Waart, Edo de. 56 Wachmann, Eduard 56
Download 14.95 Mb.
|
- Navigate this page:
- BIBLIOGRAPHY
- Warrack, John (Hamilton)
- WRITINGS
- Warren.
Warnots, Henri(b Brussels, 11 July 1832; d Saint Josse-Ten-Noode, Brussels, 27 Feb 1893). Belgian tenor. He studied at the Brussels Conservatory, and made his début in 1856 at Liège. He sang at the Opéra-Comique, in Boieldieu’s Jean de Paris (1862), and at Strasbourg, where his own light opera Une heure de mariage was produced. In 1867 he appeared at the Brussels National Theatre in Miry’s Franz Ackermann. He taught at the Brussels Conservatory and in 1870 founded a school of music at Saint Josse-Ten-Noode. His daughter Elly Warnots (b Liège, 1857), a soprano, made her début in 1878 as Anna in Boieldieu’s La dame blanche at the Théâtre de la Monnaie, where she was engaged for two seasons. She sang Pamina in Die Zauberflöte (1880). In May 1881 she appeared at Covent Garden, singing Marguerite de Valois in Les Huguenots and the same character in Hérold’s Le Pré au Clercs. BIBLIOGRAPHYJ. Sales: Théâtre royal de la Monnaie 1856–1970 (Nivelles, 1971) ELIZABETH FORBES Warrack, Guy (Douglas Hamilton)(b Edinburgh, 8 Feb 1900; d Englefield Green, Surrey, 12 Feb 1986). Scottish conductor and composer, father of John Warrack. He was educated at Oxford University, and at the RCM studied composition with Vaughan Williams and conducting with Boult. He made his conducting début at the Wigmore Hall, London, in 1925, and from 1925 to 1935 taught at the RCM. He was director of the newly founded BBC Scottish Orchestra (1936–45), then musical director of Sadler’s Wells Theatre Ballet (1948–51), where he conducted the premières of Harlequin in April, Selina and other ballets; he also orchestrated Fauré piano music and songs for Andrée Howard’s La fête étrange (Royal Ballet; Scottish Ballet). Warrack composed scores for many documentary films including Theirs is the Glory (a reconstruction of the Battle of Arnhem), 1946; XIVth Olympiad, 1948; and A Queen is Crowned (the official coronation film), 1953; his other works include a symphony. He was the author of Sherlock Holmes and Music (1947) and wrote a history of the RCM. ARTHUR JACOBS
The Romantic period is at the centre of Warrack's interests, but he has also written with perception on Mozart and on contemporary music. His most important contribution is his judicious study of Weber, in which that composer's music, his operatic output in particular, is critically analysed; he has also edited Weber's writings on music. His richly illustrated book on Tchaikovsky is notable for its sensitive discussion of the relationship between the man, his background and the music he composed. A careful and elegant writer, with a wide linguistic command and a special interest in relating music to its broader cultural context, Warrack has contributed many articles and reviews to periodicals, particularly Opera and the Musical Times. WRITINGSSix Great Composers (London, 1958) with H. Rosenthal: The Concise Oxford Dictionary of Opera (London, 1964, 3/1966; Ger. trans., 1969; Fr. trans., 1974, 2/1986; It. trans., 1974, 2/1991) Carl Maria von Weber (London, 1968, 2/1976; Ger. trans., 1972, 2/1987) Tchaikovsky Symphonies and Concertos (London, 1969, 2/1974) Tchaikovsky (London, 1973, 2/1989) ‘Holst and the Linear Principle’, MT, cxv (1974), 732–5 ‘German Operatic Ambitions at the Beginning of the 19th Century’, PRMA, civ (1977–8), 79–88
‘The Musical Background’, The Wagner Companion, ed. P. Burbidge and R. Sutton (New York, 1979), 85–112 ‘Oberon und der englische Geschmack’, Musikbühne 76, ed. H. Seeger (1976), 15–31
‘Carl Maria von Weber in his Diaries’, Slavonic and Western Music: Essays for Gerald Abraham, ed. M.H. Brown and R.J. Wiley (Ann Arbor and Oxford, 1985), 131–8 ‘Mendelssohn's Operas’, Music and Theatre: Essays in Honour of Winton Dean, ed. N. Fortune (Cambridge, 1987), 263–98
‘Französische Elemente in Webers Opern’, Die Dresdner Oper im 19. Jahrhundert, ed. M. Heinemann and H. John (Laaber, 1995), 119–24; also in Carl Maria von Weber und der Gedanke der Nationaloper: Dresden 1986, 277–90 ‘Es waren seinen letzten Töne!’, Weber-Studien, iii (1996), 300–17 ‘Russian Opera’, A History of Russian Theatre, ed. R. Leach and V. Borovsky (Cambridge, 1997) German Opera (Cambridge, forthcoming) STANLEY SADIE Warren.Canadian family of organ builders and organists of American origin. Samuel Russell Warren (i) (b Tiverton, RI, 29 March 1809; d Providence, RI, 30 July 1882), trained as an organ builder with Thomas Appleton of Boston, with whom he worked sporadically during the early 1830s. In 1836 he emigrated to Montreal, where a year later (after a short-lived partnership with George W. Mead) he formed his own firm to build pipe organs and harmoniums, eventually selling pianos, seraphims (reed organs), accordions and flutes as well. His brother, Thomas D. Warren (1815–1863), was also an organ builder, working with Appleton from 1836, briefly becoming a full partner under the name Appleton & Warren (1847–50) before joining his brother in Montreal. Samuel became the outstanding figure in 19th-century Canadian organ building. He was the first in Canada to use Harmonic Flutes, free reeds and orchestral stops, and he was the first to adopt the Barker lever (c1851) and hydraulic bellows (1660–61; at the Wesleyan Chapel, Montreal). His patents include one for a piano and several for improvements to the organ. He built more than 350 organs all over Canada and the USA, although only a handful are extant unaltered. These can be found in Chambly, Quebec; Frelighsburg, Quebec; Clarenceville, Quebec; and Dorchester, New Brunswick. A four-stop melodeon dating from about 1865 is at the Sharon Temple Museum, Sharon, near Toronto. His youngest son, Charles Sumner Warren (b Montreal, 30 Nov 1842; d Rochester, NY, 5 July 1933), became his partner in 1876 under the name S.R. Warren & Son. Another son, Samuel Prowse Warren (b Montreal, 18 Feb 1841; d New York, 7 Oct 1915), was a noted organist, a teacher in New York and a co-founder of the American Guild of Organists (AGO). Charles moved the firm to Toronto in 1878. Extant organs from this period include those at St Michael’s Cathedral, Toronto (1886) and Deschambault, Quebec (1892). In 1896 he sold the business to Dennis W. Karn, but continued to work for him. Charles’s sons, Frank Russell Warren (1867–1953) and Samuel Russell Warren (ii) (1892–1965), also worked in organ building until the late 1940s. BIBLIOGRAPHYEMC2 (K. Raudsepp) S.R. Warren: Réponse au sujet de la construction, de l’examen des rapports et des certificats concernant la réception de l’orgue de l’église paroissiale de Montréal … (Montreal, 1863) P. Jennings: ‘Samuel P. Warren’, Music [Chicago], xvii (1899–1900) ‘In Memory of S.P. Warren’, The Diapason, vii/2 (1915–16) G. Morisset: Coup d’oeil sur les arts en Nouvelle-France (Quebec, 1941) T.F. Classey: ‘19th-Century Canadian Organs’, York Pioneer [Toronto] (1966) T.F. Classey: ‘The Organs in the Sharon Temple’, The Tracker, xiii/1 (1968–9) K.J. Raudsepp: ‘The Warrens’, The Tracker, xliii/1 (1999) KARL J. RAUDSEPP Directory: New%20Grove%20Dictionnary%20Of%20Music Download 14.95 Mb. Share with your friends:
|