Dolly, Op. 56: Full Orchestra, Score & Parts

Rabaud's orchestration transforms these intimate piano duets into something luminous without losing Fauré's essential grace. The instrumentation sits perfectly for orchestras of all sizes; the reduced string parts accommodate smaller ensembles while the full complement creates genuine richness. This suite feels fresh every time you conduct it because the music itself has that timeless quality that rewards repeated exploration.

A stroll through a graceful 19th-century salon, each movement a brief portrait of childhood joy rendered in the most sophisticated musical language. The orchestration brings warmth and shimmer to Fauré's original duet writing, with harp and woodwinds creating impressionistic colors while strings provide lyrical backbone. The overall effect is nostalgic yet never sentimental; it feels both intimate and grand.

Orchestras seeking accessible, crowd-pleasing repertoire that doesn't sacrifice artistry. Conductors building mixed programs need pieces that bridge classical and Romantic sensibilities without demanding virtuosic soloists. This suite also works for orchestras working toward more substantial Fauré works later in a season.

• Balance the harp judiciously. It should shimmer through textures, not dominate. In Jardin de Dolly especially, think of it as decorative rather than structural.
• Allow the woodwind solos (particularly in Berceuse and Tendresse) to breathe without rushing. Fauré's phrasing privileges elegance over momentum.
• Shape the Kitty Valse with gentle lift rather than exuberance. The character is charming and refined, not spirited or boisterous.
• Give the percussion a light touch throughout. The timpani and marimba support texture; they do not drive rhythm.

Program the complete six-movement suite as a cohesive second-half offering that gives your orchestra breathing room while establishing serious musical credentials. It pairs naturally with lighter contemporary works or with a larger classical symphony. Alternatively, extract individual movements (Berceuse or Tendresse work particularly well) as concert openers that set an elegant tone.

• Sustaining lyrical phrasing across four-bar and eight-bar phrases
• Balancing woodwind solos with string accompaniment
• Coordinate with harp and percussion as textural rather than rhythmic elements
• Reading and executing Rabaud's orchestration of Fauré's original harmonic language
• Conducting subtle dynamic shapes and transitions between contrasting movements