FROM THE AUTHOR OF THE...
54
5 FROM THE AUTHOR OF THE TRANSCRIPTIONS Isn’t it surprising that the music of «Daphnis et Chloè» — Ravel's masterpiece — has not had a proper piano arrangement? It is especially strange because many works of the French composer have «doubles» — the piano or, on the contrary, the orchestral transcription, done by the author. There are a lot of examples: «Menuet antique», «Pavane pour une infante dеfunte», «Une barque sur l'ocèan» and «Alborada del gracioso» from the piano cycle «Miroirs», the «Rapsodie espagnole», «Valses nobles et sentimentales», «Le tombeau de Couperin», a choreographic poem «La Valse» (for which, by the way, Ravel did two transcriptions — for one and two pianos). Large and most significant cycles were left unique, not having a pair (we will not consider operas now). These are «Gaspard de la nuit» for piano and the ballet «Daphnis et Chloè». It is known, that there are only sketches of the author's orchestration of the piano cycle, and only a few fragments of the ballet arranged by the author for one piano have been published. It is worth noticing that the composer worked on these things at the same time — the ballet was created in the period of 1907 — 1912, and the «Gaspard» was finished in 1908. It was a great Russian choreographer Mikhail Fokine who had an idea to make a ballet on an antic plot. He could not get support in the Mariinsky Theater in Saint-Petersburg but he was lucky to be understood by Ravel who became interested in the Longus' novel «Daphnis et Chloè». No wonder this novel became famous all over the world due to the translation done by the French philologist Jacques Amyot (16 th century). Many pastorals, which were so popular in European literature in the 17 th and 18 th centuries were based on «Daphnis et Chloè» and these names became classic for the pastoral genre. Still the Longus' novel is not so simple and naive as it could seem to be at first, and the main point of it cannot be reduced just to a pastoral. There is a mild irony in it and a moral, which is not obtrusive; some erotic element of it is not vulgar, and the idyll is not too sweet. It is a hymn of love. Love, which is real, sensuous and very pure at the same time. And Eros is interpreted here as not just a playful chubby boy with a bow and arrows. Longus' Eros is «older than Saturn, and the whole time of this Universe», «he rules elements, rules stars, rules gods equal to him». The plot of Longus' novel was seriously shortened and simplified to make a ballet. So, Ravel used other methods than Longus did to avoid pastoral naivete and to build his own masterpiece. I think it won't be an exaggeration to say that the main expressive means in this ballet is an orchestra. Not without a reason did Ravel name this work a «choreographic symphony». The music in the ballet and especially in its last part (the Second Suite) is not just rich in colours, timbers, aromas — it is sumptuous. All in it bewitches you — its soft and beautiful water-colour
Transcript of FROM THE AUTHOR OF THE...
5
F R O M T H E A U T H O R O F T H E T R A N S C R I P T I O N S
Isn’t it surprising that the music of «Daphnis et Chloè» — Ravel's masterpiece — has not
had a proper piano arrangement? It is especially strange because many works of the French
composer have «doubles» — the piano or, on the contrary, the orchestral transcription, done by
the author. There are a lot of examples: «Menuet antique», «Pavane pour une infante dеfunte»,
«Une barque sur l'ocèan» and «Alborada del gracioso» from the piano cycle «Miroirs», the
«Rapsodie espagnole», «Valses nobles et sentimentales», «Le tombeau de Couperin», a
choreographic poem «La Valse» (for which, by the way, Ravel did two transcriptions — for one
and two pianos). Large and most significant cycles were left unique, not having a pair (we will
not consider operas now). These are «Gaspard de la nuit» for piano and the ballet «Daphnis et
Chloè». It is known, that there are only sketches of the author's orchestration of the piano cycle,
and only a few fragments of the ballet arranged by the author for one piano have been
published. It is worth noticing that the composer worked on these things at the same time — the
ballet was created in the period of 1907 — 1912, and the «Gaspard» was finished in 1908.
It was a great Russian choreographer Mikhail Fokine who had an idea to make a ballet on
an antic plot. He could not get support in the Mariinsky Theater in Saint-Petersburg but he was
lucky to be understood by Ravel who became interested in the Longus' novel «Daphnis et
Chloè». No wonder this novel became famous all over the world due to the translation done by
the French philologist Jacques Amyot (16th century). Many pastorals, which were so popular in
European literature in the 17th and 18th centuries were based on «Daphnis et Chloè» and these
names became classic for the pastoral genre.
Still the Longus' novel is not so simple and naive as it could seem to be at first, and the
main point of it cannot be reduced just to a pastoral. There is a mild irony in it and a moral,
which is not obtrusive; some erotic element of it is not vulgar, and the idyll is not too sweet. It is
a hymn of love. Love, which is real, sensuous and very pure at the same time. And Eros is
interpreted here as not just a playful chubby boy with a bow and arrows. Longus' Eros is «older
than Saturn, and the whole time of this Universe», «he rules elements, rules stars, rules gods
equal to him».
The plot of Longus' novel was seriously shortened and simplified to make a ballet. So,
Ravel used other methods than Longus did to avoid pastoral naivete and to build his own
masterpiece.
I think it won't be an exaggeration to say that the main expressive means in this ballet is
an orchestra. Not without a reason did Ravel name this work a «choreographic symphony». The
music in the ballet and especially in its last part (the Second Suite) is not just rich in colours,
timbers, aromas — it is sumptuous. All in it bewitches you — its soft and beautiful water-colour
6
painting, its exquisite harmonies which are like tart wine, its overwhelming power, its
impetuous bacchanalia dance, not stripped of some antique wildness.
It was even more interesting to try to express all of this by the means of a piano (two
pianos, to be more exact, for one piano evidently will not be enough), and even try to compete
with the orchestra.
***
I had quite a different task while I was working on the arrangement of «Habanera» from
the opera «Karmen» by G. Bizet. I did it on the request from my first teacher M. Kandelaki for
her pupils — Lisa (she is 8 years old, and plays the first part), and Nikita (he is 9, the second
part). They study at the Central Music School in Moscow and they already are laureates of
international competitions. Still they remain children — and the arrangement technically was
aimed at children’s abilities. But a fantasy of a teacher and players themselves can be broadly
expressed in this small piece. For this piece can suggest some story and even gives an
opportunity to make a small performance — from this point of view it is nice that the boy plays
the second part, and the girl plays the first one.
I hope that young artists will like «Habanera For Two». I have to note, however, that this
piece turned out to be not just «for children only». Regarded as a jocose «light dessert» it can
awake interest of professional pianists. The fact is that piano duets have a modest choice of
small encore numbers comparing to solo pianists. I will be glad if «Habanera For Two» helps to
improve this situation a bit.
That is why these two so different stories of love — the great work of Ravel and the small
musical joke — are put in the same volume.
Vyacheslav Gryaznov
ABOUT THE AUTHOR
Vyacheslav Gryaznov was born in 1982. In 1991-2001 he studied at the Central Music
School in Moscow (class of M. Kandelaki). In 2006 he finished the Moscow State
Conservatoire (class of prof. Y. Slessarev), now he is a postgraduate student. He is a prizewinner
of several international competitions. He gives recitals in Russia, Japan, Italy, Denmark, Great
Britain, Croatia, Sweden, Norway, Netherlands, Kuwait, Georgia, and the Baltic countries.
Lent q = 50
Lent q = 50
MAURICE RAVELМОРИС РАВЕЛЬ
(1875-1937)
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Piano I
Piano II
Fl.
pp
4 2 3 1
ВТОРАЯ СЮИТА ИЗ БАЛЕТА"ДАФНИС И ХЛОЯ"
НАЧАЛО ДНЯ - ПАНТОМИМА - ОБЩИЙ ТАНЕЦ
Транскрипция для двух фортепианоВячеслава Грязнова
5 2 4 1 2 1 2 3
BEGINNING OF A DAY - PANTOMIME - GENERAL DANCE
THE SECOND SUITE FROM BALLET"DAPHNIS ET CHLOÉ"
Transcription for two pianosby Vyacheslav Gryaznov
12
12 12 12
Archi con sordino
Celli,Bassi
3
Aucun bruit que le murmure des ruisselets amassés par la rosée qui coule des roches
Arpe
pp
12 12 12 12
Celli, Bassi
3
2
I
IIArpe 5
3 4 2 1 5
3
Cl.5
3 4 2 3 1 4 2 1 2 3 4
3
3
I
II
Fl.
Daphnis est toujours étendu devant la grotte des Nymphes.
3
42 3 1 5
3
7
4
I
II
3
Cl.
3
5
I
II
Fl.,Celesta
più pp
3
53 4 2 1 5
più pp
3
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6
I
II
3
Cl.
3
8
7
I
II
Fl.,Celesta
5
1 3 2 1 3 4 1
3
8
I
II
marcato la melodiapoco cresc.
3 V-ni solo
6
3
mf
Fag.,Bassi
Fiati, ArpePeu а peu le jour se lève.
pp
5
leggiero
4 4 3
1
On perçoit les chants d'oiseaux.
10
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I
II
3
3
3
Archi
mf
Picc.
1 4 2 5 1
3 2 5
3
3 1 4 2
3 V-ni solo 3
63
1 2 3
35
4
3
9
12
I
II
3
V-le
Picc.
poco cresc.
Fl.
33
14
I
II
V-ni
3
6
5
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15
I
II
f
m.s
1212
12
6
f
3
3
p
1 3 2 4 1 3 2 4 3 2 1 2
10
16
I
II
dim.
6
dim.
3
17
I
II
Fiati
6 6 6
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I
II
3 5 4 4 2 1 4
5 3 1 V-ni
pp
6
3 1
6 6
6
p
V-le,Celli
mf
cantabile espressivo
11
21
I
II
23
I
II
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25
I
II
12
26
I
II
mf
Picc.solo
9 6
V-ni
pp
Au loin un berger passe avec son troupeau.
27
I
II
pp
3
mf
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29
I
II
6
13
31
I
II
Cl. picc.solo
mf
9 3 3
Celli
Un autre berger traverse le fond de la scène.5
p
3 4 3 2 1 2 3
5
2 3 1 5 2 1 5
5
mf
33
I
II
cresc.
6 6 6
m.d
Cellicresc.
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35
I
II
m.d
14
poco rit.
poco rit.
37
I
II
m.d.
5 5
V-ni
6
12
a tempo
a tempo
38
I
II
V-ni
mf
cantabile espressivo
m.d.
Coro
6
Arpe
pp
5 5
16
16
V-le,Celli
p
Coro
16
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40
I
II
V-le, Celli
6
6
1 5 1
15
5
15
42
I
II
44
I
II
Arpe
Fiati
p
cresc.
4
mf
Coro
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45
I
II
Archi
Coro
Entre un groupe de pâtres а la recherche de Daphnis et Chloé.
1 3 1
16
46
I
II
f
cresc.
6
f
4 5
cresc.
48
I
II
ff
6 6 6
Coro
6 6
1
1 5
ff
4 1 4 1 2 3 4
2 3 4 5
Coro
6
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50
I
II
dim.
6
6 6
3
Ils découvrent Daphnis et le réveillent.4 4 1 4 4
dim.
3 4 3 2 3 4 5
17
51
I
II
V-ni
p
pizz.
Angoissé il cherche Chloé du regard.
mf Cl., V-le
6
6
6
pizz.
6
53
I
II
Ob., V-nimf
66 6
6
6
6
V-ni 4 1 5 4 3 1
pizz.
6
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54
I
II
Cor.
f
p
p
Elle apparaît, enfin entourйe de bergéres.
Cor.
66
18
55
I
II
ff
Archi
3 3
3
3
Fiati
Ils se jettent dans les bras l'un de l'autre.
ff
56
I
II
3 3 3
3
3
32
Tr-ba solo 32 3 Tr-be
sff
3 3
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57
I
II
dim.
66 6
dim.
19
59
I
II
3
Cl.
p
senza P
3
Daphnis aperçoit la couronne de Chloé. Son rêve était unevision prophétique: l'intervention de Pan est manifesté.
V-ni sul G,
Fl. alto
mf
Tr-ni con sord.p
61
I
II
Cl. b.
Timp.
pp
3
Celli, Bassi
Cor.
p
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I
II
Fl. alto, Cl.
6 6 6
V-le, Celli
cresc.
pp
Timp.
20
65
I
II
cresc.
Fiati
6 6 6
Archi
mf
p cresc.
67
I
II
più cresc.
Archi, Ottone
f
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(poco rit.)
(poco rit.)
69
I
II
sff
3
3
21
Maestoso (Poco meno mosso)
Maestoso (Poco meno mosso)
70
I
II
Arpe
fff
Coro
C-lli
m.s.
m.s.
6 6 6
fff
Tutti
Coro
71
I
II
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72
I
II
dim.
dim.
22
73
I
II
mf
Coro
75 (a tempo)
(a tempo)
I
II
V-le
p
Ob.
p
9 9 6
3 3 3
3 3
79
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I
II
mf
Fl. alto, V-ni
Ob.
p
3 3 3
Le vieux berger Lammon explique que, si Pan a sauvé Chloé, c'esten souvenir de la nymphe Cyrinx dont le Dieu fut épris autrefois.
2 V-ni solo
p
Cor. con sord.
23
84
Lent e = 104
Lent e = 104
I
II
Archi flag.
pp
Arpe
Daphnis et Chloé miment l'aventure dePan et de Cyrinx.
Cl.
Chloé figure la jeune nymphe errant dans la prairie.
Ob.,C. ingl. dolce 3
3 3
mp
3
90Très ralenti
Très ralenti
I
II
Archi
pp più dolce
Daphnis-Pan apparaît et lui déclaré son amour.
Arpe
94
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Cédez très peu
Cédez très peu
I
II
Fl.
Fl.
p
Arpa
pp
pizz.
La nymphe le repousse.
mf
Ob.
Le Dieu devient plus pressant.
espressivo
5 Archi
pp
3
Archi pizz., Cor.
Cor.
24
au Mouvt
au Mouvt
98
I
II
mf
Cl.
espressivo
Archi
p
Ob.
m.s
Cor.
mf
Fag.
C. ingl.
Ob.
m.s
Archi
f
Arpa
pizz.
102
Retenez
Retenez
Très lent q = 66
Très lent q = 66
I
II
dim.
Archi1
non arpeggiato
ppp
pizz.
Cornocon sord.
Elle disparaît dans les roseaux. Désespéré, il arrache quelques tiges,en forme une flûte et joue un air mélancolique.
Cl., Fag. p
1
solo
Cor.
Bassi pizz.
Archi pizz.
108
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I
II
Fl.p
33 3 3
Chloé réapparaоt et figure, par sa danse, les accent de la flûte.
25
113
I
II
3
m.s
118
I
II
33 6
3 6
m.s
122
Retenu légèrement
Retenu légèrement
7318
Rall.
Rall.
I
II
3
3
26
au Mouvt
au Mouvt
127Retenu
Retenu
I
II
3 3
33
3
3 3
Cl., Fag.
Archi pizz.
pp
Archi arco
Archi pizz.
Cor.
au Mouvt
au Mouvt
131Pressez
Pressez
au Mouvt
au Mouvt
Pressez
Pressez
I
II
Archi
Fl.
f p
f
gliss
.
gliss
.
Fl.
p
Archi pizz.
p
135
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Viv q=x
Viv q=x
precedente
precedente
I
II
p
Arpe,Picc.
Fl.
f
pp
f
p
Archi, Celesta
27
141
I
II
Archi pizz.
Fl.5
5 5
7 7
Fl. Archi pizz.
7 7 7 7
Cor. con sord.
144
I
II
p
Archi, Celesta
7 7
7
*
7
mf
66
*В авторском переложении для рояля здесь си диез, в партитуре - си.
It is b sharp in the author's piano transcription, in the score it is b natural.
147
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I
II
f
6
6
6
6
Cor. con sord.
6
6
28
151Un peu plus animé
Un peu plus animé
I
II
p
m.s.sf
6
7
p
155
En animant toujours davantage
En animant toujours davantage
I
II
cresc.
m.s.
sfz
sfz
Fiati, Archi pizz., Arpe
160
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Au 1er Mouvt (Vif)avec un peu plus languer
Au 1er Mouvt (Vif)avec un peu plus languer
I
II
très
courtArchi, Arpe
33
ff
p
ff
trèscourt
Fl.
p
3 3 3 3
Archi pizz.
29
164
I
II
33
33
3
Corno
Animez un peu
Animez un peu
169
En animant toujours
En animant toujours
I
II
Fl.
Archi pizz.
Cor.
3
Archi, Arpe
Corno
cresc.
33
3
3
175
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I
II
3 3 3 3
30
180
I
II
ff
m.s.
7
7
ff
La danse s'anime de plus en plus et, dans un tournoiement éperdu, Chloé tombe dans les bras de Daphnis.
m.s.
Fl. alto
mf
7
76
Très lent
Très lent
183
Pressez le 2d temps
Pressez le 2d temps
I
II
Archi, Arpe
p
Fl.
p
Cor.
Pressez le 2d temps
Pressez le 2d temps
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q = 80
q = 80
186
I
II
p
tutti
Archi, Arpe
Fl.
Cor.
Cor.
p
31
Cédez très peu
Cédez très peu
188Pressez
Pressez
I
II
Tr-ni e Tuba,Timp.
f
1
1
22
Arpe
Plus lent
Plus lent
191
au Mouvt
au Mouvt
Cédez très peu
Cédez très peu
I
II
ftutti
p
3
3
Cor.
p
Pressez
Pressez
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196
Plus lent
Plus lent
I
II
f
f
f
20
32
Même mouvt (plus lent)
Même mouvt (plus lent)
199
Retenez peu à peu
Retenez peu à peu
I
II
V-no solo
p
poco cresc.
pizz.
V-la solo
p
p
Cor.
poco cresc.
Cl., Fag.
Cor.
pizz.
205
au Mouvt
au Mouvt
I
II
pp
Fiati
Archi
Fl., Ob.
Fiati
pp
3
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I
II
Archi
33
Lent q = 50
Lent q = 50
212
I
II
f
V-ni
tutti
Devant l'autel des nymphes, il jure sa foie sur deux brébis.
delicatamente
3 3 3 3
f
Tr-be
216
Anime
Anime
I
II
p
Fl., Cl.
mf
3
3
3
3
3
3
3
3
3
Cor.
p
m.s
Tr-be
mf
Entre un groupe de jeunes filles costumées en bacchantes agitant des tambourins.
3
219
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Lent
Lent
I
II
3
3
3
3
Daphnis et Chloés'enlacent tendrement.
3
3
3
Archi
34
Anime
Anime
222
I
II
Cl., Cor.mf
mf
Un groupe de jeunes hommes envahit la scène.
Fl., Ob.
224
I
II
Cl., V-le
p
3 3 3
3
Bassi, Tamb.
3 3 3 3 3
Celli pp
32
32
1 Joyeux tumulte.
3
3 3 3 3 3
227
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I
II
pp
V-ni
mf
3
2 1
2 1
3
p
2
Archi, Tamb.
1
mf
1
Tr-be con sord.
2 1 3 2 1 3 5 3 Archi, Tamb.
p
mf
1
2
3
35
230
I
II
233
I
II
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I
II
ff
Fiati
Fiati
52
cue notes ad libitum3 5
14 3 5 3
1 5 4 3 5 3 4
ff
1 1 4
1 3
2 1
36
239
I
II
Tr-be con sord.
p
3 3
Tr-be con sord.
3
3
3
Cor.
3
mf
3 3 3 3 3
241
I
II
Fl., Fl. alto
p
Archi
pp
3 3 3 3 3
Danse générale.
Archi
pp
3 3
3
Archi pizz.Timp.
Ob.Arpe
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I
II
3
2
2 1
2 1 3
3
4
2 53
1
Cl. picc.
mf
simile
37
245
I
II
2
3
1
53 2 1
2 1 3
35
1 3 24
35
15 2
3
3 3 4 3 1
247
I
II
Cl.Tromba con sord.
Ob.Arpe
mf
p
Archi pizz.Timp.
3
Archi p
3
3
42 5
3 1
249
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II
Fiati 3 3 1 41 1
p
3 2
2 1
2 1 3
3
35
1 3 24 3
5 15 2
3
38
251
I
II
1 3 1 3 3 4 1 1 1 3 3 4
253
I
II
2 41 3
3 1 42 1
3 1 1
2 1 2 1 3 1 1
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I
II
FiatiTromba
f
Tr-be
3 3
f
342
21
31
21
31
Tr-ni
39
258
I
II
Fiati
p
3 1 1 1 2 3 1 3
3
42
p
235 3
5 2 1235 3
5 35
260
I
II
2 1 3 4 2 1 3 1 1
f
tutti
f
tutti
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I
II
Arpe
sf
ff
Tr-be
Picc.
Percussione
sff
40
264
I
II
sf
3
sff
3 3
3
266
I
II
Tr-be
ff
Tr-be
ff
268
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II
p
Cor.
Cor.
Daphnis et Chloé.
V-ni
mf
espressivo
p
Archi pizz.
41
270
I
II
Arpa
pp
5
43 4
V-ni
Celli
mf
2 1
3
Archi 2 3 1 2
3 1 4 2
4
p
272
I
II
Celli
p
3
1
1 4
Archi pizz.
2
1
1 Fl.
pp
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I
II
Archi2 3 1 V-ni
Arpa
pp
53
43 4
mf
Celli
42
276
I
II
Cor., Celli
f
Tr-ni e Tuba
Tr-be con sord.
f
secco
42
51
42 1
3
3 1 1 5 m.d.
m.s.
278
I
II
Tr-be con sord.
secco
Fiati, Archi
Tr-ni e Tuba3 3 3 3 3 3
p
mf
Cor.
Fiati, Archi
martellato
Cor.
3 3
7318
281
I
II
Fiati, Tr-be con sord.
f
Fiati, Cor.
martellato
3 3 3
mf
3
f
Tr-be con sord.
secco
3 3 3
mf
43
283
I
II
Archi
Cor.
f
3 33
3
Cor.
Fiatti, Archi f
3 3 3
285
I
II
Fiati
3 2 1 42 5
1 42
1 f
p
Ottone
p
f
Fiatti
p
sf
m.s.
3
sf
Ottone
7318
287
I
II
mf
mf
ff
ff
mf
mf
sff
sff
44
289
I
II
p subito
leggiero1 5 4 2
1 5
marcato la melodia
3 2 1 5
Tr-be, Tr-ni
Fiati,Archi
subito p
m.s.
42
leggiero
51 4
2
m.s.
3
V-le,Celli
marcato la melodia
292
I
II
295
7318
I
II
cue notes ad libitum
feroce
fff
feroce
3 2 1 4 3
3 5
2 4 5 4
2 3 5
fff
45
298
I
II
301
I
II
p
7318
304
I
II
Celli
conad libitum
ppp
ppp
Celli
45
Bassi, Tamb.
m.d.
3 3 3 3 3
46
306
I
II
Cl. b., Celli
33 3 3
3 3
Fag.
3
308
I
II
pp
Bassi, Tamb.
m.d.
3 3 3 3 3
Cor. con sord.
p
1 1 3 142 5
142 1 4
52
Fl. alto
3 3 3 33
3 3 3
7318
310
I
II
Cl., V-le
p
3 3 3
Fl.
pp
3
47
312
I
II
3 3 3
3
p
1
Tr-be con sord.
2 1 3
2 1
42
3 3 3
314
I
II
pp
Fl. alto, C. ingl.
Ob., Cl.
3
3
Cor.
7318
316
I
II
Tromba, V-ni
3 3 3 3 3 3
Archi
m.d.
m.s.
Tr-no
48
318
I
II
Archi
mf
leggiero
Fl.
3 1 24
m.s.
3 3
3 3 3 3 3
Tr-be 41 3 2 1 5 4 2
1 52
m.d.
mf
Coro
33
33
320
I
II
Ob.,Cl.
4 2 51
2
1 3 1
Archi
Fl.
3
Coro
3 3
Archi 1 32
4 5
2
21 4
21
3 41 Tr-be
3 2
1
p
33
322
7318
I
II
Ob., Cl.
4 2 1
2
1 3 1
3
Coro
3 3
Archi
2
4 2
5
3
3
49
324
I
II
mf
Archi
poco a poco cresc.
21
3 4 3
1
5 4 3
1
5 3
1
3 2 1
3
3 3
3
Fiati
mf
Coro
326
I
II
Fiati
p
1 4 1
Coro
p
Archi
3
7318
328
I
II
mf
f
50
330
I
II
p
2 3 4 3 4 1
cresc
2 3 4 4 1
p
cresc.
3
3
332
I
II
2 3 3 1 2 1 3 3 1 2 1 2 3 13
7318
334
I
II
tutti 1
32
1
ff
p
Ottone
cresc.
6
tutti p
3 3
cresc.
3
ff
gliss.
gliss.
51
336
I
II
tutti
3 3
ff
3
ff
Tr-be
Coro
338
I
II
3
p
3
gliss
.
gliss.
1 1
Ottone
p
3
ff
6
7318
340
I
II
52
342
I
II
3 3
ff
ff
3
3 3
3 33
3 3
344
I
II
Fl. 2 5 1 2
p subito
Coro
Archi
p subito
3
347
7318
I
II
5 Archi
4 3
Cl.
m.d.
4 4 2 1 2
Coro
53
350
I
II
Fiati
m.d.cresc.
4 4 3 2 1
Coro
Archi
cresc.
4
3 5
352
I
II
2 3 1 3 4 3 2 3 2 1 3
41 3 2 1
5
7318
354
I
II
1 31 4 4 1 3 2 3 1 3 2 3 2 1 4
54
356
I
II
2 3 1
358
I
II
ff
marcatissimo
Percussione
ff
sff
Timp.
sff
tutti
ff
3 42
51 4
221 3 4
3
Coro
sf
sf
3 3
7318
360
I
II
sff
sff
3
3
3 3
55
362
I
II
p m.d.
Fiati, Arpe
3
m.s. gliss.
Cor.
m.s.
3
3
3
Fiati, Arpe
gliss.
3
Tr-be
con ad libitum
p
Cor.
m.d.
m.s.
365
I
II
fff
3 3 3 3 3
tutti p
3 3 3 3 3
tutti
3 3 3 3 3
fff
sff
sff
sff
sff
p
370
7318
I
II
sfff
sfff
3
33
3
56
65
ПЕРЕВОД ФРАНЦУЗСКИХ ТЕМПОВЫХ, ДИНАМИЧЕСКИХИ ХАРАКТЕРНЫХ ОБОЗНАЧЕНИЙ
animé - оживленноanimez un peu - немного быстрее, оживленнееau 1er mouvt - в первоначальном темпеau Mouvt - в предыдущем темпеavec un peu plus de langueur - чуть нежнее, более томноcédez - замедлитьcédez très peu - чуть замедлитьcourt - краткоen s'animant toujours (davantage) - постепенно убыстряяen s'éloignant - удаляясь, замираяexpressif - выразительноexpressif et souple - выразительно и нежноlent - медленноmême mouvement - в том же темпеmoins animé - не так быстроplus lent - медленнееplus près - (хор) приближаетсяprécédent - предшествующийpressez - ускоритьpressez le 2d temps - 2-я четверть играется ускоренноretenez - замедлитьretenez peu à peu - постепенно замедлитьretenu - замедленноretenu légèrement - слегка замедленноsubit (sub.) - внезапноtrès lent - очень медленноtrès court - очень короткоtrès ralenti - очень замедленноtrès expressif - очень выразительноun peu plus animé - немного более оживленно (быстрее)vif – оживленно
66
РЕМАРКИ, ОТНОСЯЩИЕСЯ К СЮЖЕТУ БАЛЕТА
Aucun bruit que le murmure des ruisselets amassés par la rosée qui coule des roches.
Daphnis est toujours étendu devant la grotte des Nymphes.
Peu а peu le jour se lève.
On perçoit les chants d'oiseaux.
Au loin un berger passe avec son troupeau.
Un autre berger traverse le fond de la scène.
Entre un groupe de pâtres а la recherche de Daphnis et Chloé.
Ils découvrent Daphnis et le réveillent.
Angoissé il cherche Chloé du regard.
Elle apparaît, enfin entourée de bergéres.
Ils se jettent dans les bras l'un de l'autre.
Daphnis aperçoit la couronne de Chloé.
Son rêve était une vision prophétique: l'intervention de Pan est manifesté.
Le vieux berger Lammon explique que, si Pan a sauvé Chloé, c'est en souvenir de la nymphe Cyrinx dont le Dieu fut épris autrefois.
Daphnis et Chloé miment l'aventure de Pan et de Cyrinx.
Chloé figure la jeune nymphe errant dans la prairie.
Daphnis-Pan apparaît et lui déclaré son amour.
La nymphe le repousse.
Le Dieu devient plus pressant.
Elle disparaît dans les roseaux. Désespéré, il arrache quelques tiges, en forme une flûte et joue un air mélancolique.
Chloé réapparaоt et figure, par sa danse, les accent de la flûte.
La danse s'anime de plus en plus et, dans un tournoiement éperdu, Chloé tombe dans les bras de Daphnis.
Devant l'autel des nymphes, il jure sa foie sur deux brébis.
Entre un groupe de jeunes filles costumées en bacchantes agitant des tambourins.
Daphnis et Chloé s'enlacent tendrement. Un groupe de jeunes hommes envahit la scène.
Joyeux tumulte.
Danse générale.
Daphnis et Chloé.
Тишина, нарушаемая лишь журчанием ручейков росы, стекающих со скал.
Дафнис по-прежнему спит, простершись перед гротом нимф.
Постепенно начинается день.
Доносится пение птиц.
Вдали проходит пастух со стадом.
Еще один пастух проходит в глубине сцены.
Входит группа пастухов, разыскивающих Дафниса и Хлою.
Они видят Дафниса и будят его.
В тревоге он ищет взглядом Хлою.
Она появляется, окруженная пастушками.
Они бросаются в объятия друг друга.
Дафнис замечает венок Хлои.
Его сон был пророческим видением: это знак вмешательства Пана.
Старый пастух Ламмон говорит, что Пан спас Хлою в память нимфы Сиринкс, которую бог любил когда-то.
Дафнис и Хлоя играют пантомиму - историю любви Пана и Сиринкс.
Хлоя изображает юную нимфу, бредущую по лугу.
Появляется Дафнис-Пан и признается ей в любви.
Нимфа отвергает его любовь.
Бог становится настойчивее.
Она исчезает в зарослях. В отчаянии он срывает несколько стеблей тростника, делает флейту и играет на ней грустную мелодию.
Хлоя появляется вновь; движениями танца она следует за мелодией флейты.
Танец становится все более страстным и, наконец, в безумном порыве Хлоя падает в объятия Дафниса.
Перед алтарем нимф он клянется в верности.
Входят девушки, одетые вакханками; они бьют в тамбурины.
Дафнис и Хлоя нежно обнимаются. Появляется группа юношей.
Веселая суматоха.
Общий танец.
Дафнис и Хлоя.
