Posts filed under: Music

After the Rain: The music
Stuart Macklin. Photo James Braund

After the Rain: The music

The Australian Ballet is home to some of the country’s most talented pianists. Principal Pianist and Music Librarian Stuart Macklin, who plays the piano parts in our British Liaisons program, talks about the unusual sounds you’ll hear in After the Rain©.

The music in After the Rain© is by Arvo Pärt. It consists of two pieces of music – one is just string orchestra and what’s called prepared piano. A prepared piano is a piano that’s had things done to it. And that can range from all sorts of things, like stuffing cabbages in it, to bits of rubber, or wood … In this case it’s reasonably easy – it’s about 20 or so very small bolts, that obviously have ridges, so you can screw something onto them. You just separate two of the strings and you screw this bolt in between. But when you play the notes with the bolts on them, it’s like a Balinese gong effect. It’s pitched, because you still get the pitch of the string, but it has this interesting ringing sensation. [Pärt] also writes other chords, which are for notes that haven’t got the bolt, so you get a really loud ordinary big piano sound out of it, and then this atmospheric gonging business in between.

This text was taken from The Piano, a podcast which examines the special role of a pianist in a ballet company, and in which Stuart Macklin talks about pretending to be an orchestra and chasing dancers with a butterfly net. Want to hear that gong sound? British Liaisons will be playing until 3 September in Melbourne.

On the 25th of September, Kawai, our official piano partner, is offering pianos used in dancer rehearsals for sale at a heavily reduced price. All pianos carry a warranty. The Australian Ballet’s Music Department will benefit from a percentage of the sales. The sale will be held from 10am to 3pm at The Australian Ballet Centre: Level 5, 2 Kavanagh Street, Southbank, Melbourne.

1 September 2011

  • Let’s Dance: a Q&A with Kate Coyne
    Oxana Panchenko and Clair Thomas. Photo Jake Walters
  • Let’s Dance: a Q&A with Kate Coyne
    Simon Williams. Photo Jake Walters
  • Let’s Dance: a Q&A with Kate Coyne
    Melissa Hetherington.Photo Jake Walters

Let’s Dance: a Q&A with Kate Coyne

Tonight Kate Coyne will dance a challenging nine-minute solo wearing several oversize syringes sewn onto a flesh-coloured unitard. Michael Clark originally choreographed the solo Heroin – an agonizing dance of death about drug addiction – on himself some 21 years ago. In Come, Been and Gone, at Melbourne’s the Arts Centre, dancers perform several explosive numbers to the soundtrack of Michael Clark’s life: David Bowie, Iggy Pop and The Velvet Underground. We chatted to the classically trained Kate about carving her career and dancing for Michael Clark, the enfant terrible of ballet.

How long have you been performing Come, Been and Gone?
About 16 or 17 months. It’s always developing, though. That’s how Michael Clark works. There will be new bits in the Melbourne show which other people haven’t seen. The basic seed of the performance started a while ago and we’ve been building it ever since. It’s going to be quite a long show, I think

It’s interesting that Michael has allowed the work to evolve.
That’s one of the fascinating things about working with Michael. His works are never set. He’s constantly tweaking things to improve them, but also to keep everyone interested.

Is that challenging for you as a dancer?
Yeah, it can be – particularly if the instructions are given quite late. I think that’s partly to keep us on our toes, but also because he’s always striving for perfection. But, yes, it can be very challenging. You have to be able to adapt, rather than repeat the same movement. (more…)

7 October 2010

Coco Chanel & Igor Stravinsky

Coco Chanel & Igor Stravinsky

If you are born without wings, don’t do anything to stop them growing” Coco Chanel

‘What is art?’ Jan Kounen asks me, ‘What is not art?’ he continues. The French film director, all glistening eyes and mysterious smile, clearly enjoys rhetoric. I recently had the opportunity to briefly chat with Kounen during his whistle-stop tour of Australia. In his most recent film Coco & Igor, soon to be released in cinemas around the country, Kounen explores the borders of art and commerce and asks the audience to question their own thoughts of the nature of art. Set between 1913 and the early 1920s, the film depicts the alleged love affair between two of the great visionary artists of the 20th century – Igor Stravinsky and Coco Chanel. Both renegades of their time, Chanel and Stravinsky caused disunity among many with their revolutionary ideas about fashion and music. For Kounen, directing the film was the prospect of a journey he couldn’t miss.

In a heady portrayal of intense human connection, the audience is transported from the premiere of the Rite Of Spring in the magnificent Theatre des Champs Elysees in 1913, to the inky rooms of Coco’s country house in 1920. For Kounen, a big attraction to the director’s chair was the opportunity to recreate the tumultuous evening of the Rite of Spring premiere. The harmony of cinema, music, dance and costume created a web of art forms for Kounen to juggle, along with the challenge of re-building a Nijinsky ballet which was never formally recorded. Recreations have relied on testimony and drawings and Kounen’s own reconstruction was “like a whole monument of which you have only paintings, you can only rebuild as you imagine” he explains. The complex, rousing scene is the tour de force of the film, instilling a steady hum of tension that persists with every scene.  “The proposal (for the film) was to have a heavy sky but no storm. It asks the audience for a little effort, but I think it’s interesting to move in another territory. Instead of the volcano exploding, you see the lava bubbling underneath”, says Kounen. (more…)

9 April 2010

Win a Coco Chanel & Igor Stravinsky prize pack!

To celebrate the release of the film Coco Chanel & Igor Stravinsky, Madmen Entertainment is giving away a Coco & Igor prize pack to one lucky Behind Ballet reader, featuring a double pass to the film and a fabulous pack of Madman DVDs. To be in the running, email hello@behindballet.com by close of business on Thursday 15 April with the words ‘Coco & Igor’ in the subject header. We’ll announce the winner here!

Coco Chanel & Igor Stravinsky is in cinemas April 15


Mathematics and movement

Mathematics and movement

In the late 1940s, mathematician Rudolf Benesh caught his wife, Joan, a dancer with Sadler’s Wells, struggling to remember and record her steps.  Later at work in his office, he jotted down a few lines meant to represent someone sitting at a desk, then fetched a colleague and asked for a second opinion.  Soon an entire system of written symbols was created to represent all ballet’s possible movement.

Those who practice this system are known as choreologists.  There are only a handful of them in the world, but The Australian Ballet has been at the forefront of documenting ballet since its inception. Our current Choreologist, Mark Kay, took time to chat about his work.

What is choreology?
Well, that’s a big question. Everyone thinks I write the ballets – which is not correct at all. Choreology is a form of notation where you write all the steps down and it’s something I picked up at The Australian Ballet School. I went through an injury spate and so I took this on. I was encouraged by the staff there because they thought I had the potential. I went to London, did a choreology course and my dancing career came to an abrupt halt early in my life. But I got this job and have been doing choreology ever since.

For the dance companies who don’t have a choreologist, how do they record dance?
Video. A lot of people think that video is the most reliable form of recording dance. I mean, it has its advantages, but it has its disadvantages as well. For example, if you focus on only a few dancers, there’ll be people dancing on the other parts of the stage and you won’t be able to see what they’re doing. The major classical ballet companies in the world have a choreologist. Then there’s The Royal Ballet and they have two or three on staff. (more…)

8 January 2010

From the pit

Principal Flautist Libby Pring has been playing the flute for the Australian Opera and Ballet Orchestra (the Australian Ballet’s Sydney orchestra) for 20 years. She spoke to Jessica Thompson about how playing music for ballet keeps her on her toes.

How does playing for ballet differ from playing for opera?
With opera we can hear the singers, and so although we do rely on the conductor we also rely on our ears and listen to what the singer’s doing. With ballet we rely very much on the conductor because we can’t actually see the dancers, and we really have to play according to the tempo the dancers want or that they can cope with. You have to trust the conductor and be ready for something like a sudden change of tempo – if a dancer takes off!

So the tempo can vary depending on who’s dancing?
Yes, very much. Nicolette [Fraillon, Music Director and Chief Conductor] always warns us “this is the faster team” or “this is a slower team”. If it’s a bit slower one night then a bit faster the next you just know it’s a different set of dancers.

Do you ever get tired of playing second fiddle, so to speak, to the dancing?
No, not really. We enjoy the ballet repertoire. It’s different from the opera repertoire in that it really is its own music – we’re not accompanying a singer. It’s more similar to the symphonic repertoire in a way. 
You should play with some sense of inspiration; I think that’s very important for us and also very important for the dancers – if they hear an orchestra really enjoying what they’re doing I’m sure that helps them feel inspired. (more…)

7 December 2009