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Drigos "Awakening of Flora" question

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I seem to recall having read somewhere that this particular piece of music was from the original score by Deldevez. I think it was somewhere on this board, but cannot say it for sure. Maybe if you carry out a search you might find out?


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Below is a selection of music that I cannot place. I apologize for the quality... it is made from an old cassette tape I found. Please ignore the static and opening bars, which are nearly inaudible.

When listening I can vividly remember the steps to a variation I learned as a teenage ballet student, however I am not sure what ballet is it from. Possibly Paquita? However, I did not find it on any of my Paquita CD's...

Can anyone enlighten me? (Hopefully this link works!)

Unknown Music

Thank you!

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the music is from a recording of the Bolshoi Theater Orchestra on cd (out of print) of Paquita, though the music is from the ballet "Le Corsaire" and for the scene in this ballet - 'La Jardin Anime'. Throughout the history of ballet variations have been switched round and round. In this case, the music is by Riccardo Drigo for the last revival of Corsaire by Petipa. The variation is danced by Gulnare in the scene La Jardin Anime, and comes right after the the big adagio with corps de ballet for Medora. How it got into the Bolshoi's Rep. for Paquita I do not know. If you want to see a good example on film of this piece, DO NOT get ABTs version of Corsaire, but the KIROVS! TAKE MY ADVICE! Though Paloma Herreras performance is dazzling in the ABT film of this variation. Also, you can see this scene performed by the Kirov, along with other gems of Russian ballet, on a film called "The kirov ballet in london" available from Kultur. In it Lubov Kunakova dances the variation to slightly different choreagraphy. Well there you go enjoy!

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Hello all! Does anyone know where to find music for Franz's variation from Coppelia Act III? It would be the version found in Baryshnikov's performance of Coppelia pas de deux at Wolf Trap. I've gone crazy looking for that music, and I'm certain that it's right under my nose! :shake:

Thanks in Advance!

Edited by red911sc
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The music Baryshnikov uses in the Coppelia variation is the mazurka from La Source. The only copy I know of is the Naxos recording. It's quick(aren't they always), but it's danceable. Now if we can just figure out how Baryshnikov does 5 & 6 turns without any effort! :cool:

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I have both the Kirov and ABTs versions of Corsaire on film, along with a few other videos (gala performances) with scenes from the ballet. I was wondering why ABTs version and the Kirovs version differ so much musically? The incidental music, along with overtures, etc., is totally different from the Kirovs (the foundation of ABTs production). The famous numbers of the ballet are the same, like the grand pas, the trio of odalisques, the pas d'esclave, the act II mazurka, teh scene 'jardin anime'; but everything else is totally different, though the same composers are credited.

I also noticed that the music in the more famous numbers is re-orchestrated (the trio of odalisques, the grand pas, the pas d'esclave - which I think is fine in the original by Pugni. The 'Jardin Anime' scene was left alone 'orchestration-wise' however. ABTs version gives no credit to a 're-orchestrator' or anyone writing additional music, though I can tell that this has happened.

so what gives - does anyone know?


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In many cases, we don't know what the "Pugni original" was! It was a common practice in the nineteenth century for some composers simply to write a lead sheet consisting of only the first violin part, then a company of copyists would provide the arrangement for the rest of the orchestra. Rossini was infamous for this practice. Herold seems to have done it, too. What got out of Russia was often partial and sketchy, and has led to some pretty funny re-imaginings of the music. Pavlova's score for the Shades scene in Bayadere had only the first violin part for the waltz-codas for the corps and soloists. There weren't even time signatures written down. As a result, Richard Bonynge's recording of this old score makes it a 6/8 vivace movement of considerable brevity. There were no repeats. It's just this less-than-30-second thingie that's hanging there right before the general coda. Using these old scores is a lot like buying a used car. It really does help to know who had it before you!

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Remember also, that the Corsaire score, as it exists can be a hodgepodge of at least five composers. Adam wrote the original, then others came along later, and tipped stuff into it. ABT's production uses six composers. It's up to the stager as to what gets used and what doesn't. The "Jardin Animé" sequence is mostly by Delibes, and has existed, but not performed much, outside of Russia for years. I get the distinct image of these old ballet scores not existing in any single bound form, but rather like a loose-leaf binder. "Take out this variation, and put in 'Tea for Two'!"

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Hi all. I can speak for Jardin at the moment. Over the years an increasing amount of music has been interpolated into Corsaire, including interpolations into Jardin anime. That scene has also been re-orchestrated (the original manuscript in Delibes' hand sits in the Library of Congress). By 1899 both ballerina variations in Jardin - danced by Olga Preo. and Pierina Legnani - were interpolations from other ballets. One of those interpolations - the Medora variation - is still performed by the Kirov.

As far as the Adam score for the entire ballet, Bonynge has recorded it and included Delibes original orchestration of Jardin. That can be a starting point for comparison but you won't get too far before the interpolations begin.

Re modern revivals, it seems that the long-time practice of interpolation continues!

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