Jennifer Homans' biography of Balanchine

[Quiggin]

Details of the Georgian trip and his family were interesting to me. The after dinner scene with his brother Andrei waiting for Balanchine's approval for his compositions and Balanchine withholding it was pretty brutal.

I do question this overarching idea and wonder how it works out in the book:

Quote

... he had set his own path away from the Marxist materialism of the Bolshevik Revolution, and quietly built, in N.Y.C.B., a village of angels and a music-filled monument to faith and unreason, to body and beauty and spirit. It was his own counter-revolutionary place, an alternative vision of the twentieth century.

Was NYCB then a reactionary space? Was Balanchine in fact not continuing in the US the ideas he learned from revolutionary Soviet ballet masters like Meyerhold and Goleizovsky in his not so beautiful and non-angelic ballets like The Four Temperaments, Agon and Episodes? It was perhaps not an alternative place but the original place in exile.

[cobweb]

There is a New York City Center "Studio 5" presentation on Nov 14, featuring Homans talking about her new book and excerpts from Agon and 4T's performed by current NYCB dancers. I would absolutely LOVE to be there, but unfortunately, life dictates that I cannot. I would love to hear any reports!

Edited September 7, 2022 by cobweb

[pherank]

A New Yorker "LIfe and Letters" article from the Sept. 12, 2022 edition - taken from Homans' new book, Mr. B: George Balanchine's 20th Century:

The Return
Touring the Soviet Union, George Balanchine confronted his homeland's fate.
–Jennifer Homans

https://www.newyorker.com/magazine/2022/09/12/george-balanchines-soviet-reckoning

[I've never really understood why the The New Yorker insists on changing the titles for articles when posted online - seems like that only creates confusion for readers.]

"On October 9th, after three days of rehearsals, N.Y.C.B. opened at the Bolshoi Theatre—elegant, Old World, plush red and gold, with crystal chandeliers—to a house packed with Soviet brass, including Yekaterina Furtseva, the Minister of Culture, a tough and cultivated woman neatly dressed à la Ninotchka, whom Balanchine grew to like. Nikita Khrushchev, the U.S.S.R.’s leader, was notably missing from his private box. As the evening began, the audience solemnly stood for the Russian national anthem, followed by “The Star-Spangled Banner,” with Robert Irving at the podium conducting an orchestra of Soviet musicians. Balanchine had chosen a program of four ballets, all plotless: “Serenade,” “Interplay” (by Jerome Robbins), “Agon,” and “Western Symphony.” For this momentous opening night, he wore his Sunday best: a Mississippi riverboat gambler’s pegged pants with a rodeo rider’s silver-embroidered shirt and string tie"

Edited September 10, 2022 by pherank

[Swanilda8]

I'm pretty sure the psychological reporting is drawn from the Bernard Taper biography. I'd have to compare them closely to be sure of it, and I don't have a copy on me, but from my memory most of what I read in the New Yorker excerpt seems like a poetic elaboration on what Taper wrote. And he based that on interviews with Balanchine. 

[dirac]

It's been a long time since I read Taper, but that sounds right, Swanilda8.

[vipa]

Didn't see this posted so just in case. Here's the NYTimes book review of the Jennifer Homans Balanchine bio: https://www.nytimes.com/2022/10/31/books/jennifer-homans-george-balanchine.html

Edited November 6, 2022 by vipa

[l'histoire]

I'm halfway through & I have to say, this book is too long by half (and I'm an academic, so used to plowing through overly-lengthy monographs), though I am finding it very nicely written and a good-ish read. Where was her editor? I'm not finding it "notably tactile" (per the NYT) - I admittedly have probably spent a lot more time reading & musing on dance criticism than many, though probably not in comparison to the balletomanes on this forum. It's reminding me of another good book in need of very good (and judicious) editing, Into Great Silence: The Great War, Mallory, and the Conquest of Everest (on two other things I love reading about, WWI & high-altitude mountaineering, and also another book that should've have hundreds of pages chopped). 

I'm hoping the 2nd half will lift my impressions, but judging by the footnotes, I'm not terribly hopeful. A decent addition to the rather limited library on Balanchine, but I think most people would be better served just by reading through the collected articles & interviews in something like Reading Dance or I Remember Balanchine. 

[pherank]

20 hours ago, l'histoire said:

I'm halfway through & I have to say, this book is too long by half (and I'm an academic, so used to plowing through overly-lengthy monographs), though I am finding it very nicely written and a good-ish read. Where was her editor? I'm not finding it "notably tactile" (per the NYT) - I admittedly have probably spent a lot more time reading & musing on dance criticism than many, though probably not in comparison to the balletomanes on this forum. It's reminding me of another good book in need of very good (and judicious) editing, Into Great Silence: The Great War, Mallory, and the Conquest of Everest (on two other things I love reading about, WWI & high-altitude mountaineering, and also another book that should've have hundreds of pages chopped). 

I'm hoping the 2nd half will lift my impressions, but judging by the footnotes, I'm not terribly hopeful. A decent addition to the rather limited library on Balanchine, but I think most people would be better served just by reading through the collected articles & interviews in something like Reading Dance or I Remember Balanchine. 

Besides the ones that you've mentioned, I like to point people towards books like Charles Joseph's "Stravinsky & Balanchine", Elizabeth Kattner-Ulrich's dissertation "The Early Life and Works of George Balanchine (1913-1928)" [available as a free PDF online], as well as Elizabeth Kendall's related book "Balanchine & the Lost Muse". That last one is certainly an entertaining read.

And there are of course all the "satellite" autobiographies and such in which Balanchine figures prominently:

Tamara Geva's "Split Seconds"
Alexandra Danilova's "Choura"
Edward Villella's "Prodigal Son"
Jacques D' Amboise's "I Was a Dancer"
Toni Bentley's "Winter Season"
Suzanne Farrell's "Holding On To The Air"
John Clifford's "Balanchine's Apprentice: From Hollywood to New York and Back"
Lincoln Kirstein's "Thirty Years/The New York City Ballet"
Anatole Chujoy's "The New YOrk City Ballet"
There's various Tanaquil Le Clercq books which naturally feature Balanchine mentions.

All these books form a kind of interwoven tapestry of the Balanchine world. I don't think there will ever be a one stop tome that will provide all the necessary information and psychological insight people look for. And be truly entertaining.

A bit off-topic but if enjoy learning about Balanchine's early days, the autobiographies of other Imperial Ballet dancers such as Tamara Karsavina's "Theatre Street" help to paint an engrossing picture of that unique world.

Edited November 6, 2022 by pherank

[l'histoire]

Thank you for this wonderful list, pherank! I already have too much on my "to read" list, but I've added several of the ones I haven't read to it. I sometimes dreamily consider teaching a class on ballet history (it would never fill, so it never enters more than my random musings), but this just reminds me that there is SO much good writing on ballet from SO many perspectives (when I asked my grad seminar on "writing history" to share their favorite pieces of non-academic writing, my selection was Acocella's profile of Farrell from 2003, because the prose is simply so spectacular). 

I've finished the book & while I still feel like it's way too long, Homans does "catch the spirit" of what she's writing about in many parts, which can be quite gripping. I'll try and write a more considered review soon. The long & short is that it does a lot of stuff great, does bring some new material in, but so much of the rehashing of previously-published pieces could be cut - I wish she'd let her own narrative/research shine. 

[Quiggin]

17 hours ago, l'histoire said:

I think most people would be better served just by reading through the collected articles & interviews in something like Reading Dance or I Remember Balanchine

Yes, I Remember Balanchine seemed to me to be the best single place to get an idea of what the choreography is about. I especially liked Elliott Carter's piece. Carter started watching Balanchine in the early 1930s and so was able to observe changes in character of the works over the years; plus being a composer, he had a good eye for the formal structures of the ballets.

And thanks for the overview of Homans' book. Maybe someone can recommend a kind of abridgement, some "best of" chapters.

[pherank]

2 hours ago, l'histoire said:

Thank you for this wonderful list, pherank! I already have too much on my "to read" list, but I've added several of the ones I haven't read to it. I sometimes dreamily consider teaching a class on ballet history (it would never fill, so it never enters more than my random musings), but this just reminds me that there is SO much good writing on ballet from SO many perspectives (when I asked my grad seminar on "writing history" to share their favorite pieces of non-academic writing, my selection was Acocella's profile of Farrell from 2003, because the prose is simply so spectacular). 

I've finished the book & while I still feel like it's way too long, Homans does "catch the spirit" of what she's writing about in many parts, which can be quite gripping. I'll try and write a more considered review soon. The long & short is that it does a lot of stuff great, does bring some new material in, but so much of the rehashing of previously-published pieces could be cut - I wish she'd let her own narrative/research shine. 

Note that I fixed a mistake above - the dissertation was by Elizabeth Kattner-Ulrich (not Kendall). But Kendall's book references some of that same early Balanchine history.

[BalanchineFan]

On 9/6/2022 at 11:29 PM, cobweb said:

There is a New York City Center "Studio 5" presentation on Nov 14, featuring Homans talking about her new book and excerpts from Agon and 4T's performed by current NYCB dancers. I would absolutely LOVE to be there, but unfortunately, life dictates that I cannot. I would love to hear any reports!

You can watch it yourself on youtube. I'm really enjoying it.

[BalanchineFan]

On 11/5/2022 at 6:29 PM, pherank said:

Besides the ones that you've mentioned, I like to point people towards books like Charles Joseph's "Stravinsky & Balanchine", Elizabeth Kattner-Ulrich's dissertation "The Early Life and Works of George Balanchine (1913-1928)" [available as a free PDF online], as well as Elizabeth Kendall's related book "Balanchine & the Lost Muse". That last one is certainly an entertaining read.

And there are of course all the "satellite" autobiographies and such in which Balanchine figures prominently:

Tamara Geva's "Split Seconds"
Alexandra Danilova's "Choura"
Edward Villella's "Prodigal Son"
Jacques D' Amboise's "I Was a Dancer"
Toni Bentley's "Winter Season"
Suzanne Farrell's "Holding On To The Air"
John Clifford's "Balanchine's Apprentice: From Hollywood to New York and Back"
Lincoln Kirstein's "Thirty Years/The New York City Ballet"
Anatole Chujoy's "The New YOrk City Ballet"
There's various Tanaquil Le Clercq books which naturally feature Balanchine mentions.

All these books form a kind of interwoven tapestry of the Balanchine world. I don't think there will ever be a one stop tome that will provide all the necessary information and psychological insight people look for. And be truly entertaining.

A bit off-topic but if enjoy learning about Balanchine's early days, the autobiographies of other Imperial Ballet dancers such as Tamara Karsavina's "Theatre Street" help to paint an engrossing picture of that unique world.

I love this list!  I would add a few more that might interest people:

Allegra Kent "Once a Dancer"

Merrill Ashley "Dancing for Balanchine"

Barbara Millberg Fisher "In Balanchine's Company"

Francis Mason "I Remember Balanchine: Recollections of the Ballet Master by Those Who Knew Him"

Joel Lobenthal "Wilde Times: Patricia Wilde, George Balanchine and the Rise of the NYCB"

Alexandre Benois also wrote a fascinating memoir.  I read it decades ago and haven't been able to find it since. [the book I'm trying to remember could also be by his son Nicolai Benois] He was with Danilova, Geva and Balanchine at the Imperial School and designed sets for Diaghilev. He has an amazing visual memory and describes elaborate processions during the Imperial Russian period with the different colors, flags and uniforms.

Edited November 15, 2022 by BalanchineFan

[vipa]

Just listened to a wonderful discussion of Jennifer Homan's book at a Studio 5 City Center event. Alastair Macaulay with Homans and Lordes Lopez. Included two live dance excerpts. It's available for free streaming until November 28:

https://www.nycitycenter.org/About/our-programs/studio5/

Edited November 15, 2022 by vipa

[canbelto]

I just finished this book and wrote up a review on my blog:

https://humbledandoverwhelmed.blogspot.com/2022/11/tomorrow-nycb-starts-its-annual.html

[pherank]

3 hours ago, canbelto said:

I just finished this book and wrote up a review on my blog:

https://humbledandoverwhelmed.blogspot.com/2022/11/tomorrow-nycb-starts-its-annual.html

Excellent review, Canbelto - thanks.

[Anthony_NYC]

There's an interview with Jennifer Homans in The Nation.

[Drew]

16 hours ago, Anthony_NYC said:

There's an interview with Jennifer Homans in The Nation.

Didn't know about this -- thank you.

[FPF]

I just finished the book. Exhaustive, yes, but also exhausting. I think it would have been a better book if she had followed Balanchine's approach to Apollo: "It seemed to tell me that I could dare not to use everything, that I too could eliminate.” 

[BalanchineFan]

I don’t blame Homans for the length or breadth of the book. Hers is an effort to place Balanchine in the twentieth century, it’s the title of the book. I figure I’ve got the rest of my life to finish it. I’m currently reading about his physical death. 

I was wondering what people who have finished the book make of the sections about Balanchine and women, his ballerinas, his affairs but primarily Homans’ assertion that ‘love of woman’ was a central element of Balanchine’s artistry and his purpose in creating ballets.  Do you agree? Do you see it in the ballets?

Edited April 4, 2023 by BalanchineFan

[pherank]

On 4/4/2023 at 4:23 PM, BalanchineFan said:

I don’t blame Homans for the length or breadth of the book. Hers is an effort to place Balanchine in the twentieth century, it’s the title of the book. I figure I’ve got the rest of my life to finish it. I’m currently reading about his physical death. 

I was wondering what people who have finished the book make of the sections about Balanchine and women, his ballerinas, his affairs but primarily Homans’ assertion that ‘love of woman’ was a central element of Balanchine’s artistry and his purpose in creating ballets.  Do you agree? Do you see it in the ballets?

The idea is certainly not new to Homans, and Balanchine himself used the phrase "ballet is woman". I can tell you that the many books on Balanchine (first-hand recollections and others) point to a similar idea. Balanchine's real life dealings with women are one thing, and his artistic aims are another. "Love of woman" as a spiritual idea seems evident in many of his ballets - it's never an earthy love.

I was planning on writing a comparison of some of Homans writing with that of other biographers but haven't gotten around to making that happen yet. She has her particular way of talking about things, and she can draw some annoying conclusions that I don't necessarily agree with. But that's often the case with biographies.

[dirac]

From memory: Bernard Taper asked Balanchine about his feeling for Suzanne Farrell and Balanchine said, "It's all in the programs."

[sandik]

On 11/14/2022 at 5:36 PM, BalanchineFan said:

You can watch it yourself on youtube. I'm really enjoying it.

Rummaging around online, and realized that this is still available online.

[Quiggin]

On 4/4/2023 at 4:23 PM, BalanchineFan said:

Homans’ assertion that ‘love of woman’ was a central element of Balanchine’s artistry and his purpose in creating ballets.  Do you agree? Do you see it in the ballets?

The counter argument to that, as has been pointed out many times, is once Balanchine had the men to work with, he created the great existential male solos in The Four Temperaments, Square Dance and Fairy's Kiss. As a composer would – which he was – he worked with forms begetting, and checking, forms, variations, shifting keys, etc as on a musical score.

On 4/7/2023 at 2:27 PM, pherank said:

I was planning on writing a comparison of some of Homans writing with that of other biographers but haven't gotten around to making that happen yet. She has her particular way of talking about things, and she can draw some annoying conclusions that I don't necessarily agree with. But that's often the case with biographies.

That would be a worthwhile project. Elizabeth Hardwick says somewhere that biography leaves you with "the sense of being trapped on a long trip with the subject in the family car.” And sometimes you don't know where the car is going.

Homans did an incredible amount of research on her Mr B biography, interviewing everyone she could, and reading published – and unpublished – memoirs. But she often seems to slip in and out of their voices and judgments, without acknowledging that she is doing so.

I liked that she restores Marie-Jeanne to her proper place as an influence on Balanchine's middle period, creating the lead roles in Concerto Barocco (originally danced at a less "lyrical," brisker clip) and Ballet Imperial . (There are many references to Marie-Jeanne in I Remember Balanchine.) There's a curious comment on how Balanchine "destroyed" her, which Homans does not follow up on. Karen von Aroldingen seems to be treated least sympathetically of all the dancers and almost made a comic figure.  Homans says she "had an awkward classical technique, worked like a demon over the years to acquire a modicum of Balanchine precision.... Made herself into a Suzanne look-alike, took her place ... Acquisitive and nervous about money, couldn't get enough" etc.

Serenade and Agon are analyzed for some pages (too many) while Cotillion, the important first "waltz" ballet, goes unmentioned and Mozartiana skimmed over. Christian Bérard, the refined designer responsible for the look of the first Mozartiana and the look of "the New Look," is treated a bit shabbily (“fat, queer, coarse, Wildean").

But there are long stretches of interesting information – about the Zorina - [Massine] - Balanchine relationship and the early Farrell years where her researches seem to pay off. And about the influences of Black dancers on Balanchine, esp in On Your Toes (Herbert Harper) and Babes in Arms (Nichols Brothers).

But biography can be a kind of sieve in which you lose the subject of your (the reader's) affections to a thousand mundane facts. And no artist biography, Richardson's Picasso or Spurling's Matisse or Homans' Balanchine, really adds to what's going on on the canvas or on the stage – in a way they often end up nibbling away like little mice at the metaphors.

 

 

 

 

Edited April 9, 2023 by Quiggin

[pherank]

3 hours ago, Quiggin said:

The counter argument to that, as has been pointed out many times, is once Balanchine had the men to work with, he created the great existential male solos in The Four Temperaments, Square Dance and Fairy's Kiss. As a composer would – which he was – he worked with forms begetting, and checking, forms, variations, shifting keys, etc as on a musical score.

That would be a worthwhile project. Elizabeth Hardwick says somewhere that biography leaves you with "the sense of being trapped on a long trip with the subject in the family car.” And sometimes you don't know where the car is going.

I agree with a lot of your assessment. I felt that many people didn't come off particularly well in Homans' treatment, but it isn't essential that the author like everything about the subject matter. I do have my suspicions about the 'early years' material being mostly a rehash of other's research, e.g. Elizabeth Kendall, who, with the help of Vera Sergeevna, went through the available St. Petersburg archives (as well as archives in Finland and Georgia) to retrieve information on Balanchine's early years. Homans certainly had the benefit of other people's research into the Balanchivadze family members, the Mariisnky School and such.

I remember Danilova not even being mentioned much (and her autobiography is an essential source, imo), and Tamara Geva comes off badly, but Homans does herself no favors in that the Geva section is oddly written. It's one of a number of points where Homans' writing style changes as if on a whim.

I do think Homans put a lot of effort into the Lincoln Kirstein content, and that was engrossing.

Edited April 9, 2023 by pherank