Ballet Music from Il Trovatore and I Vespri Siciliani; Overtures from La Forza del Destino, Nabucco, Alzira and Luisa Miller

Edward Greenfield;  Verdi;  Philharmonia;  Mackerras

doi:10.2307/949955

BALLET MUSIC FROM THE MANNHEIM COURT Part I: Christian Cannabich: Le rendes-vous, ballet de chasse Georg Joseph Vogler: Le rendez-vous de chasse ou Les Vendanges interrompues par les chasseurs Edited by Floyd K. Grave Recent Researches in the Music of the Classical Era, Volume 45. A-R Editions Inc., 1996 Part II: Carl Joseph Toeschi: Mars el Vénus Christian Cannabich: Médée et Jason Edited by Nicole Baker Recent Researches in the Music of the Classical Era, Volume 47. A-R Editions, Inc., 1997

Dance Research ◽

10.3366/drs.1998.16.1.81 ◽

1998 ◽

Vol 16 (1) ◽

pp. 81-85

Author(s):

Margaret M. McGowan

Keyword(s):

Ballet Music

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THE FORM OF THE SUITE IN BALLET AND ITS METRORHYTHMIC ORGANIZATION

Arts education and science ◽

10.36871/hon.202104005 ◽

2021 ◽

Vol 1 (4) ◽

pp. 41-46

Author(s):

A. V. Galyatina ◽

Keyword(s):

Igor Stravinsky ◽

Musical Form ◽

Classical Dance ◽

Swan Lake ◽

Corrective Effect ◽

Xixth Century ◽

Ballet Music ◽

Virtual Time ◽

Temporal Proportions ◽

Compositional System

The article reveals the peculiarities of metrorhythmic organization of the classical dance cycle (suite), typical for Russian ballet of the XIXth century and its evolution in the early XXth century under the influence of innovations in the field of rhythm in the ballets by Igor Stravinsky. The purpose of this article is to find mechanisms of interaction between dance and music based on coordination of their temporal parameters. The material of analysis is the classical dance cycle that performs both compositional and dramaturgical functions in the ballet. Apart from the metrorhythmic and compositional system of organizing time in ballet music, other types of time can be distinguished: real, psychological (subjective) and conceptual, artistic time organizing the processes of the characters' life cycle and the development of action in the virtual time of the artwork. In a classical dance cycle in each number, real time predominates, but when the numbers alternate, subject to the principle of contrast, the conceptual time has a corrective effect. The alternation of musical and choreographic numbers in a ballet determines the rhythm of the form or "compositional rhythm" (according to V. P. Bobrovsky). The correlation of temporal proportions of numbers is considered on the example of ballets "Swan Lake" by P. Tchaikovsky and "Petrushka" by I. Stravinsky. The compositional unit is the duration of the stage segment of the musical form, the change of which creates the rhythm of the form.

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S. PROKOFIEV'S "FLEETING MOMENTS": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE

Arts education and science ◽

10.36871/hon.202003014 ◽

2020 ◽

Vol 1 (3) ◽

pp. 115-125

Author(s):

E. O. Tsvetkova ◽

Keyword(s):

Musical Development ◽

Musical Characteristics ◽

Ballet Music ◽

Piano Cycle

The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle "Fleeting Moments". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as "plastic interpretation of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores, but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sharpness of musical characteristics, reliance on "sound gesture", ability to reproduce rhythmic intonation of mood. The "Fleeting Moments" cycle as a whole and in terms of individual pieces is analyzed from the standpoint of openness to choreographic embodiment and compliance with canonical ballet forms and situations. It is underlined that in Goleizovsky's ballet a deeply felt emotion is brought to the fore. Due to the precise adherence to the logic of musical development, conceived as chamber-like this composition embodies the prototype of choreographic symphonism. In Neumeier's ballet, on the contrary, the dramatic plot is emphasized. The choreographer achieves an extraordinary impact by combining classical and modern elements in choreographic vocabulary, supplementing them with movements of free plasticity.

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The Vsevolozhsky Reforms

Marius Petipa ◽

10.1093/oso/9780190659295.003.0009 ◽

2019 ◽

pp. 189-222

Author(s):

Nadine Meisner

Keyword(s):

Visual Effects ◽

Concert Hall ◽

Ballet Dancers ◽

Ballet Music

This chapter describes the arrival of Ivan Vsevolozhsky as director of the Imperial Theatres; Alexander III was a conservative and yet it was under his reign that the monopoly of the Imperial Theatres was dissolved. This brought about the emergence of commercial theatres, and with them, middlebrow entertainments, featuring virtuoso Italian ballet dancers. They also promulgated the féerie: a spectacular genre, emphasizing visual effects. The influence of the féerie and of Italian dancers on the Imperial Ballet and Petipa’s work is discussed, as are Vsevolozhsky’s reforms and his drive to elevate ballet music by introducing concert-hall composers, notably Tchaikovsky and Glazunov.

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