1859. He was graduated from the St. Petersburg Conservatory in 1882

where he was a pupil in composition of Rimsky-Korsakov. From 1882 to 1893 he was associated with the Tiflis Music School, first as teacher, then as director. In 1893 he was appointed professor of composition at the Moscow Conservatory on Tchaikovsky’s recommendation, and from 1906 to 1922 he served as its director. He also distinguished himself as a conductor of opera in Moscow. He died in that city on January 28, 1935. Ippolitov-Ivanov’s best music profited from his intensive researches into Caucasian folk music. His principal works have assimilated many of the Oriental melodic and rhythmic idioms of songs and dances from that region. His most popular work of all is the _Caucasian Sketches_ for orchestra, op. 10 (1895). The first movement, “In the Mountain Pass,” brings up the picture of a mountain scene. Horn calls are here used prominently. “In the Village” opens with a cadenza for English horn and proceeds to a beautiful melody for viola set against a persistent ⅜ rhythm. “In the Mosque” dispenses with the strings while describing an impressive religious ceremony. The suite ends with the stirring “March of the Sirdar,” a “sirdar” being an Oriental potentate. Ivanovici Neither Ivanovici’s first name nor details of his life are known. He was born in Banat, Rumania, in 1848, distinguished himself as a bandleader in his native country, and died in Bucharest on April 1, 1905. For his band concerts he wrote many popular concert numbers. One of these is the concert waltz, _The Waves of the Danube_ (_Donauwellen_), written in 1880, and achieving from the first phenomenal popularity throughout Europe. The main waltz melody of this set of waltzes was expropriated by Al Dubin and Dave Franklin for the American popular song “The Anniversary Song,” (lyrics by Saul Chaplin), which was effectively used in the motion picture _The Jolson Story_ in 1946, sung on the sound track by Jolson himself. Armas Järnefelt Armas Järnefelt was born in Viborg, Finland, on August 14, 1869. He studied music in Helsingfors with Ferruccio Busoni and Martin Wegelius; in Berlin with A. Becker; and in Paris with Massenet. Beginning with 1898, and for several years thereafter, he conducted opera performances in Viborg and Helsingfors. In 1907 he settled in Sweden where three years later he became a citizen. There he became court composer and the conductor of the Royal Opera. After returning to Helsingfors in 1932, he directed the Opera for four years and the Helsingfors Municipal Theater for one. He also appeared as guest conductor of many important Finnish orchestras, distinguishing himself particularly in performances of music by Jean Sibelius (his brother-in-law). In 1940, Järnefelt received the official title of Professor. He died in Stockholm in June 1958. Järnefelt wrote many works for orchestra, including suites, overtures, and shorter works. One of the last is _Berceuse_ for two clarinets, one bassoon, two horns, violin solo and strings (1905), a moody and sensitive piece of music. The romantic main melody appears in solo violin after four introductory bars for muted strings. His most popular composition is the _Praeludium_ for chamber orchestra. It opens with a three-measure introduction for plucked strings. This is followed by a brisk march subject for oboe which is soon discussed by other winds, and after that by the violins over a drone bass. A passage for solo violin leads to the return of the march melody. Dmitri Kabalevsky Dmitri Kabalevsky was born in St. Petersburg on December 30, 1904, and received his musical training in Moscow, at the Scriabin Music School and the Moscow Conservatory. He was graduated from the latter school in 1929, and in 1932 he was appointed instructor there. His first success as composer came in 1931 with his first symphony, commemorating the fifteenth anniversary of the Russian revolution; this was followed in 1934 by his second symphony, which enjoyed an even greater triumph both in and out of the Soviet Union. In 1939 Kabalevsky was elected a member of the Presidium of the Organizing Committee of the Union of Soviet Composers; in 1940 he was given the Order of Merit; and in 1946 he received the Stalin Prize for the second string quartet. He has also written operas, concertos, additional symphonies, and piano music. A composer who has always been partial to the more conventional means and techniques, and has relied heavily on broad and stately melodies and subjective feelings, Kabalevsky has managed to produce several compositions that have wide appeal. One is the sprightly _Colas Breugnon Overture_. _Colas Breugnon_ was an opera adapted by V. Bragin from a novel by Romain Rolland; it was first performed in Leningrad on February 22, 1938. The central character is a 16th-century craftsman—a jovial man who enjoys life and has a spicy sense of humor and a happy outlook on all things. The overture is essentially a study of that man, consistently gay and sprightly. There are two main melodies, both of them lively, and both derived from Burgundian folk songs. Another popular work by Kabalevsky is _The Comedians_, op. 26 (1938), an orchestral suite made up of selections from the incidental music to a children’s play, _The Inventor and the Comedians_. The play is about the varied and picaresque adventures of a group of wandering performers in various towns and at public fairs. There are ten episodes in the suite, each in a light, infectious style that makes for such easy listening that this work is often given at children’s concerts. The ten sections are: Prologue, Galop, March, Waltz, Pantomime, Intermezzo, Little Lyrical Scene, Gavotte, Scherzo, and Epilogue. Emmerich Kálmán Emmerich Kálmán was born in Siófok, Hungary, on October 24, 1882. He studied composition in Budapest. In 1904 one of his symphonic compositions was performed by the Budapest Philharmonic, and in 1907 he received the Imperial Composition Prize. After settling in Vienna he abandoned serious composition for light music. From this time on he devoted himself to and distinguished himself in writing tuneful operettas. His first success came in 1909 with _Ein Herbstmanoever_, presented in New York as _The Gay Hussars_. Subsequent operettas made him one of Europe’s leading composers for the popular theaters. The most famous are: _Sari_ (1912), _The Gypsy Princess_ (1915), _Countess Maritza_ (1924) and _The Circus Princess_ (1926). In 1938 he left Vienna, and after a period in Paris, he came to the United States where he remained until 1949. He completed his last operetta, _The Arizona Lady_, a few days before his death in Paris, on October 30, 1953; it was presented posthumously in Berne, Switzerland, in 1954. Kálmán’s forte in writing music for operettas was in combining the charm, _Gemuetlichkeit_ and sentiment of Viennese music in general, and the Viennese waltz in particular, with the hot blood and sensual moods of Hungarian gypsy songs and dances. _The Circus Princess_ (_Die Zirkusprinzessin_)—first performed in Vienna in 1926, and in New York in 1927—was set in St. Petersburg and Vienna during the period immediately preceding World War I. When Fedora rejects the love of Prince Sergius by insisting she would sooner marry a circus performer, he seeks revenge by engaging a famous circus performer to pose as a member of nobility and woo and win Fedora. After their marriage, Fedora discovers the true identity of her husband, and leaves him. But she soon comes to the realization she is really in love with him and promises to come back if he in turn offers to give up his profession—a profession she now despises not from snobbery but because of fears for his safety. Two delightful waltz melodies—“_Leise schwebt das Glueck vorueber_” “_Im Boudoir der schoensten Frau_”—and an intriguing little melody that recurs throughout the operetta, “_Zwei maerchenaugen_” are the principal selections from this operetta. _Countess Maritza_ (_Die Graefin Mariza_) is Kálmán’s most popular and successful operetta. It was first produced in Vienna in 1924, and in New York in 1926. The setting is Hungary in 1922. An impoverished count, Tassilo, finds employment on the estate of Countess Maritza under the assumed name of Torok. He falls in love with her, but when she learns of his real background she feels he is a fortune hunter interested only in her wealth. About to leave the employ of the countess and to bid her permanent farewell, Tassilo’s fortune suddenly takes a turn for the better when his aunt, a Princess, comes to inform him that Tassilo is a wealthy man after all, due to her manipulations of his tangled business affairs. Now convinced that he loves her for herself alone, the Countess Maritza is only too happy to accept him as her husband. This score contains some of Kálmán’s finest and most beguiling music in a Hungarian-gypsy style. The most famous song is in this sensual, heart-warming idiom: “Play Gypsies, Dance Gypsies” (“_Komm Zigan, Komm Zigan, spiel mir was vor_”). This number begins with a languorous, romantic melody that soon lapses into a dynamic Hungarian-gypsy dance. Austrian waltz-music in a more sentimental manner is found in three winning songs: “Give My Regards to the Lovely Ladies of Fair Vienna” (“_Gruess mir die reizenden Frauen im schoenen Wien_”), “I Would Like to Dance Once More” (“_Einmal moecht’ ich wieder tanzen_”) and “Say, Yes!” (“_Sag ja, mein Lieb_”). _The Gypsy Princess_ (_Die Csárdásfuerstin_) was first performed in Vienna in 1915, and produced in New York in 1917 under the title of _The Riviera Girl_. The heroine is Sylvia Varescu, a performer in a Budapest cabaret, who is loved and pursued by Prince Edwin. But the Prince’s father insists that he marry the Countess Stasi. Eventually the father’s heart is softened and he becomes more tolerant towards having Sylvia as a daughter-in-law when he is discreetly reminded that once he, too, had been in love with a cabaret singer. The principal selections from his score include two soaring waltz melodies: “_Machen wir’s den Schwalben nach_” and “_Tausend kleine Engel singen hab mich lieb_.” The score also includes a dynamic Czardas, and a pleasing little tune in “_Ganz ohne Weiber geht die Chose nicht_.” _Sari_ was introduced in New York in 1914. Pali is a gypsy violinist who has grown old and is eclipsed at one of his own concerts by his son, Laczi. Pali throws his beloved Stradivarius into the flames. Since both father and son have fallen in love with the same girl, the older man also renounces her. He wants Laczi to have her as well as his musical success. A bountiful score includes such delights as “Love Has Wings,” “Love’s Own Sweet Song,” “My Faithful Stradivari,” and “Softly Through the Summer Night.” Kéler-Béla Kélér-Béla was born Albert von Keler in Bartfeld, Hungary, on February 13, 1820. He studied law and worked as a farmer before turning to music in his twenty-fifth year. After studying in Vienna with Sechter and Schlesinger he played the violin in the orchestra of the Theater-an-der-Wien. In 1854 he went to Berlin where he became conductor of Gungl’s Orchestra. He was soon back in Vienna to take over the direction of the famous Joseph Lanner Orchestra. From 1856 to 1863 he conducted an army band, and from 1863 to 1873 an orchestra in Wiesbaden. He died in that city on November 20, 1882. Kéler-Béla wrote about one hundred and thirty compositions in the light Viennese style of Lanner and the two Johann Strausses. His works include waltzes, galops, and marches, a representative example of each being the waltz _Hoffnungssterne_, the _Hurrah-Sturm_ galop, and the _Friedrich-Karl_ march. His most popular work is the _Hungarian Comedy Overture_ (_Lustspiel Ouverture_). It opens in a stately manner with forceful chords and a sustained melody in the woodwind. But the comedy aspect of this overture is soon made evident with two lilting tunes for the woodwind, separated by a dramatic episode for full orchestra. These two tunes receive extended enlargement. The overture ends with a succession of emphatic chords. Jerome Kern Jerome David Kern was born in New York City on January 27, 1885. He first studied the piano with his mother. After being graduated from Barringer High School in Newark, New Jersey, he attended the New York College of Music where he was a pupil of Alexander Lambert, Albert von Doenhoff, Paolo Gallico and Austen Pearce. He received his apprenticeship as composer for the popular theater in 1903 in London, where with P. G. Wodehouse as his lyricist he wrote a topical song, “Mr. Chamberlain” that became a hit. After returning to the United States he worked in Tin Pan Alley and immediately became a prolific contributor of songs to the musical stage. In 1905 his song “How’d You Like to Spoon With Me?” was interpolated into _The Earl and the Girl_ and became an outstanding success. From that time on, and up to the end of his life, he wrote over a thousand songs for more than a hundred stage and screen productions, thereby occupying an imperial position among American popular composers of his generation. His most famous Broadway musicals were: _The Girl from Utah_ (1914), _Very Good, Eddie_ (1915), _Oh, Boy!_ (1917), _Leave it to Jane_ (1917), _Sally_ (1920), _Sunny_ (1925), _Show Boat_ (1927), _The Cat and the Fiddle_ (1931), _Music in the Air_ (1932), and _Roberta_ (1933). His most significant motion pictures were _Swingtime_ with Fred Astaire and Ginger Rogers, _You Were Never Lovelier_ and _Cover Girl_ both with Rita Hayworth, and _Centennial Summer_. Over a dozen of his songs sold more than two million copies of sheet music including “All the Things You Are,” “They Didn’t Believe Me,” “Smoke Gets In Your Eyes,” and “Look for the Silver Lining.” Two of his songs received the Academy Award: “The Way You Look Tonight” from _Swingtime_ and “The Last Time I Saw Paris” interpolated into _Lady Be Good_. Kern died in New York City on November 11, 1945. Kern wrote two compositions for symphony orchestra which have entered the semi-classical repertory even though they are also performed by major symphony orchestras. These were his only ventures into the world of music outside the popular theater. One was _Mark Twain: A_ _Portrait for Orchestra_ which he wrote on a commission from André Kostelanetz, who introduced it with the Cincinnati Symphony in 1942. This is a four movement suite inspired by the personality and life of Kern’s favorite author, Mark Twain. The first movement, “Hannibal Days,” describes a sleepy small town on a summer morning a century ago. The cry “Steamboat comin’!” pierces the silence. The town suddenly awakens. In the second movement, “Gorgeous Pilot House” Mark Twain leaves home to become a pilot’s assistant on the Mississippi steamboat; this period in Mark Twain’s life, which spans about nine years, ends with the outbreak of the Civil War. In “Wandering Westward,” Twain meets failure as a Nevada prospector, after which he finally turns to journalism. The suite ends with “Mark in Eruption,” tracing Twain’s triumphant career as a writer. Kern’s second and only other symphonic work is _Scenario_ in which he drew his basic melodic materials from his greatest and best loved musical production, _Show Boat_. Kern prepared _Scenario_ at the behest of Artur Rodzinski, conductor of the Cleveland Orchestra, who felt that the music of _Show Boat_ had sufficient artistic validity to justify its use in a major symphonic work. Rodzinski introduced _Scenario_ in Cleveland with the Cleveland Orchestra in 1941, and since that time it has been performed by most of the major American orchestras. A discussion of _Show Boat_ is essential before _Scenario_ can be commented upon. The libretto and lyrics are by Oscar Hammerstein II, based on the famous novel by Edna Ferber. _Show Boat_, in a lavish Florenz Ziegfeld production, was introduced in New York in 1927 and was an instantaneous box-office and artistic triumph. It has, to be sure, become a classic of the American stage, continually revived in all parts of the country, three times adapted for motion pictures, and has been given by an American opera company in its regular repertory. It proved a revolution in the American musical theater by avoiding the usual stilted routines and patterns of musical comedy—chorus girls, production numbers, synthetic humor, set dances and so forth—and arriving at an integrated musical play filled with authentic characterizations, backgrounds, atmosphere and dramatic truth. The story opens and closes on _Cotton Blossom_, a show boat traveling along the Mississippi to give performances at stops along the river. The principal love action involves Magnolia, daughter of Cap’n Andy (owner of the boat) and the gambler, Gaylord Ravenal. They run off and get married, but their happiness is short-lived. Magnolia, though pregnant, leaves her irresponsible husband. After the birth of Magnolia’s daughter, Kim, the mother earns her living singing show boat songs in Chicago where she is found by her father and brought back to _Cotton Blossom_. Eventually, Magnolia and Ravenal are reconciled, and their daughter Kim becomes the new star of the show boat. The most famous songs from this incomparable Kern score are: “Only Make Believe” and “Why Do I Love You?”, both of them love duets of Magnolia and Ravenal; two poignant laments sung by the half-caste Julie, a role in which Helen Morgan first attained stardom as a torch-song performer, “Can’t Help Lovin’ That Man” and “Bill” (the latter with lyrics by P. G. Wodehouse); and a hymn to the Mississippi which has acquired virtually the status of an American folk song, “Ol’ Man River.” _Scenario_ makes extended use of these songs in an integrated piece of music. It opens with a sensitive passage for muted strings and continues with a theme for horn; both subjects are intended to portray the Mississippi River and are the motto subjects of the entire work. The main melody of this tone poem is “Ol’ Man River,” first given softly by violas and bass clarinet. Other major songs of the musical play follow, among them being “Only Make Believe” and “Why Do I Love You?”, after which “Ol’ Man River” is heard for the last time. Many of Kern’s more than a thousand popular songs are now classics in the popular repertory. They are so fresh and spontaneous in their lyricism, so inventive in the harmonic background, so filled with charm and grace that their survival seems assured. Two symphonic compositions by Robert Russell Bennett are constructed from one or more of Kern’s best known songs. One is _Symphonic Study_, a tone poem introduced in 1946 by the NBC Symphony under Frank Black. This work presents several Kern songs in correct chronological sequence beginning with “They Didn’t Believe Me.” After that come “Babes in the Wood,” “The Siren’s Song,” “Left All Alone Again Blues,” “Who?”, “Ol’ Man River,” “Smoke Gets In Your Eyes,” and “All the Things You Are.” The second of Bennett’s symphonic compositions is the _Variations on a Theme by Jerome Kern_, written in 1934 and soon after that introduced in New York by a chamber orchestra conducted by Bernard Herrmann. The theme here used for an effective series of variations is “Once in a Blue Moon” from the Broadway musical _Stepping Stones_. Albert Ketelby Albert William Ketelby was born in Birmingham, England, in or about