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 David Bintley on 2008's Claras
November 14, 2008
 Welcome to the jungle
October 22, 2008
 David Bintley on the story of Sylvia
October 22, 2009
 David Bintley on his Sylvia reworking
October 22, 2008
 Robert Parker on Enigma Variations
October 22, 2008
 Wolfgang Stollwitzer interview
October 5, 2008
 The Beasts within
October 4, 2008
 Lei Zhao
September 6, 2008
 Kristen McGarrity
September 6, 2008
 Behind the scenes: Department for Learning
August 18, 2008
 New faces look back
July 14, 2008
 Birmingham Royal Ballet on Classic FM
July 8, 2008
 Notes on Petrushka (full version)
July 4, 2008
 The history of Le Baiser de la fée
July 4, 2008
 Notes on Card Game
July 4, 2008
 Jonathan Payn on BBC Radio York, Spring 2008
June 18, 2008
 Ambra Vallo on Giselle
June 13, 2008
 Desmond Kelly
June 6, 2008
 The Fairy's Kiss
May 13, 2008
 The history of Card Game
May 10, 2008
 Petrushka
May 9, 2008
 Stravinsky: the real deal
May 3, 2008
 Your personal profile
April 22, 2008
 Behind-the-scenes: wardrobe
April 2, 2008
 South-West tour notes
March 20, 2008
 2008-09 season
March 20, 2008
 North-East tour notes
March 19, 2008
 Anniek Soobroy
March 10, 2008
 Céline Gittens
March 7, 2008
 The light fantastic
February 12, 2008
 Dominic Antonucci
February 11, 2008
 Japan 2008 desktop wallpaper
January 11, 2008
 Behind the scenes: Diana Childs
December 7, 2007
 Fantasy and Reality
December 1, 2007
 An Entertainment of Genius
December 1, 2007
 Beauty and the Beast
November 19, 2007
 Stravinsky autumn 2008
September 19, 2007
 Angela Paul
October 9, 2007
 All that jazz
October 8, 2007
 Cardiff2008
October 5, 2007
 Enjoy Strictly dancing?
October 3, 2007
 New arrivals 2007
September 24, 2007
 Tyrone Singleton
September 21, 2007
 Edward II
August 10, 2007
 Strictly dancing
August 10, 2007
 Take Five costume rehearsals
June 22, 2007
 Mary Goodhew: the making of a dancer
June 12, 2007
 Michael O'Hare
June 1, 2007
 200708 Season
March 28, 2007
 Carl Davis interview
February 7, 2007
 Pas de deux - Stravinsky and Balanchine
January 29, 2007
 Ballet Hoo! aftershow interviews
October 7, 2006
 The Acrobat and the Ringmaster
April 20, 2006
 Transaction Charges
July 14, 2006

 
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Symphony in Three Movements



Agon/ Stravinsky Violin Concerto

The music:


For Symphony in Three Movements the composer was said to have been influenced by images of World War II. The piece has a driving pulse that is established in the very first movement and continues like a heartbeat throughout the whole piece.

The dance:


In explaining his work, Balanchine stated simply: 'Choreographers combine movements and the ones I arranged for this music follow no story line or narrative. They try to catch the music and do not, I hope, lean on it, using it instead for support and time frame'.

In an interview given at the beginning of the season, BRB's Director David Bintley explained: 'Balanchine is interested in steps; he is not really interested in narrative, he is not interested in characterisation. He is more interested just in the steps and the music, and this triple bill of Balanchine and Stravinsky works is a marvellous demonstration of that: athletic, modernist, energetic, playful and intensely musical'. The ballet does not try to tell a story, instead it concentrates on the motion of the dancers onstage.

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Credits


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Music: Igor Stravinsky
Choreography: George Balanchine

Running time: 24 minutes

In a nutshell


A jazzy and energetic ensemble piece, in which Balanchine uses the movement to reflect the music, rather than trying to tell a story.

Did you know?


For Stravinsky, one of the key elements in the development of a ballet score was deciding how long each movement should be. His house in California was filled with beautiful clocks and watches, descibed by Balanchine as 'friends to his wish for precision, delicacy, refinement'.
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Symphony in Three Movements

Agon/ Stravinsky Violin Concerto

The music:


For Symphony in Three Movements the composer was said to have been influenced by images of World War II. The piece has a driving pulse that is established in the very first movement and continues like a heartbeat throughout the whole piece.

The dance:


In explaining his work, Balanchine stated simply: 'Choreographers combine movements and the ones I arranged for this music follow no story line or narrative. They try to catch the music and do not, I hope, lean on it, using it instead for support and time frame'.

In an interview given at the beginning of the season, BRB's Director David Bintley explained: 'Balanchine is interested in steps; he is not really interested in narrative, he is not interested in characterisation. He is more interested just in the steps and the music, and this triple bill of Balanchine and Stravinsky works is a marvellous demonstration of that: athletic, modernist, energetic, playful and intensely musical'. The ballet does not try to tell a story, instead it concentrates on the motion of the dancers onstage.