Premiered in Rome in 1920, this ballet is set in Russia and incorporates Russian folk melodies throughout the score.The story centers on a spoiled Russian princess who dreams of marrying a handsome young prince. One day, while she is bored and searching for amusement, a series of entertainments is arranged for her. Among the performers is a peasant who arrives with what he claims to be a "magic pot" and dances around it. The princess becomes fascinated by both the dance and the mysterious pot. When she insists on having it, the peasant demands a kiss in return. The princess ultimately refuses, whereupon the peasant reveals that he is in fact a prince. Realizing what she has lost, the princess is overcome with emotion.This arrangement for wind band was commissioned in 2017 by Noda Junior High School (director: Hitomi Mori). For the present recording and publication, the score has been revised and expanded.Four pieces were selected from the entire collection and shortened for this arrangement. It was structured to offer a highlight-style showcase of various musical characters, and to be highly practical for concerts and competitions. (Makoto Onodera)[Performance Notes]The metronome markings in this edition were added by the arranger and do not appear in the original score by Ottorino Respighi. They should be regarded as suggested tempo indications rather than definitive instructions.Percussion parts may sometimes specify particular mallets. Since the sound can vary greatly depending on the manufacturer and type of mallet, please refer to the original recording and the arranger's instructions, and consider why the specific mallet was chosen in order to select the most appropriate.Both piano and harp are optional instruments. Nevertheless, it is strongly recommended that at least one of them be included in the opening section of "Danza Cosacca" and in "Canzone Armena."In "Canzone Armena," a two-part women's chorus is included. Depending on the size and personnel of the ensemble, it may be possible to perform only one vocal line or to omit the chorus entirely. The arrangement has been designed to remain effective without the choir; however, please make any necessary adjustments, such as increasing the volume of the parts that carry the melody or adding more players to those parts, to maintain the intended balance.

(Makoto Onodera)