Bizet used it but it’s actually an old Christmas tune: ‘La marche des rois’.
… and here, in the Farandole, it is set against a separate theme, a lighter dance tune. The polyphony of this is the main example I was alluding to when in our earlier thread I claimed that Bizet was fond of, and good at, at bit of polyphony — when looking mainly at the sequence in Act II of Carmen, where her castanet song & dance gets combined and contrasted with the bugle calls that José understands are ordering him back to barracks.
I had never heard, or heard of, this “Love Sculpture” before. Here is their take on the Khachaturian “Sabre Dance”.
I like the attempt, but have a complaint against the arrangement, which has something in common with a lot of contemporary mixing. Why foreground the ostinato rhythm track, and bury away the melody line barely discernible in the muted background?
Bizet used it but it’s actually an old Christmas tune: ‘La marche des rois’.
… and here, in the Farandole, it is set against a separate theme, a lighter dance tune. The polyphony of this is the main example I was alluding to when in our earlier thread I claimed that Bizet was fond of, and good at, at bit of polyphony — when looking mainly at the sequence in Act II of Carmen, where her castanet song & dance gets combined and contrasted with the bugle calls that José understands are ordering him back to barracks.
I had never heard, or heard of, this “Love Sculpture” before. Here is their take on the Khachaturian “Sabre Dance”.
I like the attempt, but have a complaint against the arrangement, which has something in common with a lot of contemporary mixing. Why foreground the ostinato rhythm track, and bury away the melody line barely discernible in the muted background?