The following composers have works currently in print by Wolfhead Music
Bach, J.S. Fox, Clint Ortmans, René Beath, Betty Geminiani, Francesco Pierné, Gabriel Biber, H.I. Gordon, Geoffrey Rieding, Oskar Bosc, Michel Guillemain, L.-G. Rossini, Gioacchino Burgmüller, Frédéric Hasse, J.A. Salieri, Antonio Caudioso, Domenico Hickey, Sean Sarasate, Pablo de Craton, John Kaiser. Tyler Ten Have, Willem Curti, Carlos La Hache, Theodore Tessarini, Carlo Damrosch, Walter Loeffler, C.-M. Torjussen, Trygve Dancla, Charles Lombardo, Robert Vecsey, Franz Dubois, Théodore Mondonville, J.-J. Vilsmayr, J.J. Dumitriu, Leonard Nachèz, Tivadar Vivaldi, Antonio Farkas, Ödön Nardini, Pietro Widor, C.-M.
Johann Sebastian Bach. Perhaps the best known and certainly one of the most prolific German composers of the baroque era, Bach (1685-1750) is a name that needs no introduction. His sonatas and partitas for solo violin have been hailed as among the greatest musical works ever written.
Betty Beath. Contemporary Australian composer, pianist, and educator at the Queensland Conservatorium of Music and St. Margarets Girls School, Brisbane. Her works include orchestral, chamber, art song, and musical drama and have been performed widely throughout Australia, America, Europe, Mexico, Japan, and Indonesia. Her compositions have been recorded on the Vienna Modern Masters, Australian Broadcasting Commission, Grevillea, and Jade labels. Beaths music has been described as possessing both innocence and profundity ... with an almost Brittenesque feel.... [Home Page]
Heinrich Ignaz Biber. German-Bohemian violinist and composer (1644-1704). Best known for his Mystery Sonatas for violin and basso continuo, Biber was a prolific composer who broke new ground in many of his works. He made extensive use of scordatura (retuning of instruments) in a number of his compositions, allowing for a wide range of chordal effects and tonal qualities not typical for instruments with standard tunings. Much of his music is highly programmatic and surprisingly advanced for his time.
Michel Bosc. French compoer Michel Bosc was born in 1963 and as a composer is largely self-taught. A prolific composer, his works cover such diverse registers as chamber music, symphonies, choral music, and music for the theater. A member of the Société Marc-Antoine Charpentier, he also is a distinguished music critic and analyst. His works have been performed worldwide by such performers and ensembles as Gilles Lefèvre, Aline Fox, Christian Foulonneau, the brass quintet of the Orchestre National des Pays de Loire, the National Orchestra of Kazakhstan, the Academic Symphony Orchestra of the Ulyanovsk Philarmonia, the European Orchestra, the Orchestre Instrumental dIle-de-France, the Orchestre Symphonique Lyonnais, and the Ensemble Gabriele Leone. Conductor Maximilian Fröschl has described Boscs music as possessing melodic sweetness, polyphonic rigour, and the power of rhythm. [Home Page]
Frédéric Burgmüller. Best remembered today for his melodic pedagogical works for piano, Burgmüller (1806-1874) was considered also an important composer of ballets during his lifetime. The Three Nocturnes represent his quentissential command of pre-Romantic harmonic writing.
Domenico Caudioso. Italian composer of the eighteenth century about whom little is known. The G major concerto represents one of his few surviving works and evokes the charming style of mandolin-writing of his period.
John Craton. Contemporary American composer, Craton studied music theory and composition under John Maltese, Gerald Moore, and Henry Fusner. His compositions typically reflect the English pastoral school with an American twist, and his works have been compared to those of Ralph Vaughan Williams and Gustav Holst. Cratons music frequently evokes a curious blend of medieval harmonies with pastoral lyricism and has been performed by such artists and ensembles as Sebastiaan de Grebber, Lester Turner, John Tabler, Ferdinand Binnendijk, Eva van den Dool, Het CONSORT, Het Orkest van het Oosten, and the Amsterdam Symphony Orchestra. [Home Page]
Carlos Curti. Little information is available on this Italian mandolinist and composer who flourished in the United States at the turn of the 19th-20th centuries. He is known to have formed an early mandolin orchestra in America shortly after the appearance of the Estudiantina Figueroa in New York. His method (published in 1896) was a very comprehensive volume that has been out of print for many decades. We are very pleased to offer it in facsimile edition.
Walter Damrosch. Born in Breslau in 1862, Damrosch came to America at age nine when his father was appointed conductor of the Metropolitan Opera. Best remembered as a conductor, Walter Damrosch also composed five notable operas as well as a number of works for smaller ensembles and several song cycles. A prominent figure among the Cornish Colony composers, Damrosch inspired many other artists during his lifetime and left a lone sonata for piano and violin written in a style very reminiscent of Brahms.
Charles Dancla. A violin prodigy highly acclaimed by Pierre Rode, Dancla studied under Baillot and was highly influenced by both Paganini and Vieuxtemps. He served as solo violinist and concertmaster of the Paris Opera and held a professorship in violin at the Paris Conservatoirs from 1857-1892. Dancla composed more than 130 works for violin, the two sets of Airs varieés being the best known today. The Romances are comparable in difficulty to the Airs. [Home Page]
Théodore Dubois. French organist and composer (1837-1924), Dubois succeeded César Franck as choirmaster of the Basilica de Sainte-Clotilde. Although best remembered today for his religious compositions, Dubois aspired to be recognized for his stage works, having composed seven operas and two ballets.
Leonard Dumitriu. A graduate of the Iasi Music Conservatory of Romania, Dumitriu is among Romanias most respected composers of the day. Since 1986 he has been principal conductor of the Romanian Opera House of Iasi after previously conducting the Craiova Lyric Theater Orchestra. In addition to his reputation as a conductor, Dumitriu has composed a large body of works including song cycles, string quartets, concertos, sonatas, four operas, and a number of chamber works. His music has been recorded and broadcast by the National Romanian Radio Corporation, and he was awarded the Cultural Merit Medal First Class by the President of Romania in 2004.
Ödön Farkas. Hungarian composer (1851-1912) and former director of the conservatory of Cluj, Farkas also served as conductor of the theater in Cluj in 1882-83. Quite popular during his lifetime for his five operas and operettas, little of his musical work survives.
Clint Fox. A native of Wisconsin, Fox is a graduate of the Lawrence Conservatory where he studied piano under Robert Below and Kathleen Murray. After completing graduate studies in performance and pedagogy at Bowling Green of Ohio, he taught briefly at the Lawrence Arts Academy and now teaches piano at the Perrysburg School of Music in Perrysburg, Ohio. Fox recently released his first solo album of original compositions, Shadows & Reflections.
Francesco Geminiani. Eighteenth-century (1687-1762) Italian violinist and composer, Geminiani studied under Alessandro Scarlatti, Carlo Lonati, and Arcangelo Corelli. After an impressive career in Italy, Geminiani relocated to London where he became a patron of George I and performed often with George Frederic Handel. A true violin virtuoso, his Italian students nicknamed him Il Furibondo (The Madman) because of his unusual but expressive rhythms.
Geoffrey Gordon. Among the brightest of the rising stars in contemporary American composition, Gordons list of works includes orchestral and chamber music, as well as scores for theater, film, and dance. During the 2003-2004 concert season, his works received more than 50 performances on three continents. Nominated for numerous awards including the prestigious Elise Stoeger Prize, he is the 2003 recipient of the Wisconsin Arts Board Fellowship in Music Composition. His music has been described as brilliant (Philadelphia Inquirer), stunning (Milwaukee Journal Sentinel), wonderfully idiomatic (Salt Lake Tribune), and haunting (Strings Magazine), all of which characteristics are evident in his Interiors of a Courtyard. [Home Page]
Louis-Gabriel Guillemain. French violinist and composer (1705-1780), his works represent the height of violin writing of his period. Full of pre-revolutionary French galant, his music also reveals an improvisational style well ahead of its time.
Johann Adolph Hasse. An eighteenth-century German tenor and composer of operas, most of his works were destroyed in the seige of Dresden. The mandolin concerto survives as a small representation of his work which encompassed more than 100 operas, oratorios, and sinfonias.
Sean Hickey. A native of Detroit, Michigan (b. 1970), Hickey studied guitar at Oakland University and completed his musical training in theory and composition at Wayne State University under James Hathway and James Lentini. He subsequently pursued further studies with Justin Dello Joio, Leslie Bassett, and Gloria Coates. His works include a wide array of chamber music, a film score, and incidental music for a childrens play. He has been performed widely throughout the United States and Spain, and recently an album of Hickeys music (Left at the Fork in the Road) was released by Naxos. [Home Page]
Tyler Kaiser. A native of Duluth, Minnesota, Kaiser has earned national recognition with several awards from the American Society of Composers, Authors and Publishers and numerous grants, fellowships and commissions. Notable among these are a National Endowment for the Arts grant for the Continental Harmony project, two McKnight/ARAC fellowships and commissions from the American Recorder Society, Arts Midwest/Meet the Composer, Matinee Musicale, the College of St. Scholastica, and the Duluth-Superior Symphony Orchestra. He is a composer in residence with the Lake Superior Chamber Orchestra. Kaiser studied guitar with Daniel K. Sturm, Peter Segal, Toyohiko Satoh, and Hopkinson Smith; and composition with Daniel K. Sturm and Arthur C. Campbell. He holds a B.A. in guitar performance & composition from the College of St. Scholastica. [Home Page]
Theodore von La Hache. La Hache immigrated to New Orleans, Louisiana, at age 20 from Dresden, where he was born in 1822, and quickly established himself as a prominent figure in the citys musical circles. A gifted pianist, he also was organist and principal choirmaster of the Church of St. Theresa and founder of the New Orleans Philharmonic Society and the Harmonic Association of New Orleans. A contemporary of New Orleans native Louis Moreau Gottschalk, unlike Gottschalk he remained loyal to his adopted hometown and during the War Between the States organized numerous benefit concerts for victims of the War while composing many works celebrating Southern culture and the Confederacy. Though best remembered for his setting of the poem The Conquered Banner by Fr. Abram Ryan, his more than 600 numbered works include nearly every genre from parlor music to large sacred works for choir and orchestra. Forced to abandon performance after suffering lead poisoning in 1867, he was active in conducting and composing until his death two years later. [Home Page]
Charles Martin Loeffler. Born in Europe in 1861, Loeffler emigrated to the United States in 1881 and considered himself an American composer. During his youth, Loefflers family lived in Germany, Alsace, Russia, Switzerland, and Hungary. Charles studied violin in Berlin with Joachim and composition in Paris with Ernest Guiraud. His works are imbued with French Impressionism and elements of contemporary Russian music. Though a prolific composer, many of his works remain unpublished. In addition to Music for Four Stringed Instruments, he wrote several other string quartets, three operas, a number of choral works, and compositions for jazz ensembles. Loeffler died in 1935.
Robert Lombardo. Professor Emeritus of music theory and composition from Roosevelt University, Lombardo received his musical training at the Hartt School of Music and the University of Iowa. Now a Chicago resident, he is a prolific composer of more than 200 works for solo instruments, chamber ensembles, orchestra, operas, and song cycles. His works have been performed by numerous ensembles including the Chicago, Cincinnati, and Memphis Orchestras and have garnered many awards such as the Serge Koussevitsky Foundation in the Library of Congress, the Fromm Foundation, and others. An album of his mandolin works has been recorded by Albany Records.
Jean-Joseph Mondonville. French violinist and composer (1711-1772). Best remembered for his choral works, Mondonville left an impressive corpus of compositions for the violin, an instrument he commanded with excellence and precision. His violin works abound with double-stops and harmonics, unique for French music of his day. Mondonville was known as an energetic, happy man, content with his station in life, and one who refused to consider any man his rival. His obituary proclaimed him a man of the highest virtues and character, and these qualities are equally reflected in his music. Such was his stature that in 1755 he rose to director of the Concert Spirituel in Paris, which at the time was the most important concert system in the world.
Tivadar Nachèz. Hungarian violinist and composer (1859-1930). A native of Budapest, Nachèz was admired by Franz Liszt who, after hearing him play, urged him to study under Joachim in Berlin. Later, as a student of Lèonard in Paris, he was encouraged to try his hand at composition as well. Though leaving behind only a small number of works, the Danses tziganes are perhaps his most famous, though sadly having fallen from the repertoire since his death.
Pietro Nardini. A pupil of Giuseppe Tartini, Nardinis skills on the violin garnered him wide acclaim and praise from even Leopold Mozart. Though born in Livorno, Italy, Nardini made his early career in Germany where he worked as a conductor and only later returned to Italy as Kappellmeister to the Grand Duke of Tuscany in Florence. Nardinis compositions are not numerous, but they all betray a genius well ahead of his time.
René Ortmans. Little is known of René Ortmans life beyond the two delightful student concertinos he left to posterity. Both are single-movement works comparable to the Rieding concertinos.
Gabriel Pierné. French composer (1863-1937) who studied under Émile Durand, César Franck, and Jules Massenet. Pierné became chief conductor of the Concerts Cologne in 1910 and is remembered for premiering Stravinskys Firebird at the Ballets Russes that same year. His compositions include several operas and symphonic works as well as eight ballets.
Oskar Rieding. Although a native of Germany, Rieding (1840-1918) is best known for his contributions to Hungarian music. After completing studies in Berlin and Leipzig, Rieding moved to Vienna where he served as orchestra leader for three decades and where he composed a number of violin concertos, mostly for students, among other violin works. Following retirement, he spent his remaining days in what is now Slovenia.
Gioacchino Rossini. Born in Pesaro, Italy, Rossini is best remembered for his operatic works, Rossini penned a number of smaller, lighthearted works in his later years. These compositions he described as the sins of old age, and they are characterized by their whimsical and melodic nature.
Antonio Salieri. A thoroughly accomplished Italian opera composer (1750-1825), Salieris works were nevertheless quickly overshadowed by the brilliance of his contemporary, Mozart. Devoting himself almost entirely to the operatic genre, he found little time to compose works for solo instruments. The Variazioni, his last work, nevertheless betray a rare talent that was in full command of orchestral compostion. The version presented here has been arranged for solo violin and piano.
Pablo de Sarasate. Spanish violinist and composer (1844-1908). Remembered both for his remarkably stylistic works for violin and also as one of the first great artists to have left audio recordings of some of his performances, Sarasates music evokes an unquestionable Spanish flavor. The Playera, orginially for violin and piano, is taken from a collection of Spanish dances by the composer.
Willem Ten Have. Born in Amsterdam in 1831, Ten Have studied violin under Charles de Bériot. Later becoming a teacher at the University of Lyon, Ten Have remained in France the rest of his long life. After retiring from teaching he moved to Paris where he died in 1924. Ten Have is best remembered for his Allegro brilliante, but he also composed approximately 40 other significant works for violin.
Carlo Tessarini. Born in Rimini, Italy, in 1690, Tessarini was a highly accomplished but restless soul who made frequent tours throughout Europe. Although there is no conclusive evidence that he studied with Arcangelo Corelli, he has long been rumored to have been one of Corellis students. Tessarinis first set of violin sonatas was published in 1729, and within a few years his music had achieved international acclaim. His reputation often was compared to that of his contemporaries Vivaldi, Locatelli, Albinoni, Handel, and Alberti, even though he was considerably younger in age than they. His restless lifestyle saw him living in Italy, France, England, and Germany before apparently settling his last years in the Netherlands. He gave his last public performance there in December 1766 and was admired for his youthful energy even well into his 70s. The exact date and place of his death is not known, though he is thought to have died somewhere in the Netherlands in 1767.
Trygve Torjussen. Norwegian pianist, composer, and pedagogue (1885-1977), Torjussens career flourished in the early part of the 20th century. Best known for his tone poem To the Rising Sun, his works were consistently idyllic and clearly influenced by Edvard Grieg. Little biographical information is available, though he is known to have fled Norway for Scotland in 1941 to escape the Nazis.
Franz von Vecsey. Hungarian violinist and composer, Von Vecsey (1893-1935) entered Hubays studio at age eight and, two years later, became a sensation in Berlin as a child prodigy. Vecsey made a number of recordings and was in high demand as a performer throughout Europe before and during World War I. Sadly, Vecseys stellar career ended when he died prematurely at the young age of 42 due to a pulmonary embolism.
Johann Joseph Vilsmayr. Austrian violinist and composer (1663-1722). Little is known of Vilsmayrs early life. He is known to have played with the Salzburg Hofkapelle from 1689 until his death. At the Hofkapelle he knew (and possibly studied under) fellow Austrian violinist Heinrich Ignaz Biber. Vilsmayrs only surviving work, the six partitas for solo violin, show a profound influence by Biber, especially in the extensive use of scordatura.
Antonio Vivaldi. Italian violinist and composer (1678-1741). Though ordained a priest in 1703, Vivaldi spent most of his life teaching violin at the Ospedale della Pietà where he also composed an astounding number of works. The concerto F.I. no. 60 is unique among his compositions in that it is written for violin scordatura (the G string must be tuned up a minor third to B-flat). Among the most beautiful of all his concertos, it is published here for violin with piano accompaniment for the first time.
Charles-Marie Widor. Best remembered for his works for organ, Widor left a number of genuinely charming and impressive chamber compositions as well. Born in Lyon in 1844 to a family of organ builders, Widor studied in Brussels and Paris, where he was appointed assistent to Camille Saint-Saëns at age 24. Widor helped found the American Conservatory at Fontainbleau in 1921 and remained its director until succeeded by Maurice Ravel in 1934. Widor died in 1937 after suffering a severe stroke a year earlier.