Blair's production was VERY much based on the old Sergeyev notations of the Petipa/Ivanov original so we get some wonderful details like the black cygnetes :D love it
Love this production. Some great dancing. Interesting is that Drigo never included the storm music in 1895. I wonder when they put it back in. De Valois, N. Sergeyev, Blair?
You're welcome. I finally located a recording that included them (Valery Gergiev conducting the orchestra of the Mariinsky Theatre) however, it gave no explanation other than to identify them as piano pieces. With a little more searching, I found my answer. I've seen three major productions over a period of years that used this music and it's always perplexed me. As you pointed out, the difference in key was an indication that something had been altered.
I too have been trying to figure this out. I've long wished that recording would be done that features all these variations and gives details. The most information I've come across is a vague reference to piano pieces of Tchaikovsky that were orchestrated.
Unless this question has been answered already, I've been puzzled as well and finally found the answer. The music was revised for the 1895 production by Ricardo Drigo. What we hear here are Tchaikovsky piano pieces orchestrated, I'm assuming, by Drigo. They are: Op. 72: No. 11. Valse-bluette (Waltz of the Swans) and Op. 72: No. 15. Un poco di Chopin (pas de deux)
I'm not quite sure... In the 1895 Petipa/Ivanov production Odile wasn't actually a black swan--she was just Rothbart's daughter who resembled Odette--the Black Swan moniker came in the 20th Century. But the Black Swans must represent more than just interesting visual patters and contrast with the white. They come only in Act IV at the sign of danger/trouble...
Beautiful!!!
Blair's production was VERY much based on the old Sergeyev notations of the Petipa/Ivanov original so we get some wonderful details like the black cygnetes :D love it
Love this production. Some great dancing. Interesting is that Drigo never included the storm music in 1895. I wonder when they put it back in. De Valois, N. Sergeyev, Blair?
You're welcome. I finally located a recording that included them (Valery Gergiev conducting the orchestra of the Mariinsky Theatre) however, it gave no explanation other than to identify them as piano pieces. With a little more searching, I found my answer. I've seen three major productions over a period of years that used this music and it's always perplexed me. As you pointed out, the difference in key was an indication that something had been altered.
I too have been trying to figure this out. I've long wished that recording would be done that features all these variations and gives details. The most information I've come across is a vague reference to piano pieces of Tchaikovsky that were orchestrated.
Unless this question has been answered already, I've been puzzled as well and finally found the answer. The music was revised for the 1895 production by Ricardo Drigo. What we hear here are Tchaikovsky piano pieces orchestrated, I'm assuming, by Drigo. They are: Op. 72: No. 11. Valse-bluette (Waltz of the Swans) and Op. 72: No. 15. Un poco di Chopin (pas de deux)
I'm not quite sure... In the 1895 Petipa/Ivanov production Odile wasn't actually a black swan--she was just Rothbart's daughter who resembled Odette--the Black Swan moniker came in the 20th Century.
But the Black Swans must represent more than just interesting visual patters and contrast with the white. They come only in Act IV at the sign of danger/trouble...