Christmas Concerti

[dgljr5121973]

Would it be possible to get on the IMSLP full scores of Torelli's Op. 8 No. 6 Concerto (Christmas Concerto), Vivaldi's Concerto RV 270 (Concerto per Riposo a la sanctissima Natale), Sonata in E-Flat RV 130 ("a santo sepolcro"), and Locatelli's Op. 1 no. 8 (Christmas Concerto)?

Thank you,

--David Glenn Lebut Jr.

[dgljr5121973]

Also, could someone provide for IMSLP a copy of the complete score of Swan Lake (1895 Petipa version) and of Movement 19a of Swan Lake, please?

[Carolus]

A printed full score for the 1895 Drigo-Petipa version does not exist, though there are some manuscript scores lurking. The Jurgenson full score issued in 1895 was of the original (1877) version, with the Danse russe added at the end. Jurgenson also issued (separately) Drigo's orchestrations of the three Op.72 piano pieces which were interpolated into the ballet. As for printed scores, Drigo-Petipa version exists in piano reduction only, as arranged by Eduard Langer. Since ballets routinely alter the Drigo-Petipa version itself, often adding in movements from the original which were cut, most simply use the original version and make the needed amendments according to the piano score. From what I can tell, Drigo did not really change the orchestration but simply made cuts and re-arranged the order of things, with maybe a few bars of connecting material here and there.

From what I've read, the 1877 version is hardly ever danced to (though it is the one generally recorded and the one for which scores and parts are available). The 1895 version, which is really an arrangement made after the composer's death, is the one which is actually danced to - though modified in one way or another when performed. The main reason for this strange situation has to do with the poor quality of the original choreography versus the superb quality of Petitpa's.

[dgljr5121973]

Still, supposedly, the movement 19a was also published in the Jurgenson version as an appendix as well, but was not included in the uploads (only movement 20a was) in IMSLP. Even at what you said about the Tchaikovsky-Drigo-Petipa version (Modest Tchaikovsky had a hand in it as well), would it be possible to upload a copy of the manuscripts for that version to IMSLP as well, especially since (from what I have read and heard) not only were there additions to the score (namely the three piano pieces orchestrated), but Drigo also abridged some movements and other he left out completely? Here is a run-down of what I am talking about:

There are major differences in the score of Swan Lake when one compares a recording or manuscript of the original, un-altered composition of 1877, with the score as performed in live performance. Although he is rarely credited for his work, it is Riccardo Drigo's revision of Tchaikovsky's score as done for Petipa and Ivanov's 1895 revival that almost every ballet company utilizes to one degree or another when performing Swan Lake. Most ballet companies opt to fashion their own respective version of Tchaikovsky's score. Nevertheless Drigo's revision of the score is often used as the foundation. It is significant to note that Tchaikovsky's brother Modest approved of Drigo revising the music, and Tchaikovsky himself approved of Drigo's additions.
[edit]Structure
Below is a list of the most striking changes made by Drigo to the score of Swan Lake, many of which have remained the standard of ballet companies today:
NOTE Some numbering of the Acts and Scenes were changed for the 1895 revival - Act II became Act I-scene 2, thus changing Act III to Act II, and Act IV to Act III.
Act I (or Act I-Scene 1)
the Andante sostenuto (No. 4-2 in the original score) of the Pas de Trois (No. 4) was deleted.
the first variation of the Pas de Trois (No. 4-3 in the original score) was changed from Allegro semplice to Allegro moderato. The eight bars of music preceding the final eight bars of the variation were deleted. Two bars of music before the final two bars were deleted as well. Percussion (including fortissimo cymbals, snare drum and triangle) was removed from the final bars.
the second variation of the Pas de Trois (No. 4-4) was shortened (repeated passages removed). As well, the final eight bars of music were changed from poco meno to meno.
the third variation of the Pas de Trois (No. 4-5) was also shortened (repeated passages removed), and changed from Allegro to Allegretto.
the Waltz (No. 2) and the Pas de Trois (No. 4) were reversed. The Waltz was retitled Valse Champêtre (Pastoral Waltz). It is also known as the Valse Villageoise. Various repeated passages were removed from the waltz.
the Pas de Deux for Two Merry Makers (No. 5) was transferred to Act III (known today as the Black Swan Pas de deux) and extensively revised.
Act II (or Act I-Scene 2)
the dances of the Grand Pas des Cygnes (a.k.a. the Dances of the Swans) were put into a new order, with Tchaikovsky's reprise of the Waltz of the Swans (Tempo di valse-No. 13-3) being deleted. The new order was - the Waltz of the Swans (Tempo di valse-No. 13-1), the Grand Adagio AKA the Love Duet (Pas d'action-No. 13-5), the Dance of the Little Swans (Allegro moderato-No. 13-4), the General Dance (Tempo di valse-No. 13-6), Variation of Odette (Moderato assai-Molto più mosso No. 13-2), and the Grand Coda (Coda-Allegro vivo No. 13-7). This order of the dances is retained by almost every ballet company today.
the ending of the Grand Adagio or Love Duet (Pas d'action-No. 13-5) was modified by Drigo. Originally this number ended with an Allegro movement in Eb major. This ending was omitted and in its place Drigo added an epilogue at bar 95 which was composed by himself. The new ending corresponded with the motif of the rest of the number, while also reverting back to the opening key. This is the version that is used by nearly every ballet company today.
the Coda (No. 13-7) (retitled Coda Générale) was lengthened by having the number repeat before the finale.
Act III (or Act II)
the Ballabile: Dances for the Corps de ballet and the Dwarfs (No. 16) was deleted (this music was later used by the Balletmaster Konstantin Sergeyev in his 1951 version for the Kirov/Mariinsky Ballet as a dance for a Court Jester).
the Waltz of the Prospective Fiancées (Scène No. 17) was edited so that, instead of a separate entrance for each prospective bride, one single entrance would suffice.
the Grand Pas de Six (no.19) was deleted (many choreographers have re-worked this number in various stagings, most notably Sir Kenneth McMillian for his production for the Royal Ballet).
the Russian Dance Tchaikovsky composed for Pelagia Karpakova (catalogued as appendix no. 2 in the original score) was deleted (this number is often used in various modern stagings of the ballet, and has even been used as an Arabian Dance, as in the Pacific Northwest Ballet's production staged by Kent Stowell).
the Pas de Deux that was composed by Léon Minkus for the Ballerina Anna Sobeshchanskaya, which was partially re-orchestrated/adapted by Tchaikovsky (catalogued as appendix no. 1 in the original score), was deleted (today this Pas is known as the Tchaikovsky Pas de Deux in George Balanchine's celebrated version).
the Grand Pas de Deux (AKA The Black Swan Pas de Deux) was fashioned from the music of the Pas de Deux for Two Merry Makers (No. 5 in the original score). The Adagio (Andante, No. 5-2) was modified by Drigo - this number originally ended with an Allegro movement in A major for solo violin, which was cut (in modern times this passage of music is used in a re-scored version as a variation for Prince Siegfried). As he had done with the Grand Adagio of the second scene, Drigo composed a new ending for the Adagio, inserted at bar 75 (this version of the Adagio of The Black Swan Pas de Deux is still used by nearly every ballet company today). It is not known for certain whether or not the Tempo di valse (No. 5-3) was danced in the 1895 revival.
the now familiar Variation of Odile of The Black Swan Pas de Deux was orchestrated by Drigo from Tchaikovsky's Opus 72 for Piano - No. 12 L'Espiègle, which is still danced today by nearly every Ballerina as Odile.
Act IV (or Act III)
The Entr'acte (No. 25) was modified so that the music could move to a new key and lead into the following number.
The Scène (No. 26) and the Dance of the Little Swans (No. 27) were deleted. Here the second addition was inserted - another piece from Tchaikovsky's Opus 72 for Piano - No. 11 Valse Bluette , which was used as a Waltz for White and Black Swans (this number is not performed by many companies, but is still retained by the Kirov/Mariinsky Ballet and the Royal Ballet).
At bar 26 of No. 28 the third addition from Tchaikovsky's Opus 72 for Piano was inserted - No. 15 Un poco di Chopin, orchestrated by Drigo as a Pas d'action for Prince Siegfried and Odette in which the lovers reconcile. After this number the music continued at bar 27 of No. 28. The so-called "storm music" was deleted, and the music resumed. The final passage of music which contained tremendous dynamics from the brass section was softened.
[edit]Drigo's edition of the score

NOTE - the numbers of each of the dances/scenes correspond with Tchaikovsky's original score. The titles of each of the dances/scenes come from the published libretto and the program of the premiere of the 1895 revival, most being different than the titles of the original score. Although this list indicates the most prominent changes to each individual dance/scene, it does not list such changes as deletions of bars of music, etc.
Act I (scene 1) (originally Act I)
Introduction
No. 1 Scène première
No. 4 Pas de trois
no.4-1 Entrée
no.4-2 Andante sostenuto - DELETED
no.4-3 Variation 1 (changed from Allegro Semplice to Allegro Moderato)
no.4-4 Variation 2
no.4-5 Variation 3
no.4-6 Coda
No. 3 Scène
No. 2 Valse champêtre
No. 6 Scène d'action
No. 7 (pt.1) Introduction to the Danse au cliquetis de verres (Sujet)
No. 8 (pt.2) Danse au cliquetis de verres
No. 9 Départ des chasseurs
Act I (scene 2) (originally Act II)
No. 14 Introduction (No. 14 used as an introduction)
No. 10 Scène et entrée d'Odette
No. 11 Scène dansante
No. 12 Entrée des cygnes
No. 13 Grand pas des cygnes
no.13-1 Valse des Cygnes
no.13-5 Grand Adagio (a.k.a. the Love Duet or the White Adagio) (new ending composed by Drigo, inserted at bar 94)
no.13-4 Danse des petits Cygnes (the famous Dance of the Little Swans)
no.13-6 Danse Générale (a.k.a. Dance of the Big Swans) (changed from Ab major to A major)
no.13-2 Variation d'Odette
no.13-7 Coda Générale
no.13-3 Tempo di valse - DELETED
No. 14 Scène et final
Act II (originally Act III)
No. 15 Grand Marche
No. 16 Ballabile: Dance of the Corps de Ballet and the Dwarves - DELETED
No. 17 Valse des Fiancées (edited to conform with the new libretto)
No. 18 Entrée d'Odile
No. 19 Grand Pas de six - DELETED
Appendix I: Pas de deux for Mme. Anna Sobeshchanskaya (a.k.a. Tchaikovsky Pas de deux) - DELETED
Appendix II: Russian Dance for Mlle. Pelagia Karpakova - DELETED
Grand Divertissement -
No. 21 Pas Espagnol (Spanish Dance)
No. 22 Danse Vénitienne (Neopolitan/Venetian Dance)
No. 20 Pas Hongrois (Hungarian Dance)
No. 23 Mazurka
No. 5 Grand Pas d'action (a.k.a. The Black Swan Pas de Deux, fashioned from the Pas de deux for Two Merry-makers)
no.5-1 Entrée
no.5-2 Grand Andante (new ending composed by Drigo, inserted at bar 75)
no.5-3 Variation: Tempo di valse - DELETED?
--Variation (fashioned from the omitted allegro ending of no.5-2 as a Variation for Prince Siegfried. Historically, this variation is said to have been first danced by the Kirov Ballet première danseur Vakhtang Chabukiani, circa 1935)
--Interpolation no.1 - Variation for Mlle. Pierina Legnani (variation for Odile, orch. by Drigo from Tchaikovsky's Op.72 for Piano -No.12 -L'Espiègle)
no.5-4 Coda
No. 24 Scène (reprise of the Waltz from No. 17 deleted)
Act III (originally Act IV)
No. 25 Entr'acte
No. 26 Scène - DELETED
No. 27 Dance of the Little Swans - DELETED
Interpolation no.2 - Valse des Cygnes (a.k.a. Waltz for White and Black Swans, orch. by Drigo from Tchaikovsky's Op.72 for Piano - No.11 Valse Bluette)
No. 28-Pt.1 Scène (ends at bar 26. Continues after the next number)
Interpolation no.3 - Scène Dansante (inserted after bar 26 of No.28, orch. by Drigo from Tchaikovsky's Op.72 for Piano -No.15 Un poco di Chopin)
No. 28-Pt.2 Scène (continues at bar 27. The so-called "storm music" was deleted)
No. 29 Scène et final. Apothéose

[dgljr5121973]

Also, could someone upload full scores of the orchestrations of Hungarian Dances Nos. 8 and 9 to IMSLP, please?

[Davydov]

It is significant to note that Tchaikovsky's brother Modest approved of Drigo revising the music, and Tchaikovsky himself approved of Drigo's additions.

Only through a spiritualist presumably, as the composer had been dead for 2 years before Drigo started work

No. "19a" is a Pas de deux, consisting of an introduction, 2 variations and coda, which were added to the ballet in April 1877, a few weeks after its first performance in Moscow. Drigo didin't use it in the ballet, it wasn't published by Jurgenson, and the orchestral score for all but one of the variations disappeared. In the 1950s Vissarion Shebalin reconstructed and orchestrated the rest of the Pas de deux from a violin répétiteur, and it was published in this form for the first time in 1956. Because Shebalin died only in 1963, his arrangements won't become PD in Canada until 2014, and only 2034 in Europe, which is why this number isn't on IMSLP.

[Carolus]

@dgljr5121973:

You need to understand that the scores uploaded to this site are voluntary donations by users around the world who own scores or borrow them from libraries, scan and upload. There was really no need for you to paste the wikipedia entry on the differences between the two versions of Swan Lake - most here are already quite familiar with them - and a simple link would suffice. Davydov is completely correct about No.19. It was never published in any form during the composer's lifetime as far as anyone knows. The violin repetiteur (a manuscript) was only discovered in 1952 among the orchestra parts used in a 1912 Moscow revival of the ballet Le Corsaire, with music (mostly) by Adolphe Adam. The editors of the Soviet score mentioned that the repetiteur itself was not complete, hence the need to have Shebalin add the orchestration along with some harmonic filler in places. If you manage to locate a manuscript score and/or parts of the Drigo revision and are able to scan it yourself or have someone do it for you, we'll gladly make it available along with the scores already there.

[dgljr5121973]

A quick question:

I noticed that Michel Rondeau's treatments of the Trumpet Concerto S. 49 by Johann Nepomuk Hummel forget the parts for the two Bassoons. Could someone post these on IMSLP, please?

[coulonnus]

I noticed that Michel Rondeau's treatments of the Trumpet Concerto S. 49 by Johann Nepomuk Hummel forget the parts for the two Bassoons. Could someone post these on IMSLP, please?

I don't see any Basson part in the Full Score! Complain to Hummel

[Notenschreiber]

There are 2 bassoon parts for the Hummel: "Standardbesetzung: 1222-2000-1, Str, S-Tp" .
I played an oboe part last year, and there were bassons too.

[dgljr5121973]

Here is another question:

The 4-Act version of Rossini's Barber of Seville on IMSLP, whence did it originate (year, date (if known), performance venue and first performance date, etc.)? Anything I have seen about it states that it is a 2-Act opera.

[dgljr5121973]

Question 3:

In the score and performance of Gounod's Faust, where does the Ballet music occur (where is it performed)?

[dgljr5121973]

Here is another request for Vivaldi concerti for IMSLP:

RV 270 Full Score/Manuscript

RV 813 (RV Anh. 10) Full Score/Manuscript

The latter is the original for Bach's transcription BWV 979 (it is also believed to have been composed by Giuseppe Torelli).