Manfred and The Sleeping Beauty: Difference between pages

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Tchaikovsky's '''''Manfred''''' is a symphony in four scenes after [[Byron]]'s dramatic poem, in B minor, Op. 58 ([[TH]] 28 ; [[ČW]] 25), composed and orchestrated between May and September 1885.
'''''The Sleeping Beauty''''' (Спящая красавица), [[Op.]] 66 ([[TH]] 13 ; [[ČW]] 13), was the second of Tchaikovsky's three ballet scores, based on the fairy tale by [[Charles Perrault]]. It was composed and orchestrated from October 1888 to August 1889, with minor revisions during stage rehearsals in the last three months of 1889.


==Instrumentation==
==Instrumentation==
''Manfred'' is scored for a large orchestra, comprising 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), bass clarinet (in B-flat), 3 bassoons + 4 horns (in F), 2 trumpets (in D), 2 cornets (in A), 3 trombones, tuba + 3 timpani, bell (in A), cymbals, bass drum, tambourine, triangle, tam-tam + 2 harps, violins I, violins II, violas, cellos, double basses + harmonium (or organ).
The ballet is scored for a large orchestra comprising piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 cornets (in A, B-flat), 2 trumpets (in A, B-flat), 3 trombones, tuba + 4 timpani, triangle, tambourine, military drum, cymbals, bass drum, tam tam, glockenspiel + piano + harp, violins I, violins II, violas, cellos, and double basses.


Tchaikovsky noted at the start of the ''Pastorale'' that "The bell should be of medium size and tuned to A. If possible, it should not be placed in the concert hall, but in the closest adjoining room".
==Movements and Duration==
Tchaikovsky's original score contains an Introduction and 30 individual numbers as listed below. The titles of numbers in French (italic type) and Russian (Cyrillic) are taken from the published score, with English translations added in bold type.
{| class="wikitable"
|-
| colspan="3"|
| colspan="2"| '''Introduction''' (Интродукция) <br/>Allegro vivo (76 bars)
|-
| colspan="2" rowspan="5"|'''''Prologue'''''
| No. 1
| colspan="2"| '''March''' (''Marche'' ; Марш)<br/>Moderato (147 bars)
|-
| No. 2
| colspan="2"|'''Dancing Scene: Entrance of the Fairies''' (''Scène dansante: Entrée des Fées'' ; Сцена с танцами: Выход фей)<br/> Moderato con moto—Tempo di Valse (210 bars)
|-
| rowspan="2"|No. 3
| colspan="2"|'''Pas de six''':
|-
| [a]<br/>[b]<br/>[c]<br/>[d]<br/>[e]<br/>[f]<br/>[g]<br/>[h]
| Adagio — Andante (93 bars)<br/>Var. I. '''Candide''' (Фея искренности). Allegro moderato (36 bars)<br/>Var. II. '''Coulante: The Fairy of Blooming Wheat''' (''Coulante: Fleur de Farine'' ; Фея цветущих колосьев). Allegro (35 bars)<br/>Var. III. '''Breadcrumb''' (''Miettes qui tombent'' ; Фея, рассыпающая хлебные крошки). Allegro moderato (41 bars)<br/>Var. IV. '''The Singing Canary''' (''Canari qui chante'' ; Фея-щебечущая канарейка). Moderato (25 bars)<br/>Var. V. '''Violante''' (Фея пылких сильных страстей). Allegro molto vivace (76 bars)<br/>Var. VI. '''The Lilac Fairy''' (''La Fée des Lilas'' ; Фея сирени). Tempo di Valse (60 bars)<br/> '''Coda''' (Кода). Allegro giusto (79 bars)
|-
| No. 4
| colspan="2"|'''Finale''' (Финал)<br/>Andante—Allegro vivo (293 bars)
|-
| colspan="2" rowspan="9"|'''''Act I'''''
| No. 5
| colspan="2"|'''Scene''' (''Scène'' ; Сцена)<br/>Allegro vivo (215 bars)
|-
| No. 6
| colspan="2"|'''Waltz''' (''Valse'' ; Вальс)<br/>Allegro. Tempo di Valse (297 bars)
|-
| No. 7
| colspan="2"|'''Scene''' (''Scène'' ; Сцена)<br/>Andante (71 bars)
|-
| rowspan="5"|No. 8
| colspan="2"|'''Pas d&#39;action''':
|-
| (a)
| '''Adagio''' [&quot;Rose Adagio&quot;]<br/>Andante—Adagio maestoso (82 bars)
|-
| (b)
| '''Dances of the Maids of Honour and Pages''' (''Danse des demoiselles d&#39;honneur et des pages'' ; Танец фрейлин и пажей)<br/>Allegro moderato (63 bars)
|-
| (c)
| '''Aurora&#39;s Variation''' (''Variation d&#39;Aurore'' ; Вариация Авроры)<br/>Allegro moderato (118 bars)
|-
| (d)
| '''Coda''' (Кода)<br/>Allegro giusto (179 bars)
|-
| No. 9
| colspan="2"|'''Finale''' (Финал)<br/>Allegro giusto (193 bars)
|-
| width="8%" rowspan="21"|'''''Act II'''''
| width="8%" rowspan="17"|Scene 1
| width="8%" |No. 10
| colspan="2"|'''Entr&#39;acte and Scene''' (''Entr&#39;acte et Scène'' ; Антракт и сцена)<br/>Allegro con spirito (79 bars)
|-
| No. 11
| colspan="2"|'''Blind Man&#39;s Buff''' (''Colin-maillard'' ; Жмурки)<br/>Allegro vivo (56 bars)
|-
| rowspan="5"|No. 12
| (a)
| '''Scene''' (''Scène'' ; Сцена)<br/>Moderato (17 bars)
|-
| (b)
| '''Dance of the Duchesses''' (''Danse des duchesses'' ; Танец герцогинь)<br/>Moderato con moto. Tempo di Menuetto (24 bars)
|-
| (c)
| '''Dance of the Baronesses''' (''Danse des baronesses'' ; Танец баронесс)<br/>Allegro moderato. Tempo di Gavotte (26 bars)
|-
| (d)
| '''Dance of the Countesses''' (''Danse des comtesses'' ; Танец графинь)<br/>Allegro non troppo (26 bars)
|-
| (e)
| '''Dance of the Marchionesses''' (''Danse des marquises'' ; Танец маркиз)<br/>Allegro non troppo (46 bars)
|-
| rowspan="3"|No. 13
| colspan="2"|'''Farandole''' (Фарандола)
|-
| width="3%"| (a)
| width="74%"|'''Scene''' (''Scène'' ; Сцена)<br/>Poco più vivo (16 bars)
|-
| (b)
| '''Dance''' (''Danse'' ; Танец)<br/>Allegro non troppo. Tempo di Mazurka (76 bars)
|-
| No. 14
| colspan="2"|'''Scene''' (''Scène'' ; Сцена)<br/>Allegro con spirito (133 bars)
|-
| rowspan="4"|No. 15
| colspan="2"|'''Pas d&#39;action''':
|-
| (a)
| '''Scene of Aurora and Désiré''' (''Scene d&#39;Aurore et de Désiré'' ; Сцена Авроры и принца Дезире)<br/>Andante cantabile (167 bars)
|-
| (b)
| '''Aurora&#39;s Variation''' (''Variation d&#39;Aurore'' ; Вариация Авроры)<br/>Allegro con moto (69 bars)
|-
| (c)
| '''Coda''' (Кода)<br/>Presto (94 bars)
|-
| No. 16
| colspan="2"|'''Scene''' (''Scène'' ; Сцена)<br/>Allegro agitato (24 bars)
|-
| No. 17
| colspan="2"|'''Panorama''' (Панорама)<br/>Andantino (78 bars)
|-
| rowspan="4"|Scene 2
| No. 18
| colspan="2"|'''Entr&#39;acte''' (Антракт)<br/>Andante sostenuto (78 bars)
|-
| rowspan="2"|No. 19
| colspan="2"|'''Symphonic Entr&#39;acte: Sleep''' (''Entr&#39;acte symphonique: Le sommeil'' ; Симфонический антракт: Сон)<br/> Andante misterioso (99 bars)
|-
| colspan="2"|'''Scene''' (''Scène'' ; Сцена)<br/>Allegro vivace (44 bars)
|-
| No. 20
| colspan="2"|'''Finale''' (Финал)<br/>Allegro agitato (75 bars)
|-
| colspan="2" rowspan="26"|'''''Act III'''''
| No. 21
| colspan="2"|'''March''' (''Marche'' ; Марш)<br/>Allegro non troppo (109 bars)
|-
| No. 22
| colspan="2"|'''Polonaise''' (''Polacca'' ; Полонез)<br/>Allegro moderato e brillante (158 bars)
|-
| rowspan="2"|No. 23
| colspan="2"|'''Pas de quatre''':
|-
| [a]<br/>[b]<br/>[c]<br/>[d]<br/>[e]<br/>[f]
| Allegro non tanto (62 bars)<br/>Var. I. '''The Gold Fairy''' (''La Fée-Or'' ; Фея Золота). Allegro. Tempo di Valse (65 bars)<br/>Var. II. '''The Silver Fairy''' (''La Fée-Argent'' ; Фея Серебра). Allegro giusto (48 bars)<br/>Var. III. '''The Sapphire Fairy''' (''La Fée-Saphir'' ; Фея Сапфиров). Vivacissimo (44 bars)<br/>Var. IV. '''The Diamond Fairy''' (''La Fée-Diamant'' ; Фея диамант). Vivace (52 bars)<br/> '''Coda''' (Кода). L&#39;istesso tempo (49 bars)
|-
| rowspan="2"|No. 24
| colspan="2"|'''Pas de caractère''':
|-
|
| '''Puss-in-Boots and the White Cat''' (''Le chat botté et la chatte blanche'' ; Кот в сапогах и Белая кошечка)<br/>Allegro moderato (44 bars)
|-
| rowspan="5"|No. 25
| colspan="2"|'''Pas de quatre''':
|-
| [a]
| Adagio (28 bars)
|-
| [b]
| Var. I. '''Cinderella and Prince Fortuné''' (''Cendrillon et le Prince Fortuné'' ; Золушка и принц Фортюне). Allegro. Tempo di Valse (56 bars)
|-
| [c]
| Var. II. '''The Blue Bird and Princess Florine''' (''L&#39;oiseau Bleu et la Princesse Florine'' ; Синяя птица и принцесса Флорина). Andantino (25 bars)
|-
| [d]
| '''Coda''' (Кода). Presto (90 bars)
|-
| rowspan="3"|No. 26
| colspan="2"|'''Pas de caractère''':
|-
| [a]
| '''Little Red Riding-Hood and the Wolf''' (''Chaperon rouge et le Loup'' ; Красная Шапочка и Волк)<br/>Allegro moderato (68 bars)
|-
| [b]
| '''Cinderella and Prince Fortuné''' (''Cendrillon et le Prince Fortuné'' ; Золушка и принц Фортюне)<br/>Allegro agitato (172 bars)
|-
| rowspan="2"|No. 27
| colspan="2"|'''Pas berrichon''':
|-
|
| '''Tom Thumb, His Brothers, and the Ogre''' (''Le petit poucet, ses frères et l&#39;Ogre'' ; Мальчик-с-пальчик, его братья и Людоед)<br/>Allegro vivo (75 bars)
|-
| rowspan="7"|No. 28
| colspan="2"|'''Pas de deux''':
|-
| [a]
| '''Aurora and Prince Désiré''' (''Aurore et le Prince Désiré'' ; Аврора и принц Дезире)<br/>Allegretto (5 bars)
|-
| [b]
| '''Entrance''' (''Entrée'' ; Выход)<br/>Allegro moderato (42 bars)
|-
| [c]
| '''Adagio'''<br/>Andante non troppo (87 bars)
|-
| [d]
| Var. I. '''Prince Désiré''' (Принц Дезире). Vivace (59 bars)
|-
| [e]
| Var. II. '''Aurora''' (''Aurore'' ; Аврора). Andantino (56 bars)
|-
| [f]
| '''Coda''' (Кода). Allegro vivace (92 bars)
|-
| No. 29
| colspan="2"|'''Sarabande''' (Сарабанда)<br/>Andante (48 bars)
|-
| rowspan="2"|No. 30
| colspan="2"|'''Finale''' (Финал)<br/>Allegro brillante. Tempo di Mazurka (384 bars)
|-
| colspan="2"|'''Apotheosis''' (''Apothéose'' ; Апофеоз)<br/>Andante molto maestoso (68 bars)
|}
A complete performance of ''The Sleeping Beauty'' lasts around 160 minutes.


==Movements and Duration==
==Libretto==
There are four movements, each of which is prefaced in the score with its own programme:
The libretto was compiled by [[Ivan Vsevolozhsky]], after [[Charles Perrault]]'s story ''La belle au bois dormant'', from the collection ''Histoires et contes du temps passé'' (1697).  
<ol style="list-style-type: upper-roman;">
<li>Lento lugubre (B minor, 338 bars)<br/><small>Manfred wanders in the Alps. Wearied by the fatal questions of existence, tormented by hopeless longings and the memory of past crimes, he suffers terrible spiritual yearnings. He has delved into the occult sciences and commands the mighty powers of darkness, but neither they nor anything in this world can give him the forgetfulness to which alone he vainly aspires. The memory of the lost Astarte, once passionately loved by him, gnaws at his heart, and there is neither limit nor end to Manfred's despair.</small></li>
<li>Vivace con spirito (B minor, 555 bars)<br/><small>The Alpine Fairy appears to Manfred beneath the rainbow of a waterfall.</small></li>
<li>Andante con moto (G major, 282 bars)<br/><small>''Pastorale''. A picture of the simple, free and peaceful life of the mountain folk.</small></li>
<li>Allegro con fuoco (B minor–B major, 491 bars)<br/><small>The subterranean palace of Arimanes. An infernal orgy. Appearance of Manfred in the midst of a bacchanal. Evocation and appearance of the spirit of Astarte, who pardons him. Death of Manfred.</small></li>
</ol>
Performances of ''Manfred'' generally last between 50 and 60 minutes, making it Tchaikovsky's longest purely orchestral work.


==Subject==
"The subject of the ballet that I am writing was devised by the Director of the theatre, [[Vsevolozhsky]] himself. It is based on [[Perrault]]'s well-known fairy tale ''La belle au bois dormant''. The subject is extremely likeable and poetic", Tchaikovsky told [[Nadezhda von Meck]] on 8/20 January 1889 <ref name="note1"/>.
The idea for a symphony on the subject of Lord [[George Byron]]'s poem ''Manfred: A Dramatic Poem'' (1817) originated from [[Vladimir Stasov]], who suggested the idea to [[Mily Balakirev]] and [[Hector Berlioz]] in 1867, although both composers declined to write the music.


However, in 1882 [[Mily Balakirev]] returned to the idea and suggested the subject to Tchaikovsky <ref name="note1"/>. In a letter of 28 October/10 November 1882, [[Balakirev]] sent Tchaikovsky a modified version of [[Stasov]]'s detailed programme:
[[Ivan Vsevolozhsky]], in a letter of 13/25 May 1888 proposed ''The Sleeping Beauty'' to Tchaikovsky as the subject for a ballet. "I am planning to write a libretto on ''La belle au bois dormant'' after [[Perrault]]'s fairy tale. I would like a ''mise en scène'' in the style of Louis XIV, which would be a musical fantasia written in the spirit of Lully, [[Bach]], Rameau, etc. If this idea appeals to you, then why not undertake to write the music? In the last act there would have to be quadrilles for all [[Perrault]]'s fairy-tale characters—these should include ''Puss-in-Boots, Hop o' My Thumb, Cinderella, Bluebeard'', etc." <ref name="note2"/>. The composer's reply to this letter has not been preserved.


{{quote|''1st movement'': Before setting out the programme, I should tell you that, like [[Berlioz]]'s two symphonies (''Symphonie fantastique'' and ''Harold''), your future symphony must have its own ''idée fixe'' — representing Manfred himself - which would permeate each movement. And so, here is the content of the programme for the first movement:}}
On 20 July/1 August 1888, the director of the Theatrical School, I. I. Ryumin, sent the libretto of the ballet to Tchaikovsky. In his accompanying letter he wrote: "Would you be so kind as to examine it and report to [[Ivan Vsevolozhsky|Ivan Aleksandrovich]], or to me, whether you are inclined to write the music for a ballet on this theme. If you should find it possible to carry out the wish of Mr Director, your music will ensure the success of the intended ballet" <ref name="note3"/>.


{{quote|Manfred wanders in the Alpine mountains. His life is shattered, but he is obsessed with life's unanswerable questions. In life nothing remains for him except memories. Images of his ideal Astarte permeate his thoughts, and he vainly calls to her. Only the echo from the cliffs repeats her name. Memories and thoughts bum and gnaw at him. He seeks and begs for ''oblivion'', which no-one can give him (F-sharp minor; 2nd theme — D major and F-sharp major).}}
There was no reply to this letter. It is possible that the letter was received while the composer was absorbed in his work on the [[Symphony No. 5]], the overture-fantasia ''[[Hamlet (overture-fantasia)|Hamlet]]'', and in orchestrating the [[Overture-Fantasia (Laroche)|Overture-Fantasia]] by [[Herman Laroche]], and that he simply did not have the time to respond, or he did not notice it among the vast correspondence he received.


{{quote|''2nd movement'': A mood quite different to the first — the programme: The life of Alpine hunters, full of simplicity, good nature and a patriarchal character. ''Adagio pastorale'' (A major). Manfred clashes with this way of life, to which he is himself in such stark contrast. Of course, you should first have a hunter's tune, but you should be ''particularly careful not to let it descend into triviality. ''God preserve you from vulgarities like German fanfares and ''Jägermusik''.}}
In any event, after [[Ivan Vsevolozhsky]] wrote to him again on 9/21 August 1888 <ref name="note4"/>, Tchaikovsky responded that the subject interested him greatly, but he had not received the libretto <ref name="note5"/>. And only in a letter to [[Vsevolozhsky]] of 22 August/3 September 1888 from [[Moscow]] did the composer report, "I am hastening to inform you that the manuscript of "La Belle au bois dormant" has finally reached me, just as I was boarding the train going from [[Moscow]] to [[Kiev]]. I have not been here more than a few hours, but I have managed to read through the scenario and I very much wanted to tell you forthwith that I am delighted and enchanted beyond all description. It suits me perfectly and I ask nothing more than to make the music for it. This delicious subject could not possibly have been better adapted for the stage, and to you, its author, permit me to express my warmest congratulations. I am leaving for [[Kiev]], returning home on 2 September, and on the 12th of the same month I will be in [[Petersburg]]. I will hasten to come and see you and beg you to bring Monsieur [[Petipa]] and I together to settle the details relating to the setting of the music in your scenario" <ref name="note6"/>. Emphasizing in the same letter that in view of its scale, the composition of the ballet could only be finished for the 1889/90 season, Tchaikovsky added: "The idea of this work gladdens me [...] as from today I shall be thinking only about the ballet". "I have received the libretto of the ballet. It is excellent", the composer wrote the same day to [[Modest Tchaikovsky]] <ref name="note7"/>.


{{quote|''3rd movement'': Scherzo fantastique (D major). The Alpine fairy appears to Manfred as a rainbow from the spray of a waterfall.}}
Although the authorship of the libretto is normally attributed to [[Ivan Vsevolozhsky]], it is possible that [[Marius Petipa]] also had some involvement, since in the archive of the latter there is a manuscript dated 3/15 July 1888, with a list of characters in the ballet, and descriptions of the numbers in every scene <ref name="note8"/>.


{{quote|''4th movement'': (Finale), F-sharp minor, A wild, unbridled Allegro, representing the subterranean halls of the infernal Arimanes (Hell), where Manfred arrives, longing to be reunited with Astarte — a contrast to this infernal orgy will be the ''summons and appearance of Astarte'' (now in D-flat major, in the first movement D major). Although there the idea was fleeting, like a memory, and was immediately engulfed by Manfred's suffering, yet here this same idea should appear in a complete and fully realised form. The music should be light, transparent like air, ideal and innocent. Eventually, a return to the ''Pandemonium'', then sunset and the death of Manfred".}}
===Synopsis===
The story opens in the court of King Florestan XIV, in the seventeenth century.


In his letter of reply of 12/24 November 1882, Tchaikovsky would not give a definitive response to [[Balakirev]] until he had the opportunity to read through Byron's story, and besides which, he wrote: "... for some reason I imagined that your programme would awaken in me a burning desire to reproduce it in music, and so I awaited your letter with great impatience. But when I received it I experienced disappointment. Your programme could in all probability serve as a design for a symphonist inclined to imitate [[Berlioz]]; I agree that this scheme might form an effective basis for a symphony in the style of that composer. But at the moment it leaves me completely cold, and when the heart and imagination are not warmed, it is hardly worth setting about composition. To please you I might perhaps, to use your expression, make an effort, and squeeze out of myself a whole series of more or less interesting episodes, in which one would encounter conventionally gloomy music to reproduce Manfred's hopeless disillusionment, and a lot of effective instrumental flashes in the "Alpine fairy" scherzo, sunrise in the violins' high register, and Manfred's death with ''pianissimo'' trombones. I would be able to furnish these episodes with harmonic curiosities and piquances, and I would then be able to send all this out into the world under the sonorous title ''Manfred. Symphonie d'aprés'', etc. I might even receive praise for the fruits of my labours, but such composing in no way appeals to me [...] It is quite possible that the abject coolness with which I view your programme is the fault of ''[[Schumann]]''. I love his ''Manfred'' extremely and am so used to merging in a single indivisible notion Byron's ''Manfred'' with [[Schumann]]'s ''Manfred'', that I cannot conceive how I might approach this subject in such a way as to elicit from it any music other than that which [[Schumann]] furnished it with" <ref name="note2"/>.
{{quote|'''Prologue'''. In the Royal castle, celebrations are in progress for the christening of the infant Princess Aurora. As the guests arrive they are shown to their places by the Master of Ceremonies, Catalabutte. The King and the Queen enter and prepare to receive the six fairy godmothers. The fairies arrive with their pages, who dance with the royal maids of honour. The fairies each come forward in turn with their gifts, arranging them around the cradle and accompanying them with promises that the Princess shall grow up beautiful, talented, and kind-hearted. As the Lilac Fairy approaches the cradle, the wicked fairy Carabosse arrives, in a carriage drawn by rats. She is furious at not having been invited to be a godmother, and pronounces a curse on the baby: one day Aurora will prick her finger on a spindle and fall into an everlasting sleep. Then the Lilac Fairy, who was about to bestow her own gift, intervenes. She does not have the power to overturn Carabosse's curse, but she mitigates it by saying that the princess shall be awoken after a hundred years by the kiss of young Prince. The enraged Carabosse drives off in her carriage.}}


Tchaikovsky wrote to his brother [[Modest]] about [[Mily Balakirev]]'s suggestion on 8/20 November 1882: "I'm now having a quite curious correspondence with [[Balakirev]], which he initiated. He is inflamed with the notion that I should write a large symphony on the subject of ''Manfred''" <ref name="note3"/>.
{{quote|'''Act I'''. In the gardens of the Royal Castle, visitors are gathered to celebrate Aurora's twentieth birthday. Among the villagers Catalabutte notices some old women threading spindles, which has been strictly forbidden since the day of Carabosse's curse. He confiscates the spindles and threatens the culprits with death. The King arrives with his Queen, accompanied by four princes, suitors of Princess Aurora. The princes' intercession saves the old women from death, and the rejoicing resumes. The four princes approach the King and Queen as suitors for Aurora's hand. When Aurora enters, they are presented to her. She dances with the four princes in turn, accepting from each the rose he offers her. First the maids of honour, then the pages, and finally Aurora herself dance again. She sees an old woman who offers her a spindle. Delighted with it, she dances, waving it in the air. Suddenly she pricks her finger. She dances ever faster, but abruptly falls to the ground. The old woman reveals herself to be Carabosse and, threatened by the princes, she vanishes in a cloud of smoke. Then the Lilac Fairy appears and orders that Aurora be carried into the castle. She must sleep for a hundred years, and the whole court with her. As a mist rises, the people grow still, and trees and bushes swiftly grow to completely hide the castle.}}


Tchaikovsky's discussions with [[Balakirev]] over ''Manfred'' were confined to the aforementioned letters. In October 1884, while Tchaikovsky was staying in [[Saint Petersburg]], it seems that he met personally with [[Balakirev]], who again brought up the subject of ''Manfred'' and tried to persuade Tchaikovsky to compose the symphony. In a letter of 30 October/11 November 1884, [[Balakirev]] sent Tchaikovsky the programme for ''Manfred'' again, copied out for him by [[Vladimir Stasov]]. The text is almost identical to the 1882 version. In the margin, however, [[Balakirev]] made some emendations, which did differ from the first version of his scheme: "The symphony should be in ''B-flat minor without B-flat major''", "2nd theme in D major, and the second time in D major". The second movement — "''Larghetto. G-flat major''", it should not be difficult for the orchestra since the tempo should be slow, and the secondary key should be B-flat major or A major". The third movement — "''Scherzo. D major''". And the fourth movement — "''Finale. B-flat minor''. D-flat major ''con sordini''" (representing Astarte), "at the end a ''Requiem'', with a final chord on ''B-flat major''... For the last part of the requiem it would be good to bring in an organ". At the end of the programme, [[Balakirev]] added the following remarks: "All the movements should include Manfred's own theme; in the Scherzo this theme could be in the form of a trio", and added a list of symphonic-programmatic works of a similar character by other authors; among the suggestions for the first and last movements was ''[[Francesca da Rimini]]'', and for the Scherzo — the B-minor Scherzo from Tchaikovsky's [[Third Symphony]] <ref name="note4"/>.
{{quote|'''Act II'''. One hundred years has passed. Young Prince Desiré is out hunting with his retinue, and they pause at a clearing in the forest (Scene 1), where they dance and play games. During the festivities the Prince remains aloof and uninterested in the girls' attention. His tutor Galifron leads the dancers to their places for more formal dances. The ladies propose a farandole in which the peasants accompanying the hunt may join. The hunt is resumed by all except the Prince, who remains behind, overtaken by a pensive mood. Suddenly, the Lilac Fairy appears before him, and recounts the story of the Sleeping Beauty, conjuring up a vision of her. The vision of Aurora dances with the Prince, and then by herself, before finally vanishing. Entranced and overwhelmed by the vision of Aurora, the Prince begs to be led to her. The Lilac Fairy and Prince Desiré travel in her boat through an enchanted wood to the castle, where all is eerily quiet. The fairy guides the Prince to the castle (Scene 2), and to Aurora's bedside. He gazes at the Princess and then, recognizing her as the Sleeping Beauty from his vision, he kisses her. The spell is broken. Aurora awakens and, seeing the Prince of whom she has dreamed, she takes him in her arms. Light floods the castle, the forest vanishes, and the King, Queen and courtiers awaken.}}


In reply, Tchaikovsky promised to purchase a copy of Byron's poem forthwith: "I will shortly be in the Alpine mountains, where the conditions for successfully depicting Manfred in music would have been very good, were it not for the fact that I am going to visit a friend who is gravely ill <ref name="note5"/>. In any event, I promise you that ''so far as possible'' I will use all my strength to carry out your wish" <ref name="note6"/>. While he was travelling abroad, Tchaikovsky did not start work on the symphony, but the idea of ''Manfred'' was not forgotten <ref name="note7"/>.
{{quote|'''Act III'''. Catalabutte leads in the nobles and courtiers to greet the King and Queen for the wedding celebrations of Aurora and Desiré. The Silver, Gold, Sapphire and Diamond Fairies arrive, followed by guest characters from fairy-tales: Puss in Boots and the White Cat; Cinderella and Prince Fortuné; the Blue Bird and Princess Florine; Red Riding-Hood and the Wolf; Hop o'my Thumb, his brothers and the Ogre. Then Princess Aurora and Prince Desiré dance together. Roman, Persian, Indian, American, and Turkish guests dance a sarabande. All who have taken part in the entertainment parade around the floor. Finally, the Lilac Fairy appears to bless the marriage, and in true fairy-tale tradition, all live happily ever after. <ref name="note9"/> }}


==Composition==
==Composition==
On 9/21 April 1885 he returned to [[Maydanovo]], and while awaiting the libretto for the opera ''[[The Enchantress]]'' from [[Ippolit Shpazhinsky]], he set about composing the symphony. The sketches were begun in one of his notebooks. However, on 22 April work was interrupted. From a number of letters to [[Nadezhda von Meck]] during this period we learn that Tchaikovsky went on a prolonged journey. It was only in early/mid-June, after his return to[[ Maydanovo]], that he resumed work on the symphony, as he reported to [[Anna Merkling]] <ref name="note8"/>.
Tchaikovsky did not start work on the ballet during August or September 1888, since he was occupied with the completion of other works. In answer to a question by [[Vladimir Pogozhev]] <ref name="note10"/>, asking whether he was working well on the music of his new ballet, Tchaikovsky replied on 1/13 October: "Concerning the ''ballet'' I will say to you that the subject itself greatly delights me, and I ''will work'' on it with great pleasure. I emphasise the ''will work'', because I have still not written a single note. Before taking up composition it is necessary for me to enter into discussions with the ballet master. I was going to be in [[Petersburg]] during September, but this is not now the case, my having been delayed by the completion of two large compositions which are urgently required <ref name="note11"/>. I am planning to remain in the village until the end of October. Around 1/13 November I shall be in [[Petersburg]] for a sufficient period of time to have the opportunity of discussing with the balletmaster, ''how, when'' and ''what'' is required. In any case, in view of my forthcoming travels I could submit the full score of the ballet to the directors no earlier than the beginning of next season, i.e. a whole year away. Although you evidently understood the music to the ballet was already taking shape, I fear that [[Ivan Vsevolozhsky|Ivan Aleksandrovich]] does not consider me capable of writing this music even during the course of the present season. I trust that through your good offices, [[Vladimir Pogozhev|Vladimir Petrovich]], you will be careful to report all this to him" <ref name="note12"/>.


The compositional process is revealed in the surviving sketches. The first and second movements were the first to be written, the sketches for these being found in one of his notebooks. Notes of themes for the finale are to be found further on in the notebook, after which are notes relating to the third movement.
It is not possible to accurately establish when work began on the ballet. On the cover of the September 1888 issue of the journal ''Russian Herald'' (Русский вестник) belonging to Tchaikovsky are notes of themes for the fairies' variations in the Prologue, which were developed into sketches during October (apparently between 11th and 22nd). From the author's notes in the copybook containing the sketches, it is clear that during October Tchaikovsky worked on the ballet for ten days in total <ref name="note13"/>. These sketches include: the entrance of the fairies and waltz of pages and girls (No. 2 in the piano score), the fairies' variations (No. 3) and the start of the finale of the Prologue, where the Lilac Fairy approaches Aurora's Cradle.


Immediately after the Finale is the note: "End of the symphony, 13/25 May, but much still needs to be done before the end". However, work on the fourth movement continued after 13/25 May, since some pencil sketches for the second theme of the finale were made on a letter from Yevgeniya Novosiltseva, which is dated 15/27 May.
On 30 October/11 November, Tchaikovsky left for [[Saint Petersburg]], where on 6/18 November his meeting with [[Ivan Vsevolozhsky]] and [[Marius Petipa]] took place <ref name="note14"/>, at which time the balletmaster supplied Tchaikovsky with a detailed scheme for the Prologue <ref name="note15"/>.


We find the first reference to work on the symphony in letters to [[Anna Merkling]] of 4/16 June, and to [[Nadezhda von Meck]] and [[Sergey Taneyev]] on 13/25 June 1885. In the letter of 4/16 June, Tchaikovsky wrote: "I am now writing an unusual form of symphony..." <ref name="note9"/>. "Time flies by so quickly"", he wrote to [[Nadezhda von Meck]]: "Back in April I began to make ''sketches'' for a long-standing idea for a programme symphony on the theme of Byron's ''Manfred''. Now I am so captivated by this work that the opera will probably be long set aside. This symphony requires from me tremendous effort and labour, since it is a very complicated and serious assignment" <ref name="note10"/>. On the same day he wrote to [[Taneyev]], "After some hesitation. I have decided to write ''Manfred'', because I feel that until I have fulfilled the promise that I imprudently made to [[Balakirev]] during the winter, I shall not be at ease. I don't know what will come out, but at the moment I'm dissatisfied with myself" <ref name="note11"/>.
Soon after this Tchaikovsky left for [[Prague]]; further meetings with [[Vsevolozhsky]] and [[Petipa]] took place in [[Saint Petersburg]] only between 12/24 December and 25 December/6 January <ref name="note16"/>. On 18/30 December, [[Marius Petipa]] gave Tchaikovsky the detailed plan for Acts I and II <ref name="note17"/>. On 26 December/7 January Tchaikovsky returned to [[Frolovskoye]], and for some days ''The Sleeping Beauty'' was at the centre of his creative imagination. Almost daily entries in his diary, accounts in his letters, and the form of his sketches reveal an extraordinarily intensive creative process. Before his departure from [[Frolovskoye]] three weeks later, on 19/31 January 1889, the composer had finished the Prologue and written the whole of Acts I and II, as well as the Introduction to the ballet. His progress on the work can be established with some accuracy by comparing the dates on the sketches with the dates from his diary. Up to 1/13 January he worked on the end of the Prologue, starting from the appearance of the fairy Carabosse (end of No. 4), then the knitting scene (No. 5) and Waltz (No. 6) from Act I. On 1/13 January he noted in his diary: "I don't recall a more timely encounter [with the New Year]. Worked all morning" (Aurora's entrance, No. 7):
[[File:TH013a.jpg|center|400px]]
On 2/14 January: "The day passed as always, when I'm absorbed in my work. Wrote the big ''Adagio'' in the second act <ref name="note18"/>, which was hard work!!!" (Adagio for Aurora and the four princes, Act I, No. 8). On 4/16 January the composer worked on the Finale to Act I (according to the author's notes on the sketches). On 5/17 January he recorded in his diary: "Worked generally well today. Finished the second act. Played it through (it lasts half an hour)" <ref name="note19"/>.


After increasingly having to force himself to take up composition, Tchaikovsky subsequently became captivated by the work. In a letter to [[Mily Balakirev]] on the day that he finished the full score, 22 September/4 October 1885, Tchaikovsky informed him: "I set about ''Manfred'' rather reluctantly and, if I may be frank, felt that I was ''obliged'' to write it, because I ''promised'' you, and I made a ''firm'' promise... but very soon I became terribly infatuated with ''Manfred'', and cannot remember ever having felt such pleasure in working, which stayed with me until the end" <ref name="note12"/>.
It is apparent from the sketches that the composer left Act I without its conclusion, which was written later.


We can ascertain with complete accuracy the chronology of composition of the symphony using an extraordinary multitude of sources, the provenance of which, however, is complicated by mistakes in the dates given by the author. During May and June, Tchaikovsky travelled a great deal, staying in [[Moscow]] and [[Saint Petersburg]], and journeying to [[Smolensk]] for the opening of a memorial to [[Mikhail Glinka]].
On the evening of 6/18 January, Tchaikovsky left for [[Moscow]]. After returning from [[Moscow]] on 8/20 January, the composer wrote to [[Nadezhda von Meck]]: "I have recently been working with such perseverance and application, that I have already written two whole acts of the ballet. I have been to [[Moscow]] for two days on Musical Society business, and I'm now once again ready for work" <ref name="note20"/>.


In a letter to [[Anna Merkling]] of 6/18 July 1885, Tchaikovsky wrote: "I am totally immersed in proofs of the opera <ref name="note13"/>, and also a large new symphony" <ref name="note14"/>; in his notebook containing sketches for the finale and third movement is a note, made later than the first (dating from 13/25 May): "Today is 6 July {{OS}}, and yet I still have not got very far".
The sketches indicate that Tchaikovsky resumed composition of the ballet from the second scene of Act II. On 10/22 January he noted in his diary: "Work went well. Wrote the whole entr'acte to the ''Sleep'' scene without effort" (No. 19). On 11/23 January he noted: "Worked just as well today as previously. A great deal done. Finished the 2nd scene of the 2nd act [No. 19]. After this fashioned the Entr'acte with the violin solo [No. 18], and then even the first scene of Act II" (Nos. 16–17). On 14/26 January he recorded in his diary: "Worked ever so assiduously. Hopeful of finishing the first four scenes before my departure" <ref name="note21"/>. On 17/29 January the author noted in his sketchbooks: "Finished everything I intended to do before my departure, i.e. the first four scenes of the ballet!". On 6/18 January, the appointed day for his meeting with [[Marius Petipa]], Tchaikovsky had written to [[Ivan Vsevolozhsky]], "I hope to fulfil my promise, i.e. at the beginning of the season (not later than 15 August) {{OS}} to deliver the Violin ''répétiteur'' to ''[[Petipa]]'', and by November, the entire musical score" <ref name="note22"/>.


The rough sketches for the symphony were completed in early July.
On 19/31 January, Tchaikovsky left for [[Saint Petersburg]]. On 22 January/3 February he had another meeting with [[Ivan Vsevolozhsky]] and [[Marius Petipa]], during which the balletmaster gave the composer the detailed plan for the final, fifth scene <ref name="note23"/>. On 23 January/4 February, Tchaikovsky played through Act I of the ballet for the directors <ref name="note24"/>, and the following day he left for travels abroad. Several times during his journey he embarked on the composition of the fifth scene of the ballet. On 6/18 March in [[Hannover]] he noted in his diary: "Attempted to compose the ''ballet''. Did a little, but poorly and without inspiration" <ref name="note25"/>. Judging by the sequence of the sketches, here he wrote the introduction and march for Act III (No. 21). Later, in the Mediterranean, on board the steamship ''Cambodge'' between [[Marseilles]] and [[Constantinople]], Tchaikovsky composed the Polonaise for Act III of the ballet (No. 22) <ref name="note26"/>. After the Polonaise, the Act I finale "transformation of the garden into a forest" was completed, the sketches for which are marked: "[[Tiflis]]" <ref name="note27"/>. The composer travelled here from [[Constantinople]] to visit [[Anatoly Tchaikovsky]], and remained here from mid/late April until early/mid May.


On 8/20 July, Tchaikovsky told [[Sergey Taneyev]], "For a long time I was quite unwell, through working too much on proofs of the opera... and yet between business affairs and trifling matters, I completed the rough sketches for a symphony, which annoys me a great deal, and I feel the need to rid myself of it as soon as possible" <ref name="note15"/>. However, carried away by the work, he did not set the symphony aside, and straight away set about its instrumentation. On 20 July/1 August, he wrote to [[Emiliya Pavlovskaya]]: "I had been planning for a long time to write a symphony on the subject of [Byron's] ''Manfred''. And so, in order not to let these three weeks be wasted in idleness, I set about making the ''sketches'' for this symphony, and became so carried away, as frequently happens, that I could not stop. The symphony has come out enormous, serious and difficult; it is absorbing all my time, and sometimes wearies me in the extreme; but an inner voice tells me that I am not labouring in vain, and that this will be, perhaps, the best of my symphonic compositions. […] I still have, approximately, some two months' hard work remaining on the symphony" <ref name="note16"/>.
Despite unfavourable working conditions, about which Tchaikovsky reported in his letter to [[Modest Tchaikovsky]] of 15/27 April 1889, the ballet continued to progress <ref name="note28"/>. In [[Tiflis]] he made musical notes in his notebook, and sketches for some scenes in Act III: the variations for the jewel fairies (No. 23); Puss-in-Boots and the White Cat (No. 24); Little Red Riding Hood (No. 26) and Hop o' My Thumb (No. 27) <ref name="note29"/>. In a letter of 26 April/8 May to [[Marius Petipa]], Tchaikovsky reported: "I have almost completed the sketches for the fifth scene of the ballet ''The Sleeping Beauty''. Everything will be finished not later than 1st June" {{OS}} <ref name="note30"/>.


The scoring of the first movement of ''Manfred'' was completed on 12/24 September 1885 (according to the date on the manuscript). At the end of the second movement, the author noted "(End of the scherzo, 22 July 1885)" {{OS}}.
After visiting [[Saint Petersburg]] in May, where he again met with [[Ivan Vsevolozhsky]] and [[Marius Petipa]] <ref name="note31"/>, Tchaikovsky returned to [[Frolovskoye]] on 19/31 May and was again absorbed in work on the ballet. Notes in his diary indicate a surge of creativity. On 20 May/1 June, the sketches indicate that he began to compose the variations for Cinderella, Fortuné, the Blue Bird and Florine (Pas de quatre, No. 25). On 23 May/4 June he recorded in his diary: "Worked intensively and successfully (Pas de deux)" (No. 28—Aurora and Desiré). Sketches for the Sarabande (No. 29) then followed, and on 25 May/6 June he wrote in his diary: "Wrote the last number of the ballet: Mazurka" (No. 30). On 26 May/7 June he noted: "Finished the ''composition'' of the ballet, in spite of a headache and poor spirits"<ref name="note32"/>. In the manuscript sketches after the finale is the author's note: "Finished the sketches 26 May 1889 {{OS}} at 8 o'clock in the evening. Praise God! In all I worked ten days during October, 3 weeks in January, and a week now. And so only about 40 days". In this note the composer did not take into account the time he spent on the sketches while abroad and in the Caucasus.


However, in his copybook containing sketches of the finale, yet another date appears: "And today is 31 July {{OS}}, but oh dear, there's still such a long way to the end!"
On 30 May/11 June 1889, Tchaikovsky set about the instrumentation of the ballet, on which he worked with great intensity, barely leaving [[Frolovskoye]] until 16/28 August. "I have already begun the instrumentation of the ballet, and spend all day at my desk", the composer wrote to [[Modest Tchaikovsky]] on 2/14 June <ref name="note33"/>. "I am immersed in work, i.e. the instrumentation of the ballet, which must be finished in September without fail", he reported in a letter to the [[Grand Duke Konstantin Konstantinovich]] <ref name="note34"/>. On 5/17 June in his diary he recorded: "Worked well (end of Pas de Six)" <ref name="note35"/>.


Some days later he told [[Nadezhda von Meck]], "I am working on a very difficult, complicated symphonic work (on the subject of Byron's ''Manfred''), which happens to have such a tragic character, that occasionally I turn into something of a Manfred myself. That apart, I am having to squeeze out every last drop of effort from myself. I want so much to quickly bring this to an end, and am using up all my strength... as a result of this, I am absolutely exhausted" <ref name="note17"/>. "Never before have I expended such labour and exertion as on the symphony that I am now writing", he told [[Nikolay Tchaikovsky]] on 19/31 August 1885 <ref name="note18"/>.
On 13/25 June in his diary he noted: "In the evening, waltz orchestrated with pleasure" (No. 6) <ref name="note36"/>. On 15/27, 16/28 and 17/29 June, Tchaikovsky was occupied with adding the final markings to the Prologue. On 18/30 June he sent the manuscript of the Prologue to [[Saint Petersburg]], promising to send the following act in ten days<ref name="note37"/>.


Even more captivated by the work, Tchaikovsky was very pleased with the fruits of his labour. In a letter to [[Emiliya Pavlovskaya]] of 10/22 August, he wrote: "It is my opinion that my symphony will be the best of all my compositions in symphonic form... I am very proud of this work, and want those persons whose sympathy I most value in the world... to experience, when they hear it, a reverberation from the enthusiasm with which I wrote it" <ref name="note19"/>. We read in a letter to [[Nadezhda von Meck]] on 31 August: "My symphony is going so well that I am hopeful that it will be finished by the end of the month. I hope that my labour and agonies have not been in vain, and that it will turn out to be successful" <ref name="note20"/>.
On 2/14 July, Tchaikovsky wrote to the [[Grand Duke Konstantin Konstantinovich]]: "I have already finished the instrumentation of the first two acts of my ballet (''La Belle au bois dormant''). The subject of the ballet is appealing to the highest degree, and I carry out this task with pleasure" <ref name="note38"/>. The author's date at the end of Act I of the full score is 3/15 July. Then Tchaikovsky began the orchestration of the third act, continuing this work through July, and on 25 July/6 August he completed Act III (date on the manuscript full score). Next, the composer set about the instrumentation of Act II. On 9/21 August, Tchaikovsky wrote to [[Mikhail Ippolitov-Ivanov]]: "The end of the ballet is drawing near. It proved to be huge, requiring a great deal of effort. At times I experienced terrible fatigue! But I think that on the whole, the music has come out successfully" <ref name="note39"/>. On 13/25 August in a letter to [[Nadezhda von Meck]], with the ballet in mind, Tchaikovsky reported: "And so this labour draws near its end. For several days I will sigh deeply and experience that rare feeling of having brought a complex work to its conclusion... I lavished particular care on its instrumentation, and devised several completely new orchestral combinations, which I hope will be very beautiful and interesting" <ref name="note40"/>. On 16/28 August in a letter to [[Semyon Kruglikov]], we read: "Congratulate me: Today I finished an enormous ballet score. These arms have raised an entire mountain" <ref name="note41"/>. On the same day the composer wrote on the manuscript full score: "''End of 2nd act''. 16th August 89 {{OS}}. Hurrah!". It is possible that after 16/28 August, Tchaikovsky introduced other corrections into his work, since in a letter to [[Yuliya Shpazhinskaya]] of 2/14 September 1889, he referred to 20 August/1 September as the date on which he wrote the "longed-for concluding chord of the last act"<ref name="note42"/>.


On 11/23 September, according to a note on the manuscript, the third movement was finished. On 13/25 September, Tchaikovsky wrote to [[Balakirev]]: "I have carried out your wish. ''Manfred'' is finished, and the full score will soon be engraved... I have sat over ''Manfred'', not rising from my seat, you might say, for almost four months (from the end of May until today). It was very difficult, but also very pleasant to work on, especially when, having begun with some labour, I became captivated. The symphony is written in accordance with your programme, in four movements. But I ask your forgiveness — I have not been able to keep to the keys and modulations you proposed, even though I wanted to do so. The symphony is written in the key of ''B minor''. Only the scherzo is in the key you indicated<ref name="note21"/>. This piece is very difficult, and requires an enormous orchestra, i.e. with a very large string section. As soon as the proofs of the symphony are ready, I shall send them to you" <ref name="note22"/>.
In October 1889, during the orchestral rehearsals of the ballet, the directors asked Tchaikovsky to write additional music for the scene of Cinderella and Fortuné (No. 26b). The scenario for this number, compiled by [[Marius Petipa]] from a synopsis by Riccardo Drigo, was sent to Tchaikovsky at [[Frolovskoye]] on 7/19 October <ref name="note43"/>. In all probability this number was written immediately on Tchaikovsky's receipt of the scenario. On 17/29 October, [[Petipa]] wrote to Tchaikovsky, apparently with regard to this additional number: "The dance is a little long, and I beg you to permit me to make a small cut" <ref name="note44"/>.


On the same day, he wrote to [[Modest Tchaikovsky]]: "I am finishing my symphony with a feverish haste, so that I can rid myself of this encumbrance before I move to my new home... Tomorrow we leave for [[Moscow]] with [[Aleksandra Panayeva-Kartsova|Panya]] and, unfortunately, at this rate I will still be finishing off my work" <ref name="note23"/>. On 20 September/2 October, Tchaikovsky told him: "I still have not managed to finish ''Manfred''. It still needs a few days more work"<ref name="note24"/>. On the last page of the manuscript score of the finale is the date: "End of the symphony 22 Sept 1885 {{OS}}. [[Maydanovo]]".
On 27 December 1889/8 January 1890, Tchaikovsky received a telegram from [[Ivan Vsevolozhsky]] in which, after setting out the schedule for the final rehearsals and first production, went on: "Your presence is desirable all the more because your agreement will probably be required to dispense with Auer's solo: it slows down the action" <ref name="note45"/>. Tchaikovsky's reaction to this suggestion is not documented, but the ''Entr'acte'' (No. 18) before the symphonic picture ''Sleep'' was not included in the performance <ref name="note46"/>.


On 9/21 October, Tchaikovsky wrote to [[Emiliya Pavlovskaya]]: "I have finished the symphony, and did not pause even for an hour before starting on the opera [''[[The Enchantress]]'']" <ref name="note25"/>.
==Arrangements==
On 25 July/6 August 1889, Tchaikovsky wrote to [[Nadezhda von Meck]]: "My ballet will appear in print in November or December. The arrangement for piano is being made by [[Ziloti]]" <ref name="note47"/>. Even during his work on the orchestration, Tchaikovsky approached [[Aleksandr Ziloti]] with a request to make a two-hand arrangement of the ballet. "I am finding work terribly stressful and, probably as a result of old age, am tired in the extreme. I dread to think that, after writing this enormous full score, I still have to do the two-hand arrangement, which is required by the ballet master and [[Jurgenson]], who hopes to have it in print by early autumn. And so, [[Aleksandr Ziloti|Sasha]], I would be indescribably happy if you were to do the arrangement. Besides [[Taneyev]] and yourself there's no one I can trust". Assuring [[Ziloti]] that he would not be offended if he declined the proposed work, Tchaikovsky wrote: "I am conscious of the fact that this is not a trivial task, and that nowhere else is music more essential than in ballet... I will wait until the 28th {{OS}}, and if you say ''yes'', then I will prepare you two acts"<ref name="note48"/>. [[Aleksandr Ziloti]] immediately agreed to carry out the request by the composer, who intended to send him the score of the Prologue. However, after receiving a letter from the theatre directorate, Tchaikovsky reported to [[Ziloti]] on 18/30 June that: "I was just preparing to send to you the score of the first act [i.e. Prologue], when I received a letter from ''[[Khristoforov]]'', immediately requiring the full score so that it can be copied, the parts written out, and, chiefly, the compilation of the violin ''répétiteur'', which ''[[Petipa]]'' needs as soon as possible... I must therefore send my manuscript to [[Khristoforov]], and he, after all the copies have been taken, will return it. This notwithstanding, I urge you not to turn down the work on the arrangement. It's just that it has to begin rather later". Further on, he suggests that the Prologue should be returned "in three weeks"<ref name="note49"/>.


==Arrangements==
It might be assumed that arrangements concerning the Prologue went according to plan, but eventually [[Aleksandr Ziloti]] found that he was working faster than the copyists at the Mariinsky Theatre. In a letter from Tchaikovsky of 23 July/4 August we read: "I am at a loss, since I could have sent you part of the third act long ago—this comprised one or two copybooks which only had to be marked up and sent off. But above all I wanted to finish the entire instrumentation of this act, before inserting the markings and sending everything away. Meanwhile for some reason everything happened in a rush, and I was alarmed by your telegram... All the acts will be completely ready and sent to you within three or four days at the latest. Tomorrow I am sending you just one notebook... This act is enormous. Then the remaining two (unfamiliar to you), which are somewhat shorter. They are some of my best work, and I am very glad that out of necessity you've started with the weakest. Did you receive the full score in [[Petersburg]]? I think everything will be finished by 15th August" {{OS}} <ref name="note50"/>. The remaining part of Act III was sent to [[Ziloti]] on 28 July/9 August <ref name="note51"/>.
While orchestrating the symphony, Tchaikovsky simultaneously made his own arrangement for piano duet (4 hands). The fair copy of the arrangement is dated 3 September 1885 {{OS}}. Concerned that this arrangement might prove too difficult, and contain mistakes, Tchaikovsky asked [[Aleksandra Hubert]] to look through it <ref name="note26"/>. And so, there appeared a second version of the arrangement of the symphony, written by [[Aleksandra Hubert]] and containing numerous corrections and additions by Tchaikovsky. In November, the autograph of the arrangement was sent to [[Balakirev]] for him to look over <ref name="note27"/>. [[Balakirev]] did not return the manuscript until March, attaching some additional pages containing his own notes. Unfortunately, these notes were misplaced, so that it is not possible to ascertain whether Tchaikovsky took them into account when the arrangement was published.
 
On 17/29 August the composer wrote to [[Aleksandr Ziloti]]: "I'm sending you the 2nd act and introduction to the ballet! I cannot express how happy I am that it is finished. If you see any slips of the pen then please correct them. Could you please arrange the introduction to the second scene so that the ''pedal'' in the upper voice is on a separate system, or directly into four hands, since it will not work otherwise"<ref name="note52"/>.
 
On 26 January/7 February 1890, Tchaikovsky wrote to [[Pyotr Jurgenson]] from [[Florence]]: "Would it be possible to arrange the whole of ''The Sleeping Beauty'' for four hands? But only entrust such work... to real musicians" <ref name="note53"/>.
 
The arrangement was commissioned from eighteen-year-old [[Sergei Rachmaninoff]].
 
During June 1891, Tchaikovsky dealt with the proofs of this arrangement, to be published by [[Pyotr Jurgenson]] <ref name="note54"/>. Tchaikovsky found that [[Sergei Rachmaninoff]]'s work was "absolutely lacking in courage, initiative and ''creativity''!!!", and asked [[Aleksandr Ziloti]] to undertake "a thorough revision and correction of the ''ballet''". Tchaikovsky continued, "I wanted the ballet to be arranged for four hands so that it might be rendered as seriously and skilfully as an arrangement of a symphony. Alas, this is impossible; what has been done cannot be undone; but at least it will be an improvement on what we have now" <ref name="note55"/>.
 
==Suite==
: ''See: [[The Sleeping Beauty (suite)]]''.
 
Early in 1890, the composer considered creating a [[The Sleeping Beauty (suite)|suite]] from the music for the ballet. In 1899 a suite of numbers from the ballet compiled by an unknown person was published by [[Jurgenson]] as "[[Op.]] 66a".


==Performances==
==Performances==
The symphony was performed for the first time on 11/23 March 1886 in [[Moscow]], at the eleventh symphony concert of the Russian Musical Society (dedicated to the memory of [[Nikolay Rubinstein]]), conducted by [[Max Erdmannsdörfer]] <ref name="note28"/>.
The first production of the ballet took place on the stage of the Mariinsky Theatre in [[Saint Petersburg]] on 3/15 January 1890, conducted by Riccardo Drigo, and choreographed by [[Marius Petipa]]. The principal roles were performed by Feliks Krzesiński (''Florestan''), Giuseppina Cecchetti (''Queen''), Carlotta Brianza (''Aurora''), Marie Petipa (''Lilac Fairy''), Enrico Cecchetti (''Carabosse'') and Pavel Gerdt (''Desiré'').
 
The ballet was produced for the first time on the [[Moscow]] stage at the Bolshoi Theatre on 17/29 January 1899, under balletmaster Aleksandr Gorsky, with Lyubov Roslavleva as Aurora, and Ivan Khlyustin as Desiré.
 
Outside Russia, ''The Sleeping Beauty'' was first staged at the Teatro alla Scala in [[Milan]] in 1896, under balletmaster Giorgio Saracco, and Carlotta Brianza reprising her role as Aurora.
 
The first complete performance in [[London]] was given by the ''Ballets russes'' on 9 November 1921 at the Alhambra Theatre, conducted by Eugene Goossens, and choreographed by Serge Diaghilev under the title ''The Sleeping Princess''.


Other notable early performances included:
In the United States the ballet was first produced in its entirety at the Academy of Music in [[Philadelphia]] on 11 February 1937, in a version choreographed by Catherine Littlefield.
* [[Pavlovsk]], 2/14 May 1886, conducted by Vojtěch Hlaváč
* [[New York]], Metropolitan Opera House, Philharmonic Society concert, 21 November/3 December 1886, conducted by [[Theodore Thomas]]
* [[Saint Petersburg]], 5th Russian Musical Society symphony concert, 27 December 1886/8 January 1887, conducted by [[Anton Rubinstein]]
* [[London]], Queen's Hall Promenade Concert, 16/28 September 1898, conducted by Henry Wood.


==Critical Reception==
==Critical Reception==
On 13/25 March 1886, soon after the premiere of the symphony, Tchaikovsky wrote to [[Nadezhda von Meck]]: "I am very pleased with myself. I think that this is my best symphonic work. It was performed excellently, but it seemed to me that the public had little concept of it and received it rather coolly, although at the end I was given an ovation" <ref name="note29"/>.
Tchaikovsky's attitude towards his ballet was consistent; frequently he was enthusiastic towards his works, before becoming disappointed with them, but this was not the case with ''The Sleeping Beauty''. "It seems to me", the composer wrote on 25 July/6 August 1889, while orchestrating the ballet, "that the music from this ballet will be amongst my best works. The subject is so poetical, it is so suited for music, that in composing it I was utterly absorbed, and wrote with a fervour and passion which always result in work of merit" <ref name="note56"/>.


Tchaikovsky's attitude towards ''Manfred'' was ambivalent. Immediately after finishing the symphony he was very pleased with it. "I think that this is the best I have ever written", "It seems to me that this is the best of all my works", he wrote in letters to [[Anna Merkling]] on 9/21 December 1885 and to [[Nadezhda von Meck]] on 6/18 February 1886 <ref name="note30"/>. But on 15/27 February 1886, we find a note in his diary: "It's remarkable that I now have an unhealthy aversion to my latest works: ''Manfred'' and the opera" <ref name="note31"/>. His judgement of the symphony following its performance in March 1886 was favourable <ref name="note32"/>.
After the ballet had been staged, his estimation was unchanged. "Besides, I confess that I love working in a rush, I love the anticipation and the urgency! And yet this doesn't show itself at all in the quality of my works. Isn't "''The Sleeping Beauty''" perhaps the best of all my compositions, and yet I wrote it incredibly quickly" <ref name="note57"/>.


Later on, Tchaikovsky took a different view of ''Manfred'': "I loathe it, apart from the first movement. The others are considerably worse, and the finale is very weak" <ref name="note33"/>. Tchaikovsky's subsequent appraisal of ''Manfred'' was given in a letter to the [[Grand Duke Konstantin Konstantinovich]] of 21 September/3 October 1888: "As for ''Manfred'', without any wish to make a mere show of modesty, I would like to say that it is an abominable piece, and that I loathe it deeply, ''with the exception of the first movement alone''. However, I should tell Your Highness that shortly, with the agreement of my publisher, I shall destroy completely the remaining three movements, which musically are very poor (the Finale is particularly loathsome), and out of a large, impossibly long symphony, I shall make a ''Symphonische Dichtung''. Then, I am sure, my ''Manfred'' will be capable of pleasing. Indeed, it must be so: the first movement I wrote with pleasure — the remaining ones are the result of exertion, from which, I remember, I felt for some time very ill" <ref name="note34"/>.
==Publication==
At the end of 1889, [[Aleksandr Ziloti]]'s arrangement for solo piano appeared in an edition by [[Pyotr Jurgenson]]. On 3/15 January 1890, Tchaikovsky wrote to [[Aleksey Suvorin]]: "As you see, the arrangement of the ballet for piano is already in print" <ref name="note58"/>. During February 1890 the same publishing house printed a simplified arrangement for solo piano by [[Eduard Langer]]. [[Sergei Rachmaninoff]]'s arrangement for piano 4 hands appeared in print in October 1891.


The composer's intention was not carried out, and the full score of the symphony remained in the form in which it was originally printed.
There is some uncertainty regarding the publication of the full score. In the catalogue of Tchaikovsky's works produced by [[Boris Jurgenson]] in 1898, the full score of ''The Sleeping Beauty'' is listed among the published compositions. The plate numbers, number of pages and price are also shown. However, neither the edition nor the plates have been found. The only corresponding plate number, shown in the records of the firm of [[P. Jurgenson]] as having been printed, relates to the ''Polonaise'' (No. 22).  


==Publication==
In 1890 the [[Hamburg]] music publisher [[Daniel Rahter]] submitted a request to the music department of the [[Saint Petersburg]] theatres to withdraw their copy of the score of the ballet. In a letter of 17/29 November 1890 to [[Nikolay Khristoforov]], Tchaikovsky gave his consent to this request <ref name="note59"/>. [[Rahter]] produced the score by lithography, resulting in a very limited print run, which might not therefore be considered as publication in the traditional sense. The Act II ''Entr'acte'' (No. 18) was omitted from [[Rahter]]'s edition.
''Manfred'' was published by [[Pyotr Jurgenson]] in [[Moscow]]:
* Full score. Plate 6762, 287 pages (February 1886) <ref name="note36"/>
* Orchestral parts. Plate 6763, 37 parts (February 1886) <ref name="note36"/>
* Arrangement for piano 4 hands (Tchaikovsky and [[Aleksandra Hubert]]). Plate 6764, 105 pages (April 1886)
* Arrangement for 2 pianos 8 hands (Vladimir Bryullov and Nikolay Lents). Plate 14282, 107 pages (1889)
* Arrangement for solo piano, (Max Lippold). Plate 29439, 80 pages (1904) <ref name="note37"/>.


The full score and piano duet arrangements were published in volumes 18 (1949) and volume 48 (1964) of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Yevgeny Makarov and Irina Iordan respectively.
In 1952 the full score of ''The Sleeping Beauty'' was published in volume 12 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Anatoly Dmitriyev. [[Aleksandr Ziloti]]'s transcription for solo piano was included in volume 57 of the same series (1954).


==Autographs==
==Autographs==
The composer's manuscript full score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|simfoniya-manfred|(ф. 88, No. 61)}}.
Tchaikovsky's autograph score of the complete ballet is now preserved the {{RUS-SPtob}} in [[Saint Petersburg]] (VII.1.4.154).
 
The autograph of Tchaikovsky's arrangement for piano duet is held at the [[Klin]] House-Museum Archive (a{{sup|1}}, No. 57). The manuscript of [[Aleksandra Hubert]]'s piano duet arrangement, containing notes by Tchaikovsky, is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|simfoniya-manfred-pomety-p-i-chaykovskogo-v-avtografe-perelozheniya-a-i-gubert-dlya-fortepiano-v-4-ruki|(ф. 88, No. 62)}}.


==Recordings==
==Recordings==
Line 112: Line 310:


==Dedication==
==Dedication==
The ''Manfred'' symphony is dedicated to [[Mily Balakirev]] <ref name="note35"/>.
The ballet is dedicated to [[Ivan Vsevolozhsky]] <ref name="note60"/>.


==Related Works==
==Related Works==
An early sketch for Astarte's theme in the first and fourth scenes was accompanied by the words '[[Nessun maggior dolore]]' [‘No greater sorrow'] from [[Dante]]'s ''Inferno'', which Tchaikovsky had previously set to music. This sketch may once have been intended for a vocal work dating from 1884–85, but was later adapted to serve as Astarte's theme in the symphony.
The music of the apotheosis in the final act is based on a popular French song, Marche Henri IV. The Marche was used as the national anthem of the Kingdom of France during the 17th (and 18th) century in which the ballet takes place. The original melody was written by a French cleric, ''Thoinot Arbeau'' (1520 – 1595).
 
The plainsong tune 'Dies irae' is quoted in the coda of the final movement (from bar 472).


==External Links==
==External Links==
* {{imslpscore|Manfred_Symphony,_Op.58_(Tchaikovsky,_Pyotr)|Manfred Symphony}}
* {{imslpscore|The_Sleeping_Beauty_(ballet),_Op.66_(Tchaikovsky,_Pyotr)|The Sleeping Beauty (ballet)}}


==Notes and References==
==Notes and References==
<references>
<references>
<ref name="note1">Letters from [[Mily Balakirev]] to Tchaikovsky of 28 September/10 October 1882 and 28 October/9 October 1882.</ref>  
<ref name="note1">[[Letter 3759]] to [[Nadezhda von Meck]], 8/20 January 1889. [[Perrault]]'s version was itself a retelling of the Italian story ''Sun, Moon, and Talia'' (Sole, Luna, e Talia) published in 1634 by Giambattista Basile (1566-1632).</ref>  
<ref name="note2">[[Letter 2158]] to [[Mily Balakirev]], 12/24 November 1882.</ref>  
<ref name="note2">Letter from [[Ivan Vsevolozhsky]] to Tchaikovsky, 13/25 May 1888 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note3">[[Letter 2156]] to [[Modest Tchaikovsky]], 8/20 November 1882.</ref>  
<ref name="note3">Letter from I. I. Ryumin to Tchaikovsky, 20 July/1 August 1888 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note4">Letter from [[Mily Balakirev]] to Tchaikovsky, 30 October/11 November 1884.</ref>  
<ref name="note4">Letter from [[Ivan Vsevolozhsky]] to Tchaikovsky, 22 August/3 September 1888 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note5">Tchaikovsky was travelling to [[Davos]] to see his dying friend [[Iosif Kotek]].</ref>  
<ref name="note5">[[Letter 3643]] to [[Ivan Vsevolozhsky]], 13/25 August 1888.</ref>  
<ref name="note6">[[Letter 2580]] to [[Mily Balakirev]], 31 October/12 November 1884.</ref>  
<ref name="note6">[[Letter 3647]] to [[Ivan Vsevolozhsky]], 22 August/3 September 1888.</ref>  
<ref name="note7">See Letters [[Letter 2594|2594]] and [[Letter 2611|2611]] to [[Mily Balakirev]], 17/29 November and 1/13 December 1884.</ref>  
<ref name="note7">[[Letter 3650]] to [[Modest Tchaikovsky]], 22 August/3 September 1888.</ref>  
<ref name="note8">See [[Letter 2718]] to [[Anna Merkling]], 4/16 June 1885.</ref>  
<ref name="note8">A. A. Bakhrushin State Central Theatrical Museum, [[Moscow]].</ref>  
<ref name="note9">[[Letter 2718]] to [[Anna Merkling]], 4/16 June 1885.</ref>  
<ref name="note9">From {{bib|2002/22|The Tchaikovsky Handbook, vol. 1}} (2002), p. 111–112.</ref>
<ref name="note10">[[Letter 2721]] to [[Nadezhda von Meck]], 13/25 June 1885.</ref>  
<ref name="note10">Letter from [[Vladimir Pogozhev]] to Tchaikovsky, 24 September/6 October 1888 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note11">[[Letter 2822]] to [[Sergey Taneyev]], 13/25 June 1885.</ref>  
<ref name="note11">i.e. the [[Symphony No. 5]], and the overture-fantasia ''[[Hamlet (overture-fantasia)|Hamlet]]''.</ref>  
<ref name="note12">[[Letter 2768]] to [[Mily Balakirev]], now believed to have been written around 20 September/2 October–22 September/4 October 1885.</ref>  
<ref name="note12">[[Letter 3682]] to [[Vladimir Pogozhev]], 1/13 October 1888.</ref>  
<ref name="note13">Tchaikovsky was busy correcting the proofs of the opera ''[[Cherevichki]]'' in June and July, as well as correcting his compositions for the church — see Letters [[Letter 2725|2725]] and [[Letter 2734|2734]] to [[Sofiya Jurgenson]], 20 June/2 July and 8/20–9/21 July 1885.</ref>
<ref name="note13">Until 7 October he was occupied with the instrumentation of the overture-fantasia ''[[Hamlet (overture-fantasia)|Hamlet]]'', and on the 10th he completed his [[Six French Songs, Op. 65]]. On 22 October he arrived in [[Moscow]] where, according to his letters, his time was taken up composing.</ref>  
<ref name="note14">[[Letter 2732]] to [[Anna Merkling]], 6/18 July 1885.</ref>
<ref name="note14">See letter from [[Ivan Vsevolozhsky]] to Tchaikovsky, 2/14 November 1888 — [[Klin]] House-Museum Archive, and [[Letter 3720]] to [[Ivan Vsevolozhsky]], 3/15 November 1888.</ref>  
<ref name="note15">[[Letter 2733]] to [[Sergey Taneyev]], 8/20 July 1885.</ref>  
<ref name="note15">See [[Marius Petipa]]'s note on the duplicate libretto for the Prologue — A. A. Bakhrushin State Central Theatrical Museum, [[Moscow]].</ref>  
<ref name="note16">[[Letter 2741]] to [[Emiliya Pavlovskaya]], 20 July/1 August 1885.</ref>  
<ref name="note16">See [[Letter 3748]] to [[Nadezhda von Meck]], 26 December 1888/7 January 1889.</ref>  
<ref name="note17">[[Letter 2745]] to [[Nadezhda von Meck]], 3/15 August 1885.</ref>  
<ref name="note17">See [[Marius Petipa]]'s note on the duplicate libretto for the Prologue — A. A. Bakhrushin State Central Theatrical Museum, [[Moscow]].</ref>  
<ref name="note18">[[Letter 2750]] to [[Nikolay Tchaikovsky]], 19/31 August 1885.</ref>  
<ref name="note18">Tchaikovsky referred to Act I as the second act, and to the Prologue as the first.</ref>  
<ref name="note19">[[Letter 2747]] to [[Emiliya Pavlovskaya]], 10/22 August 1885.</ref>  
<ref name="note19">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), pp. 219–220.</ref>  
<ref name="note20">[[Letter 2759]] to [[Nadezhda von Meck]], 31 August/12 September 1885.</ref>  
<ref name="note20">[[Letter 3759]] to [[Nadezhda von Meck]], 6/18 January 1889. See also [[Letter 3758]] to [[Ivan Vsevolozhsky]] of the same date.</ref>  
<ref name="note21">In both programmes, [[Mily Balakirev]] suggested that the Scherzo should be in the key of B-flat major. Tchaikovsky, evidently, was mistaken: the Scherzo of ''Manfred'' is set in B minor.</ref>
<ref name="note21">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), pp. 220–221.</ref>  
<ref name="note22">[[Letter 2765]] to [[Mily Balakirev]], 13/25 September 1885.</ref>  
<ref name="note22">[[Letter 3758]] to [[Ivan Vsevolozhsky]], 6/18 January 1889.</ref>
<ref name="note23">[[Letter 2761]] to [[Modest Tchaikovsky]], 3/15 September 1885.</ref>  
<ref name="note23">See [[Letter 3758]] to [[Ivan Vsevolozhsky]], 6/18 January 1889; diary entry for 22 January, and [[Marius Petipa]]'s date on the manuscript scenario of the fifth scene — [[Klin]] House-Museum Archive.</ref>  
<ref name="note24">[[Letter 2771]] to [[Modest Tchaikovsky]], 20 September/2 October 1885. See also [[Letter 2776]] to [[Anna Merkling]], 13/25 September 1885, and [[Letter 2772]] to [[Nadezhda von Meck]], 22 September/4 October 1885.</ref>  
<ref name="note24">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), p. 222.</ref>  
<ref name="note25">[[Letter 2787]] to [[Emiliya Pavlovskaya]], 9/21 October 1885.</ref>  
<ref name="note25">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), p. 228.</ref>  
<ref name="note26">See [[Letter 2768]] to [[Mily Balakirev]]. 22 September/4 October 1885.</ref>  
<ref name="note26">See diary entries for 4/16 and 5/17 April 1889, and the composer's dates on the sketches.</ref>  
<ref name="note27">Letters from [[Mily Balakirev]] to Tchaikovsky, 16/28 November and 28 November/10 December 1885.</ref>  
<ref name="note27">See Tchaikovsky's date on the sketches.</ref>  
<ref name="note28">See [[Letter 2874]] to [[Modest Tchaikovsky]]. 30 January/11 February 1886.</ref>  
<ref name="note28">[[Letter 3839]] to [[Modest Tchaikovsky]], 15/27 April 1889. See also diary entries for 18/30 April, 20 April/2 May 1889.</ref>  
<ref name="note29">[[Letter 2913]] to [[Nadezhda von Meck]], 13/25 March 1886.</ref>  
<ref name="note29">See sketches in [[Klin]] House-Museum Archive.</ref>
<ref name="note30">[[Letter 2831]] to [[Anna Merkling]], 9/21 December 1885, and [[Letter 2879]] to [[Nadezhda von Meck]], 6/18 February 1886.</ref>  
<ref name="note30">[[Letter 3843]] to [[Marius Petipa]], 26 April/8 May 1889.</ref>  
<ref name="note31">The opera in question was ''[[The Enchantress]]''.</ref>  
<ref name="note31">See diary entry for 15/27 May 1889.</ref>  
<ref name="note32">See [[Letter 2912]] to [[Mily Balakirev]], and [[Letter 2913]] to [[Nadezhda von Meck]], both dated 13/25 March 1886.</ref>  
<ref name="note32">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), p. 241.</ref>
<ref name="note33">[[Letter 3011]] to [[Mikhail Ippolitov-Ivanov]], 23 July/4 August 1886.</ref>  
<ref name="note33">[[Letter 3869]] to [[Modest Tchaikovsky]], 2/14 June 1889.</ref>  
<ref name="note34">[[Letter 3675]] to [[Grand Duke Konstantin Konstantinovich]], 21 September/3 October 1888.</ref>
<ref name="note34">[[Letter 3872]] to [[Grand Duke Konstantin Konstantinovich]], 7/19 June 1889.</ref>  
<ref name="note35">See [[Letter 2765]] to [[Mily Balakirev]], 13/25 September 1885.</ref>  
<ref name="note35">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), p. 242.</ref>  
<ref name="note36">The full score and parts both were advertised by [[Jurgenson]] in the May 1886 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 101).</ref>
<ref name="note36">See {{bib|1923/23|Дневники П. И. Чайковского}} (1923), p. 244.</ref>  
<ref name="note37">Advertised by [[Jurgenson]] in the July 1904 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 367).</ref>
<ref name="note37">[[Letter 3882]] to [[Nikolay Khristoforov]], 18/30 June 1889.</ref>  
<ref name="note38">[[Letter 3894]] to [[Grand Duke Konstantin Konstantinovich]], 2/14 July 1889.</ref>
<ref name="note39">[[Letter 3919]] to [[Mikhail Ippolitov-Ivanov]], 9/21 August 1889.</ref>
<ref name="note40">[[Letter 3920]] to [[Nadezhda von Meck]], 13/25 August 1889.</ref>
<ref name="note41">[[Letter 3922]] to [[Semyon Kruglikov]], 16/28 August 1889.</ref>
<ref name="note42">[[Letter 3928]] to [[Yuliya Shpazhinskaya]], 2/14 September 1889.</ref>
<ref name="note43">See scenario and letter from [[Nikolay Khristoforov]] to Tchaikovsky, 7/19 October 1889.</ref>
<ref name="note44">[[Letter 4134]] to [[Anna Aleksandrova-Levenson]], 4/16 June 1890.</ref>
<ref name="note45">Telegram from [[Ivan Vsevolozhsky]] to Tchaikovsky, 27 December 1889/8 January 1890 — [[Klin]] House-Museum Archive.</ref>
<ref name="note46">Preserved in the [[Klin]] House-Museum Archive is a poster relating to a concert in [[Saint Petersburg]] on 19/31 October 1894, which advertised in the programme "for the first time" the violin solo from the ballet ''The Sleeping Beauty''. A review of this concert published in the journal ''New Time'' (Новое время) of 20 October {{OS}} the same year, noted that the solo was not performed.</ref>
<ref name="note47">[[Letter 3909]] to [[Nadezhda von Meck]], 25 July/6 August 1889.</ref>
<ref name="note48">See [[Letter 3874]] to [[Aleksandr Ziloti]], 12/24 June 1889.</ref>
<ref name="note49">See [[Letter 3881]] to [[Aleksandr Ziloti]], 18/30 June 1889.</ref>
<ref name="note50">[[Letter 3907]] to [[Aleksandr Ziloti]], 23 July/4 August 1889.</ref>
<ref name="note51">[[Letter 3911]] to [[Aleksandr Ziloti]], 28 July/9 August 1889.</ref>
<ref name="note52">[[Letter 3923]] to [[Aleksandr Ziloti]], 17/29 August 1889.</ref>
<ref name="note53">[[Letter 4015]] to [[Pyotr Jurgenson]], 26 January/7 February 1890.</ref>
<ref name="note54">See [[Letter 4400]] to [[Aleksandr Ziloti]], 11/23 June 1891, and [[Letter 4408]] to [[Pyotr Jurgenson]], 14/26 June 1891.</ref>
<ref name="note55">See [[Letter 4405]] to [[Aleksandr Ziloti]], 14/26 June 1891.</ref>
<ref name="note56">See [[Letter 3909]] to [[Nadezhda von Meck]], 25 July/6 August 1891.</ref>
<ref name="note57">See [[Letter 4017]] to [[Pyotr Jurgenson]], 28 January/9 February 1890.</ref>
<ref name="note58">[[Letter 3997]] to [[Aleksey Suvorin]], 3/15–4/16 January 1890.</ref>
<ref name="note59">[[Letter 4257]] to [[Nikolay Khristoforov]], 17/29 November 1890.</ref>
<ref name="note60">[[Letter 3983]] to [[Pyotr Jurgenson]], 11/23 December 1889.</ref>
</references>
</references>
[[Category:Symphonies]]
[[Category:Ballets]]

Revision as of 21:21, 10 February 2023

The Sleeping Beauty (Спящая красавица), Op. 66 (TH 13 ; ČW 13), was the second of Tchaikovsky's three ballet scores, based on the fairy tale by Charles Perrault. It was composed and orchestrated from October 1888 to August 1889, with minor revisions during stage rehearsals in the last three months of 1889.

Instrumentation

The ballet is scored for a large orchestra comprising piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 cornets (in A, B-flat), 2 trumpets (in A, B-flat), 3 trombones, tuba + 4 timpani, triangle, tambourine, military drum, cymbals, bass drum, tam tam, glockenspiel + piano + harp, violins I, violins II, violas, cellos, and double basses.

Movements and Duration

Tchaikovsky's original score contains an Introduction and 30 individual numbers as listed below. The titles of numbers in French (italic type) and Russian (Cyrillic) are taken from the published score, with English translations added in bold type.

Introduction (Интродукция)
Allegro vivo (76 bars)
Prologue No. 1 March (Marche ; Марш)
Moderato (147 bars)
No. 2 Dancing Scene: Entrance of the Fairies (Scène dansante: Entrée des Fées ; Сцена с танцами: Выход фей)
Moderato con moto—Tempo di Valse (210 bars)
No. 3 Pas de six:
[a]
[b]
[c]
[d]
[e]
[f]
[g]
[h]
Adagio — Andante (93 bars)
Var. I. Candide (Фея искренности). Allegro moderato (36 bars)
Var. II. Coulante: The Fairy of Blooming Wheat (Coulante: Fleur de Farine ; Фея цветущих колосьев). Allegro (35 bars)
Var. III. Breadcrumb (Miettes qui tombent ; Фея, рассыпающая хлебные крошки). Allegro moderato (41 bars)
Var. IV. The Singing Canary (Canari qui chante ; Фея-щебечущая канарейка). Moderato (25 bars)
Var. V. Violante (Фея пылких сильных страстей). Allegro molto vivace (76 bars)
Var. VI. The Lilac Fairy (La Fée des Lilas ; Фея сирени). Tempo di Valse (60 bars)
Coda (Кода). Allegro giusto (79 bars)
No. 4 Finale (Финал)
Andante—Allegro vivo (293 bars)
Act I No. 5 Scene (Scène ; Сцена)
Allegro vivo (215 bars)
No. 6 Waltz (Valse ; Вальс)
Allegro. Tempo di Valse (297 bars)
No. 7 Scene (Scène ; Сцена)
Andante (71 bars)
No. 8 Pas d'action:
(a) Adagio ["Rose Adagio"]
Andante—Adagio maestoso (82 bars)
(b) Dances of the Maids of Honour and Pages (Danse des demoiselles d'honneur et des pages ; Танец фрейлин и пажей)
Allegro moderato (63 bars)
(c) Aurora's Variation (Variation d'Aurore ; Вариация Авроры)
Allegro moderato (118 bars)
(d) Coda (Кода)
Allegro giusto (179 bars)
No. 9 Finale (Финал)
Allegro giusto (193 bars)
Act II Scene 1 No. 10 Entr'acte and Scene (Entr'acte et Scène ; Антракт и сцена)
Allegro con spirito (79 bars)
No. 11 Blind Man's Buff (Colin-maillard ; Жмурки)
Allegro vivo (56 bars)
No. 12 (a) Scene (Scène ; Сцена)
Moderato (17 bars)
(b) Dance of the Duchesses (Danse des duchesses ; Танец герцогинь)
Moderato con moto. Tempo di Menuetto (24 bars)
(c) Dance of the Baronesses (Danse des baronesses ; Танец баронесс)
Allegro moderato. Tempo di Gavotte (26 bars)
(d) Dance of the Countesses (Danse des comtesses ; Танец графинь)
Allegro non troppo (26 bars)
(e) Dance of the Marchionesses (Danse des marquises ; Танец маркиз)
Allegro non troppo (46 bars)
No. 13 Farandole (Фарандола)
(a) Scene (Scène ; Сцена)
Poco più vivo (16 bars)
(b) Dance (Danse ; Танец)
Allegro non troppo. Tempo di Mazurka (76 bars)
No. 14 Scene (Scène ; Сцена)
Allegro con spirito (133 bars)
No. 15 Pas d'action:
(a) Scene of Aurora and Désiré (Scene d'Aurore et de Désiré ; Сцена Авроры и принца Дезире)
Andante cantabile (167 bars)
(b) Aurora's Variation (Variation d'Aurore ; Вариация Авроры)
Allegro con moto (69 bars)
(c) Coda (Кода)
Presto (94 bars)
No. 16 Scene (Scène ; Сцена)
Allegro agitato (24 bars)
No. 17 Panorama (Панорама)
Andantino (78 bars)
Scene 2 No. 18 Entr'acte (Антракт)
Andante sostenuto (78 bars)
No. 19 Symphonic Entr'acte: Sleep (Entr'acte symphonique: Le sommeil ; Симфонический антракт: Сон)
Andante misterioso (99 bars)
Scene (Scène ; Сцена)
Allegro vivace (44 bars)
No. 20 Finale (Финал)
Allegro agitato (75 bars)
Act III No. 21 March (Marche ; Марш)
Allegro non troppo (109 bars)
No. 22 Polonaise (Polacca ; Полонез)
Allegro moderato e brillante (158 bars)
No. 23 Pas de quatre:
[a]
[b]
[c]
[d]
[e]
[f]
Allegro non tanto (62 bars)
Var. I. The Gold Fairy (La Fée-Or ; Фея Золота). Allegro. Tempo di Valse (65 bars)
Var. II. The Silver Fairy (La Fée-Argent ; Фея Серебра). Allegro giusto (48 bars)
Var. III. The Sapphire Fairy (La Fée-Saphir ; Фея Сапфиров). Vivacissimo (44 bars)
Var. IV. The Diamond Fairy (La Fée-Diamant ; Фея диамант). Vivace (52 bars)
Coda (Кода). L'istesso tempo (49 bars)
No. 24 Pas de caractère:
Puss-in-Boots and the White Cat (Le chat botté et la chatte blanche ; Кот в сапогах и Белая кошечка)
Allegro moderato (44 bars)
No. 25 Pas de quatre:
[a] Adagio (28 bars)
[b] Var. I. Cinderella and Prince Fortuné (Cendrillon et le Prince Fortuné ; Золушка и принц Фортюне). Allegro. Tempo di Valse (56 bars)
[c] Var. II. The Blue Bird and Princess Florine (L'oiseau Bleu et la Princesse Florine ; Синяя птица и принцесса Флорина). Andantino (25 bars)
[d] Coda (Кода). Presto (90 bars)
No. 26 Pas de caractère:
[a] Little Red Riding-Hood and the Wolf (Chaperon rouge et le Loup ; Красная Шапочка и Волк)
Allegro moderato (68 bars)
[b] Cinderella and Prince Fortuné (Cendrillon et le Prince Fortuné ; Золушка и принц Фортюне)
Allegro agitato (172 bars)
No. 27 Pas berrichon:
Tom Thumb, His Brothers, and the Ogre (Le petit poucet, ses frères et l'Ogre ; Мальчик-с-пальчик, его братья и Людоед)
Allegro vivo (75 bars)
No. 28 Pas de deux:
[a] Aurora and Prince Désiré (Aurore et le Prince Désiré ; Аврора и принц Дезире)
Allegretto (5 bars)
[b] Entrance (Entrée ; Выход)
Allegro moderato (42 bars)
[c] Adagio
Andante non troppo (87 bars)
[d] Var. I. Prince Désiré (Принц Дезире). Vivace (59 bars)
[e] Var. II. Aurora (Aurore ; Аврора). Andantino (56 bars)
[f] Coda (Кода). Allegro vivace (92 bars)
No. 29 Sarabande (Сарабанда)
Andante (48 bars)
No. 30 Finale (Финал)
Allegro brillante. Tempo di Mazurka (384 bars)
Apotheosis (Apothéose ; Апофеоз)
Andante molto maestoso (68 bars)

A complete performance of The Sleeping Beauty lasts around 160 minutes.

Libretto

The libretto was compiled by Ivan Vsevolozhsky, after Charles Perrault's story La belle au bois dormant, from the collection Histoires et contes du temps passé (1697).

"The subject of the ballet that I am writing was devised by the Director of the theatre, Vsevolozhsky himself. It is based on Perrault's well-known fairy tale La belle au bois dormant. The subject is extremely likeable and poetic", Tchaikovsky told Nadezhda von Meck on 8/20 January 1889 [1].

Ivan Vsevolozhsky, in a letter of 13/25 May 1888 proposed The Sleeping Beauty to Tchaikovsky as the subject for a ballet. "I am planning to write a libretto on La belle au bois dormant after Perrault's fairy tale. I would like a mise en scène in the style of Louis XIV, which would be a musical fantasia written in the spirit of Lully, Bach, Rameau, etc. If this idea appeals to you, then why not undertake to write the music? In the last act there would have to be quadrilles for all Perrault's fairy-tale characters—these should include Puss-in-Boots, Hop o' My Thumb, Cinderella, Bluebeard, etc." [2]. The composer's reply to this letter has not been preserved.

On 20 July/1 August 1888, the director of the Theatrical School, I. I. Ryumin, sent the libretto of the ballet to Tchaikovsky. In his accompanying letter he wrote: "Would you be so kind as to examine it and report to Ivan Aleksandrovich, or to me, whether you are inclined to write the music for a ballet on this theme. If you should find it possible to carry out the wish of Mr Director, your music will ensure the success of the intended ballet" [3].

There was no reply to this letter. It is possible that the letter was received while the composer was absorbed in his work on the Symphony No. 5, the overture-fantasia Hamlet, and in orchestrating the Overture-Fantasia by Herman Laroche, and that he simply did not have the time to respond, or he did not notice it among the vast correspondence he received.

In any event, after Ivan Vsevolozhsky wrote to him again on 9/21 August 1888 [4], Tchaikovsky responded that the subject interested him greatly, but he had not received the libretto [5]. And only in a letter to Vsevolozhsky of 22 August/3 September 1888 from Moscow did the composer report, "I am hastening to inform you that the manuscript of "La Belle au bois dormant" has finally reached me, just as I was boarding the train going from Moscow to Kiev. I have not been here more than a few hours, but I have managed to read through the scenario and I very much wanted to tell you forthwith that I am delighted and enchanted beyond all description. It suits me perfectly and I ask nothing more than to make the music for it. This delicious subject could not possibly have been better adapted for the stage, and to you, its author, permit me to express my warmest congratulations. I am leaving for Kiev, returning home on 2 September, and on the 12th of the same month I will be in Petersburg. I will hasten to come and see you and beg you to bring Monsieur Petipa and I together to settle the details relating to the setting of the music in your scenario" [6]. Emphasizing in the same letter that in view of its scale, the composition of the ballet could only be finished for the 1889/90 season, Tchaikovsky added: "The idea of this work gladdens me [...] as from today I shall be thinking only about the ballet". "I have received the libretto of the ballet. It is excellent", the composer wrote the same day to Modest Tchaikovsky [7].

Although the authorship of the libretto is normally attributed to Ivan Vsevolozhsky, it is possible that Marius Petipa also had some involvement, since in the archive of the latter there is a manuscript dated 3/15 July 1888, with a list of characters in the ballet, and descriptions of the numbers in every scene [8].

Synopsis

The story opens in the court of King Florestan XIV, in the seventeenth century.

Prologue. In the Royal castle, celebrations are in progress for the christening of the infant Princess Aurora. As the guests arrive they are shown to their places by the Master of Ceremonies, Catalabutte. The King and the Queen enter and prepare to receive the six fairy godmothers. The fairies arrive with their pages, who dance with the royal maids of honour. The fairies each come forward in turn with their gifts, arranging them around the cradle and accompanying them with promises that the Princess shall grow up beautiful, talented, and kind-hearted. As the Lilac Fairy approaches the cradle, the wicked fairy Carabosse arrives, in a carriage drawn by rats. She is furious at not having been invited to be a godmother, and pronounces a curse on the baby: one day Aurora will prick her finger on a spindle and fall into an everlasting sleep. Then the Lilac Fairy, who was about to bestow her own gift, intervenes. She does not have the power to overturn Carabosse's curse, but she mitigates it by saying that the princess shall be awoken after a hundred years by the kiss of young Prince. The enraged Carabosse drives off in her carriage.

Act I. In the gardens of the Royal Castle, visitors are gathered to celebrate Aurora's twentieth birthday. Among the villagers Catalabutte notices some old women threading spindles, which has been strictly forbidden since the day of Carabosse's curse. He confiscates the spindles and threatens the culprits with death. The King arrives with his Queen, accompanied by four princes, suitors of Princess Aurora. The princes' intercession saves the old women from death, and the rejoicing resumes. The four princes approach the King and Queen as suitors for Aurora's hand. When Aurora enters, they are presented to her. She dances with the four princes in turn, accepting from each the rose he offers her. First the maids of honour, then the pages, and finally Aurora herself dance again. She sees an old woman who offers her a spindle. Delighted with it, she dances, waving it in the air. Suddenly she pricks her finger. She dances ever faster, but abruptly falls to the ground. The old woman reveals herself to be Carabosse and, threatened by the princes, she vanishes in a cloud of smoke. Then the Lilac Fairy appears and orders that Aurora be carried into the castle. She must sleep for a hundred years, and the whole court with her. As a mist rises, the people grow still, and trees and bushes swiftly grow to completely hide the castle.

Act II. One hundred years has passed. Young Prince Desiré is out hunting with his retinue, and they pause at a clearing in the forest (Scene 1), where they dance and play games. During the festivities the Prince remains aloof and uninterested in the girls' attention. His tutor Galifron leads the dancers to their places for more formal dances. The ladies propose a farandole in which the peasants accompanying the hunt may join. The hunt is resumed by all except the Prince, who remains behind, overtaken by a pensive mood. Suddenly, the Lilac Fairy appears before him, and recounts the story of the Sleeping Beauty, conjuring up a vision of her. The vision of Aurora dances with the Prince, and then by herself, before finally vanishing. Entranced and overwhelmed by the vision of Aurora, the Prince begs to be led to her. The Lilac Fairy and Prince Desiré travel in her boat through an enchanted wood to the castle, where all is eerily quiet. The fairy guides the Prince to the castle (Scene 2), and to Aurora's bedside. He gazes at the Princess and then, recognizing her as the Sleeping Beauty from his vision, he kisses her. The spell is broken. Aurora awakens and, seeing the Prince of whom she has dreamed, she takes him in her arms. Light floods the castle, the forest vanishes, and the King, Queen and courtiers awaken.

Act III. Catalabutte leads in the nobles and courtiers to greet the King and Queen for the wedding celebrations of Aurora and Desiré. The Silver, Gold, Sapphire and Diamond Fairies arrive, followed by guest characters from fairy-tales: Puss in Boots and the White Cat; Cinderella and Prince Fortuné; the Blue Bird and Princess Florine; Red Riding-Hood and the Wolf; Hop o'my Thumb, his brothers and the Ogre. Then Princess Aurora and Prince Desiré dance together. Roman, Persian, Indian, American, and Turkish guests dance a sarabande. All who have taken part in the entertainment parade around the floor. Finally, the Lilac Fairy appears to bless the marriage, and in true fairy-tale tradition, all live happily ever after. [9]

Composition

Tchaikovsky did not start work on the ballet during August or September 1888, since he was occupied with the completion of other works. In answer to a question by Vladimir Pogozhev [10], asking whether he was working well on the music of his new ballet, Tchaikovsky replied on 1/13 October: "Concerning the ballet I will say to you that the subject itself greatly delights me, and I will work on it with great pleasure. I emphasise the will work, because I have still not written a single note. Before taking up composition it is necessary for me to enter into discussions with the ballet master. I was going to be in Petersburg during September, but this is not now the case, my having been delayed by the completion of two large compositions which are urgently required [11]. I am planning to remain in the village until the end of October. Around 1/13 November I shall be in Petersburg for a sufficient period of time to have the opportunity of discussing with the balletmaster, how, when and what is required. In any case, in view of my forthcoming travels I could submit the full score of the ballet to the directors no earlier than the beginning of next season, i.e. a whole year away. Although you evidently understood the music to the ballet was already taking shape, I fear that Ivan Aleksandrovich does not consider me capable of writing this music even during the course of the present season. I trust that through your good offices, Vladimir Petrovich, you will be careful to report all this to him" [12].

It is not possible to accurately establish when work began on the ballet. On the cover of the September 1888 issue of the journal Russian Herald (Русский вестник) belonging to Tchaikovsky are notes of themes for the fairies' variations in the Prologue, which were developed into sketches during October (apparently between 11th and 22nd). From the author's notes in the copybook containing the sketches, it is clear that during October Tchaikovsky worked on the ballet for ten days in total [13]. These sketches include: the entrance of the fairies and waltz of pages and girls (No. 2 in the piano score), the fairies' variations (No. 3) and the start of the finale of the Prologue, where the Lilac Fairy approaches Aurora's Cradle.

On 30 October/11 November, Tchaikovsky left for Saint Petersburg, where on 6/18 November his meeting with Ivan Vsevolozhsky and Marius Petipa took place [14], at which time the balletmaster supplied Tchaikovsky with a detailed scheme for the Prologue [15].

Soon after this Tchaikovsky left for Prague; further meetings with Vsevolozhsky and Petipa took place in Saint Petersburg only between 12/24 December and 25 December/6 January [16]. On 18/30 December, Marius Petipa gave Tchaikovsky the detailed plan for Acts I and II [17]. On 26 December/7 January Tchaikovsky returned to Frolovskoye, and for some days The Sleeping Beauty was at the centre of his creative imagination. Almost daily entries in his diary, accounts in his letters, and the form of his sketches reveal an extraordinarily intensive creative process. Before his departure from Frolovskoye three weeks later, on 19/31 January 1889, the composer had finished the Prologue and written the whole of Acts I and II, as well as the Introduction to the ballet. His progress on the work can be established with some accuracy by comparing the dates on the sketches with the dates from his diary. Up to 1/13 January he worked on the end of the Prologue, starting from the appearance of the fairy Carabosse (end of No. 4), then the knitting scene (No. 5) and Waltz (No. 6) from Act I. On 1/13 January he noted in his diary: "I don't recall a more timely encounter [with the New Year]. Worked all morning" (Aurora's entrance, No. 7):

TH013a.jpg

On 2/14 January: "The day passed as always, when I'm absorbed in my work. Wrote the big Adagio in the second act [18], which was hard work!!!" (Adagio for Aurora and the four princes, Act I, No. 8). On 4/16 January the composer worked on the Finale to Act I (according to the author's notes on the sketches). On 5/17 January he recorded in his diary: "Worked generally well today. Finished the second act. Played it through (it lasts half an hour)" [19].

It is apparent from the sketches that the composer left Act I without its conclusion, which was written later.

On the evening of 6/18 January, Tchaikovsky left for Moscow. After returning from Moscow on 8/20 January, the composer wrote to Nadezhda von Meck: "I have recently been working with such perseverance and application, that I have already written two whole acts of the ballet. I have been to Moscow for two days on Musical Society business, and I'm now once again ready for work" [20].

The sketches indicate that Tchaikovsky resumed composition of the ballet from the second scene of Act II. On 10/22 January he noted in his diary: "Work went well. Wrote the whole entr'acte to the Sleep scene without effort" (No. 19). On 11/23 January he noted: "Worked just as well today as previously. A great deal done. Finished the 2nd scene of the 2nd act [No. 19]. After this fashioned the Entr'acte with the violin solo [No. 18], and then even the first scene of Act II" (Nos. 16–17). On 14/26 January he recorded in his diary: "Worked ever so assiduously. Hopeful of finishing the first four scenes before my departure" [21]. On 17/29 January the author noted in his sketchbooks: "Finished everything I intended to do before my departure, i.e. the first four scenes of the ballet!". On 6/18 January, the appointed day for his meeting with Marius Petipa, Tchaikovsky had written to Ivan Vsevolozhsky, "I hope to fulfil my promise, i.e. at the beginning of the season (not later than 15 August) [O.S.] to deliver the Violin répétiteur to Petipa, and by November, the entire musical score" [22].

On 19/31 January, Tchaikovsky left for Saint Petersburg. On 22 January/3 February he had another meeting with Ivan Vsevolozhsky and Marius Petipa, during which the balletmaster gave the composer the detailed plan for the final, fifth scene [23]. On 23 January/4 February, Tchaikovsky played through Act I of the ballet for the directors [24], and the following day he left for travels abroad. Several times during his journey he embarked on the composition of the fifth scene of the ballet. On 6/18 March in Hannover he noted in his diary: "Attempted to compose the ballet. Did a little, but poorly and without inspiration" [25]. Judging by the sequence of the sketches, here he wrote the introduction and march for Act III (No. 21). Later, in the Mediterranean, on board the steamship Cambodge between Marseilles and Constantinople, Tchaikovsky composed the Polonaise for Act III of the ballet (No. 22) [26]. After the Polonaise, the Act I finale "transformation of the garden into a forest" was completed, the sketches for which are marked: "Tiflis" [27]. The composer travelled here from Constantinople to visit Anatoly Tchaikovsky, and remained here from mid/late April until early/mid May.

Despite unfavourable working conditions, about which Tchaikovsky reported in his letter to Modest Tchaikovsky of 15/27 April 1889, the ballet continued to progress [28]. In Tiflis he made musical notes in his notebook, and sketches for some scenes in Act III: the variations for the jewel fairies (No. 23); Puss-in-Boots and the White Cat (No. 24); Little Red Riding Hood (No. 26) and Hop o' My Thumb (No. 27) [29]. In a letter of 26 April/8 May to Marius Petipa, Tchaikovsky reported: "I have almost completed the sketches for the fifth scene of the ballet The Sleeping Beauty. Everything will be finished not later than 1st June" [O.S.] [30].

After visiting Saint Petersburg in May, where he again met with Ivan Vsevolozhsky and Marius Petipa [31], Tchaikovsky returned to Frolovskoye on 19/31 May and was again absorbed in work on the ballet. Notes in his diary indicate a surge of creativity. On 20 May/1 June, the sketches indicate that he began to compose the variations for Cinderella, Fortuné, the Blue Bird and Florine (Pas de quatre, No. 25). On 23 May/4 June he recorded in his diary: "Worked intensively and successfully (Pas de deux)" (No. 28—Aurora and Desiré). Sketches for the Sarabande (No. 29) then followed, and on 25 May/6 June he wrote in his diary: "Wrote the last number of the ballet: Mazurka" (No. 30). On 26 May/7 June he noted: "Finished the composition of the ballet, in spite of a headache and poor spirits"[32]. In the manuscript sketches after the finale is the author's note: "Finished the sketches 26 May 1889 [O.S.] at 8 o'clock in the evening. Praise God! In all I worked ten days during October, 3 weeks in January, and a week now. And so only about 40 days". In this note the composer did not take into account the time he spent on the sketches while abroad and in the Caucasus.

On 30 May/11 June 1889, Tchaikovsky set about the instrumentation of the ballet, on which he worked with great intensity, barely leaving Frolovskoye until 16/28 August. "I have already begun the instrumentation of the ballet, and spend all day at my desk", the composer wrote to Modest Tchaikovsky on 2/14 June [33]. "I am immersed in work, i.e. the instrumentation of the ballet, which must be finished in September without fail", he reported in a letter to the Grand Duke Konstantin Konstantinovich [34]. On 5/17 June in his diary he recorded: "Worked well (end of Pas de Six)" [35].

On 13/25 June in his diary he noted: "In the evening, waltz orchestrated with pleasure" (No. 6) [36]. On 15/27, 16/28 and 17/29 June, Tchaikovsky was occupied with adding the final markings to the Prologue. On 18/30 June he sent the manuscript of the Prologue to Saint Petersburg, promising to send the following act in ten days[37].

On 2/14 July, Tchaikovsky wrote to the Grand Duke Konstantin Konstantinovich: "I have already finished the instrumentation of the first two acts of my ballet (La Belle au bois dormant). The subject of the ballet is appealing to the highest degree, and I carry out this task with pleasure" [38]. The author's date at the end of Act I of the full score is 3/15 July. Then Tchaikovsky began the orchestration of the third act, continuing this work through July, and on 25 July/6 August he completed Act III (date on the manuscript full score). Next, the composer set about the instrumentation of Act II. On 9/21 August, Tchaikovsky wrote to Mikhail Ippolitov-Ivanov: "The end of the ballet is drawing near. It proved to be huge, requiring a great deal of effort. At times I experienced terrible fatigue! But I think that on the whole, the music has come out successfully" [39]. On 13/25 August in a letter to Nadezhda von Meck, with the ballet in mind, Tchaikovsky reported: "And so this labour draws near its end. For several days I will sigh deeply and experience that rare feeling of having brought a complex work to its conclusion... I lavished particular care on its instrumentation, and devised several completely new orchestral combinations, which I hope will be very beautiful and interesting" [40]. On 16/28 August in a letter to Semyon Kruglikov, we read: "Congratulate me: Today I finished an enormous ballet score. These arms have raised an entire mountain" [41]. On the same day the composer wrote on the manuscript full score: "End of 2nd act. 16th August 89 [O.S.]. Hurrah!". It is possible that after 16/28 August, Tchaikovsky introduced other corrections into his work, since in a letter to Yuliya Shpazhinskaya of 2/14 September 1889, he referred to 20 August/1 September as the date on which he wrote the "longed-for concluding chord of the last act"[42].

In October 1889, during the orchestral rehearsals of the ballet, the directors asked Tchaikovsky to write additional music for the scene of Cinderella and Fortuné (No. 26b). The scenario for this number, compiled by Marius Petipa from a synopsis by Riccardo Drigo, was sent to Tchaikovsky at Frolovskoye on 7/19 October [43]. In all probability this number was written immediately on Tchaikovsky's receipt of the scenario. On 17/29 October, Petipa wrote to Tchaikovsky, apparently with regard to this additional number: "The dance is a little long, and I beg you to permit me to make a small cut" [44].

On 27 December 1889/8 January 1890, Tchaikovsky received a telegram from Ivan Vsevolozhsky in which, after setting out the schedule for the final rehearsals and first production, went on: "Your presence is desirable all the more because your agreement will probably be required to dispense with Auer's solo: it slows down the action" [45]. Tchaikovsky's reaction to this suggestion is not documented, but the Entr'acte (No. 18) before the symphonic picture Sleep was not included in the performance [46].

Arrangements

On 25 July/6 August 1889, Tchaikovsky wrote to Nadezhda von Meck: "My ballet will appear in print in November or December. The arrangement for piano is being made by Ziloti" [47]. Even during his work on the orchestration, Tchaikovsky approached Aleksandr Ziloti with a request to make a two-hand arrangement of the ballet. "I am finding work terribly stressful and, probably as a result of old age, am tired in the extreme. I dread to think that, after writing this enormous full score, I still have to do the two-hand arrangement, which is required by the ballet master and Jurgenson, who hopes to have it in print by early autumn. And so, Sasha, I would be indescribably happy if you were to do the arrangement. Besides Taneyev and yourself there's no one I can trust". Assuring Ziloti that he would not be offended if he declined the proposed work, Tchaikovsky wrote: "I am conscious of the fact that this is not a trivial task, and that nowhere else is music more essential than in ballet... I will wait until the 28th [O.S.], and if you say yes, then I will prepare you two acts"[48]. Aleksandr Ziloti immediately agreed to carry out the request by the composer, who intended to send him the score of the Prologue. However, after receiving a letter from the theatre directorate, Tchaikovsky reported to Ziloti on 18/30 June that: "I was just preparing to send to you the score of the first act [i.e. Prologue], when I received a letter from Khristoforov, immediately requiring the full score so that it can be copied, the parts written out, and, chiefly, the compilation of the violin répétiteur, which Petipa needs as soon as possible... I must therefore send my manuscript to Khristoforov, and he, after all the copies have been taken, will return it. This notwithstanding, I urge you not to turn down the work on the arrangement. It's just that it has to begin rather later". Further on, he suggests that the Prologue should be returned "in three weeks"[49].

It might be assumed that arrangements concerning the Prologue went according to plan, but eventually Aleksandr Ziloti found that he was working faster than the copyists at the Mariinsky Theatre. In a letter from Tchaikovsky of 23 July/4 August we read: "I am at a loss, since I could have sent you part of the third act long ago—this comprised one or two copybooks which only had to be marked up and sent off. But above all I wanted to finish the entire instrumentation of this act, before inserting the markings and sending everything away. Meanwhile for some reason everything happened in a rush, and I was alarmed by your telegram... All the acts will be completely ready and sent to you within three or four days at the latest. Tomorrow I am sending you just one notebook... This act is enormous. Then the remaining two (unfamiliar to you), which are somewhat shorter. They are some of my best work, and I am very glad that out of necessity you've started with the weakest. Did you receive the full score in Petersburg? I think everything will be finished by 15th August" [O.S.] [50]. The remaining part of Act III was sent to Ziloti on 28 July/9 August [51].

On 17/29 August the composer wrote to Aleksandr Ziloti: "I'm sending you the 2nd act and introduction to the ballet! I cannot express how happy I am that it is finished. If you see any slips of the pen then please correct them. Could you please arrange the introduction to the second scene so that the pedal in the upper voice is on a separate system, or directly into four hands, since it will not work otherwise"[52].

On 26 January/7 February 1890, Tchaikovsky wrote to Pyotr Jurgenson from Florence: "Would it be possible to arrange the whole of The Sleeping Beauty for four hands? But only entrust such work... to real musicians" [53].

The arrangement was commissioned from eighteen-year-old Sergei Rachmaninoff.

During June 1891, Tchaikovsky dealt with the proofs of this arrangement, to be published by Pyotr Jurgenson [54]. Tchaikovsky found that Sergei Rachmaninoff's work was "absolutely lacking in courage, initiative and creativity!!!", and asked Aleksandr Ziloti to undertake "a thorough revision and correction of the ballet". Tchaikovsky continued, "I wanted the ballet to be arranged for four hands so that it might be rendered as seriously and skilfully as an arrangement of a symphony. Alas, this is impossible; what has been done cannot be undone; but at least it will be an improvement on what we have now" [55].

Suite

See: The Sleeping Beauty (suite).

Early in 1890, the composer considered creating a suite from the music for the ballet. In 1899 a suite of numbers from the ballet compiled by an unknown person was published by Jurgenson as "Op. 66a".

Performances

The first production of the ballet took place on the stage of the Mariinsky Theatre in Saint Petersburg on 3/15 January 1890, conducted by Riccardo Drigo, and choreographed by Marius Petipa. The principal roles were performed by Feliks Krzesiński (Florestan), Giuseppina Cecchetti (Queen), Carlotta Brianza (Aurora), Marie Petipa (Lilac Fairy), Enrico Cecchetti (Carabosse) and Pavel Gerdt (Desiré).

The ballet was produced for the first time on the Moscow stage at the Bolshoi Theatre on 17/29 January 1899, under balletmaster Aleksandr Gorsky, with Lyubov Roslavleva as Aurora, and Ivan Khlyustin as Desiré.

Outside Russia, The Sleeping Beauty was first staged at the Teatro alla Scala in Milan in 1896, under balletmaster Giorgio Saracco, and Carlotta Brianza reprising her role as Aurora.

The first complete performance in London was given by the Ballets russes on 9 November 1921 at the Alhambra Theatre, conducted by Eugene Goossens, and choreographed by Serge Diaghilev under the title The Sleeping Princess.

In the United States the ballet was first produced in its entirety at the Academy of Music in Philadelphia on 11 February 1937, in a version choreographed by Catherine Littlefield.

Critical Reception

Tchaikovsky's attitude towards his ballet was consistent; frequently he was enthusiastic towards his works, before becoming disappointed with them, but this was not the case with The Sleeping Beauty. "It seems to me", the composer wrote on 25 July/6 August 1889, while orchestrating the ballet, "that the music from this ballet will be amongst my best works. The subject is so poetical, it is so suited for music, that in composing it I was utterly absorbed, and wrote with a fervour and passion which always result in work of merit" [56].

After the ballet had been staged, his estimation was unchanged. "Besides, I confess that I love working in a rush, I love the anticipation and the urgency! And yet this doesn't show itself at all in the quality of my works. Isn't "The Sleeping Beauty" perhaps the best of all my compositions, and yet I wrote it incredibly quickly" [57].

Publication

At the end of 1889, Aleksandr Ziloti's arrangement for solo piano appeared in an edition by Pyotr Jurgenson. On 3/15 January 1890, Tchaikovsky wrote to Aleksey Suvorin: "As you see, the arrangement of the ballet for piano is already in print" [58]. During February 1890 the same publishing house printed a simplified arrangement for solo piano by Eduard Langer. Sergei Rachmaninoff's arrangement for piano 4 hands appeared in print in October 1891.

There is some uncertainty regarding the publication of the full score. In the catalogue of Tchaikovsky's works produced by Boris Jurgenson in 1898, the full score of The Sleeping Beauty is listed among the published compositions. The plate numbers, number of pages and price are also shown. However, neither the edition nor the plates have been found. The only corresponding plate number, shown in the records of the firm of P. Jurgenson as having been printed, relates to the Polonaise (No. 22).

In 1890 the Hamburg music publisher Daniel Rahter submitted a request to the music department of the Saint Petersburg theatres to withdraw their copy of the score of the ballet. In a letter of 17/29 November 1890 to Nikolay Khristoforov, Tchaikovsky gave his consent to this request [59]. Rahter produced the score by lithography, resulting in a very limited print run, which might not therefore be considered as publication in the traditional sense. The Act II Entr'acte (No. 18) was omitted from Rahter's edition.

In 1952 the full score of The Sleeping Beauty was published in volume 12 of Tchaikovsky's Complete Collected Works, edited by Anatoly Dmitriyev. Aleksandr Ziloti's transcription for solo piano was included in volume 57 of the same series (1954).

Autographs

Tchaikovsky's autograph score of the complete ballet is now preserved the State Academic Mariinsky Theatre, Central Music Library in Saint Petersburg (VII.1.4.154).

Recordings

See: Discography

Dedication

The ballet is dedicated to Ivan Vsevolozhsky [60].

Related Works

The music of the apotheosis in the final act is based on a popular French song, Marche Henri IV. The Marche was used as the national anthem of the Kingdom of France during the 17th (and 18th) century in which the ballet takes place. The original melody was written by a French cleric, Thoinot Arbeau (1520 – 1595).

External Links

Notes and References

  1. Letter 3759 to Nadezhda von Meck, 8/20 January 1889. Perrault's version was itself a retelling of the Italian story Sun, Moon, and Talia (Sole, Luna, e Talia) published in 1634 by Giambattista Basile (1566-1632).
  2. Letter from Ivan Vsevolozhsky to Tchaikovsky, 13/25 May 1888 — Klin House-Museum Archive.
  3. Letter from I. I. Ryumin to Tchaikovsky, 20 July/1 August 1888 — Klin House-Museum Archive.
  4. Letter from Ivan Vsevolozhsky to Tchaikovsky, 22 August/3 September 1888 — Klin House-Museum Archive.
  5. Letter 3643 to Ivan Vsevolozhsky, 13/25 August 1888.
  6. Letter 3647 to Ivan Vsevolozhsky, 22 August/3 September 1888.
  7. Letter 3650 to Modest Tchaikovsky, 22 August/3 September 1888.
  8. A. A. Bakhrushin State Central Theatrical Museum, Moscow.
  9. From The Tchaikovsky Handbook. A guide to the man and his music, vol. 1 (2002), p. 111–112.
  10. Letter from Vladimir Pogozhev to Tchaikovsky, 24 September/6 October 1888 — Klin House-Museum Archive.
  11. i.e. the Symphony No. 5, and the overture-fantasia Hamlet.
  12. Letter 3682 to Vladimir Pogozhev, 1/13 October 1888.
  13. Until 7 October he was occupied with the instrumentation of the overture-fantasia Hamlet, and on the 10th he completed his Six French Songs, Op. 65. On 22 October he arrived in Moscow where, according to his letters, his time was taken up composing.
  14. See letter from Ivan Vsevolozhsky to Tchaikovsky, 2/14 November 1888 — Klin House-Museum Archive, and Letter 3720 to Ivan Vsevolozhsky, 3/15 November 1888.
  15. See Marius Petipa's note on the duplicate libretto for the Prologue — A. A. Bakhrushin State Central Theatrical Museum, Moscow.
  16. See Letter 3748 to Nadezhda von Meck, 26 December 1888/7 January 1889.
  17. See Marius Petipa's note on the duplicate libretto for the Prologue — A. A. Bakhrushin State Central Theatrical Museum, Moscow.
  18. Tchaikovsky referred to Act I as the second act, and to the Prologue as the first.
  19. See Дневники П. И. Чайковского (1873-1891) (1923), pp. 219–220.
  20. Letter 3759 to Nadezhda von Meck, 6/18 January 1889. See also Letter 3758 to Ivan Vsevolozhsky of the same date.
  21. See Дневники П. И. Чайковского (1873-1891) (1923), pp. 220–221.
  22. Letter 3758 to Ivan Vsevolozhsky, 6/18 January 1889.
  23. See Letter 3758 to Ivan Vsevolozhsky, 6/18 January 1889; diary entry for 22 January, and Marius Petipa's date on the manuscript scenario of the fifth scene — Klin House-Museum Archive.
  24. See Дневники П. И. Чайковского (1873-1891) (1923), p. 222.
  25. See Дневники П. И. Чайковского (1873-1891) (1923), p. 228.
  26. See diary entries for 4/16 and 5/17 April 1889, and the composer's dates on the sketches.
  27. See Tchaikovsky's date on the sketches.
  28. Letter 3839 to Modest Tchaikovsky, 15/27 April 1889. See also diary entries for 18/30 April, 20 April/2 May 1889.
  29. See sketches in Klin House-Museum Archive.
  30. Letter 3843 to Marius Petipa, 26 April/8 May 1889.
  31. See diary entry for 15/27 May 1889.
  32. See Дневники П. И. Чайковского (1873-1891) (1923), p. 241.
  33. Letter 3869 to Modest Tchaikovsky, 2/14 June 1889.
  34. Letter 3872 to Grand Duke Konstantin Konstantinovich, 7/19 June 1889.
  35. See Дневники П. И. Чайковского (1873-1891) (1923), p. 242.
  36. See Дневники П. И. Чайковского (1873-1891) (1923), p. 244.
  37. Letter 3882 to Nikolay Khristoforov, 18/30 June 1889.
  38. Letter 3894 to Grand Duke Konstantin Konstantinovich, 2/14 July 1889.
  39. Letter 3919 to Mikhail Ippolitov-Ivanov, 9/21 August 1889.
  40. Letter 3920 to Nadezhda von Meck, 13/25 August 1889.
  41. Letter 3922 to Semyon Kruglikov, 16/28 August 1889.
  42. Letter 3928 to Yuliya Shpazhinskaya, 2/14 September 1889.
  43. See scenario and letter from Nikolay Khristoforov to Tchaikovsky, 7/19 October 1889.
  44. Letter 4134 to Anna Aleksandrova-Levenson, 4/16 June 1890.
  45. Telegram from Ivan Vsevolozhsky to Tchaikovsky, 27 December 1889/8 January 1890 — Klin House-Museum Archive.
  46. Preserved in the Klin House-Museum Archive is a poster relating to a concert in Saint Petersburg on 19/31 October 1894, which advertised in the programme "for the first time" the violin solo from the ballet The Sleeping Beauty. A review of this concert published in the journal New Time (Новое время) of 20 October [O.S.] the same year, noted that the solo was not performed.
  47. Letter 3909 to Nadezhda von Meck, 25 July/6 August 1889.
  48. See Letter 3874 to Aleksandr Ziloti, 12/24 June 1889.
  49. See Letter 3881 to Aleksandr Ziloti, 18/30 June 1889.
  50. Letter 3907 to Aleksandr Ziloti, 23 July/4 August 1889.
  51. Letter 3911 to Aleksandr Ziloti, 28 July/9 August 1889.
  52. Letter 3923 to Aleksandr Ziloti, 17/29 August 1889.
  53. Letter 4015 to Pyotr Jurgenson, 26 January/7 February 1890.
  54. See Letter 4400 to Aleksandr Ziloti, 11/23 June 1891, and Letter 4408 to Pyotr Jurgenson, 14/26 June 1891.
  55. See Letter 4405 to Aleksandr Ziloti, 14/26 June 1891.
  56. See Letter 3909 to Nadezhda von Meck, 25 July/6 August 1891.
  57. See Letter 4017 to Pyotr Jurgenson, 28 January/9 February 1890.
  58. Letter 3997 to Aleksey Suvorin, 3/15–4/16 January 1890.
  59. Letter 4257 to Nikolay Khristoforov, 17/29 November 1890.
  60. Letter 3983 to Pyotr Jurgenson, 11/23 December 1889.