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Interview with Robert Irving

Robert Irving discusses New York City Ballet's Stravinsky Centennial Celebration; contrasts the musical selections with those used at NYCB's Stravinsky's 90th birthday celebration; his years with the NYCB; the increase in ballet appreciation in the past 30 years; the improved quality of ballet orchestras; and his appreciation of George Balanchine.

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  • "Robert Irving discusses New York City Ballet's Stravinsky Centennial Celebration; contrasts the musical selections with those used at NYCB's Stravinsky's 90th birthday celebration; his years with the NYCB; the increase in ballet appreciation in the past 30 years; the improved quality of ballet orchestras; and his appreciation of George Balanchine."@en
  • "Robert Irving discusses his beginnings as a dance orchestra conductor; his mentor, Constant Lambert; the musical repertory of the Sadler's Wells Ballet at that time; the need for versatility as a dance conductor; Irving's own music preferences for dance; using his conducting to adapt the music for different choreographers' and dancers' wishes; the Kirov Ballet's difficult musical tradition; critics and their impressions of the music; he re-emphasizes the importance of conductors' adaptability; recording music for ballets; tempo relating to dance; advice for aspiring dance conductors; how he came to work with New York City Ballet; trends in music for dance; Irving's personal music preferences; the visual component in music; his work as a composer; and future plans."
  • "[Begins abruptly.] Robert Irving speaks about an upcoming conducting engagement with the Australian Ballet; discusses briefly the [New York City Ballet's] Tchaikovsky Festival, Ravel Festival, and [1972] Stravinsky Festival; notes certain general characteristics of Igor Stravinsky's compositions [interruption]; credits George Balanchine for recognizing the adaptability of Stravinsky's music to dance; speaks about his years as a conductor with the New York City Ballet orchestra; Kurt Jooss's ballet Persephone; the upcoming Stravinsky Centennial Festival [gap]; briefly discusses conducting the music for Balanchine's ballet Agon and an unidentified [George] Gershwin piece [the score for Balanchine's Who cares?]; Peter Martins' works Suite from histoire du soldat and Eight easy pieces; his upcoming conducting engagements in Europe."
  • "[Begins abruptly.] Robert Irving speaks with John Gruen about conducting for New York City Ballet, including the variety of its repertory; George Balanchine; tempi as the first consideration; New York City Ballet's orchestra; Balanchine's ballet Chaconne [an excerpt of a recording of the ballet music from Christoph Willibald Gluck's opera Orphée et Euridice, is broadcast]; the process whereby the conducting of the music is set to the ballet; conducting Stravinsky's music in his presence; conducting for Martha Graham's company and working with Graham; leading rather than following as the key to conducting for dancers [an excerpt of a recording of Leo Delibes' music for Coppélia is broadcast]; anecdotes about performance mishaps; Gruen announces the New York City Ballet's upcoming performance schedule; the new work being prepared for the Bicentennial [Balanchine's Union Jack]; unidentified music and announcement of next week's guest, Rouben Ter-Arutunian."

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  • "Interviews"
  • "Interviews"@en

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  • "Interview with Robert Irving"
  • "Interview with Robert Irving"@en

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