Undine (ballet)

"Undine" (also called "Ondine") is a three-act ballet with music by the German composer Hans Werner Henze. The score of "Undine" is a rarity as it is a "20th century full-length ballet score that has the depth of a masterwork". It was adapted from a novella by Friedrich de la Motte Fouqué and it tells the tale of a water nymph who is the object of desire of a young prince named "Palemon". It was choreographed by Sir Frederick Ashton who made the title rôle of "Ondine" (Ashton anglicized the characters' names) on Dame Margot Fonteyn.

Composition History

Frederick Ashton first approached William Walton to compose a score after his success with Troilus and Cressida in 1954. Walton refused and suggested that his friend Hans Henze be approached.cite journal| last = Jones| first = Richard| title = Hans Werner Henze: Composer of 'Ondine' | journal = Ballet Magazine| issue = April 2005 | url = http://www.ballet.co.uk/magazines/yr_05/apr05/rj_hans_werner_henze_ondine.htm | accessdate = 2008-05-06] Therefore, the music for "Ondine" was commissioned from Henze, who went to considerable lengths to learn the special requirements of writing for ballet. Ashton gave him a very detailed breakdown of the action, with precise timings for each section in a similar way to how the famous nineteenth century choreographer, Marius Petipa did for Pyotr Ilyich Tchaikovsky.

Henze had never before composed a subject in the romantic style which Ashton requested, however Ashton had been impressed by Henze's treatment of magical material in his opera "König Hirsch". Henze attended many ballet performances at Covent Garden, frequently accompanied by Ashton who told him clearly what he liked and what he did not like in music for dance. Eventually the work was completed, but when Ashton heard a recording of the orchestrated score he realized that he would have to revise his ideas; the sustained orchestral sounds were such a contrast to the piano score and made him think very differently.

Henze's luminous score, his second major work following his move to Italy, is among the most beautiful ever written for the ballet, and one which has had very limited exposure outside the theatre. Unlike the great Stravinsky ballets, it is also a continuation of the traditional full-length ballet complete with divertissement (there are two in fact, one of them being a miniature piano concerto).

Performance History

London Premiere (World Premiere)
* "Date:" 27 October 1958
* "Place:" Covent Garden, London
* "Conductor:" Hans Werner Henze
* "Costume and Set Designer:" Lila de NobiliNew York Premiere
* "Date:" 1960
* "Costume and Set Designer:" Lila de NobiliMilan Premiere
* "Date:" 21 April 2000
* "Place:" La Scala, Milan
* "Conductor:" Patrick Fournillier

Notable Interpreters

Original Production of 1958

The première of Ondine, conducted by Henze, was given on 27 October 1958 at the Covent Garden, London. The title rôles were created by Margot Fonteyn (Ondine), Michael Somes (Palemon), Julia Farron (Berta), and Alexander Grant (Tirrenio, Lord of the Mediterranean Sea). Henze later arranged the "Wedding Music" for wind orchestra in 1957 and a further two orchestral suites in 1958.

Revivals

Although it was much lauded at the time it was not revived until the late 1980s by the Royal Ballet. The Semperoper Ballet in Dresden, Germany has staged it regularly as part of its repertoire using modern design. Some commentators have noted that this is perhaps a consequence of its length (around 100 minutes) which does not compare with other twentieth century ballets. It was however finally given a recorded premiere in 1999 with the London Sinfonietta under Oliver Knussen, entitled "Undine". It was nominated for the 1999 Grammy Award for Best Orchestral Performance. [http://www.cduniverse.com/productinfo.asp?pid=1057744&style=classical CD of Henze's "Undine"] ]

The Music of "Undine"

The score is constructed with the certainty of technical accomplishment and inlaid with a lyricism that emanated from his experience of Italian life and Mediterranean colour. The score combines various genres, including the neo-classicism from his early years. This combination of the genres of early German Romanticism and the Neo-Classicism of Stravinsky gives the score a 'modern' sound "automatically made it anathema to the avant-garde of the 1950s"cite news|url=http://query.nytimes.com/gst/fullpage.html?res=9D01E2DD123FF930A35752C0A96F958260|title=Watery Ballet, Potent Music|first=Anthony|last=Tommasini|date=3 January 1999|accessdate=2008-05-16|publisher=New York Times] . Therefore, the music was often seen as revolutionary and not suited to ballet.

Act 1

The score has a slow opening and immediately provides a romantic sense of mystery. However, the music then launches into a quicker tempo, brass fanfares propelling the music along with a rhythmically incisive "motif". An "andante" section for strings follows using a straightforward lilting rhythm. The simplicity of this section is a marked contrast to the next, marked "vivace" where the different parts of the orchestra compete with each other with an underlying consistent rhythmic drive. The following section is also manufactured of contrasts with lyrical strings followed by a solo clarinet and sparse accompaniment. High strings, harp (for the watery effect) and occasional percussion provide another contrasting orchestral sound, before the composer again re-assembles his palette of orchestral colours, using solo instruments in small groups, or alone, or high violins in long notes soaring above moving fragments of ideas below. The "finale" of Act 1 has an uneven rhythm with sudden accents darting about in Stravinskian fashion, the music being punctuated here and there by astringent wind chords.

Act 2

This act begins by reestablishing the aura of romantic mystery which began Act 1. This is evoked by the use of high violins and wind chords together, similar to that of Stravinsky's "Rite of Spring". The first movement is characterised by the constant change of tempo, while the second picks up influences from other musical styles in particular that of rhythmic impulse and swooning which characterised Ravel's work. The next movement features solid writing for a chorus of brass instruments, after which high violins are heard over a very low accompaniment. This section also features many solos for various instruments, followed by a "pas de trois" above a gently undulating accompaniment where lyrical melody lines are heard, with the oboe able to penetrate the whole texture in expressive fashion. The following variation is typical of 19th century ballet music and begins with the violins before spreading to the rest of the orchestra. Brass, prominent timpani and incisive pizzicato chords in the strings culminate in a sense of urgency in the music which prepares for the musical tension in the final act.

Act 3

This act begins with a striking unison theme in the strings, soon interrupted by strident brass. This theme intensifies throughout the opening movement, "recitative". The next movement, "adagio", features a sweeter sound in the strings with a solo violin heard floating above the rest of the orchestral texture. The "con elegenza" that follows is marked by the sweeping sound of violins. Brass fanfares then introduce the "pas de seize" and this "adagio" contrasts the horns with high woodwind, while the harp adds to this effect. The tempo of the "pas de seize" varies and quiet lyrical moments may suddenly be interrupted by incisive brass and timpani. This section finishes with a "Largo solenne" movement. The connection between that movement and the final "divertissement", marked "Scene", begins with a vigorous and brilliant entrée. A "pas de six" in the same tempo includes virtuoso writing for the piano, which leads the orchestra for the ensuing "pas de trois", though the orchestra controls the second "pas de trois" while the piano has more virtuoso work with rippling cascades of notes; before the Stravinskian rhythms emerge for piano and orchestra at the beginning of the "pas de dix-huit". The orchestral momentum, of high violins en masse, sprightly wind writing, brass chords punctuating the highly charged rhythmic style, and a continuation of bravura piano writing, is maintained throughout the opening of the "pas de six" that follows. The orchestra then introduces a valse for a general dance (pas d’ensemble) that could almost belong to one of Ravel’s more advanced scores. A pas d’action then begins to prepare for the finale. The tempo slows down, while "sparse textures with solo instrumental sounds floating above quiet accompanimental figures create a different sound world". The strings gently introduce the "Dance of Sorrow", which then gains in intensity with a richer string texture. During the next variation, oboe, harp, and pitched percussion provide another watery timbre before the ballet moves to the final "pas de deux". The final movement starts with gently pulsing chords that have a sweet but melancholy dissonance as "Palemon" is kissed by "Undine" and dies.

tructure

Act 1:No. 1 - Lento:No. 2 - I. Allegretto, II. Andante, III. Vivace:No. 3 - Moderato:No. 4 - I. Adagio, II. Adagio:No. 5 - Andante con moto:No. 6 - I. Adagio, II. Vivace:No. 7 - Vivace assai:No. 8 - Andante:No. 9 - Allegro assai:No. 10 - Vivace, I. Largo:No. 11 - Adagio, I. Tranquillo, II. Lento, III. Finale. Allegro, IV. Finale. End

Act 2:No. 1 - Moderato:No. 2 - Andantino con moto:No. 3 - tempo = 80:No. 4 - I. Andante molto, II. tempo = 44:No. 5 - "Pas de trois", I. Variation:No. 6 - Vivace:No. 7 - Molto mosso:No. 8 - Finale

Act 3:No. 1 - Recitative:No. 2 - Adagio, I. Allegro moderato, con eleganza:No. 3 - "Pas de Seize" Entrée, I. Adagio, II. Variation, III. Variation, IV. Variation, V. Coda:No. 4 - Scène:No. 5 - Divertissement, I. Entrée, II. "Pas de six" , III. "Pas de trois" I, IV. "Pas de trois" II, V. "Pas de dix-huit", VI. Variation , VII. Variation, VIII. Variation, IX. "Pas de six", X. Coda :No. 6 - "Pas d'action", I. Variation :No. 7 - Finale, I. Dance of Sorrow, II. Variation, III. "Pas de deux", IV. Epilogue

Instrumentation

*"Strings": Violins I, Violins II, Violas, Cellos, Double Basses
*"woodwinds": Piccolo, Flute, Oboe, Clarinet, Bass Clarinet, Bassoon, Contrabassoon, English Horn
*"Brass": 4 Horns, 2 Cornets (A, B-flat), 3 Trumpets, 2 Trombones, Tuba
*"percussion": Timpani, Triangle, tamtam, 2 Cymbals, Bass Drum, 2 tom-toms, Snare Drum, Vibraphone
*"Other": 2 Harps, Guitar, Celesta, Piano

References

External links

* [http://select.nytimes.com/gst/abstract.html?res=FB0911FF3C5B107A93C5A91789D95F4C8585F9 Sunday NY Times review, December 7, 1958]
* [http://select.nytimes.com/gst/abstract.html?res=FA0F16FA3A551A7A93C0AB1782D85F448685F9 NY Times review by John Martin, September 22, 1960]
* [http://query.nytimes.com/gst/fullpage.html?res=9801E4DF173AF936A25754C0A9629C8B63&sec=&spon=& NY Times review by Anna Kisselgoff, July 15, 2004]