Talk:L'Arlésienne (Bizet)

Farandole

The article says:

The finale, the farandole, incorporates the theme of the March of the Kings once again. However, it does so only in the suite. In the original play, and in the recordings of the complete incidental music, the farandole is an entirely separate piece from the march.

Actually, the farandole is briefly combined with the march in the original score, though only after it has been played on its own. Guiraud's piece is freely based on three numbers from the incidental music.

Kostaki mou 02:32, 10 February 2007 (UTC)

Many percussionists mistakenly assume that "tambourin", as often written in the score, means tambourine [tambour de basque]. Tambourin, however, is a French word and refers to the class of drums known as Tabors. The Farandole features flute and tambourin as a reference to the pipe and tabor as played in folk music of Provence by a tambourinaire - whereby the left hand plays the pipe or galoubet and the right hand the tabor . See Harms Historical Percussion for the cross reference to the original folk tune quoted by Bizet in the Farandole http://www.harmsperc.com/ttabors.htm

Pauken 19 September 2010 —Preceding undated comment added 06:29, 19 September 2010 (UTC).

Guiraud's inclusion of the minuet from The Fair Maid of Perth

Do we know what led Guiraud to look elsewhere for this movement of the Suite No. 2? Was there not enough good material in the L'Arlésienne incidental music to work with? Why couldn't he have confined himself to L'Arlésienne, and if necessary, had a shorter suite? Is there another case where a purported "Suite from X" actually contains music from Y as well as from X? -- JackofOz (talk) 01:46, 15 November 2009 (UTC)

I know I've come across one or two, but I can't think of them off hand (though there's the odd, kind of reverse, case of Faure's Masques et Bergamasques where the suite is the complete contents of the original music Faure wrote -- the rest is other music by him). But yeah. I'd like to know the answer to the question too (though admittedly, owning a recording of the complete L'Arlesienne I can't think of much missing that could have been added as a standalone movement). Huh, now I'm obsessed with finding one. ♫ Melodia Chaconne ♫ (talk) 03:18, 15 November 2009 (UTC)

Orchestration

This section isn't clearly labeled: there is the original band, and then there are the suites for a larger orchestra. The latter at least call in the farandole for tambourin (tambourin). The unambiguous term for tambourine would be tambour de basque. Sparafucil (talk) 20:05, 19 December 2015 (UTC)

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is this not sampled in the DJ Static song 'Mr. Fantastic'? could be a possible addition to notable uses — Preceding unsigned comment added by 195.204.101.52 (talk) 11:13, 30 August 2018 (UTC)

Ties Played Incorrectly

Most of the piano renditions, including the "March of Kings," don't play tied notes properly. They seem to treat tied notes as slurs instead. Lonely Composer (talk) 02:11, 28 September 2020 (UTC)

menuet or minuet

Are they the same? — Preceding unsigned comment added by 126.149.189.42 (talk) 15:12, 14 November 2020 (UTC)

Yes. --Gnom (talk) 10:14, 15 November 2020 (UTC)

Notable misuses?

"The Trans-Siberian Orchestra uses the theme of the Farandole for their song "The March of the Kings/Hark the Herald Angel"."

Come again? The Trans-Siberian Orchestra did not write either of these tunes. The March dates from 13th century provencial France, and Hark the Herald Angels Sing dates from the early 18th century. Bizet drew on the existing folk melody for his theme, and the Trans-Siberian Orchestra drew their arrangement from the (long) pre-existing Christmas songs, not from Bizet's borrowing.

As there is no citation supporting the claim that TSO borrowed their theme from Bizet, I've removed this line from teh article. — Preceding unsigned comment added by 74.95.43.253 (talk) 03:17, 21 January 2021 (UTC)

Recordings of Suites

Why are only two listed in the present version of the article? There are many. (As I myself had noted in a previous version, Michel Plasson, who recorded the complete score, also recorded both suites.) Kostaki mou (talk) 04:25, 26 September 2022 (UTC)