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

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

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

By Alexandre Luigini

Item: 36-A166102
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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
UPC: 604634092075
SKU: 36-A166102
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 was a French conductor and composer whose career centered on the musical life of Lyon, where he served as director of the Grand-Théâtre and founded an important concert society. Though he composed in multiple genres including operas and symphonic works, he is remembered almost exclusively for Ballet égyptien, a single composition that captured the nineteenth-century European imagination and outlasted his other efforts by decades.

Luigini's training and professional standing in Lyon positioned him perfectly to create a work that would appeal to both opera houses and concert orchestras. His gift lay not in profound harmonic innovation but in the craft of orchestration and melody, qualities that made Ballet égyptien instantly accessible to performers and audiences across Europe.

Why we love this

This suite delivers immediate impact without requiring a specialized ensemble. The orchestration sits comfortably for school and community orchestras while offering enough color and dance energy to hold an audience's attention completely. Luigini writes melodies that singers-turned-instrumentalists can actually shape, and the work's four movements give you legitimate concert weight without the rehearsal demands of heavier romantic fare.

What to expect

A sunlit promenade through an imagined Orient rendered entirely through French Romantic sensibility. The score glints with harp color and percussion detail while string melodies unfold with natural elegance. You hear adventure and exotic atmosphere in the orchestration, but the musical voice is fundamentally lyrical and graceful rather than dramatic or imposing.

Who it's for

Orchestras at the intermediate to advanced high school level and community orchestras looking for concert repertoire that is both musically rewarding and programmatically flexible. The work suits conductors who want to program something from the French tradition that doesn't require specialized soloists or unusual instrumentation.

How to get the most out of it

  • Balance the two harps carefully in passages where they carry harmonic foundation; they should support rather than dominate the string writing.
  • The percussion section needs independence and clarity. Timpani lines are conversational, not merely supportive, so mark entrances and dynamics in ensemble parts.
  • Shape the opening melody with a long line. This piece thrives on graceful phrasing, which means resisting the urge to over-articulate and letting the first violins breathe with the harmonic motion.
  • Treat the cornet parts (when they appear) as character voices. They add local color without replacing the horn writing, so keep them distinct but never strident.

How to use it

Place this as an opener or early concert piece where it can establish a lighter, more buoyant mood before heavier works. It also pairs beautifully in a thematic program exploring European exoticism, or as a stylistic bridge between Classical suite writing and later twentieth-century orchestral works. The suite's moderate length makes it ideal for student concert films, community outdoor performances, or recordings exploring the light classical repertoire.

Skills your students will build

  • Shaping long melodic lines with attention to phrase structure and harmonic arrival points
  • Balancing multiple textural layers (strings, harps, woodwinds, percussion) without reducing any to background accompaniment
  • Performing dance rhythms with precision while maintaining musical flow and elasticity
  • Reading divided string parts and maintaining ensemble cohesion across multiple instrumental choirs
  • Responding to sustained crescendi and dynamic shaping that supports emotional arc rather than mere volume

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