Georges Bizet - L' Arlésienne (The Girl from Arles), Suite No. 2

Piano transcription cover of Georges Bizet’s L’Arlésienne Suite No. 2

Front cover of the piano transcription of Bizet’s L’Arlésienne, reflecting the work’s popularity beyond the theatre.

The Second Suite from L’Arlésienne was compiled after Georges Bizet’s death by Ernest Guiraud, a close friend and collaborator of the composer. Drawing material from Bizet’s original incidental music for Alphonse Daudet’s play, Guiraud selected three movements and—somewhat unexpectedly—added a Menuet borrowed from Bizet’s rarely performed opera The Fair Maid of Perth (1866).

Although the suite lacks some of the stark dramatic tension and rural tragedy that permeate the original stage music, it remains a brilliantly crafted orchestral work, immensely popular in the concert repertoire for its color, vitality, and melodic charm.

Movements:

I. Pastorale

The opening Pastorale is orchestral scene-painting at its finest. A firm, almost relentless rhythmic motion evokes villagers returning from the fields under the oppressive midday sun. This earthy momentum is softened by moments of lyricism, most notably a delicate melodic figure reminiscent of birdsong, before the pastoral rhythm resumes.

II. Intermezzo

In the Intermezzo, the main theme is entrusted to the saxophone and horn, gently supported by the strings. The music is simple, tender, and deeply expressive. In the play, this passage precedes the moment when Frédéri resolves to forget the unattainable Arlésienne and accept the love of the woman who has long cared for him.

III. Minuet

The Menuet, borrowed from The Fair Maid of Perth, radiates elegance and grace. Its refined character has made it one of the most frequently performed movements, even though its poised charm feels somewhat detached from the passionate dramatic atmosphere of the surrounding music.

IV. Farandole

The famous Farandole is based on a traditional Provençal dance. Bizet intertwines it with the March of the Kings—a theme already heard in Suite No. 1—creating an exhilarating contrapuntal dialogue. The result is a burst of rhythmic energy and festive brilliance, providing a triumphant conclusion to the suite.

Comments

Robert Schumann - Träumerei (from Kinderszenen, Op. 15 No. 7)

The Woodman’s Child by Arthur Hughes reflects the dreamy and introspective atmosphere of Schumann’s Träumerei from Scenes from Childhood . For Robert Schumann , music was almost always a deeply personal expression of introspection, emotion, and poetic reflection—qualities that firmly establish him as one of the most significant composers of the Romantic era. The piano was Schumann’s first great love, and his works for the instrument have proved remarkably enduring over time. Schumann composed Kinderszenen ( Scenes from Childhood ), his best-known piano cycle, in 1838. It consists of thirteen “peculiarly small pieces,” as the composer himself described them, each bearing a title that evokes a distinct childhood impression or memory. Although all thirteen pieces share a sense of intimacy and charm, “Träumerei” ( Dreaming ) stands out as the most beloved and universally recognized. The piece is frequently included in solo piano anthologies and is often chosen by virtuoso perform...

Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

Handel - Concerto for Organ and Orchestra No.13 in F Major, HWV 295, "The Cuckoo and The Nahtingale"

In this Organ Concerto, Handel famously imitates birdsong, a rare and charming example of musical pictorialism in his instrumental output. The characteristic calls of the cuckoo and the nightingale give the work its enduring subtitle and contribute to its immediate appeal. Like Handel’s other organ concertos, Concerto No. 13 was composed to be performed during the intervals of his oratorios. It was first presented on April 4, 1739, at the Royal Theatre in London, just two days after its completion, alongside the oratorio Israel in Egypt . Many of these concertos—including this one—contain extensive ad libitum passages. During these sections, the organist was expected to improvise freely, using the written material merely as a framework. Handel himself was a superb organist and astonished audiences with the brilliance and inventiveness of his improvisations. Movements: - Larghetto The concerto opens with a brief orchestral introduction presenting a gentle, expressive theme. The orga...

MusiLLection

Search This Blog