How to write a dance teacher bio

Instructor Biographies

Caroleen Harding: ARAD – Studio Owner/ Director

Caroleen began dancing at the age of 10. During her years as a dancer, Caroleen trained in many styles including: Ballet, Jazz, Tap, Musical Theatre, Acrobatics, Lyrical and Contemporary. During these years, Caroleen studied under the C.D.T.A, R.A.D, and A.D.A.P.T syllabi and completed several examinations, including R.A.D Advanced 2.

As a dancer, Caroleen achieved many awards at both Regional and National events, including overall high score placements, regional titles of Americas Dancer Of The Year and Miss CanDance, and she has also competed in the invitational Dance Canada Pageant. Caroleen has been successful as a choreographer, being awarded the “Young Choreographer” award on many occasions in both Regional and National events and was recently recognized with a 1st place award for “Young Choreographer” at Shine Nationals in 2019. Caroleen has attended several dance and teaching conventions which has allowed her to experience many different dance styles, as well as teaching styles. Over the years, Caroleen’s students have been very successful in their ballet exams as well as on stage at dance competitions winning many high score awards, overall placements and titles at both Regional and National events.

As a Dance Teacher, Caroleen feels that it is important for her students to feel confident, motivated and inspired at all times and that they are in an environment they feel comfortable in. Caroleen wants to see her students succeed, be proud of their accomplishments and enjoy all of the hard work and dedication they put into dance.


Meghan Oliver: ARAD, OCT Certified – Instructor (Recreational Programs and Office Manager)

Meaghan began dancing at the age of 7 and since that time has studied ballet, jazz, tap, musical theatre, lyrical and contemporary. She began competing at age 12 at both regional and national competitions. During her time as a competitive dancer she earned many overall scores as both a soloist and a group dancer. She has taken place in the Alberta Ballet Nutcracker, Dance Canada Pageants, and was awarded a regional title of Miss CanDance. Meaghan has trained under the R.A.D and A.D.A.P.T syllabi successfully completing numerous ballet, jazz, and tap exams, including her R.A.D. Advanced Two. 

Meaghan’s love for education began at the age of 14 while assisting her first dance class. Since this time, she has taught both recreational and competitive dancers at four studios in the Ottawa area, and has worked as a Senior Counsellor leading the Dance Program at Five Star Camps. Her students have successfully completed exams with the R.A.D, and the B.A.T.D, and have won many overall scores and title positions at both regional and national competitions including positions.

Meaghan completed a Bachelor of Arts degree in 2013, as well as her Bachelor of Education degree in 2017. She now works for the Ottawa Catholic School Board as a primary and junior teacher. Meaghan enjoys the passion and freedom which dance provides her with and she aims to share this passion with her students while helping them to grow in a comforting and encouraging environment.  


Jade Ferguson- Instructor

Jade began dancing recreationally at the age of 3 and began dancing competitively at the age of 6. Jade has extensive training in a variety of disciplines including Jazz, Ballet, Lyrical and Contemporary. Jade has participated, completed and excelled in dance exams with both the British Association of Teachers of Dancing (BATD) and the Canadian Dance Teacher’s Association (CDTA). Jade has completed her Associate Level Teacher’s Exam and is currently an Associate Member of the Canadian Dance Teacher’s Association. Jade is always looking to continue to expand her skills for teaching dance by participating in ongoing workshops and instructional sessions.

Jade has taught at three studios within the Ottawa area within both the recreational and competitive programs. Jade also taught the dance portion of the physical education curriculum for grades 7-12 at Almonte and District High School for four years. Jade aims to create a learning environment that is positive, fun and exciting, while still working to improve each individual’s skill level. Jade loves to share her passion for dance with her students and wants to ensure that her students are always comfortable, encouraged and productively motivated.


 Kim Chiarelli-  A.D.A.P.T. certified OCT certified

Miss Kim has been dancing since the age of 2.5 and competed across Canada and the United States beginning at the age of 7 and has completed her ADAPT exam levels as a dancer in both Jazz & Tap. She has been teaching for the past 14 years both recreationally and competitively, and has recently sold her dance studio after 11 years. Miss Kim has also attended the TTS program completing her ADAPT teaching certification for both Jazz & Tap for beginner to advanced levels and has trained many students over the years in successfully completing their ADAPT exams, many of who have also received the medal of merit at various levels. Over the years, Miss Kim’s students have competed successfully at both the Regional and National levels.  She is also a certified School teacher. Miss Kim is very passionate about dance and teaching. She enjoys sharing her passion for dance with her students.


Kaitlyn Oliver- Instructor 

Katie began dancing at the age of 4 and has studied in Ballet, Jazz, Tap, Lyrical, Hip-Hop, Musical Theatre and Acro. Katie recently graduated from Dana Hanes Dance Company and is currently studying International Business at Carleton University. Over the years Katie has attended both regional and national competitions across North America as well as participated in many dance conventions such as Jump, Move, and NUVO. Katie has successfully completed her RAD Advanced 1 Exam as well as her ADAPT Intermediate 3 Jazz and Tap exams. Katie began assisting at the age of 13 and has been teaching since the age of 16. Katie loves sharing her passion for dance with her students and helping them reach their personal goals.


Deanna Cormier- Registered RAD Teacher and Accredited A. D.A.P.T. Teacher

Ms. Deanna’s dance education started in 1989 when she took her first ballet class. Since then she has pursued training opportunities to achieve mastery in dance and made the decision to share her passion and technique with others. Ms. Deanna started teaching in 2003 and fell in love with dance in a different way; empowering youth through movement. She is currently employed as a Professor at St. Lawrence College in Brockville, Ontario teaching ballet and jazz.  She has taught at various studios and schools in the Ottawa area.

In 2019 Ms. Deanna completed the MindLeaps Train the Trainers Tier 1 program in New York City and Tier 2 in Guinea (West Africa). She spent two weeks teaching dance to vulnerable youth in Guinea.  She feels it was by far the most inspiring and empowering experience of her life and is privileged to continue the outreach program both here at home and in Africa.
Ms. Deanna has completed certification through the Associated Dance Arts for Professional Teachers (ADAPT) Teachers Training School in Jazz and Tap and the Royal Academy of Dance (RAD) Certificate in Ballet Teaching Studies (CBTS). She has entered students into both ADAPT Jazz and Tap and RAD Ballet exams with students receiving exceptional examination results. She is a mentor for teachers completing the RAD CBTS program and the Acro Dance Teachers Association (ADTA) program. She has also received her ADTA Acro certification, Benesh Movement Notation course (RAD), Silver Swans certification (RAD), Progressive Ballet Technique certification and Acro Dance Adjudication certification.

Ms. Deanna is currently working towards her Masters in Education.  She is very excited to be working with students at Creative Edge Dance Academy.


Megan Holliday- Instructor

Megan began dancing at the age of 3 years old, she has studied in ballet, jazz, modern, lyrical, contemporary and musical theatre. Megan danced competitively for 9 years competing across North America with her team, she also successfully completed multiple RAD and ADAPT exams in Jazz and ballet during this time. Megan graduated Canterbury High school in 2017 with a fine arts degree in dance. She is now in her final year of studying history at Carleton University and hopes to move on to teacher’s college in the future. Megan looks forward to bringing    her love for dance and teaching to the studio this year.


Sabrina Overholt- Instructor

Sabrina started dancing at the age of 5 and since then has studied in ballet, jazz, contemporary, modern, lyrical and tap. Sabrina danced competitively for 9 years, during this time she competed in many competitions across North America. She has also successfully completed many RAD and ADAPT exams in jazz, tap and ballet. Sabrina graduated from Canterbury High School in 2017 with a fine arts degree in dance and is now in her last year of studying psychology at Carleton University. She hopes to bring her passion for dance to all of her classes and looks forward to another season with Creative Edge.


Emily Hodgins- Instructor

Emily began her dance career at the age of 2, and started dancing competitively when she was 3 years old.

Throughout her 15 years as a competitive dancer, she won many titles and overalls as a soloist, a duet/trio partner and a group member.  She has trained in Ballet (RAD), Contemporary, Jazz, Tap, Lyrical, Modern and Hip Hop.  Emily graduated with Honours from the Dance Program at Canterbury High School in 2019, where she studied choreography as part of the Company Program, and created several pieces that were very well-received.

Currently, Emily is attending Ryerson University in the prestigious Performance Dance Program, where she is continuing to enhance her skills as a dancer and choreographer.

Dance continues to be her passion and she is very excited to be joining Creative Edge, so that she can share her passion for dance with her students.

Sydney Anderson: OCT Certified – Instructor

Sydney began dancing at the age of 3. Since then, she has extensively trained in several styles including ballet, jazz, lyrical, contemporary, tap, musical theatre and hip hop. Sydney excelled in A.D.A.P.T Jazz and Tap exams, and all graded and vocational R.A.D. Ballet exams. During Sydney’s competitive dance career, she attended many regional and national dance competitions where she won several overall high score awards. Over the years, Sydney also explored dance opportunities outside of her home studio. This included choreographing and performing in a school musical for which she received a Canada’s Capital Cappie Award, and performing with the Royal Winnipeg Ballet and Pennsylvania Ballet in their productions of The Nutcracker.

Over the past five years, Sydney completed her Bachelor of Science (Honours) in Biology and her Bachelor of Education at Queen’s University. She is now certified with the Ontario College of Teachers and beginning her teaching career as an Occasional Teacher in Ottawa. Throughout university, Sydney continued dancing while connecting her passion for dance with community outreach. She was the co-chair of Queen’s Dancerama that benefits Cystic Fibrosis Canada, and she performed in annual charity shows benefitting the Heart and Stroke Foundation.

In 2009, Sydney began assisting dance classes and she started teaching dance in 2012. Sydney always aims to create an environment where dancers feel safe, valued, free to explore new things, and empowered to express themselves creatively. She is thrilled to share her love of dance with CEDA and work with her students to develop their technique, build their self-confidence, and encourage their artistic expression!


Kaitlyn Jorssen- Instructor (Acrobatic Arts M1 Certified)

Kaitlyn began her dance career at the age of 5 and at the age of 10 she began competing. During her 8 years as a competitive dancer, Kaitlyn took many ballet and jazz exams with the C.D.T.A.  During Kaitlyn’s years of dance training she studied a variety of styles including: Jazz, Ballet, Lyrical, Musical Theatre, Acrobatics, and Hiphop.

Kaitlyn attended West Carleton Secondary School where she was highly involved in the dance program, receiving opportunities to choreograph alongside teachers and assist younger students through the Peer Assisted Learning Program. This program also gave her opportunity to study new styles such as contemporary, african jazz, and Kpop. Kaitlyn graduated in 2018 receiving a Fine Arts Certificate in recognition of her efforts.

Kaitlyn began assisting dance classes at age 11 and teaching recreational classes at the age of 15.  Her love for working with children and creating choreography grew quickly from there. The past 5 years have given Kaitlyn the opportunity to work with children of all ages and learn from them at the same time they learn from her. With a passion for Acrobatic Dance, Kaitlyn prioritizes the health and safety of her dancers by ensuring they understand basic anatomy and the importance of using proper form. Recently, Kaitlyn received her module 1 certification with Acrobatic Arts. Kaitlyn looks forward to continuing her work with them and advancing her certification in the future.

Currently, Kaitlyn is in her final year of the Early Childhood Education program at Algonquin College and will be bridging into the Bachelor of Early Years and Development program in the following year. She hopes to move onto teacher’s college following her completion the program. She continues to set new goals as a teacher in order to continue learning and improving just as much as her students do. Kaitlyn looks forward to another fantastic season with Creative Edge and can’t wait to see what this year brings.


Cameron Hunt- Instructor

Cameron began dancing recreationally at the age of 2 and started on a competitive dance team by the age of 6. Throughout her years of training she has studied a variety of styles including: ballet, modern, contemporary, lyrical, acro, musical theatre, jazz, tap and hip hop. Cameron is one of our 2020 graduates and is thrilled to continue to be a part of our team as an instructor. Cameron recently graduated with Honours from Canterbury High school where she was enrolled in the dance programme from grade 9-12. Throughout her years in the Canterbury Dance Program, Cameron studied both ballet and modern with various teachers and truly found her love for dance. Cameron was enrolled in the Company course at Canterbury where she learned about all aspects of producing a dance production and was given the opportunity to choreograph her own piece. Cameron began to assist classes at the age of 14 and has been teaching at Creative Edge since 2018. She has studied and been examined under the RAD and ADAPT syllabuses and has taken part in various competitions throughout Canada and the United States during her many years of competitive dance. Cameron is so grateful that she has the opportunity to share her love and passion for dance with others and she can’t wait to continue to do so throughout this season.


Jenna Heer- Instructor

Jenna has been dancing since the age of 3, starting her training in Jazz and Ballet. Over her years of dance training, Jenna gained a strong passion for Hip-Hop. Jenna has danced competitively locally, nationally, and internationally for 5 years and during these years, she had the opportunity to work with several of the industries top rated Hip-Hop choreographers in Ontario/Quebec, such as: CJ Destacamento, Leah Totten, Miambi Kassé, Patricia Lavares, Flow XS, Marilyne Caron-Proulx, Edith Collin-Marcoux, and Cassandra Mainville. Jenna has experienced many of the different Hop-Hop genres including: Locking, House, and Whacking. Jenna is currently a member of the Future Shock Ottawa Hip-Hop troupe, where they rehearse every week and perform locally and internationally. Jenna is very excited to join the Creative Edge staff and to help her students develop the same passion for dance that she has.


Angel Kirton- Instructor (Bio coming soon)

Morgan Ross- Instructor (Bio coming soon)






Dance Instructor Bios | Miller's Dance Studio

Quick Links to Dance Instructor Bios

Cervone, Renee (RC) Cole, Matt (MC) Costello, Julia (JC) Echols, Ashlee (AE)
Helma, Donovan (DH) Kreiensieck, Katie (KK) Miller, Tina (TM) Miller, Kelsee (KM)
Miller-Helma, Sabrina (SM) Pea, Jamie (JP) Pogozelski, Sarah (SP) Robertson, Shelly (SR)
Scheuermann, Stefan (SS) Schlotterback, Holly (HS) Stecklein, Andra (AS) Stecklein, Tyne (TS)
Stecklein, Lori (LS)

Renee graduated with a BA in Theatre with a dance emphasis from the University of Northern Colorado where she was the President of the Dance Alliance. She has performed in the Universities Main Stage and side Dance Productions, as well as local theaters throughout northern Colorado in such productions as Oklahoma and A Christmas Carol. She has been a principle dancer for the Longmont Theatre Company in Jesus Christ Superstar and Guys and Dolls and Choreographed for Suspenders; an original musical, and Fiddler on the Roof – for which she won Best Choreography at TARA Awards. Renee has also choreographed for Frederick High School musical performances and was head coach for Niwot High School’s Dance team while running the theatre program at Fusion Dance and Theatre and choreographing for Fusion in Motion. She has had to privilege to perform for Superbowl XXXIII in 1999. Aside from classical dance, Renee has an affinity for cultural, ballroom and world dance which she incorporates into her curriculum. When Renee’s time is not occupied with the arts, she is spending time with her daughters. Renee is very excited to share her knowledge and love for the arts with the students at Miller’s Dance.

Matthew Cole began dancing at the age of 3 in his family’s dance studio. Throughout the years, he has enjoyed dancing the roles as the prince and king in “The Nutcracker” the king in “Alice in Wonderland” . He also was a member of Miller’s competition team, “Miller’s Dance Force” for 10 years. While on the competition team, he studied under professionals with Jen Hamilton, Leo Morimine, Matthew Peacock, Marguerite Derricks, Justin Jiles, Mike Minery, Donovan Helma, Tyne Stecklein, Cory Anderson and Meisha Gabriel. He has enjoyed assisting and now teaching his own classes in Hip Hop and Contemporary. We are proud to have another family member to continue Ernie Miller’s Legacy.

Julia’s love for dance started at Miller’s Dance Studio at the age of 5. She continued studying Ballet, Tap, Jazz, Modern and Lyrical until she graduated in 1995. After graduating Julia went to University of Nevada, Las Vegas on a dance scholarship. Julia trained with Ballet Masters such as Alfredo Corvino, and Ernesta Corvino, of the Metropolitan Opera Ballet, and Julliard, as well as Margot Mink Colbert of Julliard. She studied Modern with Louis Kavouras from Erick Hawkins Dance Company, and participated in workshops, Master Classes and all performance opportunities at the University. After intense studies at UNLV, Julia was accepted into an exchange program to study in New York City. After moving, she attended Hunter College to continue dance studies. While studying in NYC, Julia continued training with the Corvino family, attending classes and workshops. Julia loved dropping in on classes of all genres from renown studios such as STEPS and Broadway dance.

After moving back to Colorado in 2010, Julia is excited to be back with the Miller’s family that instilled her love and passion for dance, as she hopes to do for her own students.

Ashlee Echols has been dancing with Miller’s since the age of 5. During her time as a student, Ashlee enjoyed learning many forms of dance including ballet, tap, jazz, lyrical, modern and baton! She has held many featured roles in the annual Spring Recitals as well as Clara in The Nutcracker. She is an original member of Miller’s competition group, Tour De Force and enjoyed winning many awards and titles alongside her fellow teammates. Ashlee began assistant teaching for Miller’s while in high school and later taught her own classes throughout college. She attended the University of Northern Colorado where she obtained her Bachelor’s Degree in Education and currently holds a Colorado Teacher’s Licensure for grades K-5. While attending UNC, Ashlee auditioned for The Walt Disney World College Program and was selected to be dancer and character performer in the daily parades and shows at Disney’s The Magic Kingdom in Orlando.

Ashlee has always grown up with a love and passion for working with young children. She holds over 15 years of experience as lead teacher to children 0-12 and has taught at some of the metro area’s best preschools. Her most important role and passion in life is being a mom to her son Leo, born in February, 2013!

Ashlee is so excited to be back with her Miller’s family and looks forward to sharing her gift and love of dance with the next generation of dancers!

Since the age of three, Donovan Helma has been dancing under the direction of his family operated dance studio in Aurora, CO. He currently continues his education through multiple dance conventions and tap festivals throughout the year. Donovan teaches and choreographs for multiple competitive studios in the Denver metro area and across the United States. He has performed on a Monday Night Football halftime show with the Big Bad Voodoo Daddy and for Montreal’s Danse Encore International Festival in a production by Tap’d Out. Donovan has taken the stage with modern tap legends such as Jason Samuels Smith and Dormeshia Sumbry-Edwards in a Greorgy Hines tribute show, Thank You Gregory. He is honored to have toured the United States, Europe and South Africa for 7 years as a lead tap dancer in Tap Dogs. He looks forward to continuing his dancing career and inspiring audiences and students nationwide.

Katie has been in the dance world her whole life. Growing up a competitive dancer in Colorado since the age of 5, earning numerous scholarships and best dancer titles from many different competitions and conventions. While she has worked as a professional dancer, her love for teaching took over and that has been her main focus for the last 16 years. She has been recognized for her choreography both regionally and nationally, and has taught many dancers who are now in the industry, dancing in commercials, movies and touring with many different well known artists. While not teaching, Katie is also a licensed cosmetologist and a mother of 2.

Tina Miller began dancing with her father at the age of 3. Early on she developed a love for tap, her father’s favorite. She started teaching for her father in 10th grade while continuing her own dance education with Kit Andree and Phan Peterson. While dancing with Kit and Phan she performed at the Paramount Theatre doing 4 separate shows celebrating the 100th anniversary of the historic Moffat Tunnel with the remodel and reopening of the Paramount Theatre. She also performed in Hello Dolly with Theatre Together, Gotta Dance - Stars Fight Leukemia with Joan Van Ark, Robert Shields, and Donald O’Connor. She lived in New York for almost 5 years while continuing her dance training with Thommie Walsh, Chet Walker, Bill Hastings, David Howard, Finis Jung, Henry LeTang, After returning to Colorado, she joined her sister in running Miller’s Dance Studio. She started teaching the adult tap 17 years ago and is enjoying teaching again.

Kelsee danced from the age of three through college at Miller’s Dance Studio taking classes from the great such a savion glover and Henry LeTang. While dancing and teaching at Miller’s in her teens, Kelsee discovered her passion for teaching. She is currently the assistant principal at a preschool in Parker.

Sabrina Miller-Helma began her life-long love for dance at age three when she began her dance training at her parent’s dance studio. Her technical dance training includes ballet, tap, jazz, lyrical and ballroom dancing. Her extensive training includes instruction from dance greats such as Tommie Walsh, Gus Giordano, Danny Hoctor, Roni Mahler, and Al Gilbert. While training, she discovered her enthusiasm for teaching at the age of 14. She continued her dance training at Colorado Ballet and Ballet Now throughout college and began perfecting her teaching skills. She has hosted master classes and received master instruction from Lane Alexander, Henry LeTang, Cory Finn, Gregg Russell, Mike Minery, Germaine Salsberg, Jason Samuel Smith, The Tap Dogs and Savion Glover.

In 1976 she opened her own studio at Chambers and Hampden. A second location, Smoky Hill, was opened in 1992 and a third location, Parker, in 1994. She then opened up another studio in Saddle Rock at Gun Club RD. & E470 in 2007. Despite her busy administrative schedule overseeing the three studios and a faculty of 45, Sabrina still finds time to teach. Sabrina is currently a national competition judge for Spotlight Dance Cup, Kids Artistic Revue, and Dance Champs. She enjoys her family, and watching young children succeed in life with the gift of dance.

Jamie Janay Pea, Colorado native, began her dance training at age seven. She trained in various styles, but not heavily, due to other sports. She attended the Denver School of the Arts (DSA), throughout middle and high school, where she trained much more seriously. Throughout high school she also trained at Miller’s Dance Studio in Aurora, CO, where she was also on a competitive dance team. Jamie attended California Institute of the Arts, where she received her BFA in dance and choreography. Now a Colorado resident again she teaches for Miller’s Dance Studio and sets choreography and subs for studios all over and is a member of a new CO based dance company called LAIR. She looks forward to the exciting future and to more growth in the arts and life!

Sarah Pogozelski began dancing at Miller’s at age 6. She trained in Ballet, Pointe, Tap, Jazz, Lyrical and Modern. She held several featured roles in both the fall and spring ballets including the Queen of Hearts and Esmeralda. Sarah also participated with Miller’s original competitive team, Tour de Force.

Sarah trained in Swing and was a member of a small Swing Troupe prior to moving to South Dakota to obtain a Bachelor of Arts in English from Black Hills State University. Sarah is enthusiastic to return to Miller’s and share her love of dance with the next generation dancers.

Shelly Robertson is originally from San Diego, CA and has been dancing since she was two years old in many different styles including tap, jazz, lyrical, contemporary, ballet, hip-hop, modern, musical theatre, and swing. She first trained in tap, jazz, and ballet and studied ballet at a Royal Ballet Academy called Jean Hart’s Academy of Dance for seven years. She received her main training from San Diego Dance Centre, with whom she competed and won at regional, state, and national competitions all throughout middle school and high school. She was chosen to be in Dennis Caspary’s opening number at the Las Vegas Nationals her Junior year of high school. She was on her high school dance team all four years, where she received Rookie of the Year her freshman year and eventually became Co-Captain her Senior year. She was also involved in the high school musicals for three years in a row as a featured dancer. She choreographed dances for both the musicals and the dance team during her four years of high school. She was a member of the Kansas State University Classy Cats dance team all four years of college, where she danced at football games, basketball games, bowl games, NCAA tournaments, parades, pep rallies, and attended the NDA Nationals Competition where they placed fifth. She also choreographed some of their routines during her four years on the team. Shelly received her Bachelor of Science in Dance and Bachelor of Science in Secondary Education from Kansas State University. Through the dance program at K-State, Shelly received many opportunities to perform, choreograph, and work with guest choreographers. Shelly also received her Masters of Science in School Counseling from Kansas State University. While receiving her Masters degree, she continued to participate in various dance performances and has been asked to judge for many high school dance teams and guest choreograph.

Stefan Scheuermann began his ballet training at the Ft. Collins School of Dance in Ft. Collins Colorado where he performed numerous original roles created for him by F.C.S.D. While in Ft. Collins he trained and performed with Canyon Concert Ballet, dancing in their productions of The Nutcracker, Sleeping Beauty and various original C.C.B. productions over the course of 5 years. Stefan moved to Mississippi, where he danced with Ballet Theatre South, performing roles such as Sigfried in Swan Lake, Florimond in Sleeping Beauty, Oberon in A Midsummer Night’s Dream, the Prince in Cinderella, the Snow King in The Nutcracker and numerous original roles classical and contemporary. While in Mississippi, he commuted to New Orleans to train and rehearse with Ballet Hysell and other local studios. Stefan moved to Santa Fe, New Mexico where he performed in the inaugural season of The Old Santa Fe Music Hall before returning to MS and continuing with B.T.S. as a dancer, teacher, choreographer and assistant artistic director. Stefan returned to CO and joined Encore ballet where he wrote, choreographed and directed original ballets. He is delighted to take his 20 years of ballet teaching experience to Miller’s and work with their talented staff and fantastic young dancers.

Holly J. Schlotterback has extensive experience as a choreographer and is a seasoned performing arts instructor for all ages and disciplines in both the public and private sectors. Before taking a break from the typical dance studio schedule to spend time with her then, two young children, Holly spent five years as studio manager and an instructor with Michelle Latimer Dance Academy. Having returned to instructing, she now teaches a variety of classes throughout Denver and the surrounding areas.

Holly has performed with multi companies and is a veteran of The Damsels Dance Company. Additionally, she works freelance throughout Denver and the Front Range in productions and promotions. Holly is the Producer/Entertainment Coordinator for Kevin Larson Presents and founding member of the Signature Events Committee while holding a seat on the board for the Colorado Firefighter’s Calendar.

Andra Stecklein has a Bachelor of Arts degree in dance from the University of Colorado. In her earlier years she was a member of the Colorado Concert Ballet Company (now known as the Colorado Ballet.) She owned and directed the Colorado Academy of Dance for 2 1/2 years prior to working for Miller’s. A move to Aurora and the start of a family resulted in joining the staff at Miller’s where she has been a permanent fixture for the last 25 years. Although she has cut back tremendously on her hours, she still enjoys sharing her knowledge of dance with students of all ages. She continues to teach our most advanced level jazz dancers and thrives on the challenge. Andra has choreographed many award winning dances for Tour de Force, Miller’s competitive dance company. In addition, she has enjoyed choreographing numerous musicals for neighboring Aurora high schools. Her expertise probably lies in her ability to fine tune a dancer’s technique and help them achieve their fullest potential.

Tyne Stecklein trained at Miller’s starting at the age of 3. There she had numerous performance, competition, and workshop opportunities which paved the way for her professional dance career.

At age 17 she served as an assistant teacher for L.A. Dance Magic Conventions for their national touring season. She was chosen as an apprentice member of Evolution Dance Company directed by Mark Meisner, and was a featured dancer in Soul Escape Dance Company directed by Justin Giles. She has continued to perform with Soul Escape for the last two seasons as well.

After graduating from High School, Tyne relocated to L.A. to pursue a professional career in dance. In her first year there, she was selected as a dancer for the national “High School Musical Concert Tour” as well as for the South American tour. She was a dancer in the movies, High School Musical II, The Curious Case of Benjamin Button, Stepbrothers, 17 Again, and the remake of Fame.

Her television credits include Dance Revolution, Grammy Awards, Rose Bowl Parade Opening number, Dancing with the Stars, Academy Awards,an episode of Glee, a music video for Gym Class Heroes, and a commercial for Cafe Latte. She has also done numerous modeling jobs includling Adidas, Ryland Homes, and Varsity Spirit.

At 19 Tyne was chosen as one of Cher’s dancers for her Las Vegas show at Caesar’s Palace. After doing that show for a year, she auditioned for Michael Jackson and became one of only two girls selected to dance for his 2009 London Show! Although this dream job never came to be she was honored to be a part of his memorial.

Whenever she gets the chance, Tyne comes home to Miller’s to offer workshop classes and to choreograph competition pieces for MDF. She is always grateful for their training, loyalty and support.

Lori Stecklein received her Bachelor of Fine Arts from Texas Christian University in Ballet. While training there, she immersed herself in the study of techniques of Modern Dance such as Graham, Humphrey-Limon, Horton, Taylor and an intensive study of Pilates. At TCU she had the opportunity to work with Fernando Bujones numerous times before graduating and moving to NYC. Once in New York, Lori danced professionally for a number of independent choreographers including the Broadway choreographer, Vince Pesce. She also produced, directed, choreographed, and danced in a show of her own. The last four years, Lori ran the dance program at Bishop Ford C. C. High School, while choreographing two full length productions there each year. Although Lori loves teaching, her main passion is choreography, for which she has won numerous awards. After having their son, Lukin, she and her husband decided to move to Colorado. Lori is very excited to be sharing her knowledge and passion for dance with the students at Miller’s Dance Studio.

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Leonid PLETNEV: once I was called a sculptor in dance, and after another success of my students - an architect of success

BOSS-style | Dancing
Text | Yuri KUZMIN
Photo | From the archive of Leonid PLETNEV

Member of the Presidium of the Russian Dance Union, Honorary President of the International Dance Union, President of the Reverence Dance Consulting Center - about the divine essence of dance, about judging and teaching in the dance world . .. and about life: "It is delightful."

— Leonid Mikhailovich, you yourself call yourself a dance teacher. And indeed, they began to teach from an early age, almost from the age of 18. What is it: a calling or just happened?

— I am a dance teacher. Among the numerous titles and titles won and received by me during my presence in the dances, this is what I value the most. Being a teacher is noble, responsible, interesting, especially when it is a vocation. I think that's exactly what I have. I have always known that as a teacher I am better, brighter and more successful than as a performer. And so it happened. From my very first group of students in the famous Horizon Ensemble of Olga and Alexei Litvinov (Kharkiv, Ukraine), who began their studies at the age of 6-7 years (and I was 18 years old), five eventually managed to grow into real masters and rise to the highest steps of world pedestals. Today I am a happy teacher: my many students are world and European champions, national champions, winners of major international competitions.

- You graduated from the Faculty of Architecture of the Kharkov Civil Engineering Institute, but it seems that you did not work in your specialty. In general, is this a trend, or something - many of the best dancers are not graduates of art departments, but universities aimed at the real economy? The master of Russian dance Stanislav Grigoryevich Popov, for example, is a graduate of the Energy Institute. Please comment on this fact.

— Yes, I am an engineer-architect by education. I entered the institute with a dream of architecture and I am immensely grateful to fate for such a choice of my education (from the word “image” - form, create yourself), for studying a wonderful collection of educational subjects from excellent professors, for deep scientific knowledge of the laws of nature through philosophy, dialectics, art history, composition and harmony, for descriptive geometry and strength of materials, for drawing and painting with sculpture, for the beauty of the proportions of the golden section. The architect (Greek for “chief builder”) must already take into account everything and everyone at the project stage, so that later it would be comfortable to live in the environment he created. Now imagine that I said this not about architecture, but about DANCE. He, like architecture, is only a reflection of life with all its laws, one of the facets of upward movement, towards perfection, towards God. When I, a gold medalist of the school and a scholarship holder of the All-Union Central Council of Trade Unions, refused the Lenin scholarship, my dean could not believe it and was dumbfounded by the answer to the question: “Why?”. The answer was: "I want to seriously dance." And I never regretted my choice later, and I apply all the richest institute knowledge in dancing. I wish every dancer such an education! There were many engineers and scientists in the dances of my generation... At that time, representatives of the Soviet intelligentsia were mainly fond of ballroom dancing. Professional ballroom choreographic education at that time did not exist in principle. That's why Stanislav Popov from power engineers, Pletnev from architects, and many others who came to dance and where from.

Once I was called a "sculptor" in dance, and somehow after another success of my students - an "architect of success". These compliments were and remain among the best and most valuable for me.

— How did you come to dance and how did it become your calling? What role did the fact that you were an active social activist from a young age play in this? Such a fact of your biography as working with swimmers in Kharkov?

— At the age of 19, I worked with the USSR Olympic swimming team. This is a very unusual experience! In Kharkov there was an Olympic training center. And my friend, today the most famous Ukrainian rehabilitation doctor Igor Serebrennikov, then worked as the head doctor of this team. It was the time of the triumphant record swims of the great Vladimir Salnikov, a unique and extraordinary swimmer and personality. And on his example, in search of new resources to improve results, Igor conducted research on the comprehensive development of the athlete's personality. Dance classes seemed to him the perfect tool for this. And I was invited to solve this problem with the help of dance lessons. Then they didn’t use the word “aerobics”, we came up with “choreotraining”, a methodological manual was issued according to our methods. Interesting time! I also taught at a boarding school for the deaf-blind-mute. I will never forget the tear flowing from the unseeing eyes of a student from the happiness of falling into the rhythm of the dance. For me, these are invaluable lessons in morality, setting life priorities.

I started ballroom dancing at the age of seven, went through both ballet and folk choreography. But at that time it was really a hobby, incomparable with the seriousness of today's young dancers, in fact, "professionals". Therefore, there was enough time for sports (the captain of the team of masters in football, ranks in shooting, chess, swimming, table tennis), and for music (a music school in the accordion class, then piano, guitar, drums), and for drawing, carving tree, recitation, and even community work. I always headed something: the council of the pioneer detachment, the council of the squad, the trade union organization at the institute, and then the Komsomol organization at the Palace of Culture. He was a delegate to the VI All-Union Pioneers' Gathering in Artek and represented the USSR in its "Friendly Council". Therefore, he went into dance politics, although precious time is spent on it immeasurably and often, alas, to no avail.

— Tell us a little about your teachers and mentors in the dance profession.

— I was born in the Ukrainian city of Sumy, where I started dancing. My first teacher was Alexandra Petrenko, our school pioneer leader, who gathered first-graders into a small dance group, then, in the city Palace of Pioneers, Vladimir Matveev and Anatoly Mochulenko, after that, in the Palace of Culture. Frunze, the magnificent Olga Garanina in the ensemble "Silhouette". With admission to the institute and moving to Kharkov, from the very foundation I was in the "Horizon" with Olga and Alexei Litvinov, and then at 1985 in Moscow with Lyudmila and Stanislav Popov. Well, then foreign teachers were added, the best of the best, legendary and well-deserved, creative, thorough, revolutionary and a little crazy!

In fact, nobody can teach anyone to dance! The dance itself lives in each of us, it only needs to be able to extract it. This is the true skill of a teacher. You can explain movement techniques, the basics of musical literacy, the design of choreography and composition. However, dance cannot be learned, it can and should be taken out of oneself, not memorizing, but remembering. We are all born with dancing inclinations, "a genius in each of us." Although then, alas, we are overgrown with social slag and mud, fears and complexes. And the abilities that sit deep inside cannot break through these thick layers of obstacles. Today I call myself not even a teacher, but a cleaner. A person should simply be cleansed of all this superficiality, and under him a real treasury of virgin talents is revealed.

- You ended your dancing career at a rather active age, 35 years old. Is not it too early? And why?

- Many finish earlier, some later. I danced my last tournament at London's Royal Albert Hall in October 1996. By this time, I really “danced” - 27 years on the competitive parquet! I lost the "smell of blood", objectively tired of the struggle. Competitive life ceased to please. It became clear that it was time to set new goals. Then there were already well-deserved and significant successes of students, and the path to coaching teachers was obvious and desirable.

Parting with the competitive parquet was not easy, I was haunted by a feeling of the unknown of a new life, a radical change in life rhythms and priorities. But at the same time, many new opportunities for their own implementation appeared. It was precisely from this that a creative breakthrough happened - most of my poems and aphorisms were written immediately after the end of my competitive career. An unusual feeling of lightness, flight and much-desired emancipation.

The last feature is not a goal, but an inevitability.
Everyone has their own time, everyone has their own way.
You, too, will come to her to dance the boundless world
And commemorate the glory of many years with love.

There were no number of them, steps and turns,
Balance futile search, scandals and losses,
Victories and defeats, and liters of tears and sweat.
Fate sums up and closes the door.

The last line - what's next?
Life at first...

— As you have already said, besides dancing you have many other interests: poetry, writing, music. You are the author of popular articles about sports dances, the creator of the world's first educational video cycle on sports ballroom dancing in Russian "Dance Line", you have written the book "With curtsy ...". Is it a hobby or a serious part of your life? A few words about the book.

- Once upon a time, my wife Vera Pletneva, at the very beginning of our acquaintance, asked: "What do you have for yourself if not dancing?" And I, without hesitation, answered: "Then write. " I've been putting my thoughts on paper all my life. Much is banal, but something turned out to be interesting. So from the diary the book “With a curtsy. About life in dances and about dances in life. My poems and aphorisms are a gift to my eldest son Valentin (now he is 16.5 years old, and at the time of its publication he was 2.5 years old). A kind of paternal insurance just in case: if something happens to me, then the son will have parental experience. I am glad that today it is, in fact, a desktop for many dancers, parents, coaches in various parts of the Earth. She is actively quoted in the dance world, thanked for her thoughts, which means that she did not write in vain. Recently I was surprised to learn that one of my aphorisms was included in the application of the best aphorisms of our history "Quote Book", in the dance section (can be installed on mobile devices). The compilers chose a thought with humor, without consulting me, although, it seems to me, there are deeper and more interesting conclusions in the book.

And quite recently, at the IX Moscow Ball, in the Hofburg Imperial Palace in Vienna, where I have the honor to be the Chief Dance Master, Choreographer and Host, the premiere of the song took place. The well-known Russian musician and composer, Honored Artist of Russia Alexander Pokidchenko wrote the music for my poems "Here it is, happiness." And a cheerful major song was born!

— Although you call yourself a dance teacher, but still, in your professional life, probably, refereeing at various dance competitions, often of a very high level, plays a greater role. How did you get into refereeing and what does it mean to you today?

— In fact, the main thing after the end of a career is not refereeing, but teaching. You can't feed a family by refereeing! And it, refereeing, should not be a business, otherwise it is a direct path to corruption (which is happening now in some dance organizations). But the participation of the best dancers who have completed their performing careers in the examination (this way it is possible to more accurately determine the function of judges in dances) is a natural and logical link in their growth. He obviously needs the experience and knowledge of the most developed representatives of the genre. It is their unique experience and educated, educated opinion and mastery of the subject that ultimately determine the vector of development of the dance itself, its style, aesthetics and form. Therefore, this fate did not pass me. Frequent expert demand confirms the correctness of the path done on the parquet and respect for the titles won. For all of us, refereeing is not the main, but an important part of the new “outdoor” life. Then the best and most experienced of the experts become the chief judges. This is a special category of genre specialists with the broadest outlook, intuition, thinking, and a sense of duty to the profession. I regularly perform as such at European and world championships, major Russian and international festivals. I have this poem:0005

You are in black tuxedos, as in crepe robes,
Responsibility and honor triumph.
To administer justice to you. It has become stronger —
Equal Sign, Judge and Deity!

Thank God, today this stage is over for me. After all, “to be a judge is already a sentence.” Now I like to lead the tournament at the microphone, conduct the event, play it with tempo and mood, create a warm, interesting atmosphere, watch and enjoy the dance in the role of a contemplator, not burdened with judicial duties.

- You are a member of the Presidium of the Russian Dance Union, a member of the Education Committee of the World Dance Council (WDC), honorary president of the International Dance Union (IDU). What role does your work in these organizations play for you? How much time does it take?

- I have already partially answered this question above. I try to use the knowledge gained in life and on the floor, the accumulated experience and the authority gained to organize the most comfortable conditions for modern dancers and teachers. I was the first president of the International Dance Union (IDU), which we created with colleagues and like-minded people in the name of saving dance as an art, bringing together 32 countries under our banner in four years! For me, it was four years of chronic lack of sleep, wear and tear, an endless number of meetings and negotiations. My father always kept records of my trips and flights. So in one of these years, according to his exact calculations, I made 84 flights around the globe! This position turned out to be not desirable for me, but forced, and I left the presidency with relief when, as a result of our efforts, the WDC Amateur League appeared, and the development of this movement took a new, more productive form. Dance policy is the definition of the strategy and tactics for the development of the genre, the development of regulations and rules, educational projects. This is a very important and often thankless job.

— What is the Reverence Dance Counseling Center? What were the goals of its creation and how actively are you involved in it now?

- I created it in the early 90's as a dance market service. Holding the first in Russia annual "Curts-Congress", the international dance festival "Curts-Cup", unique "schools of excellence", the sale of licensed dance music, shoes and clothes, the release of methodological literature and educational videos "Dance Line", the organization of group trips to major international tournaments. There was also the Curtsy Discount project - discount cards for dancers for all occasions. "Curts" is a special form of respect, respect. This is my attitude to life in general, the world of dance and its inhabitants in particular. I even sign my letters “With curtsey, Leonid Pletnev” and also called my book.

— Being a judge, that is, being on the other side of the “barrier” with dancers, how would you characterize the level of professional dancers now: is there any progress, development?

— There is always progress and development. One can only argue about the correctness of his direction. So, for example, I am a well-known opponent of the "sportivization" of ballroom dancing. I am convinced that it is worthless for a person to change the divine plan. Dance has always been and remains an integral part of art. And, being taken to the sport by the ears, it undergoes catastrophic changes in its essence, the substitution of concepts and meanings, and the change in terminology. For the sake of speed and quantity, the masculine-feminine principle is removed from it, the philosophical meaning of the unity of opposites for the sake of creating a unique natural whole. Destroyed so desired, but very fragile harmony, the highest criterion of art. "Citius, altius, fortius!" It's not for dancing! Therefore, I am on the other side of the barricades, where the natural purity of the dance is preserved. And he, of course, develops in this natural direction for himself. Among the numerous clones, new, original performers also appear. The dance show genre is changing incredibly interestingly. Competitive performances become real performances! Against the background of improving techniques, MEANING returns to him.

- In continuation of the previous question. From the point of view of the viewer, for example, me, there are much fewer bright stars at the competitions. Where are the heirs of Paul Killick and Hanna Kartunen, Brian Watson and Carmen, Sergei Ryupin and Elena Khvorova, Dmitry Timokhin and Anna Bezikova? What's this? Stagnation or, perhaps, we do not see something, do not understand?

— The Killicks, Watson and many others were just talented at first, and then they became great. And in our memory they are imprinted with the images of their grandiose periods, the time of obvious and deserved superiority. Today the dance is going through a stage of a cardinal change of generations. New, but still young and unpolished talents have burst into the world finals, who now have a serious facet on their way to possible future greatness. Plus, your tastes, with the time spent in communication with the dance, have seriously changed, grown up and become more adept in understanding and claims. "As we grow, the mountains get lower." And now you are invited to observe an equally interesting period of this very formation of future stars. They are already delighting us with hopes, and soon they will delight us with the reality of their perfection.

— What are the prospects for the development of ballroom and sports dances on a Russian and global scale? What are your own plans for the future?

- The dance will develop no matter what. It will develop in various creative and sports directions, organizations will continue to coexist peacefully (I hope!) Without interfering with each other, cooperating as much as possible (I hope!). New directions are actively developing and will quickly gain popularity, for example, “artistic dance”. The Pro-Am category (where a professional teacher and an amateur student dance in pairs) will continue to gain popularity. America has been on this for a long time, Russia is booming, and Europe is actively starting to develop this kind of dance competitive partnership. I myself am not going to stay away from these progressive processes. With my move to Vienna, a new project called Amazing Dance World production began. This is a series of international festivals and spectacular events in the most important cities of Europe, on the best venues, a kind of royal collection of events of the highest quality of organization and conduct, where dance will be, first of all, beauty. On November 27, 2015, we held the first International Pro-Am Dance Festival "Amazing Vienna" in Vienna with great success. Next in line is the Karlovy Vary Golden Cup on March 5, 2015 in the Czech Republic. In June, there are plans for a dance festival for people with disabilities Inclusive Dance. In 2017, a grandiose festival of show programs is expected, but this is not a sports, but a cultural competition and spectacle. In it, as in art, first and second prizes will be awarded, and outstanding performances will receive the Grand Prix. There will be presented different dance styles in their best performance. The Amazing Dance World production brand means admiration for dance!

— I know that your life today is also closely connected with balls. What's this? Another hobby or passion?

— Another interesting facet of my current stay in dances is balls! Fate led me to the origins of the very ballroom dance that I have been doing all my life. My cooperation with the Vienna Ball Moscow company, which is run by Alexander and Elisabeth Smagin, has been going on for many years. This is undoubtedly one of the best teams in the world for organizing and holding balls: the famous Vienna Ball in Moscow (today it is the number 1 social event in Russia, the largest Vienna Ball outside Austria, about 2000 guests!) and Russian balls in different countries (Great Britain, Austria, Switzerland, France, Germany, Italy, Ukraine, Kazakhstan, etc. ). I have the honor to be their Chief dance master, choreographer and presenter. This is a very special atmosphere of a high society holiday! This is a bright, magical holiday in a series of working days, where canes, hats and feathers, diamonds and orders on ribbons are appropriate! This is an effective counterbalance to modern life negativity, crises and sanctions. Our balls have already formed their circle of respected partners and loyal admirers, young and respectable, for whom they have become an integral part of existence. If you enter this circle, dance and enjoy life! And remember, she's amazing!

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Skryabin Alexander Nikolaevich — biography of the composer, personal life, photo

Contemporaries called Alexander Scriabin a composer-philosopher. He was the first in the world to come up with the concept of light-color-sound: he visualized a melody using color. In the last years of his life, the composer dreamed of bringing to life an extraordinary act from all kinds of arts - music, dance, singing, architecture, painting. The so-called "Mystery" was supposed to begin the countdown of the new ideal world. But Alexander Scriabin never managed to implement his idea.

Young musician and composer

Alexander Skryabin. 1909 Photo: A.N. Skryabin, Moscow

Alexander Skryabin. 1892 Photo: A.N. Skryabin, Moscow

Alexander Skryabin. Moscow, 1902–1903. Photo: A.N. Scriabin, Moscow

Alexander Scriabin was born in 1872 into a noble family. His father served as a diplomat in Constantinople, so he rarely saw his son. The mother died when the child was one year old. Alexander Scriabin was raised by his grandmother and aunt, who became his first music teacher. Already at the age of five, the boy played simple pieces on the piano and picked up the melodies he once heard, and at eight he began to compose his own music. The aunt took her nephew to the famous pianist Anton Rubinstein. He was so impressed by Scriabin's musical talent that he asked his relatives not to force the boy to play or compose when he had no desire to do so.

In 1882, following a family tradition, the young nobleman Scriabin was sent to study at the Second Moscow Cadet Corps in Lefortovo. It was there that the first public performance of the 11-year-old musician took place. At the same time, his debut composing experiments also took place - mainly piano miniatures. At that time, Scriabin's work was influenced by his passion for Chopin, he even slept with the notes of the famous composer under his pillow.

In 1888, a year before graduating from the cadet corps, Alexander Scriabin became a student at the Moscow Conservatory in composition and piano. By the time he entered the Conservatory, he had written more than 70 musical compositions. The young musician was noticed by director Vasily Safonov. According to his recollections, the young man had "a special variety of sound" , he "possessed a rare and exceptional gift: his instrument breathed" . Scriabin was distinguished by a special manner of using the pedals: by clamping them, he continued the sound of previous notes, which were superimposed on the next ones. Safonov said: "Don't look at his hands, look at his feet!" .

Alexander Scriabin strove for performance excellence, so he rehearsed a lot. Once he “outplayed” his right hand. The disease turned out to be so serious that the then-famous doctor Grigory Zakharyin told the young man that the muscles of his arm had failed forever. Vasily Safonov, having learned about the illness of his student, sent him to his dacha in Kislovodsk, where he was cured.

Senior courses in free composition were taught by professor of harmony and counterpoint Anton Arensky, he was close to lyrical chamber music. His student, Scriabin, on the contrary, did not like strict composer canons and created strange, in Arensky's opinion, works. In 1885-1889, Scriabin wrote more than 50 different plays - most of them did not survive or remained unfinished. The creativity of the young musician even then began to break out of the narrow framework of the academic program.

Due to a creative conflict with the harmony teacher, Skryabin was left without a diploma in composition. In 1892 he graduated from the Moscow Conservatory only as a pianist in Safonov's class. Scriabin received the Small Gold Medal, and his name was put on the marble plaque of honor at the entrance to the Small Hall of the Moscow Conservatory.

Composer of the Silver Age

Alexander Skryabin. 1915 Photo: A.N. Skryabin, Moscow

Alexander Skryabin. 1910s. Photo: A.N. Scriabin, Moscow

Alexander Skryabin after finishing the musical poem Prometheus. 1910 Photo: Alexander Moser / A.N. Scriabin, Moscow

The young pianist played a lot. And soon after graduating from the conservatory, the disease of his right hand worsened. In order to continue performing, Alexander Scriabin wrote works for the left hand - "Prelude" and "Nocturne. Opus 9". However, the disease affected his mental balance. It was then that he began to reflect in his diary on philosophical topics.

“The first major failure in my life. First serious reflection: the beginning of the analysis. Doubt about the possibility of recovery, but the most gloomy mood. The first reflection on the value of life, on religion, on God”

At this time, the composer wrote the First Sonata, which also reflected personal experiences. In his diary, he compared the composition of the 1st sonata with a funeral march. However, Scriabin did not give in to despondency: he began to follow all the recommendations of the doctors and developed his own exercises that developed the injured hand. He managed to restore the mobility of the hand, but the former virtuosity was lost. Then the pianist began to pay attention to nuance - the ability to emphasize the subtlest fleeting sounds.

In 1893, some of Scriabin's early works were published by the well-known Moscow publisher Pyotr Jurgenson. Most of the works were musical miniatures - preludes, etudes, impromptu, nocturnes, as well as dance pieces - waltzes, mazurkas. These genres were characteristic of Chopin's work, which Scriabin admired. In the early 1890s, the composer also wrote the First and Second Sonatas.

In 1894, Vasily Safonov helped 22-year-old Scriabin organize an author's concert in St. Petersburg. Here the musician met the famous Russian timber merchant Mitrofan Belyaev. The entrepreneur was fond of music: he created the music publishing house “M.P. Belyaev”, established and financed the annual Glinka Prizes, organized concerts. Belyaev soon released the works of the young composer in his publishing house. Among them were etudes, impromptu, mazurkas, but mostly preludes, in total about 50 of them were written during this period.

Since then, Belyaev has supported the musician for many years and helped him financially. The philanthropist organized Scriabin's big tour of Europe. About the musician in the West they wrote: “an exceptional personality, a composer as excellent as a pianist, as high an intellect as a philosopher; all is an impulse and a sacred flame” . In 1898, Scriabin returned to Moscow and completed the Third Sonata, which he began writing while still in Paris.

In the same year, Alexander Skryabin took up teaching: he needed a stable source of income to support his family. At the age of 26, he became a professor of the piano class at the Moscow Conservatory.

“I don't understand how you can write 'just music' now. After all, it’s so uninteresting… After all, music acquires meaning and significance when it is a link in one, unified plan, in the wholeness of the world outlook”

. The composer neglected musical traditions: in the First Symphony there are not four, as usual, but six parts, and in the last one soloists sing with a choir. Following the First, he completed the Second Symphony, even more innovative than his past works. Her premiere caused a mixed reaction from the music community. Composer Anatoly Lyadov wrote: “Well, what a symphony… Scriabin can boldly lend a hand to Richard Strauss… Lord, where did the music go… From all ends, from all cracks, decadents are crawling in” . The symbolist and mystical works of Scriabin became a reflection of the ideas of the Silver Age in music.

"Fiery tongues" music by Alexander Scriabin

Boris Kustodiev. Portrait of Alexander Scriabin at the piano. 1910s (?). Memorial Museum of A.N. Scriabin, Moscow

Philip Malyavin. Portrait of the composer Alexander Scriabin. Late 19th – early 20th century. Kaluga Museum of Fine Arts, Kaluga

Leonid Pasternak. Portrait of Alexander Scriabin at the piano. 1909. Memorial Museum of A.N. Scriabin, Moscow

In 1903, Scriabin began to work on the score of the Third Symphony for a huge orchestra. It revealed the skill of Scriabin as a playwright as well. The symphony, called the "Divine Poem", described the development of the human spirit and consisted of three parts: "Struggle", "Enjoyment", "Divine Play". The premiere of "The Divine Poem" took place in Paris in 1905, a year later - in St. Petersburg.

“God, what was that music! The symphony was constantly collapsing and collapsing, like a city under artillery fire, and everything was built and grew from debris and destruction. She was overwhelmed with content, elaborated and new to the point of madness... The tragic power of what she was composing solemnly stuck out her tongue at everything decrepitly recognized and majestically stupid, and was swept away to madness, to boyishness, playfully spontaneous and free, like a fallen angel"

that Scriabin Symphony "produced a stunning, grandiose action" . It seemed to the listeners that the composer with this work "heralds a new era in art" .

In 1905, Alexander Scriabin's patron, Mitrofan Belyaev, died, and the composer found himself in a difficult financial situation. However, this did not prevent him from working: at this time he began to write the "Poem of Ecstasy". The author himself said that the music was inspired by the revolution and its ideals, so he chose call “Get up, get up, working people!” as the epigraph of the poem! .

At this time, Scriabin gave many concerts and in 1906 went on tour to America for six months. The trip turned out to be successful: the concerts were held with great success. And in France in 1907, some of Scriabin's works were performed in the Russian Seasons cycle by Sergei Diaghilev. At the same time, the composer completed the Poem of Ecstasy.

In 1909, Alexander Scriabin returned to Russia, where real fame came to him. His works were played at the best venues in Moscow and St. Petersburg, the composer himself went on a concert tour of the Volga cities. At the same time, he continued his musical search, moving further and further away from tradition. He dreamed of creating a creation that would unite all types of art, and began to write the Mystery symphony, which he conceived at the beginning of 1900s.

In 1911, Scriabin wrote one of his most famous works, the symphonic poem Prometheus. The composer had color hearing, which gives a sense of color during the performance of music. He decided to embody his visual perception in a poem.

“I will have light in Prometheus. I want there to be symphonies of lights. The whole hall will be in variable lights. Here they flare up, these are fiery tongues, you see how the lights are here and in the music. After all, each sound corresponds to a color. Or rather, not the sound, but the tonality "

The composer constructed a color circle and used it in the performance of the poem, and wrote the part of light in the score in a separate line - "Luce". At that time, it was technically impossible to implement a light-color-symphony, so the premiere took place without a light party. The production of the poem required nine rehearsals instead of the usual three. According to the memoirs of contemporaries, the famous "Promethean chord" sounded like the voice of chaos, born from the depths. Everyone was delighted with this beginning. Sergei Rachmaninoff asked: “How does it sound like that to you? After all, it is quite simply orchestrated” .

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