Petite Suite

Petite Suite
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Las Vegas Junior / Studio / Petite Suites at TI
Treasure Island - TI Hotel & Casino now features all new rooms and suites that have been fully renovated between the dates of September 2018 thru June 2020. Renovations and upgrades include, but are not limited to:

Come experience some ot the newest rooms and suites on the Las Vegas Strip! DEALS & OFFERS
Explore all that Treasure Island has to offer before your stay or during your visit!
Take a virtual tour of TI's world class restaurants, intimate casino, amenities and much more.
The $39 + tax daily resort fee at TI Las Vegas provides hotel guests with several of the most commonly requested additional services at a package price.
Resort fees are required, and in addition to the room rates displayed online with the exception that resort fees are optional only for Radisson Rewards and/or MyTI Members that book our exclusive TV Ad Special , qualified TI Players Club casino members, and qualified meeting groups that book directly with the hotel on select dates. For those who confirm one of the aforementioned qualified bookings and decline the optional resort fee, the resort fee amenities would then need to be purchased separately.

* Resort fee price, tax, services and amenities are subject to change without prior notice.
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Approx. 630 sq. ft. (58.5 m²) studio style suite
One king Suite SensaTIonal pillowtop bed with lighted and padded headboard
Floor-to-ceiling windows with views of the mountain horizons or Sirens Cove
Flat screen 42" LCD TV with digital cable and pay-per-view movies
Large desk area with wireless high speed internet access (included with resort fee )
Lounge sofa and seating area
Alarm clock radio with enhanced stereo sound
Mirrored wardrobe with full iron and ironing board
Private safe with digital combination lock
Small refrigerator

Two bathrooms feature marble floor and counter tops, ample storage and hotel spa shampoo, conditioner and other amenities
Large whirlpool tub and separate full private shower
Hair dryers and lighted makeup mirrors
Individual climate control
Ice and vending machines on each floor
Deadbolt and security latch
Audio-visual smoke/fire alarm and sprinkler systems
24-hour room service and voice mail system

Always Free Valet Parking & Self Park Garage

High Speed (≤ 20 Mbps) WiFi Internet Access for Unlimited Devices

From Wikipedia, the free encyclopedia

^ Jump up to: a b c Classical Archives

^ Jump up to: a b Eric Blom ed., Grove’s Dictionary of Music and Musicians , 5th ed, 1954; Vol. 1, p. 822

^ IMSLP score Archived 2011-07-18 at the Wayback Machine

^ Full score by E.F.Kalmus & Co. Inc.

Prince Igor (1869–1887)
Mlada (1872)

The Petite Suite is a suite of seven piano pieces, written by Alexander Borodin , and acknowledged as his major work for the piano. [1] It was published in 1885, although some of the pieces had been written as far back as the late 1870s. [2] After Borodin's death, Alexander Glazunov orchestrated the work, and added his orchestration of another of Borodin's pieces as an eighth number.

The suite was dedicated to the Belgian Countess Louise de Mercy-Argenteau , who had been instrumental in having Borodin's First Symphony performed in Verviers and Liège . She had also arranged for French translations of some of his songs and excerpts from Prince Igor ; and had initiated the sponsorship of Camille Saint-Saëns and Louis-Albert Bourgault-Ducoudray for Borodin's membership of the French Society of Authors, Composers and Editors. [2]

Borodin's original title for the work was Petit Poème d'amour d'une jeune fille ("Little poems on the love of a young girl"), but by publication time the name Petite Suite had been applied to it. [1]

The original suite consisted of the following 7 movements, with descriptions supplied by the composer:

After Borodin's death in 1887, Alexander Glazunov orchestrated the suite, but incorporated into it another piano piece by Borodin, the Scherzo in A-flat major , and slightly rearranged the order of the pieces.

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Orchestration: 2 flutes (2nd = piccolo), 2 oboes (2nd = English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (cymbals, tambourine, and triangle), harp, and strings
First Los Angeles Philharmonic performance: November 9, 2002, Yasuo Shinazaki conducting
One third of the art songs Debussy composed were settings of the poems of Paul Verlaine (1844-1896). The poet’s influence on the composer was immense. A description of the poet’s style, one favoring insinuation over declaration, might even be applied to Debussy’s music. An accumulation of fleeting subtleties is more to the point than a grander revealed structure.
The first movements of Debussy’s Petite Suite of 1889 are drawn from two poems of Verlaine’s 1869 volume Fêtes galantes. The poems evoke the era of 18th-century aristocrats on country outings, the world depicted in the fanciful paintings of Fragonard and Watteau. Partiers assume the archetypal Commedia dell'Arte roles – there are countesses and rogues, priests and knights, all engaged in an atmosphere of frivolity.
In En bateau (Sailing), revelers in a boat have their minds on romantic trysts as they sail at dusk on a dark lake. Debussy’s music captures perfectly a mood of water-borne serenity and languor, opening with a kind of musical sigh that made the Petite Suite immediately popular with a wide audience.
But Verlaine’s poem has a wrinkle. There is a desire for romance, but no consummation. In fact, the poem ends with a wistfulness, despite a happy tone – promise unfulfilled. Acknowledging the challenge of capturing the words, here is the last stanza in the original and in three translations by C.F. MacIntyre, Norman Shapiro, and Martin Sorrell.
       Cependant la lune se lève       Et l’esquif en sa course brève       File gaîment sur l’eau qui rêve.
Meanwhile comes the moon and beams       as the sailboat gaily skims       briefly over waves of dreams.
Meanwhile, up comes the moon; the bark       Gaily sails round the little park       Over the water, dreaming, dark.
       Moon emerging;       Small boat on short journey,       Glide on water, dreaming.
And listen as Debussy’s music hints, just hints, at this dreaming and longing.
In the second movement, Cortège (Retinue), Debussy happily conveys Verlaine’s outward textual playfulness as a lady and her escort of a liveried monkey and pageboy retire upstairs. Nor does he miss the less-than-pure thoughts on the minds of her companions as their mistress proceeds unaware.
The final two movements, Menuet and Ballet, while not connected to specific poems, articulate broadly the nostalgia and the sparkle held in balance throughout the poems of Fêtes galantes.
In keeping with the theme of this program, it must be noted that the Petite Suite we hear now is not the piece Debussy composed at all, but is itself a kind of translation. Debussy’s suite was originally written for piano duet. This is the transcription for orchestra created by the composer’s colleague Henri Büsser.
Grant Hiroshima is the Executive Director of a private foundation and the former Director of Information Technology for the Los Angeles Philharmonic Association.

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