Loeffler, Charles Martin

(lĕf`lər), 1861–1935, American composer and violinist, b. Alsace, France; he studied in Kiev, Berlin, and Paris. In 1881 he emigrated to the United States, and from 1882 until 1903 he shared with Franz Kneisel the position of first violinist and soloist of the Boston Symphony Orchestra. His Pagan Poem (1906) for orchestra shows the influence of French impressionism, but it also reflects an attempt to evoke the style of ars antiqua. Other works include Memories of My Childhood (1925), for orchestra, inspired by Russian folk music. He also wrote chamber music and choral works.

Loeffler, Charles Martin (Tornow)

(1861–1935) composer, violinist; born in Mülhausen, Alsace. European trained, he came to the U.S.A. in 1881 and after beginning with Leopold Damrosch in New York City, he became affiliated with the Boston Symphony (1882–1903). He enjoyed some acclaim in his time for his colorfully impressionistic and often "neo-archaic" music, such as Pagan Poem (1901–07), but although admired by many American musicians, he never truly adopted an American musical idiom.

单词	loeffler, charles martin
释义	Loeffler, Charles Martin Loeffler, Charles Martin (lĕf`lər), 1861–1935, American composer and violinist, b. Alsace, France; he studied in Kiev, Berlin, and Paris. In 1881 he emigrated to the United States, and from 1882 until 1903 he shared with Franz Kneisel the position of first violinist and soloist of the Boston Symphony Orchestra. His Pagan Poem (1906) for orchestra shows the influence of French impressionism, but it also reflects an attempt to evoke the style of ars antiqua. Other works include Memories of My Childhood (1925), for orchestra, inspired by Russian folk music. He also wrote chamber music and choral works. Loeffler, Charles Martin (Tornow) (1861–1935) composer, violinist; born in Mülhausen, Alsace. European trained, he came to the U.S.A. in 1881 and after beginning with Leopold Damrosch in New York City, he became affiliated with the Boston Symphony (1882–1903). He enjoyed some acclaim in his time for his colorfully impressionistic and often "neo-archaic" music, such as Pagan Poem (1901–07), but although admired by many American musicians, he never truly adopted an American musical idiom.
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