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(Vocal/instrumental group, 1976–present) The band was formed by Essex schoolboys Vince Clarke (keyboards), Martin Gore (vocals, guitar, keyboards), Andy Fletcher (keyboards) and singer Dave Gahan. New label Mute took a punt on their melancholic but hooky synth-pop and were rewarded with the Top 10 album Speak And Spell (1981) and classic dance track ‘Just Can’t Get Enough’. Clarke ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

John Renbourn (b. 1944) is a father of contemporary British folk music and an acknowledged master of fingerstyle guitar. He is best known for his collaboration with guitarist Bert Jansch and his work with the folk group Pentangle. Renbourn created music that fused British and Celtic folk with blues, jazz, British early music, classical guitar and Eastern forms. ...

Source: The Illustrated Encyclopedia of Guitar Heroes, consultant editor Rusty Cutchin

Guitar One magazine declared him a ‘modern-day master of the Telecaster’. In the 2007 Guitar World readers’ poll, his instrumental guitar tour de terror The Devil Knows My Name was named Best Shred Album of 2007. Also in 2007, he graced the covers of Guitar Player and Guitarist magazines, while in 2008, he was featured on the ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

(An-dra Âr-nest’ Mo-dest’ Gra’-tre) 1741–1813 Belgian (French) composer Born in Liège, Grétry studied in Rome and in 1767 settled in Paris. With the success the next year of Le Huron he quickly became the leading composer of opéra comique, having particular successes with Zémire et Azor (1771), La caravane du Caire (‘The Caravan of Cairo’, 1783) and Richard Coeur-de-Lion (‘Richard ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Although the first generations of electric bluesmen played louder and more flamboyantly than their acoustic forefathers, their music was still traditional in its delivery and structure. The British blues players who emulated them during the 1960s were also fairly traditional in their approach to the genre. Jimi Hendrix opened things up a bit more when he first appeared on the ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

The spiritual tradition gave rise to many gospel staples, though many of the early ‘university’ singers who performed them had received a formal European musical schooling. The tradition reached a peak with the solo concert performances of the great singer Paul Robeson and the famous contralto Marian Anderson – the ambassadors for black America. The links between blues and gospel ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(Mod-yest’ Moo-zôrk’-ske) 1839–81 Russian composer Mussorgsky was the most radical of the Russian composers known as ‘The Five’. Born to a land-owning family, he joined the army in 1856, where he encountered Borodin, then a military doctor, and Cui, who introduced him to Balakirev, with whom he studied. In 1858 he resigned to pursue a ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1741–1813, French Grétry, who was born in Liège, composed two intermezzi before he headed for Paris and his preferred genre, the opéra comique. His first success, Le Huron (1768), came a year after his arrival and was followed in 1769 by the equally well received Lucile and Le tableau parlant (‘The Talking Picture’). Grétry charmed French ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘Richard the Lionheart’ Composed: 1784 Premiered: 1784, Paris Libretto by Michel-Jean Sedaine Prologue Richard I has disappeared on his way home to England from the Third Crusade. Blondel, his squire and a troubadour, is trying to find his master. Act I Peasants are returning in the evening to their homes near Linz Castle. A local boy, Antonio ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1839–81, Russian Modest Mussorgsky was born in to a family of aristocratic landowners – a status in life that afforded him both luxury and leisure. His musical talent was evident from an early age. Taught at first by his mother and his governess, Mussorgsky could play concertos by John Field (1782–1837) at the age of nine. At age 10 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Boris Godunov, the only project out of nine that Mussorgsky completed himself, has been cited as the great masterpiece of nineteenth-century Russian opera – with its thrilling crowd scenes, historic panorama and the chilling power of its principal character. Boris was unusual in having its chief male role written for a bass voice and for the ‘sung prose’ ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Khovanshchina (‘The Khovansky Affair’), a dark opera, full of conspiracy, gloom and imminent violence, was based on a historical event. In 1682, the future modernizing tsar Peter the Great (1672–1725) was made co-ruler of Russia with his mentally retarded half-brother Ivan V (1666–96). At this time, introducing Greek and Latin practices into the Russian Church was ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Although the art of the classical singer has traditionally been perceived as the pursuit of technical perfection and tonal beauty, the twentieth century enabled a re-evaluation of what that art should be. Due in part to the technological advances and harrowing events of the times, much of the music was innovative, challenging, moving, powerful and, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The opera house and, more specifically, opera audiences, were among the last to be receptive to the new musical language that developed during the twentieth century. Slow, as well as reluctant to vary their traditional musical tastes, perceptions and expectations, many viewed the opera house with nostalgia; as a symbol of the establishment, holding ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

When Stravinsky attended a Hogarth exhibition at the Art Institute in Chicago, he was so captivated by the natural narrative of certain images that he wanted to use them as the basis for an English-language opera. At the recommendation of his friend Aldous Huxley, Stravinsky contacted the poet W. H. Auden, and the two of them subsequently set ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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An extensive music information resource, bringing together the talents and expertise of a wide range of editors and musicologists, including Stanley Sadie, Charles Wilson, Paul Du Noyer, Tony Byworth, Bob Allen, Howard Mandel, Cliff Douse, William Schafer, John Wilson...

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Classical, Rock, Blues, Jazz, Country and more. Flame Tree has been making encyclopaedias and guides about music for over 20 years. Now Flame Tree Pro brings together a huge canon of carefully curated information on genres, styles, artists and instruments. It's a perfect tool for study, and entertaining too, a great companion to our music books.

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