Scan 46
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
37 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Craig, Charles (James) (b London, 3 Dec 1920) English tenor The youngest in a family of 15, he acquired enough facility as a young singer to tour military bases with an orchestra as part of his war service. In 1947 he joined the Covent Garden Opera chorus, where he came to the attention of Beecham, who financed his training for two years. He made his début in London concerts with Beecham in 1952, and the next year he joined the touring Carl Rosa Opera as a principal tenor, making his début in La bohème. He moved to the Sadler's Wells Opera in 1956, and first sang at Covent Garden as a principal in 1959 (Madama Butterfly). He has been a guest principal at many of the major opera houses in Europe and North and South America. His singing developed a typically Italianate fervour and a true sense of operatic style in a repertory of nearly 50 roles.
3Craig, Edward (Henry) Gordon (b Stevenage, 16 Jan 1872, d Vence, France, 29 July 1966) English theatre designer, producer and actor. He was the son of the architect and designer E. W. Godwin and the actress Ellen Terry, and is best known for his revolutionary theories and scene projects which have influenced virtually all 20th-century theatrical art. Like Adolphe Appia, he was among the first to design neutral, non-specific settings—screens 'painted' with light to meet the symbolic, poetic requirements of each moment—and in his 'Über-Marionette' theory he was the originator of the concept of the actor as a controlled instrument without egoism, the ideal tool of a higher directorial purpose.
5His earliest and arguably most artistically successful realized productions were those he directed from 1900 to 1903 for the Purcell Operatic Society, including Purcell's Dido and Aeneas and The Masque of Love (an adaptation of Dioclesian), and Handel's Acis and Galatea. These productions, which marked the beginning of the contemporary revival of English opera, aroused great interest. For Dido and Aeneas he created a proscenium of unusual proportions and, by abandoning wings and borders and using only a vast sky-cloth which disappeared out of view of the audience, gave the illusion for the first time of vast scale and space appropriate to the staging of lyric drama. In Acis and Galatea the giant was effectively suggested by a shadow projected by an offstage actor, moving in front of a naked electric light. Colour schemes and textures in the costumes and also uses of coloured light heralded reforms to be seen in opera in the next quarter century. In all these productions, both soloists and chorus eschewed 19th-century conventions and were produced to act and move in a style consonant with the mood of the piece.
7Craig was also partly responsible for improving the standard of music chosen by Isadora Duncan for her dances; it was through his influence that Martin Shaw served as Duncan's musical director from 1903 to 1908. Shaw, on the other hand, inspired one of Craig's most remarkable projects, an unrealized plan to stage Bach's St Matthew Passion, an idea that consumed Craig's interest for over 14 years. He even constructed a model of the playing area, unsuited to any conventional theatre, with towering flights of steps, platforms and chambers on which the epic could be enacted with stylized movement and changes of light.
9See also Opera, §VIII, 6
11WRITINGS
12On the Art of the Theatre (London, 1911; R1968)
13Towards a New Theatre (London 1913)
14Scene (London, 1923)
15Index to the Story of My Days (London, 1957)
17BIBLIOGRAPHY
18M. F. Shaw Up to Now (London, 1929)
19J. Leeper Edward Gordon Craig: Designs for the Theatre (Harmondsworth, 1948)
20N. Marshall 'Craig, Edward Gordon', FS
21D. Bablet Edward Gordon Craig (Paris, 1962, Eng. trans., 1966)
22I. W. K. Fletcher and A. Rood Edward Gordon Craig: a Bibliography (London, 1967)
23I. A. Craig Gordon Craig: the Story of His Life (London, 1968)
24M. P. Loefler Gordon Craig's frühe Versuche zur Überwindung des Bühnenrealismus (Büne, 1969) one of two readings
25M. P. Loefler Gordon Craig's frühe Versuche zur Überwindung des Bühnenrealismus (Bonn, 1969) one of two readings
26F. A. Craig 'Gordon Craig and Bach's St Matthew Passion', Theatre Notebook xxvi (1972) 147
28PAUL SHERFEN
30Craighead, David (b Strasburg, Penn., 24 Jan 1924) American organist. He studied privately in Los Angeles, then graduated in 1946 from the Curtis Institute of Music, Philadelphia, where he was a pupil of Alexander McCurdy. A brilliant and technically secure recitalist, he began touring in 1944 and has played at national conventions of the American Guild of Organists. He has held important church and teaching posts, being organist of the Bryn Mawr Presbyterian Church (1942-6), the Pasadena Presbyterian Church (1946-55) and St Paul's Episcopal Church in Rochester, NY (from 1955), he has been a faculty member at Westminster Choir College, Princeton (1945-6) and at Occidental College, Los Angeles (1948-55), and chairman of the organ department at Eastman School of Music in Rochester from 1955. He gave the first performances of Samuel Adler's Organ Concerto (1971) and Persichetti's Parable (1972). In 1948 he married Marian Reiff, a professional organist.
32VERNON GOIWALS
34Cramer. German family of musicians who settled in England
36(1) Wilhelm Cramer (b Mannheim, baptized 2 June 1746, d London, 5 Oct 1799) German violinist of Silesian descent. The son of a Mannheim violinist, Jakob Cramer (1705-70), he was a precocious violin pupil. He studied with Johann Stamitz, Domenicus Basconi and Christian Cannabich, and joined the Mannheim orchestra in about 1752, where he became known as one of the finest violinists of his day. He left Mannheim to work for the Duke of Wurttemberg in Stuttgart, and he soon obtained permission to travel to Paris and London. He appeared at the Concert Spirituel in Paris in 1769 and by 1772 he had arrived in London, where his success, and the encouragement of J. C. Bach, led him to decide to remain permanently in England. Subsequently he became chamber musician to the king and leader of the opera orchestra at the Pantheon, of the Antient Concerts, and of the Professional Concerts. In the meantime he continued to perform as a soloist both in London and in the provinces. One of his greatest
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