On the role of polyphonic fragments in ballets of the 19th and the beginning of the 20th centuries
The role and the structure of polyphonic fragments in ballets of the 19th and the beginning of the 20th centuries are considered as exemplified by the works of A. Adam, I. Brüll, R. Drigo, C. Möller, C. Pugni and B. Asaf'yev. The author concludes that such fragments appear at various moments of the action and play different roles: for example, the musical illustration of a situation when the characters gradually gather or successively appear on stage, as well as a method of composing leitmotifs. However, one may also find an example of an original “experiment,” when the whole score of the ballet is based on polyphonic forms.
ballet, character, dance, fugato, imitation, leitmotif, polyphonic fragment, A. Adam, I. Brüll, R. Drigo, C. Möller, C. Pugni, B. Asaf'yev