Bon Di: 2-Part Choral Octavo

Name: Bon Di: 2-Part Choral Octavo
Brand: Alfred Music
SKU: 00-39773
Price: 1.85 USD
Availability: InStock

(Good Day)

Italian words by Moliére, music by Jean-Baptiste Lully / ed. and arr., with English words, by Patrick M. Liebergen

Item: 00-39773

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In the 1660s, Molière and Lully developed the comédie-ballet. This new comedic style included spoken dialogue in addition to dances, airs, and choruses. In this ballet, "Bon Dì" is sung by two Italian musicians, bringing good tidings. Distinctively Baroque, with only two Italian words required.

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Series: Alfred Choral Designs

Publisher: Alfred Music

Page Count: 12

UPC: 038081444345

SKU: 00-39773

More about this title

About the Composer: Jean-Baptiste Lully

Jean-Baptiste Lully (1632-1687) was the dominant musical figure of the French court under Louis XIV. Italian-born but trained in France, he mastered the French style and became superintendent of music, composing operas, ballets, and church music that defined the Baroque aesthetic for a generation. His dramatic works combined Italian melody with French elegance, establishing conventions for recitative, dance, and choral writing that influenced European composers for decades.

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Why we love this

Lully's music offers choirs a genuine encounter with Baroque vocal writing without the challenge of lengthy foreign-language texts. This arrangement distills the character of a comédie-ballet into something singers can learn quickly while still grappling with authentic 17th-century harmony, phrasing, and the particular brightness of Italian vowels. It's an ideal entry point for choirs building familiarity with Baroque style and court music.

What to expect

Distinctively Baroque brightness and courtly elegance define this piece. The two-part texture creates an intimate, almost conversational quality, while Lully's harmonic language carries the sophistication of the French court. Singers will feel the particular joy of Baroque vocal writing: clarity, elegance, and the delight of bringing good tidings.

Who it's for

This octavo serves choirs building a Baroque repertoire, especially those new to the period or seeking shorter, accessible masterwork arrangements. It works equally well for high school chamber choirs, community ensembles, and mixed-voice groups wanting to expand beyond standard English-language literature.

How to get the most out of it

Embrace the natural speech rhythm of Italian pronunciation, even though only two words appear. The character and forward motion of Baroque style depend on clear consonants and open vowels.
Keep the two parts balanced in blend and volume; this is a dialogue between two singers or sections, not a unison statement. The interplay matters more than projection.
Shape phrases by rising slightly toward strong beats and releasing gently between phrases rather than applying modern legit vowel weight to every note.

How to use it

Position this as a palate-cleansing moment in a concert, perhaps between heavier romantic or contemporary works. It also serves beautifully in a program exploring music of the French court or structured around dances and theatrical music of the Baroque era.