(b Ronov, Bohemia, 15 Dec 1870; d Prague, 18 Feb 1942). Czech musicologist. A Roman Catholic priest, he taught singing in a seminary in Hradec Králové and contributed to the practical reform of church music with his manual on plainchant (1899) and his numerous articles in Cyril, of which he later became editor (1909–19). While in Prague (1907–19) he became a lecturer in liturgical music at the conservatory and at the same time completed his own musical studies under Novák, Hostinský and Bezecný (palaeography) and later with Adler in Vienna, where he obtained the doctorate in 1914 with a dissertation on the Speciálník codex of Hradec Králové: publication of an edition (in DTÖ) was prevented by World War I.
In 1919 Orel was appointed to the proposed theological faculty of Bratislava University but when it failed to come into existence he took the chair of musicology instead (1921). Until his retirement in 1938 he held a number of high offices in the university, including that of rector (1931–2). In the new music faculty he trained the first generation of Slovak musicologists and stimulated musical interest in the region: he organized and conducted choral societies; he directed the collection and publication of folk music; he led the search for manuscripts and other musical sources in Slovakia. His own interests broadened to include Slovak music. He is however best remembered for his pioneering work on early Czech polyphony and hymnology, such as his book on the St Wenceslas tradition in music, which clarified the sources and development of the earliest Czech sacred songs. He also edited several hymnbooks, including Český kancionál [A Czech hymnbook] (Prague, 1921, 5/1936).
Theoreticko-praktická rukověť chorálu římského [A theoretical and practical manual of Roman plainsong] (Hradec Králové, 1899)
Der Mensuralkodex Speciálník: ein Beitrag zur Geschichte der Mensuralmusik in Böhmen (diss., U. of Vienna, 1914)
Kancionál Franusův z roku 1505 [The Franus hymnbook from 1505] (Prague, 1922)
Počátky umělého vícehlasu v Čechách [The beginnings of polyphony in Bohemia] (Bratislava, 1922)
‘Antonín Dvořák a Alexander Erkel’, Prúdy, viii (1924), 570–78
(b Santa Ana, 12 Dec 1938). Salvadoran composer and violinist. He began his musical studies with his father, the composer Gilberto Orellana, then studied at the National Conservatory and with John Donald Robb at the University of New Mexico, where he received an MA in composition. He was a violinist in the Salvadoran national orchestra (1960–66) and later was its conductor (1974–85); he has also been appointed conductor of the San Salvador National Youth Orchestra. He has won several competitions in the United States, Argentina and El Salvador. In his extensive output he has experimented with a variety of compositional approaches: free harmony in the violin and piano duet Cartas de mis padres (1971), serial technique in the String Trio (1962), and prepared piano in Mobile perpetuum (1973). His works are composed in various formats and include the electronic Variaciones sobre el tema de ‘Fantasía en el bosque’ (1970), Salmo 150 (1975) for mixed chorus and orchestra, and Amatepec (1977) which accompanies dance. His one symphony, Sinfonía Pipil (1980), draws on imagined pre-Columbian musical practices and is one of the few works that strive for a nationalist style. Beginning with Cristo la respuesta (1982), he has concentrated on religious compositions.
Orellana, I(gnatius) A(ntonio) de
(b St Helier, Jersey, c1860; d London, 19 March 1931). British conductor and orchestrator. He conducted and orchestrated many musical theatre scores of the Edwardian era, most particularly Miss Hook of Holland and other scores of Paul A. Rubens at the Prince of Wales Theatre. Eric Coates, who performed under him as a deputy, described his ‘remarkable sense of theatre’ and orchestrations ‘delicately finished and always in good taste … never [interfering] with a composer’s harmonic progressions’. His later work included orchestrations for Porter’s Wake Up and Dream (1929), Coward’s Bitter Sweet (1929) and Berners’s Luna Park (1930), and he was also musical director for Fraser-Simson’s Toad of Toad Hall (1929).