Posted 17 April 2003 - 06:41 AM
Posted 17 April 2003 - 06:53 AM
Posted 17 April 2003 - 06:57 AM
Posted 17 April 2003 - 07:13 AM
pmeja, I think this was a 19th century balletmaster practice. They wrote down what they needed to; they weren't writing it down for someone else to stage. (And may well have guarded the notes very jealously; in the goodolddays you got to stage ballets because you could remember them) In Bournonville's case, many of the male roles are not notated, because Bournonville created them for himself and danced them, so he could rely on his memory.
Posted 11 June 2003 - 12:32 PM
Sergeyev staged a good part of Beauty for Diaghilev in 1921 and then staged the entire ballet for Sadler's Wells and later the International Ballet. I assume he had most of it in his head and used the notations as a guide to jog his memory. That said, the RB's Beauty (those parts that Sergeyev staged that are still danced, at least) is on the whole closer to what is given in the notations and what additional research about early Russian productions reveals than Konstantin Sergeyev's production for the Kirov circa 1952. We're getting to the point where research can really back up these assertions with solid fact.
Posted 19 July 2003 - 04:05 AM
Also, do any Sergeyev notes exist for the entrada to the Act III pas de deux? David Poole never staged it in his Cape Town, RB--derived production, and in many old recordings there is also a jarring transition from the A major and D major flourishes that prepare for the G of the vanished entrada to the C major of the pas de deux. Did Sergeyev indicate to the conductor how to get round this, and also the F-to-E flat solecism in the Vision scene?
Posted 19 July 2003 - 06:42 AM
and yes to the best of my recollection petipa's premiere of SB included the substitution of the Gold vari. for aurora. thus the fairy suite of precious metals and stones in act 3 was given minus a solo for gold, as her music was already used. tchaik. may not have approved but he seems to have done nothing to prevent this.
so far as is now known, i don't think there is anything to refute macaulay's assumption that ashton was the very first choreog. to choreograph a solo to the music that tchaik. actually wrote for the vision act.
to confirm the tradition, the recent 'reconstruction' of the 1892 SB at the maryinsky included the gold vari. for aurora's vision solo.
i trust more music/notation-savvy posts will be more thorough than i can be.
Posted 19 July 2003 - 07:32 AM
Posted 19 July 2003 - 08:29 AM
Posted 19 July 2003 - 08:33 AM
Posted 19 July 2003 - 09:06 AM
If Sergeyev did indeed choreograph to the original vision scene music, he did a wonderful job--it is beautiful and appropriate.
Posted 19 July 2003 - 09:19 AM
Now, as to why no variation survives in the (N.) Sergeyev notations, it could well be simple personnel deployment problems - no notator available! As more and more of the Mariinsky archives become available, perhaps some more light will be thrown on the subject.
Posted 19 July 2003 - 09:23 AM
Yes, the Gold variation from Act III was interpolated in place of the original music for Aurora's variation in Act II. And this apparently was in place for the premiere. Just as Petipa made some concessions to Tchaikovsky, the composer did same for choreographer, and Petipa must have felt this was the thing to do, despite the incongruity of the music, aesthetic, etc. Drigo fashioned an extra couple bars of music to facilitate the modulation to the new key (E-flat). Wiley has published this music in his book. Doesn't make sense to me either, but there you go.
Ashton did choreography this solo, as did Balanchine for Patricia McBride in the 1970s - I am assuming he choreographed the original music. Someone needs to ask her if she remembers it.
The intrada. Sketchy info here, but some concrete notation. We know that the Gold and Sapphire fairies (who variations were eliminated from the jewels pas de quatre) participated in the now-so-called "grand pas de deux," which was actually also a pas de quatre. The music to which the fairies danced is in question. There is notation for the fairies, and it is quite clear choreographically. My thinking at the moment is they danced to the intrada, but perhaps after the adagio (I thikn WIley suggests this). It is also *just possible* (my assertion here) that they danced the first 32 counts of the coda. The notation of the coda begins with Aurora's diagonal entrance, about 32 counts into the music, at least as we know the choreography today. It's possible the fairies danced in the coda before her entrance. I have all this info lying around but haven't really looked hard at it. Some speculation required, unfortunately.
Re the Beauty notations in general. Yes, they are in Sergeyev's hand (unlike the Bayadere notations, although the Kirov claims they are in Sergeyev's hand). Sergeyev regularly include groundplans and foot/leg work, very occasionally arms, torso and head. Of course, the foot/legwork is needed most. A few other notators are represented in the Beauty notations, as well, but just contributing one or two numbers, or a second notation version of something.
Fishdives are not in the pas de deux notation. Wiley has documented all cuts in the music, as well as metronome markings - invaluable stuff!
Posted 19 July 2003 - 09:47 AM
The gold and sapphire fairies may have performed the intrada from the Precious Stones and Metals pas de quatre after the adagio of Aurora and Désiré, in which the two fairies also danced? If that was indeed the case, did the diamond and silver fairies simply perform their variations and then the coda, without the intrada?
However, if the gold and sapphire fairies danced in the coda before Aurora's entrance, Prince Désiré really didn't have much to do at all, at least until the Legats came along, I suppose. Isn't there supposed to be a notation of the Act III variation Sergei Legat performed that is even more difficult than the choreography we have now?
To confuse things even more if Balanchine choreographed to Aurora's original Vision Scene variation music, why doesn't NYCB perform it when they do SB?
Posted 19 July 2003 - 10:06 AM
I'm still waiting to find that "N. Sergeyev" was scheduled to attend rehearsals of "The Little Hump-Backed Horse" or something, while he should have been full-time at "Beauty". Administrative incompetence knows neither time nor place!
"Never ascribe to malice those things which are as easily explained by stupidity."
Now, as to why NYCB doesn't do something that Mr. B. staged, I guess you'll have to ask Peter Martins.
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):