Library Music Themes
Info Database => Composers & Artists => Topic started by: Mr on January 13, 2026, 07:40:03 PM
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NOTE: This is the second volume of this thread, covering people with surnames starting with E through K.
For vol. 1 and introduction/explanation, please see this thread (https://librarymusicthemes.com/index.php?topic=10845.0).
Additional volumes are here:
vol. 3, L-Q (https://librarymusicthemes.com/index.php?topic=11588.0)
vol. 4, R-Z (https://librarymusicthemes.com/index.php?topic=11589.0)
Bernard Ebbinghouse:
EBBINGHOUSE, BERNARD
(1927- )
A native of Duesseldorf, Germany, Bernard Ebbinghouse received his early music training at the Guildhall School of Music and Drama (London, England). He continued his composition studies with British-Hungarian composer Matyas Seiber. He first performed as a semi-professional trumpet player but soon adopted the trombone as his instrument. He began playing this instrument professionally with broadcasting and recording bands in the 1950s and also acted as arranger for these organizations.
Ebbinghouse formed his own band, which played in the greater London area. Concurrently, he was a staff arranger for several music publishers, scoring music for concert orchestras, military and brass bands, big bands, accordion and banjo bands, choirs, and other combinations of instrumental and vocal groups.
He arranged for the BBC Radio Show Band and, from its beginnings, the 85-piece BBC Radio Orchestra. He later became one of the regular conductors of this orchestra and appeared as guest conductor with many of Great Britain's best orchestras, as well as orchestras of other countries. He also produced radio shows and worked on musical shows for British, German and Dutch television. From 1966-1990, Ebbinghouse worked for the Royal Oman Police, researching, arranging, and recording ethnic music - in addition to heading the brass department and teaching theory classes. He was also chief recording engineer of the Royal Oman Police recording studio, making many recordings of the three Royal Guard wind bands, His Majesty's Oriental Court Orchestra and Choir, and the British Royal Marines Band.
In 1990, Ebbinghouse accepted an offer to return to Oman, where he composed, arranged, and recorded music for the Royal Oman Symphony and Concert Orchestras and all three Royal Guard wind bands.
Reference
Correspondence with the composer.
[contains a list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0003rehr/))
EBBINGHOUSE, Bernard - Musicista del cinema inglese, specializzato più che altro in film gialli e di suspense. Mestierante senza particolare rilievo, ha ottenuto semmai qualche risultato piacevole in alcune commedie, come: The 20,000 Pound Kiss (Due cadaveri per un bacio, 1963, di J.L. Moxey) e Prudence and the Pill (Prudenza e la pillola, 1968, di F. Cook e R. Neame). Fra gli altri risultati: Invasion (1966, di A. Bridges); Strangler's Web (1966, di J.L. Moxey); Mumsy, Nanny, Sonny and Girly (1970, di F. Francis); Tales That Witness Madness (Delirious, 1973, di F. Francis); e la serie I gialli di Edgar Wallace.
Pepe Ederer (Josef Ederer, pseud. "Pit", "Rocky Till"):
Komponist Ederer, Pepe, CH Herrliber, Gartenstraße 24
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Kenny Edwards (Kenneth Michael Edwards):
Kenny Edwards is a recording artist, producer, and composer. He was a member of The Stone Poneys' on Capitol Records with Lind Ronstadt and Bobby Kimmel, and 'Bryndle' with Kada Bonoff, Wendy Waldman, and Andrew Gold. As a Producer, Kenny has worked on Karla Bonoff's albums, "Karla Bonoff," "Restless Nights," and "Wild Heart of the Young". He has also produced David James Holster's Chinese Honeymoon" (CBS), Graham Shaw's "Sincere Serenade" (Capitol) Tom Kell's "Angeltown" (Warner Bros), and Vince Gill's "When Will I Be Loved" for the movie "Eight Seconds". Kenny has been a studio musician and singer with Stevie Nicks, Brian Wilson, Don Henley, and Art Garfunkel among many others. His film and TV scores include "The Secret Sins of the Father" directed by Beau Bridges, "Wildflower" directed by Dianne Keaton, and the pilots: K-9 (Universal), and "The Human Factor" (Universal), as well as "Miami Vice", "Crime Story" and "The Street". Kenny has toured with Linda Ronstadt, JD Souther, Stevie Nicks, Bryndle, and Kara Bonoff.
Hermann Egger (pseud. "Bert Heri", "Ron Fletcher", "Stefan Klinge", "Ty Roler"):
EGGER Hermann, Dr.
* 6. 7. 1927 in Innsbruck/T
Adresse: A-6020 Innsbruck, Karmelitergasse 6A
Volksschule, humanistisches Gymnasium, Hochschulstudium an der Universität Innsbruck (Hauptfach Musikwissenschaft mit Nebenfach Kunstgeschichte), Musiktheorie bei Prof. K. Koch, Klavierstudium am Konservatorium Innsbruck. Seit 1954 Unterhaltungsmusikreferent beim ORF-Landesstudio Tirol. Von 1967-1969 vorübergehend in Wien mit Sonderaufgaben durch die damalige Programmdirektion betraut. Vornehmlich in den fünfziger und sechziger Jahren pianistisch tätig, vor allem bei der Studio-Combo von Radio Tirol. Nach deren Auflösung Schwerpunktverlagerung auf kompositorische Tätigkeit, er schreibt Tanz- und volkstümliche Musik.
Mitglied von Österreichischer Komponistenband, AU-ME, Ordentliches Mitglied der AKM.
Aus seinem Schaffen:
Dessert für Daniela; Waltzing Ballerina; Inn River-Story; Hitgift; Karthago; Loretta; Fo(u)r members only; Ich lern Dir jodeln; Ein kleines Edelweiß; Komm mein Schatz, wir wollen wandern; Karwendelmarsch; Shortys Guitar; Luftschlösser; Banalito; Bummel mit Evelyn; Saitentest; Streng vertraulich; Isometric; Noblesse oblige.
Teddy Ehrenreich (Rudolf Ehrenreich, pseud. "Ted Evans"):
EHRENREICH (Rudolf) Teddy
* 10. 3. 1936 in Wien
Adresse: A-1100 Wien, Gudrunstr. 140/16
Als Schüler des Realgymnasium II erster Klaverunterricht im Wiener Institut für Jazzmusik 1950.
1952 Klarinettenuntericht und Gründung einer eigenen Band. Ab 1956 mit Dixieland-Band à la Fatty George in einer Bar in Wien, mit dieser Band ab 1957 auf Tournee in Deutschland. Ab 1962 Wieder in Wien, Studium an der Musikakademie bei Prof. R. Jettel; 1968-1972 als Saxophonist im Orchester K. Krautgartner, nachher Programmgestalter im ORF-Ö3. Seit 1975 eigene Band im Stile eines Woody Herman. Zahlreiche ORF-Einsätze. Mitglied des Österreichischer Komponistenbund, Werke bei AKM und AU-ME. Beim Österreichischen Amateur-Jazzfestival in Wien erhielt er zweimal Sonderpreise für Big Band.
Werke-Auswahl:
Black widow; The marauder; Blues for Tina; Mi Bombita; Blanquita; The bumper; Little playboy; Alexander's Playmobil; Pumpy's rockinghorse; Dixielips.
Hans Ehrlinger (pseud. "Gil Flat", "Joe Satory", "Johann Einsiedel", "Juan Erlando"):
(https://i.imgur.com/QAJt5ol.png)
(https://i.imgur.com/KN0Da9n.png)
[no bio, just photos. part of group photos. not named.]
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Titelbild: Electrola
[no bio, just a photo. part of group photo. not named.]
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Coverfoto: HANS GRIMM, München
[no bio, just a photo. part of group photo. not named.]
(https://i.imgur.com/6TtsyTv.png)
Coverphoto: Grimm
[part of group photo. not named.]
Die „Alpenland-Sänger“ - so nennt ein Quartett von vier prominenten volkstümlichen Künstlern, das sich vor wenigen Wochen erst zu dieser Formation zusammenfand.
Im Studio von Alfons Bauer in Gauting waren Maria Hellwig und Tochter Margot dabei, die Titel für ihr neuestes Doppelalbum (Glück in den Bergen SMIS 1940/41) aufzunehmen. Beim Abhören einiger Titel [...], kam man gemeinsam zu der Auffassung, daß hier ein vierstimmiger Gesang hingehört.
Franz Reuter, Musikprofessor aus München und Gesanglehrer von Maria und Margot Hellwig, der bei allen Aufnahmen der beiden dabei ist, war sofort bereit, die dritte Stimme zu singen. Dazu gestellte sich Maria Hausarrangeur Hans Ehrlinger, der bevor er zu arrangieren begann, Jazzposaunist in München war. [...]
- G. W.
(https://i.imgur.com/sQYfOdg.png)
[no bio, just a photo.]
Komponist Ehrlinger, Hans, 8 München 50, Weidmannstraße 42 a
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
(https://i.imgur.com/rQe4P3U.png)
[no bio, just a photo. part of group photo. not named.]
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[no bio, just a photo. part of group photo. not named.]
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Letzte Korrekturen am Arrangement: Hugo Strasser (linke) mit dem Arrangeuren Frank Pleyer, Werner Tauber und Hans Ehrlinger
[Ehrlinger is on the right.]
(https://i.imgur.com/N3YPBsD.png)
Träumende Posaune
so ist diese Folge bekannter und beliebter Melodien überschrieben, die Hans Ehrlinger, ein wahrer Meister seines Instruments, zum Klingen bringt.
Hans Ehrlinger - wer ist das? Schauen wir uns zunächst seinen Werdegang'an. Da bekam einmal ein Junge im Alter von 8 Jahren zu Weihnachten ein Akkordeon geschenkt, und damit den ersten Kontakt zur Musik. Gewiß nichts Außergewöhnliches. Auffällig aber war die große Freude, die er am Musikunterricht hatte, sowohl in der Schule als auch bei einem Privatlehrer für Posaune. Und als das Ende seiner Schulzeit gekommen waren, da stand es für Hans Ehrlinger fest:
Ich werde Musiker!
Es war in der bitteren Zeit, in der man kein Stück Brot ohne Lebensmittelmarken bekam. Um aber an diese zu gelangen, brauchte man eine Bescheinigung, daß man in Arbeit oder in Ausbildung stand. Hans Ehrlinger mußte sich einer Prüfung unterziehen. Resultat:
„Kein musikalisches Talent...“
Es dauerte eine ganze Weile, ehe man dieses Fehlurteil aufhob. Unser junger Posaunist durfte einer Kapelle beitreten, der sogenannten „Stadtpfeife“ von Weissenburg in Bayern. In der Folgezeit studierte er im Konservatorium von Nürnberg und spielte nebenbei - um Geld zu verdienen - in amerikanischen Clubs, oft bis zum Morgengrauen. In den Jahren von 1950 bis 1953 sahen und hörten wir ihn bei Fatty Georges, mit dem zusammen er in dieser Zeit zweimal den Jazzpoll gewann. 1953 kam Hans Ehrlinger zum Bayerischen Rundfunk, und zwar zunächst als 4. Posaunist des Tanzorchesters von Studio Nürnberg. Doch schon vom Jahre 1955 an spielte er an Sender mit eigenem Orchester. 1961 beendete er diese Tätigkeit zugunsten eines Angebots aus Saarbrücken - als 1. Posaunist des dortigen Rundfunktanzorchesters. Zwei Jahre später aber zog es ihn mit Macht zurück, zum Süden, und damit zum Orchester Hugo Strasser. Ob Schallplatte, Funk, Film, Fernsehen - die Aufnahmen sind nicht mehr zu zählen, bei denen Hans Ehrlinger mitwirkte. Seit 1963 aber betätigt er sich hauptsächlich als Komponist und Arrangeur - sei es für Hugo Strasser, Alfons Bauer oder Maria Hellwig, Lolita, Maria Tiboldi und viele andere mehr.
Doch immer wieder erleben wir ihn solistisch, wie etwa bei Kookie Freeman oder den Magic Strings. Auch viele eigene Aufnahmen machte er im Multiplay-Verfahren unter den Künstlernamen Joe Scott, Juan Erlando und Stan Jackson. Denn - so sagt er selbst - trotz aller Erfolge als Orchesterleiter, Komponist und Arrangeur: „Meine große Liebe bleibt die Posaune“.
- (Wolf Petermann)
(https://i.imgur.com/pjN8Zb0.png)
Coverphoto: Intersound.
HANS EHRLINGER, one of Europe's top trombone soloists introduces a panorama of his musical ability on this record. [...]
HANS EHRLINGER, einre der europäischen Top-Posaunisten zeight auf dieser LP die ganze Palette seiner musikalischen Fähigkeiten. [...]
HANS EHRLINGER, un des plus célèbres joueurs de trombone nous prouve sur ce disque toute sa capacité. [...]
HANS EHRLINGER, uno dei più famosi suonatori europei di trombone, presenta in questo LP l'intera gamma della sua abilità musicale. [...]
(https://i.imgur.com/jzGblZr.png)
Coverphoto: INTERSOUND
Without doubt, Hans Ehrlinger is one of Europe's leading trombone soloists. It is not only his brilliant technique and perfect ease of playing most difficult phrases, that fascinates his audience, but also his warm sweet sound even in the highest ranges of his trombone.
Hans Ehrlinger, as the arranger of this album has created a new orchestral trombone sound using glissandos as a dominating way of interpreting the melody. Quite different, however, to Billy May's popular "slurping saxes", and highly influenced by the latest developments in pop music. [...]
Hans Ehrlinger zählt zweifellos zu den führenden Posaunen-Solisten in Europa. Es ist nicht nur seine blendende Technik und die spielerische Leichtigkeit, mit der er auf der Posaune die schwierigsten Passagen bewältigt, sondern auch sein warmer, welcher Ton bis in die höchsten Lagen der Posaune, der den Zuhörer fasziniert.
Der Arrangeur Hans Ehrlinger hat sich für die vorliegende Langspielplatte einen neuen Posaunen-Sound einfallen lassen. Er verwendlet Glissandi als wesentliches Mittel der Melodie-Interpretation, aber nicht im Sinne von Billy May, sondern in einen sehr eigenwilligen Art, die stark von den musikalischen Entwicklungen am Pop-Sektor beeinflußt ist. [...]
Hans Ehrlinger compte sans nul doute parmi les solistes du trombone lles plus connus en Europe. Ce qui fascine l'auditeur, ce n'est pas seulement sa technique exceptionnelle et la faculté avec llaquelle il maitrise les passages les plus ardus avec son trombone, mais encore sa sonorité chaude et délicate jusque dans les plus hauts régistres de cet instrument.
L'arranger Hans Ehrlinger a imaginé une nouvelle sonorité du trombone pour ce disque 33 tours: il utilise les glissandi comme élément principal de l'interpretation de la mélodie, non pas dans le conception de Billy May, mais d'une manière toute personnelle, puisqu'il a subi l'influence de la musique pop. [...]
Hans Ehrlinger fa parte indiscutibilmente dei solisti più famosi di trombone d'Europa. Ciò che affascina gli ascoltatori non è soltanto la sua tecnica eccezionale e la facilità estrema con la quale supera i passaggi più difficili sul trombone, ma anche i suoi toni morbidi e caldi fino ai registri più altri raggiunti dal suo strumento.
L'arrangiatore Hans Ehrlinger ha ideato per questo disco long -play un nuovo suono di trombone impiegando dei passaggi strisciati come importante mezzo per l'interpretazione melodica. Tuttavia non nel senso di Billy May, ma in una forma estremamente puntigliosa ed influenzata degli sviluppi nal settore della musica pop. [...]
EHRLINGER, Hans composer, arranger, trombone player
born Nuremberg, Jan. 16, 1931
married Hedi Einsiedel
address: Weidmannstr. 42a, D-8000 München 50. Tel.: (089) 142218
education: 1947-51, Nuremberg Conservatory
career: debut as jazz trombone player with Bavarian Radio, Nuremberg; 1962, began with Hugo Strasser as trombone player and arranger; since 1967 composer and arranger
membership: GEMA; Composers Fed.
recreation: music profession; tennis.
- (via archive.org (https://archive.org/details/whoswhoinartslit0000unse/))
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Cover Photos: Gerhard Narholz
[no bio, just photos.]
(https://i.imgur.com/GjxAG1M.png)
Coverpainting: Waltraud Greffenius
[no bio, just an illustration.]
(https://i.imgur.com/X4JmtEg.png)
EHRLINGER, Hans
Ps: G. Flat, J. Erlando
Weidmannstr. 42a
8000 München 50
089/14 22 18
* 16.1.1931 Nürnberg
Konservatorium Nürnberg; Orchester George; Nürnberger Rundfunk-Tanz-Orchester; Saarl. Rundfunk-Tanz-Orchester (Hugo Strasser); jeweils als Arrangeur u. Komponist; Arrangeur und Komponist bzw. Produzent für versch. Musikverlage.
Hauptwerke „Bossa Novum“ (1969), 3 Min.
Bossa Nova (4 Oboen, 4 Posaunen, 3 Trompeten, Rhythm.). Verlag: Sonoton.
„Cha-Cha Gitano“ (1974), 3 Min.
Cha-Cha (Big Band). Verlag: Opella; Schallplatte: Electrola (H. Strasser)
„Das hohe Lied der Berge“ (1980), 3 Min. 37"
Lied. Verlag: JAGODA; Schallplatte: AVES.
„Jagdfieber“, (1980) 3 Min.
Rock (Big Band). Verlag: Vivatone; Schallplatte: Intersound.
„Serenade“ (1984), 3 Min. 21"
Slowrock. Verlag: Nobile; Schallplatte: Intercord.
sowie: mehr als 900 Titel aufgenommen und verlegt.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
(https://i.imgur.com/dKOSQnD.png)
Foto: Gerhard Narholz
[no bio, just a photo.]
Walter Eichenberg:
Eichenberg, Walter *20. 12. 1922 Großbuschla/Thüringen.
Studium: Orchesterschule Zschopau/Sa.
Musiker, Komponist und Arrangeur, Leiter des Rundfunk-Tanzorchester Leipzig.
Werke: Tanzmusik, Filmmusik, Fernsehmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Ludovico Einaudi:
EINAUDI LUDOVICO. Torino, '55. Allievo di L. Berio.
Autore di Time out per orchestra; Sul filo d'Orfeo, balletto '47[sic] (Firenze); Ai margini dell'aria per 5 fiati; At slow walking pace per pianoforte, '85; Ottetto per fiati e archi; Crossing per ensemble strumentali; Quintetto; Vega per arpa.
EINAUDI, Ludovico - Nato a Torino nel 1955. Musicista italiano delle nuove leve. Nipote di Luigi Einaudi, presidente della repubblica dal 1948 al 1955, e figlio dell'editore Giulio e di una pianista. Giovanile militanza in un gruppo rock. Studi di pianoforte e composizione al Conservatorio, allievo di A. Corghi e di L. Berio. Autore ed esecutore di musiche d'avanguardia – per orchestra, da camera, per il teatro, la danza e la videoarte – con propensione per la contaminazione dei generi, tra musica colta contemporanea (minimalismo) e musica etnica, fusi in uno stile personale che gli fa dichiarare: “La musica è libertà e non sopporta etichette”. Note le sue operazioni di teatro musicale Time Out (1981), Salgari (1994) e E.A. Poe (1999). Alcune sue “ballate strumentali” per pianoforte (Le onde, ispirato a pagine di Virginia Woolf, e I giorni, nato dopo un viaggio nel Mali) sono incise in dischi che incontrano successo. Compie tournée come concertista, sia come solista che in gruppo. Debutta come compositore per il cinema nel 1988 con Treno di panna di Andrea De Carlo, poi segue giovani registi come Michele Sordillo (Da qualche parte in città, 1994; Acquario, 1996, “Grolla d'Oro” 1996 per la migliore colonna sonora; La vita altrui, 2000), Dominick Tambasco (Giorni dispari, 2000), Giuseppe Piccioni (Fuori dal mondo, 1999: pagine originali e utilizzo di brani preesistenti, eseguiti da lui stesso al piano, più quartetto d'archi; Luce dei miei occhi, 2001: interventi di pianoforte e archi, con parti solistiche del violoncello, di moderni sviluppi; peccato però che la musica sia troppo presente e diventi ripetitiva), Antonello Grimaldi (Un delitto impossibile, 2001), Francesca Comencini (Le parole di mio padre, 2001: interventi intensi e “aristocratici”, con contrappunti sapienti tra pianoforte e legni; al piano lo stesso compositore); Sotto falso nome (2004, di R. Andò). Nanni Moretti utilizza brani di questo compositore, contenuti nell'album Le onde, nel suo film Aprile (1998). Einaudi, che è attivo anche per la TV (sua la musica del telefilm di G. Campiotti, Il dottor Zhivago, 2002), concepisce la musica per film come espressione autonoma, non necessariamente legata alle singole immagini, ed è uno dei migliori acquisti della più recente musica cinematografica italiana.
Werner Eisbrenner:
Komponist Eisbrenner, Werner, 1 Berlin 33, Bismarckallee 32 a
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Eisbrenner, Werner (geb. 2. 12. 1908 Berlin - gest. 7. 11. 1981 Berlin)
Eisbrenner studierte an der Staatlichen Akademie für Kirchen- und Schulmusik. Er schrieb ab 1934 Filmmusiken - über 100 Partituren. Eisbrenner war ein geschickter Bearbeiter und ein guter Dirigent.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
EISBRENNER, Werner - Nato a Berlino (Germania) il 2 dicembre 1908, morto a Berlino Est il 7 novembre 1981. Diploma in pianoforte e composizione. Negli anni giovanili ha composto alcune pagine per complessi da camera e lavori sinfonici, ma poi, fin dal 1930, è stato assorbito da una continua e densa attività per il cinema. Collabora al cinema sonoro tedesco fin dai suoi albori, in veste di assistente, pianista, arrangiatore e direttore d'orchestra. Passa nel 1935 alla composizione di partiture originali (con il film Der höbere Befehl = Le spie di Napoleone, di G. Lamprecht), diventando in seguito il più prolifico e il più rapido compositore del cinema germanico grazie alla sua vena sempre pronta e al suo mestiere agguerrito. Fra i risultati più personali: Romanze in Moll (La collana di perle, 1943, di H. Käutner); Berliner Ballade (Ballata berlinese, 1948, di R.A. Stemmle: partitura scritta in collaborazione con Günther Neumann, molto incisiva e attenta allo sfruttamento degli effetti sonori); Solange du da bist (Quando mi sei vicino, 1953, di H. Braun: tono melodico-romantico); Kinder, Mütter und ein General (All'est si muore, 1955, di L. Benedek: a severi fugati si alterna il timbro melanconico dell'armonica a bocca); Die Ratten (I topi, 1955, di R. Siodmak: musica asciuttamente espressiva, ottenuta con un'estrema economia di mezzi); Der Gläserne Turm (Il grattacielo del delitto, 1957, di H. Braun).
Eisbrenner, Werner
Berlin, 2. Dezember 1908 - Berlin, 7. November 1981.
Schüler der Akademie für Kirchen- und Schulmusik Berlin bei R. Hernried und M. Donisch, Pianist, Kapellmeister und Komponist in Berlin, auch Bearbeiter.
1954 Leiter des Studio-Orchesters Berlin, 1959 Dirigent und freier Mitarbeider beim SFB. Stand 1980: Mitglied des Ehrenrats des Dt. Musikrats.
Werke: Filmmusik seit 1934, so zu "Großalarm", Kriminalstück (Uraufführung: 16/IV/38), "War es der im 3. Stock?" (Uraufführung: 6/I/39), "Kennwort Machin" (1939) oder "Kriminalkommissar Eyck" (1940); Violinsonate, Sinfon. Variationen; populäre Schlager wie "Beim erstenmal, da tut s noch weh", aus dem Film "Große Freiheit Nr. 7" (1944); Violinkonzert (1940) und Musik für Orchester (1942).
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Konrad Elfers:
Adressenänderungen
[...]
ELFERS, Konrad
Obere Bürger 20
2850 Bremerhaven
04 71 / 41 17 65
George Elliott (George Henry Elliott, pseud. "Jorge Enrique"):
(https://i.imgur.com/3R6lCXj.png)
ELLIOTT, GEORGE.
Guitarist and composer of Guitar music. b. London, 26th June, 1912. Started with Troise and His Mandolins, since played with Lew Stone, Bert Firman, Jack Jackson and many others. Address: c/o B.B.C. First studied as a commercial artist but had no interest and soon took up his Grandfather's profession, but switched his interest from Brass to Guitar and took the latter up in earnest, spending all his time studying and practicing to perfect his technique. Has for many years recorded his own dance and novelty combination for the E.M.I. Group. His professional experience has ranged from a performance of the Opera "Worseck" by Alban Berg, conducted by Sir Adrian Boult at Queen's Hall, to extemporising with the European Jazz Octet of the B.B.C. Principal work has, however, always been as Guitar soloist. His "Prelude to Jazz" was one of the first serious compositions ever to be written for Guitar and Orchestra. Has featured in such programmes as "Itma," "Bandstand," "Happidrome," "Songs from the Shows," "Henry Hall's Guest Night," "Travellers' Tales" and "Top Ten."
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Vivian Ellis (pseud. "Julia Woolf"):
ELLIS, VIVIAN.
Pianist. b. London. Noted for his compositions. Address: The Kennels, Holnicote, Nr. Minehead, Somerset. Phone: Porlock 187. Educated Cheltenham College, and studied under Myra Hess. Composer of music and lyrics for the following Hulbert-Courtneidge shows: "By the Way," "Follow a Star," "Folly to be Wise" and "Under Your Hat." Musical comedies include "Stand Up and Sing," "Jill Darling," "The Fleet's Lit Up," etc. Song hits include "Spread a Little Happiness," "I'm on a See-Saw" and "She's My Lovely." Records for H.M.V. and Columbia. Composer for many films in Hollywood in 1938, returning to join the R.N.V.R. (1939-44), Lieut.-Commander. Author of four novels and an autobiography. Hobby: gardening.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Vivien Ellis (Anita Vivien Patricia Ellis):
(https://i.imgur.com/ke63wLB.png)
Vocalist Vivien Ellis is known to audiences for her performances and recordings of early music. She developed as a singer with Stevie Wishart's medieval / contemporary ensemble Synfonye, which she joined in 1988 and with which she tours extensively, also recording via Hyperion, Documentos Sonoros and Celestial Harmonies. With the early music group The Dufay Collective she has recorded two discs with Chandos and made a number of overseas tours, which this year have included visits to the USA, Singapore, Australia, Morocco and Spain. A versatile performer, she also works in contemporary opera, improvised music, dance-theatre and jazz. She sings with Tapestry, a big band led by Keith Tippett and The Rooks, an improvising trio with Olly Blanchflower and sax player Theo Travis. Future projects include performances with the Orchestra of the Renaissance, a role in a new opera by Jenny Roditi, further performances and workshops with The Dufay Collective and a collaboration with concert pianist Elena Riu.
- (by kind courtesy of Moon Monkey - thanks!)
Vittorio Emanuele:
EMANUELE Vittorio, musicista, nato a Roma.
Roma, via di Monte Zebio 19.
Diplomato in Violino. Ha studiato a Parigi sotto la guida di Santa-Vicca, E. Nadaud e L. Capet. Primo Violino dell'Orchestra Sinfonica di Roma della Ra.I. Ha tenuto numerosi concerti in Italia ed all'estero. Dal 1940 ha il titolo d'insegnante nei Conservatorio di Stato.
Joana Emetz (Johanna Emetz, pseud. "Kathie Ziervas"):
Joana (Johanna Emetz). * 11.10.1945 in Neustadt/Schwarzwald. Klavier-, Akkordeon- und Gitarreunterricht. Mit 11 erste erfolglose Schallplattenaufnahme. Abitur, Studium der Pädagogik, Germanistik und Romanistik in Karlsruhe, Heidelberg und Lyon. Schuldienst. Spricht mehrere Sprachen (deutsch, englisch, französisch, spanisch, hebräisch) und singt in weiteren. Auftritt mit Sascha Distel im Pariser „Olympia“ gibt Ansporn zur Laufbahn als Sängerin. Prominente Autoren (Reinhard Mey, Ulrich Röski, Adamo u.a.) schreiben ihre Titel, einige komponierte sie selbst. Produzent: Walther Richter.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Sergio Endrigo (pseud. "Keplero"):
(https://i.imgur.com/5zBaDTG.png)
[no bio, just a photo.]
ENDRIGO, Sergio - Nato a Pola (Istria) il 15 giugno 1933, figlio di un cantante lirico. Nel 1947, dopo che Pola è diventata territorio jugoslavo, Endrigo studia a Brindisi e poi svolge lavori diversi a Venezia dove debutta come cantante, dedicandosi poi alla professione di cantante-chitarrista e cantautore. Tra concerti e incisione di dischi diventa uno dei più rinomati esponenti della musica leggera italiana, imponendosi anche per il garbo e l'intelligenza. Al cinema collabora marginalmente: scrive la canzone principale di La rimpatriata (1963, di D. Damiani) e di Le Colt contarono la morte e fu... tempo di massacro (1966, di L. Fulci), e in collaborazione con Claudio Mattone compone la musica per W verde (1989, di E. Marzocchini).
Claude Engel (pseud. "Alvin Cambrian", "Eddie Costia"):
(https://i.imgur.com/qioJGSa.png)
Photos: B. AUGER / P. GRAS
[no bio, just a photo. part of group photo. Engel is second from the left.]
(https://i.imgur.com/YC4JMZf.png)
[no bio, just a photo.]
(https://i.imgur.com/K6mLP5o.png)
Photo noir et blanc: SERGE KACHINTZEFF
[no bio, just a photo. part of group photo. not named.]
Frank Engelen (pseud. "Bracca", "Frank Burns"):
[...] Een van [David Bee's] betere opnamen is 'Belgium Jazz', in 1958 voor het Amerikaanse Bally-label opgenomen L.P. BALLY-12005. [...] Jo Van Wetter en Frank Engelen, gitaar [...]
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
ENGELEN Frank. Gitaar
Geboren te Boston (U.S.A.) 1912. Vestigde zich te Antwerpen, waar hij aan het konservatorium harmonie en kontrapunt studeerde. Trad zelden op de voorgrond als solist, maar werd spoedig bekend als slaggitarist, arrangeur en komponist. Orkesten: Stan Brenders, Bob Bosmans, Rudy Bruder, Fud Candrix, Jack Kluger, René Costy, Franky Dan, Jeff De Boeck, Robert De Kers, Gus Deloof, Chas Dolne, Joe Lensky, Bobby Naret, Jean Omer. Hij trad op in Nederland, Frankrijk, Duitsland, Italië en Tsjechoslowakije. Hij zat in de jury van 'Ontdek de ster' op de Vlaamse TV en schrijft arrangementen voor de B.R.T.-orkesten. Komposities: Studio 24 (vanaf 1942 het populairste swingtema in België, Frankrijk en Duitsland), Sur la piste, Badinage, Bagatelle, Avondschemering enz.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
George English (George Selwyn English):
English, George Selwyn (b 1912; d Sydney, Sept. 1980), composer. He worked as a music critic in London in the 1930s, and after the war composed music for films, documentaries and radio. He won the ABC Composition prize for a symphonic work (1952) and his music for the radio feature Death of a Wombat (Southern Music, 1959) won the Prix Italia (1959). A firmly traditional melodist and fluent orchestrator, his works include, aside from many film scores, the orchestral works Music for a Royal Occasion (1952) and Botany Bay, 1770 (1960), chamber works such as the string trio Chiaroscuro (Southern Music, 1966) and Quintet for Wind (Chappell, 1969), songs such as Cypress Tree and various short works for dance band or light concert ensemble, such as Myuna Moon, Ski Tiails and Yulunga. He was foundation president of the Fellowship of Australian Composers.
- (via archive.org (https://archive.org/details/dictionaryofaust0000unse_w7r3/))
Brian Eno (Brian Peter George Eno):
BRIAN ENO
b. 1948
Agent: CAA - Los Angeles, 213/288-4545
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
ENO, Brian – pseudonimo di Brian Peter George St. John le Baptiste de la Salle Eno - Nato a Woolbridge (G.B.) il 15 maggio 1948. Compositore e strumentista, viene dal rock (ha formato il gruppo Roxy Music, ha collaborato con i Devo, i Talking Heads, David Bowie e altri), studioso di musica classica e contemporanea, interessato alla cibernetica e all'elettronica. Inventore di suoni nuovi, è un protagonista delle innovazioni e degli sperimentalismi nel campo della registrazione. Interessato alla scultura, propugna la “musica d'ambiente” e suoni applicati alle immagini (videoart, ecc.). Alchimista di suoni, attua una fusione tra la musica acustica e quella elettronica. Lavora in poche occasioni per il cinema. Tra i suoi risultati filmici: Berlin Horse (1970, di M. Le Grice); Sebastiane (idem, 1976, di D. Jarman e P. Humfress); No Place to Hide (1982, di T. Johnson e L. Bird); The Falls (Le cadute, 1980, documentario di P. Greenaway: musica aggiunta a quella di Michael Nyman); Dune (idem, 1984, di D. Lynch: solo il “tema della profezia”, realizzata al sintetizzatore; il resto del commento è dei Toto e di altri). Gli apporti di Eno al cinema non sono così rilevanti come negli altri campi d'applicazione; risulta però eccellente la sua colonna sonora di For All Mankind (1989, lungometraggio sulla storia delle missioni Apollo dal 1968 al 1972, di A. Reinert), in cui si realizza un accordo suono-immagine di rara suggestione. Interessante l'operazione del 1978, la composizione di un brano musicale intitolato Music For Film, ma in assenza di immagini. Suoi risultati sono poi applicati da diversi registi ai loro film, come nel caso di Al di là delle nuvole (1995, di Antonioni e Wenders), The Pillow Book (I racconti del cuscino, 1995, di P. Greenaway), The Million Dollar Hotel (idem, 1999, di W. Wenders), Il giorno della rivoluzione (2000, di L. Celi).
Roger Eno (Roger Paul Eugene Eno):
ROGER ENO
Agent: CAA - Los Angeles, 213/288-4545
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
Els van Epen-de Groot (Else Antonia van Epen-de Groot, pseud. "Derek Laren"):
EPEN DE GROOT, Else Antonia van (pseud. Derek Laren)
Dutch composer. b. Amsterdam, December 19, 1919. The daughter of Hugo de Groot, conductor, composer, and singer, she showed musical talent early in life but after secondary school studied to be a medical analyst. In 1942 she turned again to music and studied composition at the Hilversum Music Lyceum under Hugo Godson and Jacques Beers. She studied instrumentation under her father and passed the state examination in piano and theory. For a short time she taught and played the piano in ballet schools but soon found composition was taking up all her time. She has several times conducted her own work.
[contains list of works]
Ref. composer
Van Epen-de-Groot, Else Antonia (pseud., Derek Laren) Amsterdam, Dec. 19 1919- Dutch pianist, conductor, composer, music educator.
- (via archive.org (https://archive.org/details/womeninmusicency0000hixo/))
Helmut W. Erdmann:
ERDMANN, Helmut W.
Komponist, Flötist, Pädagoge -
Fortbildunszentrum für Neue Musik, An der Münze 7, 21335 Lüneburg (Telefon + Fax 04131 - 30 93 90; e-mail: erdmann@uni-lueneburg.de) -
Geboren 2. Okt. 1947 Emden -
Studien Braunschweig (Orchester-diplom 1968) und Hamburg (Flöte bei K. Zöller, Komposition bei D. de la Motte, Elektron. Musik bei Musikschule Lüneburg (Flöte, Theorie; Leiter Studio für Neue Musik); seit 1974 Lehrbeauftrag Universität Lüneburg, seit 1985 Universität Göttingeen, seit 1992 Professor für Komposition/Live-Elektronik an der Hochschule für Musik und Theater Hamburg. Seit 1976 Dozent; Referat und Kursleiter auf überregionalen und internationale Tagungen und Kongressen. Seit 1975 Künslter; Leiter der Veranstaltungsreihe Neue Musik in Lüneburg, seit 1977 Leiter Fortbildungszentrum für Neue Musik in Lüneburg -
Kompositor. Arbeiten (ca. 160 Werke), in allen Gattungen, einschl. elektron. und live-elektron. Werke. 3 LP. Publikation Veröffentlichung zur Theima Neue Musik in Fachztschrift. Konzerte und Rundfunkproduktionen eigene Werke in die Bundesrepublik, Europa, USA und Japan. 1971 Gründer Varius-Ensemble; seit 1980 Mitglied des Ensemble Musica Viva, seit 1991 des Michael-Sell-Ensembles; 1997 Gründer und Leitg. Live-Elektronik Ensemble Hamburg. Anreger neuer Kompositionen für Flöte solo und Kammermusik mit Flöte -
Stipendiat des Villa Massimo (Rom), des Cité International des Arts (Paris), des Stanford-Universität (USA), Bach-Preis-Stipendiat Hamburg, Stipendiat des Casa BAldi (Olevano/Rom), des Atelierhauses Worpswede, Niedersachsen Künstlerstipendiat, 1996/97 Jahresstipendiet des LAndes Niedersachesn; Kulturpreis Landkreis Lüneburg -
Sprachen: Englisch, Französisch -
Literatur: Artikel über künstler., kompositorisch und pädagogisch Arbeit in diverse Fachztschrift.
- (via archive.org (https://archive.org/details/weristwerdasdeut0000unse/))
Veit Erdmann (Veit Erdmann Abele, pseud. "Adolf Lunz"):
Adressenänderungen
[...]
ERDMANN, Veit
Kammweg 48
7410 Reutlingen
071 21 / 225 92
Frank Erickson (Frank W. Erickson):
[entry has photo - note to self: larger on BP-131]
FRANK ERICKSON was born in Spokane, Washington, on September 1, 1923. He first studied composition with Mario Castelnuovo-Tedesco and later with Halsey Stevens at the University of Southern California. Most of his professional life has been associated with school bands and he has over sixty original published works for band. He has held editorial positions with the firms of Belwin, Bourne and G. Schirmer, and has recently formed his own publishing form known as Summit Publications.
Amedeo Escobar (pseud. "J. Buchada", "Espada"):
1587. Escobar, Amedeo. Composer. b. Aug. 14, 1888, Pergola.
[contains a filmography.]
- (via archive.org (https://archive.org/details/italianfilmwhosw0000stew/))
ESCOBAR, Amedeo - Nato a Pergola (Marche) il 14 agosto 1888, morto il 16 novembre 1973. Autore di canzoni di successo, pioniere del jazz nostrano e fondatore della prima orchestra da ballo in Italia. Tra le sue musiche e canzoni per lo schermo, sempre molto puntuali, festose, scorrevoli, si ricordano i titoli dei seguenti film: Resurrectio (1931, di A. Blasetti); L'ultimo dei Bergérac (1934, di G. Righelli); Ho perduto mio marito (1936, di E. Guazzoni); La contessa di Parma (1937, di A. Blasetti: musica in collaborazione con Felice Montagnini e Giovanni Fusco); L'argine (1938, di C. D'Errico: solo canzoni); L'ebbrezza del cielo (1940, di G. Ferroni); Alessandro sei grande! (1941, di C.L. Bragaglia); Capitan Tempesta (1942, di C. D'Errico); Il leone di Damasco (1942, di C. D'Errico e E. Guazzoni); Il fanciullo del West (1942, di G. Ferroni); Macario contro Zagomar (1943, di G. Ferroni). Ha musicato anche il film di propaganda España una, grande, libre – Dalla barbarie rossa alla civiltà fascista, realizzato nel 1939 da G. Ferroni.
Christian Escoudé:
CAPON Jean-Charles. Violoncelliste et compositeur français (Vichy, 29-7-1936). [...] forme avec Christian Escoudé un duo (1975-80) [...] Après un duo avec Richard Galliano (1981), auquel se joint l'année suivante le percussionniste Gilles Perrin, il retrouve Escoudé pour un trio avec Ron Carter (1986-87) [...]
- (via archive.org (https://archive.org/details/dictionnaireduja0000carl_z0r6/))
CHRISTIAN ESCOUDE
Naissance 23.09.1947
Angoulême (16015), France (FRA)
Décès 13.05.2004
Soyaux (16374), France (FRA)
- (via matchID (https://deces.matchid.io/id/uaZ2SCbVhr1P))
Carlo Esposito (pseud. "Flecsus"):
ESPOSITO, CARLO, 1924-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig385li/))
Bernard Estardy (Bernard Edgar Joseph Estardy, pseud. "Le Baron", "Lord Subway"):
La Formule du Baron
Né le 19.9.1939 sous le signe de l'Ours, rien ne prédisposait Bernard ESTARDY, authentique descendant des barons de Méouilles (Basses-Alpes) à l'Architecture.
C'est pourtant avec un diplôme d'Ingénieur des Travaux Publics, qu'il commence une carrière de Pianiste de Jazz. Jouer de l'orgue aux côtés de Nino Ferrer favorise le développement de sa passion pour l'électronique. En 1967, il réalise son rêve et construit son propre studio d'enregistrement, depuis les poignées de porte jusqu'à la console de prise de son.
Pendant un an, la formule a mijoté dans la tête du Baron:
- une pincée de graphisme mathématique
- un soupçon de Pop Jazz
- une cuillerée de prise de son Estardienne maison.
Tout est prêt: il n'y a plus qu'à goûter...
BERNARD EDGARD JOSEPH ESTARDY
Naissance 19.09.1939
Charenton-le-Pont (94018), France (FRA)
Décès 16.09.2006
Paris 10e Arrondissement (75110), France (FRA)
- (via matchID (https://deces.matchid.io/id/1ja4Y5xyhyBW))
John Etkin-Bell (John Andrew Etkin-Bell, pseud. "John Westbourne"):
(https://i.imgur.com/PCS407a.png)
John Etkin-Bell
John's musical tastes range from opera, hip-hop, guitar bands, banjo music, whale song and the sound of anticipation. His recent work includes Lady Diana (a life) for Mentorn Films and Potted History for Mentorn Barraclough Carey. He has written and produced an album for Marcella Detroit (of Shakespeare's Sister fame) and co-wrote Cruel with The House Of Love.
After a lengthy spell as chief engineer at EMI Music studios, John left to pursue his career as a record producer (credits include Heavy Stereo, House of Love, Peccadilloes, Dweeb, Spearmint, Linoleum and Merz).
Engineering credits include Guru's Jazzmatazz (a seminal jazz/hip-hop fusion album featuring Ndea Davenport, Carleen Anderson and Roy Ayers), Elastica and the film track, Harry the Dog, for Black Grape. He has been writing for KPM for the last ten years.
- (by kind courtesy of Moon Monkey - thanks!)
Roy Etzel (Hans Joachim Etzel, pseud. "John Gozzo"):
Etzel, Roy (Hans Joachim) *6. 3. 1925 Breslau.
Trompeter, Komponist, Texter, Bandleader in München, Schallplatten.
Werke: Unterhaltungsmusik
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Chris Evans-Ironside (Christopher John Evans-Ironside):
(https://i.imgur.com/6wuI6ht.png)
EVANS-IRONSIDE, Chris
Werderstr. 48
2000 Hamburg 13
040/45 03 44
Ellerbekerstr. 7
2087 Bönningstedt
040/556 74 09
* 10.5.1944 Melksham/Wiltshire
Studium in London (Trinity College of Music) u. Hamburg; Arrangements für BBC; Komponist, Arrangeur, Textdichter; Spezialist für elektronische Musik (PPG Computer System); frühere Arbeit mit Musik-Concrete.
Hauptwerke „Stonehenge“ (1979/1980), 40 Min.
(Elektronisch Rock). Verlag: Roba, Hamburg; Schallplatte: LP archiviert.
„Empty Spaces“ (1982), ca. 40 Min.
(Elektronisch Rock). Ms. Schallplatte: LP archiviert.
(Bemerkung: Fortführung von "Stonehenge").
„Nachtkind“ (1980), 3 Stunden (Musik: 40 Min.)
(elektronisch). Verlag: Litag, Bremen, Intercord; Schallplatte: Intercord.
(Bemerkung: Co-Autor Walter Wigand).
„Wahn der Zeit“ (1983), 20 Min.
Ballett (Computer, Violine u. Vokalist).
Uraufführung: 1984 Bielefeld (Staatstheater); Ms. (Aufführungs-Material u. Tonband beim Komponisten).
(Bemerkung: Noten existieren nicht, da Tonband-Aufnahme).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
(https://i.imgur.com/aMYOYc1.png)
Chris Evans-Ironside
Chris Evans-Ironside was born in the West of England. His main instrument was trombone but he has also played the piano since the age of three. Today he is a keyboard computer specialist working mainly with the PPG System. He studied composition at London's Trinity College and followed this up with a year at the Music School in Hamburg, where he now lives. He is principally involved in recording for pop and rock bands in addition to being in great demand as a composer for commercials. He has written three solo albums, two musicals and two ballets Wahn der Zeit and Empty Spaces, as well as film music of all kinds.
- (by kind courtesy of Moon Monkey - thanks!)
Jean Evens (Jean Leopold Evens, pseud. "Jean Evans", "Leo Jean"):
EVANS Jean. Pianist
Antwerpe, 1927. Ook komponist en orkestleider. Auteur van 'Dis moi oui, mon amour' en 'Merci Paris', enz. In 1945 eigen grote formatie samengesteld uit Antwerpse musici. Werkte als pianist bij Francis Bay en later bij Etienne Verschueren.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Adriano Fabi (pseud. "Cashin", "Onward"):
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
ADRIANO FABI - c/o Orso s.r.l., Via Avezzana 51, 00195 Roma - Tel. (06) 35.22.91 - Telefax: (06) 3598029
Claudio Fabi (pseud. "Malows"):
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
CLAUDIO FABI - c/o Orso s.r.l., Via Avezzana 51, 00195 Roma - Tel. (06) 35.22.91 - Telefax: (06) 3598029
Bent Fabricius-Bjerre (pseud. "Bent Fabric", "Bert Graves", "Frank Barcley", "Frank Bjørn"):
Edition Metorion Etabl. & Co., Musikverlag in Hamburg, gegr. 1958.
Heutige Inhaber: Alfred K. Schacht; Mats Bjerke; Bent Fabricius-Bjerre; Ed. Matorion SA, Fribourg.
Verlagsprogramme: Tanz- und Unterhaltungsmusik
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Felix Faecq (Félix-Robert Faecq, pseud. "Glen Powell", "Robert Channel"):
FAECQ, FELIX ROBERT, 1901-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig3105li/))
GERMANY
[...]
Conventions and exhibits heads up the news this week. [...] The Southern Music Publishing group also held a convention from May 8-10 in Zurich, Switzerland. In attendance were Mrs. Monique Peer from Los Angeles, R. P. Iversen and Mr. and Mrs. Arthur L. Fishbein from New York, T. H. Ward, T. F. Ward, Mr. and Mrs. Bob Kingston and Dennis Berry from London, Rolt[sic] Marbot from Paris, Mr. and Mrs. Theodore O. Seeger from Hamburg, Manuel G. Salinger from Barcelona, Spain, Mr. and Mrs. Joseph[sic] Hochmuth from Vienna, Austria, Alberto Carisch and Leslie Annable from Milan, Italy, Mr. and Mrs. Han Dunk and Mr. and Mrs. Alfred Zmigrod from Amsterdam, Holland, Mr. and Mrs. Roland Sjogren from Stockholm, Sweden, Jacques Kluger and Felix Faceq[sic] from Brussels, Belgium, Sunny Skylar from New York and Albert Brunner as host from Zurich. Mrs. Ralph Peer and Mr. Iversen, the president and V.P. respectively from Southern and Peer Music will visit Germany after the convention.
- (via archive.org (https://archive.org/details/cashbox22unse_34/))
PEER
AND
SOUTHERN
ORGANIZATION
IN EUROPE
EUROPEAN DIRECTORS:
T. H. Ward
T. F. Ward
8 Denmark Street
London W. C. 2-England
AUSTRIA SOUTHERN MUSIC G.m.b.H.
Manager: Joseph Hochmuth
Seilergasse 12
Vienna 1-Austria
BELGIUM SOUTHERN MUSIC (BELGIUM) S.A.
Managers: Jacques Kluger-Felix Faecq
13 Rue de la Madeleine
Brussels-Belgium
FRANCE SOCIETE D'EDITIONS MUSICALES INTERNATIONALES (S.E.M.I.)
LES NOUVELLES EDITIONS MERIDIAN
EDITIONS MUSICALES VENDOME
Manager: Dr. Rolf Marbot
5 Rue Lincoln
Paris 8e-France
GERMANY PEER MUSIKVERLAG G.m.b.H.
ALBA MUSIKVERLAG G.m.b.H.
SAM FOX MUSIKVERLAG G.m.b.H.
Manager: Theodor O. Seeger
Klaerchenstrasse 11
Hamburg 39-Germany
GREAT BRITAIN SOUTHERN MUSIC PUBLISHING COMPANY LTD.
LATIN AMERICAN MUSIC PUBLISHING COMPANY LTD.
MERIDIAN MUSIC PUBLISHING COMPANY LTD.
IVER RECORDING COMPANY LTD.
MOST MUSIC PUBLISHING COMPANY LTD.
MONIQUE MUSIC LTD.
Manager: Robert C. Kingston
8 Denmark Street
London W.C. 2-England
LIBER-SOUTHERN LTD.
Manager: Harry Benson
8 Denmark Street
London W.C. 2-England
HOLLAND HOLLAND MUSIC N.V.
Managers: Hank Dunk-Alfred Zmigrod
Singel 500
Amsterdam-Holland
ITALY EDIZIONI SOUTHERN MUSIC, S.R.L.
SETTE NOTE, S.R.L.
ITALCARISCH EDIZIONI MUSICALI, S.R.L.
GRUPPO EDITORIALE FORTISSIMO, S.R.L.
Manager: Alberto Carisch
Vicolo Pattari, 2
Milan-Italy
SPAIN EDITORIAL MUSICAL IBERO-AMERICANA S.A.
MUSICAL DEL SUR
EDICIONES HERSANT
Manager: Manuel G. Salinger
Diputacion 337
Barcelon 9-Spain
Hortaleza 18-Atico
Madrid 4-Spain
SWEDEN SOUTHERN MUSIC A.B.
Manager: Ronald Sjogren
Kungsgatan 74
Stockholm-Sweden
SWITZERLAND SOUTHERN MUSIC A.G.
Manager: Albert Brunner
Heinrichstrasse 38
Zurich 5-Switzerland
- (via archive.org (https://archive.org/details/cashbox22unse_45/))
Directory of IMIC-2 Registrants
[...]
FELIX FAECQ
World Music Productions
Brussels, Belgium
- (via archive.org (https://archive.org/details/musicindustrymar0000unse/))
[...] [Jacques] Kluger trad ook op onder de naam Jay Clever en met een gewijzigde bezetting werden er van deze formatie in 1951 de laatste opnamen gemaakt. Daarna werde de band ontbonden. Jack Kluger vormde dan samen met Felix Faecq een platenfirme en muziekuitgeverij.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Gideon Fagan (Gideon Johannes Fagan, pseud. "Albert Diggenhof"):
FAGAN, GIDEON.
Conductor. b. Somerswet West, C.P., South Africa, 3rd November, 1904. Conducted B.B.C. Orchestra as Guest Conductor for the first time 1936. Address: 12, Kinch Grove, Wembley, Middx. Phone: Arnold 2860. Studied music at the South African College of Music, and the Royal College of Music, London, under Sir Adrian Boult, Dr. Macolm Sargent, Dr. Vaughan Williams, etc. From 1926-27 was Guest Conductor, Cape Town Municipal Orchestra. On returning to this country became Music Director of many West End musical successes. Was also Musical Director of Fitzpatrick Pictures, Ltd., Sound City Studios, 1936-39. Was Guest Conductor B.B.C. Orchestra, 1936 onwards, and Conductor of B.B.C. Northen Orchestra from 1939-42. From 1942-45 has been Guest Conductor with B.B.C. Orchestras, Halle Orchestra, City of Birmingham Orchestra, International Ballet Company. Music Director, "Song of Norway," at Palace Theatre, London.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Joël Fajerman (pseud. "Angelo Rakhelino"):
(https://i.imgur.com/AUDLuYT.png)
[no bio, just a photo.]
Pierre Fanen (Pierre Georges Jean Fanen):
Pierre Fanen a commencé très jeune à jouer de la guitare. Tout d'abord dans différents groupes (Strangers - Keltons) puis en tant que musicien d'accompagnement et de studio (Ronnie Bird, Antoine, Dick Rivers, Eddy Mitchell, ZOO, Triangle, Léo Ferré, Joël Dayde, Michel Delpach, Marcel Dadi et C. Gérome. Il a également accompagné Chuck Berry lors d'une tournée française.
PIERRE GEORGES JEAN FANEN
Naissance 22.05.1945
Paris 12e Arrondissement (75112), France (FRA)
Décès 29.04.2000
Bagnolet (93006), France (FRA)
- (via matchID (https://deces.matchid.io/id/OxWsgLMYUDOU))
Willy Fantel (pseud. "Bob Wayne", "Elemer Farkasch", "Hans A. Glück", "Loisl Bach"):
A biography and interview with Fantel can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1971/02/willy-fantel.html).
FANTEL Willy, Kpm.
* 1. 10. 1930 in Wien
Adresse: A-2344 Maria-Enzersdorf, Franz-Keim-Gasse 7
Volksschule, vier Jahre Gymnasium, ein Jahr Hotelfachschule. Nach Kriegsende an der Wiener Musikakademie, Hauptfach Trompete bei Prof. Dengler und Nebenfächter (Klavier und Komposition). Seit 1953 selbständiger Kapellmeister, Engagements in Österreich, Deutschland und der Schweiz.
Von 1951-1965 freier Mitarbeiter beim Österreichischer Rundfunk, größtenteils mit eigenem Ensemble. Im Herbst 1965 als künstlerischer Leiter und Geschäftsführer nach München übersiedelt, dort auch als freier Produzent für verschiedene Firmen tätig. 1969 vom ORF-Landesstudio Burgenland nach Österreich zurückgeholt und seither Leiter der Abteilung Unterhaltung.
Er schriebt Tanz- und Unterhaltungsmusik, Wiener Lieder, ca. 30 Chansons mit Topsy Küppers, unter anderem:
Chanson Vienne; Geliebte sein ist leicht; Schlafe bis morgen mein, Liebling.
Ferner: Wiener Luft; Wien, du Stadt der Nostalgie; Der Neustifter Kirtag; Weil ich so glücklich bin; Hauptsach, mir san g'sund und die Frau hat a Arbeit; Wenn mei tant Radl'n hätt; Es ist nur ein kleines Lied; Danke Mutter; Wie schön, daß es dich gibt; Am Himmel meiner Liebe; Schöner Jusuff; Harmonika-Express; Spitze Zungen; Schnufti; Ramba-Zamba; Tricks; Windy.
Mitglied von Österreichischer Komponistenband, AU-ME, Ordentliches Mitglied der AKM.
Mauro Farina (pseud. "Vangok"):
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
MAURO FARINA - Via Cao Prà 54, 37060 Lugagnano (VR) - Tel. (045) 98.40.26 - 98.48.33 - Telefax: (045) 984359
Mike Farmer (Michael Dennis Farmer):
(https://i.imgur.com/ootl3xF.png)
Mike Farmer
Mike started his musical career at the age of fourteen, playing drums and percussion. He later joined a new wave garage band releasing several singles and touring around the "dives of Europe" as he puts it. He became increasingly influenced by electronic music and started composing his own work -- crossing over to hip hop and breakbeat without losing his post punk roots. Mike's studio is based around two antique analogue synthesisers, a sampler and his drum kit. Simplicity itself.
- (by kind courtesy of Moon Monkey - thanks!)
David Farnon (David Graham Farnon):
(https://i.imgur.com/N5uYW5N.png)
David Farnon
David is a composer, conductor and producer and started his professional life working on a variety of television shows including 'The Muppets', 'The Royal Variety Show', 'Pebble Mill At One' and films including 'Bear Island', 'Mary and Joseph' and 'Friend or Foe?'. Production credits include albums with George Benson, Pia Zadora, Jose Carreras, George Shearing and Robert Farnon.
He has performed with orchestras such as the LSO and the RPO but since moving to Guernsey he has devoted himself mainly to composing. As well as various commissions, both orchestral and electronic, he has written more than five hundred tracks of library music.
Recent work has included recording with the Bratislava Radio Symphony Orchestra, including the premiere of his father's piano concerto, an album with Carole Kidd, another library album and a new guitar concerto. Apart from that, he spends his time trying to avoid his wife's horse, his children's dog, fish and hamster and appearing to look busy when any DIY needs doing.
- (by kind courtesy of Moon Monkey - thanks!)
Dennis Farnon (John Dennis Farnon, pseud. "John Denis", "John Dennis", "Paul Gerard"):
(https://i.imgur.com/D5hXAjw.png)
DENNIS FARNON
Dennis was born in Toronto, Canada and studied music in Toronto, Chicago and Paris. He became an orchestral recording artiste and the West Coast Album Director for RCA between 1956 and 1959. In 1960, Dennis came to Europe from California for musical studies and has lived in England and on the continent since. He has composed much serious music as well as arranging for Lena Horne, Harry Belafonte, Maynard Ferguson, George Shearing, Phineas Newborn, Chet Atkins and many others. Dennis has written music for many feature films, including 'Drop Dead Darling', 'Emma', 'Rise of Duton Lang' and 'Tightrope' plus 18 episodes of 'Mr Magoo' and TV shows, including 'Bat Out Of Hell', 'Spy Trap', 'The Collaborators', 'The Fugitive', 'Fracutred Flickers' and 'Follyfoot'. In 1978 Dennis received the Ivor Novello Scroll of Honour for the theme to the highly successful TV series 'Bouquet of Barbed Wire'.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/siEaImd.png)
DENNIS FARNON
Dennis was born in Toronto, Canada and studied music in Toronto, Chicago and Paris. He became an orchestral recording artiste and the West Coast Album Director for RCA between 1956 and 1959. In 1960, Dennis came to Europe from California for musical studies and has lived in England and on the continent since. He has composed much serious music as well as arranging for Lena Horne, Harry Belafonte, Maynard Ferguson, George Shearing, Phineas Newborn, Chet Atkins and many others. Dennis has written music for many feature films, including Drop Dead Darling, Emma, Rise of Duton Lang and Tightrope plus 18 episodes of Mr Magoo and TV shows, including Bat Out Of Hell, Spy Trap, The Collaborators, The Fugitive, Fractured Flickers and Follyfoot. He was a founder member of the National Academy of Recording Arts and Sciences in 1957. In 1978 Dennis received the Ivor Novello Scroll of Honour for the theme to the highly successful TV series Bouquet of Barbed Wire.
- (by kind courtesy of Moon Monkey - thanks!)
FARNON, (John) DENNIS. Arranger, composer, trumpeter, b Toronto 13 Aug 1923. Like his older brother Robert, Farnon has pursued a wide-ranging career that has touched at times on jazz. He played trumpet with saxophonists Stan Patton and Lew Lewis in Toronto dancehalls, then went overseas in 1944 alongside his eldest brother, Brian, a clarinettist and alto saxophonist, as a member of The Army Show, both Farnons are heard as soloists on BBC airchecks included in 1999 on the CD Swing Canada: Canadian Service Bands of WWII (Cowtown).
On his retturn to Canada, Farnon wrote for the big band led by a teenaged Maynard FERGUSON; Ferguson subsequently took Farnon's arrangement of All the Things You Are to the United States, recording a truncated version with the Charlie Barnet Orchestra in 1949. After studies in Chicago and New York, Farnon worked 1951-60 in Hollywood studios, where the wrote music for film and television - notably the Mr. Magoo cartoons and the Bullwinkle children's series - and served variously as producer or arranger and conductor for RCA LPs by Harry Belafonte, Bing Crosby, Lena Horne and other popular singers.
Under his own name, Farnon also made several orchestral recordings in Hollywood, including the big band LP Caution, Men Swinging (1956, RCA) and albums featurnig the pianists George Shearing (Velvet Carpet, 1955, Capitol) and Phineas Newborn (While My Lady Sleeps, 1957, RCA). He went in 1960 to London, working through the decade there in television, then divided the 1970s between Portugal, Holland and England before settling in 1980 in Holland and turning to composition in the contemporary classical field.
- (via archive.org (https://archive.org/details/millercompaniont0000mill/))
Robert Farnon (Robert Joseph Farnon, pseud. "Derek Farnbert", "Phil Roberts"):
FARNON, ROBERT JOSEPH.
Composer and Conductor. b. Toronto, Canada, 24th July, 1917. First connected with radio (Canadian Broadcasting Corp.), 1935. Address: 48, Wilton Place, London, S.W.1. Phone: Sloane 8563. Studied both violin and piano with private teachers in Toronto. First professional work with Toronto Juvenile Symphony Orchestra at age of eleven. Later studied theory and composition at Toronto Conservatory of Music. Was C.B.C. Arranger-Conductor, 1938-43. Composer of several major symphonic works, including 1st and 2nd Symphonies, played by Philadelphia Orchestra, and New York Summer Symphony Orchestra, also by major Canadian Symphony Orchestras. Since coming to England has arranged work for Ambrose, Geraldo, Ted Heath, Stanley Black, etc., and is known for his work in broadcast programmes such as "Stringtime," "Soldier's Serenade" "Canadian Caravan," etc. Is best known for his A.E.F. broadcasts. Was Conductor of Canadian Band, A.E.F. Hobbies: Flying and riding. Ambition: To spend twenty-three hours per day composing!
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Farnon, Robert *24. 7. 1917 Toronto, Kanada.
Komponist, seit 1944 in London.
Werke: "Ottawa Symphony", gehobene Unterhaltungsmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
FARNON, ROBERT
(1917- )
Robert Farnon was born in Toronto, Canada. At the age of seven, he began the study of the violin, and at 15 he studied composition. He served with the Canadian Army during World War II. His works consist mostly of lighter music, but he also composed two symphonies.
Reference
Claghorn, Biographical Dictionary of American Music.
[contains list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0001rehr_z6l5/))
FARNON, ROBERT
Replace biography with the following:
Robert Joseph Farnon was born on July 24, 1917, in Toronto, Canada. At the age of 11, he was a member of the Toronto Juvenile Symphony. He became a member of the Canadian Broadcasting Corporation Orchestra in 1932, then under the leadership of Percy Faith. Farnon did most of the choral arrangements for this group.
During World War II, Farnon served in Europe as leader of the Canadian Band of the Allied Expeditionary Forces. He stayed in England after the war, arranging for Ted Heath's Band. He later formed his own band, which appeared frequently on BBC radio broadcasts and made a large number of recordiungs.
Farnon composed mostly film music and light orchestral pieces, but he did compose more serious works, such as his Symphony No. 1.
References, add:
The Oxford Companion to Popular Music.
[contains a supplemental list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0003rehr/))
ROBERT FARNON
Robert Farnon is one of the finest composers of mood, or production music and this special collection includes some of his most memorable works. Many of them will be instantly recognisable throughout the world, from their repeated use from the 1940s onwards by radio, television and film producers.
He was born in Toronto, Canada on 24 July 1917, where he had a successful radio career working with leading musicians such as Percy Faith. His two symphonies received their premieres in 1941 and 1942, but his life and career changed dramatically when he was drafted to Britain in 1944 as Conductor of the Canadian Band of the Allied Expeditionary Forces.
The music scene in Britain suited Farnon's ambitions, and he could see the opportunities offered by the film industry. He decided to settle in England after the war, and then began composing hundreds of original works, most of them specially for the Chappell Recorded Music Library. His distinctive style was quickly recognised, and he influenced a whole generation of orchestrators on both sides of the Atlantic.
The quality of his writing can be judged by the fact that, although many of the works of this CD are approaching 50 years old, they still sound fresh and very appealing. In most cases, they are the first recordings of each piece ever made using the finest orchestras often conducted by the composer himself.
Robert Farnon has always been in demand from record companies and radio stations, and he has accompanied many of the world's greatest performers on disc, ranging from Eileen Farrell and José Carreras to the likes of Lena Horne, George Shearing, Sarah Vaughan, The Singers Unlimited, Bing Crosby, Tony Bennett and Vera Lynn. It is no exaggeration to say that Farnon has been one of the major influences on the quality music scene during the second half of the 20th century, and he is the greatest living composer of light orchestral music.
(https://i.imgur.com/utGGUZ9.png)
FARNON, ROBERT (Joseph). Arranger, composer, trumpeter, b Toronto 24 Jul 1917. Widely revered as an arranger for the transparence of his string writing and the splendour of his full orchestrations, Farnon played jazz early in his career and has continued on occasion to work with jazz musicians.
He began his professional career as a teenaged drummer in a Toronto danceband led by his older brother, Brian. Turning to trumpet at 17, Farnon soon found employment in the CBC radio orchestras of Percy Faith and Geoffrey Waddington; he also served both conductors as an arranger. Concurrently, he was heard weekdays 1937-43 on CBC radio's popular variety show The Happy Gang. Though he played jazz only informally around Toronto, he made a favourable impression in 1939 on a visiting Dizzy Gillespie with his skill and harmonic sophistication; he is remembered as an eloquent and lyrical soloist in the manner of Bobby Hackett.
Enlisting in the Canadian Army in 1943, Farnon went to London with the rank of captain as music director of The Army Show and as conductor and arranger for the Canadian Band of the Allied Expeditionary Forces. The latter, which had big band and dixieland components, broadcast 1944-5 on the BBC opposite British and US orchestras led by George Melachrino and (in 1944) Glenn Miller, respectively. Airchecks of the Canadian Band in its various permutations were anthologized in 1998 under Farnon's name on the CDs The Lost Recordings and More Lost Recordings and in 1990 on Swing Canada Canadian Service Bands of WW II (all Cowtown).
Remaining in London after the war, Farnon composed, arranged and recorded selections for Chappell & Co. Mood Music and wrote theme and incidental music for many feature films, most notably Captain Horatio Hornblower (1951). His influence on popular music as an orchestrator largely dates to this period. Although he moved in 1958 to the island of Guernsey, off the coast of France, he continued to work in London studios, recording under his own name and taking assignment as an arranger and conductor for Tony Bennett, Eileen Farrell, Frank Sinatra and many other popular singers.
He has served in a similar capacity on several jazz recordings, among them LPs by singers Sarah Vaughan (Vaughan and Voices, 1963, Mercury) and Lena Horne (A New Album, 1976, RCA) and pianist George Shearing (On Target, 1979, MPS); as well as CDs by Shearing (How Beautiful Is Night,1992, Telarc), singer Joe Williams (Here's to Life, 1993, Telarc) and trombonist J.J. Johnson (Tangence, 1994, Verve).
- (via archive.org (https://archive.org/details/millercompaniont0000mill/))
FARNON, Robert - Nato a Toronto (Canada) il 24 luglio 1917. Musicista attivo per lo più in America. Firma la colonna sonora (partiture originali, arrangiamenti ecc.) di molti film, svariando in ogni “genere”. Tra i suoi risultati: Captain Horatio Hornblower (Le avventure del capitano Hornblower, 1951, di R. Walsh); Circle of Danger (La cortina del silenzio, 1951, di J. Tourneur); Gentlemen Marry Brunettes (Gli uomini sposano le brune, 1955, di R. Sale); The Little Hut (La capannina, 1956, di M. Robson: commento molto spiritoso che sottolinea il buffo contrasto fra il comportamento sussiegoso di David Niven, inglese della tradizione, e l'isola selvaggia in cui si svolge l'azione); The Sheriff of Fractured Jaw (La bionda e lo sceriffo, 1958, di R. Walsh); Road to Hong Kong (Astronauti per forza, 1962, di N. Panama); The Truth About Spring (Crociera imprevista, 1965, di R. Thorpe); Arrivederci, Baby! (idem, 1966, di K. Hughes); Shalako (idem, 1968, di E. Dmytryk: tema epico e canzone leitmotiv); Space: 1999 Year Two (Spazio: 1999, 1974, di Lee H. Katzin, solo additional music), Fear Island (L'isola della paura, 1980, di D. Sharp: tipica partitura composita e d'effetto di questo musicista, con pagine di grand-guignol musicale ma anche ottime fanfare di ottoni e passaggi moderni di archi). Farnon ha musicato inoltre, in Gran Bretagna, diversi film di W. Toye, V. Guest e altri.
Merrick Farran (William Merrick Farren, pseud. "P. J. Mulligan"):
Births Jun 1910
Surname: FARREN
Given name: WILLIAM MERRICK
District: Stoke T.
Volume: 6b
Page: 239
Transcriber: geoffwh
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=WgKRAByTRBNL0h6wuVdvOA&scan=1))
Deaths 1991
Surname: FARREN
Given name: WILLIAM MERRICK
DoB: May 9th, 1910
District: OXFORD
Volume: 20
Page: 2750
Reg. No.: 11.91
Transcriber: daveg
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=U2YR%2F8f9SypQO9%2BiKqnj8g&scan=1))
FARRAN, MERRICK
Merrick Farran was of Irish-Italian descent and was a pupil of E. J. Muran, the well-known Irish composer. He was educated at Stonyhurst College and won a scholarship for composition and violin at Manchester Royal College of Music. He toured the United States with Sir Thomas Beecham and the Royal Philharmonic Orchestra. He wrote music for several British films and for the BBC. He conducted both classical and popular and light music.
Select Discography
The Last Time I Saw Paris: A Jerome Kern Concert (with the London Pops Orchestra) Regent MG 6059
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)
H. M. Farrar (Henry Murgatroyd Farrar né Harry Murgatroyd Farrar, pseud. "Carl Riess", "Eric Sepp", "H. M. Finegan", "Hilary Stephens", "John Churston", "Keeling", "Rex Wilton", "Royd Paignton"):
Births Jun 1896
Surname: Farrar
Given name: Harry Murgatroyd
District: Huddersfield
Volume: 9a
Page: 273
Transcriber: old_geezer
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=UPBTTo5OYDFsSOG%2Bu8nQag&scan=1))
Deaths Dec 1966
Surname: FARRAR
Given name: HENRY M.
Age: 70
District: PENZANCE
Volume: 7A
Page: 97
Transcriber: OrangePeel
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=XxMZZ3esuSkP%2FqTxncIN0g&scan=1))
Jindřich Feld:
FELD, Jindřich, born 19 Feb. 1925. Prague, Czech. Composer; Music Teacher. Education: Prague Conservatory, 1945-48; Academy of Music, Prague, 1948-52; Ph.D., Charles University, Prague. Married Helena Feldova, 1 daughter. Career: Composer; Music Teacher; Visiting Composer-in-Resident, University of Adelaida, Australia, 1968-69; Professor, Conservatory of Prague, 1972-. Compositions recorded include: Sonatina for 2 Violins, 1952-53; Concerto for Flute & Orchestra, 1954; Rhapsody for Violin & Orchestra, 1956; Concerto for Cello & Orchestra, 1958; 3 Frescoes for Grand Symphony Orchestra, 1963; String Quartet No. 4, 1965; Inventions for Mixed Chamber Choir, 1966; I Symphony for Grand Symphony Orchestra, 1966-67; Wind Quintet No. 2, 1968; Dramatic Fantasy for Grand Symphony Orchestra, 1968-69; Sonata for Piano, 1971-72; Concerto for Piano & Orchestra, 1973. Numerous other symphonic, concerto, chamber, vocal, stage & pedagogic works publd. Contributor to: Hudebny Rozhledy (Musical Review), Prague. Member: Guild of Czech. Composers. Recipient of various prizes for compositions & State Prize, Czech., 1968. Hobbies: Violin & Viola; Tennis; Swimming; Skiing. Address: Počerniká 513, 108 00 Prague 10 - Malešice, Czech.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
FELD, JINDRICH
(1925- )
Jindrich Feld was born in Prague, Czechoslovakia, on February 19, 1925. From 1948-1952, he studied at the music school and at Karls University in Prague. He has been a professor at the Prague Conservatory since 1972. In 1990, he joined Radio Prague as director of their music division.
Reference
Suppan, Das Neue Blasmusik Lexikon.
[contains list of works]
Sepp Fellner (Josef Friedrich Fellner, pseud. "Hans Held", "Renllef"):
FELLNER Sepp, sen., Dkfm.
* 5. 5. 1909 in Wien
† 21. 7. 1964 in Wien
Handelsakademie, Diplom an der Hochschule für Welthandel. Privater Klavierunterricht, frühzeitige Mitwirkung in elterlicher Bauerntruppe „D'Obe-Innviertler“.
War langjähriges Vorstandsmitglied der AKM und des Österreichischer Komponistenband, Ehrenpräsident und Mitglied diverser Wienerlieder-Organisationen, Ordentliches Mitglied der AKM und bei AU-ME.
Er schrieb vorwiegend Wienerlieder; seine bekanntesten Werke:
s' Nußdorfer Sternderl; Was kann i denn dafür; A bisserl Grinzing a bisserl Sievering; Keller-Gassn-Tan; A Ladung Sieveringer Wein; Wir habn die Straußbuam; Du lieber Hallodri; Beim Heurigen gibt's kan Schenierer; Mei Sternwart' is Grinzing; s'Finanzamt brennt; Mein Herz ist verliebt in die Wienermusik; Ewiges Wien; In Graz verliebt sein; 20, 30 Jahr'ln jünger sollt ma sein; Bin i's oder bin i's net; I hab eine leitende Stellung.
Fellner, Sepp (Josef)
Wien, 5. Mai 1909 - Wien, 21. Juli 1964.
As Kind schon in der etterlichen Bauerntruppe "D Oba-Innviertler" mitwirkend, dann aber Diplomkaufmann in Wien, endlich hier Volksmusiker und Komponist von Wienerliedern; auch Klavierhumorist.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Wolfgang Felsing (pseud. "Chris O. Boyk", "Josef Seehamer"):
Organisationsaufbau Hörfunk [for Bayerischer Rundfunk]
[...]
Hauptabteilung Unterhaltung
Leichte Musik Carl Michalski
Werner Götze, Jimmy Jungermann
Quirin Amper, Eberhard von Berswordt, Wolfgang Felsing, Franz Lang, Lothar Nakat, Ivan von Géczy, Guido Rauch, Hans Wochenauer, Hans Wenniger
- (via br.de (https://www.br.de/unternehmen/inhalt/organisation/geschichte-des-br/digitalisierte-bestaende-halbjahresprogramm-148.html))
Kurt Feltz (pseud. "Alexander Kühn", "Axel Villinger", "Bernd Heim", "Charlie Hauer", "Cole Drive", "Don Jysso", "Edi Hartges", "Ferry Tale", "Hanno Plaschky", "Hans Duering", "Harry Hennerich", "Joachim Janson", "Jonny Bartels", "Jonny Halvey", "Josef Hahnen", "Karl A. Kimbel", "Leopold Schönauer", "Meinhold Winterhoff", "Paul Clemens", "Walter Stein"):
Textdichter Feltz, Kurt, 5 Köln 1, Drususgasse 7-11
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Giovanni Fenati (pseud. "Mirageman", "Passatore"):
(https://i.imgur.com/qvRgPWU.png)
GIOVANNI FENATI
Nato in Romagna 40 anni fa, residente a Bologna. Ha studiato contemporaneamente Giurisprudenza, Pianoforte e Composizione, non laureandosi in giurisprudenza, ma diplomandosi invece a pieni voti in pianoforte e composizione, presso il Conservatorio di Bologna.
Appassionatissimo alla musica Jazz, si rivelò ancor giovanissimo uno dei migliori pianisti italiani («Musica Jazz», Agosto 1948). Lasciando un po' in disparte il Jazz, per ovvi motivi commerciali, ma sempre strizzandovi l'occhio, costituì una formazione da ballo, con la quale ha percorso più volte la Penisola, dedicandosi con versatilità a tutti i generi di musica da ballo.
Giovanissimo, diresse le grandi formazioni della Radio di Roma, Milano e Torino. Anche oggi la Radio mette in onda sovente le sue registrazioni, prevalentemente costruite per pianoforte e orchestra. Di recente, la TV gli ha dedicato tre «Speciali» di 30 minuti, ove si è esibito in esecuzioni pianistiche ad alto livello jazzistico.
Compositore di un centinaio di brani per sola orchestra, genere nel quale si specializzò insieme a pochi altri, ha composto i primi RHYTHM and BLUES che siano apparsi in Italia, per sola Orchestra, che hanno riscosso un forte successo presso il pubblico ed i complessi italiani.
L'attuale microsolco contiene le sue ultime 12 composizioni, che volutamente riflettono la particolare atmosfera della sala da ballo. Queste composizioni sono una ottima guida per i complessi, ed una trasposizione della sala da ballo in casa propria, per gli appassionati ed i frequentatori dei dancings.
David Fennell (David James Fennell):
DAVID FENNELL is a prolific composer with hundreds of TV and radio commercials, several TV documentaries and three commercial jazz fusion albums to his credit, plus two large orchestral pieces that have been performed by symphony orchestras. Musical Director for numerous artists including Lovelace Watkins in the UK and Las Vegas plus several TV Shows. A briliant pianist who has taught improvisation and ararnging at the Sydney Conservatorium of Music and did all the arrangements for artist Wendy Matthews' Symphony Under the Stars Concert held in Sydney.
Paul Fenoulhet (pseud. "Frederick Lowe", "Gerry Ley", "Guisippi Perarri", "Harry Essex", "Jack Wise", "Jacques Andre", "Jimmy Allan", "Jose Esperon", "Pablo Ferona", "Robert Cook", "Ziggy Kahn"):
(https://i.imgur.com/SezwTin.png)
[no bio. part of group photo.]
- (via archive.org (https://archive.org/details/jackjacksonsreco00nich))
Fényes Szabolcs:
FÉNYES, Szabolcs - Musicista ungherese specializzato per il cinema, il più prolifico di tutti i compositori magiari. Tra i registi con cui collabora sistematicamente sono M. Keleti e K. Makk. Partiture interessanti: Ház a sziklák alatt (t.I. La casa ai piedi della roccia, 1958, di K. Makk); Nyár a hegyen (t.I. Un'estate in collina, 1967, di P. Bacso); Utoszezon (t.I. Fine stagione, 1967, di Z. Fábri).
FÉNYES, Szabolcs - Musicista ungherese specializzato per il cinema, il più profilico di tutti i compositori magiari. Tra i registi con cui collabora sistematicamente sono M. Keleti e K. Makk. Partiture particolarmente interessanti: Ház a sziklák alatt (t.l. La casa ai piedi della roccia, 1958, di K. Makk); Nyár a hegyen (t.l. Un'estate in collina; 1967, di P. Bacsó); Utószezon (t.l. Fine stagione, 1967, di Z. Fábri); Veszélyes játékok (t.l. Gioco pericoloso (1980, di T. Fejér); Circus maximus (t.l. Circo massimo, 1980, di G. Radányi); Sértés (t.l. L'offesa, 1982, di P. Bacsó); Játszani kell (t.l. Un gioco serio, 1985, di K. Makk); Nyitott ablak (La finestra aperta, 1988, di N. Bednai e G. Bodrogi).
Allyn Ferguson (Allyn M. Ferguson):
FERGUSON, Allyn - Nato a San José (California) il 18 ottobre 1924. Pianista, compositore, arrangiatore jazz, forma un suo complesso, il “Chamber Jazz Sextet”. Compone canzoni e brani strumentali. Per il cinema è attivo fra l'altro per: The Devil's Hand (1962, di W.J. Hole jr.); Airborne (1962, di J. Landis: in collaborazione con W. Hinslaw); Myra Breckinridge (Il caso Myra Breckinridge, 1970, di M. Sarne: solo orchestrazioni); Support your Local Gunfighter (L'infallibile pistolero strabico, 1971, di B. Kennedy: in collaborazione con J. Eliot); T.R. Baskin (Appuntamento con una ragazza che si sente sola, 1971, di H. Ross: in collaborazione con J. Eliot); Get to Know Your Rabbit (Impara a conoscere il tuo coniglio, 1972, di B. De Palma: in collaborazione con J. Eliot); The Count of Montecristo (Il conte di Montecristo, 1974, di D. Green); All Quiet on the Western Front (Niente di nuovo sul fronte occidentale, 1979, di D. Mann); Avalanche Express (idem, 1979, di M. Robson); Little Lord Fauntleroy (1980, di J. Gold). Ferguson – che lavora soprattutto per la televisione – partecipa inoltre ad alcuni corti musicali, e in ogni caso dimostra di essere un musicista dotato, non noto come meriterebbe.
Johannes Fernbach (pseud. "Johannes Fehring", "Lutz Albrecht"):
Fernbach, Johannes *14. 11. 1926 Wien.
Komponist, Dirigent, Leiter der Wiener All-Star-Orchester seit 1954 und das Orchester des Theaters an der Wien.
Werke: Filmmusik, Jazzkompositionen, Buch über Jazz.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
FEHRING Johannes, Prof., Kpm.
* 14. 11. 1926 in Wien
Adresse: A-1130 Wien, Fourniergasse 16
Sohn eines Notars aus alter Juristenfamilie, Bruder C. W. Fernbach war Schauspieler. Grundschule, Realgymnasium, Studium der Musikwissenschaft (Philosophie) an der Wiener Universität, gleichzeitig Theorie bei Friedrich Wildgans und in der Kapellmeisterklasse Kurt Wöss.
1949 mit erstem professionellem Tanzorchester im Wiener Volksgarten, 1954 Leiter der Allstar-Big-Band, 1963-1966 Chef des „Großen Tanz- und Unterhaltungsorchesters“ des WDR Köln, 1969 Mitbegründer der „ORF-Big-Band“ (aus dem J.-Fehring-Orchester hervorgegangen), 1965-1983 Chef des Orchesters des „Theaters an der Wien“. 1983 Rücktritt von allen Funktionen aus gesundheitlichen Gründen. 1977 Professor-Titel durch den Bundespräsidenten. Unzählige Tourneen, Rundfunk- und TV-Sendungen sowie Schallplattenaufnahmen (fünf Goldene Schallplatten als Prozuent) unter anderem mit E. Fitzgerald, P. Alexander, U. Jürgens, F. Quinn, C. Valente; 1948 Veröffentlichung des Sachbuches „Der neue Jazzstil“.
Auszeichnungen: 1950 Goldene Plakette der RAVAG, 1962 Ehrenring der Wiener Stadthalle, 1976 Silbernes Ehrenzeichen für Verdienste um das Land Wien.
Aus seinem Schaffen (Werke bei AU-ME und AKM, deren Ordentliches Mitglied er ist):
Musik für ca. 60 Spielfilme („Mit Himbeergeist“, „Waldrausch“, „Die liebe Familie“, viele P.-Alexander-Filme“ usw.) und Orchesterstücke (Damned dirty march), zahlreiche TV-Musiken und Bearbeitungen von Musicals und Operetten. Einige Werketitel: Seven years; Brandy Soda; Dick's Trompete; Musicbox-Jump.
Franco Ferrara:
FERRARA Franco, musicista, nato a Palermo il 4 luglio 1911 da Giovanni e da Annunziata Pagano.
Roma, via XX settembre 49.
Diplomato in Violino, Pianoforte, Organo, Composizione organistica e Composizione. Ha studiato presso i Conservatorio di Palermo e di Bologna con C. Nordio, G. Consoli e F. Ivaldi. Già primo violino dell'orchestra sinfonica di Firenze. Dal 1938, si è dedicato alle direzione di orchestra ed ha tenuto numerosi concerti nelle principali città italiane ed europee. Autore di numerosi musica sinfonica: «Sinfonia Italiana», due «Poemi sinfonici», «Burlesca», «Concerto» per violino e orchestra, «Ouverture». Ha composto inoltre musica vocale e da camera.
FERRARA, Franco - Nato a Palermo il 4 luglio 1911, morto a Firenze il 7 settembre 1985. Dopo gli studi musicali (composizione, direzione d'orchestra, violino, pianoforte, organo) ha suonato il violino in orchestra e si è dedicato poi alla concertazione, affermandosi come uno dei migliori direttori italiani. Una malattia nervosa gli ha impedito di continuare a dirigere in pubblico, per cui si è dedicato all'attività didattica, formando tre generazioni di direttori d'orchestra. Notevole il suo contributo al cinema, per il quale ha svolto attività di organizzazione musicale, composizione, direzione d'orchestra ecc., assicurando a questo settore prestazioni di alto livello professionale e artistico, e formando validi allievi. Meno importante la sua opera di compositore di partiture originali, esercitata per lo più nei confronti di pellicole di scarso livello: da ricordare semmai quelle per Il sacco di Roma (1953, di F. Cerio) e di Arrivederci Dimás (1957, di L. Berlanga).
Sergio Ferraresi (pseud. "Ferse"):
Avete mai sentillo parlare di Sergio Ferraresi? Bene, se ancora non lo conoscete e non l'avete mai sentito suonare, questa è un'ottima occasione per farlo. Nato a Sustinente, un piccolo paese del Mantovano, Sergio Ferraresi iniziò giovanissimo a suonare la fisarmonica e studiare musica. Abbandonò presto questo strumento per dedicarsi completamente alla chitarra con la quale, dopo il servizio militare, iniziò ufficialmente la sua carriera professionale. Suonò in molti night clubs per emigrare poi in Scandinavia e Belgio in «tournées» che gli servirono per arricchire la sua preparazione tecnica e stilistica. Al suo rientro in Italia prese parte a manifestazioni di livello internazionale come il Festival di S. Remo, il Cantagiro, la Rassegna di musica leggera di Venezia e partecipando ad importanto trasmissioni radiofoniche e televisive. Suonò con i più quotati musicisti italiani quali Gorni Kramer, Cragioli, Intra, Martelli, Fenati, ecc.
Collezionista di chitarre (ne possiede una dozzina delle migliori marche) e strumenti a corde, Sergio Ferraresi scoprì un'altra vena nascosta: quella della composizione. Volontà, entusiasmo e bravura sono i pregi si Sergio Ferraresi che in questo suo primo LP si presenta con una delle sue numerose chitarre, quella classica. «RAINBOW GUITAR» è un arcobaleno musicale ricco di colori a volte morbidi a volte accesi ma l'effetto finale è di una luminosità piacevole che raggiunge il suo scopo.
Have you ever heard of Sergio Ferraresi? Well, if you haven't heard of him this album is a good occasion for listen one of his instruments: the classic guitar. Born in Sustinente, a little country near by Mantova, Italy, Sergio began studying music and play the accordion but at sixteen year old, as soon as he learned how to play the guitar, he chose that as his profession. After the Army service, Sergio Ferraresi did several tournées in Scandinavia and Belgium where he will improved his preparation technique and stylistic. Later on Sergio returned to Italy he took part in all the most international contests of popular music, as San Remo Festival, Cantagiro, the songs review of Venice and other important television-radio variety shows. He also play at the side of most estimated italian musicians as Gorni Kramer, Enzo Ceragioli, Enrico Intra, Martelli, Fenati, etc.
Collector of guitars (he has a dozen of this instruments) Sergio is also a good composer of instrumental themes. Will-power, enthusiasm, skill, are the Sergio's merits. «RAINBOW GUITAR» is a musical palette full of color, fantasy, virtuosity and the result is a very pleasant listening. This is Sergio Ferraresi a hearty soul friend but sensitive, brilliant and very able guitarist.
Gianni Ferrio (Giovanni Ferrio, pseud. "Ladypark"):
FERRIO, Gianni - Nato a Vicenza il 15 novembre 1924. Diploma in violino, composizione e direzione d'orchestra. Nel dopoguerra si è dedicato alla musica leggera ed è diventato un noto compositore di canzoni, arrangiatore, leader di complessi. Presta la sua opera, come orchestratore e compositore di sigle, commenti, intercalature musicali per la radio e per la TV italiana. Nel 1959 inizia a comporre per il cinema, applicandosi soprattutto a commedie popolari, western all'italiana e film d'avventura. Tra i suoi numerosissimi risultati, riguardanti soprattutto gli anni ‘60 e ‘70, ricordiamo, per la funzionalità – conseguenza di un solido mestiere – diversi film comici di M. Mattoli, S. Corbucci, G. Simonelli e altri (con Totò, P. De Filippo, Tognazzi, Vianello, Fabrizi, Chiari); commedie di Steno (come I due colonnelli, 1962; Il padrone e l'operaio, 1975), di L. Zampa (come Frenesia dell'estate, 1963), di M. Laurenti; commedie in costume (come La Calandria, 1972, di P. Festa Campanile); film “musicarelli” (come Appuntamento in Riviera, 1962, di M. Mattoli, con Tony Renis e Mina, e Dio, come ti amo!, 1966, di M. Iglesias, con Gigliola Cinquetti); western della serie Gringo; avventure spericolate come L'arciere di fuoco, 1971, di G. Ferroni; thriller di D. Tessari come La morte risale a ieri sera (1970) e La farfalla con le ali insanguinate (1971), pellicole sexy su liceali, infermiere e militari. Dalla anonima funzionalità dei risultati si staccano alcune occasioni in cui Ferrio fa sentire la sua preparazione e un certo gusto personale: Le italiane e l'amore (1961, di registi diversi: partitura colorita e intelligente); I fidanzati (1963, di E. Olmi: musica semplicissima ma piena di freschezza, e trattata in modo diverso a seconda delle svolte drammatiche ed intimiste dell'azione); Un dollaro bucato (1964, di G. Ferroni: ritmi caratteristici del West ma anche colte variazioni negli archi); Sentenza di morte (1967, di M. Lanfranchi: l'uso di strumenti tipici come la chitarra è piegato a risultati non di rado intensi; da rilevare anche interessanti impasti fra organo, voci e vibrafono, l'uso singolare di cool jazz e delle dissonanze); I recuperanti (1969, di E. Olmi: spunti popolareschi sviluppati in maniera colta, con buoni brani moderni di sapore quartettistico); Dio li fa poi li accoppia (1982, di Steno); Tex e il signore degli abissi (1985, di D. Tessari). Ferrio ha lavorato anche per film spagnoli o coprodotti con la Spagna: notevoli i risultati di L'isola misteriosa e il capitano Nemo (1972, di J. A. Bardem, che vanta un intenso “adagio”, con la voce di E. Dell'Orso, per i titoli di testa, ma anche un suggestivo uso del coro e del sitar). Successivamente Ferrio ha composto colonne sonore per film-TV.
Paul Ferris (Richard Paul Ferris):
FERRIS, Paul - Musicista inglese, specializzato in film dell'orrore. Molto attivo per serie televisive e pubblicità. Tra i suoi migliori risultati cinematografici: The Sorcerers (Il killer di Satana, 1967, di M. Reeves); Maroc 7 (Dossier Marocco 7, 1967, di G. O'Hara: in collaborazione con Ken Jones); The Vampire Beast Craves Blood (1969); Wichfinder General (Il grande inquisitore, 1969, di M. Reeves): echi di suoni antichi per una vicenda sul periodo dei Puritani); The Creeping Flesh (Il terrore viene dalla pioggia, 1972, di F. Francis: basato su una melodia semplice ma di macabro sapore); The Terror of Sheba (1975, di D. Chaffey).
Erich Ferstl:
Ferstl, Erich *4. 5. 1934 München.
Studium: Musikhochschule München.
Komponist, Jazzmusiker (Klavier, Gitarre, Schlagzeug). Leiter einer eigenen Band 1956-1959.
Werke: Gitarrenkonzert, "Up-town Concertino", für Gitarre und Big Band, Stücke für Jazzpiano, Studium für Gitarre, zahlreiche Filmmusik. Buch "Schule der Jazz".
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Theo Ferstl (Theodor Ferstl, pseud. "Bohumil Cerny", "Egon Sommer", "Frank Brown", "Franz Steirer", "Hans Buchner", "Hans Mihalovits", "Hans Peters", "Sepp Oberkrainer", "Toni Kernhuber"):
Ferstl, Theo *18. 6. 1910 Wien.
Komponist in Wien (freischaffender).
Werke: gehob. Unterhaltungmusik, Wiener Lieder, Schlager.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Adie Feuerstein (Adam Feuerstein, pseud. "Marc Vanessa"):
FEUERSTEIN, Adie
Schnackenburgstr. 15
1000 Berlin 41
030/851 62 98
* 30.5.1927 Mannheim
Komponist und Arrangeur von Tanz- u. Unterhaltungs-Musik; Soli für Flöte, Akkordeon u. Klavier; Kompositionen für Big-Band.
Mitglied des RIAS-Tanzorchesters.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Jean Baptiste Fiacre (pseud. "Yan D'Ys"):
Chollat-Namy Marie Therèse Héléne Marcelle
[...]
Mariée à Paris 16e ar. le 30 Juin 1960 avec Jean Baptiste Fiacre
[...]
- (via grenoblealpesmetropole.fr (https://archives.grenoblealpesmetropole.fr/ark:/42068/744564/daogrp/0/11))
Jean Baptiste Fiacre
Marié à Paris (16 ème arr) le 30.6. 1960 avec Marie Thérèse Hélène Marcelle CHOLLAT-NAMY.
- (via finistere.fr (https://recherche.archives.finistere.fr/viewer/series/medias/collections/E/03E/3E061/3E061_0064?s=FRAD029_3E061_0064_00N_1920_001.jpg&e=FRAD029_3E061_0064_00N_1920_078.jpg&img=FRAD029_3E061_0064_00N_1920_064.jpg))
JEAN BAPTISTE FIACRE
Naissance 13.10.1920
Douarnenez (29046), France (FRA)
Décès 02.02.1991
Paris 64e Arrondissement (75116), France (FRA)
- (via matchID (https://deces.matchid.io/id/HGSOe8nq5ctm))
John Fiddy (John Charles Fiddy, pseud. "Barry Ryder", "Jean-Claude Madonne", "Jean-Pierre Fabien", "Peter Guntherson", "Tom Stanswick"):
(https://i.imgur.com/5Z35imc.png)
JOHN FIDDY
John entered the world of professional music in 1967, as a bass player, having started on guitar at the age of 10. By 1968 he was working as an arranger and a musical director, and since that time has worked in this capacity for a host of world famous artistes such as Petula Clark, Olivia Newton-John, Sacha Distel, Lulu, Uriah Heep, Alvin Stardust, The Shadows, Judy Garland, Dana and many others. John has also produced such artistes as Lena Zavaroni, London Moods Orchestra and others. His film credits include 'The Wife Swappers', 'Groupie Girl' and 'Bread' together with jingles for W.H. Smith, Anadin, Allied Carpets, Austin Princess, Cinzano and others.
- (by kind courtesy of Moon Monkey - thanks!)
Hajo Fiebig (Hans Joachim Fiebig):
Fiebig, Hans-Joachim *6. 11. 1930 Berlin.
Studium: Musikhochschule Berlin.
Komponist, Pianist, Arrangeur, Fachrichtungsleiter für Musik am zentr. Studio für Unterhaltungskunst im DDR-Fernsehen bei Amiga und verschiedene Musikverlage.
Werke: Tanzmusik, Fernseh- und Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Sam Fiedel (Sam S. Fiedel, pseud. "Samuel Solomon"):
Fiedel, Sam S., composer, bassist; b. New York, NY, Oct. 6, 1916. ASCAP 1952. Educ: NYU, BS; studied with Tibor Serly. On CBS music staff, 1939-42; 1944-58. World War II service. Mgr., record, publ. cos. Has played in theatre pit orchs. Works: Beyond the Milky Way; Elf on a Pogo Stick; Pirouette; Playground in the Highlands.
- (via archive.org (https://archive.org/details/ascapbiographica00amer/))
Luciano Fineschi (pseud. "Abbrucat"):
FINESCHI, Luciano - Musicista italiano. Attivo per il cinema negli anni ‘60 e ‘70, soprattutto per commedie e film con canzoni. Tra i suoi titoli alcune pellicole dirette da E.M. Fizzarotti: Il suo nome è Donna Rosa (1969), Mezzanotte d'amore (1969: in collaborazione con L. Malatesta), Venga a fare il soldato da noi (1971). Per altri registi: La guerra dei topless (1965, di E. Di Gianni), W le donne (1970, di A. Grimaldi).
Nuccio Fiorda (Giuseppe Fiorda, pseud. "J. Ford"):
FIORDA, Nuccio - Nato a Civitanova del Sannio il 17 febbraio 1894. Musicista italiano, deceduto dimenticato da tutti nonostante l'illustre passato. Diplomato in composizione nel 1919 a Bologna, assistente di Toscanini alla Scala e in tournée, maestro sostituto di Mascagni, aderente al Futurismo, da sempre interessato alla musica riprodotta, concreta ed elettronica. Dopo aver diretto e arrangiato musica per film muti, compose la musica per il primo film italiano sonoro, il cortometraggio L'orologio magico, del 1929. Autentico pioniere del settore, rifiutò le gerarchie di valori e compose la musica per ogni genere di film, fornendo atmosfere gaie per commedie, interventi drammatici e canzoni. Tra i migliori esiti la musica di Kiff Tebbi (1927, di M. Camerini: partitura da eseguire in sala durante la proiezione muta); Rotaie (1931, di M. Camerini: idem come sopra); L'Anonima Roylotte (1936, di R. Matarazzo: comprende una specie di “sinfonia delle macchine” molto interessante, in linea con le tendenze della musica da concerto contemporanea); Il segreto inviolabile (1939, di J.F. de Gomar: musica in collaborazione con G. Angelo); Maddalena zero in condotta (1941, di V. De Sica); Fedora (1942, di C. Mastrocinque: adattamento della musica di Giordano); Il ventesimo duca (1942, di L. De Caro); C'è sempre un ma (1943, di L. Zampa); Non canto più (1943, di R. Freda); Tre ragazze cercano marito (1944, di D. Coletti). Fiorda ha curato anche la musica dell'edizione italiana di numerosi film stranieri.
Jonathan Firstenberg:
Jonathan Firstenberg is a two-time Emmy Award winning music supervisor / composers. His composing credits include television documentaries, daytime dramas, comedy specials and animation. He calls Santa Barbara, CA, "home at last", Jonathan is honoured to be involved with his fellow Bruton-ites in London, and to be producing music for the exceptional roster of Bruton composers.
Italo Fischetti:
FISCHETTI, Italo - Musicista italiano. Attivo per il cinema negli anni ‘60, ha rifatto in quel periodo – secondo l'uso del tempo – la musica di alcuni film stranieri, poi ha firmato soprattutto colonne sonore per commedie, drammoni popolari e film sexy. Tra i suoi titoli: Sinbad contro i sette saraceni (1965, di E. Salvi), Una pelle più calda del sole (1968, di J. Benazeraf), Testa di sbarco per otto implacabili (1967, di A. Brescia), Immortalità - Camillo Torres un prete guerrigliero (1969, di P. Breccia: materiali di repertorio), Nel labirinto del sesso (1969, di A. Brescia).
Simon Fisher Turner (Simon John Fisher Turner, pseud. "Claudine Coule"):
FISHER TURNER, Simon - Musicista inglese. Ha suonato tastiere per diversi gruppi, ha pubblicato dischi. Compone musiche per il teatro di danza e ha compiuto varie tournée con i suoi Blue Concerts. L'incontro con il regista Derek Jarman nel 1978 lo ha portato a collaborare con lui per i film Caravaggio (idem, 1986: in collaborazione con Mary Philips, mix di musica barocca, etnica, flamenco e jazz); The Lost of England (1988); The Garden (1990); Edward II (Edoardo II, 1991: compresenza di musica rinascimentale e moderna, arie vocali e ritmi di tango); Blue (idem, 1993: suoni come al solito appartenenti alle più varie origini, mescolate con voci off). Fisher Turner ha composto anche le musiche per film sperimentali di altri autori, fra cui: Floating (1992, di R. Heslop), Loaded (1994, di A. Campion: mix di percussioni, fiati, ottoni e chitarre) e Melancholia (1999 di A. Engel). Anche attore.
Nicolas Flagello:
FLAGELLO, Nicolas (1928- )
b. New York, USA. Studied in New York; also in Italy with I. Pizzetti. Has taught at Manhattan School and Curtis Institute.
- (via archive.org (https://archive.org/details/dictionaryofpian0000lyle/))
FLAGELLO, NICOLAS
(1928- )
Nicolas Flagello was born in New York City on March 15, 1928. Among his teachers were Vittorio Giannini and Dimitri Mitropoulos. He studied at the Manhattan School of Music and the Accademia di S. Cecilia in Rome. He has appeared throughout the world as a pianist and was appointed director of the Rome (Italy) Symphony Orchestra in 1962. He has written seven operas and numerous works for orchestra, voice, and instrumental ensembles.
Reference
The New Grove Dictionary of Music and Musicians.
[contains list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0001rehr_z6l5/))
Guy Fletcher (Guy Edward Fletcher):
(https://i.imgur.com/MJhNyeS.png)
Guy Fletcher
When Guy Fletcher was born in 1960 in Maidstone, Kent, music was already a way of life in the Fletcher household. His parents had their own group 'The Cameos', and by the age of 4 he was singing songs in the Fletcher garage studio. His early love of the Beatles was the start of his fascination with studio work and production. Other influences came through Deep Purple, Steely Dan, Keith Emerson and Phil Spector. After a 2 year stint of studio engineering, his keyboard talents enabled him to join Bryan Ferry's Roxy Music in 1981 for the Avalon tour. Meeting Mark Knopfler in 1983 kept his skills as a keyboard player firmly in the spotlight and Guy has been involved in all Mark's work both in Dire Straits, the solo Album 'Golden Heart' and his various film projects. Other collaborations have proved equally successful involving Tina Turner, Aztec Camera, the legendary Chet Atkins, Willie De Ville and Randy Newman, Jimmy Nail and most recently with Bryan Adams.
- (by kind courtesy of Moon Monkey - thanks!)
Horst Fliegel (pseud. "Herbert Greif", "Ralf Petersen):
Fliegel, Horst (Pseud. Ralf Petersen) *2. 4. 1938 Rumburk, CSSR.
Studium: Musikhochschule Berlin/DDR (A. Asriel, R. Zechlin u. a.).
Komponist, Dirigent, seit 1971 Chefredakteur für Musik am Berliner Rundfunk.
Werke: Tanzmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Addy Flor (Arno Flor, pseud. "Henry Croll"):
Adressenänderungen
[...]
FLOR, Arno
Holzbichlweg 19
8209 Stephanskirchen
080 36 / 74 51
Adrian Foley (Adrian Gerald Foley, pseud. "Lord Foley"):
FOLEY, ADRIAN GERALD, Lord.
Pianist. b. London, 9th August, 1923. First broadcast 1940. Address: Claridges Hotel, Brook Street, W.1. Phone: Mayfair 8860. Played piano at age of six. Now known as pianist and composer. Has been heard on the air in "Composers' Cavalcade."
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Robert Folk (Robert Elms Folk):
FOLK, Robert - Nato a New York il 5 marzo 1949. Fin dall'età adolescenziale comincia a comporre canzoni per complessi di R'n'R, poi frequenta corsi di musica classica alla Juillard School di New York. Compone un balletto, un quartetto per archi, una sinfonia e pezzi vari. Si accosta al cinema negli anni ‘80 componendo musica per film minori, fra cui quelli della serie Police Academy (Scuola di Polizia, sette diversi titoli dal 1984 al 1994). Si afferma a partire dal lavoro compiuto per Miles from Home (Gli Irriducibili, 1988, di G. Sinise, in cui si trovano citazioni di Mozart, Copland, Ponty, pagine classicheggianti, rock). Seguono le colone sonore di commedie e di film d'azione, fra cui: The Neverending Story 2 – The next Chapter (La Storia Infinita II, 1990, di G. Miller: partitura sonante, robustamente ritmata); Toy Soldiers (idem, 1991, di D. Petrie Jr.: vasto sinfonismo, colorita esecuzione della Dublin Symphony Orchestra); Trapped in Paradise (Bufera in Paradiso, 1994, di G. Gallo: di un sinfonismo tipicamente americano, alla Aaron Copland); In the Army, now (Operazione Desert Storm, 1994, di D. Petrie jr.); Ace Ventura. When Nature calls (Ace Ventura Missione Africa, 1995, di S. Oedekerk); Lawnmower Man 2. Beyond Cyberspace (Il tagliaerbe 2 – The Cyberspace, 1996, di F. Mann e M. Miner); Maximum Risk (Maximum Risk - Massimo rischio, 1996, di R. Lam: risultati di colore etnico, vicini alla world fusion music); Nothing to Lose (Niente da perdere, 1997, di S. Oedekerk). Folk ha lavorato anche per film d'animazione. Musicista dotato, predilige l'orchestra – pur utilizzando le tastiere elettroniche, trattate del resto come strumenti in più – e i grandi temi alla John Williams.
Tony Fones (Anthony Fenton Fones):
FONES, ANTHONY, 1919-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig375li/))
Fernand Fontaine (Fernand Marcel N. Fontaine, pseud. "Denise Ory", "Ralph Brown", "Raoul Brun"):
FONTAINE Fernand. Bas
Kwam in 1936 bij Robert De Kers, werkte er samen met Omer, Damm, Bee, Bosmans, Van't Hof enz. Van 1942 tot 1945 in de grote formatie van Gene Dersin. Werkte ook met Leo Souris en andere Belgische orkesten.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
José Fontaine (José François M. Fontaine, pseud. "François Morris", "Joe Faintone"):
FONTAINE Jossé[sic]. Pianist
Ermelo 1916. Luiks konservatorium. Speelde in verschillende swingformaties. Schreef veel filmmuziek, o.a. 'l'Amour est quelque part' en 'Un soir de joie'.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Romolo Forlai (pseud. "Hundred"):
(https://i.imgur.com/Jyd5X25.png)
[no bio, just a photo.]
Alessandro Forti:
FORTI, Alessandro - Musicista italiano, attivo per il cinema dal 1999. Lavora in collaborazione con Francesco De Luca. Insieme i due hanno firmato le colonne sonore di Due come noi, non dei migliori (1999, di S. Grossi); Il fratello minore (1999, di S. Gigli), Tre metri sopra il cielo (2004, di L. Lucini).
Ivano Fossati:
FOSSATI, Ivano - Nato a Genova il 21 settembre 1951. Cantautore italiano tra i più seri e più completi, è coerente nella ricerca di uno stile personalissimo che fonde insieme musica popolare e musica colta, rock ed espressioni folkloristiche. Ha pubblicato dischi e si è esibito in diversi concerti; in qualche occasione ha collaborato con Fabrizio De André. Ha composto canzoni per Mina, Fiorella Mannoia e Gianni Morandi. A parte una canzone inserita nel film Beati i ricchi (1972, di S. Samperi), Fossati ha cominciato a lavorare per il cinema con canzoni e filastrocche originali per il film d'animazione di Emanuele Luzzati L'uccel Belverde (1975). Successivamente è passato al lungometraggio “dal vero” con Maschio femmina fiore frutto (1979, di R. Miti), ma i suoi risultati migliori li ha ottenuti nelle prove per l'amico Carlo Mazzacurati: Il toro (1994: uso protagonistico, e drammatico, del pianoforte, più una canzone del repertorio del cantautore, Naviganti); L'estate di Davide (1998); La lingua del Santo (2000), A cavallo della tigre (2002).
Bob Foster (Robert John Foster, pseud. "Lee Chu Kiong", "Morita Makoto", "Sergio Diaz", "Srikanta", "Usef Ahmadi"):
(https://i.imgur.com/49OuhkT.png)
Robert Foster
Robert is a cousin of the late, great, Henry Mancini and has been a professional composer for fifteen years. In a career of huge diversity Robert has worked with artists as varied as Simon Rattle, Elton John, Peter Ustinov, Jethro Tull, The Two Ronnies and Fairport Convention. He is a specialist in World Music and possesses (and plays!) a huge collection of ethnic instruments. He has composed for more than one hundred television commercials and several award-winning documentaries including the 1996 BAFTA winner USA 2000 for the BBC. He has written widely for BBC Educational Productions and recently composed the music for Voyage - a 37-part travelogue series for Channel 4. Robert relishes the role of "all-round musician" despite the fact that it has required him to appear on Come Dancing with Terry Wogan and even accompany Orville The Duck on his Christmas single.
- (by kind courtesy of Moon Monkey - thanks!)
Jean-Pierre Fouquey (Jean-Pierre Jacques Francis Fouquey):
FOUQUEY, Jean-Pierre - Musicista francese. È il compositore fisso del regista R. Planchon, per il quale ha composto le musiche di Louis enfant roi (1993: recupero di cantate d'epoca per la glorificazione del Re Sole, interventi moderni per le battaglie) e di Lautrec (1998): ricca tavolozza Belle Epoque per la storia del pittore e dei suoi amici, con riferimenti alle canzoni del “Moulin Rouge”, al can-can di Offenbach (di cui è citata anche l'operetta La vie parisienne) e temi legati a tre personaggi: un valzer per il padre di Lautrec, un motivo nell'organo di Barberia per Suzanne Valadon e una pagina moderna, dai toni cupi, per Van Gogh.
Denis Fournier:
NOTE: Non-composer, full/real name unknown.
Credited as saxophonist for LPs on Epervier (https://librarymusicthemes.com/index.php?topic=1595.0).
(https://i.imgur.com/CAAaGhy.png)
[no bio, just a photo.]
Jean Françaix (Jean René Désiré Françaix):
Françaix, Jean *23. 5. 1912 Le Mans, Frankreich.
Studien: N. Boulanger, I. Philipp.
Komponist, Pianist, lebt in Le Mans.
Werke: Opern, Ballette, Orat "L'Apocalypse selon Sanit Jean", Orchesterkompositionen (unter anderem Sinfonie, Sinfonietta, Sérénade BEA, Suiten, Solokonzert für verschiedene Instrumente, Musique de cours), zahlreiche Kammermusik, Gesänge, Kammermusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
JEAN RENE DESIRE FRANCAIX
Naissance 23.05.1912
Le Mans (72181), France (FRA)
Décès 25.09.1997
Paris 3e Arrondissement (75103), France (FRA)
- (via matchID (https://deces.matchid.io/id/F8qSKFSVbXT8))
FRANÇAIX, Jean - Nato a Le Mans il 23 maggio 1912. Precocemente avviato alla musica, studia composizione con Nadia Boulanger. Eccellente pianista. Compone opere, commedie musicali, fantasie, balletti, musica da camera, in uno stile che continua lo spirito del “Gruppo dei Sei”. Portato all'arguzia (l'apparenza frivola cela in realtà uno charme autentico che accetta con spirito e con distacco anche le cose più serie), Françaix lavora soprattutto in collaborazione con Sacha Guitry, al quale si sente vicino. Interessanti le partiture di: Les perles de la couronne (Le perle della corona, 1937); Si Versailles m'était conté (Versailles, 1953); Napoléon (Napoleone Bonaparte, 1954); Si Paris nous était conté (1955), Assassins et voleurs (1957), tutti commenti che non rinunciano all'esercizio del gusto e all'irrisione elegante anche quando sono impostati sul registro solenne e su sonorità grandiose (Guitry, per i film “storici”, pretende un'orchestra imponente, magnificata dagli effetti della stereofonia). Tra le partiture più valide per altri autori: Le lit à colonnes (Tragica gloria, 1942, di R. Tual: vanta un valzerino delizioso); Le dialogue des Carmélites (Il dialogo delle Carmelitane, 1960, di P. Bruckberger, P. Agostini); Lady L (idem, 1965, di P. Ustinov: ha una “toccata” che è un autentico inno alla Belle Epoque).
Cesare Franchini Tassini:
FRANCHINI-TASSINI CESARE. Rimini, 1925. Insegnante al Conservatorio di Pesaro. Direttore al Conservatorio di Bologna.
Autore di Sonata per arpa e flauto; Episodi per clarinetto e arpa; Divagazioni tonali per 4 arpe e percussione; Concertante a 4 per clarinetto, violoncello, arpa e pianoforte; musica vocale.
Carlo Franci (pseud. "Tuelche"):
Franci, Carlo (Italia, 1927)
- (via archive.org (https://archive.org/details/emr-2-3/))
Franci, Carlo *18. 7. 1927 Buenos Aires (Italienischer Staatsbürger).
Studien: Rom (Petrassi, Turchi).
Komponist, Dirigent in Dublin 1955-1957 und Rom (RAI-Sinfonieorchester) 1961-1963.
Werke: Oper, 3 Orchesterkonzerten, Orchesterstücke, Konzert für Vibraphon und Orchester, Kammermusik, Lieder.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
FRANCI CARLO. Buenos Aires, 1927. Allievo di Turchi, Petrassi e Previtali. Direttore d'orchestra.
MUSICA SINFONICA - Tre concerti; 4 pezzi per archi; 3 danze; La notte, '56; Musica per archi e timpani; Effetto doppler, '57; Progetti sonori.
MUSICA DA CAMERA - 4 invenzioni per flauto e trio d'archi; Liriche; brani diversi.
REVISIONI - Sonata per archi di G. Rossini.
FRANCI, Carlo - Nato a Buenos Aires, Argentina, il 18 luglio 1927. Ha studiato a Roma, fra l'altro, con Goffredo Petrassi. Direttore d'orchestra e compositore di opere teatrali, lavori sinfonici e da camera, concerti e brani per nastri magnetici. Nel cinema Franci è stato presente negli anni Cinquanta e Sessanta in film popolari, soprattutto con le musiche dei “pepla”, ossia dei film di gladiatori e di Maciste. Qualche titolo: Guai ai vinti! (1955, di R. Matarazzo), Il gladiatore di Roma (1962, di M. Costa), Maciste all'inferno (1962, di R. Freda), L'eroe di Babilonia (1963, di S. Marcellini), Brenno il nemico di Roma (1963, di G. Gentilomo), La rivolta dei pretoriani (1964, di A. Brescia), Erik il Vichingo (1965, di M. Caiano). Fra le fatiche d'altro genere quella per il film drammatico di G. Pontecorvo La grande strada azzurra (1957, musica basata sul folklore mediterraneo, uso di chitarra e melodie popolaresche).
Marcel G. Frank (Marcel Gustave Frank):
Frank, Marcel Gustave, composer, conductor, pianist; b. Vienna, Austria, Dec. 3, 1909. To US 1937. Citizen, 1942. ASCAP 1952. Educ: Vienna State Acad. of Music; studied with Joseph Marx, Felix Weingartner, Florent Schmitt. Cond., pianist, Vienna State Opera. Accompanist to Ezio Pinza, Grace Moore, Geo. Baclanoff, Richard Tauber, Dorothy Kirsten, Salvatore Baccaloni. Cond. operas in Pittsburgh, Dallas; guest cond., SF, Puerto Rico, Cincinnati Symph. orchs.
Works: Homage Claude Debussy (chorus, orch.; Grand Prix, Geneva); Piano Concerto; Sonate Syncopee; Heather Hills (piano, band); Arkansas Traveler Theme & Variations; 3 symphonies; Passacaglia (organ); 4 ballets.
- (via archive.org (https://archive.org/details/ascapbiographica00amer/))
Richard Frank (Henry Richard Spritzer Frank né Henryk Szprycer, pseud. "Antonio Liebana, "Igor Molescu"):
NATURALISATION
LIST OF ALIENS to whom Certificates of Naturalisation have been granted by the Secretary of State, and whose Oaths of Allegiance have been registered in the Home Office during the month of December, 1955.
The date shows in each case is the date of naturalisation.
[...]
Spritzer, Henryk, or Spritzer-Frank (known as Richard Frank); Poland; Composer and Music Publisher; 71, Cambridge Street, London, S.W.1. 3 December, 1955.
- (via thegazette.co.uk (https://www.thegazette.co.uk/London/issue/40682/))
Benjamin Frankel (pseud. "Ben Bernard"):
FRANKEL, Benjamin - Nato a Londra il 31 gennaio 1906, morto il 12 febbraio 1973. Viene dalla musica leggera: ha suonato nelle orchestrine, ha composto musiche per operette e per la radio, ha curato arrangiamenti jazz e per spettacoli di rivista, prima di dedicarsi – verso la quarantina – alla musica da concerto e da teatro. Attivo per il cinema dagli anni Trenta per film canterini e commedie facili, dopo le partiture di un Macbeth e di un Giulio Cesare sperimentali e non noti in Italia, Frankel afferma il suo nome con The Seventh Veil (Il settimo velo, 1945, di C. Bennet: un delizioso valzer originale per pianoforte alternato a brani di Chopin, Mozart, Grieg, Rachmaninoff e Beethoven). Dopo di allora Frankel si esercita, fino a tutti gli anni Sessanta, sia nel cinema drammatico che nella commedia, ottenendo risultati interessanti. Fra questi: Sleeping Car to Trieste (Vagone letto per Trieste, 1948, di J.P. Carstairs: motivo romantico in forma di valzer); Trottie True (Il duca e la ballerina, 1949, di B. Desmond Hurst: uso di strumentini e buffi sincroni); London Belongs to Me (1949, di S. Gilliat: commento basato su un ritmo di marcia); Chiltern Hundreds (1949, di J.P. Carstairs: spiritoso duello fra due oratori di opposti partiti politici reso dallo scontro tra ottavino e basso tuba); Give us This Day (Cristo fra i muratori, 1949, di E. Dmytryk: recupero di jazz, swing e blues in una tessitura sinfonica robusta e drammatica); The Clouded Yellow (Cielo tempestoso, 1950, di R. Thomas: un tema nel pianoforte richiama Poulenc); The Man in the White Suit (Lo scandalo dal vestito bianco, 1951, di A. Mackendrick: brillantissimo sfruttamento del basso tuba e di altri ottoni in ritmi maliziosi e fanfarette frizzanti); The Long Dark Hall (L'assassino arriva di notte, 1951, di M. Bushell e R. Beck); The Importance of Being Earnest (L'importanza di chiamarsi Ernesto, 1952, di A. Asquith); The Net (M. 7 non risponde, 1952, di A. Asquith); The Love Lottery (L'idolo, 1954, di C. Crichton: scherzoso ricorso al folklore musicale di vari paesi); The Final Test (1953, di A. Asquith); Mad about Men (1954, di R. Thomas); The Man who love Redheads (L'uomo che amava le rosse, 1954, di H. French); A Kid for two Farthings (Domani splenderà il sole, 1955, di C. Reed: bella melodia per archi come tema principale); The End of the Affair (La fine dell'avventura,1955, di E. Dmytryk); The Prisoner (Il prigioniero, 1955, di P. Glenville: ottimi impasti d'archi); Fotstep in the Fog (I perversi, 1955, di H. Lubin: interventi di sapore post-romantico per archi); The Iron Petticoat (La sottana di ferro, 1956, di R. Thomas: musica frizzante e spiritosa, con gavotte e sfottò della retorica guerresca); On such a Night (1957, di A. Asquith); Orders to Kill (Ordine di uccidere, 1958, di A. Asquith: musica che si impenna in interventi di grande incisività, basati su ritmi martellanti e sfruttamento drammatico di effetti sonori); Libel (Il diavolo nello specchio, 1959, di A. Asquith); Surprise Package (Pacco a sorpresa, 1960, di S. Donen); The Curse of the Werewolf (L'implacabile condanna, 1961, di T. Fisher: musica convulsa, tormentata per archi, xilofono e percussioni); Guns of Darkness (L'attimo della violenza, 1962, di A. Asquith); The Old Dark House (1963, di W. Castle); The Night of Iguana (La notte dell'iguana, 1964, di J. Huston); The Battle of the Bulge (La battaglia dei giganti, 1965, di K. Annakin).
Franz Frankenberg (pseud. "Fred Wiesner", "John Finten"):
Komponist Frankenberger, Franz, 28 Bremen, Loignystraße 35
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Mladen Franko (pseud. "Adrian Duga", "Igor Tuhmanov", "Jorgos Xerinis"):
(https://i.imgur.com/nrf7j0I.png)
[...]
Keybords:[sic] Mladen Franko
[...]
(https://i.imgur.com/VENCXPl.png)
[...]
Eigentlich ist der 39jahrige, sympathische Musiker Jugoslawe, doch er lebt schon so lange in seiner bayerischen Wahlheimat, daß er durchaus als etablierter Münchner gelten kann. Bald nach dem Abitur begann Mladen ein Musikstudium und fügte der theoretischen eine praktische Ausbildung hinzu; nach den Seminarstunden war er regelmäßig als Assistent und Arrangeur beim damals gefragtesten Filmkomponisten tätig. 1964 schloß er sein Musikstudium ab und knüpfte durch die Heirat mit einer Münchnerin auch private Bindungen zur süddeutschen Metropole.
Ein Jahr später ist Mladen in der Popszene zu finden. Mit den Ofarims hat er den „Never Grow Old“-Hit, er schrieb Filmmusiken, u.a. die original bayerische Begleitmusik zu „Das sündige Dorf“, und gilt seither als exzellenter Arrangeur und Studiomusiker. Inzwischen kann er im eigenen kleinen Studio seine Soundideen wie diese „Musik für zärtliche Stunden“ realisieren und rechtfertigt stets auf neu den guten Ruf als individueller, vielseitiger und einfallsreicher Musiker und Künstler.
Bleibt einmal etwas Freizeit, dann ist Mladen Franko mit seinen beiden Kindern beim Segeln zu finden („bei Windstärke 6 auf Teufel komm raus“)...
Siegfried Franz:
Franz, Siegfried *14. 8. 1913 Mannheim.
Studien: Musikhochschule Mannheim (Max v. Pauer, W. Petersen unter anderem).
Komponist. Tätig für Film, Funk und Fernsehen.
Werke: Filmmusik, Musik zu Fernseh- und Hörspielen.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
FRANZ, Siegfried - Nato a Mannheim (Germania) il 14 agosto 1913. Musicista tedesco, attivo dagli anni ‘50, dal mestiere solido. Sue le partiture di Canaris (idem, 1954, di A. Weidenmann); Die Nacht wenn Teufel Komm (Ordine segreto del Terzo Reich, 1957, di R. Siodmak); Der Arzt von Stalingrad (Il prigioniero di Stalingrado, 1958, di G. von Radványi); Madeleine und des Legionar (I legionari, 1958, di W. Staudte); Dr. Crippen Lebt (Il dr. Crippen è vivo, 1958, di E. Engels); Die Fastnachtsbeichte (1960, di W. Dieterle); Geliebte Hochstaplerin (Accadde sotto il letto, 1960, di A. von Rathony); The Life of Adolph Hitler (La vita di Adolf Hitler, 1961, di P. Rotha: lungometraggio documentario); più film per G. von Cziffra, G. Ucicky.
Walter Franz (pseud. "Allan Brennes", "Franz Trollinger", "Richard Flip"):
Franz, Walter *5. 4. 1921 Schönebeck/Elbe.
Studien: Musikhochschule Leipzig (Grabner, O. Keller), MH-Schule Berlin (Rühlmann, Lautenschlager).
Komponist und Bearbeiter in Berlin, Leipzig und Stuttgart.
Werke: Unterhaltungsmusik, Tanz- und Volksmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
(https://i.imgur.com/FGnlXH2.png)
FRANZ, Walter
Fritz-Reuter-Str. 22
7000 Stuttgart 1
0711/65 31 56
* 5.4.1921 Schönebeck
Klavier-Unterr. seit 6. Lebensjahr, Trompete seit 12. Lebensjahr; Musikstudium in Leipzig (Theorie, Kompos., Klavier, Orgel, Violoncello, Trompete); ab 1940 Pianist u. Arrangeur in Berlin, später auch Trompeter i. Musikkps. Bln.-Gatow; 1944-1948 russ. Gefangenschaft (Lagerorchester); 1948 wieder in Berlin (Pianist u. Arrangeur); seit 1949 selbständiger Komp. u. Arrangeur in Leipzig, ab 1951 desgleichen in Stuttgart.
Mitgl. d. GEMA (s. Zt. STAGMA) seit 1939, Ordentliches GEMA-Mitglied seit 1953; 28 Jahre 2. Vorsitzender der Sektion Baden-Württemberg des Deutschen Komponisten-Verbandes.
455 gedruckte oder als Aufnahmen veröffentliche Kompositionen der Unterhaltungs, Tanz- u. volkstüml. Musik; über 5000 Berbeitungen (davon 2773 gedruckt), vom Chorsatz bis z. gr. Orchester; über 800 Klaviersätze, ungezählte kleinere Instrumentationen f. div. Zwecke (Bühne, Show usw.).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Günther Franzke (pseud. "Adolf Hermann Berlin", "Gisel Günther", "Günther Schwenn", "Rene Latin"):
Textdichter Schwenn, Günther, CH 1820 Montreux, Rue du Quai 2
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Colin Frechter (Colin Michael Frechter, pseud. "Fay"):
A biography and interview with Frechter can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1986/05/colin-frechter.html).
Paolo Fresu:
FRESU, Paolo - Musicista italiano, nato in Sardegna. Uno dei migliori rappresentanti del jazz contemporaneo (trombettista e compositore), sente l'influsso di Miles Davis e di Chet Baker (cui dedica alcune incisioni discografiche). Collabora volentieri con Enrico Rava, a sua volta trombettista jazz, spesso in spirito di amichevole competizione. Per il cinema ha lavorato con buoni risultati per film di giovani: Il prezzo (1999, di R. Stefanelli); Ilaria Alpi. Il più crudele dei giorni (2003, di F. Vicentini Orgnani); L'isola (2003, di C. Quatriglio: l'ottimo commento anti-romantico salva il film dai pericoli “sentimentali” della vicenda).
Otto Freudenthal (pseud. "George Warwick"):
FREUDENTHAL, Otto, born 29 July 1934, Gothenburg, Sweden. Composer; Pianist; Violist. Education: Trinity College of Musiuc, London, UK; studied piano with Ilona Kabos. Debut: (as pianist) Wigmore Hall, London. Career: Recitals & Concerts in UK, Germany, Switzerland, Netherlands, Scandinavia; Broadcasts; Teacher, Royal College of Music, Manchester; Assistant to Dr. Otto Klemperer to 1973. Compositions: Chamber music for Oboe & Viola, Viola & Piano; Chamber opera; In Highgate Cemetary, for string orchestra, etc. Honours include: Harriet Cohen Medal for interpretation of Beethoven. numerous recordings. Publication: (essay) Music & Equity (with Irene Lotz). Hobbies: Farming; Beekeeping. Address: Bäckfall, 590 41 Rimforsa, Sweden.
- (via archive.org (https://archive.org/details/internationalwho00gast/))
FREUDENTHAL, Otto (1934- )
b. Gothenberg[sic], Sweden. Studied piano at Trinity College, London, also with I. Kabos; won a Harriet Cohen Memorial Medal for interpretation. Début Wigmore Hall. Thereafter performed throughout Europe and taught at Manchester Royal College.
- (via archive.org (https://archive.org/details/dictionaryofpian0000lyle/))
FREUDENTHAL, Otto
Born in Gothenburg on 29th July 1934. He studied in Stockholm and London, where in 1960 he met Otto Klemperer, whose assistant he became and who encouraged him as a composer. For many years now he has worked in Linköping and its surroundings as an enthusiastic, versatile musical personality: conductor, pianist, harpsichordist, composer, teacher, debater....
Otto Freudenthal has destroyed a lot of his early output, but he has an impressive list of works in the great majority of genres. A good deal of his music has been specially written for groups of his own and for musicians among his friends. He attracted widespread attention with his intensive music to the committed paintings of Franco Leidl. His pieces for string orchestra - Music for Strings, In Highgate Cemetery (1982, first performed by the Nuremberg Symphony Orchestra) Beatles in Bäckfall (1981) like his Gabrieli in Bäckfall for small orchestra (1980), and his concertante works like Intermezzo for horn and orchestra, Konzertstück for trombone and orchestra, viola concerto (1980-1981) and Avant nous le déluge for orchestra have all been widely noticed. His listed output also includes several chamber music compositions in which a good deal of prominence is given to his great interest in the viola: Duet for two viola (1977), Allegro, intermezzo e finale (1975) for viola and piano (first performed on Swedish Radio in 1979 by Gideon Roehr and the composer), Trio im alten Stil for three violas (1977). But he has also written music for other instrumental combinations: Der Zappelmann for violin and piano (written for the 70th birthday of his father, the conductor Heinz Freudenthal), Suite for double bass and piano (1980), Sonatine for solo horn (1981), Bagatelles for piano solo (1980) and Det slutna rummet for any nine instruments or voices (1982). Stylistically he shows the influences of Schönberg, Mahler and the masters of the Baroque, but he has made them very much his own.
In recent years be has also written a number of cantatas which have been performed on a grand scale in Linköping. In Bankomatkantat he has sought to create an alarm bell in the form of a cantata on the saviour of our time: omney. As a cultural debater he has eagerly opposed the impoverishment of culture for the sake of commercialism. In 1987, for the official opening of the new Linköping concert hall and as a tribute to the city on its 7th centenary, he wrote the cantata Sången om vår stad (also to words by Lars-Ola Johansson). The text is presented in graphic tones, a music employing various styles and modes of expression. The orchestra includes a wind machine, a military band playing marches off stage, jazz and rock musicians, and on top of all this a large symphony orchestra, choir and baritone soloist.
- SJ
- (via archive.org (https://archive.org/details/swedishcomposers0000jaco/))
Hugo Friedhofer (Hugo W. Friedhofer):
FRIEDHOFER, Hugo - Nato a San Francisco (California) il 3 maggio 1901, morto a Los Angeles (California) il 17 maggio 1981. Famiglia d'origine tedesca. Ha compiuto studi severi (tra l'altro con Respighi e con Nadia Boulanger) ed ha un concetto “classico” della musica, intesa come disciplina severa ed esclusiva. Orchestrale (violoncello), abbandona questa attività per dedicarsi alla composizione. È scritturato dalla Fox nel 1933, e per diversi anni è orchestratore, arrangiatore, direttore d'orchestra anche per altre Case. È stato il collaboratore preferito del compositore Erich W. Korngold poi dal 1943 si è dedicato a sua volta alla composizione, svariando in tutti i generi ma sempre restando legato all'azione, anzi condizionato dall'azione del film. Altra caratteristica: attento alle suggestioni degli innovatori, è nondimeno teso all'affermazione della tonalità; e inoltre le sue partiture sono tra le più tecnicamente compiute di tutta Hollywood. Tra i suoi esiti migliori (che riguardano i film drammatici, settore da lui privilegiato): China Girl (Ragazza cinese, 1942, di H. Hathaway: musica vibrante e di tipo colto, con uso di archi “nobili”; Best Years of Our Lives (I migliori anni della nostra vita, 1946, di Wyler: uso magistrale degli archi per sottili suggestioni sonore, anche se in alcuni momenti la musica è fin troppo presente; comunque alla partitura è stato attribuito un Oscar); The Big Carnival (L'asso nella manica, 1951, di B. Wilder: premiato per la miglior musica alla Mostra di Venezia di quell'anno); The Marryng Kind (Vivere insieme, 1952, di G. Cukor); Vera Cruz (idem, 1954, di R. Aldrich: ottimo uso delle chitarre e intelligente ricorso al folklore messicano); White Feather (La vergine della valle, 1954, di R. Webb: musica drammatica ed epica di buon livello, con richiami a moduli della musica dei pellerossa); The Harder they Fall (Il colosso d'argilla, 1956, di M. Robson: riferimenti al jazz e alla musica sud-americana); Between Heaven and Hell (I diavoli del Pacifico, 1956, di R. Fleischer: pochi interventi ma robustissimi, specie per l'uso di percussioni fortemente ritmate); Boy on a Dolphin (Il ragazzo sul delfino, 1957, di J. Negulesco); The Sun Also Rises (Il sole sorgerà ancora, 1957, di H. King: riproposto materiale tematico degli anni Venti); An Affair to Remember (Un amore splendido, 1957, di L. McCarey: equilibrismi per non cadere nel mieloso, attorno ad una canzone cantata da Vic Damone); Young Lions (I giovani leoni, 1957, di E. Dmytryk: buon uso di riferimenti guerreschi, e ottima marcia-bolero originale); The Barbarian and the Geisha (Il barbaro e la geisha, 1958, di J. Huston: uso alternato di musica occidentale e di pagine giapponesi e anche qui è in agguato l'eccesso di sentimentalismo); One-Eyed Jacks (I due volti della vendetta, 1961, di M. Brando). Fra gli altri risultati per film dai generi più svariati: The Adventures of Marco Polo (Uno scozzese alla corte del Gran Khan, o Le avventure di Marco Polo, 1938, di A. Mayo), The Lodger (Il pensionante, 1944, di J. Brahm), Lifeboat (Prigionieri dell'oceano, 1944, di A. Hitchcock), Arsenic and old Laces (Arsenico e vecchi merletti, 1944, di F. Capra), The Woman in the Window (La donna del ritratto, 1945, di F. Lang), So Dark the Night (Così scura la notte, 1946, di J. H. Lewis), Wild Harvest (Corsari della terra, 1947, di T. Garnett), The Bishop's Wife (La moglie del vescovo, 1947, di H. Koster), Joan of Arc (Giovanna d'Arco, 1948, di V. Fleming), Broken Arrow (L'amante indiana, 1950, di D. Daves), The Sound of Fury (L'urlo della folla, 1951, di C. Endfield), The Outcasts of Poker Flat (I banditi di Poker Flat, 1952, di J. Newman), Thunder in the East (Bagliori a Oriente, 1953, di C. Vidor), Hondo (idem, 1954, di J. W. Farrow), Deep in my Heart (Così parla il cuore, 1954, di S. Donen), The Rains of Ranchipur (Le piogge di Ranchipur, 1955, di J. Negulesco), The Revolt of Mamie Stover (Femmina ribelle, 1956, di R. Walsh), The Bravados (Bravados, 1958, di H. King), The Blue Angel (L'angelo azzurro, 1959, di E. Dmytryk), Never so Few (Sacro e profano, 1959, di J. Sturges), The secret Invasion (Cinque per la gloria, 1964, di R. Corman), The Red Baron (Il Barone Rosso, 1971, di R. Corman).
Rudolf Friml (pseud. "Roderick Freeman"):
FRIML, Rudolf - Nato a Praga (Repubblica Ceca) il 7 dicembre 1879, morto negli USA il 12 novembre 1972. In patria studia pianoforte con Jiránek e composizione con Dvorák; attività di pianista. Nel 1904 interpreta un suo concerto per piano e orchestra alla Carnegie Hall di New York e nel 1906 si stabilisce in America (più tardi diventerà cittadino americano), dove si dedica al concertismo e poi – dal 1912 – alla composizione per spettacoli musicali in cui trapianta lo spirito dell'operetta europea. Tra i suoi più grandi successi di Broadway sono The Peasant Girl (1915), You're in Love (1917); Glorianna (1918), Ziegfeld Follies (1921), Rose-Marie (1924), The Vagabond King (1925), No Foolin'(1926), The Three Musketeers (1928). Dal 1930 collabora con Hollywood, soprattutto per la trasposizione cinematografica dei suoi musical, come The Vagabond King (due versioni, una del 1930, di L. Berger e una del 1956, M. Curtiz); Rose-Marie (due versioni, una del 1936, di W.S. Van Dyke e una del 1954, di M. LeRoy); The Firefly (La lucciola, 1937, di R. Z. Leonard). Ha inoltre curato la musica per altri film, come Lottery Bride (1930, di P.L. Stein); Music for Madame (Musica per signora, 1937, di J.G. Blystone); Northwest Outpost (Il prigioniero di Fort Ross, 1947, di A. Dwan).
Marco Frisina:
FRISINA, mons. Marco - Musicista italiano. Nato a Roma il 16 dicembre 1954, diplomato in composizione presso il Conservatorio di S. Cecilia e laureato in Lettere presso l'Università “La Sapienza” di Roma. Ordinato sacerdote nel 1982, specializzato in Scienze Bibliche, viene nominato direttore della Cappella musicale della Basilica di S. Giovanni in Laterano. Crea poi il Coro della Diocesi di Roma e gli vengono attribuiti incarichi importanti nella Chiesa. Compone pagine sinfoniche e da camera, occupandosi soprattutto di musica liturgica, scrive testi di canti religiosi e organizza concerti e manifestazioni. Nominato consulente dei filmati che compongono la serie televisiva La Bibbia, compone anche la musica di alcuni episodi ricevendo nel 1995 il “Cable Ace Award” ad Hollywood per l'episodio Giuseppe (di R. Young) e il Premio “Colonna Sonora” dell'Ente dello Spettacolo ne1 1998 per l'episodio Abramo (di J. Sargent) e nel 2002 per l'episodio L'Apocalisse (di R. Mertes). Compone in seguito la musica per numerosi filmati televisivi.
John Frizzell (John Callender Frizzell):
FRIZZELL, John - Nato nel 1966. Musicista americano delle nuove leve. Dopo gli studi alla Manhattan School of Music di New York diventa cantante lirico, poi si interessa al jazz (come chitarrista), indi alla composizione e collabora con Ryuichi Sakamoto. Dal 1994 lavora per la TV, poi è richiesto dal cinema, per il quale compone solitamente usando i sintetizzatori, anche quando poi dovrà usare l'orchestra. Oltre a fatiche minori per film non arrivati in Italia, compone le partiture soprattutto per film horror: Dante's Peak (Dante's Peak – La furia della montagna, 1997, di R. Donaldson: lavoro iniziato da J. N. Howard e poi passato a Frizzell); Alien Resurrection (Alien – La clonazione, 1997, di J.P. Jeunet: suoni vaghi, sonorità espanse, note ribattute, riverberi, fanfare); I Still Know What You Did Last Summer (Incubo finale, 1998, di D. Cannon); Mafia (1999, di J. Abrahams: radici nella musica operistica italiana e in ritmi di danze come la tarantella); Office Space (Impiegati male, 1999, di M. Judge); Josie and the Pussycats (idem, 2000, di D. Kaplan e H. Elfont); Thir13en Ghosts (I 13 spettri, 2001, di S. Beck); Gods and Generals (2003: musica in collaborazione con Randy Edelman); Beautiful (idem, 2000, di S. Field); The Ghost Ship (Nave fantasma, 2002, di S. Beck); Cradle 2 the Grave (Amici per la morte, 2003, di A. Bartkowiak: musica in collaborazione con Damon Blackman). Di diverso genere è il film con cartoons mescolati a personaggi in carne ed ossa Looney Toons: Back in Action (idem, 2003, di J. Dante), per il quale Frizzell musica la parte dal “vivo” (quella animata è a cura di Jerry Goldsmith). Frizzell continua intanto a lavorare per la televisione.
Fabio Frizzi:
FABIO FRIZZI
b. Italy
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
FRIZZI, Fabio - Nato a Bologna il 2 luglio 1951. Molto attivo per il cinema a partire dagli anni Settanta, spesso insieme a Franco Bixio e a Vince Tempera. Da solo o in collaborazione firma moltissime colonne sonore, soprattutto di commedie, ma anche per film d'azione, di registi come L. Fulci, L. Salce, Steno, B. Corbucci. Citiamo per esempio: Amore libero – Free Love (1974, di P. L. Pavoni); Fantozzi (1975, di L. Salce, e seguiti); Vai gorilla (1975, di T. Valerii); Le avventure e gli amori di Scaramouche (1976, E. Girolami); Febbre da cavallo (1976, di Steno); Amanti miei (1979, di A. Grimaldi); Giovani, belle, probabilmente ricche (1982, di M. M. Tarantini); Manhattan Baby (1982, di L. Fulci); Delitto in formula uno (1984, di B. Corbucci); Sensi (1986, di G. Lavia); Tentazione (1987, di S. Bergonzelli). Un altro filone coltivato da Frizzi, cui lavora per lo più da solo, ottenendo i risultati migliori, è l'horror: Sette note in nero (1977, di L. Fulci: il suono di un carillon, manipolato dal musicista, è decisivo per la soluzione del racconto); Paura nella città dei morti viventi (1980, di L. Fulci); E tu vivrai nel terrore – L'aldilà (1981, di L. Fulci: ottimo senso di tensione e dell'arcano mediante uso di un coro femminile che canta in latino); Assassinio al cimitero etrusco (1982, di C. Plummer); Shark – Rosso nell'oceano (1984, di L. Bava); Un gatto nel cervello (1990, di L. Fulci). Frizzi lavora anche per la TV.
Willi Fruth (pseud. "Jo Gretsch", "Kurt Weilmann", "Stan Tiborg", "Steve Bennet"):
(https://i.imgur.com/hH9PpPe.png)
FRUTH, Willi
Ps: Steve Bennett
Koloniestr. 12
8038 Gröbenzell
08142/99 73
* 21.4.1925 München
1939-1942 Musikhochschule München (Klarinette, Klavier); dann Militär; ab 1946 eigene Bands; 10 Jahre Schweiz; viele Rundfunk u. Schallplatten-Aufnahmen; ab 1963 Produktionschef der Plattenfirma SABA/MPS; seit 1981 Verleger und Komponist.
Hauptwerke „Romantic Places“, 3 Min. 10"
Unterhaltungs-Orchesterwerk. Uraufführung: 1974; Verlag: Edition Swington; Schallplatte: MPS-Records (Orchester Nelson Riddle).
„Swing Skizze“, 3 Min.
(Big-Band). Uraufführung: 1966; Verlag: Joachim Ewen Musikproduktion; Schallplatte: MPS-Records (Orchester Erwin Lehn).
„Hit Action“, 2 Min. 56"
(Big-Band). Uraufführung: 1976;P Verlag: Edition SwingtonP Schallplatte: MPS (Frank Pleyer-Big-Band)
sowie: ca. 200 weitere Titel, z. T. auf Schallplatten, z. T. auf Rundfunk-Tonband.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Joseph Frydenzon (Joseph Mathieu Frydenzon, pseud. "Alain Jomy", "Alain Tomy"):
JOMY, Alain - Nato a Nizza il 23 aprile 1941. Compositore, critico musicale, regista in proprio di cortometraggi, consigliere musicale per il cinema e la televisione. Attivo dal 1964 nel campo del documentario (alcuni dei quali realizzati da lui stesso: ha frequentato l'IDHEC, Istituto di alti studi cinematografici di Parigi). Nel 1975 incontra il regista Claude Miller, per cui lavora sistematicamente: La meuilleure façon de marcher (1976); Dites-lui que je l'aime (Gli aquiloni non muoiono in cielo, 1977); L'effrontée (idem, 1985: scarsi interventi originali, ampio spazio alla musica di Mozart, Beethoven e Mendelssohn); La petite voleuse (La piccola ladra, 1988: vicenda aperta e chiusa da una canzoncina infantile). Tra i risultati per altri registi: La petite sirène (1979, di R. Andrieux); Haine (1979, di D. Gout); Mandragore ou Le diable dans la tête (1980, di C. Othnin-Girard); Les filles de Grenoble (Le ragazze di Grenoble, 1981, di J. Le Moigne); O lugar do morto (1984) e Aqui D'El Rei (1990) entrambi di A.P. Vasconcelos).
Armand Frydman (Armand Michel Frydman, pseud. "Fred Manda", "John Freeman"):
(https://i.imgur.com/zk4SUIF.png)
Armand Frydman étudie le piano avec Yvonne Loriot et Colette Zerah et la composition avec Pierre Jansen. Il participe au Groupe de Recherche Musicale (GRM) de 1975 à 1977 et crée le Studio Solaris en 1978.
Armand Frydman studed piano with Yvonne Loriot and Colette Zerah and composition with Pierre Jansen. Participed in the Musical Reasher Group (GRM) from 1975 to 1977. Created Studio Solaris in 1978.
Armand Frydman absolvierte sein Klavierstudium bei Yvonne Loriot und Colette Zerah, die Komposition bei Pierre Jansen. In den Jahren 1975 bis 1977 gehörte er zur «GROUPE DE RECHERCHE MUSICALE» (GRM) - Musikforschungsgruppe des französischen Fernsehens. 1978 machte er sich mit seinem Studio SOLARIS selbstständig und widmet sich nun hauptsächlich seinen Kompositionen.
Joachim Fuchsberger:
Textdichter Fuchsberger, Joachim, 8022 Grünwald, Hubertusstraße 62
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Günter Fuhlisch (pseud. "Bob Rosen", "Jack Lybera", "Léon Nicol", "Werner Berger"):
Komponist Fuhlisch, Günter, 2 Hamburg 65, Goldröschenweg 8
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
FUHLISCH, Günter
Dirigent, Komponist, Arrangeur -
Goldröschenweg 8, 22391 Hamburg (Telefon 040 - 536 18 37, Fax 040 - 53 69 32 23) -
Geboren 1. Aug. 1921 Cottbus, verheiratet in 2. Ehe (1966) mit Margot, geboren Wulfes), 3 Kinder (Michael, Annette, Andreas) -
Musikhochschule (Konservatorium) Leipzig -
Seit 1950 NDR Hamburg. Seit 1986 Dozent Hambg. Konservatorium (Fächer: Klassik, Populärmusik und Big-Band), Dozent Hochschule für Musik, Hambg. (Fach: Posaune [Jazz]); seit 1995 Leiter des Music Station Bigband in Hamburg; seit 1998 Gründung Günter Fuhlisch-LadiGeisles Quintett. Unterhaltungsmusik, Schlager; Der alte Seemann kann nachts nicht schlafen unter anderem. -
Buchveröffentlichung: Neue Schule für Zugposaune -
2001 Biermann Ratjen-Medaille (durch die Hamburger Senat); 2001 Louis Armstrong-Gedächtnis-Preis -
Liebh.: Modelleisenb. -
Sprache: Englisch
- (via archive.org (https://archive.org/details/weristwerdasdeut0000unse/))
Heinz Funk (pseud. "Peer Bengish"):
Funk, Heinz *18. 5. 1915 Hennef/Sieg.
Studium: Musikschule Trossingen.
Komponist, Musikproduzent in Hamburg. Leiter des Akkordeon-Orchester Hamburg.
Werke: Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
BRUGGEMANN, Werner H.F., [...] Education: State Music Teacher's Diploma; studied with Professor Erich Kraut, Heinz Funk, Professor Hugo Herrmann. [...]
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
FUNK, Heinz
Vor dem Borstel 17
3045 Hützel
05194/14 14
Eimsbütteler Chaussee 69
2000 Hamburg 19
040/43 10 43
* 18.5.1915 Hennef
Abitur; TH Stuttgart; parallel Musiklehrer-Seminar in Trossingen; Kompositions-Unterricht bei Hugo Hermann, später bei Walter Girnatis; später eigene Musikschule u. Vorsitzender des Deutschen Akkordeon-Lehrer-Verbandes; 3 Jahre Tonmeister beim BFN, später u. jetzt eigener Tonstudio-Bertrieb (4 Tonstudios).
Zahlr. Filmmusiken („Posträuber“, „Stahlnetz“, „Hafenpolizei“, „Polizeifunk ruft“ usw.); viele Werbefilm-Musiken u. Signets (NDR-Funkwerbung) usw.; div. Schallplatten mit Background-Musiken bei Selected Sound (Majewski), insbesondere elektronische Musiken usw.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
BRÜGGEMANN Werner, Prof., Staatl. gerp. Musikpädagoge
[...]
Mittelschule, Akkordeon-Studium bei Heinz Funk, seit 1953 Lehrer an der Akkordeonfachschule Trossingen [...]
Alberto Fusco (pseud. "Rudiselmer"):
[...] fu così che prese forma il "Quartetto di Saxofoni Italiano". Costituito nel 1959 da [...] Alberto Fusco al saxofono contralto sostituito in seguito da Alfio Galigani [...]
- (via archive.org (https://archive.org/details/volti-casertani-e-maddalonesi-nella-collana-chi-e-da-vol-3-a-vol.-15/Chi_e_13_2021/))
Giovanni Fusco (pseud. "Feyder", "Vasco Ugo Finni"):
(https://i.imgur.com/ftwUift.png)
GIOVANNI FUSCO
Giovanni Fusco è nato a S. Agata dei Goti il 10-1-1906. Diplomato in composizione, pianoforte ed organo. Come direttore d'orchestra è stato allievo di B. Molinari alla Accademia di S. Cecilia in Roma dove ottenne il diploma di perfezionamento con ottimi voti.
Allievo di A. Casella per la composizione ha scritto molta musica da camera e da concerto un oratorio per soli coro e orchestra e due opere liriche di cui una, giocosa, dietro ordinazione della R.A.I. e l'altra, drammatica, diretta da B. Maderna in pubblica esecuzione.
La sua maggiore attività l'ha svolta nel cinema e numerosissime sono le sue colonne sonore in collaborazione con i più importanti e migliori registi italiani, tra i quali - in special modo Michelangelo Antonioni con il quale ha sempre collaborato fin dagli inizi.
Per Alain Resnais ha composto la musica di «Hiroshima mon amour» e ultimamente quella di «La guerra è finita» che tanto successo di pubblico e di critica va oggi ottenendo dappertutto (fino all'ultimo «Festival del cinema» di New York). Fusco è premiato in Italia con due nastri d'argento per la miglior musica dell'anno ed ha ricevuto vari diplomi e riconoscimenti ufficiali in tutti i Festival internazionali.
Fusco, Giovanni *10. 10. 1906 S. Agata dei Goti, Italien †31. 5. 1968 Rom.
Studien: Casella, Germani.
Komponist
Werke: Opern, Komödie, Messe, Orchesterstücke, Kammermusik, zahlreiche Filmmusiken.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
1813. Fusco, Giovanni. Composer. b. Oct. 10, 1906, Sant'Agata dei Goti. d. 1968. Brother of Tarcisio Fusco.
[contains a filmography.]
- (via archive.org (https://archive.org/details/italianfilmwhosw0000stew/))
FUSCO, Giovanni - Nato a Sant'Agata dei Goti (Benevento) il 10 ottobre 1906, morto a Roma il 30 maggio 1968. Studi di pianoforte e composizione con Casella, direzione d'orchestra con Molinari. Produzione di musica da camera, da concerto e per il teatro. Stabilitosi a Roma, sulle orme del fratello maggiore Tarcisio (un pioniere dei rapporti fra il cinema e la musica perché aveva cominciato dirigendo orchestre durante la proiezione dei film muti), Fusco compie per il cinema un lungo lavoro oscuro di piccolo artigianato, riservando l'attività “nobile” alle sale da concerto. Tra i primi film con sue musiche: Joe il rosso (1936, di R. Matarazzo: musica in collabor. con U. Mancini); La contessa di Parma (1937, di A. Blasetti: musica in collabor. con F. Montagnini e A. Escobar); Il peccato di Rogelia Sanchez (1939, di C. Borghesio e R. De Ribon); Pazza di gioia (1940, di C.L. Bragaglia); Due cuori sotto sequestro (1941, di C.L. Bragaglia); Miseria e nobiltà (1941, di C. D'Errico); L'uomo venuto dal mare (1942, di R. De Ribon e B. L. Randone). Poi, nel 1948, ecco la grande svolta. In quell'anno Fusco incontra il regista Michelangelo Antonioni, che gli affida la musica per un documentario (Fusco era molto attivo, in quel tempo, nel campo dei documentari) e poi del suo primo lungometraggio, Cronaca di un amore (1950). Fusco fu affascinato da Antonioni, un cineasta che rifiuta l'ovvio, il già fatto, il risaputo, e con il quale – come confidò più tardi lo stesso musicista – non si poteva barare: un incontro decisivo perché da quel momento Fusco comprende che la musica per film può costituire una fatica creativa e meritare tutto l'impegno. Per le particolari sottili atmosfere di Antonioni, Fusco rifiuta il tematismo e la coloritura sonora, scegliendo materiali timbrici fuori dal comune; lasciando da parte gli impasti consueti o la grande orchestra, punta su singoli strumenti o su piccoli complessi più di carattere cameristico che sinfonico, scegliendo suoni essenziali e legandoli inestricabilmente alle singole situazioni, fino a farsi “l'anima sonora” del regista. Per Cronaca di un amore, dunque, viene utilizzato un duo di sassofoni più un pianoforte, con poche cellule tematiche, continuate nell'impiego ossessivo di ritmi irregolari (Nastro d'argento 1950 per la miglior musica); in I vinti (1952) Fusco propone assoli di strumenti a corda; in La signora senza camelie (1953) cinque sassofoni (esecuzione del “Quintetto di Parigi”, che suona come fosse un unico strumento) e piano solo; in Le amiche (1955) chitarra e pianoforte, che traggono nuove armonie dal loro dialogo; in Il grido (1957) il piano solo, una voce in bianco e nero (anzi in grigio, come le immagini, come la solitudine del protagonista) che stavolta elabora due motivi tematici complementari: risultato di altissimo livello). A partire da L'avventura (1960) Fusco asciuga sempre di più i suoi interventi ed essenzializza ulteriormente il materiale tematico. L'avventura, altro Nastro d'argento per la musica, ha interventi disarticolati, basati su note (clarino e fiati) tenute a lungo, alonate, che diventano sfondo metafisico, privo di scheletro (proprio com'è, sentimentalmente, il protagonista). L'eclisse (1962) ha brevi e scarsi interventi che inseguono l'inespresso; Deserto rosso (1964) accosta una sola pagina di Fusco, una sognante, ineffabile canzone senza parole – affidata alla voce di Cecilia Fusco, figlia del compositore – a frammenti tratti da composizioni elettroniche di Vittorio Gelmetti. Notevolissime, per quanto riguarda l'uso di strumenti solisti o caratterizzanti, le colonne sonore per film di altri autori quali: Traviata ‘53 (1953, di V. Cottafavi: stupendi assoli di tromba), Avanzi di galera (1954, ancora di Cottafavi: delicate pagine affidate a piano e sax); L'oro di Roma (1961, di C. Lizzani: martellamento ritmico, ostinato, che sottolinea il tempo che passa, leitmotiv del film); Violenza segreta (1963, di G. Moser: anche qui uso capillare di incisi tematici allusivi ai caratteri dei diversi personaggi); La corruzione (1963, di M. Bolognini: uso significativo di materiale di consumo); Il giorno della civetta (1968, di D. Damiani: qualche concessione al “colore locale”, ma visto sarcasticamente). Nel 1959 è richiesto dal regista francese A. Resnais – che in un primo tempo veramente pensava a Luigi Dallapiccola – per la musica di Hiroshima mon amour (idem: calibratissima partitura, che attraverso una fitta rete di richiami tematici a singoli personaggi e a singole situazioni, avvolge la vicenda in una maliosa atmosfera sonora). Per Resnais è anche il commento di La guerre est finie (La guerra è finita, 1966: in chiave di elegia, riscattata dall'uso di voci in una specie di lamento virile). Se talvolta Fusco, negli ultimi anni della sua attività, si dimostra opaco, c'è da rilevare che l'impegno messo da questo musicista nei film dei registi affermati non viene meno per quelli dei “minori”. La collaborazione alle fatiche dei registi giovani, spesso alle prime armi, è un dato costante nella sua carriera, è sempre molto aperto e ben disposto nei loro riguardi. Da citare per l'apporto particolarmente penetrante: Gli sbandati (1955, di F. Maselli: uso creativo di archi); Un eroe del nostro tempo (1960, di S. Capogna); Il rossetto (1960, di D. Damiani); Il mare (1963, di G. Patroni-Griffi); Storie sulla sabbia (1963, di Riccardo Fellini); I fuorilegge del matrimonio (1963, di V. Orsini e dei fratelli Taviani); I sovversivi (1967, dei Taviani). In sostanza Fusco, straordinario artista, può essere considerato in certo senso uno dei padri della moderna musica cinematografica europea.
Ugo Fusco (pseud. "Echettio"):
[...] fu così che prese forma il "Quartetto di Saxofoni Italiano". Costituito nel 1959 da Ugo Fusco al saxofono soprano e a cui subentra in seguito Baldo Maestri [...]
- (via archive.org (https://archive.org/details/volti-casertani-e-maddalonesi-nella-collana-chi-e-da-vol-3-a-vol.-15/Chi_e_13_2021/))
Leon Gaer (Leon Murray Gaer):
LEON GAER is originally from L.A. and has worked for many years as a top session player. He has worked with Aretha Franklin among many others.
Stefano Galante:
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
STEFANO GALANTE - c/o Yato Entertainments s.r.l., Via Col di Lana 158, 00043 Roma/Ciampino - Tel. (06) 61.14.054
Charly Galatis (Hagen Galatis, pseud. "Billy Doil", "Carlo Bernardino", "Carlos Muntis", "Ki Bombo", "Marcel Garrieux", "Pee Pacos", "Peter Harling"):
Komponist Galatis, Hagen, CH 6900 Lugano, Via Del Tiglio 3
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Gus Galbraith (Carroll L. Galbraith):
Births Jun 1939
Surname: Galbraith
Given name: Carroll L.
District: Shardlow
Volume: 7b
Page: 705
Transcriber: Nightowl
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=7hR%2Fhy56UffaI2uivaVphA&scan=1))
THE JOHNNY DANKWORTH ORCHESTRA
[...]
Gus Galbraith (trumpet):
Born 1939, in his first big band job. Discovered in jazz clubs. Hobbies, motoring, golf and own small group. Favourites Clifford Brown, Basie, Tubby Hayes.
Galbraith Gus (b England, c1930). English trumpeter and flugelhorn player. He formed his own band, the Original Climax Jazz Band, in 1956, and re-formed it as a septet in the following year; this group, which played mainstream jazz, included Dick Morrissey and (later) Peter King. From 1960 to 1964 Galbraith was a member of John Dankworth's orchestra, with which he recorded the album What the Dickens! (1963, Fon. 5203). After a period in South Africa (1965-c1966) he returned to England, where until 1971 he was active as a freelance musician; among the groups with which he played was the orchestra of Bobby Lamb and Ray Premru, which performed and recorded at Ronnie Scott's club in London in 1971. Galbraith then settled permanently in Johannesburg, and concentrated on composing for television.
- DIGBY FAIRWEATHER
John Gale (John Clifford Gale, pseud. "Cliff Johns", "David de Lara"):
GALE, John Clifford, born 27 May 1932, Steeple, U.K. Composer; Publisher. Education: Licentiate, Royal Academy of Music. Married Alice Marian, 3 children. Career: Bandmaster, Royal Air Force, 1953-1956; Conductor, Epsoom Symphony Orchestra, 1950-71. Compositions: Various film music. Memberships: President, Epsom Symphony Orchestra Society; President, Nonsuch Opera Society. Hobby: Motoring. Address: 11 Thomas More House, Barbican, London E.C.2, U.K.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Philippe B. Gall (Philippe Robert Gall):
(https://i.imgur.com/gpLwto2.png)
Photos: [...] - verso, Thierry VINCENT
[no bio, just a photo. part of group photo.]
Gérard Gallo (Gérard Vincent Gallo, pseud. "Gérald Daihait", "Gérald Deshayes"):
Ce disque présente des œuvres de trois compositeurs français d'aujourd'hui: [...] Gérard Gallo, qui vit le jour en 1927 à Vire (Calvados) [...] Gérard Gallo, un romantique du vingtième siècle, qui aime évoquer longuement une atmosphère et s'épancher en "racontant une histoire" [...] tous trois écrivent la musique qui leur plaît, spontanément, sans se soucier le moins du monde des chapelles et des tendances fluctuantes de la mode musicale. [...]
Gérard Gallo a donné à sa composition un titre volontairement neutre: PIECE POUR PIANO, chaque auditeur pouvant ainsi laisser libre cours à son imagination. L'oeuvre a le caractère d'une méditation printanière, une réflexion grosse de forces contenues et sans cesse en mouvement, un tableau intimiste et confidentiel qui, par deux fois, s'emporte et explose en une suite de phrases agitées. Cette pièce, qui semble traduire quelque regret d'un bonheur perdu, est pour l'essentiel écrite à deux vois, l'espace intermédiaire étant peuplé par des harmonies mouvantes et instables.
This recording introduces works by three French composers: [...] Gerard Gallo, born at Vire, in Normandy, in 1927 [...] Gallo, a twentieth-century romantic, likes to take his time conjuring up an atmosphere, opening himself up by "telling a Story" [...] all three write music they like - spontaneously, and totally unconcerned with coteries or the ups and downs of musical fashion. [...] all three write music they like - spontaneously, and totally unconcerned with coteries or the ups and downs of musical fashion. [...] Gerard Gallo has bestowed a purposefully neutral title on this composition: PIECE POUR PIANO, allowing each listener to give full rein to his own imagination. The work is a kind of vernal reverie, a meditation pregnant with contained energy, continually in movement, an intimate and confiding work which on two occasions is swept up into a crescendo of feverish phrases. The piece, which seem sto summon up regret for some vanished happiness, is written for the most part in a two-voice counterpoint, the space between the voices filled with shifting, fugitive harmonies.
GERARD VINCENT GALLO
Naissance 27.01.1927
Neuville (14464), France (FRA)
Décès 28.10.2023
Ciboure (64189), France (FRA)
- (via matchID (https://deces.matchid.io/id/RtIRSb2vY_AC))
Raymond Gallois-Montbrun (pseud. "Yves Montgall"):
GALLOIS-MONTNRUN[sic] RAYMOND. Saigon (Indocina), 15.8.'18. Violinista.
Frequentò il Conservatorio di Parigi. Prix de Rome, '44. Direttore conservatorio di Versailles e di Parigi.
MUSICA SINFONICA - Poemi sinf.; Sinfonia concertante per violino e orchestra; Sinfonia Japonaise, '51; Concerti per tromba; per 2 clarinetti; per violino; per violoncello; per pianoforte; brani diversi.
MUSICA DA CAMERA - Quartetto d'archi; 12 brani per violino e pianoforte; Studi; Capricci; Divertimento per flauto e pianoforte; Variazioni per violino e pianoforte; Sonata per violino e pianoforte; Melodie e brani per pianoforte; liriche.
MUSICA per films, per il teatro.
RAYMOND GALLOIS-MONTBRUN
Naissance 15.08.1918
Saigon (99245), Viet Nam Du Sud
Décès 13.08.1994
Paris 13e Arrondissement (75113), France (FRA)
- (via matchID (https://deces.matchid.io/id/ccAz9Ryw4WLc))
Leopoldo Gamberini:
GAMBERINI, Leopoldo, born 12 Mar. 1922, Como, Italy. Composer; Conductor; Musicologist; University Professor in the history of Music. Education: Graduate, Arts & Medicine; attended musical paleography School, Cremona; studied piano, violin, composition & conducting; adv. courses conducting, composition, Mozarteum, Salzburg, Accad., Chigiana, Siena, & Vacanze Musicali, Venice; successful cand., exams, Conservatories of Genoa & Turin. Married Benini Graziella, 2 children. Debut: As Conductor, Genoa, 1940, as Composer, Pesaro, 1948. Career: Conductor, Radio Group, "I Madrigalisti of Genoa"; Music Critic, 16 years, Il Nuovo Cittadino, Genoa; Founder, Sound & Recording Studios: Consultant for Cybernetics & Music, Faculty of Arts, Genoa. Compositions include: Oratorio, Anna Franck; Canto Esoterico; Numerous vocal-instrumental pieces including, 2 Qiartetts. 1956; Il Cristo degle Abissi, 1956; Canto dello spazio, 1960; Prelude, for piano solo, 1961; Spiritual Poliptikon, 1967; Musica per Flauto e Orchestra d'archi in sordina, 1969, (performed Italian Radio, Rome, 1974); various works for the stage & films. Recordings: The Ancient Greek Chants, with I Madregalisti[sic] di Genova, Angelicum, Milan. Publications: Genova nella vita musicale europea del 1800; Plutarco: De Musica; Editor, Modernità della musica greca nella tragedia, 1958; La parola e la musica nell'antichità, Florence, 1962; Religiosité dans la Messe en si min. de J.S. Bach, Genoa, 1960; La musica instrumentale a Genova, 1974; Manuscripts, Genoa, 1967-70. Contributor of numerous reviews of ancient & modern music, various professional journals. Honourary member, French Association, Royaume de la musique. Honours: Composition prize, International Music Contest, "G.B. Viotti", Vercelli, 1952; 1st prize with "I Madrigalisti di Genova", International Youth Music Festival, Neerpelt, Belgium, 1967 & 1970; Numerous other medals. Address: Via Trieste, 8/13, Genova, Italy.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
GAMBERINI LEOPOLDO. Como, '22.
Autore di Canzone del gulag (dai canti dei gulagher) per voce e chitarra; Trenodia per Edipo per fiati e 13 percussioni; Polifonia gregoriana per fiati; Virginale per Lidia per clavicembalo; Sonata per flauto dolce e cembalo; Improvvisazionie per pianoforte; Colonna sonora elettronica per coro, orchestra e strumenti elettronica; Divagazione per clarinetto; Sonata per 3 pianoforti dolci; 3 frammenti per chitarra; Ricercare per flauti dolci; brani per flauto; Hannucca per soli, coro, orchestra e strumenti elettronici.
Lanfranco Gambini (pseud. "Sumitar"):
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
LANFRANCO GAMBINI - P.za Verbano 16, 00199 Roma - Tel. (06) 84.40.231 - 68.70.963 - Telefax: (06) 6872926
Douglas Gamley (John Douglas Gamley):
DOUGLAS GAMLEY
b. 1924
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GAMLEY, Douglas - Nato a Melbourne (Australia) il 24 settembre 1924, morto il 5 febbraio 1998. Comincia a lavorare per il cinema britannico nel 1956 in campi diversi prima di affermarsi in quello a lui più consono, l'horror. A partire dai primi anni '70 lavora per una Casa specializzata in questo genere, l'Amicus, diventando un esponente della vena gotica. Al primo periodo appartengono, tra i suoi risultati più tipici, le colonne sonore di: The Admirable Crichton (L'incomparabile Crichton, 1957, di L. Gilbert); Gideon's Day (24 ore a Scotland Yard, 1959, di J. Ford: contiene una bella “fuga” basata su un'aria popolare inglese); Another Time, Another Place (Estasi d'amore, 1958, di L. Allen); Beyond This Place (Sentenza che scotta, 1959, di J. Cardiff); The Rough and the Smooth (Il ruvido e il liscio, 1959, di R. Siodmak); Tarzan's Greatest Adventure (Il terrore corre sul fiume, 1959, di J. Guillermin). Al filone horror appartengono: The City of the Dead (La città dei morti, 1963, di J. Moxey: con apporti jazz di Ken Jones); Horror of It All (1963); Spring and Port Wine (1970, di P. Hammond); Tales from the Crypt (Racconti dalla tomba, 1972, di F. Francis: risultato interessante e composito, che passa da riferimenti bachiani al jazz); Asylum (La morte dietro il cancello, 1972, di R. W. Baker: colonna sonora basata su musiche di Mussorgskij); And Now the Screaming Starts! (La maledizione, 1972, di R. W. Baker); From Beyond the Grave (La bottega che vendeva la morte, 1973, di K. Connor); The Beast Must Die (La notte del licantropo, 1974, di P. Annett); The Land that Time Forgot (La terra dimenticata dal tempo, 1975, di K. Connor: cupe atmosfere dense di apprensione e di ritmi lenti e ondulanti); To the Devil, a Daughter (Una figlia per il diavolo, 1976, di P. Sykes: come d'abitudine, partitura arcobaleno di brani sinfonici, motivi corali, riferimenti jazz); The Monster Club (Il club dei mostri, 1980, di R. W. Baker).
Mario Gangi (pseud. "Fidenzi"):
GANGI MARIO. 11.5.'23, Roma, dove ha studiato. Chitarrista. Insiegnante di chitarra nei Conservatorio di Napoli e di Roma. Trascrittore, Revisore.
Autore di musica per chitarra; Suite spagnola; Suite italiana; Fabulea per 2 chitarre; brani diversi.
PUBBLICAZIONI - Libri didattici.
Fernand Garbasi (Ferdinand Garbasi):
NOTE: Non-composer.
Credited as guitarist and banjoist for LPs on Epervier (https://librarymusicthemes.com/index.php?topic=1595.0).
(https://i.imgur.com/GdTHKlS.png)
[no bio, just a photo.]
FERDINAND GARBASI
Naissance 18.07.1929
Neviano Degli Arduini, Provinc (99127), Italie (ITA)
Décès 28.07.2022
Romorantin (41194), France (FRA)
- (via matchID (https://deces.matchid.io/id/1vOcI-TcaG28))
Harry Garber (Ian Henry Garber, pseud. "Buck Halter", "Ian Henry"):
[...] I was immediately impressed when Robin [Jones] introduced me to Ian Henry. He had then just arrived in London from his native Dublin, where he was well known through regular Radio and T.V. appearances. A sensitive musician and a really brilliant pianist, Ian has also been responsible for the arrangements and a number of compositions played on this recording. [...]
Antón Garcia Abril (pseud. "Jordan Ruiz"):
Garcia Abril, Antón *19. 5. 1933 Teruel, Spanien.
Studium: Rom (Petrassi).
Komponist und Professor am Konservatorium Madrid.
Werke: Klavierkonzert, Klavierwerke, Lieder, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
ABRIL, Anton García - Nato a Teruel (Spagna) il 19 maggio 1933. Studia armonia e pianoforte al Conservatorio di Valencia e a quello di Madrid. Frequenta successivamente, in Italia, l'Accademia Chigiana, seguendo i corsi di composizione di Vito Frazzi, quelli di direzione d'orchestra di Paul Von Kempen e quelli di musica cinematografica di Angelo Francesco Lavagnino. Dal 1957 al 1969 insegna teoria e solfeggio al Conservatorio di Madrid: intanto si occupa di teatro lirico, partecipa alla creazione del gruppo “Nueva Musica”, si perfeziona in musica contemporanea con Goffredo Petrassi all'Accademia di Santa Cecilia a Roma. Si dedica intensivamente alla composizione di brani per strumenti singoli, voci, orchestra, nonché di musiche per balletti e per commedie musicali. Al cinema si accosta nel 1954/55 e si dedica in maniera sistematica a questa attività, diventando in breve uno dei compositori più richiesti del cinema spagnolo, e uno dei più fertili e rapidi, oltre che dei più dotati. Abril passa attraverso tutti i “generi” con maestria e disinvoltura, cercando di tener fede nonostante tutte le trasformazioni ad un suo stile personale (legato alla fluidità della melodia e allo sfruttamento coloristico dei timbri orchestrali) e ad una matrice “spagnola”. Nel suo lavoro egli intende soprattutto “trasmettere emozioni” – sono parole sue. Il suo primo film importante è Torrepartida (1956, di Pedro Lazaga), ambiziosa avventura en plein air – è il primo film iberico in Cinemascope – per cui Abril compone una partitura robusta, ispirata ai grandi western. Ecco poi la serie di commedie degli anni '50 e '60, rette da canzoni, ritmi, procedimenti leggeri; poi western veri e propri, con soluzioni e ritmi vicini a quelli utilizzati in Italia dagli spaghetti-western; i film di terrore, per i quali Abril senza rinunciare ad una certa dose di ironia propone suoni nuovi, inediti, ricorrendo all'uso eterodosso di strumenti tradizionali, mescolati alle tastiere elettroniche. Salvo alcune eccezioni, tutti questi film (una ottantina solo fino al 1970) non sono arrivati in Italia. Essi sono diretti solitamente, oltre che da Lazaga, da Fernando Fernán Gomez, Jesus Franco, Pedro Masó, Vicente Escrivá e altri. Si conoscono semmai, da noi, alcune cose come La noche de Walpurgis (Le messe nere della Contessa Dracula, 1970, di L. Klimowsky), El desafío de Pancho Villa (Pancho Villa – I 3 del mazzo selvaggio, 1974, di Eugenio Martín), El límite del amor (Amore senza limiti, 1976, di R. Romero Marchent) e qualche film d'azione coprodotto con l'Italia.
Il livello dei contributi di Abril segna un'impennata quando incontra il regista Mario Camus, esponente del nuovo cinema iberico, di cui diventa collaboratore abituale per molti anni. Particolarmente notevoli le partiture di Los pájaros de Baden Baden (1974), La joven casada (Il mio primo uomo, 1975), Los días del pasado (1977), La Colmena (1982: dominato da un unico tema nostalgico, doloroso, affidato ad un quartetto d'archi e a un sassofono), Los santos inocentes (1984: tema popolare eseguito da uno strumento di derivazione araba), La vieja música (1985: sobrio sfruttamento di un tango). Anche i risultati per altri registi sono notevoli: come quello ottenuto per Réquiem por un campesino español (1985, di F. Betriu), vicenda ambientata in Aragona, sua regione natale, per la quale il nostro compositore utilizza motivi del folklore aragonese. Negli anni più recenti Abril continua a lavorare per il cinema di genere – vedi l'apporto a un film in costume come El fraile (1990, di P. Lara Polop) e a una commedia come Cinco tenedores (1991, di F. Fernán-Gómez) – ma poi abbandona in pratica il cinema ed è attivo per la televisione. I suoi temi per le serie Monsegneur Quixote, Fortunata y Jacinta, Los desastres de la guerra, Requiem por Granada sono diventati molto popolari in Spagna.
Russ Garcia (Russell Garcia):
RUSSELL GARCIA
b. 1916
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GARCIA, Russel (Russ) - Nato a Oakland (California) il 12 aprile 1916. Dopo una formazione classica diventa trombettista in orchestre jazz, poi compositore e arrangiatore per orchestre radiofoniche e per la TV. Dopo anni di attività come arrangiatore, compone musica originale per The Time Machine (L'uomo che visse nel futuro, 1960, di G. Pal); Atlantis, the Lost Continent (Atlantide, continente perduto, 1960, di G. Pal); The Pad and How to Use It (Come utilizzare la garçonnière, 1966, di B. G. Hutton); Three Guns for Texas (1968, di E. Bellamy, D.L. Rich e P. Stanley). Particolarmente interessanti le musiche per i film avveniristici di G. Pal, realizzati con orchestre tradizionali in cui vengono innestati effetti sonori (tipo “musica concreta”).
Helmut Gardens (pseud. "Helmut Flöter", "Jörg Dröder", "Jules Paul"):
Komponist Gardens, Helmut, 1 Berlin-Zehlendorf-West, Elvirastraße 1
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Rene Garriguenc (Aime Garriguenc):
GARRIGUENC, RENE
b. Vesoul, France, 18 Oct. 1908; U.S. citizen 1966. Studied composition with Charles Koechlin, orchestration with Roger Desormiere in Paris. He came to the U.S. in 1941; was staff composer for the Columbia Broadcasting Company, Hollywood, 1943-65.
WORKS: ORCHESTRA: violin concerto; Preamble and scherzo; 5 pieces; Prelude and fugue; CHAMBER MUSIC: violin sonata; 7 piano pieces; 2 pieces for string quartet; art songs; TELEVISION SCORES: "Twilight zone"; "Perry Mason"; "Gunsmoke," et al. He is author of a textbook, Serial procedures and fundamentals, 1974.
3324 North Knoll Dr., Hollywood, CA 90068
- (via archive.org (https://archive.org/details/contemporaryamer0000ande/))
Christian Garros (Christian Jean Marie Garros):
(https://i.imgur.com/JHmEZlx.png)
Christian Garros
«New Jazz Quartet»
Started playing in 1939. Professionally my career began with the "Hot Club de France Quintet" with Django Reinhardt for 2 years. After this I was with the "Jacques Hélian Orchestra", Don Byas, Ernie Royal and Sidney Bechet.
My career includes work with Bill Coleman, André Persiany, Tony Scott, Lee Konitz, Jean-Luc Ponty, Stéphane Grappelli, Duke Ellington, Miles Davis, Bud Powell and Lester Young.
I've played numerous studio dates for TV and films including those with Quincy Jones and Michel Legrand.
I was with the "JACQUES LOUSSIER TRIO" for 10 years touring many countries of the world.
I'm now with the "New Jazz Quartet". I still play at the Paris jazz clubs "La Huchette" and "Club St. Germain". Living in Rouen I've formed "The Memory Jazz Band" and I'm director of a jazz school.
Why PAISTE CYMBALS? I've always tried to make music and PAISTE fits that definition exactly.
DISCOGRAPHY:
-FORMIDABLE
Christian Chevallier Big Band (Pathé-Marconi)
-PARIS JAZZ TRIO
(1-2-3-4) (Pathé-Marconi)
-RYTHMES A VOTRE SERVICE
(1-2-3-4) (Pathé-Marconi)
-BLUES MARCH
Roger Guerin - Bobby Timmons Quintette (Pathé-Marconi)
-PIERRE MICHELOT ET SON ORCHESTRE
Pierre Michelot (Mercury)
-ANDRE HODEIR ET LE JAZZ GROUPE DE PARIS
André Hodeir (Mercury)
-NEW SOUND FROM INDIA
Majoye Hajary, Christian Garros (CBS)
-REQUIEM FOR GANDHI
Majoye Hajary, Christian Garros (CBS)
-PLAY BACH
(1-2-3-4-5), Jacques Loussier Trio (Decca)
-PLAY BACH AUX CHAMPS-ELYSEES
(Decca)
-BRANDENBURG CONCERTOS NO. 2 AND NO. 5
Jacques Loussier Trio with the Royal Philharmonic Orchestra London (Decca)
-6 MASTERPIECES OF J.S. BACH
Jacques Loussier Trio (Philips)
-LIVE CONCERT AT THE ROYAL FESTIVAL HALL
Jacques Loussier Trio (Philips)
PAISTE SET:
A 13" Heavy H-H, FO 602
B 20" Dark Crash, SC
C 15" Thin Crash, FO 602
D 8" Bell, FO 602
E 18" Medium Flatride, FO 602
or 18" Ride, 2002
F 20" Medium, 2002
G 20" Sizzle China Type, 2002
EXTRAS:
13" Sound Edge H-H, 2002
20" Bright Medium, SC
22" Dark Ride, SC
DRUMS:
Tama
HEADS:
Tama Ambassador RS 200 Medium, Clear
STICKS:
Tama 3A
(https://i.imgur.com/NHEQONW.png)
- (via archive.org (https://archive.org/details/profilesofintern00nott/))
CHRISTIAN JEAN MARIE GARROS
Naissance 17.02.1920
Paris 7e Arrondissement (75107), France (FRA)
Décès 23.08.1988
Bois-Guillaume (76108), France (FRA)
- (via matchID (https://deces.matchid.io/id/iQCSNK6Vi4CC))
John Gart (John Marion Gart, pseud. "John Marion"):
(https://i.imgur.com/yXBo9Vz.png)
[...]
Theater Organ Items
John Gart is now being featured in solos at the Metropolitan. This came about quite accidentally when an act disappointed and John was put in as a filler. The audience liked his playing so well that it was continued as a permanent feature, which is exactly as it should be. Heretofore it was a trifle difficult to find a spot in the program for an organ number, since an audience after listening for an hour and a half to organ playing for the feature, is not in a receptive mood for a solo. Obviously, it could not be introduced in the middle of the vaudeville, but with the advent of sound accompaniment for the film at this house, a convenient spot directly after the feature was found, and the innovation has proven most successful. Gart's selections, thus far, have been some effective slides and medleys. In addition, he is making quite a few recordings and continuing his broadcasts and his organ school This latter is meeting with gratifying success. One of Gart's successful pupils is Lewis Raymond, who is now playing a three-manual Moller at the Sumner, of Brooklyn. [...]
GART, JOHN (JOHN MARION) ASCAP 1953
composer, conductor, arranger
b Russia, June 6, 05. Educ: Moscow Imperial Konservatory Music, studied with Gliere; studied with Tibor Serly, Boris Levenson & Dr Clarence Dickinson, US. Comp/cond, "Robert Montgomery Presents", "Who Do You Tryst", "Paul Winchell Show" plus numerous nat commercials. Organ recordings, Kapp Records. Instrumental Works: Dansant Caprice; Perspectives; Accordion Solo's: Scherzo; Vivo; Prelude. Superman, Batman & Aquaman thems & background music comp & arr for 30 piece orch. Scores: Film/TV: Superman; Batman; Aquaman
- (via archive.org (https://archive.org/details/ascapbiographica00amer_0/))
Georges Garvarentz (né Diran Garvarentz):
NOTE:
An author of many film scores, he is perhaps best known for his work with fellow Armenian-turned-Frenchman Charles Aznavour.
He did an LP for Chappell (https://librarymusicthemes.com/index.php?topic=73.0).
GEORGES GARVARENTZ
b. France
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GEORGES GARVARENTZ
Naissance 01.04.1932
Athenes (99126), Grece (GRC)
Décès 19.03.1993
Aubagne (13005), France (FRA)
- (via matchID (https://deces.matchid.io/id/zuk70S1msC-K))
GARVARENTZ, George - Nato ad Atene nel 1931 da famiglia armena, morto il 19 marzo 1993. Collaboratore musicale di Charles Aznavour, che lo introduce nel campo del cinema. Pronto a tutti gli usi, cosmopolita come gusto e come formazione, Garvarentz dà prova di essere in possesso di un mestiere abbastanza duttile, che si adatta senza sforzo alla commedia come al dramma e all'avventura tambureggiante. Tipica la sua propensione per l'utilizzo di materiale di repertorio, che dispone volentieri in collage musicali piuttosto funzionali. Lavora molto per il cinema, soprattutto per film di intrattenimento facile, di produzione francese con puntate per film spagnoli, italiani, tedeschi e americani. Esiti più interessanti: Un taxi pour Tobrouk (Un taxi per Tobruk, 1961, di D. de La Patellière: scansioni costituite da canzoni militari tedesche); Du mouron pour les petits oiseaux (Parigi proibita, 1962, di M. Carné); Le rat d'Amérique (Il sentiero dei disperati, 1963, di J.G. Albicocco); Cherchez l'idole (Sciarada alla francese, 1963, di M. Boisrond: zeppo di canzoni francesi, fra cui quelle di Aznavour); Cent briques et des tuiles (Colpo grosso a Parigi, 1964, di P. Grimblat); La fabuleuse aventure de Marco Polo (Le meravigliose avventure di Marco Polo, 1965, di D. de La Patellière: reinvenzione di tipici procedimenti e timbri della musica orientale); Le tonnerre de Dieu (Matrimonio alla francese, 1965, ancora di de La Patellière: atmosfere paesane); La fantastique histoire vraie d'Eddy Chapman (Agli ordini del Fuhrer e… al servizio di Sua Maestà, 1966 di T. Young: specie di antologia dei pregi e dei difetti di questo musicista); Caroline Chérie (idem, 1968, di de La Patellière); Le tatoué (Nemici… per la pelle o Il tatuato, 1968, di D. de La Patellière); L'invitata (1969, di V. De Seta); Temps de loups (Tempo di violenza, 1969, di S. Gobbi); Quelqu'un derrière la porte (Qualcuno dietro la porta, 1971, di N. Gessner: utilizzo del secondo tempo della “Sinfonia dal Nuovo Mondo” di Dvorák); Cronique d'un couple (Cronaca erotica di una coppia, 1972, di F. Coggio), The Diamonds Mercenaires (Killer Comando, 1975, di V. Guest); Golden Lady (1979, di J. R. Larraz); Hambone and Hillie (1984, di R. Watts).
Brian Gascoigne (Brian Alvery Gascoigne):
GASCOIGNE, Brian - Musicista inglese. Pochi ma interessanti contributi al cinema: Under Milk Wood (1972, di A. Sinclair: raffinati sfondi sonori per un film aristocratico sull'ispirazione poetica); Phase IV (Fase IV: distruzione Terra, 1973, di S. Bass: elegante musica orchestrale, percorsa da interventi elettronici dovuti a Donald Vorhaus); Archer: Fugitive from the Empire (1981, di N. Corea); 1919 (1984, di H. Brody); The Emerald Forest (La foresta di smeraldo, 1985, di J. Boorman: uso di sonorità assolutamente suggestive, con scarsi richiami etnografici e uso di un melodismo assai pudico. In collaborazione con Junior Homrich).
Giorgio Gaslini (pseud. "Geus"):
Gaslini, Giorgio (Italia, 1929)
- (via archive.org (https://archive.org/details/emr-2-3/))
Gaslini, Giorgio *22. 10. 1929 Mailand.
Studien: Konservatorium Mailand und Akademie Siena (van Kempen).
Dirigent, Pianist und Komponist. Lebt in Rom, widmete sich auch die Jazz, gründete 1963 eigene Quartett und leitet seit 1968 seine Big Band.
Werke: Opern "Colloquio con Malcolm X", "Un quarto di vita", Straßenoper, "Jab" Jazzoper, Ballette, "Logarithmos" für Flöte und Schlagzeug, "Totale I" für Gesang, Orchester, Solistengruppen und Tonband, "Chorus" für Flöte, "Segnali" für Oboe, Jazzkompositionen, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
GASLINI, Giorgio - Nato a Milano il 22 ottobre 1929. Formatosi nel jazz, si dedica successivamente alla musica classica studiando con Votto e Giulini (diplomi in composizione, direzione d'orchestra, pianoforte, strumentazione per banda, canto corale e polifonia vocale). Molteplici attività, instancabile organizzatore di avvenimenti musicali, è considerato un caposcuola dell'avanguardia musicale europea. Pur senza appartenere alla “terza corrente” del jazz, che tenta di fondere la musica classica con gli ultimi linguaggi jazzistici, persegue il tentativo di superare le distinzioni fra le due dimensioni, tenendo sempre conto delle realtà umane e sociali del nostro tempo: sua è la formula “Musica totale” riferita al superamento di “ogni dogmatismo stilistico limitato a culture specifiche” e all'assunzione “di tutte le culture musicali in un unico atto libero di creazione espressiva” (la definizione è sua). Nel 2002 ha pubblicato il libro “Il tempo del musicista totale”. I suoi interventi per il cinema, a partire dal 1961 (richiesto da Antonioni) sono sempre parchi e rispettosi dei silenzi e degli effetti realistici, ottimi non tanto di per sé, quanto come contributo alla definizione degli ambienti e delle atmosfere. Da ricordare le sue partiture per: La notte (1961, di M. Antonioni: agli interventi iniziali, astratti e con brividi elettronici, si contrappongono le improvvisazioni finali eseguite dallo stesso Gaslini con il suo quartetto jazz); Un amore (1965, di G. Vernuccio: orchestra sinfonica alternata al quartetto jazz, come contrasto fra descrizione oggettiva delle situazioni e “l'elemento critico costante”, secondo la definizione dello stesso musicista); La pacifista (1971, di M. Jancsó: hanno rilievo alcune incisive ballate); Il vero e il falso (1972, di E. Visconti: uso di chitarra in una costante chiave melanconica); La colonna infame (1973, di N. Risi: recuperi di musica verdiana); Le cinque giornate (1973, di D. Argento: uso ironico di musiche dell'Ottocento). Per Argento, alfiere del “giallo all'italiana”, Gaslini ha composto la partitura di Profondo rosso (1975), che però è stata rimaneggiata per controversie con il regista e completata dai componenti del gruppo Goblin, che avrebbero dovuto esserne soltanto gli esecutori.
Anche se qua e là Gaslini ha dovuto soggiacere alle esigenze dell'industria, ha rifiutato molte proposte dei produttori per non cedere alla lusinga di sfornare in serie “prodotti di consumo per l'industria del cinema”. La colonna sonora di La notte ha avuto il Nastro d'argento nel 1962.
Roberto Gatto:
GATTO, Roberto - Musicista italiano saltuariamente attivo per il cinema, soprattutto per la regista Francesca Archibugi. Avendo debuttato con le musiche per Nudo di donna (1981, di N. Manfredi: in collaborazione con M. Giammarco), continua per i seguenti film della Archibugi, insieme a Battista Lena, marito della regista: Mignon è partita (1988), Verso sera (1990: motivi spezzati e incerti, esposti da vari strumenti, e jazz-rock), Il grande cocomero (1993: toccata per chitarra, tromba di carattere jazzistico, motivi patetici al piano).
Jacques Gauchet:
NOTE: Non-composer, full/real name unknown.
Credited as photographer for LPs on Epervier (https://librarymusicthemes.com/index.php?topic=1595.0) and Tele-Record (https://librarymusicthemes.com/index.php?topic=1596.0).
(https://i.imgur.com/gtcoiC3.png)
[photo by] jacques gauchet
[no bio, just a photo.]
Heino Gaze (Hermann Gaze, pseud. "Charles Golden", "O. Hermans", "J. Shield", "Jan Husarek", "Ramon Ticco", "Toni Timm"):
Gaze, Heino *20. 2. 1908 Halle/Saale †29. 10. 1967 Berlin.
Komponist, Arrangeur und Texter. Ursprünglich Jurist, 1945 bis 1947 musikalisch Leiter des Kabaretts der Komiker Berlin, lebte zuletzt freischaffend in der Schweiz.
Werke: Revuen, Filmmusik, Schlager ("Ich hab' mich so an dich gewöhnt" unter anderem).
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Severino Gazzelloni:
GAZZELLONI Severino, musicista, nato a Roccasecca (Frosinone) il 5 gennaio 1919 da Giuseppe e da Amalia Pascrella.
Roma, via Simeto 4.
Diplomato in Flauto. Ha studiato sotto la guida di A. Tassinari al Conservatorio di «S. Cecilia» in Roma. Ha tenuto concerti nelle principali città europee. Negli anni 1952 e 1954 ha tenuto a Darmstat la «Cattedra internazionale di flauto per la musica contemporanea».
GAZZELLONI, Severino - Nato a Roccasecca (Frosinone) il 5 gennaio 1919, morto a Cassino il 21 novembre 1992. Musicista italiano. Dopo gli studi al Conservatorio di Santa Cecilia a Roma, ha iniziato fin da giovane una fortunata carriera di flautista, portando il suo prezioso strumento (tutto d'oro) in giro per il mondo e diventando un “divo” del flauto. Diversi musicisti contemporanei hanno scritto per lui apposite composizioni. Al cinema Gazzelloni si è accostato, come compositore, per: Scipione detto anche l'Africano (1970, di L. Magni: sapore favolistico e giocoso, con assoli di flauto naturalmente eseguiti dallo stesso compositore); per La messe dorée (Nella profonda luce dei sensi, 1975, di B. Montresor: atmosfera ovattata e morbosa); e per Notturno con grida (1982, di E. Gastaldi: leitmotiv misterioso nel flauto ed effetti sonori).
Benny Gebauer (Bertram Gebauer, pseud. "Jacques Romain", "Joe Meiling"):
Gebauer, Benny (Pseud. Jacques Romain) *26. 9. 1939 Altsattl/Sud.
Studien: Konservatorium Augsburg, Musikhochschule München.
Komponist, Arrangeur, Saxophonist.
Werke: Unterhaltungsmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
(https://i.imgur.com/FL1ZFBW.png)
Benny Gebauer,
geboren in Altsattl bei Falkenau im Egerland, studierte Klarinette und Komposition an der Musikhochschule in München. Bekannt als Instrumentalsolist. (Saxophone, Klarinette, Mundharmonica u.v.m.)
Produktionen mit allen namhaften Orchestern und Big Bands im In- und Ausland. Arrangeur vieler großer TV-Shows und Schallplatten.
Woht seit 1968 in Seefald am Pilsensee in der Nähe Münchens.
Ron Geesin (Ronald Frederick Geesin):
(https://i.imgur.com/iW8Lisw.png)
Cover photography and design by Brian Shuel, [...]
Biography by Ron Geesin
Social bit Born-17/12/43 of Mr & Mrs Kenneth Frederick Geesin at Stevenston, Ayrshire, Scotland.
Moved to Bothwell, Lanarkshire at 2½ and wasted time buried under the Scottish Education System till 17. Was an architect's apprentice for 7 weeks and then joined a "professional" jazz band, the Original Downtown Syncopators, which was touring Scotland at the time.
Remained partly buried under this organisation for 4 years then left, immediately after having established himself in London, and gradually became a solo entity.
Creative bit Started upon harmonica at 11 and idolised Larry Adler - was allowed to stay up to watch him on television!
Banjo for 15th birthday - joined amateur jazz band in Glasgow and wrote arrangements for it under the desk at school.
Musical training - taught rudiments of violin and theory of music and soon gave up violin!
Noted the amazing non-inhibited marvellous music of the American Negro, sought his identity in it but made the mistake of running back into the past to collect his music on 78rpm records.
Left school - headmaster "could do nothing more".
At 16½ he started teaching himself the piano in vintage jazz fashion and was painting and sculpting surrealist representations of his confused adolescent state but the vintage jazz won and he happened across the Original Downtown Syncopators who were in need of a permanent pianist - rushed home at midnight to tell parents that he was going to join a professional jazz band - father fell out of bed! 6 days later, joined it.
Toured USA, Germany, Denmark during the "trad boom" and caused the odd uproar in the band but was always quelled by the "older, wiser" ones. Left this band at 21.
6 months before this he got his first tape recorder and quickly realised the potential of this medium for his fast-developing ideas.
Developed everything and at 23½ is still doing so.
Other bits Collected butterflies, moths and beetles from 10-19 and then realised that there are few enough beautiful things about without causing less.
Married Frances Helene Reid on 27/8/66 and a good idea!
Record Company's bit Ron Geesin makes music that is not like any other music. He uses words, sounds, music, electronics and other people, in fact everything that is to hand. Ron Geesin is a new an dstartling experience.
Ron Geesin fits into no existing category or nest pigeon hole. He and his sound creations are of next year not this.
Ron Geesin has a loud voice with Scots accent.
Many of Ron Geesins compositions are improvised.
Most people don't know what to make of Ron Geesin. Some are bewildered, some excited. Ron Geesin intrigues and involves YOU.
(https://i.imgur.com/LmdB2I8.png)
RON GEESIN
Ron is a self-taught musician, starting on mouth organ at 12, banjo/guitar at 15 and piano at 16. He left home at 17 to play piano professionally with the Original Downtown Syncopators, a trad jazz band based in Crawley, Sussex. At 21 he developed his unique, live one-man show, also acquiring his first tape recorder to discover multi-tracking and make his first commercial sound tracks and tape experiments for LPs at 23. At 26 he started his own sound studio with complex multi-tracking techniques using stringed and keyboard instruments to make highly original material. He is a composer/arranger on Pink Floyd 'Atom Heart Mother', film music composer on 'Sunday Bloody Sunday', 'The Body' and 'Ghost Story' and composer for many documentaries for Shell, B.P., The Arts Council and TV companies in addition to making and marketing his own LP records.
- (by kind courtesy of Moon Monkey - thanks!)
Walter Geiger (pseud. "Chris Joeren", "Ludwig W. Birnauer"):
Adressenänderungen
[...]
GEIGER, Walter
Schleißheimerstraße 276
8000 München 40
089 / 30 39 12
Ladi Geisler (Miloslav Ladislav Geisler, pseud. "John Beck"):
(https://i.imgur.com/JA1UO0l.png)
GEISLER, Ladi
Heinr.-Barth-Str. 9
2000 Hamburg 13
040/410 44 83
* 27.11.1927 Prag
Langjähriger Gitarrist am NDR; Studiomusiker; Arrangeur.
Hauptwerke „Ich wünsche mir“ (1981), 4 Min. 30"
Lied (Studio-Orchester).
Verlag: RGS Musik Rudolf Siezak; Schallplatte: RCA (Belina).
„Playa de San Juan“ (1972), 4 Min. 12"
Beat-Fox (Studio-Orchester).
Verlag: Hanseatic-Mus. Verlag, Hamburg; Tonband: RB (Ladi Geisler).
„ADAC Blues“ (1962), 3 Min. 40"
Marsh (Big-Band).
Verlag: Ed. Esplanade; Schallplatte: CBS (Francis Boland).
„Samba Estrella“ (1960), 3 Min. 10"
(Studio-Orchester). Verlag: MDW;
Schallplatte: Teldec (Ladi Geisler, Orchester G. Fuhlisch).
„Veruschka“ (1969), 2 Min. 50"
Fox (Studio-Orchester).
Verlag: Hanseatic-Musikverlag; Schallplatte: Polydor (Ladi Gelser).
sowie: mehrere Hefte mit Kompositionen für Gitarre, teilw. m. Orchester (MDW).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Harold Geller (pseud. "Lionel Supran", "Musi Silvio"):
DANCE BAND NEWS
[...]
Ruby Rome has left Louis Simmonds' Band, which plays at the Hotel Majestic, Harrogate. Harold Geller (lately with Bram Martin) a fine alto, clarinet and violin player, fills the vacancy.
- (via archive.org (https://archive.org/details/sim_jewish-chronicle_the-jewish-chronicle_1938-11-11_3631/))
SONG COMPOSER
The latest song "hit" composed by Australia-born Mr. Harold Geller, musical director for the past seven years at a leading West-End restaurant, is "The Man in the Black Sombrero" which, like his "Green Cockatoo," is popular in this country and the United States. Though only 34 years of age, Mr. Geller has written numerous light orchestral and popular compositions, among them "The Witch and the Broomstock." Coming to this country as a child to study at the Royal Academy of Music, Mr. Geller quickly built up a reputation as a violinist. He also plays the clarinet, alto-sax, and piano. His band, which broadcasts regularly, often gives its services to Jewish charitable and Zionist organisations. Mr. Geller was a brother-in-law of the late Herzl Supran, for many years Hon. Secretary of the Revisionist Movement in this country.
- (via archive.org (https://archive.org/details/sim_jewish-chronicle_the-jewish-chronicle_1952-06-20_4339/))
THE TED HEATH ORCHESTRAS
are
NOW AVAILABLE FOR YOUR FUNCTIONS
Personally supervised by Band-leader/Composer, Harold Geller.
23, Albemarle Street, W.1. (HYD. 0512.)
- (via archive.org (https://archive.org/details/sim_jewish-chronicle_the-jewish-chronicle_1954-04-09_4433/))
Thinking of Commercial Television?
Then a talk to Harold Geller could produce ideas
Conductor, Composer, Musician with a knowledge of people. Long B.B.C. experience and the know-how on Commercials;-
Write to
8 The Grove, Edgware, Middlesex
or phone STOnegrove 9177
- (via archive.org (https://archive.org/details/sim_advertisers-weekly_1954-10-28_166_2157/))
Herb Geller (Herbert Geller, pseud. "Franck Fullmann", "Oliver Gindes"):
Geller, Herb *2. 11. 1928 Los Angeles.
Jazzmusiker (Altsaxophon), seit 1946 unter anderem bei M. Ferguson, C. Baker, Sh. Manne, B. Goodman, 1962 in Paris, dann Rundfunk Berlin, 1965 im Eurojazz-Orchester von F. Gulda, anschließend im Tanzorchester des NDR Hamburg. Stil: Swing und Moderner Jazz.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Gianluigi Gelmetti (Gian Luigi Gelmetti):
GELMETTI, GIANLUIGI, conductor; born Rome, Sept. 11, 1945; Married Daisy Gay. Student Music Conservatory, Milan, Italy. Chief conductor Aidehm Orchestra, Firenze, Italy, Pomeriggi MUsicali, Milano, Rai Roma Orchestra, artistic/principal conductor Roma Opera Theatre.
- (via archive.org (https://archive.org/details/whoswhoinworld190000unse_a0d2/))
Gelmetti, Gianluigi, geboren 11.9.1945 Rom; italiensch Dirigent.
Studien Siena/S. Celibidache, F. Ferrara, Brüssel/R. Defossez, Wien/H. Swarowsky; hatte zunächst ständige Verpflichtung in Florenz, L'Aquila, Mailand; 1981/84 Künstlerisch Direktor des RAI-Orchester Rom, seither Künstlerisch Direktor Rom Teatro Oper; international Gast in Konzert und Oper; 1977/81 Pädagoge am Konservatorium Mailand.
Schallplatten-Gesamtaufnahmen: LA BUONA FIGIUOLA/Piccinni; POLIUTO; RITRATTO (Sciarrino).
- (via archive.org (https://archive.org/details/opernlexikon0000seeg/))
Gelmetti, Gianluigi, ital. Dirigent. * 11. 9. 1945 Rom. Studierte an der Accademia di Santa Cecilia in Rom bei Franco Ferrara, Sergio Celibidache und Swaorwsky, leitete ab 1980 das Orch. der RAI Rom und ist ab 1989 Chef-Dirigent des Radio-Sinfonieorchester Stuttgart. Seit 1988 ist G. musikal. Leiter des Philharmon. Orchester in Monte Carlo. Dirigierte Wiederaufnahme von Werken Piccinnis, Cherubinis, Donizettis, Rossinis in Rom, Venedig, beim Pesaro-Festival und den Schwetzinger Festspielen.
- (via archive.org (https://archive.org/details/reclamsopernlexi0000fath/p))
Gelmetti, Gianluigi
Chef d'orchestre italien, né à Rome le 11 september 1945.
Il fait ses études musicales à l'Académie Sainte-Cécile de sa ville natale où il obtient son diplôme de direction d'orchestre en 1965. Élève de Franco Ferrara à Rome et dans diverses académies (1962-67), il se perfectionne avec Sergiu Celibidache et, à Vienne, avec Hans Swarowsky. Il est nommé directeur musical de l'Orchestre des Pomeriggi Musicale de Milan et enseigne au Conservatoire de cette ville jusqu'en 1980. Il devient ensuite directeur artistique de l'Orchestre Symphonique de la R.A.I. de Rome (1980-84). Puis il est nommé directeur musical de l'Opéra de Rome (1984-85). A partir de 1989, il exerce les fonctions de chef permanent à la tête de l'Orchestre Symphonique du S.D.R. du Stuttgart qu'il cumulera, à partir de 1990, avec la direction musicale de l'Orchestre Philharmonique de Monte-Carlo.
Il a créé des œuvres de Niccolò Castiglioni (Sacro Concerto, 1982), Franco Donatoni (In cauda, 1983), Lorenzo Ferrero (Ombres, 1984), Hans Werner Henze (Symphonie n° 7, 1984).
- (via archive.org (https://archive.org/details/dictionnairedesi0000pari/))
Vittorio Gelmetti:
Gelmetti, Vittorio (Italia, 1926)
- (via archive.org (https://archive.org/details/emr-2-3/))
GELMETTI VITTORIO. Milano, '26 - '92. Direttore d'orchestra; Autore di Misare II, studio da concerto sulla struttura metrica per pianoforte; Thren d'onda e modulazione di intensità per nastro magnetico; Intersezioni in memoria di Varése per nastro magnetico e soprano; musica per films, musica di scena.
GELMETTI, Vittorio - Nato a Milano il 25 aprile 1926, morto a Firenze il 4 febbraio 1992. Araldo della musica sperimentale ed elettronica. Compositore di musiche per strumenti, nastri registrati, elaboratori elettronici, destinate alle sale da concerto e ai teatri. Molte musiche di scena per spettacoli teatrali, accompagnatore pianista in recital di attori (come Carmelo Bene), redattore musicale di pubblicazioni d'avanguardia. È lui l'autore delle musiche di scena incise in nastri magnetici e diffuse dai tombini per il “fonoevento” Amore, carogna, esci dalla fogna, promosso dall'Estate romana 1980. Con il cinema Gelmetti prende contatto nel 1964, quando Antonioni gli richiede brani di sue composizioni elettroniche per il film Deserto rosso: mentre l'abituale compositore di questo regista, Giovanni Fusco, si limita a comporre un vocalizzo astratto per voce femminile sulla sequenza del sogno, Antonioni chiede a Gelmetti delle presenze sonore che in funzione espressiva continuino il peso, nella vicenda, dei rumori delle macchine, del vibrare delle raffinerie, dei sibili del vapore, dei motori delle navi all'ancora. Dopo questa prima esperienza, Gelmetti compone partiture originali per documentari e per film d'avanguardia o comunque di particolare impegno creativo, sperimentando procedimenti musicali nettamente distanti dagli schemi usuali dei commenti di tipo commerciale. Tale disposizione (concretatasi per la prima volta, per quanto riguarda i lungometraggi, in A mosca cieca, 1966, del debuttante R. Scavolini) si afferma specialmente in: Sotto il segno dello scorpione (1968, dei fratelli Taviani: musica basata su “pedali” ossessionanti ed esplosioni di suoni percussivi); Sierra Maestra (1969, di A. Giannarelli: fasci di suoni metallici, rombanti, veri suoni-rumori intercalati da cascate di suoni puri a cadenze irregolari, di tipico sound elettronico); Il sasso in bocca (1970, di G. Ferrara: drammatiche affermazioni ritmiche); Non ho tempo (1973, di A. Giannarelli: riferimenti sottilmente ironici); E di Shaul e dei sicari sulle vie di Damasco (1973, di G. Toti). Per Cento giorni a Palermo (1984, di G. Ferrara) Gelmetti viene a contrasto con il regista, che rimonta le musiche a modo suo, ma il puntillinismo sonoro usato per i momenti drammatici resta funzionalissimo. In seguito, oltre ai documentari e ai lavori per la TV, cura le colonne sonore di Angelus Novus (1986, di P. Misuraca: recupero di pagine di Beethoven e di Mozart, manipolate con interventi originali d'archi e musica elettronica); Pagana (1988, di Sarenco); Bachi da seta (1989, di G. Visentin). Gelmetti è stato anche un teorico della musica per film, sulla quale ha scritto pagine acute, ed ha svolto attività didattica.
Ada Gentile (Ada Mastroviti née Gentile):
GENTILE ADA. Avezzano (L'Aquila), '47. Allievo di Ravinale e di Petrassii al Conservatorio di Roma, dove insegna.
Autore di Bagamoyo per 8 strumenti, '83; Trio per flauto, clarinetto e corno; Quick moments per flauto e chitarra; Criptografia per viola e orchestra; Pour Pierre-Yves per flauto; Flash back per flauto e violoncello; Un silenzio ordinato per complesso, '85; Why not? per orchestra; Concertante per flauto, chitarra e orchestra; due quartetti; Come dal nulla per clarinetto e pianoforte; Insight per 2 violini e viola; Solo in trio per clarinetto, violino, viola; Ad imis per corno; Sì milasity per clarinetto, violino, viola e violoncello; Quintettino per fiati, '90; Tryng per pianoforte; Appena accennato per pianoforte, '91; Amall points per flauto, oboe, clarinetto, pianoforte, violino, viola e violoncello; Azzurri i selciati dell'alba per complesso; musica per organo e fiati; Paesaggi della mente per quartetto d'archi e voce; Together per clarinetto e violoncello.
Leone Gentili (pseud. "Crinado"):
GENTILI, LEONE, 1905-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig3105li/))
Bernard Gérard (Bernard Joseph Gérard, pseud. "Sam Ollivier"):
GERARD, Bernard - Musicista francese attivo per la televisione (molto note le serie Un mystère par jour e Lucien Leuwen) e per il cinema (corti e lungometraggi). Prezioso collaboratore (arrangiatore e orchestratore) di François de Roubaix. Spiccano nella sua filmografia, che riguarda tutti i generi, ma soprattutto commedie e film d'azione, i titoli: Un idiot à Paris (l964, di S. Korber); Les baratineurs (1965, di F. Rigaud); Ne nous fâchons pas (Licenza di esplodere, 1966, di G. Lautner); Le deuxième souffle (Tutte le ore feriscono, l'ultima uccide!, 1966, di J.P. Melville: commento asciutto, con interventi parchi e “duri”); La grande Sauterelle (Femmina, 1967, di G. Lautner); Johnny Banco (1967, di Y. Allégret: in collaborazione con Michel Magne); Le fou du labo IV (Il morto mettetemelo sul conto, 1968, di J. Besnard); Z (Z, L'orgia del potere, 1969, di C. Costa-Gavras: orchestrazione della musica di Mikis Theodorakis, allora prigioniero politico in Grecia, pervenuta in Francia allo stato di abbozzo); Road to Salina (Quando il sole scotta, 1970, di G. Lautner); La mafia du plaisir (Nel paradiso del piacere, 1970, di J.C. Roy); L'insolent (L'insolente – Il più crudele tra quelli della mala, 1972, di J.C. Roy: in collaborazione con Max Gazzola); Ce Cher Victor (1975, di R. Davis); Gloria (1977, di C. Autant-Lara).
Roberto Gerhard (pseud. "Juan Serrallonga"):
[...] with the notable exception of Roberto Gerhard few other composers were granted access to the facilities [of the BBC Radiophonic Workshop]. [...]
- (via archive.org (https://archive.org/details/electroniccomput0000mann/))
GERHARD, Roberto - Nato a Valls (Tarragona) il 21 settembre 1896, morto nel 1970. Musicista spagnolo di origine franco-svizzera e di derivazione dodecafonica (ha studiato con Schönberg ed è stato poi il portabandiera della dodecafonia in Spagna). Lasciato il suo paese nel 1938 si è stabilito in Inghilterra, dove ha continuato nella composizione di opere teatrali, balletti, cantate, musiche per piccoli complessi, soprattutto per la scena e per la radio. Dalla sua scarsa partecipazione alle sorti del cinema inglese si staccano le partiture per The Secret People (1952, di T. Dickinson: ottima musica per una scena di balletto) e per This Sporting Life (Io sono un campione, 1963, di L. Anderson: musica rigorosamente seriale, con interventi appena accennati e volutamente privi di sviluppi consolatori).
Jacques Gervais (Jacques François Gervais):
(https://i.imgur.com/L54dYaZ.png)
PHOTO V°: JEAN-MARIE TROUDE
[no bio, just a photo.]
Raffaele Gervasio (pseud. "Morego"):
Gervasio Raffaele, musicista nato a Bari nel 1910. Diploma viol. e composiz.
Roma, viale Parioli 55.
Vinse nel primo anno di frequenza il premio per il migliore allievo al corso di perfez. per composiz., tenuto da Respighi. Come capo sincronizz. della INCOM ha musicato, con musiche orig. e di repertorio, più di 200 cortometraggi. Ha scritto il commento musicale per parecchi film, e musica di scena per vari spett. di prosa. Da qualche anno si occupa anche di attiv. radiof., soprattutto come elab., trascrittore ed orchestratore. Antore di fantasie per l'orch. Petralia, ha creato con E. Anton, la Terza pag. radiofonica. Alcune di queste trasm. sono state registrate per la B. B. C. La sua attiv. principio è quella di musicista sinfonico
GERVASIO Raffaele, musicista, nato a Bari nel 1910.
Roma, via Asmara 33.
Diplomato in violino e composizione. Ha studiato sotto la guida di O. Respighi. Autore di numerosi composizioni sinfoniche e da camera. Direttore musicale e capo sincronizzazioni degli stabilimenti INCOM. Ha musicato con musiche originali e di repertorio numerosi cortometraggi; autore del commenti musicale di vari film e della musica di scena per vari spettacoli teatrali tra cui «Carosello Napoletano». Dal 1945 ha composto musica radiofonica per opoere di Anton, Meneghini, Angioletti e Perrini, alcune delle quali registrate per la British Broadcasting Corporation (BBC). Si occupa di trascrizione e orchestrazione.
Gervasio, Raffaele *26. 7. 1910 Bari, Italien.
Studien: Konservatorium Bari und Pesaro, Akademie Rom (Respighi).
Komponist und Musikpädagog. 1940-1960 musikalisch Direktor des "Incom", lehrt seit 1967 am Konservatorium Bari.
Werke: Ballett "Viaggio di nozze"; 2 Sinfonien unter anderem Orchesterwerke, Violinkonzert (Preis), Kammermusik, Chormusik, Filmmusik, BüMusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
GERVASIO, Raffaele - Nato a Bari il 26 luglio 1910. Ha studiato sotto la guida, fra l'altro di Ottorino Respighi. Compositore di sinfonie, concerti, pezzi d'occasione, interventi per la raido e per la TV. Collabora per il cinema a partire dal 1941, con partiture per film avventurosi; poi nel dopoguerra è scritturato dalla società produttrice del cinegiornale «La Settimana Incom», di cui cura la parte musicale. Tra i suoi lavori per lo schermo sono da citare la gradevole partitura di L'incantanevole nemica (1954, di C. Gora) e l'ottimo lavoro di saldatura e adattamento di motivi partenopei nel film-rivista Carosello napoletano (1954, di E. Giannini).
1927. Gervasio, Raffaele. Composer. b. July 26, 1910, Bari.
[contains a filmography.]
- (via archive.org (https://archive.org/details/italianfilmwhosw0000stew/))
GERVASIO RAFFAELE. Torre a Mare (Bari), 26.7.1910 + 4.7'94, Roma. Studiò a Bari, Pesaro, Firenze, Roma con Frazzi e Respighi. Insegnante a Bari di composizione; direttore al Conservatorio di Matera.
Autore di Ballata italiana, rapsodia radiofonica; Sinfonia degli stali per orchestra '55; musica per film; Logos, concerto per violino, chitarra e archi; musica per arpa e strumenti diversi; Sonatina marzuale 'La Barbarella' per violino e orchestra; Tema e variazioni per trio, '34; Sonata per violino e pianoforte '35; Cantata sul tavoliere di Puglia, '36; 2 sinfonie; Viaggio di nozze, balletto '58; Il filo rosso per 5 fiati; Dialoghi della bilancia per 2 violini; Natus est Emmanuel per ottoni e organo; Parola di Geo per voce, 2 violini e pianoforte; Concerto da camera per 11 strumenti; Invenzione d'aprile per flauto, viola e chitarra; Quintetto per 5 strumenti; musica per pianoforte; musica per arpa; Triplo Concerto per archi con G. Gigante.
GERVASIO, Raffaele - Nato a Bari il 26 luglio 1910. Ha studiato musica sotto la guida, fra l'altro, di Ottorino Respighi. Compositore di sinfonie, concerti, pezzi d'occasione, interventi per la radio e per la TV. Collabora per il cinema a partire dal 1941, con partiture per commedie e film avventurosi, come Luna di miele (1941, di G. Gentilomo); I pirati della Malesia (1941, di E. Guazzoni); I nostri sogni (1943, di V. Cottafavi). Nel dopoguerra è scritturato dalla società produttrice del cinegiornale “La Settimana Incom”, di cui cura la parte musicale. Tra i suoi lavori per lungometraggi sono da citare l'ottimo lavoro di saldatura e adattamento di motivi partenopei nel film-rivista Carosello napoletano (1953, di E. Giannini), la gradevole partitura di L'incantevole nemica (1953, di C. Gora) e quella brillante, con parafrasi scherzose, di Piccola posta (1955, di S. Vanzina/Steno).
Michel Gésina (Dominique Gésina):
(https://i.imgur.com/nCE2dZS.png)
[no bio, just a photo.]
DOMINIQUE GESINA
Naissance 19.07.1926
Departement D'Alger (91352), Algerie (DZA)
Décès 27.10.2014
Nice (06088), France (FRA)
- (via matchID (https://deces.matchid.io/id/Qr0NEjp25BLo))
Benedetto Ghiglia:
GHIGLIA, Benedetto - Nato a Fiesole il 27 dicembre 1921. Compositore sensibile ai nuovi sviluppi della musica, dopo la stagione influenzata dalla dodecafonia, compone molte musiche di scena per spettacoli teatrali (anche per la Scala). Per il cinema presta la sua opera intelligente a una grande quantità di documentari, in cui applica le sue concezioni basate sulla chiarezza e sulla semplicità del discorso, a brevi frasi sempre precise e secche. Meno interessanti le sue partiture per lungometraggi (a partire dal 1965), che annoverano anche diversi titoli dozzinali, come western-spaghetti della serie dei dollari e dei gringos, film di spionaggio e avventure d'imitazione, e simili. Tra le sue fatiche più valide quelle per: La bugiarda (1964, di L. Comencini); La notte pazza del conigliaccio (1967, di A. Angeli); Il gatto selvaggio (1968, di A. Frezza); Salvare la faccia (1968, di R. Brazzi: musica di tipo beat ma anche delicati motivi nella spinetta, accompagnata dalla chitarra-basso); I tulipani di Harleem (1968, di F. Brusati: gioco galante tra flauti e legni); Porcile (1969, di P.P. Pasolini: citazioni di motivi e canzonacce, su precise indicazioni del regista); I dannati della terra (1970, di V. Orsini); I Corbari (1970, di V. Orsini: ritmi beat sotto un unico tema variato); L'amore coniugale (1970, di D. Maraini); San Michele aveva un gallo (1972, ma uscito nel 1973, dei fratelli Taviani: commento imperniato su una canzoncina infantile, nonché ricuperi di brani operistici e sinfonici); Trevico-Torino. Viaggio nel Fiat-Nam (1972, di E. Scola); Memoriale dalle rovine (1973, di A. Frezza); Dimenticare Venezia (1979, di C. Brusati: classicheggiante, con interventi di Mercadante, Gluck e Pergolesi); Succede un quarantotto,1993, di N. Caracciolo e V. Marino). Interessanti anche i contributi di Ghiglia a film per la televisione (come i film di montaggio di N. Caracciolo: I 600 giorni di Salò,1991, e Galeazzo Ciano; una tragedia fascista, 1997), per trasmissioni televisive varie e per la scena.
Angelo Giacomazzi (pseud. "Angelo Giaco", "Kandar"):
A biography of Giacomazzi can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1971/07/angelo-giacomazzi.html).
Ugo Giacomozzi:
GIACOMOZZI, Ugo - Musicista italiano. Per il cinema ha svolto un'intensa attività come direttore d'orchestra in sede di incisione delle partiture composte da altri. In proprio ha composto la musica – di rincalzo, assieme ad altri – di pochi film, come: La fanciulla dell'altro mondo (1934, di G. Righelli: musica in collaborazione con Odoardo Spadaro); Jeanne Doré (1938, di M. Bonnard: musica in collaborazione con G. Mulé e E. Carabella); Cristo proibito (1950, di C. Malaparte: musica in collaborazione con lo stesso regista).
Riccardo Giagni (pseud. "Guitrase"):
GIAGNI, Riccardo - Musicista italiano. Laureato in filosofia, studi musicali (armonia e composizione) a L'Aquila con il Maestro Paolo Renosto. Compositore e produttore di musica leggera, didatta (Università di Lecce), curatore di trasmissioni radiofoniche. Per il cinema usa mescolare musiche preesistenti a brani composti per l'occasione. Dopo alcune colonne sonore per documentari, ha debuttato nel lungometraggio nel 1984 con Magic Moments (di L. Odorisio) utilizzando il gruppo rock Matia Bazar, proseguendo poi – tra l'altro – con Voglia di rock (1989, di M. Costa); L'ora di religione – Il sorriso di mia madre (2002, di M. Bellocchio: pochi interventi originali, uso puntuale e “drammaturgico” di materiali di repertorio, con un uso diegetico di un canto armeno che diventa poi “di commento”); Buongiorno, notte (2003, di M. Bellocchio: a parte gli sfondi elettronici, ancora valido soprattutto per il coordinamento significativo di musiche classiche e canti popolari). Giagni lavora anche per i video.
Maurizio Giammarco:
GIAMMARCO, Maurizio - Nato a Pavia il 17 ottobre 1952. Jazzista italiano, suonatore di sax. Risente l'influenza di Giorgio Gaslini ma sviluppa a modo suo un jazz moderno libero da soggezioni, esibendosi in concerti insieme al percussionista Andrea Centazzo, al trombonista Giancarlo Schiaffini, allo stesso Gaslini e ad altri, con cui incide anche dischi. Poche le fatiche per il cinema: Nudo di donna (1981, di N. Manfredi: in collaborazione con Roberto Gatto, coacervo di suoni diversi, dal jazz al rock, con cellule ritmiche ripetute, “ostinati” nei bassi e percussioni, e una specie di corale stralunato per i momenti “magici” del film); Gioco d'azzardo (1982, di C. Th Torrini); Fuori dal giorno (1982, di P. Bologna).
Mike Gibbs (Michael Clement Gibbs):
GIBBS, Michael - Nato a Salisbury (Rhodesia del Sud) il 25 settembre 1937. Attivo per il cinema inglese e per la TV. Tra le sue partiture per film quelle per: Secrets (Sensi proibiti, 1971, di P. Saville), Intimate reflections (1974), Heat (Black Jack, 1986, di R.M. Richards), Housekeeping (1978), Riding the Edge (1989), Iron & Silk (1991), Whore (Whore – Puttana, 1990, di K. Russell), Being Human (Le cinque vite di Hector, 1993, di B. Forsyth).
Kurt Giese:
NOTE: Non-composer, full/real name unknown.
Credited as drummer for an LP on Delfina (https://librarymusicthemes.com/index.php?topic=855.0), playing with Brotherhood of Swing.
(https://i.imgur.com/kCHCjRV.png)
Kurt Giese
Born Berlin, March 1936. Visited the Berlin Conservatory from 1955 to '58 and from 1962 to '65 studying percussion and tymps with Hans Hansen, of the Berlin Philharmonic. Won 3rd prize at the Düsseldorf Jazz Festival 1958. Played with the bands of Fred Spannuth, Poldi Klein, Johannes Rediske, the Eddie de Latte Big Band. Followed Joe Harris into the SFB dance orchestra. As an extra percussionist, concerts with the Berlin Philharmonic in Berlin, Milan, and USA with Herbert von Karajan, Eugen Jochum and Lucas Foss. On and off with the "Spree-City-Stompers"; at the Berlin Jazz Galerie with Leo Wright, Carmell Jones, Hans Koller and Dave Pike, etc. Went to Hamburg in '68 as a freelance to record for the NDR with the Radio Big Band and the NDR-Hannover Orchestra. Also did commercial recordings, mainly at the Polydor studios and for Miller International with Rob Pronk, Kay Warner, Bert Kaempfert, etc. With Rolf Kühn for the Hamburg edition of "Sweet Charity" and "Chicago". Played the Jazz House with Michael Naura and Dusco Goycovich and Peter Herbolzheimer's sextet.
In 1979 I signed a contract with the "NDR Tanz Orchester".
I prefer PAISTE CYMBALS because they have that pureness of SOUND that lets you hear everything you play. The FLATRIDE is a wonder. It never overplays, it records beautifully. Want your "sock" CYMBALS to be heard? Try the PAISTE SOUND EDGE!
PAISE SET:
A 14" Sound Edge H-H, FO 602
B 18" Medium, 2002
C 20" Ride, 2002
D 16" Thin Crash, FO 602
EXTRAS:
14" Heavy H-H, FO 602
20" Sizzle Medium Flatride, FO 602
DRUMS:
Rogers, Gretsch
HEADS:
Gretsch Permatone; Remo Ambassador
STICKS:
Tama 7A
(https://i.imgur.com/4XJkbnH.png)
- (via archive.org (https://archive.org/details/profilesofintern00nott/))
Heinz Gietz (pseud. "Addi Siegler", "Benjamin Stern", "Berthold Stoegner", "Dave Cumberland", "Gregor Steinschmaetzer", "H. G. Aries", "Robert Shauberg", "Wilson O'Hayre"):
Komponist Textdichter Gietz, Heinz, 5038 Rhodenkirchen, Lisztstraße 20
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Gietz, Heinz *31. 3. 1924 Frankfurt/Main.
Studium: Konservatorium Frankfurt.
Komponist, Pianist und Arrangeur. Zunächst in Jazzgruppen, Tanz- und Unterhaltungsorchester. 1952 bei Polydor, 1959 Produzent dort, 1961 bei Electrola, gründete 1966 eigene Schallplattenfirma Cornet.
Werke: Filmmusik, Tanzmusik, Schlager.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Verstorbene Mitglieder
[...]
GIETZ, Heinz † 24.12.1989
Köln
Don Gillis (Donald E. Gillis, Jr.):
[entry has photo]
DON GILLIS, born in Cameron, Missouri in 1912, graduated from the Christian University in Texas, and later became band director there. In 1944 he was appointed program arranger by NBC in New York. Mr. Gillis has composed eight scores for orchestra, six string quartets, a cantata and piano music. His orchestral works have been performed by every major symphony in the United States and Europe.
Gordon Giltrap (Gordon Leonard Giltrap):
(https://i.imgur.com/wFjyVzv.png)
GORDON GILTRAP
Gordon's first musical experience was with an amateur band and by 1966 regular appearances at London's 'Les Cousins' in Greek Street. In 1968 and 1969 he made his first two albums and then, with Don Partridge formed 'Accolade'. In 1971 he released 'A Testament of Time' (MCA) and two years later 'Giltrap' (Phonogram). Gordon then decided to concentrate on a new direction as a composer and guitarist which led, in 1976, to the release of 'Visionary' (Electric Records). The concerts following 'Visionary' were enthusiastically received by the public and the media, and this success was consolidated by 'Perilous Journey' (Electric Records) released in 1977. 'Heartsong' (from this album) became Gordons first Top 20 single. With the release of 'Fear of the Dark' (Electric Records) there is no doubt that Gordon has become accepted internationally as an important and innovative figure in contemporary rock music.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/wp1zbcs.png)
GORDON GILTRAP
Gordon began his musical career at London's 'Les Cousins' in Greek Street in the late sixties. His talent was soon recognised and he recorded five albums between 1968 and 1973, including one with the group Accolade he formed with Don Partridge. He then decided to concentrate on a new direction as a composer and guitarist, which led in 1976 to the release of Visionary . The album received public and critical acclaim and his success was consolidated by Perilous Journey. Heartsong (from this album) became Gordon's first Top 20 single. With the release of Fear of the Dark and extremely successful tours wih his band, Gordon has become internationally accepted as an important and innovative figure in contemporary rock music. In 1981 he recorded Peacock Party , an album based on Alan Aldridge's best selling book of the same title. He is currently working on a new album and is in constant demand as a composer, particularly for television.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/L7dOOGu.png)
GORDON GILTRAP
Gordon began his musical career at London's 'Les Cousins' in Greek Street. His talent was recognized and he recorded five albums between 1968 and 1973. He then concentrated on a new direction as a composer and guitarist which led in 1976 to the release of Visionary. The album received public and critical acclaim and success was consolidated by Perilous Journey. Heartsong became Gordon's first Top 20 single and was nominated for an Ivor Novello award. With Fear of the Dark and successful tours with his band, Gordon became internationally accepted as an innovative figure in rock music. In 1980 his orchestrated piece The Eye of the Wind, commissioned by Capital Radio, was performed by the LPO. In 1981 he recorded Peacock Party, based on Alan Aldridge's best seller. Gordon has been commissioned to do the music for BBC1's series Hold the Back Page, Yorkshire Television's Benny and numerous jingles. He is writing film music for BBC2 and is releasing his first solo acoustic album shortly.
- (by kind courtesy of Moon Monkey - thanks!)
Marcello Gigante (pseud. "Shobeki"):
GIGANTE, Marcello - Nato a Roma il 23 luglio 1910. Autore di canzoni. Vince il I° Festival della Canzone Napoletana del 1952 (patrocinata dalla RAI) con Desiderio 'e sole. Compone commenti musicali per film commerciali – per lo più commedie e western autarchici – negli anni '60 e '70. Qualche titolo indicativo: Mafia alla sbarra (1962, di O. Palella); La ballata dei mariti (1963, di F. Taglioni); Sexy Show, (Carosello di notte, 1963, di E. Balletti); Un marito in condominio (1963, di A. Dorigo); La vedovella (1964, di S. Siano); Wanted Johnny Texas (1967, di E. Salvi); Dio li crea, io li ammazzo (1968, di P. Bianchini); Confessioni segrete di un convento di clausura (1972, di P. Solvay). Gigante ha curato la musica dell'edizione italiana di alcuni film stranieri.
Marcello Giombini (pseud. "Pluto Kennedy", "Pentigi"):
GIOMBINI, Marcello - Musicista di impostazione classica, ha firmato diverse composizioni per le sale da concerto, per il teatro e la televisione; alla Piccola Scala è stata rappresentata nel '68 una sua «Messa Alleluja» di carattere «beat» che ha suscitato pareri discordi.
Al cinema si è accostato nel 1961 con film di consumo, affrontando lo stesso anno (con America di notte, di G. Scotese) un genere al quale rimane fedele per molto tempo, quello del film-réportage sui divertimenti nel mondo, poi sfociato più direttamente nel filone dei «film-sexy». Viene poi anche la volta degli westerns all'italiana, dei derivati di James Bond, dei film d'azione in generale. I suoi risultati non escono in genere dalla solidità di un mestiere ben padroneggiato; in qualche occasione viene alla luce una maggior partecipazione. Per esempio: Il mondo sulle spiagge (1962, di Renzo Rossellini: ottimo brano jazz, purtroppo sfruttato a proposito e a sproposito); La marcia su Roma (1964, di D. Risi: gustoso commento che ironizza sugli inni fascisti); Il piacere e il mistero (1967, di E. Pieri: sviluppi autonomi di materiale esotico); Ballata da un miliardo (1967, di G. Puccini); Capriccio all'italiana (1968, episodio «La bambinaia» di M. Monicelli); L'ossessa (1974, di M. Gariazzo).
GIOMBINI, Marcello - Nato a Roma l'8 luglio 1928. Musicista di impostazione classica, ha firmato diverse composizioni per le sale da concerto, per il teatro e la televisione; alla Piccola Scala è stata rappresentata nel '68 una sua “Messa Alleluja” di carattere beat che ha suscitato pareri discordi. Al cinema si è accostato nel 1961 con film di consumo – di gladiatori, deità mitologiche, notti orientali, parodie sugli agenti segreti, sui re della giungla e simili – affrontando lo stesso anno (con America di notte, di G.M. Scotese) un genere al quale rimase fedele per molto tempo, quello del film-réportage sui divertimenti nel mondo, poi sfociato più direttamente nel filone dei “film sexy”. Viene poi anche la volta dei cosiddetti western-spaghetti (serie di Sabata e di Garringo), dei derivati di James Bond, dei film d'azione in generale. I suoi risultati (piuttosto numerosi: in certi periodi – anni '60 – anche una decina di partiture cinematografiche all'anno) non escono in genere dalla solidità di un mestiere ben padroneggiato. In qualche occasione viene alla luce una maggior partecipazione. Per esempio: Il mondo sulle spiagge (1962, di Renzo Rossellini: ottimo brano jazz, purtroppo sfruttato a proposito e a sproposito); La marcia su Roma (1962, di D. Risi: gustoso commento che ironizza sugli inni fascisti); Il piacere e il mistero (1964, di E. Peri: sviluppi autonomi di materiale esotico); L'idea fissa (1964, di G. Puccini e M. Guerrini/W. James); Ballata da un miliardo (1966, di G. Puccini/J. Mulligan: in collaborazione con Luis Bacalov); Capriccio all'italiana (1967, episodio La bambinaia di M. Monicelli); Il fiore dai petali d'acciaio (1973, di G. Piccioli); L'ossessa (1974, di M. Gariazzo) La compagna di viaggio (1980, di F. Baldi); Cannibali domani (1983, di G.M. Scotese); Scoop (1986, di E. Mazzocchini).
Richard Gilks (Richard Warren Gilks):
(https://i.imgur.com/98Y5X8W.png)
Richard Gilks
Richard was born and raised in New York and began playing in bands while at college alongside other local acts such as Billy Joel. His first original song was published in 1968 by Aaron Schroeder. In 1969 he formed his own band, Merlin, which included Jimmy Haslip (Yellow Jackets) and Jan Uvena (Alice Cooper).
In 1974 Richard moved to L.A., working for various song publishers and getting his first television work in 1976 with ABC. He continued to work in television, often collaborating with his friend and sometime co-producer Ron Fair (RCA). He has since branched out into commercials and independent films and in 1989 made his first trip to Britain to record original theme music for Channel 4's Road Dreams. He has been writing successfully for the KPM library since 1977.
- (by kind courtesy of Moon Monkey - thanks!)
Bill Gilmore (William Gilmore):
(https://i.imgur.com/O6fbxFq.png)
BILL GILMORE (tromba e trombone)
Nato a Detroit (Michigan - U.S.A.) 26-1-1929.
Ha suonato con Johnny Palmer, Woody Herman, Gene Krupa. In Italia: Trovajoli, Piccioni, Luttazzi, Umiliani, Ferrio e con gli «Americans in Rome», nel Complesso di Billy Smith. Ha partecipato a numerosi festival e concerti jazz (S. Remo, Comblain-la-Tour, ecc.).
Ha inciso vari dischi. Considera la musica un hobby, essendo pittore-arredatore. Possiede una buona cultura europeistica-classica
(Notare la sua interpretazione di «When your lover has gone»).
Raymond Gimenes (Raymond François Gimenes):
(https://i.imgur.com/fXfdS8T.png)
Photos: L. Tacheban - A. Marcagne - JPDB - J.J. Pussiau
[no bio, just a photo.]
(https://i.imgur.com/XmUR1PV.png)
(https://i.imgur.com/V4tfCQe.png)
Photos intérieures: Jean-Pierre Leloir
[no bio, just photos.]
Henri Giordano (Henri Jean-Marie Giordano, pseud. "Cyrille Kazaqh"):
(https://i.imgur.com/2dksjcY.png)
Photos: ALAIN SPERIUS
[no bio, just a photo.]
HENRI JEAN MARIE GIORDANO
Naissance 29.04.1949
Alger (99352), Algerie (DZA)
Décès 06.08.2018
Paris 10e Arrondissement (75110), France (FRA)
- (via matchID (https://deces.matchid.io/id/ChSpqF7rvSJ4))
Jacky Giordano (Jacky Jose Giordano, pseud. "Joachim Sherylee", "José Pharos", "Nodaro"):
(https://i.imgur.com/eeGedNQ.png)
About the arranger...
J.J. Giordano received his formal musical training at the Conservataux[sic] National de Musique in Paris.
As a conductor and arranger, Monsieur Giordano has appeared in most of the capitals of Europe and is well known for his commercial recordings in France.
The son of Janvier Giordano, a teacher at the conservatory, the author was born in Algiers and has spent all of his 28 years pursuing a musical career.
The publisher welcomes J.J. and his un-real jazz style to our roster of composer-arrangers.
We are certain the musicians in America will appreciate this new creative talent.
- The Publisher
JACKY JOSE GIORDANO
Naissance 08.03.1945
Alger (99352), Algerie (DZA)
Décès 26.12.2012
Quincy-sous-Sénart (91514), France (FRA)
- (via matchID (https://deces.matchid.io/id/Gp_lgYkmPszm))
Caesar Giovannini:
[entry has photo]
CAESAR GIOVANNINI was born in Chicago, Illinois, on February 26, 1925, and began piano studies at the age of five at the Chicago Conservatory of Music. In 1938, he was the winner of the Chicago Conservatory Silver Medal in its annual piano competition. He joined the Navy in 1943 where he was a soloist for the Official United States Navy Band in Washington, D.C. Mr. Giovannini resumed his studies at the Chicago Conservatory after discharge from the Navy in 1946, and graduated with a Master's degree in Composition in 1948. He joined the National Broadcasting Company Staff Orchestra as pianist n 1949, appearing as soloist in various radio and television shows. During the years of 1956 and 1957, he was the Music Director of the "Kukla, Fran and Ollie" television show, after which he joined the American Broadcasting Company Staff Orchestra in 1958. Mr. Giovannini then moved to Los Angeles, Californina, in 1959, and is currently active as a free-lance pianist and composer for motion picture and television films.
Claudio Gizzi (pseud. "Posit"):
GIZZI, Claudio - Nato a Roma il 16 maggio 1946. Studia pianoforte, composizione e musica sacra. Pianista classico, è incaricato da Luchino Visconti di suonare il piano in alcuni momenti di Morte a Venezia (1971) e poi di compiere trascrizioni e arrangiamenti di musiche wagneriane per Ludwig (1973). Roman Polanski gli chiede arrangiamenti moderni di musiche di Mozart e Schubert per What? (Che?, 1972) e lo presenta ad Andy Warhol, che gli affida la musica di Flesh for Frankenstein (Il mostro è in tavola… barone Frankenstein, 1974, di P. Morissey e A. Margheriti/A.M. Dawson: uso dell'orchestra dell'Unione Musicisti Italiani con interventi volutamente “seriosi”, di stile brahmsiano e mahleriano, anche nei momenti ironici) e di Blood for Dracula (Dracula cerca sangue di vergine… e morì di sete!!!, 1974, di A. Margheriti/A.M: Dawson: musica che arieggia l'avanguardia del primo Novecento). Cura inoltre l'arrangiamento di una canzone tedesca per Il portiere di notte (1974, di L. Cavani). Successivamente compone musica per la pubblicità e musica leggera, incidendo dischi pop in Francia con lo pseudonimo di Pierre Posit.
Lucien Ginsburg (pseud. "Julien Gris", "Serge Gainsbourg"):
NOTE:
A world-famous French singer and songwriter who should need no introduction.
His library output is very modest; he is listed as co-writer (with Robert Viger) for a single cue on a De Wolfe 10" (https://librarymusicthemes.com/index.php?topic=155.0). The cue, "Valse de l'aurevoir", is an instrumental arrangement of a song which I think was originally written for the François Reichenbach documentary "Week-end en mer" (1962), sung by Juliette Gréco.
SERGE GAINSBOURG
b. Paris, France
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
LUCIEN GINSBURG DIT SERGE GAINSBOURG
Naissance 02.04.1928
Paris 4e Arrondissement (75104), France (FRA)
Décès 02.03.1991
Paris 7e Arrondissement (75107), France (FRA)
- (via matchID (https://deces.matchid.io/id/lIWxXJIZO9Gn))
GAINSBOURG, Serge – pseudonimo di Lucien Ginzburg - Nato a Parigi il 2 aprile 1928 da immigrati russi, morto a Parigi il 2 marzo 1991. Cantautore e attore, play-boy dalla vita sentimentale movimentata, noto per le sue canzoni “audaci” e per aver introdotto in questa produzione il nuovo linguaggio denominato franglais (francese + inglese). Padre dell'attrice Charlotte Gainsbourg. Per il cinema compose dal 1959 canzoni e musiche di tipo scanzonato, in linea con il suo discusso personaggio, ma anche con esito ironico e agretto – e concessioni romantiche – secondo le vicende che è stato chiamato a commentare. Tenendo presente che molte sue partiture sono firmate insieme a Michel Colombier prima e a Jean-Claude Vannier poi, da citare, in questo ambito: L'eau à la bouche (Le gattine, 1959, di J. Doniol-Valcroze), quattro episodi di Les plus belles escroqueries du monde (Le più belle truffe del mondo, 1963, di registi diversi), L'horizon (Orizzonte rosso, 1966, di J. Rouffio); Le jardinier d'Argenteuil (Un ombrello pieno di soldi, 1966, di J. P. Le Chanois: toccata iniziale molto brillante, poi uso alternato di un valzer sentimentale e di un motivo scherzoso); Si j'étais un espion (1967, di B. Blier): Manon '70 (idem, 1968, di J. Aurel: adattamento di musiche di Vivaldi); L'une et l'autre (1967, di R. Allio), Les chemins de Katmandu (Katmandu, 1969, di A. Cayatte); La Horse (Il clan degli uomini violenti, 1970, di P. Granier-Deferre); Sex shop (Quello che già conosci del sesso e non prendi più sul serio, 1972, di C. Berri), Projéction privée (Le amanti, 1973, di F. Leterrier); Je t'aime moi non plus (1976, di S. Gainsbourg: anche regista e attore); Madame Claude (1977, di J. Jaecklin); Good-bye Emmanuelle (1977, di F. Leterrier). Poi Gainsbourg compose, tra le fatiche successive, quelle per Je vous aime (1980, di C. Berri); Equateur (1983, anche regia); Tenue de soirée (Lui portava i tacchi a spillo, 1986, di B. Blier: musica fortemente sarcastica); Coeurs croisés di S. de Mareuil (1987, in collaborazione con Alain Bashung).
Dudley Glass:
GLASS, DUDLEY.
Scriptwriter. b. Adelaide, Australia, 24th September, 1899. First connected with radio at Savoy Hill. Address: Savage Club, 1, Carlton House Terrace, London, S.W.1. Phone: Whitehall 5264. Bachelor of Arts, Melbourne University. Composer of West End Musical Plays such as "The Beloved Vagabond," and lyrics for "A Night In Venice," both of which were relayed from theatre by B.B.C. During war gave over 1,000 lecture-concerts for troops. Lectures extensively for the L.C.C. Is known for his broadcasts overseas of talks on London music and theatres. Is best known for his presentation and writing of gramosaics "New York-A City in Sound," "Musical Comedy Map," etc. Has travelled three times round world gathering material for books and articles. Is particularly interested in the broadcasting of Grand Opera.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Giass, Dudley (b Adelaide, 24 Sept. 1899; d Melbourne, Nov. 1981), composer, author. After studying arts at the University of Melbourne Conservatorium and composition with Fritz Hart at the Albert Street Conservatorium, he wrote Australia Land of Ours in 1925, which was adopted in Victoria and NSW as an anthem for schoolchildren. He visited New York, then settled in London, his The Beloved Vagabond (1927, Adrian Ross) having a huge success there in 1927, and being staged in Australia with Gladys Moncrieff in 1934. From 1929 he wrote revues, including This and That, Colour Blind, Eldorado and The Toymaker of Nürnberg (1930). He set 100 songs, particularly songs for children, including Hilaire Belloc's Bad Child' Book of Beasts, Edward Lear's Nonsense Songs (London: F. Warne, 1933) and Beatrix Potter's The Songs of Peter Rabbit (Lonodn: F. Warne, 1951).
In the war years he gave lecture-recitals to the troops stationed in the USA; after the war he made a lecture tour of the USA (1946) and broadcast on art and music for the BBC and (from 1947) for the ABC. His Drake of England (1954) was broadcast on the BBC and the ABC, but his style of music-theatre had become passé, and he turned to lecturing and writing for London papers.
- (via archive.org (https://archive.org/details/dictionaryofaust0000unse_w7r3/))
Nick Glennie-Smith (Nicholas Hugh Glennie-Smith):
KPM COMPOSERS
[...]
(https://i.imgur.com/pYyvoiO.png)
NICK GLENNIE-SMITH
Born in 1951, Nick's first involvement in music was as a chorister at New College, Oxford. From 1969 he studied for two years at Trinity College of Music in Lonodn. While studying he became interested in recording and later worked as a musician/engineer at Riverside Recordings, London. In 1974 he moved to Yorkshire to play with a group called 'Wally' making two albums for Atlantic Records. On his return to London in 1977 he resumed work at Riverside and since that time has recorded albums with Cliff Richard, Leo Sayer and Barbara Dickson amongst others. For the past two years Nick has concentrated on production (Q Tips, Johnny Logan, Ginger etc.) and writing jingles (Ford Escord[sic], Bisto, Danish Bacon, Calor Gas, McDonalds (arr) etc., as well as playing keyboards for many artists including David Essex, Randy Edelman, Nik Kershaw and Tina Turner.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/LxEhGBj.png)
NICK GLENNIE-SMITH
Born in 1951, Nick's first involvement in music was as a chorister at New College, Oxford. From 1969 he studied for two years at Trinity College of Music in London. While studying he became interested in recording and later worked as amusician/engineer at Riverside Recordings, London. In 1974 he moved to Yorkshire to play with a group called 'Wally' making two albums for Atlantic Records. On his return to London in 1977 he resumed work at Riverside and since that time has recorded albums with Cliff Richard, Leo Sayer and Barbara Dickson amongst others. For the past two years Nick has concentrated on production (Q Tips, Johnny Logan, Ginger etc.) and writing jingles (Ford Escort, Bisto, Danish Bacon, Calor Gas, McDonalds (arr) etc.), as well as playing keyboards for many artists including David Essex, Randy Edelman, Nik Kershaw, Tina Turner, Phil Collins, Paul McCartney and Chris de Burgh.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/nQMCWsN.png)
NICK GLENNIE-SMITH
Born in 1951, Nicks' first involvement in music was a chorister at New College, Oxford. From 1969 he studied for two years at Trinity College of Music in London. While studying he became interested in recordings and later worked as a musician/engineer at Riverside Recordings, London. In 1974 he moved to Yorkshire to play with a group called 'Wally' making two albums for Atlantic Records. On his return to London in 1977 he resumed work at Riverside and since that time has recorded albums with Cliff Richard, Leo Sayer and Barbara Dickson amongst others. For the past two years Nick has concentrated on production (Q Tips, Johnny Logan, Ginger) and writing jingles (Ford Escort, Bisto, Danish Bacon, Calor Gas, McDonalds (arr)), as well as playing keyboards for David Essex, Randy Edelman, Nik Kershaw, Tina Turner, Phil Collins, Paul McCartney and Chris de Burgh.
Recent discs: Destinations
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/Fc4LxjP.png)
Nick Glennie-Smith
After a classical education which started as a chorister at the age of eight, Nick entered the world of professional music-making with a passion for rock 'n' roll and electronics. Performing in bands led to life as a top session musician. He's worked with Paul McCartney, Tina Turner, Phil Collins and Roger Waters (Pink Floyd) amongst many others. It was during this period that he started composing music for KPM. His involvement in films began with his friend, Hans Zimmer, with whom he worked as co-composer, arranger and conductor on numerous films including The Lion King, Crimson Tide, Nine Months, Cool Runnings and The Preacher's Wife.
As an independent composer he has scored The Rock, Fire Down Below, Two If By Sea, Home Alone 3, The Man In The Iron Mask and Lion King II: Simba's Pride.
- (by kind courtesy of Moon Monkey - thanks!)
GLENNIE-SMITH, Nick - Musicista americano nato a Londra. Attivo per il cinema dagli anni '90, favorito da Hans Zimmer. Tra le sue musiche per film quelle di: The Rock (idem, 1996, di M. Bay: in collaborazione con Hans Zimmer), Two If By Sea (Ladri per amore, 1996, di B. Bennett), Home alone 3 (Mamma ho preso il morbillo, 1997, di R. Gosnell), The Man in the Iron Mask (La maschera di ferro, 1998, di R. Wallace: uso di grande orchestra sinfonica, con ampi e solenni movimenti, ottoni sonanti, archi intensi e voci), Highlander IV: Endgame (2000), Attila (2001), We Were Soldiers (We Were Soldiers – Fino all'ultimo uomo, 2002, di R. Wallace: ritmica forte, ma anche brani meditativi per violino e pianoforte); The New Guy (2002, di E. Decter).
Ib Glindemann (Ib Niels Carl Glindemann Nielsen, pseud. "Erik Markmann", "Dan Kirsten"):
GLINDEMANN, Ib Niels Carl, born 27 Sept. 1934, Copenhagen, Denmark. Composer; Arranger; Conductor. Education: 1st class degree, Royal Danish Academy of Music. Married Kirsten Glindemann. Career: Own 16 piece jazz orchestra, 1952-60; Leader of symphony orchestra in Holschs, Yylland[sic], 1960-64; Conductor of 20 piece jazz orchestra on Danish Broadcasting, 1964-68; Freelance conductor & composer work, 1968-; Has conducted many musical, operettas & also The Royal Danish Ballet tour in 1964. Compositions: Trumpet Concerto (publd. & recorded); Music for Dallas Theatre Centre (Wm. Shakespeare, The Tempest), 1963; Ballet music for the Tivoli ballet, 1964; over 50 film scores & much background music for TV & radio; many compositions for jazz orchestra & light symphony orchestra; Has written a symphony in 3 movements. Many recordings of light music & jazz. Memberships: Society of Danish Musicians; Society of Danish Conductors; Koda. Recipient, Grant from Svend Wilhelm Hansen Foundation, 1965. Hobbies: Yachting. Address: c/o Albrechtsen, Gl. Skouridergaard, Giesegaard, 4100 Ringsted, Denmark.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
GLINDEMANN, Ib. - Nato in Danimarca il 27 settembre 1934. Studi di tromba al Conservatorio Reale di Copenhagen. Musicista jazz fra i più apprezzati del suo Paese, leader di una band di sedici musicisti, fondatore della “Big Band della Radio danese, compositore fra l'altro di una sinfonia e di un concerto per tromba. Ha collaborato al cinema a partire dal 1956 per Natlogi Betalt (t.l. Camera per una notte, di J. Allen e A. Sørensen), con un periodo di pausa (aveva rifiutato compiti non graditi) fino alla fine degli anni '70. Tra i registi con cui ha lavorato ci sono G. Axel (film Det tossede paradis, t.l. Paradiso pazzo) e, negli anni '80, O. Roos, per il quale ha composto fra l'altro le musiche di Forræderne (t.l. I traditori, 1983) e di Manden der Ville Være Skyldig (t.l. L'uomo che voleva essere colpevole, 1990: uso di una grande orchestra sinfonica).
Franco Godi:
GODI, Franco - Nato a Milano il 10 giugno 1940, cresciuto a Prato. Caposcuola dei compositori di jingles (motivi musicali orecchiabili per la pubblicità), attivo per molti “Caroselli”, chiamato il “mago dei tempi brevi” per la brillante specializzazione in interventi musicali sintetici e per la velocità nel comporre e arrangiare musiche. Al cinema è arrivato appunto dalla pubblicità, componendo partiture saporose e scattanti per alcuni cortometraggi animati e per il lungometraggio (ancora a disegni animati) Vip, mio fratello superuomo (1968) di Bruno Bozzetto. Attivo anche nel campo del cinema “dal vero”, sia per film comici, come Paolo il freddo (1974, di C. Ingrassia) e L'esorciccio (1975, di C. Ingrassia), che per film “africani”, come Addio ultimo uomo (1978) e Africa dolce e selvaggia (1982), ambedue di Angelo e Alfredo Castiglioni. In questi ultimi Godi si rifà nella tecnica (vocalizzi, atmosfere liricheggianti, moduli esotici, canzoni originali) alle classiche partiture italiane, alla Lavagnino, dei film d'esplorazione. Divertenti e scattanti gli sfondi ritmici e sonori per la serie animata del Signor Rossi di Bozzetto.
Wolfgang Göhringer (pseud. "Wolf Nanssen"):
WOLF NANSSEN was born in Allgäu, close to the famous castle of Neuschwanstein in Bavaria. As well as studying Geology, pedagogics and guitar he was very much devoted to rock music from early childhood, without neglecting his musical education, which now enables him not only to master the most difficult passages on his guitar in an outstanding and superior style, but also to write his own arrangements. In Munich he is one of the leading guitar soloists of the rock music scene.
His first album, produced together with Geoff Stradling, Elmar Schmidt and Dave King includes, apart from the most exciting rock rhythms, some beautiful lyrical moods, exposing the sensitive artist heart, beating beneath the hard rock shell.
WOLF NANSSEN wurde in Allgäu in der Nähe des Schlosses Neuschwanstein geboren. Er studierte Geowissenschaften, Pädogogik un Gitarre. Shcon in frühester Jugend verschrieb er sich der Rock-Musik, ohne dabei seine solide klassische Musikausbildung zu vernachlässigen. Eine Ausbildung, die ihn nicht nur dazu befähigt, die schwierigsten musikalischen Passagen auf seiner Gitarre souverän zu meistern, sondern auch die Arrangements für seine Produktionen selbst zu schreiben. Er zählt heute zu den führenden Gitarristen der Münchner Rockszene. Auf seiner ersten LP, die er mit Geoff Stradling, Elmar Schmidt und Dave King eingespielt hat, verblüfft er nicht nur durch mittreißende Rock-Rhythmen, sondern auch durch lyrische Töne, die darauf hinweisen, daß unter der harten Rock-Schlale ein sensibles Künstlerherz schlägt.
WOLF NANSSEN est né en Bavière près du célèbre château Neuschwanstein.
Il a étudié les sciences géologiques, la pédagogie et la guitare.
Le Rock l'avait attiré des sa première jeunesse, sans pour autant qu'il négligeât les êtudes de musique classique. Grâce à cette formation, il est en mesure de maitriser son instrument à la perfection et d'écrire lui-même ses arrangements pour ses productions parfois extrêmement difficiles à exécutre.
Il compte aujourd'hui parmi les premiers guitaristes rock munichois.
Pour son premier album, enregistré avec Geoff Stradling, Elmar Schmidt et Dave King, il étonne par ses rythmes irresistibles et aussi par certains accents lyriques qui font comprendre que sous une couverture de hard rock, un coeur d'artiste est omniprésent.
WOLF NANSSEN è nato in Allgäu, nelle vicinanze del famoso castello di Neuschwanstein.
Ha studiato scienze geografiche, pedagogia e chitarra. Si è dedicato alla musica rock fin dai primissimi anni senza tutavia trascurare la sua solida istruzione di musica classica. Questa formazione in musica classica non gli permette solo di superare con la massima facilità i passaggi musicali piú difficili sulla sua chitarra, ma di scrivere da solo anche gli arrangiamenti per le sue produzioni.
Wolf Nanssen fa parte attualmente dei chitarristi piú significativi della scena rock di Monaco di Baviera. Nel suo primo long-play, realizzato assieme a Geoff Stradling, Elmar Schmidt e Dave King, egli non sorprende l'ascoltatore soltanto con i ritmi rock travolgenti ma anche con i toni lirici che mettono in luce un'animo artistico sensibile sotto una scorza di rock duro.
Wojciech Gogolewski (pseud. "Andrzej Fill", "Arno Gessler"):
GOGOLEWSKI Wojciech, ur. 21 XI 1953 w Zgierzu, pol. pianista jazzowy i kompozytor, absolwent AM w Katowicach, wyróżniony w I i II Konkursie Improwizacji Jazzowej, lider kwartetu uhonorowanego II nagrodą na festiwalu Jazz n. Odrą '76.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Duško Gojković (Dušan Gojković, pseud. "John Callagan"):
GOYKOVICH, DUSKO (Dusan Gojkovic),* trumpet, composer; born Jajce, Yugoslavia, 10/14/31. Worked with Yugoslav and German bands; with International Youth Band at Brussels and Newport '58. Kurt Edelhagen band in Cologne '60. Studied composition and arrangement at Berklee School in Boston '61-3. Toured with Maynard Ferguson band '63-4, Woody Herman '64-5. Formed quintet with Sal Nistico, touring the Continent in '65. Rejoined Herman in London March '66 for tours of England, Spain, Germany, Africa and Eastern Europe through June '66. An all-around modern-jazz trumpeter and writer of exceptional ability. LPs with Kenny Clarke-Francy Boland (Blue Note); Jazz in the Classroom (Berklee); Maynard Ferguson (Cameo); Woody Herman (Columbia).
Addr: 105 Moltkestrasse, Cologne, West Germany.
* For detailed biographical information prior to 1960 [...], see The New Encyclopedia of Jazz, Horizon Press, 1960.
- (via archive.org (https://archive.org/details/encyclopediasixt00feat/))
Gojkovic, Dusko (Goykovich; Dusan); Trompete, Flügelhorn. Moderner Jazz.
* 14. 10. 1931 in Jajce, Jugoslawien.
Besuchte 1948-53 die Musikschule in Belgrad, gehörte dort 1951-55 dem Rundfunk-Tanzorchester an, begann als Jazzmusiker bei den Frankfurt All Stars, ging 1956 zu Max Greger, 1957 zu Kurt Edelhagen, nahm 1958 mit der International Youth Band am Jazz Festival in Newport teil, arbeitete bei Albert Mangelsdorff (1959), wieder bei Edelhagen (1960), trieb weitere Studien an der Berkeley School of Music in Boston, spielte bei Maynard Ferguson (1963), Woody Herman (1964), Sal Nistico (1965), Woody Herman (1966 Europa), kehrte nach Deutschland zurück und gründete mit Bent Jaedig ein International Quintet. Von ihm erschien in der Reihe »Jazz-Studio« eine »Anleitung zur Improvisation für Trompete«. Seine Schallplatte »Swinging Macedonia« (1947) enthält eigene Kompositionen und Arrangements. Weitere Aufnahmen mit Kurt Edelhagen, Albert Mangelsdorff, der International Youth Band, Caterina Valente, Kenny Clarke / Francy Boland, Maynard Ferguson, Woody Herman.
- (via archive.org (https://archive.org/details/reclamsjazzfuhre0000bohl_1970/))
Gojkovic, Dusko *14. 10. 1931 Jajce, Jugoslawien.
Studien: Musikschule Belgrad und Berkeley Schule Boston.
Jazztrompeter, unter anderem bei M. Greger, K. Edelhagen, W. Herman, gründete eigene Quintett.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Dusko Goykovich was born 1931 in Yugoslavia. He worked with Yugoslav and German bands like the International Youth Band at Brussels and Newport (1958) and the Kurt Edelhagen Band in Cologne (1960). After studying at Berklee School in Boston (1961-63) he toured with the Maynard Ferguson Band (1963-64) and with Woody Herman (1964-65). He formed a quintet with Sal Nistico in 1965. He rejoined Woody Herman in London (1966) for tours of England, Spain, Germany, Africa and Eastern Europe. He often appeared at amous Jazz Clubs like FIVE SPOT and BIRDLAND (New York), RONNIE SCOTT'S (London), DOMICILE (Munich) and MUSIC-INN (Rome) and recorded many LP's with Kenny Clarke-Francy Boland, Maynard Ferguson, Woody Herman and with his own band.
Harry Gold (pseud. "David Andrews", "Margaret Alexander", "Paolo Chavez"):
(https://i.imgur.com/VZtcp5z.png)
[no bio. part of group photo.]
- (via archive.org (https://archive.org/details/jackjacksonsreco00nich))
Lisa Gold Gervais (Josette-Lisa Gervais Gold):
(https://i.imgur.com/L54dYaZ.png)
PHOTO V°: JEAN-MARIE TROUDE
[no bio, just a photo.]
Friedrich Goldbaum (pseud. "Alfredo Corenzo", "Fred Freed", "Tilly Douce"):
FREED, Fred - Nato a Vienna (Austria) il 21 dicembre 1903. Studia al Conservatorio della città natale. Trasferitosi in Francia, è stato direttore di orchestre sinfoniche e accompagnatore al piano di Maurice Chevalier. Autore di musica per concerto e di canzoni. Lavorò per il cinema a partire dagli anni ‘50, poi fu attivo per la TV (serial). Tra i film con sue contribuzioni: Plaisirs de Paris (1952, di R. Baum: in collaborazione con Paul Bonneau); Les vignes du Seigneur (1958, di J. Boyer); Napoléon II l'Aiglon (Il re di Roma – Aquila imperiale, 1961, di C. Boissol: in collaborazione con P. Bonneau); Aladin et la lampe merveilleuse (Aladino e la lampada meravigliosa, 1969, lungometraggio animato di J. Image). Tra i film per cui Freed ha composto solo canzoni: La taverne du poisson couronné (La taverna del porto, 1946, di R. Chanas); Le roi (Il re dei cuori, 1949, di M. G. Sauvajon), Ma pomme (Ma pomme, o Vagabondo milionario, 1950, di M. G. Sauvajon), J'avais sept filles (I sette peccati di papà, 1954, di J. Boyer).
Le trente et un août mil neuf cent quatre vingt trois, une heure, est décédé, 46 rue Henri Huchard [address of Hôpital Bichat-Claude-Bernard] : FRiederich[sic] GOLDBAUM, domicilié à Domont (Val d'Oise), 17bis rue d'Ombreval, né à Vienne (Autriche), le 21 décembre 1903, retraité, fils de Noa GOLDBAUM et de Gisela REIHS, décédés. [...]
NOTE: death not registered in INSEE.
Elliot Goldenthal (Elliot Bruce Goldenthal):
GOLDENTHAL, Elliot - Nato a Brooklyn (New York) il 2 maggio 1954, musicista appartenente alle nuove leve. Allievo di John Corigliano, è di tendenze moderniste, predilige le combinazioni strumentali inedite, utilizzando insieme sia gli strumenti tradizionali che le tastiere elettroniche. Compone musica da concerto, da camera, per il teatro (il suo Fire Water Paper: a Vietnam Oratorio, del 1995, ha avuto particolare successo) e per il cinema. Propenso alle vicende fortemente connotate di aspetti fantastici e inquietanti, ha debuttato come compositore cinematografico nel 1989 con Pet Sematary (Cimitero vivente, di M. Lambert), seguito da Drugstore Cowboy (idem, 1989, di G. Van Sant). Un regista cui Goldenthal si è mantenuto fedele è N. Jordan, per il quale ha lavorato a Interview with the Vampire: The Vampire Chronicles (Intervista col vampiro, 1994: voci filate, effetti, citazioni sarcastiche di musica classica), Michael Collins (idem, 1996: pesanti interventi sinfonici a piena orchestra, più coro, con effetto roboante, e variazioni su motivi irlandesi); In Dreams (idem, 1999: uso di musica atonale, esplosioni di ottoni e percussioni, “ostinati” ritmici); The Good Thief (Triplo gioco – The Good Thief, 2003: grande eclettismo, con ricorso a musiche di tipo disparato – jazz, piano solo, martellare di percussioni – e ricorso a canzoni). Un altro regista affezionato è Joel Schumacher: Batman Forever (idem, 1995: tema wagneriano immerso in riferimenti di danze moderne, più uso di timbri particolari come quello del “Theremin”); A Time to Kill (Il momento di uccidere, 1996); Batman & Robin (idem, 1997). Altri titoli: Alien 3 (idem, 1992, di D. Fincher: interessante coabitazione di stilemi barocchi e di riferimenti alla corrente del “bruitismo”); Demolition Man (idem, 1993, di M. Brambilla); Heat (Heat – La sfida, 1995, di M. Mann: molteplici sperimentazioni e ricerca di disparate atmosfere musicali); Sphere (Sfera, 1998, di B. Levinson: pedali eletronici, motivi grevi, uso pesante degli ottoni, citazione mozartiana); Titus (idem, 1999, di J. Taymor: ancora una diabolica capacità di mettere insieme i materiali sonori più diversi, da Mahler al jazz, dal sinfonismo “classico” all'elettronica); Final Fantasy: the Spirit Within (Final Fantasy, 2001); Frida (idem, 2002, di J. Taymor: folklore messicano e interventi “colti” per piano e archi: musica premiata con il Golden Globe e con l'Oscar, assegnati nel 2003); S.W.A.T. (S.W.A.T. Squadra speciale anticrimine, 2003, di C. Johnson). Tutto sommato Goldenthal – “compositore ‘estremo', dalle atmosfere apocalittiche, disperate, totali” (R. Pugliese) – si presenta come uno dei moderni musicisti americani più interessanti.
Jerry Goldsmith (Jerrald K. Goldsmith):
Goldsmith, Jerry *10. 2. 1929 Los Angeles.
Studium: Universität Los Angeles.
Komponist. Zunächst bei CBS, später bei die 20th Century Fox.
Werke: Orchesterwerke, Kammermusik, Kantaten, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
JERRY GOLDSMITH
b. 1930 - Los Angeles, California
Agent: ICM - Los Angeles, 213/550-4000
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GOLDSMITH, Jerry - Nato a Los Angeles (California) il 10 febbraio 1929, morto il 21 luglio 2004 a Beverly Hills (Los Angeles). Dopo gli studi musicali (pianoforte con Jacob Gimpel, armonia e contrappunto con M. Castelnuovo-Tedesco) frequentò corsi di composizione per musica da film sotto la guida di Miklós Rózsa. Viene poi richiesto dalla CBS (anno 1950) per compiti prima generici e poi sempre più impegnativi (attività radiofonica e televisiva). Sue sono le musiche di intere serie televisive come Dr. Kildare, The Man from U.N.C.L.E. e altre, come di numerosi telefilm. I suoi primi film sono degli anni Cinquanta (Don't Bother to Knock, La tua bocca brucia, 1952, di R.W. Baker; Black Patch, Giustizia senza legge, 1958, di A.H. Miner) ma è dal 1960, con Studs Lonigan (Vivi con rabbia, di I. Lerner: melodie struggenti e ritmi sapienti) che Goldsmith afferma un suo stile personale. Le sue propensioni per un linguaggio di chiara derivazione dodecafonica e la sua inclinazione per l'uso delle dissonanze come accentuazioni drammatiche, già presenti in film come Lonely Are the Brave (Solo sotto le stelle, 1962, di D. Miller), The Spiral Road (La strada a spirale, 1962, di R. Mulligan), The Stripper (Donna d'estate, 1963, di F.J. Schaffner) si concretizzano pienamente in Freud (Freud, passioni segrete, 1963, di J. Huston: commento che fa tesoro delle posizioni della “scuola di Vienna” in interventi basati sulle serie dei suoni). Altrove il musicista, pur senza mai abbandonare la sua formazione dodecafonica e in generale il suo superamento del concetto di tonalità, deve addivenire a compromessi con soluzioni più tradizionali, portato a ciò anche dalla sua stessa natura di compositore dotato del gusto del pastiche e della citazione, che lo lega appunto alla tradizione, sia pure spesso trattata ironicamente. Ecco per esempio i risultati di The List of Adrian Messenger (I cinque volti dell'assassino, 1963, di J. Huston: brillante episodio per una caccia alla volpe); Take Her, She's Mine (Prendila è mia, 1963, di H. Koster: musica jazz); The Prize (Intrigo a Stoccolma, 1963, di M. Robson); The Blue Max (La caduta delle aquile, 1966, di J. Guillermin); The Illustrated Man (L'uomo illustrato, 1969, di J. Smight); Justine (Rapporto a quattro, 1969, di G. Cukor); Chinatown (idem, 1974, di R. Polanski). Entusiasta, dinamico, grande lavoratore, Goldsmith predilige da un lato ritmi forti e accentuazioni vigorose (film d'azione e di guerra), e dall'altro atmosfere sottili, magiche, surreali (film di mistero e di fantascienza). Tra i migliori risultati del primo tipo: Seven Days in May (Sette giorni a maggio, 1964, di I. Frankenheimer: interventi metallici, basati su percussioni); Morituri (I morituri, 1965, di B. Wicki: pianoforte usato come percussione e duo di chitarre concertanti); Von Ryan's Express (Il colonnello Von Ryan, 1965, di M. Robson: uso ironico di mandolini per l'ambiente italiano); In Harm's Way (Prima vittoria, 1965, di O. Preminger: ancora percussioni e ritmi marziali); Tora! Tora! Tora! (idem, 1970, di R. Fleischer e altri registi); Patton o Patton, Lust for Glory (Patton, generale d'acciaio, 1970, di F.J. Schaffner: uso colto e moderno di fanfare); The Last Run (L'ultima fuga, 1971, di R. Fleischer: a momenti “morbidi” e teneri fanno riscontro pagine all'insegna dell'atonalismo più rigoroso); Wild Rovers (Uomini selvaggi, 1971, di B. Edwards: pagine originali ispirate al folklore western); The Cassandra Crossing (Cassandra Crossing, 1977, di G.P. Cosmatos); The Boys from Brazil (I ragazzi venuti dal Brasile, 1978, di F. Schaffner); The Challenge (L'ultima sfida, 1982, di J. Frankenheimer: riferimenti alla musica giapponese). Buoni risultati del secondo tipo, quello “fantastico”: Planet of the Apes (Il pianeta delle scimmie, 1968, di E. Schaffner); The Reincarnation of Peter Proud (1975, di J.L. Thompson: buona partitura con rinforzi elettronici); The Omen (Il presagio, 1976, di R. Donner: rifacimenti di cantate sacre di tipo gregoriano ma anche invenzioni di cantate moderne); Logan's Run (La fuga di Logan, 1976, di M. Anderson: uso di tutti gli stili, avveniristico, romantico, moderno, solenne, anzi “patriottico”); Twilight's Last Gleaming (Ultimi bagliori di un crepuscolo, 1977, di R. Aldrich: dilatazione, anzi distorsione, dell'inno americano); Coma (Coma profondo, 1978, di M. Crichton); The Swarm (Swarm, 1978, di I. Allen: ricco sinfonismo); Magic (idem, 1978, di R. Attenborough: uso intenso degli archi, con improvvise intrusioni di una armonica a bocca in momenti significativi): Alien (idem, 1979, di R. Scott: anche qui stili compositi); Star Trek: the Motion Picture (Star Trek, 1979, di R. Wise: sinfonismo “colossale” con grandi coloriture, effetti sonori più di alta tecnica che d'ispirazione, discorso fluente e continuo, vasti affreschi sonori e orchestrazione di tipo straussiano) più il seguito Star Trek: Nemesis (Star Trek - La Nemesi, 2002, di S. Baird); The Final Conflit (Conflitto Finale, 1981, di G. Baker: robusto tema conduttore, uso di cori memori del gregoriano ma con ritmi moderni); Poltergeist (Poltergeist – Demoniache presenze, 1982, di T. Hooper: uso di orchestra tradizionale per effetti grandguignoleschi); Twilight Zone – The Movie (Ai confini della realtà, 1983, film a episodi); Gremlins (idem, 1984, di J. Dante); Legend (idem, 1985, di R. Scott: musica giocata sul contrasto fra l'uso di voci in funzione “mistica” e lo sfrenarsi della grande orchestra, appena rinforzata dai sintetizzatori, per la lotta del Maligno contro l'innocenza); Explorers (idem, 1985, di J. Dante); Innerspace (Salto nel buio, 1987, di J. Dante). Goldsmith si rivela dunque, insieme con John Williams, il maggiore e più fortunato forgiatore di suoni – innalzati a ruoli protagonistici – della nuova spettacolarità hollywoodiana. Presenza che si dimostra cospicua anche nei film legati al “reale”, come la serie di Rambo, e poi Under Fire (Sotto tiro, 1983, di R. Spottiswoode: ampio uso delle tastiere elettroniche); Runaway (idem, 1984, di M. Crichton); Hoosiers (Colpo vincente, 1986, di D. Anspaugh: tipico contrasto fra pagine delicate, addirittura bucoliche, e tambureggiamento dei ritmi nelle situazioni movimentate); Extreme Prejudice (Ricercati: ufficialmente morti, 1987, di W. Hill); Leviathan (idem, 1989, di G.P. Cosmatos), Total Recall (Atto di forza, 1990, di P. Verhoeven: sontuosa orchestra sinfonica rinforzata dagli strumenti elettronici). Sempre interessante e continuativa, comunque, l'attività successiva, che spazia in tutti i generi. In The Russia House (La casa Russia, 1990, di F. Schepisi) la musica è di tipo jazzistico, con l'apporto del sax soprano di Branford Marsalis; in Sleeping with the Enemy (A letto con il nemico, 1991, di J. Ruben) si ingloba la Sinfonia Fantastica di H. Berlioz; in Basic Instinct (idem, 1992, di P. Verhoeven) si va da morbide atmosfere seduttive a movimenti ritmatissimi; in Forever Young (Amore per sempre, 1992, di S. Miner) si indulge al romanticismo; in Dennis the Menace (Dennis la minaccia, 1993, di N. Castle) domina un robusto sinfonismo e uno strepitoso gioco di timbri orchestrali; in Matinée (idem, 1993, di J. Dante) il musicista si concede al gusto delle citazioni d'epoca; in The River Wild (The River Wild - Il fiume della paura, 1994, di C. Hanson) si dà rilievo alla componente agreste e bucolica del racconto; in First Knight (Il primo cavaliere, 1995, di J. Zucker) sono soprattutto presenti “eroiche” fanfare; così come in Air Force One (idem, 1997, di W. Petersen); in City Hall (idem, 1996, di H. Becker) troviamo una sottile, insinuante tramatura di suoni; in Deep Rising (Deep Rising – Presenze dal profondo, 1998, di S. Sommers) la partitura è ricca di preziosità contrappuntistiche; in Mulan (idem, 1998, di B. Cook e T. Bancroft) Goldsmith rifiuta ogni facile cineseria per approntare una partitura sonante e drammatica; in The Mummy (La mummia, 1999, di S. Sommers) la tavolozza si arricchisce di riferimenti esotici; in Hollow Man (L'uomo senza ombra, 2000, di P. Verhoeven) la musica è molto soft, e perciò tanto più inquietante. Altri titoli: Along Came A Spider (Nella morsa del ragno - Along Came A Spider, 2001, di L. Tamahori); The Sum of All Fears (Al vertice della tensione, 2002, di P.A. Robinson); Looney Tunes: Back in Action (idem, 2003, di J. Dante: musica delle parti “dal vero”, mentre quella per le parti animate è di John Frizzell).
Nella filmografia di Goldsmith non mancano comunque le partiture di mero mestiere; ma è sempre un mestiere d'alto livello. La musica di The Omen (Il presagio) ha ricevuto l'Oscar del 1976.
Martin Goldstein (pseud. "John Tedraw", "Ronnie Dadson"):
I would like to have space on this sleeve to write more about Martin Goldstein, and his kind of music which he offers us on the other side of the L.P.
Martin was trained at the Guildhall School of Music in London and later under Igor Markevitch. He spent the early part of his career working with ballet companies and musical comedies, later joining the staff of the BBC for a time, where he is now a frequently featured pianist and guest conductor. Already well-known through broadcasts and recordings of his "jazz baroque" Quintet, he also appears as accompanist and arranger in concerts with various international artists, and composes music for television and theatre. [...]
William Goldstein (William S. Goldstein):
GOLDSTEIN, William - Nato a New York il 25 febbraio 1942. Attivo per il cinema americano dagli anni '70. Tra i film con sue partiture: The Stoolie (1972, di J.G. Avildsen), The Bingo Long Travelling All-Stars & Motor King (1976, di J. Badham), Norman… Is That You? (1976, di G. Schlatter), The White Lions (1981), Force: Five (Forza: Cinque, 1981, di R. Clouse), Forced Vengeance (1982, di J. Fargo), Up the Creek (Zattere, pupe, porcelloni e gommoni, 1983, di R. Butler), Saving Grace (Oddio, ci siamo persi il Papa, 1985, di R.M. Young), Hello again (idem 1987, di F. Perry), The Favorite (La favorita, 1989, di J. Smight), Shocker (Sotto Shock, 1989, di W. Craven), The Quarrel (1991, di E. Cohen). Molto attivo anche per la TV.
Alfred Goodmann (Alfred Grant Goodmann né Alfred Alexander Guttmann, pseud. "Fred Gilford"):
Goodman, Alfred (= Alfred Guttmann) (Pseud. Fred Gilford) *1. 3. 1920 Berlin (Amerikanische Staatsbürger).
Studien: Columbia Universität New York (E. Hertzmann, H. Cowell und O. Luening), Technische Universität Berlin (Dahlhaus).
Doktor, Komposition, Musikwissenschaft, lebte von 1940-1960 in USA, seit 1961 in München, 1971 Redakt. am Bayr. Rundfunk.
Werke: Opern "Der Schauspieler", "Der Läufer", Orchesterwerke, Psalm, Kammermusik, Fernsehmusik. Bücher: "Musik im Blut", "Musik von A-Z".
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
GOODMAN, Alfred Grant, born 1 Mar. 1920, Berlin, Germany. Composer; Musicologist. Education: Bachelor of Science, Columbia College, N.Y.; Master of Arts, Composition, Musicol., etc., Columbia University; Ph.D, Technische Universitaet, Berlin. Married Renate Goodman, 1 son. Career: Editor, Westminster Records, N.Y.; Composer, Movietone, N.Y.; Music Editor, Bavarian Broadcasting Service, 1971-. Compositions: Psalm XII, Mercury Music, N.Y.; The Audition, Opera in one act (Schott); Pro Memoria for Orchestra; Chamber works: Songs; Choral compositions; TV & Film scores. Publications: Musikum Blut, Lexikon; Musik von A-Z; Die Amerikanischen Schuler Franz Liszts (Diss.). Memberships: Deutsche Musik Forschung; Dramatiker Union (Beirat); American Guild of Authors & Composers. Honours: Ernst Bloch Award, N.Y., 1949; Prize for Opera, The Audition, University of Ohio, 1954. Hobbies: Walking; Reading. Address: Clemens Krauss Str. 22, 8 Munich 60, German Federal Republic.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Adressenänderungen
[...]
GOODMAN, Dr. Alfred
Bärmannstraße 31
8000 München 60
089 / 83 22 20
Ron Goodwin (Ronald Goodwin, pseud. "Christopher Russell", "Archibald Cholmondoley II"):
RON GOODWIN
b, 1929 - Plymouth, England
Agent: Robert Light - Los Angeles, 213/651-1777
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
(https://i.imgur.com/J7NdKah.png)
Ron Goodwin
Ron is one of the entertainment industry's most versatile musical talents, a contribution recognised in 1994 with an Ivor Novello Award for Life Achievement in Music. He is a perfectionist with an enormous sense of fun. He wrote his first film score in 1958 and box office hits were to follow with '663 Squadron', 'Where Eagles Dare', 'Those Magnificent Men in Their Flying Machines', 'Monte Carlo or Bust' and Alfred Hitchcock's 'Frenzy'. Scores for Walt Disney include 'Escape from the Dark', 'Candleshoe and the Spaceman' and 'King Arthur'.
In 1950 George Martin put him under contract to record his own arrangements with 'Ron Goodwin and his Concert Orchestra' and in 1975 he received a gold disc to mark the sale of one million albums. They include 'Legend of the Glass Mountain', 'Adventure', 'Excitement' and 'Gypsy Fire'. He also accompanied Peter Sellers and Sophia Loren on a series of albums produced by George Martin.
Ron is a Fellow of the City of Leeds College of Music and a Freeman of the City of London.
- (by kind courtesy of Moon Monkey - thanks!)
GOODWIN, Ron - Nato a Plymouth (G.B.) il 17 febbraio 1925, morto l'8 gennaio 2003. Figlio di un poliziotto, dopo una sfortunata esperienza come impiegato in una società di assicurazioni di Londra, pur privo di una formazione accademica si è dedicato professionalmente alla musica, arrangiando, componendo, dirigendo l'orchestra, incidendo dischi, lavorando per la TV. È stato direttore musicale della casa discografia “Parlophon”. Dopo aver composto la musica per due documentari, nel 1959 è stato introdotto nel campo del lungometraggio (per il film Whirlpool, un giallo di L. Allen). Nel 1961 incontra un tipo di storia che appare congeniale alla sua vena brillante e che gli dà una certa notorietà: il giallo-ironico basato sul personaggio di Miss Marple, l'anziana poliziotta dilettante inventata da Agatha Christie, protagonista a partire da Murder She Said (Assassino sul treno) di tutta una serie di film molto simili, tutti diretti da George Pollock. Tali film beneficiano di una garbata ambiance sonora pilotata da un motivo conduttore, diventato la sigla della serie, il “Twist della spinetta” (che nel 1963 diventerà un successo discografico), un ballabile moderno esposto nel timbro di uno strumento antico con risultati divertenti. Al di fuori di tale serie, Goodwin si è esercitato anche in altri gialli ironici e nel campo della commedia, sia di tipo “giovanile” (come l'americano Follow the Boys, Per sempre con te, 1963, di R. Thorpe) sia di tipo “revivalista” (come Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 Hours 11 Minutes, Quei temerari sulle macchine volanti, 1965, di K. Annakin). Numerosi comunque, nella filmografia di Goodwin, i film di guerra e quelli avventurosi e drammatici. Merita una citazione a parte la colonna sonora dell'episodio che dà titolo al film A Home of Your Own che costituisce un tour de force perché, non avendo un rigo di dialogo, la musica, che scorre ininterrottamente, ha la funzione di sostenere l'intero racconto. In Italia l'episodio si chiama Una casa proprio nostra mentre il film è uscito come La zuppa inglese (1964, di J. Gardner Lewis). Da citare per il particolare valore: The Trials of Oscar Wilde (Il garofano verde, 1960, di K. Hughes); The Day of the Triffids (L'invasione dei mostri verdi, 1962, di S. Sekely: musica basata su una ritmica selvaggia); Lancelot and Guinevere (Ginevra e il cavaliere di Re Artù, 1963, di C. Wilde: coloriti contrappunti e un sospetto di ironia); Children of the Damned (La stirpe dei dannati, 1963, di A. Leader); Of Human Bondage (Schiavo d'amore, 1964, di K. Hughes e H. Hathaway: sfruttamento intensivo di un tema romantico, molto “cantato”, e momenti di lirica intensità); Operation Crossbow (Operazione Crossbow, 1965, di M. Anderson); Where Eagles Dare (Dove osano le aquile, 1968, di B.G. Hutton); Battle of Britain (I lunghi giorni delle aquile, 1969, di G. Hamilton: super-convenzione patriottica – con citazione di una “Battle in the Air” composta da William Walton – con sospetta punta di presa per il bavero); The Executioner (L'esecutore, 1970, di S. Wanamaker); Frenzy (idem, 1972, di A. Hitchcock: sottili variazioni su un tema iniziale molto pomposo e molto inglese); Force 10 from Navarone (Forza 10 da Navarone, 1978, di G. Hamilton). Tradizionalista (non ha mai usato i sintetizzatori), si è trovato successivamente spaesato nell'ambiente del cinema contemporaneo e si è dedicato esclusivamente alla sua attività parallela di direttore di concerti delle stazioni radiofoniche della BBC.
Lallo Gori (Coriolano Gori, pseud. "Abbodio"):
GORI, Lallo (Coriolano) - Nato a Cervia (Ravenna) il 7 marzo 1927, morto il 1 dicembre 1982. Musicista italiano, autore – a partire dagli anni '60 – di una quantità di commenti musicali per film di consumo, appartenenti ai generi più disparati. Come quello parodistico (Noi duri, 1960, di C. Mastrocinque/T. Miller; Le spie vengono dal semifreddo, 1966, di M. Bava; Il Bello, il brutto, il cretino, 1967, di G. Grimaldi); il “musicarello” (I teddy boys della canzone, 1960, di D. Paolella/P. Dominici; Canzoni, bulli e pupe, 1963, di C. Infascelli; I ragazzi dell'hully gully, 1964, di M. Giannini); il film comico (una lunga serie di pellicole interpretate da Franchi e Ingrassia e altri come Soldati o caporali, 1964, di M. Amendola/J. Irving); il film scollacciato (Le massaggiatrici, 1962, di L. Fulci; Sexy che scotta, 1963, di F. Macchi; Sexy proibito, 1963, di O. Civirani/G. Eastmang; Sexy proibitissimo, 1963, di M. Martinelli; Le calde notti del Decameron, 1972, di G.P. Callegari; La professoressa di lingue, 1976, di D. Fidani); i film mitologici e in costume (Ercole contro i figli del sole, 1964, di O. Civirani; Lucrezia, 1968, di O. Civirani); d'azione (Trappola per sette spie, 1967, di M. Amendola; Gente d'onore, 1969, di F. Lulli; Il re della mala, 1972, di J. Roland; A tutte le auto della polizia…, 1975, di M. Caiano; La malavita attacca, la polizia risponde, 1977, di M. Caiano, ecc.); lo spaghetti-western: Un poker di pi-stole, 1967, di G. Vari/J. Warren; Execution, 1968, di D. Paolella; Buckaroo - Il Winchester che non perdona, 1968, di A. Bianchi; Black Jack, 1968, di G. Baldanello/F.G. Carrol; Giù le mani, carogna o Django Story, 1971, di L. Dickinson, ecc.); horror (Il pavone nero, 1974, di O. Civirani/G. Eastmang), e così via.
Kramer Gorni (Gorni Cramer, pseud. "Pastel"):
GORNI Kramer, musicista, nato a Rivarolo Mantovano (Mantova) il 22 luglio 1913 da Francesco e da Teresa Marchiò.
Milano, viale Bianca Maria 9.
Diplomato in Contrabasso[sic] al Conservatorio di Parma. Dedicatosi allo studio della fisarmonica, ha tenuto con questo istrumento concerti di musica jazz nelle principali città europee. Arrangiatore e direttore d'orchestra, collaboratore della Ra.I. Per la TV ha collaborato con L. Luttazzi all'allestimento della rubrica «Musica in vacanza». Dal 1936 autore di numerosi canzoni e di musica per riviste e commedie musicali, fra cui: «Il palco della Scala», «Mercì beaucoup», «Pippo non lo sa». Ha fondato a Milano la Casa Ed. di musica leggera «Kramer».
GORNI, Kramer - Nato a Rivarolo Mantovano nel 1913 (benché si faccia chiamare «Gorni Kramer», sia chiaro che «Gorni» è il cognome, non il nome). Inizia giovanissimo lo studio della fisarmonica sotto la guida del padre, pure musicista, poi continua col conrtabbasso e con altre materie. Trasferitosi a Milano, si afferma come il più importante musicista jazz italiano dell'immediato anteguerra e del primo dopoguera, dedicandosi in seguito alla composizione di canzoni e di musica per rivista, sia pur continuando nell'attività jazzistica. «Leader» di una sua orchestra, ha curato moltissimo trasmissioni radiofoniche e televisive. Il nome di Gorni Kramer è legato, nel cinema, alla versione per lo schermo di riviste teatrali dotate della sua musica, come Attanasio cavallo vanesio (1953, di C. Mastrocinque); Alvaro piuttosto corsaro (1954, ancora di Mastrocinque); Un mandarino per Teo (1960, di M. Mattoli); Come te movi te fulmino (1958, di di M. Mattoli: dalla rivista «Un paio d'ali»); nonché alla versione dei più fortunati spettacoli televisivi, come Domenica è sempre domenica (1958, di C. Mastrocinque: in cui Gorni Kramer appare anche come attore). Per quanto riguarda le partiture originali, questo musicista ha curato alcune commedie e film comici senza incidere particolarmente. Si stacca dal panorama la bella ambientazione sonora, fitta di riferimenti e di eleganze, di Gastone (1960, di M. Bonnard).
GORNI, Kramer - Nato a Rivarolo Mantovano il 22 luglio 1913, morto a Milano il 26 ottobre 1995. Benché si facesse chiamare Gorni Kramer, Gorni è il cognome, non il nome. Ha cominciato giovanissimo lo studio della fisarmonica sotto la guida del padre, pure musicista, poi ha continuato con il contrabbasso e con altri studi musicali. Trasferitosi a Milano, si è affermato come il più importante musicista jazz italiano dell'immediato anteguerra e del primo dopoguerra, dedicandosi in seguito alla composizione di canzoni e di musica per rivista, sia pur continuando nell'attività jazzistica. Tra le sue canzoni, che sono di una quantità impressionante, sono assai note Pippo non lo sa, Op op trotta cavallino, Ho un sassolino nella scarpa, Che mele, La postina della Valgardena, Crapapelada, La vecchia fattoria. Leader di una sua orchestra, ha curato moltissime trasmissioni radiofoniche e televisive. Il nome di Gorni Kramer è legato, nel cinema, alla versione per lo schermo di riviste teatrali dotate della sua musica, come Attanasio cavallo vanesio (1953, di C. Mastrocinque); Alvaro piuttosto corsaro (1954, ancora di Mastrocinque); Un mandarino per Teo (1960, di M. Mattoli); Come te movi te fulmino (1958, di M. Mattoli: dalla rivista Un paio d'ali), nonché alla versione cinematografica del fortunato spettacolo televisivo il Musichiere, come Domenica è sempre domenica (1958, di C. Mastrocinque: in cui Gorni Kramer appare anche come attore). Per quanto riguarda le partiture originali, questo musicista ha curato quelle di alcune commedie e film comici (Totò a Parigi, 1958, di C. Mastrocinque; Totò, Eva e il pennello proibito, 1958, di Steno, ecc.) senza incidere particolarmente. Si stacca dal panorama la bella ambientazione sonora, fitta di riferimenti e di eleganze, di Gastone (1960, di M. Bonnard).
John Gosling (John Michael Curtis Gosling):
(https://i.imgur.com/POQ6AtA.png)
John Gosling
John has carved a reputation as a cutting edge producer and composer. He has released a number of singles under the name of Agent Provocateur including Agent Dan, Sabotage and Kicks Spinning. His singles work with Mekon includes Skools Out, Phatty's Lunch Box 1997, Welcome to Tackletown and Last Breath. Albums include Where the Wild Things Are by Agent Provocateur, Welcome To Tackletown by Mekon and Way Down Below Buffalo Hell by Jam Nation. He has produced and remixed a wide variety of contemporary artists including Betty Boo, Peter Gabriel, Shola, Shara Nelson, Turntable Terranova, Santa Cruz, Headswim and Paris.
- (by kind courtesy of Moon Monkey - thanks!)
Hannes Gottauf (pseud. "Joe Lordup"):
World Regional Listing
WEST GERMANY
[...]
Hannes Gottauf
c/o Westdeutscher Rundfunk
West Germany
tel: 0221-220-32-49
radio-journalist
Jean-Philippe Goude (Jean-Philippe Lucien Goude):
(https://i.imgur.com/dResNgJ.png)
Photos: Patrick Jelin
[no bio, just a photo.]
Graham Gough (Graham Robert Paul Gough, pseud. "Pierre Le Blanc"):
Gareth Blake, Graham Gough & Martina Johansson
Recipients of the prestigious PRS John Lennon Award songwriters Gareth Blake & Graham Gough collaborated with Swedish singer Martina Johansson to write the 1960s flavoured A Conspiracy of Lies.
Claude Gousset (Claude Albert Gousset):
(https://i.imgur.com/jvFK86m.png)
[no bio, just a photo.]
CLAUDE ALBERT GOUSSET
Naissance 21.11.1929
Paris 10e Arrondissement (75110), France (FRA)
Décès 17.01.2022
Sens (89387), France (FRA)
- (via matchID (https://deces.matchid.io/id/jAY_GuxmJDjF))
Patrick Gowers (William Patrick Gowers, pseud. "Adam Morus"):
GOWERS, Patrick - Nato a Londra il 5 maggio 1936. Instancabile sperimentatore, compone pagine per gli strumenti tradizionali e per quelli elettronici. Soprattutto attivo per radio e televisione. Fra le sue partiture per il cinema da citare quelle per: Balladen om Carl-Henning (La ballata di Carl Henning, 1969, di Lene e Sven Grønlykke); The Virgin and the Gypsy (La vergine e lo zingaro, 1970, di C. Miles: interessanti interventi per arpa e quattro flauti solisti); A Bigger Splash (1974, di J. Hazan); Stevie (1978: partitura attorno ad una rapsodia per chitarra, solista John Williams, da non confondere con l'omonimo compositore americano); Whoops Apocalypse (1986). Tra i numerosi lavori per la TV, notevole la musica per la serie dedicata al personaggio di Smiley (di J. Le Carré).
Ron Grainer (Ronald Erle Grainer, pseud. "Rohan Yahdahti"):
Grainer, Ron (Australia-UK, 1922)
- (via archive.org (https://archive.org/details/emr-2-3/))
The studio [of EMS] was dedicated to experimentation, developing generally interesting projects, testing ideas and products, creating music, and helping others. [...] Delia Derbyshire had begun to use the studio in 1963, and through the years, many other composers worked there, among them Brian Hodgson, Don Banks, Justin Connolly, David Lumsdaine, Alan Sutcliffe, Ron Grainer, Annea Lockwood, Tristram Cary, and Jonathan Harvey. [...]
- (via archive.org (https://archive.org/details/electricsoundpas0000chad/))
GRAINER, Ron - Musicista inglese nato in Australia, morto a Londra nell'estate 1981. Debuttò nel cinema nel 1961 con il commento a un documentario e nel 1962 nel campo dei lungometraggi con la partitura di A Kind of Loving (Una maniera d'amare, 1962, di J. Schlesinger), facendo presagire doti sicure in interventi asciutti, nervosi, in linea con le concezioni dei registi del Free Cinema. Anche se poi – pur confermando la sua volontà di fare del nuovo, in questo campo – ha ammorbidito la sua vena aggressiva. Tra i suoi risultati più interessanti: The Running Man (Un buon prezzo per morire, 1963, di C. Reed: solo musica dei titoli di testa, molto bella, “astratta” e drammaticissima. Il resto della musica è di William Alwyn); The Mouse on the Moon (Mani sulla luna, 1963, di R. Lester: graziose pagine di jazz “dolce”); Night Must Fall (La doppia vita di Don Craig, 1964, di K. Reizs); To Sir with Love (La scuola della violenza, 1968, di J. Clavell); Before Winter Comes (Prima che venga l'inverno, 1968, di J. Lee Thompson); In Search of Gregory (Alla ricerca di Gregory, 1969, di P. Wood: tenera ironia e sentimentalismo scanzonato, giovanile); The Omega Man (1975: Occhi bianchi sul pianeta Terra, 1971, di B. Sagal); Cat and Mouse (Il gatto e il topo, 1974, di D. Petrie); The Bawdy Adventures of Tom Jones (Le piccanti avventure di Tom Jones, 1975, di C. Owen). Fu molto noto in patria soprattutto per le sue musiche per la TV.
Romolo Grano (pseud. "Misolidio", "Santany"):
(https://i.imgur.com/Wo1yMOH.png)
Romolo Grano, veneziano, ha studiato pianoforte, violoncello, oboe e corno inglese al Conservatorio B. Marcello di Venezia. Ha seguito i corsi di direzione d'orchestra con Hermann Scherchen e Bruno Maderna a Venezia e con Paul Van Kempen a Siena e a Hilversum (Olanda). Trasferitosi a Roma ha studiato contrappunto e fuga con A. Ferdinandi e composizione con G. Turchi. Nel 1951 ha vinto un concorso per direttori d'orchestra indetto a Roma dal Sindacato Nazionale Musicisti dirigendo, in seguito, concerti di musica sinfonica e da camera in Italia e all'estero.
Alterna la sua principale attività di direttore d'orchestra con quella di compositore: ha scritto musiche di scena per il teatro, musiche per il cinema e per la televisione.
GRANO, Romolo - Giovane musicista italiano, specializzato in musiche di scena per spettacoli teatrali e per sceneggiati televisivi (è il musicista di fiducia del regista TV Daniele D'Anza). Si conoscono solo due sue fatiche per il cinema, ma interessanti, e si è convinti che in questo settore Grano potrebbe dire ulteriormente la sua: Ça ira, il fiume della rivolta (1964, di T. Brass: interventi originali e «potpourri» di coloritissime citazioni musicali) e Arcana (1972, di G. Questi: perfetta ambientazione sonora, molto moderna, per le inquietanti ipotesi della «magica» vicenda).
GRANO, Romolo - Nato a Santa Maria (Cosenza) il 14 agosto 1929. Musicista italiano, specializzato in musiche di scena per spettacoli teatrali e per sceneggiati televisivi (è il musicista di fiducia del regista TV Daniele D'Anza). Si conoscono solo due sue fatiche per il cinema, ma interessanti, e si è convinti che in questo settore Grano avrebbe potuto dire ulteriormente la sua: Ça ira, il fiume della rivolta (1964, di T. Brass: interventi originali e pot-pourri di coloratissime citazioni musicali) e Arcana (1972, di G. Questi: perfetta ambientazione sonora, molto moderna, per le inquietanti ipotesi della “magica” vicenda).
Stéphane Grappelli:
NOTE:
Famous pioneer of the jazz violin, well known for playing with Django Reinhardt in Quintette du Hot Club de France.
In library, he wrote and performed an LP for De Wolfe (https://librarymusicthemes.com/index.php?topic=156.0), and is listed as co-writer (with Gérard Gustin) for a single cue on a Mediadis (https://librarymusicthemes.com/index.php?topic=959.0) LP.
(https://i.imgur.com/kT76qHT.png)
Photos: H.-P. Arnaud
[no bio, just a photo.]
STEPHANE GRAPPELLI
Naissance 26.01.1908
Paris 10e Arrondissement (75110), France (FRA)
Décès 01.12.1997
Paris 11e Arrondissement (75111), France (FRA)
- (via matchID (https://deces.matchid.io/id/DyKxaRkL1TuS))
GRAPPELLI, Stéphane - Nato a Parigi nel 1908, morto l'1 dicembre 1997. È stato uno dei pionieri del jazz in Francia. Con il suo violino ha fatto parte, con Django Reinhardt, del quintetto “Hot Club de France”. Solo o con il quintetto ha partecipato, talvolta anche con ruolo d'attore, a diversi film; inoltre ha composto ed eseguito la musica di Les valseuses (I santissimi, 1974, di B. Blien); L'adolescente (1978, di J. Moreau: interventi improvvisati entro la partitura composta da Philippe Sarde); Europe after the Rain (1978, di M. Gold: documentario lungometraggio); King of the Gypsies (Il re degli zingari, 1978, di F. Pierson: assoli di violino, di stampo tipicamente tzigano); Milou en Mai (Milou a maggio, 1989, di L. Malle: leggiadri e teneri interventi jazz di sapore agreste e vieux jeu, classicheggianti). Inoltre Grappelli ha eseguito brani diversi in altri film e partecipato a documentari musicali.
Francesco Grassi (pseud. "D'Arena", "Franzosis", "Kledem", "Pueblo"):
GRASSI, FRANCESCO, 1908-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig385li/))
Kurt Graunke:
Graunke, Kurt
Stettin, 20. September 1915 - ?
Schüler von H. Grabner ab 1938 in Berlin, 1941 bei Wolfgang Schneiderhan in Wien, dann Militärmusiker, 1941-44 Musikmeister beim Seefliegerhorst Stettin.
Er ging 1945 nach München und gründete dort das Bavaria-Sinfonieorchester, das spätere Bayer. Sinfonierorchester, aus denn dann der E. V. Symphonie-Orchester Graunke wurde. Er ehielt das Bundesverdienstkreuz I und 1983 die Silbermedaille des Dt. Komponistenverbandes für "besondere Verdienste um die deutsche Musik".
Wohung (1987): München 21, Wilhelm-Mayr-Str. 15.
Werke: Filmmusik; U-Musik und Tanzmusik; Kammermusik; Violinkonzert (1959); 7 Sinfonien (1961-69, 1971-72, 1976, 1977, 1980-81, 1981-82, 1982-83).
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Alex Gray (Alexander Stephen Gray, pseud. "General Anaesthetic", "Nurse"):
THE COMPOSERS
ALEX, CHRIS AND ROBERT have individually and collectively provided musical soundtracks to dozens of award-winning national and international advertising campaigns, TV and theatrical productions, large-scale corporate presentations, independent films and interactive media projects. In other creative guises they have also released a number of successful and critically acclaimed commercial albums.
FOR MORE INFORMATION VISIT:
www.nagrasound.eu - www.themilkandhoneyband.co.uk - www.finaltouch.co.uk
Barry Gray (John Livesey Barry Gray, pseud. "Jean Durand", "John Livesey"):
GRAY, Barry - Nato nel Lancashire (G.B.), morto il 26 aprile 1984. I genitori, ambedue musicisti, lo fecero studiare al Royal Manchester College of Music, poi si perfezionò in armonia e contrappunto alla Blackburn Cathedral sotto la guida di Matyas Sieber. Si occupò di edizioni musicali per il teatro e la radio, poi lavorò per gli studios cinematografici Denham. Dopo un periodo in cui svolse compiti di arrangiatore-accompagnatore di cantanti come Vera Lynn, per la radio e per la TV, fu direttore musicale della AP Films, poi diventata The Century 21 Organisation, arrangiando, componendo e dirigendo per una gran quantità di film e di prodotti televisivi. Tra i film, tutti di richiamo popolare ma con interessanti partiture basate sempre di più sulle risorse della musica elettronica, si possono citare: Thunderbirds Are Go (Thunderbirds, i cavalieri dello spazio, 1966, di D. Lane), Thunderbirds Six (1968, D. Lane), Journey to the Fair Side of the Sun (Doppia immagine nello spazio, 1969, di R. Parrish), Kill Straker, a Question of Priorities (UFO, Distruggete Base Luna, 1971, di L. Turner), UFO Contatto radar stanno atterrando (1974, di B. Bell), Squadre Triangle, Flight Pat-Kill Straker (UFO... Annientate Shado… Uccidete Straker, 1974, di A. Perry), UFO (UFO, Prendeteli vivi, 1974, di B. Bell), Space 1999:Year One (Space 1999, 1975, di L.H. Katzin).
Marek Grechuta:
GRECHUTA Marek, ur. 10 XII 1945 w Zamościu, pol. piosenkarz, poeta i kompozytor, założyciel kabaretu »Anawa«, z którego wyszły liczne przeboje G. Od 1981 występuje na własnej scenie w krakowskiej »Pinicy pod Różą«. Jest kompozytorem muzyki teatr., m.in. musicalu Szalona lokomotywa (Teatr STU, Kraków 1977).
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Italo Greco (Italo Nicola Greco, pseud. "Grooly"):
GRECO, Italo - Musicista italiano. Tra le sue fatiche (occasionali) per il cinema: Gli italiani e le vacanze (1963, di F.W. Ratti: in collab. con Mario Cantini); Grog (1982, di F. Laudadio: in collab. con Paolo Conte); Come mi vuoi (1996, di C. Amoroso); Ferdinando e Carolina (1998, di L. Wertmüller: in collab. con Paolo Raffone e Marcello Vitale).
Philip Green (Harry Philip Green né Henry Green, pseud. "Don Felipe", "Dorothy Mann", "Ephraim Lifshey", "John Temple", "Jose Belmonte", "Joseph MacCarthy", "Louise Duke", "Mary Mann", "Patrick Toohey", "Pepe Cortez", "Perry Carter", "The Pilgrim", "Ricardo Lamarr"):
Births Sep 1911
Surname: GREEN
Given name: Henry
Mother: Vogel
District: Whitechapel
Volume: 1c
Page: 473
Transcriber: scottpolly
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=SxEJ6uHbrIp2lyYkInujRg&scan=1))
GREEN, PHILIP, 1911-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig3105li/))
First name: HENRY
Last name: GREEN
Country of Birth: ENGLAND
City of Birth: LONDON
Date of Birth: 1911-07-19
Port of entry: NEW YORK
Date of entry: 1946-12-31
- (via archives.gov (https://aad.archives.gov/aad/fielded-search.jsp?dt=3340&tf=F&cat=all&bc=,sl,sd))
First name: PHIL
Last name: GREEN
Country of Birth: ENGLAND
City of Birth: LONDON
Date of Birth: 1911-07-19
Port of entry: NEW YORK
Date of entry: 1946-12-31
- (via archives.gov (https://aad.archives.gov/aad/fielded-search.jsp?dt=3340&tf=F&cat=all&bc=,sl,sd))
Directory of IMIC-2 Registrants
[...]
PHILIP GREEN
Photoplay Music
London, England
- (via archive.org (https://archive.org/details/musicindustrymar0000unse/))
GREEN, PHILIP (19 July 1911-6 October 1982)
Philip Green was born in London and began studying music at the age of seven, when he learned to play the piano. He won a scholarship to Trinity College, where he majored in orchestration, theory, harmony and composition. After college, he played in numerous orchestras and at nineteen became London's youngest conductor at the Prince of Wales Theatre in the West End. He conducted small bands and large orchestras in Great Britain and on the Continent. He subsequently became well known for his programs on Radio Luxembourg, which were broadcast in England.
During World War II, Green conducted many shows for the British Broadcasting Corporation that were designed for the armed forces. His many BBC programs included Salute to Rhythm, Band Call, Cuban Caballeros and Music Society of Lower Basin Street. He was also responsible for many original compositions and film scores. His orchestral compositions included 'Cuban Suite', 'White Orchids', 'Magic Bow', 'Shopping Centre', 'Horse Feathers', 'Follow Me Around' and 'Ecstasy' (as Jose Belmont).
Green made his first recording for the EMI Group, at the age of twenty-one and recorded consistently ever since that time. After the war, Green recorded for Capitol and MGM Records in America. His first important music for film was 'Romance' in The Magic Bow (1946), which became a great hit. His other films included Saints and Sinners (1948), Ha'penny Breeze (1950), Isn't Life Wonderful? (1952), Inn for Trouble (1953), Conflict of Wings (1954), John and Julie (1955), The March Hare (1956), The Square Peg (1958), Operation Amsterdam (1959), The League of Gentlemen (1960), The Singer Not the Song (1961) and Victim (1961).
Select Discography
Great Waltzes from Gilbert and Sullivan Riverside Records RLP 97530
Moods of London Capitol T 10059
Music of Irving Berlin: The Early Years International (Camden) INTS 1083
Music of Irving Berlin: The Golden Years International (Camden) Stereo INTS 1209
Music of Jerome Kern International (Camden) INTS 1082
Music of Rodgers and Hammerstein International (Camden) INTS 1081
Music of Rodgers and Hart: My Funny Valentine International (Camden) INTS 1207
Pan American Panorama Columbia 33SC 1121
Romantic Sound State Records ETMP6
Serenade in the Night MGM E3119
Study in Green Coral CRL 57074
Tango Time MGM E175
Wings of Song Rank Records of America JAS 8002 (Also on CD)
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)GREEN Philip - Nato a Londra il 19 luglio 1911. Musicista inglese, uno dei pochissimi compositori specializzati in musiche da film (gli altri si dedicano anche ad attività concertistiche, didattiche, ecc.). Per il cinema Green compose dagli anni '40 agli anni '60 partiture, diresse l'orchestra per le registrazioni, fece arrangiamenti, curò supervisioni: gli esiti sono soddisfacenti grazie alla accurata formazione tecnica e all'applicazione scrupolosa di un alto artigianato. Nelle partiture originali seppe rivolgersi agli effetti drammaturgici di presa più immediata, alternando pagine di struttura concertistica a pagine di ispirazione jazzistica. Tra le numerose fatiche firmate da Philip Green conviene citare: The Magic Bow (Un grande amore di Paganini, 1946, di B. Knowles); Murder Without Crime (1950, di J. Lee Thompson: per l'occasione Green compose una “Rapsodia per piano e orchestra”); Ha'Penny Breeze (1950: comprende un popolaresco “concerto marinaresco”); Twentyfour Hours in a Woman's Life (Un giorno... tutta la vita, 1951, di V. Saville); John & Julie (1955, di W. Fairchild: assoli di tromba e buon uso del coro); Violent Playground (L'incendiario, 1958, di B. Dearden); A Question of Adultery (1959, di D. Chaffey); Operation Amsterdam (Amsterdam, operazione diamanti, 1959, di M. McCarthy) Sapphire (Zaffiro nero, 1959, di B. Dearden: ottimi interventi jazz del complesso di Johnny Dankworth); The League of Gentlemen (Colpo da otto, 1960, di B. Dearden: uso sfottitorio di una fierissima marcia militare); The Singer not the Song (Il coraggio e la sfida, 1961, di R.W. Baker: musica risonante e con una forte ritmica); Flame in the Streets (1961, di R. W. Baker); Victim (La vittima, 1961, di B. Dearden: partitura di robusto sinfonismo); The Girl Hunters (Cacciatori di donne, 1962, di R. Rowland: tema struggente nel trombone e ritmi violenti); The Man Who Finally Died (L'uomo che morì tre volte, 1963, di Q. Lawrence); Two Left Feet (1962, di R.W. Baker); Masquerade (50.000 sterline per tradire, 1964, ancora di Dearden).
John Greenwood (John Danforth H. Greenwood):
GREENWOOD, JOHN.
Composer and Orchestrator. b. Kensington, London, 1889. Address: "Greenwoods," North End, Ditchling, Sussex. Phone: Hassocks 408. Gained Composition Scholarship, Royal College of Music, and was winner of Arthur Sullivan prize, etc. Is known as a composer of symphonies, ballet, chamber and light music. Also known for his stage and film productions. Has conducted his own compositions at the Queen's Hall, includeing a Promenade Concert, and also in the Provinces. First broadcast a programme of Poetry and Music from Savoy Hill. Was a member of B.B.C. European Service for short time during the war.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
JOHN GREENWOOD
b. 1889
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GREENWOOD, JOHN (26 June 1889-15 April 1975)
John Greenwood, film composer, was born in London and educated at the Royal College of Music. He won the Grove scholarship and Arthur Sullivan composition award. He studied under C. V. Stanford and taught for a short period at Brighton and Hove Grammar School. During his early career he played piano, French horn and viola in various orchestras. He composed various classical works, songs and a ballet suite, many of which were played by the Queen's Hall Orchestra under Sir Henry Wood. A few were first played at the Proms in the early 1920s. During the 1920s he cmoposed and edited scores for silent movies. In 1929 he wrote a new score for the part-talkie film To What Red Hell? Greenwood's increasing preoccupation with film work led to his cessation of all other forms of composing, but his music is of such quality that it can be performed in the concert hall, divorced frmo the movies it originally accompanied.
Some of his scores include Man of Aran (1934)), Elephant Boy (1937), Pimpernel Smith (1941), Hungry Hill (1946) and The Last Days of Dolwyn (1949). The score of the latter film won the Venice Film Award.
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)GREENWOOD, John - Nato a Londra il 26 giugno 1889, morto nel Sussex (G.B.) il 15 aprile 1975. Compositore di sinfonie, poemi sinfonici, musica da camera, vocale ecc. Musicista alquanto corrivo nelle sue numerose partiture per il cinema (una settantina di film, senza contare i cortometraggi), ha trovato modo in alcune occasioni di convogliare la sua vena lirica e romantica in moduli espressivi controllati, specialmente al contatto con atmosfere e situazioni ambientali di vasta suggestione. Straordinario senz'altro l'esito di Man of Aran (L'uomo di Aran, 1933, di R. Flaherty: avvolto in una musica turgida, saporosa, “classica” pur nel suo radicarsi a motivi popolari irlandesi, in perfetto accordo con il ritmo solenne delle immagini). Altri titoli interessanti: The Costant Nymph (1934: in collaborazione con Eugene Goossens); Elephant Boy (La danza degli elefanti, 1937, di Z. Korda e R. Flaherty: buon equilibrio fra musica originale e recuperi di musica indiana); The Drum (Il principe Azim, 1938, di Z. Korda); Pimpernel Smith (La primula Smith, 1941, di L. Howard); The Gentle Sex (Sesso gentile, 1943, di L. Howard e M. Elvey); The Lamp Still Burns (La lampada arde, 1943, di M. Elvey); San Demetrio, London (Naufragio, 1943, di C. Frend); Painted Boats (1945, di C. Crichton); Hungry Hill (Vendetta, 1946, di B. Desmond Hurst: uso di vigorosi ritmi da ballo); Frieda (Frida, l'amante straniera, 1947, di B. Dearden); The Last Days of Dolwyn (1949, di E. Williams: premio per la miglior musica alla Mostra di Venezia di quell'anno); Family Portrait (1950, di H. Jennings); Trio (1950: il tema principale è basato su un motivo popolare scozzese); The Wicked Lady (1956, di B. McNaught).
Gunter Greffenius (pseud. "John Tender", "Florian Völxen", "Marc Monsen"):
(https://i.imgur.com/bI4BM1t.png)
GREFFENIUS, Dr. Gunter
Hugo-Junkers-Str. 9
8022 Gründwald
089/64 95 38
* 24.5.1940 Hannover
1962 Abitur in Hannover; Jurastudium in München; 2. Staatsexamen 1968; Promotion zum Dr. jur. 1968 in Mainz; daneben klassische Klavierausbildung u. zwei Semester Pauke in Hannover.
Preise bei mehreren Jazz-Festivals als Vibraphonist.
Hauptwerke Fernseh- und Filmmusik,
Verlag: Edition Show Business und Edition Sportiva
sowie: über 100 Werke der Tanz- und Unterhaltungsmusik für Big Band und Combo.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Max Greger (pseud. "Hugo Velhorn"):
Max Greger. * 2.4.1926 in München. Spielte als Kind Akkordeon. Ausbildung am Münchner Konservatorium. Musizierte in amerikanischen Offiziers-Clubs, bis er 1948 seine eigene Band gründete. Zunächst leitete er ein Sextett, mit dem er im Bayerischen Rundfunk als „Enzian-Sextett“ Volksmusik brachte, und trat gleichzeitig in Jazzclubs auf. Zusammentretten mit vielen bekannten Jazzmusikern, u. a. Count Basie, Lionel Hampton, Ella Fitzgerald, Stan Kenton und Duke Ellington. Auftritte im AFN. Seit 1955 Gastspiele und Tourneen, 1959 erste Auslandstournee nach Rußland. Seit 1963 Vertrag mit dem ZDF und Vergrößerung des Orchesters auf 17 Musiker. Vielseitige Aufgaben als Studio-, Show- und Tanzorchester. Daneben unter den Pseudonymen „Egerländer Kaiserwaldmusik“ und „Obermenzinger Blasmusik“ volkstümliche Schallplatten. Bis heute über 40 LPs. Mitwirkung in den großen Musikshows des ZDF.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Max Greger Jr. (Max Greger jun., pseud. "Helmut Prange", "Rolf Stiebner"):
(https://i.imgur.com/gcaAz1p.png)
[part of group photo. not named.]
MAX GREGER JR., gebürtiger Münchner, erhielt mit fünf Jahren seinen ersten Klavierunterricht. Nach seinem Studium an der Münchner Musikakademie erweiterte er seine Kenntnisse bei Frau Prof. Maria Hindemith. Im Orchester seines Vaters lernte er Milan [Pilar] und Charly [Antolini] kennen, und die Idee CATCH UP wurde geboren. Seine Vorbilder sind Oscar Peterson, Herbie Hancock und McCoy Tyner.
MAX GREGER JR., born in Munich, Germany, started his first piano lessons at the age of five years. After his studies at the Munich Musical Academy he continued under the guidance of Professor Maria Hindemith. While playing in the orchestra of his father, he came to know Milan and Charly who were also members of the orchestra. It was here that the idea of CATCH UP started. His idols are Oscar Peterson, Herbie Hancock and McCoy Tyner.
MAX GREGER JR. wurde am 10. Oktober 1951 in München geboren. Er hatte ab dem fünften Lebensjahr Klavierunterricht. Nach dem Realgymnasium absolvierte er ein fünfjähriges Musikstudium an der Musikhochschule München, Hauptfach Klavier, bei Frau Professor Hindemith.
Neben dem Studium hatte Max Greger jr. öffentliche Auftritte in der Münchner Rock- und Jazzszene und mit 18 Jahren den Start als Studiomusiker. Mit 20 Jahren stieg er in die Big Band seines Vaters eni und war 8 Jahre Mitglied.
Zur Zeit ist Max Greger jr. ständiger musikalischer Begleiter der Sängering Margot Werner. Er komponiert unter anderem Film- und Fernsehmusiken (Derrick, Der Alte), sowie für Werbung. Max Greger jr. ist verheiratet, sein Sohn Maxi ist 3 Jahre. Seine Hobbies: Skifahren, Fussball, Musik.
Janez Gregorc:
GREGORC, Janez - Musicista sloveno. Attivo per il cinema jugoslavo (poi sloveno). Tra i film con sue musiche: Ko pride lev (t.l. All'arrivo del leone; 1972, di B. Hladnik); Begunec (t.l. Il fuggiasco, 1973, di J. Kavcic); Bele trave (t.l. Il prato bianco, 1976, di B. Hladnik); To so gadi (t.l. Le vipere, 1977, di J. Bevc); Ubij me nezno (t.l. Uccidimi con dolcezza, 1979, di B. Hladnik); Rdeci boogie (t.l. Boogie rosso, 1982, di K. Acimovic-Godina); Ljubezni Blanke Kolak (t.l. Gli amori di Bianca Kolak, 1987, di B. Jurjasevic).
John Gregory (né Primino G. G. "Primo" Gregori, pseud. "Chaquito", "Chris Carpenter", "Nino Rico"):
Births Dec 1924
Surname: Gregori
Given name: Primino G. G.
Mother: Rossi
District: Pancras
Volume: 1b
Page: 22
Transcriber: skylark
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=CnfblXSfkzLH3oPY8IUyFg&scan=1))
GREGORY, JOHNNY (born John Gregori) (12 October 1928)
Johnny Gregory was a violinistm, arranger and bandleader. He was the son of Frank Gregori, a bandleader at the London restaurant Quaglino's for ten years. He workedi n his father's band at London Normandy Hotel while he was still in his teens. He then became an arranger as well as a freelance performer in clubs. He became famous for his arrangements for recording artists such as Russ Hamilton, Connie Francis, Matt Munro, Cleo Laine, Anthony Newley and Nana Mouskouri. He conducted his own LPs using pseudonyms such as Nino Ricci. This led to his becoming well known for two very different types of music; the exciting big band jazz and Latin American sounds of his 'Chaquito' recordings and also as one of the most creative and talented writers for string orchestras. His string orchestra was called the New Cascading Strings and became famous in the 1960s, particularly in Japan.
He conducted frequently on BBC Radio 2, either with one of the two above-mentioned orchestras or with the BBC Radio Orchestra '84. He frequently played many of the arrangements he wrote especially for this records. He also conducted for films and for television music programs. Gregory was the principal arranger for the scintillating MOODS ORCHESTRAL Series.
Select Discography
Amazing Grace - The New Cascading Strings Philips 6308 082
Cascading Strings Philips 6308 016, Fontana SFL 13018
Cascading Strings Play Philips 6382 035
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)
Harry Gregson-Williams (Harry David Gregson-Williams):
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Harry Gregson-Williams
After completing his musical education at Cambridge and The Guildhall in London Harry has built a reputation as one of the foremost composers for film. He has composed original scores for such films as The Replacement Killers, The Borrowers, Deceiver, Smilla's Sense of Snow, The Whole Wide World, Full Body Massage, White Angel and Hotel Paradise. He has composed selected cues for Armageddon, The Prince of Egypt and Muppet Treasure Island. Harry has also composed additional music for the films The Rock, Broken Arrow and The Fan. He has orchestrated and arranged music for Hans Zimmer on The Lion King, Crimson Tide and Two Deaths. His recent work includes the score for Antz! - a Dreamworks animated feature starring Woody Allen, Sharon Stone and Gene Hackman.
- (by kind courtesy of Moon Monkey - thanks!)
GREGSON-WILLIAMS, Harry - Musicista americano delle nuove leve, d'origine irlandese, attivo dagli anni '90. Fa parte della factory “Media Ventures” di Hans Zimmer. Tra le sue partiture quelle per Smilla's Sense of Snow (Il senso di Smilla per la neve, 1996, di B. August: in collaborazione con Hans Zimmer); Liar (L'impostore, 1997, di J. e J. Pate: ampi interventi sinfonici ma anche effettoni elettronici e jazz-rock); The Replacement Killers (Costretti a uccidere, 1998, di A. Fuqua); Enemy of State (Nemico pubblico, 1998, di T. Scott, in collaborazione con Trevor Rabin); Negotiator (Il negoziatore, 1998, di F.G. Gray); Light it up (Una voce per gridare, 1999, di C. Bolotin); Spy Game (idem, 2001, di T. Scott: pagine di ogni genere per una vicenda che si svolge in diversi posti del mondo, dalla classica all'elettronica, dal canto per voce femminile ad una specie di rock arabeggiante); Phone Booth (In linea con l'assassino, 2002, di J. Schumacher); Veronica Guerin (Veronica Guerin – Il prezzo del coraggio, 2003, di J. Schumacher: atmosfere avvolgenti, minacciosi pedali elettronici, ritmi forti, pagine gravi, e un flavour irlandese: la vicenda è ambientata a Dublino). Insieme a John Powell il nostro ha firmato risultati brillanti per la “Dreamworks” in lungometraggi animati che hanno mosso seria concorrenza alla società Disney: Antz (Z la formica, 1998, di E. Darnell e T. Johnson), Chicken Run (Galline in fuga, 2000, di P. Lord e N. Park), Shrek (idem, 2001, di A. Adamson e V. Jenson; Sinbad: Legend of the Seven Seas (Sinbad, la leggenda dei sette mari, 2003: ampia orchestra, richiami al folklore orientale, contrappunti sapienti). In tali film si scatena una vena colorata e variata, che accoglie la grande pagina orchestrale e i ritmi rock, il balletto e la canzone burlesca, i coretti e le ballate.
Rupert Gregson-Williams (Rupert William Gregson-Williams, pseud. "Rod Williams"):
(https://i.imgur.com/KHU2Wxd.png)
Rupert Gregson-Williams
Rupert has developed a diverse musical career. As a scholar at St. Johns, Cambridge, he toured and performed extensively in the USA, Europe and Asia. As well as writing on scores for a large variety of feature films and television serials, he has sung on various Disney animations, played guitar duets with John Williams, arranged for Elton John and composed for and conducted the London Symphony Orchestra.
In 1998 Rupert finished scoring the British film An Urban Ghost Story, starring Jason Connery and John Cosmo. He has recently returned from America having completed work with the Academy award-winning Hans Zimmer on Dreamworks SKG's forthcoming The Prince of Egypt.
- (by kind courtesy of Moon Monkey - thanks!)
Georges Grenu (Georges Henri Grenu, pseud. "George Grehn"):
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[no bio, just a photo.]
(https://i.imgur.com/VS1drus.png)
[no bio, just a photo.]
GEORGES HENRI GRENU
Naissance 25.06.1925
Tourcoing (59599), France (FRA)
Décès 23.07.2013
La Chaussée-Saint-Victor (41047), France (FRA)
- (via matchID (https://deces.matchid.io/id/m1rjK7ZbXFfa))
Rodolfo Grieco:
PRODUTTORI INDIPENDENTI
Independent Producers
[...]
RODOLFO GRIECO - Viale Corsica 4, 20137 Milano - Tel. (02) 73.14.44
Joe Griffiths (Leslie Joseph Griffiths):
(https://i.imgur.com/phpUDXl.png)
JOE GRIFFITHS
Joe has had no formal musical training apart from two years' piano lessons when he was very young. On getting his University degree in French, Joe came to London where he started to have some success writing and selling songs. In 1969, he wrote a new score for, and appeared as the musician in, Peter Coe's production of 'Caucasion Chalk Circle' at the Chichester Festival (with Topol of 'Fiddler on the Roof' fame). Joe has also written the music for Peter Coe's production 'Decameron 73', the enormously successful childrens' TV series 'Chorlton and the Wheelies' and the equally successful 'Jamie and the Magic Torch' and, more recently, the hauntingly beautiful theme for the highly acclaimed Francis Durbridge serial 'Breakaway' (BBC TV).
- (by kind courtesy of Moon Monkey - thanks!)
Theodor Grigoriu:
Grigoriu, Theodor *25. 7. 1926 Galati, Rumänien.
Studien: Konservatorium Bukarest und Moskau (Chatschaturjam).
Komponist. Sekretär des rum. Komponistenverinigung.
Werke: Bühnenwerke, Orchesterwerke, Kantaten, Filmmusik, Kammermusik, Chormusik, Lieder.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
GRIGORIU THEODOR. 25.7.'26 a Galati (Romania) dove ha studiato. Allievo di Kaciaturiam e Golubev al Conservatorio di Mosca.
Autore di musica sinfonica; musica di scena, cantate; Sinfonie; Variazioni sinf.; Suites; Cons. per doppia orchestra; musica per films. Quartetto d'archi; Suite per archi; Liriche.
GRIGORIU, Theodor - Musicista rumeno. Tra le sue partiture per il cinema sono note quelle per Codine (coproduzione franco-rumena, regia di H. Colpi) e per i seguenti film rumeni: La selva degli impiccati (1965, di L. Ciulei: musica violenta ed aggressiva, con sonorità metalliche e ricorso al puntillinismo); La grande battaglia di Sebastopoli (1964, di M. Dragan); I Daci (1967, di S. Nicolaescu), Colonna (1968: in collaborazione con Robert Mellin).
Octave Grillaert (Octave Cesar Charles Albert Grillaert, pseud. "Ernest Bradshaw", "Harry King", "Joe Beider"):
GRILLAERT, OCTAVE
(1905-1979)
Octave Grillaert was born in Nivelles, Belgium, on January 27, 1905, the son of a trumpet professor at the Royal Brussels Conservatory. He studied at the Nivelles Music Academy and later also studied harmony with Fernand Goyens. He worked as an accompanying pianist for Belgian Radio.
Grillaert's works, which number over 2,000, include operettas, film music, ballet music, symphonic works, and choral works. Most of his light music was composed under the pseudonym Harry King. He died at Etterbeek (Brussels) on January 28, 1979.
- Francis Peters
[contains a list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0003rehr/))
GRILLAERT, Octave (19xx-1979)
Compositeur belge
[contains a list of works]
- (via archive.org (https://archive.org/details/comprehensivegui0000lond/))
Fernando Grillo:
NOTE: Non-composer.
Credited as contrabassist for an LP on Flirt Records (https://librarymusicthemes.com/index.php?topic=297.0), performing pieces for solo contrabass composed by Paolo Renosto.
GRILLO FERNANDO. Foggia, '45.
Autore di Paperoles, Calacis iters per contrabbasso; Gstüss per contrabbasso; Lideison per contrabbasso; Zieitgewebe per complesso; Le grand thythme per percussione, '85; Improvviso per clarinetto; Serenata per violino e pianoforte; Zehn haekv per soprano e chitarra, '86; Work in progress n. 1 per 30 contrabbassi, e basso elettrici e 4 p.; Suite in re min. per contrabbasso.
Ferde Grofé:
GROFÈ, Ferde – pseudonimo di Fernando Rudolph von Grofé - Nato a New York il 27 marzo 1892, deceduto a Santa Monica (California) il 3 aprile 1972. Di origine tedesca, studia con la madre violinista e con altri maestri, e diventa violinista a sua volta (suona per dieci anni con la Los Angeles Symphony), poi si avvicina al jazz e dal 1920 diventa pianista e arrangiatore per l'orchestra ritmo-sinfonica di Paul Whiteman. Direttore d'orchestra a sua volta, compositore di concerti e suites (famosa la Grand Cañon Suite) con radici nella musica popolare americana. Su incarico di Gershwin, orchestra la Rapsodia in blu. Per il cinema cura vari arrangiamenti e compone musica originale per: The King of Jazz (Il re del jazz, 1930, di J.M. Anderson); Minstrel Man (1944, di J.H. Lewis); Time Out of Mind (Prigionieri del destino, 1947, di R. Siodmak); Rocketship X-M (Destinazione Luna, 1950, di K. Neuman: sonorità diafane, intelligente uso dei Theremin); The Return of Jesse James (Nessuno deve amarti, o Ti amo e ti uccido, 1950, di D.A. Hilton). Sue composizioni sono state utilizzate in vari film, come nel documentario Gran Canyon di produzione Walt Disney (1959) e in Valentino (idem, 1977) di K. Russel.
Hugo de Groot (Antonius Wilhelmus Maria de Groot, pseud. "Bill Parker", "Goesta Dorel", "Hugh Dorel", "Hugh Granville", "Jef van den Bosch"):
DeGROOT, HUGO
(1897-?)
Hugo DeGroot was born on September 8, 1897, in Den Bosch, the Netherlands.
He studied at the Hague Conservatory and was violinist in the Concertgebouw Orchestra in Amsterdam. In 1929, he was named conductor of the Hilversum Radio Orchestra.
Reference
Suppan, Lexikon des Blasmusikwesens.
[contains list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0001rehr_z6l5/))
DeGROOT, HUGO
Additional biographical information:
DeGroot died On November 6, 1986.
[contains a supplemental list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0003rehr/))
Charles Gross (Charles Henry Gross):
[entry has photo]
CHARLES GROSS is a graduate of Harvard University and was a teaching fellow at Mills College in Oakland, California where he was a student of Darius Milhaud and Leon Kirchner. During his military service he served as an arranger for the United States Military Academy Band at West Point. He has been active as a composer of music for films and television. Among his screen credits are "The Group," and "Robert Frost," a feature film documentary.
Gross, Charles *13. 5. 1934 Boston/Mass., USA.
Studien: Harvard Universität, Mills College und bei Milhaud.
Komponist und Arrangeur.
Werke: Fernseh- und Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
CHARLES GROSS
Agent: Gorfaine-Schwartz - Burbank, 818/954-9500
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
GROSS, Charles - Nato a Cambridge (Massachussets) il 13 maggio 1934. Attivo soprattutto per la televisione (telefilm). Occasionalmente compone per il cinema (americano e inglese). Tra i suoi film: The Group (Il gruppo, 1965, di S. Lumet), Valdez is coming (Io sono Valdez, 1971, di E. Sherin), Heartland (1980, di R. Pearce), Country (1984, di R. Pearce), Sweet Dreams (idem, 1985, di K. Reisz), Apprentice to Murder (La notte dello sciamano, 1988, di R.L. Thomas), Turner and Hooch (Turner e il “casinaro”, 1989, di R. Spottiswoode), Air America (1990, di R. Spottiswoode), Another You (Non dirmelo… non ci credo, 1991, di M. Phillips).
Pietro Grossi:
Grossi, Pietro (Italia, 1917)
- (via archive.org (https://archive.org/details/emr-2-3/))
Pietro Grossi è nato a Venezie nel 1917 e ha compiuto gli studi musicali al Conservatorio di Bologna diplomandosi in violoncello e composizione.
A 19 anni era primo violoncello dell'orchestra del Maggio Musicale Fiorentino, incarico che ha ricoperto fino al 1964.
È titolare di violoncello e incaricato per la musica elettronica al Conservatorio Luigi Cherubini di Firenze; ha insegnato le stesse discipline presso l'Indiana University (Bloomington, USA).
Oltre ad avere svolto attività di compositore e di solista (soprattutto come interprete del repertorio contemporaneo), ha fondato l'associazione «Vita Musicale Contemporanea» e l'«S 2F M» (Studio di Fonologia Musicale di Firenze).
Da un decennio svolge ricerche nel campo della computer music; dal 1969, in particoare, lavora in questo settore presso la Sezioni musicologica del Centro Nazionale Universitario del Calcolo Elettronico (CNUCE) di Pisa in collaborazione con il locale Centro Scientifico IBM.
Dal 1971 collabora anche con l'Istituto per l'Elaborazione delle Informazioni (IEI) del CNR.
Pietro Grossi, born in 1917 in Venice, studied music at the Bologna Conservatorio, where he took his diploma in cello and composition.
At 19 he was first cello of the Maggio Musicale Fiorentino (Florence Music Festival) orchestra, and appointment he held until 1964.
At present he is head of the cello department at the Luigi Cherubini Conservatorio, Florence, where he is also in charge of electronic music.
He previously taught both these subjects at Indiana University (Bloomington, USA).
In addition to his work as a composer and soloist (especially in the field of contemporary music), he has founded two associations: «Vita Musicale Contemporanea» (Contemporary Musical Life) and «S 2F M» (Florence Studio of Musical Phonology).
For the last ten years Pietro Grossi has been doing research on computer music. Since 1969 his work in this field has been undertaken at the Musicology Section of the Pisa National University Computing Center (CNUCE), in conjunction with the IBM Scientific Center there. Since 1971 he has also been associated with the Istitut per l'Elaborazione delle Informazioni (Information Processing Institute) of the National Research Council.
(https://i.imgur.com/bkIesyX.png)
Pietro Grossi, nato a Venezia nel 1917, ha compiuto gli studi musicali, viokloncello e composizione, al Convervatorio di Musica di Bologna.
E' stato I° violoncello dell'orchestra del Maggio Musicale Fiorentino dal 1936 al 1966 ed ha svolto attività concertistica. E' titolare di cattedra al Conservatorio di Musica di Firenze dove tiene anche un corso straordinario di informatica musicale. Dal 1966 ha circoscritto il suo impegno di studio e sperimentazione alla Computer Music promuovendo l'attività in questo settore presso il CNUCE, dove opera tuttora.
Tra le opere strumentali: Concerto per orchestra, composizioni 1-12 per gruppi cameristici.
Computer music: Sound Life 1-15, Improvvisazioni I e II. Trascrizioni di opere di Bach, Paganini, Scarlatti, Webern.
GROSSI PIETRO. Venezia, 15.1.'17. Violoncellista. Allievo di Olbach, Nordio al Conservatorio di Bologna. Insegnante di musica electtronica al Conservatorio di Firenze. Fondatore dello studio di Fonologia mus. a Firenze.
A Pisa ha diretto la sezioni di musica elettronica dal '73.
Autore di Sinfonia per orchestra, '46; Composizione per orchestra, '49; 5 pezzi per archi, '58; Composizioni per archi, per 3 fagotto e 3 contrabbasso, per coro e archi; per strumenti, per mezzi elettronica, '61; Sound life per nastro magnetico.
Franz Grothe:
Komponist Grothe, Franz, 1 Berlin 38, Matterhornstraße 65
8182 Bad Wiessee, Jägerstraße 33
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Grothe, Franz *17. 9. 1908 Berlin.
Leitete das Deutsche Tanz- und Unterhaltungs-Orchester Berlin.
Werke: Operetten "Die Nacht mit Casanova" unter anderem, Komödie "Der ideale Gatte", Filmmusik, Unterhaltungsmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Grothe, Franz (geb. 7. 9. 1908 Berlin - gest. 12. 9. 1982 Köln)
In Berlin besuchte er däs Gymnasium in Stieglitz, später die Musikhochschule und begann seine praktische Tätigkeit im Orchester Dajos Bela. Seine Vorliebe für Musicals entwickelte er in den dreißiger Jahren währen eines 18-monatigen Aufenhaltes in Hollywood, wo er für die Universal Corporation arbeitete. Von 1940-1945 war Grothe Leiter des Deutschen Tanz- und Unterhaltungs-Orchesters, er war weiterhin Hauskomponist bei der Ufa. Grothe schrieb insgesamt etwa 170 Filmmusiken und war damit einer der produktivsten Filmkomponisten des Dritten Reiches.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
[entry has photo]
GROTHE, Franz
RN: Franz Grothe-Stiftung
Rechstfähige öffentl. Stiftung
des bürgerlichen Rechts
Sitz München
Rosenheimer Str. 11
8000 München 80
089 / 480 03 - 0
* 17.9.1908 Berlin
† 12.9.1982 Köln
Humananistisches Gymnasium in Berlin; frühe Kompositionsversuche; Musikhochschule Berlin (Violine, Klavier, Theori bei Th. Müngersdorf, W. Gmeindl, Clemens Schmalstich, Josef Weiss, Leonid Kreutzer, Hermann Dies, N. Lambinon); Europa-Tourneen als Pianist u. Arrangeur d. Orchester Dajos Béla; Schallplatte mit Richard Tauber; Korrep. bei Universal Corp. in Hollywood; Arrangements für Lehár, Kalmán u. R. Stolz; 1940-1945 Leiter des Dt. Rundfunk-Tanz- u. Unterhaltungs-Orchester in Berlin; Hauskomponist der Ufa; auch nach dem Krieg zahlr. Film- u. Fernseh-Musiken; 1972-1982 Vorsitzender des Aufsichtsrats der GEMA, Mitbegründer der GEMA-Stiftung; 1977-1982 Vorsitzender des Beirats der GEMA-Stiftung; 1960-1982 Vorsitzender des Beirats der Franz Grothe-Stiftung.
1966 Paul-Lincke-Ring; 1968 Goldene Schallplatte für „Man kann sein Herz nur einmal verschenken“, 1975 Filmband in Gold; 1978 Max-Reger-Medaille; 1979 Goldene Schallplatte für „Mitternachts-Blues“; 1980 Großes Bundesverdienstkreuz; 1981 Goldene Nadel der Dramatiker-Union; 1982 GEMA-Medaille „50 Jahre ordentliche Mitgliedschaft“.
170 Filmmusiken; Bühnenwerke (Operetten, musikalische Lustspiele u. Musicals), u. a. „Moral“ (1974) u. „Das Wirtshaus im Spessart“ (1977); Tanzmusik, Chansons u. Schlager, darunter zahlreiche Evergreens; Fernseh-Musiken; außerdem konzertante Unterhaltungsmusik, u. a. Konzertlieder, Suiten, Jazz-Fantasien u. Werke für verschiedene Solo-Instrumente mit Orchester-Begleitung.
Ein systematisch-chronologisches Franz Grohe-Werkverzeichnis mit vollständiger Filmographie ist im Auftrag der Franz Grothe-Stiftung erschienen.
GROTHE, Franz - Nato a Köln (Germania) il 12 settembre 1908, morto nel settembre 1982. Musicista precoce (concertista di violino dall'età di 14 anni), autore di canzoni, di sinfonie jazz, di opere, arrangiatore per compositori di operette, direttore dell'orchestra della radio tedesca. Richiesto dall'industria cinematografica all'indomani del sonoro, si specializza in questo settore componendo un alto numero di commenti, soprattutto per film di carattere leggero, e ciò prima della guerra, durante il nazismo e nel dopoguerra. Nella sua lunghissima filmografia ricorrono volentieri signorine emancipate, amori che finiscono, Carmen bionde, mogli allegre, orchidee rosse, ore azzurre, Danubi blu, balli con l'imperatore e così via seguitando nel repertorio del tipico cinema evasivo di marca austro-tedesca. Qualche partitura esce dal generico, sia nel genere commedia con musiche che in quello drammatico. Tra i film del primo tipo alcuni sono firmati da specialisti come il regista G. Jacoby (Frauen sind doch bessere Diplomaten – Le donne sono i migliori diplomatici, 1941: canzoni al cembalo, balli militari e un curioso numero di balletto en plein air); Die Frau meiner Träume (La donna dei miei sogni, 1944) e G. von Bolvary (Ich kenn' Dich nicht und liebe Dich, 1934; Winternachtstraum, 1935; Das Schloß in Flandern – Castello in Fiandra, 1936; Hoch Klingt der Radetzky – La marcia di Radetzky, 1958). Film musicati per altri registi: So endete eine Liebe (Così finì un amore, 1934, di K. Hartl); Wo die Lerche singt (Dove cantano le allodole, 1936, di C. Lamac); Napoleon ist an allem Schuld (1938, di C. Goetz); Ehe in Dosen (1939, di J. Meyer); Liebespremiere (1943, di A.M. Rabenalt); Bildnis einer Unbekannten (Ritratto di una sconosciuta, 1954, di H. Käutner); Die goldene Brücken 1956, di P. Verhoeven); Das Wirtshaus in Spessart (1957, di K. Hoffmann); Wir Wunderkinder (Finalmente l'alba, 1958, di K. Hoffman); Helden (Le armi e l'uomo, 1958, di F.P. Wirth: uso malizioso di una scattante marcetta che prende per il bavero l'eroismo fasullo dei protagonisti); Liebling der Götter (Notte d'inferno, 1960, di G. Reinhardt); Dr. Praetorius (1965, di K. Hoffman).
Grothe, Franz
Berlin-Treptow, 17. September 1908 - Köln, 12. September 1982.
Schüler u. a. von W. Gmeindl, und C. Schmalstich, freischaffender Pianist und Komponist, ab 1931 in Berlin und Bad Wiessee. Dann Mitarbeiter des Rundfunks, ab 1942 in der Programmredaktion für die unterhaltenden und künstlerischen Sendungen des Reichsrundfunks Leiter der Gruppe Gehobenere Unterhaltungsmusik.
Nach 1945 u. a. Aufsichtsratsversitzender der GEMA und Vorstand der Franz-Grothe-Stiftung.
Werke: musikal. Lustspiele; Operetten, so "Die Nacht mit Casanova" (Stuttgart, 6/I/42), und 170 Filmmusiken, so "Zwischen zwei Herzen", Liebeskomödie "Terra, Uraufführung: 31/I/34), "Ich kenn Dich nicht und liebe Dich" (Uraufführung: 1/II/34), "So endete eine Liebe" (Uraufführung: 18/X/34), "Der Ammenkönig", Sittenkomödie (Uraufführung: 5/XII/35; Prädikat: Künstlerisch wertvoll); "Pat und Patachon im Paradies", Lustspiel, zus. mit Paul Hühn (Uraufführung: 22/X/37), Immer, wenn ich glücklich bin", musikal. Lustspiel (Uraufführung: 20/I/38), "Die fromme Lüge", Frauen- und Liebesstück (Uraufführung: 25/II/38), "Diskretion - Ehrensache", Lustspiel (Uraufführung: 23/VIII/38), "Das Abenteuer geht weiter", musikal. Lustspiel (Uraufführung: 24/II/39), "Der Vorhang fällt", Kriminalstück (Uraufführung: 13/VII/39); "Illusion", Liebesgeschichte mit Ferien auf dem Gutshof (Ufa, Uraufführung: 30/XII/41), "Leb wohl, Christina", Liebesstück um ein Mädchen im Bodensee-Internat, Regie Gustav Fröhlich (Tobis, unaufgeführt, bei Kriegsende in Musik-Synchronisation).
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Bert Grund (pseud. "Albert Josephy", "Herb Van Drasdon", "Manuel Sassonero"):
Komponist Grund, Bert, CH 6969 Cureggia Posta Dregassona
8 München 9, Geiselgasteigstraße 20
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Grund, Bert *24. 1. 1920 Dresden.
Studien: Musikschule und Konservatorium Dresdren (Pembaur).
Komponist. 1945 eigenen Unterhaltungsorchester, 1956 Dozent am Institut für Film und Fernsehen. 1958 bei amerikanisch Fernseh-Gesellschaft, 1959 bei Deutschen Fernsehen, lehrt jetzt an der Hochschule für Film und Fernsehen in München.
Werke: Ballette, Filmmusik, Fernsehmusik, Lieder und Chansons.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Adressenänderungen
[...]
GRUND, Berg
Via Collina Azzurra 4 App. 23
Ch - 6902 Lugano-Paradiso
00 41 - 91 - 54 64 70
Clare Grundman (Clare Ewing Grundman, pseud. "Carlos Guerno"):
Grundman, Clare E., composer, arranger; b. Cleveland, Ohio, May 11, 1913. ASCAP 1950. Educ.: Shaw High School, E. Cleveland; Ohio State Univ., Columbus, B.Sc. in Ed. 1934, M.A. in Music 1940. Studied composition with Paul Hindemith. Played clarinet in high school band. Teacher of instrumental music, Univ. High School, Columbus, 1934; Lexington, Ky., public schools 1935-37. Teacher of orchestration, woodwinds and bands Ohio State Univ. 1937-41. In 1941, arranger and composer major networks, New York. World War II, U.S. Coast Guard, Chief Musician, 1942-45. Upon discharge resumed writing music for radio, films, Broadway shows, television. Conducted several radio shows, films and a musical review. Member: Phi Mu Alpha, Kappa Kappa Psi. Works for band: Suite for Symphonic Band (Little March, second movement); American Folk Rhapsody; Two Moods; A Walking Tune; March Processional; The Blue-Tail Fly; The Green Domino. Also: Bagatelle, clarinet quartet, and incidental and background music for radio and television. Home: R.F.D. No. 5, Ridgefield, Conn.
- (via archive.org (https://archive.org/details/ascapbiographica00amer_1/))
Alfons Grunert (pseud. "Andre Ralf", "Arno More", "Charly Morlan", "John Myk"):
Komponist Textdichter Grunert, Alfons, 1 Berlin 42, Gontermannstraße 4 a
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Domenico Guaccero:
Guaccero, Domenico *11. 4. 1927 Palo del Colle, Italien.
Studien: Bari und Konservatorium Rom, Schüler von Petrassi.
Komponist. Lehrt seit 1966 am Konservatorium Pesaro, Gründer und Leiter des Studio R7 für elektronische Musik.
Werke: Oper "Scene del potere", "La farmacista", Orchesterwerke, Kammermusik, Vokalmusik, z. T. mit elektronische Klängen, Artikel über Neue Musik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
GUACCERO DOMENICO. Palo del Colle (Ba), 1.4.'27 + 24.4.'87, Roma. Ha studiato con Petrassi. Insegnante di Conservatorio di Pesaro, L'Aquila, Frosinone, Bari, Roma.
MUSICA DA CAMERA - Rota per arpa; Liriche di Montale; Esercizi per violoncello, mimo, clarinetto e pianoforte; Quartetto per strumenti e nastro magnetico; Klaviatura per clavicembalo, 8 strumenti e nastro magnetico; Un iter per doppio quintetto, '60; Interno-esterno per 5 fiati, tastiere e nastro magnetico; Quartetti; Sonate; Su traccia per violino; Negativo per flauto; Musica strumentale; 5 Canti da Tasso per voce e pianoforte, '80.
MUSICA SINFONICA - Concerto per percussione e orchestra; Variazioni per orchestra; Due temi per orchestra; Iter inverso per 16 strumenti; Kardia per 5 flauti, 5 violoncelli e 5 archi; Oratorio per violoncello e 10 archi.
TEATRO - La farmacista; Scene del potere; balletto Rot (Roma, Teatro 'Opera', '82).
Roy Gubby (Alfred Roy Gubby, pseud. "Roy Dawson Gubby"):
GUBBY, Roy, born 15 Mar. 1911, London, UK. Composer; Violinist; Conductor. Education: Bournemouth Conservatory. Marrie, 1 son. Debut: Radio, 1926; Conductor, Bournemouth Symphony, 1932. Career: Radio Performances, BBC, R.G. Radio Orchestra, R.G. Radio Quartet. Compositions incliude: (publd.) The Great Panathanaea, brass quintet; numerous light orchestral pieces; String Classical Trio; Lullay There Little Child; Recorder Suite; Air & Rumba; A Christmas Pastorale; (recorded) Les Images Musicales; Baroque Suite; Merrily for Christmas; String Trio in 4 parts, etc. Contributor to: Light Music Society Magazine; Composer. Member Composers Guild of Great Britain. Recipient Gold Medal, Brighton Composer Festival, 1932. Hobbies: Painting; Sculpting; Gardening. Address: 29 Broad Pt., Ludlow SY8 1NJ, UK. Who's Who in Music (UK).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Roger Guérin (Roger Raymond Guérin, pseud. "Guerin Boulanger"):
(https://i.imgur.com/FIrgRxE.png)
[no bio, just a photo.]
(https://i.imgur.com/IzbEegL.png)
[no bio, just a photo.]
Andrea Guerra:
GUERRA, Andrea - Nato a S. Arcangelo di Romagna nel 1961, figlio del poeta e sceneggiatore Tonino Guerra. Studi musicali a Bologna. Interessato al jazz e attivo per la televisione dagli anni '80 (soprattutto per le serie di documentari naturalistici, poi per film-TV). Nella decade successiva ha cominciato a lavorare per il cinema, affermandosi come uno dei migliori compositori italiani per film, soprattutto per la produzione giovanile e indipendente. Tra i suoi risultati: Viaggio d'amore (1990, di O. Fabbri); Una vita in gioco (1992, di G. Bertolucci); Narcos (1992, di G. Ferrara); Allullo Drom (1992, di T. Zangardi); Troppo sole (1994, di G. Bertolucci); Il tocco – La sfida (1996, di E. Coletti); Onorevoli detenuti (1998, di G. Planta); Femmina (1998, di G. Ferlito); Giochi d'equilibrio (1998, di A. Fago); The Protagonists (1999, di L. Guadagnino); Prime luci all'alba (2000, di L. Gaudino); Le fate ignoranti (2001, di F. Ozpetek: ispirazione classicheggiante e delicatezza di toni); Tornando a casa (2001, di V. Marra: rimandi a canzoni e atmosfere del Meridione); Sole negli occhi (2001, di A. Porporati); Semana Santa (2002, coproduz. italo-franco-ispano-tedesca di P. Danquart); Angela (2002, di R. Torre); Il contratto (2002, di G. Chiesa); Emma sono io (2002, di F. Falaschi); La leggenda di Al, John e Jack (2002, di Aldo, Giovanni, Giacomo e M. Venier); Prendimi l'anima (2003, di R. Faenza: il motivo di una canzone dal sapore russo – Tunbalalaika – fa da filo conduttore, con episodi forti a note ribattute per i momenti più drammatici); La finestra di fronte (2003, di F. Ozpetek: una melodia per voce femminile, quella della cantante Georgia – Gocce di memoria – racchiude la vicenda, sottolineata da morbidi interventi di archi. A questa colonna sonora sono stati attribuiti il David del 2003 per la miglior musica e il Ciak d'Oro 2003 e alla canzone il Nastro d'argento per la miglior canzone); Passato prossimo (2003, di M.S. Tognazzi); Le chien, le général et les oiseaux (Il cane e il suo generale, 2003, mediometraggio animato di F. Nielsen: premio CAM/Rota); Le barzellette (2003, di C. Vanzina); Che ne sarà di noi, 2003, di G. Veronesi; Il vestito da sposa (2003, di F. Infascelli); Ogni volta che te ne vai (2004, di D. Cocchi: soprattutto riprese di canzoni tradizionali romagnole). Guerra ha composto anche la partitura di Respiro, (2002) di E. Crialese ma ha tolto la sua firma quando ha appreso che della sua fatica restava ben poco nel film.
Jean Pierre Guigon (Jean Pierre Camille Bernard Guigon, pseud. "Jean-Pierre Sabar"):
(https://i.imgur.com/4ySeKmt.png)
Photos: Bernard Leloup
[no bio, just a photo. not named.]
(https://i.imgur.com/g3X1JE7.png)
[no bio, just a photo.]
JEAN PIERRE CAMILLE BERNARD GUIGON
Naissance 14.09.1933
Departement De Constantine (93352), Algerie (DZA)
Décès 16.12.2024
Issy-les-Moulineaux (92040), France (FRA)
- (via matchID (https://deces.matchid.io/id/O9PPNjRIDtG9))
Raymond Guiot (Raymond Philibert Guiot):
(https://i.imgur.com/TgVbcn1.png)
Raymond GUIOT
est né à ROUBAIX (Nord). Il fait ses premières études musicales au CONSERVATOIRE de sa ville natale et commence l'étude de la flûte dès l'âge de 10 ans, sous la direction de M. DUSAUSOY, élève de M. TAFFANEL.
Il entre en 1945 au CONSERVATOIRE NATIONAL SUPÉRIEUR de PARIS, dans la classe de Gaston CRUNELLE et trois mois après la classe de Marcel MOYSE, qui reprenait ses activités interrompues par la guerre. Il obtient son 1ᵉ prix en 1947.
Il reste trois ans à l'OPÉRA de LILLE, 6 ans au Conservatoire de CALAIS et obtient en 1954 le 1ᵉʳ Prix au CONCOURS INTERNATIONAL DE GENÈVE. Il passe ensuite 6 années à la MUSIQUE de la GARDE RÉPUBLICAINE et en 1962, il rentre à l'OPÉRA de PARIS, en remplacement de J.P. RAMPAL démissionnaire.
Il a fait également partie des orchestres COLONNE et SOCIÉTÉ des CONCERTS. Il est Professeur au Conservatoire du 10ᵉ arrondissement à PARIS et à l'ACADÉMIE INTERNATIONALE d'ÉTÉ de NICE.
Ses activités ne se bornent pas à la flûte-jazz. Il a beaucoup enregistré avec son quartette et avec des musiciens tels que André HODEIR, G. GRUNTZ, Duke ELLINGTON, Luis BONFA, Baden POWEL etc... et improvise aussi bien sur la flûte en ut que sur la flûte en sol, ses études de piano et d'harmonie lui permettant d'être un musicien complet.
RAYMOND PHILIBERT GUIOT
Naissance 05.10.1930
Roubaix (59512), France (FRA)
Décès 11.07.2025
Paris 16e Arrondissement (75116), France (FRA)
- (via matchID (https://deces.matchid.io/id/T-vdJ0JCPiRP))
Jean-Charles Guiraud (Jean-Charles François Guiraud):
(https://i.imgur.com/GHlUuMe.png)
Daniel RALLO, guitariste, et Jean-Charles GUIRAUD, pianiste, ont fait connaissance avec la musique dès leur plus jeune âge et ont suivi le chemin difficile, mais envié, qui mène au Conservatoire National de Paris dont ils sont sortis avec succès.
Depuis cet épisode enrichissant, ils ont abordé la carrière professionnelle en mettant leur talent de musiciens et d'arrangeurs à la disposition de nombreux interprètes.
Pour la scène: Alain SOUCHON, Jeanne MAS, Jil CAPLAN, Paul MAURIAT et ses tournées au Japon, Serge GAINSBOURG...
Pour les enregistrements de disques: François VALERY, Joss NILSON, Alan KAUPP, Adèle FOSTER, Dana DAWSON, Nathalie CARSEN...
Après avoir joué en de multiples endroits du globe, y compris les U.S.A., Daniel et Jean-Charles ont collaboré à des musiques de films, des spots publicitaires, des génériques d'émission de radio et de télévision.
Début 1991, ils ont décidé d'unir leur professionnalisme et leur talent pour tenter l'aventure seuls et composer des musiques de "Variété Instrumentale".
C'est à cette époque qu'ils ont été présentés à l'équipe des Editions et Productions Musicales EPERVIER. Quelques maquettes d'enregistrements furent réalisées et la collaboration des créateurs avec EPERVIER fut décidée.
Aujourd'hui, leur premier CD est une grande réussite.
Des arrangements très élaborés, mais simples et efficaces, avec un mélange très bien dosé d'instruments acoustiques et de synthétiseurs, des mélodies et thèmes originaux, une rythmique très présente mais pas outrancière, un jeu instrumental d'une grande finesse, tels sont les critères du disque de Daniel RALLO et Jean-Charles GUIRAUD.
A vous de "goûter" ce "MILLESIME" et de découvrir l'univers musical de Daniel et Jean-Charles.
- A.L
Daniel RALLO, who plays guitar, and Jean Charles GUIRAUD, who plays piano, became acquainted with music as children. Later, they followed the hard but enviable track which leads to the Conservatoire de Musique where they successfully graduate.
After this enriching period, they started their professional careers as musicians and arrangers by offering their many talents to numerous singers. At this time, we could hear them playing on stage with Alain SOUCHON, Jeanne MAS, Jil CAPLAN and Paul MAURIAT when he was touring in Japan and with Serge GAINSBOURG too.
They also recorded in studios for François VALERY, Joss NILSON, Alan KAUPP, Adèle FOSTER, Dana DAWSON, Nathalie CARSEN...
After playing throughout the world and in the U.S.A. of course, Daniel and Jean-Charles became involved in making Radio, TV and movie themes and also jingles.
In the beginning of 1991, they decided to combine their mutual professional experiences and talents and ventured to compose their own instrumental music.
About the same time, they met the staff from EPERVIER Publishing & Production Company and after realizing some demos for them, they all agreed to work closely in collaboration.
This first CD is obviously a great achievement.
If it was necessary to define Daniel RALLO and Jean-Charles GUIRAUD's music, one would say you can hear very elaborate but simple and efficient arrangements, an excellent balance between acoustic instruments and synthesizers, original melodies and themes with a strong but not too heavy beat and at last a great and wonderful subtlety in the playing.
Now, it's your turn to have a taste of this "MILLESIME".
- B.L
(https://i.imgur.com/u7OKPtd.png)
Photos: Alain LABOURASSE
Christopher Gunning:
GUNNING, CHRISTOPHER. Composer. Born 5th August, 1944, Cheltenham. Entered industry in 1967. Films: Goodbye Gemini, Hands Of The Ripper, Man About the House, Oh You Are Awful, In Celebration, The Rise And Fall Of Idi Amin. TV: The Man From Haven, Helen A Woman Of Today, Intimate Strnagers, Dangerous Knowledge, Running Blind, Rogue Male, The Three Hostages, Charlie Muffin, Stay With Me 'Till Morning, The Brack Report. Has also composed the music for over 200 commercials including: Martini, Black Magic, Lloyds Bank, etc. Works as arranger/musical director/record producer. Artoists include: Mel Tormé, Shirley Bassey, Tommy Steele, Cilla Black, The Hollies, etc. Composer and producer for Unity. TV also includes: Charlie Was A Richman, Calendar, Love Story, Wilfred and Eileen, Day of the Triffids. Documentaries include: New Age For Railyways, Safari Shores, Aurum, Memorial, Unicorn, etc.
Agent: Annie Gunning.
Address: Church Orchard, Sheepscombe, nr. Stroud, Glos.
- (via archive.org (https://archive.org/details/internationalfil00slsc/))
GUNNING, Christopher - Musicista inglese. Studi alla Guildhall School of Music di Londra. Pur essendo di formazione accademica, è interessato al jazz e alla musica pop. Tra le sue composizioni da concerto ha avuto successo Yorkshire Glory per grande orchestra. Attivo dal 1971 per il cinema e soprattutto per la televisione; ha compiuto arrangiamenti per cantanti diversi come Cilla Black, Tommy Steele, Colin Blundstone. Inizialmente ha svolto vasta attività per spot pubblicitari. È stato introdotto nel mondo del cinema da uno dei suoi maestri alla Guildhall School of Music, il compositore Richard Rodney Bennett, per il quale ha cominciato facendo arrangiamenti, poi è passato alla musica originale per documentari e per lungometraggi. Tra le sue partiture per film: Goodbye Gemini (1970, di Alan Gibson); Hands of the Ripper (Gli artigli dello Squartatore, 1971); In Celebration (Celebrazione, 1974, di L. Anderson); Man About the House (1974); Rise and Fall of Idi Amin (1980, di S. Patel); When the Whales Came (Quando vennero le balene, 1989, di C. Rees: soprattutto assoli di carattere etnico di armonica, violino, cornamusa e voci) Under Suspicion (Innocenza colposa, 1991, di S. Moore); Firelight (idem, 1998, di W. Nicholson: musica di grande respiro derivata da moduli “romantici” di derivazione ottocentesca ma nutriti da elementi nuovi).
Mladen Gutesha (Mladen Guteša, pseud. "Gerd Bauer"):
MLADEN GUTESHA - Jahrgang 1923 - begann seine Laufbahn in den vierziger Jahren als Posaunist beim Rundfunktanzorchester von Belgrad, Wien und Triest. Sein Studium absolvierte er am Konservatorium in Belgrad und leitete dort von 1947-1953 das Tanzorchester des Jugoslawischen Rundfunks. In der zweiten Hälfte der fünfziger Jahre war Mladen Gutesha zunächst als Posaunist bei Cedric Dumont in der Schweiz und arbeitete danach als Arrangeur vorwiegend für Erwin Lehn in Stuttgart. Er arrangiert u.a. auch für Miles Davis, Benny Goodman und das Modern Jazz Quartett und komponiert für Funk, Film und Fernsehen. [...]
MLADEN GUTESHA - born in 1923 - started his career in the forties as trombone player in the radio dance band at Belgrade, Vienna and Trieste. He completed his studies at the Conservatory of Belgrade and conducted there the dance orchestra of the Yugoslawien broadcasting. In the second half of the fifties Mladen Gutesha was at first trombonist in Cedric Dumont's band in Switzerland and worked then as arranger especially for Erwin Lehn in Stuttgart. Among others he arranged for Miles Davis, Benny Goodman and the Modern Jazz Quartet; furthermore he made compositions for radio, film and television. [...]
MLADEN (Bobby) GUTESHA, geboren am 16. Dezember 1923 in Sarajevo/Jugoslawien. Fünf Jahre Dirigent-Studien an der Hochschule für Musik in Beograd (Belgrad). Anfang 1947 gründete er das große Jazz- und Tanzorchester (Big-Band plus Streicher) von Radio Belgrad, das er bis 1953 leitete. 1953 wanderte er nach Deutschland aus, wo er (in Frankfurt/Main und deren weiteren Umgebung) mit seiner 7-Mann Group die ersten zwei Jahre in US-Offiziersclubs spielte und in dieser Zeit wertvolle Impulse und Kontakte von gastierenden, bedeutenden US-Musikern erfuhr. In den späten fünfziger Jahren arrangierte er mehrere Serien für Benny Goodman. Es folgte die Eintragung in Leonard Feathers «Encyclopedie of Jazz».
Zu der Zeit entwickelten sich auch immer intensiver die Kontakte mit den Westdeutschen Rundfunkanstalten. Das Schwergewicht seiner Tätigkeit erstreckte sich auf eine intensive Arrangeur-Arbeit für Erwin Lehn und sein Südfunk-Tanzorchester - bei welchem er auch 2 Jahre Posaune spielte. Bald erhielt er auch Aufträge als Dirigent und Arrangeur bei verschiedenen Rundfunkanstalten (vorwiegend SDR, HR und NDR). Beim Süddeutschen Rundfunk hat er seit vielen Jahren ein Studio-Orchester, für das er auch alles selbst schreibt.
Im Laufe dieser Jahre hatte er viele Begegnungen mit bedeutenden Jazz-Musikern, für die er arrangierte und die Aufnahmen dirigierte. Erwähnt seien nur die Namen aus der neueren Schaffenperiode: Chick Corea, Eberhard Weber, Toots Thielemans u.v.a. - Für Keith Jarret und Egberto Gismonti dirigierte er die Streicher für deren Schallplatten-Aufnahmen. Neben seiner Tätigkeit als Arrangeur-Conductor ist Mladen Gutesha seit drei Jahren Lehrbeauftragter für Theorie-Fächer an der «Swiss Jazz School» in Bern. [...]
Gyulai-Gaál János:
GYULAI-GAAL, Janos, born 28 Apr. 1924, Budapest, Hungary. Composer; Conductor. Education: Graudate; studied at Faculty of Piano & Violin, Ferenc Liszt Academy of Music, Budapest. Married Martha Gyulai-Gaál, 1 son. Debut: with Hungarian State Symphonic Orchestra, 1943. Career: Repétiteur, Operetta Theatre, Budapest, 1945-48; Head of Music, Bartók Theatre, ibid, 1957-58; Program Planner, Hungarian Radio, 1959-; Guest Performances: Brussels TV, Belgium, 1956; O.I.R.T. Festival, 1960; Radio Munich, Germany, 1965, 1967, 1969; Radio Berlin, ibid, 1968; Radio Brno, Czechoslovakia, 1971. Compositions include: (publd.) Three in Paris; Visit to India; Five-minute Rhapsody; An Evening in the French Quarter, arranger with Peggy Coolidge; March of the Twenty Years[sic] Old; (recorded) Music for Miller, Death of a Salesman; various songs. Music for 12 Feature Films, full-length cartoon & 60-minute TV Ballet. Memberships: Artistic Fund of Hungarian Peoples Republic; Hungarian Music Association. Honours: Jeno Hubay Prize, 1941; 3rd Prize, Concours de Musique Symphonique Legère, Belgian Radio, 1956; Ferenc LErkel[sic] Prize, 1967. Hobby: History of the Primitive Ages. Address: 1029 Budapest, Budaliget, Honfoglalás u. 28, Hungary.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Friedrich Haag:
Haag, Friedrich
Biburg/ Niederbayern, 10. September 1880 - Gauting, 21. Februar 1959.
Sohn eines Kgl. Bayer. Ingenieur-Majors; Komponist und Musikpädagoge, zunächst Geiger und Sänger, dann Akkordeonist.
Werke: u. a. "Der Kristalldeuter", heitere Oper; U-Musik für Akkordeon, Charakterstücke; "La Marioneta", Tanzsuite für Handharmonika-Orchester (1934); Scherzo in Es-dur für Handharmonika-Orchester, Pauken und Glockenspiel (Trossingen, 1944).
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Delle Haensch (Gerhard Hans Wolfgang Haensch, pseud. "Manuel Landy", "Tim Safir"):
(https://i.imgur.com/RRizIkw.png)
HAENSCH, Gerhard Delle
Ps: Manuel Landy, Tim Safir
Feichthofstr. 20
8000 München
089/88 78 48
Casa Gardena
I 37010 Pai di Torri
003945/726 00 07
* 10.5.1926 München
1941-1943 Studium am Trapp'schen Konservatorium München (Klarinette); nach 1945 als Saxop.; Bearbeiter und Komponist in div. Bands (Hans Rosenfelder, Charly Tabor, Joe Wick[,] Heinz Schachtner, Juan Llossas, Freddi Brocksieper, Max Greger, Hugo Strasser) tätig für Rundfunk, Schallplatte u. (ab 1954) f. Fernsehen; 1960-1963 Leiter des Rundfunk-Tanz-Orchester München; seit 1958 zusammen mit Hans Conzelmann Gründung des DEHACE Musikverlags und Studiobetriebs; Aufbau eines eigenen Musikarchivs; seit 1978 auch auf dem Gebiet der elektronischen u. Computermusik tätig.
sowie: zusammen mit Partner Hans Conzelmann: „Mainzelmännchen“ (ZDF); „LEO-Löwen“ (BR); „Prof. Balthasar“ (WDR); div. Themamusiken bei ARD und ZDF; Neuvertonung von über 400 ausl. Spielfilmen f. d. Fernsehen; Erstvertonung von berühmten Spielfilmen: „Frau im Mond“, „Mensch der Masse“, „Dirnentragödie“, „Die Abenteuer des Mr. West“, div. Harald Lloyd Filme (u. a. „Wolkenkratzer“) sowie „Klamottenkiste“ (120 klassische Silent Movies), 2 Stummfilme des Japaners OZU („Eine Laune“, „Ich wurde geboren“); zahlreiche LPs bei Polydor, Jupiter Records, Selected sound, Sonoton, Eurodisc.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Georg Haentzschel:
Komponist Haentzschel, Georg, 1 Berlin 31, Warneckstraße 6
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Haentzschel, Georg (geb. 23. 12. 1907 Berlin)
Er studierte am Stern'schen Konservatorium in Berlin und war seit 1928 bei der »Berliner Funkstunde« tätig, später als Tonfilm-Assistent von Theo Mackeben. Ab 1936 war er selbständig in Zusammenarbeit mit dem Regisseur Josef von Baky. Er schrieb über 20 Filmmusiken, unter anderem zu »Münchhausen«.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
HÄNTZSCHEL, Georg - Musicista tedesco nato a Berlino il 23 dicembre 1907, morto a Colonia il 12 aprile 1992, attivo soprattutto per film del regista J. von Báky: Menschen vom Varieté (Cuori in burrasca, 1939); Ihr erster Erlebnis (Quando comincia l'amore, 1939); Münchausen (Le avventure del Barone di Münchausen, 1943: dovizia di colori orchestrali, turgido e piacevole sinfonismo); Hotel Adlon (idem, 1955); Robinson soll nicht sterben (Le avventure di Robinson, 1957); Die Frühreifen (Le precoci, 1957); Gestehen Sie, Dr. Korda! (Confessi, dott Korda!, 1958). Da ricordare anche, per altri registi, le partiture di: Emil und die Detektive (La terribile armata, 1931, di G. Lamprecht), Die Göttliche Jette (1937, di E. Waschnek), Der erste Frühlingstag (1956, di H. Weiss).
Haentzschel, Georg
Berlin, 23. Dezember 1907 - Köln, 13. April 1992.
Schüler u. a. von Geißler und W. Klatte, Kapellmeister und Komponist in Berlin, seit 1928 Mitarbeider von Berliner Funkstunde/ Reichssender Berlin, später Assistent Theo Mackebens bei der Tonfilmproduktion, ab 1936 selbständig in Zusammenarbeit mit dem Regisseur Josef von Baky. 1942 LLeiter der Gruppe Leichte Tanz- und Unterhaltungsmusik inder Programmredaktion für die unterhaltenden und künstlerischen Sendungen des Reichsrundfunks.
Nach 1945 in Köln, hier im WDR zeitwelilig Leiter des Kl. Unterhaltungsorchesters.
Werke: u. a. Filmmusik, so zu "Versprich mir nichts", Ehekomödie, Regie W. Liebeneiner (Uraufführung: 20/VIII/37; Prädikat: künstlerisch wertvoll), "Streit um den Knaben Jo" (Uraufführung: 23/IX/37), "Münchhausen" (1941) und "Via Mala" (1944.)
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Hans-Egon Häußer:
(https://i.imgur.com/tSYdSCC.png)
HÄUSSER, Hans-Egon
Setzerweg 9a
8102 Farchant/Obb.
08821/65 54
* 12.3.1922 Engers
Klavierunterricht (priv.); Abitur; Robert-Schumann-Konservatorium Düsseldorf (Schlagzeug, Klavier, Theorie); Kapellenleiter (Combo bis Big-Band), Kurmusik; Komponist, Arrangeur (Tanz- u. Unterhaltungsmusik, konzertante u. populäre Blasmusik).
Hauptwerke „Grand Gala“ (1975), 5 Min. 30"
Ouv. (Gr. Blasorchester). Uraufführung: 1976; Ms. (Aufführungs-Material u. Schallplatte beim Komponisten);
Tonband: WDR (Stabsmusikorps d. Bw.).
„Vorwiegend heiter“ (1972), 6 Min. 30"
Fantasie (Gr. Blasorchester). Uraufführung: 1973; Ms. (Aufführungs-Material u. Schallplatte beim Komponisten);
Tonband: WDR (Luftw. Musikk. 3 der Bw.).
„Drei Skizzen für Bläser“ (1969, 5 Min.
Suite (Gr. Blasorchester). Uraufführung: 1970; Verlag: Theis, Vellmar;
Tonband: SFB (Polizeimusikkorps Berlin).
„Open House“ (1974), 3 Min.
Happy Beat (Gr. Tanz-Orchester). Verlag: Sonoton, München; Schallplatte: Sonoton;
Tonband: Sonoton (Orchester Helmut Brandenburg).
„Verträumtes Wien“ (1984), 2 Min. 30"
Slow (Klavier-Solo, Orchester). Uraufführung: 1984; Verlag: Domo, München;
Schallplatte: Domo, München; Tonband: Domo, München (Max Greger jr., Studio-Orchester I. Rosenow).
sowie: ca. 40 Titel instrumentaler Tanz- u. Unterhaltungsmusik, aufgenommen von div. Rundfunk- u. Studio-Orchestern, liegen bei in- u. ausländischen Rundfunk-Anstalten vor, teils als Eigen-, teils als Verlagsproduktionen; ca. 25 Titel davon auch auf LPs oder Musicasetten; Interpreten: Nelson Riddle, Jean „Toots“ Thielemans, Art van Damme, Ted Heath/Don Lusher, Max Greger jr., E. A. Quelle, Etien[sic] Cap, Kai Rautenberg, Eugen Cicero, die Tanz- u. Unterhaltungsorchester der ARD.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Joe Hajos (Joseph Hajos, pseud. "Harry Bols", "Joseph Batelier"):
HAJOS, Joe - Nato a Malencze (Ungheria) il 10 marzo 1907. Studi al Conservatorio di Vienna, direttore d'orchestra per la radio, compositore di canzoni a Berlino, nonché di canzoni e musiche per film tedeschi degli anni Trenta. In Germania compone musiche per alcuni film, poi nel 1934 si rifugia in Francia per ragioni politiche e continua questa attività. Tra i suoi film: Fanfare d'amour (Su con la vita!, 1935, di R. Pottier/E. Deutsche); Tarass Boulba (Taras Bulba, 1936, di A. Granowsky: in collaborazione con Paul Dessau); Le Danube bleu (Amore ribelle, 1939, di E.E. Reinert), Tombé du ciel (1946, di E. E. Reinert); Emile l'Africain (1947, di R. Vernay), Ainsi finit la nuit (1949, di E.E. Reinhert); Rendez-vous avec la chance (1949, di E.E. Reinert), Quai de Grenelle (Vipere, 1950, di E.E. Reinert), L'aiguille rouge (1951). Per altri registi, fra l'altro: Le roi des Champs-Elysées (Il re dei Campi Elisi, 1934, di M. Nosseck), 27 rue de la Paix (La via dei brillanti, 1937, di R. Pottier), La femme fatale (1946, di J. Boyer); La nuit blanche (Sangue sulla neve, 1948, di R. Pottier); Fantômas contre Fantômas (Fantomas contro Fantomas, 1948, di R. Vernay); La ronde (La ronde - Il piacere e l'amore, 1950, di M. Ophüls: solo orchestrazione della musica di Oscar Strauss); Le plaisir (Il piacere, 1951, di M. Ophüls); L'envers du paradis (La morte è discesa troppo presto, 1953, di E. T. Gréville); Mathias Sandorf (Il grande ribelle, 1962, di G. Lampin); più corti e mediometraggi e serie per la televisione.
Paul Haletzki (pseud. "Paul Paulsen"):
HALETZKI, Paul, born 12 May 1911, Koblenz/Rhine, Germany. Composer. Education: High School for Music, Cologne; studied composition with Professor Philipp Jarnach. Married Gertrud Haletzki, 1 son. Career: Radio Cologne; West German Broadcasting; TV Hamburg; Recordings, Philipps[sic]. Compositions: musical Mister M; ballet Der Gaukler; Impression fantastique, Serenade pastourelle, Lustige Ouverture, for orchestra. Contributo to Internationales Podium. Memberships: German Composers Group, Berlin; Vice President, German Music Union, Munich; Board, Working Artists Pool in Germany, Munich. Recipient 2nd German TV Music Prize, 1969. Hobby: Literature. Address: 30 In den Erlen, D 5075 Eikamp/Bechen, German Federal Republic.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Derry Hall (Georges Derrone Hall, pseud. "Hall Derry"):
HALL, Derry – pseudonimo di Georges Hall - Musicista francese. Attivo per il cinema del suo Paese dal 1958, soprattutto per cortometraggi. Tra le sue partiture per lungometraggi quelle per film pruriginosi: Paris je t'aime (Donne calde di notte, 1964, di G. Pérol e S. Larsen), Le chien fou (1965, di E. Matalon), La main noire (La mano nera, 1967, di M. Pécas), Hallucinations sadiques (1968, di R. Kormon), Claude et Greta (Così... meravigliosa Greta, 1969, di M. Pécas), Je suis frigide... Porquoi? (Amore mio scaldami, 1972, di M. Pécas), Le grand sabordage (1973, di A. Périsson), Club privé (Club privé per coppie raffinate, 1973, di M. Pécas), Les milles et une perversions de Felicia (La cuginetta inglese, 1975, di M. Pécas). Attivo anche per la televisione.
GEORGES DERRONE HALL
Naissance 25.03.1933
(99404), Etats-Unis (USA)
Décès 02.09.2010
Paris 15e Arrondissement (75115), France (FRA)
- (via matchID (https://deces.matchid.io/id/w5W9rL__NR9q))
Erwin Halletz (pseud. "Alberto Begonha", "Aldo Tuena", "Alfons Lehmann", "Erwin Hanetz", "Josef Langenegger", "Manfred Katz", "Peter Schöll", "René Roulette", "Rolf Konstantin Truxa", "Sepp Kracher", "Ted Lazarus", "Tonio Rodrigo", "Walter Spiller", "Walter Sylvester"):
Halletz, Erwin (Pseud. René Roulette) *12. 7. 1923 Wien.
Studium: Akademie Wien.
Komponist und Dirigent eines eigene Tanzorchester.
Werke: Tanz- und Unterhaltungsmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
HALLETZ Erwin, Kpm., Dirigent
* 12. 7. 1923 in Wien
Adresse: 19 Bvd. de Suisse „Le Schuykill“,
MC-98000 Monte Carlo, Monaco
Mit sechs Jahren erster Violineunterricht, mit 14 an der Wiener Musikakademie, drei Jahre Militärdienst im Musikkorps. 1946 Erster Geiger und Arrangeur im Orchester H. Winter, erste Kompositionen. Spielt die Instrumente Saxophon, Violine und Klairnette.
1950 Leiter des „Wiener Tanzorchesters“ und mit diesem auf ausgedehnten Tourneen. 1954 erster Auftrag für Filmmusik, seither über 100 Filmmusiken geschrieben. Zahlreiche bekannte Schlager - von Spitzensängern interpretiert - sind seither enstanden. 1962 wurde er Dirigent des „Monte-Carlo-Light-Symphony-Orchestra“. Komponist (bei Österreichischer Komponistenbund, AU-ME und AKM, deren Ordentliches Mitglier er ist), Bearbeiter und Dirigent für das Deutsche Eistheater bei den Produktionen Im weißen Rössel, Maske in Blau und Die lustige Witwe (Österreich-Premiere 1985); 1963 mit Goldener Leinwand für Revuefilm Die große Kür (mit Marika Kilius and Hans J. Bäumler) ausgezeichnet.
Werke-Auswahl:
Ein kleiner Bär mit großen Ohren; Siebenmal in der Woche; Als einst Casanova; Abends wenn die Sterne wandern; Kleine Cha-Cha-Senorita; Verlieb dich in Lissabon; Ich bin so stürmisch wie der Samum in der Wüste; Ananas aus Caracas; Mannequin aus Paris; Torero; Hallo hallo Fräulein; Ich und du und ein Haufen Geld dazu; Tanz der Masken; Fackeltanz; Moon flowers; Kätchen von Heilbronn; Comtess' Fanny; Edgar; Straps-Lady.
HALLETZ, Erwin - Nato a Vienna il 12 luglio 1923. Musicista attivo in Germania e in Austria. Collabora con il cinema dal 1954, e nella sua filmografia si incontrano film di ogni tipo, da quello di qualità a quello di facile consumo. Citiamo solo: Das Bekenntnis der Ina Kahr (Condannata a morte, 1954, di G.W. Pabst); Der Letzte Akt (L'ultimo atto, 1955, di G.W. Pabst); Der Fremdenführer von Lissabon (1956, di H. Deppe); Andeers als du und ich (t.l. Il terzo sesso, 1957, di V. Harlan); Liane, die weisse Sklavin (Liana la schiava bianca, 1957 di H. Leitner); Liebe kann wie Gift sein (Quando l'amore è veleno, 1958, di V. Harlan); Peter Voss, Der Held des Tages I trafficanti di Singapore (1959, di G. Maríschka); Bomben auf Monte Carlo (Capitan Uragano, 1960, di G. Jacoby); Fanny Hill - Memoirs of a Woman of Pleasure (La cugina Fanny, 1964, di R. Meyer); Der Schatz der Azteken: Pyramide des sonnengotles (I violenti di Rio Bravo, 1965, di R. Siodmak); Maigret und sein größter Fall (Il caso difficile del commissario Maigret, 1966, di A. Weidenmann); Wenn es Nacht wird auf der Reeperbahn (Il rischio di vivere e il rischio di morire, 1967, di R. Olsen); Der Arzt von St. Pauli (L'ago sotto la pelle, 1968, di R. Olsen); Das Kann doch unsren Willi nicht erschüttern (1970, di R. Olsen); Kompanie der Knallkoppe (1971, di R. Olsen); più fatiche per la TV.
Dick Halligan (Richard Bernard Halligan):
HALLIGAN, Dick (Richard) - Musicista americano. Tra i film da lui musicati: The Owl and the Pussycat (Il gufo e la gattina, 1970, di H. Ross), Go Tell the Spartans (Vittorie perdute, 1978, di T. Post), A Force of One (La polvere degli angeli, 1979, di P. Aaron), The Octagon (1980, di E. Karson), Fear City (Paura su Manhattan, 1984, di A. Ferrara: più canzoni di Joe Delia). Attivo anche per la TV.
Franz Willi Halmich (pseud. "Ted Jokisch", "Tilo Duscha"):
Die Flippers. Deutsche Gruppe. Franz Willi Halmich. * 10.1.1944, spielt Orgel, Klavier und Saxophon, komponiert („Weine nicht, kleine Eva“). [...]
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Lenny Hambro (Leonard Hambro):
HAMBRO, Lennie (Leonard) - Nato a New York il 16 ottobre 1923, morto il 26 settembre 1995. Suona il sax alto nell'orchestra di Gene Krupa e in altri complessi jazz. Anche compositore. Sua musica in: Dirtymouth (1970, di H.S. Altman: in collaborazione con Emanuel Vardi); Toys Are Not for Children (1973, di S.H. Brassloff: musica elettronica, in collaborazione con E. Vardi); This is America (1976, di R. Vanderbes: con il suo sestetto, in collaborazione con E. Vardi).
Michel Hamburger (Michel Jean Hamburger, pseud. "Michel Berger", "Michel Hursel"):
(https://i.imgur.com/0VHTrAU.png)
Photo noir et blanc: SERGE KACHINTZEFF
[no bio, just a photo. part of group photo. not named.]
MICHEL JEAN HAMBURGER
Naissance 28.11.1947
Neuilly-sur-Seine (92051), France (FRA)
Décès 02.08.1992
Saint-Tropez (83119), France (FRA)
- (via matchID (https://deces.matchid.io/id/HhivB2WMLtTT))
Andy Hamilton (Andrew Kevin Hamilton):
Andy Hamilton
Andy's credits include recording and touring with Tina Turner, George Michael, Dexy's Midnight Runners, The Petshop Boys, Gary Barlow, Duran Duran, Marc Almond and The Boomtown Rats.
Hans Hammerschmid (pseud. "Henry Stuck", "Joe Tabasco"):
A biography and interview (through correspondence) with Hammerschmid can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1971/07/hans-hammerschmid.html).
Komponist Hammerschmid, Hans, 8032 Gräfelfing, Waldstraße 15
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
HAMMERSCHMID Hans, Dirigent
* 12. 3. 1930 in Wien
Adresse: D-8032 Gräfelfing, Waldstraße 15/BRD
Studium mit Hauptfach Klavier am Konservatorium der Stadt Wien, Dirigieren bei Hilmar Schatz, Arrangieren bei Eddie Sauter.
Mitglied bei GEMA, Deutschem Komponistenverband und Verband der Musikbearbeiter.
Auszeichnungen und Preise: Jazzgroschen München, 1. Preis beim EBU-Wettbewerb 1982 (Magic Circus), vier Clios (in New York), drei Goldene Löwen (Venedig) für Werbespotmusiken.
Er schreibt Tonfilmmusiken, Musik für TV-Serien („Der Glücksritter“, „Die Schwarzwaldklinik“, „Derrik“, „Der Alte“, usw.); Orchesterwerke; TV-Specials mit Julia Migenes, Udo Jürgens; viele Werbespots; Hits für Hildegard Knef (Für mich soll's rote Rosen regnen, Tapetenwechsel, Von nun an ging's bergab, usw.) und Curd Jürgens (60 Jahre und kein bißchen weise, usw.); Konzerte in den USA (Carnegie Hall) mit Kamahl, Earl Shendell.
HAMMERSCHMIDT, Hans - Musicista tedesco. Attivo per la musica di film di consumo, magari di tipo pruriginoso, come: Andrea – Wie ein Blatt auf nackter Haut (1968, di H. Schott-Schöbinger, Die Funkstreife Gottes (La città del peccato, 1968, di H. Frank), Die Nackte Bovary (I peccati di Madame Bovary, 1969, di H. Schott-Schöbinger), Stoßtrupp Venus blästa zum Angriff o Ach jodel mir noch einem (Venus foemina herotica, 1974, di H. G. Keil).
Mike Hankinson (Michael Neville Hankinson, pseud. "Gerry Hart"):
HANKINSON, Michael Neville, born 23 Jan. 1946, Liverpool, UK. Composer; Conductor; Organist. Education: L.T.C.L. Career: Musical Director, EMI Music For Pleasure, Johannesburg, South Africa. Compositions: Transitions, orchestra & electronic instruments; various Film Scores. Recordings: The Classical Synthesizer; Synthesia; vairous Film Soundtracks. Contributor to Patrys. Member: Composers Guild of Great Britain; South African Music Rights Org. Hobbies Reading; Electronics. Management: EMI Music For Pleasure, 32 Steele Str., Steeldale, Johannesburg, South Africa. Address: 39 Grey Ave., Albermarle, Germiston, Transvaal, South Africa.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Ronnie Hanmer (Ronald Charles Douglas Hanmer, pseud. "Hal Morton", "John Gaunt", "Steve Arden"):
HANMER, RONALD.
Composer, arranger and theatre organist. b. Reigate, Surrey, 2nd February 1917. Has made many of the musical arrangements for Itma.
Address: Sunnyside, Perivale Lane, Greenford, Middlesex. Phone: Perivale 2614. Studied music and then became a professional musician on leaving school. Joined the Granada cinema circuit in 1935, in which year was broadcast his first radio composition, "Overture to a Comedy." Served in the R.A.F. during the war until he was invalided out in 1942. Among his musical arrangements for Itma were "Early One Morning," "Ten Green Bottles," etc. Of his compositions played on the air were "The Oak and the Rose," "Capstan and Windlass," and "Souvenirs de France."
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
HANMER, Ronald Charles Douglas, born 2 Feb. 1917, Reigate, Surrey, UK. Composer; Arranger. Education: Blackheath Conservatory of Music. Married Dorothy Frederica Catt, 1 daughter, 1 son. Compositions include: 40 special arrangements for ITMA; over 700 background music compositions; 25 specially adapted operettas, including The Merry Widow, Orpheus In The Underworld, Lilac Time; Mexican Fiesta, Four Corners Of The World, Alice in Wonderland, for brass band. Recordings: as Roger Laredo, Italy, Bullfight, Decca Phase 4. Memberships: Performing Rights Society [PRS]; Songwriters' Guild; Composers Guild of Great Britain; Savage Club. Address: Rondo, Sandy Lane, Northwood, Middx. HA6 3ER, UK. Who's Who in Music (UK).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
HANMER, Ronald Charles Douglas (b Reigate, 1917). Composer and orchestrator. Studied at the Blackheath Conservatory of Music. Organist at various Granada theatres from 1935 to 1948. Became a freelance and has composed some 500 light orchestral compositions, many for background records, and including more than 40 of the special ITMA arrangements. Has written music for films, theatre and radio and made adaptations of many musical shows for amateurs. Has written numerous arrangements and compositions for brass band. Recordings: The Four Corners of the world-Hampshire SB310; Latin Americana-Cory SB 319; March with a Beat-Black Dyke SB305, Redbridge GRS1018; Waltz with a Beat-Scottish GSGL10430.
- (via archive.org (https://archive.org/details/brassbands00gamm/))
Hanmer, Ronald Charles Douglas, geb. 1917 in Reigate (bei London), britischer Arrangeur.
- (via archive.org (https://archive.org/details/pipersenzyklopad0000unse/))
HANMER, Ronald (Charles Douglas) 1917, Reigate, UK
[contains list of works]
- (via archive.org (https://archive.org/details/windensemblecata0000gill/))
(https://i.imgur.com/BgphGYp.png)
Ronald Hanmer
Born on 2 February 1917 at Reigate, Surrey; died 23 May 1994, Brisbane, Australia.
Like many musicians of his generation, Ronald Hanmer's early career included pre-war work as a cinema organist and dance band arranger.
His arranging and composing skills were fully employed from the 1940s onwards, and his special orchestrations of shows for amateur companies remain in demand world wide. He also gained considerable fame in the brass band world, where his works are renowned as test pieces.
Ronald composed over 700 titles for various London Production Music publishers. When he emigrated to Australia in 1975, he discovered to his surprise that his composition "Pastorale" introduced the famous long-running radio serial "Blue Hills".
In Britain he is remembered for his "Changing Moods", which was used as the theme for radio's "Adventures of P.C. 49".
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/BXiB13l.png)
Ronald Hanmer was a prolific mood music composer who, along with Jack Beaver, wrote many of the dramatic themes for the Francis, Day, and Hunter library used in Superman. The photograph was taken in 1992 when he was conductor of the St. Lucia Orchestra in Brisbane, Australia.
Karlheinz Hanne (pseud. "Claude Henry", "Jan Skagen"):
(https://i.imgur.com/aR03wSD.png)
HANNE, Karlheinz
Susannenstr. 15
2000 Hamburg 6
0440/43 34 55
* 29.4.1925 Hamburg-Altona
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Tim Hardy:
NOTE: Non-composer, full/real name unknown.
Credited as producer for KPM LPs (https://librarymusicthemes.com/index.php?topic=151.0) and CDs (https://librarymusicthemes.com/index.php?topic=9540.0), and at least one CD for The Scoring House (https://librarymusicthemes.com/index.php?topic=3091.0).
WHAT ABOUT THE WORKERS?
[...]
(https://i.imgur.com/ojMOoFx.png)
[no bio, just a photo.]
- (by kind courtesy of Moon Monkey - thanks!)
KPM LONDON
(https://i.imgur.com/360BeRk.png)
[no bio. part of group photo.]
- (by kind courtesy of Moon Monkey - thanks!)
KPM LONDON
(https://i.imgur.com/IIJTU9I.png)
[no bio. part of group photo.]
- (by kind courtesy of Moon Monkey - thanks!)
Don Harper (William Donald Harper, pseud. "Donald Jackson", "Rodd Thompson"):
HARPER, William Donald, born 18 Mar. 1921, Melbourne, Australia. Musician: Composer. Education: Melbourne Conservatory; Sydney Conservatory; studied with Reginald Bradley, Sascha Lsserson[sic], Ray Hanson. Married Gloria Thompson, 2 sons, 1 daughter. Career: Orchestra Leader, Soloist, Australia -1955; moved to UK, 1955; BBC Radio Series, numerous Radio, TV Appearancesm UK, 1955-. Compositions include: (publd.) numerous TV Themes; (recorded) Champion House; World of Sport; Big Match; Homo Electronicus. Recordings: numerous Mood & Library Music. Author, Children's Hymns & Carols. Memberships: Musicians Union; Concert Artists Association; Equity, Australia. Hobbies: Camping; Walking; Old Furniture; Photography. Address: Orchard Cottage, 71 London Rd., Shenley, Radlett, Herts, UK. Who's Who in Music (UK).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
James Harpham (James Stanley Medcalf Harpham, pseud. "Stan Medcalf"):
HARPHAM, James Stanley Medcalf, born 6 Aug. 1940, Lincoln, UK. Composer; Musician, Piano, Recorder, Flute Douce. Education: Bachelor of Arts, Oxfordshire. Married Brigid Harpham. Debut: 1962, film, The Saturday Men. Career: TV, Radio Performances with own Mediaeval Group, The Wooden O. Compositions include: over 50 film scores; over 50 Radio, TV, Cinema Commercial scores; Allegro In Jazz, for orchestra. Recordings: The Wooden O, A Handful of Pleasant Delites; over 150 tracks for Studio G. Contributor to Curious Magazine. Memberships: Composer's Guild of Great Britain; Songwriters' Guild; Performing Rights Society [PRS]; Musicians' Union. Recipient Mrs. Tinkler Memorial Prize, 1956, 1958. Hobbies: Badminton; Making Harps; Erecting Saunas. Address: 14 Earls Ct. Square, London SW5 9DN, UK.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
W. Clark Harrington (William Clark Harrington, pseud. "John Murdock"):
Harrington, William Clark, composer, author; b. Worcester, Mass., June 28, 1905. ASCAP 1942. Educ.: primary schools, Brookline and Springfield, Mass.; Technical High School, grad. with honors, Springfield; Dartmouth Coll., two years. Private study, harmony, John Bishop, Springfield; New England Cons. of Music, 1928 (Endicott Prize in composition); harmony, Vittorio Giannini; orchestration, Channon Collinge. At ten composed first piano piece. From 1930, in New York radio executive. Works: Moby Dick (libretto, secular cantata); "Alas, That Spring Should Vanish" (vocal setting with orch. from The Rubáiyát); Faun Call (impressionistic tone poem for orch.); "I Mus' Keep A-Moverin" (Negro spiritual); "In an Old English Garden"; "Who? Santa Claus!"; Minuet in G; "Caucasian Dance Song"; "One Word from You"
Home: 152 E. 22 St., New York 10, N. Y.
- (via archive.org (https://archive.org/details/ascapbiographica0000dani/))
Bernie Harris (Bernard Wilfred Harris, pseud. "Alan Wynn", "Bernard Last", "David Aprichard", "Gerald Dorset", "John Rhodes", "Steven Simmons", "Wilfred Burns"):
BURNS, WILFRED. Music composer/conductor/director. Born 1917, Herefordshire. Entered films 1945 as assitant music director to Hans May at British National Films. Over three hundred titles of library music indlucing: Sportsview (B.B.C.), Dinnert party (I.T.V.) signature tunes. Composed and conducted music for Hornblower (colour). 1968: Film: 'Till Death Us Do Part (Associatied London Films). Managing Director of Wilfred Burns (Music) Ltd. 1969: Film: Love is a Splendid Illusion. 1970: Film: Dad's Army (Columbia). 1973: Film: Adolph Hitler, My Part In His Downfall.
Address: "Rondo" Lime Grove, West Clandon, Surrey. Tel: Guildford 222558.
- (via archive.org (https://archive.org/details/internationalfil00slsc/))
BERNARD HARRIS was born in Herefordshire in 1917. He left school at 14. With a deep love of music, he paid for his own organ lessons, worked as an organist, and joined a Concert Party as a pianist.
Bernard joined the British Army as a bandsman and was posted to Greece. Captured at the Battle of Corinth 1940, blinded and badly wounded, he was a POW until repatriated in 1943. He was awarded the Military Medal.
Post-war Bernard became a successful composer and musical director. His film credits include, appropriately, Adolf Hitler - My Part in His Downfall and Dad's Army.
He married Marie in 1940 and they had two daughters. After Marie died unexpectedly in 1974, Bernard re-married. He died in West Clandon, Surrey in 1990.
[...] In February 1944 [Bernard Harris] was discharged from the army, permanently unfit for military service, and in 1945 was awarded a Military Medal for gallantry under fire; one of six MMs awarded to the regiment for action in Greece. He would have a small pension bust must find work. His first job was in a shop selling musical instruments somewhere in London, and when the war ended, he rented a house in New Malden [...] he soon got a job at Elstree film studios [...]
From this start he built a musical career which lasted most of the rest of his life. He arranged other people's film music and copied out the band parts by hand for recording and sometimes publishing. [...] He bought a second-hand Steinway concert grand piano with his 'demob' money; it was going cheap, he said, because not many people had room for such a thing. It wouldn't go through the front door and only just through the window opening, once the window was taken out.
He had a permanent order with the stationer's shop on the corner for two sizes of music manuscript paper. He wrote 'mood music', recorded speculatively by publishers hoping to score a radio or later a television spot, signature tune or interlude. However, the main bulk of his work from the late 1940s and earnings in the following decades was from writing, arranging, recording and conducting music for 'B' movies. When he tried to register with the Performing Rights Society so that he could receive royalties, they already had a Bernard Harris, so it was as Wilfred Burns that he signed most of his contracts. Professional contacts who became friends knew him as Wilf rather than Bernard.
[...] In the mid-1950s he set up a tiny company and produced a short documentary about a vintage car rally from Sidcup to Hastings, borrowing half the money from his publishers and barely paying it back fifteen years later after the company had closed and the rights moved on.
[...]
Using the car ferry across the Channel from Lydd in Kent to Le Touquet, he drove us on family holidays to Spain and to Italy, way remarkable undertakings for a sole driver with only one eye. On our way back from Italy, we spent time in Germany where he'd recently recorded film music. He enjoyed working with Germans, and we shared a festive meal at which he was an honoured guest. Germans are excellent musicians, as he reminded us more than once.
[...]
In 1962, 'The Chief' wrote a short piece about Bernard for the Hereford Times, mentioning his childhood in Hereford where his parents, sisters and their families were still living. Referring to his army service and imprisonment, Bernard told The Chief about the march he wrote in prison camp for the YMCA, picked up by the BBC from its Swedish broadcast. That march, played again as he and his fellow ex-kriegies arrived in Sweden, perhaps helped him get the start in music publishing that led to his film career, though musical talent and hard work maintained it. In 1962, when I left home, Bernard was getting plenty of work. After Hereford, he was expecting to record in Germany for a fortnight. [...]
Paul Hart (Paul Brian Hart):
PAUL HART, born 1954, lived and grew up in Ilford. He studied Piano, Violin and composition at the Royal College of Music, first as a junior exhibitor and later full-time. Having developed an early interest in jazz music he left college in 1973 and abou ta year later started working as piano accompanist (and sometimes jazz violinist) to Cleo Laine and John Dankworth, an association which was to last into the early eighties and take him around the globe many times.
During this period he met his business partner-to-be Joe Campbell, and in 1979 formed a company called Joe & Co Music specifically to write music for adverts. Thousands of films and hundreds of awards later, the company is still regarded as one of the foremost in the world in this field.
In 1981 Paul renewed a friendship with David Arnold, whom he had known at college, and went on to write, amongst other things, a host of radio I.D. packages including 'Classic FM' and many television themes including 'Big Breakfast' and 'Live and Kicking'.
Paul Hart's works include many large scale jazz and orchestral pieces including a guitar concerto written for John Williams and NYJO, a violin concerto, a piano concerto, numerous chamber works, a set of variations for the 'London Brass Ensemble' and more recently a Concertina for Percussion composed especially for Evelyn Glennie which made its World debut at the Royal Albert Hall, London.
Andreas Hartmann (pseud. "Benny Johnson"):
Radio Bremen
Anstalt des öffentlichen Rechts
Bremen, Heinrich-Hertz-Straße 13
Sender Bremen: Mittelwelle 221 m = 1358 kHz, UKW 89,4 MHz, 96,9 MHz.
Sender Bremenhaven: Mittelwelle 278 m = 1079 kHz, UKW 91,8 MHz.
[...]
Hauptabteilung Musik: [...] Tanzmusik: Andreas Hartmann.
- (via archive.org (https://archive.org/details/deutsches-buehnen-jahrbuch-1957/))
Richard Harvey (Richard Allen Harvey, pseud. "R. Hook-Norton", "Zheng Yue Wen"):
(https://i.imgur.com/bBkLjmz.png)
RICHARD HARVEY
As one of Britain's foremost multi-instrumentalists, Richard brings a unique and distinctive sound to library music. At 16, he joined Musica Reservata, performing with them extensively throughout Britain and Europe. Three years later, while at the Royal College of Music he formed the group 'Gryphon', specialising in a heady mixture of mediaeval and contemporary music. Richard has worked closely with John Williams, Gordon Giltrap, Gerry Rafferty, Kate Bush and Mike Oldfield. His film credits include 'The Martian Chronicles', 'Trucking' and arranging and playing on many others. He has composed numerous jingles, including Cadbury's Roses, Sunlight Lemon Liquid, State Express, Weetabix, Harrods, British Leyland, Kodak, Gillette G2, Nescafe, John Player, Braun Hairdryers, Kelloggs, Flat Strada (arr), Castrol, Old Spice and many others.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/N0mPeUw.png)
RICHARD HARVEY
As one of Britain's foremost multi-instrumentalists, Richard brings a unique and distinctive sound to library music. At 16, he joined Musica Reservata and three years later while at the Royal College of Music he formed the group 'Gryphon'. Richard has worked closely with John William, Gordon Giltrap, Gerry Rafferty, Kate Bush and Mike Oldfield - His Film and TV credits include The Martian Chronicles, Lady Chatterly's Lover (with Stanley Myers), Tales of the Unexpected, Death of an Expert Witness, Shroud for a Nightingale, Spyship, Terrahawks and Steaming . He has composed numerous jingles, including Cadbury's Roses, State Express, Weetabix, Harrods, British Leyland, Gillette G2, Nescafe, Fiat Strada, Castrol, Old Spice, Bounty and Ford Sierra. Richard has recently formed the London Vivaldi Orchestra who make regular recordings and appearances at the Queen Elizabeth Hall.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/iz9iMet.png)
RICHARD HARVEY
Richard's film scoring began as co-writer with Stanley Myers for Lady Chatterley's Lover and The Martian Chronicles, which led to a solo commission for The House of the Long Shadows. His most important filmscores to date are for David Puttnam's award-winning Defence of the Realm and RKO's Half Moon Street. He has supplied original music for television programmes such as Tales of the Unexpected, Shroud for a Nightingale, Hideaway, The Living Body, Terrahawks, and the current UK ratings hit First Among Equals, Jeffrey Archer's best seller. Despite his commitment to commissioned composition, he is determined to continue with his activities as classical musician, as guest conductor with the Royal Philharmonic Orchestra and the London Symphony Orchestra and touring with John Williams as principal guest soloist. He has composed numerous jingles including Cadbury's Roses, Harrods, BL, Fiat and Ford.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/6mOLH3T.png)
RICHARD HARVEY
Richard's film scoring began as co-writer with Stanley Myers for Lady Chattelrey's Lover and The Martian Chronicles, which led to a solo commission for The House of the Long Shadows. His most important filmscores to date are for David Puttnam's award-winning Defence of the Realm and RKO's Half Moon Street. He has supplied original music for television programmes such as First Among Equals, Tales of the Unexpected, Shroud for a Nightingale, Hideaway, The Living Body, Terrahawks, and the UK ratings hit Game, Set and Match. Despite his commitment to commissioned composition, he is determined to continue with his activities as classical musician, as guest conductor with the Royal Philharmonic Orchestra and the London Symphony Orchestra and touring with John Williams as principal guest soloist. He has composed numerous scores for TV commercials.
Recent discs: The Ascendant, Unnatural Causes 1 & 2, The Magic of Christmas, Lifecycles
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/59G01fz.png)
Richard Harvey
Richard is a highly successful film and television music composer - a career he manages to combine with his more classical interests of conducting and performing. Film commissions include Defence Of The Realm, Half Moon Street, Hostage, Deadly Advice and Doomsday Gun for HBO. He has composed the music for many television series including Game Set and Match, First Among Equals, the Doctor Finlay series, Jake's Progress and The Wimbledon Poisoner. In 1992 Richard won the BAFTA Award for Best Original Television Music for Alan Bleasdale's G.B.H. which he co-wrote with Elvis Costello. Richard has conducted a number of world famous orchestras and has toured with John Williams as principal guest soloist. He is particularly proud of his collaboration with Ralph Steadman for the 'eco-oratorio', Plague And The Moonflower which was filmed for BBC television in 1994. His most recent television commissions have included Jane Eyre (LWT), Melissa, The Last Governor (BBC) and The Ambassador.
- (by kind courtesy of Moon Monkey - thanks!)
HARVEY, Richard - Musicista inglese. Dopo una formazione classica (studi al Royal College Music di Londra) costituisce un gruppo rock. Successivamente compone musica per il teatro, per serie televisive e per la pubblicità. Intanto esegue musica classica, specializzandosi nell'esecuzione di musica medioevale e rinascimentale su strumenti d'epoca, attività che svolge anche per il cinema. Quando poi è chiamato, negli anni Ottanta, a comporre partiture cinematografiche, utilizza ogni tipo di musica, da quella tradizionale all'elettronica. Particolarmente interessanti i suoi risultati per: House of the Long Shadows (La casa delle ombre lunghe, 1982, di P. Walker); Steaming (Steaming – Al bagno turco, 1984, di J. Losey); The Assam Garden (Il giardino indiano, 1985, di M. McMurray: sommessa e bella musica di tipo melodico, morbido, su tonalità sombre – esclusione di violini e uso di sole viole, violoncelli e contrabbassi – con un'eco distante di musica indiana); Defense of the Realm (Dossier confidenziale, 1985, di A. Drury); Ping Pong (1986, di P.C. Leong: orchestra tradizionale più sintetizzatori); Half Moon Street (Mistery, 1986, di B. Swaim: anche qui sobrio uso di elettronica inserita in orchestra); Paper Mask (Anestesia totale, 1990, di C. Morahan). Per alcuni film Harvey collabora, per la parte elettronica, con Stanley Myers. Ampiamente attivo anche per la TV.
Alain Hatot:
NOTE: Non-composer.
Credited as flutist/saxophonist/clarinettist for one LP on Z International Records (https://librarymusicthemes.com/index.php?topic=11408.0), and is an uncredited performer on its MP 2000 (https://librarymusicthemes.com/index.php?topic=1149.0) counterpart. Also credited as saxophonist for at least one CD on Tele Music (https://librarymusicthemes.com/index.php?topic=11435.0).
(https://i.imgur.com/17m0XUq.png)
Photos: Georgieff Sirocco
[no bio, just a photo. part of group photo. not named.]
The Peppers/Dr. Music
Daar zijn ze weer: [...] Alain Hatot die 29 jaar is en de sax onder handen heeft [...]
(https://i.imgur.com/7ct0S32.png)
photo [...] verso x
[no bio, just a photo.]
(https://i.imgur.com/cRxsmnv.png)
Photos intérieures: Jean-Pierre Leloir
[no bio, just a photo.]
ALAIN HATOT
Naissance 24.05.1946
Paris 20e Arrondissement (75120), France (FRA)
Décès 08.12.2020
Paris 15e Arrondissement (75115), France (FRA)
- (via matchID (https://deces.matchid.io/id/SRebOXrJr1By))
Michel Haumont:
(https://i.imgur.com/Fsv67FT.png)
Pierre Fournier (photos)
[no bio, just a photo. part of group photo.]
František Havlíček:
HAVLICEK, Franz Frantisek, born 3 Jan. 1921, Karlovy Vary, (Carlsbad) Czechoslovakia. Composer; Pianist. Education: Studied piano & composition with Diploma, Academy of Musical Sciences, Prague, Czechoslovakia; Studied composition with Diploma, High School of Musical Sciences, Vienna, Austria. Debut: Concert, Carlsbad & Marienbad, Czechoslovakia, 1928. Career: European Tour as Pianist, visiting most Capitals, 1941-46; Various Performances, CS Radio & TV; His Compositions have also been broadcast in several Radio Stns., Europe & USA. Compositions: solo works for piano; chamber music; songs; concertos for piano & orchestra; rhapsodies & fantasies for piano & orchestra; impressions; orchestral music; music for solo instruments; film music, light music, etc. Approx 800 recordings, including, Supraphon, Artia, Panton, etc. Memberships: ZSS, Society of Czechoslovak Composers; SOZA, Society for the protection of Composers; OSVU, Society of performing Artists, Czechoslovakia. Hobbies: Painting; Sculpture. Address: 801 00 Bratislava 1, Jelenia 5, Czechoslovakia.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Alan Hawkshaw (William Alan Hawkshaw, pseud. "M. Hawk", "William Parrish"):
(https://i.imgur.com/1ZK9izx.png)
ALAN HAWKSHAW
A staunch Yorkshireman, Alan's first experience was gained with Emil Ford and then, from 1970 to 1972, with the Shadows. He has played piano for Cliff Richard and as a session pianist has worked with Tom Jones, Ella Fitzgerald, Lulu and Englebert[sic] Humperdinck. Alan has also worked extensively with Olivia Newton-John writing for her such hits as 'Let Me Be There', 'If You Love Me Let Me Know' and 'Country Girl'. He won the Award from the American Academy of Arts and Sciences for his arrangement for one of Olivia's biggest hits 'I Honestly Love You'. In 1979 Alan's song 'Here Comes That Song Again' became the Number One Disco Record in the USA, recorded by Love de Luxe. Alan has written the themes for many British TV shows, including 'Star Games', 'Give Us A Clue', 'The Mysterious World of Arthur C. Clarke', 'Grange Hill', 'On The Move' and 'Your Move'.
- (via Moon Monkey's excellent "The Library Catalogue Thread (UK Edition)" (https://librarymusicthemes.com/index.php?topic=8268.0) - thanks!)
(https://i.imgur.com/66Jl4Tb.png)
Alan Hawkshaw
You may not be familiar with the name, but you will certainly know the music. As well as being instrumental in a host of hits for Cliff Richard, Dusty Springfield, Barbra Streisand and Tom Jones, Alan has composed a string of classic television themes including 'Grange Hill', 'The New Statesman', 'Channel 4 News', the award-winning series 'Love Hurts' and the famous theme for 'Countdown', the first program shown on Channel 4.
He achieved the Ivor Novello award for Best Film Score for 'The Silent Witness' in 1979. He was also awarded Best Arrangement by the American Academy of Arts and Sciences for Olivia Newton-John's 'I Honestly Love You'. Alan has enjoyed a fruitful association with the doyen of science fiction writers, Arthur C. Clarke, composing for successive series of 'Arthur C. Clarke's Mysterious Universe'. Alan is currently involved in a new book, 'The Venus Legacy', and has composed a companion CD of the same name.
- (by kind courtesy of Moon Monkey - thanks!)
Johnny Hawksworth (John Denis Hawksworth, pseud. "Bunny J. Browne", "John Steinway", "Paul Kass"):
Johnny Hawksworth
Born in London in 1928, Johnny Hawksworth studied Classical Piano and Double Bass before embarking on a career in Jazz and Pop. For seventeen years he toured the world as Bass player with the world's No.1 big band, The Ted Heath Orchestra. Whilst with the band Johnny received many accolades including being voted the World's Best Bass Pllayer. On leaving the band he took up composition and Musical Direction and has since worked with such greats as Nat King Cole, Johnny Mathis, Nelson Riddle, John Hendrix and Jose Feliciano. Johnny has also written for many hit television series and wrote the world's most performed jingle, the Thames television ident. Recently, Johnny topped the pop charts with the theme from the BBC Television Series, Roobarb.
JOHNNY HAWKSWORTH was born in London in 1928. He studied Classical Piano and Double Bass before embarking on a career in Jazz and Pop. Voted The World's Best Bass player while touring with The Ted Heath Orchestra, Johnny has performed with Nat King Cole, Johnny Mathis, Nelson Riddle, John Hendrix and Jose Feliciano.
HAWKSWORTH, Johnny - Compositore inglese attivo nel campo del jazz. Sua musica in diversi lungometraggi a carattere documentario e di réportage; molto attivo per la televisione. Fra i suoi lungometraggi spettacolari: The Penthouse (Un attico sopra l'inferno, 1967, di P. Collinson); Zeta One (Zeta Uno, 1969, di M. Cort); Justine (1976, di S. Mackimmon).
Dick Hazard (Richard P. Hazard, pseud. "G. Christopher"):
HAZARD, Richard - Nato il 2 marzo 1921 nel New Jersey, morto a Los Angeles (California) il 20 dicembre 2000. Musicista americano, attivo per la televisione e soltanto in parte per il cinema. Tra i film con sue partiture, spesso in collaborazione con altri: Some Call It Loving (Qualcuno lo chiama amore, 1973, di J.B. Harris: in collaborazione con Bob Harris), Nickelodeon (Vecchia America, 1976, di P. Bogdanovich), Heroes (1977, di J. P. Kagan: in collaborazione con Jack Nitzsche), All Night Long (1981, di J.C. Tramont: in collaborazione con Ira Newborn), Airplane II: The Sequel (L'aereo più pazzo del mondo... sempre più pazzo, 1982, di K. Finkleman: in collaborazione con Elmer Bernstein).
Joachim Heider (pseud. "Us Kingdom"):
Komponist Heider, Joachim, 1 Berlin 31, Bundesallee 187
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Alfie Khan (Joachim Heider). * 2.7.1944 in Berlin. Abitur. Spielte früher in Beat-Bands. Heute erfolgreicher Komponist und Arrangeur zahlreicher Schlager, Produzent vieler Stars (Marianne Rosenberg, Christian Anders, Bettina Simon u. a.). Schrieb die Hits „Geh nicht vorbei“ (Goldene Schallplatte), „Nie mehr allein“, „Dich will ich lieben“, „Wenn du liebst“, „Ich geb mir selbst 'ne Party“, „Nur die Liebe läßt uns leben“, „Ich hab mein Glück gefunden“. Erfolgreiche Teilnahme als Autor an zahlreichen Schlagerwettbewerben. Als Sänger zunächst Mißerfolg mit dem Roy-Black-Titel „Ganz in weiß“ als Soul-Umarbeitung. Mit dem Titel „Sie kommt noch heut“ gelangte er in die ZDF-Hitparade, inzwischen in über 30 Ländern veröffentlicht (englischer Titel „She's coming back“). Weitere Titel: „Komm und geh mit mir“, „Was muß ich tun“.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Gerhard Heinz:
HEINZ, Gerhard, born 9 Sept. 1927, Vienna, Austria. Composer; Pianist; Organist. Education: Conservatory of the City of Vienna (piano). Married Gertraud Heinz, 1 son. Career: with Bands on Radio & TV as performer, 1955-; Composers for commercials, TV productions, movie feature films. Compositions: Over 2,000 commercials; over 40 full length movies. Member: AKM Austria. Hobby: Flying. Address: Hochmaisgasse 8-10/1, A-1130 Vienna, 13 Austria.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
HEINZ, Gerhard - Musicista austriaco, attivo soprattutto per commedie facili, film erotici e horror di produzione austriaca e tedesca. Tra questi: Alle Kätzchen naschen gern (Desideri, voglie pazze di tre insaziabili ragazze, 1969, di J. Zuckar), Mein Vater, der Affe und ich (1971, di F. Antel), Junge Mädchen lieben Heiss (Che me lo dai un passaggio?, 1971, di G. Axel), Auch Fummeln will gelernt sein (Sette desideri di una vergine, 1972, di K. Nachman), Liebesspiele junger Mädchen (Come fan bene quei giochini le erotiche ragazze dei villini, 1972, di F. J. Gottlieb), Melody in Love (Gli amori impuri di Melody, 1978, di H. Frank), Drei Schwedinnen auf der Reeperbahn (Le supersexy mogli svedesi, 1980, di W. Boos), Die Nackten Superhexen von Rio Amore (Linda, 1980, di J. Franco/J. Griffin), Die Säge des Todes (Bloody Moon, 1981, di J. Franco), Supergirls in 3 D (Supergirl, 1985, di W. Molitor).
Rolf Hempel (pseud. "Paul Lemberg"):
[entry has photo]
HEMPEL, Rolf
Ps: Paul Lemberg
RN: Ruth Hempel
c/o Willi Lichtnecker
Torstraße 16
6313 Homberg/Ohm 11
* 4.2.1926 Leipzig
† 23.9.1976 Homberg
Mittelschule; fünf Semester Musikhochschule Berlin-Charlottenburg (Violine, Klavier, Trompete, Tonsatz, Komposition); 1943/44 Wehrdienst; Gefangenschaft; ab 1946 Arrangeur u. Komponist in versch. Kapellen; ab 1955 freier Mitarbeiter des HR, Programmgestalter f. Unterhaltungs- und Volksmusik; später freiberufl. Komponist u. Arrangeuer, „Vater“ der Hessenmusik.
ZDF-Sendereihe „Die Superhits der Volksmusik“; 1982 Ehrung mit Preisverleihung für „Drei weiße Birken“.
Hauptwerke „Drei weiße Birken“ (1960), Polka.
Uraufführung: 1960 Winden.
Verlag: Montana, München.
Schallplatte: Polydor, Ariola u. a.
„Ich möchte gem dein Skilehrer sein“ (1970), Walzerlied.
Uraufführung: 1970 Frankfurt
Verlag: Ring Musik, Frankfurt / M.
Schallplatte: Karussell (Duo Franz und Toni).
(Bemerkung: Text von Fini Busch.)
„Barock Beat“ (1971), 3 Min. 30"
Uraufführung: 1971 Frankfurt (HR).
Ms. (Aufführung-Material beim HR).
„Hessenmusikantenmarsch“ (1973)
Uraufführung: 1973 Frankfurt (HR).
Tonband: HR.
„At Festival Hall“ (1984), Beat.
Uraufführung: 1974 Köln.
Verlag: Gerig Brillant Musik, Köln.
sowie: „Blau, blau, blau ist der Enzian“, „Ein Haus in den Bergen“, „Hessen-Polka“, „Kuckucks-Polka“, „Auf geht's“, „Bembel-Polka“, „Es geht bergauf, es geht bergab“, „Isar-Schrammeln“, „Spanische Impressionen“, „Traber Derby“ u. v. mehr.
Ray Henderson:
HENDERSON, Ray - Nato a Buffalo (New York) il 1 dicembre 1896, morto a Greenwich (Connecticut) il 31 dicembre 1970. Dopo gli studi al Conservatorio di Chicago diventò pianista e arrangiatore in orchestre da ballo e per case editrici musicali, poi fu attivo come direttore musicale negli spettacoli del vaudeville. Nel 1925 si unì ai parolieri B.G. “Buddy” De Sylva e Lew Brown, con i quali costituì un inossidabile terzetto di autori di canzoni e di spettacoli musicali trionfanti a Broadway (fra questi la serie dei George White's Scandals). Chiamati ad Hollywood, i tre si impegnarono, insieme o separati, soprattutto per musical. Tra i loro risultati d'insieme: The Singing Fool (Il cantante pazzo, 1929) e Say It with Songs (Papà mio!, 1929) entrambi di L. Bacon), Sunny Side Up (Il sorriso della vita, 1929, di D. Butler), Follow the Leader (1930, di N. Taurog), Good News (1930, di N. Grinde), Follow Thru (1930, di L. Schwab e L. Corrigan), Just Imagine (1930, di D. Butler). Tra i film non musicali: In Old Arizona (Notte di tradimento, 1929, di R. Walsh e I. Cummings). Sulla comune attività artistica dei tre è stato girato il film The Best Things in Life Are Free (La felicità non si compra, 1956, di M. Curtiz).
Bernd Hengst (Bernd Walter Hengst, pseud. "Markus Dezember"):
Die Flippers. Deutsche Gruppe. [...] Bernd Hengst. * 18.4.1947, lernte als Kind Flöte und Flügelhorn, spielt Gitarre und Schlagzeug. [...]
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Horst Heinz Henning (pseud. "Alexander Brix", "Carolus Presto", "Christoph Nendeln", "Don Nenghin", "Friedrich Wille", "Hans Maro", "Heinz Therningsohn", "Heinz van Dugen", "Johann Strauner", "Johnny Breake", "Josef Stadelmayr", "Karl Filtz", "Leo Steinbach", "Lilo Steinbach", "Luis Warner", "Max Laus", "Nico Maroni", "Oskar Langenfeld", "Paul Bode", "Stefan Bories", "Victor Waldin", "Werner Walser"):
Textdichter Henning, Horst Heinz, 6251 Hagenmeilingen, Am Waldsaum 1
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Pierre Henry (Pierre Georges Albert François Henry):
NOTE:
A pioneer of musique concrète, he also did some work for TransWorld (https://librarymusicthemes.com/index.php?topic=4261.0).
Henrym, Pierre (France, 1927)
- (via archive.org (https://archive.org/details/emr-2-3/))
HENRY PIERRE. 9.12.'27, Parigi, dove ha frequentato il Conservatorio (Boulanger, Messiaen e Passeroni). Interessato alla musica sperimentale.
Autore di Symphonia pour un homme seul, '51 (in collaborazione con Schaeffer); La noire a soixante (musica concreta); Variations une porte et un soupir, '63, musica elettronica; Le voyage per nastro magnetico; Orphée 53, op. sperimentale; Antiphonie, musica concreta.
PIERRE GEORGES ALBERT FRANCOIS HENRY
Naissance 09.12.1927
Paris 15e Arrondissement (75115), France (FRA)
Décès 05.07.2017
Paris 14e Arrondissement (75114), France (FRA)
- (via matchID (https://deces.matchid.io/id/5qnyoBbM8WTU))
Christian Henson (Christian Leslie Henson, pseud. "Jefferson Chambers"):
(https://i.imgur.com/GUcaHLi.png)
Christian L. Henson
Christian studied composition and arrangement under Francis Shaw at the Guildhall and later performed with and MD'd numerous different bands on the UK gig circuit. He also developed his co-writing and producing skills working with a number of acts from his humble bedroom at home. Since 1997 Christian has been playing keyboards and MD'ing for Peter André on dates both in the UK and abroad.
- (by kind courtesy of Moon Monkey - thanks!)
Peter Herbolzheimer (pseud. "Peter Neven", "Sergio Varron"):
(https://i.imgur.com/uN7HCxF.png)
HERBOLZHEIMER, Peter
Seering 4
2061 Itzstedt
04535/62 57
* 31.12.1935 Bukarest
1973 Bundesverdienstkreuz für Olympia-Einzugsmusik 1972; 1974 1. Preis CONCOURS INTERNATIONAL DE COMPOSITION DE THEMES DE JAZZ, Monaco; 1977 Künstler des Jahres, Deutsche Phonoakademia; 1978 Großer Deutscher Schallplattenpreis, Dt. Phonoakdemie.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Adressenänderungen
[...]
HERBOLZHEIMER, Peter
Ubiering 14 - 16
5000 Köln 1
02 21 / 32 63 01
Seering 4
2061 Itzstedt
045 35 / 62 57
Bernhard Hering (pseud. "Bertram Bumerang"):
(https://i.imgur.com/TYQ2Cgu.png)
photography [by] martina schupp
[no bio, just a photo. note: the sleeve says "music composed by martin wester and bernhard hering.", but does not specify who is who.]
Helmuth Herold (Helmuth Curt Herold, pseud. "Henry Halloway", "Marko Slavka""):
HEROLD, Helmuth Curt, born 1 Aug. 1928, Tuttlingen, Germany. Music Teacher (harmonica); Composer. Education: State Exams, Music Schools, Vrossingen, Germany. Married Ruth Greiner, 1 son. Debut: 1954. Career: Harmonica Soloist, concerts, films, radio TV & records. Compositions include: Suite in Rhythm; Harmonica - Holiday; Von Land zu Land; Song of Arabia; Schwarzwalder Speck; Indiana Song; Tropic - Moonlight; Africa Melody; Suite Latin. Recordings: Rock around the World; Surprise Party; Der Junge mit der Mundharmonika; Party in rhythm; Hits à la Harmonica; Für Leute von Heute (mostly Pick label); Publications: Treffpunk[sic] Melodica, 1970; Treffpunkt Mundharmonika, 1972. Contributor to Harmonica Revue. Memberships: GEMA; German Composers Group; German Accordian Teachers Group; German Harmonica Group; Recipient, Goldene Dirigenten - Nadel, 1973. Hobby: Sport. Address: Kantstr. 1, D7218, Trossingen, German Federal Republic.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Bernard Herrmann:
9 Cleffers Quit ASCAP for BMI
Nine ASCAP composers, active predominantly in the film and television background music field, have resigned from the American Society of Composers, Authors & Publishers to affiliate with Broadcast Music Inc. The writers are Bernard Hermann[sic], Cyril Mockridge, Ian Bernard, William G. Loose, Jack Cookerly, John Seely, Emil Cadkin, Harry Bluestone, Joseph Weiss and Marlin Skiles. [...]
- (via archive.org (https://archive.org/details/sim_variety_1960-01-13_217_7/))
Herrmann, Bernard *29. 6. 1911 New York.
Studium: Julliard Schule.
Komponist, Dirigent eines eigene "New Chamberorchester", 1940 Leiter des CBS Symphonyorchester.
Werke: Opern, Ballette, Sinfonien, Violinkonzerte, Kantate "Moby Dick", zahlreiche Filmmusiken (unter anderem "Citizen Kane" von O. Welles und mehr von A. Hitchcock).
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
BERNARD HERRMANN
b. June 30, 1911 - New York, New York
d. December 24, 1975 - Los Angeles, California
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
HERRMANN, Bernard - Nato a New York il 29 giugno 1911, morto a Los Angeles (California) il 23 dicembre 1975. Studi musicali alla Juilliard School. Compositore di sinfonie e di balletti, direttore d'orchestra, ha fondato la “New Chamber Orchestra”. Come direttore presenta musiche di compositori per la radio presso la Columbia Broadcasting System, dove è conosciuto dal regista O. Welles. Sarà Welles a volerlo con sé, riluttante, per il suo primo film, il famoso Citizen Kane (Quarto potere, 1941) per il quale Herrmann compone una partitura importante in stretto accordo con il regista, anticipando anzi, talvolta, le soluzioni filmiche (pensate da Welles in funzione della musica). Sarà al fianco di Welles anche per The Magnificent Ambersons (L'orgoglio degli Ambersons, 1942); ma intanto ha già meritato un Oscar con il commento di All That Money Can Buy o The Devil and Daniel Webster (L'oro del demonio, 1941, di W. Dieterle). Herrmann, dedicatosi intensivamente al cinema, diventa uno dei compositori hollywoodiani più creativi in assoluto. Particolarmente interessante per l'applicazione di effetti sonori e musicali a situazioni psicologiche, è tra l'altro un'eccezione nell'ambiente, in quanto non si è mai avvalso di orchestratori e ha sempre fatto tutto da sé: è anche per questo che le sue partiture hanno una particolare brillantezza dello strumentale. A parte i film di Hitchcock, di cui diremo tra poco, le fatiche più importanti sono: The Day the Earth Stood Still (Ultimatum alla terra, 1951, di R. Wise: suspense spaziale di buona lega); The Snows of Kilimanjaro (Le nevi del Kilimangiaro, 1952, di H. King); Five Fingers (Operazione Cicero, 1952, di J.L. Mankiewicz); Beneath the 12-Mile Reef (Tempeste sotto i mari, 1953, di R.D. Webb: straordinario uso “liquido” di nove arpe, ciascuna di esse con una diversa linea melodica); Garden of Evil (Il prigioniero della miniera, 1954, di H. Hathaway: brevi continui interventi, attentissimi ai diversi momenti della vicenda, e uso drammatico dei ritmi); Prince of Players (Il principe degli attori, 1955, di P. Dunne); The Man in the Gray Flannet Suit (L'uomo dal vestito grigio, 1956, di N. Johnson: ottimo contrappunto d'archi); A Hatful of Rain (Un cappello pieno di pioggia, 1957, di F. Zinnemann: doppio carattere, in quanto usa gli archi per la moglie del protagonista, gli ottoni per il dramma di quest'ultimo, un drogato); The Naked and the Dead (Il nudo e il morto, 1958, di R. Walsh: incessanti fremiti di tensione, con gruppi di terzine discendenti e ritmi diversi con effetti dissonanti); Journey to the Center of the Earth (Viaggio al centro della terra, 1959, di H. Levin: uso audace dell'arpa con effetti inediti per descrivere le meraviglie del sottosuolo; altre volte il “meraviglioso” è affidato all'organo); Tender Is the Night (Tenera è la notte, 1962, di H. King); Cape Fear (Il promontorio della paura, 1962, di J. Lee Thompson: suspense musicale di primo grado): Fahrenheit 451 (idem, 1966, di F. Truffaut: ritmi violentissimi accompagnano tutte le azioni delle forze oscurantiste, mentre la dolcezza degli interventi romantici e del finale afferma la vittoria dell'intelligenza sulla brutalità); La mariée était en noir (La sposa in nero, 1967, ancora di Truffaut); Obsession o Bezeten - Het gat in de muur (Il buco nella parete, 1969, di P. de la Parra); Endless Night (Champagne per due dopo il funerale, 1971, di S. Gilliat); lt's Alive! (Baby Killer, 1974, di L. Cohen: classici effetti dell'orrore, ripresi poi dal seguito del film, It Lives Again, girato dallo stesso regista nel 1978, quando ormai Herrmann era scomparso dalla scena del mondo); Taxi Driver (idem, 1976, di M. Scorsese: tema di blues nel sax, filamenti metallici tenuti e indefiniti, per la descrizione dell'“inferno della metropoli”, e solenne trenodia finale); Obsession (Complesso di colpa, 1976, di B. De Palma). Intanto, nel 1955, Herrmann ha incontrato Hitchcock (per Trouble with Harry, La congiura degli innocenti) e il sodalizio formatosi fra i due produce alcuni fra gli esiti più felici della storia del cinema; in effetti molti dei momenti più celebrati dei film hitchcockiani, dal 1955 al 1964, sono esaltati proprio dalla musica. Giova citare dunque: The Man Who Knew Too Much (L'uomo che sapeva troppo, 1956: commento che ingloba, per la scena clou, il concerto composto dall'inglese Arthur Benjamin e già utilizzato da Hitchcock nella prima versione del 1934); Vertigo (La donna che visse due volte, 1958: musica continua, insidiosa, allucinante come le immagini); North by Northwest (Intrigo internazionale, 1959: gruppi di terzine ascendenti e discendenti per i momenti di caccia e agguato, e incisi ritmici, sviluppati in un discorso estremamente moderno; preponderanza di archi per i momenti sentimentali); Psycho (Psyco, 1960: musica straordinaria, basata esclusivamente su un'orchestra d'archi con scarti di indefinibile effetto nei momenti più acuti. La pagina dei violini utilizzati nelle note alte del “cantino” per la sequenza dell'assassinio sotto la doccia è uno dei momenti più esaltanti del rapporto musica-immagine in assoluto); The Birds (Gli uccelli, 1963: qui Herrmann si limita per lo più a coordinare gli interventi di musica elettronica degli specialisti Remi Gassmann e Oskar Sala); Marnie (idem, 1964). Herrmann, un anticonformista a Hollywood, è sempre stato contro ogni schema e ha sempre subordinato ogni cosa alle esigenze del discorso filmico (un suo pensiero: “Non esistono nuovi sound, esistono soltanto idee nuove”. Più che un musicista cinematografico, va definito un musicista che ha scritto per il cinema. La sua musica viene inoltre utilizzata in diversi film: citiamo soltanto La morte al lavoro (1978, di G. Amelio). Nel 1992 è stato girato un documentario su di lui, Music for the Movie, da J. Waletzky.
Philippe Hersant (Philippe Jacques Marie Hersant):
HERSANT, Philippe - Musicista francese. Tra i film con sue musiche: O desejado o Les montagnes de la lune (1988, di P. Rocha); La ville Louvre (1990, di N. Philibert); Lettre pour L... (Lettere per L..., 1993, di R. Goupil).
Heinz Herschmann (pseud. "Algenon De Vere", "Charles Meldrum"):
HERSCHMANN, Heinz, born 15 Apr. 1925, Vienna, Austria. Composer; Pianist; Conductor. Education: Licentiate, Royal Academy of Music, Associate, Royal College of Music. Married Isobel Ann Stein, 2 sons. Career: Co-repetitor, Metropolitan Ballett, Stadsteater, Malmo, 1947-48; Piano Soloist, Revues, Spa Orchestras; Conductor Musical Shows, Music Director, Associate Arts School, 1949-59; Director, Apollo Sound Recording Co. & Publishers Obelisk Music, Melo-Musik, Adastra-Musik. Compositions: (recorded) Suite of Moods; Countryman in the City; Joy of Life; Launceston Serenade; Marlowes; Meditations for Brass; Punchinello; Cradle-Serenade; Fleurette; Reflections; Prosit; Galleon; Solemn Dignity; Palaver; Majestic Interlude; Agile; Gyroscope; film score Changing Cities. Memberships: Composers Guild of Great Britain; Musicians Union. Hobbies: Chess; Reading; Motorcycling. Address: 32 Ellerdale Rd., London NW3 6BB, UK. Who's Who in Music (UK).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
HEINZ HERSCHMANN was born in Vienna 1924. He moved to the United Kingdom at the age of 15 and has lived here ever since. From earliest childhood he had a musical background, his mother being a professional violinist, both as performer and professor at the Vienna Conservatoire of Music. In younger years she was a pupil and later assistant of the celebrated violin teacher, O. Sevcik.
On completing his secondary school education HEINZ HERSCHMANN became a student at the Royal Academy and later at the Royal College of Music where he gained diplomas for composition, theory of music, teaching, and performance on the piano. In addition he studied conducting and a second instrument, the clarinet.
In his early professional career he was very much involved with ballet and after working for two years in Denmark and Sweden as correpetitor to their national companies, he returned to Great Britain and became solo pianist and arranger for the Anglo-Continental Ballet Company. Subsequently he was appointed musical director of the Associated Arts School which specialised in dance education. Among his duties was the improvisation and composition of original music for ballet classes, competitions and performances, as well as more modern forms of dance expression. The experiences in this chapter of his life will explain the great rhythmic vitality permeating all his works. His Portuguese Suite for piano duet won first prize in a dance competition.
At this time, whilst building up a piano teaching practice, he was also working as solo pianist and conductor with sea-side orchestras, touring musical shows and revues as well as accompanying various solo artists. The continuous experience of editing and supervising the production of a large number of works by other composers, both contemporary and of past periods, gave him a great insight into the nature of musical creation.
He found that professional competence and craftsmanship based upon established methods of teaching composition must be the essential foundation of any new music whatever its style or genre. Originality and other qualities, such as profundity of meaning, are desirable by-productions, which may not be recognised by either the creator or audience during early performances. Musical history provides many examples of this when expert value judgements had to be revised or artistic tastes underwent change.
The diversity of his activities caused him to observe closely the reaction of both audience and performers to new or unfamiliar works and to conclude that the attitude of the musicians was crucial. Composers, he believes, must write music which is first and foremost suitable to the instruments for which it is scored. Only then will he win the sympathy and co-operation of the performer, whilst, by not demanding the impossible, minimising rehearsal time - an important economic consideration. Co-participant in any musical event is the listener. Clear cut ideas, successfully transmitted to the audience are fundamental to any work if it is to be entertaining, meaningful or uplifting. Intellectual technique and innovation which is purely for its own sake, will fail if this simple basis of communication is ignored.
Bearing in mind his views it will not come as a surprise that HEINZ HERSCHMANN is a firm adherent of tonality and traditional formal structures and believes in the gradual evolution of the musical vocabulary.
The composer has written a great deal of library and film music combining artistic integrity with the requirements of the commission. The idea of writing to order and/or for special occasions and purposes has always held a special attraction for him, and some of his most successful pieces were written to order. "The Galleon", requested by Boosey & Hawkes as background music for films and television programmes with a maritime content, was a great success in the fifties and sixties, and was followed by other compositions with different programmatic ideas such as "Majestic Interlude", "Solemn Dignity", "Palaver", "Anecdote" etc.
At all times sound reproduction has been a predominant interest of the composer and long ago he foresaw its progress towards eventual domination of the musical scene. The best possible permanent "fixation" on a sound carrier (i.e. recording medium) must be a primary aim of every composer and the instrumental balance should always be considered and adjusted with this in mind. His interest in the subject led HEINZ HERSCHMANN to pursue a successful parallel career as a producer of many gramophone records. The present disc aptly named Concert Music, presents a varied selection of his most successful and attractive compositions.
[...]
Kurt Hertha (pseud. "Andy Adison", "Felix Prost"):
Textdichter Hertha, Kurt, 8022 Grünwald, Heckenrosenstraße 2
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Jean-Michel Hervé (pseud. "Charles Zaditen"):
(https://i.imgur.com/nQ0eGEz.png)
[no bio, just a photo.]
Reimund Hess (pseud. "Franky Parkman", "Ralf Heninger"):
Reimund Hess, Jahrgang 1935, Studium in Mainz, Lehramt für höhere Schulen (Musik / Englisch), Dr. phil. (Musikwissenschaft/Mainz), vom Schuldienst zum Rundfunk (Unterhaltungsmusik), seit 1966 Leiter der Abteilung Unterhaltungsmusik beim Saarländischen Rundfunk, auch Unterhaltungsmusik-Komponist und Orchesterleiter.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
RECORD WORLD INTERNATIONAL
GERMANY
[...] ... Dr. Reimund Hess of the Saarlandischer Rundfunk (Radio Saarbrucken Europawelle) is busy with his team for the coming Goldene Europa Festivities to be held in June... [...]
- (via worldradiohistory.com (https://www.worldradiohistory.com/Archive-All-Music/Record-World/70s/75/RW-1975-06-07.pdf))
(https://i.imgur.com/zeD0j4M.png)
HESS, Dr. Reimund
Ps: Ralf Heninger, Franky Parkman
Winkelberger Höhe 12
7551 Bischweier
07222/421 00
* 23.1.1935 Neustrelitz
1956 Abitur; 1956-1961 studium der Musikwissenschaft, Schulmusik, Anglistik/Amerikanistik u. Philosophie; 1961 Erstes Staatsexamen für das Lehramt an Gymnasien; 1963 Promotion zum Dr. phil.; 1964 2 Staatsexamen (Studienrat); 1964 Musikredakteur HR; 1965 Produktionsleiter, seit 1967 Abteilungsleiter SR; 1978 Leiter der Unterhaltungsmusik des SWF; Gastvorlesungen und Lehrbeauftragter an verschiedenen Universitäten und Hochschulen.
1964 1. Preis des Wettbewerbs für Mainzer Fastnachstlieder; 1965 Förderungspreis des Bundeslandes Salzburg.
Hauptwerke „Die Dampflok-Story“ (Text: James Krüss) (1977/78), ca. 25 Min.
Kantate (Spr., Kinderchor, Kl. Orchester).
Uraufführung: 1979 Darmstadt (DSB-Kongreß); Verlag: B. Schott's Söhne; Tonband: SDR.
„Andere Städtchen - andere Mädchen“ (1976), ca. 20 Min.
Kantate (Gemischt Chor u. Instrumente).
Uraufführung: 1976; Verlag: Breitkopf & Härtel; Schallplatte: Ariola/Electrola (Reimund Hess-Chor).
„Der 3. Psalm“ (1963), ca. 8 Min.
Chorwerk (Gemischt Chor u. Orgel).
Uraufführung: 1963 Frankfurt (HR); Verlag: Breitkopf & Härtel.
„Schönster Herr Jesu“ (1961), ca. 4 Min.
Motette (4-6-st. gemischt Chor a capp.).
Uraufführung: 1961 Frankfurt (HR); Ms. (Aufführungs-Materiale beim Komponisten).
„Vater unser“ (1959), ca. 3 Min.
Chorwerk (Gemischt Chor u. Orgel).
Uraufführung: 1959 Frankfurt (HR); Verlag: Breitkopf & Härtel.
sowie: Filmmusik, Tanzmusik, Unterhaltungsmusik, Chormusik; Folklore- u. Unterhaltungsmusik-Bearbeitungen für Chor (gemischt Chor bzw. Männerchor); Schlager.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Guide to European Music Radio
Germany (Tel: +49)
[...]
SWF 3 EHR - PLATINUM
Hans Bredow Strasse, 7570 Baden-Baden, PO Box 820 (Zip: 7570),
Tel: (0)7221.920, Fax: (0)7221.922 010/037, Tlx: 722161,
MD: Hubert Locher,
Prog Dir: Hans-Peter Stockinger,
Head Of Music: Reimund Hess,
Producer: Joerg Lange.
- (via worldradiohistory.com (https://www.worldradiohistory.com/UK/Music-and-Media/90s/1993/MM-1993-01-30.pdf))
HESS, Reimund
Dr. phil., Komponist, Arrangeur -
Geboren 23 Jan. 1935 Neustrelitz/Mecklenburg, verheiratet seit 1961 mit Vernoika, geboren Krayer, 2 Söhne (Dr. Christopher, Elmar) -
Studien Musikwissenschaft, Schulmusik, Anglistik, Amerikanisch und Philosophie Universität Mainz; 1. Staatsexamen 1961, 2. Staatsexamen (Studienrat) 1964; Promotion 1963 in Musikwissenschaft -
1964 Musikredakteur Hess. Rundfunk; 1966 Abteilungsleiter Saarl. Rundfunk; 1978 Hauptabteilungsleiter SWF/SWR Baden-Baden; seit 1997 Mitglied des Arbeitkreis Neues Geistliches Lied im Bistum Mainz. Lehrauftrag und Gastvorl. bei Musikhochschule und Universitäten -
Buchveröffentlichungen: Serenade, Cassation, Notturno und Divertimento bei Michael Haydn, 1963; regelm. Fachbeitr. für elektronische Medien, Printmedien, Fachlexika -
Schallplatten, Rundfunk- und Fernsehaufn., Notenpubl. vorw. von unterhaltender Musik sowie geistl. und weltl. Chormusik (unter anderem Szen. Kantate Die Dampflok-Story nach dem Text von James Krüss); Kompositionen: Oratorium Weihnachten 21, Messe des Friedens, Jenseits der Worte, Auf Spurensuche, Neue Geistliche Lieder, "Unbeirrt", 30 Lieder und Gospel für Gruppen und Gemeinden -
1965 Wissenschaftspreis Bundesland Salzburg; Ordentl. GEMA-Mitglied.
- (via archive.org (https://archive.org/details/weristwerdasdeut0000unse/))
Dave Hewson (David Graham Hewson, pseud. "Hugh T. Davidson"):
(https://i.imgur.com/ugQ34Oc.png)
David Hewson
Dave has written a variety of music for film and television. He has composed for BBC's Howard's Way and the Channel Four documentaries The Morey Brothers, Heaven Man Earth, Six Into One and The MTM Story. Dave is also a regular composer for the Children's Film Unit and has scored many of their productions. His commercial credits include Ariel, Ford Sierra, Midland Bank, Mobil, Radox and many more. As well as numerous library albums Dave has produced records for Marti Webb, Anita Dobson and The New Seekers. His recent television work has included News at Ten, ITN News, BBC News 24, The Scars of War for Channel 4 and Police Action Live for ITV. Other commissions include The U Boat War for Discovery channel, the Life of Gorbachev and the theme tune for a new Clive Anderson show.
- (by kind courtesy of Moon Monkey - thanks!)
Johnny Heykens (Johannes Jacobus Heijkens):
Plaats: Groningen
[...]
Johannes Jacobus Heijkens
geboren 24-09-1884 te Groningen
- (via allegroningers.nl (https://www.allegroningers.nl/zoeken-op-naam/deeds/638a123b-8106-7d3c-6851-84f3b57398bc))
Overledene: Johannes Jacobus Heijkens
[...]
Overlijdensdatum: 28-06-1945
Overlijdensplaats: Hilversum
- (via noord-hollandsarchief.nl (https://noord-hollandsarchief.nl/bronnen/archieven?miguid=240BF5BF6724407099B60DDCC83D8C9E&miadt=236))
Heijkens, Jonny (1884-1945)
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Alfred Francis Hill (pseud. "John Cobbett"):
HILL, Mirrie Irma[...] Married Alfred F. Hill, deceased. [...]
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Mirrie Hill (Mirrie Irma Hill né Solomon, pseud. "Adam Moore", "Graeme Herd, "Manuel Carlos"):
HILL, Mirrie Irma, born 1 Dec. 1892, Randwick, Sydney, Australia. Professor of Harmony & Aural Culture; Pianoforte. Education: Scholarship holder for composition, chamber music, etc., New South Wales Conservatory of Music. Married Alfred F. Hill, deceased. Debut: Concert, Sydney, 1914. Career: Professor of Harmony & Aural Culture, New South Wales State Conservatory of Music, Australia; Examiner for A.M.E.B. Paperwork, Australia. Numerous compositions publd. by Chappell & Co., London & Sydney, Elkin & Co., London, Allan's, Melbourne, Southern Music Co., Sydney, Boosey & Hawkes, Sydney, etc. Recordings made by Australia Broadcasting Commission for their Federal Library including: Symphony in A; Eleven short pieces for string quartet; Duo for violin & orchestra; Aboriginal Themes for Mezzo Soprano; Bass Baritone & Orchestra Verses by Mary Gilmore, etc. Publications: Aural Culture. Contributor to: Canon magazine; recorded interview for Australian Broadcasting Commission Archives, 1972. Memberships: Honorary Member, Musica Viva Society; Honorary Member, Fellowship of Australiam Composers, etc. Various hobbies. Address: 37A Raglan St., Mosman, N.S.W., Australia 2088.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Richard Hill (Richard Vincent Hill):
A biography and interview with Hill can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1972/03/richard-hill.html).
Barrie Hingley (Herbert Barrie Hingley):
(https://i.imgur.com/emzxj4w.png)
Barrie Hingley
Barrie's career in the Royal Air Force has made him one of the foremost exponents of military music in the country. He was appointed Principal Director of Music for the RAF and has conducted hundreds of concerts, parades, recordings and broadcasts. As senior Director of Music in the three services he was given responsibility for many major events including a tribute to Her Majesty Queen Elizabeth the Queen Mother on her ninetieth birthday. It involved conducting one thousand musicians and writing much of the music. Since completing his service he has worked primarily as a composer and arranger. Recent commissions include the theme music for Her Majesty the Queen's Christmas television broadcast and music for the fiftieth anniversary of VE Day held in Hyde Park. His music has been used for BBC films and documentaries and events like the Royal Tournament and the Edinburgh Tattoo. He was awarded the OBE in 1995.
- (by kind courtesy of Moon Monkey - thanks!)
Nigel Hitchcock (Nigel Glen Hitchcock):
(https://i.imgur.com/7waDpCW.png)
Nigel Hitchcock
It would be impossible to list all of Nigel's credits as a Saxophonist, but suffice to say he has both toured and recorded with many of the worlds leading artists such as Tom Jones, Ray Charles, Kate Bush, Robbie Williams, Joe Cocker and the Spice Girls as well as contributing to hundreds of jingles, theme tunes and movie soundtracks. During his charmed career, Nigel has recorded for at least twenty of KPM's leading composers, and has recently joined the team as a composer in his own right. His first compositions may be heard on KPM's 'Sex and Intrigue 1 and 2 (KPM 378 and 379 CD).
- (by kind courtesy of Moon Monkey - thanks!)
Brian Hodgson (Brian Garner Hodgson, pseud. "Nikki Saint George", "Nikky Saint Clair"):
LONDON Radiophonic Workshop, British Broadcasting Corporation (BBC)
Permanent Official,(electronic music in improvised fashion from 1956), founded 1958
[...] principal composing members of studio staff (all of whom have also composed electronic music outside of the studio):
Daphne Oram (1958-59), Desmond Briscoe (1958- ), Maddalena Fagandini (1959-63), Delia Derbyshire (1962- ), Brian Hodgson (1962- ), John Baker (1963- )
[contains a list of works]
[...]
Hodgson, Brian, (UK, 1938) [...]
- (via archive.org (https://archive.org/details/emr-2-3/))
The studio [of EMS] was dedicated to experimentation, developing generally interesting projects, testing ideas and products, creating music, and helping others. [...] Delia Derbyshire had begun to use the studio in 1963, and through the years, many other composers worked there, among them Brian Hodgson, Don Banks, Justin Connolly, David Lumsdaine, Alan Sutcliffe, Ron Grainer, Annea Lockwood, Tristram Cary, and Jonathan Harvey. [...]
- (via archive.org (https://archive.org/details/electricsoundpas0000chad/))
[...] Peter [Zinovieff] kept up his connections with the BBC Radiophonic Workshop, eventually teaming up with two of its staff, Delia Derbyshire and Brian Hodgson, to form their own little company, Unit Delta Plus. The idea was to pool their equipment and make commercial jingles. They made one for Phillips, which was used to advertise electrical appliances on TV, but Peter found he was not commercially inclined. Unit Delta Plus did, however, have some success performing their own compositions. They once shared a bill with Paul McCartney at a "Million Volt Light and Sound RAVE - Dancing to Mystic Rock Groups" held in early 1967 at one of London's most hip venues, the Roundhouse. At the time, McCartney was deeply involved with electronic music (Stockhausen is one of the figures on the cover of Sergeant Pepper) and was a regular visitor to Peter's studio. [...]
- (via archive.org (https://archive.org/details/analogdaysinvent00pinc/))
Heinz Hötter (pseud. "Alwin Both", "Howard Hawks"):
(https://i.imgur.com/hWDlGkj.png)
HÖTTER, Heinz
Markgrafenstr. 18
4300 Essen 1
0201/27 81 24
Friedrichstr. 32
2280 Westerland
0465/223 74
* 5.9.1923 Wuppertal
1937 Studium a. d. Musikhochschule Köln; nach Soldatentätigkeit Pianist, Arrangeur, Komponist, Dirigent bei Harald Banter u. Hans Bund.
Hauptwerke „Musik der Welt“ (1964), 25 Min.
Unterhaltungs-Orchesterwerk (Gr. Orchester). Uraufführung: 1964 Köln;
Ms. (Aufführungs-Material beim WDR Köln); Schallplatte: Elite; Tonband: WDR (Heinz Hötter).
„Music in the Air“ (1969), 25 Min.
Unterhaltungs-Orchesterwerk (Gr. Orchester). Uraufführung: 1969 Köln;
Ms. (Aufführungs-Material beim WDR Köln); Schallplatte: Elite; Tonband: WDR (Heinz Hötter).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Robin Hogarth (Robin Nicholas Hogarth):
(https://i.imgur.com/DMmzJyZ.png)
Robin Hogarth
Robin Hogarth is a long standing composer and producer of music, particularly for film and TV, a music publisher, and a specialist in Southern African music. Born in England in 1948, he began his musical career in Zimbabwe with original bands, after training in piano, choral work, and later guitar. Moving to South Africa, he wrote and performed material with a number of successful bands and a number of his songs were subsequently recorded by other artists.
He then began writing for film, initially for two feature films, and subsequently for TV. From 1987 to the present day he has written and produced the theme and incidental music for numerous TV series, and made-for-TV films. These productions have received local and international recognition (South African awards, and a New York Film Festival award), and range from comedies to action thrillers, historical drama to modern dramas, covering a panorama of different musical styles.
- (by kind courtesy of Moon Monkey - thanks!)
Pierre Holassian (Pierre Georges Holassian):
(https://i.imgur.com/43Rt35D.png)
cover + back photo: thierry maindrault
[no bio, just a photo. part of group photo. not named.]
[...] Pierre Houassian[sic], who was of Armenian descent and often accompanied Charles Aznavour, [...]
- (via archive.org (https://archive.org/details/threekilosofcoff00diba/))
Teddy Holmes (Edward Charles Holmes, pseud. "Edward Charles", "Ted Barnaby"):
Brit. Pubs Look Over Irish Sheet Music Sales Possibilities
Dublin, Jan. 16.
British sheet music publishers are showing increased interest in the Irish market and are scanning possible methods of upping sales. At present Eire is near the bottom of the list as a sheet music buyer.
Teddy Holmes, managing director of Chappell, London, has been here for a look-see.
- (via archive.org (https://archive.org/details/variety169-1948-01/))
Mood music
Tomorrow E. C. "Teddy" Holmes, the doyen of British music publishers, celebrates 60 years with Chappells, the firm of which he is a director. When he joined, it was as an office boy, delegated to rolling up countless copies of the current hit, The Missouri Waltz, for the post each morning.
Later he became a piano demonstrator, and played for the royalty who in those days bought their sheet music at Chappells. He also played songs over for Nellie Melba, and she once tried to persuade him to accompany her on her farewell tour of the world. He was an accompanist for Gracie Fields in some of her wartime ENSA shows. [...]
- (via archive.org (https://archive.org/details/NewsUK1977UKEnglish))
ACKNOWLEDGEMENTS
[...]
Mr Teddy Holmes, who began his working life at Chappell's in 1917; [...]
- (via archive.org (https://archive.org/details/ivornovello0000hard/))
[...] As luck would have it, when I was sent to them they hadj ust heard of a vacancy in the preofessional department of Chappells, one of the biggest music publishing houses in the world, situated in London's New Bond Street. Painfully shy, I doubt that I made much of an impression on the genial Mr Rogers when he interviewed me, but either they were that desperate at the time or he spotted some latent potential lurking there and - surprise, surprise! I got the job. Working under the legendary Teddy Holmes, [...] I sat at my own little desk, in my own little corner at the foot of the stairs behind Mr Holmes' office. (He too was always 'Mr Holmes' - never Teddy to the staff. Likewise, the formidable Miss Day, his secretary [...].
Edward C. Holmes made up for his lack of height with electrifying energy. He never just walked anywhere, even across a room. He bustled in a way that implied that there was the possibility of a gold medal at the end of it, galvanising all those in his immediate orbit into frenzied activity. I would be sitting at my desk, patiently battling with both index fingers at my typewriter (a newly acquired skill), addressing a small mountain of envelopes ready for posting, and the rest of the entourage would be gently ticking over, when through the door would burst ECH in full spate, hurtling into the room, gathering sheets of music, picking up telephones and crisply barking instructions to all and sundry in one brisk move. The place was alive in an instant. Vera Lynn was coming in at four. He had to see Geraldo in ten minutes. Did I get that copy off to Jack Buchanan? What time was the Queen's Hall Light Orchestra's recording session tomorrow? Had Sydney Torch delivered his scores for it yet? Get him on the phone immediately. And who took this message from Noel Coward? Life was never dull when Teddy Holmes was on the premises. I had enormous respect for him, and he took immense pride in my successes in later years.
I spent two years there as a junior, and very happy years too: running errands, typing envelopes, transposing music, answering phones, typing yet more envelopes, and subconsciously soaking in all the aura of what song publishing at its best was all about. For Teddy Holmes was a definitive music publisher, maybe the last of the time. When he took on a song he put every available ounce of energy into making it a success, and he made sure that everyone around him did the same as well. And what a catalogue they had to work on! [...] [E]very top class writer of the day was published either by Chappell or by one of their subsidiaries. Teddy Holmes knew every son they'd ever written and could sit down and rattle them off immaculately at the piano in whatever key was needed. Nothing they published was ever left up on the shelf as far as he was concerned. [...]
- (via archive.org (https://archive.org/details/backingintolimel0000samm/))
[...] [Harry] Saltzmman knew a songwriter called Monty Norman who had worked on various stage musicals. Like John [Barry], Norman had originally come from a jazz background [...]. So when Saltzman offered him the music for Dr No, he jumped at the chance. Saltzman wanted him to write incidental music and a title theme which would work for the whole series, and so he suggested Norman came out to Jamaice to get the feel of the film and record some local music. This he did [...]. Peter Hunt, editor on Dr No as well as the next four Bond films, remembers: [...] 'Well, we arrived at Denham, where they were rehearsing, and it was not at all the sort of music we'd expected to have on the film. [...] We knew we had to rethink the whole thing and we set up a meeting with the producers that afternoon.
'I went bacjk to the cutting room in between, and on the wya there I was talking to my assistant and I said, "Terence has got all these grand ideas about composers, but they'll never be able to do that. Who could we get to arrange it instead?" And my assistant said, "I've just worked on a TV show that featured The John Barry Seven."
'"Ooh," I said. "I like them. Could that John Barry guy do music for a film, do you think?"
'"Well, I don't know," he said. "But he's very good. And he's a new fellow and he's young."
'So I went to htis meeting and during the conversation Terence was trying to talk them into William Walton or someone and Harry and Cubby were saying, "We don't have the money for those sort of people. Wer've got to find someone who's efficient and practical and who'll do it and not be extravagant." So I piped up and I said, "What about John Barry?"'
In the hours leading up the meeting, Saltzman had also got on to Noel Rogers, the head of United Artists' music division and explanied the situation. According to John, Rogers then called his friend Teddy Holmes who was head of Chappell Music Publishing to find out who might be good at rearranging instrumental music that needed to be lively, contemporary and most importantly, hip.
Working on these criteria, Holmes considered the two top instrumental groups in Britain at the time - The Shadows and The John Barry Seven. In The Shadows there was no one who could arrange. In the Seven, John was known as being the man behind Adam Faith's hits and a skilled instrumental arranger. He'd also already scored two films. Holmes reckoned he'd found the man for the job and told Rogers, who told Saltzman.
Saltzman was someone who always needed at least two people's back-up on every decision, and so by the time Peter Hunt came to mention John's name at the meeting, he picked up the phone to his secretary and said, 'Get me John Barry on the phone. Now."
- (via archive.org (https://archive.org/details/johnbarrysixties0000fieg_j2z2/)
[...] Teddy Holmes rose from teenaged songplugger to managing director of the oldest and largest publisher in the world, Chappell Music (now Warner/Chappell). Holmes recalled the early days in London when sheet music was sold on barrows ni street markets: "One of a songplugger's duties was to go round to Soho, tip over barrows belonging to rival publishers, and dump their music into wet, muddy gutters." So much for the genteel age of music before rock & roll! [...]
- (via archive.org (https://archive.org/details/musicpublishingr0000whit/)
[...] David [Croft] and I left his office feeling ten feet tall, and went to straight to Chappells in Bond Street to meet Teddy Holmes.
Teddy was the general manager of the Chappells Music Publishing Company in England, under the legendary proprietor, Louis Dreyfus, whose brother Max Dreyfus, ran the Chappells Company in New York. He had joined Chappells in 1917. In his early days there he had played the piano for Gracie Fields and Dame Nellie Melba. During the following years he was to work closely with such luminaries as Noel Coward, Ivor Novello, Irving Berlin, George Gerhswin, Jeorme Kern, Cole Porter and Richard Rodgers, as well as personally managing the great Robert Farnon.
He was a hard taskmaster, as any of the music pluggers working for him in 1955 would testify. Among them were Jimmy Henney, Leslie Simpson, Leslie Kettle, Stan Bradbury, Sid Green and, later, Murray Thornton and Terry Oates, all of whom have dominated the music world in England for over three decades.
Teddy Holmes was a human dynamo. Every minute of the day was utilized in promoting the music of Chappells, and yet he always made time for young, up-and-coming songwriters lke ourselves. His enthusiasm was boundless. He was a prolific composer in his own right and understood what constituted a hit score and a hit song. [...]
From that first meeting, right up to the last days of his life in 1985, Teddy Holmes always found time in his monumentally busy life to listen to a new song of mine and to give freely of his wondrous expretise whenever I needed another pair of ears. [...]
- (via archive.org (https://archive.org/details/reachformoonport0000cyri/))
Soo and I flew back to England after a visit to the World's Fair in New York [1964] [...]
Chappells in Bond Street was gutted by a fire. Twenty-five fire engines and one hundred and twenty firemen fought the blaze. Smoke poured all over London. Bill Hastings-Mann, one time musical advisor to the Emile Littler theatrical empire and the man who had given me my first engagement at the People's Palace in London in 1949, was burnt to death.
Teddy Holmes was trapped in his first-floor office until a ladder was brough to his window. Unfortunately, as he started to climb down, he missed his footing and fell twenty feet to the pavement, breaking his pelvis. He was rushed to the Middlesex Hospital where he had to spend several months before making a miraculous recovery which enabled him to continue into his eighties as the doyen of all British music publishers of our times.
Watching from the pavement was an old man in a grey homburg hat and an umbrell to shielf him from the spray of the firemen's hoses. He was Louis Dreyfus, well into his eighties, the man who had built up the Chappell empire in England, the man responsible for discovering Jerome Kern and Irving Berlin. His wife came and led him gently away. His beloved Chappells would never be the same again.
- (via archive.org (https://archive.org/details/reachformoonport0000cyri/))
[...] Having found scraps of paper with lyrics that Johnny [Mercer] had jotted down for later consideration and development among his personal effects, Ginger Mercer [Johnny's widow] determined to find a composer who could turn them into songs. After discussing the matter in 1983 with Margaret Whiting and with friends at Chappell Publishing in London - the senior director Teddy HOlmes and the standard department manager Mark Rowles - Ginger agreed that the popular singer and American songwriter Barry Manilow could undertake the project. [...]
- (via archive.org (https://archive.org/details/johnnymercersout0000eske/))
As an intriguing aside, in July 1958 Teddy Holmes of Chappell's in London wrote to Leonard Bernstein about possible conductors for the London premiere of West Side Story. It was conducted by Lawrence Leonard, who was strongly recommended by Charles Mackerras (a brilliant young conductor who I would have suggested, but unfortunately he is contracted to conduct in South Africa this winter). [...]
- (via archive.org (https://archive.org/details/charlesmackerras0000unse/))
[...] There was a hit single recording of 'If I Ruled the World' [...]. Tony Bennett had received the song very early from our publisher at Chappell Music, Teddy Holmes. [...]
- (via archive.org (https://archive.org/details/pureimaginationl0000bric/))
Gustav Holst (Gustav Theodore Holst né Gustavus Theodore von Holst):
NOTE:
Gustav Holst is a prolific and near-'canonical' classical composer. There are several books written about him, and his works are frequently performed, especially "The Planets".
His library output ("Second Suite in F", "Suite in E Flat", all Boosey & Hawkes 78s (https://librarymusicthemes.com/index.php?topic=125.0)) was to my knowledge not written specifically for library usage. The First Suite is considered a seminal work for military/concert band.
[entry has photo]
GUSTAV THEODORE HOLST, whose name was actually Gustavus Theodore von Holst, was born in Cheltenham, England on September 21st, 1874 and died in London on May 25th, 1934. At the age of 19 he entered the Royal College of Music where he studied composition and trombone. In 1905 he became music master of St. Paul's Girls' School and in 1907, music director at Morley College, retaining both positions until his death. His last years were devoted entirely to composition. Holst received his inspiration from exotic subjects, oriental themes, and English folklore.
HOLST, Gustav - Nato a Cheltenham (G.B.) il 21 settembre 1874, morto a Londra il 25 maggio 1934. Studi musicali al Royal College of Music della capitale, suonatore di trombone, insegnante. Come compositore, influenzato da Wagner, dal folklore inglese e da esperienze di viaggio in Oriente, si affermò in tutti i campi, per il teatro, la musica sinfonica e corale, pezzi strumentali. Tra le sue suites sono celebri Saint Paul's Suite, Japanese Suite, Hammersmith e soprattutto The Planets. Insieme con Elgar e con Vaughan Williams forma l'aristocrazia della musica moderna inglese. Nel 1931 Holst si accostò al cinema, appena diventato sonoro, componendo la musica di The Bells, di H. Templeman dimostrando interesse per il nuovo mezzo d'espressione; ma poco dopo fu vittima della malattia che lo doveva portare alla morte.
Matthias Holtmann:
CORRESPONDENTS WEST-GERMANY - LUXEMBOURG
GERMANY
SDR-STUTTGART-MATHIAS HOLTMANN-producer Treff nach 2 [...]
- (via worldradiohistory.com (https://www.worldradiohistory.com/UK/Music-and-Media/80s/1984/M&M-1984-03-19.pdf))
Arthur Honegger (Arthur Oscar Honegger):
2208. Honegger, Arthur. French composer. b. March 10, 1892, Le Havre. d. Nov. 18, 1955, Paris. Of Swiss origin. Giovanna d'Arco al rogo (54).
- (via archive.org (https://archive.org/details/italianfilmwhosw0000stew/))
HONEGGER, Arthur - Nato a Le Havre (Francia) il 10 marzo 1892, morto a Parigi il 27 novembre 1955. Di origine svizzera, ma francese per temperamento e per campo d'azione, maturò nella temperie artistica dell'avanguardia parigina ma poi si staccò dal “Gruppo dei Sei” – di cui aveva fatto parte – per perseguire una sua originale produzione che recuperava le leggi del saldo contrappunto di matrice tedesca. Spirito aperto a tutte le sperimentazioni, accettò subito il cinema fra le sue attività componendo interessanti pagine per film muti e affermandosi poi, con il sonoro, come uno dei compositori più completi della nostra epoca anche per l'impegno profuso verso questa forma di spettacolo. Il primo incontro è quello con il regista Abel Gance, per il quale compone le partiture (da eseguirsi in orchestra) dei film muti La roue (La rosa sulle rotaie, 1920) e Napoléon (idem, 1927: brani inediti più pagine composte ad hoc nel caso del primo film; una poderosa partitura originale – per lo meno sette numeri su otto – per il secondo, fortunosamente ritrovata dopo anni di oblio). Negli anni che vanno dal 1933 alla guerra Honegger compone quasi una ventina di partiture cinematografiche, anche per film decisamente modesti; ma tutti fruiscono nella stessa misura dell'impegno vitale, anzi accanito, del musicista. Tra i risultati da ricordare: L'idée (1932, di B. Bartosch: film drammatico-sociale a disegni animati, molto ambizioso e geniale, basato sulle fortissime incisioni di Frans Masereel, dove la musica procede a grandi tagli, corposa e addirittura violenta come le immagini); Les misérables (I miserabili, 1933, di R. Bernard: in collaborazione con M. Thiriet); Rapt (1933, di D. Kirsanoff: in collaborazione con Arthur Hoérée; partitura che resta ancora oggi un esempio insigne dei risultati cui può attingere la musica per film, con interventi tematici drammaticamente interrotti, ricorso a timbri inconsueti come le “ondes Martenot” per le scene di tempesta, e brani registrati a rovescio per le sequenze oniriche; e forse è qui che si realizzano per la prima volta dissolvenze incrociate sonore; da notare che Kirsanoff gira anche un cortometraggio intitolato Pacific 231 e ispirato ad un famoso brano musicale honeggeriano); Angèle (idem, 1934, di M. Pagnol); Crime et châtiment (Delitto e castigo, 1935, di P. Chenal); Mayerling (idem, 1936, di A. Litvak); Mademoiselle Docteur - Salonique, nid d'espions (Mademoiselle Docteur, 1936, di G.W. Pabst); La citadelle du silence (La cittadella del silenzio, 1937, di M. L'Herbier); Pygmalion (Pigmalione, 1938, di A. Asquith e L. Howard: commento spregiudicato basato su irrequietezze ritmiche e contrappunti complicati); Cavalcade d'amour (Cavalcata d'amore, 1940, di R. Bernard). Dopo la guerra le partiture per il cinema si fanno sempre meno numerose: Un ami viendra ce soir (Messaggio speciale, 1945, di R. Bernard); Les démons de l'aube (1945, di Y. Allégret: in collaborazione con A. Hoérée); Un revenant (Lo spettro del passato, 1946, di Christian-Jaque); e qualche documentario, tra cui il lungometraggio americano di esplorazione Storm Over Tibet (Tempesta sul Tibet, 1952, di A. Marton). Il cinema, oltre che avvalersi del suo talento, ha anche preso questo musicista come “soggetto”: Georges Rouquier ha raccontato su pellicola la sua biografia, e Rossellini ha trasposto sullo schermo la sua edizione teatrale del più popolare degli oratori honeggeriani, Giovanna d'Arco al rogo (1954).
Nick Hooper (Nicholas Timothy Hooper):
(https://i.imgur.com/44TOdkZ.png)
Nicholas Hooper
Nicholas Hooper is an established film music composer having worked over the last ten years to produce scores for over 200 films. His recent feature film credits include his 19th century romantic score for 'The Tichborne Claimant'. Nick is particularly well known in the field of nature films, contributing scores for 'Naturewatch', 'Wildlife On One', 'Natural World', 'Wildlife Tales' and 'Survival'. His score for 'Mountains of the Snow Leopard' won him the ECO Festival Music Award. Nick's particular interest in other musical cultures, and his love of the orchestra, led to the special combination used in the BBC's 'Land of the Tiger' series, for which he received the Golden Panda Award for Music & Sound Design.
- (by kind courtesy of Moon Monkey - thanks!)
Peter Hope (pseud. "William Gardner"):
HOPE, Peter, born 2 Nov. 1930, Stockport, UK. Composer & Music Arranger. Education: Mus.B., Manchester. Career: Composer & Arranger for radio, TV & record companies. Compositions: Over 200 light music compositions including suites, overtures & shorter instrumental ietms, & film & TV music. Memberships: Chairman, Composers Guild of Great Britain, 1969; Joint-Chariman, ibid, 1973. Recipien, Ivor Novello Award for 'Ring of Kerry' Suite, 1968-69. Address: 29 Monnery Rd., London N.19, UK.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
John Horler (John Douglas Horler):
(https://i.imgur.com/06PDwuO.png)
John Horler
John studied at the Royal Academy of Music where he was made an associate in 1992. Although his early career was made up chiefly of session work he now concentrates mainly on writing and performing as a leader and with other jazz artists. His latest recording was "In Concert" with Tony Coe and Malcolm Creese (AB CDs). John has been pianist to Cleo Lane and John Dankworth for the last thirteen years. This, he says, has taken him to most parts of the world -- except the Isle of Wight.
- (by kind courtesy of Moon Monkey - thanks!)
Richard Horowitz (Richard Michael Horowitz, pseud. "Drahciv Stiworoh", "Juares Americo Dos Santos", "Juares Santos"):
HOROWITZ, Richard - Nato a Buffalo (New York) il 6 gennaio 1949. Musicista americano degli anni '90. Attivo, fra l'altro, per: The Sheltering Sky (Il tè nel deserto, 1990, di B. Bertolucci: adattamento di musi- che nordafricane), L'Atlantide (idem, 1992, di B. Swaim), Quattro bravi ragazzi (1993, di C. Camarca: rock duro, chitarre elettriche, tastiere scatenate), Three Seasons (Tre stagioni, 1999, di T. Bui), Any Given Sunday (Ogni maledetta domenica, 1999, di O. Stone). Attività televisiva.
Rene Hosselet (Rene Marcel L. Hosselet, pseud. "Rene Alain"):
[...] [Alex Scorier's] Dixieland-Band, te horen op THIS IS NEW ORLEANS, LP POLYDOR-SPECIAL. 2420 135, met Herman Sandy, trompet; Richard Rousselet, trompet; [...]
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Mam Houari (Mahmoud Houari):
(https://i.imgur.com/FpLHNA5.png)
Liner Photo by: Patrick Bourboin[sic]
[no bio, just a photo. part of group photo. not named.]
(https://i.imgur.com/DTIkF6i.png)
(https://i.imgur.com/SSPU5gN.png)
(https://i.imgur.com/pRHPqdE.png)
[no bio, just photos. part of group photos. not named.]
Alan Howe (Alan Hakin Howe, pseud. "John Collins"):
AT YOUR SERVICE
[...]
(https://i.imgur.com/hW3vqYH.png)
Alan Howe
Library Manager
- (by kind courtesy of Moon Monkey - thanks!)
James H. Howe (James Hakin Howe, pseud. "A. W. Sherriff")
HOWE, JAMES H.
(1917- )
James H. Howe was born in Penshaw, England. As a young man, he played piano and cornet, and in 1933 he became a band boy with the Royal Scots Regimental Band. In his service during World War II, he was captured by the enemy and organized a dance band to entertain his fellow prisoners.
Howe's formal musical training, which began after the war, included study at the Royal Military School of Music (Kneller Hall), the Royal Academy of Music, and the Royal College of Music. During his career, he was bandmaster of the Argyll and Southern Highlanders and the Scots Guards, both part of the Household Division. While bandmaster of the Scots Guards, he became a champion of the marches of John Philip Sousa and introduced many of the unfamiliar marches to his British audiences through phonograph records.
Since his retirement in 1974, he has served as a brass band adjudicator, guest conductor, and concert promoter. His most popular work is the march, Pentland Hills. Many of his works were composed for the British-style brass band.
Reference
Smith, March Music Notes.
Correspondence with Richard E. Prince, band historian.
[contains list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0001rehr_z6l5/))
George Howe (George Richard Ian Howe, pseud. "George Farid", "George Fenton"):
(https://i.imgur.com/VIOC6la.png)
GEORGE FENTON
George, who first started playing guitar at the age of 8, and studied organ while at school, is fast becoming one of the most sought-after composers of television music in Britain. George began playing freelance after leaving school, doing session work, opera, ballet and theatre. It was while engaged in theatre work that he was first asked to write incidental music. His first major commission was for 'Twelfth Night' at Stratford-upon-Avon. He has also composed for producions at the National Theatre, the Royal Exchange and Riverside Studios, where the artistic director Peter Gill, gave George his first break into television. Since then he has composed over sixty scores for TV productions, including 'Shoestring', 'Fox', 'Newsnight', 'The History Man', 'Out', 'Skin', 'Bloody Kids', 'Cold Harbour' and Alan Bennet's plays.
- (by kind courtesy of Moon Monkey - thanks!)
[...]
(https://i.imgur.com/XkxUM5Q.png)
GEORGE FENTON
George, who first started playing guitar at the age of 8, and studied organ while at school, is fast becoming one of the most sought-after composers of television and film music in Britain. George began playing freelance after leaving school, doing session work, opera, ballet and theatre. It was while engaged in theatre work that he was first asked to write incidental music. His first major commission was for Twelfth Night at Stratford-upon-Avon. He has also composed for productions at the National Theatre, the Royal Exchange and Riverside Studios, where the artistic director Peter Gill, gave George his first break into television. Since then he has composed over sixty scores for TV productions, including Shoestring, Fox, Newsnight, The History Man, BBC News, The Jewel in the Crown , and the hugely successfull feature film Ghandi (with Ravi Shankar). In March 1982, George won a British Academy Award for the theme to BBC TV's Bergerac .
- (by kind courtesy of Moon Monkey - thanks!)
FENTON, George – pseudonimo di George Howe - Nato a Londra il 19 ottobre 1950. Studia a Oxford e si interessa alla musica d'organo ed etnica. Suona la chitarra per incisioni discografiche, concerti e spettacoli teatrali. Come chitarrista partecipa all'incisione della colonna sonora di The Man Who Would Be King (L'uomo che volle farsi re, 1975, di J. Huston); ma già dal 1970 aveva cominciato a comporre per il cinema, ampliando poi la sua attività al teatro e alla televisione. Dimostra il suo eclettico talento, avvalendosi di spunti che partono dalla musica sacra per arrivare al rock e all'elettronica, specialmente nelle partiture di: Private Road (1971, di R. Platts-Mills); You're a Big Girl Now (1976); Hussy (1980, di M. Chapman); Gandhi (idem, 1982, di R. Attenborough: acrobatico compromesso tra musica occidentale e musica orientale, con lo stesso Fenton al pianoforte, Ravi Shankar al sitar e Vija Raghava Rao al bansuri); Runners (1983, di C. Sturridge); Cry Freedom (Grido di libertà, 1987, di R. Attenborough: altra occasione di innesto fra etnomusica e tastiere); A Handful of Dust (Il matrimonio di Lady Brenda, 1988, di C. Sturridge); The Dressmaker (La sarta, 1988, di J. O'Brien). Fenton è fedele – per lo meno per determinati periodi – a tre fra i più interessanti registi della renaissance inglese, Stephen Frears, Neil Jordan e Ken Loach. Per il primo firma le colonne sonore di Bloody Kids (1979); Dangerous Liaisons (Relazioni pericolose, 1988: intelligente uso di citazioni del Settecento musicale, ma più ancora di riletture moderne di tali musiche); Accidental Hero (Eroe per caso, 1992: citazioni burlesche di inni nazionali e ironici cori allelujanti); Mary Reilly (idem, 1995: archi legati e continui, avvolgenti). Per Jordan è attivo in The Company of Wolves (In compagnia dei lupi, 1984: uso pirotecnico di orchestra tradizionale più elettronica); 84 Charing Cross Roads (idem, 1986); High Spirits (High Spirits - Fantasmi da legare, 1988: basato su melodie tradizionali irlandesi); We're No Angels (Non siamo angeli, 1989). Per K. Loach (tutti i suoi film più recenti): Ladybird Ladybird (idem, 1994); Land and Freedom (idem, 1995: sapiente impasto tra interventi classicheggianti e richiami alla musica popolare); Carla's Song (La canzone di Carla, 1996: canzoni di protesta inglesi e sudamericane); My Name is Joe (idem, 1998); Bread and Roses (idem, 2000); The Navigators (Paul, Mick e gli altri, 2001: basato su un jazz moderno eseguito da un piccolo “combo” di sei jazzisti); Sweet Sixteen (idem, 2002). Tra gli altri esiti più interessanti degli anni ‘90 le partiture per: Memphis Belle (idem, 1990, di M. Caton-Jones: musica squillante, corposa, di stampo “wagneriano”); White Palace (Calda emozione, 1990, di L. Mandoki: interventi di un gusto barocco “rivisitato”, in chiave jazz-mozartiana); The Long Walk Home (La lunga strada verso casa, 1990, di R. Pearce: in partitura sono incorporati con efficacia autentici spirituals); The Fisher King (La leggenda del re pescatore, 1991, di T. Gilliam: musica sonante, ancora con echi wagneriani); Born Yesterday (Nata ieri, 1993, di L. Mandoki: gustoso episodio della Costituzione americana insegnata alla protagonista come fosse una canzone); Shadowlands (Viaggio in Inghilterra, 1994, di R. Attenborough: musica classicheggiante e sussiegosa per l'ambiente universitario di Oxford); The Madness of King George (La pazzia di re Giorgio, 1995, di N. Hitner: adattamento di pagine dai “Concerti grossi” di Händel), Multiplicity (Mi sdoppio in 4, 1996, di H. Ramis); The Crucible (La seduzione del male, 1997, di N. Hitner); Dangerous Beauty/A Destiny of Her Own (Padrona del suo destino, 1998, di M. Herskowitz); Anna and the King (idem, 1999, di A. Tennant: sinfonismo opulento dall'onda morbida, fra romantico-patetica e maestosa). Tra i film più recenti: Entropy (Entropy - Disordine d'amore, 2000, di P. Joanu); Lucky Numbers (Magic Numbers – Numeri magici, 2000, di N. Ephron); Imagining Argentina (Immagini - Imagining Argentina, 2003, di C. Hampton). Fenton è musicista dalle basi solide, che predilige partiture espanse per film di vasta spettacolarità, ma conferma la sua classe eccezionale anche nei risultati intimistici.
Bob Howes (Robert Frederick Howes):
KPM COMPOSERS
[...]
(https://i.imgur.com/DVh3ldg.png)
CHORALE
Chorale, formed in 1978, developed out of the session choir 'English Chorale', and has established a substantial reputation within the music business. Its four members, Barbara Courrtney King, Steve Davies, Bob Howes and Bill McGillivray combine to provide a unique vocal talent. Their first album Chorale (Arista 1979) demonstrated their musical direction and they have since concentrated on studio work with, amongst others, Mike Batt, Richard Carpenter, Benjamin Luxon, The Alan Parsons Project, Elaine Page, Nick Heyward, Roxy Music, David Essex, Grateful Dead and Chris de Burgh. Chorale's writing credits include the HTV station music, various incidental and signature tunes for Channel 4 (including Gold from the Deep and Wheels, Wings and Water), A Song for Christmas (BBC1), It's My Pleasure (BBC2) and Pebble Mill at One (BBC1).
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/asYGUMb.png)
ROD ARGENT AND BOB HOWES
[...]
Bob Howes studied at the Royal Academy of Music and, with his choir The English Chorale, has made recordings with Alan Parsons, Chris de Burgh and Talk Talk. He formed the vocal group Chorale in 1978 since which time they have made albums with Artista, WEA and, of course, KPM. Rod Argent and Bob Howes have collaborated to write many TV themes including Animal Squad, Pebble Mill at One, The Film on 4, Daytime Live - BBC, Rescue - ITV.
Recent discs: The Advance of Man, Network Heroes
- (by kind courtesy of Moon Monkey - thanks!)
John Howlett (Charles John William Howlett):
HOWLETT, JOHN.
Theatre organist. b. Brentford, Middlesex, 16th October, 1906. First broadcast from Ireland, 1928. Address: Regal Theatre, Wimbledon, London, S.W.19. Phone: Liberty 2277. Was Church Organist at age of twelve, and in 1925 was assistant to Guy Weitz, of Westminster Cathedral. Later became pupil of Quentin Maclean, and from 1928-29 was solo organist at Classic Cinema, Belfast, broadcasting three times weekly. Has since broadcast from many well-known cinemas, and a number of B.B.C. Theatre Organ broadcasts. From 1941-45 was on active service with Royal Navy (Radar), and during this period played at Cape Town, and on returning to England kept up his organ broadcasts during leave periods.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Dave Howman (David Alan Howman):
HOWMAN, David Alan, born 112 Mar. 1950, London, UK. Musician, Guitar, Drums, Bass Guitar, Piano, Organ; Studio Engineer. Debut: Age 13. Career: TV Appearances, UK, Portugal; Radio Performances, UK. Compositions: (publd.) Sweet Little Rock & Roller; (recorded) Fire Water; Only Girl I Knew; I Can Make You Laugh; Do You Wanna Know; Blazing Inferno; Benny's On The Bash. Contributor to Beat Instrumental. Member Performing Right Society, Ltd. [PRS]. Hobby: Motor Racing. Management: Red Bus Recordings Ltd., Wardour St., London, UK. Address: 7 Crescent Way, Finchley, London, N12 0RD, UK.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Jo Hrasko:
NOTE: Non-composer, full/real name unknown.
Credited as saxophonist (and clarinettist) for LPs on Epervier (https://librarymusicthemes.com/index.php?topic=1595.0) and Tele-Record (https://librarymusicthemes.com/index.php?topic=1596.0).
(https://i.imgur.com/RWKRByN.png)
[no bio, just a photo. not named.]
(https://i.imgur.com/CAAaGhy.png)
[no bio, just a photo.]
Douglas Hubbard (David Hubbard, pseud. "Craig Whipsnade", "David J Monroe", "David Lake", "Ron Ulu"):
(https://i.imgur.com/WRTEk6q.png)
Douglas Hubbard
Douglas was born in 1953 and after a comprehensive musical education embarked on a professional career in music. He has played guitar with many well-known rock bands, becoming expert in the field of keyboard and drum-machine programming. He has now completed four albums for the De Wolfe Library: Eastern Jewel, New Images, Cuts for Commercials Vol. 7 and Neon City. In addition to numerous commercials, including Ford, Lego and FSO Cars, Douglas has composed scores for Audio Visual and Video Productions.
- (by kind courtesy of Moon Monkey - thanks!)
Hans Hubberten (pseud. "H. ten Huber"):
Verstorbene Mitglieder
[...]
HUBBERTEN, Hans † 11. 6.1988
Bad Kohlgrub
Albrecht Hübner (pseud. "Alf Stjanko", "Lem Arcon"):
It was a real pleasure to work with Lem Arcon. Very well-known as arranger and composer in Germany, Lem proves in this L.P. his colossal abilites in music-making. Never satisfied with established clichés, he is always searching for new ideas. [...]
(https://i.imgur.com/LJUTXaq.png)
ARCON, Lem
Eidelstedter Dorfstr. 18
2000 Hamburg 54
040/570 95 21
* 20.1.1921 Leipzig
Erste Werke mit 8 Jahren („Alles recht vorbehalten“), Klavier; 1936 in Berlin, Schulorchester (Pauke, Viola), Schüler-Band (Drums), Militärmusik (Querpfeife, Kontrabaß); erstes Arrang. f. E. van't Hoff; 1946 eigene Band; Autodidakt, Arrangeur bei K. Widmann, W. Müller (RIAS Berlin), A. Luczkowski (WDR), Assistent b. Mich. Jary, Arrang. b. F. Thon, A. Hause u.a. Freischaffend f. Rundfunk, Fernsehen, Film, Schallplattenindustrie, Musikverlage; seit 1973 Manager "recorded music" beim Chappell-Musikverlag, Hamburg.
Hauptwerke „Tanz nach dem Kompaß“ (1961), 15 Min.
Tanz-Suite (Tanz- u. Unterhaltungs-Orchester). Uraufführung: 1961 Hamburg; Ms. (Aufführungs-Material beim Komponisten);
Tonband: NDR, WDR, SWF, BR (TUO A. Hause, A. Luczkowski, Reg Owen, R. H. Müller, Herbert Beckh).
„Dreamers Design“ (1975), 5 Min.
Tanzerisches Intermezzo (Tanz- u. Unterhaltungs-Orchester). Uraufführung: 1975 Hannover; Ms. (Aufführungs-Material beim Komponisten);
Tonband: NDR, SFB, SWF (RO Hannover A. Hause, RO Karl Heinz Loges).
„Diese dummen, kleinein Dinge“ (1961), 3 Min.
Slowfox (Combo). Verlag: Ed. Meridian München; Tonband: SWF; Schallplatte: Teldec (Lonny Kellner, Peter Frankenfeld).
„Dizzy Boss“ (1975), 5 Min.
Tanzerisches Intermezzo (Tanz- u. Unterhaltungs-Orchester). Uraufführung: 1975 Hannover;Ms. (Aufführungs-Material beim Komponisten);
Tonband: NDR, SFB (TUO A. Hause, TUO Karl-Heinz Loges).
„Rouge et noir“ (1978), 3 Min.
Instrumente-Nr. (Kl. Tanz-Band). Verlag: Teledisc Edition Hannover; Schallplatte: UTV-Film Records (Günther Leimstoll & Band).
sowie: über 2500 Musikbearbeitungen f. Tanz- u. Unterhaltungs-Musik, u.a. NDR-Musik-Toto, EWG (Einer wird gewinnen) etc.; über 100 Titel , meist instrumental: "Lovers Layout", "Love Included", "Velvet Slipper", "Mister Pendler", „Doktor Perez“, „Türkis“, „Kompliment für Shorty“, „Rendez-vous am Jungfernstieg“, "Reeperbahn Ramble", "Lamé en bleu", "Candela Rossa", „Ein Frühlingstag“, „Pelotas“, „Ponko“, "Hurrican[sic] Doodle", „Samba Hobo“, "Honkey Shuffle", „Ich bin ein Tramp“ (Billy Mo), „Bossalero“, "Coast To Coast", „Zweierlei Maß“, "Warm Whisper", "Blue Blondie" u.a.; „Muttertag“ (Geschenkplatte für „Ferrero-Küßchen“).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Klaus Hugo (pseud. "Jan Delta", "Robert Sander):
Hugo, Klaus *27. 2. 1928 Unterwellenborn.
Studien: Konservatorium Erfurt, Musikhochschule "H. Eisler" Berlin.
Komponist in Berlin/DDR.
Werke: Schlager, Unterhaltungsmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Daniel Humair (Daniel Jean Humair):
(https://i.imgur.com/mSrtj9I.png)
FOTO: GLAUCO CORTINI
[...]
E UN COMPLESSO D'ASSI
La formazione che accompagna Chet Baker in questo microsolco rappresenta un ristretto «vertice» del jazz europeo. E' composta di «tutte stelle» (per usare un'espressione cara alla pubblicistica di jazz) che anticipa la collaborazione fra i paesi europei anche in un campo, come quello dell'arte, solitamente dimenticato dai politici.
[...]
Il disco, inciso a Roma il 5 gennaio 1962 (dalle 2 del pomeriggio alla mezzanotte) ha inaugurato il nuovo studio di registrazione della RCA, al 12° chilometro della Via Tiburtina. E' ora un cenno sui componenti la formazione.
[...]
DANIEL HUMAIR, il batterista, è invece svizzero, ma vive ormai da molti anni a Parigi. Ha una tecnica di prim'ordine ed un solido «beat». Ha suonato per anni nel complesso del tenorista Barney Wilen, figlio del Console americano a Nizza.
[...]
- RODOLFO D' INTINO
... AND A STAR-STUDDED ENSEMBLE
The ensemble playing with Chet Baker on this record representa the cream of European jazz. Here is a «star-studded» cast which perhaps foresees already the imminent collaboration of European countries in this musical field, as well as in the other arts. (This fact, though, is usually ignored by politicians).
[...]
This record was made in Rome on January 5th 1962 (they recorded it in fact from 2 P.M. till midnight). It is a particularly important fact, since it is the first record made at the RCA Italiana's new recording buildings, at the 12th Km of the Via Tiburtina.
Now let's look at the members of the ensemble:
[...]
DANIEL HUMAIR, the drummer, is Swiss, but has been living in Paris for some time now. His technique is first-rate and possessing a solid beat. He's played for years with tenor-sax[sic] Barney Wilen's band. The latter is the son of the American consul at Nice.
[...]
HUMAIR, Daniel - Nato il 23 maggio 1938. Jazzman francese, batterista e compositore. Sua è la musica dei film: Les conquistadores (1976, di M. Pauly; in collaborazione con altri); Une sale affaire (Helen evoluzione di una donna, 1981, di A. Bonnot: in collaborazione con François Jeanneau). Inoltre Humair suona le percussioni in vari altri film, tra cui Le procés (Il processo, 1962, di O. Welles); Ultimo tango a Parigi (1972, di B. Bertolucci: collabora con “Gato” Barbieri); Les valseuses (I santissimi, 1974, di B. Blier); Die Reise (1986, di M. Imhoof). Nel 1968 ha composto, insieme ad altri musicisti, la musica per il muto Häxan (La stregoneria attraverso i secoli, 1922, di B. Christensen).
Les Humphries (Leslie Humphries, pseud. "Simon Allcott"):
Les Humphries-Singers. Hamburger Popchor, bestehend aus 12 Sängern, die aus 6 Nationen kommen. Der Chor wird geleitet von Les Humphries, * 10.8.1942 in London. Großvater war Kapellmeister. Seit 7. Lebensjahr Klavierunterricht, als 13jähriger Musikkadett bei den Royal Marines, militärische Laufbahn bis zum „Master Band Sergeant“. Verließ England und ging mit einer Beatgruppe nach Hamburg. Gründete dort die „Wonderlands“ und wirkte als Pianist und Arrangeur mit. Schrieb Kompositionen nud Arrangements für Robert Last, Hildegard Knef, Heidi Brühl, Max Greger, Reiner Schöne, Josef Laufer und Sheila McKinley. Arbeitete auch als Produzent. 1970 Gründung der Gesangsgruppe „Les Humpries-Singers“, die sich aus jungen Sängern und Sängerinnen verschiedener Hautfarben zusammensetzt und Spirituals, Gospels, Folksongs und Schlager vorträgt. Bereits die erste Schallplattenaufnahme „Rock my Soul“ geriet in die internationalen Hitlisten, ebenso weitere Aufnahmen wie „Soolaimon“ und „To my Father's House“ (Goldene Schallplatte in Holland), „We are goin' down Jordan“. Erfolgreiche LPs. Auftritte im Fernsehen, Tournee durch die Bundesrepublik. 1971 beliebteste in Deutschland produzierte Gruppe des Deutschen Musikpolls der Zeitschrift SCHALLPLATTE. Weitere Titel: „Fool on the Hill“, „I believe to love somebody“, „The Sun ain't gonna shine“, „Gospel Train“, „Sounds of Silence“. Produzenten: Gibson Kemp, Günter Gayer und Jack Martin.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Michael Hurst (Michael Spencer Aldous Hurst):
HURST, Michael Spencer Aldous, born 13 Sept. 1925, London, UK. Composer; Pianist. Education: Bachelor of Music, University of Manchester, 1950. Married Hanna, 1 son. Compositions: Swagman's Promenade, 1965; Traditional Overtures, 1967; Concerto for Horn & Orchestra, 1968; Quintet for Harp & Strings, 1968; A Welcome to Christmas (carols), 1970; Sandpipers, 1971; A Week End Overture, 1973; Proud Horizons, Pacific Haven for mil. band, 1973; many occasional, incidental, modern & light music compositions, also numerous arrangements. Memberships: Honour Treasurer, Fellowship of Australian Composers; Music Arrangers Guild of Australia. Recipient of Scholarship to Leighton Park School, 1939. Hobbies: Distance Running; Swimming; Meteorol.; Railways. Address: 29 Bennett St., Dee Why, N.S.W., Australia 2099.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
John Hyde (pseud. "Hakamoto", "James Harrington", "John Saunders"):
(https://i.imgur.com/ySRfhNP.png)
John Hyde
John was born in 1951 in Liverpool. After leaving Oxford University he replaced Simon Park as a librarian at De Wolfe Ltd. and from there became a composer of library such commercial music as Henry's Cat, Chocky, Miracles Take Long, and Night Thoughts (TV Themes); Minder, The Benny Hill Show, Widows, Palfrey of Westminster (TV Incidental Music); Marmite Bosch, Matchbox and Oven Crunchies (TV Commercials); and Dream Doll, Breaking Glass and The Meaning of Life (Feature Films).
John has played bass guitar and keyboards in many groups including: 'The Gadgets', 'Plain Characters' and 'Z6' and now heads his own record company: Plastic Head Records Ltd.
- (by kind courtesy of Moon Monkey - thanks!)
Dick Hyman (Richard R. Hyman, pseud. "Arthur Charleston", "Carter Phillips", "J. Gaines", "Jack Schwartz", "Rocky Smith", "Stanley Sokol", "Tony Feldman"):
HYMAN, Dick (Richard) - Nato a New York l'8 marzo 1927. Dopo gli studi alla Columbia University e una formazione musicale accademica si affianca a Teddy Wilson e diventa pianista di jazz, attivo con Lester Young, Benny Goodman e altri. Solista anche di organo Hammond, arrangiatore e leader di un suo trio, accompagnatore di cantanti, compositore per spettacoli musicali, autore di canzoni. Il suo nome è associato a quello di Woody Allen. Per Manhattan (idem, 1979) e Stardust Memories (idem, 1980) esegue musiche di Gershwin e di altri autori; a partire dal 1983 cura le colonne sonore di tutti i film del citato regista, sia coordinando e arrangiando canzoni del passato, sia componendone di nuove. Accade in Zelig (idem, 1983), Broadway Danny Rose (idem, 1984), The Purple Rose of Cairo (La rosa purpurea del Cairo, 1985), Hannah and Her Sisters (Hannah e le sue sorelle, 1986), Radio Days (idem, 1987), September (Settembre, 1987), Another Woman (Un'altra donna, 1988); Bullets Over Broadway (Pallottole su Broadway, 1994); Mighty Aphrodite (La dea dell'amore, 1995: con “numeri” – burleschi e parodistici – da musical); Everyone Says I Love You (Tutti dicono I Love You, 1996: finalmente siamo al musical vero e proprio, un risultato scatenato); Sweet and Lowdown (Accordi e disaccordi, 1999: ricorso a classici del jazz anni '30 per la vita di un immaginario chitarrista jazz); The Curse of the Jade Scorpion (La maledizione dello scorpione di giada, 2001: da Sophisticated Lady di D. Ellington a motivi di Harry James e di Glenn Miller un florilegio di noti motivi d'epoca). Hyman compone musica anche per altri autori, come per N. Jewison: Moonstruck (Stregata dalla luna, 1987), oltre che per mediometraggi e corti musicali. Attività per la televisione.
Tony Hymas (Anthony James Keith Hymas):
(https://i.imgur.com/oIE9Foy.png)
TONY HYMAS
Tony is a composer with interests in a wide range of music. As a pianist and keyboard player he has worked with Ballet Rambert, Cleo Laine, Frank Sinatra, Jack Bruce and Stanley Clarke plus sessions ranging from a quasi-concerto with the London Symphony Orchestra to out and out rock and roll. Tony now divides his time between composition (a score commissioned by the Cheltenham Festival for Ballet Rambert was premiered in July, 1980) and a band project of his own which is under wraps until its official launch. He spent the summer of 1980 touring the USA with Jeff Beck to promote the new album 'There and Back' for which Tony, with Simon Phillips, contributed most of the material.
- (via Moon Monkey's excellent "The Library Catalogue Thread (UK Edition)" (https://librarymusicthemes.com/index.php?topic=8268.0) - thanks!)
[...]
(https://i.imgur.com/1ZhY3hJ.png)
TONY HYMAS
Tony is a composer with interests in a wide range of music. As a pianist and keyboard player he has worked with Ballet Rambert, Cleo Laine, Frank Sinatra, Jack Bruce and Stanley Clarke plus sessions ranging from a quasi-concerto with the London Symphony Orchestra to out and out rock and roll. He spent the summer of 1980 touring the USA with Jeff Beck to promote the new album There and Back for which Tony, with Simon Phillips, contributed most of the material. Tony now divides his time between composition (a score commissioned by the Cheltenham Festival for Ballet Rambert was premiered in July, 1980) and the band 'PHD' whose single reached number one in Belgium and Holland during 1982.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/G1kiChs.png)
TONY HYMAS
Tony Hymas is a composer with experien ce of a wide range of music. Recent compositions include pieces for the Grammy Award winning album, Guitar Shop with Jeff Beck and Terry Bozzio and a double album Oyate - which is Lakota for The People - made in collaboration with leading North American Indian artists and European classical and jazz musicians. This was performed live in Paris in April 1990. The album, like its predecessor, Flying Fortress, is released on Nato Records.
In addition to his recording career, Tony is a consummate concert pianist, specialising in contemporary works.
Recent discs: Discovery, Landscapes
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/V9VJJxJ.png)
Tony Hymas
Among Tony's numerous achievements is co-writing the hit I Won't Let You Down (PHD) and numerous compositions for Jeff Beck - including eight on his new album. He also scores for Ballet Rambert and the Royal Ballet and is composer of the original Mister Men Theme. Past projects include Oyate, Remake of the American Dream and Left For Dead. He also teamed up with Tony Coe, Terry Bozzio and Hugh Burns to form The Lonely Bears which toured and produced three CDs. Tony has recently written two French film scores. He started 1998 by writing Eight Day Journal for Sam Rivers (Miles Davis) and will be recording an album of duos with Sam later in the year. He is also working on a series of sonatas for various brass and piano.
- (by kind courtesy of Moon Monkey - thanks!)
Peter Igelhoff (pseud. "Jan Lueders", "Mario Bertolli", "Rudolf Ordnung", "Vaga Bund"):
Komponist Textdichter Igelhoff, Peter, 8 München 13, Franz-Josef-Straße 14
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Igelhoff, Peter (Pseud. Mario Bertolli) *22. 7. 1904 Wien.
Studien: Akademie Wien (J. Marx, F. Neuhofer) und London.
Pianist und Sänger seiner Lieder und Couplets, Professor, Komponist in München. Rundfunk, Schallplatten, Theater. Vorstandsmitgl. des Deutschen Komponistenrates.
Werke: 50 Filmmusik, 8 Bühnenwerke, Fernsehmusik, bekannte Schlager ("Wann wirst du wieder bei mir sein", "Mein Herz hat heut Premiere" unter anderem).
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Igelhoff, Peter (22. 7. 1904 Wien - 8. 4. 1978 Bad Reichenhall)
Er besuchte das Gymnasium und die Musikakademie in Wien, studierte an der Musikhochschule in London Jazz. Seit 1936 war er freischaffender Komponist. Igelhoff schrieb zirka 40 Spielfilm-Musiken.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
Fritz Ihlau (pseud. "Fred Langen"):
(https://i.imgur.com/lP23LkK.png)
IHLAU, Dr. Fritz
Ps: Fred Langen
Lüdorf 27
5632 Wermelskirchen 2
02193/883
Hermann-Daur-Weg 15 A
2190 Cuxhaven-Duhnen
04721/466 16
* 28.8.1909 Hannover
1930 Abitur; Studium Musikwissenschaft, Literatur- u. Theaterwissenschaft, Geschichte u. Zeitungswissenschaft in Marburg; ab 1931 Universität München; dort 1935 Promotion zum Dr. Phil; 1935 freier Mitarbeiter als Tonmeister NORAG Hannover; 1936 Spezialausbildung an der Reichstonmeisterschule Radio Frankfurt/Main (Dr. Meriten); ab 1936 Tonmeister am ehemal. Reichssender Königsberg; 1939 Einberufung zur Wehrmacht; 1945 amerikan. Gefangenschaft; nach Entlassung freischaffender Komponist u. Redakteur; 1950 Berufung als Tonmeister WDR Köln; ab 1952 1. Tonmeister, ab 1961 zusätzlich Hauptprogrammgestalter gehobene Unterhaltung bis zur Pensionerung 1974.
Hauptwerke „Zigeuner Rhapsodie“ (1975), ca. 8 Min.
Orchesterwerk (2,2,2,2-4,2,3,0-3-0-Streicher).
Verlag: Verlag Metropol, Köln (Aufführungs-Material beim Komponisten, da Konzertmaterial anders ist als Druckausgabe);
Tonband: WDR, RIAS Berlin, SFB, SDR, BR.
„Serenade“ für Flöte, Oboe u. Streichorchester (1942), ca. 12 Min.
Uraufführung: 1942 Schloß Burg b. Solingen; Ms. (Aufführungs-Material beim Komponisten);
Tonband: WDR (Heinz Mucke, Fritz Dabringhaus).
„Poème passionnel“ (1961), ca. 6 Min. 15"
Orchesterwerk (Flöte-Solo, 1,2,2,2-2,2,3,0-1-Harfe-Streicher).
Uraufführung: 1961; Verlag: Heinrichshofen's Verlag; Tonband: WDR.
Zwei ostpreußische Tänze (1954), 8 Min.
Orchesterwerk (2,2,2,2-4,2,3,0-3-0-Streicher).
Uraufführung: 1954; Verlag: Otto Heinrich Noetzel, Wilhelmshaven; Tonband: WDR.
Wdihnachtslieder Suite (1976), 15 Min.
(Vokalist-Solo ad lib., gemischt Chor, Männerchor, Orchester: 2,2,2,2-4,2,3,0-2-0-Streicher).
Uraufführung: 1976 Solingen (Konzert-haus); Verlag: Bosworth-Verlag (Werner Hollweg, Karl Ridderbusch).
„Canzonetta“ für Solo-Violine u. Orchester, 4 Min. 30"
(2,2,2,1-2,0,0,0-2-Harfe-Streicher).Ms. (Aufführungs-Material beim Komponisten).
„Dünen und Meer“ (Lyrische Episode), 4 Min. 15"
(2,2,2,2-2,2,3,0-3-Harfe-Streicher). Verlag: Richard Birnbach.
sowie: über 100 Orchesterwerke verschiedenster Art; Chöre; Original-Blasmusik-Kompositionen; Lieder, auch mit Orchester-Begl.; „Das Zauberschloß“, Operette; „Frühlingstraum“, Ballett; Kirchenmusik: „St. Georgs-Messe“ f. Sopran, gemischt Chor, Orchester u. Orgel; „De profundis“ f. gemischt Chor u. Orgel; Marienlieder; Offertorien; außerdem seit 1966 unter dem Pseudonym Fred Langen moderne rhythmische Unterhaltungs-Musiken bei verschiedensten Verlagen (40 Titel).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Ihlau, Fritz
Hannover, 28. August 1909 - Lüdorf, 13. Januar 1995.
Dr. phil. München 1935 (Die Entwicklung der Musikberichterstattung in den Münchner "Neuesten Nachrichten" als Spiegelbild des Münchner Musiklebens von der Gründung der "Neuesten Nachrichten" bis zum Jahre 1860). Schüler von A. Sandberger und H. Stieber, Komponist and Tonmeister, zunächst mit Wohnsitz Langenhagen, 1935 beim Sender Hannover, 1936 kurzzeitig beim Reichssender Frankfurt und 1936-45 beim Reichssender Königsberg. Für seinem Beitrag zum Wettbewerb "Das neue Heidelied" 1936 erhielt er einen Trostpreis.
AB 1/IV/50 1. Tonmeister beim NWDR/ WDR Köln; 1961 auch Programmgestalter der Abt. Musikal. Unterhaltung. 1974 i. R. in Lüdorf/ Wermelskirchen.
Werke: u. a. "Das Zauberschloß", Operette; Kirchenmusik, so Offertorien, De Profundis, eine Messe; Lieder; Orchesterwerke, so Romantische Ouvertüre Op. 3 (1934) und eine Kleine Suite (1935); U-Musik.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Evžen Illín (pseud. "Peter Grey", "Evžen Klen", "Rolf Widar"):
Illín, Evžen *2. 11. 1924 Podunajské Biskupice, CSSR.
Studiien: Konservatorium und Akademie Prag (A. Hába).
Komponist.
Werke: Sinfonie, Konzerte für Orchester, Violinkonzerte, Rhaps., Kammermusik, Bühnenmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
ILLÍN, Evzen - Musicista cecoslovacco, attivo per documentari e per film della fervida stagione giovanile nota come “Nova Vlna”. Tra i film del periodo è noto anche in Italia Lásky Jedné Plavovlásky (Gli amori di una bionda, 1965, di M. Forman), dotato di una musica maliziosa in cui emergono motivi yé-yé, variazioni su motivi noti, e interventi di chitarra inaspettatamente serissimi. Altre partiture per: Vsude zijí lidé (t.l. Dovunque vivono uomini, 1960, di J. Hanibal e S. Skalsk), Páté oddelení (Quinta divisione, 1960, di J. Polák), Kulicka (t.l. La pallina, 1963, film animato di H. Tyrlova), Ikarie XB 1 (1963, di J. Polák); Dedecek, Kylián a já (t.l. Il nonno, Kylian e io, 1966, di J. Hanibal). Più, fra gli altri risultati, la musica – decisamente moderna, qua e là “astratta” – di Die Verwandlung, film per la TV del 1975 di Jan Nemec, girato in Germania, tratto da La metamorfosi di Kafka.
Michael Ingerl (pseud. "Peter Gerlin"):
Ingerl, Michael (Pseud. Peter Gerlin) *6. 7. 1919 Landshut/Bayern.
Komponist in München.
Werke: Filmmusik, Schlager.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Nick Ingman (Nicholas Dan Ingman, pseud. "Thomas Sutherland", "Tony Page"):
A biography and interview with Ingman can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1974/04/nick-ingman.html).
INGMAN, NICK. Composer/arranger/conductor/record producer. Born 1948, London. Educated at Westminster School, the Berklee School of Music and the New England Conservatory in the U.S.A. and later at the Guildhall in London. Joined the Norrie Paramor Organisation in 1968. Has been musical director for many top artists including Vince Hill, Max Bygraves, Olivia Newton-John, Cliff Richard, Labi Siffri[sic], Ken Dodd, Sacha Distel, Petula Clarke. Composed score for B.B.C. TV series Casanova '73. Scored Reg Varney Rank film Go For A Take (1972). Contributed to score of Death Wish (Michael Winner). Records for E.M.I. as artist. Producer for E.M.I. Author of best-seller books The Story Of Music, What Instrument Shall I Play?, and Gifted Children Of Music. Extensive work in TV and radio including many jingle. 1980: Featured in The Musical World Of Nick Ingman (B.B.C. TV).
Agent: 37E Albert Square, London, S.W.8. Tel: 01-735 1708.
- (via archive.org (https://archive.org/details/internationalfil00slsc/))
(https://i.imgur.com/PA2475u.png)
Nick Ingman
Nick was born in London and received his musical education at The Berklee School of Music in Boston, USA. He then studied composition with Dr Edmund Rubbra at The Guildhall School of Music in London
From 1970-1975 he worked with Norrie Paramor and has arranged for Sade, Cliff Richard and Olivia Newton John. His TV themes include Don't Wait Up, Hilary and Tears Before Bedtime. He has produced the King's Singers for EMI Records and has written children's books on music.
- (by kind courtesy of Moon Monkey - thanks!)
Daniel Inman (Horace Daniel Inman, pseud. "Neil Roache"):
NOTE:
Inman's son joined our forum briefly, and supplied some additional information about him. Quotation follows below.
INMAN, HORACE DANIEL 1921-
Marzipan (by) Niel Roache (pseud.) arr. (by) Danny Inman. © Cosmo Music Co. (London) ltd., London; 22Sep47; EF8306. Piano-conductor score (orchestra) and parts.
- (via archive.org (https://archive.org/details/catalogofcopyrig325libr/))
[...]
He was a First Silver Medalist at the London School of Music & Drama. He worked mainly as a piano and music teacher, mostly teaching kids in school, also some private pupils, occasional gigs as as a concert pianist. He continuing working well into his 70s. I suspect composition was his real love, and mood music / music for film was his preferred genre, but he probably gave up due to the need to pay the bills!
December 31, 1998, referring to his retirement, he said to me: Now that I have more time, I'm going to start composing again. He died some 5 hours later, probably due to heart failure. A reminder to all those who haven't yet found time to do what they really wanted to do in life.
Carlo Innocenzi (pseud. "C. Louvre", "Monteversi", "Sagrato", "Taro"):
INNOCENZI Carlo, musicista, nato a Monteleone (Spoleto) il 29 aprile 1899 da Domenico e da Claerissa Iachetti.
Roma, via Plinio 7.
Ha studiato Composizione ed Architettura. Ha composto musica per numerosi film tra cui «Mille Lire al mese», «Luce nelle tenebre», «Catene invisibili», «Le ragazze di piazza di Spagna», «Terza liceo», «Questa è la vita», «Un giorno al Commissariato». Autore di canzoni di successo («Il primo amore», «Prigioniero di un sogno», ecc.)
2253. Innocenzi, Carlo. Composer. b. April 29, 1899, Monteleone, Spoleto. Married lyricist Marcella Rivi.
[contains a filmography.]
- (via archive.org (https://archive.org/details/italianfilmwhosw0000stew/))
INNOCENZI, Carlo - Nato a Monteleone di Spoleto il 29 aprile 1899, morto il 24 marzo 1962. Compositore di canzoni, arrangiatore, autore di motivi per trasmissioni televisive e spettacoli musicali. Per il cinema lavorò intensamente con partiture, canzoni, arrangiamenti fin dalla fine degli anni Trenta, a volte senza neanche apparire con il suo nome, oppure rifacendo – a uso dell'edizione italiana – la colonna sonora originale di film stranieri. Si è esercitato soprattutto, in un primo periodo, nel settore delle commedie e dei film comici in senso proprio; in un secondo periodo in quello dei Macisti e degli Ercoli. Della sua attività squisitamente artigianale citiamo alcuni titoli: Quando eravamo muti (1933, di R. Cassano: musica in collaborazione con T. Gargiulo e U. Siciliani); Ballerine (1936, di G. Machaty: solo canzoni); Mille lire al mese (1938, di M. Neufeld: solo canzoni); La prima donna che passa (1940, di M. Neufeld); Turbamento (1941, di G. Brignone); Luce nelle tenebre (1941, di M. Mattoli); Catene invisibili (1942, di M. Mattoli); Canal Grande (1943, di A. Di Robilant: solo canzoni). Nel dopoguerra prosegue con altri numerosi film, fra cui si staccano: Le ragazze di Piazza di Spagna (1952, di L. Emmer); Violenza sul lago (1954, di L. Cortese); Il seduttore (1954, di F. Rossi); Il maestro (1958, di A. Fabrizi); Il terrore dei barbari (1959) e Maciste nella Valle dei Re (1960) entrambi di C. Campogalliani); La vendetta di Ursus (1961, di L. Capuano); Le sette sfide (1961, di P. Zeglio/A. Greepy: esotismi di maniera, ma anche una formidabile marcia funebre per la sequenza di una sanguinosa sconfitta).
John Ireland:
JOHN IRELAND
b. 1879 - Bowden, England
d. 1962 - Sussex, England
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
IRELAND, John Nicholson - Nato a Bowdon (Cheshire - G.B.) il 13 agosto 1879, morto a Washington (Kent) il 12 giugno 1962. Studi di pianoforte e composizione al Royal College of Music. Per vivere fece l'organista, e più tardi compose molta musica sacra per organo; ma il campo in cui acquistò una posizione preponderante è il pianoforte, strumento per il quale Ireland compose pezzi notevoli per novità di concezione e di struttura. Importante anche la produzione liederistica e da camera. Attività didattica (tra i suoi allievi Benjamin Britten). Spesso sollecitato a scrivere musica per il cinema, aderì soltanto in una occasione, e precisamente per il film The Overlanders, realizzato nel 1946 in Australia dal documentarista Harry Watt: musica robusta per gli spostamenti del bestiame dalle praterie australiane ai mercati e melodia romantica per i momenti sentimentali.
Ken Isaacs (Kenneth Reginald Rufus Isaacs, pseud. "Claud Vane", "Derek Dwyer", "Edgar Hollis", "Howitt Hale", "John Rutland", "Kenneth Essex", "Leslie Manson", "Richard Telford")
Births Sep 1915
Surname: Isaacs
Given name: Kenneth R. R.
Mother: Atkinson
District: Cardiff
Volume: 11a
Page: 914
Transcriber: bstn40
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=UtGk%2F%2BMSVRqH%2FP3UfWGqmg&scan=1))
Deaths Jun 1955
Surname: ISAACS
Given name: Kenneth R.R.
District: Surrey N.
Volume: 5g
Page: 341
Transcriber: andyjervisuk
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=DwTdWLJGEZuqO8c5WX2hnQ&scan=1))
KENNETH ESSEX
Concerto for Horn and Orchestra
Score: Unavailable
Although only limited data on composer Kenneth Essex (1915-1955) and his Concerto exists, the authors have been able to establish an approximate date for this compositiona nd discover detials of the process leading to its first performance through his correspondence with the BBC. Essex suffered a massive stroke on May 7, 1955, at the age of forty, shortly after the first broadcast performance of the concerto on April 20 by [Dennis] Brain and the BBC Scottish Orchestra conducted by Gerald Gentry.15
Essex wrote music for Pathé News and was a composer of incidental music, for which he often wrote under pseudonyms such as "Rufus Isaacs." [...]
The correspondence [about this piece] suggests that the score (with piano only) existed as early as 1953 and the parts of the score were complete later that year. However, a letter dated January 25, 1949, from Philip York Bowen (son of York Bowen) on behalf of De Wolfe Music Publishers and Printers suggests the score had been in existence as early as 1949. [...]
This is an outstanding horn composition, differing from most others in its orchestration. Efforts should be made to locate the manuscript and publish it.22
[...]
[Endnotes:]
15. Frank V. Hawkins, A Hundred Years of Chamber Music (London: South Place Ethical Society, 1987), 47. Quoted with permission South Place Ethical Society, London.
[...]
22. York concert, reviewed in "Music in York: Trio's Notable Recital," York Gazette and Herald, October 26, 1956, p. 1. Quoted with permission of Sarah Hyde, York Gazette and Herald. The date of the concert is not clear, although lkely to have been October 25, the same day as the concert at Barton-on-Humber. Pettitt (1989), 147, gives October 18, 1956, as the date of the York concert.
[NOTE: A later notice in the same book points out that the violist Kenneth Essex (who Dennis Brain performed alongside as part of the Adolf Busch's "Busch Players") is not the same person as the composer.]
- (via archive.org (https://archive.org/details/dennisbrainlifei0000gamb/))
Henryk Jabłoński (Henryk Hubertus Jabłoński, pseud. "Degler"):
JABLONSKI, Herryk[sic] Hubertus, born 3 Nov. 1915, Gdansk, Poland. Composer; Professor at the State High School of Music, Gdansk, 1954-. Education: Lyceum St. Katharine, Gdansk, 1931; Polish Conservatory, Gdansk; studied privately with Professors W. Schramm & A.W. Paetsch. Marrie Kornelia Treder, 3 children. Compositions include: (for orchestra) 2 Polish Suites, 1945/46; I Symphony, 1952; II Symphony, 1955; Allegro Symfoniczne, 1963; Cappriccio[sic] per orchestra, 1972; (for solo instrument & orchestra): Koncert na wiolonczele i orkiestre symfoniczna, 1958; Koncert na flet i orchiestre[sic] symfoniczna, 1960, '65; Koncert fortepianowy, 1973; (ballet) Gdanska Noc (Night in Old Gdansk), 1970; (Lieder) 4 Piesni do slow Janiny Katkowskiej, 1964; 5 Piesni do slow Johannesa Bobrowskiego, 1971; 2 Piesni na bas do poezji kaszubskiej A. Nagla, 1972. President, Polish Composers Union, Gdansk. Honours include: Medal 'X Wiekow Gdanska', 1962; Honorary Medal Neptuna, za zaslugi dla Gdanska, 1970; Medal Stolema, 1971. Address: Jaskowa-Dolina 28, Gdansk 6, Poland.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
JABŁOŃSKI Henryk Hubertus, ur. 3 XI 1915 w Gdańsku, zm. 11 X 1989 tamże, pol. kompozytor, od 1954 wykładowca PWSM w Gdańsku. - Ważniejsze komp.: koncerty - wioloncz. (1958), skrzypc. (1969), fort. (1973); 2 symfonie (»Kaszubska« 1952, 1955), poemat symf. Dolina milczenia (1980); widowisko operowe Pani Helena (1973), balet Gdańska noc (1970); utwory kamer., pieśni. Pisał też popularne piosenki (Siwy włos, Zachodni wiatr).
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Carlo Jachino:
Jachino Carlo, musicista, nato a S. Remo il 3-II-1889 da Giuseppe e da Emilia Piccione. Laurea giuridica, Diploma mag. istituto musicale Parma, Regio Conservatorio di Musica.
Perfezionò i suoi studi musicale a Lipsia col prof. Hugo Riemann. Una sua opera in 3 atti, Giocondo e il suo re, vincitore del 1° premio nel concorzo nazionale del 1922, fu rappres. per la 1ᵃ volta al Dal Verme di Milano, il 24-VI-1924 e ed. da Ricordi lo stesso anno. Vinse anche un premio al concorzo internazionale di musica da camera del Licceo Musicale e del Circolo Artist. di Torino (1924). E' autore di varia musica da camera e strum., fra cui un Trio e un Quartetto eseguiti a Milano, Roma ed altre città. Insegna armonia e contrapp. nel Regio Conservatorio di Parma.
Opere: Lohengrin (guida musicale), Milano, 1922 (2ᵃ ed., 1923); Salomé (id.), ib., 1923.
Jachino Carlo.
Compositore, n. il 3 febbraio 1889 a Sanremo. Dopo aver ricevuto i primi insegnamenti d'armonia e di contrappunto dal maestro E. Camuzzi, compì i corsi di composizione musicale nel Liceo di Lucca sotto la guida del maestro G. Luporini. Dedicatosi poi allo studio delle opere teoriche del prof. Hugo Riemann, si recò a Lipsia, ove col Riemann stesso riprese a studiare la composizione e si approfondi nell'analisi delle opere classiche. La sua commedia musicale in 3 atti dal titolo Giocondo e il suo Re su libretto di Gioacchino Forzano (edizioni Ricordi), lavoro premiato al Concorso Nazionale del 1922 di Roma, venne rappresentata per la prima volta al Dal Verme di Milano, il 24 giugno 1924, con ottimo successo. J. ha composto inoltre molta musica strumentale da camera e per orchestra (Sonate, Trii, Quartetti e una Sinfonia). Un Trio per Pianoforte, Violino e Violoncello, eseguito con molto successo a Roma nel 1911 e ripetuto a Siena dal Trio Senese, fu accettato per l'esecuzione al Grand Palais di Parigi nel 1913. A Parigi vennero pure eseguiti, nello stesso anno, quattro meleloghi (recitazione con accompagnamento di strumenti ad arco e Pianoforte). Nel 1924 venne eseguita a Torino da parte del Doppio Quintetto, sotto la direzione del maestro Perracchio, una Sonata a 9 per archi e strumenti a fiato, presentata al concorso bandito dal Circolo degli Artisti di Torino. Attualmente (marzo 1925) il maestro JACHINO sta lavorando intorno ad altra opera, di carattere comico, su libretto di Gioacchino Forzano.
* Jachino Carlo.
Durante la guerra mondiale essendo nella Teraz Armata composer per essa un Inno molto suggestivo (Italia, quel di che degli Avi la spada ricinse il tua Re...), parole di Mario Buoncostume (cioè Umberto Mancuso); compose inoltre; Sonata drammatica p. violino e orch. (Parma, Tr. Regio, maggio 1931; solista E. Allodi; ediz. Ricordi); Pastorale di Natale p. picc. orch. (Torino, Eiar, 25 novembre 1932); Suite p. orchestra da «Musical Fund Society» di Filadelfia; eseguito in Roma nel 1929 alla Filarm. Romana dal «Quartetto di Roma»; il 2° Quartetto p. archi fu pubbl. nel 1929 nelle ediz. Sénart di Parigi. Musicò i due balletti: Le babuccie fatate (soggetto di Angiola figlia del pittore A. Sartorio) e Fiore di valle (soggetto della danzatrice Jia Ruskaja); il Carme secolare di Orazio, versione di Umberto Mancuso (...Nulla mai - possa tu più grande scorger di Roma), eseguito per la prima volta al S. Carlo di Napoli il 24 novembre 1935 alla presenza delle LL., AA., RR. i Principi di Piemonte (ed. Curci); Fantasia del rosos e nero p. orch. (1936; ed. Ricordi); «Pagine di Ramòn (Senos)» Variazioni (4 e Epilogo) p. orchestra (1ᵃ esecuz. Venezia, Festival, Tr. Goldoni, 6 settembre 1937). Dal 1932 è titiolare della cattedra di composizione nel R. Conservatorio di Parma.
JACHINO, CARLO, 1889-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig3105li/))
JACHINO Carlo, musicista, nato a San Remo (Imperia) il 3 febbraio 1887 da Giuseppe e da Emilia Piccione.
Roma, piazza Prati Strozzi 34.
Laureato in Giurisprudenza. Diplomato in Composizione. Dopo aver studiato a Lucca con G. Luporini si è perfezionato a Lipsia con Hugo Riemann. Già insegnante di armonia e contrappunto al Conservatorio di Parma e di contrappunto e composizione ai Conservatorio di Napoli (1936) e Roma (1938). Già Direttore del Conservatorio «S. Pietro a Maiella» di Napoli, Direttore del Conservatorio Nacional de Musica di Bogotà (Colombia). Ispettore Superiore al Ministero della Pubblica Istruzione. Ha composto l'opera «Giocondo e il suo re», I premio Concorso Nazionale del 1922 (Milano 1924)).[sic] Con il «Secondo quartetto» vinse, con Bartok, Casella e Warner, il I premio del Concorso Internazionale di Filadelfia (1928). Ha composto numerosi musica da camera («Trio», «Sonata a Nove», «Tre Quartetti»), musica sinfonica («Sonata drammatica» per violino e orchestra, «Preludio di Festa», «Pastorale di Natale», Fantasie[sic]del Rosso e Nero»). Dal 1947 adottando la tecnica dodecafonica ha composto: «Sonata» per violoncello e pf.; «Tre Madrigali» per canto, flauto e arpa; «Sei pezzi» per pf.; «L'ora inquieta» per orchestra d'archi; «Preludio e Passacaglia» per organo; «Trio» per flauto e violoncello; «Concerto» per pf. e orchestra.
Opere: «Tecnica dodecafonica», Milano, Curci, 1948; «Gli strumenti d'orchestra», ivi, 1950.
Jachino, Carlo *3. 2. 1887 San Remo, Italien.
†23. 12. 1971 Rom.
1953-1957 Direktor des Konservatorium Bogotá/Kolombien, 1961-1969 musikalisch Leiter des Teatro an Carlo Neapel. War Mitglied des Accademia Nazionale Rom.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Alfred Jack (pseud. "Fred Assner", "Viktor Peters"):
Sender Freies Berlin (SFB)
Haus des Rundfunks
Berlin-Charlottenburg 9
Masurenallee 8-14
Fernsehstudio
Berlin-Charlottenburg 9
Reichskanzlerplatz 7-11
Sammelnummer: 92 02 51
[...]
Musik: [...] Tanzmusik: Alfred Jack.
- (via archive.org (https://archive.org/details/deutsches-buehnen-jahrbuch-1957/))
Komponist Textdichter Jack, Alfred, 1 Berlin 19, Kastanienallee 18
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
(https://i.imgur.com/aM3CeLv.png)
JACK, Alfred
Kastanienallee 18
1000 Berlin 19
030/304 02 53
Zilcherstr. 10
8182 Badf Wiessee
08022/825 42
* 25.2.1914 Petersburg
Klavierunterricht ab 8. Lebensjahr; Kompsotionsunterricht bei Paul Juon u. Gustav Bumcke; erst freier Komponist u. Pianist am Rundfunk, später Abteilungsleiter beim Berliner Rundfunk u. am SFB.
Hauptwerke „Es war einmal eine Liebe“ (1948), 3 Min.
(Vokal, Klavier). Verlag: Budde.
sowie: „Ich wünsch' Dir zum Geburtstag alles Gute“; viel Kabarettmusik und Tanztitel, Unterhaltungsmusik wie „Impression für Klarinette“, einige Klavierstücke und Saxophon-Soli.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Conny Jackel:
Jackel, Conny *30. 8. 1931 Offenbach/Main.
Studium: Konservatorium Offenbach.
Jazztrompeter, seit 1952 unter anderem bei H. Brandt, E. Lehn und seit 1967 bei W. Berking am Hessischen Rundfunk. Stil: Swing und Modern Jazz.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Andrew Jackman (Andrew Pryce Jackman):
(https://i.imgur.com/3ZLJZTB.png)
Andrew Jackman
Andrew Pryce Jackman has worked as a composer, conductor and arranger since 1968. His library music compositions have been used extensively on TV, radio & films, including 'American Werewolf in London'. Works include 'Pinocchio' (for the King's Singers and the LSO), 'Concerto for Brass Quintet', 'The Nine Dales Wonder Overture', 'Pandora's Box' (for brass band) 'Bone Dances' (trombone) and 'Circus' (oboe). 'The New Buckenham Suite' was the test piece for the National Youth Brass Band Finals in 1990. He is working on a chamber opera and 'Iron Horses' for the Cremone Trio. In 1997 he orchestrated 'Rhythm of my Heart' for the huge musical force involved in marking the hand-over of Hong Kong. He has conducted most major London orchestras for recordings, notably the LSO's highly successful 'Classic Rock' series. As an arranger he has received many platinum and gold discs for his work with such diverse talents as Elkie Brooks, Yes, Peter Skellern, the Sex Pistols, Barbra Streisand, LeAnn Rimes and Elton John.
- (by kind courtesy of Moon Monkey - thanks!)
Roger Jackson (pseud. "Fenix Albright"):
(https://i.imgur.com/9bkn77C.png)
Roger Jackson
Roger studied music at the University of East Anglia where he developed his interest in sound synthesis. His career began at Spaceward Studios in Cambridge where he composed sound tracks for AV productions. As musical director at The Love Organisation, he was responsible for Marilyn's musical output and at their studios he produced and arranged for Split Enz and Carol Kenyon. Roger plays keyboards with Robyn Hitchcock and the Egyptians along with his more general work as a session keyboard player, programmer and producer. He has won awards for his commercial scores which include Levis, Smarties and Nissan.
- (by kind courtesy of Moon Monkey - thanks!)
Gordon Jacob (Gordon Percival Septimus Jacob):
NOTE:
Gordon Jacob is a semi-prolific classical composer. There are several books written about him, and he also wrote four educational books on music.
His library output ("Prelude to Revelry" (Paxton (https://librarymusicthemes.com/index.php?topic=159.0)), "The Galloping Major" (Mood Music (https://librarymusicthemes.com/index.php?topic=153.00)) seems to have been written for library usage.
[entry has photo]
GORDON JACOB, English composer and pedagogue, was born in London, July 5th, 1895. He studied with Stanford at the Royal College of Music, where he taught from 1926. Later, he served as examiner of music schools and was active as a music editor. Among his works are 2 symphonies, 3 symphonic suites, several concerts and arrangements for ballet performances and films.
[entry has photo - note to self: different photo on BP-126]
GORDON JACOB, English composer and pedagogue, was born in London on July 5, 1895. He studied at Dulwich College and with Stanford at the Royal College of Music where he has been teaching since 1926. His early orchestra and band transcriptions of Elizabethan music aroused his interest in the individual qualities of instruments. Subsequently, he became a specialist in instrumentation and wrote a textbook on scoring and transcriptions. Among his works are two symphonies, three symphonic suites, several concerti, and arrangements for ballet performances and films.
JACOB, Gordon - Nato a Norwood (G.B.) nel 1895. Studi al Royal College of Music. Compositore di musica orchestrale e da camera, per balletto (più accompagnamenti per il Sadler's Wells Ballet) e canzoni. Didatta e grande orchestratore, autore di trattati di tecnica musicale. Attività per la radio. Debuttò nel cinema nel 1943 con il documentario in Before the Raid, di J. Weiss, cui seguirono le musiche – tra l'altro – per For Those in Peril (1944, di C. Crichton), The Way We Live (1946, di J. Craigie), Esther Waters (1948, di I. Dalrymple: eccellente la pagina legata a una corsa di cavalli); nonché per molti film di propaganda per la RAF–Royal Air Force.
André Jacquemin (André Louis Jacquemin):
JACQUEMIN, Andre, born 16 Jan. 1952, Hampstead, London, England, UK. Musician, Bass Guitar, Jews Harp, Organ, Banjo, Guitar. Debut: Camden Town Workmens' Club. Career: TV Shows, including Love Story, The Borderers; Sound Engineer, Monty Python Live Drury Lane; Owner, Sunrise Music & Recording Ltd. Composer, various incidental music. Recordings: Co-Producer, Monty Python's Previous Album, Monty Python's Matching Tie & Hankie. Hobby: Motor Racing. Address: 60 Elmpark Rd., Finchley, London N3 1EB, UK.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Pete Jacques (Peter Jacques, pseud. "Albert Pfenninger", "Frank Marbert", "Paul Portos"):
A biography and interview with Jacques can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1977/05/peter-jacques.html).
Heinz Jahr (pseud. "Bernd Jo", "Bernd Zürich"):
Jahr, Heinz *18. 6. 1919 Berlin.
Studien: Klindw.-Scharwenka Konservatorium Berlin (M. Trapp).
Komponist, Kapellmeister und Redakteur in Berlin und seit 1950 a. WDR und Deutsche Welle Köln.
Werke: Oper "Die Perser", Rhapsodie für Violoncello, Orchesterwerke, Kammermusik, Hörspielmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Adressenänderungen
[...]
JAHR, Heinz
Am Knurrhahn 24
2409 Scharbeutz / Haffkrug
0 45 63 / 51 45
Gerd Jahnen (Gerhard Jahnen, pseud. "Charles Parker", "Chris Boetius"):
Komponist Jahnen, Gerd, 8 München 90, Mailänder Straße 10
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Peter Janda (pseud. "Gerry Glass", "Rudi Rille"):
JANDA Peter
* 4. 10. 1955 in Wien
Adresse: A-1020 Wien, Zirkusgasse 44
Er schreibt Computer-Arrangements für Rockgruppen und Orchester; bisher acht LP-Produktionen mit Orange Power, Pippa Armstrong, Opus und anderen Interpreten, sowie diverse Singles. Mitglied bei Österreichischer Komponistenband und AU-ME, Ordentliches Mitglied der AKM.
Einige Werketitel:
It's all love; Rock it; Instrumental; Motions; Passersbye; Daydreams; An der Grenze zum Beton; Spiele; Glitzertropfen; Reflections; Hello man; Mind pollution; Hochsaison im Eissalon; May is my month maybe; Everything you are; Robinson Crusoe; Die Schatten der Vergangenheit; Ich bin o.k.
Der Titel Die Zeit ist einsam errang beim Song-Contest 1986 in Bergen/Norwegen den 18. Platz
Horst Jankowski (pseud. "Serge Davidoff"):
Komponist Jankowski, Horst, 7 Stuttgart, Panoramastraße 7
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Horst Jankowski. * 30. 1. 1936 in Berlin. Komponist, Arrangeur, Chor- und Orchesterleiter, Pianist. Studierte in Berlin Klavier, Trompete, Baß und Horn. Als Jazzpianist auf Schallplatten zu hören. 1960 gründete er den Horst Jankowski Chor. Komponierte den Titel „Schwarwaldfahrt“, der zum Welthit wurde. Zahlreiche Auftritte in Fernsehsendungen, Gastspielreisen, eigene TV-Serie „Sing mit Horst“, viele Schallplattenaufnahmen von Volksliedern in modernen Sätzen.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Enzo Jannacci (Vincenzo Jannacci):
ENZO JANNACCI
b. Italy
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
JANNACCI, Enzo - Nato a Milano il 3 giugno 1935. Laureato in medicina. Ha studiato armonia e pianoforte. È un abile pianista e ispirato compositore di canzoni, specialmente rivolte alla descrizione commossa e disincantata al tempo stesso della gente umile della cinta milanese. Cantante delle sue composizioni, è anche un completo uomo-spettacolo e partecipa in varia veste al cabaret, al teatro, ai recital, alle trasmissioni radiofoniche e televisive. Diversi successi discografici. Ha partecipato come attore ad alcuni film italiani, tra i quali spicca per l'impegno di protagonista L'udienza (1971, di M. Ferreri). Ha scritto la musica per alcune pellicole di successo fra cui: Le coppie (1970: un episodio diretto da Monicelli e interpretato dallo stesso Jannacci); Romanzo popolare (1974, di Monicelli: il musicista ha curato anche l'adattamento dei dialoghi); L'Italia s'è rotta (1976, di Steno); Pasqualino Settebellezze (1976, di L. Wertmuller: la ballata Tira a campà è cantata dallo stesso Jannacci); Sturmtruppen (1976, di S. Samperi); Gran bollito (1977, di M. Bolognini); Io tigro, tu tigri, egli tigra (1978, di R. Pozzetto e G. Capitani: in collaborazione con P. Umiliani); Saxofone (1978, di R. Pozzetto); Piccoli equivoci (1989, di R. Tognazzi: in collaborazione con Paolo Jannacci). Nel 1981 cura la colonna sonora, di tipo popolaresco e con uso della fisarmonica, per un film dello svizzero W. Herrmann, I Matlosa (1981).
Pierre Jansen (Pierre Georges Cornil Jansen):
Jansen, Pierre *28. 2. 1930 Roubaix, Frankreich.
Studien: Konservatorium Roubaix, Brüssel und Darmstädter Ferienkurse.
Komponist.
Werke: "Concert audio-visuel", "Sphène" für 5 Harfen, "Suite concertante" für Klavier und 14 Instrumente, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
PIERRE JANSEN
b. February 29, 1930 - Roubaix, France
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
JANSEN, Pierre - Nato a Roubaix (Francia) il 28 febbraio 1930. Studi a Bruxelles e poi a Darmstadt, ai corsi estivi di musica moderna, con O. Messiaen. Dopo un primo periodo di attività compositiva, dal 1960 si dedica esclusivamente alla musica cinematografica, che Jansen considera come una delle forme artistiche più rappresentative e più complete del nostro tempo, per lo meno nei suoi risultati più riusciti (“potrebbe essere la più vasta sintesi di tutta la nostra cultura musicale”, ha scritto). Al cinema è stato iniziato da Claude Chabrol, di cui sarà il musicista fisso, pur lavorando anche per altri realizzatori. Di formazione moderna, attratto dalle soluzioni inserite in un linguaggio aggiornato, aperto a tutte le suggestioni, sa mescolare con effetti singolari pagine morbide e tenere, addirittura romantiche, a interventi assai avanzati nelle ricerche dell'avanguardia musicale. Tipica proprio la partitura del debutto, quella per Les bonnes femmes (Le donne facili, 1960) in cui frasi di sapore tradizionale affidate all'uso disteso di contrabbassi e violoncelli vengono rotte da sonorità aspre e dissonanti (specialmente nel desolato finale, dove una melodia per archi piuttosto consueta si evolve in una pagina dove gli archi si impastano con suoni metallici in un fascio di sonorità volutamente “sgradevoli”). Alcune buone partiture per film di Chabrol: Landru (idem, 1963: molte citazioni di brani concertistici e operistici effettuate con distacco aristocratico, filtrate attraverso un gusto sofisticato, ironizzando apertamente nei riferimenti ai melodrammi che tanto piacciono al passionale Landru); La tigre aime la chair fraîche (La tigre ama la carne fresca, 1964); Le scandale (Le scandale - Delitti e champagne, 1967); Les biches (idem, 1968); La femme infidèle ou Stéphane (Stéphane, la moglie infedele, 1969: fervido dialogo, molto fitto, tra violino, violoncello e piano); Que la bête meure (Ucciderò un uomo, 1969: incorpora un lied di Brahms); Le boucher (Il tagliagole, 1970: virtuosistico finale con un calibratissimo missaggio fra il dialogo e la musica cristallina di archi, arpa, cetra, clavicembalo); Meurtre à loisir (Trappola per un lupo, 1972); Nada (Sterminate Gruppo Zero, 1973); Les innocents aux mains sales (Gli innocenti dalla mani sporche, 1974); Violette Nozière (idem, 1978).
Buoni risultati per altri registi: Une si jeune paix (1965, di J. Charby: musicato insieme a Hady Mohamed El Anska, il film ha tenuto a battesimo il cinema algerino); La 317 Section (317 Battaglione d'assalto, 1965,) e Objectif 500 millions (Obiettivo 500 milioni, 1967) entrambi di Schoendorffer); La main (La mano, 1969, di H. Glaeser); Le cri du coeur (1974, di C. Lallemand); Mords pas, on t'aime (Rose e François, 1976, di Y. Allégret); La dentellière (La merlettaia, 1978, di C. Goretta: commento severo con carattere di musica da camera, basato soprattutto su impasti di piano e archi, con brani affidati al flauto); L'état sauvage (1978, di F. Girod); L'homme en fuite (1980, di S. Edelstein); La folle journée ou Le manage de Figaro (1989, di R. Coggio). Nel 1985 insieme a Antoine Duhamel cura la sonorizzazione di Intolerance (1916, di D. W. Griffith). Ampia attività televisiva.
PIERRE GEORGES CORNIL JANSEN
Naissance 28.02.1930
Roubaix (59512), France (FRA)
Décès 13.08.2015
Saint-Pierre-le-Déchausselat (07284), France (FRA)
- (via matchID (https://deces.matchid.io/id/c1MJK9FdR_VB))
Maurice Jarre (Maurice Antoine Alexis Jarre):
Jarre, Maurice *13. 9. 1924 Lyon, Frankreich.
Studium: Conservatoire Paris und Schüler von Honegger.
Komponist. 1950 am Théâtre Nationale Populaire, auch Filmkomponist.
Werke: Ballette, Orchesterwerke, Bühnenmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
MAURICE JARRE
b. September 19, 1924 - Lyons[sic], France
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
JARRE MAURICE. Savoia, '24. Ha studiato al Conservatorio di Parigi con J. de la Presle, L. Aubert e P. Passerons.
MUSICA SINFONICA - Mouvement en Relief, '53; Concertino per archi ep ercussion, '56; Passacaglia (alla memoria di Honegger); Il sogno della morte, poema mistico di Newmann; musica per films; J'ombres lointaines ... per mezzo soprano e orchestra, '90.
TEATRO - Armida, balletto, '54; Rusiella, op. radiofonica (Premio Italia, '55); musica di scena.
MUSICA DA CAMERA - Eco II per voce e 7 strumenti, '83; Essaims-Cribles per clarinetto basso e strumenti, '89; musica vocale.
JARRE, Maurice - Nato a Lione (Francia) il 13 settembre 1924. Studi di ingegneria meccanica e attività sportive universitarie. A diciassette anni decide di dedicarsi alla musica e lo fa da autodidatta, entrando in un complesso di musica leggera, perfezionando più tardi la sua formazione al Conservatorio di Parigi. Attività di direttore musicale (composizione di musiche di scena, direzione d'orchestra, organizzazione) prima per la compagnia di J.L. Barrault al Teatro Marigny, poi con Jean Vilar al Théâtre National Populaire. Collabora poi con la radio francese per l'organizzazione di concerti di musica contemporanea, ed egli stesso si dedica alla composizione di musiche da concerto (pezzi strumentali e vocali), per balletti, ecc. A partire dal 1951 la sua attività principale diventa quella di compositore per il cinema, settore nel quale raggiunge vasta fama. Introdotto nell'ambiente da Georges Franju, si mantiene fedele a questo autore e collabora con altri registi della nouvelle vague (Resnais, Demy, Mocky, specialmente): è la stagione più fervida di Jarre, sostenuta da un inesausto spirito di ricerca e da una ambizione continuamente pungolata. Particolarmente riuscite, perché diventano parte integrante della vicenda filmica, le partiture (a parte gli esiti felici dei documentari) per: Crack in the Mirror (Dramma nello specchio, 1950, di R. Fleischer); La tête contre les murs (La fossa dei disperati, 1958, di G. Franju: interventi musicali ottimamente calibrati con il montaggio di rumori ed effetti sonori); Les yeux sans visage (Occhi senza volto, 1960, di G. Franju: tema a tempo di valzer, leggermente stralunato, che accompagna dolcemente il personaggio della protagonista e si ripete imperturbabile, e tanto più doloroso, in mezzo alle vicende raccapriccianti del film); Pleins feux sur l'assassin (Piena luce sull'assassino, 1960, ancora di Franju: suspense affidata al suono cristallino di un carillon); Les temps du Ghetto (Vincitori alla sbarra, 1961, di F. Rossif) e Mourir à Madrid (Morire a Madrid, 1963, ancora di Rossif: due film di montaggio accompagnati da una scelta intelligente di materiale preesistente); Les animaux (Gli animali, 1963, di F. Rossif: partitura originale, molto colorita e brillante, pronta a far fervidamente ricorso a tutti i moduli per seguire ogni volta con caratteristiche diverse gli animali sorpresi nelle loro abitudini dall'obiettivo sagace del regista); L'oiseau du paradis (L'uccello del paradiso, 1962, di M. Camus: interventi originali ispirati al patrimonio musicale della Cambogia); Thérèse Desqueyroux (Il delitto di Teresa Desqueyroux, 1962, di G. Franju: pianoforte e orchestra d'archi romanticamente abbandonati ma in chiave di disfatta melanconia, che definiscono ottimamente il senso della provincia soffocante di Mauriac); Judex (L'uomo in nero, 1964, di G. Franju: altro commento stillante melanconia e basato su un valzer lento). Il valzer è un movimento cui Jarre è affezionato, in questo periodo, e costituisce un legame fra questo musicista e quelli della generazione precedente; comunque è tipico di questo periodo il modo con cui Jarre tratta il materiale tematico, abbandonandosi al canto spiegato della melodia nell'esposizione dei temi, ma subito trattenendoli con pudore, senza concedere sviluppi e insistenze, quasi timoroso di abbandonarsi al sentimento. Intanto però il musicista è cercato anche da Hollywood. Abbiamo già visto come un regista americano (Fleischer) fosse ricorso a lui nel 1960; il 1962 è l'anno del “kolossal bellico” The Longest Day (Il giorno più lungo, di D. Zanuck: per il quale Jarre si limita ad orchestrare un tema di marcia composto da Paul Anka) e di Lawrence of Arabia (Lawrence d'Arabia, 1962, di D. Lean). La partitura per quest'ultimo film (premiata con l'Oscar) è tipica del passaggio fra il periodo “intimista” e “nazionale” del compositore e quello “cosmopolita”. È molto ricca, molto colorita, gioca su un materiale tematico di vasto respiro e su sviluppi sinfonici di grosso effetto, lascia posto anche ad interventi di pochi strumenti che non rifiutano le dissonanze e l'uso intelligente del silenzio. I successivi film americani (o film cosmopoliti, di doviziosa base coproduttiva) accentuano il difetto di opulenza e di superficialità: ora Jarre è spesso frettoloso e si mimetizza con scaltrezza per sopperire ad ogni richiesta, americanizzandosi nell'uso dei mezzi (ai piccoli complessi caratterizzanti subentrano sempre di più le grandi orchestre e le strumentazioni sfarzose). Tipici i commenti di: Doctor Zivago (Il dottor Zivago, 1965, di D. Lean: turgido di sonorità aggressive che sviluppano il famoso “tema di Lara” in una orchestra di 105 elementi, rinforzata da 40 coristi); Grand Prix (idem, 1967, di J. Frankenheimer); The Professionals (I professionisti, 1967, di R. Brooks: la partitura è dominata da un tema incisivo, chitarre e canzoni); Ryan's Daughter (La figlia di Ryan, 1970, di D. Lean); Mandingo (idem, 1975, di R. Fleischer). Gli stessi caratteri estroversi e pomposi sono conservati anche in film estranei al kolossal o comunque all'impegno meramente spettacolare, come in Topaz (idem, 1969, di Hitchcock); Una stagione all'inferno (1971, di N. Risi); Grandeur nature (Life Size, 1975, di L. Berlanga), Gesù di Nazareth (1976, di F. Zeffirelli). Per Paris brûle–t'il? (Parigi brucia?, 1968, di R. Clément) l'orchestra sinfonica, già raddoppiata nell'organico, comprende anche 12 pianoforti. Un vero e proprio infortunio è la colonna sonora di La caduta degli dei (1969, di L. Visconti), in cui la puntigliosa ricerca culturale del regista è compromessa proprio dalla musica generica e spersonalizzata – di tipo tradizionalmente hollywoodiano – di Jarre. Più interessanti, le partiture di: The Life and Times of Judge Roy Bean (L'uomo dai sette capestri, 1972, di J. Huston); Posse (I giustizieri del West, 1975, di K. Douglas); The Man Who Would be King (L'uomo che volle farsi re, 1976, di J. Huston: musica ammiccante ad un pomposo e marziale inno militare inglese); The Last Tycoon (Gli ultimi fuochi, 1977, di E. Kazan); March or Die (La bandera, 1977, di D. Richards); Die Blechtrommel (Il tamburo di latta, 1979, di V. Schloendorff).
Negli anni Ottanta Jarre si stabilisce a Londra e, facendo la spola fra l'Inghilterra, la Francia e l'America, lavora sempre più massicciamente per il cinema americano. Oltre la grande orchestra impiega ora volentieri anche le tastiere elettroniche, sempre inserite fra gli strumenti tradizionali. Talvolta non rinuncia allo sperimentalismo dei primi anni, come nell'uso dell'elettronica in Witness (Witness - Il testimone, 1984, di P. Weir); ma, chiamato a musicare produzioni importanti, accetta spesso compromessi con l'industria, dimostrandosi comunque sempre molto abile nello sfruttamento delle possibilità ritmiche e cromatiche degli strumenti a cui ricorre. Come in: Firefox (Firefox – Volpe di fuoco, 1982, di C. Eastwood); The Year of Living Dangerously (Un anno vissuto pericolosamente, 1982, di P. Weir); A Passage to India (Passaggio in India, 1984, di D. Lean: Oscar per la miglior musica). In alcuni casi la contrapposizione tra il melodismo orchestrale e l'uso dei sintetizzatori esprime la doppia anima dell'ultimo Jarre, che lavora sempre intensamente svariando in tutti i generi. Da citare i risultati di: Giulia e Giulia (1987, di P. Del Monte), Fatal Attraction (Attrazione fatale, 1987, di A. Lyne: atmosfera romantica – piano e archi – bruscamente sostituita da brani elettronici violenti e percussivi), Moon Over Parador (Dittatore del Parador in arte Jack, 1988, di P. Mazursky), Ghost (Ghost - Fantasma, 1990, di J. Zucker), Only the Lonely (Cara mamma, mi sposo, 1991, di C. Columbus: musica romantica e sognante), Mr. Jones (idem, 1993, di M. Figgis: commento ultraromantico, da concerto ottocentesco, che risuona nella testa del protagonista), Shadow of the Wolf (L'ombra del lupo, 1993, di J. Dorfmann: pagine sinfoniche, fanfarette, coloriture, e un po' di elettronica), A Walk in the Clouds (Il profumo del mosto selvatico, 1995, di A. Arau), Sunchaser (Verso il sole, 1996, di M. Cimino), Sunshine (1999, di I. Szabó), I dreamed of Africa (Sognando l'Africa, 2000, di H. Hudson: vaste pennellate sonore per i paesaggi africani e melismi vieux jeu per gli amori dei protagonisti, più citazioni mozartiane e verdiane). In America è attivo anche per serie televisive.
Il musicista è padre di Jean Michel Jarre, esponente del rock elettronico.
MAURICE ANTOINE ALEXIS JARRE
Naissance 19.09.1924
Lyon 5e Arrondissement (69385), France (FRA)
Décès 28.03.2009
(99404), Etats-Unis (USA)
- (via matchID (https://deces.matchid.io/id/RuegW-fGWSWt))
Michael Jary (né Max Michael Andreas Jarczyk, pseud. "Jacky Leeds", "M. Jaczen"):
Komponist Jary, Michel, CH 6963 Cyureggia
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Jary, Michael (Pseud.) = Max Andreas Jarczyk *24. 9. 1926 Laurahütte/Oberschlesien.
Studium: Musikhochschule Berlin.
Komponist, Pianist und Kapellmeister. Gründung und Leiter verschiedenen Tanz- und Unterhaltungsorchester, leitete eigene Musikverlag, lebt in Castagnola/Tessin.
Werke: Musical, zahlreiche Filmmusik, bekannte Evergreens.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Jary, Michael (geb. 24. 9. 1906 Laurahütte (Oberschlesien) - gest. 12. 7. 1988 München)
Nach dem Musikstudium in Berlin wirkte Jary als Kino- und Kaffeehauspianist. Theaterkapellmeister und Schallplattenaufnahmeleiter in Berlin. Von 1929-1933 war er an der Staatlichen Musikhochschule in Berlin tätig als Komponist, 1931 erhielt er den Beethovenpreis der Stadt Berlin. Jary schrieb etwa 120 Filmmusiken.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
Verstorbene Mitglieder
[...]
JARY, Michael † 12. 7.1988
Cureggia / Pregassona
[...]
Rechtsnachfolger
[...]
JARY, Michael
RN: Christiana Jary
CH - 6963 Cureggia / Pregassona
00 41 / 91 / 51 76 78
und über Michaela Jary
Cosimastraße 2
8000 München 81
089 / 91 30 79
JARY, Michael – pseudonimo di Maximilian Jarezenyk[sic] - Nato a Laurahütte (Slesia superiore) il 24 settembre 1906. Dopo un'esperienza giovanile come compositore di musica per cori, si dedica al jazz e alla musica leggera, componendo canzoni. Ha fondato l'orchestra di Radio Benno, ed ha svolto anche attività editoriale. Si accosta al cinema nel 1936 per Die grosse und die kleine Welt (Corsa alla felicità, di J. Rieman); dedicandosi soprattutto alla commedia, che riveste di canzoni festose. Tra i suoi titoli: Der Florentiner Hut (Un matrimonio movimentato, 1939, di W. Liebeneiner); Aufwiedersehen, Franziska (Arrivederci, Francesca, 1941, di H. Käutner); Die grosse Liebe (Un grande amore, 1942, di R. Hansen); Karnaval der Liebe (Carnevale d'amore, 1943, di P. Martin); Die Gestholene Hose (1956, di G. von Cziffra); Zureher Verlobung (Appuntamento a Zurigo, 1957, ancora di Käutner); Kauf dir einen bunten luftbaloon (Comprati un palloncino colorato 1961, di G. von Cziffra: commento basato sulla canzone dello stesso titolo di A. Profes);
François Jeanneau (François Marie Yves Claude Jeanneau, pseud. "François Nai"):
(https://i.imgur.com/v6ZRD5J.png)
FOTOGRAFIJE B. CIKOTA - BEOGRAD
FRANÇOIS JEANNEAU (1935, Paris) ističe se kao najizrazitiji talenat mlađe generacije francuskih tenorsaksofonista. Njegov moderan način sviranja potiče od Johna Coltrana. Sidney Bechet, Bill Coleman, Nelson Williams, Kenny Klarke[sic], Oscar Pettiford, Martial Solal, Bill Byers nalaze se na listi muzičara sa kojima je svirao.
(https://i.imgur.com/ioEVh4Q.png)
Photos: L. Tacheban - A. Marcagne - JPDB - J.J. Pussiau
[no bio, just a photo.]
(https://i.imgur.com/XBbQ5kD.png)
Photo: Sacha Distel
[no bio, just photos.]
FRANCOIS JEANNEAU
Mes premiers contacts avec la musique sont antérieurs à mes plus anciens souvenirs. Je dois en rendre responsable mes parents, musiciens amateurs dans le meilleur sens du terme, grâce auquels j'ai pu me familiariser peu à peu avec toutes les richesses de la musique dite classique.
Mon premier instrument? Le piano de ma mère sur lequel je n'ai jamais cessé de taper. Rien de l'enfant prodige seulement le désir inconscient de m'ouvrir les oreilles.
La découverte du jazz se situe pour moi en 1949, à l'occasion du festival de Paris.
Je fis mes premières armes professionnelles dans le quintet de Georges Arvanitas, en 1960.
Dans les derniers mois de l'année 1960, j'ai participe à la naissance du groupe Triangle.
Dissolution du groupe en 1975. J'entamais une seconde carrière avec le trio Humair Jeanneau-Texier avec lesquels j'ai sillonné notre beau pays et ses prestigieux festivals (Massy, Nîmes, Chateauvallon, Antibes, Hyères, Saint-Rémy de Provence, La Grande Motte...) et souvent franchi nos frontières pour d'autres festivals (Nyons, Willisau, Zurich, Bergame, Moelde, Varsovie, Bologne, Florence, Tahiti...)
1978 marque la réalisation d'un vieux rêve celui de donner naissance à un grand orchestre:
Pandemonium, dont la première manifestation aura lieu au festival de Donaueschingen, la même année.
1980, c'est aussi le démarrage du Quatuor de Saxophones
1986 est l'année de la création de l'Orchestre national de Jazz dont je suis le permier directuer.
1988, en Mars départ pour un séjour d'un an et demi à la Réunion: il s'agit de mettre en place le département de Jazz dans le tour nouveau Conservatoire National de Région et d'y créer un Centre d'Informatique Musicale.
Daniel Jeannin (Daniel Jean Gustave Jeannin, pseud. "Daniel Janin", "John Kayle"):
(https://i.imgur.com/f9pQYii.png)
[no bio, just a photo.]
(https://i.imgur.com/owx03Y7.png)
[photo by:] A. NISAK
[no bio, just a photo.]
DANIEL JEAN GUSTAVE JEANNIN
Naissance 12.08.1931
Paris 14e Arrondissement (75114), France (FRA)
Décès 10.05.2010
Lège (33236), France (FRA)
- (via matchID (https://deces.matchid.io/id/c758fq0vM_XM))
Stanton Jefferies (Leonard Stanton Jefferies, pseud. "Jeffries Stanton"):
JEFFERIES, L. STANTON.
Conductor, pianist, organist, composer and producer. b. Weston-super-Mare, 1896. First Musical Director of the B.B.C. Address: Beatrice House, Blendheim Passage, St. John's Wood, N.W.8. Phone: Maida Vale 1893. Won scholarship to Royal College of Music, organ and piano, A.R.C.M. Served Mesopotamia in 1914-1918 war. Made Musical Director of Marconi Wireless Telegraph Coy. Was Uncle Jeff of the Children's Hour in the early days. Rejoined B.B.C. after serving as a gunner in 1940-45. Now produced in the Light Music Department.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Ben Jelen (Benjamin I. Jelen):
Featuring Ben Jelen
Born in Edinburgh, raised between Boston, the United Kingdom and San Antonio, Ben Jelen now resides in Brooklyn, New York. Having lived in a variety of places, Ben has becmoe a widely influenced multi-instrumentalist playing the violin, piano and guitar. Straight after receiving his degree frmo Rutgers, Ben found his place as a recording engineer in several leading New York recording studios. With a subsequent career as a solo recording artist, Ben has released two critically acclaimed albums, GIVE IT ALL AWAY (Maverick Records) and EX-SENSITIVE (Produced by Linba Perry). www.benjelen.com
Cyril Jenkins (pseud. "Norman Douglas", "Norman King", "Peter Nash"):
JENKINS, Cyril (b Swansea, October 9 1889; d Hove, March 15 1978). Studied under the Welsh composer Harry Evans and took organ lessons from W.G. Alcock; and while in his teens travelled regularly to London to take piano lessons from Herbert Sharpe and lessons in composition from Sir Charles Stanford. IN 1922 he was appointed Director of Music to the London County Council, but ill health made it desirable that he should live in Australia for some years. He wrote music in most forms, other than opera. Among the best known of his compositions for brass band are Coriolanus; Life Divine and Victory, which were test-pieces for the National Championships in 1920, 1921 and 1929 respectively; and Saga of the North which was the test-piece for the Open Championship at Belle Vue in 1965..
Recordings: Coriolanus National Championsip test-piece, 1920-CWS ST-FL509, Hampshire Youth SB310; Life Divine National Championsip test-piece, 1921, British Open test-piece, 1963-Carlton GRS1043, CWS STFL509, Massed Brass TW0240, National 1977 PL25118, St Hilda's TTV099; Saga of the North British Open test-piece, 1965-Fairey SPT1019.
- (via archive.org (https://archive.org/details/brassbands00gamm/))
Nigel Jenkins (Nigel Gilmore Ronald Jenkins, pseud. "C. Dobbie", "Z. Jenkins"):
(https://i.imgur.com/ECLX6yy.png)
Nigel Jenkins
Nigel is a prolific writer for television, film and commercials and is one of the relatively few British composers to break through into the American market. He has recorded with Cliff Richard, Steve Marriot, Jon Anderson and Gerry Rafferty and has worked with producers such as Trevor Horn, Pete Waterman and Bob Sargent.
Nigel has augmented the KPM library with tracks demonstrating his talents as a cutting-edge singer and guitarist. Currently on tour with Veronique Sanson, Lee Sklar and Neal Wilkinson, his immediate plans include working on a project with top Polish film writer Zbigniew Preissner and production work with rock band Arkane and singer / songwriter Natasha Jenkins.
- (by kind courtesy of Moon Monkey - thanks!)
Martina Johansson:
Gareth Blake, Graham Gough & Martina Johansson
Recipients of the prestigious PRS John Lennon Award songwriters Gareth Blake & Graham Gough collaborated with Swedish singer Martina Johansson to write the 1960s flavoured A Conspiracy of Lies.
Laurie Johnson (Laurence Reginald Ward Johnson, pseud. "J. Laurenz"):
[entry has photo]
LAURIE JOHNSON was born in London in 1927 and studied at the Royal College of Music. He has composed symphonic works as well as music for television and motion pictures, including the musical "Lock Up Your Daughters" which won the Novello prize in 1959.
LAURIE JOHNSON
b. 1927 - Hampstead, England
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
(https://i.imgur.com/AUHx8o0.png)
Laurie Johnson
After an 'apprenticeship' with the legendary Ted Heath band, by the 1950s Laurie Johnson was much admired for his innovative arrangements and compositions, resulting in demands for his services from the film industry, composing many scores including "Tiger Bay" and "Dr. Strangelove".
He has written for orchestras, big bands, military bands and small groups. Johnson's many commercial recordings have been models of good taste and inventiveness. His film scores number 400, and he has also written three stage musicals and a symphony - "Synthesis".
The small screen brought him world-wide recognition through his music for the TV series "The Avengers", "The Professionals", "Jason King" and the Shirley Maclaine series "Shirley's World". He is a prolific composer for Production Music purposes, and numerous works have been used as TV themes - particularly "Las Vegas" (Animal Magic) and "Gala Performance" (This Is Your Life).
- (by kind courtesy of Moon Monkey - thanks!)
JOHNSON, Laurie - Nato a Londra il 7 febbraio 1927. Musicista inglese, da non confondere con l'americano Lonnie Johnson, cantante di blues. Compositore di canzoni e di musiche per il teatro di varietà, collabora al cinema alla fine degli anni Cinquanta soprattutto con orchestrazioni, arrangiamenti, canzoni. Da citare: Tiger Bay (Questione di vita o di morte, 1958, di J. Lee-Thompson); Dr Strangelove, or How I learned to Stop Worrying and Love the Bomb (Il dottor Stranamore, ovvero come imparai a non preoccuparmi e ad amare la bomba, 1964, di S. Kubrick: uso galeotto di marcette patriottiche – una sudista, una western – e di canzoni originali, Try a Little Tenderness sul rifornimento-allacciamento di un bombardiere nucleare in volo, e We'll Meet Again sull'esplosione atomica finale, ambedue all'insegna di un sarcasmo feroce); First Men in the Moon (Base Luna chiama Terra, 1964, di N. Juran); The Beauty Jungle (Giungla di bellezze, 1965, di V. Guest); Hot Millions (Milioni che scottano, 1969, di E. Till); And Soon the Darkness (Il mostro della strada di campagna, 1970, di R. Fuest; The Belstone Fox (La tana della volpe rossa, 1974, di J. Hill); Nel 1978 Johnson compone le musiche aggiuntive a quelle di Bernard Herrmann per It Lives Again, di L. Cohen - séguito di un film del 1974 musicato appunto da Herrmann, morto nel frattempo - nonché per successivi It Lives Again parte II e III. Attivo anche per la TV.
Michel Jonasz (Michel Alain Jonasz, pseud. "Kingset"):
NOTE:
A prolific singer and songwriter (and occasional actor) in his native France.
He is listed as co-writer (with Janko Nilovic) for a single cue on MP 2000 (https://librarymusicthemes.com/index.php?topic=1404.0).
(https://i.imgur.com/QttYInt.png)
[no bio, just a photo.]
David Jones (David Gary Jones):
DAVID JONES is widely regarded as one of the world's leading drummer / percussionist.
Kenneth B. Jones (Kenneth Baden Jones, pseud. "Carl Orphan", "Emil Javroque"):
KENNETH BADEN JONES is that rare breed, an all round musician, whose activies have ranged over the whole spectrum of music, including classical, entertainment and pop, apart from being a successful performer as pianist and organist.
He studied under Matyas Seiber, and subsequently became musical director of Trentham Gardens Ltd. and Lewis's Ltd. For some years he worked abroad as recording arranger to HMV in Copenhagen, and has made records with Decca and Phillips.
His best known orchestral work is the RHAPSODY for Piano and Orchestra, recorded on APOLLO SOUND, which has been performed and broadcast in many countries, and similar success has been enjoyed by his FANTASIA FOR BRASS BAND.
In a lighter vein, such numbers as: DESIGN FOR STRINGS, VENDETTA, COCKNEY IN NEW YORK, STARLIGHT, FANTASY, PATTERN FOR ROMANCE, SWINGING THE MARCH, and CASTANETA have become established repertoire items.
On this record KENNETH BADEN JONES shows yet another aspect of his versatility, as composer and arranger of instrumental popular music. [...]
Rael Jones:
Rael Jones has a strong musical background, rooted in classical training from an early age. He graduated from the Tonmeister Course in 2004 with First-class honours, winning both available prizes for composition. His writing embraces improvisation and live performance, and he is a highly accomplished player of many instruments, from piano, guitar and drums to quirkier items such as the autoharp and musical saw. Technically accompllished and flexible, he has fulfilled many roles on feature films, encompassing music editing, music production, programming, sound design and dialogue editing.
Robin Jones (Robin Denise Jones, pseud. "Robin Vanser"):
(https://i.imgur.com/aVCJZfa.png)
[no bio, just a photo. part of group photo.]
Robin Jones. An Ace latin-drummer of immense versatility, Robin is in constant demand for Radio and T.V. and by commercial Recording Studios in London. He has appeared with many international stars of various musical styles as far apart as the American jazz-artist Gerry Mulligan, and English pop-artist Lulu. He has also played for Eartha Kitt, jazz-singer John Hendricks and the fabulous Francis Faye. This was an achievement in itself. Francis made a special feature of the bongoes, played of course by the great Jack Costanzo. When Jack left Francis Faye, Robin took Jack's place and was his worthy successor. Other personalities Robin has played for include Edmundo Ros, Val Doonigan and Alan Haven.
[...] I would say that the idea of making this recording had already started in 1960, when Robin arrived in London from Bombay with his bass-player colleague Percy Borthwick. In a matter of weeks they were permanently employed in my orchestra. [...]
As a friend and Robin's manager/producer, I am absolutely delighted to be involved in this most exciting album. [...]
[...] Robin Jones, the leader, is a lively, happy and volatile character as befits the music in which he specialises. Born in Poona, India, he rose to prominence in leading orchestras of that country such as those headed by Ken Mac and Lance O'Neill (George Shearing's first bass player), and then came to Britain. Since his arrival, Robin has won himself a busy and respected niche as a Latin American percussionist, and also possesses a very useful ability as a non-Latin kit drummer which enhances his value to all who engage him. He works regularly on concerts, broadcasts, records and tours with the Edmundo Ros orchestra, the Carlos Romanos orchestra, and star organist Alan Haven, and in between these crowded engagements and the consequently formidable weekly mileage around the country, still manages to contribute his percussionistic talents to a lot of London recording sessions. Just one of his many credentials from the past is his bongo work in cabaret with Frances Faye, following in the illustrious path of Jack Costanzo. [...]
Trevor Jones (Trevor Andrew Jones, pseud. "John Du Prez"):
DU PREZ, John - Nato a Sheffield (G.B.) il 14 dicembre 1946. Musicista inglese. Attivo dagli anni Ottanta, mostra il possesso di una vena spiccatamente ironica. Tra i suoi risultati alcuni film comico-demenziali dei Monty Python: Monty Python Live at the Hollywood Bowl (1982, di T. Hughes e I. MacNaughton), The Pantomine Dame (1982, di E. Wood); Bullshot (1983, di D. Clement); Monty Python's The Meaning of Life (Monty Python Il senso della vita, 1983, di T. Jones), A Private Function (Pranzo reale, 1984, di M. Mowbray: ottime pagine in cui viene sbertucciata l'innologia britannica); She'll Be Wearing Pink Pyjiamas (1984, di J. Goldschmidt); Oxford Blues (Oxford University, 1984, di R. Boris); Personal Services (idem, 1986, di T. Jones: poca musica ma di efficaci sottolineature sarcastiche); A Chorus of disapproval (L'opera del seduttore, 1988, di M. Winner); A Fish called Wanda (Un pesce di nome Wanda, 1988, di C. Crichton: va dal balletto rock alle fanfare wagneriane, sempre in chiave parodistica); The Vidiot from UHF (UHF I vidioti, 1989, di J. Levey); Mystery Date (Vediamoci stasera... porta il morto, 1991, di J. Wacks), Carry on Columbus (1992), A Good Man in Africa (Alla ricerca dello stregone, 1993, di B. Beresford).
Wilfred Josephs (pseud. "Maynard Nelson", "Wilfred Wylam"):
JOSEPHS, Wilfred, born 25 July 1927, Newcastle upon Tyne, UK. Composer. Education: B.D.S., Sutherland Dentist School, Newcastle University, 1951; Guildhall School of Music and Drama, London, 1954-56; with Maitre Max Deutsch, Paris, 1958-59. Married Valerie Wisbey, 2 daughters. Debut: 1950. Career: various TV appearances, UK & USA including BBC 'Monitor' Film, 1965 (biography); Radio in UK, Holland, USA; Professor of Composition & Orchestrationm, University of Wisconsin, Milwaukee, 1970 & Roosevelt University, Chicago, 1972. Many compositions mainly publd. by Novello/Belwin Mills. Various recordings. Contributor to professional journals. Memberships: Composers' Guild of GB; Light Music Society Defunct; Ben Uri Arts Society. Honours include: Leverhulme Scholership to Paris, 1958-59; Harriet Cohen Commonwealth Medal; Jeunesses Musicales First Prize; Liege Quartet 3rd Prize; 1st Prize, La Scala & City of Milan (for Requiem), 1963. Hobbies: Chess; Swimming; Cartoon Films, etc. Address: c/o Novello & Co. 1-3 Upper James Street, London W.1., U.K. Who's Who in Music (UK), Grove's Dictionary of Music and Musicians (UK).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
JOSEPHS, Wilfred, BDS (b Newcastle-upon-Tyne, 1927). Composer & conductor, he studied music at the Guildhall School and privately in Paris with Max Deutsch. A prolific composer of orchestral music, he has written a Concerto for Brass Band.
- (via archive.org (https://archive.org/details/brassbands00gamm/))
JOSEPHS WILFRED. Neweastle[sic], 24.7.'27. Laureato in odontoiatria. Ha studiato musica anche a Parigi.
Autore di 2 concerti per pianoforte; Concerto per oboe e percussione; Concerto per 2 violini, '71; Sara toga per chitarra, arpa e clavicembalo; Concerto per clarinetto e orchestra; Encore per chitarra, arpa e clavicembalo; Concerto per 4 pianoforti e 6 percussioni; Concerto d'amore per Violino; Concerto per percussione e ottavino, '82; Requiem in memorie dagli ebrei vittime del genocidio perpetrato dai nazisti (premio Scala di Milano); 10 sinfonie; Rhythms, '85; Elegia per archi; Monkchster dances; Serenate; Fanfare; Concerto per violoncello; Concerto per viola e orchestra; Disconcerto per pianoforte; Mortales per SAT-BAR per coro e voci bianche; Concerto per fiati; Sestetto; Papageno variations per 6 fiati; Quintetti; Quartetti; Sonate; Fantasia per organo; musica corale; Liriche. Ottetto.
JOSEPHS, Wilfred - Nato a Newcastle (G.B.) nel 1927. Dottore dentista, studia musica privatamente, poi si perfeziona con Max Deutsch a Parigi e si dedica esclusivamente alla musica. Dotato di una facile vena melodica, compone sinfonie, concerti, cantate (fra cui Mortales e Requiem, diretto quest'ultimo da Carlo Maria Giulini), per il teatro musicale, la TV e il cinema. A partire da Lies My Father Told Me (1960, di D. Chaffey: pagine scherzose e riferimenti alla musica scozzese), Josephs, che è molto prolifico, compone la musica soprattutto per film di facile trattenimento, fra cui: The Webster Boy (di D. Chaffey), Fanatic (Una notte per morire, 1965, di S. Narizzano), Twenty-Four Hours to Kill (24 ore per uccidere, 1965, di P. Bezencenet), The Deadly Beach (Il mistero dell'isola dei gabbiani, 1966, di F. Francis), That'll be the Day (1973, di C.Whatham), Swallows and Amazones (1974, di C. Whatham: musica basata su tre temi caratterizzanti), Dark Places (La scala della follia, 1974, di D. Sharp), All Creatures Great and Small (1975, di C. Whatham: riorchestrata parodisticamente la wagneriana Cavalcata delle Walkirie), Mata Hari (1985, di C. Harrington). Josephs è stato incaricato anche di scrivere musica che poi non è stata utilizzata, come per Waterloo (idem, 1970, di S. Bondarciuk: il produttore De Laurentiis ha fatto rifare la partitura a Nino Rota, che però ha tenuto conto dei risultati del compositore inglese; per Cry of Banshee (Satana in corpo, 1970, di G. Hessler) il regista l'ha sostituita con una colonna sonora jazzistica di Les Baxter.
Paul Jost (Paul J. Jost, Jr.):
JOST, PAUL J ASCAP 1971
composer, author, singer
b Vineland, NJ, Aug 31, 52. Educ: Berklee Col Music, Boston; pvt instr with Arthur Harvey, George Small & Tony Davilio. Wrote TV sound track for an NBC Special; also studio work for producers, Stan Vincent, Ted Macero, Genya Ravan, Michael Barbiero, Dave Collins, George Small, Tony Davilio, Harvey Goldberg & Robert Maxwell. Currently working clubs/casinos, Atlantic City. Chief Collabr: George Small. Scores: Movie: Last Rites (Dracula's Last Rites).
- (via archive.org (https://archive.org/details/ascapbiographica00amer_0/))
Ivan Jullien (Ivan Georges Jullien, pseud. "Georges Nixon"):
(https://i.imgur.com/U4lxGCu.png)
PHOTOS: VERSO C. FAUCHARD
[no bio, just a photo.]
(https://i.imgur.com/JzULrnL.png)
Photos: L. Tacheban - A. Marcagne - JPDB - J.J. Pussiau
[no bio, just a photo.]
IVAN GEORGES JULLIEN
Naissance 27.10.1934
Vincennes (75080), France (FRA)
Décès 03.01.2015
Étampes (91223), France (FRA)
- (via matchID (https://deces.matchid.io/id/PemsSeCoDDeu))
Axel Jungbluth (pseud. "Jonathan Peko"):
Verstorbene Mitglieder
[...]
JUNGBLUTH, Axel † 24. 3.1989
Kürten - Engeldorf
Gerhard Jussenhoven (pseud. "Frank Micheel", "J. Darvin", "Joe Williams", "Walter Ranke"):
Komponist Textdichter Jussenhoven Gerhard, 5 Köln-Lindenthal, Robert-Blum-Straße 6
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
JUSSENHOVEN, Gerhard, born 30 Jan. 1911, Cologne, Germany. Education: studied Law & Music; Dr.jr. (Director of Laws). Married Inge Jussenhoven, 1 daughter. Compositions: approx. 900 pieces of music publd. Musicals: Eau de Cologne; Cyprienne; Monsieur Malade; Gut Holz, Wilhelm! Tunes: Kornblumenblau; Gib acht auf den Jahrgang; Man müsste nochmal 20 sein; Schau nicht auf die Uhr; Badewannentango; Peter und Susann; Der Mond ist der Freund der Verliebten; Mein Herzenswunsch. Light Music: Lust und Liebe; Memoiren; Verträumte Gedanken; Tango Regina; Patricia; Tete-a-Tete. dance music, etc. Recordings on various labels. Memberships: Deutscher Komponisten Verband e.V., Berlin; Dramatiker Union, Berlin. Hobby: Travelling. Address: Robert Blum Str. 6, Cologne-Lindenthal, German Federal Republic.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Jussenhoven, Gerhard
Köln, 30. Januar 1911 - ?
Fabrikantensohn; Dr. jur., Komponist in Köln, 1939 Syndikus der Handelskammer in Bromberg, später in Luxemburg.
Nach 1945 weiterhin in Köln, Wohnung (1990); Köln 41, Viktor-Schnutzler-Str. 10. Er erhielte das Bundesverdienstkreuz.
Werke: über gedruckte 1000 Titel, darunter U-Musik, so "Rheinische Polka", das Walzerlied "Kornblumenblau", der Schunkelwalzer "Gib acht auf den Jahrgang"; Musicals wie "Cyprienne" (1966); Bromberger Heimatlied (1939); Piloten-Marsch
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Alfi Kabiljo (Alfons Kabiljo, pseud. "Albert Jacob", "Jacob Albert", "Richard Bellamy"):
KABILJO, Alfi (Alfons), born 22 Dec. 1935, Zagreb, Yugoslavia. Composer, Conductor, Arranger. Married Katja Kaliterna, 11 Nov. 1961, 1 son, 1 daughter. Education: Diploma Engineering Architecture, Faculty of Architecture, Zagreb, 1964; Vatroslav Lisinski, Music School, Zagreb. Debut: Song, By the Camp Fire, Zagreb, Music Hall, Nov. 1956. Career: Professional Composer, Conductor, Arranger, Record Proucer, 1965-; Composes musicals, ballets, stage, film, television, orchestras chamber music, children; worked in Paris, France and Los Angeles, California, USA; Conducts own music in Theatres and various Studios. Compositions include: The Big Race; Yalta Yalta; Shaggy Life; John - The Butterfly Boy; Red Island, musicals; Ciribili, The Family Tree, Television Musicals; Kentaur XII; The Dream of Light, Ballets; Makedo; Helium; Savana; Bolero; Aurora, Orchestral music; Travel to the Place of Accident; the Afternoon of a Pheasant; Get it Man; Deps; The Chronicle of a Crime; Concerto for Flute and Symphony Orchestra. Recordings: The Big Race; Yalta Yalta; Shaggy Life; Great Film Music by Alfi Kabiljo; Hello Little Ones; The Seventh Continent; Red Poppys; The Most Beautiful Folk Tunes Number 1 and 2. Honours include: Golden Arena for the best film score, Anno Domini 1573, 1976; Golden Arena for the best film score, The Falcon, 1981. Memberships: Union of Composers of Yugoslavia; Vice President, Composers Association of Croatia; Zagreb Tennis Club; Sky Club; Medvescak. Hobbies: Skiing; Tennis. Address: 41000 Zagreb, Dvorniciceva 29, Yugoslavia.
- (via archive.org (https://archive.org/details/internationalwho0010unse/))
ALFI KABILJO
b. Yugoslavia
Agent: Robert Light - Los Angeles, 213/651-1777
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
KABILJO, Alfi - Musicista jugoslavo. Ha composto partiture, dagli anni '70, per film jugoslavi, inglesi e americani. Tra i film con sue musiche: Anno Domini (Anno Domini 1573, 1975, di V. Mimica), Okupacija u 26 slika (Occupazione in ventisei quadri 1978, di L. Zafranovic), Pad Italije (La caduta d'Italia 1981, di L. Zafranovic), Banovic Strahinja (Il falcone, 1981, di V. Mimica), Luna di miele (1983. di F. Hadzic), The Ambasador (I guerrieri del vento, 1984, di J. Lee Thompson), Obecana zemlja (Terra promessa, 1986, di V. Bulajic), The Girl (1986, di A. Mattsson), San o ruzi (t.l. Sognando una rosa, 1986, di Z. Tadic: motivetti leggeri per i momenti normali della vita, elettronica per i momenti drammatici); Sky Bandit (1986, di Z. Perisic), Fear (1988, di R.A. Ferretti).
Franz R. Kaderschafka:
Adressenänderungen
[...]
KADERSCHAFKA, Franz R.
Zaubzerstraße 7
8000 München 80
089 / 470 72 63
KADERSCHAFKA, Franz R.
Pianist, Komponist, Musikproduzent, Drehbuchautor -
Geboren 28. Dez. 1952 Waiblingen/Württemberg. (Vater: Josef K., Bankbeamter; Mutter: Maria, geb. Streit), verheiratet -
Musikstudien Karlsruhe, Freiburg, Berlin -
Theaterpianist (Tribüne) und Lehrbauftrag Musikschule Berlin -
Zahlr. Instrumentaltitel in die Unterhalt. (unter anderem Chansons für Waltraut Haas, Moldau-Mädels, Arnold Marquis und für bek. Orchester), Bekannte ZDF-Serien: Erkennen Sie die Melodie?, Traumland Operette, Musik macht Spaß. Herausgeber von Schallpl.; aktiv Piano-LP: Sounds of Christmas (Jupiter Records), Liebestraum -
Liebh.: Lesen, Musik, Kunst, Reisen -
Sprachen: Englisch, Lateinisch
- (via archive.org (https://archive.org/details/weristwerdasdeut0000unse/))
Wolfgang Käfer (pseud. "Kafer Wolfgang"):
A biography and interview with Käfer can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1985/05/wolfgang-kafer.html).
Bert Kaempfert (Berthold Heinrich Kämpfert, pseud. "Bernd Bertie", "Bob Parker", "Marc Bones"):
Komponist Kämpfert, Berthold, 2 Hamburg 20, Inselstraße 4
CH 6300 Zug, Bellevueweg 10
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Kaempfert, Bert *6. 10. 1924 Hamburg.
Studium: Musikhochschule Hamburg.
Komponist und Bandleader in Hamburg und New York.
Werke: Tanzmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Rechtsnachfolger
[...]
KAEMPFERT, Bert
RN: Marion, Kaempfert
Weg beim Jäger 151
2000 Hamburg 61
040 / 553 10 61
Viktor Kalabis:
KALABIS, Viktor, born 27 Feb. 1923, Cerveny Kostelec, Czech. Composer. Education: Charles University, 1945-49; Conservatory of Music, Prague, 1945-48; Academy of Musical Arts, Prague, 1948-52. Married Zuzana Ružičkova. Compositions publd: Concert for Cello & Orchestra; 6 Canonic Inventions for Harpsichord; 5 Romantic Lovesongs for Higher Voice & Orchestra; Symphony No. 1; Sonata for Violin & Harpsichord. Compositions recorded & publd.: String Quartet No. 2; Symphony 2-4; Accenti; Piano Concerto; Violin Concerto; Concerto for Orchestra; Sonata for violoncello & Piano; Sonata for Trombone & Piano; Sonata for Clarinette & Piano; Sonata for Horn & Piano; Chamber Music for strings; Symph. variations for orchestra; Little chamber music for wind quintet. Member: Czech. Composers Guild. Honours: 1st Prize of the 20th Anniversary of CSSR. Critics Prize, 1967; State Prize, 1969. Hobbies: Motoring; Travel. Management: Czech. Information Music Centre, Besedni 3, Prague 1. Address: Slezska 107, 130 00 Prague 3, Czech.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Zbigniew Kalemba (Karol Zbigniew Kalemba):
KALEMBA Karol Zbigniew, ur. 8 XI 1936 w Mikołowie na Śląsku, pol. pianista, kompozytor i dyrygent, absolwent PSWM w Katowicach. 1956-65 współpracował z ork. Rozgłośni PR w Katowicach i zespołem J. Haralda. 1965 założył zespół PR »Metrum«, 1968 zorganizował Wydział Jazzu i Muzyki Rozrywkowej AM w Katowicach, którego jest prof. 1982-90 był dyr. operetki w Gliwicach. Jest autorem ponad 300 kompozycji i charakterze rozrywkowym i muzyki folmowej.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Rolf Karber (pseud. "Benny Borgfield", "Peter Markus", "Stefan Gramberg"):
(https://i.imgur.com/vJT7i8C.png)
KARBER, Rolf
Wintersteinstr. 26
6393 Wehrheim 3
06081/132 64
*4.8.1921 Arnstadt
8 Jahre private Klavierausbildung und Harmonielehre; 1940 Oberschulabschluß, danach Militärdienst; 1948 in damaliger sowj. Besatzungszone Gründung einer Combo mit mehrjährigen Engagements in Oberhof/Th.; 1951 Übersiedlung in die Bundesrepublik; ab 1958 erste Erfolge als Komponist von instrumentaler Unterhaltungs-Musik; inzwischen etwa 160 produzierte Instrumentaltitel mit unterschiedlichen Orchestern oder Gruppen. Kleines, gut ausgestattetes Tonstudio für den Eigenbedarf.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Fred Karlin:
FRED KARLIN
b. June 16, 1936 - Chicago, Illinois
Agent: Robert Light - Los Angeles, 213/651-1777
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
KARLIN, Fred (Frederick James Karlin) - Nato a Chicago il 16 giugno 1936. Studi privati di musica. Interessi jazzistici, compositore e arrangiatore per i complessi di Benny Goodman e Harry James. Ha firmato lavori per orchestra d'archi e pezzi strumentali. È direttore esecutivo dell'Historical Institute of American Music. Karlin lavora soprattutto per la televisione, ma dagli anni Sessanta è attivo anche per il cinema, al quale porta una ventata d'aria nuova, applicando ai film che è stato chiamato a commentare la sua propensione per una musica anticonvenzionale, di tipo colto, imperniata su ricerche inedite ritmiche e timbriche. Della sua produzione nel settore giova ricordare: Up the Down Staircase (Su per la discesa, 1968, di R. Mulligan); The Stalking Moon (La notte dell'agguato, 1969, di R. Mulligan: un film western che non ha neppure una battuta di colore locale e rifugge dalla ritmica classica ispirata alle cavalcate: si ricorre piuttosto ad armonie sottili, inquiete, e all'uso di archi legati dal sound inedito); The Sterile Cuckoo (Pookie, 1969, di A.J. Pakula); Lovers and Other Strangers (Amanti ed altri estranei, 1970, di C. Howard: interventi modernissimi e decisamente agri); Westworld (ll mondo dei robot, 1973, di M. Chricton: musica da fantascienza con ricorso ad una elettronica inquietante, anche se senza effetti spettacolari); Futureworld (Futureworld - 2000 anni del futuro, 1976, di R.T. Heffron); Greased Lightning (1977, di M. Schultz); Loving Couples (Quattro passi sul lenzuolo, 1980, di J. Smight).
Günther Karpa:
Karpa, Günther (PSeud. L. Lustig) *23. 12. 1923 Dresden.
Studium: Akademie Dresden.
Komponist, Arrangeur, Dozent an d. Musikhochschule Dresden, wirkte bei d. Dresdener Tanzsinfonikern.
Werke: Unterhaltungsmusik, Schlager, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Emilio Kauderer (G. Emilio Kauderer, pseud. "Pierre Loubecq"):
KAUDERER, Emilio - Musicista argentino. Attivo per il cinema del suo Paese e americano dagli anni '80. Tra i suoi film: La discoteca del amor (1980), Tiempo de revancha (1981), Ultimos dias de la victima (1982), tutti e tre di A. Aristarain, In Dangerous Company (1988, di R. Preuss), Slash Dance (1989, di J. Shyman), Julia Has Two Lovers (1991, di B. Shbib), The Ice Runner (1993, di B. Samson).
Gene Kauer (Guenther Max Kauer):
KAUER, GUENTHER MAX (GENE) ASCAP 1961
composer
b Weida, Ger, July 30, 21. Educ: Studied comp. music history, pianom, French horn & violin with Dr Bruck, music sch, Buckeburg, Ger, 6 yrs. Bandleader & arr, radio & nightclubs. Chief Collabr: Douglas Lackey. Songs: Music: Life; Summer Dream; The Sounds of Love; Snow Flakes. Instrumental Works: Concerto for Horn and Orchestra; Horn Quartet; 5 Pieces for Woodwinds; Symphonia-Septet (4 bassoons, violin, cello, piano). Scores: Bway Show: The Fan Tan King; Film/TV: Faces of Death; Wilderness Family No 1 and No 2; Across the Great Divide; Brother of the Wind; The Great American Wilderness.
- (via archive.org (https://archive.org/details/ascapbiographica00amer_0/))
Benoît Kaufman (Benoît Daniel Kaufman, pseud. "Bruce Summerfield", "Bryan Neelsen", "Sacha Elias", "Stew Town", "Thierry Grant", "Willyam Steiner"):
A biography and interview with Kaufman can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1989/05/benoit-kaufman.html).
Un nouveau groupe de Rockmen... Dans la ligne du moment, ils vous apportent bien sûr: Rythme, jeunesse et entrain.
Pourquoi «LES CHAMPIONS»
Prace qu'ils deviendront peut-être les Champions du rock.
Voici leur, carte de visite «Rock»:
[...]
- CLAUDE CIARI - BENOIT KAUFMAN - ALAIN SANTAMARIA
Les 3 guitaristes - pleins de talent et complétant harmonieusement Willy Lewis et Jean-Claude Chane.
(https://i.imgur.com/5UPrwb7.png)
Photos Publimages
[no bio, just a photo. only named as "Benoit".]
(https://i.imgur.com/Hc1xvlp.png)
Photo : ELP ARMEES
[no bio, just a photo.]
Serge Kaufmann (Serge Leon Henri Kaufmann, pseud. "Kofmann"):
Serge Kaufmann
Compositeur, Serge Kaufmann est également réalisateur et producteur d'émissions musicales à la télévision. C'est dire qu'il a toujours porté un vif intérêt à la relation entre l'image et le son.
Il est l'auteur d'un nombre très important de partitions télévisuelles (feuilletons, dramatiques, documentaires), celui également d'œuvres pour le concert (sonate pour violoncelle, quatuor à cordes, quintette à vent, chœurs, pages symphoniques, etc.), celui encore d'un ballet «La bague», d'un opéra «Fait divers» et d'un requiem «Les pleurants» qui ont fait l'objet d'une mise en image pour la télévision.
- MUSIC FOR MEDIA
Bernhard Kaun (pseud. "Bernard Bernard"):
KAUN, Bernhard - Nato in Germania il 5 aprile 1899, morto negli USA il 3 gennaio 1980. Musicista formatosi in Germania, è emigrato in America. Scritturato prima dalla Universal poi dalla Warner, ha collaborato al cinema come compositore di partiture originali, arrangiamenti, musiche addizionali ecc. Tra i film con sue contribuzioni: Heaven on Hearth (1931, di R. Mack), Frankenstein (idem, 1931, di J. Whale), One Way Passage (Amanti senza domani, 1932, di T. Garnett), The Mystery of the Wax Museum (La maschera di cera, 1933, di M. Curtiz), Death Takes a Holiday (La morte in vacanza, 1934, di M. Leisen), The Story of Louis Pasteur (La vita del dottor Pasteur, 1935, di W. Dieterle), The Invisible Menace (1938, di J. Farrow), The Smiling Ghost (1941, di L. Seiler), Special Delivery (1955, di J. Brahm).
Gérard Kawczynski (Gérard Adolphe Kawczynski):
NOTE: Non-composer.
Credited ("G. KAWZENSKI") as rhythm guitarist for one LP on MP 2000 (https://librarymusicthemes.com/index.php?topic=1149.0), and as guitarist for an LP on Z International Records (https://librarymusicthemes.com/index.php?topic=11408.0), and is an uncredited performer on its MP 2000 counterpart.
(https://i.imgur.com/VZBulhh.png)
Jeanloup SIEFF, Tony FRANK et Thierry VINCENT (encore!) (Photographes)
[no bio, just a photo. part of group photo.]
GERARD ADOLPHE KAWCZYNSKI
Naissance 15.07.1946
Paris 10e Arrondissement (75110), France (FRA)
Décès 10.04.2014
Nanterre (92050), France (FRA)
- (via matchID (https://deces.matchid.io/id/rS_Ozq_E_6MK))
Glenn Keiles:
Glenn Keiles, was born in South Africa into a family of Polish / German refugees. He emigrated to the UK in 1979 to pursue a career in music and opened a recording studio in Brixton, where he refined his engineering and production skills. In the late 1980s, Glenn became involved in programming and orchestrating film and TV music, which subsequently led to commissions for incidental musica and themes. He has scored a substantial number of programmes for the BBC, including several Horizon & Everyman documentaries, and the critically acclaimed BBC / FDR serie Lives Of Jesus, from which there was an accompanying CD release of Glenn's exotic musical soundscapes. Glenn also wrote music for Carlton TV's award winning Treasure Island 2 and has worked on projects for Ridley Scott - GI Jane, Allied Film's Nostradamus, British Airways and Peugeot.
Thomas C. Kelly (Thomas Christopher Kelly):
THOMAS C. KELLY The Red House, Clongowes Wood, Naas, Co. Kildare
Born in Wexford 1917. Studied music in National University of Ireland. Since 1952 is Music Master at Clongowes Wood College. Influenced by Irish folk music and Anglo-irish composers such as Stanford, Harty and Hughes.
[contains a list of works]
Leo A. Kempinski (Leo Alois Kempinski, pseud. "El Kay", "Larry Simmons", "Rudy Lakay"):
Kempinski, Leo A., composer, conductor, organist; b. Ruda, Germany, March 25, 1891. U.S. since 1908. ASCAP 1927. Educ.: Univ. Breslau, Germany; N.Y. Ins. Musical Art. Theory and harmony with Julius Gloger and Percy Goetschius. Church organist, Philadelphia. Musical director with theatrical circuit thirteen years. Composed music for silent and sound motion pictures. Editor music publishing corporation three years. Entered radio field 1929; writer original thematic material and background music for radio script shows. From 1943, for three years conductor of Army Hour; composed military marches. Staff composer and conductor with N.B.C. Marches: The Fifth Army March; The Flaming Sword of Freedom; Corregidor; Heroes of the Pacific; All Hail to our Heroes; Spirit of America; Old Glory Forever. Other works: "Our Faith Shall Live"; "Gracious Lord Who Givest Blessing"; "Teach Me Thy Ways"; "The Call of the Highroad"; "Land of Faith, Land of Hope"; "For the Red, White and Blue"; "Flag of Hope"; Victory Concerto, for piano and orch.; "Somewhere, Sometime, Somehow"; "Wonderful Night"; "Star Glow." Home: Flushing, N.Y. Adress: ℅ ASCAP.
- (via archive.org (https://archive.org/details/ascapbiographica00amer_1/))
H. A. Kenney (Horatio Arthur Kenney):
KENNEY, H. Arthur (Major), LRAM, ARCM. Educated at Wells Cathedral Grammar School and a chorister in the cathedral from 1925-34. Enlisted in the Somerset Light Infantry in 1934 as a band-boy. In 1945 went to the Royal Military School of Music, Kneller Hall as a student bandmaster and won the Gold Medal of the Worshipful Company of Musicians as the most outstanding student of the year. Also gained the Director of Music's prize for conducting and the Commandant's prize for the best original march composition. Appointed Bandmaster of the Oxfordshire and Buckinghamshire Light Infantry in 1949; subsequently Director of Music of the Royal Artillery (Plymouth) Band, the Alamein Band of the Royal Tank Regiment and finally gained the senior appointment of Director of Music of HM Welsh Guards. Became Musical Director of the Cory Band in October 1970. Recordings: St. Julian-Cory 2485 014. As conductor: Cory Band-Trumpets Wild-Polydor 2485 014; Cory Band-Sounds of Brass, Vol.19-Decca SB319.
- (via archive.org (https://archive.org/details/brassbands00gamm/))
Gary Kettel (Gary George Kettel):
KETTEL, Gary George, born 17 May 1951, London, U.K. Timpanist & Percussionist. Musical Education: Royal College of Music, London, 2 years. Married Margaret Whiteley. Career: Currently Co-Principal Timapnist, BBC Symphony Orchestra; Member, Peter Maxwell-Davies' "Fires of London" Ensemble; Performer with all London orchestras & in West End musicals and film sessions; Performer, much contemporary percussion music; member, 2 ensembles, "The London Percussion Ensemble" & "The Electric Candle". Various recordings of symphonic & light music. Hobby: Beer Tasting. Address: 70 Elmfield Ave., Teddington, Middlesex, U.K.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Gérard Kherlakian (Gérard Daniel Kherlakian, pseud. "Danyel Gérard"):
(https://i.imgur.com/pVntIRg.png)
(https://i.imgur.com/uWSF16F.png)
Photo Bob Lampard
[no bio, just photos. part of group photos. only named in photo #2, as "Dany".]
(https://i.imgur.com/rT3HMnl.png)'
Danyel Gérard, première époque, avant la guerre d'Algérie.
Danyel GÉRARD
Gérard Kherlakian, né en 1939.
Après avoir débuté en 1958 chez Barclay en enregistrant du rock'n'roll - D'où reviens-tu Billy boy (paroles de Boris Vian) et Tout l'amour - Danyel Gérard disparaît du paysage pour cause de guerre d'Algérie. En 1961 il revient et enregistre chez Polydor Oh Marie Line, La Leçon de twist et surout Le Petit Gonzalès, en mai 1962, qui devient son premier succès. L'année suivante, sur le label Disc' AZ, il grave Je, Toujours cette guitare et Sugar Shake qui retiennent pleinement les faveurs du public. Il continue sur cette lancée via deux adaptations, l'une de Chuck Berry (Memphis Tennessee) et une autre des Standells (The Shake), qui devient D'accord d'accord. Par la suite il coécrit Fais-la rire pour Hervé Vilard, collabore avec le guitariste Jimmy Page et tient quelques rôles au cinéma, mais ne parvient pas à revenir au premier plan. Une tendance qui s'inverse en 1971 avec ce qui reste à ce jour son plus gros tube, Butterfly. Vendu à plus de onze millions d'exemplaires de par le monde, c'est depuis devenu la signature de l'homme au chapeau.
* Danyel Gérard (double CD, Magic, 1996).
- (via archive.org (https://archive.org/details/lencyclopediedel0000unse_u5c5/))
Kurt Kiermeir (Ludwig Kurt Kiermeir, pseud. "Arno Steinberg"):
Sender Freies Berlin (SFB)
Haus des Rundfunks
Berlin-Charlottenburg 9
Masurenallee 8-14
Fernsehstudio
Berlin-Charlottenburg 9
Reichskanzlerplatz 7-11
Sammelnummer: 92 02 51
[...]
Musik: [...] Unterhaltungsmusik: Kurt Kiermeir.
- (via archive.org (https://archive.org/details/deutsches-buehnen-jahrbuch-1957/))
Knut Kiesewetter (pseud. "Bruno Buege"):
Knut Kiesewetter. * 13.9.1941 in Stettin. Aufgewachsen im Nordseebad St. Peter Ording. Spielte in den 50er Jahren in einer Dixieland-Band Posaune. Sieger eines Jazz-Polls als „bester Jazzsänger Deutschlands“. Gewann in Duisburg bei einem Festival der Amateur-Jazzer. Spielt auch Gitarre, komponiert, textet, moderiert von Zeit zu Zeit die FS-Sendung „Hits a gogo“. Auch als Produzent, Drehbuchautor und Regisseur hervorgetreten. Erfolgreiche Schallplatte: „Komm aus den Federn, Luise“. Daneben viele Jazzaufnahmen mit bekannten Solisten wie Leo Wright, dem Michael-Naura-Quintett, dem Dave-Pike-Set u. a. Produzent: Joachim E. Berendt.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Heinz Kiessling (August Karl Heinz Kiessling, pseud. "Christian Mondstein", "Lanzerot", "Oliver Trevin", "Paul Savel"):
(https://i.imgur.com/hDnBnb1.png)
KIESSLING, Heinz
Casa Kiessling
CH-6911 Arosio
004191/77 12 23
2210 Wilshire Bed., Ste. 134
USA Santa Monica, CA. 90403
001-213/472 62 82
* 11.3.1926 Nürnberg
1946-1949 Studium Konservatorium Nürnberg (Klavier: Nemeskei, Dirigieren: Alfons Dressel); Konzertpianist (int. Musikwettbewer Genf 1949); kompositorische Tätigkeit ab 1950.
Hauptwerke „San Francisco“, Suite (1970), 16 Min.
Orchesterwerk (2,2,2,2-4,3,3,1-2-Harfe-Streicher).
Uraufführung: 1970 Hannover; Verlag: Edition Canzonetta, Berlin; Tonband: RIAS Berlin.
„Pariser Bilderbogen“, Suite (1957), 7 Min.
Orchesterwerk (2,1,2,1-2,2,1,0-2-Akkord., Harfe-Streicher).
Uraufführung: 1958; Verlag: Edition Canzonetta, Berlin; Tonband: ARD (alle Sender).
„For strings only“ (3 moderne Skizzen) (1967), 6 Min.
Orchesterwerk (Violine-Solo u. Streichorchester).
Uraufführung: 1967 München; Verlag: Edition Canzonetta, Berlin; Tonband: SFB, BR (Hans-Georg-Arlt mit BR-Streich.-Orchester).
„Spanische Impressionen“, Concertino f. 2 Klavieren u. Orchester (1967), 6 Min.
Orchesterwerk (2,1,5 Saxophonen,1,0-2,4,4,0-2-Harfe, 2 Klavieren-Streicher).
Uraufführung: 1953 Baden-Baden; Verlag: Edition Modern; Tonband: SWF, BR, WDR, NDR.
(Bemerkung: Kompositionsauftrag des SWF).
„Sebastian“ (1973), 3 Min.
Song (Vokalist u. Orchester).
Uraufführung: 1973 Frankfurt; Verlag: Altus.
sowie: weitere 14 Werke f. gr. u. kl. Orchester; 26 Spielfilm-Musiken; ca. 1200 Einzeltitel; 23 Fernsehspiel-Musiken; 140 Fernseh-Shows (darunter Peter Alexander/Caterian[sic] Valente/Wencke Myhre); „Klimbim“; „Aktenzeichen XY ungelöst“; „Das Traumschiff“ (6 Folgen); „Die himmlischen Töchter“; diverse Arbeiten in Japan, USA (Frank Sinatra), Großbritannien, Frankreich.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
KIESSLING, HEINZ (pseudonym Christian Mondstein) (b. 1926)
Heinz Kiessling was born in Nuremberg, where he studied piano and conducting at the music conservatory from 1946 to 1949. He became a concert pianist and traveled extensively. His interest shifted to jazz, dance and light music, and he began composing in these fields in 1950. He became one of the leading composers of light music and was active in radio broadcasts, recording and later television and film scoring, as composer, arranger and orchestra director.
Kiessling began to collaborate with WERNER TAUTZ in 1960, composing instrumental light music. In 1964 they founded their own record label Brillant-Musik whose first album, Coloured Strings, with arrangements by Kiessling, became internationally famous.
Among his most popular radio compositions are ‘Spanische Impressionen’ (1953), ‘Pariser Bilderbogen’ (1957), ‘For Strings Only’, (1968) and ‘San Francisco Suite’ (1970). In the 1960s, he supervised more than 140 German television shows, which included performers such as Caterina Valente and Peter Alexander. He also produced scores for television and feature films including Casino de Paris (1957), Das Madchen un[sic] der Staatsanwalt (1962) and Romeo und Julia ’70’ (1969). In 1969, he recorded his song ‘In the Shadows of the Moon’ with Frank Sinatra, in Hollywood. In the 1990s, Kiessling worked mainly for German television. He alternated between Germany and Florida.
Select Discography
Coloured Strings Elite SO30015
. SHappy Rallye STEREO 7 S7.016
Compact Discs
Sunny Times Heinz Kiessling and various German Radio Orchestras. Bliss Records BRA 10006
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)
Wojciech Kilar:
Kilar, Wojciech *17. 7. 1932 Lwow, Polen.
Studien: Musikhochschule Katowice (Woytowicz), Conservatoire Paris (N. Boulanger).
Komponist.
Werke: Ballett, 2 Sinfonien, Ode in memoriam B. Bartók, Konzert für 2 Klaviere und Orchester, "Générique" für Orchester, Kantate "Diphtongos", Kompositionen für Kammerensemble, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
KILAR, Wojciech, born 17 July 1932, Lwow, Poland. Composer. Education: Musical Lyceum, Katowice; Diploma in Composition, Higher School of Music, Katowice; studied composition with Nadia Boulanger, Paris. Married Barbara Pomianowska. Career: has appeared in Polish film Artysta (The Artist) & in 2 Polish TV films about his work; has given many newspaper, radio & TV interviews in Poland & abroad. Compositions (publd.): Sonata, 1954; Mala Uwerta (Little Overture), 1955; Oda Bela Bartok in Memoriam, 1958; Riff 62, 1962; Generique, 1965; Solenne, 1967; Upstairs-Downstairs, 1971; Prelude & Christmas Carol, 1972; Krzesany, 1974; music for 30 theatrical pieces. Compositions (recorded) include: II Symphony (with composer as soloist); music scores for 80 Polish films. Honours: Lili Boulanger Mem. Fndn. Prize, 1960; Ministry of Culture Prize, 1967; Cultural Prize of Katowice, 1972; Prizes for Best Polish Film Music of Year, 1970 & 71; Prize for Music, International Film Festival, Cork, Eire, 1973. Hobbies: Bull Fights; Car Driving; Mountains; Travel. Address: Curie-Sklodowskiej 29/m30, Katowice, Poland. International Who's Who in Music (America).
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
WOJCIECH KILAR
b. Poland
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
KILAR WOJCIECH. Lvov (Polonia), '32. Ha studiato a Katowice e Cracovia, perfezionandosi a Parigi e a Darmstat.
Autore di Koscielec per orchestra, '75; Musica da canto, sinfonica, di scena e per films.
KILAR Wojciech, ur. 17 VII 1932 we Lwowie, pol. kompozytor, uczeń B. Woytowicza (komp. i fort.) w PWSM w Katowicach (1955 dyplom z najwyższym odznaczeniem) i PWSM w Krakowie (1955-58 aspirantura w klasie B. Woytowicza). W 1957 brał udział w Wakacyjnych Kursach Nowej Muzyki w Darmstadcie, 1959-60 kształcił się w Paryżu u N. Boulagner (komp.). Jest laureatem wielu nagród, m.in. Fundacji im. Lili Boulanger w Bostonie (1960), Fundacji A. Jrzykowskiego (1983). Dojrzała technicznie i pełna ekspresji twórczość K. początkowo wykazywała wpływ I. Strawińskiego i B. Bartóka, następnie A. Weberna i P. Bouleza. W Herbsttag i Riff K. wprowadził elementy konstrukcyjne muzyki jazzowej. Ok. 1971 w twórczości K. nastąpił zwrot w kierunku swoistego neoprymitywizmu i neofolkloryzmu. - Komp.: Mała uwrtura (1955), I Symfonia na ork. smyczk. (1955), II Symfonia koncertująca na fort. i ork. (1956), Oda »Béla Bartók in memoriam« na skrzypce, instr. blaszane i perk. (1957), Koncert na 2 fort. i perk. (1958), balet Maska czerwonego moru (1960-61, wg. E. A. Poe), Herbsttag na sopran i kwartet smyczk. (1960, wg. R. M. Rilkego), Riff 62 na fort. solo, instr. dęte, 2 grupy instr. perkusyjnych i smyczki (1962), Générique na ork. (1963), Diphtongos na chór i ork. (1964), Springfield Sonnet na ork. (1965), Solenne dla 67 wykonawców (1967), Training 68 na 4 instrumenty (1968), Upstairs-Downstairs na ork. i chór sopranów (1971), Przygrywka i kolęda na 4 oboje i ork. smyczk. (1972), Krzesany na ork. (1975), Bogurodzica na chór i ork. (1975), poemat symf. Kościelec 1909 (1976), Siwa mgła na baryton i ork. (1979), Exodus na sopran, chór i wielką ork. symf. (1981), Victoria na chór i ork. (1983), Angelus na sopran, chór i ork. (1984), Orawa na 15 instr. smyczk. (1986), Preludium na smyczki (1988); muzyka do ponad 100 filmów, m.in. A. Wajdy, K. Zanussiego, F. Coppoli
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
KILAR, Wojcech - Nato a Lwów (Polonia) il 17 luglio 1932. Diploma in piano e composizione, studi di perfezionamento a Parigi e in America. Influenzato da John Cage, si specializza nella composizione di musiche “funzionali” per ogni genere di spettacolo, drammi teatrali, rappresentazioni di marionette, trasmissioni radiofoniche, serie televisive; si dedica inoltre al teatro di balletto e alle composizioni da concerto. È considerato uno dei compositori più interessanti della scuola polacca. Al cinema Kilar si accosta nel 1958, a ventisei anni, incaricato di un commento per un documentario: da allora continua sistematicamente a collaborare al cinema del suo paese, diventando assai richiesto. I risultati migliori sono quelli in cui il compositore ha modo di esprimersi secondo le sue propensioni, che tengono conto della sua formazione e del suo interesse per la musica europea contemporanea. Per poter lavorare in questa dimensione Kilar ha bisogno di film particolarmente “adulti” e impegnati. I commenti di stampo più moderno e drammaturgicamente più efficienti sono quelli per: Milczenie (t.l. II silenzio, 1963, di K. Kutz: l'oscura allusiva atmosfera del racconto è resa da brevi interventi, tocchi drammatici sfioccanti, distribuiti puntillinisticamente tra diversi strumenti); Salto (t.l. II salto, 1965, di T. Konwicki: musica perentoriamente ritmica e sonante di timbri prepotenti nella danza magica cui il titolo si riferisce, e per il resto pianoforte trattato liberamente, come in una improvvisazione); Struktura krysztalu (La struttura del cristallo, 1969); Iluminacja (Illuminazione, 1972); e Spirala (Spirale, 1978), tutti e tre di K. Zanussi, e tutti impostati sulla contrapposizione tra una musica vetrosa e arida e interventi nobilmente effusi. Brevi pagine tenere e intimiste (specie nel pianoforte) ha Czerwone i zlote (Il rosso e l'oro, 1969, di S. Lenartowicz), mentre indulgono al versante spiegatamente romantico, vieux jeu, le partiture di Lokis (1970, di J. Majewski) e di Sól ziemi czarnej (t.l. Il sale della terra nera, 1970, di K. Kutz). Nel 1979 Kilar musica il film tedesco David, di D. Lilienthal, sulla persecuzione degli ebrei da parte del nazismo. Gli anni Ottanta sono caratterizzati dalla collaborazione fra Kilar e il già citato regista Zanussi: fra i due si instaura un vero e proprio fertile sodalizio. Importanti infatti i risultati di: Constans (idem, 1980); Kontrakt (Contratto di matrimonio, 1980); Da un paese lontano - Giovanni Paolo II (1981); Imperativ (idem, 1982); Rok Spokojnego Slonca (L'anno del sole quieto, 1984); Blaubart (Barbablu, 1984); Paradigma (Il potere del male, 1985); Zycie za zycie (Vita per vita - Maximilian Kolbe, 1991); Our God's Brother (Il fratello del nostro Dio 1997); Zycie jako smiertelna choroba przenoszona droga plciowa (La vita come malattia mortale sessualmente trasmissibile, 2000). Tra i film musicati per altri registi, non solo polacchi: Przypadek (t.l. Il caso, 1981) di K. Kieslowski; Korczak (1990, di A. Wajda); Bram Stocker's Dracula (Dracula di Bram Stocker, 1992, di F.F. Coppola: partitura elaborata, con adagi nobili, uso di archi, ritmi martellati, cori); Death and the Maiden (La morte e la fanciulla, 1994, di R. Polanski: commento con musica da camera tenuto in sottordine per lasciare in rilievo il quartetto di Schubert intitolato come il film); The Portrait of a Lady (Ritratto di signora, 1996, di J. Campion: nobili pagine, tema romantico per piano e orchestra, e ancora citazioni schubertiane); Fantôme avec chauffeur (1996, di G. Oury); Tydzién z zycia mezczyzny (Sette giorni nella vita di un uomo, 1999, di J. Stuhr: piano solo, cantate con parole ad hoc); Pan Tadeusz (1999, di A. Wajda); The Ninth Gate (La nona porta, 1999, di R. Polanski: severi movimenti negli archi, uso strumenti singoli, note tenute, risonanze, vocalizzi; The Pianist (Il pianista, 2002, ancora di Polanski: commento discretissimo e doloroso, talvolta affidato al clarinetto solo con sapore di musica klezmer, e ricorso a note pagine pianistiche di Chopin, oltre a Bach e Beethoven).
Reg Kilbey (Reginald Frank J. Kilbey):
NOTE: Non-composer.
Credited as cellist for an LP on Regency Line (https://librarymusicthemes.com/index.php?topic=174.0).
Births Mar 1907
Surname: KILBEY
Given name: REGINALD FRANK J.
District: Edmonton
Volume: 3a
Page: 532
Transcriber: MartinT; TH
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=WgKRAByTRBNL0h6wuVdvOA&scan=1))
Deaths Mar 1982
Surname: KILBEY
Given name: REGINALD FRANK J.
DoB: February 9th, 1907
District: HILLINGDON
Volume: 13
Page: 1065
Transcriber: IPBrown
- (via freebmd.org.uk (https://www.freebmd.org.uk/cgi/information.pl?cite=hdy9Lgp0yEoFmDElSvWhqA&scan=1))
KILBY[sic], REGINALD
Reginald Kilby began his musical career as a cellist and later changed to orchestra conducting. His orchestra, known as the Strings by Starlight Orchestra was formed in 1963 for the performance of light and semipopular music, orchestrated by English arrangers such as Jack Byfield and led by Reginald Leopold.
Select Discography
Nights of Gladness Columbia Studoi TWO 334
Sound of Strings World Record Club ST 974
String Serenade E.M.I. Studio 2 TWO 151
Strings by Starlight CLP 1761 CSD 1552
World's Most Glorious Melodies, Volume 1 EMI STUDIO TWO 181
World's Most Glorious Melodies, Volume 2 EMI STUDIO TWO 276
- (via )
(https://archive.org/details/conductorscompos0000musi/archive.org[/url)
Fritz Killer (pseud. "Fritz Roland", "Hans Riss", "Juan Guapo", "Ricardo Del Monte"):
KILLER Fritz, Kpm.
* 30. 11. 1905 in Wien
† 26. 4. 1983 in Wien
Besuch der Volks- und Bürgerschule sowie des Neuen Wiener Konservatoriums. Seit 1925 als Berufsmusiker und Arrangeur, später auch als Klavierbegleiter tätig; ebensolange als Komponist. Beide Eltern spielten Zither beziehungsweise Klavier. Sein Walzer Mein Wien wurde bei einem Preisausschreiben der Kapellmeister-Union ausgezeichnet. 1980 erhielt er den Ehrenpokal und die Große Wienerlied-Plakette der Vereinigung „Das Wiener Lied“. Er war Ordentliches Mitglied der AKM, Mitglied der Programmprüfungskommissionin der AKM, auch der AU-ME.
Aus seinen Werken, wovon es zahlreiche Funk- und Schallplattenaufnahmen gibt:
Tarantella; Der Zauberer; Im Scheinwerferlicht; Wein-Poesie; Sonntags-Polka; Du bist von A-Z...; Um unseren Stephansturm; Wer ka Herz für d'Musi hat; Kleines Wienrlied; Die Welt lernt jetzt Wienerisch; Favoritner Marsch; Violette; Santa Monika; Die Wärmeflasch'n; Margaretner Tanzerl; Cobenzl Marsch; Mein Defizit.
David H. Kimball (David Hoyt Kimball, pseud. "Peymont")
Born February 22nd, 1916 to mother Harriet (Stockton) Kimball[2] (b. August 30th, 1877 in Westfield, NY[1], d. November 13th, 1950[5]), a painter, and father Maulsby Kimball (Sr.) (b. October 24th, 1874 in Kenosha, WI, d. May 18th, 1958 in Buffalo, NY[20]), a lawyer and violist[19], as the youngest of four siblings.[18][19]
His mother studied at Smith College in Northampton, MA and Albright Art School in Buffalo, NY.[1], and his birth is noted in the Smith Alumnae Quarterly, 1919[1], where the notice is found under the section of alumni of 1899. It's not unlikely that his mother would have relocated to NY at this time - which might also explain why this was not reported earlier.
He enrolled at Harvard in 1934, graduating with an AB (Bachelor of Arts) in 1938.[10] In a notice dated March 1st, 1938 for the Harvard Crimson, he is noted as applying for Chorister of the senior class at Harvard College.[3] A notice in Boston Evening Transcript dated May 27th, 1939 identifies him as a flutist.[17] He then started composition studies at the Curtis Institute of Music in Philadelphia, graduating in 1945.[4][7][8 ]
A June 1946 article in The Philadelphia Inquirer mentions Rosario Scalero (Kimball's teacher at Curtis[13]) retiring back to his home in Aosta, Italy after 27 years of employment at the Curtis Institute. As one of five other Curtis Institute students, Kimball joined Scalero in Italy, continuing his studies with him.[6] Around 1948/1949, Kimball met a then 17-year-old A. Riccardo Luciani, and convinced him to move to Canavese to study under Scalero. Luciani became Scalero's last student, studying under him for three and half years.[13] Scalero died in 1954.
For a June 1962 article written by Kimball for "The London Magazine", the attached bio lists him as "an American composer living in Florence".[14] As of the 1965 Harvard Alumni Directory, he is still listed as residing in Firenze.[10]
In the mid-to-late-60's, he started writing music for Italian libraries, sometimes under the pseudonym "Peymont" - which I would guess is a play on the word "payment". On these library LPs, he often appears alongside A. Riccardo Luciani, who himself had a prolific library output - and I would wager a guess it was through Luciani that Kimball started writing for libraries. He served as performer, too; on one LP for Grand Prix, Kimball is credited as piano soloist as well as composer.
In Oct. 1981, Kimball gifted a score of his compositions to John de Lancie, which eventually ended up back at the Curtis Institute archives as part of the John de Lancie Library. The works were published in Firenze[9], with Kimball presumably still residing there at the time.
Between 1991 and 1998, Kimball was the tutor of Belgian pianist Jozef De Beenhouwer in Firenze.[11][15]
Kimball died May 14th, 2004.[4]
- Biography assembled by me.
Works listed in Catalog of Copyright Entries:
Das alte Kloster (The Old Monastery) (Oct. 12th, 1964) © David Hoyt Kimball[16]
L'alba (Oct. 30th, 1961), words by Arnoldo Pini. © David Hoyt Kimball & Arnoldo Pini[12]
Per un fanciullo morto (Oct. 30th, 1961), words by Arnoldo Pini. © David Hoyt Kimball & Arnoldo Pini[12]
Sieben kleine Klavierstücke (Seven Small Piano Pieces) (Oct. 12th, 1964) © David Hoyt Kimball[16]
Il silenzio (Oct. 30th, 1961), words by Arnoldo Pini. © David Hoyt Kimball & Arnoldo Pini[12]
Sources:
[1] - "Who Was Who in American Art", edited by Peter Hastings Falk (1985), quote:
KIMBALL, Harriet Stockton [Landscape Painter, Portrait Painter] Buffalo, NY/East Aurora, NY
b. 30 Ag 1877, Westfield, NY. Studied: G. W. Bridgman, D.W. Tryon, A. Webster, C.W. Hawthorne, R. Clark; Smith College; Albright Art School, Buffalo. Member: Buffalo Society of Artists; National Association of Women Artists. Exhibited: Buffalo Society of Artists, 1934 (prize) [written c. 1940, compiled from earlier annual]
[2] - "Smith Alumnae Quarterly, Vol. XI, No. I" (November, 1919), section "Class News", under header "1899", p. 74, quote:
The birth has not been previously recorded in the QUARTERLY of David Hoyt Kimball, son of Harriet (Stockton Kimball), on Feb. 22, 1916. Mothers, please note, and report such interesting events promptly.
- (via archive.org (https://archive.org/details/smithalumn1920alum/page/n109/))
[3] - "Senior Class Elections", "The Harvard Crimson", March 1st, 1938, quote:
FOR CHORISTER
(Vote for one)
Sccor Delahay Browne
David Hoyt Kimball
Robert Wells Snyder
Benjamin Welles, 2d
- (via The Harvard Crimson (https://www.thecrimson.com/article/1938/3/1/senior-class-elections-pbelow-is-a/))
[4] - "Overtones", Vol. XXIX, No. 1 (Fall 2004), section "Alumni Notations", p. 30), quote:
David H. Kimball (Composition '45) died on May 14.
- (via archive.org (https://archive.org/details/overtones2002curt/))
[5] - Daily News (New York, NY), November 14, 1950, quote:
MRS. HARRIET S. KIMBALL
Buffalo, Nov. 13 (JP).
Mrs. Harriet Stockton Kimball, 73, an artist and a collector of paintings and antiques, died tonight. Her work, particularly portraits, had been exhibited in many parts of the country.
- (via newspapers.com (https://www.newspapers.com/newspage/450522055/))
[6] - "The Philadelphia Inquirer", June 18th, 1946, p. 2, quote:
Scalero Returns To Italian Castle
Special to The Inquirer ROME, June 17.
Rosario Scalero, director' of the composition department of the Curtis Institute of Music, Philadelphia, for the last 27 years until his recent retirement, has returned to his home high in the mountains of the Province of Aosta, to devote his time to musical composition. When his retirement was announced, six of his most promising students refused to study under any one else. Scalero finally agreed to bring them to his home. Castello di Monte Trutto, untouched by the ravages of war. During the eight years he spent in America his castle became the home and headquarters of an American general when the Allied armies entered Italy. The General and his staff will be replaced by Maricarol Hanson, 22, and David Kimball, 30, music students. Four others will Join Scalero and his 27-year-old wife later In the summer.
- (via newspapers.com (https://www.newspapers.com/newspage/171452454/))
[7] - "Graduates of The Curtis Institute of Music, 1924-1974", "Overtones: Fiftieth Anniversary Issue", Volume XI, Number I (October 1, 1974), c. p. 102, quote:
Kimball, David - Composition - '45
- (via archive.org (https://archive.org/details/overtonesfiftiet1974curt/page/n104)
[8 ] - "The Curtis Institute of Music Twelfth Commencement and Conferring of Degrees" (May 12th, 1945), p. 5.
- (via https://archive.org/details/recitalprograms4245curt/page/n264]archive.org (http://))
[9] - "John de Lancie Library", Curtis Institute of Music, October 1981:
- (via roc.curtis.edu (https://roc.curtis.edu/record=b1056228~S7)
[10] - "Harvard Alumni Directory", Harvard University (1965), quote:
Kimball, David Hoyt, c/o American Express Co., Florence, Italy, c34-38 AB; g38-39
[11] - "Cultureel evenement 3 mei 2013", Camiel De Ranter (March 4th, 2013), quote:
[...] Een andere belangrijke invloed op Jozef De Beenhouwer was David Kimball, bij wie hij tussen 1991 en 1998 in Firenze privé-onderricht volgde.
- (via kuleuven.be (https://www.kuleuven.be/emeritiforum/em/Forumgesprekken/2012-2013/030513/30513))
[12] - "Catalog of Copyright Entries, Third Series, Volume 15, Part 5 A, Number 2: Published Music (July-December 1961)" (1961), p. 1073, 1442, 1497:
- (via archive.org (https://archive.org/details/catalogofcopyrig3155libr/)
[13] - "Firenze e la musica italiana del secondo Novecento", Eleonora Negri/Renzo Cresti (2004), quotes:
Compositore e didatta, David Hoyt Kimball fu tra i più fedeli allievi di Scalero, formatosi sotto la sua guida insieme a Samuel Barber, Giancarlo Menotti e Nino Rota al Curtis Institute di Philadelphia.
[...]
Luciani decide da adolescente di dedicarsi alla musiac e un incontro con il compositore statunitense David Kimball lo spinge, diciassattenne, a trasferirsi nel Canavese per divenire - dopo Bernstein, Barber, Menotti e Rota - l'ultimo allievo della scuola di Rosario Scalero, che dopo aver insegnato Contrappunto a Fuga al Curtis Institute di Philadelphia si era ritirato nel castello di Montestrutto a Settimo, nei pressi di Ivrea. Nei tre anni e mezzo di studi con Scalero Luciani approfondisce lo studio e la pratica del contrappunto, ripresi anche sotto la guida di Lupa [...]
[14] - "The London Magazine" Volume 2 No. 3 (June 1962), edited by Alan Ross, p. 96, quote:
DAVID HOYT KIMBALL is an American composer who lives in Florence. He has published other articles in Italian magazines.
[15] - "Jozef de Beenhouwer", AP Hogeschool Antwerpen (undated), quote:
In 1975 behaalde hij er het Hoger Diploma voor piano [...] In de negentiger jaren vervolmaakte hij zich in Firenze bij David Kimball.
- (via archive.org (https://web.archive.org/web/20221001122852/https://www.ap.be/persoon/jozef-de-beenhouwer))
[16] - "Catalog of Copyright Entries, Third Series, Volume 18, Part 5, Number 2: Music (July-December 1964)" (1967), p. 1261, 1751:
- (via archive.org (https://archive.org/details/catalogofcopy19643185libr/)
[17] - "Light and Serious", "Boston Evening Transcript", Saturday May 27, 1939, quote:
[...] Below, at the left, is Claude Jean Chiasson, harpsichordist, who will present a concert of old music with David Hoyt Kimball, flutist, at Gore Place, Waltham, next Thursday afternoon.
- (Boston Symphony Orchestra Archives, via archive.org (https://archive.org/details/pres-56-scrapbooks-reel-036-vol-065-066-1939-1940/))
[18] - "Emily KIMBALL Obituary", "The Buffalo News", Oct. 6, 2009, quote:
[...] She was the daughter of Maulsby Kimball, a founder of the Park School and Harriet Stockton Kimball. She is pre-deceased by her brothers, Stockton Kimball, Maulsby Kimball Jr. and David Kimball.
- (via legacy.com (https://www.legacy.com/us/obituaries/buffalonews/name/emily-kimball-obituary?id=4725778).
[19] - "Maulsby Kimball at Eighty", Maulsby Kimball, Summer 1984, quote:
[...] My mother was a very artistic person and a very good painter in oils. My father was a lawyer whose loves were playing quartettes, where he was a violist, and collecting paintings.
NOTE: Maulsby mentions he was born in 1904 and refers to himself as a "second born", and his sister Emily was born in 1909 according to her obituary, making Stockton the oldest sibling and David the youngest.
- (via anthroposophy.org (https://anthroposophy.org/maulsby-kimball-at-eighty/))
[20] - "Maulsby Kimball", Find a Grave, 2020
- (via findagrave.com (https://www.findagrave.com/memorial/210673420/maulsby-kimball))
Dietmar Kindler (Dietmar Horst Kindler, pseud. "Hilmar Dötsch", "Horst Bredow", "Lou Teti", "Paolo Palermo"):
KINDLER, Dietmar
Kirchweg 16c
5064 Forsbach
02205/14 25
* 20.7.1935 Breslau
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Martin King (Martin Brian King):
(https://i.imgur.com/REWSmlA.png)
Martin King
Martin joined the band Test Dept in 1991 as a drummer and percussionist touring extensively in Europe and the USA. When he wasn't on the road Martin performed and organised rave and dance events in a variety of venues including a castle in Portugal, halfway up Mount Etna and in the hull of a ship on the Baltic Sea. Last year he was invited to complete a tour of the USA with the American industrial outfit Pigface fronted by Martin Atkins (Killing Joke/PIL). He co-wrote and produced three albums for Test Dept (The Legacy, Totality and Tactics For Evolution) and has remixed artists such as Trigger (featuring George Michael), David Devant and Sheep On Drugs. A solo album written and produced under the name Sub-Genius is being released this year. He is also producing Jenny B (Bellestars ) as well as the debut solo album from the American singer/songwriter, Meg Lee Chin.
- (by kind courtesy of Moon Monkey - thanks!)
Reginald King (pseud. "Al Stevens", "Rex Andrews"):
(https://i.imgur.com/wn6tm9J.png)
KING, REGINALD.
Composer and arranger. b. Hampstead, 5th October, 1904. Best known for arrangements of popular classics, etc. Started composing piano pieces at seven. Later won scholarships for piano and composition at the Royal Academy of Music. Was elected an associate of the Royal Academy in 1936. Has made records for various gramophone companies, including H.M.V. Appeared as soloist at the Queen's Hall Promenade Concerts on several occasions. Among compositions best known to the public are "Song of Paradise" and the orchestral caprica, "Summer Breezes." More amibitious works include a fantasy for piano and orchestra, which has had many performances on the concert platform, a violin sonata, piano sonata, and two books of preludes.
- (via archive.org (https://archive.org/details/radiowhoswho00andr/))
Brit. Pubs Look Over Irish Sheet Music Sales Possibilities
Dublin, Jan. 16.
British sheet music publishers are showing increased interest in the Irish market and are scanning possible methods of upping sales. At present Eire is near the bottom of the list as a sheet music buyer.
[...]
Reginald King, director of Peter Maurice's light music catalogue, has also been over to talk with young Irish composers about putting their work across in Britain. King, hwo directs his own sextext[sic], also a guest shot from Radio Eireann in Hospitals' Trust sponsored hour.
- (via archive.org (https://archive.org/details/variety169-1948-01/))
Paddy Kingsland (Patrick Kingsland, pseud. "James Brooke"):
[...]
(https://i.imgur.com/L77dEdo.png)
PADDY KINGSLAND
Paddy's career commenced in 1972 composing electronic music at the BBC Radiophonic Workshop. His preference for combining the best elements of acoustic and electronic sounds led to many commissions including incidental music for Doctor Who, Horizon, The Hitchhikers Guide to the Galaxy and title music for Man Alive Debate, Newsday, Your Life in Their Hands and Medical Express . Paddy has three commercial albums to his credit - Fourth Dimension (BBC) Swag (EMI) and Supercharged (EMI). He has worked freelance for the past three years and, operating from his own studio, has composed for many varied productions for Channel 4, TVS, Thames TV, BBC TV as well as for advertising agencies and production companies.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/1fPfV1g.png)
PADDY KINGSLAND
Paddy Kingsland began writing music for Radio and T.V. at the BBC Radiophonic Workshop, including Play for Today, Words and Pictures, Horizon, Your Life In Their Hands and The Hitch Hiker's Guide to the Galaxy. He also wrote incidental music for many episodes of Dr Who, but is not quite old enough to have written the famous theme tune!
Since leaving the BBC his work has i ncluded music for THe World About Us, Forty Minutes, Women of Our Time, Fragile Earth, Bookmark, The Road to War and Michael Palin's Around the World in 80 Days, for which he received a BAFTA nomination in 1989.
Recent discs: The Effects Machine, Street Life
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/zIDGmko.png)
Paddy Kingsland
Paddy began writing music at the BBC Radiophonic Workshop on productions ranging from Horizon to Dr. Who, as well as the radio and TV versions of The Hitchhiker's Guide to the Galaxy. Since then he has composed music for TV documentaries including The World About Us, The War In Korea, Lights Camera Action!, the Making Of The Trials Of Life, Pole to Pole, The Great Sell Off, The Yellow River, The Road To War, The Power And The Glory, Legendary Trails, Island Race, Predators with Gabby Roslyn, Big Cats, Cuddly Sharks, Animal Communication and The New Jerusalem amongst others. His music for Michael Palin's Around The World in 80 Days received a BAFTA nomination. Paddy's work for childrens/educational TV includes Watch, The Changes, Storytime, Words and Pictures, Rat-a-Tat-Tat and The Number Crew. He has composed eight albums of music for the KPM library.
- (by kind courtesy of Moon Monkey - thanks!)
Gershon Kingsley (né Götz Gustav Ksinski, pseud. "Gerry Globus", "Helmut Mutig"):
Kingsley, Gershon (Österreich.Israel-USA, 1922)
- (via archive.org (https://archive.org/details/emr-2-3/))
KINGSLEY, Gershon, born 28 Oct. 1928, Bochum, Westfalia, Germany. Composer; Conductor. Education: Jerusalem Conservatory; Bachelor of Music; L.A. Conservatory of Music & the Arts; Postgraduate work at Juilliard & Columbia, N.Y. Married Sheila Benow, 2 daughters. Debut: Carnegie Hall, 1970. Career: Founder of First Moog Quartet; Performance with major symphony orchestras USA; Major networks, TV, Broadway conductor, Robert Joffreyy Ballet, etc. Compositions: What is Man - God & Abraham (a Musical Confrontation), Bourne Music Publishers; Concerto Moogo, & PopCorn, ibid; Sabbath for Today, Kingsley Sound. Recordings: In Sound From Way Out, Vanguard; PopCorn (Musicor, Polydor, Audio Fidely, etc.); The First Moog Quartet (Audio Fidelity). Contributor to ASCAP magazine; Collier Encyclopedia. Memberships: ASCAP; GEMA. Honours: Awards from ASCAP; Emmy Award, Clio, Hollywood TV Commercial Cine, 1970; Lion D, or[sic] Venice Film Festival, 1970. Hobbies: Hiking; Swimming; Tennis. Address: 150 W 55, N.Y., NY 10019 USA.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
KINGSLEY, Gershon
Arabellastr. 5/205
8000 München 81
089/923 22 05
New York City
N.Y. 100 19
150 West 55th Street
581/2686
* 28.10.1922 Bochum
Komponist, Dirigent.
Elektronisch Musik u. a. Gebrauchmusik (Film, Fernsehen, Theater u. Schallplatten).
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Bob Kingston (Robert Charles Kingston, pseud. "Barry White", "Kenneth Charles"):
GERMANY
[...]
Conventions and exhibits heads up the news this week. [...] The Southern Music Publishing group also held a convention from May 8-10 in Zurich, Switzerland. In attendance were [...] Mr. and Mrs. Bob Kingston and Dennis Berry from London[...]
- (via archive.org (https://archive.org/details/cashbox22unse_34/))
PEER
AND
SOUTHERN
ORGANIZATION
IN EUROPE
[...]
GREAT BRITAIN SOUTHERN MUSIC PUBLISHING COMPANY LTD.
LATIN AMERICAN MUSIC PUBLISHING COMPANY LTD.
MERIDIAN MUSIC PUBLISHING COMPANY LTD.
IVER RECORDING COMPANY LTD.
MOST MUSIC PUBLISHING COMPANY LTD.
MONIQUE MUSIC LTD.
Manager: Robert C. Kingston
8 Denmark Street
London W.C. 2-England
[...]
- (via archive.org (https://archive.org/details/cashbox22unse_45/))
Peer Southern Sets MIDEM Meet
LOS ANGELES - The Peer-Southern Organization will hold a European directors conference in Cannes in conjunction with MIDEM. Areas of discussion will cover PSO's "Spark" label operations and coordination of international publishing activities.
In addition to Mrs. Monique I. Peer, those attending will include Mario Conti (N.Y.), Bob Kingston and Marjorie Murray (London), Michael Karnstedt (Hamburg), Fernande Fay (Paris), Manuel Salinger and Pepine Moysi (Barcelona), Yolanda Barta (Madrid), Peter Van Epen and Han Dunk (Amsterdam) and Alberto Carisch (Milan).
- (via archive.org (https://archive.org/details/rw-1976-01-24/))
Tony Kinsey (Cyril Anthony Kinsey):
KINSEY, Tony, born 11 Oct. 1930, Sutton Coldfield, UK. Percussionist; Composer; Band Leader. Education: Study of percussion with Bill West & Bill Russo, USA. Married Patricia Doreen, 1 daughter. Career: With Johnny Dankworth Orchestra, Oscar Peterson, Sarah Vaughan, Ella Fitzgerald; Own orchestra, 1953-; Music Director, That's Life TV show. Various compositions publd. Recordings for Decca, EMI. Honours: Top Small Band, Musical Express Poll. Hobby: Golf. Address: 5 The Pennards, Sunbury on Thames, Midd'x, UK.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
(https://i.imgur.com/zkZPslW.png)
TONY KINSEY
As a well-known drummer, Tony has played with many top jazz artistes including Oscar Peterson, Ella Fitzgerald, Lena Horne and Sarah Vaughn, and for many years has worked closely with John Dankworth. He has written the music for over 100 TV shows and been musical-director for 'Thats Life', 'The John Bird Show', and 'Birds Eye View'. He has written two musicals - 'Lillywhite Boys' (directed by Lindsay Anderson) and 'Wham Bam Thank You Ma'am' (book and lyrics by Marty Feldman). In addition, Tony has released many albums, notably 'River Thames Suite' (Spotlight Records) and composed for many documentary and feature films. His commercial jingles include Tide, Danish Bacon, Mothercare, Dulux, Lloyds Bank and Kellogg's Rice Krispies.
- (via Moon Monkey's excellent "The Library Catalogue Thread (UK Edition)" (https://librarymusicthemes.com/index.php?topic=8268.0) - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/tj8Lfsu.png)
TONY KINSEY
As a well-known drummer, Tony has played with many top jazz artistes, including Oscar Peterson, Ella Fitzgerald, Lena Horne and Sarah Vaughn, and for many years has worked closely with John Dankworth. He has written the music for over 100 TV shows and been musical-director for That's Life, The John Bird Show , and Birds Eye View . He has written two musicals - Lillywhite Boys (directed by Linsay Anderson) and Wham Bam Thank You Ma'am (book and lyrics by Marty Feldman). In addition, Tony has released many albums, notably River Thames Suite (Spotlight Records) and composed for many documentary and feature films. His commercial jingles include Tide, Danish Bacon, Mothercare, Dulux, Lloys Bank and Kellogg's Rice Krispies. He has recently composed the music for Will o' the Wisp (BBC) and the film On the Bridge . Tony is currently running the Kinsey/Dankworth big band.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
[...]
(https://i.imgur.com/zPm1CMW.png)
TONY KINSEY
As one of Britain's top jazz musicians, Tony has worked with Oscar Peterson, Ella Fitzgerald, Lena Horne and Sarah Vaughn, and for many years has worked closely with John Dawnkworth. He has written the music for over 100 TV shows and been musical-director for That's Life, The John Bird Show, and Birds Eye View. He has written two musicals - Lillywhite Boys (directed by Lindsay Anderson) and Wham Bam Thank You Ma'am (book and lyrics by Marty Feldman). In addition, Tony has released many albums, notably River Thames Suite (Spotlight Records) and composed for many documentary and feature films. His jingles include Tide, Danish Bacon, Mothercare, Dulux, Lloyds Bank and Kellogg's Rice Krispies. He has recently composed the music for Will o' the Wisp and Knots Landing (both BBC) and Wimpole Village (ITV) as well as the films Life at the Limit, A Tribute to Her Majesty and Colour, which won the Gold Award at Montreux.
- (by kind courtesy of Moon Monkey - thanks!)
KPM COMPOSERS
(https://i.imgur.com/khK2ZdB.png)
TONY KINSEY
Tony Kinsey has a multi-faceted musical background, in addition to being one of Britain's top jazz musicians, having worked with Oscar Peterson, Ella Fitzgerald, Sarah Vaughan, Lena Horne and many more, he is an experience composer in all fields of applied and concert music. He has been composer/musical director for a number of TV series including, That's Life, John Bird Show, Will-O-The-Wisp, Wimpole Village, and, most recently, The Castle of Adventure an eight part drama series for TVS. He has also written scores for two musicals, The Lily White Boys directed by Lindsey Anderson and Wham Bam Thank You Mam - book by Marty Feldman, Tony has many jingle credits including Babycharm, Mothercare, Dulux, Lloyds Bank and Kelloggs Rice Crispies. His film credits include Life at the Limit, Tribute to her Majesty, On the Bridge, and the highly acclaimed feature film, Souvenir.
Recent discs: Classic Lines
- (by kind courtesy of Moon Monkey - thanks!)
(https://i.imgur.com/vUfjbm0.png)
Tony Kinsey
Tony has long been regarded as one of Britain's finest drummers and composers. He was a founder member of the John Dankworth Seven and has played for many of the jazz greats including Billie Holiday, Ella Fitzgerald, Sarah Vaughan and Oscar Peterson. As a composer, Tony wrote the score for the film 'Souvenir', and for three years composed for the television programme 'That's Life', working with such lyricists as Herbie Kretzmer and Tim Rice. He has written for several television series including 'Castle of Adventure' and a wide variety of commercials. Amongst his many credits is the documentary 'Colour' which won a gold award at the Montreux Television. Tony is a prolific writer for the library and and his compositions have featured in such films as 'The Bodyguard' and 'True Lies' and the television programmes 'Wildlife On One' and 'The Oprah Winfrey Show'. Compositions recently completed include the vocal score for a musical drama entitled, 'The Weaver of Ravelo', based on the George Elliot novel Silas Marner.
- (by kind courtesy of Moon Monkey - thanks!)
Basil Kirchin (pseud. "Phil Kaye"):
Kirchin, Basil (1927-2005)
English composer and jazz drummer. Born in Blackpool, Lancashire, he played in leading British big bands and with his own groups from his early teens before turning to composing film scores in the 1960s and 70s. He later composed and recorded music that combined conventional instrumentation with the sounds of birds, animals and children.
The Shuttered Room 67. Assignment K 68. Negatives 68. The Strange Affair 68. I Start Counting 69. Freelance 71. The Abominable Dr Phibes 71. The Mutations 74, etc.
- (via archive.org (https://archive.org/details/halliwellswhoswh0000hall_m2c8/))
KIRCHIN, Basil Born: Blackpool, Lancashire, 8 August 1927
drums/composer
Son of drummer-leader Ivor Kirchin. Did first regular playing in his father's band, then joined Harry Roy (spring 1946). Left later that year to work with father's band at the Lyceum Ballroom, London. Left Ivor's band in late 1948 to lead sextet at Paramount, Tottenham Court Road, London, until early 1949. With Teddy FOster (1949-50), Jack Nathan (1950-1), then spent three months with Ted Heath (1951). Rejoined Teddy Foster (September 1951) but left to front Ivor's band while Ivor recovered from car crash injuries (December 1951). Led his own band at Ritz, Manchester (1952), then did 21 month residency at Edinburgh Palais. Co-led Kirchin's Band (with Ivor) from 1954 until Ivor dropped out in June 1957. Accompanied various visiting American stars including Billy Eckstine and Sarah Vaughan. Led band for summer season in Isle of Man (1958). Travelled to India. Briefly toured USA and worked in Australia for eighteen months (mainly as musical director at the Pigalle in Sydney, also toured for promoter Lee Gordon). Returned to Britain, led octet for residency at the Samson and Hercules Ballroom, Norwich (1961). Wrote scores for films and television. Lived for a while in the USA before settling in Switzerland. Moved back to Britain in October 1978, then returned to Switzerland before settling in East Yorkshire where he was mainly actve as a composer during the 1990s. The Kirching Band 1952-7, a discography by Tony Middleton, was published in 1996.
- (via archive.org (https://archive.org/details/whoswhoofbritish0000chil/))
KIRCHIN, Basil - Musicista inglese, nato nel 1928. Scrive fra l'altro la musica per Primitive London (Questo è il mondo delle donne, 1965, di A.L. Miller); The Shuttered Room (La porta sbarrata, 1967, di D. Greene); Assignment K (Superspia K, 1968, di V. Guest); A Strange Affair (Uno sporco imbroglio, 1968, di D. Greene); Negatives (1970, di P. Medak); The Abonimable Dr. Phibes (L'abominevole Dr. Phibes, 1971, di R. Fuest); I Start Counting (1969, di D. Greene); The Mutations (1973, di J. Cardiff).
Joe Kirsten (Joachim Kirsten, pseud. "Burt Flat", "Enrico Vallarta"):
Kirsten, Joe *15. 12. 1936 Sebnitz/Sachsen.
Studium in Hamburg.
Komponist, Texter, Arrangeur in Hamburg.
Werke: Unterhaltungsmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Wolfgang Kischka (pseud. "Eugen Trams"):
WEST GERMANY '79
Mass Media Personnel
Radio • Television • Press
[...]
MR. WOLFGANG KISCHKA
c/o WDR
Abt. Tansmusik[sic]
Am Hof 20-26
Carlton Hotel
5000 Koln 1
- (via worldradiohistory.com (https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1979/CB-1979-04-07.pdf))
Leon Klatzkin:
Klatzkin, Leon, composer, conductor, arranger; b. New York, NY, June 19, 1914. ASCAP 1952. Comp., con., arr. for Hal Roach, 8 years; also for other film cos. incl. 20th Century Fox.
- (via archive.org (https://archive.org/details/ascapbiographica00amer/))
Werner Kleine (pseud. "Michael Helbig"):
Komponist Kleine, Werner, 8033 Planegg, Egenhofenstraße 18
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Kleine, Werner
Castrop-Rauxel, 1. Dezember 1907 - München, 26. November 1980.
Dr. phil. 1934, Komponist und Musikschriftsteller in München; bis 1933 Mitarbeiter des Kabaretts "Die 4 Nachrichter", 1934-37 Kapellmeister der Münchner Kammerspiele und Regieassistent der Bayer. Staatstheater München, 1938-45 Abteilungsleiter Unterhaltung, zunächst stellv., bei der RRG (Deutschlandsender) in Berlin, später - Stand 1939 - Referent Wort in der Abt. Unterhaltung des Deutschlandsenders.
1945-53 Theaterleiter in Halle; 1953-64 Redakteur für Unterhaltungsmusik beim NDWR/WDR Köln, 1965-72 Abteilungsleiter für gehobene Unterhaltungsmusik beim BR München und in Planegg wohnhaft.
Werke: U-Musik, so die Orchestersuite "Westfälische Bauernhochzeit" (1941); Lieder und Texte, Kabarettsongs; Libretti, Romane und Gedichte.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Lothar Klören (pseud. "Nils Daxson"):
(https://i.imgur.com/rGnkcle.png)
KLOEREN, Lothar
Ps: Daxson
Sandberger Str. 5
7000 Stuttgart 1
0711/24 63 97
* 2.7.1928 Berlin
1943 Musikerziehung; Städt. Orchester Reutlingen (Flöte, Klavier, Musiktheorie); 1944 Studium a. d. Staatl. Musikhochschule Stuttgart (Flöte, Klavier, Tonsatz); nach Kriegsende Wiederaufnahme des Studiums 1946-1949 Staatl. Musikhochschule Stuttgart (Klarinette, Klavier, Tonsatz); seit 1957 Freier Mitarbeiter am SDR als Komponist, Arrangeur u. Instrumentalist; 1970 Mitbegründer Musikverlag u. Musikproduktion „Edition Orix“ Stuttgart.
Hauptwerke „Tocopilla“ (1967), 3 Min. 20"
Mambo Baion (5 Flöten, 4 Trompeten, 2 Posaunen, Marimbaphon, Baß, Klavier, Perc.).
Verlag: Rewa, Stuttgart; Tonband: SDR, SWF, NDR (Orchester Lothar Kloeren).
„Hey Molly“ (1972), 2 Min. 8"
Happy-Dix (3 Saxophonen, 2 Trompeten, 1 Posaune, Klavier, Gitarre, Baß, Drums u. Perc.).
Verlag: Edition Orix; Schallplatte: Ed. Orix Nr. 1007 (Orchester Happy Company).
„In Petto“ (1976), 2 Min. 10"
Swing (5 Saxophonen, 4 Trompeten, 4 Posaunen, 4 Rhythm.).
Verlag: Ed. Orix; Schallplatte: Ed. Orix Nr. 1011 (Dieter Reith Combo); Tonband: SDR (B-Nr. 20-29 174).
„Mister Wendelin“ (1981), 2 Min. 40"
Dixieland (Combo).
Verlag: Ed. Orix; Schallplatte: Ed. Orix Nr. 1015 (Mister Wendelins Dixie Band).
„Kleiner Musikant“ (1982), 2 Min. 50"
Walzer (2 Klarinetten, 2 Trompeten, Tenor-Horn, Bariton, Glockenspiel, Tuba, Schlagwerk).
Ms. Tonband: : SDR (B-Nr. 20-36 174), Günther Leimstoll und seine Stgt. Volksmusikanten).
sowie: mehr als 200 Titel, darunter Werbemusik für Rundfunk u. Fernsehen (Volksmusik, Swing, Dixie, Rock u. Latin-Titel für die ARD-Anstalten.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Scott Kluesner (Scott L. Kluesener, pseud. "DJ Rectangle"):
SCOTT KLUESNER
Scott Kluesner is a composer, producer and DJ who lives and works in Los Angeles. In 1993 Scott won the DMC US DJ Championship and has toured world wide as DJ Rectangle. He has performed on numerous TV shows including Soul Train, MTV, David Letterman and the Billboard Awards. He has also worked with countless major rap and R 'n' B artists including two world tours with Warren G.
Scott is continuing to work on numerous new solo projects, the latest of which have been very successful.
Jacques Kluger (Jacob Kluger, pseud. "Jos Dams", "Van Aleda"):
KLUGER, JACQUES, 1912-
[...]
- (via archive.org (https://archive.org/details/catalogofcopyrig3105li/))
GERMANY
[...]
Conventions and exhibits heads up the news this week. [...] The Southern Music Publishing group also held a convention from May 8-10 in Zurich, Switzerland. In attendance were [...] Jacques Kluger and Felix Faceq[sic] from Brussels, Belgium[...]
- (via archive.org (https://archive.org/details/cashbox22unse_34/))
PEER
AND
SOUTHERN
ORGANIZATION
IN EUROPE
[...]
BELGIUM SOUTHERN MUSIC (BELGIUM) S.A.
Managers: Jacques Kluger-Felix Faecq
13 Rue de la Madeleine
Brussels-Belgium
[...]
- (via archive.org (https://archive.org/details/cashbox22unse_45/))
KLUGER Jack. Leider
Antwerpenaar. Vormde in 1932 de fameuze 'Collegians', waarin de alomgekende broeders Witjes optraden. In 1939 stelde hij het orkest 'The Pintonians' samen, naam afgeleid van de klarinettist Maurice Pinto. Bezetting: Jack Kluger, leider; Gun Finley, piano; John Kluger, drums; René Goldstein, bas; Lauderic Caton, gitaar; Omer De Cock, tenorsax; Maurice Pinto, klarinet; Harry Bart, Klarinet; Johnny Claes, trompet; Louis De Haes, trompet.
De formatie trad af en toe op voor het N.I.R. en verbaasde iedereen door de geraffineerde arrangementen van pianist Gun Finley, hun nonchalante, zwiepende swingstijl en het improvisatietalent van de solisten. Ongetwijfeld was dit de beste kleine Belgische jazzband, die het dichtst de speelwijze van de [Afro-Amerikaanse jazzmusici] evenaarde. Het orkest was vermaard tot ver over onze grenzen. Kluger trad ook op onder de naam Jay Clever en met een gewijzigde bezetting werden er van deze formatie in 1951 de laatste opnamen gemaakt. Daarna werde de band ontbonden. Jack Kluger vormde dan samen met Felix Faecq een platenfirme en muziekuitgeverij. Kluger werde ook manager en talentenjager en vele van onze zangers en zangeressen hebben aan hem hun internationale reputatie te danken. Kluger ging regelmatig met komposities van Belgen naar de U.S.A. O.a. lanceerde hij er Joe Heyne's 'Kleine Wals', waarvan niet minder dan 800 verschillende opnamen werden gemaakt. In 1939-1940 namen de 'Pintonians' voor de merken Jazz-Club en Decca enkele zeer goede platen op, waaronder 'Doctor Jazz' - 'Blue Lou' - 'Back in your arms'' enz. Jack Kluger overleed in 1963. In 1968 werd op de Vlaamse TV een uitzending aan hem gewijd, in het programma 'Biografie'. In deze uitzending werd echter te weinig aandacht besteed aan Kluger's verdiensten voor de jazzmuziek.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Jean Kluger (Jean Joseph Kluger, pseud. "Jean Rolle", "Tony Perdone"):
Directory of IMIC-2 Registrants
[...]
JEAN KLUGER
Editions Bleu Blanc Rouge
Paris, France
- (via archive.org (https://archive.org/details/musicindustrymar0000unse/))
Alfred Klutentreter (pseud. "Alfred Kluten", "Friedrich Sehl", "Jan Wolgan", "Norbert Condar", "Oskar Vieten", "Toni Kantenwein"):
KLUTEN, ALFRED
(1913- )
Alfred Kluten was born on June 30, 1913 in Halle an der Salle, Germany. After studying music in his home town, he was a military musician (1934-1945). Since 1949, he has worked as a free-lance composer and arranger of music for films and radio.
Reference
Suppan, Das Neue Lexikon des Blasmusikwesens.
[contains list of works]
- (via archive.org (https://archive.org/details/heritageencyclop0001rehr_z6l5/))
Charlie Knegtel (Karel Pieter L. Knegtel):
KNEGTEL Charly. Trompet
Duffel 1926. Trad op in Spanje en Griekenland. Komposities: 'Calling Car Boogie' - 'Gumme Gun', enz.
Speelde bij Francis Bay, Franky Dahn, Ivon De Bie, Johnny Kay, Willy Rockin, Jack Sels ehz. Werkte op de B.R.T. bij Fernand Terby en Etienne Verschuerend.
Overleden in 1979.
- (via archive.org (https://archive.org/details/deswingperiode190000grae/))
Jürgen Knieper:
KNIEPER, Jurgen - Nato a Karlsruhe (Germania) il 15 marzo 1941. Studia matematica e musica a Berlino; pianista precoce, si dedica alla composizione di musica di scena per vari teatri tedeschi, radiodrammi, programmi e serie televisive. Dal 1974 è direttore musicale del teatro Tribuna di Berlino. Insegna al Conservatorio. Lo introduce nel cinema il regista Wim Wenders, che a partire dal 1970 lo vorrà spesso al suo fianco; lavora anche per H. Sanders-Brahms, H.W. Geissendörfer e altri. In genere il suo stile classico-romantico agli inizi si sviluppa in interventi che ripensano la tradizione ma arrivano a movimenti informali, astratti, mettendo così in confronto il mélo come nostalgia dell'anima con un “realismo” spoglio, sottolineato anche dall'uso del rock. Caratteri che si rilevano anche nella musica dei film di Wenders: Die Angst des Tormanns beim Elfmeter (Prima del calcio di rigore, 1970); Der Scharlach rote Buchstabe (t.l. La lettera scarlatta, 1972); Falsche Bewegung (Falso movimento, 1974: premio “Bundesfilmpreis” 1974); Im Lauf der Zeit (Nel corso del tempo, 1975); Der amerikanische Freund (L'amico americano, 1977); Der Stand der Dinge (Lo stato delle cose, 1982: solcato di musica pop e con statiche atmosfere elettroniche); Der Himmel über Berlin (Il cielo sopra Berlino, 1987: uso quartettistico degli archi, impiego interessante della voce femminile e ricorso a suoni metallici, informali); Lisbon Story (idem, 1994: tutto trapuntato dalle canzoni del gruppo portoghese “Madredeus”, per cui il “commento” originale di Knieper si riduce a una lenta melodia per archi). Risultati interessanti per altri registi: Deutschland bleiche Mutter (Germania pallida madre, 1979, di H. Sanders-Brahms); il film per la TV di W. Schaefer e P.F. Steinbach, Kalte Heimat (1981); Christiane F - Wir Kinder vom Bahnhof Zoo (Cristiana F. - Noi ragazzi dello Zoo di Berlino, 1981, di U. Edel); Menschen wie aus Glass (1981); Der Zauberberg (La montagna incantata, 1982, di H.W. Geissendörfer: una vera e propria sinfonia in otto movimenti, tributaria dello stile di Bernard Herrmann); Ediths Tagebuch (Il diario di Edith, 1983, di H.W. Geissendörfer: contrasto fra musiche romantiche preesistenti e suoni stridenti del sintetizzatore); Flügen und Fesseln (1984, di H. Sanders-Brahms); River's Edge (I ragazzi del fiume, 1986, di T. Hunter); Geteilte Liebe (1988, di H. Sanders-Brahms); Etoile (1989, di P. Del Monte: musica basata su due temi abbandonatamente romantici ma, come al solito, alternati ad atmosfere informali ed astratte; Exposure (Arte mortale, 1993, di W. Salles). Insieme a Peer Raben e a Nicolas Economu, Knieper è l'interprete più efficace della lacerata Germania degli anni Ottanta. Nel 1990 si apre una “stagione irlandese” con December Bride (idem, di T. O'Sullivan: carattere sinfonico a grande orchestra, con un po' di folklore e uso di tastiere), e con End of the Night (Aspettando la notte, 1990, di K. McNally); una breve parentesi italiana è la musica per La bionda (1993, di S. Rubini); poi il musicista torna al cinema tedesco con: Gudrun (1992, di H. W. Geissendörfer), Der lange Atem der Liebe (1994, di M. von Trotta, musica in collaborazione con M. Rosenberg), Das Leben ist eine Baustelle (1997, di W. Becker), Tuvalu (1999, di V. Helmer: poemetto fantastico senza dialogo). Knieper lavora anche per la televisione.
Erland von Koch:
von KOCH, Erland
Born in Stockholm on 26th April 1910, son of Sigurd von Koch. He studied at the Stockholm Conservatory 1931-1935, graduating as organist and choirmaster. He then studied abroad 1936-1938: composition under Paul Höffer, conducting under Clemens Kraus and the piano under Claudio arrau (Germany and France). In Sweden he also studied conducting with Tor Mann. He was on the teaching staff of Karl Wohlfart's School of Music (1939-1945). Between 1943 and 1945 he worked at Swedish Radio as a sound expert and resident conductor. He was a teacher of harmony at the State Academy of Music, Stockholm, 1953-1975, becoming Professor in 1968 and Member of the Royal Academy of Music in 1957. Administrative appointment include the chairmanship of the concert organization Fylkingen 1946-1948, service on the committee of the Society of Swedish Composers 1947-1963. von Koch has received several distinctions over the years: the Christ Johnson Prize 1958, the Royal Vasa Order 1967, Litteris et artibus 1979, the Atterberg PRize 1979 and the Alfvén Prize 1981.
Erland von Koch is one of the most versatile Swedish composers. His fulfilment and renewal of the popular music tradition have earned him a special position within his generation. He has written five symphonies (No. 5 "Lapponica"), 12 Scandinavian Dances, the Impulsi and Oxberg trilogies for orchestra, the children's opera Pelle Svanslös, five ballets, songs, psalms, hymns and (For Ingmar Bergman) film music. He has also been affiliated to three foreign publishing firms, among them Breitkopf & Härtel.
The music of Erland von Koch is borne up by a pleasing and abundant inspiration. A long succession of concertos (12 in all) for solo instruments and orchestra bear witness to his faith in pure musicianship. They range in character from a cheerfully conversational tone between soloist and orchestra to greater and supremely evocative tensions. He has also composed several solo works, above all those entitles Monologues - ingeniously executed studies of the capacity and expressive range of individual instruments. In his chamber music (six string quartets) a fresh, sometimes burlesque lustre converges with a sensitive and lyrical artistry. "My aim is a simple, straight-forward melodic style, which I sometmies like to connect with folk music, and a firm, rhythmic profile. I like my harmony to be uncomplicated. The older you get, the more you come to realise the importance of melody." These are his own words and a succinct appraisal of his achievement as a composer.
- H-G P
- (via archive.org (https://archive.org/details/swedishcomposers0000jaco/))
KOCH (VON), Erland - Nato a Stoccolma il 26 aprile 1910. Appartenente ad una famiglia di musicisti. Studia al Conservatorio di Stoccolma, si perfeziona in Francia e in Germania (composizione, pianoforte, direzione d'orchestra). Si dedica in seguito alla composizione, alla concertazione e all'insegnamento. Vastissima la sua produzione, che spazia in tutti i generi: teatro, sinfonie, ouvertures, concerti, serenate, suites, danze, pezzi per strumenti solisti, quartetti. Attivo anche con musiche di scena per spettacoli teatrali e per la televisione (ha musicato anche una serie di film avventurosi realizzati dalla TV americana). Al cinema Von Koch si avvicina nel 1945 chiamato da Ingmar Bergman, che era stato suo compagno di scuola; Bergman, che debutta in quell'anno come regista cinematografico, affida all'amico musicista la colonna sonora del suo primo film, Kris (t.l. Crisi), confermandolo nei successivi fino a Fangelse (La prigione, 1948). Per Bergman, Von Koch offre supporti musicali contenuti e di tono neo-romantico, specialmente affidati all'uso degli archi asciuttamente melanconici, in linea con il tono desolato delle prime vicende bergmaniane, con gli ambienti squallidi e con i personaggi sofferenti e destinati alla sconfitta: Det regnar pa var karlek (Piove sul nostro amore, 1946); Musik I morker (Musica nel buio, 1947); Skepp till India Land (t.l. Battello per le Indie, 1947); Hamnstad (Città nella nebbia, 1948: fitto dialogare di archi con acidule punteggiature di strumenti a fiato); Fangelse (La prigione, 1948: per lungo tempo senza musica, il film annovera interventi di colore grigio, sconfortato ma nutrito di elementi di inquietutine e di soluzione sospesa). Oltre che per Bergman, Von Koch ha lavorato anche per H. Faustman, H. Ekman, A. Kjelling, A. Suchsdorf e altri, ottenendo risultati sempre puntuali. Particolarmente riusciti i commenti di När Ängarna Blommar (t.l. Quando i campi sono in fiore, 1946, di H. Faustman: musica pudica e sommessa, anche nei momenti che solitamente si prestano a soluzioni d'effetto) e di Flicka och Hyacinter (t.l. La ragazza e i giacinti, 1950, di H. Ekman: interventi di un romanticismo contenuto e doloroso).
Edmund Kötscher (pseud. "M. Calligos", "Mario Mariani"):
Verstorbene Mitglieder
[...]
KÖTSCHER, Edmund † 15. 1.1990
Berin
Kötscher, Edmund
Berlin, 17. April 1909 - Berlin, 15. Januar 1990.
Geiger und Komponist in Berlin, Schüler von Max Strub und G. Kulenkampff, Dirigent, so im Deutschlandsender und für die Schallplatte, auch mit eignem Tanz- und Unterhaltungsorchester. 1940 zur Wehrmacht einberufen, 1942 als PK-Sonderführer Dirigent am dt. Soldatensender Belgrad.
Nach 1945 wieder in Berlin, später i. R. in Ruhpolding, zuletzt abermals in Berlin.
Werke: U-Musik, so Tänze - einschließlich Swing - und Schlager; Filmmusik; Lieder, so 1938 "Das ist Musik für mich" (T: A. Flessburg), und Liedbearbeitungen.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Vassil Kojucharov (pseud. "Vasco"):
VASCO – pseudonimo di Vassil Kojucharov - Nato a Sofia (Bulgaria) il 15 febbraio 1937. Attivo in Italia durante la stagione degli spaghetti-western, solitamente in coppia con Elsio Mancuso. Tra i suoi film 5 per l'inferno (1968, di G. Parolini/J. Eastwood); Ad uno ad uno… spietatamente (1968, di R. Romero Marchent); Una lunga fila di croci (1968, di S. Garrone/W.S. Regan); Sono Sartana il vostro becchino (1969, di G. Carnimeo); Dio perdoni la mia pistola (1969, di M. Gariazzo/J. Walker e L. Savona); Django il bastardo (1969, di S. Garrone); Spara Jo… e così sia!!! (1972, di E.P. Miraglia/H. Brady); e altri.
Christian Kolonovits:
A biography and interview with Kolonovits can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1993/05/christian-kolonovits.html).
Benedykt Konowalski (Benedykt Wojciech Konowalski, pseud. "Tomasz Norton"):
KONOWALSKI, Benedykt Wojciech, born 21 Mar. 1928, Radom, Poland. Composer; Conductor. Education: State HS of Music, Warsaw; Master of Arts, University of Warsaw. Married Danuta Wanatouicz, 2 daughters. Debut; 1952. Career: Conductor for radio, theatre, TV, film, arts ensembles; currently Professor, HS of Music, Warsaw. Compositions include: symphonic works, songs, musicals, film scores, stage music, light music. Recordings: with vocal & instrumental groups for Polish & French labels. Member: Polish Composers' Union. Honours: Laureate & Prize, Ministry of National Defense, 1966 & 70; Stanislaw Wiechowicz Prize, 1968; Polish Conductors 20th Cent. Prize, Central Union of Workes, 1969. Hobby: Caravan Touring. Address: Angorske str. 8/16, 03-913 Warsaw, Poland.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
KONOWALSKI Benedykt, ur. 21 III 1928 w Radomiu, pol. kompozytor i dyrygent, uczeń J. Maklakiewicza i T. Szeligowskiego (komp.) oraz S. Wisłockiego (dyryg.) w PSWM w Warszawie, od 1966 wykładowca AM tamże (od 1987 prof.). - Ważniejsze komp.: oratorium Nike Varsoviensis (1981), utwory ork., m.in. koncerty na flet (1987) i altówkę (1991), kamer., org., utwory dla dzieci.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Nathan Korb (pseud. "Francis Lemarque"):
(https://i.imgur.com/KMKgrdS.png)
Francis LEMARQUE
Nathan Korb, né en 1917.
Un des plus dignes représentants de la chanson du Paris populaire. Excellent parolier, mélodiste heureux, il a été si souvent chanté par les autres qu'on en a parfois oublié l'interprète chaleureux qu'il est également. Fils d'émigrés juifs d'Europe de l'Est, de son vrai nom Nathan Korb, il a grandi dans le quartier de la Bastille, à l'époque où le Balajo et les autres bals «popu» étaient fréquentés par un monde interlope de voyous, de prostituées et de profos en goguette. De cette enfance, également marquée par les vieux refrains yiddish que lui chantait sa mère, il garde une double appartenance qui enrichira son style, à la fois très «parigo» et cosmopolite.
Lemarque, sympathisant communiste, fréquente le groupe Octobre et rencontre Jacques Prévert. C'est grâce à lui qu'en 1946 il est présenté à Yves Montand, qui devient son principal interprète et fera de Marjolaine, À Paris et tant d'autres, de mémorables classiques. Également chanté par Mouloudji et Gréco, Lemarque signe quelques succès personnels (Le Petit Condonnier, le pacifiste Quand un soldat ou Le Temps du muguet, adapté du folklore russe). Il publie son autobiographie J'ai la mémoire qui chante en 1992 et participe à la grande «Anthologie de la chanson française» (EPM), enregistrée en 1993-1994 dans son studio de La Varenne-Saint-Hilaire. En décembre 1996, il est honoré par ses pairs lors de deux belles soirées organisées par le Centre de la chanson au Forum des Halles à Paris.
* Francis chante Lemarque (EPM, 1992).]
- (via archive.org (https://archive.org/details/lencyclopediedel0000unse_u5c5/))
NATHAN KORB
Naissance 25.11.1917
Paris 11e Arrondissement (75111), France (FRA)
Décès 20.04.2002
Saint-Maur-des-Fossés (94068), France (FRA)
- (via matchID (https://deces.matchid.io/id/jQ-2rsTbDMBK))
LEMARQUE, Francis – pseudonimo di Nathan Kolb - Nato a Parigi il 25 novembre 1917 da genitori ebrei, ivi morto il 20 aprile 2002. Dopo aver esercitato diversi mestieri, si dedicò alla composizione e all'esecuzione di canzoni, diventando uno degli chansonnier più amati dal pubblico francese. Autore di motivi celebri come A Paris, Ma douce vale, Marjolaine, Le temps du muguet, ha collaborato con J. Prévert, J. Greco, H. Salvador, J. Ferrat, M. Mathieu, S. Reggiani. Attivo per il teatro, per la TV e per il cinema dagli anni ‘50. Tra le sue partiture per film, talvolta composte in collaborazione con Michel Legrand o con altri, quelle per il regista Gilles Granger: Les vieux de la vieille (Gli allegri veterani, 1960), La cave se rebiffe (Il re dei falsari, 1961), Le gentleman d'Epson (Il re delle corse, 1962), Maigret voit rouge (Maigret e i gangsters, 1963), L'homme à la Buick (1967). È attivo inoltre, fra l'altro, per La grande vie (1951, di Henri Schneider); L'air de Paris (Aria di Parigi, 1954, di M. Carné), Terrain vague (Gioventù nuda, 1960, di M. Carné), Cause toujours mon lapin (Sventole manette… e femmine, 1961, di G. Lefranc), Playtime (Play Time, 1967, di J. Tati); La voie (1967, di M.S. Riad), Les peupliers de la Prétentaine (1975, di J. Herman).
Andrzej Korzyński (Andrzej Waldemar Korzyński, pseud. "Andrzej Spol"):
ANDRZEJ KORZYNSKI
b. Poland
- (via archive.org (https://archive.org/details/filmcomposersgui0000unse_f3e6/))
KORZYŃSKI Andrzej, ur. 2 III 1940 w Warszawie, pol. kompozytor i aranżer, absolwent PWSM w Warszawie. W 1964 założył radiowy zespół »Ricercar 64«. Od 1963 pisze piosenki (Żółte kaldendarze, Motylem jestem), od 1967 komponuje głównie muzykę film. W 1975 założył zespół »Arp Life«. Jest autorem mikroopery radiowej Klucz.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
KORZYNSKI, Andrzej - Musicista polacco. Il suo nome si è fatto conoscere in Occidente soprattutto per le colonne sonore approntate per film dei compatrioti A. Wajda e A. Zulawski. Per il primo: Wszystko na sprzedaz (Tutto in vendita, 1968); Polowanie na muchy (Caccia alle mosche, 1969); Brzezina (Il bosco di betulle, 1970: pagine sinfoniche con impiego di voci e improvvisazioni al pianoforte, molto intense); Czlowiek z marmuru (L'uomo di marmo, 1977: uso allusivo di inni, canzoni popolari, rock e risonanze elettroniche); Czlowiek z zelaza (L'uomo di ferro, 1981). Per A. Zulawski: Piesn triumfujacej milosci (t.l. Il canto dell'amore trionfante, 1967); la serie TV Pavoncello (1967); Trzecia czesc Nocy (La terza parte della notte, 1971); Diabel (Il diavolo, 1972); Possession (idem, 1981); Na srebrnym globie (Sul globo d'argento, 1987); Mes nuits sont plus belles que vos jours (Le mie notti sono più belle dei vostri giorni, 1989); Szamanka (La sciamana, 1997: ritmi elettronici e pesanti percussioni); La fidelité (2000). Film di altri registi: per E. Zebrovski Ocalenie (t.l; Il saluto, 1973); per A. Kotkowski Olimpiada 40 (t.l. Olimpiadi 1940, 1980).
Roland Kovac (pseud. "Bob Elger", "Eda Terberg", "Gus Fraya", "John Gatsby", "Jules Robin", "Luis Meguel", "Pierre Tissin", "Pietro Leguani", "Roland Rosenfeld", "Roly Kova"):
KOVAC, Roland (Rasputin), born 7 Nov. 1927, Vienna, Austria. Composer; Arranger; Conductor; Publisher. Education: Academy of Music & University, Vienna; Ph.D.; private studies. Married 1) Liliane Leissner, 2) Kalina Maloyer, 2 sons, 1 daughter. Career: Conductor, Radio Berlin, 1960-62; Freelance Producer, 1962-; Owner, publishing c o. Maya Music. Compositions include: Concertino for Combo & Sinf. Orchestra; Prelude & Fugue for Jazz Orchestra; Concerto Grosso; Passacaglia I & II; Suite Moderne, 3 movements; Space Station, a trip to Mars, in 17 movements; N.Y. Trip, 10 movements; Abschied der Gaukler, Baller Music; Concierto Espagnolo, 3 movements. Various compositions for films, TV, commercials, Radio; Theme music, backgroun dmusic, songs, etc. Recordings include: Bob Elger's Pop Slop; Easy Trumpet/Good Time; Soft Piano, R. Kovac & Strings; Rhythm on the Rocks, Roland Kovac Trio & Percussion; Modern Cartoon Sounds, Bob Elger & Roland Kovac on Key Instruments; Rhythm & Strings, vol. I, Orchestra Roland Kovac; The Master Said/Birth of a Saint, Roland Kovac New Set. Address: Casa al re dei, Venti[sic], CH-6922 Morcote, Switzerland.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
(https://i.imgur.com/PeSwHqE.png)
KOVAČ, Dr. Roland
Casa Roda
CH - 6911 Carabietta
* 17.11.1927 Wien
Komponist, Dirigent, Arrangeur, Pianist, Produzent u. Verleger
Geh. Unterhaltungsmusik, Sinfonik, Jazzmusik, Ballettmusik, Film- Fernseh-, Schallplatte- u. Rundfunk-Musik, Songs, Popmusik.
- (via archive.org (https://archive.org/details/komponistenderge0000unse/))
Boris Kovačič:
Several golden records and many million copies of "Oberkreiner" music have been won and sold in the last few years. This enchanting music, originating in the Alpine regions, has been popular and very much loved for a long time. The Slovenian groups have played an important part in this kind of music making. Boris Kovacic has been leading one of these groups for quite a while and we are proud to present this authentic version, slightly coloured by his individual style, in our new series "Simple Melody".
Boris Kovacic is one of the prominent composers in this field, and also one of the most interesting. In the simple melodic and rhythmical lines of a waltz or a polka, Boris seeks always new possibilities and introduces into the old idiom new sounds and new approaches. Nowadays the specific sound of the music of Boris Kovacic has already become famous. In his native Yugoslavia his hits have been leading in the charts for months and months. [...]
Seweryn Krajewski (Sebastian Seweryn Krajewski):
KRAJEWSKI Seweryn, ur. 3 I 1947 w Noewj Soli, pol. kompozytor i piosenkraz. Debiutował 1965 w zespole »Czerwone Gitary«, którym kierował od 1970. W późniejszym okresie nawiązał współpracę z A. Osiecką; piosenka Niech żyje bal w interpretacji M. Rodowicz otrzymała nagrodę na festiwalu towarzyszącym olimpiadzie w Los Angeles (1984). Pisze też piosenki z. J. Cyganem, M. Czapińską i in. K. jest autorem musicalu Gwaltu, co się dzieje wg komedii A. Fredry, tworzy także muzykę teatr. i filmową.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Raoul Kraushaar (pseud. "Ralph Stanley"):
KRAUSHAAR, Raoul - Nato a Parigi il 20 agosto 1908, morto a Pompano Beach (Florida) il 13 ottobre 2001. Studi alla Columbia University, poi studi musicali. Si dedica subito al cinema, sistemandosi ad Hollywood dove per molti anni, durante il “muto”, è assistente del compositore Hugo Riesenfeld per la compilazione e l'esecuzione (in orchestra attiva durante la proiezione) di partiture per film molto noti. Con il sonoro Kraushaar passa alla United Artists e ad altre Case come assistente dei rispettivi dipartimenti musicali, assumendo più tardi la direzione di quello della “Republic”. Dal 1947 a tutti gli anni '50 firma numerose partiture originali per il cinema e per la TV, quasi sempre senza dar prova di un talento personale. Si ricordano semmai, tra i suoi film: The Blue Gardenia (Gardenia blu, 1952, di F. Lang); Marry Me Again (Il bisbetico domato, 1953, di F. Tashlin); The Forty Niners (Un killer per lo sceriffo, 1954, di T. Carr); The Magnificent Matador (Il grande matador, 1955, di B. Boetticher); The Black Whip (La banda della Frusta Nera, 1956), Ride a Violent Mile (L'agguato delle cinque spie, 1957) e Blood Arrow (La freccia di fuoco, 1958) tutti e tre di C. Marquis Warren; Island of Lost Women (L'isola delle vergini, 1958, di F. Tuttle); Frontier Rangers (Guerra indiana, 1959) e Fury River (La valanga sul fiume, 1959) entrambi di J. Tourneur. Autore anche della musica di popolari telefilm e serie TV come Lassie, Gli intoccabili, Il fuggitivo.
Mischa Krausz (Michael W. Krausz):
A biography and interview with Krausz can be found on Bas Tukker's excellent "All Conductors of Eurovision" blog, here (https://all-conductors-of-eurovision.blogspot.com/1996/05/mischa-krausz.html).
Gregoire Krettly (Gregoire Elie Krettly, pseud. "Gérard Calvi"):
CALVI, Gérard - pseudonimo di Grégoire Krettly - Nato a Parigi il 27 luglio 1922. “Prix de Rome” per la composizione, scrive musica per il teatro, per complessi comico-musicali, balletti, un'opera buffa su testo di Ionesco. In cinema predilige le vicende brillanti, e lavora volentieri con R. Dhéry e con Christian-Jaque. Buone le partiture per film avventuroso-ironici come Barbe Bleue (Barbablù, 1951, di Christian-Jaque) e La tulipe noir (Il tulipano nero, 1964, ancora dello stesso regista), nonché per pellicole dichiaratamente comiche con Louis De Funès. Due grosse occasioni che danno rilievo alla musica brillante di Calvi sono En compagnie de Max Linder (1963, di Maud Linder: antologia dei film muti del grande attore comico); e Astérix le gaulois (Asterix il gallico, 1967, di R. Goscinny e A. Uderzo: lungometraggio a disegni animati). Altri titoli: Le viager (Il vitalizio, 1972, di P. Tchernia); A la guerre comme à la guerre (Le eccitanti guerre di Adeline, 1972, di B. Borderie); Les gaspards (Cari amici miei…, 1973, di P. Tchernia: brillante strumentazione e ricorso spiritoso a citazioni classiche e operistiche); Bonjour l'angoisse (1990, di P. Tchernia).
GREGOIRE ELIE KRETTLY
Naissance 26.07.1922
Paris 14e Arrondissement (75114), France (FRA)
Décès 20.02.2015
Paris 16e Arrondissement (75116), France (FRA)
- (via matchID (https://deces.matchid.io/id/nU0IZvuKefZW))
Karel Krautgartner (pseud. "Karel Kolmar", "Karl Gartner", "Karl Kraut"):
KRAUTGARTNER Karel, conductor, composer, leader of jazz orchestra at the ORF (Austrian Broadcasting Company)
born Mikulov/Czech., July 20, 1922
son of Josef K.
married Elena K., solo-dancer in Deutsche- and Nationaltheater, Prague
address: Mayerhofgasse 2a/11, A-1040 Wien
education: high school; Academy and Conservatory of Music in Brno, Prague and Leipzig (piano, saxophone, clarinet); compositions, arrangements, band-leader, conductor
career: 1937 leader of his student orchestra (Brno); 1945 leader of Dixie-Club Combo (Brno); 1946 saxophone-section-leader in the big band of Karel Vlach and main arranger of the band; 1956 own combo (Prague); broadcasting, TV, movies, theater productions and concert tours; 1958 (member of the Group Studio 5, first progressive jazz group; 1960 foundation of dance- and jazz-orchestra Prague Broadcasting, later called Das Orchester Karel Krautgartner; concert-tours all over the world (World Fair Montreal); records, TV; since 1962 lecturer at the Academy of Music, seminary for jazz and dance music; left Czech. 1968; since 1969 leader of his orchestra at the Vienna ORF; compositions; Neonen (for jazz orchestra), Studenten-Suite (jazz-o., 5 parts) music for films, arrangements, instrumentation, etc.
publication: Arrangements for jazz-orchestra, Prague, SKLHU 1960
recreation: model railways, travelling.
- (via archive.org (https://archive.org/details/whoswhoinartslit0000unse/))
KRAUTGARTNER Karel, Prof., Dirigent
* 20. 7. 1922 in Nikolsburg/Südmähren
† 20. 9. 1982 in Köln/BRD
Gymnasium in Lundenburg und Brünn mit Matura, Musikstudium am Konservatorium in Brünn, ferner in Leipzig und Prag. Musiker (Altsaxophon, Klarinette, Klavier) ab 1940, Arrangeur, Komponist und vielfach Bandleader. Ab 1945 beim Orchester Karel Vlach in Prag, 1956 gründete er sein eigenes Quintett beziehungsweise Sextett; 1959 trat er mit seiner Dixieland-Band bei Jugendfestspielen in Wien auf; im Prager Rundfunk war er mit dem „Jazz in Studio Fife-Quintett“ zu hören. Ab 1960 Chef des Tanzorchesters des Tschechoslowakischen Rundfunks, mit dem er auf zahlreichen Jazz-Festivals in Erscheinung trat. Ab 1968 Dirigent beim ORF in Wien, 1970-1976 künstlerischer Leiter der ORF-Big-Band, mit der er ungezählte Funk- und Schallplattenproduktionen machte. Er sah seine Aufgabe vornehmlich in der Aufnahme von modernen Unterhaltungsmusikwerken lebender österreichischer Komponisten, wobei er ein weltweit konkurrenzfähiges Niveau erreichte (die Aufnahmen sin fixer Bestandteil der Ö3-Sendereihe „Musik zum träumen“). Wegen seiner Verdienste um die österreichisch Unterhaltungsmusik erhielt er den Professor-Titel durch den Bundespräsidenten. Er war Gastdozent an der Rheinischen Musikhochschule Köln und schrieb ein Buch über Jazzorchester-Instrumentation. 1967 erhielt er den Staatspreis „Verdiente Künstler“ der ČSSR. Seine Werke sind bei AU-ME und AKM, deren Ordentliches Mitglied er auch war, gemeldet.
Er schrieb Tanz- und Unterhaltungsmusik, Film- und Theatermusik.
Aus seinen Werken
Salute to the Band; Studenten-Suite; Neonen; Saturn 5; Telefon Nr. 242412; Endstation Sehnsucht; Refugium; Theme for N.T.P.; Im Regen; Nueva Rosita; Parking Rumba; Prager Serenade; La Jota Mexicana; Radars über der Stadt; Pour Thérèse; Barbados; California Boogie; Big Band Holiday; Lady El; Mister Christians Blues; Piper Song; Sound made in Austria (Signation); Atrium Blues.
Heinz Kretzschmar (pseud. "Percy Blane"):
Adressenänderungen
[...]
KRETZSCHMAR, Heinz
Beethovenstraße 43
5060 Bergisch-Gladbach 1
022 04 /653 28
Peter Kreuder (pseud. "Adam Solecki", "Peter Pan"):
Komponist Kreuder, Peter, 8 München 82, Sperberstraße 57
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Kreuder, Peter *18. 8. 1905 Aachen.
Studium: Akademie München.
Komponist.
Werke: Operetten und Musicals, Unterhaltungsmusik, zahlreiche Filmmusik, Autobiographie "Schön war die Zeit" (1955).
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Kreuder, Peter (geb. 18. 8. 1905 Aachen - gest. 28. 6. 1981 Salzburg)
Kreuder war der Sohn eines Kammersängers aus Köln, schon mit sechs Jahren spielte er, als musikalisches Wunderkind geboren, unter Leitung von Hermann Abendroth im Kölner Gürzenich das »Kleine A-Dur Konzert« von Mozart. An der Münchner Akademie der Tonkunst studierte er Musik. Außerdem arbeitete Kreuder als Korrepetitor an der Oper und als Pianist und Kapellmeister beim Stummfilm, im Kabarett und in Nachtlokalen. 1941 erfolgte die Uraufführung seiner Oper »Lips« in der Stockholmer Oper. Kreuder schrieb etwa 190 Filmmusiken.
- (via archive.org (https://archive.org/details/filmmusikimdritt0000voge/))
KREUDER, Peter - Nato nel 1905 ad Aachen, in Germania, morto a Salisburgo il 28 giugno 1981. Pianista e compositore, autore di un numero enorme di canzoni (è stato uno dei maggiori compositori di canzoni in lingua tedesca), nonché di operette e spettacoli musicali. Ha lavorato intensamente anche per il cinema del suo Paese, prima della guerra e – dopo un lungo esilio volontario – dopo il conflitto. Per il regista W. Forst ha musicato alcuni film di successo: Mazurka (Mazurca tragica, 1935), Allotria (Allegria, 1936), Burgtheater (L'ultima passione, 1936), Serenade (L'ombra dell'altra, 1937). Fra le altre partiture, spesso per film interpretati dalla soubrette Marika Rökk: Peter Voss der Milionendieb (Peter Voss, il ladro dei milioni, 1930, di E.A. Dupont); Gasparone (1937, di G. Jacoby: dall'omonima operetta di Carl Millöker, con “numeri” all'americana – tip tap – e un ballo moderno sulla musica dello Schiaccianoci di Ciaikovskij); Eine Nacht im Mai (Una notte d'incanto, 1938, di G. Jacoby); Weisse Sklaven (L'incrociatore Sebastopoli, 1938, di K. Anton); Opernball (Ballo all'Opera, 1939, di G. von Bolvary: dall'operetta di Richard Heuberger); Hallo Janine (Una ragazza indiavolata, 1939, di G. von Boese); Kora Terry (idem, 1940, di G. Jacoby); Traummusik (Ritorno, 1940, film di coproduzione italo-tedesca di G. von Bolvary: musica in collaborazione con Riccardo Zandonai); Das Stahltier (1940, di W. Zielke: documentario sul treno con una eccezionale musica imitativa); Wiener Geschichten (1941, di G. von Bolvary); Die Gattin (La figlia di Eva, 1943, di G. Jacoby); Es lebe die Liebe (La figlia di Eva, 1944, di E. Engel); Ihr erstes Rendez-vous (1955, di A. von Ambesser); Hilfe - Sie liebt Mich (1956, di F. Capp).
Kreuder, Peter
Aachen, 18. August 1905 - Salzburg (A), 28. Juni 1981.
Schüler von F. Busoni, Dirigent und Komponist, 1937-39 Musikdirektor der Bayerischen Staatsoperette, dann freischaffend für Bühne und Film.
Seit Mai 1945 bis zur Sperrung durch die US-Besatzungsbehörde im Herbst Leiter des Sinfonieorchesters Bad Aussee, das sich aus Resten des Reichs-Bruckner-Orchesters St. Florian rekrutierte. Hier verschaffte er sich di österr. Staasbürgerschaft und siedelte dann nach Buenor Aires über.
1946-55 in argentinischen Diensten, vom Diktator General Perón zum Prof. h. c. und Staatl. Musikdirektor ernannt.
Dann wieder in der BRD und u. a. - Stand 1963 - Leiter der Bühnenmusik im Großen Haus (Musical) des Stadttheaters Düsseldorf. Träger des Schwedischen Gustav-Wasa-Ordens und des Bayerischen Verdienstordens.
Werke: U. a. populäre Schlager, so "Ich wollt, ich wär ein Huhn" aus "Glückskinder" (Ufa, Uraufführung: 19/IX/36; Prädikat: Künstlerisch wertvoll), Für eine Nacht voller Seligkeit" aus "Kora Terry" (Ufa, Uraufführung: 1940) und "Im Leben geht alles vorüber" aus "Alotria" (Uraufführung: 1940); Filmmusik, so zu "Capriolen", Regie G. Gründgens (Uraufführung: 10/VIII/37), "Hallo Janine", Lustspiel unter Künstlern in Paris (Uraufführung: 1/VII/39), "Wasser für Canitoga" (1939), "Traummusik", Künstlerstück um Sänger und Komponisten zwischen Rom, Mailand und Budapest, zus. mit R. Zandonai und Frank Fux (Uraufführung: 25/X/40); Musik zu "Frackkomödie" von Fritz Schiefert (Wien, 1939); "Franzi", Operette (Dresden, 1940).
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Hermann Krome (pseud. "Fred Ralph", "Hans Berger", "Hermann Lustig", "James Huntley", "Marriot", "Tosta", "Werner Altmann"):
Krome, Hermann
Berlin, 27. Mai 1888 - Baden-Baden, 22. Juli 1955.
Komponist in Berlin, 1923 Hauskomponist des Kabaretts "Schall und Rauch", bis 1932 auch noch Theaterkapellmeister, sowie Volksliedforscher; 1930-34 Inhaber des Charivari-Verlages; 1950 mit Wohnsitz Groß-Glienicke bei Kladow, später Berlin-Wilmersdorf.
Werker auch unter Pseudonym Fred Ralph und James Huntley: U-Musik, darunter Revuen, Operetten, Kabarettmusik, Charakterstücke, Tänze (Foxtrotts) und Lieder, Stimmungspotpourris, Konzertstücke für Salonorchester.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Zoë Kronberger (Zoë Esther Kronberger, form. De Souza):
Zoë Kronberger was born in the UK in 1952 into a scientific and musical family with Central European roots. From an early age Zoë would improvise with her father on the piano around Bach fugues, most of which he played from memory. Apart from piano lessons until she was fourteen, this was probably the most formal musical education she received.
From then on Zoë sang in her school choir, where she became accustomed to the music of Britten, Handel, Kodály, Fauré, Bach and Mendelssohn among others. During that samep eriod in the 1960's, she fell in love with Jazz, Blues and Pop. In a house used to Bach, Brahms, Mahler, Gershwin, Bartók and Bernstein, there was now competition from Miles Davis, Motown and the Beach Boys!
In the mid 70's, Zoë worked as a pianist/arranged in Jazz-Rock, Funk, and Pop music in London studios. By 1980 she had started to compose production music, and contributed towards several albums. In 1985 she began to write in a more classical genre. This led to an Anglia Survival Special TV film in 1987.
Zoë's first solo production music CD, Creations was recorded in 1988. This was followed by The Enchanted Garden, which consisted mainly of string quartets. Then came Creations 2 in 1993. This new project Liaisons is her fourth solo CD.
Zoë's life is spent between France and London. She also works as a painter and has exhibited in Paris, with work in private collections in London and Paris.
M. C. Krüger (Max Carl Krüger):
Krüger, M. C. (=Max Carl)
Berlin, 23. August 1893 - Berlin, 4. November 1982.
Komponist und Textdichter in Berlin-Charlottenburg.
Nach 1945 weiterhin in Berlin, zuletzt i. R.
Werke, bis 1971 zumeist zus. mit Erich Hanschmann: U-Musik und Schlager, so "Veronika, dein roter Mund", Paso doble.
[...]
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Walter Kubiczeck:
Kubiczek, Walter (Deutschland DDR, 1931?)
- (via archive.org (https://archive.org/details/emr-2-3/))
Kubiczek, Walter *7. 10. 1931 Berlin.
Komponist, tätig bei Radio DDR.
Werke: Unterhaltungsmusik, Filmmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
1984
[...]
25. Mai Der Kunstpreis der DDR wird verliehen an Peter Brähmig, Christoph Funke, Bernd Göbel, Annemone Haase, Hartmut Haenchen, Wolfgang Hellmich, Barbara Henniger, Joachim John, Ekkehard Kiesewetter, Bernd Köllinger, Hans Krause, Walter Kubiczeck, Wolfgang Peuker, Alejandro Quintana, Horst Sakulowski, Barbara Schulze-Plensat, Lore Tappe, Rudolf Weisheit, Hans-Jürgen Wenzel, Gestalterkollektiv des Fernsehfilms »Martin Luther« (Erich Gusko, Heide Hess, Harald Horn, Hans Kohlus, Ulrich Thein, Kurt Veth).
[...]
Kubiczeck, Walter (geb. 1931) 5/84
- (via archive.org (https://archive.org/details/unserekulturddrz0000unse/))
[...] Auf der Bühne neben den Musikinterpreten TV-Prominenz wie der Kommentator Karl Eduard von Schnitzler (1918-2001, „Der schwarze Kanal“), Unterhaltungskomponist Walter Kubiczek (1931-2009, „Kofferradio-Boogie“), einige Redakteure und Funktionäre sowie ein Fred Trautsch vom Ministerium für Staatssicherheit [...]
- (via archive.org (https://archive.org/details/diestasiswingtni0000schm/))
Václav Kučera:
Kućera, Václav (Československo, 1929)
- (via archive.org (https://archive.org/details/emr-2-3/))
KUCERA, Vaclav, born 29 Apr. 1929, Czechoslovakia. Composer; Musicologist. Education: University Carolina, Prague, 1948-51; State Conservatory, Moscow, 1951-56; Doctor of Philosophy, 1966; C.Sc, in artistic sciences, 1965. Married Marie Jerieova, 1951, 2 sons. Career: Head, Department of For. Music, Czech Radio, Prague, 1956-59; Head, Department for Study of Contemporary Music, Guild of Czech Composers, 1959-62; Head, Department of Musical Aesthetics, Institute of Musicol., Czech Academy of Sciences, 1962-69; General Secretary, Guild of Czech Composers & Concert Artists, Prague, 1969-; External Docent, Academy of Arts, ibid, 1972-. Compositions include: Dramas for 9 instruments, 1961; Symphony for large orchestra, 1962; The Pied Piper, stereoconcertino for flute & 2 chamber orchestras, 1964; Diario, homage to Che Guevarra[sic], concert-cycle for solo guitar, 1971; Lidice, radio musical-dramatic fesco; 1972. Pulbications: Books on Modern Soviet Music & Moussorgski. Memberships include: Czech Musical Council; Prague Spring Festival Committe. Honours include: Prix d'Italia for Lidice, 1973. Address: Jizni II., 778, 141 00 Praha 4, Czechoslovakia.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Peter Kuchta (pseud. "Dan Winner"):
Komponist Textdichter Kuchta, Peter, 23 Kiel, Kanstraße 79
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Rolf Kühn:
Adressenänderungen
[...]
KÜHN, Rolf
Bismarckstr. 69
1000 Berlin 12
030 / 313 54 04
Am Heidberg 7
2110 Buchholz
041 86 / 4 52
Lutz Küssner (pseud. "Kurt Lessen"):
Südwestfunk, Baden-Baden
Anstalt des öffentliches Rechts, mit Zentralstudio in Baden-Baden und den Landes-Studios im Freiburg, Mainz und Tübingen
Zentralstudio Baden-Baden, Hans-Bredow-Str. (F. 37 51-8, 38 81-5)
Fernschreiber 0 78 23 11
[...]
Abteilung Unterhaltung: [...] Hans Willy Bergen, Claudio Cojocar, Herbert Falk, Ernst Höfner, Theo Kümmerling, Inkas Toplijska u. Lutz Kuessner (fr. Mitarb.), Programmgestalter. [...]
- (via archive.org (https://archive.org/details/deutsches-buehnen-jahrbuch-1957/))
Herbert Küster (pseud. "Alois Steindorf", "Bert Bertus", "Ernst Bogenhaus", "Ernst Röper", "Franz Brodrecht", "Franz Stettner", "Fritz Schedel", "Heinz Bantleon", "Jean Sannet", "Mario MarenoReff Jensi", "Ro Franer"):
HERBERT KÜSTER, am 4. Oktober 1909 in Berlin geboren, studierte dort Musik. Seine Lehrer waren u. a. Professor Bruno Kittel und GMD Arthur Rother, Schon bald wandte er sich der „leichten Muse“ zu und schrieb, 23jährig, für das Landestheater Oldenburg seine erste Operette DIE FLÜGEL DER KÖNIGIN. Bekannt wurde er über den Rundfunk mit seinem Klavierduo Küster-Kiermeir, mit dem er auch seinen damaligen Erfolgstitel FEUERWERK, der auch heute noch gern gehört wird, kreierte.
Nach dem Krieg schrieb Küster viele Orchesterwerke der gehobenen U-Musik, die zum Standardrepertoire der Rundfunksender gehören [...]
Weitere Bühnenwerke folgten: MISS PETTICOAT (Uraufführung Opernhaus Nünrberg) und die wohl für Küster erfolgreichste Karnevals-Musica-Operette ASTORIA (Buch: Göttig-Nebhut), die am Staatstheater Wiesbaden, 1960, zu einem rauschenden Erfolg wurde.
Einige Jahre später brachte das ZDF in Co-Produktion mit dem ORF und SRG, ASTORIA in einer Fernsehbearbeitung von Hugo Wiener auf den Bilschirm. In den Hauptrollen: Ina Dressel, Boy Gobert, Karlheinz Hollmann, Peter Minnich, Fritz Muliar, sowie dem Orchester Max Greger.
[...]
Herbert Küster, der nach wie vor künstlerisch aktiv ist und vor kurzem 70 wurde - was das ZDF in einem Interview würdigte - lebt seit einigen Jahren als freischaffender Komponist und Produzent in München, wo er u. a. für die TELDEC für ihre Serie DIE GOLDENE OPERETTE 6 bekannte Operettenquerschnitte arrangierte und produzierte.
Sein neuestes Bühnenwerk, eine volkstümliche, romantische Oper: DER GRAF VON MONTE CHRISTO nach dem Roman von Alexandre Dumas sen. steht - nach der zweiten Neufassung - vor ihrer Vollendung.
HERBERT KÜSTER
Mit der Entstehung des Berliner Rundfunks und das Deutschlandsenders in den dreißiger Jahren, verbindet sich der Name HERBERT KÜSTER mit seinem damals international bekannten Klavierduo Küster-Kiermeir. Sein Piano Dixie FEUERWERK - bereits 1932 komponiert - erfreut sich noch heute allgemeiner Beliebtheit.
Nach 1945 gab Küster eigene Konzertabende mit virtuoser, klassischer Klaviermusik, bis ihn eine Fingerverletzung zwang, seine Virtuosenlaufbahn aufzugeben. Von da an widmete er sich fast ausschließlich der Komposition. Zahlreichte Operetten für Theater, Rundfunk und Fernsehen entstanden, es seien hier nur ASTORIA (1960 Staatstheater Wiesbaden, 1965 ZDF, ORF und SRG) und MISS PETTICOAT, ein Musical (Opernhaus Nürnberg 1961) erwähnt.
In den fünfziger Jahren schrieb er unzählige Werke der gehobenen U-Musik: Musikanten Suite, Capriolen Suite, Addio Firenze, Romanza d'amore und kleinere Stücke wie: Ein Stückchen Wien, Wiener Walzer Rhapsodie, Weisse Orchideen usw.
Über 100 Langspielplatten für die Deutsche Grammophon, Europhon, Phonogram, Metronome, entstanden. Die Teldec holte ihn, um eine neue Operetten-Querschnittserie aufzubauen. «Die Fiedermaus, Boccaccio, Der Vetter aus Dingsda, Pariser Leben, Saison in Salzburg» u.a., wurden von ihm in Neubearbeitung mit bekannten Gesangssolisten produziert.
Heute lebt HERBERT KÜSTER, ein gebürtiger Berliner, in München. Er ist immer noch als Schallplattenproduzent und Verleger tätig und feiert am 4. Oktober 1984 seinen 75. Geburtstag.
Adressenänderungen
[...]
KUESTER, Herbert
RN: Milly Kuester
Hoanzweg 13,
Grit Edition Kuester
8029 Sauerlach
081 04 / 438
Ernst Kugler (pseud. "Georg Artner", "Fritz Senner", "Rex Connor"):
KUGLER Ernst, Kpm.
* 5. 4. 1923 in Wien
† 26. 5. 1985 in Grimmensteni/Hochegg, NÖ
Vom achten bis zum 14. Lebensjahr Violineunterricht am Konservatorium der Stadt Wien, seit dem zehnten Lebensjahr lernte er Schrammelharmonika. Vom 16, bis zum 18. Lebensjahr Privatunterricht in Baßflügelhorn und Zugposaune. 1939-1945 bei Arbeitsdienst und Wehrmahct, ab 1946 am Konservatorium (Posaune, Harmonielehre nud Instrumentation).
Seit 1948 Komponist und Arrangeur sowie Erster Posaunist in den Orchester K. Loubé, Rot-Weiß-Rot Tanzorchester, E. Halletz, Ch. Gaudriot, Carl de Groof, J. Fehring, unter anderem, ferner als Studiomusiker und Komponist/Arrangeur bei allen namhaften Schallplattenfirmen, bei Funk, TV und Werbung. Ab 1968 musikalischer Leiter des ORF-Nachwuchsstudios und ständiger Dirigent der ORF-Big-Band. Zahlreiche Schallplattenaufnahmen mit prominenten Unterhaltungsmusikkünstlern des deutschen Sprachraums; ca. 20 LPs „Orchester Ernst Kugler and his Velvet Sound“ mit zahlreichen Eigenkompositionen, die weltweit in Funk und TV gespielt werden. Er war Ordentliches Mitglied der AKM, Mitglied bei AU-ME und Österreichischer Komponistenband.
Einige seiner Titel:
Pitch Patch; Everything for everybody; Whispering heart; Yellow stones; Hapyp Lady; Sag zum Leben ja; Giggie.
Rolf Kuhl (pseud. "Bob Vessin", "Rolf Kulander"):
Kuhl, Rolf (Deutschland DDR, 1928?)
- (via archive.org (https://archive.org/details/emr-2-3/))
WEST GERMANY '79
Mass Media Personnel
Radio • Television • Press
[...]
RADIO BREMEN
Attn: Mr. Rolf Kuhl
Abt. Unterhaltung
Heinrich-Hertz-Str. 13
2800 Bremen 17
- (via worldradiohistory.com (https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1979/CB-1979-04-07.pdf))
Adressenänderungen
[...]
KUHL, Rolf
Hummelsbüttelerhauptstraße 44
2000 Hamburg 63
040 / 538 14 25
Kevin Kuhn (Kevin Paul Kuhn):
THE COMPOSERS:
Kevin Kuhn is active in New York as a player and is currently guitarist/composer with jazz great Chico Hamilton's Band.
THE COMPOSERS:
In addition to maintaining a very hectic schedule playing on Broadway and in the recording studios of New York, Kevin Kuhn is currently guitarist/composer with jazz great Chico Hamilton's Band.
THE COMPOSERS:
[...]
Kevin Kuhn is active in New York where he works on Broadway, in the recording studios and with Chico Hamilton's band.
Paul Kuhn (pseud. "Bert Geasing", "Bert Giesing"):
Paul Kuhn. * 12.3.1928 in Wiesbaden. Als Kind erfolgreicher Akkordeonspieler. Dirigent des RIAS-Tanzorchesters. Arbeitete erfolgreich als Komponist, Arrangeur, Pianist, Schlagersänger, Produzent und Showmaster. Erfolgreiche Titel: „Geb'n Sie dem Mann am Klavier“, „Es gibt kein Bier auf Hawaii“ u. a. Eigene Fernseh-Show „Hallo Paulchen“ und „Pauls Party“.
- (via archive.org (https://archive.org/details/schlageindeutsch0000helm))
Willy Kuhn:
Kuhn, Willy
(?) - Berlin, 12. Juli 1929.
Kapellmeister und Komponist in Berlin.
Werke, oft unter Pseudonym K. Williams: Filmmusik und Potpourris; Märsche, so Reichsbanner-Liedermarsch Op. 10; U-Musik, so Marionetten-Wachtparade Op. 5.
Leiter der Reichsbanner-Gaukapelle Berlin.
Werke bei Otto Wrede (Regina-Verlag), Berlin
Zur Sonne - zur Freiheit. Marsch. Fassung: F. Schmidt-Hagen (1928).
Op. 18. Sol Germaniae (Sonne Deutschlands). Marsch. Fassung: F. Schmidt-Hagen.
In:
Mit Pauken und Trompeten I
Op. 15. Drum, junger Tambour schlage drein. Marsch. Titel auch "Du kleiner Trommler schlage ein". Fassung: F. Schmidt-Hagen.
In:
Mit Pauken und Trompeten II (1936; Deutschlandsender, 3/XI/37).
Information: Kurzgefaßtes Tonkünstler-Lexikon. Für Musiker und Freunde der Musik, begr. von Paul Frank. Neu bearb. und erg. von Wilhelm Altmann (Regensburg, ¹⁴1936). Laut LA Berlin (17/V/00) in der lückenhaften Meldekartei 1875-1960 ohne Geburtsdatum nicht zu ermitteln.
- (via archive.org (https://archive.org/details/bib130947_001_001/))
Jarosław Kukulski (Jarosław Kazimierz Kukulski, pseud. "Robert Kirlej", "Tomasz Horst"):
KUKULSKI Jarosław, ur. 25 V 1944 we Wrześni, pol. kompozytor muzyki rozrywkowej, absolwent PSWM w Poznaniu (1968). Stworzył kilkadziesiąt przebojów, m.in. dla A. Jantar (Najtrudniejszy pierwszy krok), H. Frąckowiak (Serca gwiazd), I. Jarockiej (Beatlemania story), K. Krawoczyka (To, co dał nam świat, Eleni (Muzyka twoje imię ma. K. pisze muzykę film., teatr., jest twórcą musicali Wielki świat i Blask szklanej kuli.
- (via archive.org (https://archive.org/details/encyklopediamuzy0000unse_h9i4/))
Otger Kunert:
[...]Otger Kunert macht mit Geräuschen Musik, oder verbindet Geräusche in genialer Weise mit musikalischen Elementen.
Geboren 1965 in Bayreuth, besuchte er die Hochschule für angewandte Kunst und die Hochschule für Musik und darstellende Kunst in Wien. Er studierte auch am Institut für Elektroakustik in Wien bei Dieter Kaufmann. Neben Kompositionen für ZDF, BR und verschiedene Kurzfilme übernahm er das Klangdesign für den interaktiven TV-Sender ITVone. Der vielseitige Künstler, Illustrator und Karikaturist, widmete sich Geräuschen und der Geräuscherzeugung. Es entstanden Liveperformances (Livesynchronisation zu einem Buster Keaton Stummfilm), das Projekt "MONO:tone" (Musik mit und aus Geräuschen), verschiedene elektroakustische Collagen sowie interaktive Installationen. Kunerts Arbeiten und Kompositionen beziehen sich immer auf Geräusche und versuchen, oft Medien übergreifend, einen greif- und hörbaren Aspekt bis hin zur Interaktivität zu beinhalten.
Otger Kunert, a composer who makes music using bottles, clocks, ice-cubes, glasses, knives, chains and metal barrels, was born in 1965 in Bayreuth, Germany.
After studying at the "Hochschule für Musik und Darstellende Kunst", (the University for Performing Arts and Music), and the Institut für Elektroakustik, (the Institute for Electro-acoustics), both in Vienna, Otger composed the music for various ZDF and BR German TV productions, and worked as a sound designer for ITV1 (UK). He was also successful as a cartoonist and illustrator, but finally decided to dedicate himself to the creation and use of sounds and sound effects in live performance (for example the scores to Buster Keaton's silent movies), electro-acoustic collages and interactive art installations. His music is a formidable fusion of sophisticated concepts and working solutions for ambitious film scoring.
Hans Kunze (pseud. "Joe Conners"):
Kunze, Hans *8. 6. 1928 Naumburg/Sachsen.
Studien in Naumburg und Halle (Kleemann).
Komponist und Kapelleleiter in Potsdam.
Werke: Musical, Filmmusik, Tanz- und Unterhaltungsmusik.
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Albert Kunzelmann (pseud. "Eddie Elcome", "Edi Elkom", "Tom Crandell"):
Edition Eulenburg GmbH, Musikverlag in Adliswil/Zürich, gegr. 1945.
Firmengründer: Albert Kunzelmann (*2. 4. 1920) und Dr. Kurt Eulenburg (*22. 2. 1879), heutige Firmenleiter: Albert Kunzelmann.
Verlagsprogramm: Taschenpartituren, Neue Sammlung Octavo-Partituren mit Orchesterstimmen, Sammlungen frühklass. Orchesterwerken, Kammermusiksammlungen. "Amadeus".
- (via archive.org (https://archive.org/details/kurzgefassteston0000altm/))
Meyer Kupferman (pseud. "Eric Greenwood"):
Kupferman, Meyer, composer, educator; b. New York, NY, July 3, 1926. ASCAP 1953. Educ: HS of Music & Art; Queens Coll. (1st La Guardia award). On faculty, Sarah Lawrence Coll. since 1951. Film background scores: Blast of Silence; Black Like Me; Hallelujah the Hills; Cool Wind; High Arctic; Goldstein. Works: 6 symphonies (No. 4, Louisville Orch. comm.; No. 5, Samuel Rudofker comm.); Chamber Symphony; Concerto for 6 Instruments; Divertimento for Orch.; 6 string quartets; Partitura for P iano; Little Sonata (piano); 4 Pieces for Cello, Piano; Sonata for 2 Cellos; Sonata on Jazz Elements; Cycle of Infinites; Infinities 8 (Claremont String Quartet comm., State Dept. tour of Africa); Voices in a Mirror; The Curious Fern; Persephone; Cassandra in Troy; Island in a Room; The Painted Desert; Variations for Orch.; Ostinato Burlesco. Operas: In a Garden; Dr. Faustus Lights the Lights; Draagenfoot Girl (Mona Sheck man Found. comm.).
- (via archive.org (https://archive.org/details/ascapbiographica00amer/))
KUPFERMAN, Meyer - Nato a New York (USA) il 3 luglio 1926. Compositore, educatore. Produzione per il teatro d'opera e le sale da concerto (sinfonie, musica da camera, pezzi orchestrali e strumentali) Tra i film con sue musiche: Blast of Silence (Cronaca di un assassinio 1961, di A. Baron), Hallelujah the Hills (I magnifici idioti - Viva le colline, 1963, di A. Mekas), Goldstein (1964, di P. Kaufman e B. Manaster), Trilogy (1969, di F. Perry).
Andrzej Kurylewicz (Andrzej Roman Kurylewicz):
Andrzej Kurylewicz was first recognised in Poland as one of the best known instrumentalists and band leaders of the fifties. He played in most European countries as well as Cuba and Canada, gradually moving into the field of composition with original ideas in the theatre music and music for films. Just as post-war Poland made its mark in the field of the so-called serious avant-garde, so Kurylewicz stands as a figure in whom avant-garde techniques and the traditions of jazz find a new fusion. [...] in March 1977 he was awarded the silver cross of merit by the Polish Government for his contribution towards Polish culture in the field of composition.
[...]
KURYLEWICZ, Andrzej Roman, born 24 Sept. 1932, Lwow, Poland. Composer; Pianist; Trombonist; Conductor. Education: School of Music, Lwow; Diploma, Conservatory, Krakow. Married Wanda Warska, 1 daughter. Debut: Krakow, 1955. Career: Bandleader, Soloist, Conductor, Performances throughout most of Europe, Canada, Cuba; various Film, Theater Performances. Compositions: Concert on Baroque Themes; Rondo; Rondo T; Oberek; Interferences; Rotation; De Profundis; Requiem for Z.C.; Sonoris I, II; 4 small Preludes, piano; Magnificat; Alleluia; Pastorale; scores for over 30 Films, 25 Plays; 11 LP's; various Radio, TV Music. Memberships: Polish Composers Union, Polish Artists-Musicians Society. Honours: Silver Cross of Merit; 30 Years of Poland Medal. Hobby: Collecting Swords & Army Badges. Address: 13 Brodzinskiego, 01-557 Warsaw, Poland.
- (via archive.org (https://archive.org/details/internationalwho0000erne/))
Previous volume:
vol. 1, A-D (https://librarymusicthemes.com/index.php?topic=10845.0)
Next volumes:
vol. 3, L-Q (https://librarymusicthemes.com/index.php?topic=11588.0)
vol. 4, R-Z (https://librarymusicthemes.com/index.php?topic=11589.0)