Scan 125
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
36 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1composer's interest in Afro-Brazilian secular and sacred dances.
3GHIRARD BÉHAGUE
5Cunningham, Arthur (b Piermont, NY, 11 Nov 1928). Black American composer. He began to study the piano at the age of six and wrote music for his own jazz band when he was 12. He received the BA in music from Fisk University and the MA from Columbia University Teachers College, and then studied further at the Juilliard School and privately. While serving in the US Army (1955-7) he wrote music for army bands, musical shows and television. The compositions of his mature period reflect his eclecticism, he draws freely on traditional techniques, serialism, jazz and rock—the last particularly in his later stage works. His career has included teaching and touring as a lecturer and conductor.
7WORKS
8(selective list)
9Orch Adagio, ob, str, 1954, Theatre Piece, 1966, Prometheus, 1966, Concentric, 1968, Lullaby for a Jazz Baby, 1970, The Walton Statement, db orch 1971
1019 works for ens, many solo and choral songs
1160 pieces for pf incl Engrams, 1970
125 stage works incl Strings and Jazz Quartet Ballet, 1968, Shango, 1969, Harlem Suite Ballet 1971
13Principal publisher Presser
15BIBLIOGRAPHY
16F Southern The Music of Black America: a History (New York 1971)
17FIFEN SOUTHERN
19Cunningham, (George) D(orrington) (b London, 2 Oct 1878, d Birmingham, 4 Aug 1948) English organist. He did more than any of his contemporaries to advance the standing of the instrument at a time when it was not highly regarded. Cunningham studied at the Royal Academy of Music and became a Fellow of the Royal College of Organists at 18. He served his apprenticeship as a concert organist during his 17 years at the Alexandra Palace (1901-18), then a music centre in north London comparable with the Crystal Palace in the south. This experience gave his technique a fine edge, developed his musicianship and equipped him with a wide-ranging repertory from which he instinctively excluded all that was meretricious.
21As city organist of Birmingham from 1924 until his death he made his weekly BBC midday recitals a national institution. His programmes were well chosen and brilliantly performed, his treatment of the orchestral transcriptions then in vogue were in impeccable taste. His 600th recital was celebrated on 10 June 1941 with a presentation to him by the Lord Mayor of Birmingham and in 1944 Birmingham University made him a DMus (a research fund for postgraduate students in music there perpetuates his name). Cunningham was a frequent solo performer at the Promenade Concerts at the Queen's Hall, and later in the Albert Hall, and was one of the first organists to make records. As conductor of the City of Birmingham Choir he inspired fine performances of Classical and contemporary works and did much to influence the younger generation of musicians as organ teacher and examiner at the RAM.
23STANLEY WFB
25Cuno, Johann. See KUHNAU, JOHANN.
27Cupis [De Cupis, Cuppis, Cuppi, Capi, Cappi] de Camargo. Franco-Flemish family of musicians active in Brussels and Paris. They originated in Rome, whence a branch emigrated to Brussels, the necrology for (2) Marie-Anne Cupis (the most famous member of the family) in the 1771 edition of Spectacles de Paris traces the name 'Camargo' to the Spanish wife of her grandfather Cupis. The Brussels Bibliothèque Royale contains an important manuscript (MS 1266) on the Cupis family.
29(1) Ferdinand-Joseph Cupis [de Camargo, Écuyer Seigneur de Renoussant] (b Brussels, baptized 29 Feb 1684, d Paris, 19 March 1757) Teacher of music and dancing. He taught in Brussels before moving to Paris about 1725-6 with his wife, Marie-Anne de Smedt, and their children. In Paris he played for society balls and continued to teach.
31(2) Marie-Anne Cupis ['La Camargo'] (b Brussels, baptized 15 April 1710, d Paris, 28 April 1770) Dancer, daughter of (1) Ferdinand-Joseph Cupis. She learnt dancing at an early age. At the bidding of members of the Belgian court she studied for three months in Paris about 1720 with Françoise Prévost, a famous opera dancer; on her return she became the first dancer at the opera. After an engagement in Rouen in 1725 she and her family moved to Paris where she made her début at the Opéra on 5 May 1726 in Les caractères de la danse (music by J-F Rebel). Thereafter she danced there regularly, appearing in many important premières including Rameau's Hippolyte et Aricie (1733) and his other theatrical works (her roles are fully listed in ES).
33Her success created resentment in Mlle Prévost, resulting in attempts to hinder Marie's career. Her early career was also marked by rivalry with Marie Sallé. But 'La Camargo' was nevertheless successful, and was also noted for her modesty and charity (though later she was involved in scandals, see Barbier). She influenced the aesthetics and technique of ballet, as the first dancer to shorten the skirts of her costumes to above the instep this immodest display of foot and ankle enabled her to make technical innovations (e.g. the entrechat) by allowing greater freedom of leg movement. She was famous for her leaps, one of which resulted in an accident that kept her off the stage in 1735, in the same year, her career was further interrupted by the demands of the Count of Clermont, the father of her two children. She returned to the stage in 1740 and danced in the 1747-9 seasons' productions in Bayreuth and those of the 1749-50 season in Lyons. La Camargo retired at the height of her fame in 1751 with an unprecedented pension from the king. She was the subject of numerous portraits (see DANC, fig 14), verses (Voltaire) and 19th-century operas (Lecocq and Enrico de Leva).
35(3) Jean-Baptiste Cupis (b Brussels, baptized 23 Nov 1711, d Montreuil, 30 April 1788) Violinist, composer, horseman and horticulturist, second son of (1) Ferdinand-Joseph Cupis. He first learnt the violin from his father. He moved with his family to Paris where he met and married Constance Dufour in 1729; they had two sons Jean Baptiste (d before 1778) and Marc-Suzanne-Jean (a cavalry captain at the time of his father's death). On 20 December 1737 Cupis received a privilège général to publish three sets of works, issued between 1738 and 1745. Although he was never a member of the chapel or the Académie Royale de Musique, he worked on the musical arrangements for the dauphin's marriage in 1745.
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