With that being said, it also brings me to my next analysis. The Waltz of the Flowers composed by Pyotr Ilyich Tchaikovsky was my most favorite pieces during the concert. This piece sounded magical and it got me in to the Christmas spirit. The song started off with the sweet and soft sound of the harp accompanied by the clarinets and after the generous cadenza the horns joined in. By the time the strings started playing I fell in love with this piece of music.
His last of the ballets, The Nutcracker has been brought about in 1891 and wasn’t performed until December 1892. The Nutcracker was the most frequently performed ballets out of all his pieces. The story was based on E.T.A Hoffmann fantasy story The Nutcracker and the Mouse King, regarding a girl who befriends a nutcracker that comes to life on Christmas Eve and the battle against the evil Mouse King. His story precedes dark and troubling. Tchaikovsky, while in Paris, discovered a new instrument called the celesta, a clear, bell-like tone which fits the fairy-tale style of the Nutcracker.
This begs the question how did a German short story, with music composed by a Russian, Tchaikovsky and brought to the stage by a choreographer from France, become so popular at Christmas. According to German legend, nutcrackers bring good luck and protection to a family and its home. As a result of the ballet the production of nutcrackers in Germany continues today. Created in 1892 to Tchaikovsky 's music, The Nutcracker was introduced to North America in the early 20th century by Russian ballet companies and some say “legitimized” in the 1954 by George Balanchine. Balanchine choreographed his Americanized version, adding it to the New York City Ballet 's annual holiday repertoire.
“I like ballet because it is formal and classic.” In her time at Stephens Dance Studios, she has also studied jazz and hip-hop, and she now dances on pointe in ballet. She got her first pair of pointe shoes around the age of 12. Being able to dance on pointe is an exciting achievement for any dancer. As she continues dancing, Jordan looks
She keeps gripping my hand, squeezing it as she whispers, “I’m not sure that I want to do this anymore.” As soon as she says this my heart drops; Mason had been working so hard on this dance, I knew that I could not let her give up on herself. It was in this moment that I figured out that Mason being able to dance was as important to me as it had been at our last practice, when she had been jumping up and down in excitement for the ball. I knew that this moment, even if it seemed trivial was in fact pivotal and opened my eyes to a new sense of social awareness and empathy for Special Needs children like Mason. So, I turn to her and look her in the eyes and say, “Mason, you can do this, I believe in you. You’ve been doing a great job at practice and look, you’re not alone, all of us are going to help you through this.” I pointed to the others in the circle and smiled asking, “Won’t it be fun?” Mason’s eyes wandered around the circle, seeing numerous reassuring smiles from fellow peers and eventually she beamed back.
Close relationships like mother and daughter allow two people to really share their inner feelings. Even when you don’t want to share. We know each other so well. And so, thanks to this relationship, a promise I made when I was two, and a regimen of regular practice. I was able to go to Carnegie Hall and play violin on stage.
There was a musical performance of one of the premiere American saxophone quartets, The Amethyst Quartet, on Monday, November 13th at 7:30 p.m. in the Music Concert Hall at San Jose State University. I was so excited because this is my first time that I attended a classical concert that only played by saxophones. There were four different types of saxophones being played, which included a soprano, an alto, a baritone and a bass saxophone. The program contained the Partita IV in D major, BWV 828, the Songs for the Coming Day, the Cerulean and the Andante et Scherzetto. The concert had three sections which were separated by short break.
The concert did have many great ideas and that’s what made it powerful. There were some parts of the dance were I felt like there should have been more improvement, but overall everyone was pleased from this remarkable performance. The first act started with the dance called Stepford Girls. It was very nice and had many movements in that part. I liked the idea of how it’s meant to show the modern era by having the phone as an example.
I ended up starting the oboe, which till this day is the love of my life. During the Seventh Grade I was introduced to the Central Illinois Youth Symphony. I auditioned for it and their Flute Choir on, Oboe, Flute, and Bassoon (picking up and learning only a week before auditions). When the results came in I found out that I had made all three parts doubling Oboe and Bassoon in the Central Illinois Concert Orchestra (2013-2014). The season was very successful but soon came to an end.
Paris, France can be defined as the ballet capital of the world, and the Paris Opera Ballet was the first professional instruction of ballet. Master Pierre Beachamps established the foundation for the five basic ballet positions. Up until the performance of Le Triomphe de l 'Amour in 1681, all of the female roles at the Royal Academy of Dance were performed by young male dancers. By the early 1800’s, dramas and stories of mythology began to fade and new romantic ones emerged. This is when women adopted the primary roles in ballet.
I love watching the musician’s arms go up and down at the same time. It was amazing how they turned the pages at the same time. You could definitely tell that the orchestra practiced and practiced. The musicians put a lot of time into their performances. I loved the feeling when the orchestra played really intense pieces.
She stands as a very inspirational person in everyday life, bringing influence to all. She has created two books that are broadening for people that read them. The product of her dancing brings joy and astonished eyes across the room. She is original in the flow of her movements when dancing. It’s almost as if she 's painting an artwork, the stage being her canvas and she’s the paintbrush.
Lynn Simonson is an internationally respected educator of jazz dance and is the creator of the Simonson Technique which is an organic approach to movement that prepares the body to dance in a way that is anatomically intelligent and somatically aware. Lynn was born in Los Angeles on April 24, 1943, to her parents Henry and Louise Simonson. When Lynn was 8 years old, she moved with her family to Seattle, Washington where her father joined the Seattle Symphony Orchestra where he played the violin and her mother opened a dance studio. This is where she began to get ballet training from dancers who used to be part of Diaghllev and Ballet Russe de Monte Carlo. When she was 13 years old, she began to teach dance in her mother’s studio where she got introduced to jazz and then went on to be hired as a singer and dancer for Equity stock musicals.