Bizet: Orchestral Bits 'n Bobs
Variations Chromatiques
While I have heard the composer's own orchestrations of 6 movements from Bizet's four-handed piano suite Jeux d'Enfants (of 12), I was most interested in hearing the other six movements in orchestral garb as well, later orchestrated by Roy Douglas and Herschel Kay.
Jeux d'Enfants is nothing but filigree lightness, and the addition of six more portions of the work doesn't change my vantage point on the music. Each of the movements are fairly short too, so don't go in expecting a meal; instead, these are sweet and airy amuse-bouche of childhood musical delights.
The idea behind Variations Chromatiques is rather novel. Bizet builds the whole 14-minute piece around an ascending chromatic scale across an octave, with the second half using a descending chromatic scale to conclude the main idea. Thus, instead of a 'theme' per se, these chromatic scales act as a ground bass along each of the variations, very often found in the bass line, but not always. In addition, Bizet often sets a pedal point across many of the variations as well, adding tension to those portions.
The first half of the theme and variations is set in a minor key, forcing Bizet to adopt curious modes to fit the passing harmonies. The second half is in Major, changing the mood to parlor room sweetness, although Bizet attempts to inject a little bluster into the finale. I should probably also mention that Bizet's Variations Chromatiques was originally a solo piano work, orchestrated by Austrian conductor Felix Weingartner.
I know nothing of the San Francisco Ballet Orchestra, nor their director Martin West. The team certainly add the right touch to these works, with the Jeux d'Enfants light as a zephyr and Variations Chromatiques a tad meatier.
La Jolie Fille de Perth: Suite
The concert suite taken from Bizet's opera La Jolie Fille de Perth includes four movements - Prélude, Sérénade, Marche, and Danse Bohémienne. As could be imagined, the four segments of the opera provide a variety of orchestral settings, where I am reminded of the music from the likes of Offenbach. Perky, colorful, but hardly memorable, I am glad to have heard them.
The Melbourne Symphony Orchestra receives more of its acoustic than the San Francisco recording above, which allowed them some noticeable muscle and Romanticism compared to Martin West in his lighter fare. John Lanchbery conducts the Australian ensemble.
The Pearl Fishers: Prelude
Another extract from a Bizet opera, the orchestral Prelude taken from the opening of The Pearl Fishers is quite brief. At only a minute fifty-five seconds, Georges Prêtre comes in the quickest of recordings I know, some of which extend to two or three minutes in length (!).
And yet, I do not sense any undue hurry. Prêtre brings out the exaggerated elements well, particularly the incessant viola curlicue which lasts throughout the entire piece, underlining a beautiful melodic line. I don't know the opera, but I am willing to bet the French conductor leads an exciting and worthwhile ride, at least if the first minute is any measure!
The EMI sonics from 1977 are quite impressive too.
Bits 'n Bobs
Jeux d'Enfants (23.44)
Variations Chromatiques (14.07)
San Francisco Ballet Orchestra
Martin West, conductor
Reference Recordings; 1995
La Jolie Fille de Perth: Suite
Melbourne Symphony Orchestra
John Lanchbery, conductor
ABC; 1999
(12.44)
The Pearl Fishers: Prelude
Paris Opera Orchestra
Georges Prêtre, conductor
EMI / CFP; 1990 / 2006
(1:55)
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