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Bernhard Crusell (1826) Bernhard Henrik Crusell (15 October 1775 – 28 July 1838) [1] was a Swedish-Finnish clarinetist, composer and translator, [2] "the most significant and internationally best-known Finnish-born classical composer and indeed, – the outstanding Finnish composer before Sibelius".
Iwan Müller, sometimes spelled Iwan Mueller (14 December 1786, Reval, Governorate of Estonia – 4 February 1854, Bückeburg), was a clarinetist, composer and inventor who at the beginning of the 19th century was responsible for a major step forward in the development of the clarinet, the air-tight pad.
He was a member of an incarnation of the Fairview Baptist Church Marching Band, established by banjoist Danny Barker. He was discovered by Kid Sheik Colar, who heard him performing in Jackson Square in the French Quarter. White began working regularly with Colar. White can be heard on the 1989 album The Majesty of the Blues by Wynton Marsalis. [4]
The songs speak about not only what God has done but what He is doing both in the high and low tides of life. There is something for everyone on this album." [ 7 ] At Cross Rhythms , A.T. Bradford rated the album seven squares out of ten, concluding that "All in all, a reasonable though not particularly outstanding set from the renowned Redding ...
In the summer of 1963 he attended the American Conservatory at Fontainebleau, France, where he studied with Nadia Boulanger. [3] In 1965, Hailstork received a Bachelor of Music from the Manhattan School of Music , where he studied under Vittorio Giannini and David Diamond , and in 1966 received a Master of Music at the same institution. [ 3 ]
The official album on RCA, A Concert of Sacred Music, was recorded at two concerts at Fifth Avenue Presbyterian Church in New York on December 26, 1965. Additional material from these concerts, not found on the original album, can be found on the 24-CD box set The Duke Ellington Centennial Edition: The Complete RCA Victor Recordings (1927-1973) .
While most jazz clarinet players did not adapt to this change, DeFranco successfully continued to play clarinet exclusively, and was one of the few bebop clarinetists. [4] In 1950, DeFranco spent a year with Count Basie's septet. [2] He then led a small combo in the early 1950s which included pianist Sonny Clark and guitarist Tal Farlow.
The first piece is in A minor and begins dreamily with hints of melancholy, but concludes with a resolution and hope in A major, looking forward to the next movement.. The second piece is in A major and is playful, upbeat, energetic and positive, with a central section modulating to F major with chromatic triplets in dialogue with the piano.
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