Synopses & Reviews
From his musical beginnings as a piano player in gambling houses and society cafandeacute;s, Louis Horst (1884-1964) became one of the chief architects of modern dance in the twentieth century. How a musician untrained in dance came to make such a mark is told here for the first time in rich detail.
At the center of this story is Horst's relationship with Martha Graham, who was his intimate for decades. andquot;I did everything for Martha,andquot; Horst said late in life. Indeed, as her lover, ally, and lifelong confidante, he worked with such conviction to make her the undisputed dance leader in the concert world that Graham herself would later remark: andquot;Without him I could not have achieved anything I have done.andquot; Drawing on the conversation and writings of Horst and his colleagues, Janet Mansfield Soares reveals the inner workings of this passionate commitment and places it firmly in the context of dance history.
Horst emerges from these pages as a man of extraordinary personality and multifaceted talent: a composer whose dance scores, such as the one for Graham's Primitive Mysteries, became models for many who followed; a concert pianist for American dancers such as Doris Humphrey and Helen Tamiris, as well as their German counterparts; an editor and writer whose advocacy for American dance made him a leading critic of his time; and, above all, a teacher and mentor whose work at the Neighborhood Playhouse, the Bennington School of Dance, American Dance Festival, and Juilliard helped shape generations of dancers and choreographers.
Richly illustrated, sensitive to intimate detail and historical nuance, this comprehensive biography reveals the raison d'etre underlying Horst's theories and practices, offering a wealth of insight into the development of dance as an art form under his virtually unchallenged rule.
Review
andquot;Ms. Soares makes it clear that Louis Horst was a trailblazer, indispensable not only to Graham's efforts but to a system of teaching and evaluating dance composition that laid claim to a new and vital art formandmdash;one that expressed life in a new century with a new movement language. . . . The humility and particular genius of the man comes through, as a musician willing to serve the dance, as a mentor willing to serve the choreographer, and as a visionary championing a new breed of artists.andquot;andmdash;Peter Sparling, Chair, Department of Dance, University of Michigan (Former Principal Dancer, The Martha Graham Dance Company)
Review
andquot;Louis Horstandmdash;cantankerous, loveableandmdash;all but spanked American modern dance into existence. As accompanist to all the pioneer choreographers, as composition teacher to countless young dancers, as Martha Graham's music director, guide, and lover, he deserves this biography. It has the depth that only fine research can give and the affectionate understanding that only a former pupil and assistant can reveal.andquot;andmdash;Deborah Jowitt, Dance Critic, Village Voice
Review
andquot;A wonderful book about a remarkable man who inspired and instructed generations of American dancers.andquot;andmdash;Martha Clarke, Director/Choreographer
Synopsis
From his musical beginnings as a piano player in gambling houses and society cafes, Louis Horst (1884-1964) became one of the chief architects of modern dance in the twentieth century. Accepting a job as musical director for the Denishawn Dance Company in 1915, Horst set out on a remarkable career that would eventually embrace composing, theorizing, and teaching. He had an incalculable influence on many important dancers of the day, particularly Martha Graham, who was his student and intimate for decades. Horst's biography, recounted here in rich detail by Janet Mansfield Soares, constitutes a crucial and colorful chapter in the story of modern American culture. At the center of this story is Horst's relationship with Martha Graham. "I did everything for Martha", Horst said late in life. Indeed, as her lover, ally, and lifelong confidante, he worked with such conviction to make her the undisputed dance leader in the concert world that Graham herself would later remark: "Without him I could not have achieved anything I have done". Drawing on the conversation and writings of Horst and his colleagues, Soares reveals the inner workings of this passionate commitment and places it firmly in the context of dance history. Horst emerges as a man of extraordinary personality and multifaceted talent. Soares shows how his dance scores, such as the one for Graham's Primitive Mysteries, became models for America's leading composers. She describes Horst's musical relationship with important figures such as Doris Humphrey and Helen Tamaris, as well as their German counterparts. She documents his founding and editing of the journal Dance Observer in an attempt to win recognition for American dance, anenterprise that established him as a leading critic of his time. Above all, Soares evokes Horst as a teacher. At the Neighborhood Playhouse, the Bennington School of Dance, the American Dance Festival, and Juilliard, he translated modernist theories into practical means of expression for dance, thus leaving his mark on future generations of dancers and choreographers. Soares has written the first comprehensive biography of this pivotal figure in the dance world. Richly illustrated, sensitive to intimate detail and historical nuance, it reveals the raison d'etre underlying Horst's theories and practices and offers insight into the development of dance as an art form under his virtually unchallenged rule. Janet Mansfield Soares first met Louis Horst as a young dancer at Juilliard. She became his assistant while pursuing a career as performer and choreographer under his tutelage. Since 1964 she has taught dance composition courses based on his work at Juilliard and at Barnard College, where she is currently Chair of the Dance Department. This book is the product of ten years of research and writing and a lifelong enthusiasm for the art of choreography fostered by Louis Horst.
Description
Includes bibliographical references (p. [231]-239) and index.
About the Author
"A wonderful book about a remarkable man who inspired and instructed generations of American dancers."—Martha Clarke, Director/Choreographer"Louis Horst—cantankerous, loveable—all but spanked American modern dance into existence. As accompanist to all the pioneer choreographers, as composition teacher to countless young dancers, as Martha Graham's music director, guide, and lover, he deserves this biography. It has the depth that only fine research can give and the affectionate understanding that only a former pupil and assistant can reveal."—Deborah Jowitt, Dance Critic, Village Voice"Ms. Soares makes it clear that Louis Horst was a trailblazer, indispensable not only to Graham's efforts but to a system of teaching and evaluating dance composition that laid claim to a new and vital art form—one that expressed life in a new century with a new movement language. . . . The humility and particular genius of the man comes through, as a musician willing to serve the dance, as a mentor willing to serve the choreographer, and as a visionary championing a new breed of artists."—Peter Sparling, Chair, Department of Dance, University of Michigan (Former Principal Dancer, The Martha Graham Dance Company)