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[[Image:Cesare Pugni -1867 -2.JPG|250px|thumb|right|<center>Maestro Cesare Pugni. St. Petersburg, circa 1865]]
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'''Cesare Pugni''' ({{lang-ru|Цезарь Пуни}}) (31 May 1802&ndash;{{OldStyleDate|26 January|1870|14 January}}) was an Italian composer of [[ballet]] music, a pianist and a virtuoso [[violinist]]. In his early career he composed [[opera]]s, [[symphony|symphonies]], and various other forms of orchestral music. Cesare Pugni is most noted for the ballets he composed while serving as ''Composer of the Ballet Music'' to [[Her Majesty's Theatre]] in London (1843-1850), and as ''Ballet Composer of the St. Petersburg Imperial Theatres and to the Court of His Imperial Majesty'' in St. Petersburg, Russian Empire (1850-1870).
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Cesare Pugni is the most prolific composer of the genre of ballet music that has ever lived &mdash; by the end of his life he had composed close to 100 known original scores for the ballet and adapted and/or revised many other works. He also composed a myriad of incidental dances&mdash;such as [[divertissement]]s and [[variation (ballet)|variations]]&mdash;many of which were added to countless other works. The majority of these works spawned incidental dances which were much celebrated in their day. A great deal of Cesare Pugni's complete scores and incidental dances, etc. were published in piano reduction, and sold very well, while other dances were sold as "traditional" by publishers such as [[Boosey & Hawkes|T. Boosey]] or [[Jullien & Co.|Jullien]] after the copyright expired with no credit given to the composer.

Of Cesare Pugni's original scores for the ballet, he is perhaps best-known today for [[Ondine (Perrot)|''Ondine, ou La Naïade'', (a.k.a. ''La Naïade et le pêcheur'')]] (1843); ''[[La Esmeralda (ballet)|La Esmeralda]]'' (1844); ''[[Éoline, ou La Dryade]]'' (1845), ''[[Catarina or La Fille du Bandit (Perrot/Pugni)|Catarina, ou La Fille du Bandit]]'' (1846); ''[[The Pharaoh's Daughter]]'' (1862); ''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]'' (1864); and ''[[Le Roi Candaule]]'' (1868). Of his incidental dances, etc., he is most noted for the [[La Vivandière or Markitenka (Saint-Léon/Pugni)|''Pas de Six'' from ''La Vivandière'', (a.k.a. ''Markitenka'')]] (1844); the ''[[Pas de Quatre]]'' (1845); ''[[Satanella Pas de Deux|La Carnival de Venise]]'' (or ''Satanella pas de deux'') (1859); the ''[[Diane and Actéon Pas de Deux]]'' (1868); and his additional music for the ballet ''[[Le Corsaire]]'' (c. 1858, 1863, 1868).

Pugni's works were written for the most influential choreographers of the 19th century from [[Milan]], Paris, Berlin, London, and St. Petersburg. Among these notable Ballet Masters were [[Arthur Saint-Léon]], [[Paul Taglioni]], [[Marius Petipa]] and [[Jules Perrot]], who staged nearly every ballet he ever created to the music of Pugni. Nearly every great Ballerina of the [[Romantic ballet|Romantic era]], from [[Marie Taglioni]] to [[Fanny Cerrito]], [[Lucile Grahn]], [[Fanny Elssler]], [[Carlotta Grisi]] and [[Carolina Rosati]], danced the majority of their legendary triumphs in ballets set to his music.

== Biography ==
===Early life and education===
Cesare Pugni was born in Genoa, Italy on 31 May 1802. His early family life is rather obscure, but it appears that his father Filippo Pugni, was a clock and watchmaker with, for a time, a successful shop in the ''[[Via Rebecchino]]'' in the neighborhood of the ''Palazzo del [[Duomo]]'', near [[Milan]]'s [[cathedral]]. ''Pugni'' is the Italian word for ''fists''.

Pugni began his musical studies at a very young age. At some point the Pugni family became acquainted with the noted composer [[Peter Winter]], whose reaction to the seven-year-old Pugni's first symphony prompted him to take the boy under his tutelage.

[[Image:Pugni - Symphony -1.JPG|thumb|right|220px|<center>Frontispiece of the complete score for Pugni's ''Sinfonia por una o due orchestre'', published by F. Lucca. This ''Sinfonia'' made a deep impression on Meyerbeer and Glinka. Milan, circa 1830.]]

It was Winter who arranged for the young Pugni to be admitted into Milan's Royal Imperial Conservatory of Music (known today as the [[Milan Conservatory]]). At that time Milan was the capital of the [[Kingdom of Lombardy-Venetia]], then part of the [[Austrian Empire]]. Since the Milan Conservatory was in the territory of the Kingdom known as [[Lombardy]], only Lombards (residents of Lombardy) were allowed to be admitted as pupils. Thanks to Winter's recommendation the thirteen year-old Pugni was accepted into the institute in 1814 as a non-Lombard at the expense of the state.

During his instruction at the conservatory the young Pugni studied under many noted pedagogues of music. Among Pugni's instructors was [[Bonifazio Asioli]] (1769-1832)&mdash;under whom he studied [[musical composition|composition]] and [[counterpoint]]; [[Alessandro Rolla]] (1757-1841)&mdash;the noted instructor of [[Niccolò Paganini]], who taught him the [[violin]]; and [[Carlo Soliva]] (1792-1851)&mdash;under whom he studied [[musical theory]]. While still a young student, Pugni was given the opportunity to compose several pieces for ballets and operas given at [[La Scala]] and its auxiliary theatre [[La Canobbiana]], as well as performing his own compositions for violin to acclaim.

At the request of his family, Pugni was allowed to leave the conservatory in 1822, the "official" reason being continuing illness. In reality the management of La Scala greatly desired for Pugni to be in their employ, and since the Milan Conservatory would not allow a non-paying student to leave the institute without finishing his education, Pugni was "officially" said to be ill in order to allow him to be free to work for the theatre. Pugni then took up residence with Asioli at his home in Correggio, where he completed his musical studies under his tutelage.

== La Scala ==

Not long after leaving Milan's Royal Imperial Conservatory of Music, Pugni began playing the violin in the orchestra of La Scala and La Canobbiana.

The first documented full-length ballet for which Pugni created the music was the [[Balletmaster]] [[Gaetano Gioja]]'s ''[[Il Castello di Kenilworth (ballet)|Il castello di Kenilworth]]''&mdash;based on [[Walter Scott]]'s novel ''[[Kenilworth (novel)|Kenilworth]]''&mdash;first presented at La Scala in 1823. Ballet music at that time was often a musical ''[[pastiche]]'', and the printed libretto for this work credits the score as being assembled from themes derived from ''"various well-known composers"''.

Pugni was among the first composers of the early-[[romantic ballet|romantic period]] to create original scores for the ballet, i.e. scores not assembled from the airs of many composers and/or works. One such score was written by Pugni for [[Louis Henry]]'s ballet ''[[Elerz e Zulnida]]''. The success of that work brought about three more commissions from Henry, and soon Pugni was sought out by some of the most distinguished choreographers then working in Italy, among them [[Salvatore Taglioni]] (uncle of the legendary [[Marie Taglioni]]), and [[Giovanni Galzerani]].

Pugni's growing popularity as a capable composer of light, melodious music for dancing was attested by the publication of a number of [[piano]] reductions of excerpts from his works, among them, the popular ''Scottish Dance'' from his 1837 ballet ''[[L'Assedio di Calais]]'' (''The Siege of Calais''), which, like every one of his works published during his life, sold very well.

Though he demonstrated considerable talent for composing ballet music, Pugni's real ambition at this time was to become a celebrated composer of opera. There had been occasions where he had been commissioned to compose an [[aria]] "to order" for various performances at La Scala, and such assignments encouraged him to pursue this ambition further. In 1831, his opera ''[[Il Disertore Svizzero, ovvero La Nostalgia]]'' premiered at La Canobbiana in Milan, with his teacher Alessandro Rolla conducting. The work was praised for its variety and originality, and was revered by the composer's fellow musicians.

It was during this time that Pugni began to compose a substantial number of [[mass]]es, [[symphony|symphonies]], and various other orchestral pieces. One ''Sinfonia''&mdash; the ''Sinfonia por una o due orchestre''&mdash; was scored for two orchestras, both of which would play the same piece but with one orchestra a few [[Bar (music)|bars]] behind the other. Pugni was at first reluctant to compose such a piece, but his student at the time, the visiting [[Mikhail Glinka]], encouraged him. The first performance of the ''Sinfonia por una o due orchestre'' was a great success. This piece so impressed [[Giacomo Meyerbeer]] that he was known to hold up a manuscript of the work in order to show his friends a supreme example of virtuosity in composition.

Such successes appropriately lead to Pugni's appointment as ''Maestro al Cembalo'' at La Scala. In addition to fulfilling these duties, Pugni also taught the violin and counterpoint when time allowed. With regard to style and structure, Pugni's symphonies and concert music have been likened to the works typical of composers of the [[Classical period (music)|classical period]] such as [[Muzio Clementi]] or [[Joseph Haydn]].

Pugni scored two more operas for the Teatro Canobbiana in 1833 and 1834, both of which were listened to with considerable respect. Pugni also continued composing various orchestral pieces, together earning him great prestige and notoriety.

== Paris ==
Despite Pugni's initial success in the field of music, only two years after his appointment as ''Maestro al Cembalo'', all of his prospects collapsed, and he was dismissed from La Scala for what appears to have been the misappropriation of funds, a likely by-product instigated by his notorious passion for gambling and liquor which had caused him to amount considerable debt. In early 1834, Pugni left Milan in an effort to flee from his creditors.

[[Image:Marble Maiden -Adele Dumilatre & Lucien Petipa -Paris -1847 -1.jpg|thumb|right|200px|<center>Colored lithograph by J. Branard of Adèle Dumilâtre and Lucien Petipa in the Pugni/Costa/Saint-Léon ''[[La Fille de Marbre]]''. Paris, 1847]]

With his wife and children, Pugni made his way to Paris, where they lived in poverty while the composer searched desperately for employment. He was employed for a time as the chief copyist for the famous [[Théâtre Italien]], where in late 1834 he was reunited with an old friend, the Italian composer [[Vincenzo Bellini]], who at that time was engaged at the theatre to mount his opera ''[[I Puritani]]'', and at the same time, in the process of preparing a special version of the work for the [[Teatro di San Carlo]] in [[Naples]]. For the Naples production the principle [[soprano]] role was to be revised for the vocal talents of the ''Prima Donna'' [[Maria Malibran]], and since the production of ''[[I Puritani]]'' in Paris was putting Bellini under considerable pressure, he called upon Pugni to copy the parts of the score that would be presented in Naples without change.

Pugni did this, but he also made a second copy of the complete score, and subsequently sold the manuscript to the Teatro di San Carlo at a high price. Soon Bellini was told that the theatre had purchased an official copy of score, and would no longer require his services. Bellini was crushed, for he had not only paid Pugni the five [[francs]] for the copying but had also given him money when needed in order to feed his family, and was often known to not only give Pugni his own unwanted clothes but begged his lady friends to send their unwanted dresses over to Signora Pugni. Bellini wrote in his journal, ''"It will be a lesson to me. Were it not for his six innocent children, I should like to ruin him."'' Bellini would later recall in an unfinished letter written in 1835 how Pugni's ''" ... infamous conduct shattered my faith in human nature."''

In 1836, Pugni received a commission from [[Louis Henry]], choreographer of several of his first ballet scores, to compose music for the ballet ''[[Liacone]]'', to be produced in [[Naples]] for the Ballet of the Teatro di San Carlo. At that time Henry was engaged at the Paris Opéra, staging the ballet sections of [[Gioacchino Rossini]]'s opera ''[[Guillaume Tell|William Tell]]'', for which Henry utilized music from Pugni's ballet ''[[L'Assedio di Calais]]''. Pugni then traveled to Naples to assist with the music for the opera's dance-sections. Soon after this, Henry died of [[cholera]].

In 1837 Pugni returned to Paris where he began working for the [[Casino Paganini]] until its closure in 1840. He then began serving as a "musical ghost writer" of sorts for the Paris Opéra (the theatre at that time being the legendary [[Théâtre de l'Académie Royale de Musique]]). Pugni was charged with the editing, correcting, and orchestrating of nearly all of the music for the ballets presented on the stage of the theatre. Often composers of the era left orchestrations to the copyist or principal conductor of an Opera House, and with his extraordinary facility at sight reading and scoring, Pugni was often given the task of arranging the compositions of others. A tradition passed down among his descendants claims that during this time Pugni either composed or orchestrated all or part of [[Adolphe Adam]]'s score for ''[[Giselle]]'', though no evidence is known to exist in support of this. Pugni served in this function at the Paris Opéra from 1836 until 1843, and even supplied anonymous supplemental ''[[Pas]]'' and variations for visiting Ballerinas when needed.

It was during this time that Pugni became acquainted with [[Benjamin Lumley]]&mdash;director of [[Her Majesty's Theatre]] in London. Through Lumley Pugni became acquainted with [[Jules Perrot]]&mdash;the renowned choreographer and Balletmaster of Her Majesty's Theatre&mdash;whom during his engagements as a guest artist to the Paris Opéra encountered Pugni's extraordinary facility with composition and orchestration. In 1843 Lumley offered Pugni the post of ''Composer of the Ballet Music'' to Her Majesty's Theatre.

== Her Majesty's Theatre ==

[[Image:Catarina -Act I-Scene I -Lucile Grahn -London -1846.JPG|right|180px|thumb|<center>Colored lithograph by J. Branard of [[Lucile Grahn]] in the title role of the Perrot/Pugni ''[[Catarina or La Fille du Bandit (Perrot/Pugni)|Catarina]]''. Here Grahn is costumed for the celebrated ''Pas stragétique''. London, 1846]]
[[Image:Esmeralda -Poster -1844.jpg|thumb|180px|right|<center>Frontispiece of a published piano reduction of the dance ''La truandaise'' from the ballet ''[[La Esmeralda (ballet)|La Esmeralda]]''. 1844]]

In the fall of 1843, Pugni left for London, and soon enjoyed a period of great renewed success. These were very prolific years for the composer: between the theatre's 1843 and 1850 seasons, Pugni produced an impressive series of scores for three of the greatest choreographers at that time: [[Jules Perrot]], [[Arthur Saint-Léon]] and [[Paul Taglioni]]. Not long after arriving in London Pugni married his second wife, Marion (or Mary-Ann) Linton.

==== Jules Perrot ====

Throughout the heyday of the [[Romantic ballet]] at Her Majesty's Theatre during the 1840s, Cesare Pugni wrote the music for nearly every one of Jules Perrot's ballets. In 1843, Perrot produced ''[[Ondine (ballet)|Ondine, ou La Naïade]]''&mdash;a tale of a jealous [[Naiad]] in love with an Italian [[fisherman]]&mdash;for the great ballerina [[Fanny Cerrito]]. In 1844, Perrot produced his most celebrated and enduring work, ''[[La Esmeralda (ballet)|La Esmeralda]]'' for the ballerina [[Carlotta Grisi]].

In 1845 alone, Pugni produced six new scores, including the celebrated divertissement ''[[Pas de Quatre]]'', and the fantastical ''[[Éoline, ou La Dryade]]'', created for the Danish ballerina [[Lucille Grahn]]. Pugni's score for ''Éoline'' contained a considerable number of celebrated pieces composed for solo [[harp]] written to embellish the dancing of Grahn.

In 1846, Perrot produced the oriental extravaganza ''[[Lalla Rookh or The Rose of Lahore|Lalla Rookh]]''&mdash;based on [[Thomas Moore]]'s [[Lalla Rookh|poem of the same name]]&mdash;for which Pugni composed a score full of pseudo-Arabian themes. That same year Perrot and Pugni collaborated on ''[[Catarina or La Fille du Bandit (Perrot/Pugni)|Catarina, ou La Fille du Bandit]]'' for the ballerina Grahn. Like ''La Esmeralda'', ''Catarina'' would become one of the most celebrated works of the 19th century.

During his time in London Pugni composed a substantial number of supplemental ''pas'', variations, divertissements, and incidental dances which were often performed as "diversions" during an evening's entertainment at the theatre. Often the great ballerinas of the Romantic ballet would perform various ''[[Tarantella]]s'', ''[[polkas]]'', ''[[mazurka]]s'', etc. during the intermissions of operas, and Pugni's accompaniment for such dances were often published in piano reduction.

During the late 1840s, Pugni and Perrot travelled to various theatres throughout Europe in order to stage their collaborations. In 1845, they staged ''[[La Esmeralda (ballet)|La Esmeralda]]'' at [[La Scala]] and the [[Berlin State Opera|Court Opera Ballet]] in Berlin, where the title role was danced by the great [[Fanny Elssler]]. In 1847, Pugni and Perrot mounted ''[[Catarina or La Fille du Bandit (Perrot/Pugni)|Catarina]]'' and ''Lalla Rookh'' at La Scala. In 1848, Perrot was invited at the behest of [[Fanny Elssler]] to stage ''La Esmeralda'' for the [[Imperial Ballet]] in St. Petersburg, Russia.

==== Paul Taglioni====
In the short span of their collaboration, Pugni wrote many celebrated scores for Paul Taglioni during his engagements as guest choreographer at Her Majesty's Theatre. In 1847 alone, Pugni wrote four short ballets for Taglioni, including ''[[Coralia or The Inconstant Knight|Coralia, ou Le Chavalier Inconstant]]'' and ''[[Thea or The Flower Fairy|Théa, ou La Fée de fleur]]''. More works followed, including ''[[Les Plaisirs de l'Hiver or Les Patineurs|Les Plaisirs de l'Hiver]]'' in 1849, and ''[[Les Métamorphoses or Satanella|Les Métamorphoses]]'' (a.k.a. ''Satanella'') in 1850.

==== Arthur Saint-Léon ====
Pugni also left a profound impression on Arthur Saint-Léon, one of the most celebrated choreographers of the era. During the 1840s, Saint-Léon was engaged as Ballet Master at the [[Théâtre de l'Académie Royale de Musique]] (or Paris Opéra), and Pugni traveled there often to compose music for the choreographer's works. Pugni and Saint-Léon created many successful works while in Paris, among them, ''La Fille de Marbre'' (a revival of Perrot's ''Alma'') in 1847, a revival of ''[[La Vivandière or Markitenka (Saint-Léon/Pugni)|La Vivandière]]'' in 1848, a revival of ''[[La Violon du Diable]]'' in 1849, and ''[[Stella (Saint-Léon/Pugni)|Stella]]'' in 1850.

== Russia ==
In 1849 Jules Perrot and Cesare Pugni travelled to St. Petersburg to stage ''La Esmeralda'' for the ballerina Fanny Elssler, who was engaged as guest ballerina by the [[Imperial Ballet]]. While in the Imperial capital Perrot was offered the position of ''Premier Maître de Ballet'' to begin in the 1850-1851 season, which he accepted. In this position, Perrot recommended to the [[Court Minister]] that Pugni accompany him to Russia so that he may serve as the official composer of ballet music to the St. Petersburg Imperial Theatres. Until that time in St. Petersburg, the composition of new ballet music typically fell into the hands of the orchestra's head conductor, who was in this case, [[Konstantin Liadov]]. A new position was thus created, ''Ballet Composer of the St. Petersurg Imperial Theatres'', for Pugni.

[[Image:Cesare Pugni -circa 1845.JPG|thumb|right|200px|<center>Maestro Cesare Pugni. London. Circa 1843]]

In the winter of 1850, Pugni severed all ties to London and Paris. He arrived in St. Petersburg with English wife Marion Linton and their seven children. By 1860, Pugni was maintaining two households &mdash; the first with his English wife, and the second with the [[Serf]] woman Daria Petrovna, with whom he fathered eight more children before the end of his life.

In the winter of 1861, [[Anton Rubinstein]] hired Pugni to teach composition and [[counterpoint]] at the newly established [[Saint Petersburg Conservatory|Saint Petersburg Conservatory of Music]], a position he held with great acclaim and respect until his death.

During his time as ''Premier Maître de Ballet'' to the St. Petersburg Imperial Theatres, Jules Perrot staged many of the works he had originally mounted for Her Majesty's Theatre in London. Unlike the ballet companies of London or Paris, the St. Petersburg Imperial Theatres presented evening-length ballet presentations separate from those of opera. As Pugni was the author of nearly all of the music for Perrot's works, the composer expanded many of his scores for the Ballet Master's productions. Pugni took his revisions even further for the large orchestra of the Imperial Bolshoi Theatre, often lavishing grand orchestrations for the scores he expanded and making sure to feature various instrumental [[cadenza]]s for the renowned soloists in the Imperial Theatre's orchestra, amny of whom were members of the nobility and even of the Imperial family.

In 1855 Pugni wrote ''[[L'Étoile de Grenade]]'' (''The Star of Grenada''), his first ballet for the choreographer [[Marius Petipa]], who had been serving as Jules Perrot's assistant and ''Premier danseur'' to the Imperial Theatres since his arrival in Russia in 1847. Petipa was fast becoming a celebrated choreographer in his own right, as he turned to composition more and more.

In 1858 Perrot left Russia, and Pugni found himself in need by both Petipa and Arthur Saint-Léon, the latter by then being engaged as ''Premier Maître de Ballet'' to the St. Petersburg Imperial Theatres. The two choreographers, both highly gifted in their art and differing dramatically in their respective approaches to choreography of the ''Grand ballet'', were engaged in a healthy and productive rivalry on the Imperial stage. In spite of the differences between Saint-Léon and Petipa's styles Cesare Pugni composed the music for nearly every one of their works during the 1860s.

==== Later life ====
Pugni began to become more and more unreliable as he aged, becoming severely depressed, drinking, gambling and leaving his family to fend for themselves for days at a time. As a result, Petipa found it increasingly difficult to extract music from him, and the quality of his work underwent a marked decline. In his memoirs, Petipa quoted a letter written him by Pugni in 1860: ''I tearfully ask you to send some money; I am without a [[sou]]''. The letter also included freshly composed sections for Petipa's upcoming ballet ''[[The Blue Dahlia (ballet)|Le Dahlia bleu]]'' (''The Blue Dahlia''). The premiere was approaching, and Petipa had been receiving music from the composer in a piecemeal fashion. It became clear to Petipa that Pugni had put off scoring the more difficult sections and left them to be done last. By the mid 1860s, such situations became commonplace.

In 1862, Pugni composed the music for Petipa's ''[[The Pharaoh's Daughter]]'', produced in only 6 weeks for the Italian ''Prima ballerina'' [[Carolina Rosati]]. The production was so successful that it won for Petipa the position of ''Second Maître de Ballet''. In 1864, Pugni composed the music for Saint-Léon's ''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]'', which itself was as successful as ''[[The Pharaoh's Daughter]]''. Although he did receive laurels for his score for Petipa's ''The Pharaoh's Daughter'', Pugni's score for ''The Little Humpbacked Horse'' caused a sensation with the St. Petersburg balletomanes. The [[march (music)|march]] titled ''The Peoples of Russia'' from the last act of this ballet became a favorite of [[Alexander II of Russia|Tsar Alexander II]] (many of Pugni's marches and [[entr'acte]]s were thus performed at Imperial balls and diplomatic functions).

[[Image:Pharoah's Daughter -Nile River Scene -Vera Karalli as Aspicia, Platon Karsvin as the Nile God -circa 1890.JPG|thumb|right|370px|<center>Vera Karalli as the Princess Aspicia and Platon Karsavin as the Pharaoh with unidentified children in the Pugni/Petipa ''The Pharaoh's Daughter''. St. Petersburg, circa 1915]]

In spite of such occasions of inspiration, Pugni nevertheless became increasingly unreliable. [[Enrico Cecchetti]] recounts in his memoirs of how Pugni began inventing excuses for not delivering music on time: for example, he once told Petipa that his cat had scratched his hand, making him unable to hold his pen. On another occasion, Pugni came to rehearsal without the day's required music, informing Petipa that he had no candles by which to write. When Petipa subsequently arranged to have a large box of candles delivered to Pugni's home, the composer told him at the following day's rehearsal that he did not write the required music because he was forced to sell the candles in order to eat.

Many of Pugni's colleagues found themselves helping him whenever possible. Petipa was even forced to hire someone to watch over the composer to ensure that any required music would be prepared on time. Nevertheless, Pugni managed to compose eight new scores between 1865 and 1868 for the Imperial Ballet, though these were mostly short one-act ballets and divertissements.

Saint-Léon was also having difficulty with the unreliable Pugni, and he began to turn to the composer [[Ludwig Minkus]] for ballet music. In 1865 Saint-Léon wrote to his friend [[Charles Nuitter]]:
{{cquote|Pugni has nearly died. He was found in the woods 16 [[verst]]s from the city (St. Petersburg) owing 300 roubles to tradesmen. The Court Minister paid the sum, and a collection from the dancers of the company, who produced 200 roubles, is serving to feed him, his wife, and his eight children, five of whom are very young. He owes 5,800 roubles in all, while for the past twenty years he has been receiving 1,200 francs a month (for Royalties for scores performed in Paris) plus a benefit!}}

In 1868, Pugni composed the music for Petipa's colossal ''grand ballet'' ''[[Tsar Kandavl or Le Roi Candaule|Le Roi Candaule]]'' (''King Candaules''), which recounted [[Herodotus]]'s tale of [[Candaules|King Candaules of Lydia]]. This was to be Pugni's last full-length score, though no less celebrated, as it caused a sensation among the balletomanes of the day and proved to be among Petipa's most enduring works.

Unbeknownst to many, Petipa originally made plans to have Pugni compose music for his ballet ''[[Don Quixote (ballet)|Don Quixote]]'', to be mounted at the Moscow [[Bolshoi Theatre]] in 1869. But Pugni's irresponsibility quickly forced Petipa to reconsider, and instead he turned to Ludwig Minkus (''[[Don Quixote (ballet)|Don Quixote]]'' would prove to be one of both Petipa and Minkus' most celebrated and enduring works). In the end, the score for ''Don Quixote'' only included one variation composed by Pugni: a ''waltz'' composed for the character Kitri in the ballet's final ''Grand pas de deux''.

==== Death ====
In late 1869 Pugni pulled himself together to score the music for Petipa's one act ballet ''[[The Two Stars (ballet)|The Two Stars]]''. This score was widely considered to be among his greatest works for the ballet, but it was also to be his last&mdash;he died on 26 January 1870.

Cesare Pugni was buried in the [[Vyborgskaya Roman Catholic Cemetery]] of St. Petersburg (the cemetery was completely destroyed in 1939). Pugni died in utter poverty, and at his death his large family was completely destitute.

In honor of the composer, and for a benefit performance for his family, a gala was prepared with excerpts from many of Pugni's works by Petipa in May 1870. Later that year, Petipa mounted a revival of ''[[Catarina (ballet)|Catarina]]'', premiering on 1 November 1870, again as a benefit performance for the composer's family. Petipa then presented Pugni's final work, ''[[The Two Stars (ballet)|The Two Stars]]'', on 21 January 1871 for the benefit performance of the Imperial Ballet's ''Premier danseur'' [[Pavel Gerdt]]. The ballet premiered to great success and was performed by the St. Petersburg ballet on occasion until just before the [[Russian Revolution of 1917]]. Petipa also staged the work under the title ''The Two Little Stars'' for the [[Bolshoi Ballet|Ballet of the Moscow Imperial Bolshoi Theatre]] in 1878. The ballet was re-staged for the company in a new version by the Balletmaster [[Ivan Clustine]] in 1897, a production which was retained in the Bolshoi's repertory until 1925.

=== Descendants ===

[[Image:Cesare Pugni -circa 1860.JPG|thumb|180px|right|<center>Maestro Cesare Pugni. St. Petersburg, circa 1860]]

Many of Cesare Pugni's children went on to become noted artists in their own right. Pugni's sons Albert and Victor played in the orchestra of the St. Petersurg Imperial Theatres throughout the late 19th and early 20th centuries. The former being a noted [[cellist]], and the latter a [[flautist]]. Pugni's son Nikolai danced in the ''corps de ballet'' of the Imperial Theatres from 1882 until his death in 1896.

There were many noted artists among Pugni's grandchildren and great-grandchildren as well. Three of his granddaughters&mdash;Fanny, Constance, and Léontina&mdash;performed as ''danseuses'' with the St. Petersburg Imperial Theatres. Léontina also toured Scandinavia with [[Anna Pavlova]]'s company from 1908-1909 under the name ''Pouni''. Pugni's grandson [[Ivan Puni]] (aka Jean Pougny) became a noted [[Russian avant-garde|avant-garde]] artist. Pugni's great-grandson, the violinist Michel Astroff, was secretary to [[Sergei Prokofiev]] while the composer resided in Paris, and later he worked for various music publishers in France.

Pugni's most distinguished descendant was [[Alexander Shiryaev]] (1867-1941)&mdash;the son of Pugni's son Victor and a danseuse of the Imperial Ballet's ''corps de ballet'', Natalia Shiryaeva. Alexander Shiryaev went on to become a celebrated danseur, character dancer and Ballet Master of the St. Petersburg Imperial Theatres and the early Soviet ballet, and his written accounts of the Russian ballet during the late 19th and early 20th centuries are among the most valuable and celebrated of their kind. After the death of [[Lev Ivanov]] in 1901, Shiryaev served as assistant to [[Marius Petipa]], and even staged the first Soviet production of ''[[The Nutcracker]]'' with [[Fydor Lophukov]] at the Mariinsky Theatre. Shiryaev was among the first persons to ever film ballet dancers&mdash;many of these early films were compiled for the documentary ''Belated premiere'' (as yet unreleased to DVD or video), and have been used to reconstruct lost dances (among the most celebrated of these reconstructions was Marius Petipa's choreography for the solo ''Petit Corsaire'' from the ballet ''Le Corsaire'', set to music by Shiryaev's grandfather Pugni).

== Published sheet music ==

Pugni's music began being published as early as 1822 with his ''Sinfonia in D minor''. Many of Pugni's symphonies and concert pieces were published by the Milan based publisher [[Francesco Lucca|F. Lucca]], often for full orchestra. Likely due to the sheer tunefulness of his music, Pugni's early ballet scores were almost all published in piano reduction by both F. Lucca and [[Gio Ricordi]], another music publisher based in Milan.

Nearly every ballet and incidental number Pugni ever wrote for Her Majesty's Theatre in London was published in [[Piano reduction]] by the London based music publishers [[Charles Ollivier|Ch. Ollivier]], [[Chappell & Co.]], and particularly [[Boosey & Hawkes|T. Boosey]] and [[Jullien & Co.|Jullien]], who often brought out complete piano reductions of Pugni's full-length ballets. As Pugni's ballets were staged by various companies throughout Europe&mdash;in such cities as Milan, Berlin, and Vienna for example&mdash;many other music publishers began distributing his scores.

As the copyright of Pugni's music expired, many music publishers, Jullien & Co. in particular, began publishing a number of his dances from various ballets without giving the composer credit. Often the music would credit the composer as "Composed by Jullien" or as "traditional", typically under such titles as ''The original mazurka'' or ''The Original Galop'', for example. Several [[waltz]]es, [[polka]]s, and various national dances from Pugni's ballets were often published with detailed instructions on how to perform the said dances, and occasionally [[lithograph]]s from whichever ballet the number was extracted was included as artwork for the [[frontispiece]]. As time went on many of these pieces were sold to music publishers all over Europe and the United States.

As Pugni's career took him to Russia, his ballets continued being published in piano reduction. Many St. Petersburg based publishers such as [[Basil Denotkine]], [[Ch. Stellowsky]] and [[Bessell (music publisher)|Bessell]] brought out not only Pugni's original full-length ballets but his additional dances for various works and his adaptations of the scores of other composers.

== Archives ==
An extensive archive of Cesare Pugni's music is to be found in the archives of the [[Conservatoire de Paris|Paris Conservatoire]], which is today incorporated in the Department of Music of the [[Bibliothèque nationale de France]]. The [[Milan Conservatory]] holds a substantial collection of Pugni's early compositions. Some manuscripts of the ballets of Perrot are held in the [[British Library]], as well as the [[Paris Conservatoire]].

Many of these ballets, along with most others Pugni composed in London and St. Petersburg were published first in piano reduction. The Bibliothèque nationale de France holds many complete scores of the ballets Pugni composed for Arthur Saint-Léon, including the original orchestral parts for ''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]''.

The greatest archive of Pugni's original scores is held in archives of the [[St. Petersburg Central Music Library]], which contains nearly every ballet Pugni wrote while in Russia (including revisions to other works created for other theatres abroad). Another archive of Pugni's work is to be found in the [[Harvard University|Harvard University Library Theatre Collection]], which holds the famous [[Sergeyev Collection]].

==Revivals and works still in performance==
===''The Little Humpbacked Horse''===

[[Image:Frescoes.JPG|thumb|right|300px|<center>Students of the Universal Ballet Academy in the ''Danse des fresques réanimé'' from the Pugni/Saint-Léon ''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]'', Washington D.C., 2005]]

Saint-Léon's 1863 masterwork ''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]''&mdash;for which Pugni wrote the score&mdash;left the active repertory of the Kirov/Mariinsky Ballet (the former Imperial Ballet) long ago, and today the work is only presented in a severely emasculated edition by the [[Vaganova|Vaganova Academy of Russian Ballet]] (school of the Kirov/Mariinsky Ballet). The school has not performed the work since 1989. Today only a few Russian companies include the work in their active repertory&mdash;such as the [[Mussorgsky Ballet]], the [[Novosibirsk Ballet]] and the [[Ballet of the Maly Theatre]]. These production are derived primarily from Alexander Gorsky's 1912 revival of the ballet for the Bolshoi Theatre of Moscow.

Outside of Russia, only the [[Universal Ballet Academy]] of Washingtom D.C., and the all-male troupe [[Les Ballets Trockadero de Monte Carlo]] perform excerpts from ''The Little Humpbacked Horse''&mdash;the ''pas de trois'' called ''The Ocean and the Pearls'' and the ''Danse des fresques animé'' (''Danse of the re-animated Frescoes'').

Although credited to Pugni the music for the ''Ocean and the Pearls'' ''pas de trois'' is actually by [[Riccardo Drigo]], and is taken from his score for Marius Petipa's 1896 ''[[Le Perle]]''. The piece was added by [[Alexander Gorsky]] to his early 20th century revivals of ''The Little Humbacked Horse''.

===''La Esmeralda''===
Full-length productions of the Perrot/Pugni ''[[La Esmeralda (ballet)|La Esmeralda]]'' are only included in the repertories of Russian companies. The [[Mussorgsky Ballet]] of St. Petersburg regularly perform this work in a production which was staged in 1981 by [[Nicolai Boyarchikov]]&mdash;director of the Mussorgsky Ballet; and [[Tatiana Vecheslova]]&mdash;former ''Prima Ballerina'' of the Kirov Ballet. For this production Pugni's score&mdash;in an edition prepared by Riccardo Drigo dating from 1886 and 1899&mdash;was restored with the aid of a répétiteur used by the Imperial Ballet until before the [[Russian Revolution (1917)|Russian Revolution]]. In 1994 the company filmed their production of ''La Esmeralda''. In 2005 the film was released onto DVD, with the 3-hour production edited to a little over 55 minutes.

Many companies throughout the world include various excerpts from ''La Esmeralda'': the so-called ''La Esmeralda Pas de six'' (the music for this piece actually being by Riccardo Drigo); and the ''La Esmeralda Pas de Deux''.

====The ''La Esmeralda Pas de deux''====

[[Image:PharoahsDaughterGrandAdagioMariaAlexanrova.jpg|thumb|right|290px|<center>Maria Alexandrova as the Princess Aspicia in the ''Grand Pas d'action'' from the Bolshoi Ballet's revival of the Pugni/Petipa ''[[The Pharoah's Daughter]]'', Moscow, 2004]]

The ''La Esmeralda Pas de deux'' is a popular piece performed by companies all over the world. It includes the famous ''Tambourine Variation'', which is often performed by many Ballerinas in dance competitions. The ''La Esmeralda Pas de Deux'' is performed primarily in a version by the choreographer [[Ben Stevenson]], staged in 1982 for the dancers [[Janie Parker]] and [[William Pizzuto]]'s performance at the ''International Ballet Competition'' in Jackson, Mississippi. Musically the piece is often credited to Pugni or Riccardo Drigo.

The piece has its origins in Marius Petipa's 1899 revival of ''La Esmeralda'', staged for the Ballerina [[Mathilde Kschessinskaya]]. For her performance Riccardo Drigo arranged a new ''[[Pas d'action]]''. Typical of such pieces from 19th century ballet, the music is a ''pastiche''. The ''[[Entrée (ballet)|entrée]]'' and ''[[Adagio (ballet)|adage]]'' are Drigo's own compositions, being the additional music he had composed for Petipa's 1886 revival of ''La Esmeralda''. The variation danced by Kschessinskaya&mdash;today often referred to as the ''tambourine variation''&mdash;is taken from the composer [[Romualdo Marenco]]'s score for [[Luigi Manzotti]]'s 1876 ballet ''[[Sieba (ballet)|Sieba]]'', and was first danced in ''La Esmeralda'' when the ballerina [[Virginia Zucchi]] performed the title role in St. Petersburg in 1886. The coda&mdash;being the only part of the piece to be by Pugni&mdash;is taken from the ''Marche du Pharaon'' from his score for Petipa's 1862 ballet ''The Pharaoh's Dauughter''. When the danseur of the Kirov Ballet [[Vakhtang Chabukiani]] performed in the ''La Esmeralda Pas de deux'' in the 1930s, he added music from Pugni's original score as a variation for himself. Today the variation is retained in the piece and remains popular with danseurs.

===''Diane and Actéon Pas de Deux''===
{{Main article|Diane and Actéon Pas de Deux}}

===''La Vivandière'' Pas de Six===
{{Main article|La Vivandière}}

===''The Pharaoh's Daughter'' and ''Ondine''===

[[Image:Ondine -Kirov -Eugenia Obratsova & Sarafanov.jpg|thumb|right|280px|<center>Eugeniia Obratzova as Ondine and Leonid Sarafanov as Mattéo in the ''Grand Pas des Naiads'' from the Kirov/Mariinsky Ballet's revival of the Pugni/Perrot ''[[Ondine (ballet)|Ondine]]'', St. Petersburg, 2006]]

In 2000, the choreographer [[Pierre Lacotte]] mounted a revival of the 1862 Pugni/Petipa ballet ''[[The Pharaoh's Daughter]]'' for the [[Bolshoi Ballet]]. Since the [[Mariinsky Theatre]] refused Lacotte access to Pugni's original score, he was perforce required to piece together the music from various sources. In 2006 Lacotte mounted a revival of the original production of the 1843 Pugni/Perrot ballet ''[[Ondine (ballet)|Ondine]]'' (AKA ''The Naiad and the Fisherman'') for the Kirov/Mariinsky Ballet. A violin reduction of Pugni's score as presented for Jules Perrot's 1851 revival in St. Petersburg was utilized for the production, and was orchestrated.

Both works were choreographed by Lacotte "in the style of the epoch", with ''[[The Pharaoh's Daughter]]'' containing four dances from [[Petipa]]'s own staging, a few of which were reconstructed from the [[Stepanov Choreographic Notation]] from the [[Sergeyev Collection]].

===Pas de Quatre===
In the west (primarily in North America ) the average balletomane will likely only ever encounter Pugni's ''[[Pas de Quatre]]'' (revived by [[Anton Dolin]] in 1941), originally staged by Perrot in 1845 at [[Her Majesty's Theatre]]. It is the most performed work of all of Pugni's output, though the music is usually presented in a reorchestration by [[Leighton Lucas]]. The original orchestral parts of ''[[Pas de Quatre]]'' are today housed in the Bibliothèque nationale de France.

===Le Corsaire===

Modern productions of the ballet ''Le Corsaire'' contain a substantial amount of additional music, which was added by Pugni to the score for Marius Petipa's many revivals of the work. Petipa's productions of ''Le Corsaire'' as performed in St. Petersburg credited the score to both [[Adolphe Adam]] and Pugni, in light of this significant additional material. The [[Bolshoi Ballet]]'s 2007 production restores much of Pugni's additional music.

===Catarina===

On 11 May 2007 the [[Teatro dell'Opera di Roma|Balletto di Teatro dell'Opera di Roma]] of Rome, Italy presented a revival of Jules Perrot and Cesare Pugni's 1846 ballet ''[[Catarina or La Fille du Bandit|Catarina, ou La Fille du Bandit]]''. The production was staged in two acts by the choreographer [[Fredy Franzutti]] with the ballerina [[Gaia Straccamore]] in the title role.

== Works ==
===Symphonies===
*''Sinfonia'' (1809. Cesare Pugni's first composition at the age of seven)
*''Sinfonia in D minor: In morte di Giacomo Zucchi'' (Milan, 1822)
*''Sinfonia in E minor'' (composed for the private concert of Borromeo)
*''Sinfonia in F major'' (composed on the commission of Borromeo)
*''Sinfonia in D major'' (1826. composed for the private concert of Carlo Rota)
*''Sinfonia in D major'' a.k.a. ''Sinfonia per una o due Orchestre'', or ''Sinfonia a cànone'' (La Scala, c. 1830. ''"Dedicated to the celebrated Maestro Alessandro Rola"'')
*''Sinfonia in E major'' (Milan, c. 1830. ''"Dedicated to Bonofazio Asioli"'')
*''Sinfonia in A minor: L'ultima ora di un condannato per opinione'' (La Scala, c. 1826&ndash;1833)
*''Sinfonia in three movements'' (Villa Borghese, St. Petersburg, {{OldStyleDate|22 July|1855|10 July}}. Musical poem, or program symphony)

===Chamber Music===
*''Divertimento per solitario violino'' (Milan, 1820)
*''Divertimento for solitario flauto traverso (Milan, 1821)
*''Quartetto per clarinetto, violino, viola, e violoncello'' in B flat major (Milan, c. 1824. ''"dedicated to the genius delettante Vincenzo Comolli"'')
*''Quartetto per clarinetto, violino, viola, e violoncello'' in A minor (Milan, c. 1825. ''"dedicated to the genius delettante Vincenzo Comolli"'')
*''Quartetto per flauto traverso, pianoforte, viola, e violoncello'' in A minor (Milan, c. 1825. ''"dedicated to dilettante Signor Conte Don Luigi Bertoglio"'')
*''Quartetto per flauto traverso, corno inglese, violino, e pianoforte'' in B flat major (''"expressly composed for Ill Signor Dilettante G. Castello"'')
*''Quartetto per clarinetto, violino, viola, e violoncello'' in E flat major (Milan. ''"dedicated to the musical genius of the dilettante and certified public accountant Vincenzo Commolli"'')
*''Petit Trio per pianoforte, violino, and violincello'' in C major (St. Petersburg, circa 1870)
*''Serenata per viola obbligata'' in C minor; accompanied by second viola, violin and cello
*''Serenata per viola obbligata'' in D major; accompanied by second viola, violin and cello (Milan. ''"dedicated to Il Conte Giulio Barbò"'')
*''Serenata per flauto traverso, corno inglese, clarinetto, due corno, e due fagotto'' in E flat major (Milan. ''"dedicated to the celebrated Signor Maestro B. Asioli"'')
*''Ottavino per flauto traverso, oboe, fagotto, due violino, viola, violincello, e contrabbasso'' in F major
*''Terzettino per due violino e viola'' in G major (Milan. ''"dedicated to Signor Giuseppe Rossi"'')
*''Redowa-Polka per violino: Il Carnevale di Milano'' in A major (Milan, c. 1845)

===Religious Music===
*''Mass for two tenors and one bass, with violin, English horn, three violas, two cellos, and one double bass'' (Milan, 1827)
*''Mass for large vocal and orchestral arrangement'' ([[Correggio]], 1831. This piece was entered into a contest for a performance in honor of the jubilee of the great violinist Bonofazio Asioli, in which Pugni won against the works of [[Donizetti]] and [[Mercadante]])
*''Mass for solo tenore, several basses, and the chorus of La Scala'' ([[Bologna]], [[Basilica di Santa Maria dei Servi]], c. October 1832&ndash;November 1833)
*''Kyrie e Gloria''
*''Messa e Kyrie e Gloria for three soloists, chorus, and orchestra''
*''Magnificat in E major for two tenors, two basses, and orchestra''

[[Image:IlDisertoreSvizzeroovveroLaNostalgia.JPG|thumb|right|280px|<center>Frontispiece of the piano reduction of Pugni's opera ''Il Disertore Svizzero'', published by F. Lucca. Milan, circa 1830]]

===Operas===
*''Il Disertore svizzero, ossia La Nostalgia'' (melodramma semiserio in 2 acts. Libretto by Felice Romani). [[La Canobbiana]], Milan. 28 May 1831. Dedicated ''"A Sua Eccelenza Il Signor Duca Carlo Visconti di Modrone"''.

*''La Vendetta'' (melodramma tragico in 2 acts. Libretto by Callisto Bassi). [[La Scala]], Milan. 11 February 1832.

*''Ricciarda di Edimburgo'' (melodramma serio in 2 acts. Libretto by Callisto Bassi). [[Teatro Lirico Giuseppe Verdi|Teatro Grande]], Trieste. 29 September 1832.

*''L'Imboscata'' &mdash; adaptation for the revival of the original work by [[Thaddäus Weigl]]. (melodrama buffo in 3 acts. Libretto by Luigi Romanelli). La Cannobiana, Milan. 3 April 1833.

*''Il Carrozzino da vendere'' (melodramma buffo in 1 act. Libretto by Callisto Bassi. La Cannobiana, Milan. 29 June 1833. Pugni's cantata ''Inno alla beneficenza'' was first performed on the same bill as the premiere of this work.

*''Il Contrabbandiere'' (melodramma buffo in 2 acts. Libretto by Felice Romani). La Canobbiana, Milan. 13 June 1833.

*''Un Episodio di San Michele'' (melodramma giocoso in 2 acts. Libretto by Felice Romani). La Canobbiana, Milan. 14 June 1834.

===Cantanas===
*''Ai passi erranti'' (Lyricist unknown)

*Untitled; composed for [[Ennio Pouchard]] and Msr. Serda (Lyricist unknown). [[Casino Paganini]], Paris. 25 November 1837.

*''La Toussaint'' (Lyrics by Joseph Méry). Originally composed for the inauguration ceremonies of the Casino Paganini.

*''Inno alla beneficenza'' (Lyrics by Felice Romani). La Scala, Milan. 29 June 1833. First performed on the same bill as the premiere of Pugni's opera ''Il Carrozzino de vendere''.

*''Lyrical Ode'' (Lyrics by John Oxenford). [[Her Majesty's Theatre]], London. 25 February 1847. Performed by [[Sanchioli Gardoni Bouché]] on the occasion of the performance ''"for the benefit of the fund for the relief of the distressed Irish and Scots"''

===Ballets===
=====La Scala, Milan=====

*''Ill Castello di Kenilworth''. Choreography by [[Gaetano Gioja]]. 26 April 1825.

*''Elerz e Zulmida''. Choreography by [[Louis Henri]]. 6 May 1826.

*''L'Assedio di Calais''. Choreography by L. Henri. 15 February 1827.

*''Pelia e Mileto''. Choreography by [[Salvatore Taglioni]]. 28 May 1827.

*''Don Eutichio della Castagna, ossia La Casa disabitata''. Choreography by S. Taglioni. 16 August 1827.

*''Agamennone''. Choreography by [[Giovanni Galzerani]]. 1 September 1828.

*''Adelaide di Francia''. Choreography by L. Henri. 26 December 1829.

*''Macbeth''. Choreography by L. Henri. 20 February 1830.

*''William Tell''. Choreography by L. Henri. 20 February 1833.

*''Monsieur de Chlumeaux''. Choreography by G. Galzerani. 14 January 1834.

=====Her Majesty's Theatre, London=====

[[Image:Plaisirs de L'Hiver ou Les Patineurs -Carolina Rosati & M. Charles -London -1849.JPG|thumb|right|200px|<center>Frontispiece of a published piano reduction of waltzes taken from Pugni's score for Paul Taglioni's ''Les Plaisirs de l'hiver, ou Les Patineurs''. Published by Jullien in London, 1848]]
[[Image:Polka -Grisi and Perrot.jpg|thumb|right|200px|<center>Lithograph by J. Bouvier of Carlotta Grisi and Jules Perrot performing ''La Polka''. London, 1844]]

*''L'Aurore''. Choreography by [[Jules Perrot]]. 11 March 1843.

*''Les Houris''. Choreography by J. Perrot. 27 April 1843.

*''[[Ondine (ballet)|Ondine, ou la Naïade]]''. Choreography by J. Perrot and [[Fanny Cerrito]] (for the ''Pas de six''). 22 June 1843.

*''Hamlet''. Choreography by J. Perrot. 1843 &ndash; never premiered.

*''Le Délire d'un peintre''. Choreography by J. Perrot. 3 August 1843.

*''[[La Esmeralda (ballet)|La Esmeralda]]''. Choreography by J. Perrot. 9 March 1844.

*''Myrtelde, ou La Nymphe et le papillon''. Choreography by J. Perrot. 1844 &ndash; never premiered.

*''La Polka'' (incidental dance). Choreography by J. Perrot. 11 April 1844.

*''[[La Vivandière]]''. Choreography by [[Arthur Saint-Léon]]. 23 May 1844.

*''Zélia, or La Nymphe de Diane''. Choreography by J. Perrot. 25 June 1844.

*''La Paysanne Grande Dame''. Choreography by J. Perrot. 25 July 1844.

*''Jeanne d'Arc''. Choreography by J. Perrot. 1844 &ndash; never premiered.

*''Éoline, ou La Dryade''. Choreography by J. Perrot. 8 March 1845.

*''Kaya, ou L'amour voyageur''. Choreography by J. Perrot. 17 April 1845.

*''La Bacchante''. Choreography by J. Perrot. 1 May 1845.

*''Rosida, ou Les Mines de Syracuse''. Choreography by A. Saint-Léon and F. Cerrito. 29 May 1845.

*''[[Pas de Quatre]]'' (divertissement). Choreography by J. Perrot. 12 July 1845.

*''Diane''. Choreography by J. Perrot. 24 July 1845.

*''[[Catarina (ballet)|Catarina, or La Fille du Bandit]]''. Choreography by J. Perrot. 3 March 1846.

*''Lalla Rookh''. Choreography by J. Perrot. 11 June 1846. The music for the second and third tableaux contained passages based on [[Félicien David]]'s 1844 oratorio ''Le désert''.

*''Le Jugement de Paris''. Choreography by Perrot. 23 July 1846.

*''Coralia, ou Le Chevalier inconstant''. Choreography by [[Paul Taglioni]]. 16 February 1847.

*''Méphistophéla''. Choreography by P. Taglioni. 1847 &ndash; never premiered.

*''Théa, ou Le Fée aux fleurs''. Choreography by P. Taglioni. 18 March 1847.

*''Orinthia, ou Le Camp des Amazones''. Choreography by P. Taglioni. 15 April 1847.

*''Les Eléments''. Choreography by J. Perrot. 26 June 1847. Music composed jointly with [[Giovanni Bajetti]].

*''Fiorita et la Reine des elfrides''. Choreography by P. Taglioni. 19 February 1848.

*''Les Quatre saisons''. Choreography by J. Perrot. 13 June 1848.

*''Electra, ou La Pléiade perdue''. Choreography by P. Taglioni. 17 April 1849.

*''La Prima Ballerina, ou L'embuscade''. Choreography by P. Taglioni. 14 June 1849.

*''Les Plaisirs de l'hiver, ou Les Patineurs''. Choreography by P. Taglioni. 5 July 1848.

*''Les Métamorphoses'' (a.k.a. ''Satanella''). Choreography by P. Taglioni. 12 March 1850.

*''Les Graces''. Choreography by P. Taglioni. 2 May 1850.

*''Les Délices du sérail''. Choreography by Louis François Gosselin. 15 July 1850.

=====The Paris Opéra=====

*''La Fille de Marbre'' (revival of Perrot's ''Alma''). Choreography by A. Saint-Léon. Music by [[Michael Costa (conductor)|Michael Costa]], adapted by Pugni. 20 October 1847.

*''La Vivandière'' (revival). Choreography by A. Saint-Léon, with Pugni adapting his original score. 20 October 1848.

*''Le Violon du Diable'' (revival of ''Tartini il Violinista''). Choreography by A. Saint-Léon, with Pugni adapting his original score. 19 January 1849.

*''Stella, ou Les Contrebandiers''. Choreography by A. Saint-Léon. 22 February 1850.

*''[[The Parisian Market or Le Marché des Innocents|Le Marché des Innocents]]'' (revival of ''Le Marché des parisien''). Choreography by Marius Petipa and Lucien Petipa. 29 May 1861.

*''Diavolina'' (revival of ''Graziela, ou Les Dépits amoureux''). Choreography by A. Saint-Léon. 6 July 1863. Pugni utilized a suite of traditional Neopolitan airs called ''Passatempi Musicali'' for this score, as well as the ''Chasse aux Hirondelles'' by composer [[Maximilien Graziani]].

=====Works for other theatres=====

*''Le Fucine di Norvegia'' (5 acts). Choreography by [[Giacomo Piglia]]. [[Teatro Ducale]], [[Parma]]. 26 December 1826.

*''La Dernière heure d'un condamné''. Choreography by L. Henry. [[Comédie-Française|Théâtre Nautique]], Paris. Circa 1834&ndash;1835.

*''La Ricompensa dell'amore spontaneo''. Choreography by G. Galzerani. Theatre unknown, Paris. C. 1830&ndash;1835.

*''Licaone''. Choreography by L. Henry. [[Teatro di San Carlo]], [[Naples]]. 4 September 1836.

*''Tartini il Violinista''. Choreography by A. Saint-Léon. [[Teatro La Fenice]], Venice. 29 February 1848. Music composed jointly with [[Giovanni Felis]] and Saint-Léon (for the violin candenzas).

*''Satanella'' (revival of ''Les Métamorphoses''). Choreography by P. Taglioni. Music by [[Peter-Ludwig Hertel]], adapted by Pugni. [[Berlin State Opera|Court Opera Ballet]], Berlin. 28 April 1852.

*''Don Zeffiro''. Choreography by A. Saint-Léon. [[Théâtre Italien]], Paris. 26 April 1865.

*''Gli Elementi''. Choreography by A. Saint-Léon. Théâtre Italien, Paris. 19 February 1866.

===== Imperial Bolshoi Kamenny Theatre, St. Petersburg =====

[[Image:Pharoah's Daughter -Pas de Fleche -Mathilde Kschessinska -1898 -2.JPG|thumb|220px|right|<center>Mathilde Kschessinskaya photographed as the Princess Aspicia in the ''Pas de flèche'' from the Pugni/Petipa ''[[The Pharaoh's Daughter]]''. St. Petersburg, 1898]]
[[Image:Blue Dahlia -Lubov Egorova -1905.JPG|thumb|right|200px|<Center>Lubov Egorova in the title role of the Pugni/Petipa ''[[The Blue Dahlia (ballet)|The Blue Dahlia]]''. St. Petersburg, 1905]]

*''La Guerre des femmes, ou Les Amazons du neuvième siecle''. Choreography by J. Perrot. {{OldStyleDate|23 November|1852|11 November}}.

*''Gazelda, ou Les Tziganes''. Choreography by J. Perrot. {{OldStyleDate|24 February|1853|12 February}}.

*''Marcobomba'' (a.k.a. ''El Marcobomba''). Choreography by J. Perrot, M. Petipa and J. Petipa. {{OldStyleDate|5 December|1854|23 November}}.

*''Armida''. Choreography by J. Perrot. {{OldStyleDate|20 November|1855|8 November}}.

*''La Débutante''. Choreography by J. Perrot. {{OldStyleDate|29 January|1857|17 January}}. Pugni arranged this score from airs taken from his 1850 adaptation of Adolphe Adam's score for Perrot's ''L'Elève des fées'' (originally given as ''La Filleule des fées''), and his 1852 adaptation of Edouard Deldevez and Jean-Baptiste Tolbecque's score for Mazilier's ''Vert-Vert''.

*''La Petite marchande de bouquets''. Choreography by J. Perrot and M. Petipa. {{OldStyleDate|19 February|1857|7 February}}.

*''L'Ile des muets''. Choreography by J. Perrot. Music by Pugni and [[Théodore Labarre]]. {{OldStyleDate|19 February|1857|7 February}}.

*''[[A Marriage During the Regency|Un Mariage sous la Régence]]''. Choreography by M. Petipa. {{OldStyleDate|30 December|1858|December18}}.

*''Le Marché des parisien'' (a.k.a. ''Le Marché des innocents''). Choreography by M. Petipa. {{OldStyleDate|5 May|1859|23 April}}.

*''[[The Blue Dahlia (ballet)|Le Dahlia bleu]]''. Choreography by M. Petipa. {{OldStyleDate|12 May|1860|30 April}}.

*''Graziela, ou Les Dépits amoureux'' (a.k.a. ''Graziella, ou la Querelle amoureuse''). Choreography by A. Saint-Léon. {{OldStyleDate|23 December|1860|11 December}}.

*''Les Nymphes et le satyre''. Choreography by A. Saint-Léon. {{OldStyleDate|15 September|1861|3 September}}.

*''[[The Pharaoh's Daughter]]''. Choreography by M. Petipa. {{OldStyleDate|30 January|1862|18 January}}.

*''[[The Beauty of Lebanon or The Mountain Spirit|La Belle du Liban, ou L'Esprit des montagnes]]''. Choreography by M. Petipa. {{OldStyleDate|24 December|1863|12 December}}.

*''[[The Little Humpbacked Horse (ballet)|The Little Humpbacked Horse]]'' (a.k.a. ''La Tsar-Demoiselle''). Choreography by A. Saint-Léon. {{OldStyleDate|15 December|1864|3 December}}.

*''[[Florida (ballet)|Florida]]''. Choreography by M. Petipa. {{OldStyleDate|1 February|1866|20 January}}.

*''[[Le Roi Candaule]]'' (a.k.a ''Tsar Kandavl''). Choreography by M. Petipa. {{OldStyleDate|29 October|1868|17 October}}.

*''[[The Two Stars (ballet)|Les Deux étoiles]]'' (a.k.a. ''Les étoiles'' or ''Les Deux petites étoiles''). Choreography by M. Petipa. {{OldStyleDate|11 February|1869|30 January}}.

=====Other venues in Russia=====

*''[[The Star of Grenada|L'Étoile de Grenade]]''. Choreography by M. Petipa. [[Palace of the Grand Duchess Elena Pavlovna]]. {{OldStyleDate|21 January|1855|9 January}}.

*''[[Terpsichore (Petipa/Pugni)|Terpsichore]]''. Choreography by M. Petipa. Imperial Theatre of [[Tsarskoye Selo]]. {{OldStyleDate|27 November|1861|15 November}}.

*''[[Titania (ballet)|Titania]]''. Choreography by M. Petipa. Palace of the Grand Duchess Elena Pavlovna. {{OldStyleDate|30 November|1866|18 November}}.

*''[[The Benevolent Cupid|L'Amour bienfaiteur]]''. Choreography by M. Petipa. Theatre of the [[Imperial Ballet School]]. {{OldStyleDate|18 March|1868|6 March}}.

*''[[The Slave (Petipa/Pugni)|L'Esclave]]''. Choreography by M. Petipa. [[Hermitage Theatre|Imperial Theatre of the Hermitage]]. {{OldStyleDate|9 May|1868|27 April}}.

=====Expanded editions of his own work for the Imperial Bolshoi Kamenny Theatre, St. Petersburg=====

*''Le rêve du peintre'' (revival of ''Le Délire d'un peintre''). Choreography by J. Perrot. {{OldStyleDate|19 October|1848|31 October}}.

*''La Esmeralda''. Choreography by J. Perrot, [[Marius Petipa]] and F. Elssler. {{OldStyleDate|2 January|1849|21 December 1848}}.

*''La Naïade et le pêcheur'' (revival of ''Ondine, ou La Naïade''). Choreography by J. Perrot. {{OldStyleDate|11 February|1851|30 January}}.

*''Le Jugement de Paris''. Choreography by J. Perrot. {{OldStyleDate|18 February|1851|6 February}}.

*''Markitenka'' (revival of ''La Vivandière''). Choreography by J. Perrot after A. Saint-Léon. {{OldStyleDate|25 December|1855|13 December}}.

*''La Fille de marbre'' (revival of ''Alma''). Choreography by J. Perrot. Music by M. Costa. {{OldStyleDate|19 February|1856|7 February}}.

*''Éoline, ou la Dryade''. Choreography by J. Perrot. {{OldStyleDate|16 November|1858|4 November}}.

*''[[La Prima Ballerina or The Traveling Dancer|La Danseuse en voyage]]'' (revival of ''La Prima Ballerina, ou L'embuscade''). Choreography by Marius Petipa. {{OldStyleDate|16 November|1864|4 November}}.

=====Adaptations of scores by other composers for the Imperial Bolshoi Kamenny Theatre, St. Petersburg=====

*''[[Leda, the Swiss Milkmaid|Léda, ou la Laitière Suisse]]''. Choreography by J. Perrot, M. Petipa and Jean Petipa after [[Filippo Taglioni]]. Music by [[Adalbert Gyrowetz]] and [[Michele Carafa]]. {{OldStyleDate|20 December|1849|8 December}}.

*''L'Elève des fées'' (revival of ''La Filleule des fées''). Choreography by J. Perrot. Music by [[Adolphe Adam]] and [[Clémence, Comte de Saint-Julien]]. {{OldStyleDate|24 February|1850|12 February}}.

*''[[Le Diable à Quatre (ballet)|La Femme volontaire]]'' (revival of ''Le Diable à Quatre''). Choreography by J. Perrot after J. Mazilier. Music by Adolphe Adam. {{OldStyleDate|26 November|1850|14 November}}.

*''La Belle flamande'' (revival of ''La Jolie Fille du Gand''). Choreography by J. Mazilier after Albert Decombe. Music by Adolphe Adam. {{OldStyleDate|5 November|1851|25 October}}.

*''Vert-Vert''. Choreography by [[Joseph Mazilier]]. Music by [[Edouard Deldevez]] and [[Jean-Baptiste Tolbecque]]. {{OldStyleDate|20 January|1852|8 January}}.

*''Faust''. Choreography by J. Perrot. Music by [[Giacomo Panizza]]. {{OldStyleDate|14 February|1854|2 February}}.

*''[[Le Corsaire]]''. Choreography by J. Perrot and M. Petipa after J. Mazilier. Music by Adolphe Adam. {{OldStyleDate|24 January|1858|12 January}}.

*''Robert et Bertrand, ou Les Deux voleurs''. Choreography by [[Felix Kschessinsky]] after [[François Hoguet]]. Music by [[Herman Schmidt]]. {{OldStyleDate|11 May|1858|25 April}}.

*''Jovita, ou Les Boucaniers mexicains''. Choreography by A. Saint-Léon after J. Mazilier. Music by [[Théodore Labarre]]. {{OldStyleDate|27 September|1859|15 September}}.

*''Saltarello, ou La Dansomanie''. Choreography by A. Saint-Léon. Music by Arthur Saint-Léon. {{OldStyleDate|20 October|1859|8 October}}.

*''[[La Somnambule (ballet)|La Somnambule, ou L'Arrivée d'un nouveau seigneur]]''. Choreography by M. Petipa after [[Jean-Pierre Aumer]]. Music by [[Ferdinand Hérold]]. {{OldStyleDate|21 December|1859|19 December}}.

*''[[Pâquerette]]''. Choreography by A. Saint-Léon. Music by [[François Benoist]]. {{OldStyleDate|28 January|1860|9 February}}.

*''La Perle de Séville''. Choreography by A. Saint-Léon. Music by [[Santos Pinto]]. {{OldStyleDate|5 February|1861|24 January}}.

*''Météora, ou Les Étoiles de Grandville''. Choreography by A. Saint-Léon. Music by [[Santos Pinto]]. {{OldStyleDate|7 March|1861|23 February}}.

*''Théolinda l'orpheline'' (revival of ''Le Lutin de la vallée'') Choreography by A. Saint-Léon. Music by [[Eugène Gautier]]. {{OldStyleDate|18 December|1862|6 December}}.

*''[[Le Diable amoureux (ballet)|Satanella]]'' (revival of ''Le Diable amoureux''). Choreography by M. Petipa after Joseph Mazilier. Music by [[Napoléon Henri Reber]] and [[Francois Benoist]]. {{OldStyleDate|30 October|1866|18 October}}.

*''La Basilic''. Choreography by A. Saint-Léon. Music by [[Massimiliano Graziani]]. {{OldStyleDate|16 February|1869|4 February}}.

=====Original works produced to Pugni's music without his direct involvement=====

*''Zoloë''. Choreography by [[Pasquale Borri]]. Pastiche created by an unknown hand from the airs of Pugni. Teatro di San Carlo, Naples. Circa 1852.
*''Lucilla''. Choreography by P. Borri. Pastiche by Paolo Giorza from the airs of Pugni. Teatro La Fenice, Venice. Circa 1855-1856.

*''Les Espiègles de l'Amour'' (a.k.a. ''Cupid's Prank''). Choreography by Lev Ivanov. Score by [[Alexander Friedman (composer)|Alexander Friedman]] with additional material taken from the works of Pugni. {{OldStyleDate|23 November|1890|11 November}}.

*''Les Dryades prétendues'' (a.k.a. ''The False Dryads''). Choreography by [[Pavel Gerdt]]. Music adapted by [[Riccardo Drigo]] from Pugni's score for Perrot's ''Éoline, ou La Dryade'', as well as additional numbers from the works of [[Ludwig Minkus]]. [[Russian Museum|Imperial Theatre of the Russian Museum of His Majesty Emperor Alexander III]]. {{OldStyleDate|23 April|1899|11 April}}.

== Bibliography ==
*Beaumont, Cyril W. ''Complete Book of Ballets''.
*Bolshoi Ballet. Program from ''The Pharaoh's Daughter''. Bolshoi Theatre, 2001.
*Edgecombe, Rodney Stenning. ''Cesare Pugni, Marius Petipa, and 19th Century Ballet Music''. ''Musical Times'', Summer 2006.
*Kirov/Mariinsky Ballet. Program from ''Ondine''. Mariinsky Theatre, 2006.
*Petipa, Marius. ''The Diaries of Marius Petipa''. Trans. and Ed. Lynn Garafola. Published in ''Studies in Dance History'' - 3.1 (Spring 1992).
*Guest, Ivor Forbes. ''Cesare Pugni: A Plea For Justice''. Published in ''Dance Research'' - Vol. 1, no. 1, pp. 30-38''
*Guest, Ivor Forbes, ed. ''Letters from a Balletmaster - The Correspondence of Arthur Saint-Léon''
*{{Harvard reference
| Surname1 = Sidney-Fryer
| Given1 = Donald
| Year = Unpublished; no publication date announced
| Title = The Case of the Light Fantastic Toe: The Romantic Ballet and Signor Maestro Cesare Pugni
| Journal =
| Number =
| Pages =
}}.
*Wiley, Roland John. ''Dances from Russia: An Introduction to the Sergeyev Collection'' Published in ''The Harvard Library Bulletin'' - 24.1 January 1976.
*Wiley, Roland John, ed. and translator. ''A Century of Russian Ballet: Documents and Eyewitness Accounts 1810-1910''.

==External links==
* {{IMSLP|id=Pugni, Cesare}}

{{Portal|Ballet}}

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Revision as of 17:25, 10 October 2008

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