[Malte Müller]

I think so to, but I think it’s nevertheless a related and also interesting subject if film scores have been repurposed or adapted for the ballet.

Sure, as you said you can use basically everything for a ballet and that is frequently done, even with classial stuff.

Also, depending on what you composer, a ballet is more difficult to perform than a symphony, as you don’t just need the music, you also need a choreography. And then an orchestra and dancers, so it adds up.

Yeah, that’s of course why ballet composers regulary created concert suites. And some ballets like Prokofiev’s ROMEO & JULIET are 2.5 hours in their original version. Overload for many without a ballet iself unless you need it “complete and chronological” 🙂

[Nick Zwar]

Not sure if two and a half hours with ballet are shorter than two and a half hours without ballet. 🙂

Nevertheless are ballets often even performed in full in concert, rather than in suites. While there are suites of Le Sacre du Printemps, Daphnis et Chloe, or The Wooden Prince, I have seen (or better heard) them all performed in full in concert.

[Thor Joachim Haga]

There was a (successful) staging of Othello to various parts of Jerry Goldsmith film music, including such scores as THE WIND AND THE LION and THE SWARM and ALONG CAME A SPIDER. And the Columbus ballet staged “Belling the Slayer” to the music of “Capricorn One” by Jerry Goldsmith some years ago.

Ah OK, I thought you meant that some Goldsmith scores had been adapted into fullblown ballets, i.e. works in their own right, not that some ballets have used Goldsmith tracks in them (maybe with a ‘fix’ or two). But I suppose that would be interesting too, to see how they choreograph to individual tracks not specifically written for the stage.

[Malte Müller]

Not sure if two and a half hours with ballet are shorter than two and a half hours without ballet. 🙂

True, I was of course making fun since a lot of “normal” people would listen to film music in total only in context, too 😉

[Nick Zwar]

Ah OK, I thought you meant that some Goldsmith scores had been adapted into fullblown ballets, i.e. works in their own right, not that some ballets have used Goldsmith tracks in them (maybe with a ‘fix’ or two). But I suppose that would be interesting too, to see how they choreograph to individual tracks not specifically written for the stage.

I think I gave two examples, one where Jerry Goldsmith’s score for CAPRICORN ONE was actually adapted into a ballet score for BELLING THE SLAYER. OTHELLO, on the other hand (which I did not see), seems to just have used tracks from various Goldsmith scores. (The latter not being much different from what many movies do when they just use “tracks” from various classical pieces as film score.)

[Author]

Posts