HomeMagazineListingsUpdateLinksContexts

 


 Ballet.co Postings Pages

 Some Special Threads:
  GPDTalk about George Piper Dances ! NEW !
  NBTTalk about Northern Ballet Theatre
  SBTalk about Scottish Ballet
  ENBTalk about English National Ballet
  BRBTalk about Birmingham Royal Ballet
  TodaysLinks - worldwide daily dance links
  Ballet.co GetTogethers - meetings and drinks...

  Help on New Postings


Subject: "Good and Bad Ballet music - continued from down un " Archived thread - Read only
 
  Previous Topic | Next Topic
Printer-friendly copy     Email this topic to a friend    
Conferences What's Happening Topic #9
Reading Topic #9
jonathan still

28-05-99, 06:40 AM (GMT)
Click to EMail jonathan%20still Click to send private message to jonathan%20still Click to add this user to your buddy list  
"Good and Bad Ballet music - continued from down un "
 
   (a posting to stimulate debate: Ed)


  Printer-friendly page | Top

  Subject     Author     Message Date     ID  
  -der j s 28-05-99 1
     RE: -der Eugene Merrett 28-05-99 2

Conferences | Topics | Previous Topic | Next Topic
j s

28-05-99, 02:36 PM (GMT)
Click to EMail j%20s Click to send private message to j%20s Click to add this user to your buddy list  
1. "-der"
In response to message #0
 
   Jonathan:
>>I doubt that the score would hold the same appeal without the ballet, but to me, that is the essence of a successful ballet score. And I don't doubt that even without noticing it, one of the reason you found it visually stunning was because the music supports and enhances the visual effects.)
>>
>>
>>
Eugene:
>>Interesting points - however I do notice the music for ballets like Apollo and Theme and Variation. The music to these ballets are far better then Czerny's Orchestrated Etudes>>

Just out of interest, compared to how much of the music you can remember, how much of the choreography of Theme and Variations or Apollo sticks in your mind?

I know what you mean, but then Etudes is principally an entertaining work, whereas (particularly) Apollo is an advanced study in neo-classicism with formal principles that are not immediately accessible.

>>
Perhaps this should not happen. Maybe the music is too good that it comes almost intrusive. What do you think? A lot of people think that it impossible for any choregrapher to justice to R and J>>

Yes, even if good is not quite the right word (it's more to do with music & dance competing for attention). I long, incidentally, for the day when someone says "it would be impossible for any composer to do justice to X's choreography - it is so often assumed that composers are always a few levels above choreographers in the food chain, which seems very unfair. I don't agree about R & J, but it's interesting that no-one's really come up with - or wanted to come up with a really good Daphnis & Chloe. Musicians love it, but it really doesn't quite work as music for the stage.

Perhaps the ultimate ballet music is Stavinksy Orpheus which is in my view very hard to listen to without the ballet.>>

I find once I've seen a ballet, I forever associate the music with it. The Poulenc organ concerto was for years my favourite piece of music ever, but I can't hear it now without seeing Voluntaries.


  Printer-friendly page | Top
Eugene Merrett

28-05-99, 05:35 PM (GMT)
Click to EMail Eugene%20Merrett Click to send private message to Eugene%20Merrett Click to add this user to your buddy list  
2. "RE: -der"
In response to message #1
 
  
>>
>>Just out of interest, compared to how much of the music you can remember, how much of the choreography of Theme and Variations or Apollo sticks in your mind?
>>
>>
come to think of it I remember far more about Etudes then Theme and Variations even though I have seen T and H more times. However I found Appollo absolutely unforgettable and I instant recognize the last position where the girls legs represent the rays of the sun. Rodin would be proud if he did a sculpture like that!
Regarding choreographers unable to do justice to the music and vice versa. - How about the Kingdoms of the Shades - to my mind the best single scene by Petipa. It would require very great music to really do justice to it.

>>
>>

>>
>>Yes, even if good is not quite the right word (it's more to do with music & dance competing for attention). I long, incidentally, for the day when someone says "it would be impossible for any composer to do justice to X's choreography - it is so often assumed that composers are always a few levels above choreographers in the food chain, which seems very unfair. I don't agree about R & J, but it's interesting that no-one's really come up with - or wanted to come up with a really good Daphnis & Chloe. Musicians love it, but it really doesn't quite work as music for the stage.
>>
>>
>>
>>Perhaps the ultimate ballet music is Stavinksy Orpheus which is in my view very hard to listen to without the ballet.>>
>>
>>
>>
>>I find once I've seen a ballet, I forever associate the music with it. The Poulenc organ concerto was for years my favourite piece of music ever, but I can't hear it now without seeing Voluntaries.
>>


  Printer-friendly page | Top

Conferences | Topics | Previous Topic | Next Topic

 
Questions or problems regarding this bulletin board should be directed to Bruce Marriott