Two Hundred Eighth Program of the 2008-09 season ____________________ Indiana University Ballet Theater presents Ballets of Our Time Sweet Fields Choreography by Twyla Tharp Music by William Billings, William Walker, Abraham Woods and Jeremiah Ingalls Staged by Stacy Caddell Endless Night New Choreography by Michael Vernon Music by Philip Glass The Four Temperaments Choreography by George Balanchine Music by Paul Hindemith Staged by Sandra Jennings C. David Higgins, Designer Patrick Mero, Lighting Designer ____________________ Musical Arts Center Friday Evening, October Tenth Saturday Evening, October Eleventh Eight O’Clock music.indiana.edu Sweet Fields (1996) Choreography by Twyla Tharp Staged by Stacy Caddell Symphonic Choir Susan Swaney, Conductor IU Ballet Theater wishes to thank Susan Swaney and the Choral Department for their collaboration and assistance with this project. Music:Hymns from William Billings, the Shaker tradition, and The Sacred Harp I. William Billings: Thomas-Town (Great God how frail…) Vincent Brewer, Daniel Morales, Elliot O’Glasser, Tom Penman, Benjamin Warner II. William Billings: Chester Samantha Benoit, Kjersti Cubberley, Juliann Hyde, Demetria Schioldager, Jennifer Sherry, Lacy Simpson III. William Billings: Chesterfield Vincent Brewer, Daniel Morales, Elliot O’Glasser, Tom Penman, Pablo Sanchez, Benjamin Warner IV. Traditional Shaker: Come Life, Shaker Life Samantha Benoit, Kjersti Cubberley, Juliann Hyde, Demetria Schioldager, Lacy Simpson V. Traditional Shaker: Virgins clothed in a clean white garment… Vincent Brewer, Daniel Morales, Tom Penman, Pablo Sanchez, Benjamin Warner VI. William Walker: Sweet Prospect Kjersti Cubberley, Demetria Schioldager, Benjamin Warner VII. William Billings: Jordan Samantha Benoit, Kjersti Cubberley, Juliann Hyde, Demetria Schioldager, Jennifer Sherry, Lacy Simpson Vincent Brewer, Daniel Morales, Elliot O’Glasser, Tom Penman, Benjamin Warner VIII. Abraham Woods: Brevity Ben Delony IX. Jeremiah Ingalls: New Jerusalem Samantha Benoit, Kjersti Cubberley, Juliann Hyde, Demetria Schioldager, Lacy Simpson Ben Delony, Daniel Morales, Tom Penman, Pablo Sanchez, Benjamin Warner X. Jeremiah Ingalls: Northfield Samantha Benoit, Kjersti Cubberley, Juliann Hyde, Demetria Schioldager, Lacy Simpson Ben Delony, Daniel Morales, Elliot O’Glasser, Tom Penman,Pablo Sanchez, Benjamin Warner Sweet Fields, set to 18th- and 19th-century hymns, was made for an ensemble of Tharp’s own dancers. Inspired by Pythagorean geometry and its related harmony and restraint, simple and distinct patterns keep recurring throughout the piece, as basic geometric material evolves while one theme grows out of another. The geometric floor patterns and designs remain clear and crisply defined as canonic, counterpoint, and three-part counterpointed moves animate geometry. The shaking of the women’s hands responds directly to “Shaker” community articulations associated with the specific “Shaker Hymns” included in the musical mix. As the piece paces, pictures and gestures work toward a similarly sophisticated simplicity. The pervasive discipline and playful rigors of the choreography, could not, in Tharp’s own words, have been possible without her own Quaker origins. Original Costume Design by Norma Kamali Lighting originally by Jennifer Tipton Intermission Endless Night (World Première) New Choreography by Michael Vernon Doricha Sales, Ballet Mistress Music by . Philip Glass String Quartet No. 2, “Company” (born 1937) Metamorphosis IV String Quartet No. 4, “Buczak,” 3rd Movement Metamorphosis Four , String Quartet No. 2 (Company). and String Quartet No. 4 (Buczak) © 1988, 1983, 1989 Dunvagen Music Publishers Inc. Used by permission. I. Caitlin Kirschenbaum & Daniel Morales Kimberly Williams & Tom Penman II. Ivy Chow Katie Wood Kimberly Williams & Tom Penman III. Lacy Simpson Oct. 10: Ellen Barlow, Jasmine Brown, Sarah Crock, Elizabeth Fittro, Elisabeth Martin, Rachael Vrbancic Oct. 11: Paige Adams, Brette Benedict, Alyssa Lynch, Elisabeth Martin, Jordan Martin, Alex Shipley IV. Samantha Benoit, Kjersti Cubberley, Jennifer Sherry V. Daniel Ulbricht* with Anja Hoover VI. Colleen Anthonisen Maximillian Tortoriello Entire Cast *Appears courtesy of the New York City Ballet. Every night and every morn Some to misery are born, Every morn and every night Some are born to sweet delight. Some are born to sweet delight, Some are born to endless night. From Auguries of Innocence — William Blake (1757- 1827) Kuttner Quartet Peter Vickery, Violin Thomas Rogers,Violin Kaitlyn Flowers, Viola Ian Jones, Cello Florence Couvrette-Dupuis, Piano Intermission The Four Temperaments (1946) Choreography by George Balanchine Staged by Sandra Jennings Dan Duell & Guoping Wang, Ballet Masters University Orchestra Andres Moran, Conductor Susan Chou, Piano Music by . Paul Hindemith The Four Temperaments: Theme with Four Variations (1895-1963) First Theme Oct. 10: Caitlin Kirschenbaum & Benjamin Warner Oct. 11: Demetria Schioldager & Pablo Sanchez Second Theme Oct. 10: Lacy Simpson & Elliot O’Glasser Oct. 11: Colleen Anthonisen &Tom Penman Third Theme Oct. 10: Jennifer Sherry &Tom Penman Oct. 11: Samantha Benoit & Ben Delony Melancholic Oct. 10: Ben Delony Oct. 11: Vincent Brewer Carly Baum (10/10)/Elizabeth Rodbell (10/11), Kjersti Cubberley Ellen Barlow, Ivy Chow, Alex Shipley, Jasmine Brown Sanguinic Grace Reeves & Paul Dandridge Danielle Dyson, Annie Duffey, Juliann Hyde, Caitlin Kirschenbaum (10/11)/Demetria Schioldager (10/10) Phlegmatic Oct. 10: Pablo Sanchez Oct. 11: Benjamin Warner Marielle Bingham, Sarah Crock, Anja Hoover (10/11)/ Elizabeth Rodbell (10/10), Alison Trumbull Choleric Megan Liberty The Four Temperaments is one of George Balanchine’s earliest experimental works, fusing classical steps with a lean and angular style. The ballet is inspired by the medieval belief that human beings are made up of four different humors that determine a person’s temperament. Each temperament was associated with one of the four classical elements: earth, air, water, and fire. In turn, these were the basis of the four humors: black bile (melancholic—gloomily pensive), blood (sanguinic— headstrong and passionate), phlegm (phlegmatic—unemotional and passive), and bile (choleric—bad-tempered and angry). These make up the ballet’s four movements. The performance of The Four Temperaments, a Balanchine® Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style® and Balanchine Technique® Service standards established and provided by the Trust. Paul Hindemith Theme with Four Variations (according to the Four Temperaments). Used by arrangement with European American Music Distributors L.L.C., sole U.S. and Canadian agent for Schott Music GmbH & Co. KG. Germany, publisher and copyright owner. admission is always free IU Art Museum Be Inspired The Grand TourA T, – S – D , S E G Experience the phenomenon of the Grand Tour through paintings, sculptures, drawings, prints, photographs, and sketchbooks by travelers and artists. 812-855-5445 www.artmuseum.iu.edu Choreographic Biographies George Balanchine (1904-1983), The Four Temperaments George Balanchine, regarded as the foremost contemporary choreographer in the world of ballet, came to the United States in late 1933 following an early career throughout Europe. The son of a composer, Balanchine early in life gained a knowledge of music that far exceeds that of most of his fellow choreographers. Collaborating with Lincoln Kirstein, Balanchine co-founded the School of American Ballet in 1934 and formed the American Ballet in 1935. The American Ballet evolved into Ballet Society in 1946 and then premièred as the New York City Ballet in 1948, which serves as the company’s name to this day. George Balanchine’s authoritative catalogue of works lists 465 and has been the recipient of several awards. In 1978, he was one of five recipients of the first Kennedy Center Honors, presented by President Carter at the White House. He was also presented, by Queen Margrethe II of Denmark, with a Knighthood of the Order of Dannebrog, First Class. In 1980, Balanchine was honored by the National Society of Arts and Letters with their Gold Medal of Merit and by the Austrian government with its Austrian Cross of Honor for Science and Letters, First Class. In 1983, Balanchine was granted the Presidential Medal of Freedom, the highest honor that can be conferred upon a civilian in the United States. President Ronald Reagan praised Balanchine’s genius, saying he had “inspired millions with his stage choreography . and amazed a diverse population through his talents.” Twyla Tharp (1941), Sweet Fields Twyla Tharp was born in Portland, IN, and at age 10, moved with her family to California, where she studied dance at the Vera Lynn School of Dance. While attending Barnard College in New York City, she began dancing with Martha Graham and Merce Cunningham. Upon graduation, she joined the Paul Taylor Dance Company and, in 1965, formed her own company, Twyla Tharp Dance. With this company, Tharp began putting her signature on choreography, combining ballet technique with natural movements like running, walking, and skipping. While modern dance had historically aspired to high seriousness and spirituality, Tharp’s work was humorous and edgy. In 1988, Twyla Tharp Dance merged with American Ballet Theatre, where Tharp created more than a dozen works, including Push Comes to Shove featuring Mikhail Baryshnikov. Since the 1980s, Tharp choreographed pieces for