If you're very excited Jean-Luc, and I am just as much by such history, let me share some more information with you!
Tobi Tobias, at ArtsJournal.com, actually mentioned Bournonville in his most recent article, this monday, June 13th. Here, he actually mentions...
"For the record: The score, by Bournonville’s most frequent musical collaborator, H.S. Paulli, will sound strangely familiar at times, even to audience members new to Abdallah. Hans Beck, the RDB’s ballet master from 1894 to 1915, appropriated stretches of it to add variations to the cascade of ebullient dancing already present in the celebratory closing act of Napoli—another instance in which—though it’s heresy to say it, I suspect less might have been more." To read the whole article, the link is available right here: http://www.artsjournal.com/tobias/archi ... tml#100576
This is pretty much the same thing as I had read elsewear previously, and is consistent with what the Bournonville Festival's website. If you read the chronology in the 'Facts' link included in Napoli's description on that page, it dictates very early on, "Newly staged 30.10. 1898...Soli in Pas de six: Hans Beck...Staging: Hans Beck"
In fact, and this is the MOST interesting piece of insight (anyone play six degrees of seperation), Thomus Lund mentions the 'coincidence' with our own KATE SNEDEKER, in an interview for Ballet Dance Magazine, transcribed and posted right here on CriticalDance
The article can be found directly at: http://www.criticaldance.com/magazine/2 ... 32004.html
...but for time, here is the direct excerpt I'm refering too...
"(Kate Snedeker:) You talk about not knowing exactly what the Bournonville style was…did Bournonville take notes on his ballets?
(Thomas Lund:)He wrote the ballets down, but it’s very hard because his notations are for himself to remember his ballets, and it was put under the musical score. And this is very interesting - for instance, Hans Beck, who was a director in the beginning of this century - Bournonville saw [Beck] dance before he died and liked him as a dancer, and so Beck had a feeling for the whole style that shows how it goes onto the next generation. He created solos, five solos for 'Napoli', third act, and those solos were taken from 'Abdallah'. He read [the notations] in the score for 'Abdallah', and he didn’t do [the solos] that specifically. Now we’ve seen 'Napoli' so many times that we think that this is how it used to be.
Now I’m starting working with 'Abdallah'. Flemming Ryberg and Toni Lander reconstructed it, and they really went into the score of 'Abdallah' and took it word by word, and they reconstructed the solos that Hans Beck in a way also reconstructed, but put it in 'Napoli' and they got a very different result. So that’s very interesting and shows a little bit about reading those scores really carefully."
The history behind Bournonville, his ballets, artists, and his sucessors surprises and enlightens all of his enthusiasts, Jean-Luc, and it's so exciting to meet other appreciative enthusiasts!
I hope we all help eachother keep learning! (Like learning how to convert currency [wink, Stuart Sweeney])