Download or read book Collected works of Sergei Prokofiev written by Sergey Prokofiev and published by Melville, N.Y. : Belwin-Mills. This book was released on 1979 with total page 106 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Petrushka written by Igor Stravinsky and published by Courier Corporation. This book was released on 2006-01-01 with total page 81 pages. Available in PDF, EPUB and Kindle. Book excerpt: In terms of his influence and the frequency with which his works are performed, Stravinsky stands preeminent among twentieth-century composers. His oeuvre encompasses nearly every significant trend of his lifetime, and regardless of genre, the Russian composer frequently returned to the musical idiom of his native land. In Petrushka, he drew upon his roots to dazzle Parisian audiences of the Ballets Russes with a score that Debussy praised as "sonorous magic." Containing all of the music from the original 1911 version, this edition presents Stravinsky's popular ballet in a reduction for solo piano. Suitable for rehearsal or performance, this version is ideal for listeners wishing to examine the inner workings of one of the twentieth century's greatest masterpieces. Translated stage directions provide helpful guidance and narrate the exotic story of three magical puppets.

Download or read book The Sleeping Beauty Opus 66 Complete written by Peter Ilyich Tchaikovsky and published by Alfred Music. This book was released on 1996-02-01 with total page 276 pages. Available in PDF, EPUB and Kindle. Book excerpt: Ballet arranged for piano. Titles: * Introduction * No. 1, March * No. 2, Scene Dansante * No. 3, Pas de six * No. 4, Final * No. 5, Scene * No. 6, Waltz * No. 7, Scene * No. 8, Pas d'action * No. 9, Finale. (Miniature score not in Russian edition)

Download or read book Ludwig Minkus Fiammetta N m a written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2010-03-08 with total page 165 pages. Available in PDF, EPUB and Kindle. Book excerpt: Aloysius Ludwig Minkus (1826–1917), famous for his ballets Don Quixote (1869) and La Bayadère (1877), was born in Bohemia, and grew up in the dance capital Vienna. He hoped to establish a reputation as a violinist and composer, and by 1853 had emigrated to St Petersburg where he became the conductor and solo violinist of the private orchestra of Prince Nikolai Yusupov. In 1861 he was appointed violin soloist and, a year later, conductor of the Moscow Bolshoi Orchestra. He began a happy collaboration with the great French choreographer Arthur Saint-Léon (1821–1870), who was a real friend and inspiration to Minkus, and more than anyone else, helped to launch his career as a theatrical composer, producing five works in association with him in St Petersburg and Paris. Minkus’s first ballet, the three-act Plamya lyubvi, ili Salamandra (The Flame of Love, or the Salamander, also called Fiammetta), was given its premiere on 13 February 1864 at the Bolshoi Kamenny Theater in St Petersburg (with Marfa Muravyeva in the leading role). The scenario and the choreography were by Saint-Léon, the most important dance master of the day in both Paris and Russia. Saint-Léon’s influence secured this work production in the French capital, and it was perhaps for this occasion that Minkus accompanied Saint-Léon to Paris to mount the work at the Académie Royale de Musique. Reduced to two acts, and re-christened Néméa, ou l’Amour vengé (with a scenario adapted by Henri Meilhac & Ludovic Halévy), the ballet was performed at the Paris Opéra on 11 July 1864, with considerable success (again with Marfa Muravyeva, and with Eugénie Fiocre as Cupid). It remained in the repertoire for seven years, attaining 53 performances by 1871. Théophile Gautier remarked on the atmospheric quality of Minkus’s music, its “haunting, dreamy quality.” Roqueplan singled out Saint-Léon's choreography for its “imagination and originality, his ability to handle masses.” Some of the Airs de Ballet were almost immediately published by Henri Hegel (1865), and are reproduced here. By now Minkus was becoming known internationally. So when five years later the Paris Opéra ordered a new grand ballet from Saint-Léon to a libretto by Charles Nuitter, Saint-Léon involved Minkus in the project, securing for him a hand in the composition of the first and fourth scenes of this new work, La Source. The other two scenes were entrusted to the young Léo Delibes, thirty at the time, who had drawn favourable attention to himself in the preparation of the ballet music for the première of Meyerbeer’s posthumous L’Africaine in 1865. The first performance of La Source on 12 November 1866 was great success for Delibes, whose bold and colourful composition was praised at the expense of Minkus’s subtler contribution. Saint-Léon immediately began planning another work with Nuitter and Delibes, and one which would crown the young French’s composer’s success with triumph, Coppélia. Saint-Léon nevertheless continued to work with Minkus, despite his busy engagements in Paris. The choreographer’s greatest ballet for Russia was his work with Cesare Pugni, Koniok-Gorbunok (The Little Humpbacked Horse) (1864), based on a Russian fairytale. He now tapped into the same folk material in a new work with Minkus, Zolotaya rybka (The Golden Fish), based on Alexander Pushkin’s Legend of the fisher and the little fish. On 20 November 1866, for the celebration of the Tsarevitch’s wedding, Saint-Léon oversaw the production of a one-act version of this new ballet, Le Poisson doré, at the Bolshoi Kamenny Theater in St Petersburg. The work was then developed as a three-act ballet for the same theater a year later (8 October 1867). Minkus’s music was very well received. As with La Source, it was carefully adapted in form and mood to the scenario, remarkable for its panache and beautiful writing for solo instruments (violin, flute, cello, cornet), and for reflecting the nature of the fairytale scenario in the appropriation of national folk styles (Polish, Kazak, Cossack). The score was considered worthy of full publication in piano reduction by the St Petersburg house of Stellowsky (c. 1870), and is reproduced here. The last collaboration between Minkus and Saint-Léon followed two years after that, a partial arrangement of La Source, given in St Petersburg as Liliya (Le Lys) in 1869.

Download or read book Paquita Ballet Pantomime in Two Acts Grand Pas Classique by Marius Petipa and Nuit et Jour Allegorical Ballet in One Act by Marius Petpa Piano Score by Ludwig Minkus written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2010-03-08 with total page 185 pages. Available in PDF, EPUB and Kindle. Book excerpt: The two ballets in this volume, Paquita and Nuit et Jour, represent Ludwig Minkus (1826–1917) towards the end of his career in Russia, working at the peak of his creative powers. They are respectively the thirteenth and fourteenth collaborations between the Viennese composer and the famous choreographer of the Russian classical ballet, Marius Petipa (1819–1910). The Grand Pas, written for Petipa's revival of Deldevez’s Paquita in St Petersburg in 1881, is well-known and loved, a jewel of the classical ballet repertoire in its own right. As an independent, abstract divertissement, the Grand Pas has remained popular with ballet companies and their audiences all over the world, but had not been seen outside Russia in its original context (as the climax of the concluding celebrations) before Pierre Lacotte's sensitive re-creation of the 1846 ballet in its entirety at the Paris Opéra in 2001. The Grand Pas was designed for ballerina, premier danseur, six premières danseuses and eight second soloists. Over the years, this Spanish flavoured piece has become a kind of miniature gala performance, with an array of solo variations that are particularly interesting not only for their choreography but also their occasional obbligato writing. Minkus had a talent in composing for the violin, his own special instrument—as can be seen in the sumptuous, extended adagio. His ballets also contain effective virtuoso pieces for the flute, harp, cello and cornet. The violin and harp solos were written with the talents of the famous violinist Leopold Auer and harpist Albert Zabel in mind, both of whom served as instrumental leaders in the St Petersburg theatre orchestras in the late 19th century. The contemporary manuscript piano arrangements reproduced here, repetiteur scores from the Soviet era, present a longer and a shorter version of the Grand Pas. They reflect the performing edition as it has variously evolved over the 130 years of its independent stage life on the Russian stages, and—through the agency of Anna Pavlova’s travelling company in the 1920s—as also adapted by ballet companies across the world. The less familiar Nuit et Jour was created by Petipa and Minkus to mark the accession to the throne of Tsar Alexander III in 1883. It is an interesting development of the popular contemporary genre of abstract allegorical works, illustrating the movement of time through the day and the seasons of the year. The ballet depicts the innate beauties of both night and day (created by the great ballerinas Yevgeniya Sokolova and Yekaterina Vazem respectively), the daily struggle between darkness and light, and climaxes in an achievement of harmony in a dance of the nations. This is given a patriotic resonance by reflecting ten national types from the Russian Empire in a tour de force, testing the composer’s skill in capturing the various national styles: Uzbek, Tartar, Siberian, Finnish, Cossack, Belarusian, Polish, Caucasian, and Ukrainian. The score reproduced here is the piano version published in both Hamburg and St Petersburg about 1885.

Download or read book Prokofiev piano Sonatas written by and published by . This book was released on 2004 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: