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Egardus

Mon, 01 Jan 0001 00:00:00 +0000

Egardus (; also Engardus or Johannes Echgaerd) was a European Medieval composer of ars subtilior. Almost no information survives about his life, and only three of his works are known. A certain “Johannes Ecghaerd”, who held chaplaincies in Bruges and Diksmuide, may be a possible match for Egardus. The extant works—a canon and two Glorias—appear to be less complex than music by mid-century composers, possibly because they date from either very early or very late in Egardus’ career. Identity and career Little is known with certainty about his life. The enigma of his biography stems from a difficulty in knowing whether he was Flemish or Italian. A northern origin is suggested by his name, a copy of one of his works in a Flemish manuscript, and a possible citation of his music by Thomas Fabri. But with only one other exception, all of his works are found in Northern Italian manuscripts, and that exception, a Polish manuscript, has strong Italian connections. The most important biographical research on the composer was conducted by Reinhard Strohm, who notes that it was more common for Northern works (and composers) to travel to Italy than the opposite. Strohm identifies a “Magister Joh

Egberto Gismonti

Mon, 01 Jan 0001 00:00:00 +0000

Egberto Amin Gismonti (born 5 December 1947) is a Brazilian composer, guitarist and pianist. He studied with Nadia Boulanger (1887–1979), after acceptance as a student by the composer Jean Barraqué, Gismonti is a self-taught guitarist. After returning to Brazil, he designed guitars with more than six strings, expanding the possibilities of the instrument. Approaching the fretboard as if it were a keyboard, Gismonti gives the impression that there is more than a single guitar player. Gismonti’s sojourn in the Xingu region of the Amazon basin made a lasting impression. This is documented musically in tunes such as “Yualapeti” and “Sapain” (Yualapeti shaman, Sapain) and in the recordings Dança das Cabeças (“Dance of the Heads”, 1977), Sol do Meio-Dia (“Noon Sun”, 1978), which he dedicated to the Xingu, and Duas Vozes (“Two Voices”, 1984). The musical career of Gismonti spans five decades. The major phases are distinguished by record company, the ensemble format, and the musical collaborators. The most important ensembles are his Brazilian group Academia de Danças, including Mauro Senise (saxophone and flutes), Zeca Assumpção (bass) and Nenê (Realcino Lima Filho, drums and percussion),

Egidio Duni

Mon, 01 Jan 0001 00:00:00 +0000

Egidio Romualdo Duni (or Egide Romuald Duny; 11 February 1708 – 11 June 1775) was an Italian composer who studied in Naples and worked in Italy, France and London, writing both Italian and French operas. Biography Born in Matera, Duni was taught music by his father, Francesco Duni, and two sisters. At the age of nine, he was accepted at the Conservatorio di Santa Maria di Loreto, near Naples. There he worked with Giovanni Battista Pergolesi, Giovanni Paisiello, and other masters of Italian opera. His first success was with the opera Nerone presented at the Rome Carnival in 1735. Thereafter, he was in London (Demofoonte, 1737), returning to Italy where he eventually became maestro di cappella in Parma in 1749. The latter part of his career was spent in France, where he played a key role in the development of the comédie mêlée d’ariettes (an early form of opéra comique), with such works as Le peintre amoureux de son modèle (Paris, 1757), La fée Urgèle (Fontainebleau, 1765), and L’école de la jeunesse (Paris, 1765). He died in Paris. Works Italian operas *Nerone (Rome, 1735) *Adriano in Siria on a libretto by Metastasio (1735–1736) *Giuseppe riconosciuto (1736) *La tirannide debellata

Egidius de Francia

Mon, 01 Jan 0001 00:00:00 +0000

Egidius de Francia (; also Egidius de Murino or Magister Frater Egidius) was a French music theorist of medieval music, known for the short treatise De motettis componendis. He possibly was an Augustinian friar, as in a miniature illumination he is titled Magister Egidius Augustinus. Along with “Guilelmus de Francia”, he was probably a friar at the Monastery of Santo Spirito in Florence. Egidius de Murino is, with Philippus de Caserta, one possible author of the Tractatus figurarum, a practical guide to the notation of ars subtilior. Egidius was also the author of De modo componendi, a theoretical guide to motet writing. He is featured in the Squarcialupi Codex, the British Library manuscript Add MS 29987 and the Modena Codex (often known with the sigla ModA). He is considered as likely being distinct from another Egidius, who was a contemporary Italian poet. No composition can be certainly attributed to him, although he is potentially identifiable with another Egidius, a composer found in the Chantilly Codex. It is not certain if there is any relation to Egidius de Aurelia (Egidius of Orleans), composer of “Alma Polis” and “Axe poli cum artica”. Works * Donna s’amor * Alta Serena

Egil Hovland

Mon, 01 Jan 0001 00:00:00 +0000

Egil Hovland (October 18, 1924 – February 5, 2013) was a Norwegian composer. Hovland was born in Råde. He studied at the Oslo conservatory with Arild Sandvold and Bjarne Brustad, in Copenhagen with Vagn Holmboe, at Tanglewood with Aaron Copland, and in Florence with Luigi Dallapiccola. He was the organist and choir leader in Fredrikstad from 1949 until his death. His many works include two symphonies, a concerto for trumpet and strings, Music for Ten Instruments, a set of variations for two pianos, and a lament for orchestra. His sacred works include a Norwegian Te Deum, a Gloria, a Magnificat, and numerous works for organ, and he was one of Norway’s most noted church composers. He wrote in diverse styles, including Norwegian-Romantic, Gregorian, neo-classical, twelve-tone, aleatoric, and serial. In honor of his work as a composer and organist, 1983 he was knighted into the Royal Norwegian Order of St. Olav. In 1992, he received the Fritt Ord Honorary Award. He was one of the most productive contemporary Norwegian composers. Compositions Works for orchestra * 1951 Festival Ouverture opus 18 * 1952–1953 Symphony No. 1—Symphonia Veris opus 20 * 1954–1955 Symphony No. 2, opus 24 * 195

Egisto Macchi

Mon, 01 Jan 0001 00:00:00 +0000

Egisto Macchi (4 August 1928 – 8 August 1992) was an Italian composer. Biography Born in Grosseto, Macchi moved to Rome to study composition, piano, violin and singing with Roman Vlad (1946–51) and Hermann Scherchen (1949–54), among others. It was around this period that he also studied literature and human physiology at La Sapienza University. From the late fifties, he began his collaboration with a group of musicians (Franco Evangelisti, Domenico Guaccero and Daniele Paris), to whom he was bound by intense friendship. Together with Domenico Guaccero, Daniele Paris and Antonino Titone, he was one of the editors of the magazine Orders, which first appeared in 1959. With Bertoncini, Bortolotti, Clementi, De Blasio, Evangelisti, Guaccero, Paris, Pennisi, and Franco Norris, he founded the Association of New Consonance in 1960. He made a frequent hand at directing the association, and he held the office of President from 1980 to 1982, and also in 1989. From the day of its conception, he followed the activity of the International Week of New Music in Palermo. After creating the Musical Theatre of Rome with Guaccero, he founded Studio R7, an experimental, electronic music laboratory born

Egon Kenton

Mon, 01 Jan 0001 00:00:00 +0000

Egon Francis Kenton (born Egon Ferenc Kornstein; May 22, 1891 – December 3, 1987) was a Hungarian and American musicologist, violist, music librarian, and educator born in the Transylvanian village of Nagyszalonta, Austro-Hungarian Empire (now Salonta, Romania) on May 22, 1891 and died in Paris on December 3, 1987. Kenton began studying viola and violin at the Franz Liszt Academy of Music (known at the time as the National Royal Hungarian Academy of Music) in 1905 and graduated in 1911. Upon graduation he played in the , known simply at the time as the Hungarian Quartet, or as Kenton remarked, “the old one—the first Hungarian quartet.” Kenton’s tenure with this group led to encounters and friendships with some of the most significant composers of the twentieth century. The group performed Claude Debussy’s Quartet in Budapest with the composer in attendance, who was so impressed that he arranged for them to perform the work again in Paris. On his trip to Paris, Kenton became well-acquainted with Debussy and his family, having recounted instances of the French composer’s penchant for sarcasm. Of a performance by a well-known Hungarian pianist, Debussy commented, “‘I myself can’t go t

Egon Kornauth

Mon, 01 Jan 0001 00:00:00 +0000

Egon Kornauth (14 May 1891 – 28 October 1959) was an Austrian composer and music teacher. Kornauth was among the most important 20th-century composers active in Salzburg. Life Kornauth was born in Olmütz, Moravia. A cellist and pianist from his youth, he went in 1909 to Vienna, where he studied with Robert Fuchs, Guido Adler, Franz Schreker (with whom he quarrelled) and Franz Schmidt. After teaching music theory at Vienna University from 1919, Kornauth embarked on an international career as pianist, accompanist and conductor that took him to Indonesia (1926-9) and to South America (1934-5). In 1940 he resumed a teaching career in war-time Vienna and Salzburg. He joined the Nazi-sponsored Reichsmusikkammer, but continued to support his teacher Adler, who was held under house arrest as a Jew, until the latter’s death in 1941. In post-war Austria, Kornauth became director of the Salzburg Mozarteum (1946-1947), and was elected to the Austrian Arts Senate in 1954. He died in Vienna in 1959. Kornauth himself recognised in his 1958 autobiography that “epigonism was inherent in my personality.” The musicologist Cliff Eisen described Kornauth as among the most important 20th-century compose

Egon Neumann

Mon, 01 Jan 0001 00:00:00 +0000

Egon Neumann (21 July 1894 – 1948) was an Austrian composer and Kapellmeister. Life Born in Mödling, Austria-Hungary, Neumann, whose father was a lawyer, studied musicology at the University of Vienna with Guido Adler from 1913. (Dr. phil. 1919), then worked as a bandmaster at the Moravian Ostrava in 1920, at the Neues Operettenhaus Berlin in 1921, at the Central Theater Berlin in 1922, and was an entertainers’ composer. From 1920 to 1928, at the Bürgertheater as Kapellmeister, where he conducted the premiere of his operetta Donauweibchen. He later lived in Berlin, 1932–1934 again in Vienna, then in Paris. On New Year’s Eve 1939/1940 he took part in the revue Meslay lacht wieder organised by Karl Farkas. The diplomat Gilberto Bosques helped him. References Further reading * Monika Kornberger: Neumann, Egon. In Oesterreichisches Musiklexikon. Online edition, Vienna 2002 ff., ; Print edition: Vol. 3, Österreichischen Akademie der Wissenschaften press, Vienna 2004, * Neumann, Egon, in , Bärbel Schrader, Dieter Wenk, Ingrid Maaß: Handbuch des deutschsprachigen Exiltheaters 1933–1945. Vol. 2. Biographisches Lexikon der Theaterkünstler. Munich: Saur, 1999, , pp. 699f. External links *

Egon Wellesz

Mon, 01 Jan 0001 00:00:00 +0000

Egon Joseph Wellesz, CBE, FBA (21 October 1885 – 9 November 1974) was an Austrian, later British composer, teacher and musicologist, notable particularly in the field of Byzantine music. Early life and education in Vienna Egon Joseph Wellesz was born on 21 October 1885 in the district of Vienna to Samu Wellesz and Ilona Wellesz (née Lövényi). Although his parents met and married in Vienna, they both originated from Hungary and were Jewish. . As a boy he attended the on where he received a classical education in Greek and Latin. Work as a scholar, lecturer, and composer in Vienna The main focus of Wellesz’s early musicological research was Baroque opera; particularly those by composer Giuseppe Bonno who was the subject of his dissertation at the University of Vienna. He also edited Johann Joseph Fux’s 1723 opera for publication in Adler’s Denkmäler. Many years later Wellesz published a monograph on Fux in 1965. He graduated from the University of Vienna with a degree in musicology in 1908, and his dissertation on Bonno was published the following year. This interest initially arose from dialogues and debates with the Austrian art historian Josef Strzygowski who at this time was putt