Kenneth MacMillan created the one-act ballet Concerto for the Deutsche Oper Ballet which premiered on 30 Nov 1966 at the Deutsche Oper, Berlin. The ballet was first performed by the Royal Ballet Touring Company in 1967 and by the Paris Opera Ballet in 1982. The material comprises:

1. One page of handwritten notes by Kenneth MacMillan on Deutsche Oper Berlin headed notepaper. The notes list the suggested dancers for the different movements for the staging by the Royal Ballet Touring Company. Undated
2. Handwritten letter from Ninette de Valois to Kenneth MacMillan following the staging by the Royal Ballet Touring Company, saying how much she enjoyed the ballet but how it suffered from the choreographer not being there. De Valois gives detailed critique of some of the dancer. With envelope postmarked 1 Jun 1967
3. Telegram from Frederick Ashton to Kenneth MacMillan expressing his delight in the triumph of Concerto, 22 May 1967
4. Telegram in French from Helen Trailine and Jean Albert Cartier to Kenneth MacMillan wishing Concerto great success and thanking him for his collaboration, 2 Oct 1982

Two photographs of a revival of Concerto

One digital print of Solitaire, c.1960, three photographs of Concerto and three of Pavane

Lucia Chase, dancer, co-founder and co-director of American Ballet Theatre, first met Kenneth MacMillan at the Royal Opera House, London in 1956. She immediately commissioned a new work from him for ABT which premiered the following year. She also took several of his works into the Company's repertoire and wrote often requesting a new work for her Company. The material in this file covers the first performance of Concerto, mentions of Las Hermanas, which Lucia Chase danced in, Danses concertantes, Romeo and Juliet and the creation of Pavane pas de deux for Gelsey [Kirkland] and Ivan [Nagy], and two covering letters enclosing payments for performances of Pavane pas de deux, Danses concertantes and Concerto during the Spring Season, 1978. There is an interdepartmental communication from Kenneth MacMillan to John Tooley about letting ABT perform Pavanne (sic), 14 Nov 1977

Mikhail Baryshnikov succeeded Lucia Chase as Artistic Director of American Ballet Theatre in 1980. He was keen to retain and expand the number of works by Kenneth MacMillan in the Company's repertoire. The material in this file comprises

1. One typed letter from Mikhail Baryshnikov to Kenneth MacMillan re keeping Concerto in the repertoire but suggesting new costumes by Santo Loquasto. He is also keen to have a new work from MacMillan for the 1981/82 season, 5 Apr 1980
2. One typed page of casting for Concerto with annotations in blue biro and pencil
3. One typed letter from Mikhail Baryshnikov reporting on success of having Monica (Parker?) teaching Concerto to the Company. Also hopes Santo Loquasto has contacted MacMillan about the costumes, 6 Nov 1980
4. One ticket stub for ABT at Metropolitan Opera, Lincoln Center, New York, 9 Jun 1981
5. Typed invitation to Sir Frederick Ashton to dinner at Mr and Mrs Anthony Bliss, General Manager of the Metropolitan Opera Association, Lincoln Center, New York, 1 Jul 1981. Sir Kenneth and Mrs MacMillan to bring him to the Bliss' apartment
6. One typed letter enclosing a contract for signature, 1 Jul 1981 (the contract is not with the letter)
7. Typed postcard from Richard Tanner inviting Kenneth MacMillan and family to dinner, n.d.

This file includes correspondence between Kenneth and Deborah MacMillan and Anne Woolliams, Peggy van Praagh and Robert Helpmann, impresarios Lilian and Victor Hochauser and Sol Hurok and the MacMillans' agent, concerning requests by The Australian Ballet to perform some of Kenneth MacMillan's ballets. There is a photocopy of the manuscript draft of an article by Margaret Dale about Kenneth MacMillan rehearsing two dancers from The Australian in the pas de deux from Concerto to be performed in Manila.

Correspondence relating to contracts for Cincinnati Ballet to perform Kenneth MacMillan's ballet Concerto with copies of a draft contract and contracts to be signed. There is a letter from Ivan Nagy, Artistic Director of the Cincinnati Ballet, enclosing two press reviews for Concerto and a handwritten letter from Kenneth MacMillan to Ivan Nagy about the possibility of the Company performing Elite Syncopations, and a booking leaflet for the 1988-1989 season including the first performance of Concerto.

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works or suggestions of dancers from MacMillan, asking for visits to or from MacMillan, and from dancers requesting work or permission to attend rehearsals. It also includes letters from journalists, members of the public and others suggesting ideas or music for ballets, and general enquiries. It includes letters from Sonia Arova at Norwegian Ballet, Ray Barra, Nicolas Beriozoff, Alan Carter, Margot Fonteyn, Goran Gentele at the Royal Swedish Ballet, Martine van Hamel, Gary Sherwood, Joan and Rudolf Benesh at the Institute of Choreology, Rudy van Dantzig at Dutch National Ballet, Nadia Nerina, Monica Parker and Rouben Ter-Arutunian

This file of correspondence contains letters to and from Kenneth MacMillan during his time as Ballet Director of the Deutsche Oper Berlin but is not primarily related to his work there. It includes letters from Ballet Directors of other Companies requesting works and some more personal correspondence. It includes letters from Celia Franca at National Ballet of Canada, Gerd Larsen, Lucia Chase, Peter Darrell at Western Ballet Theatre, Erik Bruhn and Goran Gentele at Swedish Royal Ballet, Herman Hardenberg about Lynn Seymour, Mimi Paul, John Percival, Glen Tetley, Bronislava Nijinsky, Peter Wright, American Ballet Theatre, Jacobs Pillow, PACT Ballet, Capab Ballet and Ballet Nacional de Cuba

Kenneth and Deborah MacMillan stopped over in Hong Kong when returning from Australia in 1988 and spent time with The Hong Kong Ballet. The Company subsequently performed MacMillan's Concerto, Summer pas de deux and Pavane. The correspondence and contracts in this file mainly relate to arrangements for these works, with a letter from Petal [Miller] expressing her gratitude in working with the Company on the staging of Pavane. There is a photocopy of a handwritten message sent by Kenneth MacMillan for inclusion in The Hong Kong Ballet's 10th anniversary brochure