Coppélia (Sargeant)

As with any opera or ballet, trying to do an authoritative edition is almost impossible, as cuts, changes and additions are the norm. Changes usually happen from the first production onward, the question becomes present the work as the composer intended it, versus tradition. The editor has decided to use the manuscript and restore the original intention of the composer, with the cuts marked. Most of the changes are in the third act, most likely the composer was short on time as the manuscript is messier than the previous two acts.

There are a lot of inaccuracies, inconsistencies and mistakes in the final act, the style changes with Delibes using a more chamber style and repeating much of the material as well as being the shortest of the 3 acts. Several numbers were cut in the third act which is most of the repeated material, the problem is that with the cuts the third act becomes extremely short. With the third act being so short most ballet companies added material from other sources to lengthen the third act so that it is more balanced.

This various material is not added in the edition as the composer never approved of it with the exception of Number 27 'Variation'. The composer himself added this number in 1871 for a production featuring the ballerina Léontine Beaugrand for her premier performance, and is usually performed in productions. It is the hope of the editor that the original material will be restored instead of resorting to using various composers music that doesn't fit.

Cuts, changes and additions:

Act 1 No. 1 'Valse', in the manuscript when the first theme material (mm. 4-36) is repeated at 65 (page 27) Delibes shortens this by 16 measures and only repeats the last 16 measures (mm. 20-36), however the first 16 measures was added back in for the production and is usually performed with full 32 measure theme.

Act 1 No. 4 'Scène' (page 76), in the manuscript the composer does not orchestrate the first 22 measures, only the first violin part is in the manuscript. The editor orchestrates the material based on similar sections in the same number, using the piano reduction for the missing material.

Act 3 No. 20 'Valse des Heures' has added material inserted in the number starting at page 340, mm. 130-177 which is not in the manuscript. This was added in the production when No. 22 bis 'Les Heures Sours' was cut and he extracted this section from it and inserted it into this number. If restoring No. 22 bis than this section should be cut.

Act 3 No. 22 bis 'Les Heures Sours' (page 363) was cut as some of the material is shared with No. 22 'Valse des Heures'. Act 3 No. 26 bis 'La Victoire' (page 423) this was cut from the original production as it shares some material with No. 25 'La Discorde et la Guerre'.

Act 3 No. 27 'Variation' (page 433), was added in 1871 by the composer and is usually performed in most productions.

Act 3 No. 28 bis 'Les Heures Du Sous' (page 446) was also cut from the original production as it shares material from No. 22 'La priere'. This short number has the introduction into the 'Galop Final'. If this is restored than No.28 bis 'Intro' should be cut.

Act 3 No. 28 bis 'Intro to 29' (page 450) was written as a replacement intro for the 'Galop Final' since the previous number was cut ('Les Heures Du Sous'). This should only be performed if 'Les Heures Du Sous' is cut.

Changes to the orchestra:

Delibes uses various keys for the horns and trumpets which was typical of the time period. In this edition all 4 horns are in “F” and the 2 Trumpets are in “C”. In addition the 2 Cornets are written for both “B-flat” and “A” the editor has chosen to transpose all “A” parts to “B-flat” as Cornet in “A” does not exist.

Horns 1 and 2 are written for natural horns and horns 3 and 4 are for horns with pistons, this was common as the French orchestra of the day had the first 2 chairs playing natural horns and the 3 and 4 playing with pistons (modern horns). The editor has chosen to re-organize the horn parts so that if only 2 are playing it is always Horns 1 and 2.

The offstage instruments (2 trumpets, Cornet and Snare Drum) in the finale of Act 2 (page 300) are cued in the orchestral parts.

No. 28 'Danse de Fête' (page 348) Clarinets are in “A” in the manuscript however the following material starting at measure 7 is in “B-flat”. With only 3 measures to switch the editor chose to transpose the opening (mm. 1-6) to “B-flat” to facilitate the quick switch.