Beyond Tchaikovsky
5 Modern Composers Revolutionizing Ballet Class Music
For centuries, the ballet studio has been dominated by the classics. Tchaikovsky, Delibes, and Adam provided the soundtrack to countless pliés and tendus, their romantic melodies as fundamental to class as the barre itself. But a quiet revolution is underway. A new generation of composers and musicians are reimagining what ballet class music can be, creating sophisticated, rhythmically complex works that honor tradition while boldly stepping into the contemporary soundscape.
These modern maestros are crafting music that doesn't just accompany movement but inspires it, offering fresh energy, unexpected harmonies, and global influences that challenge and delight today's dancers. Here are five visionary composers changing the way we experience ballet class.
1. Oliver Davis
British composer Oliver Davis has become a staple in studios worldwide, bridging the gap between classical tradition and contemporary minimalism. His music possesses a crystalline clarity, with repetitive patterns that help dancers find and maintain tempo, yet it's never monotonous. Layers of piano, strings, and occasionally electronic elements create a rich tapestry that feels both fresh and familiar.
Davis's work is particularly celebrated for its lyrical quality in adagio exercises, where his soaring string melodies provide the emotional depth necessary for sustained, expressive movement. For allegro sections, he employs intricate, playful rhythms that challenge dancers' musicality without sacrificing drive or clarity.
Start with: "Dance Odyssey" and "Flight Patterns" — albums specifically composed for ballet class that showcase his signature blend of accessibility and sophistication.
2. Karl Moraski
Perhaps no one has done more to catalog and categorize modern ballet class music than Karl Moraski. As a pianist, composer, and curator, his "Music for Ballet Class" series is a monumental achievement, offering meticulously crafted playlists for every exercise, from warm-up to reverence.
Moraski's genius lies in his versatility and deep understanding of a dancer's needs. He moves seamlessly between genres, incorporating jazz harmonies, Broadway flair, and classical motifs, all while maintaining impeccable rhythm and phrasing. His compositions tell stories, turning a simple tendu exercise into a narrative journey.
Start with: His extensive collections on streaming platforms, particularly his "Contemporary Barre" and "Modern Center" playlists, which are masterclasses in musical progression.
3. Joby Talbot
While known for his acclaimed stage works (including the score for Christopher Wheeldon's Alice's Adventures in Wonderland), Joby Talbot's influence has trickled down into the daily class. His music is a thrilling fusion of orchestral power, rock energy, and complex rhythmic structures.
Talbot's compositions are particularly effective for center work and allegro, where his driving beats and unexpected time signatures push dancers to attack movement with precision and dynamism. He incorporates electronic elements and world music influences, creating a sound that is both epic and intimately connected to the body's percussive possibilities.
Start with: Extracts from "Alice" or his work with The Divine Comedy, rearranged for piano. Listen for the pulsing energy and cinematic sweep that defines his style.
4. Jessica Suchy-Pilalis
A true innovator, Suchy-Pilalis specializes in composing ballet class music inspired by ancient and medieval modes and rhythms. Her work is a fascinating departure from the tonal tradition of Western classical music, offering dancers a chance to work to harmonies that feel both ancient and utterly new.
Her compositions are not historical recreations but rather modern interpretations using archaic scales (like Phrygian or Dorian modes) and complex, asymmetric rhythms. This approach creates a captivating soundscape that improves musicality by forcing dancers to listen more intently and break from predictable phrasing.
Start with: Her album "Byzantine Dances" or "Ancient Echoes," which transport the ballet studio to another time and place while remaining perfectly suited for technical work.
5. Alexei Fironov
Russian composer Alexei Fironov represents the new guard of classically trained composers directly writing for the ballet class. His music is deeply rooted in the Russian piano tradition—think Rachmaninoff or Scriabin—but infused with a modern sensibility and virtuosic flair.
Fironov's pieces are technically demanding for the pianist and musically rewarding for the dancer. He uses the full range of the piano, with lush chords, rapid arpeggios, and dramatic dynamic shifts that make for an exhilarating class experience. His music is particularly beloved for grand adagio and powerful grand allegro, where his romanticism and driving energy truly shine.
Start with: His "Ballet Class Music" albums, which are organized by exercise type. Listen for the powerful left-hand rhythms and the singing right-hand melodies that define his expansive style.
The New Rhythm of the Barre
This shift in musical accompaniment reflects a broader evolution in dance itself. Today's dancers need to be versatile, moving from Petipa to Pite in a single day. This new repertoire of class music prepares them for that reality, developing a more agile and sophisticated musical ear.
The revolution isn't about replacing Tchaikovsky; it's about expanding the palette. These composers, and many others like them, are providing the soundtrack for the 21st-century dancer—one that honors the past while rhythmically punching its way into the future. So next time you step to the barre, consider turning on something new. Your tendus might just thank you for it.
