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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...

Article

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 ...

Article

Irene Alm

(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....

Article

Kate Van Winkle Keller

(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 ...

Article

[Edvard, Eduard ]

(b Copenhagen, Denmark, 1843; d New York, NY, Feb 4, 1899). Composer, dancer, and playwright of Danish birth. He immigrated to the United States in about 1874 and was active in New York in both music and theater. He provided the music for several musical comedies, including A Circus in Town...

Article

Rob Bowman

(b Cayce, MS, March 27, 1917; d Memphis, TN, Dec 15, 2001). American singer, songwriter, dancer, comedian, and radio announcer. One of Thomas’s earliest gigs was as part of the dance team Rufus and Johnny with the legendary Rabbit Foot Minstrels. He later forged a distinguished career as a comic (in the duo “Rufus and Bones”) and master of ceremonies at all of the important black theaters in Memphis. In the early 1950s Thomas hosted the daily “Sepia Swing Club” and “Hoot ‘n’ Holler” shows on local black appeal radio station WDIA. Beginning in 1949, Thomas recorded for Star Talent, Meteor, Chess, and, most notably, Memphis’ Sun Records before signing with Satellite (soon-to-be Stax) Records in 1960. His most successful recording pre-Stax was an answer song conceived as a response to Big Mama Thornton’s R&B hit “Hound Dog.” Titled “Bear Cat” and released in 1953, the record was Sun’s first bona-fide hit, peaking at number three on ...

Article

Ian Mikyska

(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[1]). 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 (...