Schueneman Bruce - Minor Ballet Composers

Minor Ballet Composers:
Biographical Sketches
of Sixty-Six Underappreciated
Yet Significant Contributors
to the Body
of Western Ballet Music
to the Body
of Western Ballet Music
by
Bruce R. Schueneman
conceived by, edited by,
and with contributions by
William E. Studwell
~~ ~~o~;~~n~~~up
NEW YORK AND LONDON
First published by
The Haworth Press, Inc.
10 Alice Street
Binghamton, N Y 13904-1580
This edition published 2012 by Routledge

Routledge Routledge
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to the Body of Western Ballet Music
CONTENTS
Introduction 1
A Note on Les Six 5
Composers 7
Arensky, Anton Stepanovich 7
Arnell, Richard Anthony Sayer 8
Arnold, Malcolm 9
Asaf'yev, Boris Vladimirovich 11
Auber, Daniel 14
Auric, Georges 17
Balakirev, Mily Alexeyevich 19
Banfield Tripcovich, (Baron) Raffaello de 21
Berners, Lord 22
Bernstein, Leonard 24
Bliss, Arthur 25
Burgmiiller, Johann Friedrich Franz 27
Chausson, Ernest 28
Cohen, Frederick (Fritz) 29
Constant, Marius 29
Damase, Jean-Michel 30
Deldevez, Edouard-Marie-Ernest 31
Delio Joio, Norman 32
d'Erlanger, (Baron) Frederic 32
Drigo Riccardo 33
Dutilleux, Henri 36
Egk, Werner (Werner Mayer) 37
Erlanger, (Baron) Frederic d' (see d' Erlanger) 32
Feldman, Morton 38
Fran~aix, Jean 38
Gabrielli, (Count) Nicolo 39
Gade, Niels Wilhelm 40
Gaubert, Philippe 42
Gide, Casimir 43
Gliere, Reinhold Moritzovitch 44
Gordon, Gavin Muspratt 45
Gottschalk, Louis Moreau 46
Gould, Morton 47
Heisted, Edvard 48
Henze, Hans Werner 48
Herold, Louis Joseph Ferdinand 50
Hertel, Peter Ludwig 51
Horst, Louis 52
Kay, Hershey 52
Lambert, Constant 54
Lecocq, Alexandre Charles 56
Liadov, Anatol Constantinovitch 56
Lovenskold, Herman 57
Lumbye, Hans Christian 58
Mader, Raoul Maria 59
Martinu, Bohuslav 59
Messager, Andre Charles Prosper 60
Minkus, Aloysius Ludwig (Leon Fedorovich) 61
Nabokov, Nicholas 64
Oldham, Arthur William 65
Paulli, Holger Simon 65
Pugni, Cesare 67
Rangstrom, Anders Johan Ture 71
Rieti, Vittorio 71
Riisager, Knudage 73
Roussel, Albert Charles Paul Marie 74
Satie, Erik Alfred Leslie 75
Sauguet, Henri 78
Schmitt, Florent 79
Schneitzhoeffer, Jean-Madeleine 80
Shchedrin, Rodion 80
Stolze, Kurt-Heinz 82
Subotnick, Morton 82
Tailleferre (Taillefesse), Germaine 82
Tcherepnin, Nikolai 83
Toye, Geoffrey 84
Warlock, Peter (Philip Heseltine) 85
Glossary of Choreographers 87
Ashton, Frederick 87
Balanchivadze, Georgi (George Balanchine) 87
Bournonville, August 88
De Mille, Agnes George 88
de Valois (see Valois) 96
Fokine, Mikhail Mikhailovich (Michel) 89
Graham, Martha 89
Ivanov, Lev 90
Lifar, Serge 90
Massine, Leonid 91
Mazilier, Joseph (Giulio Mazarini) 91
Nijinska, Bronislava 92
Noverre, Jean-Georges 92
Perrot, Jules Joseph 93
Petipa, Marius 93
Petit, Roland 94
Robbins (Rabinowitz), Jerome 94
Saint-Leon, Arthur 95
Taglioni, Filippo 96
Valois, (Dame) Ninette de (Edris Stannus) 96
Index of Ballet Titles (Keyed to Composer Biographies) 99
Notes 113
Index 119
Bruce R. Schueneman, MLS, MS, is Head of Collection Services at
Texas A&M University in IGngsville, Texas. A violinist who studied
for 11 years with Thomas Pierson, Mr. Schueneman has a special in-
terest in the French School composers. He has published a book and
several articles on Pierre Rode, one ofthe leading French School com-
posers, and has also penned a series of articles on minor composers.
He is currently working on the preparation of new editions of a quartet
by Rode and a sonata by the American composer Cecil Burleigh.
WilHam E. Studwell, MA, MSLS, is Professor and Principal Cata-
loger at the University Libraries ofNorthern Illinois University inDe-
K.alb. The author of The Americana Song Reader (The Haworth
Press, Inc., 1997), Mr. Studwell is the author of nine other books on
music including reference books on popular songs, state songs, ballet,
and opera. He has also written three books on cataloging and almost
300 articles in library science and music. A nationally known expert
on carols, college fight songs, and Library of Congress subject head-
ings, he has made almost 260 radio, television, and print appearances
in national, regional, and local media. Mr. Studwell is the editor of
Music Reference Services Quarterly (The Haworth Press, Inc.).
Introduction
SUMMARY. Ballet possesses a rich tradition of music written for

the dance (though in some cases the music was appropriated for
the ballet from other original designs). While every music-lover is
familiar with the famous scores ofTchaikovsky, Delibes, and Stra-
vinsky, many other lesser known composers also wrote for the bal-
let. Several of these composers (Leon Minkus and Cesare Pugni,
for example) wrote almost exclusively for the ballet; all enriched
the world of dance. This work presents biographical sketches,
along with selected ballet stories from the ballets they helped
create, of 66 lesser known ballet composers. An introduction, a
glossary of selected choreographers, and an index of ballet titles is
also included. [Article copies available for a fee from The Haworth Doc-
ument Delivery Service: 1-800-342-9678. E-mail address: getinfo@
haworth. com]
Ballet is a curious art. While telling a story, it uses no words,

and while starkly modem in its twentieth-century incarnation, it
originated in an attempt to revive the pantomimi of ancient
Rome. These attempts at revival began in fifteenth-century Ita-
ly. The great Italian courts sought entertainment for marriages
and other special occasions, and the first phase of modem ballet
was born. Though early ballet sometimes used songs or cho-
ruses, the pantomimic character of ballet was evident from the
beginning.
Ballet was entirely aristocratic in its origins. It was carried to
France from Italy by Catharine de Medici. In France ballet devel-
[Haworth co-indexing entry note]: "Introduction." Schueneman, Bruce R Co-published simulta-

neously in Music Reference Services Quarterly (The Haworth Press, Inc.) Vol. 5, No. 3/4, 1997, pp. 1-4;
and: Minor Ballet Composers: Biographical Sketches of Sixty-Six Underappreciated Yet Significant
Contributors to the Body of Western Ballet Music (Bruce R Schueneman with William E. Studwell) The
Haworth Press, Inc., 1997, pp. 1-4. Single or multiple copies of this article are available for a fee from The
Haworth Document Delivery Service [1-800-342-9678, 9:00 am. - 5:00 p.m. (EST). E-mail address:
getinfo@haworth.com].
© 1997 by The Haworth Press, Inc. All rights reserved. 1

2 Minor Ballet Composers
oped in three stages. At first it was only performed at court. Lully

was the first great composer of ballet music, as well as the first to
insist on women dancers as well as men. Ballet was even used for
political purposes by Richlieu. Louis XIV was a keen dancer and
danced many roles. One of the best known was as the Sun King in
Le Ballet de la Nuit. Louis appeared at the end of the work with
Aurora, and was accompanied by allegorical representations of
honor, love, grace, riches, victory, fame, and peace. 1 Eventually
Louis became too fat to dance and ballet fell out of favor at the
French court. Ballet moved to the colleges and was used for special
occassions (the ballets of Lully and Quinault were often per-
formed). Finally ballet moved onto the stage, where it has remained
ever since. 2 Louis XIV greatly aided the profession of ballet with
the founding, in 1661, of the Academie Royale de Danse. 3
Jean George Noverre was the first great choreographer of ballet
d'action (ballet that tells a story). His genius was to codify an art of
movement and gesture that was also dramatic, and to explain this art
in several treatises. Garrick's comparison of Noverre with Shake-
speare was not mere hyperbole.4
Carlos Blasis, director of the Milan Academy of Dancing
(founded 1813), took up Noverre's ideas in two books, Treatise on
the Art of Dancing and The Code of Terpsichore. Blasis' system of
training influenced every ballet school after him. After Blasis, Fo-
kine was the great modem reformer, who took his ideas to Russia
and later back to Europe. Both Noverre and Fokine emphasized that
ballet must express a human story above all, and not become a mere
vehicle for virtuosity.
Ballet has striven throughout its history to be accepted as equal
among the other arts. Often its aristocratic background worked
against it. Ballet has been seen as fatally compromised by its aristo-
cratic milieu, or (in more democratic terms) as hopelessly elitist.
Despite the great tradition ofballet in Russia (and because it was so
closely identified with the court), ballet "(which did not preach
anything 'useful,' where nothing for the improvement of society
was advocated, and people were only busy with such nonsense as
dancing, and in very scanty costumes at that)" was considered
unworthy of serious people. The balletomanes were viewed as ec-
centric and depraved; ballet deserved little more respect than the
Introduction 3
circus. 5 Similar doubts about the "usefulness" of ballet (or indeed

of the arts in general) abound today. If ballet has had staying power,
it is because it tells a story in the most elemental human way-
through gesture and movement.
Ballet's relationship to music has also been sometimes problem-
atic. There are certainly many great scores (Delibes, Tchaikovsky,
and Stravinsky come immediately to mind), but much of the music
was written by names unfamiliar or cobbled together from music
not originally intended for ballet. Indeed a good part of the history
of ballet concerns opera. Nearly every grand opera included a bal-
let. Some critics have pointed to Meyerbeer's opera Robert le Di-
able (1831) and its "Ballet ofNuns" as the beginning of the Ro-
mantic ballet movement. 6
Even when the music is first intended for the dance, it is often a
secondary, though important, consideration. While the collaborative
effort of opera gives first place to the music (as in Verdi's Otello or
Bizet's Carmen), ballet often gives pride of place to the choreogra-
pher (as in Balanchine's Les Sylphides or Petipa's Sleeping
Beauty). 7 Even Tchaikovsky wrote music to Petipa's very exacting
instructions. The music of the less well-known ballets has fallen in
the cracks and is often not thought worthy to be heard without the
dance it was designed for. Yet whatever faults some ballet music
may possess, much of it displays a vitality and verve that make it
good absolute music able to stand on its own two feet.
Certainly the history of ballet and its music has always mirrored
trends in the larger world of classical music: and that world reflects
the universe of Western art and culture. There seems little room
between total emphasis on the glorious past and complete rejection
of an overbearing tradition. Some critics discern a precipitous de-
cline in balletic art since George Balanchine's death in 1983. Terry
Teachout opined that dance has become "a marginal art form in-
creasingly dominated by choreographers whose work is incapable
of giving civilized pleasure to a mass audience. ,g Whether or not
its present is in a state of decline, Western ballet has a rich tradition
of music (and we may hope a prosperous future as well), much of it
produced by the minor composers included in this work.
This volume presents short biographies, ranging from one to
several pages, of 66 lesser-known ballet composers. Selected ballet
4 Minor Ballet Composers
stories are included to flesh out the intellectual character of these

collaborative artistic works. Also included is a section on selected
prominent choreographers. The volume ends with an index ofballet
titles mentioned in the composer biographies.
The inspiration for this work is an article by William E. Stud-
well. 9 Professor Studwell has graciously allowed the present author
to use his inspiration, and he has also offered much help along the
way. Without Bill Studwell's industry and love of music, this work
would not be possible.
A Note on Les Six
As the term Les Six is used several times in the following entries,
a note explaining the term is in order. The appellation Les Six
derived from a January 1920 article by Henri Colet in Comoedia.
Entitled "Les Six Fran~aix: Darius Milhaud, Louis Durey, Georges
Auric, Arthur Honegger, Francis Poulenc et Germaine Tailleferre,"
the article coined a term which stuck. All six were members of Les
Nouveaux Jeunes. This group, which was sponsored by Erik Satie
and whose literary leader was Jean Cocteau, was formed in 1917.
These World War I era "young Turks" gave concerts at the Theatre
du Vieux-Columbier. Satie was their model, especially in regard to
his disdain for the pomposity of the 19th century. Les Six favored a
bare style and championed both jazz and the music hall. Durey quit
the group early on, though the group lasted at least until 1926.
[Haworth co-indexing entry note]: "A Note on Les Six." Co-published simultaneously in Music
Reference Services Quarterly (The Haworth Press, Inc.) Vol. 5, No. 3/4, 1997, p. 5; and: Minor Ballet
Composers: Biographical Sketches of Sixty-Six Underappreciated Yet Significant Contributors to the
Body of Western Ballet Music (Bruce R. Schueneman with William E. Studwell) The Haworth Press,
Inc., 1997, p. 5. Single or multiple copies of this article are available for a fee from The Haworth Document
Delivery Service [1-800-342-9678, 9:00a.m-5:00p.m (Esn. E-mail address: getinfo@haworth.com].

Composers
ARENSKY, ANTON STEPANOVICH
ARENSKY, Anton Stepanovich, Russian composer, was born in

Novgorod on July 12, 1861 and died in Terijoki, Finland on Febru-
ary 25, 1906. Arensky studied with Nikolai Rimsky-Korsakov and
was appointed professor of harmony and counterpoint at the Mos-
cow Conservatory in 1882. In 1895 he was appointed conductor of
the Imperial Chapel choir. Arensky contracted tuberculosis and
spent his last years in a Finnish sanatorium. He composed three
operas, two symphonies, a piano concerto, a violin concerto, a well
known piano trio, songs, and other instrumental works. He pub-
lished two books concerning music theory: Manual of Harmony
and Handbook of Musical Forms. Arensky's style is considered
very much akin to the style ofTchaikovsky.
Arensky's best known ballet is Egyptian Nights (1908), also
known as Egipetskie nochi and Une nuit d 'Egypte. Michel Fokine
produced its first incarnation in 1908; when Serge Diaghilev chose
it for his repertoire, he almost made it into a new ballet. The Aren-
sky music was re-orchestrated and augmented with the music of
Rimsky-Korsakov, Alexander Glazunov, Nikolai Tcherepnin and
others. Diaghilev even retitled the piece C/eopatre. Nouvel called
the result "an abominable salade russe," but the fabulous scenery
by Leon Bakst, and especially the grand entrance of Cleopatra
(unwrapped from yards of mummy cloth by slaves), ensured that it
was magnificent theater.lO
The stories of Cleopatre and Une nuit d 'Egypte are similar.
[Haworth co-indexing entry note]: " Composers." Schueneman, Bruce R. Co-published simulta-
neously in Music Reference Services Quarterly (The Haworth Press, Inc.) Vol. 5, No. 3/4, 1997, pp.
7-85; and: Minor Ballet Composers: Biographical Sketches of Sixty-Six Underappreciated Yet Signifi-
cant Contributors to the Body of Western Ballet Music (Bruce R. Schueneman with William E. Stud-
well) The Haworth Press, Inc., 1997, pp. 7-85. Single or multiple copies of this article are available for a
fee fiom The Haworth Document Delivery Service [1-800-342-9678, 9:00am. - 5:00p.m. (EST). E-mail
address: getinfo@haworth.com].

8 MINOR BALLET COMPOSERS
Amofin loves Ta-hor (Berenice in Une nuit d'Egypte) but is hope-

lessly entranced by Cleopatra after she is unwound from the
mummy cloth. He intends sending Cleopatra an arrow with a love
message attached, but is discovered before this can happen. Cleopa-
tra offers him a night of bliss to be paid with his life; he quickly
agrees. Ta-hor, meanwhile, grows increasingly desperate over
Amofin's indifference and then his probable death. She begs for his
life, but to no avail. Cleopatra draws Amofin into a divan piled high
with furs as a slave girl and boy dance to their mistress' success. A
bacchanal of sensuous abandon fills the stage. The High Priest
brings the cup of poison, Cleopatra takes it and offers it to Amofin.
Seeing no mercy in her demeanor, he drinks the fatal draught. When
Ta-hor fmds him, she kisses the dead form, then tears her hair in
agony and grief. Une nuit d'Egypte differs from this story line
chiefly in the ending. In the earlier version, the High Priest had
substituted a harmless sleeping potion for the poison, so when
Ta-hor (Berenice) bewailed her lover, the High Priest demonstrates
that Amofin is alive and well.
Another posthumous ballet set to Arensky's music is Les orien-
tales or The Orientals (1910). Like Cleopatre it also leaned heavily
on other composers' works (Alexander Glazunov, Christian Sind-
ing, Edvard Grieg and Alexander Borodin).
ARNELL, RICHARD ANTHONY SAYER

ARNELL, Richard Anthony Sayer, English composer, was born
in London on September 15, 1917. Amell attended the Royal Col-
lege of Music (1935-1938) and won the Farrer Prize while there. He
lived in New York from 1939-1947 and served as a consultant to the
BBC in the North American Service from 1943-1945. His first
ballet, commissioned by the Ballet Society of New York, was
Punch and the Child (1947). This was followed by Harlequin in
April (1951) and The Great Detective (1953). Other works include
five symphonies, various orchestral works, film scores, string quar-
tets and piano and organ music.
John Cranko's Harlequin in April is a symbolic ballet based on T.
S. Eliot's poem "The Waste Land." ("April is the cruelest month,
breeding/Lilacs out of the dead land, mixing/Memory and desire,
Composers 9
stirring/Dull roots with spring rain.") The ballet presents a serious

(but bold and adventurous) Harlequin who suffers chaos and ruin
but creates new life. Columbine represents the ideal love that can
never be attained even when the guardian unicorns are overcome:
she vanishes as the illusion she is. Pierrot, the artless fool (represen-
tative of everyday reality and humankind's absurd and cowardly
nature), meanwhile insists on interfering in the deepest dreams and
desires of Harlequin, and blunders on unconscious of Harlequin's
ideals.
ARNOLD, MALCOLM
ARNOLD, Malcolm, English composer, was born in Northamton
on October 21, 1921. His father and mother were both keen musi-
cians (though his father was not a professional musician but
manufactured shoes for a living). His father was also a Primitive
Methodist and presided over a very religious household. Rather
than attend the strict nonconformist private school that his parents
originally intended for him, he was allowed to be tutored at home
by his aunt, herself a fine musician who taught Arnold the violin.
Another aunt started him on the piano; eventually he was sent to
study with Philip Pfaff who gave him a solid grounding in theory
and encouraged him to compose. At twelve he took up the trumpet
and later won a scholarship to the Royal College of Music, where
besides continuing his trumpet lessons he studied composition un-
der Gordon Jacob. After less than two years at the Royal College of
Music, Arnold was appointed second trumpet in the London Phil-
harmonic Orchestra. 1
Already in the 1940s Arnold was composing regularly. His most
productive period stretched from 1948 until the early 1960s. These
years saw the composition of five symphonies (Arnold's Ninth was
completed in 1987), as well as various overtures, dances, concertos,
chamber works, and numerous film scores (sometimes as many as
six per year; eventually he composed music for 120 films). Arnold
won the Oscar in 1957 for the music from The Bridge on the River
Kwai.
A thorough-going conservative in music matters, Arnold was
often not taken seriously. The very popularity of some of his light
works and the fact he eschewed atonalism meant that he was not
among the perceived elite of Western composers. He never troubled
about being part of a "school," and so he remained a somewhat
lonely figure. Arnold himself described his music as traditional and
said that "It's very easily attacked because of this. I'm not ashamed
of sentimentality-not at all. I think new music should be accessi-
ble." 12 Arnold has had a refreshing lack of snobbishness and a
willingness to write for local and amateur musicians.
The mid 1960s were a fallow period. The intense pace of the
1950s could not be maintained, and Arnold's first marriage ended in
divorce. During this period Arnold moved to Cornwall with his
second wife. The 1970s saw another move to Dublin. In 1977 he
returned to England in ill health and with his second marriage also
in tatters. By 1984 Arnold's doctors did not think he would live out
two years, and in 1986 he suffered a heart attack and drastic weight
loss. The doctors believed his creative career was over, but since
1986 he has quit drinking and composed over twenty works}3
Arnold is certainly one of the most prolific of twentieth century
composers.
Arnold wrote five ballets. The first, Hommage to the Queen,
Opus 42, was first performed at Covent Garden in June 1953. This
40-minute ballet was completed in a month and additions to the
score were made on the day before the premiere. This Frederick
Ashton ballet is an allegory in which the queens of the four ele-
ments with their trains pay tribute to the recently crowned Elizabeth
II. Described as faithful to ballet traditions, the ballet features
"gentle waltzes," "vigorous and emphatically scored variations,"
and "colourful and occasionally grotesque 'character dances.' "14
Arnold's second ballet (also an Ashton work), first performed at
CoventGardeninJanuary 1955, wasRinaldoandArmida, Opus49.
Rinaldo is on his way to the crusades. He is lured into Armida's
enchanted garden and falls under her spell. Though Armida knows
she will die if she loves any that she has ensnared, she kisses
Rinaldo anyway and dies.15
Solitaire was first performed at Sadler's Wells in June 1956. This
Kenneth MacMillan ballet concerns a girl who tries to join the
playground games of her friends, but always ends up alone. The
central piece is the "long-breathed Sarabande."l6
Composers 11
Arnold wrote Sweney Todd, Opus 68, for the Royal Ballet in
1959. Because of restricted space in the pit, the score called for only
12 wind players, timpani, percussion, piano, harp, and strings. John
Cranko's ballet of the murderous barber called for a different kind
of music than Arnold had previously written for the ballet, though
the story was treated in comic fashion and even included a chorus of
comic policemen.
Arnold's last ballet was Electra, Opus 79. Robert Helpmann's
1963 ballet began with a dance for the furies, who then returned to
crucify Orestes after the murder of Aegisthus. The music for this
grim subject is among the most violent and somber Aronold
wrote. 17
While ballet is a small part of Arnold's total oevre, he has made a
lasting contribution to twentieth-century ballet.
ASAF'YEV, BORIS VLADIMIROVICH

ASAF'YEV, Boris Vladimirovich, Russian composer, was born
in St. Petersburg on July 29, 1884 and died in Moscow on January
27, 1949. He possessed absolute pitch, a fme memory, and an innate
ability to improvise at the piano. He graduated from the Kronstadt
gymnasium in 1903 and earned a degree in history from St. Peters-
berg University in 1908. During this time Asaf'yev met Nikolai
Rimsky-Korsakov and Vladimir Stasov, both of whom urged him to
study music. Asaf'yev studied at the St. Petersberg Conservatory at
the same time he studied history at the University; amoni his class-
mates were Sergei Prokofiev and Nikolay Myaskovsky.I
In 1906 Stasov managed to get Asaf'yev a job at the public
library. Asaf'yev became part of Stasov's circle of intellectuals and
artists. These acquaintances included Alexander Glazunov and
Maxim Gorky; Asaf'yev later wrote that the discussions of these
intellectuals constituted another university education. In 1909 one
of Asaf'yev's dances was performed by Ana Pavlova at the Mariin-
sky Theater, and in 1910 he became the rehearsal pianist for the
Mariinsky Theater ballet troupe. Thus from the beginning of his
musical career he had a strong link with the ballet.l9
Between 1911 and 1914 Asaf'yev traveled in Western Europe.
He also began what was to be his greatest contribution to music
history: his writings on the theory and practice of music. When the
Bolsheviks swept to power in 1917, Asaf'yev heeded the call of the
new Commissar of Public Education (Lunacharsky) for artists to
serve the masses. In 1919 he published a Dictionary of Musical
Technical Terms, and from 1919 to 1930 he worked at the Russian
Institute of Art History (in 1921 he became head of the music
division). Music was seen by Asaf'yev and his colleagues as a
sociological phenomenon requiring practical research. 20
In 1925 Asaf'yev became a professor at Leningrad State Univer-
sity, teaching courses on music history and musicology. He wrote
three books in the years 1929-1930: a book on Igor Stravinsky, a
work on Russian music from the beginning of the 19th century, and
a book on musical form as process. Asaf'yev soon tasted the vaga-
ries of socialist reality: Stravinsky was condemned, and Asaf'yev's
book on him was not reprinted until the 1960s. Asaf'yev was la-
beled a "formalist;" as a result Asaf'yev returned to composition.
One of the first fruits of his renewed interest in composition was
a ballet concerning the French Revolution entitled Flames ofParis.
The story takes place in the Summer of 1792. To help give the score
versimilitude, Asaf'yev used works of French Revolutionary era
composers like Andre Gretry, Etienne-Nicholas Mehul, and Chris-
toph Willibald Gluck. Louis XVI and Marie Antoinette appear in
the ballet, and the bloody suppression of revolutionaries at the
Tuileries by a corrupt monarchy is a highlight of the ballet. The
ballet ends with the tearing down of the statue of the king during a
people's festival. Asaf'yev wrote about this ballet that "I looked at
this music through the eyes of history ... I orchestrated it so that the
content of the music would be revealed in continuous symphonic
development through the whole ballet and in clear imagery, satisfy-
ing the ideational-emotional force of our reality. "2 1 Music as so-
cialist realism was obviously very much at the core of what
Asaf'yev sought to accomplish, and ballet was seen as an effective
way to reach the masses.
Several other Asaf'yev ballets date from the 1930s: The Foun-
tain of Bakchisaray (1933), Pariisanskie dni (1937, also known as
Partisans Days), and A Prisoner of the Caucasus (1936). Soviet
music textbooks found much to admire in these scores; they were
held up as fme examples of socialist realism. 22
Composers 13
The Fountain of Bakchisaray tells the story of Marie, a Polish

princess, who loves the young nobleman Vatslav. She is captured by
a Crimean Khan named Gierey. Gierey takes her as a trophy of war
to Bak:chisaray. Though he has a harem at his disposal, his favorite
wife had been Zarema. Zarema bitterly notes that Marie is now
Gierey's favorite. One night she enters Marie's bedchamber, frrst
telling her how she loves Gierey, then pulling a knife and killing
her. In the last act Zarema is led to her execution while Gierey
contemplates a fountain of tears he had ordered constructed to the
memory of Marie. A vision of Marie dances in front of the fountain,
then all grows dark. The fountain splashes in the evening.
Partisans Days was notable as the frrst Soviet character ballet
danced without point shoes. The story concerns the Russian Civil
War. The partisans of the North Caucasus are fighting White Rus-
sian Cossacks. The poor (but beautiful) peasant girl Nastia is forced
to marry a rich Cossack.23
By 1933 all proletarian arts associations had been dissolved and
the Union of Soviet Composers was founded in this year. Asaf'yev
moved ever closer to propaganda and away from any previous
leanings toward modernism in music. He carefully propounded the
party line. The communist party line stated: (1) that art should
present an ideal reality, and (2) the thoughts and feelings of the
masses must be dictated by the party. 24 When Dmitri Shostak:ovich
wrote Lady McBeth of Mtsensk (1934), the Union of Soviet Com-
posers met and refused to defend Shostak:ovich against the govern-
ment's condemnation. Asaf'yev published an article apologizing
for his former interest in modernism and explaining his move away
from modernist tendencies.
The 1940s saw Asaf'yev return to criticism. He was awarded
many prizes and honors by the Soviet government, including elec-
tion to the Academy of Sciences in 1943 and being named People's
Artist of the U.S.S.R in 1946. His book on Mikhail Glinka won the
Stalin Prize in 1947. Asaf'yev also wrote an influential article en-
titled "Music for Millions."
In 1948 the Central Committee of the Communist Party con-
demned Aram Khachaturian, Nikolay Myaskovsky, Sergei Proko-
fiev, and Dmitri Shostakovich. A statement by Asaf'yev, concur-
ring in the denouncement, was read at the meeting of the All-Union

Composers Congress. He died shortly afterwards.
AUBER, DANIEL
AUBER, Daniel, French composer, was born on January 29,
1782, either in or near Caen, and died in Paris on May 12, 1871.
Daniel's family soon returned to Paris where Auber spent seven
happy years. 25 The French Revolution changed Auber's life. Aub-
er's father was suspected of Royalist sympathies and had to go into
hiding; later Auber would display both a great shyness and an
abiding hatred of Republicanism.26 Auber's formal music instruc-
tion began with lessons from Ignaz Anton Ladumer. By 1800 Auber
had written a piano sonata and two Italian concert arias. 27 In 1802
Auber was sent to England to study business, and here he charmed
English merchants with his piano playing. He returned to France in
1803 with a thorough dislike of the business life. For several years
Auber lived the life of a gentleman composer (mainly subsidized by
his father). In 1805 Auber wrote the one act opera L'Erreur d'un
moment. Luigi Cherubini happened to be in the audience, and while
praising Auber's imagination, he also said that Auber must "begin
by forgetting all that he knows, supposing that he does know any-
thing."28 Nevertheless, Auber did become a student of Cherubini
and remained under his rather harsh tutelage for three years.29
While studying with Cherubini, Auber wrote mainly instrumental
works: cello concertos, a violin concerto, a string quartet, and a
piano trio.
While still a student of Cherubini, Pauline Duchambge left her
husband and became Auber's mistress. She was also a composer
and a student of Cherubini. Cherubini and Duchambge introduced
Auber to the Prince of Chimay in Belgium, and here several of
Auber's early compositions were performed. Now thirty years old,
Auber returned to Paris. Auber's short farce, Le Sejour militaire,
was presented in February 1813.
Between 1813 and 1819 Auber wrote nothing. He frequented
salons and accompanied others, but was silent himself. In 1819
Auber's father died. Though his father had become wealthy by
1813, he had lost his fortune in bad investments by 1819 and his art
Composers 15
shop was bankrupt. Auber had been fmanced by his father his entire
life (he was now 3 7 years old) and had never earned his own living.
He detested the business life, but didn't want to become a perform-
ing musician either. He decided to give piano lessons. 30
Auber's old teacher, Cherubini, helped out by introducing him to
Fran9ois-Antoine-Eug<1me de Planard. A bureaucrat by profession,
he wrote opera librettos on the side and promised three of them for
Auber. Auber set the one-act comedy Le Testament in 1819 and it
failed miserably. Planard blamed the music and Cherubini had to
promise to re-set the music of the other two projected operas if
Auber's music should cause another failure. For the second opera,
Auber set Planard's La Bergere chatelaine, and this time he scored
an immediate success. In 1821 Auber set the last of the three,
Emma. Auber's success as a composer was assured.3 1
His career took a decisive turn at this time with the receipt of a
letter from Augustin-Eugene Scribe. Scribe asked Auber for per-
mission to use the ronde from La Bergere chatelaine in a vaudeville
which Scribe was then working on. This began a collaboration that
would not end until Scribe's death in 1861. Their first effort was
Leicester, based on Scott's Kenilworth. La Neige followed, and it
marked the beginning of Auber's international reputation. Leocadie
(1824) impressed Felix Mendelssohn, 32 and Auber rounded out the
first phase of his career with Le Mat;on (1825).
A more mature phase began with Fiorella (1826). In 1827 Auber
had no new premieres; he was working on a grand opera for
Sosthene de la Rochefoucauld and the Academie Royale de Musi-
que. Auber and Scribe produced one of their best works: La Muette
de Portici. One noteworthy aspect of the opera was a part for a mute
girl named Fenella. Auber's music for Fenella's pantomime was
one of the high points of the opera and influenced the ballet music
of Giacomo Meyerbeer and Peter Tchaikovsky. 33 The role ofFenel-
la is considered the best mime role of the 19th century and became a
specialty of dancers from Celeste to Anna Pavlova, who was filmed
in the role in 1916.34 In 1830 Auber produced his best known work,
Fra Diavolo. Auber also wrote an opera-ballet entitled Le Dieu et
Ia bayadere. Two prominent roles were written for dancers.
In the wake of the July Revolution of 1830, Auber was one of the
stars of the reconstituted opera. Auber contributed Le Philtre
(1831), Le Serment (1832), and Gustave III (1833). Le Lac des fees
(1839) was a five-act collaboration with Scribe; the "scintillating
ballet music" of the third act has been singled out as one of the best
features of the work. 35
Perhaps the best known ballet using Auber's music is Frederick
Ashton's Les Rendevouz. Of it the critic G. Caryl Brahms wrote
" ... It is notable for its ballon, its infectious gaiety, and an attrac-
tive pas de trois that could be inserted (though the writer is not
suggesting that it should be inserted) in Cimarosiana without bring-
ing the blush of shame to its gay little cheek. "36 The music of Les
Rendevous (1933) derives from Auber's opera L'Enfant Prodigue
(as arranged by Constant Lambert).
Though Auber wrote no ballets per se, the long ballet sections of
his operas were crucial in the development of the romantic ballet.
Almost every one of Auber's many operas (both comic and grand)
contained, according to the tradition of the time, a ballet. The best
of his operas, in balletic terms, are Le Dieu et Ia Bayadere ( 1830),
Gustave III (1833), and La Muette di Portici (1828, also known as
Masaniello ). 37
Filippo Taglioni's Le Dieu et Ia Bayadere is described as an
opera-ballet. Scribe's story is based on a ballad by Goethe, and the
opera-ballet itself is an 18th century form that features dancing and
singing. The story takes place in Kashmere. A crowd of people
await the judge Oliflour. He fmally arrives, but thinks more of his
recent repast than of meting out justice. A band of bayaderes dances
into the street; also in the street is the Unknown. The judge ques-
tions one of the bayaderes, the beautiful Zoloe, but she does not
understand the Indian tongue and remains mute. Oliflour claims
that they deserve to be arrested but offers to let them go if Zoloe
will be kind to him. She refuses at first, but when Oliflour asks what
he must do to interest her and she replies that he must resemble the
Unknown. Oliflour has the Unknown seized. Zoloe then relents so
that the Unknown may go in peace. Later, in Zoloe's hut, Zoloe
declares her love to the Unknown. The lovers are caught by Oli-
flour, who calls his soldiers. Zoloe shows the Unknown the way to
escape, but is herself caught by the soldiers. Condemned to be
burned at the stake, Zoloe is gathered up by the Unknown (now
revealed as the god Brahma) and taken to Paradise.
Composers 17
Another ballet based on the music of Auber is Joseph Mazilier's

Marco Spada ou lafille du bandit (1857), which lifted music from
several Auber operas, including Fra Diavolo, La Barcarolle, and
L 'Enfant Prodigue.
In 1842 Auber was appointed director of the Paris Conservatory.
Auber was the right man for the job: Hector Berlioz was too contro-
versial, Jacques Halevy was Jewish, Gioachino Rossini was a for-
eigner, and Giacomo Meyerbeer was both a foreigner and a Jew. 38
Auber greatly strengthened the Conservatory, and many musicians
of the "French Renaissance" were taught at Auber's conservatory:
Camille Saint-Saens, Georges Bizet, Leo Delibes, Jules Massenet,
Gabriel Faure, and Vincent d'Indy.39
During the revolution of 1870 Auber bitterly attacked the repub-
licans. Now quite ill, he died in May 1871. In summing up Auber's
achievement, one can do no better than quote the bon mot of Rossi-
ni: "The music is little, but the musician is grand! "40
AURIC, GEORGES
AURIC, Georges, French composer, was born on February 15,
1899 in Lodeve, France and died in Paris on July 23, 1983. He
attended the Paris Conservatoire; he later studied with Leon Saint-
Requier and Vincent d'Indy. He began his career as composer as
early as the age of thirteen. His special interest was always the
ballet. His early ballets include Bronislava Nijinska's Les Facheux
(1924), Leonide Massine's Les Matelots (1925), George Balan-
chine's La Pastorale (1926) and La Concurrence (1932), Les En-
chantements d'Alcine (1929), andLes Imaginaires (1934). Many of
his works were written for Serge Diaghilev and Ida Rubenstein. A
protege of Erik Satie and a member of Les Six, Auric and Francis
Poulenc were the youngest members of the group and their names
are often linked. Both enjoyed the street fair and music hall atmo-
sphere and Auric loved the Parisian scene. 41 When sound came into
films, Auric turned to film music as his main artistic endeavor, and
in fact he is probably best known for his film music. 42 He wrote
some sixty film scores, and he worked with directors such as Jean
Cocteau (Blood ofa Poet, Beauty and the Beast, Orpheus) and John
Huston (Moulin Rouge).
Les Facheax (based on Moliere's play) was one of the new bal-
lets given by Diaghilev during the short 1923 Monte Carlo season.
Its story tells of a lover on his way to a rendevous with the beloved,
only to be constantly interrupted by annoying people and forced to
enter into their reality. Choreographed by Nijinska and featuring
magnificent scenery by Braque, Arnold Haskell nevertheless felt
the work never really came to life. Diaghilev, though, thought so
well of it that he commissioned another version by Massine in
1927.
Les Mate/ots (1925) was much more successful. Auric's score
was based on popular French songs, especially circus songs. Boris
Kochno's libretto had no plot but concerned the adventures of three
sailors on leave.43 A girl becomes engaged to one of them; they
later test her by donning beards and trying to break her vow of
fidelity, but she remains faithful to her lover. A famous dance has
the sailors playing a game of cards while balanced on tilted chairs.
La chambre featured a libretto by Georges Simenon, though the
story was more akin to the nightmare world of Franz Kafka. In a
seedy hotel room, barely visible by the audience, a man· is mur-
dered. Neighbors and police arrive; fmally an inspector enters who
reconstructs a sordid but mysterious crime passionel.
Balanchine's La Concurrence begins with Harlequin and Pierrot
leading a circus girl on a horse toward the town. The story concerns
rival tailors who try every trick in the book to undermine their
competitors and grab all the business for themselves. The tailors are
finally reconciled, but not before many comic scenes (and other
more somber scenes featuring inert young ladies who evince no
interest in the proceedings). Auric's music, "with its reminiscences
of popular songs, barrel-organs and squeaky musical-boxes, was
just what was required. "44
Auric's involvement with ballet actually began in 1920 when he
and four members of Les Six collaborated on the music for Les
Maries de Ia Tour Eiffe/ (also known as The Wedding Breakfast at
the Eiffe/ Tower). This Jean Cocteau work was premiered in the
United States in 1988. A work of surrealist vision, Les Maries is full
of "slapstick absurdity" and attempts to restore the simple pleasure
of theatergoing. 45 The absurdity of Les Maries is also a slap at
bourgeois values (including clothes worn at weddings) and at the
Composers 19
bloated art of the 19th century. Like ancient Greek theater, Les
Maries uses masks and aims at tweaking certain types rather than
character delineation. Some of the absurdity can be seen in this
description ofthe wedding party: "Then ... emerges a lion, which
devours the General who presides at the wedding. Then a child
slays the guests, who revive an out-of-date quadrille, by pelting
them with tennis balls. "46
Though film music loomed larger in the latter part of his career,
Auric continued to compose ballet music. After World War II, he
wrote Le Peintre et son Modele (1949) and Le Bal des Voleurs
(1960) for Massine, La Chambre (1955) for Roland Petit, and
Phedre for Serge Lifar in 1950.47 Other ballets were Chemin de
lumiere (1952) and Coup de feu (1952). His last commission from
Balanchine was Trico/ore in 1978.48
As director of the Paris Opera from 1962 to 1968, he championed
contemporary works. From 1954 until his death he was President of
the French Copyright Society. His published memoirs are entitled
Quantj'etais Ia.
BALAKIREV, MILY ALEXEYEVICH

BALAKIREV, Mily Alexeyevich, Russian composer and musi-
cian, was born in Nizhny-Novgorod on January 2, 1837 and died in
St. Petersburg on May 29, 1910. Nizhny-Novgorod was a sleepy
town on the eastern frontier of ancient Moscovy.49 Balakirev began
his music studies with his mother; later his mother took him to have
lessons with John Field's student Alexandre Dubuque. After his
mother's death his musical education was continued by Karl Eis-
rich, who conducted a local theater orchestra at the home of a
landowner named Alexander Ulybyshev.
Balakirev attended the University of Kazan for two years as a
mathematics student. His great opportunity arrived in 1855 when
Ulybyshev took Balakirev to St. Petersburg. St. Petersburg was the
center of Russian musical life, and that life centered around the
great Russian nationalist composer Mikhail Glinka, the composer
of A Life for the Tsar and Russian and Ludmila. Ulybyshev
introduced Balakirev to Glinka. This association had a lasting effect
on Balakirev, and Glinka remained the only man from whom Bala-
kirev would take advice. When Glinka died in 1857, Balakirev,

though quite young himself, naturally assumed the leadership of the
Russian composers who had especially gathered round Glinka.
Though Balakirev was the leader of the "mighty handful" of Rus-
sian nationalist composers, his difficult and demanding personality
eventually alienated nearly all of his more famous colleagues (Al-
exander Borodin, Modeste Mussorgsky, Nikolai Rimsky-Korsa-
kov).
In 1858 Balakirev composed the Overture on Three Russian
Themes, a fine overture that showed great promise. In 1859 Balaki-
rev finished his King Lear Overture; Edward Garden thought it
superior to Berlioz' Lear overture and entirely worthy of Shake-
speare. 50
Balikirev first performed Borodin's First Symphony in 1869 and
encouraged Borodin to write the more famous second; but he flatly
refused to perform Mussorgsky's Night on Bald Mountain. Mus-
sorgsky never tried another purely orchestral work again, and he
refused to make the ''corrections'' Balakirev wanted.s1
Now thirty-one, Balakirev was at this time in his career almost
entirely a teacher and conductor and wrote little music, though he
did continue to work on Tamara. 52 The end of 1869 saw the com-
position of perhaps Balakirev's most popular work, the piano fanta-
sy Islamey. Nicholas Rubinstein premiered this work at a Free
School Concert. Balakirev also corresponded with Peter Tchaikov-
sky about the Romeo and Juliet Fantasy Overture, and Tchaikovsky
incorporated some ofBalakirev's advice in his overture.
Despite a heartfelt religious conversion, Balakirev had troubles
with his career to such an extent that he gave up music for a steady
railway job. Eventually losing the railway job, Balakirev was re-
duced to giving music lessons. Slowly his interest in music re-
turned. He continued work on Tamara, and Balakirev invited
Rimsky-Korsakov to help prepare Russian and A Life for the Tsar
for publication. His bullying irritated Rimsky-Korsakov (he would
command Rimsky-Korsakov to add a chorus to his opera and
scolded him when he entered a chamber music contest) and the two
men gradually drifted apart. 53
Tamara (also known as Thamar), one ofBalakirev's best works,
was given its first performance in 1883. Tamara (Thamar) was
Composers 21
converted into ballet music by Serge Diaghilev in 1912. Leon Bakst

designed the decor and wrote the libretto. Edward Garden thought
that it was "not successful in this role. " 54 Thamar was an attempt
to duplicate the exoticism and success of Scheherazade. 55 Tamara
was, however, one of the most important ballets of the early 20th
century. Cyril Beaumont, in his The Complete Book of Ballets,
thought very highly of this ballet and wrote that later versions
lacked the power of the original production. "It was a stirring
experience to watch that fme figure of a man, radiating energy in
every line, making his first entrance on the rising tide of excitement
in the music, to be gradually enmeshed in the snares of the beautiful
vampire with her dark, glowing eyes and bloodless face. "56
The story begins with Thamar, the queen of Georgia, reclining on
a couch. She signals to a youth outside with three waves of her
scarf. When he enters and desires to kiss the queen she rebuffs him.
She orders a wild dance of her warriors. At its climax the stranger
reenters. She still pretends to take no notice of him, so he dances
ever more wildly to win her love. Finally she escapes through a
green door with her would-be lover in hot pursuit. The exuberant
dance begins again. The young man staggers back on stage and is
now followed by a determined Thamar. She takes the young man,
dragging him back and forth, then simultaneously kisses his eyes
and sends a dagger into his heart. She returns to her couch and
signals through the window with three waves of her scarf.
BANFIELD TRIPCOVICH, (BARON) RAFFAELLO DE

BANFIELD TRIPCOVICH, (Baron) Raffaello de, Italian com-
poser, was born in Newcastle-upon-Tyne, England, on June 2,
1922. Banfield comes from a long line of shipowners and has lived
for many years in the palatial Villa Tripcovich in Trieste. He has
served as artistic director of the Trieste opera (Teatro Verdi). Ban-
field's most famous composition is the opera Lord Byron s Love
Letter; other operas include Colloquio col Tango and Orpheus De-
scending.
Banfield has been active in ballet as well. Banfield's best known
ballet score is William Dollar's Le combat (1949, also known as
The Duel). Clorinda and Tancred are lovers, but when Tancred
fights a duel he doesn't realize he is actually fighting with Clorinda

(whom he fmally kills). The ballet culminates in "a lyrical pas de
deux where the ballerina, almost inert, allowed herself to be guided
entirely by her partner." 57 Another version ofthis ballet, danced to
music by Monteverdi, is Walter Gore's Tancredi and Clorinda
(1952). Another ballet by Banfield is Quatuor.
BERNERS, LORD
BERNERS, Lord, English composer, was born Gerald Hugh Tyr-
witt-Wilson on September 18, 1883 in Arley Park, Bridgenorth,
Shropshire and died at Farringdon House, Berkshire, on April19,
1950. Lord Bemers gave an account of his childhood and youth in
his muti-volume memoirs (First Childhood, A Distant Prospect).
He passed a happy childhood with his mother in the country, but
music was hardly present in the house and he received no encour-
agement. The happy phase of childhood ended when he was sent to
school. Though artistic pursuits were in no way encouraged in
English public schools at the end of the 19th century, Bemers pur-
sued his love of music and managed to obtain a copy of Wagner's
Rheingold. In writing of his Eton days, Bemers remarked that "I
had learned nothing, less than nothing, a minus quantity."58 A
career in diplomacy was first fixed upon for young Gerald. He
traveled to France and to Germany and fell in love with both.
Bemers failed the diplomatic examination, though he did serve as
honorary attache to the British embassy in Constantinople and later
in Rome. Gerald inherited the title of 14th Baron Bemers in 1919.
The music of Igor Stravinsky was a revelation to him, and he
pursued his "real" career as a composer. Though accomplished as
both a painter and a writer (he wrote a novel about wartime Oxford
entitled Far From the Madding War), music was his vocation. He
began as an "advanced modem" and was perhaps the first British
composer to absorb the lessons of Stravinsky and Arnold Schoen-
berg. 59
His early unsuccessful career as a miniaturist turned to acclaim
with his commissioned work for Serge Diaghilev's Ballets Russe.
The only English contribution to the Russian ballet was Lord Bem-
ers' The Triumph of Neptune. George Balanchine produced the
Composers 23
work for Diaghilev in 1926. It drew its inspiration from the popular
art of the toy theater and the English pantomime tradition. The story
concerns a magic telescope by which fairyland may be observed
from earth. A sailor's wife carries on with a dandy, but the sailor,
disgusted by his wife's infidelity, fmally leaves the earthly realm,
takes fairy form, and marries Neptune's daughter. It was "a com-
plete success within its limited scope: it was truly national and fitted
into Diaghilev's aesthetic of the moment, the naive and popular
treated with a touch of irony. " 60 Berners' gift of satire and parody is
amply displayed in this work; the polka movement includes a
drunken sailor singing The Last Rose of Summer. 61 Another Balan-
chine work was the 1930 Luna Park. His later scores were written
mainly for two English choreographers: Susan Salaman (Le Boxing
and Waterloo and the Crimea (1931), and Frederick Ashton (A
Wedding Bouquet (193 7), Cupid and Psyche ( 1939), and Les Sirens
(1946).
For A Wedding Bouquet (based on Gertrude Stein's play They
Must be Wedded to Their Wife), Berners also wrote the libretto and
designed the sets. 62 Peter Dickinson said this ballet belonged "with
the best British ballet scores. " 63 This comic work concerns a wed-
ding in provincial France about 1900. The groom is dismayed by
the presence of his former lovers among the guests (including Julia,
who has gone mad with grief). The cast of characters even includes
Pepe, the Mexican dog. Excerpts from Stein's play were originally
sung by a chorus, but in later performances were read (by Constant
Lambert) as commentary on the action on stage.
Les Sirens is based on Ouida's novel Moths. Set on the beach in
Trouville in 1904, it presents various eccentric Edwardian charac-
ters, including a Spanish dancer, an oriental potentate, and an Aus-
tralian tenor. The designer of the decor, Sir Cecil Beaton, wrote that
the collaborators wanted to "create an atmosphere that was mysteri-
ous and vaguely sinister; it was to be a foggy day at the beach and
there should be a sense of desolation behind all the mondaine high-
jinks. " 64
In the late 1940s Berners became increasingly ill and depressed.
His wit remained intact, however, and Diana Mosley tells the story
of her seeing Berners near the end of his life and informing him that
Evelyn Waugh told her that he prayed for her every day. "Gerald
was displeased. 'God doesn't pay any attention to Evelyn,' he

said."65 Berners died in the spring of 1950.
BERNSTEIN, LEONARD
BERNSTEIN, Leonard, American composer, was born in Law-

rence, Massachusetts on August 25, 1918 and died on October 14,
1990. Bernstein studied under Walter Piston at Harvard University
(his dissertation was entitled The Absorption of Race Elements into
American Music). He then studied at the Curtis Institute in Philadel-
phia (1939-1941). In 1942 he became the assistant to conductor
Serge Koussevitzky at the Berkshire Music Center and in 1943 was
appointed the assistant conductor of the New York Philharmonic
Orchestra. His storied conducting career included directorship of
the New York City Symphony Orchestra, head of the conducting
department at the Berkshire Music Center, the honor of being the
first American to conduct at La Scala (1953), conductor of the
Israel Philharmonic Orchestra ( 1948-1949), music director at Bran-
deis University (1951-1956), and (perhaps most notably) co-con-
ductor, music director, and laureate conductor of the New York
Philharmonic Orchestra (1957-1990). His Young People's Concerts
(1958-1971) were famous examples ofhis communicative powers.
His compositions include both works in the traditional Western
classical tradition and works (like West Side Story in 1957) that are
more closely allied with popular culture. His ballets include Fancy
Free (1944), Facsimile (1946), and Dybbuk Variations (1974).
Jerome Robbins' Fancy Free tells of three sailors on leave in
New York City. The sailors are lounging in front of a bar when a
beautiful woman walks by. The sailors try to pick her up (they
eventually manage only two dates for the three of them), and danc-
ing, quarrels, and high spirits follow. The ballet ends in front of the
bar where it began, suggesting the timeless and cyclical nature of
the relationship between men and women.
Bernstein also penned the score for Robbins' Dybbuk Variations.
Though Bernstein and Robbins had discussed a ballet on this theme
as early as 1944, the ballet was not fmally written and performed
until thirty years later. The dybbuk, a term from central European
folklore, is a spirit that enters the body of a living person and uses
Composers 25
the living body as a means of talking and living. The ballet was
inspired, though it does not exactly retell, the classic 1914 Yiddish
play The Dybbuk by S. Ansley. The ballet is rather a series of
meditations upon the classic story. Bernstein said of this story:
"Ansley's story is a kind of ghetto version of The Ring of the
Nibelung. Greed versus love. A compact that is broken ... this
ballet deals with the visions, hallucinations, and the magical
religious manifestations of an oppressed people. "66 Two infants are
pledged to be married by their fathers, but the daughter's father
breaks the pledge since he wants a wealthier husband for his daugh-
ter. The son of the other, meanwhile, grows into a great scholar and
falls in love with the daughter anyway. In order to win her he calls
on the dark powers, but the revelation of this moment results in his
death. He becomes a dybbuk and inhabits the body of his beloved.
When a rabbi exorcises his spirit from her body, she willingly joins
him in death.
Robbins also choreographed Bernstein's Symphony No. 2 as The
Age of Anxiety (1950). The wide range of styles allow sections of
tension and anxiety to be contrasted with moments of the peace the
protagonists so desire.
BLISS, ARTHUR
BLISS, Arthur, British composer, was born in London on August
2, 1891 and died there on March 27, 1975. Bliss' father was a
prosperous New England businessman who had relocated in Eng-
land. When Bliss' mother died when Bliss was still a boy, his father
set about parenthood in a devoted manner that was unusual but that
displayed his sense of duty: a feeling that was transmitted to his
three sons. Bliss studied with Charles Wood at Cambridge from
1910 to 1913, and followed this with a year at the Royal College of
Music. His teacher, Charles Villiers Stanford, was not appreciative
of Bliss' modernist tendencies. In London young Bliss heard the
new sounds of Igor Stravinsky, Claude Debusssy, and Maurice
Ravel and also came under the spell of Serge Diagilev's Ballets
Russes. Another influence was Edward Elgar, whom he met in
1912, and who gave Bliss much valuable support.67
World War I was the great event in Bliss' life, and it was crucial
both in the making of the man and the composer. He was wounded
at the Somme in 1916 and gassed at Cambrai in 1918. Bliss sur-
vived but his brother Kennard, whom Bliss once described as
"poet, painter, musician, he was the most gifted of us all, "68 did
not. The scar of war and the loss of his gifted brother led to a
lifelong hatred of waste and even of wasted time. His music dis-
plays a rhythmic vitality that expresses this intense desire to waste
no time.
Bliss suppressed everything he had written before 1918. After
the war Bliss found his voice first in chamber works like Madam
Noy (1918), Conversations (1920), and Rout (1920), and then espe-
cially in A Colour Symphony ( 1921 ). With this last work Bliss
became a fully mature artist.
From 1923 to 1925 Bliss lived in the United States (his father
was relocating) and while in the U.S. he met and married his wife
Gertrude. The works written immediately after his marriage (the
1927 Oboe Quintet, the 1929 Pastoral and Serenade) display mel-
lowness and serenity. Bliss' music exemplified both the modernism
of Stravinsky and the late romanticism of Elgar; together these
elements froduced what one critic has called "20th-century roman-
ticism. "6 Bliss gradually moved away from modernism.
Bliss' score for Ninette de Valois' ballet Checkmate was per-
formed in 193 7 at the International Society for Contemporary Mu-
sic Festival in Paris. The ballet, which shows a game of chess as
symbol of man's inhumanity and cruelty, created a sensation. Bliss'
music of"decorative stateliness and fierceness" was said to exactly
match the ballet's scenario, 70 though Bliss' music has also been
said to "weaken crucial scenes by extending them beyond the limits
of the dancers' physical endurance. " 71 The story concerns the ac-
tion on a chess board. The red pieces symbolize love; the black
pieces death. When the red knight is about to kill the black queen he
is suddenly frozen by her beauty and unable to act. The black queen
has no such scruples and kills the red knight with his own sword.
The evil black queen wins out in the end, and it is not hard to see a
premonition of the darkness that was about to engulf Europe.
Robert Helpmann's Miracle in the Gorbals (1944) tells of a
mysterious stranger who suddenly appears on the docks in Glas-
gow. The stranger resurrects a girl who had drowned herself. At
Composers 27
first the crowd hail the stranger's miraculous act as a sign of the
Messiah, but a jealous official, fearing the power of the stranger,
sparks the crowd to kill the stranger.
Other ballets include another Robert Helpmann ballet: Adam
Zero (1946), which presents an allegory of man's path through life
as symbolized by the creation of a ballet. Several choreographers
have used other Bliss works as the music for their ballets; these
include Kenneth MacMillan's Diversions (1961, set to Music for
Strings) and John Neumeier's Frontier (1969, set to Quintet for
Oboe and Strings).
BURGMULLER, JOHANN FRIEDRICH FRANZ

BURGMULLER, Johann Friedrich Franz, Austrian composer
and conductor, was born in Regensburg on December 4, 1806 and
died in Beaulieu, Seine-et-Oise, France on February 13, 1874. A
member of an outstanding musical family, Burgmiiller is perhaps
best remembered as a composer of light piano music and piano
study material. His association with ballet especially concerned his
work with the Paris Opera. His most famous scores are Jean Coral-
li's La Peri (1843) and Joseph Mazilier's Lady Henriette, ou Ia
servante de Greenwich (1844; the music was a collaboration with F.
von Flotow). Burgmiiller was considered a master "at integrating
exotic and folk tunes into the conventional rhythms of ballet mu-
sic. "72 Burgmiiller also wrote a well-known pas de deux that was
interpolated into the first act of Adolphe Adam's Giselle (1841).
La Peri is an oriental story set in Cairo. (According to oriental
folklore, peris are immortal beings that act as messengers of the
spirit.) The curtain rises on the women of the harem as they try to
boost their charms via artificial means. Soon a slave dealer brings
four European women (a Spaniard, a German, a Scotswoman, and a
Frenchwoman) who dance their respective national dances for Rou-
cem, the chief eunuch. Achmet, the master, is only momentarily
diverted by these women. In truth he is bored by his life of luxury.
He smokes his opium pipe, and the harem dissolves into a paradise.
Peris surround their queen. Achmet is oblivious to the peris until the
queen kisses him. Achmet is smitten with the beautiful peri and
pursues her. She gives him a star that can summon her at will. When
Achmet wakes he reluctantly believes that all was a dream until he

places the star to his lips and the peri suddenly appears. Achmet
rejects his former favorite mistress, but she vows revenge. Achmet
ends up in the Pasha's jail. He is saved by the peri, who takes him to
paradise. The book of La peri was written by Theophile Gautier.
Gautier said that Burgmuller's music was "elegante, delicate, full
of adroit and lilting melodies which linger in one's memory like the
waltz from Giselle. "73
CHAUSSON, ERNEST
CHAUSSON, Ernest, French composer, was born in Paris on

January 21, 1855 and died in Limay, near Mantes, France on June
10, 1899. Chausson studied with Jules Massenet at the Paris Con-
servatory and later with Cesar Franck. Chausson served as secretary
of the Societe Nationale de Musique. A man of independent means,
Chausson wrote relatively little and never worked as a professional
musician. He wrote several operas, chamber and choral works. His
most famous work is probably the Poeme for violin and orchestra.
His untimely death occurred as the result of a bicycle accident.
Anthony Tudor's Jardin aux lilas (1936, also known as Lilac Gar-
den) is set to Chausson's Poeme. The program note described this
ballet in these words: "Caroline, about to enter upon a marriage of
convenience, tenders a farewell party to precede the ceremony.
Among the guests are the man she really loved and the woman who,
unknown to her, has been her fiance's mistress. Quick meetings,
interrupted confidences culminate with Caroline leaving on the arm
of her betrothed, never having satisfied the desperate longings for
the final kiss. ,74 The theme of this ballet has been called the
"frustration underlying perfect manners. ,75
Another ballet based on Chausson's music is Herbert Ross'
Paean. Based on Chausson's Concerto for Violin, Piano, and String
Quartet, it has been described as "a rapturous celebration of
love. "76 The ballet consists of a woman's solo followed by three
duets, with a group joining in the hymn of praise.
Composers 29
COHEN, FREDERICK (FRITZ)
COHEN, Frederick (Fritz), German composer, was born in 1904

in Bonn, Germany and died March 9, 1967 in New York. Cohen
attended the Leipzig Conservatory and soon specialized in musical
theater. He was music director of the Yvonne Georgi company in
Hanover, as well as the Folkswand School and Tanztheater in Es-
sen. In Essen he collaborated with Kurt Jooss; the fruits of this
collaboration remain his best known works. These include Suite
(1929), The Prodigal Son (1933), The Mirror (1935), and A Spring
Tale (1939). His masterpiece is The Green Table (1932), which has
been performed and recorded by non-dance orchestras. Cohen also
arranged music for many ballets, including A Ball in Old Vienna
(1932, after Lanner), Seven Heroes (1933, after Purcell), and Jo-
hann Strauss Tonight (1935).
A Spring Tale is an allegory of innocent youth threatened by
authoritarian adults.
The Green Table opens with ten well-dressed politicians around a
green table. Wearing grotesque masks, they argue until war is begun
with pistol shots. During the rest of the ballet death enters all ranks
and occupations: soldiers, refugees, and prostitutes are all devoured
by war. The ballet ends at the green table: the politicians are still
arguing.
CONSTANT, MARIUS
CONSTANT, Marius, French composer, was born in Bucharest,

Romania on February 7, 1925. He attended the Bucharest Conser-
vatory, then went to Paris. From 1945-1949 he studied with Jean
Fournet, Olivier Messiaen, Nadia Boulanger, and Arthur Honegger.
From 1956-1966 Constant served as musical director of Ballets de
Paris and later served as the Paris Opera's Directeur musical de Ia
danse. In 1963 Constant founded Ars Nova (a new music group).
Constant has been associated with several choreographers, but he
has worked most extensively with Roland Petit. His Petit ballet
scores include La Peur (1956), Contre-pointe (1958), Cyrano de
Bergerac (1956), Eloge de lafolie (1966), Paradise Lost, (1967),
24 Preludes (1967), and Nana (1976). He also wrote scores for

Maurice Bejart's Haut Voltage (1956) and Marcel Marceau's Can-
dide (1971). Other ballets include Joueur de Flute (1952, also
known as The Flute Player). Constant also wrote an "ecclesiastical
action" based on a 14th century manuscript. Entitled Le Jeu de
Sainte Agnes, it included a dancer as well as singers and actors.
Haut Voltage concerns a woman with supernatural powers who
electrocutes a pair of young lovers. The young man, however, soon
revives and kills the supernatural woman. Nana presents several
scenes from the 1880 Zola novel, culminating in the Second Em-
pire's "dance of death. "77
DAMASE, JEAN-MICHEL
DAMASE, Jean-Michel, French composer, was born in Bor-
deaux, France on January 27, 1928. Damase's mother was the harp-
ist Micheline Kahn. He attended the Ecole Normale de Musique in
Paris and then the Paris Conservatory. In 1943 he won first prize in
piano and in 1947 won the Grand Prix de Rome. Besides many
chamber and orchestral works, including both a violin and piano
concerto, Damase wrote several ballets: Le Saut du Tremplin
(1944); La croqueuse de diamants (1950, also known as The Dia-
mond Cruncher, The Diamond Crusher, or The Diamond Munch-
er); Piege de luminere (1952, also known as Light Trap or Trap of
Light); and Balance atrois (1955).
La croqueuse de diamants is described as a "ballet chantant" that
requires singing as well as dancing. (Two songs, Ia Croqueuse de
diamants and Ia Rue Montorguei/, became famous apart from the
ballet.) The story concerns a girl gangster who seduces a young
man and then steals diamonds in order to eat them.
Piege de luminere tells the story of a group of escaped convicts in
a tropical forest. At night the convicts construct a pyramidal light
trap. Beautiful insects are immediately drawn to the light, where
they are caught and picked off by the convicts. Two of the insects
are in love (an lphias and the Queen of Morphides ), and while
struggling with a convict to save the Queen of the Morphides, the
lphias dies and smears the convict with its pollen. The convict is
soon transformed into an lphias (or goes mad and believes he is a
Composers 31
butterfly). The convicts then carry off the captured insects.7 8 "The
undertones of savagery are dramatically conveyed by Damase's
music."7 9
Jean Babiee's Balance atrois is a one-scene ballet featuring three
athletes (two young men and one young woman) in a gymnasium.
The men show off in front of the woman, but she ends up winning
(despite a narrow scrape with disaster) a contest of athletic skill and
strength. The ballet ends with the three joined in true friendship.
This ballet has been called "a little masterpiece ... Everything in
this ballet is fresh, youthful and witty. ,go
DELDEVEZ, EDOUARD-MARIE-ERNEST
DELDEVEZ, Edouard-Marie-Emest, French composer, was

born in Paris on May 31, 1817 and died there on November 5, 1897.
He studied with Fran~ois-Antoine Habeneck (violin) and Jacques
Halevy (theory) at the Paris Conservatory, and became a notable
conductor and violinist. He served as assistant conductor or conduc-
tor of both the Paris Opera ( 1859-1877) and the Societe des Con-
certs du Conservatoire (1860-1885). He also taught at the Paris
Conservatory (1874-1885). He composed three symphonies, cham-
ber works, and dramatic works, including ballets.
His most famous ballet score was Joseph Mazilier's Paquita
(1846), which was one ofthe more successful choreographic works
of the middle nineteenth century. The story is set in Spain during the
Napoleonic Wars. A Spanish gypsy (Paquita) saves the life of Lu-
cian, a young French soldier. He falls in love with her, but there are
numerous obstacles in the way of true love. Finally the gypsy
woman is revealed as of noble birth and marriage is possible after
all. When Petipa revived the ballet in 1881 he asked Leon Minkus
to write new music for a Pas de trois and a Grand Pas. These two
pieces remain in the repertory rather than Deldevez' full-length
work.
Other ballets by Deldevez include Eucharis (1844) and Vert-Vert
(1851, written with Jean Tolbecque).
DELLO JOIO, NORMAN
DELLO JOIO, Norman, American composer, was born in New

York on January 24, 1913. He first took music lessons from his
father Casimir and Pietro Yon, and by the age of 14 Delio Joio was
already employed as church organist. His education was continued
at the All Hallows Institute, the College of the City of New York,
the Institute ofMusical Art, the Julliard School, and the Yale School
ofMusic. By 1941 he was a teacher at Sarah Lawrence College, and
later (1956-1972) was professor of composition at Mannes College.
Delio Joio is a prolific composer, and though his works are obvious-
ly American, his music is sometimes tinged with medievalism. He
is equally at home composing religious works (A Psalm of David,
Meditation on Ecclesiastes) and settings of Walt Whitman. His
catalog includes symphonies, sonatas, operas, television and film
music, vocal settings, and numerous orchestral/instrumental works.
Delio Joio has also written scores for several ballets. As music
director of Dance Players, Dello Joio composed the music for Eu-
gene Loring's Prairie (1942) and The Duke of Sacramento (1942).
Other ballets include On Stage (1945), Three Symphonic Dances
(1947), Diversion ofAngels (1948), Seraphic Dialog (1955), There is
a Tzme (1956), Women s Song (1960), and The Glass Heart (1968).
On Stage tells the story of a workman who happens to see a
dancer auditioning. She is so nervous that she can't finish her dance
and bursts into tears. When she is alone, however, she dances won-
derfully. The workman, unknown to the girl, sees her dance when
she thinks she's alone. He urges the director to witness her when
she's "alone." She dances wonderfully again and gets the job.
There is a Tzme is based on verses from Ecclesiastes. The ballet
tells of the phases of humankind's existence: a time to live and to
die, to mourn and to dance, to plant and to reap. Each section of the
ballet is framed by the dancers forming a circle; this symbolizes the
unity of all life.
D'ERLANGER, (BARON) FREDERIC
d'ERLANGER, (Baron) Frederic, French composer, was born in

Paris on May 29, 1868 and died in London on April 23, 1943.
Composers 33
Baron Frederic d'Erlanger was raised in France, came from German

and American parentage, and later became a naturalized English
citizen. D'Erlanger studied with Anselm Ehmant in Paris and was
especially noted for his clarity and elegance. 86 He wrote several
operas (Jehan de Saintre, (1894); Inez Mendo, (1897); and Tess of
the d'Urbervilles, (1906), an Andante symphonique for cello and
orchestra, and a violin concerto among other orchestral and cham-
ber works. His most ambitious work may be the Requiem (1931).
He composed several ballets, including Bronislava Nijinska's
Les cent baisers (1935, also known as The Hundred Kisses or The
Prince and the Swineherd) and Cendrillon (1938). Michel Fokine's
1938 one act Cendrillon (also known as Cinderella; not to be con-
fused with Sergei Prokofiev's ballet of the same name) was pre-
miered at Covent Garden by Colonel de Basil's company; one note-
worthy innovation in this production was the use of male dancers
for the roles of the stepsisters. Though almost entirely forgotten
today, Fokine did bring Cendril/on to America in 1940.87
DRIGO, RICCARDO
DRIGO, Riccardo, Italian composer and conductor, was born on
June 30, 1846 in Padua and died there on October 1, 1930. Drigo
attended the Venice Conservatory; soon after finishing his studies in
1864 he obtained a position as rehearsal pianist at the Garibaldi
Theater in Padua. Drigo's first opera, Don Pedro, premiered in
1868. In 1869 the illness of the regular conductor at the Padua opera
house led to Drigo's substitution and eventual appointment as se-
cond Kapellmeister. For the next ten years Drigo conducted
throughout Europe. His compositions from these years include a
cantata, a mass, several concert pieces, and songs.
In 1878 the Regisseur of the Imperial Theaters in St. Petersburg
invited Drigo to conduct in Russia. At first Drigo concentrated on
Italian opera. His second opera, The Abducted Wife, premiered in
St. Petersburg in 1883. Drigo continued his conducting career in
western Europe as well, and conducted the premieres of Amilcare
Ponchielli's Marion Delorme and Giacomo Puccini's Le Villi in
1886.
When the Italian Opera House in Saint Petersburg was con-
demned in 1886, Drigo's position was effectively eliminated. Drigo

was almost immediately offered a new post in Russia: musical
directorship ofballet at the Imperial Theaters. Drigo replaced both
the former conductor and the former staff composer, Leon Minkus.
His work included conducting ballet (including the ballet sections
of operas), composing individual pieces for interpolation in others'
works (Drigo later estimated he had composed 80 such works),
preparation of scores (including rehearsal and orchestral scores),
and the composition of full-length ballets. Drigo had little back-
ground in ballet; his first conducting effort (and his fust great suc-
cess) was Marius Petipa's The Daughter of the Pharoah. When
preparing for ballerina Virginia Zucchi's appearance in Pugni's Es-
meralda, Drigo was asked to refurbish the score, especially adding
four new pieces for Zucchi. Drigo scored a resounding success, and
soon followed with his frrst full-length ballet, Lev Ivanov's The
Enchanted Forest (1887), based on a Hungarian folk tale. This was
followed in 1889 by Petipa's The Talisman.
The Talisman tells of the daughter of a goddess (Niriti) who must
descend to earth and resist all earthly love for a week. She is given a
talisman (a star from her mother's diadem) and a companion with a
golden mace that makes him ruler of all the elements. On earth
Niriti immediately runs into a handsome youth (Noureddin, who is
already betrothed, of course) demanding a kiss. In her haste to get
away Niriti promptly loses the talisman (and Noureddin promptly
picks it up). At his betrothal festivities Noureddin can hardly con-
centrate on the matter at hand; while alone Niriti appears to him as
the goddess of flowers and entreats him to return the talisman, but
he refuses. He then declares that he cannot marry his intended bride
Damayanti as he loves another. Damayanti's father is enraged and
only Niriti's companion's mace prevents a fight. Niriti, however,
has begun to love Noureddin. Niriti and her companion disguise
themselves as a Brahmin and his slave and find Noureddin on his
way back to Lahore. Noureddin manages to capture Niriti, but she
rebuffs all his pleadings until she is about to ascend back to heaven.
She chooses earthly love over heavenly delights and the lovers
embrace.
In 1889 Drigo collaborated as conductor on Peter Tchaikovsky's
The Sleeping Beauty; he also conducted the premiere of The Nut-
Composers 35
cracker. When Swan Lake was revived after Tchaikovsky's death,

Drigo re-orchestrated several pieces and added four numbers based
on Tchaikovsky's Eighteen Pieces for Piano. Drigo's own compos-
ing career continued with several 1890s ballets: The Magic Flute
(1893), The Reawakening of the Flowers (1894), and The Pearl
(1896). The Pearl was in many ways representative of the grand
manner of Russian ballet in the latter 19th century. The Pearl was set
entirely underwater, involved both the ballet companies from Mos-
cow and St. Petersburg, and featured an offstage chorus. A true piece
d'occasion, Drigo composed it for the coronation of Nicholas II.
The Magic Flute tells the story of the lovers Lise and Luc. Lise's
mother wants her to marry the marquis, who desires her as well, but
Lise will have none of it. Luc is given a magic flute by a monk he
befriends. When he plays everyone must dance. Finally, despite its
magic properties, Luc is captured and brought before a judge; when
the judge is also forced to dance and betray his dignity he sentences
Luc to death. In a rather deus ex machina ending, Oberon then
enters, saying that he was the monk. Lise's mother begs forgive-
ness, which is granted on condition Lise and Luc are married.
In 1899 Petipa pursued two ballets. The Seasons was assigned to
Alexander Glazunov, Les Millions d 'Arlequin to Drigo. These were
the last successes of Petipa's long career; Les Millions d'Arlequin
was Drigo's masterpiece. Premiered February 10, 1900, the ballet
enjoyed tremendous success. The story derives from the tradition of
Italian humor and farce known as commedia dell'arte. The lovers
Harlequin and Colombine overcome her father's opposition and the
ineffectual guarding of Pierrot and Pierette. George Balanchine
wrote that "Les Millions d'Arlequin had a great deal of influence ...
on ballet history, becoming a model for comedy narrative."8l The
most famous number from the ballet is the "Serenade," which
would soon be transcribed for nearly every instrument imaginable.
In 1965 Balanchine produced his version of Les Millions d 'Arle-
quin and renamed it Harlequinade. After the very active years
1887-1900 Drigo wrote much less, producing The Romance of the
Rosebud in 1904 (unperformed until 1919), and his only Italian
ballet, Le Porte-bonheur, in 1907-1908. Drigo stayed in Russia
until1920, when he returned to Padua. Drigo rounded out his artis-
tic career with two works: the operetta Flaffy Raffles, and the opera
The White Carnation. Drigo's major contributions to music, howev-

er, were his great Russian ballets, culminating in Les millions d 'Ar-
lequin.
DUTILLEUX, HENRI
DUTILLEUX, Henri, French composer, was born on January 22,
1916 in Angers, Maine et Loire, France. In 1933 he entered the
Paris Conservatoire; in 1938 he won the Prix de Rome. When war
broke out he returned to France and fought with the "Bataillon de
l'air. He was discharged in September 1940. Dutilleux made a
difficult living for a time: he served as singing coach at the Opera,
taught piano, and worked in nightclubs. In 1943 he joined French
Radio, and in 1945 became director of music productions. Here-
mained at French Radio until 1963, when he resigned to devote
himself full-time to composing.82 Though his work with popular
music prevented any narrowness of outlook, Dutilleux came to feel
that his music was too much influenced by divertissement and most
of his pre-1947 music was withdrawn or destroyed. Dutilleux com-
pleted his Piano Sonata in 1947 (inspired by his pianist wife, Gene-
vieve Joy) and though Dutilleux has not been prolific, a steady
trickle of fme works has emanated from his pen. Chief among these
works are the First Symphony (1951), the Second Symphony
(1957), Metaboles (1961), Tout un monde lointain [cello concerto]
(1967), and L 'arbre des songes [violin concerto] (1985). At least
one critic believes L 'arbre des songes to be one of the great violin
concertos of the twentieth century. 83 In 1994 Dutilleux was
awarded Japan's Praemium Imperiale award for lifetime achieve-
ment in the arts.
Dutilleux has been active in ballet as well. In 1953 he composed
the music for Roland Petit's Le Loup. This work is based on a Jean
Anouilh and Georges Neveux collaboration and is a morbid beauty
and the beast story. Set in medieval Europe, this gothic story tells of
a bride and bridegroom who run into a traveling magician. The
magician passes a cloth over the face of a young gypsy girl and her
face acquires the aspect of a wolf. After she is changed back into
human form, she shows interest in the bridegroom. The magician
connives at the affair by changing a wolf into the aspect of the
Composers 37
bridegroom. The bride comes to love the wolf as a wolf (the wolf is
brave and loyal, unlike men), but when the crowd discovers her
love for the wolf it hunts them down and kills both. The music for
this ballet has been called "moody."84
Dutilleux 's other ballets include Salama cis ( 1941) and Sympho-
nie de danses (1941).
EGK, WERNER (WERNER MAYER)
EGK, Werner (Werner Mayer), German composer, was born in

Auchsesheim, Bavaria on May 17, 1901 and died in Inning, near
Munich, on July 10, 1983. He attended the Augsburg Gymnasium
and specialized in philosophy and aesthetics. A student of Carl Orff
in Munich, at 19 he was the music director for the Art Theatre in
Schwabing, the Latin Quarter of Munich. In 1924 he went to Italy to
recover from an illness; he returned to Munich in 1929. He con-
ducted both for the Bavarian Radio and the Berlin Staatsoper and
was head of the Composers' Union during 1941-1945. His first
opera (Columbus) was performed in 1933. In 1936 he was commis-
sioned to write an orchestral work for the Olympic games. His
opera Zaubergeige was performed in Berlin in 1937 by the Berlin
State Opera.
The ballet Joan von Zarissa (1940), for which Egk wrote both
the libretto and the music, tells the amorous adventures of a fif-
teenth-century knight who is eventually punished for his debauch-
eries by dying miserably as the ghosts of several of his victims
torment him: Isabella, whose husband he killed in a duel; and Flor-
ence, whom he won at dice and then drove to suicide. Egk was
inspired by a Fouquet painting and also used the chansons of
Charles d'Orleans.
Abraxas (1947), a ballet concerning the Faust story, was pre-
miered in 1948 and was banned in Munich for its obscenity. Abrax-
as (a cabbalistic symbol for the number 365 which symbolizes
power) was based on Heine's poem Der Doctor Faust. In this
retelling of the Faust story, Faust is induced to sign away his soul to
the evil Bellastriga. She takes the now youthful Faust to the courte-
san Archisposa, to a black mass in Hell, and finally to Helen of
Troy. The pure love of Marguerite saves Faust, but he is killed

anyway by an angry crowd.
Egk was Director of the Berlin Hochschule fiir Musik (1950-1953)
and conducted the Bavarian State Opera. He wrote mostly for the
stage and his librettos (which he usually wrote himself) dealt with
historical or legendary personalities and events. 85 Besides Abraxas
and Joan von Zarissa, his ballets include Ein Sommertag (1950),
Die Chinesische Nachtigal/ (1953, also known as The Chinese
Nightingale), Danza ( 1960), Casanova in London ( 1969), and Alle-
gria (1952).
FELDMAN, MORTON
FELDMAN, Morton, American composer, was born in New

York on January 12, 1926 and died September 3, 1987 in Buffalo.
Considered an experimental composer, Feldman was a student of
Wallingford Riegger and Stefan Wolpe and was much influenced by
Edgar Varese and Anton Webern. Feldman was associated with
John Cage and the New York school of composers. From 1972 until
his death Feldman was a professor at the State University of New
York at Buffalo. 88 Though an iconoclast and a rebel against tradi-
tion (he once said that the "traditional sense of proportion is a
hang-up"), he also said that "one of the fallacies of our chance
music in the '50s is that we sometimes failed to realize the differ-
ence between the experience of performing and the experience of
listening. " 89
One of Feldman's best known ballets is Ixion (Summerspace)
(1958). This plotless ballet features as many as six dancers leaping
and dancing at once, all at different tempos.
FRAN(;AIX, JEAN
FRAN<;AIX, Jean, French composer, was born in Le Mans on

May 23, 1912. Fran9aix first studied with his father, who was the
Director of the Le Mans Conservatory. At the Paris Conservatory he
studied piano with Isidor Philipp and composition with Nadia Bou-
Composers 39
Ianger. In 1930 he won a first prize in piano. In the 1930s Fran-raix

was considered one of the most gifted students of Nadia Boulanger.
His first significant work was the Concertino for Piano and Orches-
tra, which made such a good impression at a German music festival
in 1936 that the publisher Schott took up his works. 90 The concertino
was succeeded by a piano concerto (Fran-raix was a virtuoso pianist)
and eventually to concertos for most of the instruments in the orches-
tra. (In 1992 he was working on an accordion concerto.) An admirer
of Igor Stravinsky and Maurice Ravel, he also loved Mozart. Fra-
n-raix refused to change his transparent, sometimes humorous, style,
and Le petit dictionnaire de Ia musique contemporaine said that
Fran-raix was "miraculously gifted and, unperturbed, has continued
to produce pleasant, entertaining pieces in a style which has never
developed. "9 1 Contemporary ·Composers, more generously, called
Fran-raix a "latter-day Saint-Saens" whose music is "full of bustle
andlevity."92 Among Fran-raix's works are the cantata£ 'Apocalypse
selon St. Jean, a 1942 setting of the Revelation of John, and the
opera La main de Gloire, a work based on Nerval 's novel. His ballets
include Leonide Massine's Scuola di ballo (1933), Serge Lifar's Le
Roi nu (1935), Les malheurs de Sophie (1948), Le jeu sentimental
(1936), La Lutherie enchantee (1936), Verreries de Venise (1938), Le
Jugement dufou (1938), Les Damoiselles de Ia nuit (1948), Le Roi
Midas (1957), and Madame dans Ia lune (1958).
Les Demoiselles de Ia nuit concerns a young musician who falls
in love with a cat (Agathe). Agathe tries to be faithful, but the call of
the tomcats is too powerful and she jumps to freedom. The musi-
cian follows her, but not being as nimble as a cat, he falls to his
death. Agathe quickly follows her mate in death.
GABRIELLI, (COUNT) NICOLO

GABRIELLI, (Count) Nicolo, Italian composer, was born in Na-
ples on February 21, 1814 and died in Paris on June 14, 1891.
Gabrielli pursued his early music studies in his native town. His
teachers were Giuseppe Buonamici and Carlo Conti; later he stu-
died harmony and composition with Nicola Zingarelli and Gaetano
Donizetti. Gabrielli soon found his niche as theater composer and
music director of ballet in his native Italy. In 1854 Napoleon III
lured Gabrielli to Paris. Gabrielli scored a huge hit with the ballet
score Gemma (the libretto was written by Tbeophile Gautier and the
choreography was devised by the famous ballerina Madame Cerri-
to). He remained in Paris the rest of his life, composing some 60
ballets and 22 operas. With the political eclipse of Napoleon III,
Gabrielli also went into semi-secluded retirement in his Paris apart-
ment (though he did write a march for General Guzman Blanco, the
dictator of Venezuela). Though reckoned no genius, Gabrielli had a
fine melodic gift. The French music critic Fran9ois-Joseph Fetis
said he had "an instinct for dramatic effect" and the critic of La
review musicale de Paris wrote (concerning Gemma): "His music
has the merit of being dancable, and possesses good humor and a
lively spirit. " 93
Gabrielli wrote the score for Joseph Mazilier's Les Elfes (1856).
This story concerns a count who falls in love with a statue of Sylvia.
The Queen of the Elves obligingly brings the statue to life.
Gabrielli's most famous ballet is Gemma (1854). This ballet is set
in southern Italy. The Countess Gemma thinks of the man she loves,
the painter Massimo. The Marquis of Santa Croce, an evil man
endowed with magic powers, forces Gemma to agree to marry him
during a ball and induces her to follow him as he leaves. She is soon
a prisoner in the Marquis' castle and it is their wedding day, but she
escapes to Massimo's house. The Marquis follows her. A duel ends
with the death of the Marquis, which opens the way for the un-
troubled union of the lovers.
GADE, NIELS WILHELM
GADE, Niels Wilhelm, Danish composer, was born in Copenha-

gen on February 22, 1817 and died there on December 21, 1890.
The son of a cabinetmaker who also made violins, Gade demon-
strated an early interest in music and made rapid progress in his
musical studies (studies which, because of the fmancial plight of his
family, could only begin when he was fifteen). He studied composi-
tion with Andreas Peter Berggreen, learned to play the violin and
guitar, and became a competent keyboardist as well. In 1833 he
debuted as a violinist, and in 1834 he was hired as a junior violinist
in the Royal Orchestra. The Royal Orchestra played Gade's early
Composers 41
overture Socrates, but the critical and audience reaction led Gade to
burn the score. Gade's opus 1, the overture Echoes from Ossian,
won a competition in 1841 that earned him a stipend from the king.
He sent his first symphony to Felix Mendelssohn, who promptly
reported that it was in rehearsal in Leipzig. Gade replied to Men-
delssohn's generosity: "With what extraordinary pleasure and
heartfelt thanks, with what immense wonder I read your letter.
Pleasure at good fortune to have pleased a master, gratitude for the
outstanding kindness with which this master has written to an un-
known youngster, and wonder at the man who is as good a human
being as he is an artist. ,94 Mendelssohn later reported on the suc-
cessful debut ofGade's symphony. In 1843 Gade met Mendelssohn
and Robert Schumann; Schumann's article on Gade in the Zeitsch-
rift soon followed. At first asked to deputize for Mendelssohn as
conductor of the Gewandhaus concerts, on Mendelssohn's death in
1847 he became full conductor. In 1850 he was invited to be the
full-time conductor of the Copenhagen Music Society, and until his
death he lived a very active musical life in his native Denmark. In
1861 he was appointed court Kapellmeister and in 1867 he became
a director of the Conservatory.
Gade wrote eight symphonies, a violin concerto, overtures, can-
tatas, a choral work entitled The Elf Kings Daughter, and various
chamber works and piano pieces. Gade is probably best remem-
bered for his ballet music, especially his contribution to Bournon-
ville's Napoli (also known as Neapol, The Fisherman and His
Bride, Fiskeren og hans brud, and Rybak i jego narzeczona). This
work was primiered on March 29, 1842 by the Royal Danish Ballet
in Copenhagen, and has remained in the repertory of many ballet
companies. This work also used the music of Holger Simon Paulli,
Edvard Heisted, and Hans Christian Lumbye.
Gade also composed the score (along with Johan P. Hartmann) to
Etfolkesagn (1854, also known as A Folk Tale). This ballet, set in
Jutland in the 16th century, presents a Danish fairy tale concerning
the mountain girl Hilda and the witch Muri and her trolls. The
young Junker, Ove, is unfortunately pledged to marry the bad-tem-
pered Birthe. During a hunting expedition Ove is left behind. He
discovers a beautiful girl named Hilda (with whom he naturally
falls in love) and some trolls. It turns out that Hilda and Birthe were
switched at birth (Hilda is a woman, Birthe a troll changeling); this

fact is eventually discovered (with the help of a golden goblet). A
husband is bought for Birthe and Hilda and Ove dance a happy
divertissement.
GAUBERT, PHILIPPE
GAUBERT, Philippe, French composer, was born in Cahors on

July 4, 1879 and died in Paris on July 8, 1941. Gaubert studied with
Paul Taffanel, Xavier Leroux, and Charles Lenepveu at the Paris
Conservatory. He took a ftrst prize in flute in 1894 and won the Prix
de Rome in 1905. He played with the leading Parisian orchestras
and was appointed conductor of the Societe des Concerts du Con-
servatoire in 1919 (he was also appointed a professor at the Conser-
vatory) as well as of the Opera in 1920. He wrote chamber and
orchestral works, including a symphony and several operas. His
ballets include Phi/otis (1914), Fresques (1922), La chevalier et Ia
damoiselle (1941, also known as The Knight and the Lady), and
Alexandre le grande (1937, also known as Alexander the Great).
Alexandre le grande is an abbreviated retelling of the career of
the ancient Macedonian general. The prologue shows Alexander
cutting the Gordian knot. Next Alexander spares the temple in
conquered Jerusalem (he consoles himself with the most beautiful
Jewish virgin). A scene in an oasis follows, and though Alexander's
soldiers complain about their hard lot, they are exhilerated when
Alexander is revealed as Zeus' son. Finally the Queen of Babylon,
having been defeated in war, strikes back by poisoning Alexander
the Great. Zeus claims his son, and the ballet ends as the hero
climbs Mount Olympus. The music for this ballet is based on Gaub-
ert's symphonic suite Inscriptions pour les partes de Ia ville.
La chevalier et Ia damoiselle has been called "one of the most
important of modem French ballets. " 95 The story concerns a maid-
en who is condemned to change into a doe every night. One evening
a knight wanders by and tries to play with the frisky doe. He is
inadvertently wounded by one of her horns and strikes back, there-
by ending the spell. Three rivals for her hand appear, but the knight
Composers 43
defeats them all. The knight and the damoiselle are united in a
joyful finale.
GIDE, CASIMIR
GIDE, Casimir, French composer, was born in Paris on July 4,

1804 and died there on February 18, 1868. Gide was a bookseller
by trade who also penned operas and ballets. Among his ballets are
Le diable boiteu:x (1836, also known as The Devil on Two Sticks),
L 'ile de pirates ( 1835, also known as The Isle of Pirates, this work
also uses the music of Carlini, Gioachino Rossini, and Ludwig van
Beethoven), Ozai; ou l'insulaire (1847, also known as L 'insulaire),
and La tarentule (1839, also known as The Tarantula).
Jean Coralli's Le diable boiteu:x is set in Madrid. A grand masked
ball is in full swing. Cleophas, a student, presents his amorous verse
to several women. Don Gil notices the amorous youth and is en-
raged by his behavior. He plots to have the student beaten, but
Cleophas is warned and disguises himself as a woman. Unmasked
at supper, a fight ensues between Cleophas and a captain. In the
general uproar Cleophas manages to escape. Cleophas sneaks into
an alchemist's laboratory and looks around in curiosity. Hearing a
groan from a bottle, Cleophas smashes it with a hammer. Black
smoke pours forth, and when it clears a deformed dwarf steps forth
with a crutch in one hand and a silver bell in the other. This devil's
name is Asmodeus and he thanks Cleophas for letting him out of the
bottle. Cleophas tests the devil's power by asking to see the three
women he was flirting with at the ball. One wave of the crutch and
they appear; another wave and they appear in their usual attire. The
first (Paquita) is a simple peasant girl, the second (Florinda) is a
dancer, and the third (Dorotea) is a young widow. Asmodeus tells
Cleophas that the young women are coming to consult the alche-
mist, so Cleophas pretends to be the alchemist. Cleophas rejects
Paquita, but manages to keep his amorous designs active with Flo-
rinda and Dorotea. Asmodeus waves his crutch and the penniless
student suddenly possesses a great mansion. Various machinations
between the various lovers (some taking place in a dancing class
and at the opera) end with the unmasking of Cleophas as a poor
student and his final acceptance ofPaquita's love. The most popular
dance from the ballet was Florinda's cachuca dance.
Another Coralli/Gide collaboration was La tarentule. This Cala-
brian country story concerns a betrothed pair of lovers, Lauretta and
Luigi. When Luigi is bitten by a tarantula, the doctor (Dr. Omeopati-
co) refuses help until Lauretta consents to marry the doctor. The evil
doctor is foiled in the end (Lauretta feigns a tarantula bite in order to
delay the consumation of her marriage to Dr. Omeopatico) and the
lovers are reunited when Dr. Omeopatico's supposedly deceased
wife turns up alive and well. The music to La tarentule is actually an
arrangement of tunes. Gide was praised for "his good taste, hapfl
choice of themes, and the elegant simplicity ofhis orchestration."
Yet another collaboration with Jean Coralli was Ozai; ou I 'Insulaire
(1847). This ballet celebrates the noble savage and is based partly on
the adventures of the French explorer M. de Bougainville (1729-1814).
This ballet tells the tale of Ozai, a Tihitian maiden, who falls in love
with a shipwrecked sailor named Surville. Thinking he will never go
home, Surville pledges to marry Ozai. Both eventually end up in
France, however, and when Ozai hears that Surville will not marry his
formerly betrothed because he promised to marry Ozai, she sadly gives
him up and leaves for her south seas home. La France musicale
described Gide's music this way: "It abounds in elegant motifs and
provides a whole succession of waltzes and contredances . . . In the
second scene particularly the melodies are fresh and original; all the
music for the ball scene is capital. M. Gide is an excellent musician,
his new score is a worthy successor to Le diable boiteux. "97
GLIERE, REINHOLD MORITZOVITCH
GLIERE, Reinhold Moritzovitch, Russian composer, was born

January 11, 1876 in Kiev and died June 23, 1956 in Moscow. At the
Moscow Conservatory Gliere studied violin with Grimaly and com-
position with Anton Arensky, Sergei Taniev, and Mikhail Ippolitov-
Ivanov. In 1913 he was appointed professor at the Kiev Conservato-
ry; in 1914 he became its director. From his opus 1 sextet Gliere
demonstrated a maturity that he hardly bettered later. Gliere com-
bined the classicism and romanticism that typified the Russian na-
Composers 45
tional style of his time. Gliere wrote three symphonies, two operas,
a concerto for harp and numerous chamber music pieces and songs.
Some of Gliere's most successful works were ballet scores. One
of the first classics of Soviet ballet was Lashchilin and Tikhomi-
rov's 1927 Krasnyi mak (also known as The Red Poppy, The Red
Flower, Czerwony Mak, Rater Mohn). He also scored Nemirovtin
and Dancheuko's Nuits d'Egypte (1926), Zakharov's Mednyi vsad-
nikhe (1949, also known as The Bronze Horseman, Der eherne
Reiter, Miedziany jezdziec) and Doch' kastillii (1955, also known as
Daughter of Castille, Eine Tochter Kastiliens). Other ballets include
Chrysis (1912), Cleopatra (1925), and Commedians (1922, 1930).
The Red Poppy is set in a port in the Nationalist China of the
1920s. Li Shan-fu, capitalist, exploits the dancer Tao-Hoa. Tao-Hoa
becomes a heroine when she takes the bullet meant for the leader of
the revolution and thus saves the Chinese people and their Soviet
allies. Later productions have sometimes used the title The Red
Flower to avoid any association with opium.
Zakharov's The Bronze Horseman is based on Alexandre Push-
kin's poem. The story, set during the 1824 St. Petersburg flood, tells
of the lovers Yevgeny and Parasha. When Parasha drowns, Yevgeny
goes mad and accuses the bronze statue of Peter the Great of pursu-
ing him.
GORDON, GAVIN MUSPRATT

GORDON, Gavin Muspratt, Scottish composer, was born in Ayr,
Scotland, on November 24, 1901 and died in London on November
18, 1970. He studied with Ralph Vaughn Williams at the Royal
College of Music in London. His varied career included credits as
singer, composer, and actor. He wrote several ballets, including A
Toothsome Morsel (1930), Regatta (1931), The Scorpions of Ysit
(1932), and The Rake's Progress (1935, also known as Das Leben
eines Wustlings). The story of The Rake's Progress tells of a young
man that has just inherited a fortune and is the prey of a jockey, a
music master, a hired assassin, and others eager to cash in on the
nouveau riche. A woman he has ruined by a promise of marriage
also turns up with her mother; he tries to buy them off. The rake
frequents bars and whorehouses and loses all his money at the
gaming tables. The lady he ruined, genuinely fond of the rake, pays
some of his bills with her savings when creditors come calling. The
rake is next shown in debtors' prison (the rake dances with a rope as
he considers suicide), and dies at the feet of the girl he wronged.
Beaumont called this ballet "not so much a ballet as a mime play
with dances. "98
GOTTSCHALK, LOUIS MOREAU

GOTTSCHALK, Louis Moreau, American composer and pianist,
was born in New Orleans on May 8, 1829 and died in Rio de Janeiro
on December 18, 1869. Gottschalk first took up the violin at six but
soon studied the piano as well. When he was 13 he went to Paris and
studied with Charles Halle and Camille-Marie Stamaty. Through his
aunt the Comptese de la Grange he moved in the highest social
circles in Paris and soon became a student of Hector Berlioz. Gott-
schalk made his debut at the Salle Pleyel in 1844. Based on this
performance, Frederic Chopin predicted a great career for the young
virtuoso.
His New York premiere occurred in 1853; he was such a sensa-
tion that P. T. Barnum offered him $20,000 for a year's engagement
(which Gottschalk refused). The rest of his life was spent as a
touring virtuoso. He toured the West Indies, the United States,
Panama, Peru, Chile, and fmally Brazil. At Rio de Janeiro on No-
vember 26, 1869, he fell so ill that he collapsed and died within a
few weeks. As a virtuoso pianist he naturally wrote mostly for
himself and his instrument. He excelled in sentimental pieces like
The Last Hope and The Dying Poet, but he also wrote pieces that
reflected Creole and African-American elements (The Banjo, Bam-
boula, Ojos Criollos, among others). He also wrote a symphony
entitled La Nuit des Tropiques, an overture, a cantata, and several
operas.
Gottschalk's eminently danceable music proved to be a gold
mine for later choreographers and arrangers. Gottschalk's main
contribution to ballet was the posthumous Cakewalk ( 1951 ). Gott-
schalk's music has had a revival in recent years, but at the time he
was nearly unknown in America (though George Balanchine had
heard his music in Russia). Cakewalk is a balletic minstrel show;
Composers 47
the second part features a magician who conjures up a series of

apparitions. Gottschalk's music was also used (along with that of
Franz Joseph GHisar, Edouard Dupuy, Andreas Lincke and especial-
ly Hans Christian Lumbye) in Fjemt fra Danmark (1860, also
known as Far from Denmark, A Costume Ball on Board Ship, Et
Kostumebal om bord, Loin du Danemark). Other ballets that use
Gottschalk's music are Tarantella (1964), Bam Dance (1937, this
also used the music of David Guion and John Powell), and The Fall
of a Leaf(1959).
GOULD, MORTON
GOULD, Morton, American composer, was born in Richmond

Hill, New York on December 10, 1913 and died in Orlando, Florida
on February 21, 1996. He began composing at the age of six and
presented the first concert ofhis works at 16. As a teenaged pianist,
he was able to improvise on themes suggested by the audience, and
this ability to improvise blended in well with an interest in jazz. He
studied under Vincent Jones and Abby Whiteside at the Institute of
Musical Art in New York. A concert pianist since the 1920s, Gould
was also a freelance composer and conductor. His two Jerome Rob-
bins ballets are Interplay (1945, actually a choreographed version
of his American Concertette for piano and orchestra) and I'm Old
Fashioned-Astaire Variations (1983). His George Balanchine bal-
lets include Clarinade (1964), Apple Waltzes (1969), Chorales and
Rags (1969), and Concerto Grosso (1969). He also wrote the score
for Agnes de Mille's Fall River Legend (1947).
Fall River Legend is based on the famous Lizzy Borden murder
case. Though in real life Borden was acquitted, in the ballet she is
hanged. De Mille tells the story through the eyes of Lizzy herself
and her unhappy life.
Robbins' Interplay consists of four movements: Free Play, Horse
Play, Byplay, and Team Play. The outer movements are competitive
dances for eight dancers. Horse Play is a comic solo, and Byplay is
a pas de deux to sentimental blues music. Called "brilliant, lively,
witty and expertly constructed," this ballet was one of the great
successes of the Ballet Theatre. 99
HELSTED, EDVARD
HELSTED, Edvard, Danish composer, was born in 1816 and

died in 1900. Heisted and Holger Simon Paulli penned the score of
Boumonville's Blomsteifesten i Genzano (1858, also known as
Flower Festival in Genzano, La fite des jleurs a Genzano ). This
ballet, based on an actual event, tells the story of the lovers Rosa
and Paolo. The pas de deux from this ballet was perhaps the most
popular item in Boumonville's extensive repertory. Heisted also
contributed to Napoli (1842, also known as Neapol, The Fisherman
and His Bride, Fiskeren og hans brud, and Rybak i jego narzeczo-
na). Heisted's other ballet scores include Kirsten Piil (1845), and
Toreadoren (1840).
HENZE, HANS WERNER
HENZE, Hans Werner. German composer, was born July 1, 1926

in Gutersloh, Westphalia. Henze•s father was killed during World
War II. and the young Henze reacted against National Socialism and
was soon enjoying the forbidden scores of Igor Stravinsky and
Arnold Schoenberg. He attended the Brunswick State School of
Music and fought in the German army in World War II. After the
war he studied at the Heidelberg Institute of Sacred Music and
privately with Wolfgang Fortner, as well as lessons with Schoen-
berg and Anton Webem pupil Rene Leibowitz. IDO When he was 22
Henze happened to see the Sadler's Wells Ballet in Hamburg and
was determined to one day write for the classical ballet. In 1952 he
moved to Italy, living in one of the hill towns around Rome. His
politics sometimes entered into his work (the requiem Raft of the
Medusa was written for Che Guevara).
Among Henze's best known ballets is Ondine (1958, also known
as Undine). Ondine was Frederick Ashton's fourth full-length ballet
and the first for which he commissioned the music (it was designed
as a vehicle for Margot Fonteyn). Ashton first approached William
Walton with the idea, but Walton was busy and suggested Henze
write the score. Ondine concerns a water sprite who has a fatal love
for a mortal. The Henze/Ashton work was based loosely on the
Composers 49
novel by Friedrich de la Motte Fouque. Ondine had b~en staged

several times in the 19th century, and while Ashton went back to the
novel for inspiration, he did retain Jules Perrot's earlier staging
idea: the pas de 1'ombre, in which Ondine, catching sight of her
shadow for the first time, dances with it.lOl The story of Ondine
concerns a man (Palemon), who falls in love with a water sprite. He
is allowed to marry her, with the warning that unfaithfulness will
cause death. Naturally he is unfaithful to her when she is swept
away during a shipwreck (and after his former love, Bertha, has
stirred everyone against Ondine). When Ondine reappears in Pale-
mon's life, she warns him that a kiss will be fatal, but he kisses her
anyway.
Henze also collaborated on a ballet version of Dostoevsky's Der
Idiot (1952, also known as The Idiot). This ballet features a speak-
ing role for Prince Myushkin, though this role has also been done as
a split dancer/actor part.
Henze wrote the score for Rudolf Nureyev's first choreographic
effort, Tancredi (1966). This ballet deals with humankind's body/
soul duality.
Edgar von Pelchrzim's Jack Pudding (1951) was based on Mo-
liere's Georges Dandin and tells of the sorrows caused by an un-
faithful wife.
Many of Henze's works partake of the ballet though they are
hybrid works difficult to neatly classify. Other ballets or dance
works include Anrufung Apolls (1951, using the music of Henze's
Third Symphony), Ballett-Variationen (1949), Rosa Silber (1950,
based on a picture by Paul K.lee), Labyrinth (1952), Die schlafende
Prinzessin ( 1952, also known as The Sleeping Princess), Tancred
und Cantylene (1952), Konig Hirsch (1956), Maratona di danza
(1957), Des Kaisers nachtigall (1959, also known as L 'Usignolo
dell 'Imperatore), and Tristan ( 1974). Das Wunderheater ( 1949) and
Boulevard Solitude (1952) were also choreographed works.
Henze also wrote for the operatic stage. Among his best-known
works are Elegy for Young Lovers and The Bassarides. Both of
these operas were written in collaboration with W. H. Auden and
Chester Kallman. 102
HEROLD, LOUIS JOSEPH FERDINAND
HEROLD, Louis Joseph Ferdinand, French composer, was born

in Paris on January 28, 1791 and died in Les Ternes, near Paris, on
January 19, 1833. Herold first studied sollege with Fran~ois-Joseph
Fetis and piano with his godfather, Louis Adam. He entered the
Paris Conservatory in 1806 and studied under Adam, Charles-Si-
mon Catel, and Etienne-Nicholas Mehul, eventually winning first
prizes in piano, harmony, and composition. In 1812 he won the Prix
de Rome. He lived in Rome and Naples (where he was Queen
Caroline's pianist) for a time, and here he wrote several sympho-
nies, string quartets, and his first opera. He returned to Paris in
1816. From 1820-1827 Herold was the accompanist at the Theatre
des ltaliens, and in 1827 he was appointed chorusmaster at the
Academie de Musique. Beginning with the opera Les Rosieres in
1817, Herold concentrated on opera and ballet for the remainder of
his career. Within a three year span he produced five ballets, all
choreographed by Jean Aumer. These include Astolphe et Joconde
(1827), La somnambule ou l'arriwie d'un nouveau seigneur (1827,
not to be confused with Rieti's 1946 ballet of the same name;
Herold's is also known as L'arrivee d'un nouveau seignunr, The
Sleepwalker, A New Lord Comes), Lydie (1828), Lafille mal Gardee
(1828, also known as Naughty Lisette, The Unchaperoned Daugh-
ter, Useless Precautions, Vain Precautions, Vergebliche Vorsicht,
The Wayward Daughter), and La Belle au Bois Dormant (1829, not
to be confused with The Sleeping Beauty of Tchaikovsky or Dutil-
leux). Herold's most famous work was the opera-comique Zampa
(1831 ); this was followed by LePre aux Clers. Several months after
the latter's December 1832 premiere Herold died of consumption at
age 42.
Though several composers have tried their hand at La Fille Mal
Gardee (first danced in 1789 to unknown music), Herold's score
has had the most success. The story concerns a country love affair
between Lise and Colas. Naturally there is an impediment to im-
mediate happiness: in this case it is Lise's mother Simone, who has
a rich farmer's son in mind for her daughter. In a famous mime
scene from the second act, Lise imagines the joys of motherhood. In
the end true love triumphs and even Simone is persuaded that love
Composers 51
is better than lucre. Herold's music for this ballet "achieved a

model of charm and elegance, underlining the comic and moralistic
character of the story without ever sinking to the facile or hack-
neyed." 103
La somnambule ou l 'arrivee d 'un nouveau seigneur concerns the
lovers Therese, an orphan brought up by Mother Michaud, and
Edmond, a wealthy farmer. Gertrude, a young widow and innkeep-
er, is none too pleased about the wedding. The wedding contract is
nevertheless signed and arranged for the following day, but that
night Therese is found in Gertrude's inn with Saint-Rambert, the
newly arrived lord of the manor. It is a simple case of sleepwalking,
but all are horrified. Edmond breaks off the engagement. It takes a
bit of persuading (including another episode of sleepwalking) be-
fore the lovers are reunited. Saint-Rambert and Gertrude are also
married.
HERTEL, PETER LUDWIG

HERTEL, Peter Ludwig, German composer, was born in Berlin
on April 21, 1817 and died there on June 13, 1899. Hertel was a
violinist as well as composer; he studied with Eduard Rietz, Frie-
drich Schneider, and Adolf Marx. He was conductor and composer
at the Berlin Court Opera from 1858 until just before his death, and
in 1860 he was appointed ballet conductor at the Royal Opera. He
composed symphonies and overtures as well as ballets.
Hertel wrote several scores for Paul Taglioni ballets, including
Flik und Flak (1862). This ballet concerns Flik, the son of an
alchemist, and Flok, a street musician. Flik is in love with Nella
while Flok is enchanted with the picture of Flik's grandmother
Marta when she was young. Desperate for money, the two friends
discover a secret passageway which transports them to the King-
dom of the Gnomes. After many tribulations the pairs of lovers
(Marta takes a potion that makes her young again and thus suitable
for Flok) joyously reunite.
Hertel also wrote the score for Taglioni's Sardanapol (1865), a
ballet concerning the legendary King of Assyria. Another Taglioni
work is Satanella oder Metamorphosen. This ballet was based on
Cazotte's Diable amoreux and concerns a Heidelberg student, Karl,
who is betrothed to be married but who gives way to the evil

Satanella 's seduction. Hertel may be best remembered, however, for
his arrangement of the music for the 1864 version of La Fille mal
gardee (also known as Naughty Lisette, The Unchaperoned Daugh-
ter, Useless Precautions, Vain Precautions, Vergebliche Vorsicht,
The Wayward Daughter). Another Hertel ballet score is Fantasca
(1869).
HORST, LOUIS
HORST, Louis, American composer, was born on January 12,

1884 in Kansas City and died in New York on January 23, 1964.
Horst studied violin and piano at the Adams Cosmopolitan School
in San Francisco and from 1902-1915 pursued a career as performer
and dance accompanist. Horst served as music director of the Deni-
shawn company for ten years. He spent 1925 studying music: in
Vienna with Richard Stohr and in New York with Max Persin and
Wallingford Riegger. In 1926 he became music director for Martha
Graham and served in this capacity until 1948. In 1934 he founded
The Dance Observer. Horst also taught at several schools, including
the Julliard School from 1958-1963. Among his many ballet scores
for Martha Graham are Three Poems of the East (1926), Primitive
Mysteries (1932; this ballet concerns native American rituals),
Frontier (1934), American Provincials (1934), and El Penitente
(1940).
KAY, HERSHEY
KAY, Hershey, American composer, was born November 17,

1919 in Philadelphia and died December 2, 1981 in Danbury, Con-
necticut. Kay won a scholarship to the Curtis Institute in Philadel-
phia at age 16. In 1939 he went to New York and supported himself
by playing cello in Broadway musicals while writing song arrange-
ments. The Brazilian soprano Elsie Houston used some of his work
in the eary 1940s. He orchestrated the dance music for Jerome
Robbins and Leonard Bernstein's On the Town (1944) and Bern-
Composers 53
stein's Peter Pan (1951) and Candide (1956). Other well-known

arrangements for the dance include The Thief Who Loved a Ghost
(1950, from Carl Maria von Weber), Cakewalk (1951, from Louis
Moreau Gottschalk), The Concert (1956, from Frederic Chopin),
The Grand Tour (1971, from Noel Coward).
The program note from The Grand Tour describes the ballet this
way: "From the ship's embarkation to the first port of call a 1930
holiday cruise ... On board are world famous celebrities, two lively
stowaways, an American spinster on her first trip abroad, and a
friendly steward who tries to help her to 'belong.' "
Kay reconstructed Gottschalk's Grande Tarantellefor Piano and
Orchestra; later this became a George Balanchine ballet. He is best
known for his Balanchine ballets Western Symphony (1954), Stars
and Stripes (1958), Who Cares? (1970), and Union Jack (1976).
Stars and Stripes uses the music of John Philip Sousa and Who
Cares? the melodies of George Gershwin.
Western Symphony, though featuring cowboys and dance hall
girls, is still a creature of classical ballet, though Balanchine uses
classical dance to suggest American folk elements. Kay's music
uses many well-known American folk songs. Among them are Red
River Valley, Old Taylor, Good Night Ladies, and The Girl I Left
Behind Me.
Union Jack honors the British heritage in America and was writ-
ten for the American bicentennial celebrations. Part I uses Scottish
military tattoos and folk dances performed on a castle square. Part II
is a music hall pas de deux that suggests a toy theater. Part III brings
on the Royal Navy with hornpipes, jigs, and chants. It ends with
God Save the Queen (in semaphore) as the Union Jack unfurls.
Stars and Stripes is a ballet in five campaigns. The first two
feature women: a regiment of girls led by a baton twirler followed
by a more lyrical dance. The men arrive for the rousing third cam-
paign; the fourth is the pas de deux to the music of The Liberty Bell
and£/ Capitan marches. In the fmale alljoin together and salute the
rising stars and stripes.
Kay also arranged for the musical theatre, including the shows
Once Upon a Mattress, A Chorus Line, Evita, and Barnum.
LAMBERT, CONSTANT
LAMBERT, Constant, English composer and conductor, was

born August 23, 1905 in London and died there on August 21,
1951. Lambert came from a distinguished artistic family. A severe
case of osteomyelitis left him lame and deaf in one ear, but he still
decided to pursue a career in music. He entered the Royal College
of Music in 1922. Lambert had seen the Ballets Russe when he was
fourteen and the experience remained a defining moment in his life.
Shortly after graduation from the Royal College of Music, Lambert
managed to get an introduction to Serge Diaghilev. Diaghilev
agreed to present Lambert's score, but he also made changes. The
title was changed from Adam and Eve to Romeo and Juliet, the
libretto was altered, Bronislava Nijinska's choreography was tam-
pered with (this was Nijinska's last ballet for Diaghilev), and an
entr'acte by George Balanchine was inserted into the ballet. The
reworked Romeo and Juliet (1926) created a sensation in Paris and
London and the twenty-one year old Lambert received much atten-
tion because of it.l04 The story concerns a rehearsal of Romeo and
Juliet; Haskell wrote that it inau~ated "a dreary series of back-
stage practice-costume ballets." 1 5 It was also the focus of artistic
politics and created the last scandal ofDiaghilev's illustrious career.
Diaghilev's Ballets Russe had long been considered by the Surreal-
ists as a bourgeois institution, and when the Surrealists Joan Miro
and Max Ernst worked on the ballet the Surrealist camp felt
betrayed. Cries of "Judas" resounded during the performance, and
pamphlets signed by Louis Aragon and Andre Breton were distrib-
uted. There was even some scuflling.l 06
Lambert was instrumental in the creation of the twentieth century
English ballet. Ninette de Valois' Sadler's Wells Ballet built on
Valois's association with Diaghilev (among those who helped in the
creation were the former Diaghilev ballerina Lydia Lopokova and
her husband John Maynard Keynes).l07
Lambert composed his second ballet, Pomona, in 1930 for the
Camargo Society. In 1931 he became the musical directorofValois'
Vic Wells Ballet and later conducted Balanchine's Les Ballets.
When Frederic Ashton was appointed the resident choreographer
for the Vic Wells in 1931, Lambert had found his ideal partner. The
Composers 55
Rio Grande, a jazz-influenced score based on Edith Sitwell's poem,

was a trememdous success. Many of Ashton's early ballets were
penned by Lambert; among them are Pomona, Rio Grande (1932),
and Horoscope (1958), as well as arrangements such as Rendevouz
(1933) and Les Patineurs (1937). Conductor of the Vic-Wells and
Sadler's Wells Ballets, he orchestrated many works for Ashton and
Valois and modernized Purcell's music for Robert Helpmann's
Comus (1942). 108
In Les Patineurs Lambert arranged music from Meyerbeer's op-
eras Le Prophete and L 'Etoile du Nord. The ballet section of Le
Prophete includes a ballet section in which the women use roller
skates to simulate ice skating. The ballet has little plot besides the
incidents of a Victorian skating party. The star is the blue skater; as
the ballet ends whirling snow drives all the dancers away except the
blue skater.
Lambert met his first wife, Florence Chuter, in 1929 and married
her in 1931. They had a child in 1935 (Kit Lambert grew up to be a
rock impresario and manager of The Who; he died of a drug over-
dose in 1981) but several years later Lambert had left her. Lambert
had been attracted to the fifteen year-old Margot Fonteyn, whose
first major role was as the Creole Girl in a 1935 revival of The Rio
Grande. Three years later Lambert and Fonteyn began an affair that
lasted until Lambert's second marriage in 1947.109
Lambert also wrote music criticism. His best known work of
criticism is Music Ho!: A Study of Music in Decline (1934). Lam-
bert attacked both the mania for technical novelty and sensational-
ism and the unthinking application of the old formulas. He wrote
that the music of the future will not be sensationalist but will pos-
sess "a new angle of vision rather than the exploitation of a new
vocabulary." 110 Lambert also felt that the "schools" and "move-
ments" so important in the history of twentieth century music
would pale in importance to lonely individuals like Sibelius.
Lambert's and Ashton's Horoscope (1938), often considered the
finest fruit of their collaboration, was in fact a symbolic representa-
tion of Lambert's romance with Fonteyn. Opposed astrological
signs conspire to keep a man and a woman apart, but they are
brought together by a mutual sign and fmally united. After Horo-
scope Lambert wrote nothing for fourteen years (except for ar-
rangements: he arranged Boyce's music for Valois' 1940 The Pros-

pect Before Us). He seemed to realize that his talents were not first
rate, and as a result he concentrated on conducting and touring with
what was now called the Sadler's Wells Ballet. He was also increas-
ingly handicapped by his alcoholism. In 1947 Lambert left Fonteyn
and married Isabel Delmer. Fonteyn only learned of Lambert's mar-
riage while on tour. His marriage did not seem to help his alcohol-
ism. Lambert actually passed out during a performance, so naturally
his conducting engagements began to dwindle.
He composed his last ballet, Tiresias, in 1951. This ballet con-
cerns a Greek seer who is transformed from man to woman to man
and then is asked by Zeus and Hera whether man or woman derives
greater pleasure from sexual intercourse. The premiere was derided
by every critic in London. One critic commented that the ballet was
"idiotic and boring." 111 Six weeks later Lambert collapsed in Lon-
don and died shortly afterwards.
LECOCQ, ALEXANDRE CHARLES

LECOCQ, Alexandre Charles, French composer, was born in
Paris on June 3, 1832 and died there on October 24, 1918. Lecocq
studied under Jacques Halevy, Fran~ois Bazin, and Fran~ois Beno-
ist at the Paris Conservatory. In 1856 his Le Docteur Miracle won
(with Bizet) a prize offered by Jacques Offenbach. Between 1868
and 1911 Lecocq composed a plethora of successful operettas; he
also composed songs, piano pieces, and instrumental music. His
best known ballet is Mam 'zel/e Angot (1943, also known as Made-
moiselle Angot). Mam'zelle Angot is the daughter of a merchant
betrothed to a barber. The barber dislikes her infidelity, and in fact
she immediately dances with a caricaturist. Meanwhile a govern-
ment official arrives with a beautiful mistress. During a fancy dress
ball all is revealed. The caricaturist departs with the beautiful mis-
tress and Mademoiselle Angot and the barber declare their love.
LIADOV, ANATOL CONSTANTINOVITCH

LIADOV, Anatol Constantinovitch, Russian composer, was born
in St. Petersburg on May 11, 1855 and died in Novgorod on August
Composers 57
28, 1914. Liadov studied with Nikolai Rimsky-Korsakov at the St.

Petersburg Conservatory and graduated in 1877. In 1878 he was
invited back as a theory instructor; later he became a professor of
harmony and composition and held a similar position at the Imperi-
al Court Chapel. Liadov did much research concerning Russian folk
song. He composed symphonic poems, piano music, songs, and
other works.
Liadov also wrote several noteworthy ballets. His Les Contes
Russes ( 1917, also known as Children 's Tales) was a success in the
genre of folklore/burlesque pioneered by Leonide Massine and Mi-
chel Larionov.ll2 Les Contes Russes features a folk-like overture
and concerns the evil Kikimora, a beautiful princess, a knight in
shining armor (Bova Korolevich), a girl that escapes from an ogress
and demons, and other fantastic folk characters.
Other ballets based on Liadov's music are Ballet School (1961,
also using the music of Alexander Glazunov, Sergei Liapunov, and
Dmitri Shostakovich) and Skazka o mertvoi tsarevne i semi bogaty-
riakh (1949, also known as The Princess and the Seven Knights and
Die Prinzessin und die sieben Ritter). This ballet tells the Snow
White story as retold by Pushkin in his The Fairy Tale of the Dead
Princess and the Seven Knights. The seven dwarfs have become
seven knights and the evil witch has become the vain Tsarevna.
Besides the ballets Liadov did write, he had a hand in the creation
of Igor Stravinsky's great Firebird. Serge Diaghilev wanted to stage
a ballet based on Russian folktales, and Diaghilev had flrst commis-
sioned Liadov to write the music. Two years later Liadov informed
Diaghilev that he had just bought the ruled paper to begin work on
the commission. Naturally Diaghilev was a bit put out. He had
heard several of Stravinsky's works at a 1908 concert and decided
to give the unknown composer a chance. The result was The Fire-
bird.II3
LOVENSKOLD, HERMAN
LOVENSKOLD, Herman, Norwegian composer, was born July
30, 1815 in Holdensjambruk, Norway and died December 5, 1870
in Copenhagen. He grew up in Copenhagen and was a member of
the Danish Court theater and chapel. He penned his flrst ballet score
in 1836 for August Boumonville's new La Sylphide (Jean-Made-

leine Schneitzhoeffer had written the score to the original 1832
production; this should not be confused with Les sylphides, based
on the music of Frederic Chopin). La Sylphide was one ofthe most
successful 19th century ballets. It tells the story of a young af-
fianced farmer (James) who forsakes his soon-to-be bride for the
charms of a sylph. His intended marries another when it appears
James will not return, but when he tries to bind the sylph (as the evil
soothsayer had instructed him to do) her wings fall off and she dies.
As the sylph is taken to heaven the farmer collapses dead.
He continued his studies in Vienna but returned to Copenhagen
and composed music for Boumonville's New Penelope (1847) and
(with others) Fantasies (1836). His opera Turandot premiered in
1854.
LUMBYE, HANS CHRISTIAN
LUMBYE, Hans Christian, Danish composer, was born on May

2, 1810 in Copenhagen and died there March 20, 1874. Lumbye
composed the music (along with Holger Simon Paulli, Edvard
Heisted, and Niels Gade) for August Boumonville's Napoli (1842,
also known as Neapol, The Fisherman and His Bride, Fiskeren og
hans brud, Rybak i jego narzecona). Along with Franz Glaser,
Louis Moreau Gottschalk, Jean Dupuy and Andreas Lincke he con-
tributed music to Fjernt fra Danmark (1860, also known as Far
From Denmark, A Costume Ball on Board Ship, Et kostumebal om
bord, Loin du Danemark).
La Ventana (1854) also used the music of Wilhelm Christian
Holm. This ballet is a Spanish divertissement; its most famous
scene is the mirror dance. Other ballets include Drommebilleder
(1915, also known as Dream Pictures), Irene Holm (1960), Polka
militaire and The Life Guards at Amager (1871). Lumbye was
sometimes called the "Strauss of the North." He and his sons
conquered the popular dance music scene in Copenhagen in much
the same way that the Strausses conquered Vienna.
Composers 59
MADER, RAOUL MARIA
MADER, Raoul Maria, Hungarian composer, was born in Press-

burg, Hungary on June 25, 1856 and died in Budapest on October
16, 1940. Mader studied at the Vienna conservatory under Hans
Schmitt and Anton Bruckner. He served as singing coach at the
Vienna Court Opera from 1882 to 1895 and as chorus master at the
Academical Gesangverein from 1891 to 1895. In 1895 he was
appointed conductor of the Royal Opera in Budapest. Mader wrote
vocal music, operettas, and ballets.
Mader's best known ballet is Die rothen Schuhe (1898, also
known as The Red Shoes). Based on Hans Christian Andersen's
fairy-tale, a balletic treatment of The Red Shoes was catapulted into
world-wide fame by the 1948 English film (though with music by
Brian Easdale and choreographed by Robert Helpmann and Leo-
nide Massine ).
MARTINU, BOHUSLAV
MARTINU, Bohuslav, Czech composer, was born in Policka,

Bohemia on December 8, 1890 and died in Liestal, Switzerland on
August 28, 1959. Martinu began studying the violin at 6 and was
giving concerts at 8. He attended the Prague Conservatory as a
violin student and studied with Joseph Suk. From 1913 to 1923 he
played in the Czech Philharmonic. In 1923 he went to Paris and
frequented the Montpamasse quarter. Here he heard Igor Stravinsky
and the modernist Les Six and was deeply impressed with both. In
1940 he fled to the United States (he lived in Jamaica, Long Island)
and perhaps his period of greatest productivity followed. He was
briefly a professor of composition in the Master School of the
Prague Conservatory in 1946; later he was the resident composer at
the American Academy in Rome. Martinu's works include six sym-
phonies, many overtures and orchestral works, numerous concertos
(including highly regarded concertos for piano and for violin), oper-
as (including several written for radio), and much chamber and
piano music. His ballets include /star (1921), Who Is the Most
Poweiful Man in the World? (1923), Revolt (1925), On tourne
(1925), La Revue de cuisine (1927), Checkmating the King (1928),

The Butterfly that Stamped (1929), Spalicek (1931, a "singing"
ballet), The Judgment of Paris (1935). Several posthumous ballets
use Martinu's music. These include Anastasia (1971, also using the
music of Peter Tchaikovsky), Ekon av trumpeter (1963, also known
as Echoes of Trumpets, Echoing of Trumpets, Echo der trompeten),
and Soldiers Mass (1980, also known as Field Mass).
Echoing of Trumpets is an anti-war statement. The scene is a
village during war. The women grieve for the loss of life and de-
struction, but the soldiers callously ignore them. When a partisan
returns seeking his wife, the soldiers find and execute him. His wife
ends the ballet with a lament.l 14 Soldiers' Mass also explores the
tensions and vulnerabilities of men at war and the terrible loneliness
of acting as an individual. An especially effective scene occurs
when the soldiers tear off sweat-soaked shirts and remain motion-
less before sinking to the ground in prayer.
MESSAGER, ANDRE CHARLES PROSPER

MESSAGER, Andre Charles Prosper, French composer, was
born in Montlu9on, Allier on December 30, 1853 and died in Paris
on February 24, 1929. Messager attended the Ecole Niedermeyer in
Paris and also studied with Camille Saint-Saens. He was appointed
organist at Saint Sulspice in 1874; in 1876 he won the gold medal of
the Societe des Compositeurs. Along with his compositional career
(mainly in ballet and light opera), Messager was a respected con-
ductor. He conducted in Belgium and Paris (he was appointed con-
ductor at the Opera-Comique in 1898) and from 1901-1907 was
artistic director at Covent Garden in London. From 1908-1914 he
conducted the Paris Opera; he also conducted the Societe des Con-
certs du Conservatoire and toured the United States with this or-
chestra in 1918. Messager is best known for his numerous light
operas (at least 18 composed between 1883 and 1919) and his
ballets. His ballets include Fleur d'oranger (1878), Les Vins de
France (1879), Mignons et Vilains (1879), Scaramouche (1891),
Amants eternal (1893), Le Chevalier aux Fleurs (1897), Le Proces
des Roses (1897), Une Aventure de Ia Guimard (1900), and Les
Deux Pigeons (1886, also known as The Two Pigeons).
Composers 61
The Two Pigeons, based upon the fable by La Fontaine, takes

place in an 18th century Greek town overlooking the Aegean Sea.
Pepio, betrothed to Gourouli, is feeling rather bored with life and
can't even maintain a game of imitating the pigeons with his be-
loved. He wants to have adventures and so decides to leave his
intended bride and join a gypsy band. Gourouli secretly follows
Pepio in order to keep an eye on him and even dances for him
(though he doesn't recognize her). The gypsies soon take all Pepio's
money at cards, and Pepio is thrown out of the gypsy camp and into
the teeth of a rainstorm. Gourouli has meanwhile gone home and
tells her mother that Pepio will soon be home as well. Pepio returns
to the nest, suitably abashed. The ballet ends with joyous dancing as
Pepio takes Gourouli in his arms.
MINKUS, ALOYSIUS LUDWIG (LEON FEDOROVICH)

MINKUS, Aloysius Ludwig (Leon Fedorovich), Austro-Russian
composer and violinist of Czech or Polish descent, was born in
Vienna on March 23, 1826 and died there on December 7, 1917.
Minkus was known almost entirely as a composer of ballets. His
early background and training is obscure, but most sources assume
he studied music in his native Vienna. Minkus was in Paris by the
1840s. Sometime in the early 1850s he migrated to Russia. He
conducted a serf orchestra from 1853-1856 and also enjoyed a
respectable career as a concert violinist. He held several important
posts in the Russian imperial musical establishment, including solo-
ist at the Bolshoi in Moscow ( 1861 ), conductor of the Bolshoi
theatre orchestra ( 1862), and professor of violin at the Moscow
Conservatory (1866). He continued to work in Paris as well as
Russia for a time, but ended his Parisian career with Arthur Saint-
Leon's La Source (also known as The Spring) in 1866. Half the
music was contributed by Minkus, the other half by Leo Delibes.
Tradition has long said that the better known Delibes' half was
superior, but a recent critic, reviewing the first recording of the
complete score, rated Minkus' contribution in a more favorable
light and wrote of his "well-crafted" music well suited to the
story." 115
A favorite of Marius Petipa in St. Petersburg, he served many
years as Inspector of Music to the Imperial Theaters of St. Peters-

burg. One of Minkus' first ballets for Petipa in St. Petersburg was
Don Quixote. First staged at the Mariinsky Theater in 1869, it has
remained a staple both in Russia and the West and is the only
balletic setting of Cervantes' novel to survive as a repertory work.
Serge Lifar once described Minkus (along with Cesare Pugni and
Riccardo Drigo) as one of the "real hack-writers of music," but the
score for Don Quixote has also been described as "sparkling, lively
and filled with lilting medodies that lift the spirit." I f6
One of Minkus' greatest successes was Petipa's La Bayadere
(also known as The Dancing Girl, The Kingdom of the Shades).
Premiered on January 23, 1877, it was among the most spectacular
of the Russian ballets. The story concerns an Indian temple dancer
named Nikiya who loves and is loved by the young warrior Solor.
Nikiya is killed through the scheming of Gamzatti, a king's daugh-
ter. When Solor and Gamzatti are about to be married, the angry
gods cause the temple walls to collapse and crush Solor and Gam-
zatti. The work was a tremendous success; not least because of the
lavish spectacle that was typical of the Russian ballet in the latter
19th century. Alexandre Benois wrote an account of it:
. . . a magnificent tropical park with palm trees and baobabs
growing in profusion. In the distance one could see a proces-
sion approaching; it consisted at first of cardboard figures, but
soon the real ones filed across the stage to disappear in the
opposite wing and then form a group in the background. The
appearance of the bejewelled elephant caused me to clap my
hands with delight, but the innumerable heads and arms of the
gilt idols made me feel distinctly uncomfortable, and I could
hardly keep my seat at the sight of the 'royal tiger' nodding his
head from side to side. He was so convincing. But what en-
chanted me more than anything-more than the warriors in
their golden armour, more than the beautiful veiled maidens
whose arms and ankles jingled with bracelets-was the group
of blackamoors who approached dancing, twirling and tin-
kling their bells. 117
This work has continued to be a staple of Russian and Soviet
ballet. Only the "Kingdom of the Shades" section, where Nikiya
Composers 63
appears to Solor in an opium-induced vision of the afterlife, is well

known in the West. Baryshnik:ov said of this scene: "It is Petipa's
idea of life in the beyond, a world of peace, dignity, symmetry, and
harmony-a world that can be fully explained and presented through
the medium of the fmest classical choreographic and dance tech-
niques ... Poetically it is unmatched in the classical repertory."118
Another Minkus success was the score of Petipa's Camargo
(1872). This romantic tale, partly based on fact, concerns the abduc-
tion of Marie Camargo and her sister by the Compte de Mulun in
May 1728. Petipa's version features one sister married and another
a famous dancer by the end of the ballet.
Minkus' score for Petipa's Zoraiya, or the Moorish Woman in
Spain (1881, sometimes called simply The Moorish Woman in
Spain) was also a great success. This story concerns a lover's
triangle in medeival Moorish Spain. Zoraiya, the daughter of the
Caliph, loves Abu-Soliman but is betrothed to Ali-Ben-Tamarat. .A
dream sequence follows Soliman's attempted suicide, but all comes
right in the end when it is revealed that Tamarat tried to have
Soliman murdered. The ballet ends with joyous dancing in honor of
the proposed marriage of Soliman and Zoraiya.
In La Nuit et le Jour (1883, also known as Noch' i den), Petipa
designed a more abstract ballet for Minkus' talents. The ballet be-
gins with the silence of nature and a star heralding the night.
Naiads, nereids, and dryads dance in the moonlight. The daughters
of the clouds are transformed into the shapes of women and these
too take part in the dance. Finally the morning star banishes the
night and the Queen of the Day greets the Star of Light. Nature
comes to life; finally people appear. The ballet ends as the spirit of
Russia, carried by an eagle, proclaims the glory ofRussia.
Petipa 's Kalkabrino ( 1891) featured music by Minkus and a book
by Peter Tchaikovsky's brother Modeste. This ballet is set in a
village in Provence. The smuggler Kalkabrino desires innkeeper
Rene's daughter Marietta, but she loves Oliver. Kalkabrino even
tries to bribe the monk to marry them, but he refuses and is driven
away. Evil spirits now recognize an opportunity to snatch the soul
of a great sinner, and so one of the evil spirits, Draginiatza, assumes
the shape of Marietta. Kalkabrino is taken in by the evil spirit and
presents her to his companions as his wife to be. After a wild dance
of evil spirits during which many of the smugglers flee, Kalkabrino

declares his love for Draginiatza (Marietta), but she turns into a
horrible demon. She shows Kalkabrino a vision of Marietta and
Oliver married by the monk, then she seizes him and takes him to
Hell.
Minkus collaborated at long range with Deldevez on the score for
Joseph Mazillier's ballet Paquita (1846). Most of Paquita was writ-
ten by Deldevez, but when Petipa staged his own version in 1881 a
grand pas by Minkus was added. In the West it is usually only
Minkus' music from the grand pas which is heard. This interpola-
tion is a display piece for ballerina, premiere danseur, six first
soloists, and eight second soloists.
Minkus also collaborated with Pugni on a version of Le Corsaire.
The original music derived from Adolphe Adam, but later inter-
polations were added by both Pugni and Minkus. Most versions
now feature the music of Riccardo Drigo.
Before Minkus retired from the Imperial Theatres in 1891 he had
written about 20 ballets. Other Minkus ballet scores include Fia-
metta (1863, also known as The Salamander, Plamia Liubvi), Le
Papillon (1874), and La Fille d'neige (1879).
NABOKOV, NICHOLAS
NABOKOV, Nicholas, Russian composer, was born April 17,

1903 in Lubcha (near Minsk) and died in 1978 in New York. Nabo-
kov was trained, lived, and worked most of his life in Western
Europe and America. His early music studies were in Berlin and
Stuttgart.
His first ballet was Leonide Massine's Ode, or Meditations at
Night on the Majesty of God, as Revealed by Aurora Borealis
(1928) for the Ballets Russe (this was Massine's last ballet for Serge
Diaghilev). This work was based on a poem of the Russian 18th
century poet-scientist Lomonossov. The story tells of the beauty
and harmony of nature, and how it is destroyed by a progressive
student. "With an irregular framework of white cords the dancers
moved in tight-fitting costumes, while coloured projections and
film sequences bathed them in a continually changing flood of
light." I f 9
Composers 65
Nabokov went to America in 1934. He taught at Wells College

and later at the Peabody Conservatory. From 1952 his principle
domicile was Paris. His best known ballet is Union Pacific (1934),
which celebrates the first transcontinental railway and uses popular
American melodies. It features Irish and Chinese workmen, Mexi-
cans, dancing hall girls, and a photographer to record the momen-
tous event. Another ballet is La Vie de Polichine/le. In 1941 Nabo-
kov composed the music to The Last Flower, a ballet based on
James Thurber. A controversial ballet was Balanchine's unsenti-
mental 1965 Don Quixote. Nabokov has also written a symphony
and a piano concerto as well as other works.
OLDHAM, ARTHUR WILLIAM
OLDHAM, Arthur William, English composer, was born in Lon-

don on September 6, 1926. Oldham studied under Herbert Howells
at the Royal College of Music. Besides formal classes Oldham
studied privately with Benjamin Britten. As musical director of the
Mercury Theatre and Ballet Rambert, Oldham supplied the scores
for several ballets. Among these are Mr. Punch (1946), The Sailors
Return (1947), Circus Canteen (1951), Bonne-Bouche (1952), and
Love in a Village (1952). Love in a Village is an adaptation of
Thomas Arne's ballad opera.
The Sailors Return is based on David Garnett's noveL A ballet
delineating race relations in our time, it takes place in a small
English fishing village. When a sailor returns home with an African
bride, the villagers are frrst inclined to accept her, but inevitably
racism makes itself felt with tragic results.
Bonne-Bouche, on the other hand, is a farcical treatment of Ed-
wardian England, though again involving Africa, and tells of a
mother who marries her daughter to a cannibal king.
PAULL!, HOLGER SIMON
PAULL!, Holger Simon, Danish composer, was born February

22, 1810 in Copenhagen and died there December 23, 1891. Paulli
was the concert master or conductor of the Court Orchestra from

1828 to 1883 and was instrumental in the creation of the Chamber
Music Society and the Copenhagen Conservatory of Music. He
both conducted and composed ballets for August Boumonville,
though like most ofBoumonville's musical collaborators, he usual-
ly composed sections of ballets rather than entire scores. He com-
posed much of Napoli (1842, music ofEdvard Heisted, Niels Gade,
and Hans Lumbye was also used), Konservatoriet eller Et Avisfrieri
(1849, also known as A Proposal of Marriage Through a Newspa-
per: The Conservatory; The Conservatory, or a Proposal of Mar-
riage; The Dancing School; A Proposal by Advertising; Et Avis-
frieri), Kermessen Briige eller De tre Gaver (1851, also known as
Kermesse in Bruges, The Holy Fair at Bruges, The Three Gifts, De
tre gaver) and Blomsterfesten i Genzano (1858, Edvard Heisted
co-composed this work, also known as Flower Festival at Genza-
no).
Kermesse in Bruge was inspired by the paintings of Jan Steen
and D. Teniers. It is set in 17th century Bruges during a kermesse
(church fair). Three brothers, Adrian, Geert, and Carelis, are enjoy-
ing themselves at the fair. All three have sweethearts (Carelis' is
Elinora, the daughter of the alchemist Mirevelt). After a collective
lover's quarrel, the brothers decide to seek their way in the world.
Before they leave Bruges, however, they save Mirevelt from attack
and receive three gifts from the alchemist: a ring for Geert (success
in love), a sword for Adrian (success in war), and a lute that induces
merriment and dancing for Carelis. The gifts of love and war
eventually pale and Adrian and Geert are ready to dispense with
them just when the brothers and Mirevelt are condemned for sor-
cery. Carelis' magic lute sets. everyone dancing and he only agrees
to stop when the townspeople agree to exchange his lute for the
release of his brothers and Mirevelt. The lute is then locked away,
only to be played at the kermesse. The lovers, of course, are re-
united.
Konservatoriet concerns the attempts of the housekeeper of the
principal of the Paris Conservatory to fmd a man. The ballet fea-
tures a typical vestris ballet class. It is considered one of the great
ballets designed in the old French style, though its plot has been
modified during various revivals.
Composers 67
PUGNI, CESARE
PUGNI, Cesare, Italian composer, was born c.1805 in Milan and

died January 26, 1870 in St. Petersburg. Pugni studied at the Milan
Conservatory. He wrote his first ballet for the Teatro alla Scala in
1823. This was Gaetano Gioja's II Castello di Kenilworth; it was to
be followed by a flood of over 300 ballets. Pugni moved to Russia
in 1840; by 1851 he had been appointed the official ballet composer
of the Imperial Opera. His most famous work was Pas de quatre
(1845). Though Lee described the music as "not distinguished,"
this is Pugni's best known work. 120 This is partly because the work
is crucial in the history of ballet. The choreography of Jules Perrot
was a turning point in the romantic ballet of the time. The ballet
presented four of the most famous contemporary ballerinas (Marie
Taglioni, Carlotta Grisi, Fanny Cerito, and Lucile Grahn) on the
same stage in a divertissement that rocked the ballet world in 1845.
One eyewitness wrote that the coda "was a four-cornered con-
test." 121 The ballet has been performed in the twentieth century
using Pugni's score as he wrote it in the 1840s, but it has fallen out
of the repertory.
Pugni was most closely associated with the ballets of Perrot.
Besides Pas de Quatre his Perrot ballets include Ondine (1843, not
to be confused with Henze's work of the same name; also known as
Undine, The Naiad, The Naiad and the Fisherman), Eoline (1845,
also known as La dryade), Catharina (1846, also known as Catari-
na, The Bandit's Daughter) and Faust (1845). Ondine includes the
famous pas de I 'ombre (in which Ondine dances with her shadow).
Pugni's music was described as "singularly appropriate," especial-
ly in its ability to suggest waves and the flow of water.122 Pugni
also wrote for Arthur Saint Leon, Joseph Mazilier and Marius Peti-
pa. For the latter he wrote Le Corsaire (1858); the pas de deux from
this work is Pugni's only work that has remained in the repertory
after World War II. For Petipa he also wrote Le Roi Candaule
(1868).123 La Vivandiere (1844) was given its fust British perfor-
mance in 1982.
Paul Taglioni's La prima ballerina ou /'embuscade (1849, also
known as L 'embuscade) features a prima ballerina as the main
character of the story. (This ballet is supposed to be based on an
actual incident from the life of Marie Taglioni.) The action takes
place in a mountainous region in central Italy. Highwaymen, led by
Rinaldo, stop a carriage. The bandits discover that one of the travel-
ers is a famous prima ballerina. She agrees to dance for them if they
will let her continue her journey unmolested. She performs for them
with notable success, but as she fmishes the dance the dragoons on
the track of the bandits suddenly arrive. The prima ballerina as-
sures the officer that she has not been harmed. A procession of
penitents appears on a mountain path. The soldiers lay down their
guns and kneel in prayer. The cloaks of the pilgrims fall away to
reveal a line of armed bandits as the curtain closes.
Les plaisirs de l'hiver ou les patineurs (1849, also known as The
Joys of Winter, Les patineurs) really has no story. A marriage is
celebrated in the first scene; this is followed by a scene set around a
frozen lake featuring skaters and sleds. The critic for the Illustrated
London Times said Pugni's music "graphically describes every epi-
sode, even imitating the sound of gliding on the ice." 124
Another Taglioni!Pugni collaboration was Les Metamorphoses
(1850, not to be confused with Hindemith's 1952 ballet of the same
name). This ballet tells the story of Karl and his two loves: Ida and
learning. A good sprite, thinking that Karl is getting in rather over
his head in the learning department (he is not content with the usual
subjects but has moved on to acquiring magic and the evil arts),
determines to teach him a lesson. The sprite turns into a beautiful
woman who entices Karl, then changes into a handsome officer
who woos Ida. Naturally Karl fmally learns his lesson.
Pugni also collaborated with Arthur Saint-Leon. Saint-Leon's
probable first ballet, La vivandiere (1844), was set to a Pugni score.
Kathi, a vivandiere or canteen keeper for the army, loves Hans, the
son of the tavernkeeper Bibermann. Kathi is obviously of very low
social status and has no dowry, though she is very beautiful. Her
beauty, in fact, has been noted by the burgomaster and the baron
(and their wives have noticed that they noticed-they are so suspi-
cious of their husbands that they give their husbands keepsakes of
themselves). When Hans asks his father if he may marry Kathi, his
father says yes. The burgomaster and the baron quickly change
Bibermann's mind, pointing out that Kathi has no dowry and is only
a vivandiere. Both actually want to make Kathi their mistress. Kathi
Composers 69
outsmarts them by pretending interest and getting them, each in

tum, to give her the keepsakes as a sign of their love. She then
threatens to expose them to their wives if she doesn't recieve a
handsome present: enough, in fact, for a dowry. Now Bibermann is
satisfied and agrees to the marriage of his son and Kathi.
Perrot's La Esmeralda (1844) still remained in the repertoire as
late as the 1950s. A large scale work in which the dancing occurs
only in occasional divertissments, this ballet was inspired by Victor
Hugo's Notre-Dame de Paris (The Hunchback of Notre Dame).
Petipa later reworked this ballet (1886), and it was his version that
enjoyed lasting popularity in Russia. Riccardo Drigo's music was
used when the second act was given in 1956 in Paris.
One of Pugni's best known collaborations with Saint-Leon was
Le violon du diable (1849, also known as The Devils Violin). Saint-
Leon was an accomplished violinist as well as dancer and choreog-
rapher; this ballet used his talents to maximum effect. The Faust-
like story concerns the poor orphaned violinist Urbain, who has
been brought up by the good monk Father Anselme. Urbain nearly
relinquishes his soul to the devil in order to enchant the daughter of
the Compte de Vardeck, Helime (who happens to be betrothed to
another). The devil is denied his prey in the end, and all ends
happily when the Compte fmally consents to the marriage of Urbain
and Helime.
A later Pugni score for a Saint-Leon ballet was The Hump-
Backed Horse (1864, not to be confused with Shchedrin's 1960
ballet of the same name; it is also known as The Little Humpbacked
Horse, Konek-gorbunok, Tsar '-devitsa). This ballet (first performed
in St. Petersburg) is based on a Russian fairytale by Ershov (Yer-
shov). The Hump-Backed Horse quickly became one of the most
popular ballets in Russia and was performed over 200 times (this in
spite of "its absurd plot, poor music, and confused folklore"125).
The story tells of the fantastic experiences of Ivanoushka. He cap-
tures a mare, who promises him two golden-maned horses and a
hump-backed horse if Ivanouska will let her go free. He agrees and
recieves the horses, but they are promptly stolen by Ivanouska's
brothers. The brothers are about to sell the horses to the Khan when
Ivanouska intervenes and claims the horses as his own. The Khan
buys the horses but appoints Ivanouska groom; the hump-backed
horse gives Ivanouska a whip that when cracked causes the fulfill-
ment of any wish. Some bystanders who are dreaming of the
women woven into a carpet attain their wish when Ivanouska cracks
the whip: the women enter and dance. The Khan hears of the power
of the whip and asks Ivanouska to do him a similar service. With the
aid of the hump-backed horse lvanouska is able to capture the
Tsar-Maiden and bring her from the Isle of the Mermaids to the
Khan. The Khan wants the Tsar-Maiden as his wife, but she insists
that he give her a ring that lies on the bottom of the sea. The
hump-backed horse helps Ivanouska get the ring; meanwhile the
Khan has kept the Tsar-Maiden locked up since she will not relent
and marry the Khan without the ring. Once in possession of the ring
the Khan renews his marriage proposal, but the Tsar-Maiden has a
new condition: that the Khan must become as young and as beauti-
ful as she is. This can only be accomplished by immersion into a vat
of boiling water. The Khan is a bit skeptical about this, and orders
lvanoushka to try it first. He jumps in and emerges youthful and
handsome. The Khan tries his luck in the boiling water, but dies in
horrible agony. Ivanoushka marries the Tsar-maiden as a divertisse-
ment of all the nations gathered under the Russian eagle celebrate
the marriage.
Among his other ballets are The Daughter of the Pharoah (1862,
also known as Pharoah s Daughter, Doch' Faraona, La fille du
Pharaon), Diavolina (1863), Lafille de marbre (1847, also known
as The Marble Maiden), Fiorita et Ia reine des elfrides (1848), Le
jugement de Paris (1846, not to be confused with Weill's 1938
ballet of the same name; also known as The Judgment of Paris),
Lalla Rookh (1846, also known as The Rose ofLahore), Lamarche
des innocents (1859, also known as A Persian Market, Parizhskii
rynok), Les quatre saisons (1848), Rosida (1845, also known as Les
mines de Syracuse), Stella (1850, also known as The Smugglers,
Les contrebandiers), and Thea (1847, also known as The Flower
Fairy, La fee auxjleurs).
Pugni also wrote ten operas, forty masses, and assorted chamber
music.
Composers 71
RANGSTROM, ANDERS JOHAN TURE
RANGSTROM, Anders Johan Ture, Swedish composer, was

born in Stockholm on November 30, 1884 and died there on May
11, 1947. Rangstrom studied with Hans Pfitzner and was conductor
of the Goteborg Orchestral Society from 1922-1925. He also served
as stage director for the Stockholm Opera, taught singing, and wrote
music criticism. He wrote several operas, four symphonies, sym-
phonic poems, and various other works. His best known ballet is the
posthumous Froken Julie (1950, also known as Miss Julie, Fraulein
Julie, Panna Julia).
Miss Julie is based on August Strindberg's play. The story tells of
a young woman of a good family who falls in love with a servant.
He is an adventurer who desires the material advantages of such a
union, and Miss Julie is persuaded to steal from her father. She
finally commits suicide.
RIETI, VITTORIO
RIETI, Vittorio, Italian composer, was born in Alexandria, Egypt

on January 28, 1898 and died in New York on February 19, 1994.
Rieti had little formal music education outside piano lessons. He
went to Milan to study economics with the idea of eventually taking
over the family business. After school, he spent several years in his
father's Alexandria office, but was only interested in composing. In
1917 his father sold the business in Alexandria and returned to Italy.
Though largely self-taught, Rieti studied briefly with Ottorino Re-
spighi and Giuseppe Frugatta. In 1924 Rieti's concerto for five
wind instruments came to the notice of Francis Poulenc and Darius
Mihaud, who recommended the young composer to Serge Diaghi-
lev. Diaghilev requested a meeting with Rieti in Venice. Rieti had
already written several ballets: L 'Area di Noe (1922) and Robinson
et Vendredi (1924, after Defoe; also known as Robinson and
Friday). As a result of the meeting with Diaghilev, Rieti rewrote a
short cantata entitled Barabau into a 1925 choreographic work. The
chorus is retained as a commentary on the ballet. The story is based
on an old Italian folk song: "Barabau, Barabau why did you
die?Nou'd wine in your cellar, your bread was not dry, /And salad
you grew in your garden nearby, /Barabau, Barabau, why did you
die?"l26 The balletic fable concerns a vineyard owner who is beat-
en by soldiers, feigns death, then returns to life to dance with his
neighbors. George Balanchine, who choreographed the ballet, later
remembered that it was the first ballet in his experience that the
audience laughed all the way through. The response in Italy,
though, was much cooler: Fascism was already tending toward
"disappearing" people, and it was easy to read an anti-fascist mes-
sage in the reworking of the old folktale.
The success of Barabau led to a commission from the Ballets
Russe which resulted in another Balanchine ballet, Le Bal (1929,
also known as The Ball). The ballet opens in the foyer of a ball-
room. A young man dressed as an officer notices a young woman
who enters with an astrologer. A group of women dressed as sylphs
also enter. The young man searches for the woman among the
guests in the ballroom proper, and when he discovers her flirting
with another he almost causes a fight. The sylphs return dressed as
the principals, and the astrologer, young man, and young woman
merrily try to unmask their doubles. Finally the astrologer removes
his mask: he is in fact a handsome young man. He and the lady
leave together, leaving the man dressed as an officer in confusion
and alone.
Rieti continued to work with Balanchine, including orchestrating
Frederic Chopin for Les Sylphides and some of the piano pieces of
Emmanuel Chabrier. Other ballets from this period are David
Triomphant ( 1936, which also used the music of Claude Debussy
and Modeste Mussorgsky) and Hippolyte (1937).
Rieti came to the United States in 1940 and became a U.S. citizen
in 1944. He composed another Balanchine ballet, Waltz Academy
(1944), which was soon followed by a work based on Vmcenzo
Bellini: Night Shadow ( 1946, also known as La sonnambula, La
somnambule ). La sonnambula tells a gothic tale of a poet at a
masked ball who enrages the host both because he flirts with his
mistress and his sleepwalking wife. A Balanchine ballet-cantata
entitled Trionfo di Bacco e Arianna (1948, also known as The
Triumph ofBacchus and Ariadne) was first performed in New York.
This ballet is based on a poem by Lorenzo de Medici and includes a
Composers 73
pastoral procession of nymphs, satyrs, and youths. Rieti 's last Ba-
lanchine ballet was Native Dancers (1959), which used the music of
Rieti's 5th symphony. Native Dancers featured a group of girls in
ponytails and harnesses paced by boys in jockey silks.
Other ballets include A Sylvan Dream, Elegia (in memory of
Balanchine), Verdiana (1983, based on Verdi's music), The Mute
Wife (1944), Scenes Seen (197 5), Conundrum ( 1961 ), Indiana
(1984), and Kaleidoscope (1987).
Rieti's music is unfailingly upbeat. The New Yorker once wrote
that his music "simply chooses to rejoice in the paradise that life is,
instead ofbrooding on the hell."I27
RIISAGER, KNUDAGE
RIISAGER, Knudage, Danish composer, was born March 6,
1897 in Port Kunda, Estonia, and died in Copenhagen on December
26, 1974. During 1916-1921 Riisager studied political science in
Copenhagen while simultaneously studying music with Peder
Gram, Peder Moller, and Otto Moller. He then moved to Paris and
studied with Albert Roussel, and finally studied counterpoint with
Hermann Grabner in Leipzig. A civil servant in Denmark from
1925-1950, he also served as chairman of the Danish Composers'
Union (1937-1962) and Director of the Royal Danish Conservatory
(1956-1967). A prolific composer, Riisager wrote five symphonies,
concertos, chamber music, vocal music, and an opera buffa, Su-
sanne ( 1948). His autobiography was entitled It is Amusing to be
Small (1967).
Riisag~r's best known ballet is Etudes (1948, also known as
Etude). Etudes is a ballet about ballet and serves as a tribute to the
years of hard work a dancer must endure to become ready for public
performance. Riisager based the music on Carl Czemy's great peda-
gogical piano works: countless etudes performed endlessly. The
ballet begins with the simplest moves and culminates with astonish-
ing leaps and turns.
Another Riisager ballet score was Lady From the Sea (1960).
This ballet is based on Ibsen's play of the same name and concerns
a woman (Ellida) tom between the security of a loveless marriage
and the exciting love of a sailor.
Mdnerenen (1957, also known as Maanerenen, Mdnrenen, Moon

Reindeer, Das Mond-Rentier) concerns a Lapp woman who is
turned into a white reindeer by a magician. She lures young men to
their deaths, but one young man fights the magician, breaks the
spell, and returns the young Lapp woman to herself.
Qarrtsiluni (1942) tells of a group of Eskimos awaiting the return
of the sun after six months of total darkness. (Qarrtsiluni refers to
the calm before a great event.) The sorcerer Angekokken incites the
Eskimo tribe to ever more frenzied dancing as the time for the sun's
arrival nears; the dancing reaches its climax as the sun finally ap-
pears.
Other ballets include Benzin (1927), Cock-tails-Party (1929),
Slaraffenland (1940, also known as Fool's Paradise), Tolv med
posten (1942, also known as Twelve by the Mail, Twelve for the
Mail-Coach), Fug/ fonix (1946, also known as Phoenix), Stjemer
(1958), Les Victoires de /'Amour (1962), Fruenfra ha vet (1960, also
known as Lady from the Sea), Galla-Variationer (1967), Ballet Royal
(1967), and Svinedrengen (1969, also known as The Swineherd).
ROUSSEL, ALBERT CHARLES PAUL MARIE

ROUSSEL, Albert Charles Paul Marie, French composer, was
born in Tourcoing on April 5, 1869 and died in Royan on August
23, 1937. Roussel was orph~ed at 7 and educated at the College
Stanislas in Paris and at the Ecole Navale. He joined the French
navy in 1889 and pursued an active naval career. His naval career
included a stay in French Indo-China (1889-1890), and the Far East
would have a profound influence on his life. Though he composed
and studied while in the navy, he fmally decided to quit the navy in
1894 and devote himself to music. He studied under Eugene Gigout
and Vincent d'Indy and won the prize of the Societe des Composi-
teurs in 1898. He served as counterpoint professor at the Schola
Cantorum from 1902-1914. The eastern influence was strengthened
by a 1909 trip to Cochin China and India. During World War I
Roussel served in the Red Cross and in the motor transport service
and saw action at the Marne and Verdun. He retired to the country in
1918 and devoted himself to composition. Roussel's reputation in-
creased mightily after the war; he was said to hold up "the ideal of
Composers 75
modernism without the rigid restrictions of a system." 128 Roussel

wrote four symphonies, several operas, assorted orchestral and
chamber works, piano pieces, and vocal works. His ballets include
La Marchand de Sable qui Passe (1908), Le Festin de l'Araignee
( 1912, also known as The Spiders Banquet), Padmavati ( 1923 ), La
Naissance de Ia Lyre (1925, a "conte lyrique" that included dances
arranged by Bronislava Nijinska), Bacchus et Ariane (1931), and
Aeneas (1935). Padmavati (an opera-ballet based on a 13th century
Indian legend concerning the ruins of Chitor) was one result of his
trip to India and is considered one of the greatest stage works to
come out of France in the 20th century.
Serge Lifar's Bacchus et Ariane retells the story of Theseus'
return from the labyrinth; the finale presents a bacchanale. Le Festin
de l 'Araignee shows a spider catching ants, two praying mantis, and
a mayfly. One of the praying mantis breaks free of the spider's web
and kills the spider.
SATIE, ERIK ALFRED LESLIE

SATIE, Erik Alfred Leslie, French composer, was born May 17,
1866 in Harfleur, France and died in Paris on July 1, 1925. His
mother was a Londoner of Scottish Protestant descent and his father
was from a Catholic family of maritime agents. His father's mar-
riage to a Protestant (and their children's baptism in a protestant
church) naturally displeased the family and caused his father to
leave Harfleur and seek his fortune as a piano teacher in Paris.
When Satie's mother died in 1872, Satie went to live with his
paternal grandparents, who promptly re-baptized him in the catholic
church. Considered a lazy child, Satie did not even distinguish
himself in music.I29 Satie only really got along with his uncle, a
womanizing, black sheep dreamer. Satie's grandmother was found
drowned in mysterious circumstances in 1878; shortly afterwards
Satie went to live with his father in Paris. Here Satie lived a semi-
mystical existence, spending hours listening to the chants and
prayers in Notre Dame and failing both in the conservatory and the
army.
When he returned to Paris he took up the life of the cabarets, and
especially frequented Le Chat Noir and l 'Auberge du Clou. At the
latter he was employed as a pianist and became friends with Claude

Debussy. At this time he began to neglect his appearance: he let his
hair grow out, refused to cut his beard, and wouldn't replace shirt
buttons that fell off. He also changed his name from the original
Eric to Erik and served for a short time in the Rosicrucian Order. In
1892 he even formed his own church. His only known love affair
occurred in 1893 but lasted only a few months. Anxious to make his
name known, in 1892 he decided to nominate himself for member-
ship in the Academie des Beaux Arts, but was rejected. Two more
attempts (in 1894 and 1896) also ended in failure.130 By the end of
the 1890s Satie had changed his mode of life again, and now fa-
vored fme shirts, a bowler hat, and an umbrella he carried for the
rest of his life.
The eccentric Satie was almost unknown until1910. He became
influential in l'Ecole d' Acceuil and especially among Les Six. Mau-
rice Ravel and Roland Manuel both took up his early work in their
concerts (Satie resolutely refused to attend these concerts), and so
Satie became better known and enjoyed several very productive
years. Many of the titles of the short pieces he produced were
calculated to deflate the pretensions of Western classical music; one
famous set of preludes he entitled Trois Veritables Preludes Flas-
ques Pour un Chien (Three Real Flaccid Preludes for a Dog). Satie
also often used nursery tunes and other popular bits of music. After
Parade Satie was taken up by the "New Young People"; but when
Debussy expressed doubt about the supposed success of Parade
Satie ~ent him an angry letter that severed relations between them
(Debusy would die several months later). In 1920 Socrate, a sym-
phony based on the life of Socrates, was "greeted with laughter
from the public." 131 Satie's austere and anti-expressive style was
simply incomprehensible to most people.
Each member of Les Six wrote at least one ballet score; Satie
wrote four scores specifically for the ballet. The first and best
known was Parade (1917). Satie collaborated on this Serge Diaghi-
lev/Leonide Massine ballet with Jean Cocteau and Pablo Picasso.
Satie's score was punctuated by the noise of a typewriter and the
wailing of sirens, and all the simple cubist costumes (except for the
Chinaman and the Blue Acrobat) were built around the dancers
rather than worn by them. The story concerns a parade featuring a
Composers 77
French and an American manager who try to lure people into the
real show with music-hall numbers: a Chinese Magician, the Acro-
bats, and the Little American Girl. 132 The poet Apollinaire wrote a
defense of the program, stating that it represented a union ofpaint-
ing and dance and manifested a new spirit "where reason demands
that the arts march together with scientific and industrial prog-
ress." 133 Parade was said to have created the greatest scandal since
Le Sacre du Printemps. Parade was part of a French movement that
embraced simplicity and consciously distanced itself from the com-
plexities of Wagner.
Although Mercure ( 1924) was officially choreographed by Mas-
sine, it is often considered more a ballet by Pablo Picasso, who
designed the cubist decor. The ballet is designed to highlight the
various aspects of Mercury's mythological personality. Among
these aspects are god of fertility, messenger of the gods, a sly thief,
a magician, and attendant of the Underworld.
Other ballet scores include Jean Borlin's Relache (1924) and
George Balanchine's Jack-in-the-Box (1926). Relache created the
sort of stir that much of Satie 's work did; some proclaimed it genius
but others called it drivel. Roland Manuel wrote of Reliiche that "a
work of this kind reaches the very depths of aesthetic nothing-
ness." 134 Reliiche is another dart aimed at bourgeois expectations.
People appear: a woman, a fireman, eight more men, but there is no
action in the traditional sense. Francis Picabia, who wrote the book,
said that the ballet was "life, life as I like it; life without a morrow,
the life of to-day, everything for to-day, nothing for yesterday, noth-
ing for to-morrow. Motor headlights, pearl necklaces, the rounded
and slender forms of women, publicity, music, motorcars, men in
evening dress, movement, noise, play, clear and transparent water,
the pleasure of laughter, that is Reliiche ... "135
Balanchine's Jack in the Box is a suite of three dances that feature
a male dancer (the jumping jack) who is toyed with by three female
dancers as if he were a rubber ball. Moveable cardboard clouds
form the background ofthe set.
Satie was long a favorite of several of the major composition
teachers in the dance world (Louis Horst and John Cage), and so it
has been estimated that his Gymnopedies (1888) are the most fre-
quently choreographed works in the repertory.136 Many choreogra-
phers have used Satie's music. Among these are Frederick Ashton
(Monotones, 1952), Martha Graham, Yvonne Rainer, and Merce
Cunningham (Monkey Dances, 1948; Two Steps, 1949; Rag Tzme
Parade, 1950; Second Hand, 1970). Ashton's Monotones I and //
are perhaps the most famous settings of this music. These ballets are
"pure dance" and tell no story.
SAUGUET, HENRI
SAUGUET, Henri, French composer, was born Jean-Pierre Pou-
pard on May 18, 1901 in Bordeaux and died in Paris on June 22,
1989. He was a student of Charles Koechlin and a protege of Erik
Satie. He was a founder of the Ecole d' Arcueil, an association of
composers who looked to Satie as their guide. He began his career
in Bordeaux as an organist. 137 Like Satie, he composed in a util-
itarian style that consciously deflated the sometimes bombastic
rhetoric of the 19th century.
In 1927 Sauguet composed the music for Balanchine's La Chatte
(The Cat). The constructivist decor used in this ballet was to be
copied often in the coming decade, and though the story concerned
the balletic staple of metamorphosis (from cat to woman), Arnold
Haskell thought the treatment entirely fresh. Serge Diaghilev was
able to give full reign to his genius for stage lighting. 138 The story is
based on one of JEsop's fables. A young man asks Aphrodite to
change a cat into a beautiful woman, which she does. To test her
fidelity, however, while the man and his cat/woman mate make
love, Aphrodite causes a mouse to run across the floor of the bed-
room. The cat/woman cannot resist the mouse and leaves her lover
to pursue the mouse. Aphrodite changes the woman back to a cat.
Her lover collapses and dies.
The 1933 George Balanchine ballet Fastes is set in a market in
sunny Italy. The dancers wear grotesque masks and participate in a
pagan ritual. Roland Petit's Les Forains (1945, also known as The
Strolling Players, The Traveling Players, Die Jahrmarktsgaukler)
tells of a troupe of strolling players who perform on the town
square. The traveling troupe leaves greatly disappointed with the
meanness ofthe audience.
Serge Lifar's Les Mirages (1947) has been called an essay in
Composers 79
romanticism.l 39 A young man pursues three mirages: dreams,

riches, and love. In the end, however, he is left alone with his
shadow.
La rencontre (1948, also known as Edipe et Ia Sphinx) retells the
story of Oedipus and the Sphinx. Instead of a classical Greek set-
ting, the ballet was set in an outdoor circus. The sphinx inhabits a
red plush trapeze; the contest of wits between sphinx and Oedipus
was su8gested by "sober, elliptical choreography based on acrobat-
ics." 14 The defeated sphinx (Leslie Caron in the original produc-
tion) ends up hanging head downward from the trapeze.
For Leonide Massine, Sauget wrote Les roses (1924), David
(1928), and Les Saisons ( 1951 ); among his other scores are Le
Dernier Jugement ( 1951 ), Le Cameleopard (1956), Cordelia ( 1952),
Die Kameliendame (1957), La Nuit (1930), Paul et Virginie (1943,
also known as Image a Paul et Virginie), and La guirlande de
Campra ( 1966, with the music of seven other composers).
SCHMITT, FLORENT
SCHMITT, Florent, French composer, was born in Blamont,

France on September 28, 1870 and died in Neuilly-sur-Seine,
France on August 17, 1958. Beginning in 1889 Schmitt studied
under Jules Massenet and Gabriel Faure at the Paris Conservatory.
By 1900 he had won the Grand Prix de Rome. Schmitt wrote widely
on music, especially in Le Temps, and served as director of the Lyon
Conservatory from 1922 to 1924. Schmitt was a prolific composer
(his opus numbers run to over one hundred) and he composed in
nearly all musical forms except opera.
Some of his best known works are ballets. La Tragedie de Salome
( 1907, also known as The Tragedy of Salome, Salome; this work is
sometimes described as a "mimodrama") gives full vent to
Schmitt's "barbaric splendor" in orchestral coloring, 141 despite the
fact that the original version was scored for small orchestra. The
ballet follows Oscar Wilde's story and Richard Strauss' opera fairly
closely. The only significant variation occurs when Salome hurls
the Baptist's head into the sea. To her astonishment the head is soon
seen in the heavens. Some of Schmitt's rhythmic features, especial-
ly in the Danse de l'effroi, anticipate Igor Stravinsky's rhythms in

Sacre du printemps.
Oriane et le prince d'amour (1938, also known as Oriane Ia
sans-eagle) was written for Ida Rubenstein in 1934, but was not
used until Serge Lifar's 1938 production. The story takes place in
14th century Avignon. Oriane holds a court of love. Like Thamar
she is bored with life, and so is tempted by gold to evil acts. Her
reputation drives away the Prince of Love. Now desperate for love,
Oriane holds afete defous. An unknown fiddler fascinates her, but
when unmasked he is revealed as death itself.
Schmitt's other ballet scores include Le Petit Elfe Ferme-/'(Ei/
(1924) and Un soir (1937).
SCHNEITZHOEFFER, JEAN-MADELEINE
SCHNEITZHOEFFER, Jean-Madeleine, French composer, was
born c. 1785 and died in 1852 in Paris. Schneitzhoeffer was tympan-
ist and chorus master at the Paris Opera during the beginning of the
19th century. Part ofhis duties included the composition ofballets on
demand; he wrote four complete ballets and parts of many more.
Among his ballet works are Fram;:ois Albert's Le Seducteur du Vil-
lage (1818), Jean Coralli's La Tempete (1834), and Andre Deshayes'
Zemir et Azor (1834). The work for which he is best remembered is
La sylphide (1832), one of the greatest 19th century ballets. Most
choreographers, however, have preferred Herman Lovenskold's
1836 music for August Bournonville's La sylphide.
The plot of La sylphide set the standard for Romantic ballet and
was the basis of many ballet plots: a supernatural woman visits the
earth, falls in love with a mortal, causes problems between the
mortal's earthly and supernatural duties and desires. This ballet also
witnessed a revolution in costumes. The high-waisted tunics for-
merly worn gave way to tight-fitting bodice, bare arms and shoul-
ders, and a bell-shaped skirt reaching between knee and ankle.l42
SHCHEDRIN, RODION
SHCHEDRIN, Rodion, Russian composer, was born in Moscow
on December 16, 1932. He studied with his father (a composer and
Composers 81
professor of music theory) and at the Moscow Choral School; later

he attended the Moscow Conservatory (he studied composition with
Yuri Shaporin) and graduated in 1955. Shchedrin has composed for
nearly every combination of instruments and in every form. His
works include two operas, two symphonies, four concertos for or-
chestra, four piano concertos, five ballets, orchestral works and tran-
scrip,tions, film music, and various choral, chamber, and song mu-
sic. 43 Shchedrin has worked with or had contact with most of the
great musicians and artists of the mid-twentieth century; these in-
clude Picasso, Chagall, Bernstein, Orff, Berio and many more.
Shchedrin took over directorship of the Union of Russian Com-
posers from Dmitri Shostakovich, but resigned in 1988 and said he
felt that two organizations were no longer necessary. (The Russian
organization had been founded as an alternative to the official
Union of Soviet Composers.) Shchedrin found a unique niche dur-
ing the heyday of the Soviet Union. He refused to join the Commu-
nist Party, but his music often had the sanction of the state. Shche-
drin has been called "a political ballet-dancer of no mean
talent."144 He even composed a work entitled Lenin in the Heart of
the People; yet he also composed works like his Third Piano Con-
certo that explored dissonant trends occurring in the West and that
were therefore frowned on by the state. Though Shchedrin has
explored modernist trends, he stated in an interview that "I think we
must return to natural means of expression. I am not a conservative,
but I think atonality and excessive experimentation was an illness
we had. It was a disease that one must r,et as a child in order to
become immune. Now, we are immune." 45
Shchedrin began composing large works while still a young man.
Often these centered on Russian folktales or the classics of Russian
literature. (One of his operas is based on Gogol's Dead Souls.) His
ballets also show this affinity with Russian literature. Among his
ballets are Konek-gorbunok (1955, also known as The Little Hump-
backed Horse; this work should not be confused with Cesare Pug-
ni's 1864 ballet score ofthe same name), Carmen Suite (1967, after
Georges Bizet), Anna Karenina (1972, based on Leo Tolstoy), and
The Seagull and The Lady with the Lapdog (based on Anton Chek-
hov). Many of his ballets featured his ballerina-wife, Maya Plisets-
kaya.
STOLZE, KURT-HEINZ
STOLZE, Kurt-Heinz, German composer, was born in 1930 and
died in Munich on August 12, 1970. Stolze was best known as a
conductor and performer. In 1957 he accompanied Fritz Wunderlich
in Schubert's Die schone Mii1/erin (a performance preserved on
disc), and also recorded various harpsichord works. At the time of
his death at age 40, Stolze was the ballet conductor of the Wiirttem-
bergischen Staatstheater Stuttgart.
Stolze composed the score (after Domenico Scarlatti) for Cran-
ko's The Taming ofthe Shrew. This "gorgeously funny" ballet was
first performed by the Stuttgart Ballet in 1969 and is of course
based on Shakespeare.146
SUBOTNICK, MORTON
SUB01NICK, Morton, American composer, was born in Los
Angeles on April 14, 1933. Subotnick studied under Darius Mil-
baud and Leon Kirchner at the University of Denver and Mills
College. A professional clarinetist early in his career, he played for
both the Denver and San Francisco symphonies. He also served as
musical director of the Repertory Theatre of Lincoln Center in New
York. Subotnick is best known for his electronic music, and he was
appointed associate dean and director of electronic music at the
California Institute of the Arts. He vaulted into fame with Silver
Apples of the Moon in 1967, a work written on commission from
None such Records. Because of its clear, danceable pulse it has been
used by several dance companies. Other made-for-LP electronic
works followed: The Wild Bull (1968), Touch (1969), Sidewinder
(1971), and Four Butteiflies (1973).
Subotnick's best known ballet is Embrace Tiger and Return to
Mountain (1968). Other ballet (or dance) scores include The Five-
Legged Stool (1963), Arena (1969), On the Brink of Time (1969),
and Parades and Changes (1967).
TAILLEFERRE (TAILLEFESSE), GERMAINE

TAILLEFERRE (TAILLEFESSE), Germaine, French composer,
was born in Parc-Saint-Maur near Paris on Aprill9, 1892 and died
Composers 83
in Paris on November 7, 1983. She studied at the Paris Conservato-

ry, took lessons from Maurice Ravel, and became one of the group
of young composers (and the only female member) known as Les
Six. Although not highly productive, she wrote a variety of serious
works. These include a piano concerto, two violin sonatas, and
several operas and operettas. Perhaps her best known ballet is her
collaborative work on Les Maries de La Tour Eiffel (1921, also
known as The Wedding Breakfast at the Eiffel Tower). Georges
Auric, Arthur Honegger, Darius Milhaud, and Francis Poulenc also
collaborated on this famous ballet.
Another collaborative ballet using the music of Tailleferre was
La Guirlande de Campra (1966), which also incorporated the music
of Auric, Honegger, and Poulenc, plus that of Henri Sauguet, Dan-
iel Lesur, and Roland Manuel. The music of Andre Campra
( 1660-1744) was the foundation of the work.
Earlier music of Tailleferre provided the score for the 1953 ballet
Parisiana. A 1923 ballet, Le Marchand d'oiseaux is nearly forgot-
ten. Another Tailleferre ballet score is Paris-Magie (1949). Taillef-
erre was one of the few noteworthy female ballet composers prior to
World War II.
TCHEREPNIN, NIKOLAI
TCHEREPNIN, Nikolai, Russian composer, was born May 14,
1873 in St. Petersburg and died June 26, 1945 in Issy-les-Mouli-
neaux, France. Tcherepnin studied under Nikolai Rimsky-Korsakov
and served as staff conductor at the Mariinski Theater. He joined
Serge Diaghilev's Ballets Russe in Paris in 1909 and remained until
1914. Tcherepnin's crusader ballet Le Pavilion d'Armide (1907)
originated during a concert attended by Michel Fokine. Fokine
heard a suite by Tcherepnin at the concert, and immediately con-
ceived an idea for a ballet. The result was a small ballet for school
performance entitled The Animated Tapestry. Later a full-length
ballet was commissioned. When Fokine and Diaghilev began their
collaboration, Le Pavilion d 'Arm ide was one of their first ballets. 147
Le Pavilion d'Armide is set in the time ofLouis XIV and is based
on a story by Theophile Gautier. The story begins with a storm that
forces the Vicompte de Beaugency to seek shelter with the Marquis
de Fierbois, who also happens to be a magician. The Marquis shows

the Vicompte to the pavilion of Armide, where the memory of the
Marquise Madeleine is commemorated in a fabulous tapestry. The
tapestry represents the Marquise as Armide surrounded by her
court. The Vicompte is frightened by the glow of the tapestry and
the smiling face of Armide. He manages to get to bed and soon falls
asleep. Moonlight fills the pavilion and shines brightly on the tapes-
try and on a clock, which contains representations of Time and
Love. Love drives away Time; then a dozen boys perform the
Dance of the Hours. The Vicompte wakes at hearing strange music,
but can fmd nothing unusual in the tapestry. The Vicompte seems to
fall asleep again, and soon the tapestry comes to life. Armide enters
a garden, and the Vicompte is magically transformed into her lover
Rene. The Vicompte (Rene) is swayed by Armide's charms and
begins to express his passion, frrst in a dance, then a bacchanal.
Armide makes Rene wear her scarf just before day dawns and all
the visions vanish. The Marquis appears in the pavilion as the
Vicompte is preparing to leave. The Marquis points out Armide's
scarf resting on the clock. When the Vicompte realizes that the
tapestry Armide no longer wears a scarf (and thus realizes that the
visions possessed some reality), he falls to the ground unconscious.
Tcherepnin's music, along with the music of Anton Arensky, was
used in the 1909 C/eopatre. Fokine staged his Narcisse in 1912.
Anna Pavlova danced his The Romance of a Mummy (1924) for
seven years and Fokine staged The Goldfish (1937) for Patricia
Bowman at New York's Lewissohn Stadium.
TOYE, GEOFFREY
TOYE, Geoffrey, was born in London on February 17, 1899 and

died there on June 11, 1942. Toye attended the Royal College of
Music. Mainly known as a conductor, he conducted in the theater, the
Beecham Opera Company, the concerts of the Royal Philharmonic
Society (1918-1919) the D'Oyly Carte Opera Company, and Lloyd's
Choir (which he also founded). He composed many songs, a sym-
phony, and two ballets.
Toye's best known ballet score was for Ninette de Valois' The
Haunted Ballroom (1934), which concerns the Masters ofTregen-
Composers 85
nis. This doomed race is condemned to dance to death beneath the

unsmiling portraits of their ancestors.
WARLOCK, PETER (PHILIP HESELTINE)
WARLOCK, Peter (Philip Heseltine), English composer, was

born in London on October 30, 1894 and died there on December
17, 1930. A 1910 encounter with Frederick Delius determined War-
lock to pursue composition. He consciously emulated the Elizabe-
than musical style. A conscientious objector during World War I, he
founded a musical journal after the war (Sackbut). Suffering a se-
vere bout of depression, he committed suicide in 1930.
He wrote a variety of works, primarily choral works and songs.
One of his few orchestral works was the Caprio/ Suite for strings
(1926), which was mostly based on themes from Thomot Arbeau's
landmark 1588 volume Orchesographie. Arbeau's work, the first
treatise on ballet dancing, included the French folk melody which
was later used in the 20th century carol "Ding Dong! Merrily on
High." Warlock had an abiding interest all his life in carols.
In 1930 Warlock's Caprio/ Suite was converted into a successful
ballet of the same name. That work and his usage of material from
Orchesographie were his only substantial connections with ballet.
Glossary of Choreographers
ASHTON, FREDERICK
Ashton, Frederick, (1904- ), English choreographer, is consid-

ered by many to be the greatest 20th century English ballet choreog-
rapher. He studied with Leonide Massine and Marie Rambert; his
first choreographic effort was The Tragedy ofFashion, or The Scar-
let Scissors (1926). Associated both with the Ballet Club and the
Camargo Society, Ashton choreographed over 60 works, including
several operas. Among his ballets are Far;ade ( 1931 ), Les Rende-
vous (1933), Les Patineurs (1937), The Judgment of Paris (1938),
Symphonic Variations (1946), La Fille Mal Gardee (1960), Les
Deux Pigeons (1961), Ondine (1958), Monotones I & II (1965 &
1968), and Jazz Calendar (1968). Ashton also worked for the Vic-
Wells and Sadlers' Wells Ballets, and was director of the Royal
Ballet from 1963-1970.
BALANCHIVADZE, GEORGI (GEORGE BALANCHINE)
Balanchivadze, Georgi (George Ba1anchine), (1904-1983), Rus-

sian choreographer, is considered the major figure in 20th century
ballet. Balanchine was trained at the Imperial Ballet/State Academy
of Dance and graduated from this institution in 1922. His first
choreography dates from 1924 when he toured with a group called
the Soviet State Dancers. From 1925 to 1929 he worked with Serge
[Haworth co-indexing entry note]: "Glossary of Choreographers." Schueneman, Bruce R. Co-pub-

lished simultaneously in Music Reference Services Quarterly (The Haworth Press, Inc.) Vol. 5, No. 3/4,
1997, pp. 87-97; and: Minor Ballet Composers: Biographical Sketches of Sixty-Six Underappreciated
Yet Significant Contributors to the Body of Western Ballet Music (Bruce R. Schueneman with William
E. Studwell) The Haworth Press, Inc., 1997, pp. 87-97. Single or multiple copies of this article are
available fur a fee from The Haworth Document Delivery Service [1-800-342-9678, 9:00a.m. -5:00p.m.
(EST). E-mail address: getinfo@haworth.com].

Diaghilev and the Ballets Russe. After Diaghilev's death in 1929,

he worked for the Paris Opera, the Royal Danish Ballet, and the
Ballet Russe de Monte Carlo. In 1934 Balanchine went to New
York to direct the School of American Ballet. During World War II
he choreographed benefit performances and even designed works
for the Ringling Brothers and Barnum & Bailey Circus. In 1946 he
became associated with the Ballet Society in New York, which soon
evolved into the New York City Ballet, the company that Balan-
chine was associated with the rest of his career. Balanchine's influ-
ence on ballet is enormous and unique in the annals of ballet. His
ballets include Jack-in-the-Box (1926), La Chatte (1927), Serenade
(1934), La Somnambula (1946), Western Symphony (1954), Harle-
quinade (1965), and Who Cares? (1970).
BOURNONVILLE, AUGUST
Bournonville, August, (1805-1879), Danish choreographer, was

one of the most important ballet masters of the 19th century. He
studied under his father Antoine and Vmcenzo Galleotti at the Roy-
al Danish Ballet as well as at the Paris Opera. Most of his career was
spent in Copenhagen. Bournonville choreographed over sixty
works, and because he had the resources of the ballet and theatre
schools at his disposal he was able to produce works that featured
ensemble and not just one or two stars. His works include Silfiden
(1836, also known as La Sylphide), Napoli (1842), Konservatoriet
( 1849), Kermesse in Bruges ( 1851 ), and Fjernt fra Denmark eller et
Costumebal Ombord (1860, also known as Far From Denmark, or
A Masked Ball on Board).
DE MILLE, AGNES GEORGE
De Mille, Agnes George, (1909-1993), American choreogra-

pher, was born in New York and was a niece of famed movie
mogul Cecil B. de Mille. Her association with Ballet Rambert
enabled her dancing career to take off in London. She created
several roles in Anthony Tudor ballets, including Gallant Assem-
bly, Dark Elegies, and The Judgment of Paris. She soon began
choreographing her own ballets; her first ballet was Black Ritual
(1940). De Mille aimed to combine classical ballet with the unique
dance idiom of America. She used many of the innovations and
techniques pioneered by Martha Graham, and she often used
American themes in her work. Her ballets include Rodeo, Fall
River Legend, Three Virgins and a Devil, and TallyHo. She also
choreographed several successful Broadway musicals; these in-
clude Oklahoma!, Carousel, and Brigadoon. Her 1952 autobiogra-
phy is entitled Dance to The Piper.
FOKINE, MIKHAIL MIKHAILOVICH (MICHEL)
Fokine, Mikhail Mikhailovich (Michel), (1880-1942), Russian

choreographer, graduated from the Imperial Ballet Theater in 1898
and became first soloist at the Mariinsky Theater in 1904. His first
choreographed ballet was Acis and Galatea (1905); this was fol-
lowed by The Dying Swan in 1907. His ideas on a more integrated
balletic art were outlined in 1904, and he choreographed his first
major ballet (Le Pavilion d'Armide) in 1907. One of the great
reformers in the history of ballet choreography (part of this reform
tended toward a greater seriousness), he has been likened to Jean
Noverre.l48 When the great impresario Serge Diaghilev formed his
famous troupe in 1909, Fokine was appointed chief choreographer.
Fokine continued to work in Russia until the Russian Revolution;
he eventually left Diaghilev and became a freelance choreographer.
From 1918 to 1923 he worked mainly in Scandanavia; after 1923 he
settled in New York. Altogether he choreographed 60 ballets. His
ballets include Les Sylphides, Cleopatre, Le Carnival, Thamar, Le
Dieu bleu, and Daphnis and Chloe.
GRAHAM, MARTHA
Graham, Martha, (1894-1991), American choreographer, studied

theater and dance at the University ofCumnoch (1913-1920). From
1916-1923 she was a member of the Denishawn School in Los

Angeles. At the Denishawn School she met Louis Horst (who
would write the music for many of her ballets). Her New York
debut took place in 1926 (Horst was her accompanist), and in 1927
she opened the Martha Graham School of Contemporary Dance.
Though invited to the 1936 Berlin Olympic Games, she refused to
attend; she did, however, accept an invitation from the White House
in 1937. In the 1940s her company toured the U.S. and Cuba. In
1954 her company performed in Paris and was booed (apparently
the Parisians were unused to non-classical dance), but the climate
had so changed by 1984 that she was awarded the Legion d'Honeur
in that year. In 1959 she collaborated with George Balanchine on
Episodes. Graham stopped dancing around 1970, but she remained
involved with her dance company. Her ballets include Three Gnos-
siennes (1926), Three Poems of the East (1926), Primitive Myster-
ies (1932), Frontier (1934), Imperial Gesture (1935), Every Soul is
a Circus (1939), Death and Entrances (1943), Appalachian Spring
(1944), Diversion ofAngels (1948), The Scarlet Letter (1975), and
The Rite ofSpring (1984).
WANOV, LEV
Ivanov, Lev, (1834-1901), Russian choreographer, worked with

Marius Petipa in creating the great Russian school of ballet. Trained
in Moscow and St. Petersburg, Ivanov joined the Mariinsky Theatre
in the 1850s. From 1885 he was imperial ballet master with Petipa.
Ivanov's work is considered more modem than Petipa's (though he
was always in Petipa's shadow). The second act of Swan Lake is
still performed as Ivanov conceived it. Among his works are La
Fille Mal Gardee (1885), La Foret Enchante (1887), The Nutcrack-
er (1892), The Magic Flute (1893), Swan Lake (1894 & 1895;
Ivanov choreographed Acts II and N, Petipa choreographed Acts I
and III), and Sylvia (1901).
LIFAR, SERGE
Lifar, Serge, (1905-1986), Russian choreographer, studied with Bro-

nislava Nijinska in Kiev, and joined the Ballets Russe in 1923. By
1925 Lifar was appointed premier danseur and created many of the
most famous roles of the era. He was considered the greatest dancer
of his generation. His career as a choreographer greatly expanded
when he became ballet director and premier danseur etoile at the
Paris Opera in 1929. He founded two institutions dedicated to
dance: the Institut Choregraphique in 1947 and the Universite de la
Danse in 1959. The "chief architect of modem French ballet," he
wrote more than 25 books about ballet and ballet history.l49 His Ma
Vie appeared in 1965. His ballets include Creatures of Prometheus
(1929), Bacchus and Ariadne (1931), Icare (1935), Le roi nu
(1936), Joan de Zarissa (1942), Les Mirages (1944), and many
more.
MASSINE, LEONID
Massine, Leonid, (1895-1979), Russian choreographer, was

trained in Moscow. He worked with Serge Diaghilev from
1914-1921 and 1925-1928. His early choreographic efforts were
highlighted by Parade (1917), which featured the work of Pablo
Picasso and Erik Satie. His Le pas d'acier (1927) and Ode, or
Meditations at Night on the Majesty of God, as Revealed by Aurora
Borealis ( 1928) are considered masterpieces of constructivist ballet.
He worked in London and New York, but continued to work mainly
in Europe. He appeared several times on film, including the classic
The Red Shoes. His ballets include Choreartium (1933), Gaite Pari-
sienne (1939), Seventh Symphony (1938), Rouge et noir (1939),
Aleko (1943), and Mad Tristan (1944).
MAZILIER, JOSEPH (GIULIO MAZARINI)
Mazilier, Joseph (Giulio Mazarini) (1801-1862), French

choreographer, was born in Marseilles and trained at the Paris
Opera. Mazilier debuted as a dancer in Paris in 1822. He was

appointed ballet master at the Paris Opera in 1839. Besides appear-
ing in many of the most famous romantic ballets, Mazilier choreo-
graphed ballets in the romantic style, including La Sylph ide ( 1832),
Le Diable boiteux (1836), La gypsy (1839), Paquita (1846), Le
corsaire (1856), Marco Spada (1857), and Les elfes (1856).
NIJINSKA, BRONISLAVA
Nijinska, Bronislava, (1891-1972), Polish choreographer, gra-

duated from the Imperial Russian School in St. Petersburg in 1908.
Both she and her brother participated in the first seasons of the
Ballets Russe. She danced in several famous Ballets Russe works;
these included Carnaval (1910), Petrouchka (1911), and Narcisse
(1912). By the time the Russian Revolution swept Russia, Nijinska
had opet;ted a ballet school in Kiev. In Kiev ~he produced her first
ballet, Etudes, and published an essay (L 'Ecole du mouvement,
theorie de choregraphie). Though well versed in classical ballet,
she favored incorporating elements of modem dance into her
works. She remained all her life, however, an exemplar of the
Russian state system she was trained in. She rejoined the Ballets
Russe in London in 1921. Serge Diaghilev was so taken with her
performances that he billed her as "La Nijinska." Diaghilev soon
discovered that he had a worthy choreographic successor to Leo-
nide Massine; altogether she choreographed eight ballets for Diag-
hilev. Later she worked at the Paris Opera, formed her own compa-
ny, and worked with many other companies. Her ballets include
Renard (1922), Les Noches (1923), Les Biches (1924), Les
Fiicheux (1924), Le Train Bleu (1924), and Les Cent Baisers
(1935).
NOVERRE, JEAN-GEORGES
Noverre, Jean-Georges, (1727-1807), French choreographer, was

the great theorist of ballet d 'action. As with most of his choreogra-
pher contemporaries, Noverre was an itinerant ballet master: from
Paris he migrated to Berlin to Marseilles to Lyon to London. No

ballet by Noverre can be reconstructed as the master designed it;
rather his great influence rests in his published works, especially
Lettres sur Ia Danse et sur les Ballets (1759) andLettres sur les Arts
Imitateurs en general et sur Ia Danse Particulier (1807). In these
works Noverre discusses the responsibilities of the ballet master,
and he was one of the first to consider sight lines and the focus of
the audience.
PERROT, JULES JOSEPH
Perrot, Jules Joseph, (1810-1892), French choreographer, was

also one of the great male dancers in ballet history. A native of
Lyons, he trained locally, arriving in Paris in the 1820s. Appointed
primer danseur at London's King's Theatre in 1830; he also de-
buted at the Paris Opera the same year. He met Carlotta Grisi in
Naples in 1834 and soon became her ballet master, partner, and
lover. His fust major choreographed work was Le Nymphe et le
Papi/lon (1836). He was ballet master at Her Majesty's Theatre
until 1848, and served in the same capacity in St. Petersburg from
1851-185 8, though he continued to work all over Europe. He retired
to a village in France with his wife, the Russian ballerina Capitoline
Samovskaya. Considered the greatest dancer of his time, he was
also lauded as "one of the most dramatic and expressive choreogra-
phers of the Romantic movement." 150 Among his great works are
Giselle (1841), Ondine (1843), La Esmeralda (1844), Lalla Rookh
(1846), and Pas de Quatre (1845).
PETIPA, MARIUS
Petipa, Marius, (1818-1910), French choreographer, was instru-

mental in the development of classical ballet in late 19th century
Russia. Petipa came from a dancing family. His father Jean was a
dancer and choreographer in Paris, Brussells, and St. Petersburg;
his brother Lucien was considered one of the great dancers of the
romantic ballet. Before going to Russia, Petipa toured both with his
father and on his own. These trips included a tour of the United
States in 1839. He went to Russia as assistant to Jules Perrot, but by
1862 was director of imperial ballet. He choreographed over 50
works in St. Petersburg. Petipa was fortunate in the composers he
worked with. Besides Leon Minkus and Riccardo Drigo, Petipa
choreographed the great works of Peter Tchaikovsky. Though one
of the great names in ballet Petipa has been the focus of revision-
ism, especially since some of the best-known sections in some of
his great works were actually choreographed by Petipa's assistant
Lev Ivanov. Some of his great ballets are Le Roi Candaule (1868),
Don Quixote (1869), La Bayadere (1877), La Belle au Bois Dor-
mant (1890), Kalkabrino (1891), La Sylphide (1892), Casse-Noi-
sette (1892), Swan Lake (1895), and Les Millions d'Arlequin
(1900).
PETIT, ROLAND
Petit, Roland, French choreographer (1924- ) studied at the Paris

Opera Ballet School. He left the school in 1944 and formed the
Ballets des Champs-Elysees in 1945. In 1948 he formed yet anoth-
er company, the Ballet de Paris. Besides his work in classical
ballet, he worked for Hollywood and television. From 1970-1975
he directed the Casino de Paris; since 1972 he has been the director
of the Ballet de Marseille. Horst Koegler said he was "a dancer of
great personal magnetism" but that "his ballets are often
slight."l51 Petit worked with many well-known writers and de-
signers, and his unique blend of sex, chic, and theatricality have
made him one of the most important post World War II choreogra-
phers. His ballets include Les Forains (1945), Les Amours de
Jupiter (1946), Le Loup (1954), Cyrano de Bergerac (1959), and
Eloge de Ia folie (1966).
ROBBINS (RABINOWITZ), JEROME
Robbins (Rabinowitz), Jerome, ( 1918- ), American choreog-

rapher, has been credited with establishing an American voice
in classical ballet. Robbins studied with Antony Tudor and Eu-
gene Loring and at the New Dance League in New York. As a
member of Ballet Theatre (1940-1946), he danced roles in Three
Virgins and a Devil, Helen of Troy, and Petrouchka. He joined the
New York City Ballet in 1949, eventually becoming Associate Ar-
tistic Director. In 1954 Robbins traveled to Israel to work with a
new ballet company there, and in 1958 he formed Ballets U.S.A.
and the Robbins Foundation to assist young choreographers. Rob-
bins burst on the choreographic scene with Fancy Free (1944).
Other Robbins ballets include Interplay (1945), Facsimile ( 1946),
Age ofAnxiety (1950), The Guests (1949), The Cage (1951), After-
noon of a Faun (1953), Pied Piper (1951), Fanfare (1953), The
Concert (1956), and Dybbuk Variations (1974). Robbins is also
well known for his work in the musical theater. His choreographed
musicals include On the Town (1944), High Button Shoes (1947),
The King and I (1951), Peter Pan (1954), and West Side Story
(1957).
SAINT-LEON, ARTHUR
Saint-Leon, Arthur, (1821-1870), French choreographer, fust

studied with his father in Tuscany and Stuttgart. An accomplished
violinist as well as dancer, he actually fust debuted as a violinist in
1834. His dancing debut occurred a year later in Munich. He
worked in Brussels, Turin, Milan, and Vienna, eventually arriving
in London. In London he danced with his soon-to-be wife Fanny
Cerrito in Jules Perrot's Ondine (1843). (The marriage only lasted
from 1845-1851.) He appeared throughout Europe and was one of
the best dancers of his time. He was also one of the best choreogra-
phers. His fust choreographed work was Vivandiera ed il post-
iglione in 1843. He succeeded Perrot as ballet master in St. Peters-
burg ( 1859-1869), and also served in the same capacity at the Paris
Opera ( 1863-1870). In 1852 he published his own system of dance
notation, La Stenochoregraphie ou Art d'ecrire promptement Ia

danse. He occasionally appeared as both violinist and dancer in the
same work (Le Violon du diable). Saint-Leon also composed the
music for several of his ballets (Saltarello). Works choreographed
by Saint-Leon include La Fille de marbre (1847), Le Violon du
diable (1849), Stella ou Les Contrebandiers (1850), La Perle de
Seville (1861), Fiammetta (1864), The Hump-Backed Horse (1864),
La Source (1866), and Coppelia (1870).
TAGLIONI, FILIPPO
Taglioni, Filippo, (1777-1871), Italian choreographer, was the

son of a dancer. Trained at the Paris Opera, he worked in Stockholm
(1800-1809), Vienna (1804-1809, 1821), Kassel in Germany
(1809-1814), London (1834-1851), and Warsaw (1848-1853). His
most famous creations featured his daughter, Marie, one of the most
famous ballerinas in the history of ballet. His ballets include Le dieu
et Ia bayadere (1830), Robert le diable (1831), La sylphide (1832),
Gustave III (1833), Lafille du Danube (1836), L 'ombre (1839), and
La peri (1843).
VALOIS, (DAME) NINETTE DE (EDRIS STANNUS)
Valois, (Dame) Ninette de (Edris Stannus), ( 1898- ), Irish

choreographer, studied in her native Ireland and in London. She
performed in revues and pantomimes as early as 1914 and ap-
peared in Covent Garden in 1919. She performed with the Ballets
Russe in 1923-1926. In 1926 she opened the London Academy of
Choreographic Art. In 1931 she closed this school and joined the
Sadler's Wells Theatre; her company, soon called the Vic-Wells
Ballet, grew steadily and eventually became the Sadler's Wells
Ballet and moved to the Royal Opera House. In 1956 this compa-
ny became the Royal Ballet. Valois continued to dance occasion-
ally until 193 7. She resigned as director of the Royal Ballet in
1963, but was actively involved in the school until 1971. She is
considered one of the great pioneers of British ballet. Her cho-

reographic efforts include Danse sacree et danse profane ( 1930),
La Creation du monde (1931), Job (1931), Bar aux Folies-
Bergere (1934), The Haunted Ballroom (1934), The Rakes Prog-
ress (1935), The Gods Go a-Begging (1936), Barabau (1936),
Checkmate (1937), and Le Roi nu (1938). Her memoir of the
Diaghilev years is called Invitation to the Ballet (1937).
Index of Ballet Titles
(Keyed to Composer Biographies)
Abraxas Egk
Adam Zero Bliss
Aeneas Roussel
Age ofAnxiety, The Bernstein
Alexander the Great Gaubert
Alexandre Iegrande Gaubert
Allegria Egk
Amants eternal Messager
Animated Tapestry, The Tcherepnin
Anna Karenina Shchedrin
Apple Waltzes Gould
Anastasia Martinu
Anrufung Apolls Henze
L'arca di Noe Rieti
Arena Subotnick
L 'arrivee d'un nouveau signeur Herold
Astolphe et Joconde Herold
Aventure de Ia Guimard, Une Messager
Avisfrieri, Et Paulli
Bacchus et Ariane Roussel
Bai,Le Rieti
Bal de Voleurs, Le Auric
Balance a trois Damase
Ball, The Rieti
Ball in Old Vienna, A Cohen
Ballet Royal Riisager
Ballet School Liadov
Ballett Variationen Henze
[Haworth co-indexing entry note]: "Index of Ballet Titles (Keyed to Composer Biographies)."
Schueneman, Bruce R. Co-published simultaneously in Music Reference Services Quarterly (The Ha-
worth Press, Inc.) Vol. 5, No. 3/4, 1997, pp. 99-IJI; and: Minor Ballet Composers: Biographical
Sketches ofSixty-Six Underappreciated Yet Significant Contributors to the Body of Western Ballet Music
(Bruce R. Schueneman with William E. Studwell) The Haworth Press, Inc., 1997, pp. 99-111. Single or
multiple copies of this article are available for a fee from The Haworth Document Delivery Service
[1-800-342-9678, 9:00 am. - 5:00 p.m. (EST). E-mail address: getinfo@ha\Wrth.com].

Bandits Daughter, The Pugni

Barabau Rieti
Barn Dance Gottschalk
Bayadere, La Minkus
Belle au Bois Dormant, La Herold
Benzin Riisager
Blomsterfesten i Genzano Helsted, Paulli
Bonne-Bouche Oldham
Boulevard Solitude Henze
Boxing, Le Bemers
Bronze Horseman, The Gliere
Butterfly that Stamped, The Martinu
Cakewalk Gottschalk, Kay
Camargo Minkus
Cameleopard, Le Sauguet
Candide Constant, Kay
Caprio/ Suite Warlock
Carmen Suite Shchedrin
Casanova in London Egk
Castello di Kenilworth, II Pugni
Catarina Pugni
Catharina Pugni
Cendrillon Erlanger
cent baisers, Les Erlanger
Chambre Auric
Chatte, La Sauguet
Checkmate Bliss
Checkmating the King Martinu
Chemin de lumiere Auric
Chevalier aux Fleurs, Le Messager
chevalier et Ia damoiselle, La Gaubert
Children s Tales Liadov
Chinese Nightingale, The Egk
Chinesische Nachtiga/1, Die Egk
Chorales and Rags Gould
Chrysis Gliere
Circus Canteen Oldham
Clarinade Gould
Cleopatra Gliere
Cleopatre Arensky
Cleopatre Tcherepnin
Index ofBallet Titles 101
Cock-tails-Party Riisager
combat, Le Banfield Tripcovich
Commedians Gliere
Comus Lambert
Concert, The Kay
Concerto Grosso Gould
Concurrence, La Auric
Conservatory, The Paulli
Conservatory, or a Proposal ofMarriage, The Paulli
Contes Russes, Les Liadov
Contrebandiers, Les Pugni
Contre-pointe Constant
Conundrum Rieti
Cordelia Sauguet
Corsaire, Le Minkus, Pugni
Costume Ball on Board Ship, A Gottschalk, Lumbye
Coupdefeu Auric
Croqueuse de diamants, La Damase
Cupid and Psyche Bemers
Cyrano de Bergerac Constant
Czerwony Mak Gliere
Damoiselles de Ia nuit, Les Fran~aix
Dancing Girl, The Minkus
Dancing School, The Paulli
Danza Egk
Daughter of Castille Gliere
Daughter of the Pharoah, The Pugni
David Sauguet
David Triomphant Rieti
Dernier Jugement, Le Sauguet
Deux Pigeons, Les Messager
Devil on Two Sticks, The Gide
Devils Violin, The Pugni
diable boiteux, Le Gide
Diamond Cruncher; The Damase
Diamond Crusher; The Damase
Diamond Muncher; The Damase
Diavolina Pugni
Dieu et a/ bayadere, Le Auber
Diversion ofAngels Dello Joio
Diversions Bliss
Doch 'kastillii" Gliere

Doch 'Faraona Pugni
Don Quixote Minkus, Nabokov
Dream Pictures Lumbye
Dremmebilleder Lumbye
dryade, La Pugni
Duel, The Banfield Tripcovich
Duke ofSacramento, The Delio Joio
Dybbuk Variations Bernstein
Echo der trompeten Martinu
Echoes ofTrumpets Martinu
Echoing of Trumpets Martinu
Edipe et Ia Sphinx Sauguet
Egippetskie nochi Arensky
Egyptian Nights Arensky
eheme Reiter, Der Gliere
Ekon av trumpeter Martinu
Electra Arnold
Elegia Rieti
Elfes, Les Gabrielli
Eloge de Ia folie Constant
Embrace 1iger and Return to Mountain Subotnick
L 'embuscade Pugni
Enchanted Forest, The Drigo
Enchantements d 'A/cine Auric
Eo line Pugni
Esmeralda Drigo, Pugni
Etudes Riisager
Eucharis Deldevez
Fiicheux, Les Auric
Facsimile Bernstein
Fall ofa Leaf, The Gottschalk
Fall River Legend Gould
Fancy Free Bernstein
Fantasca Hertel
Fantasies Lovenskold
Far from Denmark Gottschalk, Lumbye
Fastes Sauguet
Faust Pugni
jee auxjleurs, La Pugni
Festin de l'Araignee, Le Roussel
Index ofBallet Tztles 103
fete des jleurs a Genzano, La Heisted

Fiametta Minkus
Field Mass Martinu
fi//e de marbre, La Pugni
fi//e d 'neige, La Minkus
fi//e din Pharaon, La Pugni
fi//e mal Gardee, La Herold, Hertel
Fiorita et Ia reine des e/frides Pugni
Fisherman and His Bride, The Gade, Lumbye
Fiskeren og hans brud Gade, Lumbye
Five-Legged Stool, The Subotnick
Fjernt fra Danmark Gottschalk, Lumbye
Flames ofParis Asaf'yev
Fleur d'oranger Messager
Flik and Flok Hertel
Flower Fairy, The Pugni
Flower Festival at Genzano Heisted, Paulli
Flute Player, The Constant
folkesagn, Et Gade
Fools Paradise Riisager
Forains, Les Sauguet
Fountain ofBakchisaray Asaf'yev
Fraulein Julie Rangstrom
Fresques Gaubert
Froken Julie Rangstrom
Frontier Bliss, Horst
Fruen fra havet Riisager
Fug/fonix Riisager
Galla- Variationer Riisager
Gemma Gabrielli
Giselle Burgmuller
Glass Heart, The Delio Joio
Goldfish, The Tcherepnin
Grand Tour, The Kay
Great Detective, The Arnell
Green Table, The Cohen
guir/ande de Campra, La Sauguet, Tailleferre
Gustave III Auber
Gymnopedies Satie
Harlequin in April Arnell
Harlequinade Drigo
Haunted Ballroom, The Toye

Haut Voltage Constant
Hippolyte Rieti
Holy Fair at Bruges, The Paulli
Homage to the Queen Arnold
Horoscope Lambert
Hump-Backed Horse, The -Pugni
Hundred Kisses, The Erlanger
Idiot, Der Henze
Idiot, The Henze
L 'ile de pirates Gide
I'm Old Fashioned-Astaire Variations Gould
a
Image Paul et Virginie Sauguet
lmaginaires, Les Auric
Indiana Rieti
L 'insulaire Gide
Interplay Gould
Irene Holm Lumbye
Isle of the Pirates, The Gide
!star Martinu
!xion Feldman
Jack-in-the-Box Satie
Jack Pudding Henze
Jahrmarktsgaukler, Die Sauguet
Jardin aux lilas Chausson
Jeu de Sainte Agnes, Le Constant
jeu sentimental, Le Frant;aix
Joan von Zarissa Egk
Johann Strauss Tonight Cohen
Joueur de flute Constant
Joys of Winter, The Pugni
JudgmentofPari~ The Martinu, Pugni
jugement de Paris, Le Pugni
Jugementdufou,Le Frant;aix
Kaisers nachtigall, Des Henze
Kaleidoscope Rieti
Kalkabrino Minkus
Kameliendame, Die Sauguet
Kermesse in Bruges Paulli
Kermessen i Bruge eller de tre
Graver Paulli
Index of Ballet Titles 105
Kingdom of the Shades Minkus

Kirsten Piil Heisted
Knight and the Lady, The Gaubert
Konek-gorbunok Pugni, Shchedrin
Konig Hirsch Henze
Konservatoriet eller Et Avisfrieri Paulli
Kostumebal om bord, Et Gottschalk, Lumbye
Krasnyi mak Gliere
Labyrinth Henze
Lac des fees, Le Auber
Lady from the Sea, The Riisager
Lady Henriette, ou Ia servante de Greenwich Burgmilller
Lady with a Lapdog, The Shchedrin
Lalla Rookh Pugni
Last Flower, The Nabokov
Leben eines Wiistlings, Das Gordon
Life Guards at Amager, The Lumbye
Light Trap Damase
Lilac Garden Chausson
Little Humpbacked Horse, The Pugni, Shchedrin
Loin du Danemark Gottschalk, Lumbye
Loup,Le Dutilleux
Love in a Village Oldham
Lutherie enchantee, La Fran~taix
Lydie Herold
Maanerenen Riisager
Madame dans Ia lune Fran~taix
Mademoiselle Angot Lecocq
Magic Flute, The Drigo
malheurs de Sophie, Les Fran~taix
Mam 'zelle Angot Lecocq
Mdnerenen Riisager
Mdnrenen Riisager
Maratona di danza Henze
Marble Maiden, The Pugni
Marchand d 'Oiseaux, Le Tailleferre
Marchand de Sable qui Passe Roussel
marche des innocents, La Pugni
Marco Spada ou lafille du bandit Auber
Maries de Ia Tour Eiffel, Les Auric, Tailleferre
Masaniello Auber
106 MINORBALLETCOMPOSERS
Matelots, Les Auric

Mednyi vsadnikhe Gliere
Mercure Satie
Metamorphoses, Les Pugni
Miedziany jezdziec Gliere
Mignons et Vilains Messager
Millions d'Arleqinin, Les Drigo
mines de Syracuse, Les Pugni
Miracle in the Gorbals Bliss
Mirages, Les Sauguet
Mirror. The Cohen
Miss Julie Rangstrom
Mond-Rentier. Das Riisager
Monkey Dances Satie
Moon Reindeer Riisager
Moorish Woman in Spain, The Minkus
Mr. Punch Oldham
Muette de Portici, La Auber
Naiad, The Pugni
Naiad and the Fisherman, The Pugni
Naissance de Ia Lyre, La Roussel
Nana Constant
Napoli Gade, Lumbye, Paulli,
Heisted
Narcisse Tcherepnin
Native Dancers Rieti
Naughty Lisette Herold, Hertel
Neapol Gade, Lumbye
New Lord Comes, A Herold
New Penelope Lovenskold
Night Shadow Rieti
Noch'i den Minkus
Nuit, La Sauguet
nuit d 'Egypte, Une Arensky
Nuit et le Jour. La Minkus
Nuits d 'Egypte Gliere
Ode, or Meditations at Night on the Majesty
of God, as Revealed by Aurora Borealis Nabokov
On Stage Delio Joio
On the Brink of lime Subotnick
On the Town Kay
On tourne Martinu
Ondine Henze, Pugni
Oriane et le prince d'amour Schmitt
Oriane Ia sans-eagle Schmitt
orientales, Les Arensky
Orientals, The Arensky
Ozai: ou l 'insula ire Gide
Padmavati Roussel
Paean Chausson
Panna Julia Rangstrom
Papillon, Le Minkus
Paquita Deldevez, Minkus
Parade Satie
Parades and Changes Subotnick
Paradise Lost Constant
Parisiana Tailleferre
Parizhskii rynok Pugni
Partisan's Days Asaf'yev
Partisans/de dni Asaf'yev
Pas de quatre Pugni
Pastorale, La Auric
Paul et Virginie Sauguet
Pavilion d'Armide, Le Tcherepnin
Patineurs, Les Lambert, Pugni
Pearl, The Drigo
Peintre et son Modele, Le Auric
Penitente, El Horst
Peri, La Burgmiiller
Persian Market, A Pugni
Peter Pan Kay
Petit Elfe Ferme-['(Ei/ Schmitt
Peur, Le Constant
Pharoah 's Daughter Pugni
Phedre Auric
Phi/otis Gaubert
Phoenix Riisager
Piege de luminere Damase
plaisirs de l 'hiver ou les patineurs, Les Pugni
Plamia liubvi Minkus
Polka Militaire Lumbye
Pomona Lambert
Porte-bonheur. Le Drigo
Prairie Delio Joio
prima ballerina ou l'embuscade, La Pugni
Primitive Mysteries Horst
Prince and the Swineherd, The Erlanger
Princess and the Seven Knights, The Liadov
Prinzessin und die sieben Ritter. Die Liadov
Prisoner of the Caucasus Asaf'yev
Proces des Roses, Le Messager
Prodigal Son, The Cohen
Proposal by Advertising, A Paulli
Proposal ofManiage Through a Newspaper; A Paulli
Prospect Before Us, The Lambert
Punch and the Child Arnell
Qarrtsiliuni Riisager
quatre saisons, Les Pugni
Quatuor Banfield Tripcovich
Rag Time Parade Satie
Rakes Progress, The Gordon
Reawakening of the Flowers, The Drigo
Red Flower, The Gliere
Red Poppy, The Gliere
Red Shoes, The Mader
Regatta Gordon
Reliiche Satie
rencontre, La Sauguet
Rendevouz Lambert
Rendezvous, Les Auber
Revolt Martinu
Revue de cuisine, La Martinu
Rinaldo and Armida Arnold
Rio Grande, The Lambert
Robinson and Friday Rieti
Robinson et Vendredi Rieti
Roi Candaule, Le Pugni
Roi Midas, Le Fran~aix
Roi nu, Le Fran~aix
Romance ofa Mummy, The Tcherepnin
Romance of the Rosebud Drigo
Romeo and Juliet Lambert
Rosa Silber Henze
Rose ofLahore, The Pugni

roses, Les Sauguet
Rosida Pugni
rothen Schuhe, Die Mader
RoterMohn Gliere
Rybak i }ego narzeczona Gade, Lumbye
Sailors Return, The Oldham
Saisons, Les Sauguet
Salamacis Dutilleux
Salamander, The Minkus
Salome Schmitt
Sardanapol Hertel
Satanella oder Metamorphosen Hertel
Saint du Tremplin, Le Damase
Scaramouche Messager
Scenes Seen Rieti
schlafende Prinzessin, Die Henze
Scorpions of Ysit, The Gordon
Scuola di ballo Franr;:aix
Seagull, The Shchedrin
SecondHand Satie
Seducteur du Village, Le Schneitzhoeffer
Seraphic Dialog Dello Joio
Seven Heroes Cohen
Silver Apples of the Moon Subotnick
Sirens, Les Berners
Skazka o mertvoi tsarevne i semi bogatyriakh Liadov
Slaraffenland Riisager
Sleeping Beauty, The Henze
Sleepwalker, The Herold
Smugglers, The Pugni
soir, Un Schmitt
Soldiers Mass Martinu
Solitaire Arnold
Sommertag, Ein Egk
somnambule, La Rieti
somnambule ou l'arrivee d'un nouveau seigneur, La Herold
sonnambula, La Rieti
Source, La Minkus
Spalicek Martinu
Spiders Banquet, The Roussel
Spring, The Minkus

Spring Tale, A Cohen
Stars and Stripes Kay
Stella Pugni
Stjemer Riisager
Strolling Players, The Sauguet
Suite Cohen
Summerspace Feldman
Svinedrengen Riisager
SwanLake Drigo
Sweney Todd Arnold
Swineherd, The Riisager
Sylphide, La Lovenskold,
Schneitzhoeffer
Sylphides, Les Rieti
Sylvan Dream, A Rieti
Symphonie de danses Dutilleux
Talisman, The Drigo
Taming of the Shrew, The Stolze
Tancred und Cantylene Henze
Tancredi Henze
Tancredi and Clorinda Banfield
Tarantella Gottschalk
Tarantula, The Gide
tarentule, La Gide
Tempete, La Schneitzhoeffer
Thamar Balakirev
Thea Pugni
There is a Time Delio Joio
Thief Who Loved a Ghost, The Kay
Three Gifts, The Paulli
Three Symphonic Dances Delio Joio
Tiresias Lambert
Tochter Kastiliens, Eine Gliere
Tolv med posten Riisager
Toothsome Morsel, A Gordon
Toreadoren Heisted
Tragedie de Salome, La Schmitt
Tragedy ofSalome, The Schmitt
Trap ofLight Damase
Traveling Players, The Sauguet
Index of Ballet Titles Ill
tre gaver, De Paulli

Tricolore Auric
Trionfo di Bacco e Arianna Rieti
Tristan Henze
Triumph of Bacchus and Ariadne, The Rieti
Triumph of Neptune, The Bemers
Tsar' -devitsa Pugni
Twelve By the Mail Riisager
Twelve for the Mail-Coach Riisager
24 Preludes Constant
Two Pigeons, The Messager
Two Steps Satie
Unchaperoned Daughter, The Herold, Hertel
Undine Henze, Pugni
Union Jack Kay
Union Pacific Nabokov
Useless Precautions Herold, Hertel
L 'Usignolo dell 'Imperatore Henze
f-ain Precautions Herold, Hertel
Ventana, La Lumbye
Verdiana Rieti
Vergebliche Vorsicht Herold, Hertel
Verreries de Venise Fran~Yaix
Vert-Vert Deldevez
Vic to ires de I 'Amour, Les Riisager
Vie de Polichinelle, La Nabokov
Vins de France Messager
violon du diable, Le Pugni
Vivandiere, La Pugni
Waltz Academy Rieti
Waterloo and the Crimea Bemers
Wayward Daughter, The Herold, Hertel
Wedding Breakfast at the Eiffel Tower, The Auric, Tailleferre
Wedding Bouquet, A Bemers
Western Symphony Kay
Who Cares? Kay
Who Is the Most Poweiful Man in the World? Martinu
Womens Song Dello Joio
Wunderheater, Das Henze
Zemir et Azor Schneitzhoeffer
Zoraiya, or the Moorish Woman in Spain Minkus
Notes
1. Scholl, Tim. From Petipa to Balanchine: Classical Revival and the
Modernization ofBallet. New York: Routledge, 1994.27.
2. "Ballet," Encyclopaedia Britannica. 11th edition. v.3. New York:
Encyclopedia Britannica, 1910. 269-270.
3. Lee, Carol. An Introduction to Classical Ballet. Hillsdale, NJ:
Lawrence Erlbaum, 1983. 51
4. Moore, Lillian. Artists of the Dance. New York: Dance Horizons,
1979.43.
5. Scholl, Timothy James. Rebuilding the Academy: Twentieth-Cen-
tury Classicism and the Modernization of Russian Ballet. Ph.D. disserta-
tion, Yale University, 1991. 48.
6. Koegler, Horst. The Concise Oxford Dictionary ofBallet. London:
Oxford University Press, 1977. 444.
7. See Studwell, William E. "The Closet Composers: A Heretical
View of Ballet Music," Ballet Review 11 (2), Summer 1983, 6,8 and Stud-
well, William E. "Ballet Music: An Essay and Bibliography," Music Ref-
erence Services Quarterly 1(2), 1993, 51-57 for more on the "social sta-
tus" of ballet music.
8. Teachout, Terry. "Who Killed Dance?" Commentary, 102(1), July
1996. 55.
9. Studwell, William E. "Obscure But Significant Ballet Composers:
An Appreciation and Guide to Further Research," Music Reference Ser-
vices Quarterly, 4(4), 1996.
10. Haskell, Arnold L. Ballets Russe: The Age of Diaghi/ev. London:
Weidenfeld and Nicolson, 1968. 59.
11. Cole, Hugo. Malcolm Arnold: An Introduction to his Music. Lon-
don: Faber Music, 1989. 1-3.
12. Stewart, Andrew. "Contemporary Composers Series: Malcolm
Arnold," Music Teacher, 68, June 1989.26.
13. Swallow, John. "Malcolm Arnold at 70," The Instrumentalist, 46,
October 1991. 16.
14. Cole. 67.
15. Cole. 69.
16. Cole. 70.
17. Cole. 71-72.

ll4 MINOR BALLET COMPOSERS
18. Decarlo, Lenora Jean Cecilia. Socialist realism and Music: The
Writings ofBoris Asaf'yev. Florida State University MM thesis, 1992.
19. Decarlo. 9.
20. Decarlo. 17.
21. Decarlo. 23.
22. Decarlo. 24.
23. Koegler. 405.
24. Decarlo. 29-30.
25. Longyear, Rey Morgan. Daniel Fran~ois-Esprit Auber
(1782-1871): A Chapter in French Opera Comiqine. PhD Dissertation,
Cornell University, 1957. 14.
26. Longyear. 15.
27. Longyear. 17.
28. Longyear. 19.
29. Longyear. 22.
30. Longyear. 33.
31. Longyear. 37.
32. Longyear. 45.
33. Longyear. 56.
34. Cohen-Stratyner, Barbara. Biographical Dictionary of Dance.
New York:
Schirmer Books, 1982. 45.
35. Longyear. 78.
36. Valois, Ninette de. Invitation to the Ballet. London: John Lane,
1937.265.
37. Cohen-Stratyner. 45.
38. Longyear. 81-82.
39. Longyear. 84.
40. Longyear. 106.
41. Trickey, Samuel M. Les Six. PhD dissertation, North Texas State
College, 1955. 65-66.
42. Trickey. 9.
43. Haskell. 104.
44. Gadan, Francis; Robert Mallard; and Selma Jeanne Cohen (eds.).
Dictionary of Modern Ballet. New York: Tudor Publishing Company,
1959. 98.
45. Feingold, Michael. "Giving Us an Eiffel." Village Voice, 33, April
19, 1988. 105.
46. Beaumont, Cyril W. Complete Book of Ballets: A Guide to the
Principle Ballets of the Nineteenth and Twentieth Centuries. New York:
Putnam, 1938. 677.
Notes 115
47. "Georges Auric" (obituary), Ballet News, 5, January 1984. 42.

48. "Georges Auric." Ballet News. 42.
49. Garden, Edward. Balakirev: A Critical Study of His Life and Mu-
sic. New York: St. Martin's Press, 1967. 21.
50. Garden. 43-44.
51. Garden. 67.
52. Garden. 82.
53. Garden. 108.
54. Garden. 187.
55. Haskell. 75.
56. Beaumont, Cyril. 594.
57. Gadan. 97.
58. Mosley, Diana. Loved Ones: Pen Portraits. London: Sidgwick and
Jackson, 1985. 108.
59. Dickinson, Peter. "Lord Berners, 1883-1950: A British vant-gardist at
the time of World War 1," Musical Tunes, 124 (1689), November 1983. 669.
60. Haskell. 106.
61. R.E.B. "Lord Bemers Works: Royal Liverpool," High Fidelity,
38, January 1988. 56.
63. Dickinson, Peter. "Loved Ones: Pen Portraits. By Diana Mosley,"
[bookreview]MusicandLetters, 67,1986.199.
64. Koegler. 485.
65. Mosley. 130.
66. Balanchine, George and Francis Mason. 101 Stories ofthe Great
Ballets. New York: Anchor Books, 1989. 133-134.
67. Bum, Andrew. "From Rebel to Romantic: The Music of Arthur
Bliss," The Musical limes, 132 (1782), August 1, 1991. 383-384.
68. Bum. 384.
69. Bum. 384.
70. Thompson, Oscar (ed.) The International Cyclopedia ofMusic and
Musicians. 9th edition. New York: Dodd, Mead, & Company, 1964. 232.
71. Gadan. 89.
72. Cohen-Stratyner. 138-139.
73. Beaumont. 142.
74. Koegler. 279.
75. Gadan. 186.
7 6. Gadan. 257.
77. Keogler. 377.
78. Koegler. 137, 415; Gadan. 276-277.
79. Gadan. 276.
80. Gadan. 20.

81. Balanchine. 222.
82. Nichols, Roger. "Dutilleux at 75," The Musical Times, l32
(1775), January 1, 1991. 701.
83. Nichols. 702.
84. Brown, Royal S. "A Dutilleux Discography," Fanfare: The Mag-
azine for Serious Record Collectors, 6(1), September/October 1982.
214-215.
85. "Werner Egk," The Musical Times, 124, September 1983. 568.
86. Thompson. 609.
87. Goodwin, Noel. "Ashes to Diamonds," Ballet News, 7(6), De-
cember 1985. 43.
88. "Morton Feldman" [obituary], American Organist, 21(12), De-
cember 1987. 57.
89. Johnson, Tom. "Remembrance," Ear, Magazine of New Music,
l3(1), 1988. 8.
90. Smith, Richard Langham. "More Faure than Ferneyhough," The
Musical Times, 133 (1797), November 1, 1992.556.
91. Smith. 557.
92. Morton, Brian and Pamela Collins. Contemporary Composers.
Chicago: St. James Press, 1992. 307.
93. Cone, Roger. "Gabrielli, Graf Nicolas" in Die Musik in Ges-
chichte und Geganwart: Allgemeine Enzyklopiidie der Musik, Band 4
(Fede-Gesangspiidagogik). 1m Biirenreiter: Kassel und Basel, 1955.
1213-1214.
94. Clapperton, John. "Niels Wilhelm Gade: A Centenary Essay,"
Musical .Opinion, December 1990.406.
95. Gadan. 90.
96. Beaumont. 126.
97. Beaumont. 148.
98. Beaumont. 770.
99. Gadan. 184.
100. Soria, Dorle J. "Hans Werner Henze: The 'Paradox' Label
Doesn't Stick," Hi Fidelity/Musical America, 32, March 1982, M9.
101. Clarke, Mary. "Ondine." About the House, 7, 1988,6-7.
102. Loney, Glenn. "Elegy for a Bacchic Rake," Opera Monthly, 4( 11 ),
March 1992. 10.
103. Mezzanotte, Riccardo. Phaidon Book of the Ballet. Oxford: Phai-
don, 1979.
104. Teachout. Terry. "The Taste Man," The New Dance Review, July-
September 1991. 13.
Notes 117
105. Haskell. 105.

106. Haskell. 105.
107. Lee, Carol. An Introduction to Classical Ballet. Lawrence Erl-
baum: Hillsdale, NJ, 1983. 163.
108. Cohen-Stratyner. 516-517.
109. Teachout. "The Taste Man." 14.
110. Lambert, Constant. Music Ho!: A Study ofMusic in Decline. New
York: October House, 1967. 279.
111. Teachout. "The Taste Man." 15.
112. Haskell. 89.
113. Haskell. 69.
114. Clarke, Mary & Clement Crisp. The Ballet Goer's Guide. New
York: Knopf, 1981. 112.
115. Goodwin, Noel. "Delibes/Minkus/Drigo," Dance and Dancers,
(486), September 1990. 30.
116. Munson, James. "The Royal Swedish Ballet in London," Contem-
porary Review, 267 (1555), August 1995. 92.
117. Harris, Dale. "La Bayadere: An Historical Overview," About the
House, 8(2), 1989. 45-46.
118. Baryshnikov, Mikhail. Baryshnilwv on La Bayadere, Internet
http: //www.abtorglreplbayaderelb.bacyshnikov.html
119. Koegler. 394.
120. Lee. 105.
121. Lee. 106.
122. Beaumont. 240.
124. Beaumont. 308.
125. Koegler. 265.
126. Ostlere, Hilary. "The Rieti Connection," Ballet News, 7(3), Sep-
tember 1985. 33.
127. Ostlere. 43.
128. Thompson, Oscar (ed.) The International Cyclopedia ofMusic and
Musicians. lOth ed. New York: Dodd, Mead & Company, 1975. 1882.
129. Meyer, Christine, Didier Maltaveme, & Emmanuelle Coulon.
"Erik Satie: A Disturbed Personality or a Person with Personality Distur-
bances?" International Journal ofArts Medicine, 3(2), Winter 1994. 4-5.
130. Meyer. 7.
131. Meyer. 8.
132. Perloff, Nancy. Art and the Everyday: Popular Entertainment and
the Circle ofErik Satie. Oxford: Clarendon Press, 1991. 112-113.
133. Haskell. 90.
134. Meyer. 8.
135. Beaumont. 684.
137. "Henri Sauguet" [obituary], The American Organist, 23(10), Oc-
tober 1989. 65-66.
138. Haskell. 108.
139. Koegler. 364.
140. Gadan. 286.
141. Thompson. lOth edition. 1946.
142. Beaumont. 83.
143. Stuhr-Rommerein, John. "An Interview with Rodion Shchedrin,"
The Choral Journal, 32(9), Aprill992. 7.
144. Morton. 856.
145. Stuhr-Rommereim. 10.
146. "The Taming of the Shrew," About the House, 6(2), 1981. 52
147. Haskell. 59.
148. Koegler. 201.
149. Koegler. 326.
150. Koegler. 410.
151. Koegler. 413.
Index
Abducted Wife, The, 33 Arena, 82

Abraxas, 37,38 Arensky, Anton, 7-8,44,84
Absorption ofRace Elements into Arne, Thomas, 65
American Music, 24 Amell, Richard, 8-9
Academie Royal de Danse, 2 Arnold, Malcolm, 9-11
Acis and Galatea, 89 L 'arrivee d 'un nouveau seigneur,
Adam, Adolphe, 27,64 50,51
Adam, Louis, 50 Ashton, Frederick, 10,16,23,48,49,
Adam and Eve, 54 54,55,78,87
Adam Zero, 27 Astolphe et Joconde, 50
Aeneas, 75 Auber, Daniel, 14-17
Afternoon of a Faun, 95 Auden, W.H., 49
Age ofAnxiety, The, 25,95 Aumer, Jean, 50
Albert, Fran~ois, 80 Auric, Georges, 5,17-19,83
Aleko, 91 Aventure de Ia Guimard, Une, 60
Alexander the Great, 42 Avisfrieri, Et, 66
Alexandre /e grande, 42
Allegria, 38
Amants eternal, 60 Babiee, Jean, 31
American Concertette, 47 Bacchus and Ariadne, 91
American Provincials, 52 Bacchus et Ariane, 75
Amours de Jupiter, Les, 94 Bakst, Leon, 7,21
Anastasia, 60 Hal, Le, 72
Andante symphonique, 33 Hal des Voleurs, Le, 19
Andersen, Hans Christian, 59 Balakirev, Mily, 19-21
Animated Tapestry, The, 83 Balance atrois, 30,31
Anna Karenina, 81 Balanchine, George, 3,17, 18,19,22,
Anouilh, Jean, 36 23,35,46,47,53,54,65, 72, 77,
Anrufung Apolls, 49 78,87-88,90
Ansky, S., 25 Ba1anchivadze, Georgi, 87-88
L 'Apocalypse se/on St. Jean, 39 Ball, The, 72
Apollinaire, 77 Ball in Old Vienna, A, 29
Appalachian Spring, 90 Ballet
Apple Waltzes, 47 in Italy, 1
Aragon, Louis, 54 in France, 1-2
Arbeau, Thomot, 85 Ballet d'action, 2,92
L 'arbre des songes, 36 Ballet de Ia Nuit, Le, 2
L 'Area di Noe, 71 Ballet of the Nuns, 3

Ballet Royal, 74 B/omsteifesten i Genzano, 48,66

Ballet School, 57 Blood of a Poet, 17
Balletomanes, 2 Ronne-Bouche, 65
Ballets russe, 22,25,54,64, 72,83,88, Borden, Lizzy, 47
91,92,96 Borlin, Jean, 77
Ballett-Variationen, 49 Borodin, Alexander, 8,20
Bamboula, 46 Bougainville, M. de, 44
Bandit's Daughter, The, 67 Boulanger, Nadia, 29,38-39
Banfield Tripcovich, Raffaello de, Boulevard Solitude, 49
21-22 Bournonville, Antoine, 88
Banjo, The, 46 Bournonville, August, 41,48,58,66,
Bar aux Fo/ies-Bergere, 97 80,88
Barabau, 71-72,97 Bowman, Patricia, 84
Barcarolle, La, 17 Boxing, Le, 23
Barn Dance, 47 Boyce, William, 56
Barnum, 53 Brahms, G. Caryl, 16
Barnum, P.T., 46 Braque, Georges, 18
Baryshnikov, Mikhail, 63 Breton, Andre, 54
Bassarides, The, 49 Bridge on the River Kwai, The, 9
Bayadere, La, 62,94 Brigadoon, 89
Bazin, Franyois, 56 Britten, Benjamin, 65
Beaton, Cecil, 23 Bronze Horseman, The, 45
Beaumont, Cyril, 21,46 Bruckner, Anton, 59
Beauty and the Beast, 17 Buonamici, Giuseppe, 39
Beethoven, Ludwig van, 43 Burgmuller, Johann, 27-28
Bejart, Maurice, 30 Butterfly that Stamped, The, 60
Belle au Bois Dormant, La, 50,94
Bellini, Vincenzo, 72 Cage, The, 95
Benois, Alexandre, 62 Cage,John,38
Benoist, Franyois, 56 Cakewalk, 46-47,53
Benzin, 74 Camargo, 63
Bergere chatelaine, Le, 15 came/eopard, Le, 79
Berggreen, Andreas, 40 Campra,Andre, 83
Berio, Luciano, 81 Candide, 30,53
Berlioz, Hector, 17,20,46 Capitan, E/, 53
Bemers, Lord, 22-24 Caprio/ Suite, 85
Bernstein, Leonard, 24-25,52,53,81 Carlini, 43
Riches, Les, 92 Carmen,3
Bizet, Georges, 3,17,56,81 Carmen Suite, 81
Black Ritual, 89 Carnival, Le, 89,92
Blanco, Guzman, 40 Caroline (Queen), 50
Blasis, Carlos, 2 Caron, Leslie, 79
Bliss, Arthur, 25-27 Carousel, 89
Bliss, Gertrude, 26 Casanova in London, 38
Bliss, Kennard, 26 Casse-Noisette, 94
Index I2I
Castello di Kenilworth, II, 67 Columbus, 37

Cat, The, 78 combat, Le, 21
Catarina, 67 commedia dell'arte, 35
Catel, Charles-Simon, 50 Commedians, 45
Catharina, 67 Communist Party
Cazotte,Jacques,51 and music, 13
Celeste, 15 Comoedia, 5
Cendrillon, 33 Complete Book of Ballets, The, 21
cent baisers, Les, 33,92 Comus, 55
Cerrito, Fanny, 40,67,95 Concert, The, 53,95
Cervantes, Miguel de, 62 Concerto for Violin, Piano, and
Chabrier, Emmanuel, 72 String Quartet, 28
Chagall, Marc, 81 Concerto Grosso, 4 7
chambre, La, 18,19 Concurrence, La, 17, 18
Chatte, La, 78,88 Conservatory, The, 66
Chausson, Ernest, 28 Conservatory, or a Proposal of
Checkmate, 26,97 Marriage, 66
Checkmating the King, 60 Constant, Marius, 29-30
Chekhov, Anton, 81 Contes Russes, Les, 57
Chemin de lumiere, 19 Conti, Carlo, 39
Cherubini, Luigi, 14,15 contrebandiers, Les, 70
Chevalier aux Fleurs, Le, 60 Contre-pointe, 29
chevalier et Ia damoiselle, La, 42-43 Conundrum, 73
s
Children Tales, 57 Conversations, 26
Coppelia,96
Chinese Nightingale, The, 38
Chinesische Nachtigall, Die, 38 Coralli, Jean, 27,43,44,80
Cordelia, 79
Chopin, Frederic, 46,53,58,72
Chorales and Rags, 47 Corsaire, Le, 64,67,92
Choreartium, 91 Costume Ball on Board Ship, A,
47,58
Chorus Line, A, 53
Coup de feu, 19
Chrysis, 45
Coward, Noel, 53
Chuter, Florence, 55
Cranko, John, 8, II ,82
Cimarosiana, 16
Creation du monde, La, 97
Cinderella, 33
Creatures of Prometheus, 91
Circus Canteen, 65
croqueuse de diamants, La, 30
Clarinade, 47
Cunningham, Merce, 78
Cleopatra, 45
Cupid and Psyche, 23
Cleopatre, 7-8,84,89
Cyrano de Bergerac, 29,94
Cock-tails-Party, 74 Czerny, Carl, 73
Cocteau, Jean, 5, 17,18,76 Czerwony Mak, 45
Code of Terpsichore, 2
Cohen, Frederick, 29
Colet, Henri, 5 Damase, Jean-Michel, 30-31
Colloquia col Tango, 21 Damoiselles de Ia nuit, Les, 39
Colour Symphony, A, 26 Dance Observer, The, 52
122 MINOR, BALLET COMPOSERS
Dance to the Piper, 89 Dieu bleu, Le, 89

Dancheuko, 45 Dieu et Ia bayadere, Le, 15,16,96
Dancing Girl, The, 62 Ding Dong! Merrily on High, 85
Dancing School, The, 66 Distant Prospect, A, 22
Danse sacree et danse profane, 97 Diversion ofAngels, 32,90
Danza, 38 Diversions, 27
Daphnis and Chloe, 89 Doch' kastillii, 45
Dark Elegies, 89 Doch 'Faraona, 70
Daughter of Castille, The, 45 Docteur Miracle, Le, 56
Daughterofthe Pharoah, The, 34,70 Doctor Faust, Der, 37
David, 79 Dollar, William, 21
David Triomphant, 72 Don Pedro, 33
De Mille, Agnes, 47,88-89 Don Quixote, 62,65,94
De Mille, Cecil B., 88 Donizetti, Gaetano, 39
De Valois, Ninette, 26,54,55,56,84, Dostoevsky, Fyodor, 49
96-97 Dream Pictures, 58
Dead Souls, 81 Drigo, Riccardo, 33-36,62,64,69,94
Death and Entrances, 90 Dremmebilleder, 58
Debussy, Claude, 25,72,76 dryade, La, 67
Defoe, Daniel, 71 Dubuque, Alexandre, 19
Deldevez, Edouard, 31,64 Duchambge, Pauline, 14
Delibes, Leo, 3, 17,61 Duel, The, 21
Delius, Frederick, 85 Duke of Sacramento, The, 32
Delio Joio, Casimir, 32 Dupuy, Edouard, 47,58
Delio Joio, Norman, 32 Durey, Louis, 5
Delmer, Isabel, 56 Dutilleux, Genevieve Joy, 36
Denishawn, 52,90 Dutilleux, Henri, 36-37,50
d'Erlanger, Frederic, 32-33 Dybbuk, The, 25
Dybbuk Variations, 24,95
Dernier Jugement, Le, 79
Dying Poet, The, 46
Deshayes, Andre, 80
Dying Swan, The, 89
Deux Pigeons, Les, 60,61,87
Devil on Two Sticks, The, 43-44
Devil~ Violin, The, 69 Easdale, Brian, 59
Diable amoreux, 51 Echo der trompeten, 60
diable boiteux, Le, 43-44,92 Echoes from Ossian, 41
Diaghilev, Serge, 7,17,18,21,22,23, Echoes of Trumpets, 60
25,54,57,64,71,76,78,83, Echoing of Trumpets, 60
87-88,89,91,92,97 L 'Ecole du mouvement, theorie de
Diamond Cruncher, The, 30 choregraphie, 92
Diamond Crusher, The, 30 Edipe et Ia Sphinx, 79
Diamond Muncher, The, 30 Egipetskie nochi, 7-8
Diavolina, 70 Egk, Werner, 37-38
Dickinson, Peter, 23 Egyptian Nights, 7-8
Dictionary ofMusical Technical eherne Reiter, Der, 45
Terms, 12 Ehmant, Anselm, 33
Index 123
Eighteen Pieces for Piano, 35 Far From Denmark, 47,58,88

Eisrich, Karl, 19 Far From the Madding War, 22
Ekon av trumpeter, 60 Fastes, 78
Electra, 11 Faure, Gabriel, 17,79
Elegia, 73 Faust, 67
Elegy for Young Lovers, 49 fee aux jleurs, La, 70
Elf King's Daughter, The, 41 Feldman, Morton, 38
Elfes, Les, 40,92 Fenella, 15
Elgar, Edward, 25,26 Festin de l'Araignee, Le, 75
Eliot, T. S., 8 jete des jleurs a Genzano, La, 48
Elizabeth II, 10 Fetis, Fran9ois-Joseph, 40,50
Eloge de Ia folie, 29,94 Fiametta, 64,96
Embrace Tiger and Return to Field, John, 19
Mountain, 82 Field Mass, 60
L 'embuscade, 67-68 fille de marbre, La, 70,96
Emma,l5 Fille d'neige, La, 64
Enchanted Forest, The, 34 fille du Danube, La, 96
Enchantements d'Alcine, Les, 17 fille du Pharaon, La, 70
L 'enfant Prodigue, 16,17 fille mal Gardee, La, 50,52,87,90
Eoline,67 Fiorella, 15
Episodes, 90 Fiorita et Ia reine des elfrides, 70
Erlanger, Frederic d', 32-33 Firebird, The, 57
Ernst, Max, 54
First Childhood, 22
L 'erreur d 'un moment, 14
Fisherman and His Bride, The, 41,
Ershov, Peter, 69
48,58
Esmeralda, La, 34,69,93
Fiskeren og hans brud, 41,48,58
L 'Etoile du Nord, 55
Five-Legged Stool, The, 82
Etude, 73
Fjerntfra Danmark, 47,58,88
Etudes, 73,92
Flaffy Raffles, 35
Eucharis, 31
Every Soul is a Circus, 90 Fleur d 'oranger, 60
Evita, 53 Flik und Flok, 51
Flotow, Friedrich von, 27
Flower Fairy, The, 70
Flower Festival in Genzano, 48,66
Fafade,87 Flute Player, The, 30
Facheux, Les, 17,18,92 Fokine, Michel, 2,7,33,83,84,89
Facsimile, 24,95 Folk Tale, A, 41-42
Fairy Tale of the Dead Princess and folkesagn, Et, 41-42
the Seven Knights, The, 57 Fontaine, La, 61
Fall ofa Leaf, The, 47 Fonteyn, Margot, 48,55,56
Fall River Legend, 47,89 Fool's Paradise, 74
Fancy Free, 24,95 Forains, Les, 78,94
Fanfare, 95 Foret Enchante, La, 90
Fantasca, 52 Fortner, Wolfgang, 48
Fantasies, 58 Fountain ofBakchisaray, The, 12-13
Fouque, Friedrich de Ia Motte, 49 Gogol, Nikolai, 81

Fouquet, 37 Goldfish, The, 84
Four Butterflies, 82 Good Night Ladies, 53
Fournet, Jean, 29 Gordon, Gavin, 45-46
Fra Diavolo, 15,17 Gore, Walter, 22
Fran9aix, Jean, 38-39 Gorky, Maxim, II
Franck, Cesar, 28 Gottschalk, Louis Moreau, 46-47,53,
Fraulein Julie, 71 58
French Revolution, 12,14 Gould, Morton, 4 7
Fresques, 42 Grabner, Hermann, 73
Fro ken Julie, 71 Graham, Martha, 52,78,89-90
Frontier, 27,52,90 Grahn, Lucile, 67
Fruenfra ha vet, 74 Gram, Peder, 73
Frugatta, Giuseppe, 71 Grand Tour; The, 53
Fugl fonix, 74 Grande Tarantelle for Piano and
Orchestra, 53
Grange, Comptese de Ia, 46
Great Detective, The, 8
Green Table, The, 29
Gabrielli, Nicolo, 39-40
Gade, Niels, 40-42,58,66 Grieg, Edvard, 8
Grimaly,44
Gaite Parisienne, 91
Gretry, Andre, 12
Galla-Variationer, 74
Grisi, Carlotta, 67,93
Gallant Assembly, 88
Guests, The, 95
Galleotti, Vincenzo, 88
Guevara, Che, 48
Garden, Edward, 20,21
Guion, David, 47
Garrick, David, 2
guirlande de Campra, La, 79,83
Garnett, David, 65
Gustave III, 16,96
Gaubert, Philippe, 42-43
Gymnopedies, 77
Gautier, Tbeophile, 28,40,83
gypsy, La, 92
Gemma,40
Georges Dandin, 49
Gershwin, George, 53 Habeneck, Fran9ois, 31
Gide, Casimir, 43-44 Halevy, Jacques, 17,31,56
Gigout, Eugene, 74 Halle, Charles, 46
Gioja, Gaetano, 67 Handbook ofMusical Forms, 7
Girl I Left Behind Me, The, 53 Harlequin in April, 8-9
Giselle, 27,28,93 Harlequinade, 35,88
Gliisar, Franz Joseph, 47,58 Hartmann, Johan, 41
Glass Heart, The, 32 Haskell, Arnold, 18,54, 78
Glazunov, Alexander, 7,8,11,35,57 Haunted Ballroom, The, 84-85,97
Gliere, Reinhold, 44-45 Haut Voltage, 30
Glinka, Mikhail, 13,19,20 Heine, Heinrich, 37
Gluck, Christoph, 12 Helen of Troy, 95
God Save the Queen, 53 Helpmann, Robert, 11 ,26,2 7,5 5,59
God Go a-Begging, The, 97 Heisted, Edvard, 41,48,58,66
Goethe, Johann Wolfgang von, 16 Henze, Hans Werner, 48-49,67
Index 125
Herold, Louis, 50-51 Ixion, 38

Hertel, Peter, 51-52
High Button Shoes, 95
Jack-in-the-Box, 77,88
Hindemith, Paul, 68
Jack Pudding, 49
Hippolyte, 72
Jacob, Gordon, 9
Holm, Wilhelm Christian, 58
Jahrmarktsgaukler, Die, 78
Holy Fair at Bruges, The, 66
Jardin aux lilas, 28
Hommage to the Queen, 10
Jazz, 5,47,55
Honegger, Arthur, 5,29,83
Jazz Calendar, 87
Horoscope, 55
Jehan de Saintre, 33
Horst, Louis, 52,77,90
Jeu de Saint Agnes, Le, 30
Houston, Elsie, 52
jeu sentimental, Le, 39
Howells, Herbert, 65
Joan von Zarissa, 37,38,91
Hugo, Victor, 69
Job,97
Hump-Backed Horse, The, 69-70,96
Johann Strauss Tonight, 29
Hunchback of Notre Dame, The, 69
Jones, Vincent,47
Hundred Kisses, The, 33
Jooss, Kurt, 29
Huston, John, 17
Joueur de Flute, 30
Joys of Winter, The, 68
Judgment of Paris, The, 60,70,87,89
jugement de Paris, Le, 70
Ibsen, Hemik, 73
Jugementdufo~Le,39
/care, 91
July Revolution, 15
Idiot, Der, 49
Idiot, The, 49
L 'ile de pirates, 43 Kafka, Franz, 18
I'm Old Fashioned-Astaire Kahn, Micheline, 30
Variations, 47 Kaisers nachtigall, Des, 49
a
Image Paul et Virginie, 79 Kaleidoscope, 73
Imaginaires, Les, 17 Kalkabrino, 63,94
Imperial Gesture, 90 Kallman, Chester, 49
d'Indy, Vincent, 17,74 Kameliendame, Die, 79
Inez Mendo, 33 Kay, Hershey, 52-53
Indiana, 73 Kenilworth, 15
Inscriptions pour les portes de Ia Kermesse in Bruges, 66,88
ville, 42 Kermessen Briige eller De tre Gaver,
L 'insulaire, 43,44 66
Interplay, 47,95 Keynes, John Maynard, 54
Invitation to the Ballet, 97 Khachaturian,~. 13
Ippolitov-Ivanov, Mikhail, 44 KingandL The,95
Irene Holm, 58 King Lear Overture, 20
/slamey, 20 Kingdom of the Shades, The, 62
Isle of Pirates, The, 43 Kirchner, Leon, 82
/star, 59 Kirsten Piil, 48
It is Amusing to be Small, 73 Klee, Paul, 49
Ivanov, Lev, 34,90,94 Knight and the Lady, The, 42
Kochno, Boris, 18 Liapunov, Sergei, 57

Koechlin, Charles, 78 Liberty Bell, The, 53
Koegler, Horst, 94 Lifar, Serge, 19,39,62,75,78,80,91
Konek-gorbunok, 69-70,81 Life for the 1Sar, A, 19,20
Konig Hirsch, 49 Life Guards at Amager, The, 58
Konservatoriet eller Et Avisfrieri, Light Trap, 30
66,88 Lilac Garden, 28
Kostumeba/ om bord, Et, 47,58 Lincke, Andreas, 4 7,58
Koussevitzky, Serge, 24 Little Humpbacked Horse, The,
Krasnyi mak, 45 69-70,81
Loin du Danemark, 47,58
Lomonossov, Mikhail, 64
Lopokova, Lydia, 54
Labyrinth, 49 Lord Byron s Love Letter, 21
Lac des fees, Le, 16 Loring, Eugene, 32,95
Ladurner, Anton, 14 Louis XIV, 2
Lady from the Sea, 73,74 Louis XVI, 12
Lady Henriette, ou Ia servante de Loup, Le, 36-37,94
Greenwich, 27 Love in a Village, 65
Lady McBeth ofMtsensk, 13 Lovenskold, Herman, 57-58,80
Lady with the Lapdog, The, 81 Lully, Jean Baptiste, 2
Lalla Rookh, 70,93 Lumbye, Hans Christian, 41,47,58,
Lambert, Constant, 16,23,54-56 66
Lambert, Kit, 55 Luna Park, 23
Lanner, Joseph, 29 Lunacharsky, Anatoly, 12
Larionov, Michel, 57 Lutherie enchantee, La, 3 9
Lashchilin, Lev, 45 Lydie, 50
Last Flower, The, 65
Last Hop~ The,46
Last Rose ofSummer, The, 23 Ma Vie, 91
Leben eines Wiistlings, Das, 45-46 Maanerenen, 74
Lecocq, Alexandre, 56 MacMillan, Kenneth, 10,27
Lee, Carol, 67 Mat;on, Le, 15
Leibowitz, Rene, 48 Mad Tristan, 91
Leicester, 15 Madam dans Ia lune, 39
Lenepveu, Charles, 42 Madam Noy, 26
Lenin in the Heart ofthe People, 81 Mademoiselle Angot, 56
Leocadie, 15 Mader, Raoul Maria, 59
Leroux, Xavier, 42 Magic Flute, The, 35,90
Lesur, Daniel, 83 main de Gloire, La, 39
Lettres sur Ia Danse et sur les malheurs de Sophie, Les, 39
Ballets, 93 Mam 'zelle Angot, 56
Lettres sur les Arts lmitateurs en Mdnerenen, 74
general et sur Ia Danse Mdnrenen, 74
Particulier, 93 Manual ofHarmony, 7
Liadov, Anatol, 56-57 Manuel, Roland, 76,77,83
Index 127
Maratona di danza, 49 Mirror, The, 29

Marble Maiden, The, 70 Miss Julie, 71
Marceau, Marcel, 30 Moliere, 18,49
Marchand d 'oiseaux, 83 Moller, Otto, 73
Marchand de Sable qui Passe, La, 75 Moller, Peder, 73
marche des innocents, La, 70 Mond-Rentier, Das, 74
Marco Spada ou lafil/e du bandit, Monkey Dances, 78
17,92 Monotones, 78
Marie Antoinette, 12 Monotones I, 78,87
Maries de Ia Tour Eiffel, 18-19,83 Monotones II, 78,87
Marion Delorme, 33 Monteverdi, Claudio, 22
Martinu, Bohuslav, 59-60 Moon Reindeer, 74
Marx, Adolf, 51 Moorish Woman in Spain, The, 63
Masaniel/o, 16 Mosley, Diana, 23
Massenet, Jules, 17,28, 79 Moths,23
Massine, Leonide, 17,18,19,39,57, Moulin Rouge, 17
59,64,76,77,79,87,91,92 Mozart, VVolfgang, 39
Matelots, Les, 17,18 Mr. Punch,65
Maye~ VVerne~ 37
Muette de Portici, La, 15,16
Mazarini, Giulio, 91 Mulun, Compte de, 63
Mazilier, Joseph, 17,27,31 ,40,64,67, Music for Strings, 27
91-92 Music Ho!: A Study ofMusic in
Medici, Catharine de, 1 Decline, 55
Mussorgsky, Modeste, 20,72
Medici, Lorenzo de, 72
Mute Wife, The, 73
Meditation on Ecclesiastes, 32
Myaskovsky, Nikolay, 11,13
Mednyi vsadnikhe, 45
Mehul, Etienne-Nicholas, 12,50
Mendelssohn, Felix, 15,41 Nabokov, Nicholas, 64-65
Mercure, 77 Naiad, The, 67
Message~ Andre,60-61 Naiad and the Fisherman, The, 67
Messiaen, Olivier, 29 Naissance de Ia Lyre, La, 75
Metaboles, 36 Nana, 30
Metamorphoses, Les, 68 Napoleon ill, 39,40
Meyerbeer, Giacomo, 3,15,17,55 Napoli, 41,48,58,66,88
Miedziany jezdziec, 45 Narcisse, 84,92
"mighty handful," 20 Native Dancers, 73
Mignons et Vilains, 60 Naughty Lisette, 50,52
Milan Academy of Dancing, 2 Neapol, 41,48,58
Milhaud, Darius, 5,71,82,83 Neige, La, 15
Millions d'Arlequin, Les, 35,36,94 Nemirovtin, 45
mines de Syracuse, Les, 70 Nerval, 39
Minkus, Leon, 31,34,61-64,94 Neumeier, John, 27
Miracle in the Gorbals, 26 Neveux, Georges, 36
Mirages, Les, 78-79,91 New Lord Comes, A, 50,51
Miro, Joan, 54 New Penelope, 58
Nicholas II, 35 Orpheus Descending, 21

Night ofBald Mountain, A, 20 Otello, 3
Night Shadow, 72 Ouida (Maria Louise Rame), 23
Nijinska, Bronislava, 17,18,33,54,75, Overture on Three Russian Themes,
91,92 20
Naches, Les, 92 Ozai; ou l'insulaire, 43,44
Noch ' i den, 63
Notre-Dame de Paris, 69
Nouvel, Walter, 7 Padmavati, 15
Noverre, Jean George, 2,89,92-93 Paean,28
Nuit, La, 19 Panna Julia, 71
nuit d'Egypte, Une, 7-8 pantomimi, 1
Nuit des Tropiques, La, 46 Papillon, Le, 64
Nuit et le Jour; La, 63 Paquita, 31,64,92
Nuits d 'Egypte, 45 Parade, 76-77,91
Nureyev, Rudolf, 49 Parades and Changes, 82
Nutcracker, The, 34-35,90 Paradise Lost, 29
Nymphe et le Papillon, Le, 93 Pariisanslde dni, 12-13
Paris~Magie, 83
Parisiana, 83
Parizhsldi rynok, 10
Oboe Quintet, 26,27 Partisan's Days, 12-13
Ode, or Meditations at Night on the pas d'acier, Le, 91
Majesty of God, as Pas de quatre, 61,93
Revealed by Aurora Pastoral and Serenade, 26
Borealis, 64,91 Pastorale, La, 17
Offenbach, Jacques, 56 Patineurs, Les, 55,68,87
Ojos Criollos, 46 Paul et Virginie, 19
Oklahoma!, 89 Paulli, Holger Simon, 41,48,58,
Old Taylor, 53 65-66
Oldharn,Juthur,65 Pavilion d'Armide, Le, 83,89
L'ombre, 96 Pavlova, Anna, 11,15,84
On Stage, 32 Pearl, The, 35
On the BrinkofTime, 82 Peintre et son Modele, Le, 19
On toume, 59 Pelchrzim, Edgar von, 49
On the Town, 52,95 Penitente, El, 52
Once Upon a Mattress, 53 Peri, La, 27-28,96
Ondine, 48-49,67,87,93,95 Perle de Seville, La, 96
Orchesographie, 85 Perrot, Jules, 49,67,69,93,94,95
Orff, Carl, 37,81 Persian Market, A, 70
Oriane et Ia pn"nce d'amour, 80 Persin, Max, 52
Oriane Ia sans-eagle, 80 Peter Pan, 53,95
orientales, Les, 8 Petipa, Jean, 93
Orientals, The, 8 Petipa, Lucien, 93
Orleans, Charles d', 37 Petipa, Marius, 3,31,34,35,61,62,63,
Orpheus, 17 67,69,90,93-94
Index 129
Petit Elfe Fenne-l 'CEil, 80 Prophete, Le, 55

Petit, Roland, 19,29,36,78,94 Proposal by Advertising, A, 66
Petrouchka, 92,95 Proposal ofMarriage Through a
Peur, La, 29 Newspaper, A, 66
Pfaff, Philip, 9 Prospect Before Us, The, 56
Pfitzner, Hans, 71 Psalm of David, A, 32
Pharoah s Daughter, The, 70 Puccini, Giacomo, 33
Phedre, 19 Pugni, Cesare, 34,62,64,67-70,81
Philipp, Isidor, 38 Punch and the Child, 8
Phi/otis, 42 Purcell, 29,55
Philtre, 15 Pushkin, Alexandre, 45,57
Phoenix, 74
Picabia, Francis, 77
Picasso, Pablo, 76,77,81,91 Qarrtsiluni, 74
Pied Piper, 95 Quantj'etais Ia, 19
Piege de luminere, 30-31 quatre saisons, Les, 70
Piston, Walter, 24 Quatuor, 22
plaisirs de I 'hiver ou les patineurs, Quinault, Philippe, 2
Les,68
Plamia Liubvi, 64
Rabinowitz, Jerome, 95
Planard, Fran!(ois, 15
Raft of the Medusa, 48
Plisetskaya, Maya, 81
Rag Time Parade, 78
Poeme, 28 Rainer, Yvonne, 78
Polka militaire, 58 Rakes Progress, The, 45-46,97
Pomona, 54,55 Rambert, Marie, 87
Ponchielli, Amilcare, 33 Rangstrom, Anders, 71
Porte-bonheur, Le, 35 Ravel, Maurice, 25,39, 76,83
Poulenc, Francis, 5,17, 71,83 Reawakening of the Flowers, The, 35
Poupard, Jean-Pierre, 78 Red Flower, The, 45
Powell, John, 4 7 Red Poppy, The, 45
Prairie, 32 Red River Valley, 53
Pre aux Clers, Le, 50 Red Shoes, The, 59,91
prima ballerina ou I 'embuscade, La, Regatta,45
67-68 Reliiche, 77
Primitive Mysteries, 52,90 Renard, 92
Prince and the Swineherd, The, 33 Rencontre, 79
Prince ofChimay, 14 Rendevouz,55
Princess and the Seven Knights, The, Rendevouz, Les, 16,87
57 Requiem, 33
Prinzessin und die sieben Ritter, Die, Respighi, Ottorino, 71
57 Revelation of John, 39
Prisoner of the Caucasus, A, 12 Revolt, 59
Proces des Roses, Le, 60 Revue de cuisine, La, 60
Prodigal Son, The, 29 Rheingold, 22
Prokofiev, Sergei, 11,13,33 Richlieu, Armand Jean du Plessis, 2
Riegger, Wallingford, 38,52 Saguet, Henri, 78-79,83

Rieti, Vittorio, 50,71-73 Sailors Return, The, 65
Rietz, Eduard, 51 Saint-Leon, Arthur, 61,67,68,69,
Riisager, Knudage, 73-74 95-96
Rimsky-Korsakov, Nikolai, Saint-Saens, Camille, 17,39,60
7,11,20,57,83 Saint-Requier, Leon, 17
Rinaldo and Armida, 10 Saisons, Les, 79
Ring of the Nibelung, The, 25 Salamacis, 37
Rio Grande, The, 54-55 Salaman, Susan, 23
Rite of Spring, The, 90 Salamander, The, 64
Robert le Diab/e, 3,96 Salome, 79
Robbins, Jerome, 24,25,47,52,95 Saltarello, 96
Robinson and Friday, 71 Samovskaya, Capitoline, 93
Robinson et Vendredi, 71 Sardanapol, 51
Rochefoucauld, Sosthene de, 15 Satanella oder Metamorphosen, 51
Rodeo, 89 Satie, Erik, 5,17,75-78,91
Roi Candaule, 67,94 Saut du Tremplin, Le, 30
Roi Midas, Le, 39 Scaramouche, 60
Roi nu, Le, 39,91,97 Scarlatti, Domenico, 82
Romance of a Mummy, The, 84 Scarlet Letter, The, 90
Romance of the Rosebud, The, 35 Scenes Seen, 73
Romeo and Juliet, 54 Scheherazade, 21
Romeo and Juliet Fantasy Overture, schlafende Prinzessin, Die, 49
20 Schmitt, Florent, 79-80
Rosa Silber, 49
Schmitt, Hans, 59
Rose of Lahore, The, 70
Schneider, Friedrich, 51
roses, Les, 79
Schneitzhoeffer, Jean, 58,80
Rosida, 70
Schoenberg, Arnold, 22,48
Rosieres, Les, 50
SchOne Miillerin, Die, 82
Ross, Herbert, 28
Rossini, Gioachino, 17,43 Schubert, Franz, 82
Roter Mohn, 45
Schumann, Robert, 41
rothen Schuhe, Die, 59 Scorpions ofYsit, The, 45
Rouge et noir, 91 Scott, Walter, 15
Roussel, Albert, 73,74-75 Scribe, Augustin-Eugene, 15,16
Rout, 26 Scuo/a di ballo, 39
Rubenstein, Ida, 17,80 Seagull, The, 81
Rubenstein, Nicholas, 20 Seasons, The, 35
Rue Montorgueil, Ia, 30 Second Hand, 78
Russian Institute of Art History, 12 Seducteur du Village, 80
Russian and Ludmila, 19,20 Sejour Militaire, Le, 14
Rybak I jego narzeczona, 41,48,58 Seraphic Dialog, 32
Serenade, 88
Serment, Le, 16
Sackbut, 85 Seven Heroes, 29
Sacre du Printemps, Le, 77,80 Seventh Symphony, 91
Index 131
Shakespeare, William, 2,20,82 Stenochoregraphie ou Art d 'ecrire

Shaporin, Yuri, 81 promptement Ia danse, La,
Shchedrin, Rodion, 69,80-81 96
Shostakovich, Dmitri, 13,57,81 Stjerner, 74
Sibelius, Jean, 55 Stohr, Richard, 52
Sidewinder, 82 Stolze, Kurt-Heinz, 82
Silfiden, 88 Strauss, Richard, 79
Silver Apples of the Moon, 82 Stravinsky, Igor, 3,12,22,25,26,39,
Simenon, Georges, 18 48,57,59,80
Sinding, Christian, 8 Strindberg, August, 71
Sirens, Les, 23 Strolling Players, The, 78
Sitwell, Edith, 55 Studwell, William, 4
Six, Les, 5,17,18,59,76,83 Subotnik,Morton,82
Skazka o mertvoi tsarevne i semi Suite, 29
bogatyriakh, 57 Suk, Joseph, 59
Slaraffenland, 74 Summerspace, 38
Sleeping Beauty, 3,34,50 Surrealists, 54
Sleeping Princess, The, 49 Susanne, 73
Sleepwalker, The, 50,51 Svinedrengen, 74
Smugglers, The, 70 Swan Lake, 35,90,94
Snow White, 57 Sweney Todd, 11
socialist realism, 12 Swineherd, The, 74
Socrate, 76 Sylphide, La, 58,80,88,92,94,96
Socrates, 41 Sylphides, Les, 3,58,72,89
soir, Un, 80 Sylvan Dream, A, 73
Soldier's Mass, 60 Symphonic Variations, 87
Solitaire, 10 Symphonie de danses, 37
Sommertag, Ein, 38
somnambule, La, 72 Taffanel, Paul, 42
somnambule ou l'arrivee d'un Taglioni, Filippo, 16,51,67,68,96
nouveau seigneur, La, 50,51 Taglioni, Marie, 68,96
sonnambula, La, 72,88 Talisman, The, 34
Source, La, 61 ,96 Tailleferre, Germaine, 5,82-83
Sousa, John Philip, 53 Taillefesse, Germaine, 82
Spalicek, 60 TallyHo, 89
Spider's Banquet, The, 75 Tamara, 20
Spring, The, 61 Taming of the Shrew, The, 82
Spring Tale, A, 29 Tancred und Cantylene, 49
Stamaty, Camille-Marie, 46 Tancredi, 49
Stanford, Charles Villiers, 25 Tancredi and Clorinda, 22
Stars and Stripes, 53 Taniev, Sergei, 44
Stasov, Vladimir, 11 Tarantella, 4 7
Steen, Jan, 66 Tarantula, The, 43,44
Stein, Gertrude, 23 tarentule, La, 43,44
Stella, 70,96 Tchaikovsky, Modeste, 63
Tchaikovsky, Peter, 3,7,15,20, Triumph ofBacchus and Ariadne,

34-35,50,60,63,94 The, 72
Tcherepnin, Nikolai,7,83-84 Triumph ofNeptune, The, 22
Teachout, Terry, 3 Trois Veritables Preludes Flasques
Tempete, La, 80 Pour un Chien, 76
Teniers, D., 66 Tsar '-devitsa, 69-70
Tess of the d 'Urbervilles, 33 Tudor, Anthony, 28,88,95
Testament, Le, 15 Turandot, 58
Thamar, 20,21,80,89 '!Welve by the Mail, 74
Thea, 10 '!Welve for the Mail-Coach, 74
There is a 1ime, 32 24 Preludes, 30
They Must be Wedded to Their Wife, '!Wo Pigeons, The, 60,61
23 '!Wo Steps, 78
Thief Who Loved a Ghost, The, 53 Tyrwitt-Wilson, <Jerald Hugh, 22
Three Gnossiennes, 90
Three Gifts, The, 66
Three Poems of the East, 52,90 Ulybyshev, Alexander, 19
Three Real Flaccid Preludes for a Unchaperoned Daughter, The, 50,52
Dog, 76 Undine, 48-49,67
Three Symphonic Dances, 32 Union Jack, 53
Three Virgins and a Devil, 89,95 Union Pacific, 65
Thurber, James, 65 Useless Precautions, 50,52
Tikhomirov, Vassili, 45 L 'Usignolo dell 'Imperatore, 49
Tiresias, 56
Tochter Kastiliens, Eine, 45
To1becque,Jean,31 Vain Precautions, 50,52
Tolstoy, Leo, 81 Varese, Edgar, 38
Tolv med posten, 74 Valois, Ninette de, 26,54,55,56,84,
Toothsome Morsel, A, 45 96-97
Toreadoren, 48 Ventana, La, 58
Touch, 82 Verdi, 3,73
Tout un monde lointain, 36 Verdiana, 73
Toye,CJeoflTey,84-85 Vergeb/iche, Vorsicht, 50,52
Train Bleu, Le, 92 Verreries de Venise, 39
Tragedie de Salome, La, 79 Vert-Vert, 31
Tragedy of Fashion, or The Scarlet Victoires de /'Amour, Les, 74
Scissors, The, 87 Vie de Po/ichinelle, La, 65
Tragedy of Salome, The, 79 Villi, Le, 33
Trap ofLight, 30 Vins de France, Les, 60
Traveling Players, The, 78 Violinists
tre gaver, De, 66 Minkus,Leon, 61
Treatise on the Art ofDancing, 2 Saint-Leon, Arthur, 69,95-96
Tricolore, 19 violon du diable, Le, 69,96
Trionfo di Bacco e Arianna, 72 Vivandiera ed il postiglione, 95
Tristan, 49 Vivandiere, La, 67,68-69
Index 133
Wagner, Richard, 22,77 Yershov, Peter, 69

Walton, William, 48 Yon, Pietro, 32
Waltz Academy, 72
Warlock, Peter, 85 ·
Waste Land, The, 8
Waterloo and the Crimea, 23 Zakharov, Rotislav, 45
Waugh, Evelyn, 23,24 Zampa,50
Wayward Daughter; The, 50,52 Zaubergeige, 37
Weber, Carl Maria von, 53 zemir et Azor, 80
Webem, Anton, 38,48 Zingarelli, Nicola, 39
Wedding Bouquet, A, 23 Zola, 30
Wedding Brealifast at the Eiffel Zoraiya, or the Moorish Woman in
Tower; The, 18,83 Spain, 63
Weill, Kurt, 70 Zucchi, Virginia, 34
West Side Story, 24,95
Western Symphony, 53,88
White Carnation, The, 36
Whitman, Walt, 32
Whiteside, Abby, 4 7
Who, The, 55
Who Cares?, 53,88
Who Is the Most Powerful Man in the
World?, 59
Wild Bull, The, 82
Wilde, Oscar, 79
Williams, Ralph Vaughn, 45
Wolpe, Stefan, 38
Women s Song, 32
Wood, Charles, 25
World War I, 25-26
Wunderheater; Das, 49
Wunderlich, Fritz, 82

Schueneman Bruce - Minor Ballet Composers

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Schueneman Bruce - Minor Ballet Composers

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Minor Ballet Composers:

This edition published 2012 by Routledge

SUMMARY. Ballet possesses a rich tradition of music written for

Ballet is a curious art. While telling a story, it uses no words,

[Haworth co-indexing entry note]: "Introduction." Schueneman, Bruce R Co-published simulta-

© 1997 by The Haworth Press, Inc. All rights reserved. 1

oped in three stages. At first it was only performed at court. Lully

circus. 5 Similar doubts about the "usefulness" of ballet (or indeed

stories are included to flesh out the intellectual character of these

© 1997 by The Haworth Press, Inc. All rights reserved. 5

ARENSKY, ANTON STEPANOVICH

ARENSKY, Anton Stepanovich, Russian composer, was born in

© 1997 by The Haworth Press, Inc. All rights reserved. 7

Amofin loves Ta-hor (Berenice in Une nuit d'Egypte) but is hope-

ARNELL, RICHARD ANTHONY SAYER

stirring/Dull roots with spring rain.") The ballet presents a serious

ASAF'YEV, BORIS VLADIMIROVICH

The Fountain of Bakchisaray tells the story of Marie, a Polish

ring in the denouncement, was read at the meeting of the All-Union

Another ballet based on the music of Auber is Joseph Mazilier's

BALAKIREV, MILY ALEXEYEVICH

kirev would take advice. When Glinka died in 1857, Balakirev,

converted into ballet music by Serge Diaghilev in 1912. Leon Bakst

BANFIELD TRIPCOVICH, (BARON) RAFFAELLO DE

fights a duel he doesn't realize he is actually fighting with Clorinda

was displeased. 'God doesn't pay any attention to Evelyn,' he

BERNSTEIN, Leonard, American composer, was born in Law-

BURGMULLER, JOHANN FRIEDRICH FRANZ

Achmet wakes he reluctantly believes that all was a dream until he

CHAUSSON, Ernest, French composer, was born in Paris on

COHEN, FREDERICK (FRITZ)

COHEN, Frederick (Fritz), German composer, was born in 1904

CONSTANT, Marius, French composer, was born in Bucharest,

24 Preludes (1967), and Nana (1976). He also wrote scores for

DELDEVEZ, Edouard-Marie-Emest, French composer, was

DELLO JOIO, NORMAN

DELLO JOIO, Norman, American composer, was born in New

D'ERLANGER, (BARON) FREDERIC

d'ERLANGER, (Baron) Frederic, French composer, was born in

Baron Frederic d'Erlanger was raised in France, came from German

demned in 1886, Drigo's position was effectively eliminated. Drigo

cracker. When Swan Lake was revived after Tchaikovsky's death,

The White Carnation. Drigo's major contributions to music, howev-

EGK, WERNER (WERNER MAYER)

EGK, Werner (Werner Mayer), German composer, was born in

Troy. The pure love of Marguerite saves Faust, but he is killed

FELDMAN, Morton, American composer, was born in New

FRAN<;AIX, Jean, French composer, was born in Le Mans on

Ianger. In 1930 he won a first prize in piano. In the 1930s Fran-raix

GABRIELLI, (COUNT) NICOLO

GADE, NIELS WILHELM

GADE, Niels Wilhelm, Danish composer, was born in Copenha-

switched at birth (Hilda is a woman, Birthe a troll changeling); this

GAUBERT, Philippe, French composer, was born in Cahors on

GIDE, Casimir, French composer, was born in Paris on July 4,

GLIERE, REINHOLD MORITZOVITCH

GLIERE, Reinhold Moritzovitch, Russian composer, was born

GORDON, GAVIN MUSPRATT

GOTTSCHALK, LOUIS MOREAU

the second part features a magician who conjures up a series of

GOULD, Morton, American composer, was born in Richmond

HELSTED, Edvard, Danish composer, was born in 1816 and

HENZE, HANS WERNER

HENZE, Hans Werner. German composer, was born July 1, 1926