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plans but never explored the result. Balanchine approached the music by identifying some of the more familiar marks of my style, and as I heard him fastening on my tiniest repeated rhythm or sustaining group, I knew he had joined the work to the corpus of my music, at the same time probably reducing the time lag of its general acceptability by as much as a decade. I owe him even more for another aspect of the revelation: his dramatic point is a love parable – in which ballet is it not? – but the coda had a suggestion of myth that reminded me of the ending of
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day, Farrell, d'Amboise and pianist Gordon
Boelzner rehearsed together. That was when Farrell first heard the music. Taras later was able to convince Balanchine to see Farrell in rehearsal. He was impressed by Farrell and provided corrections to both her and d'Amboise. In the days leading up to the premiere, the rehearsals with the corps de ballet were led by Taras. Adams never performed
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Two weeks before the premiere, Adams found out she was pregnant. She was ordered by the doctor to be on bed rest, having previously suffered from multiple miscarriages. The news infuriated
Balanchine, and he considered having the premiere cancelled. After Taras protested, Balanchine replied, "If you
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is to hear the music with one's eyes, and this visual hearing has been a greater revelation to me, I think, than to anyone else. The choreography emphasizes relationships of which I had hardly been aware – in the same way – and the performance was like a tour of a building for which I had drawn the
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premiered, d'Amboise brought
Farrell to Adams' apartment, where Adams taught Farrell the ballet while lying on the couch. Farrell had never heard the music before, and in that rehearsal, Adams and d'Amboise hummed the music. However, Farrell managed to learn the choreography in two hours. The next
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in 1961. While
Farrell attended rehearsals, she was ignored by Balanchine. However, in Farrell's account, Adams "had no official understudy." Stravinsky attended some rehearsals, and he later wrote that when Balanchine requested the dancers to repeat some steps without the music, "To my amazement
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At the premiere, the women were dressed in white leotards. Farrell thought black leotards might be more suitable, as she believed they are "more slimming and flattering to the body," and
Balanchine approved of this change. However, she "knew it was all wrong" once she saw the corps de ballet on
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noted the two leads "are generally engaged in the kind of
Balanchine duets that explores the variety of poses for two. It is, in fact, as if Balanchine had examined all the statuary in the world and has summed up all the pose possibilities in this work. Yet the result is not static." Author
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noted the corps "alone moves during the terse intermediate sections connecting the five movements and which backs up the principals in the remainder of the ballet." They are often divided to two trios, and "assume an extraordinary variety of poses, like eccentric modern versions of the
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want to do it, do it." According to
Farrell's memoir, d'Amboise knew Farrell was a quick learner, and lobbied Balanchine to replace Adams with Farrell. Balanchine initially opposed the idea, but later reluctantly agreed. Less than a week before
314:(1960) are performed together. Balanchine explained, "Both have music by Stravinsky, both are short works, and it has been convenient for our audiences, and for us in the New York City Ballet, to see them combined."
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as the two leads. In his memoir, d'Amboise wrote that
Balanchine "didn't want to be bothered with anyone else" whenever he created a new piece for one of his muses, but ballet master
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by
Stravinsky, a friend of Balanchine. Balanchine commented that the score's "complexity and compression are remarkable." However, conductor Hugo Fiorato once said, "Who
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613:"Suzanne Farrell Ballet – Swan Lake, Monumentum Pro Gesualdo, Movements for Piano and Orchestra, Allegro Brillante, The Concert – Washington"
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stage. The women's costumes were soon reverted to white leotards. The sole man in the ballet wears a white shirt and black tights.
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through
Balanchine's eyes and what he has added to the score, it suddenly becomes an amazingly exciting work."
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In 2020, during the COVID-19 pandemic, the New York City Ballet released a 2015 video recording of
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danced the female lead at the premiere due to Adams' pregnancy. Starting in 1966,
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ballet music? Barbarous locution to a Balanchine! What he needs from me is not a
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Responding to Balanchine's choreography, Stravinsky wrote:
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Balanchine's Ballerinas: Conversations with the Muses
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conducting and the piano played by Gordon Boelzner.
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George Balanchine: Ballet Master : a Biography
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439:Holding on to the Air: An Autobiography
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1386:List of ballets by George Balanchine
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466:Sutton, Madelyn (January 10, 2020).
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208:To see Balanchine's choreography of
177:is performed by a lead couple and a
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1289:Tschaikovsky Piano Concerto No. 2
1030:Movements for Piano and Orchestra
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390:d'Amboise, Jacques (2011).
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137:Monumentum pro Gesualdo
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1234:Symphonie Concertante
1160:The Seven Deadly Sins
1074:Pas de Trois (Minkus)
1069:Pas de Trois (Glinka)
937:The Four Temperaments
825:Le chant du rossignol
637:. September 21, 2020.
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126:, seventeen-year-old
1268:Theme and Variations
965:Hungarian Gypsy Airs
891:Donizetti Variations
502:. pp. 228–230.
472:New York City Ballet
396:. pp. 280–281.
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116:New York City Ballet
76:New York City Ballet
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953:Haieff Divertimento
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761:Le baiser de la fée
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1141:Scherzo Ă la Russe
1134:Davidsbündlertänze
1132:Robert Schumann's
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442:. pp. 76–83.
352:online, featuring
322:Jacqueline Kennedy
304:Starting in 1966,
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992:Kammermusik No. 2
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1399:Categories
1367:Who Cares?
1327:Variations
1308:Union Jack
1261:Tarantella
1092:Pulcinella
1064:Pas de Dix
1037:Mozartiana
1005:Meditation
843:Concertino
364:References
319:First Lady
242:John Taras
224:Production
57:1963-04-09
1223:Swan Lake
1188:La source
838:Clarinade
617:DanceTabs
350:Movements
338:Movements
326:Movements
306:Movements
276:Movements
271:Movements
259:Movements
210:Movements
175:Movements
169:Movements
165:Movements
132:Movements
1315:La Valse
1181:Sonatine
1153:Serenade
1109:Ragtime
1099:Ragtime
971:Ivesiana
918:Episodes
856:Coppélia
818:Chaconne
49:Premiere
1374:Zenobia
1302:Tzigane
1058:Orpheus
772:Ballade
712:Ballets
328:at the
297:, with
187:critic
55: (
1079:Pavane
985:Jewels
904:Élégie
811:Bugaku
767:Le Bal
754:Apollo
594:
564:
506:
446:
400:
216:Apollo
161:
157:
1254:Tango
785:Bayou
98:is a
82:Genre
39:Music
740:Agon
672:and
592:ISBN
562:ISBN
504:ISBN
444:ISBN
398:ISBN
356:and
308:and
232:for
134:and
122:and
714:by
201:."
1401::
1111:II
633:.
615:.
590:.
576:^
560:.
544:^
534:.
518:^
480:^
470:.
458:^
412:^
372:^
360:.
340:.
1101:I
704:e
697:t
690:v
619:.
600:.
570:.
538:.
512:.
474:.
452:.
406:.
219:.
59:)
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