>>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.)
>>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.