Juliet Ballet

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BALLET scores: which of these 9 do you consider the most masterful, exemplary of the genre's best?

Tchaikovsky is generally considered to be the father of the "classic" ballet; his three monumental scores laying the foundation against which all subsequent ones were to be judged:

If this was a question in 'Polls and Surveys" (or whatever it is called), the answer that coincided with the Asker's favourite would almost always receive ten points. "What's ur Favourite Colour?" "Do you like the name Caleb?" etc.

With Alberich, however, an answer containing less than the thought required for a Doctorate Thesis would almost be dismissed.
And quite rightly so.

At this P & S level, my answer would be "The Rites of Spring", and it would be an honest answer, too.

With music for ballet, Stravinsky managed to create scores that simply explode with originality, with vitality, meaning, excitement, profundity, and with sheer beauty.
As ballet, where music is intended to support the earth-bound human form, though, is all of that totally relevant?

(I would try to say 'yes', but would be hard-pressed to defend my choice, perhaps?)

Stravinsky himself provoked the music-loving community with his statement about the art:-
"Music, by its very nature, is incapable of expressing anything outside itself."
(He meant, of course, that Music cannot really escape its abstract nature. It was a shout for the end of the ridiculous "Night on Bald Mountain" pretensions, the rather silly idea that Music was, on its own, capable of telling a story, of becoming something more than abstract.)

For years the argument raged, but, in the end, Stravinsky's logic overwhelmed the protests.
I agree totally with Stravinsky, but I also say that Stravinsky managed to escape the abstract nature of our art more genuinely than practically anyone else that ever lived!

Tchaikovsky, for me, is rather 'twee', and needed, perhaps, Walt Disney's cute genderless cartoon figures for complete success. His scoring is fine, his use of time hallowed harmony, melody, rhythm, and orchestration is skilled and imaginative, but the product, to me, is akin to the decorated chocolate box. The $2.50 one, as well!
He trod well-worn paths, and innovation was scarce.

His real innovation, in my view, was to virtually create a new genre (horrible, trendy word!), that of modern Ballet itself!

Prokofiev, with the luscious "Romeo" and with "Cinderella", wrote equally skillfully, but, once more, he said very little that was new.
If anything, he wrote in a by-then-extinct style, and barely managed to say anything that hadn't been heard before.

(At the time, of course, his Russian origins made his music seem 'exploratory', vaguely 'new'. This was, I feel, mostly illusion.)

Has anyone ever written better for orchestra than Ravel? "Daphnis and Chloe" is pure magic. If anything challenges Stravinsky, this certainly does!

I would find it difficult to defend "The Rite" against this, and it is merely my personal preference that makes me opt for the Stravinsky.

These nine works of music (music in a 'subservient' role) are, all of them, superb examples of great musicians writing in humble mode, but showing the world just what the Art, the abstract Art, is actually capable of.

Writers of music for cinema (surely a less daunting task?) would do well to look at these 9 superb works for inspiration!