Help


[permalink] [id link]
+
Page "Sergei Diaghilev" ¶ 10
from Wikipedia
Edit
Promote Demote Fragment Fix

Some Related Sentences

Diaghilev and commissioned
Prokofiev's first major success breaking out of the composer-pianist mould was with his purely orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes ; Diaghilev commissioned three further ballets from ProkofievChout, Le pas d ' acier and The Prodigal Son – which at the time of their original production were all highly successful.
Diaghilev commissioned Prokofiev's first ballet, Ala and Lolli, but rejected the work in progress when Prokofiev brought it to him in Italy in 1915.
Diaghilev then commissioned Prokofiev to compose the ballet Chout ( The Fool, the original Russian-language full title was Сказка про шута, семерых шутов перешутившего ( Skazka pro shuta, semerykh shutov pereshutivshavo ), meaning " The Tale of the Buffoon who Outwits Seven Other Buffoons ").
He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird ( 1910 ), Petrushka ( 1911 ) and The Rite of Spring ( 1913 ).
Ravel began work with impresario Sergei Diaghilev during 1909 for the ballet Daphnis et Chloé commissioned by Diaghilev with the lead danced by the famous ballet dancer and choreographer Vaslav Nijinsky.
Around 1920, Diaghilev commissioned Ravel to write La valse ( The Waltz ), originally named Wien ( Vienna ), which was to be used for a projected ballet.
* In 1974-75, Terence Rattigan was commissioned to write a play about Nijinsky and Diaghilev, as the BBC's Play of the Month.
Tailleferre wrote many of her most important works during the 1920s, including her 1st Piano Concerto, the Harp Concertino, the ballets Le marchand d ' oiseaux ( the most frequently performed ballet in the repertoire of the Ballets suédois during the 1920s ) and La nouvelle Cythère which was commissioned by Sergei Diaghilev for the ill-fated 1929 season of the famous Ballets Russes, and Sous les ramparts d ' Athènes in collaboration with Paul Claudel, as well as several pioneering film scores, including B ' anda, in which she used African themes.
Sergei Diaghilev commissioned ballet music from Poulenc for Les biches.
In 1919, Bax was one of four British composers to be commissioned to write orchestral music to serve as interludes at Sergei Diaghilev ’ s Ballets Russes in London.
When Fokine's ballet premiered in Paris as part of Diaghilev's " Saison Russe " in 1909, Diaghilev commissioned re-orchestrations of all the dances, except for the Glazunov-orchestrated Waltz, by Anatoly Lyadov, Sergei Taneyev, Nikolai Tcherepnin and Igor Stravinsky.
His latest project is the orchestral full score of Satie's additional music for Gounod's opera Le médecin malgré lui ( commissioned by Diaghilev in 1923 ) from the surviving parts in the Library of Congress, Washington, and the vocal score used in Diaghilev's 1924 production ( supplied by Ornella Volta ).
In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes ; however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird ( famously fulfilled by the then relatively inexperienced Igor Stravinsky ), there is no evidence that Lyadov ever accepted the commission.
It was commissioned by Sergei Diaghilev.
In 1915 she started work on a series of designs — Six Winged Seraph, Angel, St. Andrew, St. Mark, Nativity, and others — for a ballet commissioned by Sergei Diaghilev to be titled Liturgy.

Diaghilev and ballet
Russian choreographer Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade, in 1917.
In 1924, he designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes.
In 1913the year of Edmund Husserl's Ideas, Niels Bohr's quantized atom, Ezra Pound's founding of imagism, the Armory Show in New York, and, in Saint Petersburg, the " first futurist opera ," Victory Over the Sun — another Russian composer Igor Stravinsky, working in Paris for Sergei Diaghilev and the Ballets Russes, composed The Rite of Spring for a ballet, choreographed by Vaslav Nijinsky, that depicted human sacrifice.
* 1872 – Sergei Diaghilev, Russian ballet impresario, founder of the Ballets Russes ( d. 1929 )
Under Diaghilev's guidance, Prokofiev chose his subject from a collection of folktales by the ethnographer Alexander Afanasyev ; the story, concerning a buffoon and a series of confidence tricks, had been previously suggested to Diaghilev by Igor Stravinsky as a possible subject for a ballet, and Diaghilev and his choreographer Léonide Massine helped Prokofiev to shape this into a ballet scenario.
However the Symphony appeared to prompt Diaghilev to commission Le pas d ' acier ( The Steel Step ), a ' modernist ' ballet score intended to portray the industrialisation of the Soviet Union.
During 1928 – 29 Prokofiev composed what was to be the last ballet for Diaghilev, The Prodigal Son, which was staged on 21 May 1929 in Paris with Serge Lifar in the title role.
Sergei Pavlovich Diaghilev (;, Sergei Pavlovich Dyagilev, ; 19 August 1929 ), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.
In 1900 – 1901 Volkonsky entrusted Diaghilev with the staging of Léo Delibes ' ballet Sylvia, a favorite of Benois.
Diaghilev also worked with dancer and ballet master Léonide Massine.
Diaghilev insisted on calling the ballet The Sleeping Princess.
Diaghilev was a pioneer in adapting these new musical styles to modern ballet.
* August 19 – Sergei Diaghilev, Russian ballet impresario ( b. 1872 )
In February 1909, two orchestral works, the and ( Fireworks ) were performed at a concert in Saint Petersburg, where they were heard by Sergei Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris.
Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a full-length ballet score, The Firebird.

Diaghilev and music
It was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie.
Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences.
Although his first reaction to the music was to tell Diaghilev, " I will never conduct music like that ", he worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought.
He was also given the opportunity by Serge Diaghilev to write music to The Firebird after Lyadov had failed to do so.
Eventually, Diaghilev sought out the then-unknown Igor Stravinsky, who wrote the music.
( Also in the audience was Sergei Diaghilev, who on the strength of this music sought out the young composer for the Ballets Russes.
Diaghilev wanted a ballet based on an early eighteenth-century Commedia dell ' arte libretto and music believed ( in Diaghilev's time ) to have been composed by Giovanni Pergolesi.
Originally, Diaghilev approached the Russian composer Anatoly Lyadov, but later hired Stravinsky to compose the music.
Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences.
Diaghilev approached the Russian composer Anatoly Lyadov ( 1855 – 1914 ) to write the music.
Stravinsky got the commission from Serge Diaghilev to write The Firebird ( 1910 ) in part because Diaghilev heard this piece of music, and was impressed with its orchestration.

0.106 seconds.