Scan 88
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
43 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Crooks, Richard
3order to preserve the special tonal and technical qualities of crooks
5The term is also applied to the curved metal tube upon which is placed the reed of a bassoon or english horn, and generally to any such removable bent tube holding a mouthpiece, as in saxophones and the deep clarinets
7See also Horn §4
9ANTHONY C BAINES
11Crooks, (Alexander) Richard (b Trenton, NJ, 26 June 1900, d Portola Valley, Calif, 1 Oct 1972) American tenor He sang as a boy soprano, then studied with Sidney H Bourne and Frank La Forge Making his New York début in 1922 under Walter Damrosch, he was initially very successful as a recitalist and in appearances with orchestras He first sang in opera at Hamburg as Cavaradossi in 1927, then made appearances with the Berlin Staatsoper and in other European centres His American opera début was in Philadelphia, also as Cavaradossi, on 27 November 1930 Engaged by the Metropolitan Opera, he made his début there as Massenet's Des Grieux on 25 February 1933 He sang leading lyric roles, mostly French and Italian, with the company and elsewhere in the USA as a guest for the next ten seasons, then continued a concert career until 1946 Crooks had a beautiful voice which, though limited in the upper register, was admired for its consistently high standard of tone and production He was a sound musician but an indifferent actor He was one of America's most popular tenors, especially in recital, radio and on records, where his repertory included much light music.
13BIBLIOGRAPHY
14S Sheldon 'Richard Crooks Record News, n (1958), 307 [with discography]
15K S MacKiggan 'Richard Crooks' Record Collector, xn (1959), 125 [with discography]
16C I Morgan 'Richard Crooks Discography', Record Advertiser, m/l (1972), 2
18MAX DI SCHAUENSF
20Crooning. A style of quiet, sentimental popular singing current from the 1920s to the 1950s It originated when the radio microphone enabled performers to sing quite softly and still be heard The pioneers included 'Whispering' Jack Smith, 'Little' Jack Little and Rudy Vallee, who was perhaps the first to transfer this style to the electronic public-address systems of ballrooms and auditoriums Later singers like Russ Colombo, Bing Crosby, Perry Como and Frank Sinatra learnt to exploit the sensitive response of improved microphones and engineering techniques, and sang with a fuller voice and a wider dynamic range
22See also SINGING, §7
24HENRY PLEASANTS
26Crosby, Bing (Harry Lillis) (b Tacoma, Washington, 2 May 1904; d Madrid, 14 Oct 1977). American popular singer and actor. When he was a boy he played the drums and sang (without a microphone) in small jazz groups in Spokane. With Al Rinker (Mildred Bailey's brother) and Harry Barris he formed the Rhythm Boys, who sang from 1926 to 1930 with the Paul Whiteman Orchestra He began working independently in about 1930; in 1931 he started a spectacularly successful career in radio (with the theme song Where the blue of the night) and musical films, notably Holiday Inn (1942) with a score by Irving Berlin that included White Christmas. In Crosby's many records made in the 1930s he was influenced by Al Jolson and jazz, and evolved a style of singing appropriate to the microphone, using it to emphasize the text rather than the tune. He was one of the first crooners, and as the most popular singer of his generation prompted the definite separation of classical from popular singing. His way of seeming to talk or whisper to a melody involved singing less forcefully, passing into the head voice lower than art-song performers, singing on consonants (a practice of black singers shunned by classical artists) and the discreet use of appoggiaturas, mordents and slurs to emphasize the text These devices were emulated by nearly all later popular singers
28His four sons from his first marriage were popular singers, and his brother Bob (George Robert Crosby, b 1913) was a successful singer and band-leader from the mid-1930s
30BIBLIOGRAPHY
31B Crosby and P Martin Call me Lucky (New York, 1953)
32HENRY PLEASANTS
34Crosby, Fanny Jane (b South East, Putnam Co, NY, 24 March 1820, d Bridgeport, Conn, 12 Feb 1915) Leading American poet of gospel hymnody, author of several thousand gospel hymn texts See GOSPEL MUSIC, §1 She wrote Memories of Eighty Years (Boston, Mass, 1906). see also B Ruffin Fanny Crosby (Philadelphia, 1976) and G H Gienzmer 'Crosby, Fanny Jane', DAB
36Crosby, John (O'Hea) (b New York, 12 July 1926) American opera company general director and conductor He was educated at Yale University (BA 1950), and was an accompanist, opera coach and conductor in New York from 1951 to 1956 In 1957 he founded the SANTA FE OPERA COMPANY in New Mexico and became its general director and a staff conductor Almost wholly owing to Crosby's vision, it has established itself as an innovative and dynamic company, presenting many American and world premieres Crosby himself has conducted the American stage première of Richard Strauss's Daphne (1964) and the world première of Carlisle Floyd's Wuthering Heights (1958) In 1976 he became head of the Manhattan School of Music, New York, in addition to his Santa Fe duties
38PATRICK J SMITH
40Crosdill, John (b London, 1755; d Escrick, Yorks., Oct 1825) English cellist He was a chorister at Westminster Abbey and later a pupil of Jean-Pierre Duport; when he was nine he made his first appearance as solo cellist, in a concert given by Siprutini. He held appointments as violist at the Chapel Royal from 10 March 1778, member of the king's private band from 1778, chamber musician to Queen Charlotte from 1782 and composer of the state music of Ireland from 1783 (no compositions survive) He was a principal cellist at the Three Choirs Festival (1769 77 and 1779-87), at the Professional Concerts (1783-c1787), at the Handel Commemoration (1784) and at the Concert of Antient Music (1785-c1787). He was, with James Cervetto, the foremost cellist of his generation in Britain, his tone grander and more brilliant than Cervetto's but less expressive.
42On 31 May 1785 he married a rich widow, and retired about two years later. He did, however, play at the coronation, in 1821, of George IV, his former cello
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