pnbdc

Hello all - just wanted to say re: Fonteyn/Nureyev - that my first real exposure to ballet began by watching a performance of theirs in Romeo and Juliet in San Francisco, many years ago - not long after he defected (not sure which year that was)- but the performance was in the late 60's. I stood in line for several hours to buy a ticket for this performance - and it was magical! I was absolutely transported - and will always remember it. She was so convincing as the young Juliet - and captivating in every way. My long career with ballet - piano soloist with NYCB, years of working with Balanchine in NYC and in Zurich, working on many ballets with Nureyev and becoming personal friends with him, and also playing for Margot in a benefit performance in NYC (Aurora's variation from S.B.)- all was sparked by that initial introduction in San Francisco to the art of ballet. It is true that technique has changed a great deal over the years, and the actual body muscle tone is developed differently now - however, Rudy and Margot were truly special and inspiring artists in all aspects.

Hello - Doug Fullington asked me to look in and post something about Symphony in Three Mvts. I was present for the Stravinsky Festival - playing for much of the new choreography. As I recall, Symphony in 3 was created in 10 days by Mr. B. (I thought that was amazing). He did not stipulate the facial expressions - but it was not meant to be menacing - but definitely full of energy. Since the piece includes so many elements, the expressions tended to match the movement. The principal man in that work was Helgi Thomasson - he was the original. He always had a pleasant expression - sometimes intense also - but not deliberately smiling. Too much smiling wouldn't match the music either - and Balanchine was sensitive to that as well. I hope this is somewhat illuminating. In general, Balanchine did not care for too much emoting - one was supposed to dance how one felt, and match the mood of the piece but he did not encourage "selling it" as sometimes happens too often these days. Thanks Doug - for calling this to my attention.

I also feel that one should 'dress up' for the theater - ballet, opera, symphony, etc. It shows respect for the arts, and is also a social occasion for which one should look one's best (like you, Mel, am also old fashioned in this manner). Here in the Pacific Northwest (Seattle), things can be a little too casual, but have noticed that most people wear nice clothing to the ballet, symphony and opera. I also feel that proper dress is a matter of education - and for that reason, my piano students must wear dressy clothes when they perform in recitals, here at my home, or elsewhere. No jeans, running shoes, are appropriate, and they all accept that. By the way, I love reading everyone's comments on various subjects - most interesting. Thanks.

Sorry, forgot to include that Sinfonia No. 9 is played only by strings. (Usually the rest of the orchestra is dismissed and the strings remain to rehearse that.)

I have been in NYC and SF, so missed a lot of postings. Doug called me about Midsummer music and orchestrations. The full orchestra is used to play the entire ballet, of course, but Sinfonia IX in C Major is the "Divertissement" coming just after the Wedding March. There is an 8 bar segue (composed by R. Irving, I believe) into the Sinfonia Nol. 9. The second movement is used, but only the first and last sections. It was choreographed at first, but Balanchine took it out. Too long, he said. The 3rd movt., is not used anymore. After the Sinfonia, which just ends, the "Son and Stranger" opus begins, the first part of which has the Divert couples exiting, and the Wedding March couples entering, with the soloists (lovers, etc.) At the conclusion of this, the incidental music (overture) returns, with Oberon and Titania, scene changes to forest, and ends with Puck sweeping the stage. I do think the ballet is masterfully conceived, and I never tire of watching (or playing it). Mr. B. did make the piano arrangement from the score for Sinfonia No. 9, (He also made the piano reduction of Mozart's Divertimento No. 15). Have also seen Ashton's 'Dream' which is most beautiful (if shorter). Thanks, Doug for telling me about this post, and telephoning for information.

Regarding Maria Tallchief's "Firebird" About 4 years I ago I recorded the music of Firebird for Maria Tallchief's and Michael Maule's silent film of a performance. (This was in connection with the Balanchine Foundation, and the Dance Center at Lincoln Center. I was piano soloist at the NYCB for several years, and worked with Balanchine for about 15 years total. In rel-creating this performance, I worked with the silent movie - and painstakingly put the music with the movement - recording in the Sony Studios in NYC - with the monitor in my line of vision while recording. ) The choreography done for Maria was very different from the later version done for Karin von Aroldingen and Gelsey Kirkland. These tapes are in the Lincoln Center Library (Dance Center) of which Madeleine Nichols is Director. The later version of the dance was less technical - as Karin's costume was more elaborate complete with a long train. Mr. B re-choreographed the entire production at that time.

Regarding the role of Swanilda - I was piano soloist with the NYCB when Mme. Danilova staged her role for Pat McBride - and played for many of those rehearsals. Also I played again for Danilova in Geneva when she again staged much of the ballet and taught her role for that company (Balanchine was Artistic Director, and Patricia Neary was Director.) Danilova was a joy to watch - she could dance much of the choreography - and was most explicit when teaching the various 'acting sequences' - such energy. I also thought Pattricia McBride was a wonderful Swanilda as was Gelsey Kirkland who also danced the role at NYCB.