Two Pieces for HET (1997)
Choreographer Hans van Manen
Music - Arvo Pärt and Erkki-Sven Tüür
Knighted by the Queen of Netherlands in 1992, his 35th year as a choreographer, Hans van Manen has choreographed more than 120 ballets, each carrying his unmistakable signature. Clarity in structure and a refined simplicity has earned him the name ‘the Mondriaan of dance'.
Van Manen, whose inspiration ranges from as wide a scope as the works of George Balanchine to Fred Astaire, created Two Pieces for Het, when he returned to work with Dutch National Ballet in the late 1990s. Originally part of a larger work, it was performed in this version by Scottish Ballet as part of the Autumn 2004 season. Reviews commented on the emotion and passion of the piece including The Sunday Herald who wrote it showed “a couple who seem to drink in each other’s very being with every touch”. Danced as two continuous sections, it shows the couple at first playfully competitive, becoming gradually more tender as the piece winds down to a delicate conclusion.
The Pump Room (2005)
Choreographer Ashley Page
Music - Nine Inch Nails / Apex Twin
When Ashley Page unleashed this highly charged work for two couples, critics and audiences were unanimous in their praise. Set to a dynamic Nine Inch Nails remix by the celebrated master of electronica, Aphex Twin and building to a stunning climax, this edgy and stylish work pulsates from the moment the curtain is raised and doesn’t pause for breath.
Suite from Artifact (1984, as Suite from Artifact 2004)
Choreographer William Forsythe
Music - Johann Sebastian Bach/Eva Crossman-Hecht
Suite from Artifact (1984. Revised 2004)
Choreography William Forsythe
Music – Johann Sebastian Bach/Eva Crossman-Hecht (PERFORMED LIVE)
Tailored exclusively for Scottish Ballet by one of the most exciting and physically demanding choreographers of the past 20 years. Combining rigorous precision and stunning technique with wit, tenderness and imagination, Suite from Artifact presents the entire Company growing with amazing force to a dramatic conclusion. A transfixing treat for the senses.
“A sight to behold” The Daily Mail
“Glorious heights of spiky elongated exultation. Scottish Ballet did it proud.” The Times
“Leaves audiences slack-jawed in amazement.” Sunday Herald
Agon 1957
Choreographer George Balanchine
Music - Igor Stravinky
Agon (from the Greek meaning ‘contest’) is the third of the three ‘Greek’ ballets by Stravinsky and Balanchine, and is widely regarded as the quintessential collaboration of neo-classicism between these two iconic figures of the 20th Century. Responding to Stravinsky's daring reinvestigation of 17th century French court music, Balanchine plays with the classical vocabulary, pushing it to the edge of technical and expressive possibilities. The result is an explosive showcase of dance full of sensual tension and electrifying geometrically challenging structures.
Stravinsky took his inspiration for Agon, his first foray into serialist composition, from the composers of the 2nd Viennese School amongst whom was composer Anton Webern. He also introduced Balanchine to the music of Webern, which in turn, provided the choreographer’s inspiration for Episodes, performed by Scottish Ballet at last year’s Edinburgh International Festival. It’s a fascinating journey, which yielded some of the greatest dance works ever made
32 Cryptograms (1996)
Choreographer Ashley Page
Music - Robert Moran
32 Cryptograms was the first part of Page's Two-Part Invention made on The Royal Ballet in 1996. Set to a score by American Robert Moran, (32 Cryptograms For Derek Jarman) the work is infused with the forceful dynamics of modern dance and was made to showcase a particularly talented crop of young dancers in the Corps de Ballet at that time who are now dancing leading roles.
32 Cryptograms uses a language that is classically based but it always searching for new ways of presenting itself. It is a direct response to its musical score. It is designed so that a more intense relationship develops between the dancers.
It has become a signature piece for Scottish Ballet, showing the precision, speed and strength of the dancers allied to a stylish elegance.