Apollo's Angels: A History of Ballet by Jennifer Homans

By Jennifer Homans

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For greater than 400 years, the artwork of ballet has stood on the middle of Western civilization. Its traditions function a checklist of our previous. Lavishly illustrated and fantastically informed, Apollo's Angels--the first cultural background of ballet ever written--is a groundbreaking paintings. From ballet's origins within the Renaissance and the codification of its uncomplicated steps and positions lower than France's Louis XIV (himself an avid dancer), the paintings shape wound its approach in the course of the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. within the 20th century, émigré dancers taught their artwork to a new release within the usa and in Western Europe, atmosphere off a brand new and radical transformation of dance. Jennifer Homans, a historian, critic, and previous specialist ballerina, wields a data of dance born of devoted perform. Her admiration and love for the ballet, asEntertainment Weekly notes, brings "a dancer's grace and sure-footed agility to the page."

NAMED the most effective BOOKS OF THE 12 months by way of THE manhattan instances e-book REVIEWLOS ANGELES TIMESSAN FRANCISCO CHRONICLEPUBLISHERS WEEKLY

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4d), and only then made the discovery that the two lower notes of the chord, F~ and E, (52 ) The Composer meas 1-2 Andante ~ f'lJJ, IIV ..... ~ ----. . . ' ~ meas. 234-244 (Allegro) formed the minor seventh of the dominant of the key of B minor, and that the continuation I had been hearing led me back to B; that the germ of the key relationship on which the first two movements of the sonata were based were already implicit in the chordal idea with which the musical train of thought-which eventually took shape in the completed sonata-had started.

This is so because under such circumstances the composer can give only a part of himself to his work; or, let us say, because he has to lay an essential part of himself aside for a moment. It is, of course, impossible to make rules in this regard; only the results are decisive. But past and present music alike furnish many an example of striking failure when a composer has temporarily stepped out of his chosen category-when a "popular" composer has tried his hand at "serious" music, when an essentially dramatic composer has tried to write orchestral or chamber music, or when a composer of symphonies has tried to write operettas.

The result was the possibility of transposition, that is, the setting up of associations implying relationships of a new kind and of larger and wider dimensions. The older relationships were, so to speak, extended. The relationship, to take one instance, of the notes C-G, had evolved first to the relationship of the chords C-G; and this had in time become extended farther, making possible what we call the key relationship C-G. I am not going to carry this particular line of development farther at this point, because, first, what I have been saying is intended primarily as an illustration of the way in which the musical ear functions as a coordinator of musical impressions, as well as of the extraordinary range of its power of coordination.

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