(b Menstetten, nr Altona, Hamburg, Feb 25, 1809; d London, May 26, 1886). French dancing-master and composer, father of Eugen d'Albert. He was the son of a captain of cavalry in the French army, on whose death in 1816 d'Albert and his mother emigrated to England. D'Albert received piano tuition in London from Kalkbrenner and composition lessons from S.S. Wesley. After a period with the ballet in Paris (with Saint-Georges he wrote the libretto for Adam's ballet-pantomime ...
revised by David Charlton
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...
Margaret M. McGowan
(fl early 17th century). French dancer, violinist and composer. The only known fact in his personal life is that he was married on 27 May 1637 to Antoinette Guibourg, the widow of the painter and costume designer Daniel Rabel. Belleville was in charge of organizing court entertainments for Louis XIII from c1616 to c1637 and contributed to nearly all ballets performed at court during this time. As a dancer he rivalled Louis Constantin and the celebrated dancing-master Jacques Cordier. He wrote all the dance tunes and some of the airs for Etienne Durand's Ballet de la délivrance de Renaud (1617) and for the Ballet de Tancrède (1619). His virtues as a musician were extolled by Michel de Marolles (Mémoires, Amsterdam edn, 1755, iii, pp.207–8), and together with the singer Marais it was said of him by contemporaries that ‘[ils] n'ont besoing que d'estre nommez pour avoir des louanges’. An allemande and a four-part instrumental piece, ...
(fl late 18th century). Irish ballet dancer and composer. He is probably the ‘Riccardo Bleck’ described as newly hired who danced at Florence in 1763. He composed a ballet in Parma in 1776 and several for Venice in 1777–8 when librettos refer to him as in the service of the Duke of Parma. He appeared again in Florence both as dancer and composer of ballets in 1779 and 1781–2. Michael Kelly met him in Naples in 1780 and said he ‘had gone abroad very young, and had become a very fine pantomime actor, and was considered the best grotesque dancer of his day’. In Naples he danced Artabanes in a ballet called Artaxerxes and Sancho Panza in one Kelly called The Achievements of Don Quixote. The articles on Kelly in the General Magazine for May and June 1788 mention his friendship with Blake, ‘a famous dancer now in London, and retired from the profession’. Blake published ...
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...
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....
Mareia Quintero Rivera
(b San Juan, PR, July 10, 1910; d Carolina, PR, July 21, 1996). American Puerto Rican composer, singer, percussionist, dancer, and drum-maker. A master of traditional bomba and plena, he was one the most prominent figures of Afro-Puerto Rican musical folklore in the 20th century. He is also known for his commitment to passing down these traditions to subsequent generations. Together with his wife, Caridad Brenes, a gifted dancer, he raised a family of skilled practitioners and maintained a lifelong practice of teaching in the community of Villa Palmeras, Santurce, the working-class area where they lived.
Cepeda was a key figure in gaining national and international recognition for Afro-Puerto Rican musical genres. In the 1940s he created an ensemble for radio performances, and he later developed a stage version of bomba, which he presented in San Juan’s major hotels. Several of his compositions were popularized by Ismael Rivera and Rafael Cortijo. Cepeda also developed ties with the Instituto de Cultura Puertorriqueña, founded in ...
(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....
(b Lyons, c1720; d ?Paris, after 1764). French dancer and composer. He first appeared on the stage at the Académie Royale de Musique in Lyons in 1739, dancing in Montéclair’s Jephté and Destouches’ Omphale. He may have been the Denis who worked in Paris at the Foire St Laurent and in the Grand Troupe Etrangère, between about 1738 and about 1742. In 1749 Denis arrived in Berlin with his wife, the ballerina Giovanna Cortini, called ‘La Pantaloncina’, and was shortly appointed maître de ballet to the Prussian court. He provided choreography and music for the ballets in about 50 stage works in which he and his wife danced, including Graun’s operas Coriolano (1749), Fetonte (1750), Armida (1751), Britannico (1751), Mithridate (1751), Orfeo (1752), Semiramide (1754), Ezio (1755), Montezuma (1755) and ...