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To know more about the Nutcraker ballet

To know more about the Nutcraker ballet

To know more about the Nutcraker ballet

 

The Nutcracker (Russian: Щелкунчик, Shchelkunchik), Op. 71, is a fairy tale-ballet in two acts, three scenes, by Pyotr Ilyich Tchaikovsky, composed in 1891–92. Alexandre Dumas père's adaptation of the story "The Nutcracker and the Mouse King" by E. T. A. Hoffmann was set to music by Tchaikovsky (staged by Marius Petipa and commissioned by the director of the Imperial Theatres Ivan Vsevolozhsky in 1891). In Western countries, The Nutcracker has become perhaps the most popular of all ballets, performed primarily around Christmas time.

 

The composer made a selection of eight of the numbers from the ballet before the ballet's December 1892 premiere, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society. The suite became instantly popular (according to Men of Music "every number had to be repeated"), but the complete ballet did not begin to achieve its great popularity until around the mid-1950s.

 

Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda (premiered 1891). Although well-known in The Nutcracker as the featured solo instrument in the "Dance of the Sugar Plum Fairy" from Act II, it is employed elsewhere in the same act.

 

 

Composition history

 

Tchaikovsky himself was less satisfied with The Nutcracker than with The Sleeping Beauty, his previous ballet. (In the film Fantasia, commentator Deems Taylor observes, very accurately, that he "really detested" the score.) Though he accepted the commission from Ivan Vsevolozhsky, he did not particularly want to write it (though he did write to a friend while composing the ballet: "I am daily becoming more and more attuned to my task.").

 

While composing the music for the ballet, Tchaikovsky is said to have argued with a friend who wagered that the composer could not write a melody based on the notes of the octave in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order, and was assured it did not. This resulted in the Grand adagio from the Grand pas de deux of the second act, which traditionally is danced just after Waltz of the Flowers.