1885. Precocious in music he completed a piano sonata when he was only

eleven. For six years he attended the Trinity College of Music in London where he captured every possible prize. When he was sixteen he became a church organist in Wimbledon, and at twenty-one he conducted a theater orchestra in London. He later distinguished himself as a conductor of some of London’s most important theater orchestras, besides appearing as a guest conductor of many of Europe’s major symphonic organizations, usually in performances of his own works. For many years he was also the music director of the Columbia Gramophone Company in England. He died at his home on the Isle of Wight on November 26, 1959. A facile composer with a fine sense for atmospheric colors and for varied moods, Ketelby produced a few serious compositions among which were a _Caprice_ and a _Concerstueck_ (each for piano and orchestra), an overture and _Suite de Ballet_ (both for orchestra) and a quintet for piano and woodwind. He is, however, most famous for his lighter compositions, two of which are known and heard the world over. _In a Monastery Garden_ opens with a gentle subject describing a lovely garden populated by chirping birds. After that comes a religious melody—a chant of monks in a modal style. _In a Persian Garden_ is effective for its skilful recreation of an exotic background through Oriental-type melodies, harmonies, and brilliant orchestral colors. Ketelby wrote several other compositions in an Oriental style, the best of which is _In a Chinese Temple Garden_. Aram Khatchaturian Aram Khatchaturian was born in Tiflis, Russia, on June 6, 1903. He was of Armenian extraction. He came to Moscow in 1920, and enrolled in the Gniessen School of Music. From 1929 to 1934 he attended the Moscow Conservatory. He first achieved recognition as a composer in 1935 with his first Symphony, and in 1937 he scored a major success throughout the music world with his first piano concerto, still a favorite in the modern concert repertory. As one of the leading composers in the Soviet Union he has been the recipient of numerous honors, including the Order of Lenin in 1939, and the Stalin Prize in 1940 and 1942. In 1954 he visited London where he led a concert of his own music, and early in 1960 he toured Latin America. Khatchaturian’s music owes a strong debt to the folk songs and dances of Armenia and Transcaucasia. It is endowed with a sensitive and at times exotic lyricism, a compulsive rhythmic strength, and a strong feeling for the dramatic. The most popular single piece of music by Khatchaturian comes from his ballet, _Gayne_ (or _Gayaneh_), first performed in Moscow on December 9, 1942, and the recipient of the Stalin Prize. The heroine of this ballet is a member of a collective farm where her husband, Giko, proves a traitor. He tries to set the farm afire. The farm is saved by a Red Commander who falls in love with Gayne after Giko has been arrested. Khatchaturian assembled thirteen numbers from his ballet score into two suites for orchestra. It is one of these pieces that has achieved widespread circulation: the “Saber Dance,” a composition whose impact comes from its abrupt barbaric rhythms and vivid sonorities; midway, relief from these rhythmic tensions comes from a broad folk song in violas and cellos. “Saber Dance” has become popular in numerous transcriptions, including an electrifying one for solo piano. In 1948 Vic Schoen made a fox-trot arrangement that was frequently played in the United States. Two other excerpts from these _Gayne_ suites are also familiar. “Dance of the Rose Girls” presents a delightful Oriental melody in oboe and clarinet against a pronounced rhythm. “Lullaby” has a gentle swaying motion in solo oboe against a decisive rhythm in harp and bassoon; flutes take up this subject, after which the melody grows and expands in full orchestra, and then subsides. _Masquerade_ is another of Khatchaturian’s orchestral suites, this one derived from his incidental music to a play by Mikhail Lermontov produced in 1939. Each of the five numbers of this suite is appealing either for sensitive and easily assimilable melodies or for rhythmic vitality. Gentle lyricism, of an almost folk-song identity, characterizes the second and third movements, a “Nocturne” and “Romance.” The first and the last two movements are essentially rhythmic: “Waltz,” “Mazurka,” and “Polka.” George Kleinsinger George Kleinsinger was born in San Bernardino, California, on February 13, 1914, and came to New York City in his sixth year. He was trained for dentistry, and only after he had left dental school did he concentrate on music. His first intensive period of music study took place with Philip James and Marion Bauer at New York University where he wrote an excellent cantata, _I Hear America Singing_, performed publicly and on records by John Charles Thomas. Kleinsinger then attended the Juilliard Graduate School on a composition fellowship. In 1946 he scored a major success with _Tubby the Tuba_. He later wrote several other works with humorous or satiric content, often filled with unusual instrumental effects. Among these are his _Brooklyn Baseball Cantata_; a concerto for harmonica and orchestra; and the musical, _Archy and Mehitabel_ (_Shinbone Alley_), which was produced for records, on Broadway and over television. In a more serious vein are a symphony and several concertos. _Tubby the Tuba_, for narrator and orchestra (1942) belongs in the class of Prokofiev’s _Peter and the Wolf_. It serves to familiarize children with the instruments of the orchestra, but because of its wit and simple melodies it also makes for wonderful entertainment. It tells the story of a frustrated tuba who complains that he must always play uninteresting “oompahs oompahs” while the violins are always assigned the most beautiful tunes. In the end Tubby happily gets a wonderful melody of his own to enjoy and play. All the characters in this tale are instruments of the orchestra. In 1946 a recording of _Tubby the Tuba_ sold over a quarter of a million albums. Paramount made a movie of it, and major orchestras throughout the country presented it both at children’s concerts and in its regularly symphonic repertory. Fritz Kreisler Fritz Kreisler, one of the greatest violin virtuosos of his generation, was born in Vienna, Austria, on February 2, 1875. He was a child prodigy at the violin. From 1882 to 1885 he attended the Vienna Conservatory, a pupil of Leopold Auer, winning the gold medal for violin playing. In 1887, as a pupil of Massart at the Paris Conservatory, he was recipient of the Grand Prix. In 1888, he toured the United States in joint concerts with the pianist, Moriz Rosenthal, making his American debut in Boston on November 9. Upon returning to Vienna, he suddenly decided to abandon music. For a while he studied medicine at the Vienna Academy. After that he entered military service as an officer in a Uhlan Regiment. The decision to return to the violin led to a new period of intensive training from which he emerged in March 1899 with a recital in Berlin. From 1901 on until his retirement during World War II he occupied a magistral place among the concert artists of his time. As a composer, Kreisler produced a violin concerto and a string quartet. But his fame rests securely on an entire library of pieces for the violin now basic to that repertory and which are equally well loved in transcriptions for orchestra. The curious thing about many of these compositions is that for many years Kreisler presented them as the genuine works of the old masters, works which he said he had discovered in European libraries and monasteries, and which he had merely adapted for the violin. He had recourse to this deception early in 1900 as the expedient by which a still young and unknown violinist could get his own music played more frequently, besides extending for his own concerts the more or less limited territory of the existing violin repertory. His deception proved much more successful than he had dared to hope. Violinists everywhere asked him for copies of these pieces for their own concerts. Publishers in Germany and New York sold these “transcriptions” by the thousands. As the years passed it became increasingly difficult for Kreisler to confess to the world that he had all the while been palming off a colossal fraud. Then, in 1935, Olin Downes, the music critic of the _New York Times_, tried to trace the source of one of these compositions—Pugnani’s _Praeludium and Allegro_—now a worldwide favorite with violinists. Downes first communicated with Kreisler’s New York publishers who were suspiciously evasive. After that Downes cabled Kreisler, then in Europe. It was only then that the violinist revealed that this piece was entirely his, and so were many others which he had been presenting so long as the music of Vivaldi, Martini, Couperin, and Francoeur among others. It was to be expected that musicians and critics should meet such a confession with anger and denunciation. “We wish to apply the term discreditable to the whole transaction from start to finish,” one American music journal said editorially. In England, Ernest Newman was also devastating in his attack. “It is as though Mr. Yeats published poems under the name of Herrick or Spenser,” he said. Yet, in retrospect, it is possible to suggest that musicians and critics should not have been taken altogether by surprise. For one thing, as Kreisler pointed out, numerous progressions and passages in all of these compositions were in a style of a period much later than that of the accredited composers, a fact that should have inspired at least a certain amount of suspicion. Also, when Kreisler presented his own _Liebesfreud_, _Liebesleid_, and _Schoen Rosmarin_ as transcriptions of posthumous pieces by Joseph Lanner in a Berlin recital, and was vigorously assailed by a Berlin critic for daring to include such gems with “tripe” like Kreisler’s own _Caprice Viennois_, Kreisler replied with a widely published statement that those pieces of Lanner were of his own composition. The reasonable question should then have arisen that if the three supposedly Lanner items were by Kreisler, how authentic were the other pieces of old masters played by the virtuoso? Besides all this, Kreisler himself provided a strong clue to the correct authorship in the frontispiece of his published transcriptions. It read: “The original manuscripts used for these transcriptions are the private property of Mr. Fritz Kreisler and are now published for the first time; they are, moreover, so freely treated that they constitute, in fact, original works.” The furor and commotion caused by the uncovering of this fraud has long since died down. It has had no visible effect on Kreisler’s immense popularity either as a violinist or composer. Since then, all this music has been published and performed as Kreisler’s without losing any of its worldwide appeal. Among the compositions by Kreisler which he originally ascribed to other masters in imitation of their styles were: _Andantino_ (Martini); _Aubade provençale_ (Couperin); _Chanson Louis XIII et Pavane_ (Couperin); _Minuet_ (Porpora); _Praeludium and Allegro_ (Pugnani); _La Précieuse_ (Couperin); _Scherzo_ (Dittersdorf), _Sicilienne et Rigaudon_ (Francoeur); _Tempo di minuetto_ (Pugnani). Perhaps the best loved pieces by Kreisler are those in the style of Viennese folk songs and dances in which are caught all the grace and Gemuetlichkeit of Viennese life and backgrounds. Some he originally tried to pass off as the works of other composers, as was the case with the already-mentioned _Liebesfreud_, _Liebesleid_, and _Schoen Rosmarin_, attributed to Lanner. Some were outright transcriptions. _The Old Refrain_ is an adaptation of a song “_Du alter Stefanturm_” by Joseph Brandl taken from his operetta, _Der liebe Augustin_, produced in Vienna in 1887. Still others were always offered as Kreisler’s own compositions and are completely original with him: _Caprice Viennois_, for example, and the _Marche miniature viennoise_. Among other original Kreisler compositions which he always presented as his own are the following: _La Gitana_, which simulates an Arabian-Spanish song; _Polichinelle_, a serenade; _Rondino_, based on a theme of Beethoven; _Shepherd’s Madrigal_; _Slavonic Fantasia_, based on melodies of Dvořák; _Tambourin Chinois_; and _Toy Soldiers’ March_. Édouard Lalo Édouard Lalo was born in Lille, France, on January 27, 1823. After receiving his musical training at Conservatories in Lille and Paris, he became a member of the Armingaud-Jacquard Quartet, a renowned French chamber-music ensemble. In 1848-1849 he published some songs; in 1867 he received third prize in a national contest for his opera, _Fiesque_; and in 1872 he was acclaimed for his _Divertimento_, for orchestra, introduced in Paris. Two major works written for the noted Spanish violinist, Pablo de Sarasate, added considerably to his reputation: a violin concerto in 1872, and the celebrated _Symphonic espagnole_, for violin and orchestra, two years after that. One of his last major works was the opera, _Le Roi d’Ys_, introduced at the Opéra-Comique in Paris on May 7, 1888. In that same year he was made Officer of the Legion of Honor and sometime later he received the Prix Monbinne from the Académie des Beaux-Arts. In the last years of his life he was a victim of paralysis. He died in Paris on April 22, 1892. A composer of the highest principles and aristocratic style, Lalo is essentially a composer for cultivated tastes. One of his works, however, makes for easy listening. It is the _Norwegian Rhapsody_ (_Rapsodie norvégienne_), for orchestra (1875). There are two sections. The first begins slowly and sedately, its main melody appearing in the strings. Here the tempo soon quickens and a sprightly passage ensues. The second part of the rhapsody, ushered in by a stout theme for trumpets, is vigorous music throughout. Josef Lanner Josef Lanner, the first of the great waltz kings of Vienna, was born in the Austrian capital on April 12, 1801. When he was twelve he played the violin in the band of Michael Pamer, a popular Viennese composer of that day. In 1818 Lanner formed a trio which played in smaller cafés and at the Prater. In 1819 the trio grew into a quartet with the addition of the older Johann Strauss (father of the composer of _The Blue Danube_), then only fifteen years old. Soon afterwards, the quartet was expanded into a quintet. By 1824, Lanner’s ensemble was a full-sized orchestra popular throughout Vienna, heard in such famous café houses as the _Goldenen Rebbuhn_, and the _Gruenen Jager_, as well as at leading balls and other gala social events in Vienna. The call for Lanner’s music was so insistent that to meet the demand it soon became necessary to create two orchestras; one led by Lanner, and the other by the elder Strauss. Lanner remained an idol of Vienna until his death, which took place in Oberdoebling, near Vienna, on April 14, 1843. For his various ensembles and orchestras Lanner produced a wealth of popular Viennese music: quadrilles, polkas, galops, marches, and more than a hundred waltzes. It is in the last department that Lanner was most important, for he was one of the first composers to carry the waltz to its artistic fulfillment. With composers from Mozart to Schubert, the waltz was only a three-part song form with a trio. Johann Hummel and Karl Maria von Weber suggested a more spacious design by assembling several different waltz tunes into a single integrated composition. Lanner extended this form further. He prefaced each series of waltzes with an introduction in which the theme of the main melody was often suggested; after the waltz melodies had been presented, Lanner brought his composition to completion with a coda which served as a kind of summation of some of the ideas previously stated. Between the