"Golden Autumn 2" is the second installment in composer/pianist Fariborz Lachini's celebrated series of piano albums called Golden Autumn that includes his original writings for solo piano, some of which were originated from the themes he created for film scores. This is the companion songbook for Fariborz Lachini's CD with the same name. Dance of Leaves Memories of Autumn Whirlwind in Autumn Silence of Stars Loneliness Desire to Stay Childhood I Remember Staring in a Mirror Stranger Trail of Loneliness What Must Have Been Autumn Slumber Reincarnation Shadow

ISMN: 979-0-706060-01-9 Corresponding MP3s: http: //www.amazon.com/Golden-Autumn-2-Pieces-Piano/dp/B003XSZATW Single Sheet Music or complete downloadable eBook, compatible with Kindle/iPad/other eBook readers, in PDF format is available from artist's official website for download using your same amazon.com account: http: //www.lachini.com

Soviet ballet immediately following the Russian Revolution of 1917 until the advent of Stalin in the thirties is one of the most important, yet least documented, periods in ballet history. In this new study Elizabeth Souritz, former head of the Dance Section of the Moscow Institute of the History of the Arts, draws on Russian archival material, theatre literature, and reminiscences of performers, designers and choreographers to paint a powerful and colourful picture of this influential time.

In the current dance scene, performers contend with choreography that involves extreme dance, multiple techniques, and acrobatic moves, exemplified in the popular reality television show, "So You Think You Can Dance." The dilemma for aspiring professionals is that dance class no longer provides sufficient preparation for performing at this level. Dancers who want to achieve their best, avoid injury, and perform at their peak will welcome the insight and advice in the pages of "The Dancer's Way."

The world-renowned New York City Ballet developed their proven wellness program to help dancers reach their potential without compromising their health. As one of the key designers of this program, former dancer and clinical psychologist Linda Hamilton, Ph.D. provides the essential principles of wellness that will help you achieve your goals in all levels and forms of dance. These include keeping yourself physically healthy, nutritionally sound, and mentally prepared as a dancer. New York City Ballet's celebrated program, here for the first time in book form, highlights every tool you'll need to stay in great shape.

From adagio to voyage, over 800 steps, movements, poses, and concepts are fully defined. A pronunciation guide and cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools are also invaluable aids.

The literature on Balanchine is vast, but it is primarily biographical. "Balanchine Variations "is the first book to concentrate on the ballets themselves, providing critical analysis and detailed descriptions of what the dancers actually do. Beginning with "Apollo" (1928), Balanchine's first extant work, and ending with one of his last ballets, "Ballo della Regina" (1978), Nancy Goldner offers detailed insights into more than twenty individual ballets. Based on lectures given across the United States, under the auspices of the Balanchine Foundation, they are intended to illuminate his art. Goldner discusses the history of each ballet, places each in the context of Balanchine's life and sensibility. She also addresses his taste in music and whether his style can be considered particularly American. The ballets Balanchine choreographed for the New York City Ballet are danced by companies around the world, and this innovative book is sure to become an indispensable guide to dancers and spectators alike.

Tamara Tchinarova was born in Romania in 1919 and began her dance training in Paris with emigre ballerinas from the Imperial Russian Ballet. She danced professionally in Europe with the touring Ballet Russes companies that emerged in the 1930s after the death of the entrepreneur Serge Diaghilev, and she went to Australia in 1936 with the Monte Carlo Russian Ballet, returning in 1938 with the Covent Garden Russian Ballet. In Australia during those first two tours by the Russian Ballet, she made a strong impression as Action in Leonide Massine's first symphonic ballet "Les Presages". She was also admired for her portrayal of Thamar the Georgian Queen in Michel Fokine's dramatic ballet "Thamar", and was also praised for her dancing in demi-character roles in ballets such as "Le Beau Danube". In 1939 at the conclusion of the Covent Garden Russian Ballet tour, along with a number of her colleagues, Tchinarova elected to stay in Australia where she met and married the actor Peter Finch and worked with him on a number of films before leaving Australia to make her home in London. But Finch had caught the eye of the glamorous actress Vivien Leigh, wife of Sir Laurence Olivier, and the love triangle that developed was to have devastating consequences. This fascinating autobiography highlights Tamara's incredible life in Romania and her worldwide dancing career, the tempestuous marriage to Peter Finch and her involvement in his notorious affair with Leigh, through to her subsequent career as adviser and interpreter for many Russian ballet companies.

Written with wit, insight, and candor, Balanchine is a book that will delight lovers of biography as well as those with a special interest in dance. For this edition the author has added a thoughtful yet dramatic account of the working out of Balanchine's legacy, from the making of his controversial will to the present day. The author explores the intriguing legal, financial, and institutional subplots that unfolded after the death of the greatest choreographer of the century, but the central plot of his epilogue is the aesthetic issue: In the absence of their creator, can the ballets retain their wondrous vitality? Taper illuminates the fascinating transmission of Balanchine's masterworks from one generation to another, an unprecented legacy in the history of ballet, that most evanescent of the arts.

Originally published in 1899, this is a comprehensive study of the art of Dancing throughout history. It goes into great detail about dancing through the ages, including musical notation, right up to the start of the 1900s. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Hesperides Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork. Contents Include - The Natural and Origin of Dancing - Dancing in Ancient Egypt - Dances of the Greeks - Dancing in Ancient Rome - Religious, Mysterious, and Fanatical Elements in Dancing - Remarkable Dancing of Later Times - The Minuet - Modern Dancing

Dance is a uniquely significant art form, whose primary material is not simply the 'body', but energy as it is used and experienced in movement. Energy is central to discourses of modernity and modernism, in which choreographers and dancers can actively intervene through their innovative uses of energy. Mary Wigman, Martha Graham and Merce Cunningham are key choreographers of the twentieth and twenty-first centuries, whose rhythmic innovations challenged established norms of energy usage in their socio-cultural contexts, enabling their contemporaries to engage differently with dominant economies of energy. This book explores their rhythmic innovations by combining discussion of cultural contexts with close analysis of specific dance works. Uses of energy in dance are described and analysed with the aid of concepts drawn from Rudolf Laban's writings, and are theorized with reference to historical, social and cultural contexts and to phenomenological and post-structuralist approaches to the embodied subject, constructing the argument that choreographical innovation - including recent work using digital technologies - involves a process of 'kinesthetic imagination'.

Newly edited and engraved. The composer considered an orchestral suite from his great ballet, but never got around to extracting it. An unknown editor compiled the first version, which was issued by Jurgenson in 1900. The Soviet state publishers produced their own version in 1954, adding 3 dance movements and omitting the finale from the original suite. This new score includes all the movements found in the two different versions of the suite.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

LimelightAnyone who has ever seen a live performance of ballet knows the thrill of seeing larger-than-life figures on stage dancing in ways that seem superhuman. What are these dancers like beyond the footlights? How have they acquired such artistry and technique? What are the joys and difficulties in sustaining their careers? What dreams would they like to fulfill as performers? Round About the Ballet profiles the stars of the top New York City ballet companies: American Ballet Theatre and the New York City Ballet. Selected by Roy Round, one of the world's leading dance photographers, the dancers profiled represent the very best in ballet today. The dancers are brought to life through stories of their lives, real-life interviews, and the stunning photgraphs of Roy Round. This book is for ballet fans, dance students, collectors of photo books, and people who are curious about the performing arts. This is a book that, once opened, will be hard to put down. HARDCOVER

1925. Also the pictures of Holbein etched in the author's time, to which are added Mr. Angarola's conception of the period and drawings by way of contemporary comment by Gene Markey. The Praise of Folly is the best known work of the greatest of the renaissance humanists, Erasmus of Rotterdam. Originally meant for private circulation, it scourges the abuses and follies of the various classes of society, especially of the Church. It is a deliberate attempt to discredit the Church and its satire and stinging comment on ecclesiastical conditions are not intended as a healing medicine but a deadly blow. It ends with a straightforward and touching statement of the Christian ideals which Erasmus shared notably with his English friends, John Colet and Thomas More. See other titles by this author available from Kessinger Publishing.

This book showcases a lesser-known aspect of Maurice Sendak's oeuvre--his set designs for operas and ballets. Maurice Sendak is well-known for his acclaimed children's books, but he was also an avid opera lover and designed a number of sets for opera and ballet productions, among them Mozart's The Magic Flute, Janacek's The Cunning Little Vixen, Prokofiev's The Love for Three Oranges, Tchaikovsky's The Nutcracker, and an opera by Oliver Knussen based on Where the Wild Things Are. This book brings together over one hundred and twenty-five pieces from among the more than nine hundred in the Morgan Library & Museum's collection, including preliminary sketches, final watercolors, and cardboard models. Essays in the book discuss the importance of music to Sendak's work, his fascination with comic strips, movies, mechanical toys, and pop-up books, and the artworks that inspired his stage designs. The book reveals the full breadth of Sendak's visual work for opera and ballet and highlights his keen sense of humor, his love of art history, and his ability to tell striking stories through his art.

Ballet is a detailed guide to creative practice and performance. Compiled by ten leading practitioners, each chapter focuses on an aspect of ballet as a performing art. Together they outline a journey from the underpinning principles of ballet, through an appreciation of different styles and schooling, into the dance studio for practice in class and beyond. With additional insights from highly acclaimed dancers, choreographers and teachers, this practical guide offers advice on fundamental and advanced training and creative development. As well as providing information from dance science research into training well-being, this book supports the individual dancer in their artistic growth, offering strategies for exploration and discovery. Topics include: principles, styles and schooling of classical ballet; fundamental technique and advanced expression; developing versatility and creative thinking; advice on injury management, nutrition and lifestyle; choreography and music and, finally, best practice in the rehearsal studio is covered. 'A wonderfully accessible and comprehensive resource about the individual disciplines involved in ballet.' Leanne Benjamin OBE, former Principal of The Royal Ballet and international coach

An irresistible inside look at one of the world's great dance companies, Winter Season is also a sensitive, intimate, and almost painfully honest account of the emotional and intellectual development of a young woman dedicated to one of the most demanding of all the arts. Bentley's association with the New York City Ballet began when she was accepted by the affiliated School of American Ballet at the age of eleven. Seven years later, she became a member of the company. In the fall of 1980, as the winter season opened, she found herself facing an emotional crisis: her dancing was not going well. At 22 she felt that her life had lost direction. To try to make something of her experience, on paper if not on stage, she began to keep a journal, describing her day-to-day activities and looking back on her past. The result is perhaps the closest that most of us will ever come to knowing what it feels like to be a dancer, on stage and off. It also offers memorable glimpses of some notable members of the City ballet, with, at the center, the man whose vision they all served--George Balanchine.

A richly informed, up-to-date performance guide to more than 140 favorite ballets, from the classical era to the present day This engaging book is a welcome guide to the most successful and loved ballets seen on the stage today. Dance writer and critic Zoe Anderson focuses on 140 ballets, a core international repertory that encompasses works from the ethereal world of romantic ballet to the edgy, muscular works of modern choreographers. She provides a wealth of facts and insights, including information familiar only to dance world insiders, and considers such recent works as Alexei Ramansky's Shostakovich Trilogy and Christopher Wheeldon's The Winter's Tale as well as older ballets once forgotten but now returned to the repertory, such as Sylvia. To enhance enjoyment of each ballet, Anderson also offers tips on what to look for during a performance. Each chapter introduces a period of ballet history and provides an overview of innovations and advancement in the art form. In the individual entries that follow, Anderson includes essential facts about each ballet's themes, plot, composers, choreographers, dance style, and music. The author also addresses the circumstances of each ballet's creation and its effect in the theater, and she recounts anecdotes that illuminate performance history and reception. Reliable, accessible, and fully up to date, this book will delight anyone who attends the ballet, participates in ballet, or simply loves ballet and wants to know much more about it.

In 1930, dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Dancers such as Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in creating a new form of dance, and, like other modernists, they experimented with and argued over their aesthetic innovations, to which they assigned great meaning.

Their innovations, however, went beyond aesthetics. While modern dancers devised new ways of moving bodies in accordance with many modernist principles, their artistry was indelibly shaped by their place in society. Modern dance was distinct from other artistic genres in terms of the people it attracted: white women (many of whom were Jewish), gay men, and African American men and women. Women held leading roles in the development of modern dance on stage and off; gay men recast the effeminacy often associated with dance into a hardened, heroic, American athleticism; and African Americans contributed elements of social, African, and Caribbean dance, even as their undervalued role defined the limits of modern dancers' communal visions. Through their art, modern dancers challenged conventional roles and images of gender, sexuality, race, class, and regionalism with a view of American democracy that was confrontational and participatory, authorial and populist.

"Modern Bodies" exposes the social dynamics that shaped American modernism and moved modern dance to the edges of society, a place both provocative and perilous.

"Pas de Deux" has been widely regarded as the foremost existing textbook on the art of partnering. First published in 1969 in Russian by one of the world's most respected experts on partnering, the original book was created for the Vaganova Ballet Academy in St. Petersburg, the school that produced Pavlova and Nijinsky. This expanded edition contains new text, sketches, and photographs that describe 32 new poses and lifts, along with new information about strengthening exercises and balance points. It is adaptable to instruction based on the Royal Academy of Dancing and the Cecchetti methods, making it invaluable for teachers and dancers of all three major methodologies. Beginning with simple exercises for young dancers, the comprehensive text guides students, teachers, and choreographers safely to complex lifts and tosses. The instruction is useful to all forms of dance, including ballet, jazz, modern dance, ballroom dancing, and ice dancing.

"Undoubtedly, Choreography and Narrative is an important contribution to dance history research." Nineteenth-Century French Studies

"This work is a landmark in the field and belongs in all libraries serving undergraduate, graduate, and faculty researchers in dance." Choice

"Invents a new method for writing the history of performance: Foster has found an innovative way of appealing directly to the kinesthetic imagination of her readers, evoking the elusive styles of the pieces she reconstructs." Joseph Roach

"An impressive work of scholarship, this elegantly staged study... uses the concept of a culturally constructed, historically specific body to cut across disciplinary boundaries..." Library Journal

Foster examines the development of ballet, and conceptions of the dancing body, as ballet separated from opera and emerged as an autonomous art form during the turbulence of 18th-century French society and history."

"Every commercial ballet teacher should have a copy. . . . offers solid self-evaluation to every teacher--it separates 'the mice and the Nutcracker' "--Richard J. Sias, dancer, choreographer, and associate professor of ballet, Florida State University "The contribution to the dance world is immense. . . . should be read by all teachers of dance as well as students in preparatory schools and colleges. . . . Mr. White challenges us to reexamine what we have accepted as excellence in the past and to push beyond that to find what is possible."--Patricia Walker, founder and director, Children's Ballet Theatre of New Hampshire "A service of great importance for any artist wishing to pursue a career in dance. . . . applicable to both experienced and inexperienced dancers and teachers. It gives guidelines to the art of teaching ballet where none existed before."--Charles Flachs, principal dancer, Nashville Ballet From his experience of 40 years in ballet as a student, performer, ballet master, and dedicated teacher, John White offers this work of inspiration and step-by-step instruction on the art and craft of teaching classical dance. Stressing excellence in both the creative and the practical aspects of teaching, White discusses what it means to be a "master teacher"--someone with both a deep love for dance and an appreciation for the grandeur of the human spirit. Good art is usually uncomplicated, he says. Illustrating with 97 photographs, he presents a method of study that includes such aspects of teaching as constructive warm-up exercises, when to begin pointe shoes, the beneficial aspects of pain, and appropriate music for the classroom, as well as elements of the basic lesson. He discusses how to recognize talent and to refine and develop it. He offers guidelines for establishing and organizing a well-run studio. And he presents his personal insights into the art of classical ballet pedagogy--shaped in particular by his study with ballet masters from the Kirov and Bolshoi ballet companies and by concepts from the famous Vaganova Choreographic School in St. Petersburg. The book also confronts the controversial issue of the widespread mediocrity that is notorious in dance schools. Poor training often brings about the loss of talented students and the premature forced retirement of professional artists from unnecessary injuries. By contrast, White says, good teaching can be an exhilarating challenge and a profound joy. John White is codirector of the Pennsylvania Academy of Ballet, located in a Philadelphia suburb, which he opened with his wife in 1974. He has been a soloist and the ballet master of the Ballet Nacional de Cuba and the head instructor and interim ballet master of the Pennsylvania Ballet Company. Since 1980 he has conducted seminars for dance teacers, training more than 400 teachers during this time. In addition, he was a contributing editor and writer for Ballet Dancer Magazine.

'School of Classical Dance' is the official textbook of the Vaganova School in St. Petersburg, and takes the student and teacher from the basic concepts of the syllabus to the most complex exercises taught at the end of the eight-year course. A thorough and logical presentation of the classical vocabulary, from its basic forms to advanced variations, is followed by a sample lesson for a senior class. The eight-year syllabus of the Vaganova School, now adopted by almost all Russian ballet schools, is then given in full. The authors were both long-time teachers at the Vaganova School. "A book which is to be treasured, one of the great technical manuals of our time" - the Dancing Times.