Oakeley, Sir Herbert (Stanley)
Oakeley, Sir Herbert (Stanley)(b Ealing, London, 22 July 1830; d Eastbourne, 26 Oct 1903). Englishcomposer, organist and educator. He was the second son of Sir HerbertOakeley, 3rd baronet. His musical gifts began to show when he was onlyfour; at the age of nine, guided by his mother, he began to compose. Hewas educated at Rugby and at Christ Church, Oxford, graduating BA in1853 and MA in 1856. At Rugby opportunities for music were few but inOxford he studied the organ and harmony with Stephen Elvey, theuniversity organist. Visits to clerical friends at Durham and Canterburystrengthened his leaning towards the Church and at one time he thought oftaking holy orders. In Leipzig he studied under Plaidy, Moscheles andPapperitz, then he went to Dresden to study the organ with JohannSchneider, and finally to H.K. Breidenstein at Bonn.In 1865 he was appointed to the Reid Chair of Music at EdinburghUniversity; he resigned in 1891 on grounds of health and became professoremeritus. His occupancy had been a lively one, full of innovations. Heprocured a splendid organ for the music classroom, on which he gavemany fine recitals (he was particularly gifted in improvisation). He turnedthe annual concert established by General Reid’s will into a three-dayfestival (1872), bringing the Hallé Orchestra from Manchester, with some ofthe most famous artists of the time. In 1865 he founded the EdinburghUniversity Musical Society for students, which still gives public concerts.His greatest achievement was, however, to persuade the Senatus to makeof the Reid School a true faculty of music, with full academic curriculumand power to confer degrees.Oakeley still found time to compose much, church music especially, butalso for the piano, orchestra and voice. His compositional style wasgenerally in keeping with late Victorian fashion; the best-known worksincluded the hymn tunes ‘Abends’ and ‘Edina’, his quadruple psalm chantin F and his sacred partsong ‘Evening and Morning’. From 1858 to 1866 hewas music critic of The Guardian. He wrote and directed the music on theunveiling of the Albert Memorial in Charlotte Square, Edinburgh, in 1876;he was then knighted and appointed Queen’s Composer in Scotland. Hewas the recipient of many honorary doctorates and other distinctions fromuniversities in Britain and abroad and other bodies.WORKSsome MSS at GB-Erall printed works published in LondonA Jubilee Lyric (cant), op.29, Cheltenham Festival, 1887 (1887)Orch works, incl. Edinburgh Festal March, op.22 (1874); Funeral March, op.23(1875); 6 Hymns, op.31; Minuet and Trio in Olden Style (1885); Suite in OldenStyle, op.27, Cheltenham Festival, 1893 (1893)Church music, incl. Full Service, E , op.9 (c1880); Psalms and Hymns for Men’sVoices (1889); 7 anthems, opp.26, 32, 34, 39–42 (1903); many other anthems;
hymn tunesPartsongs and songs, incl. 3 Vocal Quartets, op.16 (1858/9); 6 Part Songs, op.17,male vv (c1859); Scottish National Melodies, op.18, male vv, orch (c1859); 4 ChoralSongs, op.25, male vv (?1866); 20 Songs, ded. Queen Victoria (1887)Pf works, incl. 3 Romances, op.33 (1895); Andante, D, org (1887)BIBLIOGRAPHYObituary, MT, xliv (1903), 792–3, 800E.M. Oakeley: The Life of Sir Herbert Stanley Oakeley (London, 1904)[with list of works]JEAN MARY ALLANOakland.American town in California, near San Francisco. It has its own symphonyorchestra (founded 1933), and Oakland public library and museum holdmusic collections. It is also the seat of Mills College, since the 1930s animportant centre for new music. See San francisco, §§2, 3 and 5.O Antiphons [Great Antiphons].In present-day liturgy a set of seven antiphons to the Magnificat, each textbeginning with the exclamation ‘O’: ‘O sapientia’, ‘O adonai’, ‘O radixJesse’, ‘O clavis David’, ‘O oriens’, ‘O Rex gentium’, ‘O Emmanuel’. One ofthese is sung on each of the seven days preceding Christmas Eve (seeAM, 208–11). In the Middle Ages and the Renaissance, the number ofantiphons was sometimes as many as 12, with added texts such as ‘Ovirgo virginum’ (the most popular), ‘O Gabriel’, ‘O Thomas Didyme’, ‘O Rexpacifice’ and ‘O Hierusalem’ (for example, a sequence of 11 antiphonsbeginning on 13 December is found in the 11th-century manuscript GB-LblHarl.2961). It would appear, however, that the first seven were conceivedas a separate entity. For one thing, the texts of all seven follow the samebasic pattern, first addressing Christ by different titles (‘Wisdom’, ‘Key ofDavid’ etc.), then begging him to come to us (‘Veni’). Perhaps more strikingis the acrostic that results when the first letters of the antiphons are read inreverse order: ‘ero cras’ (‘tomorrow I will be with you’), appropriate to theAdvent season.The antiphons originated at the latest in the 8th century: they were knownto Alcuin (735–804) and Amalarius of Metz (775–850), and extensiveparaphrases of the texts appear in a poem written before 800 by theEnglish poet Cynewulf. The antiphons are all sung to the same 2nd modemelody. They inspired only a few polyphonic settings, the best-knownbeing Josquin’s O virgo virginum. The texts of the seven plus O virgovirginum are troped in the tripla of a series of related isorhythmic motets inI-Tn J.II.9 (14th century). Attaingnant published settings of all seven in abook of motets for three, four, five and six voices, Liber septimus XXIIII(RISM 15349); there are also settings by J.W. Michl in St Peter und Paul,Weyarn. In the late 17th century, Marc-Antoine Charpentier composedsettings for three voices and basso continuo.
BIBLIOGRAPHY‘Les grandes antiennes’, Revue bénédictine, ii (1885–6), 512–16H. Thurston: ‘The Great Antiphons’, The Month (1905), 616–31A. Weber: ‘Die sieben O-Antiphonen der Adventsliturgie’, Pastor bonus, xix(1906–7), 109–19R. Hoppin: ‘The Cypriot-French Repertory of the Manuscript Torino,Biblioteca Nazionale, J.II.9’, MD, xi (1957), 79–125R. Hoppin: ‘A Fifteenth-Century “Christmas Oratorio”’, Essays on Music inHonor of Archibald Thompson Davison (Cambridge, MA, 1957), 41–9C. Callewaert: ‘De groote Adventsantifonen O’, Sacris erudiri (The Hague,1962), 405–18V.E. Fiala: ‘Eine Sonderform der O-Antiphonen’, Archiv fürLiturgiewissenschaft, xii (1970), 261–7R. Münster and R. Machold: Thematischer Katalog derMusikhandschriften der ehemaligen Klosterkirchen Weyarn,Tegernsee und Benediktbeuern (Munich, 1971), 61–2For further bibliography see Plainchant.RICHARD SHERROasis.English rock group. It was formed in Manchester in 1992 by Noel Gallagher(b Old Trafford, 29 May 1967; lead guitar and vocals), his brother LiamGallagher (b Burnage, 21 Sept 1972; lead vocals), Paul ‘Bonehead’ Arthurs(b 23 June 1965; rhythm guitar: later replaced by Gem Archer), Paul‘Guigsy’ McGuigan (b 19 May 1971; bass guitar: later replaced by AndyBell) and Tony McCarroll (drums: later replaced by Alan White, b 26 May1972). After signing to the indie label Creation, the band's first single,Supersonic (1994), set down the blueprint for their trademark style of slowtempo, catchy pop songs. Liam Gallagher's sullen, declamatory deliveryowes much to previous groups associated with Manchester, particularly theHappy Mondays, but Oasis grafted a melodic, song-based aesthetic ontotheir work, largely foreswearing the dance-oriented music of their localscene. Their excellent first album, Definitely Maybe (1994), contained thesublime tracks Live Forever and Slide Away. Unabashed admirers ofLennon and McCartney, their Christmas single for that year, Whatever,complete with a string section and sing-along chorus, was an artful Beatlespastiche. What's the Story (Morning Glory) (1995) contained a string ofsuccessful UK hits such as Roll with It, and the rock ballads Wonderwalland Don't Look Back in Anger. Be Here Now, the most eagerly anticipatedalbum of the year and an instant UK number one, was similar in style, ifwith a harder rock edge. Oasis's fusion of 1960s Beatles-inspired melodies,1970s Slade-influenced glam rock and 1980s Happy Mondays' indie styleshas made them one of the most commercially successful British bands ofthe 1990s. The Masterplan, a collection of ‘B-side’ releases, entered theUK charts in 1998. For further information see P. Hewitt: Getting High: theAdventures of Oasis (London, 1997).
DAVID BUCKLEYObadiah the Proselyte(fl Oppido, Apulia, early 12th century). Norman-Italian baronet. A convert toJudaism, he was responsible for the earliest surviving manuscript source ofJewish music; see Jewish music, §I, 3.Obbligato (i)(It.: ‘necessary’).An adjective or noun referring to an essential instrumental part. The term isoften used for a part ranking in importance just below the principal melodyand not to be omitted. Obbligato is the opposite of Ad libitum when thelatter qualifies the mention of a part in a title. On the title-page of Corelli'sConcerti Grossi op.6, for example, the concertino parts are designated‘obligato’ while the ripieno parts are described as ‘ad arbitrio, che sipotranno radoppiare’ (as you wish, when you are able to double the parts).Used in connection with a keyboard part in the 18th century, obbligatodesignated a fully written-out part instead of a figured bass. Sometimesobbligato means simply independent, as in C.P.E. Bach's OrchesterSinfonien mit zwölf obligaten Stimmen (1780).In music for voice with instruments, ‘obbligato’ refers to a prominentinstrumental part in an aria or other number. The archetype of the obbligatopart is the instrumental solo which, with a basso continuo, constitutes theaccompaniment of vast numbers of late Baroque arias. The directantecedents of the late Baroque phenomenon are to be found in theconcertato style of the early 17th century. Schütz's Benedicam Dominum inomni tempore (Symphoniae sacrae, i, 1629) for soprano, tenor, bass andcontinuo, with obbligato ‘cornetto, o violino’ is an early example, and thetrumpet arias in later 17th-century opera carry on the development.Examples in Mozart's operas include one for horn in Mitridate (1770), onewith flute, oboe, violin and cello in Die Entführung (1782) and the arias withclarinet and basset-horn in La clemenza di Tito (1791). An especiallyornate violin obbligato appears in the Benedictus of Beethoven's Mass inD. Such parts were often less formal in the 19th century, but prominentobbligato writing for flute in particular is not unusual in Romantic opera –for example in the cadenza of the traditional version of the Mad Scene inLucia di Lammermoor (1835) – and the cello and english horn are oftenassigned an obbligato role in melancholy contexts.DAVID FULLER/RObbligato (ii).The term recitativo obbligato (or recitativo strumentato) is sometimes usedfor ‘accompanied recitative’; that is, recitative accompanied by theorchestra instead of the continuo alone (see Recitative).DAVID FULLER/R
Obbligato (iii).The term ‘obbligato homophony’ is sometimes applied to the symphonictextures of Haydn and his contemporaries, characterized by a wealth ofprominent, independent part-writing but not formal polyphony.DAVID FULLER/RObbligo [obligo](It.: ‘obligation’).A 17th-century term indicating a compositional problem or task which thecomposer chooses to treat throughout a piece. An example is Frescobaldi'sRicercar ottavo (from Ricercari, et canzoni francese fatte sopra diversioblighi, 1615), in which the voice parts have the ‘obligation’ to avoidconjunct motion entirely (‘obligo di non uscire mai di grado’). Morefrequently the term indicates that the subject or theme – usually written atthe head of the composition in solmization syllables, as in Frescobaldi'sRicercar quarto, obligo mi re fa mi (1615) – forms the chosen structuralbasis of the piece. In such pieces the ‘obligation’ is to maintain consistentlythe identity of the theme, which may be treated imitatively or canonically asa kind of migrant cantus firmus, or as an ostinato in one voice (e.g.Frescobaldi's Ricercar con obligo del basso come appare in Fiori musicali,1635). Romano Micheli's Musica vaga et artificiosa continente motetti conoblighi, et canoni diversi (1615) contains several five-voice motets in whichthe performer must resolve an ‘obligation’ set by the composer; Venisponsa Christi, for example, has four written parts and the ‘obligo’ of a fifthpart consisting of a six-note cantus firmus on the plainchant melody whichis to be repeated five times to as many different mensurations. PaoloAgostini wrote a number of canonic masses with obblighi (published in1627). An eight-voice Agnus Dei ‘con obbligo sopra la sol fa mi re ut’ (ed. inG.B. Martini: Esemplare ossia Saggio fondamentale pratico dicontrappunto, ii, Bologna, 1775/R, pp.295ff) has the hexachord obbligotreated canonically in the upper two voices while the remaining six voicesare derived from two one-in-three canons. Romano Micheli's 20-voicecanon Dialogus annuntiationis (1625), with 30 obblighi, forms a highpoint incomplexity in treating such pre-established restrictions.BIBLIOGRAPHYI. Horsley: Fugue: History and Practice (New York, 1966)H.E. Smither: ‘Romano Micheli's “Dialogus Annuntiationis” (1625): aTwenty-Voice Canon with Thirty “Obblighi”’, AnMc, no.5 (1968), 34–91Oberek [obertas].Polish folk dance in triple time, with a rhythmic character similar to theMazurka, but distinguishable by its rapid tempo. The term ‘obertas’ is firstrecorded by Adam Korczyński (Lanczafty, 1697), with the now preferred‘oberek’ dating from the 19th century. The dance originates from theMazovia region, and with its increasing popularity has in some areas
overtaken the Krakowiak. Today it is usually performed by an instrumentalgroup of violins, drum and harmonium. It is a whirling, circular dance forcouples with stamping and kneeling figures. These figures are indicated bythe music, which is performed with much rubato and freedom in the placingof accents within the bar. Several of Chopin’s mazurkas have oberekcharacteristics, and there are also examples by Wieniawski, Szymanowski(the third of his Four Polish Dances of 1926), Statkowski and Bacewicz.For bibliography see Mazurka.STEPHEN DOWNESOberheim, Thomas Elroy(b Manhattan, KS, 7 July 1936). American designer of electronicinstruments. His name is primarily associated with the range ofsynthesizers designed by him and manufactured since 1974 by OberheimElectronics, first in Santa Monica, California, then (from c1980) in LosAngeles. While working as an electronics engineer for a small computercompany in the late 1960s Oberheim built amplification equipment formusicians in his spare time. He was asked to construct a ring modulator,and the success of the original device led to requests for others. In 1971Maestro marketed both Oberheim's ring modulator and his phase shifter;Oberheim Electronics was set up in connection with their production. In1973, when he was an agent for ARP synthesizers, Oberheim devised adigital sequencer (DS-2) and the following year he and Jim Cooperdeveloped the ‘Synthesizer Expander Module’, a small monophonicsynthesizer with two oscillators. In 1974–5 Oberheim marketed the firstpolyphonic synthesizers, the three-octave Oberheim 2-Voice and fouroctave 4-Voice; these were based on the expander module (one modulefor each voice) combined with a keyboard developed by the newly formedE-mu Systems. The 8-Voice (one or two manuals) and less popular 6Voice followed soon afterwards. The company then produced twoprogrammable synthesizers, the monophonic OB-1 (1976) and thepolyphonic OB-X (1979). Several variants of the latter followed, as well as(up to 1985) a further expander module, the Matrix 6 and 12 synthesizerswhich were based on it, a digital sequencer and an electronic percussionunit.In 1985 Oberheim lost control of the company he had founded, whichbecame part of ECC Development Corporation in Los Angeles; he left thecompany in 1987. After producing the Matrix 1000 and a sample player,Oberheim/ECC went bankrupt in 1989. It was briefly owned by Suzuki, thenrelaunched in 1991 by Gibson Guitars in North Hollywood and laterOakland, California; it is currently owned by the Italian electronic organmanufacturer Viscount.In 1987 Oberheim founded Marion Systems in Lafayette, California,specializing in sampler and synthesizer modules, and carrying out external
design work (including non-musical consulting). In 1999 he launched thefirst product from his new company Sea Sound.See also Synthesizer.BIBLIOGRAPHYT.E. Oberheim: ‘A Programmer for Voltage Controlled Synthesizers’, AudioEngineering Society Preprint, no.1172 (1976)D. Heckman: ‘Tom Oberheim's Magical Music Machines’, HighFidelity/Musical America, xxvii/4 (1977), 127–30D. Milano: ‘Tom Oberheim: Designer of Synthesizers’, ContemporaryKeyboard, iii/5 (1977), 20–21, 32 only; repr. in The Art of ElectronicMusic, ed. T. Darter and G. Armbruster (New York, 1984), 92–7J. Burger and J. Aikin: ‘The New Oberheim: Mean and Lean’, Keyboard,xiii/3 (1987), 30–32R. Moog: ‘Vital Statistics: Oberheim SEM Module’, Keyboard, xv/12 (1989),116–17; rev. in M. Vail: Vintage Synthesizers: GroundbreakingInstruments and Pioneering Designers of Electronic MusicSynthesizers (San Francisco, 1993), 151–6P. Forrest: The A–Z of Analogue Synthesisers, i: A–M (Crediton, 1994,2/1998), 259–60; ii: N-Z (Crediton, 1996), 7–24HUGH DAVIESOberklang(Ger.).See under Klang (ii).Oberlender [Oberländer].German family of woodwind instrument makers, active in Nuremberg.Johann Wilhelm Oberlender (i) (bap. 14 March 1681; bur. 25 Oct 1763)founded the family tradition of making woodwind instruments. He wasgranted master's rights as a wood turner in 1705, and was first mentionedas a turner of flutes in 1710. He soon rose above the rank of craftsman;documentary evidence shows him holding such positions as member of theGreater Council (1719) and sworn master of the turners' guild (1721–2).After the middle of the century, at the latest, his advanced age probablymeant that he was no longer working himself, but he was still employingtravelling journeymen around 1750. Salomon Heckel (1719–91), a townmusician and turner, took over the workshop after Oberlender's death.Heckel's advertisement stating that from now on ‘Oberlender's musicalwind instruments may only be obtained from him’ drew a protest fromOberlender's son, Johann Wilhelm Oberlender (ii) (bap. 12 Sept 1712; bur.29 Nov 1779), who had become a master in the turners' guild in 1735. Thatthis date coincided with the death of Jacob Denner led to the nowdiscarded assumption that Johann Wilhelm (ii) had taken over Denner's
workshop. However, economic and personal problems prevented him fromachieving success. His professional failure was due in part to the keencompetition in Nuremberg, where several workshops were activeconcurrently, including those of his father and of another brother, WendelinOberlender (bap. 4 April 1714; bur. 17 March 1751). Also trained by hisfather, Wendelin was granted master's rights in 1738. At his funeral he wasdescribed as ‘the honourable Wendelin Oberlender, experienced in his art,Vicarius of the town musicians, also oboe and flute maker’.The last member of the family to be active in instrument making was FranzAdolf Gabriel Oberlender (bap. 11 March 1748; bur. 19 May 1805), the sonof Johann Wilhelm Oberlender (ii). He received master's rights in 1774, butmade instruments only as a sideline. Documentary sources usuallydescribe him as a turner, gatekeeper and dealer in musical instruments.After the Denners, the Oberlender family was probably the most importantin the history of woodwind instrument making in Nuremberg. Their positionis due primarily to the work of Johann Wilhelm (i), who was active duringthe period when woodwind instrument making in Nuremberg was in itsheyday. Following the examples of the successful J.C. Denner and J.Schell, Oberlender specialized in woodwind instruments of high quality; healso profited from the high reputation of Nuremberg instruments. Hismaster's mark (‘I.W. OBERLENDER’ in scroll, ‘OB’ and ‘ND’ as ligatures,with an ‘O’ underneath) imitated the marks of Denner and Schell.Attribution of the more than 50 extant instruments to their individual makersis still unsatisfactory, since masters' marks were inherited in Nuremberg, afact that has been overlooked in the past. Extant instruments (see Young)include: flageolets; recorders of various pitches, including some withstrikingly carved decorations (not, however, done in the Oberlenderworkshop itself); transverse flutes (including a tierce flute and a flautod'amore); oboes (including oboes d'amore); and clarinets. The tierce fluteand the clarinets are among the earliest specimens of their kind.The instruments changed in style but also declined in quality through thegenerations. Those which can be dated with certainty to an early periodshow clearly the characteristics of a ‘Nuremberg School’; in particular, theymay be compared with instruments from the Denner workshops, their rivalsthen as now.BIBLIOGRAPHYLangwillI7YoungHIE. Nickel: Der Holzblasinstrumentenbau in der Freien ReichsstadtNürnberg (Munich, 1971)MARTIN KIRNBAUEROberlin, Russell (Keys)(b Akron, OH, 11 Oct 1928). American countertenor and teacher. He waseducated at the Juilliard School of Music (diploma 1951). Oberlin was afounding member in 1952 of the New York Pro Musica with NoahGreenberg, and also appeared as a countertenor with numerous opera
companies, orchestras and ensembles, and in theatrical productions.Admired for his virile, sweet tone and subtle phrasing, he was a leadingexponent of early music, and through his many recordings andappearances helped to popularize not only music at that time unknown butalso the repertory of the countertenor voice. In 1961 he sang Oberon in thefirst Covent Garden production, and the US première in San Francisco, ofBritten’s A Midsummer Night’s Dream. In the mid-1960s he turned toteaching, and appeared as lecturer and lecture-recitalist at colleges anduniversities throughout the USA and abroad. In 1971 he was appointedprofessor of music at Hunter College, CUNY, and director of the HunterCollege Vocal Collegium.PATRICK J. SMITHOberlin College Conservatory ofMusic.A conservatory attached to a private college in Oberlin, near Cleveland,Ohio, USA. The college was founded by Congregationalists in 1833. In1837 George N. Allen, a student, was designated instructor of sacredmusic; he later became a professor (1841–64), and in 1865 two of hisstudents, John P. Morgan and George W. Steele, established aconservatory which was joined to the college in the following year. Underthe directorship (1871–1901) of Fenelon B. Rice the conservatory attaineda position of national prominence which it still holds. Karen Wolff wasappointed Dean in 1991. The conservatory enrolled about 550 studentsand had a faculty of about 75 in the mid-1990s. The college awards, onrecommendation from the conservatory, BM and MM degrees inperformance, composition, music education, music history, historicalperformance, electronic and computer music and jazz studies, and also adiploma in performance. An electronic music studio and a collegiummusicum are among the available facilities. The library has over 110,000books and scores, and over 42,000 sound recordings.BIBLIOGRAPHYW. Warch: Our First 100 Years (Oberlin, c1967)E.B. Chamberlain: The Music of Oberlin and Some who Made it (Oberlin,1968)BRUCE CARRObermayer, Joseph(b Starnberg, nr Munich, 17 Oct 1878; d Starnberg, 13 July 1966). Germanharp maker. Obermayer established his harp making concern in Munich in1928, and produced his first instruments in the 1930s. His factory wasbombed during World War II, but he re-established himself in 1944 inKufstein, Austria. In 1952 Obermayer moved his factory to his home town,and he was joined there by his chief assistant from Kufstein, MaximilianHorngacher. After the sudden death of Obermayer’s son in 1960,
Horngacher was gradually trained to take over the business; this he did onObermayer’s death in 1966.Obermayer produced three styles of harp. Shortly before his death hedeveloped and built a fourth type in a more modern style, without thetraditional gilding. Horngacher continued to produce all four models; in1970 he was awarded a gold medal for exceptional craftsmanship by thestate of Bavaria. Individually hand-built, the Obermayer-Horngacher harpsare particularly notable for their reliability, their stability of pitch, themeticulous precision of their mechanism and their brilliant sound. This latterproperty may be attributable to the tuned cast-metal ribs, rather than theusual wooden ones, which are used in the construction of the harp’ssounding-box.ANN GRIFFITHSOberquintteiler(Ger.).See under Divider.Obersattel(Ger.).See Nut (i).Obertas.See Oberek and Mazurka.Oberthür, Charles [Karl](b Munich, 4 March 1819; d London, 8 Nov 1895). German harpist andcomposer. The son of a maker of strings for musical instruments, he waseducated in Munich, studying the harp with Elisa Brauchle and compositionwith George V. Röder, music director at the Munich court. In the autumn of1837 Charlotte Birch-Pfeiffer engaged him as harpist for the Zürich theatre,where he remained until 1839. He then made a concert tour of Switzerlandand Germany, after which he was a chamber musician at the court of theDuke of Nassau in Wiesbaden; he composed two operas, Floris von Namurand Der Berggeist des Harzes, which were performed at the Wiesbadencourt. From 1842 to 1844 he was solo harpist at the court theatre inMannheim, where a dispute with Vinzenz Lachner culminated in Oberthür'sgiving up his position.English friends in Mannheim urged Oberthür to go to London, where hereceived support from Moscheles and in 1844 performed with success. Hesettled there in 1848, meanwhile giving concerts on the Continent andstaying at Frankfurt in 1847–8. He was an unrivalled virtuoso, and hisconcerts were always well received. In London he became solo harpist at
the Italian Opera but cancelled his contract to devote himself tocomposition and teaching. He became harp professor at the LondonAcademy of Music, founded in 1861, and was widely known as a teacher;his method, Harfenschule für doppelte und einfache Bewegung op.36 (laterpublished as Universal Method for the Harp), is still used by teachers. Aprolific composer, he wrote 351 works with opus numbers and more than100 unnumbered works. His compositions, which reflect his experience asa concert performer, include many transcriptions for harp, about 30collections (mainly for harp), trios, quartets, about 40 piano works and 27duos for harp and piano, as well as many vocal and orchestral works.WORKS(selective list)for fuller list see PazdírekHOperas: Floris von Namur (C. Gollmick), Wiesbaden, 1840; Der Berggeist desHarzes, Wiesbaden, 1850Choral: Missa St Philip de Neri, SATB, hp, orch; Psalm lxi, T, SATB, org, hp ad lib,op.194; 3 cantatas, Lady Jane Grey (E. Oxenford), op.309 (London, c1886), ThePilgrim Queen (Mrs A. Roberts) (London, 1880), The Red Cross Knight (Roberts)(London, 1881)Inst: Macbeth Ov., hp, orch, op.60 (London, 1852); Rübezahl Ov., orch, op.82(Mainz, n.d.); Concertino, hp, orch/pf qt, op.175 (Leipzig, c1863); Loreley, legend,hp, orch/pf, op.180 (Hanover, n.d.); Prol to Ein Winternachtstraum (C. Köstling, afterW. Shakespeare), pf, orch, op.210 (Hanover, c1880); Orpheus, hp, pf, op.253(Leipzig, n.d.)Other vocal and orch works, chamber music, pf pieces, songsBIBLIOGRAPHYPazdírekHM.G. Scimeca: L'arpa nella storia (Bari, 1938), 161A.N. Schirinzi: L'arpa: storia di un antico strumento (Milan, 1961), 120–21ALICE LAWSON ABER-COUNTOberwerk(Ger.: ‘upper department’).The upper chest and manual of a German organ, often (since c1840)provided with Swell shutters, able by its position to take larger pipes thanthe Brustwerk and other minor chests of a Werkprinzip organ. In manysources (e.g. the autograph registrations in Bach's Concerto bwv596)Oberwerk denotes Hauptwerk, i.e. the main chest above the player, asopposed to the Rückpositiv (Chair organ). Praetorius (1619) used otherphrases such as ‘Oben in der Brust’ or ‘oberste Positiff’ if he wished to referto the Oberwerk. Schlick (1511) disparagingly mentioned small subsidiarychests placed within the main case, but the Oberwerk found on suchorgans as Kampen (1523) was a major department. That called boven intwerck at Amsterdam Oude Kerk in 1543 had two chests and took all thecolour stops away from the Hauptwerk, which was thereby kept to a size
convenient for builder and bellows-blower. Such a department was veryuseful when it had its own keyboard and became highly developed, thosein the big four-manual organs of Schnitger (c1690) still full of flutes, fulllength reeds and other colours giving variety. The Unterwerke,Seitenwerke, Echowerke and Kronwerke (‘under, side, echo, crowning,departments’) found in later Baroque and Romantic organs are of muchless musical significance.PETER WILLIAMSObey, Ebenezer [Chief CommanderEbenezer](b Idogo, 1942). Nigerian performer. At the forefront of the modernization ofJùjú music in Nigeria. Obey joined the Fatai Rolling Dollars band in 1958.He made his first recordings in Lagos in 1963 and since then has madeover 90 commercially released recordings and singles. Similar in style andinfluence to ‘King’ Sunny Adé, Obey has an instrumentarium that includesHawaiian steel guitar and is generally thicker, drawing on vocal call-andresponse forms, reflecting his personal miliki (enjoyment) style, acombination of African and Western musical materials. Obey introducedthree guitars (tenor, lead and rhythm) to the typical juju ensemble. He firstappeared with his International Brothers band in 1964, introducing a slowermusic rooted in Yoruba drumming traditions. An accomplished guitarist,Obey long performed within the tradition of praise-singing, drawing onChristian values as well as economic and political issues. He became aninternational success in the 1980s with his Inter-Reformers Band which hasconsisted of up to 20 musicians at any given time; Obey remains the bestselling music
Oakeley, Sir Herbert (Stanley) (b Ealing, London, 22 July 1830; d Eastbourne, 26 Oct 1903).English composer, organist and educator. He was the second son of Sir Herbert Oakeley, 3rd baronet. His musical gifts began to show when he was only
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Stanley rescued his mother’s ring by going down into the grate by the sidewalk. Arthur turned Stanley back to normal using his bicycle pump. Arthur flew Stanley like a kite in the park. A bulletin board fell on Stanley and flattened him. Stanley caught the art thieves at the museum. Stanley was mailed to California in
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Herbert Spencer and his education theory have big impact in the history. "What Knowledge is of most Worth?" have guided the research on the scientific knowledge. Herbert Spencer and Education Herbert Spencer (April 27, 1820 -December 8, 1903) was a British positivist philosopher, sociologist and educational reformer.
Chapter 7 This chapter alternates between Stanley digging his first hole at Camp Green Lake and flashbacks about Stanley’s great-great-grandfather. The first four questions are about Stanley digging the hole; the other questions are about the flashback. 1. Describe Stanley’s attempts at digging his hole. 2.
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