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Brahms–Schoenberg Quartet is a one-act ballet by George Balanchine, to Johannes Brahms's Piano Quartet No. 1, orchestrated by Arnold Schoenberg. The ballet premiered on April 21, 1966 at the New York State Theater, performed by the New York City Ballet.
In a modern political setting, the chief protagonist’s attempt to combine the principles of Moses and Aaron leads to his downfall. Schoenberg used the drama to promote the idea of a militant United Jewish Party.
A man sings of his love for a woman, who leaves him for a gentleman. When she returns he forgives her, but the cycle repeats: she leaves again, rejects his pleas, and kicks a rock at him. The rock becomes the monster first seen on his back, returning the drama to its opening struggle.
Kenneth MacMillan created this one-act ballet for the Royal Ballet, setting Georg Büchner's play Woyzeck to music by Anton Webern and Arnold Schoenberg.
Moses is called to lead the Israelites from Egypt, while his brother Aron translates Moses’ inward conception of God into images the people can understand. During Moses’ absence, Aron permits the people to worship a golden calf; on his return Moses destroys it and despairs that Aron’s images have distorted his teaching. In the uncomposed final scene, Moses releases Aron, who dies, and affirms that the people may still reach unity with God.
A one-act ballet loosely based on the lives of the Brontë family, set to orchestral works by Arnold Schoenberg and Anton Webern.
In a small country town around 1900, Hagar fears she will share her elder sister's lonely fate while the man she loves favors her flirtatious younger sister. In desperation, Hagar offers herself to another man, who abandons her; shunned and distraught, she is ultimately reunited in dance with the man she loves. Some source versions make Hagar pregnant before the happy ending.
After an evening out, a husband and wife discuss their flirtations while preparing for bed; the husband grows jealous when a singer telephones. The next morning, the singer and a friend visit and celebrate social trends. Once they leave, the couple recognize that their relationship rests on love rather than fashion.
Brahms–Schoenberg Quartet is a one-act ballet by George Balanchine, to Johannes Brahms's Piano Quartet No. 1, orchestrated by Arnold Schoenberg. The ballet premiered on April 21, 1966 at the New York State Theater, performed by the New York City Ballet.
In a modern political setting, the chief protagonist’s attempt to combine the principles of Moses and Aaron leads to his downfall. Schoenberg used the drama to promote the idea of a militant United Jewish Party.
A man sings of his love for a woman, who leaves him for a gentleman. When she returns he forgives her, but the cycle repeats: she leaves again, rejects his pleas, and kicks a rock at him. The rock becomes the monster first seen on his back, returning the drama to its opening struggle.
Kenneth MacMillan created this one-act ballet for the Royal Ballet, setting Georg Büchner's play Woyzeck to music by Anton Webern and Arnold Schoenberg.
Moses is called to lead the Israelites from Egypt, while his brother Aron translates Moses’ inward conception of God into images the people can understand. During Moses’ absence, Aron permits the people to worship a golden calf; on his return Moses destroys it and despairs that Aron’s images have distorted his teaching. In the uncomposed final scene, Moses releases Aron, who dies, and affirms that the people may still reach unity with God.
A one-act ballet loosely based on the lives of the Brontë family, set to orchestral works by Arnold Schoenberg and Anton Webern.
In a small country town around 1900, Hagar fears she will share her elder sister's lonely fate while the man she loves favors her flirtatious younger sister. In desperation, Hagar offers herself to another man, who abandons her; shunned and distraught, she is ultimately reunited in dance with the man she loves. Some source versions make Hagar pregnant before the happy ending.
After an evening out, a husband and wife discuss their flirtations while preparing for bed; the husband grows jealous when a singer telephones. The next morning, the singer and a friend visit and celebrate social trends. Once they leave, the couple recognize that their relationship rests on love rather than fashion.