Le Corsaire: Pas de Deux Cover Image

Le Corsaire: Pas de Deux: Full Orchestra, Ensemble Works Conductor Score

$40.00 USD
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Le Corsaire: Pas de Deux Cover Image
Le Corsaire: Pas de Deux: Full Orchestra, Ensemble Works Conductor Score

Le Corsaire: Pas de Deux: Full Orchestra, Ensemble Works Conductor Score

By Riccardo Drigo / arr. William McDermott

Item: 36-A888401
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Le Corsaire: Pas de Deux: Full Orchestra, Ensemble Works Conductor Score & Parts

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Description
The ballet LE CORSAIRE, inspired by Lord Byron's poem, tells the story of the love between a pirate and a beautiful slave-girl against a backdrop of the open sea, remote grottoes, amid the hustle and bustle of an eastern bazaar, and the languid luxury of a sultan's harem. Premiered by the Ballet of the Académie Royale de Musique in Paris, France on January 23 1856, the original music was entirely by Adolphe Adam. Over the years, significant revisions and the addition of a substantial amount of new music has involved numerous other composers in the ballet, including Cesare Pugni, Léok Delibes, Ludwig Minkus, Pyotr Oldenburgsky, Ivan Trubetskoy, and Antoine Simon. Riccardo Drigo's (1846-1930) contribution of the "Pas de Deux" was requested by choreographer Marius Petipa's 1899 revival as a spectacular vehicle for the reigning ballerina, Pierna Legnani, and is now among classical ballet's most iconic and performed excerpts. This edition was orchestrated and revised by William McDermott in 1987. Instrumentation in set: 2(2dPicc).2.2.2: 4.2.3.0: Timp: Hp: Str (4-4-3-3-3).

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Additional Details
Series: Kalmus Ballet Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887337-2
ISBN13: 978-1-63-887337-2
UPC: 735816143633
SKU: 36-A888401
Instrumentation: Full Orchestra, Ensemble Works

More about this title

About the Composer: Riccardo Drigo

Riccardo Drigo (1846-1930) was an Italian composer and conductor who spent the majority of his career in Russia, where he became a central figure in Saint Petersburg's Imperial Ballet. He served as the principal conductor and composer for the Imperial Ballet from 1877 onward, creating original scores and revising existing works for some of the era's most celebrated choreographers, including Marius Petipa. His gift for writing idiomatically for dancers resulted in music that remains performable and engaging more than a century later.

Drigo's ballet scores are distinguished by their technical clarity, memorable melodies, and orchestration that supports rather than overshadows the stage action. His contributions to the Imperial Ballet repertoire ensured that Russian classical ballet music would emphasize musicality within the demands of choreography, a principle that shaped the development of ballet composition well into the twentieth century.

Why we love this

The Pas de Deux showcases music that is genuinely danceable yet musically substantial enough to sustain an orchestra's full engagement. Drigo's orchestration gives every section of the ensemble something meaningful to do, and the piece's architecture creates natural points of tension and release that conductors can shape effectively. It remains one of the most recognizable ballet excerpts in the repertoire, making it an excellent anchor for a pops concert or a classical showcase.

What to expect

The Pas de Deux unfolds with graceful poise and romantic warmth, alternating between moments of lyrical repose and passages of spirited momentum. Drigo's orchestration captures the pageantry and emotional depth of classical ballet, with the ensemble surrounding the dance action in carefully crafted colors rather than overwhelming spectacle.

Who it's for

Conductors seeking substantial ballet repertoire that engages the full orchestra without requiring virtuosity beyond the capabilities of a strong regional or community ensemble. This work is ideal for programs pairing classical ballet excerpts with symphony repertoire, or for directors introducing orchestras to the richness of Imperial Russian ballet music.

How to get the most out of it

  • Balance the strings carefully in the ensemble sections; Drigo writes full textures that can quickly overwhelm the principal soloists if the first violins aren't controlled with a light hand.
  • Establish a clear pulse with your timpanist and section leaders early in rehearsal. The piece's rhythmic integrity depends on unwavering ensemble timing, particularly during the faster passages.
  • Shape the phrase endings with the full orchestra rather than relying on solo sections to carry momentum. This will give the piece its classical elegance and prevent it from sounding episodic.

How to use it

Program this as a centerpiece within a classical or pops concert that celebrates orchestral color and ballet heritage. It pairs naturally with other nineteenth-century ballet excerpts or as an interlude between larger symphonic works, offering audiences a change of pace while maintaining musical sophistication.

Skills your students will build

  • Conducting ballet repertoire with sensitivity to the relationship between orchestra and stage action
  • Balancing complex orchestral textures across full ensemble with appropriate dynamic control
  • Shaping lyrical phrasing in nineteenth-century European romantic idiom
  • Coordinating ensemble rhythmic accuracy across multiple instrumental sections

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