100 anys després, celebrem i commemorem els desconeguts

Obra de Carl Larsson (1853-1919), pintor suec (1) 

Thomas S. Allen (1876-1919) - Dance of the Lunatics
Giovanni Bolzoni (1841-1919) - Fantasia
Camille Erlanger (1863-1919) - Trumpet Chromatic
Louis Diemer (1843-1919) - Regrets, Op.11 No.1
James Reese Europe (1881-1919) - Castle House Rag
Joseph Friedrich Hummel (1841-1919) - Clarinet Trio
Charles Godfrey (1839-1919) - Coronation march
Claudio Martinez Imbert (1845-1919) - Melodia
Joséphine Macgill (1877-1919) - Duna
Alexis Rostand (1844-1919) - Mignon
Jozef Surzinski (1851-1919) - Wzlobie Lezy
Julian Scriabine (1908-1919) - Prelude, Op.2 (1918)
Robert Vollstedt (1854-1919) - Schneidig march, Op.98

- 100è aniversari de compositors a qui difícilment escoltarem -

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Parlem de Pintura...

Carl Larsson (Stockholm, 28 de maig de 1853 - Falun, 22 de gener de 1919) va ser un pintor suec. Va néixer al Gamla Stan d'Estocolm, en una família de pocs recursos. La seva infància no va ser feliç, tot i així, als 13 anys el seu professor de l'escola per a nens pobres on va estudiar el va animar a presentar una sol·licitud per accedir a la "principskola" de la Reial Acadèmia Sueca de les Arts, sol·licitud que va ser acceptada. Durant el primer any es va sentir inferior als seus companys per la seva procedència social, actuant de manera tímida. Quan als 16 anys va ser admès per a continuar els seus estudis en la mateixa acadèmia, va guanyar més confiança esdevenint una figura central en la vida estudiantil de l'acadèmia. Després d'uns quants anys treballant com a il·lustrador de llibres, revistes i diaris, Larsson va anar a viure a París, on hi va passar un quants anys treballant com a artista, sense gaire èxit. El 1882, quan vivia a Grez-sur-Loing, una colònia d'artistes escandinaus dels afores de París, va conèixer l'artista Karin Bergöö, que aviat va esdevenir la seva dona. Aquest fet va marcar un punt d'inflexió en la vida de l'artista. Va ser també a Grez on Larsson va pintar algunes de les seves obres més importants, aquest cop fent servir l'aquarel·la, un estil molt diferent a la tècnica que havia emprat en les seves pintures a l'oli. Carl Larsson va morir a Falun el gener de 1919.

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Parlem de Música...

Thomas S. Allen (1876-1919) va ser un violinista i compositor estatunidenc.



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Giovanni Bolzoni (1841-1919) va ser un compositor italià.

A Bolzoni morì il padre durante l'infanzia; la sua famiglia in quegli anni era molto povera, ma egli ricevette lezioni di teoria musicale, a titolo gratuito da un membro del coro del Teatro Regio. Studiò violino, canto, pianoforte, armonia e composizione per sette anni al Conservatorio di Parma. Dopo la laurea nel 1859, iniziò le sue attività nel 1864 come primo violino presso il Teatro Comunale di Reggio Emilia; poi al teatro di Cremona e nel 1867 a Savona. Successivamente intraprese anche la carriera di direttore d'orchestra. Insegnò violino, quindi diresse diverse stagioni liriche nei grandi teatri italiani. Nel 1874 vinse un concorso e fu nominato direttore musicale dell'Istituto F. Morlacchi di Perugia, dove rimase fino al 1876. Nel 1884 ricevette l'incarico di dirigere il Teatro Regio di Torino e cinque anni dopo divenne direttore del Conservatorio di Musica della stessa città, carica che conservò per ben ventinove anni. La direzione di Bolzoni al Conservatorio si caratterizzò per importanti provvedimenti riguardanti la scuola di teoria e di solfeggio, la scuola di violino e di viola, le esercitazioni quartettistiche, il corso di cultura generale, letteraria e scientifica, le cattedre d'organo, d'arpa e di pianoforte. Nello stesso tempo continuò la sua attività concertistica e compositiva, occupandosi di opere, di ouverture, di musica orchestrale e da camera: sinfonie, suite, fantasie, minuetti. Nel 1870 avvenne la première nel Teatro Regio di Parma di "Un matrimonio civile", idillio musicale in 1 atto di sua composizione con libretto di Giacomo Schianelli, diretta da Giulio Ferrarini con Giuseppina Pasqua. Ebbe tra i suoi allievi il compositore Leone Sinigaglia (1868-1944) che gli dedicò i suoi Zwei Charakterstucke per orchestra d'archi, op.35, pubblicati nel 1910, oltreché Carlo Adolfo Cantù, Giuseppe Blanc, Edgard Varèse. Un suo minuetto, originale per pianoforte solo, venne frequentemente eseguito nella versione per orchestra d'archi, in particolare da Arturo Toscanini.

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Louis Diemer (1843-1919) va ser un pianista i compositor francès.



In 1853 he entered the Paris Conservatoire where he enjoyed a particularly successful career, winning premiers prix in solfège (1855), piano (by unanimous decision, 1856), harmony and accompaniment (1859) and counterpoint and fugue (1861), as well as a second prix in organ (1861); his teachers included A.F. Marmontel (piano), Ambroise Thomas (composition) and François Benoist (organ). Financial difficulties prevented him from pursuing the Prix de Rome. From 1861 he gave piano lessons, and from 1863 performed regularly, both in Paris and in the provinces. He attended Rossini’s soirées, played in the chamber concerts organized by Alard, and toured with Sarasate. Always popular with the public, he steadily gained a reputation as a virtuoso. In 1887 he succeeded Marmontel at the Conservatoire, where he exercised great influence on the next generation of French pianists; his pupils included Cortot, Risler and Robert Casadesus. The success of a series of harpsichord recitals which Diémer gave at the 1889 Exposition Universelle led to the founding (with van Waefelghem, Grillet and Delsart) of the Société des Instruments Anciens, and prompted him to dedicate considerable time to promoting early music. In 1902 he established a trust fund for a triennial competition, with a prize of 4000 francs, open to male pianists who had won a premier prix for piano in the preceding ten years. Diémer continued to teach and perform publicly until his death. He was named a Chevalier de la Légion d’Honneur in 1889. Diémer’s virtuoso playing had a reputation for extreme precision and purity, qualities that may be heard in his recording (c1904) of his Grande valse de concert op.37. A more complete sense of his musicianship may be perceived in his long-lined and tonally refined recording (c1904) of Chopin’s Nocturne op.27 no.2. His compositions, primarily for the piano, were described by Fétis as graceful but not lacking in solidity; some of his songs enjoyed considerable success. He also edited piano music, transcribed symphonic movements and opera excerpts for the piano, and published a piano method.

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Rudolf Dittrich (1861-1919) va ser un compositor austríac.

Dittrich was born in Biala, Galicia (modern Bielsko-Biała, Poland). He attended the Vienna Conservatory, where he specialized in violin, piano, organ, and music composition. His teachers included Anton Bruckner, who later became one of his sponsors. In November 1886, Dittrich married a singer named Petronella Josefine Leopoldine Lammer (15 September 1860 - 4 January 1891). Dittrich was hired by the Meiji government of Japan as a foreign advisor on a three-year contract and arrived in Tokyo in 1888 as the first Art Director of the Tokyo School of Music (now the Tokyo National University of Fine Arts and Music). Dittrich and his wife both worked at the school, and also gave performances at the Rokumeikan. Dittrich was fluent in English, and also taught his students English conversation along with violin, piano, organ, theory, and composition. However, he was known as a very severe teacher, and at one point his students marched out on strike against him. However, many of his students went on to distinguished careers. Near the end of Dittrich's first term in 1891, his wife died from a pulmonary embolism. Furthermore, the school faced financial difficulties as the government withdrew its support to divert funds for the upcoming First Sino-Japanese War. In spite of his school's difficulties, Dittrich's contract was renewed in 1891 for another three-year period. Sometime in 1891 or 1892, Dittrich formed a relationship with a Japanese shamisen performer and instructor, Mori Kiku, with whom he had a son out of wedlock named Otto Mori. Mori Kiku also assisted Dittrich in translating the lyrics and transposing the music for the Japanese songs which appeared in his 1894 and 1895 publications. Dittrich left Japan one month before the expiration of his contract in August 1894, abandoning his common-law family, but leaving provisions to provide financial support for his son, who later became a professional violinist. His grandson was the movie actor Jun Negami. After returning to Vienna in 1894, Dittrich had to struggle to find a position. In the first years after his return he performed as a chamber music violinist and violist. In 1901, he was appointed as one of three organist to the Habsburg court organists, succeeding his mentor Anton Bruckner. In 1906 Dittrich became a professor at the Vienna Conservatory, and designed for the organ in the Musikverein auditorium, where the Vienna Philharmonic plays its New Year's concerts. On 10 July 1900 Dittrich married his second wife, Katharina Kriegle, who bore him two sons. Dittrich collapsed while performing in a concert on 18 October 1916, and never fully recovered. He died in Vienna on 16 January 1919.

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Georges Douay (1840-1919) va ser un compositor francès.

Compositeur en vogue dans les années 1860-1870, on lui doit de nombreuses chansons et les partitions d'opérettes. À sa mort, il lègue à la Bibliothèque de l'Arsenal une collection riche de plus de 50 000 pièces concernant le théâtre, qui comprend des documents imprimés, 700 estampes et 1 500 manuscrits. Cette collection est à l'origine de l'orientation théâtrale de l'établissement. On lui doit plus de 400 compositions sur des textes de Francis Tourte, William Busnach, Adolphe Huard ou Alexandre Flan, parmi d'autres.

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Camille Erlanger (1863-1919) va ser un compositor francès.



His family, originally from Alsace, had settled in Paris where his father kept a milliner's shop. Although he showed talent for music quite early, he complied with his father's wishes and entered an industrial firm as a trainee accountant. However, several people who had noticed his musical gifts eventually persuaded his father to let him study at the Paris Conservatoire, which he entered in 1879, attending the classes of Georges Mathias (piano), Emile Durand and Antoine Taudou (harmony) and most notably Léo Delibes (composition). After winning second prize in the Prix de Rome competition in 1887, he won first prize the following year with his cantata Velleda, and stayed at the Villa Medici until 1891. The most important work he composed there was his Saint Julien l'hospitalier. Erlanger was attracted to the stage rather than the concert hall, and his first dramatic work, Kermaria, was produced in 1897. It was coolly received by both the public and the critics, but he was more fortunate with Le juif polonais (1900), a great success which remained in the repertory of French opera houses until the 1930s. His only other opera to make its mark was Aphrodite (1906), from the novel by Pierre Louÿs. This work, tinged with an eroticism that was rather daring for its time, had a huge success at its première (with Mary Garden), and was performed 182 times in Paris up to 1926. Erlanger died suddenly from an attack of angina, leaving three works finished or almost completed: Hannele Mattern, Forfaiture and Faublas. Erlanger was one of a generation of French operatic composers including such musicians as Bruneau, Hüe and Leroux on whom the influence of Wagner and Massenet weighed heavily. He had a solid technique, and his works bear witness to an assured sense of musical scene-setting and remarkable qualities of orchestration, most obvious in the large crowd scenes in Le fils de l'étoile and Aphrodite. However, despite these virtues and a harmonic language that did not shrink from surprisingly bold effects, he was handicapped by a lack of melodic inspiration which made it impossible for him to provide a wholly satisfying musical depiction of emotion or of his characters' psychology and state of mind. To compensate for this failing he devoted himself to working on complex thematic structures based on leitmotifs, which he called ‘sujets musicaux’. They often produce no conspicuous musical outline but are indefinitely repeated, transposed and varied, thereby pointing up the often laboured quality of his music and emphasizing its lack of spontaneity. Erlanger always chose librettos of a dramatic or tragic character, and tried his hand at subjects deriving from naturalism (Le juif polonais, L'aube rouge), symbolism (Hannele Mattern), themes of classical antiquity (Le fils de l'étoile, Aphrodite) and extreme verismo (Forfaiture, adapted from a film script), although he never truly succeeded in any of these genres. His best work is undoubtedly his ‘légende lyrique’, Saint Julien l'hospitalier, which deserves revival.

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James Reese Europe (1881-1919) va ser un compositor estatunidenc.



A champion of black American music and musicians, he played a significant role in the transformation of orchestral ragtime into jazz. As a teenager in Washington, DC, Europe studied the violin, the piano and composition. After moving to New York in 1903, he continued his studies informally with organist Meville Charlton and singer/composer Henry T. Burleigh. By 1909 he had achieved considerable success as a composer of popular songs and as music director for several important theatrical productions, including Red Moon (1908–9) and Mr Lode of Koal (1909). The following year he organized and was elected president of the Clef Club, the first effective union for black musicians in the city’s history. He also conducted the club’s symphony orchestra. On 2 May 1912 Europe led his 125-member orchestra and chorus in a historic ‘Symphony of Negro Music’ at Carnegie Hall, the first appearance on that stage by a black orchestra. They returned to give concerts in 1913 and 1914. During this same period Europe became the musical director for society dancers Vernon and Irene Castle. Over the next three years the Castle-Europe partnership revolutionized American attitudes towards social dancing. Together they are credited with developing the most famous of the Castle dances, the fox-trot. Victor Records, offered Europe and his Society Orchestra a recording contract in 1913, the first ever given by a major label to a black orchestra. In 1918, as bandmaster of the 369th US Infantry Regiment Band, Europe was sent to France where he introduced live ragtime, blues and jazz to European audiences for the first time. After returning from the war, he completed a series of recordings and had nearly completed a successful concert tour when he was fatally stabbed by an emotionally disturbed bandmember.

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Jakob Fabricius (1840-1919) va ser un compositor danès.

A banker by profession, Fabricius remains best known for his many practical initiatives in Danish musical life. In 1871 he founded the Samfund til Udgivelse af Dansk Musik (Society for the Publication of Danish Music), whose president he was from 1887 until his death. This society is today the principal organization for the publication of contemporary Danish music. He was the founder of the choral society Vega (1872) and a founder-member of the Copenhagen Concert Society (Koncertforening; 1874), a progressive musical society which existed until 1893. It was chiefly due to him that the first regular concert hall, the Koncertpalae, was built in Copenhagen during 1884–8. As a music critic his writings stand out from the generally poor music criticism of his time. As a composer, Fabricius has never been highly rated in Denmark, perhaps chiefly because his practical enterprise overshadowed his musical activities. His early En vaarnat (‘A Summer Night’) for choir and orchestra, and a symphony (1880) were performed in Copenhagen; but the major part of his works were for many years far better known abroad, as a result of successful performances in Berlin and Paris of his vocal compositions, especially three-part madrigals, a cappella madrigals and other choral works (Berlin), and solo songs, accompanied by piano and cellos, which were composed for concerts in Paris and published there.

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Ernest Ford (1858-1919) va ser un director i compositor anglès.



He was a chorister at Salisbury Cathedral, and won the first Goss Scholarship at the RAM (1875), where he was a pupil of Sullivan. He also spent some time in Paris studying with Lalo. In 1886 his motet Exaudivit Dominus was performed at the 250th anniversary of Harvard University. Most of his other compositions were for the theatre and included operas (Daniel O'Rourke, 1884; Nydia, 1889; Joan, 1890; Jane Annie, 1893; Mr Jericho, 1893) and ballet music, excerpts from his Faust being given under Henry Wood in 1897. Ford held a professorship of singing at the GSM, where he was in charge of the opera class. He conducted Sullivan's Ivanhoe at the Royal English Opera House, Cambridge Circus, and for some years directed the Royal Amateur Orchestral Society. His Short History of Music in England (London, 1912) is informative on Sullivan and late 19th-century musical life.

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Amintore Galli (1845-1919) va ser un professor i compositor italià.

He studied with Croff and Mazzucato at the Milan Conservatory, 1862–7, joining Garibaldi during the 1866 war against Austria, along with his fellow-students Marco Praga, Faccio and Boito. In Carnival 1865 his Cesare al Rubicone, a gran scena ed aria for baritone, chorus and orchestra, was successfully performed in Rimini, and on graduating he won the composition prize for his secular oratorio Espiazione (1867) to his own text after Moore’s Lalla Rookh. He then conducted the band in Amelia, Umbria, and was director of the music school in Finale Emilia, 1871–3 (several early works are extant in I-FEM, including a quartet, three symphonies, sacred music and the oratorio Cristo al Golgota, 1871). Galli returned to Milan as music critic of Il secolo, published by Sonzogno. He took charge of Sonzogno’s music publishing, arranging vocal scores, translating French librettos and replacing spoken dialogue with recitative. He was responsible for a series of cheap editions and sat on the jury of Sonzogno’s opera competitions (which led to Cavalleria rusticana among other works). He also taught at the Milan Conservatory (1878–1903) and wrote didactic works. His Estetica della musica (1900) is written along lines of Kantian idealism, also evident in his historical writings. Of his many pedagogical works of music theory, the Trattato di contrappunto e fuga (1877) was long used at the Milan Conservatory. He edited several periodicals, including Il teatro illustrato (1881–92) and Musica popolare (1882–5). He retired from Sonzogno in 1904 and in 1914 returned to Rimini. He had two operas performed, Il corno d’oro (Turin, Balbo, 30 August 1876) and David (Milan, Lirico, 12 November 1904), which is in five acts and to his own libretto; both were published by Sonzogno. Three others remained unperformed: Follia tragica, Roma and Il risorgimento (the last two to his own librettos). He also composed sacred, chamber, orchestral and band works (several songs are in I-Mc). His papers are collected in the Biblioteca Civica Gambalunga, Rimini.

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Paul Geisler (1856-1919) va ser un director i compositor alemany.

He studied with his grandfather, conductor at Marienburg (now Malbork), and for a time with Konstantin Decker. He was répétiteur at Leipzig (1881–2), then joined Angelo Neumann’s travelling Wagner company (1882–3), before becoming Kapellmeister in Bremen under Anton Seidl (1883–5). He later also worked in Leipzig and Berlin, finally moving to Posen, where he founded a conservatory and conducted symphony and choral concerts. He was made royal Kapellmeister in 1902. Once popular and respected as representative of the New German School, Geisler’s music was overshadowed by that of the leading members of the movement and after his death soon fell into neglect. His works include seven operas, Ingeborg (1884, Bremen), Die Ritter von Marienburg (1891, Hamburg), Hertha (1891, Hamburg), Palm (1893, Lübeck), Wir siegen (1898, Berlin), Prinzessin Ilse (1898, Posen) and Warum? (1899, Berlin), and a ‘dramatic episode with music’, Wikingertod. He also wrote symphonies, symphonic poems (Der Rattenfänger von Hameln, performed with success at Magdeburg in 1880, Till Eulenspiegel, Heinrich von Ofterdingen), cantatas (Golgatha, Sansara), songs, and piano music (including Réminiscences de l’opéra ‘Tannhäuser’).

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Charles Godfrey (1839-1919) va ser un compositor anglès.

Son of Charles Godfrey. He studied under Macfarren and Lazarus at the RAM and played in Jullien’s orchestra, with which he went on tour. In 1859 he joined the Scots Fusiliers as bandmaster, leaving for a similar post with the Royal Horse Guards (1868–1904), in which he was commissioned Lieutenant (1899). He was professor of military music at the GSM and for 16 years adjudicated at the Belle Vue band contests in Manchester. His numerous compositions and arrangements are well known; he edited the Army Military Band Journal and founded the Orpheus Band Journal.

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Léo Grill (1846-1919) va ser un professor i compositor hongarès.

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Reinhold Ludwig Herman (1849-1919) va ser un cantant, pianista i compositor alemany.

Herman va rebre la seva formació musical al Conservatori Stern d'H. Ehrlich (piano), F. Kiel (composició) i J. Stern (cant). El 1870 marxa als Estats Units i des de 1871-8 va ensenyar veu i direcció a Nova York. En 1878, va ser anomenat de tornada a Berlín com a cap temporal del Conservatori de Stern. Posteriorment tornà a Nova York, on dirigí la Haendel and Haydn Society. Va compondre es òperes Vineta; Lanzelot; Spielmansglück (Cassel, 1894); Wulfrin (Colònia,1896), i Dundari (1911), així com alguns poemes simfònics, cors i melodies vocals.

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Joseph Friedrich Hummel (1841-1919) va ser un professor i compositor austríac.



Father of musicologist Walter Hummel, he was a musician and promoter of the works of Wagner, Bruckner and Strauss, a representative of the more creative sounding musical culture of his time. The Josef-Friedrich-Hummel-Straße, a street in Salzburg located in close proximity to the main building of the Mozarteum, was named after him. Joseph Hummel studied music at the Hochschule für Musik und Theater München under Franz Lachner and worked as theater kapellmeister in Innsbruck, Aachen, Troppau and Vienna, as well as conductor of the Brünn City Theatre from 1876-1879. He became director of the Mozarteum Orchestra and head of the newly established music school International Mozarteum Foundation from 1880-1908. There, he played with the orchestra that he founded, the women's choir and led the Salzburger Liedertafel (amateur male choir) from 1882-1912, organizing several major choral festivals in Salzburg, and thus gaining the reputation as a fine Mozart conductor.

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Jaroslav Jeremias (1889-1919) va ser un pianista i compositor bohemi.

Composer and pianist, son of  Bohuslav Jeremiáš. He first learnt music at his father’s music school in Písek and later in Prague, where he studied the piano under Mikeš at the conservatory (1906-09) and composition privately with Vítězslav Novák (1909-10). He made several strenuous European concert tours, sometimes as accompanist to the singers Karel and Emil Burian, which broke his health and hastened his early death. He was also a promising critic; as a partisan of Smetana and Wagner he wrote an interesting analysis of Tristan und Isolde (1913), but his failure to grasp the greatness of Janáček can be seen in his polemical pamphlet on Jenůfa and Smetana (1916). His compositions, though few, reveal a noteworthy talent which manifested itself most conspicuously in the oratorio Mistr Jan Hus (1914-15), first performed posthumously in 1920.

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Manuel Klein (1876-1919) va ser un compositor anglès.

Klein was born in London, to parents Herman and Adelaide (née Soman). Apparently, the elder Klein emigrated from Riga, Latvia. Once in Norwich, Hermann became a professor of foreign languages at the King Edward VI Grammar School, and Adelaide taught dance. The younger Klein's five brothers included Max, a violinist; Charles, a playwright; Herman, a music critic and music teacher; Alfred, an actor; and Philip. They had a sister, Adelaide. He was the uncle of producer Philip Klein (1888–1935). Klein was educated in London and at Tivoli House Academy, Gravesend, Kent, England. Klein moved to the US on 11 April 1896. He was the music director for David Belasco's theatre company in New York City for several years before devoting himself to composing. His first Broadway success was the musical Mr. Pickwick, starring De Wolf Hopper. Grant Stewart wrote the lyrics, and Klein's brother Charles wrote the book. He also conducted for Charles Frohman, with whom Klein's brother, Charles, was later killed on the RMS Lusitania, among others. Tin Pan Alley songwriter and publisher Gus Edwards helped Klein to obtain the position of musical director of the prestigious New York Hippodrome theatre in 1905. Klein was soon composing songs and music for numerous spectacles presented at the Hippodrome consisting of different acts, each one with their own thematic musical concept. He collaborated with L. Frank Baum on The Tik-Tok Man of Oz, beginning in 1909, which was finally produced in 1913 without Klein's music. He left the Hippodrome in 1915 after a disagreement with its manager, Jacob J. Shubert, over the orchestra. Shubert asked Klein to send some drums, trumpets and other instruments over to the Winter Garden Theater, where he was producing another show. Klein refused to send them, as he needed them for his own orchestra. After an argument, Klein offered his resignation and Shubert accepted it. The Hippodrome company sided with Klein, and Shubert was forced to sell his interest. Klein went back to England the same year and became music director of the Gaiety Theatre, London. He suffered a trauma at the bombing of the theatre during World War I by the Zeppelins and never fully recovered. Klein returned to New York and died in Yonkers, New York on 1 June 1919, as a result of the earlier trauma. After his death, the Klein family sued the German government for the loss of Manuel and his brother Charles (a victim of the sinking of the RMS Lusitania)

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August Körling (1842-1919) va ser un compositor suec.

He completed his studies at the Swedish Royal Academy of Music in 1861. Five years later he settled in the little town of Ystad on the south coast of Sweden, where he worked for the rest of his life as an organist, school music teacher and conductor of various musical ensembles. He was elected a member of the Swedish Royal Academy of Music in 1888. As a composer, chiefly of vocal music in smaller forms, Körling was influenced by the national Romantic movement. Some of his solo songs became widely popular. Among his compositions for male chorus, the two ballads Sten Sture and Håtunaleken are the best known.

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Marius H. Van'T Kruys (1861-1919) va ser un compositor holandès.

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Alois Kutschera (1859-1919) va ser un compositor austríac.

Alois Kutschera wurde am 5. Dezember 1859 in Budapest im Stadtteil Pest geboren. Er lebte und arbeitete in Wien und schrieb Märsche, Couplets und Lieder, vor allem aber Wienerlieder. Zu seinen zahlreichen Werken, von denen einige im gesamten deutschen Sprachraum Verbreitung fanden, schrieb er zumeist Melodien und Texte selber. Viele davon sind sehr rührselig und sentimental. Sein wohl erfolgreichstes Lied wurde das 1898 geschriebene Rührstück Weißt Du, Muatterl, wos i tramt hob, das bis heute zum festen Repertoire von Wienerlied-Interpreten bis zu Peter Alexander zählt. Seine Melodie wurde aufgrund ihrer Popularität auch für zahlreiche Parodien bzw. Umdichtungen herangezogen. In seinen – im Gegensatz zu den Liedern meist eher heiter gehaltenen – Couplets macht er sich z. B. über „närrische Soubretten“, aber auch über „zu emanzipierte“ Frauen wie Die Gelehrte oder Die Vielbereiste her. In diesen Texten erweist er sich ganz als Kind seiner Zeit. Seine Lieder besingen schöne Orte (Schönau, mein Paradies) und schöne Frauen (Du bist zu schön um treu zu sein), aber auch „Die gute alte Ritterzeit“. Einen Marsch widmete er im Gedenken an seine Vaterstadt den Budapester Gastwirten, einen anderen einem Jugendfreund. Schon früh wurden seine Lieder auf Tonträgern, auf Edison-Cylindern und auf Wachszylindern aus den Jahren 1902/1912 zu hören: Du bist zu schön um treu zu sein (Kutschera) sung by Johannes Bischoff. German Columbia Phonograph Co. cylinder record (#57050), recorded 1902. Dieser schwarze Wachszylinder war zwar beschädigt, konnte aber in vielen Stunden Arbeit wieder hergestellt werden. Kutscheras Melodie Schönau, mein Paradies… wurde in Deutschland im Jahre 1912 mit dem Johann-Strauß-Orchester und Chorgesang auf Edison Gold Moulded cylinder record #16236 (2 min. Goldgusswalze) aufgenommen und den ersten Schallplatten, festgehalten und unter die Leute gebracht. Seine besten Verbreiter aber waren die Heurigen-Musikanten – zu den populärsten Liedern, die auch von den Wiener Heurigen-Musikern gerne gespielt wurden, zählen Mein Elend oder Verlorenes Glück, Waan net Muatterl, waan net (Text Richard von Ranna), Die unvergesslichen Augen sowie Vergiss das arme Mädchen nicht und Außer Rand und Band – und ihre „Natursänger“. Als „Natursänger“ werden Sänger bezeichnet, deren Stimme unverbildet, d. h. durch keine Ausbildung gegangen ist; sie waren schon zur Zeit der Brüder Schrammel beliebt. Seine Kompositionen erschienen im Verlag Rózsavölgyi & Co. in Budapest und Leipzig, später auch bei Doblinger, Josef Blaha und Otto Maas in Wien. Kutschera starb am 22. Oktober 1919 in Wien.

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Xavier Leroux (1863-1919) va ser un compositor francès.



His father was a musical director in the army, his mother Italian. According to several of his contemporaries, Leroux was proud of his fiery Italian blood and would easily rise to an argument, especially when it concerned making cuts to his operas which were initially far too long. A near contemporary of Dukas and Debussy, Leroux appears in several photographs with young composers of that generation, but the path he was to follow was conservative rather than adventurous. He was strongly influenced by the traditional harmony teaching of his professors at the Conservatoire, Dubois and Massenet, and in 1885 he won the Prix de Rome with the cantata Endymion. He continued using a similar harmonic style well into the 20th century. Leroux was almost exclusively a vocal composer, and it was with his operas that he gained the most recognition. Astarté, given at the Paris Opéra under Taffanel in 1901, achieved a modest success; it was followed in 1903 by La reine Fiamette, which was staged in many countries up to World War II, as was Le chemineau (1907), widely considered his finest work. 1814, a drame lyrique set in the Napoleonic wars, includes elaborate effects (Napoleon dreaming of a Te Deum for example) and choral representations of the voices of Joan of Arc. Eschewing harmonic and rhythmic complexity and untinged by Wagner, Leroux is at his best when using relatively simple musical devices. The pastoral naturalism of Le chemineau has caused some critics to place him with other French verismo composers but this rather ignores the more imaginative side of his work. His contribution to the French mélodie was substantial at least in quantity; his songs include settings of a number of the best symbolist poets. Most celebrated, however, was his early oriental vocalise Le Nil, which was not only reprinted many times, but also orchestrated and arranged for different combinations of instruments. In 1896 Leroux was appointed professor of harmony at the Conservatoire, a post he held until his death; at one time he counted André Caplet among his pupils.

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Joséphine Macgill (1877-1919) va ser una compositora estatunidenca.

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Claudi Martínez Imbert (1845-1919) va ser un compositor català.

Feu els primers estudis a l'escolania de Nostra Senyora de la Mercè. Alumne de Pere Tintorer i Bernat Calvó Puig i a quinze anys va veure premiat per l'Econòmica d'Amics del País, de València, un trio per a piano, violí i violoncel. El 1872 fundà, juntament amb els germans Cosme i Josep Ribera, la Societat de Quartets de Barcelona, la primera entitat catalana destinada regularment a la música de cambra. El 1880 organitzà un concert en el teatre Principal de Barcelona format per les obres premiades, destinat al producte a obres de beneficència. El 1885 també donà una sessió de música de cambra exclusivament composta d'obres seves i interpretades moltes d'elles pels seus deixebles. Poc temps més tard, en morir el mestre Calvó Puig, se l'indicà si volia succeir-lo en el càrrec de mestre de capella de la parròquia de la Mercè, però es negà a acceptar la plaça, així com el de la col·legiata de Santa Anna, que també se li oferí, a causa de les seves múltiples ocupacions. Pianista de mèrit i professor notable, va prendre part en nombrosos concerts públics al costat de les principals figures que visitaren Barcelona en aquells anys, i va formar no pocs alumnes. Com a compositor es distingí per la seva inspiració i és autor d'un trio (1869), de la cantata Catalunya (1877), de l'obra coral La Primavera (1888) i de música de cambra i religiosa. El fons de partitures de Claudi Martínez i Imbert es conserva a la Biblioteca de Catalunya. Fou un dels músics que donaren suport a les primeres passes de l'Orfeó Català

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Richard Metzdorff (1844-1919) va ser un director i compositor alemany.

Estudià en el Conservatori de Berlín i fou director d'orquestra a Düsseldorf, Berlín, Nuremberg i Hannover, on fixà la seva residència com a director d'un establiment per a l'ensenyança del piano. És autor de diverses simfonies i altres composicions per a orquestra, quintets, sonates per a piano, lieders, etc., havent donat a més al teatre les òperes Rosamunde (Weimar, 1875), i Hagbarth und Signe (Brunsvic, 1896).

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Theodor Muller-Reuter (1858-1919) va ser un compositor alemany.

Estudià en el Conservatori de Frankfurt, el 1879 fou nomenat mestre de piano del d'Estrasburg, passant el 1887 a Dresden, on l'any següent director de la societat coral Orpheus, el 1889 de la Dreyssigsche Singakademie, el 1892 professor del Conservatori i el 1893 de la Societat de Concerts, rebent el 1897 el títol de director reial de música. Va compondre òperes, un gran nombre de lieder, cors amb acompanyament de piano i sense, obres per a cor i orquestra, una suite per a orquestra, peces i estudis per a piano, etc...

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Ostap Nyzankivskyj (1863-1919) va ser un director i compositor hongarès.

Der Sohn eines griechisch-katholischen Pfarrers absolvierte 1887 das theologische Seminar in Lemberg (L’viv/UA), 1896 legte er seine Lehramtsprüfung (Gesang) im Prager Konservatorium ab, später unterrichtete in verschiedenen Gymnasien in Galizien. Besondere Verdienste erwarb sich N. durch die Organisation der Chorbewegung in Ostgalizien: die künstlerischen Vereinsausflüge unter seiner Leitung (der erste 1889 mit dem Studentenchor Studentske bratstwo) initiierten ein Netzwerk aus „Bojan“ genannten Laienchören im ganzen Land. Sie prägten das Kulturleben in den Städten (N. wurde Mitbegründer und Dirigent der Bojans in Lemberg, Bereźany/Galizien [Berezhany/UA] und Stryj) und bildeten die Grundlage für die Entstehung professioneller Musikinstitutionen. 1885 errichtete N. den ersten Musikverlag in Galizien, dessen Anliegen die Popularisierung der ukrainischen Musik war. N. wurde v. a. durch seine Chorwerke (die populärsten Z okruschkiw und ulaly) bekannt und als Sammler ukrainischer Volkslieder sowie als Begründer der Klavierminiatiur (Witrohony-kolomyjka) in der westukrainischen Musik geschätzt. 1919 wurde er von polnischen Soldaten erschossen.

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Magnus Ortwein (1845-1919) va ser un compositor austríac.

Bekam von seinem Vater, einem Lehrer und Organisten, die ersten musikal. Kenntnisse vermittelt. Trat 1865 in das Benediktinerstift Marienberg ein und stud. 1866–70 Theol., 1869 Priesterweihe. 1870–1872 unterrichtete O. Mathematik, Physik und Gesang am Benediktinergymn. in Meran. 1872–76 stud. er Germanistik, Latein und Griech. an der Univ. Innsbruck. 1876–1919 wirkte er als Gymnasialprof. für Dt., zeitweise auch für Griech., Mathematik und Geschichte sowie als Regenschori, 1886–1917 als Dir. am Benediktinergymn. in Meran. 1893 Superior des Benediktinerkollegs in Meran. O. war ein ausgezeichneter Lehrer und als Dir. darauf bedacht, das Ansehen der Anstalt zu heben und ihre vielfältigen Interessen gut zu vertreten. Als Komponist war er bestrebt, die liturg. Texte zu betonen, indem er seine von Wagner beeinflußte Leitmotivtechnik mit der altklass. Polyphonie verband.

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Bohumil Pazdírek (1839-1919) va ser un compositor bohemi.

He was the son of Josef Pazdírek (1813-1896), a village teacher and musician. He settled in Vienna in 1855 and worked for various publishers (Spina, Gustave Lewy, Doblinger) until 1868 when he founded his own firm, which published many of Schubert’s posthumous works. When his firm was taken over by Doblinger in 1880, he began teaching at the Theresian Academy (1882-1906). He composed five operas, six string quartets, songs, chamber music and sacred music. With his brother František, he published the 34-volume Universal-Handbuch der Musikliteratur (Vienna, 1904-10/R), which cited all musical editions known by them to be in print and is still a valuable work of reference.

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Ettore Perosio (1868-1919) va ser un director i compositor italià.

Figlio del critico musicale Giuseppe, nacque a Genova il 10 maggio 1869, studiò al Liceo musicale Paganini con Giovanni Rossi ed ebbe una notevole carriera di direttore d'orchestra, di cui troviamo tracce in vari teatri italiani dal 1889 al 1915 (Genova, Teatro Carlo Felice; Milano, Teatro Lirico; Parma, Teatro Regio; Lisbona, Teatro Politeama Buenos Aires Argentina e Solís di Montevideo Uruguai. Ha diretto  in Buenos Aires ed in Montevideo da maggio a agosto di 1905 alla famosa soprano Eugenia Burzio. Fu uno dei direttori delle Opera di Chicago e Philadelphia diretta da Cleofonte Campanini. Morì a Genova il 14 febbraio 1919.

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Oliveria Louisa Prescott (1843-1919) va ser una compositora anglesa.

Oliveria Prescott was born in London, the daughter of Frederick Joseph Prescott and Elizabeth Oliveria Russell. She studied with Lindsay Sloper and then at the Royal Academy of Music under George Alexander Macfarren. She became Macfarren's amenuensis. She lectured in harmony and composition for Newnham College, Cambridge, and also taught harmony at the High School for Girls in Baker Street, London. Prescott composed several overtures, a piano concerto, shorter orchestral pieces, vocal and choral works and two symphonies.

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Max Puchat (1859-1919) va ser un compositor alemany.

Fou deixeble de Friedrich Kiel a Berlín, on el 1884 aconseguí el premi Mendelssohn, i el 1896 se'l nomenà director de la Societat d'Oratoris de Paderborn. Traslladat a Milwaukee, on se li confià la direcció de la Societat Musical Alemanya. Entre les seves composicions hi figuren: Fuga solemnis, per a orquestra, els poemes simfònics Euphorion (1888); Leel und Ideal i Tragödie eines Künstlers (1894), diversos lieder, obertures, etc...

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Alfred Richter (1846-1919) va ser un compositor alemany.

Deixeble del seu pare Ernst, de 1872 a 1883 fou professor del Conservatori de la mateixa ciutat, va viure algun temps a Anglaterra i en retornar a Leipzig, el 1897, va dirigir fins al 1899 la societat coral universitària Arion. Va publicar una col·lecció d'exercicis pel tractat d'harmonia del seu pare (1880; 18a edició el 1903) se li deu a més; Die Elementar kenntnisse der Musik (1895, 2a edició, 1901); Das Klavierspiel (1898); Die Lehre von der thematischen Arbeit (1896); Die Lehre von der Form in der Musik (1904) i les noves edicions dels tractats del seu pare.

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Hugo Riemann (1849-1919) va ser un musicòleg i compositor alemany.



A gifted pianist, Riemann first studied philology, history and philosophy at the universities of Berlin and Tübingen. After serving in the military during the Franco-Prussian War, he began studying music in 1871 at the University of Leipzig, where his acquaintance with Oettingen’s theories on harmonic dualism – the notion that the minor triad is generated below a harmonic fundamental in opposition to the major triad, generated above – helped form the basis for his own harmonic theories. In 1872 he published articles on tonality and musical logic in the Neue Zeitschrift für Musik under the pseudonym of Hugibert Ries and completed his dissertation, Über das musikalische Hören. After the dissertation was rejected at Leipzig, Riemann secured the support of Hermann Lotze, a prominent philosopher at the University of Göttingen, where the dissertation was approved in 1873. Between 1876 and 1895, Riemann held teaching positions at Bielefeld, Leipzig, Bromberg, Hamburg, Sondershausen and Wiesbaden. He returned to the University of Leipzig in 1895, where he was named professor in 1901. Though never promoted to ordinarius, Riemann became a celebrated teacher and educated some of the most important pianists, composers and musicologists of the next generation. He was active throughout his career as a music theorist, historian, performer, editor, music lexicographer, critic and aesthetician. His two dozen pedagogical books, on topics ranging from piano performance, through orchestration to double counterpoint, became standard works and made him one of the most influential writers of his time (for further biographical information, see Gurlitt, 1951). As a scholar and mentor to an entire generation of musicologists, Riemann cast an enormous historical shadow over the formation and subsequent development of musicology as a modern academic discipline. He believed that musicology should explain ‘the spiritual and expressive nature of the primitive elements of all musical experience … to ascertain the physical properties of tones and the mechanical conditions governing their creation’. In examining the effects of tonal combinations on hearing and the imagination, the musicologist should study not only ‘the simple, most basic manifestations of this tone material, but also the complex, richly differentiated formations into which it has miraculously evolved’ (Grundriss der Musikwissenschaft, 4/1928, pp.8–9). Following this line of inquiry, Riemann’s scholarly writings helped delineate the basic areas and subdivisions which arose later within musicology. In addition to his voluminous output on music theory, Riemann made important contributions to music history, aesthetics and music cognition, and towards the end of his career even made suggestive comments on the emerging discipline of ethnomusicology. Although he published on these diverse areas throughout his life, his earlier writings generally focused on theoretical concerns, his later contributions on historical issues

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Nadezhda Nikolaïevna Rimskaia-Korsakova (1848-1919) va ser una pianista i compositora russa.



Born Nadezhda Nikolayevna Purgold in St. Petersburg, she was the youngest of three daughters and the great-granddaughter of the 18th century jurist Johann Purgold. She started playing the piano at age nine, continuing her piano studies at the St. Petersburg Conservatory with Anton Gerke. She also studied music theory at the conservatory with Nikolai Zaremba and, later, composition and orchestration with Rimsky-Korsakov but did not graduate. During the 1860s and '70s she played piano at musical soirees at the home of Alexander Dargomyzhsky, becoming friends with Dargomyzhsky, Modest Mussorgsky and Alexander Borodin. Mussorgsky, who was fond of both Nadezhda and her sister Alexandra and would become close to both, called Nadezhda "our darling orchestra." She also played at gatherings in her home works of Mily Balakirev and of other members of "The Five." Among the works she played with the kuchka were Mussorgsky's operas Zhenitba (Marriage) and Boris Godunov, plus Nikolai Rimsky-Korsakov's The Maid of Pskov. She met Rimsky-Korsakov at Dargomyzhsky's home in the spring of 1868. Not long after their first meeting he wrote a song which he dedicated to her. He also started visiting her frequently, both at the Purgold home in St. Petersburg and at the family's summer residence in Lyesnov. She found in him an abundance of warmth and gentleness. He proposed to her in December 1871, and they married in July 1872. Mussorgsky was Rimsky-Korsakov's best man. The Rimsky-Korsakovs would eventually have seven children. Nadezhda was to become a musical as well as domestic partner with her husband, much as Clara Schumann had been with her own husband Robert. Beautiful, capable, strong-willed and far better trained musically than her husband at the time they married, she proved a good and most demanding critic of his work; her influence over him in musical matters was strong enough for Balakirev and Stasov to wonder sometimes whether she was leading him astray from their musical preferences. Although she gradually gave up composition after her marriage, she had a considerable influence on the creation of his first three operas. She travelled with her husband, attended rehearsals and proofread and arranged compositions by him and others. Her enthusiasm for Nikolai Gogol's work became reflected in both her husband's compositions and those of his friends. On the day of their betrothal, she and Rimsky-Korsakov read Gogol's short story "May Night" together. Afterwards, she told him that he should write an opera based on it. A week or two later she wrote him, I've been reading yet another of Gogol's stories today, "The Fair at Sorochyntsi." This is good, too, and would even be suitable for an opera, but not for you; in any case, it's not like 'May Night.' As for that, it's so stuck in my head that nothing will drive it out. Either she or her sister Alexandra then suggested "The Fair at Sorochyntsi" to Mussorgsky. He did not act on it at the time, but a couple of years later, he reconsidered. Nadezhda was also very prominent in the Rimsky-Korsakovs' social life, active in gatherings at the Rimsky-Korsakov household as both accompanist and performer. At one of these soirees, Pyotr Ilyich Tchaikovsky played the finale of his Little Russian Symphony. After hearing it, she begged the composer in tears to let her arrange it for piano duet. However, illness intervened and Tchaikovsky made the arrangement himself.

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Alexis Rostand (1844-1919) va ser un financer i compositor francès.



Jean Alexis Hubert Rostand est le petit-fils d'Alexis-Joseph Rostand et le frère d'Eugène Rostand. Alexis Rostand s'intéresse très tôt aux travaux musicaux, et, à l'âge de dix-neux ans, entre au Comptoir national d'escompte de Paris (CNEP) en 1863. Il devient sous-directeur en 1868, puis directeur en 1876 de l'agence marseillaise du Comptoir national d'escompte. Durant cette période, il prend part à la fondation de la Compagnie nationale de navigation et coopère aux emprunts d'État. À Marseille, il devient l'agent de la Banque maritime, de la Banque d'Algérie, du Crédit foncier colonial et de la Banque de l'Indochine. À la tête de l’agence marseillaise, il se distingue par son efficacité (l’agence marseillaise est celle qui récolte le plus de dépôts), mais aussi par sa gestion habile et prudente, soucieux de l’intérêt général. Il réussit à maintenir l'activité lors de l’épidémie de choléra et des agitations de 1885. Contribuant à l'industrie locale, il développe le commerce vers les pays d’outremer (notamment en Asie) et coopère aux emprunts de l’État et de la ville de Marseille. À la suite de la crise du cuivre et du suicide d'Eugène Denfert-Rochereau en 1889, Rostand lui succède comme directeur le mois suivant pour redresser le Comptoir national d'escompte de Paris alors en pleine faillite. En six ans, le CNEP a multiplié son capital par cinq, dispose de quarante agences en France, dont dix-sept à Paris, et retrouve son implantation à l’étranger (en 1889, le CNEP n'avait plus que trois agences en province et huit à l’étranger). Il prend les fonctions de directeur général et administrateur en 1902, puis président du Conseil d'administration du Comptoir national d'escompte de Paris en 19085. Il quitte la présidence dix ans plus tard. Il est l'un des principaux promoteurs et soutien de la Compagnie française des chemins de fer de l'Indochine et du Yunnan, dont il devient le vice-président en 1905. Il dirige les travaux de la 3e sous-commission « Pour la réforme bancaire », instituée par le décret du 13 mai 1911 du ministre Joseph Caillaux. Il était cofondateur et président de la Banque de l'Afrique occidentale, vice-président de la Compagnie des chercheurs de l'or, de la Compagnie française des chemins de fer de l'Indochine et du Yunnan, du Comité de Paris de la Compagnie royale des chemins de fer portugais, administrateur et membre du comité de direction de la Banque de l'Indochine, administrateur de la Compagnie des docks et entrepôts de Marseille, de la Compagnie des compteurs à gaz et de la Banque française du Brésil. Mélomane, compositeur et critique musical, Rostand a composé de la musique instrumentale et religieuse, ainsi que publié des études de critique musicale. Il était président de l'Académie des sciences, lettres et arts de Marseille de 1883 à 1884 et vice-président de la Société des amis des arts. En 1910, il acquiert le château de Clairfont, à Saint-Brice-sous-Forêt.

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Philippe Bartholomé Rufer (1844-1919) va ser un pianista i compositor belga.

Rüfer, der Sohn eines deutschen Organisten, studierte u. a. Komposition bei Étienne Soubre am Konservatorium Lüttich und bei Moritz Hauptmann am Konservatorium Leipzig. Ab 1871 arbeitete er in Berlin, wo er zunächst Klavier und Partiturspiel am Konservatorium von Julius Stern und dann am späteren Klindworth-Scharwenka-Konservatorium unterrichtete – dort lehrte er ab 1881 als Professor. Er galt als einflussreicher Lehrer, zu seinen Schülern zählten Charles Tomlinson Griffes, Georgi Catoire, Heinz Tiessen, Otto Besch, Fritz Schedler und Hans Schindler. Neben einer Symphonie, einem Violinkonzert, Ouvertüren, mehreren kammermusikalischen Werken, Klavierstücken und Liedern schrieb er u. a. die beiden Opern Merlin (1887) nach einem Drama von Karl Immermann und Ingo (1896) nach einem Roman von Gustav Freytag. Rüfer hatte einen starken Einfluss auf Richard Wagners Musikdrama.

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Julian Scriabine (1908-1919) va ser un compositor rus.



Was the youngest son of Russian composer Alexander Scriabin and Tatiana de Schloezer. He was himself a promising composer and pianist, but he died at the age of eleven in mysterious circumstances. In the last year of his life he wrote four preludes in his father's style, the authorship of which is questioned by some researchers. Those preludes were published for the first time 95 years after his death by Edition Octoechos. Musicologists have described Julian Scriabin both as a successor of his father and as an early representative of the early Russian and Soviet avant-garde of the 1920s. Alexander Scriabin, famous for his innovative piano compositions, had seven children: Rima, Yelena, Maria and Leo from his first marriage to Vera Ivanovna Isakovich; and Ariadna, Julian, and Marina from his relationship with Tatyana Fyodorovna Schloezer (Shlyotser). His eldest daughter Rima (1898–1905) and his son Leo (1902–1910) both died at the age of seven. By the time of the death of Leo, the composer had already been living for several years with Schloezer and had become estranged from his first family, so much so that the parents did not even meet at the burial of their son.

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Emil Steinbach (1849-1919) va ser un director i compositor alemany.



German conductor, brother of Fritz Steinbach. He studied at the Leipzig Conservatory (1867–9) and continued his studies (until 1871) in Karlsruhe with Hermann Levi, who trained him as a conductor. He was appointed assistant Kapellmeister in Mannheim (1871–4) and was then briefly principal Kapellmeister in Hamburg. He was Hofkapellmeister in Darmstadt (1874–7) and, finally, civic Kapellmeister in Mainz (1877–1909). At Mainz he was also director of the Stadttheater from 1899 to 1903. He retired in 1910. Steinbach was particularly famous as a conductor of Wagner. Mainz became an outstanding centre for performances of Wagner's operas and Steinbach gave the first public performance (1877) of the Siegfried Idyll there. He conducted Tristan und Isolde and Siegfried at Covent Garden in 1893. Steinbach composed lieder, chamber music, symphonic poems and overtures. (MGG1, ‘Steinbach’; I. Fellinger)

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Jozef Surzinski (1851-1919) va ser un compositor polonès.

Był synem Franciszka (organisty i nauczyciela muzyki) oraz Józefy ze Szmytkowskich, bratem kompozytorów Stefana i Mieczysława. Uczył się muzyki pod kierunkiem ojca, jednocześnie kończył poznańskie gimnazjum Marii Magdaleny. W 1872 wyjechał do Lipska, gdzie podjął studia matematyczne i równolegle muzyczne; w konserwatorium lipskim słuchał wykładów z teorii muzyki O. Paula. W 1874 zmienił całkowicie kierunek studiów i wyjechał do Rzymu, gdzie zajął się teologią i przygotowaniem do kapłaństwa. Przyjął święcenia kapłańskie w 1879, rok później w Rzymie obronił doktorat teologii. W Gnieźnie odbył służbę wojskową, wkrótce potem wyjechał do Ratyzbony na kurs muzyki kościelnej. Towarzyszył mu tam brat Stefan. Od sierpnia 1881 pełnił funkcję organisty w katedrze poznańskiej, kierował jednocześnie chórem katedralnym. Mimo szykan pruskich utworzył Poznański Chór Katedralny – chór chłopięco-męski, odpowiadający wymogom reformy śpiewu kościelnego; po raz pierwszy chór wystąpił 3 czerwca 1884. W 1883 był jednym z założycieli poznańskiego Towarzystwa św. Wojciecha, opiekującego się organistami. Redagował pismo "Muzyka Kościelna". W 1887 zrezygnował z funkcji organisty w poznańskiej katedrze; zastąpił go Bolesław Dembiński. Dembiński był przeciwnikiem reform muzyki kościelnej i popadł na tym tle w konflikt z ks. Surzyńskim; w efekcie zatargów Surzyński w 1894 zrezygnował także z prowadzenia chóru i został proboszczem w Kościanie. Prowadził tam działalność muzyczną i społeczną, pracował nad rozwojem Banku Ludowego i stowarzyszeń polskich, występował w sprawie nauczania religii w języku polskim. W 1903 otrzymał order Pro Ecclesia et Pontifice.

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Stefan Surzynski (1855-1919) va ser un organista i compositor polonès.

Był synem Franciszka (organisty i nauczyciela muzyki) i Józefy ze Szmytkowskich. Początkowe nauki muzyczne pobierał u ojca oraz starszego brata Józefa. W latach 1878–1880 pracował jako organista w kościele parafialnym w Buku (po śmierci ojca). Przeniósł się następnie do Poznania, gdzie był dyrygentem chóru Stowarzyszenia Śpiewaczego "Stella" oraz pomagał w pracy bratu Józefowi – organiście przy katedrze. Odbył roczny kurs w szkole muzyki kościelnej w Ratyzbonie (1881). W latach 1887–1888 przez krótki okres pracował w Brzeżanach, gdzie proboszczem był ksiądz Leonard Solecki. W 1888 osiadł w Tarnowie, gdzie był organistą i dyrygentem chóru katedralnego oraz nauczycielem w szkole organistowskiej; pełnił także funkcję dyrektora artystycznego Towarzystwa Muzycznego. Ostatnie lata życia spędził we Lwowie; także tam pracował jako organista i dyrygent chóru katedralnego (od 1913). Był twórcą kompozycji organowych, opublikowanych razem z dziełami innego brata, Mieczysława. Z Mieczysławem wydał także zbiór kwartetów męskich Bard i Menestrel. Opracował kilka popularnych śpiewników – Harfiarz, Echo polskie, Lirenka, Śpiewnik kościelny dla użytku organistów (1891). Z małżeństwa z Anną z Szulców miał pięcioro dzieci. Jego synem był m.in. znany aktor Władysław.

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Auguste Tolbecque (1830-1919) va ser un violoncel·lista i compositor francès.



Cellist, composer and instrument maker, son of Auguste-Joseph Tolbecque. He studied with Vaslin (cello) and Reber (harmony) at the Paris Conservatoire, winning the cello premier prix in 1849. He played in the orchestra of the Grand Théâtre of Marseilles and taught at the conservatory there from 1865 to 1871, then returned to Paris and performed with the Société des Concerts du Conservatoire, the Maurin Quartet and the Lamoureux Quartet; he also played the gamba. He left Paris for Niort, having studied instrument making with Victor Rambaux, and established a workshop in which he restored old instruments and made copies of medieval ones. His large instrument collection was purchased by the Belgian government for the Brussels Conservatory in 1879; a second collection and a fine library were dispersed in 1922. Tolbecque also attempted to revive the componium, a mechanical instrument designed to improvise upon a given theme. He composed an opéra comique, Après la valse (performed at Niort in 1894), and numerous works for the cello, including an exercise book, La gymnastique du violoncelle (Paris, 1875). He edited Monde musical and wrote useful books on early instruments. His son, Jean Tolbecque (b Niort, 7 Oct 1857; d ?Paris, 1890), won the cello premier prix at the Paris Conservatoire in 1873 while studying with Alexandre Chevillard and later played in the orchestra of the Opéra-Comique.

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Daniel Brink Towner (1850-1919) va ser un compositor anglès.

Towner received his early musical training from his father, J.G. Towner. He later studied under John Howard, George Root and James Webb. Towner was the music director at Centenary Methodist Church, in Binghamton, New York (1870-1882); York Street Methodist Episcopal Church, in Cincinnati, Ohio (1882-1884); Union Methodist Episcopal Church, in Covington, Kentucky (1884-1885); and Moody Bible Institute, in Chicago, Illinois (1893-1919). The American Temperance University in Harriman, Tennessee, awarded Towner a Doctorate of Music in 1900.

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Robert Vollstedt (1854-1919) va ser un compositor alemany.

Very little is known about his musical education. As principal clarinettist in the Hamburg Opera House orchestra, he remained with them for most of his working career. He wrote a musicians manual on the clarinet. Vollstedt has been remembered mainly for his waltz Jolly Brothers (othewise known as Jolly Fellows), which became known internationally. This was the waltz that Sousa selected to be played at the opening ceremony of the Chicago World Fair in 1893. It was amongst one of the earliest waltz shellac recordings made, and featured every year in the programme of the Boston Pops Orchestra from 1896 till 1950! The piece was repeatedly recorded by various orchestras and bands over the years, up to Arthur Fiedler's recording with the Boston Pops in 1980. In 1933 Vollstedt's son Siegfried was music maestro for the radio station Germania that used to broadcast from Chicago. Vollstedt composed on piano and specialised in dance music of all types, as can be seen in the attached list of opus numbers in the drop down list. However his marches, which have been played around the world, form the bulk of the music for which he became known. They were in a style that can be described as somewhere between the very light and melodic and those for a large military band created by bandmasters such as Carl Teike. One such march, Schneidig was recorded by the Society on the Marco Polo label in the Naxos series 'Contemporaries of the Strauss Family' Vol.3. Like several noted composers of his era, he was quite well known during his lifetime, but sadly forgotten today.

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Anton Max Wichtl (1884-1919) va ser un fagotista i compositor austríac.

Studierte bis 1904 Fagott am Konservatorium der GdM und spielte anschließend unter C. M. Ziehrer in der K. k. Hofballmusik. 1915–19 leitete er das Kurorchester in Baden und trat als Dirigent des Wiener Konzertorchesters sowie des Wiener Tonkünstlerorchesters ( Wiener Symphoniker ) hervor (u. a. im Wiener Konzerthaus). Per 1.5.1918 wurde er Mitglied der Wiener Philharmoniker .

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Stéphanie Wurmbrand-Stuppach (1849-1919) va ser una pianista i compositora hongaresa.



Stephanie von Wurmbrand-Stuppach was born in Pressburg (now Bratislava), Hungary. Her father, Karl von Vrabély, was a director of the Royal Hungarian Mail. Her mother, Seraphine Edle von Szlemenics, was a Doctor of Laws, the daughter of the Privy Councillor Professor Paul von Szlemenics. Stephanie showed early musical talent and received piano lessons. She released her first song composition at age 14, and later released a collection of thirty songs under the pseudonym Stephanie Brand-Vrabely. She gave concerts in Vienna and other major cities in Europe. On July 6, 1869, she married Count Ernst von Wurmbrand-Stuppach, brother of Adelma Vay. She worked as a writer, publishing in the feuilleton supplements of various newspapers. In recognition of her achievements she received a Silver Medal for Art and Science from Ernest II, Duke of Saxe-Coburg and Gotha.

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