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Sandpaper Ballet
''Sandpaper Ballet'' is a ballet choreographed by Mark Morris (choreographer), Mark Morris to music by Leroy Anderson. It was created for the San Francisco Ballet, and premiered on April 27, 1999, at the War Memorial Opera House. Production Choreography Mark Morris (choreographer), Mark Morris's ''Sandpaper Ballet'' was created for the San Francisco Ballet. Tina Fehlandt, a frequent collaborator of Morris who had staged the ballet, said Morris "loves ballet, and he uses ballet vocabulary [...] But he likes to use it in a different way." She noted that this ballet is "very classical." The ballet is performed by sixteen women and nine men. Fehlandt said Morris deliberately used an odd number of dancers as a challenge as he "loves spacial patterns and moving large groups of people around" and "wanted to challenge himself." She also said Morris wants the dancers to be individualistic, "so there's not a sense they're performing at you. Although, that said, if you didn't feel good on a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Morris (choreographer)
Mark William Morris (born August 29, 1956) is an American dancer, choreographer and director whose work is acclaimed for its craftsmanship, ingenuity, humor, and at times eclectic musical accompaniments. Morris is popular among dance aficionados, the music world, as well as mainstream audiences. Early years Morris grew up in Seattle, Washington, in a family that appreciated music and dance and nurtured his budding talents; his father Joe taught him to read music and his mother Maxine introduced him to flamenco and ballet. Joe was a high school teacher while Maxine cared for the children at home. Morris had two older sisters, Marianne and Maureen. Everyone in his family were performers, playing instruments, singing in chorus, and dancing. In grade school Morris's neighborhood population changed, with many Black and Asian families moving in, and many white families moving out, with exceptions such as the Morrises. This led to flourishing art from many different cultures, including a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Houston Ballet
Houston Ballet, operated by Houston Ballet Foundation, is a professional ballet company based in Houston, Texas. The company, consisting of 59 dancers, produces over 85 performances per year. History Tatiana Semenova (1955–1967) Houston developed its style for professional ballet beginning in the 1930s, with Ballet Russe de Monte Carlo. For eleven years, Ballet Russe de Monte Carlo spent a week during the Christmas season in Houston performing for Houston audiences. From this exposure grew a desire among patrons for a resident dance company. In the spring of 1955, Tatiana Semenova, a former dancer with Ballet Russe de Monte Carlo, was invited to start a ballet school in Houston. Semenova accepted, and a state charter was obtained to establish a Houston Foundation for Ballet on July 26, 1955. Under Semenova's direction, the Foundation trained young dancers in ballet technique and reached out to under-served students. It established a scholarship program with the Neighborhood ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anna Kisselgoff
Anna Kisselgoff (born 12 January 1938) is a dance critic and cultural news reporter for ''The New York Times''. She began at the ''Times'' as a dance critic and cultural news reporter in 1968, and became its Chief Dance Critic in 1977, a role she held until 2005. She left the ''Times'' as an employee at the end of 2006, but still contributes to the paper. Biography She was born on 12 January 1938 in Paris. Kisselgoff began studying ballet at the age of four in New York City with Valentina Belova, and later for nine years with Jean Yazvinsky. She graduated from Bryn Mawr College, and then studied French History at the Sorbonne and Russian at the School of Oriental Languages in Paris. Later, she received an M.A. in European History and an M.A. in journalism at Columbia University. Before joining ''The New York Times'', she wrote features and dance reviews as a freelancer for the New York Times International Edition and worked at the English desk of Agence France-Presse in Paris. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Syncopated Clock
"The Syncopated Clock" is a piece of light music by American composer Leroy Anderson, which has become a feature of the pops orchestra repertoire. Composition Anderson wrote "The Syncopated Clock" in 1945 while serving with the U.S. Army and assigned as Chief of the Scandinavian Desk of Military Intelligence in Washington. Anderson had been invited by Arthur Fiedler to guest-conduct the Boston Popular ("Pops") Orchestra during their annual Harvard Night. Anderson wanted to introduce a new work to Fiedler and composed a song about a clock with a syncopated rhythm. The idea of the title reportedly occurred to him before he wrote the music. In a few hours he wrote the music, scored it for orchestra and then mailed it to Boston Symphony Hall. Fiedler had the orchestra parts copied from the score. Then, with a three-day pass, Anderson traveled from his home in Arlington, Virginia to Boston, where he conducted the premiere on May 28, 1945. Anderson recorded the work for Decca Record ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fiddle Faddle (musical Composition)
Fiddle-Faddle is a musical composition in 2/2 time composed by Leroy Anderson. It is considered to be a "light" classical music composition, sometimes referred to as "classical pops" music. Fiddle-Faddle was published on January 1, 1947. Arthur Fiedler gave the composition its premiere on March 30, 1947 during a concert radio broadcast from the old Boston Opera House. Leroy Anderson conducted Fiddle-Faddle in a monaural recording for Decca Records on June 29, 1951. Anderson made a stereo recording of Fiddle-Faddle for Decca Records on June 11, 1959. Anderson wrote the piece as one of a number of pieces conducted over time by Arthur Fiedler and the Boston Pops Orchestra. The finished piece instantly became a favorite of audiences and Arthur Fiedler alike. Fiedler programmed it so frequently in Pops concerts that the Pops audiences began referring to it as "Fiedler-Faddle". Written in classic " song-and-trio" form, it is based on the childhood nursery song "Three Blind Mice". It ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Trumpeter's Lullaby
''A Trumpeter's Lullaby'' is a short composition for solo trumpet and orchestra, written by American composer Leroy Anderson in 1949. The two and a half minute piece was premiered on May 9, 1950, by the Boston Pops Orchestra with Arthur Fiedler conducting and French-born American Roger Voisin as trumpet soloist. It was composed at the request of Voisin, who was principal trumpeter of the Boston Pops Orchestra at the time. It was first recorded on June 18, 1950, with Fiedler conducting Roger Voisin and the Boston Pops. Three months later it was recorded with Anderson himself conducting and James F. Burke (Musician) as trumpet soloist. The first stereo recording was made in October 1956 with Frederick Fennell conducting the Eastman-Rochester Pops Orchestra, recorded in one take without rehearsal. The (uncredited) soloist was Sidney Mear. On the genesis of the piece, the composer states: "(''A Trumpeter's Lullaby'')...had its beginning backstage at Symphony Hall in Boston. In addit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Typewriter
"The Typewriter" is a short composition of light music by American composer Leroy Anderson, which features an actual typewriter as a percussion instrument. Composition Anderson completed "The Typewriter" on October 9, 1950 in Woodbury, Connecticut. "The Typewriter" received its first performance on September 8, 1953 during a recording Anderson and the Boston Pops Orchestra made in New York City for Decca Records. Anderson composed the melody for symphony orchestra, symphony and pops orchestras; William Zinn and Floyd Werle arranged it for string orchestras and Concert band, wind bands respectively. Its name refers to the fact that its performance requires a typewriter, while using three basic typewriter sounds: the sound of typing, the "ring" of the carriage return indicating an approaching end-of-line (a Call bell, standard desk bell is used for it), and the sound of the typewriter’s carriage returning. In some cases the sound of the typewriter’s carriage returning is made ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Julie Diana
Julie Diana Hench (born ) is an American ballet dancer, teacher, writer and arts administrator. She joined the San Francisco Ballet in 1993, and was promoted to principal dancer in 2000. In 2004, she joined the Pennsylvania Ballet, where she remained until her retirement from performing in 2014, though she remained in the company for another year as a ballet master. In 2015, she became the executive director at Juneau Dance Theatre. In 2017, she was named executive director of the American Repertory Ballet and Princeton Ballet School. She has written for various dance publications. Early life and education Diana is from Verona, New Jersey. She started ballet at age seven, having previously trained in gymnastics. She trained at New Jersey Ballet, before entering the School of American Ballet at age twelve. In 2008, Diana graduated summa cum laude from the University of Pennsylvania with a BA in English. Career In 1993, 16-year-old Diana joined the San Francisco Ballet. She w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evelyn Cisneros
Evelyn Cisneros-Legate (born Evelyn Cisneros on November 18, 1958 in Long Beach, California) is an American ballerina. Evelyn, who is Mexican American, is considered the first prima ballerina in the United States of Hispanic heritage. She holds an honorary doctorate from Mills College and the University of California at Monterey Bay. Background Evelyn was raised in a family of migrant workers strongly involved with the Hispanic community. She was always encouraged to be proud of her heritage. As a young child her mother had her take ballet classes in an attempt to overcome her penchant for shyness. Evelyn’s peers classified her as an outcast due to her skin color and shyness. She discovered that dance was a way of expression, with the movements performing the work her mouth could not. With this revelation, Evelyn looked up to her first dance teacher, Phyllis Cyr, as a role model. To pay for the expensive classes, Evelyn's mother made the decision to work as a receptionist a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
COVID-19 Pandemic In The San Francisco Bay Area
The San Francisco Bay Area, which includes the major cities of San Jose, San Francisco, and Oakland, was an early center of the COVID-19 pandemic in California. The first case of COVID-19 in the area was confirmed in Santa Clara County on January 31, 2020. A Santa Clara County resident (with no foreign travel history) was the earliest known death caused by COVID-19 in the United States, on February 6, suggesting that community spread of COVID-19 had been occurring long before any actual documented case. This article covers the 13 members of ABAHO, which includes the nine-county Bay Area plus the counties of Monterey, San Benito, and Santa Cruz. Local officials instituted some of the first mitigation efforts in the United States. The first mandatory stay-at-home order in the mainland U.S. took effect throughout the Bay Area on March 16 and 17 and continued until mid-May, affecting nearly 6.7 million people. The early government response is credited with mitigating the sprea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leroy Anderson
Leroy Anderson ( ) (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, many of which were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music." Early life Born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music. In 1925, Anderson entered Harvard College, where he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, orchestration with Edward B. Hill and Walter Piston, composition, also with Piston, and double bass with Gaston Dufresne. He also studied organ with Henry Gideon. He graduated with a Bachelor of Arts, magna cum laude in 1929 and was elected to Phi Beta Kappa."Syncopated Clock, Indeed"; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emil De Cou
Emil de Cou is an American conductor who became associate conductor of the National Symphony Orchestra (John F. Kennedy Center for the Performing Arts) in September 2003. He has led the orchestra on residency tours in five states, in subscription concerts at the Kennedy Center and on the West Lawn of the United States Capitol Building. In 2005 de Cou was named NSO at Wolf Trap Festival Conductor and will start his 15th season with that organization in the summer of 2019. He was appointed the music director of the Pacific Northwest Ballet starting with the 2011-2012 season. In 2013, he was described by ''New York Times'' critic Alastair Macaulay to be "probably...America’s finest ballet conductor." Emil de Cou also acts as musical advisor to NASA. In June, 2018 de Cou led performances at the Kennedy Center to commemorate the 60th anniversary of the founding of the space agency called "Space, the Next Frontier." This was the 12th collaboration between the National Symphony Orches ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
