Ivesiana

Production#

Balanchine first learned about Charles Ives in 1934, despite his works being rarely performed at the time. Later, he attended a concert of Ives’ works conducted by Léon Barzin. While he was fascinated, he also found Ives’ works “incredibly difficult, far too complex for dancing.” Balanchine was “saddened” by the fact that he never met Ives or tell him he planned to use his music, as Ives “seemed inaccessible.” She later stated she believed she was given the role because " Balanchine saw in me the psychological raw material that could be molded and remolded into images of sensuality - unrealized and restrained, but there, just under the surface." It then fell out of the New York City Ballet’s repertory, until a revival in 1961. Both Barn Dance and Over the Pavements were removed from the ballet. Additionally, In the Inn was rechoreographed. Instead of Tanaquil LeClercq and Todd Bolender from the original cast, Diana Adams and Arthur Mitchell danced the new version of the movement. The lighting had been redesigned, while some of the costumes had since been replaced, resembling street clothes. The New York City Ballet rarely revives Ivesiana. The ballet had also been performed by the Dutch National Ballet and Berlin Opera. Following Balanchine’s death in 1983, the American and media rights to Ivesiana went to Edward Bigelow, a dancer and administrator at the New York City Ballet, as well as a friend of Balanchine.

Structure and choreography#

The first movement of Ivesiana is set to Central Park in the Dark, danced by a principal couple and an all-female corps de ballet.

Critical reception#

Following the premiere of Ivesiana, New York Times critic John Martin wrote, “It is strictly for the Balanchine admirers who recognize his genius and are eager to ‘assist’ at anything that he feels under inner compulsion to do. Here he has manifestly cut loose and allowed himself the full freedom of creation. Fortunately he has a company that understands him and is able to give him virtually anything he wants. The result will not please everybody, but it is honestly inspired and wonderfully wrought.” Dance critic Edwin Denby commented, “Ivesiana develops no speed of momentum at all, no beat; it is carried onward as if way below the surface by a force more like that of a tide, and the sharp and quickly shifting rhythms that appear have no firm ground to hold against an uncanny, supernatural drift. Ivesiana is a somber suite, not of dances, but of dense and curious theater images.” In her book Repertory in Review: 40 Years of the New York City Ballet, author Nancy Reynolds summarized reviews of Ivesiana, and found The Unanswered Question to be “the most arresting episode”, while Central Park in the Dark, In the Inn and In the Night were also well-received, but not Hallowe’en and Over the Pavements, the movements Balanchine eventually removed.

Videography#

In 2020, during the COVID-19 pandemic, the New York City Ballet released a 2013 video recording of The Unanswered Question, featuring Janie Taylor and Anthony Huxley.

External links#

• Ivesiana on the New York City Ballet’s website
• Ivesiana on the George Balanchine Trust’s website