Features
- Cover Type: Paperback with 166 pages
- Published by: Dance Horizons & Dance Books, Ltd.; 1979 edition 1979
- ASIN: B000EGZ4KQ
Product Description
"At the conclusion of the ballet, Sampson (disguised as an adversary of the Don, the Knight of the Moon who had captured Dulcinea) duels with the Don, disarms him, and sends him sadly home with Sancho, having exacted from the idealistic, impractical Don the promise to refrain from duelling for a year. As previously noted, the music for the closing episode quite possibly was understood to be a repetition of the G minor section from the Introduction and Prologue. The history of this Petipa-Minkus masterpiece since 1871 has generally been one of abridgement, tampering, and editorial manipulation to suit this dancer and that, as well as the addition of excerpts from another of Minkus' Spanish ballets, Paquitqa, and also from sources even further afield such as Adam, and Drigo. Don Quixote has been revised by Gorsky, Novikoff, Kozlovsky, Lopukhov, Nureyev, and, most recently, Baryshnikov. Clearly the Minkus score provides the choreographer an opportunity to produce romantic spectacle and danced operetta, and, with its wide variety of material, offers everything necessary to present faithfully a moving segment of the Don Quixote story. The ballet begins in the tonality of G minor (one of Monteverdi's favored keys), and it utilizes eleven tonalities (ending in C major), along with varied tempos and textures, and national dances. It offers star roles, with virtuoso pas de deux for Kitri and Basil; it offers the ensemble an unforgettable moment in the dream sequences, particularly the Dryads and Dulcinea; and it offers Don Quixote a marvellous opportunity to act, if he will." (from Prefatory Note on Don Quixote and its Composer by Baird Hastings)
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