DOCSLIB.ORG

A Conversation with Mark Morris

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Conversation with Mark Morris Spring2011 Ballet Review From the Spring 2011 issue of Ballet Review A Conversation with Mark Morris On the cover: Mark Morris’ Festival Dance. 4 Paris – Peter Sparling 6 Boston – Jeffrey Gantz 8 Stupgart – Gary Smith 10 San Francisco – Leigh Witchel 13 Paris – Peter Sparling 15 Sarasota, FL – Joseph Houseal 17 Paris – Peter Sparling 19 Toronto – Gary Smith 20 Paris – Leigh Witchel 40 Joel Lobenthal 24 A Conversation with Cynthia Gregory Joseph Houseal 40 Lady Aoi in New York Elizabeth Souritz 48 Balanchine in Russia 61 Daniel Gesmer Ballet Review 39.1 56 A Conversation with Spring 2011 Bruce Sansom Editor and Designer: Marvin Hoshino Sandra Genter 61 Next Wave 2010 Managing Editor: Roberta Hellman Michael Porter Senior Editor: Don Daniels 68 Swan Lake II Associate Editor: Joel Lobenthal Darrell Wilkins 48 70 Cherkaoui and Waltz Associate Editor: Larry Kaplan Joseph Houseal Copy Editor: 76 A Conversation with Barbara Palfy Mark Morris Photographers: Tom Brazil Costas 87 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Associates: Peter Anastos 100 Check It Out Robert Greskovic George Jackson Elizabeth Kendall 70 Paul Parish Nancy Reynolds James Supon David Vaughan Edward Willinger Sarah C. Woodcock CoverphotobyTomBrazil: MarkMorris’FestivalDance. Mark Morris’ Festival Dance. (Photos: Tom Brazil) 76 ballet review A Conversation with – Plato and Satie – was a very white piece. Morris: I’m postracial. Mark Morris BR: I like white. I’m not against white. Morris:Famouslyornotfamously,Satiesaid that he wanted that piece of music to be as Joseph Houseal “white as classical antiquity,”not knowing, of course, that the Parthenon was painted or- BR: My first question is . ange and turquoise and then all the glass, all Morris: You haven’t asked a question. the statues. The marble wasn’t the valuable BR: Okay, I don’t need to. As I understand, part. The realism was the wonderful part. you started out in folk dance, European folk BR: There’s a nineteenth-century painter dance. I think “folk” is a dumb word. I don’t that I couldn’t think of last night . like labeling things folk – or ancient dance, Morris: Jacques-Louis David. There are a traditional dance, indigenous dance, ethnic couple of visual quotes from his very famous dance. By the time you call it “folk,” the folk painting “The Death of Socrates.” But more aren’t doing it anymore. specifically, the palette of costumes is as di- Morris: I also don’t like the terms “live mu- rectly as it can be from that one painting. The sic” or “modern dance” . “world dance” or pigment doesn’t translate to light and fabric “world music.” I understand the usefulness of at all, but the three groups of colors are as spe- those terms. For some legal reason, we have to cific a quotation as you can get. call the gym in my building a wellness center. BR: In the first piece, The Muir, the color Wellness? I don’t even know what that is. It is palette alone was so beautiful. the word for health that has had a different Morris: That’s a Sir Walter Scott dance in life when it started. I call it a gym. I think the first place. that’s nice even when nobody’s naked. But re- BR: Does folk dancing inspire you? ally, “wellness”? Give me a break. Morris: No, it does not. It’s what I do. Anyway, flamenco was the first dance that I just made a title for the new dance: Festi- I did, but then shortly after that, I was study- val Dance, for six male/female couples. They ing Spanish folk dance: jota and Escuela Bol- stay in those couples through the whole thing. era. By the time I moved to Spain at seventeen, Maybe some queers will be upset, but it’s com- I had abandoned flamenco mostly and was pletely, as young people in college now say, studying the jota from Aragon. That was my “heteronormative.”Somebodyaskedmeabout thing. If that’s not folk dancing, I don’t know it, and I said, “No, why? Because what I do is what is. usually homonormative? I don’t know what It was also part of the times. There were a you’re talking about.” In Festival Dance there lot of people doing folk dancing. And I was a are couple dances and wine dances. It is very specialist in Croatian dancing. I taught Croa- hand-holding and it’s very folk dancing look- tian dance a lot, Bulgarian dancing, different ing, but I very rarely make direct quotations kinds of Romanian dancing. of somebody’s national dance because . BR: What is your background? BR:WhataboutthebrilliantMayPoledance Morris: What do you mean? in your production of Purcell’s King Arthur? BR: Your ethnic background. Morris: Well, it’s two things specifically. Morris: I don’t have one. Anglo, whatever. MayPoledancesareoftenMorrisdances.Mor- Welsh, more than anything. Both sides of my ris dancing includes May Pole dancing. I like family had a lot of Welsh in them. It started the idea that it’s a Morris dance. The other with a regular brew, with the Anglo mix. I’m thing is that it’s in the exact palindrome of white and from Seattle, etc. I’m postracial. that piece. Exactly. It’s not fake when they BR: I thought Socrates at last night’s concert undo the ribbons. It is exactly in the middle ©2011MarkMorris,JosephHouseal 77 King Arthur (2006). (Photo: Tom Brazil) because it’s a passacaglia, if the rhythm works voice and piano. You told me it’s hardly been out. done. This Chicago performance is only the The dancers wanted to kill me because if third one. There’s a lot to understand about one person fucks up, everybody’s . So we it. practiced without the ribbons. We did it a Morris: That’s what I love. It’s a concert for whole bunch of different ways. Then, in re- adults. Nobody does that. I like children too; hearsal, I said, “Take the ribbons,” and every- they would likeSocrates. It takes watching and body panicked. There was really no safety net listening. It takes some responsibility. to do that dance, which I love. BR: What about the supertitles? If you look If you do any combination, step-hop and up, you can’t watch the dancing. hop-step, you are treading on someone’s Morris: It depends on where you’re sitting, ethnic toes. It’s, “Oh, sorry.” I have a big, big and you can ignore them. I‘ve never done it knowledge of the catalogue of these dances before. Of course, why would anyone do that? and the styles of them. Even if it’s a hasapiko, Why would you have supertitles for a dance? or a horo, I know it well enough so I don’t have It’s ridiculous. to work it out. BR: The words are important: the Platonic There’s a dance in King Arthur that takes Dialogues. place in front of the curtain that’s in two Morris: Even if they know Satie, they don’t quadrilles. It’s a bourrée, an old French bour- know this piece of music, and not one line in rée. It looks like a contra dance, but it’s not. it repeats. There are no repeats, nothing re- And there’s a pretty direct quote from old peats. Some words repeat, you know, “the.” Provençal dance. You hold hands. You’re hold- The text is very important, or why would ing a basket or belts or hands or arms. That’s you set it to music? Since it doesn’t repeat, it already something. doesn’t have a romantic payoff. It’s a line of BR: Your Socrates to music by Erik Satie for text that goes off into the future. 78 ballet review Occasionally, a phrase will repeat, but the BR: Who? music never repeats exactly.There are melod- Morris: Johann Nepomuk Hummel. If Bee- ic themes that repeat, a bar will repeat. Peo- thoven hadn’tlived, he would be the only com- ple hear this music as repetitive and it’s very poser you’ve heard of from that period. As a much not. It’s hard to sing because it sweeps child he was a student of Mozart’s, and he was high and low. Even though it’s “climaxless,” a very great piano virtuoso, defined piano it’s a big, big tessitura. It sounds so simple, but technique for everybody, and was a famous the singer comes in at any time on any pitch. composer in the early nineteenth century. It’s not 5, 6, 7, 8 tonic. The piano system and Beethoven loved him. He was hugely popular the vocal system are stacked, but they’re not and wrote a lot of music. There’s only one fa- closely related. mous piece, his Trumpet Concerto, which Thereisasimpledeviceinthesecondmove- every trumpeter knows. The music prefigures ment, “The River Dance.” It only goes from left Shubert harmonically. It’s really wonderful to right, and one reads from left to right, so it and kind of corny, very Czech. It’s very sort of goes like that if you choose. I watch it now to Bohemian.YouknowIlovethat.There’savery “proofread” it. I like that you can do that if hard piano part and not so hard violin and you want to. cello parts. In March we’re doing some concerts in my BR: Are you a musician? building, [in the James and Martha Duffy Per- Morris: Yes. formance Space] that seats 140 people. You’re BR: Do you play an instrument? lucky to get in.
Load more

Recommended publications
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [Show full text]
  • View PDF Document
    Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask.
    [Show full text]
  • Passacaglia PRINT
    On Shifting Grounds: Meandering, Modulating, and Möbius Passacaglias David Feurzeig Passacaglias challenge a prevailing assumption underlying traditional tonal analysis: that tonal motion proceeds along a unidirectional “arrow of time.” The term “continuous variation,” which describes characteristic passacaglia technique in contrast to sectional “Theme and Variations” movements, suggests as much: the musical impetus continues forward even as the underlying progression circles back to its starting point. A passacaglia describes a kind of loop. 1 But the loop of a traditional passacaglia is a rather flattened one, ovoid rather than circular. For most of the pattern, the tonal motion proceeds in one direction—from tonic to dominant—then quickly drops back to the tonic, like a skier going gradually up and rapidly down a slope. The looping may be smoother in tonic-requiring passacaglia themes (those which end on the dominant) than in tonic- providing themes, as the dominant harmony propels the music across the “seam” between successive statements of the harmonic pattern. But in both types, a clear dominant-tonic cadence tends to work against a sense of seamless circularity. This is not the case for some more recent passacaglias. A modern compositional type, which to my knowledge has not been discussed before as such, is the modulatory passacaglia.2 Modulating passacaglia themes subvert tonal closure via progressions which employ elements of traditional tonality but veer away from the putative tonal center. Passacaglias built on these themes may take on a more truly circular form, with no obvious start or endpoint. This structural ambiguity is foreshadowed in some Baroque ground-bass compositions.
    [Show full text]
  • A Conversation with Gelsey Kirkland & Misha Chernov
    Spring 2010 Ballet Revi ew From the Spring 2010 issue of Ballet Review A Conversation with Gelsey Kirkland and Misha Chernov On the cover: New York City Ballet’s Tiler Peck in Peter Martins’ The Sleeping Beauty. 4 New York – Alice Helpern 7 Stuttgart – Gary Smith 8 Lisbon – Peter Sparling 10 Chicago – Joseph Houseal 11 New York – Sandra Genter 13 Ann Arbor – Peter Sparling 16 New York – Sandra Genter 17 Toronto – Gary Smith 19 New York – Marian Horosko 20 San Francisco – Paul Parish David Vaughan 45 23 Paris 1909-2009 Sandra Genter 29 Pina Bausch (1940-2009) Laura Jacobs & Joel Lobenthal 31 A Conversation with Gelsey Kirkland & Misha Chernov Marnie Thomas Wood Edited by 37 Celebrating the Graham Anti-heroine Francis Mason Morris Rossabi Ballet Review 38.1 51 41 Ulaanbaatar Ballet Spring 2010 Darrell Wilkins Associate Editor and Designer: 45 A Mary Wigman Evening Marvin Hoshino Daniel Jacobson Associate Editor: 51 La Danse Don Daniels Associate Editor: Michael Langlois Joel Lobenthal 56 ABT 101 Associate Editor: Joel Lobenthal Larry Kaplan 61 Osipova’s Season Photographers: 37 Tom Brazil Davie Lerner Costas 71 A Conversation with Howard Barr Subscriptions: Don Daniels Roberta Hellman 75 No Apologies: Peck &Mearns at NYCB Copy Editor: Barbara Palfy Annie-B Parson 79 First Class Teachers Associates: Peter Anastos 88 London Reporter – Clement Crisp Robert Gres kovic 93 Alfredo Corvino – Elizabeth Zimmer George Jackson 94 Music on Disc – George Dorris Elizabeth Kendall 23 Paul Parish 100 Check It Out Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover photo by Paul Kolnik, New York City Ballet: Tiler Peck Sarah C.
    [Show full text]
  • An Early American Sleeping Beauty from Ballet Review Summer 2015
    Summer 2015 Ball et Review An Early American Sleeping Beauty from Ballet Review Summer 2015 CoverphotographbyCostas:WendyWhelanandNikolajHübbe inBalanchine’sLaSonnambula . © 2015 Dance Research Foundation, Inc. All rights reserved. 4 Brooklyn – Susanna Sloat 5 Berlin – Darrell Wilkins 7 London – Leigh Witchel 9 New York – Susanna Sloat 10 Toronto – Gary Smith 12 New York – Karen Greenspan 14 London – David Mead 15 New York – Susanna Sloat 16 San Francisco – Leigh Witchel 19 Boston – Jeffrey Gantz 21 New York – Harris Green 39 22 San Francisco – Rachel Howard 23 London – Leigh Witchel Ballet Review 43.2 24 Brooklyn – Darrell Wilkins Summer 2015 26 El Paso – Karen Greenspan Editor and Designer: 31 San Francisco – Rachel Howard Marvin Hoshino 32 Chicago – Joseph Houseal Managing Editor: Roberta Hellman Sharon Skeel 34 Early American Annals of Senior Editor: Don Daniels The Sleeping Beauty Associate Editor: 54 Christopher Caines Joel Lobenthal 39 Tharp and Tudor for a Associate Editor: New Generation Larry Kaplan Michael Langlois Webmaster: 46 A Conversation with Ohad Naharin David S. Weiss Copy Editors: Leigh Witchel Barbara Palf y* 54 Ashton Celebrated Naomi Mindlin Joel Lobenthal Photographers: Tom Brazil 62 62 A Conversation with Nora White Costas Nina Alovert Associates: 70 The Mikhailovsky Ballet Peter Anastos Robert Greskovic David Mead George Jackson 76 A Conversation with Peter Wright Elizabeth Kendall Paul Parish James Sutton Nancy Reynolds 89 Indianapolis Evening of Stars James SuZon David Vaughan Leigh Witchel Edward Willinger 70 94 La Sylphide Sarah C. Woodcock Jay Rogoff 98 A Conversation with Wendy Whelan 106 London Reporter – Clement Crisp 110 Music on Disc – George Dorris Cover photograph by Costas: Wendy Whelan 116 Check It Out and Nikolaj Hübbe in La Sonnambula .
    [Show full text]
  • Music in the “New World”: from New Spain to New England Objectives
    Music in the “New World”: From New Spain to New England objectives I. the villancico in Peru (what’s new about it) II. Spanish opera in Peru III. music in the British colonies [focus on the terms and the two works on your listening list] The “Age of Discovery” (for Europeans) • 1492: Christopher Columbus (Spain) • 1494: Treaty of Tordesillas • 1500: “discovery” of Brazil by Portuguese 1 Pre‐Columbian Civilizations • Mayans (Guatemala, 4th‐8th c.) • Aztecs (Mexico, late 12th c.‐1521) • Incas (Peru, 13th c.‐1533) music of Pre‐Columbian Civilizations • NO music survives • Music Sources: – 1. surviving instruments – 2. iconography – 3. writings about music by missionaries • music was inseparable from religious ritual 1. Surviving Instruments Aztec Flutes Incan stone panpipe 2 2. Iconography “New World” 17th‐18th c. Sacred Music in Hispanic America • Catholic liturgical music – tool for evangelism • Masses, Motets, etc. (in Latin) – Prima prattica works influenced by “Golden Age of Spanish Polyphony” • Cristóbal Morales • Tomás Luis de Victoria 3 Sacred Music in New Spain (Mexico) • Villancico – strophic song in Spanish with refrain Estribillo (refrain) Copla (strophe) A b b a or A Juan del Encina: Oy comamos y bebamos, villancico (late 15th cent.) • Estrebillo: • Refrain: Oy comamos y bebamos Today let’s eat and drink y cantemos y holguemos, and sing and have a good time que mañana ayunaremos. for tomorrow we will fast. • Copla 1 • Stanza 1 [mudanza] •[mudanza] Por onrra de sant Antruejo To honor Saint Carnival parémonos oy bien anchos, today let’s end up very fat, enbutamos estos panchos, let’s stuff our bellies, rrecalquemos el pellejo, let’s stretch our skin, [vuelta] [vuelta] que constumb’es de conçejo for it’s a custom of the council que todos oy nos hartemos, that today we gorge ourselves, que mañana ayunaremos, for tomorrow we will fast Villancico: “Tarara, tarara” by Antonio de Salazar (1713) A Tarara, tarara qui yo soy Anton Tada, tada, I’m Anthony, Ninglito di nascimiento Black by birth, Qui lo canto lo mas y mijo.
    [Show full text]
  • The Social-Psychological Outcomes of Dance Practice: a Review
    DOI:10.2478/v10237-011-0067-ySport Science Review, vol. XX, No. 5-6, December 2011 The Social-Psychological Outcomes of Dance Practice: A Review Alexandros MALKOGEORGOS* • Eleni ZAGGELIDOU* Evagelos MANOLOPOULOS* • George ZAGGELIDIS* ance involvement among the youth has been described in many Dterms. Studies regarding the effects of dance practice on youth show different images. Most refer that dance enhanced personal and social opportunities, increased levels of socialization and characteristic behavior among its participants. Socialization in dance differs according to dance forms, and a person might become socialized into them not only in childhood and adolescence but also well into adulthood and mature age. The aim of the present review is to provide an overview of the major findings of studies concerning the social-psychological outcomes of dance practice. This review revealed that a considerable amount of researches has been conducted over the years, revealed positive social- psychological outcomes of dance practice, in a general population, as well as specifically for adults or for adolescents. According to dance form the typical personality profile of dancers, danc- ers being introverted, relatively high on emotionality, strongly achievement motivated and exhibiting less favorable self attitudes. It is proposed that a better understanding of the true nature of the social-psychological outcomes of dance practice can be provided if specific influential factors are taken into account in future research (i.e., participants’ characteristics, type of guidance, social context and structural qualities of the dance). Keywords: dance, youth, personality traits, socialization Introduction Dance can be performed at home or at a park, without any equipment, alone or in a group, is a choreographed routine of movements usually performed to music.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H.
    [Show full text]
  • Balanchine in Russia
    Spring2011 Ballet Review From the Spring 2011 issue of Ballet Review Elizabeth Souritz on the Young Balanchine in Russia On the cover: Mark Morris’ Festival Dance. 4 Paris – Peter Sparling 6 Boston – Jeffrey Gantz 8 Stupgart – Gary Smith 10 San Francisco – Leigh Witchel 13 Paris – Peter Sparling 15 Sarasota, FL – Joseph Houseal 17 Paris – Peter Sparling 19 Toronto – Gary Smith 20 Paris – Leigh Witchel 40 Joel Lobenthal 24 A Conversation with Cynthia Gregory Joseph Houseal 40 Lady Aoi in New York Elizabeth Souritz 48 Balanchine in Russia 61 Daniel Gesmer Ballet Review 39.1 56 A Conversation with Spring 2011 Bruce Sansom Editor and Designer: Marvin Hoshino Sandra Genter 61 Next Wave 2010 Managing Editor: Roberta Hellman Michael Porter Senior Editor: Don Daniels 68 Swan Lake II Associate Editor: Joel Lobenthal Darrell Wilkins 48 70 Cherkaoui and Waltz Associate Editor: Larry Kaplan Joseph Houseal Copy Editor: 76 A Conversation with Barbara Palfy Mark Morris Photographers: Tom Brazil Costas 87 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Associates: Peter Anastos 100 Check It Out Robert Greskovic George Jackson Elizabeth Kendall 70 Paul Parish Nancy Reynolds James Supon David Vaughan Edward Willinger Sarah C. Woodcock CoverphotobyTomBrazil: MarkMorris’FestivalDance. Balanchine in Russia great nineteenth-century ballets: the Tchai - kov sky and Glazunov ballets, also Giselle, Le Corsaire, and Esmeralda plus Fokine’s ballets. And during the time that Balanchine worked in the company, there were important revivals Elizabeth Souritz of the ballets that suffered during the difficult years of civil war, when most of the great danc - Balanchine, as we know, left Russia in July ers of the Imperial Ballet went abroad.
    [Show full text]
  • Production Database Updated As of 25Nov2020
    American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS
    [Show full text]
  • Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years
    [Show full text]
  • PROGRAM NOTES Anton Webern Passacaglia for Orchestra, Op. 1
    PROGRAM NOTES by Phillip Huscher Anton Webern Born December 2, 1883, Vienna, Austria. Died September 15, 1945, Mittersill, near Salzburg, Austria. Passacaglia for Orchestra, Op. 1 Webern composed his Passacaglia in 1908 and conducted the first performance in Vienna that year. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, cymbals, bass drum, triangle, tam-tam, harp, and strings. Performance time is approximately eleven minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Webern’s Passacaglia were given at Orchestra Hall on February 10 and 11, 1944, with Désiré Defauw conducting. Our most recent subscription concert performances were given on November 25, 26, and 27, 1994, with Pierre Boulez conducting. The Orchestra first performed this work at the Ravinia Festival on July 28, 1990, with Gianluigi Gelmetti conducting, and most recently on July 22, 2000, with Bernhard Klee conducting. Op. 1 is a composer’s calling card—the earliest music that he officially sends out into the world. For every composer like Franz Schubert, whose first published work (the song Der Erlkönig) is a masterpiece that he will often equal but seldom surpass, there are countless others for whom op. 1 scarcely conveys what later years will bring. Orchestral music bearing op. 1 has seldom stayed in the repertory; it usually is followed by music which is better, more popular, and more characteristic—who today hears Stravinsky’s Symphony in E-flat, Richard Strauss’s Festmarsch, or Shostakovich’s Scherzo in F-sharp? Anton Webern’s op.
    [Show full text]