[S.Sax.&Pf.]The Nutcracker/ P.Tchaikovsky | Arr. Eiji Umeda

Composed by Pyotr Ilyich Tchaikovsky (1840–1893)

Alongside Swan Lake and The Sleeping Beauty, The Nutcracker is one of Tchaikovsky’s three great ballets, and it is also the last ballet he composed. Completed in 1892, the work premiered that same year at the Mariinsky Theatre in St. Petersburg.

The story is based on Alexandre Dumas’ adaptation of The Tale of the Nutcracker—which itself was derived from E.T.A. Hoffmann’s The Nutcracker and the Mouse King. The ballet tells the enchanting Christmas Eve tale of a young girl named Clara, who receives a nutcracker doll as a gift and embarks on a magical adventure. Because of its Christmas setting, The Nutcracker is now performed and enjoyed around the world each holiday season.

Tchaikovsky later arranged The Nutcracker Suite, Op. 71a himself, which premiered even before the full ballet. The suite consists of three main sections—I. Miniature Overture, II. Characteristic Dances, and III. Waltz of the Flowers—though the second section is subdivided into six distinct dances, making a total of eight pieces.

I. Miniature Overture (Ouverture miniature)
As its name suggests, this compact overture excludes cellos and double basses, resulting in a light, fairy-tale-like texture. It is written in a rounded binary form, with the first and second themes each repeated twice.

II. Characteristic Dances (Danses caractéristiques)
a. March (Marche)
This cheerful piece accompanies the scene of children dancing around the Christmas tree. Its distinctive triplet fanfares and playful motifs give the impression of joyful children skipping about.

b. Dance of the Sugar Plum Fairy (Danse de la Fée Dragée)
One of Tchaikovsky’s most iconic pieces, this dance features the celesta—an instrument newly invented at the time—creating a sparkling, magical timbre. The bass clarinet’s interjections provide a unique moment of prominence for the instrument within the orchestra.

c. Russian Dance (Trepak) (Danse russe)
A lively Russian folk dance characterized by high energy, tambourine rhythms, and driving low-string passages. The accelerating tempo toward the end leads to a brilliant, breathless finish.

d. Arabian Dance (Danse arabe)
Said to be inspired by a Georgian lullaby, this piece features a steady viola and cello rhythm beneath a haunting, exotic melody that evokes the mysterious atmosphere of the East.

e. Chinese Dance (Danse chinoise)
This short, playful dance features a flute melody over a steady accompaniment. The pizzicato strings add to the light, “Chinese-style” character that Tchaikovsky imagined.

f. Dance of the Reed Flutes (Danse des mirlitons)
Depicting shepherds playing reed flutes, this elegant dance is performed by three flutes in the orchestra. The brief shift to a minor key in the brass section provides a charming contrast.

III. Waltz of the Flowers (Valse des fleurs)
The opening introduces the main theme, followed by an extended harp solo. The horns then present the theme gracefully, with the strings joining to create a lush, radiant sound. Later sections introduce a new flute theme and a minor-key passage typical of Tchaikovsky’s style, leading to a grand, triumphant finale.

In this arrangement, the harp cadenza has been reimagined for saxophone. Performers are encouraged to play freely and explore their own original interpretation of the cadenza.