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

Ballet Egyptien, Op. 12: Suite No. 1: Concert Band Condensed Score

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Ballet Egyptien, Op. 12: Suite No. 1 Cover Image
Ballet Egyptien, Op. 12: Suite No. 1: Concert Band Condensed Score

Ballet Egyptien, Op. 12: Suite No. 1: Concert Band Condensed Score

By Alexandre Luigini, ed./arr. by Albert Morelli

Item: 36-B318798
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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. Reprint of the transcription for military band by Albert Morelli.

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Additional Details
Series: Master Band Series - LudwigMasters
ISBN10: 8-904201-74-8
ISBN13: 979-8-904201-74-6
UPC: 604634094352
SKU: 36-B318798
Instrumentation: Concert Band

More about this title

About the Composer: Alexandre Luigini

Alexandre Luigini (1850-1906) was a French conductor and composer whose career centered on the Lyon Opera House, where he served as conductor and artistic director. He composed primarily for the stage, producing ballets and operas that reflected the Romantic era's appetite for grand theatrical works with vivid orchestration. Though he wrote extensively during his lifetime, only Ballet égyptien has endured in the concert repertoire, a testament to the immediate appeal of his melodic gifts and orchestral color.

Why we love this

Morelli's military band transcription captures the ballet's essential charm without sacrificing any of its lyrical character. The piece sits comfortably in the intermediate range while delivering the orchestral sophistication that audiences expect from a legitimate concert work, making it equally valuable as a teaching tool and a public performance piece.

What to expect

Graceful, warmly exotic, and thoroughly French. The score evokes a theatrical world of stylized elegance rather than authentic archaeology, all flowing melody and delicate rhythmic gesture. There is an inherent theatricality here that invites the ensemble to play with characterization and color.

Who it's for

Intermediate to advanced concert bands seeking repertoire with genuine artistic substance and accessible technical demands. Directors programming light-classical or family concert series will find this work an excellent vehicle for demonstrating that "accessible" does not mean "simplistic."

How to get the most out of it

  • Balance the woodwind soloists carefully in the first and second movements; their exposed melodies carry the emotional weight, and they need to sing through, not merely play the notes.
  • Treat the rhythmic sections as dance accompaniment rather than mere percussion parts. The authenticity of the Egyptian-inspired rhythmic figures depends on precise, articulate execution from the battery.
  • Shape each melodic phrase with gradual dynamic growth and gentle release. Luigini's melodies benefit from the slight rubato and breathing room that conductors often reserve for art songs.

How to use it

Pair this with other European Romantic-era light-classical works to explore the nineteenth-century concert tradition, or use it as the centerpiece of a program exploring dance and music. It also serves as an excellent choice for spring concerts, where its brightness and charm align well with lighter programming.

Skills your students will build

  • Balancing exposed solo passages with ensemble support
  • Maintaining consistent rhythmic precision in dance-like accompaniment figures
  • Shaping lyrical phrases with appropriate rubato and phrasing
  • Understanding orchestration principles through study of Morelli's transcription choices
  • Performing with character and style appropriate to light-classical repertoire

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