Antony Tudor in Gala Performance, photographed by Carl Van Vechten, 1941

Antony Tudor (4 April 1908 – 19 April 1987) was an English ballet choreographer, teacher and dancer.

Biography[link]

Tudor, born William Cook, discovered dance accidentally. He began dancing professionally with Marie Rambert in 1928, becoming general assistant for her Ballet Club the next year. A precocious choreographer, at age twenty-three he created for her dancers Cross Garter'd, then Lysistrata, The Planets and other works at the little Mercury Theatre, Notting Hill Gate, and his two most revolutionary, Jardin Aux Lilas (Lilac Garden) and Dark Elegies, before the age of thirty, himself dancing the main roles.

In 1938, he founded the London Ballet with Rambert members, including his future life partner, Hugh Laing^[1], Andreé Howard, Agnes de Mille, Peggy van Praagh, Maude Lloyd and Walter Gore, but with the onset of World War II, in 1940 was invited with them to New York, joining Richard Pleasant's and Lucia Chase's reorganized Ballet Theater. Chase's company was later to become the American Ballet Theatre, with which Tudor was closely associated for the rest of his life.

He was resident choreographer with Ballet Theater for ten years, restaging some of his earlier works but also setting the new works, his great Pillar of Fire, Romeo and Juliet, Dim Lustre and Undertow, on that company by the end of the war. Retiring from dancing in 1950, he headed the faculty of the Metropolitan Opera Ballet School, taught at the Juilliard School recurrently from 1950 onwards, and was artistic director for the Royal Swedish Ballet from 1963-64. He choreographed three works for the New York City Ballet. Tudor continued his teaching career as Professor of Ballet Technique at the Department of Dance, University of California, Irvine from 1973 (work curtailed by a serious heart condition), while rejoining American Ballet Theatre in 1974 as associate artistic director, creating The Leaves Are Fading and Tiller In the Fields, his last major work, in 1978. With Laing, he continued seasonal residence in Laguna Beach, California.

Tudor was awarded a creative arts medal by Brandeis University, the Dance Magazine and Capezio awards, New York City's Handel Medallion, and both Kennedy Center and Dance/USA National Honors.^[2] Tudor was inducted into the National Museum of Dance C.V. Whitney Hall of Fame in 1988.

Legacy[link]

Antony Tudor is generally accepted to be one of the great originals of modern dance forms. Along with George Balanchine, he is seen as a principal transformer of ballet into a modern art, but of a genius that uses, rather than proceeds from, ballet forms. His work is usually considered as modern “psychological” expression, but — like their creator - of austerity, elegance and nobility. Mikhail Baryshnikov stated: "We do Tudor's ballets because we must. Tudor's work is our conscience."^[3] A disciplined Zen Buddhist, Antony Tudor died on Easter Sunday in his residence at the First Zen Institute of America, aged 79.^[4]

[edit] Major works^[5]

References[link]

1. ^ Re: Laing (1911-1988), see his entry in The Encyclopedia of Dance & Ballet, Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), pp. 202f; and William Como, "Editor's log: Hugh Laing", Dance Magazine (July 1988), p. 32
2. ^ For these and other cited facts, see the obituary statement by Gary Parks, "Antony Tudor, 1908-1987", Dance Magazine 61 (August 1987): 19; Tudor's entry in The Encyclopedia of Dance & Ballet, Mary Clarke and David Vaughan, eds (New York: Putnam, 1977), pp. 341f; and On Point (Friends of American Ballet Theatre) 13, no. 1 (Fall 1986): pp. 3-4
3. ^ On Point 13, no.1, p. 3
4. ^ For an essay interpretation of the man and his art, see Olga Maynard, "Antony Tudor: A Loving Memoir", Dance Magazine: 61 (August 1987): pp. 18-19, illustrated. For closer interpretation of Tudor's work through the 1950s, see Olga Maynard, The American Ballet (Philadelphia: Macrae Smith Company, 1959), 'Antony Tudor', pp. 127-38
5. ^ A listing of Tudor's works and important dates is available at "Dancepages: Antony Tudor" (14 November 2005) [1]

Further reading[link]

• Chazin-Bennahum, Judith (1994). The Ballets of Antony Tudor: Studies in Psyche and Satire. New York: Oxford University Press. 
• Perlmutter, Donna (1995). Shadowplay: The Life of Antony Tudor. NYC: Limelight Editions. ISBN 978-0-87910-189-3. 

See also[link]

• Marie Rambert
• Agnes de Mille
• Maya Deren
• American Ballet Theatre
• New York City Ballet
• Broadway theatre

External links[link]

• [2] Zen Notes obituary issue, 34:5 (May 1987), includes "Tudor Dies" by Mary Farkas; "Notes on Tudor" by Clara Gibson Maxwell and Suzanne Ames.
• [3] Clara Gibson Maxwell, "Dancing Tudor's Cereus," Zen Notes, 28:10 (October 1981): 6
• Archival film of Antony Tudor's Gala Performance in 1959 at Jacob's Pillow
• Archive film of Antony Tudor's Jardin aux Lilas in 1953 at Jacob's Pillow
• Hugh Laing and Antony Tudor papers, 1911-1988 Jerome Robbins Dance Division, New York Public Library.

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Sallie Wilson (1932–2008) was a noted ballerina who appeared with New York City Ballet where she danced opposite Martha Graham in the premiere of Graham and George Balanchine's collaboration at NYCB, Episodes in May, 1959, and subsequently with American Ballet Theatre, where she was associated with several ballets created by Antony Tudor. In 1966, she achieved a triumph as Hagar in ABT's revival of Tudor's ballet Pillar of Fire, set to the music of Arnold Schoenberg's Transfigured Night. The ballet is loosely based on the poem that inspired Schoenberg piece (although rather loosely) rather than the Biblical story of Hagar. ^[1]

Ms. Wilson made one television appearance, as Mrs. Stahlbaum, the mother of Clara (Gelsey Kirkland), in Mikhail Baryshnikov's television version of Tschaikovsky's The Nutcracker, and one film appearance, in the 1973 PBS documentary American Ballet Theatre: A Close-Up in Time. She also appeared on Merv Griffin's television special "Sidewalks of New England" in 1968, performing a dance from Agnes DeMille's "Fall River Legend".

Sallie Wilson was born in Fort Worth, Texas and died of cancer in Manhattan, on April 27, 2008.

References[link]

1. ^ Pillar Of Fire, ABT archives

External links[link]

• Sallie Wilson, 76, Dramatic Ballerina Famed for Antony Tudor Roles - NY Times obituary by Jack Anderson, April 29, 2008
• Internet Movie Database entry, The Nutcracker
• IMDB entry, Sallie Wilson

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Sir Anthony James Dowell, CBE (born 16 February 1943 in London, United Kingdom) is a retired English danseur and former Artistic Director of the Royal Ballet. He studied at the Hampshire School and The Royal Ballet Schools, before joining the Royal Ballet in 1961.^[1] He was ultimately promoted to the most senior rank of Principal Dancer, and is recognised as one of the companies star dancers of the 1970s and early 80s. He is most noted for the role of Oberon in The Dream by Sir Frederick Ashton and for his filmed performance as Prince Siegfried in Swan Lake with Natalia Makarova in 1980. He also formed a famous partnership with dancer Antoinette Sibley. After retiring as a principal dancer, in 1984 he was appointed Assistant to the Director of the Royal Ballet, being promoted to Associate Director in 1985. He was appointed as artistic director of the Royal Ballet in 1986, and held the position until 2001 when he officially retired.^[2][3] He continues to be active in the dance industry as a guest teacher and lecturer. He is a Governor of the Royal Ballet School and is also a member of organisations such as the Royal Academy of Dance^[4] and the Imperial Society of Teachers of Dancing.^[5]

Roles[link]

Proving to have a strong technique, lyrical quality, and extraordinary dramatic sensibilities, by 1966 Dowell was promoted to the rank of principal dancer and created other rôles in Ashton's works including Beliaev in his A Month in the Country, Troyte in Enigma Variations, and Lo Straniero in Varii Capricci. For Sir Kenneth MacMillan, he created Des Grieux in Manon, Benvolio in Romeo and Juliet, Kchessinska’s partner in Anastasia, the Boy in Triad and Autumn in The Four Seasons. He also created the Boy with Matted Hair in Antony Tudor’s Shadowplay, Prospero in Nureyev’s The Tempest and the leading rôle in Hans van Manen’s Four Schumann Pieces, for which he was the inspiration. Rôles in which he was particularly praised include the leads in Ashton’s La Fille mal gardée, Cinderella, Daphnis and Chloë and Symphonic Variations; MacMillan’s Song of the Earth, Ondine and Romeo and Juliet; La Bayadère, Jerome Robbins’ Dances at a Gathering and In the Night and Balanchine’s Agon. That "he is, without a doubt, the finest Drosselmeyer who has ever danced the rôle....is without question. Sir Anthony is a consummate man of the theater...one of the last we shall know....We should rejoice in the recorded legacy of his work onstage." -Michael Maglaras

In demand[link]

In the late 1970s he danced with both The Royal Ballet in London and American Ballet Theatre in New York where his extensive repertory included the rôle of Solor in the first performances of Natalia Makarova’s production of La Bayadère. One of his last full dancing rôles was as Palemon in a revival of Sir Frederick Ashton's ballet, Ondine in the late 1980s. While Artisic Director of the Royal Ballet, Dowell presented a new version of The Sleeping Beauty. The production was filmed and features Dowell in the character rôle of Carabosse.

A new career[link]

In September 1986 he was appointed Director of The Royal Ballet, a post he held until August 2001, (having become Assistant to the Director in September 1984 and Associate Director in 1985). He was succeeded by Ross Stretton.

References[link]

• Willis, Margaret (1 August 1999), DOWELL TO LEAVE ROYAL BALLET IN 2001, Dance Magazine
• Simpson, Jane (January 1999), Legend: Anthony Dowell, Ballet.co.uk
• Anthony James DOWELL, C.B.E., Artistic Director,. Royal Ballet. For services to Ballet Supplement to The London Gazette, 17 June 1995
• Portraits of Sir Anthony Dowell (National Portrait Gallery), painted by Alan Bergman, Philip Harris, and Bernard Lee Schwartz

External links[link]

• Anthony Dowell at the Internet Movie Database

v t e Ballet General information ballets companies glossary history music timeline Ballet terminology Ballet d'action Barre Ballet blanc Comic ballet Contemporary ballet Ballets de cour Demi-soloist Divertissement Narrative ballet Neoclassical ballet Opéra-ballet Pas de deux Pas de quatre Pas de trois Pièce d'occasion Pointe shoes Romantic ballet Turnout Tutu Variation Ballet by genre character classical contemporary neoclassical Ballet by region British French Italian Russian Dancers American British French Russian Technique Balanchine Bournonville Cecchetti Royal Academy Vaganova Ballet apparel dance belt leotard pointe shoes slippers tights tutu unitard Schools The National Ballet School of Canada Stuttgart Ballet Cuban National Ballet School Elmhurst School for Dance English National Ballet School Moscow State Academy of Choreography Royal Ballet School School of American Ballet La Scala Theatre Ballet School Vaganova Academy of Russian Ballet Royal Winnipeg Ballet Companies American Ballet Theatre Anaheim Ballet Atlanta Ballet Ballet Manila Ballet Philippines Barcelona Ballet Berlin State Ballet Birmingham Royal Ballet Bolshoi Ballet Boston Ballet Cairo Opera Ballet Company Cape Town City Ballet Carolina Ballet Cincinnati Ballet Cuban National Ballet Dayton Ballet Donetsk Ballet Dutch National Ballet English National Ballet Finnish National Ballet Georgian National Ballet Greek National Opera Guangzhou Ballet Hamburg Ballet Hong Kong Ballet Houston Ballet Iaşi Romanian National Opera Iranian National Ballet Company Joffrey Ballet K-ballet Kiev Ballet Korea National Ballet Company La Scala Theatre Ballet Les Ballets de Monte Carlo Les Grands Ballets Canadiens Los Angeles Ballet Mariinsky Ballet Moldova National Opera Ballet National Ballet of Canada National Ballet of China National Ballet Theater of Puerto Rico National Opera and Ballet National Theatre Munich New Jersey Ballet New York City Ballet Norwegian National Opera and Ballet Oklahoma City Ballet Oregon Ballet Theatre Pacific Northwest Ballet Paris Opera Ballet Philippine Ballet Theatre Polish National Ballet Queensland Ballet Royal Danish Ballet Royal New Zealand Ballet Royal Swedish Ballet Royal Winnipeg Ballet San Francisco Ballet Scottish Ballet Shanghai Ballet Company Spanish National Dance Company Stuttgart Ballet The Australian Ballet The Royal Ballet Tokyo Ballet Tulsa Ballet Universal Ballet West Australian Ballet Ballet portal Did you know? today's news today's article today's biography today's picture recent news 2009 2008

Diana Gould may refer to:

• Diana Gould (dancer) (1912-2003), British ballerina and occasional actress and singer
• Diana Gould (writer), screenwriter for television and short story author

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

William Howard Schuman (August 4, 1910 – February 15, 1992) was an American composer and music administrator.

Life[link]

Born in Manhattan in New York City to Samuel and Rachel Schuman, Schuman was named after the twenty-seventh U.S. president, William Howard Taft, although his family preferred to call him Bill. Schuman played the violin and banjo as a child, but his overwhelming passion was baseball. While still in high school, he formed a dance band, "Billy Schuman and his Alamo Society Orchestra", that played local weddings and bar mitzvahs in which Schuman played string bass.

In 1928 he entered New York University's School of Commerce to pursue a business degree, at the same time working for an advertising agency. He also wrote popular songs with E. B. Marks, Jr., a friend he had met long before at summer camp. About then Schuman met lyricist Frank Loesser and wrote some forty songs with him. Loesser's first published song, "In Love with a Memory of You", credits the music to William H. Schuman.

On April 13, 1930, Schuman went with his older sister, Audrey, to a Carnegie Hall concert of the New York Philharmonic, conducted by Arturo Toscanini.^{[citation needed]} According to the Philharmonic's archives, the program included works by Brahms, Mendelssohn, Castelnuovo-Tedesco, and Smetana.^[1] Of this experience, Schuman later said, "I was astounded at seeing the sea of stringed instruments, and everybody bowing together. The visual thing alone was astonishing. But the sound! I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer."^{[cite this quote]}

Schuman dropped out of school and quit his part-time job to study music at the Malkin Conservatory with Max Persin and Charles Haubiel. From 1933 to 1938 he studied privately with Roy Harris. In 1935, Schuman received his B.S. degree in Music Education from Teachers College at Columbia University. Harris brought Schuman to the attention of the conductor Serge Koussevitzky, who championed many of his works. Koussevitzky conducted Schuman's Symphony No. 2 in 1939. Possibly Schuman's best known symphony, the Symphony for Strings, was commissioned by the Koussevitzky Foundation, dedicated to the memory of Natalie Koussevitzky, and was first performed under Koussevitzky on November 12, 1943.^{[citation needed]}

In 1943 he won the inaugural Pulitzer Prize for Music for his cantata, A Free Song, adapted from poems by Walt Whitman. From 1935 to 1945, he taught composition at Sarah Lawrence College. In 1945, he became president of the Juilliard School of Music, founding the Juilliard String Quartet while there. He left in 1961 to become the first president of Lincoln Center, a position he held until 1969. In 1987, he was awarded the National Medal of Arts.^[2] He died in New York City at age 81.

Music[link]

Schuman left a substantial body of work. His "eight symphonies, numbered Three through Ten", as he himself put it (the first two were withdrawn), continue to grow in stature. His concerto for violin (1947, rev. 1959) has been hailed as among his "most powerful works ... it could almost be considered a symphony for violin and orchestra." Other works include the New England Triptych (1956, based on melodies by William Billings), the American Festival Overture (1939), the ballets Undertow (1945) and Judith (1949) (the latter written for Martha Graham), the Mail Order Madrigals (1972) to texts from the 1897 Sears Roebuck catalog, and two operas, The Mighty Casey (1953, based on Ernest L. Thayer's Casey at the Bat), which reflected his lifelong love of baseball, and A Question of Taste (1989, after a short story by Roald Dahl). He also arranged Charles Ives' organ piece Variations on "America" for orchestra in 1963, in which version it is better known. Another popular work by William Schuman is his George Washington Bridge (1950), for concert band.

Television appearance[link]

William Schuman appeared as the opening guest on the CBS game show, What's My Line? on September 30, 1962 (episode No. 632). Because of his recognizability, panel members Dorothy Kilgallen, Martin Gabel, Arlene Francis, and Bennett Cerf were blindfolded. Schuman's title card identified him as "Composer and President of Lincoln Center for the Performing Arts (New York City)". Schuman displayed his wit in response to panel questions. After the panel exhausted a few categories, Kilgallen asked, "What about music?" Schuman replied, "What about it?" When asked if he was Leonard Bernstein, Schuman replied, "He's a friend." When asked if he was Rudolf Bing, Schuman repeated, "He's a friend," prompting Francis to wonder who was not his friend. When asked if he had ever sung for the Metropolitan Opera, Schuman said, "Often desired to, never invited." Cerf identified him after host John Charles Daly had flipped over all the cards. Daly announced that Schuman's Eighth Symphony would be performed at Philharmonic Hall (now Avery Fisher Hall) the following Thursday, which date, October 4, 1962, marked the première of the work. It was recorded for Columbia Masterworks Records five days later by its performers, the New York Philharmonic conducted by Bernstein.

Works[link]

Opera[link]

• The Mighty Casey (1953, based on Ernest L. Thayer's Casey at the Bat)
• A Question of Taste (1989, after a short story by Roald Dahl)

Ballet[link]

• Undertow (1945, written for Antony Tudor)
• Night Journey (1947, written for Martha Graham)
• Judith (1949, written for Martha Graham)
• Voyage for a Theatre (1953, written for Martha Graham; withdrawn)
• The Witch of Endor (1965, written for Martha Graham; withdrawn)

Orchestral[link]

• Symphonies
  • Symphony No. 1 (1935; withdrawn)
  • Symphony No. 2 (1937; withdrawn)
  • Symphony No. 3 (1941)
  • Symphony No. 4 (1941)
  • Symphony for Strings (Symphony No. 5) (1943)
  • Symphony No. 6 (1948)
  • Symphony No. 7 (1960)
  • Symphony No. 8 (1962)
  • Symphony No. 9 Le fosse Ardeatine (1968) [viz. Ardeatine massacre]
  • Symphony No. 10 American Muse (1975)
• American Festival Overture (1939)
• Prayer in Time of War, originally titled Prayer 1943 (1943)
• Circus Overture (1944)
• Credendum (1955, commissioned by UNESCO)
• New England Triptych (1956, based on melodies by William Billings)
• In Praise of Shahn (1969)
• American Hymn (1980)
• Showcase: A Short Display for Orchestra (1986)

Concertante[link]

• Piano Concerto (1942)
• Violin Concerto (1947; 1st rev., 1954; 2nd rev. 1957–8)
• A Song of Orpheus, for cello and orchestra (1962)
• To Thee Old Cause, for oboe and orchestra (1968)
• Concerto on Old English Rounds, for viola, female chorus and orchestra (1973)
• Three Colloquies, for horn and orchestra (1979)

Vocal/Choral[link]

• Prelude for Voices (1939, to texts by Walt Whitman)
• Orpheus with His Lute (1944, to a text by William Shakespeare)
• Five Rounds on Famous Words (1956/69)
• Carols of Death (1958, to texts by Walt Whitman)
• Mail Order Madrigals (1972, to texts from the 1897 Sears Roebuck catalog)
• The Young Dead Soldiers (1975, to a text by Archibald MacLeish)
• Time to the Old (1980, to texts by Archibald MacLeish)
• Perceptions (1982, to texts by Walt Whitman)
• Esses (1982)
• On Freedom's Ground (1985, to texts by Richard Wilbur)

Chamber/Instrumental[link]

• String Quartet no. 1 (1935; withdrawn)
• String Quartet no. 2 (1937)
• String Quartet no. 3 (1939)
• String Quartet no. 4 (1950)
• Voyage: a cycle of 5 pieces for piano (1953)
• Three Piano Moods (1958)
• Amaryllis: Variations for string trio (1964)
• In Sweet Music, Serenade on a setting of Shakespeare for flute, viola, voice and harp (1978)
• American Hymn, for brass quintet (1980)
• Dances, for wind quintet and percussion (1985)
• String Quartet no. 5 (1987)
• Chester: Variations for piano (1988)

Band[link]

• Newsreel, in Five Shots (1941)
• George Washington Bridge (1950)
• Chester Overture (1956) from New England Triptych
• When Jesus Wept (1958) from New England Triptych
• Philharmonic Fanfare (1965), unpubd [withdrawn]
• Dedication Fanfare (1968)
• Be Glad then, America (1975) from New England Triptych

Arrangements[link]

• Circus Overture, for band, arr. Don Owen (originally for orchestra--1944)
• Variations on "America", for orchestra (1963, arranged from Ives's organ piece with the same name)

References[link]

• Joseph W. Polisi, American Muse: The Life and Times of William Schuman, New York: Amadeus Press, 2008 ISBN 978-1-57467-173-5
• Walter Simmons, Voices of Stone and Steel: The Music of William Schuman, Vincent Persichetti, and Peter Mennin, Lanham, MD: Scarecrow Press, 2010 ISBN 978-0-8108-5748-3.
• Steve Swayne, Orpheus in Manhattan: William Schuman and the Shaping of America's Musical Life, New York: Oxford University Press, 2011 ISBN 978-0-19-538852-7

External links[link]

• The William Schuman Music Trust
• William Schuman page at Theodore Presser/Merion Music
• William Schuman page at G. Schirmer/Associated Music Publishers
• William Schuman papers in the Music Division of The New York Public Library for the Performing Arts.
• Website for Joseph W. Polisi's book American Muse: The Life and Times of William Schuman (features streaming recordings of 10 Schuman compositions)
• NewMusicBox: A reprint of Chapter Four, "I Wanted to Run Before I Could Creep," from the book, American Muse: The Life and Times of William Schuman by Joseph W. Polisi
• NewMusicBox: Frank J. Oteri in conversation with Joseph W. Polisi, author of the book, American Muse: The Life and Times of William Schuman (features many photos and excerpts from William Schuman's scores)
• Website for Steve Swayne's book Orpheus in Manhattan: William Schuman and the Shaping of America's Musical Life
• Interview with William Schuman by Bruce Duffie, April 2, 1986