I haven't a sufficient level in classical music to "judge" what she explains. I can just say that I have always felt emotion when listenig to the music of The SwanLake. Thank you for sharing the video, it's interesting to listen to such explanations. Je n'ai pas un niveau suffisant en musique classique pour émettre un avis constructif sur ce qu'elle explique. Je peux juste dire que j'ai toujours éprouvé de l'émotion en écoutant cette musique précise. Merci pour le partage de la vidéo, il est intéressant d'écouter de telles explications.
So glad to hear that bit about Tchaikovsky understanding how important it is for ballet music to be flexible in terms of tempo. Providing accompaniment for dance isn’t the same thing as interpreting a musical work for the concert hall. This particular point becomes the center of many disagreements between dancers and conductors who have yet to learn the distinction. There is a dynamic in play that does not affect a conductor’s task in any way, yet it s inescapable to the dancer in their’s. That dynamic is the rate at which an object falls. This rate is fixed by the laws of physics and while a conductor can decide how quickly they brings down their baton to mark the beat, the dancer does not have the same luxury. All a dancer can do to take more or less time landing is to adjust how high they jump. The ratio of applied effort to observable impact when making these adjustments is much greater for the dancer than it is for a musician. Therefore a dancer is more sensitive to subtleties in tempo than the average musician. If a conductor adheres slavishly to a tempo suggested by the composer, he is likely to put the dancers at risk for injury. The genius of Tchaikovsky’s musical motifs which he uses in his ballets is that they are primarily defined by their melodic character and tone colors rather than by their beat rate. They are as effective musically when played quickly as they are when played slower. This allows the conductor to customize the tempo to the situation at hand without compromising the integrity of the composition nor the performance of the dancer.
I used to have at my hand, the full length score of Swan Lake by Tchaikovsky. We are able to find out recording of the full version and last almost 2:30 h. On my life, only the choreographer Jack Carter try to choreography the full version for the London Festival Ballet and Colon Theater Opera House at Buenos Aires , Argentina and the performance with intermissions last 4:00 h. Its premiere was on March 1963 and last in the repertoire of the Theater until year 2000 to 2003. It was a interesting version, with the full pas de princesses ( pas de six) and Black Swan Pas de deux was the original one wrote by Tchaikovsky ( today it is danced as Tchaikovsky Pas de Deux) Two different ballerinas danced Odette/ Odile in the same performance. At the end of third act Odette confronts Odile. Greetings from Argentina 🇦🇷
I'd like to hear Swan Lake in it's original order. I gather that the story was a bit different also. I read somewhere that there was an evil stepmother as well as von Rothbart!
A recording of Tchaikovsky's original Swan Lake isn't hard to find. However, not a single staged production sets the story or choreography to the full, complete score. There're always cuts, alterations, and misplaced numbers.
I haven't a sufficient level in classical music to "judge" what she explains.
I can just say that I have always felt emotion when listenig to the music of The SwanLake.
Thank you for sharing the video, it's interesting to listen to such explanations.
Je n'ai pas un niveau suffisant en musique classique pour émettre un avis constructif sur ce qu'elle explique.
Je peux juste dire que j'ai toujours éprouvé de l'émotion en écoutant cette musique précise.
Merci pour le partage de la vidéo, il est intéressant d'écouter de telles explications.
So glad to hear that bit about Tchaikovsky understanding how important it is for ballet music to be flexible in terms of tempo. Providing accompaniment for dance isn’t the same thing as interpreting a musical work for the concert hall.
This particular point becomes the center of many disagreements between dancers and conductors who have yet to learn the distinction. There is a dynamic in play that does not affect a conductor’s task in any way, yet it s inescapable to the dancer in their’s. That dynamic is the rate at which an object falls. This rate is fixed by the laws of physics and while a conductor can decide how quickly they brings down their baton to mark the beat, the dancer does not have the same luxury. All a dancer can do to take more or less time landing is to adjust how high they jump. The ratio of applied effort to observable impact when making these adjustments is much greater for the dancer than it is for a musician. Therefore a dancer is more sensitive to subtleties in tempo than the average musician. If a conductor adheres slavishly to a tempo suggested by the composer, he is likely to put the dancers at risk for injury. The genius of Tchaikovsky’s musical motifs which he uses in his ballets is that they are primarily defined by their melodic character and tone colors rather than by their beat rate. They are as effective musically when played quickly as they are when played slower. This allows the conductor to customize the tempo to the situation at hand without compromising the integrity of the composition nor the performance of the dancer.
I used to have at my hand, the full length score of Swan Lake by Tchaikovsky. We are able to find out recording of the full version and last almost 2:30 h.
On my life, only the choreographer Jack Carter try to choreography the full version for the London Festival Ballet and Colon Theater Opera House at Buenos Aires , Argentina and the performance with intermissions last 4:00 h. Its premiere was on March 1963 and last in the repertoire of the Theater until year 2000 to 2003.
It was a interesting version, with the full pas de princesses ( pas de six) and Black Swan Pas de deux was the original one wrote by Tchaikovsky ( today it is danced as Tchaikovsky Pas de Deux)
Two different ballerinas danced Odette/ Odile in the same performance. At the end of third act Odette confronts Odile.
Greetings from Argentina 🇦🇷
Very interesting series, and Nicolette Fraillon explains it so well.
I'd like to hear Swan Lake in it's original order. I gather that the story was a bit different also. I read somewhere that there was an evil stepmother as well as von Rothbart!
A recording of Tchaikovsky's original Swan Lake isn't hard to find. However, not a single staged production sets the story or choreography to the full, complete score. There're always cuts, alterations, and misplaced numbers.