Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi Cover Image

Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi: Full Orchestra, Conductor Score

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Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi Cover Image
Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi: Full Orchestra, Conductor Score

Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi: Full Orchestra, Conductor Score

By Riccardo Drigo / arr. William McDermott

Item: 36-A890801
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Les Millions d'Arlequin (Harlequin's Millions): Pas de Troi: Full Orchestra, Conductor Score & Parts

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Description
The ballet Les Millions d'Arlequin (The Harlequin's Millions; Harlequinade) was one of three short ballets commissioned to the famed choreographer Marius Petipa of the Saint Petersburg Imperial Theatres for a private performance at the imperial Russian court. A ballet comique in two acts with two tableaux, the libretto (written by Petipa) is based on episodes using the stock characters from the Italian Commedia dell'arte. At its premiere by the Imperial Ballet in Saint Petersburg on February 23, 1900, the royal family broke with the customary etiquette and erupted into thunderous applause at the conclusion. Composer Riccardo Drigo (1846-1930), though, received the greatest accolades, being congratulated heartily by the Russian nobility. This orchestration of the Pas de Troi has been completed by William McDermott. Instrumentation: 2(1dPicc).2.2.2: 4.2.3.0: Timp.Perc(2): Hp: Str (4-4-3-3-3 in set).

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Additional Details
Series: Kalmus Ballet Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852150-X
ISBN13: 979-8-88-852150-2
UPC: 676737691158
SKU: 36-A890801
Instrumentation: 2(1dPicc).2.2.2: 4.2.3.0: Timp.Perc(2): Hp: Str (4-4-3-3-3 in set)

More about this title

About the Composer: Riccardo Drigo

Riccardo Drigo (1846, 1930) was the principal conductor of the Imperial Ballet at the Mariinsky Theatre in Saint Petersburg, where he spent nearly fifty years shaping the sound of Russian classical ballet. His gift for orchestral color and his deep collaboration with choreographer Marius Petipa produced some of the most elegant ballet scores of the late nineteenth century. Drigo understood dance rhythm at a visceral level, writing music that supported dancers without overwhelming them, a skill that made him indispensable to Petipa's vision.

Beyond his work in ballet, Drigo composed operas, chamber music, and instrumental pieces that circulated across Europe. His legacy rests primarily on his ballet music, particularly the scores for Sleeping Beauty and The Nutcracker, where his orchestration influenced generations of composers. For conductors and orchestras, Drigo's ballet works remain essential repertoire that reveals how thoroughly musical architecture can serve choreographic storytelling.

Why we love this

This orchestration brings a vital piece of Imperial Russian ballet into performance-ready form. Drigo's harmonic language is lush without being dense, and the Pas de Troi sits at exactly the right level of spectacle for orchestras seeking accessible yet genuinely rewarding ballet music. The completion by William McDermott respects the original while making the conductor's job manageable across all sections.

What to expect

Elegant and theatrical without pretension. The music moves with the lightness of Commedia dell'arte itself: witty, colorful, and full of sudden shifts from tender lyricism to spirited ensemble passages. There's a sense of courtly display here, yet the orchestration never feels heavy or overwrought.

Who it's for

Orchestras with mature string sections and secure woodwind principals who want to program recognizable ballet repertoire with genuine musical substance. This score works well for schools and regional orchestras looking to expand beyond the most frequently performed ballets into the Imperial Ballet's deeper catalog.

How to get the most out of it

  • Balance the woodwind solos carefully; Drigo wrote them as commentary rather than lead voices, so they should project without dominating the string foundation.
  • Give the harp part real presence in the lighter sections. It's not mere accompaniment but part of the harmonic architecture that defines this ballet's character.
  • Shape phrases toward the natural cadences rather than pushing tempo. Drigo's rhythmic clarity works best when the orchestra breathes with intention.
  • Coordinate the two percussionists early so triangle and timpani entrances land with precision; the delicacy of the writing demands crisp articulation.

How to use it

Pair this with other Russian ballet excerpts for a focused concert, or use it as a centerpiece standalone pops program that showcases orchestral color. The Pas de Troi also works beautifully as an opener or closer, depending on whether you want to establish elegance at the start or send the audience home on a high note of refinement.

Skills your students will build

  • Balancing ensemble weight in orchestrations with multiple simultaneous melodic lines
  • Reading and conducting 4/4 time with varying metric subdivisions typical of Imperial ballet style
  • Coordinating string and woodwind color to support rather than overwhelm solo passages
  • Managing dynamic control across a full orchestra while maintaining clarity in lighter textures

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