Piano Reductions
Editorial Statement
In addition to the essays presented on this site, piano reductions are available for several of the ballets discussed. These reductions have been prepared through the cross-referencing of both primary and secondary sources, including full scores, répétiteurs, condensed scores, historical piano reductions, salon arrangements, audio recordings, libretti, contemporary descriptions and, where relevant, later revivals.
Each reduction aims to reflect, as closely as the surviving materials allow, the version of the ballet performed at or near its première. Where appropriate, historically documented supplemental additions have been included. Further details regarding sources and editorial decisions are provided in the description accompanying each reduction.
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Works in Progress
La Sylphide (Schneitzhoeffer, 1832)
- With the Pas de Deux added for Emma Livry in 1858 Paris
La Jolie Fille de Gand (Adam, 1842)
- With the Pas de Deux added for Adèle Dumilâtre c. 1843
La Péri (Burgmüller, 1843)
La Esmeralda (Pugni, 1844)
- In the 1886 St Petersburg version with revisions by Riccardo Drigo
Le Diable à Quatre (Adam, 1845)
Faust (Panizza, 1848)
- In the c. 1854 St Petersburg version with revisions by Cesare Pugni
La Filleule des Fées (Adam, 1849)
Le Corsaire (Adam, 1856)
- With the Variation and the Pas des Fleurs added for Adèle Grantzow in 1867 Paris
Diavolina (Pugni, 1863)
La Fille mal gardée (Hertel, 1864)
- In the c. 1903-1906 St Petersburg version
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Editorial Note
These reductions are based primarily on full orchestral scores. Scene divisions, dance divisions, titles, and certain contextual information have been supplied editorially for clarity. Textures have been adjusted where necessary for pianistic practicality. Obvious engraving errors in the source materials have been silently corrected.
This edition is intended as a practical working score rather than a critical edition.