Miro Magloire presents his New Chamber Ballet in a program of Magloire works to music by Michel Galante, Friedrich Cerha, Rebecca Saunders, Beethoven, and a world premiere to music by Ryan Brown, February 10 & 11,8 PM, in the company's home base of City Center Studio 5, 130 West 56 Street.
Originally trained in his native Germany as a composer, Magloire is known for his eclectic taste in music and his ballets to scores by contemporary composers. The world premiere, as yet untitled, is a quartet set to "Ceramics" for solo piano by contemporary composer Ryan Brown, whose music has been performed around the world by Kronos Quartet and the NY Phil Biennial, among many others. He received an Emerging Composer Award from the Gerbode and Hewlett Foundations and was a finalist for the Gaudeamus Prize. In addition to composing, MR. Brown is Executive Director of San Francisco's Switchboard Music, an innovative music presenter, and serves as Associate Dean at the San Francisco Conservatory of Music.
The company will repeat the November 2016 premiere of La Danse, set to a score by Michel Galante, commissioned with a grant from the O'Donnell-Green Music and Dance Foundation. Magloire and Galante have enjoyed a very productive collaboration, having worked together on two previous ballets. The young composer/conductor has been awarded prizes from the Fulbright, Hertz, and Mellon foundations, ASCAP and the Composer's Guild, and looks forward to conducting the St. Petersburg Chamber Philharmonic (Russia) and the Orchestra Nazionale Artes (Italy).Anna's Last Day is set to Duo for Violin and Piano by Rebecca Saunders, a young English composer living in Berlin. The title character in this dramatic dance, consumed by guilt over the death of her sister, goes on a harrowing and ultimately fatal trip down memory lane.
For his delightful ?Fast Forward, Magloire selected Beethoven's Rondo for Violin and Piano, brilliantly played by Doori Na and Melody Fader. The trio of dancers "rush about the space in speedy (even risky) combinations," noted Philip Gardner. "The breathless quality of the movement is a fine response to the zesty drive of the Beethoven." (oberonsgrove, January 2105)
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