Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Fox, Sam.
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Fox, Erika(b Vienna, 3 Oct 1936). British composer. She came to England as a refugee at the age of three. Fox won a scholarship to the RCM, where she studied the piano with Angus Morrison and composition with Bernard Stevens; she later continued her composition studies with Jeremy Dale Roberts and briefly with Birtwistle. Her highly individual music is influenced by the traditional music of Hungary and Romania as well as hasidic niggun and Jewish liturgical chant. She has written for a wide variety of ensembles, from solo works such as Nick’s Lament (1984) for guitar to powerful orchestral music such as Osen Shomaat (1985). Her quartet Kaleidoscope (1983) won the Finzi Award. Her works have often been closely linked to music theatre: her puppet music drama The Bet, to a libretto by Elaine Feinstein, was performed at the Huddersfield Festival and in London at the South Bank and the Almeida Theatre. Her opera The Dancer Hotoke (1991), to a libretto by Ruth Fainlight, was commissioned by The Garden Venture (a scheme set up by the Royal Opera for the purpose of staging new, small-scale works) and was nominated for an Olivier Award. Fox has lectured on music at academic institutions in London, York and Sydney; in 1998 she taught and was visiting composer at the University of Auckland. WORKS(selective list)
BIBLIOGRAPHYCC1 (N. Losseff); FullerPG N. Losseff: ‘The Music-Theatre of Erika Fox’, CMR, xi (1994), 109–22 SOPHIE FULLER Fox, Roy(b Denver, 25 Oct 1901; d Twickenham, 20 March 1982). American band-leader. In 1917 he started to play the cornet professionally, leading his own bands throughout the USA from 1920. His distinctive muted style earned him the nickname ‘the whispering cornetist’. After working as musical director for Fox Film Studios in Hollywood, he went to Britain to lead an American band at the Café de Paris (1930) and formed a recording band for Decca (1931) which included several notable British musicians including Lew Davis, Spike Hughes and Al Bowlly. He was resident band-leader of the Monseigneur Hotel (1931–2), Café Anglais (1932–3), Kit-Cat Club (1933–4) and Café de Paris (1934) and made national theatre tours (1934–8). His group was one of the most consistent and popular recording and radio bands in Britain during the 1930s. Illness caused Fox to go to Australia in 1938 and, unable to return to Britain during the war, he led small bands in New York. In 1946–7 he toured Britain with a new band but following bankruptcy retired shortly afterwards to run an entertainment agency. He wrote an autobiography, Hollywood, Mayfair, and all that Jazz: the Roy Fox Story (London, 1975), and is discussed in A. McCarthy: The Dance Band Era (London, 1971). Fox, Sam.American firm of music publishers. It was founded in 1906 in Cleveland, Ohio, and pioneered the publication of music composed for films; it was the first to publish original scores for major film companies, including Paramount and Warner Bros., and supplied scores for short subjects, ‘March of Time’ newsreels, film travelogues and documentaries. The company was also one of the first to publish instructional music and has continued to produce didactic works for jazz piano, guitar and accordion. In 1917 the firm became the exclusive publisher of John Philip Sousa, and it represented him until his death in 1932. About 1935 the company moved from Cleveland to New York; subsequently an administrative office was opened in Santa Barbara. W. THOMAS MARROCCO, MARK JACOBS Fox, Virgil (Keel)(b Princeton, IL, 3 May 1912; d West Palm Beach, FL, 25 Oct 1980). American organist. He studied at the Peabody Conservatory with Louis Robert, with Wilhelm Middelschulte in Chicago (1928–9) and with Marcel Dupré in Paris (1932–3). He made his début at the age of 14 in Cincinnati, and at 19 played in the Kingsway Hall, London, and in Carnegie Hall, New York. He was head of the organ department at Peabody (1938–42) and organist at Riverside Church, New York (1946–65). In 1962 he joined Catharine Crozier and E. Power Biggs in inaugurating the organ at Philharmonic Hall, New York. Fox and Biggs rivalled one another as the best-known organ recitalist in the USA. While Biggs achieved fame from broadcasting and recording, Fox was noted for his dazzling technique and his willingness to make any changes in written scores that would render them more accessible to the ordinary music lover. This was demonstrated not only in his recordings but also in his flamboyantly successful career at Riverside Church and in his energetic tours of the country, playing a large electronic organ that travelled with him together with an accompanying light show. He was a highly controversial artist who talked to the audience during his concerts and whose strong religious beliefs were said to be very much a part of this talk and of his enormous success on the concert stage. BIBLIOGRAPHYP.J. Basch: ‘Virgil Fox’, Music: the AGO and RCCO Magazine, iv/12 (1970), 35–42; v/1 (1971), 36–9 A. Lawrence: ‘Virgil Fox, 1912–1980’, The Diapason, lxxi/12 (1980), 3 only R. Hebble: ‘Virgil Fox 1912–1980’, American Organist, xv/1 (1981), 43–5 VERNON GOTWALS/R Yüklə 17,54 Mb. Dostları ilə paylaş:
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