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VIDEO: Mira Nadon on George Balanchine's MOVEMENTS FOR PIANO & ORCHESTRA: Anatomy of a Dance

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A signature leotard ballet, Movements for Piano and Orchestra's dissonance and electric currents sweep on a wave of exacting precision.

For Mira Nadon, the beauty of this "complex" leotard ballet lies in its contrasting movement qualities, which she honed under the tutelage of Suzanne Farrell, originator of the role.

The score for this ballet, composed during 1958-59, uses the serial technique and is divided into five sections. As the title indicates it is for solo piano and orchestra, and Stravinsky told Balanchine that Movements for Piano and Orchestra might just as well have been called "Electric Currents."

Balanchine said of this intricate piece: "Nothing gave me greater pleasure afterwards than Stravinsky's saying the performance 'was like a tour of a building for which I had drawn the plans but never explored the result." Although Monumentum Pro Gesualdo and Movements for Piano and Orchestra were choreographed separately, Balanchine eventually paired them for performance, an arrangement that has been retained since 1966.

Performances being tomorrow through October 16th.

For tickets and more information, visit here: https://www.nycballet.com/discover/ballet-repertory/movements-for-piano-and-orchestra/



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