Ballet Egyptien, Op. 12: Suite No. 1 Cover Image

Ballet Egyptien, Op. 12: Suite No. 1: Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

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Ballet Egyptien, Op. 12: Suite No. 1 Cover Image
Ballet Egyptien, Op. 12: Suite No. 1: Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

Ballet Egyptien, Op. 12: Suite No. 1: Full Orchestra, Ensemble Works, Conductor Score (EDWIN F KALMUS)

By Alexandre Luigini

Item: 36-A166101
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Description
Alexandre Luigini (1850-1906) composed Ballet égyptien, Op. 12, in 1875 during the height of Europe's fascination with exotic and Oriental subjects, a trend fueled in part by archaeological discoveries and the enduring popularity of ancient Egypt in nineteenth-century art and literature. The ballet was dedicated to the noted French conductor Jules Pasdeloup and received its premiere in Lyon in 1875, where Luigini was closely associated with the city's musical life. Although conceived as a full eight-movement ballet, the work achieved far greater fame through the concert suites extracted from it, particularly Suite No. 1, whose graceful melodies, colorful orchestration, and evocative dance rhythms made it a favorite of orchestras and audiences alike. The score gained additional prominence when music from the ballet was incorporated into a Lyon performance of Verdi's Aida in 1886, helping to spread its popularity throughout Europe. Today, Ballet égyptien, Op. 12: Suite No. 1 (including Nos. 1, 2, 3, & 8) remains Luigini's best-known work and the only composition of his to maintain a secure place in the orchestral repertoire, appearing regularly on recordings and light-classical concert programs as a charming example of French Romantic exoticism. Instrumentation: 3(3rd dPicc).2.2.2: 4.0+2(Crnt).3.1: Timp.Perc(4-5): Hp(2): Str (9.8.7.6.5 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
ISBN10: 8-904201-73-X
ISBN13: 979-8-904201-73-9
UPC: 604634091917
SKU: 36-A166101
Instrumentation: 3(3rd dPicc).2.2.2: 4.0+2(Crnt).3.1: Timp.Perc(4-5): Hp(2): Str (9.8.7.6.5 in set)

More about this title

About the Composer: Alexandre Luigini

Alexandre Luigini (1850-1906) was a French conductor and composer whose professional life centered on Lyon, where he served as director of the Grand Théâtre and shaped the city's musical culture during the latter nineteenth century. Though he composed across multiple genres, his lasting legacy rests almost entirely on Ballet égyptien, a work that captured the era's romantic fascination with distant lands and ancient civilizations through accessible, brilliantly orchestrated melodies.

Why we love this

This suite delivers immediate musical gratification without sacrificing orchestral craft. The writing sits comfortably in the hands of each section while maintaining enough color and rhythmic interest to keep rehearsals engaging; audiences consistently respond to these graceful, dance-inflected melodies with genuine warmth.

What to expect

Exotic without pretension, rhythmically buoyant without being frivolous. The work evokes a romanticized vision of ancient Egypt filtered through a French Romantic sensibility: graceful, colored in warm orchestral tones, and always musical first. Dance animates every section, whether in a slow processional or quicker, more animated rhythms.

Who it's for

Conductors seeking repertoire that satisfies both orchestra and audience in the concert band or orchestral setting, particularly those programming light-classical concerts or seeking a bridge between standard Classical repertoire and more contemporary works. This suite works equally well for experienced student orchestras looking for something elegant beyond the most familiar favorites.

How to get the most out of it

  • Balance the two harps carefully in the ensemble so they illuminate without overwhelming the strings; they function as sonic texture as much as harmonic anchor.
  • Shape the melodies as you would a vocal line, observing the natural phrase arcs rather than treating them as mere sequences of notes.
  • Let the percussion and timpani drive the dance rhythms without pushing tempo; precision matters more than volume here.
  • Give the cornets space to sing in their moments; they add character to the orchestration that shouldn't hide behind the brass section.

How to use it

Program this early in a concert to establish a lighter mood and showcase orchestral color, or pair it with other French Romantic works to build a thematic program. Its brevity and appeal make it excellent for opening community concerts or family-friendly events where broad accessibility matters.

Skills your students will build

  • Baroque phrasing and melodic shaping in a Romantic context
  • Balancing harp accompaniment within full orchestra
  • Coordinating rhythmic precision in varied dance meters
  • Orchestral color mixing, particularly brass and string interaction
  • Sustaining musical line across sectional accompaniment patterns

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