DUTCH NATIONAL BALLET
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- (Disc 1)
Symphony No. 7
Ballet Company:
Dutch National Ballet
Choreographer:
Schayk, Toer van
Corps de Ballet:
Dutch National Ballet
Orchestra:
Royal Concertgebouw Orchestra
Conductor:
Haitink, Bernard
Television Director:
Dekker, Jellie
Grosse Fuge
Ballet Company:
Dutch National Ballet
Choreographer:
Manen, Hans van
Corps de Ballet:
Dutch National Ballet
Ensemble:
Quartetto Italiano
Television Director:
Grimm, Thomas
Piano Variations
Ballet Company:
Dutch National Ballet
Choreographer:
Manen, Hans van
Corps de Ballet:
Dutch National Ballet
Soloist:
Patton, Paul
Television Director:
Grimm, Thomas
Date of Concert: 1989
Playing Time: 02:03:02
Catalogue Number: 100282
UPC: 4006680102825
The 7th Symphony by Beethoven is often referred to as a 'dance symphony' and was described by Wagner as a 'grand apotheosis of the dance', but van Schayk hears in the music the voice of an almost obsessive idealism. Beethoven wrote his Symphony No. 7 between 1812 and 1813, the last years of the Napoleonic Wars, and the choreographer feels that it expresses the composer's ecstatic longing to reach the sublime future he was convinced lay ahead at the end of the dark period of the war.
A great admirer of George Balanchine, Hans van Manen was once told that Beethoven was one of the few composers whose work was impossible to choreograph. Van Manen rose to the challenge, creating Grosse Fuge to Beethoven's String Quartet in B flat major, Op. 133 (Grosse Fuge) and the Cavatina from String Quartet in B flat major, Op. 130. The resulting work is an abstract ballet on van Manen's favourite theme - the tension and relationships between human beings. He once said, "As soon as I place two people in an empty room I express a mood or a relationship."
With a good deal of ironic and sometimes sarcastic humour, eroticism and aggression between man and women are expressed in the Piano Variations choreographed on Prokofiev's Sarcasms Op. 17, to Satie's Gnossiennes Nos. 1, 2 and 3 and Debussy's Etudes No. 12, 2 and 4.
A great admirer of George Balanchine, Hans van Manen was once told that Beethoven was one of the few composers whose work was impossible to choreograph. Van Manen rose to the challenge, creating Grosse Fuge to Beethoven's String Quartet in B flat major, Op. 133 (Grosse Fuge) and the Cavatina from String Quartet in B flat major, Op. 130. The resulting work is an abstract ballet on van Manen's favourite theme - the tension and relationships between human beings. He once said, "As soon as I place two people in an empty room I express a mood or a relationship."
With a good deal of ironic and sometimes sarcastic humour, eroticism and aggression between man and women are expressed in the Piano Variations choreographed on Prokofiev's Sarcasms Op. 17, to Satie's Gnossiennes Nos. 1, 2 and 3 and Debussy's Etudes No. 12, 2 and 4.
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