BIZET, GEORGES. (1838-1875). French composer whose masterpiece, Carmen, is arguably one of the most popular operas ever written. ALS. (“Georges Bizet”). 1½pp. Small 8vo. N.p., [circa September 25, 1872]. To clarinetist PHILIPPE PARÈS. In French with translation.
“As a result of a new combination adopted for No. 7 of the Arlésienne, the two flutists will have to play the large flute and the piccolo – Would you be kind enough, if you have the opportunity to see Monsieur Elie, to ask him to bring his little flute?…. I would like to take this opportunity to thank you for your help and the zeal you have brought to the composition of our magnificent harmony. The execution exceeds all my expectations, and I will not forget that it is to you that I am largely indebted for this excellent result…”
Bizet’s compositional abilities were recognized early while studying at the Paris Conservatory, when, in 1857, he won both the Offenbach Prize and the Prix de Rome with his cantata Clovis et Clotilde. After two years in Rome, Bizet returned to Paris where he struggled as a composer, taking on pupils and working as an accompanist and arranger. During this time, he submitted numerous works to impresario Léon Carvalho, the new director of the Théâtre du Vaudeville, who produced Bizet’s Les pêcheurs de perles in 1863 and La jolie fille de Perth in 1867.
In 1872, Carvalho commissioned Bizet to compose music for L’Arlésienne, a play based on Alphonse Daudet’s short story. Bizet drew inspiration from the traditional music of Provence, and of the 27 pieces, which include short incidental music, seven are longer and include № 7: Èr dóu Guet, an “air provençal” from the second act of the five-act play. The September 30, 1872 premiere of L’Arlésienne at the Théâtre du Vaudeville was rushed to the stage due to the cancellation of another play banned by French censors. The original orchestration, the subject of our letter, was light in part due to budget constraints and included a single clarinetist and two flautists, one of which would also play piccolo, the “little flute” of our letter. The play was poorly received and closed after only a few weeks but Bizet’s orchestral arrangement of four movements – L’Arlésienne Suite No. 1 – greatly surpassed the play in popularity. After his death his publisher, Antoine de Choudens, commissioned the posthumous L’Arlésienne Suite No. 2. Our letter refers to the beautiful “Pastorale” which opens the second act of the play and the Suite No. 2.
Parès was a clarinetist in the Garde Républicaine Band. His son Gabriel Parès was a noted cornetist who studied under Léo Delibes. Gabriel’s son and Philippe’s grandson and namesake Philippe Parès (1901-1979) was a composer of operettas and film scores from the 1920s-1950s.
Penned on the first and third leaves of a folded sheet. Folded with normal wear. In very good condition.
