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Title	Fantasie aus 'Carmen'
Category	Concert/wind/brass band
Subcategory	Music from opera, ballet
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts); + (and); Prtcel (condensed score)
Publisher's article no.	KL 798
Price	99.00 EUR (incl. 10 % Austrian VAT)
Composer	Bizet, Georges
Arranger	Kliment, Hans
Difficulty level	3
Duration	9:40
Additional info/contents	Bizet’s opera *Carmen* tells the tragic story of the self-assured Carmen and the soldier Don José. Premiered in 1875, it is renowned for its catchy melodies, dance-like rhythms, and Spanish-inspired timbres. Hans Kliment’s *Fantasie aus Carmen* brings together key musical numbers from the opera in an arrangement lasting approximately nine and three-quarter minutes, designed for intermediate-level wind orchestra. These include, among others, the "Toreador" song, the Seguidilla, the Chanson, and various marches and ensemble pieces. (© musicainfo.net)
Sample sheet music	click here
Sample score	click here
Sound sample
Video sample
External link	http://www.matheboard.de/lexikon/index.php/Carmen
Available	yes

Programme notes: "Fantasy from Carmen" by Hans Kliment - Bizet's opera as a musical model Georges Bizet's opera "Carmen" is one of the most famous works in the international operatic repertoire. It premiered on March 3, 1875, at the Opéra-Comique in Paris. The libretto by Henri Meilhac and Ludovic Halévy is based on a novella by Prosper Mérimée. At the center of the story is Carmen, a self-assured working woman from Seville who refuses to be bound by societal expectations. Her relationship with the soldier Don José evolves into a conflict fueled by love, jealousy, and possessiveness. The toreador Escamillo serves as a confident counterpoint to this dynamic. The plot ends tragically with Carmen’s murder at the hands of Don José. For audiences of the time, the opera was unconventional. Bizet did not portray an idealized world; instead, he presented social tensions, passion, and violence in a direct manner. The protagonist, Carmen, also defied the traditional image of the passive operatic heroine; she acts independently and insists on her personal freedom. The realistic plot, striking characters, and colorful music ultimately made *Carmen* a work of enduring international success. • The Musical Language of the Opera Bizet’s music blends the French operatic tradition with dance-like rhythms and a Spanish-inspired soundscape. Among the best-known numbers are the Habanera, the Seguidilla, the Toreador Song, the Gypsy Song, and the March and Chorus of the Street Urchins. Each of these sections possesses a distinct character: march-like rhythms sit alongside lyrical melodies, and dance-like movements alternate with dramatic ensemble pieces. This vivid musical characterization forms the basis for Hans Kliment’s “Fantasy on Carmen.” This arrangement is not a complete rendition of the opera but rather a concert-style compilation of selected numbers, in which the plot and vocal lyrics take a back seat. Instead, the version—lasting approximately nine and three-quarter minutes—focuses on the most familiar themes, the rhythmic incisiveness, and the characteristic timbres of the original. Kliment's arrangement for intermediate-level wind orchestra The "Fantasy from Carmen" is arranged for an intermediate-level wind orchestra. The opera’s vocal lines are taken up by woodwinds and brass, while accompaniment figures and rhythmic impulses are distributed among the various instrument groups. This creates a varied interplay between solo passages, tutti sections, and passages featuring musical dialogue. The piece opens with the "Strophic Song/Couplet" (*Strophenlied/Couplet*), marked *Allegro molto moderato* with the quarter note at 108. The strophic structure requires clear phrasing and precise articulation. This is followed by "Toreador, to the Fight" (*Toreador zum Kampfe*), which is to be played with a consistently strong rhythmic feel. Striking accents, a clear pulse, and effective brass timbres lend this section its confident, festive character. The subsequent "Seguidilla and Duet" are set in *Allegretto* and 3/8 time, with the dotted quarter note at 160. The fast triple meter creates a dance-like, fluid effect. In the ensemble piece "Ah, the Customs Officers" (*Ach, die Zöllner*), also in *Allegretto*, the 3/8 meter is treated more moderately, with the quarter note at 108. Here, the interplay between individual voices and a balanced overall sound are particularly important. The "Gypsy Song" (*Zigeunerlied/Chanson*) follows, marked *Andantino quasi Allegretto* in 3/4 time with the quarter note at 100. The melody should be played in a vocal style, with flexibility and careful phrasing. The work concludes with the "March and Chorus of the Street Urchins" (*Marsch und Chor der Gassenjungen*) in *Allegro giocoso*, followed by the "Bullfighter’s Assistants" (*Stierkämpfergehilfen*) in 2/4 time. Both sections combine rhythmic clarity with a cheerful, festive stage atmosphere. • A blend of original and arrangement Kliment’s fantasy preserves the essential musical contrasts of Bizet’s opera: lyricism and rhythm, lyrical tension and public festivity, dance-like lightness and dramatic determination. Although the staged action is omitted, the characters and situations remain recognizable through their musical themes. • For the wind orchestra, the arrangement represents a demanding yet effective exploration of classical opera music. Precise entries, nuanced dynamics, and stylistically appropriate articulation are essential to ensure the individual characters stand out clearly. Thus, the "Fantasy from Carmen" offers a compact introduction to the musical world of Bizet's opera, making its familiar themes immediately accessible to the intermediate-level wind orchestra. • Text: © musicainfo.net (KI) Quellen/Sources: Opera Comique: Carmen Britannica: Later opera in France Metropolitan Opera: Carmen Carmen

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	Format	EUR
	Fantasie aus 'Carmen' (concert/wind band), full score and parts; and; condensed score	99.00
	Klangspiel, audio CD

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