LE CORSAIRE

[rg]

according to a translation of Maria Babanina's note on the music for the recent staging of CORSAIRE in Munich, the following information identifies the origins of the so-called CORSAIRE PAS DE DEUX - long a staple of the concert/gala circuit. (Babanina has credit for "musical arrangement' of this recent staging.):

"In fact, neither Adam nor Petipa have anything to do with it. Furthermore, in 1915, five years after Petipa's death, it was choreographed as a 'pas d'action' for three dancers. The cast list reads: 'Choreography by Samuil Andrianov [balachine's teacher and E. Gerdt's first husband].' The music for the adage, the nocturne 'Dreams of Spring' is by Riccardo Drigo. The variation for the mane was set to music by Julius Gerber, from the ballet TRILBY (1870), Medora's variation is choreographed to music by Boris Fitinhof-Schell from the ballet CENDRILLON (1893). "

no 1915 dancers are named in the note's text. likewise, just which number is indicated here as "Medora's variation" is something not spelled out for those of us who have seen variables in this part of the so-called CORSAIRE PAS DE DEUX. still this helps solve some of mystery surrounding this duet (or pas de deux a trois) so often identified as Petipa's work to Adam's music.

[carbro]

Thanks for this, rg.

The pdd/t is very unPetipa-esqe, so the traditional attribution has been confusing. The attributions of the various parts of Corsaire make a fascinating knot to untie.

[DanceMusicandHistoryInterest]

according to a translation of Maria Babanina's note on the music for the recent staging of CORSAIRE in Munich, the following information identifies the origins of the so-called CORSAIRE PAS DE DEUX - long a staple of the concert/gala circuit. (Babanina has credit for "musical arrangement' of this recent staging.):

"In fact, neither Adam nor Petipa have anything to do with it. Furthermore, in 1915, five years after Petipa's death, it was choreographed as a 'pas d'action' for three dancers. The cast list reads: 'Choreography by Samuil Andrianov [balachine's teacher and E. Gerdt's first husband].' The music for the adage, the nocturne 'Dreams of Spring' is by Riccardo Drigo. The variation for the mane was set to music by Julius Gerber, from the ballet TRILBY (1870), Medora's variation is choreographed to music by Boris Fitinhof-Schell from the ballet CENDRILLON (1893). "

no 1915 dancers are named in the note's text. likewise, just which number is indicated here as "Medora's variation" is something not spelled out for those of us who have seen variables in this part of the so-called CORSAIRE PAS DE DEUX. still this helps solve some of mystery surrounding this duet (or pas de deux a trois) so often identified as Petipa's work to Adam's music.

this is very interesting, how did you come by this source.

does this cite a version of the KORSAR PDD that was danced in 1915, or its creation? I always thought from reading many differing sources that this pas was added by petipa to his revivial of KORSAR in 1899 for mme. pierina legnani to the music of kapellmiester riccardo drigo, director of music for the petersbourg imperial ballet. The variation by baron fitinhof-schell makes sense in that legnani danced in his zolushka - would this be the polka variation typically danced by the ballerinas at the Mariinsky? Does this source site who was responsible for the music of the Grand Coda? what of the origins of this number by drigo titled 'dreams of spring'?

[rg]

Babanina's paper (delivered i believe at the petipa/corsaire conference in munich in connection w/ the presentation of the recent new/old staging) implies this 'pas d'action' appeared for the first time in '15 - thus has no connection to petipa or to adam. (none of the previous petersburg prog. give any indication of such a number, including that led by legnani and gerdt.)

the jan. 12, 1915 might be the premiere date for the number, if the prog. doug supplied to me is the first mention of this from the archives in petersburg.

i know nothing of the 'dreams of spring' music, but it's this same composition that would seem to yield the coda music for this pas de deux a trois.

for now i'll assume the first cast of this now-famous number was karsavina, andianov, and obukhov.