A scratching l’Arlesienne.

George Bizet’s musical suite for Alphonse Daudet’s drama «The Arlesian».

The usual drama of genitals disappointed in the object of coveted attraction.

A certain young man, Fryderi, who is in love with a girl from the city of Arles, shortly before his wedding with her discovers “her infidelity” and, unable to contain the total distress of his reproductive organ, jumps from a rather high balcony. Which, by virtue of Newton’s Law of Universal Attraction, as well as Newton’s First Law of Inertia, leads to a “lethal outcome”.

That’s the whole mediocre filling of the “rubbish”.

Bizet, a very talented composer who died at the age of 36 from a heart attack, wrote a beautiful musical suite for this drama.

I really like it, however, listening to it, I always feel a kind of “scratching” in my brain:

Something doesn’t match up with something!

what?

Music with drama content!

The drama, as it was said at the beginning of this note, is an ordinary story of genitals that did not find an object for their use, and therefore committed suicide. The usual story of young suicides. The impossibility of fulfilling the requirements of the Basic Law of Life – be fruitful, multiply!

But Bizet’s MUSIC is about something else entirely!!!

Imagine that Tchaikovsky’s music for the libretto “Eugene Onegin” was adapted for the “opera” “Caesar’s Notes on the Gali War”.

RIDICULOUS!

(By the way, a funny theme for the game of thought is to substitute music for one literary theme to a completely different one! For example, Borodin’s “Prince Igor” for the “opera” Anna Karenina. Then the “Polovtsian dances” will, apparently, depict either the stormy love scenes of Anna and Vronsky or horse racing at the hippodrome …)

Tchaikovsky’s music for the opera “Eugene Onegin” clearly DOES NOT CORRESPOND to the content of the “Notes”, no matter what librettos were written for this occasion!

Gioachino Rossini, by the way, took a completely unrelated musical theme for the overture to his most famous opera, The Barber of Seville. And this hack went by him, seemingly unnoticed.

But to write an entire musical suite, completely foreign in melody to the content of Daudet’s drama, is too much.

Those who wish can listen to Bizet’s talented music and try to find at least something “consistent” with Daudet’s run-of-the-mill piece. Except for the melody from The Perth Belle, another Bizet opera, which he borrowed from himself and inserted into this suite.

In Bizet’s music, there is a dance melody, and heroic military marches, and the heavy, majestic and very beautiful tread of “fate”, but the cries of disappointment of those upset to the extreme by the infidelity of the sweet genitals, thank God, are not heard!

Which caused the aforementioned scratching in my brain.

Bizet’s beautiful piece can be adapted to Caesar’s Notes rather than Tchaikovsky’s opera.

And fortunately, she has nothing to do with the “stupid” Doda!

24 X 2024