Making Music at JBS | brucelazarus

Making Music at Joffrey Ballet School

An interview with composer and Joffrey Ballet School Music Director Bruce Lazarus

Edited and adapted from Appreciating Ballet’s Music by Katherine Teck

Appreciating Ballet’s Music is Katherine Teck’s fifth book about music for theatrical dance. Formerly a musician for classes in ballet and creative dance, she also taught courses in music for undergraduate and graduate dance students in New York City. Her own training included a master’s degree in composition plus a certificate in arts management. For many years she also played horn with orchestras, concert bands, chamber ensembles, and opera performances. A founding member of the International Guild of Musicians in Dance, the author now lives in Virginia near historic Colonial Williamsburg. The interview with Bruce Lazarus can be found online at: https://appreciatingballetsmusic.com/after-words/

Making Music at an Independent Ballet School

Composer/pianist/teacher Bruce Lazarus has been music director at the Joffrey Ballet School in New York City since 2016. The school, a private business, is no longer affiliated with the Joffrey Ballet—which is now located in Chicago and has its own Academy there. But the New York school, like a number of independent centers for dance training across the country, offers a comprehensive program for teens and young adults that includes not only ballet technique but also contemporary dance, jazz, hip-hop, and even contact improvisation. Their programs for children are for as young as two-year olds, and continuing youth classes emphasize ballet training. In addition, there are classes for adult beginners.

Back when he was a composition student at The Juilliard School, Bruce Lazarus had initial experiences in collaboration, with two dance students who later went on to become distinguished choreographers: Jeanette Bolding and Susan Marshall. Since then, over his more than 35 years as a professional musician for dance, he estimates he has accompanied as many as 30,000 ballet and modern dance classes! Lazarus was not only a studio musician in academic settings, but also for a time company pianist for the Dance Theatre of Harlem and music coordinator for the Mark Morris Dance Group. Subsequently he also worked at the New World School of the Arts, and with the New Jersey Ballet, as well as at various venues in New York City.

Working so closely with students in classes, Lazarus certainly became attuned to what kinds of music impels dancers to move in different ways. And working with choreographers, he has composed over two dozen works for performances. Starting in 1980 he was composer in residence at Northwestern University, where he and dance artist Mary Ittelson co-taught a course listed as Dance and Music: The Collaborative Process. In later years he taught courses in music for dance within several university dance departments—and continues to do so at the Joffrey Ballet School.

A major facet of a music director’s job is in hiring and supervising other musicians, and sometimes training newcomers. Bruce Lazarus says he is open to musicians with a variety of stylistic talents (including classical, jazz, show tunes and even rock) but obviously prefers those who are experienced in studio accompaniment. He says that gets easier after 20 years! But commenting on the ability to improvise, he suggests that musicians for ballet:

“…be willing, able, and flexible enough to re-configure the phrasing of any piece of music to make it suitable for dance classes; play introductions of varying lengths; and be prepared to tack on extra measures or a faster piece without advance notice. The highly-trained classical-only pianist with a beautiful technique and devotion to the printed page is ideal for rehearsals and RAD [Royal Academy of Dance] type classes with a strict music syllabus, but not for dance technique classes at the Joffrey Ballet School."

And for those hoping to play for modern dance classes, Lazarus especially values “the ability to make up new pieces on the spot. This is also an extremely useful skill for ballet class as well.”

Lazarus goes on to observe: “This isn’t make-or-break, but I like when musicians have a distinct style, the ability to bring something special into the dance studio whatever that might be.” He recalls that when he was starting out as an accompanist himself, it was helpful to sit in and observe other musicians who were “first-rate,” including not only pianists, but also guitarists and percussionists. But then he would work hard to develop his own individual style.

Beyond musical aspects, as a director Lazarus comments that it helps for musicians to be generally good-natured and be able to handle stresses that can arise in technique classes. He tries to pair musicians with compatible teachers. And for those about to work with children’s classes, the director suggests that they “find nothing demeaning in playing in an extremely simple, direct style when needed. They’re okay with playing songs like ‘Heads, Shoulders, Knees and Toes’ and ‘Pop Goes the Weasel’ over and over again for class sing-alongs.”

Regarding musicians who do not do well as accompanists, Lazarus mentions some unfortunate attributes—but something for those starting out to keep in mind. Punctuality is very important, and a professional attitude of respect and calmness. But speaking of those who do succeed, this music director expresses an attitude of support that obviously is important in finding and keeping accomplished musicians:

“It’s hard to express how proud I am of our present music staff, an “elite squad” whose professionalism can be counted on week after week. In return, I take a keen interest in their outside activities – performances, commissions, recordings, touring, grants and awards – and have their photos and bios posted prominently in the hallway. We have excellent pianos, regularly tuned and maintained. When musicians encounter difficulties in choosing repertoire or understanding a particular teacher’s needs, I’m there to help.”