George Balanchine, a towering figure in ballet, uniquely bridged the seemingly disparate worlds of American folk dance and classical ballet in his work, Square Dance. He recognized a shared foundation between these dance forms, noting their mutual respect for structure and order. Balanchine himself articulated his aim, stating, “The American style of classical dancing, its supple sharpness and richness of metrical invention, its superb preparation for risks, and its high spirits were some of the things I was trying to show in this ballet.” This innovative approach cemented Square Dance as a distinctive piece within his repertoire.
The original 1957 staging of Square Dance offered an intimate and somewhat unconventional experience. The musicians were not relegated to the orchestra pit but were positioned directly on stage, becoming visible participants in the performance. Adding to this folksy ambiance, a Square Dance caller was incorporated to audibly cue the dancers through their steps, further emphasizing the ballet’s connection to its American roots.
However, the 1976 revival of Square Dance presented a notable shift in presentation. The square dance caller was removed, streamlining the performance and placing greater emphasis on the pure dance elements. Additionally, the orchestra was moved to the traditional pit location, and a new solo was added for the principal male dancer, enhancing the ballet’s virtuosic aspects.
The music chosen for Square Dance further enriches its historical and artistic context. It features compositions by Antonio Vivaldi (1678-1741) and Arcangelo Corelli (1653-1713), both prominent Italian Baroque composers. Vivaldi, a Venetian composer known for his prolific output of over 500 concertos, was a master of form, instrumentation, and imaginative musical concepts. Corelli, another influential Italian violinist and composer, significantly impacted instrumental technique and style across Europe. His work, primarily instrumental, was highly regarded and studied for generations, solidifying his legacy as a key figure in classical music. These Baroque scores provide a sophisticated musical framework for Balanchine’s exploration of American square dance within a classical ballet context.
