clarinet

  1. Obscure Music Monday: Akimenko's Petite Ballade

    Theodore Akimenko (Feb. 8, 1876 - Jan. 8, 1945) was a Ukranian pianist, professor, and composer.  He is the older brother of the composer Jakob Akimenko.  Continue reading →
  2. Obscure Music Monday: Roussel's Divertissement

    Albert Charles Paul Marie Roussel (April 5, 1869 - Aug. 23, 1937) was a French composer, who started his musical journey as an adult. As a child, Roussel was interested in mathematics, and then went went in to the French Navy. After resigning in 1894, he turned to music, and attended the Scholar Cantorum de Paris until 1908. He worked...
  3. Obscure Music Monday: Farrenc's Nonet

    Louise Farrenc (May 31, 1804 - Sept. 15, 1875) was a French pianist, teacher, and composer. Born in Paris, she started the piano at an early age, and later on also showed a knack for composition. At the age of fifteen, her parents let her study composition with Anton Reicha at the Paris Conservatory. Later on she embarked upon a...
  4. Obscure Music Monday: Gilson's Trio for Oboe, Clarinet, and Piano

    Paul Gilson (June 15, 1865 - April 3,1942) was born in Brussels, and was an organist and choir director. At the Brussels Conservatory he studied harmony and counterpoint, and won a Prix de Rome for a cantata he wrote. He became a Professor of Composition there in 1899, but quit in 1909 after he became an inspector for music education until 1930. He wrote a great deal, but his output slowed down significantly after 1905; at that point he mainly wrote about music theory, criticism, and composition. Continue reading →
  5. Obscure Music Monday: Zemlinsky's Clarinet Trio

    Alexander von Zemlinsky (Oct. 14, 1871 - March 15, 1942) was born in Vienna, Austria, and played the piano from a young age. Admitted to the Vienna Conservatory in 1884, and won the school's piano prize in 1890. He began writing in 1892, when he started studying theory with Robert Fuchs, and composition with Johann Nepomuk Fuchs and Anton Bruckner. Continue reading →
  6. Obscure Music Monday: Amalia's Divertimento

    Anna Amalia of Brunswick-Wolfenbüttel (Oct. 24, 1739 - April 10, 1807) was a German princess and composer. As a patron of art and literature, she transformed her court in to an influential cultural center in Germany.  Continue reading →
  7. Obscure Music Monday: Holmès' Fantaisie

    Augusta Holmès (Dec. 18, 1847 - Jan. 28 1903) was a pianist and composer, born in Paris, of Irish descent. Despite showing great talent as a child, she wasn't allowed to take piano at the Paris Conservatory. Instead she took private piano lessons with Mademoiselle Peyrnnet, and later on, harmony and counterpoint with Henri Lambert, and composition lessons with Hyacinthe Klosé. Holmès became a student of César Frank in 1876, and considered him her greatest teacher. Continue reading →
  8. Obscure Music Monday: Fibich's Quintet

    Zdeněk Fibich (Dec. 21, 1850 - Oct. 15, 1900) was a Czech composer and pianist. Having a Czech father and German Viennese mother, Fibich grew up bilingual. Because of his father's work (a forestry official), he spent a lot of time moving around and living on various wooded estates, and the woods would become a source of inspiration for some of his compositions.  Continue reading →
  9. Obscure Music Monday: Chrétien's Wind Quintet

    Hedwige Chrétien (July 15 - 1859 - 1944) was a French composer, and not a great deal is known about her.  She studied at the Paris Conservatory with Ernest Guiraud starting in 1874, and became a professor there in 1889. While she was a student, she won several awards for piano, counterpoint, harmony, and fugue, and she would go on to write around 150 compositions, of various genres. Continue reading →
  10. Obscure Music Monday: Bax's Trio in One Movement

    Sir Arnold Edward Trevor Bax (Nov. 8, 1883 - Oct. 3, 1953) was an English poet, author, and composer. His output was prolific, and spanned several genres, from choral works to chamber pieces to orchestral music. His music was for a while neglected, and then revived, though predominantly as recordings; we still don't see his work programmed very often in concert halls, save a few compositions. Continue reading →

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