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Transcript of History Crap
Haslam
Ballet Compositions of Tchaikovsky
Adrienne Chloe Haslam
April 1, 2012
Dance 461
Cathy Black
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Up until the late nineteenth century, ballet composers wrote their music as a
supplement to the dance. The music compositions were mere accompaniment pieces,
primarily written for easy dance interpretation. It was not until the collaboration of
Marius Petipa and Pyotr Llich Tchaikovsky, musical composition of ballets became an
emotional and dramatic accompaniment to the dance. As the arrangements of Sleeping
Beauty, and The Nutcracker, and Swan Lake unfolded, ballet music became more
complex and symphonic.
The director of the Imperial Theater Ivan Vsevolozhsky approached Tchaikovsky
on May 25, 1888 about a ballet adaptation of Undine, a mythological story of a water
nymph. Later it was decided to adapt Charles Perraults, la Belle au bois dormant,
Sleeping Beauty. ("Repertory Index - New York City Ballet.") Tchaikovsky accepted the
commission, despite the little success his early ballet compositions had found so far. He
began his work gaining inspiration from the Brothers Grimm adaptation of the tale,
Vsevolozhsky later added a few characters into the adaptation from Perraults original
story such as the variations of Puss in Boots and Red Riding Hood. ("The Sleeping
Beauty.")
Petipa gave detailed notes of the score, minute-by-minute instruction of bar
length, music and orchestral cue. (Kassing 145) This was explained in a letter written to a
friend, N. Nikolayev in 1891, “The procedure for creating ballet music is the following.
A subject is selected. The libretto is then worked out by the Administration of the
Theatre, according to their financial means. The choreographer then works out a detailed
project of scenes and dances, and indicates as well, not only the exact rhythm and
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character of the music but even the number of bars. Only then can composer begin
writing the music...” (“Ballet in the Letters of Tchaikovsky”)
Together, Tchaikovsky, Vsevolozhsky and Petipa began production in 1888. The
ballet was completed May 1889, but orchestrations continued through the year and the
ballet premiered in 1890 at the Maryinsky Theater. ("Pyotr Ilyich Tchaikovsky”) Its first
dress rehearsal took place in January before the Tsar and his court. Tchaikovsky
recounted the day in his journal "Rehearsal of the ballet with the Tsar present." "Very
nice!!!" "His majesty treated me very haughtily. God bless him." Although the majority
of the court had initial disinterest the production for the public was met with good
success. (“Ballet in the Letters of Tchaikovsky”)
Tchaikovsky rated Sleeping Beauty as one of his best ballet compositions, a
notion many critics agreed with him upon. "In precisely following Petipa's instructions...
Tchaikovsky could forget his neurosis in projecting emotion into the physical movements
of the human body. There has never been music that more intimately provokes, as it is
provoked by, the dance."(Mellers)
Tchaikovsky was invited to watch the dancers rehearse Swan Lake and penned
the experience to his brother Modest Tchaikovsky. “Yesterday, in the school's theatre
studio, the first rehearsal of some pieces from the First Act of that ballet took place. You
should have seen how amusing it was to watch the choreographer creating dances to the
sound of solo violin and trying to look profound and inspired. Together with this, it was
enviable to watch the female and male dancers, arraying smiles for a supposed public and
enjoying their aptitude to dance and fly easily while performing, their sacred duty. With
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my music, everyone at the theatre was delighted.” (“Ballet in the Letters of
Tchaikovsky”)
Tchaikovsky praised Sleeping Beauty, commenting along with choreography and
orchestration, with elaborate scenery, and costume designs the production would be
unprecedented in its magnificence. Regarded as his personal best work, Tchaikovsky
recounted the poetic and perfect musical compositions, carrying him away. (Poznansky)
Despite the instrumentation being more difficult and slow progression compared to his
earlier work, Sleep Beauty has continued today as a world-renowned stage production,
with many stagings true the Petipa-Tchaikovsky original. (“The Sleeping Beauty”)
The Nutcracker, a two-act ballet did not hold immediate success during its
premiere, assuming the unusual story was inconsistent with the popular time’s romantic
ballets. But the public praised Tchaikovsky’s suites. Tchaikovsky’s Nutcracker score has
become one of the most famous compositions in history. (Beddinghaus)
Upon the initial invitation to write the score for the Nutcracker, Tchaikovsky was
displeased with the subject theme of the ballet. (Beddinghaus) This was reflected in a
letter written to Tchaikovsky from Ivan Vsevolozhsky who was the director of the
Imperial Theater at the time, "I have experienced agonies of remorse for asking you to do
this ballet. I know that it is unappealing to you. You are an exceptionally kind soul for
not refusing me." (Poznansky)
Not only displeased with the subject matter the ballet was based upon,
Tchaikovsky also felt constrained working under the parameters Vsevolozhsky and
Petipa gave him. He continued throughout the early development feeling reluctant
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working on the piece. Believing the ballet would not yield to a successful theatrical
production, Tchaikovsky agreed to take on the ballet winter 1891. ("Prominent Russians:
Marius Petipa.")
The ballet was conceived from E.T.A. Hoffman’s story, The Nutcracker and the
Mouse King written by Alexander Dumas, was adapted to fit into the two-act ballet.
(Beddinghaus) During the process of adaptation, Petipa once again gave detailed
instructions for the composition of each number, meticulously down to the number of
bars and tempo. Petipa laid out the framework, in which each variation would take place
in each act. (Kassing 145)
Vsevolozhsky wrote to Tchaikovsky with notes of rearranging pieces into the first
act, against the initial wishes of Petipa, but the selections were rearranged back into the
second act to keep the story going. The musical compositions were quite advanced for its
time. The music qualities derive from the Romantic Era and late Baroque styles of
music. Tchaikovsky worked those styles into his melodies and musical passages.
(“Moscow Ballet”)
It is said that Tchaikovsky wagered with a friend who argued he could not
compose a piece based on the eight-octave scale. Tchaikovsky asked him if it mattered
whether the scale was played in descending or ascending order, to which his friend
replied it mattered not. This resulted in the Adagio from the Grand Pas de Duex.
(Langston)
Tchaikovsky discovered a new instrument while working in Paris, the celesta, a
melodic and sweet sounding instrument. He wanted to use it for the character of the
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sugar plum fairy to help characterize her sweet and melodic demeanor. The instrument
not only appears in her dance, but other pieces throughout the second act, adding to light
harmonious sounding themes in parallel with the Land of Sweets. The audience was
enchanted with the new sound. (Langston)
The Suite from the ballet The Nutcracker was the most popular segment of the
ballet until its resurrection by Balanchine in the mid 1900’s. The suite was first
performed in 1892 at an assembly for the Musical Society, who received it with praise
and admiration. (Langston) The suite performed is not to be confused with the whole
ballet, but encompassing the Miniature Overture, March, Dance of the Sugar Plum Fairy,
Trepak, Arabian, Chinese, Reed-Flute, Waltz of the Flowers. Tchaikovsky made a
second suite, less well known, and less frequently played with music from Tableau Act 1,
Adagio from the Grand Pas de Duex, Spanish Dance and Final Waltz. ("Pyotr Ilyich
Tchaikovsky.")
Choreography began with Petipa, but after falling ill he passed the job to his
assistant Lev Ivanov. When the ballet was finalized and performed to the public in
December 1892, Petipa refused to have his name associated with the work, feeling he had
not sufficiently contributed to be recognized. Historians today credit both Ivanov and
Petipa with the choreography. (“Moscow Ballet”)
After several revisions through the decades, the ballet reclaimed itself in the
spotlight in 1954 under the staging of George Balanchine, in New York City. The
Nutcracker remains today as the most popular story ballet created. (“Moscow Ballet”)
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In early 1875 Vladimir Petrovich Begichev commissioned Tchaikovsky, to
compose music for the Bolshoi Theater for a new ballet “Swan Lake”. Credited as
Tchaikovsky’s first ballet, the progression and adaptations through two decades of work
the final Petipa-Tchaikovsky product of Swan Lake did not premiere until 1895. (John)
Julius Reisnger, a choreographer for the Bolshoi Ballet, developed the original
choreography. Reisinger’s choreography had no sympathy for Tchaikovsky’s music. He
did not give detailed notes for music structure as Petipa did in later ballets, and little is
known if Reisnger and Tchaikovsky collaborated extensively together, as required to
work on the score. (Langston)
In April 1876, the orchestrations were completed and rehearsals began soon after.
Reisnger felt some selections would not work with his choreography, and began setting
numbers aside that he thought "unsuitable for ballet." Reisnger began choreographing
dances to other composers' music, but Tchaikovsky protested, and his compositions were
placed back into the ballet. (Langston)
The press during the early premieres reacted negatively saying the production and
choreography were appalling, calling Reisinger’s choreography uninspiring.
Tchaikovsky’s music composition was lost in the debacle, and some critics reviewed the
music as too complicated and symphonic for ballet. Modest Tchaikovsky, Pyotr’s
brothers, recounted the premiere, "The poverty of the production, meaning the décor and
costumes, the absence of outstanding performers, the Ballet master’s weakness of
imagination, and, finally, the orchestra...all of this together permitted (Tchaikovsky) with
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good reason to cast the blame for the failure on others." ("Royal Opera House - 'Swan
Lake')
Despite its little success the ballet continued to be performed in segments and
pieces all over Europe. Marius Petipa was asked to re-choreograph the pas de duex by a
ballerina named Anna Sobeshchanskaya, who disliked Reisnger choreography and the
score. Petipa reworked the pas de duex and had Leon Minkus write up new
orchestration. Word of the change spiked anger in Tchaikovsky, who wrote a new pas de
duex for Sobeshchanskaya, based after Minkus’s new composition for her. The
adaptation was so close; Sobeshchanskaya did not have to rehearse with Tchaikovsky’s
music until the performance. (Langston)
The next premiere of Swan Lake’s second-act took place 1893 at the Maryinsky
Theater in St. Petersburg. The ballet was a product of the collaborative effort of Marius
Petipa, Lev Ivanov and Tchaikovsky. Although the three had talked about revision and a
revival of the ballet, Tchaikovsky passed away November 6, 1893 before work could
progress to a finished product. ("Pyotr Ilyich Tchaikovsky.")
Petipa and Ivanov’s revision work on the ballet brought it newfound success. In a
commencement performance of the second act for the late Tchaikovsky, with
choreography by the upcoming Lev Ivanov, was received with praise and enthusiasm.
The response was so great Petipa and Ivanov revived the ballet in its four-act entirety.
(Green)
Petipa worked to revise the choreography of the first act and the later version
premiering in 1895. Marius Petipa and Lev Ivanov created a whole new production, with
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Petipa working as lead choreographer and Ivanov working the second and fourth act.
The new choreography gave drama and action to the ballet, a new concept for the time.
(Langston)
With the permission and help of Modest Tchaikovsky, Petipa, and Riccardo Drigo
conductor of the theater’s orchestra, they worked to streamline the story, cutting and
rearranging the score. ("Prominent Russians: Marius Petipa.") There are several
differences between Tchaikovsky’s and Drigo’s score, many sections were shortened, and
rearranged. Such as the deletion on the Andante Sostenuto in the first act and the Grand
pas de Cygnes (Dances of the Swans) were put into a new order. The final and
culminating premiere took place January 1895, and the public received it with positive
reaction. (“Pytor llyich Tchaikovsky”)
Swan Lake returned to Moscow in the Bolshoi Theater 1901, under the direction
of Alexander Gorsky who stayed loyal to the choreography of Petipa and Ivanov. The
Petipa-Ivanov version of Swan Lake stayed at the Maryinsky until 1933. Swan Lake
remains as one of the last Petipa-Ivanov-Tchaikovsky ballets, though it was
Tchaikovsky’s first ballet composition he never saw the final product. The ballet stands
today as one of the greatest works of the late 19th century. ("Royal Opera House - 'Swan
Lake”)
As Tchaikovsky was commissioned to create music for each ballet he connected
himself emotionally to the music and sought to make ballet music more symphonic and
melodious. This modern development of ballet music gave rise to make ballets more
dramatic and emotional through the use of themes and complex music. Ballet took on
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much more action oriented and drama following the development of Sleeping Beauty,
The Nutcracker, and Swan Lake.
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1.) "Ballet in the Letters of Tchaikovsky." Ballet In Russia. Vladimir Moiseyev, 5 May
1998. Web. 01 Apr. 2012. <http://www.aha.ru/~vladmo/d_txt17.html>.
2.) Beddinghaus, Treva. "History of The Nutcracker Ballet." About: Dance. Web. 01
Apr. 2012. <http://dance.about.com/od/famousballets/a/Nutcracker.htm>.
3.) Green, Aaron. "A Profile of Swan Lake." Classical Music. Web. 01 Apr. 2012.
<http://classicalmusic.about.com/od/historyofballet/a/swanlakeproa.htm>.
4.) John, Warrack. "Loom - Tchaikovsky's Ballet." The Swan Lake. Trans. Olga Gerdt.
Web. 01 Apr. 2012. <http://www.salikon.dk/loom_tchaikovsky_swan_lake.html>.
5.) Kassing, Gale. A History of Dance. 1. United States: 2007. 126-150. Print.
6.) Langston, Brett. "Tchaikovsky Research." Tchaikovsky Research. 6 Feb. 2012. Web.
01 Apr. 2012. <http://www.tchaikovsky-research.org/en/index.html>.
7.) Poznansky, Alexander. Tchaikovsky Through Others Eyes. Bloomington Indiana:
Indiana University Press, 1990. Print.
8.) "Prominent Russians: Marius Petipa." Marius Petipa Russiapedia Opera and Ballet
Prominent Russians. “TV-Novosti”, 2005. Web. 01 Apr. 2012. "Swan Lake (suite)."
<http://russiapedia.rt.com/prominent-russians/ballet/marius-petipa/>.
9.) "Pyotr Ilyich Tchaikovsky." Wikipedia. Wikimedia Foundation, 04 Feb. 2012. Web.
01 Tchaikovsky. 2011. Web. 01 Apr. 2012.
Apr. 2012. <http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky>.
<http://www.classiccat.net/tchaikovsky_pi/20a.info.php>.
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10.) Moscow Ballet." History of Nutcracker. 2011. Web. 01 Apr. 2012.
<http://www.nutcracker.com/about-mb/history-of-nutcracker>.
11.) "Repertory Index - New York City Ballet." Repertaory Index: The Sleeping Beauty.
New York City Ballet, 1998. Web. 01 Apr. 2012.
<http://www.nycballet.com/company/rep.html?rep=168>
12.) "Royal Opera House - 'Swan Lake' : From Planning To Performance - The History
of 'Swan Lake'" Royal Opera House. 2003. Web. 01 Apr. 2012.
13.) "The Sleeping Beauty." The Ballet Bag. 22 Oct. 2011. Web. 01 Apr. 2012.
<http://www.theballetbag.com/2011/10/22/the-sleeping-beauty/>.
14.) Wildrif Mellers, Man and His Music. Romanticism and the Twentieth Century.
Volume 4. Barrie and Jenkins Publishing. 1969.
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