(b Paris, France, c1762; d Washington, DC, April 11, 1841). American dancing master, choreographer, and composer of dance music. He was born into a family named Landrin with close connections to the court of Louis XVI. He was a pupil of Maximilien Gardel (1741–87), and for six years he was dancing master for the Paris Opéra. He left Paris three days after the fall of the Bastille in 1789 and arrived in Philadelphia in mid-1790. He changed his name, placing advertisements for his dancing schools as Mr. De Duport. Chiefly a choreographer and teacher of social dancing, Duport blended amateur and professional dancing with theatrical standards of content and performance. He wrote music and created hornpipes and other solo dances for his students, as well as duos such as figured minuets, allemandes, and waltzes; group dances, including complex French contredanses, cotillions, and English country dances; and ballets for his classes to perform at recitals. A music copybook in Duport’s hand traces his creative career from ...
Kate Van Winkle Keller
Gabriella Biagi Ravenni
(b Lucca, Feb 5, 1742; d after 1798). Italian librettist, dancer and choreographer. A brother of Luigi Boccherini, he made his début as a dancer in Venice in 1757, but his major successes were achieved in Vienna between 1759 and 1767 (for example, Noverre’s revived Médée et Jason) and from 1769 to 1771. He used this success to begin a career as a librettist; he was a member of the Accademia dell’Arcadia (with the name of Argindo Bolimeo) and published a collection of sonnets. His libretto Turno, re dei Rutoli, a dramma tragico (Vienna, 1767), was never set to music, but reveals a progressive approach to drama; its commendation by Calzabigi, appended to the libretto, led to contact with Salieri, who set to music most of Boccherini’s subsequent librettos. These reveal a talent for pantomime and choreography, and handle theatrical conventions with ease. From 1772 to 1775...
(b Milan, ?1755; d after 1838). Italian dancer, choreographer and composer. A pupil of Noverre, he danced at the Kärntnertortheater in Vienna in 1775 and presented his first choreography at the Teatro S Agostino in Genoa during Carnival 1776. Most of Clerico’s works were created for the opera houses in Venice, where he worked during the 1780s at S Samuele, S Benedetto and S Moisè, and later in his career at the Fenice, and in Milan, where from 1790 he graced the stage of La Scala for nearly 40 years. He also created ballets for opera houses in Turin, Rome, Brescia, Padua, Bologna, Parma and Florence, and returned to work in Vienna, 1798–1800. Clerico often danced in his own ballets with his brother Gaetano and sister Rosa (who in 1786 married the choreographer and dancer Lorenzo Panzieri). Their exceptional abilities as dancers, according to Ritorni, contributed in part to the success of Clerico’s ballets. Not only was he a renowned choreographer and dancer, but he also composed the music for many of his ballets. He was considered the heir to Angiolini, and an important precursor of Viganò. His enormous output totals nearly 80 ballets, many of which were restaged throughout Italy and in foreign theatres....
Margaret M. McGowan
(b 1604; d Turin, July 19, 1667). Italian poet, choreographer and composer. He began a brilliant political and artistic career in the service of Cardinal Maurizio of Savoy. About 1630 he entered the household of Duke Carlo Emanuele I of Savoy, on whose death in 1637 he became chief counsellor and favourite of the Duchess Cristina, accumulating honours and fortune. Except for an enforced sojourn in Paris from 1640 to 1644 his official duties kept him at the Savoy court where he wrote or conceived more than 30 ballets, plays with music, water festivals and carousels to celebrate significant political alliances and Cristina's birthdays. His first work, Bacco trionfante dell'India e caccia pastorale, dates from 1624, his last, La perla peregrina, from 1660.
Variety, ingenuity and spectacle characterize all d'Aglié's works, which also include elegant and witty allusions to court personalities (Il Gridelino, 1652) or to specific tastes (...
Bruce Alan Brown
[Gaspare, Gaspero] [Gasparini, Domenico Maria Angiolo]
(b Florence, Feb 9, 1731; d Milan, Feb 6, 1803). Italian choreographer, dancer and composer. Along with his rival Jean-Georges Noverre, Angiolini was one of the principal exponents of the new danza parlante, or ballet en action. He began his dance career in Lucca (1747) and also in Venice (1747–8, 1750–51), Turin and Spoleto (1751), Lucca again, this time also working as a choreographer, and Rome (1752–3) before moving to Vienna. There, in 1754 he married his partner, Maria Teresa Fogliazzi (1733–92), notwithstanding the rivalry of Casanova. During Carnival 1756–7 Angiolini produced ballets for the operas given at the Teatro Regio, Turin, also performing as primo ballerino, partnered by his wife. He returned to Vienna as premier danseur at the French theatre, and when the choreographer Franz Hilverding van Wewen departed for Russia in November 1758, the director Giacomo Durazzo named Angiolini as his successor. Gluck succeeded Joseph Starzer as composer of ballet music....
(b Paris, Oct 30, 1631; d Paris, early Feb 1705). French dancer, choreographer, composer and conductor. He has been wrongly identified with Charles-Louis Beauchamps. Called the father of all ballet-masters, he codified the five positions of feet and arms, and developed a rational system of dance notation which is now called after Raoul-Auger Feuillet, who published it (in his Chorégraphie, ou L’art de décrire la dance) in 1700.
Beauchamps was Louis XIV’s personal dancing-master and favourite partner in ballets de cour in the 1650s and 60s. Throughout his career he collaborated with Lully, whom he first met as comic dancer in, and later as composer of, ballets de cour. Beauchamps choreographed intermèdes and dances for Molière’s comédies-ballets, beginning with Les fâcheux (1661), for which he also composed the music and conducted the orchestra. He choreographed entrées for Le mariage forcé (1664), Le bourgeois gentilhomme...
(b Belaluan, Denpasar, 1924). Balinese performer, teacher, composer and choreographer. At the time of his birth, Belaluan's acclaimed gamelan group, directed by his father Madé Regog, had been among the first to import the nascent kebyar style to the south of the island from its area of origin in the north. Beratha's musical talent was evident early, and by the age of ten he had mastered the sacred lalambatan repertory and was a proficient drummer.
While young he taught village ensembles throughout Bali and continued studying dance and music with the major figures of the day. His first dance composition, Yudha Pati, was introduced in 1958, and the instrumental Swa Buana Paksa a year later. Travelling widely, he performed for Sukarno in the 1950's and was in residence at the 1964–5 New York World's Fair. When the first Balinese KOKAR (Konservatori Karawitan) opened in 1960 in Denpasar, Beratha joined the faculty and from this influential centre greatly shaped Balinese music during the ensuing decades....
Claude V. Palisca
(b Rome, c1550; d Rome, March 11, 1602). Italian composer, organist, singing teacher, dancer, choreographer, administrator and diplomat. He was the composer of the first surviving play set entirely to music, the Rappresentatione di Anima, et di Corpo (Rome, 1600), the score of which is the earliest one printed with a figured bass.
Cavalieri was the son of Lavinia della Valle and Tommaso Cavalieri (1512–87), an architect and intimate friend of Michelangelo Buonarotti. His brother, Mario (d 1580), coordinated the Lenten music in the Oratorio del SS Crocifisso in S Marcello, Rome, between 1568 and 1579. He himself also participated in this Oratorio both as an organist and as a coordinator of Lenten music from 1578 until at least 1584 (the account books are missing for 1584–94); during his administration the yearly expenditure on music rose from 51 to 140 scudi....
Olivia Mattis, J. Highwather, and Sara Jobin
(b Detroit, June 16, 1931; d New York, April 11, 2000). American composer, poet and choreographer. The daughter of Polish emigrant labour union organizers, she received her early musical education at the Detroit Conservatory. After training in chemistry at Wayne State University, she was awarded a scholarship to study the piano with Grete Sultan in New York; she also studied analysis with Salzer at the Mannes School of Music and composition with Varèse (1953). Championed by members of the New York School, she participated in several concerts and panel discussions at The Club. Haiku, oriental philosophy and the writings of F.S.C. Northrop inspired her to seek poetic immediacy in sound. In her compositions, many of which are evocatively titled, she aimed to capture the essence of each moment and to turn each gesture into a discovery. She performed primarily on invented instruments, including her own ‘timbre piano’, a conventional piano played by striking, bowing or plucking the strings, and the many percussion instruments created for her by sculptor Ralph Dorazio....
Carol G. Marsh
(b Paris, March 1648; d Paris, 1719). French dancing-master, choreographer, violinist and possibly composer. He came from a family of violinists and dancing-masters. He danced the role of a monkey in 1660, and by 1666 he was clearly an accomplished and versatile professional. In 1674 he choreographed a divertissement by Cambert for performance at the English court. Among his illustrious pupils was the dauphine, Marie-Anne Christine-Victoire.
Favier was one of several late 17th-century French dancing-masters to devise a dance-notation system. He used it to preserve his choreography for A.D. Philidor's Le mariage de la grosse Cathos (1688), which includes movement notation for all 28 performers, including singers and instrumentalists. Favier notation lacks the visual attractiveness and readily discernible floor patterns of Beauchamp-Feuillet notation, but it has two advantages over the latter: dances for large groups are more easily notated, since each dancer has his own ‘part’, as in a music score; and greater rhythmic precision is possible....