Editing Circe (section)

===Classical ballet and programmatic music===
After [[classical ballet]] separated from theatrical spectacle into a wordless form in which the story is expressed solely through movement, the subject of Circe was rarely visited. It figured as the first episode of three with mythological themes in {{Lang|fr|Les Fêtes Nouvelles}} (''New Shows''), staged by Sieur Duplessis le cadet in 1734, but the work was taken off after its third performance and not revived.<ref>Antoine de Léris, ''Dictionnaire des Théâtres'', Paris 1763,[http://operabaroque.fr/DUPLESSIS_FETES.htm online quotation].</ref> The choreographer [[Antoine Pitrot]] also staged {{Lang|fr|Ulysse dans l'isle de Circée}}, describing it as a ''ballet sérieux, heroï-pantomime'' in 1764.<ref>Joseph Marie Quérard, ''La France littéraire, ou Dictionnaire bibliographique'', Paris 1835, [https://books.google.com/books?id=Rirytt5V00oC&pg=PA196 p. 196].</ref> Thereafter there seems to be nothing until the revival of ballet in the 20th century.

[[File:Martha Graham's Circe.jpg|thumb|left|upright|Circe enchanting Ulysses in the 2012 revival of Martha Graham's ''Circe'']]

In 1963, the American choreographer [[Martha Graham]] created her ''Circe'' with a score by [[Alan Hovhaness]]. Its theme is psychological, representing the battle with animal instincts. The beasts portrayed extend beyond swine and include a goat, a snake, a lion and a deer.<ref>Lisa Allen's photographs of the ballet are available [http://www.exploredance.com/article.htm?id=514 online].</ref> The theme has been described as one of "highly charged erotic action", although set in "a world where sexual frustration is rampant".<ref>Jamake Highwater, ''Dance: Rituals of Experience'', Oxford University 1996, [https://books.google.com/books?id=tZOE1wrlweYC&pg=PA179 pp. 179–81].</ref> In that same decade [[Rudolf Brucci]] composed his ''Kirka'' (1967) in Croatia.

There is a Circe episode in [[John Harbison]]'s ''Ulysses'' (Act 1, scene 2, 1983) in which the song of the enchantress is represented by [[ondes Martenot]] and tuned percussion.<ref>There is an excerpt [http://www.emusic.com/listen/#/album/boston-modern-orchestra-project/john-harbison-ulysses/11283351 online].</ref> After the sailors of Ullyses are transformed into animals by her spell, a battle of wills follows between Circe and the hero. Though the men are changed back, Ulysses is charmed by her in his turn. In 1993, a full scale treatment of the story followed in Gerald Humel's two-act ''Circe und Odysseus''. Also psychological in intent, it represents Circe's seduction of the restless hero as ultimately unsuccessful. The part played by the geometrical set in its Berlin production was particularly notable.<ref>Hans Dieter Schaal: Stage Architecture Stuttgart and London 2002, [https://books.google.com/books?id=spVLtZMGWO0C&dq=Gerald%20Humel%2C%20%22Circe%20und%20Odysseus%22&pg=PA48 pp. 48–51].</ref>

While operas on the subject of Circe did not cease, they were overtaken for a while by the new musical concept of the [[symphonic poem]] which, whilst it does not use a sung text, similarly seeks a union of music and drama.<ref>Stanley Sadie, ''The New Grove Dictionary of Music and Musicians'', New York, 1980, 13:544–545.</ref> A number of purely musical works fall into this category from the late 19th century onwards, of which one of the first was [[Heinrich von Herzogenberg]]'s ''Odysseus'' (Op.16, 1873). A [[Richard Wagner|Wagnerian]] symphony for large orchestra, dealing with the hero's return from the Trojan war, its third section is titled "Circe's Gardens" (''Die Gärten der Circe'').

In the 20th century, {{ill|Ernst Boehe|de}}'s cycle ''Aus Odysseus Fahrten'' (''From Odysseus' Voyage'', Op. 6, 1903) was equally programmatic and included the visit to Circe's Isle (''Die Insel der Circe'') as its second long section. After a depiction of the sea voyage, a bass clarinet passage introduces an ensemble of flute, harp and solo violin over a lightly orchestrated accompaniment, suggesting Circe's seductive attempt to hold Odysseus back from traveling further.<ref>{{cite web|url=http://imslp.org/wiki/Aus_Odysseus'_Fahrten,_Op.6_(Boehe,_Ernst)|title=Aus Odysseus' Fahrten, Op. 6 (Boehe, Ernst) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music|website=imslp.org}}</ref> [[Alan Hovhaness]]' ''Circe Symphony'' (No.18, Op. 204a, 1963) is a late example of such programmatic writing. It is, in fact, only a slightly changed version of his ballet music of that year, with the addition of more strings, a second [[timpani]]st and [[celesta]].

With the exception of Willem Frederik Bon's prelude for orchestra (1972), most later works have been for a restricted number of instruments. They include Hendrik de Regt's ''Circe'' (Op. 44, 1975) for clarinet, violin and piano; [[Christian Manen]]'s ''Les Enchantements De Circe'' (Op. 96, 1975) for bassoon and piano; and [[Jacques Lenot]]'s ''Cir(c)é'' (1986) for [[oboe d'amore]]. The German experimental musician [[Dieter Schnebel]]'s ''Circe'' (1988) is a work for harp, the various sections of which are titled ''Signale'' (signals), ''Säuseln'' (whispers), ''Verlockungen'' (enticements), ''Pein'' (pain), ''Schläge'' (strokes) and ''Umgarnen'' (snare), which give some idea of their programmatic intent.

[[Thea Musgrave]]'s "Circe" for three flutes (1996) was eventually to become the fourth piece in her six-part ''Voices from the Ancient World'' for various combinations of flute and percussion (1998). Her note on these explains that their purpose is to "describe some of the personages of ancient Greece" and that Circe was "the enchantress who changed men into beasts".<ref>{{Cite web|url=http://www.theamusgrave.com/html/voices_from_the_ancient_world.html|archive-url=https://web.archive.org/web/20120717054620/http://www.theamusgrave.com/html/voices_from_the_ancient_world.html|url-status=dead|title=Composer's website|archive-date=July 17, 2012}}</ref> A recent reference is the harpsichordist [[Fernando De Luca]]'s Sonata II for [[viola da gamba]] titled "Circe's Cave" (''L'antro della maga Circe'').