Menuet from LArlésienne-Suite No. 2 and Entracte/Danse Bohémienne from Carmen 比才 小步舞曲 组曲 长笛加钢琴 齐默尔曼版
根据普罗斯珀-梅里美（Prosper Merimée）的短篇小说改编的歌剧《卡门》和阿尔方斯-杜德（Alphonse Daudet）的戏剧《阿尔莲娜》（L'Arlésienne）的附带音乐无疑是比才最重要的作品。对他来说，最能激发他想象力的是具有崇高地位的文学题材。这里所选的三部作品都是在大框架内的完整作品，证明了杰出的管弦乐演奏家比才对长笛情有独钟。尤其是在歌剧中，充满了最优美的、对音乐家来说最有价值的、但同时也是要求极高的长笛段落。在所有这三首作品中，长笛都与竖琴结合在一起，这是莫扎特和其他作曲家之前创造的搭配。这三首乐曲的共同点是，在长笛与竖琴的早期独奏二重奏中，逐渐发展出管弦乐三重奏，其中长笛继续担任最高声部，但与其他声部共同演奏。然而，在两首降 E 大调乐曲中（这两首乐曲还有其他一些共同之处），结尾都是在钢琴声中进行的，两件独奏乐器再次脱颖而出，而在《波希米亚舞曲》中则只有一个急促的渐强-加速。 比才将附带音乐中的多首乐曲合并成一个组曲，并将其扩大为一个乐器版本，现在称为《阿勒西安第一组曲》。 这首小步舞曲选自《阿勒西安第二组曲》，是在比才去世后由他的同窗好友吉罗（E Guiraud，也是《卡门》的朗诵曲作者，《卡门》的朗诵曲是后来加上去的）创作的。波希米亚舞曲》与典型的波希米亚风格几乎没有共同之处。从戏剧的角度来看，《波希米亚舞曲》是对大众口味的一种让步，因此它已名声扫地，这并非毫无道理。然而，它在音乐上的绝对价值却从未受到质疑。从长笛和竖琴的二重奏开始，到管弦乐队的全奏，乐器配置不断丰富，可以理解的是，在这个版本中，对乐器配置的描绘并不充分。- 非小步快板的切分部分长达 29 小节，没有长笛的主奏部分。卡门》中的 "开场白"（Entr'acte）在第 2 幕胜利的终曲与第 3 幕开头走私者场景的险恶气氛之间形成了奇妙的对比"
作曲家: Bizet, Georges
乐器: flute and piano
出版社: Musikverlag Zimmermann
原文简介:
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.