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Do we *really* need Rothbart in the Pdd?


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#16 Mel Johnson

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Posted 29 June 2001 - 06:46 PM

Choreographers and ballet masters (and less-than-masters) over the years have been beguiled by all that wonderful Pas de Six music and have dipped into it to greater or lesser effect seemingly at will. It would make a perfectly marvelous stand-alone piece, and I have seen it used in that way. Doug, when you refer to the "B-flat major waltz" are you referring to the original woman's variation in what we called the Black Swan pas de deux today? I've always liked that music and thought it a pity that Petipa and Ivanov couldn't have found some use for it.

#17 doug

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Posted 30 June 2001 - 11:41 AM

Mel, That's probably the waltz I mean, with the low trumpet solo at the beginning of the melody. I never paid attention to whether it was intended as the woman's solo. It is indeed in the Drigo edition of the score for 1895, in a shortened version of Tchaikovsky's original, and, since Gorsky was in the pas d'action (i.e., Black Swan pas de deux), as an extra cavalier and also choregraphed the male solo to the waltz music, maybe it was indeed performed then?

#18 Mel Johnson

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Posted 30 June 2001 - 01:24 PM

I think I mean a different one, then, if you're thinking of one that starts with a low trumpet solo. The variation I'm thinking of starts in the cellos and horns, and is answered by the woodwinds. The trumpet gets involved toward the end, with a nice countermelody, but that's the wrong end!

#19 doug

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Posted 30 June 2001 - 03:19 PM

Sorry for the tedium. Mel, I think we are thinking of the same waltz, but I must have the scoring wrong. The woodwinds do answer -in thirds - and there is a countermelody at the recap.

Anyway, it's a lovely waltz and the man's variation by Gorsky is really something.

#20 Mel Johnson

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Posted 30 June 2001 - 04:47 PM

Perhaps we are, Doug; the one I'm thinking of has a nice bridge to the coda, and would make a great breather for both Siegfried and Odile before the fireworks!

#21 Andrei

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Posted 08 July 2001 - 12:15 AM

Just for information, the Rose Adagio in the first act of "Sleeping Beauty" was transfered by Petipa from his early ballet "Golden Fish", so, probably it's not about courtesy, but choreographic patterns which perfectly fit 4/4 meter of the music - he needs four cavaliers, it's all :( .

#22 Alexandra

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Posted 08 July 2001 - 10:34 AM

Andrei, was Petipa really so dry? Even if the patterns come from somewhere else, there's a different coloration if they're suitors.


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