Georges Bizet, like Schumann before him and Debussy in years to come, must have held a special place in his heart for children, for in 1871 he composed a suite of piano miniatures, titled Jeux d’enfants, depicting their joys and activities. Unlike Schumann’s Kinderszenen and Debussy’s Children’s Corner, however, Bizet composed his suite for two pianos. Totaling twelve pieces in all, each ranges in duration from a minute to two minutes, as if fully embracing in expression the childlike simplicity that is its subject matter. Bizet also arranged five selections from Jeux d’enfants for orchestra under the title Petite suite. In 1955, famed choreographer George Balanchine choreographed the twelve pieces of Bizet’s suite as a ballet under the same title. Again in 1975, he selected four of its movements for his ballet The Steadfast Tin Soldier.
The first of the suite, “L’Escarpolette” (“The Swing”) begins in a lilting meter with up-and-down arpeggios. In G major, the chromatic harmonies that appear throughout and the weightless melody that sits atop them deftly capture the sensation of flying, and one can regain in this little piece that unrestrained and soaring ease of being on a swing. The next, “La Toupie” (“The Top”), is a sprightly piece in A minor. Beginning with a sharp fortissimo chord, the quick snap that sets a top in motion, it settles into a spinning figure amid punctuated chords and eventually comes to a stop on a sustained diminished harmony. A distinct contrast from the preceding piece, “La Poupée” (“The Doll”) is a gentle, relaxing berceuse, capturing the comfort found in such a faithful companion. Returning to the whirling arpeggios of “L’Escarpolette,” “Le Chevaux de bois” (“Wooden Horses”), is an energetic scherzo with a galloping melodic line. Fifth in order, “Le Volant” (“The Shuttlecock”), depicts the back-and-forth travels of a shuttlecock in a game of badminton with quickly rising scale passages terminated by a lazy descending figure. Next, “Trompette et Tambour” (“Trumpets and Drums”) captures the proud march of toy soldiers. Starting the second half of the suite, “Les Bulles de Savon” (“Soap Bubbles”), with its skipping melodic figure depicts soap bubbles floating through the air and suddenly popping. “Les quatre coins” (“The Four Corners”) describes a children’s game and conveys their frantic amusement as they run to and fro between the playing field’s corners. Depicting yet more children’s game, “Colin-Maillard” follows the blindfolded child in a game of Blind Man’s Bluff as he tries to tag his or her playmates, while “Saute-Mouton” is a game of Leapfrog. Next to last is “Petit mari, petite femme” (“Little Husband, Little Wife”), a charming duet describing two children playing house. The piece’s melody is heartfelt and tender, with touch of an emotionalism that one would expect to find in one of Bizet’s operas, but not without being separated entirely from the playful nature that has permeated the entire suite. Finally, the last piece “Le Bal” (“The Ball”), full of the vivacious energy of children, forms an exhilarating conclusion to the suite.Joseph DuBose
Georges Bizet's Jeux d'enfants, composed in 1871, are a set of twelve constantly fascinating miniatures penciling in childhood scenes and games, like little holiday snapshots taken to recall those charming moments when children are still fighting off the solemn, anxious gravity of adulthood. There is "the verdant paradise of childish affections," in which the children mimic their parents ("Little Husband, Little Wife"). There is the charm of swaying in dreamy arpeggios ("The Swing") or tenderly bringing a toy to life ("The Doll"). There are lively games showering delight like rain ("Merry-Go-Round"; "Leapfrog"). There in fact is Bizet casting a tender glance in these "Children's Games" over the lost world which vanishes as swiftly as the "Soap Bubbles" which children blow without realizing that they are the very image of our lives.
Classical Music | Piano Music
Georges Bizet
Jeux d’enfants (Children’s Games) Play
Recorded on 05/24/2005, uploaded on 01/15/2009
Musician's or Publisher's Notes
Georges Bizet, like Schumann before him and Debussy in years to come, must have held a special place in his heart for children, for in 1871 he composed a suite of piano miniatures, titled Jeux d’enfants, depicting their joys and activities. Unlike Schumann’s Kinderszenen and Debussy’s Children’s Corner, however, Bizet composed his suite for two pianos. Totaling twelve pieces in all, each ranges in duration from a minute to two minutes, as if fully embracing in expression the childlike simplicity that is its subject matter. Bizet also arranged five selections from Jeux d’enfants for orchestra under the title Petite suite. In 1955, famed choreographer George Balanchine choreographed the twelve pieces of Bizet’s suite as a ballet under the same title. Again in 1975, he selected four of its movements for his ballet The Steadfast Tin Soldier.
The first of the suite, “L’Escarpolette” (“The Swing”) begins in a lilting meter with up-and-down arpeggios. In G major, the chromatic harmonies that appear throughout and the weightless melody that sits atop them deftly capture the sensation of flying, and one can regain in this little piece that unrestrained and soaring ease of being on a swing. The next, “La Toupie” (“The Top”), is a sprightly piece in A minor. Beginning with a sharp fortissimo chord, the quick snap that sets a top in motion, it settles into a spinning figure amid punctuated chords and eventually comes to a stop on a sustained diminished harmony. A distinct contrast from the preceding piece, “La Poupée” (“The Doll”) is a gentle, relaxing berceuse, capturing the comfort found in such a faithful companion. Returning to the whirling arpeggios of “L’Escarpolette,” “Le Chevaux de bois” (“Wooden Horses”), is an energetic scherzo with a galloping melodic line. Fifth in order, “Le Volant” (“The Shuttlecock”), depicts the back-and-forth travels of a shuttlecock in a game of badminton with quickly rising scale passages terminated by a lazy descending figure. Next, “Trompette et Tambour” (“Trumpets and Drums”) captures the proud march of toy soldiers. Starting the second half of the suite, “Les Bulles de Savon” (“Soap Bubbles”), with its skipping melodic figure depicts soap bubbles floating through the air and suddenly popping. “Les quatre coins” (“The Four Corners”) describes a children’s game and conveys their frantic amusement as they run to and fro between the playing field’s corners. Depicting yet more children’s game, “Colin-Maillard” follows the blindfolded child in a game of Blind Man’s Bluff as he tries to tag his or her playmates, while “Saute-Mouton” is a game of Leapfrog. Next to last is “Petit mari, petite femme” (“Little Husband, Little Wife”), a charming duet describing two children playing house. The piece’s melody is heartfelt and tender, with touch of an emotionalism that one would expect to find in one of Bizet’s operas, but not without being separated entirely from the playful nature that has permeated the entire suite. Finally, the last piece “Le Bal” (“The Ball”), full of the vivacious energy of children, forms an exhilarating conclusion to the suite. Joseph DuBose
_____________________________________________________________
Jeux d'enfants (Children's Games) Georges Bizet
Georges Bizet's Jeux d'enfants, composed in 1871, are a set of twelve constantly fascinating miniatures penciling in childhood scenes and games, like little holiday snapshots taken to recall those charming moments when children are still fighting off the solemn, anxious gravity of adulthood. There is "the verdant paradise of childish affections," in which the children mimic their parents ("Little Husband, Little Wife"). There is the charm of swaying in dreamy arpeggios ("The Swing") or tenderly bringing a toy to life ("The Doll"). There are lively games showering delight like rain ("Merry-Go-Round"; "Leapfrog"). There in fact is Bizet casting a tender glance in these "Children's Games" over the lost world which vanishes as swiftly as the "Soap Bubbles" which children blow without realizing that they are the very image of our lives.
Alain Duault, Translated by Robert Jordan, 1985
More music by Georges Bizet
Duet Au fond du temple saint, from Les pêcheurs de perles
Carmen Fantasy (arr. Francois Borne)
Final scene, from Carmen (in Russian)
Carmen
Carmen Variations (White House Edition)
Duet from The Pearlfishers
je crois entendre encore
Oeuvre ton coeur
Micaela's Aria (Carmen)
Micaela's Aria (Carmen - Rehearsal)
Performances by same musician(s)
Fantasy in f minor, D. 940
Classical Music for the Internet Era™
Courtesy of International Music Foundation.