The pas d'action we know as "La Esmeralda pas de six" was composed by Riccardo Drigo, not Pugni, with choreography by Marius Petipa. It was created for Petipa's 1886 revival of La Esmeralda for the Italian ballerina Viginia Zucchi. The 1886 revival of La Esmeralda was only the 2nd ballet conducted by Maestro Drigo since becoming the St. Peterbsurg Imperial Ballet's Kapellmeister. Drigo's pas de six was his first commission for new music, he was also called upon to refurbish the old score of the late Cesare Pugni. Drigo's work was considered a "test of the pen", which contemporary critics felt he passed admirably. The music @ 8:44 is a Soviet-era interpolation that serves as a variation for the poet Pierre Gringoire. I am not certain if it was Vakhtang Chabukiani who was responsible this addition, but I suspect that it is an addition for concert performances of the pas de six, since the music of this variation is Pugni's original music for the character Esmeralda's Entrée in act 1!
No. Music is by Pugni. Drigo did the arrangement. Drigo was wont to take credit for others' work, the most glaring mis-appropriation is in the E. Langer piano reduction of the 1895 version of Swan Lake in which it is stated that the male variation to the Black Swan Pas de Deux is by Drigo. Tchaikovsly is the composer but it was an arrangement taken from the original Act 1. Drigo did this again when the Waltz Triste from Esmeralda was published with his name as composer. Here again he did only the arrangement. There are several versions of this ballet and the one filmed by the Mussorski State Theatre purports to be the more authentic version (although much abridged) with Esmeralda dying at the end instead of the more-usual last-minute "reprieve." The original score of Esmeralda needs editing and research. When and if this is ever done, it will be shown that the above info is correct.
@@davidjohnson9796 I don't know where you are getting your information, but the music in this video is CERTAINLY by Riccardo Drigo, and was composed ad hoc for Marius Petipa's 1886 revival of La Esmeralda for the ballerina Virginia Zucchi. I have Pugni's original London score for Esmeralda in a piano reduction dating from the 1840's, and I also have the original 1886 publication of orchestral parts of Drigo's Esmeralda pas de six. Regarding your comment that Drigo was "won't to take credit for other's work", where on Earth did you get that information? If there is published sheet music with incorrect credits, then that is the fault of the publisher and/or arranger, not because Drigo was trying to pass off someone else's work as his own. That is nonsense.
@@mrlopez-pz7pu Excuse me but on the top of page 249 of the Tschaikovsky (sic) Foundation's (1949) publication of the piano score of Swan Lake is the following (Act 3, Black Swan Pas de Deux, male variation): "Interpolation IV - This composition is not by Tschaikovsky. It is attributed to Drigo and is included here because of general usage." Well, that is incorrect, as we both know that this music IS by Tchaikovsky from the original Act I (as is also found in the piano reduction of the original Moscow production and arranged by Kachkine in a 1971 reprint of the 1877 piano score, p. 54; as well as p. 141 of full orchestral score). Let us not debate here those responsible for this gross error, only to stress that the current (i.e. most familiar) version has always been attributed to Drigo, who did nothing during his lifetime to dispel this deception but could easily have done so. He did the same thing with Esmeralda. I am well aware that this music was not in the original ballet and that Drigo did, in fact, compose the ARRANGEMENTS of much of this music, tailor-made to display the violonistic bravura of Leopold Auer, the Hungarian violinist who lived for decades in St. Petersburg. The Valse Lente, which became quite popular, was even published as by Drigo. But he did not write the original version, Pugni did. The ballet I think was called Le Roi Candaule, if my memory serves correctly. You can contact the library of the Bolshoi Theatre Archives and they will name you the ballet(s) of Pugni where this Pas de Six originated (of corse you know Glazanov was responsible for re-orchestration of much of Pugni's original score and the male variation was by Pugni from Esmeralda, Act I). One final point. As a professional musician in my mid 70s, I can say that Esmeralda's music (as is all of Pugni's) in firmly mid-19th century in style. All of Drigo's ballets (that I have heard so far) are definitely late 19th cent and beyond. I have not been able to find even one bar of music from any of his scores that even remotely resemble the style of the Esmeralda Pas de Six. If you know of any, please let me know. I still feel that Drigo used Pugni's original music, re-arranged it, and continued to claim it was his own. This I find reprehensible (of course no one is alive to defend himself, either way). That is my view anyway. Thanks for listening.
Sorry for late reply..... Your claims concerning Drigo are yet another example of just how much the world of ballet is filled with erroneous information and misconceptions concernig the history and authorship of both the choreography and especially the music of what is referred to as the "classical ballet repertoire". In the end, you really shouldn't assume that Drigo was scandalously claiming authorship of other's work when in fact it is merely the negligence, mistakes and/or carlessness of music publishers, particularly the Tchaikovsky Foundation and its main man Peter March. I am sure that the foundation's publications of Tchaikovsky's works and those of other famous composers is excellent, but when it comes to publications of the oeuvre of Ludwig Minkus, Cesare Pugni, or Riccardo Drigo, they have released some negligent editions that all to often credit the wrong composer(s). Any publication of ballet music dating from 1949 is bound to have incorrect information. The Pas de six from La Esmeralda iis CERTAINLY by Drigo, composed in 1886 for Petipa's revival starring Virginia Zucchi. Now, it is entirely possible that Drigo used airs from Pugni's score for Le Roi Candaule or some other ballet as the basis for the pas de six in La Esmeralda (something similar was done by Minkus when he composed an additional pas de deux for "Giselle" in 1884 that was fashioned from airs found in Adam's score for the ballet "Orfa" - this pas de deux was recorded by Algis Zhuraitis and the Bolshoi Theatre Orchestra in 1984). Pugni himself has fallen victim to misconceptions of being a plaigerist because of the many borrowings he was compelled to include in his own ballet scores by various choreographers. On its important to point out that any such borrowings were likely done at the behest of Petipa and/or Drigo himself. It is likely that the Maestro chose the airs himself in an effort to maintain integrity of the score and assure that almost all of the music in La Esmeralda was by Pugni. Whatever the case, Drigo was no plaigerist - he had an extraordinary ability for conjuring up highly melodic musique dansante with infectious syncopation, while unlike his fellow ballet composers he was a master orchestrator. On the other hand, Drigo's assignment in 1886 to compose the pas de six was his sort of "test of the pen" as a ballet composer. The male variation of the "Esmeralda pas de six" was added in the Soviet era and was never part of the original pas. Where did you get the idea that Glazunov ever arranged anything by Pugni?!? This never happened. But, again, the very idea that Drigo was somehow attempting to gain credit for someone else's work is simply not true. If the publisher of the piece in question did not include details of where this or that tune came from in any of these publications that is their fault, not Drigo's, and the publishers of the 19th/early 20th centuries were notorious for such things. Do you have links to anything that discusses Drigo's alleged borrowings in the "Esmeralda Pas de Six "?
@@mrlopez-pz7pu I know that most of the music is by Drigo but isn't the second to last piece not part of the Pas de six but actually part of the original western european verrsion of the Ballet?
Hermosa música y un ballet muy lindo. Esperemos que el Teatro Colón, estrene la versión completa de este ballet, siguiendo las versiones del Teatro Bolshoi o Stanislavski.
Please correct the title of this video, as it is by Riccardo Drigo, only the 4th piece is by Cesare Pugni and doesn’t belong in the pas de six. Thank you
Questa musica non è di Cesare Pugni, ma di Riccardo Drigo: aggiunta alla ripresa del balletto "La Esmeralda" di Perrot (del 1844) da parte di Marius Petipa nel 1886.
Hola, gracias for this upload, but your information is inaccurate. The "La Esmeralda Pas de six" was actually composed by Riccardo Drigo, another great Italian composer, and was choreographed by Marius Petipa. It was created for the legendary Italian Prima Ballerina, Virginia Zucchi in 1886 when Petipa staged his first revival of "La Esmeralda" in Saint Petersburg. Its proper title is actually the "Pas de Jalousie" since its scenario is Esmeralda's heartbreak and jealousy after discovering that her beloved Phoebus is engaged to another woman.
@DarkDancer06 I have a question. In this Bolshoi production th-cam.com/video/j1FNcKqkEx0/w-d-xo.html this music is preceded by another scene and dance which looks almost like part of the pas de six. In the Bolshoi version, Esmeralda first sees this other woman alone and dances happily for her, and only then sees Phoebus when this music starts. But in a couple of the videos of the full ballet, that particular scene was missing, Esmeralda enters and immediately figures out what's going on. Do you know why and where the first scene you see in the Bolshoi video comes from?
@Adrian Mathers - Thank you very much, you are right. I've just found the ballet here, and this dance is at around 42 minutes in (in that particular performance).
The music itself is in public domain since it was written in the 19th century, but I am not sure about a particular recording. So, if you are going to get sheet music and play it yourself, then it should be fine as long as you reference where it's from. If you want to use a particular recording, then it'd be owned by whoever produced the particular recording.
![[UNCUT] บอสพอล แผลงฤทธิ์ บอสพระ-นักร้อง ก. โดนแฉยับ! I คนดังนั่งเคลียร์ I 21 ต.ค. 67](http://i.ytimg.com/vi/XKf6HeftoPI/mqdefault.jpg)
Bravo bravo bravo fantastic music super
Oh how I wish this beautiful music was available on CD.. Drigo's and Pugni's music is impossible to find. This music is of Drigo
The pas d'action we know as "La Esmeralda pas de six" was composed by Riccardo Drigo, not Pugni, with choreography by Marius Petipa. It was created for Petipa's 1886 revival of La Esmeralda for the Italian ballerina Viginia Zucchi. The 1886 revival of La Esmeralda was only the 2nd ballet conducted by Maestro Drigo since becoming the St. Peterbsurg Imperial Ballet's Kapellmeister. Drigo's pas de six was his first commission for new music, he was also called upon to refurbish the old score of the late Cesare Pugni. Drigo's work was considered a "test of the pen", which contemporary critics felt he passed admirably.
The music @ 8:44 is a Soviet-era interpolation that serves as a variation for the poet Pierre Gringoire. I am not certain if it was Vakhtang Chabukiani who was responsible this addition, but I suspect that it is an addition for concert performances of the pas de six, since the music of this variation is Pugni's original music for the character Esmeralda's Entrée in act 1!
No. Music is by Pugni. Drigo did the arrangement. Drigo was wont to take credit for others' work, the most glaring mis-appropriation is in the E. Langer piano reduction of the 1895 version of Swan Lake in which it is stated that the male variation to the Black Swan Pas de Deux is by Drigo. Tchaikovsly is the composer but it was an arrangement taken from the original Act 1. Drigo did this again when the Waltz Triste from Esmeralda was published with his name as composer. Here again he did only the arrangement. There are several versions of this ballet and the one filmed by the Mussorski State Theatre purports to be the more authentic version (although much abridged) with Esmeralda dying at the end instead of the more-usual last-minute "reprieve." The original score of Esmeralda needs editing and research. When and if this is ever done, it will be shown that the above info is correct.
@@davidjohnson9796 I don't know where you are getting your information, but the music in this video is CERTAINLY by Riccardo Drigo, and was composed ad hoc for Marius Petipa's 1886 revival of La Esmeralda for the ballerina Virginia Zucchi. I have Pugni's original London score for Esmeralda in a piano reduction dating from the 1840's, and I also have the original 1886 publication of orchestral parts of Drigo's Esmeralda pas de six. Regarding your comment that Drigo was "won't to take credit for other's work", where on Earth did you get that information? If there is published sheet music with incorrect credits, then that is the fault of the publisher and/or arranger, not because Drigo was trying to pass off someone else's work as his own. That is nonsense.
@@mrlopez-pz7pu Excuse me but on the top of page 249 of the Tschaikovsky (sic) Foundation's (1949) publication of the piano score of Swan Lake is the following (Act 3, Black Swan Pas de Deux, male variation): "Interpolation IV - This composition is not by Tschaikovsky. It is attributed to Drigo and is included here because of general usage." Well, that is incorrect, as we both know that this music IS by Tchaikovsky from the original Act I (as is also found in the piano reduction of the original Moscow production and arranged by Kachkine in a 1971 reprint of the 1877 piano score, p. 54; as well as p. 141 of full orchestral score). Let us not debate here those responsible for this gross error, only to stress that the current (i.e. most familiar) version has always been attributed to Drigo, who did nothing during his lifetime to dispel this deception but could easily have done so. He did the same thing with Esmeralda. I am well aware that this music was not in the original ballet and that Drigo did, in fact, compose the ARRANGEMENTS of much of this music, tailor-made to display the violonistic bravura of Leopold Auer, the Hungarian violinist who lived for decades in St. Petersburg. The Valse Lente, which became quite popular, was even published as by Drigo. But he did not write the original version, Pugni did. The ballet I think was called Le Roi Candaule, if my memory serves correctly. You can contact the library of the Bolshoi Theatre Archives and they will name you the ballet(s) of Pugni where this Pas de Six originated (of corse you know Glazanov was responsible for re-orchestration of much of Pugni's original score and the male variation was by Pugni from Esmeralda, Act I). One final point. As a professional musician in my mid 70s, I can say that Esmeralda's music (as is all of Pugni's) in firmly mid-19th century in style. All of Drigo's ballets (that I have heard so far) are definitely late 19th cent and beyond. I have not been able to find even one bar of music from any of his scores that even remotely resemble the style of the Esmeralda Pas de Six. If you know of any, please let me know. I still feel that Drigo used Pugni's original music, re-arranged it, and continued to claim it was his own. This I find reprehensible (of course no one is alive to defend himself, either way). That is my view anyway. Thanks for listening.
Sorry for late reply.....
Your claims concerning Drigo are yet another example of just how much the world of ballet is filled with erroneous information and misconceptions concernig the history and authorship of both the choreography and especially the music of what is referred to as the "classical ballet repertoire".
In the end, you really shouldn't assume that Drigo was scandalously claiming authorship of other's work when in fact it is merely the negligence, mistakes and/or carlessness of music publishers, particularly the Tchaikovsky Foundation and its main man Peter March. I am sure that the foundation's publications of Tchaikovsky's works and those of other famous composers is excellent, but when it comes to publications of the oeuvre of Ludwig Minkus, Cesare Pugni, or Riccardo Drigo, they have released some negligent editions that all to often credit the wrong composer(s). Any publication of ballet music dating from 1949 is bound to have incorrect information.
The Pas de six from La Esmeralda iis CERTAINLY by Drigo, composed in 1886 for Petipa's revival starring Virginia Zucchi. Now, it is entirely possible that Drigo used airs from Pugni's score for Le Roi Candaule or some other ballet as the basis for the pas de six in La Esmeralda (something similar was done by Minkus when he composed an additional pas de deux for "Giselle" in 1884 that was fashioned from airs found in Adam's score for the ballet "Orfa" - this pas de deux was recorded by Algis Zhuraitis and the Bolshoi Theatre Orchestra in 1984). Pugni himself has fallen victim to misconceptions of being a plaigerist because of the many borrowings he was compelled to include in his own ballet scores by various choreographers. On its important to point out that any such borrowings were likely done at the behest of Petipa and/or Drigo himself. It is likely that the Maestro chose the airs himself in an effort to maintain integrity of the score and assure that almost all of the music in La Esmeralda was by Pugni. Whatever the case, Drigo was no plaigerist - he had an extraordinary ability for conjuring up highly melodic musique dansante with infectious syncopation, while unlike his fellow ballet composers he was a master orchestrator. On the other hand, Drigo's assignment in 1886 to compose the pas de six was his sort of "test of the pen" as a ballet composer.
The male variation of the "Esmeralda pas de six" was added in the Soviet era and was never part of the original pas.
Where did you get the idea that Glazunov ever arranged anything by Pugni?!? This never happened.
But, again, the very idea that Drigo was somehow attempting to gain credit for someone else's work is simply not true. If the publisher of the piece in question did not include details of where this or that tune came from in any of these publications that is their fault, not Drigo's, and the publishers of the 19th/early 20th centuries were notorious for such things.
Do you have links to anything that discusses Drigo's alleged borrowings in the "Esmeralda Pas de Six "?
@@mrlopez-pz7pu I know that most of the music is by Drigo but isn't the second to last piece not part of the Pas de six but actually part of the original western european verrsion of the Ballet?
Hermosa música y un ballet muy lindo. Esperemos que el Teatro Colón, estrene la versión completa de este ballet, siguiendo las versiones del Teatro Bolshoi o Stanislavski.
Hola Luis. Como estas? . Una pregunta. Diana & Acteon pertenece a La Esmeralda?
Tank you💞
Beautiful! Thank you for posting!
This is a Riccardo Drigo addition to Pugni's ballet
This music is not composed by Pugni, it is Drigo, they often cooperated. Please, change the title, the erroneous title prevents me from sharing it
Thank you so much! I've been looking for this recording for quite a long time! :)
Please correct the title of this video, as it is by Riccardo Drigo, only the 4th piece is by Cesare Pugni and doesn’t belong in the pas de six. Thank you
Exactly, also Diana and Acteon are of Drigo and Esmeralda variation
Questa musica non è di Cesare Pugni, ma di Riccardo Drigo: aggiunta alla ripresa del balletto "La Esmeralda" di Perrot (del 1844) da parte di Marius Petipa nel 1886.
Hola, gracias for this upload, but your information is inaccurate.
The "La Esmeralda Pas de six" was actually composed by Riccardo Drigo, another great Italian composer, and was choreographed by Marius Petipa. It was created for the legendary Italian Prima Ballerina, Virginia Zucchi in 1886 when Petipa staged his first revival of "La Esmeralda" in Saint Petersburg. Its proper title is actually the "Pas de Jalousie" since its scenario is Esmeralda's heartbreak and jealousy after discovering that her beloved Phoebus is engaged to another woman.
No wonder this is so much better than the Pugni I've heard!
@DarkDancer06 I have a question. In this Bolshoi production th-cam.com/video/j1FNcKqkEx0/w-d-xo.html this music is preceded by another scene and dance which looks almost like part of the pas de six. In the Bolshoi version, Esmeralda first sees this other woman alone and dances happily for her, and only then sees Phoebus when this music starts. But in a couple of the videos of the full ballet, that particular scene was missing, Esmeralda enters and immediately figures out what's going on. Do you know why and where the first scene you see in the Bolshoi video comes from?
@@jewelmarkess I believe it's the Danse de l’hindoustan from Drigo's "Le Talisman" and was added there by Burlaka when he restaged the ballet.
@Adrian Mathers - Thank you very much, you are right. I've just found the ballet here, and this dance is at around 42 minutes in (in that particular performance).
Excuse me, can l use this music for the show?
The music itself is in public domain since it was written in the 19th century, but I am not sure about a particular recording. So, if you are going to get sheet music and play it yourself, then it should be fine as long as you reference where it's from. If you want to use a particular recording, then it'd be owned by whoever produced the particular recording.
Le tempo n'est pas le bon: trop lent.