Blogger Updates

RSS Christian Carey

RSS Jay C. Batzner

RSS Lawrence Dillon

CD Reviews


Cast and Crew

Editor:
Steve Layton

Managing Editor

Christian Carey

Contributing Editors:
Galen H. Brown

Chris Becker
Armando Bayolo
Garrett Schumann
Wes Flinn
Rob Deemer
Paul Bailey
Polly Moller
Ilona Oltuski
Elliot Cole
Ed Lawes
Scott Unrein
Iván Sparrow
James Holt
Lanier Sammons
Rodney Lister
Jerry Zinser

Zookeeper:   
Jerry Bowles
(212) 582-3791

Founding Publisher:
Duane Harper Grant

Send Review CDs to:
Chrisitan Carey
218 Augusta Street
South Amboy NJ 08879




Featured Release


BRIDGE
3 Disks
For Christian Wolff
Morton Feldman
California Ear Unit

Recent Comments

Recent Posts

Music Blogs

.............................


Listen Online:

RSS Scott Unrein’s Nonpop Podcast


Kalvos & Damian!
& Noizepunk and Das Krooner

The longest-running New & Nonpop music program on the web.

Counterstream Radio
Streaming radio from New Music USA.

Q2 Music - WQXR
New York-based online station devoted to the music of living composers.

Admin

You Can Trust Your Car to the Man Who Wears a Star

filling.jpgDance is always about music, and music is, more often than not, about dance. But how does dance animate music, and music animate dance? This seemed to be the central question when I caught Program 1 of the San Francisco Ballet’s 75th anniversary season at the War Memorial Opera House February 9th. Classical ballet and modern dance sometimes plays against and even ignores the music’s rhythmic structure which would never happen in the deservedly popular Dancing With The Stars. But we rightly or wrongly cut the highbrow forms a bit more slack.  

Virgil Thomson’s music for SF Ballet’s founding choreographer Lew Christensen’s Filling Station (1938) brought these thoughts center stage. And though the composer has defined his score as a collection of waltzes, tangos, a fugue, a Big Apple, a hold up, a chase, and a funeral, one was barely aware of these disparate forms. Instead, what caught the ear and eye was the happy disjunction between these elements, not their literalness. But that’s odd when you consider how this ballet, to a story by Lincoln Kirstein, is routinely described as a pop piece.

Well, maybe, but one which uses vernacular movement — way before the Judson Church crowd did it — in still fresh, even startling ways. The moves for James Sofranko’s filling station attendant Mac were exaggerated but somewhat naturalistic too. But the gestures Christensen devised for the other dancers, like the hilariously bombed Rich Girl Erin McNulty, tended to be more stylized, as Thomson’s music shifted gears — jubilant one moment, deadly serious the next — as in his viola-dominated tango for her, which didn’t make rational, but emotional sense. Thomson was always a subtle and sly composer, and his clever but utterly sincere moves were on full display here, and. Martin West’s orchestra made the music go on many levels. Thomson once told me that everybody’s after freshness and this score couldn’t have been more fresh, and perfectly modern because of that. 

Modernist choreographers have tried their hand at setting dances on Bach’s music, with Balanchine’s Concerto Barocco being one of the most famous. SF Ballet Artistic Director Helgi Tomasson, who’s sometimes been too much of a Balanchine acolyte, seemed to break free of the master in his 7 For Eight (200 ), to music from Bach keyboard concertos composed between 1729 and 1741, and the music’s mathematical lucidity and calmly ordered sequences seemed to make him go further and deeper than he usually does.

Bach is regularly advertised as peerless and one certainly felt that here in Tomasson’s 7 sequences for 8 dancers which were as contained and deeply expressive as the music, with 3 duos alternating with 1 trio, 1 quartets, and 1 solo.

Company star Joan Boada shone, but so did all the other dancers here who negotiated Tomasson’s from a classical vocabulary moves with both elegance and gravity. David Finn’s subtly modulated lighting scheme of mostly bluish greys and off blacks made the stage pictures both beautiful and highly suggestive ,which the costumes by Sandra Woodall — who dressed Kronos years ago — unobtrusively complemented The expert piano soloist here was Michael McGraw. 

Would that Balanchine’s 1967 mostly general dance, Diamonds, from Jewels, were as successful or interesting as the two dances which preceded it. Instead it came off as a kind of white on white version of Balanchine’s hommage to Sousa; The Stars and Stripes, with the stage almost always full of the 32 member corps executing endless formations and deformations with lots of chandelier-like port-a-bras, which though meant to look elegant ended up being cloying, with 4 of the 5 movements of Tchaikovksy’s 3rd Symphony serving as the score. Balanchine was as much as an entertainer as a high art guy–his long association with Stravinsky– but this just seemed like admirably danced fluff. Martin West’s pit band accompanied with effortless grace,well-judged tempos, and transparent ensemble throughout. And in none of the 3 pieces did he ever encourage his orchestra to push. This is a deservedly acclaimed company with a very fine orchestra.     

Comments

Comment from Andrew
Time: February 13, 2008, 2:37 pm

Perhaps there was something wrong with the “Diamonds” performance?

The ballet itself is a miracle, a complex and multi-faceted exploration of classicism in ballet. It is one of Balanchine’s very greatest works, capturing his inspiration in peak form. It can be watched endlessly.

At NYCB, even when it is clear that the dancers are under-rehearsed, “Diamonds” always makes an overwhelming impact.

Two or three or four years ago, I attended a staging of “Filling Station”, conducted by David Alan Miller. I cannot recall whether the performance was in Minneapolis or Baltimore (I am at the office, and cannot consult old programs). However, it was immediately apparent why “Filling Station” is seldom staged now. It will always remain a curiosity, not a repertory work.

However, Aaron Copland was clearly familiar with the score for “Filling Station”, and used it as a model for his own “Americana” ballets (to the point of grand larceny, as Thomson himself was always keen to point out).

Comment from Michael McDonagh
Time: February 14, 2008, 5:53 pm

Dear Andrew Thanks for your thoughtful comments. Though “Diamonds” was obviously an apotheosis of classicism in ballet, it seemed to belabor its points ( pointes ? ), and went on far too long. But Tchaikovsky is always a pleasure. Thomson’s music was always unique, and far more original than Copland’s, which is school of Stravinsky if you will, while his is school of Satie. Filling Station was, according to Virgil Thomson by Virgil Thomson, big hit in his lifetime, though I think you’re right in saying that it’s infrequently performed now. And this revival — my first enocunter with it — seemed to do it proud. All thanks agin. Michael McDonagh

Comment from Helen R.
Time: February 18, 2008, 1:55 am

“Would that Balanchine’s 1967 mostly general dance, Diamonds, from Jewels, were as successful or interesting as the two dances which preceded it.”

You can’t be serious. My jaw is dropping.

Comment from Michael McDonagh
Time: February 18, 2008, 4:22 pm

I am. Balanchine was great, but over-rated. The Stephen Sondheim of our time. Sorry.

Comment from Michael McDonagh
Time: February 19, 2008, 6:08 am

Pls forgive . Should have been — ” The Stephen Sondheim of his time. “