Menuet from LArlésienne-Suite No. 2 and Entracte/Danse Bohémienne from Carmen 比才 小步舞曲 組曲 長笛加鋼琴 齊默爾曼版
根據普羅斯珀-梅裡美（Prosper Merimée）的短篇小說改編的歌劇《卡門》和阿爾方斯-杜德（Alphonse Daudet）的戲劇《阿爾蓮娜》（L'Arlésienne）的附帶音樂無疑是比才最重要的作品。對他來說，最能激發他想像力的是具有崇高地位的文學題材。這裡所選的三部作品都是在大框架內的完整作品，證明了傑出的管弦樂演奏家比才對長笛情有獨鍾。尤其是在歌劇中，充滿了最優美的、對音樂家來說最有價值的、但同時也是要求極高的長笛段落。在所有這三首作品中，長笛都與豎琴結合在一起，這是莫札特和其他作曲家之前創造的搭配。這三首樂曲的共同點是，在長笛與豎琴的早期獨奏二重奏中，逐漸發展出管弦樂三重奏，其中長笛繼續擔任最高聲部，但與其他聲部共同演奏。然而，在兩首降 E 大調樂曲中（這兩首樂曲還有其他一些共同之處），結尾都是在鋼琴聲中進行的，兩件獨奏樂器再次脫穎而出，而在《波希米亞舞曲》中則只有一個急促的漸強-加速。 比才將附帶音樂中的多首樂曲合併成一個組曲，並將其擴大為一個樂器版本，現在稱為《阿勒西安第一組曲》。 這首小步舞曲選自《阿勒西安第二組曲》，是在比才去世後由他的同窗好友吉羅（E Guiraud，也是《卡門》的朗誦曲作者，《卡門》的朗誦曲是後來加上去的）創作的。波希米亞舞曲》與典型的波希米亞風格幾乎沒有共同之處。從戲劇的角度來看，《波希米亞舞曲》是對大眾口味的一種讓步，因此它已名聲掃地，這並非毫無道理。然而，它在音樂上的絕對價值卻從未受到質疑。從長笛和豎琴的二重奏開始，到管弦樂隊的全奏，樂器配置不斷豐富，可以理解的是，在這個版本中，對樂器配置的描繪並不充分。- 非小步快板的切分部分長達 29 小節，沒有長笛的主奏部分。卡門》中的 "開場白"（Entr'acte）在第 2 幕勝利的終曲與第 3 幕開頭走私者場景的險惡氣氛之間形成了奇妙的對比"
作曲家: Bizet, Georges
樂器: flute and piano
出版社: Musikverlag Zimmermann
原文簡介:
The opera Carmen, after a short story by Prosper Merimée, and the incidental music to the play L'Arlésienne by Alphonse Daudet are without doubt the most important works of Bizet. It is significant for him that his Imagination was aroused most by literary subjects of high Standing. In spite of failure at their first Performances, both works became worldwidesuccesses continuing to our days.The three examples selected here, all of them pieces complete in themselves within the larger framework, are a testimony to the fact that the brilliant orchestrator Bizet had a special predilection for the flute. The opera, in particular, is full of the most beautiful and, for the musician, rewarding, but at the same time very demanding flute passages. In all three pieces, the flute appears in combination with the harp, a pairing created previously by Mozart and other composers. They also have in common that out of the early soloistic duo of flute and harp an orchestra tutti gradually develops in which the flute continues the top part, but shares it with other voices. However, while in the two E flat major pieces (which have some otherthings in common) the end occurs in a piano, with the two solo Instruments again standing out, there is a single furious crescendo-accelerando in the Danse Bohémienne.Bizet has combined a number of pieces from the incidental music in a suite' in an instrumentally enlarged Version which is now called L'Arlesienne Suite No 1 L'Arlesienne Suite No 2 from which the present Minuet is taken was compiled after Bizet's death by his fellow Student E Guiraud (who also wrote the recitatives for Carmen which were added later on). The Bohemian Dance has little in common with the typical Bohemian idiom. As a concession to public taste it has - from a dramaturgical point of view - fallen into disrepute, not entirely without justification. Its absolute musical worth, however, remains unchallenged. TheInstrumentation which grows constantly fuller, beginning with the duo of flute and harp up to the full orchestra tutti, can, understandably, be suggested in this version only inadequately. - The cut in the Allegro non troppo bndges 29 measures without the leading flute part. It can be skipped without pause, in order to give the music continuity.The Entr'acte from Carmen forms the marvelous contrast between the preceding triumphal finale of Act 2 and the sinister mood of the scene of the smugglers in the beginning of Act 3.