DOCSLIB.ORG

Apollon Musagète: a Classical Theme in Tee [Sic] Twentieth Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AFOILDN MUSAGh”I’z A CLASSICAL THEME IN TEE T;rlENTIETH CENTURP A Thesis Presenbd h Part- Fulfrtlnt of the Requirements for the Degree Kaster of Arts The Ohio State University 1975 Approved by Adviser Mvision of the History of Art For confidential use only Not for circulation, distribution, or publication All rights in this work are the property of Susan 8. G. Au 5ii TABLE OF CONTENTS List of Illustrations, iv, - Introduction, 1, I. Stravinsky'9 Conception and Creation of the Ballet, 11, II, Significant Productions of Apollon Musa+ts, 37. IIf, The Iconopaphy of Apollon Musadte, 108 . IV. APoUon Musagate and the Tk-ntieth Century, 157. Selected Bibliography, 163. Appendix: Published Photographs and Designs of ApoUon Musahete, 1928-1951., 166, Illustrations. UST OF ILLUSTRATIONS 1. Adolph Bolm in Apsllon Musa&te, 1928. (Maurice Goldberg) 3. Martin, The Dance, New York, 1946, 100. -- 2, Andre/Bauchant, Champs-Eldes. Oil on canvas, 39-1/8 x 4).1/2 (sight), Signed, lower right in oil: A, Bauchant/ 1927. Hartford, Vadsworth Atheneum 1933.395. Bo Taper, Balanchine, revised and updated ed, , Collier edition, New * York, 19'74, 102. Data from Hartford, Wadsworth Atheneum, The Serm Lifar Collection of Set and Costume Des.ims, comp. M,C, Palmer and S.J. Wagstaff, Hartford, 1965, 18, * 3. And& Bauchant, ApoUon Apparaissant aux Bermrs, 195. G, DetdUe and G. MLLys, Les Ballets de Monte Carlo, 1911- 19% Paris, 19% 135. 4, Andd Bauchant, Apo'llon Apparaissant aux Bergers, 1928. M, Lederman,,(ed, ) , Stravinsks in the Theatre , New York, 194.9, 157. 5. Andre) Bauchant, Le Char d'AwUon. Oil on canvas, 23-5/8 x 27-3/4, Signed. lower left in oil: A, Bauchant/l928. Hart- ford, Wadsworth' Atheneum 1933.396, Strasbourg, hcienne Douane, Les Ballets Russes de Serm de Diaghilev. 1909-1924, Strasbourg, ' 1969, 237, pl, IlO, Data from iiartford, Wadsuorth Atheneum. The S9re Lifar Collection, 18. 6, Apotheosis scene, ApoUon Musadte, Ballets Russes, 1928, The Illustrated Locdon News) The Illustrated London News, . &AX.XII,- July 7, 1928, 13 (middle). 7. AnclrQ Bauchant, Souttepir d'Awllon Phsaate. Oil on canvas, 32-1/8 x 39-1/8. Signed, lower right: A. Bauchant/l939. The fibright-Knox Art Gallery, Buffdo. G. Arnberg, Art in Modern Ballet, New York, 1946, pl. 77. Data from The New York Public Library, Strav3nsk.v and the Theatre, Mew York, 1963, 28. 8, A Muse, Apollon Musagate, Ballets Russes, 1928. (Lipdtzki) Captioned as Felia ljoubrovska (Calliope), but the gesture is that of Polyhymnia. A, Levinson, La 3anse d'aujowd'hui, Paris, 1929, 89. 9. Pas $'action, Apouon Musa&t;e, Ballets Russes, 1928. H, =arb, Ballet Music, 2nd rev. ed., New York, 1973, facing pas 103. 10. Apollo and four Muses, Apollon Ihsadte, Ballets Husses, 1928. A.L. Haskell, Diaahileff, New York, 1935, facing pap 305. U, "Sdnmimg lesson," pas de deux, Adlon Xusazbte,, Ballets Russes, 1928, Ni!!itina as Terpsichore. (The Illustrated London News) The Illustrated London News, CUKUI, July 7, 1928, 13 (below, V Ballets Husses, 1928, Danilova as Bo Kochno, Diaddlev and the Ballets Russes, New York, 1970, 267. - 13. ltSleeping" pose, coda , Apollon Nusadte , Ballets Russes, 1928, Abut tho House, 11, Christmas 1966, 17. 14. Four poses, ApoUon Musaqb, Ballets Husses, 1928, The "many- legged creature" pose at lower right, (The Times, London) Theatre Arts, xjlxu:, November 1947, 36. 15. Stewart Chaney, set design for second scene, Apollon Nusae;$';e, The American Ballet, 1937. (Columbia Concerts Corporation) Lo Kirstein, ttHomage to Stravinsky,I' Arts and Decoration, XLVI, &Y 1937, 14 (above), 16, Stewart Chaney, costme designs for Terpsichore, Polyhymnia, and Calliope (left to right), Apollon Musagate, The Anerican Ballet, i 1937. (Columbia Concerts Corporation) LbstBin, "Homage to Stravinsky," 14 (blow) , 17. Stewart Chaey, costum design for Apollo, Apoll~nMusaate, The American Ballet, 1937. Theatre Arts Monthly, AX..il,1937, 4U (top left). figs, 16-17. Four designs for costumes, 1937. Gouache on gas' paper, 9-3/4 x 12-3/4, The Museum of Modern Art, Hew York. Data from The New York Public Library, Stravinsky and the Theatre, 28, 18, Stewart Chaney, set design, Apollon lhsadlte, The Amrican Ballet, 1937. Theatre Arts Monthly, dI, 1937, 4U- (below) , 19. Apotheosis scene, AmDon 1-hsadte, The Amerban Ballet, 1937. (The Times, London) CON. Eeaumont, aallet Desim Fast 233 Present, London, 1946, 115 (blow). 20. Apotheosis scene, ADollon Ibfusa&b, The American Ballet, 1937. J. Martin, Ths Dance, New York, 1946, 72 (left). 2'1. "Creation of Adam" pose, pas de deux, Apollon I.Iusa*b, The AInerican Ballet, 1937. Dance Index, vf, 1947, 29 (left). 22, "l)lany-legged creature" pose, _I_coda, ADolJon 1+usa&te, The American Ballet, 1937. The New York Fubfic Library, Stravinskg and the Dance, New York, 1962, 29, pl. 5. 23, Three Muses, Apollon bInsa&te, The American Ballet, 1937. Dance -Index, VI, 1947, 29 (right), Four poses, Apollon Musagzte, American Ballet Caravan, 1941. (Schulmann) Dance Index, IV, February-March 1945, 25 (middle right and left, blow right. and left). Pawl Tchelitchew, set design for opening of Apollon Xusagbte, 1942. Dance Index, 111, January-February 1944, 31 (above), Pawl Tchelitchew, set design for apotheosis, Apollon Musa~h, 1942. Dance Indez, 111, January-February lw,31 (below). figs 25-26, Two designs for decor, 1942. Gouache, 13-7/8 x 24-5/8 (sight). The Museum of Modern Art, New York. Data from The New York Public Library, Stravinsks and the Theatre, 28. Pave1 Tchelitchew, page from a sketchbook, costumes for the Muses at lower left, Signed and dated 1942, Dance Irdex, III, January-February 1W, 2. Pas d’action, APollon Musa.&s, 1942, Dance Index, I, July 1942, 102 (below). Igor Youskevitch as ApoUo, A OUO,BaUet Theatre, 1946-47 season or later, (Fred FehlP- R. Lawrence, The Victor Book of Ballets and Ballet Music, New York, 1950, 36. Apollo three Muses, Anollo, Bdlet Theatre, lw3. (Dwight Godwin) G, Anberg, Ballet in Americq, New York, 1949, following page 108. Pas d‘action, Apollo, Ballet Theatxe, 194.60 (Roer Wood) F. Hall, Modern Endish Ballst;, London, 1950, facing pap 64 “hy-legged creature” pose, coda_, Awllo, Ballet Theatre, 1946- 47 season, Youskevitch as Apollo. (Fred Feu) Theatre .rirts, m, May 1947, 33 (blow). Andd Delfau, set design for ADoXon Musaate, Paris O&a Ballet, 194.7, Watercolor, l+l/L~ x 18. The ijew York Public Library. The New York Public Library, Stravinskv 2nd the Dmce, 28, pl, 4. Data from The New York Public Library, Stravinsky and the Theatre, 28. Pas d’action, Apollo, Leader of the hiasas, The New York City Ballet, 1951. {Fred Feu) B.H, Baggin, Ballet Chronicle, New York, 1970, 135 (above). 36, Andr6 Eaevsky as Apollo, Auollo, Leader of the Muses, The New York City Ballet, 192. R, Krokover, Tho New Borzoi Book of wlets, New York, 1956, pl, la, 37. Coda, ApoUo. Leader of the ~USQS,The New York City Ballet, 1951. (Fred Fehl) t Haggin, gallet Chronicle, 135 (below). 38, Coda, Apollo, Leader of the Muses, The New York City Ballet, 1951, (Fred Fehl) A, Chujoy, The New York City Ballet, New York, 1.953, following page 48. 39. Pas d'action, ARO~O,The New York City Ballet, 1957. (Fred Fehl) Taper, i3alanchine, 107 (blow), 40. "Swimming lesson," as de ciewc, Apollo, The New York City Ballet, 1957. (F'dmper, i3alanchim, 106 (below), 41. !!.Many-legged creatare" pose, coda, _Apollo, The New York City Ballet, c. 1957. (Martha Swope) L, Kirstein, Movement and Metaphor, New York, 1970, pl, 436. 42, -Coda, Apollo, The-Mew York City Ballet, C. 1957. (Martha Swpe) Kirstein, mvement and mtaphor. PL 435. 43,, Pas d'action, ApoUo, The New York City Bdllet, 1965. (Martha Suope) liirstein, Hovement and Metaphor, pl. 434. 44, Apotheosis scene, Apollo, The New York City Ballet, 1962. (Fritz Peyer) E, doegler, Balanchine and das moderne Baett, BanOq3P. 1964, 69. 45. "Sleephg" pose, a,&ollo, The New York City Ballet, 1962, (Fritz Pep?) Loegler, Balanching, 68 (left). 46, rrTroika,rrcoda, Awllo, The New York City Ballet, 1962. (bit2 Peysr) Eoeaer, ~alanchir~,68 (right), 47, Prologue, Apo?, Cuba, Jorge Esquivel as ApoUo. (Osvaldo Salas) Dance hagazine, AUV, March 1970, 40 (detail), 48, Pas d'action, ADO~~O,?ais Op6ra Ballet, 1974. Guest stars Rudolf Nureyev (Apllo) and &rle Park, (Lido) Dance ad Dancers, UV, July 1974, 36 (above left). 4% "w-legpd crezture" pose, coda, ADO~~O,Pmrican Bdet Theatre, 1974. Dance and Dancers, UV, July 1974, 39 (zbove), ,53. Let0 Givine: Birth to Acollo (?), relief-decorabd amphora from Thebs, post 700 3.C. Athens, National Huseum j898. B 1.20 m, K, &bfold, S-yth ad Legend in Early Greek kt, trans A. Hicks, New York, 1966, pl. 12. 51. Awllo. Attributed to Agostino di Duccio or Ihtteo de' Pasti, Chapel of tho Liberal Arts, Tempio Malabstiano, IbliniD Mid shteenth century. E. iiinbrnitz, Musical Instruments anct their S_ymboUsm in Vestern Art, London, 1967, PlD 4b. ._. 52. Apollo and the Ihses. Attributed t0 Giulio Romano. Paaszo Pitti, Florence. First half of the sixteenth century. A, Blunt, Nicolas Poussin, Washington, &c,, 1967, 1, pl. 123, 53. Hellos in his Chariot. Attic red-figure hater, c. 440 B,C, London, British ih.weum E446. R.P. Hinks, Myth and X!.lep,wy in Ancisnt Art, London, 1939, p1, la. 9. Andr-odda. Decor for prologue, 1650, S.Y. Deierkanf-Holsboer, L'Histoire de la mise en scbe dans le the2tre francais- 3 Paris de 1600 B 1673, paris, 1960, pi. ALnI. 55, Costume for Apollo (Louis XLV), Watercolor sketch by Torelli (?>, 169. Paris, BibliothBque de l'Institut, M.-F. Christout, Le-Ballet de-cow de Lo&s XIV, 1.643-1672, Paris, 1967, PlD 33.
Recommended publications
  • February 12 – 16, 2016

    February 12 – 16, 2016

    February 12 – 16, 2016 danceFilms.org | Filmlinc.org ta b l e o F CONTENTS DA N C E O N CAMERA F E S T I VA L Inaugurated in 1971, and co-presented with Dance Films Association and the Film Society of Lincoln Center since 1996 (now celebrating the 20th anniversary of this esteemed partnership), the annual festival is the most anticipated and widely attended dance film event in New York City. Each year artists, filmmakers and hundreds of film lovers come together to experience the latest in groundbreaking, thought-provoking, and mesmerizing cinema. This year’s festival celebrates everything from ballet and contemporary dance to the high-flying world of trapeze. ta b l e o F CONTENTS about dance Films association 4 Welcome 6 about dance on camera Festival 8 dance in Focus aWards 11 g a l l e ry e x h i b i t 13 Free events 14 special events 16 opening and closing programs 18 main slate 20 Full schedule 26 s h o r t s p r o g r a m s 32 cover: Ted Shawn and His Men Dancers in Kinetic Molpai, ca. 1935 courtesy of Jacob’s Pillow Dance festival archives this Page: The Dance Goodbye ron steinman back cover: Feelings are Facts: The Life of Yvonne Rainer courtesy estate of warner JePson ABOUT DANCE dance Films association dance Films association and dance on camera board oF directors Festival staFF Greg Vander Veer Nancy Allison Donna Rubin Interim Executive Director President Virginia Brooks Liz Wolff Co-Curator Dance on Camera Festival Paul Galando Brian Cummings Joanna Ney Co-Curator Dance on Camera Festival Vice President and Chair of Ron
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006

    Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006

    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
  • Finding Aid for Bolender Collection

    Finding Aid for Bolender Collection

    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
  • Les Muses De L'opéra

    Les Muses De L'opéra

    les muses de l’opéra DOSSIER PÉDAGOGIQUE DÉPARTEMENT JEUNE PUBLIC P. 1 / dossier pédAgogique / LES MUSES DE L’opéra NATIONAL DU RHIN EN DEUX MOTS La tradition la plus courante en fait les filles de Zeus et de Mnémosyne, déesse de la mémoire et du souve- nir. Zeus les aurait engendrées au terme de neuf nuits d’amour. Neuf nuits durant, Zeus s’unit à Mnémosyne, loin des immortels, dans sa couche sainte. Et quand vient la fin d’une année et le retour des saisons, elle en- fante neuf filles aux cœurs identiques qui n’ont comme souci que de chanter, dans leur belle demeure près de la plus haute cime de l’Olympe. Ensemble, elles repré- sentent l’harmonie, la célébration de l’intelligence et de la créativité humaine, la volonté de l’homme de tou- jours se dépasser, d’aller au-delà de sa condition de simple mortel, pour atteindre, par l’art et le devoir de mémoire, la postérité et conquérir l’immortalité. Indivi- duellement, elles symbolisent une activité intellectuelle permettant à l’homme de développer ses talents, son savoir et son savoir-faire pour tenter d’atteindre, dans chaque domaine, la perfection. Certaines d’entre elles ont connu un succès plus grand, variable selon les époques. Dans le domaine poétique, elles se sont peu à peu confondues avec le symbole de « la » muse, inspiratrice du poète, expression de ses élans et de ses difficultés de créateur. La muse du poète n’est pas non plus sans incarner la femme idéale, quête de l’amour sublimé.
  • Lew Christensen and Gisella Caccialanza Papers

    Lew Christensen and Gisella Caccialanza Papers

    http://oac.cdlib.org/findaid/ark:/13030/c82z1cms No online items Lew Christensen and Gisella Caccialanza Papers Finding aid created by Museum of Performance and Design, Performing Arts Library staff using RecordEXPRESS Museum of Performance and Design, Performing Arts Library 2200 Jerrold Avenue Suite T San Francisco, California 94124 4157413531 [email protected] http://www.mpdsf.org/ 2021 Lew Christensen and Gisella 984.018 1 Caccialanza Papers Descriptive Summary Title: Lew Christensen and Gisella Caccialanza Papers Dates: 1903-1988 Collection Number: 984.018 Creator/Collector: Christensen, Lew, 1909-1984Caccialanza, Gisella, 1914- Extent: 19 Boxes Repository: Museum of Performance and Design, Performing Arts Library San Francisco, California 94124 Abstract: Lew Christensen was born in Brigham City, Utah on May 9, 1909. He a was dancer, choreographer, teacher and ballet director. Christensen was married to Gisella Caccialanza. Gisella was born in San Diego, California on September 17, 1914. She studied dance with Enrico Cecchetti at La Scala, Milan, Italy and at the School of the American Ballet. Christensen appeared in vaudeville with his brothers Harold and Willam, In 1935 he became a member of the American Ballet with which he danced the title roles In "Orpheus" and "Apollo". He worked with the Ballet Caravan (1936-1940) and the Dance Players (1941-1942). After war service he joined the Ballet Society (1946-1948). He also worked with the New York City Ballet. In 1951 he became the director and principal choeographer for the San Francisco Ballet, a position he held until his death in 1984. The Christensen/Caccialanza Papers includes correspondence, libretti, clippings, photographs, negatives, programs, brochures, flyers, souvenir books, scrapbooks, audiotapes, and transcripts.
  • Stravinsky Oedipus

    Stravinsky Oedipus

    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
  • Christensen Brothers by Sheryl Flatow

    Christensen Brothers by Sheryl Flatow

    Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West.
  • Introduction

    Introduction

    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
  • Robert J.Mcleod Photography Collection

    Robert J.Mcleod Photography Collection

    http://oac.cdlib.org/findaid/ark:/13030/c8xp7bdz No online items Robert J.McLeod Photography Collection 002.087 Finding aid prepared by Katlin Cunningham and Supriya Wronkiewicz Processing, cataloging, digitization, and access supported in part by an award from the National Endowment for the Arts. Art Works. Museum of Performance and Design, Performing Arts Library San Francisco, CA 2018 May 31 Robert J.McLeod Photography 002.087 1 Collection 002.087 Title: Robert J.McLeod Photography Collection, Identifier/Call Number: 002.087 Contributing Institution: Museum of Performance and Design, Performing Arts Library Language of Material: English Physical Description: 7.0 Linear feet 7 records cartons Date (inclusive): 1980-2002 Abstract: The Robert J. McLeod Photography Collection is comprised of McLeod's photography in various formats such as printed photographs, film negatives, and 35mm slides, most of which were taken during the 1970’s-1980’s. McLeod worked for the San Francisco Examiner and the San Francisco Chronicle as a photographer and a photo editor for almost forty years, photographing several significant figures and events in the Bay Area. McLeod had a passion for photographing dancers taking classes, in rehearsals and during performances. The collection focuses primarily on ballet dancers and companies from the Bay Area including San Francisco Ballet. The collection also features work by his wife, Beth Witrogen and includes images from other photographers. The collection is arranged in the following series: San Francisco Ballet; Dancers and Choreographers; Individuals; Photographic Materials; and Print Materials. Creator: McLeod, Robert Copyright Copyright has been assigned to the Museum of Performance + Design. Restrictions Entire collection is open for research use.
  • 61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A

    61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A

    CHAPTER 4 CONNECTIONS AND CONFLICT WITH STRAVINSKY Connections and Collaborations A close friendship between Arthur Lourié and Igor Stravinsky began once both had left their native Russian homeland and settled on French soil. Stravinsky left before the Russian Revolution occurred and was on friendly terms with his countrymen when he departed; from the premiere of the Firebird (1910) in Paris onward he was the favored representative of Russia abroad. "The force of his example bequeathed a russkiv slog (Russian manner of expression or writing) to the whole world of twentieth-century concert music."1 Lourié on the other hand defected in 1922 after the Bolshevik Revolution and, because he had abandoned his position as the first commissar of music, he was thereafter regarded as a traitor. Fortunately this disrepute did not follow him to Paris, where Stravinsky, as did others, appreciated his musical and literary talents. The first contact between the two composers was apparently a correspondence from Stravinsky to Lourié September 9, 1920 in regard to the emigration of Stravinsky's mother. The letter from Stravinsky thanks Lourié for previous help and requests further assistance in selling items from Stravinsky's 1 Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the 61 62 apartment in order to raise money for his mother's voyage to France.2 She finally left in 1922, which was the year in which Lourié himself defected while on government business in Berlin. The two may have met for the first time in 1923 when Stravinsky's Histoire du Soldat was performed at the Bauhaus exhibit in Weimar, Germany.
  • B-RECORDS Ascanio B-RECORDS Ascanio P.1

    B-RECORDS Ascanio B-RECORDS Ascanio P.1

    B-RECORDS Ascanio P.1 B-RECORDS Ascanio P.2 B-RECORDS Ascanio P.4 CAMILLE SAINT-SAËNS — ASCANIO Opéra en cinq Actes et sept Tableaux livret de Louis Gallet Première exécution absolue de la version conforme au manuscrit autographe de 1888. Concerts enregistrés les 24 et 26 novembre 2017 à Genève. Guillaume Tourniaire direction musicale Raphaël Hardmeyer Charles Quint Olivia Doutney Une Ursuline Jean-François Lapointe Benvenuto Cellini Joé Bertili Pagolo Choeur de la Haute école Bernard Richter Ascanio de musique de Genève Ève-Maud Hubeaux Scozzone Choeur du Grand Théâtre de Genève Jean Teigten François Ier Alan Woodbridge chef de chœur Karina Gauvin La Duchesse d'Étampes Clémence Tilquin Colombe D'Estourville Orchestre de la Haute école Mohammed Haidar Un Mendiant de musique de Genève Bastien Combe D'Estourville Maxence Billiemaz D'Orbec Joidy Blanco flûte solo B-RECORDS Ascanio P.5 B-RECORDS Ascanio P.6 ORCHESTRE DE LA HAUTE CLARINETTES CHŒUR DU GRAND THÉÂTRE ALTOS ÉCOLE DE MUSIQUE DE GENÈVE Marina Yamashita, Mio Yamashita DE GENÈVE Leilla Attigui, Camille Bourquin, Pierre-Antoine Marçais Roberto Balistreri Ornella Corvi, Alina Delgadillo, chef d’orchestre assistant BASSONS Assistant du chef de choeur Zoé Vauconsant Aline Kalchofner, Citlalli Medina Durán, VIOLONS Carla Rouaud (et contrebasson) SOPRANOS TÉNORS Lucie Menier (1er VS), Camille Guilpain Fosca Aquaro, Chloé Chavanon, Paul Belmonte, Quentin Monteil, (2ème VS), Jou Chan, Sen Chan, CORS Magali Duceau, Györgyi Garreau-Sarlos, Jeka Pawel, Marin Yonchev Seat Byeol Choi, Benjamin
  • Convert Finding Aid To

    Convert Finding Aid To

    Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939.