What charm, what elegance, what richness of melody, rhythm, harmony. Sylvia ' s score is varied and rich, and it stands out, drawing the focus from the sets, the dancers, the costumes. Instead of receding into the background, setting only the mood, Delibes' score sets the action. The music of Sylvia was also notable for its new, more developed use of leitmotifs.
Indeed, echoes of Wagner's influence are quite obvious in the music such as its "symphonic" nature, as described by Ivor Forbes Guest in the edition of The Ballet Annual. Another interesting choice of Delibes was his pronounced use of brass and wind instruments, especially in the characteristically powerful prelude. Delibes was also one of the first composers to write for the alto saxophone ,  an instrument used extensively in the heavier wind sections such as the barcarolle in Act III.
The prelude to the first act and the pizzicati in the third are the significantly more famous sections of this already notable score. The latter, the more famous, is a well-known example of pizzicato style. This section is, according to The New Grove Dictionary of Music and Musicians , "traditionally played in a halting, hesitant style that appears to have been no part of Delibes's conception.
Tchaikovsky's Swan Lake was written just before Sylvia was released and is generally considered [ by whom? However, Tchaikovsky himself preferred Sylvia to his own work, calling his own masterpiece "poor stuff in comparison". If I had known this music early then, of course, I would not have written Swan Lake ". Choreographically, Sylvia was also ahead of its time. Merante's choreography and all subsequent was considered quite rebellious for casting ballerinas as masculine huntresses,  unheard of at the time.
Despite such innovations, the original choreography for Sylvia was still very much of late Romantic -era ballet. Ashton's Sylvia is much more contemporary, and while retaining a classic feel, it has been modernized.
Notes, 1. Prélude - Les Chasseresses 2. Intermezzo et Valse lente 3. Pizzicati 4. Divertissement: Variation dansée 'Pizzicati' (No, Act III). Complete Score · *# Act I. 1. Prélude: 2. Les faunes et dryades: 3. Le berger: 4. Grand pas des chasseresses: 5. Intermezzo: 6. Sylvia - scores at Sheet Music Plus. Delibes: Coppélia & Sylvia Anatole Fistoulari, Antal Doráti, London Symphony Orchestra & Minneapolis Symphony Orchestra 2. No. 1 Faunes et dryades ( Scherzo). 3. No. 2 Le berger (Pastorale). 4 16 Divertissement - b) Violon solo . Act I: Loys seul - Entrée de Giselle Rachmaninoff: Piano Concerto No. 2.
In the choreography, Sylvia incorporated new and interesting techniques such as the blending of mime and dance and more intricate footwork, as are typical of Ashton's works. Ashton designed the ballet specifically around Margot Fonteyn 's talent and skill. Thus, any who play the part must be able to do everything she could, and at the time "the range of her dancing [was] unequalled" Barnes. It is notable that this choreography features a few difficult pas de deux , including a spectacular one in the third act, which constitutes the climax of the ballet.
The libretto of Sylvia is often regarded [ by whom?
The simple plot does not allow for much acting nor is it especially gripping. Indeed, when Frederick Ashton rechoreographed the ballet in the s, he tried to rework the story to be more interesting while still retaining its classical themes because he recognized this aspect of the ballet as a potential pitfall. He called it, "a big wonderful mishmash of mythology and history", so he changed it to make it more, "clear and beautiful". The ballet begins with a scene of worship as creatures of the forest dance before Eros.
Aminta, a lowly shepherd, stumbles in on them, disrupting their ritual. Now Sylvia, the object of Aminta's desire, arrives on the scene with her posse of hunters to mock the god of love. Aminta attempts to conceal himself, but Sylvia eventually discovers her stalker and, inflamed, turns her bow towards Eros. Aminta protects the deity and is himself wounded. Eros in turn shoots Sylvia. She is hit, and though not badly wounded, the injury is enough to drive her offstage.
A hunter, Orion, is revealed to also have been watching Sylvia, when he is seen celebrating the unconscious Aminta. Orion conceals himself again as Sylvia returns; this time she is sympathetic towards Aminta. As the huntress laments over her victim, she is kidnapped by Orion and carried off. Peasants grieve over Aminta's figure until a cloaked Eros revives the shepherd.
Eros reveals his true identity and informs Aminta of Orion's actions. Captive in Orion's island hideout, Sylvia is tempted by him with jewels and wine to no avail. Sylvia now grieves over Aminta, cherishing the arrow pulled from her breast nostalgically. When Orion steals it from her, Sylvia gets her captor drunk until he is unconscious, whereby she retrieves her arrow and appeals to Eros for help.
Sylvia's invocations are not in vain, for Eros quickly arrives and shows his summoner a vision of Aminta waiting for her. The duo depart for the temple of Diana , where Sylvia's love awaits. Aminta arrives at the temple of Diana to find a bacchanal but no Sylvia, who will soon arrive with Eros.
After a few moments of mirth at the reunion, Orion shows up, seeking Sylvia. He and Aminta fight; Sylvia barricades herself in Diana's shrine and Orion attempts to follow. The goddess of the hunt , outraged at this act, smites Orion and denies Aminta and Sylvia congress. Compassionate Eros gives Diana a vision. The goddess reminisces over her own young love of Endymion , also a shepherd.
Diana has a change of heart and repeals her decree. Aminta and Sylvia come together under the deities' good will. This list mentions only full-length or otherwise significant productions; however, there have been many performances of short excerpts, especially in London. In the novel written by the brothers George and Weedon Grossmith The Diary of a Nobody , Carrie Pooter practises the Sylvia Gavotte on the Pooters' new cottage piano, 'bought on the three years system, manufactured by W.
Bilkson in small letters from Collard and Collard in very large letters '. In the Marx Brothers film Monkey Business , Chico Marx plays the pizzicato on the piano, racing against the orchestra, and says, "Hah, I beat you that time!
Media related to Sylvia ballet at Wikimedia Commons. From Wikipedia, the free encyclopedia. Divertissiment — Pizzicato from Sylvia — KB. Retrieved July 24, Retrieved June 12, The Life and Ballets of Lev Ivanov.
The Diaries of Marius Petipa. Society of Dance History Scholars. Leningrad State Choreographic School. Retrieved June 5, Retrieved 16 June Mark Morris sounds serious about an score and his new ballet, 'Sylvia'. Retrieved August 17, Retrieved June 29, Celebrating Royally , Vol. The Royal Ballet" [ permanent dead link ].
Retrieved June 11, Creative Commons Attribution 4. Work Title Sylvia Alt ernative.
Les faunes et dryades 3. Grand pas des chasseresses 5.
Danse barcarolle Divertissement Pas des esclaves Finale—Le temple De Diane Opera Garnier First Pub lication. Heugel Composer Time Period Comp. Retrieved from " http: Ballets ; Theatrical Works ; For orchestra ; Scores featuring the orchestra ; For piano 4 hands arr ; Scores featuring the piano ; Scores featuring the piano 4 hands ; For 2 players ; For piano arr ; For 1 player ; For violin, piano arr ; Scores featuring the violin ; For flute, piano arr ; Scores featuring the flute ; For piano 6 hands arr ; Scores featuring the piano 6 hands ; For 3 players ; For organ arr ; Scores featuring the organ ; For guitar arr ; Scores featuring the guitar.
Pieces based on 'Sylvia'.