3 Comments

  1. … 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.

  2. 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?

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