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Cesare Pugni

Biography
Early Years and
Cesare Pugni was born in Genoa.
His early family life is rather dark but it seems that his father Filippo Pugni was a clock and watchmaker with for a while, a successful store in the area Rebecchino Via Palazzo del Duomo, near the cathedral Milan. According to tradition the family's surname Pugni is the Italian word for fist acquired when a noble ancestor had lost the family fortune and social status and restored to his family through hard work "of his own fists."
Pugni began his musical studies at an early age. In some Pugni time the family became acquainted with the prominent composer Peter Winter, whose reaction to the seven-year-old's first symphony Pugni have led him to adopt the child's custody.
Frontispiece of the full score of Symphony Pugni by an orchestra or due, published by F. Lucca. This made a deep impression Symphony in Meyerbeer and Glinka. Milan, around 1830.
Winter was organized for young Pugni to be admitted to the Royal Conservatory of Music Imperial Milan (Now known as the Milan Conservatory). At that time Milan was the capital of the Kingdom of Lombardy-Venice, then part of Austrian Empire. From the Conservatory Milan was in the territory of the Kingdom known as Lombardy, Lombardy only residents were allowed to be admitted as students. Thanks to the recommendation Winter Pugni thirteen he was accepted into the institute in 1814 as a non-Lombard, at state expense.
During his training at the conservatory young Pugni studied with many noted music educators. Among the instructors was Bonifazio Asioli Pugni (17691832), with whom he studied composition and counterpoint; Alessandro Rolla, Paganini Niccol instructor, who taught him the violin, and Carlo Soliva, whom he studied music theory. While still a young student, Pugni was given the opportunity to compose several pieces for ballets and operas as La Scala Theatre and its subsidiary Canobbiana and perform their own compositions for violin with great success.
At the request of his family, Pugni was allowed to leave the conservatory in 1822, the "official" reason for continuing disease. In fact, the management of La Scala in Pugni greatly desired to serve them, and from the Milan Conservatory would not allow a student who does not pay to leave school without completing education, Pugni was "officially" said to be sick to let him be free to work for the theater. Pugni then settled with Asioli at his home in Correggio, where he completed his musical studies under his tutelage.
La Scala
Not long after leaving the Royal Imperial Milan Conservatory of Music Pugni began playing the violin in the orchestra of La Scala and Canobbiana.
The first documented length ballet to the music he created was the Il Pugni Gaetano Balletmaster Gioja of castello di Kenilworth, based on Walter Scott's novel Kenilworth and first presented at La Scala in 1823. ballet music at the time was often a musical pastiche and the printed libretto for this work as credit rating to be assembled from issues arising from "several well-known composers."
Pugni was one of the first composers of the early Romantic period to create original music for the ballet, that is, without joining the air scores of many composers and / or work. Such a result was written by Luis Enrique Pugni, 1826 and Zulma Elerz ballet, a score also stands out as one of the first compositions for ballet using the technique of leitmotif. The success of Elerz and Zulma commissions brought three of Henry, and soon Pugni was sought by some of the most distinguished choreographers then working in Italy, including Salvatore Taglioni (uncle of Marie Taglioni), and Giovanni Galzerani.
Pugni growing popularity as a composer capable of light, sweet dance music was fined for publishing a series of piano reductions of extracts from his works, including the popular Scottish dance since 1837 his ballet L'assedio di Calais (The siege of Calais), which, as every one of his works published during his lifetime, sold very well.
Although it showed great talent for writing music for ballet, Pugni real ambition at this time became an opera composer. There have been occasions in which he had been commissioned to compose an aria "to Order "for several performances at La Scala, and such assignments encouraged him to pursue this ambition. In 1831 his opera Il svizzero disertore, ovvero Nostalgia premiered at The Canobbiana in Milan, with the completion of teacher Alessandro Rolla. The work was praised for its variety and originality, and was revered by musicians composer.
It was during this time that Pugni began to compose a number of masses, symphonies and several orchestral works and others. A Symphony (Symphony or by an orchestra) was scored for two orchestras, two of whom play the same piece but with an orchestra of some bars after the other. Pugni was reticent first to compose a piece, but his student at the time, the visit of Mikhail Glinka, encouraged him. The first performance of the symphony by an orchestra or was a great success. This piece Giacomo Meyerbeer so impressed that he was known to hold a manuscript of the work to show your friends a supreme example of virtuosity in composition.
These successes properly carry Pugni Cembalo appointment as Master at La Scala. In addition to fulfilling these duties, Pugni also taught the violin and counterpoint when time permitted. In terms of style and structure, Pugni symphonies and concert music has been compared to the typical work of the composers of the Classical period Muzio Clementi or as Joseph Haydn.
Pugni scored two operas at the Teatro Canobbiana in 1833, 1834, which were listened to with considerable respect. Pugni also continued composing various orchestral pieces, as well as earning him great prestige and notoriety.
Paris
Despite the initial success of Pugni in the field of music Just two years after his appointment as Master the harpsichord, all perspectives, it collapsed and he was dismissed from the Scala in what appears to have been the misappropriation of funds, by-product probably instigated by his notorious passion for gambling and liquor that had caused a considerable amount of debt. In early 1834, Pugni left Milan in an effort to escape his creditors.
With his wife and children, Pugni went to Paris where he lived in poverty while the composer was desperate for employment. He was employed for a time as the scribe of the famous Italien Thtre, where at the end of 1834 he met an old friend, the composer Italian Vincenzo Bellini, which at that time was busy in the theater to mount his opera I Puritani, while at the same time preparing a special version of the work for the Teatro di San Carlo in Naples. For the production of Naples soprano role was supposed to be revised to the vocal talents of the Prima Donna Maria Malibran, and since the production of I Puritani Bellini in Paris was getting under considerable pressure, appealed to Pugni to copy parts of the score to be submitted Naples unchanged.
Pugni did this, but also made a second copy of the full score, and then sold the manuscript to the Teatro di San Carlo at a high price. Soon Bellini said that the theater had bought an official copy of the score, and no longer require their services. Bellini was crushed, because they had paid only Pugni five francs a copy, but also gave him money when necessary in order to feed his family, and was often referred to not only give Pugni unwanted clothes, but begged her friends to send their unwanted clothes for Mrs. Pugni. Bellini wrote in his diary, "It will be a lesson to me. If not for his six innocent children, I want to ruin it. "Bellini recalled later in an unfinished letter written in 1835 as" Pugni is infamous ... conduct broke my faith in nature human. "
In 1836, Pugni was charged with Luis Enrique, choreographer of several of his ballet scores first, to compose the music for the Liacone ballet, which took place in Naples for the Ballet del Teatro di San Carlo. At that time Henry was appointed to the Paris Opra, staging sections of the opera ballet Gioacchino Rossini, William Tell, so Henry used the music of ballet L'Assedio Pugni di Calais. Pugni then traveled to Naples to attend the music dance opera-sections. Soon after, Henry died of cholera.
Pugni In 1837 he returned to Paris where he began working for the casino to Paganini its closure in 1840. It then began to serve as a "musical ghost writer" of sorts for the legendary Paris Opra (the theater at that time known officially as the de l'Thtre Acadmie Royale de Musique). Pugni was responsible for editing, proofreading, and orchestration of almost all music of ballets presented on stage at the theater. Often, composers of the era of orchestrations left to the copyist or the principal conductor of Opera, and his extraordinary facilities in view of reading and rating, Pugni was often given the task of arranging the compositions of others. A tradition handed down among his descendants states that during this time Pugni or composite or orchestrated all or part of the score by Adolphe Adam's Giselle, although there is no known evidence exists to support this. Pugni served in this feature in the Paris Opra from 1836 to 1843, and even provided additional anonymous Pas and variations for dancers visit when necessary.
It was during this Pugni met while Benjamin Lumleyirector of His Majesty's Theatre in London. Through Pugni Lumley met renowned choreographer Jules Perrothe and Balletmaster Theatrehom Her Majesty's commitments as a guest artist at the Paris Opra Pugni found extraordinary ease of composition and orchestration. In 1843 Lumley offered Pugni the position of composer of ballet music of His Majesty's Theatre.
Her Majesty's Theatre
Color lithograph by J. Branard of Lucile Grahn in the lead role of Catherine Perrot / Pugni. Grahn Here is the famous costume stragtique Pas. London, 1846
Frontispiece of a published piano reduction of the dance The truandaise the ballet La Esmeralda. 1844
In the fall of 1843, Pugni went to London and soon enjoyed a period of renewed success. They were very prolific years for the composer: between 1843 and 1850 theater season, Pugni produced an impressive set of results for three of the greatest choreographers of the time: Jules Perrot, Arthur Saint-Lon, and Paul Taglioni. Not long after arriving in London Pugni married his second wife, Marion (or Mary-Ann) Linton.
Jules Perrot
Throughout of the golden era of romantic ballet at Her Majesty's Theatre during the 1840's, Cesare Pugni wrote the music for almost each and every one of the ballets Jules Perrot. In 1843, produced Perrot Ondine, ou Naad History of a naiad jealousy in love with an Italian fishermanor the great ballerina Fanny Cerrito. In 1844, Perrot was his most celebrated and enduring, La Esmeralda, ballerina Carlotta Grisi.
In 1845 alone, six new skills Pugni, including the famous Pas de Quatre fun and fantasy oline, ou La Dryade, created for the Danish dancer Lucille Grahn. Pugni score for oline contained a number of celebrated pieces composed for solo harp writing to decorate the dance Grahn.
In 1846, Perrot was the oriental extravaganza Lalla Rookhased poem by Thomas Moore of the same nameor Pugni composed a complete score pseudo-Arab issues. That same year he helped Pugni Perrot and Catarina, ou La fille du bandit Grahn dancer. As La Esmeralda, Catarina became one of the most famous works of the 19th century.
During his time in London Pugni composed of a number of additional pas, variations, entertainment and incidental dances which is often carried out as "deviations" during a night of entertainment in the theater. Often the great romantic ballet dancers perform several tarantelas, polkas, mazurkas, etc. during the intermission of the opera, and the accompanying Pugni for such dances were often published in piano reduction.
During late 1840, Perrot Pugni and traveled to several theaters throughout Europe to stage their contributions. In 1845, they staged La Esmeralda in La Scala Ballet and the Court of the Berlin Opera, where she danced the lead role by the great Fanny Elssler. In 1847, Perrot Pugni and Lalla Rookh mounted Catarina and La Scala in Milan. In 1848, Perrot was invited at the request of Fanny Elssler to the stage of La Esmeralda for the Imperial Ballet of St. Petersburg, Russia.
Paul Taglioni
In the short time of their collaboration, Pugni wrote many famous scores by Paul Taglioni in its commitments as a guest choreographer at the Theatre of His Majesty. In 1847 alone, Pugni wrote four ballets for Taglioni, including Coralia, ou Le Chevalier Tha fickle, ou La Fe flower. More work followed, including Les Plaisirs de l'Hiver 1849, and the popular Les Mtamorphoses (Also known as Satanella) in 1850.
Arthur Saint-Lon
Pugni also left a deep impression on Arthur Saint-Lon, one of the choreographers famous at the time. During the 1840's, Saint-Lon was hired as Master of Opra Ballet in Paris and traveled there often Pugni to compose music for works of the choreographer. Saint-Lon Pugni and created many successful works while in Paris, including La Fille Marble (a revival of Perrot Alma) in 1847, a revival La Vivandire in 1848, a revival of La Violon du Diable in 1849, and Stella in 1850, by Pugni he composed many popular songs in the Neapolitan style.
Russia
In 1849, Cesare Pugni Jules Perrot and traveled to St. Petersburg to the stage of La Esmeralda Elssler the dancer Fanny, who was hired as a guest dancer from the Imperial Ballet. While in Perrot imperial capital was offered the post of prime minister Matre Ballet to begin in the 1850-1851 season, which he accepted. In this position, recommended that the Minister Perrot Pugni Cutting accompany him to Russia so it can serve as the official composer of ballet music to the St. Petersburg Imperial Theatres. Until that moment in St. Petersburg the composition of music for ballet normally again fell to the driver's head the orchestra, which was in this case, Konstantin Liadov. A new position was created by Therefore, the Ballet San Petersurg Songwriter of the Imperial Theaters in Pugni.
Maestro Cesare Pugni. London. Circa 1843
In the winter of 1850, broke all ties Pugni London and Paris. He arrived in St. Petersburg with English Linton wife Marion and their seven children. In 1860, he was maintaining two households Pugni the first with his English wife, and second with a servant woman Daria Petrovna, who was father of eight more before the end of his life.
In the winter of 1861, Anton Rubinstein Pugni hired to teach composition and counterpoint at the newly established St. Petersburg Conservatory of Music, a position he held with great success and respect until his death.
During his tenure as prime minister Matre of Ballet in St. Petersburg Imperial Theatres, Jules Perrot organized many of the works he had originally set for Her Majesty's Theatre in London. Unlike ballet companies in London or Paris, the St. Petersburg Imperial Theatre presents performances of the evening-length ballet separate from those of opera. As Pugni was the author of nearly all the music for works Perrot, the composer expanded many of his compositions for productions of the Ballet Master. Such replacements expanded the Naad et le pcheur (The Naiad and the Fisherman), a revival of Ondine, ou La Naad in 1851, oline, ou la Dryade in 1858. Many of the scores of prominent Pugni instrumental cadences renowned soloists in the orchestra of the Imperial Theatre, many of whom were members of the nobility and even the imperial family. Apart from their replacements existing works, Perrot Pugni and created several ballets with great success, among them, La Guerre des femmes (The Women's War) in 1852; Gazelda in 1853, and the great Armida in 1855.
In 1855 he wrote L'Pugni toile de Granada (La Estrella de Granada), his first ballet by choreographer Marius Petipa, who served as assistant Jules Perrot and first-class dancer Imperial Theaters since they arrived from Russia in 1847. Petipa is quickly becoming a famous choreographer, by right own, as the composition became more and more.
Perrot left Russia in 1858, and Pugni was the need for both Petipa and Arthur Saint-Lon, who succeeded to Prime Minister Matre Perrot Ballet of St. Petersburg to the Imperial Theatres. The two choreographers, both highly gifted in their art and their dramatically different approaches to the creation of the Grand Ballet, is dedicated to a healthy and productive rivalry in the imperial stage. Despite the differences between Saint-Lon Petipa and composed style of Cesare Pugni music for almost every one of his works during the 1860's.
Later life
Pugni began to be increasingly unreliable as he grew older, becoming severely depressed, drinking, gambling and leaving his family to fend for themselves for days at a time. As a result, Petipa found it increasingly difficult to extract the music him, and the quality of his work showed a marked decline. In his memoirs, Petipa quoted a letter written by him in 1860 Pugni: I tearfully asked to send some money, I am penniless. The letter also includes sections for newly formed next Petipa ballet Le Dahlia bleu (The Blue Dahlia). The premiere is coming, and Petipa had been receiving the composer's music in a piecemeal fashion. Petipa was clear that had Pugni score, the most difficult and went to make it past. In the mid 1860's, this type of situation became common.
In 1862, Pugni composed the music for Petipa's Pharaoh's Daughter, occurred in only 6 weeks for the Italian dancer Carolina Rosati. The production was so successful that he earned by Petipa the position of the Second Matre de Ballet. In 1864, Pugni composed the music for the Saint-Lon Hunchback Pony, which was as successful as Pharaoh's daughter. Although he received the laurels for his score for Petipa The daughter of Pharaoh, the score for the horse Pugni hunchback balletomanes caused a sensation with the St. Petersburg, as it was considered as a tribute to the music Traditional Russian. The march, entitled The Peoples of Russia from the last act of this ballet became a favorite of Tsar Alexander II (many of the marches and intervals Pugni were conducted in both Imperial and diplomatic dance features.)
Vera Aspicia Karalli as Plato Karsavina princess and Pharaoh with unidentified children in Pugni / Petipa The Pharaoh's Daughter. St. Petersburg, around 1915
Despite these times of inspiration, Pugni, but became increasingly unreliable. Enrico Cecchetti recounted in his memoirs of how Petipa liked to tell stories Pugni in his old age as a story told many excuses for not delivering Pugni music time: he once told Petipa cat scratched her hand, making him unable to hold his pen. On another occasion, Pugni was required to be tested without music the day, informing Petipa had no candles on which to write. When Petipa willing to have a big box of candles sent home Pugni, the composer said in the trial day after he wrote the music needed because he was forced to sell candles to eat. Petipa even have to hire someone to ensure composer to make sure that any kind of music requires time to prepare. Despite these incidents, eight Pugni been composing scores again between 1865 and 1868 for Ballet Imperial, although these were mostly short one-act ballets and divertissements.
Saint-Lon also had difficulties with unreliable Pugni, and began turn the composer Ludwig Minkus's music for ballet. In 1865, Saint-Lon wrote to his friend Charles Nuitter:
Pugni is about to die. Was found in the woods 16 versts from the city (St. Petersburg), 300 rubles due to traders. Court Minister has paid the amount, and a collection of dancers from the company, which was 200 rubles, is used to feed him, his wife and eight children, five of whom are very young. Owed a total of 5,800 rubles, while for the last twenty years has been receiving 1,200 francs a month (for royalties for the scores made in Paris), plus a benefit!
In 1868, he composed Pugni music for the ballet by Petipa colossal great Candaules Le Roi (King Candaules), which tells the story of Herodotus Candaules King of Lydia. This was to be last score Pugni long-term, though no less famous, because it caused a sensation among balletomanes the day and has proven to be among the most enduring works Petipa.
Unbeknownst to many, Pugni Petipa originally plan to write music for his ballet Don Quixote, to be mounted on the Bolshoi Theatre in Moscow in 1869. But the irresponsibility Pugni quickly forced to Petipa to reconsider, and instead turned to Ludwig Minkus (Don Quixote would be one of the most famous and enduring works both Petipa and Minkus'). In the end, the score of Don Quixote only includes a change made by Pugni: a waltz composed by the character Kitri in the ballet's final Grand pas de deux.
Death
In late 1869 he withdrew Pugni next to the music score for an act of Petipa ballet Les Deux toiles (the two stars). This score was generally considered among his greatest works for ballet, but also for its Laste died on 26 January [OS 14 January] 1870.
Cesare Pugni was buried Vyborgskaya the Roman Catholic Cemetery in St. Petersburg (the cemetery was completely destroyed in 1939). Pugni died in absolute poverty, and his death, his family large was total misery.
In honor of the composer, and for a benefit performance for her family, she prepared a gala with excerpts of many works of Petipa Pugni May 1870. Later that year, Petipa staged a revival of Catarina, which debuts on November 13 [OS November 1] 1870, again as a benefit performance composer's family. Petipa then introduced the final work Pugni, toiles Les Deux, on 11 February [OS 30 January] 1869 for the benefit performance Imperial Ballet dancer Pavel Gerdt Premier. The ballet was premiered with great success and was performed by the Ballet of St. Petersburg, sometimes until just before Russian Revolution of 1917. Petipa also carried out work under the title Les deux petites toiles (The Two Little Stars) for the Ballet of the Moscow Imperial Bolshoi Theatre in 1878. The ballet was re-organized by the company in a new version of the Clustine Balletmaster Ivan in 1897, a production that remained in the repertory of the Bolshoi until 1925.
Descendants
Maestro Cesare Pugni. St. Petersburg, around 1860
Many of the children Cesare Pugni the artists went on to become noted in its own right. Pugni sons Albert and Victor played in the orchestra of the Imperial Theatres of San Petersurg all late ages 19 and 20. The first is a noted cellist, and the second a flutist. Nikolai Pugni son danced in the corps de ballet of the Imperial Theatres from 1882 until his death in 1896.
There were many notable artists among the grandchildren Pugni and great grandchildren as well. Three of his granddaughtersanny, Constance and danseuses Lontinaerformed as the St. Petersburg Imperial Theatres. Lontine also toured Scandinavia Anna Pavlova's company from 1908-1909 under the name Pouni. Pugni grandson Ivan Puni (also known as Jean Pougny) became a noted artist of the vanguard. Pugni's grandson, the violinist Michel Astroff, was secretary of Sergei Prokofiev, while the composer lived in Paris, and later worked for various publishers music in France.
Most prominent descendant Pugni was Alexander Shiryaev (18671941) that the son of the son of Victor Pugni and a dancer with the Imperial Ballet corps dance, Natalia Shiryaeva. Alexander Shiryaev was to become a famous dancer dancer and Ballet Master basis of the Imperial Theaters in St. Petersburg and Soviet ballet early, and his written accounts of Russian ballet during the late 19 and 20 are among the most valuable and famous in its class. After death Lev Ivanov in 1901, served as an assistant Shiryaev Marius Petipa, and even organized the first Soviet production of The Nutcracker with Fedor Lopukhov at the Mariinsky Theatre. Shiryaev was one of the first people to ever dancersany ballet film of these early films were compiled by the late release film (as yet unpublished DVD or video), and used to reconstruct lost balls (one of the most famous of these reconstructions were choreographed by Marius Petipa for Petit Corsaire solo ballet Le Corsaire, with music by Pugni Shiryaev's grandfather).
Published sheet music
Pugni music began to be published as soon as in 1822 his Symphony in D minor. Many Pugni symphonies and concert pieces were published by the Milan-based publisher F. Lucca, often for large orchestra. Probably because of the sheer tunefulness of his music, ballet scores Pugni earlier were almost all published in piano reduction by both F. Gio Lucca and Ricordi, another editor Milan-based music.
Many ballets and accessories Pugni numbers written to Her Majesty's Theatre in London was published in piano reduction headquarters in London, the music publishers cap. Ollivier, Chappell & Co., and in particular T. Boosey and Jullien. As Pugni ballets were organized by various companies through Europen cities such as Milan, Berlin and Vienna for exampleany other music publishers began distributing his scores, often with an additional number of other composers.
Since the copyright expired Pugni music, the music publisher Jullien & Co. began publishing some of her dances from various ballets without giving credit composer. Often, the music composer credit as "Composed by Jullien" or "traditional", usually in titles such as Original original mazurka or Galop, for example. Several waltzes, polkas, dances and various national Pugni ballets were often published detailed instructions on how to conduct these dances, and occasionally lithographs of the ballet was extracted the number was included as an illustration for the cover. As time passed many of these pieces were sold to the music publishers in Europe and the United States States.
As Pugni career took him to Russia, his ballets continued to be published in reducing piano. Many of St. Petersburg-based publishers such as Basilio Denotkine, chap. Stellowsky Bessell and took not only original ballets Pugni long duration, but additional dances for various works and his adaptations of the scores of other composers.
Archives
A vast archive of music by Cesare Pugni is to be found in the archives of the Conservatory Paris is now incorporated into the Department of Music at the National Library of France. The Conservatory of Milan, has an important collection of early compositions of Pugni. Some manuscripts of the ballets of Perrot will be held at the British Library and the Paris Conservatoire.
Many of these ballets, along with most other integrated Pugni in London and St. Petersburg were first published in piano reduction. The National Library of France has many scores Pugni complete ballets composed by Arthur Saint-Lon, including the original orchestral parts for the horse hunchback.
The largest archive of original scores takes Pugni out in the archives of St. Petersburg's Central Music Library, which contains almost all ballet Pugni wrote while in Russia (including reviews of other works developed for other theaters abroad). Another Pugni job file is in the Library of the Harvard Theatre Collection, which has the famous collection Sergeyev.
Revivals and works still in progress
The little humpbacked horse
Students of the Universal Ballet Academy de la Danse des anims Fresques of the Pugni / Saint-Lon The little humpbacked horse, Washington, DC, 2005
Saint-Lon 1863 masterpiece The little hunchback who Pugni wrote Horseor scoreeft repertoire Active Kirov Ballet / Mariinsky (former Imperial Ballet) long ago, and today the work is only presented in an edition severely mutilated by the Vaganova Academy Russian Ballet (Kirov Ballet School / Mariinsky). The school has not done the job since 1989. At present only a few Russian companies include in their work repertoryuch active as the Mussorgsky Ballet, Ballet of Novosibirsk and the Maly Theatre Ballet. These production are primarily derived from Alexander Gorsky's 1912 revival for the theater ballet Bolshoi in Moscow.
Outside of Russia, only the Universal Ballet Academy Washingtom DC, and all men company Les Ballets Trockadero de Monte Carlo perform extracts of The Little Hunchback Horsehead call pas de trois and Sea pearls and anims Danse des Fresques (Dance of the Frescoes of animation).
Although credited to Pugni music Oceanic and the pas de trois is really Pearls of Riccardo Drigo, and taken from his score for Marius Petipa's 1896 La Perle. The piece was added by Alexander Gorsky their revivals from the early 20's The Hunchback Caballito.
La Esmeralda
full productions of the Perrot / Pugni La Esmeralda only included in the repertoires of Russian enterprises. The Mussorgsky Ballet of St. Petersburg regularly perform this work in a production that premiered in 1981 by Nicolai Boyarchikovirector Mussorgsky Ballet, and Vecheslovaormer Tatiana Prima Ballerina of the Kirov Ballet. Pugni score for this production an edition prepared by Riccardo Drigo dating from 1886 and 1899as restored with the help of a used rptiteur by the Imperial Ballet until just before the Russian Revolution. In 1994, the company filmed his production of La Esmeralda. In 2005, the film was released on DVD, with production edited 3 hours to just over 55 minutes.
Many companies around the world include several excerpts from La Esmeralda, the so-called La Esmeralda Pas de six (the music of this actually being part of Riccardo Drigo), and La Esmeralda Pas de Deux.
The La Esmeralda Pas deux
Aspicia Maria Alexandrova as the princess in the Grand Pas d'action Bolshoi Ballet's revival of the Pugni / Petipa The Pharaoh's Daughter, Moscow, 2004
The La Esmeralda Pas de deux is a popular piece by companies around the world. Includes the famous tambourine variation, which is often performed by many dancers in dance competitions. The La Esmeralda Pas de Deux is mainly a version Choreographer Ben Stevenson, which took place in 1982 for the dancers Janie Parker and William Pizzuto performance in the International Ballet Competition in Jackson, Mississippi. Musically the work is attributed to Pugni and / or Riccardo Drigo.
The piece has its origin in 1899 Marius Petipa's revival of La Esmeralda, organized by the ballerina Mathilde Kschessinskaya. For his performance Riccardo Drigo arranged a new Pas d'action. Typical of such pieces of 19th century ballet, the music is a pastiche. Entrepreneurs and the adage Drigo's own compositions. The variation danced by Kschessinskayaoday often referred to as the tambourine variations taken from the score by the composer Romualdo Marenco, 1876 Luigi Manzotti ballet Sieb. The codaeing the only part of the piece to be taken by Pugnis de la Marche du Pharaon of his score for Petipa's 1862 ballet Dauughter Pharaoh. When the Kirov Ballet dancer Vakhtang Chabukiani performed at the La Esmeralda Pas de deux in 1930, added the original soundtrack music Pugni itself as a variation of same. Today, the variation in the piece is maintained and remains popular with danseurs.
Diana and Acton Pas de Deux
Main article: Diana and Acton Pas de Deux
The six-Pas Vivandire
Main article: Vivandire
The Pharaoh's Daughter and Ondine
Eugenii Obratzova as Ondine and Leonid Sarafanov as the Grand Pas Matto des naiads wake of the Kirov / Mariinsky Ballet Ondine Pugni / Perrot, St. Petersburg, 2006
In 2000, the choreographer Pierre Lacotte mounted a Renaissance, 1862 Pugni / Petipa ballet The Pharaoh's daughter for the Bolshoi Ballet. From the Mariinsky Theatre has denied access to Pugni Lacotte original score, was forcibly required to reconstruct the music from various sources.
In 2006 Lacotte mounted a new version of the Pugni / Perrot Ondine ballet (also known as The Naad et le pcheur) for the Kirov Ballet / Mariinsky. For this new version, Lacotte uses an orchestration of a violin rptiteur the turn of the century 20 that was used for the Imperial Ballet production. Although uncredited, the score contains some aggregate numbers by other composers throughout the 19th century. Lacotte also made use of numbers taken from the Pugni original edition scores dating from 1843.
Both works were choreographed by Lacotte "in the style of the time," the daughter of Pharaoh containing four dances staged by Petipa own, some of which were reconstructed from the Stepanov Choreographic Notation from the Sergeyev Collection.
Pas de Quatre
In the West (especially in North America) the average balletomane probably only encounter a Pas de Quatre of Pugni (revived by Anton Dolin in 1941), originally organized in 1845 by Perrot at Her Majesty's Theatre. It is the most performed work of all Pugni production, although the music is usually presented by Leighton Lucas reorchestration. The original pieces for orchestra Pas de Quatre now located at the National Library of France.
The Corsair
modern ballet productions The Corsair contain a substantial amount of additional music, which was added by Pugni to the music of Mario Petipa many revivals of the work. Petipa production of Le Corsaire as performed in St. Petersburg proved the scoring after two and Pugni Adolphe Adam, in the light of this significant additional material. 2007 The Bolshoi Ballet production of much of additional Pugni music restored.
Catarina
On May 11, 2007, the Balletto di Teatro dell'Opera di Roma, Rome, Italy presented a revival Jules Perrot and 1846 Cesare Pugni ballet Catarina, ou La fille du bandit. The production was staged in two acts by choreographer Fredy Franzutti with dancer Straccamore Gaia in the lead role.
Works
Symphonies
Symphony (1809. Cesare Pugni first composition at age seven)
Symphony in D minor: In morte di Giacomo Zucchi (Milan, 1822)
Symphony in E minor (composed for the private concert Borromeo)
Symphony in F major (composed in the commission of Borromeo)
Symphony in D major (1826. Composed for the private concert by Carlo Rota)
Symphony in D Major, also known as Symphony for an orchestra or expired, or a canons Sinfonia (La Scala, c. 1830. "Dedicated to the famous Maestro Alessandro Rola)
Symphony in E major (Milan, c. 1830. "Dedicated to Bonofazio Asioli)
Symphony in A minor: L'ora di last one condannato for opinions (La Scala, c. 18261833)
Symphony in Three Movements (Villa Borghese, St Petersburg, July 22 [OS 10 July] 1855. musical poem or a symphony of the program)
Music Room
Divertimento for solo violin (Milan, 1820)
Divertimento for flute solo (Milan, 1821)
Quartetto per clarinetto, violino, viola, cello e in B flat major (Milan, c. 1824. "Dedicated to the genius delettante Vincenzo Comolli")
Quartetto per clarinetto, violino, viola, cello in A minor email (Milan, c. 1825. "Dedicated Vincenzo Comolli delettante genius ")
Quartetto for flute, piano, viola, cello in A minor email (Milan, c. 1825. "Dedicated to dilettante Don Luigi Bertoglio Count)
Quartetto for flute, English horn, violin and piano in B flat major (composed expressly for the disease Mr. G. dilettante Castello)
Quartetto per clarinetto, violino, viola, cello e in E flat major (Milan. "dedicated to the musical genius of the dilettante and Counter Vincenzo Public Commolli)
Petit Trio per pianoforte, violino, and violincello in C major (St. Petersburg, around 1870)
Serenade for viola obbligato C minor, accompanied by the second violin viola and cello
Viola obbligato Serenata in D major, accompanied by the second viola, violin and cello (Milan. "dedicated to Il Conte Giulio Barb)
Serenade for flute, English horn, clarinetto, horn cause, and by fagotto in E flat major (Milan. "Dedicated to the famous Mr. Master B. Asioli)
Ottavino for flute, oboe, fagotto due violino, viola, violincello, contrabbasso and in F major
Terzettino e violino violations in G major (Milan. "dedicated to Mr. Giuseppe Rossi)
Redowa-Polka for violin: Il Carnevale di Milano in A major (Milan, c. 1845)
Religious Music
Mass for two tenors and a bass, violin, English horn, three violas, cellos, two, and a bass (Milan, 1827)
Mass for large vocal and orchestral arrangement (Correggio, 1831. This piece was entered in a contest for a performance in honor of the anniversary of the great violinist Bonofazio Asioli, Pugni where cattle against works of Donizetti and Mercadante)
Mass for solo tenore, low number, and the chorus of La Scala (Bologna, Basilica di Santa Maria dei Servi, c. 1832ovember October 1833)
Kyrie and Gloria
Gloria Kyrie Messa email for three soloists, chorus and orchestra
Magnificat in E major for two tenors, bass two, and orchestra
Frontispiece of the piano reduction of the opera Il Pugni of Svizzero Disertore, published by F. Lucca. Milan, around 1830
Operas
Svizzero Disertore Il, ossia La Nostalgia (semiseria melodrama in two acts. Libretto by Felice Romani). The Canobbiana, Milan. May 28, 1831. Dedicated "A Sua Eccelenza Il Signor Duca di Carlo Visconti Modron.
La Vendetta (tragic melodrama in two acts. Libretto by Callisto Bassi). La Scala in Milan. February 11, 1832.
Ricciarda di Edinburgh (Serio melodrama in two acts. Libretto by Callisto Bassi). Teatro Grande, Trieste. September 29, 1832.
Imboscata L'adaptation for the revival of Weigl Thaddus original work. (Bufo Melodrama in Three Acts. Libretto by Luigi Romanelli). The Cannobiana, Milan. April 3, 1833.
Il carrozzina da vendere (a comic melodrama act. Libretto by Callisto Bassi. The Cannobiana, Milan. June 29, 1833. Cantata Pugni of Inno alla beneficenza was released on the same bill as the premiere of this work.
Il Contrabbandiere (comic melodrama in two acts. Libretto by Felice Romani). The Canobbiana, Milan. June 13, 1833.
United Nations Episode di San Michele (melodrama giocoso in two acts. Libretto by Felice Romani). The Canobbiana, Milan. June 14, 1834.
Sing
Ai passi ERRANTI (Lyricist unknown)
Untitled, consisting Ennio Pouchard and MSR. Serda (unknown lyricist). Casino Paganini, Paris. November 25, 1837.
La Toussaint (Mry lyrics José). Originally composed for the opening ceremonies of the Casino Paganini.
Inno alla beneficenza (Lyrics by Felice Romani). La Scala in Milan. June 29, 1833. Released on the same project Act as the premiere of the opera Il Pugni carrozzina of vendere.
Lyric ode (lyrics by John Oxenford.) Her Majesty's Theatre, London. February 25 1847. Performed by Bouch Gardoni Sanchioli result of the action "On behalf of the fund for the relief of the distressed Irish and Scottish"
Ballets
La Scala
Bad Castello di Kenilworth. Gaetano Gioia choreography. April 26, 1825.
Elerz and Zulma. Choreography by Louis Henri. May 6, 1826.
L'Assedio di Calais. Choreography L. Enrique. February 15, 1827.
Head Miletus mail. Choreography by Salvatore Taglioni. May 28, 1827.
Don Eutichio della Castagna, ossia The disabitata House. Choreography S. Taglioni. August 16, 1827.
Agamemnon. Giovanni Galzerani choreography. September 1, 1828.
Adelaide di Francia. Choreography L. Enrique. December 26, 1829.
Macbeth. Choreography L. Enrique. February 20, 1830.
William Tell. Choreography L. Enrique. February 20, 1833.
Mr. of chalumeaux. G. Galzerani choreography. January 14, 1834.
Her Majesty's Theatre, London
Frontispiece of a piano reduction published waltzes taken Pugni scoring for Les Paul Taglioni Plaisirs de l'hiver, ou Les Patineurs. Posted by Jullien in London, 1848
Lithograph by J. Carlotta Grisi Bouvier and Jules Perrot make La Polka. London, 1844
L'Aurore. Choreography by Jules Perrot. March 11, 1843.
Les houris. J. Choreography Perrot. April 27, 1843.
Ondine, ou la Naad. J. Choreography Perrot and Fanny Cerrito (through the Pass of six). June 22, 1843.
Hamlet. J. Choreography Perrot. 1843 never opened.
Le DLIR d'un peintre. J. Choreography Perrot. August 3, 1843.
La Esmeralda. J. Choreography Perrot. March 9, 1844.
Myrtelde, ou La Nymphe et le papillon. J. Choreography Perrot. 1844 never opened.
The Polka (dance incidental). J. Choreography Perrot. April 11, 1844.
The Vivandire. Choreography by Arthur Saint-Lon. May 23, 1844.
Zlia, or The Nymph of Diana. J. Choreography Perrot. June 25, 1844.
La Grande Dame Campesina. J. Choreography Perrot. July 25, 1844.
Jeanne D'Arc. J. Choreography Perrot. 1844 never opened.
oline, ou La Dryade. J. Choreography Perrot. March 8, 1845.
Kaya, voyageur ou L'amour. J. Choreography Perrot. April 17, 1845.
The Bacchante. J. Choreography Perrot. May 1, 1845.
Rosidae, ou Les Mines of Syracuse. Choreography A. Saint-Lon and F. Cerrito. May 29, 1845.
Pas de Quatre (fun). J. Choreography Perrot. July 12, 1845.
Diane. J. Choreography Perrot. July 24, 1845.
Catarina, or La Fille du Bandit. Choreography by J. Perrot. March 3, 1846.
Rookh Lalla. J. Choreography Perrot. June 11, 1846. The music for the second and third passages tables set on the basis of 1844 Flicien David oratorio Le dsert.
Le Jugement de Paris. Perrot choreography. July 23, 1846.
Coralia, ou Le Chevalier inconsistent. Choreography Paul Taglioni. February 16, 1847.
Mphistophla. Choreography P. Taglioni. 1847 never opened.
Tha, ou aux fleurs Le Choreography P. Faith Taglioni. March 18 1847.
Orinthia, ou Le Camp des Amazonas. Choreography by P. Taglioni. April 15, 1847.
Les Elments. J. Choreography Perrot. June 26, 1847. Music composed in collaboration with Giovanni Bajetti.
Fiorita et la Reine des Elfrida. Choreography by P. Taglioni. February 19, 1848.
Les Quatre Saisons. J. Choreography Perrot. June 13, 1848.
Electra, ou La perdue Pliade. Choreography P. Taglioni. April 17, 1849.
The Prima Ballerina, ou L'embuscade. Choreography P. Taglioni. June 14, 1849.
Les Plaisirs de l'hiver, ou Les Patineurs. Choreography P. Taglioni. July 5, 1848.
Les Mtamorphoses (also known as Satanella). Choreography P. Taglioni. March 12, 1850.
Thanks Les. Choreography P. Taglioni. May 2, 1850.
Les DLIC du srail. Choreography by Louis François Gosselin. July 15, 1850.
The Paris Opra
La Fille de Marble (reactivation of Alma Perrot). Choreography A. Saint-Lon. Music by Michael Costa, adapted by Pugni. October 20, 1847.
The Vivandire (rebirth). Choreography A. Saint-Lon, with the adaptation of his original score Pugni. October 20, 1848.
Le Violon du Diable (new version Saint-Lon Tartini il violinist, originally organized for the Teatro La Fenice in Venice on February 29, 1848, with music by Saint-Lon (for the cadences violin) and Giovanni Felis). Choreography by A. Saint-Lon, with the adaptation of Felis and score Pugni Saint-Lon. January 19, 1849.
Stella, ou Les Contrebandiers. Choreography A. Saint-Lon. February 22, 1850.
In March he des Innocents (revival of Le parisien des March). Choreography by Marius Petipa and Lucien Petipa. May 29, 1861.
Diavolina (Renaissance Graziela, ou Les amoureux Dpits). Choreography by A. Saint-Lon. July 6, 1863. Pugni used a set of traditional air called Neopolitan Passatempi Musicali of this score, and the Chasse aux Hirondelles by composer Maximilian Graziani.
Works by other theaters
Le di Norvegia Fucine (5 events). Giacomo Piglia choreography. Theatre Ducale, Parma. December 26, 1826.
The dernires heure d'condamner United Nations. Choreography by Henry L.. Thtre Nautique, Paris. About 18,341,835.
The Ricompensa spontaneo dell'amore. G. Galzerani choreography. Paris Theatre unknown. C. 18301835.
Liacone. Choreography by Henry L.. Teatro di San Carlo, Naples. September 4, 1836.
Don Zeffiro. Choreography A. Saint-Lon. Thtre Italien in Paris. April 26, 1865.
Gli Elementi. Choreography A. Saint-Lon. Italien Thtre Paris. February 19, 1866.
Kamenny Imperial Bolshoi Theatre, St. Petersburg
Mathilde Princess Kschessinskaya photographed as Aspicia flche in Pas de la Pugni / Petipa The Pharaoh's Daughter. St. Petersburg, 1898
Lubov Egorova in the lead role of Pugni / Petipa The Blue Dahlia. St. Petersburg, 1905
La Guerre des femmes, ou Les Amazon neuvime du siecle. J. Choreography Perrot. November 23 [OS 11 November] 1852.
Gazelda, ou Les Tziganes. Choreography by J. Perrot. February 24 [OS February 12] 1853.
Marcobomba (also known as The Marcobomba). J. Choreography Perrot, M. Petipa and J. Petipa. December 5 [OS November 23] 1854.
Armida. Choreography J. Perrot. November 20 [OS 8 November] 1855.
The Dbutante. J. Choreography Perrot. 29 January [OS 17 January] 1857. Pugni willing to air out this score of adaptation in 1850 of Adolphe Adam's score for Perrot's faiths Filleule des (in stages as the fes-des L'Elve in 1850), and its adaptation in 1852 by Edouard Deldevez and Jean-Baptiste Tolbecque score Mazilier Vert-Vert.
La Petite marchande bouquets of flowers. J. Choreography Perrot and M. Petipa. 19 February [OS 7 February] 1857.
L'Ile des muets. J. Choreography Perrot. Pugni music and Thodoros Labarre. February 19 [OS February 7], 1857.
A Mariage sous la Rgence. Choreography M. Petipa. December 30 [OS December18] 1858.
Le parisien des March (also known as Le March des innocents). Choreography M. Petipa. 5 May [OS 23 April] 1859.
Le Blue Dahlia. Choreography M. Petipa. May 12 [OS April 30] 1860.
Graziela, ou Les amoureux Dpits (also known as Graziella, ou la Querelle amoureuse). Choreography A. Saint-Lon. December 23 [OS 11 December] 1860.
Les Nymphes et le satire. Choreography A. Saint-Lon. 15 [OS 03, September] September 1861.
Pharaoh's daughter. Choreography M. Petipa. 30 January [OS 18 January] 1862.
La Belle du Liban, ou L'Esprit des Montagnes. Choreography M. Petipa. 24 [OS December 12] December 1863.
The little humpbacked horse (also known as the Tsar-Demoiselle). Choreography A. of Saint-Lon. 15 [OS December 3] December 1864.
Florida. Choreography M. Petipa. 1 February [OS 20 January] 1866.
Le Roi Candaules (also known as the Tsar Kandavl). Choreography M. Petipa. 29 [OS October 17] October 1868.
Les Deux toiles (also known as Les toiles or Les deux petites toiles). Choreography M. Petipa. February 11 [OS January 30], 1869.
Other places in Russia
L'toile de Granada. Choreography M. Petipa. Palace of the Grand Duchess Elena Pavlovna. January 21 [OS 9 January] 1855.
Terpsichore. Choreography M. Petipa. Imperial Theatre of Tsarskoe Selo. 27 November [OS 15 November] 1861.
Titania. Choreography M. Petipa. Palace of the Grand Duchess Elena Pavlovna. 30 [OS November 18] November 1866.
L'Amour bienfaiteur. Choreography M. Petipa. Theatre School Imperial Ballet. March 18 [OS March 6] 1868.
Esclave L '. Choreography M. Petipa. Imperial Hermitage Theatre. 9 May [OS 27 April] 1868.
Expanded editions of their work for the Bolshoi Kamenny St. Petersburg Imperial Theatre
Le peintre du RVE (revival of Le Peintre des d'DLIR). J. Choreography Perrot. 19 October [OS 31 October] 1848.
La Esmeralda. J. Choreography Perrot, Marius Petipa and F. Elssler. 2 January [OS 21 December 1848] 1849.
The Naad et le pcheur (revival of Ondine, ou La Naad). J. Choreography Perrot. February 11 [OS January 30], 1851.
Le Jugement de Paris. J. Choreography Perrot. 18 February [OS 6 February] 1851.
Markitenka (Reactivation Vivandire). J. Choreography By A. Perrot Saint-Lon. December 25 [OS December 13] of 1855.
La Fille de marbre (reactivation of the Soul). J. Choreography Perrot. M. Music Costa. February 19 [OS February 7], 1856.
oline, ou la Dryade. Choreography J. Perrot. 16 [OS 04 November] November 1858.
The dancer on tour (Reactivation of Prima Ballerina, ou L'embuscade). Choreography by Marius Petipa. 16 [OS 04 November] November 1864.
The adaptations of the scores of other composers for Kamenny Imperial Bolshoi Theatre, St. Petersburg
Lda ou Laitire Suisse. J. Choreography Perrot, M. Jean Petipa Petipa and after Filippo Taglioni. Adalberto Gyrowetz music and Miguel Carafa. December 20 [OS December 8], 1849.
L'Elve des Fes (revival of La Filleule des Fes). J. Choreography Perrot. Music by Adolphe Adam and Clmence, Count of Saint-Julien. February 24 [OS February 12] 1850.
La Femme Capricieuse (revival of Le Diable Quatre). J. Choreography By J. Perrot Mazilier. Music by Adolphe Adam. November 26 [OS November 14] 1850.
The Flemish Belle (revival of La Fille du Gand Jolie). Choreography by Alberto J. Decombe Mazilier after. Music by Adolphe Adam. 5 November [OS 25 October] 1851.
Vert-Vert. Joseph Mazilier choreography. Music Deldevez Tolbecque Edouard and Jean-Baptiste. January 20 [OS January 8], 1852.
Fausto. Choreography J. Perrot. Music by Giacomo Panizza. February 14 [OS February 2] 1854.
Le Corsaire. J. Choreography M. Perrot and Petipa after J. Mazilier. Music by Adolphe Adam. 24 OS [January Jan.] 1858 12.
Robert et Bertrand, ou Les Deux Voleurs. Choreography by Francois Felix Kschessinsky after Hoguet. Music by Herman Schmidt. May 11 [OS April 25] 1858.
Jovita, ou Les Boucaniers mexicains. Choreography A. Saint-Lon by J. Mazilier. Thodoros Labarre music. 27 [OS September 15] September 1859.
Saltarello, ou La Dansomanie. Choreography by A. Saint-Lon. Music by Arthur Saint-Lon. 20 [OS October 8] in October 1859.
The sleepwalker Mr. L'Arrive d'ou nouveau UN. Choreography M. Petipa after Jean-Pierre Aumer. Fernando Hrold music. 21 [OS December 19] December 1859.
Pquerette. Choreography A. Saint-Lon. Music by François Benoist. January 28 [OS 9 February] 1860.
La Perle de Sville. Choreography A. Saint-Lon. Santos Pinto music. 5 February [OS 24 January] 1861.
MTOR, ou Les toiles of Grandville. Choreography A. Saint-Lon. Santos Pinto music. March 7 [OS February 23], 1861.
L'Tholinda orphelin (revival of Le Lutin de La Valle) Choreography A. Saint-Lon. Gautier Eugne music. December 18 [OS December 6], 1862.
Satanella (rebirth of The Devil in Love). Choreography M. Petipa after Joseph Mazilier. Music and François Henri Reber Napolon Benoist. 30 October [OS 18 October] 1866.
The basilica. Choreography A. Saint-Lon. Massimiliano Graziani music. 16 February [OS 04 February] 1869.
Original works produced for Pugni music without their direct participation
Satanella (renovation of Les Mtamorphoses). Choreography P. Taglioni. Music reviewed by Peter Ludwig Hertel, adapted by Pugni. Court Opera Ballet, Berlin. April 28, 1852.
Zolo. Pasquale Borri choreography. Pastiche created by an unknown hand Pugni the airs. Teatro di San Carlo, Naples. Circa 1852.
Lucilla. Choreography P. Borri. Paolo Giorza pastiche of Pugni airs. Teatro La Fenice, Venice. About of 1855-1856.
Les Espigles de l'Amour (also known as Cupid joke.) Choreography by Lev Ivanov. Score by Alexander Friedman additional material taken from the works of Pugni. November 23 [OS 11 November] 1890.
Les Dryades prtendues (also known as the False Dryads). Choreography by Pavel Gerdt. Music adapted by Riccardo Drigo's score for oline Pugni Perrot, ou La Dryade as well as the additional number of works by Ludwig Minkus. Imperial Theatre of the Russian Museum of His Majesty Emperor Alexander III. April 23 [OS 11 April] 1899.
Sources
Beaumont, Cyril W. Complete Book of Ballets.
Bolshoi Ballet. Program Pharaoh's daughter. Bolshoi Theatre, 2001.
Edgecombe, Rodney Stenning. Cesare Pugni, Marius Petipa and 19th-century ballet music. Musical Times, Summer 2006.
Kirov / Mariinsky Ballet. Ondine program. Mariinsky Theatre in 2006.
Petipa, Marius. The Diaries of Marius Petipa. Trans. Ed and Lynn Garafola. Published in Studies in Dance History - 3.1 (Spring 1992).
Guest, Ivor Forbes. Cesare Pugni: Call for Justice. Research published in Dance - vol. 1, no. 1, pp 3038
Guest, Ivor Forbes, ed. Letters from a Balletmaster - Correspondence of Arthur Saint-Lon
Sidney-Fryer, Donald (unpublished, no publication date announced), The Case of the Light Fantastic Toe: The Ballet Cesare Pugni romantic master sir.
Wiley, John Roland. Russian Dance: An Introduction to the Sergeyev Collection Published in the Harvard University Gazette Library - 24.1 January 1976.
Wiley, John Roland, ed. and translator. A Century of Russian Ballet: Documents and testimony 1810-1910.
External Links
Cesare Pugni Free scores at the International Music Score Library Project
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