While the Farandole is likely the most popular movement from either L’Arlessiene Suite, the Minuet is definitely the sweetest. L’Arlessiene was a popular story in France, originally written by Alphones Daudet in 1869. The author transformed his story into a play and, upon request, Georges Bizet wrote incidental music to be performed between scenes and under dialogue. Due to the size of theatre orchestras du jour, Bizet’s original orchestration called for fewer musicians—a total of ten wind, brass, and percussionists in addition to a very limited string section. The staged play with Bizet’s music was received poorly by French audiences, though Bizet’s contribution was not considered to be the problem. In 1872, the most popular numbers were extracted from the larger work and were reorchestrated by Ernest Guiraud. Guiraud’s orchestration utilizes a full symphony orchestra, lending more depth of color and texture to Bizet’s original composition. 

The minuet opens with a saccharine harp and flute duet. Pizzicati strings enter to gently punctuate the serenade, and soon the flute melody transforms and evolves to include a single oboe and French horn. Abruptly, a pompous melody from the rest of the orchestra interrupts the flute’s song. The strings are quelled when the flute nimbly retakes the melody, and the Minuet dissipates just as it began. 

The Farandole serves as a bombastic close to the second suite. A stately theme is presented from the very first beat, though this theme halts at the onset of a relentless drum. The beat emanates from the back of the orchestra and awakens the Farandole theme, presented—lively and quick!—by the flutes. The Farandole is a fast dance, similar to a jig, native to Provence, France. Its roots harken back as far, perhaps, as Greek antiquity. Historically, the dancers would be motivated by a line of rustic drummers with small reed pipes, galoubets. These reed pipes were three-holed instruments played with one hand, allowing the nondominant hand to simultaneously strike a drum. Orchestral drums and flutes certainly abound in Bizet’s Farandole, which closes in percussive bombast.