By
Sampson I.M Onwka
“In borrowing the complaint of Cassius against Caesar to begin this chronicle of Diaghilev’s campaigns in Gaul and elsewhere, I do so to emphasize less his huge stature that the width of his stride. His range and his scope were tremendous. He bridged the chasm of the Russian Revolution. The youth who had kissed the hand of Glinka’s sisters, known Tchaikovsky and Mussorgsky, and studied under Rimsky-Korsakov, lived to commission the first ballets of Prokofiev. The man who had visited Tolstoy, and offered Tchekhov the editorship of his magazine, was discussing projects at the end of his life with Mayakovsky.” Richard Buckle (Diaghilev) (Sergei Pavlovitch Diaghilev) ---- (1979)
The description does not apply to George Balanchine it is borrowed Diaghilev by Richard Buckle who does not need introduction in music and in opera especially for his book Nijisky. In reciting some of the Russian influences on U.S, we hardly miss the one element which champions the rest - Ballet.
Although the movements have changed completely, some of the experts in Piano, Violin and in Ballet dancing will not have problems with Balanchine and may even do as they wish in music saving for more landmark work by Americans in addressing some of the complication of Ballet dancing, for instance incorporating local dances with European dancing.
Swan Lake @ Mariinsky Theater
A late shift from pre-war Bershtine piano to post WWII Steinway, expression reflects hard factors of life, like binary music on Dabeli and impressions from Keyboard where you can still hear some hardwood used for Russian pianos to softwoods for Steinway treated differently, the echoes in scherzos and the penetrating movement in counter-point early Romantic should product several meaning why there was such a faun about the classical method of music which the Russians at least under Mayakovsky and Daighilev.
Daighilev was a populist whose influence on Balanchine removed differently. Of course we have seen some dancing and opera, but Tchaikovsky, Mussorgsky, Rimsky-Korsakov, Prokofiev do not exhibit hints of hints of foreign influences, theirs' is Russian to very extreme extent.
New York and American composers such as George Gershwin and Aaron Copeland featuremany late 21st transformations in dancing and music and in narrating the controlling influences of Ballantine at the Mets, the Bloomsbury Society added the criticism of classic music format.
Among those who will be influenced by George Balanchine Alvin Ailey. Joan Hackett, Lena Home, Joyce Trisler, Vaslav Nijisky, Sergei Legal, Nicolas Legat, Mikhail Obukhov, Samuel Andrionov, Michel Fokine, between Gabriel Faure and Claude Debussy is a shift from late romantic achieved in Germany with early romantics - Frank Shubert, Frank Shuman and many others escaping the Classical era with early impressionist of France, discover that impressionism was only achieved in France under Debussy and Faure and not in Russia and in Germany.
The transformation of Art in the way we accept a shift Mayakovsky and Daighilev assume a different meaning in New York and U.S under Balanchine. From all sources available in open sources the elements of Ballet and what characteristically explains Balachine is still not described. The Steps and rainbow hands do not shy from Opera, it is very Russia in origin.
One of the few persons of interest that will be remembered in New York and perhaps elsewhere for transforming Dance and dance society is George Ballantine. Perhaps the years that made him exclusive in New York and elsewhere were long gone before out arrival in the gardens of MGM.
Skating and Ballet opera - like Ballerina go hand in globe with the orchestral suit, with reverie that welcome some acceptance in music and spectacle of spirituals that memesis some expression of cold and indented life style in some benighted part of Eastern Europe.
It is worth the money to see Balanchine in display, perhaps, the lively penetration of the Marinsky Theater and it's influence in dancing is still felt in Brooklyn but no one who watches an orchestration of Swan Lake by the late Master George Balanchine will not fail to appreciate the difference.
Once and perhaps every so often, there are transformation that take place in the life of any society and its people - some of whom are set aside by their arts and cultures, that a society transforms from wood to Bronze age, Bronze to Metal Age, and so Industrial Stages are articles of history that does not betray its meaning and staying power in the Arts and in Music and above in Dancing - Ballet to mention.
But in narrating from spiritual backgrounds without hints of deciding of its influence, we may look at the some of Alvin production; house of flowers, Cal me righteous, Tiger, Tiger burning bright, pilgrim of sorrow, That Museum of the City of New York (1) Billy Kersars (2) Black Patti Troubadours (3) George Walker (4) Sissieretta Jones (5) Mamba's Daughter (6) Charles Gilpin
George Balanchine, New York end of year is riddled with ceremonies and occasions, families far and away troupe backwards to see each other but in the end, the traditional forms of expressions such Ice skating may occasion separate several groups of the same interest from others.
One of those groups is New York with background in Music and Ballet, some of whom can identify late features of the Ballet from others. But majority of those with the time and training in Music and dancing but this where George Balanchine comes in and why he's improvisation is one of least studied aspect of cultural music and development.
If there is any fashion night for designers, it must be a Met Gala - where at least in 2015 all those who wear the cloths divide and conquer on the future of the industries, especially the costumes for Theaters and Ballerina converged for one of the richest traditional nights in City of New York, titled Met Gala 2015.
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