[nm for [sm2[nm pf. with some new material); ~[cf2]Suite [cf1]for
va. and small orch. ([sm1934[nm); ob. conc. in ~A minor, with str. ([sm1943[nm=n
[sm4[nm); [cf2]Fantasia on Old ~[sm104[nmth Psalm Tune[cf1], pf., ch., and orch.
 ([sm1949[nm); ~[cf2]Romance [cf1]in D;Yh, harmonica, str., pf. ([sm1951[nm); tu
ba ~conc. in F minor ([sm1954[nm).[ep~[smballets,[nm etc: [fy45,1]*[fy75,2]Old K
ing Cole[cf1], with optional ch. ~([sm1923[nm, also suite); [cf2]On Christmas Ni
ght[cf1], masque ~([sm1925[nm=n[sm6[nm); [fy45,1]*[fy75,2]Job[cf1],[cf2] a Masqu
e for Dancing [cf1]([sm1927[nm=n[sm30[nm); ~[cf2]The Bridal Day[cf1], masque ([s
m1938[nm=n[sm9[nm, rev. [sm1952[nm=n[sm3[nm); ~[cf2]The First Nowell[cf1], nativ
ity play for soloists, ch., ~orch. ([sm1958[nm).[ep~[smchorus and orch[nm: [fy45
,1]*[fy75,2]Toward the Unknown Region ~[cf1]([sm1905[nm=n[sm7[nm
); [cf2]A [fy45,1]*[fy75,2]Sea Symphony[cf1];[cf2] [sm5[nm Mystical Songs[cf1],
~bar., optional ch., and orch. ([sm1911[nm); [fy45,1]*[fy75,2]Fantasia on ~Chris
tmas Carols[cf1], bar., ch., and orch. ([sm1912[nm); ~[cf2]Lord[cf1],[cf2] Thou
hast been our refuge [cf1]([sm1921[nm); [fy45,1]*[fy75,2]Sancta ~Civitas[cf1], t
en., bar., ch., orch. ([sm1923[nm=n[sm5[nm); [fy45,1]*[fy75,2]In ~Windsor Forest
 [cf1](cantata from [fy45,1]*[fy75,2]Sir John in Love[cf1]) ~([sm1931[nm); [fy45
,1]*[fy75,2]Benedicite[cf1], sop., ch., orch. ([sm1929[nm); [cf2]The ~[sm100[nmt
h Psalm [cf1]([sm1929[nm); [cf2]Magnificat[cf1], cont., fl.,[fj~women's ch., orc
h. ([sm1932[nm); [fy45,1]*[fy75,2]Five Tudor Portraits[cf1], ~choral suite, mez.
, bar., ch., orch. ([sm1935[nm); [fy45,1]*[fy75,2]Dona ~nobis pacem[cf1], sop.,
bar., ch., orch. ([sm1936[nm); [cf2]Festival ~Te Deum [cf1]([sm1937[nm); [fy45,1
]*[fy75,2]Serenade to Music [cf1]([sm1938[nm); ~[cf2]Epithalamion[cf1], bar., ch
., orch. ([sm1957[nm, based on ~[cf2]Bridal Day[cf1]); [cf2]Than
ksgiving for Victory[cf1], sop., ~speaker, ch., orch. ([sm1944[nm); [cf2]An [fy4
5,1]*[fy75,2]Oxford Elegy[cf1], ~speaker, ch., orch. ([sm1949[nm); [cf2]Folk Son
gs of the [sm4[nm ~Seasons[cf1], women's ch. and orch. ([sm1949[nm); [cf2]The So
ns ~of Light [cf1]([sm1950[nm); [cf2]The Old [sm100[nmth Psalm Tune [cf1]([sm195
3[nm); ~[fy45,1]*[fy75,2]Hodie [cf1]([cf2]This Day[cf1]), Christmas cantata, sop
., ten., ~bar., ch., and orch. ([sm1953[nm=n[sm4[nm).[ep~[smvocal[nm: [cf2][sm3[
nm Elizabethan Songs [cf1]([sm1890[nm=n[sm1902[nm); [cf2][sm5[nm English ~Folk S
ongs [cf1]([sm1913[nm); [cf2]O clap your hands [cf1]([sm1920[nm); [cf2]O vos ~om
nes [cf1]([sm1922[nm); Mass in G minor, unacc. double ~ch. ([sm1920[nm=n[sm1[nm)
; [cf2]Services [cf1]in D minor ([sm1939[nm); [cf2][sm6[nm ~Choral Songs in time
 of War [cf1]([sm1940[nm); [cf2]Valiant for ~Truth [cf1]([sm1940[nm); [cf2]The S
ouls of the Righteous [cf1]([sm1947[nm); ~[cf2]Prayer to the Father of Heaven [c
f1]([sm1948[nm); [cf2][sm3[nm Shakespeare ~Songs [cf1]([sm1951[n
m); [cf2]O taste and see [cf1]([sm1952[nm); [cf2]Silence and ~Music [cf1]([sm195
3[nm); [cf2]Heart[cf1]'[cf2]s Music [cf1]([sm1954[nm); [cf2]A [fy45,1]*[fy75,2]V
ision of ~Aeroplanes [cf1]([sm1956[nm); and many folk-song arrs.[ep~[smvoice and
 ensemble[nm: [fy45,1]*[fy75,2]On Wenlock Edge[cf1], ten., str. ~qt., pf. ([sm19
08[nm=n[sm09[nm); [cf2][sm4[nm Hymns[cf1], ten., pf., va. (or str. ~and va.) ([s
m1914[nm); [cf2]Merciless Beauty[cf1], v. and str. trio ~or pf. ([sm1921[nm).[ep
~[smsongs[nm (excluding above): [fy75,2]Linden Lea [cf1]([sm1901[nm); [cf2]Silen
t ~Noon [cf1]([sm1903[nm); [cf2]Orpheus with his lute [cf1]([sm1901[nm and new ~
setting [sm1925[nm); [cf2]The House of Life[cf1], [sm6[nm Rossetti ~sonnets, v.
and pf. ([sm1903[nm); [fy45,1]*[fy75,2]Songs of Travel[cf1], [sm9[nm ~Stevenson
poems for v. and pf. ([sm1904[nm, [sm3[nm orch. by ~[PN755,0,0,R,I0]composer [sm
1905[nm, rest by R. Douglas [sm1960[nm); ~[cf2]Dreamland [cf1]([sm1905[nm); [cf2
]Buonaparty [cf1]([sm1908[nm); [cf2][sm2[nm Poems by ~Seumas O[c
f1]'[cf2]Sullivan [cf1]([sm1925[nm); [cf2][sm3[nm Songs from Shakespeare ~[cf1](
[sm1925[nm); [cf2][sm4[nm Poems by Fredegond Shove [cf1]([sm1925[nm); [cf2][sm3[
nm ~Poems by Whitman [cf1]([sm1925[nm); [cf2]Along the Field[cf1], [sm8[nm ~Hous
man songs, v. and vn. ([sm1926[nm); [cf2][sm7[nm Songs from ~[cf1]`[cf2]The Pilg
rim[cf1]'[cf2]s Progress[cf1]' ([sm1952[nm); [cf2]In the Spring ~[cf1]([sm1952[n
m); [cf2][sm10[nm Blake Songs[cf1], v. and ob. ([sm1957[nm); [cf2][sm3[nm ~Vocal
ises[cf1], sop. and cl. ([sm1958[nm); [cf2][sm4[nm Last Songs [cf1]v. and ~pf. (
[sm1954[nm=n[sm8[nm); and many folk-song arrs.[ep~[smchamber music[nm: Str. Qts.
: No. [sm1[nm in G minor ([sm1908[nm, ~rev. [sm1921[nm), No. [sm2[nm in A minor
([sm1942[nm=n[sm4[nm); [fy75,2]Phantasy ~Quintet [cf1]([sm1912[nm); [cf2]Suite d
e Ballet[cf1], fl. and pf. ([sm1920[nm); ~[cf2][sm6[nm Studies in English Folk-S
ong[cf1], vc. (or vn., va., cl.) ~and pf. ([sm1926[nm); [cf2]Suite for Pipes [cf
1]([sm1938[nm=n[sm9[nm); [cf2]Household ~Music[cf1], str. qt. or
 alternatives ([sm1940[nm=n[sm1[nm); vn. sonata ~in A minor ([sm1954[nm).[ep~[sm
piano[nm: [cf2]Suite of [sm6[nm short Pieces [cf1]([sm1920[nm, arr. for str. as
~[cf2]Charterhouse Suite[cf1]); [cf2]Hymn-Tune Prelude on [cf1]`[cf2]Song ~[sm13
[nm[cf1]'[cf2] by O. Gibbons [cf1]([sm1928[nm); [cf2][sm6[nm Teaching Pieces [cf
1]([sm1934[nm); ~[cf2]Introduction and Fugue [cf1]([sm2[nm pf.) ([sm1946[nm); [c
f2]The lake in ~the mountains [cf1]([sm1947[nm).[ep~[smorgan[nm: [cf2][sm3[nm Pr
eludes on Welsh Hymn-Tunes [cf1]([sm1920[nm); ~[cf2]Prelude and Fugue [cf1]in C
minor ([sm1930[nm); [cf2]Wedding ~Tune for Ann [cf1]([sm1943[nm); [cf2][sm2[nm O
rgan Preludes [cf1]([sm1956[nm).[ep~[smfilm music[nm: [cf2][sm49[nmth Parallel [
cf1]([sm1940[nm=n[sm1[nm); [cf2]Coastal Com~~mand [cf1]([sm1942[nm); [cf2]The Pe
ople[cf1]'[cf2]s Land [cf1]([sm1941[nm=n[sm2[nm); [cf2]The ~Flemish Farm [cf1]([
sm1943[nm); [cf2]Stricken Peninsula [cf1]([sm1944[nm); ~[cf2]The Loves of Joanna
 Godden [cf1]([sm1946[nm); [cf2]Scott of the ~Antarctic [cf1]([s
m1947[nm=n[sm8[nm); [cf2]Dim Little Island [cf1]([sm1949[nm); [cf2]Bitter ~Sprin
gs [cf1]([sm1950[nm); [cf2]The England of Elizabeth [cf1]([sm1955[nm); ~[cf2]The
 Vision of William Blake [cf1]([sm1957[nm).[cm~[j1]Vautor, Thomas [fy75,1]([cf2]
b c.[cf1][sm1580[nm). Eng. composer, one ~of last of madrigal sch. Pubd. madriga
l coll., ~[sm1619[nm, for vv. and viols., incl. [cf2]Sweet Suffolk Owl.[cm~Vazso
nyi, B;aaalint [fy75,1]([cf2]b [cf1]Budapest, [sm1936[nm). Hung. ~pianist and wr
iter. Studied Liszt Acad., Budapest, ~Vienna Acad. [sm1957[nm=n[sm8[nm, and Flor
ida State Univ. ~[sm1960[nm. D;aaebut Budapest [sm1948[nm. Soloist with leading
~orchs. Author of books on Dohn;aaanyi and Schu~~mann's pf. mus. Settled in Lond
on.[cm~Vc. [fy75,1]Short for violoncello.[cm~Veasey, Josephine [fy75,1]([cf2]b [
cf1]Peckham, London, [sm1930[nm). ~Eng. mez. Studied with Audrey Langford and ~s
ang in CG chorus [sm1949[nm=n[sm50[nm. CG d;aaebut as soloist ~[sm1955[nm (Sheph
erd Boy in [cf2]Tannh;auauser[cf1]=+). Sang major ~Wagner roles
at CG under Solti r;aaegime, also ~Dorabella, Berlioz's Dido, Eboli, Oktavian, a
nd ~Herodias. Glyndebourne [sm1969[nm ([cf2]Werther[cf1]=+). NY Met. ~[sm1968[nm
. Created Emperor in Henze's [cf2]We Come to the ~River[cf1], CG [sm1976[nm. Suc
cessful career on concert-~platform in Verdi [cf2]Requiem[cf1], Berlioz's [cf2]N
uits d';aaEt;aae[cf1], ~etc. Retired from opera [sm1982[nm.[cm~Vecchi, Orazio [f
y75,1]([cf2]b [cf1]Modena, [sm1550[nm; [cf2]d [cf1]Modena, ~[sm1605[nm). It. com
poser and priest. Choirmaster, ~Modena Cath., [sm1584[nm[sm=n6[nm and [sm1593[nm
=n[sm1605[nm, and court ~choirmaster there from [sm1598[nm. Wrote madrigals, ~ma
sses, motets. His [cf2]L[cf1]'[fy45,1]*[fy75,2]Amfiparnaso[cf1], comp. [sm1594[n
m ~and prod. Modena [sm1594[nm, is the first known ~example of a madrigal-comedy
.[cmVega, Aurelio de la [fy75,1]([cf2]b [cf1]Havana, [sm1925[nm). Cuban-~born Am
er. composer. Studied music privately ~[sm1942[nm=n[sm6[nm in Havana and [sm1947
[nm=n[sm9[nm with [fy45,1]*[fy75,1]Toch in ~Calif. and at Havana
 Institute [sm1950[nm=n[sm5[nm. Dean of ~mus. sch., Oriente Univ., Santiago de C
uba, [sm1953[nm=n~[sm9[nm. Dir., elec. studio, San Fernando Valley State ~Coll.,
 Calif., from [sm1960[nm. Mus. critic in Havana ~[sm1950[nm=n[sm7[nm. Style has
progressed from influence of ~Berg to that of Boulez, and later to [cf2]avant-ga
rde. ~[cf1]Works incl. [cf2]Overture to a Serious Farce [cf1]([sm1950[nm), str.
~qt. in memory of Berg, woodwind quintet, ~Symphony, [cf2]Vectors [cf1](mono tap
e), [cf2]Interpolation[cf1], cl. ~and tape, [cf2]Toccata [cf1]for pf., etc.[cm~V
;aaegh, S;aaandor [fy75,1]([cf2]b [cf1]Koloszv;aaar, [sm1905[nm). Hung. violin~~
ist. Studied in Budapest. Founded Hungarian Trio ~[sm1931[nm, founder and [sm2[n
mnd vn. Hungarian Qt. [sm1935[nm. ~Prof. of vn., Budapest Hochschule [sm1940[nm;
 founder ~and leader V;aaegh Qt. [sm1940[nm. Left Hung. [sm1946[nm, ~teaching in
 Switz. and Ger. V;aaegh Qt. famous for ~Bart;aaok interpretations. Has given so
me of the ~most successful televised [fy45,1]*[fy75,1]master cla
sses.[cm~Veloce, velocemente [fy75,1](It., superlatives [cf2]velocissimo[cf1],[c
f2] ~velocissimamente[cf1]). With speed, very fast.[cm~Venetian Games [fy75,1]([
cf2]Gry weneckie[cf1];[cf2] Jeux ven;aaetiens[cf1]). ~Work for orch. by [fy45,1]
*[fy75,1]Lutos;Umawski, comp. [sm1960[nm=n[sm1[nm. ~First in which he used [fy45
,1]*[fy75,1]aleatory procedures.[cm~Venice. [fy75,1]Italian city, capital of reg
ion of Veneto. ~Its importance as a musical centre dates from ~[sm1527[nm when t
he Netherlands composer [fy45,1]*[fy75,1]Willaert ~was appointed choirmaster of
S. Marco Cath. ~Through his influence, Venice became centre of ~madrigal composi
tion in private houses and ~academies. Under Zarlino, choirmaster from ~[sm1564[
nm, an instr. ens. was formed ([sm1568[nm) which, ~augmented, performed at large
 fests. Use of choral ~and instr. forces by dividing them into groups ~placed in
 different galleries of the cath. ([cf2]cori ~spezzati[cf1]=+=+) led to the domi
nating splendour of ~Venetian church mus. [sm1575[nm=n[sm1610[nm
, notably under ~G. [fy45,1]*[fy75,1]Gabrieli and A. [fy45,1]*[fy75,1]Gabrieli.
In [sm1612[nm [fy45,1]*[fy75,1]Monte-[fj~verdi was appointed choirmaster and rem
ained ~for [sm30[nm years. He revivified the city's musical life, ~introducing y
ounger composers, e.g. Cavalli and ~Grandi. The plague of [sm1630[nm ended the d
ominance ~of S. Marco in Venetian music-making and the ~balance was tipped towar
ds operas, of which ~Monteverdi provided several masterly examples ~and was foll
owed by Cavalli. Refusal of the ~authorities after [sm1642[nm to raise the salar
y of the ~choirmaster led to a decline in standard, halted ~only by Legrenzi, wh
o achieved an increase in ~the size of the choir and orch. (to [sm36[nm and [sm3
4[nm ~respectively).[ep~^After [sm1700[nm Venetian musicians made their ~living
in the [cf2]ospedali[cf1], charitable institutions for ~the sick and orphaned wh
ere mus. was taught ~and perf. in the chapels. From this milieu arose ~the next
great sch. of Venetian composers, ~Vivaldi, Porpora, Sarti, Galu
ppi, Jommelli, and ~Albinoni. Visitors to Venice included Gasparini, ~A. Scarlat
ti, and Handel.[ep~[PN756,0,0,L,I0]^Galuppi excelled in [cf2]opera buffa[cf1] an
d collab. with ~the playwright Goldoni from [sm1749[nm. Opera thrived ~again aft
er the opening of the Teatro La [fy45,1]*[fy75,1]Fenice ~in [sm1792[nm with a wo
rk by Paisiello. No Venetian ~sch. now existed, but f.ps. were given at La Fenic
e ~of operas by Cimarosa, Rossini ([cf2]Tancredi[cf1], [sm1813[nm), ~Meyerbeer (
[cf2]Il Crociato in Egitto[cf1], [sm1824[nm), Bellini ([cf2]I ~Capuleti e i Mont
ecchi[cf1], [sm1830[nm), and Donizetti ([cf2]Maria ~di Rudenz[cf1], [sm1838[nm).
 Several Verdi operas were ~commissioned for La Fenice, notably [cf2]La Traviata
[cf1], ~[sm1853[nm.[ep~^In the [sm20[nmth cent. La Fenice has been the ~birthpla
ce of Dallapiccola's [cf2]Marsia[cf1] ([sm1948[nm), Stravin~~sky's [cf2]The Rake
's Progress[cf1] ([sm1951[nm), Britten's [cf2]The Turn ~of the Screw[cf1] ([sm19
54[nm), Prokofiev's [cf2]The Fiery Angel[cf1] ~([sm1955[nm), Non
o's [cf2]Intolleranza[cf1] ([sm1960[nm), and Bussotti's ~[cf2]Lorenzaccio[cf1] (
[sm1973[nm). It has also staged the Venetian ~Malipiero's operas. These operas w
ere given at the ~annual fest. of contemporary mus. held between ~[sm1948[nm and
 [sm1973[nm. Stravinsky also comp. several ~choral and instr. works for Venice [
sm1956[nm=n[sm60[nm and ~was buried there near [fy45,1]*[fy75,1]Diaghilev. The f
ascination ~of Venice for composers is epitomized by Britten's ~opera [cf2]Death
 in Venice[cf1] ([sm1973[nm) and it was in Venice ~that the dying composer wrote
 some of his [sm3[nmrd ~str. qt. ([sm1975[nm). And not the least of Venice's cla
ims ~to musical fame is that Richard Wagner died ~there on [sm13[nm Feb., [sm188
3[nm.[cm~Veni Creator Spiritus [fy75,1](Come Holy Ghost). ~Whitsuntide hymn gene
rally attrib. Hrabanus ~Maurus, [sm9[nmth-cent. Archbishop of Mainz, and sung ~l
iturgically to harmonized adaptation of plain~~song melody. Set by several compo
sers. Mahler's ~setting for soloists, ch., and orch. forms Part
I of ~his [sm8[nmth Sym. ([sm1906[nm=n[sm7[nm).[xm[cm~[j1]Veni Sancte Spiritus [
fy75,1](Come Holy Spirit). [fy45,1]*[fy75,1]Se~~quence of R. C. liturgy for Whit
sunday sung to ~traditional plainsong. Text ascribed to Pope ~Innocent III and S
tephen Langton. Settings ~include those by Dufay, Despr;ages, Willaert, Pales~~t
rina, and Victoria.[cm~Venite [fy75,1](Come). Ps. [sm95[nm (Ps. [sm94[nm in Vulg
ate) chanted ~as canticle at Anglican matins to words `O come, ~let us sing unto
 the Lord'. Settings by several ~composers, incl. Mendelssohn.[cm~Vent [fy75,1](
Fr.). Wind. [cf2]Instruments ;aga vent[cf1], wind ~instruments.[cm~Ventil [fy75,
1](Ger.), [fy65][cf3]Ventile [fy75,1](It.). Valve. [cf2]Ventilhorn ~[cf1](Ger.),
 [cf2]corno ventile [cf1](It.), valve horn.[cm~Venus and Adonis. [fy75,1]Opera i
n prol. and [sm3[nm acts by ~[fy45,1]*[fy75,1]Blow to lib. by unknown author. Pr
od. London ~[cf2]c.[cf1][sm1684[nm. Revived Glastonbury [sm1920[nm, Cambridge, ~
Mass., [sm1941[nm.[cm~V;afepres Siciliennes, Les [fy75,1](The Si
cilian Vespers). ~Opera in [sm5[nm acts by Verdi to Fr. lib. by Scribe and ~Duve
yrier, comp. [sm1854[nm, prod. Paris [sm1855[nm, London ~and NY [sm1859[nm. Tran
s. into It. as [cf2]I vespri siciliani. ~[cf1]Lib. was orig. written by Scribe f
or Donizetti, ~[sm1839[nm, as [cf2]Le duc d[cf1]'[cf2]Albe [cf1](prod. [sm1882[n
m).[cm~Veracini, Francesco Maria [fy75,1]([cf2]b [cf1]Florence, [sm1690[nm; [cf2
]d ~[cf1]Florence, [sm1768[nm). It. violinist and composer. D;aaebut ~Venice [sm
1711[nm. In Dresden [sm1717[nm=n[sm22[nm where high ~salary caused resentment am
ong other musicians. ~Visited London [sm1714[nm, [sm1733[nm=n[sm8, 1741[nm=n[sm5
[nm. His [sm4[nm ~operas incl. [cf2]La Clemenza di Tito[cf1] (perf. in London, ~
[sm1737[nm). Wrote oratorios, cantatas, over [sm40[nm vn. ~sonatas, songs, and c
hurch music. One of finest ~violinists of his time, with interest in special ~ef
fects and with a romantic streak.[cm~Verbrugghen, Henri [fy75,1]([cf2]b [cf1]Bru
ssels, [sm1873[nm; [cf2]d [cf1]North~~field, Minn., [sm1934[nm).
 Belg. violinist and cond. ~Studied Brussels Cons. with Ysa;auye, Hubay, and ~Ge
vaert. Member, Scottish Orch. [sm1893[nm, Lamou~~reux Orch., Paris, [sm1894[nm=n
[sm5[nm. Leader, Queen's Hall ~Orch., [sm1902[nm=n[sm5[nm, Scottish Orch. from [
sm1903[nm. Cond., ~summer concerts Llandudno [sm1895[nm=n[sm7[nm, Colwyn ~Bay [s
m1898[nm=n[sm1902[nm. Cond., Glasgow Choral Union ~[sm1911[nm. Dir., State Cons.
 of N.S.W., Sydney, and ~cond., Sydney S.O. [sm1915[nm=n[sm22[nm. Cond. Minneapo
lis ~S.O. [sm1923[nm=n[sm31[nm. Soloist in f. Eng. p. of  Sibelius's vn. ~conc.,
 London, [sm1907[nm, cond. Wood.[cm~Verbunkos. [fy75,1]Hung. soldiers' dance, us
ed from [cf2]c[cf1]. ~[sm1775[nm to attract recruits for the army. Danced, to ~g
ipsy mus., by uniformed hussars. Survived after ~introduction of conscription in
 [sm1849[nm as cere-[fj~monial dance with two or more sections, similar ~to thos
e of [fy45,1]*[fy75,1]csard;aaas. Used by Liszt in his ~[fy45,1]*[fy75,2]Hungari
an Rhapsody No. [sm2[nm[cf1], and by Bart;aaok and ~Kod;aaaly.[c
m~Verdelot, Philippe [fy75,1]([cf2]b [cf1]Verdelot, Orange, ?[sm1470[nm=n~[sm80[
nm; [cf2]d [cf1]before [sm1552[nm). Fr. composer. Spent most of ~his life in It.
 Choirmaster in Florence from [sm1522[nm, ~part of time at cath. Visited Rome [s
m1523[nm. Wrote ~much church mus. but best known for madrigals, ~composed before
 first madrigal publications [cf2]c[cf1]. ~[sm1530[nm.[cm~Verdi, Giuseppe [fy75,
1](Fortunino Francesco) [cf1]([cf2]b [cf1]Le ~Roncole, nr. Busseto, Parma, [sm18
13[nm; [cf2]d [cf1]Milan, ~[sm1901[nm). It. composer. Son of innkeeper. Taught b
y ~local organist. Local grocer, who liked mus., ~recognized his mus. ability an
d offered to pay for ~him to go to Milan Cons., but authorities would ~not admit
 him, partly because of poor pf.-playing. ~Studied in Milan privately for [sm2[n
m years. Returned ~to Busseto, where he continued studies, directed ~town's mus.
 activities, and married grocer's ~daughter. Completed opera [cf2]Rocester [cf1]
(now lost) in ~[sm1836[nm, but [cf2]Oberto [cf1]was prod. at La
Scala, Milan, in ~[sm1839[nm with some success, followed by comic opera, ~[cf2]U
n giorno di regno [cf1]([sm1840[nm), a failure. Between [sm1838[nm ~and [sm1840[
nm, Verdi's wife and [sm2[nm children died. ~Prostrate with grief, vowed to aban
don comp., ~but was persuaded to compose [cf2]Nabucco [cf1]([sm1841[nm); its ~tr
iumphant success made him most prominent ~of young It. composers. Thereafter wro
te series of ~operas, some more successful than others at their ~premi;ageres, b
ut each eagerly sought by impres~~[charios. In [sm1847[nm he comp. [cf2]I [cf2]m
asnadieri [cf1]for Her ~Majesty's, London, with Jenny Lind and Lablache ~heading
 the cast. In [sm1849[nm he bought a farming ~[PN757,0,0,R,I0]estate at Sant' Ag
ata, near Busseto, to which he ~returned whenever possible. In the sensitive ~po
litical climate of [sm19[nmth-cent. It., Verdi's libs. (e.g. ~for [cf2]Rigoletto
[cf1],[cf2] Un ballo in maschera[cf1], etc.) frequently ~caused trouble with the
 censors, especially when ~they dealt with historical events whi
ch could be ~interpreted as referring to contemporary political ~events, Verdi's
 sympathies for It. independence ~from Austria being well known. In [sm1860[nm,
after ~the It. war of independence, he was elected a ~Deputy in first It. nat. p
arliament, resigning [sm5[nm ~years later. His next [sm3[nm operas were written
for ~perf. outside It., [cf2]La forza del destino [cf1]for St ~Petersburg, [sm18
62[nm, [cf2]Don Carlos [cf1]for Paris, [sm1867[nm, and ~[cf2]Aida [cf1]for Cairo
, [sm1871[nm. [sm16[nm years were to pass before ~the next opera, but in [sm1874
[nm the great [cf2]Requiem[cf1], ~comp. in memory of the poet Manzoni, was perf.
 ~in Milan. It was an immediate success. Verdi ~cond. [sm15[nm perfs. of it in P
aris in [sm1874[nm and [sm1875[nm, [sm4[nm ~in Vienna, and [sm3[nm in London. In
 [sm1879[nm, his ~publisher Ricordi suggested Shakespeare's [cf2]Othello ~[cf1]a
s an operatic subject, and [fy45,1]*[fy75,1]Boito, with whom ~Verdi's relations
had hitherto been cool, submit~~ted a draft lib. The work ([cf2]
Otello[cf1]) was f.p. in Milan ~in [sm1887[nm and was acclaimed as the supreme ~
achievement not only of its composer but of It. ~opera. In [sm1889[nm Boito sugg
ested a further collabo~~ration, on [cf2]Falstaff. [cf1]Its prod. at Milan in [s
m1893[nm, ~though a personal triumph, was not such a success ~as that of [cf2]Ot
ello [cf1]and it has taken until recent times ~for this masterpiece of comic ope
ra to become a ~popular favourite. In [sm1859[nm Verdi had married the ~sop. Giu
seppina Strepponi, with whom he had ~lived for a decade before that. Her death i
n [sm1897[nm ~marked the end of Verdi's composing career. He ~died at Sant' Agat
a, leaving most of his money to ~a home for elderly musicians which he had ~foun
ded in Milan.[ep~^Verdi's stature as one of the [sm2[nm or [sm3[nm greatest oper
a ~composers is unchallengeable. Though his tech~~nical mastery continually deve
loped and was ~refined, and his powers of characterization ~became more subtle a
nd expressive, the essential ~Verdi=mdirect, noble, and intense=
mremained ~unchanging from [cf2]Nabucco [cf1]to [cf2]Falstaff. [cf1]There was ~n
o `change of style' in [cf2]Otello[cf1]: the lib. drew from ~Verdi his greatest
mus., but it is still recognizably ~the work of the composer of [cf2]Il trovator
e [cf1]and ~[cf2]Simon Boccanegra. [cf1]In recent years the earlier works ~have
been revived and have revealed their ~considerable merits=mthe comic [cf2]Un gio
rno di ~regno[cf1], for example, is particularly fine. In operas ~like [cf2]Rigo
letto[cf1],[cf2] La traviata[cf1], and [cf2]Aida[cf1], Verdi put on ~to the stag
e operatic characters who are as real as ~the characters in Shakespeare. His [sm
3[nm Shakespeare ~operas are major achievements and his failure to ~compose [cf2
]King Lear[cf1], though he toyed with the ~idea for many years, must ever be reg
retted. Prin. ~works:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Oberto[cf1],[cf2]
 Conte di San Bonifacio [cf1]([sm1837[nm=n[sm8[nm); ~[cf2]Un [fy45,1]*[fy75,2]gi
orno di regno [cf1]([sm1840[nm); [fy45,1]*[fy75,2]Nabucco [cf1](
[sm1841[nm); [cf2]I ~[fy45,1]*[fy75,2]Lombardi alla prima crociata [cf1]([sm1842
[nm), adapted to ~Fr. lib. as [cf2]J;aaerusalem[cf1], with rev. and some new ~mu
s., [sm1847[nm; [fy45,1]*[fy75,2]Ernani [cf1]([sm1843[nm); [cf2]I [fy45,1]*[fy75
,2]due Foscari ~[cf1]([sm1843=n4[nm); [fy45,1]*[fy75,2]Giovanna d[cf1]'[cf2]Arco
 [cf1]([sm1844[nm); [cf2]Alzira ~[cf1]([sm1845[nm); [fy45,1]*[fy75,2]Attila [cf1
]([sm1845[nm=n[sm6[nm); [fy45,1]*[fy75,2]Macbeth [cf1]([sm1846[nm=n[sm7[nm, rev.
 ~[sm1865[nm); [cf2]I [fy45,1]*[fy75,2]masnadieri [cf1]([sm1846[nm=n[sm7[nm); [c
f2]Il [fy45,1]*[fy75,2]corsaro [cf1]([sm1847[nm=n~[sm8[nm); [cf2]La [fy45,1]*[fy
75,2]battaglia di Legnano [cf1]([sm1848[nm); [fy45,1]*[fy75,2]Luisa Miller ~[cf1
]([sm1849[nm); [fy45,1]*[fy75,2]Stiffelio [cf1]([sm1850[nm), adapted to new lib.
, ~with some new mus., as [fy45,1]*[fy75,2]Aroldo [cf1]([sm1856[nm=n[sm7[nm); ~[
fy45,1]*[fy75,2]Rigoletto [cf1]([sm1850=n1[nm); [cf2]Il [fy45,1]*[fy75,2]trovato
re [cf1]([sm1851[nm=n[sm2[nm, rev.[fj~[sm1857[nm); [cf2]La [fy45
,1]*[fy75,2]traviata [cf1]([sm1852=n3[nm); [cf2]Les [fy45,1]*[fy75,2]V;afepres s
ici~~liennes [cf1]([sm1854[nm); [fy45,1]*[fy75,2]Simon Boccanegra [cf1]([sm1856[
nm=n[sm7[nm, lib.[fjand mus. rev. [sm1880[nm=n[sm1[nm); [cf2]Un [fy45,1]*[fy75,2
]ballo in maschera ~[cf1]([sm1857[nm=n[sm8[nm); [cf2]La [fy45,1]*[fy75,2]forza d
el destino [cf1]([sm1861=n2[nm); [fy45,1]*[fy75,2]Don ~Carlos [cf1]([sm1866[nm,
rev. as [sm4[nm-act work, with some new ~music, [sm1882[nm=n[sm3[nm); [fy45,1]*[
fy75,2]Aida [cf1]([sm1870[nm); [fy45,1]*[fy75,2]Otello [cf1]([sm1884[nm=n[sm6[nm
); ~[fy45,1]*[fy75,2]Falstaff [cf1]([sm1889=n92[nm).[ep~[smchoral[nm: [cf2]Inno
delli nazioni [cf1](Hymn of the Nations), ~ten., ch., orch. ([sm1862[nm); [cf2]L
ibera me[cf1], sop., ch., orch. ~([sm1868[nm=n[sm9[nm, incorp. into [cf2]Requiem
[cf1], [sm1874[nm); [cf2]Pater ~Noster[cf1], unacc. ch.; [cf2]Ave Maria[cf1], so
p. and str. ~([sm1879[nm=n[sm80[nm); [cf2]Requiem [cf1]([sm1873[nm=n[sm4[nm); [f
y45,1]*[fy75,2]Quattro pezzi ~sacri: Ave Maria[cf1], unacc. ch.
([sm1888[nm=n[sm9[nm); [cf2]Stabat ~Mater[cf1], ch. and orch. ([sm1895[nm=n[sm7[
nm); [cf2]Laudi alla Vergine ~Maria[cf1], women's ch. ([sm1888[nm=n[sm9[nm); [cf
2]Te Deum[cf1], sop., ~ch., and orch. [cf1]([sm1895[nm=n[sm7[nm).[ep~[smchamber
music[nm: Str. Qt. in E minor ([sm1873[nm).[ep~[smsongs[nm: [cf2][sm6[nm Romance
s [cf1]([sm1838[nm); [cf2]L[cf1]'[cf2]esule [cf1](The Exile); [cf2]La ~seduzione
[cf1];[cf2] Notturno[cf1]:[cf2] Guarda che bianca luna ~[cf1](Nocturne: See the
pale moon) ([sm1839[nm); [cf2]Chi i bei ~di m[cf1]'[cf2]adduce ancora [cf1](Who
will bring back the ~beautiful days?) ([sm1842[nm); [cf2][sm6[nm Romances [cf1](
[sm1845[nm); [cf2]Il ~poveretto [cf1](The beggar) ([sm1847[nm); [cf2]Suona la tr
omba ~[cf1](Sound the trumpet) ([sm1848[nm); [cf2]L[cf1]'[cf2]Abandon;aaee [cf1]
(The ~forsaken woman) ([sm1849[nm); [cf2]Fiorellin che sorge ~appena [cf1](The l
ittle flower that rises) ([sm1850[nm); [cf2]La ~preghiera del poeta [cf1](The po
et's prayer) ([sm1858[nm); [cf2]Il ~brigidin [cf1](The rosette)
([sm1863[nm); [cf2]Tu dici che non m[cf1]'[cf2]ami ~[cf1](You say you do not lov
e me) ([sm1869[nm).[cm~[ol0][ep~[xp[te~











[do42][j99]~~~~~~153842_V[sm003[nm[ep~[u1]~~~~153842[cmOxford Dictionary of ~Mus
ic[cmV[sm003[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm25[nm/[sm10[nm/[sm79[nm[cm[sm10[nm[cm
[sm076[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Verdoppeln [fy75,1](Ger.). To dou
ble. [cf2]Verdoppelt[cf1], dou~~bled; [cf2]Verdoppelung[cf1], doubling.[cm~Verei
n [fy75,1](Ger.). Society, as in [cf2]Musikverein[cf1], mus. soc.[cm~Veress, S;a
aandor [fy75,1]([cf2]b [cf1]Kolozsv;aaar, [sm1907[nm). Swiss com~~poser of Hung.
 birth. Studied Budapest RAM ~[sm1924[nm=n[sm30[nm (pf. with Bart;aaok, comp. wi
th Kod;aaaly), ~later with Lajtha on folk mus. [sm1923[nm=n[sm35[nm. Helped ~Bar
t;aaok on folk mus. research [sm1937[nm=n[sm40[nm. Taught at ~Budapest State Aca
d. [sm1943[nm=n[sm8[nm. Teacher of comp., ~Berne Cons. from [sm1950[nm, prof. of
 musicology, ~Berne Univ. from [sm1968[nm (dir. of dept. from [sm1971[nm). ~Has
taught in USA and Australia and was a ~regular juror at Llangollen int. eisteddf
od. Works ~incl. ballet [cf2]The Magic Flute [cf1]([sm1937[nm),
vn. conc. ~([sm1939[nm), [cf2]Homage to Paul Klee[cf1], [sm2[nm pf., str., ([sm1
952[nm), pf. ~conc. ([sm1952[nm), Sym. ([sm1940[nm), [cf2]Sinfonia Minneapolitan
a ~[cf1]([sm1952[nm=n[sm4[nm), conc. for str. qt. and orch. ([sm1960[nm=n[sm1[nm
), [sm2[nm ~str. qts., [sm2[nm vn. sonatas, cl. trio ([sm1972[nm) etc.[cm~Verett
i, Antonio [fy75,1]([cf2]b [cf1]Verona, [sm1900[nm; [cf2]d [cf1]Rome, ~[sm1978[n
m). It. composer. Studied Bologna. Taught at ~Rome Cons. until [sm1943[nm. Dir.,
 Cons. Rossini, ~Pesaro, [sm1950[nm=n[sm2[nm, Cagliari Cons. [sm1953[nm=n[sm5[nm
, and ~Florence [sm1956[nm=n[sm70[nm. Wrote operas, ballets, [cf2]Sinfonia ~[PN7
58,0,0,L,I0]italiana [cf1]for orch. ([sm1929[nm), pf. conc. ([sm1949[nm), choral
 ~and chamber works, and film mus.[cm~Verhallend [fy75,1](Ger.). Dying away.[cm~
Verismo [fy75,1](It.). Realism. Term applied to `realistic' ~sch. of It. opera i
n which (following Zola in ~literature) subjects treated were usually contem~~po
rary and often sordid or down-to-earth, e.g. ~Mascagni's [cf2]Ca
valleria rusticana[cf1], Giordano's [cf2]Fedora[cf1], ~Puccini's [cf2]Il tabarro
[cf1], etc. But, like all such terms, it ~is imprecise and has acquired a slight
 pejorative ~tinge. Also, some [cf2]verismo [cf1]operas are not truly ~[cf2]veri
smo[cf1], and where does one draw the line=mis ~Verdi's [cf2]La traviata [cf1]no
t [cf2]verismo[cf1]? But the opera-~lover understands the Mascagni type of work
by ~this term.[cm~Verkl;auarte Nacht [fy75,1](Transfigured Night). Str. ~sextet
([sm2[nm vn., [sm2[nm va., [sm2[nm vc.) Op. [sm4[nm, by Schoenberg, ~based on po
em by Richard Dehmel (from [cf2]Weib ~und Welt[cf1]). Comp. [sm1899[nm. F.p. Vie
nna [sm1902[nm, f.p. in ~England [sm1914[nm. Version for str. orch. by Schoen~~b
erg [sm1917[nm, rev. [sm1943[nm. Used as mus. for [sm1[nm-act ballet ~[cf2]Pilla
r of Fire[cf1], choreog. A. Tudor, prod. NY Met. ~[sm1942[nm.[cm~Verlierend [fy7
5,1](Ger.). Losing itself, i.e. dying away.[cm~Verl;auoschend [fy75,1](Ger.). Ex
tinguished, i.e. dying ~away.[cm~Vermeer Quartet. [fy75,1]Amer.
str. qt. founded [sm1969[nm ~by its [sm1[nmst vn., Shmuel Ashkenasi, with [sm3[n
m colleagues ~from professorial staff N. Illinois Univ. Orig. ~members were Pier
re Menard ([sm2[nmnd vn.), Nobuko ~Imai (va., succeeded [sm1978[nm by Jerry Horn
er and ~[sm1980[nm by Bernard Zaslav), and Marc Johnson (vc.). ~First European t
our [sm1972[nm=n[sm3[nm. London d;aaebut [sm1974[nm.[cm~Vermeulen, Matthijs [fy7
5,1]([cf2]b [cf1]Helmond, [sm1888[nm; [cf2]d ~[cf1]Laren, [sm1967[nm). Dutch com
poser, studied with ~[fy45,1]*[fy75,1]Diepenbrock. Wrote on mus. for various pap
ers ~[sm1907[nm=n[sm56[nm. Based works on medieval techniques. ~Wrote [sm7[nm sy
ms., str. qt., [cf2]The Flying Dutchman [cf1]for ~orch., [cf2]The Soldier [cf1](
setting of Rupert Brooke), etc.[cm~Verne [fy75,1](orig. Wurm), [fy65][cf3]Adela
[fy75,1]([cf2]b [cf1]Southampton, ~[sm1877[nm; [cf2]d [cf1]London, [sm1952[nm).
Eng. pianist. Sister of ~Mathilde [fy45,1]*[fy75,1]Verne. After brilliant int. c
areer as ~pianist, taught at pf. sch. founded by sister.[cm~Vern
e [fy75,1](orig. Wurm), [fy65][cf3]Mathilde [fy75,1]([cf2]b [cf1]Southampton, ~[
sm1868[nm; [cf2]d [cf1]London, [sm1936[nm). Eng. pianist, pupil of ~Clara Schuma
nn. Organized chamber concerts in ~London. Founded sch. of pf.-playing in Kensin
g~~ton, pupils incl. [fy45,1]*[fy75,1]Solomon.[cm~V;aaeronique. [fy75,1]Operetta
 in [sm3[nm acts by Messager to lib. ~by Van Loo and Duval. Prod. Paris [sm1898[
nm, London ~[sm1903[nm, NY [sm1905[nm.[cm~Verrall, John [fy75,1](Weedon) ([cf2]b
 [cf1]Britt, Iowa, [sm1908[nm). ~Amer. composer. Studied Minneapolis Coll. of ~M
us. [sm1928[nm=n[sm31[nm, RCM, London, [sm1929[nm=n[sm30[nm (pf. with ~Merrick,
theory with Morris), Liszt Cons., Buda~~pest (comp. with Kod;aaaly), and Minneap
olis Univ. ~[sm1932[nm=n[sm4[nm. Later studied with Harris and Copland. ~Teacher
 at Washington Univ. from [sm1948[nm. Works ~incl. operas, [sm4[nm syms., pf. co
nc., va. conc., [sm7[nm str. ~qts., etc.[cm~Verrett, Shirley [fy75,1]([cf2]b [cf
1]New Orleans, [sm1931[nm). Amer. ~mez. capable of singing sop.
roles (e.g. Norma ~and Lady Macbeth). Studied Juilliard Sch. Recital ~d;aaebut N
Y [sm1958[nm, operatic d;aaebut Yellow Springs, ~Ohio, [sm1957[nm ([cf2]Rape of
Lucretia[cf1]), then NY City Opera ~[sm1958[nm under name Shirley Carter. Sang t
itle-role ~in [cf2]Carmen[cf1], Spoleto [sm1962[nm, and thereafter elsewhere ~wi
th much success. CG d;aaebut [sm1966[nm (Ulrica in [cf2]Un ~ballo in maschera[cf
1]). D;aaebut NY Met. [sm1968[nm as Carmen.[cm~Verschiebung [fy75,1](Ger.). Shov
ing away. Soft pedal.[cm~Verschwindend [fy75,1](Ger.). Disappearing, i.e. dying
~away.[cm~Verse. [fy75,1]([sm1[nm) Term used in Anglican church mus. ~meaning a
passage for solo v. (or several solo vv.) ~as contrasted with full ch., thus [cf
2]verse anthem[cf1], an ~anthem in which solo v. and full ch. are contrasted.[ep
~^([sm2[nm) Biblical verse in Gregorian chant.[cm~Verset [fy75,1](Fr.). Verse. S
hort org. piece, replacing ~sung verse of psalm in R. C. service.[cm~Versetzung
[fy75,1](Ger.). Transposition. [cf2]Versetzungs~~[chzeichen[cf1]
, accidental.[cm~Versicle. [fy75,1]In the Roman or Anglican service a ~short ver
se spoken or chanted by the priest and ~responded to by the congregation (or ch.
).[cm~Verstovsky, Alexey [fy75,1](Nikolayevich) [cf1]([cf2]b [cf1]Seliver~~stovo
, [sm1799[nm; [cf2]d [cf1]Moscow, [sm1862[nm). Russ. composer. ~Studied in St Pe
tersburg. Official of Imperial ~Opera, Moscow, from [sm1825[nm, becoming dir. of
 all ~Moscow theatres [sm1842[nm=n[sm60[nm. Wrote operas which ~were eclectic fo
rerunners of Russ. nationalist ~style, particularly the once-popular [cf2]Askold
[cf1]'[cf2]s Tomb ~[cf1]([sm1835[nm).[cm~Verzierungen [fy75,1](Ger.). Embellishm
ents.[cm~Vesalii Icones [fy75,1](Images of Vesalius). Th. piece by ~[fy45,1]*[fy
75,1]Maxwell Davies for dancer, solo vc., and ens. ~(incl. motor horn, anvil, sa
ucepan, knife-grinder, ~out-of-tune pf.). Comp. [sm1969[nm. F.p. London [sm1969[
nm, ~cond. composer. Its [sm14[nm dances are based on the ~anatomical drawings b
y the physician Vesalius in ~his [cf2]De humani corporis fabrica
 [cf1]([sm1543[nm), with the [sm14[nm ~Stations of the Cross superimposed on the
 Vesalian ~images.[cm~Vesperae Solennes de Confessore [fy75,1](Solemn Ves~~pers
of the Confessor). Work for [sm4[nm vv., ch., orch., and ~org. by Mozart (K[sm33
9[nm) comp. [sm1780[nm.[cm~Vespers. [fy75,1][sm7[nmth of Canonical Hours of R. C
. Church, ~also known as Evensong. Famous large-scale ~setting by [fy45,1]*[fy75
,1]Monteverdi ([sm1610[nm).[cm~Vespers of [sm1610[nm [fy75,1](Monteverdi). See [
cf2]Vespro della ~Beata Vergine.[cm~Vespro della Beata Vergine [fy75,1](Vespers
of the ~Holy Virgin). A collection of Masses by Monte~~[chverdi comp. [sm1610[nm
 for perf. in small surroundings ~[PN759,0,0,R,I0]at Mantua and comprising [cf2]
Audi coelum[cf1],[cf2] verba mea[cf1], ~solo v. and [sm6[nm vv.; [cf2]Ave[cf1],[
cf2] Maris stella[cf1], [sm8[nm vv.; [cf2]Dixit ~Dominus Domino meo[cf1], [sm6[n
m vv.; [cf2]Domine ad adjuvandum[cf1], ~[sm6[nm vv.; [cf2]Duo Seraphim[cf1], [sm
3[nm vv.; [cf2]In illo tempore[cf1], [sm6[nm vv.; ~[cf2]Laetatus
 sum[cf1], [sm6[nm vv.; [cf2]Lauda Jerusalem[cf1], [sm7[nm vv.; [cf2]Laudate ~pu
eri[cf1], [sm8[nm vv.; [cf2]Magnificat[cf1], [sm6[nm vv.; [cf2]Magnificat[cf1],
[sm7[nm vv.; ~[cf2]Nigra sum[cf1], solo v.; [cf2]Nisi Dominus[cf1], [sm10[nm vv.
; [cf2]Pulchra ~es[cf1], [sm2[nm vv. (all with basso continuo); [cf2]Sancta Mari
a[cf1],[cf2] ~ora pro nobis [cf1](sonata) for solo v. with [sm8[nm instr. ([sm2[
nm ~cornets, [sm2[nm vn., [sm2[nm tb., one of which can be replaced ~with viola
da braccio, and double tb.). This last ~item can be perf. separately. There are
several ~modern eds. of the [cf2]Vespers[cf1], e.g. by Harnoncourt, ~W. Goehr, R
edlich, Norrington, etc.[cm~Vestale, La. [fy75,1]Opera by Spontini in [sm3[nm ac
ts, comp. ~[sm1807[nm, to lib. by de Jouy (originally written for ~Boieldieu and
 later refused by M;aaehul). F.p. Paris ~[sm1807[nm. Milan [sm1824[nm, London [s
m1826[nm, Philadelphia ~[sm1828[nm. Revived for [fy45,1]*[fy75,1]Ponselle (NY Me
t. [sm1925[nm) and ~[fy45,1]*[fy75,1]Callas (Scala, Milan, [sm19
55[nm).[cm~Vestris [fy75,1]([cf2]n;aaee [cf1]Bartolozzi), [fy65][cf3]Lucia Eliza
beth [fy75,1]([cf2]b ~[cf1]London, [sm1797[nm; [cf2]d [cf1]London, [sm1856[nm).
Eng. cont. Opera ~d;aaebut London [sm1815[nm. Sang at It. Opera, Paris, and ~Kin
g's Th., London, [sm1821[nm=n[sm5[nm. Wife of Auguste ~Armand Vestris, one of ce
lebrated ballet family, ~who was ballet master at King's Th. [sm1809[nm=n[sm17[n
m. ~Sang in Eng. f.ps. of several Rossini operas at ~King's Th. [sm1821[nm=n[sm4
[nm. Frequently sang in Dublin, ~[sm1824[nm=n[sm47[nm. Created Fatima in Weber's
 [cf2]Oberon[cf1], ~[sm1826[nm. Became manager of CG [sm1839[nm=n[sm42[nm, havin
g ~previously managed Olympic Th. [sm1831[nm=n[sm8[nm and ~subsequently the Lyce
um [sm1847[nm=n[sm55[nm, with her [sm2[nmnd ~husband Charles Matthews. Sang male
 roles, incl. ~Don Giovanni.[cm~Veyron-Lacroix, Robert [fy75,1]([cf2]b[cf1] Pari
s, [sm1922[nm). Fr. ~harpsichordist. Studied Paris Cons. D;aaebut Fr. ~radio [sm
1949[nm. Frequent tours with flautist Jean-~Pierre [fy45,1]*[fy7
5,1]Rampal. Prof. of harpsichord, Paris Cons., ~from [sm1967[nm.[cm~Viadana [fy7
5,1](really Grossi), [fy65][cf3]Lodovico [fy75,1]([cf2]b [cf1]Viadana, ~Mantua,
[cf2]c[cf1]. [sm1560[nm; [cf2]d [cf1]Gualtieri, [sm1627[nm). It. composer. ~Choi
rmaster Mantua Cath., [sm1594[nm=n[sm7[nm, Cremona ~ [sm1601[nm=n[sm8[nm, Fano C
ath. [sm1610[nm=n[sm12[nm. Franciscan monk ~from [sm1586[nm. Wrote [cf2]concerti
 ecclesiastici [cf1]for vv. and ~org., masses, madrigals, etc.[cm~Viardot-Garc;a
aia, Pauline [fy75,1]([cf2]b [cf1]Paris, [sm1821[nm; [cf2]d [cf1]Paris, ~[sm1910
[nm). Fr. mez. of Sp. parentage. Daughter of ~Manuel Garc;aaia and sister of Mar
ia [fy45,1]*[fy75,1]Malibran and ~Manuel [fy45,1]*[fy75,1]Garc;aaia. Studied sin
ging with parents, ~pf. with Liszt, comp. with Reicha. Concert d;aaebut ~Brussel
s [sm1837[nm, stage d;aaebut London [sm1839[nm, as ~Rossini's Desdemona, Paris [
sm1839[nm. Married Louis ~Viardot, manager of Th;aae;afatre Italien, Paris, [sm1
840[nm. ~Created role of Fid;ages in Meyerbeer's [cf2]Le Proph;a
gete[cf1], ~[sm1849[nm. Famous in Mozart roles and as Gluck's ~[cf2]Orph;aaee [c
f1](Paris [sm1859[nm) and [cf2]Alceste [cf1]([sm1861[nm). Retired ~from stage [s
m1863[nm and wrote plays, painted, and ~comp. Friend of Schumann and Turgenev. S
ang ~Dalila privately to Saint-Sa;auens. Taught singing at ~Paris Cons. [sm1871[
nm=n[sm5[nm, pupils incl. D;aaesir;aaee Art;afot.[cm~Vibraharp. [fy75,1]Same as
[fy45,1]*[fy75,2]vibraphone.[cm~Vibraphone [fy75,1](colloquial, `vibes'). Perc.
instr. ~similar to [fy45,1]*[fy75,1]marimba. Tuned metal bars, laid out ~like pf
. kbd., are struck by the players holding ~small padded hammer in each hand. Ben
eath bars ~are resonators fitted with lids which constantly ~open and close elec
trically, giving pulsating sound ~to any of the metal bars when struck by the ~p
layer. Compass f=nf;Pq. Used first in jazz (Lionel ~Hampton a celebrated player)
, then frequently in ~symphonic and operatic works, e.g. by Berg in ~[cf2]Lulu[c
f1], Vaughan Williams, McCabe, Britten, Mil~~haud, Henze, Messia
en, Tippett, and Boulez.[cm~Vibrato [fy75,1](It.). Vibrated. Undulation of pitch
 of a ~note, prod. in str. instr. by controlled vibration of ~player's finger st
opping the str. and in wind instr. ~by breath-control. In singing the greatest s
kill is ~needed in use of [cf2]vibrato [cf1]or it becomes wobble. ~Not the same
as [fy45,1]*[fy75,2]tremolo.[cm~Vicentino, Nicol;aga [fy75,1]([cf2]b [cf1]Vicenz
a, [cf2]c.[cf1][sm1511[nm; [cf2]d [cf1]Rome, ~[sm1572[nm). It. composer. Studied
 in Venice, pupil of ~[fy45,1]*[fy75,1]Willaert. Ded. to revival of ancient Gr.
modes; ~built [sm6[nm-kbd. `archiorgano' to illustrate his system ~and wrote mad
rigals. Pubd. [cf2]The Ancient Music ~reduced to Modern Practice[cf1], Rome [sm1
555[nm.[cm~Vickers, Jon [fy75,1](=+=+Jonathan Stewart) ([cf2]b [cf1]Prince Alber
t, ~Saskatchewan, [sm1926[nm). Canadian ten. Studied ~Toronto Royal Cons. Sang w
ith Toronto S.O. ~Opera d;aaebut Canadian O.C., Toronto, [sm1954[nm (Duke ~in [c
f2]Rigoletto[cf1]). CG d;aaebut [sm1957[nm (Riccardo in [cf2]Un
ballo ~in maschera[cf1]), Bayreuth [sm1958[nm (Siegmund), San ~Francisco [sm1959
[nm, NY Met. [sm1960[nm, Milan [sm1961[nm. ~Outstanding Tristan, Peter Grimes, F
lorestan, ~Aeneas ([cf2]Les Troyens[cf1]), Siegmund, etc.[cm~Victor, David van [
fy75,1]([cf2]b [cf1]Plymouth, Ind., [sm1906[nm). ~Amer. composer and flautist. S
tudied Vienna ~Acad. [sm1928[nm=n[sm9[nm, Paris Cons. (fl. with Marcel Moyse), ~
and ;aaEcole Normale (comp. with Dukas). Flautist ~in Chicago S.O. [sm1931[nm=n[
sm43[nm, flautist and ass. cond. ~Kansas City P.O. [sm1943[nm=n[sm6[nm, cond. Kn
oxville S.O. ~[sm1947[nm=n[sm72[nm and prof. of mus. Univ. of Tennessee ~[sm1947
=n71[nm. Composer of syms., vn. conc., va. conc., ~str. qts., [cf2]Walden [cf1]f
or ch. and orch., and many ~works involving fl.[cm~Victoria, Tom;aaas Luis de [f
y75,1]([cf2]b [cf1]Avila, [cf2]c.[cf1][sm1548[nm; [cf2]d ~[cf1]Madrid, [sm1611[n
m). Sp. composer. Went to Rome ~[sm1565[nm as student for priesthood (ordained [
sm1575[nm) ~and was possibly a pupil of Palestrina. Organist ~an
d choirmaster S. Maria di Monserrato, Rome, ~[sm1569[nm=n[sm71[nm; choirmaster C
ollegium Romanum ~[sm1571[nm=n[sm3[nm, Collegium Germanicum [sm1573[nm=n[sm8[nm.
 Chap~~lain at Church of S. Girolamo della Carit;aga [sm1578[nm=n~[sm85[nm, work
ing with [fy45,1]*[fy75,1]Neri, founder of oratorio. ~Returned to Spain [sm1595[
nm. (Because of long resi~~dence in It., name is often spelt in It. form, ~[cf2]
Vittoria.[cf1]) Organist and choirmaster, convent of ~Descalzas Reales, Madrid,
[sm1596[nm=n[sm1611[nm. With ~Palestrina, regarded as one of supreme contrapun~~
tists of his age, his mus. having a dramatic vigour ~and colour which reflect hi
s nationality. Wrote ~[PN760,0,0,L,I0]only church mus., incl. settings of all hy
mns of ~R. C. liturgical year. Works pubd. in complete ~modern edn. by Pedrell (
Leipzig [sm1902[nm=n[sm1913[nm). ~The [sm8[nm vols. comprise: I, [sm44[nm motets
; II, [sm10[nm Masses; ~III, [sm18[nm Magnificats and a Nunc Dimittis; IV, [sm5[
nm ~Masses; V, [sm34[nm hymns and [cf2]Officium Hebdomadae ~Sanc
tae[cf1]; VI, [sm5[nm Masses; VII, [sm10[nm psalms, [sm10[nm settings ~of Marian
 antiphons, [sm3[nm other works; VIII, ~Biography, bibliography, and [sm5[nm oth
er works. ~Among greatest works are motets [cf2]Vexilla regis[cf1],[cf2] O ~magn
um mysterium[cf1],[cf2] O quam gloriosam[cf1],[cf2] O vos omnes[cf1];[cf2] ~Requ
iem [cf1]([sm1583[nm).[cm~Victory. [fy75,1]Opera in [sm3[nm acts by Richard Rodn
ey ~Bennett to lib. by Beverley Cross based on novel ~by Joseph Conrad. Prod. Lo
ndon (CG) [sm1970[nm.[cm~Victory, Gerard [fy75,1](really Alan Loraine) ([cf2]b [
cf1]Dublin, ~[sm1921[nm). Irish composer and cond. Mus. producer, ~Radio Telefis
 Eireann [sm1948[nm=n[sm67[nm, dir. of mus. from ~[sm1967[nm. Works incl. opera
[cf2]H;aaeloise and Abelard[cf1],[cf2] ~Jonathan Swift[cf1],[cf2] Homage to Petr
arch [cf1]for str., str. qts., ~[cf2]Miroirs [cf1]for orch., etc.[cm~Vida breve,
 La [fy75,1](Short Life). [sm2[nm-act opera by [fy45,1]*[fy75,1]Falla ~to lib. b
y Carlos Fern;aaandez Shaw. Comp. [sm1904[nm=n~[sm5[nm. Prod. Ni
ce (in Fr.) [sm1913[nm; Madrid (in Sp.) [sm1914[nm; ~NY Met. [sm1926[nm; Edinbur
gh [sm1958[nm.[cm~Vide [fy75,1](Fr.). Empty. Thus [cf2]corde ;aga vide [cf1]mean
s open ~string.[cm~Vielle [fy75,1](Fr.). Medieval name for various instr., e.g.
~hurdy-gurdy and fiddle.[cm~Vielle ;aga roue [fy75,1](Fr.). Wheel fiddle, i.e. t
he [fy45,1]*[fy75,1]hurdy-~gurdy.[cm~Vienna Boys' Choir [fy75,1](Ger. [cf2]Wiene
r S;auangerknaben[cf1]). ~Choir of Vienna Seminary Sch., founded [sm1498[nm, ~fo
rmerly providing mus. for chapel of Austrian ~imperial court. Present-day ch. gi
ves secular ~concerts.[cm~Vienna Philharmonic Orchestra [fy75,1](Ger. [cf2]Wiene
r ~Philharmoniker[cf1]). Austrian orch. founded in Vienna ~[sm1842[nm, first con
d. being Otto [fy45,1]*[fy75,1]Nicolai [sm1842[nm=n[sm8[nm. The ~concerts were i
nterrupted by the [sm1848[nm revolution. ~A few were given under Karl Eckert bet
ween ~[sm1854[nm and [sm1857[nm, but a regular season of [sm8[nm concerts ~did n
ot occur until [sm1860[nm. Orch. soon recognized ~as one of worl
d's greatest, a reputation it has ~maintained. Among prin. conds. after Nicolai
~were Dessov ([sm1860[nm=n[sm75[nm), [fy45,1]*[fy75,1]Richter ([sm1875[nm=n[sm98
[nm), ~Mahler ([sm1898[nm=n[sm1901[nm), Hellmesberger ([sm1901[nm=n[sm3[nm), ~We
ingartner ([sm1907[nm=n[sm27[nm), Furtw;auangler ([sm1927[nm=n[sm8[nm), ~Krauss
([sm1929[nm=n[sm33[nm), Furtw;auangler and Walter ~([sm1933[nm=n[sm8[nm), Furtw;
auangler ([sm1938[nm=n[sm54[nm), Karajan ([sm1956[nm), ~Abbado (from [sm1971[nm)
. Orch. is self-governing and ~plays for [fy45,1]*[fy75,1]Vienna State Opera. Ma
ny other conds., ~notably Karl [fy45,1]*[fy75,1]B;auohm, have been assoc. with i
t and ~have made recordings with it. Richard Strauss ~wrote to the orchestra in
[sm1942[nm: `Only he who has ~[cf2]conducted[cf1] the Vienna Philharmonic player
s knows ~what they are! But that will remain our very own ~secret!'[cm~Vienna St
ate Opera [fy75,1](Ger. [cf2]Wiener Staatsoper[cf1]).[fjPrin. Austrian opera hou
se and co., one of leading ~opera organizations of world. Orig.
Vienna Court ~Opera ([cf2]Wiener Hofoper[cf1]). The first opera was perf. ~in Vi
enna in [sm1633[nm (Bartolaia's [cf2]Il Sidonio[cf1]). Opera ~then became est. a
s regular court entertainment ~and special th. built. Theater bei der Hofburg wa
s ~opened [sm1748[nm. Gluck was court Kapellmeister ~[sm1754[nm=n[sm70[nm, [sm10
[nm of his operas being written for ~Vienna. Towards end of [sm18[nmth cent., Bu
rgtheater ~lost ground to Theater am K;auarntnerthor (built ~[sm1708[nm), where
[fy45,1]*[fy75,1]Salieri became cond. Mozart's [cf2]Die ~Entf;auuhrung aus dem S
erail [cf1]([sm1782[nm), [cf2]Le Nozze di Figaro[cf1] ~([sm1786[nm), and [cf2]Co
s;agi fan tutte[cf1] ([sm1790[nm) all had f.ps. at ~Burgtheater, while [cf2]Don
Giovanni[cf1] had its first ~Vienna perf. there (with additions) in [sm1788[nm.
In ~[sm1842[nm Donizetti was both court composer and ~cond. Court opera's first
permanent cond. was ~Karl Eckert ([sm1854[nm=n[sm60[nm) who introduced Wagner's
~operas to the city.  New theatre, Die Oper am ~Ring, opened [sm
1869[nm. [fy45,1]*[fy75,1]Richter became cond. in ~[sm1875[nm and shared directo
rship with Jahn from ~[sm1880[nm to [sm1896[nm, the co. in this period having si
ngers ~of the quality of Materna, Reichmann, Winkel~~mann and van Dyck. In [sm18
97[nm Mahler became dir. ~and initiated the most glorious decade in the ~history
 of the th., with a great singing=nacting co. ~incl. Gutheil-Schoder, Mildenburg
, Selma Kurz, ~Schmedes, Mayr, and Slezak, and [fy45,1]*[fy75,1]Roller as ~desig
ner. Mahler was succeeded by Weingartner ~[sm1907[nm=n[sm11[nm and Hans Gregor [
sm1911[nm=n[sm18[nm. In [sm1918[nm ~Court Opera became State Opera, with Schalk
~and R. Strauss as joint dirs. [sm1919[nm=n[sm24[nm, Schalk ~continuing alone un
til [sm1929[nm. The singers now ~included Lotte Lehmann, Elisabeth Schumann, ~Je
rger, Piccaver, and Jeritza, who were joined in ~the [sm1930[nms by Tauber, Kern
, Ursuleac, Kiepura, ~Schorr, Olszewska, Dermota, etc. Krauss was ~cond. [sm1929
[nm=n[sm34[nm, Weingartner [sm1934[nm=n[sm6[nm, Walter ~[sm1936[
nm=n[sm8[nm. After an interregnum, Karl B;auohm ~became dir. in [sm1943[nm until
 the th. was bombed in ~March [sm1945[nm. For [sm10[nm years, with B;auohm, Jose
f ~Krips, and Krauss as conds. the State Opera played ~in the Theater an der Wie
n and the Volksoper, ~and visited London in [sm1948[nm. B;auohm again became ~di
r. [sm1955[nm and the rebuilt th. (capacity [sm2[nm,[sm200[nm) ~opened in [sm195
5[nm with [cf2]Fidelio. [cf1]B;auohm resigned [sm1956[nm, ~being succeeded by Ka
rajan [sm1956[nm=n[sm64[nm. The post-~war vocal galaxy incl. Gueden, Schwarzkopf
, ~Reining, Seefried, Welitsch, Hotter, Patzak, Sch;auof~~fler, and Weber. In th
e [sm1970[nms Bernstein, B;auohm, ~Karajan, and Mehta cond. famous perfs. In [sm
1982[nm ~Lorin [fy45,1]*[fy75,1]Maazel, an American, was appointed dir., ~with a
 contract until [sm1986[nm, but he left in [sm1984[nm ~after a controversial per
iod of musical politics ~which his predecessors Mahler and Strauss would ~have r
ecognized as characteristically Viennese. It ~may be fairly said
 that the history of the Vienna ~Opera is one of spectacular triumphs, petty ~po
litics, a fairly conservative policy towards new ~mus., and glorious singing.[cm
~Vienna Symphony Orchestra [fy75,1](Ger. [cf2]Wiener ~Symphoniker[cf1]). Orch. f
ounded in [sm1900[nm as Wiener ~[PN761,0,0,R,I0]Konzertverein Orchester. In [sm1
921[nm it merged with ~Verein Wiener Tonk;auunstler (formed [sm1907[nm under ~Os
kar Nedbal) and became Wiener Sinfonie-~Orchester. It assumed present name in [s
m1933[nm, with ~over [sm120[nm players. Administered by Gesellschaft ~der Musikf
reunde, Wiener Konzerthausgesell~~[chschaft, Bregenz Fest., and Austrian Radio.
First ~cond. was Ferdinand [fy45,1]*[fy75,1]L;auowe, [sm1900[nm=n[sm24[nm. In [s
m1934[nm ~became Vienna's main broadcasting orch. and in ~[sm1938[nm was taken o
ver by city as its municipal orch. ~Has had series of famous guest conds. and ha
s ~made many recordings.[xm[cm~[ol0][ep~[xp[te~

[do42][j99]~~~~~~[sm153842[nm_V[sm004[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmV[sm004[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm124[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Vie parisienne,
 La [fy75,1](Parisian Life). [cf2]Op;aaera-~bouffe [cf1]in [sm4[nm acts by Offen
bach to lib. by Meilhac ~and Hal;aaevy. Prod. Paris [sm1866[nm; NY [sm1869[nm. S
ee [cf2]Ga;afit;aae ~parisienne.[cm~Vier ernste Ges;auange [fy75,1](Four Serious
 Songs). Song-~cycle for low v. and pf., Op. [sm121[nm, by Brahms, ~comp. [sm189
6[nm to biblical texts. [sm1[nm. [cf2]Denn es gehet dem ~Menschen[cf1]; [sm2[nm.
 [cf2]Ich wandte mich und sahe an alle[cf1]; [sm3[nm. [cf2]O ~Tod, O Tod, wie bi
tter bist du[cf1]; [sm4[nm. [cf2]Wenn ich mit ~Engelszungen redete[cf1]. Inspire
d by his emotion over ~Clara [fy45,1]*[fy75,1]Schumann's final illness. Orch. ve
rsion by ~Malcolm [fy45,1]*[fy75,1]Sargent.[cm~Vier letzte Lieder [fy75,1](Four
Last Songs). Songs for ~high v. and orch. by R. Strauss, his las
t works, ~comp. [sm1948[nm. [sm5[nmth song left unfinished. In order of ~comp.:
[sm1[nm. [cf2]Im Abendrot[cf1] (In the Sunset) (Eichen~~dorff=+=+), [sm2[nm. [cf
2]Fr;auuhling[cf1] (Spring), [sm3[nm. [cf2]Beim schlafengehen ~[cf1](Falling asl
eep), [sm4[nm. [cf2]September[cf1]. (Poems of [sm2, 3[nm, and ~[sm4[nm by Hesse)
. Title of cycle given by publisher after ~Strauss's death. Strauss favoured ord
er [sm3, 4, 2, 1[nm. ~F.p. London [sm1950[nm, Flagstad and Philharmonia ~Orch.,
cond. Furtw;auangler.[cm~Vierne, Louis [fy75,1](Victor Jules) ([cf2]b [cf1]Poiti
ers, [sm1870[nm; [cf2]d ~[cf1]Paris, [sm1937[nm). Fr. organist and composer, bor
n ~blind. Studied Paris Cons. with Franck and Widor. ~Organist, N;afotre Dame de
 Paris [sm1900[nm=n[sm37[nm. Prof. of ~org., Schola Cantorum, Paris, from [sm191
2[nm. Toured ~Europe and USA as org. recitalist. Wrote [sm6[nm org. ~syms. and s
horter pieces for org., also mass, str. ~qt., vc. sonata, and an orch. sym. ([sm
1907[nm=n[sm8[nm). Died ~playing org. at N;afotre Dame.[cm~Viert
el(note) [fy75,1](Ger.). Quarter-note (the crotchet).[cm~Vierundsechzigstel(note
) [fy75,1](Ger.). [sm64[nmth note (the ~hemidemisemiquaver).[cm~Vieuxtemps, Henr
i [fy75,1](Joseph Fran;alcois) ([cf2]b [cf1]Verviers, ~[sm1820[nm; [cf2]d [cf1]M
ustapha-lez-Alger, Algeria, [sm1881[nm). Belg. ~violinist and composer. Played c
onc. with orch. ~at age of [sm6[nm. Became pupil of de B;aaeriot in Paris ~from
[sm1828[nm. Toured Ger. [sm1833[nm and studied ~counterpoint with Sechter in Vie
nna. Revived ~interest ([sm1834[nm) in Beethoven's vn. conc. Studied ~comp. with
 Reicha in Paris, [sm1835[nm. Visited Russia ~[sm1838[nm, USA [sm1844[nm. Court
violinist and prof. of vn., ~St Petersburg [sm1846[nm=n[sm52[nm. Prof. of vn., B
russels ~Cons. [sm1871[nm=n[sm3[nm. Regarded as one of greatest ~violinists of h
is day. Wrote [sm7[nm vn. concs., vn. ~sonata, [sm3[nm str. qts., many vn. piece
s, and cadenzas ~for Beethoven conc. Had [sm2[nm brothers, one a pianist, ~the o
ther=mJules Joseph Ernest Vieuxtemps ([cf2]b ~[cf1]Brussels, [sm
1832[nm; [cf2]d [cf1]Belfast, [sm1896[nm)=ma cellist who ~played in CG orch. and
 became prin. vc., Hall;aae ~Orch.[cm~Vignoles, Roger [fy75,1](Hutton) ([cf2]b [
cf1]Cheltenham, [sm1945[nm). ~Eng. pianist. Studied Cambridge Univ. [sm1962[nm=n
[sm6[nm. ~D;aaebut London [sm1967[nm. R;aaep;aaetiteur CG [sm1969[nm=n[sm71[nm.
~Accompanist to Rita Streich, Gwyneth Jones, ~John Shirley-Quirk, etc.[cm~Vihuel
a. [fy75,1]Sp. Renaissance instr. of guitar type. ~Word was used generically for
 all str. instrs., so ~further identification was necessary, e.g. [cf2]vihuela ~
de arco, [cf1]bowed vihuela, [cf2]vihuela de penole[cf1], plectrum-~plucked vihu
ela, [cf2]vihuela de mano[cf1], finger-plucked ~vihuela. Main period of populari
ty [sm1530[nm=n[sm80[nm. Luis ~de Mil;aaan's book on the [cf2]vihuela de mano [c
f1]([sm1536[nm) is a ~teaching manual containing first solo songs ~printed in Sp
. Larger than guitar, usually with [sm6[nm ~courses, and up to [sm10[nm frets. S
uperseded by guitar ~[cf2]c.[cf1][sm1700[nm. Mus. notated in tab
lature.[cm~Village Romeo and Juliet, A [fy75,1]([cf2]Romeo und Julia ~auf dem Do
rfe[cf1]). Opera in [sm6[nm [cf2]tableaux [cf1]by Delius to ~Ger. lib. by compos
er based on short story [cf2]Romeo ~und Julia auf dem Dorfe [cf1]from coll. of [
cf2]Novellen ~[cf1]entitled [cf2]Die Leute von Seldwyla [cf1]([sm1856[nm) by Got
tfried ~Keller ([sm1819=n90[nm). Comp. [sm1900=n1[nm. Prod. Berlin ~[sm1907[nm,
cond. Cassirer, London CG [sm1910[nm, cond. ~Beecham. The intermezzo between sce
nes [sm5[nm and ~[sm6[nm was rewritten and extended in [sm1906[nm to cover ~the
scene-change and became known in the ~concert-hall as the `Walk to the Paradise
Garden'. ~Suite for orch. arr. Fenby ([sm1948[nm).[cm~Villa-Lobos, Heitor [fy75,
1]([cf2]b [cf1]Rio de Janeiro, [sm1887[nm; [cf2]d ~[cf1]Rio de Janeiro, [sm1959[
nm). Brazilian composer. First ~mus. lessons from father, who taught him vc. ~Ha
d harmony lessons [sm1907[nm, otherwise self-taught, ~earning living by playing
in caf;aaes etc. Played vc. ~in Rio opera and sym. orchs., absor
bing influences ~from Russ. nationalists, Stravinsky, and Strauss, ~under whose
baton he played in [sm1920[nm. Befriended ~by [fy45,1]*[fy75,1]Milhaud when latt
er was Claudel's secretary ~at Fr. embassy, and by Arthur Rubinstein, [sm1921[nm
, ~who played his pf. mus. Spent [sm1923[nm=n[sm4[nm in Europe ~and [sm1927[nm=n
[sm30[nm in Paris where he was influenced by ~Satie and Milhaud and by fashionab
le neo-~classicism. Result was series of works called ~[cf2]Bachianas Brasileira
s [cf1]in which Baroque forms were ~re-created with Brazilian `local colour'. Re
turning ~to Brazil [sm1930[nm, held series of official teaching ~posts. Founded
Conservat;aaorio Nacional de Canto ~Orfe;aaonico [sm1942[nm and Brazilian Acad.
of Mus., ~[sm1945[nm. Visited USA [sm1944[nm as cond. of own mus. ~Extremely pro
lific composer, with expected sharp ~variations in quality. Though his mus. sugg
ests ~the folk idiom, he rarely, if ever, quoted a folk-~song, relying instead o
n colour and rhythm to ~give Brazilian flavour. Melodist and rom
antic, he ~used the popular [cf2]ch;aforo [cf1]form as a basis for series of ~wo
rks for various combinations of instr. and vv. ~with specific nationalist intent
. Prin. works incl.:[xm[cm~[PN762,0,0,L,I0][j2][smoperas[nm: [cf2]Izath[cf1] ([s
m1912[nm=n[sm14[nm); [cf2]Yerma[cf1] ([sm1955[nm=n[sm6[nm).[ep~[fy45,1]*[fy75,1]
[cf5]CH;afOROS[cf1]: No. [sm1[nm, guitar ([sm1920[nm), [sm2[nm, fl., cl. ([sm192
4[nm), [sm3[nm, [sm7[nm ~winds, male ch. ([sm1925[nm), [sm4[nm, [sm2[nm hn., tb.
 ([sm1926[nm), [sm5[nm, ~pf. ([sm1926[nm), [sm6[nm, orch. ([sm1926[nm), [sm7[nm,
 [sm5[nm winds, vn., vc. ~([sm1924[nm), [sm8[nm, [sm2[nm pf., orch. ([sm1925[nm)
, [sm9[nm, orch. ([sm1929[nm), [sm10[nm, ~orch., ch. ([sm1925[nm), [sm11[nm, pf.
, orch. ([sm1928[nm), [sm12[nm, orch. ~([sm1929[nm), [sm13[nm, [sm2[nm orchs., b
and ([sm1929[nm), [sm14[nm, orch., band, ~ch. ([sm1928[nm).[ep~[fy45,1]*[fy75,1]
[smbachianas brasileiras[nm: [sm1[nm, [sm8[nm vc. ([sm1930[nm), [sm2[nm, [fy75,2
]The ~Little Train of the Caipira, [cf1]chamber orch. ([sm1930[n
m), ~[sm3[nm, pf., orch. ([sm1938[nm), [sm4[nm, pf. ([sm1930[nm=n[sm6[nm) or orc
h. ~([sm1941[nm), [sm5[nm, v. and vcs. ([sm1938[nm), [sm6[nm, fl., bn. ([sm1938[
nm), [sm7[nm, ~orch. ([sm1942[nm), [sm8[nm, orch. ([sm1945[nm), [sm9[nm, unacc.
ch. or str. ~([sm1944[nm).[ep~[smorch[nm: Symphonies: [sm1[nm ([sm1916[nm), [sm2
[nm ([sm1917[nm), [sm3[nm and [sm4[nm ~([sm1919[nm), [sm5[nm ([sm1920[nm)=mthe s
yms. [sm3[nm, [sm4[nm, and [sm5[nm are a ~World War I trilogy, subtitled respect
ively `A ~guerra', `A Vit;aaoria', and `A Paz'=m[sm6[nm ([sm1944[nm), [sm7[nm ~(
[sm1945[nm), [sm8[nm ([sm1950[nm), [sm9[nm ([sm1951[nm), [sm10[nm ([sm1952[nm),
[sm11[nm ([sm1955[nm), ~[sm12[nm ([sm1957[nm); [cf2]Suite Suggestive[cf1] No. [s
m1[nm ([sm1929[nm); [sm4[nm Suites, ~[cf2]Descrobimento di Brasil [cf1](Discover
y of Brazil) ~([sm1936[nm=n[sm7[nm, [sm1942[nm); [cf2]New York Skyline [cf1]([sm
1940[nm); Vc. ~concs., [sm1[nm ([sm1915[nm), [sm2[nm ([sm1953[nm); [sm5[nm pf. c
oncs. ([sm1945[nm=n~[sm54[nm); guitar conc. ([sm1951[nm); harp c
onc. ([sm1953[nm); ~harmonica conc. ([sm1955[nm).[ep~[smpiano[nm: [cf2]Suite Inf
antil [cf1]Nos. [sm1[nm and [sm2[nm ([sm1912[nm, [sm1913[nm); [cf2]A ~Prole do B
eb;afe [cf1]Nos. [sm1[nm and [sm2[nm (The Baby's Family) ~([sm1918[nm, [sm1921[n
m); [cf2]Rudepoema [cf1]([sm1921[nm=n[sm6[nm, also for pf. ~and orch.); [cf2]Sau
dades das Selvas Brasileiras [cf1]([sm1927[nm).[ep~[smchamber music[nm: [sm17[nm
 str. qts. ([sm1915[nm=n[sm57[nm); [sm3[nm pf. trios ~([sm1911[nm=n[sm18[nm); [s
m4[nm vn. sonatas ([sm1912[nm=n[sm23[nm); [cf2]Berceuse ~[cf1]([sm1915[nm); None
t ([sm1923[nm); [cf2]Sextetto mistico [cf1]([sm1945[nm).[ep~[smguitar[nm: [sm12[
nm ;aaEtudes ([sm1928[nm); [sm15[nm Preludes ([sm1940[nm).[cm~[j1]Villancico [fy
75,1](from Sp. [cf2]villano[cf1], rustic). ([sm1[nm) [sm16[nmth-~cent. choral co
mp., like cantata, generally on ~subject of Christmas, for soloists, ch., and st
r. ~and/or org.[ep~^([sm2[nm) Madrigalian setting for [sm3[nm to [sm5[nm vv. of
Sp. verse-~form called [cf2]villancico.[cm~Villanella [fy75,1](I
t.; Fr. [cf2]villanelle[cf1]). Street song popular ~in [sm16[nmth cent., also a
type of part-song less ~complicated than madrigal. The first song in ~Berlioz's
cycle [cf2]Les Nuits d[cf1]'[cf2];aaet;aae [cf1]is entitled [cf2]Villanelle.[cm~
Villi, Le [fy75,1](The Wilis). Opera in [sm1[nm act by Puccini ~to lib. by Fonta
na based on folk-legend. Comp. ~[sm1883[nm. Prod. Milan [sm1884[nm. Rev. version
 in [sm2[nm acts ~prod. Turin [sm1884[nm, Manchester (in Eng.) [sm1897[nm, NY ~M
et. [sm1908[nm.[xm[cm~[j1]Villotta [fy75,1](It.). Plebeian [sm16[nmth-cent. song
, later ~known as [fy45,1]*[fy75,2]villanella.[xm[cm~[j1]Vinay, Ram;aaon [fy75,1
]([cf2]b [cf1]Chill;aaan, Chile, [sm1912[nm). Chilean ~ten. Studied Mexico. Oper
a d;aaebut (as bar.) Mexico ~City [sm1931[nm as Alfonso in [cf2]La Favorite. [cf
1]Tenor d;aaebut ~[sm1943[nm as Don Jos;aae in [cf2]Carmen. [cf1]NY City Opera [
sm1945[nm=n~[sm6[nm, [sm1948[nm; NY Met. [sm1946[nm=n[sm61[nm; CG [sm1950[nm, [s
m1953[nm=n[sm60[nm; ~Bayreuth [sm1952[nm=n[sm7[nm. Superb Otello
 (Verdi), coached ~in role by Toscanini with whom he made famous ~recording. Res
umed bar. roles [sm1962[nm, singing ~Telramund, Iago, Falstaff, and Scarpia. Rem
ark~~[chable actor. Sang last act of [cf2]Otello[cf1], Santiago [sm1969[nm. ~Pro
ducer until [sm1972[nm.[cm~Vincent, John [fy75,1]([cf2]b[cf1] Birmingham, Alabam
a, [sm1902[nm; ~[cf2]d[cf1] Santa Monica, Calif., [sm1977[nm). Amer. composer ~a
nd teacher. Studied New England Cons. with ~Chadwick, under Piston at Harvard [s
m1933[nm=n[sm5[nm, then ~for [sm2[nm years with N. Boulanger in Paris. Head of ~
mus. dept. W. Kentucky State Univ. [sm1937[nm=n[sm45[nm and ~succeeded Schoenber
g as prof. of comp. U.C.L.A. ~[sm1946[nm=n[sm69[nm. Employed `paratonality' in h
is mus., ~i.e. diatonic element predominating in polytonal ~or atonal passages.
Wrote comic opera [cf2]Primeval ~Void [cf1]([sm1969[nm=n[sm71[nm), prod. Vienna
[sm1973[nm, Sym. in D ~([sm1954[nm), [cf2]Nude Descending the Staircase[cf1], xy
lophone ~and str. ([sm1972[nm), [cf2]Stabat Mater[cf1], sop. and
 male vv. ~([sm1969[nm), [cf2]Mary at Calvary[cf1], sop., ch., and org. ([sm1976
[nm), ~[sm2[nm str. qts. ([sm1936[nm, [sm1967[nm), and songs.[cm~Vincent, Robert
 [fy75,1](William) ([cf2]b [cf1]Medan, Sumatra, ~[sm1941[nm). Eng. organist and
harpsichordist. Studied ~Oxford Univ. and GSM. Prof. of org., GSM from ~[sm1967[
nm. Organist and choirmaster St Martin-in-the-~Fields [sm1967[nm=n[sm77[nm, Manc
hester Cath. [sm1977=n80[nm.[cm~Vinci, Leonardo [fy75,1]([cf2]b [cf1]Strongoli,
[cf2]c[cf1]. [sm1690[nm; [cf2]d [cf1]Naples, ~[sm1730[nm). It. composer. Studied
 in Naples. Choir~~[chmaster. Monk from [sm1728[nm. Between [sm1719[nm and ~[sm1
730[nm wrote [sm35[nm operas, incl. [cf2]Ifigenia in Tauride ~[cf1](Venice [sm17
25[nm), some in Neapolitan dialect.[cm~Vi;atnes, Ricardo [fy75,1]([cf2]b [cf1]L;
aaerida, [sm1875[nm; [cf2]d [cf1]Barcelona, ~[sm1943[nm). Sp. pianist. Studied i
n Barcelona and later ~in Paris with de B;aaeriot and Godard. Champion of ~conte
mporary composers, being among first ~pianists to play works of
Debussy, Ravel, and ~others. Introduced much Russ. pf. music to ~France (incl. M
ussorgsky's [cf2]Pictures at an Exhibition[cf1] ~and Balakirev's [cf2]Islamey[cf
1]) and was dedicatee of ~Falla's [cf2]Nights in the Gardens of Spain[cf1], Rave
l's [cf2]Oiseaux ~tristes[cf1], and Debussy's [cf2]Poissons d'Or[cf1]. In [sm193
6[nm gave ~f.ps. of works by [fy45,1]*[fy75,1]Messiaen.[cm~Viol. [fy75,1]Type of
 bowed str. instr., made in various ~sizes. Developed in Renaissance period, the
n ~superseded by vn. family, now revived for perf. ~of early mus. Origins obscur
e, but probably ~developed from efforts to apply bow to plucked ~instr. during [
sm2[nmnd half of [sm15[nmth cent. in Spain. ~Term `viol' was used generically, l
ike [fy45,1]*[fy75,2]vihuela [cf1]in ~Sp. Consort of viols mentioned in Eng. rec
ords of ~King's Musick for [sm1540[nm. Shape of viol varied ~much during first c
entury of existence. Docu~~mentation of [sm1556[nm says that Fr. viols had [sm5[
nm str. ~tuned in [sm4[nmths, whereas It. viols had [sm6[nm. All
 viols ~were played held downwards, larger sizes between ~the legs, smaller rest
ing on knees. Eng. composers ~from Byrd to Purcell wrote superb series of works
~for viols, a consort (or chest) normally comprising ~[sm2[nm trebles, [sm2[nm t
enors, and [sm2[nm basses. Viol had flat ~back, frets, and C-shaped sound-holes.
 Bow held ~in underhand grip with fingers controlling ~tension of horse-hair. Pr
in. types of viol. are: ~[cf2]Division viol[cf1]: smaller version of bass viol s
uitable ~for agile playing of [fy45,1]*[fy75,2]divisions [cf1](variations); [cf2
]Lyra-~viol[cf1]: instr. specially built for virtuoso viol players ~who practise
d double- and triple-stopping, pizzi~~cato, etc.; mus. written in tablature. Tob
ias ~[PN763,0,0,R,I0]Hume's [cf2]First Part of Ayres[cf1], [sm1605[nm, is lyra-v
iol mus. ~See also [cf2]baryton, viola d[cf1]'[cf2]amore[cf1],[cf2] viola da bra
ccio[cf1],[cf2] viola ~da gamba.[cm~Viola [fy75,1](Fr. [cf2]alto[cf1] or [cf2]ta
ille[cf1]; Ger. [cf2]Bratsche[cf1]). ([sm1[nm) Bowed ~[sm4[nm-st
r. instr., sometimes known as [cf2]alto [cf1]or [cf2]tenor ~[cf1]because of its
lower pitch compared with vn., to ~which it is closely related. Tuned to c, g, d
;po, a;po. ~Va. section standard in all orchs.; one va. is ~standard component o
f str. qt. Also used as solo ~instr., several concs. and conc.-type works having
 ~been written for it. [fy45,1]*[fy75,2]Viola pomposa [cf1]was rare [sm18[nmth-~
cent. type with a higher [sm5[nmth str. See also [cf2]Tertis[cf1],[cf2] ~Lionel.
[cf1][ep~^([sm2[nm) Org. stop of [sm8[nm;po length and pitch.[ep~^([sm3[nm) Gene
ric It. term for str. instrs. in Renaissance ~and baroque periods, incl. [cf2]vi
ole da gamba [cf1](leg ~viols), i.e. members of the [fy45,1]*[fy75,1]viol family
; and [cf2]viole ~da braccio [cf1](arm viols), the forerunners of the vn. ~famil
y.[cm~Viola Alta [fy75,1](It.; Ger. [cf2]Altgeige[cf1]). High viola, i.e. ~large
 va. with [sm5[nm str. introduced by H. Ritter in ~[sm1876[nm and used by Wagner
 at Bayreuth. Cumber~~some to play.[cm~Viola Bastarda. [fy75,1]C
ontinental equivalent of Eng. ~[cf2]division [fy45,1]*[fy75,2]viol.[cm~Viola da
Braccio [fy75,1](It.). Arm-viol. First known use ~of term in [sm1543[nm as gener
ic description of str. instr. ~played on the arm (e.g. [fy45,1]*[fy75,1]rebec, R
enaissance fiddle, ~and [cf2]lira da braccio[cf1]) but later meaning members ~of
 [fy45,1]*[fy75,1]violin family.[cm~Viola da Gamba [fy75,1](It.). Leg-viol. ([sm
1[nm) Strictly, every ~[fy45,1]*[fy75,1]viol was a [cf2]viola da gamba [cf1]beca
use of the way it ~was held for perf., but term applies mainly to ~bass viol bec
ause it was held between the knees ~like the modern vc.[ep~^([sm2[nm) Org. stop.
 See [cf2]Gamba.[xm[cm~[j1]Viola d'Amore [fy75,1](It.). Love-viol. Bowed str. in
str. ~of the [fy45,1]*[fy75,2]viol [cf1]family but without frets and played ~und
er the chin. Larger than modern [fy45,1]*[fy75,2]viola[cf1], with ~[sm7[nm bowed
 gut str. and [sm7[nm sympathetic str. (which ~give the instr. its name) which v
ibrate to the ~sound of the stopped strs. Particularly beautiful
 ~sound. Used by Baroque composers, and in [sm19[nmth ~cent. by Meyerbeer and Be
rlioz. Specially required ~by Jan;aaa;akcek in his operas [cf2]K;aaa;akta Kabano
v;aaa [cf1]and [cf2]V;akec ~Makropoulos[cf1] and his [sm2[nmnd str. qt.[xm[cm~[j
1]Viola Pomposa. [fy75,1]Instr. of vn. family with [sm5[nm str. ~used in Baroque
 works for high vc. passages. ~Larger than va.[cm~Viole [fy75,1](Fr.). ([sm1[nm)
 [fy45,1]*[fy75,1]Viol.[ep~^([sm2[nm) [fy45,1]*[fy75,1]Viola.[cm~Violin [fy75,1]
(Fr. [cf2]Violon[cf1]; It. [cf2]Violino[cf1]; Ger. [cf2]Geige [cf1]or [cf2]Violi
ne[cf1]). ~Bowed [sm4[nm-str. instr., prin. and treble member of ~its family (va
., vc., and db. being the others). ~Tuned g d;Po a;Po e;Pp; compass of over [sm3
[nm;FD octaves. ~Standard feature of every orch., where vns. are ~divided into `
[sm1[nmsts' and `[sm2[nmnds', corresponding to ~higher- and lower-pitched parts.
 Str. qt. has [sm2[nm vn. ~([sm1[nmst and [sm2[nmnd). Emerged independently of t
he ~[fy45,1]*[fy75,1]viol, to which it is not related. A [sm3[nm
-str. vn. is ~represented in paintings at Ferrara [sm1508[nm=n[sm9[nm. At ~some
time in It. before [sm1550[nm the [sm4[nm-str. instr. was ~invented and was rega
rded as the instr. for ~dancing whereas the viol was the courtly instr. ~Earlies
t printed vn. mus. is [sm2[nm dances incl. in the ~[cf2]Balet comique de la royn
e [cf1]of [sm1581[nm. Undoubtedly the ~vn. was perfected by one man, Andrea [fy4
5,1]*[fy75,1]Amati of ~Cremona, from whom the king of Fr. ordered [sm38[nm ~str.
 instrs. in [sm1560[nm. For account of later develop~~ment of instr., see [cf2]S
tradivari. [cf1]Vn. is made from ~wood, with [sm2[nm f-shaped sound holes. Str.,
 made of ~gut or metal, are stretched along upper surface ~(belly). Sound from t
he str. when touched by ~[fy45,1]*[fy75,2]bow [cf1]is transmitted by upright bri
dge which ~supports the str. and which they cross at ~fractionally less than a r
ight angle. Str. are held ~in place by tailpiece, cross bridge, and continue ~ov
er ebony fingerboard attached to upper surface ~of neck. At extr
eme end they cross nut, or saddle, ~and enter a pegbox where they are attached t
o, ~and tuned by, [sm4[nm pegs. Among the most expressive ~of instr., the vn. ha
s inspired a treasury of great ~mus. and great performers. The [cf2]violino picc
olo [cf1](It., ~little violin) was a small, higher-pitched instr. ~used in Baroq
ue period in such works as Bach's ~Brandenburg Conc. No. [sm1[nm. The vn. bow us
ed to ~be convex, but since late [sm18[nmth cent. has been ~concave, with increa
sed tension.[cm~Violinbogen [fy75,1](Ger.). Vn. bow.[xm[cm~[j1]Violino. [fy75,1]
([sm1[nm) (It.). [fy45,1]*[fy75,1]Violin.[ep~^([sm2[nm) Org. stop of [sm4[nm;po
(sometimes [sm8[nm;po=+=+) length and ~pitch.[cm~Violins of Saint-Jacques, The.
[fy75,1]Opera in [sm3[nm acts ~by [fy45,1]*[fy75,1]Williamson to lib. by William
 Chappell after ~novel by Patrick Leigh Fermor. Prod. London ~(SW) [sm1966[nm.[c
m~Violin-Steg [fy75,1](Ger.). Vn. bridge.[cm~Violoncello [fy75,1](It., usually a
bbreviated to `cello'; ~Ger. [cf2]Violoncell[cf1]; Fr. [cf2]viol
oncelle[cf1]). Bowed [sm4[nm-str. instr., ~one of [fy45,1]*[fy75,1]violin family
, originating in early [sm16[nmth ~cent. Played between performer's knees. Tuned
 ~to C G d a; compass of over [sm3[nm octaves. All sym. ~orchs. contain vc. sect
ion, and one vc. is part of ~every str. qt. Noble sound of instr. has been well
~catered for in concs., those by Dvo;akr;aaak and Elgar ~in particular exploitin
g its expressive capabilities ~to the full.[cm~Violone. [fy75,1]An imprecise ter
m dating from [sm1520[nm. ~In [sm16[nmth and [sm17[nmth cents. the double-bass [
fy45,1]*[fy75,2]viol [cf1]was ~often called the [cf2]violone[cf1], but some writ
ers used the ~term to mean ordinary bass viol, and Corelli and ~Handel used it a
s synonym for vc. Also meant the ~db. Many [cf2]violones [cf1]had [sm6[nm str.,
were fretted and ~tuned like viol. Probably used for bass part of ~consort mus.[
cm~Viotti, Giovanni Battista [fy75,1]([cf2]b [cf1]Fontanetto, Pied~~mont, [sm175
5[nm; [cf2]d [cf1]London, [sm1824[nm). It. composer and ~[PN764,
0,0,L,I0]violinist. Son of blacksmith who played hn. and ~taught him mus. Studie
d Turin and with ~[fy45,1]*[fy75,1]Pugnani, touring Ger. and Russia with him, ~[
sm1780[nm. Played in Concert Spirituel, Paris, [sm1782[nm, ~becoming accompanist
 to Marie Antoinette. ~Visited London [sm1792[nm, making d;aaebut in Feb. [sm179
3[nm ~at Salomon concert and playing in Haydn's ~benefit concerts [sm1794[nm and
 [sm1795[nm, and at It. opera ~at King's Th., [sm1795[nm=n[sm8[nm. Returned to L
ondon [sm1801[nm, ~becoming wine merchant. Active in formation ~of Phil. Soc. [s
m1813[nm. Dir., It. Opera in Paris [sm1819[nm=n~[sm22[nm. Died impoverished afte
r commercial misfor~~tunes. Reckoned as greatest classical player of his ~day an
d founder of modern sch. of classical ~playing. Wrote [sm29[nm vn. concs., of wh
ich No. [sm22[nm in ~A minor is especially important, [sm21[nm str. qts., [sm21[
nm ~str. trios, many vn. duets, [sm18[nm vn. sonatas with ~bass, pf. concs., fl.
 qts., and other pieces.[cm~[cf1][ol0][ep~[xp[te~
[do42][j99]~~~~~~[sm153842[nm_V[sm005[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Dictio
nary of ~Music[cmV[sm005[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm24[nm/[sm10[nm/[sm79[nm[c
m[sm10[nm[cm[sm163[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Virdung, Sebastian [f
y75,1]([cf2]b [cf1]Amberg, Oberpfalz, ~[cf2]c.[cf1][sm1465[nm). Ger. priest, mem
ber of court mus. staff ~at Heidelberg from [sm1495[nm. Author of oldest-~known
book on mus. instrs., [cf2]Musica getutscht und ~ausgezogen [cf1](Basle [sm1511[
nm), with illustrations. Re~~pubd. in facsimile [sm1882[nm and [sm1931[nm. Wrote
 songs. ~[cf2]Musica getutscht [cf1]is principally a tutor for kbd. ~instrs., lu
te, and recorder.[cm~Virelai [fy75,1]([cf2]chanson ballad;aaee[cf1]). Medieval F
r. song, ~probably of Sp. origin, consisting of refrain ~alternating with (usual
ly) [sm3[nm stanzas. Est. as ~common Fr. poetic and mus. form by Machaut; ~conti
nued in use throughout [sm15[nmth cent. (by ~Dufay, Ockeghem, and Busnois). The
word ~derives from old Fr. [cf2]virer[cf1], to turn or twist, th
us ~suggesting a dance origin.[cm~Virginal(s). [fy75,1]This word (not of Eng. or
igin) was ~used in Eng. as generic term for all types of ~plucked kbd. instr., b
ut also had specific meaning. ~First mentioned [cf2]c.[cf1][sm1460[nm, name bein
g used in Fr. ~and Ger. Typical virginals of oblong shape with ~one set of strs.
, parallel to kbd. (Differed from ~hpd. in shape of soundbox, placing of strs.=m
at ~right angles on hpd.=mand existence of [sm2[nm bridges.) ~Kbd. on Flemish vi
rginals was set to right or left, ~in others it was centrally placed. Double vir
ginals ~had [sm2[nm kbds. Much fine mus. written for virginals ~by Byrd, Bull, M
orley, Farnaby, etc. See [cf2]Fitzwilliam ~Virginal Book[cf1]. Origin of name ob
scure, but ~probably comes from instrument's association ~with female performers
 or possibly from its tone ~(like a young girl's voice).[xm[cm~[j1]Virtuoso [fy7
5,1](It.). ([sm1[nm) As noun: a performer of ~exceptional skill with particular
reference to ~technical ability.[ep~^([sm2[nm) As adjective: a p
erformance of exceptional ~technical accomplishment. There is sometimes ~an impl
ication that a virtuoso performance ~excludes emotional and expressive artistry,
 or ~subdues it to technical display, but a true virtuoso ~is both technician an
d artist.[cm~Visconti [fy75,1](di Modrone), (Count) [fy65,3]Luchino [fy75,1]([cf
2]b[cf1] ~Milan, [sm1906[nm; [cf2]d[cf1] Rome, [sm1976[nm). It. producer, ~desig
ner, and writer. Came of family with long ~assoc. with Scala, Milan. Began caree
r as stage and ~film dir. and went into opera because of ~admiration for Maria [
fy45,1]*[fy75,1]Callas, for whom he prod. ~[cf2]La Vestale [cf1]in [sm1954[nm. L
ater he staged, for Callas, [cf2]La ~Sonnambula[cf1],[cf2] La Traviata[cf1],[cf2
] Anna Bolena[cf1], and [cf2]Iphig;aaenie ~en Tauride[cf1], all at La Scala. His
 first opera prod. ~outside It. was the memorable [cf2]Don Carlos[cf1] at CG, ~[
sm1958[nm, where he later prod. [cf2]Il Trovatore, La ~Traviata[cf1], and [cf2]D
er Rosenkavalier. [cf1]His last opera ~prod. was [cf2]Manon Lesc
aut [cf1]at Spoleto, [sm1972[nm. Among ~his prot;aaeg;aaes were the designers Sa
njust and ~Zeffirelli. Wrote lib. for Mannino's opera [cf2]Il ~Diavolo in giardi
no [cf1](Palermo [sm1963[nm) and scenario of ~Henze's ballet [cf2]Maratona[cf1]
([sm1956[nm). Directed film of ~Thomas Mann's [cf2]Death in Venice [cf1]([sm1971
[nm) in which ~he made use of Mahler's mus. His productions ~were notable for th
eir authentic period style, ~attention to detail and characterization, and visua
l ~taste.[cm~Vishnevskaya, Galina [fy75,1]([cf2]b [cf1]Leningrad, [sm1926[nm). ~
Russ. sop. Studied with V. Garina [sm1942[nm=n[sm52[nm. Sang ~at Leningrad Opere
tta Th. from [sm1944[nm, then opera ~d;aaebut, Leningrad, [sm1950[nm in Strelnik
ov's [cf2]Kholopka. ~[cf1]Joined Bolshoy Opera [sm1952[nm. NY Met. [sm1961[nm (d
;aaebut ~as Aida), CG [sm1962[nm (Aida). Fine dramatic singer. ~Wife of [fy45,1]
*[fy75,1]Rostropovich, whom she married [sm1955[nm ~and with whom she left USSR.
 Sop. part of ~Britten's [cf2]War Requiem[cf1], [sm1962[nm, writ
ten for her, but ~she did not sing at f.p. in Coventry. Gave f.p. of ~Britten's
[cf2]The Poet[cf1]'[cf2]s Echo[cf1], Moscow [sm1965[nm. Shostak~~[chovich dedica
ted his [cf2][sm7[nm Romances[cf1], Op. [sm127[nm, to her ~(f.p. Moscow [sm1967[
nm) and she sang soprano part in ~f.p. of his [sm14[nmth Sym., Leningrad [sm1969
[nm. Sang title-~role in first recording of orig. version of Shosta~~kovich's [c
f2]The Lady Macbeth of the Mtsensk District.[cf1][cm~Vision of Aeroplanes, A. [f
y75,1]Motet for mixed ch. ~and org. by Vaughan Williams on text from ~Ezekiel, C
h. [sm1[nm. F.p. Cornhill, London [sm1956[nm.[cm~Vision of Judgement, The. [fy75
,1]Oratorio by [fy45,1]*[fy75,1]Fricker, ~his Op. [sm29[nm, to text compiled by
him from [sm8[nmth-~cent. poem by Cynewulf. For sop. and ten. ~soloists, ch., an
d orch. Comp. for [sm1958[nm Leeds ~Fest., where its f.p. was cond. by John Prit
chard.[cm~Vision of St Augustine, The. [fy75,1]Setting of Lat. text ~for bar., c
h., and orch. by [fy45,1]*[fy75,1]Tippett, comp. [sm1963[nm=n~[s
m5[nm. F.p. London [sm1966[nm by Dietrich Fischer-Dieskau, ~LSO and LSO Ch. cond
. Tippett.[cm~Visions de l'Amen. [fy75,1]Suite in [sm7[nm movements for [sm2[nm
~pf. by [fy45,1]*[fy75,1]Messiaen, comp. [sm1943[nm. F.p. Paris, [sm1943[nm ~(Lo
riod and Messiaen).[cm~Visions fugitives [fy75,1](Fleeting Visions). [sm20[nm pi
eces for ~solo pf. by Prokofiev, Op. [sm22[nm, comp. [sm1915[nm=n[sm17[nm. ~F.p.
 Petrograd, [sm1918[nm (Prokofiev).[cm~Visit of the Old Lady, The [fy75,1]([cf2]
Der Besuch der alten ~Dame[cf1]). Opera in [sm3[nm acts by von [fy45,1]*[fy75,1]
Einem to lib. by ~D;auurrenmatt based on his own play. Prod. Vienna ~[sm1971[nm,
 Glyndebourne, [sm1973[nm.[cm~[PN765,0,0,R,I0]Vitali, Giovanni Battista [fy75,1]
([cf2]b [cf1]Bologna, [sm1632[nm; [cf2]d ~[cf1]Modena, [sm1692[nm). It. composer
 and violinist. Held ~court post at Modena from [sm1674[nm. One of pioneers ~of
sonata. Wrote [cf2]sonate de chiesa[cf1], sonatas for [sm2[nm vn. ~with bass, et
c.[cm~Vitali, Tomaso Antonio [fy75,1]([cf2]b [cf1]Bologna, [sm16
63[nm; [cf2]d ~[cf1]Modena, [sm1745[nm). It. violinist and composer, son of ~G.|
B.|[fy45,1]*[fy75,1]Vitali. Studied in Bologna. Chamber mu~~sician in Modena. Wr
ote sonatas ([sm1693[nm=n[sm5[nm) and ~famous Chaconne for vn. with figured bass
 ~(though this is of doubtful attrib.).[cm~Vitry, Philippe de [fy75,1]([cf2]b [c
f1]Paris, [sm1291[nm; [cf2]d [cf1]Paris, [sm1361[nm). ~Fr. composer, poet, and t
heorist. Held court posts ~and became Bishop of Meaux in [sm1351[nm. Wrote [sm4[
nm ~treatises on [fy45,1]*[fy75,2]Ars Nova. [cf1]Some motets survive. May ~have
originated isorhythmic motet.[xm[cm~[j1]Vittoria. [fy75,1]See [cf2]Victoria, Tom
;aaas Luis de.[cm~Vivace, vivacemente [fy75,1](It.). Vivacious, from ~[cf2]vivac
it;aga[cf1],[cf2] vivacezza[cf1], vivacity. Fast and lively. ~[cf2]Vivacissimo[c
f1], very fast. Composers (e.g. Schubert) ~often use [cf2]vivace[cf1] as an indi
cation of mood rather ~than tempo. In [sm18[nmth cent. it often meant ~something
 between [cf2]allegro [cf1] and [cf2]largo[cf1].[cm~Vivaldi, Ant
onio [fy75,1]([cf2]b [cf1]Venice, [sm1678[nm; [cf2]d [cf1]Vienna, ~[sm1741[nm).
It. composer and violinist. Son of violinist ~in orch. of St Mark's, Venice, und
er [fy45,1]*[fy75,1]Legrenzi. ~Taught by father. Entered church, becoming ~pries
t [sm1703[nm, though after [sm2[nm years never said Mass ~because of congenital
chest complaint. Taught ~vn. at orphanage (Ospedale della Piet;aga) from [sm1703
[nm ~and gave recitals. Pubd. trio sonatas, Op. [sm1[nm, [sm1705[nm ~and vn. son
atas, Op. [sm2[nm, [sm1709[nm. First opera, [cf2]Ottone in ~villa[cf1], prod. Vi
cenza [sm1713[nm; first Venetian opera, ~[cf2]Orlando finto pazzo[cf1], [sm1714[
nm. Was also operatic ~impresario in Venice and cond. and played vn. in ~opera p
erfs. Spent [sm3[nm years in service of Landgrave ~of Hesse-Darmstadt in Mantua,
 probably [sm1719[nm=n~[sm1721[nm. Between [sm1722[nm and [sm1725[nm, wrote oper
as for ~Mantua, Vicenza, Milan, and Rome. His famous ~Op. [sm8[nm, incl. [cf2]Le
 quattro stagioni [cf1](The Four Seasons), ~was pubd. [sm1725[nm
. By this time, Vivaldi was known ~and admired throughout Europe. In [sm1734[nm
first ~collaborated with librettist Goldoni ([sm1709[nm=n[sm93[nm). In ~[sm1737[
nm prod. of a new Vivaldi opera at Ferrara was ~forbidden by papal authorities o
n ground that ~Vivaldi was a priest who did not say Mass and ~had a relationship
 with a woman singer. In [sm1738[nm, ~visited Amsterdam, where his mus. had been
 ~pubd. since [sm1711[nm, for royal th. centenary celebra~~tions=mhis reputation
 stood higher in Fr., Hol~~land, and Eng. in his lifetime than it did in ~Venice
. Despite intermittent disputes over the ~years, Vivaldi was still maestro at th
e Piet;aga and ~was still writing cantatas for perf. there in [sm1740[nm. ~In [s
m1741[nm he decided to leave Venice for Vienna, ~presumably in search of some co
urt appointment, ~but died there, being buried in a pauper's grave.[ep~^Among co
ntemporaries who appreciated Vi~~valdi was J. S. Bach, who transcr. [sm10[nm Viv
aldi concs. ~as hpd. or org. concs. Like Bach himself, Vivaldi's
 ~mus. fell out of favour for many years, but the ~[sm20[nmth cent., in particul
ar since the revival of ~interest in authentic methods of performing ~baroque mu
s., has seen it re-est. Once regarded ~merely as the composer of works for str.,
 his ~genius as an opera composer is now recognized ~(he said he wrote [sm94[nm,
 but fewer than [sm50[nm are extant) ~as well as the Venetian splendour of his c
hurch ~mus. No composer did more to establish the vc. ~as a solo instr., and he
displayed a keen interest in ~the use of unusual instr.: it is the infinite vari
ety ~and invention of his work that has made it so ~beloved [sm300[nm years afte
r his birth. There have been ~several catalogues of his work, the most recent ~(
Leipzig [sm1974[nm) by Peter Ryom (works are ~numbered with the prefix RV;eq[cf2
]Ryom-Ver~~zeichnis[cf1]). Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Bajazet
[cf1]([cf2]Tamerlano[cf1]) ([sm1735[nm); [cf2]Catone in Utica ~[cf1]([sm1737[nm)
; [cf2]Dorilla in Tempe [cf1]([sm1726[nm); [cf2]Ercole sul ~Term
odonte [cf1]([sm1723[nm); [cf2]Farnace [cf1]([sm1727[nm); [cf2]La fida ninfa ~[c
f1]([sm1732[nm); [cf2]Il Giustino [cf1]([sm1724[nm); [cf2]Griselda [cf1]([sm1735
[nm); [cf2]L[cf1]'[cf2]inco~~ronazione di Dario [cf1]([sm1716[nm); [cf2]L[cf1]'[
cf2]Olimpiade [cf1]([sm1734[nm); ~[cf2]Orlando finto pazzo [cf1]([sm1714[nm); [c
f2]Orlando furioso [cf1]([sm1727[nm); ~[cf2]Ottone in villa [cf1]([sm1713[nm); [
cf2]Rosilena ed Oronta [cf1]([sm1728[nm); ~[cf2]Rosmira [cf1]([sm1738[nm); [cf2]
Il Teuzzone [cf1]([sm1719[nm); [cf2]Tito Manlio ~[cf1]([sm1719[nm); [cf2]La veri
t;aga in cimento [cf1]([sm1720[nm).[ep~[smpublished works in his lifetime[nm: Op
. [sm1[nm, [sm12[nm Sonatas ~for [sm2[nm vn. and basso continuo ([sm1705[nm); Op
. [sm2[nm, [sm12[nm ~Sonatas for vn. and basso continuo ([sm1709[nm); Op. ~[sm3[
nm, [cf2]L[cf1]'[fy45,1]*[fy75,2]estro armonico [cf1](Harmonic inspiration), [sm
12[nm ~concs. for various combinations ([sm4[nm vn., [sm4[nm vn. and ~vc., etc.)
 ([sm1711[nm); Op. [sm4[nm, [cf2]La [fy45,1]*[fy75,2]stravaganza
 [cf1](The ~extraordinary), [sm12[nm vn. concs. ([cf2]c.[cf1][sm1714[nm); Op. [s
m5[nm ~([sm2[nmnd part of Op. [sm2[nm), [sm4[nm sonatas for vn. and [sm2[nm ~son
atas for [sm2[nm vn. and basso continuo ([sm1716[nm); Op. ~[sm6[nm, [sm6[nm vn.
concs. ([sm1716[nm=n[sm21[nm); Op. [sm7[nm, [sm2[nm ob. concs. ~and [sm10[nm vn.
 concs. ([sm1716[nm=n[sm21[nm); Op. [sm8[nm, [cf2]Il cimento ~dell[cf1]'[cf2] ar
monia e dell[cf1]'[cf2] inventione [cf1](The Contest ~between Harmony and Invent
ion), [sm12[nm vn. concs., ~the first [sm4[nm, in E, G minor, F, and F minor bei
ng ~known as [cf2]The [fy45,1]*[fy75,2]Four Seasons [cf1]([cf2]Le quattro stagio
ni[cf1]) ~([sm1725[nm); Op. [sm9[nm, [cf2]La cetra [cf1](The lyre), [sm11[nm vn.
 concs. ~and [sm1[nm for [sm2[nm vn. ([sm1727[nm); Op. [sm10[nm, [sm6[nm fl. con
cs. ~([cf2]c.[cf1][sm1728[nm); Op. [sm11[nm, [sm5[nm vn. concs., [sm1[nm ob. con
c. ([sm1729[nm); ~Op. [sm12[nm, [sm5[nm vn. concs. and [sm1[nm without solo ([sm
1729[nm); ~Op. [sm13[nm, [cf2]Il pastor fido [cf1](The Faithful
Shepherd), [sm6[nm ~sonatas for musette, viella, recorder, ob. or vn., ~and bass
o continuo ([sm1737[nm, doubtful authen~~[chticity).[ep~[ih0]The rest of Vivaldi
's instr. output is so vast that it ~can only be summarized:[ep~[it0p4][sm10[nm
sonatas for vc. and basso continuo; [sm28[nm sonatas ~for vn. and basso continuo
; [sm4[nm sonatas for fl. and ~basso continuo; sonatas for [sm2[nm vn. and basso
 ~continuo; concs. for various instr. (fl., ob., ~recorders, vns., bn., etc.) an
d basso continuo; ~over [sm60[nm concs., sinfonias, and sonatas for str. and ~ba
sso continuo; [sm170[nm concs. and sinfonias for vn., ~orch., and basso continuo
; [sm7[nm concs. for viola ~d'amore; [sm28[nm vc. concs.; mandolin conc.; [sm9[n
m fl. ~concs.; [sm2[nm recorder concs.; [sm14[nm ob. concs.; over [sm40[nm ~[PN7
66,0,0,L,I0]bn. concs.; many concs. for [sm2[nm vn., [sm2[nm vc., [sm2[nm ~mando
lins, [sm2[nm ob., [sm2[nm hn., [sm2[nm tpt., etc.[ep~[smsacred music[nm: Mass;
[cf2]Kyrie [cf1]for double ch.; [sm3[nm ~[cf2]Glorias[cf1]; [sm2
[nm [cf2]Dixit Dominus[cf1]; [sm3[nm [cf2]Laudate pueri[cf1]; [sm2[nm ~[cf2]Magn
ificat[cf1]; [sm3[nm [cf2]Salve Regina[cf1]; [cf2]Stabat Mater[cf1]; [fy45,1]*[f
y75,2]Juditha ~triumphans [cf1](oratorio, Venice [sm1716[nm); also many ~secular
 cantatas, etc.[cm~[j1]Vivo [fy75,1](It.). Lively; [cf2]vivissimo [cf1]is the su
perlative.[cm~Vl. [fy75,1]Short for violin in orch. scores. In this and ~other d
ictionaries, vn. is used.[cm~Vlach Quartet. [fy75,1]Cz. str. qt. formed by Josef
 Vlach ~([cf2]b[cf1] Ratm;ake;akrice, [sm1923[nm) with [sm3[nm colleagues in the
 Cz. ~Chamber Orch. Concert d;aaebut Prague [sm1951[nm. Va. ~player has changed
three times. Won Li;agege int. ~comp. [sm1955[nm which led to world tours.[cm~Vl
ad, Roman [fy75,1]([cf2]b [cf1]Cern;akauti, [sm1919[nm). Romanian ~composer and
writer. Studied Cern;akauti Cons., ~then studied in Rome with Casella until [sm1
941[nm. ~Comp. in [sm12[nm-note idiom from [sm1943[nm. Taught at ~Dartington sum
mer sch., [sm1954[nm and [sm1955[nm. Art ~dir., Accademia Filarm
onica Romana [sm1955[nm=n[sm8[nm, ~Maggio Musicale, Florence, from [sm1964[nm. P
rof. of ~comp., Perugia Cons. from [sm1968[nm. Contributor to ~several periodica
ls; author of book on Stravinsky ~(Eng. trans. [sm1967[nm). Works incl. opera [c
f2]Storia di una ~mamma [cf1]([sm1950[nm=n[sm1[nm), ballets [cf2]La strada sul c
aff;aae [cf1]([sm1944[nm), ~[cf2]La dama delle camelie [cf1]([sm1945[nm), [cf2]S
infonia all[cf1]'[cf2] antica[cf1], ~orch. ([sm1947[nm=n[sm8[nm), [cf2]Variazion
i concertanti[cf1], pf. and ~orch., based on series of [sm12[nm notes in Mozart'
s [cf2]Don ~Giovanni[cf1],[cf2] Serenata [cf1]for str., [cf2]De Profundis[cf1],
sop., ch., ~and orch. ([sm1949[nm), etc.[cm~Vltava [fy75,1](Smetana). See [cf2]M
;aaa Vlast.[cm~Vn. [fy75,1]Abbreviation for violin.[cm~Vocalise. [fy75,1]A wordl
ess vocal exercise or concert ~piece sung to one or more vowels. One of first ~c
oncert pieces was Ravel's [cf2]Vocalise en forme ~d'haba;atnera[cf1]. There are
also [cf2]Vocalise[cf1], for v. ~and pf. by Rakhmaninov, Op. [sm
34[nm, No. [sm14[nm, comp. ~[sm1912[nm, rev. [sm1915[nm, and [cf2][sm3[nm Vocali
ses[cf1] for sop. and cl. by ~Vaughan Williams ([sm1958[nm).[cm~Vocal Score [fy7
5,1](abbreviated to V.S.). Score of a ~comp. which gives all the v.-parts of a w
ork but ~with the orch. parts reduced to a pf. acc.[cm~Voce, voci [fy75,1](It.).
 Voice, voices. [cf2]Colla voce[cf1], with the ~voice, i.e. direction to the acc
ompanist closely to ~follow the singer's fluctuations of tempo, etc.[cm~Voce di
petto; Voce di testa [fy75,1](It.). Chest voice; ~head voice.[cm~Voces Intimae [
fy75,1](Friendly Voices). Sibelius's sub~~[chtitle for his Str. Qt. in D minor,
Op. [sm56[nm, comp. ~[sm1909[nm.[cm~Vogel, Edith [fy75,1]([cf2]b [cf1]Czernowitz
, [sm1912[nm). Austro-~Hung. pianist and teacher. Studied Vienna Acad. ~D;aaebut
 Vienna at age [sm10[nm. Settled in Eng. Taught ~at GSM and Dartington summer sc
hs.[xm[cm~[j1]Vogel, Jaroslav[fy75,1] ([cf2]b[cf1] Pize;akn, [sm1894[nm; [cf2]d[
cf1] Prague, [sm1970[nm). ~Cz. conductor, composer, and writer.
Studied in ~Prague, vn. with ;akSev;akcik and comp. with Nov;aaak, ~also in Muni
ch and in Paris ([sm1912[nm=n[sm13[nm) with ~d'Indy. Opera cond. in Ostrava [sm1
919[nm=n[sm23[nm, return~~ing as chief cond. [sm1927[nm=n[sm43[nm. Cond., Prague
 Nat. ~Th. [sm1949[nm=n[sm58[nm, chief cond. Brno State P.O. [sm1959[nm=n~[sm62[
nm. In Ostrava his perfs. of operas by Jan;aaa;akcek, ~Smetana, and Nov;aaak wer
e renowned. Wrote [sm3[nm ~operas. Also notable for his extensive study of ~Jan;
aaa;akcek's life and works (Prague [sm1958[nm, abridged ~Eng. trans. [sm1962[nm;
 rev. by K. Janovick;aay, Eng. trans. ~[sm1981[nm). Cond. first complete recordi
ng of a Jan;aaa;akcek ~opera ([cf2]=+=+Jen;anufa[cf1], [sm1952[nm).[cm~Vogel, Vl
adimir [fy75,1]([cf2]b [cf1]Moscow, [sm1896[nm; [cf2]d [cf1]Z;auurich, ~[sm1984[
nm). Russo-Ger.-born composer, Swiss citizen ~since [sm1954[nm. Studied in Berli
n with Tiessen and ~Busoni. Taught at Klindworth-Scharwenka Cons. ~[sm1929[nm=n[
sm33[nm, then settled in Switzerland. Several ~large-scale works
 using speaking ch. and [cf2]Sprech-[fjstimme. [cf1]Style a compound of Berg's [
sm12[nm-note ~technique and Busoni neo-classicism. Works incl.: ~[cf2][sm4[nm ;a
aEtudes [cf1]for orch. ([sm1930[nm=n[sm2[nm), [cf2]Tripartita [cf1]for orch. ~([
sm1934[nm), vn. conc. ([sm1937[nm), vc. conc. ([sm1954[nm), [cf2]Epitaph ~for Al
ban Berg[cf1], pf. ([sm1936[nm), [cf2]Thyl Claes[cf1], sop., [sm2[nm ~speakers,
speaking ch., orch. ([sm1938[nm=n[sm42[nm), [cf2]Flucht[cf1], ~oratorio for solo
ists, [sm4[nm [cf2]Sprechstimmen[cf1], speaking ~ch., orch. ([sm1963[nm=n[sm4[nm
), [cf2]Goethe Aphorisms[cf1], sop., str. ~([sm1955[nm), chamber mus., etc.[cm~V
ogelweide, Walther von der [fy75,1]([cf2]b c.[cf1][sm1170[nm; [cf2]d ~[cf1]?W;au
urzburg, [cf2]c.[cf1][sm1230[nm). Ger. singer and composer, ~one of greatest of
Ger. [fy45,1]*[fy75,2]Minnesinger. [cf1]About [sm8[nm of ~his melodies have surv
ived. Mentioned by Wag~~ner in [cf2]Die Meistersinger von N;auurnberg[cf1], Act
I, when ~the hero, Walther, tells the Masters that he is a ~pupi
l of Vogelweide. `A good Master', says Sachs.[cm~Vogl, Heinrich [fy75,1]([cf2]b
[cf1]Au, nr. Munich, [sm1845[nm; [cf2]d ~[cf1]Munich, [sm1900[nm). Ger. ten., ou
tstanding in Wagner~~ian parts. Studied Munich with Lachner. Opera ~d;aaebut Mun
ich [sm1865[nm as Max in [cf2]Der Freisch;auutz. ~[cf1]Took over role of Tristan
 after death of Schnorr ~von Carolsfeld. Created Loge in [cf2]Rheingold [cf1][sm
1869[nm ~and Siegmund in [cf2]Walk;auure [cf1][sm1870[nm. Sang at Bayreuth ~[sm1
876[nm=n[sm97[nm, incl. roles of Tristan and Parsifal. ~London d;aaebut [sm1882[
nm ([sm1[nmst London Loge and ~Siegfried). NY Met. [sm1890[nm (singing [sm6[nm W
agner tenor ~roles in the season). Wrote opera, [sm1899[nm. Wife was ~sop. There
se Thoma ([cf2]b [cf1]Tutzing, [cf1][sm1845[nm; [cf2]d [cf1]Munich, ~[sm1921[nm)
, who studied at Munich Cons. and made ~d;aaebut in Munich [sm1866[nm, singing t
here until [sm1892[nm. ~Created role of Sieglinde [sm1870[nm. London [sm1882[nm
([sm1[nmst ~London Br;auunnhilde). For some years was only ~Ger.
 Isolde.[cm~Vogl, [fy75,1](Johann)[fy65][cf3] Michael [fy75,1]([cf2]b [cf1]Ennsd
orf, nr. Steyr, ~Austria, [sm1768[nm; [cf2]d [cf1]Vienna, [sm1840[nm). Austrian
bar. ~Educated at monastery. Sang at Vienna Court ~Opera [sm1795[nm=n[sm1822[nm.
 Met Schubert [cf2]c.[cf1][sm1817[nm through ~Schober and became first singer of
 many of his ~Lieder. Sang twins (who never appear on stage ~together) in Schube
rt's [cf2]Singspiel[cf1],[cf2] Die Zwillingsbr;auu~~der[cf1], [sm1820[nm. Travel
led with Schubert, [sm1819[nm, to ~[PN767,0,0,R,I0]Upper Austria, and again in [
sm1823[nm and [sm1825[nm. First ~to sing [cf2]Winterreise [cf1]cycle, [sm1827[nm
. Created role of ~Pizarro in Beethoven's [cf2]Fidelio[cf1] in the [sm1814[nm re
vision.[cm~Vogler, Georg Joseph [fy75,1](Abb;aae Vogler) ([cf2]b [cf1]Plei~~chac
h, nr. W;auurzburg, [sm1749[nm; [cf2]d [cf1]Darmstadt, [sm1814[nm). ~Ger. compos
er, theorist, organist, and teacher. ~Studied in Bologna with Martini. Ordained
priest ~in Rome [sm1773[nm. Returned to Mannheim [sm1775[nm and
~founded mus. sch. Became [sm2[nmnd Kapellmeister ~and wrote operas. After visit
s to Paris ([sm1780[nm) and ~London ([sm1783[nm) to propagate his theories of ~m
usical performance, he became court cond. at ~Munich [sm1784[nm=n[sm6[nm. Travel
led widely from [sm1786[nm. ~Court mus. dir. Stockholm [sm1786[nm, founding mus.
 ~sch. there. Travelled again from [sm1799[nm. Taught in ~Vienna [sm1803[nm=n[sm
4[nm. Court cond., Darmstadt [sm1807[nm. ~Invented `simplifications system' for
org., dem~~onstrating it in Eng., Denmark, and Holland on ~portable `orchestrati
on'. Famous for his `storm' ~effects in org. recitals. Wrote [sm10[nm operas, ca
ntata, ~much church mus., pf. concs., many theoretical ~works, [sm32[nm org. pre
ludes in every key (with ~analysis), arr. [sm12[nm Chorales by J. S. Bach. Pupil
s ~incl. Aloysia Weber (singing), Meyerbeer, Weber, ~Danzi, etc. (comp.). Subjec
t of poem [cf2]Abt Vogler ~[cf1]by Robert Browning ([sm1812[nm=n[sm89[nm) contai
ning line ~`The rest may reason and welcome; 'tis we ~musicians
know'.[cm~Voice. [fy75,1]([sm1[nm) Means of producing sounds in humans ~and anim
als using [sm2[nm vibrating agents called vocal ~cords. The various kinds of hum
an v., e.g. ~[fy45,1]*[fy75,1]soprano, [fy45,1]*[fy75,1]tenor, [fy45,1]*[fy75,1]
bass, etc., are described under ~their individual entries.[ep~^([sm2[nm) Separat
e strand of mus. in counterpoint or ~harmony, also known as `part'. A fugue is i
n ~several vv. or parts, whether these are sung or ~played.[ep~^([sm3[nm) As ver
b, meaning to adjust org.-pipe at ~construction stage so that it meets required
~standards of pitch, etc.[cm~Voice of Ariadne, The. [fy75,1]Opera in [sm3[nm act
s by ~Musgrave, to lib. by A. Elguera based on James's ~[cf2]The Last of the Val
erii[cf1]. Comp. [sm1972[nm=n[sm3[nm. F.p. Snape ~Maltings, [sm1974[nm, NY [sm19
77[nm.[cm~Voix [fy75,1](Fr.). Voice or voices.[cm~Voix C;aaeleste [fy75,1](Fr.).
 Heavenly voice. Org. stop, [sm8[nm;Po ~pitch, with [sm2[nm pipes to each note,
tuned slightly ~apart and producing effect not unlike str. of or
ch.[cm~Voix humaine, La [fy75,1](The Human Voice). Lyric ~tragedy in [sm1[nm act
 by Poulenc to text by Cocteau (a ~monodrama for sop. and orch.). Comp. [sm1958[
nm. ~Prod. Paris [sm1959[nm, NY (concert) [sm1960[nm, Edinburgh ~(concert) [sm19
60[nm, Glyndebourne (stage) [sm1976[nm.[cm~Volante [fy75,1](It.). Flying. Swift,
 light. In vn. playing, ~a certain bow-stroke in which the bow has to ~bounce fr
om the str. in a slurred staccato.[cm~Volkmann, [fy75,1](Friedrich) [fy65,3]Robe
rt [fy75,1]([cf2]b [cf1]Lommatzsch, ~Saxony, [sm1815[nm; [cf2]d [cf1]Budapest, [
sm1883[nm). Ger. composer. ~Studied Leipzig [sm1836[nm and encouraged by Schu~~m
ann. Taught in Prague [sm1839[nm=n[sm41[nm, in Pest [sm1841[nm=n~[sm1854[nm, and
 in Vienna [sm1854[nm=n[sm8[nm. Prof. of comp., ~Budapest Acad. from [sm1875[nm.
 Wrote [sm2[nm syms., vc. ~conc., [cf2]Sappho [cf1]for sop. and orch., many song
s, and ~large amount of chamber mus.[xm[cm~[ol0][ep~[xp[te~

[do42][j99]~~~~~~[sm153842[nmV[sm006[nm[ep~[u1]~~~~[sm153842[nm[cmOxford Diction
ary of ~Music[cmV[sm006[nm[cm[sm42[nm[cm[sm1[nm[cm~[sm26[nm/[sm10[nm/[sm79[nm[cm
[sm10[nm[cm[sm204[nm[cm~GC[cm3[cm22.8.84[cm~U1[cm~~~~[ap[j1]Volkonsky, Andrey [f
y75,1](Mikhaylovich) ([cf2]b [cf1]Geneva, ~[sm1933[nm). Swiss-born Russ. compose
r, pianist, cond., ~and harpsichordist. Studied Geneva Cons. [sm1944=n~5[nm (pf.
 with Lipatti) and Paris Cons. [sm1946[nm=n[sm7[nm (comp. ~with Boulanger). Furt
her study at Moscow Cons. ~[sm1950[nm=n[sm4[nm. Influenced by Schoenberg, Boulez
, Berio, ~etc. and encountered difficulties from Soviet ~authorities because of
modern trend of his works. ~Founded [cf2]Madrigal[cf1], early mus. ens. of Mosco
w ~Phil. Emigrated to Israel [sm1973[nm. Works incl. Conc. ~for Orch., cantata [
cf2]Dead Souls[cf1], [cf2]Serenade to an Insect ~[cf1]for chamber orch., str. qt
s., pf. sonata, and music-~theatre pieces.[cm~Volkslied [fy75,1](Ger.). Folk-son
g, but often extended ~to incl. nat. and popular song which is p
roperly ~covered by term [cf2]Volkst;auumliches Lied.[cm~Volles Werk [fy75,1](Ge
r.). Full Org.[cm~Volont;aae [fy75,1](Fr.). Will. [cf2]A volont;aae, [cf1]at one
's own ~pleasure, i.e. [cf2]ad libitum.[cm~Volta [fy75,1](It.). ([sm1[nm) `Time'
, in sense of [cf2]prima volta[cf1], [sm1[nmst ~time.[ep~^([sm2[nm) Quick dance
in triple time, also known as ~`Lavolta', resembling galliard. A Lavolta is danc
ed ~in Britten's [cf2]Gloriana [cf1]([sm1953[nm).[cm~Volti [fy75,1](It.). Turn,
as in [cf2]volti subito [cf1](abbreviated to ~V.S.), turn over page quickly (fou
nd in orch. ~parts).[cm~Voluntary. [fy75,1]([sm1[nm) Org. solo at beginning and
end of ~Anglican church service, sometimes but not ~necessarily extemporized.[ep
~^([sm2[nm) In [sm16[nmth cent., applied to extemporized instr. ~comp. See also
[cf2]Trumpet Tune [cf1]or [cf2]Voluntary.[cm~Von Heute auf Morgen [fy75,1](From
One Day to the ~Next). Comic opera in [sm1[nm act, Op. [sm32[nm, by ~[fy45,1]*[f
y75,1]Schoenberg to lib. by Max Blonda (Gertrud ~Schoenberg). Co
mp. [sm1928[nm=n[sm9[nm. Prod. Frankfurt ~[sm1930[nm, London (concert) [sm1963[n
m. Orch. score requires ~saxs., mandoline, guitar, banjo, and flexatone.[xm[cm~[
j1]Vonk, Hans [fy75,1]([cf2]b [cf1]Amsterdam, [sm1942[nm). Dutch cond. ~Studied
Amsterdam Cons. (comp. and conduct~~ing). Cond. lessons from [fy45,1]*[fy75,1]Sc
herchen. Ass. cond. ~Dutch Nat. Ballet [sm1965[nm. Ass. cond. Concertge~~bouw Or
ch., Amsterdam, [sm1969[nm=n[sm72[nm. D;aaebut with ~Netherlands Opera [sm1971[n
m (mus. dir. from [sm1976[nm). ~London d;aaebut [sm1974[nm (RPO). Amer. d;aaebut
 [sm1974[nm ~(San Francisco). Cond., Dutch Radio Orch. from ~[sm1972[nm. Prin. c
ond. Netherlands Opera. Assoc. ~cond., RPO [sm1977[nm.[cm~Von Stade, Frederica.
[fy75,1]See [cf2]Stade, Frederica von[cf1].[cm~Vorbereiten [fy75,1](Ger.). To pr
epare (applied to the ~registration of org. mus., often in the form of ~[PN768,0
,0,L,I0][cf2]bereite vor, [cf1]mentioning a stop). [cf2]Vorbereitung, ~[cf1]prep
aration.[cm~Vorhalt [fy75,1](Ger.). ([sm1[nm) Suspension.[ep~^([
sm2[nm) Retardation.[ep~^([sm3[nm) Long appoggiatura.[ep~^([sm4[nm) Syncopation.
[cm~Vo;akr;aai;aksek, Jan [fy75,1]([cf2]b [cf1]Vamberk, Bohemia, [sm1791[nm; [cf
2]d ~[cf1]Vienna, [sm1825[nm). Bohem. composer. Played org., ~pf., and vn. at [s
m8[nm and was sent to Prague to study ~with Tom;aaa;aksek. Went to Vienna [sm181
3[nm, becoming ~friend of Hummel, Meyerbeer, and Moscheles. ~Pianist and cond. o
f Gesellschaft der Musik~~freunde from [sm1818[nm. Organist, Imperial Chapel, ~[
sm1822[nm. Wrote sym., church mus., pf. conc., pf. ~sonata, [cf2]Impromptus [cf1
]for pf., etc.[cm~Vorschlag [fy75,1](Ger.). Forestroke. [cf2]Kurzer Vorschlag ~[
cf1](short forestroke), [fy45,1]*[fy75,1]Acciaccatura; [cf2]Langer Vorschlag ~[c
f1](long forestroke), [fy45,1]*[fy75,1]Appoggiatura.[cm~Vorspiel [fy75,1](Ger.).
 Foreplay. Ov. or prelude, used ~by Wagner in relation to his operas.[cm~Vost;ak
r;aaak, Zbyn;akek [fy75,1]([cf2]b [cf1]Prague, [sm1920[nm). Cz. composer ~and co
nd. Studied Prague Cons. [sm1939[nm=n[sm43[nm and at ~Darmstadt
courses [sm1965[nm=n[sm6[nm, attending lectures by ~Boulez, Stockhausen, etc. Ta
ught at Prague Cons. ~[sm1945[nm=n[sm8[nm. Cond. opera and, from [sm1963[nm, Pra
gue ~contemporary mus. ens. Worked at Prague Radio ~elec. studios from [sm1967[n
m. Works incl. comic opera, ~[cf2][sm3[nm Shakespeare Sonnets [cf1]for bass and
chamber orch., ~[cf2]The Balance of Light[cf1], [sm2[nm-track tape; [cf2]Sextant
 [cf1]for wind ~quintet, etc.[cm~Vox [fy75,1](Lat.). Voice. Thus [cf2]vox humana
 [cf1](human ~voice), org. reed stop of [sm8[nm;Po pitch, supposedly but ~not ac
tually like human v.[cm~Vranick;aay. [fy75,1]See [cf2]Wranitzky, Anton.[cm~Vrons
ky, Vitya [fy75,1]([cf2]b [cf1]Evpatoria, Crimea, [sm1909[nm). ~Russ.-born piani
st, later Amer. citizen. Studied ~Kiev, Berlin (with Petri and Schnabel), and Pa
ris ~(with Cortot). Married Victor [fy45,1]*[fy75,1]Babin [sm1933[nm, ~forming c
elebrated pf. duo and settling in USA.[cm~V.S. [fy75,1]([sm1[nm) [fy45,1]*[fy75,
1]Vocal score.[ep~^([sm2[nm)[fy45,1]*[fy75,2]Volti subito[cf1],
turn over quickly.[xm[cm~[j1]Vuillaume, Jean Baptiste [fy75,1]([cf2]b [cf1]Mirec
ourt, [sm1798[nm; [cf2]d ~[cf1]Paris, [sm1875[nm). Fr. maker of str. instr. Went
 to Paris ~[sm1818[nm, where est. own business [sm1828[nm. Made fine ~vns. and v
cs.[cm~Vulpius, Melchior [fy75,1]([cf2]b [cf1]Wasungen, Henneberg, ~[cf2]c.[cf1]
[sm1570[nm; [cf2]d [cf1]Weimar, [sm1615[nm). Ger. composer and ~cantor. Comp. ch
orales, [cf2]cantiones sacrae[cf1],[cf2] St Mat~~thew Passion [cf1]([sm1613[nm),
 and ed. mus. compendium.[cm~Vuoto, Vuota [fy75,1](It., `empty'). Applied musica
lly ~([sm1[nm) to indicate a general pause, i.e. measure in ~which all parts hav
e `rest'; or ([sm2[nm) as indication to ~violinist to play on open str. ([cf2]co
rda vuota[cf1]).[cm~Vycp;aaalek, Ladislav [fy75,1]([cf2]b [cf1]Prague, [sm1882[n
m; [cf2]d [cf1]Prague, ~[sm1969[nm). Cz. composer. Studied Prague Univ., then ~p
rivately with Nov;aaak [sm1908[nm=n[sm12[nm. Chief mus. ~librarian, Prague Univ.
 [sm1922[nm=n[sm42[nm. Specialist in ~folk mus. Works incl. [cf2
]Czech Requiem [cf1]([sm1940[nm); ~cantata [cf2]On the Final Affairs of Man[cf1]
 ([sm1920[nm=n[sm2[nm, ~denounced in [sm1950[nm by Communist authorities as ~`su
bjective and mystical'); sonata for mez., vn., ~pf. `in praise of violin' ([sm19
27[nm=n[sm8[nm); song-cycles, etc.[cm~Vy;aksehrad [fy75,1](Smetana). See [cf2]M;
aaa Vlast.[cm~Vyshnegradsky, Ivan [fy75,1]([cf2]b [cf1]St Petersburg, [sm1893[nm
; [cf2]d[cf1] ~Paris, [sm1979[nm). Russ. composer. Studied St Peters~~burg Univ.
 with Sokolov, [sm1911[nm=n[sm14[nm. Disciple of ~Skryabin; explored microtones
and used `ultra~~[chchromatic scales'=mquarter-tone, [sm6[nmth-tone, etc.=m~unti
l his work became pantonal. Went to Ger. to ~meet [fy45,1]*[fy75,1]H;aaaba. Sett
led in Fr., where Pleyel built ~quarter-tone, [sm3[nm-manual pf. to his design.
Comp. ~after [sm1936[nm exclusively for pfs. tuned microtone ~apart. Works incl.
 [cf2]Ainsi parlait Zarathoustra [cf1](Thus ~spake Zarathustra) for orch., [sm24
[nm [cf2]Preludes [cf1]for [sm2[nm pf., ~[cf2][sm5[nm Variations
 sans th;ageme et conclusion [cf1]for orch. in ~quarter-tones, etc.[cm~Vyvyan, J
ennifer [fy75,1]([cf2]b [cf1]Broadstairs, [sm1925[nm; [cf2]d [cf1]London, ~[sm19
74[nm). Eng. sop. Studied RAM and with Roy ~Henderson. Joined Glyndebourne ch. S
olo part in ~EOG [cf2]Beggar[cf1]'[cf2]s Opera[cf1], [sm1948[nm. Went to Switzer
land ~to study with Carpi, [sm1950[nm and won Geneva int. ~comp. [sm1951[nm. Joi
ned SW Opera [sm1952[nm, singing ~Mozart roles. Created Penelope Rich in Britten
's ~[cf2]Gloriana[cf1], CG [sm1953[nm. Sang Electra in Mozart's ~[cf2]Idomeneo[c
f1], Glyndebourne [sm1954[nm. Created Governess ~in Britten's [cf2]The Turn of t
he Screw[cf1], Venice [sm1954[nm, ~Tytania in [cf2]A Midsummer Night[cf1]'[cf2]s
 Dream[cf1], Aldeburgh ~[sm1960[nm, and Mrs Julian in [cf2]Owen Wingrave[cf1], T
V [sm1971[nm, ~CG [sm1973[nm. Also successful career in concert works, ~particul
arly Elgar oratorios and Howells's [cf2]Hymnus ~Paradisi[cf1].[xm[cm~[j4]~[xp[te
~
[do3][j99]~~~~~~153842_W001[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm001[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm25[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm1[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[PN769,0,0,R,I0][ap[j3]~W[cm~~
[j1]W. [fy75,1]Abbreviation for [cf2]Werk(e)[cf1] (Ger., works(s)), the ~same as
 Opus. In Kinsky's Beethoven catalogue, ~[fy45,1]*[fy75,1]WoO signifies [cf2]Wer
k ohne Opuszahl[cf1], `work with~~out opus number.'[cm~Waart, Edo de[fy75,1] ([c
f2]b[cf1] Amsterdam, [sm1941[nm). Dutch ~cond. and oboist. Studied Amsterdam. Pr
in. oboe, ~Concertgebouw Orch. of Amsterdam, [sm1963[nm. ~Winner, Mitropoulos Co
mpetition NY [sm1964[nm. Ass. ~cond., Concertgebouw Orch. [sm1966[nm. Prin. cond
., ~Rotterdam P.O. [sm1973[nm=n[sm7[nm; prin. guest cond. San ~Francisco S.O. fr
om [sm1975[nm, cond. from [sm1977[nm. ~British d;aaebut Folkestone (RPO) [sm1969
[nm, CG [sm1976[nm ~([cf2]Ariadne auf Naxos[cf1]). Amer. opera d;aaebut Santa Fe
 ~[sm1971[nm.[cm~Wachet auf[fy75,1] (Wake up!, often trans. as `
Sleepers, ~awake'). Church cantata No. [sm140[nm by J. S. Bach, ~[sm1731[nm, bas
ed on Lutheran chorale. Also choral-~prelude for organ (BWV [sm645[nm) by J. S.
Bach. `Wach' ~auf' is ch. in Act [sm3[nm of Wagner's [cf2]Die Meistersinger[cf1]
, ~sung to words by orig. Hans Sachs.[xm[cm~[j1]Wachtelpfeife [fy75,1](Ger.). Qu
ail-pipe. Instr. imitative ~of quail used in Toy Sym. attrib. Leopold Mozart. ~B
eethoven, in ob. part in [sm2[nmnd movement of ~[cf2]Pastoral [cf1]Sym., uses th
is term where imitation of ~quail is required.[xm[cm~[j1]W;auachter, Eberhard[fy
75,1] ([cf2]b[cf1] Vienna, [sm1929[nm). Austrian ~bar. Studied Vienna. Opera d;a
aebut Vienna Volks-[fj~oper [sm1953[nm. Member of Vienna State Opera from ~[sm19
54[nm. CG d;aaebut [sm1956[nm (Count in [cf2]Figaro[cf1]). Bayreuth ~Fest. from
[sm1958[nm. NY Met. from [sm1961[nm.[cm~Waddington, Sidney [fy75,1](Peine) ([cf2
]b[cf1] Lincoln, [sm1869[nm; [cf2]d[cf1] ~Uplyme, Devon, [sm1953[nm). Eng. compo
ser and ~teacher. Studied London, Frankfurt, and Vienna. ~Choirm
aster at St Mary's, Bayswater, [sm1894[nm=n[sm1905[nm. ~Prof. of harmony RCM fro
m [sm1905[nm. Wrote pf. ~conc., choral works, chamber mus., etc. Admired ~as tea
cher by Vaughan Williams, who ded. the ~opera [cf2]Sir John in Love[cf1] to him.
 Cond. f.p. (private) ~of Vaughan Williams's [cf2] Hugh the Drover[cf1], [sm1924
[nm.[cm~Waelrant, Hubert [fy75,1]([cf2]b[cf1] Tongerloo, [cf2]c.[cf1][sm1516[nm=
n[sm7[nm; [cf2]d[cf1] ~Antwerp, [sm1595[nm). Flemish composer. Ten. in choir ~of
 Antwerp Cath. Founded mus. sch. in Antwerp, ~[sm1547[nm. Taught system of [fy45
,1]*[fy75,2]solmization.[cf1] Mus. pub~~lisher. Wrote madrigals, [cf2]chansons[c
f1], church mus.[cm~Wagenaar, Bernard [fy75,1]([cf2]b[cf1] Arnhem, [sm1894[nm; [
cf2]d[cf1] York, ~Maine, [sm1971[nm). Dutch-born composer (Amer. ~citizen from [
sm1927[nm). Son of Johan [fy45,1]*[fy75,1]Wagenaar. ~Studied with his father and
 at Utrecht Cons. ~Went to USA [sm1920[nm, joining NY P.O. as violinist ~[sm1921
[nm=n[sm3[nm. Taught at NY Juilliard Sch. [sm1925[nm=n[sm68[nm.
~Works incl. [sm4[nm syms. ([sm2[nmnd and [sm3[nmrd first cond. by ~Toscanini, N
o. [sm1[nm by Mengelberg) [sm1926[nm, [sm1931[nm, ~[sm1935[nm, [sm1949[nm; tripl
e conc. (fl., harp, vc.) [sm1937[nm; ~[cf2]Sinfonietta, [cf1][sm1929[nm; [cf2]So
ng of Mourning[cf1], orch., [sm1944[nm; [cf2][sm5[nm ~Tableaux[cf1], vc. and orc
h., [sm1952[nm; vn. conc., [sm1940[nm; [sm4[nm ~str. qts., vn. sonata, song-cycl
e, etc.[cm~Wagenaar, Johan[fy75,1] ([cf2]b[cf1] Utrecht, [sm1862[nm; [cf2]d[cf1]
 The Hague, ~[sm1941[nm). Dutch composer and organist. Studied ~Berlin with Herz
ogenberg, [sm1889[nm. Organist, ~Utrecht Cath. [sm1887=n1919[nm (famous Bach pla
yer). ~Dir., Utrecht Mus. Sch. [sm1904[nm=n[sm18[nm, The Hague ~Cons. [sm1918[nm
=n[sm38[nm. Wrote [sm2[nm operas, symphonic poem ~[cf2]Saul and David[cf1], vn.
and pf. pieces, songs.[cm~Wagenseil, Georg Christoph[fy75,1] ([cf2]b[cf1] Vienna
, [sm1715[nm; ~[cf2]d[cf1] Vienna, [sm1777[nm). Austrian composer and pianist. ~
Studied comp. with Fux. Court composer, Vi~~enna, from [sm1739[n
m, becoming mus.-master to ~Empress Maria Theresia. Wrote [sm16[nm operas (incl.
 ~[cf2]La Clemenza di Tito[cf1], [sm1746[nm), at least [sm30[nm syms., hpd. ~con
cs., harp concs., chamber mus.[cm~Wagenseil, Johann Christoph[fy75,1] ([cf2]b[cf
1] Nuremberg, ~[sm1633[nm; [cf2]d[cf1] Altdorf, [sm1708[nm). Ger. writer and lib
rarian. ~In [sm1697[nm pubd. his [cf2]Nuremberg Chronicles[cf1], contain~~ing tr
eatise on the Meistersinger from which ~Wagner drew much of the background (and
~several of the characters) for his opera [cf2]Die ~Meistersinger von N;auurnber
g.[cm~Wagner, Cosima[fy75,1] ([cf2]n;aaee [cf1]Liszt) ([cf2]b[cf1] Bellaggio, La
ke[fjComo, [sm1837[nm; [cf2]d[cf1] Bayreuth, [sm1930[nm). Of Franco-~Hungarian b
irth, being daughter of [fy45,1]*[fy75,1]Liszt and ~Countess Marie d'Agoult. Edu
cated in Fr. Went ~to Ger. and in [sm1857[nm married Hans von B;auulow, ~pianist
 and cond., by whom she had [sm2[nm children. ~First met Richard Wagner in Paris
 [sm1853[nm; declared ~love for each other in Berlin [sm1863[nm.
 Went to ~Munich [sm1864[nm to be near Wagner. Daughter, ~Isolde, born to them [
sm1865[nm. Lived with Wagner at ~Tribschen, Lucerne, from [sm1868[nm. Another da
ugh~~ter, Eva, born [sm1867[nm. Divorced from von B;auulow ~[sm1869[nm. Son, Sie
gfried, born to her and Wagner ~[sm1869[nm. Married Wagner [sm1870[nm. Moved wit
h him to ~Bayreuth [sm1872[nm and was active in preparations for ~[sm1876[nm fes
tival. After Wagner's death in [sm1883[nm, ~became mus. dir. of Bayreuth Fest.,
handing over ~to her son Siegfried in [sm1908[nm. Became blind [sm1920[nm. ~Her
Diaries, covering years [sm1869[nm=n[sm83[nm, are invalu~~able source of informa
tion on Wagner's life and ~thought.[cm~Wagner, Johanna[fy75,1] ([cf2]b[cf1] Seel
ze, nr. Hanover, [sm1826[nm; ~[cf2]d[cf1] W;auurzburg, [sm1894[nm). Ger. sop. Il
legitimate child ~of army officer and singer, adopted by R. Wagner's ~brother. E
ngaged at Dresden, where Wagner was ~cond., [sm1843[nm. Created role of Elisabet
h in [cf2]Tannh;auau~~ser[cf1] [sm1845[nm. Studied with Viardot
in Paris [sm1846[nm=n[sm8[nm. ~Sang in Berlin [sm1850[nm=n[sm62[nm, then lost v.
 but became ~[PN770,0,0,L,I0]actress. London d;aaebut [sm1856[nm. Resumed singin
g in ~[sm1870[nms. Sang alto part in Beethoven's [sm9[nmth Sym. at ~Bayreuth sto
ne-laying ceremony [sm1872[nm. Created ~First Norn in [cf2]G;auotterd;auammerung
[cf1], [sm1876[nm. Taught in ~Munich [sm1882[nm=n[sm4[nm.[cm~Wagner, Peter Josef
[fy75,1] ([cf2]b[cf1] K;auurenz, Tr;ageves, [sm1865[nm; [cf2]d[cf1] ~Fribourg, [
sm1931[nm). Ger. musicologist. Studied at ~Tr;ageves and in Berlin with [fy45,1]
*[fy75,1]Spitta. On staff ~Fribourg Univ. from [sm1893[nm, prof. of mus. history
 ~[sm1902[nm, and rector [sm1920[nm=n[sm1[nm. Specialist in plainsong, ~Palestri
na, madrigals, etc.[cm~Wagner, [fy75,1](Wilhelm) [fy65][cf3]Richard[fy75,1] ([cf
2]b[cf1] Leipzig, [sm1813[nm; [cf2]d[cf1] ~Venice, [sm1883[nm). Ger. composer, c
ond., poet, and ~author. One of the handful of composers who ~changed the course
 of mus. Went to sch. in ~Dresden and attended Thomasschule, Lei
pzig, ~[sm1830[nm=n[sm1[nm. Deeply interested in literature as youth. ~Mus. incl
ination intensified by hearing ~[fy45,1]*[fy75,1]Schr;auoder-Devrient in Bellini
. Wrote sym. [sm1832[nm ~and later that year made first attempt at opera, ~[cf2]
Die Hochzeit[cf1], which he destroyed. Choral cond. at ~W;auurzburg [sm1833[nm a
nd in [sm1834[nm completed opera ~[cf2]Die Feen. [cf1]Became cond. of orch. at t
h. in Lauchst;auadt ~and later in [sm1834[nm mus. dir. of th. at Magdeburg. ~His
 [sm2[nmnd opera [cf2]Das Liebesverbot[cf1], based on Shakes~~[chpeare's [cf2]Me
asure for Measure[cf1], prod. there [sm1836[nm. ~Married actress Minna Planer. A
ss. cond. at Riga ~[sm1837[nm=n[sm9[nm. Went to Paris [sm1839[nm. Wrote [cf2]Rie
nzi [cf1][sm1838[nm=n~[sm40[nm and [cf2]Der fliegende Holl;auander[cf1] [sm1841[
nm. Lived in ~poverty in Paris, doing mus. hack-work and ~writing articles. In [
sm1842[nm returned to Dresden, ~where [cf2]Rienzi[cf1] was prod. with great succ
ess. [cf2]Der ~fliegende Holl;auander[cf1] equal success in [sm1
843[nm, leading ~to Wagner's appointment as court opera cond. ~Cond. legendary p
erfs. of Beethoven's [sm9[nmth Sym. ~and works by Mozart, Weber, and Gluck. ~[cf
2]Tannh;auauser[cf1] prod. at Dresden [sm1845[nm. Began project ~for series of o
peras based on Nibelungen sagas, ~completing lib. of [cf2]Siegfrieds Tod[cf1], [
sm1848[nm. Sided with ~revolutionaries in [sm1849[nm uprising in Dresden. Fled ~
to Liszt at Weimar after police issued warrant for ~his arrest, eventually settl
ing in Z;auurich where he ~wrote series of essays, incl. the important [fy45,1]*
[fy75,2]Oper ~und Drama[cf1] in which he expounded his theory of ~[fy45,1]*[fy75
,1]music drama, the unification of mus. and drama ~superseding all other conside
rations (such as ~singers' special requirements in the way of display ~arias). A
lso continued to write text of his Nibelung ~operas and comp. mus. of [cf2]Das R
heingold[cf1] and [cf2]Die ~Walk;auure[cf1]. In permanent financial straits, was
 ~helped by Julie Ritter and by Ger. merchant Otto ~Wesendonck,
with whose wife Mathilde Wesen~~donck he had affair. Under the influence of this
 ~emotional experience he wrote lib. and mus. of ~[cf2]Tristan und Isolde[cf1] (
[sm1857[nm=n[sm9[nm), interrupting [cf2]Siegfried ~[cf1]after completing Act [sm
2[nm. In [sm1855[nm visited London ~as cond. of Phil. Soc. concerts. Wife Minna
left ~him (not for first time) in [sm1858[nm because of ~Wesendonck affair but r
ejoined him in [sm1859[nm. ~Cond. in Paris [sm1860[nm and rev. [cf2]Tannh;auause
r[cf1] for perf. ~at Op;aaera in [sm1861[nm; but tried to withdraw it after ~rio
ts instigated by Jockey Club. Allowed to re-~enter Ger., except Saxony. Heard [c
f2]Lohengrin[cf1] (comp. ~[sm1846[nm=n[sm8[nm) in Vienna and hoped for prod. the
re of ~[cf2]Tristan[cf1], but it was abandoned after [sm77[nm rehearsals ~as `un
performable'. Amnesty granted from Sax~~ony [sm1862[nm. At work on [cf2]Die Meis
tersinger von ~N;auurnberg[cf1] from [sm1862[nm. Fled Vienna [sm1864[nm because
~of pressing debts, but while in Stuttgart was ~`rescued' by you
ng King Ludwig of Bavaria, a ~passionate admirer of Wagner's mus., who ~became h
is patron and invited him to Munich, ~where [cf2]Tristan[cf1] was prod. [sm1865[
nm, cond. by Hans von ~B;auulow, with whose wife Cosima, Wagner had ~been in lov
e since [sm1863[nm. Work resumed on ~Nibelung operas under stimulus of Ludwig's
~enthusiasm. Opposition to Wagner in Munich ~political circles led to his depart
ure from Munich ~and his settling at the villa of [fy45,1]*[fy75,1]Tribschen, Lu
cerne, ~where Cosima, having borne him [sm2[nm daughters, ~joined him in [sm1868
[nm. Minna having died in [sm1866[nm ~and Cosima's marriage being annulled in [s
m1869[nm ~(the year in which she gave birth to Wagner's son ~Siegfried), Wagner
and Cosima were married in ~[sm1870[nm. [cf2]Das Rheingold[cf1] and [cf2]Die Wal
k;auure[cf1] prod. in ~Munich [sm1869[nm and [sm1870[nm, [cf2]Die Meistersinger
[cf1]in [sm1868[nm. ~In [sm1871[nm persuaded [fy45,1]*[fy75,1]Bayreuth municipal
 author~~ity to grant land for erection of th. specially ~design
ed for staging of [cf2]Der Ring des Nibelungen[cf1]; ~foundation-stone laid [sm1
872[nm. Toured Ger. to seek ~artists and raise funds for first Bayreuth Fest. ~S
ettled into new home, [fy45,1]*[fy75,1]Wahnfried, at Bayreuth ~[sm1874[nm, where
 he completed[cf2] G;auotterd;auammerung[cf1], [sm4[nmth ~opera in [cf2]Ring[cf1
] project begun in [sm1848[nm. Bayreuth th. ~opened August [sm1876[nm and [cf2]R
ing[cf1] perf. complete ~under Hans [fy45,1]*[fy75,1]Richter, supervised in ever
y detail ~by Wagner. In [sm1877[nm cond. series of concerts at ~Royal Albert Hal
l, London, to raise funds to cover ~Bayreuth deficit, and then began work on [cf
2]Parsifal[cf1], ~which he had first contemplated in [sm1857[nm (com~~pleted [sm
1882[nm, perf. in July at Bayreuth). From ~[sm1878[nm, suffered series of heart
attacks, fatal one ~occurring in Venice on [sm13[nm Feb. [sm1883[nm. Buried at ~
Wahnfried.[ep~^Wagner's mus., richly expressive, intensely ~illustrative, and on
 the grandest scale, dominated ~the [sm19[nmth cent. and split t
he mus. world into ~opposing factions. His influence, good and bad, ~on countles
s other composers is still a prime ~factor a century after his death. He wrote t
he ~texts of all his operas, reading copiously in the ~sources of the legends he
 selected as subjects and ~writing a prose sketch, then the poem (lib.) before ~
he comp. any of the mus., though it is clear that ~certain ideas came to him rea
dy-clothed in mus. ~He was inspired by the Ger. Romantic spirit of ~Weber's oper
as, and to some extent by the ~grandiose operatic aims of Meyerbeer, whom he ~de
spised. In Liszt he found a fellow-spirit from ~whom he learned much, as he did
from Berlioz. ~But he surpassed them all in the single-minded~~ness with which h
e pursued his dream of an art ~form in which mus. and drama should be one ~and i
ndivisible, his [cf2]Zukunftsmusik[cf1] (mus. of the ~future). With the chromati
cism of [cf2]Tristan[cf1] he took ~[PN771,0,0,R,I0]tonality to its limits and be
yond, and opened the ~way for the Schoenbergian revolution. Phil
osoph~~ical and psychological undertones contribute ~immensely to the spell of t
he [cf2]Tristan[cf1] mus. ~Wagner brought to a fine art the use of [fy45,1]*[fy7
5,2]Leitmotiv[cf1] ~to depict not only characters but their emotions, ~and wove
them into an orch. texture of such ~richness that the orch. assumed an extra dim
en~~sion in operatic terms. His operas also required a ~new technique of singing
 and a new breed of ~singers with the intelligence to convey the ~subtleties of
his art. The idea that `bawling' was ~all that Wagner needed has long been dispr
oved ~by generations of singers by whom his music has ~been shown to be as singa
ble as [cf2]bel canto[cf1]. In a ~sense Wagner was a dead-end, since he was a ~u
nique genius. The sheer mastery of [cf2]The Ring[cf1], ~the sustaining of such a
n imposing achievement ~at a white-heat of inspiration for something like ~[sm15
[nm hours of mus., is among the most amazing ~artistic achievements of the human
 spirit. But ~opera could never be the same after him: he ~made
it the vehicle for the expression of the most ~complex emotional and psychologic
al issues, but, ~being first and foremost a musician, these are still ~secondary
 to the hypnotic power of the mus., at ~least for those (and they number million
s) who ~fall under its sway. Prin. works:[xm[cm~[j2][smoperas and music dramas[n
m: [fy75,2]Die [fy45,1]*[fy75,2]Feen [cf1](The Fairies) ~([sm1833[nm=n[sm4[nm);
[cf2]Das [fy45,1]*[fy75,2]Liebesverbot [cf1](Forbidden Love) ~([sm1835[nm=n[sm6[
nm); [fy45,1]*[fy75,2]Rienzi [cf1]([sm1838[nm=n[sm40[nm); [cf2]Der [fy45,1]*[fy7
5,2]fliegende ~Holl;auander [cf1](The Flying Dutchman) ([sm1841[nm); [fy45,1]*[f
y75,2]Tann~~h;auauser [cf1]([sm1843[nm=n[sm5[nm, rev. [sm1861[nm); [fy45,1]*[fy7
5,2]Lohengrin [cf1]([sm1846[nm=n[sm8[nm); ~[cf2]Der [fy45,1]*[fy75,2]Ring des Ni
belungen [cf1](The Nibelung's Ring): ~[cf2]Das [fy45,1]*[fy75,2]Rheingold [cf1](
The Rhine Gold) ([sm1853[nm=n[sm4[nm), [cf2]Die ~[fy45,1]*[fy75,2]Walk;auure [cf
1](The Valkyrie) ([sm1854[nm=n[sm6[nm), [fy45,1]*[fy75,2]Siegfri
ed ~[cf1]([sm1856[nm=n[sm7[nm and [sm1864[nm=n[sm71[nm), [fy45,1]*[fy75,2]G;auot
terd;auammerung [cf1](Twi~~light of the Gods) ([sm1869[nm=n[sm74[nm, some ideas
com~~posed as [fy45,1]*[fy75,2]Siegfrieds Tod [cf1]many years earlier); ~[fy45,1
]*[fy75,2]Tristan und Isolde [cf1]([sm1857[nm=n[sm9[nm); [cf2]Die [fy45,1]*[fy75
,2]Meistersinger ~von N;auurnberg [cf1](The Mastersingers of Nuremberg) ~([sm186
2[nm=n[sm7[nm); [fy45,1]*[fy75,2]Parsifal [cf1]([sm1878[nm=n[sm82[nm).[ep~[smorc
h[nm: Sym. in C ([sm1832[nm); [fy45,1]*[fy75,2]Siegfried Idyll[cf1] ([sm1870[nm)
; ~Concert Ov. in D minor ([sm1831[nm), in C ([sm1832[nm); ~[fy45,1]*[fy75,2]Chr
istopher Columbus[cf1], ov. ([sm1835[nm); [fy45,1]*[fy75,2]Rule, Britan~~nia[cf1
], ov. ([sm1836[nm=n[sm7[nm); [fy45,1]*[fy75,2]Polonia[cf1], ov. ([sm1836[nm); [
fy45,1]*[fy75,2]Faust[cf1], ~ov. ([sm1840[nm, rev. [sm1855[nm); [fy45,1]*[fy75,2
]Huldigungsmarsch[cf1] ([sm1864[nm); ~[fy45,1]*[fy75,2]Kaisermarsch[cf1] ([sm187
1[nm); [cf2]Centennial March[cf1] ([sm1876[nm).[ep~[smchoral[nm:
 [cf2]Weihegruss[cf1] ([sm1843[nm); [cf2]An Webers Grabe[cf1] ~([sm1844[nm); [cf
2]Das [fy45,1]*[fy75,2]Liebesmahl der Apostel[cf1] (The Love ~Feast of the Apost
les), orch. with male ch. ([sm1843[nm).[ep~[smpiano[nm: Sonata in B;yh ([sm1831[
nm); [cf2]Lied ohne Worte[cf1] ([sm1840[nm); ~Album Sonata in A;Yh ([sm1853[nm);
 [cf2]Albumbl;auatter [cf1]in A;Yh ~and C ([sm1861[nm).[ep~[smsongs[nm: [cf2][sm
7[nm Songs from Goethe's Faust[cf1] ([sm1832[nm); [cf2]Der ~Tannenbaum[cf1] ([sm
1838[nm); [cf2]Les deux grenadiers[cf1] ([sm1839[nm=n~[sm40[nm); [cf2]Les adieux
 de Marie Stuart[cf1] ([sm1840[nm); [cf2][sm5[nm Gedichte ~von Mathilde Wesendon
ck[cf1] ([sm5[nm [fy45,1]*[fy75,1]Wesendonck Songs), ~v. and pf. ([sm1857[nm=n[s
m8[nm; orch. Mottl; arr. Henze for ~high v. and chamber orch., [sm1979[nm); [cf2
]Kinder-~Katechismus[cf1] ([sm1873[nm).[ep~[smwritings[nm: [cf2]My Life[cf1] ([s
m1865[nm=n[sm80[nm); [cf2]German Opera[cf1] ~([sm1851[nm); [cf2]Art and Revoluti
on[cf1] ([sm1849[nm); [cf2]Judaism in ~Music[cf1] ([sm1850[nm);
[cf2]Opera and Drama[cf1] ([sm1850[nm=n[sm1[nm); [cf2]The ~Music of the Future[c
f1] ([sm1860[nm); [cf2]Religion and Art[cf1] ~([sm1880[nm); [cf2]On Conducting[c
f1] ([sm1869[nm).[cm~[j1]Wagner, Roger [fy75,1]([cf2]b[cf1] Le Puy, [sm1914[nm).
 Fr.-born choral ~cond. (later Amer. citizen). Son of organist of ~Dijon Cath. T
aken to USA at age of [sm7[nm. Organist ~and choirmaster, Church of St Ambrose,
Los ~Angeles, at [sm12[nm. Studied in Paris with M. Dupr;aae. ~Mus. dir., St Jos
eph's Church, Los Angeles, [sm1937[nm. ~Founded Roger Wagner Chorale [sm1947[nm,
 which ~toured widely and won high reputation as one of ~the finest Amer. choirs
. Dir., choral mus., ~U.C.L.A. from [sm1959[nm. Authority on Despr;ages.[xm[cm~[
ol0][ep~[xp[u20]~~[te~



[do3][j99]~~~~~~153842_W002[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm002[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm23[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Wagner, [fy75,1](Helferich)
[fy65][cf3]Siegfried[fy75,1] ([cf2]b[cf1] Tribschen, ~Lucerne, [sm1869[nm; [cf2]
d[cf1] Bayreuth, [sm1930[nm). Ger. composer ~and cond. Only son of Richard [fy45
,1]*[fy75,1]Wagner and ~Cosima [fy45,1]*[fy75,1]Wagner (then von B;auulow). Educ
ated as ~architect, but turned to mus. Studied with ~Humperdinck. Ass. cond. Bay
reuth [sm1894[nm, cond. ~perfs. there [sm1896[nm. Succeeded mother as art. dir.,
 ~Bayreuth Fest. from [sm1908[nm, producer from [sm1901[nm. ~Married Englishwoma
n Winifred Williams ~([sm1894[nm=n[sm1980[nm) who dir. Bayreuth [sm1930[nm=n[sm4
4[nm. Wrote ~[sm13[nm operas, incl. [cf2]Der [fy45,1]*[fy75,2]B;auarenh;auauter[
cf1] ([sm1899[nm), [cf2]Der ~Kobold[cf1] ([sm1904[nm), and [cf2]Der Schmied von
Marienburg[cf1] ~([sm1920[nm), symphonic poems, vn. conc. ([sm19
15[nm), and ~sym. ([sm1925[nm).[cm~Wagner, Wieland [fy75,1]([cf2]b[cf1] Bayreuth
, [sm1917[nm; [cf2]d[cf1] Munich, ~[sm1966[nm). Ger. opera producer and designer
. Son of ~Siegfried [fy45,1]*[fy75,1]Wagner. Studied in Bayreuth and ~Munich. Wo
rked among stage staff at pre-[sm1939[nm ~Bayreuth Fests. and designed scenery f
or [cf2]Parsifal[cf1], ~[sm1939[nm. With his brother Wolfgang [fy45,1]*[fy75,1]W
agner ~became art. dir. of Bayreuth Fest. [sm1951[nm and ~revolutionized Wagner
prods., causing intense ~controversy. Scrapped representational produc~~tions, s
ubstituting settings with little scenery, ~emphasis on lighting, and all-purpose
 circular ~platform. Many of Wagner's stage directions were ~ignored. Also prod.
 operas by other composers at ~Hamburg, Stuttgart, etc.[cm~Wagner, Wolfgang [fy7
5,1]([cf2]b[cf1] Bayreuth, [sm1919[nm). Ger. ~opera impresario and producer. Son
 of Siegfried ~[fy45,1]*[fy75,1]Wagner. With his brother Wieland [fy45,1]*[fy75,
1]Wagner ~was co-dir. of Bayreuth Fest. [sm1951[nm=n[sm66[nm, ma
inly ~concerned with administration. Succeeded ~brother as art. dir., [sm1966[nm
. Though less controver~~sial a producer than Wieland, caused controversy ~by ch
oice of other producers, e.g. Patrice Ch;aaereau ~for centenary [cf2]Ring[cf1],
[sm1976[nm.[cm~Wagner-R;aaegeny, Rudolf[fy75,1] ([cf2]b[cf1] Sz;aaasz-R;aaegen,
Ro~~mania, [sm1903[nm; [cf2]d[cf1] E. Berlin, [sm1969[nm). Ger. composer, ~cond.
, and pianist. Studied Leipzig Cons. [sm1919[nm=n~[sm20[nm, Berlin Hochschule f;
auur Musik [sm1920[nm=n[sm3[nm. Cho~~rusmaster, Berlin Volksoper [sm1923[nm-[sm5
[nm, worked with ~Laban's dance co. [sm1927[nm=n[sm30[nm. Dir. Rostock Hoch~~[ch
schule f;auur Musik, [sm1947[nm=n[sm50[nm, prof. of comp. East ~Berlin Acad. of
Arts [sm1950[nm=n[sm68[nm. Influenced by ~[PN772,0,0,L,I0]Weill-Brecht works, la
ter by [sm12[nm-note procedures. ~Works incl. [sm9[nm operas (incl. [cf2]Die B;a
uurger von Calais[cf1] ~[sm1936[nm=n[sm8[nm and [cf2]Das Bergwerk zu Falun[cf1]
[sm1958[nm=n[sm60[nm), [sm3[nm ~ballets (incl. [cf2]Tristan[cf1]
, [sm1958[nm), pf. conc., ch. works, ~etc.[cm~Wagner Tuba.[fy75,1] Brass instr.
invented by Wagner ~as compromise between hn. and tb. to give special ~tone-colo
ur in orchestration of [cf2]Der Ring des ~Nibelungen[cf1] (for Hunding in [cf2]D
ie Walk;auure[cf1], for ~example). Look more like hns. than tubas. The [sm4[nm ~
used in the [cf2]Ring[cf1] are [sm2[nm tenors in B;Yh, with [sm3[nm valves ~plus
 extra for correcting intonation of lowest ~octave and [sm2[nm basses in F. Play
ed by [sm5[nmth=n[sm8[nmth hns. ~Wagner had the idea for the tubas after seeing
~some instruments in Sax's workshops in [sm1853[nm ~which may have been saxhorns
. Possibly the ~tubas used at Bayreuth in [sm1876[nm were made in ~Berlin. They
did not survive after [sm1939[nm. In any ~case they were replaced in [sm1890[nm
by a set  made in ~Mainz. CG used brass band instruments until ~[sm1935[nm when
Beecham obtained a set from Mainz. ~Wagner tubas were used also by Bruckner, R.
~Strauss, and Stravinsky in [cf2]The Rite of Spring[cf1].[xm[cm~
[j1]Wahnfried. [fy75,1]Name of villa at Bayreuth into which ~Wagner and his wife
 moved in April [sm1874[nm and ~where they are buried. Now a museum housing ~val
uable archives. Name chosen by Wagner (orig. ~Wahnfriedheim) from Hesse town of
Wahnfried ~because he liked its mysticism, the word meaning ~`Peace from Wahn' (
[cf2]Wahn[cf1];eqmadness, illusion, ~etc.). Above portal he engraved: [cf2]Hier,
 wo mein ~W;auahnen Frieden fand=mWahnfried Sei dieses Haus ~von mir benannt[cf1
] (Here where my illusion found ~peace, be this house named by me Peace from ~Il
lusion).[xm[cm~[j1]Wait(s)[fy75,1] (Old Eng.). Watchman. ([sm1[nm) Musicians in
~medieval Eng. who acted as town watchmen, ~marking the hours of the night by so
unding ~instr. By [sm16[nmth cent. they formed town bands, ~each having its [fy4
5,1]*[fy75,1]`signature tune', thus [cf2]London ~Waits, Chester Waits[cf1], etc.
 Some waits were ~renowned for singing, and this originated appli~~cation of ter
m to groups who sang hymns and ~carols in the streets at Christm
as.[ep~^([sm2[nm) Old Eng. name for [fy45,1]*[fy75,2]shawm[cf1], much used by ~w
aits. Other name for shawm was [cf2]wayte-pipe.[cf1][cm~Wakefield, [fy75,1](Augu
sta) [fy65][cf3]Mary [fy75,1]([cf2]b[cf1] Sedgwick, nr. ~Kendal, [sm1853[nm; [cf
2]d[cf1] Grange-over-Sands, [sm1910[nm). Eng. ~cont. Studied with Randegger and
Henschel and ~later in Rome, where she also studied pf. with ~Sgambati. Sang at
Gloucester Fest. [sm1880[nm. Est. ~competitive fest. at Sedgwick [sm1885[nm, mov
ing it to ~Kendal [sm1886[nm, where it still flourishes and has ~given rise to m
any similar events. Lecturer from ~[sm1890[nm. Ed. [cf2]Ruskin on Music[cf1] ([s
m1894[nm).[cm~Walcha, Helmut[fy75,1] ([cf2]b[cf1] Leipzig, [sm1907[nm). Ger. org
anist, ~blind since age of [sm16[nm. Studied Leipzig [sm1922[nm=n[sm7[nm, ~ass.
organist, Thomaskirche [sm1926[nm=n[sm9[nm. Organist, ~Frankfurt Friedenskirche
[sm1929[nm, prof. of org. Hoch ~Cons. from [sm1933[nm, and at State Mus. Sch. fr
om ~[sm1938[nm. Organist, Dreik;auonigskirche from [sm1946[nm. ~
Famous Bach interpreter, preferring to play on ~orgs. resembling those of Bach's
 day. Ed. of ~Handel org. concs. Comp. [sm25[nm chorale preludes for ~org. Autho
r of book on Reger.[xm[cm~[j1]Waldfl;auote [fy75,1](Ger.). Woodland Flute. Org.
stop like ~[fy45,1]*[fy75,2]Clarabella[cf1], but often of [sm4[nm;po length and
pitch, and ~with inverted mouth.[cm~Waldhorn[fy75,1] (Ger.). Forest horn. The hu
nting hn., ~i.e. `natural' hn. without valves.[cm~Waldscenen[fy75,1] (Woodland S
cenes). [sm9[nm pieces for solo ~pf. by R. Schumann, Op. [sm82[nm, comp. [sm1848
[nm=n[sm9[nm.[cm~Waldstein Sonata. [fy75,1]Beethoven's pf. sonata No. [sm21[nm ~
in C major, Op. [sm53[nm, comp. [sm1804[nm and so called ~because of ded. to his
 patron Count Ferdinand ~Waldstein ([cf2]b[cf1] Dux, Bohemia, [sm1762[nm; [cf2]d
[cf1] Vienna, ~[sm1823[nm). Orig. slow movement, replaced by present ~[cf2]adagi
o[cf1], was pubd. separately as [cf2]Andante favori ~[cf1](WoO [sm57[nm).[cm~Wal
dteufel, Emil[fy75,1] ([cf2]b[cf1] Strasbourg, [sm1837[nm; [cf2]
d[cf1] Paris, ~[sm1915[nm). Fr. (Alsatian) composer and pianist. Studied ~Paris
Cons. Court pianist and dir. of court balls ~from [sm1865[nm. Cond. at CG promen
ade concerts ~[sm1885[nm. Wrote over [sm250[nm dances, especially waltzes, ~incl
. [cf2]Espa;atna [cf1]([sm1886[nm, after Chabrier), [cf2]Estudiantina ~[cf1]([sm
1883[nm), and [cf2]Les Patineurs[cf1] (Skaters) ([sm1882[nm).[cm~Walker, Alan [f
y75,1]([cf2]b [cf1]Scunthorpe, [sm1930[nm). Eng. musi~~cologist and writer. Stud
ied at GSM and Durham ~Univ., also privately with H. Keller, [sm1958[nm=n[sm60[n
m. ~Prof. of harmony, GSM, [sm1958[nm=n[sm60[nm. BBC mus. ~prod. [sm1961[nm=n[sm
71[nm. Prof. of mus., McMaster Univ., ~Hamilton, Ontario, from [sm1971[nm. Autho
rity on ~Liszt, [sm1[nmst vol. of large-scale biography pubd. [sm1983[nm. ~Has a
lso written extensively on Schumann, and ~musical criticism.[cm~Walker, Edyth[fy
75,1] ([cf2]b[cf1] Hopewell, NY, [sm1867[nm; [cf2]d[cf1] NY, ~[sm1950[nm). Amer.
 mez. Studied in Dresden with ~Orgeni. Opera d;aaebut in Meyerbe
er's [cf2]Le Proph;agete[cf1], ~Berlin [sm1894[nm, after concert appearance at L
eipzig. ~Member of Vienna Opera [sm1895[nm=n[sm1903[nm. NY Met. ~[sm1903[nm=n[sm
6[nm (d;aaebut as Amneris), Hamburg [sm1906[nm=n[sm12[nm, ~singing sop. and mez.
 parts, Munich [sm1912[nm=n[sm17[nm. ~CG d;aaebut [sm1900[nm ([sm1[nmst London E
lektra [sm1910[nm). Sang ~Kundry at Bayreuth [sm1908[nm. Often sang Isolde and ~
Br;auunnhilde. Taught at Amer. Cons., Fontaine~~bleau, [sm1933[nm=n[sm6[nm, then
 privately in NY.[cm~Walker, Ernest[fy75,1] ([cf2]b[cf1] Bombay, [sm1870[nm; [cf
2]d[cf1] Oxford, ~[sm1949[nm). Eng. composer and scholar. Studied Oxford ~Univ.
Mus. dir., Balliol College, Oxford, [sm1900[nm=n~[sm25[nm, running series of cha
mber concerts. Wrote ~[cf2]Stabat Mater[cf1], chamber mus., and songs. Author ~o
f several books, incl. [cf2]A History of Music in England[cf1] ~([sm1907[nm, [sm
1924[nm, and [sm1952[nm, with Westrup).[cm~Walker, Frank[fy75,1] ([cf2]b[cf1] Go
sport, [sm1907[nm; [cf2]d[cf1] Tring, [sm1962[nm). ~Eng. musicol
ogist and author. Worked for ~General Post Office, but devoted all spare time to
 ~meticulous biographical research from orig. ~sources. Wrote superb biographies
 of Hugo Wolf ~[PN773,0,0,R,I0]([sm1951[nm, [sm2[nmnd edn. [sm1968[nm with new m
aterial sup~~pressed in [sm1[nmst edn.; Ger. trans. [sm1953[nm), and Verdi ~([sm
1962[nm, It. trans. [sm1964[nm).[cm~Walker, Robert [fy75,1]([cf2]b [cf1]Northamp
ton, [sm1946[nm). Eng. ~composer. Chorister at St Matthew's, Northamp~~ton. Stud
ied at Cambridge Univ. (organ scholar, ~Jesus Coll.). Org. and schoolmaster for
[sm5[nm years in ~Grimsby, then freelance composer. Lives in ~Elgar's Sussex cot
tage `Brinkwells'. Works incl. ~[cf2]Variations on a Theme of Elgar[cf1], orch.
([sm1982[nm), ~Chamber Sym. ([sm1981[nm), [cf2]Pavan [cf1]for vn. and str. ~([sm
1975[nm), [cf2]Requiem[cf1], ten., ch., orch. ([sm1976[nm), [cf2]Canticle of ~th
e Rose[cf1], sop., bar., ch., orch. ([sm1980[nm), str. qt. ([sm1982[nm), ~[cf2]T
he Sun Used to Shine[cf1], ten., hp., str. ([sm1983[nm), pf. ~qu
intet ([sm1984[nm), and church mus.[cm~Walk to the Paradise Garden, The.[fy75,1]
 Intermezzo ~for orch. before last scene of Delius's opera [cf2]A ~[fy45,1]*[fy7
5,2]Village Romeo and Juliet[cf1] and frequently played as ~concert item. The `P
aradise Garden' was the ~village inn. Orig. intermezzo, comp. [sm1900=n1[nm, was
 ~re-written and extended in [sm1906[nm to cover scene-~change in projected Berl
in f.p., and it is this ~version that is now so well-known.[cm~Walk;auure, Die[f
y75,1] (The Valkyrie). Opera (mus. ~drama) in [sm3[nm acts by [fy45,1]*[fy75,1]W
agner to his own lib., ~being [sm2[nmnd opera of [cf2]Der Ring des Nibelungen[cf
1]. Comp. ~[sm1854[nm=n[sm6[nm. F.p. Munich [sm1870[nm, NY [sm1877[nm (incom~~pl
ete), London [sm1882[nm; f.p. as part of complete ~cycle, Bayreuth [sm1876[nm. T
he Valkyrie of the title is ~Br;auunnhilde.[cm~Wallace, Ian[fy75,1] ([cf2]b[cf1]
 London, [sm1919[nm). Eng. bass-bar. ~Studied singing but began career in law. O
pera ~d;aaebut London [sm1946[nm as Schaunard in [cf2]Boh;ageme.
[cf1] New ~London Opera Co. [sm1946[nm=n[sm9[nm. Sang with Glynde~~bourne co. at
 Edinburgh Fest. [sm1948[nm (Masetto in ~[cf2]Don Giovanni[cf1]=+=+) and at Glyn
debourne [sm1952[nm=n[sm6[nm, ~[sm1959[nm=n[sm61[nm. Successful buffo singer in
such roles as ~Don Magnifico in [cf2]La Cenerentola [cf1]and Malatesta in ~[cf2]
Don Pasquale[cf1], also in Gilbert and Sullivan. Many ~appearances in popular mu
sicals and as member ~of radio panel games. O.B.E. [sm1983[nm.[cm~Wallace, Lucil
le[fy75,1] ([cf2]b[cf1] Chicago, [sm1898[nm; [cf2]d[cf1] London, ~[sm1977[nm). A
mer. harpsichordist and pianist. Studied ~in Chicago, at Vienna Univ., and in Pa
ris with ~Boulanger and Landowska, later with Schnabel ~in Berlin. Did much to r
evive interest in kbd. ~mus. of D. Scarlatti and Couperin. Wife of ~Clifford [fy
45,1]*[fy75,1]Curzon from [sm1931[nm.[cm~Wallace, [fy75,1](William) [fy65][cf3]V
incent[fy75,1] ([cf2]b[cf1] Waterford, [sm1812[nm; ~[cf2]d[cf1] Ch;afateau de Ha
get, nr. Vieuzos, [sm1865[nm). Irish ~composer. Played org. and
vn. as boy. Led orch. ~in Dublin th. Emigrated to Australia [sm1835[nm, ~opening
 music coll. in Sydney (which failed) and ~then touring as violinist and pianist
 in Chile, ~Argentina, Cuba, and USA, where he was lionized. ~Returned to London
 [sm1845[nm where he composed ~successful opera [fy45,1]*[fy75,2]Maritana[cf1].
Operas [cf2]Lurline[cf1] ([sm1847[nm) ~and [cf2]The Amber Witch[cf1] ([sm1861[nm
) were successful, as ~was his pf. mus.[cm~Wallace, William [fy75,1]([cf2]b[cf1]
 Greenock, [sm1860[nm; [cf2]d[cf1] Malmes~~bury, [sm1940[nm). Scottish composer
and writer. ~Studied in Glasgow and Vienna as ophthalmic ~surgeon, holding hospi
tal posts in Glasgow and ~London. Abandoned career for mus. (resuming it ~only i
n [sm1914[nm=n[sm18[nm war). Entered RAM [sm1889[nm. Hon. ~Sec., Phil. Soc. [sm1
911[nm=n[sm13[nm. Wrote [sm6[nm symphonic ~poems, [cf2]The Passing of Beatrice[c
f1] ([sm1892[nm) being said to ~be first Brit. work in the genre. Others include
d ~[cf2]Wallace[cf1] ([sm1905[nm) and [cf2]Villon[cf1] ([sm1909[
nm). Also comp. ~sym., suite[cf2] The Lady from the Sea[cf1] (after Ibsen, ~[sm1
892[nm), songs, etc. Prof. at RAM. Wrote [cf2]Richard ~Wagner as he lived[cf1] (
[sm1925[nm).[cm~Wallenstein, Alfred [fy75,1]([cf2]b[cf1] Chicago, [sm1898[nm; [c
f2]d[cf1] NY, ~[sm1983[nm). Amer. cellist and cond. D;aaebut as cellist, ~Los An
geles [sm1912[nm. Later played in San Francisco ~S.O. from [sm1916[nm and Los An
geles P.O. Prin. cellist, ~Chicago S.O. [sm1922[nm=n[sm9[nm, NY P.O. [sm1929[nm=
n[sm36[nm (under ~Toscanini). Became radio cond. Cond. Los Angeles ~P.O. [sm1943
[nm=n[sm56[nm. Taught at Juilliard Sch. from [sm1968[nm.[cm~Waller, `Fats' [fy75
,1](Thomas Wright) ([cf2]b[cf1] NY, [sm1904[nm; [cf2]d[cf1] ~Kansas City, [sm194
3[nm). Amer. jazz pianist, organist, ~and composer. Studied pf. with Carl Bohm a
nd ~later with Leopold Godowsky, while working ~from age of [sm14[nm as organist
 in Harlem film th. ~Encouraged by jazz pianist James P. Johnson. ~Made nearly [
sm500[nm records, wrote about [sm400[nm ~copyright works, and ma
ny more without copy~~right. Comp. mus. comedy [cf2]Hot Chocolates[cf1], [sm1929
[nm, ~and the songs [cf2]Honeysuckle Rose[cf1], [cf2]c[cf1].[sm1928[nm, and [cf2
]Ain't ~Misbehavin'[cf1], [sm1929[nm. His amusing vocal style masked ~the seriou
s and influential qualities of his piano-~playing.[cm~Wallerstein, Lothar[fy75,1
] ([cf2]b[cf1] Prague, [sm1882[nm; [cf2]d[cf1] New ~Orleans, [sm1949[nm). Cz.-bo
rn composer, pianist, and ~opera producer (later Amer. citizen). Studied ~Prague
, Munich, and Geneva. Taught pf., Geneva ~Cons. Cond., Pozna;aan opera [sm1910[n
m=n[sm14[nm. Chief ~producer, Breslau opera [sm1918[nm=n[sm22[nm, Frankfurt ~[sm
1924[nm=n[sm6[nm, Vienna [sm1927[nm=n[sm38[nm (in which period prod. ~[sm65[nm o
peras), Salzburg Fest. [sm1926[nm=n[sm37[nm. Guest pro~~ducer Milan, Buenos Aire
s. Went to USA, [sm1941[nm, ~working at Met. until [sm1946[nm. Collab. with R. ~
Strauss in Vienna [sm1930[nm in `re-working' of Mozart's ~[cf2]Idomeneo.[cm~Wall
fisch, Peter[fy75,1] ([cf2]b[cf1] Breslau, [sm1924[nm). Ger.-bor
n ~pianist. Studied Jerusalem Acad. of Mus. and in ~Paris with Margu;aaerite Lon
g. Settled in Eng. Prof. ~of pf., RCM. Worldwide tours as recitalist. Bart;aaok
~Prize [sm1948[nm.[cm~Wally, La.[fy75,1] Opera in [sm4[nm acts by [fy45,1]*[fy75
,1]Catalani to lib. by ~Illica after W. von Hillern's novel [cf2]Die Geyer-Wally
[cf1] ~([sm1875[nm). Prod. Milan [sm1892[nm, NY Met. [sm1909[nm, Man~~[chchester
 [sm1919[nm.[cm~Walmisley, Thomas Attwood[fy75,1] ([cf2]b[cf1] London , [sm1814[
nm; ~[cf2]d[cf1] Hastings, [sm1856[nm). Eng. composer. Studied comp. ~with [fy45
,1]*[fy75,1]Attwood, his godfather. Organist, Croydon ~church [sm1830[nm, Trinit
y and St John's Colleges, ~Cambridge, [sm1833[nm. Prof. of mus., Cambridge ~Univ
., [sm1836[nm. Also brilliant mathematician. Comp. ~[PN774,0,0,L,I0]anthems, ins
tallation odes, and famous Services ~in B;Yh ([sm1834[nm) and D minor ([cf2]c[cf
1].[sm1855[nm). One of first to ~give mus. lectures with practical examples. ~Pi
oneer in Eng. appreciation of J. S. Bach.[cm~Walond, William[fy7
5,1] ([cf2]b[cf1] [sm1725[nm; [cf2]d[cf1] Oxford, [sm1770[nm). ~Eng. organist at
 Oxford Univ. Wrote org. ~voluntaries and setting of Pope's [cf2]Ode on St Cecil
ia's ~Day[cf1] ([sm1758[nm).[cm~Walsh, John[fy75,1] ([cf2]b[cf1] ?[sm1665[nm or
[sm6[nm; [cf2]d[cf1] London, [sm1736[nm). ~Eng. mus. publisher, est. off the Str
and, London, ~by [cf2]c[cf1].[sm1690[nm. Pubd. Handel's works from [sm1711[nm. ~
Succeeded by son John ([sm1709[nm=n[sm66[nm).[cm~Walsh, Stephen [fy75,1]([cf2]b[
cf1] Chipping Norton, [sm1942[nm). Eng. ~mus. critic. Studied Cambridge Univ. As
s. mus. ~critic, [cf2]Observer[cf1], from [sm1966[nm. Mus. critic, [cf2]The ~Lis
tener[cf1], [sm1965[nm=n[sm7[nm. Author of books on Schumann ~Lieder and Bart;aa
ok's chamber music. Senior ~lecturer in music, Cardiff Univ., from [sm1976[nm.[c
m~Walsworth, Ivor[fy75,1] ([cf2]b[cf1] London, [sm1909[nm). Eng. com~~poser. Stu
died RAM. Works incl. [sm5[nm syms., concs., ~pf. qt., songs, and elec. mus.[xm[
cm~[j1]Walter [fy75,1](orig. Schlesinger), [fy65][cf3]Bruno[fy75
,1] ([cf2]b[cf1] Berlin, [sm1876[nm; ~[cf2]d[cf1] Beverly Hills, Calif., [sm1962
[nm). Ger.-born cond. and ~pianist. Studied at Stern Cons., Berlin; decided to ~
become cond. after attending B;auulow concert. ~Coach and ass. cond., Cologne Op
era, [sm1893[nm=n[sm4[nm, ~Hamburg [sm1894[nm=n[sm8[nm as ass. to Mahler, Riga [
sm1898[nm=n~[sm1900[nm, Berlin [sm1900[nm=n[sm01[nm, Vienna [sm1901[nm (with Mah
ler ~till [sm1907[nm)=n[sm1912[nm, Munich Opera (gen. mus. dir. in ~succession t
o Mottl) [sm1913[nm=n[sm22[nm. Disciple of Mahler ~and cond. f.ps. of [cf2]Das L
ied von der Erde[cf1], Munich ~[sm1911[nm, and [sm9[nmth Sym., Vienna [sm1912[nm
. Cond. f.p. of ~Pfitzner's [cf2]Palestrina[cf1] [sm1917[nm. Cond. Berlin Munici
pal ~Opera [sm1925[nm=n[sm9[nm, Leipzig Gewand[chhaus Orch. [sm1929[nm=n~[sm33[n
m. Mus. dir., Vienna Opera [sm1936[nm=n[sm8[nm. Assoc. with ~Salzburg Fest. [sm1
922[nm=n[sm37[nm. Emigrated to Fr., taking ~Fr. citizenship, [sm1938[nm, and the
n moving to USA., ~where he became Amer. citizen. D;aaebut NY Me
t. ~[sm1941[nm. London d;aaebut [sm1909[nm, Phil. Soc. concerts, CG ~[sm1910[nm
(Smyth's [cf2]The Wreckers[cf1], Wagner's [cf2]Tristan[cf1]). ~From [sm1924[nm t
o [sm1931[nm, cond. regularly at CG, incl. ~memorable perfs. of [cf2]Der Rosenka
valier, Die Fleder~~maus[cf1], and [cf2]Le Nozze di Figaro[cf1]. Amer. d;aaebut
[sm1923[nm, ~NY Sym. Orch. After World War II returned to ~London to cond. LPO [
sm1946[nm and at [sm1[nmst Edinburgh ~Fest., [sm1947[nm, cond. legendary perf. o
f [cf2]Das Lied von ~der Erde[cf1] with Kathleen Ferrier and Peter Pears. ~Accom
panied Ferrier at recitals and recorded [cf2]Das ~Lied von der Erde[cf1] with he
r in Vienna. Prin. cond. ~NY P.O. [sm1947[nm=n[sm9[nm. Cond. at NY Met. [sm1941[
nm=n[sm6[nm, [sm1951[nm ~([cf2]Fidelio[cf1]), [sm1955[nm=n[sm7[nm, [sm1958[nm=n[
sm9[nm. Last visit to Eng., [sm1955[nm. ~One of greatest conds., especially of B
eethoven, ~Bruckner, Schubert, and Mahler. His warm, ~expansive approach was at
opposite pole to ~Toscanini's precision and brilliance. Wrote bi
o~~[chgraphy of Mahler ([sm1936[nm, Eng. edns. [sm1937[nm and ~[sm1958[nm) and a
utobiography ([sm1946[nm).[xm[cm~[j1]Walters, Gareth [fy75,1]([cf2]b[cf1] London
, [sm1928[nm). Eng. com~~poser. Studied RAM, Paris Cons., and Siena. Mus. ~prod.
, BBC from [sm1957[nm. Works incl. [cf2]Sinfonia breve,[cf1] ~[cf2]Divertimento
[cf1]for str., hpd. suites, etc.[cm~Walters, Jess [fy75,1]([cf2]b[cf1] Brooklyn,
 NY, [sm1918[nm). Amer. bar. ~Studied privately. D;aaebut [sm1935[nm, Brooklyn A
cad. ~of Mus. Opera d;aaebut NY New Opera Co. [sm1941[nm as ~Macbeth. Prin. bar.
 at CG [sm1947[nm=n[sm60[nm, Netherlands ~Opera [sm1960[nm=n[sm5[nm. Prof. of v.
, Univ. of Texas, Austin, ~from [sm1965[nm.[cm~Walther, Johann [fy75,1]([cf2]b[c
f1] Kahla, Thuringia, [sm1496[nm; [cf2]d[cf1] ~Torgau, [sm1570[nm). Ger. compose
r. Bass singer at ~Torgau [sm1524[nm, then singing posts in Saxony. Friend ~of M
artin Luther, advising him on establishing ~Ger. mass. Pubd. Protestant hymn-boo
k, [sm1524[nm. ~Wrote secular songs and instr. pieces.[cm~Walthe
r, Johann Gottfried [fy75,1]([cf2]b[cf1] Erfurt, [sm1684[nm; [cf2]d[cf1] ~Weimar
, [sm1748[nm). Ger. organist and composer. ~Organist at Erfurt [sm1702[nm=n[sm7[
nm, Weimar from [sm1707[nm. ~Became friend of his cousin J. S. Bach while Bach ~
was in Weimar [sm1708[nm=n[sm14[nm. Wrote kbd. conc. and ~org. works. Compiled m
us. dictionary [sm1732[nm.[cm~Walthew, Richard [fy75,1](Henry) ([cf2]b[cf1] Lond
on, [sm1872[nm; [cf2]d[cf1] ~East Preston, Sussex, [sm1951[nm). Eng. composer. ~
Studied GSM and RCM (pupil of Parry). Dir., ~Passmore Edwards Settlement [sm1900
[nm=n[sm04[nm. Prof. of ~mus., Queen's Coll., [sm1907[nm. Dir., GSM opera class
~from [sm1905[nm. Works incl. cantata [cf2]The Pied Piper[cf1], pf. ~conc., cham
ber mus., songs.[xm[cm~[ol0][ep~[xp[u20]~~[te~



[do3][j99]~~~~~~153842_W003[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm003[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm61[nm[cm~GC[cm3[cm22.8.84[cm~U1[cm~~~~[ep~[ep~[ep~[ep~[ap[j1]Walton, Be
rnard [fy75,1]([cf2]b[cf1] Manchester, [sm1917[nm; [cf2]d[cf1] London, ~[sm1972[
nm). Eng. clarinettist. Studied RCM. Prin. cl. ~LPO [sm1937[nm=n[sm40[nm and fro
m [sm1966[nm; Philharmonia ~Orch. [sm1948[nm=n[sm66[nm. Prof. of cl., RCM from [
sm1954[nm. ~Founder-member Music Group of London, [sm1966[nm.[cm~Walton, [fy75,1
](Sir) [fy65][cf3]William [fy75,1](Turner) ([cf2]b[cf1] Oldham, ~[sm1902[nm; [cf
2]d[cf1] Ischia, [sm1983[nm). Eng. composer. Son of ~choirmaster and singing-tea
cher. Chorister at ~Christ Church Cath. Sch., Oxford, [sm1912[nm=n[sm18[nm, ~dur
ing which time wrote anthems and songs. ~Wrote Pf. Qt. [sm1918[nm. `Adopted' as
a brother by ~Osbert, Sacheverell, and Edith Sitwell, [sm1919[nm, ~living with t
hem in London and It. Comp. first ~version of [cf2]Fa;alcade[cf1
], instr. accs. to recited poems by ~Edith Sitwell, in [sm1921[nm, f.p. London (
privately) ~[sm1922[nm. Str. qt. played at Salzburg [sm1923[nm. Made jazz ~arrs.
 for Savoy Orpheans, [sm1923[nm. Public perf. of ~[cf2]Fa;alcade[cf1] [sm1923[nm
 caused furore. Comedy ov. [fy75,2]Ports~~mouth Point[cf1] perf. at Z;auurich [s
m1926[nm. Came into wider ~prominence in [sm1929[nm with va. conc., f.p. at ~Pro
menade concert with Hindemith as soloist. ~This was followed at [sm1931[nm Leeds
 Fest. by dramatic ~cantata [fy75,2]Belshazzar's Feast[cf1]. In [sm1934[nm First
 Sym. was ~perf. without finale, which was added [sm1935[nm. Next ~large-scale w
ork was vn. conc. commissioned by ~Heifetz, [sm1939[nm. Wrote mus. for film of S
haw's ~[cf2]Major Barbara[cf1], [sm1940[nm, followed by several other ~wartime f
ilm scores, best-known being that for ~[cf2]The First of the Few[cf1] ([sm1942[n
m), story of building of ~Spitfire fighter aircraft, and Olivier's [cf2]Henry V[
cf1] ~([sm1944[nm). Next major work was str. qt., [sm1947[nm. Fr
om ~[sm1948[nm to [sm1954[nm was engaged on large-scale opera, ~[fy75,2]Troilus
and Cressida[cf1], prod. CG [sm1954[nm. Followed by ~[PN775,0,0,R,I0]vc. conc. f
or [fy45,1]*[fy75,1]Piatigorsky, [sm2[nmnd Sym., [fy75,2]Variations ~on a Theme
of Hindemith[cf1], a [sm1[nm-act `extravaganza' [cf2]The ~Bear[cf1], based on Ch
ekhov, and shorter works. From ~[sm1948[nm lived in Ischia. Knighted [sm1951[nm.
 O.M. [sm1968[nm.[ep~^Walton's mus., although it was at first regarded ~in Eng.
as that of an [cf2]enfant terrible[cf1] because of ~[cf2]Fa;alcade[cf1] and the
`jazz-age' influence on his early ~works, remained remarkably consistent. It is
~fundamentally lyrical and romantic, with two ~basic ingredients: a pungent, spi
ky rhythmic ~impetus, with wide intervals and tangy harmon~~ies, and a brooding
melancholy. It is as if two ~influences were perpetually at war in his nature: ~
the [sm20[nmth-cent. Stravinsky=nProkofiev strain and ~the [sm19[nmth-cent. Elga
r. His true qualities can be ~discerned in [cf2]Fa;accade[cf1],
a masterpiece which never ~`dates', because it is musically so good and true. ~A
lmost alone among later Eng. composers, he ~successfully wore the Elgarian pomp-
and-circum~~stance mantle, as in his [sm2[nm Coronation Marches, ~much of the fi
lm mus., and parts of [cf2]Belshazzar's ~Feast,[cf1] but the finest of his works
=mthe [sm3[nm concs., ~the [sm1[nmst Sym., the [cf2]Hindemith Variations, Belsha
zzar, ~The Bear, [cf1]and parts of [cf2]Troilus and Cressida[cf1]=mhave ~a power
ful individuality in which the opposing ~strains are successfully reconciled. Al
l his mus. is ~fastidiously fashioned and it has a Mediterranean ~luxuriousness
which is reconciled to the robust ~qualities of a composer whose place in the hi
story ~of [sm20[nmth-cent. Eng. mus. is high and important. ~Prin. works:[xm[cm~
[j2][smoperas[nm: [fy45,1]*[fy75,2]Troilus and Cressida[cf1] ([sm1948[nm=n[sm54[
nm, rev. [sm1972[nm=n~[sm6[nm); [cf2]The [fy45,1]*[fy75,2]Bear[cf1] ([sm1967[nm)
.[ep~[smballets[nm[cf1]: [cf2]The [fy45,1]*[fy75,2]Wise Virgins[
cf1] (transcr. of J. S. Bach) ~([sm1940[nm); [cf2]The Quest [cf1]([sm1943[nm); [
fy45,1]*[fy75,2]Fa;alcade[cf1] ([sm1929[nm, [sm1931[nm, ~[sm1935[nm, [sm1940[nm,
 [sm1972[nm).[ep~[smentertainment[nm: [fy45,1]*[fy75,2]Fa;alcade[cf1], reciter a
nd instr. ens. ~([sm1921[nm, rev. [sm1926[nm, [sm1928[nm, [sm1942[nm, [sm1951[nm
, [sm1978[nm); ~[cf2]Fa;alcade [sm2[nm[cf1] ([sm1979[nm, after rev.).[ep~[smorch
[nm: Symphonies: No. [sm1[nm in B;yh ([sm1931[nm=n[sm5[nm), No. [sm2[nm ~([sm195
9[nm=n[sm60[nm); Concertos: Va. in A minor ([sm1928[nm=n[sm9[nm, ~rev. [sm1961[n
m), Vn. in B minor ([sm1938[nm=n[sm9[nm, rev. [sm1943[nm), ~Vc. ([sm1956[nm), Si
nfonia Concertante for orch. with ~pf. ([sm1927[nm, rev. [sm1943[nm); [fy45,1]*[
fy75,2]Portsmouth Point[cf1] ([sm1925[nm); ~[fy45,1]*[fy75,2]Siesta[cf1] ([sm192
6[nm); [fy45,1]*[fy75,2]Fa;alcade[cf1], Suite No. [sm1[nm ([sm1926[nm), No. ~[sm
2[nm ([sm1938[nm); Coronation March, [fy45,1]*[fy75,2]Crown Im[chperial[cf1] ~([
sm1937[nm, rev. [sm1963[nm); Suite, [cf2]The [fy45,1]*[fy75,2]Wi
se Virgins[cf1] ~([sm1940[nm); [cf2]Music for Children[cf1] ([sm1940[nm, orch. o
f [cf2]Duets ~for Children[cf1]); Comedy Ov., [fy45,1]*[fy75,2]Scapino[cf1] ([sm
1940[nm, rev. ~[sm1950[nm); [fy45,1]*[fy75,2]Spitfire Prelude and Fugue[cf1] ([s
m1942[nm); [cf2][sm2[nm Pieces ~for Strings from Henry V[cf1] ([sm1944[nm); [cf2
]Sonata for Strings[cf1] ~([sm1972[nm, arr. of str. qt. [sm1947[nm); Coronation
March, ~[fy45,1]*[fy75,2]Orb and Sceptre[cf1] ([sm1953[nm); Finale, [cf2]presto
giocoso[cf1], of ~[cf2]Variations on an Elizabethan Theme[cf1] ([fy45,1]*[fy75,2
]Sellinger's ~Round[cf1]) ([sm1953[nm); [fy45,1]*[fy75,2]Johannesburg Festival O
verture ~[cf1]([sm1956[nm); [cf2]Partita[cf1] ([sm1957[nm); [cf2]Variations on a
 Theme of ~[fy45,1]*[fy75,2]Hindemith[cf1] ([sm1962[nm=n[sm3[nm); [fy45,1]*[fy75
,2]Capriccio Burlesco [cf1]([sm1968[nm); ~[cf2]Improvisations on an Impromptu of
 Benjamin ~[fy45,1]*[fy75,2]Britten[cf1] ([sm1969[nm); [cf2]Varii Capricci[cf1]
([sm1976[nm, orch. of [cf2][sm5[nm ~Bagatelles[cf1] for guitar);
 [cf2]Prologo e Fantasia [cf1]([sm1981[nm).[ep~[smchorus and orch[nm: [fy45,1]*[
fy75,2]Belshazzar[cf1]'[cf2]s Feast[cf1], bar., ch., ~and orch. ([sm1929[nm=n[sm
31[nm); [fy45,1]*[fy75,2]In Honour of the City of ~London, [cf1]ch. and orch ([s
m1937[nm); [cf2]Coronation Te Deum[cf1], ~[sm2[nm ch., [sm2[nm semi ch., boys' c
h., org., orch., military ~brass ([sm1952[nm=n[sm3[nm); [cf2]Gloria, [cf1]cont.,
 ten., bass, ch., and ~orch. ([sm1960[nm).[ep~[smsong-cycles[nm: [fy45,1]*[fy75,
2]Anon in Love,[cf1] [sm6[nm songs for ten. and ~guitar ([sm1959[nm; for ten. an
d small orch. [sm1971[nm); [cf2]A ~[fy45,1]*[fy75,2]Song for the Lord Mayor's Ta
ble[cf1], [sm6[nm songs for sop. ~and pf. ([sm1962[nm; sop. and orch. [sm1970[nm
).[ep~[smvocal[nm (unacc. except where stated): [cf2]A Litany[cf1] ~([cf2]Drop,
drop, slow tears[cf1]) ([sm1916[nm); [cf2]Make we Joy now ~in this Fest[cf1] ([s
m1931[nm); [cf2]Set me as a Seal upon thine Heart[cf1] ~([sm1938[nm); [cf2]Where
 does the Uttered Music Go?[cf1] ([sm1946[nm); ~[cf2]What Cheer[
cf1]? ([sm1961[nm); [cf2]The Twelve[cf1], with org. ~([sm1965[nm); [cf2]Missa br
evis[cf1], double ch. and organ (in ~[cf2]Gloria[cf1] only); [cf2]All This time[
cf1] ([sm1970[nm); [cf2]Jubilate Deo[cf1], ~with organ ([sm1972[nm);[cf2] Cantic
o del Sole [cf1](Song of the ~Sun[cf1] ([sm1973[nm=n[sm4[nm); [cf2]Magnificat an
d Nunc Dimittis, [cf1]with ~org. ([sm1975[nm).[ep~[smchamber music[nm: Pf. Qt. (
[sm1918[nm=n[sm19[nm; rev. [sm1976[nm); Str. ~Qt. ([sm2[nm movements [sm1919[nm,
 central scherzo added ~[sm1922[nm); [cf2]Toccata[cf1] in A minor, vn. and pf. (
[sm1925[nm); ~Str. Qt. ([sm1946[nm-[sm7[nm; version for str. orch. entitled ~[cf
2]Sonata[cf1] [sm1972[nm); Vn. sonata ([sm1949[nm); [cf2][sm2[nm Pieces[cf1] for
 vn. ~and pf. ([sm1951[nm); [cf2][sm5[nm Bagatelles[cf1], guitar ([sm1971[nm=n[s
m2[nm; ~transcr. for orch. as [cf2]Varii Capricci [cf1][sm1976[nm); ~[cf2]Passac
aglia[cf1], vc. ([sm1980[nm).[ep~[cf1][smsongs[nm: [cf2]The Winds[cf1] ([sm1918[
nm?); [cf2]Tritons[cf1] ([sm1918[nm?); [cf2][sm3[nm Songs[cf1] ~
by E. Sitwell ([sm1930[nm, rev. of songs written in ~[sm1923[nm).[ep~[smpiano[nm
: [cf2]Duets for Children[cf1] (duet [sm1940[nm; orch. as ~[cf2]Music for Childr
en[cf1]).[ep~[smorgan[nm: [cf2][sm3[nm Pieces[cf1] from [cf2]Richard III [cf1]([
sm1955[nm).[ep~[smbrass band[nm: [cf2]The First Shoot[cf1] ([sm1980=n1[nm, re-sc
oring of ~ballet written for revue, [sm1935[nm).[ep~[smfilms[nm: [cf2]As You Lik
e It[cf1] ([sm1936[nm), [cf2]Dreaming Lips[cf1] ([sm1937[nm), ~[cf2]Stolen Life[
cf1] ([sm1938[nm), [cf2]Major Barbara[cf1] ([sm1940[nm), [cf2]Next of ~Kin[cf1]
([sm1941[nm), [cf2]The Foreman Went to France[cf1] ([sm1941[nm), ~[cf2]The First
 of the Few[cf1] ([sm1942[nm), [cf2]Went the Day Well?[cf1] ~([sm1942[nm), [cf2]
Henry V[cf1] ([sm1944[nm), [cf2]Hamlet [cf1]([sm1947[nm), [cf2]Richard ~III[cf1]
 ([sm1955[nm), [cf2]The Battle of Britain[cf1] ([sm1969[nm), [cf2]Three Sisters[
cf1] ~([sm1970[nm).[ep~[smtheatre incid. music[nm: [cf2]The Son of Heaven[cf1] (
L. ~Strachey) ([sm1925[nm), [cf2]The Boy David[cf1] (Barrie) ([s
m1936[nm), ~[cf2]Macbeth[cf1] ([sm1941[nm).[cm~[j1]Waltz [fy75,1](Ger. [cf2]Walz
er[cf1]; Fr. [cf2]Valse[cf1]). Dance in [cf9]3[cf13]=-=-=-=-=-=-=-4[cf1] time ~p
robably deriving from Ger. [cf2]L;auandler[cf1] which came ~into prominence in l
ast quarter of [sm18[nmth cent. both ~among composers and in the ballroom. Where
 ~the latter was concerned, the waltzes of the ~Viennese composers Johann [fy45,
1]*[fy75,1]Strauss I and [fy45,1]*[fy75,1]Lan~~ner were popular throughout Europ
e. Beet[chhoven, ~Schubert, and Hummel wrote waltzes. Weber's ~[fy45,1]*[fy75,2]
Invitation to the Dance [cf1]is in waltz rhythm and is ~the first `sophisticated
' treatment of the waltz. ~Chopin's waltzes are fine examples. In symphonic ~mus
. the [sm2[nmnd movement of Berlioz's [cf2]Symphonie ~fantastique[cf1] and [sm3[
nmrd movement of Tchaikovsky's ~[sm5[nmth sym. are outstanding. Tchaikovsky also
 wrote ~great waltzes in his operas and ballets; and those ~by Johann Strauss II
, Richard Strauss ([cf2]Der ~Rosenkavalier[cf1]), Ravel, and oth
ers are deservedly ~cherished.[cm~[PN776,0,0,L,I0]Waltz, Gustavus[fy75,1] ([cf2]
fl.[cf1] [sm1732[nm=n[sm59[nm). Eng. bass of Ger. ~birth. Sang in Arne's Eng. op
era season at Little ~Haymarket Th., [sm1732[nm. Sang small part in f.p. of ~Han
del's [cf2]Deborah[cf1], [sm1733[nm. Went with Handel to ~Oxford in July [sm1733
[nm, singing in [sm4[nm of his oratorios ~and in anthems. Member of Handel's ope
ra co. ~[sm1733[nm=n[sm6[nm. Rejoined Handel for oratorio season ~[sm1738[nm=n[s
m9[nm, singing title-role in f.p. of [cf2]Saul[cf1], and in ~f.p. of [cf2]Israel
 in Egypt[cf1]. In later part of career sang ~mainly in lighter works by Lampe a
nd Arne. ~Sang in chorus at Foundling Hospital perfs. of ~[cf2]Messiah[cf1] [sm1
759[nm. Story that he was once Handel's ~cook is unverified, as is Handel's alle
ged remark ~in [sm1745[nm that `Gluck knew no more of counterpoint ~than my cook
 Waltz'.[cm~W;aualzel, Camillo[fy75,1] (pseudonym F. Zell) ([cf2]b[cf1] Magde~~b
urg, [sm1829[nm; [cf2]d[cf1] Vienna, [sm1895[nm). Ger. librettis
t. Trans. ~Fr. comedies. Wrote texts, often collab. Richard ~Gen;aaee, for opere
ttas by Supp;aae, Johann Strauss II, ~Mill;auocker, and others.[cm~Wand, G;auunt
er [fy75,1]([cf2]b[cf1] Elberfeld, [sm1912[nm). Ger. conductor ~and composer. St
udied Cologne Cons. under ~Jarnach (comp.) and Paul Baumgartner (pf.). Held ~con
d. posts at Wuppertal and Detmold. Cond., ~Cologne Opera [sm1938[nm=n[sm44[nm, S
alzburg Mozarteum ~Orch. [sm1944[nm=n[sm5[nm. Mus. dir. Cologne Opera [sm1945[nm
=n[sm8[nm, ~cond. Cologne G;auurzenich concerts [sm1946[nm=n[sm74[nm. ~London d;
aaebut [sm1951[nm (LSO). Cond. Berne S.O. from ~[sm1974[nm. Prin. cond. North Ge
rman Radio S.O. ~(Hamburg) from [sm1982[nm. Comps. incl. cantata, ~ballet, and s
ongs.[cm~`Wanderer' Fantasy.[fy75,1] Nickname for Schubert's ~Fantasia in C for
pf. ([sm1822[nm, D[sm760[nm), so called ~because the adagio section, or movement
, is ~variations on a passage from his song [cf2]Der ~Wanderer[cf1] ([sm1816[nm,
 D[sm493[nm). Liszt arranged it for pf. ~and orch. some time bef
ore [sm1852[nm and for [sm2[nm pfs. ~after [sm1851[nm.[cm~Wandering Scholar, The
. [fy75,1]Chamber opera in [sm1[nm ~act, Op. [sm50[nm, by Holst to lib. by Cliff
ord Bax ~founded on incident in Helen Waddell's [cf2]The ~Wandering Scholars[cf1
] ([sm1927[nm). Comp. [sm1929[nm=n[sm30[nm. Prod. ~Liverpool [sm1934[nm.[cm~Wand
 of Youth, The.[fy75,1] [sm2[nm orch. suites by Elgar, ~Opp. [sm1[nma and [sm1[n
mb, arr. and orch. in [sm1907[nm and [sm1908[nm ~respectively from material writ
ten by Elgar as a ~child of [sm12[nm for a family play. Some themes used ~again
in mus. for [cf2]The [fy45,1]*[fy75,2]Starlight Express.[cm~Wangenheim, Volker [
fy75,1]([cf2]b[cf1] Berlin, [sm1928[nm). Ger. ~cond. and composer. Studied Berli
n Hochschule ~f;auur Musik. Chief cond. Berlin Mozart Orch. ~[sm1950[nm=n[sm9[nm
, mus. dir., city of Bonn from [sm1957[nm (gen. ~mus. dir. from [sm1963[nm), chi
ef cond. Ger. Nat. Youth ~Orch. from [sm1969[nm. Cond., Bournemouth Sinfon~~iett
a [sm1977[nm. Prof. of cond., Cologne Hochschule ~f;auur Musik f
rom [sm1972[nm. Works incl. sym.[cm~Wanhal, Johann Baptist[fy75,1] (Vanhal, Jan
K;akrtitel) ([cf2]b[cf1] ~Nov;aae-Nechanise, Bohemia, [sm1739[nm; [cf2]d[cf1] Vi
enna, ~[sm1813[nm). Bohemian composer, violinist, and org. ~Pupil of [fy45,1]*[f
y75,1]Dittersdorf. Became teacher in Vienna ~in [sm1760[nms, pupils incl. Pleyel
. Was in Italy [sm1769=n~71[nm. After spell in Hungary returned to Vienna ~[sm17
81[nm, playing vc. in quartet with Haydn, Ditters~~dorf, and Mozart. Many of his
 works were prod. ~by Haydn at Esterh;aaaza. Wrote over [sm70[nm syms., [sm100[n
m ~str. qts., [sm60[nm masses, concs., and many chamber ~works.[cm~War and Peace
[fy75,1] ([cf2]Voyna i Mir[cf1]). Opera in prol. and ~[sm13[nm scenes by Prokofi
ev, Op. [sm91[nm, to lib. by ~composer and Mira Mendelson based on Tolstoy's ~no
vel ([sm1869[nm). Comp. [sm1941[nm=n[sm2[nm, [sm1946[nm=n[sm7[nm, [sm1948[nm=n[s
m53[nm. ~F.p. (cut) concert version Moscow [sm1945[nm. First ~stage prod. (sc. [
sm1[nm=n[sm8[nm only) Leningrad [sm1946[nm; [sm2[nmnd ~version [
sm11[nm scenes, Leningrad [sm1955[nm; Florence ~[sm1953[nm, Moscow [sm1957[nm, L
ondon [sm1972[nm, Boston [sm1974[nm.[cm~Ward, David[fy75,1] ([cf2]b[cf1] Dumbart
on, [sm1922[nm; [cf2]d[cf1] Dunedin, ~N.Z., [sm1983[nm). Scottish bass. Studied
RCM and with ~[fy45,1]*[fy75,1]Hotter. SW ch. [sm1952[nm. Sang Count Walter in ~
Verdi's [cf2]Luisa Miller[cf1] SW [sm1953[nm. Prin. bass, SW ~[sm1952[nm=n[sm9[n
m, CG from [sm1960[nm. Bayreuth Fest. [sm1960[nm=n[sm2[nm. ~D;aaebut NY Met. [sm
1963[nm. Many appearances as Wotan ~with Scottish Opera, with CG in the [sm1964[
nm [cf2]Ring[cf1], ~and in [sm6[nm [cf2]Ring[cf1] cycles at Buenos Aires, [sm196
7[nm. The ~nobility and dignity of his performance were ~impressive. Also outsta
nding concert singer. ~C.B.E. [sm1972[nm.[cm~Ward, John[fy75,1] ([cf2]b[cf1] Can
terbury, [sm1571[nm; [cf2]d[cf1] London, ~[sm1638[nm). Eng. composer. Wrote set
of madrigals ~[sm1613[nm, fantasias for viols, pieces for virginals, ~services,
etc.[cm~Ward, Robert[fy75,1] ([cf2]b[cf1] Cleveland, [sm1917[nm)
. Amer. com~~poser and cond. Studied Eastman Sch. of Mus. ~with [fy45,1]*[fy75,1
]Hanson and Juilliard Sch., later with ~[fy45,1]*[fy75,1]Copland at Berkshire Mu
s. Center. Taught at ~Juilliard Sch. [sm1946[nm=n[sm56[nm and Columbia Univ. [sm
1946[nm=n~[sm8[nm. Managing ed. Galaxy Music (Publishers) [sm1956[nm=n~[sm66[nm.
 Won Pulitzer Prize [sm1962[nm with opera [cf2]The ~Crucible[cf1]. Pres., N. Car
olina Sch. of Arts, [sm1967[nm=n[sm75[nm. ~Works incl. operas [cf2]He Who Gets S
lapped[cf1] ([sm1956[nm) ~and [cf2]The Crucible[cf1], [sm5[nm syms., pf. conc.,
[cf2]Yankee ~Overture[cf1], choral mus., and songs.[cm~Warfield, William [fy75,1
]([cf2]b[cf1] Helena, Arkansas, [sm1920[nm). ~Amer. bar. Studied Eastman Sch. of
 Mus. Sang in ~revues. Recital d;aaebut NY [sm1950[nm. Sang Porgy in ~European t
our of Gershwin's [cf2]Porgy and Bess[cf1] with ~wife, Leontyne [fy45,1]*[fy75,1
]Price, as Bess, and later with NY ~City Opera and in Vienna.[cm~Warlock, Peter[
fy75,1] (really Heseltine, Philip) ([cf2]b[cf1] ~London, [sm1894
[nm; [cf2]d[cf1] London, [sm1930[nm). Eng. composer, ~critic, and author. Pubd.
his mus. under pseu~~donym Peter Warlock. Studied mus. at Eton, ~then helped by
van [fy45,1]*[fy75,1]Dieren and Delius. Founded ~and co-ed. periodical [cf2]The
Sackbut[cf1] [sm1920[nm and wrote ~book on Delius [sm1923[nm. Friend of Cecil Gr
ay, E. J. ~Moeran, and Constant Lambert. Edited much ~[sm16[nmth and [sm17[nmth
cent. music in collab. with ~[fy45,1]*[fy75,1]Mangeot. His songs alternate betwe
en lyricism ~of Delius and roistering spirit reminiscent of first ~Elizabethan a
ge. His personality veered between ~[PN777,0,0,R,I0]extrovert, heavy-drinking jo
viality and neurotic ~introspection. Eventually (it may be presumed, ~despite th
e open verdict at the inquest) took his ~own life. Sensitive critic and writer.
His mus., ~especially his songs and part-songs, is of high ~merit. Prin. works:[
xm[cm~[j2][smorch[nm: [fy75,2]An Old Song[cf1] ([sm1917[nm); [cf2]Serenade for D
elius on ~his [sm60[nmth birthday[cf1], str. ([sm1921[nm=n[sm2[n
m); [fy45,1]*[fy75,2]Capriol[cf1], suite ~for str. ([sm1926[nm: for full orch. [
sm1928[nm).[ep~[smchorus and orch[nm: [cf2][sm3[nm Carols[cf1] ([sm1923[nm).[ep~
[smvoice and ensemble[nm: [cf2]The [fy45,1]*[fy75,2]Curlew[cf1], song-cycle, ~te
n., fl., cor anglais, str. qt. ([sm1920[nm=n[sm1[nm, rev. [sm1922[nm); ~[cf2]Cor
pus Christi,[cf1] sop., bar., str. qt. ([sm1919[nm=n[sm23[nm); ~[cf2]Sorrow's Lu
llaby[cf1], sop., bar., str. qt. ([sm1927[nm).[ep~[smchorus and keyboard[nm: [fy
45,1]*[fy75,2]Sociable Songs[cf1], male vv., ~pf., ([sm1924[nm=n[sm5[nm); [cf2]W
hat Cheer? Good cheer[cf1]!; [cf2]Where ~Riches is everlastingly[cf1], ch., org.
 ([sm1927[nm); [cf2]The bailey ~beareth the bell away[cf1], [sm2[nm vv., pf. ([s
m1918[nm=n[sm28[nm); [cf2]Lullaby[cf1], ~women's trio, pf. ([sm1918[nm=n[sm28[nm
); [cf2]The First Mercy[cf1], [sm3[nm ~vv. and pf. ([sm1927[nm=n[sm8[nm); [cf2]T
he Five Lesser Joys of Mary, ~[cf1]ch., org. ([sm1929[nm).[ep~[smunacc. voices[n
m: [cf2]Cornish Christmas Carol[cf1] ([sm1918[nm); [cf2]As ~dewe
 in Aprylle[cf1] ([sm1918[nm); [cf2]Corpus Christi[cf1], cont., ten., ~ch. ([sm1
919[nm); [cf2]The Full Heart [cf1]([sm1917[nm=n[sm22[nm); [cf2][sm3[nm Dirges of
 ~Webster[cf1] ([sm1923[nm=n[sm5[nm, No. [sm3[nm is [cf2]The Shrouding of the ~D
uchess of Malfi[cf1], male vv.); [cf2]The Spring of the Year[cf1] ~([sm1925[nm);
 [cf2]Bethlehem Down[cf1] ([sm1927[nm).[ep~[smsolo songs[nm: [cf2][sm3[nm Saudad
es[cf1] ([sm1916[nm=n[sm17[nm), [cf2]The bailey ~beareth the bell away[cf1] ([sm
1918[nm), [cf2]There is a lady[cf1] ([sm1919[nm), ~[cf2]Balulalow[cf1] ([sm1919[
nm), [cf2]Captain Stratton's Fancy [cf1]([sm1920[nm), ~[cf2]Mr Belloc's Fancy[cf
1] ([sm1921[nm=n[sm30[nm), [cf2]Piggesnie[cf1] ([sm1922[nm), [cf2][sm6[nm ~Peter
isms[cf1], sets [sm1[nm and [sm2[nm ([sm1922[nm), [cf2]Sleep[cf1] ([sm1922[nm),
[cf2]Tyrley ~Tyrlow[cf1] ([sm1922[nm), [cf2]Milkmaids [cf1]([sm1923[nm), [cf2]Ca
ndlelight[cf1] ([sm12[nm ~nursery rhymes) [cf1]([sm1923[nm), [cf2]Peter Warlock'
s Fancy[cf1] ~([sm1924[nm), [cf2]Twelve Oxen[cf1] ([sm1924[nm),
[cf2]Yarmouth Fair[cf1] ([sm1924[nm), ~[cf2][sm3[nm Belloc Songs[cf1] ([sm1926[n
m), [cf2]Sigh no more, ladies [cf1]([sm1927[nm), ~[cf2]Passing by [cf1]([sm1928[
nm), [cf2]The Passionate Shepherd[cf1] ([sm1928[nm), ~[cf2]The Cricketers of Ham
bledon[cf1] ([sm1928[nm), [cf2]The Frostbound ~Wood[cf1] ([sm1929[nm), [cf2]Beth
lehem Down[cf1] ([sm1927[nm=n[sm30[nm), [cf2]The Fox[cf1] ~([sm1930[nm), and oth
ers.[cm~[ol0][ep~[xp[u20]~~[te~







[do3][j99]~~~~~~153842_W004[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm004[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm29[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm84[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ep~[ep~[ep~[ap[j1]Warner, H.
 Waldo[fy75,1] ([cf2]b[cf1] Northampton, [sm1874[nm; [cf2]d[cf1] ~London, [sm194
5[nm). Eng. violinist, violist, and com~~poser. Studied GSM from [sm1888[nm. Pro
f. of va., GSM, ~[sm1893[nm=n[sm1920[nm. Violist of London Str. Qt. from its ~fo
undation [sm1907[nm until [sm1928[nm. Prin. va. leading ~London orchs. Wrote ope
ra and over [sm100[nm songs, ~but best mus. is for chamber groups, e.g. pf. trio
 ~(won [fy45,1]*[fy75,1]Cobbett Prize), str. qt., va. sonata, etc.[cm~Warner, Sy
lvia Townsend [fy75,1]([cf2]b[cf1] London, [sm1893[nm; [cf2]d[cf1] ~Maiden Newto
n, Dorset, [sm1978[nm). Eng. novelist, ~musicologist, and composer. Specialist i
n [sm16[nmth-~cent. notation and Tudor church mus. One of ~eds. of Carnegie Trus
t coll. of Tudor church mus. ~Wrote chamber mus., song-cycle, et
c.[cm~Warrack, Guy[fy75,1] (Douglas Hamilton) ([cf2]b[cf1] Edin~~burgh, [sm1900[
nm). Scottish cond. and composer. ~Studied Oxford Univ. and RCM. On staff RCM ~[
sm1925[nm=n[sm35[nm, conducting class at RCM from [sm1945[nm. ~Cond. BBC Scottis
h Orch. [sm1935[nm=n[sm45[nm, SW Ballet ~[sm1948[nm. Wrote film mus. and works f
or orch., incl. ~[cf2]Variations[cf1] ([sm1924[nm) and sym. ([sm1932[nm).[cm~War
rack, John [fy75,1](Hamilton) ([cf2]b[cf1] London, [sm1928[nm). ~Eng. critic and
 author, son of Guy [fy45,1]*[fy75,1]Warrack. ~Studied ob. at RCM. Mus. critic [
cf2]Daily Telegraph[cf1] ~[sm1954[nm=n[sm61[nm, [cf2]Sunday Telegraph[cf1] [sm19
61[nm=n[sm72[nm. Art dir. ~Leeds Fest. from [sm1978[nm. Author of books on Weber
 ~and Tchaikovsky. Co-ed. [cf2]Concise Oxford Dictionary ~of Opera[cf1] ([sm1964
[nm, [sm2[nmnd edn. [sm1979[nm).[cm~Warren [fy75,1](orig. Warenoff), [fy65][cf3]
Leonard[fy75,1] ([cf2]b[cf1] NY, [sm1911[nm; ~[cf2]d[cf1] NY, [sm1960[nm). Amer.
 bar. of Russ. parentage. ~Studied NY and Milan. Won NY Met. Aud
itions ~of Air [sm1938[nm. Opera d;aaebut NY Met. [sm1939[nm as Paolo ~in Verdi'
s [cf2]Simone Boccanegra[cf1] (though he had sung ~excerpts from operas there in
 [sm1938[nm). Became ~leading bar. at Met. and elsewhere in such roles ~as Iago
and Rigoletto. Died on stage of NY Met. ~during perf. of Verdi's [cf2]La forza d
el destino.[cf1][cm~War Requiem. [fy75,1]Choral work, Op. [sm66[nm, by Britten,
~interpolating [sm9[nm poems by Wilfred Owen ([sm1893[nm=n~[sm1918[nm) into litu
rgical Mass. Comp. [sm1961[nm and f.p. ~in new Coventry Cath. May [sm1962[nm. So
p., ten., and ~bar. soloists, ch., boys' ch., and orch. Owen poems ~are acc. by
chamber orch., sometimes, but not ~necessarily, under [sm2[nmnd cond. F.p. was c
ond. by ~Meredith Davies, with Britten cond. of chamber ~orch. F. London p., Wes
tminster Abbey, Nov. ~[sm1962[nm.[cm~Wasps, The.[fy75,1]  Incidental mus. for te
n. and bar., ~male ch., and orch. comp. by Vaughan Williams ~for Cambridge Univ.
 prod., [sm1909[nm, of Aristo~~phanes's play. Orch. suite of [sm
5[nm movements ([sm1912[nm), ~incl. frequently played ov.[cm~Wassail.[fy75,1] Ol
d Eng. term for jovial and convivial ~song which often occurs in Christmas carol
s.[xm[cm~[j1]Watanabe, Akeo[fy75,1] ([cf2]b[cf1] Tokyo, [sm1919[nm). Japanese co
nd. ~Studied Tokyo Acad. of Mus. and at Juilliard Sch. ~Cond., Tokyo P.O. [sm194
8[nm=n[sm54[nm; founder and cond. ~Japan P.-S.O. [sm1956[nm=n[sm66[nm; mus. dir.
 Kyoto S.O. from ~[sm1970[nm; prof. of cond. Tokyo Univ. of Arts [sm1962[nm=n[sm
7[nm. ~Guest cond. of European and Amer. orchs.[cm~Water Carrier, The[fy75,1] (C
herubini). See [cf2]Deux ~Journ;aaees, Les.[cm~Waterhouse, William[fy75,1] ([cf2
]b[cf1] London, [sm1931[nm). Eng. ~bassoonist. Studied RCM under A. Camden, then
 ~joining Philharmonia Orch. In CG orch. [sm1953[nm=n[sm5[nm, ~prin. bn. Italian
-Swiss Radio Orch., Lugano, ~[sm1955[nm=n[sm8[nm. Prin. bn. LSO [sm1958[nm=n[sm6
4[nm, BBC S.O. from ~[sm1964[nm. Joined Melos Ensemble [sm1959[nm. Prof. of bn.
~RMCM [sm1966[nm=n[sm72[nm, later at RNCM.[cm~ Waterman, Fanny[f
y75,1] ([cf2]b[cf1] Leeds, [sm1920[nm). Eng. pf. ~teacher. RCM [sm1940[nm=n[sm3[
nm. Founder and joint chair~~man, Leeds Int. Pf. Competition from [sm1963[nm. ~O
.B.E. [sm1970[nm.[cm~Water Music. [fy75,1]Instr. suite by Handel, the origin ~of
 which is unknown. The legend that Handel ~wrote it for a royal water party in [
sm1715[nm to restore ~himself to favour with King George I is attractive ~but un
substantiated. (The King had been Elector ~of Hanover when Handel had effectivel
y deserted ~[PN778,0,0,L,I0]his post as Kapellmeister at Hanover in order to ~vi
sit Eng., where he settled.) However, it is ~documented that Handel provided mus
. for a ~royal journey up the Thames on [sm17[nm July [sm1717[nm. ~No complete a
utograph score of the mus. exists ~and contemporary edns. differ in several resp
ects. ~Some of the movements in autograph exist in ~earlier versions, so dating
the mus. is impossible. ~About [sm20[nm numbers were written, scored for tpts.,
~hns., obs., bns., fls., recorders, and str. Best-known ~of mode
rn orchestrations is that by [fy45,1]*[fy75,1]Harty.[cm~Water Music. [fy75,1]Wor
k by [fy45,1]*[fy75,1]Cage ([sm1952[nm) in which ~pianist has to make the visual
 element a major ~feature of the perf., being provided with radio, ~whistles, wa
ter containers, a pack of cards, and a ~score mounted like a poster.[cm~Water Or
gan. [fy75,1]See [cf2]Hydraulus.[cf1][cm~Watkins, Michael Blake [fy75,1]([cf2]b[
cf1] Ilford, [sm1948[nm). Eng. ~composer. Studied with Lutyens and Richard ~Rodn
ey Bennett; made special study of guitar ~and lute with Michael Jessett. His Dou
ble Conc. ~won Menuhin comp. prize [sm1975[nm. Works incl.:[xm[cm~[j2][smorch[nm
: [cf2]Proem [cf1]([sm1972[nm); Double Conc. ([cf2]After Psallein[cf1]), ~ob., g
uitar, orch. ([sm1972[nm); [cf2]Concertante[cf1], [sm11[nm players ~([sm1973[nm)
; [fy75,2]Clouds and Eclipses[cf1], guitar, str. ([sm1973[nm); ~hn. conc., str.
and opt. hp. ([sm1974[nm); [cf2]Dreams[cf1] ([sm1975[nm); ~vn. conc. ([sm1977[nm
); [cf2];aaetalage[cf1] ([sm1979[nm); [cf2]Sinfonietta[cf1] ~([s
m1982[nm).[ep~[smens[nm: [cf2]Psallein[cf1], guitar with guitar ens. of [sm6[nm
players, ~clavichord, perc. ([sm1971[nm); [cf2]The Magic Shadow-Show[cf1], ~vc.
and ens. ([sm1980[nm).[ep~[smvoice[nm([sms[nm) [smand instr[nm: [cf2]Those Danci
ng Days Are Gone[cf1], ~ten., vn., cl., guitar ([sm1969[nm); [cf2]Invocation[cf1
], ten., lute ~([sm1972[nm); [cf2]Before the Beginning of Years[cf1], sop., ten.
, pf. ~([sm1972[nm);[cf2] Youth's Dream and Time's Truth[cf1], ten., tpt., ~harp
, str. ([sm1973[nm); [cf2]Solarium[cf1], school ch., orch. ~([sm1974[nm); [cf2]A
ll That We Read in Their Smiles[cf1] ([sm5[nm Songs), ~ten., hn., pf. ([sm1977[n
m); [cf2]The Spirit of the Universe[cf1], ~sop. and ens. ([sm1978[nm); [cf2]The
Bird of Time[cf1], ten., ob. ~([sm1979[nm); [cf2]The Spirit of Night[cf1], ten.,
 guitar ([sm1980[nm).[ep~[smchamber music[nm: [cf2]Synthesis[cf1], pf. ([sm1969[
nm); [cf2]Cavatina[cf1], vc. ~([sm1972[nm); guitar qt. ([sm4[nm guitars) ([sm197
2[nm); [cf2]Solus[cf1], guitar ~([sm1975[nm); [cf2]The Wings of
Night[cf1], vn. ([sm1975[nm); [cf2]The Spirit ~of the Earth[cf1], guitar ([sm197
8[nm); str. qt. ([sm1979[nm); quintet, ~cl., vn., va., vc., pf. ([sm1981[nm); ob
. qt. ([sm1984[nm).[ep~[smbrass[nm: [cf2]Aubade[cf1], brass band ([sm1973[nm); [
cf2]From the High ~Towers[cf1], [sm2[nm tpt., hn., ten. tb., tuba ([sm1976[nm).[
cm~[j1]Watson, Henry[fy75,1] ([cf2]b[cf1] Burnley, [sm1846[nm; [cf2]d[cf1] Salfo
rd, ~[sm1911[nm). Eng. organist, teacher, composer, and ~collector. Studied Camb
ridge Univ. Organist, ~Congregational Church, Withington, Manches~~ter. Founded
and cond. Manchester Vocal Union. ~On orig. teaching staff of RMCM [sm1893[nm as
 ~choirmaster. Collected over [sm5[nm,[sm000[nm mus. books ~and scores with inte
ntion of founding free ~reference library. Gave them in [sm1899[nm to Man~~[chch
ester Corporation and they form nucleus of ~Henry Watson Mus. Library, part of M
anchester ~Central Reference Library. Gave coll. of rare instr. ~to RMCM (now at
 RNCM).[cm~Watson, Sydney[fy75,1] ([cf2]b[cf1] Denton, Mancheste
r, [sm1903[nm). ~Eng. cond., organist, pianist, and composer. ~Studied Oxford Un
iv. and RCM. Organist, New ~College, Oxford, [sm1933[nm=n[sm8[nm. Mus. dir. Winc
hester ~College, [sm1938[nm=n[sm46[nm, Eton College, [sm1946[nm=n[sm55[nm. Lec~~
turer in mus. Christ Church, Oxford, [sm1955[nm=n[sm70[nm. ~Cond. f.p. of Walton
's [cf2]The Twelve[cf1] at Christ Church ~Cath., [sm1965[nm. Prof. of org. RCM [
sm1946[nm=n[sm71[nm. Cond. ~Oxford Orch. Soc., Petersfield Fest. [sm1946[nm=n[sm
64[nm, ~Oxford Bach Choir [sm1955[nm=n[sm70[nm. O.B.E. [sm1970[nm.[cm~Watts, And
r;aae [fy75,1]([cf2]b[cf1] Nuremberg, [sm1946[nm). Amer. ~pianist. Studied Peabo
dy Institute, Baltimore, ~with Fleischer. D;aaebut [sm1955[nm with Philadelphia
~Orch. Soloist with NY P.O. cond. Bernstein [sm1963[nm. ~London d;aaebut [sm1966
[nm. World tours after [sm1967[nm. ~Superb player of Liszt and Brahms.[cm~Watts,
 Helen[fy75,1] (Josephine) ([cf2]b[cf1] Milford Haven, ~[sm1927[nm). Welsh cont.
 Joined Glyndebourne and ~BBC choruses. Toured USSR with EOG [sm
1964[nm. ~D;aaebut USA [sm1967[nm. Sings in opera but mainly in ~oratorio, e.g.
Elgar, Bach, Beethoven, Handel. ~C.B.E. [sm1978[nm.[cm~Wat Tyler. [fy75,1]Opera
in [sm3[nm acts by Alan Bush to lib. ~by Nancy Bush. Awarded prize in Fest. of B
ritain ~[sm1951[nm but not prod. in Eng. until [sm1974[nm. F.p. ~Leipzig [sm1953
[nm.[cm~Wayenberg, Daniel [fy75,1]([cf2]b[cf1] Paris, [sm1929[nm). Dutch pianist
 ~and composer. Studied pf. with Margu;aaerite Long. ~Played in private houses [
sm1939[nm=n[sm46[nm; public d;aaebut ~Paris [sm1949[nm. Amer. d;aaebut, NY [sm19
53[nm. Has comp. ~ballet, sym., and conc. for [sm3[nm pf.[cm~Wayte.[fy75,1] See
[cf2]Wait[cf1]. Also an old name for the ~hautboy.[cm~Weber, [fy75,1](Maria) [fy
65,3]Aloysia [fy75,1](Louise) ([cf2]b[cf1] Zell or ~Mannheim, [cf2]c[cf1].[sm176
0[nm; [cf2]d[cf1] Salzburg, [sm1839[nm). Austrian ~soprano. Had singing lessons
from Mozart, [sm1777[nm=n~[sm8[nm, in Mannheim. He fell in love with her and ~to
ok her, with her father (also a singer) on concert ~tours. Later
 that year, in Munich, she rejected ~him. Vienna d;aaebut [sm1779[nm, remaining
there until ~[sm1792[nm, having married actor Joseph Lange, in ~[sm1780[nm. Moza
rt wrote several arias for her and the ~part of Mme. Herz in [cf2]Der Schauspiel
direktor[cf1]. Sang ~Donna Anna in f. Vienna p. of [cf2]Don Giovanni[cf1], ~[sm1
788[nm. Her sister Constanze ([sm1762[nm=n[sm1842[nm) became ~Mozart's wife in [
sm1782[nm.[cm~Weber, Ben[fy75,1] ([cf2]b[cf1] St Louis, [sm1916[nm; [cf2]d[cf1]
NY, [sm1979[nm). ~Amer. composer. Abandoned medicine for mus. ~Studied Chicago,
and encouraged by Schoenberg. ~On staff NY College of Mus. from [sm1966[nm. Work
s ~incl. [cf2]Symphony on Poems of William Blake [cf1]for bar. ~and chamber ens.
, vn. conc., pf. conc., chamber ~mus., songs, etc. One of first Amer. composers
to ~use [sm12[nm-note technique, but generally with strong ~tonal associations.[
cm~Weber, Carl Maria[fy75,1] (Friedrich Ernst) [fy65][cf3]von [fy75,1]([cf2]b[cf
1] ~Eutin in Oldenburg, [sm1786[nm; [cf2]d[cf1] London, [sm1826[
nm). Ger. ~composer, cond., and pianist. Son of town ~musician and theatrical im
presario and his [sm2[nmnd ~[PN779,0,0,R,I0]wife, a singer and actress. Taught a
s boy by ~Michael [fy45,1]*[fy75,1]Haydn in Salzburg, then by court ~organist, K
alcher, in Munich. By [sm1800[nm had already ~composed opera, mass, and pf. work
s. Went to ~Vienna in [sm1803[nm as pupil of [fy45,1]*[fy75,1]Vogler, through ~w
hose influence became Kapellmeister at Breslau ~municipal th. [sm1804[nm=n[sm6[n
m. Worked in Karlsruhe ~[sm1806[nm=n[sm7[nm, where he wrote [sm2[nm syms. Court
secretarial ~post Stuttgart [sm1807[nm=n[sm10[nm, where he was encouraged ~by Ka
pellmeister, [fy45,1]*[fy75,1]Danzi. While there wrote ~incidental mus. to [fy75
,2]Turandot, [cf1]opera[cf2] Silvana[cf1], and ~other works. Banished from Stutt
gart because of ~suspected embezzlement, went to Mannheim, ~where he was befrien
ded by Gottfried [fy45,1]*[fy75,1]Weber ~(no relation), then to Darmstadt, where
 he met ~Vogler again and took lessons from him in ~company with
 [fy45,1]*[fy75,1]Meyerbeer. At this time wrote ~comic opera [fy75,2]Abu Hassan[
cf1], pf. conc., and vn. sonatas. ~Travelled to Munich [sm1811[nm, where he wrot
e bn. ~conc. for court wind-player, and to Prague, where ~his pf. improvisations
 were acclaimed. Appointed ~dir., Prague Opera, [sm1813[nm=n[sm16[nm. Court Kape
llmeis~~ter, Dresden, [sm1817[nm, with commission to est. Ger. ~opera alongside
It. variety. Wrote Mass in E;Yh ~[sm1818[nm and worked on opera [cf2]Der Freisch
;auutz[cf1]. Work ~continually frustrated by opposition from It. ~opera dir., Mo
rlacchi. Weber rehearsed operas ~exhaustively, making himself responsible for ~e
very aspect of prods., and, in his operatic theories, ~anticipating those of his
 disciple Wagner. [cf2]Frei~~[chsch;auutz[cf1] was prod. in Berlin, to tumultuou
s acclaim, ~in [sm1821[nm and was taken up throughout Ger., ~making Weber the mo
st popular composer of the ~day. At the same time, he was at work on a comic ~op
era [cf2] Die drei Pintos[cf1], which he never finished and ~whi
ch was subsequently prepared for perf. by ~Mahler. He interrupted work on it to
compose ~an opera commissioned by the Vienna K;auarntner~~thor Th. for [sm1822[n
m=n[sm3[nm season. This was [fy75,2]Euryanthe[cf1], ~prod. Vienna, Oct. [sm1823[
nm. While in Vienna, Weber ~met Beethoven, with whom he had been in ~corresponde
nce. By now, Weber's health was ~seriously undermined by tuberculosis. In [sm182
4[nm, ~the manager of CG, Kemble, commissioned an ~opera from Weber, who agreed
to set Planch;aae's ~Eng. lib. [cf2]Oberon. [cf1]Went to London [sm1826[nm, stay
ing ~with Sir George [fy45,1]*[fy75,1]Smart in Great Portland St., ~supervising
rehearsals at CG and conducting ~several concerts. After [cf2]Oberon [cf1]premi;
agere, became ~increasingly ill and died [sm7[nm weeks later in Smart's ~house.
Body taken to Moorfields Chapel. In [sm1844[nm, ~on instigation of the Dresden K
apellmeister ~Richard Wagner, coffin was shipped back to Ger. ~and buried in Dre
sden Catholic cemetery on [sm15[nm ~Dec. after funeral oration b
y Wagner and the ~perf. of Wagner's [cf2]Hebt an den Sang [cf1]([cf2]An Webers ~
Grabe[cf1]) for unacc. male ch.[ep~^Weber's place in history of Ger. mus. is tha
t of a ~liberator, setting it free from It. influences and ~showing how the shap
e of folk tunes could be ~adapted for operatic and other purposes. Mar~~schner a
nd Lortzing were his immediate succes~~sors, Wagner his culmination. In his inst
r. and ~vocal works, his virtuosity, startling effects ~achieved without use of
unusual instrs., and ~formal and technical innovations stimulated ~Chopin, Liszt
, Berlioz, and in due course Mahler. ~According to Debussy, the sound of the Web
er ~orch. was achieved by `scrutiny of the soul of each ~instrument'. Though han
dicapped by the weakest ~of libs. (by the eccentric poetess Helmina von ~Ch;aaez
y), [cf2]Euryanthe[cf1] contains mus. of outstanding ~subtlety and strength; whi
le the powerful atmos~~pheric spell of the `nature' mus. in [cf2]Freisch;auutz[c
f1] is ~created by the poetic establishment of a mood. ~For some
 time Weber was regarded as more ~important as an influence on others than for h
is ~own achievement. Today his rightful place as a ~master is acknowledged. Prin
. works:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Peter Schmoll und seine Nachba
rn[cf1] ([sm1801[nm=n~[sm2[nm); [cf2]Silvana[cf1] ([sm1808[nm=n[sm10[nm); [fy45,
1]*[fy75,2]Abu Hassan[cf1] ([sm1810[nm=n[sm11[nm); ~[cf2]Der [fy45,1]*[fy75,2]Fr
eisch;auutz[cf1] ([sm1817[nm=n[sm21[nm); [fy45,1]*[fy75,2]Euryanthe[cf1] ([sm182
2[nm=n~[sm3[nm); [cf2]Die [fy45,1]*[fy75,2]drei Pintos[cf1] (begun [sm1820[nm);
[fy45,1]*[fy75,2]Oberon[cf1] ([sm1825[nm=n~[sm6[nm).[ep~[smtheatre music[nm: Ov.
 and [sm6[nm nos. for [fy45,1]*[fy75,2]Turandot[cf1] ~([sm1809[nm); Ov. and [sm1
1[nm nos. for [fy45,1]*[fy75,2]Preciosa[cf1] ([sm1820[nm); and ~many other items
 for plays.[ep~[smchurch music[nm: Mass in E;Yh ([cf2]Grosse Jugendmesse[cf1]) ~
([sm1802[nm); Mass in E;Yh ([sm1818[nm); Mass in G ([sm1819[nm).[ep~[smchoral[nm
: [cf2]Der erste Ton[cf1], reciter, ch., orch. ([sm1808[nm); ~[c
f2]Kampf und Sieg[cf1], SATB soloists, ch., orch. ([sm1815[nm); ~[cf2]Jubel-Kant
ate[cf1], SATB soloists, ch., orch. ([sm1818[nm).[ep~[smorch[nm: Syms: No. [sm1[
nm in C ([sm1807[nm), No. [sm2[nm in C ([sm1807[nm); ~Ov., [cf2]The [fy45,1]*[fy
75,2]Ruler of the Spirits [cf1]([cf2]Der Beherrscher der ~Geister[cf1]) ([sm1811
[nm); [cf2]Jubel-Ouvert;auure[cf1] (Jubilee Overture) ~([sm1818[nm); [cf2]Andant
e und Rondo Ungarese[cf1], va. and ~orch. ([sm1809[nm, rev. for bn. [sm1813[nm);
 Pf. Concs: No. [sm1[nm ~in C ([sm1810[nm), No. [sm2[nm in E;Yh ([sm1812[nm), [c
f2]Konzertst;auuck [cf1]in ~F minor, pf. ([sm1821[nm); cl. concertino ([sm1811[n
m); Cl. ~concs.: No. [sm1[nm in F minor ([sm1811[nm), No. [sm2[nm in E;Yh ~([sm1
811[nm); Bn. conc. in F ([sm1811[nm, rev. [sm1822[nm); horn ~concertino ([sm1815
[nm); [cf2]Romanza Siciliana[cf1], fl. and ~orch. ([sm1805[nm); [cf2]Grand Potpo
urri[cf1], vc. and orch. ~([sm1808[nm).[ep~[smchamber music[nm: Pf. Qt. ([sm1809
[nm); cl. quintet ([sm1815[nm); ~Trio, fl., vc., pf. ([sm1819[nm
); [cf2][sm6[nm Progressive Sonatas[cf1], vn. ~and pf. ([sm1810[nm); [cf2]Grand
Duo Concertant[cf1] in E;Yh, pf. ~and cl. ([sm1816[nm); [cf2]Divertimento[cf1],
guitar and pf. ~([sm1816[nm).[ep~[smpiano[nm: [cf2][sm6[nm Variations on Origina
l Theme[cf1] ([sm1800[nm); [cf2][sm12[nm ~Allemandes[cf1] ([sm1801[nm); [cf2];aa
Ecossaises[cf1] ([sm1802[nm); [cf2][sm7[nm Variations ~on Original Theme[cf1] ([
sm1808[nm); [cf2]Momento capriccioso[cf1] ~([sm1808[nm); [cf2]Grande Polonaise[c
f1] ([sm1808[nm); Sonatas: No. [sm1[nm ~in C ([sm1812[nm), No. [sm2[nm in A;Yh (
[sm1816[nm), No. [sm3[nm in D ~minor ([sm1816[nm), No. [sm4[nm in E minor ([sm18
22[nm); [cf2][sm7[nm ~Variations on a Theme from M;aaehul's Joseph[cf1] ([sm1812
[nm); ~[cf2][sm7[nm Variations on a Gipsy Song[cf1] ([sm1817[nm); [cf2]Rondo bri
llante[cf1] ~([sm1819[nm); [fy45,1]*[fy75,2]Invitation to the Dance[cf1] ([cf2]A
ufforderung zum ~Tanz[cf1]) ([sm1819[nm); [cf2]Polacca brillante[cf1] ([sm1819[n
m).[ep~[smpiano duets[nm: [cf2][sm6[nm Petites pi;ageces faciles
 [cf1]([sm1801[nm); [cf2][sm6[nm Pieces ~[cf1]([sm1809[nm); [cf2][sm8[nm Pieces[
cf1] ([sm1818[nm=n[sm19[nm).[ep~[smsongs[nm: A selection of Weber's many songs:
~[cf2]Wiedersehn[cf1] ([sm1804[nm); [cf2]Serenade[cf1] ([sm1809[nm); [cf2]Trinkl
ied[cf1] ~([sm1809[nm); [cf2]Wiegenlied[cf1] ([sm1810[nm); [cf2]Leyer und Schwer
dt[cf1] ~(Lyre and Sword) Vol. I, [sm4[nm songs ([sm1814[nm), Vol. II, ~[PN780,0
,0,L,I0][sm6[nm songs for [sm4[nm male vv. ([sm1814[nm), Vol. III ([sm1816[nm);
[cf2]Die ~Temperamente beim Verluste der Geliebten[cf1] ([sm1816[nm); ~[cf2]Elfe
nlied[cf1] ([sm1819[nm); [cf2]Das Licht im Thale[cf1] ([sm1822[nm); also ~many c
anons and part-songs.[ep~[smarrs[nm: [cf2]God Save the King[cf1], [sm3[nm versio
ns, for male vv., ~(?[sm1818[nm), male vv. (?[sm1818[nm), and SATB and wind ~([s
m1819[nm); [cf2][sm10[nm Scottish National Songs[cf1], v. with fl., vn., ~vc., p
f.[cm~[ol0][ep~[xp[u20]~~[te~

[do3][j99]~~~~~~153842_W005[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm005[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm29[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm112[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[ap[j1]Weber, Dionys[fy75,1] ([cf2
]b [cf1]Welchau, [sm1766[nm; [cf2]d[cf1] Prague, ~[sm1842[nm). Ger.-Bohemian com
poser. Pupil of [fy45,1]*[fy75,1]Vog~~ler. Wrote operas, qts. for [sm4[nm hns.,
dances, etc. ~Founder and dir. Prague Cons. [sm1811[nm.[cm~Weber, Gottfried[fy75
,1] ([cf2]b[cf1] Freinsheim, [sm1779[nm; [cf2]d[cf1] Kreuz~~nach, [sm1839[nm). G
er. composer and theorist. Settled ~Mannheim [sm1802[nm as lawyer. Friend of C.
M. von ~[fy45,1]*[fy75,1]Weber. Comp. songs, church mus., and chamber ~works. Wr
ote several textbooks, incl. a study of ~the authenticity of Mozart's [cf2]Requi
em[cf1] ([sm1826[nm). His ~most important theoretical work was the [cf2]Versuch
~einer geordneten Theorie der Tonsetzkunst[cf1] (Mainz, ~[sm1817[nm=n[sm21[nm, [
sm1832[nm, Eng. trans. [sm1851[nm) in which he ~proposed a new a
nd easier system of terminology ~and figuration. In [sm1832[nm he became general
 state ~prosecutor in Darmstadt.[cm~Weber, Ludwig[fy75,1] ([cf2]b[cf1] Vienna, [
sm1899[nm; [cf2]d[cf1] Vienna, ~[sm1974[nm). Austrian bass. Studied Vienna. Oper
a ~d;aaebut Vienna Volksoper [sm1920[nm. Sang in opera at ~Elberfeld [sm1925[nm=
n[sm7[nm, D;auusseldorf [sm1927[nm=n[sm30[nm, Cologne ~[sm1930[nm=n[sm3[nm, Muni
ch [sm1933[nm=n[sm45[nm, Vienna from [sm1945[nm. ~CG d;aaebut [sm1936[nm, appear
ing there to [sm1939[nm, then ~[sm1947[nm, [sm1950[nm=n[sm1[nm. Bayreuth Fest. [
sm1951[nm=n[sm60[nm. One of ~greatest [sm20[nmth-cent. basses in Wagner and Stra
uss ~roles. Created role of Holsteiner in Strauss's ~[cf2]Friedenstag[cf1], [sm1
938[nm.[cm~Webern, Anton[fy75,1] (Friedrich Wilhelm von) ([cf2]b[cf1] ~Vienna, [
sm1883[nm; [cf2]d[cf1] Mittersill, [sm1945[nm). Austrian ~composer and cond. Ear
ly tuition from his ~mother, a pianist. (Most of his works were written ~in her
memory.) Studied at Klagenfurt with ~Edwin Komauer, composing fi
rst works in [sm1899[nm. ~Entered Vienna Univ. [sm1902[nm, studying musicology ~
with Guido [fy45,1]*[fy75,1]Adler. Studied comp. with Pfitzner ~but became pupil
 of [fy45,1]*[fy75,1]Schoenberg [sm1904[nm=n[sm08[nm. Ed. ~works of [sm15[nmth-c
ent. Dutch composer Heinrich ~Isaak. Became close friend of [fy45,1]*[fy75,1]Ber
g. Was operetta ~cond. at Bad Ischl ([sm1908[nm), Teplitz ([sm1910[nm), Danzig ~
([sm1910[nm=n[sm11[nm), Stettin ([sm1911[nm=n[sm12[nm), and Prague [sm1917[nm. ~
In Vienna [sm1918[nm=n[sm22[nm was active in Schoenberg's ~Soc. for Private Perf
s., and cond. Vienna workers' ~sym. concerts [sm1922[nm=n[sm34[nm. Cond. and mus
. adviser, ~Austrian Radio [sm1927[nm=n[sm38[nm. Visited London [sm5[nm times ~t
o conduct for BBC ([sm1929[nm, [sm1932[nm, [sm1933[nm, [sm1935[nm, ~[sm1936[nm).
 Music proscribed by Nazis as `cultural ~Bolshevism' although Webern was sympath
etic ~to their cause (as is reflected in texts of his ~cantatas). Worked as publ
isher's proof-reader ~during war. Accidentally shot by Amer. sen
try, ~[sm1945[nm. (See [cf2]The Death of Anton Webern: a drama in ~documents [cf
1]by Hans Moldenhauer, NY [sm1961[nm.)[ep~^Largely ignored except by the BBC in
his life-~time, Webern's mus. became a rallying-point for ~the post-[sm1945[nm g
eneration of European compo[chsers, ~such as Stockhausen, Boulez, and Maderna (a
nd ~for some of the older generation, e.g. [fy45,1]*[fy75,1]Stravinsky ~and Eime
rt). They were attracted by the way in ~which his mus., through its sheer concen
tration, ~opened up a new and more complete [fy45,1]*[fy75,1]serialism ~based on
 the est. of the relationship between a ~particular note and a particular qualit
y of sound. ~Even in the earliest works to which he gave an ~opus no. there is p
reoccupation with the inter-~relationship of symmetrical structures. From ~[sm19
08[nm until the late [sm1920[nms Webern wrote in a free ~atonal style. A charact
eristic of many of the works ~of this period is their epigrammatic brevity. The
~[sm4[nmth of his [cf2][sm6[nm Pieces[cf1] for orch. has only [s
m6[nm bars. Timbre ~plays an important role, also str. effects such as ~[fy45,1]
*[fy75,2]col legno[cf1] and [fy45,1]*[fy75,2]sul ponticello[cf1]. In his vocal m
us., the ~extremes of range are contrasted, with frag~~mented instr. accs. In th
is period he wrote his last ~atonal work, the [cf2][sm5[nm Canons[cf1], Op. [sm1
6[nm, and adopted ~[sm12[nm-note technique from his Op. [sm18[nm, [cf2][sm3[nm S
ongs.[cf1] His ~last group of works, [sm1928[nm=n[sm45[nm, is marked on the ~one
 hand by a simplification of the contrapuntal ~texture and on the other by an in
creasingly ~complex use of the note-row. The row is often ~broken down to [sm3[n
m or [sm6[nm notes, and the resulting ~structures are related by imitation, inve
rsion, ~retrograde-inversion, palindromic devices, etc. ~The Sym. of [sm1928[nm
has a theme and variations as ~its [sm2[nmnd of [sm2[nm movements, the theme and
 each ~variation being symmetrical. He comp. an im~~portant set of Pf. Variation
s, and [sm3[nm cantatas in ~which the beauty of the vocal writin
g is a ~reminder of how much Webern derived from ~the medieval masters whose wor
k he had studied. ~Although the post-war [cf2]avant-garde[cf1] admired his ~mus.
 for its technical innovations, such as ~serialization of durations and dynamic
levels, it ~should not be forgotten that Webern's place is in ~the romantic trad
ition, as his choice of texts ~implies, and that his homage to classical forms,
~such as the passacaglia and the canon, is an ~unwavering feature of his work. H
e remained, ~too, a lifelong admirer of Wagner's operas and he ~was apparently a
 superb cond. of Schubert, ~Mahler, and Brahms. Prin. works:[xm[cm~[j2][smorch[n
m: [fy75,2]Im Sommerwind, [cf1]idyll ([sm1904[nm); [cf2][sm3[nm Studies on a ~Gr
ound[cf1] ([sm1908[nm; f.p. [sm1978[nm); [cf2]Passacaglia[cf1], Op. [sm1[nm ~([s
m1908[nm); [cf2][sm5[nm Movements,[cf1] Op. [sm5[nm (orig. for str. qt., arr. ~f
or str. [sm1929[nm); [cf2][sm6[nm St;auucke[cf1] ([cf2][sm6[nm Pieces[cf1]), Op.
 [sm6[nm ([sm1909[nm=n~[sm10[nm, rev. for smaller orch. [sm1928[
nm); [cf2][sm5[nm St;auucke[cf1], Op. [sm10[nm ~([sm1911[nm=n[sm13[nm); [cf2][sm
5[nm St;auucke[cf1] ([sm1911[nm=n[sm13[nm, f.p. [sm1969[nm, pubd. ~[sm1971[nm);
Symphony, Op. [sm21[nm, for cl., bass cl., [sm2[nm hn., ~harp, vns., vas., vcs.
([sm1928[nm); [cf2]Concerto for [sm9[nm ~instruments[cf1], Op. [sm24[nm, for fl.
, ob., cl., hn., tpt., tb., ~vn., va., pf. ([sm1931[nm=n[sm4[nm); [cf2]Variation
s[cf1], Op. [sm30[nm ([sm1940[nm). ~Also [cf2][sm5[nm St;auucke[cf1], [sm1913[nm
, related to Op. [sm6[nm and Op. [sm10[nm; ~[cf2][sm8[nm Fragmente[cf1], [sm1911
[nm=n[sm13[nm, related to Op. [sm10[nm.[ep~[smchoral[nm:[cf2] Entflieht auf Leic
hten K;auahnen[cf1] (Flight to ~Light boats), Op. [sm2[nm, double canon for unac
c. ch. ~([sm1908[nm); [cf2][sm2[nm Goethe Lieder[cf1], Op. [sm19[nm, ch., guitar
, ~celesta, vn., cl., bass cl. ([sm1926[nm); [cf2]Das [fy45,1]*[fy75,2]Augenlich
t[cf1] ~[PN781,0,0,R,I0](Eyesight), Op. [sm26[nm, ch. and orch. ([sm1935[nm); [c
f2]Erste ~Kantate[cf1] ([sm1[nmst Cantata), Op. [sm29[nm, sop.,
ch., orch. ~([sm1938[nm=n[sm9[nm); [cf2]Zweite Kantate[cf1] ([sm2[nmnd Cantata),
 Op. [sm31[nm, ~sop., bass, ch., orch. ([sm1941[nm=n[sm3[nm).[ep~[smvoice and in
str[nm: [cf2]Siegfrieds Schwert[cf1] (Siegfried's ~Sword), ballad for ten. and o
rch. ([sm1903[nm, f.p. ~[sm1978[nm); [cf2][sm2[nm Lieder[cf1] (Rilke), Op. [sm8[
nm, v. and cl., hn., tpt., ~celesta, harp, vn., va., vc. ([sm1910[nm); [cf2][sm3
[nm Lieder[cf1], sop. ~and small orch. ([sm1913[nm=n[sm14[nm); [cf2][sm4[nm Lied
er[cf1], Op. [sm13[nm, sop. ~and orch. ([sm1914[nm=n[sm18[nm); [cf2][sm6[nm Lied
er[cf1] (Trakl), Op. [sm14[nm, ~high v., cl., bass cl., vn., vc. ([sm1917[nm=n[s
m21[nm); [cf2][sm5[nm Geistliche ~Lieder[cf1] ([sm5[nm Spiritual Songs), Op. [sm
15[nm, high sop., fl., ~cl., bass cl., tpt., harp, vn., va. ([sm1917[nm=n[sm22[n
m); [cf2][sm5[nm ~Canons[cf1] (Latin texts), Op. [sm16[nm, high sop., cl., bass
~cl. ([sm1923[nm=n[sm4[nm); [cf2][sm3[nm Folk-Songs, [cf1]Op. [sm17[nm, v., cl.,
 bass cl., ~vn. or va. ([sm1924[nm); [cf2][sm3[nm Lieder[cf1], O
p. [sm18[nm, v., E;Yh cl., ~guitar ([sm1925[nm).[ep~[smvoice and piano[nm: [cf2]
[sm2[nm Songs[cf1] (Avenarius) ([sm1900[nm=n[sm1[nm); [cf2][sm3[nm ~Gedichte[cf1
] ([sm1899[nm=n[sm1903[nm); [cf2][sm8[nm fr;auuhe Lieder[cf1] ([sm1901[nm=n[sm4[
nm); [cf2][sm3[nm ~Lieder[cf1] (Avenarius) ([sm1903[nm=n[sm4[nm); [cf2][sm5[nm D
ehmel Lieder[cf1] ~([sm1906[nm=n[sm8[nm); [cf2][sm5[nm Lieder aus der siebente R
ing[cf1] (George), ~Op. [sm3[nm ([sm1907[nm=n[sm8[nm); [cf2][sm5[nm Stefan Georg
e Lieder[cf1], Op. [sm4[nm ~([sm1908[nm=n[sm9[nm); [cf2][sm4[nm Lieder[cf1], Op.
 [sm12[nm ([sm1915[nm=n[sm17[nm); [cf2][sm3[nm Ges;auange[cf1] ~(Jone), Op. [sm2
3[nm ([sm1934[nm); [cf2][sm3[nm Lieder[cf1] (Jone), Op. [sm25[nm ~([sm1934[nm=n[
sm5[nm).[ep~[smchamber music[nm: Str. qt. in [sm1[nm movement ([sm1905[nm); ~[cf
2]Langsamer Satz, [cf1]str. qt. ([sm1905[nm); pf. quintet in [sm1[nm ~movement (
[sm1906[nm); [cf2][sm5[nm Movements[cf1] for str. qt., Op. ~[sm5[nm ([sm1909[nm,
 scored for str. orch. [sm1929[nm); [cf2][sm4[nm Pieces[cf1], Op
. ~[sm7[nm, vn. and pf. ([sm1910[nm); [cf2][sm6[nm Bagatelles[cf1], Op. [sm9[nm,
 str. qt. ~([sm1913[nm); [cf2][sm3[nm Little Pieces[cf1], Op. [sm11[nm, vc. and
pf. ([sm1914[nm); ~vc. sonata ([sm1914[nm); [cf2]Movement[cf1] for str. trio ([s
m1925[nm); ~Str. Trio, Op. [sm20[nm ([sm1926[nm=n[sm27[nm); Qt., Op. [sm22[nm, v
n., cl., ~ten. sax., pf. ([sm1930[nm); Str. Qt., Op. [sm28[nm ([sm1936[nm=n[sm8[
nm).[ep~[smpiano[nm: [cf2]Kinderst;auuck[cf1] ([sm1924[nm); [cf2]Variations[cf1]
, Op. [sm27[nm ~([sm1935[nm=n[sm6[nm).[ep~[smarrs. of other composers[nm: Bach:
[cf2]Ricercare[cf1] from ~[cf2]The Musical Offering[cf1] for chamber orch. Schoe
n~~berg: Nos. [sm2[nm and [sm6[nm of [cf2][sm6[nm Orchester-Lieder[cf1], Op. [sm
8[nm, ~arr. for v. and pf.; [cf2]Kammersymphonie, [cf1]Op. [sm9[nm, arr. ~for fl
. (or [sm2[nm vn), cl. (or va.), vn., vc., pf. ([sm1922[nm); [cf2][sm5[nm ~Orche
stral Pieces[cf1], Op. [sm16[nm, arr. for [sm2[nm pf.; Prelude ~and Interludes f
rom [cf2]Gurrelieder[cf1], arr. [sm2[nm pf., [sm8[nm ~hands ([sm
1910[nm). Schubert: [cf2]Deutsche T;auanze vom ~Oktober [sm1824[nm[cf1], arr. fo
r orch.; [cf2]Rosamunde Romanze, ~Ihr Bild, Der Wegweiser, Du bist die Ruh[cf1]'
, and ~[cf2]Tr;auanenregen[cf1], arr. for v. and small orch. Wolf: ~[cf2]Lebe wo
hl, Der Knabe und das Immelein[cf1], and [cf2]Denk ~es, O Seele[cf1], arr. for v
. and full orch.[cm~[j1]Webster, [fy75,1](Sir) [fy65][cf3]David [fy75,1](Lumsden
) ([cf2]b[cf1] Dundee, ~[sm1903[nm; [cf2]d[cf1] London, [sm1971[nm). Scots-born
impresario ~and opera administrator. Studied Liverpool Univ. ~[sm1921[nm=n[sm4[n
m. Began career as department store gen. ~manager in Liverpool, taking major par
t in city's ~cultural activities, and becoming chairman, Liv~~erpool Phil. Soc.
[sm1940[nm=n[sm5[nm. Gen. administrator, ~Royal Opera House, CG [sm1944[nm=n[sm7
0[nm, presiding over ~post-war development of opera at CG, finding ~and encourag
ing many Brit. singers. Knighted ~[sm1960[nm, K.C.V.O. [sm1970[nm.[cm~Wechseln[f
y75,1] (Ger.). To change. [fy65][cf3]Wechselnote, ~[fy45,1]*[fy7
5,1]Changing Note.[cm~Weckerlin, Jean-Baptiste [fy75,1](Th;aaeodore) ([cf2]b[cf1
] Geb~~weiler, Alsace, [sm1821[nm; [cf2]d[cf1] Trottberg, [sm1910[nm). Fr. ~comp
oser and scholar. Studied Paris Cons. (comp. ~with Hal;aaevy). Librarian, Paris
Cons., [sm1876[nm=n[sm1905[nm. ~Wrote operas, oratorios, cantatas, and over [sm3
00[nm ~songs. Ed. several colls. of old Fr. songs and mus.[cm~Weckmann, Matthias
 [fy75,1]([cf2]b[cf1] Niederdorla, Thurin~~gia, ?[sm1619[nm; [cf2]d[cf1] Hamburg
, [sm1674[nm). Ger. composer ~and organist. Chorister at Dresden court chapel; ~
pupil of Sch;auutz. Went to Denmark and on return ~became organist, St James's,
Hamburg, [sm1655[nm. ~Founded concert soc. to promote new works. ~Wrote org. toc
catas, songs, etc.[cm~We Come to the River[fy75,1] ([cf2]Wir erreichen den Fluss
[cf1]). ~Opera (actions for music) in [sm2[nm parts and [sm11[nm scenes ~by Henz
e to lib. by Edward Bond (Ger. version ~by Henze). Prod. London [sm1976[nm, Berl
in [sm1976[nm.[cm~Wedding Day at Troldhaugen.[fy75,1] Pf. piece
by ~Grieg, No. [sm6[nm of his [cf2]Lyric Pieces[cf1] (Book [sm8[nm), Op. [sm65[n
m ~([sm1897[nm), later orch. Grieg's villa, built in [sm1885[nm ~outside Bergen,
 was called Troldhaugen.[cm~Wedding March. [fy75,1]Many court composers have ~wr
itten marches for the weddings of royal and ~aristocratic brides, but Brit. brid
es have for long ~favoured entry into the church to the strains of ~the bridal c
h. from Wagner's [cf2]Lohengrin[cf1] and exit ~to the wedding march which is the
 [sm6[nmth no. of ~Mendelssohn's incidental mus. to Shakespeare's [cf2]A ~Midsum
mer Night's Dream[cf1]. The vogue for the ~Mendelssohn began in [sm1847[nm and r
eceived a boost ~in [sm1858[nm when Queen Victoria's daughter, the ~Princess Roy
al, used it at Windsor. Its supremacy ~was dented in [sm1960[nm by the Duchess o
f Kent, who ~left York Minster to the [cf2]Toccata[cf1] from Widor's [sm5[nmth ~
Sym. for org., her example being widely followed. ~Various more bizarre mus. sel
ections are occasion~~ally reported.[cm~Wedding, The [fy75,1](St
ravinsky). See [cf2]Noces, Les[cf1].[cm~Wedekind, Frank[fy75,1] ([cf2]b[cf1] Han
over, [sm1864[nm; [cf2]d[cf1] Munich, ~[sm1918[nm). Ger. playwright and musician
. [sm2[nm of his ~plays, [cf2]Erdgeist[cf1] (Earth Spirit) [sm1895[nm and [cf2]D
ie B;auuchse ~der Pandora [cf1](Pandora's Box) [sm1901[nm were adapted ~by [fy45
,1]*[fy75,1]Berg as lib. for his [cf2]Lulu[cf1]. Wrote songs with ~lute acc. His
 sister Erika ([sm1868[nm=n[sm1944[nm) was leading ~sop. at Dresden Opera [sm189
4[nm=n[sm1909[nm, singing Eva, ~Mimi, Butterfly, Violetta, etc.[cm~`Wedge' Fugue
.[fy75,1] Nickname of Bach's org. fugue ~in E minor (BWV [sm548[nm), comp. betwe
en [sm1727[nm and ~[sm1736[nm. So called because of shape of subject, which ~pro
ceeds in gradually widening intervals.[cm~Weelkes, Thomas [fy75,1]([cf2]b c.[cf1
][sm1576[nm; [cf2]d[cf1] London, [sm1623[nm). ~Eng. composer and organist. Book
of madrigals ~in [sm3[nm, [sm4[nm, [sm5[nm, and [sm6[nm vv. pubd. [sm1597[nm, fo
llowed in [sm1600[nm ~by [sm2[nm further books, one of [sm5[nm-p
art madrigals, the ~other of [sm6[nm-part. Organist, Winchester College, ~[sm159
8[nm. Wrote [sm6[nm-part madrigal [cf2]As Vesta was from ~Latmos hill descending
 [cf1]for [cf2]The [fy45,1]*[fy75,2]Triumphs of Oriana[cf1], ~[sm1601[nm. Took M
us.B., Oxford Univ., [sm1602[nm. Organist, ~Chichester Cath. from [cf2]c.[cf1][s
m1601[nm=n[sm2[nm. His [cf2]Ayres or ~[PN782,0,0,L,I0]Phantasticke Spirites[cf1]
 for [sm3[nm vv. was pubd. [sm1608[nm, and ~shows a lighter, satirical side to h
is art. One of ~greatest of Eng. madrigalists, with daring har~~monies and imagi
native expression. [cf2]O Care, wilt ~though despatch me, [fy45,1]*[fy75,2]Thule
, the period of cosmogra~~phy[cf1], and [cf2]Like two proud armies[cf1] are amon
g the ~finest examples of their kind. Wrote much ~church mus., incl. many anthem
s (notably ~[cf2]Hosanna to the Son of David[cf1]), and instr. pieces for ~viols
, In Nomines, pavans, etc. Wrote [sm3[nm-part song, ~[cf2]Death hath Deprived me
 of my Dearest Friend[cf1], in ~memory of [fy45,1]*[fy75,1]Morle
y. Buried in St Bride's, Fleet ~Street.[cm~Weerbeke, Gaspar van [fy75,1]([cf2]b
[cf1]Oudenaarde, [cf2]c[cf1].[sm1440[nm; ~[cf2]d[cf1] after [sm1517[nm). Flemish
 composer. Spent his time ~in service of ducal chapel in Milan, papal chapel ~in
 Rome, and at Burgundian court. Wrote cycles ~of motets to replace normal movts.
 of the Mass ~(e.g. [cf2]Kyrie [cf1]and [cf2]Gloria[cf1]). Was connected with Du
fay ~and his circle.[cm~Wegelius, Martin [fy75,1]([cf2]b[cf1] Helsingfors (Helsi
nki), ~[sm1846[nm; [cf2]d[cf1] Helsinki, [sm1906[nm). Finn. cond. and ~teacher.
Studied Vienna and Leipzig. Cond. ~Helsing-[fjfors opera [sm1878[nm. First dir.,
 Helsinki Cons. ~[sm1882[nm,[fjpupils incl. Sibelius, J;auarnefelt, and Palm~~gr
en.[fjWrote vocal works and books on science of[fjmus.[cm~Weidt, Lucie [fy75,1](
[cf2]b [cf1]Troppau, [sm1880[nm; [cf2]d[cf1] Vienna, [sm1940[nm). ~Austrian sopr
ano, whose father was a conductor ~and composer. Studied with Rosa Papier. Membe
r ~of Vienna Opera [sm1902[nm=n[sm27[nm, taking over [fy45,1]*[f
y75,1]Milden~~burg's roles under Mahler r;aaegime. Celebrated ~Leonore in [cf2]F
idelio[cf1]. First Vienna Marschallin. Sang ~Br;auunnhilde at NY Met. [sm1910[nm
=n[sm11[nm season and in ~Buenos Aires [sm1912[nm. Created role of the Nurse in
~Strauss's [cf2]Die Frau ohne Schatten[cf1], Vienna [sm1919[nm.[cm~Weigl, Joseph
 [fy75,1]([cf2]b[cf1] Eisenstadt, [sm1766[nm; [cf2]d[cf1] Vienna, ~[sm1846[nm).
Austrian composer, son of prin. cellist in ~Haydn's orch. at Esterh;aaaza. Pupil
 of Salieri. Held ~court posts in Vienna and comp. over [sm30[nm Ger. and ~It. o
peras, popular in their day, and much other ~mus.[xm[cm~[j1]Weigl, Karl[fy75,1]
([cf2]b[cf1] Vienna, [sm1881[nm; [cf2]d[cf1] NY, [sm1949[nm). ~Austrian-born com
poser, cond., and teacher ~(Amer. citizen [sm1943[nm). Studied Vienna Acad. [sm1
898[nm=n~[sm1902[nm (comp. with Fuchs) and Vienna Univ. ~(musicology with Adler)
. Comp. lessons from ~[fy45,1]*[fy75,1]Zemlinsky. Ass. coach at Vienna Opera und
er ~Mahler, [sm1904[nm=n[sm6[nm. Taught theory and comp. at ~New
 Vienna Cons. [sm1918[nm=n[sm28[nm. Prof. of music ~theory, Vienna Univ. [sm1931
[nm=n[sm8[nm. Went to USA [sm1938[nm. ~Taught in NY, Boston, and Philadelphia. W
rote [sm6[nm ~syms. ([sm1908[nm=n[sm47[nm), [sm8[nm str. qts. ([sm1903[nm=n[sm49
[nm, [sm2[nmnd uses ~viola d'amore), vn. conc., vc. conc., pf. conc., [sm2[nm ~v
n. sonatas, songs, etc. Wrote memories of Mahler ~([sm1947[nm, [sm1948[nm).[xm[c
m~[j1]Weihe des Hauses, Die[fy75,1] (Beethoven). See [cf2]Conse~~cration of the
House, The[cf1].[cm~Weihnachtslied[fy75,1] (Ger.). Christmas carol.[cm~Weihnacht
s Oratorium[fy75,1] (Bach). See [cf2]Christmas ~Oratorio[cf1].[cm~Weikl, Bernd [
fy75,1]([cf2]b[cf1] Vienna, [sm1942[nm). Austrian bari~~tone. Sang with Hanover
Opera [sm1968[nm=n[sm70[nm, D;auussel~~dorf [sm1970[nm=n[sm2[nm. Salzburg [sm197
1[nm (Melot). CG d;aaebut ~[sm1975[nm (Rossini's Figaro), NY Met. [sm1977[nm (Wo
lfram ~in [cf2]Tannh;auauser[cf1]). Outstanding Mandryka in ~Strauss's [cf2]Arab
ella[cf1].[cm~Weill, Kurt[fy75,1] ([cf2]b[cf1] Dessau, [sm1900[n
m; [cf2]d[cf1] NY, [sm1950[nm). Ger.-~born composer (Amer. citizen from [sm1943[
nm). ~Studied Berlin Hochschule f;auur Musik [sm1918[nm=n[sm19[nm ~(comp. with H
umperdinck) and privately [sm1921[nm=n~[sm4[nm with Busoni. Opera coach at Dessa
u [sm1918[nm=n[sm21[nm ~and th. cond. at L;auudenscheid. Founded new sch. ~of po
pular opera which attracted wide attention ~in Ger. and also attracted implacabl
e hostility of ~Nazi r;aaegime when it achieved power. First opera ~[cf2]Der Pro
tagonist[cf1], Dresden [sm1926[nm. In [sm1927[nm collab. ~with Bertolt [fy45,1]*
[fy75,1]Brecht in radio cantata about ~Lindbergh's flight across the Atlantic an
d in ~`Songspiel' [cf2]Mahagonny[cf1] which in [sm1929[nm they re-~worked into [
sm3[nm-act opera [fy75,2]Rise and Fall of the City of ~Mahagonny, [cf1]a satire
on Amer. life. His outstanding ~success came in Berlin in [sm1928[nm with update
d ~version of [cf2]The [fy45,1]*[fy75,2]Beggar's Opera[cf1] called [cf2]Die [fy7
5,2]Dreigro~~[chschenoper [cf1](The Threepenny Opera)[cf1] conta
ining ~satirical topical references to Ger. life at the time ~and evoking by its
 jazzy and harsh but brilliant ~scoring the atmosphere of that particular period
 ~even for those who did not experience it. Brecht's ~lyrics and the singing of
Lotte [fy45,1]*[fy75,1]Lenya[cf1], who ~became Weill's wife, were significant fa
ctors in ~its success. Driven from Ger. in [sm1933[nm, Weill went ~to Paris, the
n to London, and finally to NY in ~[sm1935[nm. In America he wrote several succe
ssful ~Broadway musicals, lacking the pungency of his ~Ger. operas but of high m
erit nonetheless. The ~evocative melody `September Song' was written ~for [cf2]K
nickerbocker Holiday[cf1]. After his death, [cf2]The ~Threepenny Opera[cf1] was
given an Eng. lib. by Marc ~[fy45,1]*[fy75,1]Blitzstein and ran successfully in
NY. Weill's ~music, like Coward's on another level, captures ~the flavour of an
era and also successfully fuses ~jazz with classical elements. Prin. works:[xm[c
m~[ol0][ep~[xp[u20]~~[te~
[do3][j99]~~~~~~153842_W006[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford Dic~~tionar
y of Music[cmW[sm006[nm[cm[sm3[nm[cm~[sm1[nm[cm[sm29[nm/[sm10[nm/[sm79[nm[cm[sm3
[nm[cm[sm140[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j2][smoperas, musicals,
[nmetc. (librettist in parentheses): ~[fy75,2]Der Protagonist[cf1] (Kaiser) ([sm
1925[nm); [cf2]Die [fy45,1]*[fy75,2]Dreigroschen~~oper[cf1] (Hauptmann, Brecht)
([sm1928[nm); [fy45,1]*[fy75,2]Rise and Fall ~of the City of Mahagonny [cf1]([cf
2]Aufsteig und Fall der ~Stadt Mahagonny[cf1]) (Brecht) ([sm1927[nm=n[sm9[nm); [
cf2]Der Zar ~l;auasst sich photographiern[cf1] (The Tsar has his ~photograph tak
en) (Kaiser) ([sm1927[nm); [cf2]Happy End[cf1] ~(Hauptmann, Brecht) ([sm1929[nm)
; [cf2]Der Jasager[cf1] ~(Brecht) ([sm1930[nm); [cf2]Die B;auurgschaft[cf1] (Neh
er) ([sm1930[nm=n[sm1[nm); ~[cf2]Der Silbersee[cf1] (Kaiser) ([sm1932[nm=n[sm3[n
m); [cf2]Marie galante[cf1] ~(Deval) Paris ([sm1933[nm); [cf2]A Kingdom for a Co
w[cf1], ~London ([sm1935[nm); [cf2]Johnny Johnson[cf1] (Green) N
Y ~([sm1936[nm); [cf2]Knickerbocker Holiday [cf1](Maxwell Ander~~son) NY ([sm193
8[nm); [cf2]Lady in the Dark [cf1](M. Hart, I. ~Gershwin) NY ([sm1940[nm); [cf2]
One Touch of Venus[cf1] ~(Perelman-Nash) NY ([sm1943[nm); [cf2]Down in the Valle
y[cf1] ~[PN783,0,0,R,I0](Sundgaard) NY ([sm1945[nm-[sm8[nm); [cf2]Street Scene[c
f1] (Rice) NY ~([sm1946[nm); [cf2]Lost in the Stars[cf1] (Anderson) NY ([sm1949[
nm).[ep~[smballet[nm: [fy45,1]*[fy75,2]Seven Deadly Sins [cf1]([cf2]Die sieben T
ods;auunden[cf1]), ~sop., male ch., orch. ([sm1933[nm).[ep~[smorch[nm: Syms: No.
 [sm1[nm ([sm1921[nm), No. [sm2[nm ([sm1933[nm=n[sm4[nm); ~[cf2]Quodlibet[cf1],
Op. [sm9[nm ([sm1923[nm); Vn. conc., wind ens., ~Op. [sm12[nm ([sm1924[nm); [cf2
]Der neue Orpheus,[cf1] Op. [sm16[nm, sop., ~vn., orch. ([sm1925[nm); [cf2][sm3[
nm Walt Whitman Songs[cf1], bar. ~and orch. ([sm1940[nm); [cf2]Kleine Dreigrosch
enmusik[cf1] (Suite ~from [cf2]Threepenny Opera).[ep~[cf1][smchoral[nm: [cf2]Rec
ordare[cf1], unacc. ch.; [cf2]Der Lindberghflug[cf1], ~radio can
tata, ten., bar., bass, ch., orch. ([sm1927[nm); ~[cf2]The Ballad of the Magna C
arta,[cf1] soloists, ch., orch. ~([sm1939[nm).[ep~[smchamber music[nm: Str. Qt.,
 Op. [sm8[nm ([sm1923[nm).[ep~[smsongs[nm: [cf2]Das Berliner Requiem; September
Song; ~Ballade vom ertrunken M;auadchen; Happy end; Bilbao ~Song; Surabaya Johnn
y; Matrosen Tango; Havana~~[chlied; Alabama Song; Der Silbersee; Lied der ~Fenni
more; [cf1]etc.[cm~[j1][fy75,1]^[sm14[nm MSS. of Weill compositions were discove
red ~in NY in [sm1983[nm. All date from before [sm1921[nm and are ~available for
 study at the Weill/Lenya Research ~Center, NY. They include an orch. suite in E
, an ~[cf2]Intermezzo[cf1] for pf., a song-cycle to [sm12[nmth-cent Jewish ~text
s, and [sm3[nm [cf2]Lieder[cf1] to Ger. Romantic texts.[cm~[j1]Weinberger, Jarom
;aair[fy75,1] ([cf2]b[cf1] Prague, [sm1896[nm; [cf2]d[cf1] St ~Petersburg, Flori
da, [sm1967[nm). Cz. composer. Studied ~in Prague and with Reger in Leipzig. Tau
ght at ~Ithaca Cons., NY, in [sm1922[nm, then worked in ~Prague,
 Vienna, etc. Settled in USA [sm1939[nm. Prolific ~composer of operas, orch. wor
ks, religious mus., ~songs, etc., but achieved success with [sm2[nm works, ~the
opera [cf2];akSvanda Dud;aaak[cf1] ([fy45,1]*[fy75,1]Schwanda the Bagpiper) ~([s
m1927[nm) and the [cf2]Variations and Fugue on Under the ~Spreading Chestnut Tre
e[cf1] for orch. ([sm1939[nm, rev. [sm1941[nm).[cm~Wein, Der[fy75,1] (The Wine).
 Concert aria for sop. and ~very large orch. by Berg, comp. [sm1929[nm. Text poe
m ~by Baudelaire in Ger. trans. by S. George. F.p. ~K;auonigsberg [sm1930[nm con
d. Scherchen.[cm~Weiner, Le;aao[fy75,1] ([cf2]b[cf1] Budapest, [sm1885[nm; [cf2]
d[cf1] Budapest, ~[sm1960[nm). Hung. composer and teacher. Studied ~Budapest [sm
1901[nm=n[sm06[nm, later in Berlin, Vienna, Paris, ~and Leipzig. Prof. of comp.,
 Budapest State Acad. ~[sm1908[nm=n[sm60[nm. Famous teacher of chamber mus. Ed.
~Beethoven's pf. and vn. sonatas. Wrote symphonic ~poem, [sm2[nm vn. concs., [sm
3[nm str. qts., th. mus., and [cf2]Suite ~on Hung. Folk Dances[c
f1] ([sm1931[nm) for orch.[cm~Weingarten, Joseph[fy75,1] ([cf2]b[cf1] Budapest,
[sm1911[nm). Hung.-~born pianist (Brit. citizen). Studied Liszt Acad., ~Budapest
, pupil of Kod;aaaly, Dohn;aaanyi, and Wei~~ner. Member Budapest Trio. Settled i
n London as ~recitalist and chamber mus. player.[cm~Weingartner, [fy75,1](Paul)
[fy65][cf3]Felix[fy75,1] ([cf2]b[cf1] Zara, [sm1863[nm; [cf2]d[cf1] ~Winterthur,
 [sm1942[nm). Austrian cond., composer, ~and writer. Studied philosophy Leipzig
Univ. ~[sm1881[nm=n[sm3[nm, mus. at Leipzig Cons. Pupil of Liszt at ~Weimar [sm1
883[nm. Opera cond., K;auonigsberg [sm1884[nm, ~Danzig [sm1885[nm=n[sm7[nm, Hamb
urg [sm1887[nm=n[sm9[nm, Mannheim ~[sm1889[nm=n[sm91[nm, Berlin [sm1891[nm=n[sm8
[nm, Vienna (after Mahler) ~[sm1907[nm=n[sm11[nm, Hamburg [sm1912[nm=n[sm14[nm,
Darmstadt [sm1914[nm=n~[sm19[nm, Vienna Volksoper [sm1919[nm=n[sm24[nm, Boston [
sm1912[nm=n[sm13[nm. ~His orch. appointments included Berlin royal ~concerts [sm
1891[nm=n[sm1907[nm, Vienna P.O. [sm1907[nm=n[sm27[nm, Basle ~[s
m1927[nm=n[sm33[nm. Dir., Basle Cons. [sm1927[nm=n[sm35[nm. Guest cond., ~London
 orchs. from [sm1898[nm and at CG [sm1939[nm. NY ~concert d;aaebut [sm1905[nm. C
omp. several operas, [sm7[nm ~syms., symphonic poems, concs. (vn., vc.), choral
~works, [sm5[nm str. qts., etc. Wrote autobiography and ~several other books, in
cl. treatise on cond. and on ~interpretation of Beethoven syms.[cm~Weinzweig, Jo
hn [fy75,1](Jacob) ([cf2]b[cf1] Toronto, [sm1913[nm). ~Canadian composer. Studie
d Toronto Univ. [sm1934[nm=n~[sm7[nm, Eastman Sch. [sm1938[nm. Prof. of comp., T
oronto ~Royal Cons. from [sm1939[nm and at Toronto Univ. ~from [sm1952[nm. Co-fo
under, Canadian League of ~Composers. First Canadian to use [sm12[nm-note proce~
~dures. Has written mus. for films and radio in ~addition to sym. ([sm1940[nm),
vn. conc., [sm4[nm [cf2]Divertimenti[cf1], ~harp conc., pf. conc., vn. sonata, v
c. sonata, pf. ~suites, [sm3[nm str. qts., and [cf2]Around the stage in [sm25[nm
 minutes ~during which a number of instruments are struck[cf1],
for ~[sm1[nm percussionist ([sm1970[nm).[cm~Weir, Gillian[fy75,1] (Constance) ([
cf2]b[cf1] Martinborough, ~N.Z., [sm1941[nm). N.Z. organist and harpsichordist.
~Studied RAM [sm1962[nm=n[sm5[nm. D;aaebut London [sm1965[nm. ~Worldwide reputat
ion as recitalist in org. mus. of ~several periods.[cm~Weir, Judith[fy75,1] ([cf
2]b[cf1] Aberdeen, [sm1954[nm). Scottish com~~poser. Studied with [fy45,1]*[fy75
,1]Tavener and played in Nat. ~Youth Orch. of Great Britain. Worked on ~computer
 mus., Mass. Inst. of Technology [sm1973[nm. ~Studied with Robin [fy45,1]*[fy75,
1]Holloway at Cambridge ~[sm1973[nm=n[sm6[nm, also at Tanglewood with Schuller a
nd ~Messiaen. On staff of Glasgow Univ. from [sm1979[nm. ~Works incl.:[xm[cm~[j2
][smorch[nm: [cf2]Wunderhorn[cf1] ([sm1978[nm); [cf2]Isti Mirant Stella[cf1] ([s
m1981[nm); ~[cf2]Ballad[cf1], with bar. solo ([sm1981[nm); [cf2]The Ride Over La
ke ~Constance[cf1] ([sm1983[nm=n[sm4[nm).[ep~[smens.[nm (also with [smvoice[nm):
 [cf2][sm25[nm Variations[nm, [cf1]sop. and [sm6[nm ~players ([s
m1976[nm); [cf2]Black Birdsong[cf1], bar., fl., ob., vn., ~vc. ([sm1977[nm); [cf
2]Between Ourselves[cf1], [sm7[nm players ([sm1978[nm); ~[cf2]Hans the Hedgehog[
cf1], speaker, [sm2[nm ob., bn., hpd. ~([sm1978[nm); [cf2]King Harald sails to B
yzantium[cf1], [sm6[nm players ~([sm1979[nm); [cf2]Thread![cf1], narrator, [sm8[
nm players ([sm1981[nm).[ep~[smchamber music[nm: [cf2]Out of the Air[cf1], wind
quintet ~([sm1975[nm); [cf2]Harmony and Invention[cf1], hp. ([sm1978[nm, rev. ~[
sm1980[nm); [cf2]Pas de Deux[cf1], vn., ob. ([sm1980[nm); [cf2]An mein ~Klavier[
cf1], pf. ([sm1980[nm); [cf2]Several Concertos[cf1], fl., vc., pf. ~([sm1980[nm)
; vc. sonata ([sm1980[nm); [cf2]Pleasant Dreams[cf1], db. ~and tape ([sm1983[nm)
; [cf2]A Serbian Cabaret[cf1], pf. qt. ([sm1983=n~4[nm).[ep~[smpiano[nm: [cf2]Th
e Art of Touching the Keyboard [cf1]([sm1983[nm).[cm~[j1]Weisgall, Hugo[fy75,1]
([cf2]b[cf1] Ivan;accice, [sm1912[nm). Cz.-born ~Amer. composer and cond. Settle
d in USA [sm1920[nm. ~Studied Johns Hopkins Univ. and Curtis Ins
titute ~(comp. with Scalero, cond. with Reiner). Private ~study with [fy45,1]*[f
y75,1]Sessions. Cond., Baltimore Str. Sym. ~[sm1937[nm=n[sm9[nm, and other Balti
more organizations [sm1949[nm=n~[sm60[nm. Chairman of faculty, Cantors' Institut
e, NY, ~[PN784,0,0,L,I0]from [sm1951[nm. Teacher at Juilliard Sch. [sm1957[nm=n[
sm70[nm, ~prof. Queens Coll., NY from [sm1960[nm. Works incl. [sm9[nm ~operas ([
cf2][sm9[nm Rivers from Jordan, [sm6[nm Characters in Search ~of an Author, Purg
atory, [cf1]etc.), cantata [cf2]A Garden ~Eastward[cf1], ballet, songs, radio mu
s.[cm~Weiss, Adolph[fy75,1] ([cf2]b[cf1] Baltimore, [sm1891[nm; [cf2]d[cf1] Van
Nuys, ~Calif., [sm1971[nm). Amer. composer and bassoonist. ~Studied Columbia Uni
v., then in Berlin [sm1924[nm=n[sm7[nm ~with Schoenberg, being first Amer. to le
arn [sm12[nm-~note method. Bassoonist, Russian S.O. [sm1907[nm, NY ~P.O., NY S.O
., Chicago S.O. [sm1916[nm=n[sm21[nm, and ~Rochester S.O. [sm1921[nm=n[sm4[nm. C
ond. San Francisco ~Opera [sm1933[nm and Los Angeles P.O. [sm195
1[nm. Wrote ~tpt. conc., bn. conc., wind quintet, [cf2]Tone Poem[cf1] for ~bass
and perc., etc.[cm~Weiss, Sylvius Leopold[fy75,1] ([cf2]b[cf1] Breslau, [sm1686[
nm; [cf2]d[cf1] ~Dresden, [sm1750[nm). Ger. lutenist and composer. ~Worked in Ro
me, Dresden, and Prague. Associate ~of [fy45,1]*[fy75,1]Fux. Wrote works for lut
e.[cm~Weissenberg, Alexis[fy75,1] ([cf2]b[cf1] Sofia, [sm1929[nm). Fr. pianist ~
of Bulgarian birth. Studied in Sofia, then at ~Juilliard Sch. [sm1946[nm with Sa
marov. D;aaebut with NY ~P.O., cond. Szell [sm1947[nm. First prize Leventritt ~C
ompetition [sm1948[nm. London d;aaebut [sm1974[nm. World~~wide tours and appeara
nces with leading orchs.[cm~Weldon, George [fy75,1]([cf2]b[cf1] Chichester, [sm1
906[nm; [cf2]d[cf1] Cape ~Town, [sm1963[nm). Eng. cond. Studied RCM. Prin. ~cond
. CBSO [sm1943[nm=n[sm51[nm; assoc. cond. (to Barbirolli) ~Hall;aae Orch. from [
sm1952[nm.[cm~Weldon, John[fy75,1] ([cf2]b[cf1] Chichester, [sm1676[nm; [cf2]d[c
f1] London, ~[sm1736[nm). Eng. composer and organist. Pupil of ~
Purcell. Organist, New College, Oxford [sm1694[nm, ~Chapel Royal [sm1708[nm, St
Martin-in-the Fields [sm1714[nm. ~Wrote [sm4[nm operas, masque, anthems, songs,
and ~mus. for [cf2]The Tempest.[cf1] (Scholars believe that the ~music for [cf2]
The Tempest[cf1] usually attrib. Purcell may ~be by Weldon).[cm~Welitsch[fy75,1]
 (orig. Veli;akckova), [fy65][cf3]Ljuba[fy75,1] ([cf2]b[cf1] Borissovo, ~[sm1913
[nm). Bulgarian sop. Violinist as child, then ~studied singing in Vienna. Opera
d;aaebut Sofia ~[sm1936[nm. Sang in opera at Graz [sm1937[nm=n[sm40[nm, Hamburg
~[sm1941[nm=n[sm3[nm, Munich [sm1943[nm=n[sm6[nm, Vienna [sm1946[nm=n[sm58[nm. C
G ~d;aaebut [sm1947[nm, then [sm1948[nm=n[sm52[nm. Sang Amelia in [cf2]Un ~Ballo
 in Maschera[cf1] with Glyndebourne co. at ~Edinburgh Fest. [sm1948[nm. NY Met.
[sm1948[nm=n[sm52[nm. Excit~~ing singer-actress, memorable as Salome, which ~she
 sang in Vienna [sm1944[nm for Strauss's [sm80[nmth ~birthday, and in Eng. at CG
 [sm1949[nm. Also a fine ~Tosca, Aida, and capricious Musetta.[c
m~Weller, Walter [fy75,1]([cf2]b[cf1] Vienna, [sm1939[nm). Austrian cond. ~and v
iolinist. Studied Vienna Hochschule. Violin~~ist in Vienna P.O. from [sm1956[nm,
 becoming leader ~[sm1961[nm=n[sm9[nm. Founder and leader Weller Str. Qt. from ~
[sm1958[nm, touring Europe and USA. Studied cond. ~with Krips and Szell. Cond. d
;aaebut Vienna P.O. ~[sm1968[nm, Vienna Opera [sm1969[nm. Prin. cond. RLPO ~[sm1
977[nm=n[sm80[nm. Prin. cond. RPO [sm1980[nm=n[sm5[nm. Guest cond. ~Scottish Ope
ra, SNO, and other Brit. orchs.[cm~Welles Raises Kane. [fy75,1]Mus. `portrait of
 Orson ~Welles' (actor and film producer) by [fy45,1]*[fy75,1]Herrmann, ~based o
n mus. he wrote for Welles's films `Citizen ~Kane' and `The Magnificent Amberson
s'. Comp. ~[sm1942[nm, f.p. NY cond. composer, [sm1942[nm.[cm~Wellesz, Egon[fy75
,1] ([cf2]b[cf1] Vienna, [sm1885[nm; [cf2]d[cf1] Oxford, [sm1974[nm). ~Austrian-
born composer, cond., scholar, and ~teacher (Eng. naturalized). Studied Vienna U
niv. ~[sm1895[nm=n[sm1908[nm with G. Adler and New Vienna Cons.
~[sm1911[nm=n[sm15[nm. Lessons from Schoenberg [sm1905[nm=n[sm6[nm; ~attended Ma
hler rehearsals at Vienna Opera. ~Taught at Vienna Univ. [sm1913[nm=n[sm38[nm (p
rof. of history ~of mus. from [sm1929[nm). Went to Eng. [sm1938[nm, joining ~fac
ulty of mus. at Oxford Univ. as lecturer. ~Reader in Byzantine Mus. [sm1948[nm=n
[sm56[nm. Pupils incl. ~[fy45,1]*[fy75,1]Rubbra. Authority on Byzantine mus. and
 ~Gregorian chant. Several books on these and other ~subjects. First biographer
of Schoenberg, [sm1921[nm. ~C.B.E. [sm1957[nm. Works, some in idiom of Schoenber
g ~and medieval mus., but in later years reverting to ~diatonicism, incl.:[xm[cm
~[j2][smoperas[nm: [fy75,2]Die Prinzessin Girnara, [cf1]Op. [sm27[nm ([sm1921[nm
, rev. ~[sm1928[nm); [fy45,1]*[fy75,2]Alkestis[cf1], Op. [sm35[nm to Hofmannstha
l lib. ~([sm1922[nm=n[sm3[nm); [cf2]Scherz, List, und Rache[cf1] (Joke, Cunning,
 ~and Revenge), Op. [sm41[nm ([sm1926[nm=n[sm7[nm); [cf2]Die Bakchantin~~nen [cf
1](The Bacchantes[cf1]), Op. [sm44[nm ([sm1929[nm=n[sm30[nm); [c
f2]Incognita[cf1] ~([sm1951[nm).[ep~[smballets[nm: [cf2]Die Opferung des Gefange
nen[cf1] (The Prison~~er's Sacrifice), opera-ballet, Op. [sm40[nm ([sm1924[nm=n[
sm5[nm); ~[cf2]Persisches Ballett [cf1](Persian Ballet), Op. [sm30[nm ([sm1920[n
m); ~[cf2]Achilles auf Skyros[cf1], Op. [sm32[nm ([sm1921[nm); [cf2]Die N;auacht
lichen ~[cf1](The Night People), Op. [sm37[nm ([sm1923[nm); [cf2]Das Wunder ~der
 Diana[cf1], Op. [sm18[nm ([sm1924[nm).[ep~[smorch[nm: Syms. No. [sm1[nm, Op. [s
m62[nm ([sm1945[nm), No. [sm2[nm, Op. [sm65[nm ~([sm1948[nm), No. [sm3[nm, Op. [
sm68[nm ([sm1951[nm), No. [sm4[nm ([cf2]Symphonia ~austriaca[cf1]), Op. [sm70[nm
 ([sm1952[nm), No. [sm5[nm, Op. [sm75[nm ([sm1956[nm), ~No. [sm6[nm, Op. [sm95[n
m ([sm1965[nm), No. [sm7[nm, Op. [sm102[nm ([sm1967[nm=n[sm8[nm), ~No. [sm8[nm,
Op. [sm110[nm ([sm1970[nm), No. [sm9[nm, Op. [sm111[nm ([sm1971[nm); ~[cf2]Vorfr
;auuhling[cf1], Op. [sm12[nm ([sm1912[nm); [cf2]Suite[cf1] for vn. and ~chamber
orch., Op. [sm38[nm ([sm1924[nm); pf. conc., Op. [sm49[nm ~([sm1
934[nm); [cf2]Prosperos Beschw;auorungen[cf1], Op. [sm53[nm ([sm1936[nm); ~vn. c
onc., Op. [sm84[nm ([sm1961[nm); [cf2]Symphonischer Epilog[cf1], ~Op. [sm108[nm
([sm1969[nm=n[sm70[nm).[ep~[smvoice and instr[nm: [cf2]Gebete der M;auadchen zu
Maria, ~[cf1]sop., women's ch., orch., Op. [sm5[nm ([sm1910[nm); [cf2][sm6[nm Ge
orge ~Lieder[cf1], mez., pf., Op. [sm22[nm ([sm1917[nm); [cf2]Amor Timido[cf1],
~sop., orch., Op. [sm50[nm ([sm1933[nm); [cf2]Sonnets of E. B. ~Browning[cf1] (i
n Rilke trans.), sop. and str., Op [sm52[nm ~([sm1934[nm); [cf2]The Leaden Echo
and the Golden Echo[cf1], sop., ~vn., vc., pf. ([sm1944[nm); [cf2][sm5[nm Lieder
 aus Wien[cf1], bar., pf., ~Op. [sm82[nm ([sm1959[nm); [cf2][sm4[nm Songs of Ret
urn[cf1], sop., chamber ~orch., Op. [sm85[nm ([sm1961[nm); [cf2]Duineser Elegie[
cf1], sop., ch., ~chamber ens., Op. [sm90[nm ([sm1963[nm).[ep~[smchoral[nm: [cf2
]Mitten im Leben[cf1], Op. [sm45[nm, sop., ch., orch. ~([sm1932[nm); Mass in F m
inor ([sm1934[nm), in C ([sm1937[nm); ~[cf2]Missa brevis [cf1]([
sm1936[nm); [cf2]Mirabile mysterium, [cf1]Christ~~mas cantata, sop., bar., ch.,
orch., Op. [sm101[nm ([sm1967[nm); ~[cf2]Canticum sapientiae[cf1], bar., ch., or
ch., Op. [sm104[nm ~([sm1968[nm).[ep~[smchamber music[nm: Str. Qts. [sm1[nm=n[sm
9[nm ([sm1912[nm=n[sm66[nm); Octet, ~cl., bn., hn., str. quintet, Op. [sm67[nm (
[sm1948[nm=n[sm9[nm); cl. ~[PN785,0,0,R,I0]quintet ([sm1959[nm); str. trio, Op.
[sm86[nm ([sm1962[nm); str. ~quintet, Op. [sm109[nm ([sm1970[nm).[ep~[smpiano[nm
: [cf2][sm3[nm Sketches[cf1], Op. [sm6[nm ([sm1911[nm); [cf2][sm4[nm Eclogues[cf
1], Op. [sm11[nm ~([sm1912[nm); [cf2][sm5[nm Epigrams[cf1], Op. [sm17[nm ([sm191
4[nm); [cf2][sm5[nm Idylls[cf1], Op. ~[sm21[nm ([sm1916[nm); [cf2][sm5[nm Dance
Pieces[cf1], Op. [sm42[nm ([sm1926[nm); [cf2][sm5[nm Studies ~in Grey[cf1], Op.
[sm106[nm ([sm1969[nm).[cm~[ol0][ep~[xp[u20]~~[te~


[do19][j99]~~~~~~[sm153842[nm_WA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dic~~tionary of Music[cmWA[sm01[nm[cm[sm19[nm[cm~[sm1[nm[cm[sm25[nm/[sm10[nm/[
sm79[nm[cm[sm8[nm[cm[sm160[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[ap[j1]Welling
ton's Victory [fy75,1](Beethoven). See [cf2]Battle ~Symphony.[cm~Well-Tempered K
lavier[fy75,1] (Bach). See [cf2]Wohltemper~~ierte Klavier, Das[cf1].[cm~Welsh, M
oray [fy75,1](Meston) ([cf2]b [cf1]Haddington, [sm1947[nm). ~Scottish cellist. S
tudied York Univ. and Moscow ~Cons. (with [fy45,1]*[fy75,1]Rostropovich). London
 d;aaebut [sm1972[nm. ~Taught at RNCM. Soloist with leading orchs. and ~member o
f pf. trio with Anthony Goldstone (pf.) ~and Ralph Holmes (vn.).[cm~Welsh Nation
al Opera. [fy75,1]Opera co. based in ~Cardiff and founded in [sm1946[nm. Soon bu
ilt fine ~reputation for its perfs. of such rare Verdi operas ~as [cf2]Nabucco,
I Lombardi[cf1], and [cf2]Les V;afepres siciliennes[cf1]. ~Has semi-professional
 ch. and professional orch. ~Tours widely, giving seasons in Bir
mingham, ~Manchester, Liverpool, Leeds, etc. In joint venture ~with [fy45,1]*[fy
75,1]Scottish Opera, embarked on cycle of ~Jan;aaa;akcek operas, first in Brit.
Its Britten prods. have ~won great admiration, especially [cf2]Billy Budd [cf1]a
nd ~[cf2]Midsummer Night's Dream[cf1]. Has visited London ~and toured abroad (e.
g. Barcelona). Mus. dirs. ~incl. Charles Groves [sm1961[nm=n[sm3[nm, Bryan Balkw
ill ~[sm1963[nm=n[sm7[nm, James Lockhart [sm1968[nm=n[sm73[nm, Richard Arm~~stro
ng [sm1973[nm=n[sm86[nm. Gave early opportunities to ~sops. Gwyneth Jones, Eliza
beth Vaughan, and ~Margaret Price. First Brit. opera co. to stage Berg's ~[cf2]L
ulu[cf1] (before [sm3[nmrd act completion).[cm~Welte-Mignon Reproducing Piano. [
fy75,1]Type of ~[fy45,1]*[fy75,1]pianola using photo-electric cell, developed by
 ~Edwin Welte, [sm1904[nm. His uncle, Emil Welte ~([sm1841[nm=n[sm1923[nm), est.
 branch of Freiburg family ~business of making pneumatic mus. instrs. in NY ~in
[sm1865[nm and developed paper roll used with ~pneumatic action.
 On these rolls are preserved ~historic perfs. of pf.-playing by Mahler and othe
rs.[cm~Wenzinger, August [fy75,1]([cf2]b [cf1]Basle, [sm1905[nm). Swiss cellist,
 ~cond., and teacher. Studied Basle Univ. [sm1926[nm, ~Cologne Univ. [sm1927[nm=
n[sm9[nm. Prin. vc. Bremen S.O. ~[sm1929[nm=n[sm34[nm, Basle orch. [sm1934[nm=n[
sm70[nm. Teacher of viola ~da gamba and ornamentation at Basle Schola ~Cantorum
from [sm1934[nm. Prof. of mus., Basle Acad., ~from [sm1936[nm. Expert in perf. o
f early mus.[cm~Werle, Lars Johan [fy75,1]([cf2]b [cf1]G;auavle, [sm1926[nm). Sw
ed. ~composer. Studied Uppsala Univ. [sm1948[nm=n[sm51[nm and ~privately with B;
auack. Mus. prod., Swedish Radio, ~[sm1958[nm, head of chamber mus. from [sm1968
[nm. Works ~incl. Zola opera [cf2]Dreams about Th;aaer;agese [cf1]([sm1964[nm),
ballet ~[cf2]Zodiac [cf1]([sm1966[nm), [cf2]Pentagram [cf1]for str. qt.[cm~Werne
r, Gregor Joseph [fy75,1]([cf2]b [cf1]Ybbs, [sm1693[nm; [cf2]d ~[cf1]Eisenstadt,
 [sm1766[nm). Austrian composer. Kapell~~meister to Prince Paul,
 then to Prince Nikolaus ~Esterh;aaazy [sm1728[nm=n[sm66[nm, Haydn becoming his
assistant ~in [sm1761[nm. Wrote oratorios, over [sm40[nm masses, sonatas, ~fugue
s, etc.[cm~Werner, Sven Erik [fy75,1]([cf2]b [cf1]Copenhagen, [sm1937[nm). ~Dani
sh composer. Studied Copenhagen Univ. ~Worked for Danish radio [sm1964[nm=n[sm70
[nm. Dir., Odense ~Acad. of Mus. from [sm1974[nm. Works incl. opera [cf2]The ~Ho
ly Communion[cf1], mass for TV, etc.[cm~Wert, Giaches de [fy75,1](Jakab von) [cf
1]([cf2]b [cf1]?Weert, nr. ~Antwerp, [sm1535[nm; [cf2]d [cf1]Mantua, [sm1596[nm)
. Flemish com~~poser. Boy chorister in It., becoming choirmaster ~Mantua [sm1565
[nm and holding ducal court post. Pubd. ~several books of madrigals, [sm1558[nm=
n[sm95[nm, canzonets, ~and motets.[cm~Werther. [fy75,1]Opera in [sm4[nm acts by
Massenet to lib. by ~Edouard Blau, Paul Milliet, and Georges Hart~~mann based on
 Goethe's novel [cf2]The Sorrows of ~Young Werther [cf1]([cf2]Die Leiden des jun
gen Werthers[cf1], ~[sm1774[nm). Prod. (in Ger.) Vienna [sm1892[
nm, Paris [sm1893[nm, ~Chicago, NY, and London [sm1894[nm.[cm~Wesendonck, Mathil
de [fy75,1]([cf2]b [cf1]Elberfeld, [sm1828[nm; [cf2]d ~[cf1]Villa Traunblick, Al
tm;auunster, [sm1902[nm). Ger. ama~~teur poet and wife of Otto Wesendonck ([cf2]
b ~[cf1]Elberfeld, [sm1815[nm; [cf2]d [cf1]Berlin, [sm1896[nm), a wealthy ~merch
ant. They befriended [fy45,1]*[fy75,1]Wagner and put ~house at his disposal in Z
;auurich [sm1857[nm where he ~wrote part of [cf2]Tristan und Isolde [cf1]and set
 [sm5[nm of ~Mathilde's poems to mus. as the [fy45,1]*[fy75,2]Wesendonck ~Songs[
cf1]. She was Wagner's mistress at this time, the ~inspiration of Isolde and Sie
glinde. Spelling ~Wesendonk was adopted by her son some years ~later.[cm~Wesendo
nck Songs, [sm5[nm [fy75,1]([cf2]F;auunf Gedichte von Mathilde[fjWesendonck[cf1]
). Set of [sm5[nm songs for v. and pf. by ~Wagner to poems written by his mistre
ss ~Mathilde [fy45,1]*[fy75,1]Wesendonck. Comp. Z;auurich [sm1857[nm=n[sm8[nm. ~
Orch. by Mottl under Wagner's supervision. Arr. ~for vn. and pf.
 [sm1872[nm by H. L;aaeonard ([sm1819[nm=n[sm90[nm). ~Arr. Henze for high v. and
 chamber orch. ([sm1979[nm). ~[cf2]Tr;auaume [cf1]arr. by Wagner for vn. and orc
h. Titles of ~songs are [sm1[nm. [cf2]Der Engel [cf1](The Angel) [sm1857[nm, [sm
2[nm. [cf2]Stehe ~still! [cf1](Stand still!) [sm1858[nm, [sm3[nm. [cf2]Im Treibh
aus [cf1](In the ~greenhouse) [sm1858[nm, [sm4[nm. [cf2]Schmerzen [cf1](Agonies)
 [sm1857[nm, ~[sm5[nm. [cf2]Tr;auaume [cf1](Dreams) [sm1857[nm. Themes from [cf2
]Tristan ~[cf1]occur in Nos. [sm3[nm and [sm5[nm, which are designated ~`studies
 for Tristan'. Often called [cf2]Wesendonck-~Lieder[cf1]. Spelling Wesendonck is
 accurate; form ~Wesendonk was not adopted by family until ~some years after the
 songs were written.[cm~Wesley, Charles [fy75,1]([cf2]b [cf1]Bristol, [sm1757[nm
; [cf2]d [cf1]London, ~[sm1834[nm). Eng. org., harpsichordist, and composer. ~So
n of the Methodist Charles Wesley who wrote ~hymns [cf2]Jesu, Lover of my Soul[c
f1] and [cf2]Hark, the herald ~angels sing. [cf1]Child prodigy,
pupil of Boyce; held ~church organist posts in London and wrote ~keyboard concs.
, etc. in his teens. Did not fulfil ~youthful promise.[cm~Wesley, Samuel [fy75,1
]([cf2]b [cf1]Bristol, [sm1766[nm; [cf2]d [cf1]London, ~[sm1837[nm). Eng. compos
er and organist, brother of ~Charles [fy45,1]*[fy75,1]Wesley. Child prodigy; wro
te part of ~[PN786,0,0,L,I0]oratorio at [sm8[nm and pubd. hpd. tutor at [sm11[nm
. Became ~R.C. [sm1784[nm. One of earliest Eng. Bach enthusiasts, ~playing impor
tant part in [fy45,1]*[fy75,1]Bach revival. Cond., ~Birmingham Fest. [sm1811[nm.
 Regarded as greatest ~organist of his day, but career interrupted by ~recurring
 illness stemming from injury to skull ~after fall in [sm1787[nm. Wrote masses,
motets ([cf2]In exitu ~Israel [cf1]the best-known), services, anthems, songs, ~g
lees, syms., org. concs. (one based on [cf2]Rule, ~Britannia![cf1]), chamber mus
., and many kbd. pieces.[cm~Wesley, Samuel Sebastian [fy75,1]([cf2]b [cf1]London
, [sm1810[nm; [cf2]d ~[cf1]Gloucester, [sm1876[nm). Eng. compose
r, organist, and ~cond., illegitimate son of Samuel [fy45,1]*[fy75,1]Wesley. ~Ch
orister, Chapel Royal, [sm1820[nm. Organist of several ~London and suburban chur
ches [sm1826[nm=n[sm32[nm, also th. ~cond. Organist, Hereford Cath. [sm1832[nm=n
[sm5[nm, Exeter ~Cath. [sm1835[nm=n[sm41[nm, where est. as country's leading ~or
g. and church musician. Organist, Leeds Parish ~Church [sm1842[nm=n[sm9[nm, Winc
hester Cath. [sm1849[nm=n[sm65[nm, ~Gloucester Cath. from [sm1865[nm. Prof. of o
rg., RAM ~from [sm1850[nm. Advocate of and tireless fighter for ~improvements in
 standards of Anglican church ~mus., publishing tract on need for reform, [sm184
9[nm. ~Comp. splendid anthems (notably [cf2]Thou wilt keep ~him in perfect peace
[cf1]), [sm5[nm Services (that in E major, ~[sm1845[nm, being the finest), hymns
 (incl. the famous ~[cf2]Aurelia[cf1]), glees, songs, and pf. mus. Cond. f.p. of
 ~Bach's [cf2]St. Matthew Passion[cf1] at a Three Choirs Fest. ~(Gloucester [sm1
871[nm). His genius as an organist was ~such that church authori
ties overlooked his often ~questionable conduct in personal and professional ~af
fairs.[cm~Westergaard, Peter [fy75,1]([cf2]b [cf1]Champaign, Ill., [sm1931[nm).
~Amer. composer. Studied Harvard Univ. [sm1949[nm=n~[sm53[nm (comp. with Piston)
 and Princeton Univ. ~[sm1955[nm=n[sm6[nm (comp. with Sessions, theory with Bab~
~bitt), later in Paris and Detmold (with Fortner). ~Taught at Columbia Univ. [sm
1958[nm=n[sm66[nm and Princeton ~from [sm1968[nm. Works incl. cantata to text by
 Dylan ~Thomas ([sm1958[nm), [cf2][sm5[nm Movements [cf1]for orch., chamber ~wor
ks.[cm~Western Wynde. [fy75,1]Eng. [sm16[nmth-cent. secular tune ~used as [cf2]c
antus firmus [cf1]in Masses by [fy45,1]*[fy75,1]Taverner, ~[fy45,1]*[fy75,1]Tye,
 and John [fy45,1]*[fy75,1]Shepherd which are therefore ~known as `Western Wynde
' Masses. The use of ~secular tunes in sacred mus. was eventually ~banned by the
 R.C. church, not surprisingly ~when one considers that the anonymous and ~beaut
iful words to which congregations were ~accustomed to hearing th
is tune sung were:[xm[cm~[cl0][xfChrist, if my love were in my armes[sv1,2s][vd0
,2,1][ep~[cl8][rf[it1v]Western wynde, when wilt thou blow,[ep~The small raine do
wn can raine.[ep~Christ, if my love were in my armes[ep~And I in my bedde again!
[ep~[el4][j1]Westrup, [fy75,1](Sir) [fy65][cf3]Jack Allan [fy75,1]([cf2]b [cf1]L
ondon, [sm1904[nm; [cf2]d ~[cf1]Headley, Hants., [sm1975[nm). Eng. teacher, scho
lar, ~writer, and cond. Studied Oxford Univ. Founder-~member, Oxford Univ. Opera
 Club. Ed. Monte~~[chverdi's [cf2]Orfeo [cf1]for perf. while undergraduate ([sm1
925[nm) ~and [cf2]L'incoronazione di Poppea [cf1]([sm1927[nm). Also ed. ~Locke's
 [cf2]Cupid and Death[cf1]. Taught classics, Dulwich ~College, [sm1928[nm=n[sm34
[nm. Ass. mus. critic, [cf2]Daily Tele~~graph[cf1], [sm1934[nm=n[sm40[nm, lectur
er in history of mus., RAM ~[sm1938[nm=n[sm40[nm. Ed., [cf2]Monthly Musical Reco
rd[cf1], [sm1933[nm=n[sm45[nm. ~Lecturer in mus. King's College, Newcastle upon
~Tyne, [sm1941[nm=n[sm4[nm, prof. of mus., Birmingham Univ., ~[s
m1944[nm=n[sm46[nm, Oxford Univ. [sm1947[nm=n[sm71[nm. Ed., [cf2]Music and ~Lett
ers [cf1]from [sm1959[nm. Pres., R.M.A. [sm1958[nm=n[sm63[nm. Cond. ~Oxford Univ
. Orch. [sm1954[nm=n[sm63[nm, Oxford Bach Ch. ~and Orch. Soc. [sm1970[nm=n[sm1[n
m. Contrib. to many mus. ~dictionaries, ed. of encyclopaedias. Author of ~books
on Purcell, Handel, Liszt, Bach cantatas, ~and Schubert chamber mus. While at Ox
ford ~after [sm1947[nm cond. many opera perfs., incl. [cf2]Idomeneo, ~Les Troyen
s, Macbeth, Hans Heiling, The Secret, ~L'Enfant et les Sortil;ageges[cf1], and [
cf2]Incognita[cf1]. One of most ~practical of scholars. Knighted [sm1960[nm.[cm~
West Side Story. [fy75,1]Amer. musical on modernized ~version of Romeo and Julie
t story with mus. by ~Leonard Bernstein, lib. by Stephen Sondheim. ~Prod. Washin
gton and NY [sm1957[nm, London [sm1958[nm.[cm~Wetz, Richard [fy75,1]([cf2]b [cf1
]Gleiwitz, [sm1875[nm; [cf2]d [cf1]Erfurt, [sm1935[nm). ~Ger. composer and cond.
 Studied Leipzig Cons., ~then with [fy45,1]*[fy75,1]Thuille in M
unich. Th. cond., then ~cond. of various choirs in Erfurt [sm1906[nm=n[sm25[nm.
Taught ~comp. in Weimar. Wrote books on Bruckner, ~Liszt, and Beethoven. Wrote [
sm2[nm operas, [sm3[nm syms., ~many choral works, [sm2[nm str. qts.[cm~Wexford.
[fy75,1]Town in Eire where autumn opera ~fest. has been held in highly convivial
 atmosphere ~since [sm1951[nm. Has made speciality of reviving It. ~operas of [c
f2]bel canto [cf1]sch. or once-popular operas ~such as [cf2]Tiefland[cf1]. Good
record of discovering rising ~star singers. Founded by Dr T. J. Walsh (art. dir.
 ~[sm1951[nm=n[sm66[nm). Other dirs. B. Dickie [sm1966[nm=n[sm74[nm, T. ~Smillie
 [sm1974[nm=n[sm8[nm, A. Slack [sm1979[nm=n[sm81[nm, E. Padmore ~from [sm1982[nm
.[cm~Whale, The. [fy75,1]Cantata by [fy45,1]*[fy75,1]Tavener for mez. and ~bar.,
 speaker, ch., organ, tape, orch., on text ~assembled from various sources by co
mposer. ~Comp. [sm1965[nm=n[sm6[nm and f.p. [sm1968[nm at inaugural concert ~of
London Sinfonietta.[cm~Whelen, Christopher [fy75,1]([cf2]b [cf1]
London, [sm1927[nm). Eng. ~composer and cond. Studied Oxford Univ. and ~Birmingh
am Sch. of Mus. Conducting d;aaebut, ~Bournemouth [sm1948[nm, becoming ass. cond
. Bour~~nemouth S.O. [sm1948[nm=n[sm52[nm. Mus. dir., Old Vic [sm1952[nm=n~[sm5[
nm; ass. cond. CBSO, [sm1955[nm=n[sm7[nm. Composer of radio ~and TV operas and m
any scores for stage and ~radio plays, especially Shakespeare.[cm~When Lilacs la
st in the Dooryard Bloom'd.[fj~[fy75,1]([sm1[nm) `Requiem for those we love' for
 mez., bar., ~ch., and orch. by [fy45,1]*[fy75,1]Hindemith to text by Whitman ~(
Ger. trans. by Hindemith). Comp. April [sm1946[nm in ~memory of F. D. Roosevelt
and Americans killed ~in World War II. F.p. NY [sm1946[nm.[ep~^([sm2[nm) Cantata
 for sop., bar., ch., and orch. by ~[fy45,1]*[fy75,1]Sessions, f.p. at Univ. of
Calif., Berkeley, [sm1971[nm.[xm[cm~[ol0][ep~[xp[u20]~~[te~


[do35][j99]~~~~~~[sm153842[nm_WA[sm2[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
 Dic~~tionary of Music[cmWA[sm2[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm26[nm-[sm10[nm-[sm
79[nm[cm[sm8[nm[cm[sm185[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[PN787,0,0,R,I0]
[ap[j1]Where the Wild Things Are. [fy75,1]Fantasy opera in ~[sm9[nm scenes, Op.
[sm20[nm, by Oliver Knussen to lib. by ~Maurice Sendak and composer, based on ch
ild~~[chren's book by Sendak. Comp. [sm1979[nm=n[sm83[nm. F.p. ~Brussels [sm1980
[nm. F. concert p. of rev. version London ~[sm1982[nm (both incomplete); f. stag
e p. (complete) ~London [sm1984[nm (by Glyndebourne co.).[cm~Whettam, Graham [fy
75,1](Dudley) ([cf2]b[cf1] Swindon, [sm1927[nm). ~Eng. composer, mainly self-tau
ght. First profes~~sional perf. of his work [sm1950[nm; ob. conc. at Proms ~[sm1
953[nm. Chairman, Composers' Guild [sm1971[nm, being ~specially concerned with m
atters of copyright. ~Gregynog Arts Fellowship [sm1978[nm. Pubd. own ~comps. fro
m [sm1970[nms. Several early works with~~drawn and disowned. Man
y works f.p. abroad. ~Prin. mature comps.:[xm[cm~[j2][smopera[nm: [fy75,2]The Ch
ef who wanted to rule the world[cf1] ([sm1969[nm).[ep~[smorch[nm: [cf2]Introduct
ion and Scherzo impetuoso[cf1] (`Benven~~uto Cellini') ([sm1960[nm); cl. conc. (
[sm1959[nm); [cf2]Variations[cf1], ~ob., bn., str. ([sm1961[nm); vc. conc. ([sm1
962[nm); [cf2]Sinfonia ~contra timore[cf1] ([sm1962[nm), [cf2]Sinfonia intrepida
[cf1] ([sm1976[nm), ~[cf2]Sinfonia drammatica[cf1] ([sm1978[nm); [cf2]Sinfoniett
a stravagante[cf1] ~([sm1964[nm); Sinfonia concertante, fl., ob., cor anglais, ~
bn., hn., hpd., str. ([sm1966[nm); [cf2]The Masque of the Red ~Death[cf1], [sm2[
nm scenes for dancing after E. A. Poe ~([sm1968[nm); [cf2]Hymnos[cf1], str. (ada
pted from [sm2[nmnd str. qt.) ~([sm1978[nm).[ep~[sminstrumental[nm: [cf2]Fantasy
[cf1] for [sm10[nm wind ([sm1960[nm, rev. ~[sm1975[nm); [cf2]Hymnos[cf1], [sm8[n
m vc. (adapted from [sm2[nmnd str. qt.) ~([sm1978[nm); Conc. for [sm10[nm wind (
[sm1979[nm).[ep~[smchoral[nm: [cf2]The Wounded Surgeon plies the
 Steel[cf1] (T. S. ~Eliot) ([sm1959[nm); [cf2]Magnificat and Nunc Dimittis[cf1],
 choir ~and organ ([sm1961[nm); [cf2]Then spake Solomon[cf1], choir, ~organ, [sm
3[nm tpt., [sm3[nm tb., timp. ([sm1962[nm); [cf2]Do not go gentle ~into that goo
d night[cf1] (D. Thomas), [sm5[nm solo vv. or [sm5[nm-~pt. ch. ([sm1965[nm); [cf
2]Celebration[cf1], cont., ch., organ, ~orch., and brass band ([sm1975[nm).[ep~[
smchamber music[nm: [cf2]A Little Suite[cf1], brass quintet ([sm1974[nm); ~[cf2]
Quintetto Concertato[cf1], fl., ob., cl., bn., hn. ([sm1979[nm); ~[cf2]Music for
 Brass[cf1], sextet ([sm1964[nm); Sextet, fl., ob., cl., ~bn., hn., pf. ([sm1970
[nm); ob. qts., No. [sm1[nm ([sm1960[nm), No. [sm2[nm ~([sm1973[nm); str. qts.,
No. [sm1[nm ([sm1967[nm), No. [sm2[nm ([sm1978[nm), No. ~[sm3[nm ([sm1980[nm); [
cf2]Prelude, Allegro, and Postlude[cf1], fl., ob., ~pf. ([sm1955[nm); Trio, ob.,
 cl., bn. ([sm1975[nm); hn. trio ~([sm1976[nm); cl. sonatina ([sm1965[nm); [cf2]
Duo declamando[cf1], hn., ~pf. ([sm1972[nm); [cf2]Duo[cf1], ob.,
 vc. ([sm1974[nm); solo vn. sonatas, ~No. [sm1[nm ([sm1957[nm), No. [sm2[nm ([sm
1972[nm).[ep~[smbrass band[nm: [cf2]Partita[cf1] ([sm1975[nm); [cf2]Invocation[c
f1] ([sm1977[nm).[ep~[smsongs[nm: [sm2[nm Songs ([sm1958[nm); [cf2][sm3[nm Yeats
 Songs[cf1] ([sm1966[nm, rev. ~[sm1973[nm).[ep~[smpiano[nm: [cf2][sm6[nm Little
Dances[cf1] ([sm1958[nm); [cf2]Prelude, Scherzo, and ~Elegy[cf1] ([sm1964[nm); [
cf2]Prelude and Scherzo Impetuoso[cf1] ~([sm1967[nm); [cf2]Night Music[cf1] ([sm
1969[nm).[ep~[smorgan[nm: [cf2]Partita[cf1] ([sm1962[nm); [cf2]Triptych[cf1] ([s
m1965[nm).[cm~[j1]Whip [fy75,1](slapstick) (Fr. [cf2]fouet[cf1]; Ger. [cf2]Holzk
lapper[cf1]; It. ~[cf2]frusta[cf1]). Instr. in form of wooden clapper, com~~pris
ing two pieces of wood hinged at base to form ~handle. The pieces are struck tog
ether rapidly. ~Used by Mahler ([sm7[nmth Sym.), Ravel (Pf. Conc. in ~G), and Br
itten (several works).[cm~Whistle. [fy75,1]([sm1[nm) As verb. Sound produced by
emitting ~breath through small aperture in pursed lips, ~pitch b
eing controlled by shaping of the mouth ~as resonating chamber. Some people can
whistle ~through their teeth. Some professional whistlers ~have appeared on conc
ert platform. Bing Crosby ~was a mellifluous whistler. Harty, at rehearsal, ~did
 not sing or hum phrases to the orch. to ~indicate how he wished them to be play
ed but ~whistled in perfect pitch and tune.[ep~^([sm2[nm) As noun. Term for vari
ous primitive wind ~instr., e.g. tin-whistle.[cm~White, Eric Walter[fy75,1] ([cf
2]b[cf1] Bristol, [sm1905[nm). Eng. writer ~on mus. and arts administrator. Work
ed for ~League of Nations [sm1929[nm=n[sm33[nm. From [sm1942[nm to [sm1971[nm ~w
orked for Council for Encouragement of Mus. ~and Arts and its successor ([sm1946
[nm), the Arts Council. ~Author of books on Stravinsky and Britten ([sm1948[nm,
~rev. [sm1970[nm, [sm1983[nm) and of [cf2]A History of English Opera[cf1] ~([sm1
983[nm).[cm~White, Felix Harold[fy75,1] ([cf2]b[cf1] London, [sm1884[nm; [cf2]d[
cf1] London, ~[sm1945[nm). Eng. composer. Taught pf. by mother,
~otherwise self-taught. Played in LPO [sm1933[nm=n[sm5[nm and ~on CG mus. staff
at same period. Prolific composer ~of works of all kinds, especially songs and p
art-~songs, and translator of Hindemith's operas ~[cf2]Cardillac[cf1] and [cf2]M
athis der Maler.[cm~White, Maude Val;aaerie[fy75,1] ([cf2]b[cf1] Dieppe, [sm1855
[nm; [cf2]d[cf1] ~London, [sm1937[nm). Eng. composer. Studied RAM ~(comp. with M
acfarren). Wrote popular songs to ~Eng., Fr., and Ger. texts.[cm~White Peacock,
The. [fy75,1]Orch. work by [fy45,1]*[fy75,1]Griffes, ~being orch. version of No.
 [sm1[nm of his [cf2][sm4[nm Roman ~Sketches[cf1], Op. [sm7[nm, for pf. after po
ems of William ~Sharp. Comp. [sm1915[nm=n[sm16[nm.[xm[cm~[j1]White[fy75,1] (Whyt
e), [fy65][cf3]Robert[fy75,1] ([cf2]b c.[cf1][sm1538[nm; [cf2]d[cf1] Westminster
, ~[sm1574[nm). Eng. composer and organist. Possibly pupil ~of [fy45,1]*[fy75,1]
Tye, since the Ellen Tye he married was the ~older composer's daughter. Mus.B.,
Cambridge, ~[sm1560[nm. Choirmaster, Ely Cath., [sm1562[nm. Orga
nist, ~Chester Cath., then from [sm1570[nm, organist and ~choirmaster, Westminst
er Abbey. Died of plague, ~as did wife and [sm3[nm children. One of finest Eng.
~composers of his time. Wrote mainly church ~mus., making brilliant use of imita
tion. Works ~incl. [cf2]Magnificat[cf1], [sm2[nm [cf2]Lamentations[cf1], [sm20[n
m motets, and [sm4[nm ~anthems.[cm~White, Willard [fy75,1]([cf2]b[cf1] St Cather
ine, Jamaica, [sm1946[nm). ~West Indian bass-baritone. Studied at Jamaica ~Sch.
of Mus. Won schol. to Juilliard Sch., NY, ~[sm1968[nm and took part in [fy45,1]*
[fy75,1]Callas masterclasses. ~D;aaebut with NY City Opera [sm1974[nm (Colline).
 ENO ~d;aaebut [sm1976[nm (Seneca in [cf2]L'Incoronazione di Poppea[cf1]). ~Glyn
debourne d;aaebut [sm1978[nm ([cf2]Die Zauberfl;auote[cf1]). Sang ~Hunding in EN
O's [sm1983[nm [cf2]Rhinegold[cf1]. Concert ~career incl. bass parts in Elgar's
[cf2]Dream of Gerontius[cf1] ~and Shostakovich's [sm13[nmth Sym.[cm~Whitehill, C
larence[fy75,1] ([cf2]b[cf1] Marengo, Iowa, [sm1871[nm; [cf2]d[c
f1] ~NY, [sm1932[nm). Amer. bar. Studied in Chicago; advised ~[PN788,0,0,L,I0]by
 [fy45,1]*[fy75,1]Melba to go to Paris. Opera d;aaebut Brussels ~[sm1898[nm, fol
lowed by Paris Op;aaera-Comique. Then ~studied with J. Stockhausen in Frankfurt.
 Sang at ~Bayreuth [sm1904[nm, [sm1908[nm=n[sm9[nm, Cologne Opera [sm1903[nm=n~[
sm08[nm. NY Met. [sm1909[nm=n[sm10[nm, then joined Chicago Opera, ~returning to
Met. [sm1914[nm=n[sm32[nm. CG [sm1905[nm=n[sm16[nm (incl. ~Eng. [cf2]Ring[cf1] u
nder Richter, [sm1908[nm). One of finest ~interpreters of Wagner roles of Amfort
as, Sachs, ~and Wotan. Also memorable Golaud in Debussy's ~[cf2]Pell;aaeas et M;
aaelisande.[cf1] Created title-role in Delius's ~[fy45,1]*[fy75,2]Koanga[cf1], E
lberfeld [sm1904[nm.[cm~Whiteman, Paul[fy75,1] ([cf2]b[cf1] Denver, [sm1890[nm;
[cf2]d[cf1] Doylestown, ~Penn., [sm1967[nm). Amer. jazz band director. Violist i
n ~Denver S.O. from [sm1912[nm and San Francisco S.O. ~from [sm1915[nm. Formed P
aul Whiteman Orch. [sm1920[nm, ~larger than usual jazz band, whi
ch bridged gap ~between jazz and other forms of mus. by what ~he called `symphon
ic jazz'. Orch. contained ~several great jazz musicians, e.g. Bix Beiderbecke ~(
trumpet), Joe Venuti (vn.), Tommy Dorsey (tb.), ~Eddie Lang (guitar). Commission
ed Gershwin's ~[fy45,1]*[fy75,2]Rhapsody in Blue[cf1], giving f.p. Feb. [sm1924[
nm. Most ~Whiteman orchestrations were by [fy45,1]*[fy75,1]Grof;aae.[xm[cm~[j1]W
hittaker, William [fy75,1](Gillies) ([cf2]b[cf1] Newcastle upon ~Tyne, [sm1876[n
m; [cf2]d[cf1] Orkney Isles, [sm1944[nm). Eng. composer, ~cond., organist, and s
cholar. Abandoned science ~for mus. Studied Armstrong College, Newcastle ~upon T
yne, joining its staff as, successively, ~instructor, lecturer, and reader in mu
s. Devoted ~most of his life to promoting mus. activities, ~particularly choral
singing, in N.E. of Eng. ~Specialist in cantatas of J. S. Bach (his [sm2[nm-vol.
 book ~on them was pubd. posthumously, [sm1959[nm). Cham~~pioned mus. of his fri
ends Holst and Vaughan ~Williams, also of Debussy, Satie, and Po
ulenc. ~Founder and cond., Newcastle Bach Ch. [sm1915[nm. ~Cond. Newcastle and G
ateshead Choral Union ~[sm1919[nm=n[sm29[nm. With Newcastle Bach Ch., gave first
 ~complete perf. for [sm3[nm centuries of Byrd's [cf2]Great ~Service[cf1], [sm19
24[nm (Newcastle Cath. and St Margaret's, ~Westminster). First Gardiner Prof. of
 Mus., ~Glasgow Univ., [sm1929[nm=n[sm41[nm, Prin., Scottish Nat. ~Acad. of Mus.
 (now RSAM) [sm1929[nm=n[sm38[nm, [sm1939[nm=n[sm41[nm. ~E.N.S.A. mus. adviser t
o Scottish Command, ~[sm1942[nm=n[sm4[nm. In [sm1930[nm rediscovered at Uppsala
Univ., ~Sweden, sonatas of Eng. composer, William ~[fy45,1]*[fy75,1]Young ([cf2]
d[cf1] [sm1671[nm) and gave their f.p. in Brit.[ep~^Whittaker's work as cond. an
d scholar over~~[chshadowed his creative work, but perf. of several ~of his work
s in his centenary year revealed an ~orig. and compelling composer, ahead of his
 time, ~whose mus. deserves further and widespread ~exploration. In addition, hi
s many arrs. of North ~Country folk-songs, pipe-tunes, and balla
ds, and ~of works by Bach, Purcell, Gluck, etc., have their ~own high value. Pri
n. works:[xm[cm~[j2][smballet[nm: [fy75,2]The Boy who didn't like fairies[cf1],
fl., str., pf., ~perc.[ep~[smorch[nm: Prelude, [cf2]The Coephori of Aeschylus[cf
1] ([sm1921[nm); [cf2][sm3[nm ~[cf2]Mood Pictures[cf1] (orig. for pf.) ([sm1923[
nm); pf. conc., ~with str.[ep~[smchorus and orch[nm: [cf2]A Lyke-Wake Dirge[cf1]
 ([sm1924[nm); [cf2]The ~Coelestial Sphere[cf1] ([sm1923[nm); [cf2]A Festal Psal
m[cf1] ([sm1932[nm); ~Choruses (women's) from [cf2]The Coephori[cf1]; [cf2]South
~~ward Bound[cf1]; [cf2]Ode[cf1], male ch.[ep~[smvoice and orch[nm: [cf2]To the
Beloved[cf1], sop.[ep~[smchoral[nm: Psalm [sm139[nm ([sm1925[nm); [cf2]Candle Ga
te[cf1] ([sm1929[nm); ~[cf2]The Concertina[cf1] ([sm1929[nm); [cf2]I said in the
 noontide of my ~days[cf1] ([sm1930[nm); [cf2]Chorus of Spirits from Prometheus[
cf1] ~([sm1931[nm); [cf2]Where neither moth nor rust[cf1] ([sm1931[nm); [cf2][sm
4[nm ~Poems by Bridges[cf1]; [cf2]The wind and the rain[cf1]; [c
f2]Jocelyn[cf1]; ~[cf2]The Ship of Rio[cf1]; and other works still in MS.[ep~[sm
chamber music[nm: [cf2]Among the Northumbrian Hills[cf1], pf. ~and str. qt. ([sm
1921[nm); [cf2]Phantasie[cf1] qt. ([sm1929[nm); [cf2]Phantasie[cf1] ~qt., pf., a
nd str. ([sm1929[nm); [cf2]Phantasie[cf1] str. trio ([sm1930[nm); ~wind quintet
([sm1930[nm); va. suite ([sm1932[nm); vn. ~sonatina ([sm1928[nm); fl. suite ([sm
1925[nm); [cf2]Suite of North ~Country Folk-Tunes[cf1], pf. and str. qt.; [cf2]S
wedish ~Impressions[cf1], sextet for pf. and wind.[ep~[smpiano[nm: [cf2][nmA Day
 in the Country[cf1] ([sm1916[nm); [cf2][sm3[nm Mood Pictures[cf1] ~([sm1918[nm,
 orch. [sm1923[nm); [cf2][sm4[nm Short Pieces[cf1] ([sm1924[nm); [cf2][sm5[nm Sh
ort ~Sketches[cf1] ([sm1926[nm); [cf2]A Short Suite[cf1] ([sm1930[nm); [cf2]By R
unning ~Water.[ep~[cf1][smsongs[nm: [cf2]The Ship of Rio[cf1] ([sm1919[nm); [cf2
]Dream Song[cf1] ([sm1919[nm); ~[cf2][sm4[nm Songs of the Northern Roads[cf1] ([
sm1919[nm); [cf2][sm2[nm Song Carols[cf1] ~([sm1921[nm); [cf2]Bo
g Love[cf1] ([sm1924[nm); [cf2]Stay in Town[cf1] ([sm1924[nm); [cf2][sm2[nm ~Lyr
ics from the Chinese[cf1] ([sm1925[nm); [cf2]Michael's Song[cf1] ~([sm1926[nm);
[cf2]Gay Robin is seen no more[cf1] ([sm1936[nm).[cm~[j1]Whittall, Arnold [fy75,
1](Morgan) ([cf2]b[cf1] Shrewsbury, ~[sm1935[nm). Eng. musicologist. Studied mus
. at Cam~~bridge Univ. [sm1956[nm=n[sm62[nm. Univ. posts at Nottingham ~[sm1964[
nm=n[sm9[nm, Cardiff [sm1969[nm=n[sm75[nm, and King's Coll., ~London, from [sm19
76[nm. Expert in analysis of works ~by Schoenberg, Britten, Webern, and other [s
m20[nmth ~cent. composers. Author of study of Britten and ~Tippett.[cm~Whole Con
sort. [fy75,1]See [cf2]Consort.[cm~Whole-Note. [fy75,1]The semibreve ;Yf.[cm~Who
le-Tone. [fy75,1]Interval of [sm2[nm semitones, e.g. from ~C up to adjacent D. [
cf2]Whole-tone scale[cf1] progresses ~entirely in whole-tones instead of partly
in whole-~tones and partly in semitones as in major and ~minor scales and modes.
 The scale is obtained by ~taking every other note of the [sm12[
nm-semitone ~chromatic (or equal-tempered) scale, thus only [sm2[nm ~whole-tone
scales are possible, one beginning on ~C, the other on C;Yi (but since there is
no keynote ~each scale can begin on any note). Used by ~Debussy, Vaughan William
s, Glinka, and others ~for chords and short passages.[cm~Whyte, Ian[fy75,1] ([cf
2]b[cf1] Dunfermline, [sm1901[nm; [cf2]d[cf1] Glasgow, ~[sm1960[nm). Scottish co
nd. and composer. Studied RCM ~(comp. with Stanford and Vaughan Williams). ~Mus.
 dir., BBC (Scotland) [sm1931[nm=n[sm46[nm. Formed BBC ~Scottish Orch. [sm1935[n
m, conducting it after [sm1945[nm in ~adventurous programmes. Wrote operas, [sm2
[nm syms., ~symphonic poems[cf2] Edinburgh[cf1] and [cf2]Tam o'Shanter[cf1], ~ba
llet[cf2] Donald of the Burthens[cf1], concs. (pf., vn., va.), ~choral works, an
d songs.[cm~Whythorne[fy75,1] (Whithorne), [fy65][cf3]Thomas[fy75,1] ([cf2]b[cf1
] Ilminster, ~[sm1528[nm; [cf2]d[cf1] London, [sm1596[nm). Eng. composer. Travel
led ~[PN789,0,0,R,I0]in It. Pubd. secular songs in [sm3[nm, [sm4
[nm, and [sm5[nm parts, ~[sm1571[nm, also duos, with option for vv. or instrs.,
and ~works for viols. Wrote autobiography, rediscov~~ered [sm1955[nm and pubd. [
sm1961[nm.[cm~Wich, G;auunther [fy75,1]([cf2]b[cf1] Bamberg, [sm1928[nm). Ger. c
onduc~~tor. Studied fl. at Freiburg [sm1948[nm=n[sm52[nm, then became ~cond. D;a
aebut [sm1952[nm at Freiburg, becoming chief ~cond. of opera [sm1952[nm=n[sm9[nm
. Chief cond. Graz Opera ~[sm1959[nm=n[sm61[nm, Hanover [sm1961[nm=n[sm5[nm, Deu
tsche Oper-am-~Rhein, D;auusseldorf, from [sm1965[nm. Prof. of cond., ~Essen Hoc
hschule [sm1969[nm=n[sm73[nm. CG d;aaebut [sm1968[nm ([cf2]Die ~Zauberfl;auote[c
f1]). Champion of contemporary opera. ~First to cond. Schoenberg's [sm1[nm-act o
peras as triple ~bill (Hanover [sm1963[nm).[cm~Wicks, Allan[fy75,1] ([cf2]b[cf1]
 Harden, Yorks., [sm1923[nm). Eng. ~organist and cond. Studied Oxford Univ. Sub-
~organist York Minster, [sm1947[nm=n[sm54[nm; organist and ~choirmaster Manchest
er Cath. [sm1954[nm=n[sm61[nm, Canter~~bury Cath. from [sm1961[n
m. One of first brilliant Eng. ~players of Messiaen's org. mus.[cm~Widdicombe, G
illian[fy75,1] ([cf2]b[cf1] Aldham, Suffolk, [sm1943[nm). ~Eng. mus. critic. Stu
died RAM and Gloucester ~Cath. Worked for BBC [sm1966[nm, Glyndebourne Fest. ~[s
m1969[nm (administration). Contributor to [cf2]Financial ~Times, Observer[cf1],
etc.[cm~Widdop, Walter[fy75,1] ([cf2]b[cf1] Norland, Halifax, [sm1892[nm; [cf2]d
[cf1] ~London, [sm1949[nm). Eng. ten. Opera d;aaebut BNOC ~[sm1923[nm as Radames
 in [cf2]Aida[cf1]. CG [sm1924[nm ([cf2]Siegfried[cf1]), ~[sm1928[nm=n[sm33[nm,
[sm1935[nm, [sm1937[nm=n[sm8[nm. Fine oratorio singer, but ~better-known for Wag
ner roles such as Siegmund ~and Lohengrin. Sang Tristan to Flagstad's Isolde. ~S
ang in Barcelona ([sm1927[nm), Amsterdam, and Ger.[cm~Widerspenstigen Z;auahmung
, Der[fy75,1] (Goetz). See ~[cf2]Taming of the Shrew, The.[cm~Widor, Charles-Mar
ie[fy75,1] (Jean Albert) ([cf2]b[cf1] Lyons, ~[sm1844[nm; [cf2]d[cf1] Paris, [sm
1937[nm). Fr. organist and composer. ~Studied at Brussels under
Lemmens. Organist, St ~Sulpice, Paris [sm1870[nm=n[sm1933[nm. Succeeded Franck a
s ~prof. of org., Paris Cons., [sm1890[nm, prof. of comp. ~from [sm1896[nm. Mus.
 critic of [cf2]L'Estafette[cf1] for many ~years. Famous as improviser. Ed. comp
lete org. ~works of Bach (with [fy45,1]*[fy75,1]Schweitzer). Wrote treatise ~on
modern orchestration, [sm1904[nm. Comp. [sm3[nm operas, ~ballet, [sm2[nm syms. w
ith org., symphonic poems, [sm2[nm pf. ~concs., vc. conc., [sm10[nm org. syms.,
shorter org. pieces, ~and choral works.[cm~Wieck, [fy75,1](Johann Gottlob) [fy65
,3]Friedrich [fy75,1]([cf2]b[cf1] Pretzsch, ~nr. Torgau, [sm1785[nm; [cf2]d[cf1]
 Loschwitz, nr. Dresden, ~[sm1873[nm). Ger. music teacher. Abandoned theology ~f
or mus., being self-taught. Settled in Leipzig ~where he gave lessons, est. a pi
ano factory, and ~founded a lending library. Moved to Dresden ~[sm1844[nm, where
 he became one of most famous of ~piano teachers. Pupils inc. [fy45,1]*[fy75,1]B
;auulow, Robert [fy45,1]*[fy75,1]Schu~~mann, and his daughter (b
y his first wife) Clara, ~who married Schumann. Wrote book [cf2]Klavier und ~Ges
ang[cf1] ([sm1853[nm, rev. [sm1878[nm).[cm~Wiegenlied[fy75,1] (Ger.). Cradle son
g. Lullaby or ~[cf2]Berceuse. [cf1]Title given to songs by Wolf, Strauss, ~and m
any others.[cm~Wiegold, Peter [fy75,1]([cf2]b[cf1] Ilford, [sm1949[nm). Eng. com
poser. ~Studied Univ. Coll. of Wales, Aberystwyth, [sm1967[nm=n~[sm72[nm, then a
t Durham Univ. with David Lumsdaine ~until [sm1975[nm. Taught at TCL [sm1975[nm=
n[sm6[nm. Music ~organizer, City Univ., London, [sm1976[nm. Founder ~and dir., G
emini Ens. Plays elec. instr. for London ~Sinfonietta. Works incl. [cf2]Rain Has
 Fallen[cf1] (Joyce), ~for sop., ch., orch. ([sm1972[nm), [cf2]The Dancing Day[c
f1], for ~brass quintet ([sm1973[nm), [cf2]Night Visitors[cf1], tape ([sm1975[nm
), ~[cf2]The Soft Complaining Flute[cf1], fl. and tape ([sm1977[nm), ~[cf2]Prelu
de V[cf1], str. qt. ([sm1981[nm), and [cf2]Saving the Sun[cf1], for ~tenor (play
ing gong) and tape ([sm1980[nm).[cm~Wieniawski, Henryk[fy75,1] (
[cf2]b[cf1] Lublin, [sm1835[nm; [cf2]d[cf1] Mos~~cow, [sm1880[nm). Polish violin
ist and composer. En~~tered Paris Cons. at age [sm8[nm. Gave first concert [sm18
48[nm, ~toured Poland and Russia, returned to Cons. ~Appointed solo violinist to
 Tsar, [sm1860[nm; taught at ~St Petersburg Cons. [sm1862[nm=n[sm9[nm. Toured US
A with A. ~Rubinstein [sm1872[nm. Prof. of vn., Brussels Cons. ~[sm1875[nm=n[sm7
[nm. Wrote [sm2[nm vn. concs., mazurkas, ;aaetudes, ~caprices, and other pieces.
 Regarded by many ~good judges as one of the greatest violinists after ~Paganini
.[cm~Wieniawski, J;aaozef[fy75,1] ([cf2]b[cf1] Lublin, [sm1837[nm; [cf2]d[cf1] B
russels, ~[sm1912[nm). Polish pianist, brother of Henryk [fy45,1]*[fy75,1]Wieni~
~[chawski. Studied Paris Cons. (with Alkan), then ~with Liszt at Weimar [sm1855[
nm=n[sm6[nm. Taught at Moscow ~Cons. [sm1866[nm, at Brussels Cons [sm1878[nm=n[s
m1912[nm. Toured ~with his brother. Wrote pf. conc., str. qt., [sm24[nm ~studies
, etc.[cm~Wigmore Hall. [fy75,1]London concert hall in Wigmore ~
Street, opened [sm1901[nm as Bechstein Hall (architect, ~Collcutt). Capacity [sm
543[nm. Used often for recitals by ~artists making their d;aaebuts or London d;a
aebuts.[cm~Wihan, Hanu;aks[fy75,1] ([cf2]b[cf1] Politz, [sm1855[nm; [cf2]d[cf1]
Prague, [sm1920[nm). ~Bohem. cellist. Studied Prague Cons., then played ~in Berl
in concerts. Prin. cellist Munich court orch. ~from [sm1880[nm and cellist in Ki
ng Ludwig's qt., which ~played at Wagner's Bayreuth home. Prof. of vc., ~Prague
Cons. from [sm1887[nm. Est. Bohemian Str. Qt. ~[sm1892[nm, eventually becoming i
ts cellist for [sm20[nm years. ~Gave f.p. of R. Strauss's vc. sonata [sm1883[nm
and was ~dedicatee of Dvo;akr;aaak's vc. conc. [sm1895[nm, although he ~did not
give the first performance, when the ~soloist was Leo Stern.[cm~Wilbraham, John[
fy75,1] ([cf2]b[cf1] Bournemouth, [sm1944[nm). Eng. ~trumpeter. Studied RAM. Tru
mpeter in New ~Philharmonia Orch. [sm1966[nm=n[sm8[nm, RPO [sm1968[nm=n[sm72[nm,
 BBC ~S.O. from [sm1972[nm. Brilliant player of Baroque mus.[cm~
Wilbye, John[fy75,1] ([cf2]b[cf1] Diss, [sm1574[nm; [cf2]d[cf1] Colchester, [sm1
638[nm). ~Eng. composer. Took post at Hengrave Hall, near ~Bury St Edmunds, [sm1
593[nm, remaining there for rest ~of his life and becoming wealthy landowner aft
er ~[sm1613[nm. Wrote some sacred motets but chiefly ~known as among greatest of
 Eng. madrigal sch. ~Absorbed It. influence of Marenzio, and incorpo~~rated solo
-song features into his madrigals similar ~to lute air. Pubd. [sm2[nm books of m
adrigals, [sm1598[nm and ~[sm1609[nm. Seems to have written nothing after [sm161
4[nm. ~Among best-known of his madrigals are: [cf2]Adieu, ~[PN790,0,0,L,I0]sweet
 Amaryllis[cf1]; [cf2]All Pleasure is of this Condition[cf1]; ~[cf2]Down in a Va
lley[cf1]; [cf2]Draw on, Sweet Night[cf1]; [cf2]Flora gave ~me Fairest Flowers[c
f1]; [cf2]Lady, your Words do Spite Me[cf1]; ~[cf2]Softly, softly[cf1]; [cf2]Sta
y, Corydon[cf1]; [cf2]Sweet Honey-Sucking ~Bees[cf1]; [cf2]Unkind, O Stay thy Fl
ying[cf1]; [cf2]Weep, Weep mine ~Eyes.[cm~Wild, Earl[fy75,1] ([c
f2]b[cf1] Pittsburgh, Penn., [sm1915[nm). Amer. ~pianist. Studied with [fy45,1]*
[fy75,1]Petri and others. Played ~conc. with Toscanini [sm1942[nm. Since then, i
nt. career. ~Renowned Liszt player. Some comps., incl. ballet ~and oratorio. Lon
don d;aaebut [sm1973[nm.[xm[cm~[ol0][ep~[xp[u20]~~[te~









[do35][j99]~~~~~~[sm153842[nmWA[sm3[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxford
Dic~~tionary of Music[cmWA[sm3[nm[cm[sm35[nm[cm~[sm1[nm[cm[sm26[nm-[sm10[nm-[sm7
9[nm[cm[sm8[nm[cm[sm219[nm[cm~GC[cm3[cm22.8.84[cm~U1[cm~~~~[ap[j1]Wilde, David [
fy75,1](Clark) ([cf2]b[cf1] Stretford, Lancs., [sm1935[nm). ~Eng. pianist and co
nd. Studied with [fy45,1]*[fy75,1]Reizenstein ~[sm1945[nm=n[sm7[nm, then with El
inson at RMCM [sm1948[nm=n[sm53[nm, ~in [sm1963[nm with Nadia [fy45,1]*[fy75,1]B
oulanger. BBC staff ~accompanist, Glasgow, [sm1959[nm=n[sm62[nm. Prof. of pf., ~
RAM [sm1965[nm=n[sm7[nm, RMCM [sm1967[nm=n[sm9[nm. Recitals through~~out Europe
and USA. Liszt and Bart;aaok specialist.[cm~Wildsch;auutz, Der[fy75,1] (The Poac
her). Opera in [sm3[nm acts ~by Lortzing to his own lib. after Kotzebue's ~comed
y [cf2]Der Rehbock[cf1]. Prod. Leipzig [sm1842[nm, Brook~~lyn [sm1856[nm, London
 [sm1895[nm.[cm~Wilhelmj, August[fy75,1] ([cf2]b[cf1] Usingen, [sm1845[nm; [cf2]
d[cf1] London, ~[sm1908[nm). Ger. violinist and teacher. Studied
 Wies~~baden [sm1849[nm, d;aaebut [sm1854[nm. Leipzig Cons. [sm1861[nm=n[sm4[nm
~with F.|[fy45,1]*[fy75,1]David. World tour [sm1878[nm=n[sm82[nm. Led orch. ~at
first Bayreuth Fest. [sm1876[nm and for Wagner's ~concerts in London [sm1877[nm.
 Taught at Blasewitz, ~Dresden, [sm1886[nm=n[sm94[nm. Prof. of vn. GSM from [sm1
894[nm. ~Comp. str. qt. and works for vn. and orch. Wrote ~cadenzas for classica
l vn. concs. Arr. Bach melody ~as [fy45,1]*[fy75,2]Air on the G string[cf1] and
Wagner's [cf2]Tr;auaume[cf1] for ~vn. and small orch.[cm~Wilhem[fy75,1] (Bocquil
lon), [fy65][cf3]Guillaume Louis[fy75,1] ([cf2]b[cf1] Paris, ~[sm1781[nm; [cf2]d
[cf1] Paris, [sm1842[nm). Fr. teacher. Studied Paris ~Cons. Organized teaching o
f sight-singing in ~Paris schs. from [sm1835[nm and instituted male-v. ~choirs t
hroughout Fr. Wrote textbooks on [fy45,1]*[fy75,1]fixed-~doh. System was later a
dapted by [fy45,1]*[fy75,1]Hullah for ~Eng. usage.[cm~Wilkinson, Marc[fy75,1] ([
cf2]b[cf1] Paris, [sm1929[nm). Fr.-born Aus~~tralian composer an
d cond. Studied comp. with ~Var;agese and Messiaen, and at Columbia Univ. and ~P
rinceton Univ. Comp. and mus. dir., Royal ~Shakespeare Co., then mus. dir., Nat.
 Th.  [sm1966[nm=n~[sm74[nm. Many scores for films and plays.[cm~Wilkinson[fy75,
1] (Wylkynson), [fy65][cf3]Robert[fy75,1] ([cf2]b c.[cf1][sm1450[nm; [cf2]d[cf1]
 ~?Eton, [sm1515[nm or later). Eng. composer. Some ~church mus. survives in MS.
at Eton College ~Library, [sm2[nm [cf2]Salve Regina[cf1] settings, a [sm13[nm-pa
rt creed, ~and [cf2]O Virgo prudentissima.[cm~Wilkinson, Stephen[fy75,1] ([cf2]b
[cf1] Eversden, Cambridge, ~[sm1919[nm). Eng. cond. Studied Christ Church Cath.,
 ~Oxford, and with Thomas [fy45,1]*[fy75,1]Armstrong. Org. ~scholar, Queen's Col
l., Cambridge. Studied hpd. ~with Boris [fy45,1]*[fy75,1]Ord and singing with Ge
orge Parker. ~Dir., Hertfordshire Rural Mus. Sch., [sm1951[nm=n[sm2[nm. ~Joined
BBC [sm1953[nm. Cond., BBC Northern Singers ~from [sm1962[nm. Founder and cond.
William Byrd ~Singers of Manchester since [sm1970[nm.[cm~Wilkomi
rska, Wanda[fy75,1] ([cf2]b[cf1] Warsaw, [sm1931[nm). Polish ~violinist. Studied
 ;Ul;aaod;aaz Cons. and in Budapest and ~France (with Szeryng). D;aaebut at age
[sm7[nm. Soloist ~after [sm1946[nm with leading orchs., making speciality ~of mo
dern concs., esp. those by Szymanowski ~and Britten. Has toured internationally
since ~[sm1955[nm. Gave f.p. of Penderecki's [cf2]Capriccio[cf1], [sm1967[nm. ~S
ettled in West, [sm1983[nm.[cm~Wilkomirski, J;aaozef[fy75,1] ([cf2]b[cf1] Kalisz
, [sm1926[nm). Polish cond., ~composer, and writer. Studied ;Ul;aaod;aaz and War
saw. ~Works incl. sinfoniettas, symphonic poems, conc. ~for [sm4[nm harps, sonat
as, and songs.[cm~Willaert, Adriaan[fy75,1] ([cf2]b[cf1] Bruges or Roulaers, [cf
2]c[cf1].[sm1490[nm; ~[cf2]d[cf1] Venice, [sm1562[nm). Flemish composer. Went to
 Paris ~to study law but took up mus. Went to Rome ~[sm1515[nm and was then in s
ervice of cardinal at Ferrara ~until [sm1520[nm, having visited Hungary [sm1517[
nm=n[sm19[nm ~with his employer. Appointed choirmaster, St ~Mark
's, Venice, [sm1527[nm. Founded singing sch. there ~and established the foundati
ons of the `Venetian ~School' of which he was a major figure. One of ~first madr
igal composers. Wrote much church ~mus., some of it for double ch. (because of [
sm2[nm orgs. ~and [sm2[nm choirs at St Mark's), his motets being his ~finest wor
ks.[cm~Willan, Healey[fy75,1] ([cf2]b[cf1] Balham, [sm1880[nm; [cf2]d[cf1] Toron
to, ~[sm1968[nm). Eng.-born composer, organist, and teacher. ~Studied at choir s
chool in Eastbourne, and was ~organist at several churches. Went to Toronto ~[sm
1913[nm, becoming head of theory dept. at Cons. ~Vice-prin. [sm1920[nm=n[sm36[nm
. Prof. of mus., Toronto Univ. ~[sm1938[nm=n[sm50[nm, univ. organist [sm1932[nm=
n[sm65[nm. Authority on ~plainsong. Prolific composer: [sm2[nm syms. ([sm1936[nm
, ~[sm1948[nm), pf. conc. ([sm1944[nm), opera [cf2]Deirdre[cf1] ([sm1946[nm), ~c
hamber mus., [cf2]Coronation Suite[cf1] ([sm1953[nm), org. pieces, ~and [cf2][sm
11[nm Liturgical Motets[cf1] ([sm1928[nm=n[sm37[nm).[cm~Willcock
s, [fy75,1](Sir) [fy65][cf3]David[fy75,1] (Valentine) ([cf2]b[cf1] Newquay, ~[sm
1919[nm). Eng. cond., organist, composer, and ~teacher. Studied RCM and King's C
ollege, Cam~~bridge. Organist, Salisbury Cath., [sm1947[nm=n[sm50[nm. ~Worcester
 Cath. [sm1950[nm=n[sm7[nm. Cond. City of Birming~~ham Ch. [sm1950[nm=n[sm7[nm,
Bradford Festival Choral Soc. ~[sm1955[nm=n[sm74[nm. Dir. of mus., King's Colleg
e, Cam~~bridge, [sm1957[nm=n[sm73[nm, univ. organist, [sm1958[nm=n[sm74[nm, cond
. ~Cambridge Univ. Mus. Soc. [sm1958[nm=n[sm73[nm, lecturer ~Cambridge Univ. [sm
1957[nm=n[sm74[nm. Mus. dir., Bach Ch. ~from [sm1960[nm. Cond. f.p. in Italy (Mi
lan) of Britten's ~[cf2]War Requiem[cf1], [sm1963[nm. Dir., RCM [sm1974=n84[nm.
C.B.E. ~[sm1971[nm. Knighted [sm1977[nm. Expert cond. of Eng. mus. ~by Vaughan W
illiams, Britten, Howells, etc., of ~which he has made many recordings. Comp. ~c
hurch mus., arr. carols, etc.[cm~Williams, Alberto [fy75,1]([cf2]b[cf1] Buenos A
ires, [sm1862[nm; [cf2]d[cf1] ~Buenos Aires, [sm1952[nm). Argent
inian composer, ~conductor, pianist, and teacher. Studied in Buenos ~Aires then
at Paris Cons. [sm1882[nm=n[sm9[nm. Founded concert ~series [sm1892[nm and other
s subsequently. Founder and ~dir. Buenos Aires Cons. [sm1893[nm=n[sm1941[nm. Con
ducted ~[PN791,0,0,R,I0]Berlin P.O. in his works [sm1900[nm. Influenced by ~Euro
pean mus. at first, he moved to a more ~nationalist stance and later to a wider
style. Wrote ~[sm9[nm syms. ([sm1907[nm=n[sm39[nm), orch. suites, [sm3[nm vn. so
natas, and ~songs.[cm~Williams, Charles Lee[fy75,1] ([cf2]b[cf1] Winchester, [sm
1853[nm; [cf2]d[cf1] ~Gloucester, [sm1935[nm). Eng. organist and composer. ~Ass.
 organist, Winchester Cath. [sm1865[nm=n[sm70[nm. Organ~~ist, Llandaff Cath. [sm
1876[nm=n[sm82[nm, Gloucester Cath. ~[sm1882[nm=n[sm97[nm. Stalwart of [sm3[nm C
hoirs Fest. Wrote cantatas ~and church mus.[cm~Williams, Christopher ;aga Becket
[fy75,1] ([cf2]b[cf1] Dorchester, ~[sm1890[nm; [cf2]d[cf1] Chandler's Ford, Hant
s., [sm1956[nm). Eng. ~composer and writer. Wrote Mass in G, vn.
 ~concertino, vn. and vc. sonatas, and pf. pieces.[cm~Williams, Grace [fy75,1](M
ary) ([cf2]b[cf1] Barry, S. Wales, [sm1906[nm; ~[cf2]d[cf1] Barry, [sm1977[nm).
Welsh composer. Studied RCM ~(pupil of Vaughan Williams) and with Wellesz. ~Work
s incl. [fy45,1]*[fy75,2]Penillion[cf1] for orch. ([sm1955[nm), [cf2]Fantasia on
 ~Welsh Nursery Tunes, Sea Sketches[cf1] for str. ([sm1944[nm), ~vn. conc. ([sm1
950[nm), tpt. conc., opera[cf2] The Parlour[cf1] ~([sm1961[nm), [sm2[nm syms., [
cf2]Fairest of Stars[cf1], sop. and orch., ~etc.[cm~Williams, John[fy75,1] ([cf2
]b[cf1] Melbourne, Victoria, [sm1941[nm). ~Australian guitarist. Studied RCM and
 with ~[fy45,1]*[fy75,1]Segovia. D;aaebut, London [sm1955[nm. Concs. written ~fo
r him by Stephen [fy45,1]*[fy75,1]Dodgson and others. Duo ~with Julian [fy45,1]*
[fy75,1]Bream. Founder of ens. `Sky' which ~plays jazz and pop in addition to wo
rks in classical ~style. Prof. of guitar, RCM, [sm1960[nm=n[sm73[nm. O.B.E. ~[sm
1980[nm.[cm~Williams, Joseph. [fy75,1]Eng. mus. publishing busi~
~ness, founded [sm1808[nm. Inc. as Joseph Williams Ltd. ~[sm1900[nm. Specialized
 in Eng. and Elizabethan mus. ~Taken over by Galliard in [sm1962[nm and later by
 ~Stainer & Bell.[cm~Williams, Peter [fy75,1](Frederic) ([cf2]b[cf1] Wolverhampt
on, ~[sm1937[nm). Eng. musicologist and organist. Studied ~Cambridge Univ. [sm19
55[nm=n[sm62[nm. His research on [sm18[nmth ~and [sm19[nmth cent. Eng. org. mus.
 was supervised by ~T. [fy45,1]*[fy75,1]Dart. Studied hpd. with Leonhardt from ~
[sm1964[nm. Lect. in mus. Edinburgh Univ. from [sm1962[nm. ~Author of history of
 the organ ([sm1980[nm) and book ~on Bach's org. mus. ([sm1970[nm), besides many
 papers ~on org. mus. and technique.[cm~Williams, Ralph Vaughan. [fy75,1]See [cf
2]Vaughan Wil~~liams, Ralph.[cm~Williamson, Malcolm[fy75,1] (Benjamin Graham ~Ch
ristopher) ([cf2]b[cf1] Sydney, N.S.W., [sm1931[nm). Australian ~composer, piani
st, organist, and cond. Entered ~Sydney Cons. at [sm11[nm to study pf., hn., and
 comp. ~(with Eug;agene Goossens). Went to London [sm1953[nm ~to
 study with [fy45,1]*[fy75,1]Lutyens and Erwin [fy45,1]*[fy75,1]Stein. Played ~o
rg. at church and pf. in nightclub to support ~himself. Lecturer in mus., Centra
l Sch. of Speech ~and Drama, London, [sm1961[nm=n[sm2[nm. Bax Memorial Prize ~[s
m1963[nm. Org. work commissioned for opening of ~Coventry Cath., [sm1962[nm. Per
f. as soloist in his own ~org. and pf. concs. Emulated Britten in writing ~works
 for children. Composer-in-residence, West~~minster Choir Coll., Princeton, [sm1
970[nm=n[sm1[nm. His style, ~influenced by Messiaen, Britten, jazz, and popular
~mus., is individualistic, essentially melodic, ver~~satile in approach, and tec
hnically accomplished. ~Succeeded [fy45,1]*[fy75,1]Bliss as Master of the Queen'
s Music, ~[sm1975[nm. Prin. works:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Our
Man in Havana[cf1] ([sm1962[nm=n[sm3[nm); [cf2]The ~[fy45,1]*[fy75,2]Violins of
Saint-Jacques[cf1] ([sm1966[nm); [cf2]English Eccentrics[cf1] ~([sm1964[nm); [cf
2]The [fy45,1]*[fy75,2]Happy Prince[cf1] ([sm1964[nm=n[sm5[nm);
[fy45,1]*[fy75,2]Julius ~Caesar Jones[cf1] ([sm1965[nm); [cf2]Dunstan and the De
vil[cf1] ([sm1967[nm); ~[cf2]The [fy45,1]*[fy75,2]Growing Castle[cf1] ([sm1968[n
m); [cf2]Lucky-Peter's Journey[cf1] ~([sm1969[nm); [cf2]The Red Sea [cf1]([sm197
1[nm=n[sm2[nm).[ep~[smballets[nm: [cf2]The Display [cf1]([sm1963[nm=n[sm4[nm); [
cf2]Sun into Darkness ~[cf1]([sm1965[nm=n[sm6[nm); [cf2]BigfellaTootsSquoodge an
d Nora [cf1]([sm1967[nm).[ep~[smorch[nm: Syms., No. [sm1[nm ([cf2]Elevamini[cf1]
) ([sm1956[nm=n[sm7[nm), No. [sm2[nm ~([cf2]Pilgrim p;ana havet[cf1]) ([sm1968[n
m), No. [sm4[nm ([sm1977[nm), No. [sm5[nm ~([cf2]Aquer;ago[cf1]) ([sm1979[nm=n[s
m80[nm); [cf2]Santiago de Espada[cf1], ov. ~([sm1957[nm); [cf2]Sinfonia Concerta
nte[cf2], [cf1][sm3[nm tpt., pf., str. ([sm1958[nm=n~[sm62[nm); Suite, [cf2]Our
Man in Havana [cf1]([sm1963[nm); Suite, [cf2]The ~Display [cf1]([sm1964[nm); [cf
2]Sinfonietta [cf1]([sm1965[nm=n[sm7[nm); [cf2]Concerto ~Grosso [cf1]([sm1964[nm
=n[sm5[nm); [cf2]Symphonic Variations [cf1]([sm1965[nm); ~[cf2]E
pitaphs for Edith Sitwell[cf1], str. (also org.) ([sm1966[nm); [cf2]A ~Word from
 Our Founder [cf1]([sm1969[nm); [cf2][sm2[nm Pieces [cf1]for str. ~from [cf2]The
 Bridge That Van Gogh Painted [cf1]([sm1975[nm); ~[cf2]The Bridge That Van Gogh
Painted[cf1], str. ([sm1975[nm, orig. ~pf.); [cf2]Fiesta [cf1]([sm1978[nm); [cf2
]Ochre [cf1]([sm1978[nm, also for org. and ~str.); [cf2]Fanfarade [cf1]([sm1979[
nm); [cf2]Ode for Queen Elizabeth[cf1], ~str. ([sm1980[nm).[ep~[smconcertos[nm:
Pf., No. [sm1[nm ([sm1957[nm=n[sm8[nm), No. [sm2[nm, with str. ~([sm1960[nm), No
. [sm3[nm ([sm1962[nm); Organ ([sm1961[nm); Vn. ([sm1964[nm=n~[sm5[nm); [sm2[nm
pf. and str. ([sm1972[nm); hp. and str. ([cf2]Au Tombeau ~du Martyr Juif Inconnu
[cf1]) ([sm1973[nm=n[sm6[nm); [cf2]Lament [cf1](in ~memory of Lord Mountbatten)
([sm1979[nm=n[sm80[nm).[ep~[smsolo voice and orch[nm: [cf2]Hasselbacher's Scena
[cf1]([cf2]Our ~Man in Havana[cf1]), bass ([sm1963[nm); [cf2][sm6[nm English Lyr
ics[cf1], low ~v. and str. or pf. (or ch. and pf.) ([sm1966[nm);
 ~[cf2]Hammarskj;auold Portrait[cf1], sop., str. ([sm1974[nm); [cf2]Les ~Olympiq
ues[cf1], mez., str. ([sm1976[nm); [cf2]Josip Broz Tito[cf1], bar. ~and orch. (o
r pf.) ([sm1980[nm=n[sm1[nm).[ep~[smcassations[nm [cf1](Audience and Orch. or Pf
.): [cf2]The ~Moonrakers [cf1]([sm1967[nm); [cf2]Knights in Shining Armour ~[cf1
]([sm1968[nm); [cf2]Genesis [cf1]([sm1971[nm); [cf2]The Stone Wall [cf1]([sm1971
[nm); [cf2]The ~Winter Star [cf1]([sm1973[nm); [cf2]The Glitter Gang [cf1]([sm19
73[nm=n[sm4[nm); [cf2]La ~Terre des Rois [cf1]([sm1974[nm); [cf2]The Valley and
The Hill ~[cf1]([sm1977[nm).[ep~[smchorus and orch[nm: Concert Suite, [cf2]Our M
an in ~Havana[cf1], sop., ten., bass, ch., orch. ([sm1963[nm); [cf2]The ~Brillia
nt and the Dark[cf1], women's ch., orch. ([sm1966[nm); ~Sym. No. [sm3[nm ([cf2]T
he Icy Mirror[cf1]), sop., mez., [sm2[nm bar., ~ch., orch. ([sm1972[nm); [cf2]Od
e to Music[cf1], ch., echo ch., ~orch. (or pf.) ([sm1972[nm=n[sm3[nm); [cf2]Jubi
lee Hymn[cf1], ch. and ~orch. (or pf.) ([sm1977[nm); [cf2]Mass o
f Christ the King[cf1], [sm2[nm ~sop., ten., bar., ch., echo ch., orch. ([sm1975
[nm=n[sm8[nm).[ep~[smchorus and organ or piano[nm: [cf2]Adoremus[cf1], Christmas
 ~cantata, alto, ten., ch., org. ([sm1959[nm); [cf2]Dawn Carol ~[cf1]([sm1960[nm
); [cf2]Ascendit Deus [cf1]([sm1961[nm); [cf2]Tu es Petrus[cf1], ~speaker, ch.,
org. ([sm1961[nm); [cf2]Agnus Dei[cf1], sop., ch., ~org. ([sm1961[nm); [cf2]Dign
us est Agnus[cf1], sop., ch., org. ~([sm1961[nm); [cf2]Procession of Psalms[cf1]
, ch. and org. or pf. ~([sm1961[nm); [cf2]Easter Carol [cf1]([sm1962[nm); [cf2]J
esu, Lover of My ~Soul[cf1], solo qt., double ch., org. ([sm1962[nm); [cf2][sm12
[nm New ~[PN792,0,0,L,I0]Hymn Tunes [cf1]([sm1962[nm); [cf2]Harvest Thanksgiving
[cf1], ch., ~org. ([sm1962[nm); [cf2]Wrestling Jacob[cf1], sop., ch., org. ([sm1
962[nm); ~[cf2]The Morning of the Day of Days[cf1], sop., ten., ch., ~org. ([sm1
962[nm); [cf2]Te Deum[cf1], vv. and pf. or org. ([sm1963[nm); ~[cf2]An Australia
n Carol[cf1], ch., org. ([sm1963[nm); [cf2]Epiphany ~Carol [cf1]
([sm1963[nm); [cf2][sm6[nm Christmas Songs for the Young[cf1], vv. ~and pf. with
 opt. perc. ([sm1963[nm); [cf2]Mass of St Andrew[cf1], ~vv., pf. or org. ([sm196
4[nm); [cf2][sm6[nm Evening Hymns[cf1], vv., pf., ~or org. ([sm1964[nm); [cf2]A
Psalm of Praise [cf1]([cf2]Psalm [sm148[nm[cf1]=+), vv., ~org. ([sm1965[nm); [cf
2]I will lift up mine eyes [cf1]([cf2]Psalm [sm121[nm[cf1]=+), ~ch., echo ch., o
rg. ([sm1970[nm); [cf2]Cantate Domino [cf1]([cf2]Psalm ~[sm98[nm[cf1]), ch., org
. ([sm1970[nm); [cf2]In Place of Belief[cf1], ch., pf. ~duet ([sm1970[nm); [cf2]
Te Deum[cf1], ch., org., opt. brass ([sm1970[nm=n~[sm1[nm); [cf2][sm6[nm Wesley
Songs for the Young[cf1], vv. and pf. ~([sm1971[nm); [cf2]O Jerusalem, The King
of Love, Who is the ~King of Glory[cf1], and [cf2]Together in Unity[cf1], ch., ~
congregation, org. ([sm1972[nm); [cf2]Canticle of Fire[cf1], ch., ~org. ([sm1973
[nm); [cf2]The World at the Manger[cf1], sop., bar., ~ch., org. or pf. duet ([sm
1973[nm); [cf2]Communion Hallelu~~jahs[cf1], children's ch., mal
e ch., org. ([sm1974[nm=n[sm5[nm); [cf2][sm16[nm ~Hymns and Processionals[cf1],
vv., pf. or org. ([sm1975[nm);[cf2] ~This is My Father's World[cf1], ch., org. (
[sm1975[nm); [cf2]Love ~Chorales[cf1], vv., pf. or org. or guitar ([sm1975[nm);
[cf2]Dove ~Chorales[cf1], vv., pf. or org. ([sm1975[nm); [cf2]Above Chorales[cf1
], ~vv., pf. or org. ([sm1975[nm); [cf2]Mass of St James[cf1], vv., pf. ~or org.
 ([sm1975[nm); [cf2][sm20[nm Psalms of the Elements[cf1], ch., ~congregation, or
g. ([sm1975[nm); [cf2]This Christmas Night[cf1], ~ch., pf. ([sm1977[nm); [cf2]Ke
rygma[cf1], ch., org. ([sm1979[nm); [cf2]Little ~Mass of St Bernadette[cf1], unb
roken vv. and org. or ~instr. ([sm1980[nm); [cf2]Mass of St Margaret of Scotland
[cf1], ~congregation, opt. ch., org. ([sm1977[nm=n[sm80[nm); [cf2]Mass of ~the P
eople of God[cf1], vv., org. ([sm1980[nm=n[sm1[nm).[ep~[smunacc. chorus[nm: [cf2
][sm2[nm Motets [cf1]([sm1954[nm); [cf2]Dawn Carol ~[cf1]([sm1960[nm); [cf2]Symp
hony for Voices[cf1], cont., ch. ([sm1960[nm=n[sm2[nm); ~[cf2]Pl
anctus[cf1], male vv. ([sm1962[nm); [cf2]English Eccentrics[cf1], ~choral suite
([sm1964[nm); [cf2]A Young Girl [cf1]([sm1964[nm); [cf2]A Canon ~for Stravinsky[
cf1] ([sm1967[nm); [cf2]Sonnet [cf1]([sm1969[nm); [cf2]Love, the ~Sentinel[cf1]
([sm1972[nm); [cf2]The Musicians of Bremen[cf1], [sm2[nm ~counterten., ten., [sm
2[nm bar., bass ([sm1971[nm=n[sm2[nm); [cf2][sm3[nm Choric ~Hymns [cf1](No. [sm2
[nm, [sm1980[nm, Nos. [sm1[nm and [sm3[nm, [sm1947[nm).[ep~[smvoice[nm([sms[nm)
[smand instr[nm: [cf2]A Vision of Beasts and Gods[cf1], ~high v., pf. ([sm1958[n
m); [cf2]Celebration of Divine Love[cf1], ~high v., pf. ([sm1963[nm); [cf2][sm3[
nm Shakespeare Songs[cf1], high v., ~guitar or pf. ([sm1964[nm); [cf2]A Christma
s Carol[cf1], low v., ~pf. ([sm1964[nm); [cf2][sm6[nm English Lyrics[cf1], low v
. and pf. ([sm1966[nm); ~[cf2]From a Child's Garden [cf1](R. L. Stevenson), song
-~cycle for high v., pf. ([sm1967[nm=n[sm8[nm); [cf2]The Death of ~Cuchulain [cf
1](Yeats), [sm5[nm male vv., perc. ([sm1968[nm=n[sm71[nm); ~[cf2
]Piet;aga[cf1], sop., ob., bn., pf. ([sm1973[nm).[ep~[smchamber music[nm: Incide
ntal mus. to [cf2]The Merry ~Wives of Windsor[cf1], chamber ens. ([sm1964[nm); [
cf2]Varia~~tions[cf1], vc., pf. ([sm1964[nm); Conc. for wind quintet and ~[sm2[n
m pf. ([sm8[nm hands) ([sm1964[nm=n[sm5[nm); [cf2]Serenade[cf1], fl., pf., vn.,
~va., vc. ([sm1967[nm); [cf2]Pas de Quatre[cf1], fl., ob., cl., bn., pf. ~([sm19
67[nm); Pf. Quintet ([sm1968[nm); [cf2]Partita on Themes of ~Walton[cf1], va. ([
sm1972[nm); Pf. Trio ([sm1975[nm=n[sm6[nm).[ep~[smbrass[nm: [cf2]Canberra Fanfar
e[cf1], brass, perc. ([sm1973[nm); ~[cf2]Adelaide Fanfare[cf1], brass, org. ([sm
1973[nm); [cf2]Konstanz ~Fanfare[cf1], brass, perc., org. ([sm1980[nm); [cf2]Ric
hmond ~Fanfare[cf1], brass, perc., org. ([sm1980[nm); [cf2]Fontainebleau ~Fanfar
e[cf1], brass, perc., org. ([sm1981[nm).[ep~[smpiano[nm([sms[nm): Sonatas, No. [
sm1[nm ([sm1955[nm=n[sm6[nm), No. [sm2[nm ([sm1957[nm, ~rev. [sm1970[nm=n[sm1[nm
); [cf2]Travel Diaries [cf1]([sm1960[nm=n[sm1[nm); [cf2][sm5[nm
Preludes ~[cf1]([sm1966[nm); Sonata for [sm2[nm pf. ([sm1967[nm); [cf2]Haifa Wat
ercol~~ours [cf1]([sm1974[nm); [cf2]The Bridge That Van Gogh Painted ~and the Fr
ench Camargue [cf1]([sm1975[nm).[ep~[smorgan[nm: [cf2]Fons Amoris [cf1]([sm1955[
nm=n[sm6[nm); [cf2]R;aaesurgence du Feu ~[cf1]([cf2]P;afaques [sm1959[nm[cf1]) (
[sm1959[nm); Sym. ([sm1960[nm); [cf2]Vision of ~Christ Phoenix [cf1]([sm1961[nm,
 rev. [sm1978[nm); [cf2]Elegy=mJ.F.K. ~[cf1]([sm1964[nm); [cf2]Epitaphs for Edit
h Sitwell [cf1]([sm1966[nm, or str.); ~[cf2]Peace Pieces [cf1]([sm1970[nm=n[sm1[
nm); [cf2]Little Carols of the Saints ~[cf1]([sm1971[nm=n[sm2[nm); [cf2]Mass of
a Medieval Saint [cf1]([sm1973[nm); [cf2]Fantasy ~on `This is My Father's World'
 [cf1]([sm1975[nm); [cf2]Fantasy on ~`O Paradise!' [cf1]([sm1975[nm); [cf2]The L
ion of Suffolk [cf1]([cf2]for ~Benjamin Britten[cf1]) ([sm1977[nm).[cm~[j1]Willi
am Tell [fy75,1](Rossini). See [cf2]Guillaume Tell[cf1].[cm~Willis, Henry[fy75,1
] ([cf2]b[cf1] London, [sm1821[nm; [cf2]d[cf1] London, [sm1901[n
m). ~Eng. org. builder. Invented special manual and ~pedal couplers. Founded own
 business, London ~[sm1845[nm. Built or renewed many cath. orgs. incl. that ~in
St Paul's Cath., London, and also those in St ~George's Hall, Liverpool, and the
 Royal Albert ~Hall, London.[cm~Wills, Arthur[fy75,1] ([cf2]b[cf1] Coventry, [sm
1926[nm). Eng. organist ~and composer. Organist, Ely Cath. from [sm1958[nm, ~pro
f. of org., RAM from [sm1964[nm. Works incl. org. ~sonata, org. conc., preludes
and fugues, and choral ~works.[cm~Wilson, Catherine[fy75,1] ([cf2]b[cf1] Glasgow
, [sm1930[nm). Scottish ~sop. Studied RAM and RMCM. Opera d;aaebut SW. ~Leading
roles with EOG, ENO, WNO, and ~Scottish Opera (Governess in [cf2]Turn of the Scr
ew[cf1], ~Marschallin in [cf2]Rosenkavalier[cf1], etc.). Has sung at ~Glyndebour
ne, Cologne, Santa Fe, and Geneva.[cm~Wilson, John[fy75,1] ([cf2]b[cf1] Faversha
m, Kent, [sm1595[nm; [cf2]d[cf1] ~Westminster, [sm1674[nm). Eng. composer, singe
r, ~lutenist, and viol-player. Set some of Shakespeare's ~songs,
 and is thought to be the `Jack Wilson' who ~acted and sang in Shakespeare's co.
 Court musician ~to Charles I [sm1635[nm; prof. of mus., Oxford Univ., ~[sm1656[
nm=n[sm61[nm; court musician to Charles II [sm1660[nm; ~Gentleman of Chapel Roya
l [sm1662[nm. Wrote catches, ~church mus., and fantasies for lute.[cm~Wilson, Ma
rie[fy75,1] ([cf2]b[cf1] London, [sm1903[nm). Eng. violinist. ~Studied RCM, late
r prof. of vn. there. Formed ~and led own str. qt. One of orig. members of BBC ~
S.O., frequently leading it. Returned to solo work ~[sm1944[nm.[cm~Wilson, [fy75
,1](Sir) (James) [fy65][cf3]Steuart[fy75,1] ([cf2]b[cf1] Bristol, [sm1889[nm; [c
f2]d[cf1] ~Petersfield, [sm1966[nm). Eng. ten. and administrator. ~Studied King'
s College, Cambridge, then with ~[fy45,1]*[fy75,1]Henschel and Jean de Reszke. C
ame into ~prominence singing Tamino in [cf2]Zauberfl;auote[cf1], Cam~~bridge [sm
1910[nm, and Vaughan Williams's [cf2]On Wenlock ~Edge[cf1] [sm1911[nm. Lung dama
ged in [sm1914[nm=n[sm18[nm war but ~resumed career. Involved in
 Glastonbury Fest. ~opera ventures. Founder-member of English ~Singers (speciali
sts in Elizabethan and folk-songs), ~sang with BNOC, and famous as Evangelist in
 ~Bach's [cf2]St Matthew Passion[cf1] and as Elgar's Gerontius. ~Taught at Curti
s Institute, Penn., [sm1939[nm=n[sm42[nm; ~overseas mus. dir. BBC [sm1942[nm=n[s
m5[nm, mus. dir., Arts ~[PN793,0,0,R,I0]Council, [sm1945[nm=n[sm8[nm; head of mu
s., BBC [sm1948[nm=n[sm9[nm; ~deputy gen. administrator, CG [sm1949[nm=n[sm55[nm
. Prin., ~Birmingham Sch. of Mus., [sm1957[nm=n[sm60[nm. Knighted ~[sm1948[nm. W
ith A. H. Fox Strangways, made singing ~trans. of Schubert Lieder.[cm~Wilson, Th
omas[fy75,1] (Brendon) ([cf2]b[cf1] Trinidad, Colo~~rado, [sm1927[nm). Scottish
composer. Studied Glasgow ~Univ. Lecturer, Glasgow Univ. [sm1957[nm=n[sm72[nm, R
eader ~from [sm1972[nm. Works incl.:[xm[cm~[j2][smoperas[nm: [fy45,1]*[fy75,2]Co
nfessions of a Justified Sinner[cf1] ([sm1976[nm); [cf2]The ~Charcoal Burners[cf
1] ([sm1968[nm).[ep~[smballet[nm: [cf2]Embers of Glencoe[cf1] ([
sm1973[nm).[ep~[smorch[nm: Syms.: No. [sm1[nm ([sm1956[nm), No. [sm2[nm ([sm1965
[nm), No. [sm3[nm ~([sm1982[nm); [cf2]Toccata[cf1] ([sm1960[nm); [cf2]Variations
[cf1] ([sm1961[nm); [cf2]Touch~~stone, a Portrait[cf1] ([sm1967[nm); [cf2]Concer
to for Orchestra[cf1] ~([sm1967[nm); [cf2]Threnody[cf1] ([sm1970[nm); [cf2]Pas d
e Quoi[cf1], str. ([sm1964[nm); ~[cf2]Ritornelli[cf1], str. ([sm1972[nm); [cf2]R
efrains and Cadenzas[cf1], brass ~band ([sm1973[nm); pf. conc. ([sm1984[nm).[ep~
[smchoral[nm: [cf2]Missa pro mundo conturbato[cf1], ch., perc., ~harp, str. ([sm
1970[nm), [cf2]Sequentiae passionis[cf1], ch., orch., ~tape ([sm1971[nm), [cf2]T
e Deum[cf1], ch. and orch. ([sm1971[nm), [cf2]Songs ~of Hope and Expectation[cf1
], ch., piano, elec. org., ~hpd. ([sm1977[nm).[ep~[smchamber music[nm: [sm4[nm s
tr. qts.; vn. sonata ([sm1961[nm); ~[cf2]Fantasia[cf1], vc. ([sm1964[nm); pf. tr
io ([sm1966[nm); [cf2]Sinfonia[cf1] for ~[sm7[nm instr. ([sm1968[nm); [cf2]Conce
rto da camera[cf1] ([sm1965[nm); [cf2]Canti ~notturni[cf1] ([sm1
972[nm); vc. sonata ([sm1973[nm); [cf2]Complementi[cf1], ~cl., vn., vc., pf. ([s
m1973[nm); [cf2]Cancion[cf1], guitar ([sm1977[nm).[ep~[smvoice and instr[nm: [cf
2]Carmina sacra[cf1], high v., harp, str. ~([sm1964[nm); [cf2]One foot in Eden[c
f1], mez. ([sm1977[nm).[ep~[smchurch[nm: Mass in D minor, unacc. ([sm1955[nm); [
cf2]Missa ~brevis[cf1], unacc. ([sm1955[nm); [cf2]Ave Maria[cf1] and [cf2]Pater
Noster[cf1], ~unacc. ([sm1966[nm); [cf2]A Babe is born[cf1], ch. and org. ([sm19
68[nm); ~[cf2]Ubi caritas et amor[cf1], male ch. and perc. ([sm1976[nm).[ep~[smp
iano[nm: Sonata ([sm1964[nm); Sonatina ([sm1954[nm).[cm~[j1]Wimberger, Gerhard [
fy75,1]([cf2]b[cf1] Vienna, [sm1923[nm). Austrian ~composer. Studied Salzburg [s
m1937[nm=n[sm41[nm, [sm1945[nm=n[sm7[nm ~(comp. with J. N. [fy45,1]*[fy75,1]Davi
d, cond. with Krauss). ~Coach at Vienna Volksoper [sm1947[nm=n[sm8[nm. Theatre ~
cond., Salzburg, [sm1948[nm=n[sm51[nm. Teacher at Mozarteum, ~Salzburg, from [sm
1963[nm. Works incl. operas, pf. ~conc., mus. comedy [cf2]Dame K
obald, Chronique[cf1] for ~orch., cantatas, [cf2]Resonances[cf1] for [sm3[nm orc
h. groups ~([sm1966[nm), [cf2]Hero und Leander[cf1], dance-drama ([sm1963[nm), ~
[cf2]Multiplay[cf1], [sm23[nm players ([sm1974[nm).[cm~Wind-Band. [fy75,1]In med
ieval times, bands of roving ~pipers who later received official recognition as
~`town pipers', providing mus. for civic occasions. ~In modern usage, the term d
enotes a band of ~mixed wind instr., often with perc., and is more ~often called
 a `military band' to distinguish it ~from the `brass band' in which no woodwind
 is ~used. In USA `wind band' denotes a military band. ~Haydn's [cf2]Wind-band M
ass[cf1] ([cf2]Harmoniemesse[cf1]), [sm1802[nm, ~is named because the wind instr
. are prominent ~in the scoring, not because they are the only instr. ~used.[cm~
Wind Chest. [fy75,1]Box-like construction which re~~ceives the wind from an org.
's bellows and ~supplies it to the pipes when the pallets are ~opened. See [cf2]
Organ.[cm~Windgassen, Wolfgang[fy75,1] ([cf2]b[cf1] Andemasse, [
sm1914[nm; [cf2]d[cf1] ~Stuttgart, [sm1974[nm). Ger. ten. Studied with his fathe
r, ~Fritz Windgassen, prin. ten., Stuttgart Opera ~[sm1923[nm=n[sm44[nm. Opera d
;aaebut Pforzheim [sm1941[nm as Alvaro ~in Verdi's [cf2]La forza del destino[cf1
]. Stuttgart Opera ~[sm1945[nm=n[sm53[nm, Vienna from [sm1953[nm. Bayreuth Fest.
 ~[sm1951[nm=n[sm71[nm (d;aaebut as Parsifal). CG d;aaebut [sm1955[nm, NY ~Met.
[sm1957[nm. Outstanding singer of Parsifal, Tristan, ~Siegfried, and other Wagne
r roles, though not a ~[cf2]Heldentenor[cf1] of traditional kind. Art. dir. Stut
tgart ~Opera [sm1972[nm=n[sm4[nm.[xm[cm~[j1]Wind Instruments. [fy75,1]Those mus.
 instrs. in which ~sound is produced by vibrations of a column of ~air set in mo
tion by the perf.'s blowing. Two ~main categories are woodwind (not all made of
~wood) and brass (not all made of brass), e.g. fl., ~picc., ob., cl., bn., among
 former; hn., tpt., tb., ~tuba, among latter. An org. is not a wind instr. in ~t
he sense defined here, since the air is mechani~~cally impelled.
[cm~Wind Machine. [fy75,1]Device to simulate sound of ~wind, a barrel-shaped fra
mework being covered ~with silk or other fabric and rotated by a handle. ~Fricti
on with wood or cardboard produces sound ~which can be varied in pitch by pace a
t which ~handle is turned. Used by several composers, e.g. ~by Strauss in [cf2]D
on Quixote[cf1] and [cf2]Eine Alpensinfonie[cf1] ~and by Vaughan Williams in [cf
2]Sinfonia Antartica.[cm~Wind Quintet. [fy75,1]Composition for five wind instr.,
 ~or the performers who play it. Usual combination ~is fl., ob., cl., bn., and h
n., but there are several ~exceptions (Elgar's were written for [sm2[nm fl. and
no ~hn.). Among composers of wind quintets are ~Reicha, Danzi, Schmitt, Fran;acc
aix, Carter, Mil~~haud, Nielsen, Fricker, Henze, Gerhard, Stock~~hausen, and Sch
oenberg.[cm~Winkelmann, Hermann[fy75,1] ([cf2]b[cf1] Brunswick, [sm1849[nm; [cf2
]d[cf1] ~Vienna, [sm1912[nm). Ger. ten. Studied Hanover. Opera ~d;aaebut Sonders
hausen [sm1875[nm. Sang Wagner roles in ~Vienna and created Pars
ifal at Bayreuth [sm1882[nm. ~London d;aaebut [sm1882[nm; was first London Trist
an ~and Walther. Concert d;aaebut USA [sm1884[nm. Vienna ~Opera [sm1883[nm=n[sm1
906[nm (first Vienna Tristan and ~Otello).[cm~Winter Journey [fy75,1](Schubert).
 See [cf2]Winterreise.[cm~Winterreise[fy75,1] (Winter Journey). Song-cycle for ~
male v. and pf. by Schubert (D[sm911[nm), settings of [sm24[nm ~poems by Wilhelm
 M;auuller (pubd. [sm1823[nm and ~[sm1824[nm). Comp. ([sm1827[nm) and pubd. ([sm
1828[nm) in [sm2[nm ~instalments, each of [sm12[nm songs. The titles of the ~ind
ividual songs, in Schubert's (not M;auuller's) ~selected order are: I. [cf2]Gute
 Nacht[cf1] (Good Night), [cf2]Die ~Wetterfahne[cf1] (The Weathervane), [cf2]Gef
rorne Tr;auanen[cf1] ~(Frozen Tears), [cf2]Erstarrung[cf1] (Frozen Rigidity), [c
f2]Der ~Lindenbaum[cf1] (The Lime-Tree), [cf2]Wasserflut[cf1] (Flood), ~[cf2]Auf
 dem Flusse[cf1] (On the River), [cf2]R;auuckblick[cf1] (Backward ~Glance), [cf2
]Irrlicht[cf1] (Will-o'-the-Wisp), [cf2]Rast[cf1] (Rest), ~[cf2]
Fr;auuhlingstraum[cf1] (Dream of Spring), [cf2]Einsamkeit[cf1] ~(Loneliness); II
. [cf2]Die Post[cf1] (The Post), [cf2]Der greise Kopf[cf1] ~(The hoary head), [c
f2]Die Kr;auahe[cf1] (The Crow), [cf2]Letzte ~[PN794,0,0,L,I0]Hoffnung[cf1] (Las
t Hope), [cf2]Im Dorfe[cf1] (In the Village), ~[cf2]Der st;auurmische Morgen[cf1
] (The Stormy Morning), ~[cf2]T;auauschung[cf1] (Delusion), [cf2]Der Wegweiser[c
f1] (The Sign~~post), [cf2]Das Wirtshaus[cf1] (The Inn), [cf2]Mut [cf1](Courage)
, [cf2]Die ~Nebensonnen[cf1] (Phantom Suns), [cf2]Der Leiermann[cf1] (The ~Hurdy
-Gurdy Man).[cm~Winter Words. [fy75,1]Song-cycle of [sm8[nm poems by Thomas ~Har
dy set for high v. and pf., Op. [sm52[nm, by Britten. ~F.p. Leeds Fest. [sm1953[
nm (in Harewood House). Title ~taken from Hardy's last pubd. vol. of poetry, ~[s
m1928[nm. The songs are: [sm1[nm. [cf2]At day-close in November[cf1], ~[sm2[nm.
[cf2]Midnight on the Great Western[cf1], or [cf2]The journeying ~boy[cf1], [sm3[
nm. [cf2]Wagtail and Baby[cf1], [sm4[nm. [cf2]The little old tab
le[cf1], [sm5[nm. ~[cf2]The Choirmaster's burial[cf1], or [cf2]The tenor man's s
tory[cf1], ~[sm6[nm. [cf2]Proud songsters, thrushes, finches, and nightingales[c
f1], ~[sm7[nm. [cf2]At the railway station, Upway[cf1], or [cf2]The convict and
~boy with the violin[cf1], [sm8[nm. [cf2]Before life and after.[cm~Wirbel[fy75,1
] (Ger.). Whirl. Drum roll.[cm~Wirbeltrommel[fy75,1] (Ger.). Ten. drum.[cm~Wire
Brush. [fy75,1]Variety of drumstick with head ~consisting of several stiff wires
. Produces `brush~~ing' or `swishing' sound from side-drum or ~cymbals. Used mai
nly in jazz, but also by many ~[sm20[nmth-cent. composers.[cm~Wir;aaen, Dag[fy75
,1] (Ivar) ([cf2]b[cf1] Noraberg, [sm1905[nm). Swed. ~composer. Studied Stockhol
m [sm1926[nm=n[sm31[nm, then in ~Paris [sm1932[nm=n[sm4[nm. Mus. critic, [cf2]Sv
enska Morgonbladet[cf1] ~[sm1938[nm=n[sm46[nm. Since [sm1944[nm has used `Metamo
rphosis ~technique', i.e. construction of a work from a ~single `cell' or set of
 cells. Works incl. [sm5[nm syms. ~([sm1938[nm=n[sm64[nm), vn. c
onc. ([sm1946[nm), pf. conc. ([sm1950[nm), vc. ~conc. ([sm1936[nm), [cf2]Serenad
e for Strings[cf1], Op. [sm11[nm ([sm1937[nm), ~Sinfonietta, [sm5[nm str. qts.,
and radio opera, [cf2]Bl;anatt, gult, ~r;anott[cf1] ([sm1940[nm), inspired by Ch
urchill's `blood, tears, ~sweat' speech.[xm[cm~[ol0][ep~[xp[u20]~~[te~









[do19][j99]~~~~~~[sm153842[nm_WA[sm01[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmWA[sm04[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm26[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm260[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~[ap~[j1]Wise, Michael [fy75
,1]([cf2]b [cf1]?Salisbury, [cf2]c[cf1].[sm1648[nm; [cf2]d [cf1]Salisbury, ~[sm1
687[nm). Eng. singer, organist, and composer. ~Chorister, Chapel Royal [sm1660[n
m, lay clerk St George's ~Windsor, [sm1663[nm. Organist and choirmaster, Salis~~
bury Cath., [sm1668[nm=n[sm85[nm, choirmaster St Paul's Cath., ~[sm1687[nm. Kill
ed in quarrel with night watchman ~after argument with his wife. Wrote anthems,
~services, and catches.[cm~Wise Virgins, The. [fy75,1]Ballet in [sm1[nm act by W
alton, ~music being his arr. of [sm9[nm items from the church ~cantatas of J. S.
 Bach selected by Constant Lambert. ~Scenario based on parable of Wise and Fooli
sh ~Virgins in [cf2]St Matthew XXV[cf1]. Choreog. by Frederick ~Ashton, designs
by Rex Whistler. Prod. London ~(SW) [sm1940[nm with Fonteyn as t
he Bride. Orch. suite ~[sm1940[nm, of [sm6[nm movts.: [sm1[nm. What God hath don
e is ~rightly done ([cf2]Was Gott thut, das ist wohlgetan, ~[cf1]BWV [sm99[nm);
[sm2[nm. Lord, hear my longing ([cf2]Herzlich thut ~mich verlangen[cf1], BWV [sm
727[nm); [sm3[nm. See what His love ~can do ([cf2]Seht was die Liebe tat[cf1], f
rom BWV [sm85[nm); [sm4[nm. ~Ah! how ephemeral ([cf2]Ach wie fl;auuchtig, ach wi
e ~nichtig[cf1], BWV [sm26[nm); [sm5[nm. Sheep may safely graze ([cf2]Schafe ~k;
auonnen sicher weiden[cf1], from BWV [sm208[nm); [sm6[nm. Praise be ~to God ([cf
2]Gelobet sei der Herr, mein Gott[cf1], from BWV ~[sm129[nm).[cm~Wishart, Peter
[fy75,1](Charles Arthur) ([cf2]b [cf1]Crowborough, ~[sm1921[nm; [cf2]d [cf1]From
e, Som., [sm1984[nm). Eng. composer. Studied in Paris with ~Boulanger. Lecturer
in mus., Birmingham Univ. ~[sm1950[nm=n[sm9[nm, prof., GSM from [sm1961[nm, King
's Coll., ~London, [sm1972[nm=n[sm7[nm, prof. of music, Reading Univ. ~[sm1977=n
84[nm. Works incl. operas [cf2]The Clandestine ~Marriage, Klytem
nestra, Two in the Bush[cf1], and [cf2]The ~Captive[cf1]; [sm2[nm syms., [sm2[nm
 vn. concs., [cf2]Te Deum, [sm5[nm Pieces ~[cf1]for str., and choral works.[cm~W
iszniewski, Zbigniew [fy75,1]([cf2]b [cf1]Lw;aaow, [sm1922[nm). Polish ~composer
. Studied ;Ul;aaod;aaz Univ. and Cons. Violinist ~in Polish Dance Co. Orch. [sm1
955[nm=n[sm7[nm. Mus. dir., ~Polish Radio from [sm1957[nm. Works incl. radio ope
ra ~[cf2]Nefru[cf1]; [cf2]Kammermusik [cf1][sm1[nm=n[sm4[nm; oratorio [cf2]Genes
is[cf1]; [sm3[nm ~[cf2]Postludes [cf1](on tape).[cm~Witt, [fy75,1](Jeremias) [fy
65][cf3]Friedrich [fy75,1]([cf2]b [cf1]Niederstetten, [sm1770[nm; ~[cf2]d[cf1] W
;auurzburg, [sm1836[nm). Ger. composer and cellist. ~Court cond., W;auurzburg, f
rom [sm1802[nm. Wrote ~operas, oratorios, and much instr. mus. Comp. ~so-called
[fy45,1]*[fy75,2]Jena Symphony[cf1], at one time erroneously ~attrib. to Beethov
en.[cm~Wittgenstein, Paul [fy75,1]([cf2]b [cf1]Vienna, [sm1887[nm; [cf2]d [cf1]M
anhas~~set, NY, [sm1961[nm). Austrian pianist, pupil of [fy45,1]
*[fy75,1]Lesche~~tizky. Lost right arm in World War I, so developed ~remarkable
left-hand technique. Commissioned ~concs. or similar works for left-hand pianist
 from ~several composers, incl. Ravel (conc.), R. Strauss ~([cf2]Parergon zur Sy
mphonia Domestica [cf1]and [cf2]Pana~~[chthen;auaenzug[cf1]), Prokofiev [cf1]([s
m4[nmth conc.), Schmidt ([cf2]Conc. ~Vars[cf1].), and Britten ([cf2]Diversions[c
f1]). Settled in NY ~[sm1939[nm (Amer. citizen from [sm1946[nm).[cm~Wittich, Mar
ie [fy75,1]([cf2]b [cf1]Giessen, [sm1868[nm; [cf2]d [cf1]Dresden, ~[sm1931[nm).
Ger. sop. Studied W;auurzburg. Sang in ~D;auusseldorf etc., then joined Dresden
Opera [sm1889[nm=n~[sm1914[nm. Bayreuth [sm1901[nm=n[sm10[nm, CG [sm1905[nm=n[sm
6[nm. In Dresden ~[sm1905[nm created role of Strauss's Salome, though not ~witho
ut protest about its `indecency'.[cm~Woelfl, Joseph [fy75,1]([cf2]b [cf1]Salzbur
g, [sm1773[nm; [cf2]d [cf1]London, ~[sm1812[nm). Austrian composer and pianist.
Chorister, ~Salzburg Cath. [sm1783[nm=n[sm6[nm. Taught by Leopol
d ~Mozart and Michael Haydn. In Warsaw [sm1791[nm=n[sm4[nm, ~Paris [sm1801[nm=n[
sm06[nm, then London. Wrote syms., [sm7[nm pf. ~concs., [sm12[nm str. qts., [sm2
0[nm pf. trios, [sm22[nm vn. sonatas, [sm36[nm ~pf. sonatas, [sm4[nm operas, and
 [sm2[nm ballets.[cm~Wohltemperierte Klavier, Das [fy75,1](The Well-~tempered Kl
avier). Title given by Bach to his [sm24[nm ~Preludes and Fugues for kbd., C;auo
then [sm1722[nm, in all ~the major and minor keys, and also applied to ~[sm2[nmn
d set of [sm24[nm composed in Leipzig, [sm1744[nm, the [sm2[nm ~sets often being
 known simply as `the [sm48[nm'. Bach's ~object was to demonstrate the advantage
s of the ~then new equal [fy45,1]*[fy75,1]temperament. Pubd. [sm1800[nm=n[sm1[nm
.[cm~Wolf. [fy75,1]([sm1[nm) Jarring sound which sometimes occurs ~from bowed st
r. instrs. when body of instr. ~resonates to a particular note.[ep~[PN795,0,0,R,
I0]^([sm2[nm) Out-of-tune effect on old orgs. (before equal ~[fy45,1]*[fy75,1]te
mperament) when playing in certain extreme ~keys.[cm~[j1]Wolf, H
ugo [fy75,1]([cf2]b [cf1]Windischgraz, [sm1860[nm; [cf2]d [cf1]Vienna, ~[sm1903[
nm). Austrian composer. Taught rudiments of ~mus. by his father, a leather-deale
r. Entered ~Vienna Cons. [sm1875[nm (fellow-pupil of Mahler). ~Expelled [sm1877[
nm (unjustly) and made bare living ~by teaching pf. [sm2[nmnd cond. at Salzburg
[sm1881[nm, but ~gave up after [sm3[nm months. Mus. critic. in Vienna ~[sm1884[n
m=n[sm7[nm, making enemies by his fanatical praise ~of Wagner and dislike of Bra
hms. From [sm1888[nm, ~when he discovered the poetry of M;auorike, poured ~out d
ozens of songs, incl. the [cf2]Spanish Songbook[cf1], in ~which the art of the L
ied reached one of its most ~sophisticated and intricately-wrought stages, with
~the pf. part no longer simple acc. but an integral ~part of the song. The conce
ntrated characteriza~~tion of each song is unequalled in Lieder, ~demanding the
utmost artistry from the perform~~ers, psychological as well as vocal and instr.
 For [sm3[nm ~years from [sm1892[nm to [sm1894[nm, Wolf wrote no
thing ~except the orch. arr. of the [cf2]Italian Serenade[cf1], but ~his fame gr
adually spread and in Berlin a `Hugo ~Wolf Society' was founded. Even Vienna beg
an ~to capitulate late in [sm1894[nm. In [sm1895[nm he wrote an ~opera based on
[cf2]The Three-Cornered Hat [cf1]which he ~called [cf2]Der Corregidor[cf1]. In t
he spring of [sm1896[nm, he ~wrote the [sm24[nm songs of the [cf2]Italian Songbo
ok[cf1] (Vol. II). ~In [sm1897[nm he began his Michelangelo settings and a ~[sm2
[nmnd opera, [cf2]Manuel Venegas[cf1]. But in the autumn ~his mind gave way, the
 outcome of venereal ~disease, and he was taken to an asylum. Though ~he seemed
to be `cured' in [sm1898[nm he tried to drown ~himself in Oct. of that year and
spent his last ~years insane in a mental hospital. Prin. works:[xm[cm~[j2][smson
gs [nm(mostly with pf. acc., but some with orch.): ~[fy75,2][sm12[nm Lieder aus
der Jugendzeit [cf1]([sm1877[nm=n[sm8[nm); [cf2][sm6[nm Songs for ~Woman's Voice
[cf1]; [sm6[nm Poems of Scheffel, M;auorike, ~Goethe, and Kerner
; [sm4[nm Poems of Heine, Shake~~speare, and Byron; [sm6[nm Poems by Gottfried K
eller; ~[sm3[nm Ibsen Songs; [sm3[nm Poems by Reinick ([sm1877[nm=n[sm87[nm); ~[
cf2][sm53[nm [fy45,1]*[fy75,2]M;auorike-Lieder [cf1]([sm1888[nm); [cf2][sm20[nm
Eichendorff-Lieder ~[cf1]([sm1880[nm=n[sm88[nm); [cf2][sm51[nm Goethe-Lieder [cf
1]([sm1888[nm=n[sm9[nm); [fy45,1]*[fy75,2]Spanisches ~Liederbuch[cf1] ([sm44[nm
songs) ([sm1889[nm=n[sm90[nm); [fy45,1]*[fy75,2]Italienisches ~Liederbuch[cf1],
Vol. I ([sm22[nm songs) ([sm1890[nm=n[sm1[nm); [cf2]Italienisches ~Liederbuch[cf
1], Vol. II ([sm24[nm songs) ([sm1896[nm); [sm3[nm Poems by ~Michelangelo ([sm18
97[nm). Among the best-loved ~Wolf songs (selectively chosen) are: [cf2]An die ~
Geliebte[cf1]; [cf2]Abschied[cf1];[cf2] Anakreons Grab[cf1];[cf2] Begegnung[cf1]
;[cf2] ~Denk es, O Seele[cf1];[cf2] Einsame; Elfenlied[cf1]; [cf2]Der Feuerrei~~
ter[cf1]; [cf2]Gebet[cf1]; [cf2]Gesang Weylas[cf1]; [cf2]Heimweh[cf1]; [cf2]Im F
r;auuhling[cf1]; ~[cf2]In dem Schatten meiner Locken[cf1];[cf2]
J;auagerlied[cf1]; [cf2]Kennst du ~das Land?; Lebewohl; Schlafendes Jesuskind; [
cf2]Der ~Tambour[cf1]; [cf2]Verborgenheit[cf1]; [cf2]Das verlassene M;auagdlein[
cf1].[ep~[smorch[nm: [cf2]Penthesilea[cf1], symphonic poem ([sm1883[nm); [cf2]It
alien~~ische Serenade[cf1] ([sm1892[nm, orch. of work for str. qt. ~[sm1887[nm).
[ep~[smchamber music[nm: Str. Qt. in D minor ([sm1879[nm=n[sm80[nm); ~Serenade i
n G for str. qt. ([sm1887[nm; arr. for str. orch. ~[sm1892[nm as [cf2]Italienisc
he Serenade [cf1]([fy45,1]*[fy75,1]Italian Serenade)).[ep~[smchoral[nm: [sm6[nm
Eichendorff chs., unacc. ([sm1881[nm) [cf2]Christ-~Nacht[cf1], soloists, ch., or
ch. ([sm1886[nm=n[sm9[nm); [cf2]Elfenlied [cf1](`You ~spotted snakes', from [cf2
]Midsummer Night's Dream[cf1]), ~sop., ch., orch. ([cf2]c[cf1].[sm1890[nm, arr.
from song for v. and ~pf., [sm1888[nm, but not same as [cf2]Elfenlied [cf1]in [c
f2]M;auorike-~Lieder[cf1]); [cf2]Der Feuerreiter [cf1](The Fire-rider) (M;auorik
e ~song [sm1888[nm arr. ch and orch. [sm1892[nm); [cf2]Dem Vater
land ~[cf1](song for v. and pf. [sm1888[nm, arr. for male ch. and ~orch. [sm1888
[nm=n[sm91[nm).[ep~[smoperas[nm: [cf2]Der [fy45,1]*[fy75,2]Corregidor [cf1]([sm1
895[nm); [cf2]Manuel Venegas ~[cf1]([sm1897[nm, incomplete).[cm~[j1]Wolff, Alber
t [fy75,1](Louis) ([cf2]b[cf1] Paris, [sm1884[nm; [cf2]d [cf1]Paris, ~[sm1970[nm
). Fr. cond. and composer. Studied Paris ~Cons. Chorusmaster Op;aaera-Comique, P
aris, [sm1908[nm, ~cond. from [sm1911[nm, mus. dir. [sm1921[nm=n[sm4[nm, th. dir
. [sm1945[nm=n~[sm6[nm. Cond. first Paris perf. of Ravel's [cf2]L'Enfant et les
~sortil;ageges[cf1], [sm1926[nm, and f.p. of Poulenc's [cf2]Les [fy45,1]*[fy75,2
]mamelles ~de Tir;aaesias[cf1], Paris [sm1947[nm. Cond. Fr. repertoire at NY ~Me
t. [sm1919[nm=n[sm21[nm. CG d;aaebut [sm1937[nm (Debussy's [cf2]Pell;aaeas[cf1])
. ~Cond., Concerts Lamoureux [sm1928[nm=n[sm34[nm, then Con~~certs Pasdeloup. Fi
ne interpreter of Roussel. ~Wrote opera [cf2]L'Oiseau bleu [cf1](NY [sm1919[nm).
[cm~Wolff, Christian [fy75,1]([cf2]b [cf1]Nice, [sm1934[nm). Fr.
-born Amer. ~composer. Studied classics Harvard Univ., [sm1951[nm=n~[sm63[nm, an
d taught classics there later. Self-taught in ~comp., being influenced by Cage,
Tudor, Feld~~man, Var;agese, and Cardew. Works, some written ~in special notatio
n, incl. pieces for [fy45,1]*[fy75,1]prepared ~piano, magnetic tape, and for `va
rious combina~~tions of players using, in many cases, any ~instruments or object
s'. He aimed to eliminate ~the `monarchical authority' of the conductor.[cm~Wolf
-Ferrari, Ermanno [fy75,1]([cf2]b [cf1]Venice, [sm1876[nm; [cf2]d ~[cf1]Venice,
[sm1948[nm). It. composer, son of Ger. father ~and It. mother. Studied in Munich
 with Rhein~~berger [sm1893[nm=n[sm5[nm. Returned to Venice [sm1895[nm. Dir., ~L
iceo Benedetto Marcello [sm1903[nm=n[sm9[nm. Taught at ~Salzburg Mozarteum from
[sm1939[nm. Wrote mainly ~operas, being adept at light works based on ~Goldoni c
omedies, elegantly scored and immedi~~ately appealing. Some were produced in Ger
. ~before It. Prin. works:[xm[cm~[j2][smoperas[nm: [fy75,2]Cener
entola [cf1]([sm1900[nm); [cf2]Le donne curiose [cf1]([sm1903[nm); ~[cf2]I [fy45
,1]*[fy75,2]quattro Rusteghi [cf1]([sm1906[nm); [cf2]Il [fy45,1]*[fy75,2]segreto
 di Susanna ~[cf1]([sm1909[nm); [cf2]I [fy45,1]*[fy75,2]gioielli della Madonna [
cf1]([sm1911[nm); [cf2]L'amore ~medico [cf1]([sm1913[nm); [cf2]Gli amanti sposi
[cf1]([cf2]c[cf1].[sm1916[nm); [cf2]La veste ~di cielo [cf1]([cf2]c.[cf1][sm1917
[nm=n[sm25[nm); [cf2]Sly [cf1]([sm1927[nm); [cf2]La vedova scaltra ~[cf1]([sm193
1[nm); [cf2]Il Campiello [cf1]([sm1936[nm); [cf2]La dama boba [cf1]([sm1939[nm);
 ~modern rev. of [cf2]Idomeneo [cf1](Mozart), Munich [sm1931[nm.[ep~Also wrote o
ratorios, chamber sym., vn. conc., ~vc. conc., chamber mus., [cf2]Suite [cf1]for
 bn., [sm2[nm hn., and ~str., etc.[cm~[j1]Wolfrum, Philipp [fy75,1]([cf2]b[cf1]
Schwarzenbach am Wald, ~[sm1854[nm; [cf2]d[cf1] Samaden, Grisons, [sm1919[nm). G
er. organist, ~composer, and teacher. Studied in Munich with ~Rheinberger and Fr
anz W;auullner and became ~close friend of Humperdinck. Taught a
t Bamberg ~[sm1879[nm=n[sm84[nm, dir. of mus. Heidelberg Univ. (prof. ~from [sm1
898[nm). Founded Heidelberg Bach Choir ~[sm1885[nm. Cond. all [fy45,1]*[fy75,1]R
eger's works comp. between ~[PN796,0,0,L,I0][sm1898[nm and [sm1916[nm and often
gave Bach recitals at [sm2[nm ~pf. with Reger. Revived many Bach cantatas. ~Cond
. first Ger. perfs. of several of Elgar's choral ~works. Comps. incl. [cf2]Ein W
eihnachtsmysterium[cf1], for ~ch. and orch. ([sm1903[nm), str. qt., vc. sonata,
pf. trio, [sm3[nm ~org. sonatas.[cm~[j1]Wolpe, Stefan [fy75,1]([cf2]b [cf1]Berli
n, [sm1902[nm; [cf2]d [cf1]NY, [sm1972[nm). Ger.-~born composer (Amer. citizen f
rom [sm1944[nm). ~Studied Berlin Hochschule f;auur Musik [sm1919[nm=n[sm24[nm. ~
Private tuition from Busoni, Scherchen, and ~Webern ([sm1933[nm=n[sm4[nm). Wrote
 th. mus. for Brecht in ~[sm1920[nms and was ardent radical socialist, writing ~
works on political themes. Went to Austria [sm1933[nm, ~then to Palestine [sm193
4[nm=n[sm8[nm (prof. of comp. at Cons.), ~finally to USA. Taught
 at various colls. in NY ~[sm1938[nm=n[sm52[nm. Head of mus. dept., Long Island
Univ., ~[sm1957[nm=n[sm68[nm, prof. of comp. Mannes College, [sm1968[nm. ~Most o
f his later works employ serial technique ~based on small pitch cells rather tha
n on [sm12[nm-note ~rows. Also influenced by Jewish mus. traditions ~and harmoni
es. Works incl. [sm2[nm operas, ballet [cf2]The ~Man from Midian [cf1]([sm1942[n
m), incid. music for plays by ~G. von Wangenheim and Brecht, sym., several ~cant
atas, tpt. conc., chamber mus. for various ~combinations, and songs.[cm~Wolstenh
olme, William [fy75,1]([cf2]b [cf1]Blackburn, [sm1865[nm; [cf2]d ~[cf1]London, [
sm1931[nm). Eng. composer, pianist, and ~organist, blind from birth. Studied Wor
cester ~College for Blind. Helped by Elgar, who also gave ~him vn. lessons. Orga
nist, St Paul's, Blackburn, ~[sm1888[nm=n[sm1903[nm, All Saints, St John's Wood,
 London, ~[sm1926[nm. Wrote chiefly for org.[cm~Woman without a Shadow, The [fy7
5,1](Strauss). See ~[cf2]Frau ohne Schatten, Die.[cm~Women's Lov
e and Life [fy75,1](Schumann). See ~[cf2]Frauenliebe und -Leben[cf1].[cm~WoO. [f
y75,1]Werk ohne Opuszahl (Work without ~opus number). Applied, for example, to B
eethov~~en's works in Kinsky's catalogue and to those of ~Richard Strauss in Aso
w's catalogue.[cm~Wood Block. [fy75,1]See [cf2]Chinese Wood Block[cf1].[cm~Wood,
 Charles [fy75,1]([cf2]b [cf1]Armagh, [sm1866[nm; [cf2]d [cf1]Cambridge, ~[sm192
6[nm). Irish composer and teacher. Studied with ~T.O. Marks, organist, Armagh Ca
th., then at ~RCM [sm1883[nm=n[sm7[nm as comp. pupil of Stanford. Taught ~harmon
y at RCM from [sm1888[nm, later becoming ~prof. Cond. Cambridge Univ. Mus. Soc.
[sm1888[nm=n[sm94[nm. ~Org. scholar Gonville and Caius, Cambridge, ~[sm1889[nm=n
[sm94[nm. Lecturer in harmony and counterpoint, ~Cambridge Univ., [sm1897[nm=n[s
m1924[nm, prof. of mus. from ~[sm1924[nm. Pupils incl. [fy45,1]*[fy75,1]Vaughan
Williams. Wrote ~mus. for Gr. plays, opera [cf2]The Pickwick Papers ~[cf1]([sm19
22[nm), [cf2]Ode to the West Wind [cf1]([sm1894[nm), [cf2]Dirge
for Two ~Veterans [cf1]([sm1901[nm), [sm3[nm str. qts., partsongs, solo songs ~i
ncl. [cf2]Ethiopia Saluting the Colours [cf1](Whitman), and ~much church mus. in
cl. over [sm30[nm anthems and ~several services. Wrote the chimes for the clock
~of Gonville and Caius Coll.[cm~Woodcock, Robert [fy75,1](|[cf2]fl. c[cf1].[sm17
20[nm=n[sm34[nm). Eng. com~~poser. Wrote [sm12[nm concs. for fl. and str., [cf2]
c[cf1].[sm1728[nm=n[sm30[nm.[cm~Wood Dove, The [fy75,1]([cf2]Holoubek[cf1]). Sym
phonic poem ~for orch., Op. [sm110[nm, by Dvo;akr;aaak, comp. [sm1896[nm.[cm~Woo
den Prince, The [fy75,1]([cf2]A f;aaab;aaol faragott Kir;aaalyfi[cf1]). ~Ballet
in [sm1[nm act by Bart;aaok to scenario by Bela Bal;aaazs ~comp. [sm1914[nm=n[sm
17[nm and f.p. Budapest [sm12[nm May, [sm1917[nm. ~Orch. suite f.p. Budapest [sm
1931[nm.[cm~Woodforde-Finden, Amy [fy75,1]([cf2]b [cf1]Valparaiso, Chile, ~[sm18
60[nm; [cf2]d [cf1]London, [sm1919[nm). Eng. composer of songs, ~remembered for
the [cf2]Indian Love Lyrics [cf1](poems by ~`Laurence Hope', Ade
la Florence Nicolson, [sm1865[nm=n~[sm1904[nm), incl. [cf2]Pale hands I loved be
side the Shalimar[cf1], ~which were pubd. privately in [sm1902[nm.[xm[cm~[j1]Woo
dgate, Leslie [fy75,1]([cf2]b [cf1]London, [sm1902[nm; [cf2]d [cf1]London, ~[sm1
961[nm). Eng. organist and chorusmaster. Studied ~RCM. Organist of various Londo
n churches. ~Joined BBC [sm1928[nm; Chorusmaster, BBC Singers, ~from [sm1934[nm.
 Wrote some choral pieces and ~textbooks. O.B.E. [sm1959[nm.[cm~Wood, Haydn [fy7
5,1]([cf2]b [cf1]Slaithwaite, Yorks., [sm1882[nm; [cf2]d ~[cf1]London, [sm1959[n
m). Eng. composer and violinist. ~Pupil of Arb;aaos, Stanford, and C;aaesar Thom
son. ~Won Cobbett Prize with Phantasy Qt., also wrote ~pf. conc., vn. conc., [sm
9[nm orch. rhapsodies, [sm7[nm song-~cycles, and about [sm200[nm songs. It is on
 these last that ~his fame chiefly depends, for they incl. [cf2]Love's ~Garden o
f Roses [cf1]([sm1914[nm), [cf2]A Brown Bird Singing[cf1] ~([sm1922[nm), and [cf
2]Roses of Picardy [cf1]([sm1916[nm) which gained ~poignancy fro
m its associations with World War ~I. (He pronounced Haydn with the `Hay' as in
~hay-making, not as in the composer after whom ~he was named).[cm~Wood, [fy75,1]
(Sir) [fy65][cf3]Henry [fy75,1](=+=+Joseph) ([cf2]b [cf1]London, [sm1869[nm; [cf
2]d ~[cf1]Hitchin, [sm1944[nm). Eng. cond. and organist. Taught ~by his mother,
and was deputy church organist ~at age of [sm10[nm. Organist, St John's Fulham,
[sm1887[nm. ~Studied RAM under Prout and Garc;aaia, intending ~to be composer. O
btained post as cond. with ~Rousbey touring opera co., [sm1889[nm. Helped Sulliv
an ~to rehearse [cf2]Ivanhoe [cf1][sm1890[nm. Cond. for Carl Rosa, ~[sm1891[nm,
then for Lago's It. Opera at Olympic Th. ~Cond. f.p. in England of [cf2]Eugene O
negin[cf1], [sm1892[nm. ~Taught singing until [sm1894[nm, when he was mus. ~advi
ser to Mottl's Wagner concerts at new Queen's ~Hall. In [sm1895[nm engaged by Ro
bert Newman as ~cond. of his new series of [fy45,1]*[fy75,1]Promenade concerts ~
in London. These he built from rudimentary ~beginnings to be a p
remier feature of Eng. mus. ~life, retaining conductorship until year of his ~de
ath. After [sm1896[nm cond. no more opera but ~devoted himself to concert work n
ot only in ~London but in many provincial cities and at all ~the leading fests.
(Birmingham, Leeds, Sheffield, ~Norwich, etc.). Waged war on `deputy' system, ~w
hereby orch. players could send deputy to a ~concert while they took a more remu
nerative ~engagement, and did as much as any Eng. cond. ~to raise standards of p
laying. Tireless champion ~of contemporary mus. List of works of which he ~[PN79
7,0,0,R,I0]gave f.ps. and f.ps. in England is long and ~honourable. Tchaikovsky,
 Sibelius, Strauss, Skry~~abin, and Debussy were championed by him ~before their
 present popularity. Cond. first ~complete perf. of Schoenberg's [cf2][sm5[nm Or
chestral Pieces ~[cf1]in [sm1912[nm, the f.ps. in England of Mahler's [sm1[nmst,
 [sm4[nmth, ~[sm7[nmth, and [sm8[nmth syms. and [cf2]Das Lied von der Erde[cf1],
 and ~introduced the mus. of Jan;aaa;akcek to Eng. Every ~major
Eng. composer of his lifetime was perf. at ~the Proms, and he helped the careers
 of many ~Brit. singers and instrumentalists. At his golden ~jubilee concert, [s
m1938[nm, [sm16[nm leading Brit. singers ~took part in Vaughan Williams's [fy45,
1]*[fy75,2]Serenade to ~Music[cf1], ded. to Wood. Made several orch. transcrip~~
tions, incl. Mussorgsky's [cf2]Pictures from an Exhibition ~[cf1]and Bach's [cf2
]Toccata and Fugue [cf1]in D minor (under ~the name P. [fy45,1]*[fy75,1]Klenovsk
y) and arr. [fy45,1]*[fy75,2]Fantasia on ~British Sea Songs [cf1]perf. on last n
ight of every Prom ~Season, with audience participation (orig. written ~for Traf
algar centenary concert [sm1905[nm). Knighted ~[sm1911[nm. C.H. [sm1944[nm.[cm~W
ood, Hugh [fy75,1](Bradshaw) ([cf2]b [cf1]Parbold, Lancs., ~[sm1932[nm). Eng. co
mposer. Studied at Oxford Univ., ~then in London with W. S. Lloyd Webber, ~Antho
ny Milner, Iain Hamilton, and M;aaaty;aaas ~Seiber. Prof. of harmony RAM [sm1962
[nm=n[sm5[nm, teacher ~at Morley Coll., London, [sm1958[nm=n[sm6
7[nm. Research ~fellow in comp., Glasgow Univ., [sm1966[nm=n[sm70[nm; lec~~turer
 in mus., Liverpool Univ., [sm1971[nm=n[sm3[nm. His mus., ~while reflecting a va
riety of influences from ~Tippett and Messiaen to [cf2]avant-garde [cf1]techniqu
es, ~is consistent in its shapeliness, lyricism, and ~expressive concentration.
Prin. works:[xm[cm~[j2][smorch[nm: Vc. Conc., Op. [sm12[nm ([sm1965[nm=n[sm9[nm)
; Chamber ~Conc., Op. [sm15[nm ([sm1971[nm, rev. [sm1978[nm); vn. conc., Op. ~[s
m17[nm ([sm1970[nm=n[sm72[nm); Sym. ([sm1979[nm=n[sm82[nm).[ep~[smvoice and orch
[nm: [fy45,1]*[fy75,2]Scenes from Comus[cf1], Op. [sm6[nm, sop., ~ten., orch. ([
sm1962[nm=n[sm5[nm).[ep~[smchamber music[nm: Str. Qts.: Str. Qt. in B;Yh ([sm195
9[nm); ~No. [sm1[nm, Op. [sm4[nm ([sm1960[nm=n[sm2[nm), No. [sm2[nm, Op. [sm13[n
m ([sm1969[nm=n[sm70[nm), ~No. [sm3[nm ([sm1976[nm=n[sm8[nm); Pf. trio ([sm1984[
nm); [cf2]Variations[cf1], Op. ~[sm1[nm, va. and pf. ([sm1958[nm); Trio, Op. [sm
3[nm, fl., va., pf. ~([sm1961[nm); Quintet, Op. [sm9[nm, cl., hn
., vn., vc., pf. ~([sm1967[nm).[ep~[smsongs[nm: [cf2]Logue Songs[cf1], Op. [sm2[
nm ([sm1959[nm); [cf2]The Horses [cf1](Ted ~Hughes), Op. [sm10[nm ([sm1967[nm);
[cf2]The Rider Victory ~[cf1](Edwin Muir), Op. [sm11[nm ([sm1968[nm); [cf2]Song-
Cycle to Poems ~of Neruda[cf1], Op. [sm19[nm, high v., chamber ens. ([sm1973[nm=
n~[sm4[nm).[ep~[smpiano[nm: [cf2][sm3[nm Pieces[cf1], Op. [sm5[nm ([sm1961[nm).[
ep~[smorgan[nm: [cf2]Capriccio[cf1], Op. [sm8[nm ([sm1968[nm).[cm~[ol0][ep~[xp[u
20]~~[te~






[do19][j99]~~~~~~[sm153842[nm_WA[sm05[nm[ep~[u1]~~~~[sm153842[nm[cmConcise Oxfor
d Dict. of ~Music[cmWA[sm05[nm[cm[sm19[nm[cm[sm1[nm[cm~[sm26[nm/[sm10[nm/[sm79[n
m[cm[sm8[nm[cm[sm291[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Woodward, Roger [fy
75,1](Robert) ([cf2]b[cf1] Sydney, N.S.W., ~[sm1942[nm). Australian pianist. Stu
died N.S.W. Cons., ~Sydney, [sm1952[nm=n[sm62[nm, and Warsaw State  Acad. D;aaeb
uts ~Warsaw and London [sm1967[nm. Won [sm23[nmrd Int. Chopin ~Comp., Warsaw, [s
m1968[nm. Rapid rise to leading place ~among exponents of [cf2]avant-garde[cf1]
mus. of Boulez, ~Barraqu;aae, Cage, Xenakis, Stockhausen, Takem~~itsu, etc. O.B.
E. [sm1980[nm.[cm~Woodwind. [fy75,1]Name for wind instrs. orig. and ~usually mad
e of wood, either blown directly by ~mouth (fl. and recorder) or by means of a r
eed (cl. ~and ob.). Saxs. are classified as woodwind. [cf2]Double ~woodwind[cf1]
, in descriptions of a composer's scoring ~for orch., means [sm2[nm players of e
ach standard type ~of woodwind instr., e.g. fl., ob., cl., bn. (
this being ~usual Beethoven or Schubert orch.). [cf2]Triple wood~~wind [cf1]mean
s [sm3[nm of each, one player normally taking ~an extra member of the family of
his instrument, ~e.g. picc. with fl., cor anglais with ob., bass cl. ~with cl.,
double bn. with bn. [cf2]Quadruple woodwind ~[cf1]means [sm4[nm of each, as in S
trauss, Mahler, and other ~composers for very large orch.[cm~Wooldridge, David [
fy75,1](Humphry Michael) [cf1]([cf2]b [cf1]Deal, ~[sm1931[nm). Eng. cond., compo
ser, and writer. Studied ~RAM and Vienna Acad. Staff cond., Bavarian ~State Oper
a, [sm1954[nm=n[sm5[nm, guest cond. Amer. orchs. ~[sm1957[nm=n[sm68[nm, mus. dir
. Beirut S.O. [sm1961[nm=n[sm5[nm, cond. ~Cape Town Orch. [sm1965[nm. Works incl
. va. conc., ~[cf2]Partita [cf1]for orch., and film mus. Author of ~[cf2]Conduct
ors' World [cf1]([sm1970[nm).[cm~Wordsworth, William [fy75,1](Brocklesby) ([cf2]
b [cf1]London, ~[sm1908[nm). Eng. composer. Studied with [fy45,1]*[fy75,1]Tovey
in ~Edinburgh. His [sm2[nmnd Sym. won Edinburgh Fest. ~Int. Comp
etition [sm1950[nm. Mus. in idiom unfashion~~able in [sm1960[nms and [sm1970[nms
 but of expressive ~emotional range, melodic attraction, fine crafts~~manship, a
nd consistent integrity. Lived many ~years in Surrey, then moved in [sm1960[nms
to Scottish ~Highlands (in which he anticipated Maxwell ~Davies) and helped to f
orm Scottish branch of ~Composers' Guild. Prin. works:[xm[cm~[j2][smorch[nm: Sym
s.: No. [sm1[nm in F minor ([sm1944[nm), No. [sm2[nm in D ~([sm1947[nm=n[sm8[nm)
, No. [sm3[nm in C ([sm1951[nm), No. [sm4[nm in E;Yh ([sm1953[nm), ~No. [sm5[nm
in A minor ([sm1959[nm=n[sm60[nm), No. [sm6[nm ([sm1976[nm=n[sm7[nm); ~Divertime
nto in D ([sm1954[nm); [fy75,2]Highland Overture ~[cf1]([sm1964[nm); Concs.: pf.
 in D minor ([sm1946[nm), vn. in A ~([sm1955[nm); vc. ([sm1963[nm).[ep~[smchoral
[nm: [cf2]In No Strange Land [cf1]([sm1951[nm); [cf2]A Song of ~Praise [cf1]([sm
1956[nm); [cf2][sm2[nm Seasonal Songs [cf1]([sm1971[nm).[ep~[smchamber music[nm:
 Str. Qts.: No. [sm1[nm ([sm1941[nm), No. [sm2[nm ~([sm1944[nm),
 No. [sm3[nm ([sm1947[nm), No. [sm4[nm ([sm1950[nm), No. [sm5[nm ([sm1957[nm), ~
No. [sm6[nm ([sm1964[nm); [sm4[nm [cf2]Lyrics[cf1], ten. and str. qt. ([sm1941[n
m); ~str. trio ([sm1945[nm); pf. qt. ([sm1948[nm); pf. trio ([sm1949[nm); ob. ~q
t. ([sm1949[nm); cl. quintet ([sm1952[nm); pf. quintet ([sm1959[nm); ~[cf2]The S
olitary Reaper[cf1], sop., cl., pf. ([sm1973[nm); vc. sonata ~([sm1937[nm); vn.
sonata ([sm1944[nm); [cf2]Theme and Variations[cf1], ~ob. and pf. ([sm1954[nm);
va. sonatina ([sm1961[nm); [cf2]Prelude ~and Scherzo[cf1], ob. and pf. ([sm1974[
nm).[ep~[smpiano[nm[cf1]: Sonata in D minor ([sm1939[nm); [cf2]Cheesecombe ~Suit
e [cf1]([sm1945[nm=n[sm6[nm); [cf2]Ballade [cf1]([sm1949[nm); [cf2]Valediction [
cf1]([sm1967[nm).[ep~[smvoice and piano[nm: [cf2][sm4[nm Songs[cf1], high v. ([s
m1936[nm); [cf2][sm3[nm Songs[cf1], ~[cf1]medium v. ([sm1938[nm); [cf2][sm4[nm S
acred Sonnets [cf1](Donne), ~low v. ([sm1944[nm); [cf2][sm4[nm Blake Songs[cf1],
 high v. ([sm1948[nm); ~[cf2]Ariel's Songs[cf1], medium v. ([sm1
968[nm).[cm~[j1]Working-out. [fy75,1]The Development section in ~[fy45,1]*[fy75,
2]Sonata Form[cf1].[cm~Worshipful Company of Musicians. [fy75,1]Ancient ~London
guild. Royal charter [sm1604[nm, revoked [sm1632[nm, ~renewed [sm1950[nm. Offers
 prizes for chamber mus. ~comps. and awards Collard Fellowship and other ~schola
rships.[cm~[PN798,0,0,L,I0]Wotquenne, Alfred [fy75,1]([cf2]b [cf1]Lobbes, [sm186
7[nm; [cf2]d [cf1]Antibes, ~[sm1939[nm). Belg. musicologist. Studied Brussels Co
ns. ~Librarian, Brussels Cons. [sm1894[nm=n[sm1918[nm. Among his ~works are a bi
bliographical study of [fy45,1]*[fy75,1]Galuppi ~([sm1899[nm, enlarged [sm1902[n
m), catalogue of [sm17[nmth-cent. It. ~opera and oratorio libs. ([sm1901[nm=n[sm
14[nm), thematic ~catalogue of works of Gluck ([sm1904[nm) and of[fj~C. P. E. Ba
ch ([sm1905[nm). The prefix Wq. is used for ~numbering of C. P. E. Bach's works.
[cm~Wozzeck. [fy75,1]([sm1[nm) Opera in [sm3[nm acts of [sm5[nm scenes each by ~
Berg, Op. [sm7[nm, to lib. by Berg based on play [cf2]Wozzeck ~[
cf1]by Georg B;auuchner ([sm1836[nm). Comp. [sm1917[nm=n[sm22[nm. Prod. ~Berlin
[sm1925[nm (cond. Kleiber), Philadelphia and NY ~[sm1931[nm, London [sm1952[nm (
also cond. Kleiber). Play is ~often named as `Woyzeck' since contemporary ~([sm1
830[nms) newspaper account of the original inci~~dent came to light giving this
spelling (B;auuchner's ~MS. was presumed to read `Wozzeck'). Important ~feature
of the opera is that each scene is in a strict ~mus. form e.g. Act I Sc. [sm1[nm
=n[sm5[nm, suite, rhapsody and ~hunting song, march and lullaby, passacaglia ([s
m21[nm ~variations on a note-row), rondo; Act II Sc. [sm6[nm=n[sm10[nm, ~sym. in
 [sm5[nm movements: sonata-allegro, fantasia ~and fugue on [sm3[nm themes, largo
, scherzo, rondo; ~Act III Sc. [sm11[nm=n[sm15[nm, theme and variations, pedal~~
point, a rhythm, [sm6[nm-note chord, key (D minor), ~equal movement in [sm8[nmth
s [cf2]quasi toccata [cf1](this act ~being [sm6[nm ``inventions'').[ep~_([sm2[nm
) Opera by Gurlitt ([sm1926[nm).[cm~Wq. [fy75,1]Abbreviated pref
ix to numbers in the ~[fy45,1]*[fy75,1]Wotquenne catalogue of C. P. E. Bach's wo
rks.[cm~Wranitzky [fy75,1](Vranick;aay), [fy65][cf3]Anton[fy75,1] (Anton;aain) (
[cf2]b [cf1]Neu~~reisch, now Nov;aaa ;akRi;akse,  [sm1761[nm; [cf2]d [cf1]Vienna
, [sm1820[nm). ~Moravian composer and violinist, brother of P. ~[fy45,1]*[fy75,1
]Wranitzky. Pupil of Albrechtsberger, Mozart, ~and Haydn. Court cond. for Prince
 Lobkowitz in ~Vienna from [sm1797[nm, becoming orch. dir. of court ~theatre [sm
1807[nm=n[sm20[nm. Wrote [sm15[nm syms., [sm15[nm vn. concs., ~and much church a
nd chamber mus. His ~daughter Karoline ([sm1790[nm=n[sm1872[nm) was a sop. who ~
created role of Agathe in Weber's [cf2]Der [fy45,1]*[fy75,2]Freisch;auutz[cf1].[
cm~Wranitzky [fy75,1](Vranick;aay), [fy65][cf3]Paul [fy75,1](Pavel) ([cf2]b [cf1
]Neureisch, ~now Nov;aaa ;akRi;akse, [sm1756[nm; [cf2]d [cf1]Vienna, [sm1808[nm)
. Moravian ~composer and violinist. Studied Vienna. Violinist ~in Esterh;aaaza o
rch. under Haydn. Leader of Vienna ~court opera orch., [sm1790[n
m=n[sm1808[nm. Comp. operas (incl. ~[cf2]Oberon[cf1], [sm1789[nm), ballets, [sm5
1[nm syms., [sm60[nm str. qts., [sm25[nm ~str. quintets, and many other works. C
ond. f.p. ~of Beethoven's [sm1[nmst Sym., Vienna, [sm2[nm April [sm1800[nm.[cm~W
reckers, The. [fy75,1]Opera in [sm3[nm acts by Ethel Smyth ~to lib. by `H. B. La
forestier' (Harry Brewster). ~Comp. [sm1903[nm=n[sm4[nm. Prod. Leipzig, [sm1906[
nm; London ~[sm1909[nm.[cm~Wright, Denis [fy75,1]([cf2]b [cf1]London, [sm1895[nm
; [cf2]d[cf1] [sm1967[nm). Eng. ~composer, cond., and adjudicator. Studied RCM.
~Head of BBC brass-band broadcasts from [sm1936[nm. ~Author of books on brass-ba
nd scoring. Composer ~and arranger for brass band. O.B.E. [sm1959[nm.[cm~Wright,
 Kenneth [fy75,1](Anthony) ([cf2]b [cf1]East Tuddenham, ~Norfolk, [sm1899[nm; [c
f2]d [cf1]London, [sm1975[nm). Eng. composer ~and administrator. [sm1[nmst BBC d
ir. in Manchester ~[sm1922[nm, ass. to Percy Pitt [sm1923[nm=n[sm30[nm and Boult
 [sm1930[nm=n~[sm7[nm at BBC, ass. dir. of mus. [sm1937[nm, over
seas mus. ~dir. [sm1940[nm=n[sm3[nm, dep. dir. of mus. [sm1944[nm=n[sm7[nm. Head
 of ~TV Mus. [sm1951[nm=n[sm9[nm. Composer of mus. for brass ~bands, films, song
s, etc. O.B.E. [sm1953[nm.[cm~Wu, Enloc [fy75,1](Ruth) ([cf2]b [cf1]Shanghai, [s
m1946[nm). Chinese ~pianist. Studied Hongkong and RCM. London ~d;aaebut [sm1967[
nm. Taught at RCM from [sm1970[nm. World ~tours as recitalist.[cm~W;auuhrer, Fri
edrich [fy75,1]([cf2]b [cf1]Vienna, [sm1900[nm; [cf2]d[cf1] Mann~~[chheim, [sm19
75[nm). Austrian pianist and teacher. Studied ~at Vienna Acad. [sm1915[nm=n[sm20
[nm (pf. with F. Schmidt, ~comp. with Marx, cond. with L;auowe). Toured ~Europe
and USA as concert pianist [sm1923[nm. Taught ~pf. at Vienna Acad. [sm1922[nm=n[
sm32[nm, [sm1939[nm=n[sm45[nm, Mann-[fj~heim [sm1934[nm=n[sm6[nm, [sm1952[nm=n[s
m8[nm, Kiel [sm1936[nm=n[sm9[nm, Salzburg ~Mozarteum [sm1948[nm=n[sm51[nm, Munic
h [sm1955[nm=n[sm68[nm. One of ~best and most influential of teachers. Gave many
 ~perfs. of pf. works by Schoenberg, Berg, Webern, ~Bart;aaok, a
nd Stravinsky. Comp. str. qts., pf. pieces, ~and songs.[cm~W;auullner, Franz [fy
75,1]([cf2]b [cf1]M;auunster, [sm1832[nm; [cf2]d [cf1]Braunfels, ~[sm1902[nm). G
er. cond., composer, and pianist. Studied ~Brussels, Cologne, Leipzig, and Munic
h with, ~among others , Brahms, Joachim, and Jahn. Prof. ~of pf., Munich Cons. [
sm1856[nm. Mus. dir., Aix-la-~Chapelle [sm1858[nm. Court cond., Munich, [sm1864[
nm, ~succeeding B;auulow [sm1871[nm as cond. of Munich ~Opera. Cond. premi;agere
s of [cf2]Das [fy45,1]*[fy75,2]Rheingold[cf1], Mun~~ich [sm1869[nm, and [cf2]Die
 [fy45,1]*[fy75,2]Walk;auure[cf1], Munich [sm1870[nm. Court ~cond. and dir. of C
ons., Dresden, [sm1877[nm. Dir., ~Cologne Cons. from [sm1884[nm and cond. of G;a
uurzenich ~concerts there. Cond. f.ps. of R. Strauss's [cf2]Till ~Eulenspiegel [
cf1]([sm1895[nm) and [cf2]Don Quixote [cf1]([sm1898[nm). Cond. ~early Ger. perfs
. of works by Elgar. Wrote choral ~and chamber mus.[cm~W;auullner, Ludwig [fy75,
1]([cf2]b [cf1]M;auunster, [sm1858[nm; [cf2]d [cf1]Berlin, ~[sm1
938[nm). Ger. ten., also bar., and actor, son of Franz ~W;auullner. Studied phil
ology Munich and Berlin. ~Taught at M;auunster Acad. [sm1884[nm=n[sm7[nm. Studie
d mus. ~Cologne [sm1887[nm=n[sm9[nm. Actor at Mannheim [sm1889[nm=n[sm95[nm. ~Li
eder singer from [sm1896[nm. Sang Elgar's Gerontius ~in D;auusseldorf [sm1901[nm
 and [sm1902[nm and at f.p. in ~London [sm1903[nm. Toured USA [sm1908[nm and [sm
1909[nm=n[sm10[nm. ~Gave f.p. in NY of Mahler's [cf2]Kindertotenlieder[cf1], ~co
nd. Mahler, [sm1910[nm.[cm~Wulstan, David [fy75,1]([cf2]b [cf1]Birmingham, [sm19
37[nm). Eng. ~cond. and teacher. Studied Oxford Univ. Cond., ~The Clerkes of Oxe
nford, specialists in Early and ~Tudor Eng. mus. Comp. carols.[cm~Wunderhorn, De
s Knaben. [fy75,1]See [cf2]Knaben Wunder~~horn, Des[cf1].[cm~Wunderlich, Fritz [
fy75,1]([cf2]b [cf1]Kusel, [sm1930[nm; [cf2]d [cf1]Heidelberg, ~[sm1966[nm). Ger
. ten. Studied with Margarete von ~Wintenfeldt, [sm1950[nm=n[sm5[nm. D;aaebut as
 soloist with ~Freiburg Bach Choir, [cf2]c[cf1].[sm1951[nm. Oper
a d;aaebut Frei~~burg [sm1954[nm as Tamino in [cf2]Zauberfl;auote[cf1]. Sang wit
h ~Stuttgart Opera [sm1955[nm=n[sm8[nm, Frankfurt [sm1958[nm=n[sm60[nm, ~[PN799,
0,0,R,I0]Munich Opera from [sm1960[nm and also at Vienna ~from [sm1962[nm, becom
ing recognized as fine Mozart ~ten. Aix-en-Provence Fest. [sm1958[nm, Salzburg F
est. ~[sm1959[nm. CG d;aaebut [sm1965[nm (Don Ottavio), Edinburgh ~Fest. [sm1966
[nm. Created role of Tiresias in Orff's ~[cf2]Oedipus der Tyrann [cf1]([sm1958[n
m). Outstanding exponent ~of Henry in Strauss's [cf2]Die schweigsame Frau [cf1]a
nd ~Leukippos in [cf2]Daphne[cf1]. Recorded ten. songs of ~Mahler's [cf2]Das Lie
d von der Erde [cf1]with Klemperer. ~Superb singer of operetta. Died in fall, at
 height ~of recognition as one of greatest of Ger. lyric tens. ~for many years.[
cm~Wunsch [fy75,1](Ger.). Wish. So [cf2]Nach Wunsch, [cf1]according ~to one's wi
sh, same as [cf2]ad libitum[cf1].[cm~Wuorinen, Charles [fy75,1]([cf2]b [cf1]NY,
[sm1938[nm). Amer. com~~[chposer, cond., and pianist. Studied Co
lumbia Univ. ~(comp. with Luening, Ussachevsky, and Beeson). ~Taught at Columbia
 [sm1964[nm=n[sm71[nm and Mannes Coll. ~from [sm1971[nm. Co-founder Group for Co
ntemporary ~Mus., [sm1962[nm. Prolific composer of works in many ~genres, incl.
elec. Tonal up to [cf2]c[cf1].[sm1960[nm, then [sm12[nm-~note technique as propo
unded by  Babbitt. Works ~incl. syms., [cf2]Symphonia sacra, Evolutio transcript
a ~[cf1]for chamber orch. ([sm1961[nm), Octet, [sm2[nm pf. concs., [sm4[nm ~cham
ber concs., str. trio, [cf2]Time's Encomium [cf1](elec., ~[sm1969[nm), [cf2]Cont
rafactum[cf1] for orch. ([sm1969[nm), cantata [cf2]A ~Message to Denmark Hill [c
f1]([sm1970[nm), str. qt. ([sm1971[nm), ~tuba conc., masque [cf2]The Politics of
 Harmony[cf1] ([sm1968[nm), ~conc. for amplified vn., [cf2]The W. of Babylon[cf1
] ([sm1975[nm), ~baroque burlesque for [sm8[nm soloists, narrator, and ~orch., S
ym. for [sm24[nm perc. ([sm1976[nm), pf. sonata No. [sm2[nm ~([sm1976[nm).[cm~Wu
rlitzer. [fy75,1]Amer. firm of org.-builders founded ~[sm1856[nm
, particularly assoc. with th. and cinema ~orgs. of period [sm1920[nm=n[sm40[nm.
 Now specializes in elec. ~orgs. and electric pfs.[cm~Wurm, Marie [fy75,1]([cf2]
b [cf1]Southampton, [sm1860[nm; [cf2]d [cf1]Munich, ~[sm1938[nm). Eng. pianist,
composer, and teacher. ~Studied Stuttgart Cons. with Clara Schumann, ~Joachim, a
nd Raff, then at RAM with Sullivan, ~winning Mendelssohn Prize. Sister of Mathil
de ~and Adela [fy45,1]*[fy75,1]Verne but retained orig. spelling of ~name. Forme
d women's orch., Berlin [sm1899[nm. Wrote ~pf. conc., opera, str. qt., and vc. s
onata. Retired to ~Ger. to teach in Berlin and Munich.[cm~Wuthering Heights. [fy
75,1]Opera (lyric drama) in prol. ~and [sm4[nm acts by [fy45,1]*[fy75,1]Herrmann
 to lib. by Lucille ~Fletcher adapted from Emily Bront;aue's novel ~([sm1847[nm)
. Comp. [sm1940[nm=n[sm52[nm. F.p. Portland, Oregon, ~[sm1982[nm. Also opera by
Carlisle [fy45,1]*[fy75,1]Floyd ([sm1958[nm).[cm~Wyk, Arnold van[fy75,1] ([cf2]b
 [cf1]Calvinia, Cape Province, ~[sm1916[nm; [cf2]d[cf1] Cape Tow
n, [sm1983[nm). S. African composer. ~Studied Stellenbosch Univ. and RAM. On BBC
 ~staff [sm1939[nm=n[sm44[nm. Taught at Cape Town Univ. [sm1949[nm=n~[sm60[nm, U
niv. of Stellenbosch from [sm1961[nm. Works incl. ~[sm2[nm syms., [cf2]Christmas
 Cantata, [sm5[nm Elegies [cf1]for str. qt., ~song-cycle, pf. mus.[xm[cm~[j1]Wyn
er, Yehudi [fy75,1]([cf2]b [cf1]Calgary, [sm1929[nm). Canadian-~born Amer. compo
ser, pianist, cond., and teacher. ~Studied Juilliard Sch., Yale and Harvard (wit
h ~Piston). Taught in NY before joining Yale mus. ~faculty [sm1964[nm=n[sm77[nm.
 Mus. dir., Turnau Opera Co., ~Woodstock, NY, [sm1962[nm=n[sm4[nm. Wrote liturgi
cal mus. ~for Jewish synagogue, also [cf2]Partita [cf1]for pf., pf. ~sonata, [cf
2]Serenade [cf1]for [sm7[nm instr., [cf2]Passover Offering, ~Torah Service [cf1]
for ch., [sm4[nm brass, and db., [cf2]Da camera ~[cf1](pf. conc.), [cf2]Cadenza!
 [cf1]cl., hpd.[cm~Wynne, David [fy75,1]([cf2]b [cf1]Hirwaun, Glam., [sm1900[nm;
 [cf2]d[cf1] ~Pencoed, Mid-Glamorgan, [sm1983[nm). Welsh com~~po
ser. Studied Univ. Coll., Cardiff, and Bristol ~Univ. Taught comp. at Cardiff Co
ll. of Mus. and ~Drama from [sm1961[nm. Works incl. [sm5[nm syms., [sm2[nm pf. ~
concs., vn. conc., va. conc., str. qts., sonatas, song-~cycles, etc.[cm~Wyss, So
phie [fy75,1]([cf2]b [cf1]Neuveville, [sm1897[nm; [cf2]d [cf1]Bognor ~Regis, [sm
1983[nm). Swiss sop. Settled in Eng. [sm1925[nm. ~Gave f.ps. of several works by
 Brit. composers, ~incl. Britten's [cf2]Our Hunting Fathers [cf1]([sm1936[nm) an
d [cf2]Les ~Illuminations [cf1]([sm1940[nm).[cm~Wyttenbach, J;auurg [fy75,1]([cf
2]b [cf1]Berne, [sm1935[nm). Swiss pianist, ~cond., and composer. Studied Berne
Cons. [sm1948[nm=n~[sm55[nm (comp. with Veress), Paris Cons. [sm1955[nm=n[sm7[nm
 (pf. ~with Lef;aaebure), and Lower Saxony Sch. of Mus. ~[sm1958[nm=n[sm9[nm. Ta
ught Biel Mus. Sch., [sm1958[nm=n[sm67[nm, Berne ~Cons. [sm1960[nm=n[sm7[nm, and
 Basle Acad. of Mus. from ~[sm1967[nm. Specialist in contemp. mus. as cond. and
~pianist. Comps., some in aleatory and serial ~techniques, incl.
 [cf2]Divisions [cf1]for pf. and [sm9[nm str., ~[cf2]Nachspiel [cf1]for [sm2[nm
pf., [cf2]Contests [cf1]for musicians, [cf2]Ex;aaecution ~ajourn;aaee [cf1](=+=+
=+Jokes for musicians).[cm~Wyzewa [fy75,1](Wyzewski), [fy65][cf3]Th;aaeodore de
[fy75,1](Teodor de) ~([cf2]b [cf1]Kalusik, [sm1862[nm; [cf2]d [cf1]Paris, [sm191
7[nm). Fr. writer and ~mus. critic. Taken to Fr. [sm1869[nm. Founded [cf2]Revue
~Wagn;aaerienne[cf1], Paris [sm1884[nm, which was important in ~symbolist moveme
nt. Authority on Mozart, ~writing in collab. with Georges de Saint-Foix the ~fir
st [sm2[nm vols. of a [sm5[nm-vol. biography (pubd. Paris ~[sm1908[nm=n[sm9[nm).
 Ed. [sm20[nm of Clementi's pf. sonatas ([sm1916[nm).[cm~[j4]~[xp[u20]~~[te~




[do25][j99]~~~~~~153842_XY[sm01[nm[ep~[ep~[u1]~~~~153842[cmCONCISE OXFORD ~DICT.
 OF MUSIC[cmXY[sm01[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm[cm[sm1
2[nm[cm~~[sm001[nm[cm~GC[cm5[cm8/10/84[cmU1[cm~~~[PN800,0,0,L,I0][ap[j3]~X[cm~~[
j1]Xenakis, Iannis [fy75,1]([cf2]b [cf1]Braila, Romania, [sm1922[nm). ~Romanian-
born Gr. composer (Fr. nat. since ~[sm1965[nm). Parents moved back to Gr. in [sm
1932[nm. Began ~mus. study [sm1934[nm with Kundurov. Graduated ~from Athens Poly
technic [sm1947[nm with engineering ~degree. Went to Paris [sm1947[nm, studying
with ~Honegger and Milhaud, later with Messiaen ~[sm1950[nm=n[sm1[nm. Also studi
ed in Switz. with Scherchen. ~Worked as architect with Le Corbusier [sm1948[nm=n
[sm59[nm; ~designed Philips pavilion for [sm1958[nm Brussels ~Exhibition. Est. S
chool of Mathematical and ~Automated Music, Paris [sm1966[nm and at Indiana ~Uni
v. where he also taught after [sm1967[nm. Although ~he has used elecs., most of
Xenakis's works employ ~traditional human forces, but embody his
 concept ~of [fy45,1]*[fy75,2]stochastic [cf1]music. This mathematical term, as
~applied to mus., is a theory of probability: that ~the results of chance will r
each a determinate ~end. In contrast to the [fy45,1]*[fy75,1]aleatory processes
of ~[fy45,1]*[fy75,1]Cage and others, Xenakis works to retain the ~composer's do
mination of his material, and ~calculates the events in his mus. himself or by ~
means of a computer, e.g. speeds of glissandi, ~density of sonorities, etc. Xena
kis converts the ~printout from the computer either into a score ~for convention
al instr. or into an elec. comp. In [sm2[nm ~works, [cf2]Duel [cf1]and [cf2]Stra
t;aaegie, [cf1]he used his `theory of ~games' to introduce an aleatory element i
nto ~perf., but the rules of the games are strictly pre-~determined. Prin. works
:[xm[cm~[j2][smballets[nm: [fy75,2]Kraanerg, [cf1]orch. and tape ([sm1968[nm=n[s
m9[nm); ~[cf2]Antikhthon[cf1] ([sm1971[nm).[ep~[smtheatre music[nm: [cf2]Orestei
a, [cf1]ch. and chamber ens. ~([sm1965[nm=n[sm6[nm).[ep~[smorch[
nm: [cf2]Metastasis [cf1](After-standstill), [sm61[nm players ~([sm1953[nm=n[sm4
[nm); [cf2]Pithoprakta, [cf1][sm50[nm players ([sm1955[nm=n[sm6[nm); ~[cf2]Achor
ipsis, [cf1][sm21[nm players ([sm1956[nm=n[sm7[nm); [cf2]ST/[sm10[nm[cf1], [sm10
[nm players ~([sm1956[nm=n[sm62[nm); [cf2]Atr;aaees, [cf1][sm10[nm instr. ([sm19
58[nm=n[sm62[nm); [cf2]Analo~~giques A and B, [cf1]str., tape ([sm1959[nm); [cf2
]Duel, [cf1][sm2[nm orch. ~([sm1959[nm); [cf2]Syrmos, [cf1][sm18[nm str. ([sm195
9[nm); [cf2]ST/[sm48[nm, [cf1][sm48[nm instr. ~([sm1959[nm=n[sm62[nm); [cf2]Stra
t;aaegie, [cf1][sm2[nm orch. and [sm2[nm cond. ([sm1959[nm=n~[sm62[nm); [cf2]Akr
ata, [cf1][sm16[nm wind instr. ([sm1964[nm=n[sm5[nm); [cf2]Terr;afetek~~torh, [c
f1]orch. deployed among audience ([sm1966[nm); ~[cf2]Polytope [cf1](Many-placed)
, [sm4[nm small orch. ([sm1967[nm); ~[cf2]Nomos gamma, [cf1]orch. deployed among
 audience ~([sm1967[nm=n[sm8[nm); [cf2]Synaphai, [cf1]pf., orch. ([sm1969[nm); [
cf2]Eridanos[cf1], [sm8[nm ~brass, [sm10[nm str. ([sm1973[nm); [
cf2]Erikhthon[cf1], pf., orch. ([sm1974[nm); ~[cf2]Noomena[cf1] ([sm1975[nm); [c
f2]Empreintes[cf1] ([sm1975[nm); [cf2]Ionchaies[cf1] ~([sm1977[nm); [cf2]Palimps
est[cf1], pf., ens. ([sm1982[nm).[ep~[smtape[nm: [cf2]Diamorphoses[cf1], [sm2[nm
-track ([sm1957[nm=n[sm8[nm); [cf2]Conret PH[cf1], ~[sm2[nm-track([sm1958[nm); [
cf2]Analogique B[cf1], [sm2[nm-track ([sm1958[nm=n[sm9[nm); ~[cf2]Orient=nOccide
nt[cf1], [sm2[nm-track ([sm1960[nm); [cf2]The Thessaloniki ~World Fair[cf1], [sm
1[nm-track ([sm1961[nm); [cf2]Bohor[cf1], [sm4[nm-track ([sm1962[nm); ~[cf2]Hibi
ki-hana-ma[cf1], [sm12[nm-track ([sm1969[nm=n[sm70[nm); [cf2]Persepolis[cf1], [s
m8[nm-~track ([sm1971[nm); [cf2]Polytope de Cluny[cf1], [sm8[nm-track, lighting
~([sm1972[nm); [cf2]Polytope II[cf1], tape, lighting ([sm1974[nm); [cf2]Bohor ~I
I[cf1], [sm4[nm-track ([sm1975[nm); [cf2]Diatope[cf1], [sm4[nm or [sm8[nm-track
([sm1977[nm).[ep~[smchamber and ens.[nm: [cf2]ST/[sm4[nm[cf1], str. qt. ([sm1956
[nm=n[sm62[nm); [cf2]ST/~[sm10[nm[cf1],[fjcl., bass cl., [sm2[nm
 hn., hp., perc., str. qt. ([sm1956[nm=n~[sm62[nm);[fj[cf2]Morsima-Amorsima[cf1]
, pf., vn., vc., db. ([sm1956[nm=n~[sm62[nm); [cf2]Amorsima-Morsima[cf1], cl., b
ass cl., [sm2[nm hn., hp.,[fjtpt., tb., [sm2[nm perc., vn., vc. ([sm1962[nm); [c
f2]Atr;aaees[cf1], fl., cl., ~bass cl., hn., tpt., tb., [sm2[nm perc., vn., vc.
([sm1962[nm); ~[cf2]Herma[cf1], pf. ([sm1960[nm=n[sm4[nm); [cf2]Eonta[cf1], [sm2
[nm tpt., [sm3[nm tb., pf. ~([sm1963[nm=n[sm4[nm); [cf2]Nomos Alpha[cf1], vc. ([
sm1965[nm=n[sm6[nm); [cf2]Anaktoria[cf1], ~cl., bn., hn., str. qt., db. ([sm1969
[nm); [cf2]Persephassa[cf1], [sm6[nm ~perc. ([sm1969[nm); [cf2]Aroura[cf1], [sm1
2[nm str. ([sm1971[nm); [cf2]Charisma[cf1], ~cl., vc. ([sm1971[nm); [cf2]Linaia-
Agon[cf1], hn., tb., tuba ([sm1972[nm); ~[cf2]Mikka[cf1], vn. ([sm1972[nm); [cf2
]Evryali[cf1], pf. ([sm1974[nm); [cf2]Gmeeoorh[cf1], ~org. ([sm1974[nm); [cf2]N'
shima[cf1], [sm2[nm mez., [sm2[nm hn., [sm2[nm tb., vc. ~([sm1975[nm); [cf2]Phle
gra[cf1], [sm11[nm instr. ([sm1975[nm); [cf2]Psappha[cf1], perc.
 ~([sm1975[nm); [cf2]Theraps[cf1], db. ([sm1975[nm=n[sm6[nm); [cf2]Epe;aui[cf1],
 cor anglais, ~cl., tpt., [sm2[nm tb., db. ([sm1976[nm); [cf2]Khoa;aui[cf1], hpd
. ([sm1976[nm); ~[cf2]Retours-Windungen[cf1], [sm12[nm vc. ([sm1976[nm); [cf2]Dm
aathen[cf1], ob., ~perc. ([sm1976[nm); [cf2]Kottos[cf1], vc. ([sm1977[nm); [cf2]
Tetras[cf1], str. qt. ~([sm1983[nm).[ep~[smchoral[nm: [cf2]Polla ta dhina[cf1],
children's vv., wind, perc. ~([sm1962[nm); [cf2]Hiketides[cf1], [sm50[nm women's
 vv., [sm10[nm instr. or ~orch. ([sm1964[nm); [cf2]Oresteia[cf1], ch., ens. ([sm
1965[nm=n[sm6[nm); [cf2]Medea[cf1], ~male vv., orch. ([sm1967[nm); [cf2]Nuits[cf
1], unacc. ([sm1967[nm=n[sm8[nm); ~[cf2]Cendr;aaees[cf1], ch., orch. ([sm1973[nm
=n[sm4[nm); [cf2]H;aael;agene[cf1], mez., ~women's vv., [sm2[nm cl. ([sm1977[nm)
; [cf2]Akanthos[cf1], sop., ens. ~([sm1977[nm).[cm~[j1]Xylophone [fy75,1](Gr.).
Wood sound. ([sm1[nm) Perc. instr. ~consisting of graduated tuned wooden bars, a
rr. ~as on pf. kbd., and played by being struck with ~small hard
 or soft hammers held in the hands. ~Compass from middle C upwards for [sm4[nm o
ctaves. ~Orig. found in Africa and in Javanese orch. in ~[sm14[nmth cent. First
mentioned in Europe in [sm1511[nm as ~`wooden clatter', later being known as str
aw-~fiddle ([cf2]Strohfiedel[cf1]) because the bars lay on straw. ~First used in
 orch. [sm1874[nm, by Saint-Sa;auens in [cf2]Danse ~macabre, [cf1]its sound bein
g particularly apt for ~representation of rattling skeletons. Since then ~regula
r feature of perc. section, most [sm20[nmth-cent. ~composers making use of it, e
.g. Mahler in [sm6[nmth ~Sym., Puccini in [cf2]Madama Butterfly[cf1], Strauss in
 ~[cf2]Salome[cf1], Walton in [cf2]Belshazzar's Feast, [cf1]Stravinsky, ~Vaughan
 Williams, etc.[ep~^([sm2[nm) Perc. organ stop of [sm8[nm;po pitch, played elect
rically ~to duplicate sound of xylophone.[cm~Xylorimba. [fy75,1]Perc. instr.=mco
mbination of xylo~~phone and [fy45,1]*[fy75,1]marimba=mwith compass of about [sm
5[nm ~octaves.[xm[cm~[PN801,0,0,R,I0][np[j3]~Y[cm~~[j1]Yamash'ta
, Stomu [fy75,1](Yamashita, Tsutomu) ([cf2]b ~[cf1]Kyoto, [sm1947[nm). Japanese
percussionist and com~~poser. Studied Kyoto Music Acad. and Art Acad. ~College o
f Mus., Boston. Percussionist in Kyoto ~P.O. and Osaka P.O. [sm1961[nm. D;aaebut
 as soloist in ~Milhaud conc. with Osaka P.O. [sm1963[nm. Played with ~jazz quin
tet in USA. Aldeburgh Fest. [sm1970[nm when ~he scored success in Henze's [cf2]E
l Cimarr;aaon[cf1]. Remark~~able virtuoso perf. Founder-member of Red ~Buddha Th
. Composer of film scores and works ~for own perf.[cm~Yaniewicz. [fy75,1]See [cf
2]Janiewicz, Feliks.[cm~Yankee Doodle. [fy75,1]Popular Amer. tune with ~confused
 history of both words and mus., the [sm2[nm ~words of the title being still une
xplained as to ~orig. Earliest printed version of tune, under this ~title, in Vo
l. I of Aird's [cf2]Selection of Scotch, English, ~Irish, and Foreign Airs for t
he Fife, Violin, or German ~Flute [cf1](Glasgow, [cf2]c[cf1].[sm1775[nm). Many s
ets of humorous ~or nonsense words fitted to it since. Anton ~Ru
binstein wrote pf. variations on tune, and ~Vieuxtemps's [cf2]Caprice burlesque,
 [cf1]vn. and pf., is ~based on it. It is used, altered, in theme in finale ~of
Dvo;akr;aaak's [cf2]New World [cf1]Sym.[cm~Yansons, Arvid [fy75,1]([cf2]b [cf1]L
iepaya, Latvia, [sm1914[nm; [cf2]d[cf1] Manchester, [sm1984[nm). Latvian ~cond.
Studied vn. D;aaebut as cond., Riga ~[sm1944[nm in ballet. Assoc. cond., Leningr
ad P.O. ~from[sm1948[nm, became joint cond. with ~Mravinsky. Chief guest cond.,
Hall;aae Orch. from ~[sm1965[nm. His son Mariss is prin. cond. Oslo P.O.[cm~Yard
umian, Richard [fy75,1]([cf2]b [cf1]Philadelphia, [sm1917[nm). ~Amer. composer,
of Armenian parentage. Mainly ~self-taught, but helped by Virgil Thomson, ~Stoko
wski, and Ormandy. Works incl. syms., vn. ~conc., pf. conc., str. qt., [cf2]Arme
nian Suite, Cantus ~animus et Cordis [cf1]for str., [cf2]Chorale Prelude, [cf1]e
tc.[cm~Yeomen of the Guard, The, or The Merryman ~and his Maid. [fy75,1]Operetta
 by Sullivan to lib. by ~Gilbert. Prod. London and NY [sm1888[nm
.[cm~Yepes, Narciso [fy75,1]([cf2]b [cf1]Lorca, [sm1927[nm). Sp. guitarist. ~Stu
died Valencia, later with Enescu and Giese~~[chking. D;aaebut Madrid [sm1947[nm.
 Uses (since [sm1961[nm) [sm10[nm-~str. guitar of his own creation. Specialist i
n Sp. ~mus. from [sm15[nmth to [sm20[nmth cents. Has recorded ~complete lute wor
ks of Bach.[cm~Yevgeny Onyegin [fy75,1](Tchaikovsky). See [cf2]Eugene ~Onegin.[c
m~Yodel. [fy75,1]Eng. spelling of [cf2]Jodel. [cf1]See [cf2]Jodelling.[cm~Yolant
a [fy75,1](Iolanta). Lyric opera in one act by ~Tchaikovsky to lib. by M. Tchaik
ovsky after V. ~Zotov's trans. of H. Hertz's [cf2]King Ren;aae's Daughter[cf1].
~Comp. [sm1891[nm. F.p. St Petersburg [sm1892[nm.[cm~Yon, Pietro Alessandro [fy7
5,1]([cf2]b [cf1]Settimo Vittone, ~[sm1886[nm; [cf2]d [cf1]NY, [sm1943[nm). It.
organist and composer. ~Studied Milan Cons., then studied pf. in Venice ~and Rom
e. Deputy organist at Vatican. Organist, ~St Patrick's Cath., NY. Works incl. ma
sses, motets, ~org. sonatas, and [sm10[nm [cf2]Divertimenti [cf1
]for org.[cm~Yonge, Nicholas [fy75,1]([cf2]b [cf1]Lewes, Sussex, ? ; [cf2]d [cf1
]Lon-[fj~don, [sm1619[nm). Eng. musician, possibly a singer in ~choir of St Paul
's Cath., London. Introduced It. ~madrigal into Eng. when he published [cf2]Musi
ca ~transalpina [cf1]([sm2[nm vols., [sm1588[nm and [sm1597[nm), coll. of It. ~m
adrigals, by Marenzio, Palestrina, Lassus, and ~others, in Eng. trans. [sm1[nmst
 vol. contained [sm57[nm, [sm2[nmnd ~had [sm24[nm.[cm~Youll, Henry [fy75,1]([cf2
]b[cf1] ?Newark; [cf2]fl. [cf1][sm1608[nm). Eng. ~musician of whom little is kno
wn except that he ~pubd. a vol. of [sm3[nm-part canzonets and balletts, [sm1608[
nm.[cmYoumans, Vincent [fy75,1]([cf2]b [cf1]NY, [sm1898[nm; [cf2]d [cf1]Denver,
~[sm1946[nm). Amer. composer. Worked as mus. pub~~lisher [sm1918[nm. Wrote succe
ssful musical comedies ~from [sm1921[nm, having enormous success on both ~sides
of Atlantic with [cf2]No, No, Nanette [cf1]([sm1924[nm). ~Illness forced retirem
ent [sm1933[nm.[cm~Young, [fy75,1](Basil) [fy65,3]Alexander [fy7
5,1]([cf2]b [cf1]London, [sm1920[nm). Eng. ~ten. Studied RCM and in Vienna. Oper
a d;aaebut in ~Strauss's [cf2]Ariadne auf Naxos, [cf1]Edinburgh [sm1950[nm. ~Wid
e repertory in opera, Lieder, and songs. ~Chosen by Stravinsky to sing Tom Rakew
ell in ~recording of [cf2]The Rake's Progress[cf1], [sm1964[nm (he had ~sung the
 role in [sm1953[nm in work's f.p.=mBBC studio ~perf.=min Eng.). Head of Sch. of
 Vocal Studies, ~RNCM, from [sm1973[nm. Fine singer of Handel opera ~and Ferrand
o in [cf2]Cos;agi fan tutte. [cf1]Founder and cond., ~Jubilate Choir, Manchester
, [sm1977[nm.[cm~Young, Douglas [fy75,1]([cf2]b [cf1]London, [sm1947[nm). Eng. c
omp;Dh[fj~oser. Studied RCM. [sm1966[nm=n[sm70[nm, comp. with A. ~Milner. Wrote
[sm2[nm ballets, [cf2]Pasiphae [cf1]and [cf2]Charlotte ~Bront;aue, [cf1]for Roya
l Ballet. Has also written works ~for schools and amateurs. Formed his own ~ense
mble, Dreamtiger, [sm1973[nm. Influenced by ~Carter and Boulez. Prin. works:[xm[
cm~[j2][smorch[nm: [cf2]Sinfonietta[cf1] ([sm1968[nm=n[sm70[nm);
 [cf2]Departure[cf1] ([sm1970[nm); ~[cf2]Aubade[cf1] ([sm1972[nm=n[sm3[nm); pf.
concertino ([sm1972[nm=n[sm4[nm); [cf2][sm3[nm ~Regions from Terrain[cf1] ([sm19
74[nm); [cf2]La lugubre gondola ~(after Liszt)[cf1], vc., small orch. ([sm1974[n
m); [cf2]Sea Change[cf1] ~([sm1976[nm); [cf2]Circus Band Et Al (after Ives)[cf1]
 ([sm1977[nm); ~[cf2]Virages=mRegion I[cf1], vc. conc. ([sm1978[nm); [cf2]Willia
m Booth ~Enters Heaven (after Ives)[cf1] ([sm1980[nm); [cf2][sm2[nmnd Night ~Jou
rney Under the Sea[cf1], va., [sm11[nm str. ([sm1980[nm); [cf2][sm3[nmrd ~[PN802
,0,0,L,I0]Night Journey Under the Sea[cf1] ([sm1980[nm=n[sm2[nm); [cf2]Rain, Ste
am, ~and Speed[cf1] ([sm1981[nm).[ep~[smballets[nm: [cf2]Pasiphae[cf1] ([sm1969[
nm); [cf2]Charlotte Bront;aue[cf1] ([sm1973[nm=n~[sm4[nm).[ep~[smchoral[nm: [cf2
]The Listeners[cf1] (cantata, text by De La ~Mare), narrator, sop., women's vv.,
 chamber ~orch. ([sm1967[nm); [cf2]Of Birds and Beasts[cf1], ch. and orch. ~([sm
1970[nm); [cf2]Sir Patrick Spens[cf1], ch. and orch. (or [sm2[nm
 pf.) ~([sm1970[nm); [cf2]Canticle[cf1] (Auden), unacc. ([sm1970[nm=n[sm1[nm); [
cf2]Vers ~d'un voyage vers l'hiver[cf1], [sm12[nm solo vv. ([sm1975[nm=n[sm7[nm)
; [cf2]Mrs ~Blow and Her Animals[cf1], narrator, sop., women's ~vv., small orch.
 ([sm1975[nm=n[sm6[nm); [cf2]Care Charmer Sleep[cf1], ~unacc. ([sm1972[nm=n[sm6[
nm); [cf2][sm2[nm Carols[cf1], women's vv. ([sm1977[nm); ~[cf2]Journey Between T
wo Worlds[cf1], ch., rock group, ~steel band, orch. ([sm1979[nm); [cf2]The Hunti
ng of the Snark[cf1], ~narrator, ch., pf., small orch. ([sm1981[nm=n[sm2[nm).[ep
~[smvocal[nm: [cf2][sm4[nm Nature Songs[cf1], v., pf. ([sm1964[nm=n[sm77[nm); [c
f2]To ~Blossoms[cf1], mez. or bar., pf. ([sm1964[nm); [cf2]Caterpillar ~Scene fr
om `Alice'[cf1], narrator, sop., pf. ([sm1968[nm); [cf2]Not ~Waving But Drowning
[cf1] (S. Smith song-cycle), sop., ~pf. ([sm1970[nm); [cf2]Landscapes and Absenc
es[cf1], sop., fl. ~([sm1972[nm=n[sm3[nm); [cf2]Realities[cf1] (Yeats), sop., en
s. ([sm1973[nm=n[sm4[nm); ~[cf2]Poem [sm66[nm[cf1], sop., pf., p
erc. ([sm1975[nm); [cf2][sm3[nm Scottish Nursery ~Rhymes[cf1], sop., cl. ([sm198
2[nm); [cf2]Chamber Music[cf1] (=+=+Joyce), ~sop., guitar ([sm1976[nm=n[sm82[nm)
.[ep~[smchamber music[nm: Sonata for str. trio ([sm1968[nm); [cf2]Essay[cf1], ~s
tr. qt. ([sm1971[nm); [cf2]Compasses[cf1], cl., str. trio ([sm1972[nm=n[sm7[nm);
 ~[cf2]Studies for Virages[cf1], vc. ([sm1974[nm); [cf2]Enfantines (after ~Satie
)[cf1], vn. or fl., vc. ([sm1976[nm); [cf2]Croquis et Agaceries ~(after Satie)[c
f1], fl., vc., pf. ([sm1976[nm); [cf2][sm10[nm Pr;aaeludes de la ~Porte H;aaeroi
que du Ciel[cf1] , vc., pf. ([sm1977[nm); [cf2]Trajet/~inter/lignes[cf1], fl. (p
icc.) ([sm1978[nm=n[sm80[nm); [cf2]Storm in Minia~~ture[cf1], [sm5[nm recorders
([sm1979[nm); [cf2]Slieve League[cf1], vn., vc. ~([sm1979[nm); [cf2]Jeu d';aaecl
air II[cf1], vc., perc. ([sm1980[nm=n[sm2[nm); ~[cf2]Fant;afomes[cf1], str. trio
 ([sm1980[nm=n[sm1[nm); [cf2]Sports et Divertisse~~ments (after Satie)[cf1], nar
rator, cl., str. trio, pf. ~([sm1981[nm); [cf2]Arabesque br;agev
e[cf1], vc. ([sm1982[nm); [cf2]Jeu d';aaeclair I[cf1], ~vc., pf. ([sm1982[nm); [
cf2]Symbols of Longevity[cf1], cl. in B;yh ~([sm1982[nm).[ep~[smpiano[nm: [cf2]L
e Tombeau de Barraqu;aae[cf1] ([sm1974[nm); [cf2]Columba[cf1] ~([sm1977[nm); [cf
2]Dream-landscapes[cf1] ([sm1982[nm).[cm~[j1]Young, La Monte [fy75,1]([cf2]b [cf
1]Bern, Idaho, [sm1935[nm). Amer. ~composer. Studied U.C.L.A. and Berkeley, late
r ~under Stockhausen at Darmstadt, [sm1959[nm. Founded ~Theatre of Eternal Music
, [sm1962[nm. Method of ~composition may be deduced from his directions ~for per
f. of certain of his works: [cf2]Composition [sm1960[nm ~[cf1];Yi[sm2[nm is buil
ding a fire in front of the audience; ;Yi[sm5[nm ~is releasing butterflies; [cf2
]Composition [sm1961[nm [cf1]is `draw ~a straight line and follow it'. Has also
`written' ~[cf2]The Tortoise, his dreams and journeys, [cf1]a continuing ~perf.
(since [sm1964[nm) for vv., mixers, amplifiers, ~drones, and loudspeakers (but n
o tortoise).[cm~Young Lord, The [fy75,1](Henze). See [cf2]Junge
Lord, Der.[cm~Young, Percy [fy75,1](Marshall) ([cf2]b [cf1]Northwich, [sm1912[nm
). ~Eng. author, teacher, organist, and composer. ~Studied Cambridge Univ. and T
rinity Coll., ~Dublin. Mus. adviser, Stoke-on-Trent, [sm1937[nm=n[sm44[nm; ~Wolv
erhampton Coll. of Technology, [sm1944[nm=n[sm65[nm. ~Author of over [sm50[nm bo
oks, subjects incl. Handel, ~Elgar, Sullivan, Sir George Grove, and Vaughan ~Wil
liams. Ed. various letters of Elgar. Arr. suite ~from Elgar's unfinished opera [
cf2]The Spanish Lady. ~[cf1]Wrote va. conc., pf. conc., choral works, etc.[cm~Yo
ung Person's Guide to the Orchestra, The. ~[fy75,1]Orch. work (or for speaker an
d orch.), Op. [sm34[nm, by ~Britten which is sometimes known (against the ~compo
ser's wishes) only by its sub-title [cf2]Variations ~and Fugue on a Theme of Pur
cell. [cf1]Written for ~documentary film ([sm1946[nm), [cf2]The Instruments of t
he ~Orchestra[cf1] (commentary written by Eric [fy45,1]*[fy75,1]Crozier), ~[cf1]
in which narrator described the uses and charac~~teristics of va
rious sections of the orch., these ~being illustrated by Britten's variations. T
heme is ~from Purcell's incidental mus. to the play ~[cf2]Abdelazer [cf1]([sm169
5[nm). F.p. of orch. version, Liverpool ~[sm1946[nm.[cm~Young, Victor [fy75,1]([
cf2]b [cf1]Chicago, [sm1900[nm; [cf2]d [cf1]Palm Springs, ~[sm1956[nm). Amer. co
mposer and violinist. Studied ~Warsaw Cons., playing vn. with Warsaw P.O. ~Retur
ned to Chicago [sm1914[nm. After radio career, ~went to Hollywood [sm1935[nm to
compose film mus. ~Songs incl. [cf2]Sweet Sue, Love Letters, [cf1]and [cf2]India
n ~Summer[cf1].[cm~Young, William [fy75,1]([cf2]d [cf1]Innsbruck, [sm1662[nm). E
ng. ~composer, viol player, and flautist. Worked on ~Continent, in Italy and Aus
tria. At Innsbruck his ~playing enchanted Queen Christina of Sweden in ~[sm1655[
nm. There in [sm1653[nm he pubd. earliest set of ([sm21[nm) ~sonatas for [sm3[nm
, [sm4[nm, and [sm5[nm parts (for [sm3[nm vns., va., bass ~viol, and continuo, t
he Purcell type of [fy45,1]*[fy75,1]trio-~sonata). Returned to E
ng. [sm1661[nm and became ~member of King's band.[cm~Youth's Magic Horn, The. [f
y75,1]See [cf2]Knaben Wunder~~horn, Des.[cm~Yradier, Sebasti;aaan [fy75,1]([cf2]
b [cf1]Sauciego, Alava, [sm1809[nm; [cf2]d ~[cf1]Vitoria, [sm1865[nm). Sp. compo
ser and singing teacher ~at Madrid Cons. Wrote many popular songs, e.g. ~[cf2]La
 paloma [cf1](The Dove). His [cf2]El Arreglito: chanson ~havanaise [cf1]was adap
ted by Bizet as the Haba;amnera ~in Act [sm1[nm of [cf2]Carmen.[cm~Ysa;auye, Eug
;agene [fy75,1]([cf2]b [cf1]Li;agege, [sm1858[nm; [cf2]d [cf1]Brussels, [sm1931[
nm). ~Belg. violinist, cond., and composer. Studied at ~age [sm5[nm with his fat
her, then at Li;agege Cons. with ~Massart, later with Wieniawski (from [sm1873[n
m) and ~Vieuxtemps (from [sm1876[nm). Leader of Bilse's orch., ~Berlin, [sm1879[
nm=n[sm81[nm. Toured Russia and Scandinavia ~with Anton Rubinstein [sm1882[nm. L
ived in Paris ~[sm1883[nm=n[sm6[nm, forming close ties with Franck, Chaus~~son,
Faur;aae, Saint-Sa;auens, and Debussy. Prof. of vn., ~Brussels C
ons., [sm1886[nm=n[sm98[nm. Founded and cond. ~Ysa;auye concerts, Brussels. Lond
on d;aaebut [sm1889[nm. ~Amer. d;aaebut [sm1894[nm. Many tours from [sm1899[nm.
Played ~many new works, incl. Franck vn. sonata (ded. to ~him) and Elgar conc. (
but never in Eng.). Cond. ~Cincinnati S.O. [sm1918[nm=n[sm22[nm. One of most rem
arkable ~virtuosi of his day, with powerful tone. Wrote [sm6[nm ~vn. concs., sev
eral solo vn. sonatas, [cf2]Variations on a ~Theme of Paganini, [cf1]and other p
ieces. Also wrote ~opera in Walloon dialect.[cm~[PN803,0,0,R,I0]Ysa;auye, Th;aae
ophile [fy75,1]([cf2]b [cf1]Verviers, [sm1865[nm; [cf2]d [cf1]Nice, ~[sm1918[nm)
. Belg. pianist and composer, brother of ~Eug;agene [fy45,1]*[fy75,1]Ysa;auye. S
tudied Li;agege Cons. and in Paris ~with Franck. Prof. of pf., Geneva Acad. of M
usic ~[sm1889[nm=n[sm1900[nm. Wrote sym., [cf2]Fantasy on Walloon Songs ~[cf1]fo
r orch., [sm2[nm pf. conc., [cf2]Requiem, [cf1]etc.[cm~Yun, Isang [fy75,1]([cf2]
b [cf1]Tongyong, S. Korea, [sm1917[nm). Korean-~born composer. S
tudied Western mus. in Korea ~and Japan. Studied vc. and theory, Osaka Cons., ~[
sm1935[nm=n[sm7[nm, and harmony and comp., Tokyo Univ. ~[sm1941[nm=n[sm3[nm. Aft
er teaching in Korea, went to Paris ~Cons. [sm1956[nm=n[sm7[nm and Berlin [sm195
8[nm=n[sm9[nm (studying with ~Blacher). Settled in Berlin [sm1963[nm=n[sm7[nm. T
aught in ~Hanover [sm1970[nm=n[sm1[nm and at Berlin Hochschule f;auur ~Musik fro
m [sm1970[nm (prof. [sm1971[nm). Became Ger. ~citizen [sm1971[nm. Scrapped early
 works up to [sm1959[nm ~when he began to use Darmstadt total serial ~procedures
 into which he injected sounds and ~rhythms of Korean mus. Works incl. operas ~[
cf2]Dream of Liu-Tung, Butterfly Widow, [cf1]and [cf2]Geister~~liebe[cf1]; [cf2]
Colloides sonores [cf1]for str. orch., [cf2]Loyang [cf1]for ~chamber ens., [cf2]
Fluctuations [cf1]for orch., vc. conc., fl. ~conc., conc. for ob., hp., small or
ch., str. qts., ~octet, and many pf. pieces.[xm[cm~[j4]~[xp[te~

[do25][j99]~~~~~~153842_Z[sm001[nm[ep~[ep~[u1]~~~~153842[cmOXFORD CONCISE ~DICT.
 OF MUSIC[cmZ[sm001[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm[cm[sm1
2[nm[cm~~[sm001[nm[cm~Collier[cm5[cm19.3.85[cm~3[cm~~~~[PN804,0,0,L,I0][ap[j3]~Z
[cm~~[j1]Z. [fy75,1]Abbreviated prefix to numbers in the Zim~~merman catalogue o
f Henry [fy45,1]*[fy75,1]Purcell's works.[cm~Zabaleta, Nicanor [fy75,1]([cf2]b [
cf1]San Sebasti;aaan, [sm1907[nm). Sp. ~harpist. Studied Madrid Cons. D;aaebut P
aris [sm1925[nm. ~Soloist with world's orchs. Has revived much ~forgotten harp m
us. and commissioned works ~from modern composers, e.g. K;akrenek and Mil~~haud.
[cm~Zaccaria, Nicola [fy75,1]([cf2]b [cf1]Piraeus, [sm1923[nm). Gr. bass. ~Studi
ed Athens. D;aaebut Athens [sm1949[nm. Opera ~appearances at Milan, Genoa, and m
any fests. ~Scala, Milan, [sm1953[nm=n[sm74[nm. CG d;aaebut [sm1957[nm.[cm~Zacco
ni, Ludovico [fy75,1]([cf2]b [cf1]Pesaro, [sm1555[nm; [cf2]d [cf1]Fioren~~zuola,
 [sm1627[nm). It. theorist. Studied with A. [fy45,1]*[fy75,1]Gab
rieli ~in Venice. Became monk. Went to Vienna [cf2]c[cf1].[sm1585[nm, ~then had
court post in Munich, [sm1590[nm, under dir. ~of Lassus. Returned to Italy [sm15
96[nm. Wrote major ~theoretical book [cf2]Prattica di musica [cf1](Vol. [sm1[nm,
 Venice ~[sm1592[nm, Vol. [sm2[nm, Venice [sm1622[nm). Wrote canons and ~organ w
orks.[cm~Zacharewitsch, Michael [fy75,1]([cf2]b [cf1]Ostrov, [sm1879[nm; [cf2]d
~[cf1]London, [sm1953[nm). Russ.-born violinist (Brit. citizen ~from [sm1915[nm)
. D;aaebut Odessa [sm1894[nm in Tchaikovsky ~conc., cond. by composer. Later stu
died in Prague ~with ;akSev;akcik. Eng. d;aaebut [sm1903[nm; settled in Eng. ~[s
m1909[nm. Wrote treatise on violin playing, [sm1934[nm. ~Wrote vn. conc. [cf2]Du
nkirk [sm1940[nm [cf1]([sm1945[nm).[cm~Zachau [fy75,1](Zachow), [fy65,3]Friedric
h Wilhelm [fy75,1]([cf2]b[fj~[cf1]Leipzig, [sm1663[nm; [cf2]d [cf1]Halle, [sm171
2[nm). Ger. composer and ~organist. As child, learned vn., ob., hpd., and org. ~
Organist, Liebfrauenkirche, Halle, [sm1684[nm=n[sm1712[nm. ~Hand
el from age of [sm7[nm was his pupil. Wrote church ~and org. mus.[cm~Zacher, Ger
d [fy75,1]([cf2]b [cf1]Meppen, [sm1929[nm). Ger. composer ~and organist. Studied
 Lippstadt [sm1941[nm=n[sm8[nm, Detmold ~Acad. [sm1949[nm=n[sm52[nm, and at Darm
stadt summer courses ~with Messiaen, Boulez, and Stockhausen. Cantor ~and organi
st in Santiago, Chile, [sm1954[nm=n[sm7[nm; organist ~and mus. dir., Luther Chur
ch, Hamburg, [sm1957[nm=n~[sm70[nm, prof. Inst. of Church Music, Essen, from ~[s
m1970[nm. Has given f.ps. of organ works by Kagel, ~Ligeti, and Yun. Works incl.
 [cf2]The Prayers of Jonah ~in the Fish's Belly[cf1], sop., org. ([sm1963[nm), [
cf2]Text [cf1]for org., [cf2]St ~Luke Passion [cf1]for ch., [cf2]R;aae [cf1]for
org., etc.[cm~Zadok the Priest. [fy75,1]No. [sm1[nm of [sm4[nm anthems comp. ~Ha
ndel for coronation of George II, [sm1727[nm, and ~perf. at every Eng. coronatio
n since then. Henry ~[fy45,1]*[fy75,1]Lawes had set the same text for the corona
tion ~of Charles II, [sm1660[nm.[cm~Z;aaador, Jen;auo [fy75,1](E
ugene) ([cf2]b[cf1] B;aaatasz;aaek, [sm1894[nm; [cf2]d[cf1] ~Hollywood, [sm1977[
nm). Hung.-born composer (Amer. ~cit.). Studied Vienna Cons. with Heuberger and
~in Leipzig with Reger. Taught at New Vienna ~Cons. [sm1922[nm=n[sm8[nm. Settled
 in USA [sm1939[nm, working in ~Hollywood as orch. of over [sm120[nm film scores
. ~Composed [sm12[nm operas (incl. [cf2]The Island of the Dead[cf1], ~[sm1925[nm
, and [cf2]Christopher Columbus[cf1], [sm1939[nm), ballet [cf2]The ~Machine-Man[
cf1] ([sm1934[nm), orch. works, wind quintet, ~and songs.[cm~Zaide. [fy75,1]Unfi
nished opera in [sm2[nm acts (K[sm344[nm, [sm1780[nm) ~by Mozart to lib. in Ger.
 by Schachtner. Prod. in ~version with extra mus. by A. Andr;aae, Frankfurt ~[sm
1866[nm, London [sm1953[nm. Mozart left finale incomplete ~and did not give the
work a title. Plot is similar ~to [cf2]Die Entf;auuhrung aus dem Serail [cf1]and
 lib. was ~probably based on Friebert's operetta [cf2]Das Serail.[cm~Zamba [fy75
,1](Sp.). Argentinian scarf dance in [cf9]6=-=-=-=-=-=-=K=K=K[cf
13]8 [cf1]time, ~with guitar introduction to vocal section. Origi~~nated in Peru
.[xm[cm~[j1]Zambra [fy75,1](Sp.). Moorish dance, perf. with clasped ~hands to wo
odwind mus.[cm~Zampa, ou la fianc;aaee de marbre [fy75,1](Zampa, or the ~Marble
Bride). Opera in [sm3[nm acts by [fy45,1]*[fy75,1]H;aaerold to lib. ~by M;aaeles
ville. Prod. Paris [sm1831[nm, London and ~Boston, Mass., [sm1833[nm.[cm~Zandona
i, Riccardo [fy75,1]([cf2]b [cf1]Sacco, Trentino, [sm1883[nm; [cf2]d ~[cf1]Pesar
o, [sm1944[nm). It. composer. Studied at Rovereto ~[sm1893[nm=n[sm8[nm and with
Mascagni in Pesaro. Dir., Pesaro ~Cons. [sm1940[nm=n[sm3[nm. Wrote operas in [cf
2]verismo [cf1]style ~successful at time. Works incl.:[xm[cm~[j2][smoperas[nm: [
fy75,2]Il grillo del Focolare [cf1]([sm1908[nm); [cf2]Conchita ~[cf1]([sm1911[nm
); [cf2]Melenis [cf1]([sm1912[nm); [fy45,1]*[fy75,2]Francesca da Rimini ~[cf1]([
sm1914[nm); [cf2]La via della finestra [cf1]([sm1919[nm, rev. in [sm2[nm acts ~[
sm1923[nm); [cf2]Giulietta e Romeo [cf1]([sm1922[nm); [cf2]I Cav
alieri di ~Ekebu [cf1]([sm1925[nm); [cf2]Giuliano [cf1]([sm1928[nm); [cf2]La far
sa amorosa ~[cf1]([sm1933[nm).[ep~[smorch[nm: [cf2]Il ritorno di Ulisse, [cf1]sy
mphonic poem; vn. ~conc.; [cf2]Serenata medievale.[cf1][ep~[smchoral[nm: [cf2]Av
e Maria[cf1];[cf2] Alla patria.[cm~[j1]Zanelli [fy75,1](Morales), [fy65,3]Renato
 [fy75,1]([cf2]b[cf1] Valparaiso, [sm1892[nm; [cf2]d[cf1] ~Santiago, [sm1935[nm)
. Chilean baritone, later tenor. ~Started business career and was advised to stu
dy ~singing after he had sung at a party. D;aaebut ~Santiago [sm1916[nm as Valen
tine in Gounod's [cf2]Faust[cf1]. NY ~Met. d;aaebut [sm1919[nm=n[sm20[nm season
as Amonasro. In It., ~[sm1923[nm, was advised to change to tenor and made ~d;aae
but at Naples [sm1924[nm in [cf2]Les Huguenots[cf1]. Sang his ~first Otello, Tur
in [sm1926[nm, following it with ~Lohengrin. CG d;aaebut [sm1928[nm (Otello). La
ter sang ~Tristan and Siegmund in It. Regarded as best ~Otello since [fy45,1]*[f
y75,1]Tamagno.[cm~Zanotti, Camillo [fy75,1]([cf2]b[cf1] Cesena,
[cf2]c.[cf1] [sm1545[nm; [cf2]d[cf1] Prague, ~[sm1591[nm). It. composer. Vice-Ka
pellmeister at court ~of Rudolf II in Prague from [sm1587[nm. Wrote masses, ~[PN
805,0,0,R,I0]motets, and madrigals in [sm5[nm, [sm6[nm, and [sm12[nm parts (pubd
. ~[sm1587[nm=n[sm90[nm).[cm~Zapateado [fy75,1](Sp.). Sp. solo dance, in triple
time, in ~which rhythm is marked by stamping of the ~heels, frequently in syncop
ation.[cm~Zareska, Eugenia [fy75,1]([cf2]b [cf1]Rava Ruska, nr. Lw;aaow, ~[sm192
2[nm; [cf2]d[cf1] Paris, [sm1979[nm). Ukrainian-born mez. (later ~Brit. citizen)
. Studied Lw;aaow Cons., then Milan ~and Salzburg. D;aaebut Milan [sm1941[nm as
Dorabella in ~[cf2]Cos;agi fan tutte. [cf1]London d;aaebut [sm1947[nm (Rosina in
 [cf2]Il ~barbiere di Siviglia[cf1]), CG [sm1948[nm=n[sm9[nm, [sm1952[nm=n[sm3[n
m, [sm1957[nm=n[sm8[nm. ~Glyndebourne [sm1948[nm. Guest singer at many fests. ~F
ine Lieder singer. Taught singing in Paris.[cm~Zarlino, Gioseffe [fy75,1]([cf2]b
 [cf1]Chioggia, [sm1517[nm; [cf2]d [cf1]Venice, ~[sm1590[nm). It
. theorist. Singer, later organist, Chioggia ~Cath. [sm1536[nm=n[sm41[nm. Became
 Franciscan monk in [sm1537[nm. ~Studied with Willaert in Venice [sm1541[nm and
became ~choirmaster of St Mark's [sm1565[nm. Wrote [sm3[nm important ~treatises
([sm1558[nm, [sm1571[nm, and [sm1588[nm). Suggested equal ~[fy45,1]*[fy75,1]temp
erament for kbd. instr. Wrote church mus.[cm~Zar und Zimmermann [fy75,1](Tsar an
d Carpenter). ~Opera in [sm3[nm acts by [fy45,1]*[fy75,1]Lortzing to his own lib
. after ~play by M;aaelesville, Merle, and De Boirie ([sm1818[nm). ~Prod. Leipzi
g [sm1837[nm, NY [sm1851[nm, London [sm1871[nm (as ~[cf2]Peter the Shipwright[cf
1]).[cm~Zarzuela [fy75,1](Sp. from [cf2]zarza[cf1], `bramble bush'). ~Idiomatic
Sp. form of opera in which mus. is ~intermingled with spoken dialogue. Name come
s ~from entertainments perf. in [sm17[nmth cent. at royal ~palace of La Zarzuela
, near Madrid, for Philip IV ~and court. First known composer of zarzuelas ~was
Juan Hidalgo, [cf2]c[cf1].[sm1644[nm. In [sm18[nmth cent., popul
ar~~ity of the form was challenged by [fy45,1]*[fy75,2]tonadillas[cf1], ~which w
ere racier and more satirical. Despite ~brief revival, the zarzuela languished u
ntil nat. ~movement of [sm19[nmth cent. when desire to create a ~Sp. nat. opera
led to comp. of numerous zarzuelas ~by such composers as Barbieri, Arieta, Bret;
aaon, ~and Vives. Some were in [sm3[nm acts, with serious ~subjects. In the [sm2
0[nmth cent., Alonso and T;aaorroba ~have written large-scale zarzuelas, and the
 form, ~always flexible, has been expanded to embrace ~features from operetta an
d jazz.[cm~Zarzycki, Alexander [fy75,1]([cf2]b [cf1]Lw;aaow, [sm1834[nm; [cf2]d
[cf1]Warsaw, ~[sm1895[nm). Polish pianist and composer. Studied Paris ~[sm1856[n
m=n[sm61[nm. Dir. of Warsaw Cons. [sm1879[nm=n[sm88[nm. Wrote ~pf. conc., many p
f. pieces, and songs.[cm~Zauberfl;auote. [fy75,1]Metal organ stop, [sm8[nm;po pi
tch, with ~stopped pipes and hole pierced in such a place ~that note heard is [s
m3[nmrd harmonic, not the [sm2[nmnd ~(octave).[cm~Zauberfl;auote
, Die [fy75,1](The Magic Flute). Opera in [sm2[nm ~acts by Mozart ([sm1791[nm, K
[sm620[nm) to lib. by E. ~Schikaneder after the story [cf2]Lulu [cf1]by Liebeski
nd in ~Wieland's collection of Oriental fairy-tales [cf2]Dschin~~nistan [cf1]([s
m1786[nm). Prod. Vienna [sm1791[nm, London [sm1811[nm, ~NY [sm1833[nm.[cm~Zauber
harfe, Die [fy75,1](The Magic Harp). Melodrama ~by G. E. Hoffmann for which Schu
bert comp. ov. ~and other items in [sm1820[nm (D[sm644[nm). Prod. Vienna ~[sm182
0[nm. Ov. now known as [fy45,1]*[fy75,2]Rosamunde.[cm~Zecchi, Carlo [fy75,1]([cf
2]b[cf1] Rome, [sm1903[nm). It. pianist and ~conductor. Studied at Rome Cons., l
ater going to ~Berlin to study with Schnabel and Busoni. D;aaebut ~as pianist, B
erlin [sm1920[nm. Career as solo pianist ~ended [sm1939[nm when he formed duo wi
th cellist ~Mainardi. From [sm1938[nm studied conducting and ~launched new caree
r [sm1947[nm. Has taught in Rome ~and Salzburg. Ed. D. Scarlatti kbd. works.[cm~
Zedda, Alberto [fy75,1]([cf2]b[cf1] Milan, [sm1928[nm). It. cond
uctor ~and musicologist. Studied Milan Cons. (cond. ~with Giulini). D;aaebut Mil
an [sm1956[nm. Taught at ~Cincinatti Coll. of Mus. [sm1957[nm=n[sm9[nm. Cond. at
 ~Deutsche Oper, Berlin, [sm1961[nm=n[sm3[nm, then NY City ~Opera. Prod. critica
l edn. of Rossini's [cf2]Il barbiere di ~Siviglia[cf1] (Milan [sm1969[nm) which
he cond. at CG [sm1975[nm ~(it was recorded by Abbado). Co-ed., complete ~edn. o
f Rossini's works.[cm~Zednik, Heinz [fy75,1]([cf2]b [cf1]Vienna, [sm1940[nm). Au
strian tenor. ~Studied in Vienna; d;aaebut Graz [sm1963[nm. Vienna ~Opera d;aaeb
ut [sm1965[nm. Has appeared in Paris, ~Montreal, Moscow, and Munich where his ro
les ~have incl. David in [cf2]Die Meistersinger[cf1], Jacquino in ~[cf2]Fidelio[
cf1], and The Painter in [cf2]Lulu. [cf1]Sang Loge and ~Mime at Bayreuth Fest. c
entenary [cf2]Ring [cf1][sm1976[nm. One ~of most admired of contemporary charact
er ~tenors.[cm~Zeffirelli [fy75,1](Corsi), [fy65,3]Franco [fy75,1]([cf2]b[cf1] F
lorence, [sm1923[nm). It. ~producer and designer. Began as actor
, but became ~ass. to [fy45,1]*[fy75,1]Visconti. First opera prod., [cf2]La Cene
rentola[cf1], ~Scala, Milan, [sm1953[nm. CG d;aaebut with [cf2]Lucia di ~Lammerm
oor[cf1], [sm1959[nm. Other CG prods. incl. [cf2]Falstaff[cf1] ~([sm1961[nm), [c
f2]Don Giovanni [cf1]and [cf2]Alcina[cf1] ([sm1962[nm), and [cf2]Tosca[cf1] ~([s
m1964[nm). Glyndebourne [sm1961[nm ([cf2]L'Elisir d'Amore[cf1]=+). ~Amer. d;aaeb
ut, Dallas with [cf2]La Traviata[cf1] ([sm1958[nm) for ~[fy45,1]*[fy75,1]Callas.
 NY Met. d;aaebut [cf2]Falstaff[cf1] ([sm1964[nm). Designed ~Barber's [cf2]Anton
y and Cleopatra[cf1] ([sm1966[nm), first opera ~at new Met. Prods. notable for R
omantic realism.[cm~Zeitlin, Zvi [fy75,1]([cf2]b [cf1]Dubrovna, USSR, [sm1923[nm
). Russ.-~born Amer. violinist. Studied Juilliard Sch. and ~Hebrew Univ., Jerusa
lem. D;aaebut with Palestine ~S.O. [sm1940[nm. Amer. d;aaebut NY [sm1951[nm, Lon
don [sm1961[nm. ~Soloist with leading orchs. Authority on concs. of ~Nardini. Pr
of. of vn., Eastman Sch., head of vn. ~dept., Mus. Acad. of West
, Santa Barbara, Calif.[xm[cm~[j1]Zeitmass [fy75,1](Ger.). Time-measure, i.e. Te
mpo. ~[cf2]Zeitmesser, [cf1]metronome. Stockhausen comp. [cf2]Zeit~~masse [cf1]f
or [sm5[nm wind instr., [sm1955=n6[nm.[cm~Zelenka, Jan Dismas [fy75,1]([cf2]b [c
f1]Lounovice, [sm1679[nm; [cf2]d ~[cf1]Dresden, [sm1745[nm). Bohemian composer a
nd db. ~player. Studied in Prague and Vienna (comp. ~with Fux [sm1716[nm). Db. p
layer in Dresden from ~[sm1710[nm. Studied in It. with Lotti, [sm1716[nm. Return
ed to ~Dresden [sm1719[nm and became court church composer ~[sm1735[nm. Wrote [s
m20[nm masses, [sm3[nm oratorios, and quantities ~of smaller works.[cm~[PN806,0,
0,L,I0]Zell, F. [fy75,1]See [cf2]W;aualzel[cf1],[cf2] Camillo.[cm~Zeller, Karl [
fy75,1]([cf2]b [cf1]St Peter-in-der-Au, Austria, [sm1842[nm; ~[cf2]d [cf1]Baden,
 Vienna, [sm1898[nm). Austrian composer. ~Wrote chiefly operettas incl. [cf2]Joc
onde [cf1]([sm1876[nm), ~[cf2]Capit;auan Nicoll[cf1] ([sm1880[nm), [cf2]Der Vaga
bund [cf1]([sm1886[nm), [cf2]Der ~Vogelh;auandler [cf1]([sm1891[
nm), [cf2]Der Obersteiger [cf1]([sm1894[nm), and ~[cf2]Der Kellermeister[cf1] (p
rod. [sm1901[nm completed by J. ~Brandl).[cm~Zelter, Carl Friedrich [fy75,1]([cf
2]b [cf1]Berlin, [sm1758[nm; [cf2]d [cf1]Berlin, ~[sm1832[nm). Ger. composer and
 teacher. Studied vn. ~and theory (with Fasch). Dir., Berlin Singakade~~mie from
 [sm1800[nm. Founded Liedertafel, Berlin, ~[sm1809[nm, and Royal Institute for C
hurch Mus. [sm1820[nm. ~Friend and teacher of Mendelssohn, allied with ~him in B
ach revival. Wrote oratorio, operas, ~cantatas, and Lieder.[cm~Z;aaemire et Azor
. [fy75,2]Com;aaedie-ballet [cf1]in [sm4[nm acts by Gr;aaetry ~to lib. by Marmon
tel after La Chauss;aaee's [cf2]Amour ~par Amour [cf1]([sm1742[nm). Prod. Fontai
nebleau [sm1771[nm, ~London [sm1776[nm (revived by Beecham, Bath [sm1955[nm). ~O
ther operas on this subject (Beauty and the ~Beast) by Tozzi, Spohr, and Garcia.
[cm~Zemlinsky, Alexander (von) [fy75,1]([cf2]b [cf1]Vienna, [sm1871[nm; ~[cf2]d[
cf1] Larchmont, NY, [sm1942[nm). Austrian composer and ~conducto
r. Studied at Vienna Cons. with A. Door ~for pf. [sm1887[nm=n[sm90[nm, and J. Fu
chs for comp. [sm1890[nm=n[sm2[nm. ~Joined Vienna Society of Musicians [sm1893[n
m, having ~several chamber works played, some of which ~pleased Brahms. Met Scho
enberg [sm1893[nm, and gave ~him lessons in counterpoint and introduced him ~to
Wagner's mus. Cond. amateur orch. Polyhym~~nia in which Schoenberg played vc. Sc
hoenberg ~said that Zemlinsky was the man he had to thank ~`for practically all
my knowledge of technique ~and the problems of composition'. Zemlinsky's ~sister
 Mathilde became Schoenberg's first wife in ~[sm1901[nm. Cond. at Carltheater, V
ienna, [sm1900[nm=n[sm3[nm, ~Theater an der Wien [sm1903=n4[nm, Volksoper [sm190
4[nm=n~[sm11[nm (at Court Opera [sm1907[nm=n[sm8[nm). Encouraged by ~Mahler, who
 helped to revise and conducted the ~opera [cf2]Es war einmal[cf1]. Gave comp. l
essons to Alma ~Schindler, who became Mahler's wife. Arr. ~Mahler's [sm6[nmth sy
m. for pf. ([sm4[nm hands), pubd. [sm1906[nm. ~Cond. of opera at
 Deutsches Landestheater, ~Prague, [sm1911[nm=n[sm27[nm, where he cond. f.ps. of
 [sm3[nm of ~Schoenberg's [cf2][sm6[nm Songs with Orchestra[nm[cf1], Op. [sm8[nm
, in ~[sm1914[nm, and the monodrama [cf2]Erwartung[cf1] in [sm1924[nm, ~also man
y other important new works. Pres. of ~Prague branch of [fy45,1]*[fy75,1]Society
 for Private Perfor~~mance, [sm1921[nm=n[sm4[nm. Taught comp. at Ger. Acad. of ~
Mus., Prague, from [sm1920[nm. Ass. cond. to Klemperer ~at Kroll Opera [sm1927[n
m=n[sm31[nm. Taught at Berlin ~Hochschule f;auur Musik [sm1927[nm=n[sm33[nm. Fle
d to Vienna ~[sm1933[nm, to USA via Prague [sm1938[nm.[ep~^Zemlinsky's mus. was
greatly admired by ~Schoenberg and it had a high reputation generally ~in the ea
rly years of the cent. In later years it was ~almost forgotten, but since [cf2]c
[cf1]. [sm1975[nm has enjoyed a ~gradual and accelerating climb back to favour.
It ~has a flavour of Wagner=nStrauss and remains ~determinedly tonal. Zemlinsky
did not follow ~Schoenberg into atonality and his mus. offers ~m
uch to those who enjoy Mahler. The [cf2]Lyrische ~Symphonie[cf1] is avowedly ins
pired by [cf2]Das [fy45,1]*[fy75,2]Lied von ~der Erde[cf1] and is none the worse
 for it, while the ~[sm2[nmnd str. qt. owes much to early Schoenberg and ~repays
 the debt with interest. His Maeterlinck ~settings are very attractive and the W
ilde-based ~opera [cf2]Der Zwerg[cf1] is a masterpiece of concentrated ~lyric dr
ama. Prin. works:[xm[cm~[j2][smoperas[nm: [cf2]Sarema [cf1]([cf2]c.[cf1][sm1895[
nm); [cf2]Es war einmal [cf1]([sm1897=n9[nm); ~[cf2]Der Traumg;auorge [cf1]([sm1
903=n6[nm); [cf2]Kleider machen Leute ~[cf1]([cf2]c.[sm[cf1]1908[nm, rev. [sm192
1[nm); [cf2]Eine florentinische Trag;auodie ~[cf1](Wilde, trans. Meyerfeld) ([sm
1915=n16[nm); [cf2]Der [fy45,1]*[fy75,2]Zwerg[cf1] ~(Klaren, after Wilde's [cf2]
The Birthday of the Infanta[cf1]) ~([sm1920=n1[nm); [cf2]Der Kreidekreis [cf1]([
sm1932[nm); [cf2]K;auonig Kandaules ~[cf1]([sm1935=n6[nm, complete in short scor
e).[ep~[smballet[nm: [cf2]Das gl;auaserne Herz[cf1] (after Hofma
nnsthal's ~[cf2]Der Triumph der Zeit[cf1]=+=+) ([sm1900[nm=n[sm1[nm).[ep~[sminci
dental music[nm: [cf2]Cymbeline[cf1] ([sm1914[nm).[ep~[smorch[nm: Syms., No. [sm
1[nm in D minor ([sm1892[nm), No. [sm2[nm in ~B;Yh ([sm1897[nm); [cf2]Suite [cf1
]([cf2]c.[cf1][sm1894[nm); [cf2]Die Seejungfrau[cf1] ([sm1902=n~3[nm); [cf2]Sinf
onietta[cf1] ([sm1934[nm).[ep~[smchurch[nm: [cf2]Psalm [sm83[nm[cf1], ch., orch.
 ([sm1900[nm); [cf2]Psalm [sm23[nm[cf1], vv., ~orch. ([sm1910[nm); [cf2]Psalm [s
m13[nm[cf1], vv., orch. ([sm1935[nm).[ep~[smvoice[nm([sms[nm) [smand instr[nm: [
cf2]Waldgespr;auach[cf1] (Eichendorff=+=+=+), ~sop., [sm2[nm hn., hp., str. ([sm
1895=n6[nm); [cf2]Der alte Garten[cf1] ~(Eichendorff=+=+=+), v., orch. ([sm1895[
nm); [cf2]Die Riesen[cf1] (Ei~~chendorff=+=+), v., orch. ([sm1895[nm); [cf2]Orie
ntalisches Sonett[cf1], ~v., pf. ([sm1895[nm); [cf2]Nun schwillt der See so bang
[cf1], v., pf. ~([sm1896[nm); [cf2]S;auusse Sommernacht[cf1], v., pf. ([sm1896[n
m); [cf2]Fr;auuh-[fj~lingsglaube[cf1] (Uhland), vv., str. ([sm18
96[nm); [cf2]Fr;auuhlingsbe~~gr;auabnis[cf1] (Heyse), sop., alto, ten., bass. ch
., orch. ~([sm1896[nm); [cf2]Lieder[cf1] (Heyse, Liliencron), [sm2[nm books, v.,
 ~pf. ([sm1894=n6[nm); [cf2]Ges;auange[cf1] (Heyse, Liliencron), [sm2[nm ~books,
 v., pf. ([cf2]c[cf1]. [sm1896[nm); [cf2]Walzer-Ges;auange nach ~toskanischen Vo
lksliedern[cf1] (Gregorovius), v., pf. ~([sm1898[nm); [cf2]Irmelin Rose und ande
re Ges;auange[cf1] (Dehmel, ~Jacobsen), v., pf. ([sm1898[nm); [cf2]Turmw;auachte
rlied und ~andere Ges;auange[cf1] (=+=+Jacobsen, Liliencron), v., pf. ~([sm1898=
n9[nm); [cf2]Ehetanzlied und andere Ges;auange[cf1] (Bier~~baum, Morgenstern), v
., pf. ([cf2]c[cf1]. [sm1900[nm); [cf2]Es war ein ~alter K;auonig [cf1](Heine),
v., pf. ([sm1903[nm); [cf2]Schmetterlinge ~[cf1](Liliencron), v., pf. ([sm1904[n
m); [cf2]Ansturm [cf1](Dehmel); ~v., pf. ([sm1907[nm; [cf2]Auf See [cf1](Dehmel)
, v., pf. ([sm1907[nm); ~[cf2]Jane Grey [cf1](Ammann), v., pf. ([sm1907[nm); [cf
2][sm6[nm Ges;auange ~[cf1](Maeterlinck), mez. or bar., pf. ([sm
1910[nm=n[sm13[nm, and ~with orch.); [fy45,1]*[fy75,2]Lyrische Symphonie [cf1](T
agore), sop., ~bar., orch. ([sm1922=n3[nm); [cf2]Symphonische Ges;auange[cf1], v
., ~orch. ([sm1929[nm); [cf2][sm6[nm Lieder [cf1](Morgenstern, Goethe), v., ~pf.
 ([sm1934[nm); [cf2][sm12[nm Lieder [cf1](George, Kalidasa, Goethe), ~v., pf. ([
sm1937[nm).[ep~[smchamber music[nm: [cf2]Serenade [cf1]in A, vn., pf. ([sm1892[n
m); ~[cf2]Suite [cf1]in A, vn., pf. ([cf2]c[cf1]. [sm1893[nm); str. quintet in D
 ~minor ([sm2[nm vn., [sm2[nm va., vc.) ([cf2]c[cf1]. [sm1895[nm); Trio for cl.
or ~va., vc., pf. ([sm1895[nm); Str. Qts., No. [sm1[nm in A ([cf2]c[cf1]. [sm189
5[nm, ~f.p. [sm1896[nm), No. [sm2[nm ([sm1913=n15[nm), No. [sm3[nm ([sm1924[nm),
 No. [sm4[nm ~([cf2]Suite[cf1]) ([sm1936[nm).[ep~[smpiano[nm: [cf2]L;auandliche
T;auanze [cf1]([sm1892[nm); [cf2]Fantasien ;auuber ~Gedichte von Richard Dehmel
[cf1]([sm1898[nm).[cm~[j1]Zenatello, Giovanni [fy75,1]([cf2]b [cf1]Verona, [sm18
76[nm; [cf2]d[cf1] NY, ~[sm1949[nm). It. ten., orig. bar. Studie
d Verona. Opera ~d;aaebut Naples [sm1898[nm (Silvio in [cf2]Pagliacci[cf1]=+); a
s ten. ~[PN807,0,0,R,I0][sm1899[nm (Canio in [cf2]Pagliacci[cf1]). La Scala, Mil
an, [sm1903[nm=n~[sm7[nm. Created role of Pinkerton in [cf2]Madama Butterfly ~[c
f1][sm1904[nm. CG [sm1905[nm=n[sm6[nm, [sm1908[nm=n[sm9[nm, [sm1926[nm; NY (Manh
attan) ~[sm1907[nm, Boston Opera [sm1909[nm=n[sm14[nm, Chicago [sm1912[nm=n[sm13
[nm. ~Retired [sm1930[nm and taught. Famous singer of title-~role in Verdi's [cf
2]Otello. [cf1]Helped to launch Verona ~open-air opera [sm1913[nm.[cm~Zender, [f
y75,1](Johannes Wolfgang) [fy65][cf3]Hans [fy75,1]([cf2]b [cf1]Wies-[fjbaden, [s
m1936[nm). Ger. cond. and composer. Studied pf. ~and comp. Frankfurt ([sm1956[nm
=n[sm9[nm) and Freiburg (with ~Fortner) ([sm1959[nm=n[sm63[nm). Ass. cond., Frei
burg Opera ~[sm1959[nm. Studied comp. in Rome [sm1963[nm under B. A. ~[fy45,1]*[
fy75,1]Zimmermann. Prin. cond., Bonn opera [sm1964=n~8[nm; gen. mus. dir. Kiel [
sm1969=n71[nm. Prin. cond. Saar ~Radio S.O. [sm1971[nm=n[sm84[nm
. Mus-dir. Hamburg Opera ~from [sm1984[nm. Cond. [cf2]Parsifal [cf1]at Bayreuth
[sm1975[nm. ~London d;aaebut [sm1977[nm. Comps. incl. [cf2]Zeitstr;auome ~[cf1](
Time Stream) ([sm1974[nm), Cantos I=nV for vv. and ~instr., elec. works.[cm~Zeug
heer, Jakob [fy75,1](=+=+J. Z. Herrmann) ([cf2]b [cf1]Z;auurich, ~[sm1803[nm; [c
f2]d [cf1]Liverpool, [sm1865[nm). Swiss-born violinist and ~cond. Formed str. qt
. in Munich after hearing ~Schuppanzigh Qt. in Vienna, [sm1823[nm. Toured ~Europ
e and settled in Liverpool [sm1830[nm. Cond., ~[fy45,1]*[fy75,1]Gentlemen's Conc
erts, Manchester, [sm1831[nm=n[sm8[nm, ~Liverpool Phil. Soc. [sm1843[nm=n[sm65[n
m. Wrote [sm2[nm syms., vn. ~conc., str. qt., songs, etc.[cm~Ziani, Marc Antonio
 [fy75,1]([cf2]b [cf1]Venice, [cf2]c[cf1].[sm1653[nm; [cf2]d [cf1]Vienna, ~[sm17
15[nm). It. cond. and composer. Choirmaster at ~Mantua until [sm1686[nm, becomin
g deputy court cond., ~Vienna [sm1700[nm, court cond. [sm1712[nm. Wrote over [sm
40[nm ~operas, many oratorios, etc. Nephew of P. A. ~[fy45,1]*[f
y75,1]Ziani.[cm~Ziani, Pietro Andrea [fy75,1]([cf2]b [cf1]Venice, [sm1616[nm; [c
f2]d [cf1]Naples, ~[sm1684[nm). It. organist and composer. Organist in ~Venice f
rom [sm1640[nm. Choirmaster, Bergamo [sm1657[nm=n~[sm9[nm. Held court cond. post
 in Vienna [sm1662[nm=n[sm8[nm. [sm2[nmnd ~organist, St Mark's, Venice, from [sm
1669[nm. At Naples ~from [sm1676[nm, becoming choirmaster [sm1680[nm. Wrote ~[sm
30[nm operas, oratorios, and other church mus.[cm~Zich, Jaroslav [fy75,1]([cf2]b
 [cf1]Prague, [sm1912[nm). Cz. composer, ~son of Otakar [fy45,1]*[fy75,1]Zich. S
tudied with his father and ~Foerster. Wrote mainly chamber mus. and songs.[cm~Zi
ch, Otakar [fy75,1]([cf2]b [cf1]Kr;aaalov;aae M;akestec, [sm1879[nm; [cf2]d [cf1
]Ouben~~ice, [sm1934[nm). Cz. composer and scholar. Prof. at ~Prague Univ. Exper
t on Slavonic folk-song. Wrote ~operas and choral ballads. Author of books on ~a
esthetics, the dance, and Cz. folk-songs.[cm~Zichy, G;aaeza, [fy75,1](Count Vaz;
auony-Ke;auo) ([cf2]b [cf1]Szt;aaara, ~Hung., [sm1849[nm; [cf2]d
 [cf1]Budapest, [sm1924[nm). Hung. pianist, ~composer, opera intendant, and lawy
er. Lost right ~arm as boy but studied with Liszt and became ~proficient left-ha
nd player. President, Hung. Nat. ~Acad. of Mus. until [sm1892[nm. Intendant, Bud
apest ~Nat. Opera [sm1891[nm=n[sm4[nm, dir. Nat. Cons. of Mus. [sm1895[nm=n~[sm1
918[nm. One of his first acts at Budapest Opera [sm1891[nm ~was to dismiss Mahle
r, who retaliated some years ~later by successfully defying royal wish for a ~Zi
chy opera to be staged in Vienna. Wrote [sm5[nm ~operas (incl. [cf2]Rakoczy [cf1
]trilogy), pf. conc., pf. studies ~for left hand, and songs.[cm~;akZidek, Ivo [f
y75,1]([cf2]b [cf1]Kravar;ake, [sm1926[nm). Cz. tenor. Studied ~in Ostrava, maki
ng d;aaebut there as Werther, [sm1945[nm. ~Joined Prague Nat. Th. [sm1948[nm. Vi
enna Opera d;aaebut ~[sm1957[nm, NY [sm1966[nm (concert perf. of [cf2]Jen;anufa[
cf1]). Sang at ~Edinburgh, Leeds, and Wexford fests. Best in ~light tenor roles.
[cm~Ziehen [fy75,1](Ger.). To draw out.[cm~Ziehharmonika [fy75,1
](Ger.). [fy45,1]*[fy75,1]Accordion.[cm~Ziehn, Bernard [fy75,1]([cf2]b [cf1]Erfu
rt, [sm1845[nm; [cf2]d [cf1]Chicago, ~[sm1912[nm). Ger.-born teacher and theoris
t. Studied ~Erfurt and taught at M;auuhlhausen. Taught in ~Chicago [sm1868[nm=n[
sm71[nm. Wrote several important books ~on harmony and counterpoint, and treatis
e on ~classical ornamentation.[xm[cm~[j1]Ziehrer, Karl Michael [fy75,1]([cf2]b [
cf1]Vienna, [sm1843[nm; [cf2]d ~[cf1]Vienna, [sm1922[nm). Austrian self-taught c
omposer and ~cond. of dance orchestra. Formed orch. [sm1863[nm and ~toured Ger.
and Austria as bandmaster [sm1870[nm=n[sm95[nm. ~Mus. dir., Austrian court balls
 from [sm1908[nm, last ~holder of the post. Wrote [sm24[nm operettas, [sm70[nm ~
marches, and over [sm120[nm waltzes.[cm~Zigeunerbaron, Der [fy75,1](The Gipsy Ba
ron). Operetta ~in [sm3[nm acts by Johann Strauss II to lib. by Schnitzer, ~alte
red from Jokai's libretto on his story [cf2]Saffi. ~[cf1]Prod. Vienna [sm1885[nm
, NY [sm1886[nm, London (amateur) ~[sm1935[nm.[cm~Zigeunerlieder
 [fy75,1](Gipsy Songs). [sm11[nm songs by ~Brahms, his Op. [sm103[nm ([sm1887[nm
) for vv. and pf. Texts ~are verses by Hugo Conrat adapted from prose ~versions
of Hung. folk poems by a Fr;auaulein Witzl.[cm~Zilcher, Hermann [fy75,1]([cf2]b
[cf1]Frankfurt, [sm1881[nm; [cf2]d [cf1]W;auurz~~burg, [sm1948[nm). Ger. compose
r and pianist. Studied ~Hoch Cons., Frankfurt. Toured as accompanist to ~singers
. Prof. of pf. and comp., Munich Acad. ~from [sm1908[nm; dir., W;auurzburg Cons.
 [sm1920[nm=n[sm44[nm. ~Wrote [sm2[nm operas, [sm5[nm syms., [sm3[nm vn. concs.,
 [sm2[nm pf. concs., ~several song-cycles, incidental mus., chamber ~works.[cm~Z
illig, Winfried [fy75,1]([cf2]b[cf1] W;auurzburg, [sm1905[nm; [cf2]d[cf1] Ham~~b
urg, [sm1963[nm). Ger. composer, conductor, and ~writer. Studied law at W;auurzb
urg Univ. and mus. ~at Cons. Went to Vienna [sm1925[nm to study with ~Schoenberg
 and followed him to Berlin to study ~at the Prussian Acad. of Arts [sm1926[nm=n
[sm8[nm. R;aaep;aaetiteur ~Oldenburg [sm1928[nm=n[sm32[nm. Cond.
 at D;auusseldorf [sm1932[nm=n~[sm7[nm, [sm1946[nm=n[sm7[nm; chief cond. Essen O
pera [sm1937[nm=n[sm40[nm. ~Mus. dir. Pozn;aaan Opera [sm1940[nm=n[sm3[nm. Chief
 cond. ~Hesse Radio, Frankfurt, [sm1947[nm=n[sm51[nm, where he ~promoted [sm20[n
mth cent. mus., incl. f. European p. of ~Schoenberg's vn. conc. Freelance cond.
[sm1951[nm=n[sm9[nm. ~Dir. of mus., Hamburg Radio, [sm1959[nm=n[sm63[nm. His mus
. ~is nearer to Berg than Schoenberg. Wrote [sm7[nm ~operas, incl. [cf2]Troilus
and Cressida[cf1] ([sm1949[nm, rev. [sm1963[nm), ~vn. conc., [sm2[nm str. qts.,
and choral mus. Completed ~scoring of Schoenberg's oratorio [cf2]Die Jakobsleite
r ~[PN808,0,0,L,I0][cf1](f.p. in Zillig version, Vienna [sm1961[nm), and prepare
d ~vocal score of [cf2]Moses und Aron[cf1].[cm~Ziloti [fy75,1](Siloty), [fy65][c
f3]Alexander [fy75,1]([cf2]b [cf1]nr. Kharkov, [sm1863[nm; ~[cf2]d [cf1]NY, [sm1
945[nm). Russ. pianist and cond. Studied ~Moscow Cons. [sm1876[nm=n[sm81[nm (pf.
 with N. Rubinstein, ~comp. with Tchaikovsky). Pupil of Liszt at
 ~Weimar [sm1883[nm=n[sm6[nm. D;aaebut Moscow [sm1880[nm, Leipzig ~[sm1883[nm. P
rof. of pf., Moscow Cons. [sm1887[nm=n[sm90[nm. ~Extensive tours, incl. Eng. and
 USA [sm1898[nm=n[sm9[nm. ~Cond., Moscow P.O. [sm1901[nm=n[sm2[nm; formed own or
ch. ~in St Petersburg. Left Russia [sm1919[nm, settled in NY. ~Taught at Juillia
rd Sch. [sm1924[nm=n[sm42[nm. Arr. concs. by ~Bach and Vivaldi.[cm~Zimbalist, Ef
rem [fy75,1]([cf2]b [cf1]Rostov, [sm1890[nm; [cf2]d[cf1] Reno, Nevada, [sm1985[n
m). Russ.-born ~violinist and violist (later Amer. citizen). Studied ~St Petersb
urg Cons. with [fy45,1]*[fy75,1]Auer. D;aaebut Berlin ~[sm1907[nm in Brahms conc
. Tours of Europe. London ~d;aaebut [sm1907[nm. Amer. d;aaebut, Boston [sm1911[n
m. Settled ~in USA [sm1914[nm. Dir., Curtis Institute, Philadelphia, ~[sm1941[nm
=n[sm68[nm, having taught there from [sm1928[nm. [fy45,1]*[fy75,1]Shum~~sky was
one of his pupils. Retired as player [sm1949[nm, ~but returned to give f.p. of M
enotti conc., NY ~[sm1952[nm, and played Beethoven conc. in Phil
adelphia ~[sm1955[nm. On jury Tchaikovsky comp., Moscow, [sm1962[nm ~and [sm1966
[nm. Wrote [cf2]American Rhapsody[cf1], vn. conc., ~etc.[cm~Zimbalon. [fy75,1]Se
e [cf2]Cimbalom.[cm~Zimbelstern [fy75,1](Ger.). A toy organ-stop, prevalent ~in
N. Europe [cf2]c.[cf1][sm1500=n1800[nm. It comprised a revolving ~star near the
top of the organ-case with a set of ~tuned or untuned bells attached to a wind-b
lown ~driving-wheel behind the case. It was an effect ~often used on feast days.
 There is a Zimbelstern ~on the org. of the chapel of St John's Coll., ~Cambridg
e.[cmZimmer, Jan [fy75,1]([cf2]b [cf1]Ru;akzomberok, [sm1926[nm). Cz. pianist ~a
nd composer. Studied Bratislava Cons., Budapest, ~and Salzburg. On staff Bratisl
ava radio, [sm1945[nm=n[sm8[nm; ~prof., Bratislava Cons. [sm1948[nm=n[sm52[nm. W
orks incl. [sm10[nm ~syms., pf. concs., conc. grosso, opera [cf2]Oedipus Rex, ~[
cf1]chamber mus., and film scores.[cm~Zimmerman, Franklin Bershir [fy75,1]([cf2]
b[cf1] Wauneta, ~Kansas, [sm1923[nm). Amer. musicologist. Studie
d Univ. ~of S. Calif. and at Oxford Univ., teachers incl. H. ~Stevens, Wellesz,
and Westrup. Taught at Univ. ~of S. Calif. [sm1959[nm=n[sm64[nm; prof. of mus. D
artmouth ~Coll. [sm1964[nm=n[sm7[nm, Kentucky Univ. [sm1967[nm, Pennsylvania ~Un
iv. from [sm1968[nm. Specialist in Eng. baroque mus., ~especially Purcell. Has p
ubd. analytical catalogue ~of Purcell's mus. (London [sm1963[nm), [cf2]Henry Pur
cell, ~His Life and Times [cf1](London [sm1967[nm), and other ~works.[cm~Zimmerm
ann, Agnes [fy75,1](Marie Jacobina) ([cf2]b[fj~[cf1]Cologne, [sm1847[nm; [cf2]d
[cf1]London, [sm1925[nm). Ger.-born ~pianist and composer, taken to Eng. as chil
d. ~Studied RAM with Potter. D;aaebut London [sm1863[nm, ~Leipzig [sm1864[nm. Eu
ropean tours. Comp. pf. sonatas, ~vn. sonatas, and songs. Ed. pf. works of Mozar
t, ~Beethoven, and Schumann. Gave f. Eng. p. of ~Beethoven's transcr. of his vn.
 conc. for pf., [sm1872[nm.[cm~Zimmermann, Bernd Alois [fy75,1]([cf2]b [cf1]Blie
sheim, nr. ~Cologne, [sm1918[nm; [cf2]d [cf1]K;auonigsdorf, [sm1
970[nm). Ger. com~~poser. Studied at Bonn, K;auonigsdorf, and Berlin ~Univs. whi
le earning living as labourer and dance-~band player. Studied comp. with Jarnach
, and ~with Fortner and Leibowitz at Darmstadt. Taught ~history of mus. theory,
Cologne Univ., [sm1950[nm=n[sm2[nm, ~comp. at Cologne Hochschule from [sm1958[nm
. Works ~covered whole field of mid-[sm20[nmth cent. comp. ~techniques from seri
alism to elecs. Opera [cf2]Die ~Soldaten [cf1]a `pluralistic' work, because it u
ses mixed-~media resources and combines conventional orch. ~with elecs. Made muc
h use of quotations, ~referring to this method as `collage'. Prin. works:[xm[cm~
[j2][smopera[nm: [fy75,2]Die [fy45,1]*[fy75,2]Soldaten [cf1](The Soldiers) ([sm1
958[nm=n[sm60[nm, rev. ~[sm1963[nm=n[sm4[nm).[ep~[smorch[nm: [cf1]Sym. in [sm1[n
m movement ([sm1947[nm, rev. [sm1953[nm); ~Conc. for str. ([sm1948[nm); vn. conc
. ([sm1950[nm); ob. conc. ~([sm1952[nm); [cf2]Canto di Speranza [cf1]([sm1952[nm
, rev. [sm1957[nm); ~[cf2]Contrasts [cf1]([sm1953[nm); tpt. conc
. ([sm1954[nm); [cf2]Dialogues, [cf1][sm2[nm ~pf., orch. ([sm1960[nm, rev. [sm19
65[nm); vc. conc. ([sm1965[nm=n[sm6[nm); ~[cf2]Photoptosis [cf1]([sm1968[nm); [c
f2]Stille und Umkehr [cf1]([sm1970[nm).[ep~[smchoral[nm: [cf2]Lob der Torheit, [
cf1]burlesque cantata ([sm1948[nm); ~[cf2]Die Soldaten[cf1], vocal sym. from ope
ra, [sm6[nm solo vv., ~orch. ([sm1959[nm); [cf2]Requiem for a young poet, [cf1]s
peaking ~and singing ch., elecs., orch. ([sm1967[nm=n[sm9[nm).[ep~[smchamber mus
ic[nm: [cf1]Vn. sonata ([sm1950[nm); [cf2]Tempus lo~~quendi, [cf1][sm3[nm fl. ([
sm1963[nm).[cm~[ol0][ep~[xp[te~





[do25][j99]~~~~~~153842_Z[sm002[nm[ep~[ep~[u1]~~~~153842[cmCONCISE OXFORD ~DICT.
 OF MUSIC[cmZ[sm002[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm29[nm/[sm10[nm/[sm79[nm[cm[sm1
2[nm[cm~~[sm050[nm[cm~GC[cm4[cm25/9/84[cmU1[cm~~~[ap[j1]Zimmermann, Louis [fy75,
1]([cf2]b [cf1]Groningen, [sm1873[nm; [cf2]d ~[cf1]Amsterdam, [sm1954[nm). Dutch
 violinist and com~~poser. Studied Leipzig Cons. and Brussels (with ~Ysa;auye).
Member, Concertgebouw Orch., [sm1899[nm=n~[sm1904[nm. Taught vn. at RAM [sm1904[
nm=n[sm11[nm. Leader, ~Concertgebouw Orch. from [sm1911[nm. Soloist in ~modern c
oncs. Wrote vn. conc., chamber mus., ~and cadenzas for Beethoven, Brahms, and Mo
zart ~concs.[cm~Zimmermann, Udo [fy75,1]([cf2]b [cf1]Dresden, [sm1943[nm). Ger.
~composer. Studied at Dresden Hochschule f;auur ~Musik [sm1962[nm=n[sm8[nm. Thre
e times recipient of E. ~Germany's Mendelssohn schol. Has worked as ~producer at
 Dresden Opera. Works incl. [sm4[nm operas, ~timpani conc. ([sm1965[nm), [cf2]Dr
amatic Impression of the ~Death of J. F. Kennedy[cf1], vc., orch
. ([sm1963[nm), [cf2]Sinfonia ~come un grande lamento [cf1]([sm1970[nm), str. qt
. ([sm1974[nm), and ~settings of Neruda and R;aaozewicz for v. and pf.[cm~Zingar
elli, Niccol;ago Antonio [fy75,1]([cf2]b [cf1]Naples, [sm1752[nm; [cf2]d ~[cf1]T
orre del Greco, [sm1837[nm). It. composer and violinist. ~Studied Naples, held c
ourt posts, then went to ~Milan, writing operas for La Scala from [sm1785[nm. ~H
aydn produced [sm2[nm of his operas at Esterh;aaaza. In ~Paris [sm1790[nm. Choir
master Milan Cath. [sm1792[nm, Loreto ~[sm1794[nm, St Peter's, Rome, [sm1804[nm=
n[sm11[nm. Dir., Naples ~RCM from [sm1813[nm, choirmaster Naples Cath. [sm1816[n
m. ~Prolific composer, writing over [sm30[nm operas up to ~[sm1811[nm when he co
ncentrated on church mus. Best-~known opera [cf2]Giulietta e Romeo, [cf1][sm1796
[nm.[cm~[PN809,0,0,R,I0]Zingaro, zingara [fy75,1](It.). Gipsy. [cf2]Alla zingare
se, [cf1]in ~gipsy style; [cf2]zingaresca, [cf1]gipsy song.[cm~Zinman, David [fy
75,1]([cf2]b [cf1]NY, [sm1936[nm). Amer. cond. Mus. ~dir. Nether
lands Chamber Orch. [sm1965[nm=n[sm77[nm. Chief ~cond. Rochester P.O. from [sm19
74[nm. Chief cond., ~Rotterdam P.O. [sm1979[nm=n[sm82[nm.[cm~Zipoli, Domenico [f
y75,1]([cf2]b [cf1]Prato, [sm1688[nm; [cf2]d [cf1]Santa ~Catalina, nr. C;aaordob
a, Argentina, [sm1726[nm). It. ~organist and composer. Studied Florence [sm1707[
nm=n[sm9[nm, ~Naples [sm1709[nm to study with A. Scarlatti, but ~quarrelled and
went to Rome in same year. ~Organist at Jesuits' Church [sm1715[nm=n[sm17[nm. Wr
ote hpd. ~suites, kbd. sonatas, org. fugues, etc. Went to ~Argentina [sm1717[nm,
 becoming organist of Jesuits' ~church in C;aaordoba.[cm~Zither. [fy75,1]Folk in
str., descendant of medieval ~psaltery, prevalent in Austrian Tyrol and Bavaria.
 ~Consists of flat wooden soundbox over which are ~stretched [sm4[nm or [sm5[nm
melody str. and up to [sm37[nm acc. str. ~Melody str., nearest to player, are st
opped on ~fretted fingerboard with fingers of left hand and ~plucked by plectrum
 on right thumb. Acc. str. ~are plucked by fingers of either han
d. Used for ~`local colour' in operetta scores. Gained great ~popularity in Eng.
 after World War II when film ~[cf2]The Third Man [cf1]had as theme mus. a zithe
r tune ~written and played by Anton Karas.[cm~Zitternd [fy75,1](Ger.). Trembling
. Same as [fy45,1]*[fy75,2]tremolando.[cm~Zivoni, Yossi [fy75,1]([cf2]b [cf1]Tel
 Aviv, [sm1939[nm). Israeli violinist. ~Studied Tel Aviv and Brussels Cons. Winn
er of ~several vn. competitions. World tours as soloist ~and chamber music playe
r. Prof. of vn. RMCM, ~[sm1968[nm=n[sm72[nm.[cm~Znamenny. [fy75,1]Russ. liturgic
al chant as used from ~[sm11[nmth to [sm17[nmth cents. Name derived from [cf2]zn
amya[cf1] ~(sign or neume). Underwent many changes. ~System included over [sm90[
nm different signs for single ~notes.[cm~Z;auogernd [fy75,1](Ger.). Delaying, i.
e. [cf2]Rallentando.[cm~Z;auollner, Heinrich [fy75,1]([cf2]b [cf1]Leipzig, [sm18
54[nm; [cf2]d [cf1]Freiburg, ~[sm1941[nm). Ger. composer and teacher. Studied Le
ipzig ~Cons. [sm1875[nm=n[sm7[nm. Cond., Cologne Male Voice Ch.,
 ~[sm1885[nm. Lived in USA [sm1890[nm=n[sm8[nm. Mus. dir., Leipzig ~Univ. [sm189
8[nm, prof. of comp., Leipzig Cons. from ~[sm1902[nm. Cond., Antwerp Opera [sm19
07[nm=n[sm14[nm. Went to ~Freiburg as teacher [sm1914[nm. Works incl. [sm10[nm o
peras ~(incl. [cf2]Faust, [cf1][sm1887[nm), choral works, [sm5[nm syms., [sm5[nm
 str. ~qts.[cm~Zoppa, Alla [fy75,1](It. [cf2]zoppo, zoppa, [cf1]lame, limping).
~Mus. application is in the sense of [fy45,1]*[fy75,1]syncopation, ~or with a [f
y45,1]*[fy75,1]Scotch snap.[cm~Zorian, Olive[fy75,1] ([cf2]b[cf1] Manchester, [s
m1916[nm; [cf2]d[cf1] London, ~[sm1965[nm). Eng. violinist. Studied RMCM and RAM
. ~Formed Zorian String Quartet [sm1942[nm, giving perfs. ~of contemporary works
 notably those by Bart;aaok, ~Bliss, and Britten. (F.p. of Britten's [sm2[nmnd Q
t. [sm1945[nm). ~Played concs. with leading orchs. Leader, EOG ~orch. [sm1952[nm
=n[sm7[nm.[cm~Zortziko [fy75,1](Zortzico). Basque folk dance in [cf9]5=-=-=-=-=-
=-=K=K=K[cf13]4[cf1] time, ~like the [cf2]Rueda [cf1]except that
 the [sm2[nmnd and [sm4[nmth beats ~are almost always dotted notes. Formed [sm3[
nmrd figure ~in [fy45,1]*[fy75,2]aurresku [cf1]communal dance.[cm~Zu [sm2[nm [fy
75,1](Ger.). ([sm1[nm) [sm2[nm instr. to play the same part.[ep~^([sm2[nm) All t
he instr. in question (e.g. first vns.) to ~divide into [sm2[nm parts.[cm~Zug [f
y75,1](Ger.). The action of pulling; thus org. stop ~knob, or pf. pedal (which p
ulls down some ~mechanism). [cf2]Zugposaune, [cf1]slide tb., [cf2]Zugtrompete, ~
[cf1]slide tpt.[cm~Zukerman, Pinchas [fy75,1]([cf2]b [cf1]nr. Tel Aviv, [sm1948[
nm). Israeli ~violinist and cond. Studied Israel Cons., Tel Aviv ~Acad. of Mus.,
 and Juilliard Sch. Leventritt Award ~[sm1967[nm. D;aaebut with NY P.O. [sm1969[
nm. Eng. d;aaebut ~[sm1969[nm Brighton Fest. but he had appeared on ~television
and made a recording in [sm1968[nm. World~~wide reputation as soloist and as cha
mber mus. ~player with Barenboim, Perlman, etc. Superb ~exponent of Elgar conc.
Also plays va. Began to ~be soloist/director in baroque music [s
m1971[nm. Debut ~as cond., London [sm1974[nm (New Philharmonia). Mus. ~dir. St P
aul Chamber Orch., Minnesota, from ~[sm1980[nm.[cm~Zukofsky, Paul [fy75,1]([cf2]
b [cf1]Brooklyn, NY, [sm1943[nm). Amer. ~violinist, conductor, composer, and tea
cher. ~Began to play vn. age [sm4[nm, and made public d;aaebut ~at [sm6[nm. Stud
ied with I. Galamian. D;aaebut as soloist ~with orch., New Haven S.O. [sm1953[nm
. First NY recital ~[sm1956[nm. London d;aaebut [sm1969[nm. Specialist in [sm20[
nmth cent. ~mus., particularly that demanding new tech~~niques. Has given f.ps.
of concs. and similar works ~by Sessions, Wuorinen, I. Hamilton, Babbitt, and ~C
rumb.[cm~Zumpe, Herman [fy75,1]([cf2]b [cf1]Oppach, [sm1850[nm; [cf2]d [cf1]Muni
ch, ~[sm1903[nm). Ger. cond. and composer. Studied Leipzig ~Cons. Helped Wagner
in preparing first [fy45,1]*[fy75,2]Ring, ~[cf1][sm1873[nm=n[sm6[nm. Cond. Salzb
urg, W;auurzburg, Hamburg ~Opera [sm1884[nm=n[sm6[nm, Stuttgart [sm1891[nm=n[sm5
[nm, Munich [sm1900[nm=n~[sm3[nm. CG [sm1898[nm (Wagner). Wrote
operas, operettas, ~and sym.[cm~Zumpe, Johannes [fy75,1](=+=+=+=+[cf2]fl. [cf1][
sm1735[nm=n[sm83[nm). Ger. employed ~by Shudi, London hpd. maker, who in [sm1761
[nm ~began manufacture of [fy45,1]*[fy75,1]square pianos, though it ~is not know
n certainly if he invented them.[cm~Zumsteeg, Johann Rudolf [fy75,1]([cf2]b [cf1
]Sachsenflur, [sm1760[nm; ~[cf2]d [cf1]Stuttgart, [sm1802[nm). Ger. composer, fr
iend of ~Schiller. Studied vc. and comp., becoming cond. ~and opera dir. at Stut
tgart [sm1793[nm. Wrote narrative ~ballads which anticipate those by L;auowe, Ze
lter, ~and Schubert. Also wrote operas.[cm~Z;auurich. [fy75,1]Swiss city with lo
ng musical tradition. ~Main orch. is the Tonhalle, founded [sm1868[nm. Its ~cond
. have incl. Friedrich Hegar ([sm1868=n1906[nm), ~Volkmar Andrae ([sm1906=n49[nm
), and Erich Schmid ~([sm1949=n57[nm) jointly with Hans Rosbaud ([sm1950[nm=n[sm
62[nm), ~Rudolf Kempe ([sm1965[nm=n[sm72[nm), and Charles Dutoit ~([sm1967[nm=n[
sm71[nm). Among smaller ensembles the Colle~~gium Musicum was co
nd. by Paul Sacher from ~[PN810,0,0,L,I0][sm1941[nm. At the opera house, [cf2]Pa
rsifal[cf1] had its first ~authorised stage perf. outside Bayreuth in [sm1913[nm
. ~Operas given f. stage p. in Z;auurich incl. Berg's [cf2]Lulu ~[cf1]([sm1937[n
m), Hindemith's [cf2]Mathis der Maler [cf1]([sm1938[nm), and ~Schoenberg's [cf2]
Moses und Aron [cf1]([sm1957[nm). First Euro~~pean perf. of Gershwin's [cf2]Porg
y and Bess[cf1] given ~there in [sm1945[nm.[cm~Zur;auuck [fy75,1](Ger.). Back ag
ain. [cf2]Zur;auuckgehend, [cf1]going ~back (i.e. to orig. tempo); [cf2]zur;auuc
khaltend, [cf1]holding ~back (i.e. [cf2]rallentando[cf1]).[cm~Zweig, Stefan [fy7
5,1]([cf2]b [cf1]Vienna, [sm1881[nm; [cf2]d [cf1] Petr;aaopolis, ~Brazil, [sm194
2[nm). Austrian novelist and playwright ~who wrote lib. of [cf2]Die schweigsame
Frau [cf1]for Richard ~Strauss and supervised libs. of [cf2]Friedenstag [cf1]and
 ~[cf2]Daphne. [cf1]Further collaboration with Strauss forbid~~den by Nazis beca
use he was Jewish. Correspond~~ence with Strauss pubd. (Frankfur
t [sm1957[nm, Eng. ~trans., Univ. of Calif., [sm1977[nm).[cm~Zweiunddreissigstel
, Zweiunddreissigstel~~note [fy75,1](Ger.). [sm32[nmnd, [sm32[nmnd note (the dem
i-[fj~semiquaver).[cm~Zwerg, Der [fy75,1](The Dwarf=+). Opera in [sm1[nm act by
~[fy45,1]*[fy75,1]Zemlinsky to lib. by G. C. Klaren based on ~Wilde's [cf2]The B
irthday of the Infanta[cf1]. Comp. [sm1920[nm=n~[sm1[nm. F.p. Cologne [sm1922[nm
, (cond. Klemperer), f.Brit.p. ~Edinburgh Fest. [sm1983[nm (by Hamburg Opera in
~double bill with Zemlinsky's [cf2]Eine florentinische ~Trag;auodie[cf1], also b
ased on Wilde, f.p. Stuttgart, ~[sm1917[nm). In the [sm1983[nm Hamburg prod. and
 subse~~quent recording of [cf2]Der Zwerg[cf1], a new lib. by Adolf ~Dresen is s
ung.[cm~Zwillingsbr;auuder, Die [fy75,1](The Twin Brothers). ~Operetta (Singspie
l) in [sm1[nm act by Schubert (D[sm647[nm, ~[sm1819[nm) to lib. by G. E. Hoffman
n, adapted from ~Fr. Prod. Vienna [sm1820[nm.[cm~Zwischenspiel [fy75,1](Ger.). B
etween-play. Any comp. ~having the character of an interlude or
inter~~mezzo, e.g. ([sm1[nm) Org.-playing between the stanzas ~of a hymn.[ep~^([
sm2[nm) Episodes of a fugue.[ep~^([sm3[nm) Solo portions between the [fy45,1]*[f
y75,2]tuttis [cf1]of a conc.[cm~Zw;auolftonmusik [fy75,1](Ger.). [sm12[nm-note m
us.[cm~Zyklus [fy75,1](Cycle). Work for solo percussionist by ~[fy45,1]*[fy75,1]
Stockhausen, [sm1959[nm, involving random choice ~and improvisation, and notated
 in graphics, ~dynamics of notes being indicated by their size.[cm~Zylis-Gara, T
eresa [fy75,1]([cf2]b [cf1]Vilnius, [sm1935[nm). Polish sop. ~Studied ;Ul;aaod;a
az Acad. of Mus. D;aaebut Krak;aaow [sm1956[nm. ~Career with leading opera house
s, in major roles, ~especially Mozart. Glyndebourne d;aaebut [sm1965[nm ~(Oktavi
an), CG [sm1968[nm (Violetta), Salzburg [sm1968[nm, ~NY Met. from [sm1968[nm (Do
nna Elvira).[xm[cm~[j4]~[xp[te~


[do99,153842,PPP1,2][j99]~~~~~~153842_PPP1[ep~[u1]~~~~153842[cmOxford Dictionary
 of ~Music[cmPPP1[cmJOH[cm1[cm~20.8.84[cm6[cm1[cm~Tuf[cm7[cm24.4.85[cm~5[cm~~~~[
j98]~[fy53][cc27,1,11,17][tr1]THE[tr0][qc~[tr1]OXFORD^DICTIONARY^OF[tr0][qc~[cp1
4,20][tr1]MUSIC[tr0][qc~[ep~[cp18,18][ep~[tr1]THE[tr0][qc~[el12][cp22,22][tr1]OX
FORD^DICTIONARY[tr0][qc~[el9][cp18,18][tr1]OF[tr0][qc~[el8][cp30,30][tr1]MUSIC[t
r0][qc~[el54][cp13,13][tr1]MICHAEL^KENNEDY[tr0][qc~[el36][cp11,12]Oxford_New Yor
k[qc~[cp12,18][tr1]OXFORD^UNIVERSITY^PRESS[tr0][qc~[tr1]1985[tr0][qc~[el24][fy75
,2,7,8]Oxford University Press, Walton Street, Oxford [cp5]OX[cp7]2 6[cp5]DP[cp7
][qc~[el2]London^New York^Toronto[qc~Delhi^Bombay^Calcutta^Madras^Karachi[qc~Kua
la Lumpur^Singapore^Hong Kong^Tokyo[qc~Nairobi^Dar es Salaam^Cape Town[qc~Melbou
rne^Auckland[qc~[el2]and associated companies in[qc~Beirut^Berlin^Ibadan^Mexico
City^Nicosia[qc~[qc~Oxford is a trade mark of Oxford University Press[qc~[qcPubl
ished in the United States[qcby Oxford University Press, New Yor
k[qc[qc~;cw Oxford University Press, 1985[qc~[qcFirst published 1985[qcReprinted
 1985 (with corrections)[qc[qc~All rights reserved. No part of this publication
may be reproduced,[qc~stored in a retrieval system, or transmitted, in any form
or by any means,[qc~electronic, mechanical, photocopying, recording, or otherwis
e, without[qc~the prior permission of Oxford University Press[qc~[qc~British Lib
rary Cataloguing in Publication Data[qc~[ep[cf1]Kennedy, Michael, 1926=n[ep_The
Oxford dictionary of music.[ep_1. Music=mDictionaries[ep_I. Title[ep_780;po.3;po
21___ML100[ep[ep_ISBN^0=n19=n311333=n3[ep[ep~[cf2]Library of Congress Cataloging
 in Publication Data[qc~[ep[cf1]Kennedy, Michael, 1926=n[ep_The Oxford dictionar
y of music.[ep[ep_Rev. and enl. ed. of: The concise Oxford dictionary[epof music
._3rd ed._1980.[ep_1. Music=mDictionaries._2. Music=mBio-bibliography.[epI. Kenn
edy, Michael, 1926=n^^^^._Concise Oxford[epdictionary of music._II. Title.[epML1
00.K35_1985__780;po.3;po21____84=n22803[epISBN^0=n19=n311333=n3[
ep[ep[cf2]Typeset by CCC, printed and bound in Great Britain by[qcWilliam Clowes
 Limited, Beccles and London[qc~[el24][cf2,11,11]In memory of my mother[qc~[el24
][fy53,1,14,14][tr1]PREFACE[tr0][qc~[el18][fy75,1,10,11][cf1]T=+=+[smh=+=+i=+=+s
[nm first edition of the [cf2]Oxford Dictionary of Music [cf1]is an enlargement
and revision ~of the third edition of the [cf2]Concise Oxford Dictionary of Musi
c [cf1]which appeared in ~1980. I have added 500 new entries, completely rewritt
en another hundred, and ~have made some kind of minor amendment or correction to
 the majority. Work-~lists, which were a new feature of the 1980 edition of the
[cf2]Concise[cf1], have been ~brought up to date in nearly all instances, and se
veral of these have been ~completely rewritten, e.g. those for Chopin, Finzi, an
d Liszt. A change of style is ~that asterisks (indicating a separate entry) now
occur against compositions only in ~the work-list, not in the preliminary essay.
 Dates of works are those of composition ~wherever possible. Whe
re these have not been discovered, the date given is that ~of first performance
or publication, whichever is the earlier.[ep~_The American nomenclature of whole
-note, quarter-note, eighth-note, measure, ~etc. has again been preferred to the
 English semibreve, crotchet, quaver, bar, etc. ~Place names generally are given
 their modern spelling, and I have differentiated ~between St Petersburg, Petrog
rad, and Leningrad, and between Christiania and ~Oslo, etc. Where titles of fore
ign works are concerned my general policy is to give ~the chief entry under the
name by which the work is best known, with a leaning ~towards the original-langu
age title. This still leaves a broad middle group of ~disputable decisions. I ha
ve kept to the English titles of Russian works such as ~[cf2]Swan Lake[cf1], sin
ce there is no excuse for [cf2]Le Lac des cygnes[cf1]. But [cf2]The Merry Widow
[cf1]is ~preferred to [cf2]Die lustige Witwe[cf1]. For some opera titles I have
given no English-title ~cross-reference, for example [cf2]Der Ro
senkavalier[cf1], [cf2]La Traviata[cf1], [cf2]Cos;agi fan tutte[cf1], [cf2]Il ~T
rovatore[cf1], and [cf2]Der Freisch;auutz[cf1]. I regard [cf2]Le Nozze di Figaro
[cf1] as a border-line case and ~list it under its original title. In the matter
 of transliteration of Russian names, I ~have (rather reluctantly) conformed to
the growing usage Rakhmaninov and ~Skryabin, but too many record-labels and book
s prefer Chaliapin to Shalyapin, ~Diaghilev to Dyaghilev, and Tchaikovsky to Cha
ykovsky for any change to be ~anything but unnecessarily confusing.[ep~_I have f
ollowed Dr Percy Scholes's tradition by writing the whole dictionary ~myself in
the hope this lends some continuity and consistency of style. But of ~course no
one man is omniscient and I have been glad to avail myself of the ~chance to cor
rect errors and omissions in the third edition of the [cf2]Concise Oxford ~Dicti
onary of Music[cf1]. The immense task of checking and revising has been lightene
d ~for me by the invaluable assistance of Joyce Bourne. Many kin
d people have sent ~me corrections and suggestions. I thank them all, but some m
ust be mentioned ~individually. I say a special and wholehearted `thank you' to
Mr David Cummings ~of Wembley Park, who has also helped at the proof-stage, Prof
essor D. K. McIntire ~of Indianapolis, and Mr Michael Keyton of Banff, Dallas. T
heir generous and ~unstinted help is deeply appreciated. To their names I add th
ose of Mr Alfred H. ~Sommer of Wellesley, Maine; Mr George Thomas of Alphington,
 Victoria; Mr ~Alexander Brebane of Venice, Florida; Mr Paul E. Morrison of Roch
ester, ~Michigan; Mr Edward Veitch of the University of New Brunswick, Frederict
on; ~Mr Fritz Spiegl of Liverpool; and Mr Rex Lister of Caterham.[ep~_I hope tha
t readers of this new dictionary will continue to let me or the ~publishers know
 of defects which they notice. Some of the corrective letters I ~have received=m
particularly those from Mr John L. Disch of Seattle=mhave been ~so charming and
witty that they made the commission of the error almost ~worthwh
ile![ep~[el5.5][cp8,8][tr1]MICHAEL^KENNEDY[tr0][qr~[cf2,9,9]September 1984[ep~[e
l24][fy53,1,14,14][tr1]ABBREVIATIONS[tr0][qc~[el18][fy75,1,10,11]M=+=+[sma=+=+n=
+=+y[nm of the abbreviations used in this dictionary are either in common use or
 ~are self-explanatory. Those used most frequently are listed below.[ep~[el6][dt
6,21][ol0][ep~[ih0p10][bt~acc.[ep~[nt~accompanying/accompanied (by)[ep~[et~[bt~a
cad.[ep~[nt~academy[ep~[et~[bt~Amer.[ep~[nt~America(n)[ep~[et~[bt~amp.[ep~[nt~am
plified[ep~[et~[bt~arr.[ep~[nt~arranged (by, for)/arrangement (by, of=+=+=+)[ep~
[et~[bt~art. dir.[ep~[nt~artistic director[ep~[et~[bt~ass.[ep~[nt~assistant[ep~[
et~[bt~assoc.[ep~[nt~associate/association[ep~[et~[bt~attrib.[ep~[nt~attributed
(to)[ep~[et~[el6][bt~[cf2]b[cf1][ep~[nt~born[ep~[et~[bt~bar.[ep~[nt~baritone[ep~
[et~[bt~bass-bar.[ep~[nt~bass-baritone[ep~[et~[bt~BBC[ep~[nt~British Broadcastin
g Corporation[ep~[et~[bt~b.c.[ep~[nt~basso continuo[ep~[et~[bt~BBC S.O.[ep~[nt~B
BC Symphony Orchestra[ep~[et~[bt~B.C.[ep~[nt~Before Christ/Briti
sh Columbia[ep~[et~[bt~Belg.[ep~[nt~Belgium/Belgian[ep~[et~[bt~bn.[ep~[nt~bassoo
n[ep~[et~[bt~BNOC[ep~[nt~British National Opera Company[ep~[et~[bt~Braz.[ep~[nt~
Brazil/Brazilian[ep~[et~[bt~Brit.[ep~[nt~Britain/British[ep~[et~[bt~BWV[ep~[nt~B
ach Werke-Verzeichnis[ep~[et~[el6][bt~[cf2]c[cf1].[ep~[nt~[cf2]circa [cf1](Latin
=+=+=+[cp9];eq[cp10]=+=+=+about)[ep~[et~[bt~Calif.[ep~[nt~California[ep~[et~[bt~
Cath.[ep~[nt~Cathedral[ep~[et~[bt~C.B.[ep~[nt~Companion of the Order of the Bath
[ep~[et~[bt~C.B.E.[ep~[nt~Commander of the Order of the British Empire[ep~[et~[b
t~CBS[ep~[nt~Columbia Broadcasting System[ep~[et~[bt~CBSO[ep~[nt~City of Birming
ham Symphony Orchestra[ep~[et~[bt~CEMA[ep~[nt~Council for the Encouragement of M
usic and the Arts[ep~[et~[bt~cent.[ep~[nt~century[ep~[et~[bt~cf.[ep~[nt~[cf2]con
feratur [cf1](Latin=+=+=+[cp9];eq[cp10]=+=+=+compare)[ep~[et~[bt~CG[ep~[nt~Coven
t Garden (Royal Opera House), London[ep~[et~[bt~C.H.[ep~[nt~Companion of Honour[
ep~[et~[bt~ch.[ep~[nt~chorus[ep~[et~[bt~Ch. Ch.[ep~[nt~Christ Ch
urch, Oxford[ep~[et~[bt~choreog.[ep~[nt~choreography/choreographed (by)/choreogr
apher[ep~[et~[bt~cit.[ep~[nt~citizen[ep~[et~[bt~cl.[ep~[nt~clarinet[ep~[et~[bt~C
.M.G.[ep~[nt~Companion of the Order of St Michael and St George[ep~[et~[bt~coll.
[ep~[nt~college/collection[ep~[et~[bt~comp.[ep~[nt~composed (by, in)/composition
/competition[ep~[et~[bt~conc.[ep~[nt~concerto[ep~[et~[bt~cond.[ep~[nt~conductor
(of=+=+=+)/conducted (by)[ep~[et~[bt~Conn.[ep~[nt~Connecticut[ep~[et~[bt~cons.[e
p~[nt~conservatory[ep~[et~[bt~cont.[ep~[nt~contralto[ep~[et~[bt~contrib.[ep~[nt~
contributor/contribution[ep~[et~[bt~coun.[ep~[nt~council[ep~[et~[bt~counterten.[
ep~[nt~countertenor[ep~[et~[bt~C.V.O.[ep~[nt~Commander of the Royal Victorian Or
der[ep~[et~[bt~Cz.[ep~[nt~Czechoslovakia(n)[ep~[et~[el6][bt~[cf2]d[cf1][ep~[nt~d
ied[ep~[et~[bt~D[ep~[nt~Deutsch catalogue number (Schubert works)[ep~[et~[bt~db.
[ep~[nt~double bass[ep~[et~[bt~D.B.E.[ep~[nt~Dame Commander of the Order of the
British Empire[ep~[et~[bt~ded.[ep~[nt~dedicated (to)[ep~[et~[bt~
Del.[ep~[nt~Delaware[ep~[et~[bt~dept.[ep~[nt~department[ep~[et~[bt~dir.[ep~[nt~d
irector (of=+)[ep~[et~[bt~D.Mus.[ep~[nt~Doctor of Music[ep~[et~[el6][bt~E.[ep~[n
t~East[ep~[et~[bt~ECO[ep~[nt~English Chamber Orchestra[ep~[et~[bt~ed.[ep~[nt~edi
tor/edited (by)[ep~[et~[bt~edn.[ep~[nt~edition[ep~[et~[bt~elec.[ep~[nt~electroni
c[ep~[et~[bt~EMT[ep~[nt~English Music Theatre[ep~[et~[bt~Eng.[ep~[nt~England/Eng
lish[ep~[et~[bt~ENO[ep~[nt~English National Opera[ep~[et~[bt~ens.[ep~[nt~ensembl
e[ep~[et~[bt~ENSA[ep~[nt~Entertainments National Service Association[ep~[et~[bt~
EOG[ep~[nt~English Opera Group[ep~[et~[bt~esp.[ep~[nt~especially[ep~[et~[bt~est.
[ep~[nt~established (in, by)/establishment[ep~[et~[bt~Eur.[ep~[nt~Europe(an)[ep~
[et~[el6][bt~fest.[ep~[nt~festival[ep~[et~[bt~Finn.[ep~[nt~Finnish[ep~[et~[bt~fl
.; [cf2]fl.[ep~[nt~[cf1]flute; [cf2]floruit [cf1](Latin=+=+=+[cp9];eq[cp10]=+=+=
+flourished)[ep~[et~[bt~f.p., f.ps.[ep~[nt~first performance(s)/first performed
(by, in)[ep~[et~[bt~Fr.[ep~[nt~France/French[ep~[et~[el6][bt~G.B
.E.[ep~[nt~Knight or Dame Grand Cross of the Order of the British Empire[ep~[et~
[bt~G.C.V.O.[ep~[nt~Knight or Dame Grand Cross of the Royal Victorian Order[ep~[
et~[bt~gen.[ep~[nt~general[ep~[et~[bt~gen. man.[ep~[nt~general manager[ep~[et~[b
t~Ger.[ep~[nt~German(y)[ep~[et~[bt~Gr.[ep~[nt~Greece/Greek[ep~[et~[bt~GSM[ep~[nt
~Guildhall School of Music and Drama, London[ep~[et~[el6][bt~[cf1]hn.[ep~[nt~hor
n (French)[ep~[et~[bt~hon.[ep~[nt~honorary[ep~[et~[bt~hp.[ep~[nt~harp[ep~[et~[bt
~hpd.[ep~[nt~harpsichord[ep~[et~[bt~Hung.[ep~[nt~Hungary/Hungarian[ep~[et~[el6][
bt~Ill.[ep~[nt~Illinois[ep~[et~[bt~incid.[ep~[nt~incidental (music)[ep~[et~[bt~i
ncl.[ep~[nt~include(d)/including[ep~[et~[bt~Ind.[ep~[nt~Indiana[ep~[et~[bt~insp.
[ep~[nt~inspector[ep~[et~[bt~inst.[ep~[nt~institute[ep~[et~[bt~instr.[ep~[nt~ins
trument(s)/instrumental[ep~[et~[bt~int.[ep~[nt~international[ep~[et~[bt~IoW[ep~[
nt~Isle of Wight[ep~[et~[bt~IRCAM[ep~[nt~Institut de Recherche et de Co-ordinati
on Acoustique-Musique[ep~[et~[bt~ISCM[ep~[nt~International Socie
ty for Contemporary Music[ep~[et~[bt~I.S.M.[ep~[nt~Incorporated Society of Music
ians (Britain)[ep~[et~[bt~It.[ep~[nt~Italy/Italian[ep~[et~[el6][bt~K[ep~[nt~K;au
ochel catalogue number (Mozart works)[ep~[et~[bt~kbd.[ep~[nt~keyboard[ep~[et~[bt
~K.B.E.[ep~[nt~Knight Commander of the Order of the British Empire[ep~[et~[bt~K.
C.V.O.[ep~[nt~Knight Commander of the Royal Victorian Order[ep~[et~[el6][bt~La.[
ep~[nt~Louisiana[ep~[et~[bt~Lat.[ep~[nt~Latin[ep~[et~[bt~ldr.[ep~[nt~leader[ep~[
et~[bt~lect.[ep~[nt~lecturer/lectured[ep~[et~[bt~lib.[ep~[nt~library[ep~[et~[bt~
LPO[ep~[nt~London Philharmonic Orchestra[ep~[et~[bt~LSO[ep~[nt~London Symphony O
rchestra[ep~[et~[el6][bt~man.[ep~[nt~manager[ep~[et~[bt~man. dir.[ep~[nt~managin
g director[ep~[et~[bt~Mass.[ep~[nt~Massachusetts[ep~[et~[bt~M.B.E.[ep~[nt~Member
 of the Order of the British Empire[ep~[et~[bt~Md.[ep~[nt~Maryland[ep~[et~[bt~Me
t.[ep~[nt~Metropolitan Opera House, New York[ep~[et~[bt~mez.[ep~[nt~mezzo-sopran
o[ep~[et~[bt~Mich.[ep~[nt~Michigan[ep~[et~[bt~Miss.[ep~[nt~Misso
uri[ep~[et~[bt~movt.[ep~[nt~movement(s)[ep~[et~[bt~MS (S).[ep~[nt~manuscript(s)[
ep~[et~[bt~mus.[ep~[nt~music/musical[ep~[et~[bt~mus. dir.[ep~[nt~musical directo
r[ep~[et~[el6][bt~N.[ep~[nt~North[ep~[et~[bt~narr.[ep~[nt~narrator[ep~[et~[bt~na
t.[ep~[nt~national[ep~[et~[bt~N.B.C.[ep~[nt~National Broadcasting Company of Ame
rica[ep~[et~[bt~N.H.[ep~[nt~New Hampshire[ep~[et~[bt~NJ[ep~[nt~New Jersey[ep~[et
~[bt~nr.[ep~[nt~near[ep~[et~[bt~NSM[ep~[nt~Northern School of Music, Manchester[
ep~[et~[bt~N.S.W.[ep~[nt~New South Wales, Australia[ep~[et~[bt~NY[ep~[nt~New Yor
k[ep~[et~[bt~NY Met.[ep~[nt~Metropolitan Opera House (or Company), New York[ep~[
et~[bt~NY P.O.[ep~[nt~New York Philharmonic Orchestra[ep~[et~[bt~N.Z.[ep~[nt~New
 Zealand[ep~[et~[el6][bt~ob.[ep~[nt~oboe[ep~[et~[bt~obbl.[ep~[nt~obbligato[ep~[e
t~[bt~O.B.E.[ep~[nt~Officer of the Order of the British Empire[ep~[et~[bt~O.C.[e
p~[nt~Opera Company[ep~[et~[bt~O.M.[ep~[nt~Order of Merit (Member of=+)[ep~[et~[
bt~Op.[ep~[nt~Opus[ep~[et~[bt~opt.[ep~[nt~optional[ep~[et~[bt~or
ch.[ep~[nt~orchestra/orchestral/orchestrated (by, for)[ep~[et~[bt~org.[ep~[nt~or
gan/organist[ep~[et~[el6][bt~Penn.[ep~[nt~Pennsylvania[ep~[et~[bt~perc.[ep~[nt~p
ercussion[ep~[et~[bt~perf.[ep~[nt~performer/performed (by)[ep~[et~[bt~pf.[ep~[nt
~pianoforte[ep~[et~[bt~Phil.[ep~[nt~Philharmonic[ep~[et~[bt~picc.[ep~[nt~piccolo
[ep~[et~[bt~P.O.[ep~[nt~Philharmonic Orchestra[ep~[et~[bt~posth.[ep~[nt~posthumo
us(ly)[ep~[et~[bt~pres.[ep~[nt~president[ep~[et~[bt~prin.[ep~[nt~principal[ep~[e
t~[bt~prod.[ep~[nt~produced (by, in)/producer/production[ep~[et~[bt~prof.[ep~[nt
~professor[ep~[et~[bt~prol.[ep~[nt~prologue[ep~[et~[bt~pubd.[ep~[nt~published (b
y, in)[ep~[et~[el6][bt~RAM[ep~[nt~Royal Academy of Music, London[ep~[et~[bt~R.C.
[ep~[nt~Roman Catholic[ep~[et~[bt~RCCO[ep~[nt~Royal Canadian College of Organist
s[ep~[et~[bt~RCM[ep~[nt~Royal College of Music, London[ep~[et~[bt~RCO[ep~[nt~Roy
al College of Organists, London[ep~[et~[bt~reh.[ep~[nt~rehearsal[ep~[et~[bt~rev.
[ep~[nt~revised/revision (by, in, for)[ep~[et~[bt~RFH[ep~[nt~Roy
al Festival Hall, London[ep~[et~[bt~R.I.[ep~[nt~Rhode Island[ep~[et~[bt~RLPO[ep~
[nt~Royal Liverpool Philharmonic Orchestra[ep~[et~[bt~RMA[ep~[nt~Royal Musical A
ssociation (Britain)[ep~[et~[bt~RMCM[ep~[nt~Royal Manchester College of Music[ep
~[et~[bt~RNCM[ep~[nt~Royal Northern College of Music, Manchester[ep~[et~[bt~RPO[
ep~[nt~Royal Philharmonic Orchestra[ep~[et~[bt~RSAM[ep~[nt~Royal Scottish Academ
y of Music and Drama[ep~[et~[bt~RSCM[ep~[nt~Royal School of Church Music, London
[ep~[et~[bt~RSM[ep~[nt~Royal Schools of Music (Britain)[ep~[et~[bt~Russ.[ep~[nt~
Russia(n)[ep~[et~[el6][bt~S.[ep~[nt~South[ep~[et~[bt~S./San/St/Ste[ep~[nt~Saint[
ep~[et~[bt~SATB[ep~[nt~soprano, alto (contralto), tenor, bass[ep~[et~[bt~sax.[ep
~[nt~saxophone[ep~[et~[bt~sec.[ep~[nt~secretary[ep~[et~[bt~sch.[ep~[nt~school[ep
~[et~[bt~schol.[ep~[nt~scholarship[ep~[et~[bt~SNO[ep~[nt~Scottish National Orche
stra[ep~[et~[bt~S.O.[ep~[nt~Symphony Orchestra[ep~[et~[bt~soc.[ep~[nt~society[ep
~[et~[bt~sop.[ep~[nt~soprano[ep~[et~[bt~Sp.[ep~[nt~Spain/Spanish
[ep~[et~[bt~S.P.N.M.[ep~[nt~Society for the Promotion of New Music[ep~[et~[bt~st
r.[ep~[nt~string(s)[ep~[et~[bt~str. qt(s).[ep~[nt~string quartet(s)[ep~[et~[bt~s
uppl.[ep~[nt~supplement[ep~[et~[bt~SW[ep~[nt~Sadler's Wells (Theatre, Opera, Bal
let), London[ep~[et~[bt~Swed.[ep~[nt~Sweden/Swedish[ep~[et~[bt~sym.; syms.[ep~[n
t~symphony; symphonies[ep~[et~[el6][bt~tb.[ep~[nt~trombone[ep~[et~[bt~TCL[ep~[nt
~Trinity College of Music, London[ep~[et~[bt~tech.[ep~[nt~technical/technician[e
p~[et~[bt~ten.[ep~[nt~tenor[ep~[et~[bt~Tenn.[ep~[nt~Tennessee[ep~[et~[bt~th.[ep~
[nt~theatre[ep~[et~[bt~timp.[ep~[nt~timpani[ep~[et~[bt~tpt.[ep~[nt~trumpet[ep~[e
t~[bt~trans.[ep~[nt~translated (by, for)/translation[ep~[et~[bt~transcr.[ep~[nt~
transcribed (by, for)/transcription[ep~[et~[bt~TV[ep~[nt~television[ep~[et~[el6]
[bt~U.C.L.A.[ep~[nt~University College of Los Angeles, USA[ep~[et~[bt~unacc.[ep~
[nt~unaccompanied[ep~[et~[bt~univ.[ep~[nt~university[ep~[et~[bt~USA[ep~[nt~Unite
d States of America[ep~[et~[el6][bt~v.; vv.[ep~[nt~voice; voices
[ep~[et~[bt~va.[ep~[nt~viola(s)[ep~[et~[bt~var.[ep~[nt~various/variation(s)[ep~[
et~[bt~vc.[ep~[nt~cello(s)[ep~[et~[bt~vib.[ep~[nt~vibraphone[ep~[et~[bt~vn.[ep~[
nt~violin(s)[ep~[et~[el6][bt~W.[ep~[nt~West[ep~[et~[bt~WNO[ep~[nt~Welsh National
 Opera[ep~[et~[bt~WoO[ep~[nt~Werk ohne Opuszahl (work without opus number)[ep~[e
t~[el6][bt~*[ep~[nt~See separate entry for further information[ep~[et~[fy53,1,12
,12][el30][tr1]DESIGNATION^OF^NOTES^BY^LETTERS[tr0][qc~[ep~[cp9,12]i__ ii__ iii_
_ iv__ v__ vi__ vii__ viii_ ix__ x__ xi__ xii__ ~xiii__ xiv __ xv__ xvi__ xvii__
 xviii __xix__ xx[ep~[u20]~~[te~





[do25][j99]~~~~~~153842^XY[sm01[nm[ep~[ep~[u1]~~~~153842[cmCONCISE OXFORD ~DICT.
 OF MUSIC[cmXY[sm01[nm[cm[sm25[nm[cm~[sm1[nm[cm[sm26[nm/[sm10[nm/[sm79[nm[cm[sm1
2[nm[cm~~[sm001[nm[cm~Oxo[cm[sm1[nm[cm[sm1[nm.[sm6[nm.[sm84[nm[cm~U[sm6[nm[cm~~~
~[ep~[ap[j2][smballet[nm: [fy75,2]Kraanerg, [cf1]orch. and tape ([sm1968[nm=n[sm
9[nm); ~[cf2]Antikhthan[cf1] ([sm1971[nm).[ep~[smtheatre music[nm: [cf2]Oresteia
, [cf1]ch. and chamber ens. ~([sm1965[nm=n[sm6[nm).[ep~[smorch[nm: [cf2]Metastas
is [cf1](After-standstill), [sm61[nm players ~([sm1953[nm=n[sm4[nm); [cf2]Pithop
rakta, [cf1][sm50[nm players ([sm1955[nm=n[sm6[nm); ~[cf2]Achoripsis, [cf1][sm21
[nm players ([sm1956[nm=n[sm7[nm); [cf2]ST/[sm10[nm[cf1], [sm10[nm players ~([sm
1956[nm=n[sm62[nm); [cf2]Atr;aaees, [cf1][sm10[nm instr. ([sm1958[nm=n[sm62[nm);
 [cf2]Analo~~giques A and B, [cf1]str., tape ([sm1959[nm); [cf2]Duel, [cf1][sm2[
nm orch. ~([sm1959[nm); [cf2]Syrmos, [cf1][sm18[nm str. ([sm1959[nm); [cf2]ST/[s
m48[nm, [cf1][sm48[nm instr. ~([sm1959[nm=n[sm62[nm); [cf2]Strat
;aaegie, [cf1][sm2[nm orch. and [sm2[nm cond. ([sm1959[nm=n~[sm62[nm); [cf2]Akra
ta, [cf1][sm16[nm wind instr. ([sm1964[nm=n[sm5[nm); [cf2]Terr;afetek~~torh, [cf
1]orch. deployed among audience ([sm1966[nm); ~[cf2]Polytope [cf1](Many-placed),
 [sm4[nm small orch. ([sm1967[nm); ~[cf2]Nomos gamma, [cf1]orch. deployed among
audience ~([sm1967[nm=n[sm8[nm); [cf2]Synaphai, [cf1]pf., orch. ([sm1969[nm); [c
f2]Eridanos[cf1], [sm8[nm ~brass, [sm10[nm str. ([sm1973[nm); [cf2]Erikhthon[cf1
], of., orch. ([sm1974[nm); ~[cf2]Noomena[cf1] ([sm1975[nm); [cf2]Empreintes[cf1
] ([sm1975[nm); [cf2]Ionchaies[cf1] ~([sm1977[nm); [cf2]Palimpsest[cf1], pf., en
s. ([sm1982[nm).[ep~[smtape[nm: [cf2]Diamorphoses[cf1], [sm2[nm-trarck ([sm1957[
nm=n[sm8[nm); [cf2]Conret PH[cf1], ~[sm2[nm-track([sm1958[nm); [cf2]Analogique B
[cf1], [sm2[nm-track ([sm1958[nm=n[sm9[nm); ~[cf2]Orient=nOccident[cf1], [sm2[nm
-track ([sm1960[nm); [cf2]The Thessaloniki ~World Fair[cf1], [sm1[nm-track ([sm1
961[nm); [cf2]Bohor[cf1], [sm4[nm-track ([sm1962[nm); ~[cf2]Hibi
kihe-hana-ma[cf1], [sm12[nm-track ([sm1969[nm=n[sm70[nm); [cf2]Persepolis[cf1],
~[sm8[nm-track ([sm1971[nm); [cf2]Polytope de Cluny[cf1], [sm8[nm-track, light~~
ing ([sm1972[nm); [cf2]Polytope II[cf1], tape, lighting ([sm1974[nm); ~[cf2]Boho
r II[cf1], [sm4[nm-track ([sm1975[nm); [cf2]Diatope[cf1], [sm4[nm or [sm8[nm-tra
ck ~([sm1977[nm).[ep~[smchamber[nm & [smensemble[nm: [cf2]ST/[sm4[nm[cf1], str.
qt. ([sm1956[nm=n[sm62); [cf2]ST/~[sm10[nm[cf1], cl., bass cl., [sm2[nm hn., hp.
, perc., str. qt. ([sm1956[nm=n~[sm62[nm); [cf2]Morsima-Amorsima[cf1], pf., vn.,
 vc., db. ([sm1956[nm=n~[sm62[nm); [cf2]Amorsima-Morsima[cf1], cl., bass cl., [s
m2[nm hn., hp., ~tpt., tb., [sm2[nm perc., vn., vc. ([sm1962[nm); [cf2]Art;aaees
[cf1], fl., cl., ~bass cl., hn., tpt., tb., [sm2[nm perc., vn., vc. ([sm1952[nm)
; ~[cf2]Herma[cf1], pf. ([sm1960[nm=n[sm4[nm); [cf2]Eonta[cf1], [sm2[nm tpt., [s
m3[nm tb., pf. ~([sm1963[nm=n[sm4[nm); [cf2]Nomos Alpha[cf1], vc. ([sm1965[nm=n[
sm6[nm); [cf2]Anaktoria[cf1], ~cl., bn., hn., str. qt., db. ([sm
1969[nm); [cf2]Persephassa[cf1], [sm6[nm ~perc. ([sm1969[nm); [cf2]Aroura[cf1],
[sm12[nm str. ([sm1971[nm); [cf2]Charisma[cf1], ~cl., vc. ([sm1971[nm); [cf2]Lin
aia-Agon[cf1], hn., tb., tuba ([sm1972[nm); ~[cf2]Mikka[cf1], vn. ([sm1972[nm);
[cf2]Evryali[cf1], pf. ([sm1974[nm); [cf2]Gmeeoorh[cf1], ~org. ([sm1974[nm); [cf
2]N'shima[cf1], [sm2[nm mez., [sm2[nm hn., [sm2[nm tb., vc. ~([sm1975[nm); [cf2]
Phlega[cf1], [sm11[nm instr. ([sm1975[nm); [cf2]Psappha[cf1], perc. ~([sm1975[nm
); [cf2]Theraps[cf1], db. ([sm1975[nm=n[sm6[nm); [cf2]Epe;aui[cf1], cor anglais,
 ~cl., tpt., [sm2[nm tb., db. ([sm1976[nm); [cf2]Khoa;aui[cf1], hpd. ([sm1976[nm
); ~[cf2]Retours-Windungen[cf1], [sm12[nm vc. ([sm1976[nm); [cf2]Dmaathen[cf1],
ob., ~perc. ([sm1976[nm); [cf2]Kottos[cf1], vc. ([sm1977[nm); [cf2]Tetra[cf1], s
tr. qt. ~([sm1983[nm).[ep~[smchoral[nm: [cf2]Polla ta dhina[cf1], children's vv.
, wind, perc. ~([sm1962[nm); [cf2]Hiketides[cf1], [sm50[nm women's vv., [sm10[nm
 instr. or ~orch. ([sm1964[nm); [cf2]Oresteia[cf1], ch., ens. ([
sm1965[nm=n[sm6[nm); [cf2]Medea[cf1], ~male vv., orch. ([sm1967[nm); [cf2]Nuits[
cf1], unacc. ([sm1967[nm=n[sm8[nm); ~[cf2]Cendr;aaees[cf1], ch., orch. ([sm1973[
nm=n[sm4[nm); [cf2]H;aael;agene[cf1], mez., ~women's vv., [sm2[nm cl. ([sm1977[n
m); [cf2]Akanthos[cf1], sop., ens. ~([sm1977[nm).[cm~[ep~[ep~[ep~[ep~[ep~[te~