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For me probably a very tender age. Perhaps by the time he was 10 he knew all the standard ballets he knew the steps the positions. In fact if you watch him take a bow at the end of the concert tour here in Hamburg at the end of the first performance will surely come on stage to keep the house in the tradition of the
American skier but he has a very keen eye for classic ballet. However at the time the piece first valet's broke upon the scene. The class of ballet was already in some some decline that was interesting new music was not being written for it and it did come into a sort of barren period. That of course is the achievements of the left who started who had the idea who saw instruments. Somebody who could rejuvenating the ballet for the first time in the history of music you have a major composer appearing through the ballet
in a work like choreography to Stravinsky's movements for piano orchestra. This seems to me almost more successful than some overtly composed ballet pieces. Stravinsky's ballet music is said to be the greatest ever written. He has been called Platinum grasshopper scooting along at the head of the pack attacked. One critic explained that it is hard to make a father image of an insect Balanchine of New York a master of movement is one of the few who has kept pace with Stravinsky unlike an earlier collaborator Nijinsky Balanchine has a deep and
full understanding of music Stravinsky the perfect collaborator. Together they have dominated ballet for 40 years. There are young friends too. Robert Kraft conductor composer and teacher wrote to Stravinsky in 1947 for advice. They met and since that meeting craft has been musical assistant and constant companion is introduced to new trends and new people in music and has helped the old man to a second life. Another young friend was Dylan Thomas. They were going to write an opera together. A telegram announced that Dylan was dead and the old man wept. Halfway through the sessions too. I just wanted to see you
take one. The Los Lobos beat the. So profound
and just thank you. Very strange. I told him what to do. I didn't need you.
I am I am listing your 6 0 0 0 0 0 0 hours. The new bass drum and it's own damn mind you. Good for you sis.
Yeah me too. Yes I am yes I am. Yeah I am. Yeah. Oh yeah. To raise the chorus. No maybe no. You do
woof woof. I am making now I am doing business with the star team is a complete cut off. Can we start it. I am. Oh and in that case you do this if you want to do that you do this is not any good anywhere. Go ahead.
You know to go back to school. What is the union on the hour break. I mean between sessions I think it was seven hours. I thought for an Aussie in the bar before nine this is easy to take. I am I am I. I am. Two
to three choose. Yeah. I mean I mean we have much more to report. I don't like eighty six is better it could be six right good six right. Yeah we'll see. Yes six six is OK. CS is six. Yeah. She's going to do it. We've got to talk to Harry.
He's here to take four. The crowds for concerts grow greater but there are fewer old friends for lunch or coffee is one of the last remaining old crank that's been here says the on going and going so that if he has the money they come with that kind of debt and you know on somebody's day. I love my life. You can't come to the last take on content of items from there is a meeting. So if you're a barrister always get it out for you guys you know
Quincy is still not really sure the chase is easy. So this is a gesture to finance our children to use the contraband first song is replacing my she'd broken in place yet anyway I put it in your sent back because it seems is as I sound. Their ages are there but you know my sister she Ilam a circum I must say usually they might like that it will eventually there is a million times rest on nationally. She knew that I put a pulley Jumanji because she's trying it similar that it seemed to miscue were easy and Rosalie that I don't feel the premium and only learn math when if there was three years you learn to string arranging so I will translate it. You can finish her business give you your hand shake the hand as if you're in
thank you. It would not be possible for us to photograph a little more some of your conversation that was going to have a car go Gresham. Yes I would be marvelous We would love to have some film of you talking Russian. Really. Yes with me wearing the writers we left we like to sit down please and we can be become president it's about yes I know that you know I'm good. Yes. If you don't that you are then I didn't vent just a drop of squishy lunchroom. Very wonderful shrunken in a wonderful Russian If you and I translate what they say in Russia. I will have a professional honestly. If you know that I have only one less and will think of his less than this yet you write that down. So
yeah here we can sit down. Actually it's a language change where they vary you so she said she and me use WC many also mentally lazy. It means so much here that that starts here where the WC was hoping he'll be actually not a visionary. I demand the label am I looking well. Everybody says to me you are looking so well when they say this thing still but I don't feel well Athol thank you notice that I cannot stand this safety gate. These are when fighting it in Russian.
Yeah it's a serious serious design by fighting. OK in this damn them whether that let me down. Yeah well resign a few good friends or if that's just in within a few days and I can only tell you when we did die. Only did that. That you have good health and your good health sentiment. I question if I get in on it you know and it was wonderful to see you in your home race by the previous day as feature pattern after you know that that you have your ass in that. Yeah it's really good in that I believe that my use of any hurry to rush through all the dash and when can I get would be coming back and yet I must come I'll never know why I did it.
I said I'm going to my my that I don't think I've sued a guy who leaves and the consequent that my initial question I can tell it's you know as yeah as your previous chief no new national didn't even believes in me asking his questions as a trainee. She was special. Chivas he was evil to his regime is she lets you know that my scratch that's the truth. She the senior does my scotch a little just now you have to drink enough that you have to show the country let's play the action much too as if you are still you know you know you don't believe there is only you see Larry when we say when you say a boy is very studious no studious urban guy sees you as a serious when you look at
it when he does he wait to wear Oh yes well I will tell you I will addiction always was a Russian English in the first. Yes the moon. I only let you hold the dictionary. Better then you prove Besides he thought he was really actually. The live image he didn't get in. And yet he elitist illustration. But you know I was actually in the engine village and he had told the
gentleman she's a dish in the Russian not so easy to pronounce for you. Was there really any relation. Yeah yeah. As I was you know that I knew I was wrong that I you're a genius. Yeah. You know Canada is full of very dangerous Russians you have more than Canada. Yes and I went to the meeting hall story. I told you the story. Brenda do a hostile conference and their bennies need to dock I board in founder all eyes and then Lena was there and then bad. All kinds of people are like dust boxes and I had a sudden a lady got out and said And now ladies and gentlemen I must under arrest and be naked and I can I bet you do the same because you must be naked in front of God and to which I do wish but I'm just an open forum on the money I shall live
on that story and she they won't need it oh yes I think it was a life long couple years ago and you know who all of them do you know. I don't study yet cause the pain stuff or seem a little take that into account too of course to Canada a native country. Yeah there is a need for a good bed and there's a good fifteen at stake second or instruments. No way you can tell me one night I was actually dressed as Coco But you know if I you know we own our city rivalry you mean a lawyer a male interest are going great not only is it
great make it don't make me ask you that is a very good cynical thing Anderson. No but this is crazy. Why there's an emergency and there was a net. Normally I feel it's looking great. No sin but you know. Yet this act is I don't know if you know this man was and this is seen as you know. I noticed that as he did it in for a simple Leslie. Yes some of the best in the U.S. illegally this is what my shaken can we me if not I think identity is using A.C. Then it is pretty much an on sit by trying on a resume and put out against you. If it doesn't it I do really don't want to go on that and I know it's on duology not going to be handy you know she said.
Then if you can lie she did all that. Yeah Academy stuff in school has moved a great distance. His first wife and a multitude of friends are dead. Shortly after this conversation Cocteau too was dead. Go-Go Stravinsky once said he died screaming. The eyeglass died laughing and singing Love boy am I Bell died slowly and that is the worst. Still it's cool now so yes. Do I wear it or know that. Yeah yeah. But
yeah sure it little. Ooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh good the bird the boo hoo hoo. Load the
load all over Los the cameras follow stuff and ski as they have done for 55 years. The people of Hamburg wait for loved ones. Some say who is the little old man. Others say. Thank you Mike. Thank you very much. This is National Educational Television.
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Series
NET Festival
Episode Number
44
Episode
Apollo and Igor Stravinsky
Producing Organization
Studio Hamburg Film Produktion
National Film Board of Canada
Contributing Organization
Thirteen WNET (New York, New York)
AAPB ID
cpb-aacip/75-65h9w7kv
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/75-65h9w7kv).
Description
Episode Description
Apollo approx. 38 minutes: This portion of the program contains a rehearsal segment of about eight minutes plus a performance segment of about thirty minutes of Stravinsky's "Apollon Musagete" performed by soloists of the New York City Ballet under the direction of George Balanchine (both describe in the Program Information of August 28, 1968). After a station break, the program continues with: "Igor Stravinsky" (repeat) approx. 50 minutes: This is a television profile of the composer, originally presented by NET as the first portion of the documentary-program "Igor Stravinsky" broadcast in Festival of the Arts, February 18, 1966. It consists of informal vignettes showing Stravinsky at age 83 to be as fascinating as ever. Friends and associates of this great 20th century composer visit with him and discuss his genius. Participating in the program, a great deal of which takes place during a recording session, are his colleague Robert Craft; writer-critic Nicholas Nabokov; Columbia Records ' Masterworks Director John McClure; the guitarist Julian Bream; and Stravinsky's second wife, painter Vera de Bosset. Igor Stravinsky was born June 18, 1882 in Oranienbaum, Russia. The son of an opera singer, he spent his youth there and in nearby St. Petersburg. He studied then with Anton Rubinstein, later with Rimsky-Korsakov. His association with Diaghilev in Paris produced some of the greatest ballet scores of all time "Firebird," "Petouchka," "The Rite of Spring," and "Apollon Musagete." This latter ballet consecrated a new austerity and soberness of orchestral style. A great musical innovator, in the last decade he has embraced a linear, serialistic style of writing. He became a French citizen in 1934, and an American one in 1945, taking up residence in Beverly Hills, California. "Igor Stravinsky" is a production of the National Film Board of Canada. This 90-minute piece was recorded on videotape. (Description adapted from documents in the NET Microfiche)
Episode Description
The program is in two portions: The first portrays soloists of the New York City Ballet under their choreographer, George Balanchine, preparing for a performance of Igor Stravinsky's "Apollon Musagete." This portion illustrates Balanchine's unique contribution to choreography: the blending of classical and modern techniques." The second portion of the program features a complete performance of Stravinsky's ballet "Apollon Musagete." The telecast of the ballet an attempt to give an optical interpretation of a musical performance was produced by Studio Hamburg in 1965. The work is danced to a recording of "Apollon Musagete" made in Hamburg in 1964 by the NDR Symphony Orchestra under the composer himself. A new Balanchine choreography for "Apollon Musagete" matches the rapid tempo of this musical performance. The dancers are Jacques d 'Amboise, Suzanne Farrell, Gloria Govrin, Patricia Neary, and Karin von Aroldingen. NET Festival "Stravinsky 'Apollo '" (working title) is a National Educational Television presentation. A production of Studio Hamburg, Germany (Description adapted from documents in the NET Microfiche)
Series Description
NET Festival is an anthology series of performing arts programming.
Description
In the first part of this program, dancers of the New York City Ballet under the direction of George Balanchine rehearse and then perform Igor Stravinsky's "Apollon Musagete." This is followed by a television profile of Stravinsky in his eighties, with comments by friends and colleagues on his life and genius.
Broadcast Date
1968-10-13
Asset type
Episode
Genres
Documentary
Performance
Topics
Music
Biography
Media type
Moving Image
Duration
00:27:29
Credits
Artistic Supervisor: Liebermann, Rolf, 1910-1999
Camera Operator: Pflanzl, Robert H.
Choreographer: Balanchine, George
Director: Koenig, Wolf
Director: Kroitor, Roman
Director: Pflanzl, Robert H.
Interviewee: de Bosste, Vera
Interviewee: Nabokov, Nicholas
Interviewee: Bream, Julian
Interviewee: McClure, John
Interviewee: Craft, Robert
Narrator: Brittain, Don
Producer: Kroitor, Roman
Producing Organization: Studio Hamburg Film Produktion
Producing Organization: National Film Board of Canada
AAPB Contributor Holdings
Thirteen - New York Public Media (WNET)
Identifier: wnet_aacip_6413 (WNET Archive)
Format: U-matic
Generation: Master
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Citations
Chicago: “NET Festival; 44; Apollo and Igor Stravinsky,” 1968-10-13, Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed November 27, 2024, http://americanarchive.org/catalog/cpb-aacip-75-65h9w7kv.
MLA: “NET Festival; 44; Apollo and Igor Stravinsky.” 1968-10-13. Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. November 27, 2024. <http://americanarchive.org/catalog/cpb-aacip-75-65h9w7kv>.
APA: NET Festival; 44; Apollo and Igor Stravinsky. Boston, MA: Thirteen WNET, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-75-65h9w7kv