The Sleeping Beauty - Revision history

Brett: Text replacement - "any event" to "any case"

2024-02-29T09:23:42Z

Text replacement - "any event" to "any case"

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	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.		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.

	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"/>.		In any case, 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"/>.

	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"/>.		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"/>.

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

2024-01-01T21:29:34Z

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

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	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 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"/>.

	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"/>.		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 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, he 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 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, he 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"/>.
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	==Performances==		==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 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.		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.

Brett: /* Composition */

2023-08-29T11:00:17Z

Composition

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	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"/>.		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"/>.

	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):		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: "Worked all morning" (Aurora's entrance, No. 7):
	[[File:TH013a.jpg\|center\|400px]]		[[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"/>.		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"/>.

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

2023-08-07T18:22:48Z

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

Tony: /* Notes and References */

2023-02-11T11:13:28Z

Notes and References

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	<ref name="note44">[[Letter 4134]] to [[Anna Aleksandrova-Levenson]], 4/16 June 1890.</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="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="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="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="note48">See [[Letter 3874]] to [[Aleksandr Ziloti]], 12/24 June 1889.</ref>

Tony: /* Publication */

2023-02-11T11:05:19Z

Publication

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	==Publication==		==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.		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.

	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).		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 <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.		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.

	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).		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==

Tony: /* Performances */

2023-02-11T10:58:10Z

Performances

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	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''.		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.		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==		==Critical Reception==

Tony: /* Arrangements */ Inserted question mark due to context

2023-02-11T10:46:25Z

Arrangements: Inserted question mark due to context

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	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"/>.		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"/>.

	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 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"/>.		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"/>.

Tony: /* Arrangements */

2023-02-11T10:44:00Z

Arrangements

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	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"/>.		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"/>.

	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"/>.		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"/>.

	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 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"/>.
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	: ''See: [[The Sleeping Beauty (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".		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==

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

2023-02-11T10:24:18Z

Composition: Added "he" for ease of reading

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	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"/>.		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"/>.

	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 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"/>.

	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"/>.		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 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 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, he 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"/>.

	==Arrangements==		==Arrangements==

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	<ref name="note6">[[Letter 3647]] to [[Ivan Vsevolozhsky]], 22 August/3 September 1888.</ref>		<ref name="note6">[[Letter 3647]] to [[Ivan Vsevolozhsky]], 22 August/3 September 1888.</ref>
	<ref name="note7">[[Letter 3650]] to [[Modest Tchaikovsky]], 22 August/3 September 1888.</ref>		<ref name="note7">[[Letter 3650]] to [[Modest Tchaikovsky]], 22 August/3 September 1888.</ref>
	<ref name="note8">~~A. A. Bakhrushin State Central Theatrical Museum,~~ [[Moscow]].</ref>		<ref name="note8">{{RUS-Mt}} in [[Moscow]].</ref>
	<ref name="note9">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 111–112.</ref>		<ref name="note9">From {{bib\|2002/22\|The Tchaikovsky Handbook, vol. 1}} (2002), p. 111–112.</ref>
	<ref name="note10">Letter from [[Vladimir Pogozhev]] to Tchaikovsky, 24 September/6 October 1888 — [[Klin]] House-Museum Archive.</ref>		<ref name="note10">Letter from [[Vladimir Pogozhev]] to Tchaikovsky, 24 September/6 October 1888 — [[Klin]] House-Museum Archive.</ref>
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	<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="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">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="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">See [[Marius Petipa]]'s note on the duplicate libretto for the Prologue — ~~A. A. Bakhrushin State Central Theatrical Museum,~~ [[Moscow]].</ref>		<ref name="note15">See [[Marius Petipa]]'s note on the duplicate libretto for the Prologue — {{RUS-Mt}} in [[Moscow]].</ref>
	<ref name="note16">See [[Letter 3748]] to [[Nadezhda von Meck]], 26 December 1888/7 January 1889.</ref>		<ref name="note16">See [[Letter 3748]] to [[Nadezhda von Meck]], 26 December 1888/7 January 1889.</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="note17">See [[Marius Petipa]]'s note on the duplicate libretto for the Prologue — {{RUS-Mt}} in [[Moscow]].</ref>
	<ref name="note18">Tchaikovsky referred to Act I as the second act, and to the Prologue as the first.</ref>		<ref name="note18">Tchaikovsky referred to Act I as the second act, and to the Prologue as the first.</ref>
	<ref name="note19">See {{bib\|1923/23\|Дневники П. И. Чайковского}} (1923), pp. 219–220.</ref>		<ref name="note19">See {{bib\|1923/23\|Дневники П. И. Чайковского}} (1923), pp. 219–220.</ref>