Person Results

Switch back to the old search page.Advanced Search

Showing 1 - 10 of 31Results Per Page: 10 20 50

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: From Mendelssohn Hymnal Number: 58 Composer of "[Christ is risen from the dead]" in Laudis Corona Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

E. Verschneider

Hymnal Number: 90 Composer of "[O magnify the Lord!]" in Laudis Corona

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Hymnal Number: 168 Composer of "[Tantum ergo Sacramentum]" in Laudis Corona Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

S. C. Hamerton

1833 - 1872 Person Name: Rev. S. C. Hamerto Hymnal Number: 30a Composer of "[Waken! Christian children]" in Laudis Corona Hamerton, Samuel Collingwood, born in 1833, educated at University College, Oxford (B.A. 1856), Incumbent of St. Paul's, Warwick, from 1866, and died there Jan. 6, 1872. His hymn "Waken, Christian children" (Christmas Carol), is in Snepp's Songs of Grace & Glory, 1872; the Hymnal Companion, 1890, and others. It appeared as a Carol published by Masters, in 1861. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

C. Wondell

Hymnal Number: 164a Composer of "[O salutaris Hostia]" in Laudis Corona

Webbe

Hymnal Number: 182b Composer of "[O Jesu! Deus, Deus Magne]" in Laudis Corona

Giuseppe Concone

1801 - 1861 Person Name: Concone Hymnal Number: 122 Composer of "[As the gentle Spring uncloses]" in Laudis Corona b. Sept. 12, 1801, Turin, d. June 1, 1861, Turin; composer and singing teacher LOC Name Authority Files

Anthony Werner

Person Name: Werner Hymnal Number: 162a Composer of "[O Salutaris Hostia]" in Laudis Corona fl. 1850

L. Lambillotte

1796 - 1855 Person Name: Lambillotte Hymnal Number: 66b Composer of "[Sancta, Sancta Maria]" in Laudis Corona

Maria Luigi Cherubini

1760 - 1842 Person Name: Cherubini Hymnal Number: 164b Composer of "[Veni, Jesu, Amormi]" in Laudis Corona Luigi Cherubini (Italian: [luˈiːdʒi keruˈbiːni]; 8 or 14 September 1760 – 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries. Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence. There is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, maestro al cembalo ("Master of the harpsichord", in other words, ensemble leader from the harpsichord). Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age. By the time he was thirteen, he had composed several religious works. In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan. Cherubini's early opera serie used libretti by Apostolo Zeno, Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions. His music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading composers of the day. The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783. Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the King's Theater. In the same year, he made an excursion to Paris with his friend Giovanni Battista Viotti, who presented him to Marie Antoinette and Parisian society. Cherubini received an important commission to write Démophon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique. Except for a brief return trip to London and to Turin for an opera seria commissioned by the King of the House of Savoy, Cherubini spent the rest of his life in France where he was initiated into Grand Orient de France "Saint-Jean de Palestine" Masonic Lodge in 1784. Title page of the first edition of Cherubini's Médée, full score, 1797. Cherubini adopted the French version of his name, Marie-Louis-Charles-Zénobi-Salvador Cherubini; this appears in all extant documents that show his full name after 1790, though his Italian name is favored nowadays. Performances of Démophon were favorably received at the Grand Opéra in 1788. With Viotti's help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789. Three years later, after a move to the rue Feydeau and the fall of the monarchy, the company became known as the Théâtre Feydeau. This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament. Cherubini's music began to show more originality and daring. His first major success was Lodoïska (1791), which was admired for its realistic heroism. This was followed by Eliza (1794), set in the Swiss Alps, and Médée (1797), Cherubini's best-known work. Les deux journées (1800), in which Cherubini simplified his style, was a popular success. These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique. Feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children. The fallout from the French Revolution affected Cherubini until the end of his life. Politics forced him to hide his connections with the former aristocracy and seek governmental appointments. Although Napoléon found him too complex, Cherubini wrote at least one patriotic work per year for more than a decade. He was appointed Napoléon's director of music in Vienna for part of 1805 and 1806, whereupon he conducted several of his works in that city. After Les deux journées, Parisian audiences began to favor younger composers such as Boieldieu. Cherubini's opera-ballet Anacréon was an outright failure and most stage works after it did not achieve success. Faniska, produced in 1806, was an exception, receiving an enthusiastic response, in particular, by Haydn and Beethoven. Les Abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La vestale; it received critical praise but few performances. Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems, and many shorter pieces. During this period (under the restored monarchy) he was appointed Surintendant de la Musique du Roi, a position he would hold until the fall of the Bourbon Dynasty. In 1815 London's Royal Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performances of which he went especially to London to conduct, increasing his fame. Cherubini's Requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success. The work was greatly admired by Beethoven, Schumann and Brahms. In 1836, Cherubini wrote a Requiem in D minor to be performed at his own funeral. It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work. In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue, in 1835. His role at the Conservatoire would bring him into conflict with the young Hector Berlioz, who went on to portray the old composer in his memoirs as a crotchety pedant. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity. There are many allusions to Cherubini's personal irritability among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry." Nevertheless, Cherubini had many friends, including Szymanowska, Rossini, Chopin and, above all, the artist Ingres. The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin. In 1841, Ingres produced the most celebrated portrait of the old composer. Although chamber music does not make up a large portion of his output, what he did write was important. Wilhelm Altmann, writing in his Handbuch für Streichquartettspieler (Handbook for String Quartet Players) about Cherubini's six string quartets, states that they are first rate and regarded Nos. 1 and 3 as masterworks. His String Quintet for two violins, viola and two cellos is also considered a first rate work. During his life, Cherubini received France's highest and most prestigious honors. These included the Chevalier de la Légion d'honneur (1814) and Membre de l'Académie des Beaux-Arts (1815). In 1841, he was made Commandeur de la Légion d'honneur, the first musician to receive that title. Cherubini died in Paris at age 81 and is buried at Père Lachaise Cemetery, just four metres from his friend Chopin. His tomb was designed by the architect Achille Leclère and includes a figure by the sculptor Augustin-Alexandre Dumont representing "Music" crowning a bust of the composer with a wreath. --en.wikipedia.org/wiki/