The Nutcracker - Revision history

Brett: Text replacement - "proof-read" to "proofread"

2024-08-23T08:55:56Z

Text replacement - "proof-read" to "proofread"

← Older revision		Revision as of 09:55, 23 August 2024
Line 178:		Line 178:

	==Publication==		==Publication==
	Tchaikovsky was occupied from 15/27 July until late August/early September 1892 with ~~proof-reading~~ the score of the ballet, being published by [[Pyotr Jurgenson]], while at the same time preparing the opera ''[[Iolanta]]'' for publication <ref name="note48"/>.		Tchaikovsky was occupied from 15/27 July until late August/early September 1892 with proofreading the score of the ballet, being published by [[Pyotr Jurgenson]], while at the same time preparing the opera ''[[Iolanta]]'' for publication <ref name="note48"/>.

	The full score was published by [[Pyotr Jurgenson]] in 1892. The piano arrangements by [[Sergey Taneyev]] and the author were also brought out in 1892 by the same publisher.		The full score was published by [[Pyotr Jurgenson]] in 1892. The piano arrangements by [[Sergey Taneyev]] and the author were also brought out in 1892 by the same publisher.

Brett: Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

2024-01-01T21:29:35Z

Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

← Older revision		Revision as of 22:29, 1 January 2024
Line 169:		Line 169:

	==Performances==		==Performances==
	The premiere of the ballet, with the opera ''[[Iolanta]]'', took place on 6/18 December 1892 in [[Saint Petersburg]], at the Mariinsky Theatre, conducted by Riccardo Drigo, and produced by the balletmaster [[Lev Ivanov]]. The principal performers were: Stanislava Belinskaya (''Clara''), Sergey Legat (''Nutcracker''), Timofey Stukolkin (''Drosselmeyer''), Feliks Kshesinsky (''Silberhaus''), Augusta Ogoleit (''Frau Silberhaus''), Vasily Stukolkin (''Fritz''), Antonietta Dell'Era (''Sugar-Plum Fairy'') and Pavel Gerdt (''Nutcracker'').		The premiere of the ballet, with the opera ''[[Iolanta]]'', took place on 6/18 December 1892 in [[Saint Petersburg]], at the Mariinsky Theatre, conducted by [[Riccardo Drigo]], and produced by the balletmaster [[Lev Ivanov]]. The principal performers were: Stanislava Belinskaya (''Clara''), Sergey Legat (''Nutcracker''), Timofey Stukolkin (''Drosselmeyer''), Feliks Kshesinsky (''Silberhaus''), Augusta Ogoleit (''Frau Silberhaus''), Vasily Stukolkin (''Fritz''), Antonietta Dell'Era (''Sugar-Plum Fairy'') and Pavel Gerdt (''Nutcracker'').

	According to the composer, the audience was unenthusiastic: "''The Nutcracker'' was staged quite well: it was lavishly produced and everything went off perfectly, but nevertheless, it seemed to me that the public did not like it. They were bored" <ref name="note47"/>.		According to the composer, the audience was unenthusiastic: "''The Nutcracker'' was staged quite well: it was lavishly produced and everything went off perfectly, but nevertheless, it seemed to me that the public did not like it. They were bored" <ref name="note47"/>.

Brett: Text replacement - "A. A. Bakhrushin State Central Theatrical Museum, Moscow" to "{{RUS-Mt}} in Moscow"

2023-08-07T18:22:51Z

Text replacement - "A. A. Bakhrushin State Central Theatrical Museum, Moscow" to "{{RUS-Mt}} in Moscow"

← Older revision		Revision as of 19:22, 7 August 2023
Line 220:		Line 220:
	<ref name="note21">[[Letter 4339]] to [[Modest Tchaikovsky]], 25 February/9 March 1891.</ref>		<ref name="note21">[[Letter 4339]] to [[Modest Tchaikovsky]], 25 February/9 March 1891.</ref>
	<ref name="note22">See [[Letter 4346]] to [[Ivan Vsevolozhsky]], 13/25 March 1892.</ref>		<ref name="note22">See [[Letter 4346]] to [[Ivan Vsevolozhsky]], 13/25 March 1892.</ref>
	<ref name="note23">~~A. A. Bakhrushin State Central Theatrical Museum,~~ [[Moscow]].</ref>		<ref name="note23">{{RUS-Mt}} in [[Moscow]].</ref>
	<ref name="note24">See [[Letter 4343]] to [[Anatoly Tchaikovsky]], 8/20 March 1891.</ref>		<ref name="note24">See [[Letter 4343]] to [[Anatoly Tchaikovsky]], 8/20 March 1891.</ref>
	<ref name="note25">[[Letter 4348]] to [[Vladimir Davydov]], 15/27 March 1891.</ref>		<ref name="note25">[[Letter 4348]] to [[Vladimir Davydov]], 15/27 March 1891.</ref>

Tony: /* Composition */

2023-04-10T12:41:46Z

Composition

← Older revision		Revision as of 13:41, 10 April 2023
Line 156:		Line 156:
	On 25 June/7 July, in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse than "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.		On 25 June/7 July, in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse than "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.

	The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic ~~folk song~~ <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.		The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic folksong <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.

	After finishing the sketches of the ballet, Tchaikovsky left to spend some days in [[Saint Petersburg]], and on his return he began to compose the opera ''[[Iolanta]]'', and also to correct the full score of the opera ''[[Yevgeny Onegin]]''. It was considerably later that Tchaikovsky set about the instrumentation of the ballet, in January 1892, after he had already orchestrated the opera. He began by orchestrating the few numbers which were to be performed as a [[The Nutcracker (suite)\|Suite]] from the ballet. In a letter to [[Pyotr Jurgenson]] of 25 January/6 February 1892 from [[Saint Petersburg]], the composer reported: "I want to catch up with orchestrating some numbers from the new ballet, which I've promised will be played at a local Musical Society concert on 29 February" {{OS}} <ref name="note42"/>.		After finishing the sketches of the ballet, Tchaikovsky left to spend some days in [[Saint Petersburg]], and on his return he began to compose the opera ''[[Iolanta]]'', and also to correct the full score of the opera ''[[Yevgeny Onegin]]''. It was considerably later that Tchaikovsky set about the instrumentation of the ballet, in January 1892, after he had already orchestrated the opera. He began by orchestrating the few numbers which were to be performed as a [[The Nutcracker (suite)\|Suite]] from the ballet. In a letter to [[Pyotr Jurgenson]] of 25 January/6 February 1892 from [[Saint Petersburg]], the composer reported: "I want to catch up with orchestrating some numbers from the new ballet, which I've promised will be played at a local Musical Society concert on 29 February" {{OS}} <ref name="note42"/>.

Tony: /* Notes and References */ Text replacement - "Fréres" to "Frères"

2023-02-15T20:01:12Z

Notes and References: Text replacement - "Fréres" to "Frères"

Tony: /* Notes and References */ Separated "Nutcracker" and "to"

2023-02-15T19:51:07Z

Notes and References: Separated "Nutcracker" and "to"

← Older revision		Revision as of 20:51, 15 February 2023
Line 198:		Line 198:
	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">In the manuscript score and autograph sketches the title of the ballet is given as ''The Fir-Tree'' (Ёлка) and ''The Christmas Tree'' (Роэжественская ëлка).</ref>		<ref name="note1">In the manuscript score and autograph sketches, the title of the ballet is given as ''The Fir-Tree'' (Ёлка) and ''The Christmas Tree'' (Роэжественская ëлка).</ref>
	<ref name="note2">The title in the sketches is listed variously as ''The Clown'' (Паяц), ''Clown's Dance'' (Танец паяцев), and 'Russian Trepak'' (Руский трепак).</ref>		<ref name="note2">The title in the sketches is listed variously as ''The Clown'' (Паяц), ''Clown's Dance'' (Танец паяцев), and ''Russian Trepak'' (Руский трепак).</ref>
	<ref name="note3">According to the sketches this number was originally to have been called ''Dances with Reed Pipes'' (Танец со свирелами) or ''Fruit Drops'' (Леденцы).</ref>		<ref name="note3">According to the sketches, this number was originally to have been called ''Dances with Reed Pipes'' (Танец со свирелами) or ''Fruit Drops'' (Леденцы).</ref>
	<ref name="note4">Entitled ''Gingerbread'' (Пряник) in the composer's sketches.</ref>		<ref name="note4">Entitled ''Gingerbread'' (Пряник) in the composer's sketches.</ref>
	<ref name="note5">Styled ''Italian Dance'' (Итальянский танец) or ''Tarantella'' in the sketches.</ref>		<ref name="note5">Styled ''Italian Dance'' (Итальянский танец) or ''Tarantella'' in the sketches.</ref>
	<ref name="note6">In a letter of 9/21 September 1894, [[Modest Tchaikovsky]] told [[Herman Laroche]] that "I wrote out the story of ''The Nutcracker''to words by [[Vsevolozhsky]]" — [[Klin]] House-Museum Archive. See also [[Letter 4050]] to [[Désirée Artôt-Padilla]], 25 February/9 March 1890.</ref>		<ref name="note6">In a letter of 9/21 September 1894, [[Modest Tchaikovsky]] told [[Herman Laroche]] that "I wrote out the story of ''The Nutcracker'' to words by [[Vsevolozhsky]]" — [[Klin]] House-Museum Archive. See also [[Letter 4050]] to [[Désirée Artôt-Padilla]], 25 February/9 March 1890.</ref>
	<ref name="note7">In [[Letter 4634]] to [[Pyotr Jurgenson]], 6/18 March 1892, Tchaikovsky had suggested the wording "Story from the fairy-tale by [[Hoffmann]] and [[Dumas]] senior" for the title page of the ballet. However, [[Pyotr Jurgenson]] replied on 13/25 March 1892 that this could create copyright difficulties with the heirs of the estate of [[Alexandre Dumas]]. In [[Letter 4643]] to [[Jurgenson]], 14/26 March 1892, the composer concurred: "Certainly, don't mention Dumas".</ref>		<ref name="note7">In [[Letter 4634]] to [[Pyotr Jurgenson]], 6/18 March 1892, Tchaikovsky had suggested the wording "Story from the fairy-tale by [[Hoffmann]] and [[Dumas]] senior" for the title page of the ballet. However, [[Pyotr Jurgenson]] replied on 13/25 March 1892 that this could create copyright difficulties with the heirs of the estate of [[Alexandre Dumas]]. In [[Letter 4643]] to [[Jurgenson]], 14/26 March 1892, the composer concurred: "Certainly, don't mention Dumas".</ref>
	<ref name="note8">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 118.</ref>		<ref name="note8">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 118.</ref>

Tony: /* Performances */ Capital S for "Suite" (for consistency)

2023-02-15T19:40:08Z

Performances: Capital S for "Suite" (for consistency)

← Older revision		Revision as of 20:40, 15 February 2023
Line 171:		Line 171:
	The premiere of the ballet, with the opera ''[[Iolanta]]'', took place on 6/18 December 1892 in [[Saint Petersburg]], at the Mariinsky Theatre, conducted by Riccardo Drigo, and produced by the balletmaster [[Lev Ivanov]]. The principal performers were: Stanislava Belinskaya (''Clara''), Sergey Legat (''Nutcracker''), Timofey Stukolkin (''Drosselmeyer''), Feliks Kshesinsky (''Silberhaus''), Augusta Ogoleit (''Frau Silberhaus''), Vasily Stukolkin (''Fritz''), Antonietta Dell'Era (''Sugar-Plum Fairy'') and Pavel Gerdt (''Nutcracker'').		The premiere of the ballet, with the opera ''[[Iolanta]]'', took place on 6/18 December 1892 in [[Saint Petersburg]], at the Mariinsky Theatre, conducted by Riccardo Drigo, and produced by the balletmaster [[Lev Ivanov]]. The principal performers were: Stanislava Belinskaya (''Clara''), Sergey Legat (''Nutcracker''), Timofey Stukolkin (''Drosselmeyer''), Feliks Kshesinsky (''Silberhaus''), Augusta Ogoleit (''Frau Silberhaus''), Vasily Stukolkin (''Fritz''), Antonietta Dell'Era (''Sugar-Plum Fairy'') and Pavel Gerdt (''Nutcracker'').

	According to the composer the audience was unenthusiastic: "''The Nutcracker'' was staged quite well: it was lavishly produced and everything went off perfectly, but nevertheless, it seemed to me that the public did not like it. They were bored" <ref name="note47"/>		According to the composer, the audience was unenthusiastic: "''The Nutcracker'' was staged quite well: it was lavishly produced and everything went off perfectly, but nevertheless, it seemed to me that the public did not like it. They were bored" <ref name="note47"/>.

	In [[Moscow]] the first production of ''The Nutcracker'' did not take place until 21 May 1919, in a production at the Bolshoi Theatre by the balletmaster Aleksandr Gorsky, conducted by Nikolay Fyodorov. The principal soloists were Valentina Kudryavtseva (Clara), Yefim Yefimov (''Nutcracker'') and Aleksey Bulgakov (''Drosselmeyer'').		In [[Moscow]] the first production of ''The Nutcracker'' did not take place until 21 May 1919, in a production at the Bolshoi Theatre by the balletmaster Aleksandr Gorsky, conducted by Nikolay Fyodorov. The principal soloists were Valentina Kudryavtseva (Clara), Yefim Yefimov (''Nutcracker'') and Aleksey Bulgakov (''Drosselmeyer'').
Line 185:		Line 185:

	==Autographs==		==Autographs==
	Tchaikovsky's manuscript score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2\|shchelkunchik-balet-feeriya-v-2-h-deystviyah-3-h-kartinah-2017-08-17\|(ф. 88, No. 51)}}, except for the numbers used in the [[The Nutcracker (suite)\|~~suite~~]], which were extracted from the score and replaced by manuscript copies <ref name="note49"/>. The same archive holds Tchaikovsky's arrangement for solo piano {{TOW2\|shchelkunchik-balet-feeriya-v-2-h-deystviyah-3-h-kartinah\|(ф. 88, No. 52)}}.		Tchaikovsky's manuscript score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2\|shchelkunchik-balet-feeriya-v-2-h-deystviyah-3-h-kartinah-2017-08-17\|(ф. 88, No. 51)}}, except for the numbers used in the [[The Nutcracker (suite)\|Suite]], which were extracted from the score and replaced by manuscript copies <ref name="note49"/>. The same archive holds Tchaikovsky's arrangement for solo piano {{TOW2\|shchelkunchik-balet-feeriya-v-2-h-deystviyah-3-h-kartinah\|(ф. 88, No. 52)}}.

	==Recordings==		==Recordings==

Tony: /* Composition */ Text replacement - "that" to "than" due to context

2023-02-15T19:30:40Z

Composition: Text replacement - "that" to "than" due to context

← Older revision		Revision as of 20:30, 15 February 2023
Line 154:		Line 154:
	On 17/29 June, Tchaikovsky wrote to his brother [[Modest]]: "It is also good for me here, but work isn't going as quickly now as at first. There are unexpected distractions" <ref name="note37"/>.		On 17/29 June, Tchaikovsky wrote to his brother [[Modest]]: "It is also good for me here, but work isn't going as quickly now as at first. There are unexpected distractions" <ref name="note37"/>.

	On 25 June/7 July, in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse ~~that~~ "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.		On 25 June/7 July, in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse than "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.

	The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic folk song <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.		The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic folk song <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.

Tony: /* Composition */

2023-02-15T13:56:18Z

Composition

← Older revision		Revision as of 14:56, 15 February 2023
Line 136:		Line 136:
	This concluded Tchaikovsky's work on the ballet before his departure abroad on 6/18 March. On the day of his departure from [[Saint Petersburg]], the composer discussed the ballet with [[Marius Petipa]] <ref name="note22"/>. It seems that at this meeting the outline scenario for Act II was finalised. In any case, the balletmaster's plan of this act was sent to Tchaikovsky only while he was abroad. On the copy of the manuscript of the plan is [[Petipa]]'s note: "This was sent on 9 March 1891 {{OS}} to Mr. P. Tchaikovsky in [[Paris]]" <ref name="note23"/>.		This concluded Tchaikovsky's work on the ballet before his departure abroad on 6/18 March. On the day of his departure from [[Saint Petersburg]], the composer discussed the ballet with [[Marius Petipa]] <ref name="note22"/>. It seems that at this meeting the outline scenario for Act II was finalised. In any case, the balletmaster's plan of this act was sent to Tchaikovsky only while he was abroad. On the copy of the manuscript of the plan is [[Petipa]]'s note: "This was sent on 9 March 1891 {{OS}} to Mr. P. Tchaikovsky in [[Paris]]" <ref name="note23"/>.

	Work on the ballet continued during his journey: "I will try to work on the boat. Even on the way here I composed a little of the ballet", Tchaikovsky wrote from [[Berlin]] on 8/20 March 1891 <ref name="note24"/>. It has not been established whether Tchaikovsky composed anything on his way to [[Berlin]]. In [[Paris]], where Tchaikovsky arrived on 10/22 March, work on the ballet did not come easily. On 15/27 March, he wrote to [[Vladimir Davydov]]: "I shall leave [[Paris]] on 6th April/25 March, I still don't know where to, in order to work on the ballet" <ref name="note25"/>, and on 30 March/11 April he reported to [[Praskovya Tchaikovskaya]] from [[Rouen]]: "I came here yesterday for a few days' rest and solitude from [[Paris\|Parisian]] life" <ref name="note26"/>. Evidently, in [[Rouen]] Tchaikovsky resumed work on 31 March/12 April. This date, together with the note " [[Rouen]]" was made by the composer on the inside front cover of his notebook, which on its first pages contains sketches for the opening of the second scene of Act I <ref name="note27"/>. The date "[[Rouen]], 12 April" was also written by Tchaikovsky on the choreographer's manuscript plan of Act II.		Work on the ballet continued during his journey: "I will try to work on the boat. Even on the way here I composed a little of the ballet", Tchaikovsky wrote from [[Berlin]] on 8/20 March 1891 <ref name="note24"/>. It has not been established whether Tchaikovsky composed anything on his way to [[Berlin]]. In [[Paris]], where Tchaikovsky arrived on 10/22 March, work on the ballet did not come easily. On 15/27 March, he wrote to [[Vladimir Davydov]]: "I shall leave [[Paris]] on 6th April/25 March, I still don't know where to, in order to work on the ballet" <ref name="note25"/>, and on 30 March/11 April he reported to [[Praskovya Tchaikovskaya]] from [[Rouen]]: "I came here yesterday for a few days' rest and solitude from [[Paris\|Parisian]] life" <ref name="note26"/>. Evidently, in [[Rouen]] Tchaikovsky resumed work on 31 March/12 April. This date, together with the note "[[Rouen]]" was made by the composer on the inside front cover of his notebook, which on its first pages contains sketches for the opening of the second scene of Act I <ref name="note27"/>. The date "[[Rouen]], 12 April" was also written by Tchaikovsky on the choreographer's manuscript plan of Act II.

	Tchaikovsky stayed in [[Rouen]] until 5/17 April. During this time he wrote the opening of the second scene, and the numbers he had previously omitted from the first scene of Act 1: ''Petit galop des enfants'', ''Entrée des parents'', "''Bon voyage, M-r Dumolet''"; then there followed sketches for the ''Grossvater'' dance and some additions to the dance of the ''Incroyables'' <ref name="note28"/>.		Tchaikovsky stayed in [[Rouen]] until 5/17 April. During this time he wrote the opening of the second scene, and the numbers he had previously omitted from the first scene of Act 1: ''Petit galop des enfants'', ''Entrée des parents'', "''Bon voyage, M-r Dumolet''"; then there followed sketches for the ''Grossvater'' dance and some additions to the dance of the ''Incroyables'' <ref name="note28"/>.
Line 144:		Line 144:
	The next day, in a deep depression caused by the unexpected news of his sister [[Aleksandra Davydova\|Aleksandra]]'s death, he wrote: "Even more than yesterday and the day before, I feel absolutely incapable of depicting ''Confitüremburg'' in music" <ref name="note31"/>.		The next day, in a deep depression caused by the unexpected news of his sister [[Aleksandra Davydova\|Aleksandra]]'s death, he wrote: "Even more than yesterday and the day before, I feel absolutely incapable of depicting ''Confitüremburg'' in music" <ref name="note31"/>.

	On 20 April/2 May the composer wrote from [[New York]] to [[Eduard Nápravník]]: "I cannot start working again before June at the earliest... otherwise whatever I tried to write would turn out wretchedly" <ref name="note32"/>.		On 20 April/2 May, the composer wrote from [[New York]] to [[Eduard Nápravník]]: "I cannot start working again before June at the earliest... otherwise whatever I tried to write would turn out wretchedly" <ref name="note32"/>.

	[[Ivan Vsevolozhsky]] agreed to postpone the ballet and the opera, and further work on the ballet was only resumed after Tchaikovsky's return from America, in [[Maydanovo]] at the end of May 1891. "On 9th May {{OS}} I floated away from America... on 20th May {{OS}} I arrived in [[Petersburg]], and this morning here. Now I have started to work" <ref name="note33"/>.		[[Ivan Vsevolozhsky]] agreed to postpone the ballet and the opera, and further work on the ballet was only resumed after Tchaikovsky's return from America, in [[Maydanovo]] at the end of May 1891. "On 9th May {{OS}} I floated away from America... on 20th May {{OS}} I arrived in [[Petersburg]], and this morning here. Now I have started to work" <ref name="note33"/>.
Line 154:		Line 154:
	On 17/29 June, Tchaikovsky wrote to his brother [[Modest]]: "It is also good for me here, but work isn't going as quickly now as at first. There are unexpected distractions" <ref name="note37"/>.		On 17/29 June, Tchaikovsky wrote to his brother [[Modest]]: "It is also good for me here, but work isn't going as quickly now as at first. There are unexpected distractions" <ref name="note37"/>.

	On 25 June/7 July in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse that "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.		On 25 June/7 July, in a letter to [[Vladimir Davydov]], Tchaikovsky wrote: "Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ''ballet'' is infinitely worse that "''[[The Sleeping Beauty]]''"—of this I'm sure. Let's see how the opera will turn out" <ref name="note38"/>. On the same day, the composer told [[Modest Tchaikovsky]] and [[Aleksandra Hubert]] that he had finished the sketches, complaining that he was greatly tired, and "it seems the old man is starting to take his last breaths" <ref name="note39"/>. In a letter to [[Sergey Taneyev]] of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet "with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough" <ref name="note40"/>.

	The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic folk song <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.		The sequence of sketches in Act II indicates that the composer adhered to [[Marius Petipa]]'s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for "Dances", under the title ''Le chocolat'', Tchaikovsky noted: "Spanish dance, see 1st copybook"; the same applied for the dance ''Tea'' — "See 1st copybook" (the Chinese dance was used). Near to sketches for the dance ''Polichinella'', Tchaikovsky wrote: "No. 3—''Giroflé-Giroflá'', popular French song", i.e. here he employed an authentic folk song <ref name="note41"/>. In the ''Pas de deux'', Tchaikovsky omitted the male variation, and on a blank page he wrote: "Transfer from the 1st act (formerly the tarantella) but ½ tone lower", and wrote out the first two bars.

Tony: /* Composition */ Added "of" for ease of reading

2023-02-15T12:42:46Z

Composition: Added "of" for ease of reading

← Older revision		Revision as of 13:42, 15 February 2023
Line 120:		Line 120:
	It is not possible to establish the exact date on which work on the sketches was begun. By 12/24 February the composer had not begun work <ref name="note14"/>, but by 18 February/2 March some scenes had been composed—No. 1 (the decoration of the tree) and No. 2 (march—entrance of the children), after which came a number of characteristic dances: Chinese and Spanish dances, a tarantella, an English dance ("Gigue") <ref name="note51"/>, and the start of a Trepak.		It is not possible to establish the exact date on which work on the sketches was begun. By 12/24 February the composer had not begun work <ref name="note14"/>, but by 18 February/2 March some scenes had been composed—No. 1 (the decoration of the tree) and No. 2 (march—entrance of the children), after which came a number of characteristic dances: Chinese and Spanish dances, a tarantella, an English dance ("Gigue") <ref name="note51"/>, and the start of a Trepak.

	On 18 February/2 March, Tchaikovsky went again to [[Saint Petersburg]]. Before his departure he received a letter written by [[Ivan Vsevolozhsky]], dated 15/27 February: "I hope to see you in [[Saint Petersburg]] before your departure for America. I want to pass on to you some ideas for the ballet, which do not fit in with [[Petipa]]'s scheme. He is what the French call ''vieu jeu'' <ref name="note15"/>. All the solos and variations he devised for the first act, would be of little interest to the public. You need now only to compose great dances, and not for dancers, and all those variations... would only irritate the majority of the audience" <ref name="note16"/>.		On 18 February/2 March, Tchaikovsky went again to [[Saint Petersburg]]. Before his departure he received a letter written by [[Ivan Vsevolozhsky]], dated 15/27 February: "I hope to see you in [[Saint Petersburg]] before your departure for America. I want to pass on to you some ideas for the ballet, which do not fit in with [[Petipa]]'s scheme. He is what the French call ''vieu jeu'' <ref name="note15"/>. All the solos and variations he devised for the first act would be of little interest to the public. You need now only to compose great dances, and not for dancers, and all those variations... would only irritate the majority of the audience" <ref name="note16"/>.

	Returning to [[Frolovskoye]] on 22 February/6 March, Tchaikovsky made notes in his sketchbook after the start of the Trepak: "Not finished, because during a visit to [[Saint Petersburg]] I learned that [[Vsevolozhsky]] did not want dances here and, ''probably'', they will be carried over to the 2nd act".		Returning to [[Frolovskoye]] on 22 February/6 March, Tchaikovsky made notes in his sketchbook after the start of the Trepak: "Not finished, because during a visit to [[Saint Petersburg]] I learned that [[Vsevolozhsky]] did not want dances here and, ''probably'', they will be carried over to the 2nd act".

	The arrangement of the sketches allows us to infer the order in which the music was written—the composer adhered to the essence [[Marius Petipa]]'s plan, indicating any deviations from it in his notebook. After meeting with [[Vsevolozhsky]], Tchaikovsky crossed out the names of the characteristic dances in [[Petipa]]'s balletmaster plan, and instead wrote: "Galop pour les enfants et entrée des parents en incroyables... 16 mesures ''rococo'' (tempo menuet). Bon voyage, M. Dumolet", the latter being the title of a humorous 18th century French song, subsequently used in the music for this number. But the composer did not write the music for this scene straight away, noting down only a few sketches eventually used for the gallop, beside the note: "This is the start of the coda, composed during a stroll in Piter [Petersburg]".		The arrangement of the sketches allows us to infer the order in which the music was written—the composer adhered to the essence of [[Marius Petipa]]'s plan, indicating any deviations from it in his notebook. After meeting with [[Vsevolozhsky]], Tchaikovsky crossed out the names of the characteristic dances in [[Petipa]]'s balletmaster plan, and instead wrote: "Galop pour les enfants et entrée des parents en incroyables... 16 mesures ''rococo'' (tempo menuet). Bon voyage, M. Dumolet", the latter being the title of a humorous 18th-century French song, subsequently used in the music for this number. But the composer did not write the music for this scene straight away, noting down only a few sketches eventually used for the gallop, beside the note: "This is the start of the coda, composed during a stroll in Piter [Petersburg]".

	Next he continued with [[Petipa]]'s plan and on 22 February/6 March set about the music for Drosselmeyer's entrance. The author's sketch book includes two dates—23 February/7 March and 27 February/11 March—which allows us to establish that on these days he finished the scene with Drosselmeyer, and wrote the scene with the children and the Nutcracker (No. 5), except for the ''Grossvater''<ref name="note17"/>. Omitting the ''Grossvater'', Tchaikovsky wrote in his sketch book: "Talk to [[Petipa]] regarding the Grossvater, how many times it should be repeated, and whether it should be varied, and have [[Jurgenson]] obtain the [musical] notes". There is a second note, apparently made later: "''Grossvater'' — see the end of the copybook after everything else".		Next he continued with [[Petipa]]'s plan and on 22 February/6 March set about the music for Drosselmeyer's entrance. The author's sketch book includes two dates—23 February/7 March and 27 February/11 March—which allows us to establish that on these days he finished the scene with Drosselmeyer, and wrote the scene with the children and the Nutcracker (No. 5), except for the ''Grossvater''<ref name="note17"/>. Omitting the ''Grossvater'', Tchaikovsky wrote in his sketch book: "Talk to [[Petipa]] regarding the Grossvater, how many times it should be repeated, and whether it should be varied, and have [[Jurgenson]] obtain the [musical] notes". There is a second note, apparently made later: "''Grossvater'' — see the end of the copybook after everything else".

← Older revision		Revision as of 21:01, 15 February 2023
Line 238:		Line 238:
	<ref name="note39">[[Letter 4425]] to [[Modest Tchaikovsky]], and [[Letter 4419]] to [[Aleksandra Hubert]], both 25 June/7 July 1891.</ref>		<ref name="note39">[[Letter 4425]] to [[Modest Tchaikovsky]], and [[Letter 4419]] to [[Aleksandra Hubert]], both 25 June/7 July 1891.</ref>
	<ref name="note40">[[Letter 4429]] to [[Sergey Taneyev]], 27 June/9 July 1891.</ref>		<ref name="note40">[[Letter 4429]] to [[Sergey Taneyev]], 27 June/9 July 1891.</ref>
	<ref name="note41">See "''Chants et chansons populaires de la France''. Notices par Dumersan. Accompagnement de piano par H. Colet. Paris, Gamier ~~Fréres~~, libraire-édituer" in the composer's personal library in the [[Klin]] House-Museum. On the cover of volume III Tchaikovsky noted: "for reworking", listing the following songs from the collection: "Que t'as de belles filles"; "Il était un berger" (crossed out); and "Giroflé-Giroflá".</ref>		<ref name="note41">See "''Chants et chansons populaires de la France''. Notices par Dumersan. Accompagnement de piano par H. Colet. Paris, Gamier Frères, libraire-édituer" in the composer's personal library in the [[Klin]] House-Museum. On the cover of volume III Tchaikovsky noted: "for reworking", listing the following songs from the collection: "Que t'as de belles filles"; "Il était un berger" (crossed out); and "Giroflé-Giroflá".</ref>
	<ref name="note42">[[Letter 4604]] to [[Pyotr Jurgenson]], 25 January/6 February 1892.</ref>		<ref name="note42">[[Letter 4604]] to [[Pyotr Jurgenson]], 25 January/6 February 1892.</ref>
	<ref name="note43">[[Letter 4606]] to [[Pyotr Jurgenson]], 28 January/9 February 1892.</ref>		<ref name="note43">[[Letter 4606]] to [[Pyotr Jurgenson]], 28 January/9 February 1892.</ref>
Line 246:		Line 246:
	<ref name="note47">From the interview ''[[With P. I. Tchaikovsky]]'', published in the newspaper ''Odessa Leaflet'' (Одесский лиситок), 13 January 1893 {{OS}}.</ref>		<ref name="note47">From the interview ''[[With P. I. Tchaikovsky]]'', published in the newspaper ''Odessa Leaflet'' (Одесский лиситок), 13 January 1893 {{OS}}.</ref>
	<ref name="note48">See letters [[Letter 4725\|4725]], [[Letter 4745\|4745]] and [[Letter 4757\|4757]] to [[Pyotr Jurgenson]], 13/25 July, 2/14 August and 25 August/6 September 1892.</ref>		<ref name="note48">See letters [[Letter 4725\|4725]], [[Letter 4745\|4745]] and [[Letter 4757\|4757]] to [[Pyotr Jurgenson]], 13/25 July, 2/14 August and 25 August/6 September 1892.</ref>
	<ref name="note49">The score of the [[The Nutcracker (suite)\|~~suite~~]], made up of pages extracted from the full scores, is preserved in the [[Klin]] House-Museum Archive (a{{sup\|1}}, No. 46).</ref>		<ref name="note49">The score of the [[The Nutcracker (suite)\|Suite]], made up of pages extracted from the full scores, is preserved in the [[Klin]] House-Museum Archive (a{{sup\|1}}, No. 46).</ref>
	<ref name="note50">See http://archiv.narodni-divadlo.cz/default.aspx?jz=cs&dk=Inscenace.aspx&ic=984&sz=0&fo=000&ju=0&abc=0&pn=256affcc-f203-2000-85ff-c11223344aaa</ref>		<ref name="note50">See http://archiv.narodni-divadlo.cz/default.aspx?jz=cs&dk=Inscenace.aspx&ic=984&sz=0&fo=000&ju=0&abc=0&pn=256affcc-f203-2000-85ff-c11223344aaa</ref>
	<ref name="note51">An audio reconstruction of Tchaikovsky's sketches for the English dance is included in our ''[[First Thoughts]]'' series.</ref>		<ref name="note51">An audio reconstruction of Tchaikovsky's sketches for the English dance is included in our ''[[First Thoughts]]'' series.</ref>
	</references>		</references>
	[[Category:Ballets]]		[[Category:Ballets]]