Adams Violin Concerto
A 'space age quintet' ballet set to John Adams's 1994 Violin Concerto. The concerto's third movement had previously been performed as the separate ballet X-Ray.
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A 'space age quintet' ballet set to John Adams's 1994 Violin Concerto. The concerto's third movement had previously been performed as the separate ballet X-Ray.
A ballet choreographed by Peter Martins to Michael Torke’s 1991 composition Ash; it was the fourth collaboration between the choreographer and composer.
A ballet for two contrasting couples—one classical and one modern—who perform a series of mixed pas de deux to Barber’s Violin Concerto. The classical dancers wear pointe shoes and ballet slippers; the modern dancers are typically barefoot, with the man bare-chested.
A ballet by Peter Martins set to Beethoven’s Romance in F for violin and orchestra, Op. 50.
A ballet choreographed by Peter Martins to Michael Torke's eponymous music, commissioned for New York City Ballet's American Music Festival.
A ballet by Peter Martins set to Leonard Bernstein's choral work Chichester Psalms, performed with the Juilliard Choral Union.
Peter Martins created this tribute to Mozart for New York City Ballet's bicentennial commemoration of the composer's death, set to Charles Wuorinen's music incorporating fragments of Mozart piano sonatas K. 231 and K. 283 and music from Don Giovanni.
A Peter Martins ballet set to Michael Torke's Slate, part of a series of collaborations between the choreographer and composer.
Peter Martins's ballet for New York City Ballet's American Music Festival is set to three Michael Torke works: Verdant Music, Purple, and Ecstatic Orange. The second movement, Purple, was commissioned for the occasion.
A ballet made for New York City Ballet to selections from Mikhail Glinka's A Life for the Tsar and Ruslan and Ludmila.
Peter Martins's ballet uses John Adams's eponymous music. Two pianists appear in silhouette above the dancers throughout, with lighting by Mark Stanley.
A ballet for nine men set to Handel's Concerti grossi, Op. 6, Nos. 9 and 2. It unfolds through three trios of contrasting moods, with ensemble sections before and after, and ends with a solo.
Princess Honorata of the Ocean Kingdom falls in love with Prince Stone, brother of the hostile King Terra. After Honorata is kidnapped, Stone and the repentant Scala help her escape; Scala sacrifices herself to stop Terra's pursuit, and the lovers return home, where Scala's spirit blesses their union.
A ballet by Peter Martins to Mendelssohn's Octet in E-flat major.
Peter Martins's ballet is set to Igor Stravinsky's 1919 piano composition Piano-Rag-Music.
Peter Martins's ballet is set to Charles Wuorinen's eponymous commissioned score. It is one of three Wuorinen works for New York City Ballet that refer to scenes in Dante's Divine Comedy.
Romeo + Juliet is a ballet by New York City Ballet balletmaster-in-chief Peter Martins to Sergei Prokofiev's Romeo and Juliet (1934–1940). The premiere took place on Tuesday, 1 May 2007 at the New York State Theater, Lincoln Center.
A ballet choreographed to eleven Domenico Scarlatti sonatas composed between 1728 and 1757.
Peter Martins’s ballet is set to Tchaikovsky’s Symphony No. 1 in G minor, Op. 13, Winter Dreams.
Peter Martins’s ballet is set to Stravinsky’s Tango, written in 1940 and arranged by the composer in 1953.
A ballet by Peter Martins set to John Adams’s 1985 concert piece, originally written for the opera Nixon in China. The music accompanies a scene in which Mao Zedong dances with his future bride, film star Chiang Ch’ing.
A ballet set to songs by Richard Rodgers, arranged by Glen Kelly and orchestrated by Don Sebesky. The music is performed by an onstage trio and two singers.
A New York City Ballet work made by Jerome Robbins, Peter Martins, and Jean-Pierre Bonnefoux, conceived and supervised by George Balanchine, to music by Georges Auric.
A Peter Martins ballet set to Sibelius’s Valse triste and “Scene with Cranes” from his incidental music for Kuolema. The crane is described as a symbol of death in Finnish literature.
A ballet set to John Adams's Violin Concerto, commissioned jointly by the Minnesota Orchestra and New York City Ballet. Since June 1995, it has been performed as the third movement of Peter Martins's Adams Violin Concerto ballet.
A Peter Martins ballet set to four pieces: Rachmaninoff's Vocalise, Parasha's Song from Stravinsky's Mavra, the fourth of Prokofiev's Cinq Mélodies, and Tchaikovsky's Valse-Scherzo.
A 'space age quintet' ballet set to John Adams's 1994 Violin Concerto. The concerto's third movement had previously been performed as the separate ballet X-Ray.
A ballet choreographed by Peter Martins to Michael Torke’s 1991 composition Ash; it was the fourth collaboration between the choreographer and composer.
A ballet for two contrasting couples—one classical and one modern—who perform a series of mixed pas de deux to Barber’s Violin Concerto. The classical dancers wear pointe shoes and ballet slippers; the modern dancers are typically barefoot, with the man bare-chested.
A ballet by Peter Martins set to Beethoven’s Romance in F for violin and orchestra, Op. 50.
A ballet choreographed by Peter Martins to Michael Torke's eponymous music, commissioned for New York City Ballet's American Music Festival.
A ballet by Peter Martins set to Leonard Bernstein's choral work Chichester Psalms, performed with the Juilliard Choral Union.
Peter Martins created this tribute to Mozart for New York City Ballet's bicentennial commemoration of the composer's death, set to Charles Wuorinen's music incorporating fragments of Mozart piano sonatas K. 231 and K. 283 and music from Don Giovanni.
A Peter Martins ballet set to Michael Torke's Slate, part of a series of collaborations between the choreographer and composer.
Peter Martins's ballet for New York City Ballet's American Music Festival is set to three Michael Torke works: Verdant Music, Purple, and Ecstatic Orange. The second movement, Purple, was commissioned for the occasion.
A ballet made for New York City Ballet to selections from Mikhail Glinka's A Life for the Tsar and Ruslan and Ludmila.
Peter Martins's ballet uses John Adams's eponymous music. Two pianists appear in silhouette above the dancers throughout, with lighting by Mark Stanley.
A ballet for nine men set to Handel's Concerti grossi, Op. 6, Nos. 9 and 2. It unfolds through three trios of contrasting moods, with ensemble sections before and after, and ends with a solo.
Princess Honorata of the Ocean Kingdom falls in love with Prince Stone, brother of the hostile King Terra. After Honorata is kidnapped, Stone and the repentant Scala help her escape; Scala sacrifices herself to stop Terra's pursuit, and the lovers return home, where Scala's spirit blesses their union.
A ballet by Peter Martins to Mendelssohn's Octet in E-flat major.
Peter Martins's ballet is set to Igor Stravinsky's 1919 piano composition Piano-Rag-Music.
Peter Martins's ballet is set to Charles Wuorinen's eponymous commissioned score. It is one of three Wuorinen works for New York City Ballet that refer to scenes in Dante's Divine Comedy.
Romeo + Juliet is a ballet by New York City Ballet balletmaster-in-chief Peter Martins to Sergei Prokofiev's Romeo and Juliet (1934–1940). The premiere took place on Tuesday, 1 May 2007 at the New York State Theater, Lincoln Center.
A ballet choreographed to eleven Domenico Scarlatti sonatas composed between 1728 and 1757.
Peter Martins’s ballet is set to Tchaikovsky’s Symphony No. 1 in G minor, Op. 13, Winter Dreams.
Peter Martins’s ballet is set to Stravinsky’s Tango, written in 1940 and arranged by the composer in 1953.
A ballet by Peter Martins set to John Adams’s 1985 concert piece, originally written for the opera Nixon in China. The music accompanies a scene in which Mao Zedong dances with his future bride, film star Chiang Ch’ing.
A ballet set to songs by Richard Rodgers, arranged by Glen Kelly and orchestrated by Don Sebesky. The music is performed by an onstage trio and two singers.
A New York City Ballet work made by Jerome Robbins, Peter Martins, and Jean-Pierre Bonnefoux, conceived and supervised by George Balanchine, to music by Georges Auric.
A Peter Martins ballet set to Sibelius’s Valse triste and “Scene with Cranes” from his incidental music for Kuolema. The crane is described as a symbol of death in Finnish literature.
A ballet set to John Adams's Violin Concerto, commissioned jointly by the Minnesota Orchestra and New York City Ballet. Since June 1995, it has been performed as the third movement of Peter Martins's Adams Violin Concerto ballet.
A Peter Martins ballet set to four pieces: Rachmaninoff's Vocalise, Parasha's Song from Stravinsky's Mavra, the fourth of Prokofiev's Cinq Mélodies, and Tchaikovsky's Valse-Scherzo.