François Borne (1840 – 1920): Fantasie Brillante on
Themes from Bizet’s Carmen (based on the opera Carmen
by Georges Bizet, 1837 – 1875).
Mozart, Verdi, Rossini and Wagner rank high among the
many composers whose operas have inspired fantasias and
transcriptions by their composer-colleagues. “La ci
darem la Mano”, a duet from Mozart’s Don Giovanni,
is the basis for dozens of theme-and-variations. But
since its premiere in 1875, Bizet’s Carmen has surely
taken the lead as ...(+)
François Borne (1840 – 1920): Fantasie Brillante on
Themes from Bizet’s Carmen (based on the opera Carmen
by Georges Bizet, 1837 – 1875).
Mozart, Verdi, Rossini and Wagner rank high among the
many composers whose operas have inspired fantasias and
transcriptions by their composer-colleagues. “La ci
darem la Mano”, a duet from Mozart’s Don Giovanni,
is the basis for dozens of theme-and-variations. But
since its premiere in 1875, Bizet’s Carmen has surely
taken the lead as a subject for virtuosic showpieces by
other composers. The opera’s color and passion have
given rise to spectacular arrangements for guitar,
piano, full orchestra, and – in the case of François
Borne – flute.
Borne was a flutist with the principal opera company in
Bordeaux as well as a composer and professor at the
conservatory in Toulouse. Expert in both instrumental
technique and in the development of the flute as an
instrument, he is still recognized for his technical
contributions to the Böhm flute. His Fantasie
Brillante on Themes from Bizet’s Carmen is by far his
most famous composition.
Borne’s setting of Carmen’s luscious melodies –
like those by Sarasate for the violin, and by Busoni
and Horowitz for the piano – combine the virtuoso’s
understanding of the solo instrument with a flair for
the dance rhythms and passionate colors of the opera.
Borne fills his setting with spectacular arpeggios that
require fleet fingering and consummate breath control.
Carmen’s brilliant Habanera, a traditional dance that
she performs with castanets (and with abundant
flirting), anchors the work. But the mood of Borne’s
Carmen is far brighter than that of the fatalistic
Gypsy girl of Bizet’s opera. In Borne’s showpiece,
a set of brilliant variations on her showy Habanera
leads to a triumphant close – in marked contrast with
the opera’s violent, tragic ending.
PARTITION