Good Humored Ladies, The (Le donne de buon umore) - Suite from the Ballet: Full Orchestra, Conductor Score

This suite captures the theatrical energy of the Ballets Russes at its peak while remaining rooted in the transparency and wit of Scarlatti's keyboard writing. Tommasini's orchestration never overwhelms the melodic clarity of the source material; instead, it gives each movement distinct instrumental identity and maintains the suite's brisk, charming momentum. For orchestras seeking elegant repertoire that sits comfortably between the Classical and early 20th-century worlds, this piece delivers genuine musical substance without bombast.

Witty and propulsive, with the elegant refinement of 18th-century keyboard writing filtered through the vivid orchestration of the early 20th century. The rapid passage work sparkles across the strings, woodwinds punctuate with theatrical flair, and the overall trajectory moves from energetic character dances to moments of genuine lyrical warmth. There is lightness and humor throughout, never heaviness.

Orchestras at the advanced amateur through professional level seeking a concert opener or suite that sits well alongside larger 20th-century works. Conductors building programs around ballet repertoire, Spanish-influenced orchestral music, or Scarlatti will find this suite musically substantial and audience-friendly.

• Treat the harpsichord or piano as a rhythmic anchor rather than a solo voice. The continuo instrument should support the orchestral texture without competing for attention, especially in the faster movements.
• Shape the Andante (movement III) with unhurried phrasing; this movement's lyricism provides essential contrast to the surrounding Presto and dance sections.
• The Cat's Fugue finale requires rhythmic precision across the entire ensemble. Lock the attack of staccato figures in the strings and woodwinds so the familiar Scarlatti subject leaps from one section to another with clarity.
• Balance the two oboes and two clarinets carefully in exposed passages; these instruments carry significant melodic responsibility in movements II and IV, and clarity will highlight Tommasini's orchestral craftsmanship.

Program this suite as an opener to establish an evening of accessible orchestral fare, or pair it with other Scarlatti-based works and early 20th-century ballet music. The six movements flow naturally as a single work but can also sustain listener interest as part of a longer program focused on Spanish musical tradition or Russian ballet repertoire from the Diaghilev era.

• Orchestration clarity and balance across woodwind pairs and strings in Classical-era harmonic language
• Rapid passagework coordination and unified articulation in staccato and legato figures
• Stylistic continuity when conducting keyboard-derived orchestral arrangements
• Phrasing and shape in extended dance-form movements with contrasting tempos