Intermezzo: Concert Band Conductor Score & Parts

This arrangement rescues a genuinely beautiful Bizet melody from relative obscurity and places it squarely within a concert band's wheelhouse. The solos for flute, oboe, and clarinet give your principal players something lyrical and exposed to sink their teeth into, while the optional notes allow you to honor Bizet's original scoring without forcing all your players to stretch beyond their range or ability. It's the kind of piece that reminds audiences why Bizet mattered.

Graceful and unhurried, with the elegance of a drawing room rather than a grand stage. The lyrical unfolding of melody over warm, supportive harmonies creates an intimate quality even when the full band enters, and the three solos give the piece moments of genuine vulnerability that resonate long after the final cadence.

Concert bands at the Grade 4 level seeking repertoire that feels substantial and genuinely beautiful without requiring soloists of advanced technical ability. It works equally well for ensembles building their library of lyrical pieces and for directors wanting to program something recognizable yet less predictable than Bizet's most famous works.

• Shape the principal melodies as you would a singer's line; Bizet wrote for the voice first, and his instrumental themes benefit from legato phrasing and clear phrase breathing even in a band setting.
• Balance the solos carefully against the supporting harmonies. The flute, oboe, and clarinet passages are intimate and need room to project without the full band overpowering them.
• Consider the optional notes as a tool for authenticity, not obligation. Use them where your ensemble's range and comfort allow, but don't sacrifice ensemble balance or confidence to include them.

Program this in a concert that balances lighter fare with more substantial works; its three-minute length and lyrical character make it an excellent bridge between a march and a more complex contemporary piece. It also serves well in a concert celebrating operatic or vocal-derived material, or as part of a program exploring lesser-known Bizet alongside his better-known compositions.

• Singing through the instrument (legato phrasing and musical line shaping)
• Solo balancing and exposed playing across woodwind sections
• Supporting and accompanying principal lines with transparent textures
• Optional extended range and alternate notes (understanding compositional flexibility)