excerpt from 'Memories and Commentaries' pp. 171-172 (120 words)

excerpt from 'Memories and Commentaries' pp. 171-172 (120 words)

part of

Memories and Commentaries

original language

urn:iso:std:iso:639:ed-3:eng

in pages

171-172

type

text excerpt

encoded value

Balustrade (1941), the ballet that George Balanchine and Pavel Tchelichev made of the Violin Concerto, was one of the most satisfactory visualizations of any of my works. Balanchine composed the choreography as he listened to my recording, and I could observe him conceiving gesture, movement, combination, composition. The result was a series of dialogues co-ordinated with the dialogues of the music. The corps de ballet was small, and the second Aria was a solo piece for Tamara Toumanova. The ballet was produced by Sol Hurok, that savant of the box office, in which sense it may have been his first misjudgement. The set exposed a white balustrade on a dark stage, and the costumes were sinuous patterns in black and white.

Balustrade (1941), the ballet that George Balanchine and Pavel Tchelichev made of the Violin Concerto, was one of the most satisfactory visualizations of any of my works. Balanchine composed the choreography as he listened to my recording, and I could observe him conceiving gesture, movement, combination, composition. The result was a series of dialogues co-ordinated with the dialogues of the music. The corps de ballet was small, and the second Aria was a solo piece for Tamara Toumanova. The ballet was produced by Sol Hurok, that savant of the box office, in which sense it may have been his first misjudgement. The set exposed a white balustrade on a dark stage, and the costumes were sinuous patterns in black and white.

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excerpt from 'Memories and Commentaries' pp. 171-172 (120 words)

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