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Glazunov and "Les Sylphides"

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I was wondering role Glazunov played in the orchestration of Chopin's music for Fokine's "Chopiniana"/"Les Sylphides"......

I know that in 1893 Glazunov first orchestrated some Chopin numbers that formed the basis for Fokine's ballet, but did Glazunov later return to the Imperial Ballet for one of Fokine's revivals (1907/1908) of the work to orchestrate more numbers? (is it not the Polonaise by Chopin that Glazunov orchestrated that functions as a sort of "introduction" for the Mariinsky's version of the work?)

Also, is "Chopiniana" performed by the Mariinksy in Glazunov's arrangements?

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No, the Glazunov/Chopin "Chopiniana" is a far different animal from the "Les Sylphides/Chopiniana".

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No, the Glazunov/Chopin "Chopiniana" is a far different animal from the "Les Sylphides/Chopiniana".

Glazunov's Opus 46 (Chopiniana) is different....Fokine took Glazunov's work on the Chopin music for his ballet, at first. Then Glazunov orchestrated more Chopin numbers for Fokine's "Les Sylphides"....I was wondering if anyone knew of all of the specifics.

There is this recording of Glazunov's work on the Chopin music for "Les Sylphides"/"Chopiniana" - http://www.amazon.com/gp/product/B0000013O...v=glance&n=5174

I do not have this recording, though I am going to get it! Im sure the liner notes give alot of good info.

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Hope you enjoy the Tarantella!

Diaghilev took the Chopin music that Fokine wanted to use for "Les Sylphides" and farmed the pieces out to various of the composers then in his "stable", like Tcherepnin, Liadov, and even Stravinsky! I don't have a ready reference for which composer did which music, but it was a sort of show-off for Diaghilev. "Look at all the great musicians who work for me!" :wink:

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Hope you enjoy the Tarantella! 

Diaghilev took the Chopin music that Fokine wanted to use for "Les Sylphides" and farmed the pieces out to various of the composers then in his "stable", like Tcherepnin, Liadov, and even Stravinsky!  I don't have a ready reference for which composer did which music, but it was a sort of show-off for Diaghilev.  "Look at all the great musicians who work for me!"  :wink:

Ha, why am I not surprised. Diaghilev seemed certainly to understand the importance of publicity/promotion. Also of negotiation and self promotion.

Even to this day, although some aspects seem distressing to a greater or lesser

degree to a lot of us, getting behinds into seats remains very important.

Richard

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there are likely other releases, but there is (or was?) a NAXOS 2-disc offering of Nutcracker w/ the glazunov 'chopiniana' suite as 'filler' on disc 2.

w/ a slovak orch. if mem. serves.

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there is (or was?) a NAXOS 2-disc offering of Nutcracker w/ the glazunov 'chopiniana' suite as 'filler' on disc 2.

w/ a slovak orch. if mem. serves.

thats the CD I put the link up to

I was under the impression that Glazunov actually orchestrated more Chopin numbers especially for the ballet

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The "Military" polonaise is used in the Russian productions of "Les Sylphides" when they call it "Chopiniana", and the Waltz is the pas de deux. I've never heard that mazurka or that nocturne in connection with any production of the ballet, whatever it's being called. The Prelude, as I understand the circumstance of its original setting, was played by a pianist onstage, while his Muse, the Romantic ballerina, wafts about the stage. That explains why she appears to be listening so much of the time in that variation.

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This isn't related to Glazunov... but in the interests of keeping info on Les Sylphides & Chopiniana together in one place, I'm adding my question here...

Is the second kneeling girl from the left making a mistake in this photo of the Kirov performing Chopiniana, or is this an interesting little fillip in the choreography? (And have you heard of a name for this interesting linking pose?)

http://blog.nj.com/entertainment_impact_ar..._chopiniana.jpg

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Vitale Fokine used to call the linkings among the corps in this ballet "the string". Primarily, it meant the corps arrangement at the end of the Nocturne, but there were other "strings" besides.

And yes, this does look like a mistake, but you have to wonder why this picture got out. The dancer who seems to have used the wrong arms appears to be smiling broadly. Did somebody shoot a "What's wrong with this picture" photo?

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I was wondering what was going through the other dancers' minds just at the moment :flowers:

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