In this volume you will find a selection of different music who can be used for ballet class. I did not put them in a special order, so you can select yourself for witch exercise you would like to use it.
I have been touring for the Zurich Ballett with Anna Karenina (directing C. Spuck) opening the famous Art Festival in Hong Kong. What a pleasure to provide about 20 min of life music, as soloist and with Mezzo Lin Shi for Anna Karenina Ballet with the Zurich Ballett. The 4 solo piano pieces and 3 songs from Rachmaninoff are amazing. I present a theme from John Lewis, « Django » exclusively here.
I am pleased to invite you to visit my new website balletmusic.org. There you will find some informations about me, my work, my projects and the best of all - music for you. Please register to receive my newsletter, you will regularly get informed about the latest music for your ballet classes and news. As a "thank you", i will send you time to time some free music.
When I have the opportunity to work in Zurich Opera House , for the Zurich Ballet, (Directed by Christian Spuck), teaching class to Christophe’s accompaniment is one of my greatest pleasures.
Inspired and dynamic music from Christophe Barwinek is a marvelous tonic for the dancer and teacher.
As a dancer you’ll enjoy the inspired pieces he has created and plays, and as a teacher you will find, as do I, his rhythms and time signatures work beautifully when constructing your class.
You too can share this pleasure by using his class music.
The score mixes Rachmaninoff with various modern composers. Two haunting Rachmaninoff songs, beautifully performed by mezzo-soprano Lin Shi and pianist Christophe Barwinek, were the musical highpoints. This was not least because they were live.
In der gut zweieinhalb Stunden dauernden Aufführung präsentieren die Zürcher Tänzerinnen und Tänzer zusammen mit der Mezzosopranistin Lin Shi und ihrem Korrepetitor und Pianist Christophe Barwinek nicht nur die tragische Geschichte von Anna Karenina, sondern auch ihr ganzes Können. Dafür werden sie am Ende lautstark gefeiert, das Hongkonger Publikum ist begeistert!
Musically, some of the most poignant moments are handed to Levin – Rachmaninov’s depressing Op. 26-12 Noch’ pechal’na (The Night is Sad) was rendered when he was rejected by Kitty. Vandebeek’s possibly unintended fall to the ground towards the end of Levin’s solo weighed even more somberly on that destitute moment. Levin’s music upon his first return to the farms was the contemplative Rachmaninov’s Ne poy, krasavitsa! (No not sing, my beauty), Op. 4-4. Both songs were beautifully sung by Li Shi, to the fine and dreamy piano accompaniment of Christophe Barwinek. These two watershed musical moments are where the ballet production is also weakest – the drama seems completely driven by music and voice, and not necessarily by Spuck’s choreography or stage direction. By giving more prominence to other characters, the ballet company has more slots to show off its talent, but at the expense of finding time to fully develop each character to its full dramatic capacity. The impossible task of trying to explain Tolsoy’s masterpiece with totality remains unfulfilled, but Spuck can certainly not be faulted for the lack of trying.
The rating mixes Rachmaninoff with numerous trendy composers. Two haunting Rachmaninoff songs, superbly carried out by mezzo-soprano Lin Shi and pianist Christophe Barwinek, have been the musical highpoints. This was not least as a result of they have been stay – the recorded rating suffered from poor sound high quality.