Tschaikovsky Piano Concerto No. 2 (Tschaikovsky/Balanchine)
Balanchine retained a lifelong affection for Tschaikovsky, whose music inspired several of his greatest works. Serenade, the first original ballet Balanchine created in America, remains as luminous and alluring in its beauty as ever. Mozartiana, choreographed to a Tschaikovsky composition derived from Mozart piano pieces, creates an atmosphere of hushed contemplation that captivates. The grandeur of Tschaikovsky Piano Concerto No. 2 never fails to weave its rapturous spell in concert with the sumptuous score.
New York City Ballet
- Originating as a lesson in stage technique, Balanchine’s Serenade worked unexpected rehearsal events into the choreography. When one student fell, he incorporated it. Another day, a student arrived late, and this too became part of the ballet.
- When Mozartiana opened the New York City Ballet’s Tchaikovsky Festival in Early June, 1981, it appeared so underrehearsed and poorly danced that some even said it was difficult to make out the ballet itself. The second performance, however, was leaps and bounds better than the premier, apparently looked like a completely different ballet.
- This Ballet was created in 1941 in the style of Petipa and the Petersburg tradition, meaning it was heavily influenced by Russian culture. But, in 1973, Balanchine felt that the allusion to Imperial Russia had become outdated, and that the ballet could stand in relation to the music alone. So, the title was changed, the decor was eliminated, the costumes were simplified, and some of the pantomime in the second movement was altered – essentially overhauling the look of Tchaikovsky’s Piano Concerto #2.
Read more here:
- Serenade: https://www.nycballet.com/ballets/s/serenade.aspx
- CITY BALLET: BALANCHINE’S ‘MOZARTIANA’: https://www.nytimes.com/1981/11/23/arts/city-ballet-balanchine-s-mozartiana.html
- Tschaikovsky Piano Concerto No. 2: https://www.nycballet.com/ballets/t/tschaikovsky-piano-concerto-no-2.aspx