This artist's company went on with scheduled performances of Divertimento (dih-vur-tuh-MEN-toh) Number 15 the night of his death from CJD. This man collaborated with Paul Hindemith (HIN-duh-mith) on a work with "Melancholic" and "Sanguine" movements, and derived the inspiration for another work from Arpels, of van Cleef and Arpels fame. This man used excerpts from Faure's Pelias and Melisande (PEE-lee-as and meh-LEE-sand) and Stravinsky's Capriccio (kuh-PRE-chee-oh) for Piano and Orchestra for the first and second movements of one work; those movements are based on (*)
This artist's company went on with scheduled performances of Divertimento (dih-vur-tuh-MEN-toh) Number 15 the night of his death from CJD. This man collaborated with Paul Hindemith (HIN-duh-mith) on a work with "Melancholic" and "Sanguine" movements, and derived the inspiration for another work from Arpels, of van Cleef and Arpels fame. This man used excerpts from Faure's Pelias and Melisande (PEE-lee-as and meh-LEE-sand) and Stravinsky's Capriccio (kuh-PRE-chee-oh) for Piano and Orchestra for the first and second movements of one work; those movements are based on (*) emeralds and rubies. Barbara Karinska (kuh-RIN-skuh) created most of the costumes for his works, and in a 1954 retelling of a Hoffman tale, this man cast longtime collaborator Maria Tallchief as the Sugarplum Fairy. For ten points, name this Georgian co-founder of the School of American Ballet and the New York City Ballet, most famous for his version of Tchaikovsky's Nutcracker.
This artist's company went on with scheduled performances of Divertimento (dih-vur-tuh-MEN-toh) Number 15 the night of his death from CJD.
George Balanchine (BAL-uhn-cheen)