Arachnophonia: Spartacus

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Eli (class of 2024) and features Aram Khachaturi͡an’s ballet Spartacus. Thanks, Eli!

Spartacus – Aram Khachaturi͡an

Spartacus ballet

Spartacus, a gladiator turned revolutionary from present-day Bulgaria, lived for only thirty-two years before dying in battle against Roman legions in 71 BC. Yet, his name and infamy remain today, due to his initial success in leading a slave revolt against the might of the Roman Republic.

Spartacus’ story is the subject of countless pieces of media, from Stanley Kubrick’s film 1960 Spartacus to numerous novels and poems. Musicians have been equally inspired by the gladiator’s exploits. In 1863, Camille Saint-Saëns composed the “Spartacus Overture,” an often looked-over piece that won him first prize in a French music competition. For the 1960 film version, Alex North composed “Love Theme from ‘Spartacus,’” a beautiful ballad that has become a well-known jazz standard. Spartacus was even the subject of the Phantom Regiment’s 2008 Drum Corps International championship-winning show.

What receives the most attention, however, is Aram Khachaturi͡an’s score for his 1956 ballet Spartacus. Upon its first composition two years earlier, Khachaturian was awarded a Lenin Prize, one of the Soviet Union’s most prestigious awards for contributions to science, literature, the arts, and more. Khachaturi͡an’s score is considered a masterpiece and has been greatly used in popular culture, from references in the movie Ice Age: The Meltdown to gold-medal figure skating performances. The adagio of act three is absolutely a must-listen, pulling at heartstrings and inspiring the listener in the same breath. If you would like to give the ballet a listen, Parsons Music Library has several versions, including one conducted by Khachaturian himself in 1962.

Khachaturian Conducts Spartacus

Arachnophonia: Tchaikovsky by David Brown

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Nikoloz (class of 2026) and features a biography of Russian composer Tchaikovsky. Thanks, Nikoloz!

Tchaikovsky by David Brown

Tchaikovsky_by_Reutlinger_(cropped)

Pyotr Ilyich Tchaikovsky (1840-1893) was one of the most famous Russian composers. The general public greatly enjoyed his music due to its tuneful melodies, perfect harmonies, and attractive orchestration, all of which together invoke a strong emotional response. He is known for the ballets Swan Lake (1877), The Sleeping Beauty (1889), and The Nutcracker (1892).

Tchaikovsky took up serious composing at the age of 14. In 1862 he began his studies at the St. Petersburg Conservatory, and starting in 1866, he began teaching at the Moscow Conservatory. Tchaikovsky revolutionized ballet: transforming it from a grand decorative gesture into a staged musical drama.

I’ve found Tchaikovsky’s music to be particularly useful for helping me focus while studying. Although his work can sometimes hijack your attention, I find it useful to break away from the books and listen to Tchaikovsky’s melodies as a break.

You can check out this book in the Parsons Music Library if you’d like to learn more about Pyotr Ilyich Tchaikovsky and his work.

Arachnophonia: The Nutcracker

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Xipeng (class of 2024) and features Tchaikovsky’s ballet “The Nutcracker”. Thanks, Xipeng!

The Nutcracker

nutcracker2

People might argue that it’s hard to understand ballet, but the stunning production of The Nutcracker by The Royal Ballet available on DVD in the Music Library will provide the audience with a different and impressive experience. The story behind the dancing scene evokes the inner feeling of everyone, and the music from Tchaikovsky endows dramatic, mysterious, and dreamy colors to the performance.

This recording from a performance in 1968 was performed by Merle Park, who was known for the brilliance of execution and virtuoso technique. The stage arrangement and design are relatively simple than in present days; however, the costumes and performers’ techniques were outstanding. My favorite part has always been the second act, where integration of international dance performance takes place: Spanish dancers represent chocolate, Arabian dancers are coffee, Chinese dancers are tea, while Russian dancers represent sugar canes.

As Christmas is approaching, check this DVD out in the Parsons Music Library! You can borrow a DVD drive from the front desk or use the equipment in the study rooms to watch the entire performance!

Nutcracker DVD cover

Arachnophonia: Don Quixote

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Xipeng (class of 2024) and features a DVD performance of the ballet Don Quixote. Thanks, Xipeng!

Don Quixote

Don Quixote ballet DVD case

Don Quixote, a dramatic love story on tiptoe

Don Quixote de la Mancha is a Spanish novel written by Miguel de Cervantes. The main character of this novel is named Alonso Quixano, who read many chivalric romances and lost in his dream of becoming as a knight. He recruited Sancho Panza, a farmer, as his squire and started his journey.

The theme of the ballet is adapted from the original novel but only focuses on two chapters. Taking place in Spain, the dancing language expresses enthusiastic, strong and powerful cultural characteristics with various dance types, including Romani dance and Flamenco. The dancing techniques require high standard with daring balance, twisting leaps and 32 fouettés, which is one of the most classic whipping turns.

The music composed by Ludwig Minkus also contributes to this spectacular showcase. One thing to note is that the choreography was first created by Marius Petipa, and even thought his creation has been through several revivals, it still serves as the most important foundation for Don Quixote ballet productions. The video available in the Music Library was choreographed by Mikhail Baryshnikov, and is located in the DVDs section.

A quote from Royal Opera House said that “It is one of the few Petipa ballets to be named for the hero rather than the heroine. It is a comic ballet in a sea of danced melodramas, and contains more character dancing than any other Petipa work on view today.” I am sure you will definitely enjoy the showcase even with only one act!

Arachnophonia: Carmen

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features Georges Bizet’s opera Carmen. Thanks, Brianna!

Carmen

Carmen is a French opera composed by George Bizet that premiered in 1875. Since then, there have been numerous productions of Carmen, a few of which the Parsons Music Library has on DVD available to check out!

French opera is one of my favorite styles of opera, as it generally involves lots of dance numbers. This is due to the fact that when French opera began, ballet was a major component as the French thought Italian opera was lacking. Carmen was written in the French genre opéra-comique, which translates to “comedic/comical opera”. The story follows a naive soldier named Don Jose, who is seduced by Carmen and is ultimately led to his downfall.

The music is all but legendary, with the most famous pieces likely being “Los Toreadors” and “Habanera.” George Bizet will have you humming his tunes for days after you watch this opera! It is a fun, wild ride from start to finish and definitely worth checking out.

Arachnophonia – “Coppélia”

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Madeline (class of 2019) and features Léo Delibes’ comic ballet Coppélia. Thanks, Madeline!

Léo Delibes

Coppélia

Coppelia DVD cover

Coppélia is a comic ballet about a woman who rescues her fiancé after he foolishly falls for a mad scientist’s life-like doll. Though the titular character, the true heroine of the ballet is not Coppélia but a village girl named Swanhilda. Unlike the well-known masterpieces Giselle or Swan Lake, the plot of Coppélia spares the audience a tragic romantic ending. As with most ballets, it has the typical elements of grace and technical beauty, however it also includes some unorthodox and interesting character reactions. Far from the docile fairytale princesses, Swanhilda pulls pranks others and (in this production) actually raises her fists to Coppélia when she thinks she’s being snubbed. It has a similar outlandishness to Don Quixote with the happily-ever-after of Sleeping Beauty. Much like Sleeping Beauty, the entire final act is the celebrated wedding between Swanhilda and her gullible fiancé Franz. It includes synchronized acts by the corps de ballet, flirtatious pas de deux of the main couple and other villagers, and two variations meant to showcase the artistic talents and athletic abilities of the heroine and hero.

This copy is the BBC recording of the 2000 Royal Opera House performance in London. The chorographer (Dame) Ninette de Valois, is considered one of Britain’s most influential figures of ballet, and founder of the Birmingham Royal Ballet. She has been referred to as the ‘godmother’ of English and Irish 20th century ballet. Ballets and operas are best seen live, as the sound carries better in the concert hall, and nothing can trump the excitement of seeing the performers in person. However, this film contains good auditory depth when played with a surround sound system. The two advantages of having a recorded copy is being able to rewind to your favorite parts and having a full view of the stage, except when the camera focuses on the duets and soloists. If you are a fan of ballet but (like me) hate sad endings, Coppélia has a funny storyline and talented cast of dancers and musicians.

New CDs added in March!

New CDs for March 2017

Classical

Frederic Chopin – Piano Concertos Nos. 1 & 2
Jessie Montgomery – Strum: Music for Strings

Jessie Montgomery - Strum

Carl Nielsen – Symphony No. 1 op. 7/ Little Suite, Op. 1
Louis Spohr – Violin Concertos 7, 9 & 10

Louis Spohr - Violin Concertos

Ingolf Turban – Violin Concertos by Bruch, Busoni and Strauss

Jazz

Stefon Harris – Ninety Miles
SF Jazz Collective – Wonder: The Songs of Stevie Wonder

SF Jazz Collective - Wonder

Bluegrass

Nefesh Mountain – Nefesh Mountain

Nefesh Mountain

Ballet, Musical Theatre and Motion Picture Music

Eubie Blake and Noble Sissle – Sissle and Blake sing Shuffle Along
Geoffrey Simon – French Ballet Music of the 1920s
Frank Zappa – 200 Motels: The Suites

French Ballet Music of the 1920s

Vocal Music

Christian Gerhaher – Mahler: Orchestral Songs
Christian Gerhaher – Mozart: Arias

Sissle & Blake sing Shuffle Along

New CDs added in October!

New CDs for October 2016

Ballet Music

Atlantic Sinfonietta- Music For Martha Graham
Atlantic Sinfonietta- More Music For Martha Graham
Atlantic Sinfonietta – Music For Martha Graham III

Music for Martha Graham

Jazz

Joey Alexander – Countdown
Seamus Blake – Bellwether
John Daversa- Kaleidoscope Eyes: The Music of the Beatles

John Daversa - Kaleidoscope Eyes

Sara Gazarek and Josh Nelson – Dream in the Blue
The Fred Hersch Trio – Sunday Night at the Vanguard
Marquis Hill – The Way We Play

Gazarek/Nelson - Dream in the Blue

Charlie Hunter – Everybody Has A Plan Until They Get Punched In The Mouth
Charlie Hunter Trio – Let The Bells Ring On
Steve Lehman – Se´le´be´yone

Charlie Hunter - Let The Bells Ring On

Steve Lehman Octet – Mise en abime
Lage Lund – Idlewild
Jeff Parker – The New Breed

Jeff Parker - The New Breed

Joshua Redman and Brad Mehldau – Nearness
Catherine Russell – Harlem On My Mind
Dayna Stephens featuring Walter Smith III – Reminiscent

Catherine Russell - Harlem On My Mind

Scott Tixier – Cosmic Adventure
Steve Turre – Colors for the Masters
Ben Wendel – What We Bring

Scott Tixier - Cosmic Adventure

Opera

Antonio Carlos Gomes – Il Guarany

Gomes - Il Guarany

Classical

Leopold Stokowski – The Columbia Stereo Recordings

Stokowski  - The Columbia Stereo Recordings

Pop/Rock/R&B

Babes in Toyland – Spanking Machine
Bikini Kill – The First Two Records
Huggy Bear – Weaponry Listens To Love

Bikini Kill - The First Two Records

Kate Nash – Girl Talk
Sleater-Kinney – Sleater-Kinney
Sleater-Kinney – Dig Me Out

Kate Nash - Girl Talk

This ain’t your grandma’s ballet.

Editor’s Note: The following contribution is a guest post by UR undergraduate James Fong, who is a Student Assistant working at Parsons Music Library. Thanks, James, for the insights on the in-famous work of Igor Stravinksy!

Ever see a ballet that made you want to riot? If that sounds strange, that’s because it is. The brainchild of composer Igor Stravinsky and impresario Sergei Diaghilev, The Rite of Spring caused its audience members to do just that.

Prior to May 29, 1913, ballet was a rather docile thing. From its first beginnings in Renaissance Italy as a courtly activity for the aristocracy, to its transformation as a formalized discipline involving grace and technique by the late 19th century, ballet was fairly content with itself.
There would be an added creative wrinkle here or there (poses, costumes, etc.), but its fashionability in the day gave it no reason to revolutionize itself.
Then May 29, 1913 happened.

“The theater resembled a prison yard: shouting, howling whistling, slapping, punching.”

“A beautifully dressed lady in an orchestra box stood up and slapped the face of a young man who was hissing in the next box. Her escort arose, and cards were exchanged between the men. A duel followed next day.”

480 px width, cropped version of original by Flickr poster "Piano Piano!"

Sacre du Printemps – London Philharmonic Orchestra

“Exactly what I wanted.” – Diaghilev

That is only a microcosm of the reception of a ballet centered around the creative forces of Spring. That and a sacrificial virgin dancing herself to death to appease the god of that very season.

Set in pagan Russia, The Rite was, for all intents and purposes, an uncontrolled experiment in music and dance. Musically, Stravinsky pushed the limits of meter, tonality, and dissonance, which must have caused quite some discomfort for an audience raised on formal music from the glory days of the Common Practice Period. Meanwhile, Nijinsky’s choreography blew the doors off of anything that had preceded it. Angular, violent, and downright convulsive, it was as much a powder keg as the score. So much so that Nijinsky’s choreography was scrapped from 1920 until its resurrection by the Joffrey Ballet in Los Angeles in 1987.

Despite its beginnings in obscurity (at best), or disaster (at worst), The Rite – particularly the score – has since emerged as an enormous commercial and artistic success, lending credibility to the Russian ballet scene, even being featured in Walt Disney’s color trick film, Fantasia. That being said…
Read up on the mayhem, witness the performances, and explore Stravinsky’s other (equally chaotic) works at Parsons Music Library, located on the second floor of Booker Hall. We hope you’ll be better behaved than the original audience.

photo credit