Lesson 1 2nd quarter.

The integrity of the image of poetry and life.

M. Ravel. Bolero. Folk dance image.

“ Oh bolero

sacred dance of battle!”

"Bolero - Spanish folk dance , which originated in Spain at the end of the 18th century.

This bolero is danced to the accompaniment of a guitar and drum, and the dancers themselves beat out additional complex rhythmic figures on castanets, intertwined into an unusually whimsical pattern.

From the Encyclopedia of Art

Joseph Maurice Ravel (Ravel)

(1875-1937)

The amazing dynamic power and impetuous impulse of his music shows that Ravel was a perfect master of his art.

Emil Vetermoz

Ravel Maurice Joseph is born March 7, 1875 in the small French town of Sibourne, near the Spanish border. There is nothing surprising in Spanish affections French composer. After all, his mother Maria Delurgue was Spanish.

This is, first of all, the famous Russian theater figure Sergei Pavlovich Diaghilev with his Russian Ballet and Russian Seasons in Paris.

"Bolero" by Maurice Ravel is a symphonic hit of the twentieth century. "Bolero" appeared in 1928 . Ravel was inspired to write Bolero Ida Rubinstein - famous Russian ballerina, student of Mikhail Fokin, the famous Russian innovative choreographer.

But the people live, and their song lives,

Dance, Ravel, your gigantic dance.

Dance, Ravel! Cheer up, Spaniard!

Rotate, History, cast millstones,

Be a miller in the menacing hour of the surf!

Oh, bolero, sacred battle dance!

N. Zabolotsky

• What is the main thing in the music of this work?
• What character? Is he changing or not?
• How many themes are there in the work?
• Which of the means musical expressiveness remain unchanged, and which ones change? (intonation, tempo, timbre, dynamics, mode, register, rhythm, construction).

Thank you for attention!

Slide 1

Presentation on the topic: Maurice Ravel “Bolero” Obysova T.G. Music teacher at Municipal Budgetary Educational Institution “Secondary School No. 15”, Novomovskovsk, Tula Region.

Slide 2

MAURICE RAVEL

Slide 3

1928
BOLERO

Slide 4

Born on March 7, 1875 in the city of Cibourg in the south of France. The city of Sibur was located on the very border with Spain, where at that time his father was serving as a travel engineer, a passionate lover of music, who instilled this love in his son. In 1889, Ravel entered the Paris Conservatory, where he graduated in piano. Ravel developed an interest in improvisation after becoming acquainted with the work of the extravagant composer Erik Satie, as well as a personal meeting with composer and pianist Ricardo Vignes. It was after this that Maurice developed a passion for writing. On last year training, he ended up in the class of Gabriel Faure. On his initiative, Ravel composed a cycle of works to Spanish melodies - “Habanera”, “Pavane for the Death of the Infanta”, “Antique Minuet”.
About Maurice Ravel:

Slide 5

When you listen to the music of this composer, you get the impression that you are watching the work of an artist creating his canvas. However, like most composers, Maurice Ravel's work was not recognized for some time. Only after speeches in his defense by the largest cultural figures of France, R. Roland and G. Fauré, was Ravel awarded the Grand Prix of Rome. This allowed him to go on a three-year internship in Italy.

Slide 6

During the First World War, Maurice worked as a truck driver at an airfield. After serving for more than a year, Ravel was demobilized after two serious wounds. After the war, the emotional element began to predominate in Ravel's music. Therefore, from composing operas he moves on to creating instrumental pieces and writes the suite “Tomb of Couperin”. Around the same time, Maurice Ravel met the famous Russian producer and director S. Diaghilev, who was staging “Russian Seasons” in Paris.

Slide 7

Ravel tours a lot: he performs on tours in Italy, Holland and England. And everywhere he was met with an enthusiastic reception from grateful admirers. Commissioned by the Russian conductor S. Koussevitzky, Ravel performs a brilliant orchestration of “Pictures at an Exhibition” by M. P. Mussorgsky. All this happens while Maurice is working on his most famous work, Bolero. In it the composer tried to combine classical traditions with the rhythms of Spanish music. The idea of ​​this work belongs to famous ballerina Ida Rubinstein.

Slide 8

In 1932, Ravel again tours Europe with the outstanding pianist Margarita Long. At the same time, he began work on a new work - the ballet “Joan of Arc”. However, he got into a car accident and the work stopped. Since 1933, Ravel suffered from a serious neurological disease, which was possibly a consequence of a traumatic brain injury, which he received in a car accident. The last work seriously ill composer was “Three Songs” for the first sound film “Don Quixote”. They were written for the Russian singer F.I. Chaliapin.

Slide 9

“Ancient Minuet” (1895) “Pavane for the Death of the Infanta” (1899) “Play of Water” for piano (1901) “Reflections” for piano (1905) “Spanish Rhapsody” for symphony orchestra(1907) "The Spanish Hour", opera (1907) "Gaspard of the Night", or "Ghosts of the Night" for piano (1908) "Daphnis and Chloe", ballet (1912) "The Grave of Couperin" (1917) "The Child and the Magic", opera (1925) “Bolero” for symphony orchestra (1928) Concerto No. 1 in G major for piano and symphony orchestra Concerto No. 2 in D major for piano (left hand) and symphony orchestra, dedicated to Paul Wittgenstein
LIST OF WORKS BY MAURICE RAVEL.

Slide 10

The dance, which arose at the end of the 18th century (according to some sources, was created around 1780 by the dancer Sebastian Cerezo), was accompanied by singing and playing the guitar and drum. The characteristic musical and rhythmic figures were emphasized by the sound of castanets. In the first years of its existence, the bolero was called “the apotheosis of tenderness,” but soon the dance became dramatized, imbued with the spirit of knightly heroism.
BOLERO - Spanish folk couples dance. The pace of movement is moderate, time signature 3-beat. The rhythmic pattern is often close to the rhythm of the polonaise.

Slide 11

As a rule, a bolero consists of 5 parts. Part 1 - choreographic depiction of a walk. In the middle part, which is improvisational in nature, the dancers take turns demonstrating their skills. The “flying” movements of men are particularly complex, thanks to which, researchers believe, the dance received the name “bolero” (Spanish volar - to spin - in common speech it turned into bolar).

Slide 12

Co-arrangement of parts, their strict sequence in development main topic allowed us to convey the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included “Bolero” in her repertoire.

Slide 13

In the 1st half of the 19th century, the bolero, usually performed in Spain on the days national holidays on the streets and squares, goes on stage. Interest in the genre begins to appear abroad: dance is included in ballets and operas, inspires composers to create numerous songs and romances, as well as instrumental works.

Slide 14

The sight of a large symphony orchestra performing Bolero is perhaps one of the most striking musical spectacles. Few people remember that this music was originally intended for ballet. But, having overcome the boundaries of genres as well as criticism and self-criticism, Bolero remains the most “massive” phenomenon of symphonic culture.

Slide 15

Composition of tools. First the woodwinds sound - flute, clarinet, oboe, bassoon.

Slide 16

Gradually they are joined by groups of copper wind trumpets with a mute,
saxophones are new instruments primarily used in jazz,

Slide 17

then horn and celesta

Slide 18

Solo trombone, trumpets.

Slide 20

This is how the composer himself (Ravel) characterizes “Bolero”: The peculiarity of “Bolero” is its immutability. 'This dance music, which must be performed smoothly moderate pace; it is built on the persistent repetition of the same melody and harmony, the monotonous rhythm of which is constantly beaten by the drum. The only element of variety in it is the ever-increasing orchestral crescendo.

Slide 21

Ravel himself saw this music as a large dance scene unfolding in the open air, with the participation of a huge crowd of people. “Bolero” has been staged on stage more than once as a ballet. According to Ravel himself, it was necessary to include the factory building in the decoration so that the men and women leaving the workshops would gradually be involved in the general dance. Why did Ravel himself have such an idea? Rather, because during his travels in the Rhineland he visited several large factories, which he constantly admired, or rather, these factories became his passion. Ravel pointed out one of these factories in front of which he loved to walk: “The factory from Bolero.” And, of course, in the apparent mechanicalness of the movement (due to the repeated repetition of two themes), the image of a grandiose mass dance-procession is gradually revealed. The music produces a hypnotizing, bewitching impression.

Slide 22

N. Zabolotsky calls “Bolero” a “sacred battle dance”: But the people are alive, and their song is alive, Dance, Ravel, your gigantic dance. Dance, Ravel, don't be discouraged, Spaniard! Turn, history, cast millstones! Be a miller in the menacing hour of the surf! Oh, Bolero, the sacred dance of battle!

Slide 23

And here are several paradoxical situations and statements related to the history of this work. Maurice Ravel: “Is Bolero my masterpiece? Unfortunately, this is empty music! After one of the performances of “Bolero,” a lady unknown to the composer exclaimed: “Crazy!” Ravel, grinning, said: “She understood!” Maurice Ravel to George Gershwin: “Be careful, you will end up writing Bolero!”

The reason for the extraordinary popularity of Ravel's Bolero is
hypnotic effect of an unchanged, many times repeated rhythmic
figure, against which the two themes are also carried out many times, demonstrating
extraordinary growth of emotional tension and introducing more and more new sounds into
tools.

So,
Ravel, let's dance the bolero!
For those who will not change music to a pen,
Is in this
the world's original holiday -
The melody of the bagpipes is meager and sad
And this one
dance of slow peasants...
Spain! I'm drunk on you again!
Dream flower
nurturing the sublime,
Again your image burns before me
Beyond the distant
border of the Pyrenees!
Alas, the tormented Madrid fell silent,
All in echoes
passing storm,
And Dolores Ibarruri is not with him!
But the people and their song live
alive.
Dance, Ravel, your gigantic dance.
Dance, Ravel! Don't be sad
Hispanic!
Rotate, History, cast millstones,
Be a miller in a terrible hour
surf!
Oh, bolero, sacred battle dance!
Nikolai
Zabolotsky

By birth
We owe this work to the intertwining of two life lines in the fate of Ravel,
this Frenchman has Spanish and, oddly enough... Russian lines. Russian connections
Ravel was given an external impetus to write the second part of this ballet
presentations. Spanish - by the inner force that prompted Ravel
write exactly “Bolero”, in other words, again, as he had done more than once,
turn to the Spanish theme, Spanish folklore, try to convey Spanish
spirit and color.
Already for many years Ravel is associated with figures Russian culture,
especially with the composers who conquered Paris in the early 900s. This is before
In total, the Russian theater figure Sergei Pavlovich Diaghilev with his “Russian
ballet" and "Russian Seasons" in Paris. It was by order of Diaghilev that Ravel was still in
In 1912 he wrote the ballet Daphnis and Chloe.
On the writing of Ravel's "Bolero"
prompted Ida Rubinstein.
Ida Rubinstein planned to perform on stage
Grand Opera in Paris choreographic composition to music already written then
"Valse" by Ravel. But this one orchestral piece in order to present it
V theater performance, was not enough. And then she turned to Ravel with
request that he write another piece for this production. Solved
was that it would be "Bolero".

According to some sources, the bolero dance was created by the Spanish
by dancer Sebastiano Cerezo around 1780. Although it has always been three-lobed,
share it in different times divided differently: three equal beats in the first bar
(three quarters, in professional terms) musical language), then to
downbeat of the next bar stop (dotted quarter note) and three short notes
(eighths). One of the rhythmic variants of the bolero: the first measure is divided into
short notes; in this case there are six of them (eighth notes), and, instead of the first note
pause. The second measure is the same as in the first version. Subsequently crushing
becomes even smaller. The tempo of the classic bolero is moderate, one might say
even reserved. The movement is full inner strength and passion. It's danced like this
bolero to the accompaniment of a guitar and drum, and the dancers themselves beat on
castanets additionally complex rhythmic figures, intertwined in unusually
whimsical pattern. There are many varieties of bolero, characteristic of different
regions of Spain.

Paradox,
however, is that none of these options coincide with the rhythmic
structure of Ravel's Bolero. To the remark of one musician (Cuban pianist and
composer Joaquin Nin) about this Ravel replied: “This has no
meaning." "Of course," agrees with Ravel Rene Chalus, publisher of letters
composer. - And yet a work that enjoys such great popularity
and conquered the whole world, is hardly accepted by the Spanish audience -
solely because of the name." The above-mentioned circumstance gives, by the way,
a reason to think about the problem of authenticity or, as they now say,
authenticity, " national color"in works on a national plot,
written by foreign composers. What is perceived in the outside world
as a kind of musical emblem of a particular country, not always
is such for the inhabitants of this country itself.

What
As for the Spanish bolero itself, this dance inspired more than one
only Ravel. Bolero was written by Beethoven (arrangement of bolero is included in his cycle "Songs
different nations" - notebook 1, no. 19 and 20). This dance is included in operas and ballets
- “The Blind of Toledo” by Megul, “Preciosa” by Weber, “Black Domino” and “The Mute of
Portici" by Aubert, "Benvenuto Cellini" by Berlioz, " Swan Lake"Tchaikovsky and
"Coppelia" by Delibes. Glinka, with his passion for Spain, used the bolero in
his songs and romances (“Winner”, “Oh, My Wonderful Virgin”). Oddly enough
(although this may be understandable in view of some similarity between the rhythm of the bolero and the rhythm
polonaise), Chopin wrote piano piece, which is called "Bolero"
(Op.19). But, despite such a harvest of bolero in European music, first
the association that arises with this dance is, of course, “Bolero”
Ravel.

At first
it was a kind of composer's experiment: what effect can be achieved with
using only one composer's means - orchestration. After all, the play that sounds
fifteen minutes (a lot, in order to keep the listener's attention in
constant voltage), is built on just two persistently repeated without any
development topics. In addition, there are no modulations, that is, transitions to different
tonality, in other words, changes in harmonic colors. And finally, tough
Ravel sets a limitation on the tempo - according to the composer's intention, it should remain
unchanged throughout the entire work.

So,
"Bolero" is Ravel's true compositional trick. The composer himself
described his work: “This is a dance at a very restrained pace,
completely unchanged both melodically, harmonically and rhythmically, and
the rhythm is continuously beaten by the drum. The only element of variety introduced
orchestral crescendo. In the persistent repetition of two themes, Ravel saw Arabic
element characteristic of this dance.

Premiere
"Bolero" as a ballet performance took place in Paris on November 20, 1928.
Danced by Ida Rubinstein, set design Alexander Benois. The triumph was complete.
Here is the testimony of one of the eyewitnesses: "A dimly lit room in the Spanish
tavern; along the walls, in the dark, revelers chat at tables; in the middle of the room
a large table, on which the dancer begins to dance... The revelers do not pay attention to her
attention, but gradually begin to listen and perk up. There are more and more of them
captures the obsession of rhythm; they rise from their seats and approach
table; unusually excited, they surround the dancer, who triumphantly
ends the performance. That evening in 1928 we felt like these ourselves.
revelers. At first we didn’t understand what was happening, and only then did we realize...
".

Necessary
to say that although this scenario was naturally agreed with Ravel, he himself
the composer imagined differently what he depicted with sounds. The most important
the difference was that, according to Ravel's plan, the action should take place on
open air. Moreover, Ravel knew exactly where (and it had to be
reflected in the scenery) - against the background of the wall of the factory building! The unexpected and
a seemingly strange artistic decision. But if you know the circumstances
biography of Ravel, you won’t be surprised. The composer has always had a passion for
industrial landscape. He admired the factories in Belgium and the Rhineland,
which he saw when at one time - in the summer of 1905 - he traveled on board
yachts "Eme".

One
Ravel’s statement on this matter: “What I saw yesterday is etched in my memory
and will remain forever, like the port of Antwerp. After boring day on a wide
river, between the hopelessly flat, featureless banks, a whole
a city of chimneys, huge buildings spewing flames and clouds of reddish and blue smoke. This
Haum, a giant foundry where around the clock 24000 work
workers. Since Rurort is too far away, we moor here. So much the better,
otherwise we would not have seen this amazing spectacle. We reached the factories
when it was already getting dark. How to convey to you the impression of this kingdom of metal,
these cathedrals bursting with fire, from this wonderful symphony of whistles, the noise of the driveways
belts, the roar of hammers that fall on you! Above them is red, dark
and a flaming sky, and a thunderstorm had also broken out. We're back scary
wet, in different moods: Ida was depressed and almost cried, me too
I was ready to cry, but from delight. How musical all this is!.. Definitely
I use."
The factory depicted by Ravel in Bolero existed in
reality and was located not far from the place where the composer acquired
a small house near Paris, which he called Belvedere. Hanging out here with friends
Ravel often said, pointing to this factory: “The factory from Bolero.”

Leon
Leyritz, artist, sculptor and decorator, close friend Ravel, made a layout
scenery for "Bolero". This model was demonstrated at the Salon
decorative artists during the composer's lifetime and received his full approval.
Knowing this, the management of the City Opera, staging “Bolero” after Ravel’s death,
Leitritz entrusted the design of the performance. Serge Lifar, choreographer of "The Russians"
seasons" by Diaghilev, and at the time of this production (1938) the former main
choreographer of the Opera, strongly protested against this plant. But brother
composer Eduard Ravel, who knew well the artistic intentions of the author,
showed firmness and threatened that he would not give permission for the production if not
his brother's will will be done. Ravel's will was fulfilled, and the success was complete.

Spain, factory, bolero bullfighter... (Frenchman Ravel). Involuntarily in consciousness
another series appears: Spain, tobacco factory, habanera, bullfighter... Of course,
"Carmen" (French Bizet).

Life
"Bolero" as a brilliant orchestral piece, and not just a ballet-stage piece
plays by Aturo Toscanini. 1930 Toscanini prepares a performance of "Bolero" in
Paris. At the same time, Ravel himself conducted Bolero. Composer like me
mentioned, attached great importance great value to ensure that the tempo of the play is maintained
unchanged from start to finish. This is exactly what - with the continuously increasing
the sound of the orchestra and the ostinato (that is, also continuous) beating of the same
same rhythmic figure with a drum - has a hypnotic effect on
listeners. And so, Ravel came to Toscanini’s rehearsal. Famous conductor
throughout the play he made a noticeable acceleration. Then Ravel walked up to the stage and
drew the conductor's attention to this. Toscanini's very calm and strong Italian
answered in an accent: “You don’t understand anything about your music. This is the only
a way to make her listen." "After the concert at which Toscanini repeated this
acceleration, - I quote Rene Chalus, - Ravel decided not to go to his artistic studio
congratulations, but the Portuguese conductor Freitas Branco, who was in the hall
persuaded Ravel not to attract everyone's attention with such unkindness. Ravel
allowed himself to be convinced, but, shaking the maestro’s hand, told him: “This is allowed
only for you! And no one else!" He did not want - and he was absolutely right - for
A false tradition of performance has established itself among musicians. However, contrary to opinion
Toscanini, the audience listened to "Bolero" without any acceleration of the tempo, and how
listened!"

Bolero / Maurice Ravel - Bolero (Maurice Bejart; Maya Plisetskaya)

http://youtu.be/NRxQ_cbtVTI

Artists
Fabian
Perez
Jeremy Suton
Raynold Reech
Andrew Atroshenko
Mark
Fielding
Yanira Collado
Karen Bierteldt

Text
Alexander
Maykapar

http://www.liveinternet.ru/users/arin_levindor/post73974687/

From ptiz_siniz
(Olga Vedyokhina)

A. Pushkin

(fragment from “Eugene Onegin”)

Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Now the camp will sow, then it will develop,
And with a quick foot he hits the leg.

P. Vyazemsky

Quatrain under the drawing by L.I. Carina (leg of Maria Taglioni)

Sorry, sorceress! A fleeting sylph
She flew up into the clouds. Bon voyage!
But the prose here is in spite of ethereal poetry:
Tell me, why put the wing in the shoe?

Emily Dickinson

I'm dancing on pointe shoes
Didn't pass science -
But sometimes the spirit of fun
So they wing in me -

What - know the basics of ballet -
The whole Troupe - turning white -
I would like to see my flight -
And I will accept anger.

Let it be in a haze of gas and flowers
I won't slide towards the ramp -
Let your foot in the air - easily -
Like a Bird - I don’t hold -

Let me not twirl in a pirouette -
To knock the wind into foam -
Until I'm blown away
Furious "encore" -

And let no one know -
The posters don't make noise -
But my Theater is full of dance -
There is a gala performance.

Translation by Vera Markova

A. Akhmatova

Tamara Platonovna Karsavina

Like a song you compose light dance -
He told us about glory, -
There is a blush on the pale cheeks,
Darker and darker eyes.

And every minute there are more and more prisoners,
Forgotten their existence,
And bows again in the sounds of the blissful
Your flexible body.

N. Gumilev

Tamara Platonovna Karsavina
We begged you for a dance for a long time, but we prayed in vain,

You smiled and refused emotionlessly.

The poet loves the high sky and ancient stars,
He often writes ballads, but rarely goes to the ballet.

I went home sadly to look the silence in the eye.
The rhythms of movements that were not former rang and sang in me.

Only the sweetly familiar silence suddenly blossomed.
It was as if the mystery had approached or the moon had become the sun.

The string of the angel's harp has broken, and I hear the sound.
I see two white stems of arms thrown high.

Lips of the night, like velvet red flowers...
So, it’s you who refused there who is dancing after all!

In a blue tunic from the night sky, a tightened figure
Suddenly the fog, rapidly filled with light, breaks apart.

The light leg quickly draws serpentine lightning -
Blessed Degas probably sees such visions,

If for your bitter happiness and sweet flour
He was received in the blue-crystal high heaven of God.

...I woke up in the morning, and the morning rose that day radiantly.
Was I happy? But my heart languished with grateful melancholy.

M. Kuzmin

T.P. Karsavina

Half the sky in a distant street
The swamp has obscured the dawn,
Only a lonely skater
Draws lake glass.
Capricious runaway zigzags:
Another flight, one, another...
Like the tip of a diamond sword
The monogram is cut by the road.
In the cold glow, isn't it,
And you lead your pattern,
When in a brilliant performance
At your feet - the slightest glance?
You are Columbine, Salome,
Every time you are no longer the same
But the flame is growing clearer,
The word "beauty" is golden.

G. Ivanov

To the album of T. P. Karsavina

The gaze of a balletomaniac,
Scenes green semicircle,
In a cloud of light fog
Shoulders outline and arms.

Violins and sonorous horns
As if exhausted from the struggle,
But golden and spacious
A dome like the sky above you.

Invisible wings are blowing,
The heart is carried away, trembling,
Upwards, where the cupids turn pink,
Holding a cornucopia.

V. Khodasevich

Giselle

Yes, yes! In blind and tender passion
Get over it, burn out,
Tear your heart into pieces like a letter,
Go crazy, then die.

So what? Move gravestone
Again you have to get over yourself
Love again and kick your leg
Moonlight blue on stage.

A. Tarkovsky

Ballet

The violin squeals, the drum hums,
And the flute whistles in Alsatian,
A cardboard weevil drives onto the stage
With a painted doll from a fairy tale.

Her partner takes her out from there,
Putting his hand under her thigh,
And drags him by force to the hotel yard
To the pirates for sure flour.

They sharpen their daggers and twirl their mustaches,
And they stomp their heels to the beat,
Pocket watches take out at once
And the squirrels sparkle wildly, -

Like, it's time to cut! But in strawberry tights,
In your swan starch,
Prima flies over the ramp easily,
And something vibrates in the hall.

Stage nonsense magic current
Finds you like a nightingale's whistle,
And tests your will to the teeth
Cold calculation of a ballerina.

And all this sweat, this makeup, this glue,
Confusing your taste and feelings,
They have already taken possession of your soul.
So what is art?

Probably the connection will be guessed
Between the stage and Dante's Inferno,
Otherwise, where would the area come from?
With all this riffraff nearby?

I. Brodsky

Mikhail Baryshnikov

Classical ballet is a castle of beauty,
whose gentle tenants from the harsh prose of days
the sawing pit of the orchestra
separated. And the bridges are closed.

We squeeze our butts into imperial soft plush,
and, winged with cursive thighs,
a beauty you won't lie with,
in one leap he flies out into the garden.

We see the forces of evil in brown tights,
and an angel of goodness in an indescribable package.
And has the power to awaken from Elysian hibernation
ovation from Tchaikovsky and Co.

Classic ballet! The art of better days!
When your grog hissed and they kissed you on both sides,
and the reckless drivers raced, and bobeobi was sung,
and if there was an enemy, then it was Marshal Ney.

The pupils of the policemen had yellow domes.
In which nests they were born, they died in those nests.
And if anything flew into the air,
it wasn’t a bridge, but Pavlova was.

How glorious it is in the evening, in the distance of All Rus',
Baryshnikov to mature. His talent has not faded!
Leg strain and torso cramp
with rotation around its own axis

give birth to the flight whose soul
how the girls were waiting, ready to get angry!
What about where it will land, -
the ground is hard everywhere; I recommend the USA.

N. Zabolotsky
(hardly having seen Ida Rubinstein in 1928 and anticipating the appearance ballet performances to music by Ravel)

Bolero

So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The melody of the bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
Cherishing the flower of a sublime dream,
Again your image burns before me
Beyond the distant edge of the Pyrenees!
Alas, the tormented Madrid fell silent,
All in the echoes of the passing storm,
And Dolores Ibarruri is not with him!
But the people live, and their song lives.
Dance, Ravel, your gigantic dance,
Dance, Ravel! Cheer up, Spaniard!
Rotate, History, cast millstones,
Be a miller in the menacing hour of the surf!
Oh, bolero, sacred battle dance!

V. Gaft

"Fouette"

E. Maximova

It all started with Fouette,
When the Earth began to rotate,
Like a virgin in nakedness,
Flustered with embarrassment,
Suddenly it spun around in the darkness.
Oh, just don't stop,
Don't get lost in the bustle,
Let my head spin
Together with the Earth in Fouette.
Oh, just don't stop,
And if it's just a dream,
Let it last as long as possible
My wonderful dream - Fouette!
It all started with Fouette!
Life is perpetual motion,
Don't turn to Beauty
Stop for a moment
When she's at her best.
Stop sometimes
For that moment it's dangerous
She's always on the move
And that's why she's beautiful!
Oh, just don't stop...

Tate Ash

Baltic choreography

... the liveliness of hawthorn awakened in my fingers
Joseph Brodsky
after midnight.
the gloomy palace hunger is fully noticeable outside,
even the venerable staircase pokes predatorily into the palisade.
people are over.
the sky fell into puddles a few days ago.
That’s how it lies - near the trash, on the broken bottom,
peering into the rooftops...

squeezing a firefly in a fistful,
hawthorn wanders along the parapets -
looking for
where to grow.

The darkness is shaking, the bridge is trembling, Judas.
A water cannon spits out black slurry.
a bird swollen from getting wet will
sleep on the shoulder of a bush.

sometimes it flashes
near the balcony scree
the same hawthorn (essence, habits, shadows of the same length).
I would like to call, talk,
but the thoughts of similar individuals are equally distant.

it's dawn.
A formation of cobblestones is being prepared to seize the road.
but until the asphalt shell cracked,
in the headlights, a hawthorn branch will suddenly bend like Baryshnikov -
will hesitate -
and straightens up in a wild, spiky step.