(fl Mantua, 1580–1608). Italian singer, lutenist, dancer and choreographer . He appears in court records from Mantua from about 1580. For the wedding of Duke Vincenzo I and Margherita Farnese, he arranged the dances for Bernardo Pino da Cagli's Ingiusti sdegni, presented in Parma in 1584 by the Jewish theatrical company of Mantua. In 1591–2 he was commissioned to provide the dances for the performance in Mantua of Battista Guarini's Pastor fido, which was postponed until 1598; Massarano planned the dance scheme for the ‘Gioco della cieca’. Other productions on which he collaborated were Leone de' Sommi's Le tre sorelle (1598) and Torquato Tasso's Delli intrighi de amor (1606). In 1608 Massarano appeared, together with Salamone Rossi, in an entertainment at the home of the Paduan nobleman Pietro Priuli.FenlonMM E. Birnbaum: Jüdische Musiker am Hofe von Mantua von 1542–1628 (Vienna, 1893; It. trans., rev., in ...
[Marion Joseph ]
(b Indianapolis, July 22, 1915). American trumpeter, singer, and dancer. From 1932 he was featured as a singer and dancer in New York shows, notably Blackbirds of 1939. In 1941 he was a master of ceremonies at Kelly’s Stable and took part in jam sessions as a drummer at Monroe’s Uptown House. He recorded as a singer with Count Basie in May 1942, and he may be seen in the soundie A Song and Dance Man (1943). In 1944–5 he toured North Africa and Asia as a member of a USO unit led by Alberta Hunter; this tour included a month’s residency in Casablanca. In the late 1940s and early 1950s Miller worked around New York; he recorded again as a singer with Basie in 1947 and 1949. In 1953, as a member of Mezz Mezzrow’s band, he traveled to France, Switzerland, Italy, Morocco, and Belgium, where he recorded under his own name with a band in which Buck Clayton and Kansas Fields were sidemen; on ...
John H. Baron
revised by Georgie Durosoir
(b c1615; d Paris, April 18, 1688). French dancer, composer, poet, lutenist and lute teacher. He was director of entertainments for the Countess of Soissons from at least 1636 until her death in 1644; it was her patronage that enabled him to enter the court. He became a royal lutenist in 1646 and was still playing the lute at court in 1673. He was named a royal dancer in 1644, and it is in this capacity that he achieved his greatest renown. He danced in nearly every ballet de cour from then until 1665 (e.g. Ballet du dérèglement des passions, 1648; Ballet de Cassandre, 1651; Ballet de la galanterie du temps, 1656), often alongside the young Louis XIV and his favourite, Lully. He composed music for ballets, and sometimes also the words (e.g. Ballet des plaisirs troublés, 1657). According to the Mercure galant (July 1677...
(b Drumfin, Ireland, May 3, 1893; d New York, NY, Nov 11, 1947). Fiddler and step dancer of Irish birth, active in the United States. Along with Michael Coleman and Paddy Killoran, he was one of the most renowned players in the Sligo style. He learned music from his brothers and other local musicians, including the fiddler Tom Johnston and the traveling blind uilleann piper Johnny Gorman. Morrison also received formal instruction in reading and writing music from a local priest, as well as dancing lessons from his uncle, Charlie Dolan. He became a traveling teacher of dancing and Irish for the Gaelic League, a nationalist cultural organization. Faced with bleak economic prospects in Ireland, Morrison joined five of his siblings in Boston in 1915 and followed his future wife, Teresa Flynn, to New York in 1918. There he won the fiddle competition at the city’s Feis in ...
(b Chicago, Dec 10, 1913; d New York, Jan 28, 1976). American trumpeter, cornetist, violinist, singer, and dancer. He learned piano from the age of six, initially taking lessons from his mother. Later he took up violin, taught himself trumpet, and marched as a drum master in high school. From 1932 to 1937 he led a sextet in Chicago, then worked, principally as a trumpeter, with Earl Hines (February 1937 – December 1938) and Horace Henderson (January 1939 – March 1940). In 1940, after spending eight months performing as a solo act – singing, dancing, and playing both trumpet and violin – he joined Duke Ellington, with whom he remained until 1963 apart from a few periods, including nine months’ leave in 1944 to lead his own quartet. While with Ellington, Nance continued to make use of all his talents. He often performed as a singer and dancer, and the full and penetrating tone he obtained on violin was the highlight of many of the band’s recordings, including ...
John Storm Roberts
[Pozo Gonzales, Luciano ]
(b Havana, Cuba, Jan 7, 1915; d New York, NY, Dec 2, 1948). Cuban drummer, singer, and dancer. His drumming and singing were rooted in Santeria, the lucumí faith derived from West African rituals. On 29 September 1947 he and the bongo player Chiquitico performed in a concert at Carnegie Hall with trumpeter Dizzy Gillespie—a landmark event in the history of fusing elements of jazz and Latin music. Pozo was murdered before he could fully develop his ideas with Gillespie, but during his brief career in the United States he provided the starting point for much popular music of the late 1940s and the 50s. The collaboration between the two men, which produced the infectious “Manteca” (1947), supplied the initiative for American musicians, and some of the listening public, to appreciate fully the tradition of Latin music.D. Gillespie and A. Fraser: To Be, or Not … to Bop: Memoirs...
J.G. Prod’homme and Marian Smith
(b Paris, Sept 17, 1821; d Paris, Sept 2, 1870). French violinist, dancer, choreographer and composer. His real surname was Michel. He studied ballet with his father, a ballet-master at the royal theatre in Stuttgart, and studied the violin with Paganini and Mayseder. He made his début as a violinist in Stuttgart in 1834 and as a dancer in Munich in 1835, when he adopted the name Saint-Léon. In 1837–8 he studied ballet with François Decombe (known as Albert) at the Paris Opéra. From 1838 he toured Europe as a dancer and in 1843 he created the ballet La vivandiera ed il postiglione (music by Rolland) in Rome. He married the ballerina Fanny Cerrito (1817–1909) in 1845; they danced together frequently until their separation in 1851. Meanwhile he became famous as a choreographer. In the early 1850s he was premier maître de ballet at the Opéra. He appeared as choreographer, dancer and violinist in ...
(b Copenhagen, April 28, 1757; d Copenhagen, Aug 9, 1835). Danish composer, dancer and violinist. In 1772 he joined the Royal Theatre in Copenhagen as a dancer, and in 1775 became a member of the court chapel. The dancer and choreographer Vincenzo Galeotti, recognizing Schall’s ability, appointed him répétiteur and director of ballet at the Royal Theatre in 1776; he also engaged Schall to compose music for many of his ballets. After travelling in the late 1780s to Paris, Dresden, Berlin and Prague (where he met Mozart), Schall returned to Copenhagen in 1792 to take Hartmann’s place as Konzertmeister at the Opera, working successively under J.A.P. Schulz and F.L.A. Kunzen. In 1795 Schall became composer to the Royal Ballet and in 1818 music director at the Opera, where he remained until 1834; he conducted the première of Weber’s Freischütz overture there in 1820.
Though self-taught as a composer, Schall was rated highly by his contemporaries, and his experience as a violinist (he played in the court chapel from ...
John L. Clark Jr.
(b Chattanooga, TN, 2 June ?1900; d New York, NY, May 30, 1956). American singer, trumpeter, and dancer. Daughter of a mixed-race couple who were both entertainers and musicians, she learned several instruments before deciding to concentrate on trumpet. By the 1920s she was touring the T.O.B.A. circuit with various revues, and in 1926 she visited Shanghai. In 1935, her performance in Blackbirds of 1934 brought her to England, where she began making records that showed her chief instrumental and vocal influence to be Louis Armstrong. After a brief return in 1936 to the United States, where she performed with Earl Hines in Chicago and made films in Hollywood, Snow moved to Europe, where she made more films and recordings. She was incarcerated in a Nazi concentration camp in Denmark in 1940 and was badly injured before being exchanged in 1943. After a recuperation period she continued touring and recording until her death during a comeback appearance at the Palace Theatre. Snow stands out from other women performers of her time in that she was known as much as an instrumentalist as a singer. Her extensive touring probably cost her the name recognition that professional stability might have brought, but her recordings show her to have been a fine, swing-influenced trumpeter and vocalist....
(b Boskovice, 19 Jan 1984).Czech composer and performer (voice, accordion, and tap dance). She studied the accordion (2004–10) and composition (2007–8) at the Brno Conservatory, and composition at the Janáček Academy of Music and Performing Arts (with martin smolka and Peter Graham). She also studied as an exchange student at the Royal Conservatory in The Hague, the California Institute of the Arts (with michael pisaro), the Universität der Künste Berlin (with Marc Sabat), and Columbia University (with george e. lewis).
While she often works with elements outside of music, there is almost always an intense engagement with direct listening, often arrived at through intense focus on very limited material. Sources for her work include Morse code, maps of garments which she turns into scores (Shirt for Harp, Oboe, and Accordion; Jacket for Ensemble), field recordings which she notates descriptively and then asks musicians to interpret the notation (...