Les Ballets Russes : Arts et Design PDF

Jump to navigation Les Ballets Russes : Arts et Design PDF to search This article is about Stravinsky’s ballet. Igor Stravinsky for percussion, pianists, chorus, and vocal soloists.


Les Ballets Russes créèrent l’événement au début du XXe siècle, influençant la vie quotidienne partout où la compagnie se produisit, et laissant une empreinte durable sur la danse, les arts de la scène et les arts plastiques. Serge Diaghilev, directeur de la troupe de 1909 à sa mort, en 1929, associa tous les mouvements de l’avant-garde révolutionnaire – qu’il s’agisse de la danse, de la chorégraphie, de l’art ou de la création de décors et de costumes – pour créer des spectacles uniques et époustouflants. Le travail de création était passionnant, toujours nouveau, et repoussait sans cesse les limites du possible en art. Couleurs, formes et matériaux employés pour les décors et les costumes enthousiasmèrent le public et transformèrent tous les aspects de la culture occidentale du XXe siècle. Créateurs de mode, décorateurs, artistes plasticiens – dont Coco Chanel, Natalia Gontcharova, Michel Larionov, Léon Bakst et Pablo Picasso – trouvèrent une source d’inspiration dans les Ballets Russes. Décorateurs et artistes peintres firent tomber les barrières qui les séparaient et créèrent des décors et des costumes pour ces spectacles somptueux, comblant ainsi le fossé qui existait entre les genres artistiques. Ballets Russes. Arts et design étudie ces images et ces concepts révolutionnaires et met en lumière le profond renouveau des arts opéré par Serge Diaghilev, dont l’influence se poursuit aujourd’hui encore. En dix chapitres et deux cents illustrations en couleur et en noir et blanc – dont beaucoup j proviennent de collections privées et n’ont encore jamais été publiées -, cet ouvrage auquel ont participé des spécialistes de renommée internationale, aborde à la fois les projets de décors et de costumes, le graphisme et l’art de l’affiche, les photographies et les cartes postales, la présence de Diaghilev dans les médias, les collections des trésors des Ballets Russes dans les musées et les collections privées.

The composer gave it the descriptive title « Choreographed Scenes with Music and Voices » and dedicated it to impresario Sergei Diaghilev. The ballet premiered under the musical direction of Ernest Ansermet at the Ballets Russes with choreography by Bronislava Nijinska on 13 June 1923, in Paris. Stravinsky first conceived of writing the ballet in 1913 and completed it in short score by October 1917. He wrote the libretto himself using Russian wedding lyrics taken primarily from songs collected by Pyotr Kireevsky and published in 1911. Reminiscing in 1962, Stravinsky recalled « When I first played Les Noces to Diaghilev he wept and said it was the most beautiful and the most purely Russian creation of our Ballet.

I think he did love Les Noces more than any other work of mine. That is why it is dedicated to him. The work was premiered on June 13, 1923, at the Théâtre de la Gaîté in Paris, by the Ballets Russes with choreography by Bronislava Nijinska. At the 1926 London premiere, the piano parts were played by composers Francis Poulenc, Georges Auric, Vittorio Rieti and Vernon Duke. The premiere of the 1919 version of Les noces, with cimbaloms, harmonium, and pianola, took place in 1981 in Paris, conducted by Pierre Boulez. The Los Angeles Philharmonic commissioned an arrangement by Steven Stucky for symphony orchestra and premiered it under the baton of Esa-Pekka Salonen on May 29, 2008, at Walt Disney Concert Hall. The version including pianola that Stravinsky left unfinished was completed with permission from Stravinsky’s heirs by the Dutch composer Theo Verbey and performed in the Netherlands in 2009.

Les noces received a mixed reception to its early performances. While its premiere in Paris in 1923 was welcomed with enthusiasm, the London performance three years later received such a negative response from critics that, according to Eric Walter White, « The virulence of this attack so exasperated H. The pious reaction of Soviet critics such as Tikhon Khrennikov was no surprise: « In Petrushka and Les Noces Stravinsky, with Diaghilev’s blessing, uses Russian folk customs in order to mock at them in the interests of European audiences, which he does by emphasizing Asiatic primitivism, coarseness, and animal instincts, and deliberately introducing sexual motives. The passage of time has indeed shown Les Noces to be one of Stravinsky’s finest and most original achievements.

The Wedding is in many respects the most radical, the most original and conceivably the greatest of them all. Howard Goodall has pointed out the influence of the distinctive sonorities of Les noces: « To other composers, though, as they gradually came across Les Noces, its peculiar faux-primitive, fierce sound proved irresistible The sound world of Les Noces is, quite simply, the most imitated of all twentieth-century combinations outside the fields of jazz and popular music. In her memoir of working as Stravinsky’s agent during the final decade of his life, Lilian Libman recalls the composer’s particular fondness for the work: « Still, did he have a favorite as a father has a favorite son? I think it was Les Noces It drew him, it would seem, as no other work of his had done. During the time I knew him, the mention of Les Noces never failed to produce the same smile with which he greeted those for whom he felt great affection. A 1934 recording conducted by Stravinsky using the English libretto has been reissued on CD by EMI as part of their « Composers in Person » series.