Table Of Content

& Edited^ CHARLES OSBORNE ^ The Dictionary ofComposers ^ MU& H ^l(fiixt^ud^tA 8>tT- The ictionary of omposers Edited by Charles Osborne A Crescendo Book TAPLINGER PUBLISHING COMPANY NEW YORK First paperback edition published in the United States in 1981 by TAPLINGERPUBLISHINGCO.,INC. New York, New York Copyright © 1977 by Book ClubAssociates All rights reserved Printed in the United StatesofAmerica Designed by Harold Bartram Picture Research by Celestine Dars Library ofCongress CatalogCard Number 78-58291 ISBN 0-8008-2194-7 ISBN 0-8008-2195-5 (pbck.) Acknowledgements London, Royal College of Music: pp. 10, 79, 94, pp.65,76,208,296,301, 325, 359,373.-Hamburg, 103, 191, 238, 335, 341, 355. - Mansell Collection: Staatsbibliothek: p. 67.- Reg Wilson: pp. 70, 282, pp. 11, 13, 17,20,24,33,35,39,42,49,50,56,61,68, 332, 350, 377. - Paris, Cultural American Centre: 75, 85, 87,88,89, 106, 110, 116, 119, 155, 157, 169, pp. 92, 137, 376. - Paris, Bibliotheque des Arts 176, 205, 237, 239, 242, 246/47, 249, 266, 299, 305, Decoratifs: p. 133-. - Collection Speiser: pp. 134, 313,327,330,333,336,337,356,358.-Snark Inter- 170, 281, 302, 348, 379.- London, British Library: national: Frontispiece,pp. 19,21,36,43,45,69,74, pp. 135, 162, 164, 236, 366, 371. - Paris, 81, 97, 100, 108, 123, 124, 166, 178, 195, 222, 228, Bibliotheque de FOpera: pp. 146, 152, 204, 261. - 230/31, 240, 264, 275, 276, 279, 280, 287, 288, 300, London, National Portrait Gallery: p. 159. - Col- 322,329, 331,365.-Paris, BibliothequeNationale: lection Meyer:pp. 174,224,252,259,273,309,353. pp. 22, 32. 52,96, 131, 142, 167, 168, 186, 189, 199, - Prague, National Library: p. 184. - Paris, 201,206,233,234,243,244,245,255,272,283,306. ArchivesHeugel:pp. 193,321,323.-EricShanes:p. 308.-Boudot-Lamotte:p.23.-NewYork,Central 210.-Berlin, National Bibliothek: p. 251.-Milan, Library: pp. 29, 30. - Paris, Archives Photo- National Library: p. 265. - Paris, Theatre des graphiques: pp. 34. - German National Archives: Champs-Elysees: pp. 270, 286. - Bologna, Museo pp. 40. - Austrian Institute: pp. 44, 185, 295. - Civico:p.290.-Paris,LibrairieduGlobe: p.346.- Prague, Theatremuseum: p. 47. - Paris, PhotoSchob:p.361.-Turino,Library:p.363. BibliothequeduConservatoire:pp.57,90, 173, 179, Jacket-Paintingentitled The MusicPartyby Phil- 216,229,292,339,340, 344, 362.-CollectionSirot: lip Mercier by courtesy of The National Portrait pp.58,77, 150, 154,218,316.-TheAuthor:p.60.- GalleryLondon Roger-Viollet: p. 63. - Vienna, National Library: Contributors ErnestChapman(E.C.) CharlesOsborne(C.O.) JoanChissell(J.C.) RichardOsborne(R.O.) AlanBlyth(A.B.) Dr.MoscoCarrier(Mos.C) GeraldGifford(G.G.) NicholasChadwick(N.C.) ProfessorDenisArnold(D.A.) NoelGoodwin(N.G.) FrankGranvilleBarker(F.G.B.) CharlesCudworth(C.C.) ColinWilson(C.W.) PeterGammond(P.G.) ChristopherHeadington(C.H.) ChristopherGrier(C.G.) BrendanG.Carroll(B.G.C.) ChristopherPalmer(C.P.) RobertLayton(R.L.) EricWalterWhite(E.W.W.) JerroldNorthropMoore(J.N.M.) StephenWalsh(S.W.) EdwardHigginbottom(E.H.) MartinCooper(M.C.) JeremyNoble(J.N.) HumphreySearle(H.S.) Foreword These biographies are addressed to the music gramme or at an opera house. But Villa- enthusiast who does not already have full- Lobos and Korngold, though not necessarily length biographiesofhis favouritecomposers composers ofthe first rank, are included be- onhisbookshelves,andthecollectionisbased cause their music, though hardly 'in fashion' on the proposition that one can deepen at present, is nevertheless heard from time to one's understanding of a man's music by time. knowingsomethingabouthislife.Theentries, No unanimity ofapproach has been forced therefore, are not merely lists of works, but upon the contributors, beyond a general in- essays in each ofwhich the major events ofa junctiontotellthestoryofthecomposer'slife composer'slifearesetforthand,whereappro- clearly and concisely, andto comment on the priate, related to his music. I have not con- music in non-technical language. The great fined the collection to the 'great' composers, composers have, in general, more space but have cast my nets more widely. On the devoted to them than the lesser figures, other hand, I do not seek to be compre- though again this is not consistently the case. hensive. The criterion for inclusion has been The popular composer of the second rank whetheronewaslikelytoencounterthemusic who has led a long and interesting life may of the composer in question in the concert havealongerentrythan thegreatgenius who hallortheoperahouse, notjustonanisolated lived for nothing beyond his music and who and rare occasion but with reasonable fre- diedyoung. Itismyhopethatthereadermay, quency. Consequently, none of the four by reading about composers in whom he has known Charpentiers, for example, will be not hitherto taken an interest, be led to foundinthesepages, althoughitispossible, if exploretheirwork andthustoextend hisown notveryprobable, thatsomethingorotherby knowledge of and enjoyment in the art of two of them-Marc-Antoine Charpentier music. (1634-1704) and Gustave Charpentier CO. (1860-1956)-mightturn up in aconcert pro- 8 Adam, Adolphe ADAM, Adolphe Opera in 1844) were failures, but his repu- d(.b.PPaarriiss,,234MJaulyy11885063); tfartoimonLienPcoostmiilcioonpdeeraLoisngsejcuumree,authfoeuwgohfatphaermt Althoughhisfather, LouisAdam, wasapian- are encountered on the stage today. Adam ist,teacherandcomposerofsomeimportance also composed a number ofballet scores, not in Paris, Adolphe Adam was discouraged only for Paris but also for Berlin, St Peters- fromtaking upmusic himselfas a profession. burg and London. One ofthese, Giselle, pro- Hisfathersenthim toan ordinary school and duced at the Paris Opera in 1841, is still refused to allow him musical instruction, immensely popular with ballet audiences which the lad, however, acquired secretly. today. When he was fourteen, his father relented to Adam was generous in his encouragement the extent that the boy was allowed to enter ofyoungercomposers. In 1847 hefoundedthe the Paris Conservatoire, but only after Theatre National, to produce new works by Adolphe had solemnly sworn that he would youngcomposers.The 1848 revolution putan nevercomposemusicforthetheatre! end to this enterprise, in which Adam lost all The first instrument which the young mu- hissavings, and incurred debts which were to sician mastered was the organ, which was cripple him for the remainder of his life. In soonfollowedbytheharmonium on which he 1849 he becamea professorofcomposition at used toimproviseand compose tunes. One of theParisConservatoire. Hisdeathin 1856was his teachers was the composer BoTeldieu, sudden. masterofthe opera comique, who took a par- CO. ticular interest in his young pupil. Adam was later to acknowledge that most of what he ALBENIZ, Isaac wkansewceorftcaoinmlpyosBiot'iioelndiceaumewhforomledBo'hiielmdiaeuw.ayIt (b. Camprod6n,29 May 1860; from his solemn promise to his father, d. Cambd-les-Bains, 18 May 1909) towards the attractions of the theatre and A caricature of Albeniz published in La opera comique. When BoTeldieu's La Dame ilustracion musical of Barcelona in 1883 car- blanche was being prepared for performance ried the caption: 'Como homhre, un nino - in 1825, he allowed his twenty-two-year-old Como pianista, un gigante" ('As a man, a pupil to compose the overture, or rather to midget - As a pianist, a giant'). Albeniz was construct it from Bo'ieldieu's themes. thentwenty-three,andabouttosettledownto Adam'sfirstoperacomique, PierreelCathe- marriage and study after a picaresque child- rine, was produced in Paris, at the theatre hood and adolescence which had already called the Opera-Comique, in 1829. It was taken him half-way round the world. He was only a one-act piece, but it was followed the born in Gerona, the son of a tax collector. next year by a three-act work, Danilowa, Exceptionally precocious, he learned the whose immediate success encouraged the piano almost instinctively, and improvised at young composer promptly to embark upon a public concert in Barcelona when he was another. Histalent,hediscovered, wasafacile four. Atseven hewastaken to Paris, where he one. Melodiescameeasilytohim,andorches- sailed through the entry examinations for the trationgavehimnotrouble. Hisprolificmelo- Conservatoire,tossedaball throughoneofits dic gift was, in fact, his greatest asset; had he hallowed windows and was refused admis- been a little more interested in the other sion, officially on account of his extreme aspects ofcomposition, Adam's music might youth. have risen to greater heights. But the comic Nothing daunted, he became a vagabond, operas that flowed from his pen were invari- running away from home and the Madrid ably successful with audiences, so he was Conservatory a year later, and supporting hardly encouraged to experiment. One ofthe himself by his piano playing - chiefly in a mostcharmingoftheoperasisLePostilionde vaudevillestuntwith hisback tothekeyboard Longjumeau with its fearsome entrance aria usingthe backsofhisfingers, palms upwards. requiring the tenor to produce a high D in the By the time he was fifteen, having stowed chest register. Le Postilion de Longjumeau was away on a westbound ship, he had explored staged in 1836 at the Opera-Comique where BuenosAiresandCuba,touredthe USA from thevastmajorityofAdam'soperasweregiven New York to San Francisco, and given con- theirpremieres. His oneortwograndoperas, certsin Liverpool, Londonand Leipzigon the such asRicharden Palestine (produced at the way back. His handicap was a fundamental