Oakeley, Sir Herbert (Stanley)


Office, Divine. See Divine Office. Oficleide



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Office, Divine.

See Divine Office.

Oficleide.


(It.)

See Ophicleide.

Ofterdingen, Heinrich von.


See Heinrich von Ofterdingen.

Ó Gallchobhair, Éamonn [O’Gallagher, Eamonn]


(b Dundalk, 30 Sept 1906; d Spain, 27 Dec 1982). Irish composer. He studied in Dublin at the Leinster School of Music and the Royal Irish Academy of Music. His strong personality led to a varied succession of appointments. He served as the music director at the Abbey theatre, conducted Radio Éireann’s Light Orchestra and later became a member of the station’s music staff. A leading advocate for the development of a distinctive Irish school of composition, he devoted considerable energy as a critic to combating in writing those who argued for a broader compositional outlook.

An active composer in smaller forms, Ó Gallchobhair wrote in a determinedly nationalistic musical style. The structures and harmonies of traditional music strongly inform his works. Five operas survive, all of which are in Irish. Many of his choral and solo vocal works also set Gaelic texts. His sacred works include mass settings and a short St John Passion for male voices (1950). Among his most expressive compositions are the Three Aquarelles (1952), orchestral compliments to watercolours painted by his wife, Mollie Ó Gallchobhair. He also wrote a considerable body of incidental music for productions at the Abbey theatre and scores for films and documentaries.


WORKS


(selective list)

Dramatic: The Singer (ballet, 3 scenes, Ó Gallchobhair, after P. Pearse, choreog. D. Forrest), 1935; Paul Henry-Landscape (ballet, 1 scene, Ó Gallchobhair, choreog. Forrest), 1937; The Twisting of the Rope (ballet, 1 scene, Ó Gallchobhair, choreog. Forrest), 1939; Nocturne sa Chearnóg (op, 3), 1942; Trághadh na Taoide (op, 3, T. Ó Coileáinn), 1950; Ioc-Shláinte an Ghrá (op, 3), 1954; An Mhaighdean Mhara (op, 1, Ó Coileáinn), 1960; An Tinncéir agus an tSidheóg (op, 1), 1963; incid music; film scores


Orch: Sreath Fonn, ob, str orch, 1940; Homage to Mangan, 1950; Three Aquarelles, 1952; Fl Conc., fl, str orch, 1960; Air and Variations, 1962

Choral: Mouth Music, 1930; St John Passion, male chorus, 1950; Tháinig na Salithe, SSATB, 1950; St Colmcille Mass, 1971

 

Principal Publisher: Govt. Pubns [Dublin]

BIBLIOGRAPHY


E. Deale, ed.: Catalogue of Contemporary Irish Composers (Dublin, 1968, enlarged 2/1973)

B. Harrison, ed.: Catalogue of Contemporary Irish Music [Irish Composers’ Centre] (Dublin, 1982)

JOSEPH J. RYAN


Oganesyan, Edgar Sergeyi.


See Hovhanesian, Edgar Sergeyi.

Oganezashvili, Sasha [Oganyan, Aleksandr]

(b Soganlug, Georgia, 1889; d Tbilisi, 31 May 1932). Armenian k‘emanch‘a player, teacher, theorist and composer. He began to play the k‘emanch‘a at the age of seven and joined a sazander ensemble in which he played the tiplipito and the duduk as well as the k‘emanch‘a. He became a soloist in the composer Anton Mailian's Eastern Orchestra in Baku in 1905 and often appeared with the instrumental ashugh group Haziri in Tbilisi. In the same year he toured the Transcaucasian region, Central Asia and Iran with two mugam performers, the singer D. Karyagdogli and the t‘ar player K. Pirimov. During the period 1906–12 recordings of his performances of classical mugam and Armenian dance music were released by the companies Kontzert-Rekord, Patye and Sport-Rekord. He studied the k‘emanch‘a with Oganez Oganezov, an authority on the Persian mugam, and took the pseudonym Oganezashvili (‘son of Oganez’) in his honour; Oganezashvili added a fourth string to the k‘emanch‘a, which significantly widened its range and thereby increased its potential as a solo instrument.

In 1920 he became the first rector of the Eastern Conservatory in Baku, which taught the theory of eastern music and eastern folk-instrument playing. He began to teach the k‘emanch‘a and music theory in Tbilisi in 1924, and in 1926 he founded a Faculty of Eastern Music at the Yerevan Komitas State Conservatory, at the same time directing and performing as a soloist with the Ensemble of Folk Instruments of Radio Armenia. His students included the k‘emanch‘a players and composers Guzgen Mirzoian and Aram Merangulian. During the late 1920s Oganezashvili worked in the Ton archive in Berlin and took part in the World Exhibition in Frankfurt (1927). He also wrote a series of articles about the monodic musical culture of the Transcaucasus and Iran. His compositions include Farkhad i Shirin (1911) and pieces for k‘emanch‘as, violin and piano.

BIBLIOGRAPHY


G. Gevorgian: Sasha Oganezashvili (Yerevan, 1973)

B. Huseynei: ‘Azerbaydzhanskaya narodnaya muzïka, 1902–82’ [Azerbaijani folk music], Traditsionïy fol'klor i sovremennïye narodnïye khorï i ansambli [Traditional folklore and contemporary folk choirs and ensembles] (Leningrad, 1989), 142–74

H. Apinyan, J. Badalyan and A. Kirakosyan: ‘Diskografiya armyanskoy monodicheskoy muzïki, 1916–89’ [Discography of Armenian monodic music], Traditsionïy fol'klor i sovremennïye narodnïye khorï i ansambli [Traditional folklore and contemporary folk choirs and ensembles], ed. V. Lapin (Leningrad, 1989), 175–246

ALINA PAHLEVANIAN




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