Are you sure you aren't confusing Anna Pavlova's "Le Roi Candaule" variation by Drigo for harp and strings (which she also added to Paquita in the grand pas, as reflected in Harvard's materials) with Legnani's variation? (also by Drigo for harp, that is fratured in this video)
Yes because Pavlova’s variation “Le Roi Candaule” it’s also notated in “Paquita” folder. Camargo variation is notated in another folder. I have also learned to read Stepanov notation.
Where is the choreographic notation you mention in the description? Is it at Harvard? Whenever Anna Pavlova danced the lead in the Paquita Grand pas, she always danced the 1902 variation Petipa had specially created for her to the music of Drigo for her performances in "Le Roi Candaule". Pavlova also danced this variation during her legendary tours. - Pavlova's solo - ruclips.net/video/hMP2kxeUh2g/видео.htmlsi=ZkPHzSN43mpgK8ob It is entirely possible however that notation of Pavlova's performance in Legnani's "Camargo" solo was notated. She did indeed dance in "Camargo" not long after Legnani left Russia in 1901, but I dont think she ever danced the lead, and the part she did dance was set to music from Baron Vasily Wrangel's score for the lavish yet short-lived "The Mikado's Daughter" from 1897.
Dear @@mrlopez-pz7pu , Recently Hollis for Archival Discovery from Harvard Library have published the entire Sergeyev Collection in digital format. There’s three folders under the name “Ballet excerpts : Stepanov dance notation score : autograph manuscript, manuscript in unidentified hand, undated” Fortunately there’s indications of what ballerina and which ballet is notated but not the year. The Stepanov notation ” Variation for Pavlova, music by Drigo” matches almost perfectly with the choreography we know from Camargo. If we divide the variation in 4 parts; 1st: Entrechat six and bourre it’s the same. 2nd: this part “chasse - sauté en tournant - tour dégage into pique attitude and arabesque” it’s notated different. 3rd: bourre around it’s almost the same. 4th: cabriole fouetté fondu arabesque it’s almost the same and she finishes with four tour piques passé - chaines and unidentified final pose. It says fifth (L front) in plié and then a pose but this last fifth plié “sometime without plié” it refers to a final pose that not always it’s indicated. These folders also include Variation for Pavlova II from (Act I). Full Pas de Trois. Act III Adagio. Variation for Egorova (Papkov?Barmin/Shapashnikova) from Paquita. Variation for Rykhliakova (Drigo/Gorshenkova) from Roi Candaule/Vestalka “l’Amour”. Variation for Pavlova II (Papkov?Barmin/Nikitina) “DQ Amour” for Paquita. Variation for Karsavina (Minkus/Vazem) from Paquita. Variation for Kschessinska (Drigo/Nikitina) from La Sylphide. The most fascinating one for me is the one noted for Kschessinska although with some different things; passage backwards from corner 7- - - 3 “pique attitude, tour attitude…” she does a little bit diferente combination. At the end she does simple pirouette en dedans and finishes her variation with a double pirouette en dehors , plié and renversé linked to “chaines or soutenu” on pointe back to the audience towards side n°6 and final pose. hollisarchives.lib.harvard.edu/repositories/24/archival_objects/847184
@@madelinepopr I have this review from 1897: With the new ballet "The Mikado's Daughter". Sunday, November 9, the first performance of the new ballet "The Mikado's Daughter" took place on the stage of the Mariinsky Theatre. Writing a successful libretto for a ballet is not as easy as it may seem at first glance. Not to mention the dramatic content, the libretto, first of all, must provide material for the choreographer, and therefore requires from the author special knowledge and practical information in the technique of ballet composition. That is why, due to the lack of satisfying these requirements of librettists, almost all the librettos of our ballets were composed by the choreographers themselves, as the best specialists in the field of their art. The libretto of the ballet "The Mikado's Daughter" was also written by a specialist: it belongs to the pen of the chief director of the ballet troupe, Mr. Langhammer. An interesting fantastic plot, the beauty and originality of the Japanese style, the abundance of various dances - all speak of the great experience of the librettist. The only reproach that can be made is the insufficiency of dramatic movement in the last two acts, which gives them the character of a divertissement. Borrowing by depicting a plot from Japanese life, Mr. Langhammer introduces the viewer to scenes of Japanese life, rituals, and traditional festivities. All of this, of course, is of ethnographic interest. The legend of the monstrous dragon that kidnaps the Mikado's daughter during a wedding feast is taken from the Japanese folk epic. This dragon, celebrated in folk poetry, who kidnapped young princesses and was called by the Japanese "Tats-maki" or "the terror of good people," can be found in references and descriptions not only by Netto, Mitford, Kemifer, but also by other scholars studying Japanese culture. Of course, ballet does not have a completely Japanese style, and it should not have one. Japanese choreographic and musical art, in the uniqueness of its systems and the originality of its forms, have too little in common with the creativity of European peoples. Under such conditions, ballet strictly maintained in the Japanese style would never satisfy our artistic tastes and would only perhaps strike us with its anti-artistic eccentricity. Researchers of Japanese musical art (Kempfert, Pigotti, etc.) categorically assert that the Japanese musical system, in its individual properties, is even incomprehensible to us. The same can be said about Japanese choreography. Japanese ballet dances are full of monotonous forms, lack grace and elegance, they are not very expressive, boring and, due to their monotonous patterns, cannot leave an artistic impression on us Europeans. Although the composer Baron V. Wrangel in the music and instrumentation of the new ballet, in places, showed aspirations for an oriental flavor, he was very far from reproducing Japanese music. The same oriental flavor can be seen in all the dances of the ballet, staged by our talented choreographer L. I. Ivanov. The staging of the dances for the ballet "The Mikado's Daughter" undoubtedly required a great deal of work. On the one hand, the relative monotony of the character of the dances, caused by the desire to give them an oriental flavor, and on the other hand, the need to give these dances interest in form, to illuminate them with a lifelike expression, and, as far as possible, to maintain ethnographic fidelity for all characteristic times, made the choreographer's task very difficult. G. Ivanov - we must give him credit - coped quite successfully with his difficult task and, thanks to his artistic imagination and inventiveness, achieved brilliant results. Almost all the dances staged by him are full of beauty, originality, taste, and aroused unanimous delight of the audience throughout the performance. However, the success of the dances was greatly facilitated by the performers, especially the classical pas. It is not necessary to speak about the brilliant technical talent of Mrs. M. Kshesinskaya II. This dancer is undoubtedly one of the best modern Russian ballerinas and if, with her first-class technique, she also possessed the expressiveness of mimic-dramatic talent and a more subtle artistic sense, she would certainly be one of the first ballerinas in Europe. While causing storms of delight with her dances, which, indeed, pleasantly amaze the spectator both by the purity of the technical design and by the beauty of the graceful forms, Mrs. M. Kshesinskaya II sometimes, unfortunately, does not pay sufficient attention to the artistic finishing of her mimic-dramatic scenes. As a result, even the most dramatic scenes are somehow dull and colorless in her performance. The role of Gotaro Gime, the Mikado's daughter, provides too much and grateful material for the performer, and especially the scene of the meeting with Yorotomo in the second act. An artist who is not devoid of inner drama and expressive facial expressions can make a deep impression in this scene. However, the requirement for subtle psychological shades and lifelike colors in the depiction of dramatic moments of the ballet heroes is hardly even applicable to our ballet scene. In any case, Mrs. M. Kshesinskaya II, as a dancer, had a brilliant and well-deserved success in the ballet "The Mikado's Daughter", and especially in the adagio and variations in the second act and the piccicato in the third act. Of the other classical dancers, the soloists Mrs. Kulichevskaya, Preobrazhenskaya, Geltser, Rykhlyakova I and Obukhova left an excellent impression. The classical variations gracefully performed by each of the named dancers were accompanied by friendly applause and challenges from the non-performers. In particular, a great success fell to the lot of Mrs. Preobrazhenskaya, Kulichevskaya and Geltser. Mrs. Preobrazhenskaya, thanks to the excellent technique and poetic tone of her dances, evoked unanimous applause from the entire theater in a difficult variation in the first act, and, at the persistent demand of the public, the variation was repeated. No less pleasant impression was left by this artist in the beautifully staged dance Jeu de papillon" (with Mr. Legat 3rd), to which the talented dancer gave poetic imagery, brought in many graces, lightness, elegance and, in general, artistic shades of performance. As for the characteristic pas, then of them the greatest external success fell to the lot of "Danse de Yava" (Mrs. Skorsyuk and Mr. Lukyanov) and "Danse de l'Hindoustan" (Mrs. M. Petipa 1st and Mr. Bekefi), which and were bissed. I will not say that the resounding success of these dances was fully deserved by the performers. Mrs. Skorsyuk, who, undoubtedly, must be recognized as the best performer of typical dances, was very effective in the named dance, brought into it a lot of original beauty, fire and passion, but, in essence, from the grateful theme of this dance she did not create much that was new. G. Lukyanov, however, made a completely unfavorable impression in this dance. The same, and even to a greater extent, should be said about Mrs. M. Petipa 1st. One must be amazed at the traditional manners with which the said artist performs the Persian dance. In my opinion, each character dance, first of all, should have its own character and even, if possible, represent an accurate ethnographic drawing. Madame M. Petipa 1st not only does not outline the character of her dance, but does not even give it an oriental flavor, without which, of course, there can be no talk of the artistic side of the performance. And if we add here the eternal concerns of our ballet dancers about the beauty of their appearance to the detriment of artistic" demands, the stubborn unwillingness to resort to a make-up pencil, as well as the shapelessness and heaviness of the performer's movements, which are far from corresponding to the type and character of the dance itself, then the impression left by Mrs. M. Cetina 1 will outline itself. In general, the new ballet was an undoubted success; its entire setting, costumes, scenery and accessories are full of luxury, beauty and brilliance. Group and mass dances are staged successfully. There was no end to the calls for the composer, the ballet master and even the librettist. The performance did not go without gifts. L. I. Ivanov received two wreaths: one silver, the other laurel, and Mrs. Kshessinskaya 2-was presented with a valuable brooch, a Japanese fan by the artist N. A. Bogdanov and flowers. In conclusion, I cannot help but mention the wonderful make-up of Messrs. Legat 1-y and Legat 3-y and the unforgivable attack on the art of Messrs. Gerdt and Kaksht, who depicted the Japanese with their hair styled a la capoule!
Only Yananis and Jaffe's performances from '58 and '84 include Maestro Riccardo Drigo's music in its original, ravishing orchestration. It really is sublime music. But unfortunately in the world of ballet, hideous arrangements of Drigo, Minkus and Pugni are LEGION. The Bolshoi and Mariinsky performances in this video present the music in either negligent (Boshoi) or downright GHASTLY (Mariinsky) arrangements. The Mariinsky has no excuse for such basterdized arrangements of the old ballet music, since they literally have the original scores in their jealously gaurded yet never utilized archives😢.
Are you sure you aren't confusing Anna Pavlova's "Le Roi Candaule" variation by Drigo for harp and strings (which she also added to Paquita in the grand pas, as reflected in Harvard's materials) with Legnani's variation? (also by Drigo for harp, that is fratured in this video)
Yes because Pavlova’s variation “Le Roi Candaule” it’s also notated in “Paquita” folder. Camargo variation is notated in another folder. I have also learned to read Stepanov notation.
Where is the choreographic notation you mention in the description? Is it at Harvard? Whenever Anna Pavlova danced the lead in the Paquita Grand pas, she always danced the 1902 variation Petipa had specially created for her to the music of Drigo for her performances in "Le Roi Candaule". Pavlova also danced this variation during her legendary tours. - Pavlova's solo - ruclips.net/video/hMP2kxeUh2g/видео.htmlsi=ZkPHzSN43mpgK8ob
It is entirely possible however that notation of Pavlova's performance in Legnani's "Camargo" solo was notated. She did indeed dance in "Camargo" not long after Legnani left Russia in 1901, but I dont think she ever danced the lead, and the part she did dance was set to music from Baron Vasily Wrangel's score for the lavish yet short-lived "The Mikado's Daughter" from 1897.
Dear @@mrlopez-pz7pu ,
Recently Hollis for Archival Discovery from Harvard Library have published the entire Sergeyev Collection in digital format.
There’s three folders under the name “Ballet excerpts : Stepanov dance notation score : autograph manuscript, manuscript in unidentified hand, undated” Fortunately there’s indications of what ballerina and which ballet is notated but not the year.
The Stepanov notation ” Variation for Pavlova, music by Drigo” matches almost perfectly with the choreography we know from Camargo. If we divide the variation in 4 parts; 1st: Entrechat six and bourre it’s the same. 2nd: this part “chasse - sauté en tournant - tour dégage into pique attitude and arabesque” it’s notated different. 3rd: bourre around it’s almost the same. 4th: cabriole fouetté fondu arabesque it’s almost the same and she finishes with four tour piques passé - chaines and unidentified final pose. It says fifth (L front) in plié and then a pose but this last fifth plié “sometime without plié” it refers to a final pose that not always it’s indicated.
These folders also include Variation for Pavlova II from (Act I). Full Pas de Trois. Act III Adagio. Variation for Egorova (Papkov?Barmin/Shapashnikova) from Paquita. Variation for Rykhliakova (Drigo/Gorshenkova) from Roi Candaule/Vestalka “l’Amour”. Variation for Pavlova II (Papkov?Barmin/Nikitina) “DQ Amour” for Paquita. Variation for Karsavina (Minkus/Vazem) from Paquita. Variation for Kschessinska (Drigo/Nikitina) from La Sylphide.
The most fascinating one for me is the one noted for Kschessinska although with some different things; passage backwards from corner 7- - - 3 “pique attitude, tour attitude…” she does a little bit diferente combination. At the end she does simple pirouette en dedans and finishes her variation with a double pirouette en dehors , plié and renversé linked to “chaines or soutenu” on pointe back to the audience towards side n°6 and final pose.
hollisarchives.lib.harvard.edu/repositories/24/archival_objects/847184
Is there a synopsis for the mikado’s daughter? Im rather curious about it.
@@madelinepopr I have this review from 1897:
With the new ballet "The Mikado's Daughter".
Sunday, November 9, the first performance of the new ballet "The Mikado's Daughter" took place on the stage of the Mariinsky Theatre. Writing a successful libretto for a ballet is not as easy as it may seem at first glance. Not to mention the dramatic content, the libretto, first of all, must provide material for the choreographer, and therefore requires from the author special knowledge and practical information in the technique of ballet composition. That is why, due to the lack of satisfying these requirements of librettists, almost all the librettos of our ballets were composed by the choreographers themselves, as the best specialists in the field of their art. The libretto of the ballet "The Mikado's Daughter" was also written by a specialist: it belongs to the pen of the chief director of the ballet troupe, Mr. Langhammer. An interesting fantastic plot, the beauty and originality of the Japanese style, the abundance of various dances - all speak of the great experience of the librettist. The only reproach that can be made is the insufficiency of dramatic movement in the last two acts, which gives them the character of a divertissement. Borrowing by depicting a plot from Japanese life, Mr. Langhammer introduces the viewer to scenes of Japanese life, rituals, and traditional festivities. All of this, of course, is of ethnographic interest. The legend of the monstrous dragon that kidnaps the Mikado's daughter during a wedding feast is taken from the Japanese folk epic. This dragon, celebrated in folk poetry, who kidnapped young princesses and was called by the Japanese "Tats-maki" or "the terror of good people," can be found in references and descriptions not only by Netto, Mitford, Kemifer, but also by other scholars studying Japanese culture. Of course, ballet does not have a completely Japanese style, and it should not have one. Japanese choreographic and musical art, in the uniqueness of its systems and the originality of its forms, have too little in common with the creativity of European peoples. Under such conditions, ballet strictly maintained in the Japanese style would never satisfy our artistic tastes and would only perhaps strike us with its anti-artistic eccentricity. Researchers of Japanese musical art (Kempfert, Pigotti, etc.) categorically assert that the Japanese musical system, in its individual properties, is even incomprehensible to us. The same can be said about Japanese choreography. Japanese ballet dances are full of monotonous forms, lack grace and elegance, they are not very expressive, boring and, due to their monotonous patterns, cannot leave an artistic impression on us Europeans. Although the composer Baron V. Wrangel in the music and instrumentation of the new ballet, in places, showed aspirations for an oriental flavor, he was very far from reproducing Japanese music. The same oriental flavor can be seen in all the dances of the ballet, staged by our talented choreographer L. I. Ivanov.
The staging of the dances for the ballet "The Mikado's Daughter" undoubtedly required a great deal of work. On the one hand, the relative monotony of the character of the dances, caused by the desire to give them an oriental flavor, and on the other hand, the need to give these dances interest in form, to illuminate them with a lifelike expression, and, as far as possible, to maintain ethnographic fidelity for all characteristic times, made the choreographer's task very difficult. G. Ivanov - we must give him credit - coped quite successfully with his difficult task and, thanks to his artistic imagination and inventiveness, achieved brilliant results. Almost all the dances staged by him are full of beauty, originality, taste, and aroused unanimous delight of the audience throughout the performance. However, the success of the dances was greatly facilitated by the performers, especially the classical pas.
It is not necessary to speak about the brilliant technical talent of Mrs. M. Kshesinskaya II. This dancer is undoubtedly one of the best modern Russian ballerinas and if, with her first-class technique, she also possessed the expressiveness of mimic-dramatic talent and a more subtle artistic sense, she would certainly be one of the first ballerinas in Europe. While causing storms of delight with her dances, which, indeed, pleasantly amaze the spectator both by the purity of the technical design and by the beauty of the graceful forms, Mrs. M. Kshesinskaya II sometimes, unfortunately, does not pay sufficient attention to the artistic finishing of her mimic-dramatic scenes. As a result, even the most dramatic scenes are somehow dull and colorless in her performance. The role of Gotaro Gime, the Mikado's daughter, provides too much and grateful material for the performer, and especially the scene of the meeting with Yorotomo in the second act. An artist who is not devoid of inner drama and expressive facial expressions can make a deep impression in this scene. However, the requirement for subtle psychological shades and lifelike colors in the depiction of dramatic moments of the ballet heroes is hardly even applicable to our ballet scene. In any case, Mrs. M. Kshesinskaya II, as a dancer, had a brilliant and well-deserved success in the ballet "The Mikado's Daughter", and especially in the adagio and variations in the second act and the piccicato in the third act. Of the other classical dancers, the soloists Mrs. Kulichevskaya, Preobrazhenskaya, Geltser, Rykhlyakova I and Obukhova left an excellent impression. The classical variations gracefully performed by each of the named dancers were accompanied by friendly applause and challenges from the non-performers. In particular, a great success fell to the lot of Mrs. Preobrazhenskaya, Kulichevskaya and Geltser. Mrs. Preobrazhenskaya, thanks to the excellent technique and poetic tone of her dances, evoked unanimous applause from the entire theater in a difficult variation in the first act, and, at the persistent demand of the public, the variation was repeated. No less pleasant impression was left by this artist in the beautifully staged dance Jeu de papillon" (with Mr. Legat 3rd), to which the talented dancer gave poetic imagery, brought in many graces, lightness, elegance and, in general, artistic shades of performance.
As for the characteristic pas, then of them the greatest external success fell to the lot of "Danse de Yava" (Mrs. Skorsyuk and Mr. Lukyanov) and "Danse de l'Hindoustan" (Mrs. M. Petipa 1st and Mr. Bekefi), which and were bissed. I will not say that the resounding success of these dances was fully deserved by the performers. Mrs. Skorsyuk, who, undoubtedly, must be recognized as the best
performer of typical dances, was very effective in the named dance, brought into it a lot of original beauty, fire and passion, but, in essence, from the grateful theme of this dance she did not create much that was new.
G. Lukyanov, however, made a completely unfavorable impression in this dance. The same, and even to a greater
extent, should be said about Mrs. M. Petipa 1st. One must be amazed at the traditional manners with which the said artist performs the Persian dance. In my opinion, each character dance, first of all, should have its own character and even, if possible, represent an accurate ethnographic drawing. Madame M. Petipa 1st not only does not outline the character of her dance, but does not even give it an oriental flavor, without which, of course, there can be no talk of the artistic side of the performance. And if we add here the eternal concerns of our ballet dancers about the beauty of their appearance to the detriment of artistic" demands, the stubborn unwillingness to resort to a make-up pencil, as well as the shapelessness and heaviness of the performer's movements, which are far from corresponding to the type and character of the dance itself, then the impression left by Mrs. M. Cetina 1 will outline itself.
In general, the new ballet was an undoubted success; its entire setting, costumes, scenery and accessories are full of luxury, beauty and brilliance. Group and mass dances are staged successfully. There was no end to the calls for the composer, the ballet master and even the librettist. The performance did not go without gifts. L. I. Ivanov received two wreaths: one silver, the other laurel, and Mrs. Kshessinskaya 2-was presented with a valuable brooch, a Japanese fan by the artist N. A. Bogdanov and flowers. In conclusion, I cannot help but mention the wonderful make-up of Messrs. Legat 1-y and Legat 3-y and the unforgivable attack on the art of Messrs. Gerdt and Kaksht, who depicted the Japanese with their hair styled a la capoule!
Only Yananis and Jaffe's performances from '58 and '84 include Maestro Riccardo Drigo's music in its original, ravishing orchestration. It really is sublime music. But unfortunately in the world of ballet, hideous arrangements of Drigo, Minkus and Pugni are LEGION. The Bolshoi and Mariinsky performances in this video present the music in either negligent (Boshoi) or downright GHASTLY (Mariinsky) arrangements. The Mariinsky has no excuse for such basterdized arrangements of the old ballet music, since they literally have the original scores in their jealously gaurded yet never utilized archives😢.