Tchaikovsky – Waltz From The Sleeping Beauty Suite (Rachmaninoff Four Hands piano version) with sheet music

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Tchaikovsky – Waltz From The Sleeping Beauty Suite (Rachmaninoff Four Hands piano version) with sheet music

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Ballets by Pyotr Ilyich Tchaikovsky
Swan Lake (1876) The Sleeping Beauty (1889) The Nutcracker (1892)
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The Sleeping Beauty (ballet)

The Sleeping Beauty (Russian: Спящая красавица, tr. Spyashchaya krasavitsa listen (help·info)) is a ballet in a prologue and three acts, first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault’s La Belle au bois dormant. The choreographer of the original production was Marius Petipa.

The premiere performance took place at the Mariinsky Theatre in St. Petersburg on January 15, 1890. The work has become one of the classical repertoire’s most famous ballets.


Alexandra Ansanelli as Princess Aurora and David Makhateli as Prince Florimund in a Royal Ballet production of Sleeping Beauty, 29 April 2008.

Titles of all of the numbers listed here come from Marius Petipa’s original scenario, as well as the original libretto and programs of the first production of 1890. Major changes which were made to the score for Petipa’s original production are mentioned, and help explain why the score is often heard in different versions in theatres today.[citation needed]

All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Emperor’s Court, as well as the language in which balletic terminology is derived.

Prologue — Le baptême de la Princesse Aurore No.1-a Introduction No.1-b Marche de salon No.2-a Entrée des fées No.2-b Scène dansante No.3 Grand pas d’ensemble (a.k.a. Pas de six) — a. Grand adage. Petit allégro b. Variation – Candide c. Variation – Coulante–Fleur de farine d. Variation – Miettes–qui tombent e. Variation – Canari–qui chante f. Variation – Violente–échevelée g. Variation – La Fée des lilas–voluptueuse h. Coda générale No.4 Scène et final— a. Entrée de Carabosse b. Scène mimique de Carabosse c. Scène mimique de la Fée des lilas

Act I — Les quatre fiancés de la Princesse Aurore No.5-a Introduction No.5-b Scène des tricoteuses No.6 Grande valse villageoise (a.k.a. The Garland Waltz) No.7 Entrée d’Aurore No.8 Grand pas d’action— a. Grand adage à la rose (harp cadenza extended by Albert Heinrich Zabel) b. Danse des demoiselles d’honneur et des pages c. Variation d’Aurore (coda edited by Riccardo Drigo) d. Coda No.9 Scène et final— a. Danse d’Aurore avec le fuseau b. Le charme c. L’arrivée de la Fée des lilas

Act II
Scene I — La chasse du Prince Désiré No.10-a Entr’acte No.10-b Scène de la chasse royale No.11 Colin-Maillard No.12 Danses des demoiselles nobles— a. Scène b. Danse des duchesses c. Danse des baronesses (cut by Petipa from the original production) d. Danse des comtesses (cut by Petipa from the original production) e. Danse des marquises (cut by Petipa from the original production) No.13 Coda–Farandole No.14-a Scène et départ des chasseurs No.14-b Entrée de la Fée des lilas No.15 Pas d’action— a. L’apparition d’Aurore b. Grand adage (harp cadenza extended by Albert Heinrich Zabe) c. Valse des nymphes–Petit allégro coquet

  • Interpolation: 4 transitional bars for the end of no.15-c composed by Riccardo Drigo to lead into Brianza’s variation
  • Interpolation: Variation Mlle. Brianza (originally No.23-b Variation de la fée-Or from Act III)

d. Variation d’Aurore (cut by Petipa from the original production) e. Petite coda No.16 Scène No.17 Panorama

  • Interpolation: 3 transitional bars for the end of no.17 composed by Riccardo Drigo to lead into no.19, as no.18 was cut in the original production

No.18 Entr’acte symphonique (solo for violin for Leopold Auer, cut from the original production) Scene II — Le château de la belle au bois dormant No.19 Scène du château de sommeil No.20 Scène et final – Le réveil d’Aurore

The Bluebird and Princess Florina (Valeri Panov and Natalia Makarova) from the 1964 Russian motion picture featuring artists of the Kirov Ballet.

Act III — Les Noces de Désiré et d’Aurore No.21 Marche No.22 Grand polonaise dansée (a.k.a. The Procession of the Fairy Tales) Grand divertissement— No.23 Pas de quatre a. Entrée b. Variation de la fée-Or (transferred by Petipa to Act II as a variation for Carlotta Brianza in the original production) c. Variation de la fée-Argent (changed by Petipa in the original production – Pas de trois pour la Fées d’Or, d’Argent et de Saphir) d. Variation de la fée-Saphir (cut by Petipa from the original production) e. Variation de la fée-Diamant f. Coda

  • Interpolation: Entrée de chats (a 10 bar introduction written by Tchaikovsky for no.24)

No.24 Pas de caractère – Le Chat botté et la Chatte blanche No.25 Pas de quatre (changed by Petipa in the original production – Pas de deux de l’Oiseau bleu et la Princesse Florine) a. Entrée b. Variation de Cendrillon et Prince Fortuné (changed by Petipa in the original production – Variation de l’Oiseau bleu) c. Variation de l’Oiseau bleu la Princesse Florine (changed by Petipa in the original production – Variation de la Princesse Florine) d. Coda No.26 Pas de caractère – Chaperon Rouge et le Loup

  • Interpolation: Pas de caractère – Cendrillon et Prince Fortuné

No.27 Pas berrichon – Le Petit Poucet, ses frères et l’Ogre No.28 Grand pas de quatre (originally arranged by Petipa as a Pas de quatre for the Princess Aurora, Prince Désiré and the Gold and Sapphire Fairies) a. Entrée (only the first eight bars were retained) b. Grand adage

  • Interpolation: Danse pour les Fées d’Or et de Saphir in 6/8 (Petipa utilized the music for the Entrée to accompany a pas for the Gold and Sapphire Fairies)

c. Variation du Prince Désiré d. Variation d’Aurore — Mlle. Brianza (edited by Riccardo Drigo for the original production) e. Coda No.29 Sarabande – quadrille pour Turcs, Éthiopiens, Africains et Américains No.30-a Coda générale No.30-b Apothéose – Helios en costume de Louis XIV, éclairé par le soleil entouré des fées (music based on Marche Henri IV)

Trademark controversy

The Walt Disney Company has registered a trademark with the US Patent and Trademark Office, filed 13 March 2007, for the name “Princess Aurora” that covers production and distribution of motion picture films; production of television programs; production of sound and video recordings. Some suggest that this may limit the ability to perform this ballet, from which Disney acquired some of the music for its animated 1959 film Sleeping Beauty.

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