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BIBLIOGRAPHYBooks and ArticlesBeaumont, Cyril W. The Complete Book of Ballets: A Guide to the Principal Ballets of the Nineteenth and Twentieth Centuries. London: Putnam, 1937. Beaumont, Cyril W. The Diaghilev Ballet in London: A Personal Record. 3rd ed., London: A. and C. Black, 1951. Buckle, Richard. Diaghilev. New York: Atheneum, 1979. Chadd, David, and Gage, John. The Diaghilev Ballet in England: An Exhibition Organized by David Chadd and John Gage [at the] Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 11 October -- 20 November 1979 [and] The Fine Art Society, New Bond Street, London, 3 December 1979 – 11 January 1980, Norwich: 45th Norfolk and Norwich Triennial Festival of Music and the Arts, 1979. Contents: “I: An Unparalleled Triumph: the Early Seasons” – “II: A New Phase: the Ballets of Nijinsky”, “III: Crazy with Delight: the English Season, 1919” – “IV: Almost a National Institution: the New Public and the Avant-Garde” – “V: The Last Relic of the Great Days of St. Petersburg: The Sleeping Princess” – “VI: Marrying into the Russian Ballet: the English in Diaghilev’s Company” – “VII: A Native English Flower: the Camargo Society and the English Companies” Diaghilev and the Golden Age of the Ballets Russes, 1909-1929. Edited by Jane Pritchard. London: Victoria and Albert Museum (V&A Publishing), 2010. Contents: Geoffrey Marsh, “Sergei Diaghilev and the Strange Birth of the Ballets Russes” – Sjeng Scheijen, “Diaghilev the Man” – Jane Pritchard, “The Transformation of Ballet” – Jane Pritchard, “Creating Productions” – John E. Bowlt, “Léon Bakst, Natalia Goncharova and Pablo Picasso” – Sarah Woodcock, “Wardrobe” – Howard Goodall, “Music and the Ballets Russes” – Jane Pritchard, “A Giant that Continues to Grow -The Impact, Influence and Legacy of the Ballets Russes” ‘E. E.’ “The Camargo Society [review of its production of Job on 5-6 July 1931]”, in The Musical Times, 1 August 1931, p. 745. Hillyer, Lynda. “Working for Diaghilev”, Conservation Journal (Victoria and Albert Museum, London), Issue 50 (Summer 2005), viewed on the internet on 15 November 2014 at web address http://www.vam.ac.uk/content/journals/conservationjournal . Joseph, Charles M. Stravinsky’s Ballets., New Haven: Yale University Press, 2011 Kane, Angela and Pritchard, Jane. “The Camargo Society: Part I”, in Dance Research, Vol. 12, No. 2 (Autumn 1994), pp. 21-65. Kodicek, Ann, and Bartlett, Rosamund. Diaghilev: Creator of the Ballets Russes: Art, Music, Dance. London: Barbican Art Gallery and Lund Humphries, 1996. Macdonald, Nesta. Diaghilev Observed by Critics in England and the United States, 1911-1929. New York: Dance Horizons and London: Dance Books, 1975. Montagu-Nathan, M. “The Camargo Society: its Probable Influence on British Music”, The Musical Times, 1 September 1930, pp.798-799. Orga, Atefs. [Notes to audio recording of] Vaughan Williams’s Job: A Masque for Dancing and The Lark Ascending, 1997 (Naxos 8.553955), downloaded from http://www.naxos.com. Pritchard, Jane. “Serge Diaghilev's Ballets Russes - An Itinerary. Part I: 1909-1921”, in Dance Research, Vol. 27, No. 1 (Summer 2009), pp. 108-198. Pritchard, Jane. “Serge Diaghilev's Ballets Russes - An Itinerary. Part 1I: 1922-1929”, in Dance Research, Vol. 27, No. 2 (Winter 2009), pp. 254-360. Propert, Walter Archibald. The Russian Ballet in Western Europe, 1909-1920, New York, J. Lane, 1921; republished New York, B. Blom, 1972. Ries, Frank W. D. “ Sir Geoffrey Keynes and the Ballet Job”, in Dance Research, Vol. 2, No. 1 (Spring 1984), pp. 19-34. Schouvaloff, Alexander and Borovsky, Victor. Stravinsky on Stage. London: Stainer & Bell, 1982 Sjeng, Scheijen. Diaghilev: A Life. Translated into English by Jane Hedley-Prôle and S. J. Leinbach from the Dutch original edition, Sergej Diaghilev: Een leven voor de kunst, Amsterdam: Bert Bakker, 2009. 1st American edition, New York: Oxford University Press, 2010. Sorley Walker, Kathrine. “The Camargo Society”, Dance Chronicle, Vol. 18, No. 1 (1995), pp. 1-114. Sorley Walker, Kathrine. “The Festival and the Abbey: Ninette de Valois' Early Choreography, 1925-1934, Part II”, Dance Chronicle, Vol. 8, No. 1/2 (1985), p. 51-100.
Contents: Alexandre Benois, “Early Memories of Diaghilev” – Tamara Karsavina, “Homage to Diaghilev” – Juliet Duff, “Homage to Diaghilev” – Boris Kochno, “Daighilev’s Rendez-vous” – “Sergei Pavlovich Diaghilev: [Chronology 1872-1929] – Alexandre Benois, “The Magic Curtain” [colour plate] – “The Exhibition” [catalogue} with an Introduction by Richard Buckle. Thomas, Gareth. “Modernism, Diaghilev and the Ballets Russes in London, 1911-1929”, chapter 4 of British Music and Modernism, 1895-1960, edited by Matthew Riley. Farnham, Surrey and Burlington, Vermont: Ashgate, 2010, pp. 67-91. Whitworth, Geoffrey. The Art of Nijinsky. London: Chatto & Windus, 1913. Available online through Wikisource. Scholarly Dissertation Wade Wiles, Patricia. A Study of Job, a Masque for Dancing by Ralph Vaughan Williams, Thesis (Ph.D.: Fine Arts, Texas Tech), 1988. 1 Research for this paper was originally undertaken as part of a seminar on the theme “Danser la musique moderne: Le ballet en France 1910-1940” at the University of Ottawa School of Music. The author would especially like to thank Professors Christopher Moore and Murray Dineen for their guidance. 2 Noel Goodwin, “Ballet: 2. 19th Century: (iv) The Classical Ballet in Russia to 1900”, in Grove Music Online. 3 Richard Buckle, Diaghilev, New York: Atheneum, 1979, chapters 1-2, pp. 1-33. 4 Ibid., chapter 3, pp. 37-50. 5 Lynda Hillyer, “Working for Diaghilev”, Conservation Journal (Victoria and Albert Museum, London), Issue 50 (Summer 2005), viewed on the internet on 15 Nov.2014. 6 Buckle, Diaghilev, chapter 4, pp. 51-70; Sjeng Scheijen, Diaghilev: A Life, 1st American edition, New York: Oxford University Press, 2010, chapter 10, pp. 111-123. Diaghilev was ousted by artistic infighting. 7 Hillyer, loc. cit. 8 Buckle, Diaghilev, chapters 6 and 7, pp. 91-116. 9 Walter Archibald Propert, The Russian Ballet in Western Europe, 1909-1920, New York, J. Lane, 1921 and B. Blom, 1972; Buckle, Diaghilev, chapter 8, pp. 119-157. 10 For more detail see the essay by Eugene Goossens on the music, included in Propert, op. cit. 11 Hillyer, loc. cit. 12 Buckle, Diaghilev, chapters 9-11, pp. 158-280; “The 20th-Century Ballet Revolution”, on the website of the Victoria and Albert Museum, 7 pp., downloaded from http://www.vam.ac.uk. on 15 November 2014. 13 Jane Pritchard, “Serge Diaghilev's Ballets Russes - An Itinerary. Part I: 1909-1921”, in Dance Research, Vol. 27, No. 1 (Summer 2009), pp. 108-198, and “Serge Diaghilev's Ballets Russes - An Itinerary. Part 1I: 1922-1929”, in Dance Research, Vol. 27, No. 2 (Winter 2009), pp. 254-360. 14 Henry Saxe Wyndham. Royal Opera and Imperial Russian Ballet; containing the plots of the operas & ballets & biographical sketches with portraits of the singers and dancers. The letterpress by H. Saxe Wyndham. Coronation Season, Covent Garden. London. J. Long, 1911. Leonard Rees, Russian Ballet, Royal Opera, Covent Garden, Season 1912. London: John Long, 1912. 15 David Chadd and John Gage, The Diaghilev Ballet in England: An Exhibition Organized by David Chadd and John Gage [at the] Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 11 October -- 20 November 1979 [and] The Fine Art Society, New Bond Street, London, 3 December 1979 – 11 January 1980, Norwich: 45th Norfolk and Norwich Triennial Festival of Music and the Arts, 1979, chapter 1: “An Unparalleled Triumph: The Early Seasons”, p. 7. 16 Loc. cit. 17 Loc. cit., quoting The Times (London), 24 June 1911. 18 In Ellen Terry’s The Russian Ballet, with drawings by Pamela Colman-Smith, London: Sidgewick & Jackson, 1913, which the critic actually had ghost-written, as cited at no. 9 in the exhibition catslogue The Diaghilev Ballet in England, pp. 10-11. 19 The Times (London), 6 July 1914, as cited in The Diaghilev Ballet in England, p. 8. 20 Loc. cit. 21 Wikipedia, “Lydia Sokolova (1896-1974)”. Born Hilda Tansley Munnings, she gained fame as the Chosen Maiden who must die in Stravinsky’s Sacre du Printemps. 22 The Diaghilev Ballet in England, p. 8. 23 The Diaghilev Ballet in England, p. 12. 24 The Diaghilev Ballet in England, chapter 2: “A New Phase: the Ballets of Nijinsky”, p. 17. 25 Loc. cit. 26 O. Raymond Drey, in the New Weekly, May 1914, cited in The Diaghilev Ballet in England, pp. 17-18. 27 Manuscript notes for the setting of L’Après-midi d’un faune held in the British Library, as quoted in The Diaghilev Ballet in England, p. 18-19. 28 In Le Coq et l’Harlequin (1918), as translated into English in The Diaghilev Ballet in England, p. 21. 29 The Diaghilev Ballet in England, p. 22. For fuller information on Le Sacre du printemps, see: Charles M. Joseph, Stravinsky’s Ballets, New Haven: Yale University Press, 2011, chapter 4: “The Rite of Spring: Gateway to Modernism”, pp. 73-101, and Alexander Schouvaloff and Victor Borovsky, Stravinsky on Stage, London: Stainer & Bell, 1982, pp. 65-74. 30 The Diaghilev Ballet in England, p. 22. 31 The Diaghilev Ballet in England, chapter 3: “Crazy with Delight: the English Season 1919”, p. 23. 32 The Diaghilev Ballet in England, p. 24. 33 Loc. cit. 34 The Diaghilev Ballet in England, pp. 24-25. 35 The Diaghilev Ballet in England, p. 27. 36 The Diaghilev Ballet in England, pp. 26-27. 37 Charles V. Bagli, “After Much Debate, Picasso Curtain Will Be Moved From the Four Seasons”, New York Times, 12 June 2014, downloaded from the internet on 20 April 2015. 38 The Diaghilev Ballet in England, p. 28. 39 The Diaghilev Ballet in England, chapter 4: “Almost a National Institution: The New Public and the Avant-Garde”, pp. 29-39. 40 The Diaghilev Ballet in England, chapter 5: “The Last Relic of the Great Days of St. Petersburg: The Sleeping Princess”, pp. 40-43. 41 English translation from Charles M. Joseph, Stravinsky’s Ballets, New Haven: Yale University Press, 2011, p. 222. 42 Cyril W. Beaumont, The Diaghilev Ballet in London: A Personal Record. 3rd ed., London: A. and C. Black, 1951, p. 256; Charles M. Joseph, Stravinsky’s Ballets, pp. 220-221. 43 Charles M. Joseph, Stravinsky’s Ballets, p. 222. 44 Jane Pritchard, “Serge Diaghilev's Ballets Russes: 1909-1921”, in Dance Research, Vol. 27, No. 1 (Summer 2009), pp. 108-198, and “1922-1929”, in Dance Research, Vol. 27, No. 2 (Winter 2009). 45 The Diaghilev Ballet in England, p. 30. 46 Wikipedia, “Lydia Lopokova, Baroness Keynes (1892-1981)” 47 Wikipedia, “Ninette de Valois (1898-2001)”. Born Edris Stannus, she had legally changed her name to a French one to advance her early dance career in England. 48 John Walsh, "Interview: Dame Ninette de Valois: Doyenne of the dance” in The Independent (London), 6 June 1998. Retrieved from the internet on 22 April 2015. 49 The Diaghilev Ballet in England, p. 30. 50 Loc. cit. 51 Russell E. Higgins, review of a recording of The Triumph of Neptune on Amazon.com, 29 January 2001. 52 Peter Ackroyd, Albion: the Origins of the English Imagination, New York: Nan A. Talese, 2003; Wilfrid Mellers, Vaughan Williams and the Vision of Albion. London: Barrie & Jenkins, 1989. 53 Joseph Auner, Music in the Twentieth and Twenty-First Centuries, New York and London: Norton, 2013, p. 153; for more detail, cf. Wikipedia, “English Musical Renaissance”. 54 Ralph Vaughan Williams, National Music, Oxford: Oxford University Press, 1934, consisting of the composer’s nine American lectures on the subject delivered at Bryn Mawr College in 1932. 55 Roger Savage, Masques, Mayings and Music-Dramas: Vaughan Williams and the Early Twentieth-Century Stage, Woodbridge, Suffolk: Boydell, 2014, p. 220. 56 Sir Geoffrey Keynes suspected that Kochno might have wanted to produce something biblical like Job himself, saying “I saw things from my Blake concept coming out in Prodigal Son”. Frank W. D. Ries, “ Sir Geoffrey Keynes and the Ballet Job”, in Dance Research, Vol. 2, No. 1 (Spring 1984), pp. 19-34, at p. 20. 57 Wikipedia,, “Ninette de Valois (1898-2001)”. Retrieved 25 April 2015. 58 Kathrine Sorley Walker, “The Festival and the Abbey: Ninette de Valois' Early Choreography, 1925-1934, Part II”, Dance Chronicle, Vol. 8, No. 1/2 (1985), pp. 51-100, at p. 57. 59 Ninette de Valois, Come Dance with Me, New York: World, 1957, p. 98. 60 M. Montagu-Nathan, “The Camargo Society: its Probable Influence on British Music”, The Musical Times, 1 September 1930, pp.798-799; Kathrine Sorley Walker, “The Camargo Society”, Dance Chronicle, Vol. 18, No. 1 (1995), pp. 1-114. 61 Kathrine Sorley Walker, “The Festival and the Abbey: Ninette de Valois' Early Choreography”, Dance Chronicle, Vol. 8, No. 1/2 (1985), p. 52. 62 Notable reviews appeared in The Times (London), 6 July 1931, and under the title “The Camargo Society”, signed by E.E., in The Musical Times, 1 August 1931, p. 745. 63 Kathrine Sorley Walker, “The Festival and the Abbey: Ninette de Valois' Early Choreography”, Dance Chronicle, Vol. 8, No. 1/2 (1985), p. 85. 64 For details of Raverat’s set design and costumes, see many of the illustrations in Patricia Wade Wiles, A Study of Job, a Masque for Dancing by Ralph Vaughan Williams, Thesis (Ph.D.: Fine Arts, Texas Tech), 1988. This author also covers the 1948 redesign by John Piper. 65 Reproduced in Wade Wiles, ibid. , Appendix A. 66 Précis by Atefs Orga, 1997, in his notes to an audio recording of Vaughan Williams’s Job: A Masque for Dancing and The Lark Ascending, 1997 (Naxos 8.553955), downloaded from http://www.naxos.com. 67 ‘NotATameLion’ (pseudonym), “The greatest recording of Job”, review on Amazon.com, 17 November 2002, of an recording conducted in 1970 by Sir Adrian Boult, and re-released by EMI on 25 January 2000. 68 For a detailed musical analysis, see Patricia Wade Wiles, A Study of Job, a Masque for Dancing by Ralph Vaughan Williams, Thesis (Ph.D.: Fine Arts, Texas Tech), 1988, pp. 130-175. 69 Wade Wiles, ibid., p.143. 70 Wade Wiles, ibid., pp. 178-208. 71 Frank Howes, "The Music of Job," in A. L. Haskell (ed.), Job and The Rake's Progress, London: The Bodley Head, 1949, p. 37. 72 Kathrine Sorley Walker, “The Festival and the Abbey: Ninette de Valois' Early Choreography”, Dance Chronicle, Vol. 8, No. 1/2 (1985), p. 57. 73 Wikipedia, “Anton Dolin (1904-1983)”. Despite his foreign stage name, Dolin was born in Sussex as Sydney Francis Patrick Chippendall Healey-Kay, and trained in a Russian ballet studio in London. 74 Daily Telegraph, 7 November 1934. 75 M. Montagu-Nathan, “The Camargo Society: its Probable Influence on British Music”, The Musical Times, 1 September 1930, p.798. 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