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Cesare Pugni

Biography
Children and education
Cesare Pugni was born in Genoa.
His early family life is rather obscure, but it seems Pugni his father Filippo was a clock and watchmaker with at a time, a successful shop in Via Rebecchino in the neighborhood of the Palazzo del Duomo, near the cathedral of Milan. According to family tradition Pugni's name is the Italian word for the fists are acquired when a noble ancestor had lost his family fortune and social rank and restored to his family through hard work "by their own fists."
Pugni began his musical studies at an early age. At some point Pugni family became familiar with the noted composer Peter Winter, whose reaction to the seven-year-old's first symphony Pugni prompted him to take the child under their care.
Frontispiece of the full score of the Symphony of Pugni by an orchestra or maturity, published by F. Lucca. This Sinfonia made a deep impression on Meyerbeer and Glinka. Milan, around 1830.
Winter was organized for young Pugni to be admitted to the Royal Conservatory of Music of Milan Imperial (now known and the Conservatory of Milan). At that time Milan was the capital of the Kingdom of Lombardy-Venetia, then part of Austrian Empire. From the Milan Conservatory was in the territory of the Kingdom known as Lombardy, residents were only allowed to Lombardy to be admitted as students. Thanks to the recommendation of winter Pugni thirteen years he was accepted into the institute in 1814 as a non-Lombard, at state expense.
During his training at the conservatory he studied the young Pugni with many noted teachers of music. Among the instructors are Pugni Bonifazio Asioli (17691832), with whom he studied composition and counterpoint; Alessandro Rolla, the instructor Niccolò Paganini, who taught him the violin, and Carlo Soliva, under whom he studied music theory. While still a young student, Pugni was given the opportunity composing several pieces for ballets and operas at La Scala Theatre and assistant 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, administration La Scala greatly desired Pugni be at work, and from the Milan Conservatory would not allow a student who does not pay to leave the school without completing their education, Pugni was "officially" said to be ill so that he could be free to work for the theater. Pugni then settled in at home Asioli Correggio, where he completed his musical studies under his tutelage.
La Scala
Not long after leaving Milan Imperial Royal Conservatory of Music Pugni began playing the violin in the orchestra of La Scala and Canobbiana.
The first documented length ballet created for the music that was Pugni Gaetano Balletmaster Il Castello di Kenilworth Gioja, 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 credits as the score are mounting 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, the scores are gathered from the air many composers and / or work. A score of these was written in 1826 by Louis Henry Pugni Elerz and Zulma ballet, a score also noted for being one of the first compositions for the ballet to use the technique of leitmotif. The success of e Zulma Elerz three committees brought about more than 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.
Growing Pugni 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 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 demonstrated a talent for writing music for ballet, Pugni real ambition at this time would become an opera composer. There have been occasions when we had been commissioned to compose an aria from "to order" for several performances at La Scala, and such assignments encouraged him to pursue this ambition. In 1831, his disertore svizzero opera Il, ovvero La nostalgia premiered at The Canobbiana in Milan, with their teacher Alessandro Rolla to perform. The work was praised for its variety and originality and was revered by his fellow musicians of the composer.
It was during this time that Pugni began composing a large number of masses, symphonies and several other orchestral pieces. A Symphony (Symphony for an orchestra or due) was scored for two orchestras, both of which would play the same piece but with an orchestra of some bar after another. Pugni was at first reluctant to compose a piece, but his pupil at the time, visiting Mikhail Glinka, encouraged him. The first performance of the Sinfonia For 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 lead to Pugni duly appointed as master to Cembalo in La Scala. In addition to fulfilling their duties, also Pugni taught the violin and counterpoint when time permitted. In style and structure, Pugni symphonies and concert music has been compared to typical jobs composers of the classical period as Muzio Clementi and Joseph Haydn.
Pugni scored two more operas for the Teatro Canobbiana in 1833 and 1834, which were heard with considerable respect. Pugni also continued to compose various orchestral pieces, as well as earning him a reputation and notoriety.
Paris
Despite the success Pugni initial in the field of music, just two years after his appointment as Master the harpsichord, all prospects collapsed, and was dismissed of La Scala in what appears to have been misappropriation of funds, a product probably instigated by his notorious passion for gambling and liquor that he had made to the considerable amount of debt. In early 1834, Pugni left Milan in an effort to escape his creditors.
With his wife and children, went to Paris Pugni, where they 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 met an old friend, the Italian composer Vincenzo Bellini, which at that time was busy in the theater to mount his opera I Puritani, while simultaneously preparing a special version of the work for the Teatro di San Carlo in Naples. For the production of Naples on soprano role was supposed to be reviewed by the vocal talents of The Prima Donna Maria Malibran, and since the production of I Puritani Bellini in Paris was put under considerable pressure, called on the parties to copy Pugni of the score will be presented in Naples without change.
Pugni did this, but he also made a second copy of the full score and then sold the manuscript the Teatro di San Carlo at a high price. Soon Bellini was told that the theater had bought an official copy of score, and no longer require their services. Bellini was crushed, because not only Pugni had paid five francs a copy, but also gave him money when necessary in order to feed his family, and was known frequently to not only Pugni give unwanted clothes, but she begged her friends to send their unwanted dresses to Mrs. Pugni. Bellini wrote in his diary: "It will be a lesson for me. If it were not for her six children innocent, I want to ruin it. "Bellini recalled later in an unfinished letter written in 1835 how" … Pugni infamous conduct shattered my faith in human nature. "
In 1836 he was commissioned Pugni Luis Enrique, choreographer of several of his ballet scores first to compose the music for the ballet Liacone, which took place in Naples for the Ballet del Teatro di San Carlo. At that time Henry was appointed to the Paris Opra, the realization of those sections of the opera ballet Gioacchino Rossini, William Tell, so Henry used ballet music Pugni L'Assedio di Calais. Pugni then traveled to Naples to attend the dance music of the opera-sections. Soon after, Henry died of cholera.
In 1837 he returned to Paris where he began Pugni to work for the Casino Paganini until its closure in 1840. Then he began serving as a ghost writer "musical" of sorts for the legendary Paris Opra (The theater that time is officially known as the de l'Thtre Acadmie Royale de Musique). Pugni was responsible for editing, proofreading, and organizing around all the music of the ballets presented on stage at the theater. Often, the composers of the era of the copyist left orchestrations or principal director of an Opera House, and his extraordinary facility in sight reading and score, Pugni was often given the task of arranging the compositions of others. A tradition passed down from his descendants says that during this time either composed or orchestrated Pugni all or part of the score by Adolphe Adam Giselle, although no evidence is known to exist in support of this. Pugni served in this role Opra in Paris from 1836 to 1843, and even provided additional anonymous Pas and variations for dancers visit when necessary.
It was during this time that he met Benjamin Pugni Lumleyirector of His Majesty's Theatre in London. Through Pugni Lumley met renowned choreographer Jules Perrothe and Balletmaster Theatrehom of His Majesty on its commitments as a guest artist at the Paris Opra Pugni found extraordinary facility with the composition and orchestration. In 1843 Pugni Lumley offered the post of Composer of the ballet music of His Majesty's Theatre.
Her Majesty's Theatre
Color lithograph by J. Lucile Branard Grahn in the title role of Catherine Perrot / Pugni. Grahn Here is the famous costume stragtique Pas. London, 1846
Frontispiece of a piano reduction published truandaise of ballet dancing of La Esmeralda. 1844
In the fall of 1843, Pugni went to London and soon gained a renewed period of great success. These were years too for prolific composer: among the theater of the seasons 1843 and 1850, Pugni produced an impressive array of qualifications of three of the greatest choreographers of the time: Jules Perrot, Arthur Saint-Paul Taglioni Lon y. Not long after arriving in London Pugni married his second wife, Marion (or Mary Ann ") Linton.
Jules Perrot
During the heyday of the romantic ballet in Her Majesty's Theatre during the 1840s, Cesare Pugni wrote music for ballets almost every one of Jules Perrot. In 1843, produced Perrot Ondine, ou La Naad story of a naiad jealousy in love with an Italian fishermanor the great ballerina Fanny Cerrito. In 1844, Perrot was his most famous book and enduring, La Esmeralda of the dancer Carlotta Grisi.
In 1845 alone, six new scores Pugni, including the celebrated Pas de Quatre fun, and fantastic oline, ou Dryade created for the Danish dancer Lucille Grahn. Pugni score for oline contained a number of celebrated pieces composed for harp solo written to decorate the dance Grahn.
In 1846, Perrot was the oriental extravaganza Lalla Rookhased in Thomas Moore's poem of the same as a score composed nameor Pugni complete pseudo-Arab issues. That same year, Perrot and collaborated Pugni Catarina, ou La Fille du Bandit Grahn dancer. Like La Esmeralda, Catarina became in one of the most famous of the 19th century.
During his time in London Pugni composed of a considerable number of additional pas, variations, divertissements, dancing and accidents that have taken place often called "deviations" during a night of entertainment in the theater. Often, the dancers of the great Romantic ballet would make several tarantella, polkas, mazurkas, etc. between the acts of the operas, and the accompaniment Pugni for such dances are often published in piano reduction.
During end of 1840, Perrot Pugni and traveled to several theaters throughout Europe, to organize their collaborations. In 1845, staged at La Esmeralda and La Scala Opera Ballet of the Court in Berlin, where he danced the lead role by the great Fanny Elssler. In 1847, Perrot Pugni and mounted Lalla Rookh Catarina and La Scala. In 1848, Perrot was invited to request Fanny Elssler to the stage of La Esmeralda for the Imperial Ballet of St. Petersburg, Russia.
Paul Taglioni
In the short duration of their collaboration, wrote Pugni many scores of Paul Taglioni celebrated for 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 Chavalier Inconstant and Tha, ou La Fe flower. More work followed, including Les Plaisirs de l'Hiver in 1849, and the popular Mtamorphoses Les (also known as Satanella) in 1850.
Arthur Saint-Lon
Pugni also left a deep impression on Arthur Saint-Lon, one of the most famous choreographers of the time. During the 1840s, Saint-Lon was hired as ballet master at the Paris Opra, and traveled there often Pugni to compose music for the works of choreographer. Saint-Lon Pugni and created many successful works while in Paris, including La Fille de Marbre (a revival of Perrot Alma) in 1847, a revival of The 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 Jules Perrot and Cesare Pugni traveled to St. Petersburg to the stage of La Esmeralda Elssler the ballerina Fanny, who was hired as a dancer invited by the Imperial Ballet. While in the imperial capital Perrot was offered the post of prime minister Matre Ballet to begin in the 1850-1851 season, which he accepted. In this position, Perrot advised the Court that the Minister Pugni accompany him to Russia to serve as the official composer of ballet music to the St. Petersburg Imperial Theatres. Until that time in St. Petersburg, composition new music for ballet typically fell head conductor of the orchestra, which was in this case, Konstantin Liadov. A new position was created so the Ballet San Petersurg Songwriter of the Imperial Theaters in Pugni.
Maestro Cesare Pugni. London. Circa 1843
In the winter of 1850, Pugni broken all ties with London and Paris. He arrived in St. Petersburg with English wife Marion Linton and her seven children. In 1860, Pugni maintain two households was the first with his English wife, and the second woman Daria Petrovna servant, 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 time as prime minister Matre Ballet of St. Petersburg Imperial Theatres, Jules Perrot organized many of the works he had originally set for Her Majesty's Theatre in London. Unlike companies Ballet in London or Paris, the St. Petersburg Imperial Theatre presents performances of the evening-length ballet separated from the opera. As Pugni was the author of almost all music to the works of Perrot, the composer expanded many of his scores for productions of Ballet Master. Such replacements will extend the Naad et le pcheur (the Naiad and the fisherman), a revival of Ondine, ou La Naad in 1851, and oline, ou la Dryade in 1858. Many of the scores of the cadences Pugni appears to contribute to renowned soloists the orchestra of the Imperial Theatre, many of whom were members of the nobility and even the imperial family. Apart from his replacements of existing works, Perrot Pugni and created several ballets with great success of Grand, including, 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 for the choreographer Marius Petipa, who had been serving as assistant and dancer Jules Perrot first class the Imperial Theaters since they arrived from Russia in 1847. Petipa was becoming a famous choreographer in his own right, as he turned to the growing membership.
Perrot left Russia in 1858, and found himself in need Pugni both Petipa and Arthur Saint-Lon, who succeeded as Prime Minister Matre Perrot Ballet of St. Petersburg the Imperial Theaters. The two choreographers, highly gifted in his art and dramatically different in their approach to the creation of the Grand Ballet, were involved in healthy and productive rivalry in the imperial stage. Despite the differences between Saint-Lon and styles of Petipa, Cesare Pugni composed the music for almost every one of his works during the 1860s.
Later life
Pugni began to be increasingly less reliable as they age, becoming a major depression, drinking, game and leaving his family to fend for themselves for days at a time. As a result, Petipa was increasingly difficult to extract music from it, and the quality of his work experienced declined markedly. In his memoirs, Petipa cited a letter written by him in 1860 Pugni: I tearfully ask you 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 music the composer in a gradual manner. It became clear to Petipa had Pugni score off the most difficult sections and left to be done last. Mid 1860 situation, as was common.
In 1862, Pugni composed the music for Petipa's The Pharaoh's Daughter, produced in only 6 weeks for the prima ballerina Italian Carolina Rosati. The production was so successful that he gained by Petipa the position of the Second Matre Ballet. In 1864, Pugni composed the music of Saint-Lon's horse little hunchback, who was so successful as Pharaoh's daughter. Although he received the laurels for his score for Petipa The Pharaoh's Daughter, the score of Pugni for hunchbacked horse caused a sensation with the balletomanes St. Petersburg, which was seen as a tribute to the traditional music of Russia. 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 Pugni and intermissions were made both in the dances of Imperial and diplomatic functions.)
Vera Karalli as the princess and Aspicia Karsavina Platon as the Pharaoh with children not identified in the Pugni / Petipa The Pharaoh's Daughter. St. Petersburg in 1915 '
Despite these times of inspiration, however, became increasingly unreliable Pugni. Enrico Cecchetti recounted in his memoirs Petipa how he liked to tell anecdotes of Pugni in her old age as a story told many excuses for not delivering music Pugni time: when told that his cat Petipa had scratched his hand, making him unable to hold his pen. On another occasion, Pugni music came to trial without requiring the day, informing Petipa had no candles on the writing. When Petipa staged a big box of candles in the house gave Pugni, the composer said in the trial the next day that he did not write the music required because he was forced to sell candles to eat. Petipa was even forced to hire someone to monitor the composer to ensure that all music would be necessary ready on time. Despite these incidents, eight Pugni been composing new scores between 1865 and 1868 for the Imperial Ballet, although these were mostly a short ballet act and amusements.
Saint-Lon also had difficulties with unreliable Pugni, and began to turn the composer Ludwig Minkus's music for ballet. In 1865, Saint-Lon wrote to his friend Charles Nuitter:
Pugni has almost disappeared. It was found in the woods 16 miles from the city (St. Petersburg), 300 rubles due to traders. The Minister Court paid the sum, and a collection of dancers from the company, which was 200 rubles, is used to feed his wife and eight children, five of which are very young. You must be 5800 rubles in total, while for the last twenty years has been receiving 1,200 francs per month (for royalties scores performed in Paris), plus a benefit!
In 1868, Pugni composed the music for Petipa ballet colossal great Candaules Le Roi (King Candaules), about Herodotus history Candaules King of Lydia. This would be the last score Length Pugni, though no less famous, because it caused a sensation among balletomanes day and proved to be among the most enduring works Petipa.
Unbeknownst to many, Pugni Petipa originally planning to write music for his ballet Don Quixote to be mounted on the Bolshoi Theatre in Moscow in 1869. But the irresponsibility of Petipa Pugni quickly forced to reconsider, and instead turned to Ludwig Minkus (Don Quixote would be one of two Petipa and the most famous and enduring works Minkus'). In the end, the score of Don Quixote only includes a change made by Pugni: a waltz composed for the character Kitri in the ballet's final Grand pas de deux.
Death
At the end of 1869 and recovered to score Pugni music an act toiles Petipa ballet Les Deux (two stars). This score is generally considered among his greatest works for ballet, but also to be his last died on January 26 [OS January 14] 1870.
Cesare Pugni was buried in the Roman Catholic Cemetery in St. Petersburg Vyborgskaya (the cemetery was completely destroyed 1939). Pugni died in absolute poverty, and in his death, his extended family was total misery.
In honor of the composer, and for a benefit performance for his family, gala was prepared with extracts from many of the works by Petipa Pugni May 1870. That same year, Petipa staged a revival of Catarina, which opens on 13 November [OS November 1] of 1870, again as a benefit performance for the family of the composer. Petipa then introduced the final work Pugni, Les toiles Deux, on February 11 [OS January 30] 1869 benefit performance for the Imperial Ballet dancer Pavel Gerdt Premier. The ballet was premiered with great success and was performed by the St. Petersburg ballet sometimes until just before the Russian Revolution of 1917. Petipa also carried out the work under the title Les Deux petites toiles (The Two Little Stars) for the Ballet of Moscow Imperial Bolshoi Theatre in 1878. The ballet was re-staged for 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.
Progeny
Maestro Cesare Pugni. St. Petersburg, circa 1860
Many Cesare Pugni of children went on to become noted artists in their own right. Pugni sons Albert and Victor played in the orchestra of the Imperial Theaters in San Petersurg throughout the late 19th and early 20th century. The first is a noted cellist, and the second a flutist. Nikolai Pugni son danced in the corps de ballet of the Imperial Theaters from 1882 until his death in 1896.
There are many outstanding artists from Pugni grandchildren and great grandchildren as well. Three of his granddaughtersanny, Constance and Lontinaerformed as danseuse with St. Petersburg Imperial Theatres. Lontina also a Scandinavian tour with Anna Pavlova's company from 1908-1909 under the name Pouni. Pugni grandson Ivan Puni (also Pougny known as Jean) became a noted artist of the vanguard. Pugni of great-grandson, Michel Astroff violinist, was secretary of Sergei Prokofiev, while composer lived in Paris, and later worked for several music publishers in France.
Pugni of most distinguished descendant of Alexander Shiryaev (18671941) The son of the son of Victor and Pugni a dancer with the Imperial Ballet corps de ballet, Natalia Shiryaeva. Alexander Shiryaev was to become a famous dancer dancer character and Ballet Master of the Imperial Theater in St. Petersburg and the early Soviet ballet, and written accounts of Russian ballet during the late 19th and early 20th are among the most valuable and famous of its kind. After the death of Lev Ivanov in 1901, Shiryaev served as assistant to Marius Petipa, and even arranged the first Soviet production of The Nutcracker with Fedor Lopukhov at the Mariinsky Theatre. Shiryaev was one of the first people to ever dancersany these first movie ballet movies were compiled for the documentary premiere late (so far unreleased on DVD or video), and have been used to reconstruct lost balls (one of the most famous of these reconstructions is choreographed by Marius Petipa for the ballet soloist Petit Corsaire Le Corsaire, with music by Pugni Shiryaev grandfather).
Published sheet music
Pugni music began to be published in 1822 with his Symphony in D minor. Many Pugni symphonies and concert pieces were published by the editorial based in Milan F. Lucca, often for large orchestra. Probably due to the enormous tunefulness of his music, ballet scores Pugni earlier were almost all published in the piano reduction by both F. Gio Lucca and Ricordi, another music publisher based in Milan.
Many ballets and incidental numbers Pugni wrote for the Theatre Her Majesty in London was published in piano reduction of music publishers based in London Cap. Ollivier, Chappell & Co., and in particular Boosey and T. Jullien. As Pugni ballets were organized by several companies in Europen cities such as Milan, Berlin and Vienna to exampleany other music publishers began to distribute their scores often with an additional number of other composers.
As the author of the expired Pugni music, music publisher Jullien & Co. began publishing some of their dances from various ballets without giving credit composer. Often, the music composer credit as "Composed by Jullien" or "traditional" usually under titles such as mazurka Galop original or original, for example. Several waltzes, polkas, dances and various national Pugni ballets were often published with instructions detailed information on how to perform this dance, and sometimes lithographs of what the ballet number drawn was included as an artwork for the cover. Over time many of these pieces were sold to music publishers in Europe and the United Kingdom States.
As Pugni career took him to Russia, his ballets continued to be published in piano reduction. Many publishers based in St. Petersburg as Basil Denotkine, chap. Stellowsky Bessell and took not only original ballets Pugni long-term, but additional dances for the various works and his adaptations of the scores of other composers.
Archive
A vast archive of music by Cesare Pugni is to be found in the archives of the Paris Conservatory, which are today incorporated in the Department of Music Bibliothque nationale de France. The Conservatory of Milan has a large collection Pugni of earlier compositions. Some manuscripts of the ballets of Perrot are 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 Bibliothque nationale de France has many full scores of Pugni ballets composed by Arthur Saint-Lon, including the original orchestral parts for the horse hunchback.
The largest archive of original scores Pugni held in the archives of the St. Petersburg Central Music Library, which contains almost all ballet Pugni wrote while in Russia (including revisions other works created for other theaters abroad). Another file Pugni job is to find in the Library of Harvard University Theatre Collection, which has the famous Sergeyev Collection.
The revivals and is still working on performance
The little humpbacked horse
Students at the Universal Ballet Academy de la Danse des Fresques of Pugni anims / Saint-Lon The little humpbacked horse, Washington, DC, 2005
Saint-Lon 1863 masterpiece The Little Hunchback Horseor Pugni who wrote the scoreeft the active repertoire of the Kirov Ballet / Mariinsky (former Imperial Ballet) long ago, and today the work is only presented in an edition by the Academy seriously wounded Vaganova Russian Ballet (school of the Kirov / Mariinsky Ballet). The school has not done the work since 1989. At present only a few Russian companies include work as active as repertoryuch Mussorgsky Ballet, Ballet of Novosibirsk and the Maly Theatre Ballet. These production are primarily derived from Alexander Gorsky's 1912 revival ballet for the Bolshoi Theatre in Moscow.
Outside Russia, only the Universal Declaration of the Academy of Ballet Washingtom DC, and the male Les Ballets Trockadero company de Monte Carlo perform excerpts from The hunchbacked little pas de trois Horsehead called the ocean and the pearls and the Danse des anims Fresques (Dance of the Frescoes of animation).
Although credited to the music of the ocean Pugni and pearls pas de trois is really from Riccardo Drigo, and is taken from his score for 1896 Perle Marius Petipa, La. The piece added by Alexander Gorsky his revivals of the early 20th century the horse hunchback.
La Esmeralda
Full production of the Perrot / Pugni La Esmeralda only included in the repertoires of Russian companies. The Mussorgsky Ballet of St. Petersburg regularly carry out this work in a production that premiered in 1981 by Nicolai Boyarchikovirector Mussorgsky Ballet and Tatiana Vecheslovaormer prima ballerina of the Kirov Ballet. For this production Pugni score an edition prepared by Riccardo Drigo dating from 1886 and 1899as restored with the help of a rptiteur used by the Imperial Ballet until just before the Russian Revolution. In 1994, the company filmed his production of La Esmeralda. In 2005, film was released on DVD, edited with the production of three hours to just over 55 minutes.
Many companies around the world include some aspects of La Esmeralda: The called La Esmeralda Pas de six (the music of this piece by Riccardo Drigo actually be), and La Esmeralda Pas de Deux.
La Esmeralda Pas de deux
Maria Alexandrova Aspicia as Princess at the Grand Pas d'action for revival of the Bolshoi Ballet Pugni / Petipa The Pharaoh's Daughter, Moscow, 2004
La Esmeralda Pas de deux is a popular piece performed by companies around the world. Includes the famous Tambourine variation, which is often performed by dancers in dance competitions. La Esmeralda Pas Deux is primarily a choreographer Ben Stevenson's version, which took place in 1982 for the dancers Janie Parker and William Pizzuto performance at the International Ballet in Jackson, Mississippi. Musically the work is attributed to Pugni and / or Riccardo Drigo.
The piece has its origins in 1899 Marius Petipa revival of La Esmeralda, phased for ballerina Mathilde Kschessinskaya. For his performance Riccardo Drigo arranged a new Pas d'action. Typical of such pieces of 19th century ballet, music is a pastiche. Between saying and are Drigo's own compositions. The variation danced by Kschessinskayaoday often referred to as variations taken from the tambourine score Romualdo Marenco composer 1876 Luigi Manzotti Siebe ballet. 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 place in La Esmeralda Pas de deux in 1930, added the original soundtrack music Pugni as a variation itself. Today, the variation in the piece is maintained and remains popular among danseurs.
Diane and Acton Pas Deux
Main article: Diane and Acton Pas Deux
The six-Pas Vivandire
Main article: Vivandire
The Pharaoh's Daughter and Ondine
Eugenii Obratzova as Ondine and Leonid Sarafanov as Matto in the Grand Pas des naiads of the Kirov / Mariinsky Ballet's revival of Pugni / Perrot Ondine, St Petersburg, 2006
In 2000, choreographer Pierre Lacotte mounted a revival of the 1862 Pugni / Petipa ballet The Pharaoh's daughter for the Bolshoi Ballet. From the Mariinsky Theatre has refused access to Pugni Lacotte original score, was necessarily required to recreate the music from various sources.
Lacotte in 2006 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 used an orchestration of a violin rptiteur the turn of the 20th century that was used for the Imperial Ballet production. Although no credit, the score contains some aggregate numbers by other composers throughout the late 19th century. Lacotte also made use of numbers taken from the original edition of Pugni score dating from 1843.
Both works were choreographed by Lacotte "in style" time, the daughter of Pharaoh, which contains four dance staging of Petipa's own, some of which were reconstructed from the Stepanov Choreographic Notation Sergeyev Collection.
Pas de Quatre
In the west (especially in North America) the average balletomane probably only ever encounter 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 production Pugni, although the music is usually presented in a reorchestration by Leighton Lucas. The original orchestral pieces Pas de Quatre now located on National Highway Bibliothque France.
Le Corsaire
modern productions of the ballet Le Corsaire contain a substantial amount of additional music, which was added to the score by Marius Pugni Petipa many revivals of the work. Petipa Le Corsaire productions as performed in St. Petersburg showing the results both Pugni Adolphe Adam and the light of this material significant additional. 2007 The Bolshoi Ballet production of much additional music Pugni reset.
Catarina
On May 11, 2007, the Teatro dell'Opera Balletto di di Roma in Rome, Italy presented a revival of Jules Perrot and Cesare Pugni 1846 ballet Catarina, ou La Fille du Bandit. The production premiered in two acts by choreographer Fredy Franzutti with dancer Straccamore Gaia in the title role.
Works
Symphonies
first composition Symphony (1809. Cesare Pugni at the age of 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 Symphony, also known as an orchestra or maturity, or a cnone Sinfonia (La Scala, c. 1830. "Dedicated to the famous Maestro Alessandro Rola)
Symphony in D major (Milan, c. 1830. "Dedicated to Bonofazio Asioli)
Symphony in A minor: L'ora di last one condannato by opinione (La Scala, c. 18,261,833)
Symphony in Three Movements (Villa Borghese, St Petersburg, July 22 [OS 10 July] 1855. Musical poem or a symphony of the program)
Chamber music
Divertimento per violino solo (Milan, 1820)
Divertimento for Flute solo Traverso (Milan, 1821)
Quartetto for clarinette, violin, viola, cello e in B flat major (Milan, c. 1824. "Dedicated to the genius delettante Vincenzo Comolli")
Quartetto violoncello by clarinette, violino, viola, and in the lowest (Milan, c. 1825. "dedicated to the genius delettante Vincenzo Comolli")
Quartetto for flute, piano, viola, cello e in A minor (Milan, c. 1825. "dilettante dedicated to Don Luigi Bertoglio Count)
Quartetto for flute, English horn, violin, and piano B flat major (composed expressly for Mr. G. Castello bad Dilettante)
Cello Quartet for clarinette, violin, viola, and in E flat major (Milan. "Dedicated to the musical genius of the dilettante and Vincenzo Commolli Public Accountant)
Petit Trio per pianoforte, violino, and violincello in C major (St. Petersburg, around 1870)
Serenade for viola obbligato in C minor, accompanied by seconds viola, violin and cello
Serenade for viola obbligato in D major, accompanied by the second viola, violin and cello (Milan. "dedicated to Il Conte Giulio Barb)
fagotto Serenade for flute, English horn, clarinette, horn must mail in E flat major (Milan. "Dedicated to the famous Mr. B. Asioli Master")
Ottavino by Traverso Flute, oboe, fagotto due violino, viola, violincello, and contrabbasso in F major
Terzettino due violino e viola in G major (Milan. "dedicated to Mr. Giuseppe Rossi)
Redowa-Polka per violino: Il Carnevale di Milano in A major (Milan, c. 1845)
Religious Music
Mass for two tenors and under, with violin, English horn, viola three, two cellos and a bass (Milan, 1827)
Mass for the great voices and the orchestral arrangement (Correggio, 1831. This piece was entered in a contest for a performance in honor of the marriage of the great violinist Bonofazio Asioli, in which he won against Pugni works of Donizetti and Mercadante)
Mass for solo tenore, low number, and the choir La Scala (Bologna, Basilica di Santa Maria dei Servi, 1832ovember c. October 1833)
Kyrie and Gloria
Gloria Kyrie Messa email for three soloists, chorus and orchestra
Magnificat in D major for two tenors, two bass, and orchestra
Frontispiece of the piano reduction of the opera Il Pugni of Svizzero Disertore published F. Lucca. Milan, around 1830
Operas
Svizzero Disertore Il, ossia La Nostalgia (semi-serious melodrama in two acts. Libretto by Felice Romani). The Canobbiana, Milan. May 28, 1831. Dedicated "A Sua Eccelenza Il Signor Duca di Carlo Visconti Modroño."
La Vendetta (tragic melodrama in two acts. Libretto by Callisto Bassi). La Scala in Milan. February 11, 1832.
Di Ricciarda Edinburgh (serious melodrama in 2 acts. Libretto by Callisto Bassi). Teatro Grande, Trieste. September 29, 1832.
L'Imboscata adaptation for the revival of the original work of Weigl Thaddus. (Bufo Melodrama in three acts. Libretto by Luigi Romanelli). The Cannobiana, Milan. April 3, 1833.
Il Carrozzino da vendere (comic melodrama in one act. Libretto by Callisto Bassi. The Cannobiana, Milan. June 29, 1833. Beneficenza Inno alla Pugni cantata was performed at 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.
Episode UN di San Michele (melodrama giocoso in two acts. Libretto by Felice Romani). The Canobbiana, Milan. June 14, 1834.
Sing us
Ai passi ERRANTI (unknown Lyricist)
Untitled Composed for Ennio Pouchard and Msr. Serda (unknown Lyricist). Casino Paganini, in 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 Carrozzino of vendere.
Oda lyric (lyrics by John Oxenford.) Her Majesty's Theatre, London. February 25 1847. Performed by Sanchioli Gardoni Bouch connection with the action "For the benefit of the fund for the relief of the Irish and the Scots in trouble"
Ballets
La Scala of Milan, Milan
Castello di Kenilworth disease. Choreography by Gaetano Gioia. April 26, 1825.
Elerz and Zulma. The choreography Luis Enrique is. May 6, 1826.
L'Assedio di Calais. Choreography by L. Enrique. February 15, 1827.
Peli and Miletus. Choreography by Salvatore Taglioni. May 28, 1827.
Don Eutichio della Castagna, ossia La Casa disabitata. Choreography by S. Taglioni. August 16, 1827.
Agamennone. Choreography by Giovanni Galzerani. September 1, 1828.
Adelaide di Francia. Choreography by L. Enrique. December 26, 1829.
Macbeth. Choreography by L. Enrique. February 20, 1830.
William Tell. Choreography by L. Enrique. February 20, 1833.
The Lord of chalumeaux. Choreography by G. Galzerani. January 14, 1834.
Her Majesty's Theatre, London
Frontispiece of a reduction of waltzes for piano score published Pugni taken from Paul Taglioni Les Plaisirs de l'hiver, ou Les Patineurs. Published by Jullien in London, 1848
Lithograph by J. Bouvier of Carlotta Grisi and Jules Perrot make La Polka. London, 1844
L'Aurore. Choreography by Jules Perrot. March 11, 1843.
Les houris. Choreography by J. Perrot. April 27, 1843.
Ondine, ou la Naad. Choreography by J. Perrot and Fanny Cerrito (for the Pas de six). June 22, 1843.
Hamlet. Choreography by J. Perrot. 1843 never opened.
Le peintre d'Dlire United Nations. Choreography by J. Perrot. August 3, 1843.
La Esmeralda. Choreography by J. Perrot. March 9, 1844.
Myrtelde, ou La Nymphe et le papillon. Choreography by J. Perrot. 1844 never opened.
The Polka (dance incidental). Choreography by J. Perrot. April 11, 1844.
The Vivandire. Choreography by Arthur Saint-Lon. May 23, 1844.
Zlia, o Diane Nymphe of. Choreography by J. Perrot. June 25, 1844.
La Grande Dame Campesina. Choreography by J. Perrot. July 25, 1844.
Jeanne d'Arc. The choreography is J. Perrot. 1844 never opened.
oline, ou La Dryade. Choreography by J. Perrot. March 8, 1845.
Kaya, ou L'amour Voyageur. Choreography by J. Perrot. April 17, 1845.
The Bacchante. Choreography by J. Perrot. May 1, 1845.
Rosidae, ou Les Mines of Syracuse. Choreography by A. Saint-Lon and F. Cerrito. May 29, 1845.
Pas de Quatre (amusement). Choreography by J. Perrot. July 12, 1845.
Diane. Choreography by J. Perrot. July 24, 1845.
Catarina, or La Fille du Bandit. Choreography by J. Perrot. March 3, 1846.
Lalla Rookh. Choreography by J. Perrot. June 11, 1846. The music of the second and third passages tables set on the basis of 1844 Flicien David oratorio Le dsert.
Le Jugement de Paris. Choreography by Perrot. July 23, 1846.
Coralia, ou Le Chevalier inconsistent. Choreography by Paul Taglioni. February 16, 1847.
Mphistophla. Choreography P. Taglioni. 1847 never opened.
Tha, ou Le Fe aux fleurs. Choreography P. Taglioni. March 18, 1847.
Orinthia, ou Le Camp des Amazonas. Choreography by P. Taglioni. April 15, 1847.
Les Elments. Choreography by J. 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. The choreography J. is Perrot. June 13, 1848.
Electra, ou 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 Marbre (revival of Perrot Alma). Choreography by A. Saint-Lon. Music by Michael Costa, adapted by Pugni. October 20, 1847.
The Vivandire (rebirth). Choreography by A. Saint-Lon, Pugni adaptation with its original score. October 20, 1848.
Le Violon du Diable (new version of Saint-Lon Tartini il Fiddler, originally staged by 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 adaptation and the score Pugni Felis Saint-Lon. January 19, 1849.
Stella, ou Les Contrebandiers. Choreography by A. Saint-Lon. February 22, 1850.
Le From March of 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 using a set of traditional air Neopolitan called Passatempi Musicali of this score as well as the Chasse aux Hirondelles by composer Maximilien Graziani.
Works from other theaters
Le di Norvegia Fucine (5 events). Choreography by Giacomo Piglia. Teatro Ducale, Parma. December 26, 1826.
The heure d'dernires condamn United Nations. Choreography by Henry L.. Thtre Nautique, Paris. Circa 18,341,835.
The Ricompensa spontaneo dell'amore. Choreography by G. Galzerani. Unknown Theater, Paris. C. 18,301,835.
Liacone. Choreography by Henry L.. Teatro di San Carlo, Naples. September 4, 1836.
Don Zeffiro. Choreography by A. Saint-Lon. Thtre Italien in Paris. April 26, 1865.
Gli Elementi. Choreography by A. Saint-Lon. Thtre Italien in Paris. February 19, 1866.
Kamenny Imperial Bolshoi Theatre, St. Petersburg
Mathilde Kschessinskaya Aspicia photographed as the princess in the Pas de flche of Pugni / Petipa The Pharaoh's Daughter. St. Petersburg, 1898
Lubov Egorova in the title role of Pugni / Petipa The Blue Dahlia. St. Petersburg, 1905
La Guerre des femmes, ou Les Amazons neuvime du siecle. Choreography by J. Perrot. November 23 [OS November 11] 1852.
Gazelda, ou Les Tziganes. Choreography by J. Perrot. 24 [OS February 12 February] 1853.
Marcobomba (also known as The Marcobomba). Choreography by Perrot J., M. Petipa and J. Petipa. December 5 [OS November 23] 1854.
Armida. Choreography by J. Perrot. November 20 [OS November 8] 1855.
The Dbutante. The Choreography by J. Perrot. 29 January [OS January 17] 1857. Pugni prepared this score of air taken from his 1850 adaptation of Adolphe Adam's score for Perrot faiths Filleul des (represented as L'Elve des Fes in 1850), and adaptation, 1852 Edouard Deldevez and score for Jean-Baptiste Tolbecque Mazilier Vert-Vert.
La Petite marchande bouquets of flowers. Choreography by J. M. Perrot and Petipa. 19 [OS February 7 February] 1857.
L'Ile des muets. Choreography by J. Perrot. Music Pugni and Thodoros Labarre. 19 [OS February 7 February] 1857.
A Mariage sous la Rgence. Choreography by M. Petipa. December 30 [OS December18] 1858.
Le Parisien des March (also known as Le March des innocents). Choreography by M. Petipa. May 5 [OS April 23] 1859.
Le Dahlia bleu. Choreography by M. Petipa. May 12 [OS April 30] 1860.
Graziela, ou Les amoureux Dpits (also known as Graziella, ou la Querelle amoureuse). Choreography by A. Saint-Lon. 23 December [OS December 11], 1860.
Les Nymphes et le satire. Choreography by A. Saint-Lon. September 15 [OS September 3] 1861.
The Pharaoh's Daughter. Choreography by M. Petipa. 30 January [OS 18 January] 1862.
La Belle du Liban, ou L'Esprit des Montagnes. Choreography by M. Petipa. December 24 [OS December 12], 1863.
The little humpbacked horse (also known as the Tsar-Demoiselle). Choreography by A. Saint-Lon. December 15 [OS December 3] 1864.
Florida. Choreography by M. Petipa. 1 [OS February 20] in January 1866.
Le Roi Candaules (also known as Tsar Kandavl). Choreography by M. Petipa. October 29 [OS October 17] 1868.
Les Deux toiles (also known as Les Deux Les petites toiles or toiles). Choreography by M. Petipa. 11 [OS January 30 February] 1869.
Other places in Russia
L'toile de Granada. Choreography by M. Petipa. Palace of the Grand Duchess Elena Pavlovna. 21 January [OS 9 January] 1855.
Terpsichore. Choreography by M. Petipa. Imperial Theatre of Tsarskoe Selo. November 27 [OS November 15] 1861.
Titania. Choreography by M. Petipa. Palace Grand Duchess Elena Pavlovna. November 30 [OS November 18] 1866.
L'Amour bienfaiteur. Choreography by M. Petipa. Theatre of the Imperial Ballet School. 18 March [OS March 6] 1868.
L'Esclave. Choreography by M. Petipa. Imperial Hermitage Theatre. May 9 [OS April 27] 1868.
Later editions of his own work for the Bolshoi Kamenny Imperial Theatre, St. Petersburg
Le peintre du RVE (revival of Le Peintre des d'Dlire). Choreography by J. Perrot. October 19 [OS October 31] 1848.
La Esmeralda. Choreography by J. Perrot, Marius Petipa and F. Elssler. 2 January [OS December 21, 1848] 1849.
The Naad et le pcheur (revival of Ondine, ou La Naad). Choreography by J. Perrot. 11 [OS January 30 February] 1851.
Le Jugement de Paris. Choreography by J. Perrot. 18 [OS February 6 February] 1851.
Markitenka (Reactivation Vivandire). Choreography by J. By A. Perrot Saint-Lon. December 25 [OS December 13] 1855.
La Fille de marbre (reactivation of the Soul). Choreography by J. Perrot. Music by Mr. Costa. 19 [OS February 7 February] 1856.
oline, ou la Dryade. Choreography by J. Perrot. November 16 [OS November 4] 1858.
The dancer on tour (Reactivation of the Prima Ballerina, ou L'embuscade). Choreography Marius Petipa. November 16 [OS November 4] 1864.
The adaptations of the scores of other composers for Kamenny Imperial Bolshoi Theatre, St. Petersburg
Lda Laitire ou la Suisse. Choreography by J. Perrot, M. Jean Petipa Petipa after Filippo Taglioni. Adalberto Gyrowetz music and Michele Carafa. December 20 [OS December 8] 1849.
L'Elve des Fes (revival of La Filleul des Fes). Choreography by J. Perrot. Music Clmence Adolphe Adam and the Count of Saint Julien. 24 [February OS February 12] 1850.
La Femme Capricieuse (revival of Le Diable Quatre). Choreography by J. After J. Perrot Mazilier. Music Adolphe Adam. November 26 [OS November 14] 1850.
La Belle (Flemish revival of La Jolie Fille du Gand). Choreography by J. Albert Decombe Mazilier later. Music Adolphe Adam. November 5 [OS October 25] 1851.
Vert-Vert. Choreography by José Mazilier. Music by Edouard and Tolbecque Deldevez Jean-Baptiste. 20 January [OS 8 January] 1852.
Faust. Choreography by J. Perrot. Music by Giacomo Panizza. 14 [OS February 2 February] 1854.
Le Corsaire. Choreography by J. M. Perrot and Petipa after J. Mazilier. Music Adolphe Adam. January 24 [OS January 12, 1858].
Robert et Bertrand, ou Les Deux voleurs. Choreography Kschessinsky after François Félix Hoguet. Music by Herman Schmidt. May 11 [OS 25 April] 1858.
Jovita, ou Les Boucaniers mexicains. Choreography by A. J. Saint-Lon after Mazilier. Music of Thodoros Labarre. September 27 [OS September 15] 1859.
Saltarello, ou La Dansomanie. Choreography by A. Saint-Lon. Music by Arthur Saint-Lon. October 20 [OS October 8] 1859.
The somnambule, L'Mr. nouveau ou d'Reaching the UN. Choreography by M. Petipa after Jean-Pierre Aumer. Music by Hrold Fernando. December 21 [OS December 19], 1859.
Pquerette. Choreography by A. Saint-Lon. Music by François Benoist. 28 January [OS 9 February] 1860.
La Perle de Sville. Choreography by A. Saint-Lon. Music by Santos Pinto. 5 [OS January 24 February] 1861.
MTOR, ou Les toiles of Grandville. The choreography is A. Saint-Lon. Music by Santos Pinto. March 7 [OS February 23] 1861.
L'Tholinda orphelin (revival of Le Lutin of the Valley) Choreography A. Saint-Lon. Music by Gautier Eugne. December 18 [OS December 6], 1862.
Satanella (rebirth of The Devil in Love). Choreography by M. Petipa in honor Joseph Mazilier. Reber Napolon music and Henri François Benoist. October 30 [OS October 18] 1866.
The Basilica. Choreography by A. Saint-Lon. Music by Massimiliano Graziani. 16 [OS February 4 February] 1869.
Original works produced for Pugni music without their direct participation
Satanella (reactivation Les Mtamorphoses). Choreography P. Taglioni. Music reviewed by Peter Ludwig Hertel, "adapted by Pugni. Court Opera Ballet, Berlin. April 28, 1852.
Zolo. Choreography by Pasquale Borri. Pastiche created by an unknown hand in the air of Pugni. Teatro di San Carlo, Naples. Circa 1852.
Lucilla. Choreography P. Borri. Paolo Giorza pastiche of Pugni airs. Teatro La Fenice, Venice. Circa 1855-1856.
Les Espigles de l'Amour (also known as Cupid joke). Choreography by Lev Ivanov. Score by Alexander Friedman, with additional material taken from the works of Pugni. November 23 [OS November 11] 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 Dryade and numbers Additional works by Ludwig Minkus. Imperial Theatre of the Russian Museum of His Majesty the Emperor Alexander III. April 23 [OS April 11] 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 music 19th century ballet. 2006 Summer Musical Times.
Kirov / Mariinsky Ballet. Ondine Program. Mariinsky Theatre in 2006.
Petipa, Marius. Marius Petipa's diaries. Trans. and Ed Lynn Garafolo. Date Published: Studies in Dance History – 3.1 (Spring 1992).
Guest, Ivor Forbes. Cesare Pugni: Call for Justice. Published in Dance Research – vol. 1, no. 1, pp. 3038
Guest, Ivor Forbes, ed. Letters from a Balletmaster – Correspondence of Arthur Saint-Lon
Sidney-Fryer, Donald (not published, no date of publication), The Case of the Light Fantastic Toe: The Romantic Ballet and Mr. Maestro Cesar Pugni.
Wiley, John Roland. Balls Russia: An Introduction to the Sergeyev Collection Published in The Harvard Library Bulletin – 24.1 January 1976.
Wiley, Roland John, ed. and translator. Century Russian Ballet: Documents and testimony from 1810 to 1910.
External Links
Cesare Pugni Free scores at the International Music Score Library Project
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